Music & Concerts
New opera chronicles beauty and power of trans liberation
Don’t miss ‘What the Spirits Show’ at Washington National Opera
The value of the support of family. The oppression of trans identity. The euphoria and spiritual power of trans liberation. These themes and more are woven into a poignant new opera, “What the Spirits Show,” by composer-librettist team Silen Wellington and Walken Schweigert.
Their collaboration is the product of the Washington National Opera’s American Opera Initiative (AOI). Now celebrating its 10th season, AOI pairs talented creatives to develop a short, one-act opera, performed by WNO’s Cafritz Young Artists. Along the way, the creative teams receive invaluable mentorship from some of the best in the business.
This year’s AOI performance takes place on January 21, 2023 at the Terrace Theater of the Kennedy Center. Also on the program are Oshun, with music by B.E. Boykin, and libretto by Jarrod Lee—a journey of sacrifice, self-love and redemption displayed in the face of those who would deny it. And Bubbie and the Demon, with music by Jens Ibsen and libretto by Cecelia Raker—a mashup of opera and heavy metal, which finds that Bubbie has filled the void of Covid isolation by solving as many word searches and crosswords as possible, but accidentally summoned a demon.
The Washington Blade caught up with librettist Walken Schweigert and composer Silen Wellington, the co-creators of What the Spirits Show, to learn more about this short opera and its powerful themes.
BLADE: Congratulations on creating the original work, “What the Spirits Show.” Can you share more about the opera’s plot and musical style?
WALKEN SCHWEIGERT: It’s an opera about trans liberation, but also about friendship and the support of family. There are four characters: the protagonist, named Calamus, is a shape-shifting youth who takes a magical elixir to be themselves. Their shape-shifting is an allegory for transness. When you first meet Calamus, they have already been taking this medicine, so you meet Calamus in the fullness of themself. But then this politician enters the scene and he outlaws the elixir, claiming that it’s immoral. But the beautiful thing is that Calamus’ mother stands up for them, and because of that they both get thrown in jail. Since Calamus has stopped taking the elixir, they basically begin detransitioning. But then their friend, Sylvan, is able to sneak in some elixir to Calamus. And the strength and the power of Calamus coming back to themself is so powerful that it destroys the jail and traps the politician under the rubble, and Calamus and their mother are able to escape. It’s a moment of joy, it’s a moment of euphoria, it’s a moment of self-reclamation.
SILEN WELLINGTON: The characters themselves each have their own musical language. And musically, each scene is its own world. The first scene is all about Calamus and their shape-shifting. The music is very whimsical, beautiful and romantic. The second scene is all about the politician. His music is much more circus-like; almost like a lopsided march. In the third scene, when Calamus and Aurora are in the prison, the music is a little bit more restricted, but it still hearkens back to some of that fantastical and musical language from the opening scene. The fourth scene is really where it all comes together. Sylvan comes and helps Calamus break out of jail, so the music is more driving and rock-influenced, because in Walken’s words, Sylvan is Calamus’s “anarcho-punk friend.” And then finally, once Calamus returns to their power, we return to the fantastical music at the beginning.
BLADE: Can you share why you wanted to write this opera? Have its themes affected you personally?
WELLINGTON: I wouldn’t write this opera if it didn’t affect me personally. That could probably be my artist statement! It’s the subtext of why I make art. I write about things that personally affect me and I always have.
In my own journey to figuring out that I was trans and nonbinary, it took me a while to find self-acceptance and then find self-love. I wanted to write something that gave space for that love. I knew I was queer from a pretty young age, but I didn’t realize being transgender was an option. As a result, I had this unnamable sadness in me that made most things in my life feel wrong, and I spent most of my teenage years battling suicidality and depression because I couldn’t see a future for myself.
I was 19 when I first met nonbinary adults, and that really started to turn things around for me. It sparked a journey of self-discovery. I feel like now I’m in a place of self-love and acceptance, trying to find words to express how spiritual and divine I find the experience of being trans to be.
The first time I read Walken’s libretto, I remember feeling this swell of emotion and recognition thinking, “I’ve been trying to find words for this all my life. And wow, now I get to say it with the music!”
SCHWEIGERT: When I first started making art, a lot of it was trauma porn, because of how I was raised in a religiously restrictive mindset. But now, I try to explore what gifts being trans has bestowed and bring those to light. I’m also interested in exploring why are we such a threat? Why are people so afraid of us? And I think it’s because we actually have something really powerful. There’s actual spiritual value and knowledge that comes from being trans.
BLADE: Why is this opera important now?
SCHWEIGERT: This opera was very much directly inspired by a letter the governor of Texas wrote last year to the Texas’ Department of Family and Protective Services re-interpreting the law to include trans affirming care under the definition of child abuse. Governor Abbott was trying to separate trans kids from their supportive parents. It made me think of how much it would have meant to me to have supportive parents, and then to have that be taken away, stolen by the state, was heart wrenching to imagine. I think of the relationship that I have with my parents now and imagine the pain that would be caused to them if I were young and they were being forced to separate from me.
In this opera, there is a scene of Calamus and their mother Aurora in the jail, and they’re singing this song together, but they’re in separate cells and they can’t hear each other. Especially in that scene, I really wanted Aurora, Calamus’s mother, to say all of the things that I wish my parents had said to me when I was a teenager and coming out: “…my dear Calamus, I have to trust you know yourself better than I ever could. I love you more than I could ever say. And as long as I hold breath, I will not let them tear you away from yourself.”
It’s a powerful moment for me. My parents are Catholic and that was at the root of a lot of their own internalized and externalized transphobia. But now my dad is part of a group at his church that is drafting a statement of trans-inclusion. He wanted to contribute, hey, God actually doesn’t think that trans people are abominations, and also that there’s spiritual knowledge and spiritual value that trans people bring by nature of being trans.
WELLINGTON: Beyond the gender and celebratory spiritual themes of the opera, this project has really given me space to process some of the hatred that’s been surrounding and sometimes feeling like it’s narrowing in on my world; the national uptick in LGBTQ+ hatred and anti-trans hatred specifically has gotten local and sometimes really personal over the last couple of years. Outside of music, I work in suicide prevention for LGBTQ+ youth. I’ve been I’ve been feeling the ripples of this hatred, both big and small on my community and especially on the trans teens that I that I work with. When advocating, I feel like I have to make sense of this hatred or try to bend and twist myself into something palatable to reach for the right words that will convince someone of our humanity. But in the artistic world, we take a different approach, one that leans into this divinity of our authenticity. Art helps us lean into the healing that I had been craving to reconnect with my own resilience.
Music & Concerts
DJ Chanel Santini is bringing the heat and some gender-fluid diversity to XBIZ Miami
Pool party celebrates most charismatic personalities, creative artists in adult entertainment
Chanel Santini has crossed over to being a DJ, performing at clubs all over the country. Now known as Santini, they will be making music and hyping the pool party, DJ-ing at XBIZ, the conference for adult creators and digital players, in Miami.
Taking place on Monday to Wednesday, the event honors the most charismatic personalities and creative artists in entertainment.
“I am honestly so excited — getting to DJ in Miami Beach is literally a DJ’s dream!” Santini told the Los Angeles Blade.
“I thought it would be a good opportunity because I haven’t been around my industry peers in a long time. It’s a great event to network and show off the new me!” said Santini.
While Santini is unsure what music they will be playing, they want everyone to have a good time. “My goal is to ignite the dance floor and play great music that everyone will vibe to. My sound includes house music, bass house, tech house, and I always like to throw a little bit of hip-hop in my sets.”
Santini loves how DJ-ing brings people together.
“Music really ignites us all! It is so universal, no matter what language you speak. I think it’s the best high in the world when you play a banger track, and everybody on the dance floor screams loudly. You can’t describe that feeling until you’re up there on that stage.”
Santini describes DJs as the “modern rock stars” in today’s world.
“I always feel like such a superstar when I’m up on that stage. The best feeling is after my set when I have people come up to me and say, ‘Thank you for sharing that amazing music.’ That’s how you know that you’re a good DJ — I love when I get those types of compliments!”
While sometimes it’s hard to please everyone’s musical tastes, Santini endeavors to try! “You just have to go out there and give it your all and be the best DJ that you can be,” he noted.
Santini, who had previously identified as transgender, recently decided to transition back to being gender fluid.
“It’s definitely been a journey, but I’m definitely happier in my own skin now than I was. I don’t go by he/him pronouns. I don’t go by they/them either. I guess I just really don’t have a preference. Whatever you see me as is your opinion. I’ve learned over the years that I’m not trying to be one specific thing. I’m just Santini. I’m just me.”
Santini acknowledged they felt respected more when dressed as a woman.
“I think it’s just because femininity runs the world. When I started to de-transition, I felt like I had to just be a boy all the time. But I’ve realized over the years that I don’t need to stick to one specific thing. I am always gonna be feminine, and that’s OK.”
Recently, Santini has been embracing their feminine side more.
“I definitely feel more comfortable in female presentation, and more powerful when I’m on stage dressed as Chanel. I love DJ-ing in drag because there are so many straight male DJs in the world. It’s almost like a superhero when he puts on his cape! I think it makes me confident and stand out more as an artist.”
And because Santini loves makeup and fashion, they can incorporate that into their sets. “I’m not just bringing you good vibes and good music. I’m bringing you a show/ production!”
Santini is already working on big plans for the future.
“I’m opening up for a huge Pride block party in my hometown, Albuquerque, N.M., on June 12 and 13. It’s a two day festival and I’m super excited for this opportunity. I’m even hiring backup dancers and a choreographer.”
Santini plans to go “all out” for this show.
“It’s gonna be the biggest crowd that I’ve ever played for,” Santini enthused. “I’m putting my heart and soul into this performance, especially because it’s Pride in my hometown, and that means so much to me. I know the younger me would be so proud.”
Santini remembers going to Pride when they were younger and telling themself they couldn’t wait to be up on that stage.
“I’m truly living my dream right now, and I’m so excited for the future. The last 10 years of being in the adult entertainment business have been great and have given me major success. But I always knew that I didn’t want to be in this industry for long.”
Santini acknowledged that, in the recent past, it was a struggle.
“I’ve been trying to find myself and figure out what I wanna do next with my life. Now that I’ve found this passion for DJ-ing, it makes me want to go far in this business.”
In addition to being a DJ/artist, Santini is starting college next semester.
“I’m gonna get my degree in audio engineering,” Santini enthused. “I can’t wait to start producing my own tracks. I especially can’t wait till the day I’m headlining a major festival! I know with a little bit of patience and hard work that I can get there! I just have to continue believing in myself.”
Santini wanted to thank all of their fans for their support. “Truly, if it wasn’t for them, I wouldn’t be able to fund my art in the way that I have. I’m truly grateful. And I’m excited for the future!”
Music & Concerts
Gaga, Cardi B, and more to grace D.C. stages this spring
Shake off your winter doldrums at a local concert
D.C. shakes off its winter blues this spring as the music scene pops off. We all know the big star is coming: Lady Gaga will perform at Capital One Arena on March 23. But plenty of other stars, big and small, will grace D.C. stages, including many LGBTQ and ally artists.
March
3/15, 9:30 Club, St. Lucia – Indie electronic music project known for its synth-pop sound, which blends ‘80s influences with electronic and indie rock elements.
3/31, Lincoln Theatre, Perfume Genius – Indie/pop singer/songwriter Mike Hadreas, also known as Perfume Genius, has toured with a full band, but he is stripping things back for this tour.
April
4/8, Capital One, Cardi B. Cardi B, from New York, unapologetic and proud, is the first solo female artist to win the Grammy Award for Best Rap Album. This year, she’s on her Little Miss Drama Tour, in support of her second studio album, “Am I the Drama?”
4/13, Lincoln Theatre, The Naked Magicians. Australia’s The Naked Magicians are two performers who deliver live magic and laughs while wearing nothing but a top hat and a smile.
4/18, Capital One, Florence and the Machine. Longstanding indie rock back from Great Britain, much-loved for lead singer Florence’s powerful vocals. On their Everybody Scream Tour.
4/16, Capital One, Demi Lovato. Singer/songwriter from Texas, who came out as nonbinary, is traveling on her “It’s Not That Deep Tour.”
4/21, The Anthem, Calum Scott. Platinum-selling gay singer/songwriter Calum Scott released his latest project, Avenoir, last year. Scott rose to fame in 2015 after competing on Britain’s Got Talent, where he performed a cover of Robyn’s hit “Dancing on My Own“.
4/26, Atlantis, Caroline Kingsbury. American queer pop musician from Los Angeles. She released her debut album in 2021, and has two additional EPs. She’s played Lollapalooza 2025 and All Things Go 2025, as well as gone on a co-headlining U.S. tour with MARIS. Shock Treatment is her latest EP.
4/26, Anthem, Raye. This bisexual artist, known for her current chart-topping “”Where Is My Husband!” single, blends pop, jazz, R&B, and more.
4/30, Union Stage, Daya. This bisexual singer/songwriter is on her “Til Every Petal Drops Tour,” touring the album of the same name that was released last year.
May
5/1, The Anthem, Joost Klein. Eurovision comes to D.C. in Joost Klein: Originally a Youtuber, he was selected to represent the Netherlands at Eurovision in 2024 with his song “Europapa.” He released a new album on New Year’s Day.
5/1, Fillmore, MIKA. MIKA is on his Spinning Out Tour. Born in Beirut and raised in both Paris and London, MIKA sings in multiple languages and has co-hosted Eurovision.
5/7, 9:30 Club, COBRAH. Clara Christensen, is a Swedish singer, songwriter, record producer, and club queen, making electronic dance music.
5/19, Atlantis, Grace Ives. New York-born singer/songwriter, known for her high-energy synth/electronic, bedroom-pop-style music.
June
6/2, The Anthem, James Blake. English crooner got big from his self-titled debut album in 2011. He won two Grammys and just released his 7th album,Trying Times, in March.
Music & Concerts
Washington chorale kicks off Christmas with vibrant program
‘Thine Own Sweet Light’ concerts planned
The full Washington Master Chorale will return for its annual holiday concert tradition with “Thine Own Sweet Light” on Friday, Dec. 19 and Sunday, Dec. 21 at St. Ann’s Catholic Church (D.C.) and Church of the Epiphany (D.C.).
The concert will feature the rich sounds of the 50-voice, a cappella chorus performing lush, seasonal choral music inspired by the theme of light. Highlights include Edvard Grieg’s “Ave Maris Stella,” Eric Whitacre’s “Lux Aurumque,” and Christopher Hoh’s “Holy, Holy, Holy is the Lord God of Hosts.” The program will also present a new work by Barcelona composer Josep Ollé i Sabaté, along with charming holiday folk songs and seasonal favorites.
For more details, visit the Washington Master Chorale website.
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