A decade ago, the International Brazilian Opera Company (IBOC) was founded with a bold vision: to fill the gaps of inclusivity and cultural diversity in the opera world—gaps that, before COVID-19, were largely unaddressed by the industry. Building upon the rich tradition of the Harlem independent black opera company movement, IBOC’s inception was inspired by a pivotal moment twenty-two years ago when Opera Ebony’s Benjamin Matthews visited Rio de Janeiro and advised future IBOC Artistic Director, João MacDowell, then a young composer working in multiple genres, to come to New York City to pursue a career in opera.
Today, as the need for diverse and global narratives becomes more central to contemporary opera, IBOC proudly announces its inaugural Opera Nova: Works in Progress to acknowledge and build upon the historical Brazilian contribution to the transcultural artistic canon. The name, Opera Nova, was selected in reference to Bossa Nova, the major Brazilian cultural movement that entered the USA and globally in the mid-fifties. “Bossa Nova, in its inception, was an aesthetic reaction to the colonialist aspects of opera,” MacDowell observes. “It built upon the Brazilian aesthetic of anthropophagy – or transcultural absorption and digestion established by the pre-colonial Brazilian original peoples and has been expressed in Brazilian arts movements like Bossa Nova, Tropicalismo, and Brazilian opera as early as when the composer Carlos Gomes became world famous for his works like “O Guarani” which centered an indigenous character and premiered in Milan at Teatro alla Scala in 1870.
These concerts establish Opera Nova as a defining moment in the genre’s evolution toward transcultural collaboration, presenting six new works that bridge artistic traditions and explore diverse cultural narratives. The performances will take place at Saint John’s in the Village (218 West 11th Street, New York, NY 10014) on Friday, November 15 at 7:00 PM, Saturday, November 16 at 3:00 PM, and Saturday, November 16 at 7:00 PM. A ticketed reception will be held on Saturday, November 16, from 5:00 to 7:00 PM, sponsored by Paris Baguette.
“Our mission from the start was to create a space for global voices in opera, telling stories that go beyond the traditional European canon and supporting immigrant artists in developing their authorship,” says Athena Azevedo, IBOC Executive Director.
“While many institutions are just now beginning to diversify their repertoire post-pandemic, IBOC has been fostering transcultural opera from its inception, and Opera Nova continues this essential work. Opera Nova represents the future of opera—a genre that draws not only on European traditions but also embraces a global narrative, weaving together the sounds and stories of diverse cultures,” Azevedo continues.
IBOC’s Opera Nova is a key initiative in the company’s mission to create a vibrant platform for transcultural operatic work, blending the talents of Brazilian and international artists. This festival showcases six new contemporary operas, each representing the cutting edge of the genre’s shift towards greater cultural integration. Under the artistic leadership of João MacDowell, IBOC is cultivating an operatic ecosystem where artistic innovation meets cross-cultural exchange.
“We’ve brought together a remarkable group of composers from different cultural traditions, each exploring the future aesthetic of opera,” says João MacDowell, IBOC Artistic Director. “The works you will hear at Opera Nova are grounded in our shared history but push boundaries—addressing personal, historical, and political themes in a deeply communal and creative spirit. Beyond technical skills, our focus is on the future aesthetic of opera. We recognize that the operatic experience began not with European scores and linear storytelling but with the primal act of singing around the fire and in caves, many thousands of years ago. We aim to evoke a deep, communal connection, and that should be noticeable in the works you will hear.”
The six new works presented at Opera Nova include:
- Sarah Wald and Andrea Fineberg’s Empress Matilda: A historical opera inspired by Luigi Pirandello’s Henry IV, the story follows a woman who believes she is Empress Matilda after suffering a head injury. This richly layered work, with a libretto by Andrea Fineberg (Santa Fe Opera), challenges concepts of identity and time.
- Jacob Elkin’s The Snake: This sharp, satirical opera, based on the 2016 U.S. presidential debate between Donald Trump and Hillary Clinton, offers a biting commentary on politics and media, addressing the fractures within contemporary society.
- João MacDowell and Nina Smart’s Wild Flower: A powerful opera based on the true story of a Romanian girl navigating the crossroads of her African heritage, Wild Flower confronts issues of identity, family, and human rights. Co-created with Nina Smart, a human rights advocate and survivor of FGM, this opera resonates with global themes of cultural conflict and resilience.
- Yunxuan Zhu, Courage Barda, and Shangyang Fang’s Burying the Mountain: Set to poetry from Shangyang Fang’s eponymous award-winning collection, this emotionally charged song cycle explores themes of loss, memory, and identity, drawing from the rich cultural backgrounds of its creators.
- Sombrio da Silva’s Imperfect Decisions: An intimate reflection on love and self-realization, this opera follows a Brazilian writer as she reevaluates her life after a painful divorce, ultimately confronting the deep emotional shifts that follow personal trauma.
- Trey Walton’s A Bloody Sunday: Featuring the aria “Ain’t Gon Let Nobody Turn Me Around,” this opera captures the spirit of the Civil Rights Movement by recounting the events of Bloody Sunday, the historic 1965 march for voting rights in Selma, Alabama. Walton’s work powerfully engages with themes of justice and activism.
These operas, many developed through IBOC’s Opera Composition Workshops, result from a unique creative process that fosters transcultural collaboration. By supporting emerging composers from various backgrounds, IBOC is reshaping the future of opera—where global perspectives meet and new cultural narratives emerge.
“This festival is a testament to the strength of our collaborative approach,” says MacDowell. “Each composer brings their own cultural influences and artistic vision, contributing to a body of work that reflects the dynamic future of opera.”
“Wild Flower” librettist and human rights activist, Nina Smart, adds, “Joining global voices for opera to amplify the urgent need to speak up against practices that harm women and girls in all corners of the world spotlights HOPE in this transcultural collaboration.” Smart continues, “This new opera was watered with the tears of West Africa, nourished with the nostalgia of Eastern Europe, sunbathed in the music of South America and rooted in the fertile soil of North America to bear fruit in the hearts of people everywhere.”
Opera Nova serves not only as a showcase for new works but also as a cultural designation point for this shift toward transcultural opera, a shift led with IBOC in response to the evolving landscape of the genre.
Tickets are available at https://bit.ly/iboc_opera. For more information, contact Christina Morgan at 718-309-7588 or via email at Christina@Brazilianopera.com.
Visit www.iboc.nyc for more information on the International Brazilian Opera Company’s mission and upcoming events.
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