A remarkable operatic poem, Ellen West plunges into the emotional, psychological, and physical challenges of a woman struggling with perceptions of her body, her relationship with food, and the world closing in around her. Inspired by one of the earliest cases of existential analysis, poet Frank Bidart and composer Ricky Ian Gordon examine the lives of psychiatrist Ludwig Binswanger and his patient, Ellen West. Bidart’s poem, which serves as the opera’s libretto, juxtaposes the clinical observations of Binswanger with fictitious entries of Ellen’s journals, illuminating a psychological portrait of a woman at war with her body..
Co-produced by Beth Morrison Projects and Opera Saratoga
Commissioned by Beth Morrison Projects and Opera Saratoga with generous leadership support from The Poetry Foundation, The Ted & Mary Jo Shen Charitable Gift Fund, David and Kiki Gindler, and The Francis Goelet Charitable Lead Trusts
The world-premiere production of Ellen West is a co-production of Beth Morrison Projects and Opera Saratoga
Ellen West is made possible by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.
Photo Credit: Maria Baranova
$30 with PROTO Pack
$60 with Premium PROTO Pack
Students and teachers can get a free rush ticket upon presenting valid ID. There is a limit of 1 ticket per person, and the ticket will be given out just before the House closes and the show begins. Entirely subject to availability.
695 Park Ave
New York, NY 10065
Subway: Take the “6” to the 68th Street/Hunter College station or the “F” to the 63rd Street/Lexington Avenue station.
Bus: Take the M98, M101, M102, M103 or the Crosstown M66 to East 68th Street and Lexington Avenue.
Imperial House Parking
155 East 68th Street
New York, NY 10065
Chelnik Parking Corp.
700 Park Avenue
New York, NY 10065
Manhattan Parking System
202 East 67th Street
New York, NY 10065
The performance on January 14 at 8pm will be a special benefit performance. Tickets will cost $45-$125.
Ricky Ian Gordon
(Composer) Operas include: The House Without A Christmas Tree for Houston Grand Opera, with librettist Royce Vavrek, Morning Star for Cincinnati Opera, with librettist William Hoffman, 27 for Opera Theatre of St Louis, with librettist, Royce Vavrek, A Coffin In Egypt for Houston Grand Opera, with librettist, Leonard Foglia, Rappahannock County for Virginia Opera with librettist, Mark Campbell, The Grapes of Wrath for Minnesota Opera, with librettist Michael Korie, and Orpheus and Euridice for Lincoln Center, for which he won an OBIE Award in 2005. His musicals include Sycamore Trees for the Signature Theatre (Helen Hayes Award), My Life With Albertine for Playwrights Horizons, with writer/director Richard Nelson (AT&T Award and The Gilman and Gonzalez-Falla Music Theater Foundation Award), and Dream True for The Vineyard Theatre with writer/director Tina Landau (Richard Rodgers Award). His upcoming projects include Intimate Apparel with playwright Lynn Nottage, a co-commission from The Metropolitan Opera and The Lincoln Center Theatre, and The Garden of the Finzi-Continis with librettist Michael Korie, for New York City Opera and The National Yiddish Theater Folksbiene. Other awards include the National Institute For Music Theater Award, the Stephen Sondheim Award, the Jonathan Larson Foundation Award, the Constance Klinsky Award, The Shen Family Foundation Award, and The Carnegie-Mellon University Alumni Award.
(Poet/Librettist) was educated at the University of California at Riverside and at Harvard University where he was a student and friend of Robert Lowell and Elizabeth Bishop. His first volume of poetry, Golden State (1973), was selected by poet Richard Howard for the Braziller Poetry series but it was not until the publication of The Sacrifice (1983) that Bidart’s poetry began to attract a wider readership. His recent volumes include Half-light: Collected Poems 1965-2016 (2017), which won the National Book Award and the Pulitzer Prize; Metaphysical Dog: Poems (2013); Watching the Spring Festival: Poems (2008); Star Dust (2005); Music Like Dirt (2002); and Desire (1997), which was nominated for a Pulitzer Prize and was a finalist for both the National Book Award and the National Book Critic’s Circle Award. Bidart’s honors include the Wallace Stevens Award, the Lila Wallace-Reader’s Digest Foundation Writer’s Award, the Morton Dauwen Zabel Award from the American Academy of Arts and Letters, the Shelley Award of the Poetry Society of America, a fellowship from the National Endowment for the Arts, and The Paris Review’s first Bernard F. Conners Prize for “The War of Vaslav Nijinsky.” In 2007, he received the Bollingen Prize in American Poetry. Bidart was elected a Chancellor of the Academy of American Poets in 2003, and has taught at Wellesley College since 1972.
(Director) is a theater and opera director based in New York City. Hailed by The New York Times for her “deeply resonant,” “intelligent,” and “darkly enchanting” staging, Griffin’s productions have been seen in performance venues all over the country. With a diverse background in theater, musical theater and opera, some of the places she has worked include: BAM, Opera Colorado, Atlanta Opera, Boston Lyric Opera, Curtis Opera Theater/Opera Philadelphia, Perseverance Theater, Geva Theater Center, Southern Rep, Actor’s Express, Virginia Stage, HERE, Clubbed Thumb, New Georges and Williamstown Theater Festival. In 2018 she was appointed as the Managing Artistic Director of The Mannes Opera at The New School. Previously, she was on the faculty of CCM as the Professor of Opera Stage Direction.
(Conductor) is a champion of Russian masterpieces, operatic rarities, and contemporary works on the leading edge of classical music. As Music Director of Chicago Opera Theater, she is the only woman to hold that title in a multimillion-dollar opera company in the United States. Ms. Yankovskaya is Founder and Artistic Director of the Refugee Orchestra Project, which proclaims the cultural and societal relevance of refugees through music. She served as Artistic Director of the Boston New Music Festival and Juventas New Music Ensemble, where she led operatic experiments with puppetry, circus acts, and robotic instruments, as well as premieres by more than two dozen composers. As Music Director of Harvard’s Lowell House Opera, she conducted sold-out performances of repertoire rarely heard in Boston, including Tchaikovsky’s The Queen of Spades, Britten’s A Midsummer Night’s Dream, and the U.S. Russian-language premiere of Rimsky-Korsakov’s The Snow Maiden. Ms. Yankovskaya has been a featured speaker at the League of American Orchestras and Opera America conferences, and served as U.S. Representative to the 2018 World Opera Forum in Madrid. An alumna of Dallas Opera’s Hart Institute for Women Conductors and Marin Alsop’s Taki Concordia Fellowship, she received a 2018 Solti Foundation Career Assistance Award.