LEE HOIBY The Tempest Opera in Three Acts Libretto by Mark Shulgasser after William Shakespeare

Purchase Opera Conservatory of Music School of the Arts Purchase College Jacque Trussel, artistic director

Purchase Symphony Orchestra Hugh Murphy, conductor The Tempest Music...... Lee Hoiby Notes on The Tempest...... Jacque Trussel Libretto...... Mark Shulgasser, As I remember, Lee Hoiby and his librettist Mark Schul- after William Shakespeare gasser, having finished their new work The Tempest, were Conductor...... Hugh Murphy ruminating on who should sing the challenging, dramatic Artistic Director...... Jacque Trussel role of Caliban for the opera’s premiere at Des Moines Opera. Project Coordinator...... Margaret Vignola They asked Matthew Epstein, the powerful Columbia Artist manager, for suggestions. Hearing their description of the CAST: character and his demanding music, he said emphatically Prospero...... Robert Balonek that tenor Jacque Trussel was their man. Ariel...... Molly Davey Days later the pair were at home listening to a radio Miranda...... Catherine Webber broadcast of a new production from San Francisco Opera of Caliban...... Joshua Benevento Reimann’s Lear. Hearing Edmund’s powerful aria “Wherefore Ferdinand...... Anthony Caputo Bastard,”Lee Hoiby declared then and there “That’s our Stephano...... Julian Whitley Caliban!” After the broadcast, they discovered the name of Trinculo...... Rasdia Wilmot the singer—Jacque Trussel! Struck by this coincidence, Hoiby made a personal call to me; it was answered by my wife and Gonzalo...... Jeffrey Taveras voice instructor, Bonnie Hamilton. A fan of his work, Bonnie King Alonso...... JungBum Heo was excited by Hoiby’s offer for me to sing the role of Caliban Antonio...... Derek Greten-Harrison in his new opera. Lee was concerned about the fee, but Sebastian...... Said Pressley Bonnie reassured him: “Don’t worry, I’ll see that this will Iris...... D’ana Lombard happen.” We went to Lee’s New York apartment; after Ceres ...... Diana Wangerin hearing Caliban’s second act aria,“Be not afear’d,” the Juno...... Ilene Pabon project was a no-brainer. A critic has since referred to it as “possibly the most beautiful operatic aria written in the past Courtiers: John Arida, Christopher Colmenero,* 50 years.” I said yes on the spot. Marcos Cuevas, Kevin Dilone, Gabriel Felippe,* Doing this work began what has turned out for me to be Brister Hay IV,* Robert Jedlicka, Michael Meyers,* a love affair of more than two decades with both Hoiby and Christian Perez, Constandinos Tsourakis. *courtier solos his glorious music. My long-time colleague and coach Hugh Female Chorus: Angelique Alexander, Isabela Bendik, Savannah Bisset, Marina Da Costa, Amelia Feuer, Murphy helped me learn the role. This partnership and our Rebecca Hajek, Samantha Kelley, Holland Kerker, shared respect for Hoiby’s beautiful opera have endured and Taylor Kirk, Emily Klavun, Nadine Kulburg, Alyssa culminated in the making of this recording. Meyers, Skylar Saltz, Sofia Sarkisian, Katharine After the 1986 performances, I remember telling Lee Steffens, Jennifer Sunshine, Jasmine Thomas. that some day I would direct The Tempest, because I wanted ■ 2 ■ to do it my way. Twenty years who has chosen to live his life in his intellect. He has later, a promising roster of unwittingly given up his kingdom to his opportunistic vocal students here at SUNY brother and to the King of Naples. He has been set to sea Purchase have made it pos- and marooned on an island where he dwells in a gigantic sible to realize that ambition. shell with his daughter Miranda. (The meaning of the We staged and performed name “Miranda” is “mirror” and I see her as repre- the work in Spring 2008 to senting his body of work, his progeny.) While on this great acclaim and together island he is forced to examine himself in his totality, not with Hugh Murphy, we now just as an intellect. He discovers his darker, native side— record Lee’s masterpiece. in the uncivilized Caliban, his spiritual side and his muse Jacque Trussel as Caliban Shakespeare was nearing —in the sprite Ariel. In the opera, Prospero is forced to the end of his life as he finished The Tempest. I believe it confront his own demons, his jealousy and rage toward to have been his play of reflection—what have I done those whom he has allowed to conspire against him: with my life? Have I lived it to the fullest and what is to hence, the tempest he creates. In the end, he learns happen to that which I have created when I have passed? forgiveness and to forsake the need to hold fast to his The Tempest asks and answers these questions for the own work, ultimately entrusting it to those who will playwright. In our staged version, William Shakespeare watch over it. By doing so, he—the character and the has a dream in which he becomes Prospero, the man great playwright— realizes the whole of his humanity.

A Note from the Conductor...... Hugh Murphy I first encountered Lee Hoiby’s The Tempest in 1986 of Miranda in this production. Ten years later Jac, Bon- when Jacque Trussel was contracted to create the role of nie Hamilton, Kaori and I, all on faculty at the Purchase Caliban for the Des Moines Metro Opera. Jac was singing College Conservatory of Music, decided we had the right all over the world at the time, and had had big successes voices and students to cast Hoiby’s opera! Our Purchase in other world premieres. We’d been coaching for a Opera productions had been gaining wide attention, couple of years by then, and had worked together on been favorably reviewed by Opera News and The New some challenging pieces—Lady Macbeth of Mtsensk, York Times, and hailed as “Best Opera of the Year” Wozzeck, Peter Grimes, The Gambler. We both found the three times by the National Opera Association. Hoiby score interesting and difficult but also strikingly I was excited to conduct a score by a living com- beautiful, and realized that this was an important opera. poser, and in preparation for working with Lee Hoiby, Jac had a tremendous success in the role of Caliban, undertook an in-depth study of it. I found fascinating particularly with his performance of that magnificent musical relationships between characters, and con- second act aria “Be not afear’d.” nections between text and music. As I coached the I helped Jac review his role for a 1996 revival of students in their roles, I realized that, as in Strauss’ Die The Tempest in Dallas, and also prepared Kaori Sato, the Frau ohne Schatten, each character has a clearly defined young soprano who would be understudying the role musical personality and inhabits a distinct musical world ■ 3 ■ governed by its own interior logic. On a purely musical island until Prospero’s arrival, inhabits a tormented, level, the drama involves the collisions of these worlds confusing musical world built of half-steps and tritones, and their influences on each other. full of rhythmic confusion. He only escapes this musical Prior to the production, Jac and I met with Lee and torment during his second act aria “Be not afear’d.” This Mark, working through revisions, and discussing Jac’s is a heroic piece of music sung by a “low” Shakespear- concept for staging the piece. I asked Lee about some of ean character who expresses his inner desires and dreams the compositional choices and historical references that I in a way that transports him completely beyond the found so brilliant and meaningful. I didn’t get far before opera. It also places the conflict between good and evil he stopped me, exclaiming with surprise and a little irony, that rages in every soul at the musical and philosophical “You mean I did that? Gosh, I must be a genius!” He center of this Tempest. told me that he’d written each note just as it needed to The comical Trinculo and Stephano are the only char- be, from his unconscious, and he would leave it to the acters who sing in true recitative. The composer often scholars to figure out his technique. instructs Trinculo to use falsetto and to approximate In Jac’s concept of this Tempest, the Act I Prelude pitches. The drunken Stephano arrives singing a sea begins with the character of Shakespeare preparing for chanty, and continues with erratic, colorful music that bed, then falling asleep. His bed begins to rock, to sway. veers wildly in style. Hoiby’s orchestra provides humorous Suddenly, on a musical cue, the bed curtains become a comments on the action throughout the comic scenes, sail, and Shakespeare disappears. The bed is transformed swooping drunkenly, stumbling in and out of any con- into a ship upon the open sea. A light wind springs up venient key center. Later, in Act II, these characters are which grows in strength until it becomes a tempest. drawn into Caliban’s musical world as he seduces them As the storm subsides, we find ourselves washed with a plot to kill Prospero. ashore on the island from which Prospero and his The Prelude to Act II paints an eerie picture of a dark, daughter Miranda have been watching the tempest and vine-draped part of the island where we encounter Duke the shipwreck that has brought his enemies to the island. Alonso and his courtiers. Alonso’s powerful, masculine Their natural world, enhanced by Prospero’s magic, is music rises aggressively out of the orchestral murk. represented through a tonal structure in which major His courtiers sing in three-part harmony, alternatively and minor versions of each chord appear together, reminiscent of English madrigal style and a harmonically stacked on top of each other, bringing to mind a adventurous version of faux-bourdon. Alonso’s advisor Debussy-style construction, and American jazz. Gonzalo attempts to cheer him up, singing in a tuneful In the following scene, we find Prospero and his but musically sophisticated English music hall style. The indentured sprite, Ariel, inhabiting the tonal world of the Duke and his courtiers search for a safer spot on the Prelude. These two characters are melded through shared island with a beautiful ensemble passage on the text melodic patterns and motifs. In conversation, they com- “Lead off this ground,”which does indeed lead into an plete each other’s musical ideas, and they cue one an- orchestral fantasy built on a ground bass. other emotionally and musically through shared notes. The villainous Sebastian and Antonio find them- Caliban, the half-man half-beast that has ruled the selves on slippery moral ground as they consider regicide. ■ 4 ■ They inhabit an f-minor musical territory where melodies a massive Nonette, composed as a set of developed slide easily into other keys, the tempo continually adrift. and extended contrapuntal variations over a repeating Conversely, the young lovers Miranda and Ferdinand harmonic structure, an updated version of a ground bass. inhabit an appropriately romantic world, complete with As the dramatic conflict is resolved, the ground rises rich, melodious phrases and satisfying key relations that through the orchestra and evaporates off the top end of culminate in their Act III duet. the violins. In a transcendent finale, the concluding Many renaissance and baroque operas conclude scenes are layered into a yet another version of a 17th with a passacaglia, chaconne or ground bass. Lee Hoiby century ground, updated through the transposition and choses a succession of grounds to conclude his Tempest. development. The two Dukes are united through the love Prospero’s final aria, during which he resolves to put of their children; what has been a tempest raging in each aside his magical skills and return to the natural world, man is now a loving, generous ebb and flow. The opera begins as a ground in g minor (a choice that parallels the concludes by returning to the music that opened the Act famous lament of Purcell’s Queen Dido). All the char- I Prelude, reminding us that, in Shakespeare’s words, acters then assemble and resolve their several subplots in “our little lives are rounded by a sleep.”

The Tempest Revisions...... Mark Shulgasser Substantial revision of The Tempest took place after of shaping and refining. In whole, the playing time has the premiere at Des Moines in 1986 and the second been reduced by about fifteen percent. Jacque Trussel, production at Kansas City the following year. The the Caliban of both the first production at Des Moines published vocal score incorporating these changes was and the 1996 Dallas staging, now the producer and first produced at Dallas in 1996. It lacks the second act director of this production, has been with us every step ballet of sprites with the appearing and disappearing of the way, helping us to perfect the piece. banquet. For Purchase, Ariel’s harpy aria (“You three Concerning my aims and choices in the abridgement men of sin”), to which the aforesaid ballet had been an of Shakespeare’s play, as the librettist, I’ve simply rear- introduction, has been trimmed considerably. In both the ranged the sequence of scenes to uncover a spine more post-premiere changes and the new Purchase revision, unified and direct than is apparent in the play’s episodic recorded here, the second act, dominated by the minor scenography. Something dream-like and phantasmagoric characters, courtiers and comics, is altered the most. The is lost, and so must be replaced by musical staging. I’ve villains who play a role in act two are reduced to a few resisted the pressure to simplify or modernize the Bard’s good sulfurous whiffs, rather than grumbling all over the diction, which would patronize the audience, and rob scene, and genial Gonzalo’s garrulousness has been the composer of direct contact with the pure verbal ore. abridged. The second act curtain is now less emphatic, The Tempest is, for many, one of the “problem” less a cataclysm, more a suspenseful question mark. plays, obviously profound, the last major work, but Otherwise, the alterations are small, meticulous and what’s it all about really? Where’s the drama if Prospero many, a continuation of the post-compositional process controls everything? The climactic moment is too intro- ■ 5 ■ spective. The most attractive characters are not even which the playwright delivers with disturbing sincerity. human. The finale is desultory and peters out apol- The substantial Masque was also required by the ogetically. The clowns and the courtiers burden us with occasion; we are not used to seeing Shakespeare topical references and overstay their welcome. The lovers introduce nondramatic entertainments, tethered to an are scanted. They lack the youthful freshness of their assignment. (If a friend of the composer hadn’t requested likenesses in the earlier plays. The circumstances of the a morsel of music for his upcoming wedding at a certain play’s original commission, a royal betrothal, call for moment, the Masque in this opera wouldn’t have been dampening admonitions about pre-marital chastity, written.) In one way or another I grappled with each of these famous issues in my adaptation.

SYNOPSIS Act I. A furious tempest is abating. Miranda tells Prospero magically frozen in place by Ariel, who observes the of seeing a ship caught in the storm. Prospero assures scene he has conjured and then slowly allows his spell to her that no harm came to the ship or its passengers. He fade. The awakened King orders his followers to move recalls how, twelve years ago, his own brother Antonio, on in search of Ferdinand. allied with Alonso, King of Naples, deposed him as Duke Caliban convinces Stephano and Trinculo to help him of Milan and set him adrift with Miranda on the open kill Prospero; they will replace him as rulers of the island. sea. Prospero’s island sprite Ariel reports that following Ariel attempts to foil them, but the prospect of having his orders, the storm has separated Alonso’s ship from Miranda as their mistress seals the bargain. Alonso and the rest of the fleet, shipwrecking him on the island. As his party stop to rest. Antonio and Sebastian renew their reward, Prospero promises Ariel his freedom. plot. Ariel appears, freezes them, announcing that their Ferdinand, King Alonso’s son, appears on the island. situation is punishment for their crime against Prospero. He and Miranda fall instantly in love. Prospero has Ariel The King cries out in guilty horror. lead him away. The island native Caliban rants to Pros- Act III. Ferdinand and Miranda exchange expressions of pero that the place belongs to him, that he should not affection. Prospero invokes a masque—a spectacle of be forced to labor for Prospero. Prospero threatens severe goddesses—to bless the union. He determines to punishment. Stephano, Alonso’s butler, arrives carrying a renounce his magical powers and meditates on the jug of wine. Caliban swears to serve Stephano in return illusory nature of all things. Ariel, on Prospero’s orders, for payment of wine. Another comical servant, Trinculo, leads in the dazed King Alonso and his courtiers. joins them and they all stumble off drunkenly. Seeing Prospero alive and well, Alonso renounces all Act II. Alonso appears with his courtiers. He mourns claim to Prospero’s rightful throne and Ariel presents what he believes is the loss of his son Ferdinand, as Miranda and Ferdinand in wedding finery. Prospero old Gonzalo tries to cheer him. When all suddenly fall forgives all those who have wronged him and Ariel is asleep, Sebastian and Antonio plot to kill Alonso so that granted his liberty. A finale of joyous thanksgiving is Sebastian can replace him. They draw swords, but are celebrated by all. ■ 6 ■ false uncle, needs will be absolute Milan; confederates with the King The Tempest of Naples, and bends the dukedom ACT ONE to most ignoble stooping. Prelude CD ONE, TRACK 1 MIRANDA The Sea. The Storm. O, the heavens! Scene One. A promontory. PROSPERO PROSPERO commands the storm, Whereon, a treacherous army Enter MIRANDA, distraught. levied, one midnight fated to the purpose, did Antonio open the MIRANDA TRACK 2 gates of Milan; and, in the dead of A brave vessel, who had, no doubt, darkness, hurried thence me and some noble creatures in her, dashed thy crying self. all to pieces. O, the cry did knock MIRANDA against my very heart! Alack, for pity! Poor souls, they perished! Had I PROSPERO been any god of power, I would They hurried us aboard a bark, bore have sunk the sea within the earth, us some leagues to sea, where they or ere it should the good ship so prepared a rotten carcass of a butt, have swallowed, and the fraughting not rigged, nor tackle, sail, nor mast. souls within her. There they hoist us, to cry to the PROSPERO seas that roared to us, to sigh to No harm, no harm, I have done the winds, whose pity, sighing back nothing but in care of thee, my dear again, did us but loving wrong. one, thee, my daughter. Lend thy Prospero (Robert Balonek) MIRANDA hand and pluck my magic garmnent What seest thou else? Alack, what trouble was I then from me. Wipe thou thine eyes, have MIRANDA to you! comfort. Canst thou remember a Ah! Tell me what I am! PROSPERO (with great tenderness) time before we came unto this isle? PROSPERO (gravely, with rising O, a cherubin thou wast that did MIRANDA anger) Twelve years since, thy preserve me. Thou didst smile, Certainly, sir, I can. ’Tis far off, father was Duke of Milan, a prince infused with a fortitude from and rather like a dream. Had I not of power, and for the magical arts, heaven, thou, beloved daughter. four or five women once that without a parallel. Being rapt in Now, thou art inclined to sleep; ’tis tended me? secret studies, the government I a good dullness, and give it way: I PROSPERO cast upon my brother, and to my know thou canst not choose. Thou hadst, and more, Miranda. state grew stranger. Antonio, thy (MIRANDA sleeps.) Come away, ■ 7 ■ servant, come. I am ready now. ARIEL (distant voices are heard) Approach, my Ariel, come. Not a soul but felt a fever of the (Enter ARIEL.) mad. The King’s son, Ferdinand, was the first man that leapt, cried SCENE TRACK 3 “Hell is empty and all the devils are ARIEL (Distant voices are heard.) here.” Him have I landed by himself All hail, grave master! whom I left cooling of the air with I come to answer thy best pleasure. sighs in an odd angle of the isle, Be it to fly, to swim, to dive into and sitting, his arms in this the fire, to ride on the curled clouds, sad knot. to thy strong bidding, task Ariel PROSPERO and all his quality. Of the King’s ship, say. PROSPERO ARIEL Ariel (Molly Davey) Hast thou, spirit, performed to Safely in harbour is the King’s ship. ARIEL point the tempest that I bade In the deep nook, where once thou Is there more toil? thee? call’st me up at midnight to fetch Since thou dost give me pains, ARIEL dew from the still-vexed Ber- let me remember thee what thou To every article. I boarded the king’s moothes, there she’s hid. hast promised, which is not yet ship. Now on the beak, now in the PROSPERO performed me. waist, the deck, in every cabin, I But are they, Ariel, safe? PROSPERO (with sudden anger) flamed amazement. Sometimes I’d ARIEL How now? moody? What is’t thou divide, and burn in many places, Not a hair perished. canst demand? then meet and join. In troops I have dispersed them ARIEL PROSPERO ‘bout the isle. My liberty. My brave spirit! PROSPERO PROSPERO ARIEL And all the rest o’ th’ fleet? Before the time be out? No more! Jove’s lightnings, the precursors of ARIEL ARIEL the dreadful thunderclaps, more All the rest of the fleet, bound I prithee, remember I have done momentary and sight-outrunning sadly home for Naples. thee worthy service, told thee no were not. Ha! The fire and cracks of PROSPERO (triumpant, with Ariel) lies, made thee no mistakings, sulphurous roaring the most mighty Bountiful Fortune, now my dear served without or grudge or Neptune seemed to besiege, and lady, hath mine enemies brought grumblings. Thou didst promise to make his bold waves tremble, yea, to this shore. bate me a full year. his dread trident shake. Ah! The time ‘twixt six and now PROSPERO PROSPERO must by us both be spent most Dost thou forget from what a Why, that’s my spirit! preciously. torment I did free thee? ■ 8 ■ ARIEL Hark, hark. The watchdogs bark: No. Hark, hark. I hear PROSPERO The strain of strutting Chanticleer. Thou dost, malignant thing. If thou (Strange voices are heard making more murmur’st, I will rend an oak, animal sounds.) and peg thee in its knotty entrails, PROSPERO (to MIRANDA, both till thou hast howled away twelve unseen by FERDINAND) winters. Awake, dear heart, awake. ARIEL FERDINAND Pardon, master. Pardon, master. Where should this music be... I will be correspondent to com- PROSPERO mand, And do my spriting gently. Thou hast slept well. PROSPERO FERDINAND Do so; and after two days I will ...i’ th’ air or the earth? discharge thee. PROSPERO ARIEL Awake. That’s my noble master! What shall MIRANDA I do? say what; what shall I do? The strangeness of your story put PROSPERO heaviness in me. Hark in thy ear. (He whispers.) Be PROSPERO subject to no sight but thine and Shake it off. mine, invisible to every eyeball else. FERDINAND Go, hence, with diligence. Sure, it waits upon some god o’ (ARIEL rushes off, reappearing in a th’ island. Miranda (Catherine Webber) distant part of the stage, invisibly MIRANDA (sees FERDINAND for FERDINAND leading FERDINAND, who wanders the first time, and is transfixed.) No, it begins again. in amazed, following ARIEL’s song. What is’t? A spirit? ARIEL (with voices) FERDINAND Full fathom five thy father lies, SONG TRACK 4 It sounds no more. Of his bones are coral made. ARIEL (with distant voices) Sitting on a bank, weeping again FERDINAND Come unto these yellow sands, the King my father’s wrack, this This singing doth remember my And then take hands: music crept by me with its sweet air. drowned father. Curtsey when you have and kiss’d Thence I have followed it, or it hath This is no mortal business. The wild waves whist: drawn me rather. But ’tis gone. I hear it now above me. Foot it featly here and there MIRANDA ARIEL And sweet sprites the burthen bear. Lord, how it looks about! Those are pearls that were his eyes: ■ 9 ■ MIRANDA (to her father) Hark! now I hear them, MIRANDA Believe me, sir, it carried a brave Ding-dong, bell. Beseech you, father! form, but ’tis a spirit. [PROSPERO leads MIRANDA to PROSPERO PROSPERO FERDINAND, who falls to his knees Come, I’ll manacle thy neck and This gallant which thou seest was in in astonishment.] feet together. the wrack, and, but he’s something FERDINAND FERDINAND stained with grief, thou might’st call Most sure the goddess on whom No, I will resist such entertainment! him a goodly person. these airs attend! (He draws. ARIEL, immobilizes him.) MIRANDA Vouchsafe my prayer may know if PROSPERO I might call him a thing divine, for you remain upon this island, and Who mak’st a show, but dar’st nothing natural I ever saw so noble. that you will some good instruction not strike, thy conscience is so ARIEL (with the voices) give how I may bear me hear. possessed with guilt. Nothing of him that doth fade, O you wonder! MIRANDA But doth suffer a sea-change MIRANDA Dear father, there’s nothing ill can Into something rich and strange No wonder, sir. dwell in such a temple. Sea nymphs, sea nymphs, FERDINAND PROSPERO Sea nymphs hourly ring his knell. O you wonder, be you maid or no? Silence! Thy nerves are in their MIRANDA infancy again, and have no vigor No wonder, sir, but certainly a maid. in them. FERDINAND (weakly) PROSPERO TRACK 5 So they are. My spirits, as in a (suddenly reveals himself) dream, are all bound up. One word! I charge thee that thou MIRANDA attend me: thou hast put thyself Be of comfort. upon this island as a spy, to win it My father’s of a better nature, sir, from me, the lord on’t. than he appears by speech. FERDINAND PROSPERO No, as I am a man. It works, it works. Thou hast done MIRANDA well, fine Ariel. Thou shall be free Ah! have pity! as mountain winds. PROSPERO FERDINAND Speak not you for him, he’s a traitor! Might I but through my prison MIRANDA once a day behold this maid, all I’ll be his surety! corners else o’ th’ earth let liberty PROSPERO make use of. Space enough have Ferdinand (Anthony Caputo) Hence, hang not on my garments! I in such a prison. ■ 10 ■ MIRANDA CALIBAN Cursed be I that did so! This is the third man that e’er I A south-west blow on ye... All the charms of Sycorax, toads, saw, the first that e’er I sighed for. PROSPERO beetles, bats, light on you! Pity move my father to be inclined ...all exercise on thee... For I am all the subjects that you my way! CALIBAN have, which first was mine PROSPERO ...and blister ye all over. own King. It works, it works. Delicate Ariel, I’ll This island’s mine which thou PROSPERO set thee free for this.... tak’st from me. Thou most lying slave, I have used ARIEL When thou cam’st first, thou thee with human care, till thou That’s my noble master, ah! strok’st me, and made much of me, didst seek to violate the honour I shall be free, as free as mountain would’st give me water with berries of my child. winds. Ah! My liberty! My liberty!... in it, and teach me how to name the CALIBAN (lunges at MIRANDA) (PROSPERO and MIRANDA watch bigger light, and how the less, that O ho, O ho! Would’t had been as ARIEL leads FERDINAND off.) burn by day and night, and then I done, would’t had been done! loved thee, and then I loved thee. Thou didst prevent me. I had SCENE TRACK 6 (He weeps.) peopled else this isle with Calibans. Nearby; before Prospero’s cell. And showed thee all the qualities of MIRANDA Enter CALIBAN opposite, dragging the island, the fresh springs, brine Abhorred slave... a load of logs on a tarpaulin. pits, barren place and fertile— PROSPERO He bitterly observes MIRANDA and Thou shalt be pinched... PROSPERO. MIRANDA CALIBAN ...I pitied thee... As wicked dew as e’er my mother PROSPERO brushed with raven’s feather from ...as thick as honeycomb... unwholesome fen drop on you MIRANDA both! ...took pains to make thee speak. PROSPERO (approaches CALIBAN) PROSPERO For this be sure, to-night thou shalt ...each pinch more stinging than have cramps, side-stitches that shall the bees that made ‘em. pen thy breath up... (He prods MIRANDA CALIBAN with his staff.) When thou wouldst gabble like a CALIBAN thing most brutish, I endowed thy Ah-h-h! purposes with words that made PROSPERO them known. ...urchins shall, for that vast of CALIBAN night that they may work... Caliban (Joshua Benevento) You taught me language, and my ■ 11 ■ profit on’t is, I know how to curse. yet I needs must curse. I know not where to hide my head. The red plague rid you for learning For every trifle are they set upon me. Yond same cloud cannot choose me your language. Ah! Sometime like apes, that mow but fall by pailfuls. (He stumbles PROSPERO and chatter at me, and after bite over CALIBAN.) What have we here? Hag-seed, hence! Fetch us in fuel. me. Sometimes am I all wound with a man or a fish? A fish! He smells Shrug’st thou, malice? If thou adders, who with cloven tongues like a fish, a very ancient and fish- neglect’st, I’ll rack thee with old do hiss me into madness. like smell. A strange fish! Legged cramps, I’ll fill all thy bones with (He sees someone appraching.) like a man! and his fins like arms! I aiches, make thee roar... Lo, now, lo! Here comes a spirit do now let loose my opinion, hold CALIBAN of his, and to torment me, for it no longer: this is no fish, but an No, pray thee, no! bringing wood in slowly. islander, that hath lately suffered by PROSPERO (He hides under the tarpaulin.) a thunderbolt. Ah! Alas, the storm ...that beasts shall tremble at has come again! There is no other thy din. TRINCULO (enters slowly) TRACK 7 shelter hereabouts. My best way is CALIBAN Here’s neither bush nor shrub, to to creep under his gabardine. (He No, pray thee, no... bear off any weather at all, and joins CALIBAN under the tarpaulin.) (Exit PROSPERO and MIRANDA. another storm brewing. I hear it sing Misery acquaints a man with CALIBAN sobs with rage.) i’ th’ wind. Yond same black cloud, strange bedfellows. All the infections that the sun sucks yond huge one, looks like a foul STEPHANO (enters, a jug in hand) up from bogs, fens, flats, on Prosper bombard that would shed his liquor. The master, the swabber, fall, and make him by inch-meal a (holds his palm out testing for rain.) The bo’sun, and I, disease! His spirits hear me, and If it should thunder as it did before, The gunner, and his mate,

Trinculo (Rasdia Wilmot) discovers Caliban (at left)

Stephano (Julian Whitney, right) arrives, drunk ■ 12 ■ Lov’d Moll, Meg, and Marian, CALIBAN TRINCULO and Margery, I’ll bring my wood home faster. How didst thou scape? But none of us car’d for Kate: STEPHANO How cam’st thou hither? For she had a tongue with a tang, You cannot tell who’s your friend. STEPHANO Would cry to a sailor, Go hang! Open your chaps again. I escaped upon a butt of sack, She lov’d not the savor of tar TRINCULO (His head pops out from by this bottle, which the sailors nor of pitch; the other side of the tarp.) I should threw overboard. Yet a tailor might scratch her know that voice: it should be—but TRINCULO (drinks from the jug) Where e’er she did itch. he is drowned, and these are devils! Ah-oo-ah-oo-ah-oo! Then go to the seas, boys, —O defend me! (hides again) CALIBAN (grabs bottle, drinks) And let her go hang! STEPHANO I’ll swear upon that bottle to (He stumbles over CALIBAN.) Four legs and two voices. A most be thy true subject, for the CALIBAN delicate monster! Come. I will pour liquor is not earthly. O! Do not torment me! —O! some in your other mouth! STEPHANO STEPHANO TRINCULO (leaps up, dancing) Swear, then, how thou escap’dst. What’s the matter? Have we devils Stephano!... If thou be’st Stephano, TRINCULO here? I have not scaped drowning to touch me, and speak to me, for I Swum ashore, man, like a duck. I be afeard now of your four legs. am Trinculo! Be not afeard! Thy can swim like a duck, I’ll be sworn. CALIBAN good friend Trinculo. STEPHANO The spirit torments me. —O! STEPHANO Though thou canst swim like a STEPHANO Thou art very Trinculo indeed! duck, thou art made like a goose. This is some monster of the isle, TRINCULO Come, kiss the book. who hath got, as I take it, an ague. But art thou not drowned, TRINCULO I will give him some relief Stephano? Is the storm over- O Stephano! Hast any more of this? (He forces his bottle down blowed? And art thou living? O, STEPHANO CALIBAN’s throat.) Stephano! Two Neapolitans scaped! The whole butt, man. My cellar is CALIBAN STEPHANO in a rock, where my wine is hid. Ah-ah! Prithee, do not turn me about. (Caliban chortles) How now, STEPHANO CALIBAN (awed) moon-calf! How does thine Come on your ways, open your These be fine things, an’ if they ague? mouth, cat! be not sprites. CALIBAN CALIBAN STEPHANO (groans and retches) Hast thou not dropt from heaven? Do not torment me, prithee. My stomach is not constant. STEPHANO STEPHANO CALIBAN Out o’ the moon, I do assure thee. This will shake your shaking, I can That’s a brave god, and bears I was the man in the moon, when tell you, and that soundly. celestial liquor. time was. ■ 13 ■ CALIBAN (increasingly drunk and TRIO TRACK 8 ACT TWO awed) I have seen thee in her, and I CALIBAN Prelude TRACK 9 do adore thee. Farewell master; The Island My mistress showed me thee, and Ah-ah! Ah-ah! Ah-ah! farewell... Scene. A clearing in an enchanted thy dog, and thy bush. STEPHANO and TRINCULO grove. TRINCULO A howling monster, GONZALO (to ALONSO) TRACK 10 This is a very shallow monster. a drunken monster! Beseech you sir, be merry. You have I afeard of him? Howling, drunken... cause, so have we all, of joy, for our STEPHANO CALIBAN escape is much beyond our loss. Come, kiss the book! No more dams I’ll make for fish; ALONSO TRINCULO Nor fetch in firing. At requiring; Prithee, peace. The man i’ th’ moon? Nor scrape trencher, nor wash dish. GONZALO CALIBAN ALL Wisely, good sir, weigh our sorrow Prithee, be my god. Freedom, high-day!... with our comfort. TRINCULO STEPHANO and TRINCULO ALONSO I shall laugh myself to death. I shall laugh myself to death Prithee, peace! STEPHANO O brave monster, lead the way! GONZALO (to the other courtiers ) Come on, then! ALL But the rarity of it is, which is in- Down, and swear. Come, kiss. ‘Ban, ‘Ban, Ca-caliban deed almost beyond credit, that (CALIBAN kisses STEPHANO’s Has a new master — get a new our garments, being as they were, boot.) man! (They go off, howling.) drenched in the sea, hold their TRINCULO END ACT ONE freshness and glosses, being rather But that poor monster’s in drink. CALIBAN A plague upon the tyrant that I serve! I’ll bear him no more sticks, but follow thee, thou wondrous man. STEPHANO Lead the way, without anymore talking. Trinculo, the King and all our company else being drowned, we will inherit here. (a broad gesture to the island; then, to CALIBAN) Here, bear my bottle! King Alonso, Gonzalo and courtiers Alonso (JungBum Heo) ■ 14 ■ new-dyed than stained with salt bold head ‘bove the waves he kept, am very heavy? (He falls asleep.) water. and oared himself with in lusty ALONSO COURTIERS stroke to the shore. I doubt not he I wish mine eyes would, with Here is everything most came alive to land... themselves, shut up my thoughts. advantageous to life. ALONSO I find they are inclined to do so. GONZALO No, no. He’s gone... O thou mine (He also sleeps.) Sir, we were talking that our heir of Naples and of Milan, what COURTIERS (falling asleep) garments seem now as fresh as strange fish hath made his meal Sleep is a comforter that seldom when we were at Tunis. on thee? visits sorrow. COURTIERS GONZALO END CD ONE This island needs be of subtle, It is foul weather in us all, my lord, tender and delicate temperance. when you are cloudy. GONZALO Had I plantation of the isle, my lord, CD TWO TRACK 1 Is not, sir, my doublet as fresh as and were the King on’t, what would SEBASTIAN the first day I wore it? I mean, I do? In the Commonwealth I would What a strange drowsiness pos- when I wore it at your daughter’s by contraries execute all things... sesses them! I find not myself marriage... in Tunis? Letters should not be known; riches, disposed to sleep. ALONSO (suddenly angry) poverty, and use of service, none. ANTONIO You cram these words into mine ear No occupation, all men idle and The King’s son alive! ’Tis as against the stomach of my sense. women too, but innocent and pure. impossible that he’s undrowned Would I had never married my But nature should bring forth all as they that sleep here swim. daughter there, for, coming thence, foison, all abundance to feed my SEBASTIAN my son is lost. O thou mine heir... innocent people. I would with such I have no hope that he’s COURTIERS and GONZALO perfection govern, sir, to excel the undrowned. Sir, he may live... I saw him beat Golden Age. ANTONIO the surges under him, and ride COURTIERS And my strong imagination sees a upon their backs. Save his majesty! Long live Gonzalo. crown dropping on thy head. ALONSO GONZALO (to ALONSO) SEBASTIAN No, no... Do you mark me, sir? What, art thou waking? COURTIER ALONSO ANTONIO I saw him, he trod the water whose Prithee, no more. Thou dost talk Do you not hear me speak? enmity he flung aside. nothing to me. SEBASTIAN ALONSO (All but ANTONIO and SEBASTIAN What is it thou didst say? No, no. He’s gone. find themselves mysteriously sleepy.) ANTONIO COURTIERS and GONZALO GONZALO (spoken, yawning) Will you grant with me that I saw him breast the surge, his Will you smile me to sleep, for I Ferdinand is drowned? ■ 15 ■ SEBASTIAN Open-ey’d conspiracy too, which did awake me. He’s gone. His time doth take. COURTIER ANTONIO If of life you keep a care, ’Tis best we stand upon our guard. Then tell me, who’s the next heir Shake off slumber, and beware: GONZALO of Naples? Awake, Awake! I shak’d you, sir, and cried. SEBASTIAN (shocked whisper) (The courtiers awaken suddenly.) ALONSO What stuff is this? How say you? I heard nothing. ANTONIO GONZALO TRACK 2 ANTONIO O, that you bore the mind that Preserve the King! (shakes ALONSO) O, ’twas a din to fright a I do! What a sleep were this for ALONSO (to ANTONIO and monster’s ear. your advancement! Do you SEBASTIAN) Why are you drawn? COURTIER understand me? Wherefore this ghastly looking? ’Tis best we quit this place. SEBASTIAN ANTONIO (unfrozen) THE OTHERS Methinks I do. I remember you did Oh . . . uh . . . Lions! Lions!. . . There was a noise, that’s verily... supplant your brother Prospero. SEBASTIAN ALONSO (rising) ANTONIO (indicating the sleeping O, ’twas a din to make an Lead off this ground. Lead away... Alonso) True. And look how well earthquake! Let us make further search for my my garments sit upon me. ANTONIO poor son. Here lies your brother, Sure ’twas the roar of a whole COURTIERS Whom I, with this obedient steel, herd of lions! Lead off this ground... Can lay to bed forever; whiles you, ALL and ARIEL (unseen) GONZALO doing thus, to the perpetual wink Lions! Lions! Heard you this? Heaven keep him from these beasts! for ever might put this ancient I heard nothing, nothing. COURTIERS morsel, this Sir Prudence. Heard you lions? Lead off this ground... (All exit.) (indicating GONZALO) For all the Let’s draw our weapons. INTERLUDE: ARIEL’s vocalise. (“to rest, they’ll take suggestion as a GONZALO, ALL ride on the curl’d cloud”) cat laps milk. Now, good angels, preserve the SEBASTIAN King! SCENE TRACK 3 Draw thy sword, and I the King ANTONIO and SEBASTIAN Another part of the island. shall love thee. Did not wake you? STEPHANO (drunk, enters with ANTONIO It struck mine ear most terribly. TRINCULO and CALIBAN) Draw together. ALONSO Tell not me—when the butt is out, (They draw, but are suddenly frozen Heard you this, Gonzalo? we will drink water; not a drop be- by the sounds of distant voices.) GONZALO fore. Servant monster, drink to me. ARIEL (enters) Upon mine honour, sir, I heard a TRINCULO While you here do snoring lie, humming, and that a strange one Servant monster! the folly of this ■ 16 ■ island! They say there’s but five CALIBAN serve thee. upon this isle; we are three of them; I thank my noble lord. Wilt thou STEPHANO (lightly) if the other two be brain’d like us, be pleased to harken once again to How now shall this be compass’d? the state totters. the suit I made to thee? Canst thou bring me to the party? STEPHANO STEPHANO CALIBAN My man monster has drown’d his Marry, will I: kneel and repeat it; I Yea, yea, my lord: I’ll yield him thee tongue in sack. Moon-calf, speak will stand, and so shall Trinculo. asleep, where thou mayst knock a once in thy life, if thou beest a (ARIEL enters, invisible.) nail into his head. good moon-calf. CALIBAN ARIEL (again, as if it is Trinculo CALIBAN (lying on the ground) As I told thee before, I am subject speaking) Thou liest; thou canst not. How does thy honour? Let me lick to a tyrant, a sorcerer, that by his CALIBAN thy shoe. I’ll not serve him, he is cunning hath cheated me of What a pied ninny’s this! Thou not valiant. the island. scurvy patch! I do beseech your TRINCULO ARIEL (throwing his voice to greatness, give him blows, and Thou liest, most ignorant monster. TRINCULO) Thou liest! take his bottle from him. Why, thou debosh’d fish, thou, was CALIBAN (to TRINCULO) STEPHANO there ever man a coward who hath Thou jesting monkey, thou! I do Trinculo, interrupt the monster one drunk so much sack as I to-day? not lie! I wish my valiant master word further, and, by this hand, I’ll Wilt thou tell a monstrous lie, would destroy thee! make a stock-fish of thee. being but half a fish and half a STEPHANO TRINCULO (half sleeping) monster? Trinculo, if you trouble him any Why, what did I? I did nothing. CALIBAN more in’s tale, by this hand, I will I’ll go further off. Lo, how he mocks me! supplant some of your teeth. STEPHANO Wilt thou let him, my lord? TRINCULO Didst thou not say he lied? TRINCULO Why, I said nothing. ARIEL (again) “Lord,” quoth he? That a monster STEPHANO Thou liest. should be such a natural! Mum, then, and no more. Proceed. STEPHANO CALIBAN CALIBAN Do I so? Take thou that. (Beats him.) Lo, lo, again! Bite him to death, I say, by sorcery he got this isle; TRINCULO I prithee. from me he got it. If thy greatness Ow! Ow! STEPHANO will revenge it on him—for I know CALIBAN Trinculo, keep a good tongue in thou dar’st, but this thing dare not— Beat him enough! your head. If you prove a mutineer— STEPHANO TRINCULO the next tree. The poor monster’s That’s most certain. A pox on your bottle! my subject, and he shall not suffer CALIBAN (fawning) CALIBAN indignity. Thou shalt be lord of it, and I’ll After a little time, I’ll beat him too. ■ 17 ■ TRINCULO beat thee. then had wak’d after long sleep, This can sack and drinking do! CALIBAN will make me sleep again; and then, STEPHANO Thou mak’st me merry; I am full of in dreaming, the clouds methought Now, forward with your tale.— (to pleasure: let us be jocund: will you would open, and show riches ready TRINCLULO) Prithee, stand further troll the catch you taught me but to drop upon me; that, when I off. Come, proceed. while-ere? wak’d, I cried to dream again. CALIBAN TRINCULO (raucous) Why, as I told thee, ’tis a custom Flout ‘em and scout ‘em... STEPHANO TRACK 5 with him in the afternoon to sleep: CALIBAN This shall prove a brave kingdom there thou mayst brain him, or, with That’s not the tune. (ARIEL miming to me, where I shall have my music a log batter his skull, or paunch him pipe and tabor, plays the tune.) for nothing. with a stake, or cut his wezand with STEPHANO (terrified) CALIBAN (spoken softly, savagely) thy knife. (chuckles evilly) And that What is this same? When Prospero is destroyed. most deeply to consider is the TRINCULO (also terrified) (ARIEL, invisible, leads them off in beauty of his daughter; he himself ’Tis the tune of our catch, played circles, to the beat of the tabor.) calls her a nonpareil. by the picture of... nobody. STEPHANO STEPHANO STEPHANO I would I could see this taborer. Is it so brave a lass? If thou be’st a man, show thyself in He lays it on. CALIBAN thy likeness. (ARIEL hits the tabor.) Ay, lord, she will become thy bed, TRINCULO Scene. Another part of the island. I warrant, and bring thee forth O, forgive me my sins! GONZALO brave brood. STEPHANO By’r Lakin, I can go no further, sir. STEPHANO I defy thee. Mercy upon us! My old bones ache. Here’s a maze I do begin to have bloody thoughts. CALIBAN trod, indeed, through forth-rights Monster, I will kill this man. His Art thou afraid? and meanders! By your patience, I daughter and I shall be king and STEPHANO needs must rest me. queen,—save our graces!—and No, monster, not I. ALONSO (still brooding) Trinculo and thyself shall be viceroys. He is drown’d whom thus we stray ARIEL ARIA TRACK 4 to find; and the sea mocks our This will I tell my master. CALIBAN (with distant voices) frustrate search on land. Well, let STEPHANO Be not afeard; the isle is full of him go. Dost thou like the plot? Trinculo? noises, sounds and sweet airs, ANTONIO (aside to SEBASTIAN) TRINCULO (from a stupor) that give delight and hurt not. Do not, for one repulse, forgo the Excellent! Sometimes a thousand twangling purpose that you resolv’d t’effect. STEPHANO instruments will hum about mine SEBASTIAN (aside to ANTONIO) Give me thy hand: I am sorry I ears; and sometime voices, that, if I The next advantage we will take ■ 18 ■ throughly. exposed unto the sea him and his MIRANDA ANTONIO innocent child. Thee of thy son, You look wearily. Let it be to-night. Alonso, they have bereft, and do FERDINAND SEBASTIAN pronounce by me ling’ring perdition, No, ’tis fresh morning with me I say, to-night: no more. worse than any death can be at When you are by at night. I do A low, ominous whirring sound once, shall step by step attend you beseech you— Chiefly that I might gradually increases in intensity. and your ways; whose wraths to set it in my prayers, what is your Thunder and lightning. Enter ARIEL. guard you from, which here, in this name? The men are transfixed. most desolate isle, else falls upon MIRANDA (reluctantly) ARIA your head, is nothing but heart’s Miranda. O my father, I have ARIEL (with distant voices) sorrow... and a clear life ensuing... broke your hest to say so! (Enter You are three men of sin, whom (ARIEL vanishes in swirling clouds.) PROSPERO unobserved.) Destiny,— that hath to instrument ALONSO (emerging from the trance) FERDINAND this lower world and what is in’t,— O, it is monstrous, monstrous! Admir’d Miranda! Indeed the the never-surfeited sea hath caus’d Methought the billows spoke, and top of admiration! worth what’s to belch up you; I have made you told me of it; the winds did sing it dearest to the world! Full many a mad; and even with such-like valour to me; and the thunder, that deep lady I have ey’d with best regard. men hang and drown their proper and dreadful organ-pipe, pro- For several virtues have I liked selves. But remember, for that’s my nounc’d the name of Prosper. several women. business to you, you three from END ACT TWO MIRANDA Milan did supplant good Prospero: I would not wish any companion ACT THREE The island. in the world but you! (FERDINAND, stacks logs.) FERDINAND MIRANDA (enters) TRACK 6 Admir’d Miranda! O you, so perfect, Alas now, pray you, work not so so peerless, hear my soul speak! hard... Pray, set it down, and rest MIRANDA you. My father is hard at study... Do you love me? Pray now, rest yourself... Pray, give FERDINAND me that. (helps him with the wood) O, heaven! FERDINAND MIRANDA O, most dear mistress! Do you love me? MIRANDA FERDINAND When this burns, ‘twill weep for O earth! Bear witness to this having wearied you. sound and crown. FERDINAND MIRANDA Ariel chides Alonso and his men. My sweet mistress weeps. I am a fool to weep at what I ■ 19 ■ am glad of. PROSPERO and thy sea-marge, sterile and FERDINAND Heavens rain grace on that which rocky hard, What I profess with kind event if I breeds between ‘em! (MIRANDA Where thou thyself dost air;— speak true. and FERDINAND embrace.) the queen o’ th’ sky, whose wat’ry PROSPERO I must bestow upon the eyes of this arch and messenger am I, bids thee Fair encounter of two most rare young couple some vanity of mine leave these; and with her sovereign affections! art. (A spectacle, a vision of grace, here, on this grass-plot, in FERDINAND Mount Olympus, is revealed which this very place, to come and Wherefore weep you? Prospero invokes with gestures of sport. Her peacocks fly amain. MIRANDA his staff. Voices are heard.) Approach, rich Ceres, her to I am your wife if you will marry me. entertain. If not, I’ll die your maid. FERDINAND TRACK 7 CERES (enters, the goddess of FERDINAND Harmonious! Charmingly! earthly abundance, bearing My mistress, dearest; PROSPERO cornucopia of wedding gifts) And I thus humble ever. No tongue! All eyes! Be silent! Hail, many-colour’d messenger, MIRANDA Or else our spell is marr’d. rich scarf to my proud earth; why My husband, then? IRIS (appears on a rainbow) hath thy queen summon’d me TOGETHER Ceres, most bounteous lady, hither, to this short-grass’d green? Ay, with a heart as willing as thy rich leas of wheat, rye, barley, IRIS bondage e’er of freedom!... vetches, oats, and pease; A contract of true love to celebrate; And some donation freely to estate on the blest lovers. CERES Tell me, heavenly bow, if Venus or her son, as thou dost know, do now attend the queen? Since they did plot the means that dusky dis my daughter got, her and her blind boy’s scandal’d company I have forsworn. IRIS Of her society be not afraid: I saw The Masque: her deity cutting the clouds towards Ceres (Diana Paphos, and her son, dove-drawn Wangerin, center) with her. Here thought they to have and retinue done some wanton charm upon this ■ 20 ■ man and maid, whose vows are PROSPERO TRACK 8 become tender. that no bed-right shall be paid Avoid! No more! PROSPERO until Hymen’s torch be lighted: but MIRANDA Dost thou think so, spirit? in vain; Mars’s hot minion is return’d My father’s in some passion that ARIEL again; her waspish-headed son has FERDINAND Mine would, sir, were I human. broke his arrows, swears he will This is strange. PROSPERO shoot no more, but play with PROSPERO And mine shall. Go release them. sparrows, and be a boy right out. You do look, my son, (ARIEL slowly exits.) CERES (as a fanfare is heard) As if you were dismayed. Highest queen of state, great Juno Be cheerful, sir. Our revels now are Ye elves of hills, brooks, standing comes; I know here by her gait. ended. These our actors, as I lakes, and groves; and ye that on JUNO (Queen of the Gods, enters) foretold you, were all spirits, and the sands with printless foot do How does my bounteous sister? are melted into air, into thin air. chase the ebbing Neptune, and do Go with me to bless this twain, And, like the baseless fabric of this fly him when he comes back; you that they may prosp’rous be, vision, the cloud-capp’d towers, demi-puppets that by moonshine and honored in their issue. the gorgeous palaces, the solemn do the green sour ringlets make, ALL THREE (with distant voices). temples, the great globe itself, whereof the ewe not bites; and you Honour, riches, marriage-blessing, yea, all that it inherit, shall dissolve. whose pastime is to make midnight Long continuance, and increasing. And, like this insubstantial pageant mushrooms, that rejoice to hear Hourly joys be still upon you! faded, leave not a rack behind. the solemn curfew; by whose aid— Juno sings her blessings on you. We are such stuff as dreams are weak masters though ye be—I have Earth’s increase, foison plenty, made on; and our little life is bedimm’d the noontide sun, call’d Barns and garners never empty; rounded with a sleep. (He blesses forth the mutinous winds, and ‘twixt Vines with clust’ring branches the couple who exit. He slowly the green sea and the azur’d vault growing; climbs the promontory on which set roaring war. To the dread rattling Plants with goodly burthen bowing; the action began. Enter ARIEL.) thunder have I given fire, and rifted Honour, riches... How fares the King and his Jove’s stout oak with his own bolt; Spring come to you at the farthest followers? the strong-based promontory In the very end of harvest! ARIEL have I made shake and by the spurs Scarcity and want shall shun you; All prisoners, sir, brimful of sorrow plucked up the pine and cedar. Juno’s/Ceres’/ Iris’ blessing so is on and dismay; but chiefly him you Graves at my command have wak’d you. Honour... term’d, sir, “The good old lord, their sleepers, op’d, and let ‘em (As the scene increases in vigor and Gonzalo:” his tears run down his forth by my so potent Art. elaboration, thunder is heard. beard, like winter’s drops from But this rough magic I here abjure; Prospero waves his staff, and the eaves of reeds. If you now beheld and, when I have requir’d some masque disappears.) them, your affections would heavenly music, (which even now I ■ 21 ■ do) I’ll break my staff, bury it certain ANTONIO (aside) STEPHANO fathoms in the earth, and deeper The devil speaks in him! So is mine. than did ever plummet sound SEBASTIAN (aside) CALIBAN I’ll drown my book. (The COURTIERS The devil! How fine my master is! I am afraid come in, entranced, led by ARIEL COURTIERS he will chastise me. into a circle of light. They gradually All wonder and amazement! TRINCULO (seeing the recover their senses as PROSPERO How should Prospero be living and assemblage) descends from the promontory.) be here? Heavenly powers guide us! Ah—oo—! Here’s a goodly sight! A solemn air cure thy brains. GONZALO STEPHANO There stand, for you are spell- Behold, sir King, the wronged Duke Do you hear, monster? If I should stopp’d. The charm dissolves apace; of Milan, Prospero! take a displeasure against you, as the morning steals upon the ALONSO look you . . . night, melting the darkness. If thou be’st Prospero, how hast PROSPERO (to ARIEL) Ariel, I will myself present as I was thou met us here, whom three hours Quickly, spirit . . . sometime—Milan. since were wrack’d upon this shore; GONZALO where I have lost—how sharp the Why, how now, Stephano! PROSPERO TRACK 9 point of this remembrance is!— PROSPERO Holy Gonzalo, loyal sir and my dear son Ferdinand. ...thou shalt ere long be free. honourable man. STEPHANO (stumbles in noisily CALIBAN COURTIERS (amazed, whispering) with TRNCULO and CALIBAN) I shall be pinch’d to death. ’Tis Prospero, ’tis Prospero! Corragio, bully monster, corragio! ANTONIO TRINCULO What things are these? Monster, your fairy, which you say STEPHANO is a harmless fairy, has done little O, touch me not! better than play the jack with us. SEBASTIAN STEPHANO Will money buy ‘em? Every man shift for all the rest and COURTIERS let no man take care for himself; Very like, very like. for all is but fortune. STEPHANO CALIBAN (seeing the COURTIERS) I am not Stephano, but a cramp. O Setebos, these be brave spirits, ARIEL (flitting above) indeed. Where the bee sucks, there suck I; TRINCULO In a cowslip’s bell I lie. . . Ah! Monster, I do smell all horse-piss; ANTONIO at which my nose is in great One of them’s a plain fish, and no Prospero greets Gonzalo (Jeffrey Taveras) indignation. doubt marketable. ■ 22 ■ COURTIERS PROSPERO GONZALO Very like, very like. Sir, do not infest your mind with Trinculo, how cam’st thou in this GONZALO (pointing to CALIBAN) beating on the strangeness of this pickle? This is as strange a thing as e’er I business. Be cheerful and think of TRINCULO looked on. each thing well. I have been in such a pickle, since I CALIBAN ARIEL saw you last, that I fear me will We shall all be turned to barnacles. On the bat’s back...After summer never out of my bones. ALONSO merrily, shall I live now... CALIBAN The affliction of my mind amends, SEBASTIAN We shall be turned to barnacles, With which, I fear, a madness Is this not Stephano, my drunken or to apes with foreheads held me. butler? villainous low. PROSPERO (to ALONSO) COURTIERS PROSPERO (to CALIBAN) Welcome sir. Here have I few And Trinculo is reeling ripe! Go, sirrah, to my cell; and as you attendants and subjects none GONZALO look to have my pardon, trim it abroad. Welcome, welcome. He’s drunk now! Where had he handsomely. ARIEL wine? CALIBAN There I couch when owls do cry. ANTONIO What a thrice-double ass was I, to CALIBAN Or stole it, rather. take this drunkard for a god, and I shall be pinch’d to death... PROSPERO (to STEPHANO) worship this dull fool! ALONSO (to PROSPERO) You’d be king of the isle, sirrah! (The entire company gradually Thy dukedom I resign STEPHANO assembles, including the three And do entreat thou pardon me I should have been a sore one, then. goddesses.) my wrong. TRINCULO ARIEL GONZALO and COURTIERS Ay, but to lose our bottle in the Under the blosson that hangs A most strange story. pool! from the bough... (ARIEL reveals PROSPERO STEPHANO MIRANDA and FERDINAND, in Welcome, my friends, all. You do Ay, monster, ’tis a disgrace, a radiant wedding apparel.) yet taste some subleties of the isle. dishonour and an infinite loss. PROSPERO COURTIERS TRINCULO Pray you, look in. This is as strange a maze as e’er O King Stephano! O peer! COURTIERS men trod. PROSPERO (to ANTONIO and O wonder! A most high miracle! ALONSO SEBASTIAN) But you, my brace of ALONSO I long to hear the story of your life. lords, were I so minded, I here If this prove a vision of the island, COURTIERS could pluck his highness’ frown one dear son shall I lose twice. Some oracle must rectify our upon you and justify you traitors. FERDINAND knowledge. At this time I will tell no tales. O, merciful seas, I have curs’d them ■ 23 ■ without cause. crown! ARIEL and CHORUS COURTIERS PROSPERO and ALONSO O rejoice beyond a common joy! A most high miracle! O wonder! Now all the blessings ALL Look down, you gods, look down! of a glad father compass you I say amen! And set it down MIRANDA about! with gold on lasting pillars, that How many goodly creatures are ALL Prospero his dukedom found in a there here! Be it so! Be it so! poor isle. And all of us ourselves... ALONSO MIRANDA ...when no man was his own. Is this the goddess that hath sever’d How beauteous mankind is! (With a gesture PROSPERO frees us, and brought us thus together? O brave new world, that has such ARIEL, who receives his liberty with FERDINAND people in’t! a shiver of amazed enlivenment. Sir, she is mortal, but by immortal PROSPERO Hesitantly tasting his freedom, with Providence she is mine. ’Tis new to thee. a loving glance toward PROSPERO, MIRANDA GONZALO he vanishes.) How beauteous mankind is! Let grief and sorrow still embrace END ACT THREE / END CD II CHORUS, ALL his heart that doth not wish you joy! Look down, you gods... ALL And on this couple drop a blessed Be it so! Be it so!

Purchase Symphony Orchestra Hugh Murphy Hugh Murphy, conductor conductor

VIOLIN I: Ross Monroe Winter, concertmaster, Patricia Cole, Leila Nassarr-Fredell, PHOTO: Peter Schaaf Natalie Carducci, Erika Stierli, Owen Kevra-Lenz, Claire Wilson, See Ri Sung, Yun Jung Kim, Elizabeth Sailer; VIOLIN II: Byron Hitchcock, Hye Young Wi, Alexandra Jenkins, Jessica Beberaggi, Clare Jordan, Don Yau, Michael Mandrin, Ryan Foley; VIOLA: Gizem Yucel, Lauren Niebour, David Vasold, Meghan Beaudry, Michael Alas, Michael Brooks; CELLO: Gozde Yasar, Adriana Maria Pera, Melissa Brun, Kaitlyn Raitz, Elizabeth Cook, Clerida Eltime; BASS: Daniel Merriman, Matthew Weber, Joe Brent, Elliot Perko; FLUTE: Martha Cargo, Jamie Lee (Piccolo); OBOE: Andrew Parker,* Michelle Farah (English Horn); CLARINET: Nicholas Graham, Matthew Fontana (Bass Clarinet); BASSOON: Archie Carey, James Jang; TRUMPET: Bridget Colgan, Richard Fields FRENCH HORN: Rachel Drehmann, Robert Arzola, Jake Rensink, Juvenal Santiago; TROMBONE: Loudon Cunningham, Mert Unal; TUBA: Santino Lo; HARP: Jacquiline Kerrod; PIANO/CELESTA: Mina Kim PERCUSSION: Phil Galo, Max Herzlich, Zach Nayer, Matt Gaffney *orchestra manager ■ 24 ■ inclination to include experimental scales and moanings in his personal vocabulary. At Madison, Hoiby’s prodigious pianistic gift was nurtured by Gunnar Johansen, the Danish virtuoso who privately recorded the complete keyboard works of Bach, Liszt and Busoni. Johansen passed Hoiby on to his own pianistic mentor, the Busoni acolyte Egon Petri, with whom he studied at Cornell and Mills College. On the verge of a career as a concert pianist Hoiby was offered, on the basis of a few works, written for fun and submitted without his knowledge, a full scholarship to study compo- sition with Gian Carlo Menotti at the Curtis LEE HOIBY was born in Wisconsin in 1926 of Institute in Philadelphia. He was unable to refuse. Scandinavian extraction. His maternal grandfather Menotti subjected Hoiby to two years of strict was a violinist and teacher who emigrated from Palestrina counterpoint, and then infused him Denmark. His aunts comprised a touring all-girl with operatic ambitions. He worked closely with saxophone band, and like Brahms, he was forced Menotti as assistant during the period of the by his father to entertain in alcoholic dives, historically unique simultaneous successes, on leading him to rebel against any form of pop the world operatic and Broadway stages, of The music, while unavoidably imbibing the 30s idiom. Consul, The Saint of Bleecker Street, and The Important European musicians in flight from Medium. The effectiveness of Hoiby’s 1957 one- Hitler foregathered at the remarkable war-time act opera The Scarf was noted at the first Italian music department of the University of Wisconsin Spoleto Festival, and it was produced at the New at Madison. Among them were performers like York City Opera the following season. Hoiby’s the Pro Arte Quartet, led by Arnold Schoenberg’s next opera, Natalia Petrovna (NYCO, 1964; son-in-law Rudolph Kolisch, from whom Hoiby revised in 1980 as A Month in the Country and absorbed the highest levels of European mu- recorded by John Ostendorf for Albany Records sicianship. They also introduced him to the in 2004) was praised by the distinguished dodecaphony of Schoenberg and Webern, which Washington critic Paul Hume, particularly the he viscerally rejected. Also on the scene at the closing octet (“of overwhelming beauty, a Madison campus was the eccentric American supreme moment in opera”) which he classed hobo composer Harry Partch. Hoiby had great with the Rosenkavalier trio and the Meistersinger fun as a kithara virtuoso in Partch’s ensemble of quintet. Another important critical voice, Irving garage-made instruments, but showed no Lowens, Music Librarian of the Library of ■ 25 ■ Congress, wrote of “the clean simplicity, the Hoiby has recently completed a lavish three- beautiful eloquence of the vocal lines. There is act setting of Romeo and Juliet, which has yet to no question about this lyric gift; his melodies are be produced. Other operatic works by Lee Hoiby more compelling by far than those of his teacher include the one-act comedy Something New for Menotti.” Most telling was a later consideration the Zoo (1979); the musical monologues The by Frank Merkling, then editor of Opera News: Italian Lesson (1981, text by Ruth Draper) and the “Indulging in neither breast-beating nor serial the recently recorded—Bon Appetit! (1985, text cerebration” the opera was “curiously novel for by Julia Child) which together ran off-Broadway its very lack of chic; it simply went about the and toured nationally with Jean Stapleton in the business of fulfilling all the functions of an opera late 1980s, and the one-act chamber opera, This successfully.” Is the Rill Speaking (1992, on the play by Lanford Hoiby’s 1971 setting of Tennessee Williams’ Wilson). Summer and Smoke (with libretto by Lanford Recent vocal chamber works include a music- Wilson) was declared “the finest American opera theater piece on texts of Virginia Woolf, What Is to date” by Harriet Johnson of the New York Post. the Light? written for Claire Bloom and the 92nd Still, the mid-twentieth century prejudice against Street Y; Rain Forest for voice, wind quintet and tonality and lyricism, combined with Hoiby’s own piano, on prose poems of Elizabeth Bishop for the professional and social independence, worked Santa Fe Chamber Music Festival; and Sonnets against widespread recognition. In 1981 Peter and Soliloquies, a group of Shakespeare settings Davis wrote of a new production of Summer and for soprano Jennifer Foster and the Miro String Smoke in New York Magazine: “Perhaps ten years Quartet. Also of note among his larger compo- ago, music of this sort, unabashedly drenched in sitions for the voice is his 1991 setting of Martin ardent melody, was considered something of an Luther King, Jr.’s I Have a Dream for baritone and embarrassment. Today such an attitude seems orchestra, which has had memorable perfor- childish and irrelevant.” mances by William Stone and Simon Estes. Hoiby continued to pursue lyric opportunities Hoiby’s immense contribution to the song with his 1986 setting of Shakespeare’s final play, repertoire is recognized by American singers The Tempest, (for the Des Moines Metro Opera) everywhere. His style is an elegant and unobvious of which Opera Magazine (London) wrote that it bridging of the lyrical worlds of Verdi and was “redolent of Das Rheingold and Richard Gershwin, which can be profoundly moving or Strauss, but even so was melodically, harmon- smoothly good-humored, but skirts entirely the ically, and musically, pure Hoiby,” while the modernist obsession with “originality.” He turns Christian Science Monitor found it “superbly frequently to texts of great literary and civic value. singable and downright beautiful.” The Tempest His exemplary performer has been the great has its New York premiere, with the artists on American soprano Leontyne Price, who, from this recording, in April 2008. 1964 until her retirement in 1996, introduced ■ 26 ■ many of his best known poem settings and arias to the public, including “The Serpent” of Roethke, “Be Not Afear’d” (from The Tempest), the Dickinson songs, the “Evening” of Wallace Stevens, “Lady of the Harbor” and “Where the Music Comes From.” Hoiby has also made significant contributions to the piano repertory (in addition to his demanding song accompaniments), including two piano concertos and a volume of solo piano works published by G. Schirmer. His choral music is performed in churches throughout the U.S. and in Great Britain. Indeed, some of his most substantial works are for chorus, including the Christmas cantata A Hymn of the Nativity (text by Richard Crashaw), the oratorio Galileo Galilei (libretto by Barrie Stavis), and an accrual of works for voice, chorus and orchestra on texts of Walt Whitman which have been gathered into a full eve- ning’s program called A Whitman Service. He has written chamber music in numerous combinations, including sonatas for violin, cello, a Lee Hoiby (standing) with concerto for flute and chamber orchestra (Pastoral Dances), and Dark librettist Mark Shulgasser Rosaleen (rhapsody on a theme by James Joyce) recorded by the Ames Piano Quartet and recently released by Albany. Most recently he has written Trio for the Verdehrs for violin, clarinet and piano, and Last Letter Home for the male vocal ensemble Cantus. A solo version of this moving song can be heard on YouTube. Since 1979 MARK SHULGASSER has been Lee Hoiby’s literary collaborator on numerous projects including the libretti of all of Hoiby’s operas and vocal chamber works. He has produced and directed Hoiby’s works at venues throughout the United States. For several years he operated a photography gallery in West Palm Beach, and he now runs a used book business called Who Killed Kenny? in Callicoon, NY. Under a nom de plume, unknown even to his closest associates, he writes extensively on the subject of astrology.

Purchase College School of the Arts Conservatory of Music Dr. Robert F. Thompson, Dean

Mr. Ostendorf wishes to thank Kristin Lancino at G. Schirmer. And special thanks to Damian Fernandez, Emily Grant, Bonnie Hamilton, Laura Kaminsky, Thomas J. Schwarz, Hannah Shmerler, Margaret Sullivan, Bob Thompson, Margaret Vignola and the Faculty and Staff of the Conservatory of Music at Purchase College.

■ 27 ■