Hawaiian Artists Work with Opera Youth

Seattle Opera youth and Teaching Artist Andrew Coopman learning hula from Cyndi Aiona Kahaiali'i, Co-Producer with Live Aloha Cultural Festival.  

This fall, Seattle Opera partnered with the Live Aloha Hawaiian Cultural Festival to learn and record a youth opera based on the legend of Lā‘ieikawai. Composed by Neil Mckay, Lā‘ieikawai: Princess of Paliuli has previously been performed in a virtual format by youth singers with Hawai‘i Opera Theatre's Youth Opera Chorus. The entire rehearsal process took place over Zoom. The Live Aloha teaching artists taught participants about the Hawaiian culture, lei-making, the legend of Lā‘ieikawai, and choreographed a hula dance for the opera’s finale.

After learning their individual singing/dancing parts, youth participants filmed themselves (or had a parent film). The individual video files were compiled into one final, digital "performance," and shared with parents and families in December.

Meet This Year's Creation Lab Artists

 

Top, from left: James T Washburn (librettist), Aaron Jin (librettist), Steven Tran (composer), Drew Swatosh (composer), Rheanna Atendido (librettist and composer). Middle: Brian Dang (librettist), Christopher Reed (composer), Chess Albaneze (composer), Mirabai Kukathas (librettist), Elise Winkler (composer). Bottom: E. Lily Yu (librettist), Rico Lastrapes (composer) & Larisa Juno (librettist) and Paul Stovall (composer) & Julia Koyfman (librettist). 

Seattle Opera announces the inaugural cohort of the Jane Lang Davis Creation Lab, which aims to support a new generation of storytellers in opera. The initiative is open to Washington artists ages 18–30 of all backgrounds—including those without opera experience. The 15 people selected will create short works, which will be performed in Tagney Jones Hall at the Opera Center in 2021.

“Opera cannot continue without new stories and new voices to complement great works of the past,” said Seattle Opera General Director Christina Scheppelmann. “I am so glad that the project has attracted high-caliber and accomplished artists, who bring diverse experiences to the program."

In addition to musicians and theaters artists, participants include a fiction writer, a film producer, a Juilliard student, and more.

Indigenizing Opera: Renson Madarang

In a year where racial equity has been top of mind, what does decolonization in opera look like? Decolonization is the process of breaking down systems that place Western worldviews above all others. This is relevant for opera, which has often existed through the lens of narrow, European perspectives. Opera has often told stories that exoticized People of Color. They are depicted as caricatures (Ping, Pang, and Pong), tragically foreign (Cio-Cio-San), stereotypes (Sportin' Life), or as sexy, exotic firecrackers (Carmen). But decolonization is about returning to our shared place of humanity; here, we can no longer hide behind our own ignorance, or create stories about people whom we fear or don't know. Decolonization is about recognizing one another as equals, and courageously embracing our differences. It requires valuing Indigenous ways of life, and ensuring that Indigenous people are able to determine their own destinies, be it in a story or in real life. 

One person who is finding ways to be his full self in opera is tenor Renson Madarang. Madarang has performed on operatic and concert stages around the world, as well as in the studio collaborating with Disney. As a Kanaka ʻŌiwi (being of Native Hawaiian and Filipino descent), he is also a member of the Royal Order of Kamehameha I. In addition to his work in the arts, Madarang is passionate about his work at Indiana University's First Nations Educational & Cultural Center (FNECC). As the Native Education and Programs Assistant, he's been working with various departments and schools at IU, discussing issues around Native voice and the systemic oppression of racialized minorities in higher education. He recently engaged with Music Education students surrounding Native/Indigenous music, and its treatment in American Music Education. Madarang describes his experience as having a "decolonized identity" in a "colonized art." As someone who loves opera and is committed to the sovereignty of his own people, he has ideas on both potential problems—and exciting collaborations—between Indigenous people and Western art forms.   

What is it like having a decolonized identity within a colonized art? How do you navigate that?

I would liken it to being an analog person in a digital world. I try to live out parts of my Native Hawaiian culture, but it’s still very much a colonizers’ world. You still need the ability to be able to code-switch between cultures. Indigenizing opera is not an easy task, but it’s an idea we still need to embrace. Opera is for all people—it has the ability to embrace our Indigenous mechanisms, our sounds, our ideas. Opera can be a bridge between people, too. Every culture uses music and movement to present stories. Opera can be a vehicle to introduce Indigenous ways of knowing and existing to the non-Indigenous.

Seattle Opera Digital Spring Season

From left: Sarah Larsen, Andrew Stenson, Jasmine Habersham and Karen Vuong will offer free recitals for Seattle Opera.  

Seattle Opera is excited to reveal our digital Spring Season today, which includes new streaming operas for subscribers and plenty of free opera fun for all. The company will build off the success of free content produced during the pandemic. Thus far, free recitals have garnered more than 20,000 views from around the world, and more than 150,000 listeners have tuned in to enjoy free broadcasts on Seattle Opera Mornings on KING FM. 

These broadcasts will continue, as well as free recitals: Sarah Larsen performs in “Ode to Beethoven,” as part of the city-wide digital Beethoven Festival on Dec. 16. Also in the winter, Andrew Stenson (from The Elixir of Love) performs on Jan. 29 and Jasmine Habersham (Don Giovanni) will offer a recital on Feb. 19. Karen Vuong (Flight) rounds out free recitals on May 7. Featured pianists will include David McDade (Jan. 29 and Feb. 19) and John Keene (Dec. 16 and Feb. 19). 

Another opportunity to enjoy free content will come during the Big Opera Show, the company’s virtual fundraising event, at 4 p.m. on Sunday, April 11. Special guests will be announced in early 2021.