Bumper Cars
The Steiny Road
to Operadom with
Karren LaLonde Alenier

A Travelogue Pastiche of the Work-In-Progress Opera:
Gertrude Stein Invents A Jump Early On


1Put good shoes on my feet and I'm not only moving but I'm traveling to unexpected places. I'm in the middle of plotting an opera and people keep asking how did you get this project started much less get this far?
Here begins a travelogue pastiche of the work-in-progress opera
Gertrude Stein Invents A Jump Early On. This installment shows the bootstraps—how did this poet, composer, and artistic director get involved in this project?
Click Here To Read

2Whereas the first installment of my opera story moved around the map of the United States, Europe and North Africa, this part of the story of Gertrude Stein Invents A Jump Early On is more a head trip. People keep asking me, "how does one get from poetry to opera libretto?" So without getting into the blood and guts of my quirky creative birthing process, I will provide the basic ingredients that spur or spurred me on within the philosophic framework Gertrude Stein set out for her writing, including her considerable theater work which numbers 80 plays and libretti.
Click Here To Read

3Webster's New World and American Heritage dictionaries define the word collaboration as either two or more artists or scientists working together on a joint project or a person or people cooperating with the enemy. To fully appreciate The Steiny Road to Operadom, one must keep in view both of these definitions. As I hinted in my last essay, collaboration can be a difficult kind of relationship. To offer perspective about my collaboration with composer William Barfield and artistic director Nancy Rhodes, I will also talk about the collaboration between Gertrude Stein and Virgil Thomson.
Click Here To Read

4In the last installment of The Steiny Road, my parting words included the admonition, don't go into the woods alone. In this essay, my travel advisory is about building community and finding out whose woods these are that you wish to penetrate.
Click Here To Read

5In the first Steiny Road column, I discussed how the work-in-progress opera Gertrude Stein Invents A Jump Early On got started, but merely ticking off the sequence of events leading to the commissioning of the project does not tell the whole story. What I will attempt to ignite in this telling is the elusive spark that erupts when people believe in you enough to stop what they are doing and turn their attention to your project. So this column continues the thread about the importance of community that I presented in the last essay while weaving in the performance aspect.

6The Mother of Us All, the second and final opera collaboration between Gertrude Stein and Virgil Thomson, looms large in the creation of the work-in-progress opera Gertrude Stein Invents A Jump Early On. In this essay, I invoke a wider lens and name the spirit guides (ghosts) who also form part of the community that supports the development of my opera collaboration with composer William Banfield and Encompass New Opera Theatre artistic director Nancy Rhodes.

© 2003 AVIAR-DKA Ltd. All rights reserved (including authors' and individual copyrights as indicated). All copyrights, trademarks and servicemarks are protected by the laws of the United States and Internalnational laws. Reproduction in whole or in part without permission is prohibited.
For permissions, contact

All articles are archived on this site.
To access the Archives