Hermitage Artist Retreat and American Opera Projects award Opera Genesis fellowships for 2017-18 season

November 16, 2017

 

The second Opera Genesis Fellowships to composer Joseph Rubinstein and librettist Jason Kim will support the creation of a new opera “Legendary”

Composer Joseph N. Rubinstein and librettist Jason Kim at a 2015 American Opera Projects workshop of their opera Legendary. Photo by Steven Pisano.

The Hermitage Artist Retreat in Englewood, FL and New York City’s American Opera Projects (AOP) announce the second Opera Genesis Fellowships to composer Joseph N. Rubinstein and librettist Jason Kim.

The award includes a six-week Hermitage residency, in which these two artists will work on their new opera Legendary, about the drag balls of the 1980s in New York City. The Opera Genesis Fellowship awards are presented annually to artists who have completed training in AOP’s Composer & the Voice (C&V) training program which helps to develop contemporary American opera.

The first fellowships were awarded to the creative team of Mikael Karlsson and co-librettist and visual designer Elle Kunnos de Voss along with co-librettist Kathryn Walat. Their opera, The Echo Drift, on which they worked during their time at the Hermitage, will premiere at the Prototype Festival in January at Baruch Performing Arts Center, New York City.

Hermitage Executive Director Bruce E. Rodgers remarked that “seeing the program come into being with the announcement of the first recipients was very exciting. We exist to inspire and assist artists in the creation of new work. AOP takes it to the next level so that the work can be presented to the public. We are now seeing the fruition of the first fellowship with the world premiere of The Echo Drift, and are eagerly looking forward to welcoming Joe and Jason.”

Charles Jarden, General Director of American Opera Projects, noted, “seeing how much the development of The Echo Drift benefited from the creators’ time at the Hermitage makes me eager to see what new ideas will be sparked when Joe and Jason find their way there this coming year. With so much faith in these two creative artists, AOP is now in the early stages of negotiation about where Legendary will be brought to its full production in an upcoming season.”

American Opera Projects’ Composers & the Voice is a two-year fellowship for composers and librettists which provides experience working collaboratively with singers on writing for the voice and opera stage. This free training includes 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. Launched in 2002, C&V has fostered the development of sixty-three 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), and The Scarlet Ibis (Prototype 2015, Stefan Weisman). AOP’s C&V program is generously supported by a multi-year award from The Andrew W. Mellon Foundation.

 

ABOUT THE NEW FELLOWS

Joseph N. Rubinstein grew up in Newport News, VA and currently lives in New York City. Joseph’s music is often concerned with dramatic narrative and character, and has been presented by Fort Worth Opera Festival, The Manhattan School of Music Opera Theater, Triad: The Boston Choral Collective, American Opera Projects, The Holy Cross Chamber Singers, The Secret Opera, bass-baritone Matthew Burns at the Spoleto Festival USA, Boston Metro Opera, C4, the Society for New Music, and the Young New Yorker’s Chorus, among others. Recent performances include scenes from Legendary in a 2017 workshop by American Opera Projects, scenes from Legendary on Fort Worth Opera Festival’s 2016 “Frontiers” program, the premiere of “Birthday Song” on Sparks and Wiry Cries inaugural songSLAM, and a new choral work as part of Novi Cantori’s 2017 Composers Forum.  In 2016, he was a fellow in New Dramatists’ Composer-Librettist Studio.  Select works are published by See-A-Dot Music and recorded on 4Tay Records.  He studied music at Columbia University (BA) and The Juilliard School (MM).

Jason Kim is a Korean-born dramatist based in New York City. His immersive musical KPOP recently completed a critically acclaimed sold-out run at Ars Nova Theater. His play The Model American opened the Nikos Stage at the 2017 Williamstown Theatre Festival. His work has been presented at Ma-Yi, Keen Company, Naked Angels, The Flea, Kennedy Center for the Performing Arts, Washington National Opera, Fort Worth Opera, Manhattan School of Music, Spoleto Festival, Opera America, and others. He is an IFP—Marcie Bloom Fellow in Film, a Screenwriters Colony Fellow, a Paul & Daisy Soros Fellow for New Americans, and a Librettist Fellow in American Opera Project’s Composers & The Voice. He is a member of the Ma-Yi Writers Lab and Ars Nova’s Uncharted. He is currently LCT3’s Resident Writer. In television, he has written for HBO’s Girls and Fox’s Gracepoint and has adapted The Middlesteins for Showtime. He is also a Consulting Producer for Love on Netflix. BA Columbia University, MFA New School for Drama. www.waytooserious.com

About the Hermitage Artist Retreat

The Hermitage is a not-for-profit artist retreat located at 6660 Manasota Key Road in Englewood, FL.  It invites accomplished painters, sculptors, writers, playwrights, poets, composers and other artists from all over the world for residencies on its beachfront historic campus. Artists are asked to contribute two services to the community during their stay and as a result, Hermitage artists touch thousands of Gulf Coast community residents with unique and inspiring programs each year. In addition, the Hermitage awards and administers the prestigious Greenfield Prize, an annual $30,000 commission for a new work of art, rotating among three disciplines: visual art, music and drama. The Hermitage also partners with the Aspen Music Festival and School to award the annual Hermitage Prize to a composition student during the Festival. For more information about The Hermitage Artist Retreat, call 941-475-2098 or visit the website at www.HermitageArtistRetreat.org.

About American Opera Projects

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 been a producer on over 30 world premieres, including Kaminsky/Reed/Campbell’s As One (BAM 2014), Lera Auerbach’s The Blind (Lincoln Center Festival 2013), Davis/Pelsue’s Hagoromo (BAM 2015 Next Wave Festival), a dance opera starring Wendy Whelan and Jock Soto, and Paterson/Cote’s Three Way (Nashville Opera and BAM 2017).  www.aopopera.org

AOP Contact: Matt Gray, AOP Producing Director, 718-398-4024, mgray@operaprojects.org

Hermitage Contact: Lisa Rubinstein, lisa@LDRcreative.com or 941-587-3396

Press material is available at: http://aopopera.org/press

 

 

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Announcing the winners of the 2017-19 Composers & the Voice fellowships!

July 20, 2017

AOP (American Opera Projects) and Composers & the Voice Artistic Director Steven Osgood have selected six composers and three librettists to receive fellowships for its upcoming ninth season of Composers & the Voice. The 2017-2019 season will train, and present new works from, composers Matthew Browne, Scott Ordway, Frances Pollock, Pamela Stein LyndeAmber Vistein, and Alex Weiser and librettists Laura Barati, Kim Davies, and Sokunthary Svay. 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 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 prouder of the commissions and premieres that have flowed to the alumni of C&V.”

The fellows were chosen from an extensive pool of applicants by a panel made up of C&V and AOP staff and professional artists that included Osgood, AOP General Director Charles Jarden, AOP Producing Director/C&V Head of Drama Matt Gray, C&V Head of Music Mila Henry, librettist Sara Cooper, singer Amy van Roekel, and composers Conrad Cummings, Jeremy Gill, Jennifer Griffith, Laura Kaminsky, Kristin Kuster, and Gregory Spears.

The Composers & the Voice fellowships include a year of working with the company’s Resident Ensemble of Singers and Artistic Team, 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 (Silent Night, The (R)evolution of Steve Jobs, As One), and two public concerts of new works. This is followed by a year of continued promotion and development through AOP and its strategic partnerships.

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) will serve as the upcoming season’s “Artistic Chairs,” each of whom are assigned a fellow, providing one-on-one artistic advice and career guidance.

Support for AOP’s Composers & the Voice program is provided in part by a grant from The Andrew W. Mellon Foundation.

Bios of C&V fellows, singers, instructors, and music directors available at www.aopopera.org/composers_voice/2017-19.html

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Resident Ensemble of Professional Opera Singers Selected for AOP Training Program

July 13, 2017

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

FOR IMMEDIATE RELEASE

BROOKLYN, NY – AOP (American Opera Projects) announces the six singers who will become its Resident Ensemble for the upcoming ninth season of its Composers & the Voice training program. Comprised of one each of the basic operatic/vocal categories, the singers for the 2017-18 season will be Coloratura Soprano Tookah Sapper, Lyric Soprano Jennifer Goode Cooper, Mezzo-Soprano Blythe Gaissert, Tenor Blake Friedman, Baritone Mario Diaz-Moresco and Bass Adrian Rosas. 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, also serving as C&V’s new Head of Music, and Kelly Horsted 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.

“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.”

In closed workshops from October 2017-April 2018, 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 19 & 20, 2018, in which the singers will perform the composer’s revised and final versions.  Finally, on September 28 & 29, 2018, the AOP Resident Ensemble will perform Six Scenes, an evening of short opera scenes created by the composer-librettist fellows.

Composer Gregory Spears, a fellow in the C&V program from 2007-08 before he created the operas Paul’s Case (2013, UrbanArias world premiere) and Fellow Travelers (2016, Cincinnati Opera world premiere), says that “hearing singers discuss in detail their experience learning and performing a new piece revolutionized the way I write for the voice.”

More information about the 2017-19 Composers & the Voice Series can be found at www.aopopera.org/composers_voice.

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Sopranos Jennifer Goode Cooper and Tookah Sapper finish performing the premiere of a song written in Composers & the Voice at the 2016 First Glimpse concert.

BIOS

RESIDENT SINGERS

View More: http://michaelallenphotography.pass.us/jennifergoodecooperJENNIFER 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). She specializes in crossing genres, as shown in a career fusing opera, Broadway, song, radio, and new works. She can be heard in recording on Albany Records, MSR Classics, and SKG Music. Career highlights: Title role in Floyd’s Susannah (Toledo Opera), Nathaniel Stookey’s Ivonne (Opera Memphis), 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

DiazMoresco Mario-39.1webAn active interpreter of art song, opera and new music, baritone MARIO DIAZ-MORESCO is garnering attention for his versatility and strong stage presence. Mr. Diaz-Moresco studied at the University of Colorado, the University of Southern California, and is currently a member of the Professional Studies Diploma program at the Mannes School, where he is a student of Diana Soviero. He has been a young artist with Central City Opera, The Glimmerglass Festival, Chautauqua Opera and a Stern Fellow at Songfest. Highlights from recent seasons include recitals with pianist Spencer Myer on California’s “ln Concert Sierra” series, the Dame Myra Hess Memorial Series in Chicago and the Rocky River Chamber Music Society of Ohio, in addition to Guglielmo in Cosi fan tutte, The Old Doctor in Vanessa, playing the lead role in Robert Ashley’s Oust, and premiering the song cycle The Wanderlusting of Joseph C. by Joan La Barbara.

Friedman Headshot 2Tenor BLAKE FRIEDMAN has been seen on operatic, concert, and theatrical stages across the country.  His recent appearance as Iago in Rossini’s Otello with LoftOpera earned him praise for “his vast range and clear diction” (NY Observer) and “pliant tenor” (Parterre).  The New York Times said, “The most convincing tenor was that of Blake Friedman as Iago whose voice has a plummy fullness and dusky hue.  His duet with Otello was taut and exciting…”. Other notable New York City performances include: Tenor Soloist in the Liebeslieder Walzer with New York City Ballet, Tenor Soloist at Geffen Hall in Mozart’s Vespri Sollemnes de Confessore, and Singer in Tchaikovsky: None but the Lonely Heart (BAM Fisher).  He has also garnered praise for his “silken and strong” (Tampa Bay Times), “fresh lyric tenor” (OperaNews Online) singing roles such as Jimmy O’Keefe in Later the Same Evening, Conte Almaviva in Barbiere di Siviglia, Nemorino in L’Elisir D’Amore and Alfredo in La Traviata.  He is delighted to rejoin American Opera Projects Composers & the Voice as resident tenor for a second season.

Gaissert 2016 4Mezzo Soprano BLYTHE GAISSERT mezzo-soprano has established herself as a fresh and exciting artist in great demand in the United States and abroad for opera, concert and recital engagements. In the coming 2017-18 season, Ms. Gaissert will be creating the role of Walker Loats in Mikael Karlsson’s cutting edge one woman opera The Echo Drift at the Prototype Festival in NYC in a co-production with AOP, reprising the role of Hannah After in As One with San Diego Opera, and singing Hester Prynne in the professional premiere of The Scarlett Professor at Amherst College, Sadie in Ricky Ian Gordon’s Morning Star at On Site Opera. She is also a member of the alt/classical/rock group The Knells, who will be releasing their second album in Fall of 2017. A champion of new music, Ms. Gaissert has worked with numerous composers and librettists on dozens of new works, and has been a part of American Opera Projects Composers and the Voice series since 2014. Ms. Gaissert has worked with companies such as the Metropolitan Opera, LA Opera, Los Angeles Philharmonic, Opera Colorado, Tulsa Opera, Des Moines Metro Opera, Aldeburgh Festival in England, Lyrique en Mer in France, Opera Southwest, Opera Saratoga, and more.

Rosas, Adrian HeadshotHailed by the New York Times as “a stalwart bass-baritone with a burnished voice” and in Opera News as a “mellifluous bass-baritone [with] theatrical flair,” ADRIAN ROSAS is an emerging young artist with “impressive experience and talent” (The Boston Globe). Mr. Rosas has performed with opera companies such as the Seattle Opera, Opera Theatre of St. Louis, Opera Saratoga, Houston’s Opera in the Heights, and the Detroit Opera House. As a champion of new and modern music, he has had the opportunity to work on a variety of newly written works, including Peter Ash’s The Golden Ticket, Robert Xavier Rodriguez’s Frida, Petr Kotik’s Master-Pieces, Matt Aucoin’s Whitman, newly written operas with the American Lyric Theater in New York, and with the Ostrava Center for New Music in the Czech Republic. Equally versed in concert and oratorio work, he has performed at Carnegie Hall (Stern Auditorium, Weill Recital Hall, and Zankel Hall), Merkin Concert Hall, and Alice Tully Hall. Mr. Rosas holds a Bachelor of Music Degree from Western Michigan University, and a Master of Music Degree from The Juilliard School. Co-Founder and Executive Director of Arts On Site NYC (artsonsite.org), a nonprofit arts organization dedicated to supporting the development of artists and encouraging community collaboration.

Sapper Tookah - HeadshotCherokee soprano TOOKAH SAPPER, from Oklahoma City, holds a Master of Music degree in Vocal Performance from Manhattan School of Music and a Bachelor of Music degree in Vocal Performance with a Minor in Collaborative Piano from University of Central Oklahoma. This summer, she will perform with The Chautauqua Opera Company as a Studio Artist for their 2017 season. This past spring, she performed as a member of the Princeton Singers, under the direction of Steven Sametz. She performed and collaborated with American Opera Projects as a member of their Resident Ensemble for the 2015/16 season of Composers & The Voice. In fall of 2015, she appeared in Sonic Blossom, an interactive performance exhibit at the Metropolitan Museum of Art, working with artist Lei Mingwei. She currently plays piano at the Princeton Ballet School and is a Cantor and Choral Scholar at St. John the Evangelist in Lambertville, NJ. MSM credits include: Cendrillon (Feé), Albert Herring (Cis), Schubert’s Mass in G Major (Soloist), Mozart’s C Minor Mass (Soprano II Soloist). 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.

C&V ARTISTIC DIRECTOR

osgood, stevenSTEVEN OSGOOD is General and Artistic Director of Chautauqua Opera, where the 2017 season will feature new productions of Don Pasquale, Hydrogen Jukebox, and the US stage premiere of Ottorino Respighi’s realization of Monteverdi’s Orfeo.   As Artistic Director of American Opera Projects (2001 to 2008) he 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 in Tel Aviv.  In 2014, he conducted AOP’s acclaimed premiere of As One by Laura Kaminsky, Mark Campbell and Kimberly Reed.  He has conducted premieres by Tan Dun, Iannis Xenakis, David T. Little and Daron Hagen, among others.  He has served on the Music Staff of the Metropolitan Opera since 2006.  Most recently he conducted the world premiere of Breaking the Waves by Missy Mazzoli and Royce Vavrek for Opera Philadelphia.

MUSIC DIRECTORS

henry---headshotLauded for her “sublime” playing (Feast of Music) and heralding orchestral scores of “incredible range and color” (OperaPulse), pianist MILA HENRY is returning to Composers & the Voice for her fourth season, now as both music director and Head of Music. An integral member of New York’s contemporary opera community, she frequently collaborates with Beth Morrison Projects, PROTOTYPE, American Lyric Theater and American Opera Projects, where she was Assistant Conductor for the premieres of As One (BAM), The Blind (Lincoln Center Festival) and Harriet Tubman: When I Crossed That Line to Freedom (Irondale Center). She has performed at LA Opera (Thumbprint), Opera Philadelphia (We Shall Not Be Moved, September 2017) and the Library of Congress (OPERA America’s Fierce Grace: Jeannette Rankin); served as Vocal Director for Ripe Time’s Obie-winning The World is Round (BAM); and appeared on VisionIntoArt’s FERUS Festival, National Sawdust’s Spring Revolution Festival and the New York Musical Festival. milahenry.com

Horsted, Kelly hsKELLY HORSTED enjoys an active career in NYC as an accompanist and vocal coach. Collaborations with AOP have included Sheila Silver’s Beauty Intolerable, Herschel Garfein’s Rosencrantz and Guildenstern Are Dead, directed by Mark Morris, Tarik O’Regan’s Heart of Darkness, and Paula Kimper’s Patience & Sarah for the Lincoln Center Festival. He has also collaborated with Chelsea Opera, Center for Contemporary Opera, Opera Company of Brooklyn, Wintergreen Festival, New Jersey Opera Theater, Friends and Enemies of New Music, Five Words in a Line and the Graduate Musical Theater Writing program at the Tisch School. He is a coach at the Hartt School of Music, and has also taught at Mannes College of Music, Hunter College, Intermezzo, Five Towns College and OperaWorks. His Bachelor and Master of Music degrees are from the Eastman School of Music. Kelly has been a music director for Composers & the Voice since 2006. KellyHorsted.com

 

Press contact: Matt Gray, AOP Producing Director, email: mgray@operaprojects.org, phone: 718-398-4024

Press material is available at: www.aopopera.org/press


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.


Nine leading opera creators to mentor Composers & the Voice fellows

November 20, 2015

C&V Chairs

BROOKLYN, NY – AOP (American Opera Projects) announces the nine “Artistic Chairs” who will provide one-on-one guidance to the Fellows of the 2015-16 Composers & the Voice training program.  Professional artists of high repute from the worlds of opera and musical theatre, the selected Chairs for the eighth season of Composers & the Voice are composers Ricky Ian Gordon (27, A Coffin in Egypt), Daron Hagen (Amelia, Shining Brow), Tobias Picker (American Tragedy, Dolores Claiborne), David T. Little (Dog Days, Soldier Songs) and Missy Mazzoli (Song from the Uproar, Vespers for a new Dark Age), librettists Michael Korie (Harvey Milk, Hopper’s Wife), Gene Scheer (An American Tragedy, Moby Dick), Royce Vavrek (JFK, Dog Days) and composer-librettist Stephen Schwartz (Wicked, Séance on a Wet Afternoon).

The Composers & the Voice workshop series is a competitive biannual fellowship offered to composers, librettists, and composer/librettist teams that provides experience writing for the voice and opera stage. Created and led by Composers & the Voice Artistic Director Steven Osgood, the two-year fellowship includes 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. Since launching in 2002, C&V has fostered the development of 44 composers & librettists.

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 & the Voice Chairs” make themselves available to our fellows for one-on-one discussions and feedback. Past chairs have included composers Mark Adamo, John Corigliano, Tan Dun, Jake Heggie, Lee Hoiby, Libby Larsen, John Musto, Richard Peaslee, Kaija Saariaho, and librettist Mark Campbell.

Librettist Mark Campbell (The Manchurian Candidate, Silent Night) gives a lecture to the 2015-16 C&V fellows. Photo by Steven Pisano for AOP.

Librettist Mark Campbell (The Manchurian Candidate, Silent Night) gives a lecture to the 2015-16 C&V fellows. Photo by Steven Pisano for AOP.

The composers and librettists selected for the eighth season began their year-long fellowship starting in September working closely with the company’s Resident Ensemble of Singers, an artistic team of music directors, guest composers, and instructors in drama and improvisation. All sessions are held in Fort Greene, Brooklyn, home of AOP. More information on this season’s participants can be found at www.aopopera.org/composers_voice.

Composers & the Voice is made possible in part by a generous multi-year award from The Andrew W. Mellon Foundation. The Victor Herbert Foundation sponsors one fellowship as The Victor Herbert Foundation Composers & The Voice Chair, created in memory of longtime opera supporter Lois C. Schwartz.


Gordon RickyRicky Ian Gordon (b. 1956 in Oceanside, NY) studied piano, composition and acting, at Carnegie Mellon University. After moving to New York City, he quickly emerged as a leading writer of vocal music that spans art song, opera, and musical theater. A highly prolific composer, Ricki Ian Gordon’s recent catalog includes Morning Star (2014, libretto by William Hoffman, Cincinnati Opera), 27 (2014, libretto by Royce Vavrek, Opera Theatre of St. Louis), A Coffin In Egypt (2014, libretto by Leonard Foglia, Houston Grand Opera, The Wallis Annenberg Center for the Performing Arts, and Opera Philadelphia), Rappahannock County (2011, libretto by Mark Campbell, Harrison Opera House), Sycamore Trees (2010, libretto by composer), and The Grapes of Wrath (2007 and 2010, libretto by Michael Korie, 2007, Minnesota Opera, 2010, The American Symphony Orchestra). Additional works: Green Sneakers (2008, libretto by the composer, Miami String Quartet), Orpheus and Euridice (2005), My Life with Albertine (2003), Night Flight To San Francisco and Antarctica (2000) from Tony Kushner’s Angels In America, Dream True (1999), States Of Independence (1992), The Tibetan Book of the Dead (1996), Only Heaven (1995). Upcoming and recent projects include the opera Intimate Apparel with Playwright, Lynn Nottage as a commissions from New York’s Metropolitan Opera, and an opera based on Giorgio Bassani’s novel, The Garden of the Finzi Continis with librettist Michael Korie. http://rickyiangordon.com


 

Hagen DarenDuring the course of his thirty-five years on the scene, Daron Hagen has become one of the most comprehensively experienced and knowledgeable theater composers of our time. Of his eleven regularly-revived operas, he has co-written all of the treatments, co-written several of the libretti, written the book and lyrics for his own commercial musical, stage directed several, conducted the cast recordings and premières of several, coached them all from the piano, and supervised set and lighting teams executing his designs. He has extensive experience playing in opera and musical theater pit orchestras, from the regional bus-and-truck level to Broadway; he’s served as a copyist, proofreader, arranger, and editor on Broadway, ghost-written film scores, and executed electro-acoustic soundscapes for integration into his own theatrical scores. He has served as a dramaturgical consultant for a dozen major operatic projects. Hagen has composed new works for the New York Philharmonic, Seattle Symphony and Opera, National Symphony, Philadelphia Orchestra, Houston Symphony, and Buffalo Philharmonic. Collaborators include Nathan Gunn, Kate Lindsey, Robert Orth, Stephen Wadsworth, Leonard Bernstein, Robert Spano, JoAnn Falletta, Gary Graffman, Jaime Laredo, and Gerard Schwarz in premieres at the Louvre, Royal Albert Hall, and the Ullens Center (Beijing). He graduated Curtis and Juilliard. http://daronhagen.com


 

KORIE MichaelMichael Korie is a Tony-nominated American lyricist and librettist. Writing for musical theater, he created the lyrics to composer Scott Frankel’s music for Grey Gardens, Far From Heaven, Doll, Happiness, and Meet Mister Future. Their scores have been nominated for Tony and Drama Desk Awards, received The Outer Critics Circle Award, and have been produced on Broadway, Playwrights Horizons, Lincoln Center Theater, throughout the USA, in Europe and South America. In winter of 2016, Grey Gardens will make its London premiere. For opera, Korie adapted John Steinbeck’s novel for the libretto to The Grapes of Wrath, composer Ricky Ian Gordon, and created the original librettos to operas with composer Stewart Wallace including Harvey Milk, Hopper’s Wife, Where’s Dick?, and Kabbalah. His opera works have been produced at San Francisco Opera, Houston Grand Opera, Minnesota Opera, New York City Opera, BAM Next Wave Festival, Carnegie Hall, and Disney Los Angeles Symphony Hall. Concert works include Gay Century Songbook with composer Larry Grossman at Carnegie Hall, and Positions 1956 with Composers & the Voice alumni composer Conrad Cummings at The Knitting Factory and Urban Arias. Korie’s lyrics have received the Edward Kleban Prize, Jonathan Larson Award, and the ASCAP Richard Rodgers Award. http://michaelkorie.com


 

Little David TDavid T. Little is “one of the most imaginative young composers” on the scene (The New Yorker) with “a knack for overturning musical conventions” (The New York Times). His operas Soldier Songs (PROTOTYPE) and Dog Days (Peak Performances/Beth Morrison Projects) have been widely acclaimed, “prov(ing) beyond any doubt that opera has both a relevant present and a bright future” (NYTimes). Recent/upcoming works include the grand opera JFK with Royce Vavrek (Fort Worth Opera/ALT), a new opera commissioned by the MET Opera/Lincoln Center Theater new works program, the music-theatre work Artaud in the Black Lodge (Beth Morrison Projects), AGENCY (Kronos), CHARM (Baltimore Symphony / Marin Alsop), Haunt of Last Nightfall (Third Coast Percussion), Hellhound (Maya Beiser), and new works for the London Sinfonietta, The Crossing/ICE, and eighth blackbird/The Kennedy Center. His music has been heard at LA Opera, Carnegie Hall, Park Avenue Armory, Bang On a Can Marathon, BAM, and Holland Festival, and 2015-16 brings performances at Atlanta Opera, LA Philharmonic, NYFOS, PROTOTYPE, Theater-Bielefeld, Theater-Schwerin, and more. Educated at Princeton and the University of Michigan, Little is co-founder of the New Music Bake Sale, serves on the Composition Faculty at Mannes-The New School, and is Composer-in-Residence with Opera Philadelphia, Gotham Chamber Opera and Music-Theatre Group. The founding artistic director of the ensemble Newspeak, his music can be heard on New Amsterdam and Innova labels. He is published by Boosey & Hawkes. www.davidtlittle.com


 

Mazzoli MissyRecently deemed “one of the more consistently inventive, surprising composers now working in New York” (New York Times) and “Brooklyn’s post-millennial Mozart” (Time Out New York), Missy Mazzoli has had her music performed globally by the Kronos Quartet, eighth blackbird, New York City Opera, the Minnesota Orchestra and many others. She is Composer-in-Residence with Opera Philadelphia, Gotham Chamber Opera and Music Theatre-Group, and in 2011-2012 was composer-in-residence with the Albany Symphony. In February 2012 Beth Morrison Projects presented Song from the Uproar, Missy’s first multimedia chamber opera, which had a sold-out run at venerable New York venue The Kitchen. The Wall Street Journal called this work “both powerful and new”, and the New York Times claimed that “in the electric surge of Ms. Mazzoli’s score you felt the joy, risk and limitless potential of free spirits unbound.” Recent months included the premiere of an extended work for her ensemble Victoire and Wilco drummer Glenn Kotche, commissioned by Carnegie Hall, and new works performed by pianist Emanuel Ax, Kronos Quartet, the LA Philharmonic and the Detroit Symphony. With librettist Royce Vavrek, Missy is currently working on an operatic adaptation of Breaking the Waves, a 1996 film by Lars von Trier. Breaking the Waves will premiere at Opera Philadelphia in 2016. Missy recently joined the faculty at Mannes College of Music, and her works are published by G. Schirmer. http://missymazzoli.com


 

picker tobias

Tobias Picker, called “our finest composer for the lyric stage” (The Wall Street Journal), has composed works in all genres including five operas to date. Picker’s operas have been commissioned by the Santa Fe Opera, (Emmeline), The LA Opera, (Fantastic Mr. Fox), The Dallas Opera, (Thérèse Raquin), San Francisco Opera (Dolores Claiborne), and The Metropolitan Opera (An American Tragedy). His operas have gone on to be produced by New York City Opera, San Diego Opera, L’Opera de Montreal, Chicago Opera Theater, Covent Garden, Opera Holland Park, English Touring Opera and many other distinguished companies. In addition, Picker has composed numerous concert works, commissioned and performed by the greatest orchestras, ensembles and concert artists of our time, including the BBC Symphony Orchestra, Chicago Symphony, Cleveland Orchestra, Helsinki Philharmonic, L’Orchestre de Paris, Munich Philharmonic, National Symphony Orchestra, New York Philharmonic, Opéra de Montréal, Philadelphia Orchestra, San Francisco Symphony, Vienna RSO, and Zurich Tonahalle, among others. His concert works include three symphonies, four piano concertos as well as concertos for violin, viola, cello, and oboe, and numerous other compositions. Mr. Picker has received numerous awards and prizes, including a Charles Ives Scholarship and Guggenheim Foundation Fellowship, and was elected to the American Academy of Arts and Letters in 2012. http://tobiaspicker.com


 

Scheer, GeneGene Scheer’s work is noted for its scope and versatility. With the composer Jake Heggie he has collaborated on a number of different projects, including the critically acclaimed 2010 Dallas Opera world premiere, Moby-Dick, starring Ben Heppner as Captain Ahab; Three Decembers (Houston Grand Opera), which starred Frederica von Stade; and the lyric drama To Hell and Back (Philharmonia Baroque Orchestra), which featured Patti LuPone. Other works by Scheer and Heggie include Camille Claudel: Into the fire, a song cycle premiered by Joyce di Donato and the Alexander String Quartet. Mr. Scheer worked as librettist with Tobias Picker on An American Tragedy, which premiered at the Metropolitan Opera in 2005. Their first opera, Thérèse Raquin, written for the Dallas Opera in 2001, was cited by Opera News as one of the ten best recordings of 2002.  Other recent collaborations include the lyrics for Wynton Marsalis’s It Never Goes Away, featured in Mr. Marsalis’s work Congo Square.  With the composer Steven Stucky, Mr. Scheer wrote the oratorio August 4, 1964. The work, recently nominated for a Grammy, was premiered by the Dallas Symphony Orchestra in 2008 and last season was performed by the orchestra, with Japp von Sweeden conducting, at Carnegie Hall. Also a composer in his own right, Mr. Scheer has written a number of songs for singers such as Renée Fleming, Sylvia McNair, Stephanie Blythe, Jennifer Larmore, Denyce Graves, and Nathan Gunn.  http://genescheer.com


Schwartz_Stephen_Schwartz01New York City native Stephen Schwartz has been a major force in the American Musical Theater since the early 1970’s, when he had three hit shows running on Broadway: Godspell (recipient of two Grammy Awards), Pippin, and The Magic Show. Schwartz went on to write the music and lyrics for The Baker’s Wife and contributed four songs to a musical version of Studs Terkel’s Working. More recently, he composed lyrics and music to the long-running Broadway smash, Wicked, which brought him another Grammy. Schwartz has become one of the best-known creators of animated film music, contributing Academy Award-winning lyrics to Disney’s The Hunchback of Notre Dame and Pocahontas, and writing both the music and lyrics for DreamWorks’ Prince of Egypt which included the Academy Award-winning song, “When You Believe.” The song score of the 2007 film, Enchanted, contained three Oscar-nominated songs by Schwartz and composer Alan Menken. Among Schwartz’s best-known songs are “Corner of the Sky,” “Just Around the Riverbend,” “Colors of the Wind,” “Defying Gravity” and “Popular.” His first opera, Séance on a Wet Afternoon, was developed by American Opera Projects in its Frist Chance program. It premiered at Opera Santa Barbara in the fall of 2009 and was later produced by New York City Opera. http://stephenschwartz.com


 

Vavrek Royce

Royce Vavrek is a Brooklyn-based writer of opera, musical theater, and concert works.  His notable lyrics/libretti include Dog Days, Am I Born and Vinkensport, or the Finch Opera with David T. Little; 27 with Ricky Ian Gordon; Song from the Uproar with Missy Mazzoli; O Columbia with Gregory Spears; Strip Mall with Matt Marks; Yoani and The Hubble Cantata with Paola Prestini; Violations with Hannah Lash; and The Hunger Art and Maren of Vardø with Jeff Myers.  Upcoming projects include Stoned Prince with Hannah Lash for American Opera Projects; JFK with David T. Little for Fort Worth Opera/American Lyric Theater; Angel’s Bone with Du Yun for the Prototype Festival; Midwestern Gothic with Joshua Schmidt for Signature Theatre, Virginia; The Wild Beast of the Bungalow with Rachel Peters for Center for Contemporary Opera; Knoxville: Summer of 2015 with Ellen Reid for the University of Tennessee, Knoxville; Epistle with Julian Wachner for VisionIntoArt; The House Without a Christmas Tree with Ricky Ian Gordon for Houston Grand Opera and Breaking the Waves, an adaptation of the film by Lars von Trier, with Missy Mazzoli for Opera Philadelphia/Beth Morrison Projects. Royce is Co-Artistic Director with soprano Lauren Worsham of the opera-theater company The Coterie, and an alum of the Mel Hoppenheim School of Cinema at Concordia University (Montreal), the Graduate Musical Theater Writing Program at NYU, and American Lyric Theater’s Composer Librettist Development Program.


ABOUT THE PRODUCER

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). 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’s Paul’s Case at Urban Arias (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).  www.aopopera.org


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).


Applications for Composers & the Voice 2015-17 available March 16

February 25, 2015

American Opera Projects (AOP) announces the return of its popular Composers & the Voice program for its 2015-17 seasons. Created and led by Composers & the Voice Artistic Director Steven Osgood, composers, librettists, and composer/librettist teams will be selected for a two-year fellowship that includes 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.  All sessions will be at AOP’s home base in Fort Greene, Brooklyn. Applications and complete information will be available beginning March 16 at www.operaprojects.org/composers_voice. The deadline for applications is May 15 with fellowships announced by July 1.

The primary focus of Composers & the Voice is to give composers and librettists experience working collaboratively with singers on writing for the voice and opera stage.  The workshop sessions between September 2015 and April 2016, 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” 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).

Fellows from the seventh season of Composers & the Voice in a workshop session. Brooklyn, NY. Photo by Ted Gorodetzky

Fellows from the seventh season of Composers & the Voice in a workshop session. Brooklyn, NY. Photo by Ted Gorodetzky

“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.

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. Previous C&V works at MSM have included Jack Perla’s Love Hate (2012 premiere, ODC Theater with San Francisco Opera), Gregory Spears’ Paul’s Case (World premiere, UrbanArias (2013) and PROTOTYPE Festival (Jan 2014)), and Daniel Sonenberg’s The Summer King (concert premiere, PortlandOvations, May 2014).

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).

Since launching in 2002, C&V has fostered the development of 44 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), and The Scarlet Ibis (PROTOTYPE 2015, Stefan Weisman).

Past 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.

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.

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 also conducted premieres by Laura Kaminsky (As One), Stefan Weisman (The Scarlet Ibis), Kamala Sankaram (Thumbprint), 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.  Upcoming productions include Glory Denied (Opera Memphis), Three Decembers (Atlanta Opera), and The Long Walk (world premiere, Opera Saratoga).


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