December 24, 2018
san diego union tribune Year in review - 18 things we loved in the san diego arts scene in 2018
A joint presentation of ArtPower and UC San Diego Department of Music, this ambitious chamber opera was presented in late October at the Conrad Prebys Experimental Theater. Composer Lei Liang and soprano/producer Susan Narucki, both UCSD music professors, collaborated with librettist Matt Donovan and set designer Ligia Bouton. They developed a powerful exploration of gun violence through the complex prism of Sarah Winchester, the rifle heiress whose San Jose home has become a tourist attraction. UCSD’s Steven Schick led the talented ensemble, including six musicians and four vocalists, through Lei’s unique and compelling score. The focal point of it all was soprano Narucki, with her agile, expressive voice and her ability to convey the anguished and eccentric Winchester with compassion and verve. (Beth Wood)
December 12, 2018
nEW MUSIC BOX Retaking the Stage: What Artists Can Be In Our Society
By James Chute
Composer Lei Liang and soprano Susan Narucki were aware they were delving into a topic of immense importance in their new chamber opera, Inheritance, which deals with guns and gun violence. So they didn’t really need a reminder of the issue’s urgency when a gunman murdered 11 people in a Pittsburgh synagogue gathered for Shabbat morning services on October 27, the day of the opera’s third and final performance at the University of California San Diego.
“That Saturday performance was very difficult, personally,” said Narucki, who produced the opera and sang the central role of Winchester Repeating Arms Company heiress Sarah Winchester. Narucki, like Liang, is on the UCSD music faculty and they had previously collaborated in the one-woman chamber opera Cuatro Corridos, whose four stories (set by Liang, Hilda Paredes, Arlene Sierra, and Hebert Vázquez) dealt with human trafficking.
“Can art make a difference?” Narucki asked. “I have to say, when we were going onto the stage Saturday evening, I thought, ‘What can make a difference?’ There’s a part of me that felt we’ve gone so far in the direction of just not hearing each other—we’ve normalized insanity—that nothing could make a difference.”
That moment of hopelessness passed, as Narucki possesses a strong core belief in music’s transformational potential. After a moment of silence in memory of the shooting victims, conductor Steven Schick gave the downbeat and the opera opened with a percussive volley that could have been mistaken for gunshots. “I think what ends up happening, and the whole cast felt this way, is there’s a kind of intensity you give to your performance in situations like that,” she said. “It’s difficult, but it seems like it’s a cry to try to break through that wall of indifference.”
Whether the piece—with a libretto by Matt Donovan, design by Ligia Bouton, and stage direction by Cara Consilvio—succeeded on that level can only be gauged by the individuals in the audience, but there was another wall that this unusually powerful work breeched in its immediate connection with a timely, complex, and controversial political and social issue: the apparent barrier between life and new music.
December 2, 2018
San diego story Berio “Circles”
By Ken Herman
“…Like Berberian, UC San Diego music faculty member soprano Susan Narucki has made a career interpreting challenging contemporary music, and her mastery of the daunting leaps, swoops, and contorted vowel sounds that abound in “Circles” was indeed thrilling. More to the point, her mastery of Berio’s heightened, post-Expressionist declamation of the text—“Circles” could be through of as the grandchild of Schoenberg’s “Pierrot Lunaire”—displayed all the panache of performance art wedded to confident, poised vocal technique.” Read the complete article
October 31, 2018
By M. Sophia Newman
“…Meanwhile, on the West Coast, opera is taking an even more socially-engaged turn. From Oct. 24 to 27, a group at University of California San Diego mounted “Inheritance,” a new opera about Sarah Winchester, inheritor of the Winchester rifle company fortune and owner of a house said to be haunted by people killed with that brand of firearms.
Producer Susan Narucki says the idea was “to try to find a way to have the past speak to the present” by juxtaposing scenes from Winchester’s life with those of a modern school shooting. Co-creators Narucki, Lei Liang, Ligia Bouton, and Matt Donovan aimed for what she called “work that can be very disturbing and very provocative” to communicate horror at gun violence.
“It’s not the same thing as going to the Met,” Narucki says about the spectator experience, describing an intergenerational audience with “a lot of people who I don’t think have been to the opera before.” Although the formal program extended no farther than the opera itself, Narucki notes that “people stayed afterward in the performance space for about an hour to talk … They didn’t want to leave.”.
October 27, 2018
San Diego story Lei Liang’s Opera ‘Inheritance’ Premieres in La Jolla
By Ken Herman
“Upon the demise of William Wirt Winchester in 1881, his wife Sarah Winchester immediately became one of the world’s wealthiest women. With a sizable inheritance, a 50% interest in the New England Winchester rifle firm, and no children, Sarah had at her disposal more money than she could possibly spend in a single lifetime. For reasons shrouded in mystery and fantasy, Sarah invested her time and fortune in the unceasing expansion of her San Jose mansion, known today as the Winchester Mystery House. San Diego composer Lei Liang has taken the eccentric heiress and her strange obsessions and turned them into a one-act chamber opera, aptly titled Inheritance, which received its premiere last week in the Experimental Theatre at UC San Diego’s Conrad Prebys Music Center.
Central to the Sarah Winchester legend is her contact with the spirit world, and even today her mansion’s claim to be haunted by the ghosts of persons slain by Winchester rifles accounts for much of its allure to the tourist trade. Liang has built his opera around the personage of Sarah, magisterially acted and beautifully sung by fellow UC San Diego music faculty member Susan Narucki. In decidedly secondary roles, sopranos Kirsten Ashley Wiest and Hilary Jean Young, both graduate students at the university, portrayed ghosts and household servants, while Mexican baritone Josué Cerón sang the role of the Tour Guide.
Creating Sarah’s mysterious, haunted world fell to Liang’s eight-member chamber ensemble, deftly conducted by Steven Schick and dominated by percussion and wind instruments, although the composer did find room in this colorful octet for a harpsichord, played by virtuoso harpsichordist Takae Ohnishi, Liang’s wife. Quavering motifs, transparent textures, and sinuous lines that rarely resolve in expected places form Liang’s piquant sonic palette, whose gamut ran from startling, loud bass drum notes—rifle shots or mysteriously slamming doors, perhaps—and the ominous chortling from a pair of bass clarinets to evanescent ghostly glissandos plucked from the highest harpsichord strings.
But the opera revolves around Sarah and her obsession with death, notably the sudden death of her infant daughter—her only child—and the deaths caused by Winchester rifles, the conscience-troubling source of her wealth and comfort. For his soprano main character, Liang crafted a subtle parlando that blooms only after Sarah cautiously reveals herself as the opera progresses, following Matt Donovan’s poetic libretto. This vocal style suited Narucki admirably, allowing the more radiant, plush attributes of her gleaming soprano to shine. Usually I encounter Narucki performing with amazing agility some punishing, acrobatic avant-garde work that compromises the allure of her bel canto technique in order to navigate such thorny complexities. Not that Liang reverted to the Italianate vocal bravura of a Gian Carlo Menotti, of course, but the unhurried gentle curves of Liang’s lyrical style for the role of Sarah proved a gift to both singer and listener….”
October 18, 2018
New chamber opera ‘Inheritance’ explores grief through the story of Sarah Winchester and her bizarre home
By Beth Wood, San Diego Union-Tribune
How do you tell the story of a brilliant but conflicted woman who constantly added on rooms to her Victorian-style home? How do you display on stage the labyrinthine house, which was said to be haunted and later became a somewhat garish tourist site? And, most importantly, how do you explore the issue of gun violence through music, voice, beauty, compassion and humor?
The answers will be revealed in the world premiere of “Inheritance,” a groundbreaking chamber opera co-presented by ArtPower and the UC San Diego Music Department on Wednesday, Friday and Saturday.
One short answer is that it required a three-year collaboration among four accomplished artists in different fields. That, plus a small troop of financial and hands-on supporters.
The opera is based on the life and legend of Sarah Winchester, the widow of rifle magnate William Wirt Winchester, who died in 1881. According to folklore, she was advised by a psychic to outsmart the ghosts in their San Jose home, now called the Winchester Mystery House, by continuously adding on rooms.
Composer Lei Liang and Grammy Award-winning soprano Susan Narucki, both UC San Diego music professors, recruited the married couple of poet/writer Matt Donovan and visual artist Ligia Bouton. Donovan, Liang and their families spent almost a year in Rome when the two men were awarded fellowships at the American Academy there.
“Personally, I like to work with a circle of friends,” said Narucki, who will portray Winchester and is “Inheritance’s” producer. “Lei told me about these wonderful people. I was drawn to the idea that both were new to opera. It’s interesting to work with people who have a fresh take on the genre.
“We all learned a lot from each other. We brought different strengths and allowed it to go in directions it might not have gone.”
October 18, 2018
By Anthony King
Using legendary story of Sarah Winchester, Department of Music professors stage timely world-premiere about gun violence in America
Moved by headlines of yet another mass shooting in the United States, a team of musicians and artists felt it was time to take action. And while there are many ways to address an issue that increasingly touches every life, they did what most artists would do. They turned to their craft.
“It’s such a complicated topic, gun violence in America,” said Susan Narucki, an award-winning singer, professor in the UC San Diego Department of Music and producer of “Inheritance,” the new chamber opera that receives its world premiere on campus Oct. 24.
“We are in a time when people are talking past one another. How can we have a conversation about such a difficult topic, which impacts our society in such a significant way?” she said. “As artists, we can and need to be part of that conversation, and this is a way to do it.”
“Inheritance” uses the legendary story of Sarah Winchester—the enigmatic heir to the Winchester rifle fortune who, as history tells it, was haunted by the spirits of those killed by Winchester rifles—to initiate a deep, thoughtful look at a very contemporary issue.
Friend and longtime collaborator Lei Liang, a world-renowned composer in the Department of Music who was recently named Qualcomm Institute’s inaugural Research Artist in Residence, was quickly on board with writing the score for a project of this scope. As parent of a young child, school shootings in particular became front of mind in the early stages of developing the opera.
“I feel liberated that I’m dealing with issues that are important to me,” he said. “Issues that I can create an artistic expression for, inviting people to have an experience in each performance so that it gives them more space to imagine, to contemplate and more space to perhaps face themselves.”
October 12, 2018
TV UNAM - John cage songbooks - festival vertice
September 27, 2018
UC San DIEGO NEWS CENTER - CHAMBER OPERA Addressing GUN violence to receive world premiere at UC San Diego
By Anthony King - Grammy Award-winning soprano Susan Narucki, “Inheritance” uses legendary story of Sarah Winchester to spark discussion about guns in today’s culture.
Produced by Grammy Award-winning soprano and Department of Music faculty member Susan Narucki presents the world-premiere chamber opera “Inheritance” at UC San Diego, using the legendary story of Sarah Winchester to address gun violence in the United States.
Narucki will portray Winchester, the eccentric widow and rifle-company heir who was self-imprisoned in her California mansion, haunted by the spirits of those killed by the firearms that made her family’s fortune. “Inheritance” interweaves Winchester’s story with events from contemporary life, asking complex questions about complicity, atonement and gun control in our society.
September 16, 2018
San Diego Union Tribune Arts Writer Beth Wood lists Inheritance as a pick of the Fall Arts Season. We are honored to be listed alongside some of San Diego’s premiere arts venues and organizations. Tickets for the October 24, 2018 premiere are on sale now.
September 12, 2018
By Jeff Terich, San Diego City Beat
Opera is an art form steeped in tragedy. Suicide. Infidelity. Tuberculosis. Murderous, cuckolded clowns. Yet it’s not often that those narratives stretch beyond the stage and into the long-term socio-political implications of those tragedies.
Inheritance—a multimedia chamber opera being staged Oct. 24, 26 and 27 at UC San Diego’s Prebys Experimental Theater—is a work whose composers seek to change that approach. With music composed by Lei Liang and libretto (text) by Matt Donovan—led by music director Steven Schick and featuring soprano Susan Narucki—Inheritance spotlights America’s epidemic of gun violence via the story of Sarah Winchester. The widow of William Wirt Winchester, whose namesake was one of the earliest mass-produced repeating rifles, Sarah Winchester became famous for construction of the Winchester Mystery House, a curious estate built to confuse the spirits that haunted her.
“In the opening scene, Sarah Winchester is already old, sitting in her house where she’s trying to trap the ghosts that haunt her,” Liang says of the production. “The music begins very dramatically. And these are sounds that only Sarah can hear. She’s haunted by the deaths caused by her late husband’s rifle.”
This isn’t the first opera to address contemporary social issues from Liang and Narucki. The two artists previously worked together on Cuatro Corridos, an opera dealing with human trafficking that was nominated for a Latin Grammy award. Both of them have a similar outlook on opera, in that it should be able to transcend entertainment.
“We all share the idea that new music shouldn’t be separate from social issues,” Liang says. “It can serve the purpose of giving the voiceless a voice. “These issues are so urgent. We wanted to respond to them in a humane, sophisticated way.”
Narucki adds, however, that the key to a successful modern opera is thinking outside of the expected norms. A performance that’s meant to be staged in a smaller venue, as Inheritance is, can open up more possibilities and thus more people hearing its message.
“Over the past five years, more and more people are figuring out how to create stories relevant to social issues that connect past and present,” Narucki says. “Opera’s been around for 500 years, and operas that are successful on a smaller scale are more fluid. Making every production to be heard in a 3,000-seat auditorium is not always financially viable.”
Even though Inheritance isn’t being housed in a large auditorium, it’s still intended to leave an impact, not just because of its underlying message but because of its production. In addition to Narucki, the production features music performed by clarinetist Anthony Burr, bassist Mark Dresser, guitarist Pablo Gomez, harpsichordist Takae Onishi, and trumpeter Stephanie Richards, and art design by Ligia Bouton, including a backdrop of the famed Winchester Mystery House itself.
The creators of Inheritance promise a multimedia experience that steps outside of what can be expected of an operatic production. But Narucki has her own specific hopes for what kind of impression the work leaves on the audience.
“If one person sees this and is moved to rethink possibilities of how we experience and interact with the world, then I think we’ve succeeded.”