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The order of operations here was unusual: As Michael Joseph McQuilken, who wrote and directed the film element, writes in a program note, “It’s an exceedingly strange task to ‘movie a score’ … one tends to score a movie.”ĭavid T. As part of Festival O - its signature burst of productions each fall, and the first since 2019 - the company on Saturday premiered “Black Lodge,” which posited that film and live performance can productively coexist. Opera Philadelphia, once again, offers a way forward.

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The composers Courtney Bryan and Caroline Shaw contributed pieces, and Rene Orth delivered a vibrant dose of K-pop.īut even, or especially, for adventurous arts groups like this one, the transition back to primarily live performance has presented a challenge: How to maintain - and even expand on - the lessons learned and experiments ventured over the past few years when returning to the kind of work made in the before times. The company produced a sober version of Tyshawn Sorey’s song cycle “Save the Boys,” as well as “The Island We Made,” a meditative nocturne by the composer Angélica Negrón, filmed by Matthew Placek and starring the drag diva Sasha Velour.

Opera Philadelphia was among the most intrepid in America, commissioning a series of short films that embraced a new medium. PHILADELPHIA - When the pandemic goaded the performing arts to pivot to video, some institutions fared better (and more creatively) than others.