Our 2018/2019 season was our most successful ever, and that was in no small part thanks to the amazing talent that came out to audition for us last year. We are excited to announce our 2019/2020 season, and hope to hear even more of you this year! 2019/2020 will feature a US premiere, a staged premiere, and two Chicago premieres, and we are elated to be partnering with Intuit: The Center for Outsider and Intuitive Art for our Faulty Systems program, which pairs socially-aware works of art and performance with activist speakers.
A NOTE ABOUT FAULTY SYSTEMS: As in past years, singers chosen for the Faulty Systems program will be doing so on a volunteer basis. We will respect your time and offer you an in-kind donation form in exchange for your performance, should you be chosen for this program. As in the last two years, this performance will be presented free of charge, and donations collected will benefit a designated charity.
All roles for the fall production and the spring double bill are paid a modest stipend/honorarium ($200-$400).
Live auditions will be held on
SUNDAY, May 5th from 2:00-7:00pm
& TUESDAY May 7th from 7:00-10:00pm
at Atlas Arts Media, 1806 W Cuyler Ave, #3G
A pianist will be provided, though you may bring your own.
To reserve your audition slot, please email the below items to firstname.lastname@example.org.
Let us know of any specific time requests
Pay a $7 fee via this link: https://www.paypal.me/thompsonstopera/7
Please email the following to email@example.com with the subject line “2019/2020 Auditions”:
-a cover letter briefly introducing yourself and why working with us interests you
-a resume & headshot
-a list of repertoire you have performed by living and modern composers. Include student works!
-your proposed audition repertoire, which MUST include the following:
—at least one selection in English
—at least one selection written after 1950
—at least one aria (others may be art song)
We also encourage you to offer at least one selection that showcases your range and flexibility (Mozart/Handel/Rossini is great, don’t think we only want to hear contemporary music)
All applicants interested in performing a live audition will be assigned a time on a first-come-first-served basis. Slots will be eight minutes in length. The fee will serve as your guarantee of an audition spot, and will be used to pay the pianist. We will not assign you a time until you have paid the fee. If by the time you have paid the fee, all audition slots have been taken, your fee will be returned to you and you will be invited to submit a recorded audition. If you are bringing your own pianist, your fee will be returned to you after your audition. If you do not show up for your audition after paying, we will keep your fee.
Please email all the same materials requested for live auditions to firstname.lastname@example.org with the subject line “2019/2020 Recorded Audition”, with recordings of the requested repertoire; at least one video is strongly encouraged. No fee will be required for recorded auditions.
REPERTOIRE INFORMATION & AVAILABLE ROLES:
Rehearsals begin approx. Aug 18th
Performances Sept. 12th-15th
I will fly like a bird – Chicago premiere 50 mins, performed with chamber ensemble.
Music by John Plant; libretto by J.A. Wainwright *may be paired with another short performance, TBA
Based on the tragic true story of Robert Dziekanski, a Polish man who was fatally tasered in Vancouver airport in 2007 while attempting to immigrate to Canada to be reunified with his mother, who was already living there. The story, told entirely through the voices of Robert and his mother, traces their experience from the eve of Robert's departure from Poland, through the plane ride, the arrival in Canada and the tragic events at the airport, and concludes with an elegy sung by Robert's mother.
Robert – baritone
Mother – mezzo-soprano
FAULTY SYSTEMS: Hope & Home
Rehearsals begin approx. Nov. 4th;
Event: Fri. Dec 6th at 8:00pm, Sat. Dec. 7th at 1:00pm
Apart/ment -Staged premiere 24 mins By Rebekah Driscoll
Four stories of events that led to the characters’ homelessness.
As we break down assumptions about homelessness, Apart/ment reminds listeners that all of us are neighbors.
Faulty Systems is a community event celebrating diversity and inclusion by examining perspectives that we might not otherwise be able to see. Artists, speakers, musicians, and activists come together to share how we can help better our world as individuals to promote a brighter future for all.
Four treble voices; mezzos, sopranos, and countertenors will be considered
*given the ensemble nature of this work, there may be a callback involved to assess blend of voices. This will be scheduled at a mutually convenient time if necessary.
SPRING DOUBLE BILL
Rehearsals begin approx. February 17th
Performances March 26th-29th
Total event time: 75 mins with one intermission
Trifles – Chicago premiere 40 mins, performed with chamber ensemble
Music by John Bilotta; libretto based on the play by Susan Glaspell, adapted by John F. McGrew
In rural Iowa at the turn of the 20th century, a man is found strangled in his bed. His wife is the primary suspect, and the County Attorney and Sheriff come to the home to search for evidence, bringing two female friends of the accused woman with them. While the men search in vain for signs of breaking and entering, the women discover evidence that the woman’s husband had been abusing her. The play is considered one of the first works of American feminist drama, and explores themes of bonding through shared oppression, gendered violence, and the ways in which sexism damages the outlook of both women and men.
Lewis Hale – baritone
County Attorney Henderson – tenor
Sheriff Peters – bass-baritone
Mrs. Hale – mezzo-soprano
Mrs. Peters – soprano
Sojourner Truth – Chicago premiere 30 mins, performed with chamber ensemble
Music by Stanley Friedman; libretto adapted from writings by Sojourner Truth
Sojourner Truth boards a train that is taking her to Washington D.C. where she will meet with Abraham Lincoln. While on her journey she thinks on events throughout her life, she thinks about her children being taken from her and sold into slavery, calling black union soldiers to arms to fight for freedom, and the emancipation of slavery. While she is grateful for these changes she ends by commenting on how much further there is to go and commits to its betterment saying she will “Rock this Nation like a Cradle.”
Sojourner Truth – spinto or dramatic soprano; singers of color only