The Thirteen - Scott Ordway: The Outer Edge of Youth (2022)

On September 27, Acis presents the world premiere recording of The Outer Edge of Youth, a contemplative and thought-provoking new choral opera from critically acclaimed composer, writer, and multimedia artist SCOTT ORDWAY. Set in a landscape inspired by the coastal redwood forests of Ordway’s native northern California, the work follows two boys on the cusp of maturity who discover that they can understand the birds in the forest. Written as a response to the toxic masculinity in our culture, Ordway’s libretto deals with questions of love and friendship, the astonishing beauty of nature―and the tension between the immobilizing idealism of youth and an adult world rife with pain, inequality, and injustice. Building with slow, quiet determination toward a final scene of transfiguration and catharsis, Youth showcases Ordway at his finest, creating work that critics have called “haunting and beautiful” (San Francisco Chronicle), “soul-stirring” (BBC Music), and “arresting” (Gramophone).

The two vocal soloists take center stage. AMY BROADBENT, a soprano “with consummate poise, limpid clarity, and faultless intonation” (Washington Classical Review) is joined by EMILY MARVOSH, a contralto with “plum wine voice, that glorifies all it touches…staggeringly gorgeous” (The Boston Globe). ORDWAY accompanies them with a choir of soloists (THE THIRTEEN―“transfigures the listener,” (The Washington Post)) and an all-star quartet of low strings whose members also perform with the Berlin Philharmonic, A Far Cry, and other leading ensembles.

Commissioned by The Thirteen and its founder, American conductor MATTHEW ROBERTSON, the piece is another exciting achievement in the ensemble’s mission to reimagine vocal music’s vast potential: “When Scott and I first met to discuss this commission four years’ ago I immediately felt a kinship in his observations about masculinity in society, and his passionate focus on the natural world and the existential threat of anthropogenic climate change. Yet, mostly, I was struck by the concept’s childlike sincerity–from its opening ecstatic “hello’s!” to its heartfelt conclusion.” On her role in the production, virtuoso soprano AMY BROADBENT said, “Scott’s piece allows each of us, musicians and listener, to connect to our inner child, and being part of that was a really special experience.” Her fellow soloist, EMILY MARVOSH said, “I think the spirit of exploration and play that we discovered during rehearsals and performances also visits the listeners of this album…our crackerjack quartet of low strings provide the grounding for Scott’s trademark idiomatic vocal writing.”