AOP Monodramas, May 9 & 12, 2011

Please share with us your thoughts about this program.
Your responses are critical in helping AOP develop new music!

NORA, IN THE GREAT OUTDOORS
Composed by Daniel Felsenfeld
Libretto by Will Eno

Performances by Caroline Worra
Music Direction/piano by Mila Henry
Stage Direction by Mary Birnbaum
Cello: Rose Bellini
Violin: Joshua Modney

THE WANTON SUBLIME (excerpts)
Composed by Tarik O’Regan
Libretto by Anna Rabinowitz

Performances by Amy Shoremount-Obra
Music Direction/piano by Mila Henry

Monday, May 9, 2011 – 8:00 p.m.
The Players NYC
16 Gramercy Park South
New York, NY 10003

Thursday, May 12, 2011 – 8:00 p.m.
South Oxford Space
138 S. Oxford St.
Brooklyn, NY 11217

5 Responses to AOP Monodramas, May 9 & 12, 2011

  1. Lois C Schwartz says:

    Comments suggest that most people thought the titles were supposed to be supertitles. They were not – they were what? – poetic projections as in Darkling, not the words being sung. Problem was they couldn’t be projected on walls and so appeared to be supertitles. But that is a minor point. No one understood the words and that is something Tariq needs to think about.

  2. Ioulia Savinkina says:

    I enjoyed this evening very much. NORA, IN THE GREAT OUTDOORS became a very pleasant discovery. Highly harmonic combination of music and libretto, exceptional performance, dramatic staging. I consider this a very strong work for a mono operatic performance.

    THE WANTON SUBLIME… it’s very raw…
    I agree with Jane that all words got lost somewhere, and essential part got vanished, we were left with music and voice (beautiful voice) only. Just thoughts: could projected titres be used for a complete libretto? No staging at that point. However, I see a great potential in it. The theme is immortal and generates a lot of energy within this work.

  3. jane goldban says:

    Just noticed that the second part of my comments never went through..Since we all know that the wanton sublime is as yet incomplete I would like to offer some suggestions.For those of us who have read the wanton sublime it is clear that these beautiful words have to be heard by the audience.I do not know if it was because of the music or the diction of the singer but it was almost impossible to get any sense of the text.The supertitles only seemed to make things more confusing because they did not correspond with what Amy was singing.The use of the second voice I thought was very effective. I am sure that the final work will be wonderful-any time you meld beautiful music with an exceptional libretto you are sure to have a hit.

  4. Jane goldban says:

    Enjoyed the evening very much.Nora was much more complete and was staged and sung beautifully but I must say that the music and the text were not as stimulating as might be expected from such a challaging theme.

  5. Lois C Schwartz says:

    Excellent pairing of these two monodramas. Am reluctant to comment on Wanton Sublime as it is in such an early stage. Feel that some sort of intro by Anna would help. Loved the use of recorded voice with live voice, but really hadn’t a clue what the work was about. Understood very few words, though that might have been because my hearing is not what it used to be. The projections came as a surprise, i.e. they confused me as I assumed they were supertitles. Again, some preparation for that might have helped. (I thought at first the projectionist and singer were out of sync). My focus was distracted by my efforts to figure out what was going on and what to be listening for. I still don’t know what Wanton Sublime means (even after consuting a dictionary? While it may be relatively easy to turn a libretto into something poetic, I believe it to be a far more formidable task to turn poetry, especially Anna’s which is often dependent on the placement of words on a page as well as unusual punctuation and formatting, into a libretto. I will be interested to see what evolves in the next workshop (after I try to grasp the printed version!). Nora was a delight, easy to follow, musically adept and accessible. But I’m going to re-read A Doll’s House anyway. Loved the instruments (including the voice!).

    As always kudos to AOP for its risk taking. We’ve come a long way baby! (Just shy of 20 years since I was a wide-eyed intern seeking a mid-life career change and found my way to Broome St!)

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