#kamala sankaram

[sethsings]

"Happy opening to the cast, creatives, and team of 'Five Ways to Die,' the new opera from the Experiments in Opera Writers Room!

"Tonight, tomorrow, and Saturday at 7. Sunday at 1:30

"The run is almost sold out, but you can still get tickets for Sunday's matinee here (at HERE Arts Center):

" https://ci.ovationtix.com/219/production/1203359

"Composed by DelShawn Taylor, Jason Cady, Seong Ae Kim, and Jesse Gelaznik

"Words by Joanie Brittingham, Jason Cady, Marcella Murray, and Brittany Hewitt

"Cast: Alize Francheska Rozsnyai Rose Hegele Melisa Bonetti Luna Lisa Neher Kannan Vasudevan Seth Gilman

"Ensemble Eileen Mack James Moore Tristan Kastin-Krause Joe Bergen Matt Evans

"Conductor: Dmitriy Glivinskiy Stage Direction: Shannon Sindelar Scenic Design: Efren Delgadillo Costume Design: Normandy Sherwood Lighting Design: Christina Tang Technical Director: Sarah Schetter Stage Manager: Max Mooney Sound Engineer: Nathaniel Butler"

h/t Kamala Sankaram

[indiespacesite]

On the benefits of sharing your work

“Pushing the boundaries of what opera can be.” Composer and performer Kamala Sankaram explains how sci-fi, cognitive psychology, and collaboration shape her work.

[thatswhatshedoes]

On the benefits of sharing your work

“Pushing the boundaries of what opera can be.” Composer and performer Kamala Sankaram explains how sci-fi, cognitive psychology, and collaboration shape her work. – Interview with Loré Yessuff on The Creative Independent

[antonio-velardo]

Antonio Velardo shares: Excerpt: 'Trillium J' by Tri-Centric Foundation

By Tri-Centric Foundation Featuring the soprano Kamala Sankaram. Published: August 2, 2023 at 10:26AM from NYT Arts https://ift.tt/n5SawIE via IFTTT

[jgthirlwell]

06.20.17 On the eve of Petr Kotik’s 75th birthday, S.E.M. ensemble staged a recital at their HQ on Willow Place in Brooklyn Heights. The evening began with Kotik’s delicate ‘Etude 7 for Oboe’ (1962) for solo oboe played by Jacqueline Leclair. Robert Boston then brilliantly performed Philip Glass’ dizzying ‘Two Pages’ (1968) for organ. This was followed by excellent performances of Kotik’s vocal pieces ‘There is Singularly Nothing’ (1972) and ‘Many Many Women’ (1975-78) [excerpt] featuring Roberta Michel and Petr Kotik on flute, William Lang and James Roger on trombones with the intertwining voices of sopranos Kamala Sankaram and Vivian Yau with baritones Jacob Ingbar and Jeffrey Gavett.

[burlveneer-music]

Anthony Braxton - GTM (Syntax) 2017 - what, Anthony Braxton’s on Bandcamp?! Here’s twelve hours of avant-garde vocal works!

A twelve CD box set of Anthony Braxton’s complete Syntactical Ghost Trance Music (SGTM) - the subset of Braxton’s revolutionary Ghost Trance Music compositional system written especially for the human voice. The recording also introduces the Tri-Centric Vocal Ensemble - a twelve member choir featuring some of the most exciting and accomplished singers in creative music. The recording is available digitally and in a limited edition 300-copy pressing, a deluxe 12-CD box set with a 32-page booklet with extensive liner notes by Braxton and production notes by co-producer and ensemble member Kyoko Kitamura. This is the most complete documentation to date of Braxton's Syntactical Ghost Trance Music System, recorded for the first time in its entirety in a sonically pristine studio setting. Each disc features a complete composition. While SGTM is one of the rare systems in which Braxton neither conducts or performs, the recording was made under the composer’s careful guidance. Calling it “the Rosetta Stone of my music systems”, Braxton describes Syntactical Ghost Trance Music as a “creative sonic experience” and “a structural networks of infinite paths and/or directions”. The composer has long been fascinated by the potential of the human voice, as evidenced by his massive ongoing Trillium opera cycle. However, SGTM eschews the narrative logics of the operas, instead offering intricate and rhythmically complex written lines with syllables, numbers and words, sometimes sounding like a string of activation codes, sometimes like an alternate language. The performers have an infinite number of real-time choices to make within each composition. From the pulse-driven first species to the graphically-enhanced accelerator class, SGTM and the Tri-Centric Vocal Ensemble demonstrate new possibilities for vocal choir music where composition meets improvisation, ensemble members become conductors, and the line between sounds and singing blur to form a sonic tapestry of voices unlike any other. All of the members of the ensemble have worked extensively with the composer in the past - from duo recordings and small ensembles to the recent recordings of Braxton’s operas Trillium E (Wallingford’s Polarity Gambit) and Trillium J (The Non-Unconfessionables) - so the performers are deeply fluent in Braxton’s unique performance practice and sound world. They also carry an extraordinary body of individual credits and associations, ranging from jazz and improvised music to opera and contemporary classical to popular music and singer-songwriting. The recording is dedicated to ensemble member Michael Douglas Jones, who sadly passed away in the time between this recording and the release. 

The Tri-Centric Vocal Ensemble: Roland Burks, Tomas Cruz, Lucy Dhegrae, Chris DiMeglio, Kristin Fung, Nick Hallett, Michael Douglas Jones, Kyoko Kitamura, Adam Matlock, Anne Rhodes, Kamala Sankaram, Elizabeth Saunders Recorded January 14th-16th and 21st-23rd, 2017 by Jon Rosenberg at Scholes Street Studio, Brooklyn, NY Recorded, mixed, and mastered by Jon Rosenberg Produced by Anthony Braxton Co-produced by Kyoko Kitamura Production assistance by Carl Testa and Taylor Ho Bynum for The Tri-Centric Foundation Graphic Design by Yesim Tosuner All composition by Anthony Braxton (Synthesis Music, BMI)

[speakerreetywadhwa]

WAPO Recommendation

Read online Recommended for you Your daily roundup from The Washington Post. From Deep Dives 22 for ’22: Composers and performers to watch this year How Carlos Simon, Kamala Sankaram, the Living Earth Show and 19 more artists are changing the classical landscape. Perspective ●  By Michael Andor Brodeur ●  Read more » From Going Global French adventurer, 75, dies attempting to row across the…

[sethshead]

Francisco Costa collaborating with Kamala Sankaram! Good to see he’s finally hit the big time.

[susiesicons]

Visiting The Last Stand: Leaning and Learning With The Trees

On a Saturday morning with my best friend, I visited The Last Stand in Prospect Park after eating bagels and talking about our different pessimistic and optimistic views on life and the world we live in. This was a perfect conversation as a precursor to going to see the exhibit, because we were then able to view the gorgeousness of nature that Kamala Sankaram was able to bring into Prospect Park for all onlookers to see for free. We heard, saw, and felt the world in its natural and current state, which is ever changing as long as the humans who inhabit the planet continue to live on as they are.

[sethsings]

The Last Blast of Anthony the Trumpeter Composer: Kamala Sankaram Seth Gilman, baritone; Christopher Berg, piano Recorded 2021

[jshatan]

‪@HotelElefant giving the world premiere performance of Kamala Sankaram’s The Tree (2019), a searing memorial for her sister. Even in pain her music is exquisitely crafted. ‬@shapeshifterlab #gowanus #brooklyn #contemporaryclassical #concerts #livemusic https://www.instagram.com/p/B4oJazJA2fV/?igshid=1unc030k7ohmh

[simondcox87]

Running from the Light—and the Snakes

An opera heroine’s conflict with her faith and family has dangerously high stakes.

Serpent-handling churches are, for obvious reasons, perpetually fascinating to those outside them. They’ve been the subject of books, documentaries, songs, photography exhibits, and a reality show.

But opera?

Indeed, Taking Up Serpents, a new hour-long opera commissioned by the Washington National Opera as part of the American Opera Initiative (AOI) Festival, had its world premiere this month at the Kennedy Center in Washington, DC. To its creators, the fringe religious practice was a more natural fit with the art form than you might expect (though they did choose not to have actual snakes onstage).

“This story is operatic in that the characters’ faith imbues the world with meaning that is larger than life,” explains composer Kamala Sankaram in her program notes. Additionally, the musical format allowed her to incorporate the shape note singing integral to the kind of charismatic church featured in the opera, and rockabilly-infused tunes inspired by the Appalachian region around it. Certain scenes even feature people singing in tongues.

The rough and jagged sounds of this music help shape the gritty story of Kayla (played in this premiere by Alexandria Shiner), a young woman who broke away from her father’s charismatic church in Birmingham, Alabama, only to find herself stuck in a dead-end retail job a couple of hundred miles south. Her escape hasn’t done much for her, emotionally or spiritually. She’s longing for some kind of comfort and certainty, “tired of runnin’ from the light.”

But an unexpected call from home is a painful reminder that the faith Kayla left was anything but safe and comfortable: Her father (Timothy J. Bruno) is dying from a snakebite received during ...

Continue reading...

from http://feeds.christianitytoday.com/~r/christianitytoday/ctmag/~3/dWyoe0qpCQQ/taking-up-serpents-church-opera.html

[newyorktheater]

This is a busy weekend for exciting or at least intriguing live-streamed shows. Some of them are of mammoth proportions, albeit one isolated performer at a time, such as the impossibly starry Sondheim birthday concert on Sunday, and the Met Gala on Saturday. But there’s also a 15-minute live “Zoom opera, and a film of the much snarked-about sequel to The Phantom of the Opera, Love Never Dies. Many (but not all) of the shows remain online for up to three days after their launch. Most are free, but encourage contributions to the charity of their choice. This is just a selection, mostly of those shows (not all of it theater) that  I’m most tempted to “attend.”   There is much more happening online (Check out Where to Get Your Theater Fix, and Calendar of April “Openings” ) Please feel permitted to just…dip in….or  read a book instead, or sleep all weekend.

Friday

  Play-On Fest,

the virtual equivalent of Coachella, will start at noon and run for three days, featuring 65 performers including Ben Platt, Bruno Mars, Cardi B, Lizzo, Panic at the Disco. Click here for a full schedule,

“all decisions will be made by consensus,”

“the world’s first Zoom opera,” by composer Kamala Sankaram, librettist Rob Handel, and director Kristin Marting, about an online meeting of social activists, just 15 minutes long, at HERE Arts Facebook page , 1 p.m. Friday, then Saturday at 7 pm, Sunday at 3..

Love Never Dies

, the sequel to “Phantom of the Opera” (which was streamed last weekend.). See for yourself what the fuss (if that’s the right word) was about. The musical follows on ten years after the original musical, with the Phantom disappeared from the Paris Opera House to New York, where he now lives amongst the joy rides and freakshows of Coney Island. This film of the 2012 production stars Ben Lewis and Anna O’Byrne. Friday starting at 2pm ET. and available for 48 hours afterwards, on Andrew Lloyd Webber’s new YouTube Channel, The Shows Must Go On.

Justin Peck’s Rotunda. A new stream of a ballet, following up on NYC Ballet’s debut last Tuesday, 8 p.m. on the company’s YouTube channel and for three days after that.

The Ducks, Justin Sayre’s spoof of Hitchcock’s The Birds, live-streamed via Zoom 8 p.m. Tickets start at $11.49

Saturday

Met Opera At-Home Gala,

featuring more than 40 artists performing live around the world, 1 p.m.

Arms and the Man by George Bernard Shaw

, live reading on Stars in the House Youtube channel, narrated and directed by David Staller, with Daniel Davis, Santino Fontana, Alison Fraser, Tom Hewitt, Daniel Jenkins, Lauren Molina, and Phillipa Soo, 2 p.m.

Bad Education, HBO. Inspired by bizarre true events that occurred on Long Islnd, Bad Education stars Hugh Jackman and Allison Janney, which seems reason enough to see it

Sunday

“Take Me To The World: A Sondheim 90th Birthday Celebration”,

Meryl Streep, Patti LuPone, Audra McDonal, Lin-Manuel Miranda, Laura Benanti and too many more to mention celebrate Stephen Sondheim in concert,, organized by host Raúl Esparza,  on Broadway.com’s YouTube channel at 8 p.m., timed to coincide with the the 50th anniversary of the opening night of Sondheim’s musical Company.

Together in Pride: You Are Not Alone, A GLAAD fundraiser with performances by Alex Newell, the cast of Broadway’s “Jagged Little Pill”, Kesha, Melissa Etheridge. Mj Rodriguez and George Salazar, 8 p.m. Sign up here

What to Stream This Weekend April 24-26: Sondheim Birthday Bash, Play-On Fest, Met Gala, Love Never Dies, Hugh Jackman This is a busy weekend for exciting or at least intriguing live-streamed shows. Some of them are of mammoth proportions, albeit one isolated performer at a time, such as the impossibly starry Sondheim birthday concert on Sunday, and the Met Gala on Saturday.

[joannrochaus]

Running from the Light—and the Snakes

An opera heroine’s conflict with her faith and family has dangerously high stakes.

Serpent-handling churches are, for obvious reasons, perpetually fascinating to those outside them. They’ve been the subject of books, documentaries, songs, photography exhibits, and a reality show.

But opera?

Indeed, Taking Up Serpents, a new hour-long opera commissioned by the Washington National Opera as part of the American Opera Initiative (AOI) Festival, had its world premiere this month at the Kennedy Center in Washington, DC. To its creators, the fringe religious practice was a more natural fit with the art form than you might expect (though they did choose not to have actual snakes onstage).

“This story is operatic in that the characters’ faith imbues the world with meaning that is larger than life,” explains composer Kamala Sankaram in her program notes. Additionally, the musical format allowed her to incorporate the shape note singing integral to the kind of charismatic church featured in the opera, and rockabilly-infused tunes inspired by the Appalachian region around it. Certain scenes even feature people singing in tongues.

The rough and jagged sounds of this music help shape the gritty story of Kayla (played in this premiere by Alexandria Shiner), a young woman who broke away from her father’s charismatic church in Birmingham, Alabama, only to find herself stuck in a dead-end retail job a couple of hundred miles south. Her escape hasn’t done much for her, emotionally or spiritually. She’s longing for some kind of comfort and certainty, “tired of runnin’ from the light.”

But an unexpected call from home is a painful reminder that the faith Kayla left was anything but safe and comfortable: Her father (Timothy J. Bruno) is dying from a snakebite received during ...

Continue reading...

from The Christian http://feeds.christianitytoday.com/~r/christianitytoday/ctmag/~3/dWyoe0qpCQQ/taking-up-serpents-church-opera.html