Our artists have been working hard to bring to life the story of Night Trip. From performing remotely to tackling the beautiful music of this score, things have been full-steam-ahead for the past couple of weeks. Let’s take a moment to hear from some of the people that have a hand in bringing this production into reality:

First, a thoughtful reflection from our director Kimille Howard on the challenges and benefits of putting on a virtual production:

“It’s so interesting to return to virtual work after being back in person for several months. The familiar challenges and limitations of technology trigger memories of our year and change staring only at a screen for work and connection outside of home. The beauty of virtual productions, and Night Trip in particular, is being able to bring classical music to people who don’t have access to the institutions where operas are usually performed. There are definite barriers of entry that keep in-person audiences relatively homogenous. By making Night Trip accessible online, we are creating an opportunity for more people to see themselves reflected in a story told through classical music. My hope is that by feeling seen and included, they will then feel welcomed and invited into the classical world, and this could spark new lovers of opera!

It is so wonderful working on a project written and composed by black artists. I had the joy of working with Carlos Simon and Sandra Seaton on The Passion of Mary Cardwell Dawson at Glimmerglass last summer, and it is such a gift to work on another piece of theirs. Being able to connect with both of them for dramaturgical questions has been invaluable to our production. And, can I just say, GOD BLESS OUR SINGERS! Their patience, resilience, and flexibility during this process has truly been a gift. Figuring out where to face when, juggling different props, and acting without a physical scene partner like we are filming a cgi scene from The Lord of the Rings (except we don’t ever have a floating tennis ball for them to use). They have been wonderful collaborators, and their performances will be a treat for our audience. I’m so grateful for our whole team and all the brilliant work they’ve been doing!”

Our Artistic Director André Chiang offered insight into the impact and importance of Night Trip’s story and the way that art reflects society’s struggle:

“When we were discussing this season, Jaime brought up the climate and activism that was getting started in the industry. With our mission to find the next great opera singers and a drive for representative art, we decided upon Night Trip. After study of the piece, I knew it checked all the boxes for Opera NexGen.

I was born and raised in Mobile, AL, and experienced my fair share of “societal lessons.” The South will always be home, but there are many scars from growing up down there. Reading this libretto and listening to this score, I was fully transported to a time gone by, but also a situation that very much has legs in our modern society. Back when I was in school, we did pieces like Le nozze di Figaro and reinforced how timeless the thematic material and emotional stakes were for the characters. Night Trip unfortunately follows that lineage, but more importantly expresses it through the human experience of a child. It strips away the veneer and shows what racism is in a fully fleshed out form. Opera and art are meant to entertain and challenge us to not only progress but remember. Night Trip is a powerful, necessary piece of opera, and we are incredibly proud to be producing it.”

Last, a word from Olivia Johnson, who is playing Conchetta, on her connections to this story:

“I’m so thankful to be a part of this new and innovative production of Night Trip, with music by Carlos Simon and libretto by Sandra Seaton. The tech team, production members, conductor, director and cast members are all amazingly talented individuals. I’m looking forward to bringing this virtual live production to so many people watching from home including my own family!

I am playing the role of Conchetta. She’s a 16 year old black girl that lives in Chicago around 1958, but has roots in Tennessee. Although she is a fictional character loosely based on Sandra Seaton’s youth, I feel quite close to this character. I myself was born and raised in North Carolina, but my family is originally from Chicago. They relocated due to my father’s military service. Then in my early 20’s, I relocated back to the Midwest to pursue music. Like Conchetta, I have ties both to the military the South and the Midwest. And like Conchetta, I’ve also dealt with racial conflict in both regions.

I love this chamber opera, because it delicately yet honestly looks at racism through the perspective of a young black girl and how it changes her, inevitably bringing her into adulthood. This piece explores the imagination of a young black 16 year old girl that has yet to become aware of her own existence against the backdrop of her given society.

Her innocence and genuine joy is beautifully captured in the beginning of this piece with syncopation, drastic dynamics and quick change in tempi to capture her ever evolving imagination. But once confronted with racism, the character becomes grounded. This is evident in the music as we lose the dance-like syncopated rhythms from the first aria and we find a gentle waltz in the second.

I hope you all enjoy this magnificent virtual chamber opera by Opera NexGen! We worked so very hard as a team and we are excited to bring this to you, our audience members.”

The Opera NexGen team is grateful for the opportunity to tell impactful stories through music, and we are excited to share Night Trip with you this weekend. For more details on the performance, click here. We look forward to sharing this piece with you!

A Look Inside Night Trip

Resources for Accessibility in Opera

The Pets of Opera NexGen