SEEKINGBand to Join, Vocalist, Vocalist - Bass, Vocalist - Baritone, Vocalist - Tenor, Vocalist - Soprano, Rhythm Guitar, Lead Guitar, Bass Guitar, Drums, Other Percussion, Violin, Trumpet, Keyboard, Piano, Background Singer, Harmonica, Flute, Other, Banjo, Mandolin, Vocalist - Alto, Trombone, Upright bass, Cello, Clarinet, Harp.
Composer with minimalist, postminimalist, modernist, baroque, classical, romantic, progressive, and psychedelic influences. Currently composing an opera for which I have immediate need for pianist and singers. The piano/vocal score has quite a bit of notes for orchestration, although it is not yet orchestrated per se.
Bass-Baritone-Low Tenor singer (D2-G4) (can go beyond that on occasion). I generally sing classical/opera, classic/progressive/psychedelic rock, and some musical theatre.
I have publicly performed the following operatic/classical roles:
Lackey, Ariadne auf Naxos (R. Strauss)
Silvano, Un Ballo in Maschera (Verdi)
Antonio, The Marriage of Figaro (Mozart)
Ivan, Die Fledermaus (J. Strauss II)
Bass soloist (Elysian Fields), Orpheus and Eurydice (Gluck)
Dottore Grenvil (cover) La Traviata (Verdi)
Bass chorus, La Traviata (Verdi), Fidelio (Beethoven), Messiah (Handel), Die Fledermaus (J. Strauss II), Orpheus and Eurydice (Gluck)
I have been in choirs regularly since the age of eleven.
- Screen name:
- Member since:
- Oct 12 2016
- Active over 1 month ago
- Level of commitment:
- Years playing music:
- Gigs played:
- 50 to 100
- Tend to practice:
- 2-3 times per week
- Most available:
Art music: Michael Nyman, Philip Glass, Robert Moran, Steive Reich, John Adams, Jerry Goldsmith, Shane W. Cadman, Leonard Bernstein, Henry Purcell, Antonio Vivaldi, Akira Ifukube, Richard Wagner, Richard Strauss, Giuseppe Verdi, Arnold Schönberg, Danny Elfman, W.A. Mozart, Ludwig van Beethoven, Krzyzstof Penderecki, Jospeh LoDuca, Eric Ewazen, Thomas Newman, Gian Carlo Menotti, Paul Schoenfield, Edgard Varèse
Popular music: Goblin, Kansas, The Who, Keith Emerson, Eleven, Jethro Tull, Randy Newman, Genesis, Pink Floyd, Tilly and the Wall, Tori Amos, They Might Be Giants, The Beatles, Yes, Renaissance, Curella De Ville, Smoke Rise, Oingo Boingo, The Polyphonic Spree, Jody Gnant, Nirvana (UK), Love, Strawberry Alarm Clock. Love Affair, The Neon Philharmonic
- Vocalist - Bass:
- Vocalist - Baritone:
- Vocalist - Tenor:
Sonic Scores Overture
Prologue: May 1, 1971 (MIDI Piano Only)
Prologue: May 1, 1971 (MIDI Piano Only)MIDI piano version of the Prologue from my opera, Song of the Man-Thing. The rights to the text, by Steve Gerber, from Giant-Size Man-Thing #5, have yet to be obtained. Music composed in 2012. It is sung by Ellen Brant (mezzo-soprano) and Madam Swabada (mezzo-soprano). This has some rhythmic corrections that supersede the previous version I posted.
Prologue Part II (MIDI piano only)
Prologue Part II (MIDI piano only)After the overture, which will feature some aria melodies once written, is the conclusion of the Prologue, sung by Madam Swabada (mezzo-soprano), Ted Sallis (baritone), and Ellen Brandt (mezzo-soprano). The text (not included) is by Steve Gerber (through measure 14), from Giant-Size Man-Thing #5 (August 1975), and Roy Thomas and Gerry Conway, from Savage Tales #1 (May 1971), and is owned by Marvel Comics.
The New Captain America (MIDI Piano Only)
The New Captain America (MIDI Piano Only)Scene from my opera, Song of the-Man-Thing. Inspired by the instrumental protests of Jimi Hendrix and The Nice (whose interpretation of Leonard Bernstein's "America" I recommended as house opener for my play, Misused Minds: Curse of the Educated Youth), this is a piano version of a piece that is to play as Ted Sallis, having injected himself with his re-creation of the Captain America Super-Soldier serum, goes off stage left and, in projection, crashes his car into a swamp in the Everglades. After this, an image of Captain America like the one shown here appears and gradually, through an optical effect, begins to "melt" and become distorted while, in the foreground, Barbara Morse uses her martial arts abilities to protect her fellow scientists from the operatives of A.I.M. As the music, based closely on John Stafford Smith's "The Anacreontic Song" as originally published, which was the basis of "The Star-Spangled Banner"--some finessing may take place in performance due to slight rhythmic differences with the U.S. national anthem that this piece ironically, but with sadness and terror, distorts as the plan for the serum to protect Ted from drowning goes horribly awry based on the magic and chemical composition in the swamp. In the last measure, the Man-Thing emerges from stage left for the first time in the show, accompanied by the Bb-A-D motif on the melodica (barely audible in this MIDI despite the fff written, which would obviously require miking), along with a baroque-style trumpet flourish on the lower part of the treble staff. The distorted melody was mostly composed in 2009, although I discovered I skipped a phrase of the song and composed that the night of 2/13/ leading into 2/14, 2020. In the days prior, I incorporated the beginning of Smith's melody to increase the recognizability (more distortion at the beginning to reflect the car accident) and all of his original harmony, which I incorporated into minor and dissonant chords to flesh out the piece as fully as it will be until it is orchestrated. P.S.: The pitches of Alan Silvestri's Captain America: The First Avenger theme are at the beginning, but not the rhythms.
Dr. Wilma Calvin Arietta and Scene Work In Progress (MIDI piano only)
Dr. Wilma Calvin Arietta and Scene Work In Progress (MIDI piano only)Contralto arietta for Dr, Wilma Calvin in my opera, Song of the Man-Thing. The text (not included but in the image) is by Len Wein. Originally written for Savage Tales #2 (probably intended for release in July 1971--Savage Tales #2 was not released until cover date October 1973, by which time most of the originally intended content had been published elsewhere), it was first published in Astonishing Tales #12 (June 1972). Dr. Barbara Morse (soprano) tries to get Dr. Wilma Calvin (contralto), an elderly African-America scientist called a witch-woman by the locals, to stay away from the newly appeared Man-Thing, but she approaches him, convinced that he is the biochemist Ted Sallis with whom she works, having emerged when Sallis disappeared. A redneck rifleman (bass) hired by Advanced Idea Mechanics (A.I.M.) shoots her in the back as she tries to connect with the man inside him. Len Wein (1948-2017), an extremely prolific comics writer, is best known as the writer who co-created Swamp Thing, along with Wolverine, Storm, and Colossus of the X-Men, as well as the character model for DC's version of Cain, who hosted The House of Mystery and was a major supporting character in Neil Gaiman's The Sandman. In addition, he was the editor of The Man-Thing from issues #15-22, and Steve Gerber's monologue in the final issue (which is the basis of his aria at the end of Act II) is addressed as a letter to him. The first issue of Swamp Thing, by Wein, is cover dated October/November 1972, meaning he had to be familiar with the Man-Thing's origin before then as author of this story. The origin of the Alec Holland Swamp Thing, who first appeared in that issue, bears a closer similarity to the Man-Thing's origin than it does to the original Alex Olsen Swamp Thing, a character set in 1905 introduced (also written by Wein) in The House of Secrets #92 (July 1971), and later reintroduced by Alan Moore in Swamp Thing (vol. 2) #47 (August 1986) as the only member of the Parliament of Trees who still speaks rather than communicates via telepathy, after having been incorporated into the mythos in #33 (February 1985). As one of ten stories running approximately one-third of an issue Wein wrote for The House of Secrets, it's pretty safe to say that The Man-Thing, always intended as an ongoing character, was both created and published before Swamp Thing, but of course having been preceded by Theodore Sturgeon's short story, "It!" (published in the August 1940 issue of the science fiction magazine, Unknown) and in Hillman Publications "The Heap" feature in Air Fighters Comics/Airboy Comics from December 1942 to the final issue in April 1952 (and revived by Eclipse Comics from 1986-1989), who was even occasionally called "man-thing" as an epithet,
Act I Interlude Work In Progress (MIDI Piano Only)
Act I Interlude Work In Progress (MIDI Piano Only)Begins with the singing of the famous tagline "For whatever knows fear burns at the Man-Thing's touch," as the stage clears from the origin story, Ellen holding her burned face. The line is sung by Dakimh, Steve, and Richard, making their first appearances on the stage. Dakimh, still unidentified, instructs Steve Gerber that he is to comment on the events as guided by his own conscience. Music composed mostly in 2009; measure 32 was composed in 2020. Apart from the first line, the text, by Steve Gerber is from The Man-Thing #22 (October 1975).
Act I, Scene 2 Work In Progress (MIDI piano only)
Act I, Scene 2 Work In Progress (MIDI piano only)Work in progress piece form my opera, Song of the Man-Thing, for Steve Gerber (baritone), Jennifer Kale (coloratura soprano), and Andy Kale (boy alto), and SATB chorus. I understand I'll need to work with singers to get the ranges correct without substantial altering of the intent, probably simple octave adjustments. The text (not included but partially in the graphic) is by Steve Gerber from Fear #11 (December 1972). The exciting part near the end is instrumental music for Man-Thing's first fight with Thog the Nether-Spawn. It's marked largo, but the MIDI is ignoring that. Most of the music was composed in 2009, but the accompaniment in the first section, based on the second movement of Johannes Brahms's German Requiem (though probably unrecognizable when not played on flute and timpani, as marked in the vocal score's orchestration notes) was composed in 2019.
The Tale Of The Tome Work In Progress (MIDI Piano Only)
The Tale Of The Tome Work In Progress (MIDI Piano Only)Aria for Joshua Kale (bass) from my work-in-progress opera, Song of the Man-Thing. Some notes are written a little high with singing falsetto as an option. The aria tells the story of Zhered-Na, the prophetess of the Cult of Zhered-Na, a pagan organization trying to save the world from a plague of demons. The text (not included) is by Steve Gerber from Fear #15 (August 1973). Music composed in 2009 and 2014. Many portions have only the vocal line composed.
Dakimh Work In Progress (MIDI Piano Only)
Dakimh Work In Progress (MIDI Piano Only)Aria from my opera, Song of the Man-Thing, for Dakimh the Enchanter. It is a character tenor role for a voice like Heinz Zednik. The text (not included, but some of which is in the image) is by Steve Gerber, from Fear #19 (December 1973). In this aria, Dakimh, a 200,000 year-old enchanter, explains the nature of dimensional planes of the universe. It also includes the first invocation of Howard the Duck's theme, when he says "beasts that walk and talk like men." This is less than perfect at the moment, because it clashes with the other material and makes something more dissonant than I actually want, obscuring this crucial bit of music. The music was written in 2009, and in transcribing, I didn't do anything to it other than adjusting time signatures to fit the rhythms I wrote to get rid of undesired rests.
Kale - Dakimh Work In Progress (MIDI Piano Only)
Kale - Dakimh Work In Progress (MIDI Piano Only)Immediately following Dakimh's aria and immediately preceding Korrek's aria, in this scene, Dakimh invites Jennifer Kale to be his apprentice. She asks Grandpa Joshua if it's OK, and he elects not to deny her if it is what she truly wants--after all Dakimh is 20,000 years old, as he reveals in this scene, and is the earliest disciple of their religion--the Cult of Zhered-Na (an Atlantean monotheistic faith named for its prophet), and their goal is to save the world from an invasion by demons that has already begun. At the end of the scene, as in the image text, younger brother Andy wonders why he doesn't get to save the world. The music as it currently stands was composed in 2012. The text is by Steve Gerber from Fear #19 (December 1973), published by Marvel Comics. Jennifer is based on Steve's friend, Jennifer Meyer, and Zhered-Na is based on Steve's then-girlfriend, Edna (he did not reveal her last name).
Korrek Work In Progress MIDI Piano Only
Korrek Work In Progress MIDI Piano OnlyWork-in-progress aria for Korrek, Warrior Prince of Katharta (heldentenor) from my opera, Song of the Man-Thing, which segues into Howard the Duck's (basso buffo) arrival on Earth through the Nexus of all Realities. Text (not included, but some is in the image) is by Steve Gerber from Fear #19 (December 1973). The music was composed in 2010 (mostly vocals), 2012 (some accompaniment), 2013 (intro), 2019 (more accompaniment and some vocals). The big lacuna at 2:19 is an absence of action music yet to be composed as Korrek tries unsuccessfully to slay the Man-Thing. The last portion is a segue immediately into Jennifer Kale's arietta.
Jennifer Kale Arietta And Scene Work In Progress (MIDI piano only)
Jennifer Kale Arietta And Scene Work In Progress (MIDI piano only)Arietta and scene from my opera, Song of the Man-Thing. Text (not included, but some is in the graphic) is by Steve Gerber from Fear #19 (December 1973). The arietta is sung by Jennifer Kale (coloratura soprano), a contemporary teenage girl from Citrusville, Florida, who has just become apprentice to Dakimh the Enchanter (character tenor), a Merlinesque wizard from the world of Sandt. They are attacked by forces of the Overmaster, who bomb the Enchanter's castle. He disappears again, leaving Jennifer alone to be taken by the Congress of Realities, warriors of all eras and dimensions answering to one called the Overmaster. This group (likely drawn from the chorus) is led by a barbarian warlord called Akilla (bass), Two under his command with singing roles are a World War II-era Army Sergeant (high baritone or low tenor) and another barbarian called Zaddak (baritone), who has a bit more to do later. The vocal line was composed mostly in 2010. The arietta was completed in 2016, and much of the accompaniment to the scene was composed at the time, but some remains uncomposed, and it should be fairly obvious where. Trivia: The Sergeant's theme is inspired Lando Calrissian's theme, but it's probably unrecognizable.
Back In The Swamp Work In Progress (MIDI Piano Only)
Back In The Swamp Work In Progress (MIDI Piano Only)Work-in-progress recit from my opera, Song of the Man-Thing. Taking place immediately after the scene following Jennifer's arietta, The barbarian prince Korrek (heldentenor) and Howard the Duck (basso buffo) continue to wander through the Everglades, followed by Man-Thing. At the first general pause, the scream of a man is heard off-stage. Howard doesn't want to follow it, but does rather than wander alone. Next there is missing music as the three arrive at the F.A. Schist airport construction camp, where the workers try to fight off a horde of demons. They identify Man-Thing as their target. The music then segues into the Chorus of Demons. Music composed in 2010. The text (not included) is by Steve Gerber from Fear #19 (December 1973), and is wholly included in the graphic.
Chorus Of Demons (MIDI piano only)
Chorus Of Demons (MIDI piano only)Essentially complete vocal-piano version of a chorus from my opera, Song of the Ma n-Thing. The text, by Steve Gerber (not included, but visible in the image) is from Fear #19 (December 1973) and owned by Marvel Comics. In this scene, Korrek, Warrior Prince of Katharta, and Howard the Duck, both brought to the Florida Everglades in the 1970s, have followed a workman's scream to the F.A. Schist airport construction site, only to find it swarming with demons. To their surprise (as reflected by Korrek's solo line in the middle of the piece) the one the demons are after is the Man-Thing, who has followed after them, whom they mistook for an enemy and will now be the focus of their attack energies. while the piece was heavily influenced by the climactic party scene in Robert Moran and James Skofield's one-act opera, The Dracula Diary, it bears little resemblance except in a few rhythms. The main goal is to have the chorus sing in a manner dissonant enough to be reflective of stress-inducing music in horror cinema. The music was composed in 2010 except for the chord at the beginning of measure 20 and the final tag, which were composed in December 2019 just prior to posting.
Act II Introduction (MIDI only)
Act II Introduction (MIDI only)Based on material in Man-Thing #2, #11, and Giant-Size #1. Text (not included, although much of it is in the image) by Steve Gerber. Character singing is Steve Gerber (baritone). Music composed in 2009. Tempos have not been adjusted. It's a bit too fast, especially after the first few phrases.
Richard Rory Aria Work In Progress (MIDI piano only)
Richard Rory Aria Work In Progress (MIDI piano only)Richard Rory's aria is the second piece in Act II of the opera. Unlike many of the other arias in the opera, this was assembled from several speeches Richard gives In various issues of The Man-Thing including #2, #4, Giant-Size #1, and #11. It is simplified from the original material for staging purposes. I don't think the Man-Thing saving Richard from an alligator is likely to be effective on stage, so I imply that the Man-Thing has been protecting him for the past two days referred to in the aria. Steve Gerber's text (not included) tells us a lot about Richard's background and propensity for bad luck. He was named after Richard Cory, a man with everything going right for him who is suicidal, because Richard is nearly the opposite--a man with everything going wrong for him but desiring to live. Near the beginning of the aria is a borrowing of a phrase from Paul Simon's song about Richard Cory as performed by Simon & Garfunkel. Towards the end of the aria, he advances the plot by explaining that the Foolkiller, the character on the lower left in the image, has recently tried to kill him for playing "blasphemous music" as an Ohio disc jockey. Richard read his threatening notes on the air and dedicated a song to him, George Harrison's "The Art of Dying," (quoted briefly as he mentions it). He seems hopelessly lost, and perhaps off the Foolkiller's radar by the end, out of gas for his Volkswagen Microbus, when he sees Ellen Brandt but is soon distracted by the approach of Steve Gerber, who as narrator introduced Richard at the top of the act, in a red convertible, leading directly into their duologue. 2009 is the only date I have on the manuscript other than 1974 for the text, though it's likely some of the accompaniment, which is still to be completed, was composed later on.
Rory - Gerber Duologue Work In Progress Piano MIDI
Rory - Gerber Duologue Work In Progress Piano MIDIExcerpt from my opera, Song of the Man-Thing. Steve Gerber (baritone) and Richard Rory (tenor) meet. When Steve, looking for the Green Glades Country Club, learns that Richard is out of gas, he supplies him with two gallons from an emergency tank in the back of his red convertible. Text (not included but mostly in the image) by Steve Gerber from The Man-Thing #3 (March 1974). Music composed in 2009.
Encounter On The Road Work In Progress Piano MIDI Only
Encounter On The Road Work In Progress Piano MIDI OnlyFoolkiller nearly crashes into Richard Rory on the road. (Ruth Hart, shown in the images, has been deleted from the opera for economy of characters) Instrumental piece for strings and trombone that will, when expanded, ultimately segue into Foolkiller's aria. The goal is a darker, more dissonant piece inspired by Antonio Vivaldi's "Winter." Composed in 2009.
Foolkiller's aria (MIDI Piano Only)
Foolkiller's aria (MIDI Piano Only)Piano-only MIDI version of Foolkiller's aria from my opera, Song of the Man-Thing, for countertenor and orchestra. The text, which is not included here, is by Steve Gerber, from Marvel Comics' The Man-Thing #4. Composed in 2009-2010. The rights to the source material have yet to be obtained, but the music is mine.
Act II, Scene 2 Work In Progress (MIDI Piano Only)
Act II, Scene 2 Work In Progress (MIDI Piano Only)Scene immediately following Foolkiller's aria in my opera, Song of the Man-Thing, including Steve Gerber (baritone), Richard Rory (tenor), Ben the cook (bass), and the Foolkiller (countertenor), including his death aria. Text (not included) by Steve Gerber from Man-Thing #4 (April 1974). This is a work in progress. Some accompaniment is yet to be composed.
Astrid Josefsen Aria Work In Progress (MIDI piano only)
Astrid Josefsen Aria Work In Progress (MIDI piano only)Soprano aria from my work-in-progress opera, Song of the Man-Thing, Having encountered rock star Eugene "the Star" Spangler in Ted Sallis's shack, Astrid Josefsen, alerts him that her grandfather (Josefsen) has him near the top of his kill list and the story behind why. Another example of a character extensively quoting someone the opposite gender, which carries some thematic weight given the opera's conclusion. This is one of the most difficult arias to compose. Conceptually, the idea is to have Spangler and his band rudely interrupt Astrid with their rock music as she sings. Currently, with little of the accompaniment completed, these intrusions are mostly limited to the few arpeggiations you hear. plus the bit at the end that is intended to be an inept electric guitar quotation of the theme from Krull by James Horner, an in-joke as she mentions the murder of rock guitarist Jamie Horner, the details of which are omitted but appear in the original in The Man-Thing #16 (April 1975). The text is by Steve Gerber. The music was composed in 2009. Some its of the vocal line probably need to be taken down an octave, but it will probably be easiest to determine what is too high by working with an actual soprano. At the time I was composing this, the orchestration material I was looking at did not distinguish between a range for soprano singing of text versus vocalizing, and differentiating pitch from timbre with women's voices is a bit more difficult for me, so some of the most intense parts could well be too high.
Star - Astrid Recit Work In Progress (MIDI piano only)
Star - Astrid Recit Work In Progress (MIDI piano only)Recit and Chorus between the arias of Astrid Josefsen (soprano) and Eugene "The Star" Spangler (rock tenor). Text (not included, but some is in the image) is by Steve Gerber from The Man-Thing #16 (April 1975). Star Spangler is a glam-rock artist who has moved into Ted Sallis's former shack who has become obsessed with filth. Astrid Josefsen's grandfather is insane and plotting to kill Spangler for being an affront to masculinity, but her efforts to warn him are not taken seriously by Star or his groupies. Musically, the chorus is inspired by "Mass of the Holy Bomb" from the album version of Leonard Rosenman's Beneath the Planet of the Apes. Even without the orchestration (electric guitar, rock organ, brass, tenor drum) (without snares), I believe I succeeded in capturing that feel. Music composed in 2009.
Eugene "The Star" Spangler Aria Work In Progress (MIDI Piano Only)
Eugene "The Star" Spangler Aria Work In Progress (MIDI Piano Only)Glam-rock star Eugene "The Star" Spangler responds to Astrid's story about her grandfather with an absurd story about his mother being a hunting dog, and his father may have been either a parakeet commander or a Nazi submarine commander called Baron von Dupnik (stuff like this really means keeping it in-period). Star Spangler was likely inspired by David Bowie and Alice Cooper, but musically, I heard him a bit like Geddy Lee (especially on "The Temples of Syrinx) with a bit of Mark Hamill's Joker. The performer need not have an opera background or sound like an operatic tenor (and probably ought to sound more like a rock singer, even in the quartet that comes a bit later), although the music is a bit more complex than rock. It remains a work in progress. The music was composed in 2009 to text by Steve Gerber from The Man-Thing #16 (April 1975). The last line is Astrid again shouting, "Ooh, you're impossible!" He hasn't taken her warning a bit seriously, which is soon to have dire consequences for him.
Olivia Selby and Town Hall Scene work in progress MIDI Piano Only
Olivia Selby and Town Hall Scene work in progress MIDI Piano OnlyWork in progress aria for Olivia Selby (mezzo-soprano) and SATB chorus, followed by the town hall scene, which adds Josefsen--the Mad Viking (bass), Richard Rory (tenor), and Steve Gerber (baritone), from my opera, Song of the Man-Thing. The chorus of students (who appear onstage shortly after) sings the disconnected text of the burned book as a projection of the Man-Thing left for dead in a sewage treatment plant phases in and out. The text, by Steve Gerber from The Man-Thing #17 (May 1975), is not included but partially visible in the image. Olivia Selby complains of the supposed evils in her daughter's school textbooks, including communism, atheism, and sex, and when Josefsen, dubbed "the Mad Viking" by the press, enters, he really helps to stir up the crowd. Richard Rory, covering the event for radio station WNRV, runs on stage to stop the book burning, but Josefsen punches him in the face as the mob heads toward the school. Most of the music was composed in 2011 with a few enhancements composed in 2019. Most of the instrumental music is still yet to be written.
Duologue: Richard Rory/Mr. Carpenter work in progress (MIDI piano only)
Duologue: Richard Rory/Mr. Carpenter work in progress (MIDI piano only)This brief scene (three pages in manuscript; two pages in print) is moved slightly earlier than in the comics to avoid switching back to the City Center set. In it, after Richard Rory (tenor) recovers from the blow to his face, Mr. Carpenter (bass) fires him for interfering. I initially had not planned to include this scene or Mr. Carpenter, but I wanted to make clear that Richard's actions had cost him his job, and that he was not simply abandoning it. The text, by Steve Gerber, is in the image. It is derived from The Man-Thing #18 (June 1975). The music was composed in 2011. Not all the accompaniment is finished.
After The Crash Work In Progress (MIDI piano only)
After The Crash Work In Progress (MIDI piano only)Scene from my work-in-progress opera, Song of the Man-Thing. Text (not included) by Steve Gerber, from The Man-Thing #20 (August 1975). Characters: Steve Gerber (baritone), Richard Rory (tenor), Carol Selby (soprano), and a demonic courier (tenor 2 comprimario/chorus solo). This is the aftermath of a car crash because the latter character drive up an exit ramp and hit the characters we've been following--Richard, Carol, and Man-Thing. This is a major turn in the plot, Richard's last appearance in Act II, and Carol's last appearance until the finale. Most of the music was composed in 2010. Some accompaniment was added in 2019. There's even a passage of text that remains unset just now, but it gives you an idea of what it's like..
Paul Jennings arietta and scene with Dani Nicolle Work In Progress (MIDI piano only)
Paul Jennings arietta and scene with Dani Nicolle Work In Progress (MIDI piano only)Work in progress scene from my opera, Song of the Man-Thing, for Paul Jennings (baritone) and Danielle "Dani" Nicolle (soprano). Lyrics (not included, but most are in the image), are by Steve Gerber from The Man-Thing #20 (August 1975). Music composed in 2010.
Elsbeth Duhl aria with Roland and Elsbeth Duhl recit (MIDI piano only)
Elsbeth Duhl aria with Roland and Elsbeth Duhl recit (MIDI piano only)Aria for Elsbeth Duhl (mezzo-soprano) preceded by recit between her and her husband, Roland Duhl (baritone), from my opera, Song of the Man-Thing. Text by Steve Gerber from Man-Thing #21 (September 1975). Music composed in 2010 (aria) and 2011 (recit).
Dani Nicolle Work In Progress (Piano MIDI)
Dani Nicolle Work In Progress (Piano MIDI)Aria for Dani Nicolle (soprano) and explanatory recit for Steve Gerber (baritone). Composed to text (not included) by Steve Gerber from Man-Thing #21 (September 1975). Some portions have only the vocal line composed. Music composed 2012, 2014, 2018, 2019.
Steve Gerber Work In Progress (MIDI Piano Only)
Steve Gerber Work In Progress (MIDI Piano Only)Steve Gerber (baritone)'s longest passage of narrative, leading into the climax of Act II. Text by Steve Gerber from The Man-Thing #22 (October 1975). The accompaniment is still a long way from completion, and Jerry Goldsmith is a major influence on how I want this passage to sound. The long gap near the end is where there will be dance music for Mr. Graybar that has mostly not been composed (and what is is just before that). Music composed in 2009-10.
Act III Introduction Work In Progress (MIDI piano only)
Act III Introduction Work In Progress (MIDI piano only)This is the Song of the Man-Thing Act III opening chorus with the accompaniment that has been composed so far. The music sets the opening pages of Man-Thing for SATB chorus and piano (eventually full orchestra). The text (not in the recording) is by John Marc DeMatteis from Man-Thing (vol. 3) #1 (December 1997), owned by Marvel comics. Music composed in 2011.
Ellen Brandt aria (MIDI piano only)
Ellen Brandt aria (MIDI piano only)Act III aria for Ellen Brandt (mezzo-soprano) from my work-in-progress opera, Song of the Man-Thing. I'm still working out some rhythmical issues, especially in the fast parts, but this gives you a good idea of what it's supposed to sound like. The text (not included, though mostly visible in the image) is by John Marc DeMatteis from Man-Thing (vol. 3) #1 (December 1997). I do not currently have the rights to use it. Music composed in 2014, 2015, and 2019.
Zhered-Na Aria and Scene with Ted Sallis work in progress (MIDI piano only)
Zhered-Na Aria and Scene with Ted Sallis work in progress (MIDI piano only)Work in progress aria for Zhered-Na (likely a dramatic soprano because I prefer her below the staff at some points, with alternatives if it's too low for a given singer but too high for a mezzo), derived from text by Steve Gerber (not included but partially visible in the graphic) in Marvel Spotlight #17 (September 1974), Ted Sallis replacing Daimon Hellstrom, whose arm is seen in the image, the baritone tag at the end of this piece leading directly into Spyros's arietta (they are not even separated in the manuscript). This got delayed due to a corrupted Overture file. Since I had existing copies (handwritten and PDF), I worked on some other portions before returning to this one. The music was composed in 2011. I prioritized posting the Spyros arietta, being more complete, This piece is structurally in a similar place as the material with Namor the Sub-Mariner, Evenor, and Cleito in the DeMatteis run of the series, as Ellen and Ted (temporarily restored to human form) pursue fragments of the Nexus of All Realities. Based on the Marvel Universe Appendix entry for K'ad-mon, avoidance of using Namor (Marvel's oldest superhero), and narrative continuity with the first act, including this material instead seemed a natural fit.
Spyros Work In Progress (MIDI piano only)
Spyros Work In Progress (MIDI piano only)Zhered-Na brings Ted Sallis to Spyros (bass), a hooded figure standing on a matrix who reveals himself to be Adam (also known throughout Act II as K'Ad-mon), claiming Ted as a direct descendant. Based on material from Marvel Spotlight #17 by Steve Gerber (September 1974) and John Marc DeMatteis's Man-Thing (vol. 3) #7-8 (1998), adapted by Scott Andrew Hutchins. Music composed in 2011.