2017-2018 Season Announcement

Ambitious Arts Organization Announces Fourth Season

- PRESS RELEASE -

For Immediate Release

Cantanti Project

www.cantantiproject.org

 

Contact: Joyce Yin, Artistic Director

joyce.yin@cantantiproject.org

 

New York, NY. Monday, August 4, 2017. Cantanti Project is thrilled to announce our 2017-2018 season, which will be one of contrasts, discoveries, and collaboration!

We are continuing with Concert, Recital, and Opera Projects, and we are also introducing a new initiative: Contemporary Projects, which will be launched with Tabula Rasa, a new jazz opera by Felix Jarrar & Brittany Goodwin. From the earliest surviving opera, to a world premiere, from recitals to dance parties, this will be our most ambitious season yet. We look forward to working with friends old and new to make it all happen. Season auditions will take place in September - sign up for our newsletter at for updates and details. 

Magic & Mayhem

Opera scenes, spooky songs, jaw-dropping singing, costumes, a dance party, and rising pop sensation PETRA JARRAR - join us in Brooklyn for an evening unlike any other. 

L'Euridice

This opera by Caccini is the oldest surviving opera - how cool is that? Mentioned regularly in history books but rarely performed, our revival of the tale of Orfeo's journey into the underworld is sure to be the talk of the town. Conducted by Dylan Sauerwald, with Dorian Baroque. Directed by Brittany Goodwin. 

Tabula Rasa

WORLD PREMIERE. A new jazz opera with score by Felix Jarrar, libretto by Brittany Goodwin. Tabula Rasa explores the real-life impulse and heartbreak of Alice Prin, aka Kiki de Montparnasse, and her liberating romantic escapades with artists throughout the 1920s in the Montparnasse quarters of Paris. Conducted by Felix Jarrar. Directed by Brittany Goodwin. 

Recital Projects

Dates and Artists to be announced. Recital artists will be selected by written proposals and live auditions. 

Joyce Yin, Artistic Director, is available to speak in more detail about the upcoming season.

Contact: Joyce Yin, Artistic Director

joyce.yin@cantantiproject.org

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Orlando Artist Interviews: Rachel Duval

Get to know members of our amazing Orlando cast!

Soprano Rachel Duval sings Angelica on Saturday, Feb 18th - get your tickets today!

What drew you to this project?

Händel. I have never sung a full Händel role before, so I was excited about learning some baroque conventions, and also working on my coloratura. Baroque singing is so different from what I've been training for the last handful of years, so it's been a welcome change, and my technique has improved while doing it. I figured it would be more fun to train my voice which putting on a show than in the confines of the practice room!

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Orlando Artist Interviews: Allison Gish

Get to know members of our amazing Orlando cast!

Mezzo Allison Gish sings Medoro on Sunday, Feb 19th - get your tickets today!

How did you get into singing?

I've always loved to sing and pretend and perform! I started taking lessons after I sang a solo at church and my parents realized I had a talent for it. 😊

If you weren't pursuing singing, what would you be doing instead?

Kitty and Leo!

Kitty and Leo!

I would be a pet care professional (which I already do part-time - I'm a dog walker!). The only thing that makes me happier than making music is being with dogs and cats!

Do you have any pets? And what is the best pet name you've ever come across?

I have 2 cats, called Kitty and Leo. My parents have a French bulldog named Yoda, which is pretty great.

 

What’s your character’s backstory?

Medoro (Allison Gish) and Angelica (Marisa Karchin) in rehearsal for Orlando. February 2017.

Medoro (Allison Gish) and Angelica (Marisa Karchin) in rehearsal for Orlando. February 2017.

In our reading of Orlando, I imagine Medoro as an intelligent young woman (in the original libretto Medoro is a man) dealing with severe social anxiety and depression affecting her sense of self worth and value. She knows Dorinda from prior to their hospitalization and they basically helped each other survive the worst of their respective mental illnesses, but doesn't return her romantic intentions. Although I genuinely love Angelica, there is also an element of unhealthy codependency going on there.

How has your understanding or approach to your character changed during the rehearsal process?

Setting our Orlando in a modern day mental institution certainly changed my interpretation of Medoro. It makes some of the deficiencies of this character make much more sense! My initial impression of Medoro was "here's a guy who is wishy-washy and kind of a jerk toward Dorinda and Angelica. He lets Angelica walk all over him." Now I see Medoro as a person with social anxiety and paralyzing fear of not being liked. In Angelica, Medoro finds love and safety (and fun!) for the first time.

What's next for you after Orlando?

I'm finishing up my last semester of my professional studies diploma at Mannes, and I'm giving a chamber recital of Baroque and contemporary works on March 30 at St James Basilica Cathedral in downtown Brooklyn. I'm collaborating with John Austin Clark of Bourbon Baroque and small period instrument ensemble. The program will feature Bach Cantata 170 Vergnugte Ruh, Monteclair's cantata La mort de Didon, and a world premiere of my husband Nicholas Gish's setting of Langston Hughes' poem Democracy

Please visit Allison's website at www.allisongish.com for updates and news. 

Orlando Artist Interviews: Kimberly Hann

Get to know members of our amazing Orlando cast!

Mezzo Kimberly Hann sings the title role of Orlando on Sunday, Feb 19th - get your tickets today

What has been the most surprising or interesting discover you’ve made during this production?

This production has been different from a lot of other projects I've worked on because it's allowed me to really embrace my creativity as an artist. From the very beginning of the rehearsal process we experimented with improvisation and collaborative discussions to flesh out our characters. Nothing was off limits and we were able to try out all sorts of ideas to figure out what worked best for the overall concept of the opera. This liberating environment allowed me to really step outside my comfort zone and embrace some pretty out of the box ideas. And as a result it's been the most fun rehearsal process I've ever been a part of!

How easy or difficult has it been to relate to your character? And why?

At first it was really challenging for me to relate to the character of Orlando. He's an incredibly strong, masculine character, he's a soldier, he's battling PTSD...none of which I have any personal experience with. But when surface details are stripped back he's a man struggling to gain control and stability, both within himself and in his surroundings. Searching for control and stability is something I can really understand and relate to so looking at the character that way has helped me connect to him.

There had been talk early in the rehearsal process of your Orlando actually being female rather than a male character - did you ultimately decide to go in this direction? 

Initially I was hesitant to play Orlando as female because the character typifies a lot of  masculine characteristics. He is a soldier, he's violent, he's a womanizer and he's very dominant and possessive towards Angelica. But I tried a few rehearsals thinking about the character as a woman and I was surprised how easy it was to transfer those characteristics across genders. And with a female Orlando it was easier for me to find some more subtle emotional colors to add to the role as well. 

What songs/artists (other than Orlando) are on your playlist right now?

Oh man, lately I've been listening to whatever Spotify decides to curate for me. Everything from Tchaikovsky to Galantis to Green Day.

What has it been like working with this cast and production team?

It has been an absolute dream to work with Cantanti Project! Each member of the cast and production team is incredibly kind and supportive, not to mention everyone has been super prepared since day one. And on top of that it's been such a joy to work with such talented artists so willing to collaborate with one another. 

From day one we all had input in the staging. Our director Brittany would provide us with a general framework for each scene but then each cast would improv through the scene until it clicked. Each cast came up with different ideas that we altered through the rehearsal process. 

What’s next for you after Orlando?

After Orlando wraps up I'll be focusing on preparing my Graduate Recital at Mannes. I'll be singing works by Tchaikovsky, Brahms, Berlioz and even Händel. And following that I'll be performing with the Mannes Opera in a production Vanessa

Please visit Kimberly's website at kimberlyhann.com for updates and news.