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

masquerade1168

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


American Opera Projects to Hire Director of Development

October 17, 2016

aop-logomedium

American Opera Projects (AOP), a Brooklyn-based organization that has developed and presented new works of opera across the country for over 25 years, is currently expanding its full time staff, adding a Director of Development beginning in January 2017.

The Director of Development will provide fundraising leadership for AOP. S/he will be a key member of the company’s senior leadership team working alongside the AOP staff and board to develop, implement, and oversee all fundraising and development activities of the organization.

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 financial growth by deepening the fundraising capacity of AOP at all levels, from individual contributions and board development, to foundation and government support. The new Director of Development will serve the organization moving forward as a full time member of the senior leadership team. A complete job description and details for interested applicants can be found on AOP’s website at www.aopopera.org/jobopportunities/developmentdirector.

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). Other notable premieres include Kimper/Persons’ Patience & Sarah (1998), Weisman/Rabinowitz’s Darkling (2006), Lee Hoiby’s This is the Rill Speaking (2008), and Phil Kline’s Out Cold, also at BAM (2012).

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 UrbanArias (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).

American Opera Projects is an equal opportunity employer (EOE) and considers all candidates for employment regardless of race, color, sex, age, national origin, creed, disability, marital status, sexual orientation or political affiliation.

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).


“Powerful”, “engrossing” Paradise Interrupted garners raves at Lincoln Center Festival

August 5, 2016

The AOP-developed opera Paradise Interrupted wowed audience and press during its New York City premiere at the Lincoln Center Festival in July. at the Spoleto Festival USA in Charleston, SC this past week. Drawing inspiration from the legend of Adam and Eve, as well as the Chinese story of The Peony Pavilion, Paradise Interrupted combines strong visual and aural effects, to tell the moving story of a woman’s journey towards self-realization. Combining composer Huang Ruo (Dr. Sun Yat-sen), visual artist Jennifer Wen Ma (opening and closing ceremonies of Olympics Beijing 2008), and singer Qian Yi (Peony Pavilion), this riveting production has critics raving about a new genre of opera: installation opera.

15PARADISESUB-1468529118306-master675
“Paradise Interrupted,” with, from left, Yi Li, Qian Yi and Joo Won Kang, at the Gerald W. Lynch Theater at John Jay College. Credit: Stephanie Berger for The New York Times

 

Anthony Tommasini of the New York Times praised the production, calling it “”powerful… engrossing…. [Qian Yi] was superb.” He gave particular praise to Huang Ruo’s “integrated, richly detailed score” stating that opera was “so alluring and powerful due largely to the inventive and personal music of its composer, Huang Ruo.”

Alina Cohen at The New York Observer found Paradise Interrupted “”a thrill to watch … a living, vivid variation of one of humanity’s oldest stories … infuses an old form with contemporary ideas and technology” while WQXR’s Operavore said, “[Huang Ruo is] a thrillingly inventive composer … [Jennifer Wen Ma’s production] fit the libretto’s parable beautifully … Qian Yi [is] a charismatic marvel.”

15PARADISEJP1-master768
The Chinese singer Qian Yi in “Paradise Interrupted,” directed and designed by Jennifer Wen Ma, composed by Huang Ruo and presented as part of the Lincoln Center Festival. Credit: Stephanie Berger for The New York Times

The New York Classical Review called the work “dreamily poetic … part of what makes Paradise Interrupted so compelling is the ways in which it surprises … powerfully communicative thanks to its superb realization, beginning with the score. Huang Ruo’s writing…lands with dramatic force, powered by the depth of its imagination … Qian Yi[‘s] gestures, presence, and characterization were mesmerizing.”

“Mesmerizing, Tantalizing,” raved Broadway World. “Shows off the composer at his most alluring … Designer Ma’s physical vision was stunning … Qian Yi [is] totally enthralling in every part of her performance.”

Paradise Interrupted had its world premiere in 2014 at the Spoleto Festival USA in Charleston, SC. The production is scheduled to travel to Singapore in August, and then to Taiwan.


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.


New Opera Tackles Racism In America In Free Concert Performance In Harlem

January 28, 2015

Independence Eve, currently in development at AOP, to be presented at The Harlem School of the Arts

“Stop and Frisk” among three stories exploring a century of race relations.

NEW YORK, NY American Opera Projects (AOP) and The Harlem School of the Arts present Independence Eve, a new chamber opera in three scenes that explores the troubled journey of race relations in America. The free concert performance will take place on Thursday, February 5 at 7:00PM at The Harlem School of the Arts (The Herb Alpert Center, 645 Saint Nicholas Avenue, New York, NY 10030). Composed by Sidney Marquez Boquiren with a libretto by Daniel Neer, the opera will include performances by baritone Jorell Williams and tenor Brandon Snook, while Mila Henry will provide music direction and piano. A talkback with the artists will follow the one hour concert moderated by composer Laura Kaminsky (As One) and HSA Voice Chair Yolanda Wyns.

Currently in development at AOP, Independence Eve is comprised of three unrelated scenes, each of which take place on July 3 on a park bench in an unspecified American city, in the years 1963, 2013, and 2063. Each story focuses on the relationship between two men, one white and one black, who struggle with identity and acceptance. Independence Eve is a study of black and white America, offering commentary on the intricacies of race relations and the insidious and persistent stain of racism that has remained consistent throughout American history.

The first scene, “Stop and Frisk,” has already received numerous community performances throughout Brooklyn and garnered attention from the press, including a recent Talk of the Town profile in The New Yorker.

Independence Eve is currently in development as part of AOP’s First Chance program that allows composers and librettists to hear their works-in-progress performed before an audience. Development of the opera began during Mr. Boquiren’s fellowship in the 2011-12 season of AOP’s composer training program Composers & the Voice with both Mr. Williams and Mr. Snook creating their roles. Development of the opera is made possible, in part, through generous funding by The Andrew W. Mellon Foundation and the New York Department of Cultural Affairs.

AOP plans to present the world premiere of Independence Eve at park benches around New York City in June 2015.

ADDITIONAL PROJECT INFO AND PRESS MATERIALS AVAILABLE AT: www.operaprojects.org

IEJorell Williams and Brandon Snook in Independence Eve (Nov. 2014 performance at Adelphi University).

Photo by Matt Gray for American Opera Projects

Listing Info

INDEPENDENCE EVE
The making of an opera about race relations in America

Thursday, February 5 – 7:00 PM

The Harlem School of the Arts, The Herb Alpert Center 645 Saint Nicholas Avenue, New York, NY 10030

AOP and The Harlem School of the Arts present a staged concert performance 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. Followed by a Q&A with the artists. Part of the 2014 Composers Now Festival.

PERFORMANCES BY: Jorell Williams and Brandon Snook

MUSIC DIRECTION/PIANO: Mila Henry

TICKETS: FREE

RUNNING TIME: Two hours, including Q&A

ABOUT THE ARTISTS:

Sidney Marquez Boquiren is a composer-performer who grew up in the Philippines and Saudi Arabia but has spent most of his life in the United States. He collaborates with artists on various projects that include opera (Independence Eve with Daniel Neer); Biblical illumination (folia ligni for Spark and Echo Arts); and multi-media (The Gretel Project with Lauren K. Alleyne, Catherine Chung, and Tomiko Jones). As a pianist, he performs regularly with Rhymes With Opera and pulsoptional. A MacDowell Fellow, Sidney is currently the Chair of the Department of Music at Adelphi University in Garden City, New York, where he teaches music theory and composition. He is also a cantor and sings in the church choir of The Church of St. Francis Xavier in Manhattan.

Daniel Neer enjoys a diverse career as a singing actor and librettist. Recent projects include Bruce Bailey with Daniel Felsenfeld for the BEAT Festival, and BQE with Robinson McClellan for the Queens New Music Festival, (both commissioned by Two Sides Sounding). The opera Mercury Falling, with Chandler Carter, was presented at the Long Leaf Festival in Raleigh, North Carolina, and song set HAIKU-NYC with Ellen Mandel recently premiered at the BEAT Festival. Daniel’s auspicious collaboration with Sidney Boquiren began with the workshop of Odes to Earth and Air. Other recent premieres include two chamber works: The Good Doctor Windhager with Ronnie Reshef, and Summer, 1976 by Kim Sherman, both premiered by the lyricist and the Qube String Quartet in Columbus, Ohio.

Baritone Jorell Williams, winner of the Patricia and Heyward Gignilliat Silver Medal Award at the 2014 American Traditions Competition and acclaimed by The New York Times for his “magnificent, rich toned” baritone and his “perfect” comic timing, is gaining international success on both the opera and concert stages. His 2014/2015 season includes debuts with Finger Lakes Opera, Syracuse Opera, Opera on the Avalon, and premieres of new works with American Repertory Theater and American Opera Projects. Jorell is a recipient of top awards from the Gerda Lissner International Competition, Schuyler Foundation for Career Bridges, the Liberace Foundation, Sergei Koussevitzky Foundation, David Adams art song competition, Civic Morning Musicals Foundation, and the Charles A. Lynam Competition. For more information please visit: http://www.jorellmwilliams.com.

Tenor Brandon Snook has been praised by The New York Times for his “vocal freshness”, along with his “appealing and talented” nature, and has collaborated extensively with AOP, most notably being part of the 2011-12 Composers & the Voice Series. In addition to playing Little Bat in productions of Susannah in Tel Aviv, he premiered the role of Robert Johnson in Phil Kline and Jim Jarmusch’s opera Tesla in New York, Tony in the Off-Off Broadway production of Terrence McNally’s Master Class, and Frederic in The Pirates of Penzance in South Carolina. Additional mainstage credits include Cincinnati Opera, Michigan Opera Theatre, Des Moines Metro Opera, Sarasota Opera, Lyric Opera of Kansas City, and solo concert credits at Lincoln Center and Brooklyn Academy of Music. A native of Dallas, Texas, Brandon has voice degrees from the University of Kansas and the University of Michigan.

Mila Henry is a New York-based pianist, coach, and music director who specializes in music theater projects and vocal chamber music, ranging from art song to cabaret, folk opera to indie musicals, standard repertoire to contemporary classics. She has collaborated with American Opera Projects, American Lyric Theater, Beth Morrison Projects, Center City Opera Theater, Gotham Chamber Opera, HERE, OPERA America, Opera on Tap, Ripe Time, VisionIntoArt, and Two Sides Sounding. Notable engagements include: The Blind (Lincoln Center Festival); Thumbprint and The Scarlet Ibis (PROTOTYPE); Smashed: The Carrie Nation Story (FringeNYC); The World is Round and As One (BAM Fisher); The Difficulty of Crossing a Field (Beth Morrison Projects). milahenry.com

ABOUT THE PRESENTERS:

AOP‘s mission is to identify, develop and present new and innovative works of music-theatre by emerging and established artists and to engage our audiences in an immersive, transformative theatrical experience. At the forefront of the contemporary opera movement for a quarter-century, AOP creates, develops and presents opera and music theatre projects collaborating with young, rising and established artists in the field. AOP has produced over 30 world premieres, most recently Kaminsky/Reed/Campbell’s As One at BAM (2014), Nkeiru Okoye’s Harriet Tubman: When I Crossed That Line to Freedom (2014), and Lera Auerbach’s The Blind (2013), a co-production with Lincoln Center Festival. AOP-developed operas that premiered with co-producers include Gregory Spears’s Paul’s Case at PROTOTYPE (2014), Stephen Schwartz’s Séance on a Wet Afternoon at New York City Opera (2011), and Tarik O’Regan’s Heart of Darkness at London’s Royal Opera House (2011). www.operaprojects.org

Harlem School of the Arts (HSA) enriches the lives of young people and their families through world-class training in and exposure to the arts across multiple disciplines in an environment that emphasizes rigorous training, stimulates creativity, builds self-confidence, and adds a dimension of beauty to their lives. HSA achieves this on-site at The Herb Alpert Center by offering high-quality, affordable, arts training in dance, music, theatre, and visual art to ethnically and socio-economically diverse young people aged 2-18; by providing financial aid and merit scholarships to those who need it most; and by developing key partnerships with other cultural institutions, colleges/universities, and conservatories to prepare its aspiring pre-professional students at the highest possible level. They also reach beyond their walls to provide essential arts education residencies in New York City Public Schools through our Educational Outreach Program. HSA is a dynamic cultural institution that presents a range of high caliber performances, exhibitions and other programming for the community. In addition, they provide rental space/studios for established and emerging artists to rehearse, create and connect with HSA students. Harlem School of the Arts is able to achieve this with the exceptional participation of their family of loyal donors, dedicated parents, involved alumni and generous guest and resident artists. A future in the arts begins here! For more information, visit www.hsanyc.org.


AMERICAN OPERA PROJECTS PRESENTS “SIX SCENES” OF NEW OPERAS BY EMERGING COMPOSERS AND LIBRETTISTS

August 13, 2014

MUSIC FROM THE 2013-14

SEASON OF COMPOSERS & THE VOICE

 

A Stonewall-era drag queen and the cop entranced by her. A princess manipulates her captor during the Crusades. A man’s literal vacation from Hell. On­­­­ Friday, September 12 and Sunday, September 14 at 7:30 PM, AOP (American Opera Projects) will present these and other excerpts of new operas at COMPOSERS & THE VOICE: SIX SCENES 2014, the culmination of this season’s Composers & the Voice (C&V) opera training program. Audiences will see scenes by five emerging composers – Guy Barash, Avner Finberg, Jeremy Gill, Andreia Pinto-Correia, Gity Razaz – and one composer/librettist team, Joseph Rubinstein and Jason Kim, who were chosen by AOP to spend a year creating new works focusing on the operatic voice. The performances will be held at South Oxford Space in Fort Greene, Brooklyn, home of AOP. Tickets are $15 general admission, $10 for students/seniors and are available at http://www.operaprojects.org.

AOP Resident Ensemble of Singers performing: sopranos Deborah Lifton (Center for Contemporary Opera, Encompass New Opera Theatre) and Kristin Sampson (Dicapo Opera Theatre, Santa Fe Opera), mezzo Blythe Gaissert (Los Angeles Opera, Aspen Music Festival), tenor Dominic Armstrong (New York City Opera, Lyric Opera of Chicago), baritone Jorell Williams (Caramoor International Music Festival, Opera Theatre of St. Louis), and bass-baritone Matthew Burns (Boston Lyric Opera, New York City Opera).  Supporting on piano will be Composers & the Voice Music Directors Mila Henry, Kelly Horsted, and Charity Wicks.

The performances will be hosted by C&V Artistic Director Steven Osgood (conductor, Chautauqua Opera, New York City Opera) and feature discussions with the artists about the creative process.

This year’s C&V fellows have benefitted from one-on-one mentoring from esteemed composers Daron Hagen, Jake Heggie, Libby Larsen, John Musto, Tobias Picker, and Stephen Schwartz, as well as librettist Mark Campbell. Each of these distinguished artists reviews their fellows’ work, offers feedback, and participates in C&V discussions.

Previous Six Scenes by C&V alumni produced in the Brooklyn-based bi-annual series featured the first performances of Jack Perla’s Love/Hate (World Premiere 2012, San Francisco) and Gregory Spears’ Paul’s Case (World Premiere Spring 2013, in Washington, DC and New York).

ABOUT COMPOSERS & THE VOICE

Created and led by Artistic Director Steven Osgood, Composers & the Voice began in 2002 and is currently in its seventh season. In Composers & the Voice, fellows establish an understanding of how the operatic voice works and how to write optimally for each voice type, and have hands-on experiences that allow them to explore in their own musical and textual language. Participants meet in closed sessions from September to April to present and discuss new works composed specifically for the individual voices of the Resident Ensemble.

With each new group of fellows, sponsorships are named in honor of mentors and their support of Composers & the Voice. During the workshop session these “Composer Chairs” make themselves available to our fellows for one-on-one discussions and feedback. Past “Composer Chairs” have included composers Mark Adamo, John Corigliano, Tan Dun, Daron Hagen, Lee Hoiby, John Musto, Richard Peaslee, Tobias Picker, Kaija Saariaho, and Stephen Schwartz.

Composers & the Voice holds a long-established partnership with The Manhattan School of Music, and a new affiliation with the UCLA Herb Alpert School of Music, as a way of introducing contemporary opera to students. Two of the scenes featured in September’s Six Scenes concert will be selected for study and performance in 2015 at the two conservatories.

Composers & the Voice is made possible in part by a generous multi-year award from The Andrew W. Mellon Foundation. Fellows in the C&V program are supported by funding from The New York Community Trust, Edward and Sally Van Lier Fund, and Musical Arts Fund. In the 2013-2014 season, The Victor Herbert Foundation has announced the sponsorship of one fellowship as The Victor Herbert Foundation Composers & The Voice Chair. The Chair is created in memory of longtime opera supporter Lois C. Schwartz.

 picture

C&V Fellows  (l. to r.) Jason Kim, Joseph Rubinstein, Jeremy Gill, Gity Razaz, Andreia Pinto-Correia, Guy Barash, and Avner Finberg. Photo by Ted Gorodetzky. Additional photos: https://flic.kr/s/aHsjGVwRYe
 

CALENDAR LISTING INFORMATION

AMERICAN OPERA PROJECTS presents

Composers & the Voice: Six Scenes 2014

World Premiere Opera Scenes from the 2013-14 Season of Composers & the Voice

WORKS BY: Guy Barash, Avner Finberg, Jeremy Gill, Andreia Pinto-Correia, Gity Razaz, Joseph Rubinstein and Jason Kim

MUSIC DIRECTION: Mila Henry, Kelly Horsted, Charity Wicks

PERFORMANCES BY: Deborah Lifton, Kristin Sampson, Blythe Gaissert, Dominic Armstrong, Jorell Williams, Matthew Burns

Friday, September 12 and Sunday, September 14, 7:30 p.m.

South Oxford Space

138 S. Oxford St., Brooklyn, NY 11217

Subway: 2, 3, 4, 5, Q, B to Atlantic Avenue – Barclays Center

D, N, R to Pacific Street; G to Fulton Street; C to Lafayette Avenue

Train: Long Island Railroad to Atlantic Terminal – Barclays Center

Bus: B25, B26, B45, B52, B63, all stop within three blocks of South Oxford Space

Car: Commercial parking lots are located adjacent to BAM and Barclays Center

Tickets: $15 General Admission, $10 Students/Seniors

Tickets available at www.operaprojects.org

Complete information about Composers & the Voice and this year’s artists can be found at www.operaprojects.org/composers_voice.htm

ABOUT THE PRODUCER

At the forefront of the contemporary opera movement for a quarter-century, AOP creates, develops and presents opera and music theatre projects collaborating with young, rising and established artists in the field. AOP has produced over 20 world premieres including Nkeiru Okoye’s Harriet Tubman: When I Crossed That Line to Freedom, Lera Auerbach’s The Blind, a co-production with Lincoln Center Festival 2013. Other notable premieres include Kimper/Persons’ Patience & Sarah (1998), Stefan Weisman’s Darkling (2006), Lee Hoiby’s This is the Rill Speaking (2008), and Phil Kline’s Out Cold (2012) at BAM. AOP-developed projects with premiere with collaborating companies: Gregory Spears’s Paul’s Case at Urban Arias (2013) and PROTOTYPE Festival (Jan 2014), Kamran Ince’s Judgment of Midas at Milwaukee Opera Theatre (2013), 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), Jorge Martín’s Before Night Falls at Fort Worth Opera (2010), Lee Hoiby’s This Is the Rill Speaking at Opera Memphis (2013) and Purchase College (2008). Upcoming:  As One at BAM, September 2014.

ADDITIONAL PROJECT INFO AND PRESS MATERIALS AVAILABLE AT: www.operaprojects.org


Baseball Opera “The Summer King” Scores NEA Grant

December 19, 2013

The National Endowment for the Arts (NEA) has announced that the University of Southern Maine has received an NEA Art Works grant for its upcoming May 2014 premiere of the baseball opera The Summer King, created by former C&V composer Daniel Sonenberg and developed by AOP.

"Broadway" Connie Rector (Franklin Westbrooks) looks in amazement at Josh Gibson's (Kenneth Overton) homer out of Yankee Stadium in an early AOP workshop of THE SUMMER KING.

“Broadway” Connie Rector (Franklin Westbrooks) looks in amazement at Josh Gibson’s (Kenneth Overton) homer out of Yankee Stadium in an early AOP workshop of THE SUMMER KING.

The Summer King follows the life and untimely death of “the Black Babe Ruth”, Negro League home run king Josh Gibson, in this new opera from composer/librettist Daniel Sonenberg and co-librettist Daniel Nestor. AOP will present a rare insight into the evolution of an opera with a full day of libretto readings, musical workshops, and an evening concert of scenes at OPERA America New Works Forum on January 15, 2014. 

From USM Newsletters:

Sonenberg, a University of Southern Maine (USM) associate professor of music at USM’s School of Music, has been notified that he is the recipient of a $15,000 National Endowment for the Arts grant in opera. His opera, titled “The Summer King,” will be performed in concert on May 8, 2014, at the Merrill Auditorium in Portland, Maine, in collaboration with Portland Ovations.

Scenes and excerpts from “The Summer King” already have been performed at Fort Worth Opera, the Brooklyn Conservatory of Music, the Manhattan School of Music and USM to excellent reviews.

In January 2014, the Opera America New Works Forum in New York City, in collaboration with the Brooklyn-based company American Opera Projects, will present a preview of “The Summer King” in a daylong series of events, including a libretto reading by actors, a piano-vocal performance of three scenes and then an orchestral performance of the same three scenes. Each of these events will be followed by discussion with the audience, which will consist of opera professionals from throughout the country….

.

Read full article at the website of University of Southern Maine


%d bloggers like this: