SOPRANO ARIAS
EMBEDDED
Composer: Patrick Soluri
Librettist: Deborah Brevoort
SYNOPSIS
Embedded takes place in the world of broadcast journalism. Sylvia Malow, the anchor of Deadline, a high-profile news program on a major American network, is in the middle of a broadcast when her program is interrupted with a news flash delivered by Victoria Reilly, an attractive, young up-and-coming journalist. Sylvia is distressed to learn that the network is expanding Victoria’s role, a signal that Sylvia’s days as the anchor will soon be over.
Sylvia leaves the studio in despair over the thought of being thrown over because of her age. When she arrives at her home in New Jersey, she receives a mysterious box that contains a cell phone and a GPS device. The cell phone rings. The caller is Montresor, an Italian terrorist from Linea Dell Morte. He offers to embed Sylvia in his terror cell and to give her an interview to discuss his new plans for an upcoming attack on New York City.
Sylvia balks at the morality of participating in something like this but can’t resist the temptation of a good scoop, especially considering the rise of Victoria Reilly at the network and her now vulnerable position. She knows the Montresor interview will make thrilling television programming and solidify her position with the network. She agrees to meet him at Amontillado’s, a popular wine bar in lower Manhattan. She also agrees to stay on the phone with Montresor as she drives into the city so he can monitor her progress via the video cam in the phone.
Sylvia gets in her car and heads for the city. Shortly after she enters Holland tunnel, there is a series of explosions. Montresor reveals that he has bombed the tunnel. In a few moments she will be completely embedded; not in a terror cell, but beneath the Hudson River. She won’t be reporting the story, he tells her. She is the story. The camera in the car is live-streaming the event onto the internet. She is the victim of real-time terrorist event, streaming live on You Tube.
When Montresor reveals that Victoria Reilly is reporting the story of the bombing on Deadline, Sylvia takes matters into her own hands by reporting the event--and her own death—herself, from inside the tunnel using the video cam in her phone. She realizes that by dying she will outlive Victoria; she will remain eternally young, embedded in memory via her final broadcast and her live-streamed death. The opera ends with Sylvia turning the horror of her death into a moment of triumph that celebrates her immortality.
OUR VALUE LIES IN HOW WE LOOK
Aria for lyric or spinto soprano
Sylvia Malow, a middle-aged anchor of Deadline, a high-profile news program on a major American network, is in the middle of a broadcast when her program is interrupted with a news flash delivered by Victoria Reilly, an attractive, younger, up-and-coming journalist. Sylvia is distressed to learn that the network is expanding Victoria’s role on the show, a signal that Sylvia’s days as the anchor will soon be over. Sylvia is in despair over being tossed aside because of her age. This aria, which is a travel song, is sung as she leaves the studio, summons a car, and is driven to her house in New Jersey. After arriving home, she examines herself in the mirror and vows to find some way to survive the aging war in the youth-obsessed broadcast industry.
THE HALLOWEEN TREE
Composer: Theo Popov
Librettist: Tony Asaro
Based on the novel “The Halloween Tree” by Ray Bradbury
SYNOPSIS
In a small American town, a group of adolescents — Tom, J.J., Kelly, Lynn, and Lynn’s younger brother Lenny — set out in costume for a grisly and gripping Halloween night of trick-or-treating and macabre mayhem. But one of their friends is missing: Pipkin, the greatest boy who ever lived. They find him at his house, ill and unable to join them now but eager to meet up later at the haunted house far down along the ravine.
The House of Haunts is frightening and otherworldly, complete with a tree full of singing jack-o-lanterns, and an equally otherworldly host: Mr. Carapace Clavicle Moundshroud, who likes to choose tricks over treats. Moundshroud informs the children that Pipkin is in grave danger; that they have until midnight to save him. They must go on a journey through time and space, visiting distant lands in ancient times, overcoming obstacles, warding off danger, and gathering talismans.
Through their journey, Tom and the other children encounter the various cultural traditions and rituals around death that make up our modern Halloween tradition and in turn learn about human mortality.
WITS!
Aria for light lyric coloratura soprano
Mr. Moundshroud informs the children that their next stop is Medieval France to encounter witches. Precocious know-it-all Lynn explains what the word “witch” means, and why witches deserve respect.
SHERLOCK HOLMES AND THE CASE OF THE FALLEN GIANT
Composer: Evan Meier
Librettist: E.M. Lewis
SYNOPSIS
A giant is dead, and his body lies at the base of a great beanstalk. The police believe young Jack is responsible. But the boy insists he's innocent, and begs the help of the great detective Sherlock Holmes and his colleague, Dr. Watson.
Holmes must use logic to navigate a world that is surprisingly full of magic, menace, and mayhem! He surveys the scene of the crime. He interrogates several suspects, including Zamira, who traded Jack the magic beans, young Jack's grandmother, and a giantess! A magic harp provides Holmes with clues in the form of quotes from several opera greats, all cleverly woven into the plot. And finally, Holmes and the others visit the magical land of NorWood, where Holmes faces the biggest challenge he's ever encountered.
Can Holmes untangle this magical mystery? This delightful libretto and buoyant, inventive score are sure to have you on the edge of your seat. The game's afoot in this operatic adventure for the entire family!
BIG HURT
Aria for dramatic or full lyric soprano
In this earnest song of love and reconciliation, Merilee the Giantess forgives her Giant husband Blunderbore for the scare he gave her when he fell down the beanstalk, and how much she loves him. (in the complete opera, this Aria appears as a duet with Blunderbore.)
MERILEE’S STORY
Aria for dramatic or full lyric soprano
Merilee the Giantess explains to Sherlock Holmes how she and her husband became involved with the mysterious Zamira and her magic, and young Jack and his beanstalk.
ZAMIRA’S STORY
Aria for soprano (light lyric or coloratura)
Zamira, who sells magical spells and trinkets, explains to Sherlock Holmes how she became involved with the giants, and Jack, and his beanstalk.