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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. Fachs and genders may be switched as desired.
Book I: Operas with Medium Sized Orchestra: (listed alphabetically):
1. The Balcony: two hours and 13 minutes: 2 acts (66/67: 11 scenes); libretto by the composer after the play by Jean Genet (u.c.), as translated by Bernard Fretchman (u.c.); 4 to 12 singers: SMTB or 4S M 3T 4B, includes spoken dialogue and monologue, micro-tones, and sprechstimmer. 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." This work is currently under revision.
21a. The Balcony: with orchestra: 2+/2+/2+/2+; 2/2/2/1; percussion, timpani, banjo, guitar, piano, celesta, harp and strings.
21b. The Balcony: with piano. The Bishop's fantasy (Act I, scene v: 19 minutes) was cablecast in 1990 on BNN TV with Emma Rahn-Lopez, S, as Dove; Meg Raines, M, as Madame Irma; the composer, Bb, as The Bishop. The pianist was Shinobu Takagi. Directed by Richard Mott. Text permission granted by the publisher. The Bishop's opening monologue performed, several times in various venues, by the composer with Sam Walter, pianist.
2. Edward II: 2 hours of music (40 #s: 6 Tableaux of 20 minutes each) optional narrations at about 15 more minutes: Three acts. Libretto by the composer after the play by Christopher Marlowe. C T T b bB (B), narrator (B).
A gay king and his lover are tormented by his ex-wife and her lover.
2a. Edward II: with medium sized orchestra: 2+2+2+2+; 2/2/2/1;
2 percussion; celesta, harp, piano and strings.
2b. Edward II: with 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; Carol Millard C: Queen Isabella; Michael Belle T: Gaveston; Christopher Aaron Smith T:s Mortimer; Brett Johnson b: Edward III; Thomas Dawkins Bb: The Executioner; Andrew Swan Bb: Lightborn; David Edgar Walther Bb: Edward II; Carol Millard: flute/piccolo; Thomas Dawkins: English horn/bassoon/contrabassoon; Christian Contreras: clarinet/tenor saxophone; Russell Southcott: guitar (alternate version, with harp); Leah Kosch: piano;
2c. Edward II: with piano. Selections preformed on January 27, 2012 with Boston Metro Opera with Carol Millard, C; Christopher Aaron Smith, T; David Edgar Walther, Bb; and pianist, Yelena Birayeva. Nine selections were recorded earlier by Olive Woodward S as Isabella; Andrew Cohen Ct as Edward III; David Swerdlove B as Lightborn; Ken Orton b as The Executioner and Bill Hays (T) and the composer (Bb) sang various roles. Bob Winkler was the pianist.
3. Hamlet: 2 and a half hours; 52 numbers in Three Acts (55/40/55); for 7-8 singers:
C S M (A) CT (or b) T b bB, 3 mimes and attendants; politically updated libretto by the composer based on the play by William Shakespeare.
3a. Hamlet: 2+/2+/2+/2+; 2/2/2/1; percussion, timpani, harp, piano, celesta and strings.
3b. Hamlet: Commissioned by Boston Metro Opera; with piano: "Laertes' Lament" (II/iv) was premiered by mezzo-soprano, Susan Craft Larson, with pianist, Yelena Birayeva at Boston Metro Opera on January 27, 2012. 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 Bb as Claudius, accompanied by pianist, Osnat Netzer. BMO also 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 (Leartes); Christopher Aaron Smith T (Hamlet); David Edgar Walther Bb (Claudius) and pianist, Artem Belogurov on December 15, 2012 with a lecture by Daniel John Carol.
4. King Lear: 90 minutes: 5 Tableaux (13 scenes); performed without an intermission. Based on the play by William Shakespeare; 42 numbers for 5-7 singers: C S M A T b B and narrator. King Lear favors his two flattering daughters over his honest, faithful one. Gloucester, likewise favors her untrustworthy son over her devoted one. 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). Faithful to original with massive cuts in cast and text. The narrator is the blind Gloucester (B or A) at an older age.
4a. Lear: 2+/2+/2+/2+; 2/2/1/1; 3 percussion, timpani, harp, and strings.
4b. King Lear: with piano.
Book II: Opera Cycles: (various orchestrations):
1. Animals Speak: 80 minutes and 45 seconds. Any of the six operas may be performed separately. An intermission follows Part I. The Swallow and The Prince. "Cat Duets" by Merton Brown and/or "For My Child" by Dr. Sam Walter (my father) may be included in Part II. After extensive, and unproductive search, the text to the first cat duet and "For My Child" may possibly still be under copyright.
Part 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. Can be seen and heard in it's entirety on this website. (2 versions: video from 2001 and audio from 2015). Libretto by the composer after the Oscar Wilde story: "The Happy Prince" with poems by the same author. For 4-6 singers: 2-3 each of high and low voices. This opera may be performed separately.
8a. The Swallow and The Prince: with orchestra: 2+/2+/2+/2+; 2/2/1/1 percussion, celesta, piano, harp and strings.
8b. The Swallow and The Prince: with flute, clarinet, violoncello, and piano.
8c. The Swallow and The Prince: with flute and piano: premiered by The Acting Singers Project with Carol Millard C, The Swallow; Sarah Griffiths S,The Caring Lover & The Dramatist; David Thorne Scott T, The Sick Lover & The Fisherman;
3. Hamlet: 2 and a half hours; 52 numbers in Three Acts (55/40/55); for 7-8 singers:
C S M (A) CT (or b) T b bB, 3 mimes and attendants; politically updated libretto by the composer based on the play by William Shakespeare.
3a. Hamlet: 2+/2+/2+/2+; 2/2/2/1; percussion, timpani, harp, piano, celesta and strings.
3b. Hamlet: Commissioned by Boston Metro Opera; with piano: "Laertes' Lament" (II/iv) was premiered by mezzo-soprano, Susan Craft Larson, with pianist, Yelena Birayeva at Boston Metro Opera on January 27, 2012. 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 Bb as Claudius, accompanied by pianist, Osnat Netzer. BMO also 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 (Leartes); Christopher Aaron Smith T (Hamlet); David Edgar Walther Bb (Claudius) and pianist, Artem Belogurov on December 15, 2012 with a lecture by Daniel John Carol.
4. King Lear: 90 minutes: 5 Tableaux (13 scenes); performed without an intermission. Based on the play by William Shakespeare; 42 numbers for 5-7 singers: C S M A T b B and narrator. King Lear favors his two flattering daughters over his honest, faithful one. Gloucester, likewise favors her untrustworthy son over her devoted one. 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). Faithful to original with massive cuts in cast and text. The narrator is the blind Gloucester (B or A) at an older age.
4a. Lear: 2+/2+/2+/2+; 2/2/1/1; 3 percussion, timpani, harp, and strings.
4b. King Lear: with piano.
Book II: Opera Cycles: (various orchestrations):
1. Animals Speak: 80 minutes and 45 seconds. Any of the six operas may be performed separately. An intermission follows Part I. The Swallow and The Prince. "Cat Duets" by Merton Brown and/or "For My Child" by Dr. Sam Walter (my father) may be included in Part II. After extensive, and unproductive search, the text to the first cat duet and "For My Child" may possibly still be under copyright.
Part 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. Can be seen and heard in it's entirety on this website. (2 versions: video from 2001 and audio from 2015). Libretto by the composer after the Oscar Wilde story: "The Happy Prince" with poems by the same author. For 4-6 singers: 2-3 each of high and low voices. This opera may be performed separately.
8a. The Swallow and The Prince: with orchestra: 2+/2+/2+/2+; 2/2/1/1 percussion, celesta, piano, harp and strings.
8b. The Swallow and The Prince: with flute, clarinet, violoncello, and piano.
8c. The Swallow and The Prince: with flute and piano: premiered by The Acting Singers Project with Carol Millard C, The Swallow; Sarah Griffiths S,The Caring Lover & The Dramatist; David Thorne Scott T, The Sick Lover & The Fisherman;
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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, Bb, The Prince; and Karla Kelley, pianist; with cinematography by Lewis Wheeler. You can see the video of the first production with the button to the right:
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; the composer Bb, The Prince; Leah Kosch, pianist; Dahne Naher, the narrator; recorded by Mike Burke. This performance was sponsored, in part, by a grant from the City of Dedham Arts Council.
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8d. The Swallow and The Prince: with piano. Scene I was also performed with the sopranos: Linda Cecil (?), Mary Saunders, Shinobu Takagi, and Janet Wheeler, as The Swallow, and with baritones: Brett Johnson and Drew Poling as The Prince and with Pianists: Merton Br
Part II: Aesop's Fables: SATB; 35 minute and 45 second cycle, with libretti by the composer based on the fables of Aesop.
1a. Aesop's Fables: 2/2+/2+/2+ 2/2/1/1 percussion, timpani, harp & strings; unperformed.
1. The Race of The Tortoise and The Hare: 4 minutes; STB; cellos & double basses.
2. The Ant and The Grasshopper: 9 and a half minutes; SATB, flute, bassoon, hard brass, gong and harp.
3. The Fox and The Raven: 4 and a half minutes. ST; violin or viola solo & 'cello solo.
4. The Lion and The Mouse: 13 minutes and 45 seconds. TB and medium orchestra.
5. The Re-match of The Tortoise and The Hare: 4 minutes; STB; celli & double basses.
1b Aesop's Fables: with piano as above:
1. The Re-match of The Tortoise and The Hare: Unperformed.
2. The Ant and The Grasshopper: Two sections premiered in 2010 by Boston Metro Opera by Roselin Osser, mezzo-soprano as The Woman; and David Edgar Walther, bass-baritone as The Man; with pianist, Aaron Likeness.
3. The Fox and The Raven: Premiered in 2010 by Boston Metro Opera by Christopher Aaron Smith, tenor, as The Fox; and Cecilia Allwein, soprano, as The Raven; with the pianist, Aaron Likeness.
4. The Lion and The Mouse: Premiered in 2010 by Boston Metro Opera by Christopher Aaron Smith, tenor, as The Mouse; and David Edgar Walther, bass-baritone, as The Lion; with the pianist, Aaron Likeness.
5. The Re-match of The Tortoise and The Hare: Unperformed.
2. Moratorium: Any of the three may be performed alone. The total is around 2 hours and 16 minutes. The intermission may follow Antigon.
1. Antigon: Libretto by the composer after Sophocles. One or Two Acts: One hour and 15 minutes. SATB with optional chorus. 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 capital punishment.
1a. Antigon: with chamber or medium sized orchestra: 2+/2+/2+2+ 2/2/1/1 percussion, timpani, piano, harp & strings
1b. Antigon for Brass Octet: 5 movements in 10 minutes. 2 French horns, 2 trumpets, 2 trombones, euphonium and tuba. Based on material from the opera: I/VII/1.
1c. Antigon: with piano. Selections performed on January 27, 2012 with Boston Metro Opera by Christopher Aaron Smith T; and pianist, Yelena Birayeva. Winner of the Boston Metro Opera Mainstage Award as part of their International Composition Contest.
Part II: Aesop's Fables: SATB; 35 minute and 45 second cycle, with libretti by the composer based on the fables of Aesop.
1a. Aesop's Fables: 2/2+/2+/2+ 2/2/1/1 percussion, timpani, harp & strings; unperformed.
1. The Race of The Tortoise and The Hare: 4 minutes; STB; cellos & double basses.
2. The Ant and The Grasshopper: 9 and a half minutes; SATB, flute, bassoon, hard brass, gong and harp.
3. The Fox and The Raven: 4 and a half minutes. ST; violin or viola solo & 'cello solo.
4. The Lion and The Mouse: 13 minutes and 45 seconds. TB and medium orchestra.
5. The Re-match of The Tortoise and The Hare: 4 minutes; STB; celli & double basses.
1b Aesop's Fables: with piano as above:
1. The Re-match of The Tortoise and The Hare: Unperformed.
2. The Ant and The Grasshopper: Two sections premiered in 2010 by Boston Metro Opera by Roselin Osser, mezzo-soprano as The Woman; and David Edgar Walther, bass-baritone as The Man; with pianist, Aaron Likeness.
3. The Fox and The Raven: Premiered in 2010 by Boston Metro Opera by Christopher Aaron Smith, tenor, as The Fox; and Cecilia Allwein, soprano, as The Raven; with the pianist, Aaron Likeness.
4. The Lion and The Mouse: Premiered in 2010 by Boston Metro Opera by Christopher Aaron Smith, tenor, as The Mouse; and David Edgar Walther, bass-baritone, as The Lion; with the pianist, Aaron Likeness.
5. The Re-match of The Tortoise and The Hare: Unperformed.
2. Moratorium: Any of the three may be performed alone. The total is around 2 hours and 16 minutes. The intermission may follow Antigon.
1. Antigon: Libretto by the composer after Sophocles. One or Two Acts: One hour and 15 minutes. SATB with optional chorus. 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 capital punishment.
1a. Antigon: with chamber or medium sized orchestra: 2+/2+/2+2+ 2/2/1/1 percussion, timpani, piano, harp & strings
1b. Antigon for Brass Octet: 5 movements in 10 minutes. 2 French horns, 2 trumpets, 2 trombones, euphonium and tuba. Based on material from the opera: I/VII/1.
1c. Antigon: with piano. Selections performed on January 27, 2012 with Boston Metro Opera by Christopher Aaron Smith T; and pianist, Yelena Birayeva. Winner of the Boston Metro Opera Mainstage Award as part of their International Composition Contest.
2. Daniel: 32 minutes: libretto by the composer after Sophocles. STB with chorus. Daniel foretells of the overthrow of the king by another army. Celebration of prophesy and calls for a moratorium on war. May be done as the third in the series, following the chamber version Persephone (see below). Best performed as a ballet (see IV/IV/3).
2a. Daniel: with chamber or medium sized orchestra: 2+/2+/2+2+ 2/2/1/1 percussion, timpani, piano, harp & strings.
2b. Daniel: with piano.
3. Persephone: 19 minutes; poem by Robert Hillyer (uc); S or M, optional B, and mixed chorus; Jepthah promises to sacrifice the first living being he meets if he wins the battle. He is met by his daughter. Calls for a moratorium on blood sacrifices. This work is best performed as a dance. See IV/IV/3.
3a. Persephone: medium orchestra (2/2+/2+/2+ 2/2/1/1 2/1 and strings). If this piece is done as the third in the series it will emphasize it's thematic similarities with Antigon.
3b. Persephone: 3a. piano vocal version.
3c. Persephone: with alto flute, percussion, violin, viola, 'cello and double bass (with low C extension) and a smaller chorus. May be done as the second in the series, to contrast its lighter orchestration and different genre (this being primarily intended as dance).
3d. Persephone: 3c. piano vocal version.
3. Oddities and Endings: The total is around one hour and 15 minutes long. An intermission would happen between #3. and #4. Any of the four may be performed alone. "Angst Wagon" by Rolv Yttrehus may be performed anywhere in the first half, except before Kali. It also does not fit very well in Part II.
Part I: Three Surrealist Operas:
1. Kali: 14 minutes: 2+/2+/2+/2+ 1/0/0/0 2 harp & violin solo: open strings. Begins before the birth of all things and ends after all things have been destroyed, in the middle sections inanimate objects: table, chair, sofa... interact and are led away by an actress playing open strings on a violin. Performed (audio only) by Carol Millard: C; Danute Mileika: MS and the composer: Bb with a taped simulation. Best performed as a ballet (see IV/IV/4).
2a. Daniel: with chamber or medium sized orchestra: 2+/2+/2+2+ 2/2/1/1 percussion, timpani, piano, harp & strings.
2b. Daniel: with piano.
3. Persephone: 19 minutes; poem by Robert Hillyer (uc); S or M, optional B, and mixed chorus; Jepthah promises to sacrifice the first living being he meets if he wins the battle. He is met by his daughter. Calls for a moratorium on blood sacrifices. This work is best performed as a dance. See IV/IV/3.
3a. Persephone: medium orchestra (2/2+/2+/2+ 2/2/1/1 2/1 and strings). If this piece is done as the third in the series it will emphasize it's thematic similarities with Antigon.
3b. Persephone: 3a. piano vocal version.
3c. Persephone: with alto flute, percussion, violin, viola, 'cello and double bass (with low C extension) and a smaller chorus. May be done as the second in the series, to contrast its lighter orchestration and different genre (this being primarily intended as dance).
3d. Persephone: 3c. piano vocal version.
3. Oddities and Endings: The total is around one hour and 15 minutes long. An intermission would happen between #3. and #4. Any of the four may be performed alone. "Angst Wagon" by Rolv Yttrehus may be performed anywhere in the first half, except before Kali. It also does not fit very well in Part II.
Part I: Three Surrealist Operas:
1. Kali: 14 minutes: 2+/2+/2+/2+ 1/0/0/0 2 harp & violin solo: open strings. Begins before the birth of all things and ends after all things have been destroyed, in the middle sections inanimate objects: table, chair, sofa... interact and are led away by an actress playing open strings on a violin. Performed (audio only) by Carol Millard: C; Danute Mileika: MS and the composer: Bb with a taped simulation. Best performed as a ballet (see IV/IV/4).
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2. Sineater: 19 minutes, for up to 6 voices and an actor; with viola, 'cello or piano. The Sineater: actress, Vanessa Shukis "eats" the most minor of "sins" imaginable: Carol Millard: C; Anita Costanzo, A; Drew Polling, b, and Shu'Ann Chou, pianist. Performed by The Acting Singers Project: You can see the video with the button to the right:
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3. Eye of Carrot: 12 minutes; A man (b or B) becomes pregnant and is blamed
for infidelity.
3a. Eye of Carrot: with percussion, piano and string orchestra;
3b. Eye of Carrot: with string quartet and piano;
3c. Oczami Marchewki: in Polish; with vibraphone, timpani and string quintet.
3d. Eye of Carrot: with piano: English version,
Part II: 4. Birthday on The Moon: 35 minutes. Finding the right birthday present is the problem for this couple living on the moon. Libretto and story by the composer;
A withheld chamber version was the second place winner in the 2011 Long Leaf Opera Competition,
3a. Birthday on The Moon: orchestra 2+/2+/2+/2+ 2/2/2/1 4 percussion, timpani and strings.
3b. Birthday on The Moon: with piano.
4. Two Myths: 77 minutes and 20 seconds; soloists; chorus and chamber ensemble.
1. The Other Wise Man: 45 minutes; libretto by the composer after the story by Henry van Dyke; a forth wise man is prevented from his pilgrimage by various acts of charity; SSAABB, flute, bassoon, harp, hand bells, chorus, actors and narrator; commissioned and performed by The Hancock Church, Lexington, MA, under Donald Maher. William Cavness, narrator. Performers included: Meg Weston S; Harriet Chamela, S; Marilyn Briggs, A; the composer Bb; and Isabel Plaster, bassoon. Cablecast in Lexington. Also performed at The United Parish in Brookline, MA under Peter Kaisarsky. Meg Raines, M and the composer Bb, were among the performers. Updated version: "The Other Wise Woman."
2. Ritual: 32 minutes and 20 seconds; libretto by Drew Hubbard; Hero (S) learns lessons, faces a demon (T) and receives many gifts (from MAB). SAATB with chorus and 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, and premiered, with two additional performances, by BOM. The rest is unperformed.
Book III: Cantata Ballets:
1. Ample Make This Bed: Three Sections: Love, Nature, and Immortality; with poems by Emily Dickinson (in public domain). For bass-baritone, male reader, TbB trio and or chorus, 3 or more dancers, and the instruments listed below. Set in the 1980s, a gay man (bass-baritone) has a wild sex life; and transmits AIDS to his lover (male reader). The couple deals with betrayal, redemption and resurrection. Unperformed. See IV/IV/1.
COVID-19: Updated for the 2020 covid 19 pandemic: A, B, and C can then be either gender; and social mingling, flirting and light petting, rather than more overt sexual behavior can be the means of transfer. The couple can be straight, lesbain or gay. This will make the piece more relevant, easier to perform (as most dancers are female) and easier for audiences to accept (however, the price is that the work may lose some of its edge.) B can be performed by a mezzo-soprano (up an octave); the reader can also be female; both, of course, need to co-respond to the dancers that they represent; and the trio and or chorus can be female (up an octave), mixed (octaves T. B. A.) or male (as is).
1a. Ample Make This Bed: 2 2+ 2+ 2+ 1/1/1/1 percussion, timpani; harp; and strings,
1 hour and 50 minutes (45 movements):
1b. Ample Make This Bed: piano version of 1a.
1c. Ample Make This Bed: English horn, clarinet doubling on bass clarinet, bassoon doubling on contrabassoon; D. B. string quartet and piano; 95 minutes (55 shorter movements).
1d. Ample Make This Bed: piano version of 1c; This is the original version. /1.
2. The Journey: A work in progress: 15 minutes are completed (6 #s) work in progress; narrations by the composer: contemporary plainsong, with poems by James Joyce; 1-7 performers (1-5 singers; 1 or 2 narrators). A gay man goes to an alternate universe to destroy "The Beast" but, as a gay man, he would be killed immediately, so he goes as a woman; he finds the love of his life there, and the two women return to the original universe as gay men to continue their love. Can be performed as an oratorio, as a staged opera, or as a ballet: IV/IV/2. Also see V/V/1b "The Book of Runes" for more contemporary plain song set to poems by James Joyce.
5a. The Journey: Mallets, percussion, piano, optional harp, and D.B. quartet or string orchestra;
for infidelity.
3a. Eye of Carrot: with percussion, piano and string orchestra;
3b. Eye of Carrot: with string quartet and piano;
3c. Oczami Marchewki: in Polish; with vibraphone, timpani and string quintet.
3d. Eye of Carrot: with piano: English version,
Part II: 4. Birthday on The Moon: 35 minutes. Finding the right birthday present is the problem for this couple living on the moon. Libretto and story by the composer;
A withheld chamber version was the second place winner in the 2011 Long Leaf Opera Competition,
3a. Birthday on The Moon: orchestra 2+/2+/2+/2+ 2/2/2/1 4 percussion, timpani and strings.
3b. Birthday on The Moon: with piano.
4. Two Myths: 77 minutes and 20 seconds; soloists; chorus and chamber ensemble.
1. The Other Wise Man: 45 minutes; libretto by the composer after the story by Henry van Dyke; a forth wise man is prevented from his pilgrimage by various acts of charity; SSAABB, flute, bassoon, harp, hand bells, chorus, actors and narrator; commissioned and performed by The Hancock Church, Lexington, MA, under Donald Maher. William Cavness, narrator. Performers included: Meg Weston S; Harriet Chamela, S; Marilyn Briggs, A; the composer Bb; and Isabel Plaster, bassoon. Cablecast in Lexington. Also performed at The United Parish in Brookline, MA under Peter Kaisarsky. Meg Raines, M and the composer Bb, were among the performers. Updated version: "The Other Wise Woman."
2. Ritual: 32 minutes and 20 seconds; libretto by Drew Hubbard; Hero (S) learns lessons, faces a demon (T) and receives many gifts (from MAB). SAATB with chorus and 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, and premiered, with two additional performances, by BOM. The rest is unperformed.
Book III: Cantata Ballets:
1. Ample Make This Bed: Three Sections: Love, Nature, and Immortality; with poems by Emily Dickinson (in public domain). For bass-baritone, male reader, TbB trio and or chorus, 3 or more dancers, and the instruments listed below. Set in the 1980s, a gay man (bass-baritone) has a wild sex life; and transmits AIDS to his lover (male reader). The couple deals with betrayal, redemption and resurrection. Unperformed. See IV/IV/1.
COVID-19: Updated for the 2020 covid 19 pandemic: A, B, and C can then be either gender; and social mingling, flirting and light petting, rather than more overt sexual behavior can be the means of transfer. The couple can be straight, lesbain or gay. This will make the piece more relevant, easier to perform (as most dancers are female) and easier for audiences to accept (however, the price is that the work may lose some of its edge.) B can be performed by a mezzo-soprano (up an octave); the reader can also be female; both, of course, need to co-respond to the dancers that they represent; and the trio and or chorus can be female (up an octave), mixed (octaves T. B. A.) or male (as is).
1a. Ample Make This Bed: 2 2+ 2+ 2+ 1/1/1/1 percussion, timpani; harp; and strings,
1 hour and 50 minutes (45 movements):
1b. Ample Make This Bed: piano version of 1a.
1c. Ample Make This Bed: English horn, clarinet doubling on bass clarinet, bassoon doubling on contrabassoon; D. B. string quartet and piano; 95 minutes (55 shorter movements).
1d. Ample Make This Bed: piano version of 1c; This is the original version. /1.
2. The Journey: A work in progress: 15 minutes are completed (6 #s) work in progress; narrations by the composer: contemporary plainsong, with poems by James Joyce; 1-7 performers (1-5 singers; 1 or 2 narrators). A gay man goes to an alternate universe to destroy "The Beast" but, as a gay man, he would be killed immediately, so he goes as a woman; he finds the love of his life there, and the two women return to the original universe as gay men to continue their love. Can be performed as an oratorio, as a staged opera, or as a ballet: IV/IV/2. Also see V/V/1b "The Book of Runes" for more contemporary plain song set to poems by James Joyce.
5a. The Journey: Mallets, percussion, piano, optional harp, and D.B. quartet or string orchestra;
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5b. The Journey: with piano and synthesizer: The 6 numbers were recorded by the composer, bass-baritone and countertenor. You can hear them with the button to the right:
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