New Opera

A few nights ago I made my to a Salon Series performance put on by Opera America, a national service organization dedicated the the education and support of operatic artists, composers, companies and the community at large. I've been pleased with my few interactions with Opera America in the past and I'm a sucker for new music so it seemed like a winning idea.

I couldn't have been more pleased. I was only peripherally aware of the featured composer, but from the moment I slipped into my seat, I was captivated. I found myself dreaming up ways to write a grant proposal to support a recital dedicated to the art song and arias of current composers. The evening consisted of several parts. First, a song cycle, which was artfully sung by Amy Burton. Her attention to what I assume were the composer's markings, brought the story and music to life. There were various art songs and three aria's excerpted from Paul Molavec's recent opera, The Letter, which premiered in 2009 at Opera Santa Fe.

I'm not a trained critic so I'll keep the description to a few striking details. The harmonies and accompaniment provided sparkling sunshine, poignant love and desperate sorrow. The vocal lines were melodic and singable, heightening the text and poetry. I was also taken by small ensemble of musicians performing. It turns out, Mr. Molavec arranged the pieces specially for the evening.

Following the performance and a brief interview session with Mr. Molavec, I had the opportunity to chat with several folks present. A poet whom wrote the words Mr. Molavec set one of his pieces to was there. I've often wondered if poets are pleased with their works begin set to music and if so what they think of the chosen settings. Poetry already has a music all its own, with thought out rhythms and meter, the sounds of the words creating the percussion and sustained tones. I asked the poet her thoughts and she mentioned that having her words set to "music" breathes a new sort of life into the work. It comes before a different audience in a new way.

I also had a brief encounter with Mr. Molavec; short enough to blather that I'm a singer, hadn't heard his music before BUT was very taken with it. With that done, I handed over my business card before he was swept away by the numerous other conversations awaiting him.

I then hustled off to find out more about "workshopping". During the interview, I heard a term come up that I was unfamiliar with. If you've got any sort of musical theatre or theatre background I'm sure it's a familiar term. I however was feeling a bit ignorant, still am. Turns out, new compositions are tested out and tuned up before performance. Composers work with singers and production staff to massage out the kinks and sometimes re-write or even write new material before taking it to the stage. Also turns out that singers that work shop the piece can end up on stage at the opera houses. There are several organizations in NY that provide these workshopping opportunities. My heart skips a beat to just thinking about it - the opportunity to create a role and work with the composer. In the style of my new found hero, Liz Lemon, "I wants to have some of that."