A MADRIGAL OPERA Parts III, IV & Closing (Philip Glass) Notre Dame IN 2019

Information on the Performance

• Work Title: A Madrigal Opera Parts III, IV and Closing  
• Composer: Glass Philip   
• Libretto: various  
• Venue & Opera Company: DeBartolo Performing Arts Center of the University of Notre Dame, Indiana  
• Recorded: March 29, 2019
• Type: Concert Live
• Singers: Jessica Roberts, Katrina Keat, Erin Donegan, Brandon Hollihan, Zen Kuriyama, Howard Eckdahl
• Conductor: Carmen-Helena Téllez  
• Orchestra: Luis Enrique Vargas, VIOLA  
• Chorus: Notre Dame Vocale  
• Stage Director: Carmen-Helena Téllez  
• Stage Designer: Geoffrey Bell  
• Costume Designer:   
• Lighting Designer: Jason Swift  

Information about the Recording

• Published by: Carmen-Helena Téllez  
• Format: Streaming
• Quality Video: 4 Audio:4
• Subtitles: nosubs  

• ADDITIONAL INFORMATION ON THIS PERFORMANCE

  A Madrigal Opera is a minimalist chamber opera in four parts, for six voices, violin and viola, composed in 1979 by Philip Glassfor the German playwright Robert Malasch. It has the peculiarity of not having a specific content, a different author being able to graft their libretto onto the score at the whim of new productions which, themselves, may have a different title.

  A Madrigal Opera by Philip Glass is scored for a chamber ensemble consisting of six vocalists (Soprano, Mezzo-Soprano, Alto, Tenor, Baritone, and Bass) and a single instrumentalist who performs on both violin and viola.

  The work is composed in a series of abstract parts that do not follow a specific narrative.

  Part I: Opening: An introductory segment often listed as “Part I – Opening” on recordings.
  Part II: The second major musical movement.
  Part III: Features a prominent and technically demanding viola solo.
  Part IV: The final numbered part.
  Closing: A concluding section that rounds out the approximately 60-minute work.

  Glass conceived this piece as an open-ended “abstract music theater work”. It was intentionally written without a specific libretto or stage directions so that future directors and writers could “complete” it with their own narrative content or text. In many recordings, the vocalists sing on solfège syllables rather than traditional lyrics.

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