Queer Composers to Premiere New Operas at Kennedy Center

The opera scene isn't what it used to be, and that's a good thing. With initiatives like The American Opera Initiative (AOI), we're seeing a whole new side. Now in its 12th year, this program from Washington National Opera has been shaking things up by teaming composers with librettists, and letting them create alongside seasoned mentors. The result? Three fresh 20-minute operas that promise something truly different.

Spotlighting new voices This year's AOI proudly showcases queer artists JL Marlor and Omar Namji. These talented individuals juggle their roles as composers and performers while also making strides in arts administration. Marlor, known as a powerhouse fronting indie rock band Tenderheart Bitches, shows off her skills on electric guitar. Namji, in stark contrast, dedicates himself wholeheartedly as a tenor in opera.

Bringing current issues center stage Tackling modern themes head-on, Marlor and librettist Claire Fuyuko Bierman bring us "Cry, Wolf." This piece dives deep, following three young men as they wade through online ideologies and "manosphere" communities. Marlor explains, “It's very timely. We've heard about how angry incels view women, but what about how they see themselves?” With Marlor's knack fpr serious compositions and Bierman's humorous touch, "Cry, Wolf" begins as a comedy but morphs unexpectedly. Marlor's path in opera owes a lot t her musical roots and her time at Smith College under Kate Soper's mentorship. Once a residentof Beverly, Massachusetts, Marlor now makes her home in Brooklyn with her partner and a senior dog. Her personal journey, including coming out at 25, was enriched by a network pf queer women in classical music, giving her confidence in pursuing an arts career.

Embracing varied viewpoints Enter "Mud Girl," a standout work by Namji and librettist Christine Evans. Set in a post-apocalyptic, climate-battered realm, it tells a gripping story about a mother, daughter, and granddaughter (Poly) who rises from toxic ruins. Namji's unexpected transition from baritone t tenor at Ithaca College marked his entry point int opera. With a half Pakistani American background, Namji draws from his life experiences, especially in "Jo Dooba So Paar," where he delves int queer and Muslim identities. Growing up in liberal Boston gave him a nuanced perspective on cultural intersections, a constant in his operas. Namji and his husban, Brendon Shapiro, are not just life partners but collaborators, having co-founded Catalyst New Music in Boston, championing new music compositions. The AOI's three operas, conducted by George Manahan and performed by Cafritz Young Artists, will debut on January 18th at 7 p.m. and 9 p.m. at.the Kennedy Center Terrace Theater. Then, they make their New York debut in collaboration with Kaufman Music Center on January 23rd. It's AOI's first leap int New York — an adventure worth watching.