Micaela Haley is about to command the theatre of your mind and render you captive with her first recorded statement, Syren. Composed of twelve techno-phonic interpretations of some of opera’s most breathtaking hours including three original pieces, Micaela's Syren is a powerful and boundary transcending experience. The music soars from lucid meditations to power surges of pulsing choruses, each number boldly realized in state-of-the-art strokes as Micaela masterfully lends voice to the emotions underneath. 

Mistress Micaela strips the art form at the seams exposing the salacious current that runs throughout the world of opera, transporting ageless classical standards from the realm of museum pieces to vibrant compositions of reviviscence. At the heart of Syren beats Micaela's fiery streak of defiance against the hypocrisy at play between opera's artier-than-thou veneer and the proliferation of decadence at its core. “People tend to think that opera is so conservative,” Micaela mocks, “but it is so not. I want to show what really lurks at opera’s core.”

One example is her embrace of “Habanera” from Bizet's Carmen. “Carmen represents the woman who knows what she wants and how to get it. Trust me, she wants it and she gets it.” Micaela winks suggestively. Over the digital slink of techno beats, muted trumpet and climatic effects, Micaela deliciously brings this seductive creature to irresistible life. Micaela also appreciates the realism of romance. Case in point: “Libiamo, ne'lieti calici” from Verdi's La Traviata - also known as “The Drinking Song.” Micaela states. “A woman is flirting with a man who catches her eye at a party during this piece. Modern and relatable.” Verdi was the rock star of his day, so Micaela graces “Libiamo” with a fitting treatment of synths and hard guitars. Her final note will penetrate you and leave you in euphoria. Then there is Humperdinck's “The Prayer,” sung in German and easily the most modern piece of the collection. “It's opera meets 'The Matrix,' if you will," Micaela observes. 

Three new compositions on Syren are more in line with sexual bliss, but with novel twists. “The haunting "Come Away" is a melody that has been with Micaela for several years now.  “It reminds me of a scene in the movie 'What Dreams May Come,'” she reflects, “a mysterious and seductive place.” Also enticing is “Amore Nascosto,” the story of an English speaking girl in love with her Italian professor. Finally, the alluring “How Do You Know” is delivered in a breathy style that recalls “Je t'aime” by Serge Gainsbourg.” Micaela gets into the story of this original. “How do you know when a kiss is just a kiss? The girl is sleeping with someone and wonders if a real relationship will occur or if they will only remain lovers. This is opera.”

With six Scorpios in her astrological chart and planet Venus that rules over sex and love in Scorpio as well, Micaela was born to embody the arts of love and seduction. Having resided in Florence, Paris and Berlin as well as the metropolitan American cities of New York, Chicago and Los Angeles, Micalea speaks and sings in Italian, French, German and English. She is also an accomplished violinist and writer. Part classically trained Lyric Soprano, part railing revolutionary performance artist, Micaela is on a mission to usher opera into the proverbial “new day” with her richly conceptualized Syren.

From her stunning couture on Syren's striking album cover and website gallery to the impeccable song selections within, Micaela's debut was deeply influenced not only by all genres of music but by Italian, French and German films along with art and books. The hat alone in one photo is a four-way nod to painter René Magritte, silent film star Charlie Chaplin, Stanley Kubrick's "A Clockwork Orange" and actress Lena Olin in “The Unbearable Lightness of Being.” Micaela points to Hemingway's “The Garden of Eden” as the book that shifted her perspective on life. She confesses. “I was a freshman in high school and teaching Sunday school. I was a bit too rigid so I think this book was placed in my path to shake me up a little. Mmmm, a lot.”

Hemingway’s effects are strongest reflected in Micaela's pulsating dance club interpretation of “Ave Maria,” a sacred piece most often delivered in a solemn meter and manner. It may well be Syren's most controversial arrangement, particularly in her planned way of presenting it. “I envision performing this in a gay dance club because of the oppression religion can unleash,” she laments. “Don’t judge less ye be judged. What part of that sentence isn’t clear?”

The overall message of Syren concerns the seductive power that love holds over all. And few songs are more swoon-worthy than Edith Piaf's eternally poetic “La Vie en Rose” with which Micaela dynamically opens Syren. Over its forceful bass line and driving sounds, Micaela soars from whispered passages to revelatory choruses, reflecting the powerlessness and surrender of love in a most brilliant way. For the project's equally compelling closing bookend, Micaela sings Offenbach's barcarolle of eternal devotion “Belle Nuit”- in luscious dual layers of melody - as a duet with herself. Strokes of the piano give way to hard drums and guitars as the two insatiable Micaelas send listeners on their way with vibrations of orgasmic euphoria. 

With her steamy recording maiden voyage now complete, Micaela Haley hopes to make powerful, lasting statements about art, sexuality and lifestyle. “The thing that is lacking in artists my age today is a sense of mystery,” Micaela concludes. “Everything is so promiscuous, but I believe everyone can appreciate the greater anticipation that comes with desire and longing. I intend for my music to bring a sensual approach back.”