What a season! An absolute high-point of my career to-date has been to tour Ricardo Zohn-Muldoon’s cantata titled “Comala” with a fabulous group of musicians (and friends!) as well as with Push Physical Theater. We visited Atlanta, GA and then traveled to Mexico to play in Guadalajara and Guanajuato. I do hope we can stage another performance of this fascinating work soon!
Soon after the tour ended I was on stage performing a set of Haiku for flute and piano by Michael Fiday, who was a guest at the University of Oregon for a few days. Flutists take note- this is a piece to get your hands on!
Nov 2-9 takes me to Indiana University, DePaul University, University of Illinois and to the Chicago Flute Club Festival for solo performances, masterclasses and a concert to honor my Oberlin professor Michael Debost.
I am counting the days until my next project begins, because I get to work with some of my all-time favorite musician friends: percussionist Stuart Gerber, soprano Tony Arnold, guitarist Dieter Hennings, conductor Timothy Weiss and composer Ricardo Zohn-Muldoon. Stuart and Ricardo have worked to get onto one stage the people listed above playing alongside members of Bent Frequency and the Push Ensemble. We will begin our tour in Atlanta, then head to Guadalajara and Guanajuato Mexico.
Ricardo’s opera, Comala, is based on the novel Pedro Páramo, by the great Mexican author Juan Rulfo. Comala does not encompass the entire novel, but only relates the part that Juan Preciado plays in the complex and multi-dimensional story. Juan Preciado is the legitimate son of Pedro Páramo. He guides the reader, narrating in the first person, until death surprises him midway through the novel. From that point on, he becomes a peaceful spectator, in the “chorus” of the dead, as the story continues to unfold without him. In Pedro Páramo, the orderly flux of time has been derailed, and the borders between past, present, life, and afterlife have dissolved. Therefore, the dead and the living interact continuously. In Comala, the living characters (Juan Preciado, Donis and Donis’ sister) express themselves in normal speech, while the dead characters (Doloritas, Eduviges Dyada, Damiana Cisneros, the ghost of a battered man) sing. The idea behind this is that the living act under the pressure of time, and seek immediate communication, whereas the dead, free from the bonds of time, reflect endlessly in song.