Enemies, A Love Story is a very real, very popular opera premiered by Venture user, Palm Beach Opera in 2015. Their event information is used here with their permission and all images, photos, and copy are © Palm Beach Opera. All Rights Reserved. Visit their Venture Powered website at PBOpera.org.
How many wives can one man handle? In the case of Holocaust survivor Herman Broder, it’s clearly less than three.
A Light-Hearted Dark Comedy. Based on the novel by Nobel Prize winning Yiddish author Isaac Bashevis Singer, this light-yet-dark opera is a story straight out of reality TV. Only it’s set in 1948, post-World War II, New York City! Watch the drama unfold as Herman’s wives discover each other in the small world of the big city.
The World Premiere, Right Here. This first-ever opera production of Enemies, A Love Story features an exquisite score and English libretto. While the poignant story will move you, witty scenes throughout will break the tension with laughs. Memorable, melodic tunes will have you humming well after the curtain closes!
Sung in English with the text projected above the stage!
About The Opera
Conductor: David Stern
Stage Director: Sam Helfrich*
Herman Broder: Daniel Okulitch
Tamara: Leann Sandel-Pantaleo*
Yadwiga: Caitlin Lynch
Masha: Danielle Pastin*
Shifrah Puah: Jennifer Roderer*
Tortshiner: Philip Horst
Rabbi Lampert: David Kravitz*
Scenic Designer: Allen Moyer
Lighting Designer: Aaron Black
Costume Designer: Kaye Voyce
Projection Designer: Greg Emetaz
Palm Beach Opera Orchestra
Palm Beach Opera Chorus
*Palm Beach Opera Debut
The curtain rises on a small Brooklyn apartment in 1948. Herman Broder, a Polish Jewish writer and intellectual, is lost in an anxious daydream until his wife, Yadwiga, rouses him. Soon Herman is singing a playful folksong as he bids her an affectionate farewell. (Little Bird) Yadwiga, a Polish farmer’s daughter, saved Herman from the Nazis by hiding him for years in her father’s hayloft. After the war Herman married her out of gratitude. Yadwiga believes Herman is leaving for a sales trip, but he is actually sneaking off to the Bronx, where he keeps the mistress he adores, a beautiful, tempestuous refugee named Masha. (“My Love Remembers”)
Next morning, at breakfast with Masha’s mother, Herman finds a Personals notice in the newspaper which leads him to an apartment on the Lower East Side. There he is astonished to find Tamara, his first wife, reported to have been killed in the war along with their two children. Tamara shares with him the harrowing odyssey of her escape (“Tamara’s aria”). She understands Herman all too well and after learning of Yadwiga and Masha, offers to divorce him. But the warmth of their shared history bonds the pair in spite of themselves. Meanwhile Yadwiga loyally defends her husband against nosy neighbors though secretly she yearns to keep him home (“Yadwiga’s Aria”). And Masha manages to convince Herman to marry her as well (in a Jewish ceremony complete with dancing). Herman is juggling three very different women, and cares for them all. The painful farce accelerates as Herman hides Tamara from Masha, both Tamara and Masha from Yadwiga – and all three wives from his employer, a jovial rabbi for whom he ghostwrites speeches.
Herman can seem lighthearted – protective with Yadwiga, humorous with Tamara, and romantic with Masha – but his head is full of philosophical ruminations, childhood memories, and nightmare flashbacks to the hayloft; and his heart is full of guilt. When Masha’s embittered ex-husband convinces him that Masha is false, Herman’s revulsion against her lies explodes into revulsion against the entire corrupt human race – including himself. (“Lies”) He vows to leave the isolating “hayloft” of all his hidden lives and become a decent, pious man, a faithful husband to Yadwiga, and a father. The curtain falls on their domestic bliss. (“Baby Waltz”)
At the start of Act Two the three women, each in her separate apartment, sing about the future. (“Trio”) We see that Yadwiga is indeed pregnant. But past lies continue to surface, and the farce darkens as the wives, neighbors, and even the rabbi collide. Herman has managed to stay away from Masha but at last, desperate, she lures him to her apartment where, as her mother prays, she pleads her lost youth and innocence, destroyed by the war. (“Prayer”) He is hers again. Meanwhile Tamara defends Yadwiga, who feels Herman slipping away. But Herman cannot give Masha up. The entire rouse comes crashing down at the rabbi’s holiday party where Herman and Masha’s passions flare in counterpoint to a cheerful chorus praising God, life, and food.
(“Miracles) Ultimately the lovers cannot stay apart. They plan to run away to Florida sunshine, leaving stalwart Tamara to take care of Yadwiga and the baby. However, when Masha takes her mother to the hospital, leaving Herman alone to pack, he cannot go on. Longing for the past overwhelms him; before the war and the dark hayloft; back when he was a good man; further back, when he was a beloved child in an orderly world; back to the silent darkness before creation itself. Guilt-ridden and weary, he realizes that he is incapable of making a life with anyone.
(“Herman’s Final Scene”) He walks out forever. Masha returns, her mother having died; she sees that he is gone and takes her own life. In the final image, Tamara and Yadwiga are together caring for the newborn child.
About The Artists
David Stern – Conductor
A native New Yorker, David Stern is a born communicator. As music director of the Israel Opera and founder/director of the Paris-based opera studio and period-instrument ensemble, Opera Fuoco, he not only is a performer but a musical figurehead in each of these communities. With Opera Fuoco, Stern regularly records with the ZigZag/Outhere Label. His recording of Johann Christian Bach’s opera, Zanaida, received a ‘CHOC’ award from the French magazine Classica. Invitations as opera conductor have taken him to European houses such as La Monnaie, Opéra de Lyon, The English National Opera, Rouen, Marseille, Strasbourg, and St. Gallen, Switzerland where he was music director for four years. This season, opera highlights include Edmonton Opera for Salome by Richard Strauss, Paris und Helena at Gluck Oper Festival and Drottningholms Opera Festival. Summers take Stern back to the US, where he has conducted at the Glimmerglass Opera Festival and returned to the Crested Butte Festival with Rossini’s The Barber of Seville in summer 2013. David is a frequent guest with symphonic orchestras around the globe, his most recent highlights include his debut with the Vienna Symphony Orchestra and the Hong Kong Philharmonic Orchestra this season. As a chamber orchestra conductor, he returns to Vienna each season to conduct the Chamber Orchestra there and most recently he made his debut with the Bolzano-Trento Haydn Orchestra, as well as regularly conducting London Mozart Players amongst others. Engagements for the 2013/14 season feature the Mexico National Orchestra, Jerusalem Symphony and Shanghai Symphony Orchestra.
Sam Helfrich – Stage Director
Sam Helfrich began his theatre career as a child actor in California, studying at the young conservatory and performing on the main stage at South Coast Repertory, a tony-award winning regional theatre. As an undergraduate at Columbia University, he received a BA in Russian language and literature, and spent six months in Leningrad, USSR, to further his studies. After college he moved to Spain, where he spent three years working and studying in Madrid, Valencia, and Barcelona. He received a certificate in Spanish language and literature from the University of Barcelona. Upon returning to New York, Mr. Helfrich studied at the 42nd Street Collective (formerly Playwrights Horizons theatre school), where he wrote and directed several plays for productions on the old theatre row. Later, he completed his MFA in theatre arts at Columbia University’s School of the Arts, studying with Eduardo Machado, Anne Bogart, Robert Woodruff, Kristen Linklater, and others. After finishing his MFA, Mr. Helfrich began to pursue opera stage direction full time. Proficient in both Spanish and French, he began working in Europe immediately, assisting on new productions of several operas in both Barcelona and Geneva, while directing his own productions at home in New York. His first opera project was a double bill of Miss Havisham’s Wedding Night (Argento) and La Voix Humaine (Poulenc) at Hofstra University, followed soon after by a production of Die Walküre (Wagner) at Riverside Church in Manhattan. In 2002 Mr. Helfrich formed his own theatre company, Captains of Industry, to produce Transparency of Val, by Stephen Belber. The production was widely acclaimed during its limited run in 2002. Mr. Helfrich continues to direct opera and theatre in New York and regionally at companies including Spoleto Festival/USA, Eugene Opera, Virginia Opera, Glimmerglass Opera, Boston Lyric Opera, Pittsburgh Opera, Portland Opera, Opera Boston, Berkshire Opera, Wolf Trap Opera and Boston Baroque Orchestra, among others. Recent opera highlights include the American premiere of Philip Glass’ Kepler, at Spoleto Festival/USA, Adams’ Nixon in China at Eugene Opera, the world premiere of Michael Dellaira’s The Secret Agent at Center for Contemporary Opera in New York, the Armel Opera Festival in Hungary, and Opera Avignon, A fully staged Messiah with the Pittsburgh Symphony, Don Giovanni with Yale Opera, The Turn of the Screw at Boston Lyric Opera, Philip Glass’ Orphée at Virginia Opera, Portland Opera, and Glimmerglass Opera, Anthony Davis’ Amistad at Spoleto Festival/USA, and Aida at Opera Omaha. Upcoming projects include new productions of Previn’s A Streetcar Named Desire at Virginia Opera and Heggie’s Dead Man Walking at Eugene Opera, as well as an original Wagner project in Rostock, Germany. His recent off-Broadway production of Tape, by Stephen Belber, played to wide acclaim. In addition, Mr. Helfrich has recently held guest-teaching positions at Yale University, NYU, and Manhattan School of Music.
Daniel Okulitch – Herman Broder
Bass-baritone Daniel Okulitch has performed in some of the most prestigious opera companies and orchestras throughout Europe and North America, including Le Chatelet, Teatro alla Scala, Teatro Colon, Dallas, Washington, and Los Angeles. This past season he debuted the four villains in Les Contes d’Hoffmann with Edmonton Opera, sang the role of Don Giovanni with Portland Opera, joined the cast of the Metropolitan Opera for their production of Don Giovanni, and returned to Santa Fe Opera as the count in Mozart’s Le Nozze di Figaro. This season his engagements include the lead role of Ennis Del Mar in the world premiere of Brokeback Mountain at Madrid’s Teatro Real, the role of Escamillo in Carmen and Giove in La Calisto with Cincinnati Opera, the title role of Don Giovanni with Vancouver, and Pirate King in The Pirates of Penzance with Portland Opera. Future engagements include his debut with Grand Theatre de Genevre as Creonte in Medea, a debut with L’opera de Montreal as Haltemoyar in Kevin Putt’s Silent Night, the world premier of Enemies, A Love Story with Palm Beach Opera, the title role of a new production of Don Giovanni at Santa Fe Opera, and the world premiere of JFK with Fort Worth Opera.
Leann Sandel-Pantaleo – Tamara
Ms. Sandel-Pantaleo’s 2014-2015 season brings her participation in Enemies, A Love Story with Palm Beach Opera as Tamara. She also returns to Lyric Opera Chicago, covering Azucena in Il trovatore. Last season saw Ms. Sandel-Pantaleo join Lyric Opera of Chicago to cover Jezibaba in Rusalka, and appear with Opera Omaha and Tulsa Opera as the title role in Carmen. She closed the season as Augusta Tabor in The Ballad of Baby Doe with Chautauqua Opera. During the 2012-2013 season, Ms. Sandel-Pantaleo joined the Lyric Opera of Chicago, to cover the Witch in Hänsel und Gretel, and returned to Teatro alla Scala and the Berlin Staatsoper as Siegrune in Die Walküre, and to North Carolina Opera, as Amneris in Aida. She also sang Siegrune at the BBC Proms in London. Other recent credits include Ursule in Béatrice et Bénédict with Houston Grand Opera and Amneris in Aida with Portland Opera. She has joined the Metropolitan Opera as Siegrune in Die Walküre and Flora in La traviata as well as Die Ägyptische Helena, Luisa Miller, Manon, and Parsifal.
Caitlin Lynch – Yadwiga
Soprano Caitlin Lynch returned to the Spoleto Festival in 2014 to sing Adams’ oratorio El Niño, after singing Mrs. Gobineau in The Medium for the 2011 Festival. Caitlin recently made her Metropolitan Opera début performing Biancofiore in Zandonai’s Francesca da Rimini. She also created the role of Eliza in Nico Muhly’s chamber opera, Dark Sisters, which premièred at Gotham Chamber Opera to acclaim from The New York Post, “Caitlyn Lynch unfurled a shimmering soprano as rebellious wife Eliza.” She later performed the role for Opera Philadelphia. Ms. Lynch then débuted the role of Cynthia in another Muhly opera, Two Boys at The Met. Highlights of the 2013-2014 season include her role début as Violetta in La traviata with Arizona Opera, a reprise of the role with Des Moines Metro Opera, Carmina Burana with the Seattle Symphony, and Handel’s Messiah with Pacific Symphony and the Milwaukee Symphony. Notable upcoming engagements include a return to The Met in Le nozze di Figaro, Carmina Burana with Alabama Symphony and Milwaukee Sypmhony, and Marguerite in Faust at Michigan Opera Theatre
Danielle Pastin – Masha
Quoted as having “a lovely demeanor and irresistible creamy timbre” by Opera News, fast-rising American soprano Danielle Pastin is garnering acclaim from audiences and critics around the world. She made her Metropolitan Opera début in 2011 singing Masha and covering Chloë in The Queen of Spades and has since returned for such roles as Javotte in Massenet’s Manon, Samaritana in Francesca da Rimini, and most recently, Frasquita in Carmen. Recent engagements saw Ms. Pastin sing Frasquita in Carmen with Dallas Opera, and Mimì in La bohème with Arizona Opera, Manitoba Opera, and Nashville Opera, and Desdemona in Otello with Pittsburgh Opera. Next up she sings Donna Anna in Don Giovanni with Austin Lyric Opera. Ms. Pastin recently triumphed in her Santa Fe Opera début, stepping in as Mimì in La bohème on a moment’s notice, and subsequently received their Judith Raskin Memorial Award for Singers. Other career highlights include Nedda in Pagliacci with Austin Lyric Opera, Violetta in La traviata and the Countess in Le nozze di Figaro with Syracuse Opera, and Micaëla in Carmen at Fresno Grand Opera.
Jennifer Roderer – Shifrah Puah
Jennifer Roderer’s recent roles include Kabanicha in Kat’a Kabanova with Spoleto Festival USA, Mistress Quickly in Falstaff for Chautauqua, Mrs. Lovett and Marcellina for Syracuse Opera, Amneris for New Jersey Festival Orchestra and Azucena for Opera Roanoke. She performed numerous roles while a regular principal artist with New York City Opera from 1999 to 2011. Career highlights include Fricka in Die Walküre for Teatro Colón, Waltraute in Die Walküre for Lyric Opera of Chicago and Seattle Opera, Mrs. Grose for Lyric Opera of Kansas City and Toledo Opera, Maidservants in Elektra with Los Angeles, Washington National and Virginia Operas, and the Witch in Hansel and Gretel for many companies including New York City Opera, Opera Company of Philadelphia, Utah Opera and Tulsa Opera. Jennifer has appeared in concert with the Los Angeles Philharmonic, American Symphony Orchestra, New Jersey Symphony, Pacific Symphony, Los Angeles Master Chorale and Berkshire Choral Festival. She is a Sullivan Award winner, an Opera Index award winner and received grants from the Wagner Societies of Washington D.C., New York and Los Angeles.
Philip Horst – Tortshiner
In addition to joining Palm Beach Opera, Philip Horst makes his debut with Seattle Opera as Scarpia in Tosca and the Wexford Festival Opera as Lieutenant Horstmayer in Putz’s Silent Night in the 2014-15 season in addition to returning to San Francisco Opera as Panthée in Les Troyens. Last season, he debuted with English National Opera as Pizarro in Fidelio and the Lyric Opera of Chicago as the Gamekeeper in Rusalka in addition to returning to the Metropolitan Opera for its production of Die Frau ohne Schatten. Recent engagements include Wozzeck (New Israeli Opera); Arabella (Oper Frankfurt, Theater St. Gallen); Pique Dame (Komische Oper Berlin); Eine florentinische Tragödie (Greek National Opera); Elektra (Des Moines Metro Opera); Francesca da Rimini, The Gambler and The Nose (Metropolitan Opera), Sophie’s Choice (Washington National Opera); Don Giovanni (San Francisco Opera); The Nose (Festival Aix-en-Provence); and The Mother of Us All (New York City Opera). On the concert stage, he has sung Spohr’s Die letzten Dinge and Dessau’s Hagadah shel Pesach (American Symphony Orchestra), Copland’s Golden Willow Tree (San Francisco Symphony), and Bernstein’s Dybbuk (New York City Ballet).
David Kravitz – Rabbi Lampert
David Kravitz’s 2014-2015 season includes a company debut with Palm Beach Opera, as the Rabbi in the world premiere of Enemies, A Love Story. Additionally he returns to Boston Lyric Opera as the Baron Duphol in La Traviata. Last season brought a company debut with Dallas Opera to reprise the role of United Nations in Death and the Powers, the role of Frederik in Sondheim’s A Little Night Music with Emmanuel Music, as well as performances with Boston Lyric Opera as both the Speaker in Die Zauberflöte and Marullo in Rigoletto. His concert performances included Mohammed Fairouz’s Symphony No. 3 (Poems and Prayers) with the UCLA Philharmonic, and A Sea Symphony, with the Pioneer Valley Symphony Orchestra. He closed the season as La Rocca in Un giorno di Regno with Odyssey Opera in their inaugural season, followed by debuting the role of Tevye in Fiddler on the Roof with Ash Lawn Opera.
Ben Moore – Composer
The music of American composer Ben Moore has been performed by many leading singers including soprano Deborah Voigt, mezzo-sopranos Susan Graham and Frederica von Stade, tenors Lawrence Brownlee and Robert White, baritone Nathan Gunn and four-time Tony winner Audra McDonald. His work has been called “brilliant” by the New York Times while Opera News has praised the “easy tunefulness” and “romantic sweep” of his songs. Recordings include Voigt’s recital CD entitled All My Heart (EMI) with eight Moore songs, Nathan Gunn’s Just Before Sunrise (SonyBMG) and Susan Graham at arnegie Hall (Warner Classics). This season Nathan Gunn, Lawrence Brownlee and Isabel Leonard will perform Ben’s music in separate concerts at Carnegie’s Zankel Hall. In 2011 Moore’s first opera, Enemies, a Love Story, was given a workshop with orchestra at Kentucky Opera. The work is based on the novel by Isaac Bashevis Singer and is set to a libretto by Nahma Sandrow. A recipient of an Opera America development grant, the work will be presented in a one-hour version at Palm Beach Opera in February 2013. Besides art song and opera Moore’s works include musical theatre, cabaret, chamber music, choral music and comedy material. In 2006 the Metropolitan Opera’s farewell gala for Joseph Volpe, broadcast nationally, featured two Moore songs, one for Deborah Voigt and one for Susan Graham. 2006 also saw a commission from the Marilyn Horne Foundation and the release of the volume Ben Moore: 14 Songs (G. Schirmer). Reviewing the album, Classical Singer Magazine wrote: “This composer is not afraid of the past, but rather embraces many of the most beautiful aspects of his artistic heritage while imbuing his work with its own personal colors and tones…his music is a breath of fresh air.” Born on January 2, 1960, in Syracuse, New York, Moore grew up in Clinton, New York and graduated from Hamilton College. With an MFA from The Parsons School of Design, Ben also pursues a career as a painter.
Nahma Sandrow – Librettist
Nahma Sandrow’s Vagabond Stars: A World History of Yiddish Theater is now in its third edition and remains the definitive work in the field. Her other books include God, Man, and Devil: Yiddish Plays in Translationand Surrealism: Theater, Arts, Ideas. In addition, she has written feature articles for the New York Times, the New York Sun, ARTnews, and other newspapers, magazines and journals. Dr. Sandrow won the Outer Critics Circle Award for the book of the musical Kuni-Leml. Other theater credits include the adaptation of her prize-winning history Vagabond Stars for the stage, and many translations, several of which have been produced. She is the recipient of grants from the National Endowment for the Humanities, the National Endowment for the Arts, and the Research Foundations of both the State University of New York and the City University of New York. A PEN-nominated grant from the New York State Council on the Arts supported her translation of Shulamis, a classic Yiddish operetta, which was subsequently performed at Harvard University. Dr. Sandrow lectures widely. She has spoken at universities such as Harvard and Oxford, as well as at the Smithsonian Institution and many other academic and cultural organizations. She is a graduate of Bryn Mawr College and the Yale School of Drama.
Allen Moyer – Scenery Designer
Recent credits include: Die Fledermaus (English National Opera), Curlew River (Tanglewood Festival) and the premieres of Dolores Claiborne (San Francisco Opera), and Champion (Opera Theater of St. Louis). Other credits: Orfeo ed Euridice for the Metropolitan Opera, directed by Mark Morris, The Last Savage (Scenery and Costumes) and The Tales Of Hoffmann for Santa Fe Opera, The Death of Klinghoffer for Opera Theater of St. Louis, Virginia (Scenery and Costumes) and The Ghosts of Versailles for the Wexford Festival (Ireland), Nixon in China for the Canadian Opera Company, plus many productions for San Francisco Opera, Houston Grand Opera, Scottish Opera, Washington National Opera, Glimmerglass Opera, Welsh National Opera, L’Accademia di Santa Cecilia (Rome), Seattle Opera and several productions for New York City Opera, including Gertrude Stein and Virgil Thomson’s The Mother of Us All, Il Trittico, Il Viaggio a Reims, and La Bohème (also broadcast on Live from Lincoln Center). Mr. Moyer also designed the premiere of Ricky Ian Gordon and Michael Korie’s The Grapes of Wrath, for the Minnesota Opera, the Delibes ballet Sylvia for The San Francisco Ballet, and Romeo and Juliet: On Motifs of Shakespeare(for the Mark Morris Dance Group) both choreographed by Mr. Morris. Broadway credits include: The Lyons, Lysistrata Jones, the musical Grey Gardens (Tony/Drama Desk/ Outer Critic’s Circle nominations and the 2006 Hewes Award from the American Theater Wing), After Miss Julie, Little Dog Laughed, Twelve Angry Men (including the National Tour), and The Constant Wife. Extensive theater credits including productions for Playwright’s Horizons, The Public Theater/New York Shakespeare Festival, Second Stage, The Roundabout Theatre, Signature Theatre Company, The Drama Dept., the Guthrie, Manhattan Theater Club and Lincoln Center Theater Company.
Kaye Voyce – Costume Designer
Opera credits include Il Turco In Italia at Aix En Provence Festival in France, Philip Glass’ Orphee at Virginia Opera, Kepler at Spoleto Festival USA, Don Giovanni at New York Philharmonic in the Park Avenue Armory, A Quiet Place at New York City Opera, and The Consul at Glimmerglass Opera. Broadway: The Realistic Joneses, Shining City. Other credits include 4000 Miles (Lincoln Center Theater), The Great God Pan and Detroit (Playwrights Horizons), Sam Shepard’s Heartless (Signature Theatre), Luce (LCT3), Luna Gale (Goodman), A Public Reading of an Unproduced Screenplay About the Death of Walt Disney (Soho Rep), and Richard Maxwell’s Open Rehearsal which was part of the 2012 Whitney Biennial.
Aaron Black – Lighting Designer
Aaron Black’s collection of work runs the gamut of disciplines from lighting design for dance, theatre, and opera, to production design and art direction for television, to large-scale architectural and thematic design for leading family amusement parks. His Opera lighting credits include recently Adriane auf naxos for Virginia Opera Association, Philip Glass’s Orphee for Pittsburgh Opera and Le nozze di Figaro for the Los Angeles Philharmonic with clothing by renowned couturier Azzedine Alaia and architect Jean Nouvel, as well as productions for The Royal Opera House, New York City Opera, Portland Opera, Bard Summerscape, Glimmerglass Opera, Opera Montreal, Canadian Opera Company, Minnesota Opera, Chicago Opera Theater, Spoleto Festival USA, Opera Bilbao, Virginia Opera, Pittsburgh Opera, Opera Omaha, Boston Lyric Opera, Opera Boston, Virginia Opera Association, Kansas City Lyric Opera, Manhattan School of Music. Upcoming engagements include John Adams’ A Flowering Tree for Gothenburg Opera in Sweden.Mr. Black has received 5 Audelco Award Nominations for Outstanding Lighting Design, a Helen Hayes Design Award nomination, a Lucille Lortel Award for Outstanding Lighting Design, an IRNE Award Nomination for Best Lighting Design, a Daytime Emmy Award nomination for Outstanding Production Design and Art Direction, and an Art Director’s Guild Award nomination for Outstanding Production Design.
Greg Emetaz – Projection Designer
The New York Times described Greg’s “excellent introductory videos” as the “highlight” of New York City Opera’s ‘Opera for All’ program. He has created the behind-scenes documentary of Julie Taymor’s feature film The Tempest, promotional documentaries for the Broadway musical Spider-Man Turn off the Dark along with numerous productions at New York City Opera and Opera Theatre of Saint Louis. He served as video director for the 2008-11 NEA Opera Honors, the 2011 NEA Jazz Masters and 2007-10 New York City Opera VOX Showcases. His work as a video designer for the stage includes Dolores Claiborne (World Premiere) at San Francisco Opera, Champion (World Premiere), Unsuk Chin’s Alice in Wonderland (American Premiere), The Death of Klinghoffer and The Golden Ticket (World Premiere) at Opera Theater of Saint Louis, Ajax at American Repertory Theater and Wallace Shawn’s The Music Teacher. He is the director of short films: Bowes Academy, Death by Omelette (ShortsNonStop finalist) as well as music videos Eating 4 Two and Butt Drunk (Frirar’s Club Film festival special Jury Award) with Amanda DeSimone.