The Glance:
A Laptopera
Created, Directed, and Composed by Anne Hege
Libretto by Sappho, Praxilla, and Anne Hege
Choreography and Stage Direction Carrie Ahern
Art Direction Kim Anno
Instrument Design Daniel Iglesia and Curtis Ullerich
Lighting Design Mitchell Ost
Assistant Lighting Design Charlie Mejia
Stage Manager Elisabeth Reeves
Conductor Anne Hege
Cast (in alphabetical order)
Sidney Chen, Hades/Serpio
Carmina Escobar, Orphea
Michele Kennedy, Eurydice
Carrie Ahern, Narrator/Assistant
Synopsis
The Glance
In this contemporary retelling of the Orpheus myth, lovers Orphea and Eurydice struggle to build intimacy and trust in a world shaped by surveillance and control.
Act I
Act I begins with Eurydice meticulously cleaning and tidying their shared home. Orphea, a pop star, is working on a new song dedicated to Eurydice, "Love Shook My Heart." The song becomes a hit, and Orphea is invited to perform this song at their good friend’s wedding. Orphea is overjoyed at this honor. Frustrated that Eurydice is not putting all of her attention on Orphea and this honor, she demands Eurydice's attention. Using her lyre like live-looping instrument, the tape machine, she begins to conjure elements of the song along with a darker side of their relationship, one of Orphea's control and ownership of Eurydice.
Time passes, and we see Orphea on tour, presenting a live stream of her latest hit, “Love Shook My Heart.” While performing, Orphea gradually channels her divine nature and, in a trance, foresees Eurydice's future. Orphea returns from being on tour. On a rare night out together, we see Orphea's jealousy and mistrust arise concerning Eurydice's friendship with a common friend, Serpio. Orphea storms out, and Eurydice is left to consider what she truly wants and needs from their relationship.
In the final scene of Act I, Eurydice and Orphea attend an outdoor wedding. Tired of the wedding reception, Eurydice wanders into the woods and meadows beyond the wedding venue. Her nymph spirit feels a long-awaited sense of peace in the natural landscape. As she wanders, longtime friend and wedding guest Serpio finds her. Serpio supports Eurydice's personal journey. From a distance, Orphea sees Eurydice and Serpio together and misunderstands their relationship. In a moment of rage, Orphea slaps Eurydice, breaking her neck in an instant.
Act II
Act II begins with Eurydice confused and lost in what seems to be a dark tunnel. As she explores the tunnel untethered, she revels in her newfound freedom. She gradually realizes that this is the tunnel to the underworld, and not only has she lost her life, but at the hands of her love. As she comes to the end of the tunnel, Hades welcomes her to the underworld, and Eurydice comes to understand her deathly state.
In the world of the living, Orphea is lost without Eurydice. Unable to fully voice what she has done, she calls for Eurydice. Hades, using his orb, allows glimpses of Eurydice's voice to pass to the living world as Eurydice remembers the nightingales and honey bees of the living world.
Hades recognizes the parallel between Orphea and Eurydice, and himself and Persephone. He struggles to come to terms with his own domination of Persephone and the limits of love it has imposed, lamenting his loneliness each spring when Persephone returns to the world of the living.
As time passes, we see Orphea increasingly unhinged in her search for a connection to Eurydice, calling for her, attempting to force her return, and unable to move beyond her feelings of ownership. Eurydice continues to long for the world of the living, missing the light, the gleaming stars, and even the simple pleasures of cucumbers, apples, and pears. Hades, hearing Eurydice's lament and Orphea's longing, decides to give Orphea the chance to change - to come to the underworld under the condition that she may return with Eurydice only if she allows Eurydice to freely choose and be truly independent.
Orphea descends through the tunnel to the underworld, where she is confronted by her own admission of her violence and abuse of Eurydice. Eurydice calls her from the tunnel, and they reunite. Hades presents the rules of their return, and they begin their ascent in the tunnel. As they walk, Eurydice longs for the light of the living world. Orphea attempts to manage her anxiety. We see her struggle with her fear of abandonment as she is unable to hear Eurydice walking behind her. She calls to Eurydice, and unable to hear her, she begins to turn.
Artist Bios
Anne Hege • Creator, Librettist, Composer, Instrument Designer
Dr. Anne K. Hege creates musical worlds that invite awareness of and attention to the body and our present moment. In her work as a conductor, composer, vocalist, instrument builder, and scholar, she explores the roots of musicality in the intersection of ensemble interaction, technology, embodiment, and expression. Hege’s compositions have been performed and commissioned by ensembles worldwide, including So Percussion, New Jersey Symphony Orchestra, Princeton Laptop Orchestra, Stanford Laptop Orchestra, Google Mobile Devices Ensemble, loadbang, Ensemble Klang, Clerestory, NOW Ensemble, and Volti SF. Since 2008, Hege has composed musical scores for Carrie Ahern Dance with over 50 performances of these works in New York, Baltimore, LA, SF, and Seattle. Hege has received numerous awards and grants, including a New Music USA Project and Organizational Grant, Mark Nelson Fellowship (Princeton University), Composer-in-Residence (Resound Ensemble), Visiting Artist (CCRMA, Stanford University and Cal Poly), Research Affiliate (CACPS, Princeton University), Elizabeth Mills Crothers Prize (Mills College), Gwen Livingston Pokora Prize in Music Composition (Wesleyan University), and Associate Artist Residency (Atlantic Center for the Arts).
In 2022, Hege created and premiered her first laptopera, The Furies, an opera for live voices and laptop orchestra, at Stanford’s Center for Computer Research in Music and Acoustics. In 2025, Hege founded Laptopera Productions to produce operas for laptop orchestra and live voices, including the premiere of her second laptopera, The Glance, May 29-31, 2026, at ODC in San Francisco. Laptopera Productions has received grants from New Music USA, Intermusic SF, and 836M. Hege regularly tours and performs on her analog-live looping instrument, the tape machine, along with the laptop orchestra ensemble, Sideband.
Working as a choral conductor since 1999, Hege founded and directed new music and technology-focused ensembles Folk3000 (1999-2001), Cuatro Vientos (2004-2006), and Celestial Mechanics (2007-2010). As the artistic director of the Peninsula Women’s Chorus (2020-present), Anne works to expand the role of the community chorus in commissioning and performing adventurous and transcendent works for treble voices.
You can learn more about her work at www.annehege.com.
Carrie Ahern • Choreographer, Stage Director, and Narrator/Assistant
Since 2005, NYC choreographer Carrie Ahern has used the medium of the body to investigate spaces of taboo with her dance company: Carrie Ahern Dance. She has a reputation for extensive research combined with an ability to make viewers deeply uncomfortable and comfortable simultaneously. Current multi-year project: "Sex Status" series (2018-present), performed in private homes, open to the public, that seeks to expose women in their sexual and quotidian lives. For her multi-year project about modern death, Borrowed Prey (2011-2016), Ahern learned to hunt, butcher, and slaughter animals to learn more about the animals we consume and worked as a hospice volunteer. "Ahern's choreography is striking and original…powerful" The New Yorker Ahern has collaborated with Anne Hege since 2009, beginning with "SeNSATE" (2009)—a 3-hour, multi-floored performance installation; "Borrowed Prey: Part I" (2012) & "II”(2013); and "Carnal Spill" (2022). https://www.carrieahern.com/
Kim Anno • Art Director
Anno is an artist/filmmaker born in Los Angeles who has been presented nationally and internationally in museums and film festivals. In 2024, she received a Guggenheim Foundation fellowship, and a U.S. Dept of State Jakarta embassy film commission for “Java Into Borneo.” Along with Asian Cultural Council Fellowship, and the Henry Luce Foundation award. Other awards include: Goethe Institute, Getty Research Institute, the Gerbode Foundation Award, Open Circle Foundation Award, Zellerbach Fellowship, and the Fleishhacker Fellowship.
Exhibitions/collections/screenings include: Eric Firestone Gallery, NY, Cleveland International film festival, Cinemastica, Granada, Spain, Cinepride Festival, Los Angeles, Patricia Correia Gallery , LA, Anglim/Trimble gallery SF, Museum of Modern Art in Rio De Janeiro; the 14th Annual New Media Festival, in Seoul, Goethe Institute in Johannesburg, San Francisco Asian Art Museum, Walker Museum, Minneapolis SFMOMA, Bronx Museum, NY, Honolulu Museum of Art, Varnosi Museum in Hungary; DC Dusseldorf International Expo, Germany . Getty Research Institute. Her work has been included in New York Times, Science section 2019, Queering Asian American Art by Kina & Bernabe, Areaparis magazine, Art Papers, Atlanta, Harper’s Weekly, Utne Reader, Sierra magazine, Square Cylinder, and her monograph was published by Anglim/Trimble in 2023. www.kimanno.com, www.wildprojects.org, www.qubafilm.com
Daniel Iglesia • Instrument Design and Motion Tracking
Daniel Iglesia creates music/media/software for humans, computers, and broad interactions of the two.
These take the form of concert works for instruments and electronics, live audio and video performance, generative and interactive installations, and collaborations with many disciplines such as theater and dance. Highlights include performances with: the Tze Chun Dance Company at the World Expo 2010 (Shanghai), the European Bridges Ensemble at the Hamburger Klangwerktage (Germany), the International Contemporary Ensemble at Merkin Hall (NYC), Spirograph Agnew (various basements), and the Google Mobile Orchestra with Curtis Ullerich.
He is a former co-leader of the Princeton Laptop Orchestra and is a member of its permanent professional ensemble, Sideband (sidebandband.com). He is a recipient of a Van Lier Fellowship from Meet the Composer. He is author of the open-source app MobMuPlat (Mobile Music Platform). www.danieliglesia.com
Curtis Ullerich • Instrument Design and System Architecture
Curtis Ullerich is interested in the expression of live physical gesture as musical gesture, with forays into live coding, fixed-medium and improvisational electroacoustic music, interface/instrument design, and symbolic systems.
Curtis has performed with many ensembles on saxophone and electronics including the Stanford Symphony Orchestra, SCU's SCLOrk, the Google Mobile Orchestra led by Dan Iglesia, and SideLObe/SLOrk (for Anne's first laptopera The Furies); he joined Sideband at PdCon 2016 and their 2018 west coast tour. He showcased work in music HCI at SEAMUS 2013. He was on the instrument design team for The Furies where he built a custom distributed system for ensemble control. Selected projects are at curtis.in/projects/music. His headshot (credit: Ge Wang) is from the 2022 premiere of The Furies.
Mitchell Ost • Lighting Design
Mitchell Ost is a Bay Area designer and educator specializing in scenic, lighting, and projection design. He is an Assistant Professor of Lighting Design at Santa Clara University. He has also taught at Indiana University-Bloomington, Manhattan Community College, and The College Preparatory School in Oakland. He has designed all over the globe including for many years in New York City at Joe's Pub at The Public Theatre. He is the resident designer for M Ensemble Company in Miami, FL and designed the first national tour of Black Angels Over Tuskegee. Most recently, his work has been seen at Opera San Jose, North Carolina Black Repertory Company, and New Horizons Theatre in Pittsburgh, PA. He is a proud member of United Scenic Artists Local 829. www.mitchellost.com
Charlie Mejia • Lighting Design Assistant
Charlie Anthony Mejia is a Bay Area–based lighting designer. Currently at Marin Theatre: Pictures From Home. Recent credits include Annie (Berkeley Playhouse) and Both Eyes Open (Zellerbach Playhouse). As an assistant lighting designer, he has collaborated with companies including San Francisco Opera, Berkeley Repertory Theatre, and RUPTURE. Charlie holds a BA in Drama from San Francisco State University.
Elizabeth Reeves • Stage Manager
Elisabeth works as stage manager and properties designer for several companies around the Bay Area including Lamplighters Music Theatre, Opera Parallèle, Manetti Shrem Opera Program at Festival Napa Valley, Marin Shakespeare Company, and the Merola Opera Program at the San Francisco Opera but her favorite show is the Presto! Interactive Christmas Show at Grace Cathedral. She performs with Gallimaufry, the Guild of St George, and at The Great Dickens Christmas Fair and is the General Manager of the Contra Costa Chorale.
Sidney Chen • Hades
Sidney Chen is a multi-faceted performing artist and a vital force in contemporary music. An "expressive and richly mellifluous" bass-baritone (SF Chronicle), he is recognized for his compelling presence and adventurous cross-discipline collaborations, including staged works with Meredith Monk & Vocal Ensemble (recorded for ECM Records) and as a guest performer with ODC/Dance. He has appeared at Carnegie Hall, the Edinburgh International Festival, and the BAM Next Wave Festival.
A passionate small-ensemble musician, Chen has enjoyed a 25-year association with the chamber choir Volti, where he serves as Artistic Advisor. He co-founded The M6 vocal sextet and was a longtime member of the ensemble Clerestory. His inventive solo work often features DIY hand-crank music boxes, intricately hand-punched instruments that produce sonic landscapes described as "player piano music for a doll's house" (SF Chronicle).
Beyond the stage, Chen is a respected arts leader committed to advancing new music. He served as Artistic Administrator to the Kronos Quartet for two decades, as Project Director for landmark box sets (Steve Reich, John Adams) on Nonesuch Records, and as Guest Curator for SF Music Day 2024. Chen is a graduate of Harvard University, and is a Trustee for the Harvard-Radcliffe Collegium Musicum Foundation.
Carmina Escobar • Orphea
Carmina Escobar (b.1981) is a Los Angeles-based extreme vocalist, improviser, and intermedia artist whose work pushes the boundaries of voice, sound, and performance. Through visceral sonic explorations, she delves into the emotional, political, ritual, and communal dimensions of human experience––challenging conventional ideas of musicality, gender, queerness, race, language, and the foundations of human communication. As an immigrant from Mexico, Escobar’s practice is deeply rooted in interstitial states—those liminal spaces between worlds, identities, and borders. Her performances, installations, and film/video works create immersive encounters where voice becomes a force of disruption, connection, and transformation. She has presented her work across Mexico, Cuba, Europe, the USA, and Canada, appearing at festivals and venues such as PST:LA/LA, Fábrica de ARte (HVN), Machine Project (LA), CTM Festival (BRL), REDCAT (LA), The Broad (LA), Borealis Festival (NO), The Kitchen (NY), The Whitney Museum (NY), LACE (LA), MACO (OAX), and MMAPO Morelense Folk Art Museum (MOR), among many others. Her deep commitment to experimentation and research has led her to prestigious artist residencies, including Montalvo (SF), STEIM (AMS), Binaural (PT), OMI (NY) the Electroacoustic Music Studio in Kraków (PL), iPark (CT), Echo Park Film Center (LA), Fonoteca Nacional (MX), Indexical (SCR), The MacDowell Residency (NH), BEMIS Center (OMA), The Hermitage Residency (FL), and the Chinati Foundation (Marfa, TX). https://www.instagram.com/carminaescobar/
Michele Kennedy • Eurydice
Praised by The Washington Post as “an excellent and engaging” soprano possessing "a graceful tonal clarity that is a wonder to hear" (SF Chronicle), MICHELE KENNEDY is a versatile specialist in early and contemporary music.
Winner of the 2025 Berlin International Music Competition and the 2023 American Prize in Voice, Michele has recently been featured in Bach's St. John Passion with The San Francisco Symphony, Haydn’s Die Schöpfung with Washington Bach Consort, Handel’s Messiah with Trinity Wall Street, Poulenc’s Gloria with Bach Society of Saint Louis, Monteverdi’s Vespers with Dark Horse Consort, and in her Carnegie Hall debut with The Hollywood Film Orchestra.
A lifelong champion of new works, Michele has sung premieres with Experiments in Opera, Kaleidoscope Ensemble, The Crossing, and The New York Philharmonic. This season she tours nationally with Lorelei Ensemble in Julia Wolfe’s Her Story culminating with the Boston Symphony Orchestra at Tanglewood, and celebrates In Her Hands, her featured solo album with AGAVE, showcasing trailblazing female composers from Barbara Strozzi and Clara Schumann to Florence Price and Margaret Bonds. In June of 2026, Michele will return to Carnegie Hall for Dan Forrest’s extraordinary Requiem For the Living - truly a piece for our time.
Michele completed her musical studies at Yale University, Yale School of Music, and NYU. A lover of Redwood groves and Bay vistas, she lives with her husband, visual artist Benjamin Thorpe, and their daughter, Audra May. Please find more at www.michele-kennedy.com.
Collaboration and Instrument Design Notes:
The Glance began in 2023 as a collaboration with Kim Anno for a micro opera to be performed as a part of her installation Signs. Kim Anno provided the text, excerpts of Sappho poetry, and this formed the beginnings of The Glance. Vocalists have been a crucial part of this collaboration, giving input about instrument functioning, learning to play the instruments, and providing feedback about their vocal lines. Instrument designers, performers, choreographer and art directors have all been a part of the collaboration to create and design the instruments that you see in The Glance. In this laptopera, we are primarily using Ableton Live, including MAX for Live, to coordinate all the sonic elements. Video processing is happening through MAX/MSP's program, Jitter, created and controlled by Dan Iglesia. We are utilizing Open Sound Control to share messages from controllers or devices to Ableton. We are also utilizing Dan Iglesia's MobMuPlat to use mobile devices as our controllers.
Eurydice’s Sounding Skirt - programming by Curtis Ullerich, costume created and sewn by Anne Hege
Hades Orb - hoops and hoop rack designed and created by Curtis Ullerich
Ambitious Art Needs Allies
Our gratitude to the following individual donors with over seventy donations since 2022, who helped make this production possible:
Apollo Award ($10,000 and above)
Anonymous
Donald Falk
Tamra C. Hege
Patron Saint ($5000-9999)
Stacey Street and Marshall Spight
Protector ($1000-4999)
Heather Heise
Crusader ($500-999)
Ruthanne Allen-Hunt
Colin Trevorrow
Supporter ($250-499)
Anonymous
Eliza Hersh
Cathleen Kalcic
Chris and Liza Klein
Eithne Pardini
Fan ($100-249)
Anonymous
Carol Copperud
Jan Cummins
Ayyana Chakravartula
Seppo Helava
Anne Rainwater
Vivian Romero
Jane Sliheet
Peggy Spool
Michael Surowiec
Dan Trueman
Hoai-Thu Truong
Friend ($1-99)
Anonymous
Rose Lynn Abesamis-Bell
Kelly Hayes
Brenda Hutchinson
Bonnie Han Jones
Michelle Maughan
Allison Murphy-Bernet
Jascha Narveson
Kate Offer
Janet Saalfeld
Margaret Schedel
Laetitia Sonami
Mark and Barbara Witmer
We are deeply grateful to our supporters!
The Glance is funded and partially made possible through the residency program of 836M.
The Glance is made possible through the Musical Grant Program, administered by InterMusic SF, and supported by the Clarence E. Heller Charitable Foundation and the Hewlett Foundation.
Laptopera Productions and The Glance were supported by New Music USA’s Organization Fund in 2025-26.
The creation of The Glance was supported by a Dresher Ensemble and Artist Residency 2024-2025.