Press Release for "Der Kaiser von Atlantis"

Opera Moderne, in collaboration with the Austrian Cultural Forum, the Czech Center, and Deutsches Haus, presents Viktor Ullmann’s allegorical tale of Death personified: Der Kaiser von Atlantis

New production of this rarely-performed opera is directed by Markus Kupferblum and accompanied by ensemble Le Train Bleu conducted by Ransom Wilson

Performances are November 16-18 at Bohemian National Hall in New York

Release Date: October 5, 2012

What if Death went on strike? How could a mere mortal – even an emperor - bargain with him? That’s the premise of Viktor Ullmann’s opera Der Kaiser von Atlantis (The Emperor from Atlantis). Opera Moderne’s production of this rarely-performed 20^th century work will be presented on November 16, 17 and 18 at Bohemian National Hall, 321 E. 73^rd Street in New York City. Opera Moderne presents this production in collaboration with the Austrian Cultural Forum, the Czech Center and Deutsches Haus. Complete performance details and ticket information are below.

Der Kaiser von Atlantis is a one-act opera by Viktor Ullmann with libretto by Peter Kien. The tale is of an Emperor engaging in a war in which there will be no survivors. Death takes offense at his role being usurped, and refuses to do his job. He acquiesces only after the Emperor makes the ultimate fatal deal with him.

The award-winning Austrian Markus Kupferblum, who is acclaimed for his expertise in Commedia dell’arte, directs. Opera Moderne’s executive director, Rebecca Greenstein, is the opera’s producer. She devised the production’s unique design, inspired by the “Steam punk” Victorian-futuristic style of sci-fi genres, which is executed in costumes, make-up and sets. Opera Moderne joins forces with the acclaimed instrumental ensemble, Le Train Bleu, led by Metropolitan Opera flutist and conductor Ransom Wilson.

The cast of Der Kaiser von Atlantis includes Tenor Brian Downen, who has been praised by Opera News as having “a voice of fine lyric beauty coupled with a strikingly handsome stage persona,” Bass Jeffrey Tucker whose performances include work New York City Opera and Sarasota Opera, and Baritone Vince Vincent, winner of the Iris Henwood Richards award from Central City Opera. 

Viktor Ullmann and Peter Kien were inmates at the Nazi concentration camp of Theresienstadt (Terezín), when they collaborated on the opera in 1943.  While the opera received a rehearsal at Theresienstadt in March 1944, it was never performed there, as the Nazi authorities saw the work as a satire on Adolf Hitler and banned the opera. Both the composer and the librettist were killed later that year in the Auschwitz concentration camp.

Opera Moderne’s production of Der Kaiser von Atlantis by Viktor Ullmann will be performed on November 16 and 17, 2012 at 8 pm and November 18, 2012 at 4 pm, at Bohemian National Hall, 321 E. 73^rd Street in New York City. Tickets are $45 for general admission and $65 for premium reserved seating and can be purchased at www.OperaModerne.com.

Opera Moderne has recently been praised by the New York Times as "a major new addition to New York’s operatic ecosphere." David Browning of the Huffington Post wrote of Opera Moderne’s Turn of the Screw, "I can not sing the praises of the cast highly enough." Based in New York City, the company creates groundbreaking multimedia productions through collaborations with artists of all disciplines.

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Opera Moderne, in collaboration with the Austrian Cultural Forum and the Czech Center,

presents a new production of Der Kaiser von Atlantis

Music by Viktor Ullmann

Libretto by Peter Kien

Friday November 16^th at 8pm

Saturday, November 17^th at 8pm

Sunday November 18^th at 4pm

Bohemian National Hall,

321 E. 73^rd St, New York, NY

Tickets:  $45 general admission; $65 premium reserved seating

Available for purchase at operamoderne.com

CAST:
Kaiser Overall (Emperor Overall) - Vince Vincent
Der Lautsprecher (Loudspeaker) - Kelvin Chan
Ein Soldat (A soldier) - James Baumgardner
Harlekin (Pierrot) - Brian Downen
Bubikopf (A maiden) - Gan-ya Ben-gur Akselrod
Der Tod (Death) - Jeffrey Tucker
Der Trommler (Drummer girl) - Elspeth Davis



PRODUCTION TEAM:

Executive Director of Opera Moderne: Rebecca Greenstein

Conductor:  Ransom Wilson
Stage Director:  Markus Kupferblum

Lighting Designer:  Marie Yokoyama

Costume Designer:  Angela Huff

Set / Large Prop Designer:  Timothy Bradshaw

Featuring Le Train Bleu Ensemble conducted by Ransom Wilson

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The Turn of the Screw - A "Hair Raising" Experience

That's just my "clever" way of introducing this post for the hair & make-up plot for our upcoming production of Benjamin Britten's "The Turn of the Screw".  Opera Moderne's new production has taken Britten's score that moves from the classical into modernity where finally variates into the abstract, and thus you have the design scheme for the entire show.  From costumes, hair/make-up, stage direction, and lighting to the sculpture installation that will be integrated into the set by utilizing the air-space in Symphony Space and prop usage, we will be embracing the classic to the modern to the abstract process.

MRS. GROSE:

Let's start with our most traditional of characters, Mrs. Grose.  Mrs. Grose will represent the classic, 19th century, Victorian woman.  Her hair will be strict, old-fashioned, and sensible...much like her character.  We will bring out her conservative and bitter qualities to the fullest. 

She's the housekeeper in this story and runs this large estate like a fine oiled machine, thus she doesn't have time for "fancy" up-dos.  Oh no, she is sensible, and thus so is her hairstyle of the times...no muss, no fuss.  Simple, orderly and in control, that's our Mrs. Grose.

THE GOVERNESS:

Our next lovely character, and I mean lovely, is The Governess.  She is the new addition to the estate and to the cast of characters who live in this dysfunctional manor.  This is where change begins to happen.  The Governess is our bridge from the traditional to the newer, younger world of the children.  Thus we see the change from classic Victorian into the modern. 

The Governess is a peculiar character, who takes this job under not so clear circumstances.  She is beautiful, but somehow a bit "off", much like her modern Victorian hair-style.  Please note how it is a mix of the traditional Victorian up-do, with elaborate care, yet maintains a modern, edgy slant to it.  Her costume will also embody the traditional Victorian look, but with a modern cut to it.  She is the beginning of the evolution of these characters.  Her presence into the mix of the house is the antithesis to the normal day to day happenings...however, how "normal" are those activities?

THE CHILDREN:

Let's meet the children.  Miles and Flora, our little darlings of the story.  Both are well dressed children who always maintain there look by wearing their school uniforms in an orderly fashion...even at home.  What's wrong with that picture?  Why are these children wearing their school uniforms at home?  Especially since Miles has been sent home from the boarding school he was attending, for doing something "unspeakable".  I guess you'll have to come see the opera to figure that out...this is a hair and make-up post, so let's get to it.  The children are our modern characters.  Their uniforms are modern day, yet their hair styles border on the abstract.  Currently we're still developing and playing with our options here.  We know they will be modern edgy styles, but we're waiting on our fiber optic hair extensions to come in, to see if we want to work that into the plot.  You just never know until you have the product in hand. Here are a few examples of what we're looking at for the children.

MILES:

We'll go with a shorter cut for Miles, but as you can see it'll maintain a modern, almost manga style to it. 

FLORA:

For Flora, we're looking at an interesting mix of goth manga.  She will probably be our most colorful character when it comes to hair design, and perhaps the brightest if we like the fiber optic extensions in her hair and see if will work with our lighting plot.  Ya just don't know until Tech week!

CHILDREN MAKE-UP :

Both children's make-up will also give them a pale, sickly, almost gothic look?  Why? Perhaps they stay inside way too much?  Perhaps they're way emo? Perhaps they're being "affected" by something else?  Oooh, the mystery...

I like to think of Tim Burton and several of his characters in this instance.

THE GHOSTS:

Or should we say Zombies?  My design for these characters is a bit on the grotesque side.  I like to think of them as coming up from the grave.  Thus we will make them look like they've basically clawed their way out and are now haunting the entire household.

PETER QUINT:

He will be a mix of Rob Zombie & a hot Abercrombie Zombie ad...manly, menacing, possessive.

MISS JESSEL:

Our character of Miss Jessel will also posses a Zombie persona, but with a nice drowned look, the embodiment of how she died in the story...she's so creepy and sad.

THE HANDS:

And finally we must discuss the HANDS of our characters. The director is creating a very stylized form of acting in this production, and the psychological gestures of the hands is so powerful, thus we must focus on the hands.  Make-up for the regular characters is not necessary, however we do have to carry it over for our ghosts, thus here are a few images so you can get an idea of what we're going for.

Wild!  I really love the artistic challenge with shows like these and I hope you will come out and see this wonderful opera.  Every artist working on this production has truly out done themselves and have paid so much attention to detail that it will prove to be an interesting adventure.  See you May 26th at Symphony Space.

Best,
Rebecca Greenstein
Opera Moderne

The Turn of the Screw - Meet the Cast

Hi All,

Please enjoy the promo video and introduction of the cast for our upcoming production of Benjamin Britten's "The Turn of the Screw" on May 26th, 2012 @ 8pm - Symphony Space:

It will be wickedly eventful...hope to see you there!!!

Audition FAQ:

Should I bring a hard copy of my materials with me to the audition, even if I emailed them? 
Yes, always bring hard copies of your materials to an audition.  This reminds the casting agents and staff who you are at the end of the day after they've heard 100s of people.

What should I prepare to sing?
Always look at what the company is doing next season and in the current season.  This will give you a general idea of the type of repertoire and type of singer they are looking for.  Thus you will know the language and appropriate time period that particular company is presenting.

How should I dress?
Professional, this means NO jeans, sneakers or t-shirts.  Think of how you would go to an interview for a job, this is the same thing.

Should there be dates listed on my resume?
Yes, the people hiring you want to know when and where you are working.  Without dates they cannot asses your work history and your availability.

Why is there an audition fee?
Generally the audition fees go towards paying the audition pianist, rental of the audition space and office fees for the company's staff to review your sent materials.  Thankfully most fees are around $25, and less than what most pianists charge to come out to play for an individual audition with the going rate at $35.

Should I prepare a new piece for the audition?
If it is a general audition for a season, then no.  Not unless they specifically ask for a certain work.  You always want to present your best and most polished pieces at your first audition.  Give them options, but don't take in a new piece that you haven't worked into your voice yet.  It doesn't show you at your very best, and that's what they're looking for.  You will have an opportunity to learn a new piece should they ask you to prepare something for a callback.

More to come as we receive your questions...

Submit questions to:  OperaModerne@gmail.com

http://www.operamoderne.com/