[[SELF LICENSED]] [perusal scores](https://drive.google.com/drive/folders/1psyubcsOD8EGB2qSchnvz8TnKqAX3q6t?usp=drive_link) Contact me, [contact form.](https://operaandbeyond.blogspot.com/) #opera #selflicensed #chamberopera #microopera ![[Golden Spike.jpg|400]] **COMPLETING THE PICTURE A mini opera for outreach audiences  Commissioned by the Utah Opera  For its celebration of the 150th Anniversary of the Golden Spike  And premiered in Utah, May 20-22, 2019 Michael Ching, composer/librettist Victoria Panella Bourns, librettist/choreographer/research consultant Paula Fowler, Director of Education and Community Outreach  Omer Ben Seadia, Director For the Utah Opera Artist-in-Residence Quartet (S/A/T/B Piano) Grace Kahl, Soprano Melanie Ashkar, Mezzo-Soprano Addison Marlor, Tenor Jesús Murillo, Baritone Robert Bosworth, Pianist Orchestration commissioned (2022) by University of Nebraska-Omaha Shelby Van Nordstrand, Producer Miguel Harth-Bedoya, Conductor Clarinet/Bass Clarinet, Violin, Cello, Piano Casting note In this opera, the cast plays themselves--four young opera singers (S/A/T/B) and their pianist in the present day in a touring artist-in-residence quartet who tell the story. They also play the parts of Chinese laborers and their families, but also 19th century observers. Because of this wide variety, costuming should be minimal, perhaps simple black. Opening is a quasi Mozartean finale--where the cast comments on the preceding action, and we are brought in somewhere in the midst of the finale-in-progress. Cast do represent people in the iconic picture of the Transcontinental railroad, but they also play themselves. In Strange Parade cast begins by playing 19th century caucasians observing the arrival of Chinese laborers. The tenor becomes a 19th century reporter. The women become Chinese laborers saying “hello.”  In the third scene All by hand, the quartet represent Chinese workers. By narrating what they do, they also are their storytelling contemporary selves. In Missing Home, the soprano, becomes a Chinese woman, a memory of home. The others are Chinese workers and again, their storytelling selves. In the introduction to Don’t be left out of the picture, they imagine very short scenarios where they are Chinese and non-Chinese laborers on the day of the Golden Spike ceremony. Thereafter, they become their contemporary selves.** HISTORY I have generally avoided depicting Asian milieus in my work. Although of mixed Chinese and Japanese heritage, I did not grow up speaking Chinese or Japanese, and our house was very much one that had already assimilated into American culture back in my parents day. This opportunity, however, provided me the chance to work an old friend, [Victoria Panella Bourns](https://artistsofutah.org/15Bytes/index.php/victoria-panella-bourns-a-woman-for-all-seasons/), who has held a series of high level arts administration jobs in Utah. Back when she was a dancer, we were both students at Interlochen and collaborated as dancer/choreographer and composer/musician. One of the highlights of the trip was getting to know one of the other pieces commissioned for this project, Lisa DeSpain and Rachel Peters, [NO LADIES IN THE LADIES BOOK](https://www.morningstarmusic.com/no-ladies-in-the-ladys-book-despain.html). I encouraged them to pitch it to EC Schirmer Classical and it is now published by ECS. It is very good, fun and informative, and should be done everywhere! ![[Spring Opera 612x612.jpg|200]] ![[End Picture Large Group by Margaret Yee.png]] Ancestors of the Chinese workers pose for their Transcontinental Railroad picture.  Here's a very nice video version done by [Opera Company of Middlebury]().