Exploring Trans Narratives Through Opera

Local presenter HOPERA, in conjunction with Houston’s Montrose Center, presents composer Laura Kaminsky’s groundbreaking opera As One on November 18 at the Eureka Heights Brewing Company, and  November 20^. at the Montrose Center.

Since its creation, this chamber opera, scored for two singers and strings, has been praised for its warmth and admirable universality. Mezzo-soprano Meghan Berti, HOPERA’s founding artistic director, brings the piece to Houston in celebration of the 10th anniversary of its 2014 New York premiere.

“The work tells the story of Hannah, a trans woman, and chronicles her journey to acceptance, belonging, and eventual self-realization in the face of adversity,” Bertie says.

As One traces the experiences of its transgender protagonist through their formative years. Berti performs the role of Hannah Older, and baritone Wesley Landry (featured in OutSmart’s July issue) sings the role of Hannah Younger. Both singers are accompanied by an onstage string quartet that is fully incorporated into the drama.

The work’s creator, Laura Kaminsky, a celebrated contemporary composer, often addresses social and political issues through her music. She reflects on As One, which at its premiere was considered revelatory. A decade later, it is now one of the most-performed contemporary operas in the repertoire—in spite of its modest musical forces—with more than 60 performances.

“As One celebrates the life of a trans artist,” Kaminsky says. “From the work’s conception—and in collaboration with Kimberly Reed and librettist Mark Campbell—I wanted to tell the story of someone finding their true self, through the lens of a trans person coming to authenticity.” 

“This work  was created in ‘pieces,’ originally written for two dear friends of mine, a cisgender married couple. At that time, the idea that there might be a trans singer who would perform this role wasn’t even within the realm of possibility, as it is now. In fact, the word ‘cisgender’ had just become part of the repertoire. While it was written for friends I love and trust, we’ve now had trans casts singing it and I’m open to anybody performing this music.

“Since its premiere, there’s been dramatic progress [regarding trans issues],” Kaminsky says. “The conversation now, 13 years since the work’s conception, has evolved. Historically, traditional opera has been very starkly gendered. There have always been cross-dressing ‘pants’ parts, but they never portrayed actual people in those roles.”

During its formative period, As One assumed its own unique creative trajectory as the composer and librettist both grappled with issues relevant to trans individuals. “When we originated the work, we had no name for the protagonist,” Kaminsky says. “We had to come up with one in order to create a press release for its Brooklyn Academy of Music premiere. We settled on Hannah, a palindrome whose  etymological origin  meant ‘grace.’ During the process, we gave her two names: Hannah Before and Hannah After. We then eventually realized that she had, in fact, always been Hannah, so we called her Hannah Younger and Hannah Older.”

“The work is powerful, but it’s not a biography,” Kaminsky explains. “We do utilize Hannah’s experiences in order to discover universal truths—specifically those related to being a trans kid growing up in a small town. But these issues are associated with every person discovering their true selves; the piece is not necessarily a universal study of the trans experience.”

Viewed through a decade-long historical lens (and with numerous performances worldwide) certain aspects of the work’s impact have remained constant. “No matter where it is performed or who is doing it, someone from the audience always comes up and says ‘Thank you for telling my story,’” Kaminsky says. “Interestingly, this comment often originates from someone who may not be trans, but rather is talking about having to overcome obstacles in order to be true to themselves. Also, some individuals may have a trans person in their life with whom they needed to develop a deeper understanding, or someone who has motivated them to see things differently.”

“The underlying story is universal, but the specifics around trans storytelling have changed. This is the beauty of the evolution of the issue. We’ve become more attuned, sensitive, and open as the years go by. As a result, there are more ways to portray this character. This progression has enabled performers to depict Hannah as more complex, with greater depth.”

As expected, several incarnations of As One have been presented by different directors in numerous cities. “I’ve seen over 30 productions,” Kaminsky states, “each of them done within the constraints of a specific  budget, space, performers, how LGBTQ+ individuals are reached, and even how conservative their locale is. The character of Hannah is so beautiful; she’s such a strong personality. As a result, irrespective of a director’s choices, she shines. Some directors view her as two people, some as one. A German production featured the accompanying string quartet as  living with Hannah together as roommates—different from anything I had imagined, but still effective.”

HOPERA faces challenges that often confront other small presenters. “Since we are a new company with a small budget, our focus is very character-driven,” artistic director Bertie says. “Hannah drives the story forward and we focus on her perspective. The stage set is minimal in order to accomplish that. Additionally, we’ve engaged a creative team that will ensure accuracy of characterization and sensitivity to the opera’s overall themes. Our stage manager, who also works with Houston Grand Opera, is trans and has joined the team to help us with various aspects of the performance. This will ensure that everything is clear and makes sense.” 

That clarity is amplified in the score, originally written for baritone and soprano. “There are a few places where the voices unite for specific emphasis to reinforce the unity of Hannah,” Kaminsky explains. Unlike many composers, she entertains a certain amount of flexibility regarding As One, especially in light of its unique “trans-possible” casting options. “One singer originally performed the role as a mezzo soprano and now performs it as a baritone following their transition. If a trans singer has concerns about a specific musical passage, I will say to them, ‘Lets figure this out.’ I ask, ‘What’s more important? This measure of music or the character singing it?’ Some things are open to discussion and some are not. As long as I’m alive, I can be part of that conversation. When I’m dead, people will do what they want.”

“I have so much respect for singers,” Kaminsky adds. “They learn the notes, the rhythm, and have to hear them in the context of what’s happening onstage, moving around, communicating deeply and being believable in the process. Singers make this all happen; they bring these characters to life, creating three-dimensional beings that audiences care about.”

Given that the work spans several years in Hannah’s life, the non-musical dramatic elements are crucial. “In the first production, we were fortunate that the director understood that this was a young person on a quest,” Kaminsky states. Movement was integral to the piece. “If you are a 12-year-old kid embarking on a journey, you don’t  just stand there. That doesn’t make sense.” As a result, the action is intensely choreographed. Various directors, whatever their vision for the piece, have  incorporated an abundance of stage action. “There is also a fair amount of humor in this piece,” says Kaminsky. “It’s one of the things that makes Hannah so loveable—and doofy—and sometimes a bit of a jerk.”

The accompanying string quartet also plays a significant role—especially the viola, which emulates and represents Hannah. “When it was determined that this was going to be a piece for two singers telling one story, I knew I needed to have a unifying sound for the ensemble,” Kaminsky points out. “Within a string quartet, the viola is the middle voice and also the one that is often hidden, the one that everyone forgets about. I gave the viola the opening solo, representing Hannah’s internal, soulful voice.” 

As One is an atypical opera, and HOPERA presents it in two unusual venues: a brewery and a nonprofit conference room. Both present unique, but not insurmountable, challenges. “We are collaborating with the Montrose Center,” Bertie says. “The November 20 performance will take place there. I love the intimacy of being in a room with just a few singers. With that type of ensemble, the drama and music go deeper; it’s not spectacle. Also, when we cast performers for the piece, we wanted to work with members of the LGBTQ+ community.” 

“The storytelling in As One is complete,” Bertie adds. “Traditional opera has a lot of stereotypical tropes that aren’t very effective today. Pieces like As One are much more relevant and the action is more focused and defined. The medium of a small ensemble is a vehicle that is understood by modern audiences. It’s not just about tapping your toes to a melody.”

Composer Kaminsky’s concise summation of the importance of this music personifies the thoughts of many: “Things have changed so much. We have been able to fully participate in that evolution. The world’s a mess, but At One is an endeavor where something good is happening.” 

What: Hopera presents As One
When/Where: November 18 at the Eureka Heights Brewing Company; November 20^. at the Montrose Center
Info: tinyurl.com/y8nt2ar2