Three new operas developed by American Opera Projects to premiere in early 2017

January 18, 2017

American Opera Projects (AOP) in New York is currently developing twenty-one new operas with three to premiere in 2017 in multiple locations across the US:

THREE WAY – a sex comedy opera
Premieres January 27 – 29 @ Nashville Opera and June 15-18 @ Brooklyn Academy of Music.
Developed in AOP’s Composers & the Voice and First Chance programs
With music by Robert Paterson (The Whole Truth) and a libretto by David Cote (The Scarlet Ibis), Three Way is a new opera on the present and future of sex and love. In three playful one-acts, average heroes explore the worlds of android lovers, BDSM and multiple partners in their searches for the emotional connections that are ever-elusive in today’s romantic world. Sexy, funny and a little bit shocking, Three Way combines complex but melodic music with witty humor and personal drama creating an Il trittico for the Tinder generation. Nashville Opera and AOP will present the world premiere of Three Way January 27-29, 2017 at The Tennessee Performing Arts Center in Nashville, TN and June 15-18, 2017 at BAM Fisher in Brooklyn, NY in a production directed by John Hoomes and conducted by Dean Williamson. It will feature performances by singers Courtney Ruckman, Samuel Levine, Danielle Pastin, Jordan Rutter, Wes Mason, Melisa Bonetti, Matthew Treviño, and Eliza Bonet with the Nashville Opera Orchestra (January) and the American Modern Ensemble (June performances). Three Way is sung in English with projected English titles, and contains adult language and situations intended for mature audiences. Tickets for the January world premiere are on sale at www.nashvilleopera.org.

THE SUMMER KING – life of Negro League baseball star, Josh Gibson
Premieres April 29-May 7 @ Pittsburgh Opera
Developed in AOP’s Composers & the Voice and First Chance programs
The very first world premiere in Pittsburgh Opera’s distinguished 78-year history, The Summer King tells the story of baseball legend Josh Gibson who went from the sandlots of Pittsburgh’s North Side to the pinnacle of greatness in the Negro Leagues, before ultimately being enshrined in the National Baseball Hall of Fame in Cooperstown, NY. With music by Daniel Sonenberg and libretto by Daniel Sonenberg and Daniel Nester, and additional lyrics by Mark Campbell, Pittsburgh Opera will present the world premiere at Pittsburgh’s Benedum Center for the Performing Arts. Alfred Walker and Denyce Graves lead a cast directed by Sam Helfrich and conducted by Antony Walker. The Summer King was commissioned by Portland Ovations. For tickets and details see www.pittsburghopera.org/show/the-summer-king.

INDEPENDENCE EVE – 100 years of racial tension and relations in the US
Premieres June 3 – 11, Signature Theatre, Arlington, VA
Developed in AOP’s Composers & the Voice and First Chance programs
Washington D.C.’s UrbanArias and AOP present the world premiere of Independence Eve, a new chamber opera in three scenes by composer Sidney Marquez Boquiren and librettist Daniel Neer that explores the troubled journey of race relations in America. Comprised of three unrelated scenes, each of which take place on July 3 in an unspecified American city, Independence Eve focuses on the stories of three black males (each played by baritone Jorell Williams), and three white males (each played by tenor Brandon Snook), who struggle with identity and acceptance amidst race issues that span one hundred years of the American experience. Independence Eve is the fifth AOP-developed opera presented by UrbanArias following the world premieres of She, After, and Paul’s Case, last season’s As One, and this spring’s Lucy. UrbanArias Artistic Director Robert Wood conducts the world premiere that runs June 3-11, 2017 at Signature Theatre in Arlington, VA. Complete info can be found at www.urbanarias.org.

AS ONE – story of transgender self-discovery also presented across US: This spring will also feature new productions of the chamber opera As One at Pittsburgh Opera (Feb 18-26), Opera Colorado (March 2-4), and Long Beach Opera (May 13-21), making a total of nine new productions since AOP commissioned, developed and premiered the work at the Brooklyn Academy of Music in 2014. The opera for mezzo-soprano, baritone and string quartet by composer Laura Kaminsky, librettist Mark Campbell and librettist/ filmmaker Kimberly Reed, depicts the experiences of its sole transgender protagonist, Hannah, as she endeavors to resolve the discord between herself and the outside world.

ABOUT AMERICAN OPERA PROJECTS www.aopopera.org
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 develops new operas through two programs made possible by the Andrew W. Mellon Foundation and other generous donors that train emerging artists, and provide resources, workshop and production opportunities:

First Chance: First Chance allows composers and librettists to hear their work in part or in full for the first time before an audience, with live singers and accompaniment. Through question and answer sessions, First Chance allows audience members to provide input while artists discover their own unique voices. AOP then works on attracting presenting partners to produce a fully-staged world premiere including BAM, Lincoln Center Festival, and UrbanArias (in the DC metro area). www.aopopera.org/firstchance.html

Composers & the Voice: Created and led by Steven Osgood (General and Artistic Director of Chautauqua Opera and former Artistic Director of AOP), the Composers & the Voice fellowship training program provides composers and librettists experience working collaboratively with singers on writing for the voice and contemporary opera stage. AOP will begin its ninth season in Fall 2017, with applications made available on its website on March 15. Since launching in 2002, C&V has fostered the development of 54 composers & librettists. A complete list of alumni can be found at www.aopopera.org/composers_voice.

American Opera Projects
138 S. Oxford St. Ste. 3-D, Brooklyn, NY 11217 • 718.398.4024 • aoperaprojects.org

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AOP takes Hagoromo on Tour – First Stop: The Pocantico Center

September 2, 2016

American Opera Project’s premier of Hagoromo at the BAM Harvey Theatre last year was a major success that “seamlessly integrated the worlds of experimental music, dance, theatre, opera, puppetry and fashion into a rich, sober whole” (Financial Times.) This month AOP takes the praised, multi-genre opera to Tarrytown, NY to perform a 50-minute fully-staged excerpt at The Pocantico Center-Kykuit House. Even those who were lucky enough to catch the sold-out premiere will have surprises in store since the excerpts will contain some new dances and puppetry ideas.

The performance will take place at 3:30pm on Saturday, September 24th on the lawn of the Kykuit House, which has been the home to four generations of the Rockefeller family. It will follow a two-week residency at which the creative team will be reimagining sections of the work in preparation for a projected national tour in the 2017-18 season. Both the performance and residency are made possible through the generous support of the Rockefeller Brothers Fund.

Poc Pic

Hagoromo is a multidisciplinary work inspired by one of the masterpieces of Japanese Noh drama about the fateful encounter between a fallen angel and a poor fisherman, performed by former New York City Ballet principal dancers Wendy Whelan and Jock Soto. Director David Michalek’s thoroughly contemporary vision is a bold experiment in hybrid forms: a chamber opera composed by Nathan Daviss and librettist Brendan Pelsue, with dance choreographed by David Neumann, puppetry by Chris M. Green performed by puppeteers Ren Carrillo, Tristan Farmer, Catherine Gowl, Leah Hoffman, Rowan Magee, and Erin Orr, dramaturgy by Norman Frisch, and costumes created by the celebrated Belgian designer Dries Van Noten. The work also includes recorded music from the 2015 World Premiere production at the BAM Fisher featuring contralto Katalin Károlyi and tenor Peter Tantsits, the International Contemporary Ensemble (ICE), and Brooklyn Youth Chorus.

Tickets to the Sep. 24th performance are limited and available at AOP’s Events Page. Rain date is Sunday, September 25.

Hagoromo Whelan and Soto

Whelan and Soto dance in costumes by Belgian fashion designer Dries Van Noten. Photo by Mark Stephen Kornbluth for AOP.


UrbanArias to feature AOP operas LUCY and THE BLIND in upcoming season

July 27, 2016

UrbanArias, the bold and exciting presenter of contemporary opera in the Washington D.C. area, has announced productions of two AOP operas as part of their 2016-17 seasonLucy: A Memory Opera, by composer John Glover and librettist Kelley Rourke, and The Blind, director John La Bouchardière‘s immersive production of composer Lera Auerbach‘s a cappella opera. Under the leadership of founder Robert Wood, UrbanArias’ has been fulfilling its mission “to expose DC-area audiences to engaging, accessible, entertaining operas, and to provide a venue at which both established and emerging composers can present their shorter works” since its creation in 2011.

“…in Kelley Rourke’s and John Glover’s haunting new chamber opera… ‘Lucy’ becomes a potent exploration of the divide between human and animal.” – Milwaukee Mag

Developed by AOP First Chance in early workshopsLucy: A Memory Opera is a multi-media work of music-theater for baritone and chamber ensemble in one 70-minute act that tells the story of psychologist Maurice Temerlin who, along with his wife Jane, adopted a day-old chimpanzee in the sixties. Naming her Lucy, their intention was to raise her “as much as possible as though she were a human being”. Lucy learns to dress herself, eat with silverware, make tea for guests, look at magazines, communicate through sign language and enjoy cocktails. As Temerlin struggles to hold on to memories of a happy, albeit unconventional, family life, documentation from the experiment challenges him to come to terms with the project’s ultimate consequences.

Upon its premiere by Milwaukee Opera Theater in 2014 (which also commissioned the opera), On Milwaukee called the opera “an incredible triumph” and “absolutely mesmerizing.” UrbanArias will present the East Coast premiere of Lucy on April 1, 2, 7 and 8, 2017 at the Atlas Performing Arts Center.

AOP First Chance Workshop Performance of Lucy: December 10, 2010 at the Greene Space at WNYC

“Adventurous, eerie and thoroughly engaging” – The New York Times on the 2013 world premiere of THE BLIND.

At a lonely clearing in a wood, a group of blind people await the return of a priest who led them there in order to enable them to enjoy the last rays of the sun before the beginning of winter. Only the sound of the nearby sea can be heard. The longer they wait, the more restless the blind people become; in their desperation they realize that they are helpless and cannot move from their place. Their fear escalates to naked terror when they make a morbid discovery.

Premiered by AOP and Lincoln Center Festival in 2013, director John La Bouchardière’s reimagining of composer Lera Auerbach’s a cappella opera immerses the audience in the story by blindfolding them and placing them amongst the protagonists. Denying all the power to see and situating the voices within the audience, the performance unfolds in a shifting surround-sound world, in which non-visual senses are heightened as the smells of the forest, the feeling of sea breezes, the cold falling snow and Auerbach’s music enfold them. UrbanArias will present The Blind on June 3, 4, 9, 10 and 11, 2017 at Signature Theatre.

AOP/Lincoln Center Festival 2013 World Premiere of The Blind at  Stanley H. Kaplan Penthouse.

The two operas in the upcoming season will continue AOP’s close presenting partnership with UrbanArias, following last year’s new production of AOP’s As One the world premiere of the AOP-developed She After, and their 2012 world premiere of the AOP-developed Paul’s Case, a production that made its NYC premiere at the PROTOTYPE Festival in 2014. In addition to Lucy and The Blind, UrbanArias 2016-17 season includes Michael Nyman’s The Man Who Mistook His Wife For a Hat in October.


Pittsburgh Opera announces AOP operas ‘The Summer King’ and ‘As One’ for their 2016/17 season

February 26, 2016

THE SUMMER KING by Daniel Sonenberg • World Premiere: April 29, May 2, 5 & 7, 2017
AS ONE by Laura Kaminsky, Mark Campbell, and Kimberly Reed • Pennsylvania Premiere: February 18, 21, 24 & 26, 2017

Pittsburgh Opera has announced it will mount the staged World Premiere of The Summer King in April 2017, with a cast to include mezzo-soprano Denyce Graves and previous AOP artists Kenneth Kellogg and Jasmine Muhammad, direction by Sam Helfrich, and with Pittsburgh Opera Music Director Antony Walker conducting. In addition, AOP’s critically-acclaimed chamber opera As One will make its Pennsylvania debut as part of Pittsburgh Opera’s 2016-17 season.

The Summer King, has been developed with AOP since composer Daniel Sonenberg participated in the first iteration of AOP’s training fellowship program Composers and the Voice in 2003. It was followed by AOP First Chance workshop performances in Brooklyn, at the Manhattan School of Music, and at the University of Southern Maine (USM), where Dan is currently Associate Professor and Resident Composer. The opera received its world premiere in concert form in Portland, Maine in May 2014, in a production sponsored by Portland Ovations, USM and American Opera Projects.

Pittsburgh Opera writes “The very first world premiere in [our] distinguished 78 year history hits close to home. The Summer King tells the story of baseball legend Josh Gibson story. Josh went from the sandlots of Pittsburgh’s North Side to the pinnacle of greatness in the Negro Leagues, before ultimately being enshrined in the National Baseball Hall of Fame in Cooperstown, NY.” The opera skillfully portrays the complex inner conflict Gibson faced when the free-living, home-run king was asked to risk his respect to be an activist for integration. Tragically, Gibson died just months before Jackie Robinson broke the color barrier.

“Watching an opera grow from an idea in a Composers & the Voice session to a fully staged World Premiere at a house like Pittsburgh is a heart-warming experience for AOP,” said AOP Producing Director. “We are thrilled we could be there every step of the way. We knew from the beginning that this was a very special story, one truly worthy of operatic treatment. We performed scenes on the sidewalks of Brooklyn and crowds couldn’t help but be drawn in. We know that this story can reach new audiences that would never think opera tells stories relevant to their lives. And we know Pittsburgh Opera feels the same.”

"The Summer King"

The Summer King was commissioned by Portland Ovations, with development by American Opera Projects, and deeply appreciated continuing support for the Pittsburgh Opera world premiere from the Andrew W. Mellon Foundation. The Summer King has received major support from American Opera Projects, the National Endowment for the Arts, Bob Crewe Foundation, Maine Arts Commission and University of Southern Maine. The Summer King received its first public presentation as a concert performance on May 8, 2014 at Merrill Auditorium, Portland, Maine under the auspices of Portland Ovations in collaboration with the University of Southern Maine.

RELATED READING: “In its 78th season, a world premiere for Pittsburgh Opera” – Pittsburgh Post-Gazette

SK video still 2

AS ONE

AOP’s As One continues to sweep the country following performances in San Francisco, Washington DC, Utah, and the AOP World Premiere in Brooklyn. Pittsburgh Opera will present the critically acclaimed opera by composer Laura Kaminsky and co-librettists Mark Campbell and Kimberly Reed as part of its Second Stage series in February 2017 and will star Pittsburgh Opera’s Resident Artists. 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 photo 3 by Ken Howard for AOP

Commissioned and developed by American Opera Projects, As One received generous funding in its creation from OPERA America’s Opera Discovery Grants for Female Composers Program, supported by the Virginia B. Toulmin Foundation, the New York State Council on the Arts with the support of Governor Andrew Cuomo, the New York State Legislature and the National Endowment for the Arts (NEA) Art Works, Dr. Coco Lazaroff, Lynn Loacker and Judith O. Rubin.

As One will also be presented by Opera Colorado in the 2016-17 season and will be featured in Montreal at OPERA America’s annual opera conference as part of its New Works Forum in May 2016.


“Opera has come a long way, baby” with the D.C. premiere of AS ONE

October 23, 2015
As One Luis Alejandro Orozco Ashley Cutright by C. Stanely Photography 1

Luis Alejandro Orozco and Ashley Cutright in As One from UrbanArias (Photo: C. Stanley Photography)

“The opening scene of the opera As One, produced by UrbanArias, beautifully establishes a work that is both universal and timely in its experience and a metaphor for the fluidity of identity of a male and female in one body.” Susan Galbraith writes in her review for DC Theater Scene.

As One, a monodrama for two singers, illustrates the struggle of the transgender protagonist Hannah as she battles with the mismatch of how she feels and how her body appears. Composer Laura Kaminsky, librettists Mark Campbell and filmmaker-librettist Kimberly Reed created an opera which delves deep into ones definition of self with great simplicity in production and instrumentation. As One was developed and produced by American Opera Projects who have also been instrumental in getting As One performed in California and D.C. UrbanArias held performances of As One on October 3, 4, 9 and 10 at the Atlas Performing Arts Center in Washington DC. The production was led by director Octavio Cardenas, and conductor and head of UrbanArias, Robert Wood.

Anne Midgette, reviewer for Washington Post, praised the production’s subject matter “…a thoughtful and substantial piece as well as that rarest of operatic commodities – a story that lends itself to dramatization in music.” The DC Theater Scene review, written by Susan Galbraith, states “The complexity of human experience is powerfully evoked in a way only opera can with the dense layering of music, words, stage pictures, and, in this case, film.” Galbraith was also enamored with the production writing “The set design by Adam Crinson was quite beautiful and used the Sprenger space …. to great advantage.” DC Metro Theater Arts reviewer John Stolthberg commends the production, writing “its simplicity – 4 musicians, two singers – was for me a source of its success as theater” while Susan Galbraith wrote As One “…reveled in giving voice to shared human experiences…”

As One Luis Alejandro Orozco Ashley Cutright by C. Stanely Photography 2

Luis Alejandro Orozco and Ashley Cutright in As One from UrbanArias (Photo: C. Stanley Photography)

Reviews agreed Kaminsky’s music painted the text and Hannah’s internal emotions. Anne Midgette compliments Kaminsky’s text setting saying she “…writes well for the voice, and the diction was exemplary, so you didn’t miss a word.” Stolthberg remarks on how the vocal line helps remove the usual gender binary in vocal music, “As One models…a multi-octave aural word within which ones pitch when one sings…need have no either/or, it need have only the glory of song.” The DC Metro Theater Arts review goes on to describe the vocal lines as “…a singular self whose lyrical introspections, contrapuntal exchanges, inter-knit vocal lines, and overlapping ranges become a pulsing metaphor for the multidimensional universe of human sexedness.” and reflects on “…rare moments when they [Hannah Before and Hannah After] sing exactly [the] same note – literally as one – effect is sublime.”

In addition to great vocal writing, Midgette notices how Laura Kaminsky’s orchestral writing reflects Hannah’s journey, “…Kaminsky’s effective, direct music – evoking now fiddling and Americana; now, through halting dissonances, the pain of a difficult place in the rod; now, thro
ugh the juxtaposition of plucked violin and singing cello, the exploration of two voices merging into a single identity.”

The opera clearly benefited from the wonderful performances by Luis Alejandro Orozco (Hannah Before) and Ashley Cutright (Hannah After). Stothberg praises them in his review saying they “Orozco and Cutright play…the very same self, learning to love themself, and they do so with such exquisite subtlety that I was blown away.” Galbraith was also struck with the singers “Both singers possess powerful voices and sing and move with extraordinary expression and poetic interactions…these two performers might well have been taken as dancers in their fluidity. they are endlessly watchable…”

It is a rare production which contains model composition, direction, and beautiful acting and singing. Galbraith finishers her review “As One charters new territory in theme and content of ‘what makes an opera’. It is a fascinating and promising chamber work and deserves serious attention.”

Read more about the opera at AOP’s As One page.

Washington Post review by Anne Midgette

DC Theatre Scene review by Susan Galbraith

DC Metro Theater Arts review by John Stolthberg


The Wanton Sublime hailed as emotionally captivating and beautifully written

September 4, 2015

The Wanton Sublime, composed by Tarik O’Regan with a libretto by American poet Anna Rabinowitz, focuses on the character of the Virgin Mary as she grapples with the terror of being chosen for a divine purpose. Originally developed in NYC with American Opera Projects, it was just performed at the Grimeborn Festival in East London. Hai Ting Chinn was the star in this one woman opera, conducted by Andrew Griffiths, who lead the Orpheus Sinfonia, and directed by Robert Shaw. A strong, well-rounded production, The Wanton Sublime gives a new voice to a classic figure through powerful text, beautiful melodic lines, a simple production, and atypical instrumentation.

Hai-Ting Chinn in The Wanton Sublime (Grimeborn - Arcola Theatre) © Robert Workman

Hai-Ting Chinn in The Wanton Sublime (Grimeborn – Arcola Theatre)
© Robert Workman

Tim Ashley, writing for The Guardian, applauded the “…bluesy rebelliousness and Monteverdian lyricism…” of Tarik O’Regan’s music in The Wanton Sublime, citing a beautiful moment in which the Virgin Mary is torn between her fear and her faith as “…Chinn sings against a playback of her own voice singing sacred texts…”. Rupert Christiansen of The Telegraph was also impressed by O’Regan’s music, praising its unfaltering heartbeat and melody “…weaving a richly melismatic vocal line into a strikingly coloured orchestral score delicately enhanced by electronic effects. Never sterile or mechanical it seems to have a living organic pulse.”

The What’sOnStage review  by Mark Valencia complemented the music and the characterization of the Virgin Mary calling the opera “…musically rich…and also philosophically absorbing.” Valencia appreciates how Rabinowitz presents Mary as”…a strong young woman who questions, challenges and even defies the God who has slated her to be the mother of Christ.” Tim Ashley (The Guardian) also enjoyed the emotional depth of the opera, “The underlying point, integral to much mystic literature, is that divine intervention has the bewildering potential to shatter lives and identities.” Edward Bhesania’s review for The Stage compliments Rabinowitz’s and O’Regan’s creative partnership as Mary’s character “…begins with incredulity and disdain before finally reaching acceptance, by which point both music and text have attained a more sublime tone.” The EveningStandard review, written by Barry Millington, also applauds their collaboration, stating “…Rabinowitz’s text explores the nervous longings of an idealised iconic figure, complemented by Tarik O’Regan’s inventive and attractive score…”

Hai-Ting Chinn in The Wanton Sublime (Grimeborn - Arcola Theatre) © Robert Workman

Hai-Ting Chinn in The Wanton Sublime (Grimeborn – Arcola Theatre)
© Robert Workman

Valencia (What’sOnStage) also describes the minimalist staging by Robert Shaw “…commendably simple staging presents her as a power dressed young professional who changes midway through into simpler clothes that better assert her individuality. It’s a subtle transition, and beautifully judged.” Edward Bhesania (The Stage) complimented the instrumentation which “…uses a 9 piece band (including electric guitar and rums to underpin the journey of the Virgin Mary figure stripped of her iconic symbolism and grappling in today’s world of her unasked-for role.”

AOP began developing the monodrama in 2009 and co-produced its premiere at Roulette in Brooklyn in 2014. AOP had previously worked with Tarik O’Regan on his first opera Heart of Darkness and with Anna Rabinowitz on Darkling, another operatic adaptation of a book of her poetry. Darkling, music by Stefan Weisman, was commissioned and developed by AOP.


US premiere of Heart of Darkness has sold-out run in San Francisco

May 4, 2015

On May 2, Opera Parallèle presented the US premiere of the AOP-developed opera Heart of Darkness at San Francisco’s trendy industrial Z-space. The new production by Brian Staufenbiel featuring designs by artist Matt Kish and conducted by Nicole Paiement sold out each of its four performances.

Composed by Grammy-nominated Tarik O’Regan, using a libretto by Tom Phillips, the opera is based on the novel by Joseph Conrad, and explores the excesses and depravities of European colonialism in the African Congo. AOP, in conjuction with OperaGenesis, started developing the opera in 2006. In 2011 critics raved for the sold-out world premiere at London’s Royal Opera House’s Linbury Studio.  At last it has arrived to the US and is gathering more critical acclaim:

From San Francisco Chronicle:

“the kaleidoscopic inventiveness of O’Regan’s score”

“In O’Regan’s music — dexterously conducted by Artistic Director Nicole Paiement and sung by a splendid cast — the rich feints and ambiguities of Conrad’s tale find sonorous expression. A veil of uncertainty often settles over the music, thanks to shifting instrumental textures and a harmonic palette that seems inclined to change direction at a moment’s notice, like a rising mist off the water.”

From Bachtrack:

“O’Regan’s fine music was complemented by the Opera Parallèle’s thoughtful production and a superb set of musicians under Nicole Paiement’s magical baton.” [4 out of 5 stars]

From San Francisco Classical Voice:

“[Heart of Darkness’s] brevity and eloquence, as well as the small forces it requires, make it a natural for adventurous opera companies everywhere. … O’Regan creates a continuously shifting musical tapestry and many gorgeous effects. His orchestration is exceptionally beautiful [and] consistently inventive.”

From San Jose Mercury News:

“[Composer Tarik O’Regan], often compared to Benjamin Britten, employs a beguiling neo-tonal palette, and this score offered plenty of evidence of his skill at writing for orchestra.”

Shawnette Sulker and Philip Skinner in Opera Parallèle’s U.S. premiere of Tarik O’Regan’s Heart of Darkness at Z Space. Photo: Steve DiBartolomeo

Listen to composer Tarik O’Regan on San Francisco public radio discuss the opera’s new production and the importance of AOP’s development process. (Interview begins at 6:00.)


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