World Premiere of The Tin Angel Opera Brings Bowery Jazz to the Stage
The School of Music is proud to share exciting news about the upcoming world premiere of The Tin Angel, a new opera composed by Daniel Asia and produced by Teatro Grattacielo. The production will debut in New York City at The LaMa Theater on June 28th and 29th, bringing to life a vibrant and gritty depiction of the 1970s Bowery jazz scene.
Based on Paul Pines’ novel The Tin Palace, the opera The Tin Angel captures the raw energy and humanity of a time and place filled with musicians, poets, waiters, cooks, and drug dealers—many inspired by real people who frequented the jazz club Pines founded in 1973. The novel, first published by William Morrow & Company in 1983, received widespread acclaim for its gripping portrayal of the New York City drug and jazz scene. Publishers Weekly described it as “the drug/jazz world of New York’s East Village [being] rendered more honestly or graphically,” while The New York Times Sunday Book Review called it “a swift tale of murder and revenge [that] rattled along stylishly and fulfills all our expectations for high-grade suspense.” Through richly woven orchestration and compelling storytelling, the opera adaptation blends high drama with the avant-garde atmosphere of a Bowery jazz club, bringing to life a world where art, struggle, and community collided, filled with tension, music, and raw emotion.
We had the opportunity to speak with composer Daniel Asia about the inspiration and process behind the opera.
What inspired you to write The Tin Angel? Were there any specific events, ideas, or personal experiences that influenced the creation of the opera?
“I had been setting Paul Pines’ poetry for many years, following our meeting at the MacDowell Arts Colony in 1978. In 2007, I decided I wanted to try my hand at an opera. I asked Paul about writing a libretto, and he suggested the novel he was working on when we first met—The Tin Angel. I readily agreed.”
Could you share a bit about the libretto? Was it a collaboration?
“I raised money so Paul could take six months off to write. He went through nine drafts of the libretto, and we spent a final week in Santa Fe going through it word by word. The final version—draft ten—is tight as a drum.”
How long have you been working on The Tin Angel?
“Paul wrote the libretto around 2007. I composed the music over the next two years, following the 2008 financial crash. It’s taken fifteen years of promotion to bring the opera to the stage. That it is finally being produced is a dream come true.”
How does this opera differ from or build upon your previous works?
“It brings together many strands of my earlier work—for voice, orchestra, and chorus. One might call it a work of summation.”
What has your experience been like working with Teatro Grattacielo?
“It’s been wonderful working with Teatro Grattacielo and Artistic Director Stefanos Koroneos. He’s deeply professional and thoughtful in every step of the process, from finding the right venue to casting, production, and fundraising. Opera is a complex team effort, and Stefanos has been the doctor bringing this baby into the world. I’m now more like the anxious parent.”
Teatro Grattacielo stands as a unique cultural gem in New York City, offering performances that have been cherished by opera enthusiasts since 1994. Known for its full symphonic orchestra, chorus, world-class soloists, and a repertoire that often includes lesser-known operas from the late 19th and early 20th centuries, the company revives masterpieces that have been largely forgotten by the international operatic scene. These works, while rarely heard, possess a rare beauty that becomes evident through their revival.
Since January 2020, Stefanos Koroneos has served as the Artistic and General Director of Teatro Grattacielo. With a distinguished career as a performer, director, and mentor, Stefanos brings a wealth of experience and a deep commitment to guiding new generations of singers and artists. His leadership ensures that Teatro Grattacielo continues to be a vital part of New York’s operatic landscape. Known for his ability to create moments of high aesthetics, Stefanos has been praised for transforming Mozart’s Idomeneo, written 240 years ago, into a modern and visually striking work that resonates in the age of the internet and electronic music. As noted by Lifo.gr, “Stefanos Koroneos created moments of high aesthetics, which may not be unknown to those who know the syntax of international representation, but transformed into an image the magical and extreme dramatic music of Mozart for a work… giving it a modern look.”
Notable performances include Idomeneo (2021), a co-production with the Cultural Conference Center of Crete, and L’Amico Fritz (2021), both of which exemplify the company’s dedication to presenting operatic works that are as intellectually stimulating as they are musically rich.
What are you most excited about as the premiere approaches?
“I’m so excited to finally hear my opera performed live after more than fifteen years of dreaming and hard work. I hope audiences experience it with great pleasure and that it finds a lasting place in their hearts.”
The Tin Angel captures the drama and spirit of Pines’ novel and reimagines it on the operatic stage. It’s a rare blend of gritty realism and soaring musical artistry—a modern opera with deep roots in America’s artistic and cultural history.
This opera doesn’t shy away from the raw, vibrant life of 1970s New York. Instead, it embraces the poetry, the chaos, and the humanity of a transformative era. By combining Paul Pines’ vivid storytelling with Daniel Asia’s powerful score, The Tin Angel becomes more than just a performance—it becomes a reflection on art, identity, community, and survival. With characters drawn from real life and music that pays homage to both classical tradition and the improvisational spirit of jazz, the opera speaks to the timeless desire to create beauty out of complexity.
As The Tin Angel makes its long-awaited debut, it marks not only the realization of a years-long artistic journey but also a moment of celebration for a new voice in contemporary opera. It is a testament to the enduring partnership between composer and writer, and to the power of collaboration in bringing untold stories to life on stage.
If you plan to be in New York City in June, don’t miss the chance to experience the world premiere this June at The LaMa Theater —a night that promises to be as unforgettable and dynamic as the world that inspired it.
For more information, visit the Tin Angel Opera website, watch the official trailer, or explore additional materials including the full score, audio demos, and production visuals via the TAO Theater Production Package.
