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Three Way Study Guide

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Three Way Study Guide NASHVILLE OPERA present THREE WAY A Trio of One-Act Operas Music by Robert Paterson Libretto by David Cote ANN AND FRANK BUMSTEAD, WORLD PREMIERE SPONSORS World Premiere, J anuary 27, 2017 • James K. Polk Theater, TPAC Production Conceived and Directed by John Hoomes for Nashville Opera and American Opera Projects Conducted by Dean Williamson • Featuring the Nashville Opera Orchestra CAST THE COMPANION Maya, a single woman Danielle Pastin Joe, her android companion Samuel Levine* Dax, the tech-support guy Wes Mason SAFE WORD The Domme, Mistress Salome, a dominatrix Eliza Bonet* The Client, a businessman Matthew Treviño MASQUERADE Jillian DeBridge h o s t s o f t h e m a s q u e r a d e Eliza Bonet* B r u c e D e B r i d g e } Matthew Treviño J e s s i e Courtney Ruckman*† a thirtyish couple seeking spice M a r c u s } Samuel Levine* C o n n i e Danielle Pastin secret swinglife veterans L a r r y } Wes Mason T y l e r Melisa Bonetti*† an androgynous postgender couple K y l e } J o r d a n R u t t e r * * Nashville Opera Debut TICKETS & INFORMATION Contact Nashville Opera at 615.832.5242 or visit nashvilleopera.org. Study Guide Contributors Anna Young, Education Director Cara Schneider, Creative Director NASHVILLE OPERA WELCOMES YOU TO THREE WAY. This production is intended for mature audiences and contains adult language and situations. Three Way, a tantalizingly tongue-and-cheek title for three operatic vignettes, includes The Companion, Safe Word, and Masquerade. These comic operas take a closer look into relationships, desire, and human nature. Each piece cleverly unravels with exciting twists and turns, ensuring an evening of intrigue set to a smart, sometimes jazzy, often beautiful score. John Hoomes, Artistic Director and CEO of Nashville Opera, lovingly describes the piece as Sex and the City meets The Twilight Zone. A WORLD PREMIERE Nashville Opera is proud to produce the world premiere of Three Way in partnership with American Opera Projects. Nashville opera enthusiasts get the first chance to see this evocative piece. Encore performances later occur in New York at the Brooklyn Academy of Music beginning June 15, 2017. THE STORY (STORIES!) THE COMPANION son. She answers by explaining Joe is the MASQUERADE perfect man—or is he? This clever open - The evening opens with The Companion ing drama explores the definition of a per - Finally, we find ourselves at a mysterious and we are introduced to Maya and Joe. fect mate and the essential elements of a party filled with colorful characters in Maya is a career woman who has it all— relationship. Should potential disappoint - Masquerade. The audience gets a sneak including the perfect man. He cooks, ment with something real mean more than peek into many different kinds of relation - cleans, compliments and is always waiting emotional stability and perfect expecta - ships. Initially, a seemingly racy situation to rub her feet after a long day. He fulfills tions with something synthetic? explores loneliness and the need for her every need (wink!) with no complaint human connection. or opinion of his own. One may ponder This witty production of Thee Way how this could be possible until we realize SAFE WORD shares much in common with all great Joe is an android; a synthetic man! Maya opera plots—relationships, love, loneli - purchased a basic model “companion” and Safe Word unfolds in a posh apartment ness, and desire. is very happy with him until he begins to where we meet “Mistress Salomé,” a highly show glitches and is in need of repair. paid dominatrix. (One could say this opera Dax, a handsome technician, is called to features a strong female lead!) The story run an update on Joe’s software. He asks takes a closer look at boundaries and power Maya why she chooses to emotionally with a series of unexpected events ulti - invest in something that isn’t alive when mately leaving the audience guessing as to she could find real love with another per - who is really in control. J a s o n L e e D e n t o n THREE WAY cast members Matt Treviño, Sam Levine, Eliza Bonet, Wes Mason, and Danielle Pastin get playful in a photoshoot. LISTEN FOR THIS! All three operas are written for classically paniment making certain the words are SAFE WORD includes two singers trained voices and chamber orchestra. A easily understood. The text, “What I want (mezzo, bass-baritone) chamber orchestra refers to a smaller group is a man. Not just any man: the perfect The Client’s aria, “A Man Needs,” is a of instruments and is often intended for an man,” bookends the aria. The final note is highly tuneful and rhythmic piece. Its jazzy intimate venue or chamber. Our orchestra sung with a tender pianissimo (or soft style may remind one of a sultry cabaret contains the following: flute, oboe, clar - dynamic) in the high register of the sopra - piece. The client explains his desires and inet, bassoon, French horn, percussion, no voice. reason for his session. piano (doubling synthesizer), 2 violins, The accompaniment for “Broken “Pain and Release,” sung by the viola, cello, bass, and one conductor. Machines,” makes use of a flowing pattern Domme, presents a moody and theatrically Approximately 12 players round out the that propels the piece forward as a kind of charged text giving insight into our mezzo- ensemble. work-song for the character Dax (baritone) soprano’s character. The overall feel of the The style of writing has a spiced-up as he tends to Joe. Dax ironically repeats piece ebbs and flows as the title of the aria Broadway feel in which large, dramatic the phrase, “People are broken machines,” would suggest. The final chord is quite dis - moments are supported with tuneful referring to his clients and comparing them sonant and clashes with an unsettled feel - melodies. The listener will enjoy this to the androids he repairs. ing suggesting there is more to the story. smart, rhythmic score, often incorporating Joe’s tenor aria, “You Were My First the usage of text painting. Text painting Love,” has a tenderly crafted melody with a MASQUERADE includes eight singers (2 refers to musical gestures that telegraph the lovely theme. It is an expertly written piece sopranos, 2 mezzo-sopranos, counter- text and support the action of a scene. with a free flowing, gentle accompani - tenor, tenor, baritone, bass-baritone) Much of the plot unfolds in the style of ment. This aria provides one of the most This opera incorporates a countertenor recitative or sung music in which the clear genuine moments of The Companion and as part of an androgynous couple at the declamation of text is paramount and is ironically delivered by the only non- party. The other member of the pair is a often accompanied by simplistic chord human character in the opera! Truth mezzo-soprano. The selection of these two progressions. sometimes reveals itself in the most unlike - voices is perfect due to the similar quality ly places. In contrast, the opera closes with and range they share. It is fascinating to THE COMPANION includes three a repetitive, almost mechanical duet hear them intertwine; the similar vocal col - singers (soprano, tenor, baritone) between Dax and Maya, eluding to a blos - ors blend beautifully. Often, composers “The Perfect Man,” sung by the sopra - soming love between the two. use either a countertenor or a mezzo-sopra - no character Maya, contains a funny text no and a selection with both is sure to be set to a lyrical melody with simple accom - an exciting rarity! NASHVILLEOPERA.ORG ABOUT THE COMPOSER Robert Paterson A “modern day master” and often the “highlight of the program” (The New York Times) , Robert Paterson’s music is loved for its ele - gance, wit, structural integrity, and a wonderful sense of color. Paterson was awarded Composer of the Year from the Classical Recording Foundation at Carnegie’s Weill Hall in 2011. His music has been on the Grammy® ballot yearly, and his music was named Best of 2012 on National Public Radio. Season highlights include Nashville Opera’s world premiere of THREE WAY which will be remounted with co-producer American Opera Projects at BAM in Brooklyn, June 15 –18, 2017. Other premieres include his opera with Mark Campbell, The Whole Truth, Shine for the American Brass Quintet, Moon Music for the Claremont Trio, and Graffiti Canons the Divine. Paterson gives master classes at universities, including for the Volti choir of San Francisco. His works have been per - the Curtis Institute of Music, Aspen Music Festival, New York formed by the Louisville Orchestra, Minnesota Orchestra, Austin University, and the Cleveland Institute of Music. Paterson is the Symphony, Vermont Symphony, among others. Paterson’s choral artistic director of the American Modern Ensemble and resides in album was released with Musica Sacra and maestro Kent Tritle, NYC with his wife Victoria, and their son Dylan. For more infor - with a world premiere of Lux Aeterna at the Cathedral of St. John mation, visit robertpaterson.com. THE LIBRETTIST David Cote drama critic of Time Out New York and a contributing critic on NY1’s On Stage. His reporting and criticism have appeared in American Theatre, Opera News, The Guardian, The New York David Cote is a playwright, librettist and journalist based in New Times and elsewhere. He has taught seminars in arts criticism at York City. Aside from collaborating with Robert Paterson, Cote’s Brooklyn College and wrote popular companion books to the hit opera with composer Stefan Weisman, The Scarlet Ibis, premiered Broadway musicals Wicked, Jersey Boys and Spring Awakening.
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