Renegade Opera Presents
AIC FESTIVAL 2026
Duo Cantilena and We’re Still Here
-
Texts and Translations:
All texts written by composer unless otherwise noted
Er Und Sie (1849), Robert Schumann (1810 - 1856)
Text: Justinus Kerner (1786 - 1862)
Er: Seh’ ich in das stille Tal,
Wo im Sonnenscheine
Blumen prangen ohne Zahl,
Blick’ ich nur auf Eine.
Ach! Es blickt ihr Auge blau
Jetzt auch auf die Auen;
Im Vergissmeinnicht voll Tau
Kann ich es erschauen.
Sie: Tret’ ich an mein Fensterlein,
Wann die Sterne scheinen,
Mögen alle schöner sein,
Blick’ ich nur auf Einen;
Dort gen Abend blickt Er mild
Wohl nach Himmelshöhen,
Denn dort ist ein liebes Bild
In dem Stern zu sehen.
He: If I gaze into the quiet valley
Where beneath the sun
Flowers gleam without number,
I see but one alone.
Ah! Her blue eyes now
Are also gazing at the meadows;
I can see them
In the dew-drenched forget-me-nots.
She: If I lean out of my little window
At the hour when stars are shining,
Though all of them be fairer,
I see but one alone;
There at dusk he gazes
Gently up to heaven,
For a dear image
Is mirrored there.
Translations by Richard Stokes, author of The Book of Lieder (Faber, 2005)
You and Me on the Rock (2021) Brandi Carlile (1981- )
They build wooden houses on frozen ponds
In the summertime when the water's gone
Diagonal lines in their rolled-out lawns
And the sage always smells so pretty
But nobody cares where the birds have gone
When the rain comes down on Babylon
The stonemason's phone rings all day long
And you gotta get back to the city
I build my house up on this rock, baby
Every day with you
There's nothin' in that town I need
After everything we've been through
Me out in my garden and you out on your walk
Is all the distance this poor girl can take
Without listenin' to you talk
I don't need their money, baby
Just you and me on the rock
It's you and me on the rock
I built paper planes when I learned to fly
Like a 747 fallin' out of the sky
I folded 'em crooked and now I'm wonderin' why
I could always end up in the water
But nobody's askin' why she lookin' so thin
Why she's laughin' too hard, why she drinkin' again
A falling star, she's a paper plane
And she was goin' down when you caught her
It's an earthquake, it's a hard wind
It's a record-breakin' tide and it is rollin' in
It's a big sea, but it can't touch you and me
It's just a water view
And what a view
I don't need their money, baby
It's you and me
You and me on the rock
Puisque tout Passe (1951) Samuel Barber (1910 - 1981)
Text: Rainer Maria Rilke (1875 - 1926)
Puisque tout passe, faisons
la mélodie passagère;
celle qui nous désaltère
aura de nous raison.
Chantons ce qui nous quitte
avec amour et art;
soyons plus vite
que le rapide départ.
Since all things flit by,
let’s create a fleeting melody;
the one that slakes our thirst
shall be the one to win us.
Let us sing what leaves us
with love and art;
let us be swifter
than a swift departure.
Translation © Richard Stokes, author of The Book of Lieder (Faber, 2005)
End of the World (2008) Matt Alber (1975 - )
I don't want to ride this roller coaster
I think I want to get off
But they buckled me down
Like it's the end of the world
If you don't want to have this conversation
Then you better get out
'Cause we're climbing to our death
At least that's what they want you to think
Just in case we jump the track
I have a confession to make
It's something like a cork screw
I don't wanna fall, I don't wanna fly
I don't wanna be dangled over
The edge of a dying romance
But I don't wanna stop
I don't wanna lie
I don't wanna believe it's over
I just wanna stay with you tonight
I didn't mean to scream out quite so loudly
When we screeched to a halt
I'm just never prepared
For the end of the ride
Maybe we should get on something simpler
Like a giant balloon
But I've got two tickets left, and so do you
Instead of giving them away to some stranger
Let's make them count, come on
Let's get back in line again and ride the big one
Don't you want to fall, don't you want to fly
Don't you want to be dangled over
The edge of this aching romance
If it's gonna end, then I wanna know
That we squeezed out every moment
But if there's nothing left can you tell me why
That it is you're holding onto me
Like it's the end of the world
Mon Amour Etait Mort (1904) Adela Maddison (1862 - 1929)
Text: Edmond Haraucourt (1856 - 1941)
Mon amour était mort, ma peine était finie,
Et j’errais sous les cieux pour le leur raconter:
La nuit rêvait avec tant d’harmonie
Que je me suis mis à chanter.
Chanter en t’oubliant !
Je chantais l’allégresse
D’avoir conquis la paix qui doit toujours durer.
Mais je chantais avec tant de tendresse,Que je me suis mis à pleurer.
My love had died, my pain had ended
And I wandered under the skies to tell them of it:
The night dreamed with such harmonyThat I began to sing.
To sing while forgetting you!I sang of the joy of
Having conquered the peace which must always remain.
But I sang with such tenderness
That I began to cry.
Translation from French (Français) to English copyright © 2020 by Lucy Fitz Gibbon
Jesus to a Child (1996) George Michael (1963 - 2016)
Kindness
In your eyes, I guess
You heard me cry
You smiled at me
Like Jesus to a child
I'm blessed
I know
Heaven sent
And Heaven stole
You smiled at me
Like Jesus to a child
And what have I learned
From all this pain
I thought I'd never feel the same
About anyone
Or anything again
But now I know
When you find your love
When you know that it exists
Then the lover that you miss
Will come to you on those cold, cold nights
When you've been loved
When you know it holds such bliss
Then the lover that you kissed
Will comfort you when there's no hope in sight
Sadness
In my eyes
No one guessed
Or no one tried
You smiled at me
Like Jesus to a child
Loveless and cold
With your last breath
You saved my soul
You smiled at me
Like Jesus to a child
And what have I learned
From all these tears
I've waited for you all those years
And just when it began
He took your love away
But I still say
When you find love
When you know that it exists
Then the lover that you miss
Will come to you on those cold, cold nights
When you've been loved
When you know it holds such bliss
Then the lover that you kissed
Will comfort you when there's no hope in sight
So the words you could not say
I'll sing them for you
And the love we would have made
I'll make it for two
For every single memory
Has become a part of me
You will always be
My love
Well, I've been loved
So I know just what love is
And the lover that I kissed
Is always by my side
Oh, the lover I still miss
Was Jesus to a child
Mystery of Love (2017) Sufjan Stevens (1975 - )
Oh, to see without my eyes
The first time that you kissed me
Boundless, by the time I cried
I built your walls around me
White noise, what an awful sound
Fumbling by Rogue River
Feel my feet above the ground
Hand of God, deliver me
Oh, whoa, oh, is me
The first time that you touched me
Oh, will wonders ever cease?
Blessed be the mystery of love
How much sorrow can I take?
Blackbird on my shoulder
And what difference does it make
When this love is over?
Shall I sleep within your bed?
River of unhappiness
Hold your hands upon my head
'Til I breathe my last breath
Oh, whoa, oh, is me
The last time that you touched me
Oh, will wonders ever cease?
Blessed be the mystery of love
Les Chemins de L’amour (1940) Francis Poulenc (1899 - 1963)
Text: Jean Marie Lucien Pierre Anouilh (1910 - 1987)
Les chemins qui vont à la merOnt gardé de notre passage,
Des fleurs effeuillées
Et l'écho sous leurs arbres
De nos deux rires clairs.
Hélas! des jours de bonheur,
Radieuses joies envolées,
Je vais sans retrouver traces
Dans mon cœur.
Chemins de mon amour,
Je vous cherche toujours,
Chemins perdus, vous n'êtes plus
Et vos échos sont sourds.
Chemins du désespoir,
Chemins du souvenir,
Chemins du premier jour,
Divins chemins d'amour.
Si je dois l'oublier un jour,La vie effaçant toute chose,
Je veut, dans mon cœur, qu'un souvenir repose,
Plus fort que l'autre amour.
Le souvenir du chemin,
Où tremblante et toute éperdue,
Un jour j'ai senti sur moi
Brûler tes mains.
The paths that lead to the sea
have kept, of our passing-by,
flowers with fallen petals
and the echo, beneath their trees,
of both our bright laughters.
Alas! of the days of happiness,
radiant joys now flown,
I wander without finding their trace again
in my heart.
Paths of my love,
I still seek you,
lost paths, you are no more
and your echos are hollow.
Paths of despair,
paths of memory,
paths of the first day,
divine paths of love.
If one day I have to forget him,
life effacing everything,
I wish, in my heart, that one memory should remain,
stronger than the other love.
The memory of the path,
where trembling and utterly bewildered
one day, upon me, I felt
your hands burning.
© translated by Christopher Goldsack
Why Do They Shut Me Out Of Heaven? (1950)
Aaron Copland (1810 - 1856)
Text: Emily Dickinson (1830 - 1886)
Why do they shut Me out of Heaven?
Did I sing too loud?
But I can say a little “Minor”
Timid as a Bird!
Wouldn’t the Angels try me
Just once more
Just see if I troubled them
But don’t shut the door!
Oh, if I were the Gentleman
In the “White Robes”
And they were the little Hand that knocked
Would I forbid?
Why do they shut Me out of Heaven?
Did I sing too loud?
That Shadow, My Likeness (2011)
Clint Borzoni
Text: Walt Whitman (1819 - 1892)
That shadow, my likeness, that goes to and fro,
seeking a livelihood, chattering, chaffering;
How often I find myself standing and looking at it where it flits,
How often I question and doubt whether that is really me;
-- But in these, and among my lovers, and caroling my songs,
O I never doubt whether that is really me.
Red Side of the Moon (2018)
Trixie Mattel (1989 - )
Judy never asked her for forever
Judy never asked her for the moon
Judy knew that loving her was better
And no one knew her heart like Judy
Judy's never mentioned in the papers
Judy's never noted in the news
Judy knew that loving her was safer
Loving from the red side of the moon
Loving you from the red side of the moon
Loving her was funnier than a Saturday cartoon
Someday is a story and it's the one I'm sticking to
Loving from the red side of the moon
Judy grew up stepping right beside her
Loved her from the cover of the crowds
Judy's heart was beating right beside her
Even with the music loud and
Judy's never minded all the waiting
Judy never thought to watch the clock
Judy knew that loving's in the patience
When the red side of the moon is what we've got
Loving you from the red side of the moon
Loving her was easier than a Kristofferson tune
Someday is a story and it's the one I'm sticking to
Loving from the red side of the moon
Judy left her best days in Chicago
Judy had her worst days in the rain
Middle of the winter with so far to go
And she couldn't keep on hitching to that train
And she still listens to the radio
Late night after midnight she tunes in
Sings along to songs and every word she knows
Remembering when the moon was burning red
Loving you from the red side of the moon
Loving her was heavier than a leaded red balloon
Someday is a story and it's the one I'm sticking to
Loving from the red side of the moon
Misunderstood
Eulis Kay (1983 - )
—-
Schon Rohtraut (1886)
Ethel Smyth (1858 - 1944)
Text: Eduard Mörike (1804 - 1875)
Wie heißt König Ringangs Töchterlein?
Rohtraut, Schön-Rohtraut.
Was tut sie denn den ganzen Tag,
Da sie wohl nicht spinnen und nähen mag?
Tut fischen und jagen.
O daß ich doch ihr Jäger wär'!
Fischen and Jagen freute mich sehr.
-- Schweig stille, mein Herze!
Und über eine kleine Weil',
Rohtraut, Schön-Rohtraut,
So dient der Knab' auf Ringangs Schloß
In Jägertracht und hat ein Roß,
Mit Rohtraut zu jagen.
O daß ich doch ein Königssohn wär'!
Rohtraut, Schön-Rohtraut lieb' ich so sehr.
-- Schweig stille, mein Herze!
Einsmals sie ruh'ten am Eichenbaum,
Da lacht Schön-Rohtraut:
Was siehst mich an so wunniglich?
Wenn du das Herz hast, küsse mich!
Ach! erschrak der Knabe!
Doch denket er: mir ist's vergunnt,
Und küsset Schön-Rohtraut auf den Mund.
-- Schweig stille, mein Herze!
Darauf sie ritten schweigend heim,
Rohtraut, Schön-Rohtraut;
Es jauchzt der Knab' in seinem Sinn:
Und würdst du heute Kaiserin,
Mich sollt's nicht kränken:
Ihr tausend Blätter im Walde wißt,
Ich hab' Schön-Rohtrauts Mund geküßt!
-- Schweig stille, mein Herze!
What is King Ringang's daughter called?
Rohtraut, pretty Rohtraut.
What does she do the whole day long,
since she probably doesn't spin or sew?
She hunts and fishes.
O that I were her hunter!
I love hunting and fishing.
Be silent, my heart!
And after a little while,
Rohtraut, pretty Rohtraut,
so serves the boy in Ringang's castle
in hunter's clothes and with a horse,
to go hunting with Rohtraut:
O that I were the King's son!
Rohtraut, pretty Rohtraut, I love so much.
Be silent, my heart!
At first they rest by the oak tree,
Rohtraut, pretty Rohtraut:
Why do you look at me so wonderingly?
If you have a heart, kiss me!
Oh! the boy was startled!
But he thought, I'm permitted,
an kissed pretty Rohtraut on the lips.
Be silent, my heart!
After that they rode home in silence,
Rohtraut, pretty Rohtraut;
the boy rejoiced to himself;
And if you became Empress today,
I'd not grieve
Thousands of your leaves in the forest know,
I've kissed pretty Rohtraut's lips!
Be silent, my heart!
Translation from German (Deutsch) to English copyright © by Charles James Pearson
Promiscuity (1954)
Samuel Barber
Text: Anonymous Irish Monk
Translated by Kenneth Hurlstone Jackson (1910 - 1981)
I do not know with whom Edan will sleep,
but I do know that fair Edan will not sleep alone.
Red Wine Supernova (2023)
Chappell Roan (1998 - )
She was a Playboy, Brigitte Bardot
She showed me things I didn't know
She did it right there, out on the deck
Put her canine teeth in the side of my neck
I'm in the hallway waitin' for ya
Mini skirt and my go-go boots (uh-huh)
I just want you to make a move
So slow down, sit down, it's new
I just wanna get to know ya
Guess I didn't quite think it through (nah-uh, girl)
Fell in love with the thought of you
Now I'm choked up, face down, burnt out
Baby, why don't you come over?
Red wine supernova, falling into me
(Let's pick it up now)
I don't care that you're a stoner
Red wine supernova, fall right into me
I like (I like) what you like (what you like)
Long hair (no bra) that's my type (that's right)
You just told me, want me to fuck you
Baby, I will 'cause I really want to
Well, back at my house
I've got a California king
Okay, maybe it's a twin bed
And some roommates (don't worry, we're cool)
I heard you like magic
I've got a wand and a rabbit
So baby, let's get freaky, get kinky
Let's make this bed get squeaky
Baby, why don't you come over?
Red wine supernova, falling into me
I don't care that you're a stoner
Red wine supernova, fall right into me
Das Lila Lied, or The Lavender Song Misha Spoliansky
Text: Kurt Schwabach (1898 - 1966) (1898 - 1985)
English Adaptation: Ute Lemper (1963 - )
Round us all up, send us away
That's what you'd really like to do
But we're too strong, proud, unafraid
In fact we almost pity you
You act from fear, why should that be?
What is it that you're frightened of?
The way that we dress? The way that we meet?
The fact that you cannot destroy our love?
We're going to win our rights to lavender days and nights!
-
Duo Cantilena Translations
Ombre Amene
Pleasant shades,
friendly trees,
my beloved,
my dear friend --
who can tell me where he went?
Flattering little breeze,
fly to him as a messenger --
say to return and to give me
that peace that I do not have.
Quando sarà quel dì
When will that day come,
when I no longer feel you
always trembling within my breast,
poor heart?O stars, what cruelty!
There is not a single pleasure
that, when it becomes mine,
does not turn to pain.Fra tutte le pene
Among all pains
is there a greater pain?
I am near my beloved,
I sigh with love,
and I dare not tell them:
I sigh for you.
I lack the courage
to suffer so much,
I lack the boldness
to ask for mercy.I will give my love an apple
I will give my love an apple without e'er a core,I will give my love a house without e'er a door,
I will give my love a palace wherein she may be,
And she may unlock it without any key.
My head is the apple without e'er a core,
My mind is the house without e'er a door,
My heart is the palace wherein she may be,
And she may unlock it without any key.
Sailor-Boy
We go walking on the green grass
Thus, thus, thus,
Come all you pretty fair maids,
Come walk along with us.
So pretty and so fair
As you take yourself to be,
I'll choose you for a partner,
Come walk along with me.
We go walking on the green grass
Thus, thus, thus.
I would not be a blacksmith
That smuts his nose and chin,
I'd rather be a sailor-boy
That sails thro' the wind.
Sailor-boy, sailor-boy,
Sailor-boy for me,
If ever I get married
A sailor's wife she'll be.
Master Kilby
In the heat of the day
When the sun shines so freely,
There I met Master Kilby,
So fine and so gay.
Then I pull'd off my hat
And I bowed to the ground
And I said: "Master Kilby,
Pray where are you bound?"
"I am bound for the West,
There in hopes to find rest,
And in Nancy's soft bosom
I will build a new nest.
"And if I were the master
Of ten thousand pounds
All in gay gold and silver
Or in King William's crowns.
"I would part with it all
With my own heart so freely,
But it's all for the sake
Of my charming Nancy.
"She's the fairest of girls,
She's the choice of my own heart,
She is painted like waxwork
In every part".
Auf dem wasser zu singen
(To be sung on the water)
Amid the shimmer of the mirroring waves
the rocking boat glides, swan-like,
on gently shimmering waves of joy.
The soul, too, glides like a boat.
For from the sky the setting sun
dances upon the waves around the boat.
Above the tree-tops of the western grove
the red glow beckons kindly to us;
beneath the branches of the eastern grove
the reeds whisper in the red glow.
The soul breathes the joy of heaven,
the peace of the grove, in the reddening glow.
Alas, with dewy wings
time vanishes from me on the rocking waves.
Tomorrow let time again vanish with shimmering
wings, as it did yesterday and today,
until, on higher, more radiant wings,
I myself vanish from the flux of time.Das fischermädchen
Lovely fisher maiden,
guide your boat to the shore;
come and sit beside me,
and hand in hand we shall talk of love.
Lay your little head on my heart
and do not be too afraid;
for each day you trust yourself
without fear to the turbulent sea.
My heart is just like the sea.
It has its storms, its ebbs and its flows;
and many a lovely pearl
rests in its depths.Ständchen
Softly my songs plead
through the night to you;
down into the silent grove,
beloved, come to me!
Slender treetops whisper and rustle
in the moonlight;
my darling, do not fear
that the hostile betrayer will overhear us.
Do you not hear the nightingales call?
Ah, they are imploring you;
with their sweet, plaintive songs
they are imploring for me.Gretchen at the spinning wheel
My peace is gone
My heart is heavy;
I shall never
Ever find peace again.
When he’s not with me,
Life’s like the grave;
The whole world
Is turned to gall.
My poor head
Is crazed,
My poor mind
Shattered.
My peace is gone
My heart is heavy;
I shall never
Ever find peace again.
It’s only for him
I gaze from the window,
It’s only for him
I leave the house.
His proud bearing
His noble form,
The smile on his lips,
The power of his eyes,
And the magic flow
Of his words,
The touch of his hand,
And ah, his kiss!
My peace is gone
My heart is heavy;
I shall never
Ever find peace again.
My bosom
Yearns for him.
Ah! if I could clasp
And hold him,
And kiss him
To my heart’s content,
And in his kisses
Perish!
They understand the heart’s yearning,
they know the pain of love;
with their silvery notes
they touch every tender heart.
Let your heart, too, be moved,
beloved, hear me!
Trembling, I await you!
Come, make me happy!Bachianas Brasileiras
Evening, a rosy, translucent cloud, slowly crosses the drowsy, beautiful firmament!
The moon gently rises into infinity, adorning the evening, like a sweet maiden dreamily getting ready, making herself beautiful, desiring her soul to be beautiful.
She calls to the heavens, the earth, to all of Nature.
She silences the birds’ melancholy laments, and the sea reflects all her treasures…
Softly the moon awakens, a cruel yearning which laughs and weeps!
Evening, a rosy, translucent cloud, slowly crosses the drowsy, beautiful firmament!
El paño moruno
(The Moorish cloth)On the delicate fabric in the shop
there fell a stain.
It sells for less
for it has lost its value
Ay!Seguidilla murciana
People who live in glass houses
shouldn't throw stones at their neighbour's.
We are drovers; it may bewe'll meet on the road!
For your many infidelities I shall compare you
to a peseta passing from hand to hand,
till finally it's worn down –and believing it false
no one will take itAsturiana
To see if it might console me I drew near a green pine. To see me weep, it wept. And the pine, since it was green, wept to see me weeping!
Nana (Lullaby)
Sleep, little one, sleep, sleep, my darling,
sleep, my little morning star.
Lullay, lullay, sleep, my little morning star.Polo
Ay!
I have an ache in my heart
of which I can tell no one.
A curse on love, and a curse
on the one who made me feel it!
Ay!Confiding!
Savior! I’ve no one else to tell
Savior! I've no one else to tell—
And so I trouble thee.
I am the one forgot thee so—
Dost thou remember me?
Nor, for myself, I came so far—
That were the little load—
I brought thee the imperial Heart
I had not strength to hold—
The Heart I carried in my own—
Till mine too heavy grew—
Yet—strangest—heavier since it went—
Is it too large for you?
Ample Make This Bed
Ample make this bed.
Make this bed with awe;
In it wait till judgment break
Excellent and fair.
Be its mattress straight,
Be its pillow round;
Let no sunrise' yellow noise
Interrupt this ground.
This is my letter to the World
This is my letter to the World
That never wrote to Me—
The simple News that Nature told—
With tender Majesty
Performing Artists and Creative Team
Madeleine Tran
Madeleine Tran is a Vietnamese-American soprano, actor, fight choreographer, and occasional street and festival performer. She was born in Tacoma, WA but studied voice at the University of Portland under Dr. Nicole Hanig. Madeleine also studies and teaches stage combat under the mentorship of Kristen Mun. She has performed locally with many companies, including ART, Portland Playhouse, Oregon Children’s Theater, Profile Theater, Third Rail Repertory, Portland Center Stage, Shaking The Tree, Portland Opera, and Renegade Opera, where is also a creative company member.
claire forstman | Piano
Praised for her “masterful” playing (Bend Bulletin), Claire Forstman is a music director, chorusmaster, pianist, and vocal coach based in Portland, Oregon. Claire has worked and played for more than forty opera productions since she began her first apprenticeship in the summer of 2021, and she maintains an active coaching studio working with singers of local, regional, and international acclaim. Her most recent season included serving as chorusmaster/pianist for Die Fledermaus (OperaBend), as resident coach for Tosca (Port Angeles Symphony), and as the principal rehearsal pianist for La bohème (Portland Opera), The Pirates of Penzance (Seattle Opera), Così fan tutte (Portland State University), Verdi’s Requiem (Portland Opera), Les mammelles des Tiresias (Willamette University), and Fellow Travelers (Portland Opera), among others.
Emily Way
Emily Evelyn Way is a Pacific Northwest-based soprano. Comfortable in opera, musical theater, and the concert stage, she is hailed as “captivating in her performance” (The Register-Guard) and “lovely… with a well-focused tone” (Opera News). Recent operatic roles include Rosalinda in Die Fledermaus with Renegade Opera, Zina in Dark Sisters with Eugene Opera and Gretel in Hansel and Gretel with Ping and Woof Opera, among others. Other notable productions include Zina in Dark Sisters with OrpheusPDX, the Soprano in Renegade Opera’s production She Loves You Back, Madame Herz in Der Schauspieldirektor, Adina in L’Elisir d’Amore (Opera Bend), Adele in Die Fledermaus (Eugene Opera), Laurie in The Tender Land, Héro in Béatrice et Benedict (Eugene Opera), Beth in Little Women (Eugene Opera, Astoria Music Festival), Flora in The Turn of the Screw (Eugene Opera, Opera on the Avalon), and Carrie Pipperidge in Carousel (Opera on the Avalon). On the concert stage, Ms. Way was most recently seen performing as the Soprano Soloist in Verdi’s Requiem with Choral Arts Ensemble, as the Soprano I Soloist in Bach’s Magnificat and Rutter’s Magnificat with Festival Chorale Oregon, the Soprano Soloist in Mozart’s Laudate Dominum in Concert at Mt. Angel Abbey, and as the Soprano Soloist in Carmina Burana with Portland Choir and Orchestra. Ms. Way currently lives in the Portland area with her husband, two beautiful daughters and their inimitable dachshund, Olive.
Eulis Kay
Eulis Kay is a singer, songwriter, and voice teacher based in Portland, Oregon. His performance career spans musical theatre, jazz, pop, sacred music, and professional choral singing. He has appeared with ensembles including Resonance Ensemble and Pacific Chorale, and has performed alongside artists such as Andrea Bocelli, Kenny Loggins, Jodi Benson, and Eric Idle. He has also performed at Disney parks in California, Tokyo, and Paris.
Eulis is passionate about storytelling through song and enjoys exploring the unique expressive qualities of music across genres, from classical to contemporary. In addition to performing, he maintains a private voice studio, helping singers of all levels develop healthy, expressive, and authentic voices while discovering greater confidence and artistry through music and performance.
Duo Cantilena
Duo Cantilena is made up of husband and wife duo Joshua Bavaro, guitarist and Emily Evelyn Way, soprano. They perform art song repertoire for voice and classical guitar. With grace, poise, and fearless expressivity, they bring new life to repertoire originally written across the ages, and showcase song cycles rarely heard. The pair met while studying music at Manhattan School of Music and have performed together ever since. Their current program starts with Italian art songs from the early 1800’s and travels through Germany, Spain, and lands in contemporary English and American repertoire. The final set of the program, Confiding, was written by Joshua’s guitar teacher at MSM, a sweet return to the beginnings of where Duo Cantilena was originally formed.
Steph Landtiser
Steph Landtiser is an artist from Portland, Oregon. Originally a music director, they now work around town as an electrician, stage manager, production assistant, and stagehand. This is Steph's first time working with Renegade Opera, and they’re so thankful to be a part of it! As always, love and gratitude to their friends and family. Extra thanks to Holly for being a delight, and to Calvin for checking the map with them.
Cora BeEman
Lighting Design
Cora Beeman (she/they) is so grateful to have the chance to work with Renegade. She is an actor, designer, teacher, and stage manager in the greater Portland area. Some favorite lighting credits include The Lion, The Witch, and The Wardrobe and Into The Woods at Mountainside High School where she is the resident lighting designer, A Gentleman's Guide To Love And Murder at Penguin Productions, and Fiddler On The Roof at Broadway Rose's Teen Camp. Thanks for coming!
Renegade Producers
Claire Forstman, Maddy Ross, Madeleine Tran, and Emily Way
Special Thanks:
Susan McDaniel, Chance Longhorn, Melory Mirashrafi, and the Renegade Team <3
Thank you for Joining Us
for the Artists in Conversation Festival!
Your support is what makes our work possible. If you feel moved by the music and conversation today, consider making a tax deductible donation to Renegade Opera, Portland’s unconventional opera company! Your donation will directly support our future work in Portland and beyond. Thank you!
