MOON OPERA: February 2nd
An original opera in a made-up language, and an interviewer w/ composer Devon Turchin
Hello everyone, it’s been a quiet month or so for us. We’ve been taking a little time to rest and prepare for the year to come but it's time for us to share our next show. We are collaborating with Devon Turchin, composer and editor of Perraneu Magazine, to put on Moon, an original opera in a made up language.
The show will be held on February 2nd at the National Opera Center in midtown Manhattan. The primary ticket link is here. We also have a limited number of sliding scale tickets available here if you are looking to save some money. We only have 9 of these remaining so act fast!
This is a particularly ambitious project for us and Devon was nice enough to answer some questions for the newsletter. You can read all that below!
Devon Turchan is an actor and multimedia journalist based in New York City. Originally from the Cleveland, Ohio area, they have appeared on stages across both regions. Notably, Turchan has been recognized for their performances in productions such as "Cabaret," where they portrayed the Emcee, and "Hedwig and the Angry Inch," earning critical acclaim for their dynamic stage presence.
In addition to their acting career, Turchan is the editor of Perraneu, a magazine, podcast and event outlet that delves into topics like music, satire, theatre, and urban life in New York City and Cleveland. The podcast features interviews and discussions with various artists and creators.
Turchan's work in both theatre and print media/event production highlights their dedication to the arts and storytelling, engaging audiences through multiple platforms and creative expressions.
Can you tell us a little about the story within Moon?
Sure! In our story, the people of past civilizations melt from glaciers and drift onto the surface of the moon. They work together to gather their basic needs and find themselves celebrating their new opportunity and falling in love with themselves and each other. Eventually, Envy seeps in and attempts to take from the group, damaging the whole. The group must find a way through to a sustainable existence.
Can you talk about the concept and how you built this made-up language?
Absolutely. When you see an opera performance you can feel the power of the sound affecting you even if you don't speak the language in which it was written. Of course, we hear that in other types of musical performances but opera typically pushes vocals and musical dynamics to their extremes. With Moon and the other pieces in this series we are focused on the power of those soaring vocals and instrumentals (and contrasting subtleties) that touch us to our core.
I wanted to focus on finding that vibration that feels so transformative.
For a few years I have been experimenting with these pieces in made-up language to prove that words can sometimes be less important than the resonance in our bodies -- drawing on the inspiration of ancient chanting across cultures. We seem to be able, as humans, to communicate more without language getting in the way!
For the language, I write based on what sounds naturally flow into one another and that make sounds that feel good to say. Depending on the combination of sounds, the words seem to illustrate different emotions or ideas. I don't assign meaning to the words because I want to allow the audience and the performers to have freedom to create meaning within that structure.
What is it that’s appealing to you about using a made-up language to tell this particular story?
The structure of these operas in made-up language lends itself to any setting and any story. But this feels especially appropriate given the sound feels so celestial and other worldly. As we began creating the Moon issue of Perraneu Magazine I knew I wanted to create this performance as a companion.
There are many metaphors and reasons I can explain about why society figuring out a away to coexist feels relevant but I will let the audience take away what they want! That's another benefit to the absence of specific language -- it lets us play with sounds and emotions and discover meaning as we go through it collectively.
The Moon is such a mystery to us here on Earth. It is represented in art, literature and music as a companion that follows us, a visual that unites us and a force by which our tides and bodies are influenced.
What have been some of the challenges in turning this from an idea in your head into a reality?
Finding rehearsal time and a date to perform aside, the challenge is trusting in each of the individuals involved as they are trusting in me. With such an abstract concept, creating a structure of lyrics and working then with Mike to create a key and a general musical theme for each scene is vital. We are creating a road map within which performers can improvise vocals, find harmony and dissonance with one another and to create movement that tells our story.
I am so inspired to see that using this road map, so many beautiful and touching moments have already happened in our early rehearsals. When you hear the music, lyrics and voices click into place it gives you goosebumps!
In rehearsal, you communicated a real desire to demonstrate respect to actual languages while using this made up language. Can you talk about why that’s important to you?
Language is so personal to all of us. It's a companion to each of us in our lives just as body language and other kinds of intuitive communication. It evolves and is influenced by everything we hear around us. In my pursuit to take language out of our storytelling equation, my biggest concern is not distracting people from the sounds and the feeling of the vibrations we are making. If our language starts to sound like other languages, I worry that spoils the concept. I would never want this to accidentally offend someone because we are unintnetinally saying a word in another language or to appropriate any sort of sounds that sound offensive to someone.
I admit that sometimes the words do sound like something from specific languages, but hearing it in this context still sounds new and allows us to fill in our own meaning.
Would you have any advice for someone else starting to explore making art in NYC, that might have an idea in their head they want to put into the world?
Sure. That's exactly why I created Perraneu Magazine - it has helped artists finish projects that were otherwise sitting on the shelf and to find collaborators that can help them to happen.
A deadline to aim for is always helpful in finishing things. It motivates you to keep pushing and to follow through!
First, create a map for yourself. I always sit in front of a blank piece of Bristol paper with a color pencil in an inspiring color -- for this project I used a Forest Green. And I draw, remembering that the blank page is mine for the filling.
The concepts I put there are all intended to support my vision. From there I follow my template to make each component come to life: a venue, a team, visuals and a marketing plan to get the word out.
My advice is to trust your vision to the end. Even when you are tempted to make a "safer" choice.
And don't be afraid to ask people if they'd like to be involved. If I didn't reach out to Aesop's Sound Fables, we wouldn't have this amazing addition to Moon of these incredible instrumentalists. (Thank you to Mike, Fox and Rosie for believing in our trip to the moon!)
This year I have taken so many more risk to ask venues and collaborators if they want to make magic -- and it has been nothing but inspiring and encouraging!
Upcoming Events:
Follow @perraneu on Instagram to get updates on Moon and these upcoming events!
March 6 (6-9pm) at The Stonewall Inn, Perraneu Magazine will present “Camp Perraneu: a summer camp dance party with games”
And April 22, Perraneu Magazine on presents Earth Day Kickball in Central Park!