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Margaret Garner an Opera in Two Acts by Richard Danielpour Libretto by Toni Morrison

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Margaret Garner an Opera in Two Acts by Richard Danielpour Libretto by Toni Morrison M G Margaret Garner An opera in two acts by Richard Danielpour Libretto by Toni Morrison In one of pre-Civil War America's most significant fugitive slave stories, a young woman named MARGARET GARNER fled Kentucky's Maplewood Plantation in 1856 to freedom in Ohio. But when captured, she killed her own children, rather than see them returned to the bonds of slavery. Her trial sparked intense national debate; should she be tried for murder in free Ohio, or for property destruction in the slave state of Kentucky? Both sides saw in their differences nothing short of the simmering roots of civil war. She was also among the first slaves to assert a woman's right that her children are her own and not the "property" of her slavemaster. Grammy Award-winning composer RICHARD DANIELPOUR and Nobel Laureate TONI MORRISON’s opera Margaret Garner, is based on this remarkable tale, as was Morrison’s Beloved. Hailed as a “great new opera” and a “hand-in-glove masterpiece” by the Detroit News when it opened in 2005, this important and timely work explores contemporary attitudes toward race relations in America and how vital it is to reconcile past and present in order to create a harmonious future. With a run of over 17 performances, the opera played to sold-out houses and was co-commissioned by Michigan Opera Theater, Cincinnati Opera, and Opera Company of Philadelphia and drew thousands of first-time operagoers from diverse communities. “A great new American opera came to life with the world premiere of Margaret Garner… A hand-in-glove masterpiece of words fitted to music. Danielpour's vocal setting seems instinctively attuned to these hardy people making the best of their difficult lives. [He] gives the black characters music that echoes black traditions like spiritual, gospel and field music. It's never merely ersatz folk music, but a recognizable idiom wholly absorbed and converted into authentic expression. The rhetoric is pure Danielpour -- ardent, vivid, direct and absorbing. All told, no less can be said of his splendid first opera.” Detroit News “With “Margaret Garner,” Richard Danielpour and Toni Morrison have created something not seen since the Gershwin brothers penned “Porgy and Bess”—a first-class opera that can draw both black and white audiences - [which] features more than one show-stopping aria.” New Yorker “Michigan Opera Theatre used a commissioned work to reach out to the large African American population of its hometown, and was rewarded with a well-made, affecting American opera whose appeal goes far beyond tokenism. The music is particularly good at expressing the humanity and depth of feeling of the slave characters through arias and ensembles. Mr. Danielpour wrote several knockout arias for Margaret. His energy and creativeness extend to the colorful orchestration, full of vibrant string writing and wind solos as well as wonderful little touches. Co- commissioning opera companies will be presenting the work, but other companies are bound to take note as well.” The Wall Street Journal “Its resounding opening night success, an all-but-flawless triumph, must be attributed to the production’s smooth polish and, on a deeper level, to the many buttons it pushes. It is both progressive and conservative, risky and predictable. The lesson is clear: engage an audience on multiple levels and you’re likely to produce a new hit opera.” Atlanta Journal-Constitution “The World Premiere was nothing short of revelatory. The two-act opera was by turns heart-rending, poignant and gut wrenching to watch. The audience interrupted with applause, bravos, and chuckles in the sweeter moments and roaring ovations at its conclusion. It was a first taste of Danielpour's sophisticated, wide-ranging palette. Seamlessly joined to the music were Morrison's powerful, eloquent words, in what may be the most exquisitely crafted libretto of our time.” Cincinnati Enquirer “Danielpour has composed a melting pot in tones…The musical language hews to gracious harmonies.” New York Times “Margaret Garner turns out to be an honorable achievement. Danielpour's music is a skillful stew of American idioms and influences, ranging from spirituals, folk and jazz. Some of the most effective moments are choral - there are two choruses: African-American and white - which possess an infectious energy and haunting humanity. Danielpour writes gracefully for voices and magnificently for instruments. The diverse audience at Saturday's premiere cheered the cast and creative team as if a masterpiece had been born.” The Plain-Dealer (Cleveland) “The roar echoing through the packed confines of Detroit's Opera House … was of a magnitude ordinarily associated with winning touchdowns at closely contested football games. The production seems set for a considerable afterlife.” Toronto Star “In the end, the risk paid off in an important new American work. He is most effective at his most songful Margaret's gorgeous first-act aria A Quality Love or her bleak out-of-time intermezzo of darkness and despair after the murders. These are deeply expressive passages full of authentic emotionalism and even mystery: You can't fake tune writing this effective.” Free-Press (Detroit) “Morrison has created flesh-and-blood characters anyone of any race can immediately identify with… "Margaret Garner" has entered the annals of American opera history with its debut…and judging by the opening night cheers (of the magnitude more commonly heard across the street where the Tigers play baseball) this opera may become a monumental hit -- as well it should.” Saginaw News (Michigan) “Richard Danielpour's "Margaret Garner" was a celebration—a tale of liberation—and a triumph of music, drama and performance. No question that Morrison's poignant text and Danielpour's music have the power to open the doors of opera houses to a more diverse audience. An outstanding account of this new masterpiece, which drew a standing ovation from the audience.” Associated Press “Without the prestige of a world premiere Margaret Garner must succeed solely on artistic merits. And...It’ll do fine. Luckily, the opera achieves firm footing quickly. Morrison has moments of poetic wisdom. Musically, the pace of Danielpour's score is brisk…[with] masterly orchestration. The music achieves mesmerizing depths, partly for being contrasted with the prevailing social culture. The strengths of Margaret Garner are so considerable and wide- ranging that the piece is legitimately destined to make new friends for opera without alienating old ones.” The Philadelphia Inquirer Powerful 'Margaret Garner' cuts across the scar of America's original sin…Translating the shame of slavery to the operatic stage would be a daunting task for any artist. But composer Richard Danielpour, working with a libretto by Pulitzer Prize-winning novelist Toni Morrison, has brought it off to stunning effect in his opera "Margaret Garner.“ Chicago Tribune Margaret Garner has been featured in the following (partial list): PBS NewsHour, O Magazine, The New York Times (Arts & Leisure and Travel), Chicago Tribune and Sun Times, NY Observer, Vanity Fair, Harvard’s Center for Public Leadership Compass magazine, Gramophone, Philadelphia Inquirer, Elle, Essence, Cincinnati Enquirer, Billboard, Financial Times of London, Cleveland Plain-Dealer, Detroit News, Toronto Star, New York Magazine, New Yorker, Atlanta Journal Constitution, Chicago Magazine, EbonyJet, Opera News, Detroit Free Press, NPR Margaret Garner Commissioned by Michigan Opera Theater, Cincinnati Opera, and Opera Company of Philadelphia World Premiere: May 7, 2005, Michigan Opera Theater, with subsequent performances at Cincinnati Opera in July 2005, and Opera Company of Philadelphia in February 2006 Libretto Toni Morrison Publisher Associated Music Publishers Inc (part of Music Sales Classical) Category Opera and Music Theatre Sub Category Grand Opera Year Composed 2005 Duration 2 Hours 25 Minutes Chorus SATB Black Chorus, 32 voices minimum; SATB White Chorus, 32 voices minimum Language English Orchestration: 3(pic).2(ca).3(bcl).3(cbn)/4.3Ctpt.2+btbn.1/timp.3perc/hp.pf(cel)/str (min 10.8.6.6.5 players) Principal Roles: Secondary Roles: Margaret Garner, Mezzo-soprano Casey, Dramatic Tenor Robert Garner, Lyric Baritone Caroline Gaines, Light Lyric Soprano Cilla, Dramatic Soprano George Hancock, Tenor Edward Gaines, Lyric Baritone Auctioneer, a Professional Salesman (doubles as Judge I) Lyric Tenor 3 Judges**, from chorus (T, Bar, B-Bar) 2 Militia Officers, non-singing role Margaret’s 2 Children, non-singing roles The Townspeople/The Guests***, SATB White Chorus (Composer Recommends 32 voices) The Slaves*, SATB Black Chorus (Composer Recommends 32 Voices) *Although much latitude is possible in casting, Margaret Garner does require these roles be sung by African-American performers **These roles can be sung by members of White Chorus ***It is essential that the TOWNSPEOPLE be exclusively White Performers. Also, the White Chorus must outnumber the “Slave Chorus” MARGARET GARNER Synopsis ACT ONE The opera begins in darkness. A group of slaves, begging for deliverance from their suffering, gradually becomes visible. The scene shifts to an auction being held in Kentucky in 1856. In the crowd is Edward Gaines, a native of the region but absent for twenty years. When Maplewood Plantation is brought to the block, he interrupts the proceedings, asserting that it cannot be sold as it belonged to his deceased brother. Gaines is dismayed to learn that the townsfolk don’t remember him, but no one disputes his claim, so he acquires Maplewood. As Gaines signs ownership papers, he is captivated by the singing of Margaret Garner, one of the slaves. He nostalgically recalls his childhood, and promises himself that this time the townsfolk will not forget him. The slaves return from another day’s toil in the fields. Cilla, the mother of Margaret's husband, Robert, joins the couple for supper; their spirits are light-hearted until Casey, Maplewood's foreman, arrives with shocking news.
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