2025/2026 Season Premieres

The 2025-2026 season will feature the world premiere of two major new works: The Strangers’ Case, an extended song cycle for tenor and string orchestra and A Joint Interest, a comic chamber opera for three singers and ensemble.

The Strangers’ Case, written for Grammy Award winning tenor Karim Sulayman, will be performed in Houston on March 28th, as a co-presentation of the dynamic conductorless string orchestra Kinetic and pioneering new music presenters Musiqa. A performance in Boston’s Jordan Hall on May 9th by Grammy-Nominated ensemble A Far Cry will follow.

Subtitled <songs and chronicles of the immigrant experience>, The Strangers’ Case gathers together poems, personal accounts and other literary sources from newcomers to the United States. Drawing on texts from a variety of cultures, voices and time periods, it paints a layered emotional narrative of our complicated history with “strangers” to our shores. Its title is borrowed from Shakespeare’s monologue for Thomas More, which eloquently argues for empathy and compassion towards displaced people. Several of its texts are taken from a unique 1906 publication entitled Life Stories of Undistinguished Americans as Told By Themselves, a series of personal, turn-of-the-century accounts by immigrants to the United States: “Lady in the Harbor” is the story of a young Polish girl destined for the textile sweatshops, and “Such an Illumination” is from a Syrian refugee fleeing persecution in his homeland. “Island of Angels” excerpts lines written in the wake of the 1882 Asian Exclusion Act. This anonymous poem, translated from the Chinese, was found inscribed on the wooden walls of a San Francisco Bay immigrant detention facility. The cycle also includes a remarkable and prescient 1908 poem by Arthur Upson, “The Statue of Liberty (New York Harbor, A.D. 2900)” that imagines the New York harbor of the far future: the Statue of Liberty is unearthed, sunken in the mire, discovered by a “tyrant who misrules our land.”

A Joint Interest was commissioned by the Shepherd School of Music on the occasion of its 50th anniversary. The libretto is a modern re-telling of O. Henry’s “Makes the Whole World Kin,” a classic yarn from America’s beloved short-story writer. A chamber opera buffa, A Joint Interest is a comic scene of late-night insomnia, cat burglary, and the aches and pains that bind us all. The performance, led by Director of Orchestras, Miguel Harth-Bedoya, Professor of Opera Studies, Joshua Winograde, director Paul Curran, and a stellar cast of student singers and instrumentalists, will have its premiere Sunday February 1st on the Shepherd School’s stunning Morrison Theater stage.

“The burglar stepped inside the window quickly, and then he took his time. A burglar who respects his art always takes his time before taking anything else.” O. Henry (Makes the Whole World Kin)

A complete list of 2025-2026 season performances can be found in the events listing.

Banff Interplay Opera Workshop

The 2025 Interplay program at the Banff Centre for Arts and Creativity showcases young singers and instrumentalists in both opera and chamber music performance. Their July 27th show, “An Evening with Karim Al-Zand” followed two weeks of rehearsals and workshops on new scenes, songs and other vocal music. The concert included workshop performances of The Strangers’ Case, A Joint Interest and two scenes from the forthcoming opera project The Book of Tales, plus select solo songs. [Preview from Winnipeg’s Classic 107.] The artists were guided in the workshops by a range of faculty including director Joel Ivany, conductor Sandra Horst and pianist Spencer Kryzanowski.

Al Hakawati Premiered at 2024 Cabrillo Festival of Contemporary Music

Al Hakawati, a new work for soprano and orchestra received its premiere on August 2nd in Santa Cruz, CA at the 2024 Cabrillo Festival of Contemporary Music, with soprano Miriam Khalil and conductor Cristian Mӑcelaru. The work will be repeated on September 21 by the WDR Sinfonieorchester Köln in Germany. The work is a co-commission of Cabrillo, WDR and l’Orchestre National de France (who will do the work in 2026).

Al Hakawati (The Storyteller) presents fragments from an opera-in-progress entitled The Book of Tales. The opera is inspired by a recent discovery about a beloved story collection, the so-called “Arabian Nights.” The exact provenance of these medieval Arabic tales, properly known as Alf Laylah wa-Laylah [One Thousand and One Nights], has always been something of a mystery. That all changed in 1993 when a forgotten 18th century Arabic manuscript was found in the Vatican library. It was a travel memoir written by a 75-year-old Syrian storyteller named Hanna Diyab. In 1707, the young Diyab had embarked on an extraordinary, years-long journey to Europe. His incredible adventures culminated in a meeting with the Sun King, King Louis XIV, in the halls of Versailles. Diyab told his entrancing stories to everyone he met in his travels, including to Antoine Galland, a translator and archaeologist in Paris. It was Galland who, in 1710, first introduced Western readers to the stories of Ali Baba and Aladdin in Les Mille et une Nuits—though Galland makes no mention of the storyteller. Diyab returned to Syria in 1709 and eventually became a successful cloth merchant in Aleppo.

He seems to have had no idea how far his captivating stories had travelled.
The opera connects stories and storytellers across time and place: from the present day, to the Ancien Régime of France, to the imaginary world of Scheherazade. And, though the “frame story” is Diyab’s, the most significant characters in the story are women. The fragments in Al Hakawati comprise four “scenes” that feature the opera’s three principal female characters.

Al Hakawati co-commissioned by Cabrillo Festival, WDR Sinfonieorchester Köln & Orchestre National de France

A new work for soprano and orchestra Al Hakawati, co-commissioned by the Cabrillo Festival of Contemporary Music, WDR Sinfonieorchester Köln & Orchestre National de France will premiere next season, with Canadian soprano Miriam Khalil and conductor by Cristian Măcelaru. The work will receive its premiere at the Cabrillo Festival of Contemporary Music on August 2nd. A second performance with WDR Sinfonieorchester Köln is scheduled for September 21, with a following performance in Paris, TBA.

Al Hakawati (The Storyteller) presents fragments from an opera-in-progress entitled The Book of Tales. The opera is inspired by a recent discovery about a beloved story collection, the so-called “Arabian Nights.” The exact provenance of these medieval Arabic tales, properly known as Alf Laylah wa-Laylah [One Thousand and One Nights], has always been something of a mystery. That all changed in 1993 when a forgotten 18th century Arabic manuscript was found in the Vatican library. It was a travel memoir written by a 75-year-old Syrian storyteller named Hanna Diyab. In 1707, the young Diyab had embarked on an extraordinary, years-long journey to Europe. His incredible adventures culminated in a meeting with the Sun King, King Louis XIV, in the halls of Versailles. Diyab told his entrancing stories to everyone he met in his travels, including to Antoine Galland, a translator and archaeologist in Paris. It was Galland who, in 1710, first introduced Western readers to the stories of Ali Baba and Aladdin in Les Mille et une Nuits—though Galland makes no mention of the storyteller. Diyab returned to Syria in 1709 and eventually became a successful cloth merchant in Aleppo. He seems to have had no idea how far his captivating stories had travelled.

The opera connects stories and storytellers across time and place: from the present day, to the Ancien Régime of France, to the imaginary world of Scheherazade. And, though the “frame story” is Diyab’s, the most significant characters in the story are women. The fragments in Al Hakawati comprise four “scenes” that feature the opera’s three principal female characters.

1. I shiver, I tremble
The famed storyteller Scheherazade contemplates her precarious circumstances: each night she tells stories to the murderous Shahryar to postpone her execution.

2. He sleeps, this one
Shahryar is finally asleep. Consumed with fury, Scheherazade prepares to set his bed alight.

3. Dance of the seven swords (orchestra)
Murjana dances for her husband, Ali Baba, and a visiting merchant. She alone has discerned their guest’s true intent: he plans to kill her witless husband, who has foolishly stolen treasure from a band of thieves. At the dance’s climax she dispatches the villain.

4. For all I know
Tarina Safar*, a modern-day scholar of medieval Arabic, has discovered Hanna Diyab’s manuscript in the Vatican library. She marvels at the power of stories and of storytellers.

* Safar’s character is fictional, but she is inspired by the American scholar of Islam, Nabia Abbott (1897–1981), the first female professor at the University of Chicago’s Oriental Institute. Abbott discovered some of the earliest known fragments from the Thousand and One Nights.

Houston Symphony Orchestra commissions new work for 24-25 season

The Houston Symphony has commissioned a new work for orchestra, Al-Jazari’s Ingenious Clocks to feature in their 2024-2025 season. Conducted by Juraj Valčuha, the fairy-tale inspired program on March 14, 15 and 16th 2025 will also include works by Korngold (Violin Concerto) and Prokofiev (Cinderella).

Al-Jazari’s Ingenious Clocks is inspired by the fantastical inventions of 12th century Islamic polymath Ismail al-Jazari: scholar, inventor, en­gi­neer, artist and mathematician. His remarkable treatise, “The Book of Knowledge of Ingenious Mechanical Devices,” describes fifty machines he engineered to perform various tasks. Coupled with his own colorful illustrations, the fountain, a band of mechanical musicians, a hydraulic “perpetual flute,” a self-cleaning washbasin, and a mechanized“butler” who prepares drinks. book evokes a fairy-tale world of automated devices: a dancing water Known as the “father of robotics” for his revolutionary work in engineering and automation, al-Jazari’s devices are fascinating both functionally and aesthetically.

But perhaps his most beautiful and captivating designs are his many mechanical clocks. These include elaborate candle clocks (triggered by dripping wax), an astronomical “castle clock,” a programmable clock of mechanical drummers (who beat out the hours!), a portable “scribe clock” and a giant “elephant clock” (at right).

Al-Jazari’s Ingenious Clocks is an evocative time piece, a musical journey to a vivid world of invention and imagination. It captures the vision and whimsy of these enchanting time machines, built with a prescience that anticipates our automated modern world.