PLU music professors take the stage in NYC premiere of “Schiele in Prison” Opera

Two School of Music professors, James Brown and Soon Cho, traveled to New York City this January to perform in the New York premiere of “Schiele in Prison,” an opera by American composer Jared Schwartz.

While PLU students are known for their J-Term experiential learning around the country and globe, School of Music faculty also traveled this January. Professors Brown and Cho journeyed to New York City for an opera production about Austrian artist Egon Schiele, the only painter in Austrian history imprisoned for his art. Brown served as stage director for the production, which featured 11 singers, a string quartet, and a piano. Cho, a lyric mezzo-soprano and associate professor, was cast as Wally Neuzil, Schiele’s muse, lover, and caretaker. Initially sent by Gustav Klimt to pose for Schiele, Neuzil inspired much of his art and remained by his side during turbulent times, including his arrest and imprisonment.

Jared Schwartz, a former colleague of Professor Cho, composed “Schiele in Prison” after reading a book of the same name by Schiele scholar Dr. Alessandra Comini. In 1963, Comini rediscovered Egon Schiele’s prison cell in Neulengbach, Austria. In 2022, Schwartz and Comini spent a night in the cell. “It was a powerful experience,” Schwartz said. “The near pitch-black room, the tall, thick walls, and the unbearable silence—I felt as if I had been buried alive.” This experience shaped the opera’s score, which shifts between Schiele’s pleasant memories and his response to tormenting voices.

Learn more about PLU’s opera program.

The premiere partners with Neue Galerie New York’s special exhibition, “Egon Schiele: Living Landscapes,” at the Carl Fischer Building on January 25, 2025.

PLU News caught up with both Brown and Cho for a quick Q&A before opening night.

How did you become involved in the NYC premiere of “Schiele in Prison?”

Cho: Jared Schwartz, the composer, approached me for the role of Wally Neuzil, believing it would be a perfect fit. Our connection started through the National Association of Teachers of Singing (NATS) Intern Program, a highly competitive national program that selects only 12 emerging voice teachers each year. Both Jared and I were fortunate to be participants. During the program, we formed a special professional bond when he stepped in as a pianist for me to perform a very challenging Strauss opera aria during a master class. That experience solidified our connection, and when the opportunity for Schiele in Prison came up, he reached out to me for this role.

Brown: Professor Cho knew Jared from a prior professional encounter and recommended me as someone who might be a good fit to direct. I interviewed with Jared and his collaborator, Mary Dibbern, over Zoom. Mary is on the music staff at the Dallas Opera and serves as the Artistic Advisor for this project.

What goes into preparing for a premier across the country? From a performer’s perspective and the stage director?

Cho: As a performer, the preparation starts well before the rehearsals in NYC. I had to learn and memorize my part ahead of time, so I was ready when rehearsals began. Jared, the composer, and I had a few Zoom sessions where we sang through my part, allowing him to provide feedback on vocal colors, text communication, and the emotional expression he envisioned for Wally. In addition to that, I conducted extensive background research on Egon Schiele, Wally, and the events surrounding the incident to better understand the context of the story.

Brown: Jared Schwartz [the composer] and I met regularly over Zoom to plan the production. We discussed production concepts and handled numerous logistical details, including video projections, costuming, props, and more. I also served as a consultant for casting decisions.

What have your days leading up to the performance looked like?

Cho: The rehearsal process was intense, with five-to-six-hour sessions every day for eleven days leading up to the two performances. It was crucial to stay mentally focused, vocally healthy, and rest whenever possible. As opera singers don’t use amplification, the voice and body require time to recover between physical exertions. Given the tight schedule, the entire cast minimized talking and voice use whenever we could to preserve energy.

Brown: We had a two-week rehearsal process. The first week, we rehearsed five hours a day at Opera America’s National Opera Center in Midtown Manhattan. The second week we were in the performance venue leading up to the performances.

Any advice for prospective students or current students interested in performing in NYC one day?

Cho: Focus on honing your craft—master your music, practice consistently, and be a good colleague. Love the process and the expression that comes with it. Dig deep into the storytelling so you stand out, even when performing the same piece as others. Expressing yourself in foreign languages—especially Italian, French, and German—is crucial for opera singers. Stay open to new experiences, always be ready to audition, and remember to be gracious and brave. Persistence, preparation, and professionalism will set you apart.

Brown: My advice for any young performer wanting to do anything in this business, New York or otherwise, is to always diligently work on your craft. Also, be a good colleague and someone that people want in the room. Be supportive of your peers, and enthusiastically take direction, show up on time and be professional. The rest of it is to audition and hope.