a new version of Verdi’s Macbeth
Directed and adapted by Ethan Heard
Arranged by Daniel Schlosberg
Music directed from the violin by Jacob Ashworth
A female executive runs on a treadmill: sweat on her brow, fire in her eyes. The treadmill accelerates; she runs harder. Her phone chimes: her husband has been unexpectedly promoted. Opportunity beckons…
From Ethan Heard:
“Heartbeat tackles our first work by Verdi, creating a reordered, 90-minute version of Macbeth entitled Lady M. We center Lady Macbeth’s experience, looking at the story through a contemporary American lens. What does it mean to be an ambitious, driven woman today? How do power and wealth corrupt? And how do we strip away clichés that have accumulated around this story -- and the character of Lady Macbeth in particular -- in order to encounter this thrilling material in a fresh way? For 6 singers and 7 players, our adaptation features electronics, cutting-edge sound design, and three female soloists as the Witches, honoring Shakespeare’s original text and bringing Verdi’s thrilling music to life in surprising and otherworldly new ways including surround sound, vocal distortion, pitch manipulation, texture, and exaggerated dynamic contrast.”
85 S. Oxford St., Brooklyn, NY 11217
May 11-16, 2020
Meet the TEAM
As Founding Co-Artistic Director of Heartbeat Opera, Ethan has directed La Susanna at BAM and the Kennedy Center, Fidelio, Butterfly, Dido & Aeneas, Kafka-Fragments, The Seven Deadly Sins, the drag extravaganzas Dragus Maximus: a homersexual opera odyssey, All the World’s a Drag!, Queens of the Night: Mozart in Space, Miss Handel, and The Fairy Queen, and a special performance on the High Line. Other opera includes the world premieres of Marisa Michelson’s Desire|Divinity (Judson), Rene Orth and Mark Campbell’s Empty the House (Curtis), and Sisyphus (Experiments in Opera); Erismena and L’Orfeo (Yale), and Poppea (Princeton). Musical theater includes Little Shop of Horrors, Bells Are Ringing, and A Little Night Music (Berkshire Theatre Group), The Other Room (Inner Voices), Merrily We Roll Along and Sunday in the Park with George (Yale), Next to Normal and Into the Woods (Princeton). He also served as Resident Director of China’s first jukebox musical, Jay Chou’s The Secret in Beijing and Shanghai. Plays include: Middletown (The New School), Partners (AADA), The Cat and the Canary (BTG), Julius Caesar (Yale), The Gay Ivy (Dixon Place), and in a word (Williamstown). He received his BA and MFA from Yale, and as Artistic Director of Yale Cabaret, he began the beloved tradition of Yale School of Drag. He now teaches at Yale School of Drama and Yale Institute of Sacred Music. ethanheard.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.
Jacob Ashworth is the “impressive Artistic Director” (New York Times) of Heartbeat's sister company, the baroque and modern “crack ensemble” (New Yorker) Cantata Profana, which he founded in 2012 at the Yale School of Music. He has also been Co-Music Director of Heartbeat Opera since the beginning. His own performances as a violinist and conductor from early baroque to contemporary music have been called “exacting and sensitive” (Boston Globe), “richly detailed” (New York Times), and “a flat-out triumph” (Opera News). On period instruments, Jacob has performed as concertmaster for Mark Morris Dance Group and Opera Lafayette, and with Trinity Baroque Orchestra, Staunton Music Festival, the Yale Baroque Ensemble, and New York Baroque Incorporated.