Queer Artists Debut Innovative Operas at Kennedy Center: A Blend of Tradition and Modernity

If the world of traditional opera seems dauntingly antiquated, the American Opera Initiative (AOI) offers a refreshing alternative. Now in its twelfth season, this program from the Washington National Opera provides a nurturing platform where composers and librettists collaborate under expert mentorship. Their efforts culminate in the debut of three engaging, 20-minute operas, premiering in a celebrated event.

This year, the initiative proudly features the talents of two queer artists, JL Marlor and Omar Namji, who bring their unique perspectives and experiences to the operatic stage. Both artists are not only gifted composers but also performers and arts administrators, expanding the boundaries of their creative capabilities.

Marlor, known for her diverse artistic pursuits, is an electric guitarist and the lead singer in the indie rock band Tenderheart Bitches. Her opera, "Cry, Wolf," created with librettist Claire Fuyuko Bierman, tackles compelling contemporary themes. "Cry, Wolf" examines the lives of three young men navigating internet ideologies and the communities that form around them. The opera delves into the troubling aspects of online spaces, such as those associated with the red-pilled manosphere.

"To me, it’s a very timely piece inspired by an outlook that has real-world consequences," Marlor explains. "We often hear about how incels view women, but I wanted to explore how they view themselves." Bierman, whose background in stand-up influences her work, adds, "The libretto feels like a comedy until, quite suddenly, it doesn’t."

Marlor’s introduction to opera was almost incidental, influenced by the musical tastes of her gay uncles, who regularly played classics by Maria Callas and Beverly Sills. However, her appreciation for opera took a transformative turn at Smith College, where she studied under the guidance of composer Kate Soper. Soper’s modern opera "Here Be Sirens" left a lasting impression, igniting Marlor’s passion for the art form.

Having come out at 25, Marlor found solace and strength within the community of queer women in classical music, an experience that has bolstered her confidence and career. She currently resides in Brooklyn with her partner and their senior dog, continuing to push the boundaries of operatic expression.

Omar Namji, alongside librettist Christine Evans, presents the opera "Mud Girl." Set in a dystopian world scarred by climate change, this poignant piece follows a mother, her daughter, and Poly, a child created from toxic waste. It explores their complex relationships in a world that challenges their resilience and humanity.

Namji’s path to opera was unconventional. Initially pursuing a degree in musical theater at Ithaca College, a fortuitous transfer to the School of Music redirected his focus to opera. This transition allowed him to explore his burgeoning talent as a tenor and composer. His creative journey is characterized by a deep passion for composition, which he describes as his "creative passion," while singing remains a "trade or sport" that he practices and performs.

In "Jo Dooba So Paar," one of his recent operas, Namji draws from personal experiences, exploring the intersections of his queer and Muslim identities. Although raised in a secular household in Boston, he felt compelled to tell stories that reflect his dual cultural experience. Namji’s artistic voice resonates with themes of unrequited longing and the sentimentality of growing up in an era where homosexuality was becoming normalized.

Working closely with his husband, Brendon Shapiro, Namji co-founded Catalyst New Music in 2022. Based in Boston, the organization is dedicated to fostering new musical works and supporting emerging artists.

The AOI’s three operas will be conducted by George Manahan and performed by the talented Cafritz Young Artists at the Kennedy Center Terrace Theater on January 18, with shows at 7 p.m. and 9 p.m. Following this world premiere in Washington D.C., the operas will travel to New York City, marking AOI’s inaugural collaboration with the Kaufman Music Center. The New York performance is scheduled for January 23, offering a broader audience the opportunity to experience these innovative works.

Through their artistic contributions, Marlor and Namji exemplify the vibrant intersection of tradition and modernity in opera, bringing fresh narratives and compelling voices to the operatic stage.