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The Operas of Paul Stuart Based on Libretti by Sally M. Gall Sandra Gayle Boysen

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The Operas of Paul Stuart Based on Libretti by Sally M. Gall Sandra Gayle Boysen Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 The Operas of Paul Stuart Based on Libretti by Sally M. Gall Sandra Gayle Boysen Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC THE OPERAS OF PAUL STUART BASED ON LIBRETTI BY SALLY M. GALL By Sandra Gayle Boysen A Trea ise submi ed to the School of Music in par ial fulfillment of the requirements for the degree of Doc or of Music Degree Awarded: Fall Semes er, 2003 The members of the Commi ee approve the rea ise of Sandra Gayle Boysen defended on November 7, 2003. ___________________________________ Roy Delp Professor Direc ing Trea ise ___________________________________ Timothy Hoekman Outside Commi ee Member ___________________________________ Larry Gerber Commi ee Member ___________________________________ 5anice Harsanyi Commi ee Member The Office of Gradua e S udies has verified and approved the above named commi ee members. ii AC6NO7LEDGMENTS To Paul S uar , his wife Karin and their daughter, Vanessa, go my gra i ude for heir willingness to share their time and their home for the many interviews held there during research for this trea ise. To Paul, I give special thanks for his generosi y in providing invaluable resources such as his primary research notebooks, his ini ial composi ional ske ches, and his thorough documenta ion of correspondence and other ma erials rela ed to the crea ion of these operas. My thanks go to Dr. Sally M. Gall for answering my many ques ions so pa iently hrough many e8mail e9changes. Her finely craf ed wri ing, in collabora ion wi h Paul S uar :s music, has given singers new vocal reper oire of grea beauty. I also wish to offer hear fel thanks to the members of my supervisory commi ee who provided guidance and insight during this projec . To my trea ise direc or, Roy Delp, I owe gra i ude for his endless pa ience and continuing encouragement. I has been a long road, but the journey was a grea adventure, and he always provided solid guidance. My husband, Charles R. Boyd, encouraged me to achieve this dream wi h the ques ion, “Have you ever thought about finishing your doc oral degree?” He provided endless reserves of love and pa ience through the years, as well as the occasional much8 needed kic48s ar . I could never ha1e accomplished this wi hout him. iii TABLE OF CONTENTS LIST OF EXAMPLES ............................................................................................... 1 ABSTRACT............................................................................................................. vii 1. INTRODUCTION .................................................................................................... 1 2. PAUL STUART, BAC6GROUND AND BIOGRAPHY....................................... A 3. SALLY M. GALL, BAC6GROUND AND BIOGRAPHY ................................. 12 4. HISTORICAL OVERVIE7 OF THE STUARTCGALL OPERAS ....................... 18 5. MUSICAL AND POETIC CHARACTERISTICS IN THE STUARTCGALL OPERAS ....................................................................................................... .B 6. COMMENTARIES ON STAGING CONCEPTS IN THE STUARTCGALL OPERAS ....................................................................................................... A0 7. COMMENTARIES ON SELECTED SOLO ARIAS AND EXTENDED SOLO SEGMENTS IN THE STUARTCGALL OPERAS ....................................... EA APPENDICES .................................................................................................................... D0 SELECTED BIBLIOGRAPHY ......................................................................................... 94 BIOGRAPHICAL S6ETCH ............................................................................................ 100 i1 LIST OF EXAMPLES 1. Kill Bear Comes Home. “No. 1: Prelude”, mm. 15-19 ................................................. 0B 2. Kill Bear Comes Home. “No. 1: Prelude”, mm. 20-.0 ................................................. 0B 3. Kill Bear Comes Home. “No. 1: Prelude”, mm. 24-.E ................................................. 0A 4. Kill Bear Comes Home. “No. 1: Prelude”, mm. 67-EF ................................................. 0A 5. Kill Bear Comes Home. “No. 2: Dance, The Fight”, mm. 18B .................................... 0A 6. Kill Bear Comes Home. “No. 2: Dance, The Fight”, mm. 438BE ................................ 0E 7. Kill Bear Comes Home. “No. 3: Dance, Elegy”, mm. 19-.2....................................... 02 8. Kill Bear Comes Home. “No. 4: Chorus”, mm. 18E...................................................... 0D 9. Kill Bear Comes Home. “No. 11: I Want My Husband”, ............................................... 0F 10. Kill Bear Comes Home. “No. 12: Reci a ive”, mm. 14816 ......................................... 0F 11. Kill Bear Comes Home. “No. 12: Reci a ive”, mm. 10812 ......................................... 40 12. Kill Bear Comes Home. “No. 16: Holder of he Hea1ens”, mm. 44842 ..................... 41 13. Kill Bear Comes Home. “No. 17: Holder of he Hea1ensCReci a ive”, mm. 74822.... 41 14. Kill Bear Comes Home. “No. 29: Reci a ive”, mm. 36802 ......................................... B. 15. Kill Bear Comes Home. “No. 31: Oh, I:m Such a Fool”, mm. 18B............................. B. 16. Kill Bear Comes Home. “No. 33: I Can: Live This Way”, mm. 1810 ....................... B0 17. Kill Bear Comes Home. “No. 36: Finale”, mm. 18F ................................................... B0 18. Kill Bear Comes Home. “No. 36: Finale”, mm. 1258132 ........................................... 44 19. The Little Thieves of Bethlehem. “No. 1: Processional”, mm. 60-2F.......................... 51 20. The Little Thieves of Bethlehem. “No. 3: Song of the Sea”, mm. 33-48..................... A. 21. The Little Thieves of Bethlehem. “No. 4: Children’s Chorus”, mm. 68D..................... A. 22. The Little Thieves of Bethlehem. “No. 6: Due ”, mm. 76-80 ...................................... A0 23. The Little Thieves of Bethlehem. “No. 8: Reci a ive”, mm. 180.................................. AB 24. The Little Thieves of Bethlehem. “No. 11: Chorus”, mm. 15-18 ................................ AB 1 25. The Little Thieves of Bethlehem. “No. 11: Chorus”, mm. 68F .................................... AA 26. The Little Thieves of Bethlehem. “No. 14: Ensemble”, mm. 27830 ............................ AE 27. The Little Thieves of Bethlehem. “No. 16: Reci a ive”, mm. 1811.............................. A2 28. The Little Thieves of Bethlehem. “No. 19: Chorus of the Kings”, mm. 56-61............ AD 29. The Little Thieves of Bethlehem. “No. 22: Dance”, mm. 18B...................................... AD 30. The Little Thieves of Bethlehem. “No. 23: Ensemble”, mm. 2658.F2 ........................ AF 31. The Little Thieves of Bethlehem. “No. 24: Reci a ive”, mm. 1028104........................ AF 32. The Little Thieves of Bethlehem. “No. 26: Finale”, mm. 59-2E.................................. 60 vi ABSTRACT This s udy provides an overview of the two operas composed by Paul S uar in collabora ion wi h libre is Sally M. Gall. I includes biographical informa ion on the composer and libre is , as well as the his orical background upon which each opera is based. An e9amina ion of the s aging concepts, wi h a separa e survey of vocal and orches ral charac eris ics, is provided for each work. A commentary regarding selec ed solo arias and e9 ended solo segments is included as a reference for vocalis s, vocal ins ruc ors and vocal coaches. Appendices contain da es and personnel lis ings for each opera:s premiere performance and premiere compac disc recording, as well as the composer:s original draf s of produc ion budge s. CHAPTER 1 INTRODUCTION The operas of Paul S uar based on libre i by Sally M. Gall are recent addi ions to he genre of contemporary American opera. The firs opera ic collabora ion of S uar and Gall, Kill Bear Comes Home, was based on Na i1e American my hology, focusing primarily on the Haudenosaunee tribal group of wha is now the wes ern region of the s a e of New York. This work, designa ed by the composer as a “family opera wi h dance,”1 incorpora es tradi ional Na ive American dance and cos ume. The pair:s second collabora ion, The Little Thieves of Bethlehem, is an opera ic trea ment of the Chris mas s ory, af er the e9ample of Menot i:s Amahl and the Night Visitors, and enhanced i s appeal by s aging segments of the opera wi hin the audience i self, and through the use of he Peace4eeper, a non8singing narra or who talks to the audience while guiding the singing roles ons age. Both works make use of tradi ional and non- radi ional opera ic vocal produc ion, orches ra ion and s aging concep s. This author became aware of Paul S uar :s music when a colleague in Roches er, New York, mentioned tha she had sung in the premiere of an opera based on Na ive American legends. The combina ion of a search for new opera ic solo reper oire, and a personal interes in Na ive American my hology, led to ini ial inves iga ion into S uar :s opera ic output. Fur her research led to the s udy of a second opera by S uar and Gall intended for use during the Chris masCEpiphany season of the Chris ian church year. 7i h the e9ception of reviews and commentaries wri en a the time of each ______________________ 1Paul S uar and Sally M. Gall, Kill Bear Comes Home, Opera in Two Ac s, Full Score (Pi sford, New Yor4, VM Music,
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