What might Edgar Allan Poe write if he were alive today? This is the question asked of four gifted emerging writers for the opera stage….
REVIEWS FROM THE WORLD PREMIERE:
PRESS LEADING UP TO THE WORLD PREMIERE:
The Poe Project was commissioned by American Lyric Theater with support from the New York State Council on the Arts and the ASCAP Foundation. Both operas in The Poe Project utilize the same performing forces: a cast of six singers (spinto-soprano, light lyric soprano, mezzo soprano, lyric tenor, baritone, bass) and a chamber orchestra of 18 players. The double-bill is intended to be staged as a full-evening entertainment, but each opera can also be performed independently. The first workshop and public reading of The Poe Project took place in November 2010. A second workshop, with orchestra, took place at The DiMenna Center for Classical Music in conjunction with OPERA America’s first New Works Forum in November 2011. The world premiere of Buried Alive and Embedded took place at Fargo Moorhead Opera in March 2014 – stay tuned for the next staging at Fort Worth Opera, who recently joined the world-premiere consortium. Read the press release announcing the world premiere for more details!
WORLD PREMIERE CAST AND PRODUCTION TEAM
JONATHAN BLALOCK, TENOR
Tenor Jonathan Blalock has earned critical praise for his recent portrayal of the title role in Paul’s Case by Gregory Spears. Steve Smith of The New York Times states that Jonathan “is riveting in the title role: his voice sweet and true, his thin smile telegraphing Paul’s honeyed contempt for his working class surroundings in a steel-dominated Pittsburgh.” In the 2013-2014 season he debuts with Washington National Opera, the Portland Symphony and the PROTOTYPE Festival. Blalock recently completed two seasons as an Apprentice with Santa Fe Opera, where he covered two Rossini roles: Rodrigo (La donna del Lago) and Condulmiero (Maometto II). Notable world premieres for Blalock include Before Night Falls at Fort Worth Opera and The Secret Agent at The Center for Contemporary Opera. Other career highlights include the roles of Don Ottavio (Don Giovanni) with Nevada Opera; Nemorino (L’elisir d’amore) with Opera in Williamsburg; soloist (Handel’s Messiah) with the Lexington Philharmonic and Winston-Salem Symphony; soloist (Carmina Burana) with Las Crucas Symphony; Fenton (Falstaff) with Mercury Opera in Rochester; Tonio (La file du Régiment) with IVAI in both Israel and Montreal; Count Almaviva (Il barbiere di Siviglia) with Opera Company of Middlebury); and Normanno (Lucia di Lamermoor), Howard Boucher (Dead Man Walking), and the tenor role (Hydrogen Jukebox) with Fort Worth Opera.
CHRISTOPHER BURCHETT, BARITONE
Christopher Burchett’s rich baritone voice and committed stagecraft have earned him a place on the stages of opera companies throughout the United States. Opera News (April 2013) described Christopher as a “fearlessly vulnerable” performer “who gave an unflinchingly, heroically human performance that will linger long in the memory.” Recent engagements have included the one man opera Soldier Songs by David T. Little as part of the Prototype Festival; Blazes in Boston Lyric Opera’s production of The Lighthouse; Captain Corcoran in H.M.S Pinafore with Opera Saratoga; Chou En-Lai in Nixon in China with Eugene Opera; the world premiere of Paola Prestini’s Oceanic Verses at the Kennedy Center; and Dr. Falke in Die Fledermaus with Virginia Opera. Current engagements include Father Palmer in Kevin Puts’s Silent Night with Fort Worth Opera. A champion of new music, Burchett has been a part of several world premieres, creating the roles of Orsen in Penhorwood’s opera Too Many Sopranos with Cedar Rapids Opera Theatre; M. Carré-Lamadon in Hartke’s The Greater Good with Glimmerglass Opera; Justin in Anthony Davis’ opera Wakonda’s Dream, and Baritone Soloist in Moravec’s Blizzard Voices, both with Opera Omaha. Burchett can be heard on the Naxos world premiere recording of The Greater Good.
JENNIFER FEINSTEIN, MEZZO-SOPRANO
In 2013-14 mezzo-soprano Jennifer Feinstein will perform in Mozart’s Requiem and Mendelssohn’s Die erste Walpurgisnacht with Oratorio Society of New York; Prokofiev’s Alexander Nevsky with Symphoria; Verdi’s Requiem with Richmond Symphony; and as Adalgisa in Bellini’s Norma with St. Petersburg Opera, Florida. Recent operatic engagements include her debut with Sarasota Opera as Marchesa del Poggio in Verdi’s Un Giorno di Regno; the role of Maddalena in Rigoletto with Lyric Opera of Baltimore and with Opera Theater of Connecticut. As a concert soloist Feinstein has performed in John Cage’s “Solo for Voice No. 30” from Songbooks with the American Symphony Orchestra; Bach’s Magnificat with Church of St. Ignatius Loyola in NYC; and Beethoven’s Symphony No. 9 with Glacier Symphony Orchestra and Chorale. Other performance highlights include Madame Dangeville in Adriana Lecouvreur with Opera Orchestra of New York; Buttercup in H.M.S. Pinafore with Opera New Jersey; soloist in a gala concert for “I Sing Beijing” in China; soloist in Prokofiev’s Aleksandr Nevsky Cantata (Glacier Symphony and Chorale); and Mrs. Nolan in The Medium (Spoleto Festival USA). She can be heard as Francisca in Donizetti’s Maria Padilla, recorded for release on Naxos.
SARA GARTLAND, SOPRANO
Last season soprano Sara Gartland sang the role of Juliette in Romeo et Juliette with Des Moines Metro Opera. Upcoming engagements this season of the roles of Adina in L’Elisir D’Amore with Austin Lyric Opera, Violetta in La traviata with Utah Opera, Gretel in Hansel and Gretel with Opera San Jose as well as Musetta in La bohème with San Diego Opera, Marzelline with Fidelio with Opera Omaha. In past seasons Gartland performed several roles with San Francisco Opera including the roles Pat/Ann in the world premiere of Christopher Theofandis’ Heart of a Soldier, Barbarina in Le nozze di Figaro and Gerhilde in Die Walküre. Other notable performances include leading roles in Of Mice and Men with Utah Opera, Regina with Des Moines Metro Opera, Don Pasquale with Opera Iowa, and the world premiere of Pride and Prejudice, a musical by Amanda Jacobs and Lindsay Baker, with The Ohio Light Opera. On the concert stage, she has appeared with the Elmhurst Symphony in Beethoven’s Symphony No. 9, Cheyenne Symphony in Carmina Burana, Central City Opera, and Colorado University’s Boulder Wind Symphony in Four Maryland Songs. Gartland was a Finalist in the Eastern Region at the Metropolitan Opera National Council Auditions and Fourth Place in the Denver Lyric Opera Guild Competition.
NATHAN STARK, BASS
Nathan Stark’s 2013-14 engagements include his debut with the Metropolitan Opera as the One-Armed Man in Strauss’ Die Frau ohne Schatten; with Boston Symphony Orchestra as First Nazarene in Salome, conducted by Music Director Andris Nelsons; his return to Madison Opera as Sulpice in La fille du regiment, soloist with Dayton Philharmonic Orchestra in Beethoven’s Symphony No. 9; and in Verdi’s Requiem with the Defiant Requiem Foundation at Strathmore, under Murry Sidlin. Recent engagements include returns to Cincinnati Opera for roles in Philip Glass’ Galileo Galilei, Commendatore in Don Giovanni, and Monterone in Rigoletto; to Dayton Opera as Hunding in a staged presentation of Act I of Die Walküre; to Virginia Opera as Nourabad in Les Pêcheurs de perles, King in Aida, and Sparafucile in Rigoletto; and to Canton Symphony Orchestra as Basilio in Il barbiere di Siviglia. He has also sung Leporello in Don Giovanni (Opera Grand Rapids); Commendatore in Don Giovanni (Madison Opera); bass soloist in Haydn’s The Creation (Valdosta Symphony Orchestra); soloist in Mendelssohn’s Elijah (Concordia University, Texas); soloist in Mozart’s Requiem (Washington’s National Cathedral); Friar Laurence in Roméo et Juliette (Dayton Opera); and soloist in Messiah (Pacific Symphony Orchestra).
CAROLINE WORRA, SOPRANO
Caroline Worra has sung over 50 roles including 15 World and American Premieres. She was internationally acclaimed for her performances of Jenny in The Mines of Sulphur (Grammy nomination), and in the lead role of The Greater Good. She sang a lead role for the recording of Passion of Boule de Suif, which both Opera News and The New York Times selected as picks for top classical CDs of the year. Worra has performed with the Metropolitan Opera, Lyric Opera of Chicago, Dallas Opera, Glimmerglass Opera, New York City Opera and the Wexford Festival, amongst others. Other recent engagements include lead roles in Cosi fan tutte (Boston Lyric Opera), Die Fledermaus (Opera Memphis), Le Nozze di Figaro (El Paso Opera), Tosca (Cedar Rapids Opera), Glory Denied (Fort Worth Opera), Liebeslieder Waltzes (New York City Ballet), and title role of Rachmaninoff’s Francesca da Rimini (The Princeton Festival). Engagements in 2013-14 season include Glass’ Orphee for Pittsburgh Opera, and Lizzie Borden for Boston Lyric Opera. Future engagements include her Tanglewood Festival debut with Lizzie Borden, the North American premiere of Faccio’s Amleto for Opera Southwest, and Fledermaus for Fort Worth Opera.
Kostis Protopapas has been Artistic Director of Tulsa Opera since May of 2008. He previously served as the company’s Associate Conductor and Chorusmaster. He has conducted twenty productions with the company since his 2005 mainstage debut with Cavalleria Rusticana/I Pagliacci. About his 2011 Barber of Seville performances, Alex Ross of The New Yorker wrote “Most impressive was the fluid idiomatic playing of the orchestra… In any city, it’s rare to find a conductor that sets the right tempo so consistently.” Between 2002 and 2008, concurrently with his tenure at Tulsa Opera, Protopapas served as Assistant Conductor for the Lyric Opera of Chicago, Los Angeles Opera and Santa Fe Opera. During the 2002 and 2003 seasons he was the Assistant Chorusmaster at Lyric Opera of Chicago under Donald Palumbo. Protopapas started his career on the music staff of Virginia Opera and Opera Memphis; he conducted at Opera in the Ozarks every summer from 2000 to 2004; was a regular guest conductor at Union Avenue Opera in St. Louis from 2007 until 2010 and has been a guest conductor for the Des Moines Metro Opera, Opera Columbus, Shreveport Opera and the Westmoreland Symphony. Future appearances include Elmer Gantry with Tulsa Opera, the world premiere of The Poe Project with Fargo-Morehead Opera and A Streetcar Named Desire at Union Avenue Opera.
Protopapas’ leadership at Tulsa Opera has focused on furthering the company’s long-standing reputation for artistic excellence; expanding the company’s commitment to contemporary and American opera; developing the Tulsa Studio Artists Program into a training program of national recognition; strengthening the Tulsa Opera Orchestra and Tulsa Opera Chorus; expanding the company’s role as a leading arts organization throughout the state of Oklahoma; developing substantial outreach and educational programming; and advocating for arts awareness and appreciation in Tulsa. Born in Athens, Greece, Protopapas studied Archaeology and History of Art at the University of Athens before coming to the United States in 1993, on an Onassis Foundation scholarship, to study piano at The Boston Conservatory and conducting at Boston University. He became an American citizen in 2011 and lives in Tulsa and Chicago, with his wife, soprano and stage director Cathleen Dunn-Protopapas, and their four cats, Gus, Miles, Zsa-Zsa and Gigi.
LAWRENCE EDELSON, DIRECTOR – BURIED ALIVE
Lawrence Edelson is highly respected not only as a critically acclaimed stage director, but also as a visionary company leader who has created programs in the areas of artist mentorship and new works development that have served as models of innovation for opera companies around the country.
As a Director, Edelson’s work has been praised for the ability to fuse vivid story telling with deeply expressive imagery. He has been praised by Opera Now magazine as doing a “splendid job of making (opera) relevant and understandable.” His productions have been called “ingenious” and “imaginative” by Opera News, and “stunningly touching and entertaining” by the Washington Post. These diverse productions have included the American Premiere of Telemann’s Orpheus for Wolf Trap Opera, Philip Glass’s Hydrogen Jukebox for Fort Worth Opera, La traviata for The Minnesota Opera, Il Barbiere di Siviglia for Hawaii Opera Theater, H.M.S. Pinafore for Opera Saratoga, Carmen for Toledo Opera, a double-bill of La Serva Padrona and Trouble in Tahiti for the Adler Fellows of San Francisco Opera at Opera Santa Barbara, the New York premiere of Fauré’s rarely produced Pénélope for Manhattan School of Music, Cosi fan tutte for Boston University’s Opera Institute at the Huntington Theater, and the World Premiere of The ToyMaker off-Broadway as part of the New York Musical Theater Festival. He was a guest member on the directing staff of New York City Opera, where he restaged Little Women twice: for the work’s Lincoln Center premiere, and for the company’s tour to Japan. From 2008 to 2012, Edelson was also faculty member at the International Vocal Arts Institute in Tel Aviv, where he led seminars on American opera, and directed original productions of Adamo’s Little Women, Britten’s A Midsummer Night’s Dream, Massenet’s Werther, Strauss’s Ariadne auf Naxos, and Tchaikovsky’s Eugene Onegin.
Edelson is the founder and producing artistic director of American Lyric Theater in New York City. He has been responsible for assembling ALT’s Board of Directors, its world-renowned artistic staff, and implementing strategic operating and fundraising plans to ensure the long-term viability of the organization. As Producing Artistic Director, he coordinates the diverse artistic programs of ALT, including The Composer Librettist Development Program, commissioning of new works, co-production relationships, and recordings. A tireless advocate for emerging artists and the diversification of audiences for opera, Edelson serves on the Strategy Committee for OPERA America, and continues to forge collaborations with opera companies across the country. In January of 2014, he was appointed the new Artistic and General Director of Opera Saratoga, a position he will begin in July 2014, and which he will hold concurrently with his position at American Lyric Theater.
SAM HELFRICH, DIRECTOR – EMBEDDED
Sam Helfrich has directed theater and opera at Boston Lyric Opera, Portland Opera, Glimmerglass Opera, Spoleto Festival/USA, Virginia Opera, Opera Boston, Pittsburgh Opera, and Wolf Trap, among others. Recent opera highlights includes Strauss’ Ariadne auf Naxos at Virginia Opera, Jake Heggie’s Dead Man Walking at Eugene Opera, Andre Previn’s A Streetcar Named Desire at Virginia Opera, the American premiere of Philip Glass’ Kepler at Spoleto Festival/USA, Adams’ Nixon in China at Eugene Opera, a fully staged Messiah with the Pittsburgh Symphony, Don Giovanni with Yale Opera, The Turn of the Screw at Boston Lyric Opera, Philip Glass’ Orphée at Virginia Opera, Portland Opera, and Glimmerglass Opera, and Anthony Davis’ Amistad at Spoleto Festival/USA. Recent theater credits include off-Broadway productions of Owned, a world premier play by Julian Sheppard, and Tape, by Stephen Belber, both of which played to wide audience and critical acclaim, and a double bill of plays by Shaw and De Musset at the Franklin Stage Company. Upcoming projects include Philip Glass’ Orphée (in its 4th revival) at Pittsburgh Opera, and the world premiere of Enemies: A Love Story by composer Ben Moore at Palm Beach Opera. Helfrich received his MFA in theatre arts from Columbia University School of the Arts.
ZANE PIHLSTROM, SET AND COSTUME DESIGNER
Zane Pihlstrom is a set and costume designer whose international work in 2013 includes The King Stag (dir. Dmitry Troyanovsky) with The Shanghai Theater Academy; You, We, Us, All (dir. Andrew Ondrejcak) in Hamburg and Antwerp; Our Class (dir. Yana Ross) with The National Theater of Lithuania. Since 2007 Pihlstrom has been a close collaborator with international avant-garde theater and opera director Yana Ross. Work with Ross includes scenery and costumes for a Eurydice at The Finish National Theater (Helsinki); scenery and costumes for Macbeth at the Volksbühne Am Rosa-Luxemburg-Platz (Berlin); costumes for Bambiland (National Theater of Lithuania; Oskaras Korsunovas Theater) and scenery and costumes for Sleeping Beauty (Seoul Performing Arts Festival, South Korea).
In New York City, Pihlstrom frequently collaborates with Beth Morrison Projects (BMP). BMP’s focus is to develop new operas and music pieces with today’s emerging and established composers. Pihlstrom has designed scenery and/or costumes for Sumeida’s Song (Here Arts Center); Song from the Uproar, and Binibon (The Kitchen Theater) and Kocho (Galapagos Art Space). Since 2008 Pihlstrom has been the resident designer for Company XIV, a Brooklyn based neo-baroque dance company. He continues to collaborate with visual director and choreographer Austin McCormick on his intensely physical productions that fuse Baroque dance with opera, burlesque, circus and fashion. These productions are inherently dark, sensual re-imagined versions of classic operas and fairy tales. Pihlstrom has designed costumes and/or scenery for multiple productions with McCormick thus creating a decadent company aesthetic that is often intentionally visually self-referencing. In 2012, Pihlstrom and McCormick won the OPERA America Director/Designer Competition. Their fully designed proposal for John Adams’s A Flowering Tree was presented at Boston’s conference. Pihlstrom designed the costumes for the premier production of Tarrell Alvin McCraneys’ The Brothers Size with The Public Theater (dir. Tea Alagic) with subsequent tours to The Studio Theater (Washington, D.C.) and The Abbey (Dublin, Ireland).
S. KATY TUCKER, VIDEO AND PROJECTION DESIGNER
Katy Tucker is a video and projections designer based in New York City. Tucker began her career as a painter and installation artist, exhibiting her work at a variety of galleries, such as The Corcoran Museum in Washington, DC and Artist’s Space in New York City. In 2003, as her video installations became more “theatrical,” Tucker shifted her focus to video and projection design for the stage.
Since 2003, Tucker has worked all over the U.S. and world including Broadway, Off-Broadway, The Metropolitan Opera, The New York City Ballet, Carnegie Hall, The Park Avenue Armory, BAM, Disney World, Kennedy Center, San Francisco Opera, and more. Upcoming productions include: Prince Igor with Dmitri Tcherniakov at The Metropolitan Opera, the musical Excalibur with Francesca Zambello at Theater St. Gallen in Switzerland, Still Will Be Heard with Mindy Cooper, The Poe Project with Lawrence Edelson and Sam Helfrich for Fargo Moorhead Opera and American Lyric Theater, The Seagull at Kenyon College, and The Love Show with Helga Davis, a performance and installation at Brookfield Place. Recent productions include: The Flying Dutchman with the Sydney Symphony at the Sydney Opera House, where Tucker joined forces again with the amazing David Robertson to create a holistic environmental experience, 21c. Liederabend at BAM with VisionIntoArt & Beth Morrison Projects, Holy Visions by John Zorn, La descente d’Orphée aux enfers for the Gotham Chamber Opera with Andrew Eggert, The Flying Dutchman at San Francisco Opera, Aging Magician created by Paola Prestini, Rinde Eckert and directed by Julian Crouch at HERE, Bluebeard’s Castle starring Sam Ramey at Opera Omaha, Capture/Release with Lar Lubovitch Dance Company and Paola Prestini for the River to River festival. Carmina Burana, a 3-D spectacle at Carnegie Hall, Song from the Uproar by composer Missy Mazzoli, Gotterdammerung and Heart of a Soldier at San Francisco Opera with Francesca Zambello, Ocean’s Kingdom, a new ballet by Sir Paul McCartney and Peter Martins at the New York City Ballet, and The 5th Anniversary Gala at the Park Avenue Armory by Marcus Doshi. Since 2012, Tucker has worked for The Metropolitan Opera, helping to re-create old projection artwork and transforming it into an improved digital format for repertory operas like: Otello, La clemenza di Tito, and Francesca Zambello’s Les Troyens.
Tucker is a member of Black Ship, a small group of innovative creators that fuse arts and entertainment in a variety of venues. She is also a member of Wingspace Theatrical Design, a collective of artists, designers, writers, and thinkers committed to the practice of collaboration in theatrical design. In 2006, Tucker co-founded with partner Alexandra Morton, beatbox designs, a New York and LA based interdisciplinary design firm that re-thinks and re-works the boundaries between art, architecture, entertainment and experience. Tucker resides in Fort Greene, Brooklyn.
JOSH EPSTEIN, LIGHTING DESIGNER
Lighting designer Josh Epstein has crafted opera productions at Minnesota Opera, Opera Santa Barbara, Wolf Trap Opera Company, Berkshire Opera Festival and the Manhattan School of Music. He has worked regionally at the Guthrie Theater, Mark Taper Forum, Playmaker’s Repertory Company, Baltimore Center Stage, Goodman Theater, Lyric Theater, Paper Mill Playhouse, Long Wharf Theater, Cincinnati Playhouse in the Park, Actor’s Theater of Louisville and The Alliance Theater in Atlanta and as the resident lighting designer at the O’Neill Playwrights Conference. Epstein’s lighting design credits in New York include work with companies such as The Joyce, New Georges Theater Company, Clubbed Thumb, Target Margin, Rattlestick Theater, La Mama ETC, Naked Angels and The Juilliard School of Drama as well as designing the lighting for the award-winning Macy’s 2006-2008 New York City Holiday Windows. Epstein received his BA from the University of Chicago and his MFA from NYU’s Tisch School of the Arts. He is currently serving as an adjunct faculty member at the UCLA School of Theater and was a recipient of the 2004-2006 NEA/TCG Career Development Program for Designers. More information can be found at www.joshepsteindesign.com.
JEFF MYERS, COMPOSER – BURIED ALIVE
The music of Jeff Myers has been called “Striking…and harmonically rich” by The New York Times and “…brilliant and powerful…” by The Classical Voice of New England. His collaborators include violinists Hilary Hahn (“27-Encores” album), Yuki Numata, pipa virtuoso Yang Jing (“Elements” album), JACK Quartet, New World Symphony and many other ensembles. He has received awards, fellowships and grants from The American Academy of Arts and Letters, ASCAP, BMI, the Aspen Festival, Tanglewood, The Jerome Foundation, The Fromm Foundation and NYSCA. His music has been heard at venues such as Carnegie Hall, Library of Congress, Disney Hall, Het Muziekgebouw aan ‘t IJ, and Le Poisson Rouge. Works in progress include Maren of Vardø, based on 17th c. Norwegian witch trials, with librettist Royce Vavrek and a full-length Requiem-inspired work for soprano Martha Cluver and JACK Quartet. Myers was one of the first participants in American Lyric Theater’s Composer Librettist Development Program in 2007. With Mark Adamo as mentor, Myers and librettist Royce Vavrek wrote the Kafka inspired opera The Hunger Art. Buried Alive is the second opera commissioned from Myers by American Lyric Theater. Myers currently lives and works in New York as a composer and music engraver.
QUINCY LONG, LIBRETTIST – BURIED ALIVE
Quincy Long’s works have seen numerous professional productions including The Huntsmen (Portland Playhouse), People Be Heard (Playwrights Horizons), The Joy of Going Somewhere Definite (Atlantic Theatre; Mark Taper Forum), The Virgin Molly (Atlantic Theatre and Berkeley Rep), Shaker Heights (Atlantic Theatre), The Lively Lad (New York Stage and Film; Actors Theatre of Louisville’s Humana Festival), The Year of the Baby (Soho Rep), The Only Child (South Coast Rep). Long’s plays are published by Dramatists Play Service, Playscripts, Inc. and Theatre Communications Group. His current projects include Daughters of Io, a play commissioned by Theatre Mon Dieu! In New York City; The Gospel According to Trains, commissioned by America-in-Play through the New York State Council on the Arts, and The Dark Horse, a television pilot. Quincy is from Warren, Ohio and lives in New York City. Long is an alumnus of the Composer Librettist Development Program at American Lyric Theater, a graduate of the Yale School of Drama, and a member of the BMI Librettists Studio, New Dramatists and Ensemble Studio Theater.
DEBORAH BREVOORT, LIBRETTIST – EMBEDDED
Librettist Deborah Brevoort is best known for her play The Women of Lockerbie, which is performed throughout the United States and internationally. In addition to Embedded, she wrote the libretti for Steal a Pencil for Me, an opera about the Holocaust with music by Gerald Cohen, and a new adaptation of Die Fledermaus for the Anchorage Opera. Brevoort also wrote Crossing Over, an Amish hip-hop musical with composer Stephanie Salzman; King Island Christmas and Goodbye My Island with David Friedman; and Coyote Goes Salmon Fishing with Scott Richards. She is a two-time winner of the Frederick Loewe Award. Brevoort’s plays, which have been produced at theatres around the U.S., include: Blue Moon Over Memphis, a Noh drama about Elvis Presley; The Poetry of Pizza; The Comfort Team; The Velvet Weapon; The Blue-Sky Boys; Signs of Life and Into the Fire. Her works are published by Samuel French, Dramatists Play Service and Applause Books. No Passport Press will publish two anthologies of her plays in 2014. Brevoort is an alumnus of New Dramatists and the Composer Librettist Development Program at American Lyric Theater. She is a co-founder of Theatre Without Borders. Brevoort teaches at Goddard College, Columbia University and New York University.
PATRICK SOLURI, COMPOSER – EMBEDDED
Patrick Soluri is a New York City based composer focused on music for orchestra, ballet, opera, and film/TV. His love of telling stories through music is evident in a large body of work for the stage, screen and concert hall. This includes six commissioned ballet scores with renowned organizations Staatsballett Berlin, Dances Patrelle, Bowen McCauley Dance, Cuyahoga Valley Youth Ballet and The Kennedy Center, where he conducted the world premiere of Fire & Air. Operatic works and commissions include his short operas, ranging from one to twenty minutes long, performed around the U.S. and Europe with New York City Opera, Fort Worth Opera, Nevada Opera, Center City Opera Theater, American Lyric Theater, Juventas New Music Ensemble, Urban Arias, Vienne en Voix Festival in France, and Remarkable Theater Brigade. Further operatic accomplishments include four Carnegie Hall premieres, and winning the 2013 Frontiers Competition at Fort Worth Opera for his one-act opera Embedded. Soluri has composed several film scores and hundreds of tracks of music for film & TV including the Emmy-winning Wonderpets, and a collaboration with Sean Lennon on the film score for Alter Egos. His music has been on numerous shows and films on TLC, Logo and Discovery networks (Americas Got Talent, Sing it Laurie, Confined, Sony/ATV), and music for a film trailer currently showing on 19,000 film screens across the U.S.