The Sacred in Opera December 2009
The Sacred in Opera December 2009 In This Issue In this newsletter, the SIO continues with the The SIO welcomes contributions from any NOA topic of staged oratorio, with interesting contributions members who have had experience producing, present- about the staging of the St. John and St. Matthew Pas- ing, performing, composing, or conducting sacred dra- sions from Dr. Mozelle Clark Sherman and from con- ma. Plans for the future include setting up an SIO blog. ductor Dr. Keith Clark. We are also pleased to mention Please send your articles and ideas directly to Ruth Dob- the performances of three sacred dramas recently pre- son, Chair of the Sacred in Opera project, at dobsonr@ sented in the US, Esther, by Hugo Weisgall, at New York pdx.edu. City Opera, Ruth, by Philip Hagemann, also presented in New York City, and Unfinished Sermons by Maurice Say- lor, premiered in Arlington, Virginia. In This Issue Our previous newsletters can be accessed on the NOA website under the Sacred in Opera initiative. Re- SIO Lifetime Achievement Award............................2 cent contributors to the newsletter are Allen Henderson, G. William Bugg, Carl Gerbrandt, Bruce Trinkley, and Su- san Boardman. Topics have included discussions about Staging Oratorio: Should Bach’s Passions Be Staged performances and production requirements of several Today?....................................................................3 operas, including Eve’s Odds (Bruce Trinkley and J. Ja- son Charnesky), Only a Miracle (Seymour Barab), The Shepherd’s Play, St. Nicholas, and Good King Wenceslas Staging Oratorio.....................................................6 (Richard James Shepherd), A Gift of Song and The Night of the Star (Mary Elizabeth Caldwell), The Greenfield Christ- mas Tree (Douglas Moore), The Christmas Rose (Frank Recent Performances Of Sacred Drama In The US : Bridge), and in the last issue, the staging of oratorio, Ruth.......................................................................8 with special emphasis on Mendelssohn’s Elijah.
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