Dog Days (opera)
Dog Days is an opera by David T. Little, to a libretto by Royce Vavrek after the short story by Judy Budnitz.[1]
Performance history
Dog Days was produced by Peak Performances @Montclair State (New Jersey) in association with Beth Morrison Projects, and had its world premiere run from September 29 to October 7, 2012. Robert Woodruff directed the production that starred Lauren Worsham and performance artist John Kelly. Scenic and video design was created by Jim Findlay, costume design by Vita Tzykun, and sound design by Matt Frey. Alan Pierson was the production's Musical Director and conductor, with new music ensemble Newspeak serving as the on-stage band.[2]
Scenes from Dog Days premiered at Zankel Hall at Carnegie Hall on May 9, 2009, as part of the Dawn Upshaw and Osvaldo Golijov Young Artists Concert.[3] Three arias from the opera-in-progress were subsequently presented by American Opera Projects[4] at Galapagos Arts Space, including the world premiere of Mirror, Mirror performed by soprano Lauren Worsham.[5]
In 2015 the work was staged at the Fort Worth Opera with the original cast from the world premiere in Montclair.[6] The work saw its New York City premiere at the Skirball Center for the Performing Arts during the 2016 Prototype Festival.[7]
Roles
| Role | Voice type | Premiere cast, September 29, 2012 (Conductor: Alan Pierson) |
|---|---|---|
| Lisa | soprano | Lauren Worsham |
| Father (Howard) | baritone | James Bobick |
| Mother | soprano | Marnie Breckenridge |
| Elliot | tenor | Michael Marcotte |
| Pat | tenor | Peter Tantsits |
| Captain | mezzo-soprano | Cherry Duke |
| Prince | non-sung role | John Kelly |
Synopsis
The opera follows an American family in the near future who slowly starve as war rages. One day, a man in a dog suit arrives on their property howling for scraps.
Reception
"It might all amount to mere provocation had Mr. Little and Mr. Vavrek not delivered a taut, nuanced work that clawed beneath the surface of every situation. Profanities pop like a string of firecrackers in Mr. Vavrek's libretto, yet its poetry is indelible and affecting. Mr. Little responded with music of emotional insight and charm, suggesting pop-music modes at times without ever resorting to pastiche. Harsh, angular lines and abrasive textures cede to wistful melodies and touches of hymnody; unorthodox instrumental techniques enhance mood without distracting." (Steve Smith, The New York Times)[8]
"This gripping two-hour opera [...] wastes no time: A taut libretto and varied, original music deliver its grim story like a punch in the stomach." (Heidi Waleson, The Wall Street Journal)[9]
"The work seamlessly melds emerging and veteran artists with distinctive viewpoints and serious craft. Little's rhythmically driven score is stylistically diverse but cogent, fusing impeccable classical vocal writing, heavy metal, and musical theater. Royce Vavrek's libretto shifts from coarse, plainspoken banter to poetic musings." (Ronni Reich, The Star-Ledger, New Jersey)[10]
References
- ↑ http://www.carnegiehall.org/article/box_office/events/evt_12371.html?selecteddate=05092009
- ↑ http://www.peakperfs.org/performances/Dog_Days
- ↑ https://www.newamsterdamrecords.com/#Event/David_T_Little_scene_from_Dog_Days
- ↑ Opera Grows In Brooklyn Returns To Galapagos Art Center 7/17
- ↑ https://www.newamsterdamrecords.com/#Event/American_Opera_Projects_Music_of_Little_and_Weisman/
- ↑ Willard Spiegelman (April 26, 2015). "Dog Days: Fort Worth". Opera News.
- ↑ "High Notes: Raw, Powerful New Operas Tackle Human Trafficking, Sexual Deviancy" by James Jorden, The New York Observer, 14 January 2016
- ↑ http://www.nytimes.com/2012/10/04/arts/music/dog-days-new-opera-at-peak-performances-in-montclair.html
- ↑ "A Future Red in Tooth and Claw", review by Heidi Waleson, The Wall Street Journal, 2 October 2012
- ↑ Dog Days: Opera's savage side", The Star-Ledger, 2 October 2012