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Robert Ashley’s opera “The Old Man Lives in Concrete”

Friday, April 27, 20128:00 pm

Produced by Performing Artservices, Inc. and presented by Interpretations and Roulette.

Iconoclast composer Robert Ashley revisits his opera, Concrete, with eight new songs. Each evening’s performance features four solo songs (Portraits) about ordinary people who did extraordinary things for which they’ll never be recognized, alternating with ensemble sections (Meditations) with short solos sung by Ashley (as The Observer).

Libretto, Music and Direction: Robert Ashley
Singers: Sam Ashley, Thomas Buckner, Jacqueline Humbert, Joan La Barbara and Robert Ashley
Electronic orchestra: Robert Ashley
Mixing and live electronics: Tom Hamilton

“Ashley celebrates language and questions its basic hold on truth or rational thought. His ultimate message may be that the language of music strikes deepest.”— The Los Angeles Times

“When the 21st century glances back to see where the future of opera came from, Ashley, like Monteverdi before him, is going to look like a radical new beginning.” — Kyle Gann, The Village Voice

“If James Joyce were alive today, he would probably be trying to write operas like Robert Ashley.” —The Wire

 

Robert Ashley’s Concrete at Roulette 2012 (full concert audio below, Day 3 of 4)

Robert Ashley’s opera “The Old Man Lives in Concrete”

Friday, April 27, 20128:00 pm

Produced by Performing Artservices, Inc. and presented by Interpretations and Roulette.

Iconoclast composer Robert Ashley revisits his opera, Concrete, with eight new songs. Each evening’s performance features four solo songs (Portraits) about ordinary people who did extraordinary things for which they’ll never be recognized, alternating with ensemble sections (Meditations) with short solos sung by Ashley (as The Observer).

Libretto, Music and Direction: Robert Ashley
Singers: Sam Ashley, Thomas Buckner, Jacqueline Humbert, Joan La Barbara and Robert Ashley
Electronic orchestra: Robert Ashley
Mixing and live electronics: Tom Hamilton

“Ashley celebrates language and questions its basic hold on truth or rational thought. His ultimate message may be that the language of music strikes deepest.”— The Los Angeles Times

“When the 21st century glances back to see where the future of opera came from, Ashley, like Monteverdi before him, is going to look like a radical new beginning.” — Kyle Gann, The Village Voice

“If James Joyce were alive today, he would probably be trying to write operas like Robert Ashley.” —The Wire

 

Robert Ashley’s Concrete at Roulette 2012 (full concert audio below, Day 3 of 4)