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LOCATION:The Heyman Center\, Second Floor Common Room
DTSTAMP:20210221T32900Z
DTSTART;TZID=America/New_York:20180420T93000
DTEND;TZID=America/New_York:20180421T000000
SUMMARY:Experiments in Opera Today: Conference and Symposium
DESCRIPTION:Over the last four decades\, a wide range of musicians and co
 mposers\, visual artists\, and theater practitioners have take
 n up opera as a form ripe for experimentation. It has been c
 onceived for serialized television broadcast\, performed by r
 obots\, staged in site-specific spectacles\, transformed into 
 non-narrative installations\, wedded to free improvisation\, a
 nd intended (if not quite realized) as interstellar rituals.
  This conference and symposium considers how artists from nu
 merous disciplines are currently working with opera now that
  pieces such as Meredith Monk’s Vessel (1971)\, Carla Bley 
 and Paul Hanes’s Escalator Over the Hill (1969-1971)\, Robe
 rt Wilson and Philip Glass’s Einstein on the Beach (1975/6
 )\, Györgi Ligeti’s Le Grand Macabre (1977)\, Robert Ashley
 ’s Perfect Lives (1983)\, Harrison Birtwistle’s The Mask 
 of Orpheus (1984)\, and Luigi Nono and Massimo Cacciari’s P
 rometeo (1984/5) have already grown into ‘classics’ of t
 he avant-garde. What new approaches to narrative\, voice\, sub
 ject matter\, media\, and technology have recent creators of o
 pera employed? Or is the emphasis on novelty particularly il
 l-suited to a form that\, even in its most radical guise\, con
 tinues to connote a host of conventions and traditions (ways
  of singing\, a simultaneously extravagant and rarefied aesth
 etic\, a canonical repertory\, a bourgeois base\, and so on)? W
 hat elements of the operatic past\, then\, have remained compe
 lling or inevitable? This two-day event will convene a group
  of prominent scholars\, composers\, artists\, directors\, and d
 ramaturgs in order to explore these and related questions. 
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