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Guerilla Opera Appoints New Artistic Directors

Artistic Directors Julia Noulin-Mérat and Aliana de la Guardia. Photo by Tim Gurczak (2018)

In their twelfth season, Guerilla Opera’s board of directors appoints Aliana de la Guardia and Julia Noulin-Mérat as co-artistic directors. De la Guardia and Noulin-Mérat have been working together to produce the experimental company’s world premiere operas and productions since 2009. Together, now they will serve as the faces of the company.

Aliana de la Guardia is a classical singer, actor, and producer hailed by The Boston Globe as “vocally fearless” and “fizzing with theatrical commitment.” The Cuban-American performer is an avid performer of new music, appearing with on programs from the Boston Conservatory New Music Festival, Boston Modern Orchestra Project, Beth Morrison Projects, Center for Contemporary Opera, Firebird Ensemble, Harvard Group for New Music, I/O Ensemble, Ludovico Ensemble, New Gallery Concert Series, and the PARMA Festival. She has performed in over twenty new operas and as a co-founding artist and general manager of Guerilla Opera, she has co-produced and premiered fifteen new operas with roles written specifically for her.  She has been twice nominated as Best Actress in an Opera by ArtsImpulse for roles premiered with Guerilla Opera.

 In addition to her work as Director of Design and Production for Guerilla Opera, Noulin-Mérat is an international production designer and the founder of Noulin-Mérat Studio, an intrepid NYC production design firm that specializes in Theater, Film & TV, with an emphasis in Opera and immersive site specific theatre. She has designed over 350 opera, theater and television productions, including 15 world premiere operas and 22 new plays and produced 50 shows.

When the company was founded, percussionist Mike Williams and composer Rudolf Rojahn acted as co-artistic directors, partners who were equally responsible for shaping the artistic vision of the group. In 2016 Rojahn relocated with his family and Mike Williams upheld the artistic directorship. He notes:

Williams will still serve Guerilla Opera as a producer and on the board of directors. As a performing member of the ensemble, audiences can still expect to see his virtuosic playing featured in future operas.

Read the full press release (.pdf)!

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“Guerilla Opera serves a tasting menu of its past and future” Boston Classical Review

Aaron Keebaugh from the Boston Classical Review writes: “On Wednesday night at Club Oberon in Cambridge, Guerilla Opera, Boston’s experimental opera company, looked to the past as well as to the future.

In a concert performance of scenes from two works the company has performed previously—Per Bloland’s Pedr Solis and Marti Epstein’s Rumpelstiltskin—Guerilla Opera’s singers and musicians returned listeners to the dark and delightfully weird sound worlds that have become a hallmark of the company’s shows. A short scene from Mischa Salkind-Pearl’s A Dead Body, which will make its full world premiere in 2020, revealed that those sounds should remain powerful expressive tools in operas to come.” Read more.

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Guerilla Opera Works with Visually Impaired Patron to Make New Works Accessible

Lead by co-founding member, Aliana de la Guardia, Guerilla Opera is launching a new outreach program to support a deeper, richer and interactive experience for patrons with visual disabilities.

This project was developed in collaboration with Nicolas Martinez, a young musician with visual disability and friend of the cast. Martinez attended a production and he and de la Guardia immediately recognized the potential to more fully engage with and enhance the experience of visually impaired patrons.

This outreach, which supports Guerilla Opera’s educational mission to enhance engagement and further a deeper, richer understanding of the art form, will include the following additions to Guerilla Opera’s programming:

  • One performance from each production will include guided pre-concert tactile tours of the set as well as the company’s usual talk-backs with the composers and creators,
  • Large print program books, and
  • Audio guides & program book narration available for download and to stream from any mobile devices. These will be embedded on the company website and easily downloadable through the Podcast iPhone app, and shared through social media.

The amenities available for Guerilla Opera’s upcoming concert production, “Emergence I,” on Wednesday, June 13, 2018, 8:00PM in the OBERON at 2 Arrow Street in Cambridge, MA, include an online audio narration of the evening’s concert program, narrated by Nicholas Martinez, and PDF versions of program text, concert program narration transcript, and the program book online at http://guerillaopera.org/season/emergence/.


Download this episode (right click and save)

Nicholas uses a Braille tablet to read the transcript. Here he is describing how it works and talking about another technology that would be a game changer!

“Emergence I,” is a concert presentation featuring a first-listen to new music from Mischa Salkind-Pearl’s A Dead Body based on the short story by Anton Chekhov, libretto by Franny Zhang, as well as beloved revivals of Marti Epstein’s magical Rumpelstiltskin and Per Bloland’s dark and brilliant Pedr Solis with libretto by Paul Schick.“Emergence I” is for one night only. Admission is $20.00 and tickets can be purchased now online at www.cluboberon.com, by phone at 617-547-8300 and at-the-door one hour before curtain at the OBERON.

For questions regarding ADA Seating and other accessibility specifics please call the OBERON directly at 617-547-8300.

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