Y | Opera | 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 prism (ellen reId 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 Choir 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, Yale University 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 operas by Kevin Puts 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 Royce Vavrek, 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 Boston University, 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 Pulitzer Prize for Music. 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 New York University 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 New York City. 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 Harvard University 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, The New York Times 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.