Word: librettists
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...Leoncavallo's Pagliacci. Sure enough, the tale of Eddie Carbone (baritone Kim Josephson), a middle-aged longshoreman who lusts after his young niece Catherine (soprano Juliana Rambaldi), has verismo stamped all over it, right down to the climactic knife fight. In this new version, adapted by Miller and co-librettist Arnold Weinstein, View has acquired a Greek chorus that comments on the unfolding disaster, though the overall effect remains faithful to the original play. Think of West Side Story, only with the kids grown up--and angrier...
...Arthur Miller's next opening night is not on Broadway but at the Lyric Opera of Chicago, where composer William Bolcom and librettist Arnold Weinstein have teamed up with the celebrated playwright to turn A View from the Bridge into an opera. Bolcom, whose eclectic tastes run from ragtime to Sondheim, is just the man to set it to music. "I've written some flat-out tunes," he says happily, "and there's even a doo-wop quartet." The cast includes soprano Catherine Malfitano, one of the most powerful actresses in American opera. "She plays a woman who makes...
Just one day after the world premiere of their English opera in the Lowell House dining hall, composer and Professor of Mathematics Noam D. Elkies '86 and librettist Jeremy Dauber '95 spoke about their opus at a forum at Harvard-Radcliffe Hillel...
...opera in Naples in 1951 on the continuation of a Fulbright scholarship that allowed him to go to the opera at Santo Carlo every weekend. A friend he met at Harvard, John Hart '48 (who would later go on to be a successful biochemist and novelist) collaborated as librettist, sending him batches of lyrics which he put to music in the heady Italian atmosphere...
...librettist exhorts us, too, to "restrain those who fondly court their bane," and scolds those spending their lives "In frantic mirth and childish play/ In dance, and revels night and day..." The music during this mercifully short third section is much slower, perhaps taking its cue from Jennens' admonition that we "Keep...still the same in look and gait/ Easy, cheerful and sedate." This final section is certainly sedate, almost verging even on morose, culminating in the final couplet of the work: a grandiose choral motto, "Thy pleasures, Moderation, give/ In them alone we truly live." Moderation is not quite...