Daron Hagen and Orson Rehearsed: An Interview with the Composer

Composer and Prestidigitator Daron Hagen. (Photo by Karen Pearson)


American composer Daron Hagen has had an impressive and varied career, having worked with many of the 20th and 21st centuries’ greatest musicians. He has received numerous awards, including a 2014 Award in Music from the American Academy of Arts and Letters. His works in a diverse array of styles and forms range from symphonies and concerti, to song cycles, and nine operas. His forthcoming opera, Orson Rehearsed, is being premiered next year, in September 2018, with his collaborators, Chicago’s Fifth House Ensemble. Orson Rehearsed is based on the life and work of Orson Welles, but it is as groundbreaking and category-defying as many of Welles’s own projects. It draws inspiration from Welles’s career as a stage director, radio star, filmmaker, and even as a magician. Mr. Hagen has created a trailer for the project, which gives some idea of how unique this opera will be:

I was pleased to discuss this new work with Daron Hagen in an email interview.

F for Films: What makes Orson Welles the man an attractive subject for an opera?

Daron Hagen: I consider Welles to have been the quintessential American Artist, and his life story a parable with which every intelligent American can, on some level, relate. His intense commitment to social justice, manifested so clearly in his choice of subjects and in his personal decisions as a “self-made” intellectual whose first act was destined—from its explosive beginning with Citizen Kane—to be perceived (rightly or not) as his best. He was emotionally, intellectually, and by nature in pursuit of that which is larger than himself, and, as he got older, physically, the toll of that quest was written on his body. His choice of Kane, Othello, and Falstaff as artistic avatars alone would make him ripe as a figure for operatic treatment, but his fascination with the artifice required in the articulation of truth makes him the perfect operatic hero.

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