Clustered at the core

In a few weeks time I’m heading to Winnipeg in central Canada, where I’ll be an Artist in Residence at Cluster: New Music and Integrated Arts Festival next month. For my residency, I’ll be devising, directing and conducting three chamber operas by emerging Canadian composers, two of which are world premieres. I’ll be staging the operas in the style of my company, Pazzia Collective, which brings together conducted chamber ensemble and Live Art, or as it’s called in Canada, Performance Art.

I’ll be opening the festival this year with scenes from Ophiuchus Rising, a new chamber opera by Luke Nickel exploring Pop Culture response to the purported shift in the zodiac, brought about by inclusion of the 13th sign, Ophiuchus.

The second night will see a fully-staged realisation of No Masque for Good Measure, a new chamber opera by Matthew Ricketts to a libretto by Shakespeare aficionado, Lauren J. Rogener. The work muses on confusions of gender through the colour of the drag medium, and within the frame of a classically doomed love triangle.

The festival finale, The Gashlycrumb Tinies, is a conceptual piece derived from a recently composed chamber opera by Heidi Ouellette. The musicians of the 2012 festival will come together en masse in a Gothic rendering of alphabetised demise, in conjunction with a team of local performance artists. “A is for Amy, who fell down the stairs..”

Ticketing info for Cluster is now live on the festival website. I’m so honoured to have been offered the opportunity to develop these three great scores, and can’t wait to see the lives they’ll live over the course of the next month.

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