Copyright by Michael Eugene Mckelvey 2004 the Treatise Committee for Michael Eugene Mckelvey Certifies That This Is the Approved Version of the Following Treatise
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Copyright by Michael Eugene McKelvey 2004 The Treatise Committee for Michael Eugene McKelvey Certifies that this is the approved version of the following treatise: MAKING AMERICAN OPERA IN THE 1990’s: The Co-Commissioning and Co-Producing of Houston Grand Opera From the 1990-1991 through 2000-2001 Seasons Committee: Michael Tusa, Co-Supervisor Rose Taylor, Co-Supervisor Dan Welcher Leonard Johnson Suzanne Pence David Nancarrow MAKING AMERICAN OPERA IN THE 1990’s: The Co-Commissioning and Co-Producing of Houston Grand Opera From the 1990-1991 through 2000-2001 Seasons by Michael Eugene McKelvey, B.M., M.M. Treatise Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin May 2004 Dedication This document is dedicated to my mother Shirley, my wife Ann, and all of my family, friends and students, who have given me the love and encouragement to continue on my path for all these years. Acknowledgements I would like to acknowledge the following individuals for the invaluable personal and archival information they have contributed to this study: Carlisle Floyd, Stewart Wallace, Michael Korie, Christopher Alden, Bruce Beresford, Garnett Bruce, Patrick Summers, Duane Schuler, Paul Steinberg, and Noele Stollmack; David Gockley, Ann Owens, Greg Weber, Rodi Franco, Susan Bell, Laura Bodenheimer and Brian Mitchell of Houston Grand Opera; Dr. Clifford “Kip” Cranna and Bob Cable of San Francisco Opera; Ian Campbell of San Diego Opera; Joe McClain, Susan Threadgill and Vince Herod of Austin Lyric Opera; Chad Calvert of Opera Carolina; Dale Johnson of Minnesota Opera; Robert Lyall of New Orleans Opera Association; Evan Luskin of the Lyric Opera of Kansas City; and Susan Woelzl of New York City Opera. I would also like to thank my co-supervisors, Dr. Michael Tusa and Professor Rose Taylor, and the members of my committee, Professor Leonard Johnson, Dr. David Nancarrow, Dr. Suzanne Pence, and Professor Dan Welcher, for their support of this project. v MAKING AMERICAN OPERA IN THE 1990’s: The Co-Commissioning and Co-Producing of Houston Grand Opera From the 1990-1991 through the 2000-2001 Seasons Publication No._____________ Michael Eugene McKelvey, D.M.A. The University of Texas at Austin, 2004 Co-Supervisors: Michael Tusa and Rose Taylor This is a study of the Houston Grand Opera and its co-commissioning and co- producing practices with a focus on the seasons from 1990-1991 through 2000-2001. Chapter one discusses the history of producing American opera since its inception, and the role of OPERA America in aiding North American opera companies in regard to communication, producing and financial support. Chapter two surveys selected North American opera companies of varying operational budget levels for their history of commissioning and producing American operas. Chapter three presents an overview of the methods and procedures entailed in commissioning and producing processes, and compares these to co-commissioning and co-producing. Chapter four is a look at the Houston Grand Opera, its history, and co-commissioning and co-producing practices. Chapters five and six are case studies of Harvey Milk and Cold Sassy Tree, co- commissioned and co-produced operas on which Houston Grand Opera served as the lead commissioner and producer. Appendices are included listing the world premieres by Houston Grand Opera from 1974 through 2005; world premieres from the 1990-1991 vi through 2000-2001 seasons for the Lyric Opera of Chicago, Metropolitan Opera, Minnesota Opera, New York City Opera, Opera Theatre of St. Louis, San Diego Opera, and the San Francisco Opera; samples of advertising from Houston Grand Opera; and co- commissioning and co-producing agreements for Harvey Milk and Cold Sassy Tree. vii Table of Contents Acknowledgements..............................................................................................v Abstract ..............................................................................................................vi Chapter 1: The State of Commissioning and Producing New American Operas...1 I. American Opera: A Historical Sketch .....................................................2 II. OPERA America....................................................................................7 III. North American Opera on the Rise .....................................................15 IV. OPERA American: Programs for Grants and Funding ........................17 V. Trends in American Opera since 1980 .................................................23 VI. The Direction of American Opera.......................................................30 Chapter 2: THE LEAP OF FAITH: Companies that Commission and Produce North American Works ................................................................................................34 I. The Metropolitan Opera ........................................................................35 II. San Francisco Opera ............................................................................37 III. Lyric Opera of Chicago ......................................................................42 IV. New York City Opera ........................................................................47 V. Washington Opera ..............................................................................51 VI. Los Angeles Music Center Opera .......................................................53 VII. San Diego Opera ..............................................................................54 VIII. Minnesota Opera .............................................................................57 IX. Opera Theatre of St. Louis .................................................................60 X. Lyric Opera of Kansas City .................................................................62 XI. Utah Opera, New Orleans Opera and Austin Lyric Opera ..................63 XII. Level IV Companies..........................................................................66 viii Chapter 3: The Process and Risk of Commissioning and Producing New American Operas................................................................................................................70 I. The Composer and Librettist - Creating the Opera ................................70 II. The Production Team and the Design of the Opera ..............................75 III. The Casting of Singers and the Preparation of Roles ..........................80 IV. The Co-Commission and Co-Production ............................................82 Chapter 4: Houston Grand Opera, "Opera New World" and Vanguard ..............91 I. Opera New World .................................................................................94 II. Community and Educational Outreach ................................................96 III. The Development Program, Fund Raising, and Ticket Sales ...............99 IV. Corporate Giving .............................................................................101 V. Private and Individual Giving ...........................................................102 VI. Other Sources ..................................................................................106 VII. Vanguard .......................................................................................108 VIII. The Continuation of Support for New Works ................................110 IX. Marketing ........................................................................................113 X. National and International Exposure .................................................117 Chapter 5: Case Study of Harvey Milk ............................................................126 I. The Co-Commissioning of Harvey Milk .............................................126 II. Background and Development of Harvey Milk, The Opera ...............127 III. Harvey Milk: A Synopsis of the Opera ............................................128 IV. The Commissioning Process and Writing of Harvey Milk ...............132 V. Artistic Staff .....................................................................................137 VI. Auditioning and Casting...................................................................141 VII. Production Process .........................................................................144 VIII. Marketing .....................................................................................151 IX. Public and Critical Reaction and the Future of Harvey Milk ............152 Chapter 6: Case Study of Cold Sassy Tree.......................................................158 I. Background behind Cold Sassy Tree, the Opera ..................................159 II. Cold Sassy Tree-A Synopsis of the Opera .........................................162 ix III. Carlisle Floyd-The Commission and Composition of Cold Sassy Tree 164 IV. The Artistic Staff..............................................................................165 V. The Score and Libretto.......................................................................168 VI. The Co-Commission and Co-Production of Cold Sassy Tree ...........171 VII. Marketing .......................................................................................175 VIII. Casting...........................................................................................176 IX. Production Process ..........................................................................179 X. Development