The Opera Issue
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Masthead of the The Opera Issue
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Editor’s Notes on The Opera Issue
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Honoring Micki Grant with Charlayne Woodard
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Honoring Micki Grant with Kirsten Childs
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Erika Dickerson-Despenza: Ten Questions
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Vanessa Severo: Ten Questions
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The Golden Age (?) of Opera
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So, You Want to Write An Opera?
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Librettists on Libretti
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Composers on Composing Opera
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Opera Resources
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From the Desk of Business Affairs: What’s In An Opera, Doc?
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Atlanta: Bring Back Live!
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Austin/San Antonio: Making The Invisible Visible – Again
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California – South: Staying Busy
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Kentucky: Market House Theatre
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Michigan: New and Renewed Opportunities
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New York State: Reconnecting with Community
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North and South Carolina: Rising to the Occasion
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Philadelphia: Sitting Down with Teresa Miller and Caitlin Cieri
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Oregon: As Busy As Ever
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Twin Cities: The Art Continues
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Dramatists Diary: November/December 2021
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New Guild Members as of September 15, 2021
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Classified Ads - Nov/Dec 2021
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Cori Thomas: Why I Joined the Guild
The following transcript is from the DG Opera Committee librettists webinar, August 10, 2021, moderated by Deborah Brevoort with Mark Campbell, Stephanie Fleischmann, David Henry Hwang, E.M. Lewis, and Sandra Seaton and has been edited for print.
DEBORAH BREVOORT: Today is a bit of a historical event. It’s the first ever webinar about opera sponsored by the Dramatists Guild, so thank you to the Guild for this. Today’s panel is composed entirely of librettists. To kick off our discussion, let me ask our panelists: why do you write opera? Sandra, what attracts you to the form?
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’s stage works include the plays M. Butterfly, Yellow Face, Golden Child, Chinglish, and The Dance and the Railroad, as well as the musicals Soft Power, Flower Drum Song, and Disney’s Broadway and international hits Aida and Tarzan. Called America’s most produced living opera librettist by Opera News, Hwang has written thirteen operas. Ainadamar, with music by Osvaldo Golijov, made its Metropolitan Opera debut in Fall 2024 and The Monkey King, with music by Huang Ruo, will premiere at San Francisco Opera in November 2025. He is a Tony Award winner, a Grammy Award winner, a three-time OBIE Award winner, and a three-time Finalist for the Pulitzer Prize in Drama. A professor at Columbia University School of the Arts, he was inducted into the Theatre Hall of Fame in 2018 and received a Lifetime Achievement Award from the Dramatists Guild in 2025.
is an award-winning playwright and opera librettist whose work has been produced around the world. Opera libretti include Sherlock Holmes and the Case of the Fallen Giant (music by Evan Meier), and Town Hall (music by Theo Popov). Lewis is a member of OPERA America and the Dramatists Guild. She is currently the Mellon Foundation Playwright-in-Residence at Artists Repertory Theater. She lives and writes on her family’s farm in Oregon.
’s Pulitzer and Grammy Award-winning work includes 39 opera librettos, lyrics for seven musicals, and text for six song cycles and three oratorios. He recently created the first prize in the history of opera designated specifically for opera librettists: the Campbell Opera Librettist Prize. www.markcampbellwords.com
is a playwright and librettist. Her recent works include the opera Night Trip and The Passion of Mary Cardwell Dawson (starring Denyce Graves), both with composer Carlos Simon; Call Me By My Name, her performance piece about Henrietta Lacks; and Dreamland: Tulsa 1921, her choral work about the Tulsa Race Massacre with composer Marques L.A. Garret.
’s opera libretti include Poppaea (with Michael Hersch), In a Grove (with Chris Cerrone), Volcano, The Still Life of Emily Dickinson (with Anna Clyne), The Pigeon Keeper (with David Hanlon), The Other City (with Jeremy Howard Beck) and Dido (with Melinda Wagner). Previous works: The Long Walk (Beck), After the Storm (Hanlon), The Property (Marhulets).