AMERICAN OPERA CLASSICS LOUIS KARCHIN Jane Eyre Libretto by Diane Osen Zetlan • MacPherson • Meglioranza • Thompson Thurman • Giordano • Cannedy • Best • Fry Orchestra of the League of Composers • Karchin Act I Louis 1 Scene 1: Bedroom of Edward Rochester, Thornfield KA(Rb. 1C951H) IN (Eyre , Rochester ) 15:24 2 Scene 2: Drawing room at Thornfield Jane Eyre (2010–14) (Roderick Ingram , Mrs. Ingram , Rochester , Blanche Ingram , Eyre , Fairfax ) 19:27 3 An Opera in Three Acts Scene 3: Study of Edward Rochester, Thornfield Libretto by Diane Osen (b. 1956) (Rochester , Mason , Eyre , Fairfax , Bessie ) 11:07 Based on the novel by Charlotte Brontë (1816–1855) Act II 4 Jane Eyre ...... Jennifer Zetlan, Soprano Scene 1: Drawing Room at Thornfield Edward Rochester ...... Ryan MacPherson, Tenor (Fairfax , Eyre , Rochester ) 9:57 5 Roderick Ingram / St. John Rivers . . Thomas Meglioranza, Baritone Scene 2: The orchard outside Thornfield Mrs. Ingram / Diana Rivers ...... Jessica Thompson, Soprano (Eyre , Rochester ) 13:54 6 Blanche Ingram ...... Katrina Thurman, Soprano Scene 3: The chapel at Thornfield Mrs. Fairfax ...... Kimberly Giordano, Soprano (Wood , Rochester , Briggs , Eyre ) 12:13 Richard Mason / Mr. Briggs ...... Adam Cannedy, Baritone Act III Mary Rivers / Bessie ...... Jessica Best, Mezzo-Soprano 7 Scene 1: A one-room schoolhouse in a rural landscape Mr. Wood ...... David Salsbery Fry, Bass (Diana Rivers , Mary Rivers , St. John Rivers , Eyre , Children ) 24:20 8 Orchestra of the League of Composers Scene 2: A sitting room of Moor House, home of the Rivers family (St. John Rivers , Eyre ) 10:07 9 Louis Karchin, Conductor Scene 3: The parlor at Ferndean, hunting lodge of Edward Rochester Casting Director: Jennifer Rivera • Rehearsal Pianist: Isabella Dawis (Fairfax , Eyre , Rochester ) 13:18

The composer wishes to thank James Schaeffer, Director of the Center for Contemporary Opera (CCO), for his championing of Jane Eyre , both as a winner of CCO’s 2012 competition for new works, and for undertaking the fully- staged world premiere performances in October of 2016, at the Kaye Playhouse in Manhattan. Additional thanks to Director Darren Woods and the Fort Worth Opera for the selection of Jane Eyre for their inaugural Frontiers Series in 2012. The recording of the opera, in September, 2017, was supported by deeply appreciated funding from the National Endowment for the Arts, the Alice M. Ditson Fund of Columbia University, the Research Challenge Fund of New York University, research funds of the Department of Music at New York University, the Samuel and Beverly Sirota Endowment of the Jewish Community Foundation, and individual donors. The composition of Jane Eyre was supported, in part, by a fellowship from the John Simon Guggenheim Foundation to the composer in 2011–12. Jane Eyre its constant action, a more contemporary technique of of the act, in which Mrs. Fairfax counsels Jane towards a Music by Louis Karchin (b. 1951) • Libretto by Diane Osen (b. 1956) creating monologues not dependent on standard musical conservative approach to her relations with Rochester forms seemed to best propel the narrative of the tale.” before the wedding. Louis Karchin’s Jane Eyre – Rochester’s home, is layered with reference points, Towards the end of Act II, Scene 1 , Jane and The overture to Act III represents Jane’s harrowing An interview with the composer including some tropes from traditional opera. Karchin says, Rochester sing ecstatically of their love and forthcoming flight from Thornfield, gradually calming to reveal the “Diane and I wanted to give Rochester more obvious marriage. Then, as the orchestral interlude intimates, pastoral mood of a country setting. The introduction of Over the past two decades, composer Louis Karchin has appeal – so we represented him as a man of culture and Jane begins to fear the future. “It was important that the children is a crucial component of Act III, Scene 1 . Jane is created an oeuvre of acclaimed vocal works: two extended decided that he should be an opera lover. Donizetti is a interlude between Scenes 1 and 2 – one of the most teaching in a one-room schoolhouse, and providing her pieces for baritone and orchestra – Gods of Winter (2006), composer with whom he might have been acquainted, and extended of the opera – gradually transform the mood into charges with the positive educational experience she was on poems of Dana Gioia, and American Visions (2012), three Donizetti operas are mentioned in the text. All are its opposite,” Karchin notes. “Now Jane is alone, in an denied. “Musically, this opened an opportunity for another settings of the Russian poet Yevgeny Yevtushenko – Four alluded to as fleeting musical references, but the one most orchard at night, waiting for Rochester, who is late, and orchestral flowering,” explains Karchin, “as the music of Songs on Poems of Seamus Heaney (2014), for soprano relevant for Jane Eyre was Lucia di Lammermoor , with its she is troubled by ominous signs.” The scene leads to the chorus builds steadily from an accompaniment of ‘one and chamber ensemble, the masque Orpheus (2003), own ‘mad’ scene. For example, Rochester explains to Jane’s “nightmare” monologue, which recalls a trumpet note at a time’ to a ‘symphony of sound’ representing the which employs a poem by Stanley Kunitz, and an hour- Blanche’s mother that Donizetti is ‘a composer, Mrs. motif from the prior interlude. The climax is a duet in children’s happiness (and even providing for the long one-act opera, Romulus (2005), based on a play by Ingram, for the opera, the most sublime art invented by which Jane relates waking to find her wedding veil torn to possibility, towards the end, of a children’s ballet). Alexandre Dumas. While he has set some of the most man.’ At that moment, Rochester is pensive, though, shreds, and Rochester denies any cause for concern. The Afterwards the ‘sweet side’ of St. John’s (pronounced prominent poets of our time, composing a work based on thinking of his own situation, and recalls a phrase from duet, some of the most complex music of the opera, is “SINjin’s ”) character appears, as he cheerfully describes one of the vast and iconic novels of the 19th century, by Lucia’s mad scene (here played by the horns). Mrs. based on a moment in Act I when Rochester is caught to Jane the news of her good fortune. In Scene 2 , by the beloved author Charlotte Brontë, presented both a Ingram, blithely unaware of Rochester’s circumstances, or between praise of Jane and trepidation at Mason’s contrast, Osen’s libretto is deft in turning the tables, challenge and an unparalleled opportunity. his train of thought, dismisses the entire art form in a sudden appearance. The duet expands that music showing St. John’s puritanical side, as Jane ponders his Karchin says, “ Jane Eyre was composed between sentence, ‘Mr. Ingram never cared for music, nor for the greatly, layering it with counterpoint. proposal of a marriage based on single-minded service to 2010 and 2014, and it is, by far, the largest project I have Italians,’ and the music correspondingly changes abruptly.” There is contrasting levity in the wedding scene, as God, rather than love.” ever undertaken. The libretto itself was a feat of “The second scene also contains folk music,” Karchin the pastor, Mr. Wood, plods in his recitation of the The transition between Scenes 2 and 3 is a final compression, and it was Diane’s idea, both from a notes, “and in a few cases, it incorporates songs gleaned marriage vows and Rochester tries to hurry him along. orchestral showpiece, depicting Jane’s carriage ride back to dramatic and practical standpoint, to introduce Jane as a from a book of 19th-century English parlor music loaned The pastor barely budges (as depicted by the incremental Thornfield. As this instrumental climax fades and the governess, already serving Edward Rochester. Her to me by a musicology colleague.” The appearance of tempo marking in the score, “Only slightly faster than carriage slows, a bowed flexatone (one of the most inspired decision to open with a fire raging in Rochester’s Rochester, disguised as a gypsy, references another before”). Rochester’s final monologue in Act II finds him innovative touches of orchestration in the opera) suggests bedroom recreated only one of many dramatic scenes touchstone from traditional opera, in which the fortune losing control and lashing out, declaring that he is above the brakes of its wheels. Mrs. Fairfax relates the story of the that faithfully echo Brontë’s narrative and distinctive teller is a frequent character type. In Rochester’s first God’s laws. fire that has destroyed Thornfield and incapacitated syntax.” While this is their first collaboration, Karchin and major aria, the “gypsy” compliments Jane and searches to Musical connections abound in the second act. In Rochester; as the music gains in intensity, it recalls the “fire Osen had met many years earlier through their daughters, uncover her true feelings about him. addition to the above-mentioned duet, Mrs. Fairfax’s music” of the very opening of the opera. A slow transition and Karchin frequently consulted Osen, an established Scene 3 includes Rochester’s substantial second entrance in Act II expands the music of her previous follows as Rochester now nearly blind, gradually intuits that writer with a background in opera, on questions about aria, in which he begins to confide in Jane. The arrival of entrance in Act I . Moments later, as Jane reflects on her Jane has returned to him. Jane’s return provides a poetry he was setting. the servant, Bessie, leads to the largest ensemble piece visit to her Aunt Reed, the music refers back to Bessie’s redemptive quality to the end of the opera that is The first scene of Act I is roughly divided into three of the opera, a spirited quartet with Jane, Mrs. Fairfax, aria of Act I in which Bessie requested that Jane return underscored by a touching moment. Rochester, one arm parts: the opening “fire music,” followed by two arias of Bessie and Rochester that crests to form the act’s home. The lawyer Briggs’s music as he objects to the incapacitated, attempts to play and sing one of the folk Jane’s. The first traces Jane’s transformation from unloved ebullient climax. wedding taking place, is, in fact, the music of the interlude songs that reminds him of happier days with Jane. She joins orphan to self-assured governess; the second, following a Beginning with Act II , the score moves more into the in Act I that presages Mason’s visit, now overlaid with a him in the song as a duet and they affirm their enduring love. short freer section, is more reflective and speaks of Jane’s realm of arioso , relying less on traditional set pieces. vocal part. The moment at the end of Rochester’s final The dissonance found during St. John’s demands on Jane growing fascination with Rochester. The scene’s placid Karchin says, “I felt in the first act that arias for the monologue, where he pronounces himself above the and her subsequent indecision is banished in favor of a final, ending is a direct foil to its turbulent beginning. The opera’s protagonists would help to establish their characters and constraints of traditional morality, transforms music moving duet, some of the most resolutely consonant music second scene, set in the lavish drawing room of Thornfield, the emotions that motivate them. In the second act, with presented in much quieter fashion close to the beginning that Karchin has composed to date. Karchin’s wide-ranging harmonic language in Jane acclaimed stages in the world . Two singers from the cast Synopsis Eyre is a hallmark of the work. “This was planned carefully of Karchin’s Romulus – soprano Katrina Thurman and is intentional,” notes the composer. “Opera needs (Blanche Ingram) and baritone Thomas Meglioranza Act I contrast, and in this sprawling work, I felt that the more (Roderick Ingram/St. John Rivers) – appear in roles As the opera begins, Jane Eyre, an orphaned young variety, the greater the possibility of emphasizing drama written for them. Karchin is fortunate that the Orchestra of governess, is fearlessly dousing a fire set in the bedroom and delineating character. There are other ways to do it, the League of Composers, which he has conducted in of her employer, the dashing and insouciant Edward of course, but this path seemed most appropriate for Jane many concerts, was available to record the opera. Rochester. Despite the difference in their stations, each Eyre . The opera also flows from the language of my Karchin says, “There is a level of working rapport that I senses in the other a singular sensibility, and their banter previous vocal music, with every stylistic element simply have with these musicians that I value immeasurably. and reveries reveal their unspoken attachment. In Scene more pronounced here due to the vast dimensions at They met every challenge head on.” Thus, this recording 2, set in the lavish drawing room of Thornfield, hand. The greatest challenge was to try to create a of the work has the benefit of singers who have inhabited Rochester’s manor, Jane’s discernment contrasts sharply seamless flow always – the intended effect was the the roles onstage, honing their musical and dramatic with the disingenuousness of Blanche Ingram, an opposite of ‘collage.’ Ideally, I would like the audience to interpretations of them, sympathetic and committed imperious beauty determined to marry Rochester. think not of harmonic shifts, but rather sit back and listen orchestral collaborators, and, certainly not least, Karchin’s Disguising himself as a gypsy, he exposes Blanche’s true to the work as one continuous entity.” operatic score: an ambitious, multi-faceted, and boldly nature, while trying to ascertain Jane’s. In Scene 3 , The world premiere staging of Jane Eyre took place engaging work. Rochester trusts Jane to tend to Richard Mason, an on 20 and 22 October 2016, at the Kaye Playhouse in unexpected guest with a mysterious injury; but further Manhattan, under the auspices of the Center for Christian Carey conversation is interrupted by an urgent summons for Contemporary Opera. All of the singers from the original Jane to attend to her dying Aunt Reed, who has a secret Game of cards in the drawing room at Thornfield production signed on to record the following September. to share as well. Photo: Steven Pisano The principals – soprano Jennifer Zetlan (Jane) and tenor Composer, musicologist, and theorist Christian Carey is Ryan MacPherson (Rochester) – are vocalists editor of the contemporary music site Sequenza 21 and Act II Act III experienced in both contemporary music and standard has published articles in Perspectives of New Music , Rochester’s housekeeper Mrs. Fairfax is distressed by Jane is now teaching in a schoolhouse far away from repertoire who have performed on some of the most Intégral , Musical America , and Tempo . the news that Jane, newly returned to Thornfield, is to Rochester. Her rescuers – sisters Mary and Diana, and marry Mr. Rochester – and counsels her to resist his their dour brother, pastor St. John – learn Jane’s real certain advances. That the new couple is deeply in love is name and family connections through a letter from Mr. unmistakable, but Jane insists on retaining her own Briggs, who also reveals Jane’s surprising, and heretofore identity and remaining Rochester’s equal. In Scene 2 , she unknown, status as the beneficiary of a large inheritance. confesses that her joy in their imminent nuptials has been In Scene 2 , St. John reveals a far more disturbing secret: dimmed by nightmares and eerie omens, which he now believes it is Jane’s God-given duty to marry him Rochester dismisses. In the final scene, set in the manor and support his missionary work in India. Still captivated chapel, the groom can barely contain his impatience to by Rochester, and horrified by the prospect of a loveless exchange vows; but the ceremony is nevertheless cut marriage, Jane nonetheless considers St. John’s proposal short when Mr. Briggs, an attorney, declares that – until she hears a voice calling her name. In Scene 3 , Rochester is already married – to Mason’s sister. Jane and Mrs. Fairfax converse again, under very different Rochester bitterly recounts his personal history and how circumstances: Mrs. Rochester has died in a blaze set by his wife, now quite mad, came to live in the attic at her own hand; and in trying to save her, Mr. Rochester has Thornfield. He begs Jane to run away with him, declaring been nearly blinded and maimed. He and Jane are joyfully that conventional morality should not keep them apart; but reunited, secure in their love and they vow never to part. despite the pain it will cause them both, she refuses to sacrifice her principles to her passion. Diane Osen Louis Karchin Jennifer Zetlan

Over a career spanning more than four decades composer Louis Karchin has amassed Internationally recognized soprano Jennifer Zetlan has appeared on a portfolio of over 90 compositions, appeared as conductor with numerous ensembles, numerous opera and concert stages, as well as recital venues and on co-founded new music groups including the Chamber Players of the League/ISCM Broadway. Known for her passion for contemporary music, Zetlan has (International Society for Contemporary Music), the Orchestra of the League of featured in the premieres of numerous American operas, including Nico Composers, the Washington Square Ensemble, and the Harvard Group for New Music, Muhly’s Two Boys (Metropolitan Opera) and Dark Sisters (Opera and overseen the formation of a graduate program in music composition for New York Philadelphia, Gotham Chamber Opera), John Musto’s Rhoda and the University’s Faculty of Arts & Science. Acclaimed by critic Andrew Porter in The New Fossil Hunt (On Site Opera) and Daron Hagen’s Amelia (Seattle Opera). Yorker , his works have garnered distinguished honors, including three awards from the Other contemporary works she has performed include arias from David American Academy of Arts and Letters, a Guggenheim Fellowship, three National Diamond’s The Noblest Game (Seattle Symphony), Kaija Saariaho’s The Endowment for the Arts Awards, and Koussevitzky, Barlow, and Fromm commissions. Tempest Songbook (Gotham Chamber Opera) and György Ligeti’s The debut album of his first opera, Romulus (Naxos 8.669030), was hailed as one of the Requiem (American Symphony Orchestra). best recordings of 2011 by Fanfare magazine, and a choice of the month in BBC Music Magazine . His masque Orpheus was previously singled out as one of the ten best new www.jenniferzetlan.com works of 2005 by music critic Alex Ross. Karchin’s music is published by C.F. Peters Corporation, and the American Composers Alliance, with recordings on the Naxos, Photo: J Henry Fair Bridge, Albany and New World labels. Karchin (born Philadelphia, 1951) studied at the Eastman School of Music and Harvard University; he is Professor of Music at New York Ryan MacPherson University. His principal teachers were Samuel Adler, Joseph Schwantner and Fred Lerdahl; and as a Leonard Bernstein Fellow in Composition at Tanglewood, studied with Gunther Schuller and Bruno Maderna. Additional studies Ryan MacPherson combines a vast repertoire with an expertise in modern and included conducting with Leon Barzin in Paris on a Harvard University John Knowles Paine Fellowship, and opera contemporary music. Engagements include the Teatro Real, Madrid, the Wiener conducting with Boris Goldovsky. www.louiskarchin.com Konzerthaus and Buxton Festival, and numerous companies throughout North America. His discography includes Orphée by Philip Glass, The Man Who Mistook His Wife For a Hat by Michael Nyman, the collected songs of Charles Ives (Naxos), and works by Charles Wuorinen. He received the Richard F. Gold Career award for his contributions to Diane Osen the New York City Opera. A graduate of the University of Missouri and Yale University, MacPherson resides in Wilmington, DE with his wife, soprano Sharin Apostolou. Librettist Diane Osen graduated from Vassar College and earned an MA in English from Rutgers University, before embarking on a career as a corporate communications executive specializing in technology and entertainment. After establishing her own consultancy, she taught writing for several years at New York University while publishing numerous articles and the first of four books. One of these, The Book that Changed my Life , is a collection of original interviews with prize-winning novelists, historians and poets Don DeLillo, Alice McDermott, Charles Johnson, David McCullough and Philip Levine, among others. Featured in major print and broadcast media, the book inspired a raft of titles with similar themes. It also inspired her to propose adapting Jane Eyre, the book that changed her life, into an opera. Osen’s interest in literature, theater and music was nurtured by her mother Shirley Osen and her father David Osen, who began his singing career at New York City Opera, performing in The Student Prince , Der Rosenkavalier , and Die Fledermaus . Her parents’ tenth birthday present to her – tickets to a performance at the Met of Aida – is a vivid memory she continues to treasure. Thomas Meglioranza Katrina Thurman

Baritone Thomas Meglioranza graduated from Grinnell College and the Eastman School Soprano Katrina Thurman has built an impressive reputation performing in of Music, and was a winner of the Walter W. Naumburg and Concert Artists Guild traditional opera while also specializing in contemporary works. Her competitions. A frequent oratorio soloist, he has also sung Copland’s Old American repertoire encompasses over 45 roles in six languages and has taken her to Songs (National Symphony Orchestra), Maxwell Davies’ Eight Songs for a Mad King (LA theaters throughout the United States and Europe, including the Opéra Philharmonic), and Harbison’s Fifth Symphony (Boston Symphony Orchestra). His National de Lyon, the Festival Lyrique de Belle-île-en-Mer, Oper Bonn, operatic roles include Pierrot in Die tote Stadt , Chou En-Lai in Nixon in China and Prior Opera Philadelphia, Dallas Opera, Glimmerglass Festival, Florentine Opera, Walter in Peter Eötvös’ Angels in America . Lauded in The New Yorker , he has given the Lyric Opera of Kansas City, New York City Opera, Florida Grand Opera; recitals around the world with pianist Reiko Uchida, and recorded albums of Schubert and Opera Omaha, Utah Opera, Tulsa Opera, American Opera Projects, Fauré. Syracuse Opera, Sacramento Opera, Anchorage Opera, Shreveport Opera, Indianapolis Opera, the Center for Contemporary Opera, and the Aspen and www.meglioranza.typepad.com Shippensburg Festivals, among others.

www.katrinathurman.com

Kimberly Giordano Jessica Thompson Acclaimed by The Seattle Times , soprano Kimberly Giordano’s recent Highly praised by The Baltimore Sun , soprano Jessica Thompson has long been active in performances include the premiere of John Muehleisen’s But Who Shall the contemporary opera and new music community, not only as a performer, but also as Return Us Our Children – A Kipling Passion , Murry Sidlin’s Defiant Requiem: company manager for the Center for Contemporary Opera in New York from 2012 to Verdi At Terezín, Micaëla in Carmen , the title role in Tchaikovsky’s Iolanta , 2017. Thompson’s lush, full lyric voice has been heard in numerous roles, including and Strauss’s Vier letzte Lieder . She made her Carnegie Hall soloist debut Violetta in La traviata , and the title roles in Manon , The Cunning Little Vixen , and Luigi singing Vaughan Williams’ Dona nobis pacem . A Pacific Northwest favorite, Zaninelli’s Snow White . In addition to her performing career, she has developed a second Giordano has performed with many area companies including Seattle career interest in language pathology. Opera, Tacoma Opera, Spectrum Dance Theater, Music of Remembrance, the Thalia, Cascade and Seattle Youth Symphony Orchestras, and Choral www.jessicathompsonsopra.wixsite.com/jessicathompsonsop Arts Northwest .

www.kimberlygiordano.com Adam Cannedy David Salsbery Fry

Baritone Adam Cannedy has appeared with companies including the New Praised by concerti magazine, bass David Salsbery Fry is a tireless advocate for new York City Opera at Lincoln Center, The Atlanta Opera, Opera Omaha, Opera music. In the same season he created the role of Mr. Wood in Jane Eyre he also San Jose, On Site Opera, the Center for Contemporary Opera, the Light premiered roles in Scott Wheeler’s Naga and Chaya Czernowin’s Infinite Now . Other Opera of New York, Opera North, and the Wexford Festival Opera, Ireland. premieres include song cycles The Poets by Juliana Hall and ten songs of yesno by A champion of modern music, he has collaborated with and performed for Osnat Netzer. Additional recent engagements include Die Entführung aus dem Serail , contemporary composers including Carlisle Floyd, William Bolcom, Tom L’incoronazione di Poppea and Peter Grimes for Aspen Music Festival, Il barbiere di Cipullo, Stephen Paulus, Richard Wargo, Simon Sargon, Peter Ash, Siviglia for Vero Beach Opera, Ariadne auf Naxos at Tanglewood, Pelléas et Oliver Knussen, Ned Rorem, and Philip Glass. An active recording artist, he Mélisande and Die Zauberflöte in Tel Aviv, and his Mostly Mozart debut in can also be heard on several cast recordings with the Light Opera of New Stravinsky’s Renard . York in collaboration with Albany Records. www.davidsalsberyfry.com www.adamcannedy.com

Jessica Ann Best

Jessica Ann Best will make her LA Opera debut this season in Getty’s The Canterville Ghost and Usher House . Best has debuted the International Carol Suites by Mark Hayes, a Distinguished Concerts International New York (DCINY) production at Carnegie Hall Orchestra of the League of Composers and premiered the role of Alice Ryley by Michael Ching, with the Savannah Voice Festival. Best has been a featured artist with the Savannah Music Festival, the Savannah Since 2009, the Orchestra of the League of Composers Voice Festival, the Buffalo Philharmonic Orchestra, the Florida Orchestra, and the has presented concerts of new music under the Rochester Oratorio Society. She has performed with the Santa Fe Opera, Opera Tampa, auspices of its parent organization, the League of the Center for Contemporary Opera, Gotham Chamber Opera, Nickel City Opera, and Composers/ISCM (International Society for Finger Lakes Opera. Contemporary Music). Founded in 2009 by then-ISCM president David Gordon, flutist Sue Ann Kahn, and www.jessicaannbest.wordpress.com composer Louis Karchin, the orchestra debuted at the Miller Theatre at Columbia University in a program of works by Elliott Carter, Christopher Dietz, Julia Wolfe, Charles Wuorinen, and Alvin Singleton, which was critically acclaimed by Anthony Tommasini in The New York Times . The orchestra has commissioned and premiered ten new works to date, and presented 19 New York or world premieres. The orchestra has been consistently praised by The New York Times : in 2010 its season finale was noted for its spirit and programming, critic Steve Smith again praised its ambitious programming in 2013, and in 2014, the orchestra’s performances were lauded. In 2016, the orchestra was invited to participate in the NY Phil Biennial, and in 2017, received a special award and citation from the Fritz Reiner Center for Contemporary Music at Columbia University. Orchestra of the League of Composers Louis Karchin, Conductor Jane Eyre An Opera in Three Acts Violin I Clarinet Keats Dieffenbach, Concertmaster Benjamin Fingland Music by Louis Karchin Emilie-Anne Gendron Christopher Cullen Libretto by Diane Osen Courtney Orlando Based on the novel by Charlotte Brontë Andrea Schultz Bassoon Gilbert Dejean ACT 1 MR. ROCHESTER : Violin II Brad Balliett 1 What’s this? An elf come to save me? Deborah Wong, Principal SCENE 1 Arthur Moeller French Horn JANE : Mary Rowell Sara Cyrus The curtains part to reveal a darkened stage. At center I thank God you’re alive, sir! Domenic Salerni Aleks Ozolins stage, flames are beginning to spiral up the curtains of Shall I light you a candle? the massive canopy bed in which MR. ROCHESTER Viola Trumpet sleeps; smoke wafts through the air. JANE, wearing only MR. ROCHESTER : Lois Martin, Principal Bradford Siroky a night dress and a shawl, enters at a run from a door at And at these bedclothes have you stare? Stephanie Griffin Samuel Jones the left. I think not; wait a bit, Miss Eyre. Jessica Meyer Liuh-Wen Ting Trombone JANE, bending over the bed, and shaking MR. JANE turns her back and walks toward the bureau as Jonathan Greenberg ROCHESTER’S shoulder : MR. ROCHESTER gets out of bed and quickly puts on a Cello Mr. Rochester! Mr. Rochester! dressing gown hanging from one of the bed posts. JANE Christopher Finckel, Principal Tuba lights the candle and the room is illuminated. Robert Burkhart Dan Peck Fearing that MR. ROCHESTER has been overcome, she Gregory Hesselink dashes to the bureau opposite the bed, where a basin MR. ROCHESTER : Caroline Stinson Percussion and ewer sit. She splashes the water from the basin onto You may bring the candle here now. John Ferrari the bed curtains, dousing the fire. Next she hurls the Contrabass William Solomon flowers and water from a nearby vase onto MR. JANE (Walking toward MR. ROCHESTER ): David Romano, Principal Matthew Ward ROCHESTER’S recumbent form. As the flames begin to Sir, there is a plot against you! Roger Wagner sputter, he stirs. You must protect yourself, and soon! Harp Flute Chelsea Lane MR. ROCHESTER , sitting up : MR. ROCHESTER , taking the candle from her and Jayn Rosenfeld What the devil has happened here? placing it on his desk : Sue Ann Kahn Executive Director And who stands panting by the chair? I shall protect us all, I swear! Friedrich Kern Has a storm, or flood, perhaps come near? First tell me what you know, Miss Eyre. Oboe But no – that’s smoke that fouls the air. Jacqueline Leclair Orchestra Contractor JANE : Lillian Copeland Sue Ann Kahn JANE : I was dreaming in peace, sir, A fire has been set tonight; When startled quite awake Chorus Your very bed has been set alight. By a low, gurgling murmur Rachel Elezi, Marisa Karchin, Michele Kennedy, Caitlin Mead, Jessica Thompson, Abigail Wright That made my senses quake. All else was hushed; the clock struck two; Then footsteps sounded, very near. A demon laughed – a goblin true! JANE sits down on a chair beside the desk. JANE : JANE rises and begins to pace again, pulling her shawl My marrow froze; I ached with fear. Most men assume women are calm around her shoulders. Still I rose, and called “Who’s there?” But off to school I was sent instead, And content to be left alone Something moaned, then hissed; the footsteps turned. To learn among other poor orphans. With their knitting or their scones. Though our stations be unequal With trembling hands the lock I dared; How famished we were, eating only stale bread! But the truth is we crave action! He hears the music in my soul Saw in your room a fire burned. No wonder we died by the dozens. Just like you, we must be free As I hear his, despite his growl. Dear Helen Burns, how I loved her! To exercise our faculties. How odd it is, this sympathy: MR. ROCHESTER : Bless those who curse you, she urged me; I dare not hope – but could it be You’ve heard that laugh before, I think? Use the power of faith and of prayer. MR. ROCHESTER : That we are linked by destiny? Or a ghoulish sound quite like it? So I prayed and I drew, I studied and taught; That well may be true; but I trust Aunt Reed, I am now Miss Jane Eyre. You shall not exercise your right The curtain closes as JANE continues to pace, waiting JANE : A governess in this great house, To share tomorrow with the staff for MR. ROCHESTER to return. You’ve heard it too! It is Grace Poole, For my master’s charming young ward. All that’s happened here tonight. Who sews and mends in the attic. No more haunted by the past, 2 Catch her, Sir, lest she strike again – And blessed in all things by the Lord. JANE , rising : SCENE 2 She’s a creature quite Satanic! You have my word, Sir. MR. ROCHESTER enters the room. The curtains part to reveal the drawing room of Thornfield MR. ROCHESTER : MR. ROCHESTER : Hall, MR. ROCHESTER’S home. It is an opulent space, I’ve little fear of that seamstress, MR. ROCHESTER : Nor can my house guests be alarmed distinguished by elegant furniture and pictures. At stage But I shall follow your advice. Still here I see? And quite alone? By tales of fire in the night. left, on an overstuffed damask sofa, sit JANE and MRS. I’ll lock her in, so you’ll be safe; I know Miss Ingram won’t be charmed FAIRFAX, the housekeeper. Both of the ladies are And then return here in a trice. JANE , walking toward him : By the story of your courage. dressed in plain gray gowns, their embroidery bags in Is Mrs. Poole locked up? Are we A lady she was bred to be: their laps. To the right sit MR. ROCHESTER, MISS MR. ROCHESTER departs. JANE wraps her shawl more Now quite safe from her villainy? Sweet, gentle, accomplished , BLANCHE INGRAM and MR. RODERICK INGRAM, tightly around her shoulders and begins to pace the room. A paragon of modesty. siblings, and their mother MRS. INGRAM. All four are MR. ROCHESTER : But why do we discuss my guests? attired in evening dress, and engaged in a desultory JANE : Yes, indeed – all thanks to you. You’re quite fatigued; you need your rest. game of cards. Behind them sit two ladies and two That mirthless laugh, so weird and low; This mistake Grace Poole will rue. Pray wait here just a minute more. gentlemen, similarly attired and also playing cards. A lifetime since I trembled so – It would not do to have you seen; I was but six, an angry child; JANE : I’ll scout the way back to your door. INGRAM : Abhorred by all, I acted wild. What shall you do, sir? I’m duly impressed, Rochester! Locked in the Red Room, how I cried, He closes the door softly, leaving JANE alone again. I thought all you did in Venice Afraid and trapped where Uncle died. MR. ROCHESTER , leading her back to the chair by the Was woo the beautiful women – My jailer? His wife. desk, and motioning for her to sit : JANE , resuming her seat : Her heart? A stone. You must leave that to me, Miss Eyre. My master is a mystery: MRS. INGRAM : Have pity, I begged; don’t leave me alone. I trust that meets your approval? Moody; imperious; often severe. And beat the gentleman at whist! But proud Aunt Reed refused to stay; It’s said he has a history “Jane Eyre,” she said, “You must obey, JANE : Of bending others to his will. INGRAM : You mad, rebellious cat; By all means, sir. I wouldn’t care He does not care for compliments, Quite so! You’ve nearly wiped me out. You loathsome pest; To deal with that fiendish servant. And makes no effort to impress. But I never knew till now, sir, The devil’s own.” And yet he can be quite at ease: That you had devoted yourself A soul without a friend, was I; MR. ROCHESTER : He calls me “Witch” and “Sorceress,” To Lucia de Lammermoor, There in the Red Room, I yearned to die. Yet brave enough to douse a fire! And very slowly, by degrees, Or the treacherous Anne Boleyn, He takes me in his confidence. Or the poisonous Lucretia. MRS. INGRAM : ROCHESTER , rising : INGRAM : Your fortune to tell and explain. And who are these frightful ladies? I am a slave to novelty – I wonder what he plans? Know all that I say will come true. And to that end, pray excuse me; INGRAM : I must see to the arrangements BLANCHE : The gypsy reaches out to take BLANCHE’S hand, but Marvelous creatures brought to life For this evening’s entertainment. Edward knows I love surprises; she backs off in disgust. By an Italian composer. It is sweet how he tries to please. MRS. INGRAM : Most of you men fail to realize BLANCHE : MR. ROCHESTER : How delightful! That ladies wish to be worshipped. You ugly old creature! I’ll go Donizetti, to be exact. You gaze at your own reflections, Where you lead; just don’t touch me, I say! A composer, MR. ROCHESTER : Stroking your whiskers and sighing. My fate is what I wish to know, Mrs. Ingram, Miss Eyre, come here and take my place. But Edward needs no correction: For ’tis best to prepare, come what may. For the opera: He revels in feminine charms. The most sublime art JANE , surprised : And yet, Mama, he plays the fool: BLANCHE strides to the door as the gypsy bows once Invented by man. I? He doesn’t send his ward to school – again and follows her outside. She learns here with a governess! MRS. INGRAM : MR. ROCHESTER : Pathetic creatures, every one – MRS. INGRAM : Mr. Ingram never cared for You long for action, do you not? Timid and drab, with naught to say! How strange that Mr. Rochester Music, nor for Italians. Were I the mistress, she’d be gone, Is acquainted with a gypsy! JANE , rising : And then the child, without delay. BLANCHE : But I – But I do not wish to compel INGRAM : But Papa never went abroad; Any man to do what is right; They camp all about the country, He did not like the leave the shire. MR. ROCHESTER , cutting her off : Whomever I marry must be And will do anything for lucre. Our host has seen and heard marvels No excuses! commanding, resourceful and manly – Let us resume our game, Mama: Our father could not imagine. I shall return! Yet willing to yield, We shall take our turns next, I’m sure. Ladies… Ingram… Without my demanding. INGRAM : Mrs. Fairfax, INGRAM gathers the cards and proceeds to shuffle them, And what do you know of these, Blanche? Follow me. MRS. INGRAM , patting her daughter’s hand : while MRS. INGRAM takes a sip of her wine. As he begins You’ve never heard an opera! Very well said, my dearest Blanche. to deal, the game is interrupted by the unexpected return As MR. ROCHESTER and MRS. FAIRFAX depart, JANE of BLANCHE to the drawing room. All turn to face her. MR. ROCHESTER : walks to the games table, clearly uncomfortable. The ladies playing behind them suddenly begin to One need not hear an orchestra applaud, as one of the men quite dramatically throws BLANCHE , visibly upset : To apprehend the majesty MRS. INGRAM : down his cards and the other stands to take a small bow. Pray, do not ask me what was said; Of a work by Donizetti. This is most unsettling. BLANCHE, INGRAM and MRS. INGRAM join in, to It was all that one might expect It has been my honor to whet general merriment. As the company begins to murmur From a filthy old crone in rags. Your sister’s appetite JANE : among themselves, a strange figure enters the Library: a And yet I cannot help but fear For noted musical delights. For me as well, Madame. GYPSY, limping and coughing, and enveloped by a cloak That what she revealed is the truth. I fear I cannot play. and hood that hide everything but her eyes. All Our host has played an awful trick! BLANCHE : conversation ceases as she makes a deep bow to And my pleasure to hear you sing! MRS. INGRAM , coldly, as she turns her cards face down : BLANCHE. BLANCHE turns on her heel and exits the room. We shall not be playing; INGRAM : You may resume your place. GYPSY , in a high-pitched voice : INGRAM , throwing down his cards and following after her : You are a man of many parts. Fear ye not, Lady, nor ye men. Blanche, I’m sure it was all in fun! JANE walks back to the sofa and sits down in the corner. Your host, he has sent me to you, MRS. INGRAM , placing her cards on the table and rising : The GYPSY and JANE sit down at the table. JANE : MRS. FAIRFAX curtseys again before hurriedly Don’t upset yourself, dearest! Sir! Is it you under that hood? departing. MR. ROCHESTER turns toward JANE. You don’t look well when you’re angry! GYPSY , gathering the cards into a pile : I say, children, wait for your Mama! Miss Blanche may no longer be so keen: MR. ROCHESTER , rising : MR. ROCHESTER : I’ve foretold she’ll not get her wish. It is indeed, Jane; forgive me. Jane, I’ve had a blow – Turning toward the other players: Your master is said to be rich, Don’t just sit there like mannequins! But his wealth is not what it seems. JANE , rising : JANE , going toward him : Find that gypsy and throw her out! What sort of silly trick is this? Lean on me, sir! The GYPSY gestures to JANE to give him her hand. What can I do? As MRS. INGRAM strides out of the room, the other MR. ROCHESTER : I’ll give my all players follow quickly behind her, leaving JANE alone. JANE : I did not intend to trick you; And stand with you. I’ve no interest in my master’s wealth. I wanted only to – JANE , rising from her spot on the sofa : MR. ROCHESTER , taking Jane by the arm : Truly her beauty is eloquent, GYPSY : MR. ROCHESTER’S apology is interrupted by the A comrade true! Just like her voice, her slashing wit. Any fool could see your future: sudden return of MRS. FAIRFAX to the drawing room. Though oh, so slight: What a pupil she must have been: The hand is soft; the lifelines clear; Would that we could stand as one Apt, of course, but quietly cruel – The brow untroubled by regret; MRS. FAIRFAX , curtseying : And fly away into the night. That such as she should be his wife! The eyes are bright; the gaze, sincere; Pray excuse me for intruding, Mere paste, beside a rough diamond. The skin is smooth, the cheeks quite pink; I did not think Miss Eyre was here. Releasing her, as he pulls himself up to his full height: What have I wanted all my life? The mouth, it is quite generous; A gentleman has come to call To love and be loved, equally! Yet what the heart feels is obscured And begs to know when you’ll appear. But wishing does not make it so: Surely he wishes for this too? By a worry without purpose. I must face facts, and you must go. Yet it’s Miss Ingram he does woo. Will she seize the joy that beckons MR. ROCHESTER : Inform my guests the gypsy’s fled, Or persist in guarding her heart? The devil he does! And send them posthaste to bed. As JANE turns toward the doorway to depart, the GYPSY Will she seek the one who loves her? What name does he give? This blasted interruption enters the drawing room. Or let scruples keep them apart? Will not set my doom in motion. One word, a glance, would pave the way; MRS. FAIRFAX : Can I trust you with this task? GYPSY , making a deep bow, then drawing near : The question is: will Miss Eyre try? He said his name is Mason, sir, Time for your fortune to be told – If she but wished to, she would find From Spanish Town, the West Indies. JANE , taking Mr. Rochester’s proffered arm : But first, cross my palm with silver. True happiness in wait close by. Need you ask? I do but what your host demands. MR. ROCHESTER , gasps and nearly staggers : Are you brave enough to linger? JANE , withdrawing her hand : Mr. Richard Mason? 3 You’ve asked many questions, old Gypsy, SCENE 3 JANE , reaching into her purse for a coin, which she But what are the answers? Do tell me! MRS. FAIRFAX : hands to the gypsy : Aye, that is what he said, sir. The curtains part to reveal MR. ROCHESTER’S study. Surely, you think not to scare me! GYPSY , snatching back JANE’S hand, and replying in Bookcases ring three walls; to the left is a sofa, to the “her” authentic voice : MR. ROCHESTER , righting himself : right a large desk at which two men are sitting. MR. GYPSY , pocketing the coin, and bowing again : The answers are locked within you; I’ll see him in my study. MASON’s tie is loosened, his sleeves rolled up; he is Who knows what real ladies may fear? Even a gypsy lacks that key. Let him know I’m on the way. groaning miserably, and holds his head in one of his You saw the bride run out of here. You think I rave, yet all I’ve said hands. MR. ROCHESTER, clearly annoyed, is doing his Is naught, Miss Eyre, but what is true. best to wind a bandage around MASON’S other arm, JANE , stiffly : which is bleeding profusely. On the desk, beside a basin Miss Ingram is still unattached, MR. ROCHESTER removes his hood, revealing his face of water and several lengths of gauze, are several bottles And Mr. Rochester quite free. to JANE’S evident surprise. of alcohol and crystal glasses. MR. ROCHESTER : MR. MASON : One careless word from Mason, MR. ROCHESTER : Come, man, buck up! I could rest easy enough if And happiness will desert me, But first He sends us an angel, ’Tis but a scratch! I knew she would come to no harm. ’Ere she ever bloomed in this house. An instrument of salvation, Promise me, Edward, come what may, And I believe you are she, Jane, MR. MASON : You’ll always treat her tenderly. JANE : Though it is with trepidation She’s nearly killed me! I don’t understand you, Sir. That I bear my soul. MR. ROCHESTER takes MASON by his good arm and MR. ROCHESTER : helps him to his feet. MR. ROCHESTER : A knock sounds at the door to the left and MRS. Imagine, Jane, a spoiled, wild boy, FAIRFAX immediately enters the room with a stranger Courage, Mason! I do my best; have done it A second son with little love dressed in mourning. MR. ROCHESTER rises as well. You’ve lost a little And will do it, I guarantee. From craven parents to enjoy, Blood; that’s all. And burdened with so much to prove. MRS. FAIRFAX , curtseying : With MR. ROCHESTER’S help MASON walks to the door Sent abroad to earn his fortune, Please forgive me, Sir: MASON : slowly, shakes MR. ROCHESTER’S hand and departs. He learns that he has been deceived – For interrupting twice This wound was not MR. ROCHESTER watches him walk away before That those he trusted want his ruin. In this long night: Made by a knife, carefully closing the door. JANE moves toward him from His bitterness can’t be conceived; I was bid make haste Sir; it’s a bite! the back of the room. In time the wound he cannot bear: By this servant from She attacked me He dissipates; he hates his life. Miss Eyre’s former home. Like a tigress! MR. ROCHESTER : Debauchery claims him; then despair. I! A kitten has a stouter heart; He finds no balm to cure his strife JANE , approaching BESSIE : Her one true friend! If only he’d sleep forever! Save in dice and tawdry affairs Bessie, is it you? She sucked my blood! With ladies always short on cash. What has happened? Vowed she would drain JANE , stepping forward : He loves them not; his only care My very heart! Sir! Is securing satisfaction. BESSIE , curtseying first to MR. ROCHESTER, What a thing to say! But even that he soon disdains then to JANE : MR. ROCHESTER , having finished bandaging the wound : And ventures home, hopes dashed again. Yes; ‘tis Bessie, Miss. Enough, Mason! The gentry seek him out at once, I’ve come with bad news, Ignore her sly gibberish! MR. ROCHESTER , seating himself back at the desk, and His idle, reckless past unknown; I’m afraid. Your aunt What you need is pouring himself a glass of whiskey : They boast and preen, they ride and hunt Is nearing the end A good long nap. Ah, my good conscience has arrived! And in their midst, he’s most alone. And demands to see You while there’s still time. MR. ROCHESTER , reaching for one of the bottles, he MR. ROCHESTER knocks back his drink. MR. ROCHESTER sits beside JANE on the sofa. pours out a measure of brightly colored liquid, and hands MR. ROCHESTER : the glass to MASON : JANE , seating herself on the sofa : Then, a miracle! he is blessed She said she had no family! Drink this, Richard, But surely, sir, he must object With a chance to regain his soul, And you shall see: If Grace Poole does him injury? Thanks to a friend who is possessed BESSIE , turning to Mr. Rochester : All will be well. Of a heart that is pure and whole. It is true she is an orphan, MR. ROCHESTER : Must convention stand in the way Sir; her Uncle Reed took her in As MASON cautiously drains the glass, neither he nor Don’t trouble yourself about her. Of transforming his sins into good? And meant to raise her as his own. MR. ROCHESTER notices JANE, who has soundlessly Must he thrust all his hopes away But then he died; and left alone, entered the room and stands uncertainly behind them. Rising, he begins to pace : Because others believe he should? The child knew naught but misery, And no one listened to her pleas. You’ve nothing to fear from Grace Poole! JANE , kindly but firmly : Jane let her violent temper rule, But I stand on a precipice, It is God alone who judges And soon they sent her off to school. And may fall at any moment. A sinner’s genuine repentance. BESSIE , turning now to face JANE directly : ACT 2 JANE turns to leave. MRS. FAIRFAX , curtseying : Still your Aunt Reed’s hatred grew; 4 I wish you much joy, Mr. Rochester. And when a stranger came for you SCENE 1 MRS. FAIRFAX , grabbing her arm : Her enmity she did not hide: He is my cousin MR. ROCHESTER bows, and MRS. FAIRFAX curtseys With conscience clear, she said you’d died. The curtains part to reveal MRS. FAIRFAX pacing back By my late husband, again before exiting. He then draws JANE to him, peering and forth in the drawing room, illuminated by the glow of And you are a girl at her face. JANE : several crystal candelabras. In need of a friend: A stranger, you say – asking for me? Gentlemen like him MR. ROCHESTER : MRS. FAIRFAX : Are loathe to marry You look worried, Jane; pray come near. BESSIE : No! A mere governess Do you repent already, dear? Aye – and a wealthy man was he! It can’t be so! With whom they dally. Her guilt has turned to lunacy; Back home at last, for but an hour JANE : All she wants is to see Miss Eyre, And already overpowered JANE , shrugging off MRS. FAIRFAX : Repent? Of course not! How could I So that this wrong she may repair. By the master’s ’passioned embrace. I bring him nothing but myself. Unwish what’s dearest to my heart? Was it she who tried to erase But others may mock us, by and by – JANE , MRS. FAIRFAX , BESSIE , MR. ROCHESTER : The line that surely divides them? MRS. FAIRFAX , more warmly : Even strive to keep us apart. A stranger, you say – asking for me/her? She will lose her reputation! I had to be sure, for your sake Aye – and a wealthy man was he! As well as Mr. Rochester. JANE tries to move away, but MR. ROCHESTER holds Her guilt has turned to lunacy; JANE now enters the drawing room, walking immediately I beg you one promise to make: her fast. All she wants is to see Miss Eyre to MRS. FAIRFAX’S side. To distance yourself, and deter So that this wrong she may repair. All entreaties till you are his wife. MR. ROCHESTER : JANE : His interest this surely will stir, Jane, do be still: JANE , turning to MR. ROCHESTER : Mrs. Fairfax, what upsets you? And virtue will guide your new life. Don’t struggle so, I must hear what she has to say! I saw you run from the foyer Like a rare bird She’s dying, sir, I can’t delay! As though frightened through and through. JANE , extending her hand : Rending its own I will consider your advice. Vivid plumage. MR. ROCHESTER : MRS. FAIRFAX : I pray you will keep well, my dear. Indeed, Miss Eyre, I had a fright, MRS. FAIRFAX , taking her hand : JANE , relenting : My heart rebels; it wants you here. I saw our master embrace you – I am glad to hear you say so! Struggle I must: Claim you for his very own – Come, let us sit a bit and chat. True happiness As the two older women curtsey, JANE leads the way out Yet you failed to resist or take flight. I cannot trust. of the room, without a glance back. As the curtain MRS. FAIRFAX leads JANE to the sofa, and both sit down. descends MR. ROCHESTER pours himself another JANE : MR. ROCHESTER : whiskey, his expression unreadable. I am to be his bride, m’am; MRS. FAIRFAX : You can trust this. And he is to be my husband. All the gentry thought he would wed Miss Ingram! And I thought so too. MR. ROCHESTER kisses JANE, who staggers a bit MRS. FAIRFAX , coldly : before freeing herself from his grasp and settling herself Equality of position JANE : on the sofa. And a favorable fortune I must confess I was surprised – Are what most brides bring to their grooms. JANE : You bring him an heir, I presume? MR. ROCHESTER enters the room, cutting off the If that be so, Sir, I pray you solve conversation. Both women rise. The mystery of your sudden love. JANE : Your presumption is insulting. 5 MR. ROCHESTER , following JANE to the sofa : JANE , extricating herself a bit from his close embrace : SCENE 2 Whatever menaced, harassed, warned, I’ve loved you since the day we met; Sir, you exult like a savage! I passed impetuous by.” But I feared to share my secret. I’m not a slave in a harem: The curtains part to reveal the orchard outside Thornfield; MR. ROCHESTER , taking her hands in his : I feigned proposing to Miss Blanche My will is not yours to manage. it is evening, but a full moon clearly illuminates the scene. As I recall, you scorned those lines, In hope that you would dare to glance Such finery will not suit me: JANE is seated on a stone bench, drawing her shawl When I sang them in this garden At me, the way I look at you: I do not wish to be displayed, tightly around her shoulders, and rubbing her arms to The day you said you’d be all mine. As my own likeness, deep and true. I have no yen for luxury. keep warm. To the right looms an enormous, ruined And lo! Tomorrow we’ll be wed. To be your wife is my desire! chestnut tree. Its trunk has been split in half by lightning, They embrace again. An equal partner in your life, and the burned branches on either side of the cleft nearly MR. ROCHESTER and JANE embrace. The better half whom you require. touch the ground. Jane regards the tree for a moment, MR. ROCHESTER : then stands and walks toward it. MR. ROCHESTER : But you still maintain your secret: JANE tries to rise. But what is the matter, dear? What did your aunt say when you met? JANE , reaching out to caress the cleft in the trunk : Your hands are cold as stone! Release me, now – I’ve been remiss: Despite your scorched bark and scarred limbs, How strangely your eyes glitter; JANE : Upstairs my pupil waits to hear Some sap must course through you yet: How flushed and damp your face! It was awful, sir, to see her A story from her governess. How fast you hold to each other! So close to death, yet full of spite; Nothing can tear you asunder. JANE : I tried my best to make things right, JANE pulls away and walks to the door. But what delays my other half? I believe I am well, sir. But she could not undo her nature. Sweet dreams, dear sir. Pacing back and forth now, JANE begins to sing to MR. ROCHESTER , leading her toward the bench : Still, fearing the end that awaits herself an old-fashioned tune: You believe? You’re not quite sure? A sinner who will not repent, MR. ROCHESTER , rising too : “His coming was my hope each day, My Aunt Reed confessed that she’d spent No goodnight kiss? His parting was my pain; She rises and slowly walks toward the tree again. MR. Three years denying my true fate. The chance that did his steps delay ROCHESTER turns to listen. JANE smiles as she exits the Library. Was ice in every vein.” MR. ROCHESTER , grasping JANE’S hand to his heart : JANE : For her betrayal, I’ll atone: MR. ROCHESTER , calling after her : She is so engrossed that she does not notice MR. I glory in the life we’ll share, My soul entire will be your own. Nothing for your groom-to-be? ROCHESTER entering the orchard. So much more stirring than my own. No, I was fine until I found MR. ROCHESTER pulls JANE even closer to him. Then, to himself: JANE : Your gift beneath my wedding gown: “But wide as pathless was the space A veil that glows like angel’s wings; I’ll drape you in diamonds and gold Yet she is all the world to me, That lay, our lives, between, Diaphanous; divine. And your sweet supple shape I’ll hold And only God can set her free And dangerous as the foamy race I smiled as I unfolded it, Closer than close, all through the night – After she and I do marry. Of ocean-surges green.” To think you schemed to make it mine. Let the servants say what they might. I hung it on the best post, high, My Maker sanctions what I do; The curtain falls as MR. ROCHESTER begins blowing JANE is surprised to feel MR. ROCHESTER’S hand on To see it ’ere I closed my eyes. Mere men’s opinions I eschew. out the candles. her shoulder. As she turns around to greet him, he picks The air was chilled; the bed was cold; I thank the Lord you’re all mine now; up the next verse: But I was warmed by your surprise You’ll not elude me – that I vow. Until I lapsed into a dream: MR. ROCHESTER : A wailing babe was at my side, “I dangers dared: I hindrance scorned; And you were mounted on your horse; I omens did defy; Away from us we watched you ride. I climbed a wall, to shout your name, And will your horse to stand its ground; When suddenly the wall gave way – MR. ROCHESTER : As MR. WOOD pauses, the figures at the back of the MR. WOOD , to MR. BRIGGS : We crashed to earth, could not be found. You must have been mistaken, Jane: chapel stride toward the bridal couple. May I inquire, Sir, into your connection here? We breathed our last, the child and I, Grace Poole it was! Now leave it. And the basis for your shocking allegations? And you had gone, with no good-bye. MR. WOOD , to MR. ROCHESTER : When we’ve been married for a year, Wilt thou have this woman for thy wedded wife? MR. BRIGGS , presenting MR. WOOD with a document MR. ROCHESTER : I’ll share with you her secret. he’s been holding in his hand : Are you afraid I’ll leave you, dear? Before MR. ROCHESTER can reply, he is interrupted by I am Mr. Mason’s solicitor, empow’red I’m yours forever, have no fear. JANE is silent as MR. ROCHESTER kisses her cheek. one of the two men; the other, his face still partly hidden By him to protect the interests of his sister, by the brim of a large hat, hangs back. Who cannot protect her own, for she is mad, JANE resumes her seat beside MR. ROCHESTER, who All cares and trouble must now cease And locked in the attic of her husband’s home! takes her hand and kisses it warmly. Let’s dream as one, of love and peace. MR. BRIGGS : Just ask the groom if my account is true. The marriage cannot go on, sir! JANE : MR. ROCHESTER puts his arm around JANE and leads I declare the existence of an impediment! MRS. FAIRFAX and JOHN greet this declaration with a Of that I have no doubt, master. her offstage as the curtain closes. gasp, while MR. WOOD scans the document. JANE What frightened me was not that dream, JANE turns to regard the speaker, but MR. ROCHESTER remains silent, as does MR. ROCHESTER. But the nightmare that came after: 6 remains immobile, facing the preacher. A monstrous woman, growling low, SCENE 3 MR. WOOD , proffering the document to Mr. Rochester : Had donned the veil you picked for me. MR. ROCHESTER : I’m no expert, but this looks genuine to me. She leered, then snatched it off her brow. As the curtain rises, JANE and MR. ROCHESTER are Proceed, Mr. Wood! Surely there is another explanation, sir? standing before the altar in the chapel at Thornfield. MR. ROCHESTER : Facing them is MR. WOOD, a clergyman; behind them MR. WOOD : MR. ROCHESTER neither takes the paper, nor replies. A creature of your fevered mind; stand the witnesses: MRS. FAIRFAX and JOHN the But I cannot proceed, Mr. Rochester, After a few moments’ consideration, he spins around to All thoughts of her let’s leave behind. groom. JANE is dressed in her wedding gown and a Without some investigation into this charge. face his accusers. Fearing he is about to attack them, simple veil; MR. ROCHESTER in a morning coat. What is the nature of the impediment? both men retreat. JANE , rising again from the bench : Apparently unseen by the group are a pair of figures in That’s what I wished; I even prayed. the back of the chapel, their faces obscured. One is MR. BRIGGS : MR. ROCHESTER : But when I woke up in my bed, RICHARD MASON, MR. ROCHESTER’S erstwhile That the gentleman is married, and his wife alive. Close your book, Wood; there will be no wedding I found my hopes had been betrayed: house guest; the other is MR. BRIGGS, an attorney. today! The ghoul had ripped my veil to shreds. MR. WOOD has clearly been sermonizing for some time. MR. ROCHESTER , still refusing to turn around : So you say! MR. WOOD immediately complies. JANE remains silent. JANE reaches into her pocket and extracts a strip of torn MR. WOOD : But I say, silk, which she displays to MR. ROCHESTER. And thus, as I hope I have demonstrated clearly, Produce a witness, MR. ROCHESTER : The state of matrimony is a holy one, Or go straight to hell! Now, now, Dick; don’t be afraid; MR. ROCHESTER , leaping off the bench to grab the Which we enter into with hope as well as faith – It’s your sister who bites! remnant : MR. BRIGGS : To think I’ve left you like a fool MR. ROCHESTER , interrupting : He is here beside me, if you’d but deign to look: MR. ROCHESTER paces back and forth for a few Without a word about Grace Poole! Get on with it, man! It is your wife’s brother, Mr. Richard Mason; moments, trying to collect himself. JANE watches, still silent. We know what it is! And he saw her alive, in your home, just three JANE : months ago! MR. ROCHESTER : But it was not the seamstress, sir. MR. WOOD : Bigamy is an ugly word; Quite so! If anyone knows a reason JANE looks at MR. ROCHESTER, who neither returns her Yet I confess I’m not contrite. Why ye may not be joined together in marriage, gaze nor turns to look at MR. BRIGGS or MR. MASON – I meant to make Miss Eyre my own, Do now confess it, or forever hold your peace. though judging from his expression, he is about to explode. To salve my pain, to ease my plight. She did not know my sinful plan; MR. ROCHESTER : JANE : window overlooks a rural landscape dominated by hills So innocent, she thought me pure. That woman was never my wife! It’s he, not I, who’s been deceived; and heather. ST. JOHN RIVERS and his sisters MARY But what you say is God’s own truth: Even before she lost her mind, The devil’s work he can’t perceive: and DIANA are the only occupants of the room; they Toward Bertha Mason I was lured. Body and soul were corrupted, have only just arrived, and are still wearing cloaks and By gross depravities defined. JANE gathers her skirts, more resolute now. hats. MR. ROCHESTER becomes more agitated, his voice We did not share a moment’s love! louder: Yet I’ve kept her fed and clothed here, To welcome sin, to tempt God’s grace – DIANA , removing her bonnet and cloak : Despite her murderous nature; Such evil, Sir, I won’t embrace. Oh, where is Jane when we want her? For gold my father hid the truth: Grace Poole is an expert keeper. Like plucking out my own right eye Her legacy of drink and vice, Which choice does your conscience teach? To leave you now with no goodbye. MARY , removing her bonnet and cloak, and walking Of maniacs in asylums. Driving me to despair – toward the window : Each parent she copied precise, Or defying a convention JANE places her shawl over her head. Gone with her pupils to the moor, My mad, bad and murderous wife! Which harms no one but us in the breach? No doubt, to name the spring flowers I’ve done all that God and man demand; I forgive you, my dear master – That have blossomed in the meadow. The group looks stunned by this news; but no one says a Why should I not be free to love, I beg God to keep you from harm. She says they see perfectly well, word as MR. ROCHESTER approaches them menacingly. To take you as my wife, dear Jane, May He guide you, and comfort you, But do not apprehend at all Our union blessed by Him above? And join us in the hereafter. The beauty of their native home. MR. ROCHESTER : Away with you, Dick! JANE : JANE runs from the chapel just a moment before MR. DIANA looks out the window. Depart, Mr. Briggs! But such a union can’t be blessed; ROCHESTER re-enters, carrying a glass of water. John, Mrs. Fairfax: It is immoral, sir; a sin. ST. JOHN , removing his hat and walking among the desks : Go get the carriage! MR. ROCHESTER , surprised : Nor do I, if I must speak true: Bolt from here, like a MR. ROCHESTER : Jane? Who has need to remark the hills Bullet from a gun! No, Jane, it is not! Jane? That have encircled us since birth? ’Ere I throttle you Whom will it injure? Their dark majesty beckons Jane All with my bare hands. He searches the pews for a moment, before setting the Because they are new to her still; MR. ROCHESTER tries once again to get in temper in glass down on the pulpit. Quite soon they will lose their allure. All, except for JANE, exit immediately. As MR. check. He takes JANE’S hand again. ROCHESTER slumps into a pew, JANE mechanically MR. ROCHESTER : MARY : removes her veil and takes a seat beside him. JANE , withdrawing her hand : My hope, I believe you are mistaken: My love belongs to you entire, My deep love, Once she gives it, Jane’s heart holds fast. MR. ROCHESTER , sitting up and taking her hand in his : But I cannot do what you desire. Are you gone, then? I did not mean to deceive you; DIANA , looking away from the window : Nor to stain your reputation. JANE leans back her head on the pew, clearly exhausted. So may we hope then, dear Mary, Once we have arrived in Florence, ACT 3 That her heart belongs now to us – You shall have an explanation. MR. ROCHESTER : 7 That she will greet our news with joy, You’re shocked and scared, and need to think. SCENE 1 And embrace us as her kinsmen? JANE , releasing her hand from his grasp : I’ll fetch some water, while you rest. But I cannot go to Florence: The curtains part to reveal a very modestly equipped MARY : You are wed to Bertha Mason! Once MR. ROCHESTER has left the sanctuary, JANE one-room schoolhouse. On the back wall hangs a small I cannot think anything else: lifts up her head, and slowly stands. slate, a map of Great Britain, and a Union Jack; a When we found her she was starving, MR. ROCHESTER resumes his seat beside JANE, battered desk, topped with an inkwell, a globe and a bell, So weak she could not stand or speak, visibly trying to collect himself. dominates the center of the room; arrayed in front of it Friendless and alone – an outcast! are a few makeshift chairs and stools. To the right a ST. JOHN : THE CHILDREN : MARY : JANE , walking to the window : And thanks to you and Diana, Yes, Mr. Rivers. I see such delight in their eyes! Why does Mr. Briggs write to you? Her sense and strength have been restored. JANE : JANE : ST. JOHN : DIANA : They have learned a great many things, I am blessed to be their teacher. Because I am a clergyman And thanks to you, dear St. John, I daresay; I’m proud of them all. And obliged to help the needy; She has once more her vocation But now they must go: tea awaits! ST. JOHN : And because she is our cousin, To pursue, and children to guide. Shall we bid our guests good evening That is a noble sentiment: And needs must own the connection. With the rhyme we learned together? It becomes you, Miss Elliot. DIANA turns her attention once again to the scene But as we have come on business, JANE : outside the window. THE CHILDREN : May I ask you ladies to sit? You say Jane Eyre is your cousin? I had a little doggie that used to sit and beg, ST. JOHN : But Doggie tumbled down the stairs MARY and DIANA lay down their cloaks and bonnets ST. JOHN : Yes, we have all done our duty: and broke his little leg alongside JANE’S desk. The daughter of our long dead aunt But whether Jane stays or leaves us, Oh Doggie, I will nurse you, and try to make you well; And niece to our late uncle John She must know we’ve learned her secret. And you shall have a collar with a pretty little bell. JANE , sitting at her desk : Of Madeira, a wine merchant What do you mean, Mr. Rivers? Who wished to raise Jane as his own. DIANA , looking out the window : But, Doggie, you must promise She is returned with her pupils! (and mind your word you keep) ST. JOHN , remains standing : ST. JOHN walks toward JANE . Not once to tease the little lambs or run among The man who handles my affairs The threesome move to stand beside one another as the sheep. Writes with an intriguing story But her guardian interfered: JANE enters with five students in tow, all of them young And then the chicks that play upon the grass, About an orphan named Jane Eyre, She swore the little girl was dead. girls. Each carries a fistful of flowers. When they see their You must not even wag your tail to scare them Despised by her rich guardians guests all stop abruptly, and the children curtsey and as you pass. And sent off to earn her fortune. JANE grabs ST. JOHN’S hands. bow. ST. JOHN, MARY and DIANA applaud, as JANE strikes JANE raises her hand to her face, clearly surprised and JANE : JANE : a bell, signaling the end of the school day. perturbed. Her lie exposed – what elation! Children, look who’s come to see us! To be claimed as a relation How do we greet our guests come to call? THE CHILDREN : ST. JOHN : By kind and generous Christian souls. Goodbye, Miss Elliot! Miss Eyre becomes a governess THE CHILDREN : Goodbye, Mr. Rivers! In the old, secluded mansion JANE turns to face MARY and DIANA as well. Good afternoon, Mr. Rivers. Goodbye, Miss Rivers! Of Mr. Edward Rochester. Good afternoon, Miss Rivers. Goodbye, Miss Diana! They fall in love; are meant to wed – Mr. Rivers, Diana, Mary: Good afternoon, Miss Diana. Until she learns, at the altar, I proudly own our new connection: The children tumble out the door, talking excitedly among Another wife has shared his bed: I am the governess Jane Eyre. JANE places the drum on the desk, and after removing themselves. JANE follows them with more goodbyes, A lunatic, true – but living. Please forgive my gross deception – her bonnet and cloak, places them on the chair behind then turns to face her guests. She embraces DIANA, I told you lies to save my soul; her desk. ST. JOHN moves toward the children. then MARY, and then extends her hand to ST. JOHN. JANE rises from her chair. I had no wish to play a role.

ST. JOHN : JANE : She flees the house that very night MARY , rising : Miss Elliot is teaching you What an unexpected surprise! And not a soul has seen her since. Dear Jane, let us embrace at once! Botany, or so I’ve been told. Mr. Briggs wonders if I might DIANA : Prove of assistance in his search. How much these children are learning! DIANA , rising : MARY , rising: I must seek solace in this choice But my ambition, I renounced; How glorious to see God’s hand How happy we shall be at home! Though it pains me to the marrow – Its noisome needs I could not meet. Drawing us close together! To see his face, to feel his lips – So I obeyed, when God announced, MARY, DIANA and JANE embrace, and JANE gives ST. Oh, how I long to hear his voice. That I must preach in India. JANE, MARY and DIANA embrace; ST. JOHN offers JOHN a kiss on the cheek. He does not return her kiss, JANE his hand. The ladies alternate for a moment but rather puts on his hat, and collects his sisters’ cloaks 8 JANE : between laughter and tears. and bonnets. SCENE 2 But I’ve had no such instruction.

JANE , dabbing at her eyes : ST. JOHN : The curtain rises to reveal the cozy sitting room of Moor ST. JOHN : You say our uncle is deceased? I fear passion overcomes you. House, the longtime home of the Rivers family, in the Regard me as His instrument! Reconsider your proposal evening hours. The room is distinguished by an God speaks through me; and I assert: ST. JOHN : In private, and at your leisure; enormous fireplace in which a fire is burning; an It was His will that you were sent All this must come as shocking news! We shall be at your disposal. overstuffed sofa and two well-worn arm chairs; and Here, a sickly, starving stranger. But there is more that I must share: several bookcases standing beneath old family portraits. He left us nothing in his will: ST. JOHN hands MARY and DIANA their things. To the right, JANE is seated at a large round table piled ST. JOHN sits back down, and leans toward JANE. His hard-earned wealth goes to Jane Eyre. with books; opposite her sits ST. JOHN. Twenty thousand pounds – Come, my dear sisters: let us now depart. We nursed you; gave you employment; You’re a wealthy woman now. Jane must be allowed to examine her heart. ST. JOHN : And saw you in the schoolroom hide I beg of you, Jane: hear me out. Your shameful disappointment. JANE , moving away once more from the group : The sisters embrace JANE again, before donning their You are pious, industrious; But you need not hide anymore! Oh my! What an enormous sum! cloaks and following their brother’s lead. Very docile and heroic; Come with me as my wife to India I can hardly take it all in! Constant; faithful; and generous. And see what the Lord has in store DIANA : These qualities are pure and rare – For one who serves him selflessly. ST. JOHN : Goodbye, Dearest! True gifts that you’re obliged to use Briggs is the executor; To make the world a better place. JANE : I shall write to him at once. MARY : What higher calling can you choose This could indeed be my mission: You shall not be cheated again. Goodbye, Sister! Than teaching heathen our faith? To serve God would be glorious.

JANE , walking back : JANE walks to the door behind them and stands there for JANE : JANE rises and walks toward the fire. Oh, five thousand will do nicely! a moment after the Rivers family departs. Then she I do wish to please you, St. John, I have no use for luxury. returns to her desk and sits down once more. She clasps And perform my Christian duty; But to go in the position The rest I gladly share with you: her hand, bows her head, and prays with eyes closed. But I feel as though I’m a pawn Of a wife in name and custom My dear, devoted family In a scheme that does not suit me. Leads me to a troubling question: Who pitied me when no one would – JANE : I have no ordination; Ought I accept a bridal ring Fed me; clothed me; gave me shelter – How grateful I am to you, Lord: I have no sure vocation; From a man who feels no passion? Shielded me from all suspicion – You have showered me with blessings! And I have no inclination All this and more – for a stranger. To remove myself from this place JANE turns to face ST. JOHN. For this God sent me to your door. JANE opens her eyes and sits silently for a moment And help convert the Hindu race. Allow me but to live nearby before rising from her chair. Every fiber of my being So I may love you all the more, ST. JOHN , leaping up : Tells me no – and I must listen. And forge a brand new destiny. Yet of my Edward, not one word – You can change the bent of nature! But go I will as your sister, I cannot help but love him still. I know this from experience: And toil with you as a Christian. DIANA , rising : But better to fight temptation My desire to rise higher How generous you are, dear Jane! Than sin by defying God’s will, Once eclipsed all other feelings. ST. JOHN , rising and walking toward JANE : If I could but know for certain Three generations lived at Thornfield – JANE : But I do not want a sister – That it is God’s will that I marry And now it is lost forever! Then he must have been at home And this plan I’ll not consider! My cousin and serve by his side, You’ve never been to this old lodge – When the fire first broke out? What I want is a lawful wife I know I could forget Edward The master’s father hunted here. To mold and guide throughout her life. And find solace in my duties. I never liked it much before, MRS. FAIRFAX , moving toward the piano : Passion is overrated, Jane; Tell me, God – show me my true path! But it’s all we have to call home. Aye, it was he who rescued us, Need I remind you of the pain Before he went back for his wife – Caused by Mr. Rochester, JANE throws herself down into an armchair near the fire, JANE accepts a cup of tea from MRS. FAIRFAX . Though it was she who set the blaze. That passionate imposter? burying her face in her hands. She begins to sob; her Without a thought for his own life, shoulders shake. But after a few moments, she raises Do forgive my bab’ling, Miss Eyre; He tried to coax her from the roof, JANE : her head and tilts it as if listening. After another moment, I never thought to see you here. But all she did was curse and scream. You have no right to speak his name! she leaps up from the chair as if electrified. With all the shocks of this long year, She wished to die – that is the truth – I have lost my old composure. So from his outstretched arms she sprang She angrily walks away from him, back to the table. JANE : And tumbled to the ground below: Wait for me! Is that Edward’s voice I hear? JANE , after taking a sip of tea, and placing the cup back Head over heels, I saw her go. ST. JOHN : I am coming! on the tray : The love you cherish is lawless It was a fright I’ll ne’er forget, And you long since should have crushed it. JANE runs from the room. It is I who must beg pardon, Her bloodied head, those twisted limbs – I cannot give you up to Hell! For appearing without warning. Repent now or die – bit by bit. 9 I did not know you thought me dead; JANE : God’s given you the strength to choose SCENE 3 I’d no idea there’d been a fire. And Mr. Rochester? The duty He’s assigned to you. And when I heard you’d both been spared, Come to India as my wife: The curtain rises on the parlor at Ferndean, the out-of- I had no thought but to reach you. MRS. FAIRFAX : Do as you know He wants you to. the-way hunting lodge owned by MR. ROCHESTER. It is The walls collapsed, with him inside: evening, and MRS. FAIRFAX is leading JANE toward two MRS. FAIRFAX : His hand was crushed, his eye knocked out. JANE , turning away from St. John : matching sofas that have been placed opposite one I thank the Lord that you live too! Near-blind he is, and lame besides. If I only knew God’s true plan, another in the center of the room. MRS. FAIRFAX is Of course, the master feared the worst, He is quite broken down, Miss Eyre. I could agree to marry now, carrying a silver tea service on a tray, which she places When without a trace you vanished. Come what may! But please don’t demand atop a table set between the sofas. A fire burns in the He did all he could to find you; JANE , rising abruptly : Of me to swear a solemn vow. grate set into the back wall of the room; and a piano sits And when he failed, he grew distraught. I must see him without delay! in the corner to their left, lit by a candelabra. He sent Adele away to school; ST. JOHN : Broke with every old acquaintance; MRS. FAIRFAX , edging toward the door of the parlor : As you wish, Jane – but don’t forget: MRS. FAIRFAX, gesturing to JANE to be seated, as she Roamed the house like a savage ghost, As you wish. Only your vow will God accept. seats herself: she leans forward to pour the tea into a Refusing to sleep or to speak. china cup. JANE : ST. JOHN bows his head and leaves the parlor. MRS. FAIRFAX rises from her place on the sofa. Pray, do not tell him I am come; Thirty-six hours in a coach: I will not be put off tonight. JANE : Such a journey I’ve not taken – No other Rochester He is as hard and cold as steel; And then to find the house in ruins! Was ever brought so low: MRS. FAIRFAX nods and exits. Trying to please him would kill me, Not by wine, And he would never show me love MRS. FAIRFAX holds the cup and saucer in her hands Nor by cards, Offstage, MR. ROCHESTER calls out for MRS. No matter how much I labored. for a moment before passing them to Jane. Nor racing! FAIRFAX, while JANE curls herself into the corner of the And yet the words he spoke were true: sofa furthest from the piano. MRS. FAIRFAX re-enters Passion has brought me naught but shame. immediately with MR. ROCHESTER in tow. He is limping a bit, and holds her arm with his right hand; his left hand MR. ROCHESTER : JANE takes a step forward, and kisses both of MR. JANE wraps her arms around MR. ROCHESTER’S neck, and forearm are hidden inside his coat. His hair is long Who is here? ROCHESTER’S eyes, then the scar on his cheek, and and the pair embrace eagerly until MR. ROCHESTER and unruly, his left cheek is scarred, and he wears a then his hand. pulls back. patch over his right eye. JANE , setting the bench upright again : It is I, sir. MR. ROCHESTER : MR. ROCHESTER : MRS. FAIRFAX , leading him toward the piano, and I wronged you Jane, when I proposed My love I pledge, with sealing kiss – opening the cover : MR. ROCHESTER : To share with you a life of sin. I have at last my deepest bliss. Here you are, sir; all is ready. Who speaks? I repented, and God forgave – Can you dare to love me again? JANE : MR. ROCHESTER , awkwardly sitting down on the piano JANE places her hand in MR. ROCHESTER’S. If I ever thought a kind word, bench : JANE wraps her arms around MR. ROCHESTER’S neck, If I ever did a good deed, That will be all, until I call. JANE : and the pair embrace eagerly until MR. ROCHESTER If I ever said a pure prayer, I am Jane Eyre. pulls back. The Lord has now rewarded me. MRS. FAIRFAX : As you wish, sir. MR. ROCHESTER , pulling JANE closer : JANE , wrapping MR. ROCHESTER’S arm around her waist: The curtains close. My living darling! In the flesh! To feel your breath, now, in my ear, As MRS. FAIRFAX exits, MR. ROCHESTER plays a few But no, I cannot be so blest: Quite takes away my own, dear sir; notes with one hand, to warm up. He waits a moment, It is a dream; you’ll disappear! Do give me back my life again, THE END squares his shoulders, and begins to play and sing: My heart cannot withstand this test. I love you, Edward Rochester.

MR. ROCHESTER : JANE : The gypsy (a.k.a. Rochester) The truest love that ever heart You touch me, sir – this is no dream. with onlookers Felt at its kindled core Photo: Steven Pisano Did through each vein, in quickened start, JANE places MR. ROCHESTER’S good hand on her breast. The tide of being pour. Do you feel how my heart races? JANE rises from her place on the sofa and walks toward the piano. JANE pauses a moment before moving his hand to her face.

Her coming was my hope each day, Are my lips perhaps familiar? Her parting was my pain; Did you not memorize my face? The change that did her steps delay Was ice in every vein MR. ROCHESTER caresses JANE’S face. I dreamed it would be a nameless bliss, As I loved, loved to be Of you I have complete recall: Of your embraces most of all. As she nears the piano, JANE sings the last half of the verse along with MR. ROCHESTER. MR. ROCHESTER , removing his hand, and taking a step back : And to this object did I press, Can you wish to kiss me now, As blind as eagerly. Lame and ghastly as I am?

MR. ROCHESTER stops playing abruptly; as he rises, he knocks over the piano bench. Photo: Steven Pisano Louis

KA(Rb. 1C951H) IN Jane Eyre (2010–14) An Opera in Three Acts AMERICAN OPERA CLASSICS Libretto by Diane Osen Based on the novel by Charlotte Brontë Over four decades the American composer Louis Karchin has Jane Eyre ...... Jennifer Zetlan, Soprano Edward Rochester ...... Ryan MacPherson, Tenor produced a much-admired portfolio Roderick Ingram / St. John Rivers ...... of compositions. His one-act opera ...... Thomas Meglioranza, Baritone Romulus (8.669030) won numerous Mrs. Ingram / Diana Rivers . . . . . Jessica Thompson, Soprano accolades. Jane Eyre is his largest Blanche Ingram ...... Katrina Thurman, Soprano project to date, in which he and Mrs. Fairfax ...... Kimberly Giordano, Soprano librettist Diane Osen fashion Richard Mason / Mr. Briggs ...... Adam Cannedy, Baritone Charlotte Brontë’s beloved novel Mary Rivers / Bessie ...... Jessica Best, Mezzo-Soprano into a vivid and moving opera cast as Mr. Wood ...... David Salsbery Fry, Bass a fluid and continuous entity. Karchin’s wide-ranging harmonic Orchestra of the League of Composers language and his flair for contrast Louis Karchin ensure that the novel’s drama, its 1 3 pastoral elements, and most – Act I 45:58 4 6 importantly its characterization are – Act II 36:04 7 9 fully developed via arias, monologues , – Act III 47:45 ariosi and a quartet, to create a boldly engaging new work. A full track list can be found inside the booklet. The libretto can be found in the booklet, and may also be ORLD REMIERE ECORDING accessed at www.naxos.com/libretti/669042.htm W P R Recorded: 8 –10 September 2017 at Theatre C at the State University of New York at Purchase www.naxos.com Produced, engineered, edited and mixed by Marlan Barry Publisher: American Composers Alliance Pl aying Booklet notes: Christian Carey • Synopsis: Diane Osen Time : Cover photo: Jane and Rochester. Production photos by Steven Pisano 2:09:51