OPERA CONCERTS OF
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EP: THE SUSPENDED WOMAN
feat. ANDROMEDA ANARCHIA
Now available for PRE-ORDER
LIMITED EDITION VINYL, Spring 2024
Available for pre-order on SILENT PENDULUM RECORDS and on BANDCAMP.
feat. ANDROMEDA ANARCHIA
Now available for PRE-ORDER
LIMITED EDITION VINYL, Spring 2024
Available for pre-order on SILENT PENDULUM RECORDS and on BANDCAMP.
"Not only is The Suspended Woman a sneak listen into La Suspendida, but a portal into an auditory experience that goes beyond genre boundaries. The Suspended Woman is electrifying as it is extraordinary."
- AMPLIFY THE NOISE (2023)
- AMPLIFY THE NOISE (2023)
THE STORY OF MARIA ELENA
(BOOK, LIBRETTO)
KILTER’s groundbreaking, unconventional opera, La Suspendida, has been transformed into a book by well-known author and radio commentator (i.e. The Metropolitan Opera etc.), William Berger. The book, titled The Story Of María Elena and Kilter’s Jazz-Metal Opera “La Suspendida,” goes far beyond simply publishing the opera’s memorable and sometimes disturbing libretto. Instead, Berger has opted to expand upon the lore by creating a fictionalised version of the events upon which La Suspendida was based. In his book, he breathes new life into the unsettling true story of an obsessive caregiver who kept the body of a deceased woman as a lover. Berger also provides a deeper look into the production of the opera itself through the lens of personal essays from the opera’s composers and others involved in the project.
With The Story of María Elena and Kilter’s Jazz-Metal Opera “La Suspendida,” Berger gives readers an elaborate and complex backdrop for an opera that eschews norms in favor of providing the audience with a truly singular experience. The renowned author describes the character of María Elena as “an abused cadaver who is… finally able to take a stand for self-actualization and empowerment.” In this tragic character, Berger says he found the perfect leading role: “The amazing thing is that as we unpacked the musical and narrative possibilities in this character, we realized we’d created the definitive diva role.”
As the opera’s composers, KILTER played a pivotal role in the creation of La Suspendida. The production combines multiple genres, from jazz to metal and beyond. KILTER’s bassist, Laurent David, says that he and the band employed all of the tools at their disposal to create the production’s unforgettable music. This included calling in a few favors from fellow performers and musicians. Andromeda Anarchia, the Growler’s Choir, and the string quartet SEVEN)SUNS were all heavily involved in the collaborative creative process that led to La Suspendida. The final result is what Laurent David aptly describes as “a unique and powerful work of experimental opera that pushes the boundaries of what is possible in terms of musical style and narrative structure.”
While the opera has not been staged as a full-fledged production just yet, KILTER, Berger, and their collaborators hope to bring La Suspendida to life in a big way in the near future. In the meantime, librettist William Berger has provided a deep dive into the creation of the project in The Story of María Elena and Kilter’s Jazz Metal Opera “La Suspendida” that feels both fascinating and essential. The book is now available via Berger’s website and Silent Pendulum Records, which will also be distributing the soon-to-be-released cast recording.
(BOOK, LIBRETTO)
KILTER’s groundbreaking, unconventional opera, La Suspendida, has been transformed into a book by well-known author and radio commentator (i.e. The Metropolitan Opera etc.), William Berger. The book, titled The Story Of María Elena and Kilter’s Jazz-Metal Opera “La Suspendida,” goes far beyond simply publishing the opera’s memorable and sometimes disturbing libretto. Instead, Berger has opted to expand upon the lore by creating a fictionalised version of the events upon which La Suspendida was based. In his book, he breathes new life into the unsettling true story of an obsessive caregiver who kept the body of a deceased woman as a lover. Berger also provides a deeper look into the production of the opera itself through the lens of personal essays from the opera’s composers and others involved in the project.
With The Story of María Elena and Kilter’s Jazz-Metal Opera “La Suspendida,” Berger gives readers an elaborate and complex backdrop for an opera that eschews norms in favor of providing the audience with a truly singular experience. The renowned author describes the character of María Elena as “an abused cadaver who is… finally able to take a stand for self-actualization and empowerment.” In this tragic character, Berger says he found the perfect leading role: “The amazing thing is that as we unpacked the musical and narrative possibilities in this character, we realized we’d created the definitive diva role.”
As the opera’s composers, KILTER played a pivotal role in the creation of La Suspendida. The production combines multiple genres, from jazz to metal and beyond. KILTER’s bassist, Laurent David, says that he and the band employed all of the tools at their disposal to create the production’s unforgettable music. This included calling in a few favors from fellow performers and musicians. Andromeda Anarchia, the Growler’s Choir, and the string quartet SEVEN)SUNS were all heavily involved in the collaborative creative process that led to La Suspendida. The final result is what Laurent David aptly describes as “a unique and powerful work of experimental opera that pushes the boundaries of what is possible in terms of musical style and narrative structure.”
While the opera has not been staged as a full-fledged production just yet, KILTER, Berger, and their collaborators hope to bring La Suspendida to life in a big way in the near future. In the meantime, librettist William Berger has provided a deep dive into the creation of the project in The Story of María Elena and Kilter’s Jazz Metal Opera “La Suspendida” that feels both fascinating and essential. The book is now available via Berger’s website and Silent Pendulum Records, which will also be distributing the soon-to-be-released cast recording.
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SYNOPSIS
María Elena Milagro de Hoyos, a beautiful 22-year-old divorcee from Cuba, dies of tuberculosis in Key West and find herself in Limbo. From behind a large wall, Shades of the Realm of Death take note of the hours on Earth: It is sunrise along the Atlantic Coast of the Western Hemisphere, where the souls of all who died in The Americas the previous day gather for their journey. The Shades call forth the newly dead by name to enter their gates. When they call María Elena, she thanks them for their invitation, but tells them she prefers to remain outside the gates, suspended between the realms of the Living and the Dead. They tell her this is impossible, but she says they're wrong: she utilizes the fresh infusions of seed the still-living Tanzler, the doctor who treated her condition. Tanzler's sexual obsession with her didn't die when she did, and now she's using his acts of necrophilia to keep herself suspended between the realms of Life and Death. The Shades are shocked and confused by this aberration. María Elena explains that Tanzler had, long before, had a dream-visitation from his grandmother, a Countess who died before he was born. The Countess promised to give him something never before given to anyone – an ideal woman who didn't even yet exist. When Tanzler met María Elena years after that vision, he instantly recognized her as the Promised Ideal. As he loved her before she was born, now he loves her after she died. Unseen, he infuses María Elena once again with seed, to the indignant disgust of the Shades. They demand she submit to the eternal laws. Their arrogance triggers her rage, recalling a lifetime of being ordered about by authorities, familial and official. She makes a bold demonstration of her newfound power and dares the Dead to watch as she dominates Tanzler and commands more of his seed from him. This extraordinary encounter is too much for Tanzler, and his climax proves fatal. María Elena is deflated to hear his name called in the next roll call of the newly dead. What can she do now, abandoned, once again, by a man? She grows weak without the seminal infusion from a living man, and soon she hears her own name called once again to the Gates of Death. She laments her loss of power and uniqueness, but she is consoled by the Dead: She has had her moment of complete self-determination, and there is no shame or regret now in joining the others. Feeling the truth of their words, she moves toward the Gates, having come to a point where it is acceptable to die like everyone else.
María Elena Milagro de Hoyos, a beautiful 22-year-old divorcee from Cuba, dies of tuberculosis in Key West and find herself in Limbo. From behind a large wall, Shades of the Realm of Death take note of the hours on Earth: It is sunrise along the Atlantic Coast of the Western Hemisphere, where the souls of all who died in The Americas the previous day gather for their journey. The Shades call forth the newly dead by name to enter their gates. When they call María Elena, she thanks them for their invitation, but tells them she prefers to remain outside the gates, suspended between the realms of the Living and the Dead. They tell her this is impossible, but she says they're wrong: she utilizes the fresh infusions of seed the still-living Tanzler, the doctor who treated her condition. Tanzler's sexual obsession with her didn't die when she did, and now she's using his acts of necrophilia to keep herself suspended between the realms of Life and Death. The Shades are shocked and confused by this aberration. María Elena explains that Tanzler had, long before, had a dream-visitation from his grandmother, a Countess who died before he was born. The Countess promised to give him something never before given to anyone – an ideal woman who didn't even yet exist. When Tanzler met María Elena years after that vision, he instantly recognized her as the Promised Ideal. As he loved her before she was born, now he loves her after she died. Unseen, he infuses María Elena once again with seed, to the indignant disgust of the Shades. They demand she submit to the eternal laws. Their arrogance triggers her rage, recalling a lifetime of being ordered about by authorities, familial and official. She makes a bold demonstration of her newfound power and dares the Dead to watch as she dominates Tanzler and commands more of his seed from him. This extraordinary encounter is too much for Tanzler, and his climax proves fatal. María Elena is deflated to hear his name called in the next roll call of the newly dead. What can she do now, abandoned, once again, by a man? She grows weak without the seminal infusion from a living man, and soon she hears her own name called once again to the Gates of Death. She laments her loss of power and uniqueness, but she is consoled by the Dead: She has had her moment of complete self-determination, and there is no shame or regret now in joining the others. Feeling the truth of their words, she moves toward the Gates, having come to a point where it is acceptable to die like everyone else.
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THE CREATORS
KILTER
Laurent David: bass, composition, production
Ed RosenBerg III: bass saxophone, composition, arranging
Kenny Grohowski: drums, composition
Maria Elena
Andromeda Anarchia: vocals (dramatic growloratura soprano)
The Choir Of The Dead:
GROWLERS CHOIR Chorists:
created and led by composer Pierre-Luc Senécal
Marie Claude Fleury
Maude Theberge
Jeff Mott
Samuel Arseneau-Roy
Laurent Bellemare
SEVEN)SUNS (String Quartett)
Earl Maneein, violin
Blanca González, violinn
Fung Chern Hwei, viola
Jenny DeVore, cello
LIBRETTO
William Berger
DANCERS
Fanny Coulm
Yutaka Nakata
SOUND DESIGN
Antoine Delecroix
VIDEO
Elodie Letaeron
"Work in progress "-concerts filmed and recorded at CULTURE LAB LIC.
Thanks to Tana, Tess and Edjo for your help!
KILTER
Laurent David: bass, composition, production
Ed RosenBerg III: bass saxophone, composition, arranging
Kenny Grohowski: drums, composition
Maria Elena
Andromeda Anarchia: vocals (dramatic growloratura soprano)
The Choir Of The Dead:
GROWLERS CHOIR Chorists:
created and led by composer Pierre-Luc Senécal
Marie Claude Fleury
Maude Theberge
Jeff Mott
Samuel Arseneau-Roy
Laurent Bellemare
SEVEN)SUNS (String Quartett)
Earl Maneein, violin
Blanca González, violinn
Fung Chern Hwei, viola
Jenny DeVore, cello
LIBRETTO
William Berger
DANCERS
Fanny Coulm
Yutaka Nakata
SOUND DESIGN
Antoine Delecroix
VIDEO
Elodie Letaeron
"Work in progress "-concerts filmed and recorded at CULTURE LAB LIC.
Thanks to Tana, Tess and Edjo for your help!
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© COPYRIGHT 2024.
ALL RIGHTS RESERVED.
ALL RIGHTS RESERVED.