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Ausrine Stundyte as Cio-Cio-San, Elizabeth Janes as Butterfly’s child and Sarah Larsen as Suzuki in Seattle Opera's production of Puccini's Madama Butterfly. Photo by Elise Bakketun.
North American Works Directory Listing
Adamo Mark
Mark Adamo is currently at work on his third full-length opera, The Gospel of Mary Magdalene, commissioned and scheduled to be introduced by San Francisco Opera in June 2013. His most recent premiere, Four Angels: Concerto for Harp and Orchestra, was commissioned and introduced by the National Symphony Orchestra under Leonard Slatkin in June 2007; it was given by the Utah Symphony under Keith Lockhart in January 2011.

His second opera, Lysistrata, or The Nude Goddess, after Aristophanes, made its East Coast début in March 2006 at New York City Opera, at which Mark completed his fifth year as composer-in-residence in March 2006: Lysistrata was commissioned and introduced by Houston Grand Opera for its fiftieth-anniversary season in March 2005. Since its 1998 première, also by Houston Grand Opera, Little Women, the first opera for which he composed both music and libretto, has been nationally telecast on the PBS series Great Performances, released on DVD by Naxos and on CD by Ondine Records, and heard in over seventy national and international engagements from New York to Mexico City, Minneapolis, Adelaide, Tel Aviv, and Tokyo: including two for which he served as stage director.

Choral work includes Cantate Domino, commissioned by the Choral Arts Society of Washington and introduced at the Kennedy Center in 2000: Garland, for Francisco Nuñez and the Young People’s Chorus of New York, introduced in 2006; and Supreme Virtue, recorded by Seattle’s Esoterics and released in spring 2008. In November 2009, Eclipse Chamber Orchestra released a recording of Adamo’s orchestral work for Naxos, including the first recordings of his Late Victorians, his symphonic cantata for singing voice, speaking voice, and chamber orchestra: Alcott Music, from Little Women, for strings, harp, celesta, and percussion; Regina Coeli, for harp and strings; and the Overture to Lysistrata.

Mark lives in Manhattan and in Kent Cliffs, New York: his music is published by G. Schirmer.
Adamo Mark
May 01, 1999
The wedding morning.

It was Jonathan Sheffer’s idea in 1999 to recreate the Spoleto Festival’s famous 1959 evening of one-act operas that had introduced, among scores by Hindemith, Foss and others, Samuel Barber’s comedy of domestic discontent A Hand of Bridge, to a libretto by Gian-Carlo Menotti — and he graciously asked me to write a new work to end the evening.

I came up with the idea of the emotions experienced on a wedding morning by an ambivalent bride, her avid mother, the haunted groom, the glib, daft celebrant, and, the ghost of the groom’s father; and, in a gesture to history, I made the groom’s father David, that large-hearted husband caught in a too-small life whom Barber scored as a baritone in A Hand of Bridge but reappears as a bass-baritone in my score.

Avow is scored for soprano, mezzo-soprano, tenor, baritone, bass-baritone, and either piano or chamber orchestra, and is dedicated with respect and gratitude to Jonathan Sheffer: it was introduced by Eos Orchestra in New York in May 1999.
THE MOTHER: Soprano. Avid, elegant.

THE BRIDE: Mezzo-soprano. Wry, ambivalent.

THE CELEBRANT: Tenor. Glib, daft.

THE GROOM: Baritone. Earnest, haunted.

THE GHOST: Bass-baritone. Cool, steadfast.
Not Available
Opera and Musical Theatre
Peggy Monastra
Director of Promotion

G. Schirmer, Inc.

257 Park Avenue South, 20th floor

New York, NY 10010

Fall 2014 Magazine Issue
  • Are Women Different?
  • Preparing for Klinghoffer
  • Emerging Artists: Act One

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