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
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AOP C&V Alums: Proving that “music career” is not an oxymoron

March 27, 2014

Perla. Vrebalov. Redler & Cooper. Karlsson.

What do these five names all have in common? (Well, besides making great names for law firms, super-spies, or swanky bars.)

Answer: They all participated in AOP’s Composers & the Voice! Our C&V artists are everywhere, utilizing the irreplaceable skills they learned during C&V’s one-year intensive in how to write for the operatic voice.

To name a few (or rather, several):

Jack Perla’s (C&V ‘07-08) new opera Jonah and the Whale premiered at LA Opera this past weekend, and this Friday Alexandra Vrebalov (C&V ’02-03) kicks off Kronos Quartet’s 40th Anniversary concert at Carnegie Hall.

C&V alums Mikael Karlsson, Sara Cooper, and Zach Redler failed to win any medals at Sochi this year and will have to be satisfied with their music prizes.

C&V alums Mikael Karlsson, Sara Cooper, and Zach Redler failed to win any medals at Sochi this year and will have to be satisfied with their music prizes.

Zach Redler and Sara Cooper were awarded the 2014 Jonathan Larson Grant while their fellow C&V ‘11-12 alum Mikael Karlsson picked up the Wladimir and Rhoda Lakond Prize from The American Academy of Arts and Letters.

Rounding out C&V ’11-12 is Ronnie Reshef, who won the Yardena Alotin Composition Competition for her 2010 piece Suicide (after Grosz), and Robert Paterson, whose robot-opera The Companion is debuting at Roulette this April…not to be confused with Rachel Peters’ baguette-opera Companionship, which just finished at the Manhattan School of Music, and has a reading at the John Duffy Composers Institute this May. Ronnie and Rob also turn up at Fort Worth Opera’s Frontiers festival with two C&V-developed works, also in May.

An early AOP workshop of The Summer King, held on a sidewalk in Brooklyn. Daniel Sonenberg's opera has its concert premiere in May.

An early AOP workshop of The Summer King, held on a sidewalk in Brooklyn. Daniel Sonenberg’s opera has its concert premiere in May. Indoors, even! Progress!

And in case your May isn’t busy enough, Daniel Sonenberg’s (C&V ’02-03) The Summer King gets its world premiere at Portland Ovations. In late April, Hannah Lash’s (C&V ’05-06) This Ease premieres with the LA Chamber Orchestra.

Last month, Andrew Staniland (C&V ’07-08) won the 2014 Harry Freedman Recording Award. In the past year, Gregory Spears’s (C&V ’07-08) opera Paul’s Case has had three different runs (Pittsburgh Opera, PROTOTYPE, and Urban Arias). Stefan Weisman’s (C&V ’03-04) family opera The Scarlet Ibis is slated for PROTOTYPE 2015.

The latest group of composers who will be filling up your concert calendar. Photo by Ted Gorodetzky.

The latest group of composers who will be filling up your concert calendar. Photo by Ted Gorodetzky.

From this year’s class of super-composers, Gity Razaz was awarded the 2013 Jerome Fund Prize for her concert length vocal piece Abraham in Flames/Elegies of the Earth, which will be presented by VisionIntoArt at The Stone this May. Guy Barash released his debut album Facts About Water on innova recordings. Joseph Rubinstein will have select choral pieces available through See-A-Dot Music Publishing in the coming months.

Not to mention that Jason Kim (C&V ’13-14 librettist) was hired to write for HBO’s Girls, and Daniel Felsenfeld (C&V ’06-07) has worked with everyone from writers Robert Coover, Will Eno, and Wesley Stace to hip-hoppers Jay-Z and The Roots…with those trail-blazing ladies Nora and Alice thrown in there for good measure.

This is just a fraction of our alums’ successes. And that’s not even counting the dozens of operas and concerts that our Resident Singers appear in every month! (Trust us, that would be one crazy calendar.)

This is the future of new music. You heard it here first, and here’s where you can hear it next.


COMPOSERS & THE VOICE: C&V alumni making news (and music, of course)

March 20, 2013

In addition to Mikael, Zach, and Sara’s music featured this weekend at OPERAtion Brooklyn, the alumni of Composers & the Voice continue to be featured in concerts and festivals, and gather awards, fellowships, and residencies. Here are just some of the recent highlights.


Composer Stefan Weisman Marks His Time from C&V to His Third Opera

September 7, 2012

Stefan WeismanStefan Weisman, guest blogger
Composers & the Voice Composer Fellow, 2003-04

I remember hearing about AOP for the first time from my good friend, the talented composer Dan Sonenberg. He had just finished AOP’s inaugural session of the Composers & the Voice program. He told me that he had written six different songs, each of which was workshopped by a different singer, and, as a culmination of the program, he composed a short opera scene that was rehearsed and performed. I must admit that I was immediately envious. At that time I had written very little vocal music, but loved doing so whenever I did. However, I always felt that writing for the voice was a special challenge and in a way it was a mystery that required real experience to do well. I had to apply to AOP’s Composers & the Voice program, and I was thrilled to be accepted.

I remember working week after week, churning out new songs to be performed in the closed sessions of Composers & the Voice, during which I’d get feedback from the singers as well as from the accompanist, and from the other composers, and also, of course, from Steve Osgood, AOP’s artistic director at the time, and the creator of Composers & the Voice.

One song, “Twinkie,” was set to the ingredients of the iconic snack food of the same name. I would never have guessed at the time, that this would become my most performed piece. It was even recently performed on the nationally syndicated program The Wendy Williams Show, sung by one of my favorite collaborators, Hai-Ting Chinn. During the program, Wendy Williams said, “Very unique . . . You’re not going to hear opera like this anywhere else… Fabulous!”


The ingredients to a delicious aria…

Strangely, it was also because of this song, “Twinkie,” that Charles Jarden decided I might be the right composer to approach with the prospect of working on a new opera called Darkling with a libretto by poet Anna Rabinowitz. Her poetry is complex, and intentionally thorny at times, but always very beautiful. Apparently, Charles had decided that if I could make the complicated ingredients of a Twinkie work as a song, then I would have no problem working with the complexity of Anna’s poetry.

Darkling was a difficult and serious piece, and I was not sure I could successfully find music to match these words and ideas. When I first met Anna, I was certain I would have many questions about her poetry as I began the compositional process, and I told her I expected that I would need to consult with her frequently. Amazingly, I never needed to do so. As soon as my work began, something remarkable happened . . . my initial feelings of doubt and apprehension were swept away. I discovered that underneath the poem’s complex layers was a deep emotionality into which I was able to tap, and in this way the poetry came into vivid focus for me. Ultimately, my goal was to use music to instantly make those underlying emotions clear and direct, so that audiences would be able to connect to and appreciate the heartrending story and ideas I found in Darkling’s poetry.


“There’s Been a Slippage” from Darkling

I’m so grateful to AOP for commissioning me to write the music for Darkling. I am very proud of this piece, and I’ve been excited to witness its successes. It was included in the Guggenheim Museum’s Works & Process series, and premiered to great acclaim at the East 13th Street Theater. It was presented at the German Consulate as part of the Friends of Freie Universität’s Jewish Documentary Film, Theater, and Speaker Series. A touring version of Darkling previewed at New York City Opera’s VOX “On the Edge” Showcase and was then presented in Germany and Poland in 2007 and in Philadelphia in 2009. Most exciting for me is that Darkling was released by Albany Records in November 2011 in a stunning recording produced by Judith Sherman.

The cast of Darkling's European tour

The cast and creators of Darkling’s European tour

In a way, I also have AOP to thank for my second opera, Fade, with a libretto by David Cote. Fade was commissioned by the exciting British opera company, Second Movement, but before its premiere in London, AOP set up a libretto reading. David and I were convinced that the libretto was already finished. However, after we heard the libretto read by actors (overseen by director Ned Canty) and got feedback from a small handpicked audience, we discovered that we had more work to do.

Fade london

Second Movement’s premiere of “Fade”

Fade premiered in London in October 2008 on a triple bill with Leonard Bernstein’s Trouble in Tahiti and Samuel Barber’s A Hand of Bridge. In addition to its London premiere, Fade has also had productions in Philadelphia, San Francisco, and New York City.

I am working with librettist David Cote once again. We are developing The Scarlet Ibis, an evening-length chamber opera that will be designed to appeal to younger audiences as well as sophisticated operagoers. The Scarlet Ibis is a lyrical tale of family, survival, and tolerance, based on a 1960 short story by James Hurst.

Counter-tenor Eric Brenner (Doodle) and mezzo-soprano Hai-Ting Chinn (Brother) in “The Scarlet Ibis” workshop ate HERE’s CultureMart 2012

We are calling The Scarlet Ibis a “family opera,” but although it will appeal to young viewers, we will not talk down to our audience. The Scarlet Ibis will be a hybrid opera, and we plan to work puppetry into its staging. The opera is being developed and produced by Beth Morrison Projects and HERE, but once again American Opera Projects had come on board to assist in the creation of my newest piece.

I am thrilled to have AOP with me as I continue my operatic journey. From Composers and the Voice, to Darkling, to Fade and now The Scarlet Ibis, AOP has been right there all along. I am so grateful for their championing new American opera, and I hope to continue my relationship with them for a long time to come.

Stefan Weisman
September 2012

The latest group of Composers & the Voice fellows will premiere new work on Sep. 7 & 9, 2012 at Six Scenes in Brooklyn, NY.
www.operaprojects.org/events/6scenes2012

Scenes from The Scarlet Ibis will be presented to the public at HERE’s CultureMart 2013 in Jan.-Feb. 2013.

Darkling CDThe CD studio recording of Darkling is available for purchase at Albany Records, Amazon, iTunes, and many other retail locations.


New Digital Music Publishing Site, PSNY, to Feature Select AOP Composers

November 2, 2011

Schott Music, one of the world’s leading music publishing houses, has launched a new digital music publishing platform called PSNY, Project Schott New York.  AOP composers and collaborators Kamran Ince, Hannah Lash, David T. Little, Tobias Picker, Alvin Singleton and Gregory Spears will be among the group of artists participating in the pilot phase of this new and innovative publishing strategy.

Check out PSNY here: http://www.eamdllc.com/psny/about/

AOP Composers with corresponding Projects:

Kamran Ince—Judgment of Midas (January 2011)

Hannah Lash—Composers & the Voice (2006)

David T. Little—Opera Grows in Brooklyn (July 2009)

Tobias Picker—Composers & the Voice Composer Mentor

Alvin Singleton–Brooklyn Bones: Requiem for the Revolutionary War Prison Ship Martyrs (November 2008)

Gregory Spears—Paul’s Case (June 2010) and The Lost Laïs of Albion (September 2011)

Kamran Ince

Kamran Ince, one of several AOP composers to be featured on Project Schott New York


Martín’s Before Night Falls Released on Amazon

September 24, 2010

Fort Worth Opera announced yesterday that their recording of Jorge Martín’s opera Before Night Falls, which was given its world premiere at FWO this past spring, will be released on Amazon.com on October 1st.  American Opera Projects was lucky enough to have given the opera its first concert reading of scenes from Act I back in 2004, when they were presented as part of the Dance Theater Workshop here in New York, and again in 2005, at the Clark Studio Theatre at Lincoln Center (during the Third Annual Cuban Arts Festival).

Before Night Falls traces the life of Cuban poet Reinaldo Arenas, beginning with his early years growing up in poverty in Cuba, to his emigration to the US in 1980, to his last decade suffering from AIDS.  Based on his famous memoir, the opera follows his trials and tribulations as a political prisoner forced to smuggle his manuscripts abroad for publication.

Joshua Rosenblum of Opera News raved in his May 2010 article,

“Martín’s opera…bursts with restless passion and sustains a dark undertone of anxiety throughout. The composer skillfully draws on numerous influences, including suave Cuban dance rhythms, which are sometimes overt but more often dextrously embedded within the colorful orchestral texture. In addition, one is reminded variously of Mahler, Shostakovich, Ravel, Villa-Lobos and even Varèse…but Martín has the skill and individuality to synthesize these strands into a coherent and dramatically potent tapestry. Best of all, his melodies almost always blossom and sing, even in the extended recitative-style dialogue.” To continue reading, click here.

Interested in pre-ordering?  Purchase Before Night Falls on Amazon.


New Ince CDs Released On Naxos

September 8, 2010

Kamran Ince

Kamran Ince, the composer of AOP’s upcoming concert in Turkey of Judgment of Midas, had three new CDs released digitally on Naxos this past month, with a fourth making its debut in October.

(Reviews excerpted from Tom Strini’s “About This Recording” on Naxos.)

Music for a Lost Earth, with the Istanbul Modern Music Ensemble

“Imagine travelling through a desert, all sand and stars and moon on a still night. And there, without explanation or context, stands a chair, placed just so on the sand. Thus the ordinary becomes an object of mystery and contemplation. Kamran’s lonely little chords are like that chair—utterly familiar, utterly strange, utterly ambiguous, and somehow poignant. They prompt a small, unidentifiable heartache. Something is present, but someone is missing.” To continue reading, click here.

Hammers and Whistlers, with the Present Music Ensemble

“The stream-of-consciousness whirl, built around a surreal poem by İzzeddin Çalışlar, includes jangle and clatter and avian chirping, iron-foundry pounding, bedlams of overlapping melodies and all manner of alarms and cries. Calm, quiet choral chants butt against crashing gongs and blasting brass…” To continue reading, click here.

Symphony No. 5, “Galatasaray,” with the Bilkent Symphony

“In the third movement, a swaggering advance in 3/4 time underpins building pre-match excitement, anticipated in sung dialogue between tenor and boy soprano…With its soloists and chorus and reverent and rousing words and music, the Symphony No. 5 is like an oratorio devoted to a soccer team.” To continue reading, click here.

The CDs can also be downloaded through Amazon by searching for “Kamran Ince” on their website.

Galatasaray will be released in hard copy in April 2011 and Hammers and Whistlers will have a limited hard copy release in a few months.  The fourth CD, Constantinople, will be released in hard copy in July 2011.


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