About Tyburn Operas
Tyburn Operas works have been specifically conceived to overcome the historical disadvantages, and possess winning advantages over traditional productions. Our works, for example:
are written in an appealing-to-Americans, English language, and use words that can be easily comprehended by the public.
are based on time proven themes of Shakespeare.
are resplendent with highly melodic arias for the main characters.
include lyrical content sure to capture the minds of audiences.
include readily comprehensible rhyming couplets.
Include melodic and lyrical, bel canto arias for the main characters that will have a mass appeal for the English speaking public.
use the best of the English language to make the works seem Shakespearian in tone. |
Our works, based on Shakespeare, have historically had mass appeal. This is principally because we have chosen to work with Shakespeare’s already famous works. These stories and their words lend themselves to great phrases and concepts worth transforming into music. A large segment of the English speaking public (principally, your opera loving audience) is already familiar with the most famous Shakespeare works, e.g., Julius Caesar, Hamlet, Macbeth, Othello, Merchant of Venus and As You Like It.
Thirty seven plays for the most part written by the great one covers most of English history to that time. And since Shakespeare was a reader of historical works such as Plutarch, and was able to plumb the depths of his historical character that still live with us to this date (historically correct or not) they are drawn so well that we dared to believe they lived and died as he said. They have become a truth without fact, and so well written --we prefer them this way. As he gave breath to their lives, so far they have not yet been challenged.
Our operas have greater lyrical appeal and melodic content than their rivals. Our composers create highly melodic arias for the main characters. The hallmark of all the great works in the 18th century was one memorable aria after the other. And no contemporary writer to this date has proven he can do this. Whereas well known composers such as Philip Glass, Higgy Adams, Andre Prevens, and others with the greatest of aspirations, have failed on all counts -- our composer, Gerard Chiusano, has demonstrated the innate genius to make a simple melody into a resonating theme, and allow it to reach the heights that the composers know how to rhapsodies on. And Chiusano is able to replicate this genius, scene after scene. Our composers create highly melodic arias for the main characters
Our operas have the unique potential to bring the producer fame and fortune. Unlike the general directors of existing opera companies, that have a proclivity to either play on the 10 operas that can fill the house, or else turn to innovative directors to try and jazz up the productions -- productions that can only deliver the same old chestnuts dress in nutty costumes, or sing hanging from a trapeze. These strategies are wearing thin, and many of these directors are resultantly teetering on the knife edge of financial disaster.
Although not yet famous, I am thoroughly convinced that my operas have everything to offer and should actually make money, because of their many above stated advantages, they are likely to fill the seats. It is perhaps noteworthy, that since the Macbeth video has been on the web...we have had over a half a million viewing hits in China (everyone knows the Chinese love American opera). Every famous artist was originally unknown, and it only takes a producer with an open mind and a critical ear to recognize talent and potential when he sees and hears it. |
