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by morton feldman

FEB 1st @ 8pm | FEB 2nd @ 2pm & 8pm

@ St. James by the Sea Episcopal Church, La Jolla


BRENDAN NGUYEN plays MORTON FELDMAN as an installation performance in collaboration with multimedia artist, JASON PONCE

"Consisting of over 1100 measures, it is also the longest. There is no designated tempo; performances and recordings can vary in duration from seventy to over ninety minutes. Only a few notes, generated from a sparse, two-bar musical cell, is the basis for all the ensuing material. This extreme economy does not betray a dry or deliberately challenging work. It is not especially demanding music, but rather it is inventive, beautiful, and never boring....Feldman's Triadic Memories is simplicity itself, taking a tiny amount of material and laying it out in repetitions of varying lengths so that the memory of what happened before the moment being heard is consistently erased. This idea of not engaging memory, negating it, had already been a preoccupation of Feldman's for many years. Triadic Memories is perhaps his most successful depiction of this idea. This aesthetic is one that the composer picked up from the abstract expressionist painters in New York in the 1950s, particularly from Montreal-born Philip Guston. The idea was to help the viewer find an inner world, outside of time or space. Laying out this goal in musical terms was Feldman's intention for many decades." - John Keillor



by andy vores

MAY 2019


LESLIE ANN LEYTHAM directs and reprises her role as Inez Serrano in ANDY VORES' operatic adaptation of Jean-Paul Sartre's existentialist play, No Exit. 

The opera was commissioned by Guerilla Opera in Boston, 2008, with Ms. Leytham singing the role of Inez. Three people find themselves in a mysterious waiting room after they've died and realize it's some sort of hell. They struggle to decipher what each of them has done to get them there, or better yet, they must discover why they've been placed together. "Hell is other people." 

Vores’s seductive and scary score is a wonder of musical invention.

You have to give Guerilla Opera some serious props. A production like their recent version of Andy Vores’ No Exit (which closed last weekend) evinced a level of artistry and ambition that’s rare on the cultural scene… and only added to Guerilla’s reputation as the 800-pound gorilla on our operatic fringe… enough talent (and ambition) on display here to make me hope I might see Guerilla Opera on a more prominent stage sometime soon.