Charles Jarden previously held positions at The Santa Fe Opera and the Opera Company of Philadelphia and assisted directors for new productions at Glyndebourne Festival Opera, Hong Kong May Festival and at companies throughout the US and Europe. During his tenure with American Opera Projects, he has guided the AOP's innovative collaborations with institutions such as Lincoln Center, the US Holocaust Memorial Museum, the International Vocal Arts Institute, Tel Aviv, and at theatres in Germany, Vienna, Poland and the UK. Charles and AOP have received awards from OPERA America for "ten years of dynamic leadership," and The New York City Arts and Business Council's Encore! Award recognizing new ways to bridge for-profit and not-for-profit worlds.
Stage Director Ben Krywosz serves as artistic director of Nautilus Music Theater in Saint Paul, Minnesota, where he has directed productions of works such as The Last Five Years, Goblin Market, Into the Woods, Hearts on Fire, and Snow Leopard. He also produces the company's Rough Cuts program, a monthly series of new operas and other forms of music-theater. Mr. Krywosz has also staged productions for The Minnesota Opera, San Francisco Opera's Merola Program, North Star Opera, Opera Roanoke, California Coast Opera, Midwest Opera Theater, Dorian Opera Theater, and West Bay Opera. His academic works include productions of Into the Woods, Saturn Returns, and My Fair Lady for Grand Valley State University in Grand Rapids; Weird Romance for Augsburg College, and Così Fan Tutte for the University of Iowa. He developed and continues to direct composer-librettist opera studios around the country. From 1984-1987, Mr. Krywosz was Project Director for Opera America's Opera for the 80s and Beyond program, where he concentrated on introducing the professional opera field to the work of innovative music-theater artists.
Beth Morrison established Beth Morrison Projects (BMP) in 2006 in New York City. BMP identifies and supports the work of emerging and established living composers and their multi-media collaborators through the commission, development, production and touring of their works, which take the form of contemporary music-theatre, opera-theatre, and multi-media concert works. BMP has established itself as a composers' producer that "is producing some of the most exciting music-Theatre Projects in the city." (New Yorker) BMP has commissioned, developed and produced more than 24 operas and music-Theatre Projects that have premiered or been performed in New York, across the country and around the globe. BMP's ability to recognize emerging talent, invest in the vision of living composers and their collaborators, and partner with presenters to bring new work to life has allowed it to become vital in the landscape of new music and opera.
Steven Osgood's work has become known for its distinct musical incisiveness and dramatic insights. He has worked extensively with contemporary composers, conducting the world premieres of Tan Dun's Peony Pavilion, Missy Mazzoli's Song from the Uproar, Mohammed Fairouz's Sumeida's Song, Daron Hagen's Little Nemo in Slumberland, and Xenakis' Oresteia, as well as major revivals of Philip Glass' Hydrogen Jukebox, John Corigliano's The Ghosts of Versailles, Tan Dun's Marco Polo, Lee Hoiby's Summer and Smoke and A Month in the Country, and Stephen Schwartz's Seance on a Wet Afternoon. He has been an assistant conductor at the Metropolitan Opera since 2006, mounting the world premiere of Tan Dun's The First Emperor, and productions of Satyagraha and Nixon in China. He has conducted standard opera repertoire at Edmonton Opera, Wolf Trap Opera, Chautauqua Opera, and Opera Memphis, among others. As artistic director of American Opera Projects from 2001 until 2008, he created the company's Composers and the Voice Workshop Series. Osgood conducted Glass' Hydrogen Jukebox at the 2011 Fort Worth Opera Festival.
Kim Whitener is Producing Director at HERE in New York City, working in partnership with Artistic Director Kristin Marting to curate and produce all of HERE's activities, and is Co-Artistic Director of the new PROTOTYPE opera-theatre festival, a collaboration with Beth Morrison Projects. She is a reviewer for the Pew Charitable Trusts' Philadelphia Cultural Leadership Program, and has served on the NYSCA Individual Artists Panel, the Duke Continuing Innovation panel, the TCG Future Generations/New Audiences panel, the LMCC Swing Space Panel, the Tribeca Performing Arts Center Residency panel, and three rounds of the Ensemble Theatre Collaborations Grant Panel administered by Arts Presenters, funded by the Doris Duke Charitable Foundation.
Keith A. Wolfe, managing director and artistic administrator of Fort Worth Opera, has served a critical role in developing training programs for young artists, including the development of the Fort Worth Opera Studio, a partnership program with Texas Christian University, and formulating "The Ten Commandments of Auditions" with General Director Darren K. Woods, which was featured in Classical Singer magazine. Recent programs include strategic planning for singers in master classes and seminars, and serving as a panelist for Opera America. Previously, Wolfe was general manager for seven years of the Seagle Music Colony in upstate New York, the U.S.'s oldest young artist training program, where he has since returned to conduct Mark Adamo's Lysistrata, and workshops of Jorge Martín's Before Night Falls and Joe Illick's Bliss. Prior to moving into arts administration, he performed with the Virginia Opera, the Washington Opera, the Virginia Symphony, the Shreveport Symphony, and the Virginia Pro Musica.
RoBert Wood founded UrbanArias in 2009, with the idea of creating a company that would produce contemporary opera with excellent casts in small venues. In fact, UrbanArias produces only work written within the last 40 years, and only works that are under 90 minutes in length. By eliminating the perceived barriers of length and language, UrbanArias attracts newcomers to the art form, while producing work of a quality that attracts regular opera goers. UrbanArias produced a festival of three operas in 2011, featuring Elizabeth Futral in Ricky Ian Gordon's Orpheus and Euridice, and Tom Cipullo's Glory Denied; UrbanArias commissioned and premiered Conrad Cummings and Michael Korie's Positions 1956 in 2012. RoBert Wood's conducting credits include his debut at the San Francisco Opera in 2004, and productions at Minnesota Opera, Vancouver Opera, Wolf Trap Opera, Hawaii Opera Theatre, and Opera Colorado ranging from Rossini to Rusalka.
Frontiers 2014 Submission Information:
Applications must be submitted between February 1 and May 31, 2013.
Please contact Kurt Howard, Curator, at email@example.com for submission address and information. All application materials must be submitted electronically through the Frontiers web portal. Only 15-25 minutes of a composition will be considered. Submissions must include: Synopsis of the entire composition; Libretto and Piano/Vocal score of the excerpts (in order within the piece); English translation if the work is in another language. All materials submitted must have the composer and librettist names removed to ensure anonymity during the panel review. A non-refundable entry fee of $20US is due upon submission. Payments will be made with the application submission online. Fort Worth Opera retains the right to select fewer than six works for the showcase. More details are available at www.fwopera.org/frontiers.
Fort Worth Opera's upcoming 2013 Festival season runs April 20-May 12, 2013, and offers Puccini's tragic drama, La Bohème; Donizetti's spirited switched-at-birth romantic comedy, The Daughter of the Regiment; and the company's first-ever production of Strauss' entertaining and comedic opera-within-an-opera, Ariadne auf Naxos, all performed in the company's artistic home, Bass Hall. The company's popular alternative venue series, newly-titled Opera Unbound, will feature the regional premiere of American composer Tom Cipullo's Glory Denied, to be held in the McDavid Studio across from Bass Hall in downtown Fort Worth. An emotion-packed, landmark work based on the bestselling book by journalist Tom Philpott, Glory Denied tells the tragic, true story of America's longest-held Vietnam prisoner-of-war, Colonel Jim Thompson. Nine singers will make their company debuts in lead roles this spring. Please note that the company's 67th season and seventh festival is one month earlier than previous seasons as it moves to its new time.
Tickets for the 2013 Festival can be purchased online, by phone, or in person at the Fort Worth Opera Box Office inside the Fort Worth Community Arts Center at 1300 Gendy St., Fort Worth, Texas, 76107. Season subscriptions start at $35 while single tickets start at $25. For more information, please visit www.fwopera.org or call 817.731.0726 or toll-free at 1.877.396.7372. To purchase tickets online, go to www.fwopera.org.
ABOUT FORT WORTH OPERA: Founded in 1946, Fort Worth Opera is the oldest continually performing opera company in Texas, and one of the 14 oldest opera companies in the United States. Under the leadership of General Director Darren K. Woods since 2001, the organization has gained national attention from critics and audiences alike for its artistic quality and willingness to take risks. Known throughout the operatic world as a champion of new and rarely-performed works, the company has taken a leadership role in producing contemporary operas. In 2007, when the company changed its fall/winter schedule to a condensed one-month long Festival in the spring, FWOpera staged its first world premiere, Frau Margot; and followed up the next season with Angels in America (which resulted in More Life: the Art and Science of AIDS, a community-wide collaboration amongst organizations in the performing and visual arts, children's education, medicine, and social services), Dead Man Walking in 2009, the world premiere of Before Night Falls in 2010, and Hydrogen Jukebox in 2011. The 2012 Festival stages the regional premieres of Mark Adamo's Lysistrata and Jake Heggie's Three Decembers, the first time the two composers' works have been co-programmed. The company's CD recordings of Frau Margot and Before Night Falls are available on the Albany label.
Established in 2002, the Fort Worth Opera Studio is a year-round training program for emerging young artists who are cast from annual national auditions. In addition to receiving professional training while in Fort Worth, the singers also perform in the Children's Opera Theatre, the company's educational program that tours fully costumed, portable operas to elementary schools. COT performances span the whole state of Texas and reach as many as 50,000 children a year, many of whom have no other access to arts education. Since 2007, attendance of Festival performances by out-of-town audiences has grown almost 5%. The local economy has also benefitted, with over 1,900 hotel rooms booked for the last Festival alone. The company has balanced its budget for the seventh consecutive year.
Fort Worth boasts a unique mix of western culture, urban sophistication, and fine art. The city is home to world-renowned arts organizations such as the Kimbell Art Museum, the Modern Art Museum of Fort Worth, the Amon Carter Museum, and the Van Cliburn International Piano Competition. On the other end of the spectrum, the city sponsors daily cattle drives through its Stockyards district, hosts equestrian and livestock events throughout the year, and is home to the Cowgirl Hall of Fame. Downtown Fort Worth is a lively spot for residents and tourists; attractions include fine dining, shopping, night life, and the opera house, the acclaimed Bass Performance Hall.