Backwards from Winter
Monodrama for Soprano, Electric Cello, Computer Sound and Video
Douglas Knehans (music) and Juanita Rockwell (libretto)
Monodrama for Soprano, Electric Cello, Computer Sound and Video
Douglas Knehans (music) and Juanita Rockwell (libretto)
"We are under a canopy of nature, sometimes melancholy and at others joyous. Briegel's clarity of tone is amplified. None of the electronic music turned shrill. Composer Knehans has a sense of the right balance between what is human and what is not. The sometimes abrasive cello lines fit perfectly in the sound cloud.
Winding backwards from grief to the joy of spring and awakening leaves both the artists and the audience in a good place."
— BERKSHIRE FINE ARTS on New York City World Premiere
"The first object to notice when entering the dimly lit hall was an upturned car; haze emerging from somewhere near its roof that was pressing into the ground, indicating a fatal accident had recently taken place. In front, a catwalk-like stage was set and a solo electric cellist and vocalist (Antonis Pratsinakis) waited at the far end. The audience was seated parallel to this long stage, which was covered with a sheet of white pillows; over this, projections of various shapes and colours were cast to indicate the mood of the opera."
"I did take pleasure in the full experience of this opera. It's darkness matched the sex-and-death themes of the Dark Mofo festival."
— LIMELIGHT MAGAZINE on the Australian Premiere Season
Backwards from Winter is an hour long operatic monodrama exploring a single woman’s reflection on a love relationship as seen through various elemental filters of seasons, color, nature, emotion and memory and told through live voice, live electronic/computer music and multiple video streams.
She traces the past year with her beloved, moving backwards through time: from deep winter where she is in grief over his death, to autumn, where she experiences the sharp pain of losing him in a storm, through the summer’s heat of their passion, to the heart-opening birth of their love in spring.
Just as our conventional experience of linear time can be disrupted by deep grief or joy, this operatic work destabilizes theatrical conventions of narrative, character, psychology, conflict, language and setting as it explores impermanence, loss and love.
With a gift for extravagant color, beautiful melodic style, and engaging, soulfully dramatic work, the music of award winning composer Douglas Knehans has gained attention around the world. Knehans’ two-piano work cascade has been hailed by Fanfare Magazine as “... effective ... incisive ... hauntingly beautiful ...” A disc of his early music for acoustic and electric cello was released on Ablaze Records in the fall of 2010 and was called “amazingly sophisticated ... very beautiful ... intriguing ... captivating ...” by Audiophile Audition.
Douglas Knehans has received awards from the American Music Center, the NEA, the Australia Council Performing Arts Board, Yale University, the MacDowell Colony, Opera Australia, The Cannes Film Festival, Carnegie Hall, The Kennedy Center, The National Symphony Orchestra, The Academy of Television Arts and Sciences, Meet the Composer and a host of others. His works have been broadcast on ABC Radio and Television (Australia); NPR and PBS (USA); RAI Radio and Television (Italy); and HTKY, the National Television Broadcaster in Ukraine.
Douglas Knehans received his initial music education at the Australian National University. He has received scholarships and awards from Queens College, CUNY where he gained his M.A. in composition with Distinguished Professor and renowned composer Thea Musgrave, receiving the first Luigi Dallapiccola Composition Award (1991) for outstanding achievement in music composition. In 1991 Knehans entered the Doctoral program at Yale University where he studied with Pulitzer Prize winning composer Jacob Druckman, graduating with the Woods Chandler Memorial Prize (1993) for best composition in a larger form.
Knehans has been chair of Composition at the University of Alabama School of Music; was Professor of Music and Director of the University of Tasmania Conservatorium of Music between 2000-2008; and Dean of the College-Conservatory of Music (CCM) at the University of Cincinnati from 2008-2010. He is currently the Norman Dinerstein Professor of Composition Scholar at CCM.
Juanita Rockwell is a writer and director specializing in the development of new work at such venues and companies as The Ontological, Mabou Mines/Suite, Culture Project, Blue Heron, Bushwick Starr, Access Theatre (NYC); Theatre of the First Amendment, Source, Atlas, DCAC, Everyman, Theatre Project, Single Carrot, Iron Crow, AcmeCorporation, UnSaddest Factory, Bell Foundry (DC/Balto); Gas & Electric Arts (Phila); Wadsworth Atheneum, Hartford Arts Center, Jorgenson Theatre, Ashford Barn (CT); City Theatre, Black Sheep Festival (P’burgh); Teatro Municipão (São Paolo); Teatro Abya Yala (San José, CR); RS9 (Budapest); and broadcast on NPR. Produced writing for performance includes The World is Round (libretto and direction for opera, composer James Sellars), Waterwalk* (libretto for gamelan opera, composer Robert Macht); Cave in the Sky (script and direction for puppets/multimedia); Lunar Pantoum* (text for dance-theatre); The Circle (script for alternative art audiowalk); Upstream (script for radioplay); Across the Void, Packing/Pecking, Language Monkey, Quantum Soup* (short plays); Playing Dead* (translation from Presnyakovs w/Yury Urnov); Between Trains, What’s a Little Death* (plays with songs, composer Chas Marsh).
As Artistic Director of Hartford’s Company One for six years, Juanita directed early premieres for stage and radio. In 1994 she became the founding artistic director of Towson University’s experimental MFA in Theatre, directing the program for a dozen years. She continues to teach in the grad program at Towson, as well as in the MA/MFA in Creative Writing at Wilkes University, also consulting on its development.
Past project support includes NEA, TCG, ITI, MD State Arts Council; and as writer-in-residence for the Ko Festival, the O’Neill Center’s National Theatre Institute, and the Visual Playwriting Conference at Gallaudet. Juanita is a Fulbright Scholar as well as member of the Society of Directors and Choreographers and the Dramatists Guild.
The Center for Contemporary Opera presents the New York and World Premier of Backwards from Winter at Symphony Space in Manhattan May 25, 2018
Photographs — Lucas Godlewski
The young German soprano Anke Briegel studied at the University of Music, Drama and Media in Hannover, Germany and at the Conservatorio Statale di Musica Luigi Cherubini in Florence, Italy. She graduated in 2010. Her education concluded with several master classes, with Aribert Reimann, Ileana Cotrubas and Barbara Bonney, among others.
She was awarded both the Music Prize of Ulm, Germany, 2009 and the Bajazzo-Award of the patronage society of the Theater Dortmund, Germany, 2013.
In 2005 Anke Briegel had her opera debut at Hamburgische Staatsoper, Germany as Warwara Dobrosjolowa in Arme Leute. From the 2010-11 season until summer 2014 she was an ensemble member of the Theater Dortmund. While there she sang main roles in her Fach such as Gretel (Hänsel und Gretel), Susanna (Le nozze di Figaro), Adina (L’elisir d’amore) and Musetta (La Boheme). Furthermore, she performed at the Theater Bielefeld, Staatsoper Hannover, Aalto Musiktheater Essen, Nationaltheater Mannheim and the festival of Schwetzingen, Germany.
She joined the ensemble of the Royal Opera House Copenhagen, Denmark in summer 2014. Her roles here included so far Sophie (Der Rosenkavalier), Morgana (Alcina), Pamina (Die Zauberflöte) Ännchen (Der Freischütz), Lauretta (Gianni Schicchi), Susanna (Le nozze di Figaro), Jenny (Rise and fall of the city of Mahagonny), Corinna (Viaggio a Reims) and Gilda (Rigoletto).
The New National Theatre Opera Tokyo, Japan invited her to sing Sophie (Rosenkavalier) in May 2015.
In October 2017 Anke Briegel sang the title role of the world premiere of Momo by Svitlana Azarova at the Royal Opera House Copenhagen, Denmark.
Besides opera she also regularly performs concert repertoire, such as Bach’s Johannespassion at the Konzerthaus Dortmund with Jac van Steen 2013, or Brahms Ein Deutsches Requiem with Michael Boder at the Royal Opera House Copenhagen 2014.
Jeffrey Krieger has been for three decades among the new generation of solo recitalists who have incorporated technology - the computer and video - as well as an electric cello built by Vermont craftsman, Tucker Barrett into performance. He has received numerous national awards for this work among which a prestigious 1993 Solo Recitalist Fellowship from the National Endowment for the Arts which allowed extensive touring in the USA, a 1996 State of Connecticut Commission on the Arts Artist Fellowship for work in multi-media, as well as awards from the Canada Council, the Roberts Foundation Creation of New Work Initiative, New England Foundation for the Arts, and American Composers Forum.
Mr. Krieger has performed at prestigious venues, music schools and conservatories, museums, and international music festivals across the US and abroad. Past performances of note have been as featured soloist with the New York City Ballet at Lincoln Center's New York State Theater and the Saratoga Festival, a solo recital sponsored by the American-Lithuanian Society of New York of music by Lithuanian composer, Osvaldas Balakauskas at Merkin Concert Hall, NYC, and a performance of Videocello at the Kennedy Center.
Mr. Krieger has been a frequent performer and guest lecturer at educational institutions such as the Cincinnati Conservatory, San Francisco Conservatory, Peabody Conservatory, Yale University, the Cleveland Institute of Music, and the Conservatorium of Music, Hobart, Tasmania. Performances at international music festivals have included the Boston Cyberarts Festival; International Festival of Electronic Art at the Museum of Contemporary Art, Chicago; International Festival of Arts and Ideas, New Haven; Subtropics Festival, Miami International University; New Directions Cello Festival at the Knitting Factory, New York City; Ebeltoft Festival, Denmarck. In 2000 he was soloist on the electric cello with the Anchorage Symphony Orchestra, and in 2001 performed composer, Robert Carl’s A Wide Open Field for electric cello with the Hartford Symphony Orchestra at the Bushnell Center for the Performing Arts. In 2007 and 2008 he served as Cultural Ambassador to India performing concerts of American music sponsored by the US Embassy which included performances at the American Center Auditoriums of New Delhi and Mumbai.
Mr. Krieger has recorded numerous electric cello works for New World Records, Vienna Modern Masters, Capstone, Innova, O.O. Discs and Ablaze Records.
Mr. Krieger has a Bachelor of Music Degree from the Hartt School of Music and a Master of Music Degree from the Yale School of Music. He has served as Principal Cellist of the Hartford Symphony since 1979.
Hailed by The San Francisco Chronicle as an "imaginative" director of "particular ingenuity," director Jennifer Williams works throughout the U.S. and internationally, including at the Deutsche Oper Berlin, Staatsoper Stuttgart, Komische Oper Berlin, Oper Frankfurt, The Glimmerglass Festival, and San Francisco Opera Center. She is the founding Artistic Director of DC Public Opera, an experimental company that produces opera installations in site-specific spaces in Washington, DC. She recently directed acclaimed new productions of Mohammed Fairouz's Sumeida's Song and Ricky Ian Gordon and Royce Vavrek's 27 for Pittsburgh Opera and "consistently imaginative" and "extraordinarily beautiful" new productions of Les contes d'Hoffmann and La bohème for Miami Music Festival. Recent and upcoming engagements include directing Ariadne auf Naxos at Austin Opera for Francesca Zambello, the world premiere of Douglas Knehans' Backwards from Winter for Center for Contemporary Opera, and a site-specific installation of A Midsummer Night’s Dream with video projections in the round in Miami’s stunning Faena Center (Miami Music Festival). In 2017, she joins the directing staff of Houston Grand Opera as well as the faculty of the Houston Grand Opera Studio, where she serves as a Drama Coach.
Ms. Williams was the Apprentice Stage Director for the San Francisco Opera Merola Opera Program, directing a critically acclaimed Merola Grand Finale at the War Memorial Opera House conducted by maestro Nicholas McGegan. Other recent directing engagements include immersive, site-specific installations of The Turn of the Screw (featuring an aerialist-soprano performing the role of Miss Jessel from a trapeze and interactive video projections), Don Giovanni (The Mayflower Hotel), Così fan tutte (a Warhol-inspired production in DC's waterfront art gallery, The Torpedo Factory), La bohème (DC's historic 19th-century market, Eastern Market Hall), and Schubert's Goethe-Lieder (staged in the round in the Austrian Embassy); new productions of Three Decembers, Le nozze di Figaro, La clemenza di Tito, Rigoletto, La Cenerentola, a fully staged Saint Matthew Passion in Cincinnati’s celebrated Saint Peter in Chains Cathedral, a gala concert featuring Carl Tanner, Marianne Cornetti and Angela Meade led by maestro Antony Walker; and bel canto scenes at Glimmerglass's Alice Busch Opera Theater led by maestro Joseph Colaneri.
A Fulbright Scholar, Ms. Williams holds an Artist Diploma in Opera Stage Directing from CCM, an M.A. and Ph.D. in Theatre History and Criticism from Cornell University and an A.B. with honors in Interdisciplinary Studies in the Humanities from the University of Chicago.
Jennifer Williams is represented by Quarterline Design Management.
Ryan is a New York based Scenic Designer and Artist. Ryan's work focuses on the collaborative process and joining of artists from all creative genres to aid in scenic storytelling. Ryan's work spans theatre, opera, television, special events, and product design. Ryan is a graduate of the University of Cincinnati College- Conservatory of Music (CCM) as well as Penn State University and a member of the United Scenic Artists.
Ryan's upcoming productions include:
reamgirls (Playhouse on the Square) June 2018
domeneo (Wolf Trap Opera) June 2018
ltar Boyz (Cape Playhouse) July 2018
A Gentleman's Guide to Love and Murder (Playhouse on the Square) August 2018
Additional credits include:
Off Broadway: Pretty Hunger, Teenage Dick (The Public Theater), Polkadots: The Cool Kids Musical (Atlantic Theater Company) All Over the Map, (The Lion- Theatre Row), Adoration of the Old Woman (INTAR), Propaganda! The Musical (NYMF). New York: Life of the Party (Provincetown Playhouse) I Am My Own Wife (Two Turns Theatre Co.), The Wedding Singer, Spring Awakening (NYFA), Dark at the Top of the Stairs, EMILIE (Lee Strasberg Institute)
Regional: Le Nozze Di Figaro (Milwaukee Symphony Orchestra). Rock of Ages, Hand to God (Playhouse on the Square). Loving vs. Virginia (Williamstown Theatre Festival). Rock of Ages, Merrily We Roll Along, Nice Work if You Can Get It (Summer Repertory Theater). Cosi Fan Tutte, The Magic Flute, Giulio Cesare In Egitto, A Little Night Music (University of Cincinnati). Grapes of Wrath (Northern Kentucky University). Rock of Ages, The Underpants, Xanadu, Sleuth (The Carnegie).
Eunnym Cho is a New York based scenic and costume designer for live performance and photography. She discovered her love of theater in the age of 16 participating a backstage workshop. Since then, she has been actively involved in theater as a designer, as an assistant, and as an artist. Her design credits include Duchess of Malfi (Set and Costume Design), Time Stands Still (Costume Design), Spring Awakening (Set Design), and Hay Fever (Costume Design). She received MFA degree in Theater Design from UCLA, School of Theater, Film and Television. Examples of her work can be found at www.eunnymcho.com.
Yee is a scenic and projection designer for Opera, theater, and any form for live performances currently based in LA.
Recent works include projection design for Border town now (Pasadena Playhouse) CRUZAR LA CARA DE LA LUNA (The Soraya), SAPO (Getty Villa), CITIZEN: An American (Kirk Douglas Theatre), Dementia, Sweetheart Deal, A Mexican Trilogy: An American History (LATC), Les contes d'Hoffmann, La Bohème, The Crucible, Deadman walking, Cunning Little Vixen (Miami Summer Music Festival) Yee is a recipient of Cirque du Soleil Fellowship Award. MFA in Theater Design, UCLA.
I believe theatre has such an individual voice which connects directly to the type of work I want to be doing--art that speaks with purpose. As I navigate through my career, I desperately want to use our unique platform to say something. A big part of that is working with artists who are eager to collaborate and make something greater.
I graduated from Eastern Michigan University in 2012 with a Bachelor of Science in Theatre Arts, with a primary focus in lighting design. After graduating I moved to Richmond, VA where I worked as a freelance designer and electrician. I received my M.F.A from the University of Arkansas in May, 2017.
Upon moving to New York City I commenced my time as the 2017 Hemsley Intern. When the internship is complete I plan to make New York City my permanent home.
Foundation IHOS Amsterdam brings director Constantine Koukias's inspired production to a season of riveting performances in June, 2018.
Photographs — David Fraser
Dutch soprano Judith Weusten received her Bachelor in Music at the Conservatorium van Amsterdam in June 2017. There she studied voice with Valérie Guillorit and Pierre Mak and was coached by Jan-Paul Grijpink. She now studies at the Dutch National Opera Academy with Margreet Honig.
In May 2016 Judith was part of the Opera Forward Festival of the Dutch National Opera where she performed in a newly composed opera by Mathilde Wantenaar. Later that same year she sang the role of Lucy in Menotti’s opera The Telephone. In 2017 she performed her first role at the Dutch National Opera Academy as Sandmann/Taumann in Humperdincks Hänsel und Gretel.
She is comfortable in Lied and oratorio as well, regularly performing in recitals. She has sung soprano solo in Haydn's Schöpfung, Fauré's Requiem, Pergolesi's Stabat Mater and various Bach and Mozart cantatas.
This year she will perform Lucia in Britten’s The Rape of Lucretia, Frasquita in Bizet’s Carmen and Despina in Mozart’s Così fan Tutte.
Since graduating with a Bachelor of Contemporary Arts—Theatre from the University of Tasmania in 2005, Chris has worked across the theatre & performance sector in many capacities including: Directing, Acting, Performance Art & Design; as well as completing a Master of Contemporary Arts degree in theatre & performance. His work has been seen on local, state, national and international levels.
Some highlights include: Actor in the national project Dancing Back Home (JUTE/Mudlark Theatre Inc.); Performer – Borders (Ihos Opera/JUNCTION Arts Festival); Assistant Director of the Helpmann nominated Barbarians (Ihos Opera/MONA FOMA), Vision Designer Chasing a Sound Like Rain which toured Tasmania and Canada (LYTE/10 Days on the Island); Actor - Savages (Persona Collective/ JUNCTION Arts Festival); Performer – Artaud Defacteau (OzFrank Theatre Matrix); Vision Designer – Relax The Chimp (TasDance/JUNCTION Arts Festival), Composer/Sound Designer I Am A Lake (Mudlark Theatre Inc.) for which he received Best Design in the Professional Theatre category at the Tasmanian Theatre Awards, and with Encore earning two nominations in the Community Theatre section (Best Performance in a Leading Role & Best Design) for his work as Edmund and Lighting Design for Blackadder. Most recently he performed in the new work staged at MTC’s Southbank Theatre Islamophilia, Encore Theatre’s Blood Brothers and in Dark MOFO with an array of artists on the installation work PANOPTICON.
Chris is currently an Associate Lecturer, Production Manager and Theatre Technical Officer at the School of Creative Arts whilst also nearing completion of a Master of Fine Arts candidature.
Antonis Pratsinakis is a cellist based in Amsterdam. The past years he has focused on creating performances, including dance, video, acting, and culinary disciplines. He has also participated in numerous music and music theater productions with Kameroperahuis, Ergon Ensemble, Veenfabriek, Atlas Ensemble, Sonnevanck, Toneelgroep Amsterdam, and Korzo Theater. Highlights of these productions include performing solo cello in P.M. Davies Vesalii Icones (for solo dancer, solo cello, and ensemble) and the 2017 tour as composer and live performer with choreographer Jasper van Luijk creating the dance performance “The Nonsense Society”.
He has performed as a soloist and chamber musician in Greece, Germany, Holland, Austria, Bulgaria, Belgium, Italy, Turkey, and Serbia, where he received excellent reviews for his playing. An active chamber music player, he has recorded with the Infinity Piano Trio for the National Radio of Bulgaria. Recently he is working on producing his own music with e-cello as well as acoustic cello.
He studied in Thessaloniki with R. Dragnev and completed his Bachelor and Master’s degrees in Amsterdam with D. Ferschtman and J. den Herder, supported by scholarships from the Greek State Scholarships Foundation and Scholingsfonds.
For more information visit: www.antonispratsinakis.com
Constantine Koukias is a Greek-Tasmanian composer & opera director of FOUNDATION IHOS AMSTERDAM based in The Netherlands. His avant-garde approach to the presentation of opera has resulted in hybrid productions such as Days and Nights with Christ, To Traverse Water, MIKROVION (Small Life - 36 Images in a Phantom Flux of Life), The Divine Kiss, Tesla - Lightning in His Hand and most recently The Barbarians, inspired by Constantine Cavafy’s famous poem Waiting for the Barbarians, commissioned by the Museum of Old & New Art.
His works range from large-scale music theatre & opera to mobile installation art events. In 1993 he was commissioned by the Sydney Opera House Trust to compose ICON, a large-scale music theatre piece to celebrate the 20th anniversary of the Sydney Opera House. Music theatre works include Kimisis – Falling Asleep, Borders, Orfeo, Rapture - Sonic Taxi Performance, Schwa – The Neutral Vowel, Antigone and The Da Ponte Project. His work Prayer Bells, which draws on traditions of Latin, Hebrew and Byzantine chant, had its USA premiere at the Chicago Cultural Centre.
In 2004 he was awarded a Sir Winston Churchill Fellowship. His Incantation IIfor soprano and digital delay won the International Valentino Bucchi Vocal Prize in Rome in 1997. Koukias has been the recipient of numerous international commissions and awards. His design credits include the internationally acclaimed Odyssey and Medea.
In 2014/15 , Kimisis – Falling Asleep, a chamber opera for Soprano & Electric Trombone, Splendor Amsterdam and Karavaan Festival. Before the Flames Goes outStedelijk Museum Amsterdam, Musée du Judaïsme Paris, Jüdisches Museum Berlin, The Boy Who Fell Out of The Sky for Ondes Martentot & Orchestra & Shaped by Trees – A Film opera by Biasino Pezzimenti.
Ivan Paitre was born in France and is currently based Amsterdam. Over the years he has lived and worked in major cities all over the world: Montreal, Miami, Paris, London and São Paulo to name but a few.
Ivan is at home in a variety of genres, from sound and film production to site-specific décor and costume design, and is employed for projects both in the world of modern pop/opera/theatre and for commercial events.
His early training was focussed on the music industry. From 2003 to 2005, he was mentored by multiplatinum producer/songwriter and Grammy winner Rudy Perez, in Miami Beach.
In 2008, after gaining much experience in the USA and France, he oversaw the live Sound Engineering production for Le Caveaux des oubliettes in Paris. In France too, he added lighting design to his skill set, discovering Cymatic light VJ installations of vibrating water.
Recent film projects include Werzerkering, Relivation by Wouter Springer, Ray van der Bas and Starring Pamela Anders - and Biljestdag (Day of Reckoning) by Gideon van Eeden & Ray van der Bas starring John Leddy, and Wendy Riksen.
He was the assistant producer on numerous editions of Inner Voyage by Ballet Bernasconi based in San Francisco.
Ivan is involved with the Amsterdam-based Kuza Studios – a creative agency aligned with the UN’s Sustainable Development goals, working with companies and foundations to create immersive digital media and powerful events to drive Corporate Social Responsibility.
He is currently working with director Konstantin Koukias as the associate designer for the Douglas Knehans/Juanita Rockwell chamber opera Backwards From Winter, on tour in 2018.
Cazerine Barry is an artist who has worked in many areas of performance, direction and media. In the past 20 year’s her work has been presented nationally along with Hong Kong, Taipei, Tokyo, Jakarta, Mexico City, Beijing, Paris, Christchurch, Taranaki, Glasgow and Monaco.
She is the recipient of the 2000 New Media Fellowship and Eva Czajor Memorial Award; other awards include an Asialink Residency in Taiwan, a Highly commended Australian Cinematography Award and a cultural exchange award from the Australian Indonesian Institute. Her short films have been purchased by SBS and BBC television. She has created media for performance with Australian companies Vitalstatistix, Playbox, Back to Back, Terrapin Theatre, Cirque, Flying Fruit Fly Circus, Black Hole Theatre and Arena Theatre Company.
Recent commissions include Parteitag composed by Brett Dean for the Concertgebouw Orchestra & Holland Festival, the song cycle A Thousand Doors A Thousand Windows & The Legend of Ned Kelly for Terrapin Theatre composed by Constantine Koukias and SQUARE composed by Euphonia for North Arts.
She has collaborated with David Chisholm on the digital pantomime SPRUNG, Insurgency for Melbourne University Union Theatre and the development phases of opera noir Dr. Couteau and musical theatre work Revival. She has recently presented excerpts of Olegas for IHOS Opera while completing her degree in early education. Since that time, she has produced visual media for the musical theatre development Carnegie 18 at the Arts Centre and worked on a solo project through the assistance of Creative Victoria.
Greg began his interest in audio at sixteen while still at school in Tasmania. Through his career he has worked as acoustic jazz and contemporary music concert engineer, a film and video sound recordist and designer/engineer in a variety of theatre performances. Some of the highlights of Greg's career have included engineering the sound for Roy Orbison, Don Burrows, Ivan Rebroff, The Angels, Sonny Terry and Brownie McGee and touring with international acts 10CC, ELO and The Stranglers. Greg was also sound recordist on Words and Silk, an award winning documentary on author, Gerald Murnane.
Greg's first IHOS production was Days and nights with Christ in 1997. Since then he has designed and operated the sound for productions of IHOS Opera including the small music theatre works Kimisis—Falling Asleep, Kitchen Table Rondo and Prayer Bells and large format productions The Divine Kiss, Sea Chant, Tesla – Lightning in His Hand and The Barbarians for the Museum of Old & New Art.
He also designed the works for the IHOS Music Theatre Laboratory including: Spirits of the Hoist, Schwa - the Neutral Vowel, As if Electronically Controlled, Touch Wood and Antigone.
With his retirement from ABC TV Greg has focused on other interests: photography, 3d recording and plane wave technology in Audio Design.
Mik Lavage is an Australian Sound & Vision designer, composer and musician. Working on stage and screen, Mik has been nominated for AFI awards (screen) and worked on shows nominated for the Helpmann Awards (stage).
Mik has collaborated with a broad range of artists and companies; from the ancient Greek leanings of IHOS opera to the acrobatic worlds of The Tom Tom Crew, Company @ & Strange Fruit, performing worldwide, including Melbourne, Munich, Montreal, Detroit, Paris & Taipei to name a few. He currently tours globally with The Orkestra of the Underground, Company 2, IHOS, Hermitude and Toni Childs working as Designer of Sound, musical performer and designer of interactive Visual Elements.
Mik is also a graduate of AFTRS (Australian Film, Television & Radio School) in music composition for film, and has produced numerous albums as a solo artist as well as with Toni Childs. His music has been featured in many dance, theatre and film productions that range from political documentary to feature film.
Jason James – Lighting and Projection Designer Jason has worked as a lighting and projection designer for over twelve years; creating designs principally for new works. His recent credits include Red Racing Hood, Big Baby, Pip and Pooch, Shadow Dreams, Sleeping Horses Lie, and Love, for Terrapin Puppet Theatre; Born from Animals, Branch Book Bench, The Company I Keep, If I jumped I’d Fly Tasmanian Theatre Company; Motel Dreaming, and Galla Placidia Dark MOFO; Echo, The Barbarians, and Kimisis IHOS Opera; Tell Tails Bridget Bridge; Abandoned Dances, Episodes, Birds Mature Age Dance Ensemble; Wild at Heart, Motel Dreaming Unconscious Collective. Spiegeltent for Ten Days on the Island 2015. Fall, Winter, Spring Second Echo Ensemble.
Jason has been developing a broader arts practice around light over the last seven years. He is currently studying Visual Arts at the Tasmanian College of the Arts, and has had artworks presented in festivals around Tasmania. The two most recent were Angry Electrons, a solo show in Dark MOFO 2015, and Crevasse, which was a part of envelop(e) curated by Matt Warren, a co-presentation between Contemporary Arts Tasmania and Dark MOFO.
For booking and press inquiries, please contact us by e-mail using the form below.
ice doubles the glass
divides in here from out there
white webbing the dark --
glazing path wire branch and stone
crazing the snow's smooth expanse
one red and one black
two koi move, each one solo --
now this way now that
swim beneath a frozen sky
longing for another sun
your coat around me
hollowing out your pillow
your lamp still burning
making snow angels in sheets --
nothing warms our empty bed
white webbing the dark
longing for another sun
my coat around you --
nothing warms our empty bed
divides in here from out there
Torn from our old oak
red leaves swarm the house like crows --
words torn from our throats
soar across the crowded air
claw at your back as you go
wheels rolling to sky
headlights boring through the void
your eyes going dark –
back home our old oak gives up
cracks in two, I know you're gone
still hours before dawn
broken glass ghosting the tile
the white scarred by blood --
I hold the door, hold my breath
poring over the ruin
words torn from our throats
crack in two, I know you're gone
torn from our old oak --
headlights bore into the void
poring over the ruin
quivering the liquid air --
we shed our clothing
as a flower petal path
twine ourselves among the vines
wading in deeper
lilies bow as we go by –
koi all around us
breaking through our reflection
feeding from our hands
cradling the dark root
our four hands covered in mud
planting the sapling --
watering the droughty earth
imagining future shade
wading in deeper
breaking through our reflection --
cradling the dark root
quivering in liquid air
imagining future shade
ones zeroes and ones
scrolling across the ether
from your hand to mine --
become two on a long road
under one opening sky
two moons floating by
one sky one sea in concert --
we stand on the shore
lilacs lilacs ev'rywhere
obscuring the horizon
cool blue dissolving
boundaries carved yesterday --
floating in your arms
my map redrawn with your touch
your coast unmoored in my hand
hollow bed burning frozen dark lamp
empty coat longing snow solo
red void eye broken ruin
ghost oak dawn scarring sky
quiv'ring lily moon