AMERICAN CLASSICS LORI LAITMAN The Scarlet Letter Libretto by David Mason

Claycomb • Armstrong MacKenzie • Belcher Knapp • Gawrysiak Opera Colorado Orchestra and Chorus Ari Pelto Lori CD 1 66:18 LAITMAN Act I (b. 1955) 1 Scene I: A Meeting Place 14:47 The Scarlet Letter (2008, rev. 2015–16) (Wilson, Bellingham, Dimmesdale, Chillingworth, Prynne, Chorus) Opera in Two Acts 2 Scene II: The Prison 13:33 (Chillingworth, Prynne) Libretto by David Mason (b. 1954) 3 Interlude: Time Passing 2:29 Based on the novel by Nathaniel Hawthorne (1804–64) (Chorus) Commissioned by The University of Central Arkansas through Robert Holden and the UCA Opera Program 4 Scene III: The Governor’s Rose Garden, Seven Years Later 14:18 (Bellingham, Wilson, Chillingworth, Dimmesdale, Prynne) Cast in order of vocal appearance 5 Scene IV: Dimmesdale’s Study – His Nightmare 21:11 A Sailor ...... Charles Eaton, (Chillingworth, Dimmesdale, Hibbons) A Farmer ...... Benjamin Werley, Tenor Goodwife 1 ...... Emily Robinson, Soprano John Wilson, an elder minister ...... Kyle Knapp, Tenor CD 2 45:04 Governor Bellingham ...... Daniel Belcher, Baritone Arthur Dimmesdale, a young minister ...... Dominic Armstrong, Tenor Act II Congregation Leader ...... William Bryan, Baritone 1 Scene I: The Forest 22:33 Goodwife 2 ...... Becky Bradley, Soprano (Chillingworth, Prynne, Dimmesdale) Goodwife 3 ...... Danielle Lombardi, Mezzo-soprano Roger Chillingworth, Hester’s long-missing husband . . . . Malcolm MacKenzie, Baritone 2 Scene II: A Meeting Place – Election Day 22:31 Hester Prynne, a young seamstress ...... Laura Claycomb, Soprano (Hibbons, Prynne, Bellingham, Wilson, Dimmesdale, Chillingworth, Chorus) Mistress Hibbons, a witch ...... Margaret Gawrysiak, Mezzo-soprano A Shipmaster ...... William Bryan, Baritone Pearl, Hester’s daughter ...... Maiah Howie (non-speaking role) Opera Colorado Orchestra and Chorus General Director: Gregory Carpenter • John Baril, Chorus-master Ari Pelto Beth Greenberg, Stage Director • Erhard Rom, Scenic Design Robert Wierzel and Amith Chandrashaker, Lighting Design • Topher Blair, Projection Design Terese Wadden, Costume Design • Ronell Oliveri, Wig and Makeup Design Lori Laitman (b. 1955) The Scarlet Letter First published in 1850, Nathaniel Hawthorne’s The statements, Dimmesdale’s evolving music suggests an Two, she needs to be a young girl, no longer a babe in now using the name Roger Chillingworth. Declaring that Scarlet Letter is one of the most familiar of all American increasing self-awareness. By the final scene, one may arms. To facilitate casting, Laitman has written the part as he will discover the identity of her lover, he confronts literary works, the title alone having established itself in well sympathize with him, which might not have been the a non-singing role. However, the character is still a crucial Hester in her prison cell, but fails to learn what he is the popular lexicon. That the story is also a love triangle, case in Hawthorne’s novel. Together, Laitman’s music dramatic presence. Using light-hearted phrases to determined to know. After he leaves, Hester sings a as well as a moral allegory may have escaped some and Mason’s text allow Dimmesdale to grow more than he represent Pearl playing in the forest is but one way in lullaby to her child, ‘the Pearl beyond all price.’ readers, but not composer Lori Laitman and librettist did originally. In any dramatic art form, one likes to see which Laitman brings the character to musical life. The Chorus reflects on the passage of time. Several David Mason. A focused set of central characters – built- characters be changed by their experiences; Along with the protagonists, there is also the issue of years pass, and Pearl is now a young girl. Governor in conflict between those characters – potential for large Dimmesdale’s music is an expression of that process. the community and how it judges Hester. In fact, it is the Bellingham and other leaders of Boston debate whether choral scenes – a dramatic denouement: those features The husband Chillingworth, too, wears varied musical community that comes first to the listeners’ attention, in the Hester should be permitted to keep her child, who they seemed ideal for the operatic stage. Streamline the masks. When in Hester’s company, his lines are gruff and opening pages intoning ‘One law’ in shades of moody gray. fear is not being raised in a suitably Christian manner. language to craft singable lines; use the music to paint the determined, like the voice of a man who is sure of being in It is law, as much as Chillingworth, that has condemned Chillingworth takes rooms with the young minister Arthur characters in the most vivid fashion possible, the better to the right and determined to prove it. By contrast, once he Hester – librettist Mason emphasizes that point from the Dimmesdale, who is concealing from all the fact that he is increase the story’s immediacy for listeners. Just as the has befriended Dimmesdale, apparently suspecting the very first words. The theme recurs, and for it, Laitman has the father of Hester’s child. Although taunted by the local greatest opera composers of past generations have faced other man of being Hester’s lover, Chillingworth takes on crafted a stern motif, representative of the unforgiving witch Mistress Hibbons, Dimmesdale will not confess, and those challenges, Laitman and Mason approached them a smoother, more insinuating character. He still seeks Puritan culture in which the protagonists live. Mason attests Chillingworth begins to sense that the minister is again from a 21st-century perspective. vengeance, but wants answers first, so in the scenes of that he wished to bring out ‘the moral texture of the book, or concealing something. Dimmesdale, almost overwhelmed All three central characters stand brilliantly in the the two men together, Chillingworth’s music is mellower in human law vs. the law of nature and life.’ Laitman’s music by his guilt, is in ever-failing health. spotlight. Hester’s music varies from scene to scene. As spirit, both vocally and in the instrumental support. That reinforces the point. Let the characters get out into the the curtain rises to reveal her, with infant Pearl in her Laitman has stocked her orchestra with an abundance of forest, and they are given freer, less constrained music Act Two arms, standing before her neighbors, the music is more varied woodwinds proves an advantage, as the diverse than they have in the village. In Hawthorne’s own time, the resolute than shamed, and one feels at once that Hester instrumental timbres do much to shade the general flavor idea of nature as a purifying influence was beloved in In the forest, Chillingworth accosts Hester once more, is equal to her burden. Firm and unyielding with her of any given melodic line. literature. The author and his contemporaries would likely demanding to know her lover’s name, but again failing to husband, she is gentle and encouraging with the father of Laitman places the principal characters in very be pleased to find their concept captured so vividly in force her to any revelation. After Chillingworth departs, her child, and in Act Two, she shifts musically from one to specific niches within their respective ranges. Hester’s music, as it is here in Latiman’s The Scarlet Letter, which Hester is approached by Dimmesdale. They muse on the the other in short order. Hester’s love duet with lines lie on the higher, lighter side of the soprano realm, premiered May 7, 2016. possibility of fleeing the community, and it becomes clear Dimmesdale is especially revealing, beginning as it does more coloratura in spirit than lyric. As for the men, that Pearl is coming to recognize Dimmesdale as her with the two singers first alternating lines with one Dimmesdale has scarcely any coloratura writing, but father. Plans are made for all three to sail back to Europe another, then beginning to overlap musically speaking, neither is he a Wagnerian Heldentenor; the minister’s Synopsis and begin their lives anew, to ‘know joy again.’ However, and finally blending together in harmony, as if expressive music makes him a conflicted young man, rather than a Dimmesdale, unable to set aside his guilt, chooses an of their closeness with one another. Mozart had used that bold adventurer. Despite being the closest thing to a Setting: mid-1600s Boston Election Day rally to confess to the crowd, revealing a approach in his famed duet ‘La ci darem la mano’ from villain in the opera, Chillingworth is a Puccini-esque letter ‘A’ branded on his own chest. Hester and Pearl join Don Giovanni; that master composer would likely be baritone, rather than a stereotypical bass. Like Act One him on the platform, but Dimmesdale’s heart finally gives impressed that Laitman thought to employ it here. Dimmesdale, he is a troubled soul, not just an out, and he falls dead at their feet. Chillingworth rages at Her lover Dimmesdale is the character who, both embodiment of the dark side. A crowd gathers to gawk at young Hester Prynne, having lost the target for his hatred. A choral epilogue musically and dramatically, undergoes the greatest Around the central trio one finds other characters for charged with adultery. With the damning scarlet ‘A’ on her resolves the story for mother and child. growth. Mistress Hibbons demands of him, ‘Who do you whom Laitman has also used musical tools to underline breast, she appears on the platform clutching her infant think you are?’ a question Dimmesdale poses to himself roles. Mistress Hibbons’ music has restless, generally daughter, Pearl. In the crowd is the minister Arthur Betsy Schwarm again and again, in ever new musical terms. Evolving unpredictable rhythms evocative of the character’s Dimmesdale, unacknowledged father of her child. Also from shorter phrases to gradually more expansive outsider status in the community. As for Pearl, by Act present is Hester’s long-lost husband, unrecognized and Author of the Classical Music Insights series Lori Laitman Laura Claycomb

Lori Laitman has composed multiple and choral works, and over 250 Laura Claycomb has appeared extensively with the Paris Opera, San Francisco songs, setting texts by classical and contemporary poets (including those Opera, , , Grand Théâtre de Genève, who perished in the Holocaust). Her music is widely performed, internationally and Théâtre de , the London Symphony Orchestra, the San Francisco throughout the US, and has generated substantial critical acclaim. Laitman and Symphony, the , Le Concert d’Astrée, and the Cleveland David Mason are continuing their collaboration with Ludlow, based on Mason’s Orchestra. Recent roles have included Amina in La sonnambula at the Bolshoi, Lucia novel about the 1914 Colorado mining town disaster. The Three Feathers, her di Lammermoor with New Orleans Opera, Tytania in A Midsummer Night’s Dream in children’s opera with librettist Dana Gioia, was commissioned and premiered by China with the Aix-en-Provence Festival, Cunégonde in with the Maggio the Center for The Arts at Virginia Tech, in a production directed by Beth Musicale in Florence, as well as Ophélie in with the Moscow Philharmonic Greenberg. Laitman and librettist Leah Lax are creating an opera, Uncovered (a Orchestra, among others. finalist for the 2018 Pellicciotti Opera Prize), based on Lax’s memoir Uncovered: How I Left Hasidic Life and Finally Came Home. Laitman regularly receives commissions from prestigious organizations, such as the Baltimore Symphony Orchestra, Music of Remembrance, Washington Master Chorale, and the Dominic Armstrong Eastman School of Music. Her discography includes releases on Naxos and other labels. She received her BA and Master of Music from Yale University. Hailed by critics for his clarion voice, crisp diction and vibrant sound, Dominic Armstrong has quickly established himself as an artist of superb musicality and characterization. He has Photo: Christian Steiner performed at theaters including the Lyric Opera of Chicago, Opera Philadelphia, Wexford Opera, Wolf Trap Opera, Castleton Opera Festival, Deutsche Oper Berlin, Turin, Musica Viva Hong Kong, and . He is frequently sought out for new works, David Mason and has been featured in workshops or premieres of operas by acclaimed composers such as John Musto, Matthew Aucoin, Missy Mazzoli, Steven Stucky, and Lori Laitman. David Mason’s award-winning collections of poetry include The Buried Houses (1991), The Country I Remember (1996), Arrivals (2004), the verse novel Ludlow (2007), and Sea Salt: Poems of a Decade, 2004–2014. A children’s book, Davey McGravy, appeared in 2015. As a librettist, Mason collaborated with Lori Laitman on her opera The Scarlet Letter and on an opera adaptation of Ludlow, for which Mason received the 2009 Malcolm MacKenzie Thatcher Hoffman Smith Creativity in Motion Prize. He wrote the libretto for her oratorio, Vedem, and for Tom Cipullo’s opera, After Known for a rich vocal range that is full of inviting nuance, Malcolm MacKenzie continues to Life. Mason served as Colorado poet laureate from 2010 to 2014. define the dramatic baritone repertoire. A specialist in Verdi, MacKenzie has performed the He teaches at Colorado College. title roles in and Simon Boccanegra, Giorgio Germont in La traviata, Iago in Otello, Renato in Un ballo in maschera, and Count di Luna in Il trovatore. He has also appeared as Baron Scarpia in Tosca; Sharpless in Madama Butterfly, Jack Rance in La fanciulla del West, Enrico in , Escamillo in Carmen, Tonio in Pagliacci, the title role in Don Giovanni, and George in Of Mice and Men. Daniel Belcher Charles Eaton

GRAMMY® Award-winning baritone Daniel Belcher has performed in many of the world’s Charles Eaton has performed professionally with multiple companies across the US, including music capitals. With a 70-role repertoire, he has performed parts from the Baroque to those Opera Colorado, Des Moines Metro Opera, and Minnesota Opera. In 2013, he received his expressly written for him. He came to international attention creating the role of Prior Walter in Bachelor of Music degree from the University of Connecticut where he sang Papageno in Die Peter Eötvös’s Angels in America for the Théâtre du Châtelet. He received a GRAMMY® for Zauberflöte, Thomas Putnam in The Crucible, and more. Additional credits included Count Kaija Saariaho’s L’Amour de loin in 2010. Other world premieres include by Almaviva in Le nozze di Figaro, The Forrester in The Cunning Little Vixen, and Masetto in Don (Houston Grand Opera), Sombre by Saariaho, and Waiting for Miss Monroe by Giovanni. Robin De Raaff (Dutch National Opera). Upcoming premieres include Kevin Puts’s Elizabeth Cree for Opera Philadelphia.

Benjamin Werley Kyle Knapp Benjamin Werley has appeared with many of the top opera companies in the US, including the Though he is particularly at home in the florid, lyric tenor roles of Mozart, Handel, and bel Santa Fe Opera, Florida Grand Opera, Virginia Opera, Opera Theatre of St. Louis, and the canto composers, Kyle Knapp’s versatility allows for a resume that ranges from the Merola Opera program at . Werley was one of 20 singers nationwide psychological complexity of Britten to the comic baritone roles of Gilbert and Sullivan. He sang selected to sing on the stage of the Metropolitan Opera in the semi-finals of the 2012–13 the title role in Greg Spears’ Jason and the Argonauts in a presentation by Lyric Unlimited Metropolitan Opera National Council Auditions. (Lyric Opera of Chicago), and took on the roles of Doctor/Chuck/Andy Warhol in Philip Glass’ The Perfect American with Long Beach Opera and Chicago Opera Theater.

Emily Louise Robinson Margaret Gawrysiak Emily Louise Robinson received her Master’s degree from New England Conservatory and Margaret Gawrysiak’s recent engagements include Marcellina in Le nozze di Figaro has completed a Performer’s Certificate at the Moores School of Music at the University of with Seattle Opera, Mrs. Lovett in Sweeney Todd with Fresno Grand Opera, The Houston, where she was seen in the title role of Thomas Pasatieri’s Frau Margot and as Marquise in Daughter of the Regiment with Arizona Opera, Mrs. De Rocher in Dead Beatriz in Daniel Catán’s La Hija de Rappaccini. Other roles include Love Simpson in Cold Man Walking with Dayton Opera, Ježibaba in Rusalka with North Carolina Opera, La Sassy Tree, Magda in The Consul, Mimi in La Bohème, and Silberklang in Der Frugola in Il tabarro with Opera Theatre of St. Louis, Mother/Witch in Hansel and Schauspieldirektor. Gretel with Virginia Opera, and Dame Quickly in Falstaff with Wolf Trap Opera Center. Becky Bradley Opera Colorado Greg Carpenter, General Director Becky Bradley is a fourth generation Colorado native. She graduated from the University of Denver, Lamont School of Music with a double major in music and elementary education. Great cities need great art, and for more than three Opera Colorado Chorus Photo: Matthew Staver Bradley has performed throughout Denver since the 1980s. She has sung with the Arvada decades Opera Colorado has brought world-class Center, and the Evergreen Players. Bradley joined Opera Colorado in its second season as a opera to Colorado audiences. Today Opera member of the chorus. She has been performing in the chorus for 32 years, singing in over 60 Colorado serves as a cornerstone of Denver’s operas. cultural community, bringing grand opera to the Ellie Caulkins Opera House, its Denver home since its opening in 2005. Alongside standard repertoire in the grand opera tradition, Opera Colorado presents new works or rarely performed productions each season. Opera Colorado was proud to produce the world premiere of The Scarlet Danielle Lombardi Letter with their next world premiere scheduled for 2018, entitled Steal a Pencil for Me. The company Danielle Lombardi received her Bachelor’s degree from Oberlin Conservatory and her reaches more than 37,500 students and adults Master’s degree from Rice University’s Shepherd School of Music. Her operatic roles include through its many education and community engagement programs throughout the Rocky Mountain region. Opera Annio in La clemenza di Tito, Dorabella in Così fan tutte, Mrs. Herring in Albert Herring, Colorado’s Young Artists, singers at the beginning stages of their careers, perform during their eight-month residency Ericlea in Monteverdi’s Il ritorno d’Ulisse in patria and Sandman in Hänsel und Gretel. with the company in schools and community centers across the State – including an annual tour on the Western Slope. Additionally, during the summer of 2012 Lombardi was a Gerdine Young Artist with the Opera Recognized nationally for its excellence, the Young Artists program provides training for the next generation of Theatre of St. Louis where she covered the role of Dorabella in Così fan tutte, and as a American opera singers. The fourth General Director in Opera Colorado’s 33-year history, Greg Carpenter, guides both member of the chorus in Carmen, Così fan tutte and Alice in Wonderland. the artistic and administrative operations of the company. His role as General Director began in 2007, prior to which he served as Opera Colorado’s Director of Development from 2004–2007, overseeing all fundraising and Board of Directors activities. Carpenter has served on the Board of Directors for OPERA America, and is a regular judge for the Metropolitan Opera National Council Auditions. www.operacolorado.org

Ari Pelto William Bryan Ari Pelto, at the age of 24, was appointed Assistant Conductor at William Bryan completed his Master of Music degree in vocal performance at Florida State the Spoleto Festival and has gone on to conduct on stages University where he performed the title role in Don Giovanni, Apollo in Handel’s Apollo e worldwide. His international appearances include productions at Dafne, and Rappaccini in Daniel Catán’s La Hija de Rappaccini. He has performed the title New National Theatre of Tokyo, the Teatro Nacional Sucre in role in Elmer Gantry, Ford in Falstaff, and Demetrius in A Midsummer Night’s Dream. Quito, Ecuador as well as productions during Oberlin in Italy each Additional credits include Utah Festival Opera & Musical Theater, Quad City Symphony, Mill summer. He made his highly praised debut with New York City City Summer Opera, and Skylark Opera. Opera in 2004 conducting La traviata, and later Madama Butterfly, La Bohème and Carmen. In 2015, Pelto was named Opera Colorado’s first ever Music Director, where he has conducted acclaimed performances and the world premiere of Lori Laitman’s The Scarlet Letter. Pelto will lead the world premiere of Gerald Cohen’s Steal a Pencil for Me in January 2018. Performance photos by Matthew Staver Lori LAITMAN (b. 1955) The Scarlet Letter (2008, rev. 2015–16) Opera in Two Acts AMERICAN OPERA CLASSICS Libretto by David Mason (b. 1954) David Mason’s beautiful verse- Based on the novel by Nathaniel Hawthorne (1804–64) adaptation of Hawthorne’s classic Hester Prynne ...... Laura Claycomb, Soprano Arthur Dimmesdale ...... Dominic Armstrong, Tenor novel, The Scarlet Letter, astutely Roger Chillingworth . . . Malcolm MacKenzie, Baritone portrays its characters amid the Governor Bellingham ...... Daniel Belcher, Baritone Puritan society of 17th-century John Wilson ...... Kyle Knapp, Tenor New England. My music – Mistress Hibbons . . Margaret Gawrysiak, Mezzo-soprano lyrically expressive and intricately Opera Colorado orchestrated – dramatizes the Orchestra and Chorus psychological underpinnings of Ari Pelto this story. Though Hester is shamed for adultery, her steadfast WORLD PREMIÈRE RECORDING strength of character reveals a CD 1 1-5 Act I 66:18 CD 2 1-2 Act II 45:04 true moral sense, while the weaknesses of both her lover and This recording was made possible thanks to estranged husband ultimately a generous grant from the Sorel Organization. A detailed track list can be found inside the booklet. yield their self-destruction. The libretto can be found at www.naxos.com/libretti/669034.htm – Lori Laitman Live recording: 7, 10, 13 & 15 May 2016 at the Ellie Caulkins Opera House, Denver, Colorado, USA Producer and editor: Marlan Barry www.naxos.com Engineers: Marlan Barry and Jamey Lamar Publisher: Enchanted Knickers Music Playing Booklet notes: Betsy Schwarm Time: Cover photograph by Matthew Staver 1:51:22