To Be Sung by Pascal Dusapin
Set on Gertrude Stein’s short story: A Lyrical Opera Made By Two (To Be Sung)
Sara Jobin, Conductor; Jorinde Keesmaat, Stage Director
Thursday, May 17 and Saturday, May 19, 2018, at 8pm, at
Irondale Center, Brooklyn
New York, NY (April 30, 2018) — Pascal Dusapin’s chamber opera in one act, To Be Sung, will be staged by the Center for Contemporary Opera on Thursday, May 17 and Saturday May 19, 2018, both performances at 8pm, in Brooklyn’s Irondale Center (85 South Oxford Street). The libretto was adapted by the composer from Gertrude Stein’s short story A Lyrical Opera Made By Two (To Be Sung). Stein conceived her sensual text To Be Sung as a declaration of love to her wife Alice written for their 20th anniversary. The piece is an erotic, exciting and intimate idyll that describes the love between two women.
About the Center for Contemporary Opera
For more than three decades, the Center for Contemporary Opera has been the leading opera company devoted exclusively to the development and production of modern operas, seen in both the United States and abroad producing a remarkable body of work including staging some 59 contemporary operas including more than 15 premieres as well as 55 operas in development.
Founded in 1982 by Richard Marshall and Robert Ward, CCO continues its mission to produce and develop new opera and music-theater works; revive rarely seen American operas written after World War II; promote an interest in new operatic and music-theater culture among the public; and to produce contemporary opera outside of the United States. The Center for Contemporary Opera has also produced seven commercial recordings, and seven European performances – the most recent in December 2016 of a Louis Andriessen double bill of Odysseus’ Women and Anaïs Nin staged in Amsterdam.
Effective June 30, 2018, Jim Schaeffer, CCO’s Artistic and General Director since October 2008 will retire. Schaeffer states about his work with CCO, “It has been a great honor to have directed the Center for Contemporary Opera for the past ten years. I will greatly miss the excitement of bringing the works of living composers to the stage as well as the many artist, directors, conductors, and designers with whom I have had the pleasure of working with over the years. Contemporary opera is now enjoying a second renaissance in the United States and I would like to think that CCO played a key role in making that possible.”