Illustration of a performance at the Opéra Le Peletier depicted in the British press following King Louis Philippe’s so-called opera scandal of 1837
This event is sold out. You may add your name to the standby list in person only at 6:30 p.m. on the day of the event. Please note: There is no guarantee that additional tickets will be made available.
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.
The series kicks off tonight with The Rocky Horror Opera Show, 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.
Amelia Watkins, soprano
Sarah Heltzel, mezzo-soprano
Cameron Schutza, tenor
Robert Balonek, baritone
Eric Malson, pianist
Program for “The Rocky Horror Picture Show”
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. Next up, soprano Kristin Norderval (May 2) presents a selection of works for voice and laptop (with a focus on live vocal sampling and real-time audio processing) alongside several works utilizing sounds recorded from discarded and decaying pianos. 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.