To have this yea’s Chorus America conference hosted by one of North America’s leading choral ensembles—Chanticleer (known for their fierce dedication to New Music)—has helped to put a real focus on composers, commissions, new media and inventive initiatives.

By Julian Wachner
Although it was only hinted at in the two panels, murmured about in receptions, and obliquely brought up by singers looking for interpretive direction, the major question remains: when we composers sit down and type in the phrase “An Opera….” at the start of our score, do we feel the weight of Nozze, Elisir, Giulio Cesare, Bohème, Carmen, Rosenkavalier, Wozzeck, and Peter Grimes?

By Julian Wachner
Personally, conducting two very different works one right after the other was an exercise in flexibility and efficiency, and I have to say that all of my work with the Feldenkrais method made this possible without hurting myself.

By Julian Wachner
The ten works being featured in this festival/laboratory are a beautiful snapshot of what’s going on today in contemporary opera and it’s been a wild ride to be a part of this voyage both as a conductor and as a composer participant.