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The Ice Break INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explana )n of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “ Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. 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In all cases we have filmed the best available copy. UniversiV M icrd n lm s International 300 N. ZEES RD„ ANN ARBOR, Ml 48106 8214064 Vaughn, Beverly Jean THE HOPE OF RECONCILIATION: A STYLISTIC CHARACTERISTIC OF SIR MICHAEL TIPPETT CULMINATING IN "THE ICE BREAK" The Ohio State University D.M A. ÎS82 University Microfiims Internationei 300N.ZeebRoad.AnnAibor.MI48106 Copyright 1982 by Vaughn, Beverly Jean All Rights Reserved THE HOPE OF RECONCILIATION: A STYLISTIC CHARACTERISTIC OF SIR MICHAEL TIPPETT CULMINATING IN THE ICE BREAK DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of the Ohio State University by Beverly Jean Vaughn, B.A., M. Mus. ****** The Ohio State University 1982 Reading Committee: Approved by : Professor Mario Alch Professor David Butler Professor Herbert Livingston Adviser School of Music This work is sincerely dedicated to my parents, Mr. and Mrs. Otis Vaughn, and to my adviser. Prof. Mario Alch. 11 VITA July 17, 1950 ...... Born, Warren, Ohio 1 9 7 1 ..........................Bachelor of Arts Degree Lorna Linda University Riverside, California 1972-74 Graduate Teaching Associate The Ohio State University Master of Music Degree 1974-79 ..................... Professional studies and performances. New York, New York; Vienna, Austria; London, England; Graz, Austria; Boston, Massachu­ setts; Chicago, Illinois; Budapest, Hungary 1979-82 ..................... Doctoral Studies in Music The Ohio State University FIELDS OF STUDY Major Field: Voice Performance Studies in Applied Voice: Professor Mario Alch Studies in Operatic Literature and Performance Practices Professor Mario Alch Professor Paul Hickfang Professor Roger Stephens Studies in Vocal Pedagogy: Professor Helen Swank Studies in German Art Song Literature and Diction: Professor Irma Cooper Studies in French Art Song Literature and Diction: Professor John Muschick 111 Studies in Music History: Professor Keith Mixter Professor Herbert Livingston Studies in Music Theory: Professor Burdette Green Professor David Butler PERFORMANCES RECITAL I BEVERLY VAUGHN, mezzo-soprano Graduating Recital Series, 1973-74, Tuesday, April 2, 1974. 8:00 p.m. Hughes Auditorium LINDA PHILLIPS, piano Supervised by: Professor Mario Alch Presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts. "An Evening of Spanish Art Songs" PROGRAM Siete Canciones Populares Espanolas MANUEL DE FALLA El Pano Moruno Sequidilla Murciana Asturiana Jota Nana , Cancion Polo II "Llorad, Corazon, Que Teneis Razon GRANADOS from Canciones^ Amatorias y, "Mira Que Soy Nina, ' ^o r , Dejame!" GRANADOS from Canciones Amatorias "No Lloreis, Ojuelos" .......................... GRANADOS from Canciones Amatorias "Iban al p i n a r " ..................................GRANADOS from Canciones Amatorias III "Chevere" .................................. MONTSALVATGE from Cinco Canciones Negras "Cancion para cunar a un Negrito" ........ MONTSALVATGE from Cinco Canciones Negras "Canto Negro"............................... MONTSALVATGE from Cinco Canciones Negras INTERMISSION IV "Florinda's Monologue" ........................ GINASTERA from Don Rodrigo V Farruca ........................................... TURINA "La Zagala Alegre" .............................. TOLDRA from Seis Canciones "Madre, unos ojuelos vi" ........................ TOLDRA from Seis Canciones La Virgen Va Caminando ............................ PALAU Pano Murciano ......................................... NIN El V i t o ............................................... NIN Del Cabello Mas Sutil .......................... OBRADORS Chiquitita La Novia ............................ OBRADORS Recital 2 Major role in Operatic Performance: "Hannah" in The Ice Break of Sir Michael Tippett, world premiere at the Royal Opera House at Covent Garden in London, England, July 7, 1977, with Colin Davis conducting and Sam Wanamaker, producer. Presented in partial fulfillment of the require­ ments for the Degree Doctor of Musical Arts. Cast List L e v ....................................... John Shirley-Quirk Nadia ..................................... Heather Harper Y u r i ..................................... Tom McDonnell Gayle ..................................... Josephine Barstow Olympion ................................ Clyde Walker Hannah .................................. Beverly Vaughn L u k e .....................................John Dobson Astron .................................. Anne Wilkens James Bowman Lieutenant of Police ................... Roderick Kennedy Members of the Chorus and Orchestra for the Royal Opera House Conductor: Colin Davis Producer: Sam Wanamaker Sets & Costumes: Ralph Koltai Choreography: Walter Raines Lighting: David Hersey VI THREE SAMPLES OF REVIEWS FOR THE WORLD PREMIERE OF THE ICE BREAK. July 7, 1977. From The Times (London), July 8, 1977: One of the characters in Sir Michael Tippett's opera, The Ice Break, first performed last night in London's Royal Opera House which commissioned it, is Olympion, styled "a black champion". Those of us who sometimes tire of contemporary opera's continuing dependence on aged myths and remote historical themes can only be thankful for Tippett, three of whose four operas treat eternally topical ideas in a contemporary context. A champion he is indeed, most clearly in The Ice Break. It takes place now, maybe tomorrow, and boldly discusses the burning topics of last week and next week seriously, movingly, with an ultimate resolution of a positive but not optimistic nature. The last words are said to be translated from Goethe: "Yet you will always be brought forth again, glorious image of God, and likewise be maimed, wounded afresh, from within or without". It would not be a surprise if Tippett had derived the basic theme from an antique myth (The Odyssey, Jesus's parable of the Prodigal Son?). The modern setting remains appropriate. vii The Ice Break takes up and further develops a theme from The Knot Garden, Tippett's third opera, the reconciliation of mutually exclusive types. There they were individualized: black and white, heterosexual and homosexual, aggressive and shy. The Ice Break centres on an ugly race riot between black and white, but its fundamental theme is the quest for a personal identity reconcilable with each individual's j^mily, friends, contemporaries, and other larger groups which constitute human society. The popular mass is an enemy which each must conquer for himself. At the beginning Yuri, Russian-born but American- bred, has come with his mother to meet his father who is arriving after years of imprisonment in their native land. Yuri is American by temperament but unacceptably moody and intransigent with his American coevals as well as his generation-gapped parents. The opera shows how, through physical suffering, he is brought to accept and embrace his foreign father, as a parent, a representative of another generation, another country and another, non-aggressive set of ethics. In the last scene also Yuri is slapped down discreetly by his black hospital nurse for humorously adopting the black jargon which formerly he, and now she rejects as superficial. Vlll The sacrifice which effects this reconciliation involves the death of Yuri's mother, who falls into a romantic decline, fearing that her son may not survive his mugging, of his sweetheart who hankered impetuously for racial unity, really because she found it hip and fashionable, and of the black pop-idol ( a sort of Muhammed All) who was the nurse's lover. The tension of groups and of individuals is cannily exposed
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