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]

Dog Days is produced by Peak Performances @Montclair State (NJ) in association with Beth Morrison Projects, and had its world premiere run from Sept. 29 - Oct. 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]

Roles and role creators

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)[6]

"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, Wall Street Journal)[7]

"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, New Jersey Star-Ledger)[8]

References

  1. ↑ http://www.carnegiehall.org/article/box_office/events/evt_12371.html?selecteddate=05092009
  2. ↑ http://www.peakperfs.org/performances/Dog_Days
  3. ↑ https://www.newamsterdamrecords.com/#Event/David_T_Little_scene_from_Dog_Days
  4. ↑ Opera Grows In Brooklyn Returns To Galapagos Art Center 7/17
  5. ↑ https://www.newamsterdamrecords.com/#Event/American_Opera_Projects_Music_of_Little_and_Weisman/
  6. ↑ http://www.nytimes.com/2012/10/04/arts/music/dog-days-new-opera-at-peak-performances-in-montclair.html
  7. ↑ Dog Days | Orientale | A Future Red in Tooth and Claw | Opera Review by Heidi Waleson - WSJ.com
  8. ↑ 'Dog Days': Opera's savage side | NJ.com