An Operatic Star Spotter Announces Its 2020 Festival

Prototype, the competition of recent work whose ambitions are aptly conveyed by its subtitle, Opera/Theatre/Now, has in its seven seasons gained a popularity as a star spotter.

It has dropped at New York two items that went on to win the Pulitzer Prize for Music: Du Yun’s “Angel’s Bone” and, this 12 months, Ellen Reid’s “prism.” (Both these works have been produced by Beth Morrison Projects, which presents Prototype with HERE, the humanities middle in SoHo.)

So audiences will likely be watching rigorously to see if awards recognition could be sooner or later for the six works that will likely be proven in Prototype’s eighth season, which can run Jan. 9-18 at theaters all through Manhattan and was introduced on Wednesday.

The attribute Prototype work is brief in size and grim in material. Last 12 months’s competition revolved round shows “of almost cataclysmic suffering, the kind of pain that lingers without reason or resolution,” I wrote in a New York Times evaluate.

The 2020 installment might nicely observe in that custom. One featured work, a New York City premiere, is the composer Ricky Ian Gordon and the poet Frank Bidart’s one-act “Ellen West,” primarily based on accounts of an early psychoanalytic affected person. The forged options the soprano Kiera Duffy (the star of “Breaking the Waves,” seen at Prototype in 2017) and the baritone Nathan Gunn; Emma Griffin directs, and Lidiya Yankovskaya is the music director.

The different shows embody: “Blood Moon,” with a libretto by Ellen McLaughlin and a rating, by Garrett Fisher, impressed by the Japanese percussion fashion taiko “Magdalene,” a setting of Marie Howe poems scored collectively by 13 ladies; “Iron & Coal,” composed by Jeremy Schonfeld and primarily based on his father’s Holocaust memoir; “Cion: Requiem of Ravel’s ‘Boléro,’” organized by the South African choreographer Gregory Vuyani Maqoma; and “REV. 23,” with a rating by Julian Wachner, the director of music and the arts at Trinity Wall Street, and a libretto by Cerise Lim Jacobs.

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