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Home , Kevin Puts, Laurie Woolery, Missy Mazzoli, Prism (opera), Prototype Festival, Shara Nova

Y | | Studies Today Developing New Opera in the Age of #MeToo

A Zoom Conference May 8, 2020 Yale Department of Music May 6 – 7

Video streaming of ( and Roxie Perkins, 2018) A link will be emailed to registered participants of the conference. Music Ellen Reid Libretto Roxie Perkins Director James Darrah Conductor Julian Wachner Producer Beth Morrison Projects Featuring Rebecca Jo Loeb, Anna Schubert, NOVUS NY, and The of Trinity Wall Street Sound design Garth MacAleavey Choreographer and assistant director Chris Emile Set design Adam Rigg Costume design Molly Irelan Lighting design Pablo Santiago-Brandwein

May 8

10 a.m. Welcome and Introduction Gundula Kreuzer

Lightning Talks and Discussion I: New Opera and Gender Wayne Heisler Jr. “Bigger than Germont; Or, the Operatic Canon as Codependency” Jane Forner “Opera as Activism and Social Critique: The Works of Cecilie Ore, 2008 – 2019” Lucy Caplan “‘A Little Woman with a Big Thought’: Gender and Labor in a New Production of Shirley Graham’s Tom-Tom” Chair and Respondent: Ryan Minor

11:15 Short break

11:30 Lightning Talks and Discussion II: Opera and/as Experiment Joy Calico “Engaging Experimental Opera: Chaya Czernowin’s Infinite Now (2017)” W. Anthony Sheppard “Shara Nova’s You Us We All and #MeToo” Chair and Respondent: Alessandra Campana poster presentation “Ms., Opera, Music, Mr.: A Rhetorical Analysis of Contemporary Classical Music Criticism” Allison Chu and Frances Pollock Chair and Respondent: Suzanne Stewart-Steinberg

1 p.m. Lunch break

2:00 Conversation: “Composing Women’s Issues” Missy Mazzoli and Ellen Reid in conversation with Suzanne Cusick and Cori Ellison

3:00 Short break

3:15 Panel Discussion: “Developing New Opera” Panelists: Paul Cremo, Wendall Harrington, Missy Mazzoli, Beth Morrison, Steven Osgood, Ellen Reid, Jeanine Tesori, Francesca Zambello Chair: Gundula Kreuzer

5:15 Short break

5:30 Salt: A Workshop Exploration of the Online Possibilities of Opera Presenters: Jill Brunelle, Danilo Gambini, Frances Pollock, Emily Roller, Camilla Tassi Chair: Patrick Diamond Respondent: Mauro Calcagno

7:00 Short final reflection Gundula Kreuzer

7:15 END

Organized by Gundula Kreuzer Input by Alessandra Campana, Frances Pollock, and Eric Tipler (among others) Funded by the Dean’s Office of the Faculty of Arts and Sciences, Photograph by Maria Baranova, by kind permission of Beth Morrison (BMP) Program design by Chika Ota

https://operastudies.yale.edu/ YOST 2020 — Cast

Jill Brunelle is a repertoire pianist at Yale University, by the ACLS, the American Academy in Berlin, the and Sarah Ruhl’s Eurydice, as well as Ricky Ian Gordon working with Yale Opera, Yale School of Drama, the Howard Foundation, and the NEH, among others, and and Lynn Nottage’s Intimate Apparel, which will open Yale Institute of Sacred Music, and Yale College. Her in 2019 she was Gerstein Visiting Distinguished Professor this fall, produced by Lincoln Center Theater. Paul is recent music directing credits include The Fantasticks at at the Anne Tanenbaum Centre for Jewish Studies and supervising development of new by Ivoryton Playhouse, and The Addams Family and Violet at the Faculty of Music at University of Toronto. She was and Gregory Pierce, Jeanine Tesori and George Brant, Southern Connecticut State University. At Yale School of co-founder of the German Studies Association’s Music Mason Bates and Gene Scheer, Missy Mazzoli and Royce Drama Ms. Brunelle directed Steven Sondheim’s Passion, and Sound Studies Network and member of the GSA Vavrek, Joshua Schmidt and Dick Scanlan, David T. Little The Apple Tree, Trouble in Tahiti, and The Medium. As Executive Board. She is a former editor-in-chief of JAMS and , as well as an English adaptation of Yale Opera Chorus Master she has prepared ensembles and currently serves on the AMS Board. Cendrillon by Kelley Rourke for family audiences. Other for Eugene Onegin, Hänsel und Gretel, Die Zauberflöte, A Met productions include Jeremy Sams’s The Enchanted Midsummer Night’s Dream, Le Nozze di Figaro, and La Alessandra Campana is Associate Professor of Music, and Island and The Merry Widow, J. D. McClatchy’s English Bohème. Ms. Brunelle recently celebrated five years as Film and Media Studies, at Tufts University, and works adaptation of The Barber of Seville, and Jeremy Sams and Music Director at the renowned Foote School Summer on the interfaces of hearing and seeing in theatre, film, Douglas Carter Beane’s adaptation of Die Fledermaus. Paul Theater. Her 2019–2020 season included Fun Home at the and video. She published Opera and Modern Spectatorship has been an advisor to the Sundance Theater Institute, Yale School of Drama, Ragtime at Ivoryton Playhouse, and in Late Nineteenth-Century Italy (Cambridge University the Duffy Composer Institute, the BRIC Media/Arts Florencia en el Amazonas with Yale Opera. Ms. Brunelle Press, 2015) and is completing a book on the aesthetics Fireworks Residency Program, and has served on the has served as faculty/staff at , New and politics of sound-image synchronization in film. Tony Awards Nominating Committee and on the Jury England Conservatory, Tufts University, Hartt School In collaboration with Christopher Morris, she is also for the . He holds a BS from of Music, Connecticut Opera, Boston Lyric Opera, and working on a new book project positing anachrony as Ithaca College and an MFA from The Pennsylvania State Opera Boston. As a collaborative pianist Ms. Brunelle crucial to a reconceptualization of opera historiography. University. is highly sought after as a recital partner, performing internationally as well as at Carnegie Hall and Jordan Lucy Caplan is an interdisciplinary historian of music Suzanne G. Cusick, Professor of Music on the Faculty of Hall, and has performed world premieres at numerous and culture in the United States. She holds a Ph.D. Arts and Science at and Honorary festivals, including the celebrated Bang on a Can festival in in American Studies and African American Studies Member of both the American Musicological Society . Ms. Brunelle also collaborates frequently from Yale University, where she wrote a dissertation and the Society for Ethnomusicology, has published with area companies and ensembles, including Orchestra about how early-twentieth-century African Americans extensively on gender and sexuality in relation to New England and Long Wharf Theater. redefined the genre of opera as a wellspring of antiracist the musical cultures of early modern Italy and of activism, collective sociality, and aesthetic innovation. contemporary North America. Her 2009 book Francesca Mauro Calcagno is a musicologist teaching at the Her academic writing appears in the recently published Caccini at the Medici Court: Music and the Circulation of University of Pennsylvania, where he directs the Center collection African Americans Arts: Activism, Aesthetics, and Power (Chicago) received the “Best Book” award for 2010 for Italian Studies. He received his Ph.D. in Music Futurity, and is forthcoming in the Journal of the Society of the Society for the Study of Early Modern Women. from Yale University in 2000, taught at Harvard until for American Music. The recipient of the 2016 Rubin More recently, she has studied the use of sound in 2008 and at Stony Brook until 2013. His work focuses Prize for Music Criticism, Lucy also writes frequently detention and interrogation of prisoners held during the on opera studies, early modern music, performance for public audiences. Her essays have been published 21st-century’s “war on terror,” work for which she won studies, and digital humanities. His publications include in The New Yorker and The Log Journal, among others, the Philip Brett Award of the American Musicological the book From Madrigal to Opera: Monteverdi’s Staging and her program notes have been commissioned by Society. Cusick is currently at work on gendered, of the Self, an article on linguistics and opera published Boston Lyric Opera, Santa Fe Opera, Seattle Opera, and eroticized and politicized modes of hearing in Medicean in the Journal of the American Musicological Society, an Lincoln Center. Currently, Lucy teaches in the History Florence and, with Emily Wilbourne, a co-edited essay on the aesthetics of voice in seventeenth-century and Literature program at and in volume tentatively entitled “Acoustemologies in Contact.” music which received the Alfred Einstein Award from the American Studies program at the University of She currently serves as President of the American the American Musicological Society, and various Massachusetts, Boston. Musicological Society. contributions devoted to early modern music. His edition of Cavalli’s Eliogabalo has been adopted for performances Allison Chu is a first-year PhD student in Music History Patrick Diamond has participated in numerous in various international venues; on the occasion of the at Yale University. She holds a Bachelor of Music in American and World Premieres of both operas and NYC production, and The New Clarinet Performance and a Bachelor of Arts in English plays throughout his career. As a director, he is equally Yorker featured articles that discussed his research. He from the University of Michigan. While at Michigan, she committed to developing new works and taking a is also the co-director of the Marenzio Online Digital worked with the UM Gershwin Initiative as an editorial fresh look at the standard repertoire. Known for his Edition (MODE), funded by a NEH grant, and he edited assistant and conducted research on George Gershwin’s collaborative approach, he is co-creator of the devised the volume Perspectives on Luca Marenzio’s Secular Music. Blue Monday through a grant from the UM School of piece, drömseminarium, with composer Ellen Lundquist Calcagno is working on a book entitled Staging Baroque Music, Theatre & Dance EXCEL program. This past and Nobel Laureate Tomas Tranströmer. He was Opera Today. He has offered workshops for singers and year, Allison was one of the founding members for the producer and director of The Dido Project, a site-specific instrumentalists on Baroque music and poetry at the Grant Hagan Society, an affinity group that supports installation performance of Purcell’s Dido and Aeneas Juilliard School of Music, the Bienen School of Music, people of color in the Yale Department of Music, and a with frequent collaborators, Sybarite 5, at the Samsung and at the Centre for Baroque Music in Versailles. research assistant for the Sawyer Seminar “The Order Experience in New York. He directed the major American of Multitudes.” Her current research interests include revivals of Moniuszko’s Halka and Wolf-Ferrari’s Le Joy H. Calico is Cornelius Vanderbilt Professor the status of opera in contemporary society, twenty-first donne curiose, and Argento’s Postcard from Morocco for of Musicology and Professor of German Studies century operatic compositions, and the representation of the composer’s eightieth birthday festival celebration. at Vanderbilt. Her scholarship focuses on the identity on stage. Pat has developed new work with playwrights A. Rey interdisciplinary study of Cold War cultural politics, Pamatmat, Eric Sanders, and Kathryn Walat, and Schoenberg, and on opera since 1900. She is the author Paul Cremo is Dramaturg and Director of the Opera worked with composer Gregory Spears. Direction of of two monographs: Arnold Schoenberg’s ‘A Survivor from Commissioning Program at The Metropolitan Opera established repertoire includes works by Shakespeare, Warsaw’ in Postwar Europe (California, 2014), due out this and runs the Met/Lincoln Center Theater New Works Britten, Calderón, Mozart, Puccini, Janáček, Mayakovsky, year in Italian translation from il Saggiatore; and Brecht Program, which develops new opera and music theater and Verdi. Companies include Wolf Trap, American at the Opera (California, 2008; paperback 2019). Her works through a workshop process. He has overseen the Opera Projects, Aspen Music Festival, West Edge Opera, current book project is Opera since Salome, and she has development of several full commissions for the Met 2G, Working Man’s Clothes, Trondheim Sinfonietta, published articles on operas by Strauss, Olga Neuwirth, including and Craig Lucas’s Two Boys, Nico Västmanlandsmusiken, Prague Summer Nights (in and Kaija Saariaho. Calico’s research has been supported Muhly and Nicholas Wright’s Marnie, Matthew Aucoin residence at the Estates Theater), and regional work in France. With Ellen Lindquist, he has co-led devising Danilo Gambini is a third-year Directing M.F.A. published in 2009 by the University of Rochester Press. with music workshops in Västerås, Sweden, and Oslo, candidate at YSD, where he directed Fun Home, with Wayne’s writing has also appeared in The Opera Quarterly, Norway, and established Foundry Arts, a studio based in music by Jeanine Tesori and book and lyrics by Lisa JAMS, Dance Chronicle, and The Musical Quarterly, among New York City, dedicated to developing musical works Kron, Shakespeare’s , Noah Diaz’s Rock other journals and collected volumes. His recent work and skills through working collaboratively. Pat teaches at Egg Spoon and Margaret E. Douglas’s Rest I’m Peace, includes a 2019 op ed, “Kate Smith, ‘God Bless America’ Manhattan School of Music, Yale School of Drama, and and served as Assistant Director to Laurie Woolery and Our Reckoning with Pedestals” in the Newark Star- Yale Summer Sessions. for El Huracán at . At the Yale Ledger; the paper “Frederick Ashton’s and Benjamin Cabaret, he directed Agreste (Drylands), Ni Mi Madre, Britten’s ‘Rimbauderies’” at the 2019 Dance Studies Cori Ellison, a leading creative figure in the opera Truck (parts I, II and III). As the Co-Artistic Director of Association conference; and the essay “Reconciling world, has served as staff Dramaturg at Santa Fe Opera, 2019’s Yale Summer Cabaret, he directed Anne Carson’s the ‘Three Graceful Hellenic Sisters’: Wagner, Dance, the Glyndebourne Festival Opera and New York City new translation of Euripides’s Bakkhai and his own and ‘Song-Ballets’ Set to Richard Strauss’s Vier Letzte Opera. Active in developing contemporary opera, she adaptation of the Brazilian novel by Jorge Andrade The Lieder,” in The Total Work of Art: Foundations, Articulations, leads the Opera Lab, a unique new practical training Swallow and the Tomcat. In Opera, he has directed Don Inspirations, published by Berghahn in 2016. Forthcoming program for composers, librettists, and performers Giovanni by Mozart, Ariadne auf Naxos by Strauss, Eugene work includes “Choreographing Mahler Songs at at The Juilliard School, where she serves on the Vocal Onegin by Tchaikovsky, and the rock-opera Tommy by the Centenary,” in Musicology and Dance from Bach to Arts faculty. She is also a founding faculty member Pete Townsend. Danilo has served as assistant director Stravinsky, due out from Cambridge in 2020; and an of American Lyric Theater’s Composer Librettist to Fernando Meirelles, Candace Evans, Iacov Hillel, essay entitled “Recipe and Indigestion,” in The Art of Development Program. At she Mauro Wrona, Caetano Vilela and Caetano Pimentel Whipped Cream for the American Ballet Theatre. Wayne is was a curator of the annual VOX American Opera on Tannhäuser, Les Pêcheurs de Perles, Otello, Pelléas et Reviews Editor of The Opera Quarterly, for which he also Showcase and co-founded and led City Opera’s “Words Mélisande, Les Contes d’Hoffmann, Mefistofele, Florencia serves on the Editorial Board. The working title of his First” program for opera librettists. She has been a en el Amazonas, Die Fledermaus (co-director) and the current book-in-progress is Choreographing Song in the sought-after developmental dramaturg to numerous world premiere of Boy and Freedom. He holds a B.F.A. in 20th Century. composers, librettists, and commissioners, including Film Directing from the University of São Paulo (Curso Glyndebourne, Canadian Opera, Opera Philadelphia, Superior do Audiovisual), and a diploma as actor from Gundula Kreuzer is Professor of Music at Yale University Arizona Opera, Pittsburgh Opera, and Beth Morrison the School of Dramatic Art at the same University (Escola and author of the award-winning Verdi and the Germans: Projects and has served as production dramaturg for de Arte Dramática - EAD). From Unification to the Third Reich (Cambridge, 2010) as projects including L’incoronazione di Poppea at Cincinnati well as Curtain, Gong, Steam: Wagnerian Technologies of Opera; Orphic Moments at the Salzburg Landestheater, Wendall K. Harrington (designer/educator) received Nineteenth-Century Opera (Oakland, 2018). She edited , and Master Voices; Aci, Galatea, e the Drama Desk, The Outer Critics Circle, and American Verdi’s chamber music, was reviews editor for The Polifemo at National Sawdust; Washington National Theatre Wing Awards for the projections in The Who’s Opera Quarterly and editorial board member for JAMS, Opera’s Ring cycle, Opera Boston’s The Nose, and Tommy. Other Broadway credits: Amy’s View, Civil War, and serves on the editorial boards of VerdiPerspektiven, Offenbach!!! at Bard Summerscape. She is a faculty Putting it Together, Freak, Ragtime, The Capeman, Racing WagnerSpectrum, and Cambridge Opera Journal. Her member at the Ravinia Steans Music Institute Program Demon, Company, Having Our Say, Four Baboons Adoring current research interests include contemporary “indie for Singers and has taught and lectured for schools, the Sun, The Heidi Chronicles, My One and Only, and opera”; media archaeologies of opera and the screen; performance venues, and media outlets worldwide. She Their Playing Our Song. Off Broadway: Les MIZrahi and post-war historiography, performance practice, and creates supertitles for opera companies across the (Visual Director), As Thousands Cheer, Merrily We Roll cultural amnesia regarding music from the Nazi era. She English-speaking world, and helped launch Met Along (4 times!), Hapgood, and Whistle Down the Wind. also enjoys talking and writing about operatic matters Titles, the Met’s simultaneous translation system. Her Opera: Werther (Met), A View From The Bridge (Chicago in public contexts, such as in TLS, on BBC Radio3, and English singing translations include Hansel and Lyric), Grapes of Wrath, Transatlantic (Minnesota Opera), at the Metropolitan Opera. In 2019, she launched the Gretel (NYCO), La vestale (English National Opera) and The Juniper Tree (ART), The Photographer (BAM), YOST initiative and received the Dent Medal of the Royal Shostakovich’s Cherry Tree Towers (Bard Summerscape). Rappahannock County, Morningstar, Nixon in China Musical Association for her “outstanding contribution to (OTSL). Ballet: Othello (ABT), Ballet Mécanique for Doug musicology.” Jane Forner is a musicologist working on contemporary Varone, On the Dnieper, Firebird, Anna Karenina, Pictures opera in Europe and the United States. Having completed at an Exhibition, The Fairy’s Kiss with Alexei Ratmansky, Recently deemed “one of the more consistently inventive, a BA in Music at Peterhouse, University of Cambridge, in Nutcracker and Sylvia for Houston Ballet, Midsummer surprising composers now working in New York” (NY 2014, she obtained her PhD in Historical Musicology at Night’s Dream, Nutcracker and The Firebird for Miami Times), “Brooklyn’s post-millennial Mozart” (Time in April 2020, where she completed City Ballet. Concert: Brightness of Light by Kevin Puts for Out NY), and praised for her “apocalyptic imagination” a dissertation supervised by George Lewis titled “Distant Renee Fleming, at 100 (Kennedy Center), (Alex Ross, The New Yorker), Missy Mazzoli has had Pasts Reimagined: Encountering the Political Present in Stop Making Sense (The Talking Heads), Ira Gershwin at her music performed by the , LA Opera, 21st-Century Opera.” Her doctoral thesis focuses on four 100, Candide, and Carnegie at 125, at Carnegie Hall. TV: eighth blackbird, the BBC Symphony, the Minnesota recent operas by Cecilie Ore, Moneim Adwan, Anthony Great Performances, I Hear America Singing (Thomas Orchestra, Scottish Opera and many others. In 2018 Davis, and Péter Eötvös which interrogate current Hampson). Ms Harrington is the recipient of the 1995 she became, along with Jeanine Tesori, one of the first political issues through ancient, mythological, and Obbie Award for excellence in projection design, the women to receive a main stage commission from the medieval source material, especially concerning feminism, Michael Merritt Award for Design and Collaboration Metropolitan Opera, and was nominated for a Grammy and the cultural politics of identity and religion. and Lifetime Recognition from The Knights of award in the category of “Best Classical Composition.” Her interests include feminist theory, colonial and Illumination. The former design director of Esquire She was recently named Composer-in-Residence at the postcolonial studies, activism and politics in music, race, Magazine, she produced Words on Fire for PBS and two Chicago Symphony Orchestra, and from 2012–2015 was and migration studies. Her work on Thomas Adès’s opera fine daughters. She is the head of the Projection design Composer-in-Residence with Opera Philadelphia. Her The Tempest will be published in the first edited volume concentration at the Yale School of Drama. 2018 opera Proving Up, a commentary on the American on the composer, Thomas Adès Studies, forthcoming this dream commissioned and premiered by Washington year from Cambridge University Press, edited by Edward Wayne Heisler Jr. is Professor of Historical and Cultural National Opera, was deemed “harrowing… a true opera Venn and Philip Stoecker. Jane is also an active choral Studies in Music at The College of New Jersey, where he for its time” by . Her 2016 opera singer, currently a member of Wadham College Choir in also chairs the Department of Music. His research and , commissioned by Opera Philadelphia Oxford, woodwind player, and in the current situation is writing focusses on dance and music as well as opera. He and Beth Morrison Projects, was called “one of the finally attempting to improve her skills on the organ. is author of The Ballet Collaborations of Richard Strauss, best 21st-century American operas yet” by Opera News. Breaking the Waves received its European premiere at Fleischman), Breaking the Waves, (Mazzoli/Vavrek), her two favorite cities – Los Angeles and New York. the 2019 Edinburgh Festival; future performances are and JFK (Little/Vavrek). He has been the Conductor Her music is released on Decca Gold. planned at LA Opera, Houston Grand Opera, and at the Mentor for Washington National Opera’s American https://ellenreidmusic.com/#about Adelaide Festival. Upcoming commissions include works Opera Initiative, leading the premieres of six of their for Opera Philadelphia and Norwegian National Opera. commissioned works. His conducting credits include Emily Roller is a librettist, writer, and educator from In 2016, Missy and composer Ellen Reid founded Luna L’Opéra de Montréal, New York City Opera, Los Angeles southwest Missouri. She has written and developed Lab, a mentorship program for young female composers Opera, Atlanta Opera, Opera Memphis, Opera Columbus, several operas and musical theater pieces, including Why created in partnership with the Kaufman Music Center. Manhattan School of Music, and the Juilliard School. He We Bleed (composer Sky Macklay) with American Her works are published by G. Schirmer. has been on the music staff of the Metropolitan Opera Opera Projects; Lifeboat (composer Matthew Peterson) missymazzoli.com since 2006. As Artistic Director of American Opera with Washington National Opera as part of the 2017 Projects from 2001 to 2008 he created the company’s American Opera Initiative; and The Surrogate (composer Ryan Minor is Associate Professor of Music History and prestigious Composers & the Voice fellowship program Sky Macklay), which was developed at the University of Theory at SUNY Stony Brook. He is the author of Choral which has fostered the careers of over 50 composers and Illinois and presented at the National Opera Association’s Fantasies: Music, Festivity and Nationhood in Nineteenth- librettists. Osgood has been General and Artistic Director annual conference in 2019. She is developing several Century Germany (Cambridge UP), as well as articles on of the Chautauqua Opera Company since 2016. The musicals and has had workshops and presented Wagner, operatic dramaturgy, and musical cultures of company’s 2020 season will respond to the COVID-19 songs at venues such as Joe’s Pub, 54 Below, Yale the “long” 19th century. A former executive editor of The crisis by contributing to the Chautauqua Institution’s University, New York University. She co-produced Opera Quarterly, Minor is currently writing a history of digital stream. In March he was conducting Bartlett Frances Pollock’s Stinney: An American Execution at the German operatic spectatorship. Sher’s world premiere production of Intimate Apparel 2019 Protoype Festival in New York. She was a librettist by Ricky Ian Gordon and Lynn Nottage at the Lincoln fellow with American Opera Projects’ Composers and Noted as a “contemporary opera mastermind” (LA Center Theater when all of New York’s Broadway theaters the Voice series from 2015-16. She is currently developing Times) and “a powerhouse leading the industry to new shut. That production is planned to return in Fall 2020. a new cross-disciplinary opera, Salt (composer Frances heights” (WQXR), Beth Morrison is an opera-theatre Pollock, director Danilo Gambini, designer Camilla producer and President and Creative Producer of Beth Known for her “bold and bracing” (Baltimore Sun) opera Tassi), which has been workshopped at Yale and Morrison Projects. Beth created Beth Morrison Projects writing, Frances Pollock’s music “pulls no punches previewed during the New Music New Haven series (BMP) in 2006 to identify and support the work of and never flinches” (City Paper). Originally from North and through American Opera Projects’ Six Scene emerging and established living composers. BMP is Carolina, Frances is inspired by a variety of artists Showcase. She is the author of The Alloway Files, a novel celebrated as an industry disruptor and tastemaker at including Dolly Parton, Whitney Houston, Francis based on her teaching experience in Baltimore City the forefront of musical and theatrical innovation by Poulenc, Joni Mitchell, Missy Elliot, Stephen Sondheim, Public Schools, and several short stories and essays. She commissioning, developing, producing and touring the Jonathan Dove, and Billy Joel. Frances’ first opera, Stinney, has been a teaching artist with the Metropolitan Opera groundbreaking new works of these living composers was workshopped in Baltimore in 2015, where it won a Guild since 2016. Emily has her MFA in Musical Theatre and their collaborators, which take the form of opera- Johns Hopkins Diversity Grant and a Best of Baltimore Writing from New York University, her MA in Writing theatre, music-theatre, and vocal-theatre. BMP award. It was presented again in workshop in the 2019 from Johns Hopkins, and a BA in English from Yale. She encourages risk-taking and the result is provocative in New York City and will have teaches high school English and lives in Connecticut with works that represent a dynamic and lasting legacy for a its world premiere in 2021 with Greenville Light Opera her favorite collaborator/wife, Frances Pollock. new American canon. Opera News has noted: “More than Works in Greenville, SC. Frances has since written ejroller.com any other figure in the opera industry, Beth Morrison operas for Washington National Opera (What Gets has helped propel the art form into the twenty-first Kept, librettist Vanessa Moody) and Lyric Opera of W. Anthony Sheppard is Marylin and Arthur Levitt century.” In 2013 Beth co-founded the PROTOTYPE Chicago/Seattle Opera (Earth to Kenzie, librettist Jessica Professor of Music at Williams College where he teaches Festival with HERE, which has become “essential to the Murphy Moo). This coming season, Frances is writing courses in twentieth-century music, opera, popular evolution of American opera” (New Yorker). Beth served music that will be premiered by Opera Omaha, Bel music, and Asian music. He earned his B.A. at Amherst a founding tenure as Producer for the Yale Institute for Cantanti Opera, and Chautauqua Opera Company. In College and his M.F.A. and Ph.D. from Princeton Music Theatre, as well as Producer for New York City addition, she is currently developing a cross-disciplinary University. His first book, Revealing Masks: Exotic Opera’s VOX: Contemporary American Opera Lab. She piece called Salt, with librettist (and wife and best friend) Influences and Ritualized Performance in Modernist Music first honed her management skills as the Administrative Emily Roller, which will be presented in workshop at Theater, received the Kurt Weill Prize, his article on Director for the Boston University Tanglewood Institute. the 2020 YOST conference at Yale University. Frances is Madama Butterfly and film earned the ASCAP Deems She is currently an advisory board member of National a founding member of the new music non-profit, Prima Taylor Award, an article on World War II film music was Sawdust and Brooklyn Youth Chorus, as well as a Volta. She holds a Bachelors of Music in theory and honored with the Alfred Einstein Award by the American board member of Opera America, the international composition from Furman University and a Masters of Musicological Society, and “Puccini and the Music Boxes” competition, Music Theatre Now and Voices 21C, a Music in vocal performance from Peabody Conservatory. received the AMS H. Colin Slim Award. His most recent social justice choir. Morrison is frequently asked to give She is currently completing her doctorate in composition book, entitled Extreme Exoticism: Japan in the American lectures at conservatories across the country, including at Yale University. Musical Imagination, appeared in 2019. He has recently Mannes School of Music, NYU, Manhattan School of launched two new projects entitled Opera Since Einstein Music, Arizona State University, University of Illinois Ellen Reid is one of the most innovative artists of and The Performer’s Voice: Timbre and Expression in Champaign Urbana and more. Morrison is also in her generation. A composer and sound artist whose Twentieth-Century Vocal Music. Sheppard’s research has demand as a speaker both nationally and internationally breadth of work spans opera, sound design, film scoring, been supported by the NEH, the American Philosophical and has delivered key note speeches for Classical:Next ensemble and choral writing, she was awarded the 2019 Society, the ACLS, and the Institute for Advanced Study, and Opera Europa, among others. Since the 2019/2020 Pulitzer Prize in Music for her opera, p r i s m. Along with Princeton. He has served as Editor-in-Chief of the Journal academic year, she has been a lecturer at Yale School composer Missy Mazzoli, Ellen co-founded the Luna of the American Musicological Society and is now Series of Drama. Morrison holds a Bachelor of Music from Composition Lab. Luna Lab is a mentorship program for Editor of AMS Studies in Music. Sheppard frequently Boston University, a Master of Music from Arizona State young, female-identifying, non-binary, and gender non- lectures for the Metropolitan Opera Guild and at major University, and an MFA from Yale School of Drama. conforming composers. Since the fall of 2019, she has universities in the U.S. and Europe, and he delivered the served as Creative Advisor and Composer-in-Residence AMS- lecture in Fall 2010 and a TEDx Steven Osgood has conducted the world premieres for Los Angeles Chamber Orchestra. Ellen received talk in 2014. In recognition of “excellence in teaching,” of over two dozen operas, including Sumeida’s Song, her BFA from Columbia University and her MA from Williams College named Sheppard the John Hyde The Scarlett Ibis, Thumbprint and Blood Moon for the California Institute of the Arts. She is inspired by music Teaching Fellow for 2020–2023. PROTOTYPE Festival, As One, The Long Walk (Beck/ from all over the globe, and she splits her time between Suzanne Stewart-Steinberg is Professor of Comparative Francesca Zambello is an internationally recognized Literature and Italian Studies, and Director of the director of opera and theater, as well as the General Pembroke Center for Teaching and Research on Women Director of The Glimmerglass Festival since 2010 and at . Her research focuses on the cultural the Artistic Director of The Washington National Opera and intellectual history of modern Italy, psychoanalysis, at the Kennedy Center since 2012. She has also served critical theory, and sometimes music. She is the author as the Artistic Advisor to the San Francisco Opera from of Sublime Surrender: Male Masochism at the Fin-de-Siècle, 2005–2011 and as the Artistic Director of the Skylight The Pinocchio Effect: Making Italians, 1860–1920, and Theater from 1987–1992. In her current roles at the Impious Fidelity: Anna Freud, Pychoanalysis, Politics. She Kennedy Center and the Glimmerglass Festival she is is currently working on a monograph dedicated to fascist responsible for producing 12 productions annually. She and post-fascist projects of reclamation. has begun major commissioning programs for new works in both companies that have resulted in productions of Projection designer Camilla Tassi is a musician and many large and small-scaled new works. Both companies designer from Florence, Italy. Coming from formal have thrived financially and increased their national and backgrounds in computer science and music, she international profiles as a result of her artistic vision and has worked as a designer, singer, producer, and leadership. She has worked at over 50 major opera houses, translator. She has created projections for works including: The Met, La Scala, , including Monteverdi’s L’Orfeo (Apollo’s Fire tour), The Paris Opera, the Bolshoi, Munich State Opera, Pollock’s Stinney (PROTOTYPE Festival, NYC), Covent Garden and the Australian Opera. Her work has Stravinsky’s Le Rossignol (Yale Opera), Tesori’s Fun also been seen at many of the world’s major festivals. Home (Yale School of Drama), and Mozart’s Magic Collaborating with outstanding artists and designers and Flute (Berlin Opera Academy). Tassi is particularly promoting emerging talent, she takes a special interest interested in bringing design to traditionally unstaged in new music theater works, innovative productions, compositions (choral, art song, recital, oratorio) as a layer and in producing theater and opera for wider audiences. of accessibility to the music’s form and its audience, such Francesca Zambello has been awarded the Chevalier des as with Scarlatti’s Il Primo Omicidio (Yale Voxtet). She Arts et des Lettres by the French government and the has directed and produced performances of early and Russian Federation’s medal for Service to Culture. Other contemporary classical works, including a joint theater honors include three Olivier Awards from the London and opera project of Tennessee Williams and Larry Society of Theatre and two Evening Standard Awards Delinger’s Talk to Me Like the Rain and the US Premiere for Best Musical and Best Opera, as well as the award for of Morricone’s Se questo è un uomo. As an Italian coach Best Company Achievement, two French Grands Prix des and soprano, she has created program translations for Critiques, Best Production in Japan, the Palme d’Or in Carnegie Hall (L’Arpeggiata) and sings with the Yale Germany, the Golden Mask in Russia, and the Helpmann Schola Cantorum. Tassi holds degrees in Computer Award in Australia. Science and Music from the University of Notre Dame, Digital Musics from Dartmouth, and is currently an MFA Design candidate at Yale under Wendall Harrington. http://camillatassi.com

Jeanine Tesori has written a diverse catalog for Broadway, opera, film and television. Along with Missy Mazzoli, Ms. Tesori is one of the first female composers commissioned by the Metropolitan Opera. Her musicals include: Fun Home (Tony Award, Pulitzer finalist); Caroline, or Change (Olivier Award); Violet; Shrek; Thoroughly Modern Millie; Twelfth Night; A Free Man of Color; Mother Courage (starring Meryl Streep); and most recently, Soft Power at the Public. Her operas include: Blue (Libretto, Tazewell Thompson); A Blizzard on Marblehead Neck (Tony Kushner); The Lion, The Unicorn and Me (J.D. McClatchy); and the upcoming Grounded (George Brant). She is the founding artistic director of New York City Center’s Encores! Off-Center Series. Film: Supervising Vocal Producer for Steven Spielberg’s West Side Story. In addition to her work as a composer, she is the founding creative director of A BroaderWay, an arts empowerment program for young women, and a lecturer at Yale University.