AOP to present the complete video of the 2014 world premiere of As One for one week

June 21, 2017
FOR IMMEDIATE RELEASE
June 21, 2017

TO CELEBRATE LGBTQ PRIDE, AMERICAN OPERA PROJECTS PRESENTS THE COMPLETE VIDEO OF THE 2014 WORLD PREMIERE OF AS ONE – “A TRANSGENDER STORY WITH POWER, PASSION”

The popular chamber opera by Laura Kaminsky, Mark Campbell, and Kimberly Reed will be screened to the public June 23-30 on the AOP website.

Premiere production at BAM features mezzo-soprano Sasha Cooke and baritone Kelly Markgraf sharing the role of the transgender protagonist.

 

BROOKLYN, NYIn celebration of LGBTQ Pride Month, American Opera Projects (AOP) will make available to the public the video of their 2014 World Premiere production of the opera As One from June 23-30, 2017 on the AOP website at www.aopopera.org/AsOne/worldpremiere.  As One, with music and concept by Laura Kaminsky, an original libretto by Mark Campbell and Kimberly Reed, and film by Ms. Reed chronicles the experiences of a transgender person with empathy and wit as she emerges into harmony with the world around her.

As One has become one of the most produced contemporary American operas written in the past 50 years with eight new productions around the country (and one in Berlin, Germany) in the three years since its premiere and at least eight more scheduled for the 2017-18 season, including San Diego Opera, Des Moines Metro Opera and Hawaii Opera Theatre.

AOP developed and commissioned the one-act chamber opera specifically for internationally-acclaimed singers (and real-life husband and wife) Kelly Markgraf, baritone, and Sasha Cooke, mezzo-soprano, who shared the role of the protagonist Hannah in the world premiere production at BAM (Brooklyn Academy of Music), directed by Ken Cazan, conducted by Steven Osgood, and featuring the Utah-based Fry Street Quartet. The production design by David Jacques includes film by Kimberly Reed, director of the award-winning documentary, Prodigal Sons. Costume design was by Sara Jean Tosetti.

Reviewing the world premiere, The New York Times said, “As One forces you to think, simultaneously challenging preconceptions and inspiring empathy.” Subsequent productions earned the opera additional critical praise: “The real secret of the opera’s success… is that under everything lays a winning coming-of-age story. … By moving beyond the daily news, As One approaches admirable universality.” (The Los Angeles Times); “a transgender story with power, passion … beautiful lyrical moments… as uplifting as any operatic ending could be.” (Seattle Times); “A thoughtful and substantial piece as well as that rarest of operatic commodities — a story that lends itself to dramatization in music.” (The Washington Post); “As One is the hottest title in opera right now … An accomplished bit of art-making, with considerable entertainment value, that thrusts itself smack into the current political and social discourse.” (The Denver Post)

In addition to As One, Brooklyn-based opera producer American Opera Projects has developed and produced numerous LGBTQ-themed works including the 1998 Lincoln Center Festival world premiere of Patience & Sarah by Paula Kimper and Wende Person, one of the first operas about a gay relationship.

“While AOP’s roster of LGBTQ operas is growing, clearly in our era there is still significant progress to be made,” says AOP Producing Director Matt Gray. “Opera has unfortunately been late to embrace contemporary works, especially ones that address current events and lifestyles. But it is encouraging to see that more and more opera companies recognize the need to present stories that reflect contemporary issues and portray a diversity of characters.” In recent years, audiences have seen successful premieres of LGBTQ-themed operas such as Paul’s Case, Before Night Falls, and A Letter to East 11th Street – all having received development in AOP’s First Chance program – as well as Fellow Travelers, Three Decembers, Brokeback Mountain, Prince of Players, Champion, and Angels in America. Gray continues, “For us to empathize with the struggles of others there can be no art form where their stories are not told. AOP holds as a goal that a proliferation of these stories will allow opera audiences to recognize that the conflicts and lives of every person are relatable. And that the discovery of those inherent, relatable truths of our unified humanity makes enlightening, and exciting, entertainment.”

For more information about transgender issues please visit the GLAAD WEBSITE.

AS ONE photo 3 by Ken Howard for AOP

Baritone Kelly Markgraf (left) and mezzo-soprano Sasha Cooke shared the role of the transgender protagonist Hannah in the 2014 world premiere of As One, an opera by Laura Kaminsky, Kimberly Reed, and Mark Campbell. Photo by Ken Howard.

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PRESS CONTACT:  Matthew Gray, AOP Producing Director, 718-398-4024, mgray@operaprojects.org

AOP receives OPERA America Innovation Grant to expand training programs

June 6, 2017

AOP is proud to announce that it has been awarded an Innovation Grant to expand its composer-librettist training curriculum to academic music-theater programs, serving as a potential model for other schools and conservatories.

AOP’s training curriculum was pioneered with the creation of Composers & the Voice in 2002. Conceived by C&V’s current Artistic Director Steven Osgood, AOP’s in-house training program will enter its ninth season in Fall 2017. C&V brings together emerging opera composers and librettists and professional opera singers in private workshops to learn the craft of writing for the operatic voice and stage. The curriculum was adapted by C&V composer alum Randall Eng in partnership with AOP in 2015 to create the Advanced Opera Lab for students in the NYU/Tisch Graduate Musical Theater Program. The Innovation grant will continue this trajectory by supporting the codification of a curriculum for schools and conservatories that rarely provide opportunities for learning composition for the voice. In addition, the grant will support the creation of six new site-specific works on the theme of “New York Stories” that will emerge out of the partnerships between AOP and these institutions.

AOP was one of 27 opera companies around the nation to receive Innovation grant awards from the organization. Launched last fall, OPERA America’s Innovation Grants support exceptional projects that have the capacity to strengthen the field’s most important areas of practice, including artistic vitality, audience experience, organizational effectiveness and community connections. These grants invest up to $1.5 million annually in OPERA America’s Professional Company Members, enabling organizations of all sizes to increase their commitment to experimentation and innovation, as well as contribute to field-wide learning.

“Thanks to the tremendous generosity of the Ann and Gordon Getty Foundation, our member companies receive support to pursue new thinking and experimentation — to expand the boundaries of their current practices and adapt to an ever-changing field,” stated Marc A. Scorca, president and CEO of OPERA America in the press release. “These grants benefit not only the recipients but the entire art form: Through the lessons gleaned from the funded initiatives, companies throughout North America will be able to borrow and adapt good ideas, spreading the learning field-wide.”

NYU/AOP Opera Lab Cast, Creators, Designers, and Instructors at the May 14 performances of their opera scenes. International House, NYC. Photo by Steven Pisano.

NYU/AOP Opera Lab “Final Round”. International House, NYC. Photo by Steven Pisano.


Brooklyn’s AOP To Select Composers, Librettists For Two Years Of Free Training In The Fundamentals Of Opera

March 7, 2017

APPLICATIONS AVAILABLE MARCH 15 FOR 9TH SEASON OF
“COMPOSERS & THE VOICE” PROGRAM BEGINNING IN FALL 2017

Bass-baritone Matthew Burns works with composer Andreia Pinto- Correia during a 2013 C&V workshop. Photo by Ted Gorodetzky

BROOKLYN, NY – American Opera Projects (AOP) announces the return of its popular Composers & the Voice program for its 2017-19 seasons. Created and led by Composers & the Voice Artistic Director Steven Osgood, eight composers and librettists will be selected for two-year fellowships to learn the fundamentals of writing for the voice and opera stage. Workshop sessions with professional opera singers, mentors, and instructors are held at AOP’s home base in Fort Greene, Brooklyn. Applications and complete information will be available beginning March 15 at www.aopopera.org/composers_voice. The deadline for applications is April 28 with fellowships announced by July 1.

The Composers & the Voice fellowships include a year of working with the company’s Resident Ensemble of Singers and Artistic Team followed by a year of continued promotion and development through AOP and its strategic partnerships. The workshop sessions between September 2017 and April 2018 include composition of solo works for six voice types (coloratura soprano, lyric soprano, mezzo-soprano, tenor, baritone, and bass).

In addition, over 45 hours of “Skill-Building Sessions” of acting courses with director Mary Birnbaum (Die Zauberflöte at Juilliard), theatrical improvisation led by Terry Greiss (Co-Founder, Ensemble Actor, Executive Director of Irondale Ensemble Project), and libretto development with Libretto Writing Instructor Mark Campbell (librettist, As One, Silent Night), will provide in-depth knowledge of how singers build characters, act in scenes, and sing text.

Fellows will also receive individual guidance from “Artistic Chairs,” sponsorships named in honor of mentors and their support of Composers & the Voice. Artistic Chairs for the upcoming season include composers Ricky Ian Gordon (27, The Grapes of Wrath), David T. Little (Dog Days, JFK), Missy Mazzoli (Breaking the Waves, Songs From the Uproar), Tobias Picker (An American Tragedy, Emmeline), Stephen Schwartz (Wicked, Godspell), and Gregory Spears (Fellow Travelers, Paul’s Case), and librettists Gene Scheer (Cold Mountain, Moby Dick) and Royce Vavrek (Dog Days, JFK).

At the end of the workshop sessions, AOP will present selections from the participants’ work in public performances – First Glimpse, a concert of songs in Spring 2018, and Six Scenes, an evening of short opera scenes in Fall 2018.

Following the Six Scenes performances, Composers & the Voice enters its second year of its two-year cycle and focuses on the development and further promotion of the Fellows’ C&V-created works. This includes career guidance from AOP’s staff and potential workshops and presentations in AOP’s “First Chance” opera development program.

Composers & the Voice will also continue partnerships with The Hermitage Artist Retreat , which will select a C&V Fellow (or Fellowship team) to receive a 6-week residency to continue opera development at the Hermitage’s Florida estate, and the Chautauqua Opera Company, which annually invites one C&V alumnus to join the company for their 8-week summer season as a Composer-in-Residence and receive world premieres of three works commissioned by AOP.

Since launching in 2002, C&V has fostered the development of 54 composers & librettists. Alumni works that went through AOP’s opera development program and continued to a world premiere include Love/Hate (ODC/San Francisco Opera 2012, Jack Perla), Paul’s Case (UrbanArias 2013, Gregory Spears), The Scarlet Ibis (PROTOTYPE 2015, Stefan Weisman), and three in 2017 – Three Way (Nashville Opera and AOP, Robert Paterson), The Summer King (Pittsburgh Opera, Daniel Sonenberg), and Independence Eve (UrbanArias, Sidney Marquez Boquiren).

“The philosophy of Composers & the Voice since its beginning has been that by immersing composers and librettists in hands-on work with skilled singers and music directors, we empower them to create groundbreaking works that are true to each of their artistic languages,” says Osgood.  “Composers rarely have the opportunity to work with opera singers during their training, and C&V was designed to address this void. I could not be more proud of the commissions and premieres that have flowed to the alumni of C&V.”

The Andrew W. Mellon Foundation continues its support of AOP’s Composers & the Voice program through 2019 as part of a two hundred thousand ($200,000) multi-year grant award, which also covers artistic personnel and other program activities.

During his tenure as Artistic Director of American Opera Projects (2001 to 2008), Steven Osgood created Composers & the Voice and conducted the world premieres of Paula Kimper and Wende Persons’ Patience & Sarah at the Lincoln Center Festival and Janice Hamer and Mary Azrael’s Lost Childhood at the International Vocal Arts Institute (Tel Aviv). He has conducted the premieres of over a dozen operas, including As One, The Scarlet Ibis, Thumbprint, Peony Pavilion, Oresteia, Song from the Uproar & Breaking the Waves, JFK, and Little Nemo in Slumberland and has served as Conductor Mentor for Washington National Opera’s American Opera Initiative. He has been a member of the Music Staff of the Metropolitan Opera since 2006.  Upcoming productions include the US Stage Premiere of Monteverdi’s L’Orfeo in Respighi’s realization, Don Pasquale, and Hydrogen Jukebox, all part of Chautauqua Opera’s 2017 season, where he is General and Artistic Director.

 

COMPOSERS & THE VOICE 2017-2019: CALENDAR OF DATES

March 15, 2017                        Applications available on AOP site

April 28, 2017                          Applications portal closes

June 30, 2017                           Announcement of 2017-19 C&V Fellows

October 2017 – May 2018          Closed workshop sessions

May 2018                                Composers & the Voice: First Glimpse – concert reading of songs

September 2018                        Composers & the Voice: Six Scenes – concert reading of opera scenes

Fall 2018-2019                         AOP mentoring and opera development

COMPOSERS & THE VOICE 2017-2019: ARTISTIC CHAIRS

Ricky Ian Gordon, David T. Little, Missy Mazzoli, Tobias Picker, Gene Scheer, Stephen Schwartz, Gregory Spears, and Royce Vavrek.

MORE INFO AND PRESS MATERIALS AVAILABLE AT: www.aopopera.org/press.


New LGBTQ Operas Coming Out in Hard Times

February 23, 2017
as-one-pittsburgh

Taylor Raven, left, and Brian Vu portray Hannah, the transgender heroine of As One at Pittsburgh Opera. Photo by Renee Rosensteel.

In light of recent news from Washington, American Opera Projects (AOP) announces that of its 31 new operas in development, four are on LGBTQ topics. For AOP, this is not new. In 1998, AOP premiered the first opera ever to focus on a lesbian relationship, Patience & Sarah, by composer Paula M. Kimper, and librettist Wende Persons, three years after Houston Grand Opera’s premiere of Harvey Milk composed by Stewart Wallace to a libretto by Michael Korie.

Upcoming LGBTQ operas are:

While AOP’s roster of LGBTQ operas is growing, clearly in our era there is still significant progress to be made. At the same time, these operas are being embraced across the US. As One, the first opera about a transgender person, by artistic team Laura Kaminsky, Mark Campbell, and Kimberly Reed is now one of the most performed new operas in America. Following AOP’s premiere at the Brooklyn Academy of Music, As One has had productions in Seattle, Washington D.C., Berkeley, Logan, UT, Berlin, and just last week, Pittsburgh, where the Pittsburgh Post-Gazette called it “pertinent and moving,” with upcoming shows in San Diego, Denver, New Orleans, Long Beach, Kansas City, and more.

As One forces you to think, simultaneously challenging preconceptions and inspiring empathy.” – The New York Times

Opera has unfortunately been late to embrace contemporary works, especially ones that address current events and lifestyles. But it is encouraging to see that more and more opera companies recognize the need to be an art form that reflects the stories of our time. In recent years, audiences have seen successful premieres of LGBTQ-themed operas such as Paul’s Case, Before Night Falls, and A Letter to East 11th Street – all having received development in AOP’s First Chance program – as well as Fellow Travelers, Three Decembers, Brokeback Mountain, Prince of Players, Champion, and Angels in America.

At a time when the Trump Administration has removed the Obama-era guidance allowing trans people to select school restrooms according to gender choice, AOP will continue to actively pursue works like these for development and production.

AOP’s most recent world premiere Three Way “explores sex without moralizing” (The East Nashvillian) depicting modern sexuality in three short, comic one acts. The co-production with Nashville Opera, where it had its well-received premiere in January, will come to the Brooklyn Academy of Music in June 2017.

I’m here for an opera that explains to straight people what being trans- or cis-gender is. Hopefully, we as the audience come to a deeper understanding with them. – Schmopera.com‘s review of Three Way’s world premiere in Nashville.

For us to empathize with the struggles of others there can be no art form where their stories are not told. Giving every minority – of race, gender, country, political view, you name it – an opportunity to tell their story may seem impossible, but it is still the ideal. More immediately, we hold as a goal that a proliferation of these stories will allow opera audiences to recognize that the conflicts and lives of every person are relatable. And that the discovery of those inherent, relatable truths of our unified humanity makes enlightening, and exciting, entertainment.

Bloggers: Matt Gray & Annie Troy

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Gender-fluid couple Kyle (Jordan Rutter) and Tyler (Melisa Bonetti), left, get eyed by another couple in Three Way. Photo by Anthony Popolo.


Art Opening for a New Opera

February 10, 2017
Thursday, February 9, 2017

Art Opening for a New Opera

Rebecca Allan, Orange Mesa/Medanales, 2016, acrylic on paper, 15 x 17 inches

Rebecca Allan, Orange Mesa/Medanales, 2016, acrylic on paper, 15 x 17 inches

Following a snow-bound day, a crowd of arts and opera enthusiasts gathered at Meredith Ward Fine Art at 44 East 74 Street for the opening of Rebecca Allan‘s solo show, Rain in the Arroyo. Sales of paintings will support Brooklyn’s American Opera Projects and San Francisco’s Opera Parallèle in launching Today It Rains, a new opera about artist Georgia O’Keeffe by the creative team Laura Kaminsky, Mark Campbell and Kimberly Reed that also created the most frequently performed contemporary opera in America in the past two years, As One. American Opera Projects is currently developing 28 new operas by contemporary composers. The exhibition continues through February 11.

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Chautauqua Opera Company and AOP announce Gity Razaz as 2017 Composer-in-Residence

February 6, 2017

The Chautauqua Opera Company continues a multi-year collaboration with American Opera Projects’ prestigious Composers & the Voice Fellowship Program

Gity Razaz joins the company as the 2017 Composer-in-Residence, writing three commissions that will receive world premieres during the summer season

Composer Gity Razaz. Photo by Rahima Nasa.

Composer Gity Razaz. Photo by Rahima Nasa.

2017 marks the second year of a multi-year collaboration between the Chautauqua Opera Company and Brooklyn’s American Opera Projects (AOP). Each year the Chautauqua Opera Company will invite one alumnus of AOP’s prestigious Composers & the Voice Fellowship Program to join the company for the 8-week summer season.

“The operatic voice is probably the most complicated and multi-faceted instrument a composer can tackle, and throughout history the most successful operatic composers have been continually immersed in writing for and working with singers. It is with this model that Composers & the Voice was designed, offering a select few composers the chance to work hands-on with the same singers and music directors over a 12-month period. I am tremendously proud of the composers who have come through the program, and am delighted to now be able to bring them into the Chautauqua community as they build their operatic careers,” says Steven Osgood, General and Artistic director of the Chautauqua Opera Company. Osgood is also Artistic Director for the Composers & the Voice Fellowship program, which he created in 2003.

The Chautauqua Opera Company has named Gity Razaz as the 2017 Composer-in-Residence. Hailed by the New York Times as “ravishing and engulfing,” Ms. Razaz’s music ranges from concert solo pieces to large symphonic works. With an ear for intense melodies and expanding harmonic language, Ms. Razaz’s compositions are often dramatically charged; as described by John Corigliano: “…her Middle-Eastern roots have merged with her Western sensibilities to produce music that is both original and startling.“ Ms. Razaz’ upcoming projects include a 60-minute ballet score for Moscow Theatre Ballet, which is scheduled for a world premiere in Moscow in June 2017, as well as a work for classical guitar duo commissioned by Duo Noir(e). Born in Tehran, Ms. Razaz started her musical studies in piano at a young age and began composing intuitively at age nine.

“As a full-time composer accustomed to working in solitude hours on end, I have always yearned for creative opportunities that gather and nurture a community of artists,” says Ms. Razaz. “I believe that my music finds more strength, depth and intensity when I live within a vibrant ecosystem of artists with diverse creative backgrounds. I am thrilled to add my voice to Chautauqua’s musical community this summer.”

American Opera Projects will commission three new pieces from Ms. Razaz, each of which will be premiered as part of Chautauqua Opera’s 2017 season, by members of its Young Artist Program, and then be presented in AOP’s subsequent New York City season. With texts drawn from and inspired by lecturers and speakers at the Chautauqua Institution, these new works will first appear on Chautauqua Opera’s “Afternoon of Song” recital series and their Opera Highlights concert with the Chautauqua Symphony Orchestra.

Chautauqua Opera’s first Composer-in-Residence, Jeremy Gill, describes his experience at Chautauqua during the 2016 season: “Spending the summer on the beautiful grounds, working closely every day with the wonderful coaching staff and Young Artists there, helping with and observing the creation of multiple productions from the first rehearsal to final performance: these all offered me a complete picture of the loving labors that go into each performance. Naturally, writing for the Chautauqua Symphony Orchestra and Young Artists under Steve Osgood’s baton was a highlight of the summer, but even more was the warm reception my work received from the community that, by then, I had become a member of.”

For more information about Gity Razaz, please visit her website, GityRazaz.com
For more information about Jeremy Gill, please visit his website, JeremyTGill.com
For more information about Chautauqua Opera’s Composer-in-Residence program, please visit ciweb.org/composer-in-residence

More about The Composers & the Voice Fellowship Program:
The Composers & the Voice Fellowship Program is a two-year fellowship for composers and librettists that provides experience writing for the voice and opera stage, created and led by Artistic Director Steven Osgood. The fellowship includes a year of working with the company’s Resident Ensemble of Singers and Artistic Team followed by a year of continued promotion and development through AOP and its strategic partnerships. Since launching in 2002, C&V has fostered the development of 54 composers & librettists.

Recent and upcoming world premieres that began development in Composers & the Voice include Gregory Spears’ Paul’s Case at Urban Arias (2013) and PROTOTYPE Festival and Pittsburgh Opera (2014), Jack Perla’s Love/Hate at ODC Theater with San Francisco Opera (2012), Rob Paterson’s Three Way (Nashville Opera/BAM, 2017), Daniel Sonenberg’s The Summer King (Pittsburgh Opera, 2017), and Sidney Boquiren’s Independence Eve (Urban Arias, 2017).

The Composers & the Voice program is made possible in part by a generous multi-year award from The Andrew W. Mellon Foundation.

More about American Opera Projects:
At the forefront of the contemporary opera movement for a quarter-century, American Opera Projects creates, develops and presents opera and music theatre projects collaborating with young, rising and established artists in the field. AOP has been a lead producer on over 30 world premieres; recent highlights include Kaminsky/Reed/Campbell’s As One (2014), Lera Auerbach’s The Blind (2013), and the dance opera Hagoromo at BAM 2015 Next Wave Festival. www.aopopera.org


BROOKLYN OPERA COMPANY AMERICAN OPERA PROJECTS NAMES ANNE TROY AS DIRECTOR OF DEVELOPMENT

January 26, 2017
AOP Director of Development Anne Troy

Anne Troy, AOP Director of Development

NEW YORK, NY, January 10, 2017— Brooklyn-based nonprofit arts organization American Opera Projects (AOP) is pleased to announce the appointment of Anne Troy as its new Director of Development. Troy will create, implement, and oversee all fundraising and development activities of the organization that has developed and presented new works of opera across the country for over 25 years.

At this critical juncture in AOP’s history, in which the organization’s operating budget has more than doubled in the past two years with the premieres of critically-lauded and commercially successful new operas such as As One and Hagoromo (BAM Next Wave Festival), the Director of Development will continue to stimulate that growth by deepening the fundraising capacity of AOP at all levels, from individual contributions and board development, to foundation and government support. The creation of the Director of Development position is funded in part by The Andrew W. Mellon Foundation.

Troy served as Development Director of the New York City Mayor’s Fund, the Marilyn Horne Foundation, and Association for Neighborhood and Housing Development as well as on fundraising projects for the Martina Arroyo Foundation, Martha Graham Dance Company, and the YMCA of Greater New York. Before moving into development, Troy was a creative supervisor at Young & Rubicam Direct Marketing. Her career shifted from advertising to social issues when she left to help launch Habitat for Humanity in New York City and work for services and housing for homeless and HIV-positive New Yorkers, including starting the first school in a homeless shelter in the US.

“I am proud to announce that Anne Troy has accepted the position of Development Director,” writes General Director Charles Jarden. “Anne is a great match for this brand new position at AOP. As a former development staff member of The Marilyn Horne Foundation plus being knowledgeable about the opera field in general, she knows the scene from a personal vantage point. She has also had a distinguished career in social justice focusing on affordable housing and economic development advocacy. This AOP position will give Anne an opportunity to bring together her interests and passions—and we will benefit from her broad experience and expertise.”

Founded in 1988, American Opera Projects is at the forefront of the contemporary opera movement, commissioning, developing, presenting, and producing opera and music theatre projects, collaborating with young, rising, and established artists, and engaging audiences in unique and transformative theatrical experiences. AOP has produced over 30 world premieres, including the Nathan Davis/Brendan Pelsue dance chamber opera Hagoromo starring Wendy Whelan (BAM, 2015), Kaminsky/Reed/Campbell’s As One (BAM, 2014), Nkeiru Okoye’s Harriet Tubman: When I Crossed That Line to Freedom (Irondale Center, 2014), and Lera Auerbach’s The Blind (co-production with Lincoln Center Festival, 2013) and the upcoming 2017 co-production with Nashville Opera of Robert Paterson’s Three Way (Nashville Opera, BAM Fisher). AOP-developed operas that premiered with co-producers include Stefan Weisman’s The Scarlet Ibis at PROTOTYPE Festival (2015), Gregory Spears’ Paul’s Case at Urban Arias (2013) and PROTOTYPE Festival and Pittsburgh Opera (2014), Jack Perla’s Love/Hate at ODC Theater with San Francisco Opera (2012), Stephen Schwartz’s Séance on a Wet Afternoon at New York City Opera (2011), Tarik O’Regan’s Heart of Darkness at London’s Royal Opera House (2011) and Opera Parallèle (2015), and the upcoming The Summer King by Daniel Sonenberg at Pittsburgh Opera (2017).

AOP is an IRS recognized 501(c)3 non-profit corporation, and is a member of OPERA America, Fort Greene Association, the Downtown Brooklyn Arts Alliance, the New York Opera Alliance, and Alliance of Resident Theatres/ New York (A.R.T./NY).


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