I’m pleased to report that Santa Fe Opera has announced the premiere of my first large-scale artistic collaboration with John Corigliano. The opera The Lord of Cries, in which John’s astounding score sets a libretto in which I combine elements from The Bacchae of Euripides and Bram’s Stoker’s Dracula, will open in the summer of 2021, with the equally astounding Anthony Roth Costanzo in the title rôle.
Becoming Santa Claus
A selfish Prince, a desperate Queen, 4 harried Elves, a mysterious Donkey, and a star in the West: an invented backstory of the young Santa Claus dances with the Nativity myth in my 2015 piece for Dallas Opera.
In ancient Athens, the women won’t make love until the men make peace. The premise is Aristophanes’: but there’s a bit of Antigone’s dilemma—do belong to my city, or myself?—that I wove into this tragicomedy from 2005…
The Gospel of Mary Magdalene
The New Testament reimagined through the eyes of its lone substantial female character, in which difficult desires and a strong sense of destiny haunt two generations of Jesus’ family. San Francisco Opera commissioned and introduced the piece in 2013: sparks flew…
Billy Collins’ poem of the same name forms the spine of this 15-minute score I composed in 2015 for baritone Thomas Hampson and the Jupiter String Quartet.
Introduced by Dotian Levalier, harpist, and The National Symphony at The Kennedy Center in Washington D.C. in June 2007. Leonard Slatkin, conductor.
The Christmas Life
A setting of Wendy Cope’s lovely poem for chorus and chamber orchestra premiered by San Francisco’s Volti chamber choir.