THE AFTER TIME
The Latest Update
RECORDING THE VOCALS IN BANFF!
Hello everyone! My singers and I just wrapped up two days of intensive recording sessions at the Banff Centre in the gorgeous Canadian Rockies, capturing almost all of the vocals for THE AFTER TIME!
It’s been an amazing experience to work with Lucy, Gilbert, and Alex on this piece, and in such a spellbinding setting. I’m also so grateful to the wonderful audio engineers at the Banff Centre, who made this whole experience so smooth and easy, and a lot of fun.
Next steps: I’ll be finalizing the orchestration in the next couple of weeks, and then bringing this material into a studio a bit closer to home (Oktaven Audio in NYC) in Spring and Summer 2018 for some further vocal and instrumental tracking. Stay tuned for all kinds of exciting updates!
Meanwhile, I hope you enjoy this brief video of the Banff live room, where the engineers cleverly constructed a three-part booth that the vocalists could inhabit in sonic isolation while still seeing each other. So cool!
More to come!
Score preparations underway! And a new song for Joel!
Hello everyone! Just a brief update from the composer cave, where I am furiously assembling the scores, demos, and click tracks for the vocal tracking session of “The After Time” in Banff this January. The complete “short score” exists primarily in the format of Logic sessions, where I have sung and played all of the music as part of my composing process. Now it’s time to transcribe the music into score form and create mp3 demos with viable click tracks to make things easy for the vocalists (and to make it possible for me to track instrumental parts overtop the synthesized score later on).
I was also unexpectedly inspired over Thanksgiving break to compose a new song for the character of Joel, Maureen’s fianceé, who is an aspiring rock musician. Joel’s aesthetic is intense 80s love songs (think “Love Songs on the KOST” from the Los Angeles radio station KOST 103.5; I grew up listening to that show and it’s definitely had an impact on me….). In this tune, currently called “Junior Fall (Fell So Hard),” Joel reminisces about falling for Maureen back when they were in a college class together, and about having to wait for her to notice him. The cheese factor is high (think big reverby synths and Peter Cetera-like vocals), but I’m hoping the terror factor will be even higher: it’s an innocent use of the metaphor of “falling” in love, chillingly inserted into a story about an actual fall–the mysterious fatal fall of 18-year-old Lucy, Maureen’s beloved patient, from the tower dorm in the middle of the college campus where Maureen works as a therapist.
I’m so excited to finally be bringing this story to life. Stay tuned for more updates!
HEADING TO BANFF TO RECORD!
Dear ones! I am excited to share an update about “The After Time”!
The glorious Banff Centre in Banff, Alberta has awarded me a generous 2-week residency this January to record the vocal tracks for the opera with my three singers, P. Lucy McVeigh, Alex Vissia, and Gilbert Spencer. We’re planning to track everything we need using synthesized versions of the instrumental parts, which I will then bring as raw stems to Oktaven Audio in Spring 2018 along with my instrumental players. Working this way will require the use of click tracks, but I don’t necessarily mind that, as so much of the opera’s texture is driven by a swirling, overwhelming synthesized sound world that will eventually be fleshed out and carefully mixed (with the help of audio wizard Ryan Streber) with the acoustic world of the instruments. I think tracking the vocals to the synths alone will lend the piece the exact kind of other-worldly, fantasy-driven quality that I ultimately need it to have.
I am *thrilled* to be able to have this focused time with my singers, and in such a gorgeous, awe-inspiring place that also happens to have state-of-the-art recording facilities. I know that having the opportunity to track the opera with them in the beautiful isolation of the Canadian Rockies, amidst so many towering peaks and dramatic vistas, will leave an indelible kind of imprint on the final product, which is meant to index the ineffability and intensity of trauma.
Stay tuned for another update in the coming weeks about the second stage of tracking and the planning stages of the installation!
All my best,
Making big plans!
Hello everyone! I can’t begin to express my gratitude for being supported by New Music USA for this project!
Since I first posted this page, some exciting things have come into play: I’ve secured three wonderful singers, P. Lucy McVeigh, Alex Vissia, and Gilbert Spencer, to play the roles of Maureen, Erica, and Joel. I’m also in conversations with an absolutely *fantastic* chamber orchestra (stay tuned for an official announcement). Our first step will be to make a stellar studio recording of the music, ideally in January 2018. After that, Daniela and I will begin planning the installation version of the piece. She and I just completed our first collaboration for a piece that is now being featured at the Museum of Fine Arts in Boston, and I’m so excited to see what we can mutually devise for this (rather different, but still resonant) story about trauma and its deep relationship to the architecture of a skyscraper and the fateful elevator that leads to its roof.
Once again, SO MANY THANKS to New Music USA for supporting this project! We are thrilled and will be posting again soon with many updates!
-Jenny Olivia Johnson
Lucy, a beautiful student dancer at an urban women’s college, falls to her death from the roof of a dorm. Erica, her infatuated classmate, was with her when she fell, but was too drunk to remember what happened. Her therapist, Maureen, arrives on the scene, devastated at the lack of answers.
This is an opera about a possible suicide at an urban women’s college, but it is also a multi-media art installation. It will be written and designed such that it can be experienced in three different ways: as a studio recording, hearable in the intimate space of one’s headphones; as a site-specific performance at an art gallery; and as an ongoing multi-media installation, experienced in the gallery space as atemporal, fragmented audio and video projections that performatively gesture to the mystery and unknowability of traumatic memory.
The performance and installation space for “The After Time” will ideally be a small art gallery with three rooms that flow into one another. The first room will be a video and lighting simulation of an outdoor urban roof space, whose colors shift and loop over time from a beautiful afternoon sunset to a chillingly black starry night. The second room will be a night club, where trance music and glittering lights usher the audience into a 1990s-era rave scene. The final room will be a hall of mirrors, a representation of the dance studio where our two student dancers first met, and which also becomes transformed, through lighting and video, into a labyrinth of tangled and fragmented memories as the opera progresses.
The synopsis for the opera–which one can experience both “in time,” as a performance, and “out of time,” as an installation–is below.
The After Time takes place at an urban women’s college, where Lucy, a talented student of ballet, has mysteriously fallen to her death from the roof of a dormitory. In the terrible aftermath of the tragedy, two people from the victim’s life—her therapist, Maureen, and a shy classmate, Erica, who has been stalking Lucy obsessively—are brought together. While Maureen believes that Erica, who was on the roof when Lucy fell, can bear witness to what has occurred, Erica claims that she was drunk and remembers nothing. As their stories unravel, haunting truths about the nature of Lucy’s relationship with Maureen are revealed, as well as their mutual devastation that they will likely never know why Lucy has died.
This is the music for what will ultimately be the final scene of “The After Time.” Titled “Falling,” this music is imagined as the final contemplation of the three characters who find themselves devastated at the unexplainable death of Lucy, a beautiful student ballerina who fell to her death from the roof of an urban dorm.
While this track was released as a stand-alone song on my debut album DONT LOOK BACK, it will likely be rewritten to comprise three female singers (Erica, Jane, and Maureen), and its instrumentation may change as well.
“Glass Heart” is an interactive sound and lighting installation I built in 2013. After composing a lengthy, sprawling art song using fragments of Sylvia Plath’s poetry, I then took the audio recording apart and programmed the installation to play back unpredictable fragments of the music when visitors come into the space and touch or strike the bell jars. (I plan to use similar techniques for “The After Time.”) “Glass Heart”will next be exhibited at the National Portrait Gallery at the Smithsonian Institution in June 2017-May 2018.
Daniela Rivera’s interest in trauma and its unforeseeable quality have been present in her work since the post dictatorship period in Chile, where she graduated from the Art School in Santiago in 1996. “Shooting Skies” is a commentary on the seductive and traumatic aspects of violence. By inserting the work into the discursive space of gun policies and politics in America, Daniela means to address these issues from an aesthetic standpoint and in doing so, generate an experience that fosters dialogue around them.
Start and End Dates
01/09/2017 — 12/31/2018