You may know The Industry as the risk-taking opera company that staged the mobile opera Invisible Cities in Union Station, and, more recently, a car-based opera called Hopscotch. But the company has also created a record label, and The Industry Records has just released its second album. The Edge Of Forever is a chamber opera that was only performed once: at the moment the Mayan calendar flipped over to zero on December 21, 2012.

Lewis Pesacov composed the music and the libretto is by Elizabeth Cline. I spoke to them both about how they used ancient and contemporary sounds and words to enter an infinite timestream at the moment one myth was ending, and another beginning.

 

wild Up playing the chamber opera The Edge of Forever

On the album, The Edge of Forever is performed by the chamber orchestra wild Up conducted by Christopher Rountree.

 

Yuval Sharon, founder of The Industry

At a listening party for the album, I talked to Yuval Sharon, The Industry’s founder and artistic director, who told me that after Invisible Cities, he decided The Industry needed its own platform from which it could distribute work to people who hadn’t had a chance to hear the production in person. And that’s how The Industry Records was born.

“It got me thinking about how works could best be sent out into the world after they’re performed. The Edge of Forever is a piece that consecrates one moment, and because of that it may never be performed again. But I went to its one performance and thought it’s such great work, and as a record it could have a life and be heard by more people. And that’s exactly what The Industry Records is about: giving young composers and especially those based in Los Angeles, the opportunity to be heard by more people. And I like that it opens up what The Industry is — we can be advocates for work we didn’t produce. We didn’t produce the full production of The Edge of Forever, but it’s a piece that still feels like an extension of our methodologies and our own concerns and interests.”  – Yuval Sharon

 

photos courtesy Susie Goodman

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