Keep up with RosŚa!

Join the email list!

Thanks for stopping by!

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!

Connect with RosŚa!

"For Atticus, the Moonlight's Lover" featured on 21st Century Art Song as Political Statement 

Mezzo-Soprano Emily Jaworski, pianist Chris Steele, and cellist Laura Siskin will be performing Rosśa Crean's "For Atticus, the Moonlight's Lover" as part of the lecture series "21st Century Art Song as Political Statement" at the University of Alabama at Birmingham on February 21, 2020 at 11:30 am. Crean wrote the piece as an abstract response to Putin's anti-LGBTQ+ laws in Russia.

Theodore Haddin Arts and Sciences Forum is an ongoing lecture series at UAB's College of Arts and Sciences. It is a venue for…

Read more

"The Priestess of Morphine" Returns to Rhinofest!!! 

Rosśa Crean’s operatic monodrama “The Priestess of Morphine” pays homage to Marie-Madeleine, the Jewish lesbian erotic writer whose works were sought to be destroyed by the Nazis during World War II. Born Gertrud Gunther in 1881, Marie-Madeleine published her first novel “Auf Kypros” at the age of 19, and by the end of her life published 46 works. Sapphic themes, as well as her tumultuous relationship with morphine, were the central theme of much of her work. All of this was further complicated by her…

Read more

World Premiere of "Hellville" by clarinetist Andy Hudson! 

Clarinetist Andy Hudson will give the world premiere of Rosśa's cycle for clarinet and stomp boxes titled "Hellville," inspired by the artwork of Thomas Ott's graphic novel "Greetings from Hellville." This homage to surrealism takes place at 7:30pm on February 13, 2020 at Tew Recital Hall at UNCG. This concert also includes works by Anna Meadors, Sean Mulcahy, and Asher Sizemore.

Call for Scores Announced! 

Rosśa has announced an open call for scores from composers interested in writing for bass voice, either solo, with a solo instrument, or with experimental prerecorded or live electronics. For anyone interested, please send scores to with the subject heading "Call for Scores".

Duration of piece is open, though 2-5 minute pieces are preferred.

Any language (or no language) is good!

For information about what Rosśa is looking for vocally, please look here: Rossa_Crean_Voice_Info.pdf


The next installment of Rosśa Crean Presents features the world premiere of their newest opera "The Harbingers" on Halloween Night 2019 at the historic Rosehill Cemetery in Chicago. Created with librettist Kendra Leonard, the acapella opera tells the story of several harbingers of death who convene on Halloween Night to judge the fate of a recently departed soul.

A performance of Crean's "Twilight Lifts the Veil: an unaccompanied song cycle for All Hallows Eve" will open the evening, performed by soprano…

Read more

"The Priestess of Morphine" World Premiere in Chicago's International Museum of Surgical Sciences 

The International Museum of Surgical Science presents the newest work from composer Rosśa Crean and librettist Aiden Kim Feltkamp. “The Priestess of Morphine” informs and pays tribute to Jewish lesbian erotic writer Marie-Madeleine, whose works the Nazis attempted to destroy during World War II. Much of her work was seen as “contrary to societal standards on morality,” including Sapphic themes and odes to her dependence on morphine. Tickets can be bought HERE!


Marie-Madeleine was a…

Read more

"The Watchtower Psalms" World Premiere by The New Consort...Connecticut and New York 

Rosśa's commission for The New Consort, an American Prize winning ensemble in Chamber Music, is being premiered April 5th through 7th, 2019 in both Connecticut and New York. "The Watchtower Psalms," a multi-movement work for five voices, was inspired by the Enochian experiments in angelic communication by John Dee and Edward Kelley in the 17th Century. Tickets can be bought HERE!

Rosśa explains the background behind their creation of this piece:

"Since I was 18, I have had a fascination with the 16th…

Read more

Three Rosśa Crean Premieres in One Night at Illinois State University!!! 

Rosśa will be a resident artist at Illinois State University this coming March through the Arts Technology and Music Departments. They will premiering three new pieces on March 28th, 2019, at the Center of Performing Arts, and all pieces will involve electro-acoustic elements. They will be sharing this opportunity with baritone Matthan Black!

"Schöne Gespielin" (Exquisite Playmate): From Sonnet 25 of the First Part of Rilke’s “Sonnets to Orpheus.” In memory of young Vera Knoop, who died aged 18. She had…

Read more

"Twilight Lifts the Veil" (for unaccompanied voice) - Audio Now Available 

Audio from Ross' song cycle for unaccompanied voice, "Twilight Lifts the Veil," is now available under the COMPOSER link. Written for All Hallows Eve, and performed by the extraordinary soprano Katherine Bruton, the cycle was recorded and filmed at Rosehill Cemetery in Chicago, IL on October 31st, 2018. Recorded by Daniel Johanson and directed by Maureen Smith. Sheet music is available HERE!

"Ross Crean Presents: A Queer Engagement" Opens in Chicago August 17 & 18, 2018! 

 Crean presents a celebration of queer classical works! We begin with a cabaret of LGBTQ+ vocal pieces, followed by the Chicago premiere of Ross Crean and Aiden K. Feltkamp's new one-act opera, which serves as a sequel to Mozart's “Don Giovanni.” Click HERE for details and tickets!

A Queer Engagement Cabaret

Claire DiVizio, Soprano
Tom Bailey, Tenor
Angela Born, Soprano
LaRob Payton, Baritone
Caesar Sanchez, Tenor

The Times Are Nightfall

This 1950’s pulp-style story explores themes of rape culture and…

Read more

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 
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, 

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.