behind the scenes for PROTOTYPE 2015

Happy New Year!

One of my favorite January traditions as of late has been the annual PROTOTYPE festival produced by Beth Morrison Projects and HERE, a showcase of contemporary opera and music theater works coined “suddenly indispensable” by The New Yorker (among countless other accolades from press and critics alike).

Sometimes I’m lucky enough to get to perform with a show (Kamala Sankaram and Susan Yankowitz’s Thumbprint in 2014; an early workshop in 2013 of Paola Prestini, Rinde Eckert, and Julian Crouch’s Aging Magician), and other times I’m lucky enough to work behind the scenes on a show, like in this year’s festival, when I supplied rehearsal piano for Stefan Weisman and David Cote’s The Scarlet Ibis (a family opera I’ve been a part of as pianist/coach since its earliest stages in 2012), and served as vocal coach for Ellen Reid and Amanda Jane Shank’s Winter’s Child (a lush Southern-gothic opera I’ve been introduced to only recently).

What will PROTOTYPE 2016 bring?

 

 

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