COR
Operas
A worker ruminates on the terrifying power of flight as he loads bags. Three passengers board and discover they’re sitting beside each other. During the pre-departure safety demonstration, a flight attendant longs for an escape from her mundane life and job. The three passengers think of their own isolation and lo...
Composer: Brian Current
Librettist: Anton Piatigorsky
A ‘Hitchcock-style thriller’ for baritone and soprano, Nigredo Hotel is “the story of a neurosurgeon, a man of science, who has lost his soul. One night he thinks he has hit a child on the road and hides out in a decrepit, Hitchcockian motel run by a monstrous concierge called Sophie. The terrifying crone — his anima — locks him into his room an...
Composer: Nic Gotham
Librettist: Ann-Marie MacDonald
Content warning: death, murder, violence
This opera explores the interior realm of a woman’s response to a crisis. The Laurels plays with audience assumptions and expectations; it is well into the piece before we realize the stranger is not the person he appears to be. While it is important that Laurel’s understanding of the Stranger is consi...
This opera explores the interior realm of a woman’s response to a crisis. The Laurels plays with audience assumptions and expectations; it is well into the piece before we realize the stranger is not the person he appears to be. While it is important that Laurel’s understanding of the Stranger is consi...
Composer: Jeffrey Ryan
Librettist: Michael Lewis MacLennan
Content warning: birth
A nuclear family adrift in the atomic age. Since Prometheus stole fire from the gods, we have flirted with the dangerous beauty of science. In this cartoon fable, a father protects his family at any cost.
Thomas and Claire fall madly in love at a fundraising party. Thomas has decided to “find a wife, get a life,” whi...
A nuclear family adrift in the atomic age. Since Prometheus stole fire from the gods, we have flirted with the dangerous beauty of science. In this cartoon fable, a father protects his family at any cost.
Thomas and Claire fall madly in love at a fundraising party. Thomas has decided to “find a wife, get a life,” whi...
Composer: Juliet Palmer
Librettist: Julie Salverson
“Hate your stupid earrings, hate your ugly shoes.” Stephanie is getting ready to go out on a date, but she begins to unravel when she checks herself in the mirror. The voices she hears in her head are variations of her own critical voice. She sees herself the way she imagines her date will see her. Nothing is right – everything is wrong. It is a...
Composer: Rene Orth
Librettist: Colleen Murphy
COR
Excerpts
The pilot watches Hope from afar. They meet and become lovers.
In a wooded park at night, it seems like Laurel is running for her life- but it turns out she is running from the memory of the murder she committed that night.
Laurel stabs the Stranger, killing him. As his body slides to the ground to rest at her feet, she begins to feel a new sense of freedom, not realising that it is at the cost of her conscience and her humanity. The aria should be performed with an improvisational blues quality over the regular pulse of the accompaniment, to convey both this se...
A young woman, Laurel, runs through a dark forest, filled with anxiety and haunted by disturbing memories.
Hope introduces the pilot to her family. He leaves, and Hope argues with her parents about going with him.
Hope grows up quickly, climbing out of her crib as a woman of twenty-one. She sings to herself, wanting to leave the house.
Thomas has brought Lise to become Hope's tutor, but Hope has grown up and wants to leave the house. Lise warns her not to give her love away to just anyone.
Thomas and Lise sing of feeling the burning of two suns on their faces.
Thomas and Claire meet at a party and fall in love.
Ray and Sophie sing an intimate duet as they reconnect and reconcile.
Sophie, the manifestation of Ray's soul sings an extended aria explaining how she has been locked away from Ray since he was a child.
Sophie, the manifestation of Ray's soul sings an extended aria explaining how she has been locked away from Ray since he was a child.
Ray frantically tries to calm himself by reciting scientific jargon, while a being claiming to be his own child self tries to open the door.
Stephanie is getting ready to go out on a date, but she begins to unravel when she checks herself in the mirror. The voices she hears in her head are variations of her own critical voice. She sees herself the way she imagines her date will see her.
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