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Rosśa Crean is a multi-genre recording artist and composer, so don't be afraid of the variety! You can also listen to a lot of Rosśa's work at Soundcloud by clicking here.

Rosśa is always for hire for multimedia and film projects as well. Check out the COMPOSITIONS page to listen to past works!

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Feb21

21st Century Art Song as Political Statement: Haddin Forum

University Hall, Auditorium , 1402 10th Ave S, Birmingham, Alabama 35294

This event will feature a performance of Rosśa Crean's "For Atticus, the Moonlight's Lover," by Mezzo-Soprano Emily Jaworski, pianist Chris Steele, and cellist Laura Usiskin.

The Theodore Haddin Arts and Sciences Forum is an ongoing lecture series at UAB's College of Arts and Sciences. It is a venue for Arts and Sciences faculty to talk about their research with their colleagues, students, and members of the public, and is designed to celebrate faculty work and to launch new conversations.

On February 21, 2020, Dr. Emily Jaworski, Assistant Professor of Music, will present "21st Century Art Song as Political Statement."

Free and open to the public; lunch provided.

Feb29

Cincinnati | Autism Advocacy Series World Premiere

Sycamore High School, 7400 Cornell Road, Cincinnati, OH 45242

Our Autism Advocacy Series returns to Cincinnati for our THIRD year of world premieres!!! The AAS takes words written by youth ages 8-20 who have autism and are primarily nonverbal, and commissions composers to set them to music for voice and piano. This year, we feature the poetry of Aarush Srivastava, Darren Stella, Nina Szabo, and Emily Friend.

This year's compositions were written by Rosśa Crean, Meg Huskin, and Benjamin Krause.

Performers are Teresa Perotta (soprano), Christina Hazen (mezzo), Stephen Hanna (baritone), and Matthew Umphreys (piano).

A special discount code is available for RPM/ASD families. Please email us at contact@lynxproject.org for more information. Additional group discounts are available for groups of 10+.

Visionaries+Voices will provide a pre-performance art-making workshop for all ages and abilities. Antonio Strings will be hosting a musical instrument petting zoo where attendees can try out different instruments!

The event will last about 90 minutes with one 15 minute intermission. Afterwards, we will host a FREE post-concert reception!

Our world premiere concerts are inclusive of neurotypical patrons as well as those on the spectrum. Our sensory accommodations include:

-large concert halls where everyone can spread out and move around as needed -a sensory-retreat area outside the concert hall with sensory items (such as fidgets and beanbags) -no lighting changes during the performance -NO CLAPPING--audience members are encouraged to show their enthusiasm for the performance by snapping their fingers or waving their hands in the air

For those with sound sensitivities, we welcome you to bring headphones and fidgets into the concert hall and enjoy the concert however suits you best!

If you are attending one of our events and have questions about accommodations and accessibility, please contact us at contact@lynxproject.org or 513-443-2459

Mar7

Chicago | Autism Advocacy Series Chicago Premiere

Anderson Chapel, North Park University, 5149 N. Spaulding Avenue, Chicago, IL 60625

The Autism Advocacy Series amplifies the voices of individuals who have autism and are primarily nonverbal through the commission and creation of brand-new art song (music for voice and piano). This groundbreaking initiative is coming to Chicago for the first time in 2020, after three years of successful world premiere events in Cincinnati, OH.

All composers this year are based in Chicago!

Rosśa Crean, Meg Huskin, and Ben Krause composed settings of texts written by: Nina Szabo, age 10 Emily Friend, age 10 Aarush Srivastava, age 15 Darren Stella, age 19

All these youth have autism and are primarily nonverbal/nonspeaking. They communicate by spelling out their thoughts on a letterboard or iPad in a process known as the Rapid Prompting Method.

Come hear their powerful words amplified through our composers' beautiful settings of their poetry!

Performers for this concert are: Olivia Skaff, soprano Emma Smart, mezzo-soprano Nick Ward, baritone Christina Giuca Krause, piano

ABOUT THE EVENT: The concert will last about 90 minutes with one 15 minute intermission. Afterwards, we will host a post-concert reception!

Our concerts are inclusive of neurotypical patrons as well as those on the spectrum. Our sensory accommodations include:

-large concert halls where everyone can spread out and move around as needed -a sensory-retreat area outside the concert hall with sensory items (such as fidgets and beanbags) -no lighting changes during the performance -NO CLAPPING--audience members are encouraged to show their enthusiasm for the performance by snapping their fingers or waving their hands in the air

For those with sound sensitivities, we welcome you to bring headphones and fidgets into the concert hall and enjoy the concert however suits you best!

If you are attending one of our events and have questions about accommodations and accessibility, please contact us at contact@lynxproject.org or 513-443-2459

Libretto by Aiden K. Feltkamp 
Music by Rosśa Crean 
Inspired by the writings of Marie-Madeleine (Gertrud Günter) and Ronald K. Siegel, PhD All new translations from the original German by the librettist 

Commissioned by the International Museum of Surgical Science for their exhibit “Deadly Medicine: Creating the Master Race” 

 

I. The Awakening 

Forensic science is the art of resurrection, 
recreating history through the magic of DNA and fingerprints and handwritten secrets decoded from the particular curves in “dear” and “do not leave me.” 

See here, the ink-fossil of Baroness Gertude Günter von Puttkamer-- the Jewish lesbian erotic poet, Marie-Madeleine, 
who taunted the Nazis with her bright red hardcovers 
and incendiary turns of phrase. 

That’s me. 

The Nazis tried to burn me, 
to bury my words, all memory of my existence, in war-ridden soil. 
They tried, 
but they failed. 

 

II. In Salvation and In Sin 

(Adaptation and translation of “Ich träumte von dir” from Auf Kypros) 

I dreamt of you. -- One summer night, pale blue and trembling at the riverside in all your golden-curled splendor, 
you wanted my burning mouth. 

I've known no fever, no hellfire burning so hot as the sickness in my heart. 
Your wicked eyes shone, 
two abysses like cliffs at the waters’ edge - - my soul sank into them. 

The madness-making moonlight with its sickly pallor 
splayed death over your face 
as I pressed you to me. 

With my yielding, lecherous mouth 
I drank dry your heart's blood 
in the summer night, in the midnight hour when the seacrests sing and surge. 

-- I dreamt only this. 

 

III. Morphine 

The Papaver somniferum,the opium poppy, evolved to defend itself. 
Producing a thick, white milk, 
it deters predators, 

and those foolish enough to bite 
kneel to its bitter, sleep-inducing chemicals. Humans harvested the power of the poppy and named it after the Greek god of dreams. 

I first tangled with that seductive god 
when the male doctors decided 
I was too distraught at my husband’s deathbed. I was too hysterical. 
They shot me up 
without my consent. 

The cool calm crawled under my skin. 

 

IV. Tumbling 

(inspired by “Das Fieber,” “Kokaïn,” and “Der letzte Rausch”)

In darkness, in this terrible place 

completely removed from the world, 
he approached without a sound, without warning... this monster, my uninvited guest... 

My tired heart drags hotter 
until the dream-clouds about me are violent red. Shine, ever effervescent, 
fill me with a marrow-deep delight! 

More! More! 
Burn me inside 
until wings sprout on my savage soul and I fall 
headlong 
into the beckoning bottomless pit. 

I am always -- still! -- so long! -- stuck in this cursed place, 
this city so heavily damned 
that it will never rise again. 

I can only groan with desire -- take me down, Thanatos! 

I can’t breathe in these streets, I can’t find a living body, they’ve all forgotten---- 

My lips, worn down by fever, cradle my last screech: 
I need to get out! 
I’m penned in all around-- these walls will outlast me. 

I have nothing left but you: 
my most beloved, my very last ecstasy! 

 

V. The Harvest Song 

Poppies are monocarpic-- 
they die after flowering. 
Their showy petals are crumpled in the bud; as blooming finishes, the petals lie flat before falling away. 

But I am polycarpic, 
flowering again and again, 
blooming ever brighter 
until I’m corporal again, 
sinew and fingertips and bone again. 

The Nazis are real and they are here. They will try to drive us 
once more into the dirt. 
But my soul persists, 

triumphant, 
after all my tormentors are dead. 

 

VI. The Flower of Oblivion 

(Adaptation and translation of “Die Blume des Vergessens”) 

The sky was a poppy-- 
bleeding, torn to shreds, and falling-- and as the sunset fled like a soft dream, the night tumbled onto the world. 

Braided up into the night’s wings, 
I sobbed out my heartache. 
Only the wild beasts who die in howling torment sink beside me to this loneliness so primeval. 

You sunset, you fire, watch 
the bleeding poppy embroiled in that seething mass of clouds-- I need oblivion’s shimmering bloom-- 
I rip it down from Heaven! 

I’ll wind purple wreaths 
around my heart to stop its weeping. 
I’ll find the deepest dark 
within that dream where we’re united forever.