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OPERA

Someone Took They Tongues.
Subito Press will release Someone Took They Tongues. a collection of three of Douglas Kearney’s opera libretti.

The opera singer Jessye Norman once said “pigeonholes are only comfortable for pigeons” and there is no question that Kearney’s latest collection evokes the varied vigorous notations of spirit and voice. He is Ip Man of the idiomatic composition; never failing to wok up typography like a tectonic shift; better yet a culinary linguistic/anthro/euphoric crate deep in the curry, light on the confection and heavy on the vapor rub. Scrubs listen up raise the roof bow down. This collection of Kearney operas is Mecca. Sucktion, for the coloratura, is opulent with trills and leaping puns, teases out the chronicle behind a most odd pairing. Think Proteus IV meets Dyson V6 on the consensual tip. Benbannik is the dramatic soprano that introduces Kearney’s ‘Ngmbo language; obstructing and making anew black folklores like Florida Evans on a busted elevator in Cabrini-Green housing. Jig sums it up. If you manage to spin the breath, unlocking the voice’s mask, that “blackening ash” is neither lirico-spinto, or mezzo, nor a lyric riding the squillo, because simply, a falcon ain’t a pigeon. That’s the power of Blacknuss, baby. After reading these intrepid librettos, orgasmic shutdown may follow. It is all good. This is the stuff that merits a 25-minute encore at the MET. Just buy the damn book. Swirling beads not included.–Latasha N. Nevada Diggs

Crescent City



A “Voodoo Queen” struggles to save a city from a hurricane. Scenes showcased at The New York City Opera program, Vox 2009 in NYC. Full production premiered in Los Angeles, MAY 12.

Sucktion

A woman has a cyber-erotic transformation via the subversive use of a vacuum cleaner. Premiered JUL 08 in Los Angeles. Since, performed internationally.

Mordake

A man born with his sister’s face on the back of his head has a night of reckoning. Premiered MAY 08 in San Francisco.

Jungaeyee
A totalitarian engineer, a machete wielding malcontent and a spider with a taste for meat have an apocalyptic conflict; written in a
counterfeit language. Libretto excerpts published in <em>Performance Research 12:3 On Blackness.