Opera Librettist

Opera is the clearest and most tangible example of a person’s willing suspension of disbelief — using the human voice as the principal vehicle for the intersection between live performer and spectator. I believe the contemporary singing theater should incorporate what we have learned about storytelling, identity, relevance and stagecraft. Why do characters sing rather than speak? They do so because the moments in telling their story are so heightened that singing and music is the only means for them to express their feelings authentically. I believe libretti should be constructed with form, shape and concision. Opera is glorified by music — whether it is a lone, unaccompanied voice, or a 54-piece orchestra. However, the libretto anchors, defines and expounds the journey that each character takes. In that regard, the music and words are inseparable. In my approach to writing for the singing theater, the composer constructs the mansion. The librettist fills it with the furniture. 

A Thousand Splendid Suns
An Incident in Sutton Square
The Wooden Sword
The Woman in Penthouse A
The White Rooster
The Pleasing Recollection