Who are we?

Opera of the Future, under the leadership of composer Tod Machover at the M.I.T. Media Laboratory, explores concepts and techniques to help advance the future of musical composition, performance, learning, and expression. The mission of this blog and website are to take you inside Opera of the Future’s creative process of bringing new works of music into the world. Please subscribe to this blog to receive email alerts about our latest postings, event updates and activities.

It looks like a busy year ahead, with a new opera commission, on-going discussions with various organizations for the next city symphony projects, and a few nutty, out-of-the-box projects TBD. Recent major projects include:

Schoenberg in Hollywood, commissioned by the Boston Lyric Opera, will premier in Boston in November of 2018. Tickets on sale now.

Philadelphia Voices, commissioned by the Philadelphia Orchestra, was premiered in April 2018 at Philadelphia’s Kimmel Center and New York’s Carnegie Hall.

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Opera of the Future is selected for Library of Congress archive

We’re excited to announce that the United States Library of Congress has selected the Opera of the Future website for inclusion in the historic collection of Internet materials related to the LC Commissioned Composers Web Archive. “We consider your website to be an important part of this collection and the historical record,” the Library stated. …

Your “Schoenberg in Hollywood” toolkit

“…some of the most arresting music heard in a BLO premiere in recent seasons.” – Boston Classical Review closemore   Here are a few items to help you wrap your head around Tod Machover’s newest opera, Schoenberg in Hollywood, which premiered this week with the Boston Lyric Opera at Boston’s Paramount Theater.  For the composer’s account …

Music

For press reviews of music, see Buzz

Tod Machover Recorded Music

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Buzz

Tod Machover is Musical America’s 2016 Composer of the Year

“Death and the Powers” a Finalist for 2012 Pulitzer Prize in Music

“Death and the Powers doesn’t point the way to a new era of opera. It’s there. Now.” – Philadelphia Inquirer

“Schoenberg in Hollywood works splendidly as theater, and as an opera whose score allows its clever libretto to work its magic, seems likely to follow Machover’s previous successes.” – Keith Powers, Classical Voice North America

“…Machover, voluble and friendly in person, confounds expectations. Valis, based on a science-fiction novel by Philip K. Dick and dubbed “the first opera of the twenty-first century,” now sounds anything but scary, and his last three operas, Resurrection, Skellig and Death and the Powers, have rare emotional depth. Machover, now a fully mature composer, is unafraid of harnessing the old-fashioned powers of opera, unafraid of sentimentality, unafraid of C major.” — Philip Kennicott in Opera News, October 2013

“Machover is a remarkable composer.  [His] technological inventions in giving to sounds, through electronics, new sonorities, new eloquence, have been widely and amply acclaimed.  But I’d like to stress what a good opera composer he is, bringing the ‘traditional’, necessary skills to a far from traditional work. Machover has a command of expressive vocal gesture.  He sets words sensitively, with a feeling for the natural weight, stress and length of syllables rare today.  Voices and instrumental/electronic sound are well balanced.  The final duet is a moving modern addition to the great line of father-daughter exchanges: Boccanegra-Amelia, Rigoletto-Gilda, even Wotan- Brünnhilde.  This was a grand, rich, deeply serious new opera, presented by a team with manifold coherent accomplishments.” — Andrew Porter in Opera Magazine January 2011

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