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TRIADIC MEMORIES morton feldman

TBD

Pianist Brendan Nguyen and multimedia artist Jason Ponce team up present an installation-performance of Morton Feldman's piano solo, Triadic Memories.


In this 90-minute work, the Sanctuary of St. James by the Sea Episcopal Church in La Jolla will be transformed into a large-scale video and sound installation complete with projection surfaces and flexibility for our patrons to come and go as they please. While the concept is centered around a zen-like simplicity, the production of such a dramatic staging in a large space is not.

"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

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NO EXIT

andy vores

MAY 2019

TBA

LESLIE ANN LEYTHAM and digital media artist STEFANI BYRD collaborate on ANDY VORES' operatic adaptation of Jean-Paul Sartre's existentialist play, No Exit

Ms. Leytham directs and reprises her role as Inez Serrano, with Stefani Byrd’s design. "Three self-absorbed people who don't know each other and don't like each other trapped together in one room for eternity—literally. Perhaps not most people's idea of a naturally operatic plot, but Sartre's play is full of drama and sly comedy set in a tiny space packed with vast consequences. No Exit shows the first hour of their damnation; we see the veneer of civilized self-justification crack to reveal fear, spite, vanity, self-delusion. Imagine this same room in ten thousand years, twenty thousand, thirty thousand . . . “  - Andy Vores

Vores’s seductive and scary score is a wonder of musical invention.
LLOYD SCHWARTZ, NEW YORK ARTS

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.
THOMAS GARVEY, THE HUB REVIEW