Photo: Kaia Means
In conjunction with Jeanine Oleson’s exhibition “Hear, Here” (April 23–July 6), guest music curator Cori Ellison (Dramaturg at Glyndebourne Festival Opera and previously at New York City Opera, 1997–2010) has organized a series of musical events exploring the possibilities of the operatic voice by placing it in nontraditional contexts.
Soprano Kristin Norderval’s repertoire spans from Renaissance to downtown New York avant-garde, including featured performances with artists Pauline Oliveros, Anne LeBaron, and Philip Glass. For her appearance at the New Museum, Norderval presents a selection of works for voice and laptop with a focus on live vocal sampling and real-time audio processing. The program will also include selections from Aural Histories, as well as structured improvisations and several works utilizing sounds recorded from discarded and decaying pianos.
Other programs in this series include: The Rocky Horror Opera Show (March 7), in which a quartet of opera singers performs operatic standards to live accompaniment while an audience of die-hard opera fans and general public are encouraged to dress up, sing along, dance, or do whatever they’re moved to do, but normally restricted from doing. The series continues with an evening featuring Joseph Keckler (April 25). Known for taking mundane lived experiences and transposing them into an operatic medium, Keckler’s program features selections of new work, including fragments from a work-in-progress in which he playfully skewers televised singing competitions. Rounding out the series mezzo-soprano Toby Newman (May 30) tests the limits of the operatic voice in a program that melds traditional classical vocalism with vanguard extended vocal methods and ancient and ethnic techniques.