SUMEIDA’S SONG: Mohammed Fairouz ACQUANETTA (CHAMBER VERSION): Michael Gordon, Deborah Artman PLACE: Ted Hearne
ANGEL’S BONE: Du Yun, Royce Vavrek
PERSONA: Keeril Makan, Jay Scheib
THE SOURCE: Ted Hearne, Mark Doten
BLACK LODGE: David T. Little, Anne Waldman
ELLEN WEST: Ricky Ian Gordon, Frank Bidart KATRINA BALLADS: Ted Hearne
UPROAR: Missy Mazzoli, Royce Vavrek
Nico Muhly, Maira Kalman
FAIL: David Lang, Lydia Davis
SONGS: David T. Little
01. THIS WORLD WITHIN ME IS TOO
SMALL
This world within me is too small, but still inside me something sings.
I’ll keep my silence here, I’ll leave this place alone.
Missy Mazzoli (composer), Royce Vavrek (librettist), Abigail Fischer (mezzo-soprano), Steven Osgood (conductor), Featuring: Tomas Cruz, Kate Maroney, Celine Mogielnicki, Peter Stewart, Amelia Watkins, Now Ensemble
Commissioned by Beth Morrison Projects, Linda & Stuart Nelson, and Chris Ahearn & Marla Mayer
Song from the Uproar is inspired by the life and writings of early-20th-century explorer Isabelle Eberhardt. Through a series of surreal vignettes, it traces her journey across North Africa—from loss and desert wanderings to ecstatic religious conversion—culminating in her tragic death at 27. Her salvaged journals form the basis of this work.
ISABELLE EBERHARDT
Death moves his hands through me again, a lonely outsider among men.
I’ll keep my silence here, I’ll leave this place alone, I’ll give myself to no one at all.
Death moves his hands through me again, a lonely outsider among men.
02. GOOD MORROW AND WELCOME
(ANATOMY THEATER)
David Lang (composer), Mark Dion & David Lang (librettists), Marc Kudisch (baritone), Christopher Rountree, (conductor), International Contemporary Ensemble
Commissioned by Beth Morrison Projects, Ridge Theater, Justus & Helen Schlichting, Linda & Stuart Nelson, Paul King, Marla Mayer & Chris Ahearn, Nancy & Barry Sanders, and Miles & Joni Benickes.
Anatomy Theater is a haunting reflection on 18th-century “moral spectacles,” when executed criminals were dissected before a paying audience. Drawing on historical texts and moral tracts, the work is a visceral meditation on crime, punishment, and the body as both spectacle and spiritual battleground.
JOSHUA CROUCH
Good morrow and welcome to you young gentlemen. Gentlemen. Welcome young masters. Come in, and quickly be seated,
LYRICS & CREDITS
gentlemen. So many fresh faces, so many new monsters, gentlemen. From the looks of this crowd one would guess that the city is populated with nothing but future surgeons, physicians, dentists, barbers, artists, sculptors. Or should I just say rascals and charlatans?
But in life it was not so. Her heart is darker than the blackest dye.
03.
I SHALL
TELL THEM (SONG FROM THE UPROAR)
(SUMEIDA’S SONG)
I can’t say I care who you are just as long as you have paid. Gentlemen. Gentlemen.
But today is a special day. Today is a special day. La la la la la la la la la la.
No doubt you’ve marked the dear and extra cost of entrance to the dissection theater.
We have a corpse, a fresh corpse, for anatomizing. Not two hours ago this heart was beating. It’s still warm, on the inside I’d wager. But the best thing of all is it’s legal, direct from the gallows. Hanged by the neck and brought by the sheriff. Still has its teeth (for now at least). And..... it’s a woman. Gentlemen.
The corpse is a she — a right proper murderess. It is not often that we get a young and healthy female in here. A child is six shillings for the first foot and nine pence for each inch for all it measures more in length. But for such a fresh quality female, I seen the price go as high as twenty.
But this body I tell you is so fresh and lovely that I would not dare to leave it alone with you, gentlemen.
She looks like an angel, so lovely and pure.
Mohammed Fairouz (Composer & Librettist), Markel Reed (baritone), Kazem Abdullah (conductor), Contemporaneous Ensemble
Commissioned by Beth Morrison Projects and HERE Arts Center.
Mohammed Fairouz’s Sumeida’s Song, based on Tawfiq El-Hakim’s Song of Death, follows Alwan, a young man who returns to his Egyptian village to end an age-old blood feud. Defying tradition with his vow “I won’t kill,” he pays the ultimate price, embodying a timeless struggle for justice and progress.
ALWAN
I shall tell them what I’ve come to tell them. For so long I have thought about my village and its people despite my long absence. In the free time from lessons at Al-Azhar when fellow students gather together, when newspapers are read, and when we are overcome by yearning for the land where we’ve been raised, we ask ourselves longingly: When will our people in the countryside live like human beings in houses where the animals do not sleep with them? When will the water pitcher be
replaced by clean running water?! Is that too much to wish for our people? Have not our people the same rights in life as others?
04. CONCEAL ME (ACQUANETTA [CHAMBER VERSION])
Michael Gordon (composer), Deborah Artman (librettist), Mikaela Bennett (soprano), Daniela Candillari (conductor), Bang on a Can Opera Ensemble
The world premiere chamber version was commissioned by Beth Morrison Projects with lead commissioning support by Linda & Stuart Nelson.
Acquanetta is a one-act opera that turns 1940s horror movies inside out, blending soaring and comic songs with haunting reflections on identity, transformation, and typecasting. Inspired by actress Mildred Davenport — who concealed her true self behind the screen — the work exposes how cinema shapes how we see and are seen.
Ted Hearne (composer), Saul Williams (librettist), Isaiah Robinson (vocals), featuring Saul Williams, Place Orchestra
Commissioned by Beth Morrison Projects, the Los Angeles Philharmonic Association, the Barbican, Lynn Loacker, Elizabeth & Justus Schlichting, Sue Bienkowski, Nancy & Barry Sanders.
A finalist for the 2021 Pulitzer Prize for Music, PLACE confronts the rupture of home. As tensions within a young family surface, they reflect larger fault lines: when expansion for some displaces others, the very idea of “where we belong” comes under siege.
Everybody know when the sun ri-
See it dawn in they own eye.
Die and bloom in a season.
what the folks call reason(ing).
On a distant planet where the reason landed and the folks transparent fourth dimensional libation granted.
Projectile vomit of the stars. A question of resources.
Hands to clean it up.
Subprime mortgages. This place is something else. Do you want to share your location?
More than one to choose from. Our future histories. Our chance survival. Our hidden mysteries. Binary rivals.
The gravitational pull. The radiation. The use of fear to rule. But not the Haitians. The foreseen colonies. but not the past ones. A message from the last ones: They will call it an improvement and price you out.
06. SMILES (ANGEL’S BONE)*
Du Yun (composer), Royce Vavrek (librettist), Abigail Fischer (mezzo-soprano), Choir of Trinity Wall Street, NOVUS NY
Commissioned by the Mann Center for the Performing Arts, Philadelphia. Completion commissioned by Beth Morrison Projects and HERE Arts Center.
Winner of the 2017 Pulitzer Prize for Music, Angel’s Bone tells the haunting story of two fallen angels rescued — and then exploited — by a desperate couple seeking a better life. Blending chamber music, opera, pop, cabaret, and electronics, this allegorical work confronts the brutal realities of modern-day slavery and human trafficking.
MRS. X.E
I know how Mary must have felt, The Virgin one, At the Annunciation!
A blessing!
“Hail, thou that art highly favored!” It’s enough to send me back to church! Enough to make me pray in thanks! Enough to make me smile, For the first time in six months!
We’ve struggled: Bounced checks, Missed payments, A week without power. Life’s sacrifices… Rewarded.
If the authorities find out, They’ll ship them off: They’ll become subjects of science or faith. Our blessing will be a distant memory. Do you see me?
Do you see me smile?
I’ve never been so happy. Let us reap the smiles of good neighbors! Let us reap their magic, their beauty. Oh, how these feathers glisten… Glisten like diamonds.
Everybody knows
(PERSONA)
Keeril Makan (composer), Jay Scheib (librettist), Amanda Crider (mezzosoprano), Kazem Abdullah (conductor), Contemporaneous Ensemble
Commissioned by Beth Morrison Projects and National Sawdust.
Persona, inspired by Ingmar Bergman’s 1966 masterpiece, distills a charged relationship between a silent actress and her nurse. Through an intricate interplay of sound and silence, the opera unravels shifting identities, blurred boundaries, and the fragile spaces between truth and performance.
ALMA
I’ve learned a lot.
Let’s see how long I can hold out. I’ll never be like you. I change, I change, I change all the time. Say nothing.
No, no, no.
Us, we, me, I.
Many words and deep remorse. Unbearable pain and nausea. No, no, no.
Us, we, me, I.
Words and pain, unbearable pain to plumb the depths of remorse.
The daily nausea, nausea, and indescribable pain.
08. OH THE SHARK
(THE SOURCE)
(librettist), Ted Hearne (vocalist), Nathan Koci (music director/keyboards), Courtney Orlando (violin), Anne Lanzilotti (viola), Leah Coloff (cello), Taylor Levine (electric guitar), Greg Chudzik (electric bass), Ron Wiltrout (drums)
Commissioned by Beth Morrison Projects and Judy Brick Freedman & Allen R. Freedman, and Justus & Helen Schlichting.
THE SOURCE explores whistleblower
Chelsea Manning’s leaks through a visceral collage of tweets, news, chat logs, and classified footage — confronting how we process truth, war, and identity in the digital age.
Oh the shark
You keep the world at bay
Oh the shark keep the world
Oh the shark has
Oh yeah, we back! keep the world
Fresh kid T
Oh yeah, we back!
Oh the shark has
You rediscover the web, I’m napping.
My guest tonight, a very funny comedian and actor, known from Knocked Up, Superbad
Oh the shark has
You keep the world at bay
My first kiss with Roberto on the wire was unlike any other kiss I’ve ever had I know what it’s like to be twenty-two, scared and in shackles too.
I’ve been there.
I hope none of you ever have to make a choice like this.
land before you shoot.
SAWYER: What’s the answer we most want?
HAWKING: I want to know why the universe exists…
Can’t stop, now I know who I am Oh the shark has
Hackers confide in me all the time.
I’d go to prison before l’d betray their trust.
I didn’t get Manning arrested. He got himself arrested.
I don’t pay for the meter, I remember I was be strong enough to There’s still plenty of time remaining. (De-fense!)
I outed Brad Manning as an alleged leaker out of duty.
I would never—and have never— out an ordinary decent criminal. There’s a difference.
HAWKING: …and how insignificant and accidental human life is in it...
09. THE HUNGRY GHOST WHO SINGS IN LAMENTATION (ZURICH, 1916) (BLACK LODGE)
David T. Little (composer), Anne Waldman (librettist), Timur (vocalist), Timur and the Dime Museum, Isaura String Quartet
Opera commissioned by Beth Morrison Projects and the Allen R. and Judy Brick Freedman Venture Fund for Opera.
BLACK LODGE is a surreal fusion of film, dance, industrial rock, and opera. In a nightmarish Bardo, a writer confronts his darkest memories and the woman at the heart of his greatest regret.
MAN
the hungry ghost who sings in lamentation watchithe sky for strafing drones (ghost of yearning)
ancient mind (ghost of yearning)
glorious white light (ravage and ravaging, ravaged and will have ravaged and will ravage and will have been ravaged) bright or fierce (feed your ravenous hounds)
radiant colors of seductive desire illusive beauty adorn your tattered frame
the hungry ghost who sings in lamentation all shackled (feed your ravenous hounds.)
Doten
You can’t come back down and
Ted Hearne (composer), Mark
10. KANYE WEST (9.2.05)
(KATRINA BALLADS)
Ted Hearne (composer), Isaiah Robinson (tenor), Ted Hearne (conductor), Chris Coletti (trumpet), David Hanlon (piano), Kelli Kathman (flute/alto flute), Nathan Koci (horn), Taylor Levine (electric guitar), Eileen Mack (clarinet/bass clarinet), Batya MacAdam-Somer (violin), David Medine (viola), Jody Redhage (cello), Kris Saebo (electric bass), Ron Wiltrout (drums)
Katrina Ballads blends blues, gospel, grunge, electronics, and chance music to confront the devastation of Hurricane Katrina and the media’s shaping of its narrative, using only primary-source texts from the week after the storm.
I hate the way they portray us in the media. You see a black family, it says “they’re looting.” You see a white family, it says “they’re looking for food.” And you know it’s been five days because most of the people are black. And even for me to complain about it, I would be a hypocrite because I’ve tried to turn away from the teacher — the T.V. — because it’s too hard to watch. I’ve even been shopping before even giving a donation and now I’m calling my business manager to see what is the biggest amount I can give, and just to imagine if I was down there, and those are my people down there. So anybody out there that wants to do anything that we can help - with the way America is set up to help the poor, the black people, the less well-off, as slow as possible. I mean the Red Cross is doing everything they can. We already realize a lot of people that could help are at war right now, fighting another way — and they’ve given them permission to go down and shoot us!
George Bush doesn’t care about black people.
—KANYE
WEST, on NBC’s live telethon for Katrina relief
11. WHY AM I A GIRL?
Montclair State (NJ) and Beth Morrison Projects.
In a war-torn near future, a young girl witnesses her family’s slow unraveling, as survival erodes the fragile line between human and animal.
LISA
Cutting carbs!
No counting points
No cigarettes!
No dope
No treadmill…
Not even the old “two-fingers-down-thethroat” trick.
Ricky Ian Gordan (composer), Frank Bidart (librettist), Jennifer Zetlan (soprano), Lidiya Yankovskaya (music director, conductor), Djordje Nesic (piano), Aeolus Quartet, Evan Premo (double bass)
Commissioned by Beth Morrison Projects and Opera Saratoga.
An operatic portrait of Ellen West’s struggle with body, food, and identity, blending clinical insight and poetic voice in a haunting exploration of self.
ELLEN WEST
Why… Why… Why am I a girl?
I ask my doctors, and they tell me they don’t know, that it just… “given.”
But it has such… implications… and sometimes, I even feel like a girl. Why am I a girl? Why?
12. MIRROR (ELLEN WEST) (DOG DAYS)
David T. Little (composer) Royce Vavrek, (librettist) Lauren Worsham (soprano), Alan Pierson (conductor), Newspeak
Hello there, beautiful:
Skin stretched
Around a bony frame.
Angles, shapes and corners
Revealed under baby fat.
It’s happened, Lisa,
The face you’ve always wanted:
With cheek-bones jutting like boulders from a white sand beach.
Boulders!
Hello there, beautiful girl:
Ribs like an antique washboard
I rub my fingers
Down and up, Up and down.
I’ve lost count of the ridges…
It’s happened!
Like corrugated cardboard, The kind that dad has piled up Waiting to be burned
In the dead of winter
When nothing’s left but our shivers.
Hello there, beautiful: Collar-bone necklace, Legs like stilts.
Skeleton-fingers for dainty rings.
It’s happened…
“You look just like a model, Lisa, Look just like a model,” you say.
“You flatter me!” I say.
“How’d ya do it, Lisa?
I want pointers –
I’m desperate here!”
I say: “It was simple –No twelve-step program,
Pain is beauty they say. Hunger is beauty, I say. Hunger builds beauty.
Hunger made me!
But my hair has lost its color and shine. My skin is dry, my freckles fade away. But I’m beautiful!
Marjorie?
If I squint hard enough, I can see you, Marjorie, deep in the mirror Sitting there on my bed. If I squint hard enough, So hard my head begins to throb I can see you, your silhouette, Your feet dangle from the side of my bed, In your hand-me-down running shoes.
Marjorie?
I miss our grass-blade duets, The buzzing stems between our thumbs. I miss hanging like baby possums From the Martingale’s oak tree; The one we carved our names into On the fourth tallest branch.
I’ll carve Prince’s name too.
Hello there, beautiful:
Hello hello hello hello
In there.
Mirror mirror, hello!
I wonder if I’ve already passed through… Are the jabberwockies waiting? What if I’m only beautiful on the other side?
13. WHAT IS THIS FRAGMENT?
(PRINCIPLES OF UNCERTAINTY)
Nico Muhly (composer), Maira Kalman (text), Anthony Roth Costanzo (countertenor), Kazem Abdullah (conductor), Contemporaneous Ensemble
Commissioned by New York Public Library Live.
Maira Kalman’s Principles of Uncertainty, set by Nico Muhly, is a whimsical yet profound song cycle exploring identity, happiness, love, death, and life’s beautifully random connections.
What is this fragment?
This hard wisp?
Of what?
Of darkness of thought or immensity of the universe? A dream?
A foreboding?
Was Freud right? or Wittgenstein right?
Can we speak?
May I say something?
No?
Wittgenstein designed a house for his sister.
Here is the radiator.
To say that he found God in the details would be an understatement. But how would he define “God?” Pushkin. Pushkin.
Pushkin — did he die in a duel?
Yes. He died in a duel. What does all this have to do with that young woman
with the crazy great hair — do with four bobby pins and two rubber bands?
What does this have to do with bobby pins and radiators and Kokoshnicks? One thing leads to another. One thing.
Spring is in the air, don’t you think?
14. HEAD, HEART
Head is all heart has, help, head. Help, heart.
15. TWO MARINES (LOVE FAIL) (SOLDIER SONGS)
David Lang (composer), Lydia Davis (librettist), Anonymous 4
Commissioned by Brooklyn Academy of Music’s 2012 Next Wave Festival, the International Festival of Arts & Ideas, the John F. Kennedy Center Abe Fortas Memorial Fund, the Center for the Art of Performance at UCLA, Wake Forest University / Secrest Artists Series, and Hancher Performances at the University of Iowa.
In love fail, David Lang blends medieval romance, Lydia Davis, Wagner, and his own words into a timeless meditation on love’s beauty and heartbreak.
Heart weeps.
Head tries to help heart.
Head tells heart how it is again: You will lose the ones you love, they will all go. But even the earth will go someday. Heart feels better then, but the words of head do not remain long in the ears of heart. Heart is so new to this.
I want them back, says heart.
Commissioned by Pittsburgh New Music Ensemble.
Blending opera, rock, and film, Soldier Songs captures a soldier’s journey from innocence to battle to reflection, confronting the truths and myths of war.
Two Marines Came to my house
To tell me that
My son…
A letter from the President, “Regretfully…”
My son…
I did not answer the door I knew the speech, heard it before. “Bravely fought…
In combat fell…
For Liberty…
My son…
I took my grief
Out to the yard and While they knocked, I doused their car With gasoline I lit a match
Set it ablaze
My grief to see as burning flames.
Take this to The President, and Tell him that, His letter can’t, Not even signed By human hand, Not even written By a person, This letter won’t, Nor uniforms, Not folded flags, Nor victories won, Your practiced words, From scripts well learned, Cannot bring back My son...
Bring me back my son.
Beth Morrison Projects (BMP) is the foremost creator and producer of new opera and music-theatre, with a fierce commitment to telling the stories of our time, cultivating a new generation of talent, and collaborating with them to lead the field into a more inclusive, innovative, and relevant future.
Founded in 2006 by “contemporary opera mastermind” (LA Times) Beth Morrison, who was honored as one of Musical America’s Artists of the Year/Agents of Change, BMP now operates across the US and internationally, with offices in Brooklyn and Los Angeles, and is “a driving force behind America’s thriving opera scene” (Financial Times), with Opera News declaring that the company, “more than any other… has helped propel the art form into the twenty-first century.”
BMP has commissioned, developed, produced, and toured over 65 works in 15 countries around the world, including the Pulitzer Prizewinning chamber operas Angel’s Bone (Du Yun/Royce Vavrek) and p r i s m (Ellen Reid/Roxie Perkins) and GRAMMYTM-nominated Black Lodge (David T. Little/Anne Waldman), with performances at prestigious venues and festivals such as Brooklyn Academy of Music, LA Opera, REDCAT, Edinburgh International Festival, Walt Disney Hall, The Barbican, Lincoln Center, The Walker Art Center, The Beijing Music Festival, New Visions Arts Festival, The Holland Festival, O Festival Rotterdam, and more.
BMP is committed to fostering the next generation of creatives through its inclusive and industry-shaping programs Producer Academy and NEXTGEN. BMP: Producer Academy is an 8-week course that supports early-career producers by providing mentorship, networking, and personal growth opportunities. It has served over 1100 students from 19 countries, welcoming applicants from diverse backgrounds and abilities to receive high-quality training without
financial barriers. BMP: NEXTGEN is a program which invites emerging composers to submit vocal works to a panel of music industry professionals, for a chance to have their work commissioned for a world premiere production in New York and Los Angeles.
In 2013, BMP co-founded the PROTO-TYPE Festival with HERE Arts Center, which has been called “utterly essential” (The New York Times), “indispensable” (The New Yorker), and “one of the world’s top festivals of contemporary opera and theater” (Associated Press). With the 2026 Festival, BMP assumed the role of sole curator and producer. Through PROTOTYPE and its broader work and programs, BMP is creating a vibrant, sustainable, and deeply relevant future for opera and music-theatre.
Beth Morrison, a Grammy-nominated producer and recipient of the Musical America Award for Artist of the Year/Agent of Change, is an acclaimed opera-theatre producer. She is the President and Creative Producer of Beth Morrison Projects and Artistic and co-Founding Director of the PROTOTYPE Festival. Hailed as a “contemporary opera mastermind” (LA Times), she founded BMP in 2006 to support living composers and transform the opera industry. BMP has commissioned, developed, produced and toured over 65 works worldwide, including two Pulitzer Prize-winning operas. Morrison holds degrees from Boston University, Arizona State University, and Yale University, and is a Lecturer at Yale’s David Geffen School of Drama.
BMP: BETH MORRISON PROJECTS
The works represented in the BMP: Songbook—Anthology, Albums, and Book—were born of partnership: shaped by the artistry of hundreds of composers, creative and production teams, and performers; guided by the vision of BMP staff and board members; and sustained by the steadfast support of co-producers, funders, donors, presenters, and venue partners. Their passion for creating bold, boundary-pushing, singular works of contemporary opera and music-theatre is the heartbeat of BMP—the spirit that has carried us to this moment. To have created these works together has been not only my passion, but my life’s work.
Every institutional partnership that has sustained BMP over the years has been deeply meaningful. Yet I must acknowledge three in particular—remembering always that “institutions” are, in truth, people. First, the Mellon Foundation. Under the visionary leadership of Susan Feder, and later through the continued support of Emil Kang and Stephanie Ybarra, Mellon’s commitment made possible the very existence of the PROTOTYPE Festival. Moreover, their nine-year investment in BMP’s capacity-building was transformative, allowing the company to grow in ways I could not have imagined. These initiatives were led by Susan Feder, whom I call my fairy godmother. My gratitude and love for her belief in me and my vision are boundless. Second, The Virginia B. Toulmin Foundation, guided with such care by Alex Sanger. The Toulmin Foundation has championed women creators across opera, symphony, theater, and ballet, reshaping the landscape of commissioning through its regranting program with Opera America. Their impact has been nothing short of revolutionary. Alex’s steadfast support of BMP and PROTOTYPE has allowed us to pursue our mission of uplifting women composers. His partnership has been transformative for BMP, and I remain deeply grateful for his faith in our vision. Finally, to the Howard Gilman Foundation—under
the leadership of Laura Aden, Anna Campbell, Kimberleigh Costanzo, and James Hirschfeld—you embody the model of what a foundation can and should be. Your responsiveness to grantees, your willingness to listen and allow flexibility, and your commitment to rewarding good citizenship within the field make you true thought partners.
For more than twenty years, the composers and librettists with whom I’ve had the privilege to collaborate have been a wellspring of inspiration. Their artistry and vision continue to expand my own, and I am endlessly thankful for their trust and brilliance.
The BMP: Songbook project owes special gratitude to Alexis Peart, whose tireless leadership, dedication, and extraordinary administrative gifts made this project possible.
To our brilliant producers at Soundmirror, Blanton Alspaugh and Mark Donahue—working with you has been a dream. And to our inspired designers at Morcos Key, thank you for bringing BMP’s aesthetic to life through your luminous designs for the book, album, and anthology.
Finally, I could not have built this company or believed in myself without the love and support of my parents, Jane and Chip, and my partner, André. They have always believed in me and my “impossible” dream, and have given me the wings to fly.
SPECIAL THANKS
Produced by Beth Morrison and Blanton Alspaugh. Engineered by Mark Donahue, Brett Mayer, Andrew McKenna Lee, Garth MacAleavey, Jim Lang, Marc Urselli, Lawson White, Todd Whitelock, Nick Tipp, and Tommy Simpson. Assistant Engineer Frankie Price. Associate Producer Alexis Peart. Mastered by Mark Donahue. Anatomy Theater, recorded at Avatar Studios (New York, 2016); Angel’s Bone, recorded at National Sawdust (Brooklyn, 2017); Aquanetta (Chamber Version), recorded at Power Station (2018); BLACK LODGE, recorded in Los Angeles and Montana (2020–2021); Dog Days, recorded live at REDCAT (Los Angeles, 2015); Ellen West, recorded live at PROTOTYPE Festival, Gelsey Kirkland (Brooklyn, 2020); Katrina Ballads, recorded at Avatar Studios (New York, 2010); Persona, recorded at Power Station at BerkleeNYC (New York City, 2025); Place, recorded in various locations (2019); Principles of Uncertainty, recorded at Power Station at BerkleeNYC (New York City, 2025); Song from the Uproar, recorded at Avatar (New York, 2012); Sumeida’s Song, recorded at Power Station at BerkleeNYC (New York City, 2025); and THE SOURCE, recorded at Systems Two (Brooklyn, 2015).
