The “visual styles” shown in the slide-show above pertain to Acts I, II, and III of In a Mirror, Darkly — a full-length opera with music (the score) by Christopher Weiss and words (the libretto) by me. Here’s a mini-synopsis:
Christopher and I were (as Chevy Chase would say) “happy campers!” when we were notified by New York City Opera that In a Mirror, Darkly won a performance spot (excerpts, not the whole opera) in VOX 2012.
Please feel free to read more about Christopher, about VOX 2012, and about me as a librettist by clicking on the following links:
- VOX 2012: Contemporary American Opera Lab
- Mags: A Librettist from Deland (interview in DBch News Journal)
- Mags: Remembering Jackie Bananas (interview in DBch News Journal)
Oh and by the way, our composite opera is the first ever. It’s true. Opera buffs always want to cite Puccini’s Il trittico or Offenbach’s Tales of Hoffman as precursor composite operas, but they’re not. Puccini’s is three separate one-acts that bear no conceivable relation to each other, and Offenbach’s is a classic example of an integrated “frame tale.”
Though we didn’t specifically set out to do so, therefore, Christopher and I broke new ground with our opera. What’s the meaning of “composite”? Basically, it means that the whole is more than the sum of its parts. It’s a gestalt. It’s like Margaret Atwood famously said: “A fist is more than the sum of five fingers.”
And the point of a composite opera is that the audience wins because there’s no downtime, no long boring middle section where the old guys in tuxedos get to doze.