The Wanton Sublime hailed as emotionally captivating and beautifully written

September 4, 2015

The Wanton Sublime, composed by Tarik O’Regan with a libretto by American poet Anna Rabinowitz, focuses on the character of the Virgin Mary as she grapples with the terror of being chosen for a divine purpose. Originally developed in NYC with American Opera Projects, it was just performed at the Grimeborn Festival in East London. Hai Ting Chinn was the star in this one woman opera, conducted by Andrew Griffiths, who lead the Orpheus Sinfonia, and directed by Robert Shaw. A strong, well-rounded production, The Wanton Sublime gives a new voice to a classic figure through powerful text, beautiful melodic lines, a simple production, and atypical instrumentation.

Hai-Ting Chinn in The Wanton Sublime (Grimeborn - Arcola Theatre) © Robert Workman

Hai-Ting Chinn in The Wanton Sublime (Grimeborn – Arcola Theatre)
© Robert Workman

Tim Ashley, writing for The Guardian, applauded the “…bluesy rebelliousness and Monteverdian lyricism…” of Tarik O’Regan’s music in The Wanton Sublime, citing a beautiful moment in which the Virgin Mary is torn between her fear and her faith as “…Chinn sings against a playback of her own voice singing sacred texts…”. Rupert Christiansen of The Telegraph was also impressed by O’Regan’s music, praising its unfaltering heartbeat and melody “…weaving a richly melismatic vocal line into a strikingly coloured orchestral score delicately enhanced by electronic effects. Never sterile or mechanical it seems to have a living organic pulse.”

The What’sOnStage review  by Mark Valencia complemented the music and the characterization of the Virgin Mary calling the opera “…musically rich…and also philosophically absorbing.” Valencia appreciates how Rabinowitz presents Mary as”…a strong young woman who questions, challenges and even defies the God who has slated her to be the mother of Christ.” Tim Ashley (The Guardian) also enjoyed the emotional depth of the opera, “The underlying point, integral to much mystic literature, is that divine intervention has the bewildering potential to shatter lives and identities.” Edward Bhesania’s review for The Stage compliments Rabinowitz’s and O’Regan’s creative partnership as Mary’s character “…begins with incredulity and disdain before finally reaching acceptance, by which point both music and text have attained a more sublime tone.” The EveningStandard review, written by Barry Millington, also applauds their collaboration, stating “…Rabinowitz’s text explores the nervous longings of an idealised iconic figure, complemented by Tarik O’Regan’s inventive and attractive score…”

Hai-Ting Chinn in The Wanton Sublime (Grimeborn - Arcola Theatre) © Robert Workman

Hai-Ting Chinn in The Wanton Sublime (Grimeborn – Arcola Theatre)
© Robert Workman

Valencia (What’sOnStage) also describes the minimalist staging by Robert Shaw “…commendably simple staging presents her as a power dressed young professional who changes midway through into simpler clothes that better assert her individuality. It’s a subtle transition, and beautifully judged.” Edward Bhesania (The Stage) complimented the instrumentation which “…uses a 9 piece band (including electric guitar and rums to underpin the journey of the Virgin Mary figure stripped of her iconic symbolism and grappling in today’s world of her unasked-for role.”

AOP began developing the monodrama in 2009 and co-produced its premiere at Roulette in Brooklyn in 2014. AOP had previously worked with Tarik O’Regan on his first opera Heart of Darkness and with Anna Rabinowitz on Darkling, another operatic adaptation of a book of her poetry. Darkling, music by Stefan Weisman, was commissioned and developed by AOP.

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O’Regan/Phillips open their “Heart” to praise at London premiere

November 11, 2011

"Superb": Alan Oke, right, as Marlow, with the "splendid" Sipho Fubesi, front left, in Tarik O'Regan's The Heart of Darkness. Photograph: Tristram Kenton

The maiden voyage into Heart of Darkness is complete! On November 1, the AOP-developed chamber opera from Tarik O’Regan and Tom Phillips premiered at London’s Royal Opera House in a co-production by ROH2 and Opera East. AOP Artistic Director Charles Jarden, Managing Director and Board President Bob Lee and several members of the AOP Board were there at the Linbury Studio Theater to see the creators take their bows with so much joy and pride that they barely noticed that they were up to their ankles in the set’s water-filled stage.

“This is a show that any opera company in the world would have been proud to present,” said Mr. Lee. “It’s been incredible to watch it grow through our public development process, from libretto to premiere. AOP does really provide something to opera audiences that they can’t get anywhere else – witnessing the creation of a work of art from beginning to end.”

Across the pond here at the AOP office, we have been overwhelmed by the outpouring of positive response from audience and critics alike. Stephen Pritchard from The Guardian/Observer UK  in particular gave an incredible rave:

Workshopped by OperaGenesis and American Opera Projects, it was developed by Opera East and ROH2 ready for its triumphant world premiere last week – 75 minutes of intense, sinister storytelling, combining crystal-clear narrative with complex ideas about idealism and self-delusion… Underpinning all this is a score of concise originality. Restless, leaping woodwind propel the narrative through the murky waters of the Congo, while interesting combinations of sonorities – double bass and classical guitar, for instance – trickle and bubble through the music… Concision is nowhere more evident than in Tom Phillips’s gloriously spare libretto. Drawn entirely from Conrad’s own writing, it hacks through the dense jungle of the author’s prose and elevates it to the status of the finest poetry.

Jeanne Whalen of The Wall Street Journal said, “’Heart of Darkness’ is very good … The English-language libretto by Tom Phillips is beautiful. … If you think of opera as an often bloated, over-wrought art form with hammy plots and acting, you would do well to try this one. It is elegant, moving, and, at just 75 minutes, short enough to allow time for dinner afterward.” And Claire Seymour from Opera Today said that Tarik O’Regan’s “fluent melodic idiom…skillfully evoked place and ambience with precision and impact.” And finally we can’t help but repeat that “preliminary development work with American Opera Projects and ROH 2’s OperaGenesis, reaped dividends for the finished article as jointly presented by Opera East Productions and ROH2.” Nice to know we’re doing it right.

Read The Genesis Foundation’s digest of press reviews for HEART OF DARKNESS.


Tarik O’Regan’s “Latent Manifest” Wows British Audiences

August 17, 2010

Tarik O’Regan, known to AOP audiences as the composer of Heart of Darkness, has just premiered a new piece in London to rave reviews! Part of the BBC Proms 2010 program, the piece, Latent Manifest, is inspired by the prelude to Bach’s solo violin partita no. 3 in C Major, BWV 1005. The piece was performed in Royal Albert Hall by the Royal Philharmonic Orchestra on August 14th, under the baton of Andrew Litton, and broadcast live on BBC 2, BBC HD, and BBC Radio 3.

British publications are applauding O’Regan’s great success:

…a gracefully-controlled meditation on a single Bach phrase.

– Michael Church, The Independent

…[a] personal canvas, taking us a long way from a literal reworking into the realms of evanescent fantasy, with delicately evocative results.

– George Hall, The Guardian

…a beguiling response to response itself – a mirage of intimations and allusions to [O’Regan’s] own experience of hearing Bach’s third solo Violin Sonata.

– Hilary Finch, The Times

Tarik O’Regan’s Latent Manifest ambitiously tried to bring out the implied harmonies and textures of a solo violin piece[…]it created an atmosphere all of its own.

– Paul Gent, The Telegraph

…atmospheric [and] imaginative.

– Richard Fairman, Financial Times

…enjoyable and well written.

– Barry Millington, The Evening Standard

Check out the full piece!

  • Tarik O’Regan’s Latent Manifest ambitiously tried to bring out the implied harmonies and textures of a solo violin piece[…]it created an atmosphere all of its own.

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