The Wolf by the Ears - Ithaca Amy Brinkman-Davis ... to slavery is like having the wolf by the ears: ... He created the role of Lurch inThe Addams Family on

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  • Opera Workshop Presents:The Wolf by the EarsComposed by Dana WilsonLibretto by J. Robert Lennon & Dana Wilson

    Conducted by Brian DeMarisStage Direction by David Lefkowich

    Co-sponsored byIthaca College Light Opera

    Ford HallWednesday, April 8th, 20158:15 pm

  • Notes from the Composer

    This opera has been for me many years in the makingfrom alifetime of interest in Jefferson to the DNA analysis linking him to SallyHemings (and all of its social implications), to hammering out theoperas dramatic shape, to an exhilarating collaboration with authorJohn (J. Robert) Lennon.

    And now Im thrilled to have the incredible talents of Brian DeMarisand David Lefkowich bring the piece to life on every levelfromplanning to logistics, to rehearsals, and finally to this eveningsperformance. And, finally, Im excited to witness the coming togetherof the boundless talent and dedication of principal singers CherisseWilliams and Zach James, and of the entire Ithaca College OperaWorkshop cast and orchestra.

    I learned so much about this opera in this process, but mainly Ilearned what commitment and fortitude are required to launch such aproject, for which I am deeply grateful.

    --Dana Wilson

  • Artistic StaffConductor Brian DeMarisDirector David LefkowichProduction Design Steve TenEyckCostume Design Sarah Bertolozzi*Associate Designers E-Hui Woo

    Paul Radassao

    CastThomas Jefferson Zachary James*Sally Hemings Cherisse WilliamsJames Hemings Eliodoro CastilloPolly Jefferson Julie AllisonMartha Jefferson Meredith MorseMaria Cosway Abigail DoeringJohn Adams Stephen TzianabosMarquis de Lafayette Timothy PowersBenjamin Franklin Nathan HaltiwangerJames Callender Fred DiengottSlave Woman Heather BarnesSlave Man D'quan TysonYoung Sally Vera Mae CamelYoung Polly Linnea Melo

    Dancers Deanna PayneD'Laney Bowry

    Chorus Leanne AverillSherley-Ann BelleusEmily BeseauD'Laney BowryWei En ChanLiAn ChenXavier EdwardsCynthia MickenbergJosi PetersenJohanna RubyTaylor SmithKristi SpicerKelly TimkoSarah WeldenMimi White

    * Ithaca College alumnus

  • CoversThomas Jefferson Nathan HaltiwangerSally Hemings Heather BarnesJames Hemings D'quan TysonPolly Jefferson Cynthia MickenbergMartha Jefferson Josi PetersenMaria Cosway Kelly TimkoJohn Adams Timothy PowersMarquis de Lafayette Stephen TzianabosBenjamin Franklin Fred DiengottSlave Man Eliodoro Castillo

    OrchestraViolin Natalie Brandt*

    Joseph D'EspositoJenna JordanColleen Mahoney

    Viola Daniel Martinez*Joseph Fleischman

    Cello Emily FarisDavid Fenwick

    Bass Tristen JarvisFlute Sophia Ennocenti*Oboe Hannah CerezoClarinet Nikhil BartolomeoBassoon Sean HarkinTrumpet Jason FergusonHorn Aubrey LandsfeldTrombone Benjamin AllenPercussion Andrew GarayPiano Amy Brinkman-Davis

    * Ithaca College alumnus

  • SynopsisThis opera explores the relationship between Thomas Jefferson and SallyHemings, his slave "mistress," within the many contradictory and hypocriticalsocial structures of their time. Jefferson's considerable power yet inability tolive his own ideals are what make him both tragic and enduringly human.Sally's ability to negotiate a meaningful life within the context of slaveryexhibits her remarkable fortitude and resilience.

    The opera is based entirely on historical information. The chorus serves atvarious times as town's people in Paris and America, and as personal andsocial conscience.

    Prelude

    The opera begins with a solo violin accompanying a ballerina, symbolizing theEuropean-American world that Thomas Jefferson inhabits. Then a djemb(African drum) accompanies a jazz/"African" dancer, symbolizing the slaveworld of Sally Hemings. A brief, awkward duet emerges, though the dancersbarely interact.

    This leads into the music of the orchestra, followed by the chorus meditatingon truth and blood, Jefferson and slavery.

    Act I - Monticello

    Scene One

    Jefferson and his wife Martha express their mutual affection over breakfast.He talks of the burdens surrounding the creation of a new nation, while shecomplains of her intense pain from complications during her recent childbirth.Martha suddenly collapses.

    Scene Two

    Martha lies dying as Thomas ruminates on her illness and then tries tocomfort her. She begs him to promise her that he will never remarry, and heagrees. Upon her death, he grieves his loss, and laments the difficult positionof the newly formed country and the tragic reality of slavery (despite his ownownership of 200 slaves).

    He decides to go to Paris to represent the young country as ambassador andtry to escape his misery. He summons his slave and personal attendant,James Hemings (Sally's older brother), to prepare for the journey. Returningto his own family, James reacts to this demand aggressively.

    Act II-Paris

    Scene One - Jefferson's house in Paris

    John Adams and Benjamin Franklin discuss Jefferson's successes after twoyears in Paris. Adams' puritanical streak and Franklin's "dirty old man" natureare suggested. Jefferson enters and complains that he finds Paris foreign to

  • both his political and cultural sensibilities, and declares his longing forMonticello. Adams and Franklin beg him to stay, as France is on the verge ofrevolution and there is much work to be done. Maria Cosway, a married bellede Paris who has been pursuing Jefferson, arrives hoping to take him to lunch.Their mutual attraction and fliting leads to an awkward embrace, as Adamsand Franklin discuss some business. As the two duets merge to a quartet,Franklin tires of the discussion and implores the other to join him for lunch.Jefferson remains, pondering in an aria the dichotomy created by the logicalsense of his head and the longing of his heart.

    Scene Two - on board ship, looking over the railing

    Polly, Jefferson's daughter, now in her early teens, is en route to Paris to joinher father. Sally Hemings, now 14 years old, is her slave and companion forthe journey. They sing of their respective frustrations on having to make thejourney and of their aspirations.

    Scene Three - Jefferson's house in Paris

    Jefferson and Polly are reunited. Thomas acknowledges Sally, now as a youngwoman. Thomas and the chorus reflect on the ambiguity of relationships inthe South, and the fact that Sally and his dead wife, Martha, are actuallyhalf-sisters.

    Scene Four - Jefferson's house in Paris

    Sally and her brother James (Jefferson's slave and personal attendant) arereunited. James explains that in Paris they are not bound by slavery, and theissues of freedom and loyalty are explored. Sally reflects on the toll slaveryhas taken on her brother and family.

    Scene Five - Jefferson's house in Paris

    Jefferson and Lafayette discuss the rising discontent in Paris (leading soonthereafter to the French Revolution). Polly and Sally enter for their Frenchlesson with Jefferson, during which he becomes aware of his attraction toSally. Polly departs and he talks with Sally and seeds for a relationship areformed.

    Scene Six - Jefferson's house in Paris, with the Revolution exploding outside

    Revolutionaries march amid chaos in the streets, as Jefferson's and Sally'srelationship develops inside. Eventually they discuss their bond in bothromantic and social terms. He realizes he can't do anything more in Paris andwants her to return with him to Monticello; she realizes she is technically freein Paris, and wants him to grant her and her brother freedom should theyreturn to the U.S. She announces that she is pregnant, and finally agrees toreturn with him, even though he can't promise her freedom. They declaretheir love for each other, but wariness and fear are always present.

    There will be one 15-minute intermission.

  • Act III - Virginia

    Scene One - A tavern scene

    With Jefferson now elected President, an unscrupulous newspaperman, JamesCallender, investigates and spreads stories that Jefferson and Sally Hemingsare intimate and have had several children together who are now slaves atMonticello (some even with fair skin and red hair). Folks express thewidespread belief in this story by singing a song published and quite popularat the time.

    Scene Two - Monticello

    Jefferson's and Sally's relationship continues, though difficulty with its natureand ramifications persists. Another slave woman questions Sally as to howshe can continue the relationship. Meanwhile, Polly learns of, and is enragedby, Callender's claims; Jefferson refuses to acknowledge or deny them.Overhearing this, Sally sings of her love, her family, and her plight.

    Scene Three - Monticello

    The orchestra plays a European-style minuet as guests dance and socialize.Jefferson mingles, revealing his flamboyant side--taking generous gulps ofwine and charming the women. His daughter Polly joins the fun, while Sally isserving food (and the two occasionally exchange glances, Polly's menacing).Eventually Jefferson is asked to play his violin. When the music ends, guestsapplaud, say good night and depart. Jefferson, Sally, and Polly then preparefor bed and retire.

    Meanwhile, slave music begins intensely outside the house: a spiritual ("Yougonna reap what you sow") which then evolves into a ritualistic dance ofexorcism. Eventually, the slaves draw knifes and stealthily enter the house ina ritualistic dance; screams are heard as they slash Polly's throat and thenSally's. As they are just about to slash Jefferson's, he bolts upright in his bedand screams--realizing it has all been just a nightmare. The drums suddenlystop and the slaves vanish. He bemoans the fact that America's relationshipto slavery is like having the wolf by the ears: you can't hold on much longer,yet you can't let go.

    Scene Four - Monticello

    Accompanied by a chant-like refrain, individual chorus members take turnsexplaining what became historically of many of the characters mentioned inthe opera. This is followed by a brief recapitulation of the opening chorus, butnow as Jefferson is dying. Gradually all principals join in, singing from theirown perspective: Jefferson ("All men are created equal," etc.), Sally (abouttruth and love), and Polly (promising her father that no one will learn of hisrelationship with Sally).

    A main musical theme returns, now with a ghostly aura, and the lights fade toblack.

    - Dana Wilson

  • Production StaffAssociate Producer Meredith MorseAssociate Conductor & Aimee RadicsChorus MasterAssistant Conductor Randi Ellen RudolphAssistant Director Kelly TimkoAssistant Stage Managers Fred Diengott

    Stephan TzianabusAssociate Costume Design Anna GrigoProduction Electrician Evan Herman-ChinVocal Coach Blaise Bryski

    AcknowledgementsAmani Gospel Singers Ithaca College Light OperaDorothy Cotton Jubilee Ithaca High SchoolSingers Voices Multicultural ChorusFirst Presbyterian Church of Mu Phi EpsilonIthaca Sigma Alpha Iota

    Ithaca College Faculty &Staff:

    Barbara Anger Caitlin MathesRandie Blooding Carol McAmisAmanda DeMaris Scott MelloDiana Dimitrova Deborah MontgomeryAnthony DiRenzo David ParksMat Fournier Patrice PastoreSara Haefeli James PfrehmBrad Hougham Dawn PiercePaula Ioanide Kasey StewartCarl Johengen Jenny StockdaleJennifer Kay Ivy WalzErik Kibelsbeck Marc Webster

    Karl Paulnack, dean

  • Biographical Notes

    Cast & Production Staff biographies can be found at:www.ithaca.edu/music/ensembles/opera/thewolfbytheears/

    Zachary James, bass, created the role of Abraham Lincoln in the worldpremiere of Philip Glass operaThe Perfect Americanat the Teatro Real inMadrid, a role he reprised for Londons English National Opera and AustraliasOpera Queensland. He created the operatic roles of Oberon in the worldpremiere of Kristin Hevner WyattsIl Sogno, at the Teatro Citta della Pieve inUmbria and Rebbe in Andy TeirsteinsA Blessing on the Moonat VancouversChutzpah Festival. He created the role of Lurch inThe Addams FamilyonBroadway, Hassinger in the Tony Award winning Broadway revival ofSouthPacificat Lincoln Center, and sang HandelsMessiahin the 2007 Broadwayplay,Coram Boy. A winner of the 2009 Lotte Lenya Competition, Zach hasbeen engaged by US opera companies including Opera Philadelphia, OperaRoanaoke,Shreveport Opera,Central City Opera, Ash Lawn Opera andKnoxville Opera and in concert with The New York Philharmonic, ThePhiladelphia Orchestra, Collegiate Chorale, American Symphony Orchestra,Symphony of the Mountains and Knoxville Symphony Orchestra. In addition tooriginating in three Broadway shows, Zach played Off-Broadway as PasqualeinThe Most Happy Fellaand Jo-Jo inIrma la Douce. Zach is a 2005 graduateof the Musical Theatre program at Ithaca College where he received theOutstanding Young Alumni Award. Upcoming: BernsteinsMasswith ThePhiladelphia Orchestra, World Premiere ofBreaking The Waveswith OperaPhiladelphia, World Premiere ofDo Not Go Gentlewith The Phoenicia Festival,HandelsSusannawith NYCs Collegiate Chorale. @zjamesoperabasswww.ZachJames.com

    Artistic StaffSarah Bertolozziis a costume designer from Beacon, New York, currentlybased in New York City. Raised with a performance background, Sarahdiscovered her passion for working with costumes while studying theatre atcollege. She went on to graduate with Distinction from the B.F.A. TheatricalDesign program at Ithaca College. Since then, Sarah has enjoyed designingproductions ranging from intimate, one performer plays to large-scalemusicals with casts of sixty. Design Work Includes: Shear Madness - 1st Nat'lTour (Troika Entertainment); Spamalot (Florida Studio Theatre); Snow WhiteZombie: Apocalypse (State of Play). Assistant Design work includes: Sister Act- First Nat'l Tour (Troika Entertainment); New Girl in Town (Irish Rep); Carrie(MCC); The Atmosphere of Memory (Labyrinth Theater Company). Sarah is anArtistic Associate/Resident Costume Designer for FullStop Collective.

    Brian DeMaris currently serves as Music Director of Mill City Summer Opera,Director of Opera and Musical Theatre at Ithaca College, and Artist-Faculty atthe Aspen Music Festival. He has worked with New York City Opera, FloridaGrand Opera, Glimmerglass Opera, Opera Theater of Saint Louis, SyracuseOpera, Tri-Cities Opera, American Opera Projects, American Lyric Theater,Ash Lawn Opera Festival, Music Saint Croix and the Israel Chamber Orchestra.He has appeared at the United Nations, the Aspen Music Festival, BostonsJordan Hall, New Yorks Studio 54, Jazz at Lincoln Center, Symphony Space,

  • Alice Tully Hall, and in recitals, competitions, and master classes throughoutthe United States and abroad. He is the 2nd place winner of the 2013American Prize in Opera and Musical Theater Conducting.DeMaris has alsotaught at Lawrence University, New England Conservatory School ofContinuing Education, George Mason University's International OperaAlliance, the International Vocal Arts Institute in Tel Aviv, and "Meet theArtist" at Lincoln Center. He has served on panels with Opera America andthe National Opera Association, and presented master classes with theNational Association of Teachers of Singing, New York State Music TeachersAssociation and New York State School Music Association. His students haveperformed on Broadway, film and television, and at opera companies andfestivals...

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