Music by Carl Maria von Weber
Libretto by Friedrich Kind
Conceived, adapted and directed by Louisa Proske
Co-Directed by Chloe Treat
Newly arranged and music directed by Daniel Schlosberg
New English dialogues by Michaël Attias and Louisa Proske
How badly do you need to win? Would you sell your soul? In this contemporary American rendering of a twisted German fairy tale, a young man’s fear of failing his future bride drives him to a portal of darkness. Meanwhile, his small town parties on, oblivious to the evil unleashed in its midst. In this vertiginous landscape full of sound and fury, "The seventh bullet is the Devil's." With its raunchy drinking songs, sublime arias, and one of the spookiest scenes in all of opera, Heartbeat’s immersive staging and radical instrumentation take you on a visceral journey deep into the midnight forest -- a rare opportunity to experience this masterpiece of German Romanticism.
From Louisa Proske:
“The themes of this very German opera find a resonant sounding board in current-day America. I am excited to make a version of Weber’s Der Freischütz that plugs both into the strangeness and otherness of this story set deep in a 17th century Bohemian forest, and that uses it to speak about the here and now - not a literal 2019, but a mythical America, a poetic world where the line into the national unconscious is crossed, and weird, disturbing images are stirred up. We know this small town and we know these characters! With a score that ranges from exuberant folksy tunes to avant garde sound painting, Daniel Schlosberg and I are thrilled to embark on yet another collaboration, picking up on Weber’s choices and pushing them even further with our new Heartbeat arrangement - all while celebrating the beautiful, varied vocal writing that can hold its own with the very best 19th century opera has to offer. This is an opera neglected by larger companies that Heartbeat can breathe fresh life into - with newly translated English dialogues, and a thrilling, immersive staging that transforms Baruch Performing Arts Center into a vertiginous landscape full of sound and fury, retina-burn images and strange, unforgettable encounters.”
December 4 - 7, 10 - 14, 2019
December 8 & 15, 2019
Baruch Performing Arts Center
The Rose Nagelberg Theatre
55 Lexington Ave, New York, NY 10010
Performing on Even Dates
Derrell Acon // Kaspar
Summer Hassan // Agathe
Ian Koziara // Max
Jana McIntyre // Ännchen
Performing on Odd Dates
Daniel Klein // Kaspar
Katherine Whyte // Agathe
Casey Candebat // Max
Nicole Haslett // Ännchen
Performing on all Dates
Rubin Casas // Hermit
John Herrera // Kuno
Quentin Oliver Lee // Kilian/Ottokar
Azumi O E // Samiel
Michael Celentano, Emily Donato, Cory Gross, Jessica Harika, Claire Leyden, Anthony McGlaun, Siobahn Sung, and others
Louisa Proske // Director/Adaptor
Chloe Treat // Co-Director
Daniel Schlosberg // Music Direction and New Arrangements
Michaël Attias and Louisa Proske // New English Dialogue
Concertmaster // Jacob Ashworth
Sara Brown // Scenic Design
Beth Goldenberg // Costume Design
Oliver Wason // Lighting Design
Will Gardiner // Electronics
Corinne Gologursky // Props Design
Amanda Quaid // Speech Coach
Wolf Canyon scene collaboratively re-composed by Will Gardiner and Daniel Schlosberg
Meet the Cast
Bass-baritone Derrell Acon holds a doctoral degree (19th-Century Opera History and Performance) and Master of Music degree from the University of Cincinnati College-Conservatory of Music (CCM). He graduated summa cum laude from Lawrence University and Conservatory of Music with a Bachelor of Music degree in Vocal Performance and a Bachelor of Arts degree in Government, with a minor in Ethnic Studies.
Dr. Acon has been featured within operatic and scholarly contexts in Italy, Germany, Ethiopia, Oman, and America. His work on Black Motivation has been presented at conferences such as those for the National Association for Ethnic Studies and National Association of Negro Musicians. He is a 2013-2014 United States of America Fulbright Scholar to Italy, where he researched Verdian opera and lectured on the Black experience in America, and an Andrew W. Mellon Foundation grantee.
Prominent operatic roles include Leporello in Don Giovanni, Sarastro in Die Zauberflöte, Don Alfonso in Così fan tutte, Kecal in The Bartered Bride, Escamillo in Carmen, and the title role in Don Bucefalo. He has recently made debuts at National Opera Center in New York City, Queen City Opera in Cincinnati, the Kalihu and Palace Theaters in Hawaii, Semperoper Dresden, Hamburgische Staatsoper, Deutsches Theater München, Kölner Philharmonie, Alte Oper Frankfurt, Haifa Congress Center, Tel-Aviv Charles Bronfman Hall, Teatro Petruzzelli di Bari, and La Compagnia del BelCanto di Milano.
Daniel Klein has been hailed by the New York Times for his 'stentorian bassbaritone' and 'dark and steely voice. Audiences and critics have found his performances to be imaginative, adventurous, and occasionally downright terrifying. Recent appearances include the roles Spencer Coyle in the New York Premier of Benjamin Britten's Owen Wingrave with the Little Opera Theater of New York, Judge Moriarty in the New York Premier of Huang Ruo's Bound with Fresh Squeezed Opera, and the title role of Verdi's Falstaff with the International Summer Opera Festival of Morelia, Mexico. This Fall he will appear return to Heartbeat Opera in the role Kaspar in Weber's Der Freischutz . His previous role with Heartbeat; 'Donnie' Don Pizarro in a 'Black Lives Matter' themed Fidelio received international acclaim for it's powerful and timely message. Other recent appearances include Marcello in La Boheme and Baron Gondremark in La vie Parisienne with Long Island Opera; Fra Melitone in La Forza del Destino with New Amsterdam Opera; Hyde in the New York Premier of Carlisle Floyd’s The Prince of Players with the Little Opera Theater of New York and the bass soloist in Mozart’s Coronation Mass and Handel's Messiah with Garden State Symphony. Daniel recently created the title role Frank London’s new opera Hatuey: A Memory of Fire at the Sundance Theater Lab, and appeared as the Recluse in London’s Talmudic-Klezmer Oratorio A night in the Old Marketplace in Sao Paulo, Brazil.
Summer Hassan is an alumnus of the prestigious Domingo-Colburn-Stein Young Artist program at Los Angeles Opera where she preformed in Dido and Aeneas, the Magic Flute, the Ghosts of Versailles, Macbeth as well as many others. She made her company debut in 2014 and sang with them again in the 2017-18 season. In 2016 she sang Musetta in La Bohème at Wolf Trap Opera. Ms. Hassan was a 2017 Metropolitan Opera National Council Audition Semi-Finalist and selected to sing in Operalia in 2018. She has also performed with Cincinnati opera and the Opera Theatre of St. Louis. www.summerhassansoprano.com
Katherine Whyte has performed on opera and concert stages across her native Canada, the United States and Europe. Opera Today has hailed her for her “keen artistic sensibility” while the San Francisco Classical Voice has praised her “her glamorous, vibrato-rich voice”. Last season included Beethoven’s Ninth with the Louisiana Symphony, joining Opera Hong Kong as Donna Anna in Don Giovanni, Adina in L’elisir d’amore with Grand Junction Symphony Orchestra, and returning to the Metropolitan Opera for productions of Suor Angelica and Don Giovanni. The 2019-2020 season will see her return to the Metropolitan Opera to cover Despina in Così fan tutte and her debut with Intermountain Opera Bozeman as the Countess in Le nozze di Figaro.
Chicago native Ian Koziara was a three-year member of The Metropolitan Opera’s Lindemann Young Artist Development Program, having worked with such notable conductors as Yannick Nezet-Séguin, Bertrand de Billy, and Marco Armiliato. He debuted at the Metropolitan Opera as Enrique in Thomas Adès’ The Exterminating Angel, with subsequent appearances in Parsifal, The Magic Flute, and La Fanciulla del West. Ian’s recent appearance as Fritz in Franz Schreker’s Der Ferne Klang (Oper Frankfurt) was hailed by the Wiesbadener Tagblatt as “so strong as Fritz that one is amazed at how naturally a sense of beauty and despair can go hand in hand”. His performance in the title role of Mozart’s Idomeneo yielded accolades from the Washington Post, praising his “striking beauty of tone… His King was royal and haunted and evoked nothing so much as Benjamin Britten’s Peter Grimes”.
Ian is equally at home on the concert stage as in opera. In Honegger’s Le Roi David, Ian was described as “a vigorous, compelling David… using his powerful voice to convey the full range of David’s very human strengths and weaknesses.” His repertoire in non-opera works includes Messiah, The Dream of Gerontius, and Serenade for Tenor, Horn, and Strings, among many others.
Next season, Ian will make his role debut as Max in Weber’s Der Freischütz in New York City. He will make his debut with Gustavo Dudamel and the Mahler Chamber Orchestra as Florestan in a concert production of Beethoven’s Fidelio. Ian will also return to The Glimmerglass Festival in a new, Francesca Zambello production of Wagner’s first opera, Die Feen.
In his capacity as a member of the Lindemann Young Artist Development Program, Ian performed many excerpts and acts of roles from such works as Wagner’s Lohengrin, Berlioz’s Les Troyens, and Verdi’s Stiffelio. Ian is a graduate of Lawrence University in Appleton, Wisconsin, and Rice University in Houston, Texas.
Casey Candebat, a tenor hailing from New Orleans, is quickly garnering the attention of opera companies around the country. He is a frequent performer with San Francisco Opera, New Orleans Opera, Kansas City Opera, Opera Santa Barbara, and Opera Grand Rapids. Last season he was heard as Orpheus in Orpheus in the Underworld, Father Grenville in Dead Man Walking, Mitch in A Streetcar Named Desire, and guest soloist in various concerts and galas across the country. This season he makes his role debuts as Max in Der Freischütz and King Charles VII in Orleanskaya Dyeva. He is a graduate of the illustrious Merola Opera Program, where he was a two-time participant in the summer training program. With the New Orleans Opera, he has been featured in their productions of Orpheus in the Underworld, Dead Man Walking, Salome, Madama Butterfly, Rigoletto, Il Trittico, Manon Lescaut, La Bohème, and Turandot. Equally at home in concert work and oratorio, Mr. Candebat recently performed Verdi’s Messa da Requiem with the New West Symphony in Los Angeles and with with the Louisiana Philharmonic Orchestra this season. He has also performed the tenor solos in Beethoven’s Ninth Symphony, Mozart’s Coronation Mass, and Schubert’s Mass in E-flat, to name a few. A frequent recitalist, Mr. Candebat has had several highly acclaimed touring recitals including: Casey at the Movies, O Holy Night of Opera, and Scarborough Fair: Folk Songs of the British Isles. Mr. Candebat has won several prestigious vocal competitions, including the Grand Prize in the Bel Canto Foundation Voice Competition, 2011. Mr. Candebat is a graduate of Northwestern University and Loyola University New Orleans.
California native, Jana McIntyre, has been praised for her “dancer’s grace, mercurial wit, and vibrant soprano tone” (Opera News). Along with debuts as Queen of the Night (Toledo Opera and Opera Grand Rapids), the 2018-2019 season saw company debuts with Tulsa Opera (The Little Prince, Don Giovanni), Arizona Opera (Le Nozze di Figaro), Lyric Opera of Chicago (covering La Fée in Cendrillon), and Santa Fe Opera (Jano, Jenůfa). Recent highlights include performances with San Francisco Symphony, Albany Record’s release of David Briggs’ organ transcription of Mahler 8 (Mater Gloriosa), Wolf Italienisches Liederbuch in San Francisco Opera’s Recital Series, among others.
Hailed by the New York Times for her “technically accomplished coloratura” as well as, “floating lyricism,” soprano Nicole Haslett makes her Opera Hong Kong debut as Gilda in Rigoletto, and later this season returns to the company for her role debut as Ophélie in Thomas’ Hamlet in the 2019-20 season. She also returns to the role of Zerbinetta in Ariadne auf Naxos with Arizona Opera, makes her role debut as Ännchen in Der Freischütz with Heartbeat Opera, and returns to the Deutsche Oper Berlin as the Shephard in Dinorah. Last season, Ms. Haslett created the role of Kristina in the world premiere of Detlev Glanert’s Oceane with Deutsche Oper Berlin, in addition to joining the company for the 4th Blumenmädchen in Parisifal and Hirt in Tannhäuser. She also made her Toronto Symphony debut in performances of Carmina Burana under Maestro Donald Runnicles, and returned to the Metropolitan Opera for their production of Nico Muhly’s Marnie.
Rubin Casas is a Bass-Baritone and former Spectrum Artist at Virginia Opera. The Pasadena, Texas native, “sang with rich dark sounds that helped evoke interest” in the role of Sparafucile at Opera Las Vegas and Casas’ Banco in Macbeth at the Opera Company of Middlebury was “solid and beautifully sung.” Casas “provided rumbling bravura” as the Commendatore in Don Giovanni at Cedar Rapids Opera Theater and sang Angelotti and covered Baritone, Michael Chioldi as Scarpia in Tosca at El Paso Opera. He “delivered the chaplain Raimondo’s proclamations deeply and fully” in Lucia di Lammermoor at Opera in the Heights and was “darkly compelling” in the same role at Opera New Jersey. He was a “strong and imposing Bishop Ruiz” in Florentine Opera’s Grammy Award winning world premiere of Rio de Sangre, also commercially released on Albany Records. Of his Carnegie Hall debut with the Opera Orchestra of New York, Opera News declared him “promising vocal material” as Ashby in La Fanciulla del West. Casas has sung with Tacoma Opera, Shreveport Opera, Spokane Opera, Connecticut Grand Opera, Di Capo Opera Theatre, New York City Opera and the Metropolitan Opera. He is an alumnus of Yale University.
John Herrera was Tony nominated for the original Broadway production of The Mystery of Edwin Drood. Other Broadway: Evita, 1776, and The Threepenny Opera. Off-Broadway: original Kevin in In the Heights. National tours: Che in Evita, Anatoly in Chess, Les Misérables, and both Roy/Louis in Angels in America. John appears in films The House That Jack Built, an indie film and A Mouthful of Air. As a playwright, John’s latest plays: The Great Writer, loosely based on Ernest Hemingway and Pupa set in Havana at the time of the Cuban Revolution.
Quentin Oliver Lee
Quentin Oliver Lee is thrilled to make his Heartbeat debut. He was most recently seen as a Featured soloist in the Met Operas 2019 Porgy & Bess. Other credits ; B’way: Prince of Broadway (U/S) - Regional/B’way Tour: Phantom of the Opera (Phantom), Porgy and Bess (Porgy U/S), Festival of The Lion King (Scar), Encores! Golden Apple (Ensemble) - Opera: La Bohème (Schunard), Carmen (Escamillo), Gianni Schicchi (Gianni). Thanks to God, Angie, Jamilyn, Dan, and all who support the arts. www.QuentinOliverLee.com
Azumi O E
azumi O E was born and raised in Kyoto, Japan. She is a former principal dancer of Butoh company Vangeline Theatre performed 9 years, assistant choreographer/ dancer for Butoh Master Katsura Kan's several world tours. Her own solo work was presented in New York, Boulder, Beijing, Moscow, St. Petersburg, Helsinki, San Miguel de Allende, Puebla, Stuttgart, and Japan. Expansion of her Butoh career, she is passionate about collaborative work for MARCK his video art and live performances, duo project with Bassist Sean Ali, Trio with composer Takuya Nakamura and 3D mapped stage visualist Martin Gabor, interactive tech/sound/stage-visual projects, experimental film, Music Videos and many more. azumi is constantly at work on wide range of collaborative, and solo projects.
Meet the Team
Louisa Proske directs opera, classical theatre, and new plays with equal passion. She is a Princess Grace Award winner, a Musical America New Artist of the Month, and the proud Founding Co-Artistic Director of Heartbeat Opera. Productions in opera include Agrippina (Lincoln Center - Carnegie Hall/ Juilliard Vocal Arts), La Bohème (Pittsburgh Festival Opera), Così fan tutte (LoftOpera), Don Giovanni, Carmen, Lucia di Lammermoor, Daphnis & Chloé (all Heartbeat Opera), Falstaff (Dell’Arte Opera), Gianni Schicchi, Riders to the Sea, La Voix Humaine (Yale Opera); the world premiere of Invisible Cities at the Italian Academy New York. Theatre productions include The White Devil (Red Bull Theater - NYTimes Critic’s Pick), peerless (nominated for a Berkshire Theatre Award for Outstanding Direction), Gaslight, This, Engagements (all Barrington Stage Company), One Day When We Were Young (Assembly, Edinburgh).
Upcoming projects: Der Freischütz (Heartbeat Opera), The Mother of Us All (New York Philharmonic, Juilliard, Metropolitan Museum), Rinaldo (Glimmerglass Festival Debut) www.louisaproske.com
The music of composer and pianist Daniel Schlosberg has been performed by the the Dover Quartet, Cabrillo Festival Orchestra, Buffalo Philharmonic, Amphion Quartet, Aspen Contemporary Ensemble, Antico Moderno, and Lorelei Ensemble, at such venues as Carnegie Hall (New York), Victoria & Albert Museum (London), St. John’s Cathedral (Hong Kong), and Melbourne Recital Centre (Melbourne). Recent work includes the score for a music-theatrical adaptation of Lorca’s Once Five Years Pass at the Williamstown Theatre Festival, and music direction of Brecht’s Caucasian Chalk Circle at the Yale Repertory Theatre, where he premiered a score by David Lang. He cofounded the composer/performer ensemble INVISIBLE ANATOMY, which debuted last spring with concerts in New York City and at the Beijing Modern Music Festival. Schlosberg received a 2014 Charles Ives Scholarship from the American Academy of Arts and Letters and 2014 ASCAP Morton Gould Young Composer Award. He holds a bachelor’s degree from Yale University and a master’s from the Yale School of Music. His work has been described as “witty” by the Wall Street Journal.
Chloe Treat is a New York based director and choreographer. Born and raised in the great, if not occasionally problematic state of Texas; she directs and choreographs big ass musicals. Hire her to do any show with a dream ballet, a musical with 100 people that only has two weeks to rehearse, or if you're doing Seven Brides for Seven Brothers because she really wants to do that one. Some of the things she cares about, in no particular order, are: improving the representation of women on stage and in creative teams, democratizing storytelling, Pina Bausch, using the theatre as a center for community and dialogue, golden age musicals, Tennessee Williams, and Westerns!
Beth Goldenberg has designed costumes for opera companies including Heartbeat Opera (Don Giovanni, Carmen, Lucia di Lammermoor, Daphnis & Chloé, Kafka Fragments), Glimmerglass (Macbeth, the little match girl passion, Stabat Mater (Glimmerglass), and On Site Opera (The Guilty Mother, The Secret Gardener ). Theater work includes BAM Next Wave (Circus: Wandering City), Red Bull Theater (The White Devil, The Changeling), Second Stage (Engagements, The Other Thing), Dallas Theatre Center (Frankenstein, The Christians), Blueprints to Freedom with both La Jolla Playhouse and Kansas City Repertory Theatre, and Hartford Stage (Henry V, Queens For A Year). She is Associate Artist with Heartbeat Opera and has an MFA from NYU Tisch.
Oliver Wason is an associate artist with Heartbeat Opera, and has designed many of their productions, including: Don Giovanni, Fidelio, Butterfly, Carmen, Lucia di Lammermoor, and Kafka Fragments, as well as their performance on the High Line. New York work includes The Chinese Lady, Among the Dead, House Rules (Ma-Yi); Sagittarius Ponderosa (NAATCO); Wonderland (Atlantic Theater Co. for Kids); Agrippina (Juilliard Opera). Regional credits include shows at Yale Rep, Barrington Stage, Berkeley Rep, Berkshire Theater Festival, Playmakers Rep, Triad Stage, and the Shanghai Dramatic Arts Center. Faculty: Northeastern University. MFA Yale.
Corinne Gologursky (she/they) is a prop master, artisan, and designer based in New York. Recent credits include Ain’t No Mo’ (Public Theater); Sea Wall/A Life (Public Theater); Much Ado About Nothing, Coriolanus, and Hercules (Shakespeare in the Park); Once (Bucks County Playhouse). Corinne is very excited to make art with Heartbeat again (past: Don Giovanni, Fidelio, Dragus Maximus, Hot Mama). They received their BFA in Scenic Design from SUNY Purchase Conservatory of Theatre Arts. www.gologurskyprops.com
Co-writer, New English Dialogue
Michaël Attias is a saxophonist/composer based in New York City since 1994.
As a leader, he has released seven critically-acclaimed albums, most recently the 2017 debut of the Michaël Attias Quartet, Nerve Dance. As a sideman, he has performed and recorded all over the world alongside some of today's most original and compelling musicians. Attias has also composed and designed sound in New York and at various regional theatres. He was named a 2000 Artists' Fellowship Recipient of the New York Foundation for the Arts and was awarded MacDowell Arts Colony fellowships in Fall 2008 and Summer 2016.