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In recognition of the fifth anniversary of Hurricane Katrina, Le Poisson Rouge will present Ted Hearne's Katrina Ballads on Tuesday, August 24th.  Katrina Ballads was a huge hit when it was presented at City Opera's 2009 VOX Contemporary American Opera Lab.  Hearne will sing and conduct an 11-piece ensemble for the performance which will be accompanied by a video by filmmaker Bill Morrison.  Hearne's work may be especially resonant five years later, as it incorporates actual text from media that went on to become YouTube sensations.  He musicalizes Anderson Cooper's heated interview with Senator Mary Landrieu, George Bush's infamous "Brownie, you're doing a heckuva job" moment, Kanye West's controversial comments at a telethon, as well as interviews with victims of the storm.  For more information about this performance, click here.

 

You may have seen American artist Kehinde Wiley's Portrait  of Andries Stilte around the Lincoln Center campus or in our brochures promoting next season.  His paintings are these gigantic, life-size portraits of New Yorkers thrust into epic portraiture.   What could be more perfect to represent our 2010-2011 Season at City Opera?  Wiley has been a major force on the New York scene since the early 2000s with his portraits inspired by the streets of Harlem.  Do you think Kehinde Wiley captures the essence of City Opera?  Check out the interview below from The Today Show to learn more about this amazing visual artist.

 

 

 

Starting today, four pianos have been placed around Lincoln Center (and many more around the 5 boroughs) as part of British artist Luke Jerram's latest project, "Play me, I'm yours".  Anyone and everyone will be able to play these pianos from now until July 5th.  This program was created by Sing for Hope, an"artists' peace corps," whose mission is to dismantle barriers to arts accessibility and mobilize professional artists in volunteer service to benefit schools, hospitals, and communities. 

 

So, NYCO fans, we have an mission for you (should you choose to accept it): Come by the David H. Koch Theater, play the piano, take a picture or video of your performance, and send it us.  We'll post your submissions on the blog July 6th (the day after the project concludes).  All photos and videos can be sent to marketing@nycopera.com.  Make sure you include your name, email address, and what you were playing.

 

To find other locations near you and learn more about this project, click here. 

Hello City Opera Shopping Divas!

 

So glad to be back, recovered from—and reporting about—our fabulous DIVAS Shop for Opera Event last Thursday. What an intensive shopping and beauty scene. Each time I turned around, I was hugging, styling, searching, and sipping with the best dandies, darlings, designers, and dealers around. Dare I drop a few, ahem, names? There were soooo sooo many . . .

 

E.V. Day, the installation artist who created 3 hanging DIVAS, wearing a Madama Butterfly-esque open kimono and black lace leggings…the most fun writer ever, Cator Sparks, with Rod Keenan, the legendary hat designer to superstars…Amy Fine Collins, who delightfully hard-bargained with me and the powers that be to buy a gorgeous green Ralph Rucci hammered silk ball gown…Co-chair Michael Bruno, who really enjoyed that I took pleasure in selling all the clothes off my back and is brainstorming an event for us with 1stDibs.com…my inspiration and genius, Robert Verdi, with a friend who bought the hottest full-length mink—perfect condition, of course…Hamish Bowles, seeing, touching, and buying only the best collectibles…the visionary designers threeasFOUR interested in creating costumes…our darling Lorry Newhouse, snatching up Prada and other divine ditties along with her husband Mark Newhouse, who is on my best-dressed list for finding designer duds that fit perfectly (I LOVE when men have their soul-stylin' eye on. LOVE THAT!)…and, of course, our George Steel, Artistic Director of New York City Opera who, after I told him he reminds me of my best friend's brother who went to Choate, admitted his prepster-style secret—J. Press. So cool to know that, right? 

 

 

DIVAS Shoppers Judy Rabinowitz, The Dame, E.V. Day, and Christina De Limur

 

 

Cator Sparks & Rod Keenan stop to chat.

 

   Can you tell that I have a crush on Michael Bruno?

 

The whole evening--a shopper's dream of retail ecstasy--was assisted by the best volunteer crew imaginable from NYCO and my amazing team of DIVAS Stylists—five fab stylin' beauties who selected and carried frocks and finds, and trudged their tired tootsies all evening long in service to the highest purpose of fashion. And when we were all tuckered out and the lights went down, I took us all out for dinner so that we could chatter and gossip and regale each other with DIVAS stories and our conquests of chicness for our customers. The only people missing from that dinner were Patricia Field and the SATC2 crew!

 

 

DIVAS Soul Stylists: Susanne, The Dame, Cathy, Chica, Linda & Ilene!

 

As great as this party was, I can even top it off for you because . . .the Divine DIVAS shopping scene continues at City Opera Thrift Shop! Yes, indeed . . . it is all available and more (and they do have secret stockpiles at the store) right now. No admission price --the only requirement is a desire to find amazing pieces for barely a breath. I am here to confirm that I was down there yesterday and found the best uptown cocktail frock in hot pink silk from Ildiko New York for $50 plus a brand-new pair of natural leather Kork-Ease (since 1953) sandals for $25—which inspired my new muse, jewelry designer Michele Lerner (specializing in silver and skins), to come back for a second pair after finding hers at Bloomingdale's the day before for $165. She was bedazzled by the high platform to customize and adorn with her designs. That is what I call a classic example of thrift shop collaboration!

 

Every day is DIVAS down at the shop, attracting the best creative minds from New York City . . . our very own in-house thrift shop style-maker and eyeglass designer extraordinaire, Ashley Blake, found Japanese jeans for $25 (originally $300); Jeffrey Gladstone, who attended DIVAS and then came back, was toting his new huge Roberta Freymann pony-skin satchel while flashing me his new Bruno Magli orange leather sandals—already on his feet. And then, to top it off, I bumped into a very snappy dresser called Tristan, an advertising man who knows luxury, has a website, and was dashing off with his new well-fitted Zegna suit to show off at his next client meeting with—who else? THE Ermenegildo Zegna, of course!

 

The retail empire has many levels of fine quality to pursue and, as you may not be aware, our dear friend Vogue Magazine knows that we at City Opera are where it’s at for thrift, calling us “the highest quality thrift shop in NYC."

 

WARNING: City Opera Thrift Shop is filled with DIVAS selections while supplies last so please take advantage of this special time and find yourself a sweet something-something.  Who knows? You may even break out into an aria—our balcony has been known to hold a few singing divas turned on by a great purchase.

 

So, on that high note, here's to more dropping to shopping, more tongue-in-cheekiness and chicness, andwith a huge wink from the Dame, here’s wishing you find the best finds that will catapult your dreams and desires into reality . . . at least for this season, anyway!

 

 

Yours in Style & Pleasure,

The Dame

 

City Opera Thrift Shop 

www.CityOperaThriftShop.org

222 East 23rd Street

New York, NY 10010-4605

(212) 684-5344

Open Weekdays 10am-7pm; Sat 10am-6pm; Sun 12pm-5pm

She may be sparking the flames of love, but Bizet's anti-heroine Carmen won't be sparking flames between her and her cigarettes.  At least not on a Coloardo stage.  The US Supreme Court recently affirmed the opinion of the Colorado Supreme Court saying the state's indoor smoking ban extended to actors onstage.  This includes opera singers.  Many arts organizations have come out to oppose the ruling saying smoking informs character and time period--a form of free expression.  What do you think? Is this is a matter of public health or freedom of artistic expression?  Will the Habeñara be the same or is it about time someone extinguished this practice? Let us know your thoughts.

 

Katharine Goeldner as Carmen and Matthew Burns as Zuniga

Photo by Carol Rosegg

It's the Dame Here . . .

 

Fresh from a truly Divine DIVAS Shop for Opera Event last night!  Bracing myself against the chilly spring air, I wore my short-sleeved black lamb Marni coat purchased from last year's DIVAS event (donated by a famous editor who is known for her furs and just waiting to be found by my stylist eagle eye).

 

The occasion was the Cocktail Reception Preview of DIVAS: Fashion Designers Re-interpret the Classic Operas at the Grand Room of the W Hotel, Union Square.

 

What an original evening—starting with a gallery of portrait illustrations of the DIVAS co-chairs, blown up to picture-perfect poster size, greeting us on easels in the stunning 19^th century marble columned room of the W.I bumped into Jean-Philippe Delhomme, the legendary illustrator of the event’s signature brilliant colored pencil portraits, and he was so humble about his talent in uncannily capturing fashion luminary co-chairs Lorry Newhouse, Elsa Klensch, Michael Bruno, Patricia Field, and Isabel and Ruben Toledo. However, when he came to his friend, Hamish Bowles, Jean-Philippe admitted he was pleased with how well he’d drawn Hamish's newly styled moustache. What a beautiful man and illustrator . . . humility and talent make such a great combo!

 

As I entered the Grand Room, I was hit with a visual explosion of color . . . in celebration of the original art that will be available for purchase at the DIVAS Shop for Opera event (link) next Thursday, May 20, 2010, twenty-six life-sized illustrations by top fashion designers inspired by their favorite opera characters lined the room. Oh, the beauty abounded  . . . Aida, Carmen, Cio-Cio San, Salome, and Juliette were just a few of the DIVAS represented; a perfect backdrop for the most interesting mix of people moving around as if on a stage floor designed for drama and intrigue. It was stunning to see several Designer/Illustrators present and enjoying their peers’ contributions--Victoria Bartlett, Stephen Burrows, Wenlan Chia, Thuy Diep, Sylvia Heisel, Roland Nivelais, Austin Scarlett, Peter Som, and threeASFOUR. There simply wasn’t enough time to fly through the room and hear every designer's inspiration, but I was able to catch the following frames . . .

 

Stephen Burrows: “I chose Salome and The Dance of the 7 Veils so I could do a chiffon costume with Byzantium hair.”

 

Sylvia Heisel: "The Aida sketch was so much fun to do. An Ethiopian Princess in Ancient Egypt is the perfect starting point for any Diva's dreams."

 

Roland Nivelais: "I love opera and I loved sketching Queen of the Night and I would love to design for Renee Fleming. There are lots more divas now—Callas was the first one to glamourize Divas."

 

Austin Scarlett: "Designing costumes for opera is such fun because it’s much more than just creating a dress. One gets to tell a whole story, develop the characters, create a sense of time and place as well as complement the mood of the music through clothes.”

 

threeASFOUR: Ange, Gabi & Adi: "We love the opera, Die Zauberflöte. It is our Mater, for it was the music we played for our premiere fashion show."

 

You MUST attend DIVAS next Thursday to see all the illustrations, but please allow me to tease you with a few that caused a sensation in the room:

 

 

 

"Queen of the Night"

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Not only were the live Illustrators illuminating the room, but the scene kept unfolding to encompass more and more of the great assortment of people that attend DIVAS—Co-Chair Hamish Bowles himself with his really amazing moustache and Co-Chair Lorry Newhouse wearing Rodarte as she does sooo very well; Amanda Ross, our ultra-chic Hostess & THE Stylist, who connected City Opera to W Hotels because of her passion for art, architecture, and fashion; Kimberly Hastie, the stunning Vice Chair for New York City Opera's Young Patrons Circle, wearing a pair of incredible shoes—black Casadei peep toes with a beautiful black and white rose atop the toes; Lisa Weiss, a gorgeous fashion entrepreneur of Début; two fine chaps from Dormeuil, the famous French fabric house established in 1842 that creates for all the greats; Matthew Piazzi, a very talented flirt, impersonator, and doo-wop singer; and to cap it all off, the wondrous Marcia Sherrill, accessory designer & muse to all, who strolled down the staircase with her black top hat, trailing Turtle Pie, her French bulldog, and summed it up . . . "Darling, I LIVE for DIVAS!"

 

Gathering so much style in one room inspires me to anticipate the bevy of guests coming May 20^th. I will be there and at your service to point you to the treasure I can find for you in Vogue’s Best Thrift Shop in the City! As Resident Stylist, I want your beautiful face in that place!

 

So on that note, Buy Tickets NOW! They are selling quickly and will sell out . . . and I will see you all there . . .

 

Dress Style is DIVA, of course, whatever DIVAS is and does for you.  Let me help you bring out your inner DIVA!

 

Yours in Eternal Soul Style & Spark, 

The Dame

 

 

POST 2

 

Dear Mr. Bernstein,

 

There are so many things I’d like to say to you. How did you do it all? Your life has become the model for the 21st century artist. Your music is dynamic, lovely. Your passion for education has become the model, and is a benchmark from which we judge a program’s success. (I think you’d be happy with El Sistema, but I digress....)

 

Your opera Candide was done in 1982 at New York City Opera, and your opera A Quiet Place will be done this Fall, 2010.

 

This segment of Candide makes me think about how as emerging composers we view success:

 

 

Ahhhh....patience. Yes, something I can always learn more about. But it is also the invaluable lesson that life is the sum of all parts, and that steady work equals a full life of art.

 

This reminds me of a similar statement from Cage in his book Silence:

 

In this same way, I have learned from your life, and from that of many masters. 

 

I am currently writing to you from a plane...back from New York to San Francisco. I am savoring moments from the VOX week, replaying music in my head, and wishing like all good things, that they would never end. But that is New York, at it’s best, instant community, at its hardest, transient souls depositing glory, and then on to new journeys. 

 

Mr. Bernstein, one other thing that strikes me is that most of my colleagues are composers with diverse careers. Each has a will of steel, and has not waited for opportunity. Some are composer/conductors, composer/producers, and others composer/performers. All, to some capacity, are educators. It reminds of over ten years ago, when I co-founded the company I still direct, VisionIntoArt. There was no clear path at the time for what I wanted to do, which was to create a school beyond a school, a place where I could take my career into my own hands, commission artists to play, create, and live across disciplines. Fast-forward ten years, and boy do I feel like I’ve found my place in opera!

 

The VOX lab/festival was designed to give us a view into all sides of creating an opera. 

 

Steven Mosteller, the assistant conductor assigned to my piece,  was attentive, kind, and brilliant at working across styles, from classical, to improvisation and folk. He created parallels that we all found useful, e.g. between Helga’s blues dripped voice, and “expressive flatting” in baroque practice. Most pointers were universal: phrasing, diction, breath, arc....

 

Lunch with patrons was next. The patrons I am assigned to are energetic lovers of opera. Ken Kaiserman tells us about receiving a MET subscription at his Bar Mitzvah and being hooked ever since. He loves everything but Puccini. (I wince as I had just mentioned that my favorite recent MET production was actually Minghella’s Madame Butterfly--the use of puppetry for Sorrow’s role, and a mirrored ceiling completely entranced me)...Susan Kaiserman’s introduction to opera was Woyzek. These are incredibly intriguing people.

 

 

The panels set up prior to each day of the festival allow us to reach out to the new opera audience, which is an open, lively one. My panel is with VOX producer Beth Morrison. She asks wonderful questions; one is specifically about muses. Most certainly, my singers who joined me on stage, are muses for me. Hila Plitmann’s timbre, range and acting push me to write better music...her performances leave me always in bliss, as she delivers soulful and perfectly nuanced interpretations. Helga Davis is a woman with a four octave range, a deeply hued and richly bruised voice that allows audiences in to see her soul. She is personal, and regal. This conversation reminds me of a great book about muses: Francine Prose’s The Lives of the Muses: Nine Women & the Artists They Inspired. An interesting tidbit (from Bibliofemme): At the age of eighty (in 1932) Alice Liddell (from Alice in Wonderland) was awarded an honorary doctorate (perhaps the only ever doctorate in musedom) from Columbia University. As far as history was concerned, her inspiration to Charles Dodgson (Carroll) was her life's greatest achievement...Today, we have different perceptions of muses. They are artists in their own right, full personas: take Suzanne Farrell to Balanchine, or Yoko Ono, to Lennon. 

 

Another question from the audience was one I found quite important to any young composer in the audience:

 

“Is it will, or inspiration that drives a composer?” 

 

Both. But without will, one cannot survive in today’s society. Times are increasingly difficult for artists. The rejections are plentiful, but they are also our learning blocks. The moments of acceptance and joy, such as the one we were about to embark on, are the ones that tell us yes, you are good enough (for now), and then on, to more rejections. This is the life of any artist. The great MacArthur winning artist/composer Trimpin actually shows off a massive file of rejection letters in a recent documentary film made on him!

 

 

 

 

 

If only Mr. Bernstein, you could say to us: You are an artist.

 

to each performer: Do you have any idea how beautiful you each are, breathing life into new art?

 

The festival had a buzz, and was filled with an interesting cross-section of producers, patrons, and concert-goers. The films created by Greg Emetaz that go before each opera selection are all hits. If you have not seen them yet, you should!

 

A few of my personal highlights:

 

Du Yun’s ZOLLE is inventive, passionate, and as crazy as she is. She uses walkie talkies to manipulate sound and create a distorted image of time and place. Hila Plitmann is masterful as narrator. Hai-Ting Chinn, who I had recently seen in the Wooster Group’s La Didone, was brilliant. Du-Yun coached her movements, which were sparse and essential; the minimal staging was enough to give you a port into her dreamy and eerie world.

 

Missy Mazzoli’s Song from the Uproar is a steady bloom of unfolding passion. I feel like I am reading Eberhardt’s burnt-edged journals on the set of Minghella’s movie, The English Patient. 

 

David T. Little and I both took part in Carnegie Hall’s Professional Training Workshop where Dog Days was first commissioned in 2009. To see it grow is wonderful. His rock edge and masterful writing skills unite pathos and wit to characters that are perfectly etched out by the great librettist Royce Vavrek. They are a team to watch.

 

Michael Gordon’s Aquanetta boasts unbelievable singers and the spectacular and driven ending aria ends the festival brilliantly. He has such a gift for energetic and perfectly arced works: if you don’t know Potassium for string quartet, listen immediately.

 

Truth be told, there are to many good moments, and to many great minds to mention.

 

Summing up the experience, I would really love to address any artist or person reading this who may ask, as I often do, what does it take to pursue a career in the arts?

 

My high school “Destiny” class teacher Howard Hintze once said, “You must create beauty, because you are capable of it.” (And yes, I took a class called Destiny, and when writing my own--and having recently read and loved Out of Africa  I gave myself the same tragic end as its heroine who died at 40-- and now that I am in my 30’s that totally freaks me out!!!)

 

But, really, what I’d like to say comes perfectly worded by the great Jonathan Safran-Foer in his book,  A Convergence of Birds.

 

Thank you to my family and friends who cried during Oceanic Verses. Art should allow us to cry, to feel. It frames our own personal experiences and provides us with protection, a shield, a window. I am after all, a part of all I have met.

 

Thank you to the NYCO opera family for giving us this platform to express ourselves.  At best, art precedes social change; it illuminates and allows people to feel; it can encourage us to think in new ways, to reflect deeply, to evolve.  As the great writer, Solzhenitsyn, said at his Harvard address, the only way we can go, is up.

 

yours in thanks,

Paola Prestini, composer

Dear DIVAS Shoppers,

 

It's Dame Lori, Soul Stylist for City Opera Thrift Shop, here to cover our most exciting fashion event yet - New York City Opera's 5th Annual DIVAS Shop for Opera is happening on Thursday, May 20^th, and it is HOT, ladies and gentlemen, and I’m here to tell you just exactly why.  So position your pocketbooks, clear your closets, and make room for everything Divine—DIVAS is designed to bring out the best in every party girl and boy shopper.  I will Deliver it to you here (the Dame loves "D" words) in 3 Delicious blogs guaranteed to be Daring, Delightful, and Delirious!

Let me set this amazing scene, which reflects New York City Opera at its finest—operatic, dramatic, innovative, and risk-taking!

The Shopping: 

Name the designer—we have it all. . .  donated in perfect condition, brand-new, preserved classic vintage and couture, and awesome no-label pieces—all a steal at ridiculous prices . . . 75% off retail for most and more!

The Location: 

With 10,000 square feet that will allow art, architecture, fashion, and fun to flow with grace and excitement all laid out for you to IMMEDIATELY find the perfect piece, drink, or appetizer, or to effortlessly meet some new oh-so-fabulous person. The artist E-V Day is having her genius way in creating a very sensual space with three extraordinary sculptures.  You have never seen anything like this before.

The Players—Our Co-Chairs:
Hamish Bowles: lover extraordinaire of elegance, and our dear friend and supporter for many years, returning as co-chair.

Lorry Newhouse: cherished chic DIVA artiste, who has been a huge leader in revolutionizing thrift and vintage to its highest heights for all to enjoy.

Elsa Klensch: the highly respected grande dame DIVA; the first to broadcast the power of fashion and its cultural influence and how that deeply inspires our lives

Michael Bruno: friend and founder of 1^st Dibs, who is so dashing and great that now I simply must come up with a word for a male diva. Any ideas?

Patricia Field : a genuine DIVA Goddess Heroine, who never turns down a chance to style a shopping sister and still thrills for the find even so close to opening day for SATC2 May 27th!

Isabel & Ruben Toledo: the iconic and eternal bride and groom who refuse to compromise their integrity while teaching us that great style is like a beautiful unfolding love affair 

And a most fabulously chic set of Young Patron Co-Chairs - Ashley Melone, Pamela Love, Arden Wohl, and  Rebecca Taylor!

The Guests:As glorious and eclectic as the shopping. Our dear friends, patrons, and PR.mavens, Company Agenda, are inviting the best and brightest stars to mingle with the incredible collection of friends, fans, and supporters that have been attending our famous shopping events for the past 13 years.  Mix that all up with the culinary creations of our favorite gorgeous darling Mary Giuliani and wines flowing amidst the customized sound of our fantastic deejay.

And we are giving it up to you for a small ticket price starting at $75. That's why you need to click here to buy tickets before we sell out like we did last year: www.DivasShopforOpera.org

Now for some of my other top DIVAS sources of inspiration: I find myself in one of my favorite secret spots: the basement of City Opera Thrift Shop, where I am greeted by the amazing Jay Thompson, Shop manager, one of my mentors, and a majorly resourceful guide to all that meet him. I am here to Soul Style several super DIVAS looks, so I keenly listen to Jay prep me as I paw through the endless racks of precious goods to be purchased. Jay lays it down with his latest theory about DIVAS 2010... 

 

 

Oh man... that's our Jay. He sure knows how to cause a serious happening.  On to the store's incredible icon, Lauren Bridgeman, a marvel at merchandising, design, and photography whose beauty and style are truly inimitable and regularly photographed... her presence is a turn-on and I start to channel the essence of DIVAS, suddenly inspired to create a DIVA for every day!  So on that note, I present to you "DIVAS of the Day," an offering of what is possible when you open your mind to the endless choices available to you and surrender to creating your own original style that sings from your soul.

 

Photos by Lauren Bridgeman

 

The Monday DIVA prances off to her favorite charity ping-pong benefit at the Standard.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Black Prada  beaded, jeweled, chained dress $1200
Green fur piece $125
Bottega Veneta pony skin bangle $125

 

The Tuesday DIVA struts through the city's jungle, prepared for anything that lands at her feet.

Tracy Watts panama $50
Gucci suit $225
Emporio Armani sleeveless silk blouse $125
Mo851brown leather saddle bag $150

The Wednesday DIVA loves to shock away the mid-week slump in her office.

Pauline Trigere hot pink wool coat $495
Vintage sterling silver concave disk necklace $165
Black leather halter $125
Prada white leather skirt $50
Silver bangle $65

The Thursday DIVA loves a shaggy yet sexy and sleek look for an uptown jazz crawl.

Karl Lagerfeld for Maximilian Tibetan lamb coat $750
Behnaz Serafpour metallic dress with beaded neckpiece $150
Vintage YSL gold chain belt w/ rock crystal $225

 

The Friday DIVA attends a murder mystery party at Neue Galerie.

Zandra Rhodes evening jacket $325
Bryan black silk blouse $125
Sylvia Heisel floor-length skirt $150
Multi-colored knotted pearl necklace $300

The Saturday DIVA swings around her new art salon, charming all her friends to attend DIVAS on May 20th.

Issey Miyake green silk pleated gown $1550, matching jacket $995
Lucite rhinestone bracelets $65 each

 

The Sunday DIVA steps into her English garden for a tea party honoring her dear friend and spiritual advisor just back from Baja.

Balenciaga silk matador jacket $750
Bryan ivory silk blouse $125
SIWY gunmetal metallic jeans $45
Vintage green iridescent crystal necklace $165

 

Next blog: Reveals the best shoes, accessories, opera costume illustrations, and collectibles—plus, how to create the proper loungey attitude fit for DIVAS.

 

Eternally yours in Soul Style,

The Dame

 

 

Mezzo-Soprano Heather Johnson began her relationship with City Opera in 2004 playing the role of Annina is Verdi's La Traviata.  Heather joins us again singing the title role in Michael Gordon and Deborah Artman's Acquanetta at VOX this Friday and Saturday.  Heather is no stranger to new opera, creating the role of Soroya in the world premiere of Charles Wuorinen's Haroun and the Sea of Stories at City Opera.  Heather answers a few questions about her life in opera in another "Questions with...."

 

Bass Matthew Curran, a newcomer to VOX, will make his City Opera debut in Revolution of Forms and Acquanetta this Saturday, May 1st at the Skirball Center for the Performing Arts.  Matthew was happy to join us for another round of "Questions with...".  Take a look!

  

 

 

King Phillip in Verdi's Don Carlo.  He's a complex character with one of the greatest bass arias ever written

 

 

 

 

 

 

 

 

 

 

Tight white boxer briefs, a salmon-colored ladies' silk night robe, and a choker in Elektra at Zurich Opera.  Go figure!

 

Who would play you in the movie about your life?

 

*Composer Paola Prestini takes over the blog this week in honor of our VOX Contemporary American Opera Lab with a series of letters she has written to different composers.*

 

POST I

 

Dear Dr. William Grant Still:

 

What does it feel like to have 22 curtain calls? Now more than ever, your work Troubled Island, set in Haiti, with its racially charged and humanist themes, would be embraced. 

 

Your work is worth revisiting and as soon as I am done with VOX I plan to research it more. I decided to write to you, because today, while teaching an exceptional young Pakistani composer, she brought to my attention a beautiful Haitian poem. 

 

As we dug in, we experienced the beauty of setting language, not only in its marriage to music, but also in that it is a world view. As Merete Mueller points out: When you look up the word “poverty” in the Creole-English dictionary, you see it is also the word for “hollow tin can.” The power of this image is breathtaking, and one that belongs solely to Creole.  You can check out the beautiful poem WONGOL POEM, by EMMANUEL EJEN, at Merete Muellers ubelievable site, here:

 

Your opera opens: In the balmy still of a Haitian night, a mother sings plaintively to her child.

 

And ends:

 

 

I can only imagine how ahead of your time you were. I wish I could hear this piece live.

 

You’d be happy with news from the program. VOX was started about ten years ago. It is seminal in the field for nurturing new operatic expressions, and each year is diverse in style, and background. 

 

As artists filed in to this years New York City Opera’s VOX orientation, a warm sense of anticipation permeated the air. In a relaxed setting, we mused on the pieces, what the process would be like, and waited for various directors to come in and share pointers. 

 

Like the leaves of a magnolia flower, each work is vibrant and richly hued in its own way. All teams, be it composer/librettist, or composer/filmmaker, has a clear, distinct fragrance. Anthony Davis’ appealingly open personality disarmed many of us who have not had an experience at City Opera. Cori Ellison’s (Dramaturg and Director of Supertitles) photographic memory and quick wit/spark ignited curiosity and a sense of grandeur as she listed (by memory) the countless NYC Opera American premieres. One thing seems clear from reading a bit about City Opera’s history; there seems to be a trend: each Director has infused its staff with a sense of purpose, with a penchant for risk. Many of the Executive Directors have been faced with financial woes, and this year is no different. It is very human to see our experiences as singular when in reality, there is something comforting in life’s pendulum. To see George Steel talk, with his conviction and easy style, not only inspires one in terms of the direction of this specific opera house, but also, comforts one in terms of the role of new music in opera. It seems he understands that each opposing circumstance, be it life or death, love or solitude, conformity or iconoclasticism, are antagonistic but also part of a single reality.  (There is a great work by the Mexican poet and author Octavio Paz that speaks of these truths, but superimposed on political theory; it is marvelous : A Labyrinth of Solitude). 

 

In any case, back to the juice. I had a chance to socialize with some of these remarkable people, both from City Opera, and VOX composers. Here are some things that stood out. 

 

-George Steel (General Manager and Artistic Director) and Ed Yim (Director of Artistic Planning) finish each other’s sentences in their talk. There is a strong connection, and the mission is tight. They are talking to a room of composer/producers, and I feel so at home. They talk about programming and all the inner workings of the opera house in one sentence, and we see that it is all connected, as it should be...

 

-Anthony Davis talks about what it was like to have Malcom X premiered. And, how certain scenes from the movie are actually from his opera!

 

-Royce Vavrek has been collaborating for almost two years now with David T. Little, writing both DOG DAYS (in progress) and VINKENSPORT, OR THE FINCH OPERA.  He says, “More and more I learn what particular type of dramatic text he needs from me in able for him to flourish musically, and more and more we cultivate the marriage of words and music that tell our own (hopefully singular) brand of music theater storytelling.  In a nutshell, it's 98% alchemy. VOX is very exciting as it allows for our piece to live off the page.  Hearing singers bring the work to life in such a presentation allows us the opportunity to experience the work on its feet, in a three-dimensional space, which is entirely invaluable!”

 

I see Missy Mazzoli after her first orchestra read and she has that same incredulous look I had after mine: a sense of relief (the musicians are amazing and each conductor is dedicated in the deepest way) mixed with the joy of finally hearing something come to life that has for so long lived solely on a page and in our heads.

 

-The other night, over opera and a beautiful Manhattan view, Robert Treviño, the conductor to my piece, Oceanic Verses, talks about how he has known his mission in life was to conduct, since he was 15. He tells his story to Helga Davis, vocalist and improviser (who is new to the opera scene). They are on different sides of lifes spectrum, and for a moment, they are on the same journey. They will leave imprints on each others experience, which will inform their lives again, at some other juncture.

 

-John Beeson (Senior Assistant Conductor) and Cory Lipiello (Artistic Administrator) talk passionately about casting. It is fascinating--all the decisions, and how everyone who passes through their audition process throughout the year goes on a sort of mental roster--they never know who they will need to call on when pieces now a days are so radically different. John talks about picking up a copy of the Pasolini book that composer Du Yun’s piece ZOLLE is based on, and spending months coaching her on Italian. It is evident that the spirit of this lab is to grow, to learn, and to express your voice but to also embrace the learning that can happen when intersecting with people of John’s caliber. (Interestingly, Pasolini’s incredibly diverse career intersected with opera, and Maria Callas in "Medea: Myth and Reason" http://www.youtube.com/watch?v=QGPd411gOYA ) Check it out.

 

-Beth Morrison, VOX producer, and a true composers advocate, has brought even more connection between composer, singer and staff by having composers in the room from an earlier point in the process. With all these unique styles, collaboration has never been more important...

 

Speaking of collaboration, one of the innovations I am really excited about is the pairing of contemporary art works with each opera, creating a fresh new vision and relevance, and a unification of the disparate art worlds in NY....

 

 

And back to you, Dr. William Grant Still, you’d be happy to see these murals inspired by Troubled Island at the William Still Art Center. It reminds me of this beautiful quote from National Geographic Magazine:

 

“feet, tired from long journeys, pause to repose and raise the body to the sky, taking in the endless possibilities...” 

 

yours,

 

Paola Prestini, Composer

 

 

Amelia Watkins (or "Mimi" for short) made her New York City Opera debut in this season’s L'Étoile covering the role of Laoula.  Amelia will join us again for our VOX Lab this Friday and Saturday in the presentations of With Blood, With Ink and Acquanetta.  She was gracious enough to answer a few questions in another round of “Questions with…”

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Who would play you in the movie about your life?

 

Mezzo soprano Ariana Chris has been singing with City Opera since her debut in 2007 as Lola in Cavalleria Rusticana and we’re thrilled to have her back next weekend for VOX, City Opera’s lab showcasing the most promising works of contemporary American Opera.  She’ll be pulling double-duty, performing in both David T. Little and Royce Vavrek’s Dog Days as well as Missy Mazzoli’s Song from the Uproar.  Ariana took a few minutes out of her busy schedule to answer to some questions for the NYCO Blog…

 

 

 

 

In 10 Words or Less…

Dog Days is music, the way real people talk. Song from the Uproar because it's beautiful sounds of the desert.

Britney Spears. Turns off my brain.

Twitter has become the best way to keep up with your friend's and family's every thought and activity.  Remember the days when you didn't know what your Aunt Gladys in Omaha was making for dinner, or what a mild acquaintance was watching on TV?  Well, The Royal Shakespeare Company is taking it one step further.  Enter @julietcap16, the online avatar for Juliet Capulet in the RSC's 21st-Century version of Romeo and Juliet--"Such Tweet Sorrow".  The project lasts five weeks and takes place entirely online through the Twitter profiles and tweets of characters like @Tybalt_Cap and @LaurenceFriar.

 

What do you think, Opera fans?  What famous opera lovers would you like to see on Twitter?

 

Send us your best tweet from the perspective of your favorite opera characters to @nycOpera, and we'll retweet them to our followers!

 

 

 

 

 

 

 

 

 

City Opera's Erik Gensler speaks with two staff operaphiles about the 2010 Spring Season which includes: a sparkling production of Chabrier’s L’Etoile; the return of the Emmy Award-winning production of Puccini’s Madama Butterfly, and Handel’s intimate romantic comedy Partenope.  Dramaturg Cori Ellison and Director of Music Administration Kevin Murphy provide a behind-the-scenes look at each of these operas - what they are most looking forward to, their favorite moments from each of the opera, and their thoughts on the new and returning artists performing this season.  Cori and Kevin also reveal their favorite moments from each of these works.

New York City Opera is pleased to announce its 2010-2011 season, which spotlights American composers and 20th-Century works within a mix of world premieres, New York premieres and new productions.  The 2010-2011 season will also feature the launch of concert series showcasing the non-operatic works of several of the composers of this season’s operas.  Click here to learn more about the operas and how to secure your seat for what is sure to be an exciting season here at City Opera!

 

New Production/New York Premiere
Acclaimed director Christopher Alden stages a new production of the final stage work of America's greatest theater composer Leonard Bernstein.

 

Inspired by an incident in his own marriage, Strauss's lighthearted domestic comedy creates a real-life portrayal of his temperamental yet devoted wife. This series of short cinematic vignettes with orchestral interludes follows the fast-paced action in a witty production by director Leon Major.

 

Donizetti's Italian classic is reimagined with an American swagger in Jonathan Miller's inventive production that captures the 1950's Southwest, complete with soda jerks, a Ford Fairlane, and a dusty roadside diner.

 

Stefania Dovhan stars as the heart's desire of the lovesick Nemorino, sung by rising tenor David Lomeli in his City Opera debut.

 

This triple bill of cutting-edge mini-opera features three virtuoso sopranos taking on tour-de-force roles that showcase the work of vital innovators of modern music.  The triptych includes La Machine de l’être by New York composer John Zorn, Arnold Schoenberg's groundbreaking Erwartung and the U.S. stage premiere of Morton Feldman's Neither.

 

New Production/New York Premiere
City Opera presents the New York premiere of the first opera by Stephen Schwartz, the Oscar and Grammy-Award winning composer of hit shows Wicked, Godspell, Pippin and numerous Disney films.

 

This psychological thriller stars the mesmerizing Lauren Flanigan as an ambitious psychic who devises a scheme to win the fame she craves.

 

Don't miss captivating concert performances featuring special guests including Christine Brewer, Kristin Chenoweth, Raúl Esparza, Lou Reed, Laurie Anderson, and John Zorn.

 

Bring the whole family to a matinee concert of Oliver Knussen's Where the Wild Things Are, based on the beloved children's book by Maurice Sendak.

We here at City Opera have been going through a bit of withdrawal after the recent Closing Ceremonies of the 2010 Vancouver Winter Olympics.  The 2010 games were truly an exciting time: the drama! the competition! the opera! Yes, that's right.  Opera seemed to be everywhere at this year's Winter Games.  American figure skater Mirai Nagasu placed 4th overall with her free skate to selections from Bizet's Carmen.  Coincidentally, Stephane Lambiel of Switzerland also came in 4th overall with his free skate to Verdi's La Traviata.  One of the most talked about moments at the Olympics (at least for opera fans) was the performance of the Olympic hymn by Canadian soprano superstar Measha Brueggergosman.  We were lucky enough to have Ms. Brueggergosman perform at our American Voices concert earlier this season.  Here's a clip of her stirring performance from the unforgettable Opening Ceremonies of the 2010 Winter Games.