Music by Georges Bizet
Libretto by Henri Meilhac and Ludovic Halévy
New arrangement by Daniel Schlosberg
Adapted by Louisa Proske
The border is a place of intense turmoil. This radical new adaptation strips down Bizet’s explosive masterpiece to the four central characters as they hurl themselves against real and imaginary fences. Carmen’s existential dare seduces the enemy in uniform – but in the game of sexual transgression, which lines cannot be crossed?
$50 - Premium Seating
$35 - General Admission
$25 - Baruch Faculty, Staff & Alumni
$15 - Students with ID
Carmen // Sishel Claverie
Don José // Brent Reilly Turner
Escamillo // Ricardo Rivera
Micaëla // Jessica Sandidge
Smuggler // Parker Drown
Guard // Doug Durlacher
Stage Direction // Louisa Proske
Music Direction // Daniel Schlosberg
Choreography // Chloe Treat
Set Design // Kate Noll
Costume Design // Beth Goldenberg
Lighting Design // Oliver Wason
Stage Manager // Blake Kile
ALL CARMEN DATES
» Sun, May 21 – 7:00pm
» Tue, May 23 – 9:30pm
» Thu, May 25 – 8:00pm
» Sat, May 27 – 8:00pm
» Sun, May 28 – 5:30pm
Explore Heartbeat Opera's Spring Festival:
This daring new adaptation of Puccini’s iconic romance explodes the legacy of Western fetishization of the tragic geisha, Madama Butterfly.
» Sat, May 20 – 8:00pm
» Tue, May 23 – 7:00pm
» Fri, May 26 – 8:00pm
» Sun, May 28 – 3:00pm
Join us for an evening of eclectic music-theater which expands the definition of opera.
» Wed, May 24 – 7:00pm
OPENING NIGHT GALA
Enjoy a double-bill of BUTTERFLY & CARMEN with premium seating and an exclusive prosecco toast at intermission.
» Tue, May 23 – 7:00pm
VIEW ALL SPRING FESTIVAL DATES ›
Praised as “radical,” “fiery,” and “boisterous” by The New Yorker, Heartbeat Opera brings opera into the twenty-first century – creating new adaptations and orchestrations and designing visceral encounters between artists and audiences.
MEET THE TEAM
Ethan Heard, Co-Artistic Director
is equally at home creating productions of new work, Shakespeare, Sondheim, and Monteverdi. As Founding Co-Artistic Director of Heartbeat Opera, he has directed Kafka-Fragments, The Fairy Queen, The Seven Deadly Sins, and the drag extravaganza Miss Handel. Other opera includes the world premieres of Orth and Campbell’s Empty the House (Curtis) and Cady, Siegel, and Welch’s Sisyphus (Experiments in Opera), Erismena and L’Orfeo (Yale Baroque Opera Project), L’incoronazione di Poppea (Princeton), and Pierrot Lunaire (Yale Cabaret). Musical theater includes Bells Are Ringing and A Little Night Music (Berkshire Theatre Festival), the world premiere of Michelson and Campbell’s The Other Room (Inner Voices), Merrily We Roll Along (Yale Dramat), Sunday in the Park… (Yale School of Drama), and The Producers (Princeton). Plays include: Julius Caesar and Roper’s Lottie in the Late Afternoon (YSD), The Cat and the Canary (BTF), and Iphigenia and Other Daughters (Santa Fe). Ethan is Resident Director of Cantata Profana and teaches at Yale School of Drama and Princeton. He is developing a music-theater piece about desire and divinity with composer Marisa Michelson and choreographer Chase Brock. BA & MFA: Yale. ethanheard.com
Louisa Proske, Co-Artistic Director
directs opera, new plays and classical theatre with equal passion. She is the proud Co-Artistic Director of Heartbeat Opera. Her radical adaption of Donizetti’s Lucia di Lammermoor, and her productions of Offenbach’s forgotten operetta Daphnis & Chloé (Heartbeat Opera) and the New York premiere of Salieri’s Falstaff (Dell’Arte Opera) won rave reviews in The New Yorker, The Wall Street Journal, Opera News and Opera Magazine, among others. Other opera productions include Gianni Schicchi, Riders to the Sea, and La Voix Humaine (Yale Opera), Miss Handel and The Fairy Queen (Heartbeat Opera), Carmen (Juilliard Opera), the world premiere of Invisible Cities (Red Light New Music), and several world premieres with Experiments in Opera. Theatre work includes Engagements (Barrington Stage), One Day When We Were Young (Assembly, Edinburgh Fringe), The Winstons (Juilliard School of Drama), Balm in Gilead (Mason Gross), Fassbinder’s The Bitter Tears of Petra von Kant (Strasberg Institute), Rum 'n Coca Cola in Port-of-Spain, Trinidad, Pinkalicious the Musical (Hangar Theatre), ‘Tis Pity She’s A Whore (The Tank), Shakespeare’s Cymbeline and As You Like It at Yale School of Drama, A Servant To Two Masters (Edinburgh Fringe), The Barber Shop (Cambridge Footlights), and an European tour of Macbeth. Louisa holds an MFA in Directing from Yale School of Drama and is an alumna of the Drama League Director’s Project and the Soho Rep. Writer-Director Lab. She is also on faculty at Maggie Flanigan Studio teaching Shakespeare and Script Analysis. louisaproske.com
Jacob Ashworth, Co-Music Director
Opera News called violinist Jacob Ashworth’s 2015 performance of Kurtag’s Kafka-Fragments, with mezzo Annie Rosen, “a flat-out triumph for its two fearless performers.” At home across the spectrum of classical music, Jacob has gained a reputation as a consummate stylist, from his “diligent attention to [baroque] period style” (NY Times) to his “exacting and sensitive” interpretations of modern works (Boston Globe). Ashworth is violinist, conductor, and Artistic Director of Cantata Profana, which he founded at Yale School of Music in 2012. He is Co-Music Director of Heartbeat Opera and performs regularly with pianist Lee Dionne.
Daniel Schlosberg, Co-Music Director
The music of composer and pianist Daniel Schlosberg has been performed by the the Nashville Symphony Orchestra, Cabrillo Festival Orchestra, Buffalo Philharmonic, Lorelei Ensemble, Amphion Quartet, Aspen Contemporary Ensemble, and Antico Moderno. Daniel received a 2014 Charles Ives Scholarship from the American Academy of Arts and Letters and two ASCAP Morton Gould Young Composer Awards. Recent work includes an operatic-theatrical adaptation of Lorca for Williamstown Theatre Festival, music for BodyVox’s Cosmosis, and commissions for Chamber Music Northwest. Upcoming projects include commissions for the Dover Quartet and the Yale Symphony Orchestra’s 50th Anniversary. Schlosberg continues to perform around the world, collaborating with such luminaries as David Shifrin, Peter Wiley, and Ani Kavafian. In April 2015, he music directed and performed in Caucasian Chalk Circle at the Yale Repertory Theatre, premiering a score by David Lang. He co-founded the composer-performer ensemble INVISIBLE ANATOMY, which has been featured at National Sawdust and the Beijing Modern Music Festival. He enjoys baking cookies, and his work has been described as “witty” by the Wall Street Journal.
Jennifer Newman, Producing Director
A New York-based dance and theatre artist, and producer, Jennifer has worked with Franco Dragone, Julie Taymor, Donald Byrd, David Rousseve, Ronald K. Brown, Michael Jackson, The Radio City Rockettes, and has performed on Broadway in Saturday Night Fever and Disney’s The Lion King. As a director and choreographer her theatre work includes: Davening, by Kendell Pinkney; Three Women, by Patterson, Loring, and Zainabu; The Children, by Phillip Howze; Bullrusher, by Eisa Davis; Woman Bomb, by Ivana Sajko; and October in the Chair, adapted from short stories by Neil Gaiman. She is currently touring her solo performance, The Geneva Project, an interdisciplinary and immersive dance work directed by Charlotte Brathwaite. Having studied at the Alvin Ailey American Dance Center and The American Dance Festival she holds a BA in Dance from UCLA and an MFA from the Yale School of Drama. Jennifer has been an artist in residence at Yale University, Central Connecticut State University, The Field, Mabou Mines, Baryshnikov Arts Center, 651 Arts, and Sisters Academy. She is currently on faculty at Central Connecticut State University.
ABOUT HEARTBEAT OPERA
Now in its third season, founded by four graduates of the Yale School of Drama and Yale School of Music, Heartbeat Opera is a company intent upon re-imagining opera in intimate spaces for a new generation. Employing a minimalism that allows the emotional integrity of the music to shine through, Heartbeat’s radical, visceral productions transform works of the operatic canon through visionary adaptations, new arrangements for chamber ensembles, and intimate productions that put the singers and the instrumentalists at the center of the work. Heartbeat distills operas to their powerful essence, and cultivates new audiences for the artform.