Music by: Kamala Sankaram Libretto by: Kamala Sankaram and Rob Reese Duration: 75 minutes Premiered: The Gallery Players, 2012 Welcome to the world of Miranda, where you, the audience, are the jury. In this interactive murder mystery, evidence is presented through musical reenactments of the day leading up to heiress Miranda Wright’s untimely demise. With a musical score mixing opera, tango, Indian classical music, and pop, this 75-minute show is a “strikingly original” (New York Times) . A blend of comedy, virtuosic singing, and doomed romance. Can you solve the mystery and help to find Miranda’s killer? Miranda is a 75-minute steampunk murder-mystery chamber opera in which the instrumentalists play, sing, and act all the parts, reenacting the last day of Miranda's life. Each character in Miranda’s world is represented by a different musical genre: Baroque, Hindustani, Tango, and Hip-Hop. You, the Jury, solve this musical mystery by choosing exhibits and finally by convicting Miranda’s killer. FORCES Singers: Voice TBD Orchestration: Piano Accordion Guitar Cello Violin Tenor/Baritone Saxophone Clarinet Base Clarinet Percussion Reviews “Miranda” is strikingly original, mainly because its principal vocal lines, which Ms. Sankaram sings in the title role, are inventively shaped, full of character and emotionally direct and authentic.” –Allan Kozinn, The New York Times “The verdict on “Miranda”? Sankaram’s tuneful score and standout performance are well worth an hour’s listen.” –James Jorden, New York Post MEDIA Photos by Colin Howe, Nic Minetor, Jim Caldwell

Greer Grimsley as the Wanderer (Wotan) in Siegfried | Photo courtesy of The Atlanta Opera Film Studio When allergies sidelined renowned bass-baritone Greer Grimsley ahead of the opening night of Siegfried at The Atlanta Opera, the company had to act quickly to fill some rather large shoes. The role of Wotan is famously one of the most difficult in the repertory, so finding a replacement for Mr. Grimsley was not an easy task. However, some creative thinking and another talented UIA artist saved the day. Bass-baritone Kyle Albertson was called upon to fly in the night before to sing the role for opening night while Mr. Grimsley walked the stage. While not typical, this arrangement is not without precedent, and turned out to be quite a successful solution. "Despite his inability to sing live, Greer Grimsley’s portrayal of the Wanderer radiated authority through his physical presence, and Kyle Albertson’s noble, world-weary vocalization from behind the scrim was admirably secure and commanding given the last-minute circumstances. Together, they forged a surprisingly seamless portrayal of Wotan’s twilight struggle: the once-mighty god reduced to a seemingly powerless observer, orchestrating his own obsolescence." Read the full review on EarRelevant "Wotan, the king of the gods who is prominent in the first two Ring operas, returns in Siegfried but in the guise of a mysterious Wanderer. The bass Greer Grimsley , whose commanding Wotan was one of the highlights of the Atlanta Opera’s earlier Ring operas, was set to play the Wanderer, but he has been suffering from allergies and was unable to sing on opening night. And it’s not easy to find a Wotan on short notice to step in. Such are the challenges of live theater. But the Atlanta Opera forged a creative solution: On opening night, Grimsley acted and lip-synced the role on stage. Meanwhile, the Wanderer was actually sung by bass Kyle Albertson , who stood near the stage to the audience’s left. Kudos to the Atlanta Opera and Albertson, who brought a big, resonant and emotive bass to the role. What seemed like a potential disaster turned out to be a coup de théâtre . (As this review was being written, Atlanta Opera announced that Grimsley would be able to sing on the remaining performances." Read the full review on ArtsATL "The third key role in the opera is the Wanderer, better known as Wotan, king of the gods in disguise, and here the company ran into something of a problem. Bass-baritone Greer Grimsley was scheduled but was laid low by allergies and unable to sing, though he could still bring his well-practiced acting to the role. Luckily, another fine singer was available to be called in to sing the part from a box adjacent to the stage. Kyle Albertson , who had sung the role elsewhere, did an impressive job in a situation that couldn’t have been easy for anyone involved: those who had to interact with Grimsley’s mime version of the role and Albertson’s performing in what amounted to a closet. He succeeded wonderfully in singing under challenging circumstances (and acting as well, for I could see him from my seat) and deserves his place in the sun sometime again soon." Read the full review on BroadwayWorld Luckily after opening night, Mr. Grimsley was able to return to singing his signature role for the remainder of the run, receiving excellent reviews as well for his third installment in Atlanta's Ring Cycle .  "As he had in the first two Atlanta Ring outings, Greer Grimsley sang Wotan, in a masterful portrayal that evinced his long experience with the cycle. He brought powerful authority to every phrase and every gesture. He was indisposed for the April 26 opening night and ended up miming the role while Kyle Albertson "dubbed" him from backstage. But in this performance, his bass-baritone voice returned, its oaken majesty intact. The King of the Gods was here entrusted to a truly kingly singer. Grimsley and contralto Lindsay Ammann made the Act III Wotan/Erda scene a dramatic highlight, establishing a wary intimacy between the two long-ago lovers as they contemplate the gods' impending doom..." Read the full review on Musical America Photo courtesy of The Atlanta Opera Film Studio

Music by: Héctor Armienta Libretto by: Héctor Armienta Duration: 1 hour45 mins Commissioned by: Ft. Worth Opera, Opera Southwest, Ópera Cultura Premiere: Ft. Worth Opera, October, 2022 A fading empire clings to power and the oppressed and destitute dream of freedom. One man will lead them - Zorro! FORCES Singers: Diego de La Vega (Leading); Early thirties. Criollo (Spanish blood but born in New Spain/the Americas.) In search of his purpose and his destiny. Heir to the de La Vega estate, which is situated close el pueblo Reina de los ´Angeles - Lyric Tenor Ana Maria Soza (Leading); Early thirties; A mestiza and grandaughter to Toypurina. Revolutionary spirit, who is determined to help the poor and her people - Lyric Soprano Octavio Rivera y Moncada (Feature); Thirties, Peninsular ( Born in Spain but lives in the Americas); Géneral and Alcalde ( Mayor) of Los ´Angeles. Believes in Spanish supremacy and Spanish imperialism - Verdi Baritone Carlotta de Obragón (Leading); Late thirties; Born and raised in Sevilla Spain. Daughter of the Governor of alta California. Now living in Los Ángeles. Was once romantically involved with Diego in Sevilla. Wealthy, feels entitled, and secretly still harbors feelings for Diego - Mezzo-soprano Sergeant José Maria Gomez (Supporting); Forties; Moncada’s aide, but desperately unhappy. Seeking love - Baritone Luisa (Supporting); Late twenties; Servant at the Vega Estate. Not content as a servant and seeking love - Coloratura Soprano Toypurina (Solo bit); Late fifties; Tongva Native American. As a youth, led the revolt against the mission in San Gabriel. Now, she serves as the caretaker of the Vega Estate. She was once Diego’s nanny - Mezzo Soprano Chorus - (Including Zazueta, Margarita, soldiers, townspeople, the poor) Orchestra: Flute 1 ​Oboe 1 Clarinet in Bb -1 Clarinet in Bb - 2 ( doubles on bass clarinet) Bassoon 1 Trumpet in C Horn in F1 Horn in F2 Trombone Harp Percussion ( triangle, glockenspiel, chimes, cymbals, toms, bass drum) Strings (6,6,6,4,2) Guitar Project Statement The work is set in the early 1800's, when there was great political upheaval in Spain and México. Inspired by true events in history and based on the pulp fiction character Zorro, a young man returns from Spain to the place of his birth - el pueblo de Los Ángeles . It is there, he will find his destiny and be reunited with a young mestiza he was once forbidden to love. MEDIA

Music by: Johanny Navarro Libretto by: José Félix Gómez Duration: 120 mins Originally Commissioned: American Lyric Theater Premiere: The  Centro de Bellas Artes de Santurce in San Juan, PR, 2022 Recent college graduate Chica plans a traditional Christmas party and invites her friends, but her mother Doña Tere opposes, for there are no pasteles, and without pasteles there is no Christmas! In the midst of struggling to find and prepare the pasteles the guests arrive, and the Christmas revelry begins. Meanwhile, two young men, John and Nando, both endeavor to win Chica’s love.  Doña Tere and Abuela favor Nando; friends, John. Meanwhile, Chica enjoys the party and the courtship of her suitors, showing no sign of opting for either of the two, certain that she was born to be free as the wind. The party concludes with the Christmas dinner, starring the pasteles! FORCES Singers: Chica - Lyric Soprano Doña Tere - Lyric Soprano Abuela Zuncha - Mezzo-soprano John - Tenor Nando - Baritone Amiga 1 - Lyric Soprano Amiga 2 - Mezzo- Soprano Amigo  1 - Tenor Amigo 2 - Bass- Baritone Orchestra: Clarinet in Bb Bassoon French horn Trombone Multi-percussionist Violin 1 Violin 2 Viola Cello Contrabass MEDIA

Music by: Johanny Navarro Libretto by: Marcus Yi Duration: 90 mins Commissioned by: American Lyric Theater Premiere: TBD Shakespeare gets turned on his head through the eyes of the unnamed Gentlewoman in the play Macbeth. Florinda is a lady-in-waiting to Lord and Lady Macbeth. After the witches prophesize that she will be the downfall of her new employers, Florinda is determined to fight fate and give the Macbeths the happy ending they deserve. Can she fight destiny or is the play doomed to repeat itself? FORCES Singers: Florinda ; lady-in-waiting to Lord and Lady Macbeth - Mezzo-soprano Lady Macbeth ; wife to Macbeth - Dramatic Soprano Macbeth ; Husband to Lady Macbeth - Baritone Macduff ; Macbeth’s nemesis - Tenor Witch 1, a.k.a. Mom ; Florinda’s mom and an agent of evil - Soprano Witch 2, a.k.a. Nana ; Florinda’s grandmother and an agent of evil - Mezzo-soprano Witch 3, a.k.a. Auntie Thomasina ; Florinda’s aunt and an agent of evil - Bass-baritone Madam Alice Tairik ; French Principal of Madam Alice Tairik’s School for Ladies-in-Waiting - Coloratura Soprano Banquo ; Macbeth’s co-worker - Bass-baritone Prince Malcolm ; Son of King Duncan - Mezzo-soprano Non-singing roles: Duncan : King of Scotland Soldiers Orchestration: Clarinet in Bb (Douboling to Bass Clarinet) Basson Trumpet in Bb Trombone Multi-percussionist Violin 1 Violin 2 Viola Cello Contrabass MEDIA

One-Act Chamber Opera Music by: Gillian Rae Perry Libretto by: Marcus Amaker Duration: 60 mins Commissioned by: Chicago Opera Theater Premiere: Piano Vocal Workshop, December 2023; Concert Premiere, April 2024 When a child inherits a magical ability that allows them to speak with objects, it opens up a new world of possibilities. Their mother, who shares the same ability, sees their predicament as a source of shame. Both child and parent learn to navigate their powers and the responsibilities that come with it in this deeply sensitive coming-of-age story. FORCES Singers: Soprano ; Emily Mezzo-soprano ; Dawn Tenor ; Trevor/Object 2 Mezzo-soprano ; Object 1 Baritone ; Object 3 Orchestration: Flute (doubling Piccolo) Clarinet (doubling Bass Clarinet) Harp Percussion Piano Violin Viola Cello Composer's Project Statement The story for The Weight of Light was created by Marcus Amaker and Gillian Rae Perry in the hopes of telling a story that centers love.  This opera follows the relationship between Dawn and Emily, beginning in Emily's childhood and culminating in her adulthood after her mother, Dawn, has passed away. Throughout the opera, Emily wrestles with showing herself compassion, burdened by inner turmoil and unresolved pain inherited from her mother. It is only through the unwavering, unconditional love of her friend that she discovers the strength to forgive her mother and, at last, embrace herself and her ability. At its heart, The Weight of Light is a story about familial cycles, love, acceptance, and grief. Librettist's Project Statement My hope is that The Weight of Light offers audiences a reason to nurture and love their unique self. To embrace radical acceptance. There are parts of our personalities, of our being, that are naturally built into who we are. But too many of us want to push those quirks to the side, as though they are flaws to be polished away, rather than gifts to be unwrapped. My hope is that this opera serves as a gentle reminder that our quirks, our edges, and even our shadows are vital threads in the tapestry of who we are. MEDIA

Music by: Brittney B.E. Boykin Libretto by: Jarrod Lee Duration: 50 mins Commissioned by : Finger Lakes Opera, Premiere: Summer 2024, Finger Lakes Opera Florine Boykin leads her childhood friend Sarah down memory lane through the nostalgic power of a radio, examining and reviewing their friendship despite the racial tension surrounding them in the segregated and rural town of Wedowee, Alabama. Their bond is tested as they revisit memories and confront their shared past from their differing perspectives. Can their friendship survive their confronting mid-twentieth century racial disparities and unrest? Or was their friendship a figment of their imaginations? FORCES Singers: Sarah - Soprano (identifies as white) Ken/Hobart/John F. Kennedy - Tenor (identifies as white) Florine - Soprano (identifies as black) Hollis – Baritone (identifies as black) Julia - Mezzo (identifies as black) Winnie - Soprano (identifies as white) Radio announcer/TV Anchor/Store Clerk - Tenor (identifies as white) Young Sarah - (Silent role) age 10 Baby Girl/Young Florine - (Silent role) age 10, daughter of Florine and Hollis / age 10, daughter ofJulia Baby Boy - (silent): age 13, son of Florine and Hollis Orchestration: TBD Project Statement Two Corners, composed by B.E. Boykin with libretto by Jarrod Lee, explores the evolving friendship of a Black woman, Florine, and a white woman, Sarah, during the unrest of the Civil Rights movement. Told through a series of flashbacks, Florine and Sarah reflect on their different perspectives of race, friendship, and the status quo. MEDIA

Music by: Kamala Sankaram Libretto by: Susan Yankowitz Duration: 90 mins Commissioned: Beth Morrison Projects and HERE Arts Center for PROTOTYPE Festival, 2014 Project Statement Thumbprint is inspired by the extraordinary transformation of Mukhtar Mai, a young woman whose world was shattered by an act of brutality that could have destroyed her. Instead, she discovers a weapon—her voice—and against all odds, to the astonishment of her country and herself, she seeks justice and finds it. “The worst thing in my life is also the best,” she says. “It has given my life meaning.” Her journey resonates beyond borders in its implicit belief that even in the darkest times, one person, one voice, through a single act of courage, can change life for thousands. The story is told through a dynamic score by Kamala Sankaram, filled with Hindustani and European opera influences, and a libretto by Susan Yankowitz, originating from a series of interviews with Mai. FORCES Singers: Mukhtar - Lyric Coloratura Soprano Mother/Minister/Reporter - Mezzo-soprano Father/Judge/Reporter/Mastoi - Bass-baritone Faiz/Police Chief/Reporter/Villager - Tenor Shakur/Imam/Reporter/Mastoi/Villager - Tenor Annu (Also plays Young Girl/Reporter) - Soprano Orchestra: Flute Violin Viola Upright Bass Piano/Harmonium Drumkit/Tabla/Dhol MEDIA

Music by: Kamala Sankaram Libretto by: Jerre Dye Duration: 75 mins Commissioned: Washington National Opera, 2018 Project Statement In TAKING UP SERPENTS, 25-year-old Kayla is the estranged daughter of a fire-and-brimstone preacher who is dangerously bitten by one of his own snakes. Kayla’s journey home forces her to confront her troubled upbringing. With a score showcasing Sankaram’s deft stylistic eclecticism and an original story inspired by Dye’s roots in the Deep South, Taking Up Serpents calls into question faith, family, and destiny, with shocking results. FORCES Singers: Kayla - soprano. A daughter of The Church, a lost soul, a wanderer Nelda - mezzo-soprano. Kayla's mother, anointed, a Preacher's wife Daddy - baritone . Kayla's father, a Holiness Preacher, a snake handler Reba - mezzo-soprano. Kayla's co-worker / Passenger - a young mother / Holiness Congregation member Customer - soprano . Save-Mart Customer / Passenger - a queer kid / Holiness Congregation member/ Preacher Young Kayla - supernumerary. A memory of Kayla as a child Orchestra: Flute/Piccolo Oboe Clarinet Bassoon French Horn Electric Guitar/Acoustic Guitar  - With volume pedal, tremolo, distortion, wah and reverb. Will also need a tuning pedal to tune to Drop D.  Percussion - Snare Drum, Bass Drum, Triangle, Glokenspiel, Large Suspended Cymbal, Whirly Tube, Crotales, Waterphone, Junk Metal (3 different pitches) Piano 2 Violins Viola Cello Bass MEDIA

Solo Vocal Music with Piano Music by: Jasmine Barnes Libretto by: Shana Oshiro Duration: 5 mins Commissioned by: LyricFest Philadelphia, 2021 Taking Names is a piece created in collaboration with Shana Oshiro, librettist, as well as Karen Slack, Soprano. This piece was written for Karen Slack commissioned by LyricFest Philadelphia as a part of her full work "Say Their Names". The song, for soprano and piano, is made to honor the lives of Black Women and Black Trans women who have been unjustly murdered in America. FORCES Soprano Piano MEDIA

Music by: Rosabella Gregory Libretto by: Dina Gregory Duration: 2 hours 20 mins (with Intermission) Premiered: the Endstation Theatre Company, 2023 A greasy spoon in the small city of Lynchburg, Virginia, is the setting for this raucous musical about class, race, and the mysterious alchemy of a 24-hour-eatery. Run by sharp-tongued matriarch Miss Betty and frequented by regulars like the kind hearted but totally incoherent Brooks, the Texas Inn, aka the “T-Room,” is mostly a local hangout. So, when two college professors, Maddy and Khent, roll up in their Tesla one night, they get more than just cheap dinner and some local flavor, thanks to Liza and Gunner, a pair of young troublemakers.   With a live band embodying the Texas Inn, “T-Time” offers a messy yet beautiful argument for the importance of spaces that bring folk together from all backgrounds and walks of life.   FORCES Singers: 1 Soprano 1 Mezzo Soprano 1 Alto 1 Tenor 1 Baritone 1 Bass-Baritone Orchestration: Keys ( Piano, Synths, Strings) Guitar (Acoustic, Electric) Drums/Percussion (1 player) Bass Guitar Violin   ALL BAND MEMBERS SING AS WELL AS PLAY THEIR INSTRUMENTS AND ARE VISIBLE ON STAGE FOR THE ENTIRE SHOW. MEDIA

Music by: TBD Libretto by: Jarrod Lee Scenario: Jim Liberthal Duration: TBD Commision and premiere TBD Melvin attempts suicide out of desperation and love for his deceased partner, Richie, to the devastation of his ex-girlfriend Emily. Richie is in the Spiritual Realm with guidance from the Warrior Angel. He must intervene to save the very essence of Melvin for a chance to reunite with him in a different body in a different time. FORCES Characters are intended to be artists of color Singers: Richie ; gender-fluid, excitable - Tenor Melvin ; bi-sexual, reserved, stable - Baritone Emily ; cis-gender woman, explosive, emotional, manipulative - Mezzo-soprano Warrior Angel ; non-gender specific, Provokes Action - Countertenor, Bass, or Soprano Ms. or Mr. I-94 ; cis-gender male, gender questioning (ending gender mode is determined by the participating artist) - Mezzo-soprano or Bass-baritone The Voice ; obligato, encourages emotional and spiritual support - Countertenor or instrument Archangels/Paramedics - 3 or 4 actors/dancers Orchestra: TBD Project Statement A deadly crisis  triggers a series of events revealing truths within a triangle of love, each with different sexual orientations, exploding into a vortex of circumstances forcing consequences that transcend time and realities.