Victoria Bond: Compositional Technique used in Mrs. President

I have had three principal composition teachers: Ingolf Dahl, during my undergraduate studies at the University of Southern California, Paul Glass with whom I studied privately after I graduated and Roger Sessions who taught me at the Juilliard School where I earned my doctorate.  Each one gave me a unique perspective and set of skills and these have formed my compositional technique.  Read more.

Hilary Bell: Turning Biography into Opera

In the process of adapting a person’s life to the stage, the very first thing one must do is sever any ties to historical fidelity. The only fidelity that’s important is emotional truth – both in terms of the inner lives of characters, and in terms of your, the creator’s, relationship with the piece.  Read more.

Victoria Bond: The Making of the Opera “Mrs. President”

A Personal Recollection and Reflection on Victoria Woodhull by Victoria Bond.  Read more.

Victoria Bond: The Making of an Opera: A Personal Recollection and Reflection on Victoria Woodhull
Article from Viva Voce Magazine

Victoria Woodhull’s name was introduced to me by my mother over 20 years ago. She was intrigued with this bold and fearless woman, because she represented the same philosophy of fierce independence that my mother adhered to and which she passed on to me. It is inspiring to study Woodhull’s struggles and to feel the encouragement to never give up the good fight no matter what the obstacles. I personally need to be in contact with such individuals, living or historical, and working to bring her character and her story to life is a passionate commitment.  Download original article.

Victoria for Mrs. President!
Modern Women at the Opera
by Zachary Milliman

“This fall I had the opportunity to participate in the world premiere of composer Victoria Bond’s masterful opera Mrs. President.  The premiere took place in my hometown of Anchorage, Alaska.  I happened to be in town and was asked by the chorus master if I might help bolster the tenor section.  I was intrigued by the novelty of being involved in the creation of a work and thus committed to participate.  I am happy that I did, as it was to be an experience that renewed my faith in American opera and proved that the genre is alive, well, and relevant.”  Download full essay.