The opera tradition as we know it has always been lavish and large-scale—but never quite this large.
In 2015, the 21st century experimental opera troupe The Industry produced Hopscotch: a modern-day immersive opera experience collaboratively created by a team of six composers, six librettists, and over 100 artists. Massive in scope, the opera performances took place not in your traditional opera house, but rather, across the grand and sparkling stage of Los Angeles, California.
Photo credit: Casey Kringlen
That’s right: Hopscotch was staged in 24 cars and countless locations across Los Angeles, crafting a singularly extraordinary experience that was equal parts road trip, architectural tour, immersive theatre, and avant-garde opera.
Audience members were carted around the city in a fleet of limousines that were divided into three distinct geographical routes—each route featured eight chapters (a mixture of car rides and visits to undisclosed sites) lasting approximately 10 minutes each.
Photo credit: Casey Kringlen
The only limitation? You had to be in Los Angeles to experience it.
Well this year, the Industry has alleviated that restriction with the release of Hopscotch as an album—or more precisely, a key-shaped USB stick that you can plug into your computer or car.
Inspired by Julio Cortazar’s novel Rayuela (Hopscotch), both the live performance and the recording invite the listener to experience the narrative in a non-chronological order, and with multiple singers forming a composite of each individual character’s identity. So, without further ado, let’s meet the characters.
Hopscotch tells the tale of Lucha, an L.A.-based puppeteer who meets and marries a motorcycle-riding scientist named Jameson. But like all great scientists, Jameson loses himself in his explorations of the esoteric. Distraught, Lucha hallucinates an encounter with Jameson in the underworld and attempts, without success, to bring him back to life.
The story borrows heavily from the ancient Greek myth of Orpheus and Eurydice (which is symbolically significant in that this myth was the basis of the world’s earliest surviving opera)—but unlike Orpheus, Lucha overcomes her grief and finds love again with a fellow performer named Orlando.
Photo credit: Casey Kringlen
Oh, and one other major difference: in Hopscotch, the narrative is nonlinear. The story is presented in episodic chapters which highlight moments of Lucha’s life, each episode acting as its own point of entry to (or a port of departure from) the overarching narrative. In the live performances, this allowed each of the three geographical routes to tell the story in a different order—and as listeners to the recording, we’re invited to experience the opera in any order we choose. Included in the digital CD liner notes is a series of suggested playlists ordered by original performance route, by composer, by librettist, by storyline, and by musical development.
“Opera is about layering—music, image, text, experience,” said Yuval Sharon, Founder and Artistic Director of the Industry, and the creative mastermind behind Hopscotch. “And that’s where Hopscotch is most operatic: it’s a project with many layers that intersect each other, offering each audience member a highly personal experience, their own combination of elements unlike anyone else’s.”
Photo credit: Casey Kringlen
The music itself is also highly personal. Each moment in the characters’ lives was shaped by a different composer and librettist, performed by a different ensemble, and was created in response to a specific street or site on the route. The only restriction? Each episode had to be 10 minutes in length—allowing the composers to play with the perception of time inside that specific life moment.
The published recording alternates between live and studio recordings, and between brief excerpts and full scenes. But even beyond those more structural variances, the music itself is also extraordinarily eclectic. The two-hour work bounces from soaring arias to infectious theatre riffs, twinkling lullabies to industrial static, free jazz and improvisation to surrealist choral soundscapes, rainy day ballads to Latin American folk melodies.
Photo credit: Casey Kringlen
And yet, somewhere amidst the swirling anarchy of avant-garde sound art and Baroque opera vocal stylings, the music takes on a much grander purpose. As the Industry’s Music Director Marc Lowenstein describes:
“From evocations of experimental music to musical theater to improvisations to folk traditions to large scale quotations of Monteverdi to installation music, from the intimacy of a single performer in a car with you to the grandness of using the entire city as a stage—as the opera hopscotches through our city, so does the music, always on a road, evoking different scenes, cultures, and sounds. A thousand paths.”
In fact, the opera is an entire web of musical and theatrical threads which connect and intersect in ever-changing ways, subject to each listener’s own experience and interpretation. Conceptually, the project is complex enough to write an entire book on (and in fact, the digital liner notes are 52 pages long), but as you travel through the swirling sonic landscape, the meaning behind the music becomes quite clear:
By creating a vibrant mosaic of so many different sounds, styles, composers, and performers, Hopscotch reminds us that Lucha’s story is also our story—and that we are all subject to these same transcendental experiences of time, memory, and perception.
Photo credit: Dana Ross
In the end, all paths converge and the opera climaxes with a live recording from the Central Hub, a temporary space on the performance route where all the journeys were live-streamed to create a dizzying panorama of life in the city—an ecstatic vision of community in Los Angeles.
“The Central Hub is the possibility of simultaneity,” Yuval Sharon said. “A circle where there is no differentiation between past, present, and future. Separate neighborhoods become one fluid landscape. And the mysterious logic that escapes you from chapter to chapter becomes completely legible, supernaturally, when you can see them all happening at the same time. In a city so infamously without a center, I think creating aspirational centers is crucial.”
In 2013, at the ripe old age of 30, Caroline Shaw became the youngest ever recipient of the Pulitzer Prize for Music for her a cappella masterpiece Partita for 8 Voices.
No Lands takes quite a different approach with his remix: he transforms Shaw’s original partita into a synthy slow jam of airy, wordless vocals and echoing melodic motives that transport the listener straight into sonic hypnosis.
