The American Lyric Theater came to the attention of COMMANDOpera last season as the group which effectively brought the new American work, The Golden Ticket, to fruition. This is a most interesting and important organisation who could have had their mission statement lifted directly from the pages of this venue, such is the consonance of thought. For example this is part of the read in their ‘Background’ information: ”One of the most fundamental concepts behind ALT’s vision is understanding that opera did not become unpopular. Historically, opera was made unpopular in the United States as it was removed from popular culture. During the mid-nineteenth century in America, culture was divided into popular and elite arenas as the social elite gravitated towards arts and cultural organizations. By framing culture according to their own tastes and sensibilities, the wealthiest members of society gained control of opera by taking it out of the marketplace that had, up to that point, catered to a broad public. By insisting upon only presenting foreign language works in specially created venues, which themselves fortified a code of behavior that was deemed “appropriate” for cultural enrichment, a small but powerful portion of society effectively removed opera from the sphere of popular entertainment in the United States.”

They further write: “Until ALT started the Composer Librettist Development Program (CLDP), there was not a single full-time training program for opera composers and librettists at any opera company in the United States. Almost every opera company in the country has a Young Artist Program to mentor emerging singers, and over the past 25 years, these programs have proved immensely successful at improving both the artistic level and the career success of American singers around the globe. Imagine what could happen if the same sort of opportunities were available for operatic writers. ALT is doing more than imagining this – we are making it happen. The CLDP has been designed to address the absence of appropriate mentor ship for our writers.”

Composer Librettist Mark Adamo works with Mezzo Soprano Jennifer Rivera.

When COMMANDOpera received the announcement of the new roster of resident artist’s, there could be no question this venue would investigate with great interest. In speaking with Mr. Lawrence Edelson, COMMANDOpera was given to understand selections were made on the basis of excellence within the art form these composer’s and librettist’s are traditionally at home. Fashioning new operatic works without question owns a series of priorities and nuances unique to the art form. One does not follow the same rules say, if one were writing a stage play, or composing jazz. Which is what makes the work of the ALT so very critical not only for the survival of Opera within the American mainstream but abroad. Stylistic diversity in Opera is not a new theme, but perhaps one which has been misplaced for the last 50 years. Recent history has shown a marked lack of enthusiasm of theatres to infuse new blood into the repertoire, preferring to maintain the status quo with old works. This is unacceptable. If Wagner could emerge at the same time as Verdi, COMMANDOpera does not understand why new rhythms cannot be incorporated into the art form. The keepers of Opera have lost their way in maintaining Opera as a vibrant living art form which is of interest to modern tastes. Blood, nudity, and impropable ‘updates’ only take the genre down a solitary dead end.

Composer Daniel Catan advises Librettist Emily Conbere and Composer Alexandra Vrebalov.

The ascendant eight are comprised of four librettists and four composers. The residency is for one year in New York. Those who are selected must make themselves available to be in New York for that period. Through out the year, these already elite artists will be under the tutelage of some of the most respected names in American Opera, attending regular workshops and classroom curriculum. It is not for the feint of heart, particularly if one is an established artist within their own discipline. COMMANDOpera is much taken with the extraordinary talent of these individuals, whose biographies can be found here. Librettists include, Mr. Tony Asaro, Miss Rochelle Bright, Miss Maggie-Kate Cloeman, and Mr. David Simpatico. The Composers are, Mr. Christopher Cerrone, Mr. Gerald Cohen, Miss Justine F. Chen, and Miss Nkeiru Okoye.