Julie [ 2020 ]

a film opera in three parts

for chamber ensemble and cast of singers


Princess Maleine [ 2019 ]

a full-length, two-act opera

for chamber orchestra and cast of singers

OPERA |

PORTFOLIO

And Thus the Whirligig of Time

Brings in His Revenges [2012 ]

for chamber orchestra

and chorus

Alphabephobia:

Something Goes Wrong Everyday [ 2007 ]

for chamber orchestra,

with theater, animation, and dance

Julie [ 2020 ]

          a film opera in three parts

          for chamber ensemble & cast of singers

 

SYNOPSIS

A film opera commissioned by New Camerata Opera based on the life of Julie d’Aubigny, from composer Whitney George and librettist Wallis Darke.

 

A swashbuckling, bisexual swordswoman and opera singer alive during the 17th-century, d'Aubigny fought to cultivate a world in which those who misbehaved got what they deserved. The film, entitled "Julie", tells her incredible story, which emphasizes the importance of courage in the face of adversity and the pursuit of equality for all.

 

Vocal performances by New Camerata Opera and special guest artists Danielle Buonaiuto (Julie) and MaKayla McDonald (Marie), featuring instrumental performance by The Curiosity Cabinet, conducted by Whitney George. 

Princess Maleine [ 2019 ]

          a full-length, two-act opera

          for chamber orchestra & cast of singers

SYNOPSIS

Princess Maleine, an opera by Whitney George with a libretto by Bea Goodwin, is an adaptation of a Brothers Grimm story attempted to be set by Lili Boulanger before her passing. Maleine is a story riddled with strong female roles and fairytale archetypes set across a moral landscape of greed, selfishness, and ramifications for one’s actions.

 

ACT I

Set in 1600 Netherlands, the Fool acts as an omniscient troubadour leading us through the twists and turns of Maleine’s fate. Upon opening, Maleine is locked in a tower with her lady in waiting, Aleta, because she did not do what she was told — to marry the Duke of Burgundy and maintain relations with Spain. Aleta breaks them out of the tower and they are set off to find Maleine’s true love, Prince Hjalmar, the Protestant prince of rivaling Ysselmonde.

 

They unite and the story severely goes awry. He is betrothed to the evil Queen Anne’s daughter, Ursula, and in the meantime, gets Maleine pregnant. He stays with her, Queen Anne is devastated that her bloodline will not be in power, and sets off to kill Maleine. 

During a storm one night, Anne drugs her husband, King Hjalmar and they creep into Maleine’s room where Anne strangles Maleine with her wedding lace. Prince Hjalmar comes in and kills Queen Anne

 

and then himself, not being able to live without Maleine nor what he had done. The King concludes the story singing to Petite Allan, who we finally find out has been Queen Anne’s son from a different marriage all along, and he explains to him to learn from his family’s mistakes and to be better. We conclude the opera with the Fool’s sentiments of who is to say truly how one’s life will go?

ACT II

Our story continues with the engagement of Maleine and Prince Hjalmar. They rescue a big water hound named Pluto. Maleine starts to grow ill and the Fool sets a prophecy that she may have life inside of her. Meanwhile, Anne meets with the Doctor to fetch poison to knock out both her husband and Maleine so she can sneak into her room late one night. There is a storm and Maleine is frightened, she begins to feel the affect of the poison. Anne comes into her chamber and wraps her wedding lace around her throat, strangulating her. Pluto runs to get help and Prince Hjalmar and Aleta come to the room, but it is too late.Hjalmar stabs Anne and then himself, laying to rest in Maleine's death bed. The Doctor confesses he administered the poison to Anne, and this was Maleine's fate all along. Petite Allan, the bastard son of Queen Anne wonders what is to come of all this. The Fool explains our fate is carved into stone, and we can not escape it. 

One Night of Excess [ 2017 ]

          for chamber ensemble

          and three female voices

SYNOPSIS

Prepare to be lured into a world of pleasure and escapism...

Opera on Tap and The Curiosity Cabinet present an evening of tantalizing voyeurism in a surrealist retelling of the shockingly erotic and blisteringly sacrilegious 1833 short story Gamiani, with original music and concept design by Whitney George (composer/conductor) and libretto by Johnny Call at National Sawdust, curated by composer Daniel Felsenfeld.

Gamiani (Heather Michele Meyer), a wealthy but mysterious Countess, throws a lavish party in her enormous mansion. The Baron (Joy Jones) — one of the guests — develops a deep and lustful obsession with her when he hears a rumor that Gamiani is a lesbian. Soon, after the guests all leave, the Baron hides himself in the wardrobe of Gamiani’s private chamber, hoping to see the Countess engage in congress with another woman.

His patience is rewarded when Gamiani brings in Sophie (Sara Noble), a beautiful but naive young woman who has been stranded at Gamiani’s manor because of a storm. Gamiani seduces Sophie and the two women engage with one another (much to the Baron's delight and frustration). Driven wild by such an erotic display, the Baron is unable to keep himself hidden any longer. He steps out of the wardrobe and reveals his presence to the women, engaging in their eroticism along with them....

 
 
The Yellow Wallpaper [ 2010 rev. 2016 ]

          for chamber ensemble

          soprano, baritone, and dancer

SYNOPSIS

Witness one woman's journey on the road to madness, presented by Fresh Squeezed Opera and The Curiosity Cabinet. Whitney George’s hauntingly beautiful interpretation of Charlotte Perkins Gilman's The Yellow Wallpaper lends itself to a unique multi-disciplinary experience.

The story depicts the effect of extreme loneliness and solitude, common to women of that station, on the narrator's mental health and her descent into psychosis. She becomes obsessed with the wallpaper. "It is the strangest yellow, that wall-paper! It makes me think of all the yellow things I ever saw – not beautiful ones like buttercups, but old foul, bad yellow things. But there is something else about that paper – the smell! ... The only thing I can think of that it is like is the color of the paper! A yellow smell."

Denise Crawfort’s electric performance highlights the relevance of a story about a trapped woman to modern society. Whitney George leads the Curiosity Cabinet in a humbling, thought-provoking show. Performed at the DiMenna Center, this opera transcends its Victorian setting to become resonant with contemporary audiences.

SYNOPSIS

Guy de Maupassant’s “La Parure,” (“The Necklace”) famously explores the price of vanity but its celebrated ending suggests something far more disturbing. When Mathilde discovers that she ruined her life to pay for an expensive necklace to replace one bedecked with faux diamonds, she comes face to face with the possibility that life (even a life in which one attempts to pay for one’s moral failings) is meaningless. Thus the Whirligig of Time Brings in its Revenges uses Maupassant’s story as a vehicle to explore the ways in which the moments of a life fail to cohere into a meaningful whole. The reimagined story fragments into a non-sequential presentation of the moments in Mathilde’s life that led to her confrontation with the possible emptiness of all endeavor. Thus what was a simple ironic twist in the Maupassant here becomes the crux of an existential crisis.

And Thus the Whirlgig of Time Brings in his Revenges [ 2012 ]

          for chamber orchestra & chorus

 
Alphabephobia: Something Goes Wrong Everyday [ 2007 ]

for chamber ensemble, theater, animation, and dance

 

D IS FOR DISHABILIOPHOBIA

THE FEAR OF UNDRESSING

IN FRONT OF SOMEONE

for BASS TROMBONE & THEATER

E IS FOR EISOPTROPHOBIA

THE FEAR OF SEEING

ONESELF IN THE MIRROR

for OBOE & PIANO DUET

F IS FOR FELINOPHOBIA

THE FEAR OF CATS

for DOUBLE REED TRIO & THEATER

G IS FOR GLOSSOPHOBIA

THE FEAR OF PUBLIC SPEAKING

for BRASS ENSEMBLE & DANCE

​H IS FOR HYPNOPHOBIA

THE FEAR OF BEING HYPNOTIZED

for A DIVERSE ENSEMBLE & THEATER

​I IS FOR ICTHYGOPHOBIA

THE FEAR OF PUBLIC SPEAKING

for SOLO PERCUSSION & ANIMATION

J IS FOR JEHOVAPHOBIA

THE FEAR OF GOD

for BASS VOICE & PERCUSSION DUET​

K IS FOR KOSMIKOPHOBIA

THE FEAR OF COSMIC PHENOMENON

for AN AETHERIAL TRIO

L IS FOR LYGOPHOBIA

THE FEAR OF DARKNESS

for STRING QUARTET & DANCE​

M IS FOR MONOPHOBIA

THE FEAR OF BEING ALONE

for STRING QUINTET & THEATER

N IS FOR NECROPHOBIA

THE FEAR OF DEATH

for STRING TRIO & THEATER​

O IS FOR OHIDIOPHOBIA

THE FEAR OF SNAKES

for A DIVERSE ENSEMBLE & THEATER

P IS FOR PEDOPHOBIA

THE FEAR OF CHILDREN

for BRASS ENSEMBLE & THEATER

Q IS FOR QUADRAPHOBIA

THE FEAR OF BEING STUCK IN A BOX

for IMPROVISATION ENSEMBLE & THEATER

R IS FOR RHABDOPHOBIA

THE FEAR OF THE PARANORMAL

for SOPRANO & PIANO DUET

S IS FOR SCIOPHOBIA

THE FEAR OF SHADOWS

for AN AETHERIAL TRIO & THEATER​

T IS FOR TRICHOPATHOPHOBIA

THE FEAR OF HAIR

for STRING QUARTET & THEATER

U IS FOR URANOPHOBIA

THE FEAR OF THE HEAVENS

A COSMIC QUINTET

V IS FOR VENUSTRAPHOBIA

THE FEAR OF BEAUTIFUL WOMEN

for PIANO & DANCE

W IS FOR WICCAPHOBIA

THE FEAR OF WITCHES

for OBOE, PERCUSSION DUET & THEATER

X IS FOR XANTHOPHOBIA

THE FEAR OF THE COLOR YELLOW

for A DARK TRIO & THEATER

Y IS FOR YULEOPHOBIA

THE FEAR OF CHRISTMAS

for A SEASONAL QUARTET & THEATER

Z IS FOR ZEALOPHOBIA

THE FEAR OF JEALOUSY

for A BAROQUE QUINTET & THEATER

A IS FOR AGATEOPHOBIA

THE FEAR OF INSANITY

for STRING TRIO & ANIMATION

B IS FOR BUFONOPHOBIA

THE FEAR OF TOADS

for PERCUSSION QUARTET & DANCE

C IS FOR COULROPHOBIA

THE FEAR OF TOADS

for BAROQUE ENSEMBLE & THEATER

for DOUBLE REED TRIO & THEATER

copyright

Whitney E. George

2020