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Key to preferred voice types: C: coloratura or high soprano; S: soprano; M: mezzo-soprano; A: alto; Ct: countertenor; T: tenor; b: baritone; Bb: bass-baritone;
B: bass; N: narrator. Fachs and genders may be switched as desired.
Book I: Full Length Operas: Medium Size Orchestra:
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1. Hamlet: 2 and a half hours; 52 numbers in Three Acts (55/40/55); for 8 singers: C S M A(B) CT(M or b) T b bB,
3 mimes; politically updated libretto by the composer after the play by William Shakespeare. A romance, a tragedy, ' a ghost story and a murder mystery (who killed Polonius? It's not who you think!). 1a. Hamlet: 2+/2+/2+/2+; 2/2/2/1; percussion, timpani, harp, piano, celesta & strings. 1b. Hamlet: Commissioned by Boston Metro Opera. Dedicated to Christopher Aaron Smith, and the performers: Act I, scene i was premiered, and "Laertes' Lament" (II/iv) was performed on May 12, 2012 by Boston Metro Opera with Carol Millard C as Gertrude, Susan Craft Larson M as Laertes, Christopher Aaron Smith T as Hamlet, and the composer B, as Claudius, accompanied by pianist, Osnat Netzer. Boston Metro Opera then performed about a third of the work: I/i, I/v (partial); II/ii and II/iv with Carol Millard C (Gertrude); Sophie Michaux M (Laertes); Christopher Aaron Smith T (Hamlet); David Edgar Walther B (Claudius) and pianist, Artem Belogurov on December 15, 2012 with a lecture by Daniel John Carol. "Laertes' Lament" (II/iv) was premiered by mezzo-soprano, Susan Craft Larson, with pianist, Yelena Birayeva at Boston Metro Opera on January 27, 2012. To see the entire piano-vocal score, please click on Sandra Bernhardt or William Shakespeare to the right. Please click on the button below to hear Ms. Craft Larson's performance of "Laertes' Lament;" |
Sandra Bernhardt as Hamlet
Wm. Shakespeare, playwright
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Susan Crof:t Larson, mezzo-soprano:
1c. The Garden of Love: 6 minutes & 10 seconds. For string quintet (I/V/8) or string orchestra (III/III/5); based on Hamlet, Act I, scene i (#2) & Viola Concerto, movement II (III/IIc),
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2. Edward II: 2 and a half hours: Two Acts (music: 71/71: 40 #s: six Tableaux). Libretto by the composer after the play by Christopher Marlowe. C T T b B (B), narrator (B). A gay king and his lover are tormented by his ex-wife and her lover. Narrations updated in 2022. 2a. Edward II: medium sized orchestra: 2+2+2+2+; 2/2/2/1; 2 perc., harp, piano & strings. 2b. Edward II: chamber ensemble. Thanks to a very generous grant from Daniel B. Kelly, this version was professionally recorded by The Acting Singers Project in 2010 at Futura Studios in Roslindale, MA. Mike Burke, chief recording Engineer. |
King Edward II
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The singers were: Carol Millard C: Queen Isabella; Michael Belle T: Gaveston; Christopher Aaron Smith T: Mortimer; Brett Johnson b: Edward III; Thomas Dawkins Bb: The Executioner; Drew Hubbard Bb: Lightborn; David Edgar Walther, B: Edward II. The instrumentalists were: Carol Millard: flute/piccolo; Thomas Dawkins: English horn/bassoon and contrabassoon; Christian Contreras: clarinet/tenor saxophone; Russell Southcott: guitar; Leah Kosch: piano; Priscilla Chew: ensemble 'cello & Sam Ou: solo 'cello. Dedicated to the cast and crew. To hear "Edward II" please click on Edward II or
Christopher Marlowe to the right: |
C. Marlowe, playwright
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2c. Nature's Cathedral: a lost song cycle that introduces many of the main ideas from Edward II, written when I was 16 at The University of Vermont Summer Camp for High School Musicians. The poet was my fellow camp student, Sylvia Turner. The piece was rejected from a Juilliard concert, on the grounds that (according to a student who was a year younger than me) the manuscript wasn't neat enough (I hadn't yet had Arnold Arnstein's course in calligraphy), and because "my father" would play for me in the piece (he had a doctorate in organ from one of the best colleges, and was a full professor of music in a major university... but, of course he wasn't from Juilliard.) The great master professors at the grand school agreed with the student, who went on to have a very clever career writing humorous musical quips from famous composers... Kudos to him! In their defense, the professors, lead by the student "Bruce" were correct in one regard: My hand writing was atrocious at that time!
2d. Edward II: with piano. Nine sections were completed when I was in my late 20s, based on a lost song cycle to poems called "Nature's Cathedral" by Sylvia Turner, who attended summer camp with me in the summer of my Junior year in High School.
These nine selections were recorded by Olive Woodward S as Isabella; Andrew Cohen Ct as Edward III; David Swerdlove Bb as Lightborn; Ken Orton b as The Executioner and Bill Hays (T) and the composer (B) sang various roles. Bob Winkler was the pianist. Two arias from the completed opera were performed on January 27, 2012 with Boston Metro Opera by Carol Millard, C and pianist, Yelena Birayeva; They were joined in a love duet with Christopher Aaron Smith. T. Please click below to hear these three selections:
2d. Edward II: with piano. Nine sections were completed when I was in my late 20s, based on a lost song cycle to poems called "Nature's Cathedral" by Sylvia Turner, who attended summer camp with me in the summer of my Junior year in High School.
These nine selections were recorded by Olive Woodward S as Isabella; Andrew Cohen Ct as Edward III; David Swerdlove Bb as Lightborn; Ken Orton b as The Executioner and Bill Hays (T) and the composer (B) sang various roles. Bob Winkler was the pianist. Two arias from the completed opera were performed on January 27, 2012 with Boston Metro Opera by Carol Millard, C and pianist, Yelena Birayeva; They were joined in a love duet with Christopher Aaron Smith. T. Please click below to hear these three selections:
Carol MIllard, high soprano, as Queen Isabella:
Christopher Aaron Smith, tenor, as Mortimer:
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Michael Belle, tenor, Brett Johnson, baritone, Thomas Dawkins, baritone, Drew Hubbard, bass-baritone,
Gaveston Edward III executioner Lightborn
Gaveston Edward III executioner Lightborn
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3. King Lear: 90 minutes: 5 Tableaux (13 scenes). Based on the play by William Shakespeare; 42 numbers for 5-7 singers:
C S M/Ct A T b/M B and narrator. Faithful to original with massive cuts in cast and text. King Lear favors that his two flattering daughters over his honest, faithful one. Gloucester, likewise favors her untrustworthy son over her devoted one. The devoted off-springs may be played as LGBTQ (preferred): Cordelia as trans M-F: (Ct) or lesbian (M); Edgar as trans F-M (M) or gay (b). Genders and fachs may be changed. Cordelia and Edgar may be played by one singer (M, Ct or b), as may Lear and Gloucester (A or B).The narrator is the blind Gloucester in old age. The narrations should conform to the castings. 3a. King Lear: 2+/2+/2+/2+ 2/2/1/1 3 percussion, timpani, harp, and strings. 3b. King Lear: with piano. |
King Lear,
by George Frederick Bensell |
4. The Balcony: two hours and 13 minutes: 2 acts (66m/67m: 11 scenes); libretto by the composer after the play by Jean Genet (u.c.), as translated by Bernard Fretchmann (u.c. until 2053); 4 to 12 singers: SMTB or 4S M 3T 4b/B, includes spoken dialogue and monologue, micro-tones, and sprechstimme. The inclusion of more mimes greatly helps the production. At the center of a war between the royalists and the rebels is Madame Irma's "House of Illusion." Central question: is the war itself real or illusion?
4a. The Balcony: with orchestra: 2+/2+/2+/2+; 2/2/2/1; percussion, timpani, banjo, guitar, piano, celesta, harp and strings.
4b. The Balcony: with piano. The Bishop's fantasy (Act I, scene v: 19 minutes) was cablecast on BNN TV with Emma Rahn-Lopez, S, as Dove; Meg Raines, M, as Madame Irma; the composer, B, as The Bishop. The pianist was Shinobu Takagi. Directed by Richard Mott. Dedicated to the performers and director. Text permission granted by
the publisher. The Bishop's opening monologue was performed several times by the composer with Dr. Sam Walter, pianist.
4a. The Balcony: with orchestra: 2+/2+/2+/2+; 2/2/2/1; percussion, timpani, banjo, guitar, piano, celesta, harp and strings.
4b. The Balcony: with piano. The Bishop's fantasy (Act I, scene v: 19 minutes) was cablecast on BNN TV with Emma Rahn-Lopez, S, as Dove; Meg Raines, M, as Madame Irma; the composer, B, as The Bishop. The pianist was Shinobu Takagi. Directed by Richard Mott. Dedicated to the performers and director. Text permission granted by
the publisher. The Bishop's opening monologue was performed several times by the composer with Dr. Sam Walter, pianist.
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Jean Genet, playwright Richard Mott, director Shinobu Takagi, pianist Bernard Fretchmann, translator
Book II: Opera Cycles: Various Instrumentations
1. When Animals Speak: One hour & 12 & a half minutes. Any of the four operas may be performed separately. An intermission follows The Swallow and The Prince. "Cat Duets" by Merton Brown and/or "For My Child" by Dr. Sam Walter (my father) may also be included in Parrot II. After extensive, and unproductive search, it is impossible to know whether the text to "For My Child" is under copyright (Dr. Walter may have written the text for this piece, in which case I, and my heirs, are the copyright holders until 2058.) The work of Merton Brown is under copyright until 2070. The text to his first duet is under copyright.
Parrot I: The Swallow and The Prince: 45 minutes, 7 scenes; for 2-3 high and 2-3 low voices. A statue of a prince overlooks the city he once governed, and enlist s a swallow to enrich the poor with his gems. Libretto by the composer after the Oscar Wilde story: "The Happy Prince" with poems by the same author. Inspired by the play by Nona Balakian, book review editor of The New York Times. At age about 10, I played the (silent) prince; Suzanne Nalbantian (about age 12) played the sparrow, in our NYC apartment.
This opera may be performed separately from the rest of the cycle.
1a. The Swallow and The Prince: with orchestra: 2+/2+/2+/2+; 2/2/1/1 percussion, celesta, piano, harp & strings.
1b. The Swallow and The Prince: with flute, clarinet, violoncello, & piano.
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1c. The Swallow and The Prince: with flute & piano: dedicated to all of the performers. Premiered by The Acting Singers Project with Carol Millard, C, and flute, The Swallow; Sarah Griffiths S, The Caring Lover & The Dramatist; David Thorne Scott T, The Sick Lover & The Fisherman; the composer, B, The Prince; and Karla Kelley, pianist; with cinematography by Lewis Wheeler. To watch the first production, with the orchestral score, please click on either of the lovers to the right:
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David Thorne Scott &
Sarah Griffiths as The Lovers |
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on June 6, 2015 at The First Unitarian Universalist Church of Dedham, MA, USA: Carol Millard, C & flute, The Swallow; Adriana Repetto S, Patient & Fish Catcher; Susan Craft Larson M, Nurse & Dramatist; DEW B, The Prince; Leah Kosch, pianist; Daphne Naher, the narrator; recorded by Mike Burke. This performance was sponsored, in part, by a grant from the City of Dedham Arts Council all proceeds went to the Dedham Food Pantry. To hear
the Dedham performance please click on either The Swallowor The to the right: |
David Edgar Walther as The Prince
and Carol Millard as The Swallow |
Pianists: premiere & video; ASP Dedham grant; Music Now ASP Concert at 1st & 2nd
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Karla Kelley Brenner Leah Kosch Merton Brown Shu' ann Chai Dr. Sam Walter
1d. The Swallow and The Prince: with piano. Scene I was also performed with: Shinobu Takagi, Mary Saunders, and Janet Wheeler, as The Swallow, and: Brett Johnson & Drew Poling as The Prince with with pianists: Merton Brown, Shu'ann Chai, Chris Walter & Dr. Sam Walter. On January 27, 2012, Carol Millard, C. as The Swallow; T. Christopher Aaron Smith, T. as The Prince and pianist, Yelena Birayeva performed one selection
with Boston Metro Opera. Please click below to hear this aria:
with Boston Metro Opera. Please click below to hear this aria:
Oscar Wilde, poet & story teller
Andover Academy ASP: Dedham grant Music Now ASP 1st & 2nd
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Shinobu Takagi Brett Jonson Susan Craft Larson Adriana Repetto Mary Saunders Drew Poling Janet Wheeler
Swallow Prince Sister, Dramatist Sister, Fisherwoman Swallow Prince Swallow
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1e. The Swallow and The Prince: Nona Balakian, book review editor for The New York Times wrote a play based on "The Happy Prince" by Oscar Wilde. At about age 10, I was asked to play the (mute) role of The Prince. Our next door neighbor, Dr. Suzanne Nalbantian, age about 12, played to be The Swallow.
I said that I would do it if she kissed me. However, we did the play, but we didn't kiss. Later I used this play as inspiration, and hid the script "where I'd never lose it" but I never found it again, so I used the story and poems by Oscar Wilde to write the opera. |
Nona Balakian, playwright;
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Dr. Suzanne Nalbantian,
Swallow |
Parrot II: Aesop's Fables: 4-8 voices; 27 minute & 45 second set, with libretti by the composer based on the fables of Aesop. Dedicated to the performers.
2a. Aesop's Fables: 2/2/2/2 2/2/1/1 percussion, timpani, harp & strings; unperformed.
1. The Fox and The Raven: 1 low & 1 very high voice; 4 & a quarter minutes; ob., vla., & vc. solos.
2. The Lion and The Mouse: 1 high & 1 low voice; 13 minutes & 45 seconds. medium orchestra.
3. The Ant and The Grasshopper: 2 high & 2 low voices; 9 & half minutes; fl., bn., 2 tpt., trb., tb. gng. & hrp.
Please use the PDFs below to peruse the piano-vocal score my Aesop's Fables:
2a. Aesop's Fables: 2/2/2/2 2/2/1/1 percussion, timpani, harp & strings; unperformed.
1. The Fox and The Raven: 1 low & 1 very high voice; 4 & a quarter minutes; ob., vla., & vc. solos.
2. The Lion and The Mouse: 1 high & 1 low voice; 13 minutes & 45 seconds. medium orchestra.
3. The Ant and The Grasshopper: 2 high & 2 low voices; 9 & half minutes; fl., bn., 2 tpt., trb., tb. gng. & hrp.
Please use the PDFs below to peruse the piano-vocal score my Aesop's Fables:
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libretto, notes and "The Fox and The Raven" 'The Lion & The Mouse" & "The Ant & the Grasshopper"
2b Aesop's Fables: with piano as above:
1a. The Fox and The Raven: Premiered in 2010 by Boston Metro Opera, Christopher Aaron Smith, tenor, as The Fox; & Cecilia Allwein, high soprano, as The Raven; with
the pianist, Aaron Likeness. The Raven's Song was completely rewritten in 2025 for unaccompanied coloratura soprano.
1b. The Fox and The Raven: For very low voice and piano (or high voice). Written 2025.
2. The Lion and The Mouse: Premiered in 2010 by Boston Metro Opera by Christopher Aaron Smith, tenor, as The Mouse;& David Edgar Walther, bass, as The Lion; with the pianist, Aaron Likeness.
3. The Ant and The Grasshopper: Two sections premiered in 2010 by Boston Metro Opera by Roselin Osser, mezzo-soprano, as Human I; & David Edgar Walther, B, as Human II; with pianist, Aaron Likeness.
1a. The Fox and The Raven: Premiered in 2010 by Boston Metro Opera, Christopher Aaron Smith, tenor, as The Fox; & Cecilia Allwein, high soprano, as The Raven; with
the pianist, Aaron Likeness. The Raven's Song was completely rewritten in 2025 for unaccompanied coloratura soprano.
1b. The Fox and The Raven: For very low voice and piano (or high voice). Written 2025.
2. The Lion and The Mouse: Premiered in 2010 by Boston Metro Opera by Christopher Aaron Smith, tenor, as The Mouse;& David Edgar Walther, bass, as The Lion; with the pianist, Aaron Likeness.
3. The Ant and The Grasshopper: Two sections premiered in 2010 by Boston Metro Opera by Roselin Osser, mezzo-soprano, as Human I; & David Edgar Walther, B, as Human II; with pianist, Aaron Likeness.
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Aesop, writer of Fables Roselin Osser, Human I Christopher Aaron Smith, Mouse Aaron Likeness, pianist
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2. Moratorium: Any of the three may be performed alone. The total is 2 hours & 6 minutes. An intermission follows Antigon. 1. Antigon: Libretto by the composer after Sophocles. One or Two Acts: One hour & 15 minutes. SATB with optional chorus. Uses material from my "Benedictus est" written when I was about age 15, and performed at The Church of The Resurrection, under the direction of Dr. Sam Walter. Antigon must chose between burying her brother as a martyr or following the king's command and not burying him as he is declared a traitor. Calls for a moratorium on all capital punishment. 1a. Antigon: with medium size orchestra: 2+/2+/2+2+ 2/2/1/1 perc., timp., piano, harp & strings 1b. Antigon for Brass Octet: 5 movements, in 10 minutes, for 3 trumpets, horn, 2 trombones, euphonium & tuba; rewritten for "Banquet Brass" of Japan: 2 trumpets in Bb, trumpet in A, horn, 3 trombones & Tuba. Please see I/VIII/1 based on the opera. |
Antigone
Sophocles: playwright
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1c. Antigon: with piano. Winner of the Boston Metro Opera Mainstage Award as part of their International Composition Contest. Premiered in November, 2010 with Sara Mayo, S; Angeliki Theoharis, M; Christopher Aaron Smith, T; Jeremy Collier, Bb; and Stewart Kramer, piano. Dedicated to the performers. To hear Antigon's final aria, sung by Sarah Mayo, please click on her image, below, to the left. To watch selections from "Antigon"
please click on The King, below, to the right:
please click on The King, below, to the right:
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Sarah May, soprano, as Antigon Jeremy Colier, bass-baritone, as Knarsis
To hear two selections performed on January 27, 2012 with Boston Metro Opera; please click below to hear Christopher Aaron Smith; and pianist, Yelena Birayeva:
Christopher Aaron Smith, tenor as KeHoTec. Artwork by Drew Hubbard is "NGDIKSh."
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2. Daniel: 32 minutes: after the medieval Play of Daniel: Ludus Danielis Petrus, C. E. 1109 (translation uc) STB soloists with chorus. Daniel foretells of the overthrow King Belshazzar, king of the Babylonians, by the army of the Medes & Persians.
A celebration of prophesy that calls for a moratorium on war. May be done as the second (3a. of Jepthah's Daughter, with larger forces) or third in the series (following the chamber version of Jepthah's Daughter, 3c. directly below.). 2a. Daniel: with sized orchestra: 2+/2+/2+2+ 2/2/1/1 1/1 piano, harp & strings. 2b. Daniel: with piano. |
Ludus Danielis Petrus 1109
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3. Jepthah's Daughter: 19 minutes; poem by Robert Hillye; S or M, optional Bb, & mixed chorus; Jepthah promises to sacrifice the first living being he meets if he wins the battle. He is met by his daughter. This piece calls for a moratorium on blood all sacrifices. 3a. Jephthah's Daughter: 2/2+/2+/2+ 2/2/1/1 2/1 & strings. If this piece is done as the third in the series it will emphasize its thematic similarities with Antigon, as well as emphasing the G tonal center. 3b. Jephthah's Daughter: 3a. piano vocal version. 3c. Jephthah's Daughter: with small chorus, M or S soloist, and six instruments: alto flute, percussion, violin, viola, 'cello & double bass (with low C extension). If Jephthah's Daughter is presented after Antigon, and before Daniel these lighter forces, this will create a contrast with the two more heavily orchestrated works. Jephthah's Daughter is best performed with dance, which will create a further contrast with the other two pieces. Please see IV/IV/3. 3d. Jephthah's Daughter: 3c. piano vocal version. |
Robert Hillyer, poet
Jephthah's Daughter
by William Blake |
3. Two Myths: Both Myths require mixed chorus, soloists & a small chamber ensemble. The total time of is one hour, 17 minutes & 20 seconds. Either myth can be done separately.
Donald Maher, conductor
Bill Cavness, Narrator
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1. The Other Wise Man: 45 minutes for SSAABbB, flute, bassoon, harp, hand bells choir, woman's chorus, actors and narrator; with libretto, revised in 2020 & 2023, by the composer after the story by Henry van Dyke:
a fourth wise man is prevented from his pilgrimage by his various acts of charity. Commissioned and performed by The Hancock Church, Lexington, MA, under Donald Maher and dedicated to all of the performers and especially Mr. Maher. It uses the 1597 hymn tune: “Wie schön leuchtet der Morgenstern” ("How brightly shines the morning star") by Philipp Nicolai. The opera was cablecast in Lexington. William Cavness, was the narrator. Performers included: Meg Weston, S; Harriet Chamela, S; Marilyn Briggs, A; the composer, B; and Isabel Plaster, bassoon. Also performed at The United Parish in Brookline, MA under Peter Kaisarsky. Meg Raines, M & the composer, B, were among the performers. Carolyn Flanagan was the narrator. Genders & fachs may be changed. |
Henry van Dyke, story teller
Peter Kaisarsky, conductor
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1b. The Other Wiseman Suite: 9 numbers, 18 minutes, all of the music in the Lexington performance, without any repetitions, and without the play and narrations. Please click
on one of the four photos to the left or right, above, to listen to the suite.
1c. The Other Wiseman: Piano Vocal Score. Finished 10/19/24.
on one of the four photos to the left or right, above, to listen to the suite.
1c. The Other Wiseman: Piano Vocal Score. Finished 10/19/24.
2. Ritual: 32 minutes & 20 seconds; libretto by Drew Hubbard; Hero (S) learns lessons, faces a demon (T) and receives many gifts (from MAB). SAATB with chorus & flute; French horn; and violoncello. "Blessings on This House" won first place in the Boston Metro Opera International Composition Competition in the choral music category,
& was premiered, along with two additional performances, by BMO. See VI/1/1. The rest is unperformed. First posted for the Inauguration of President Joseph R. Biden and Vice President Kamila Harris on 1/20/21. Please click below, to hear this selection, as performed by Carol Millard, soprano, Susan Craft Larson, mezzo-soprano; Christopher Aaron Smith, tenor & Christian Contreras,tenor Saxophone with BMO:
4. Odds and Endings: one hour & 6 minutes long. Any of the four may be performed alone. "Angst Wagon" (5 minutes) by Rolv Yttrehus may be performed anywhere in the first half, except before Kali. It also does not fit in Part II.
Part I: Three Surrealist Operas:
1. Kali: 14 minutes: 2+/2+/2+/2+ 1/0/0/0 2 perc. hrp. vln. solo; The longest opera ever written or that will ever be written. It begins before the birth of all things (at least 13.8 billion years ago) and ends after all things have been destroyed (who knows when!), in the middle section inanimate objects interact and are led away by an actress playing open strings on a violin. Performed (audio only) by Carol Millard: C; Danute Mileika: M & the composer: B. Performed with a taped simulation. Dedicated to the performers. Best performed as a ballet (see IV/IV/4).
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Carol Millard, high soprano David Edgar Walther, bass Danute Mileika, mezzo-soprano
as beings before the birth of all things, and also as window, sofa, table, closet, pen, paper, also as beings after the end of all things.
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2. Sineater: 19 minutes, for up to 6 voices and an actor; with viola, 'cello or piano. Dedicated to the performers.
The Sineater, actress, Vanessa Schukis "eats" the most minor of "sins" imaginable: Carol Millard: C; Anita Costanzo, A; Drew Polling, b & Polling, b; Shuann Chai, pianist. Performed pianist. Performed by The Acting Singers Project: To watch the video please click on The Sineater to the right: |
Vanessa Schukis as The Sineater
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Drew Poling, baritone Shuann Chai, pianist Anita Costanzo, alto Lewis Wheeler,
& Carol Millard, soprano cinematographer
& Carol Millard, soprano cinematographer
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3. Eye of Carrot: 11-12 minutes; A man (b or B) becomes pregnant & is blamed for infidelity by his partner (S or M). Unperformed in all versions: 3a. Eye of Carrot: with percussion, piano & string orchestra; English version; 3b. Eye of Carrot: with string quartet & piano; English version; 3c. Eye of Carrot: with clarinet, guitar and piano left hand for Rosetta Contemporary Ensemble of Kyoto, Japan; in English. peruse the Rosetta score to the right: |
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3e. Oczami Marchewki: in Polish; with vibraphone, timpani & string quintet.
3f. Eye of Carrot: with piano: (English version).
Part II: Birthday on The Moon:
4. Birthday on The Moon: 21 minutes and 25 seconds. Libretto and story
by the composer. A withheld chamber version was the second place winner in the
2011 Long Leaf Opera Competition. Finding the right birthday present is a problem for this coupls living on the moon: 1. Kathy's gift to Bill: a problematic robot, 2. A dream sequence; 3. Kathy uses the time machine to bring Bill Boris Godunov (because he liked the opera so much). Genders, names & fachs may be changed.
4a. Birthday on The Moon: S. A. T. B. 2/2/2/2 2/2/2/1 4 & timp. strings.
4b. Birthday on The Moon: S. A. T. B. and piano.
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Book III: Cantata Ballets: 1A. Ample Make This Bed: Set in the 1980s, this is the story of two gay men, one contracts A. I. D. S.. 1B. Covid-19: Completed in April of 2020 during the covid-19 pandemic, Set in 2020, "Covid-19" is the story of two lovers. One contracts Covid0 19, In both cases the dancers are designated as A and B. |
Emily Dickinson, poet
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1A. Ample Make This Bed & 1B. Covid-19: Other than the change of time & malady the two versions are identical; however, the political implications of 1A. are much more powerful than those of 1B. Since 1B involves a more recent pandemic it might be seen
as more relevant. 1B may also be more comfortable for conservative audiences.
See also IV/IV/1. Both versions incoporate around 50 poems by Emily Dickinson, in the public domain. Both versions are in three parts: If you click on her picture above, you can see all of the poems by this poet that have been set to music by David Edgar Walther.
Part I: Love: The couple meets and they fall in love. A is extremely taken with B. B is wildly flirtatious (with C and perhaps other dancers) and B acquires A. I. D. S. OR covid-19. How far this "flirtation" goes, I leave to individual producers.
Part II: Nature: B is asymptomatic and transmits the virus to A.
Part III: Immortality: A eventually dies, but returns as an Angel. Along the way, the couple deals with betrayal, redemption and resurrection.
The Singers & Dancers: In the original version both A, B, the trios and choruses were all conceived as male. Gender makes no difference in the Covid-19 version. In this case.
the vocal parts can be performed by women up an octave. Both A and B correspond to the two dancers that they represent; C takes the other roles (& can be male or female). The cast would benefit from the use of additional dancers. There is a larger version: 1a. & (1 hour & 50 minutes, with orchestra & large chorus; 1b. is the piano version) & a chamber version: 1c. (95 minutes; with a smaller chorus or trio; & eight instruments; 1d. is the piano version) The timings & instrumental forces are listed below:
1a. Ample/Covid-19a: 1 hour & 50 minutes for a poetry reader (A), soloist (B); solo trio; chorus; medium sized orchestra: 2 2+ 2+ 2+ 1/1/1/1 percussion & timpani; harp; strings & at least 3 dancers.
1b. Ample/Covid-19b: piano vocal version of 19a.
1c. Ample/Covid-19c: 95 minutes (55 shorter movements); reader (A); soloist (B); solo trio and/or small choir; English horn, clarinet doubling bass clarinet, bassoon doubling contrabassoon; D. B. string quartet, piano, & at least 3 dancers.
1d. Ample/Covid-19d. piano vocal version of 19c; This is the original version.
as more relevant. 1B may also be more comfortable for conservative audiences.
See also IV/IV/1. Both versions incoporate around 50 poems by Emily Dickinson, in the public domain. Both versions are in three parts: If you click on her picture above, you can see all of the poems by this poet that have been set to music by David Edgar Walther.
Part I: Love: The couple meets and they fall in love. A is extremely taken with B. B is wildly flirtatious (with C and perhaps other dancers) and B acquires A. I. D. S. OR covid-19. How far this "flirtation" goes, I leave to individual producers.
Part II: Nature: B is asymptomatic and transmits the virus to A.
Part III: Immortality: A eventually dies, but returns as an Angel. Along the way, the couple deals with betrayal, redemption and resurrection.
The Singers & Dancers: In the original version both A, B, the trios and choruses were all conceived as male. Gender makes no difference in the Covid-19 version. In this case.
the vocal parts can be performed by women up an octave. Both A and B correspond to the two dancers that they represent; C takes the other roles (& can be male or female). The cast would benefit from the use of additional dancers. There is a larger version: 1a. & (1 hour & 50 minutes, with orchestra & large chorus; 1b. is the piano version) & a chamber version: 1c. (95 minutes; with a smaller chorus or trio; & eight instruments; 1d. is the piano version) The timings & instrumental forces are listed below:
1a. Ample/Covid-19a: 1 hour & 50 minutes for a poetry reader (A), soloist (B); solo trio; chorus; medium sized orchestra: 2 2+ 2+ 2+ 1/1/1/1 percussion & timpani; harp; strings & at least 3 dancers.
1b. Ample/Covid-19b: piano vocal version of 19a.
1c. Ample/Covid-19c: 95 minutes (55 shorter movements); reader (A); soloist (B); solo trio and/or small choir; English horn, clarinet doubling bass clarinet, bassoon doubling contrabassoon; D. B. string quartet, piano, & at least 3 dancers.
1d. Ample/Covid-19d. piano vocal version of 19c; This is the original version.
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2. The Journey: 75 minutes, narrations by the composer with pomes by James Joyce. A man must go to an alternate universe to destroy "The Beast" in order to save the world. As a gay man, he would be killed immediately, so he becomes a woman. "The Journey" may be performed as an oratorio, or as a staged opera (please see VII/III/2), but it is best performed as a ballet. Completed in 2024. Title with Jessica Mink, to the right. Please see V/Vb/2 "The Book of Runes" for more contemporary plain song to pomes by James Joyce; & click on James Joyce, or Jessica Mink, to the right, to see a list of settings of all of the Joyce pomes as set by this composer. 2a. The Journey: with 2 narrators and 5 singers, mallets, percussion, piano, optional harp and D.B. string quartet or string orchestra. |
James Joyce, poet
Title with Jessica Mink, astrophysicist
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2b. The Journey: with 1 narrator and 4 singers, percussion, piano, and viola. To see the score of this version, with it's correspnding piano-vocal score please click Drew's drawing to the right. The scores are at the bottom of that page.
2c. The Journey: piano vocal version; conforming with cast & narrations of 2a. or 2b. 2d. The Journey: with piano and synthesizer: The overture was performed by The Kinetic Dance Theater of Moscow. To hear six numbers,as recorded by DEW, bass-baritone, countertenor & synthesist; and to read the pomes, please click on Drew Hubbard's artwork to the right; to hear the six excerpts, please click the black button below: |
Selections from The Journey,
artwork by Drew Hubbard. |
Book IV: Opera/Musical:
1. Masque of The Witches: Opera/musical with 20#; 5 scenes;40+ minutes; 5-6 soloists (S S M T Bb B) & N; S A T B chorus, quartet or solo; opt. dancers; staged or un-staged occult thriller. Uses anonymous poets; & Jean Bodel, Rutebeuf, & Giordano Bruno. Selections recorded by Shinobu Takagi, M & the composer, piano. Otherwise unperformed. Also included in "Choral Music" VI/III/5 and "Music Theater" VIII/III/3. See shorter version: V/IVa/4 "When the Heart is full of Love" for soprano with piano. See also VI/II/2c-f. May be performed as the first half of a program, followed by "Hansel and Gretel" VIII/2/6.
3a. Mask of The Witches: with med. orchestra 2+/2+/2+/2+ 2/2/2/1 2 perc. hrp., & str.
3b. Mask of the Witches: with piano.
1. Masque of The Witches: Opera/musical with 20#; 5 scenes;40+ minutes; 5-6 soloists (S S M T Bb B) & N; S A T B chorus, quartet or solo; opt. dancers; staged or un-staged occult thriller. Uses anonymous poets; & Jean Bodel, Rutebeuf, & Giordano Bruno. Selections recorded by Shinobu Takagi, M & the composer, piano. Otherwise unperformed. Also included in "Choral Music" VI/III/5 and "Music Theater" VIII/III/3. See shorter version: V/IVa/4 "When the Heart is full of Love" for soprano with piano. See also VI/II/2c-f. May be performed as the first half of a program, followed by "Hansel and Gretel" VIII/2/6.
3a. Mask of The Witches: with med. orchestra 2+/2+/2+/2+ 2/2/2/1 2 perc. hrp., & str.
3b. Mask of the Witches: with piano.