Kristin Norderval recently posted the following:
“WOW. What a year it has been!!
Beyond the political turbulence, there were many personal firsts.
2016 saw the premiere of my first full-length opera -The Trials of Patricia Isasa – at the Monument National Theater in Montreal; the release of my first CD on a jazz label; and the first performance in New York of ‘Cassandra Ground Zero’, a one woman opera written for me by Eric Salzman in 2001 that has had multiple performances in Europe but none in the US until this year in a new production expertly directed by Kira Simring and produced by the Center for Contemporary Opera. In the fall of 2016 I also had the honor of creating the soundscore for a new jill sigman/thinkdance production – Weed Heart – and participating in multiple related talk-backs and community meetings focused on issues of sustainability and racial justice. All of my work this year felt extremely relevant to the big issues that we are grappling with at this time.”
For those who need an introduction, Kristin is a hugely talented Norwgian-American singer, composer and computer performer!. Her No. 1 achievement in 2016 was the premiere of her own work, “The Trials of Patricia Isasa”, based on the true story of a survivor from the dark period of Argentine fascism not so many years ago. I believe that, unbelievably enough, Patricia Asasa herself attended the premiere which was very well received in Canada although, as usual with important American work abroad, it was ignored here. Anyway it’s an honor to be No. 2 on her 2016 hit list. It was a wonderful performance of “Cassandra” (produced by the Center for Contemporary Opera in collaboration with The Cell) and it can be seen on YouTube!
Ed Shockley, a writer and playwright from Philadelphia, wrote the libretto for “Bobos”, a hip-hop opera, with James McBride which I produced with the American Music Theater Festival. His post was a generous plug for the Oxford New Music Theater book that I wrote with Thomas Desi:
“James McBride and I worked this Eric Salzman several years in Philadelphia as we were doing “Bobos.” This is an important book. James McBride and I worked almost ten years to make it but Eric Salzman was the only one who was not afraid to say the work “Hip-Hop-Opera. (See number 367 in this book.)
American Premiere of Cassandra:
On November 2nd, 2016, the Center for Contemporary Opera presented the final event of its fall festival: a program of Eric Salzman’s vocal music including the American premiere of “Cassandra Ground Zero” with a libretto by his poet/librettist daughter, Eva Salzman. The work was performed by Kristin Norderval, the Norwgian-American soprano for whom it was written. Ms Norderval, who accompanies herself on piano and with live computer processing of her voice, premiered the work at the Ultima Thule and NewOp Festivals in 2001 in Oslo, Norway, and subsequently performed it in Vienna, Austria, and in Germany. This is a modern version of the Cassandra myth which takes place on a Greek island just before Cassandra goes into Agamemnon’s palace where she foresees that she will be killed. Cassandra has the gift of prophecy but, because she rejected Apollo’s advances, he cursed her so that she would never be believed. The performance was at the Cell Theater which co-produced the evening; it was stage directed by Kira Simring, the artistic director of the theater. The program also included several sets of songs by Salzman including his Walt Whitman setting “On the Beach at Night” and “A Meredith Bestiary”, poems by William Meredith, both sung by Jessica Fishenfeld, soprano, with Eric Sedgwick, piano, and “Speaking of Love” a set of e e cummings love poetry performed by Scott Joiner, tenor, with Eric Sedgwick. An added feature was a short film, “Connection Lost: A Tinder Opera” by Adam Taylor with music by Scott Joiner who was also featured in the film and who generously credits Salzman with some of the inspiration for the film.
The projected performance of Cassandra (text by Eva Salzman) by Kristin Norderval scheduled for this summer as part of the Vox Clamans Festival has been postponed until next season with the new date to be announced.
The projected performance of Accord/Discord—including Accord, for solo accordionist, Brecht Suite, and arrangements of Latvian and Argentine tangos—scheduled for performance at the Music Festival of the Hamptons this summer has also been postponed with a new date to be announced.