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Contents
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The Loathly Lady is an original comic work in three
acts, conceived at the cusp between opera and musical theater.
The plot is based on Geoffrey Chaucers The
Wife of Baths Tale (c. 1400), in which a cruel
knight must discover what women want most. The Loathly
Ladys knight meets a series of opinionated characters
in the course of his questingSigmund Freud, Jane Austens
Emma, Sheherezade, Virginia Woolf, Shakespeares Titania,
the Lady of Shalott.
When the knight is in his own medieval world, the music
evokes the Ars Nova idioms of Chaucers day and is
scored for early instruments (with modern substitutions
indicated). When the knight encounters characters from other
periods and cultures, the idioms and instrumentation shift
accordingly.
In this comedy of male-female misunderstanding, magic and
science come to blows in the figures of Merlin and Freud.
Can we speak to each other across the gulfs of time and
gender and world view? The answer is perhaps,
and the process of finding out, we hope, will be a feast
for the ears, the mind, and the heart.
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Wendy Steiner
Librettist
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Paul Richards
Composer
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Elf Queen / Maiden / Lady
of Shalott / Loathly Lady.......................................Soprano
Knight...............................................................................................................Baritone
Queen Guenevere..................................................................................Mezzo-Soprano
Lady 1................................................................................................................Soprano
Lady 2................................................................................................................Soprano
Merlin......................................................................................................Counter-Tenor
Sigmund Freud......................................................................................................Tenor
Titania................................................................................................................Soprano
Oberon......................................................................................................Bass-Baritone
Sheherezade.......................................................................................................Soprano
Emma Woodhouse................................................................................Mezzo-Soprano
Eliza Doolittle...................................................................................................Soprano
Virginia Woolf..................................................................................................Soprano
Prologue/Echo.............................................................Female
Chorus (SSA) or 3 Soli
Changeling Child, Courtiers,
Supernatural Creatures......................Non-singing roles
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Scene 1. The Prologue conjures up a magic tapestry filled with flowers and pixie musicians. Woven among them isan Elf Queen, who longs to enter the
real world. She emerges from the tapestry as a Maiden, falls in love with a
Knight, and suffers rape at his hands. Unable to understand his cruelty, she
puts a curse on him: the Knight must understand the meaning of his crime
or die.
Scene 2. Queen Guenevere and her ladies-in-waiting debate the Knight’s
crime—Lady 1 hardened against all men, Lady 2 rather soft on them. The
Queen puts an end to the quarrel by declaring that they will teach the Knight
a lesson.
Scene 3. The Queen informs the Knight that his death sentence will be
interrupted for a year and a day while he goes on a quest. At the end of that
time, he must return with the answer to a question or die. The Queen holds
a Chalice richly gleaming with jewels and gold on which this question is
engraved in many languages: “What Do Women Want Most?”
Scene 4. Merlin warns the Knight that it will not be easy to find the answer
to the Queen’s question, since Sigmund Freud spent his whole career trying to
do so without success. Merlin conjures Freud up from the future, and the great
psychoanalyst expresses his frustration. But the Knight cockily answers that he will succeed where Freud failed because he will conduct extensive interviews
with lovely ladies. Merlin supplies their addresses in a medieval Filofax called The Book of Dames, and the Knight contemplates the delightful year ahead of
him as the first act ends.
Scene 1. The Elf Queen reveals a magical world hidden in the tapestry that includes Shakespeare’s Titania and Oberon. To the Knight’s question, Titania
answers that women most want a child. But Oberon objects that as soon as a
woman gets a child she loses a husband. The Knight concludes that Oberon is
right, as the others fade back into the tapestry.
Scene 2.
Sheherezade emerges from the tapestry next to answer the Knight’s
question. In a tango she declares that women most want passion. The Knight asks to hear more, and Sheherezade finally reveals that what women actually
want is a moment of perfect communication. The Knight rejects this answer
out of hand, claiming that what women want most is endlessly repeated sex
until men lose interest altogether. Sheherezade fades back into the tapestry.
Scene 3. Jane Austen’s Emma Woodhouse next steps out of the tapestry to speak with the Knight.
What women most want, she says, is a noble, loving
man, a “Mr. Knightley.” The Knight thinks she is hopelessly naive; what
women really want from men, he says, is status and wealth.
Scene 4. The Knight continues on to the Lady of Shalott’s Tower, where
Virginia Woolf and Eliza Doolittle are stone caryatids holding up the doorway. Shalott, we learn, is under a curse that prevents her from leaving her tower or
even looking out of her window. The three women sing of what they want
most: Virginia wants a room of her own, Eliza wants a room somewhere, and
the Lady of Shalott wants a room with a view. The Knight concludes that what
women really want is real estate. Shalott, overcome with love for the Knight,
leaves her tower and the curse falls upon her.
Scene 5. Furious, the female characters from Scenes 1-4 berate the Knight,
saying that he will never learn what women want most. He counters that he
has found the answer: women most want him. The women abandon him in disgust.
Scene 6. The year is almost over and the Knight has not found the answer to
the question. A Loathly Lady emerges from the tapesty, promising to provide
the correct answer if the Knight grants her a wish. He agrees and the act ends.
Prelude, A Twelvemonth and a Day. The Knight makes his way back to
Camelot to deliver the Loathly Lady’s answer. The events of the past year flit
across his mind in the form of John Kindness’s storyboards for The Loathly
Lady.
Scene 1. Back at the court, the Knight reports the Loathly Lady’s answer:
women most want “mastery in marriage”—Chaucer’s words for power within
love. The ladies of the court agree, though the Knight, arrogant as ever, does
not seem to have learnt anything from his adventures. It is now the moment
for the Loathly Lady to reveal her wish: the Knight must marry her. The ladies
of the court gloat at the Knight’s misfortune as the wedding is performed. The
Knight bemoans the end of his happy youth.
Scene 2. Merlin and Freud argue as to which of them is more qualified to treat
the Knight. The Loathly Lady puts an end to their quarrel by saying that she will be the one to cure him.
Scene 3. In bed on their wedding night, the Loathly Lady offers the wretched
Knight a choice: to remain old and faithful or to become young but perhaps
unfaithful. The Knight returns the choice to the Lady, who is so gratified to have achieved mastery in marriage that she becomes young and beautiful as
well as faithful. Merlin rejoices, but Freud has already forgotten the answer
to the question, “What do women want most?” The Prologue returns to ask whether such happy endings are still possible in our day.
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Paul Richards is an Associate Professor of Composition and
Theory at the University of Florida. He has previously taught
at Baylor University, and holds degrees from the University
of Texas at Austin and the University of Arizona. He is the
recipient of various national and international prizes and
commissions, including the Jacksonville Symphony Fresh Ink
Competition, the Truman State University/M.A.C.R.O.
Composition Competition, the New Music for Sligo/IMRO Composition
Award, the International Horn Society Composition Competition, Special
Distinction in the ASCAP Rudolph Nissim Award, and several others. His works
have been commissioned by orchestras, wind ensembles, and chamber groups, and
performed at conferences, festivals, and concerts across the United States and
internationally on six continents. His music is recorded on the MMC, Capstone,
Mark, Summit, ERM, and Meyer Media labels, and is published by Southern
Music, TrevCo Music, Jeanne, Inc., IHS Press, and Margalit Music.
Wendy Steiner holds the Richard L. Fisher Chair of English
at the University of Pennsylvania and is Founding Director
of the Penn Humanities Forum. Her fields are contemporary
literature, visual art, and aesthetics. Recipient of a
Guggenheim Foundation Fellowship among other honors,
she has published many books, including Literature as
Meaning (2005), Venus in Exile: The Rejection of Beauty in
Twentieth-Century Art (2001), and The Scandal of Pleasure: Art in an Age of
Fundamentalism (1995, listed among The New York Times’ “100 Best Books of
1996”). Her cultural criticism has appeared in the Nation, New York Times, Los
Angeles Times, London Independent, London Review of Books, and Times Literary
Supplement, and her creative nonfiction, in Parnassus, The Michigan Quarterly
Review, The Southwest Review, and the LRB.
John Kindness studied fine art at the old College of Art (now
the University of Ulster) and worked as a graphic designer for
the BBC before devoting himself full-time to art making in
1986. Since then he has held fellowships in the International
Studio Program at PS1 in Queens and the British School in
Rome. His exhibition, “Treasures of New York,” led to solo
exhibitions at the ICA in Philadelphia, the Kerlin Gallery in
Dublin, the Drawing Room in New York, and Littlejohn Contemporary. His work
is collected in the Boston Museum of Fine Arts, British Council, Imperial War
Museum, National Gallery of Ireland, Ulster Museum, and Victoria and Albert
Museum. John lives in London.
Trained at the Musiecklyceum in Amsterdam
and the Conservatorio Antinori in Perugia, John holds an
M.A. in pre-classic musicology and is an expert in early
woodwinds and Renaissance and Baroque performance practice.
He is a founding member of the Gramercy Baroque Ensemble,
has recorded for the Nonesuch and Lyrichord labels, and
has performed in the Spoleto Festival of Two Worlds and
Carnegie Hall. He currently has a teaching practice in New
York. |
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Clips
The Loathly Lady had its première on April 1, 2009 in Irvine Auditorium in Philadelphia with Gary Thor Wedow conducting. It starred Julianne Baird, Thomas Meglioranza, José Álvarez, Jeffrey Behrens, Ruth Cunningham, Susan Hellauer, and Jacqueline Horner-Kwiatek. The orchestra members were Andrea Andros, Beverly Au, Matt Bengtson, Rachel Evans, Ben Harms, Greg Ingles, Joan Kimball, Lawrence Lipnik, Ed Matthew, James Miller, Rosamund Morley, Randall Rudolph, Susan Shaw, Priscilla Smith, Nina Stern, Margaret Swinchoski, Lisa Terry, Charles Weaver, and Robert Wiemken.
This was a concert performance with projections of still and animated images drawn by John Kindness and designed by Peter Gaffney and Wendy Steiner. Joshua Mosley was the consultant for animation and Erinn Hagerty was the lead animator.
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José Álvarez
Merlin
José Álvarez recently made an unscheduled debut with Chicago Opera Theater where he sang the title role in Handel’s Orlando under the baton of Raymond Leppard. He has appeared as a 2008 Young Artist with Chicago Opera Theater and a 2007 James M. Collier Apprentice Artist with Des Moines Metro Opera, where he covered Oberon in Britten’s A Midsummer Night’s Dream. Mr. Álvarez’s television credits include the soundtrack for Brave New Girl, a made-for-TV movie for the ABC Family Channel. He has performed in concert and recital in Chicago, Los Angeles, El Paso, Las Cruces, Alamagordo, Carlsbad, New Canaan, and Juarez, Mexico. Mr. Álvarez was awarded Third Place in the 2008 Irma M. Cooper Opera Columbus International Vocal Competition. He was a winner of a 2007 Schuyler Foundation for Career Bridges Grant, as well as the Francis Ramo Cusumano Memorial Award at the 2007 Florida Grand Opera/Young Patronesses of the Opera Voice Competition. Mr. Álvarez was a finalist in the 2007 Fritz & Lavinia Jensen Foundation Voice Competition, the 2007 Licia Albanese-Puccini Foundation International Vocal Competition, the 2007 Bel Canto Vocal Scholarship Foundation Competition, and the 2007 Marian Anderson Prize for Emerging Classical Artists. He was also a participant in the 2007 Joy in Singing Master Classes. Mr. Álvarez holds a Master of Arts in Music and Music Education from Columbia University Teachers College, and a Bachelor of Music in Vocal Arts from the University of Southern California’s Thornton School of Music.
Julianne Baird
Loathly Lady, Maiden, Elf Queen, Lady of Shalott
Julianne Baird has been hailed a “national artistic treasure”
(New York Times) and a “well-nigh peerless performer in
the repertory of the baroque, who possesses a natural
musicianship which engenders singing of supreme expressive
beauty.” Ms. Baird maintains a busy concert and recording
schedule of solo recitals and performances of baroque opera
and oratorio.
With more than 125 recordings on Decca, Deutsche Gramophone, Dorian, and
Newport Classics, Julianne Baird is one of the world’s ten most recorded classical artists. In addition to her major roles in a series of acclaimed recordings of Handel and Gluck operatic premieres, recent projects include a Carnegie performance of
the lead role in La Giuditta of Alessandro Scarlatti with a subsequent recording. For 2008-09, recordings of Handel Arias from Alcina and Rinaldo with the
Dryden Ensemble and The Loathly Lady, a new opera based on Chaucer’s “The
Wife of Bath’s Tale,” are planned. She recently recorded the Handel Deutsche Arien with Tempesta di Mare for the British label Chandos. Her new Christmas album
with Aulos, “In Dulci Jubilo,” has already received rave notices from the press.
A recording featuring the poetry of Ronsard and the French Renaissance was
recorded in May, 2008. Julianne Baird is recognized internationally as a performer
whose “virtuosic vocal style is firmly rooted in scholarship.” Her book Introduction
to the Art of Singing, Cambridge University Press, now in its third printing, is used by singers and professional schools internationally. The Musical World of Benjamin
Franklin (CD and Song Book) was released in 2007 by The Colonial Institute.
Jeffrey Behrens
Freud/
Oberon
Jeffrey Behrens has performed many operatic roles, including
Goro in Madama Butterfly, Squeak in Billy Budd, Il Podestà
in La Finta Giardiniera, Pluton in Orphée aux Enfers, Peter
Doyle in the world premiere of Miss Lonelyhearts, Rinuccio
in Gianni Schicchi, Alfred in Die Fledermaus, and Tom
Rakewell in The Rake’s Progress. Equally at home in concert
and on the stage, his concert work includes Carmina Burana,
Mozart’s Requiem, and Beethoven’s Ninth Symphony. Mr. Behrens has been
awarded prizes from the Lotte Lenya Competition, Opera Index, and the Gerda
Lissner Foundation, and was a regional finalist with the Metropolitan Opera
National Council Auditions. He has performed with such opera companies as
New York City Opera, Utah Opera, Santa Fe Opera, and Opera Omaha, and has
been a young artist with Santa Fe Opera, Music Academy of the West, the
Britten-Pears Programme, Central City Opera, and Merola Opera Program with
San Francisco Opera. He hails from Rochester New York, and holds a BFA from
Carnegie Mellon University, a MM and an AD from the Juilliard School.
Ruth Cunningham
Titania, Virginia Woolf, Lady-in-Waiting #2, Prologue
Ruth Cunningham combines her skills as a classically trained
musician and a sound-healing practitioner in improvising
music that connects people to the healing and spiritual
power of music. She specializes in improvisational sacred
music from varied spiritual traditions in both liturgical and
concert settings. Ruth is a founding member of the acclaimed
women’s vocal quartet Anonymous 4, performing in concerts
and festivals throughout the United States, Europe, and the Far East. Her ten
recordings with the group include nine of medieval chant and polyphony for
Harmonia Mundi and one, Voices of Light, by contemporary composer Richard
Einhorn, for Sony Classical. After an absence of nine years, Ruth rejoined
Anonymous 4 in 2007. Her most recent solo CD releases are Harpmodes: Journey
for Voice and Harp and Light and Shadow: Chants, Prayers and Improvisations.
Other recordings include HARC: Inside Chants with Ana Hernandez, Sacred
Light with harpist Diana Stork, and Ancient Beginnings, part of the Open Ear
Center’s music for healing series. She is featured on Invoking the Muse, with
Frame Drummer Layne Redmond and has also performed and recorded with
Early Music NY and the Renaissance vocal ensemble Pomerium. Ruth received a
B. Mus. in Performance of Early Music from the New England Conservatory of
Music and is certified as a cross-cultural music healing practitioner (CCMHP) by
the Open Ear Center, where she studied with Pat Moffitt Cook.
Susan Hellauer
Queen Guenevere, Emma Woodhouse, Prologue
Susan Hellauer is a member of Anonymous 4 and has done
the bulk of the group’s medieval music research leading to
numerous award-winning recordings with Harmonia Mundi.
She earned a B.A. in music from Queens College, CUNY, as
a trumpet player, but an increasing fascination with medieval
and Renaissance vocal music led her to convert to singing
and to pursue degrees in musicology from Queens College
and Columbia University. Susan has performed with such ensembles as Pomerium,
Lionheart, The Harp Consort, Apollo’s Fire, and the Fes International Festival of
Sacred Music. A singer, voice teacher, and choral coach, she is an adjunct professor
at Queens College of the City University of New York. She also plays sackbut and Baroque guitar, and is a volunteer EMT and driver with the Nyack Community Ambulance Corps.
Jacqueline Horner-Kwiatek
Sheherezade, Eliza Doolittle, Lady-in-Waiting #1, Prologue
In addition to her work as a member of the world famous
vocal quartet Anonymous 4, Jacqueline Horner-Kwiatek has
a reputation as a versatile and accomplished soloist,
performing music from Bach to Babbitt. Recent solo work has
included Bach cantatas with The Washington Bach Consort
DC and Dr. J Reilly Lewis and the Bach Sinfonia DC, Bach
and Handel arias at Carmel Bach Festival with Bruno Weill,
songs by Dowland and others with The Folger Consort at the National Cathedral
DC, Haydn, Mozart’s Regina Coeli with The Capitol Hill Chorale, Mendelssohn’s
Lobgesang with the Choral Arts Society of Philadelphia, and the premiere of new
opera and concert works with Albany Symphony Orchestra´s contemporary music
group Dogs of Desire, conducted by David Alan Miller. Upcoming projects include
the world premiere of Richard Einhorn’s oratorio The Origin at SUNY Oswego,
and a new CD of medieval Christmas music with Anonymous 4. Jacqueline is
also a voice teacher. She has thriving studios in NYC and DC and is a member
of the faculty at the annual choral workshop Musica Deo Sacra in DC. She gives
masterclasses and ensemble technique workshops all over the US, including SUNY
Oswego, Mannes School of Music NYC, University of Georgia at Athens, and
Georgetown University DC.
Thomas Meglioranza
Knight
Hailed as “one of today’s finest young singers” (Newsday),
American baritone Thomas Meglioranza was a winner of the
2005 Naumburg Competition and the 2002 Concert Artist
Guild Competition. Last season, he sang John Harbison’s
new Symphony No. 5 with the Boston Symphony and made
his London recital debut in Wigmore Hall. This season’s
performances include a tour with Peter Serkin and the
Brentano String Quartet performing music of Schoenberg, the title role in the
world premiere of Gordon Shin’s Mackay: Black-Bearded Man in Taiwan, Handel’s Messiah with the Minnesota Orchestra, and Rodgers and Hammerstein songs at
the Kennedy Center with the National Symphony. He has sung the role of Prior
Walter in Peter Eötvös’ Angels in America, and Chou En-Lai in John Adams’ Nixon
in China with Opera Boston, and has appeared with the MET Chamber Ensemble
with James Levine, the Grant Park Symphony, the Oregon Symphony, Houston
Symphony, the Orpheus Chamber Orchestra, and Philharmonia Baroque, among others. Mr. Meglioranza recently released his first solo CD of Franz Schubert’s songs, A graduate of Grinnell College and the Eastman School of Music, Thomas
Meglioranza is also an alumnus of Tanglewood, Aspen, Marlboro, and the Steans
Insititute at Ravinia.
Gary Thor Wedow
Conductor
Gary Thor Wedow served as Chorus Master of the New York
City Opera from 1997–2007, a post he previously held at
the Santa Fe Opera and the Canadian Opera Company. He
was also head of the Canadian company’s prestigious
Ensemble Studio. Recently he conducted Bach’s Mass in B
Minor for the Berkshire Choral Festival, Gilbert and
Sullivan’s Patience at New York City Opera, Messiah with the
Edmonton Symphony, Xerxes for the Pittsburgh Opera, and a new production of
Pirates of Penzance for Glimmerglass Opera. Giulio Cesare highlighted the
2006–2007 season for Seattle Opera and La Finta Giardiniera for the Juilliard
School in New York City. At New York City Opera, he conducted Carmen and at
Chautauqua, L’Elisir d’Amore. Maestro Wedow’s long ssociation with the New
York City Opera has included conducting Le Nozze di Figaro and the company’s acclaimed production of Xerxes. Further credits include Handel’s Alcina and
Ariodante for Toronto’s Opera in Concert, selections from Aida, Iris, and William
Tell at the Berkshire Choral Festival and Mozart’s Mass in C Minor for the SUNYPurchase
Festival. Performing a wide range of repertoire, he was for many years
Associate Conductor of Boston’s Handel and Haydn Society. Mr. Wedow also has
often participated with the composer in the performance of new works including
those of Hans Werner Henze, Tan Dun, David Lang, Siegfried Matthus, Jake
Heggie, Judith Weir, and Tobias Picker’s opera Emmeline, broadcast on PBS.
Parthenia, A Consort of Viols
Parthenia, hailed by The New Yorker as “one of the brightest lights in New York’s
early-music scene,” is a dynamic ensemble exploring the extraordinary repertory
for viols from Tudor England to the court of Versailles and beyond. Known for
its remarkable sense of ensemble, Parthenia is presented in concerts across
America, and produces its own lively and distinguished concert series at Corpus
Christi Church in Manhattan, collaborating regularly with the world’s foremost
early music specialists, and has been featured on radio and television and in
prestigious festivals and series including Music Before 1800, Maverick Concerts
and the Regensburg Tage Alter Musik. Parthenia has commissioned, premiered
and recorded many new works by composers such as Phil Kline, Brian Fennelly,
Will Ayton, Randy Sandke, David Glaser, Kristin Norderval, and others, in part
through grants from the American Composers Forum, the Jerome Foundation,
the Fromm Foundation, the Camargo Foundation, Roger Williams University, the
Viola da Gamba Society of America, and private funders. The group has recently
finished editing a new CD of 16th-century French songs set to the poetry of Pierre
de Ronsard, with soprano Julianne Baird and Renaissance violinist Robert Mealy. Parthenia is
represented by Wendy Redlinger, Senior Artist Representative of GEMS Live.
Piffaro, The Renaissance Band
Piffaro, founded in 1980, performs music of the late Medieval and Renaissance
periods on a large and varied collection of early wind instruments, augmented by
percussion and strings. Modeled after the official civic, chapel, and court bands
that were the premier professional ensembles from the 14th to the early 17th
centuries, Piffaro has also explored the instruments and music of the peasantry and
rustic life. Under the direction of Joan Kimball and Robert Wiemken, the Band
produces its own concert series in Philadelphia with three to four programs per
year, bringing to their series some of the finest talents in early music performance
as their guests. Excerpts from these concerts are regularly broadcast nationwide on
National Public Radio’s Performance Today. Piffaro has performed in many of the major early music series in the US, including Music Before 1800 and The Cloisters
Concerts in New York City, the Seattle Early Music Guild, the San Francisco Early
Music Society, the Concert Society at Maryland, Milwaukee’s Early Music Now,
and the Pittsburgh Renaissance & Baroque Society. The ensemble made its
European debut in May of 1993 at Tage Alter Musik Regensburg and since then
has played throughout Europe. Piffaro has recorded for Newport Classics,
Deutsche Grammophone, and Dorian Records.
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