El AFICIONADO (1987-1992)

May 21, 22, 23 and 24, 2020

New York Live Arts
219 West 19th Street
New York, NY 10011

Music and Libretto – Robert Ashley
Music Direction – Tom Hamilton
Stage and Lighting – David Moodey
Produced by Mimi Johnson, Performing Artservices, Inc.

The Agent – Kayleigh Butcher

Described as having “a sound that is well-suited for the strange world of new music” (Chicago Classical Review), Kayleigh Butcher (mezzo-soprano) has gained critical and audience acclaim as a soloist and contemporary chamber musician. She is a founding member and the director of Quince Ensemble, an all-female, a cappella vocal quartet that explores experimental vocal techniques and improvisation. Quince has performed on many contemporary series, festivals, and at prestigious venues such as HERE Arts, Chicago’s Ear Taxi Festival, Chicago’s Pritzker Pavilion in Millennium Park, Stanford University, Northwestern’s NUNC, Issue Project Room, University of Michigan's Hill Auditorium, and NYC’s SONiC Festival at Shapeshifter Lab.  She is also a founding member of Shepherdess, a violin and voice duo, and LOVELOVELOVE, a vocal trio with fellow Robert Ashley cohorts, Paul Pinto and Bonnie Lander. She currently resides in Brooklyn.

First Interrogator– Brian McCorkle

Brian McCorkle is a composer, performer, co-Director of the Panoply Performance Laboratory (PPL) and a founding member of Varispeed Collective. His collaborations with Varispeed have been praised by The New York Times as "impressive, and Posture Magazine calls his voice “chillingly resonant.” He performs regularly as a multi-instrumentalist and vocalist, flouting genre while drawing from decades of experience as a professional musician in a wide array of contexts while also making electronic instruments combined with sculptures made by Esther Neff. McCorkle’s work with PPL has been described by The Guardian as “working to distill a bevy of sophisticated ideas into word and action.”

Second Interrogator – Bonnie Lander

Bonnie Lander is a multifaceted professional musician whose career encompasses performance, curation, composition, and improvisation. Immersed in the eclectic world of new and experimental music, she has performed in a great variety of concert programs, with a wide selection of collaborators in improvised music, new opera, new chamber music, and composition. Versatile, dramatic, with a “stratospheric legato” and a “signature ability to embody a seemingly endless supply of vocal timbres and personalities,” Lander combines an intuitive, spontaneous use of the voice with resonant operatic technique, in order to create a performance experience that is virtuosic, intimate, and sonically overwhelming. Lander is a founding member of Rhymes With Opera, a NYC based chamber opera company now in its 12th year of programming new works for the operatic voice.

Third Interrogator – Paul Pinto

Paul Pinto is a composer, writer and multi-disciplinary performer. He founded the music collectives thingNY and Varispeed with whom he creates immersive, durational and dramatic chamber and electronic music. His latest albums include Patriots with Jeffrey Young, Empty Words with Varispeed and Robert Ashley's Improvement. As a vocalist, Paul works on a diverse array of new projects, including performing Peter Maxwell Davies’ Eight Songs for a Mad King, originating the role of “Balaga” in the Broadway musical Natasha, Pierre and the Great Comet of 1812, and in his own work including the opera Thomas Paine in Violence with Joan La Barbara, and the Resonant Bodies Festival commission of 15 Photos.  This year includes commissions for Iktus Percussion, Quince, Kathleen Supove, The Rhythm Method, and Shepherdess, guest artistic curator for the MATA Festival and directing thingNY's remount of the opera ADDDDDDDDD.

Music Director – Tom Hamilton

Tom Hamilton has combined the activities of audio production and music composition into an artistic career of over five decades. Since 1990, Hamilton has been a member of the composer Robert Ashley’s touring opera ensemble, performing sound processing and mixing in both recordings and concerts. He has served as Music Director in productions of Ashley’s operas Crash, Improvement, and eL/Aficionado, and composed and produced the music for productions of Ashley's Quicksand and A Futile Stab at Fun. His audio production is found on over 100 recordings of prominent contemporary musicians. Hamilton's music references the 1970s era of analog electronics, and contrasts structure with improvisation and textural electronics with acoustic instruments. He employs “aural scores” to connect performers to a changing context of electronic sound, prompting the use of “present-time listening” by both performer and listener. Hamilton is a Fellow of the Civitella Ranieri Foundation, and his work has been awarded in the Prix Ars Electronica.



For more information, contact:
Mimi Johnson
Performing Artservices, Inc.
260 West Broadway
New York, NY 10013
tel: 212-941-8911