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Projects
Zachary Wadsworth
Fellow, 2011-2012
Wadsworth's initial residency was with Center City Opera (Philadelphia), working with Michael Ching on the premiere of his new opera Slaying The Dragon. Wadsworth then joined Santa Fe Opera, where he participated in readings of Theodore Morrison’s Oscar. He was then in residence at the Metropolitan Opera for the mounting of Thomas Adès’ The Tempest. While at the Met, Wadsworth worked with Paul Cremo, the Met’s dramaturg and director of the Met’s opera commissioning program. Finally, he attended rehearsals and a performance of the Seattle Opera's Ring Cycle in the summer of 2013.
Dan Visconti Fellow 2010-2011
Dan Visconti's Fellowship began with a residency at Seattle Opera for the world premiere of Daron Hagen’s Amelia, and where he was mentored by Hagen, to whom Mr. Stepleton and the entire board expressed gratitude and appreciation. Visconti's later residencies included Opera Theater of St. Louis (for The Golden Ticket), New York City Opera (for Bernstein’s A Quiet Place) and the Metropolitan Opera (for John Adams’ Nixon in China.) As a result of his Moore Fellowship, he was asked to prepare a proposal for a children’s opera by Opera Theater of St. Louis.
Visconti was recently selected as one of the winners of the prestigious Rome Prize from the American Academy of Arts and Letters.
Eli Marshall
Fellow 2008-2009
Eli Marshall began his residency at Lyric Opera of Chicago in August, observing the technical rehearsals and season launch of Massenet’s Manon, starring Natalie Dessay and Jonas Kaufman. Marshall was in residence at the Metropolitan Opera in New York, observing the rehearsals and opening night of John Adams’ Dr. Atomic. At the Met, he reported to Paul Cremo, the Met’s dramaturg, and also renewed contact with his former Curtis Institute classmate Meredith Arwady, who had been in the Young Artist program in Chicago and was now singing in Dr. Atomic. At the end of October, Marshall returned to Chicago where he continued to attend rehearsals and performances and to make plans for his Spring residency with Stewart Robertson at Florida Grand Opera.
Gabriel Gould
Fellow 2006-2007
Composer Gabriel Gould was partnered with conductor Stewart Robertson. Gould was in residence for three premieres, including The Greater Good (Steven Hartke, Glimmerglass), Wakonda’s Dream (Anthony Davis, Opera Omaha) and Anna Karenina (David Carlson, Florida Grand Opera). In addition to his work with Robertson, he composed a setting of children’s poems related to the theme of Wakonda’s Dream that was part of Opera Omaha’s educational programming in connection with Anthony Davis’s opera. Following on that success, Gould attended the 2007 National Conventon of Opera America (held in Miami and featuring the premiere of Anna Karenina) where his composition was also performed at the convention as part of the New Works Forum. As a final note to what was a very successful year, both for Gould and for the Moore Fellowship as well, he received a commission from the Episcopal Bishop of Omaha for a new work, and also began orchestrating one of his previous vocal works to be included on a CD conducted by Stewart Robertson.
Alexandra Vrebalov
Fellow 2004-2005
Composer Aleksandra Vrebalov’s first full length opera, MILEVA, has been performed in Novi Sad, Belgrade, the Armel Opera Festival in Szeged/Hungary and the National Theater in Zagreb Croatia. It was commissioned and premiered by the Serbian National Theater in Novi Sad and is about Albert Einstein’s first wife, Mileva Maric Einstein. Vrebalov has had a long and fruitful collaboration with the Kronos Quartet. As the Douglas Moore Fellow, she spent a season in the Glimmerglass Opera, Opera Memphis and Florida Grand Opera, where she immersed herself in all aspects of opera production. In 2015 Vrebalov received the Golden Emblem from the Serbian Ministry of Foreign Affairs for contribution to Serbian culture.
The Interaction Effect
Composer Pamela Stein Lynde / Librettist Laura Barati
From Page to Stage 2019-2020
From Page to Stage promotes contemporary opera to New York audiences though the presentation of staged excerpts of new opera in development. Providing an important opportunity for new composers and librettists to view their work-in-progress with an audience, provides a valuable tool for developing a stage-worthy new work, before it reaches full-scale production. New American Opera Previews: From Page to Stage creates vital opportunities for young artists to perform in the developing scenes and to work with new writers and composers. This forum provides a natural bridge from academic training to the professional stage
In The Interaction Effect, Mikaela, a senior statistics major at a liberal arts college, just wants to forget the night her friend Adam raped her at a college party, and her school administration’s painful mishandling of her assault. But when Mikaela learns that Adam has assaulted another student—a sophomore too scared to report the assault—she is forced to confront her community and administration’s desire to ignore campus sexual assault.
