Meet FSOAS '17 Winning Composer Steven Serpa
Welcome back 2-time FSO winner Steven Serpa, Austin-based composer and singer. His winning short opera Thyrsis and Amaranth made the 2016 Fresh Squeezed Ounce of Opera program, and has been hailed as "powerfully emotional" and "truly beautiful....a magnificent story." Maureen, who played Amaranth, takes on Serpa once again, and along with OOO newcomer Chelsea DeLorenz, will breathe life into Steven's quirky song cycle The Creatures: A Bestiary Retold on Friday, November 3rd.
And now, with the help of Maureen and Chelsea, let's spotlight Steven and his work. Enjoy!
Maureen: I'm absolutely loving these pieces. I think my favorite thing about these songs is how dark parts of them are. So many songs about animals are cute and funny. I love how the poetry and music reflect a truer portrait of living beings (even the fantasy ones!)
Anyhow, a couple of questions for you about your process with these pieces.
1. An obvious one is, how did you choose these particular 'beasts' to set?
2. I'm also curious what drew you to Jeffrey Beam's poetry to begin with. You speak in the notes about your relationship with Lee Hoiby - which is so interesting - and you talk about your love of Beam's poetry, but not how you came to find his work and what about it moves you?
Steven: Hi Maureen & Chelsea! I’m glad to hear from you and glad you’re enjoying the beast songs. I’m really looking forward to hearing what you do with these songs. After wrestling with the notes and rhythms on the bars of the music/cage, I’ve grown fond of these little monsters. Whether spikey or fuzzy, each animal has its beauty and light, their ugliness and darkness. I also think the Prologue is one of my favorite vocal things I’ve written! I’m looking forward to this.
So 1st, these little monsters…
The Creatures is a work I have wanted to write for a bunch of years now. The poems are such entertaining gems. They are quirky mixtures of “scientific observation” and mysticism that Jeffery crafted from snippets of Elizabethan bestiaries. While Jeffery drew on the tradition of these medieval authors, I drew on the tradition of beast songs from the last century. So why did I choose the creatures I did? Some of the creatures I chose because composers before me had written really great works on them, like Poulenc’s Le Dromadaire or Cage’s Litany for the Whale. The others I was drawn to for the combination of myth and reality or of their beauty or power. Each creature has two sides, like all of us really: the Beaver has its sweet, playful quality but is also a crafty creature of the night– the Manticore is a dangerous man-eater with a radiant, clear voice.
So 2nd … What is it about Jeffery’s poetry…
The Creatures is actually my third work with Jeffery’s poetry. Last year the Austin Symphony Orchestra premiered my work An Invocation, a tone poem inspired by his poem of the same name. But the first time I came across his texts was in 2008 when I was writing a choral cantata for a World AIDS Day benefit in Boston. I was looking for text that possessed both memorial qualities but was also uplifting, and I found this absolutely perfect and inspiring poem:
Heaven’s hounds guard your ashes now
Shine their green light
on a humbled earth
For every gray stone
alive with moss and left
unturned by your kind feet
Heaven’s birds sing
That was my intro to Jeffery Beam’s work. Since then, I’ve extensively explored his poetry. It has inspired me and had me scheming new partnerships between his text and my music. On top of that, learning that Lee Hoiby, one of the best art song composers in the history of American song, learning that he had set Jeffery’s texts made me feel even more connected to the poetry. Lee was an early mentor to me. When I first started composing, he graciously looked over my songs and gave me words of criticism and support. I feel like these songs are a spiritual return to those early songs, and so I’ve dedicated them to Lee Hoiby’s memory.
Hear The Creatures come to life on Friday, November 3rd at 8pm!
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Steven Serpa is a composer whose music has won recognition with ensembles and opera companies across the United States, Canada and Europe. His work An Invocation was recently premiered by the Austin Symphony Orchestra and featured on the TreeFalls new music series in Spartanburg, SC. His one-act opera Thyrsis & Amaranth was premiered by Hartford Opera Theater in 2011 and has since been produced in Halifax, Cincinnati, Austin, St. Louis, and recently at Syracuse University. Critics praised Thyrsis as "Truly beautiful… a magnificent little story jammed full of thought and feeling and meaning" with “gorgeous music and wrenching lyrics.”
To find out more about Steven, visit his website http://serpamusic.com.
Meet FSOAS '17 Winning Composers Rodney Rawlings and Michael Scherperel
OOO's newest tenor, Brian Minnick, joins us to showcase two short songs by two contemporary composers, whose works prove inspiration can happen in places you least expect. Introducing When Matter Touches Antimatter by Rodney Rawlings and Up for #1 by Michael Scherperel! Here them premiere in Austin on Friday, November 3rd. Brian had these questions for the winning composers:
Brian: Rodney, most composers set their music to the poetry of other writers. What is it like to set your own text to music?
Rodney: Actually, with me the melody always comes first and I write the words to it. A few times, as in my “Ave Maria (Ellen’s Prayer),” I have taken a famous poem as my basic text, but I always freely adapted the words to the music, preserving the feeling and theme, sometimes adjusting the music a bit but keeping the melody’s integrity.
When I write lyrics, often the words come easily at first; but gradually the constraints of rhyme scheme, the effect I wish to preserve, and melody paint me into a corner toward the final cadence, and I am racking my brains to express all I want to within my set musical phrases. If no inspiration comes, I am occasionally forced to change the melody or structure of the song.
Brian: When Matter Touches Antimatter as some really nice jazzy moments. What styles of music inspire you and your writing?
Rodney: Thank you! Concerning categories such as jazz, classical, pop, etc., I have no preferences. I learn from and am passionate about individual works no matter what the style. I’ve analyzed scores by Beethoven, Wagner, Chopin, Bizet, and others. In this connection I must mention Franz Lehár, my first encounter with whose work in Lovro von Matačić’s recording of DIE LUSTIGE WITWE was what started me in composing. Lehár’s mastery of melody in that operetta electrified me, and also led me to a deeper appreciation of the arranger’s art.
To use the term “style” in another sense, I am partial in my own songs to styles that express yearning and reverence for the things of this Earth, such as the fugitive slave’s ordeal in my “Take Me, O St. Lawrence River (Freedom)” and the astronaut’s quest in my “To Venus and Mars.”
In others’ work, I love and study aspirational songs like “When You Wish upon a Star,” “The Wayward Wind,” and “The Long and Winding Road” and dramatic songs like “Love Is a Many-Splendored Thing” and “Dein ist mein ganzes Herz.” But the music has to be right, irrespective of the theme or style. “Silver Threads and Golden Needles,” a country song, fills me with admiration for its concept and execution.
Brian: Michael, there must be a great story for the origin of this song. Would you mind sharing it?
Michael: This rather silly song was fun to write and DavidMichael Schuster (the David of the dedicatees) and I had a blast performing it. The other dedicatee, by the way, is Eric Stark, Music Director of the Indianapolis Symphonic Choir. Eric posted on Facebook a photo of the brass plaques posted next to some new toilets on the campus of Butler University and dared—jokingly, I think—his composer friends to write a song using the words. So I did!
Brian: The quick meter changes throughout give a very unique flow to the piece. What inspired you to use such different meters?
Michael: I have a bit of a penchant for meter changes. In my vocal writing, I try to let the text dictate that, of course. Such changes, along with asymmetrical rhythmic patterns, can provide a lot of amplification to text. It’s my intention—whether always fully realized or not may be another question!—to underscore some aspect of the words, whether to slow them down for emphasis or speed them up for tension. I recently conducted a recording of my chamber opera “Thompson’s Luck”, a work in which both odd meters and meter changes figure prominently. You could peruse a redacted score on my website if you’re interested. The role of Steve Thompson is particularly rife with not only rhythmic angularity but also melodic tension—lots of 7ths and 9ths—since these compositional tools seemed to me to best reflect the man’s character.
Don't miss these songs! Get tickets for the 2nd Annual Fresh Squeezed Ounce of Art Song!
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Rodney Rawlings, a Torontonian, has had his art songs and concert band pieces performed in Toronto; in Chicago; in Chautauqua, New York; in Geneva, Illinois; in Elgin, Illinois; and in Munster, Indiana. He traces his initial passion for art song to an early encounter with Franz Lehár’s DIE LUSTIGE WITWE. Rodney writes the lyrics to almost all his songs, which concern reverence, aspiration, independence, and the future. These themes also occur in those songs for which he has adapted an existing text.
To find out more about Rodney, visit his website https://ca.linkedin.com/in/rodneyrawlings.
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Michael Scherperel studied composition and conducting at the Eastman School of Music where his principal instrument was organ. He later undertook graduate studies in piano, composition, and conducting at Boston University. He holds a B.A. in chemistry from Harvard and a M. Mus. in accompanying from the University of Miami. Mr. Scherperel has been at various times a vocal coach at the American Institute of Musical Studies (Graz, Austria), chorusmaster and assistant conductor with the Greater Miami Opera (now the Florida Grand Opera), music director of the Broward Symphony Orchestra, and artistic director of the Fort Lauderdale Symphony Chorus. Mr. Scherperel was a founding member of the Miami Chamber Trio and makes frequent appearances in chamber music and vocal concerts.
To find out more about Michael, visit his website www.michaelscherperel.com.
Meet FSOAS '17 Winning Composer Juliana Hall
One Ounce Opera is humbled to introduce you to Juliana Hall, whose work has been performed and commissioned by some of classical music's greatest voices. We can't wait to share Juliana's duet, Music Like a Curve of Gold, on Friday, November 3rd.
The duet is a setting of Sara Teasdale's poetry. OOO Soprano Rebekah Smeltzer Staley and Mezzo-soprano Julie Silva -- who will perform the piece at Fresh Squeezed Ounce of Art Song -- had these questions for Ms. Hall:
Rebekah: In looking through your bio & other interviews, it seems you had an early interest in composition, but you didn’t pursue it as a career/education option until you were working on your Masters. What finally convinced you to pursue composition?
Juliana Hall: Having grown up in a village of 3000 people in the southern Ohio countryside, composers were - literally - the stuff of history books. I had begun piano lessons when I was six years old, with my mother, and before officially becoming a composer had studied piano very intensely for 20 years...I enjoyed playing, and just really had no sense of what a life in composition might mean in practical terms. People in history books were composers, not "us."
Despite enjoying piano, though, it never felt completely natural to me, so when I finally began taking composition lessons in graduate school at Yale, I had a sensation for the first time in my life that I had actually found an activity that felt natural, and it seemed to me that I had found a home of sorts. My teachers - Martin Bresnick, Leon Kirchner, and Frederic Rzewski - all encouraged me (and very strongly too) to change my major to composition. Perhaps without their support, I might never have become a composer...but the combination of experiencing an activity that just felt "right" at the same time that such established composers were showing me such encouragement was enough to allow me to take that leap of faith, and so my Master's degree was in composition, and not piano.
After Yale, I completed my studies with Dominick Argento. Dominick was incredibly supportive of my work, and has been for the past 30 years. He really gave me a sense of some of the practicalities I would face, were I to pursue a life of composing...not always easy realities, he didn't sugar coat the difficulties inherent in this profession. In spite of those difficulties, his support added to that of my previous teachers, and I was able to leave school with a sense that I had found my place in the world and, come what may, I would be able to create songs that helped me to express the wonderful beauty and truths the great poets open to us.
Rebekah: Why write Music Like a Curve of Gold as a duet? (Also, if the piece was a commission, did you choose the texts, or did the commissioners?)
Juliana Hall: Several years ago, the vocal duo Feminine Musique (comprised of soprano Korliss Uecker and mezzo soprano Tammy Hensrud) commissioned me for a piece, as they specialize in art song by women composers. At the time I had an idea for a very large setting of Elizabeth Bishop's poem "Roosters," which I wrote for them (and which they will be premiering on January 19, 2018 at the Hartt School of Music). However, "Roosters" is 20 minutes in length, and due to programming considerations imposed on them by presenters, they also wanted a short work that could more easily fit into shorter programs.
"Music like a Curve of Gold" was the short work, then, that resulted from their request. My husband is a cellist, and he helps me in many aspects of my career...so it was actually my husband (who has an excellent sense of how various texts go together) that chose the two poems by Sara Teasdale. I love the two poems: very lyrical and the sentiments expressed are things I believe in. They speak to the human need to feel we have lived a life worth living, that we are grateful, and that we sought goodness and beauty...and I think a vocal duo provides the perfect balance of richness reflective of the texts, while being just spare enough not to lapse into sentimentality.
Julie S: What inspired you to set Sara Teasdale's texts? What was it about her words and/or her life that drew you in?
Juliana Hall: In most cases, I am not concerned with a poet's life when putting together a new piece. Of course, if I'm setting letters I might have an interest in knowing a bit more, or if - as in the case of a recent cycle of mine written on excerpts from Anne Frank's diary - there is an intrinsic connection between the texts and the person's character or life events that is stronger than usual, then I'll naturally take his or her life into account. For the most part, however, it is the text itself that I work with - just a few words in isolation, so that I can hear them "speaking" to me...and the message they convey to me becomes what I wish to convey to an audience.
In my days as a younger composer, I'd decide beforehand that I might want to write about night, or about Heaven, or about music...and then I'd find poems to fit into a cycle that worked well together...but these days when planning a new composition, I don't usually choose a topic up front, but begin by reading - a lot! I own over 200 books of poetry, and while I don't go through all of them word for word, I do a quick scan to see whether there are any poets that catch my eye, or any particular poems,or any particular topics...and my husband, who is a cellist and who is really good at putting together texts, joins me...it's a wonderful creative activity we do together, seeking a cycle that "works." It was actually my husband who found the two poems of "Music like a Curve of Gold" and since he knows great poetry, and he knows the type of poetry I tend to enjoy setting, what he found was perfect.
I enjoy very lyrical poetry, very clean and unsentimental poetry. The topics of these two poems are things I believe in very strongly...the value of beauty, and of seeing magic in the ordinary...of wanting to feel things deeply, and of wanting to fully appreciate the gifts of life and love, and all the beauty of the world around us, and the truths which flow from all of these. In these two poems, Sara Teasdale distills these ideas into pure and concise language that is full of gentle musical rhythm and vivid imagery, so they were inspiring texts to depict in musical form.
Julie S.: What is the story behind the process of this particular composition? Where do you like to do your composing, and how long does a project like this take to complete?
Juliana Hall: We live in a small, and relatively sleepy, little New England town...there's not a lot to do, and that is perfect for a composer who wants to produce! Our house is quite small, but it rises three floors, and my studio is on the third floor and has a large bay window so I can watch the birds come and go, and enjoy the trees all around.
Having studied for 20 years to become a professional pianist before I switched my focus to composition, I do my composing at the piano through improvisation. After studying the words, making sure I have a complete sense of each word's meaning and repeating the texts out loud over and over, in order to internalize the rhythm of the text, I begin by playing and singing - both at once - seeking sounds to create a meaningful sound world reflective of the text, and also seeking a vocal line that conveys the text in a way that can, hopefully, be understood without the aid of any printed matter...and in the case of "Music like a Curve of Gold" there are two vocal lines that must work together.
Composition has a number of stages. Even when I can write a song in a day, that song may very well take a full week to become final and ready to sing. Sketching out a song can take anywhere from a day to a week, depending on the size of the text...and then that pencil sketch must be input into the computer, which can take a few hours to a few days (if it's a sizable piece). Then I edit - that is, I add dynamics, expression marks like hairpins, tempos, and the like, that layer "on top of" the notes themselves. This can also take a few days or even weeks for a large cycle. Proofreading and "tweaking" follow...making sure I've correctly input notes and correctly assigned expressions markings...and then allowing myself to improve upon what I've first written, when I see there could be a "better" note here or a more "fluid" vocal line there. Again, days to weeks, depending on size of the composition. Then I give the computer file to my husband, who (since he works in electronic publishing and design) does a beautiful job of laying out the score...once again, days to weeks. After that, both he and I proofread...sometimes making as many as six "round-trips" between us.
"Music like a Curve of Gold" probably took around two months in all...sort of a long time for such a small piece, but it was my first duet piece and presented challenges I'd not encountered before, in order to use the voices in a way that gave each singer some nice lines to sing, but within the texture of a blended sound.
EXPERIENCE Music Like a Curve of Gold on Friday, November 3rd!
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American art song composer Juliana Hall (b. 1958) is a prolific and highly-regarded composer of vocal music, whose songs have been described as “brilliant” (Washington Post), “beguiling” (Times of London), and “the most genuinely moving music of the afternoon” (Boston Globe). The NATS Journal of Singing wrote that “Hall’s text setting is spot on and exquisite”, and Voix des Arts noted that Hall “perpetuates the American Art Song tradition of Beach, Barber, and Bolcom with music of ingenuity and integrity.”
To learn more about Juliana Hall, including a full biography, please visit her website https://www.julianahall.com/.
Meet FSOAS '17 Winning Composer Marc Hoffeditz
Meet Composer Marc Hoffeditz, whose winning song Ne'er Part I will be sung by Soprano Elise Leung Kotara at the 2nd Annual Fresh Squeezed Ounce of Art Song on Friday, November 3rd.
The text is adapted from the beloved story of Peter Pan. In answering questions from Elise, Marc shares more insight, including how he hopes the audience will experience the piece.
Elise: Peter Pan is a story beloved by adults and children alike. How did you go about preparing the text to be set to music, and what other decisions did you need to make about the text (the time signature, the mood of the piece, different sections of the story…)?
Marc: This text is specifically adapted from the 1911 novel entitled 'Peter and Wendy' (in the public domain-woohoo!), but most people are familiar with the original play (1904, still copyrighted) or the Disney movie. What I love most about this story in particular is that I feel people approach Peter Pan with a cheery mindset, but the original book has a much darker perspective of the action and is framed more from the angle of growing up and the hardships associated with the psychology of aging. 'Two is the end of the beginning' is a line from one of the earlier chapters, referencing the point in which we realize we will not be children forever, and I thought ‘WHAT. THIS IS SO CHILLING. HOW IS THIS A CHILDRENS BOOK’? So I agree, it's definitely a classic for both children and adults, but Barrie's intentions were much deeper than a silly tale about pirates and learning to fly.
A little background on how the piece came to be: It was commissioned by my friend Sarah Hennessey for her senior recital in Boston and she was looking for a piece that described the sensation of being too young to be a grownup, but being too old to be a child. Enter Peter and Wendy! The direction we decided to take was to look at the story from Wendy's perspective and frame it as her, now a mother, looking back at her adventures and reliving certain parts of her youth. A plot beyond retelling the original story was really important to me to solidify why we were revisiting this tale in particular and to help better understand the dramatic construction of the piece. In this case, the beginning, middle, and end are anchors for her role as mother and the portions between reference her transition from child to adult and vice versa.
In terms of preparing the text: I read the whole book, marking different sentences that stuck out or followed the dramatic structure I was looking for. From there, I adapted the remaining fragments into 9 movements (full version), trying to keep as much of the original text as possible instead of trying to paraphrase. Honestly, it took much longer to read, decide on, and adapt the text than it did to write the score, mainly because I was hearing the music as I was working through the story, but I'd never spent so long with the text of a piece before.
In terms of setting the text: My music in general likes to teeter between humor and pathos and I think Part 1 definitely reflects that both textually and formally. As a general rule of construction, I tried to have the more referentially 'child-like' parts of the music written in compound meters and the 'grown up' portions written in simple meters. From there, I wanted to juxtapose the blurriness of identity that Wendy felt by referencing both metrical constructs throughout the piece. This is highlighted in the 2nd movement when mother Wendy sings about her childhood in 6/8 while highlighting two main beats (1 & 4) that suggest it could be a simple meter. In the 3rd movement, Wendy is trying to act like her mother by singing in 2/4, but the appearance of gestural dance interludes that hint to a compound meter interrupt her intentions.
Although this is the first real song cycle I have written with such a strong thematic continuity, I found it important to keep things varied and interesting by trying not to telegraph what might happen next. In the end, the piece is comprised of a bunch of styles and influences, but I think the portions of recitative ground the piece and remind you that you are listening to not just a song cycle, but a very relatable story.
Elise: When did you start composing - and what or who were your early passions and influences?
Marc: I started composing little pieces back in the 6th grade. I didn't really think much of writing music seriously until my senior year, when I wrote a 26 song musical about Abraham and Mary Todd Lincoln called An American Love Story (yes, cheesy as hell). From there, I started studying composition in college and haven't stopped since! (Haven't written another musical though....but maybe that's okay)
I was a big musical theater fan in high school (hence the creation of an egregiously long musical) and I think both Stephen Sondheim and Schwartz were really early influences. The end of Pippin always made me super uncomfortable, yet I couldn’t stop going back to listen and is probably why I like the possibilities of devil’s advocacy in my music. I also remember being 17 or 18 watching Into the Woods and sobbing uncontrollably when ‘Children will listen’ started playing. I think these were really defining musical experiences and a large reason why as to why I like to re-contextualize popular stories and play with a landscape of contrasting emotional experiences
Nowadays, I think my influences include Benjamin Britten, Alban Berg, and an array of styles found in the early 20th century reinterpreted through 21st century ears. I also really respond well to Libby Larsen, Thomas Ades, and George Benjamin. Non-musical influences include anything to do with identity, especially how we formulate it today through our technological word and weird or uncomfortable subjects approached with a sense of universality and pathos.
Elise: Do you have any specific hopes about how people might experience this piece?
Marc: I don't really have any expectations of how people will perceive my works as they are happening, but I think from the performer’s perspective that knowing the larger arc and the beginning-is-the-end aspect should be highlighted. A big reason I love writing vocal music is because I love storytelling and I like to emphasize that to those that perform my works. You are NOT just a singer, you are a story teller! Tell us a story and get us hooked on whatever you are singing! The only way the audience is going to believe what is happening and what they are hearing is if you truly believe it and imbue yourself in it.
JOIN US TO EXPERIENCE ELISE PERFORM MARC'S "Ne'er Part I" on NOV. 3rd!
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Marc Hoffeditz is a composer of vocal and instrumental music searching to balance the humors of sarcasm, pathos, camp, and vulnerability. He has made his mark on the indie opera scene with performances by Rhymes with Opera, OperaRox Productions, Hartford Opera Theatre, and Opera from Scratch (Nova Scotia). His song cycle/monodrama Ne’er was chosen for performance at the 2016 Minnesota Source Song Festival, where he worked with acclaimed American composer Libby Larsen. Recent performances include the premiere of There will be no more, a song cycle for tenor and piano with OperaRox Productions in NYC.
To learn more about Marc and his music, visit https://soundcloud.com/marchoffeditz.
One Month FUN-raiser! $2000 Goal
It’s fall, and what a perfect time to announce OOO’s short-and-sweet $2000 one month FUN-raiser! Every cent supports our mission and our singers, and the programming you love. Now through the end of October!
YOUR GIFT IS TAX-DEDUCTIBLE. Here’s how:
- Visit our fiscal sponsor — Austin Creative Alliance — at this link here–> https://www.austincreativealliance.org/donate/SPdonate/#!form/DonateSP
- Scroll down until you see “One Ounce Opera” and click on the ADD button in our box.
- Type in ANY amount and click ADD. You will be directed to ACA’s secure payment screen.
- Follow the directions, and that’s it! You’re done!
A few key ways your donation will be put to use:
- Funding the launch of our Community Programs, providing FREE performances for those who might not otherwise have access — first one is for the beautiful women’s choir at Reagan High School on November 1st, 2017!
- Space rental, both for rehearsals and performances.
- Costumes, props, set pieces, lights, projections, and the many talented folks that design and direct different creative aspects of our productions.
- Administrative support, including website maintenance/rebuild.
- The singers! We love our talented crew, and we know you do, too!
- CREATION and implementation of exciting new programming.
- RECORDINGS! Your gift will allow One Ounce to reach audiences world-wide when we release new professionally-produced video and audio!
Thank you in advance for your generosity. We wouldn’t exist without your support!
2017-18 Fresh Squeezed Ounce Series Competition for Art Song and Opera
CALL FOR SHORT OPERA and ART SONG SUBMISSIONS!
Composers and librettists: We’d like to formally invite you to submit work to our 2017-18 Fresh Squeezed Ounce Series Competition. Winning pieces will be produced and performed by One Ounce Opera in Austin, Texas.
DEADLINE FOR SUBMISSION OF SHORT OPERA and/or ART SONG IS SEPTEMBER 1ST, 2017.
This will be the 3rd annual FSO-Opera, and the 2nd annual FSO-Art Song. These events are part of One Ounce Opera’s “Fresh Squeezed Ounce” series, celebrating new works and contemporary voices. In addition to having their works produced and performed in Austin, One Ounce Opera spotlights each composer/librettist in an informative blog post that includes an informal interview, each work is highlighted in our newsletter and on social media, and each winner receives a live video and audio recording. At each event, composers/librettists who are able to attend will be acknowledged and awarded a certificate (and some swag).
FAQ:
Where can I see the official rules for each competition? Guidelines appear on each entry form. Buttons for each can be found below. Consider your current luck is mostly a chop activity book of ra no deposit bonus 2021. Please review the rules in detail before submitting any work. Works that do not fit within the guidelines will not be considered.
When are the performances? FSO-Art Song is November 3, 2017. FSO-Opera is April 6-8, 2018. Free community performances, which include selections from each program, will be announced at a later date.
How do I submit my files? On the entry form, you will supply LINKS to an online folder or files. We must be able to download the score and libretto. For accuracy, please convert all text/score files to PDF before sending. Example of what/where to upload and link to: Dropbox folder, Google Drive, YouTube, SoundCloud, other storage methods that can be accessed via link. The required materials are listed on the form(s).
Am I allowed to submit more than one work? YES! As long as each submitted work follows the guidelines of the individual competition (art song v. opera), we welcome multiple entries.
I submitted an art song and an opera. Could they BOTH be chosen? YES! If you, however, submit more than one art song cycle or micro-opera, it is less likely that more than one of each would be chosen to fill the same program.
How will I know if my work was chosen? Winning works will be announced via Facebook and a post on this site, and the winners will be notified shortly thereafter. Copies of all parts and any revisions will be due at that time.
How do I keep up with any new developments in the competition? For the latest details, we strongly suggest following One Ounce Opera on Facebook, and adding yourself to the Facebook event page.
Once again, when exactly is the deadline? The hard-and-fast deadline for entry into either FSO-Art Song or FSO-Opera is 11:59pm on September 1st, 2017. Only complete applications — with all required materials received as requested by the deadline — will be considered.
I have a question not answered here. How do I get in touch? Click here to send us a message about the competition!
FSOO 2017 Gets Reviewed, and Exclusive Performance Pics!
The 2nd Annual Fresh Squeezed Ounce of Opera, which took place April 7-9, 2017, brought together composers from across the US — and Germany! — and the One Ounce Singers you know and love for one BIG, juicy showcase.
We tasted the future of opera, and it was GOOOOOD.
So good, the Austin Chronicle printed an entirely favorable half-page review! Here’s a little snippet:
“…when OOO set out to do this Fresh Squeezed Ounce thing again, we figured it’d be at least as enjoyable a gig as the one in 2016 – and it was….And here’s hoping there will be another one next year.” READ THE ENTIRE REVIEW HERE.
Meet Peter Michael von der Nahmer and Kate Chadwick, FSOO 2017 Winners
It is November 25th, 2014. We are in the video game section of a chic toy store in New York City. We meet a thirteen-year-old boy and his dad's girlfriend. What happens next is...Ho! Ho! Ho!, written by composer Peter von der Nahmer and librettist Kate Chadwick, premiered at the Hartford Opera Theater in 2015. OOO is proud to present its Texas premiere.
We asked for more insight into the piece. Here is Peter's response:
Peter: Kate and I have worked on several short music theater pieces that all carry the common nominator of understanding and reaching out in the deepest parts of what makes us who we are and how we approach the world.
My biggest inspiration for every new piece is always a long conversation with the writer about the piece, the characters and the story itself. It is in this very moment when reading a text that three possible things might happen.
- I get immediately a sense for what the musical world needs to be, not what I want it to be.
- I don’t hear any music or all. Which might be that the text is written in way that doesn’t really call to be musicalized or simply I feel that the piece itself wants to be everything else but a music theater piece.
- I am excited about both the story, the characters and how the language is represented but I feel that the music is in a different musical area/genre/style that I need to learn before starting to work on it. This is normally the moment when I am most excited about a new piece because it means that this piece is a new venture for myself, something to unravel and discover and something new for me to learn. This is also not as simple as just saying, oh this piece uses an Rock and this is piece uses a 12 tone scale as it then might be simply a bad version of either of those styles. What I really mean with it that I want that the piece tells me what it wants musically and not me telling the piece what it has to be. This is also means that you as the creator need to have a different kind of openness and willingness – almost similar to a psychoanalyst – to let happen what needs to happen and to give in to the drama of the piece as much as you can. You need to see and feel those characters family members that you dare to ask all sorts of questions and don’t run away when you get an answer that might confuse you.
After writing numerous pieces for the stage I have also given up on trying to know or guide what I think needs to be written by my and another librettist.
Rather have I realized that it is not about what ever piece another librettist and I think could be a good new idea but asking what piece can only be written by the two of us. What makes us both special in our backgrounds and knowledge and how do these two world come together to create a unique artistic experience. Sometimes it doesn’t work because we might realize that our approaches are to different in the end but more often it might lead to new ideas for pieces that we would have never created would we have gone the „easy“ road of trying to dictate a certain project.
It requires a lot of listening to each and searching for those hidden stories that feel interesting. I think all of this comes from my life long search in trying to understand the human mind and the human condition and my idea that every person, however strange they are, might have an important message for you, that is worth listening to because you might gain a new understanding not only of the other person but also through the other person about yourself.
This is the same with HO! HO! HO! where we have two people in the very beginning we know very little about, even more we might have no clue of where this piece is actually going. It starts even musically out with a rather classical recitative, a somewhat old fashioned way of approaching a contemporary opera but it lures you in a world where things might appear safe, maybe you have the feeling of control, of knowing where things might go next, only when everything turns a sudden shift. The way to go in pieces that seem or appear comedic is always that you as writers need to take your characters very seriously. I personally don’t believe that there is any kind of music that is in itself comedic in nature. Maybe there are sounds of instruments that one mind find funny because they resemble other noises we connect with „funny“ noises but I don’t think that music in itself is funny. A comedic moment comes from how we personally experience either the connection between music and text or images or simply what we find in general funny.
In writing the music to the libretto I carefully tried to give each character enough space to develop both story and music wise. In quick dialogues I find this always very tricky because you as the composer might tend to writing a music that might simply underscore both charters.
In HO! HO! HO! I tried as much as possible to stay as individual character that have their own musical world that we get drawn into so when I am playing not only with there motives but overall sound world the audience really can get a visceral feeling of what is happening on stage and they can decide for which character they route. The idea of having a tenor voice stand in for the little boy, rather than having a boy sing the part has many reasons. First the the text and subject matter but I also think it created an interesting conflict for the audience of saying a man behave as child which in itself is more interesting and "funnier“ than having an actual child play the role.
The last thing to say about the inspiration is not so much how video games have became a problem for kids, as I think games are not a new thing any more. Even I like to play computer games from time to time.
The problem is our loss or lack of listening to each other and understanding what the other person has to say or needs at this very right moment and how we can
find a way to give each person other what we need without being disrespectful because in the end bad things might happen because all our emotions are bottled up until they explode and we say :“I’m hardly ever violent. But….“.
Peter Michael von der Nahmer (“Mike") is a composer and sound researcher based in New York City. His American/German/Cuban heritage influences the questions of identity, complexity, and transcendent connection that shape his music. He has written over 27 works for music theater and dance, and over 100 works for concert and film; many have received national/international awards, and been performed around the world. Most recently he was awarded the 2016 McKnight Visiting composer residency, where he will work on new musical theater pieces with the teenagers and seniors from New Ulm, MN concerning the history of the town. Mike holds a B.A. in composition from the University of Music and Performing Arts, Munich and an M.A. in Music Therapy from the University of Augsburg. He holds certificates in Film Scoring from the UCLA, and in Music Pain Treatment (music therapy treatment for patients with chronic pain) from the Magdeburg-Stendal University of Applied Sciences. In May 2015, he received an M.F.A. in Musical Theater Writing from New York University. He also studied traditional Chinese music with composer Wang Ai Qun. Beyond his formal training, he was influenced by his father, an artist and healer who was later a Hindu priest; by traditional forms of healing, fairytales and myth; and by traditional Jewish and Indian music. His work naturally connects western classical music with other musical forms. Mike’s barrier-breaking, eclectic background explains his passion for music both as artistic expression and as a means to connect disparate cultures. His desire to be an agent of radical connection – to literally create harmony out of apparent dissonance – is his defining motivation. Find out more about Peter Michael on his website, www.petermichaelvondernahmer.com
Kate Chadwick (librettist) grew up in ballet, taking classes, participating in summer intensive programs, and performing all through childhood. She has a BA (high-honors in musical theatre) from the University of California, Irvine, and a post-graduate degree from The Oxford School of Drama. After school, she performed lead roles in regional theatre productions in the US and the UK (leads in Guys and Dolls, The Music Man, The Sound of Music, My Fair Lady, Brigadoon, Sweeney Todd). She graduated from NYU’s Graduate Musical Theatre Writing Program in May 2015, and had a showcase of her songs in the Mr. Finn’s Cabaret series at Barrington Stage in July of 2015. She will have a reading of her show Butterflies at Barrington Stage in the summer of 2017, directed by Graciela Daniele, and has had songs performed in cabarets around New York City (The Laurie Beechman Theatre, 54 Below, Sardi’s). www.katechadwick.com
Meet Rain Nox, FSOO 2017 Winner
In the fall of 2016, during the Inaugural Fresh Squeezed Ounce of Art Song, OOO premiered Composer/Librettist Rain Nox's cycle "Water Songs." Her submission to FSOO 2017 had us rolling from the first page -- Problems is a short opera with an unusual setting: a strip mall gym. OOO is happy to bring Problems to life for the very first time. Here's more from Rain:
1) (from Maureen, singing Viki) How/when did you come up with the idea to set an opera in a gym?
Rain: Since I started going to the gym regularly before work I started to notice the same people are there every day- a couple who train together with a coach, an older gentleman and a young woman who seem to push themselves to their limits in every workout. There are people that never seem to miss a single day. I started to think about how for many of us the gym is a place which both accentuates our insecurities and provides an outlet for overcoming our insecurities. Viki’s character and song was actually the basis for the entire opera- a place where a “problem” that seems petty could actually be part of a much more serious issue that no one else could know about. What could be going through other people’s minds as they are running on a treadmill? We have no idea what anyone else is going through at any given time, what’s behind the forced smile of the cashier at the grocery store, why the car inspection clerk was curt. The more we remember that, the nicer I think our society will be.
2) (from Julie F, director) Each character’s moments are unique, as are their personalities. How did these characters — and their “problems” — come to be? Any basis on, um, personal experience? :)
Rain: Most of my characters are based on my personal experiences, situations I have observed, or experiences shared with me by those who are close to me. Being annoyed at having to wait for a cardio machine is such a “first world” problem, one that I am unfortunately guilty of. I actually don’t get mad when my husband checks out other women’s butts, because I do that too- we can’t help seeing what is around us! I tried to have each character show a different level of how “serious” most people would consider a problem to be, although in reality it makes no sense to compare problems. Nothing good can come out of trying to judge the validity of someone else’s problem. Writing this micro-opera made me feel incredibly lucky about my life situation and so grateful about how few “problems” I really have.
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Rain Nox received her Bachelors of Music in Composition from the University of Texas at Austin. Since graduating she has composed six one act musicals, including Sisters of the Sea that was featured in Best of Fest at Fronterafest, and three full length musicals, including Crazy Like a Person, which won Best Original Play at the City Theatre’s Summer Acts festival. She is also the lead singer and bassist for local rock band Rise from Fire, whose first album will be released this summer. She is honored to have her second performance with One Ounce Opera, who premiered her work Water Songs last November. https://soundcloud.com/rainnox
Meet Marvin J. Carlton and Madeleine St. Romain, FSOO 2017 Winners
Remembering Landscape is a post apocalyptic opera for three singers and piano. During FSOO 2017, One Ounce Opera will present the premiere performance of the piece, written by composer Marvin J. Carlton and librettist Madeleine St. Romain. It will feature Maureen Papovich, Julie Silva, and Robert LeBas.
Q: (from Julie Fiore, stage director) Marvin, the music is woven together almost like a chorale, especially the opening trio. From where did you draw your inspiration for the style of music in this piece?
Marvin: "Remembering Landscape" is the second opera that Madeleine and I have done together. In both operas, I have found that Madeleine's words frequently invite ensemble singing, and to me that is a good thing since I enjoy writing ensembles. When I first read the text, I was struck by the starkness of the opera and was compelled to write music that would reflect that starkness. Knowing that the characters had just encountered a disaster, I knew that they had to express their feelings individually but at time intertwining with each other. As for Chloe's scene midway through the opera, upon initial reading I heard music that was somewhat related to the sleepwalking scenes in several bel canto operas.
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Madeleine St. Romain is a writer and multidisciplinary artist.
With composer Nicole Chamberlain, she wrote Rabbit Tales for the Atlanta Opera. She was a librettist for the Atlanta Opera's 24 Hour Opera Project 5 times, which is how she met Marvin. They have written 2 operas together now, 3Ds Dance Hall, and Remembering Landscape.
With composer Robert Boury, she has written four family operas, Cedar Tree and River Water, Grandmother Spider Steals the Sun, Seastruck, and The Raspberry War.
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Marvin J. Carlton is an American composer of opera, art song, symphonic works, choral works, and chamber music. His micro-opera 3D's DANCE HALL won the audience choice award at The Atlanta Opera's 24-Hour Opera Project in 2013, while his opera PIE, PITHE, AND PALLETTE won the judge's award in 2016. His music has been heard in concerts by Belleville (IL) Philharmonic Chorale, Centralia (IL) Philharmonic Orchestra, The Atlanta Opera, International Double Reed Society, St. Martin Chamber Players, Heart of Illinois Woodwind Quintet, The American Patriot Wind Ensemble, and the Southern Illinois Grade School Vocal Music Association.
Several of his chamber works have been published by Imagine Music.