VIRGIL THOMSON: FOUR SAINTS IN THREE ACTS CAPITAL CAPITALS

1 DISC 1 (55:40) ACT II VIRGIL THOMSON 1896–1989 [10] Might it be mountains if it were not Barcelona 5:16 FOUR SAINTS [11] Dance of the Angels: “How many saints IN THREE ACTS (1934) FOUR SAINTS IN THREE ACTS are there in it” 3:52 [ ] 1 Prologue: A narrative of prepare for saints 11:21 [ ] CAPITAL CAPITALS 12 Game 1:07 ACT I [13] Love Scene 2:32 [2] Tableau I: A garden at Avila in early Spring 5:59 [14] Drinking Song 2:11 CHARLES BLANDY tenor [3] Tableau II: St. Teresa II with dove, being [15] Vision of a Heavenly Mansion 3:16 SIMON DYER bass photographed by St. Settlement 1:59 [16] Pantomime 1:42 [4] Tableau III: St. Teresa II seated. St. Ignatius, baritone AARON ENGEBRETH kneeling, plays guitar 2:34 DISC 2 (51:48) ANDREW GARLAND baritone [5] Tableau IV: St. Ignatius presents flowers to ACT III St. Teresa II 2:44 TOM McNICHOLS bass [1] Barcelona. St. Ignatius and one of two literally 3:41 [6] Tableau V: St. Ignatius showing St. Teresa II [2] Vision of Holy Ghost 7:12 GIGI MITCHELL-VELASCO mezzo-soprano the model of a Heavenly Mansion 3:31 [3] Ballet (Tempo di Tango) 6:04 [7] Tableau VI: St. Teresa II in ecstasy, seated, with soprano SARAH PELLETIER angel hovering 3:09 [4] Saint Ignatius predicts the Last Judgment 2:01 DEBORAH SELIG soprano [8] Tableau VII: St. Teresa II, with halo, pretending to [5] Saints’ Procession 6:11 hold a baby in her arms 1:08 SUMNER THOMPSON baritone [6] Intermezzo 1:27 [9] Tableau VIII: No pose. St. Teresa I and II, arm [7] Prologue to Act IV 1:57 LYNN TORGOVE mezzo-soprano in arm, descend steps and shake hands with everybody 3:17 STANLEY WILSON tenor ACT IV [8] The Sisters and Saints reassembled and reenacting why they went away to stay 3:35 BOSTON MODERN ORCHESTRA PROJECT Gil Rose, conductor [9] CAPITAL CAPITALS (1927) 19:36 BETH WILLER chorus master COMMENT

By Virgil Thomson In all times the artist has tended to live surrounded by younger artists, and by his own example to guide them toward discipline and spontaneity. Indeed, for anyone so to channel his gift is surely to invite “inspiration,” and hopefully, though his work, create “miracles.” Just like the saints. Gertrude Stein liked rhymes and jingles, and she had no fear of the commonplace. Her communion hymn for all the saints is “When this you see remember me.” And when Saint Ignatius sees the Holy Ghost, she describes his vision as “Pigeons on the grass alas and a magpie in the sky.” Also she loved to write vast finales like Beethoven’s great codas, full of emphasis, insistence, and repetition. She wrote poetry, in fact, very much as a composer works. She chose a theme and developed it; or rather, she let the words of it develop themselves through free expansion of sound and sense. Putting to music poetry so musically conceived as Gertrude Stein’s has long been a plea- sure to me. The spontaneity of it, its easy flow, and its deep sincerity have always seemed to me just right for music. Whether my music is just right for it is not for me to say. But happiness was ours working together, and a strong friendship grew up between us. This friendship lasted twenty years, till her death. Her last completed work was another libretto written for me, The Mother of Us All. That too became an opera and was produced, but Gertrude Stein never saw it. I am sorry now that I did not write an opera with her every year. It had not occurred to me that both of us would not always be living.

5 4 PUBLIC LIBRARY. YORK © THE NEW WHITE STUDIO BY PHOTO UNIVERSITY. YALE LIBRARY, BOOK AND MANUSCRIPT RARE BEINECKE NOTES Why did it occur to Gertrude Stein and myself to write an opera about saints? Simply because we saw among the religious a parallel to the life we were leading, in which con- FOUR SAINTS IN THREE ACTS, with a libretto by Gertrude Stein, is secrated artists were practicing their art surrounded by younger artists who were no less scored for vocal soloists, choir, and orchestra. It received its premiere consecrated, and who were trying to learn and needing to learn the terrible disciplines of on February 7, 1934 at the Wadsworth Atheneum in Hartford, truth and spontaneity, of channeling their skills without loss of inspiration. That was our Connecticut, in a production with set design by Florine Stettheimer and theme; certainly that was our theme. That the daily life of saints could be, as regards their choreography by Frederick Ashton. work and their preparation for it, a model to ours. CAPITAL CAPITALS, for four male voices and piano, set Gertrude Stein’s The opera takes place among Spanish saints and in Spain because Gertrude Stein had poem of the same name. It was premiered on June 21, 1927 at the lived in Spain and loved its landscape, its intensity. Parisian home of the Duchesse de Clermont-Tonnerre by Thomson and three colleagues. I had never been to Spain, and I refrained from going there till I had finished my score. I did not wish to encounter 20th-century Spain, so thickly overlaid musically with 19th-century gypsy ways, while trying to evoke an earlier time. Nor dared I attempt musically a historical reconstruction when my librettist had assumed no such obligation. So I took my musical By Steven Watson freedom following her poetic freedom, and what came out was a virtually total recall of my Appreciating Four Saints in Three Acts doesn’t require special information, textual analysis, Southern Baptist childhood in Missouri. or explanations. When I first heard the opera, I knew nothing about it, but I was exhilarated So do not try to understand the words of this opera literally nor seek in the music of it undue by its sounds and rhythms and felt a sort of sustained interior smile. It wasn’t exactly funny, reference to modern Spain. If, through the poet’s liberties with logic and the composer’s but its levity was sustained by a high sense of play with intrinsic rules you didn’t need to constant use of the plainest musical language, something is evoked of the inner gayety understand in order to join in the game. When Gertrude Stein came to the United States and the strength of lives consecrated to a non-material end, the authors will consider their in the fall of 1934, she put it very simply when interviewed in a newsreel: “If you enjoy it labors rewarded. you understand it.”

Texts by Virgil Thomson reprinted by permission of the Virgil Thomson Foundation, Ltd., copyright owner. There is another kind of pleasure to be had from reading liner notes such as these: learning about the two people responsible for the opera, and the nature of their collaboration. When I began learning this history, Virgil Thomson was in his late 80s but he sat for a half dozen interviews in the Chelsea Hotel, where he had lived for more than forty years. Whenever we talked, he wore a white shirt and black tie, and sat in a large wingback chair, upholstered in a highly figured pale gold and moss green, placed before his piano, whose surface was piled with books. Although quite deaf he had considerable energy, especially before eating

6 7 lunch, and his comments were invariably cogent, canny, and colloquial. I think he cooperated Thomson had lived in Paris regularly since 1924. “I knew that one day Gertrude and I would with me during these interviews because we were talking about the happiest period of his make friends, but I didn’t want to be pushing or anything but casual about it. I thought I life. Certainly it was not because he valued my opinions, for he occasionally observed, “I would just wait and see what would happen. One day it did happen—I went to her house on think you don’t know what you’re talking about.” Such responses were due to deafness, or invitation with George Antheil [who was at that time more known than Thomson, primar- crankiness, or sometimes simply because he was right. Nonetheless, he continued talking. ily because of his scandalous composition Ballet Mecanique]. Alice didn’t like me much,” During the years leading up to the opera’s debut in 1934, he lived primarily in Paris during Thomson said, “but then she became quite fond of me. Gertrude and I got on right off; we its “golden period,” with his lover, the painter Maurice Grosser, and socialized with musi- got on like Harvard men. I don’t think Gertrude cared much for George and I don’t think she cians, artists, and writers. During his forays to New York to promote a production of Four ever saw him again. She didn’t have many musicians around. Alice was the musical one in Saints, he socialized primarily with figures from High Bohemia, making trips to Harlem the family. Gertrude had grown up going to concerts and operas, but it never took heavily on when it was in fashion; he was in the first flush of recognition and he was at the center of her. She liked the theater but she was not a natural musical ear. She had an ear for words movers and shakers. “Oh yes,” he said to me, “those times were jolly.” Thomson’s answers and she could remember what they said and how they talked. She liked being set to music, comprised perfect sentences and succinct paragraphs, with a great deal of professional as all poets do. Gertrude’s words don’t lack music, but they like music.” wisdom. No editing necessary. (When he wrote music criticism for the New York Herald Thomson promptly set three of Stein’s works to music (“Susie Asado,” “Preciosilla,” and Tribune, from 1940 to 1954, he sent his columns directly to the printer; he didn’t want “Capital Capitals”). Setting Stein’s words to music was initially a way to forge a friend- anyone from mucking up his prose.) ship, overcoming Alice’s initial doubts, and it soon became a campaign for collaborating The relationship between Gertrude Stein and Virgil Thomson was bound fundamentally by on an opera. The most ambitious creation was Capital Capitals, set to Stein’s 3,000-word words and music—in the beginning and at the end. It was only for a relatively brief period piece. Its debut, at 11:30 p.m. on June 21, 1927 provided the divertissement artistique for of about five years that they intermittently enjoyed a warm friendship. a gala costume party held by the Duchesse de Clermont-Tonnerre in the garden behind her eighteenth century gatehouse, lit by Chinese lanterns, with a quartet of hunting horns A decade before he met Stein, Thomson had been fascinated by her obscurantist writings announcing guests’ arrival. Performed by Thomson and three soloists (when one of the in Tender Buttons (1914), which he used to read aloud to his Harvard friends. “Well I liked singers did not show up, Thomson took on his role and also played the piano), Capital those texts,” he said. “I thought they were funny and probably had a certain depth…I was Capitals lasted twenty minutes and was greeted as a stylish success. Jean Cocteau, a fascinated by the whole procedure of reading them aloud. I had already set one of her reigning arbiter of Paris chic, commented positively (although cryptically): “At last a table pieces to music.” that stands on four legs, a door that really opens and shuts.” More important for the potential Thomson and Stein finally met in Paris in January1926 at 27 rue de Fleurus, where Stein opera, Stein wrote “We are both happy about it this Alice and I are.” had lived since 1903, first with her brother, Leo, and then with Alice B. Toklas, her secretary Stein wrote around this time, “Collaborators tell how in union there is strength.” After and lover until Stein’s death in 1946. discussions about an opera subject, rejecting American history and mythic gods, they

8 9 settled on the lives of saints, which Thomson considered a metaphor for the community whose pupils ranged from Aaron Copland to Philip Glass. The elements of his “Americanisms” of artists in Paris. were often offset by changes to minor keys, triadic arpeggios, and abrupt shifts in tempo. In 1927, within a few months of their talks, Thomson received a forbidding block of words Four Saints in Three Acts was first performed in February 1934, initially at the Wadsworth typed up by Alice, without paragraphs or narrative. The only specific characters were Atheneum in Hartford, Connecticut and subsequently at the 44th Street Theatre on St. Teresa and St. Ignatius. Their having lived in different centuries was of no matter to Broadway. The opera was an artistic phenomenon, a media phenomenon, and a sociological Stein. Thomson sat down at his rented piano at 17 quai Voltaire and improvised over and phenomenon all at once. No one knew quite what to make of it, but that left doors wide open over with the words set before him on the piano stand. Years later, he noted, “Don’t confuse for everyone to take a crack at it. Journalists paid great attention to Florine Stettheimer’s a disciplined spontaneity with the laziness of a loose tongue.” When he found himself com- fanciful cellophane-and-feathers set and Frederick Ashton’s lively choreography. They wrote ing to the same musical solutions, he put the notes on paper. The collaboration was one specially of the all-black cast, which was a first in an American opera which was not about of complete independence, perhaps the only kind possible between two such determined African-American life. Literary critics, theater critics, music critics, even fashion reporters egos. (Thomson’s only request to Stein was that he be allowed to add a second St. Teresa, covered it; Variety noted that the opera received more column inches than anything in the so there could be duets. She readily acceded.) past decade. Thomson observed that the music critics tended to like the words and literary critics tended to like the music. “You see when I started writing Four Saints in Three Acts in the fall of 1927, that was a time when modern music was rampant all over the place. A few friends were a little curious Contributing significantly to the journalistic interest was the fact that Gertrude Stein’sThe why I had not used an advanced musical technique for setting what seemed an advanced Autobiography of Alice B. Toklas had been serialized in The Atlantic and quickly became a piece of modern poetry. I said you can’t be advanced all over the place. What that text needs best seller upon its publication in August 1933. Stein had resisted writing such a work that is clarity. It needs music to make it run along. Obscure as it is, if you add more musical actively tried to charm the audience, but due to the steely determination of Toklas, she wrote complexities you stop it from running along, like putting sand in a gear. You don’t want to of biographical events in the voice of Alice. Journalists had made jokes about Stein’s prose make friction, you want to eliminate friction.” Thomson drew on many familiar American ever since she was published in 1913 at the time of the Armory show, and the jokes were musical forms, which he knew well—in his adolescence he had played for silent movies and usually the same, suggesting knowingness. With Four Saints, they often quoted “Pigeons for several years he worked as a church organist; he knew parade marches and children’s on the grass alas.” But even opportunistic philistines could be forgiven; Stein’s libretto, ditties. “A Jew and a Protestant turn out an opera about Spain in the 16th century and in while not nonsense, was not readily clear; her meanings were private and highly stylized. the course of writing that music I came into practical total recall of my Southern Baptist I have seen seven productions of Four Saints in Three Acts, and they suggest the malleable upbringing in Missouri.” possibilities of an opera that is not driven by narrative. Robert Wilson staged a version Thomson’s musical strategy should not ignore his musical sophistication. He was completely that included huge, glacially slow animals; Mark Morris made a dance with musicians aware of advanced musical composition; he was friendly with “Les Six,” a group of French singing from the orchestra pit, and most recently I saw a production in San Francisco that avant-garde composers, and he had studied with Nadia Boulanger, the legendary instructor

10 11 evoked a theme of euthanasia. It is cleansing to have the Boston Modern Orchestra Project delivering the full work in concert form—no concept, no narrative overlay. Simply Gertrude Stein and Virgil Thomson delivered straight, with seven soloists, a chorus of 36, and 34 musicians in the orchestra. Virgil Thomson and Gertrude Stein collaborated one final time, in 1946, and again, after deciding that its subject would be the feminist movement in America with Susan B. Anthony as the main character, they worked independently. On March 16, 1946, Stein sent him a libretto, her last major work, The Mother of Us All. Three months later she died of stomach cancer, never having heard a note of the opera. “I am sorry now that I did not write Stein every year,” Thomson wrote. “It had not occurred to me that both of us would not always be living.”

© 2015 Steven Watson Steven Watson wrote Prepare for Saints: Gertrude Stein, Virgil Thomson and the Mainstreaming of American Modernism (Random House, 1999) and directed the documentary filmPrepare for Saints: The Making of a Modern Opera (PBS, 1999).

13 PHOTO BY CHRISTOPHER COX CHRISTOPHER BY PHOTO TEXTS Four Saints in Three Acts Music by Virgil Thomson | Libretto by Gertrude Stein

[1|1] Prologue: A narrative of SAINT PLAN as if he could be precious be precious St. Teresa I Sarah Pelletier, soprano prepare for saints At least. to like St. Teresa II Gigi Mitchell-Velasco, mezzo-soprano like it as it had been that if he was used Avila. Steps and portal of the cathedral, SAINT STEPHEN it would always do it good St. Ignatius Aaron Engebreth, baritone the latter closed off by a small curtain. In finally. and now this time that it was as if it Commère Lynn Torgove, mezzo-soprano CHORUS I SAINT PLAN had been To know to know to love her so. Very well if not to have and miner. just the same as longer when as before it Compère Tom McNichols, bass made it be left to be more Four saints prepare for saints. SAINT STEPHEN St. Settlement Deborah Selig, soprano It makes it well fish. and soft softly then can be changed to A saint is one to be for two when three theirs and speck a speck of it makes blue St. Chavez Charles Blandy, tenor Four saints it makes it well fish. and you make five and two and cover. Four saints prepare for saints it makes it be often sooner which is shared when St. Stephen Stanley Wilson, tenor well well fish it makes it well fish prepare CHORUS I theirs is in polite and reply that in their be for saints. A at most. the same with diminish always in respect Saint saint a saint. to not at all and farther farther might be St. Absalom Ethan Bremner, tenor SAINT STEPHEN Forgotten saint. What happened today, known as counted with it gain to be in St. Anne Aliana de la Guardia, soprano In narrative prepare for saints. a narrative. retain which is not to be because of most. St. Answers Kelli Geoghegan, mezzo-soprano SAINT SETTLEMENT COMMÈRE COMMÈRE Prepare for saints. This is how they do not like it. St. Cecilia Stephanie Kacoyanis, mezzo-soprano We had intended if it were a pleasant day SAINT PLAN to go to the country COMPÈRE St. Celestine Sonja DuToit Tengblad, soprano Two saints. it was a very beautiful day and we carried Why while while in that way was it after out our intention. this that to be seen made left it. St. Eustice Brad Fugate, baritone SAINT SARAH We went to places that we had been St. Genevieve Rachele Schmiege, soprano Four saints. when we were equally pleased and we CHORUS I St. Jan/St. Placide Graham Wright, baritone SAINT SETTLEMENT found very nearly He could be hurt at that. Two saints prepare for saints it two what we could find and returning saw COMMÈRE St. Lawrence Josh Taylor, baritone saints prepare for saints in prepare for and heard that after all they were It is very easy to be land. St. Philip Patrick T. Waters, tenor saints. rewarded and likewise. This makes it necessary to go again. COMPÈRE St. Plan Nickoli Strommer, baritone SAINT STEPHEN Imagine four benches separately. A narrative of prepare for saints in COMPÈRE St. Sarah Christina English, mezzo-soprano narrative prepare for saints. He came and said he was hurrying COMMÈRE St. Vincent Matthew Stansfield, baritone hurrying and hurrying to remain he said One in the sun. SAINT SETTLEMENT AND SAINT he said finally to be and claim it he said Two in the sun. Tenor solo Jason Connell, tenor SARAH he said feeling very nearly everything as Three in the sun. Remain to narrate to prepare two saints it had been for saints.

14 15 DISC ONE COMPÈRE CHORUS I One and three saints. SAINT PLAN CHORUS I CHORUS I One not in the sun. snow snow show show one one sun In place. Does it show as if it could be that very There is no parti particolor in a house By and by plain plainly in making and sun One should it. successful that very successful that he there is no parti parti particolor in a acutely a corner not at right angle but in COMMÈRE Easily saints. was very successful. house. individual in individual is it. Not one not in the sun. Not one. SAINT SETTLEMENT, SAINT SARAH, Very well saints. A narrative who do who does. SAINT STEPHEN, AND SAINT PLAN Have saints. SAINT STEPHEN COMMÈRE A narrative to plan an opera. COMMÈRE AND COMPÈRE snow show and no water no water unless That he was with them with them with Reflections by the time that they were Four benches used four benches used Said saints. Four saints in three acts. unless why unless. As said saints. them given the package that had been sent. separately. as it was not better than at worst that he COMMÈRE CHORUS I And not annoy. COMPÈRE COMPÈRE Anoint. could follow him to be taking it away A croquet scene and when they made Why unless why unless they were loaning Very much what they could do would do their habits. Four benches used separately. it here loaning intentionally. Choice. SAINT PLAN as a decision. Four saints two at a time have to have to away that way a way a way to go. SAINT STEPHEN CHORUS I COMPÈRE COMMÈRE That makes it be not be makes it not be have to have to. Habits not hourly habits Believe two three. Have to have have to have to. CHORUS I Supposing she said that he had chosen habits not hourly at the time that they at the time. Some say some say some say so. all the miseries that he had observed COMMÈRE Two saints four at a time a time. made their habits COMMÈRE Have to have to at a time. in fifty of his years what had that to do not hourly they made their habits. What could be sad beside beside very SAINT SETTLEMENT with hats. The time that it is as well as it could be attentively intentionally and bright. Four saints have to have to have at a Why should ev’ryone be at home. leave it when when it was it be that it time. CHORUS I COMPÈRE When they made their habits. was to be when it was went away. COMPÈRE SAINT SARAH They had made hats for her. Begin suddenly not with sisters. COMPÈRE Why should ev’ryone be at home. SAINT SETTLEMENT, SAINT SARAH, The difference between saints forget- SAINT STEPHEN COMMÈRE To know when they made their habits. SAINT STEPHEN, AND SAINT PLAN SAINT STEPHEN me-nots and mountains have to have to SAINT STEPHEN Not really. Four benches with leave it. To mount it up. have to at a time. Why should ev’ryone be at home. CHORUS I CHORUS I Large pigeons in small trees. CHORUS I CHORUS I SAINT SETTLEMENT SAINT PLAN As she was. Might have as would be as would be as Up hill It is very easy in winter to remember Why should ev’ryone be at home. Come panic come. within within nearly as out. Four saints are never three. SAINT STEPHEN Come close. winter spring and summer. COMPÈRE Three saints are never four. Imagine imagine it imagine it. COMPÈRE COMPÈRE Four saints are never left altogether. SAINT STEPHEN In idle acts. It is very close close and closed. CHORUS I Acts three acts. It is very easy in winter to remember CHORUS I COMMÈRE spring and winter and summer. When she returned there was CHORUS I CHORUS I Three saints are never idle. Why should ev’ryone be at home. considerable rain. Closed closed to let letting Come close to croquet. SAINT SARAH COMPÈRE CHORUS I It is very easy in winter to remember SAINT SETTLEMENT, SAINT SARAH, COMPÈRE COMPÈRE Four saints are leave it to me. In idle acts. SAINT STEPHEN, AND SAINT PLAN closed close close close summer spring and winter. Four saints. COMMÈRE In some on some evening it would be COMMÈRE COMPÈRE asked CHORUS I CHORUS I Three saints when this you see. He made very much more than he did he chose in justice in join in joining It is very easy in winter to remember did make very much of it he did not only Rejoice saints rejoin saints recommence spring and summer and winter. SAINT STEPHEN some reinvite. CHORUS I AND COMÈRE add to his part of it but and with it he was there anything especial. COMPÈRE Begin three saints. was at and in a plight. This is where to be at at water at snow Begin four saints. Two and two saints.

DISC ONE 16 17 DISC ONE SAINT SETTLEMENT, SAINT SARAH, CHORUS I COMPÈRE COMMÈRE SAINT TERESA I CHORUS I SAINT STEPHEN, AND SAINT PLAN Saint Teresa something like that. Saint Ignatius Saint Paul Saint William Saint Teresa silent. April fools’ day April fools’ day as not a Saint Teresa not young and younger but Four saints have been sometime in that Saint Gilbert Saint Settle Saint Arthur pleasure as April fools’ day not a pleasure. visited like the others by some, who are way that way all hall. COMPÈRE Saint Selmer Saint Paul Seize Saint CHORUS II frequently going there. Saint Teresa. Cardinal Saint Plan Saint Giuseppe. They were never beset. CHORUS I COMMÈRE Saint Teresa seated and not surrounded. COMPÈRE Four saints were not born at one time CHORUS I CHORUS I CHORUS I There are a great many persons and Saint Teresa very nearly half inside and although they knew each other. Saint Teresa half in doors and half out Any one to tease a saint seriously. Come one come one. places near together. half outside outside the house and not out of doors. Saint Teresa not seated. surrounded. COMPÈRE COMMÈRE One of them had a birthday before the SAINT SETTLEMENT ACT I No saint to remember to remember. SAINT TERESA I SAINT TERESA I AND II Saint Teresa not knowing of other saints. mother of the other one the father. Avila. Saint Teresa half indoors and CHORUS II There are a great many persons and How do you do. CHORUS I half out of doors. No saint to remember. places near together. Very well I thank you. COMMÈRE And when do you go. Four saints later to be if to be one to be to Saint Teresa used to go not to to tell COMPÈRE them so [1|2] Tableau I CHORUS I I am staying on quite continuously. be one to be. Saint Teresa knowing young and told. Saint Teresa not seated at once. but to around so that Saint Teresa did A garden at Avila in early spring. There is When is it planned. COMPÈRE find that that that and there. If any came. a wall and a tree. St. Teresa II is seated SAINT SETTLEMENT SAINT TERESA I Not more than as often. Might tingle. under the tree painting flowers on very If it were possible to kill five thousand There are a great many places and SAINT STEPHEN SAINT SETTLEMENT, SAINT SARAH, persons near together. CHORUS I SAINT STEPHEN, AND SAINT PLAN large eggs. chinamen by pressing a button would The garden inside and outside of the wall. it be done. Tanglewood tanglewood. This is to say that four saints may may COMMÈRE COMPÈRE CHORUS I never have seen the day, like. Saint Teresa once seated. COMPÈRE Saint Teresa in a storm at Avila there can COMMÈRE Saint Teresa about to be. Four saints born in separate places. SAINT SETTLEMENT be rain and warm snow and warm that is Saint Teresa not interested. SAINT TERESA I the water is warm the river is not warm SAINT STEPHEN Any day like. COMPÈRE There are a great many places and The garden inside and outside outside CHORUS I the sun is not warm and if to stay to cry. persons near together. Saint saint saint. CHORUS I Repeat First Act. and inside of the wall. CHORUS II Saint Ignatius. Meant and met. COMMÈRE COMPÈRE COMPÈRE COMPÈRE If to stay to if to stay if having to stay to Saint Teresa seated and not surrounded. Four saints an opera in three acts. COMMÈRE A pleasure April fools’ day a pleasure. Nobody visits more than they do visits if having to stay if to cry to stay if to cry Saint Teresa seated. This is to say that four saints may never stay to cry to stay. SAINT TERESA I them. CHORUS I have. Any day like. There are a great many places and My country ‘tis of thee sweet land of SAINT TERESA I COMMÈRE CHORUS I Not April fools’ day a pleasure. persons near together. liberty of thee I sing. CHORUS I Saint Teresa half in and half out of doors. Saint Teresa. Gradually wait. CHORUS I SAINT SETTLEMENT CHORUS I SAINT TERESA I Any one can see that any saint to be. COMMÈRE Saint Teresa seated. Saint Teresa visited by very many as well Saint Teresa something like that. Saint Ignatius not there. Saint Ignatius Nobody visits more than they do visits as the others really visited before she them Saint Teresa. COMMÈRE staying where. Never heard them speak SAINT TERESA I was seated. CHORUS I Saint Teresa Saint Martyr Saint Saint Teresa something like that. speak of it. Not April fools’ day a pleasure. CHORUS I Settlement Saint Thomasine Saint SAINT TERESA I As loud as that as allowed as that. SAINT SETTLEMENT Electra Saint Wilhelmina Saint Evelyn CHORUS I CHORUS I There are a great many persons and Saint Teresa would and would and would. Saint Pilar Saint Hillaire Saint Bernadine. Saint Ignatius silent motive not hidden. Saint Teresa seated. places close together. SAINT TERESA I Nobody visits more than they do visits them.

DISC ONE 18 19 DISC ONE COMPÈRE standing not standing and Saint Ignatius CHORUS I AND II CHORUS I AND II COMMÈRE SAINT SETTLEMENT Who settles a private life. not standing standing surrounded as if in Saint Teresa must be must be chain left Many saints seen and in between many Contumely. Saint Teresa having known that no snow once yesterday. chain right chain chain is it. saints seen. in vain as snow is not rain. ALL In place of situations. COMPÈRE Saint Teresa. SAINT TERESA I COMPÈRE Saint Teresa advancing. COMMÈRE [1|3] Tableau II No one chain is it not chain is it Saint Teresa and Saint Teresa and Saint Saint Teresa needed it as she was. CHORUS I AND II Teresa. SAINT TERESA I Who settles a private life. St. Teresa II with dove, being CHORUS I AND II In this way as movement. In having COMPÈRE photographed by St. Settlement. chained to not to life chained to not to CHORUS I AND II been in. Saint Teresa made it be third. COMPÈRE snow chained to chained to go and and Seen as seen. Many saints as seen. Saint Teresa. CHORUS I gone. CHORUS I CHORUS II SAINT TERESA I AND II Does she want to be neglectful of Snow third high third there third. CHORUS I AND II Saint Teresa could be photographed having been dressed like a lady and then CHORUS II She is to meet her. hyacinths and find violets. Who settles a private life. Not this not in this not with this. Can two saints be one. COMPÈRE they taking out her head changed it to a SAINT TERESA I Saint Teresa in allowance. COMPÈRE nun and a nun a saint and a saint so. Very many go out as they they do. [1|4] Tableau III And make him prominent. Saint Teresa should never change herbs Saint Teresa. for pansies and dry them. SAINT TERESA I COMMÈRE Could a negro be be with a beard How many saints can remember a CHORUS I Saint Teresa seated and not surrounded St. Teresa II seated. St. Ignatius, kneeling, plays guitar. to see and to be. CHORUS II house which was built before they can Saint Teresa seated and if he could be might be very well inclined to be settled. Never to have seen a negro with it there They think there that it is their share. remember. standing and standing and saying and COMPÈRE and with it so. saying left to be. SAINT TERESA I CHORUS I CHORUS I Made to be coming here. How many Saint Teresa as a young girl being To differ between go and so. widowed. Who separated saints at one time. And please. Ten saints can. COMPÈRE saints can sit around. A great many How many saints can be and land be and Introducing Saint Ignatius. saints can sit around with one standing. COMMÈRE In follow and saints. COMPÈRE To be somewhere with or without saints. sand be and on a high plateau there is no Can she sing. Saint Teresa makes as in this to be sand there is snow and there is made to SAINT IGNATIUS COMPÈRE AND COMMÈRE Saint Teresa can never mention the stems. Left to be. A saint is easily resisted. Saint Teresa. SAINT TERESA I AND II others. be so and very much can be what there CHORUS I is to see when there is a wind to have it COMMÈRE Let it as land Saint Teresa. Leave later gaily the troubadour plays Saints not found. All four saints not more As land beside a house. Saint Teresa. his guitar. than all four saints. And while. dry and be what they can understand to She can have no one no one can have undertake to let it be to send it well as any one any one can have not any one As land beside a house and at one time COMPÈRE Saint Teresa. SAINT STEPHEN COMPÈRE much as none to be to be behind. None can have not any one can have to have Saint Teresa might it be Martha. Saint Saint Teresa come again to be absent. Saint Teresa settled and some come. to be behind. to say so. SAINT TERESA II Louise and Saint Celestine and Saint SAINT STEPHEN As land beside a house to be to this this Louis Paul and Saint Settlement CHORUS I COMPÈRE CHORUS I AND II Scene three. Some come to be near not near her but Enclosure. Saint Teresa seated and not standing which theirs beneath Saint Teresa. Fernande and Ignatius. the same. half and half of it and not half and half CHORUS I AND II SAINT TERESA I AND II [1|5] Tableau IV SAINT TERESA I of it seated and not standing surrounded CHORUS II None to be behind. Saint Teresa saints make sugar with Can women have wishes. St. Ignatius presents flowers to St. Sound them with the thirds and that. and not seated and not seated and not a flavor. COMPÈRE Teresa II. COMMÈRE standing and not surrounded and not In different ways when it is practicable. SAINT TERESA I Enclosure. surrounded and not not not seated not Scene Two. CHORUS I How many are there halving. seated not seated not surrounded not SAINT TERESA I Could all four saints not only be in brief. seated and Saint Ignatius standing Could she know that that he was not not CHORUS I standing not seated Saint Teresa not to be to be very to be dead not dead. Scene Three.

DISC ONE 20 21 DISC ONE [1|6] Tableau V CHORUS I CHORUS I to which endowed. by Spain and lain. Why when in lean fairly CHORUS I Go and know. Could they grow Might it be in claim. rejoin place dismiss calls. Saint Teresa has been prepared for there St. Ignatius showing St. Teresa II the and tell it so being summer. model of a Heavenly Mansion. CHORUS II if it was left COMPÈRE COMPÈRE In clouded. to be to go Saint Teresa and conversation. Whether weather soil. COMPÈRE SAINT STEPHEN Scene Four. Saint Ignatius could be in porcelain CHORUS I to go SAINT TERESA II COMMÈRE actually. Saint Ignatius could be in Included. to see In one. Saint Teresa refuses to bestow. CHORUS I to see To prepare. porcelain actually while he was young COMMÈRE COMPÈRE COMPÈRE and standing. to saw Saint Teresa and attachment. to saw Saint Teresa in conversation. Saint Teresa with account. COMMÈRE One a window. SAINT PLAN COMPÈRE to build SAINT TERESA II COMMÈRE Saint Teresa could not be young and With anyone please. to place And one. Saint Teresa having felt it with it. COMPÈRE standing she could be sitting. to come Two a shutter. Saint Teresa could be. SAINT TERESA I to rest SAINT SETTLEMENT SAINT TERESA I No one to be behind and enclosure. to hand Ah! There can be no peace on earth with COMMÈRE SAINT STEPHEN calm with calm. Three a palace. Saint Ignatius could be in porcelain COMPÈRE to beam CHORUS I to couple There can be no peace on earth with actually in porcelain standing. Suddenly two see. Saint Teresa in and in and one and in calm with calm. COMPÈRE to name and one. Four a widow. SAINT TERESA I COMMÈRE to rectify There can be no peace on earth with They might in at most not leave out Two and ten. to do. COMMÈRE calm with calm and with whom whose COMMÈRE an egg. Saint Teresa left in complete. with calm and with whom whose when Five an adopted son. COMPÈRE COMMÈRE they well they well they call it there made SAINT PLAN Saint Two and Saint Ten. Saint Ignatius Saint Settlement Saint COMPÈRE message especial and come. COMPÈRE An egg and add some. Some and sum. Saint Teresa and better bowed. Six a parlor. COMMÈRE Paul Seize Saint Anselmo made it be not only obligatory but very much as they did CHORUS I COMPÈRE Scene four. COMMÈRE This amounts to Saint Teresa. COMMÈRE Add sum. Add some. in little patches. Saint Teresa did she and leave bright. Seven a shawl. CHORUS I SAINT SETTLEMENT CHORUS II COMMÈRE Did wish CHORUS II Saint Teresa has been and has been. COMPÈRE Let it in around. did want Saint Teresa and Saint Teresa and Saint Snow in snow sun in sun one in one out. Eight an arbor. Teresa Seize and Saint Teresa might be All saints make Sunday Monday Sunday did at most agree Monday Sunday Monday set. CHORUS I that it was not when they had met very much as she would if she very much [1|7] Tableau VI COMMÈRE With seas. as she would if she were to be wary. Nine a seat. that they were separated longitudinally. St. Teresa II in ecstasy, seated, with CHORUS I AND II One two three Saints. CHORUS II COMPÈRE CHORUS I angel hovering. COMPÈRE With knees. While it escapes it adds to it just as it did They might be COMPÈRE Ten a retirement. that much SAINT IGNATIUS CHORUS I when it has and does with it in that to Scene Three. that far A scene and withers. With keys. intend to intensity and sound. that with Scene Three and Scene Two. COMMÈRE CHORUS II COMMÈRE that widen never having seen and press, How can a sister see Saint Teresa Saint Teresa has been prepared for there With pleases. Is there a difference between a sound a it was a land in one when altitude by this suitably. Pear trees cherry blossoms pink being summer. hiss a kiss a as well. blossoms and late apples and surrounded

DISC ONE 22 23 DISC ONE [1|8] Tableau VII might say royalty not as you might say SAINT TERESA II SAINT TERESA I, II AND SAINT CHORUS I AND II COMPÈRE worn not as you might say. How many have been told twenty have IGNATIUS Would it do if there was a Scene Two. Scene Four. St. Teresa II, with halo, pretending to hold been here as well. They never knew about it and she never a baby in her arms. COMPÈRE knew about it and she never knew about COMPÈRE SAINT IGNATIUS Saint Teresa preparing in as you might CHORUS I AND II it and they never knew about it. Scene Three and Four. How many nails are there in it. CHORUS I AND SAINT TERESA I say. Saint Teresa can know the difference Hard shoe nails and silver nails and silver Saint Teresa has been with him. Saint between singing and women. CHORUS I CHORUS I AND II does not found valuable. Teresa has been with him they show they CHORUS I Saint Teresa can know the difference Scene once seen once seen once seen. Saint Ignatius and more. Saint Ignatius show that summer summer makes a Act One. between snow and thirds. with as well. Saint Ignatius needs not CHORUS I AND II child happening at all to throw a ball too Saint Teresa can know the difference COMMÈRE be feared. To be interested in Saint Teresa [1|9] Tableau VIII Scene Seven. fortunately. often to please. between when there is a day today today. COMMÈRE Those used to winter like winter and No pose. St. Teresa I and II, arm in arm, To-day. CHORUS I AND II Saint Ignatius might be very well adapted SAINT TERESA II summer. descend steps and shake hands with Saint Teresa with the land and laid. One two three four five six seven to plans and a distance. To be interested in Saint Teresa Those used to summer like winter and everybody. Not observing. all good children go to heaven fortunately. summer. Saint Teresa coming to go. some are good and some are bad COMPÈRE Those used to summer like winter and SAINT TERESA I Barcelona in the distance. CHORUS I AND II Preparing in as you might say. SAINT TERESA I one two three four five six seven. summer. Saint Teresa when she had been left to Saint Ignatius to be interested Those used to summer like winter and Saint Teresa coming and lots of which COMMÈRE fortunately. CHORUS I AND II come was left to come was left to right Was Saint Ignatius able to tell summer like winter and summer. Saint Teresa was pleasing. it is not as soon as if when it can left to change change theirs in glass and was right to left and there. the difference between palms and SAINT IGNATIUS Those used to summer like winter and In as you might say. There and not there by left and right. summer. yellowish at most most of this can be Eucalyptus trees. Fortunately to be interested in Saint Teresa. To be interested fortunately in COMPÈRE when is it that it is very necessary not to COMPÈRE CHORUS I SAINT STEPHEN Saint There Act One plant it green. Saint Teresa once and once. Saint Teresa. Interested fortunately in They make this an act One. Saint Ignatius finally. Saint Teresa Saint Ignatius and saints CHORUS I AND II SAINT IGNATIUS CHORUS I AND II who have been changed from the evening COMPÈRE CHORUS II Saint Teresa has begun to be in act one. Planting it green means that it is No one surrounded trees as there were Saint Ignatius well bound. to the morning. Act Two. protected from the wind and they never none. This makes Saint Ignatius Act Two. COMMÈRE SAINT TERESA I CHORUS I knew about it. CHORUS I Saint there and begun. Saint Ignatius with it just. In the morning to be changed from the All to you. SAINT TERESA I, II AND SAINT ACT II morning to the morning in the morning. CHORUS I AND II IGNATIUS CHORUS II COMPÈRE Saint Teresa as sung. [ | ] COMMÈRE Scene One. They never knew about it green and they 1 10 Might it be mountains if it Saint Ignatius might be read. COMMÈRE never knew about it she never knew were not Barcelona. A scene of changing from the morning to CHORUS I CHORUS I the morning. Saint Teresa Act One. about it they never knew about it they In the country out of doors. Saint Ignatius with it Tuesday. Some and some. never knew about it she never knew CHORUS I COMPÈRE COMPÈRE about it. COMPÈRE COMMÈRE Scene Five. Saint Teresa and begun. Act Two. Saint Ignatius has very well added it. Scene One. SAINT IGNATIUS COMMÈRE CHORUS II Planting it green means that it is CHORUS I AND II COMPÈRE CHORUS I Saint Teresa and sing and sung. There are many saints. This is a scene where this is seen. Saint protected from the sun and from the Saint Ignatius was very well known. Scene Four. CHORUS I AND II wind and the sun and COMPÈRE Teresa has been a queen not as you COMPÈRE COMMÈRE Scene Five. Saint Teresa. In an act one. Scene Two. Usefully.

DISC ONE 24 25 DISC ONE COMMÈRE choosing one young man saying and SAINT TERESA I Saint Teresa scene seven. there are as many saints as there are as CHORUS I They can be left to many saints. selling. Having happily had it with a spoon. One two three four five six seven. many saints as there are in it. Saint Teresa with them in with them alone. COMPÈRE CHORUS I SAINT TERESA II COMMÈRE SAINT TERESA II Scene Five. This is just as if it was a tribe. Having happily relied upon noon. Saint Teresa could never be mistaken. Thank you very much. SAINT PLAN Can be seen to be any day any day from COMMÈRE COMPÈRE COMPÈRE CHORUS I SAINT TERESA I here to there. Many saints. Scene Five. Saint Teresa with Saint Teresa. Saint Teresa could never be mistaken. There are as many saints there are many saints in it. SAINT JAN COMPÈRE COMMÈRE SAINT TERESA I AND II COMMÈRE Saint Settlement aroused by the recall of Scene Five. Scene Six In place. Scene seven. COMMÈRE Amsterdam. A very long time and not while waiting. CHORUS I CHORUS I COMPÈRE [1|11] Dance of the Angels SAINT TERESA I Many many saints can be left to many Away away away away a day it took three Saint Teresa and Saint Teresa. SAINT IGNATIUS SAINT TERESA I Judging it as a place to be used many saints. days and that day. More needily of which more anon. negligently. Scene Five left to many many saints. CHORUS I How many saints are there in it. Of which more which more. COMMÈRE Saint Teresa to trace. A saint to be met by and by by and by CHORUS I COMPÈRE Saint Teresa was very well parted and Saint Teresa and place. SAINT TERESA II There are very many many saints in it. continue reading reading read read Saint Ignatius by the time that rain has Scene Five. apart apart from that. Saint Teresa beside. readily. come. Saint Teresa added ride. SAINT TERESA I CHORUS I SAINT TERESA I Saint Teresa with tied. There are as many saints as there are CHORUS I SAINT JAN Scene Five left to many saints. Harry marry saints in place saints and Never to be lost again today to stay. Saint Genevieve meant with it all. sainted distributed grace. COMMÈRE in it. COMMÈRE Saint Teresa and might. There are there are there are saints CHORUS II SAINT PLAN Scene Five. COMMÈRE saints in it. Saint Ignatius Saint Ignatius Saint Might meant with it all. Saint Teresa in place. SAINT TERESA I Ignatius temporarily. CHORUS II Might with widow. COMMÈRE SAINT JAN They are left to many saints and those CHORUS I Saint Teresa Saint Settlement Saint SAINT PLAN Might meant might with it all. saints these saints these saints. Saint Teresa in place of Saint Teresa SAINT TERESA II Ignatius Saint Lawrence Saint Pilar Saint Who makes whose be his. I do. in place. Might. Plan and Saint Cecilia. SAINT CHAVEZ CHORUS I CHORUS I AND II Select. Saints four saints. SAINT TERESA I AND II SAINT SETTLEMENT SAINT CELESTINE Saint Teresa scene scene seven one two Can any one feel any one moving and Saint Teresa very made her in. How many saints are there in it. three four five six seven. CHORUS I COMMÈRE in moving can any one feel any one and Saints. All Saints. They are left to many saints. in moving. CHORUS I SAINT TERESA II SAINT TERESA II Saint Teresa Saint Teresa. CHORUS II COMPÈRE There are as many saints as there are Let it have a place. SAINT TERESA II saints in it. Scene Eight. Scene Five. To be belied. SAINT SETTLEMENT SAINT CHAVEZ Saint Teresa in in in Lynn. CHORUS I SAINT TERESA I Saint Teresa Saint Ignatius and Saint [1|12] Game SAINT TERESA I How many saints are there in it. Genevieve and Saint Teresa and Saint Saint Ignatius might be Five. Having happily married. COMPÈRE CHORUS I Scene Seven. SAINT CELESTINE AND SAINT Chavez. All Saints at all Saints. SAINT IGNATIUS SAINT TERESA II Saint Chavez can be with them then. When three were together one woman CHORUS I LAWRENCE Having happily beside. There are saints in it Saint Celestine Saint Ignatius can be might it be with CHORUS II sitting and seeing one man lending and One two three four five six seven scene them and furl. Any and all Saints. seven. Saint Lawrence there are as many saints

DISC ONE 26 27 DISC ONE CHORUS I SAINT TERESA I AND II [1|14] Drinking Song SAINT TERESA II ALL SAINTS SAINT TERESA II All and all Saints. Might be there. To be sure. Once in a while. When. Then. When. Then. Then. Men. How many windows and doors and floors With them and. And hand. SAINT CHAVEZ Once in a while. When. Ten. Then. When. Ten. When then. are there in it. CHORUS II And alight. With them then. Once in a while. Then. Then. Ten. Then. Ten. When then. All and all Saints. SAINT IGNATIUS SAINT TERESA I Nestle. SAINT TERESA I Saints when. Saints when ten. Ten. Ten. Once in a while. Once in a while. Ten. Ten. Ten. Ten. Ten. Ten. Ten. How many doors how many floors and CHORUS I COMPÈRE Once in a while. how many windows are there in it. All Saints. All in all Saints. SAINT TERESA I AND II With them and a measure. SAINT PLAN COMPÈRE Settled all in all saints. Once in a while. Once in a while. Once Scene Eleven. SAINT PLAN COMMÈRE Once in a while. in a while. How many windows are there in it how CHORUS II It is easy to measure a settlement. SAINT CHAVEZ SAINT TERESA I many doors are there in it. Saints settled saints settled all in all SAINT PLAN With William. saints. COMPÈRE Once in a while. Once in a while. SAINT CHAVEZ Scene Nine. SAINT TERESA II How many doors are there in it how many SAINT SETTLEMENT SAINT SETTLEMENT SAINT TERESA I, II, AND SAINT Once in a while. With Plan. floors are there in it how many doors are Saints all saints all saints. SAINT TERESA I IGNATIUS there in it how many windows are there To be asked how much of it is finished. SAINT TERESA II Once in a while. SAINT TERESA I in it how many floors are there in it how SAINT IGNATIUS To be asked Saint Teresa Saint Teresa to With William willing and with Plan willing Settled passing this in having given in Once in a while. COMPÈRE many windows are there in it how many be asked how much of it is finished. and with Plan and with William willing doors are there in it. which is not two days when everything To be asked Saint Teresa to be asked SAINT CHAVEZ Scene Ten. and with William and with Plan. being ready it is no doubt not at all the Saint Teresa to be asked ask Saint Once in a while. COMPÈRE following morning that it is very much COMMÈRE SAINT TERESA II Teresa ask Saint Teresa how much of it SAINT CECILIA Could four acts be three. Changing in between. later very much earlier with then to find it is finished. They might be staring. acceptable as about about which which Once in a while. SAINT TERESA II SAINT TERESA I as a river river helping it to be in doubt. SAINT PLAN SAINT TERESA I In this and in this and in this and clarity. SAINT GENEVIEVE Could four acts be three. And with William. Who do who does and does it about Ask Saint Teresa how much of it is Once in a while. about to be as a river and the order of finished. COMMÈRE SAINT TERESA II SAINT TERESA II How many are there in this. their advance. SAINT ANNE Saint Teresa Saint Teresa Saint Teresa And with Plan. It is tomorrow on arriving at a place to SAINT SETTLEMENT, SAINT TERESA II, Once in a while. Could four acts be three Saint Teresa. SAINT CHAVEZ, AND SAINT PLAN SAINT TERESA I AND II, SAINT CHAVEZ pass before the last. SAINT TERESA I How many are there in this. How much of it is finished. SAINT SETTLEMENT CHORUS I With William. Once in a while. Scene Ten. [1|13] Love Scene SAINT TERESA II SAINT SETTLEMENT When. SAINT TERESA II Singularly to be sure and with a COMMÈRE AND COMPÈRE Ask how much of it is finished. SAINT TERESA I And with Plan. Once in a while. Once in a while. CHORUS II Wednesday at noon. Scene Eight. To wait. SAINT CHAVEZ Saint Teresa. Could four acts be when [1|15] SAINT CHAVEZ Scene One. And begun. Ask how much of it is finished. SAINT IGNATIUS four acts could be ten Saint Teresa. Scene Two. To and to. Once in a while. Once in a while. Once Vision of a Heavenly Mansion In time and mine. Scene Three. Happily be. SAINT TERESA II in a while. CHORUS I Ask how much of it is finished. SAINT TERESA I, SAINT SETTLEMENT, SAINT TERESA I Scene Four. Attached or. Saint Teresa Saint Teresa Four Acts SAINT CHAVEZ, AND SAINT PLAN Settlement and in in and in and all. Scene Five. Sent to derive. SAINT SETTLEMENT could be four acts could be when when COMPÈRE Once in a while. How many windows are there in it. All to come and go to stand up to kneel Scene Six. Let it mix. Saint Teresa Saint Paul Saint Plan Saint four acts could be ten. to be around. Scene Seven. Attached eleven. Anne Saint Cecilia Saint Plan. Scene Eight. To wait.

DISC ONE 28 29 DISC ONE Around and around and around and as SAINT IGNATIUS SAINT CHAVEZ ACT III SAINT TERESA I [2|2] Vision of Holy Ghost round and as around and as around and Withdrew with withdrew. Occurred. In a minute. And seen one. as around. Occurred withdrew. [2|1] SAINT IGNATIUS Withdrew occurred. SAINT TERESA I SAINT TERESA II Pigeons on the grass alas. CHORUS I And circumstances. Barcelona. Saint Ignatius and one Very likely. One two three. SAINT CHAVEZ of two literally CHORUS I AND II SAINT TERESA II SAINT TERESA I Pigeons on the grass alas. Saint Ignatius occurred Saint Ignatius Monastery garden with low trees and COMMÈRE withdrew occurred withdrew. In as much. It is not what is apprehended what is There is a distance in between. a wall; behind the wall a bare Spanish apprehended what is apprehended what SAINT IGNATIUS SAINT SARAH SAINT CHAVEZ horizon and an empty sky. Men saints are is apprehended intended. Short longer grass short longer longer CHORUS I Having heard that they had gone she said With them. seated in a circle mending fish net. shorter yellow grass. Pigeons large There is a distance in between in COMPÈRE how many eggs are there in it. COMPÈRE pigeons on the shorter longer yellow between others others meet meet meet SAINT IGNATIUS Scene One. grass alas pigeons on the grass. met wet yet. SAINT ABSALOM Abundance. With withdrawn. SAINT CHAVEZ Having heard that they are gone he said COMMÈRE How do you do. CHORUS I AND II SAINT SETTLEMENT how many had said how many had been At that time. If they were not pigeons what were they. It is very tearful to be through. An interval. SAINT TERESA I where they had never been with them Very well I thank you. SAINT IGNATIUS SAINT IGNATIUS CHORUS I or with it. COMPÈRE And all. Abundance. If they were not pigeons on the grass alas Through and through. SAINT IGNATIUS what were they. SAINT CECILIA This is how young men and matter. SAINT CHAVEZ SAINT TERESA I Might be anointed. [1|16] Pantomime Then and not. COMPÈRE Might be third. (Saint Teresa I and Saint Ignatius) SAINT TERESA I He had heard of a third and he asked SAINT TERESA I How many nails are there in it. SAINT IGNATIUS SAINT TERESA II With responsibility. SAINT CHAVEZ Might it all. Do and doubling with it at about it. Might be heard. In consideration of everything and that SAINT TERESA II once left and right. CHORUS I AND II SAINT TERESA II Who can try. And an allowance. it is done by them as it must be left to It was a magpie in the sky. SAINT TERESA I them with this as an arrangement. SAINT CHAVEZ Might be invaded. SAINT IGNATIUS Left left left right left with what is SAINT IGNATIUS SAINT SETTLEMENT Night and day cannot be different. They can be a little left behind. It might have a change from this. known. In time. If a magpie in the sky on the sky can not CHORUS I SAINT TERESA I Saint Teresa and three saints and there. SAINT TERESA II SAINT TERESA I cry if the pigeon on the grass alas can SAINT CHAVEZ Completely forgetting. Not at all. alas and to pass the pigeon on the grass A winning. Scene Two. SAINT SETTLEMENT SAINT TERESA II alas and the magpie in the sky on the sky Commencing again yesterday. SAINT TERESA I SAINT IGNATIUS and to try and to try alas on the grass alas SAINT CECILIA I will try. As if they liked it very well to live alone. In plenty. Within it within it within it as a wedding the pigeon on the grass the pigeon on the SAINT TERESA I SAINT TERESA I for them in half of the time. Particularly. grass and alas. And principally. Saint Teresa. SAINT IGNATIUS SAINT EUSTACE Theirs and by and by. With withdrawn. Call it a day. With a wide water with Might it be mountains if it were not within with withdrawn. CHORUS I AND II COMPÈRE SAINT CHAVEZ They might be very well very well very Scene Ten. Barcelona. SAINT SETTLEMENT As if a fourth class. With noon. What can they mean by well very well. well they might be they might be very SAINT PLAN COMPÈRE well they might be very well very well With wisdom. CHORUS I Scene Two. they might be. Scene One.

DISC ONE 30 31 DISC TWO Let Lucy Lily Lily Lucy Lucy let Lucy Lucy TENOR SOLO, CHORUS I AND II COMMÈRE COMMÈRE COMMÈRE SAINT TERESA I Lily Lily Lily Lily Lily let Lily Lucy Lucy let He asked for a distant magpie as if that In a minute. There is a difference between Barcelona Whose has whose has whose has ordered In face of in face of might make milk Lily. Let Lucy Lily. made a difference. and Avila. needing white and green as much as sung sung face to face face in face place SAINT IGNATIUS orange and with grey and how much in place of face to face. He asked for a distant magpie as if he COMPÈRE COMPÈRE asked for a distant magpie as if that In a minute by the time that it is and as much and as much and as a Scene One. graciously gratification and might it be What difference. circumstance. CHORUS I AND II made a difference. Milk sung. He asked as if that made a difference. with them to be with them to be with COMMÈRE CHORUS I AND II them to be with a windowed. SAINT TERESA I Saint Ignatius and please please please He asked for a distant magpie. Scene. Intending to be intending to intending to [2|4] Saint Ignatius predicts please. As if that made a difference he asked COMPÈRE CHORUS I AND II to to to. To do it for me. the Last Judgment for a distant magpie as if that made a As seen as seen. Saint Ignatius There is a difference between Barcelona COMPÈRE difference. surrounded by them. Saint Ignatius and SAINT IGNATIUS SAINT IGNATIUS Scene One. and Avila. Two and two. Once in a while and where and where He asked as if that made a difference. one of two. There is a difference between Barcelona. SAINT PLAN A distant magpie. around around is as sound and around COMMÈRE AND COMPÈRE is a sound and around is a sound and One and one. He asked for a distant magpie. [2|3] Ballet: Tempo di Tango COMMÈRE Scene Five. Alive He asked for a distant magpie. Scene Four. around. COMPÈRE SAINT STEPHEN Scene Six. With seven. Around is a sound around is a sound Scene One. SAINT IGNATIUS Saint Chavez might be with them at COMPÈRE Scene Seven. With eight. around is a sound and around. Around Might be admired for himself alone. that time. And no more. Scene Eight. differing from anointed now. Now CHORUS I AND II differing from anointed now. Now Might they be with they be with them SAINT CHAVEZ COMPÈRE COMMÈRE CHORUS I AND II Saint Ignatius might be admired for All of them. Scene Five. Ordinary pigeons and trees. differing differing. Now differing from might they be with them. anointed now. Now when there is left himself alone and because of that it CHORUS I AND II SAINT IGNATIUS SAINT TERESA II SAINT CHAVEZ might be as much as any one could and with it integrally with it integrally Never to return to distinctions. Might be with them at that time. All of Left to left left to left left to left. If a generation all the same between forty withstood within without with drawn as desire. them might be with them all of them at Left right left left right left left to left. and fifty as as. Because of that because it might be as much as could be withstanding what in CHORUS I AND II that time. Might be with them at that might might be so. Might they be with them with they be much as any one could desire. It might be CHORUS I AND II SAINT SETTLEMENT time all of them might be with them at As they were and met. with they be with them. that it could be done as easily as because that time. When they do change to. COMMÈRE it might very much as if precisely why Many might be comfortabler. SAINT IGNATIUS SAINT VINCENT SAINT TERESA II they were carried. COMPÈRE Was it tenderness and seem. In line and in in line please say it first Scene Two. It is very easy to love alone. Authority for it. COMPÈRE SAINT IGNATIUS in line. SAINT PLAN SAINT SETTLEMENT This is very well known now. When it is ordinarily thoughtful and Left when there was precious little SAINT STEPHEN Might it be as well as mean with in. to be asked by the ones who were Too much too much. By this clock o’clock. SAINT TERESA II making it be what they were wishing at When this you see remember me. one time insatiably and with renounced overwhelmingly particular about what CHORUS I AND II CHORUS I AND II they were adding to themselves by SAINT CHAVEZ Ordinary pigeons and trees. where where ware and wear wear with There are very sweetly very sweetly Henry By this clock by this clock by this clock COMPÈRE them with them and where where will means of their arrangements which o’clock. It was very well known to everyone. might be why they went away and came very sweetly René very sweetly many SAINT TERESA I AND II, SAINT it be as long as long as they might with very sweetly. SAINT IGNATIUS SETTLEMENT it with it individually removing left to it again. COMMÈRE Foundationally marvelously aboundingly This is a setting which is as soon which They were very careful of everything. when it very well way well and crossed COMPÈRE SAINT IGNATIUS is as soon which is as soon ordinary There are very sweetly many very sweetly illimitably with it as a circumstance. crossed in articulately minding what It is every once in a while very much what Fundamentally and saints fundamentally setting which is as soon which is as soon SAINT TERESA II you do. they pleased. René very sweetly there are many very and noon. Might and right very well to do. sweetly. and saints and fundamentally and saints. DISC TWO 32 33 DISC TWO SAINT TERESA I what is it might they can it fairly well to SAINT STEPHEN AND SAINT How many saints are there in it. How COMPÈRE CHORUS I AND II It is all colored by a straw straw laden. be added to in this at the time that they SETTLEMENT many saints are there in it. Scene Three. Saint Chavez to care. can candied leaving as with with it by the Let it be why if they were adding adding One two three four all out but four SAINT TERESA II the left of it with with in in the funniest comes cunningly to be additionally one two three four four four or four or COMMÈRE COMPÈRE Very neatly with it with it soon soon in union. cunningly in the sense of attracting more. Let all act as if they went away. Saint Chavez to care. as said. attracting in the sense of adding More or four. How many acts are there COMPÈRE COMMÈRE COMPÈRE adding in the sense of windowing and in it. SAINT TERESA I Across across a cross coupled across Scene Four. Who may be what is it when it is instead. Having asked additionally theirs instead. windowing Four acts Act Four. crept across crept crept crept crept and frames and pigeons and ordinary SAINT PHILIP SAINT TERESA I AND II, SAINT COMMÈRE across. They crept across. trees [2|8] ACT IV With them and still. IGNATIUS Once in a minute. COMMÈRE and while while away. The Sisters and Saints reassembled Saint Plan Saint Plan to may to say to SAINT SETTLEMENT say two may and inclined. COMPÈRE If they are between thirty and thirty-five and reenacting why they went away They will they will. In a minute. and alive who made them see Saturday. [2|6] Intermezzo to stay COMMÈRE SAINT TERESA I CHORUS I AND II [2|7] Prologue to Act IV Who makes it be what they had as [2|5] No scenery but the sky, with tumultuous Begin to trace begin to race begin to porcelain. Between thirty-five and forty-five clouds and a sunburst. Saints in Heaven. place begin and in in that that is why Saints’ Procession between forty-five and three five as COMPÈRE AND COMMÈRE Act Four. How many acts are there in it. this is what is left as may may follows COMPÈRE CHORUS then when they were forty-five and CHORUS I AND II June and June follows moon and moon Saint Ignatius and left and right laterally thirty-five when they were forty-five and Acts are there in it. Supposing a wheel One at a time regularly regularly by the One two three as one one and one one had been added to three wheels how follows soon and it is very neatly ended be lined. one to be one with them one with them thirty-five when they were then forty-five time that they are in and and in one at with bread. and thirty- five and thirty-two and to many acts how many how many acts are at time. ALL one with them with are with are with there in it. with it. achieve leave relieve and receive their SAINT CHAVEZ All Saints. Any Saint at all. How many acts are SAINT CHAVEZ Who can think that they can leave it astonishment. Were they to be left to do The envelopes are on all the fruit of the COMMÈRE COMPÈRE to do as well as they do mean I mean I there in it. here to me. Scene Nine. How many saints in all. How many acts fruit trees. To Saints. mean. Left to their in their to their to be CHORUS I AND II their to be there all their to be there all are there in it. COMPÈRE ALL COMMÈRE AND COMPÈRE Ring around a rosy. How many acts are When this you see remember me. They Letting pin in letting let in let in in in there all their time to be there to be there Scene Two. have to be. They have to be. They have Four Saints. all their to be all their time there. there in it. in in let Wedded and weeded. Please be coming SAINT CHAVEZ to be to see. To see to say. Laterally COMMÈRE in let in wet in wed in dead COMMÈRE AND COMPÈRE to see me. Remembered as knew. they may. And Saints. in dead wed led in led wed dead With wed led said with led dead said When this you see you are all to me. in dead in led in wed in said SAINT IGNATIUS COMPÈRE ALL with dead led said with said dead led wed Me which is you you who are true true Meant to send, and meant to send and Scene Five. Five Saints. in said led wed dead wed dead said led said wed dead led dead led said wed. be to you. led said wed dead wed dead led in led meant meant to differ between send and COMMÈRE How many how many saints are there went and end and mend and very nearly COMMÈRE in wed CHORUS I AND II in it. Who makes who makes it do. To Saints. in wed in said in wed in led With be there all their all their time there one to two. One two three four and there is no door. CHORUS I AND II in said in dead in dead wed said led led be there vine there be vine time there be SAINT SETTLEMENT COMPÈRE Or more. Or more. Or door. Or floor or door. Saint Teresa and Saint Teresa too. Last Act. said wed dead in. there time there all their time there. One two three all out but me. With this and now. CHORUS I AND II How many saints are there in it. Saints COMMÈRE ALL SAINT PLAN Who does and who does care. That makes they have might kind find and see all out but me. Made it with with in with withdrawn. Which is a fact. fined when this arbitrarily makes it be

DISC TWO 34 35 DISC TWO Capital Capitals [2|9] Music by Virgil Thomson THIRD CAPITAL Aix Arles and Avignon. FIRST CAPITAL Libretto by Gertrude Stein Capitally be. Those that begin with be Beaux. They were said to be safely here and Capitally see. That makes four. there. It would appear that capital is adapted Those that begin with B. Barcelona. Capital wool. to this and that. Those that begin with M. Marseilles When we say capital wool we mean Capitals are capitals here. that all wool pleases us. First Capital Charles Blandy, tenor and Mallorca. Capital very good. You mean Palma. Yes P. Palma de SECOND CAPITAL Second Capital Sumner Thompson, baritone Capital place where those go where Mallorca. Capitally for wool. they go. Do this in painting. FIRST CAPITAL Third Capital Andrew Garland, baritone Capital. He has capital. Will you have a strawberry. We have often been interested in the Outcropping of the central mountain Egypt. Fourth Capital Simon Dyer, bass use of the word capital. formation. SECOND CAPITAL A state has a capital a country has Mountain formations and capitals. Rabbit. a capital an island has a capital a Strawberries and capitals. Linda Osborn, piano THIRD CAPITAL mainland has a capital. Letters a b and m and capitals. Fingering. A portion of France has four capitals Capitals. and each one of them is necessarily on FOURTH CAPITAL FIRST CAPITAL a river or a mountain. Ardently silk. Capital C. Capital Capitals, by Gertrude Stein, 1923, evokes Provence, its landscape, We were mistaken about one of them. SECOND CAPITAL This is to be distressing. SECOND CAPITAL Spontaneously married. food, and people, as a conversation among the cities Aix, Arles, Avignon, and We now return to ourselves and tell Capital D. how nearly the world is populated. THIRD CAPITAL Les Baux, here called Capitals One, Two, Three, and Four. It also reflects the THIRD CAPITAL Camel’s hair. First a capital. Capital Y. poet’s attachment to that sunny region, which she had first known as an Excitement. SECOND CAPITAL FOURTH CAPITAL ambulance driver in World War I. — V.T., 1968 Sisters. Eider down. First capital. Capital J. They said that they were safely there. FIRST CAPITAL When we were on an island it was said Chenille. that there was a capital there. And THIRD CAPITAL It comes from the caterpillar I think. also that there was a capital on the Safer there than anywhere. mainland. SECOND CAPITAL SECOND CAPITAL If travelers come and a rug comes, Did he and his wife and his sister They came there safely. expect to eat little birds. if a rug comes and travelers have come Little birds least of all. ev’rything has come and travelers All the capitals that begin with A. have come.

DISC TWO 36 37 DISC TWO THIRD CAPITAL SECOND CAPITAL THIRD CAPITAL THIRD CAPITAL FIRST CAPITAL FOURTH CAPITAL The third capital, they have read about When a great many people filter. Capital three. If in regard to climates if we regard If in every capital there are more than It is Sunday and besides it is raining. the third capital. FOURTH CAPITAL FOURTH CAPITAL the climate, there were before Spoken. It has in it many distinguished In. Capital four. if we are acclimated to the climate of how may a capital continue this THIRD CAPITAL inventors of electrical conveniences. the third capital. preparation. FIRST CAPITAL THIRD CAPITAL Outspoken. FOURTH CAPITAL FOURTH CAPITAL They prepare themselves to say that They play ring around a rosy. Capital four. they will stay. SECOND CAPITAL In how many days can everyone The climate of capital four is the Presses. display their satisfaction with this and THIRD CAPITAL FOURTH CAPITAL climate which is not so strange but In the first place the first capital is very their satisfaction. They play London bridges. The fourth capital is one where we do that we can be acclimated to it. well placed. FIRST CAPITAL Let us count the fourth capital. SECOND CAPITAL dream of peppers. We can be acclimated to the climate SECOND CAPITAL Addresses. Rome Constantinople Thebes and They play High Spy. It is astonishing how a regular curtain of the fourth capital. In the second place the second capital Counting. Authorization. can be made of red peppers. If every capital has three or four who has more sugared melon. SECOND CAPITAL THIRD CAPITAL A long curtain and not too high. THIRD CAPITAL They play horses. lock their door THIRD CAPITAL Recounting. There are a great many third capitals. THIRD CAPITAL and indeed if we mean to care for their In the third place the third capital is FOURTH CAPITAL THIRD CAPITAL The third capital is one in which home for them we can complain of aroused. Extra meals. SECOND CAPITAL We have all forgotten what horses are. thousands of apples are red in color lack of water. Surrounding second capitals are third FOURTH CAPITAL THIRD CAPITAL and being so they make us in no way FOURTH CAPITAL capitals and first capitals. THIRD CAPITAL In the fourth place all four capitals Spaces. We have all forgotten what horses angry. Water can be bought. FIRST CAPITAL there are. have many shovels. Indeed. SECOND CAPITAL SECOND CAPITAL Except me. The first capital reminds me of THIRD CAPITAL SECOND CAPITAL The second capital is one in which If in any capital there are three or four derision. We have all forgotten where there are butter is sold. THIRD CAPITAL Hearty kisses. Decide. who mean to present themselves Accept me. horses. Can butter be sold very well. SECOND CAPITAL SECOND CAPITAL THIRD CAPITAL SECOND CAPITAL FIRST CAPITAL FIRST CAPITAL In a minute. To reside. tenderly Expect me. We have all forgotten about horses. The first capital is one in which there then indeed can we silence ourselves FIRST CAPITAL THIRD CAPITAL are many more earrings. FIRST CAPITAL SECOND CAPITAL by thinking. Shut the door. And what beside. Capital this and capital that. Are there many more earrings there We can thank then. Except me. In this way in as they say this way, FOURTH CAPITAL than elsewhere. I do I will. In this way they say there are as they FIRST CAPITAL SECOND CAPITAL My side. Acclimated. Very still. may say this way. In this way things This is capital and that is capital. We were acclimated to the climate of If in any capital they are more seldom matter. At my side. seen SECOND CAPITAL THIRD CAPITAL the first capital. Cannot express can express THIRD CAPITAL more and more seldom, Catalogue. Capital one. SECOND CAPITAL tenderness. And when can they say that there is no if they are more and more seldomly THIRD CAPITAL In this way as they say in this way room there. FOURTH CAPITAL We are acclimated to the climate of seen what then what of them. A station. Capital two. the second capital. as they say they cannot express tenderness.

DISC TWO 38 39 DISC TWO As they say in the way they say FOURTH CAPITAL reasonable wishes are not coloured by THIRD CAPITAL THIRD CAPITAL heated and the sun heated. they can express in this way To settle and to settle well, to settle reasonable wishes, They do. Am I in it. When the mountains are near by and tenderness, very well to settle. reasonable wishes are rarely coloured SECOND CAPITAL SECOND CAPITAL not high they can express tenderness in this Do they settle do we settle do I settle to be reasonable wishes. They will. He leaves the kitchen as well. little mountains made at the right way. do they settle very well do we settle angle are not high FOURTH CAPITAL FIRST CAPITAL FIRST CAPITAL SECOND CAPITAL well do we settle, well do we. Mountains are not merely and yet we can imply that they are Do I settle. They are tonight. In sight of the first capital neither near nor high and that they are If they are good if they are good to me outcroppings they are usefully Paul. because of this capital besides this if I can see that they are good if I can Do I settle very well. Very well I do employed in reasonable association. near by and they are near high. settle. SECOND CAPITAL is a capital The capital was nearly eight hundred see that they are good to me, We reasonably associate with one because of this as their capital if I would if I could I could say that they I do settle very well. They do settle another and are elaborately aware of Not Paul. miles away. very well. and becoming this becoming their are good if I would say that they are waiting. THIRD CAPITAL FOURTH CAPITAL Resemble it. possession by way of this and their good to me, Wait again for me. Paul Cook. having the possession, This gives me no idea of its distance of THIRD CAPITAL if I could if I would Capitals are plenty there are plenty of FOURTH CAPITAL permit me to credit you with an the distance from here to there. To resemble it. if they could be good capitals. Three capitals in all. I intend to learn excellent reason for remaining here. SECOND CAPITAL if they would be good SECOND CAPITAL THIRD CAPITAL to stay away. I intend to endeavour Permit me to do this For capitals. if they are good They resemble it. Why do they enjoy capitals and why consolation. and also permit me to assure you that THIRD CAPITAL are they good are they good to me coming again is not as pleasant as FIRST CAPITAL are capitals rapidly united. We unite THIRD CAPITAL If a second capital has pleased them do you hear me say that they could ourselves together. coming again and again be good They resemble. Many win. all I state that the first capital is one that SECOND CAPITAL and coming again and again is very if a second capital is second only in did they hear me say that they could FIRST CAPITAL nearly the best way of establishing be good, that they are good has been won to settle on itself denial. The capital seems to be the capital. Many many times in the way. such a way that there is no reason to I deny we deny they deny. where there is the most pleasure the that I say that they are good to me. FIRST CAPITAL Happily a little calling and covering. arouse me, I deny what that they are safely there most reasonableness the most plenty to arouse me, THIRD CAPITAL A capital is not easily undertaken SECOND CAPITAL the most activity the most sculpture and that no one comforted him. nor is it easily around nor indeed is it a second capital in all a second capital If they belong to being more than Happily a little changing and repeating. the most liberty the most meditation does he know that he found it to be so, strong, SECOND CAPITAL impervious. the most calamity and the most THIRD CAPITAL does he know that he has told us that do they care to be strong do they care Do not annoy anyone needing to feel Thoroughly. separation. Very happily properly placed as a in walking that in walking he has been to belong do they belong to being strongly that if wishes were horses SECOND CAPITAL If rose trees are cut down again and beggars would ride castle. more than sufficiently clearly seeing strong. And very pleasantly. again he can be busily engaged that if a park is green If they hear a second day do they say and why are ridden horses still used, FOURTH CAPITAL and if he is busily engaged can he THIRD CAPITAL that if a park is green may he be sure a second day comes before a first day why are they still used why are ridden We were content with the inroad. nourish hope horses still used. Nearer to it than that. of his path anywhere. THIRD CAPITAL and if he nourishes hope can he may he and may he in association FOURTH CAPITAL Capitally strong do they belong does it THIRD CAPITAL Inlay. converse may he in this place belong to them to be capitally strong. Reasonable wishes do not colour Eagerly. and if he converses can he say that They are. SECOND CAPITAL may he in such a place I will say so today. reasonable wishes, some day he will supply the same that may he indeed They do not answer me in syllables. He mentions me. he did supply when the sun

DISC TWO 40 41 DISC TWO might he have been employed in FOURTH CAPITAL FOURTH CAPITAL I meant to say that. Plants for plants and capitals for THIRD CAPITAL such a place and in what way was he He went to stay and had his father and Were they really rejected and did they THIRD CAPITAL capitals. I wish to tell all I know about capitals. employed his mother been there long. object as it would seem they did. They meant that beside. FOURTH CAPITAL Capitals are the places where everyone was it in relation to meat to vegetables Had his father and his mother been If they have to do this and they have Capital capitals. exactly deprecates the necessity of to bread to cake to fruit to ices there long and was there no reason to do this. SECOND CAPITAL going away, Ignorant negroes. Capitally. or indeed was it in relation to the for that. If they have to do this can they attend Capitally capable. Articles for articles. where everyone deprecates the homes where all who are religious find Was there no reason for this and he to their daisies. THIRD CAPITAL Buds for buds. Combs for combs and necessity there is to stay themselves crowded. was not found to be splendid. THIRD CAPITAL Not as ignorant as negroes. lilies for lilies. where everyone utters a welcome Did he crowd in. Who was really the manager of the that is sufficiently stirring and where And if they attend to their stones and FIRST CAPITAL Lilies for lilies. distribution of light. everyone does know what makes No indeed. stones are in a way useful can they Capital for capital and who knows Combs for combs. Buds for buds. He was not prepared to receive them them so, He meditated in this way attend to baggage. better than that that capital is mine. Articles for articles and capitals for here and there. Here and there. Here so what so nearly wider. every noon as soon as he was Capital for capital. Crowd for crowd. capitals. and there. Read it again. Here and SECOND CAPITAL responsible and he was responsible Out loud for out loud. Crowd for crowd. We know how to remove harness and FOURTH CAPITAL to no one, there. In attending to baggage a great many are caught in the rain. Capital for capital. grass. Now let me see why capitals are to wife and child and all and he came Has a reason. Capitals for capitals. steadily repeated. SECOND CAPITAL at their call. THIRD CAPITAL FIRST CAPITAL I repeat the first capital. I repeat I Capitally. And capital for capital. Call again. For this. It is Sunday and besides it is raining. repeat. I repeat the second capital. You Capital for capital. THIRD CAPITAL I often mention what has been seen It is too cold to rain. repeat you repeat. I repeat the third SECOND CAPITAL Question for question. And capital and capital. no no one can say more In the meantime do you see. Yes I see. capital. We repeat we repeat. I repeat More than all. A caress for a caress. no one can say any more than it has In the meantime do you see me. Yes I SECOND CAPITAL the fourth capital. They repeat they A river for a river and a spring for a been seen that a king has been seen FIRST CAPITAL do see you. And more than capital. repeat. not a king The rest. spring. SECOND CAPITAL Spring comes very early here, it comes FIRST CAPITAL THIRD CAPITAL not has been seen Did they clear themselves of men and If you went and if you came if they For their capital. not that a king has been seen, not that women and did they seem to be able before the days are longer. I repeat that a capital is a treat. I came if you went and came, Capital for capital. Candy for candy. Yes yes. repeat that they retreat from a capital there has been seen not a king to be especially related. indeed spring does come before winter not that there has been seen, and Curtains for curtains and crowds for SECOND CAPITAL and that they retreat. SECOND CAPITAL that is to say even here. crowds. Able to able to able to go when did he wish to waver, waver, Did they seem to be especially related Now understand what I mean. SECOND CAPITAL and waver Crowds for crowds. Curtains for able to go and come I repeat that they compete for a and did they fasten their bamboos as One may say that winter is as winter. curtains. able to come and go and when did he wish to wave it away, hedges every two years. They meant to winter. capital. I repeat that they compete. wave it away Candy for candy and capital for capital. able to come and go Do they compete. THIRD CAPITAL THIRD CAPITAL able to do so. and he will say today and January THIRD CAPITAL FIRST CAPITAL for a day. Did they fasten their bamboos as Met again or not met. Capitals for capitals. Plants for plants. In this way me may date to day. What hedges every two years is the date to day. What is the date I repeat that they defeat that they SECOND CAPITAL FOURTH CAPITAL Bridges for bridges and beds for beds. defeat that they defeat that they and did they have any objection to I see you see he sees me, he can see Beds for beds. Bridges for bridges. today. I see, say that I see, I see that I say their rejection. deplete that they complete that they that I see. you can see they can see me.

DISC TWO 42 43 DISC TWO seal a great many people in there and preparation of declaration of stability SECOND CAPITAL it is there that they are seated. of precaution of accentuation and of Little silver mats are very useful. I know why I say what I do say. I attraction. FOURTH CAPITAL say it because I feel a great deal of THIRD CAPITAL And silver is very pretty as to color. pleasure of satisfaction of repetition of And why do you spare little silver mats. indication of separation of direction of

Librettos to Four Saints in Three Acts and Capital Capitals reprinted by permission of the Estate of Gertrude Stein through its Literary Executor, Mr. Stanford Gann, Jr. of Levin & Gann, P.A.

DISC TWO 44 BEINECKE RARE BOOK AND MANUSCRIPT LIBRARY, YALE UNIVERSITY. PHOTO BY WHITE STUDIO © THE NEW YORK PUBLIC LIBRARY. YORK © THE NEW WHITE STUDIO BY PHOTO UNIVERSITY. YALE LIBRARY, BOOK AND MANUSCRIPT RARE BEINECKE 45 ARTISTS For the next few years he traveled between New York and Boston, where he served as organ- ist for the King’s Chapel, and he began to contribute serious music journalism to publications Virgil Thomson was a many-faceted American composer like Mencken’s American Mercury and Vanity Fair. It was not long, however, before Europe of great originality and a music critic of singular brilliance. would once again exert its call, and in 1925 he returned to Paris, where he lived, apart from Utilizing a musical style marked by sharp wit and overt visits to the US, until 1940. In 1927 he journeyed to Spain to collaborate with Gertrude Stein playfulness, he composed in almost every genre of music, on their opera Four Saints in Three Acts, which they completed in 1928. The opera received producing a highly original body of work rooted in American its premiere in Hartford in 1934 with an all-black cast in an extraordinary visual production speech rhythms and hymnbook harmony. His music was influ- with choreography by Frederick Ashton. Thomson created scores to The Plow That Broke the enced by Satie’s ideals of clarity, simplicity, irony, and humor. Plains and The River (films by Pare Lorentz) during1936 and 1937. During the 1930s and Though mostly diatonic and tonal in feeling, some of his work beyond, he also produced ballet scores, incidental music for the theater, and a genre he can was densely chromatic (Three Tone Poems) and even 12-tone be credited with inventing: the musical portrait. The portraits were written in the subject’s BETTY FREEMAN in organization (A Solemn Music). presence, as a painter would do, and indeed as Gertrude Stein produced her literary portraits. Born in Kansas City, Missouri on November 25, 1896, Thomson was imbued with a strong Revised later very seldom, a portrait was a spontaneous, intuitive act for Thomson. sense of place—of rootedness in heartland America and its Protestant traditions. His early Returning to New York in 1940, he settled into his final home, the Chelsea Hotel, and connection to music came through the church, through piano lessons beginning at age 5, accepted a job as chief music critic for the New York Herald Tribune, a position he held until and stints accompanying theatricals and silent films. The music he heard was part and parcel 1951. His second opera with Stein, The Mother of Us All, based on the life of suffragette of the wide world around him: Civil War songs, cowboy songs, the blues, barn-dance music, Susan B. Anthony, premiered in 1947. Much later, the critic Andrew Porter would write in Baptist hymns, folk songs, popular songs, in addition to the canons of Western art music that the pages of the New Yorker that he considered The Mother of Us All one of the greatest he studied. After attending high school and a local junior college, he joined the army and was American operas. In 1948 Thomson created the score for the film Louisiana Story, which won stationed in New York City. He was also trained in radio telephony at Columbia University and the Pulitzer Prize in music that year. After his resignation from the Tribune he devoted himself in aviation at a pilots’ ground school in Texas. He was set for embarkation for France when the to a third opera, Lord Byron, and to writing his autobiography, published in 1966, and his war ended. book American Music Since 1910, published in 1971. Until the end of his life, he continued to In 1919, he enrolled as a student at Harvard. There he worked as an assistant to his counter- compose, travel widely, lecture at universities, publish articles, and conduct. point teacher, Archibald Davison, who was also the director of the Harvard Glee Club, and he In addition to the Pulitzer Prize, his many honors and awards included a Brandeis studied composition with Edward Burlingame Hill. Both men whetted Thomson’s curiosity Award, the gold medal for music from the American Academy of Arts and Letters, the for all things French and helped Thomson secure a fellowship to travel to Paris in 1921, where National Book Circle Award, the Kennedy Center Honors, and 20 honorary doctorates. he studied organ and counterpoint with Nadia Boulanger, and met Cocteau, Stein, Stravinsky, www.virgilthomson.org. and Satie, among many others. Returning to Harvard in 1922, he graduated in 1923.

46 47 Charles Blandy has been praised as “a versatile tenor with agility, in The Bear and Mr. Grinder in The Zoo with Odyssey Opera. He was a endless breath, and vigorous high notes” (Goldberg Early Music featured soloist in Berio’s Coro at the Lucerne Festival under the Magazine) and “unfailingly, tirelessly lyrical” by The Boston Globe. baton of Sir Simon Rattle, and in January 2016 was curator of an Recent performances include Handel’s Messiah with the Saint Paul immersive performance art event of John Cage’s Song Books at Chamber Orchestra, the role of Belmonte in Mozart’s Abduction from Boston’s Museum of Fine Arts, where he will return for a solo recital the Seraglio with Emmanuel Music, and roles in Monteverdi’s three in 2017. He makes his solo debut with Boston Lyric Opera at the operas with Boston Early Music Festival. With Emmanuel Music he start of 2017, and will also work with the composer Andy Vores on has also appeared in John Harbison’s The Great Gatsby and in the video installation performance of his epic Panic, an evening- leading roles in Stravinsky’s The Rake’s Progress, Mozart’s The Magic Flute, and Handel’s length song cycle for baritone, piano, and electronic playback based on the novel Pan by Ariodante. Mr. Blandy has also appeared with the Rhode Island Philharmonic, Portland Nobel-winning Norwegian author Knut Hamsun. Baroque Orchestra, Bach Choir of Bethlehem, Handel and Haydn Society, Boston Baroque, Often working with living composers, Dyer has premiered works by Gregory Rose and Simone Exsultemus, and the Charlotte Symphony. Spagnolo, and has worked with LSO Soundhub, Size Zero Opera at the Tête à Tête Festival, In the field of contemporary music, Mr. Blandy has sung Ricardo Zohn-Muldoon’sComala , and the innovative theatre group Complicite. Dyer has also sung with the Philip Glass premiered Rodney Lister’s chamber song cycle Friendly Fire with Collage New Music, and is ensemble at Barbican Hall in a performance of Koyaanisqatsi, and in a festival event at Trinity on a critically-praised Naxos CD of Scott Wheeler’s opera The Construction of Boston. He Laban dedicated to the works of John Cage, where he took part in a performance of A Dinner gave the US premiere of Rautavaara’s song cycle Die Liebenden. On short notice he appeared Party for John Cage by Steven Montague as well as Cage’s 5. in Berio’s Sinfonia under conductor Robert Spano at Tanglewood. Aaron Engebreth, baritone, made his Carnegie Hall debut with the In recital he has performed Schubert and Brahms with the Boston Chamber Music Society New England Symphonic Ensemble and has been featured as a and Janác˘ek’s The Diary of One Who Disappeared at Monadnock Music (NH); he has also concert soloist in performances from Sapporo, Japan’s Kitara Hall given recitals of modern American music in New York, Boston, London, and Manchester UK, and Boston’s Symphony Hall to Le Théâtre de la Ville in Paris and the with Rodney Lister at the piano. Mr. Blandy studied at Tanglewood, Indiana University, and AmBul festival of Sofia, Bulgaria. He gave his debut at Washington’s Oberlin College. He is originally from Troy, NY. charlesblandy.com Kennedy Center in 2012, and he has been a guest of the Tanglewood, Ravinia, Rockport, and Monadnock Music Festivals as well as many Simon Dyer, British bass, was born and raised in East London and is now based in the

SUSAN WILSON SUSAN of the country’s finest symphony orchestras, including those of United States. An international performer, Dyer has been seen at the Boston Conservatory in Portland, Buffalo, Virginia, San Diego, and Charlotte. Mr. Engebreth works closely with both the title role of Le Nozze di Figaro, as Nick Shadow in The Rake’s Progress, Mustafa established and young composers and has collaborated with composers Lukas Foss, John in L’italiana in Algeri, Collatinus in The Rape of Lucretia, and the Immigration Officer in Harbison, Libby Larsen, Thea Musgrave, Ned Rorem, Daniel Pinkham, Scott Wheeler, Lee Jonathan Dove’s Flight. Since moving across the Atlantic, Mr. Dyer has also been seen Hyla, Nicolas Maw, Jon Deak, and many others, and often has the privilege of working with as Superintendent Budd in Albert Herring with Boston Opera Collaborative, and as Luka young composers on their vocal works.

48 49 Also recognized for his interpretation of early music, Mr. Engebreth is a frequent soloist with Houston Symphony, Boston Baroque, Handel and Haydn Society, Albany Symphony, Boston many of the country’s finest Baroque organizations including the American Bach Soloists, Youth Symphony, National Philharmonic, Washington Master Chorale at the Kennedy Center, Handel and Haydn Society, Miami Bach Society, and Boston Baroque. He was a regular solo- and National Chorale at Lincoln Center. ist and core member of Emmanuel Music from 2002-2008, joining a thirty-five year tradition of weekly performances of Bach’s sacred cantatas under the direction of the late Craig Smith. Tom McNichols, described by The New York Times as an “oceanic He considers this experience a highlight of his musical life thus far. Continuously in demand bass,” continues to garner praise for work ranging from internation- as a recording artist, he is featured on two opera recordings with the Boston Early Music ally acclaimed opera premiers to standard operatic, concert and Festival and Radio Bremen, both nominated for Grammy Awards for Best Opera Recording: choral repertoire. In the last twelve years, his voice has been heard on the 2007 release of Lully’s Thésée (also nominated for a 2008 Gramophone Award), and the five continents in live performance, live and recorded radio 2008 release of Lully’s Psyché. Aaron has served on the music faculty of Tufts University and broadcasts, and more than a dozen studio recordings. the Boston Conservatory, and is Artistic Co-Director of the Florestan Recital Project. Recent engagements include Opera de Monte Carlo; the Dallas ARIELLE DONESON Opera; Chicago Opera Theater; Death and the Powers (The Andrew Garland had the crowd in his hands,” says The Boston Administration) with the Boston Modern Orchestra Project; Opera Carolina; Portland Globe of his recent performance as Papageno in Mozart’s The Magic Opera; Opera Omaha; Opera Grand Rapids; The Magic Flute (Sarastro) with Boheme Opera; Flute with Boston Baroque. This season Andrew joined Boston Lyric Becoming Santa Claus, a new opera by Mark Adamo (The Donkey, cover), with the Dallas Opera for La Boheme, Dayton Opera in a world premiere prequel to Opera; Aida (The King) with Austin Lyric Opera; Il Trovatore (Ferrando) with Sacramento Carmina Burana, Bob Jones University as Dandini in La Cenerentola, Opera, and a feature with the Atlanta Symphony. and the Colorado Symphony for performances of Messiah. Last season was highlighted by his return to Seattle Opera as Harlekin in Tom is featured as Colline in an upcoming feature film adaptation of Puccini’sLa Bohème Ariadne auf Naxos. Past performances include Dandini with Opera entitled The Bohemians (thebohemiansmovie.com). An appearance as a grand semi-finalist Philadelphia and Fort Worth Opera, Mercurio (La Calisto) and the title role in Galileo Galilei in the Metropolitan Opera National Council Auditions in 2008 led Tom to resign his tenure (Philip Glass) at Cincinnati Opera, Papageno at Boston Lyric Opera, and Riolobo (Florencia en with CANTUS, a position he held for four seasons that entailed more than 350 live perfor- el Amazonas) and Schaunard (La Boheme) at Seattle Opera. During the next two seasons he mances and broadcasts on NPR, EBU, CBC, APM, and MPR. Tom continues to work with a performs world premieres by William Bolcom with Minnesota Opera, and by Gabriela Lena few ensembles on a per project basis and is proud to call this recording with BMOP the 14th Frank and Pulitzer Prize winner Nilo Cruz with the Houston Symphony. of his career. For more information visit tommcnichols.com or piperanselmi.com. Garland is widely recognized as a leader in recital work. Warren Jones, Marilyn Horne, Steven Blier, and a number of American composers and several major music publications all endorse him as a highly communicative singer leading the song recital into the 21st Century. He was the cover story on the May 2016 issue of Classical Singer Magazine. He also brings his highly communicative style to the concert stage with orchestras including the Atlanta Symphony,

50 51 Gigi Mitchell-Velasco, proclaimed “world-class in every aspect,” is Sarah Pelletier, soprano has been praised by The Boston Globe for among the international artists of the world’s opera and concert possessing “virtues of voice, intelligence and musicianship…with stages. She was a protégée of Christa Ludwig, and possesses a voice purity of tone and expression.” She has appeared as a guest artist at ideally suited to the German Romantic repertoire, particularly that of the Spoleto Festival USA, Bard Music Festival, and Aldeburgh Mahler, Strauss, and Wagner. The New York Times’s Anthony Festival, UK. Past seasons include multiple appearances with the Tommasini wrote that she sang with a “dark-hued sound and New England Symphonic Ensemble at Carnegie Hall; Mahler’s elegance,” and The Wall Street Journal called her “the most finished Symphony No. 3 with Boston Ballet; Grieg’s Peer Gynt at the Brevard artist, sensitive to every nuance of the text.” Festival; Britten’s War Requiem, Berg’s Wozzeck, and Schwantner’s Magabunda with New England Philharmonic; Loevendie’s Six Turkish Folk Poems and Kraft’s Her extensive concert repertoire encompasses composers from Bach, Beethoven, and Berg to Settings of Pierrot Lunaire with Boston Musica Viva; Bach’s B minor Mass with San Ravel, Verdi, and Wagner. In opera, she has portrayed Octavian, Carmen, Brangæne, Dorabella, Francisco Bach Choir; Handel’s Messiah with New Jersey Symphony Orchestra; Schumann’s Composer (Ariadne auf Naxos), Witch and Mother (Hansel and Gretel), Elizabeth Proctor Genoveva and Handel’s Ariodante with Emmanuel Music, and Sondheim’s Sweeney Todd (The Crucible), Maddalena (Rigoletto), Fricka (Das Rheingold), Orlovsky (Die Fledermaus), with Princeton Festival Opera. Ms. Pelletier toured with Maestro Seiji Ozawa to Japan, China, Federica (Luisa Miller), and Suzuki (Madama Butterfly). She has performed with such and Italy, performing at the Saito Kinen Festival and Maggio Musicale Fiorentino. Additionally, conductors as Tilson Thomas, Rilling, Frühbeck de Burgos, van Zweden, Sarah Caldwell, Eve she has performed under the batons of Lukas Foss, Keith Lockhart, John Rutter, and Robert Queler, and Joseph Rescigno; in Carnegie Hall, Boston’s Symphony Hall, Avery Fisher Hall, the Spano. Kennedy Center, Vienna’s Konzert-Haus, and Prague’s Dvor˘ák and Smetana Halls; with the symphony orchestras of Boston, San Francisco, Dallas, Houston, Milwaukee, Minnesota, and She has been featured as a solo recitalist at Boston’s Isabella Stewart Gardner Museum and San Diego; with the operas of Boston, Houston, Minnesota, Brauschweig (Germany), Prague, Goethe-Institut as well as on the Kennedy Center’s Millennium Stage. For the past five years, Florentine, and the Opera Orchestra of New York, and at the music festivals of Newport, Wolf she has presented in recital “My Business Is to Sing: Modern Settings of Emily Dickinson Trap, Prague Autumn, Grant Park, Colorado, and Snowshoe. Poems” throughout the US with pianist Lois Shapiro. A lover of contemporary music, she is a member of the Florestan Project and has premiered works by Ross Bauer, Yu-Hui Chang, Ms. Mitchell-Velasco has sung many song recitals in English, German, French, Italian, Howard Frazin, John McDonald, Eric Sawyer, Francine Trester, Andy Vores, and Arlene Spanish, Russian, and Filipino worldwide. She has given masterclasses at Ohio State Zallman. She has performed for Tanglewood’s Festival of Contemporary Music, the Music in University and Binghamton University, and adjudicated the 2004 Canadian Music Time Series at Spoleto Festival USA, and Santa Fe New Music, performing Kancheli’s Exil. Competitions and the 2006 Bel Canto Vocal Scholarship Awards. She can be heard singing Ms. Pelletier is featured on Albany, Chesky, and New World Records. Korngold’s Tomorrow, Einfache Lieder, and Abschiedslieder on ASV, as well as in Lukas Foss’s The Prairie with the Providence Singers on BMOP/sound.

52 53 Deborah Selig’s voice has been described by the press as “radiant,” Sumner Thompson, described as possessing “power and passion,” “beautifully rich,” “capable of any emotional nuance,” and “impres- is in high demand on the concert and opera stage across North sively nimble.” During recent seasons, Ms. Selig has appeared as America and Europe. He has appeared as a soloist with the Pamina in The Magic Flute with Boston Lyric Opera; Musetta in La Britten-Pears Orchestra, the National Symphony, the Boston Early Bohème and Zerlina in Don Giovanni with Central City Opera; Pamina Music Festival Orchestra, Pacific Baroque Orchestra, Les Boréades in The Magic Flute, Rose in Street Scene, Mary Warren in The de Montréal, Les Voix Baroques, the Handel and Haydn Society, Crucible, and Marion in The Music Man with Chautauqua Opera; Boston Baroque, Tafelmusik, the Orpheus Chamber Orchestra, Gli

ARIELLE DONESON Curley’s Wife in Carlisle Floyd’s Of Mice and Men and Donna Elvira in Angeli Genève, and the orchestras of Cedar Rapids, Phoenix, Don Giovanni with Kentucky Opera, and Bella in Tippett’s A Midsummer Marriage with the Richmond, Memphis, Indianapolis, Buffalo, San Antonio, and Charlotte. Boston Modern Orchestra Project. Notable engagements include the role of El Dancaïro in Carmen with the Cincinnati Opera, A striking and versatile artist on the concert stage, Ms. Selig has sung with orchestras and the role of Aeneas in Purcell’s Dido and Aeneas at the Ottawa Chamber Music Festival, as a choruses across the United States. Recent highlights include Mahler’s Symphony No. 4 with soloist with Tafelmusik in Beethoven’s Mass in C Major led by Kent Nagano, as a soloist in Asheville Symphony, Paul Moravec’s The Blizzard Voices with the Boston Modern Orchestra Bach’s St. Matthew Passion as part of the Handel and Haydn Society’s 200th anniversary Project, Rossini’s Petite Messe Solennelle with both Brown University and Harvard-Radcliffe season, the role of the Restaurant Waiter in Britten’s Death in Venice with Chicago Opera Choruses, Brahms’s Requiem with Dayton Philharmonic, Bach’s Cantatas 37, 92, and 97 with Theater, and his debut with Boston’s Odyssey Opera in the role of Dr. Caius in Vaughan the Handel and Haydn Society, Orff’sCarmina Burana with Greater Bridgeport Symphony and Williams’s Sir John in Love. Fairbanks Symphony (AK), Haydn’s The Creation with Harvard University Choirs, Gorecki’s Symphony No. 3 with Kentucky Symphony, Bach’s St. Matthew Passion with Masterworks Lynn Torgove, mezzo-soprano is well known to Boston audiences Chorale, Mendelssohn’s Elijah with Nashoba Valley Chorale, and Handel’s Messiah with as both a singer and a director and has had a long association with Rhode Island Philharmonic. BMOP. She has sung in BMOP’s concert of Sir Michael Tippett’s The Midsummer Marriage and was the stage director and a member of Ms. Selig earned Artist Diploma and Master of Music degrees from Cincinnati College- the cast in Lukas Foss’s Griffelkin and the stage director of John Conservatory of Music and a summa cum laude BM/BA in Voice and English from the Harbison’s Full Moon in March in collaboration with Opera Boston. University of Michigan. She spent two seasons each as an apprentice artist with Chautauqua Most recently, Ms. Torgove was the stage director of Odyssey Opera, Santa Fe Opera, and Pittsburgh Opera; was a fellow at both the Ravinia Festival Opera’s internationally acclaimed double bill of Walton’s The Bear Steans Institute for Singers and the Tanglewood Music Center, and studied at the Accademia and Arthur Sullivan’s The Zoo. Musicale Chigiana in Siena and Istituto il David in Florence. www.deborahselig.com This past season, Ms. Torgove sang the role of Anna 1 in Weill’s Seven Deadly Sins in a joint production with Urbanity Dance. She was the stage director and sang the role of the Tango Singer in John Harbison’s The Great Gatsby, both at Jordan Hall and Ozawa Hall. She also

54 55 performed a recital of John Harbison’s songs for mezzo, piano, and ensemble and sang Gil Rose is a conductor helping to shape the future of clas- Fauré’s La bonne chanson with the Lydian String Quartet. She has been a featured soloist sical music. His dynamic performances and many recordings with Aston Magna, the Zamir Chorale of Boston, Opera Boston, Boston Camerata, the St. have garnered international critical praise. Louis Symphony, Portland Symphony, and the Tallahassee Symphony. As a stage director, she In 1996, Mr. Rose founded the Boston Modern Orchestra has directed Menotti’s Amahl and the Night Visitors and Griffelkinat MIT, Stravinsky’s The Project (BMOP), the foremost professional orchestra Rake’s Progress, Britten’s The Little Sweep and Noye’s Fludde and Hans Krása’s Brundibár dedicated exclusively to performing and recording symphonic for the Cantata Singers. She has been on the faculty of the Opera Institute at Boston music of the twentieth and twenty-first centuries. Under his University, New England Conservatory, Boston Conservatory, and the Walnut Hill School for leadership, BMOP’s unique programming and high perfor- the Arts. She currently teaches at the Longy School of Music and Hebrew College, where she

LIZ LINDER mance standards have attracted critical acclaim and earned is the Head of Vocal Arts. Ms. Torgove recently received her Master’s in Jewish Studies and the orchestra fifteen ASCAP awards for adventurous programming as well as the John S. was ordained as a Cantor from Hebrew College in Newton, Massachusetts. Edwards Award for Strongest Commitment to New American Music. Stanley Wilson, tenor, was recently hailed by the Worcester Mr. Rose maintains a busy schedule as a guest conductor on both the opera and sym- Telegram & Gazette’s review of A Worcester Schubertiad as singing phonic platforms. He made his Tanglewood debut in 2002 and in 2003 debuted with the with “a lyrical temperament and straightforward intelligence.” “This Netherlands Radio Symphony at the Holland Festival. He has led the American Composers is a real gem,” states Fanfare Magazine of his CD Art Songs of the Orchestra, Warsaw Philharmonic, National Symphony Orchestra of the Ukraine, Cleveland British Romantics. Stanley Wilson’s opera credits include Ferrando in Chamber Symphony, Orchestra della Svizzera Italiana, and the National Orchestra of Porto. In Così fan tutte, Mr. Angel in The Impresario, Bardolfo in Falstaff, 2015, he made his Japanese debut substituting for Seiji Ozawa at the Matsumoto Festival Tanzmeister in Ariadne auf Naxos, El Remendado in Carmen, Kaspar conducting Berlioz’s Béatrice et Bénédict, and in March 2016 made his debut with New York in Amahl and the Night Visitors, the Witch in Hansel and Gretel, City Opera at the Appel Room at Jazz at Lincoln Center. Tinca in Il Tabarro, Gherardo in Gianni Schicchi, Gastone in La Traviata, Lorenzo in I Capuleti e i Montecchi, and Bardolf in Sir John in Love with Odyssey Opera. stanleywilsontenor.com. Over the past decade, Mr. Rose has also built a reputation as one of the country’s most inventive and versatile opera conductors. He founded Odyssey Opera, a company dedicated to presenting eclectic operatic repertoire in a variety of formats, in September 2013. Prior to Odyssey Opera, Mr. Rose led Opera Boston as its Music Director starting in 2003, and in 2010 was appointed the company’s first Artistic Director. He led Opera Boston in several premieres including the world premiere of Zhou Long’s Madame White Snake, which won the Pulitzer Prize for Music in 2011. With Opera Unlimited, a contemporary opera festival associ- ated with Opera Boston, he led the world premiere of Elena Ruehr’s Toussaint Before the Spirits, the New England premiere of Thomas Adès’s Powder Her Face, as well as the revival

56 57 of John Harbison’s Full Moon in March and the North American premiere of Peter Eötvös’s Angels in America. Mr. Rose and BMOP partnered with the American Repertory Theater, Chicago Opera Theater, and the MIT Media Lab to create the world premiere of composer Tod Machover’s Death and the Powers (a runner-up for the 2012 Pulitzer Prize in Music). He conducted this seminal multimedia work at its world premiere at the Opera Garnier in Monte Carlo, Monaco, in September 2010. An active recording artist, Gil Rose serves as the executive producer of the BMOP/sound recording label. His extensive discography includes world premiere recordings of music by John Cage, Lukas Foss, Charles Fussell, Michael Gandolfi, Tod Machover, Steven Mackey,

Evan Ziporyn, and many others on such labels as Albany, Arsis, Chandos, ECM, Naxos, New TINA TALLON World, and BMOP/sound. Mr. Rose has led the longstanding Monadnock Music Festival in historic Peterborough, NH, The Boston Modern Orchestra Project is the premier orchestra in the United States since his appointment as Artistic Director in 2012, conducting several premieres and making dedicated exclusively to commissioning, performing, and recording music of the twentieth his opera stage directing debut in two revivals of operas by Dominick Argento. and twenty-first centuries. A unique institution of crucial artistic importance to today’s musi- Mr. Rose has curated the Fromm Concerts at Harvard three times and served as the first cal world, the Boston Modern Orchestra Project (BMOP) exists to disseminate exceptional curator of the Ditson Festival of Contemporary Music at Boston’s Institute of Contemporary orchestral music of the present and recent past via performances and recordings of the Art. As an educator, he served five years as Director of Orchestral Activities at Tufts University highest caliber. and in 2012 joined the faculty of Northeastern University as Artist-in-Residence and Founded by Artistic Director Gil Rose in 1996, BMOP has championed composers whose Professor of Practice. In 2007, Mr. Rose was awarded Columbia University’s prestigious careers span nine decades. Each season, Rose brings BMOP’s award-winning orchestra, Ditson Award as well as an ASCAP Concert Music Award for his exemplary commitment to renowned soloists, and influential composers to the stage of New England Conservatory’s new American music. He is a four-time Grammy Award nominee. historic Jordan Hall in a series that offers the most diverse orchestral programming in the city. The musicians of BMOP are consistently lauded for the energy, imagination, and passion with which they infuse the music of the present era. BMOP’s distinguished and adventurous track record includes premieres and recordings of monumental and provocative new works such as John Harbison’s ballet Ulysses, Louis Andriessen’s Trilogy of the Last Day, and Tod Machover’s Death and the Powers. A perennial

58 59 winner of the ASCAP Award for Adventurous Programming, the orchestra has been featured FLUTE PERCUSSION Tudor Dornescu* at festivals including Opera Unlimited, the Ditson Festival of Contemporary Music with the Sarah Brady Craig McNutt Rose Drucker Nick Tolle Aleksandra Labinska ICA/Boston, Tanglewood, the Boston Cyberarts Festival, the Festival of New American Music OBOE (Sacramento, CA), Music on the Edge (Pittsburgh, PA), and the MATA Festival in New York. Jennifer Slowik HARMONIUM VIOLA During its 20th anniversary season, BMOP was named Musical America’s 2016 Ensemble of Kevin Galiè Joan Ellersick* CLARINET the Year, the first symphony orchestra in the organization’s history to receive this distinction. Nathaniel Farny Michael Norsworthy ACCORDION Noriko Herndon BMOP has actively pursued a role in music education through composer residencies, col- Mary Tokarski Wenting Kang laborations with colleges, and an ongoing relationship with the New England Conservatory, BASSOON David Richmond VIOLIN I Emily Rideout where it is Affiliate Orchestra for New Music. The musicians of BMOP are equally at home Lilit Hartunian CELLO in Symphony Hall, Weill Recital Hall at Carnegie Hall, and in Cambridge’s Club Oberon and HORN Oana Lacatus Holgen Gjoni Boston’s Club Café, where they pursued a popular, composer-led Club Concert series from Neil Goodwin Sean Larkin Ming-Hui Lin 2004 to 2012. Dana Christensen Shaw Pong Liu Rafael Popper-Keizer* Kay Rooney Matthews BMOP/sound, BMOP’s independent record label, was created in 2008 to provide a platform TRUMPET Susan Yun Amy Sims* for BMOP’s extensive archive of music, as well as to provide widespread, top-quality, perma- Eric Berlin BASS VIOLIN II nent access to both classics of the 20th century and the music of today’s most innovative TROMBONE Reginald Lamb Beth Abbate composers. BMOP/sound has garnered praise from the national and international press; it is Martin Wittenberg Bebo Shiu* the recipient of five Grammy Award nominations and its releases have appeared on the year- Deborah Boykan end “Best of” lists of The New York Times, The Boston Globe, National Public Radio, Time Out CHORUS I New York, American Record Guide, Downbeat Magazine, WBUR, NewMusicBox, and others. SOPRANO Sara Bielanski Sean Lair BMOP expands the horizon of a typical “night at the symphony.” Admired, praised, and Aliana de la Guardia Mauri Tetreault Fred C. VanNess Jr. sought after by artists, presenters, critics, and audiophiles, BMOP and BMOP/sound are Rachele Schmiege Julia Cavallaro uniquely positioned to redefine the new music concert and recording experience. Lindsay Conrad Cindy M. Vredeveld BASS Sonja DuToit Tengblad Graham Wright Chelsea Beatty Lewis TENOR Josh Taylor Sarah Kornfeld Ethan Bremner Brad Fugate Jason Connell Athan Mantalos MEZZO-SOPRANO Ted Palés Miles Rind Stephanie Kacoyanis Patrick T. Waters Barratt Park Kelli Geoghegan *principles

60 61 Virgil Thomson Four Saints in Three Acts CHORUS II Capital Capitals SOPRANO TENOR BASS Producer Gil Rose Emily Burr Stanley Wilson Nickoli Strommer Recording and postproduction Joel Gordon Bonnie Gleason Davron S. Monroe Matthew Stansfield SACD authoring Brad Michel Kynesha Patterson Brendan Daly Justin Hicks Four Saints in Three Acts is published by G. Schirmer, Inc. Capital Capitals is published by Boosey & Hawkes, Inc.

MEZZO-SOPRANO Four Saints in Three Acts was recorded on November 17, 2013 at Mechanics Hall in Worcester, MA; Capital Capitals was recorded on November 8, 2015 at WGBH studios in Boston, MA. Christina English Anne Byrne This recording was made possible in part by the Virgil Thomson Foundation and the Christine Field Perkin Fund. Special thanks to Charles Fussell for his generous assistance and guidance. Beth Willer, chorus master © 2016 BMOP/sound 1049

Design: John Kramer and Chris Chew Editor: Zoe Kemmerling Cover image: (L to R) Bruce Howard, Edward Matthews, and Beatrice Robinson-Wayne in Virgil Thomson’s Four Saints in Three Acts. Photo by White Studio, 1934. 62 © The New York Public Library. BMOP/sound | Gil Rose, Executive Producer | 376 Washington64 Street | Malden, MA 02148 | www.bmopsound.org