AOP to present the complete video of the 2014 world premiere of As One for one week

June 21, 2017
FOR IMMEDIATE RELEASE
June 21, 2017

TO CELEBRATE LGBTQ PRIDE, AMERICAN OPERA PROJECTS PRESENTS THE COMPLETE VIDEO OF THE 2014 WORLD PREMIERE OF AS ONE – “A TRANSGENDER STORY WITH POWER, PASSION”

The popular chamber opera by Laura Kaminsky, Mark Campbell, and Kimberly Reed will be screened to the public June 23-30 on the AOP website.

Premiere production at BAM features mezzo-soprano Sasha Cooke and baritone Kelly Markgraf sharing the role of the transgender protagonist.

 

BROOKLYN, NYIn celebration of LGBTQ Pride Month, American Opera Projects (AOP) will make available to the public the video of their 2014 World Premiere production of the opera As One from June 23-30, 2017 on the AOP website at www.aopopera.org/AsOne/worldpremiere.  As One, with music and concept by Laura Kaminsky, an original libretto by Mark Campbell and Kimberly Reed, and film by Ms. Reed chronicles the experiences of a transgender person with empathy and wit as she emerges into harmony with the world around her.

As One has become one of the most produced contemporary American operas written in the past 50 years with eight new productions around the country (and one in Berlin, Germany) in the three years since its premiere and at least eight more scheduled for the 2017-18 season, including San Diego Opera, Des Moines Metro Opera and Hawaii Opera Theatre.

AOP developed and commissioned the one-act chamber opera specifically for internationally-acclaimed singers (and real-life husband and wife) Kelly Markgraf, baritone, and Sasha Cooke, mezzo-soprano, who shared the role of the protagonist Hannah in the world premiere production at BAM (Brooklyn Academy of Music), directed by Ken Cazan, conducted by Steven Osgood, and featuring the Utah-based Fry Street Quartet. The production design by David Jacques includes film by Kimberly Reed, director of the award-winning documentary, Prodigal Sons. Costume design was by Sara Jean Tosetti.

Reviewing the world premiere, The New York Times said, “As One forces you to think, simultaneously challenging preconceptions and inspiring empathy.” Subsequent productions earned the opera additional critical praise: “The real secret of the opera’s success… is that under everything lays a winning coming-of-age story. … By moving beyond the daily news, As One approaches admirable universality.” (The Los Angeles Times); “a transgender story with power, passion … beautiful lyrical moments… as uplifting as any operatic ending could be.” (Seattle Times); “A thoughtful and substantial piece as well as that rarest of operatic commodities — a story that lends itself to dramatization in music.” (The Washington Post); “As One is the hottest title in opera right now … An accomplished bit of art-making, with considerable entertainment value, that thrusts itself smack into the current political and social discourse.” (The Denver Post)

In addition to As One, Brooklyn-based opera producer American Opera Projects has developed and produced numerous LGBTQ-themed works including the 1998 Lincoln Center Festival world premiere of Patience & Sarah by Paula Kimper and Wende Person, one of the first operas about a gay relationship.

“While AOP’s roster of LGBTQ operas is growing, clearly in our era there is still significant progress to be made,” says AOP Producing Director Matt Gray. “Opera has unfortunately been late to embrace contemporary works, especially ones that address current events and lifestyles. But it is encouraging to see that more and more opera companies recognize the need to present stories that reflect contemporary issues and portray a diversity of characters.” In recent years, audiences have seen successful premieres of LGBTQ-themed operas such as Paul’s Case, Before Night Falls, and A Letter to East 11th Street – all having received development in AOP’s First Chance program – as well as Fellow Travelers, Three Decembers, Brokeback Mountain, Prince of Players, Champion, and Angels in America. Gray continues, “For us to empathize with the struggles of others there can be no art form where their stories are not told. AOP holds as a goal that a proliferation of these stories will allow opera audiences to recognize that the conflicts and lives of every person are relatable. And that the discovery of those inherent, relatable truths of our unified humanity makes enlightening, and exciting, entertainment.”

For more information about transgender issues please visit the GLAAD WEBSITE.

AS ONE photo 3 by Ken Howard for AOP

Baritone Kelly Markgraf (left) and mezzo-soprano Sasha Cooke shared the role of the transgender protagonist Hannah in the 2014 world premiere of As One, an opera by Laura Kaminsky, Kimberly Reed, and Mark Campbell. Photo by Ken Howard.

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PRESS CONTACT:  Matthew Gray, AOP Producing Director, 718-398-4024, mgray@operaprojects.org
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UrbanArias to feature AOP operas LUCY and THE BLIND in upcoming season

July 27, 2016

UrbanArias, the bold and exciting presenter of contemporary opera in the Washington D.C. area, has announced productions of two AOP operas as part of their 2016-17 seasonLucy: A Memory Opera, by composer John Glover and librettist Kelley Rourke, and The Blind, director John La Bouchardière‘s immersive production of composer Lera Auerbach‘s a cappella opera. Under the leadership of founder Robert Wood, UrbanArias’ has been fulfilling its mission “to expose DC-area audiences to engaging, accessible, entertaining operas, and to provide a venue at which both established and emerging composers can present their shorter works” since its creation in 2011.

“…in Kelley Rourke’s and John Glover’s haunting new chamber opera… ‘Lucy’ becomes a potent exploration of the divide between human and animal.” – Milwaukee Mag

Developed by AOP First Chance in early workshopsLucy: A Memory Opera is a multi-media work of music-theater for baritone and chamber ensemble in one 70-minute act that tells the story of psychologist Maurice Temerlin who, along with his wife Jane, adopted a day-old chimpanzee in the sixties. Naming her Lucy, their intention was to raise her “as much as possible as though she were a human being”. Lucy learns to dress herself, eat with silverware, make tea for guests, look at magazines, communicate through sign language and enjoy cocktails. As Temerlin struggles to hold on to memories of a happy, albeit unconventional, family life, documentation from the experiment challenges him to come to terms with the project’s ultimate consequences.

Upon its premiere by Milwaukee Opera Theater in 2014 (which also commissioned the opera), On Milwaukee called the opera “an incredible triumph” and “absolutely mesmerizing.” UrbanArias will present the East Coast premiere of Lucy on April 1, 2, 7 and 8, 2017 at the Atlas Performing Arts Center.

AOP First Chance Workshop Performance of Lucy: December 10, 2010 at the Greene Space at WNYC

“Adventurous, eerie and thoroughly engaging” – The New York Times on the 2013 world premiere of THE BLIND.

At a lonely clearing in a wood, a group of blind people await the return of a priest who led them there in order to enable them to enjoy the last rays of the sun before the beginning of winter. Only the sound of the nearby sea can be heard. The longer they wait, the more restless the blind people become; in their desperation they realize that they are helpless and cannot move from their place. Their fear escalates to naked terror when they make a morbid discovery.

Premiered by AOP and Lincoln Center Festival in 2013, director John La Bouchardière’s reimagining of composer Lera Auerbach’s a cappella opera immerses the audience in the story by blindfolding them and placing them amongst the protagonists. Denying all the power to see and situating the voices within the audience, the performance unfolds in a shifting surround-sound world, in which non-visual senses are heightened as the smells of the forest, the feeling of sea breezes, the cold falling snow and Auerbach’s music enfold them. UrbanArias will present The Blind on June 3, 4, 9, 10 and 11, 2017 at Signature Theatre.

AOP/Lincoln Center Festival 2013 World Premiere of The Blind at  Stanley H. Kaplan Penthouse.

The two operas in the upcoming season will continue AOP’s close presenting partnership with UrbanArias, following last year’s new production of AOP’s As One the world premiere of the AOP-developed She After, and their 2012 world premiere of the AOP-developed Paul’s Case, a production that made its NYC premiere at the PROTOTYPE Festival in 2014. In addition to Lucy and The Blind, UrbanArias 2016-17 season includes Michael Nyman’s The Man Who Mistook His Wife For a Hat in October.


“Opera has come a long way, baby” with the D.C. premiere of AS ONE

October 23, 2015
As One Luis Alejandro Orozco Ashley Cutright by C. Stanely Photography 1

Luis Alejandro Orozco and Ashley Cutright in As One from UrbanArias (Photo: C. Stanley Photography)

“The opening scene of the opera As One, produced by UrbanArias, beautifully establishes a work that is both universal and timely in its experience and a metaphor for the fluidity of identity of a male and female in one body.” Susan Galbraith writes in her review for DC Theater Scene.

As One, a monodrama for two singers, illustrates the struggle of the transgender protagonist Hannah as she battles with the mismatch of how she feels and how her body appears. Composer Laura Kaminsky, librettists Mark Campbell and filmmaker-librettist Kimberly Reed created an opera which delves deep into ones definition of self with great simplicity in production and instrumentation. As One was developed and produced by American Opera Projects who have also been instrumental in getting As One performed in California and D.C. UrbanArias held performances of As One on October 3, 4, 9 and 10 at the Atlas Performing Arts Center in Washington DC. The production was led by director Octavio Cardenas, and conductor and head of UrbanArias, Robert Wood.

Anne Midgette, reviewer for Washington Post, praised the production’s subject matter “…a thoughtful and substantial piece as well as that rarest of operatic commodities – a story that lends itself to dramatization in music.” The DC Theater Scene review, written by Susan Galbraith, states “The complexity of human experience is powerfully evoked in a way only opera can with the dense layering of music, words, stage pictures, and, in this case, film.” Galbraith was also enamored with the production writing “The set design by Adam Crinson was quite beautiful and used the Sprenger space …. to great advantage.” DC Metro Theater Arts reviewer John Stolthberg commends the production, writing “its simplicity – 4 musicians, two singers – was for me a source of its success as theater” while Susan Galbraith wrote As One “…reveled in giving voice to shared human experiences…”

As One Luis Alejandro Orozco Ashley Cutright by C. Stanely Photography 2

Luis Alejandro Orozco and Ashley Cutright in As One from UrbanArias (Photo: C. Stanley Photography)

Reviews agreed Kaminsky’s music painted the text and Hannah’s internal emotions. Anne Midgette compliments Kaminsky’s text setting saying she “…writes well for the voice, and the diction was exemplary, so you didn’t miss a word.” Stolthberg remarks on how the vocal line helps remove the usual gender binary in vocal music, “As One models…a multi-octave aural word within which ones pitch when one sings…need have no either/or, it need have only the glory of song.” The DC Metro Theater Arts review goes on to describe the vocal lines as “…a singular self whose lyrical introspections, contrapuntal exchanges, inter-knit vocal lines, and overlapping ranges become a pulsing metaphor for the multidimensional universe of human sexedness.” and reflects on “…rare moments when they [Hannah Before and Hannah After] sing exactly [the] same note – literally as one – effect is sublime.”

In addition to great vocal writing, Midgette notices how Laura Kaminsky’s orchestral writing reflects Hannah’s journey, “…Kaminsky’s effective, direct music – evoking now fiddling and Americana; now, through halting dissonances, the pain of a difficult place in the rod; now, thro
ugh the juxtaposition of plucked violin and singing cello, the exploration of two voices merging into a single identity.”

The opera clearly benefited from the wonderful performances by Luis Alejandro Orozco (Hannah Before) and Ashley Cutright (Hannah After). Stothberg praises them in his review saying they “Orozco and Cutright play…the very same self, learning to love themself, and they do so with such exquisite subtlety that I was blown away.” Galbraith was also struck with the singers “Both singers possess powerful voices and sing and move with extraordinary expression and poetic interactions…these two performers might well have been taken as dancers in their fluidity. they are endlessly watchable…”

It is a rare production which contains model composition, direction, and beautiful acting and singing. Galbraith finishers her review “As One charters new territory in theme and content of ‘what makes an opera’. It is a fascinating and promising chamber work and deserves serious attention.”

Read more about the opera at AOP’s As One page.

Washington Post review by Anne Midgette

DC Theatre Scene review by Susan Galbraith

DC Metro Theater Arts review by John Stolthberg


MUSIC OF OPERA COMPOSER CONRAD CUMMINGS PRESENTED IN ONE-NIGHT-ONLY CONCERT

August 15, 2014

EVENING TO FEATURE TWO PREMIERE WORKS

 

NEW YORK, NY — – American Opera Projects and LivelyWorks present Two Premieres and a Reunion, a special evening of music by composer Conrad Cummings Wednesday September 10th, 2014 at 7:30 p.m. at The National Opera Center, 330 Seventh Avenue, Manhattan. Tickets are $15 available online at https://twopremieres.eventbrite.com or $20 at the door. A reception with the artists will follow the concert.

The performance features premieres of two commissioned works: the theatrical song cycle Thoroughfare, written for Metropolitan Opera tenor Keith Jameson with lyrics by Mark Campbell; and the virtuoso concert piece Golden Gate Fantasy, written for award-winning violinist Gregory Fulkerson.

Also featured are two concert duets reuniting frequent Cummings collaborators Jesse Blumberg and Hai-Ting Chinn: Before The Golden Gate, with lyrics by Vikram Seth; and From Positions 1956, with lyrics by Michael Korie. Long-time Cummings collaborator, Charity Wicks, is the pianist for all four works.

Cummings composed Before The Golden Gate as a preparation – a “writing into” – the full-length opera based on Vikram Seth’s novel in verse. Hai-Ting Chinn and Jesse Blumberg have both been frequent collaborators of Cummings’s, and each has sung a role in The Golden Gate, but never at the same time. Here they interweave the voices of multiple characters in an abstract evocation of the novel’s dark lyricism. From Positions 1956 takes moments from Cummings’s and Michael Korie’s opera drawn from instructional manuals of the 1950’s, particularly marriage manuals, and casts them into a concert piece customized for these two interpreters.

Golden Gate Fantasy is a 21st century take on a 19th century form: the virtuoso concert piece drawn from themes of a popular opera, in this case Cummings’s. Gregory Fulkerson notes, “Like Sarasate’s fantasy to Carmen, I asked Cummings for dare-devil virtuosity, playfulness, and a distillation of the opera’s intense lyric spirit. He’s more than succeeded.”

Renowned tenor Keith Jameson, recently appearing in Falstaff at the Metropolitan Opera, will premiere the theatrical song cycle Thoroughfare, a work written expressly for him by Cummings and noted librettist Mark Campbell. Subtitled “A song cycle between places,” the five-part story follows the protagonist from Columbus Circle where his boyfriend has suddenly broken up with him, down Broadway, to Madison Square Park where his heart begins to mend. Jameson explains, “I wanted to be as vulnerable as the lover in Schubert’s Winterreise. But I wanted it to feel fresh, modern, and like it could be a chapter out of my own life.”

AOP General Director Charles Jarden writes, “Conrad has always had a special place at AOP.  One of his many talents as a composer is writing expressly for the singers involved, in this case Jesse, Hai-Ting and Keith. AOP has had the good fortune to work on some of this dramatic material previously, with these talents, including the pianist Charity Wicks. We are excited to connect with it again as it develops into concert form. We predict that Conrad’s newest work for Keith, working with librettist Mark Campbell, will resonate with the audience along with the artists.”

Cummings notes, “It’s rare that commissions, lyricists, and performers of this quality come together in one night. And it’s a wonderful reunion for artists who love each other’s work and have all excelled in my music on separate occasions. For one happy night we all get to work together. And the audience is invited to join us all for drinks and snacks after the concert. Life doesn’t get better.”

 

ABOUT THE CREATORS

Conrad CummingsA versatile composer on the faculty at The Juilliard School Evening Division, CONRAD CUMMINGS has received the following praise from the NYTimes: “Mr. Cummings is his own man, with an impressive ability to change styles while retaining a compositional image.” His works have been performed at Carnegie Hall, Brooklyn Academy of Music, Davies Symphony Hall in San Francisco, and by the New Jersey, Indianapolis, and Louisville Orchestras. Commissions include Canadian Brass, Opera Delaware, and San Francisco Opera Center. The Golden Gate (“Intensity more often encountered in Stephen Sondheim’s musicals than in the opera house.” – NYTimes) with libretto adapted from Vikram Seth’s novel in verse, received a staged workshop at Lincoln Center’s Rose Studio, co-produced by AOP and Livelyworks, and was named one of the best operas of the 21st century by Opera News. Positions 1956 (“an amusing piece given substance by some tender and some keen, rueful moments.” – The New Yorker), a self-help opera in three parts with libretto by Michael Korie, commissioned by Washington DC opera company UrbanArias, received its premiere production in April 2012, followed by a revival of the political campaign opera Photo-Op (“A must-see” – Washington Post) by the same company in September 2012. Earlier operas include Eros and Psyche, Oberlin Opera Theater (“I can’t think of anybody else who’s doing what he’s doing right now.” – The New Yorker), and Tonkin, Opera Delaware (“Mr. Cummings samples musical history for techniques and sonorities the way rappers sample pop rhythms.”  – NYTimes). Cummings trained at Yale, Stony Brook, and Columbia, did post-doc work at IRCAM in Paris, taught at Oberlin Conservatory for ten years where he directed the music and media program, moved to New York to run a kids’ interactive media company, and since 2003 teaches composition in the Evening Division at The Juilliard School. Recordings are available on CRI’s Emergency Music label; honors include MacDowell, Djerassi and Tanglewood fellowships and grants from the National Endowment for the Arts, Opera America, and The Rockefeller Foundation. www.conradcummings.com

MARK CAMPBELL is one of the most in-demand librettists in contemporary opera, profiled in Opera News as an artist “poised…to become a major force in opera in the coming decade.” Mark is most known for writing the libretto for Silent Night, which garnered a 2012 Pulitzer Prize in Music for composer Kevin Puts. The opera was produced by Minnesota Opera, aired on PBS’ Great Performances and will be seen in eight cities since its premiere. Other successful operas include Later the Same Evening, Volpone, Bastianello/Lucrezia, Rappahannock County and A Letter to East 11th Street. As a lyricist, Mark penned the lyrics for Songs from an Unmade Bed, which premiered at New York Theatre Workshop and has since been produced around the world. Other musicals: The Audience, Chang & Eng, and Splendora. Mark received may prestigious awards for his work, including: the first Kleban Foundation Award, two Richard Rodgers Awards, a NYFA Playwriting Fellowship, three Drama Desk Award nominations, a Rockefeller Foundation Award, and a Jonathan Larson Foundation Award. Upcoming projects include: The Manchurian Candidate (Kevin Puts, Minnesota Opera), As One (Laura Kaminsky, Kimberly Reed, co-librettist, AOP commissioned, BAM), Burke+Hare (Julian Grant, MTG), The Shining (Paul Moravec, Minnesota Opera), The Trial of Elizabeth Cree (Kevin Puts, Opera Philadelphia), Dinner at Eight (William Bolcom, Minnesota Opera). www.markcampbellwords.com

MICHAEL KORIE writes lyrics for musicals and librettos for operas.  Works include Grey Gardens (Playwrights Horizons, Broadway, Outer Critics Circle Award); Far From Heaven (Playwrights Horizons, Williamstown Festival); The Grapes of Wrath (Minnesota Opera, Carnegie Hall, Los Angeles Walt Disney Concert Hall); Harvey Milk (San Francisco Opera, Houston Grand Opera, New York City Opera); Doctor Zhivago (Lyric Theatre, Sydney, upcoming New York); Happiness (Lincoln Center Theater); Doll (Ravinia Festival, Chicago); Hoppers Wife (Long Beach California Opera); Kabbalah (Brooklyn Academy Next Wave Festival); Wheres Dick? (Houston Grand Opera); Positions 1956 (Knitting Factory, Urban Arias).  Korie serves on the council of The Dramatists Guild, mentors The Dramatist Guild Fellows Program, and teaches lyric writing at Yale.

Best-selling author VIKRAM SETH was born in 1952 in Calcutta, India, educated at Corpus Christi College, Oxford, Stanford University and Nanjing University, and has traveled widely and lived in Britain, California, India and China. His first novel, The Golden Gate: A Novel in Verse (1986), describing the experiences of a group of friends living in California, gained international attention and extraordinary sales. His acclaimed epic of Indian life, A Suitable Boy (1993), won the WH Smith Literary Award and the Commonwealth Writers Prize and sold over two million copies. An Equal Music (1999), the story of a violinist haunted by the memory of a former lover, has been translated and published in sixteen languages. His poetry includes Mappings (1980), The Humble Administrator’s Garden (1985), winner of the Commonwealth Poetry Prize (Asia), and All You Who Sleep Tonight: Poems (1990). His children’s book, Beastly Tales from Here and There (1992), consists of ten stories about animals told in verse. Vikram Seth’s Two Lives, a memoir of the marriage of his great uncle and aunt, appeared in 2005. A Suitable Girl is the much-awaited sequel to A Suitable Boy, scheduled for world-wide release in 2016.

 

ABOUT THE ARTISTS

Baritone JESSE BLUMBERG, equally at home on opera, concert, and recital stages, has performed roles at Minnesota Opera, Pittsburgh Opera, Boston Early Music Festival, Boston Lyric Opera, and at London’s Royal Festival Hall. He has made concert appearances with American Bach Soloists, Boston Baroque, Oratorio Society of New York, TENET/Green Mountain Project, Pacific MusicWorks, Apollo’s Fire, and on Lincoln Center’s American Songbook series.  Jesse has performed recitals with the New York Festival of Song, Marilyn Horne Foundation, and the Mirror Visions Ensemble.  His 2014-2015 season includes European tour with Boston Early Music Festival and debuts with Hawaii Opera Theatre and Atlanta Opera.  Jesse is also the founder and artistic director of Five Boroughs Music Festival, which brings chamber music of many genres to every corner of New York City. www.jesseblumberg.com

American Mezzo-soprano HAI-TING CHINN performs in a wide range of styles and venues, from Purcell to Pierrot Lunaire, Cherubino to The King & I, J.S. Bach to P.D.Q. Bach. She was featured in the revival and tour of Phillip Glass’s Einstein on the Beach, performed at venues around the world from 2011–2014, and she is currently singing the role of Belle in Glass’s La Belle et la Bête, also on tour. She has performed with New York City Opera, The Wooster Group, OperaOmnia, the Orpheus Chamber Orchestra, Israel Philharmonic, Orchestra of St. Luke’s, and the Waverly Consort; and on the stages of Carnegie Hall, the Mann Center in Philadelphia, the Edinburgh Festival, the Verbier Festival, and London’s West End. She has premiered new works by Du Yun, Conrad Cummings, Stefan Weisman, Yoav Gal, and Matt Schickele. Hai-Ting is also an Artist in Residence at HERE arts center, where she is developing Science Fair, a staged solo show of science set to music.

Violinist GREGORY FULKERSON enjoys an active performing career in both standard and contemporary repertoire. He won First Prize in the International American Music Competition sponsored by the Rockefeller Foundation and the Kennedy Center, and has performed the World Premieres of the John Becker Concerto with the Chattanooga Symphony, the Richard Wernick Concerto with the Philadelphia Orchestra, and the Roy Harris Concerto with the North Carolina Symphony (later performing and recording it with The Louisville Orchestra). He has performed the title role in the Philip Glass opera, EINSTEIN ON THE BEACH, for a total of 48 performances on four continents, and later recorded the work for Nonesuch. Fulkerson’s debut recording (on New World Records) was chosen one of the year’s best by The New York Times, and his complete Violin Sonatas of Charles Ives (Bridge Records) has become the standard for that repertoire. His complete Sonatas and Partitas for Solo Violin by J.S. Bach (Bridge) was chosen one of the Best CDs of 2000 by The New Yorker magazine.

KEITH JAMESON, tenor, has performed with the Metropolitan Opera in Falstaff (Live in HD) Carmen (Live in HD, released on DVD), Billy Budd, and War and Peace among others. He recently performed the title role of Candide with the Sao Paulo Symphony Orchestra, and Bardolfo in Falstaff with the Saito Kinen Festival in Japan. Notable roles include Candide, Oronte in Alcina, Tobias in Sweeney Todd, Nanki-Poo in The Mikado, and many others with New York City Opera, Nanki-Poo with English National Opera, and Peter Quint in The Turn of the Screw with Opera Royal de Wallonie, the Novice in Billy Budd with Santa Fe Opera, Los Angeles Opera and the Metropolitan Opera. He sang Haydn’s Creation and Lord Nelson Mass, with Boston Baroque, both released on CD. Future engagements include Capriccio with Lyric Opera of Chicago, Iolanta and Carmen at the Metropolitan Opera, and Candide with the Baltimore Symphony. He will record his first solo CD this year, including the new song cycle Thoroughfare by Conrad Cummings and Mark Campbell.

CHARITY WICKS is a pianist and music director who is highly lauded for her versatility, as she is at ease with a wide range of repertory from solo works and chamber music to contemporary opera and musical theater. She has been the pianist for numerous workshops and performances of The Golden Gate, and is always thrilled to be playing Conrad’s music! Charity has been a music director and pianist for many AOP projects over the years, including the Composers and the Voice program and Semmelweis by Ray Lustig, and she was most recently the associate conductor of the world premier of The Summer King, a new opera by Daniel Sonenberg. She also was involved in the workshops of Stephen Schwartz’s opera Séance on a Wet Afternoon, for which she was the associate conductor for the world premier. She has additionally worked on several Broadway musicals including Wicked, Violet, Big Fish, Nice Work if You Can Get It, Billy Elliot, In the Heights, and Spring Awakening, and regularly develops new musicals. She holds a BM and MM from Temple University, and a DMA from The Manhattan School of Music.

 

ABOUT THE PRODUCER

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 produced over 20 world premieres including Nkeiru Okoye’s Harriet Tubman: When I Crossed That Line to Freedom, Lera Auerbach’s The Blind, a co-production with Lincoln Center Festival 2013. Other notable premieres include Kimper/Persons’ Patience & Sarah (1998), Stefan Weisman’s Darkling (2006), Lee Hoiby’s This is the Rill Speaking (2008), and Phil Kline’s Out Cold (2012) at BAM. AOP-developed projects with premiere with collaborating companies: Gregory Spears’s Paul’s Case at Urban Arias (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), Jorge Martín’s Before Night Falls at Fort Worth Opera (2010), Lee Hoiby’s This Is the Rill Speaking at Opera Memphis (2013) and Purchase College (2008). Upcoming:  As One at BAM and Composers & the Voice: Six Scenes, September 2014.

Emma Lively is the president of LIVELYWORKS, a young company committed to developing and producing tuneful, optimistic and entertaining works for the stage.

 

ADDITIONAL PROJECT INFO AND PRESS MATERIALS AVAILABLE AT: www.operaprojects.org

 

Two Premieres and a Reunion
An Evening of Music by Conrad Cummings

Wednesday September 10th, 7:30 p.m.

Tickets $15, available online at https://twopremieres.eventbrite.com or $20 at the door

National Opera Center
330 Seventh Avenue at 29th Street, Manhattan

Concert duration: 55 minutes

 

Join Mr. Cummings, the creators, and the artists for drinks and snacks after the concert


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