Brooklyn’s AOP To Select Composers, Librettists For Two Years Of Free Training In The Fundamentals Of Opera

March 7, 2017

APPLICATIONS AVAILABLE MARCH 15 FOR 9TH SEASON OF
“COMPOSERS & THE VOICE” PROGRAM BEGINNING IN FALL 2017

Bass-baritone Matthew Burns works with composer Andreia Pinto- Correia during a 2013 C&V workshop. Photo by Ted Gorodetzky

BROOKLYN, NY – American Opera Projects (AOP) announces the return of its popular Composers & the Voice program for its 2017-19 seasons. Created and led by Composers & the Voice Artistic Director Steven Osgood, eight composers and librettists will be selected for two-year fellowships to learn the fundamentals of writing for the voice and opera stage. Workshop sessions with professional opera singers, mentors, and instructors are held at AOP’s home base in Fort Greene, Brooklyn. Applications and complete information will be available beginning March 15 at www.aopopera.org/composers_voice. The deadline for applications is April 28 with fellowships announced by July 1.

The Composers & the Voice fellowships include a year of working with the company’s Resident Ensemble of Singers and Artistic Team followed by a year of continued promotion and development through AOP and its strategic partnerships. The workshop sessions between September 2017 and April 2018 include composition of solo works for six voice types (coloratura soprano, lyric soprano, mezzo-soprano, tenor, baritone, and bass).

In addition, over 45 hours of “Skill-Building Sessions” of acting courses with director Mary Birnbaum (Die Zauberflöte at Juilliard), theatrical improvisation led by Terry Greiss (Co-Founder, Ensemble Actor, Executive Director of Irondale Ensemble Project), and libretto development with Libretto Writing Instructor Mark Campbell (librettist, As One, Silent Night), will provide in-depth knowledge of how singers build characters, act in scenes, and sing text.

Fellows will also receive individual guidance from “Artistic Chairs,” sponsorships named in honor of mentors and their support of Composers & the Voice. Artistic Chairs for the upcoming season include composers Ricky Ian Gordon (27, The Grapes of Wrath), David T. Little (Dog Days, JFK), Missy Mazzoli (Breaking the Waves, Songs From the Uproar), Tobias Picker (An American Tragedy, Emmeline), Stephen Schwartz (Wicked, Godspell), and Gregory Spears (Fellow Travelers, Paul’s Case), and librettists Gene Scheer (Cold Mountain, Moby Dick) and Royce Vavrek (Dog Days, JFK).

At the end of the workshop sessions, AOP will present selections from the participants’ work in public performances – First Glimpse, a concert of songs in Spring 2018, and Six Scenes, an evening of short opera scenes in Fall 2018.

Following the Six Scenes performances, Composers & the Voice enters its second year of its two-year cycle and focuses on the development and further promotion of the Fellows’ C&V-created works. This includes career guidance from AOP’s staff and potential workshops and presentations in AOP’s “First Chance” opera development program.

Composers & the Voice will also continue partnerships with The Hermitage Artist Retreat , which will select a C&V Fellow (or Fellowship team) to receive a 6-week residency to continue opera development at the Hermitage’s Florida estate, and the Chautauqua Opera Company, which annually invites one C&V alumnus to join the company for their 8-week summer season as a Composer-in-Residence and receive world premieres of three works commissioned by AOP.

Since launching in 2002, C&V has fostered the development of 54 composers & librettists. Alumni works that went through AOP’s opera development program and continued to a world premiere include Love/Hate (ODC/San Francisco Opera 2012, Jack Perla), Paul’s Case (UrbanArias 2013, Gregory Spears), The Scarlet Ibis (PROTOTYPE 2015, Stefan Weisman), and three in 2017 – Three Way (Nashville Opera and AOP, Robert Paterson), The Summer King (Pittsburgh Opera, Daniel Sonenberg), and Independence Eve (UrbanArias, Sidney Marquez Boquiren).

“The philosophy of Composers & the Voice since its beginning has been that by immersing composers and librettists in hands-on work with skilled singers and music directors, we empower them to create groundbreaking works that are true to each of their artistic languages,” says Osgood.  “Composers rarely have the opportunity to work with opera singers during their training, and C&V was designed to address this void. I could not be more proud of the commissions and premieres that have flowed to the alumni of C&V.”

The Andrew W. Mellon Foundation continues its support of AOP’s Composers & the Voice program through 2019 as part of a two hundred thousand ($200,000) multi-year grant award, which also covers artistic personnel and other program activities.

During his tenure as Artistic Director of American Opera Projects (2001 to 2008), Steven Osgood created Composers & the Voice and conducted the world premieres of Paula Kimper and Wende Persons’ Patience & Sarah at the Lincoln Center Festival and Janice Hamer and Mary Azrael’s Lost Childhood at the International Vocal Arts Institute (Tel Aviv). He has conducted the premieres of over a dozen operas, including As One, The Scarlet Ibis, Thumbprint, Peony Pavilion, Oresteia, Song from the Uproar & Breaking the Waves, JFK, and Little Nemo in Slumberland and has served as Conductor Mentor for Washington National Opera’s American Opera Initiative. He has been a member of the Music Staff of the Metropolitan Opera since 2006.  Upcoming productions include the US Stage Premiere of Monteverdi’s L’Orfeo in Respighi’s realization, Don Pasquale, and Hydrogen Jukebox, all part of Chautauqua Opera’s 2017 season, where he is General and Artistic Director.

 

COMPOSERS & THE VOICE 2017-2019: CALENDAR OF DATES

March 15, 2017                        Applications available on AOP site

April 28, 2017                          Applications portal closes

June 30, 2017                           Announcement of 2017-19 C&V Fellows

October 2017 – May 2018          Closed workshop sessions

May 2018                                Composers & the Voice: First Glimpse – concert reading of songs

September 2018                        Composers & the Voice: Six Scenes – concert reading of opera scenes

Fall 2018-2019                         AOP mentoring and opera development

COMPOSERS & THE VOICE 2017-2019: ARTISTIC CHAIRS

Ricky Ian Gordon, David T. Little, Missy Mazzoli, Tobias Picker, Gene Scheer, Stephen Schwartz, Gregory Spears, and Royce Vavrek.

MORE INFO AND PRESS MATERIALS AVAILABLE AT: www.aopopera.org/press.


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


AOP takes operas to space, asylums, and a human uterus in “Six Scenes”

August 18, 2016

SINGERS TO PERFORM SCENES FROM NEW OPERAS BY EMERGING COMPOSERS & LIBRETTISTS CREATED IN AOP FELLOWSHIP PROGRAM “COMPOSERS & THE VOICE”

BROOKLYN, NY, August 16, 2016— This fall, contemporary opera producer AMERICAN OPERA PROJECTS (AOP) will present COMPOSERS & THE VOICE: SIX SCENES 2016, a concert of opera scenes from ten artists emerging in the world of contemporary opera. Audiences will get a first look at six wildly different new works that range from imagining moments in the lives of famous people such as Sigmund Freud and Mabel Dodge Luhan or events taking place in a spaceship, an asylum, and a uterus. The composers Matthew Barnson, Carlos R. Carrillo, Nell Shaw Cohen, Marc LeMay, Cecilia Livingston, and Sky Macklay and librettists Edward Einhorn, Duncan McFarlane, Emily Roller, and Mark Sonnenblick, were chosen by AOP to spend a year creating new works in its bi-annual fellowship program Composers & the Voice (C&V).

The performances will be held on Friday, September 30 at 8:00pm at South Oxford Space (138 S. Oxford St.) in Fort Greene, Brooklyn, the home of AOP, and on Sunday, October 2 at 2:30pm at the National Opera Center (330 7th Ave, 7th floor) in Manhattan. Tickets range from $10-$25 general admission and are available at www.aopopera.org.

20160514-DSC_3230xBass Jonathan Woody performs during the May  2016 Composers & the Voice songs concert First Glimpse at South Oxford Space with music director Kelly Horsted on piano. Photo: Steven Pisano.

Six Scenes 2016 will be performed by the AOP Resident Ensemble of Singers: coloratura soprano Tookah Sapper (Manhattan School of Music), lyric soprano Jennifer Goode Cooper (NYCO, Glimmerglass), mezzo-soprano Caitlin McKechney (Opera Memphis, Florida Grand Opera), tenor Blake Friedman (BAM, St. Petersburg Opera), baritone Kyle Guglielmo (Sarasota Opera), and bass Jonathan Woody (BAM, Apollo’s Fire). Each of the scenes were composed specifically for the singers’ voices, after months of study and experimentation during the C&V program. Supporting on piano will be C&V Music Directors Mila Henry, Kelly Horsted, and Charity Wicks.

Previous Six Scenes concerts have given audiences their first look at operas that went on to fully-produced world premieres including Gregory Spears’ Paul’s Case (UrbanArias and Prototype Festival), Jack Perla’s Love/Hate (ODC/San Francisco Opera 2012), and the upcoming Three Way by Robert Paterson (Nashville Opera 2017) and The Summer King by Daniel Sonenberg (Pittsburgh Opera 2017).

Following the performances, one of the scenes will be selected to receive a staged reading at Manhattan School of Music in Spring 2017 as part of their annual New American Opera Previews series From Page to Stage.

20150928-DSC_7711Composers & the Voice Fellows, 2015-16; l. to r.: Matthew Barnson, Emily Roller, Edward Einhorn, Mark Sonnenblick, Marc LeMay, Duncan McFarlane, Sky Macklay, Cecilia Livingston, Carlos R. Carrillo, Nell Shaw Cohen; Photo by Steven Pisano

ABOUT COMPOSERS & THE VOICE

Created and led by Steven Osgood (General and Artistic Director of Chautauqua Opera and former Artistic Director of AOP), Composers & the Voice gives composers and librettists experience working collaboratively with singers on writing for the voice and contemporary opera stage. American Opera Projects selects composers and librettists bi-annually for the fellowships, made possible in part by generous awards from The Andrew W. Mellon Foundation and The Victor Herbert Foundation. 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 additional training in acting, improv, and libretto study.

In addition to the workshop sessions, C&V fellows benefit from one-on-one mentoring from Ricky Ian Gordon, Daron Hagen, Michael Korie, David T. Little, Missy Mazzoli, Tobias Picker, Gene Scheer, Stephen Schwartz, and Royce Vavrek. Each of these distinguished artists review their C&V fellow’s work, offer feedback, and participate in C&V discussions.

Since launching in 2002, C&V has fostered the development of 54 composers & librettists including composers Stefan Weisman (The Scarlet Ibis, PROTOTYPE Festival, 2015), Hannah Lash (Aspen Music Festival), Aleksandra Vrebalov (Mileva, Serbian National Theater), Vivian Fung (2013 Juno Award “Classical Composition of the Year”) and librettist Sara Cooper (The Memory Play, off-Broadway). A complete list of alumni can be found at www.aopopera.org/composers_voice.

VIEW THE COMPLETE “SIX SCENES” PRESS RELEASE WITH LISTINGS INFO AND BIOS


Brooklyn’s Fort Greene Park the Subject of 12 Mini-operas by NYU Composers

April 22, 2016

“Park and Bark” to premiere in Fort Greene Park and NYU on May 7 and 8

A 2013 AOP concert in Fort Greene Park

A 2013 AOP concert in Fort Greene Park

NEW YORK – On May 7 and 8, New York University’s Tisch School of the Arts, American Opera Projects (AOP), and the Fort Greene Park Conservancy (FGPC) will present “Park and Bark,” twelve mini-operas written by students in Tisch’s Graduate Musical Theatre Writing Program (GMTWP) on the subject of Fort Greene Park, one of New York’s, and the nation’s, most historic and vibrant neighborhood parks. The operas, each under fifteen minutes, include dramatizations of the park’s large dog walking community, the remains of the Prison Ship Martyrs from the American Revolution, and a park gardener in a post-apocalyptic future. Six of the operas, staged by opera director, associate Arts Professor and Head of Dramaturgy in the Graduate Department of Design for Stage and Film Sam Helfrich (Glimmerglass, Virginia Opera, Boston Lyric), will be performed at NYU Tisch’s Black Box Theater (715 Broadway, 2nd Floor, NY 10003) on Saturday, May 7th at 2:00pm. The other six operas will be performed in an outdoor concert near the Visitors Center at Fort Greene Park on Sunday, May 8th at 4:00pm. All performances are free and open to the public. Seating for May 7 is limited and can be reserved at https://parkandbarkmay7.eventbrite.com. More information can be found at www.aopopera.org.

The operas will be performed by sopranos Kamala Sankaram (Prototype Festival), Deborah van Renterghem (Santa Fe Opera), and Amelia Watkins (Leipzig Gewandhaus), mezzo-soprano Sarah Heltzel (Seattle Opera), tenor Blake Friedman (Brooklyn Academy of Music), countertenor Eric Brenner (Prototype Festival), baritone Jorell Williams (Santa Fe Opera, Mark Morris Dance Group), and bass Sam Carl (Berlin Opera Academy, Edinburgh International Festival). Like Mozart, Handel, and Verdi, who often wrote roles for particular singers, the composers worked with the professional opera singers and music directors Kelly Horsted and Mila Henry on the development of the thirteen operas.

Students in the Graduate Musical Theatre Writing Program (GMTWP) began learning the ins and outs of opera writing this spring when Brooklyn’s American Opera Projects (AOP) partnered with Tisch School of the Arts for a new “Opera Writing Workshop.”  Led by composer and faculty member Randall Eng, the workshop is an advanced class for composers and librettists of GMTWP at Tisch, as well as recent alumni, to collaborate with professional opera singers and music directors under the mentorship of AOP, an opera company in Fort Greene that has developed and premiered contemporary operas for over 25 years.

L to R: Randall Eng, Chandra McClelland, Tek Goo Kang, Brian Cavanagh-Strong, Ben Bonnema

L to R: Randall Eng, Chandra McClelland, Tek Goo Kang, Brian Cavanagh-Strong, Ben Bonnema

AOP General Director and Fort Greene Park Conservancy Chairman Charles Jarden, with park and conservancy staff, guided the thirteen composer/librettist teams’ research of Fort Greene Park in diverse subjects as park history, modern anecdotes, and neighborhood color.

“This process has been particularly helpful for anyone who has gone through school already and needs critical eyes on their work,” wrote Casey O’Neil, one of the workshop’s composers. “Randall and the guest instructors delivered terrific and specific feedback, which has helped make the works much stronger.”

Support for the workshop was provided by the Institute of Performing Arts, NYU Tisch School of the Arts, and a multi-year award to AOP from The Andrew W. Mellon Foundation, with the free performances made possible by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.

L to R: Randall Eng, Mila Henry, Blake Friedman, Amelia Watkins, Sam Carl

L to R: Randall Eng, Mila Henry, Blake Friedman, Amelia Watkins, Sam Carl

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Fort Greene Park to be commemorated in student operas in new AOP and NYU Tisch partnership

February 19, 2016

Randall Eng, composer and Assistant Arts Professor at Tisch’s Graduate Musical Theatre Writing Program

By the end of this spring, one of New York City’s most historic and vibrant neighborhoods will be commemorated in song. And not just one song, but an entire series of new operas. This spring, students in the Graduate Musical Theatre Writing Program (GMTWP) at New York University’s Tisch School of the Arts will learn the ins and outs of opera writing when Brooklyn’s American Opera Projects (AOP) partners with the esteemed arts school for a new “Opera Writing Workshop.”  Led by composer Randall Eng, the workshop is an advanced class for composers and librettists of GMTWP at Tisch who will collaborate with an ensemble of eight professional opera singers and two music directors to create short operas under the mentorship of AOP, an opera company in Fort Greene that has developed and premiered contemporary operas for over 25 years.

For the inaugural workshop, AOP and Eng have assigned the students to create operas inspired by the Brooklyn neighborhood Fort Greene and the historic Fort Greene Park, the latter of which has been home to a graveyard of Revolutionary War soldiers as well as a source of inspiration for writers Richard Wright and Marianne Moore and filmmaker Spike Lee. In addition to the musical team, AOP will provide the students with special access to staff from NYC Parks and Fort Greene Park Conservancy.  NYU associate professor and opera director Sam Helfrich will direct the AOP workshop singers in the site-specific scenes being created with the participation of his design students in Tisch’s Design for Stage and Film Department. The operas will be performed in conjunction with American Opera Projects at GMTWP’s Black Box Theatre on May 7, 2016 and in Fort Greene Park itself on May 8, 2016.

AOP General Director Charles Jarden stated, “In this partnership with NYU, AOP is broadening our mission to help mentor creators of opera and music theater work by attracting grad students at one of the best schools in the country.  This project is a great complement to one of our core programs, Composers & the Voice and Randall Eng is one of the alums of that program, which makes the partnership especially valuable and gratifying for us.  We are deeply grateful to The Andrew W. Mellon Foundation and to the NYC Department of Cultural Affairs for on-going generous support.”

As of February 1st there are twenty-five (25) students enrolled in the class.

Crowds gather in Fort Greene Park, Brooklyn’s first park and subject for NYU’s Opera Writing Workshop composers.


AOP Awards Fellowships to Ten Composers And Librettists For Free Training In Opera Composition

July 22, 2015

FOR IMMEDIATE RELEASE

Contact: Matt Gray, AOP Producing Director, 718-398-4024, mgray@operaprojects.org
Press material is available at: www.operaprojects.org/press

July 21, 2015

BROOKLYN’S AOP AWARDS FELLOWSHIPS TO TEN COMPOSERS AND LIBRETTISTS FOR FREE TRAINING IN OPERA COMPOSITION

FELLOWS WILL STUDY FOR NINE MONTHS WITH PROFESSIONAL OPERA SINGERS, INSTRUCTORS, MENTORS

EIGHTH SEASON OF TRAINING PROGRAM “COMPOSERS & THE VOICE” TO BEGIN IN SEPTEMBER

BROOKLYN, NY – AOP (American Opera Projects) and Composers & the Voice Artistic Director Steven Osgood have selected six composers and four librettists to receive fellowships for its upcoming eighth cycle of Composers & the Voice. The 2015-2017 season will include composers Matthew Barnson, Carlos R. Carrillo, Nell Shaw Cohen, Marc LeMay, Cecilia Livingston, and Sky Macklay and librettists Edward Einhorn, Duncan McFarlane, Emily Roller, and Mark Sonnenblick. The primary focus of Composers & the Voice is to give emerging composers and librettists experience working collaboratively with singers on writing for the voice and contemporary opera stage.

The two-year fellowships, made possible through a generous grant by The Andrew W. Mellon Foundation, include a year of working with the company’s Resident Ensemble of Singers and Artistic Team at AOP’s home base in Fort Greene, Brooklyn followed by a year of continued promotion and development through AOP and its strategic partnerships.

Comprised of one each of the basic operatic/vocal categories, the singers for the upcoming C&V season will be coloratura soprano Tookah Sapper, lyric soprano Jennifer Goode Cooper, mezzo-soprano Blythe Gaissert, tenor Blake Friedman, baritone Michael Weyandt and bass-baritone Jonathan Woody. The Resident Ensemble will be joined by returning Music Directors Mila Henry, Kelly Horsted, and Charity Wicks to collaborate on creating new material by the composer and librettist fellows.

YEAR ONE FELLOWSHIP

The Composers & the Voice workshop sessions between September 2015 and April 2016, include composition of solo works for the six voice types. In addition, over 45 hours of “Skill-Building Sessions” for composers and librettists will provide an in-depth and firsthand knowledge of how singers build characters, act in scenes and sing text. These will include acting courses by director Pat Diamond (Wolf Trap, The Aspen Music Festival), theatrical improvisation led by Terry Greiss (co-founder and Executive Director, Irondale Ensemble Project), and a new extended course in libretto development designed by librettist Mark Campbell (Silent Night, The Manchurian Candidate, As One).

“I can think of no better forum for a composer with a passion for learning the traditions of so-called progressive American opera theater than AOP’s program,” said opera composer and guest C&V instructor Daron Hagen.

Past “Composer Chairs,” sponsorships named in honor of mentors and their support of Composers & the Voice, have included composers John Corigliano, Daron Hagen, Jake Heggie, Lee Hoiby, Libby Larsen, John Musto, Tobias Picker, Kaija Saariaho, Tan Dun and composer-librettist Stephen Schwartz.

At the end of the workshop sessions, AOP will present the results of the participants’ work in public performances – First Glimpse, a concert of songs in Spring 2016, and Six Scenes, an evening of short opera scenes in Fall 2016.

YEAR TWO FELLOWSHIP

Following the Six Scenes performances, Composers & the Voice enters its second year of its two-year cycle and focuses on the development and further promotion of the Fellows’ C&V-created works. This includes potential workshops and presentations in AOP “First Chance” opera development program as well as concert series that have included partnerships with Opera Memphis, Phoenix Concerts, Opera on Tap, and Two Sides Sounding, to name a few.

Select C&V operas-in-progress will receive staged readings in 2017 through a twelve-year AOP partnership with The Manhattan School of Music (www.msmnyc.edu) and a new affiliation with The UCLA Herb Alpert School of Music (www.schoolofmusic.ucla.edu). These readings using student performers provide continued development of C&V projects while serving to introduce contemporary opera to students.

The second year of the cycle will also include a new partnership with The Hermitage Artist Retreat (http://hermitageartistretreat.org) that nurtures creativity in mid-career writers, painters, poets, playwrights, composers, translators, sculptors, and artists. A C&V Fellow (or Fellowship team) will be selected to receive a 6-week residency to continue opera development at the Hermitage’s Florida estate. AOP artists who have been in residence at The Hermitage include Laura Kaminsky (As One), Mark Campbell (As One), Phil Kline (Out Cold), Lera Auerbach (The Blind), and Huang Ruo (Paradise interrupted).

HISTORY OF COMPOSERS & THE VOICE

“I can think of no better forum for a composer with a passion for learning the traditions of so-called progressive American opera theater than AOP’s program,” said opera composer and guest C&V instructor Daron Hagen.

Since launching in 2002, C&V has fostered the development of 44 composers & librettists including Stefan Weisman (The Scarlet Ibis, PROTOTYPE Festival, 2015), Hannah Lash (Aspen Music Festival), Aleksandra Vrebalov (Mileva, Serbian National Theater), and Vivian Fung (2013 Juno Award “Classical Composition of the Year”). Alumni works that went through AOP’s opera development program and continued to a world premiere include Paul’s Case (UrbanArias 2013, Gregory Spears), and Love/Hate (ODC/San Francisco Opera 2012, Jack Perla). A complete list of alumni can be found at www.aopopera.org/composers_voice.

“Composer Chairs,” sponsorships named in honor of mentors and their support of Composers & the Voice, have included composers John Corigliano, Daron Hagen, Jake Heggie, Lee Hoiby, Libby Larsen, John Musto, Tobias Picker, Kaija Saariaho, Tan Dun and composer-librettist Stephen Schwartz.

AOP Composers & the Voice Fellows have received grants and honors from the following organizations: Aaron Copland Fund for Music, ASCAP, BMI, the American Academy of Arts and Letters, the American Music Center, the American Composers Forum, OPERA America, the National Endowment for the Arts, Meet the Composer, the Argosy Foundation Contemporary Music Fund, the Fulbright Foundation, the Atlantic Center for the Arts, the Douglas Moore Fellowship, Tapestry New Opera Works, the Frederick Loewe Foundation, New Dramatists, and the Martha Baird Rockefeller Foundation.

SUPPORT

The Andrew W. Mellon Foundation continues its support of AOP’s Composers & the Voice program through 2016 as part of a multi-year grant award, which also covers artistic personnel and other program activities. The Victor Herbert Foundation will sponsor one fellow’s expenses for travel and costs of preparing and producing scenes with The Victor Herbert Foundation Composers & the Voice Chair, created in memory of longtime opera supporter and former AOP board member, Lois C. Schwartz.

COMPOSER AND LIBRETTIST FELLOW BIOS

Composers

Matthew Barnson is the composer of numerous works for orchestras, choirs, string quartets, voices, chamber ensembles, dancers, and computers.  An assistant professor of composition at the State University of New York at Stony Brook, he has received fellowships, commissions, and awards from the Guggenheim Foundation, the Barlow Endowment, and the American Academy of Arts and Letters. His work has been performed at Carnegie Hall, the Museum of Modern Art, the Kennedy Center, the Aldeburgh Festival, the Royal Academy of Music, the Santa Fe Chamber Music Festival, ISCM World Music Days, MATA, Wigmore Hall, Aspen, the San Francisco War Memorial and other venues throughout the United States and Europe. His album of string quartets, Sibyl Tones, was released on Tzadik in 2014. He lives in New York.

Born in San Juan, Puerto Rico, composer Carlos R. Carrillo is the recipient of numerous awards including the Bearns Prize, the Charles Ives Scholarship from the American Academy of Arts and Letters, BMI and ASCAP awards. He has been commissioned by Music and the Anthology for the Da Capo Chamber Players, the New York Youth Symphony, Concert Artists Guild and the Pennsylvania Music Teachers Association. Dr. Carrillo holds degrees from the Eastman School of Music (BM), Yale University (MM) and the University of Pennsylvania (PhD). He is Assistant Professor of Composition-Theory at the University of Illinois at Urbana-Champaign. www.music.illinois.edu/faculty/carlos-carrillo

Nell Shaw Cohen’s lyrically expressive, visually evocative music has been performed by The JACK Quartet, WordSong, and members of The Chelsea Symphony and A Far Cry. In 2014, Cohen served as NYU Symphony Composer-in-Residence and her monodrama The Coming of Spring received a workshop staging at Provincetown Playhouse in NYC. A multidisciplinary artist, she frequently integrates her music with video and installations for web & mobile. Cohen has collaborated with The Peabody Essex Museum and Parrish Art Museum to present her music inspired by art. As founder of composers’ network and publication LandscapeMusic.org, she advocates for music that engages with nature and place. Cohen (b. 1988), M.M. New York University, B.M. New England Conservatory, has studied with Herschel Garfein, Michael Gandolfi, Missy Mazzoli, and Julia Wolfe. www.nellshawcohen.com

Marc LeMay is a composer based in Philadelphia, where he is a Doctoral Fellow in Composition at the University of Pennsylvania. Marc’s career as a composer has spanned a variety of media, from works for solo instruments and chamber ensembles to pieces for singers, choir, orchestra, and electroacoustic forces. A frequent collaborator, he has also written extensively for dance, theatre, film, art installations, and interactive media. His wide-ranging interests include philosophy, pop culture, words, maps, ritual, spirituality, and social issues; these interests continue to inform and influence his music. Upcoming projects will focus on works for the opera stage. http://www.marclemaymusic.com

Cecilia Livingston is known across Canada and the US for intensely dramatic chamber and vocal music, Cecilia Livingston explores memory, place, childhood, and solitude in a lush yet spare musical language that reveals the strange made familiar and the familiar made strange. A 2014 Composition Fellow at Bang On a Can’s Summer Music Festival, her music has been heard at the 21C Music Festival, World Choral Games (Latvia), Eastman’s Women In Music Festival, Vancouver International Song Institute, Scotia Festival of Music, ACDA’s Summer Choral Composers Forum, Tapestry Opera’s Composer-Librettist Laboratory, Canadian Contemporary Music Workshop, and on tour in Canada with The Bicycle Opera Project. She lives in Toronto.  www.cecilialivingston.com

Sky Macklay is a composer, oboist, and multimedia artist originally from Minnesota and now based in NYC. Her recent projects include a piece for Spektral Quartet’s Comic Cadences album (Many Many Cadences), a sonic and kinetic installation of harmonica-playing inflatable sculptures (Harmonibots), and new works for ICE and the New York Virtuoso Singers. Her orchestral piece, Dissolving Bands, was commissioned by the Lexington (MA) Symphony and was the winner of the 2013 Leo Kaplan award from ASCAP. Sky is pursuing her DMA in composition at Columbia University and is on the faculty of The Walden School Young Musicians Program.

Librettists

Edward Einhorn is a director, playwright, librettist, and novelist. Among his work: plays about neurology; adaptations of sci-fi novels; translations of plays written in French, Czech, and ancient Greek; puppet theater; modern Oz novels; explorations of economic theory; autobiographical found text explorations; midrashim on Jewish cultural icons; and picture books about math. Recently, he has worked at HERE, La MaMa, 3LD Art & Technology Center, The New Ohio, St. Ann’s Warehouse, the Walter Bruno Theater at Lincoln Center, The Brick, and the Czech Embassy. The New York Times has called his work “exquisitely ingenious”, “dramatically shrewd,” and “almost unbearably funny”.

Duncan McFarlane studies and teaches satire, writes lyrics and libretti as asked, and denies that brevity’s wit’s soul.

Emily Roller is the librettist for Esther and Teach for A While, which received readings in the 2015 Thesis Reading Series at NYU. She is also the author of The Alloway Files (New Stein Publishing House),Hookers, Flankers, and Locks (Bare Knuckles Press), and many short pieces for the page and the stage. She is a graduate of Yale, the MA in Writing program at Johns Hopkins, and the Graduate Musical Theater Writing Program at NYU Tisch. She lives in Brooklyn and blogs at www.ejroller.com.

Mark Sonnenblick writes words and music. As playwright, lyricist, and/or composer: Independents (“Best Production” FringeNYC, NYTimes “Critics’ Pick”), Ship Show (Yale Institute for Music Theatre), Stompcat in Lawndale (Ars Nova), Wheel of Misfortune (Denver Center for the Performing Arts), Rodman in North Korea (Houghton Lyric Theater), and Bunkerville (Yale DRAMAT). Mark has been a composer fellow at the John Duffy Institute (Virginia Arts Festival), a member of the Johnny Mercer Songwriting Project, and a finalist for the Kleban Prize. Currently, Mark is a Dramatists Guild fellow and a librettist for the Kennedy Center’s American Opera Initiative. www.marksonnenblick.com

Bios of C&V singers and music directors available at http://bit.ly/1JeFmE5

ABOUT THE PRODUCER

At the forefront of the contemporary opera movement for over 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 25 world premieres, most recently Kaminsky/Reed/Campbell’s As One (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. 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 (2012) at BAM. AOP-developed operas that premiered with co-producers:  Gregory Spears’s Paul’s Case at UrbanArias (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) and Opera Parallèle (2015, San Francisco), Jorge Martín’s Before Night Falls at Fort Worth Opera (2010), Huang Ruo’s Paradise Interrupted at Spoleto Festival USA (2015). http://www.aopopera.org

UPCOMING in 2015: Hagoromo at BAM 2015 Next Wave Festival, As One at West Edge Opera (Berkeley, CA) and UrbanArias (Arlington, VA).


Resident Ensemble of Singers selected for AOP training program Composers & the Voice

June 16, 2015

FOR IMMEDIATE RELEASE

RESIDENT ENSEMBLE OF SINGERS SELECTED
FOR AOP TRAINING PROGRAM

SIX SINGERS TO ASSIST COMPOSERS, LIBRETTISTS
IN UPCOMING SEASON OF “COMPOSERS & THE VOICE”

BROOKLYN, NY – AOP (American Opera Projects) announces the six singers who will become its Resident Ensemble for the upcoming eighth season of its Composers & the Voice training program. Comprised of one each of the basic operatic/vocal categories, the singers for the 2015-16 season will be Coloratura Soprano Tookah Sapper, Lyric Soprano Jennifer Goode Cooper, Mezzo-Soprano Blythe Gaissert, Tenor Blake Friedman, Baritone Michael Weyandt and Bass-Baritone Jonathan Woody. The singers will spend a year working collaboratively with composers and librettists who have received fellowships to develop skills for writing for the voice and contemporary opera stage. The Resident Ensemble was selected by Composers & the Voice Artistic Director Steven Osgood based on their superior technical and musical skills, as well as their commitment to developing and performing new works.

The Resident Ensemble will be joined by returning Music Directors Mila Henry, Kelly Horsted, and Charity Wicks to collaborate on creating new material by the composer and librettist fellows. Singers will each explain how their particular voice works throughout its range, addressing issues of tessitura, negotiating the passagio, demands for vowel modification, and how these affect their performance of text.

In closed workshops from September 2015-April 2016, the singers will rotate among each composer, giving demonstrations of proper vocal technique and writing, as well as performing short works.  This will culminate with First Glimpse, a public concert of songs on May 20 & 21, 2016, in which the singers will perform the composer’s revised and final versions.  Finally, on September 23 & 25, 2016, the AOP Resident Ensemble will perform Six Scenes, an evening of short opera scenes created by the composer-librettist fellows.

Previous singers from the Composers & the Voice program have gone on to perform with some of the leading companies and festivals in America, including Matthew Worth (Doubt, Minnesota Opera, 2013 and Eugene Onegin, Chautauqua Opera, 2015), Keith Jameson (Billy Budd, Metropolitan Opera, 2012 and Capriccio, Lyric Opera of Chicago, 2014), Caroline Worra (Orphee, Pittsburgh Opera, 2014 and Lizzie Borden, Boston Lyric Opera, 2013)  and Rebecca Ringle (Die Walküre, Metropolitan Opera, 2013, and Dido and Aeneas, Opera Memphis, 2015).

The Andrew W. Mellon Foundation continues its support of AOP’s Composers & the Voice program through 2016 as part of a two hundred thousand ($200,000) multi-year grant award, which also covers artistic personnel and other program activities.

More information about the 2015-16 Composers & the Voice Series can be found at www.operaprojects.org/composers_voice.

BIOS

RESIDENT SINGERS

sapper---headshotTookah Sapper (soprano), from Oklahoma City, is a second-year Master’s degree candidate at Manhattan School of Music studying with Joan Patenaude-Yarnell. She graduated from the University of Central Oklahoma last year with a BM in vocal performance and a minor in collaborative piano. Last November, she performed as a soloist in the Mozart C Minor Mass at Manhattan School of Music. UCO credits include L’Elisir d’amore (Adina), The Messiah (Soloist), Dido and Aeneas (Belinda), Gallantry (Lola), and Gianni Schicci (Nella). Summer program credits include The Maid of Orleans (Solo Angel) with Russian Opera Workshop in Philadelphia, Pennsylvania, and Pirates of Penzance (Mabel) and Le nozze di Figaro (Barbarina) with Opera in the Ozarks in Eureka Springs, Arkansas.

good cooper---headshotJennifer Goode Cooper is a “lustrous soprano” (Wall Street Journal) with “steely eyed ferocity” (NY Times) who “fills the theater with her soaring soprano voice” (Variety).  Last season, she joined Mark Delavan as Blitch to sing the title role in Floyd’s Susannah with Toledo Opera, and premiered Nathaniel Stookey’s Ivonne at Opera Memphis, which she reprised at this year’s New Works Sampler at the Opera America Conference at Wolf Trap.  Other career highlights:   Miss Jessel in Britten’s The Turn of the Screw (New York City Opera), Titania/Hippolyta in the first known a cappella opera, Michael Ching’s A Midsummer Night’s Dream (Opera Memphis), Musetta in Baz Luhrmann’s acclaimed Broadway and LA productions of La Bohème, Backup singer for Patti Lupone, Weekly Hip-Hopera singer with celebrity DJ’s Ed lover and Dr. Dre (NY’s Power 105.1). Jennifer was a 2013 Arts Envoy of the US Embassy (to Mozambique), and a 2014 recipient of a Professional Development Grant from the Weill Foundation. www.jennifergoodecooper.com

gaissert---headshotBlythe Gaissert (mezzo-soprano) In the 2014-15 season Ms. Gaissert performed with the Composers & the Voice Series at AOP and covered the world premiere of Hannah After in As One as well as performing the West Coast premiere in Utah. The season also included Mahler’s Ruckert Lieder, Beethoven’s 9th Symphony, and the Mozart Requiem, as well as readings of new operas by Martin Hennessey and Alden Terry.   In 2013 Ms. Gaissert continued her relationship with the Metropolitan Opera covering Siegrune in Die Walküre and worked on the staged premiere of John Adams The Gospel According to the Other Mary with the Los Angeles Philharmonic.  She also created the role of Zellah in Matthew Harris’ opera The Mark of Cain with Chelsea Opera, sang her first Verdi Requiem with the Duluth Superior Symphony Orchestra, and a program of Copland, Ravel and de Falla with the Sarasota Orchestra. Ms. Gaissert made her Carnegie Hall debut as the Alto soloist in Haydn’s Lord Nelson Mass and Mozart’s Solemn Vespers. She was the 1st place winner in the National Opera Associations Artist Awards, 2nd Prize Winner of the New York Oratorio Society’s Solo Competition, and National Semi-Finalist and Alternate to the Finals in the NATSAA competition. Upcoming performances include The Whole Truth by Robert Patterson and Mark Campbell with the American Modern Ensemble and a recital with the Phoenix Concert Series.

blake headshotBlake Friedman (tenor), also known as “The Operatic Jack Black” (Tampa Bay Times) currently lives in New York City. The “fresh lyric tenor” (OperaNews Online) with a “silken and strong” (Tampa Bay Times) voice has wowed audiences with his “world class”, (Theatre is Easy) “powerful vocals” (Eye on Dance) and “climactic high notes”. (Q on Stage) Recent performances include: the “elusive object of attraction” (Critical Dance) in Eve Wolf’s operatic drama Tchaikovsky: None but the Lonely Heart (BAM Fisher), Il Conte Almaviva in Barbiere di Siviglia and Pang in Turandot (St. Petersburg Opera), Rinuccio in Gianni Schicchi, Rodolfo in La Boheme, and The Governor in Candide (Ash Lawn Opera), Nemorino in L’Elisir D’amore (New Rochelle Opera), and Alfredo in La Traviata (Long Island Opera).  Equally at home on the concert stage, Mr. Friedman has performed as soloist at Avery Fisher Hall and The Walter Bruno Auditorium at Lincoln Center. Other companies Mr. Friedman has worked with include Bel Canto at Caramoor, Ensemble for the Romantic Century, Ensemble ACWJ, Mid America Productions, and The Castleton Festival.

weyandt---headshotMichael Weyandt (baritone) continues to engage audiences with his “virile, ardent” singing and “notable characterizations” in an increasingly diverse repertoire. He has performed under conductors such as James Levine (Guglielmo in Cosi fan tutte, Masetto in Don Giovanni) and Lorin Maazel (Junius in The Rape of Lucretia, Marco in Gianni Schicchi), and his repertoire spans from the hero Fernando in Handel’s first opera, Almira, to standard repertoire, most recently Marcello and Schaunard in La Boheme, to contemporary works, such as the Muse in Clint Borzoni’s When Adonis Calls, Pete Dayton in Olga Neuwirth’s adaptation of David Lynch’s film Lost Highway, and the Reciter in Eight Songs for a Mad King.

woody---headshotJonathan Woody (bass-baritone) is a sought-after performer of new and early music in New York and across the United States. Equally comfortable as soloist and ensemble member, Jonathan is a member of the Grammy®-nominated Choir of Trinity Wall Street, where he has earned praise as “charismatic” and “riveting” from the New York Times for his solo work. Recent highlights include the premiere of Ted Hearne’s The Source at Brooklyn Academy of Music, a nationwide tour of Monteverdi’s Vespers of 1610 with Apollo’s Fire, the 2014 Oregon Bach Festival Vocal Fellowship, and solo engagements with the Washington Chorus, San Diego Bach Collegium, Nashville Symphony, Pegasus Early Music, New Amsterdam Presents, and Spire Chamber Ensemble. He has also shared the stage in recent months with Opera Lafayette, Green Mountain Project, TENET, and the Handel & Haydn Society, and looks forward to upcoming performances with New York Polyphony and New York Baroque Incorporated. Jonathan can be heard on recordings under the labels Musica Omnia, Acis Productions, Naxos & the Wolf Trap Opera Company. He holds degrees from the University of Maryland, College Park, and McGill University and currently resides in Brooklyn, NY.

MUSIC DIRECTORS

henry---headshotMila Henry 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 served as AOP’s Resident Music Director from 2010-2014 (including C&V 2011-13 and 2013-15), and has collaborated on both workshops and world premieres with American Lyric Theater, Beth Morrison Projects (BMP), 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); The Difficulty of Crossing a Field (BMP, Cantaloupe Music release 2015); Day of Wrath (New York Musical Theatre Festival); As One and 2014 Obie Award Winner The World is Round (BAM). A native of the Philadelphia area, she lives in Brooklyn. milahenry.com

Horsted, Kelly hsPianist Kelly Horsted, a native of Sioux City, Iowa, enjoys an active career in NYC as an accompanist, music director and vocal coach specializing in new opera, art song, and role preparation. An enthusiast of new music, Kelly begins a fourth season as a co-music director for the Composers and the Voice series at American Opera Projects in Fall 2013. Kelly’s other AOP projects have included Sheila Silver’s Beauty Intolerable, Tarik O’Regan’s Heart of Darkness, Paula Kimper’s The Bridge of San Luis Rey as well as Rosencrantz and Guildenstern Are Dead, by Hershel Garfein, directed by Mark Morris. Kelly prepared the cast of Patience and Sarah for Lincoln Center Festival premiere. Kelly has collaborated with Center for Contemporary Opera’s Atelier Series, Chelsea Opera, Remarkable Theater Brigade, Opera Company of Brooklyn, Urban Arias, New Jersey Opera Theater, Friends and Enemies of New Music and at NYU’s Tisch Graduate Musical Theater Program. Kelly has taught at Hunter College, Mannes College of Music, and Operaworks. Kelly is currently a faculty member at the Hartt School of Music in Hartford, CT. KellyHorsted.com

charity-headshot thumbCharity Wicks, a pianist and music director who is highly lauded for her versatility, is at ease with a wide range of repertoire, from solo works and chamber music, to contemporary opera and musical theater. She is delighted to return as a music director for AOP’s Composers & the Voice program! Wicks has been involved with many AOP projects, including the world premiere of the opera The Summer King by former C&V composer Daniel Sonenberg, Semmelweis by Ray Lustig, The Golden Gate by Conrad Cummings, as well as the workshops of Stephen Schwartz’s opera Séance on a Wet Afternoon, for which she was also the associate conductor for the world premiere. Wicks has also worked on several Broadway musicals, including WICKED, VIOLET, BIG FISH, NICE WORK IF YOU CAN GET IT, IN THE HEIGHTS and SPRING AWAKENING. She holds a BM and MM from Temple University, and a DMA from The Manhattan School of Music.

C&V ARTISTIC DIRECTOR

osgood, stevenDuring his tenure as Artistic Director of American Opera Projects (2001 to 2008), Steven Osgood created Composers & the Voice, and conducted the world premieres of Paula Kimper and Wende Persons’ Patience & Sarah at the Lincoln Center Festival, and Janice Hamer and Mary Azrael’s Lost Childhood at the International Vocal Arts Institute (Tel Aviv). He has also conducted premieres by Jonathan Sheffer (Blood on the Dining Room Floor), Tan Dun (Peony Pavilion), Xenakis (Oresteia), Missy Mazzoli (Song from the Uproar), Mohammed Fairouz (Sumeida’s Song), and Daron Hagen (Little Nemo in Slumberland). He has served on the Music Staff of the Metropolitan Opera since 2006.  Recent productions include Opera Memphis’ Midtown Opera Festival, Hawaii Opera Theater’s Tosca, and Chautauqua Opera’s Peter Grimes. srosgood.com

Press contact: Matt Gray, AOP Producing Director, email: mgray@operaprojects.org, phone: 718-398-4024
Press material is available at: http://www.operaprojects.org/press

June 15, 2015


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