FULL SIX ONE ACT OPERAS by First Year CLDP Artists Playlist New York American Lyric Theater

Information on the Performance

• Work Title: One Act Operas by First Year CLDP Artists  
• Composer: see below  
• Libretto: see below  
• Venue & Opera Company: see below  
• Recorded: see below
• Type: Concert Live
• Singers: see below
• Conductor:   
• Orchestra:
• Stage Director:   
• Costume Designer:   

Information about the Recording

• Published by: ALTNYCGT  
• Format: DVD
• Quality Video: 4 Audio:4
• Subtitles: nosubs  

ADDITIONAL INFORMATION ON THIS PERFORMANCE

ENCHANTRESS

Music by Kamala Sankaram
Libretto by Rob Handel

Developed under the auspices of the Composer Librettist Development Program at American Lyric Theater in New York City

Concert – Symphony Space – June 16, 2014

Glenn Seven Allen (William Lovelace, First Earl of Lovelace)
Sarah Heltzel (Augusta Ada Byron Lovelace, Countess of Lovelace)
Adrian Rosas (Charles Babbage, Fellow of the Royal Society of London for Improving Natural Knowledge)

Jody Schum, Pianist

SYNOPSIS
SCENE ONE: 1843. The Surrey estate of William, 1st Earl of Lovelace, Fellow of the Royal Society of London for Improving Natural Knowledge. William searches his wife Ada’s study, suspicious of the time she devotes to her mathematical studies. He laments his decision to marry “a girl with ideas.” He discovers a mysterious portfolio and is about to open it when Ada enters with a hangover. Knowing what he’s up to, she distracts him with a drawing of the Analytical Engine, a “calculating machine” dreamed up by the eccentric genius Charles Babbage, also a Fellow of the Royal Society. Ada turns her explanation into a seduction, persuading William to meet her in a more comfortable room. Left alone, she opens the portfolio to reveal a sealed letter from Babbage. Aware of the appearance of impropriety, she struggles between her intellectual curiosity and her loyalty to her husband. She swiftly dons her traveling cloak and sneaks out.

SCENE TWO: In his London laboratory, Babbage tinkers with the latest model of his engine. Ada appears, having traveled from Surrey, and demands that he take back the letter unopened. Babbage refuses, reminding her that she has aided him in his work since she was a girl. She makes to leave, but he draws her back in by setting the model in motion. Finally she opens the letter, in which he begs for her help, calling her his “enchantress of numbers.”

SCENE THREE: William sulks by the fire, furious at Ada for sneaking out of the house while he awaited her in the bedroom. Ada returns, on fire with determination to fulfill her destiny as a great scientist. She denounces William for his inability to understand or respect her work. He shows her his notebook, where he has spent the time she was gone working out the very problem the Analytical Engine is designed to solve. Tentatively, they agree to journey forward together.

ON THE ORIGIN

Music by Justine F. Chen
Libretto by Rochelle Bright

Developed at American Lyric Theater in New York City as part of the Composer Librettist Development Program

Etty Darwin – Chelsea Basler
Emma Darwin – Caroline Worra
Charles Darwin – Christopher Burchett
Piano – Keith Chambers

SYNOPSIS

1915, Cambridge. An elderly woman stands before the scientific community to address the claim that Charles Darwin recanted evolution on his deathbed.

1859, Down House. Charles Darwin has created a makeshift study in his pigeon aviary. While out walking, his Christian wife Emma sneaks in. She searches for his manuscript, scared of what Charles’s new theory might be. Emma begs the pigeons for clues to the manuscript’s location. She tries to imitate their calls, but finds that she doesn’t have the dexterity of voice to match them. Inside Charles’s travel trunk she discovers her daughter Annie’s writing box, which she hid in the attic after Annie’s death in 1851. Charles rushes in explaining how Annie’s keepsakes help him to write. As a peace offering, Charles hands Emma a locket and reads from the journal he kept of Annie’s childhood. Unable to contain her grief, Emma leaves.

Alone, Charles weighs the pros and cons of publishing his manuscript. Pro: it would lead to a new understanding of heredity. Con: it will be seen as heresy, for which he and his family will be made to suffer. Unable to clear his thoughts, he turns to the one person who may help.

Charles finds Etty, his sixteen-year-old daughter, in the library. Feeling neglected by her father’s many hours alone in the aviary, she refuses to speak openly. Charles produces Annie’s box. He asks what he should do with his manuscript. Reading from Annie’s baby journal, Etty reminds Charles of the true power of nature.

With a gust of confidence, Charles finds Emma in her bedroom. He gives her the choice to either destroy or publish his manuscript ‘ON THE ORIGIN OF SPECIES’, on one condition… that she read it first. Charles waits for Emma in the aviary. Emma is overcome by the beauty of Charles’s written word and is finally able to imitate the birds with Etty.

1915, Cambridge. A grown-up Etty declares that her father, Charles Darwin never recanted any of his scientific views.

“…from so simple a beginning endless forms most beautiful and most wonderful have been, and are being, evolved.” Charles Darwin

SEED – A POST-APOCALOPERA

Music by Gerald Cohen
Libretto by David Simpatico

Developed at American Lyric Theater in New York City as part of the Composer Librettist Development Program

Evangeline – Sarah Heltzel
Adam – Glenn Seven Allen
Snake – Christopher Burchett
Piano – Keith Chambers

The Wedding Gift of Pirate Granny
Composer: Alla Borzova
Librettist: David Johnston

Jack Jefferson: Chad Johnston
Elizabeth Prince: Inna Dukach
Pirate Granny: Heather Johnson

THE WEDDING GIFT OF PIRATE GRANNY

was developed under the auspices of the Composer Librettist Development Program at American Lyric Theater during the 2011-2012 season.

Workshop Premiere: American Lyric Theater at Symphony Space, June 25, 2012

SYNOPSIS

The time is the late 17th century, on the island of Far Tortuga, in the Caribbean.

SCENE ONE: JACK JEFFERSON HOPE, a former pirate, enters the future bedroom of himself and his bride-to-be, ELIZABETH PRINCE, a respectable young lady. He searches for a mysterious map, which belonged to ELIZABETH’s notorious grandmother, PIRATE GRANNY. ELIZABETH enters unseen while JACK is searching and watches. JACK has promised ELIZABETH he will give up piracy, but wants to find the map and one last pirate treasure. Then, he will be free to marry her at the Church of St. Perpetua, as has been her dream. JACK picks up a prayer book, GRANNY’s gift to ELIZABETH. ELIZABETH makes herself known, and berates JACK for snooping. She gives him gold pieces as a gift, after making him return the book and promise he will give up his search. JACK leaves. ELIZABETH imagines her wedding day, and realizes that she longs for GRANNY’s life of adventure. She opens the book and finds the lost map, but refuses to look at it. She resolves to rid herself of the map and its temptations.

SCENE TWO: In a secluded spot, ELIZABETH visits her grandmother’s grave and begs her forgiveness for returning her gift. But her only answer is silence. Then THE GHOST OF PIRATE GRANNY appears, but refuses to take the book back. She happily informs ELIZABETH that the book is to remind her of her true self. PIRATE GRANNY exhorts ELIZABETH to her old life as a small child, when their lives were piracy and fun on the high seas. ELIZABETH struggles, wishing to preserve her piety and clinging to the possibility of a respectable marriage with JACK. PIRATE GRANNY makes her look at the map, opening her eyes to her true destiny.

SCENE THREE: It’s JACK and ELIZABETH’s wedding day. ELIZABETH returns to JACK, a changed woman. JACK is shocked and resistant at first. She convinces him to discard their old notions of respectability. She proposes to him, suggesting that they marry and both become pirates. Once she reveals to him the secret of the map, JACK cheerfully agrees. THE GHOST OF PIRATE GRANNY appears to bless the young couple as they embark on their new life of crime.

Nora at the Altar-Rail (2007)

Music by Jay Anthony Gach
Libretto by Royce Vavrek

Performed in Concert at The National Opera Center, February 23, 2014.

Cree Carrico, soprano
Sidney Outlaw, baritone
Peter Tantsits, tenor
Djordje Nesic, piano

Nora at the Altar-Rail was written under the auspices of the Composer Librettist Development Program at American Lyric Theater. For more information, please visit:
https://www.altnyc.org/one-act-chambe…

ALL WOUNDS BLEED

Music by Chris Cerrone
Libretto by Tony Asaro

Developed at American Lyric Theater in New York City as part of the Composer Librettist Development Program

Echo – Chelsea Basler
Hera – Sarah Heltzel
Narcissus – Kyle Bielfield
Piano – Keith Chambers

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