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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INSIDE Composers & the Voice – January 13th, Part II

February 14, 2014
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Composers & the Voice 2013-2014, Rachel Calloway

This week I was most struck by how perceptions about ourselves as artists – whether performing, creative, or both, led to differing reactions to music.

We began Monday’s session by hearing Deborah Lifton sing a new work by Guy Barash – and she did a fantastic job with Guy’s microtones! Having been nervous about this new challenge, it was amazing to hear how beautifully Deborah incorporated these pitches into the line, and how as listeners, we simply perceive these challenging pitches as part of the melodic line. Since I sing a fair amount of music in varying tuning systems both as a soloist and with my ensemble Ekmeles, I am constantly aware of how listeners are comfortable with, and open to, various tonalities and tuning systems… fascinating, particularly considering how hard we performers work to make this type of intonation as accurate as possible.

C&V Artistic Director Steven Osgood

C&V Artistic Director Steven Osgood

An intriguing conversation ensued about balance- particularly how composers translate what will be an orchestral or chamber piece to the piano. Some composers discussed how the balance of what we hear in the C & V sessions is not what they have in mind for the final piece, which may be scored for singer and orchestra or chamber ensemble. [C&V Artistic Director] Steve Osgood also raised the point of how we must ensure that the audience perceives big orchestral moments in which the singer is intentionally covered as purposeful, rather than an oversight in the balance. As singers it is difficult to know at times whether we’re being covered by the ensemble or riding above it, and we rely completely on the ears of others to make this distinction. Our entire sense of our voices in regard to balance is difficult to gauge.

Another interesting dialogue arose in regard to text, and our impression of both comprehension and diction.  Some in our group are foreign-born or non-native English speakers. Andreia Pinto-Correira raised a question about a particular word which she thought may be difficult to pronounce, but Dominic Armstrong clarified, saying that the word was not an issue for him. Kelly Horsted raised the point of syllabification in Jeremy Gill’s piece. A word which perhaps seemed strangely notated in the score, upon first glance, was actually more comprehensible due to Jeremy’s setting. During Matt Burn’s performance of Joseph Rubinstein’s piece, we again discussed the particular setting of a word and how it might be perceived as another word altogether.

This idea of how things seem continues to intrigue me, in new music most of all. We are constantly engrossed by our sense of self, of who we are as singers, musicians, people. When we perform, our perception of our strengths and weaknesses plays out in all kinds of curious combinations, all of which make our work what it is. And in a premiere, this self awareness contributes to what will be the very first hearing of a new piece of music. On Monday night I was yet again moved by the talents, openness and support in our C & V group. When our personal perceptions lead us to doubt our abilities and performances, this positive and warm environment helps us find our footing and create the best of which we are capable.

“What you see and what you hear depends a great deal on where you are standing. It also depends on what sort of person you are.” ―C.S. Lewis, The Magician’s Nephew

-Rachel Calloway


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