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“Adamo has the ingenious knack for creating memorable themes whose recurrences serve as signposts for the drama, and his vocal writing is both urgent and shapely.”

- San Francisco Chronicle

 As opera and symphonic performances resume in 2021-2022, American composer-librettist Mark Adamo’s work returns to stages in Santa Fe, San Francisco, Houston, Chicago, and London. In July 2021, Santa Fe Opera returned to live opera with the celebrated premiere of The Lord of Cries, of which Adamo wrote the libretto for John Corigliano’s score. November 2021 sees the world premiere of Last Year: Concerto for Solo Cello and String Orchestra, to be given first by New Century Chamber Orchestra in a San Francisco/Bay Area tour and then in Houston by River Oaks Chamber Orchestra: Jeffrey Zeigler is the soloist in San Francisco, Richard Belcher plays the part in Houston.   Lidiya Yankovskaya, music director of Chicago Opera Theater, conducts the regional premiere of Adamo’s fourth opera, Becoming Santa Claus, in December, in a new production directed by Kyle Lang; this precedes the U. K. premiere, in July 2022, of Opera Holland Park’s production of Adamo’s first opera, Little Women, to be conducted by Sian Edwards and directed by Ella Marchment.

Hailed by The New Yorker as “one of America’s most formidable lyric composers,” composer-librettist Mark Adamo made his mark on the opera world in 1998 with the debut of his first work Little Women, which The New York Times described as “a bona fide American classic.” Known for his “way of finding a drama’s emotional nerve and projecting it to an audience,” (Financial Times, London) his four  subsequent operas– Lysistrata, The Gospel of Mary Magdalene, Becoming Santa Claus, and The Lord of Cries–have “opened yet other pathways on his remarkable exploration of what an opera can be” (American Record Guide.)  As opera and symphonic performances have resumed in 2021-2022, his work  has returned to stages in Santa Fe, San Francisco, Houston, Chicago, and London. 

In July 2021, Santa Fe Opera returned to live opera with the celebrated world premiere of The Lord of Cries, for which Adamo wrote the libretto to a score composed by his spouse, John Corigliano. Last Year: Concerto for Solo Cello and String Orchestra was given its world premiere in November 2021 by co-commissioner New Century Chamber Orchestra in San Francisco, followed by its Houston debut given by co-commissioner ROCO. A month later, Lidiya Yankovskaya, music director of Chicago Opera Theater, led the regional premiere of Becoming Santa Claus, in a new production directed by Kyle Lang; the following month, Opera Holland Park announced the U. K. premiere of Little Women, to be conducted by Sian Edwards and directed by Ella Marchment, and in July of 2022, and Teatro Colón in Buenos Aires announced the Argentine premiere of the same opera in December 2022.

Introduced by Houston Grand Opera in 1998 and revived there in 2000, Little Women is one of the most frequently performed American operas of the last twenty-five years; it has been given more than 140 national and international engagements in cities ranging from New York to Adelaide, Amsterdam, Atlanta, Banff, Bruges, Calgary, Chicago, Detroit, Fort Worth, Kansas City, Mexico City, Minneapolis, Perth, San Francisco, Toronto, and Tokyo, where it served as the official U.S. cultural entrant to the 2005 World Expo. The Houston Grand Opera revival (2000) was telecast by PBS/WNET on Great Performances in 2001 and released on CD by Ondine that same year; in fall 2010, Naxos released this performance on DVD and on Blu-ray.

Comparable enthusiasm greeted the debut of Adamo’s second opera—the larger-scaled Lysistrata, adapted from Aristophanes’ comedy and including elements from Sophocles’ Antigone. Lysistrata was commissioned by Houston Grand Opera for its 50th anniversary and introduced in March 2005. Its New York City Opera debut in March 2006 led to concert performances by Washington National Opera (May 2006) and Music at the Modern by the Van Cliburn Foundation (May 2007) before a new staging at Fort Worth Opera in May 2012.  San Francisco Opera commissioned and introduced Adamo’s The Gospel of Mary Magdalene in June of 2013, which re-centered the title character at the heart of the Christianity origin myth; and Becoming Santa Claus was commissioned and introduced by Dallas Opera in 2015 and released on DVD/Blu-Ray in September of 2017 before its recent Chicago revival.

While Adamo’s principal work continues to be for the opera house, he has spent the last decade venturing into both chamber music and symphonic and choral composition. In April 2013, baritone Thomas Hampson and the Jupiter String Quartet introduced Aristotle, after the poem by Billy Collins, in concerts at the Mondavi Center in Davis, California before continuing to Boston and New York under the auspices of Chamber Music Society of Lincoln Center. The preceding December, Sasha Cooke and the New York Festival of Song introduced The Racer’s Widow, a cycle of five American poems for mezzo-soprano, cello, and piano.

Adamo’s first concerto, Four Angels, for harp and orchestra, was commissioned by the National Symphony Orchestra and debuted in June 2007; the Utah Symphony, led by their Music Director Emeritus, Keith Lockhart, presented Four Angels in January 2011. In May 2007, Washington’s Eclipse Chamber Orchestra, for which Adamo served as its first composer-in-residence, performed his Late Victorians, a cantata for singing voice, speaking voice, and orchestra. Naxos released Late Victorians in 2009 on Eclipse’s all-Adamo CD, which also included Alcott Music, from Little Women, for strings, harp, celesta, and percussion; “Regina Coeli,” an arrangement of the slow movement of Four Angels for harp and strings alone; and the Overture to Lysistrata for medium orchestra.  In April of 2010, Harold Rosenbaum’s New York Virtuoso Singers paired six of Adamo’s newly-published choral scores with the complete chamber-choral work of John Corigliano. This concert featured the New York premieres of Cantate Domino (after Psalm 91,) Pied Beauty and God’s Grandeur (Gerard Manley Hopkins; commissioned by the Gregg Smith Singers,) Matewan Music (Appalachian folk-tune variations,) Supreme Virtue (Stephen Mitchell’s translation of the Tao te Ching,) and The Poet Speaks of Praising (Rilke: commissioned and introduced by Chanticleer.)

During Adamo’s time as the composer-in-residence at New York City Opera from 2001 through 2006, he led the VOX: Showcasing American Composers program. The Atlantic Center for the Arts also named Adamo one of their Master Artists in May 2003.  Since 2007, he has served as the principal teacher of American Lyric Theatre’s Composer-Librettist Development Program in New York, where he coaches teams of composers and librettists in developing their work for the stage.

Adamo began his education in the Tisch School of the Arts at New York University, where, as a freshman in the Dramatic Writing Program, he received the Paulette Goddard Remarque Scholarship for outstanding undergraduate achievement in playwriting. He went on to earn a Bachelor of Music Degree cum laude in composition in 1990 from the Catholic University of America.  His music is published exclusively by G. Schirmer, Inc.

Der in Amerika geborene Tenor Lawrence Brownlee wurde 2017 sowohl von den International Opera Awards als auch von Bachtrack zum "männlichen Sänger des Jahres" gekürt und von The Guardian als "einer der führenden Belcanto-Stars der Welt" gefeiert. Brownlee fesselt Publikum und Kritiker auf der ganzen Welt, und seine Stimme wurde von NPR als "ein Instrument von großer Schönheit und Ausdruck ... perfekt geeignet für die Opern des frühen neunzehnten Jahrhunderts von Rossini und Donizetti" gelobt, die "ein neues goldenes Zeitalter der hohen Männerstimmen" (The New York Times) einläuteten. Brownlee ist außerdem künstlerischer Berater der Opera Philadelphia und unterstützt das Ensemble bei der Erweiterung seines Repertoires, bei seinen Bemühungen um Vielfalt und bei Initiativen für die Gemeinschaft.

Die Saison 2018-19 beginnt mit zwei Duettabenden mit dem Bassbariton Eric Owens, die vom Cliburn veranstaltet werden, gefolgt von einer Ariennacht im berühmten Concertgebouw in Amsterdam. Zu den Opernengagements in dieser Saison gehören zwei Rollendebüts an nordamerikanischen Häusern: Nadir in Bizets Die Perlenfischer an der Houston Grand Opera und Ilo in Rossinis Zelmira an der Washington Concert Opera. Außerdem kehrt er an mehrere internationale Opernhäuser zurück und singt La Cenerentola an der Opéra national de Paris, La sonnambula am Opernhaus Zürich und der Deutschen Oper Berlin sowie I Puritani an der Opéra Royal de Wallonie-Liège. Seine Saison beinhaltet auch eine 17-stoppige US-Tournee mit dem Bassbariton Eric Owens, bei der er u.a. bei der Seattle Symphony, der Philadelphia Chamber Music Society und dem Los Angeles Philharmonic auftritt, sowie einen Auftritt in der Carnegie Hall im März 2019 mit Jason Moran und Alicia Hall Moran als Teil von "Migrations: The Making of America - A Citywide Festival".

インターナショナル・オペラ・アワードとBachtrackの両方で2017年の「男性歌手賞」に選ばれたアメリカ生まれのテノール、ローレンス・ブラウンリーは、ガーディアン紙で "世界有数のベルカント・スターの一人 "と称されています。ブラウンリーは世界中の聴衆と批評家を魅了し、その声はNPRで「偉大な美しさと表現力を持つ楽器...ロッシーニやドニゼッティの19世紀初頭のオペラに完璧に適している」と称賛され、「高い男声の新たな黄金時代」(ニューヨーク・タイムズ紙)の到来を告げる。ブラウンリーは、オペラ・フィラデルフィアのアーティスティック・アドバイザーも務めており、レパートリーの拡大、多様性への取り組み、コミュニティへの取り組みなどを支援しています。

2018-19シーズンは、クライバーンが主催するバスバリトンのエリック・オーエンスとのデュエットの夕べ2回から始まり、その後、アムステルダムの有名なコンセルトヘボウでアリアの夕べを開催します。また、パリ国立オペラの「ラ・チェネレントラ」、チューリッヒ・オペラとベルリン・ドイツ・オペラの「ラ・ソンナムブラ」、ワロニー・リエージュ王立オペラの「アイ・プリターニ」など、海外のオペラハウスでも活躍しています。今シーズンは、バスバリトンのエリック・オーウェンズと17カ所の米国ツアーを行い、シアトル交響楽団、フィラデルフィア室内楽協会、ロサンゼルス・フィルハーモニー管弦楽団などに出演するほか、2019年3月には「Migrations」の一環として、ジェイソン・モラン、アリシア・ホール・モランとともにカーネギーホールで公演を行います。The Making of America - A Citywide Festival" を開催します。

Nomeado 2017 "Cantor Masculino do Ano" tanto pelo International Opera Awards como pelo Bachtrack, o tenor americano Lawrence Brownlee foi aclamado pelo The Guardian como "uma das principais estrelas mundiais do bel canto". Brownlee cativa audiências e críticos em todo o mundo, e a sua voz tem sido elogiada pela NPR como "um instrumento de grande beleza e expressão... perfeitamente adequado às óperas do início do século XIX de Rossini e Donizetti", inaugurando "uma nova era dourada em altas vozes masculinas" (The New York Times). Brownlee serve também como Conselheiro Artístico na Opera Philadelphia, ajudando a empresa a expandir o seu repertório, esforços de diversidade e iniciativas comunitárias.

A temporada 2018-19 começa com duas noites de duetos com baixo-barítono Eric Owens apresentado pelo Cliburn, seguidas de uma noite de árias no famoso Concertgebouw de Amesterdão. Os compromissos ópticos desta temporada incluem duas estreias em casas norte-americanas, cantando Nadir no Bizet's The Pearl Fishers com Houston Grand Opera e Ilo no Rossini's Zelmira com Washington Concert Opera, bem como o regresso a várias ópera internacionais, actuando em La Cenerentola na Opéra national de Paris, La sonnambula na Opernhaus Zürich e Deutsche Oper Berlin, e I Puritani na Opéra Royal de Wallonie-Liège. A sua temporada também apresenta uma digressão norte-americana de 17 paragens com Eric Owens a actuar na Seattle Symphony, Philadelphia Chamber Music Society, a Los Angeles Philharmonic, e muito mais, bem como uma actuação no Carnegie Hall em Março de 2019 com Jason Moran e Alicia Hall Moran como parte de "Migrations": The Making of America - A Citywide Festival".

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“Adamo has the ingenious knack for creating memorable themes whose recurrences serve as signposts for the drama, and his vocal writing is both urgent and shapely.”

- San Francisco Chronicle

 As opera and symphonic performances resume in 2021-2022, American composer-librettist Mark Adamo’s work returns to stages in Santa Fe, San Francisco, Houston, Chicago, and London. In July 2021, Santa Fe Opera returned to live opera with the celebrated premiere of The Lord of Cries, of which Adamo wrote the libretto for John Corigliano’s score. November 2021 sees the world premiere of Last Year: Concerto for Solo Cello and String Orchestra, to be given first by New Century Chamber Orchestra in a San Francisco/Bay Area tour and then in Houston by River Oaks Chamber Orchestra: Jeffrey Zeigler is the soloist in San Francisco, Richard Belcher plays the part in Houston.   Lidiya Yankovskaya, music director of Chicago Opera Theater, conducts the regional premiere of Adamo’s fourth opera, Becoming Santa Claus, in December, in a new production directed by Kyle Lang; this precedes the U. K. premiere, in July 2022, of Opera Holland Park’s production of Adamo’s first opera, Little Women, to be conducted by Sian Edwards and directed by Ella Marchment.

Hailed by The New Yorker as “one of America’s most formidable lyric composers,” composer-librettist Mark Adamo made his mark on the opera world in 1998 with the debut of his first work Little Women, which The New York Times described as “a bona fide American classic.” Known for his “way of finding a drama’s emotional nerve and projecting it to an audience,” (Financial Times, London) his four  subsequent operas– Lysistrata, The Gospel of Mary Magdalene, Becoming Santa Claus, and The Lord of Cries–have “opened yet other pathways on his remarkable exploration of what an opera can be” (American Record Guide.)  As opera and symphonic performances have resumed in 2021-2022, his work  has returned to stages in Santa Fe, San Francisco, Houston, Chicago, and London. 

In July 2021, Santa Fe Opera returned to live opera with the celebrated world premiere of The Lord of Cries, for which Adamo wrote the libretto to a score composed by his spouse, John Corigliano. Last Year: Concerto for Solo Cello and String Orchestra was given its world premiere in November 2021 by co-commissioner New Century Chamber Orchestra in San Francisco, followed by its Houston debut given by co-commissioner ROCO. A month later, Lidiya Yankovskaya, music director of Chicago Opera Theater, led the regional premiere of Becoming Santa Claus, in a new production directed by Kyle Lang; the following month, Opera Holland Park announced the U. K. premiere of Little Women, to be conducted by Sian Edwards and directed by Ella Marchment, and in July of 2022, and Teatro Colón in Buenos Aires announced the Argentine premiere of the same opera in December 2022.

Introduced by Houston Grand Opera in 1998 and revived there in 2000, Little Women is one of the most frequently performed American operas of the last twenty-five years; it has been given more than 140 national and international engagements in cities ranging from New York to Adelaide, Amsterdam, Atlanta, Banff, Bruges, Calgary, Chicago, Detroit, Fort Worth, Kansas City, Mexico City, Minneapolis, Perth, San Francisco, Toronto, and Tokyo, where it served as the official U.S. cultural entrant to the 2005 World Expo. The Houston Grand Opera revival (2000) was telecast by PBS/WNET on Great Performances in 2001 and released on CD by Ondine that same year; in fall 2010, Naxos released this performance on DVD and on Blu-ray.

Comparable enthusiasm greeted the debut of Adamo’s second opera—the larger-scaled Lysistrata, adapted from Aristophanes’ comedy and including elements from Sophocles’ Antigone. Lysistrata was commissioned by Houston Grand Opera for its 50th anniversary and introduced in March 2005. Its New York City Opera debut in March 2006 led to concert performances by Washington National Opera (May 2006) and Music at the Modern by the Van Cliburn Foundation (May 2007) before a new staging at Fort Worth Opera in May 2012.  San Francisco Opera commissioned and introduced Adamo’s The Gospel of Mary Magdalene in June of 2013, which re-centered the title character at the heart of the Christianity origin myth; and Becoming Santa Claus was commissioned and introduced by Dallas Opera in 2015 and released on DVD/Blu-Ray in September of 2017 before its recent Chicago revival.

While Adamo’s principal work continues to be for the opera house, he has spent the last decade venturing into both chamber music and symphonic and choral composition. In April 2013, baritone Thomas Hampson and the Jupiter String Quartet introduced Aristotle, after the poem by Billy Collins, in concerts at the Mondavi Center in Davis, California before continuing to Boston and New York under the auspices of Chamber Music Society of Lincoln Center. The preceding December, Sasha Cooke and the New York Festival of Song introduced The Racer’s Widow, a cycle of five American poems for mezzo-soprano, cello, and piano.

Adamo’s first concerto, Four Angels, for harp and orchestra, was commissioned by the National Symphony Orchestra and debuted in June 2007; the Utah Symphony, led by their Music Director Emeritus, Keith Lockhart, presented Four Angels in January 2011. In May 2007, Washington’s Eclipse Chamber Orchestra, for which Adamo served as its first composer-in-residence, performed his Late Victorians, a cantata for singing voice, speaking voice, and orchestra. Naxos released Late Victorians in 2009 on Eclipse’s all-Adamo CD, which also included Alcott Music, from Little Women, for strings, harp, celesta, and percussion; “Regina Coeli,” an arrangement of the slow movement of Four Angels for harp and strings alone; and the Overture to Lysistrata for medium orchestra.  In April of 2010, Harold Rosenbaum’s New York Virtuoso Singers paired six of Adamo’s newly-published choral scores with the complete chamber-choral work of John Corigliano. This concert featured the New York premieres of Cantate Domino (after Psalm 91,) Pied Beauty and God’s Grandeur (Gerard Manley Hopkins; commissioned by the Gregg Smith Singers,) Matewan Music (Appalachian folk-tune variations,) Supreme Virtue (Stephen Mitchell’s translation of the Tao te Ching,) and The Poet Speaks of Praising (Rilke: commissioned and introduced by Chanticleer.)

During Adamo’s time as the composer-in-residence at New York City Opera from 2001 through 2006, he led the VOX: Showcasing American Composers program. The Atlantic Center for the Arts also named Adamo one of their Master Artists in May 2003.  Since 2007, he has served as the principal teacher of American Lyric Theatre’s Composer-Librettist Development Program in New York, where he coaches teams of composers and librettists in developing their work for the stage.

Adamo began his education in the Tisch School of the Arts at New York University, where, as a freshman in the Dramatic Writing Program, he received the Paulette Goddard Remarque Scholarship for outstanding undergraduate achievement in playwriting. He went on to earn a Bachelor of Music Degree cum laude in composition in 1990 from the Catholic University of America.  His music is published exclusively by G. Schirmer, Inc.

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“Adamo has the ingenious knack for creating memorable themes whose recurrences serve as signposts for the drama, and his vocal writing is both urgent and shapely.”

- San Francisco Chronicle

 As opera and symphonic performances resume in 2021-2022, American composer-librettist Mark Adamo’s work returns to stages in Santa Fe, San Francisco, Houston, Chicago, and London. In July 2021, Santa Fe Opera returned to live opera with the celebrated premiere of The Lord of Cries, of which Adamo wrote the libretto for John Corigliano’s score. November 2021 sees the world premiere of Last Year: Concerto for Solo Cello and String Orchestra, to be given first by New Century Chamber Orchestra in a San Francisco/Bay Area tour and then in Houston by River Oaks Chamber Orchestra: Jeffrey Zeigler is the soloist in San Francisco, Richard Belcher plays the part in Houston.   Lidiya Yankovskaya, music director of Chicago Opera Theater, conducts the regional premiere of Adamo’s fourth opera, Becoming Santa Claus, in December, in a new production directed by Kyle Lang; this precedes the U. K. premiere, in July 2022, of Opera Holland Park’s production of Adamo’s first opera, Little Women, to be conducted by Sian Edwards and directed by Ella Marchment.

Hailed by The New Yorker as “one of America’s most formidable lyric composers,” composer-librettist Mark Adamo made his mark on the opera world in 1998 with the debut of his first work Little Women, which The New York Times described as “a bona fide American classic.” Known for his “way of finding a drama’s emotional nerve and projecting it to an audience,” (Financial Times, London) his four  subsequent operas– Lysistrata, The Gospel of Mary Magdalene, Becoming Santa Claus, and The Lord of Cries–have “opened yet other pathways on his remarkable exploration of what an opera can be” (American Record Guide.)  As opera and symphonic performances have resumed in 2021-2022, his work  has returned to stages in Santa Fe, San Francisco, Houston, Chicago, and London. 

In July 2021, Santa Fe Opera returned to live opera with the celebrated world premiere of The Lord of Cries, for which Adamo wrote the libretto to a score composed by his spouse, John Corigliano. Last Year: Concerto for Solo Cello and String Orchestra was given its world premiere in November 2021 by co-commissioner New Century Chamber Orchestra in San Francisco, followed by its Houston debut given by co-commissioner ROCO. A month later, Lidiya Yankovskaya, music director of Chicago Opera Theater, led the regional premiere of Becoming Santa Claus, in a new production directed by Kyle Lang; the following month, Opera Holland Park announced the U. K. premiere of Little Women, to be conducted by Sian Edwards and directed by Ella Marchment, and in July of 2022, and Teatro Colón in Buenos Aires announced the Argentine premiere of the same opera in December 2022.

Introduced by Houston Grand Opera in 1998 and revived there in 2000, Little Women is one of the most frequently performed American operas of the last twenty-five years; it has been given more than 140 national and international engagements in cities ranging from New York to Adelaide, Amsterdam, Atlanta, Banff, Bruges, Calgary, Chicago, Detroit, Fort Worth, Kansas City, Mexico City, Minneapolis, Perth, San Francisco, Toronto, and Tokyo, where it served as the official U.S. cultural entrant to the 2005 World Expo. The Houston Grand Opera revival (2000) was telecast by PBS/WNET on Great Performances in 2001 and released on CD by Ondine that same year; in fall 2010, Naxos released this performance on DVD and on Blu-ray.

Comparable enthusiasm greeted the debut of Adamo’s second opera—the larger-scaled Lysistrata, adapted from Aristophanes’ comedy and including elements from Sophocles’ Antigone. Lysistrata was commissioned by Houston Grand Opera for its 50th anniversary and introduced in March 2005. Its New York City Opera debut in March 2006 led to concert performances by Washington National Opera (May 2006) and Music at the Modern by the Van Cliburn Foundation (May 2007) before a new staging at Fort Worth Opera in May 2012.  San Francisco Opera commissioned and introduced Adamo’s The Gospel of Mary Magdalene in June of 2013, which re-centered the title character at the heart of the Christianity origin myth; and Becoming Santa Claus was commissioned and introduced by Dallas Opera in 2015 and released on DVD/Blu-Ray in September of 2017 before its recent Chicago revival.

While Adamo’s principal work continues to be for the opera house, he has spent the last decade venturing into both chamber music and symphonic and choral composition. In April 2013, baritone Thomas Hampson and the Jupiter String Quartet introduced Aristotle, after the poem by Billy Collins, in concerts at the Mondavi Center in Davis, California before continuing to Boston and New York under the auspices of Chamber Music Society of Lincoln Center. The preceding December, Sasha Cooke and the New York Festival of Song introduced The Racer’s Widow, a cycle of five American poems for mezzo-soprano, cello, and piano.

Adamo’s first concerto, Four Angels, for harp and orchestra, was commissioned by the National Symphony Orchestra and debuted in June 2007; the Utah Symphony, led by their Music Director Emeritus, Keith Lockhart, presented Four Angels in January 2011. In May 2007, Washington’s Eclipse Chamber Orchestra, for which Adamo served as its first composer-in-residence, performed his Late Victorians, a cantata for singing voice, speaking voice, and orchestra. Naxos released Late Victorians in 2009 on Eclipse’s all-Adamo CD, which also included Alcott Music, from Little Women, for strings, harp, celesta, and percussion; “Regina Coeli,” an arrangement of the slow movement of Four Angels for harp and strings alone; and the Overture to Lysistrata for medium orchestra.  In April of 2010, Harold Rosenbaum’s New York Virtuoso Singers paired six of Adamo’s newly-published choral scores with the complete chamber-choral work of John Corigliano. This concert featured the New York premieres of Cantate Domino (after Psalm 91,) Pied Beauty and God’s Grandeur (Gerard Manley Hopkins; commissioned by the Gregg Smith Singers,) Matewan Music (Appalachian folk-tune variations,) Supreme Virtue (Stephen Mitchell’s translation of the Tao te Ching,) and The Poet Speaks of Praising (Rilke: commissioned and introduced by Chanticleer.)

During Adamo’s time as the composer-in-residence at New York City Opera from 2001 through 2006, he led the VOX: Showcasing American Composers program. The Atlantic Center for the Arts also named Adamo one of their Master Artists in May 2003.  Since 2007, he has served as the principal teacher of American Lyric Theatre’s Composer-Librettist Development Program in New York, where he coaches teams of composers and librettists in developing their work for the stage.

Adamo began his education in the Tisch School of the Arts at New York University, where, as a freshman in the Dramatic Writing Program, he received the Paulette Goddard Remarque Scholarship for outstanding undergraduate achievement in playwriting. He went on to earn a Bachelor of Music Degree cum laude in composition in 1990 from the Catholic University of America.  His music is published exclusively by G. Schirmer, Inc.

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