Music by: Jasmine Barnes Libretto by: Deborah D.E.E.P. Mouton Duration: 2 hrs Commissioned by: American Lyric Theater Premiere: upcoming 2025 She Who Dared   re-centers the spotlight on the courageous women who helped desegregate the Montgomery bus system. These Civil Rights pioneers pay homage to the quiet struggle for justice that has often gone unknown - further amplifying the effects of the historic case of Browder V. Gayle. While often riotous and sometimes hilarious, these women demonstrate how everyday people have the power to challenge the systems around them and affect tangible change - if only they dare. FORCES Singers: Jo Ann Robinson/Fred Gray ; 43 year old, light-skinned Black, female. Activist and Educator - Dramatic Mezzo-soprano Claudette Colvin ; 15 years old, dark-skinned. Student and activist - Coloratura Soprano Aurelia Browder ; 36 years old, dark-skinned. Mother of 21, seamstress, and activist - Zwischen Mezzo-soprano Jeanetta Reese/Classmate 1/Officer/Judge ; 20’s-30’s, Black female. Maid - Mezzo-soprano with lower extension Susie “Mama Sue” MacDonald ; 70 years old, White passing Black Female, heir to the MacDonald farm - Full Lyric Soprano Mary Louise Smith/Classmate ; Two 18 years old/15 years old Black female. University student/Claudette’s classmate - Lyric Soprano Rosa Parks/Ms. Nesbitt/Prosecution Attorney/Claudette’s Teacher ; 42 years old, light-skinned, Black Female, Mother of the Civil Rights Movement - Full Lyric Soprano Ensemble - All women or all non-featured women in the scene. Orchestration: Clarinet Oboe Percussion Piano/Organ/keyboard Strings MEDIA

Play/Choreopoem Music by: Jasmine Barnes Script by: Deborah D.E.E.P. Mouton Duration: 2 hrs 30 mins Originally Premiered: Edison Arts Foundation Born in Houston, TX, Lauren Anderson rose from the streets of Third Ward to become the first Black Principal Dancer of the Houston Ballet. However, this ascension did not happen without its challenges. Between the internal pressures of a single-parent home, her tumultuous romantic relationships- often centered in abuse, and her addiction to alcohol and cocaine, she tried every path to find a coping mechanism for processing her own doubts about her body and worthiness. While that would be the end of many stories, she emerged on the other side sober and with a deeper connection to serving her community.  Plumshuga is a choreopoem that allows the audience share an intimate conversation with Anderson as she breaks the fourth wall to discuss her greatest trials and successes by reliving  them in moments of dance. This unique blend of poetic lyricism and dance offers a more vivid and intimate look into her rise and impact as ballet royalty. FORCES Singers: Lauren (narrator) - age 40’s/50's; speaks in poetry, dark-complexion, muscular Young Lauren - age 16-20; dark complexion ballerina Mature Lauren - age 21-30; dark complexion ballerina Love - male presenting dancers with alternating genres Sugarplum Fairy - white, 20's, ballerina Ben - white, male presenting, 40's-50's Carlos - male, 20's dark complexion ballet dancer. Lauren’s Father - male presenting, black, contemporary dancer Lauren’s Mother - female presenting contemporary dancer Nic - white, male presenting, 20's, ballet dancer Classmates - two white ballerinas Firebird dancers - 3 additional black dancers including 1 ballerina in their late 20's/early 30's Sprites - Double casted Carlos, Love, Nic, Lauren's mom, Lauren's Dad and Young Lauren Addiction - 4-5 bodies, double casted love dancers Orchestration: Piano Tracks Project Statement Written by former Houston poet laureate Deborah D.E.E.P. Mouton and with music by Jasmine Barnes, this is the story of Lauren Anderson , the first Black performer to be named a principal dancer to the Houston Ballet. Anderson's place in history and her unmatched talent as an artist are part of this story. But so are the sacrifices and struggles she endured to get there, and the long road to accepting herself. Following Lauren's journey as a Black child and artist through the white world of dance, Plumshuga brings the audience along on the fluid sweep of memory through choreography that blends classical ballet and modern form. Anyone who's ever felt less-than, who's been excluded, who's wondered if they were enough will recognize something kindred in this story, which is set to be the don't-miss-it-show of the season. Plumshuga is big and bold and beautiful, and showcases so much of the very best of this city and its artists. MEDIA

Music by: Christian De Gré Cárdenas Libretto by: Joseph Reese Anderson & Christian De Gré Cárdenas Conceived by : Christian De Gré Cárdenas & Joseph Reese Anderson with   Sarah Sanders & Elias "UVA" Díaz Duration:  48 mins Commissioned by:   Maryland Opera Studio , University of Maryland, College Park, MD, 2023 Premiere:   Maryland Opera Studio , 2024 Thanks to generous support/showcase opportunities, at and by: The Public Theater  The Mexican Cultural Institute of New York Yaddo Colony Broadway's 54 Below SPACE on Ryder The National Opera Center The Advanced BMI Musical Theater Workshop Mind The Art Entertainment Alkimia Orgullo! is a mythical exploration of 7 legends surrounding the rise and fall of infamous Mexican President Antonio de Padua María Severino López de Santa Anna y Pérez de Lebrón and his wild gum popping adventures defending against American "Manifest Destiny" and their seafaring, dessert raiding, lava walking imperialist forces at the height of the 1846-1848 invasion of Mexico. A part of the award winning 7 Deadly Sins Cycle. FORCES Singers: Solomon (Narrator), a black American soldier from New Orleans who stayed in Veracruz after the American invasion claims Santa Anna's government - Tenor Ximena (Narrator), a Korean immigrant raised in Yucatan who moves to Veracruz to seek support for the Guerra de las Castes (The Mayan revolution) - Soprano John O'Riley (Narrator), an Irish Catholic immigrant in California who defects from the US army and joins the Mexican Army under Santa Anna - Baritone Antonio , our protagonist "Santa Anna," born in Veracruz, we see him in three stages of his life, his early glory as "Napoleon of the West," his fight with Manifest Destiny, and his lonely demise in infamy - Tenor María Inés de la Paz García , his wife, who grudgingly cared for him by bribing peasants to sing his glory by his window on his deathbed - Soprano Le Limbe , his "limb," an elusive companion on his many adventures - Mezzo-soprano Manifesto , his “demons,” President James K Polk/Robert E Lee/Winfield Scott/America. A personification of his nemeses, manifest destiny, they who shattered his pride and legacy - Bass Pueblo , the “people,” his “people," a manifestation of his pride, plays multiple characters in his life, from his lieutenants, to his vice president, to a bartender, to his nurse, to the voice of the people, etc... - Soprano Orchestra: (Variations Available) Oscura- Piano Enchanced- Flute Bass Clarinet Electric Violin Electric Cello Piano/Accordion Harp Acoustic Guitar Acoustic Bass Latin Percussion Project Statement The sun rises over a circus camp in Veracruz, Mexico, 2048. Circus performers are working to set up for a "production" when they stumble upon a buried leg. They trace the origins of this leg, Le Limbe, to Santa Anna and the North American invasion of Mexico two hundred years ago in the 1840’s. They argue over the impact that Su Alteza Serenísima, Napoleon of the West, had over the outcome of the war and their ancestors’ futures. In the center ring of the circus, one of the ensemble members has assumed the role of Santa Anna. The chorus introduces him, telling the story of his lofty triumphs before the infamous invasion takes place. They sing of how he became the hero of Tampico, the Alamo and the Rio Grande Republic, and the War of Independence. They detail the loss of his leg in the Pastry War, and joke about a massive funeral he held for his severed appendage. The war begins. Manifesto and Pueblo, physical manifestations of Manifest Destiny and the victims of war respectively, lead us through a retelling of the invasion and the beginnings of the Mexican response. We learn how Solomon, Ximena, and John O’Riley, immigrants in both camps, came to Mexico. Santa Anna is exiled to Cuba. Together he and Manifesto share a duet as they consider the nature of destiny and their role in making their destinies come to pass. The American Navy agrees to grant Santa Anna safe passage back to Mexico from Cuba, if he relinquishes Texas. He betrays them. The war effort fails and the treaty of Guadalupe Hidalgo is signed, granting half of Mexico to the invading forces.  On his deathbed, Santa Anna and his wife Maria share an intimate moment of reflection. He speaks in grand delusion, while she only exacerbates his fantasy with the paid mourners she has placed outside of their home to fan his ego through the window. Le Limbe floats in and out of the room, challenging Santa Anna with what could have been. He dies only after a heartfelt declaration that he did all he could, and he had nothing left to give. The circus is ready for their evening performance. The tight ropes are taut, the lions sufficiently antagonized, and the clowns have donned their regal ruffles and noble noses. The sun begins to set as the entire company shares a 200 year old dream with Santa Anna, that of a green green moon, La Luna Verde, over a Mexican empire, one that could have been, but never was, could it ever be? "Orgullo!" is Vol. VII, "Pride," of Mind The Art Entertainment's award-winning "Twisted Operettas;" and Vol. I of the interdisciplinary 7-part exploration of the American Invasion of Mexico "1848" by Christian De Gré Cárdenas, Joseph Reese Anderson, Elias "Uva" Diaz & Sarah Sanders. MEDIA

Pietà  was composed to pair with Puccini's Suor Angelica Music by: Jake Landau Libretto by: Jake Landau and Andrea DelGiudice Duration: 1 hr 15 mins Commissioned: Landau's Composer-in-Residency Premiered: The Narnia Festival, 2021 American Premiere: Oklahoma City, OK, 2023 Chamber Version available Against the dark, sinful city of 18th-century Venice, the Ospedale della Pietà (a real historical institution) glows with hope, humor, and music. The Pietà is an orphanage that takes girls off the street and trains them to sing and play instruments, forming one of Europe’s most elite orchestras of the day. Daughters of the Pietà ( figlie ) always perform from behind an impenetrable lattice, hidden from their audiences for propriety’s sake. Though they are cared for there, the figlie are kept under strict lock and key. Outside the walls, the institution’s wealthy padroni , Ugo and Editta, have raised teenage Giorgio as their adopted grandson. When Giorgio falls in love with a figlia named Genovieffa and takes her home to meet his grandparents, long-repressed family secrets rush to the surface. Editta, revealed to be a former figlia who will eventually become Suor Angelica's La Zia Principessa, sees in Genovieffa a chance to fight her way out from years of shame over what she once did to her young niece Angelica—Giorgio’s mother. But will Editta be able to face down the truth of her trauma and have mercy on herself, even as the past begins to repeat itself? FORCES Singers: Editta ; a princess and a former singer of the Pietà - Contralto (La Zia Principessa in Suor Angelica) Genovieffa Lyrica ; a singer of the Pietà - Soprano (Genovieffa in Suor Angelica) Fia , a ragamuffin, friend of Giorgio’s - Musical theater belter Odele ; Violista, a violist of the Pietà - Violist /Actor La Direttrice ; Headmistress of the Pietà - Soprano Giorgio ; grandson of Ugo and Editta - Tenor Ugo ; Il Padrone of the Pietà, husband of Editta - Baritone Chorus of Figlie, “daughters” of the Pietà: Chiara Lyrica, a singer of the Pietà - Soprano 1 Francesca Flautista, a flautist of the Pietà - Soprano 2 Dulce Arpista, a harpist of the Pietà - Alto 1 Rosanella Violinista, a violinist of the Pietà - Alto 2 Orchestra: 2 Flutes 2 Oboes 1 English Horn 2 Clarinets in B-flat 1 Bass clarinet 2 Bassoons 4 Horns in F 3 Trumpets in C 3 Trombones 1 Bass trombone 1 Timpanist 2 Percussionists 2 Keyboardists Harp Strings Project Statement A large part of Andrea DelGiudice's thesis as a director is to devictimize old portrayals of female characters in opera and present them as fully rounded people. As a composer, it's my honor to write music that allows these characters to express the full complexity of their humanity, integrating contemporary musical theater techniques (such as belting) into traditional operatic singing. The rise of agency for female characters in opera correlates with the gradual lowering of their average voice types over time, the chest voice allowing their words to be better heard, their stories understood. This is why the soprano is standard in opera where in more contemporary musical theater, it’s the belter. But in general for me, it’s all about valuing artists to the full extent of their extraordinary talents, rather than requesting anyone change what they are so skilled at, and embracing the power of innovatively diverse performance practices.” MEDIA

Music by: Ricky Ian Gordon Libretto by: William F. Hoffman Based p the play by: Sylvia Regan Duration: 150 mins Originally Commissioned and premiered: Cincinnati Opera, 2015 Based on Sylvia Regan’s play and on parallels with the composer’s own family, Morning Star is a deeply touching character piece about life among Jewish immigrants in New York City’s Lower East Side, where the family must learn how to adapt to the country’s ever-changing landscape. Hope blossoms and is dashed as the Triangle Shirtwaist Factory fire of 1911, World War I, and the Great Depression lead to death, divorce, and despair. Through it all, William M. Hoffman’s colorful libretto and Ricky Ian Gordon’s engaging score maintain charming threads of love and optimism, comedy amid tragedy, and luscious sonorities featuring a large cast of singers – in English, Yiddish, Italian, and Haitian French. . FORCES Singers: 4 Sopranos 3 Mezzo-sopranos 3 Tenors, 2 Baritones 1 Bass-Baritone 1 Boy (13 yrs. old, 1 spoken role) Optional Chorus Orchestra: 2(2 dbl. Picc.) 1(dbl. E.H.) 3(3=B.Cl., dbl. Cl.) - 2 2 2(B.Tbn.) 0; Timp. 2Perc. Pno/Cel. Str. Reviews Gordon’s score is keenly attentive to the text. . . .His vocal writing is fluid and natural, and there is a bright, fresh sound to all the music. - Eric C. Simpson , New York Classical Review The music sits comfortably on Hoffman’s sharply observed libretto, slyly peppered with Yiddishisms, Sondheimesque in its witty use of language, yet entirely Hoffman’s own in its ability to evoke the rhythms of working-class life and death. -John von Rhein , Chicago Tribune MEDIA

"birdshit: a human concerto with string & void" by K(c)abil, 2048 Music by: Christian De Gré Cárdenas Luna poética by: Joseph Reese Anderson Concerto constructed for : Bethany Geraghty with Sam Quiggins, 2023 Duration:  60 mins Workshopped: The National Opera Center & The New York City Fringe Winner of the 'Best Play with Music," The New York City Fringe, 2024 Luna’s daughter unapologetically reorchestrates her glorious phases as she approaches her final dawn. Tame. Offensive. Offensively tamed yet tamed offensively. From the award winning creators of the Acedia trilogy and Twisted Operettas comes a new human concerto set two years and two days before the Apocalypse. Oh Lucine, she was as cruel as she was kind. FORCES CAST (1) LUCINE (A HUMAN) b.1945, NY – d. 2018, NY who also plays Her mother, Luna Her daughter, Solana Her husband, Elio Her lover, Rahuil Her grandmother, the ghost of Gloria & her attendant, Tuba The piece makes reference to Lucine's family members and those close to her. For reference: Luna (1905-2020, Baltimore) is Lucine's undying, force to be reckoned with, complex cannonball fire of a mother. Jack (1907-1975, Williamsburg) was Luna's lover, Lucine only met her alcoholic chronic gambling perfectionist "father" once, briefly, at the age of 15 when he gave her a handwritten book of moon poetry entitled “Luna.” Gloria (1877-1944, Virginia) was Jack's mother. Lucine never met her southern ball, life of the party, neo confederate grandmother, though she appears in her dreams. Elio (1937-2018, Figueres) is Lucine's handsome infuriating quasi European husband of 40 years. Solana Sky (1977-2048(?), Dublin) and Maris Arroyo (1981-2020, San Miguel de Allende) are Lucine and Elio's biological children. Terran Clay (1979/86(a)-2020, Montreal) and Blaise Agni (1982/87(a)-2020, New Orleans)  are their adopted children. They are all very complicated humans driven by their volatile elemental nature. Dr. Jake Feels (1969-2020, Sydney) is Solana's husband and an emerging psychoanalyst. Rahuil (1960-2022, San Miguel de Allende) and Carlos (1985-2048(?), Yucatan), whose assimilated names are Ralph and Carl, are groundskeepers at Lucine's cabin. Optimistic and broken. Tuba (1955-2035, “Upstate” New York)  is an occasional attendant to Lucine and her family. Practical and steely. Finnigan (?-?,?) is Lucine's companion of 5 years. She has disappeared. ORCHESTRA (1) STRING & VOID (A CELLO) Who plays a cello, the soundscape and emotional representation of Lucine's turmoil. (the piece should feel as if a full orchestra was needed but only a singular cellist arrived.) MEDIA

Music and Libretto by: Hector Armienta Duration: 100 mins Premiered: Western Stage Theater, 2008 Anyone who has ancestral roots from Mexico knows the legend of La Llorona/The Weeping Woman . This epic tale of love, betrayl, and vengance   has been told and retold throughout central America the United States. Some would say, she is the Mexican Medea. In this new musical drama, La Llorona/The Weeping Woman , composer and playwright Hector Armienta tells us how it all began: Mexico at the turn of the century. A young Xochil Indian girl fell desperately in love with a man of Spanish lineage, and the great Xochil river has never forgiven her. Twenty years later she is married, and now the river will take its revenge upon her. Her husband will betray her, she will go mad, and the river will torment her until she sacrifices her only child, Sara. She will forever weep. FORCES Singers: Maria/La Lloróna (Leading) - Mezzo Soprano; Early thirties, devoted wife, strong willed, and last of her kind (Xochil Indian) Sara (Leading) - Lyric Soprano; Late teens, adventurous, a bit rebellious, only daughter to Maria and Antonio Antonio (Supporting) - Tenor; Late forties, proud hacendádo (landowner),unhappily married to Maria Generál Rafael (Supporting) - Baritone; Retired, early sixties, descendant of the first conquistadors, arrogant and racist Carmela (Supporting) - Soprano; Early twenties, beautiful, manipulative, sly and daughter of General Rafael Shaman (Supporting) - Baritone; Ageless, lives in shadows, servant of the Xochil River. Serafina/Spirit Woman (Supporting) - Mezzo; Plays servant Ana/Spirit Woman (Solo bit) -Soprano; plays servant Francisca/Spirit Woman (Solo bit) - Soprano; plays servant OTHER: Don José & Servant Juanito Played by Shaman (a trickster in disguise); Chorus/Dancers (six to ten) Xochil Indians, servants, musicians, towns folk (optional) Orchestra: Piano Flute Clarinet 1 in Bb Clarinet 2 in Bb (doubles on bass clarinet), Cello Project Statement La Llorona is part of a trilogy titled - Aguas Ancestrales.   The cuento of La Llorona is a story that speaks to so many of us in the Mexican and Mexican American community. For some, it is a story that we grew up with as children. While popular media has exploited the story and focused on the horror element, her story is more than that. It is about her tragedy. It is about what would compel a mother to kill and drown her children. I also wanted to explore the question of fate and whether or not we are truly in control of that. Part of the development of this story took me to México in 2004  to explore the many versions of this legend. After that trip, I decide to incorporate some of the Mayan mythology and set the work in the late 19th century.  My hope is that those that come to see my tale of La Llorona, will come away with a deeper understanding of who she is and the power that her story holds on all of us. MEDIA

Youth Opera in 1 Act Music by: Kamala Sankaram Libretto by: Kelley Rourke Duration: 45 mins Originally Commissioned: Glimmerglass Festival 2022 Kamala Sankaram and Kelley Rourke’s retelling of The Jungle Book finally takes the stage with a new look at the story of Mowgli, a threatened human cub who seeks refuge from dangers of the jungle with a pack of wolves. Should the pack accept Mowgli, even if it means making an enemy of Shere Khan, the lawless tiger? A story of compassion, justice and forgiveness, this operatic version of The Jungle Book draws from Eastern and Western classical music traditions, featuring the Glimmerglass Youth Chorus and members of the Young Artists Program, with piano accompaniment. FORCES Singers: Adult Roles- Raksha ; matriarch of the wolf pack - Mezzo-soprano Baloo ; bear, tutor to young wolves - Baritone Bagheera ; cosmopolitan panther, friend of the pack - Soprano/Dancer Youth Roles- NOTE: Although youth roles are assigned specific pronouns for readability, all can be cast as either male or female; pronouns can be re-assigned accordingly. Female Mowgli highly preferred. Mowgli ; human cub - Treble Shere Khan ; tiger - at least two mature male voices Hyena ; can double as member of wolf pack, Shere Khan's sidekick - Soprano Wolf Pack, which includes: Little Brother (or Sister ) Rebel Leader Rebel Cubs Animals, which include: Monkey Snake Tropical Bird Twittering bird (voiced by bird whistle) Peacock Orchestra: Piano/Harmonium Project Statement I’m very excited to share this music and story with you, but before you enter the jungle, I’d like to tell you a little bit about the kind of music you’ll be hearing, because it may be new for you. The music in this opera is based on Indian classical music. India has a long and rich musical tradition, reaching all the way back to before opera was even invented! Indian classical music (called  Hindustani music in Northern India and  Carnatic music in Southern India) uses a system of notes called  ragas . The word “raga” can be translated as “colors,” and that’s really what Indian classical music is all about — using the notes of the raga to create a specific color or mood. The raga system is very detailed — to really know a raga, you have to know which notes are most important, how the notes can be played in relationship to each other, how to ornament the note in order to show its beauty, and so on. This opera uses common Hindustani ragas as a starting point and pairs them with operatic singing and harmonies. You may sometimes hear the choir singing the words “Sa Ri Ga Ma Pa Dha Ni Sa.” These are the names of the notes in the raga. Do you know the song that begins “Doe, a deer?” “Sa Ri Ga” is just like “Do Re Mi!” The music also takes inspiration from the Indian approach to rhythm, which is called tala. Indian rhythms are clicliccl and us instruments like the  tabla  and the  ghatam , both of which you can hear in the recording. The tabla are actually two drums, one pitched high, and one very deep. The ghatam is a clay pot that you play like a drum. You may also hear everyone clapping the rhythms, something found in Indian and Pakistani folk music. MEDIA

Music by: Christian De Gré Cárdenas Story by: Serrana Gay Libretto by: Joseph Reese Anderson Duration: 80 mins Workshopped : the National Opera Center in NYC Fatty Fatty No Friends original contemporary dark operetta is about a young boy who is constantly teased for being overweight, is pushed too far, and decides to take horrifically delicious revenge on his bullies. A cautionary fable in the vein of Grimm’s Fairy Tales about the impact of bullying on both the tormented and the tormentor. FORCES Singers: Tommy ; chubby, tall, commanding presence, often teased, innocent, wide-eyed, sensitive, emotional; the boy who sits alone on the bus - Tenor Emily ; caring, studious, eager to fit in, bit of an odd duck, insecure, kind; the quirky girl who hasn't yet found her place in the world - Soprano Feast, a voice in Tommy's head ; a demonic manifestation of Tommy's hidden desires, darkness and rage. All consuming - Bass-baritone Famine, a voice in Tommy's head ; a demonic manifestation of Tommy's depression, isolation and fear. All depriving - Soprano Bobby ; valiant, fun, manipulative, eager, romantic; the charming guy who wants to impress - Baritenor Sally ; self-adoring, villainous, commanding, cunning, adored, imposing, deliciously mean; the popular girl with glossy lips who rules with an iron fist - Mezzo-soprano Halle ; sneaky, menacing, athletic, imposing; the girl who looks like the perfect student but is secretly torturing cats - Mezzo-soprano Mark ; weird, confident, abrasive, class clown, funny; the kid who proudly eats worms in the school yard - Tenor Penny ; short, excitable, fast, fierce, rides a red wagon that her twin brother Lenny pulls; the girl who pulls the fire alarm to watch a panic - Coloratura Soprano Lenny ; tall, slow, jock, wears a kid leash that his twin sister Penny controls; the giant slumbering kid who hit puberty too soon - Bass Orchestra: Piano Horn Bass Clarinet Violoncello Percussion Project Statement This modern operetta, created by composer Christian De Gré, lyricist Joseph Reese Anderson, and based on the original short story by author Serrana Gay, is a searing look at the damaging effects of bullying and the desperate struggle for popularity. It provides a grotesque depiction of the manner in which an injured soul can be pushed over the edge. As the story starts, we are introduced to Tommy as he wakes up at home and laments not only his significant size but also the impending school day. His ode to elastic provides some short-lived levity in an otherwise dark tale. If we are honest with ourselves, the cruelty of children striving for acceptance is something we all remember well, regardless of whether we were the target of such derision ourselves or not. Tommy’s tale is no exception, and as Tommy boards the school bus, we are quickly introduced to Tommy’s alternate name: Fatty. In fact, not one of the students with whom Tommy interacts knows his real name, with the exception of Emily, played by the adorable and capable Charly Dannis. Tommy’s self-image and self-confidence are ground into the dirt by the thoroughly imposing and authoritative Sally (Mia Thomas), whose lackeys echo her every sentiment. It seems that Tommy may finally break free from his crippling depression when Emily starts to genuinely befriend him, but alas, his skill as an artist actually spurs on Sally’s jealousy, causing her to sabotage the one friendship Tommy could have had. Sally plays upon Emily and Bobby’s insecurities, and Tommy is humiliated beyond what his fragile psyche can bear. From here, the story grows more grotesque (NOTE: this show is NOT recommended for young children!), as well as more metaphorical. There are child-shaped cookies, ghastly ghostly figures, suicidal implications, bright lights which would most likely be found at the end of a tunnel, and the ultimate lesson that one shouldn’t eat a bully, or anyone for that matter. The orchestrations are complex and beautiful, and the lyrics, though sometimes repetitive, drive the message home aptly. Overall, Fatty is an operetta with tremendous heart, haunting melodies, engaging characters, gut-wrenching emotions, and valuable lessons, which should not be missed. MEDIA

Music by: Jake Landau Libretto by: Emily Garber Conceived by : Andrea DelGiudice & Aeterna  was composed to pair with Purcell's Dido & Aeneas Duration: Dido & Aeneas & Aeterna : 1 hr 45 mins; & Aeterna is under 1 hr Commissioned and premiered: by The Narnia Festival, 2022 After her mother’s death and father’s abandonment, Aeterna has been raised as Carthage’s new queen by the city’s Goddess protector, Juno. When news comes of Aeneas having finally founded Rome—the city he chose over Dido—Aeterna, guided by Juno, sets out to avenge her mother and change the fate of her home. For if she kills Aeneas, then Rome will never rise to destroy Carthage. But Aeterna has spent a lifetime yearning to connect with the parents she has never known, and trying to understand her own place in a world of gods and destiny. As she nears Aeneas on her long, dangerous journey, she must choose: either forgive her father, or kill him. This work grapples with powerful themes of parenthood, legacy, and the costs of becoming “great.” FORCES Singers: From & Aeterna : Juno , goddess of women, protector of Carthage - Soprano Aeterna , daughter of Dido and Aeneas, the young queen of Carthage - Mezzo-soprano/Belter Camilla , warrior queen of the Latins - Contralto From Dido & Aeneas : The Sorceress , scorned by Dido, now seeking revenge - Soprano Belinda , Dido’s handmaiden and confidant - Soprano or Mezzo-soprano Dido , Queen of Carthage - Soprano or Mezzo-soprano Aeneas , former Trojan soldier shipwrecked on Carthage - Baritone Plus SATB CHORUS including Sailors, Witches, Spirits, Carthaginians, and Aeneas’s Guards (fighting roles, non-singing) Orchestra: Violin I Violin II Viola Cello Contrabass Percussion (one player) Harpsichord and piano (one player) Basso Continuo Project Statement The story of Dido and Aeneas, first penned by the Roman poet Virgil, is one of the most iconic tragic love stories in the Western canon. A millennium and a half later, William Henry Purcell and Nahum Tate’s adaptation of the story would become one of the most famous English-language operas ever composed. Both are considered timeless, and yet both speak to very specific political circumstances of their times. Virgil’s Aeneid was written to legitimize the rule of Augustus, Rome’s first Emperor, and help reassure the public of the new regime’s stability, history, and strength. Tate’s story, premiered during the new regime of William and Mary, likewise legitimizes their reign but builds on Virgil’s tale by adding an evil sorceress to demonstrate how easily foreign mysticism (in this case, the Catholic Church) could destroy them. Both use themes of destiny and greatness to propel Aeneas as the embodiment of this “greatness,” and women to represent everything holding him back. This opera seeks to re-examine those themes by shifting the perspective from that of Aeneas and his men to the women they leave behind, and explore the other side of that history. This shift begins with Dido. Instead of succumbing to grief, she dies in childbirth, leaving behind her daughter with Aeneas, Aeterna. Sixteen years later, Aeterna is coming into her own power as a ruler and her own great destiny. She has been raised as the queen of Carthage by the Goddess Juno, and only she can save it, for as Aeneas’s daughter, she is the only god or mortal able to get close enough to kill him and prevent Rome’s rise to power. But she also struggles to understand her legacy without her parents, and yearns to connect with Aeneas, despite knowing of his abandonment of her mother. Over her journey to Aeneas (not knowing if she will defy Juno’s wishes, or fulfill them), Aeterna encounters many of the women Aeneas fought or loved. Each encounter explores different aspects of the costs of uplifting “great men” and challenges Aeterna’s relationship with Juno, who raised her from infancy. This work strives to breathe life into female characters who have spent too long as either villains or victims. MEDIA

Music by: Ricky Ian Gordon Libretto by: Michael Korie Based on the novel by: John Steinbeck Duration: 190 mins (original version); 170 min (reduced version) Original three-act opera commissioned by Minnesota Opera and Utah Opera, two-act opera commissioned by Opera Theatre of Saint Louis John Steinbeck's classic tale of the Joad family's odyssey from drought-stricken Oklahoma to the illusory "green pastures" of southern California is one of the great stories of survival. Premiered by the Minnesota Opera in 2007 and performed since then by the Utah Opera, PittsburghOpera, Opera Theatre of Saint Louis, Detroit Opera, numerous music schools, and in concert at Carnegie Hall with Jane Fonda narrating, The Grapes of Wrath is an American epic now available in four configurations to match the size of any performing ensemble. Masterfully adapted by librettist Michael Korie from Steinbeck's Pulitzer prize-winning 1939 novel, The Grapes of Wrath was named “the great American opera” by Musical America. FORCES Singers: 13 principal singing roles 1 Soprano 2 Mezzo-Sopranos 3 Tenors 4 Baritones 1 Bass- baritone 1 Boy Soprano 1 Girl Soprano 5 featured singers (doubling various roles): Soprano, Mezzo-Soprano, Tenor, Baritone, Bass Chorus: SATB (div.) Orchestra: Full-Length Instrumentation: 2(2nd dbl. Picc.) 2(2nd db. E.H.) 2(2nd dbl. Eb Cl., B.Cl .) 2(2nd dbl. Cbsn.) A.Sax. T.Sax - 4 3 3(B.Tbn.) 1; Timp. Perc. Synth. Hp. Harmonica. Gtr. Str. Abridged Versions Instrumentation: 2(2nd dbl. Picc.) 2(2nd dbl. E.H.) 2(1st dbl. EbCl.; 2nd dbl. B.Cl .) 2(2nd dbl. Cbsn.) A.Sax.(dbl. S.Sax, Bar.Sax.) - 2 2 3(B.Tbn.) 0; Timp. 2Perc. Hp. Pno.(dbl. Cel.) Guit.(dbl. Banjo) Str. Reviews: Gordon, who first made his name in the theatre and as a composer of Broadway-style songs, fills his score with beautifully turned genre pieces, often harking back to American popular music of the twenties and thirties: Gershwinesque song-and-dance numbers, a few sweetly soaring love songs in the manner of Jerome Kern, banjo-twanging ballads, saxed-up jazz choruses, even a barbershop quartet. You couldn’t ask for a more comfortably appointed evening of vintage musical Americana. Yet, with a slyness worthy of Weill, Gordon wields his hummable tunes to critical effect. -Alex Ross, The New Yorker MEDIA

A Bilingual Children's Opera Music and libretto by: Héctor Armienta Duration: 40 mins Commissioned by: The Music Theater Collectiv e , 1999 Produced by: Forth Worth Opera, Lyric Opera of Kansas City, Tulsa Opera, Ópera Cultura, and others Meet Scrawny, a young coyote on an adventure learning to read – something no decent coyote would do – and his cousin, Loco, aiming to set him on the right path . Guiding us through their misadventures are the mischievous rabbits Chiquita and Banana, having their own fun with Loco and his lack of learning. FORCES Singers: Chiquita ; sassy, fun, and mischievous. Her favorite past time is playing tricks on others - Soprano Banana ; she’s like her sister Chiquita and is always her accomplice - Mezzo-soprano Scrawny ; a young coyote who is eager to learn to read and write, unlike other coyotes - Tenor Loco ; Scrawny’s older cousin, a coyote who has no interest in being educated and tries to persuade his younger cousin to follow in his footsteps - Baritone Orchestration: Piano Project Statement Hector Armienta was inspired by a book he read called, “The Coyote and Rabbit”. He took a suggestion given to him by a colleague - she thought it would be a great idea to have the sort of characters you would find in an old Warner Brothers cartoon. Therefore, he based the villain on a coyote character from a Bugs Bunny cartoon. The Chiquita— Banana Sisters are the Mexican version of Chip and Dale. Scrawny is your typical hero. Book for Sale MEDIA