AS ONE Surpasses Turandot and The Barber of Seville to Become 14th Most Produced Opera in the U.S. and Canada in 2016-17

January 30, 2018

A few of the many Hannahs from As One, clockwise from top left: AOP World Premiere (Brooklyn, NY), UrbanArias (Arlington, VA), West Edge Opera (San Francisco, CA), Pittsburgh Opera, International Opera Projects (Berlin, Germany), Seattle Opera.

Laura Kaminsky, Mark Campbell, and Kimberly Reed’s chamber opera As One was the 14th most-performed opera in the United States and Canada in the 2016-2017 season according to the Winter 2018 issue of OPERA America magazine and the only opera in the top 25 written this century.

The Top 25 in 2016-17 were:
1. Carmen
2. Madama Butterfly
3. Die Zauberflöte
4. Le Nozze di Figaro
5. Don Giovanni
6. La Traviata
7. Tosca
8. Eugen Onegin
9. Rigoletto
10. Roméo et Juliette
11. Aida
12. La Boheme
13. Lucia di Lammermoor
14. As One
15. My Fair Lady
16. Die Entführung aus dem Serail
17. Turandot
18. Don Pasquale
19. Falstaff
20. Hansel und Gretel
21. Norma
22. Sweeney Todd
23: Dead Man Walking
24: Oklahoma!
25: Il Barbiere di Siviglia

In As One, a mezzo-soprano and a baritone depict the experiences of its sole transgender protagonist, Hannah, as she endeavors to resolve the discord between herself and the outside world.

As One was commissioned, developed, and premiered by American Opera Projects at BAM Fisher Center in Brooklyn, NY in September, 2014, and has already been performed by over 15 different opera companies throughout the United States and beyond.

New productions of As One were performed this month at Lyric Opera Kansas City, Hawaii Opera Theatre, and Boston Opera Collaborative. It will next be seen at Anchorage Opera Feb. 9-11, 2018.

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“Startling,” “gripping” THE ECHO DRIFT finishes “virtuoso” run at Prototype Festival

January 26, 2018

On January 20, the world premiere of THE ECHO DRIFT, with music by Mikael Karlsson, libretto by Elle Kunnos de Voss & Kathryn Walat, directed by Mallory Catlett and conducted by Nicholas DeMaison completed its six-performance run at Baruch Performing Arts Center in New York City as part of the 2018 Prototype Festival. Mezzo-soprano Blythe Gaissert starred as a convicted murderer trapped in a timeless prison and is unexpectedly befriended by a moth (actor John Kelly) with an offer of a perceived way to freedom. The experimental chamber opera, performed by members of ICE Ensemble and enhanced by electronic soundscape and animation, was enthusiastically received by both audiences and critics alike.

Blythe Gaissert as Walker Loats in The Echo Drift

“a startling science fiction conceit kickstarted the gripping one-act The Echo Drift. In this world premiere work, an inmate in a futuristic prison gets a visit from a talking moth that tries to persuade her than she can escape by rejecting her conventional sense of time and space. Everything about this presentation was virtuoso, from the psychedelic snarls and slithers in composer Mikael Karlsson’s orchestra writing to the sly, ironic whispers of actor John Kelly as the Moth. But the heart of the piece was the bravura singing of Blythe Gaissert as the panicky prisoner, her smoky mezzo biting into the wide-ranging and relentless vocal part with the violent abandon of a starving shark.” – The Observer

Stark and intricate, propulsive and a little film-noir, “The Echo Drift” is most exciting when it is fast and cacophonous, nearly overwhelming the senses.” – The New York Times

a totally original and stunning, immersive piece… with a scintillating score composed by Mikael Karlsson, and a brilliant environmental production by Elle Kunnos de Voss in their first collaboration. … Gaissert is wonderful as Loats, giving herself over totally to the fantasy world that the creators have presented to her, more than holding her own vocally in the powerful and audacious orchestral setting–by turns jazzy, acoustic, electronic, melodic, atonal, soothing, blasting–that the composer has devised.” – Broadway World

“seventy immersive minutes of six-channel surround sound and projected animations … The score was modest, absorbing, and lush …  For a story about a convicted murderer in solitary confinement, The Echo Drift is surprisingly accessible and apolitical. … Gaissert and Kelly fully embraced the sophisticated score and meta set, and The Echo Drift balanced an immersive multidimensional experience with a refreshing affirmation of human solidarity.” – I Care If You Listen

“Nicholas DeMaison conducted with unwavering clarity, helped by seven superb musicians from the International Contemporary Ensemble. Levy Lorenzo’s electronics wizardry—effectively an eighth instrument—creates unusually vivid textures, such as the complex, machine-like chords repeated near the end, tolling like otherworldly bells. … It is hard to sufficiently praise soprano Blythe Gaissert as Loats, singing tirelessly over the course of the opera’s 70 minutes.” – Musical America

“The Echo Drift struck an admirable balance between evocative score and creative composition, and is easily worthy of a pure listen without the staging. Karlsson’s subtle but crucial electronic elements were particularly noteworthy, threading through the live performers with magnetic textures… singers and musicians alike made this small chamber opera a grand production.” – Seen and Heard International

In a tension-filled final day, Gaissert took ill and made the difficult decision not to perform. Her cover Kathryn Krasovec stepped in with only a few hours of rehearsal under her belt and gave a powerful performance that captivated the audience on the opera’s final night.

The Echo Drift was commissioned, developed and produced by Beth Morrison Projects, HERE, and American Opera Projects. The Echo Drift was originally developed by Mikael Karlsson and Elle Kunnos de Voss in a full-length workshop presented by the Embassy of Sweden in Washington DC in 2014. Additional development was provided through the Opera Genesis Fellowship, a residency at the Hermitage Artist Retreat, made in partnership with American Opera Projects.

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