A haunting new reflection on isolation and loss
“Few composers have the ability to create and sustain such varied and distinctive sound worlds as compellingly as Anna Clyne.”
An intense, deeply moving new Digital Short by director/choreographer Kim Brandstrup showcases composer Anna Clyne's gorgeous musical setting of poetry by Emily Dickinson. Between the Rooms is a poignant meditation on solitude, featuring two internationally celebrated ballet dancers, the extraordinary Alina Cojocaru and Matthew Ball.
Soprano Joélle Harvey is the vocal soloist, joined by members of the Brooklyn-based orchestra The Knights, conducted by Eric Jacobsen.
Artists
- Composer
- Anna Clyne
- Director / Choreographer
- Kim Brandstrup
- Soprano soloist
- Joélle Harvey
- Dancer
- Alina Cojocaru
- Dancer
- Matthew Ball
- Ensemble
- The Knights
- Conductor
- Eric Jacobsen
Anna Clyne
Composer
From: London, England. LA Opera: the Digital Short Between the Rooms (2021, debut).
London-born Anna Clyne is a Grammy-nominated composer of acoustic and electro-acoustic music. Described as a “composer of uncommon gifts and unusual methods” in a New York Times profile and as “fearless” by NPR, her work often includes collaborations with cutting-edge choreographers, visual artists, filmmakers, and musicians.
Upcoming premieres include Stride, a new work for string orchestra inspired by Beethoven's Sonata Pathétique for the Australian Composers Orchestra, Scottish Chamber Orchestra, Lausanne Orchestra and River Oaks Chamber Orchestra; Color Field a new work inspired by the artwork of Mark Rothko for the Baltimore Symphony Orchestra; and Overflow, a new work for wind ensemble inspired by the poetry of Emily Dickinson, for the Scottish Chamber Orchestra. This fall sees the release of Clyne's Mythologies, a portrait album featuring the works Masquerade, This Midnight Hour, The Seamstress, Night Ferry, and <<rewind<<, recorded live by the BBC Symphony Orchestra with soloists Jennifer Koh and Irene Buckley and conductors Marin Alsop, Sakari Oramo, Andrew Litton, and André de Ridder.
Other recent premieres include Sound and Fury, performed by the Scottish Chamber Orchestra and Pekka Kuusisto in Edinburgh; Breathing Statues, a new string quartet for the Calidore String Quartet; Shorthand for solo cello and string quintet premiered by The Knights at Caramoor in New York; her Rumi-inspired cello concerto, DANCE, premiered with Inbal Segev at the 2019 Cabrillo Festival of Contemporary Music, led by Cristian Măcelaru; and Restless Oceans with the Taki Concordia Orchestra and Marin Alsop at the Opening Ceremony of the World Economic Forum in Davos.
Clyne served as composer-in-residence for the Chicago Symphony Orchestra, Baltimore Symphony Orchestra, L’Orchestre national d’Île-de-France, and Berkeley Symphony. Clyne currently serves as The Scottish Chamber Orchestra’s Associate Composer through the 2021-2022 season, with a series of works commissioned over three years, and as the mentor composer for Orchestra of St Luke's DeGaetano Composer Institute.
Clyne’s music is published exclusively by Boosey & Hawkes.
Learn more at AnnaClyne.com.
Kim Brandstrup
Director / Choreographer
From: Aarhus, Denmark. LA Opera: the Digital Short Between the Rooms (2021, debut).
Kim Brandstrup studied film at the University of Copenhagen and choreography with Nina Fonaroff at the London School of Contemporary Dance. He founded his own dance company, Arc, in 1985, forging a narrative style that owes more to his early cinematic training than to classical story ballet or to the kineticism of contemporary dance.
Throughout his career, and at times at odds with current trends, he has sought a theater of movement that is both powerful and subtle, creating poignant and suggestive narratives that are always intensely human and emotionally revealing.
Since 2005 in freelance commissioned works for a range of international companies including the Royal Ballet, Les Grands Ballets Canadiens, and the Royal Danish Ballet, his narrative approach has found new paths, growing more refined and precise while enjoying a looser, more experimental tone in its storytelling.
Learn more at KimBrandstrup.org.
Joélle Harvey
Soprano soloist
From: Bolivar, New York. LA Opera: soloist in the Digital Short Between the Rooms (2021).
Soprano Joélle Harvey has quickly established herself as a noted interpreter of a broad range of repertoire, specializing in Handel, Mozart, and new music. She is the recipient of a 2011 First Prize Award from the Gerda Lissner Foundation, a 2009 Sara Tucker Study Grant from the Richard Tucker Foundation, and a 2010 Encouragement Award (in honor of Norma Newton) from the George London Foundation.
The 2019/20 season featured important debuts for Ms. Harvey, as she performed Pamina in The Magic Flute with both the Metropolitan Opera and Santa Fe Opera. She returned to the Cleveland Orchestra for Mahler’s 4th Symphony as well as Mozart’s Mass in C Minor, which she also performed with the Handel & Haydn Society. Mahler’s 2nd Symphony featured prominently in the season, for which she returned to both the St. Louis Symphony and the New York Philharmonic, the latter with performances in New York and on tour conducted by Jaap van Zweden. She returned to the San Francisco Symphony for Brahms’s Ein deutsches Requiem led by Michael Tilson Thomas, and debuted with the Santa Barbara Symphony for Beethoven’s Mass in C. Her season also included appearances with the Philadelphia Chamber Music Society for their Emerging Voices series, the Chamber Music Society of Lincoln Center for a concert in Alice Tully Hall featuring songs of Schubert, Chausson, and Harbison, and the Cincinnati Symphony for Handel’s Dilirio Amoroso.
The works of Gustav Mahler figured substantially in Ms. Harvey’s 2018/19 season engagements. She returned to the Cleveland Orchestra as the soprano soloist in his 2nd Symphony, conducted by Franz Welser-Möst and performed in Cleveland and on tour. She also performed the work for her debut with the Toronto Symphony, in performances led by Matthew Halls. With the San Diego Symphony, she was reunited with conductor Edo de Waart for Mahler’s 4th Symphony, on a program also featuring Barber’s Knoxville: Summer of 1915. She was also presented by Carnegie Hall in recital with pianist Allen Perriello, as part of the Great Singers: Evenings of Song series. With the British ensemble Arcangelo, Ms. Harvey toured several U.S. cities, in performances with Artistic Director Jonathan Cohen. In June, she made her mainstage debut with the Royal Opera House, Covent Garden as Susanna in The Marriage of Figaro. The season also included appearances with the New York Philharmonic (Mozart’s Requiem), Utah Symphony (Beethoven’s 9th Symphony), Saint Paul Chamber Orchestra (Bach's St. John Passion), North Carolina Symphony (Mozart arias and Mass in C Minor), Music of the Baroque (Bach' Coffee Cantata), and Handel & Hadyn Society (Mozart’s Requiem).
Ms. Harvey began the 2017/18 season in concert with the Knoxville Symphony, performing Samuel Barber’s Knoxville: Summer of 1915. She subsequently made her Pittsburgh Opera debut as Susanna in The Marriage of Figaro, and joined The English Concert as Almirena in Rinaldo. Further concert appearances included a return to the New York Philharmonic for Handel’s Messiah, and an appearance with the Laguna Music Festival for a concert of music by Brahms and both Clara and Robert Schumann. In the summer of 2018, she returned to the Glyndebourne Festival Opera for her role debut as Cleopatra in Sir David McVicar’s iconic production of Handel’s Giulio Cesare, conducted by William Christie. She also appeared at the BBC Proms as the Mater Gloriosa in Mahler’s 8th Symphony.
In the previous season, Ms. Harvey joined the Milwaukee Symphony as Susanna in The Marriage of Figaro, the Los Angeles Philharmonic as Pat Nixon in Nixon in China, and returned to the Glyndebourne Festival Opera as Servilia in La Clemenza di Tito, a role which she also performed at the BBC Proms. In concert, she appeared with the Mostly Mozart Festival for Mozart’s Mass in C Minor and his Requiem, which she also sang for the Kansas City Symphony and the Utah Symphony. Additionally, she joined the Cincinnati Symphony for Beethoven’s Missa Solemnis, sang Handel’s Messiah with the Handel & Haydn Society and the National Symphony, the San Francisco Symphony for Mahler’s Das klagende Lied, and the London Symphony Orchestra and Concertgebouw for John Adams’ El Niño. She also appeared in concert with the LA Chamber Orchestra and the North Carolina Symphony.
Ms. Harvey’s varied appearances during the 2015/16 season included Michal in Saul with the Handel & Haydn Society and Inès in a concert performance of La Favorite with Washington Concert Opera. She also joined the Indianapolis Symphony, Virginia Symphony, St. Paul Chamber Orchestra and Les Violons du Roy in concert.
During the 2014/15 season, Ms. Harvey’s numerous engagements included repeat appearances as Sicle in Ormindo with the Royal Opera, Covent Garden, Galatea in Acis and Galatea with the Killkenny Festival, and role debuts as Marzelline in Fidelio with San Francisco Symphony and Anne Trulove in Stravinsky’s The Rake’s Progress with Utah Opera. On the concert stage, she appeared with the Cleveland Orchestra (Bach's B minor Mass), Tafelmusik, Handel & Haydn Society (Messiah and St. Matthew Passion), LA Philharmonic (Missa Solemnis), North Carolina Symphony (Messiah), Dallas Symphony (Mozart Requiem) and the Pygmalion Ensemble (Mozart Mass in C minor).
Ms. Harvey’s 2013/14 season included her debut with the Royal Opera, Covent Garden in London as Sicle in Ormindo, further performances with the Glyndebourne Festival Opera as Serpetta in La Finta Giardiniera, Adina in L’Elisir d’Amore with the Glyndebourne Festival Touring Company, and the Dallas Opera for Miranda in Death and the Powers, as well as appearances on the concert stage with The Handel & Haydn Society (Dalila in Handel’s Samson), New York Philharmonic (Handel’s Messiah), San Francisco Symphony (Beethoven’s Mass in C), Milwaukee Symphony (Schubert’s Mass No. 6) and the Kansas City Symphony (Handel’s Messiah).
During the 2012/13 season, the soprano was engaged to sing Susanna in Le nozze di Figaro on tour with the Glyndebourne Festival and also with Arizona Opera; two appearances with the San Francisco Symphony: Handel’s Messiah, conducted by Ragnar Bohlin, and music from Peer Gynt, conducted by Music Director Michael Tilson Thomas; the role of Tigrane in performances of Radamisto at Carnegie Hall and in Ann Arbor, Michigan, with Harry Bicket and The English Concert; the Mendelssohn and Bach Magnificats for her debut with The New York Philharmonic; and Iphis in a United States tour of Handel’s Jephtha with Harry Christophers and Handel & Haydn Society. She concluded the season in a return to Festival d’Aix-en-Provence for Zerlina in a revival of Dmitri Tcherniakov’s production of Don Giovanni, conducted by Marc Minkowski.
Learn more at JoelleHarvey.com.
Alina Cojocaru
Dancer
From: Bucharest, Romania. LA Opera: the Digital Short Between the Rooms (2021).
Alina Cojocaru trained in Kiev for seven years before joining the Royal Ballet School in 1997. Upon completion of her training, six months later, she returned to Kiev, to join the company as a principal dancer. In 1999, she joined the Royal Ballet Company and, at the end of the season, was promoted to soloist. In 2001, she was promoted to the rank of principal dancer after her performance of Giselle.
Ms. Cojocaru joined the English National Ballet in 2013 as a leading principal dancer, while appearing as a regular guest artist with the Hamburg Ballet, American Ballet Theatre and with companies worldwide. She left the English National Ballet in 2020 and continues to perform as a permanent guest artist with the Hamburg Ballet, where she recently created the role of Laura Wingfield in the world premiere of John Neumeier's The Glass Menagerie.
Ms. Cojocaru has organized galas in Romania and in London for the Romanian charity Hospice of Hope over the last few years. In 2012, she premiered her Alina Cojocaru - Dream Project in Tokyo, which she directed and staged, while performing with friends and colleagues from the Tokyo Ballet, Hamburg Ballet, English National Ballet and Royal Ballet.
As a guest artist, she has performed with the Kirov Ballet, Paris Opera Ballet, Bolshoi Ballet, American Ballet Theatre, Hamburg Ballet, Royal Danish Ballet, Hungarian National Ballet, Vienna State Opera Ballet, Zurich Ballet, National Ballet of Portugal, La Scala Ballet, Nacional Ballet Of Cuba, Teatro Colon Buenos Aires, National Ballet of Romania, South African Ballet Theater, Kremlin Ballet, Sarasota Ballet, Zagreb Ballet. Galas with the Hamburg Ballet, La Scala Ballet, National Ballet Of China, Ballet Basel, National Ballet of Latvia, Munich Ballet, Dortmund Ballet, National Ballet of Finland, Morphoses Company, The 10th, 11th, 12th and 13th World Ballet Festival (Tokyo) as well as galas in South Korea, Portugal, Italy, Sweden, USA and Denmark.
Matthew Ball
Dancer
From: Liverpool, England. LA Opera: the Digital Short Between the Rooms (2021).
English dancer Matthew Ball is a principal dancer of the Royal Ballet in London. He trained at the Royal Ballet School and joined the company during the 2013/14 season, promoted to first artist in 2015, soloist in 2016, first soloist in 2017 and principal dancer in 2018.
Ball joined the Royal Ballet School aged 11. Roles while a student included Fritz (The Nutcracker) with the Royal Ballet. Awards as a student include at the School’s 2011 Lynn Seymour Competition, the 2009 Kenneth MacMillan Senior Choreographic Competition and the Gailene Stock and Gary Norman Award for Excellence. He was twice a finalist at Young British Dancer of the Year.
In 2016 he was named Best Emerging Artist at the Critics’ Circle National Dance Awards. He recently toured the U.K. in the dual role of the Swan/Stranger in Matthew Bourne’s Swan Lake.
The Knights
Ensemble
Based in: Brooklyn, New York. LA Opera: the Digital Short Between the Rooms (2021).
The Knights are a collective of adventurous musicians dedicated to transforming the orchestral experience and eliminating barriers between audiences and music. Driven by an open-minded spirit of camaraderie and exploration, they inspire listeners with vibrant programs that encompass their roots in the classical tradition and passion for artistic discovery. The orchestra has toured and recorded with renowned soloists including Yo-Yo Ma, Dawn Upshaw, Béla Fleck, and Gil Shaham, and has performed at Carnegie Hall, Tanglewood, and the Vienna Musikverein.
The Knights evolved from late-night chamber music reading parties with friends at the home of violinist Colin Jacobsen and cellist Eric Jacobsen. The Jacobsen brothers, who are also founding members of the string quartet Brooklyn Rider, serve as artistic directors of The Knights, with Eric Jacobsen as conductor. The Knights are committed to creating unusual and adventurous partnerships across disciplines; they perform in traditional concert halls as well as parks, plazas, and bars, all in an effort to reach listeners of all backgrounds and invite them into their music-making. Since incorporating in 2007, the orchestra has toured consistently across the United States and Europe.
Counted among the highlights from recent seasons are: a performance with Yo-Yo Ma at Caramoor; the recording of Prokofiev’s Second Violin Concerto on master violinist Gil Shaham’s Grammy-nominated 2016 release, 1930s Violin Concertos, Vol. 2, as well as a North American tour with Shaham; residencies at Dartmouth, Penn State and Washington DC’s Dumbarton Oaks; and a performance in the NY Phil Biennial along with the San Francisco Girls Chorus (led by composer Lisa Bielawa) and the Brooklyn Youth Chorus, which featured world premieres by Rome Prize-winner Bielawa, Pulitzer Prize-winner Aaron Jay Kernis, and Knights violinist and co-founder Colin Jacobsen. The ensemble made its Carnegie Hall debut in the New York premiere of the Steven Stucky/Jeremy Denk opera The Classical Style, and has toured the U.S. with banjo virtuoso Béla Fleck and Europe with soprano Dawn Upshaw. In recent years The Knights have also collaborated with Itzhak Perlman, the Mark Morris Dance Group, Joshua Redman, Silk Road virtuoso Siamak Aghaei, and pipa virtuoso Wu Man. Recordings include 2015’s “instinctive and appealing” (The Times, UK) the ground beneath our feet on Warner Classics, featuring the ensemble’s first original group composition; an all-Beethoven disc on Sony Classical (their third project with the label); and 2012’s “smartly programmed” (NPR) A Second of Silence for Ancalagon.
The Knights are proud to be known as “one of Brooklyn’s sterling cultural products…known far beyond the borough for their relaxed virtuosity and expansive repertory” (The New Yorker). Their roster boasts musicians of remarkably diverse talents, including composers, arrangers, singer-songwriters, and improvisers, who bring a range of cultural influences to the group, from jazz and klezmer to pop and indie rock music. The unique camaraderie within the group retains the intimacy and spontaneity of chamber music in performance. Through the palatable joy and friendship in their music-making, each musician strives to include new and familiar audiences to experience this important art form.
Learn more at TheKnightsNYC.com.
Eric Jacobsen
Conductor
Hailed by the New York Times as “an interpretive dynamo,” conductor and cellist Eric Jacobsen has built a reputation for engaging audiences with innovative and collaborative programming. He is the newly-named Music Director of the Virginia Symphony, becoming the 12th music director in the orchestra’s 100-year histor.
Jacobsen is Artistic Director and conductor of The Knights, and serves as the Music Director for the Orlando Philharmonic Orchestra. Jacobsen founded the adventurous orchestra The Knights with his brother, violinist Colin Jacobsen, to foster the intimacy and camaraderie of chamber music on the orchestral stage. As conductor, Jacobsen has led the “consistently inventive, infectiously engaged indie ensemble” (New York Times) at Central Park’s Naumburg Orchestral Concerts, Celebrate Brooklyn! Festival, (Le) Poisson Rouge, the 92nd Street Y, Carnegie Hall, and Lincoln Center; at major summer festivals such as Tanglewood, Ravinia, and Ojai; and on tour nationally and internationally, including at the Cologne Philharmonie, Düsseldorf Tonhalle, Hamburg Elbphilharmonie, Salzburg Großes Festspielhaus, Vienna Musikverein, National Gallery of Dublin, and the Dresden Musikfestspiele. Recent collaborators include violinists Itzhak Perlman and Gil Shaham, singers Dawn Upshaw, Susan Graham, and Nicholas Phan, and pianists Emanuel Ax and Jean-Yves Thibaudet. Also in demand as a guest conductor, Jacobsen has led the symphony orchestras of Baltimore, Detroit, the New World, St. Paul Chamber Orchestra, the Deutsche Philharmonie Merck and the Tonkunstler Orchestra, with whom Jacobsen appeared at Vienna’s legendary Musikverein.
In the coming season, Eric Jacobsen returns to the Detroit Symphony for the world premiere of James Lee III’s “Amer’ican,” a contemporary response to Dvorak’s “New World” Symphony which also features on the program. He also makes his La Jolla Summerfest debut, conducting three concerts featuring Summerfest Artistic Director Inon Barnaton and other artists. He appears twice with the Virginia Symphony, with guest artist Branford Marsalis and also performing Beethoven’s Ninth Symphony, and travels to Bilkent, Turkey, to appear with the orchestra there. With The Knights, he returns to the Tanglewood and Caramoor Festivals and to Central Park’s Naumburg Bandshell, and appears at Wolf Trap in a new piece by Grammy-winning singer/songwriter Aoife O’Donovan. In the spring, Jacobsen and The Knights close their season with a multi-city US tour featuring pianist Aaron Diehl.
The 2021/22 Orlando Philharmonic season sees the return of the “Resonate” festival, a unique blend of old and new orchestral and chamber works, performed in standard and more intimate concert formats. This season’s edition features Artist-in-Residence Stewart Goodyear performing the complete piano sonatas of Beethoven as well as orchestral repertoire. The Orlando season will close with a semi-staged production of Orff’s “Carmina burana,” with staging by Alison Moritz and choreography by John Heginbotham.
In recent seasons, Eric Jacobsen and The Knights performed a fully-staged centennial production of Bernstein’s Candide directed by Alison Moritz at the Ravinia Festival, and toured Florida with Gil Shaham. With mandolin virtuoso Avi Avital, Jacobsen and The Knights undertook a 15-concert European tour, including performances at Hamburg’s Elbphilharmonie and Vienna’s Musikverein. In New York, Jacobsen and The Knights performed at Carnegie Hall’s Zankel Hall; with groundbreaking countertenor Anthony Roth Costanzo at National Sawdust in music of Handel and Philip Glass; and at the Park Avenue Armory, where they helped create the music for William Kentridge’s The Head and the Load. With the Bridgeport Symphony, Jacobsen performed with his brother Colin, with whom he recorded a video of Vaughan Williams’ The Lark Ascending that was featured on London’s Classic FM and the Violin Channel.
At the close of a successful sixth season with the Orlando Philharmonic Orchestra, Jacobsen has continued to pioneer the orchestra’s programming and community engagement in new and exciting directions. During the 2020/21 season, the Orlando Philharmonic was one of the few orchestras internationally that was able to perform live concerts, including with renowned pianist Yuja Wang, and they closed their season with “America, Come,” an Orlando Philharmonic commission from Aoife O’Donovan honoring the centennial of the 19th Amendment. Previous seasons included Inside the Score, in which Jacobsen led the audience on a guided exploration of Hector Berlioz’s Symphonie fantastique; appearances by multi-instrumentalist Angélica Negrón as composer-in-residence; and guest appearances by Grammy-winning singer-songwriter Rhiannon Giddens and internationally acclaimed cello virtuoso Jan Vogler.
Under Jacobsen’s baton, The Knights have developed an extensive recording collection, which includes the critically acclaimed albums Azul, with longtime collaborator Yo-Yo Ma, as well as the Prokofiev Concerto in the Grammy-nominated Gil Shaham album 1930s Violin Concertos. Their most recent release, featuring Gil Shaham in performances of the Beethoven and Brahms Violin Concertos, was met with critical acclaim upon its release in 2020. The Knights issued three albums for Sony Classical including Jan Vogler and The Knights Experience: Live from New York; New Worlds, and an all-Beethoven album, as well as the “smartly programmed” (National Public Radio) A Second in Silence on the Ancalagon label. Jacobsen’s first release on Warner Classics was the ground beneath our feet. We Are The Knights, a documentary film produced by Thirteen/WNET, premiered in 2011.
In 2012, Jacobsen and his brother Colin were selected from among the nation’s top visual, performing, media, and literary artists to receive a prestigious United States Artists Fellowship. Eric splits his time between New York and Orlando with his wife, singer-songwriter Aoife O’Donovan, and their daughter.
Learn more at JacobsenEric.com.
A Note from Composer Anna Clyne
A Note from Composer Anna Clyne
I have been fascinated by Emily Dickinson’s poetry and vivid imagination for many years and am thrilled to have this opportunity to further explore her world in collaboration with choreographer and filmmaker Kim Brandstrup, singer Joelle Harvey, The Knights, and LA Opera.
Between the Rooms weaves together three poems by Emily Dickinson ("I Heard a Fly buzz—when I died"; "I Cannot Live With You"; "I died for Beauty—but was scarce") with fragments from Dickinson’s Envelope Poems. Themes of solitude and creativity resonate with today’s experience of enforced isolation as a result of the pandemic. Spending the last 15 years of her life in one room, Dickinson wrote her poetry in total solitude. From the confines of her bedroom, she was able to conjure up imagined worlds and landscapes of great vibrancy. Between the Rooms evokes the audible realm that envelopes this lonely figure and explores her journey from solitude to an imaginary world—weaving melodic fragments with hymn-like statements that are conjured by the instrumentation of string quintet with soprano voice.
A Note from Director/Choreographer Kim Brandstrup
A Note from Director/Choreographer Kim Brandstrup
Anna called me at the peak of lockdown asking me to work with her on Between the Rooms. We both agreed that the poetry of Emily Dickinson, who lived alone in one room for the last 20 years of her life, seemed strangely topical. And very appropriately the first part of our collaboration took place between Anna’s secluded workroom in upstate New York and mine in London, on Zoom.
The prep for the shoot and the initial rehearsals were held at a similarly cautious distance—and in masks.
However, when the date of filming finally arose in early May of 2021, when the masks and distance were abandoned, the sheer exhilaration of the dancers being able to freely move and touch again was palpable. It was the first time Alina and Matthew had ever danced together and the chemistry was instantaneous—the liberating sense of close physical proximity and touch were unmistakable and very moving.
Thus this sense of longing for touch and closeness—after a year of isolation—has become an important part of the film. However, Emily Dickinson’s solitary life was a clear and personal choice and the film celebrates her poetry’s powerful ability to evoke the physical world outside the room—a celebration of our ability to conjure up, through poetry, music, movement, an imaginary otherness even when we are alone in our rooms.
Musicians: Colin Jacobsen, violin; Kristi Helberg, violin; Mario Gotoh, viola; Caitlin Sullivan, cello; Logan Coale, bass
This project is generously supported by a consortium of donors to LA Opera's Contemporary Opera Initiative, chaired by Nancy and Barry Sanders.
"Between the Rooms" by Anna Clyne commissioned by LA Opera. By arrangement with Boosey & Hawkes, Inc.