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

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.


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


“Inspiring and groundbreaking” AS ONE heads toward record number of productions

November 18, 2016
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The Seattle Times called longtime AOP baritone Jorell Williams and mezzo-soprano Taylor Raven “passionate, powerful performers” in Seattle Opera’s new production.

Seattle Opera opened their run of As One last Friday in the iconic Washington Hall and the glowing reviews followed immediately after continuing a string of positive attention on the hit chamber opera by composer Laura Kaminsky and librettists Mark Campbell and Kimberly Reed that was commissioned and premiered by American Opera Projects. As One depicts the experiences of its sole transgender protagonist, Hannah, as she endeavors to resolve the discord between her Self and the outside world.

“No opera, to my knowledge, has told the story of a trans person as either a central or subsidiary character, but novelty alone wouldn’t be enough to carry As One had not that story been framed with such expert and thoughtful craft.” – Gavin Borchert of Seattle Weekly

Gavin Borchert of Seattle Weekly calls As One “a gift… to opera companies hoping to reach untapped audiences who may be more drawn by an examination of here-and-now issues than by vengeful gods or scheming soubrettes” and its immense popularity backs up that statement.

In a time where it is rare for a new opera to ever get a second production, Seattle Opera’s As One is the sixth production of the opera including AOP’s 2014 world premiere at the Brooklyn Academy of Music. Three new productions have already been announced for 2017 at Pittsburgh Opera, Opera Colorado, and Long Beach Opera. (And we’ll have more to tell you about very soon!) According to the national service organization OPERA America, by the end of 2017, As One will have received more new productions in the three years since its premiere than any other contemporary American opera.

“The opera’s success is due in part to the talent at the heart of the playbill,” posits Rich Smith of Seattle publication The Stranger. “Another part of the show’s success might be due to its portability.”

Smith made the painful, but honest, assessment that As One is “an evening of heart-rending/heart-lifting opera that will make you think you actually like opera.”

Longtime AOP baritone Jorell Williams (Hannah before) and mezzo-soprano Taylor Raven (Hannah after) comprised As One’s first-ever African-American cast in Seattle Opera’s production. Melinda Bargreen of the Seattle Times called them “passionate, powerful performers” and stated, “Laura Kaminsky’s mainly minimalist score, performed brilliantly by the Saint Helens String Quartet, chugs busily along, with some beautiful lyrical moments.”

“The 2014 chamber opera “As One” has a power all its own. It is the power of intimate revelation, a close encounter in a small gem of a hall where the two singing actors are so near that they can almost touch the audience. And they do touch the audience — with the emotional impact of an affecting story about a child born into the wrong body. …the finale is as uplifting as any operatic ending could be.” – Melinda Bargreen of the Seattle Times

Gavin Borchert of Seattle Weekly says, “composer Laura Kaminsky seems to have made every possible right choice to maximize the impact of Mark Campbell and Kimberly Reed’s libretto” which he praised for its somberness, pathos, horror, and wit.

As One, both inspiring and groundbreaking, innovative yet relatable, is built to travel, and deserves to.” – Gavin Borchert of Seattle Weekly

The final Seattle Opera performance will be held this Saturday. At least for now, we hope.

“Don’t miss it.” – City Arts Online (Seattle)

 

Press Clippings for Seattle Opera production of AS ONE:

November 16, 2016 – SEATTLE WEEKLY
Opera profile: “From Seattle Opera, A Trans Person’s Path to Self-Reconciliation”

November 14, 2016 – CITY ARTS ONLINE (SEATTLE)
Opera review: “Seattle Opera’s ‘As One'”

November 12, 2016 – THE SEATTLE TIMES
Opera profile: “‘As One’ tells a transgender story with power, passion”

November 11, 2016 – THE STRANGER (SEATTLE)
Opera profile: “As One Transcends the Trump Blues”

November 7, 2016 – KUOW 94.9 FM (SEATTLE)
Opera profile: “Introducing trans identity to the Seattle Opera”


AOP Composer-in-Residence Laura Kaminsky receives gold medal of honor from the President of Poland

May 9, 2016

NEW YORK – On Wednesday, May 4th, our beloved Composer-in-Residence Laura Kaminsky was decorated with the Złoty Krzyż Zasługi (Gold Cross of Merit) of the Republic of Poland, one of the highest civilian medals awarded by the President, for her innovative presentations of Polish music in the U.S. over the past decade.

Laura’s love of—and knowledge about—20th century Polish music began in 1996 when she served as director of the European Mozart Academy, and spent a year touring around Poland and other neighboring countries in Central and Eastern Europe, presenting chamber music concerts to widely diverse audiences, reaching small villagers and leading diplomats alike. Years later, as the director of Symphony Space, Laura partnered with Ania Perzanowska, the director of music programming at the Polish Cultural Institute to incorporate music by Polish composers and performances by Polish musicians into Symphony Space programming over a period of 7 years.

In her acceptance speech before those gathered at the Polish Consulate, Laura spoke excitedly of plans to continue her work with the Institute in the future. “And now, a new conversation has begun with the Polish Cultural Institute and American Opera Projects, where I serve as Composer-in-Residence, about continuing this practice of sharing Polish musical culture here in the U.S., and hopefully, in reciprocity, to bring our contemporary American music to Poland. For me, bringing people together across cultures to share their art is among the best ways to bridge barriers, forge new understandings, and, simply, to make the world a better place. It is ennobling and humbling at the same time, and the work I have been permitted to do in collaboration with my colleagues from Poland has been enormously gratifying work that I have done.” Referring to the ceramic cup purchased as a keepsake during her transformative trip to Poland in 96’, Laura concluded by saying, “The beauty of my little hand painted Polish coffee cup lifts me every day – it is truly as simple as that– the beauty of art in a cup, or a poem, or a song, or a string quartet – from one culture to the next. It makes the world a better place.”


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

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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


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