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NOV 2018 NEXT WAVE FESTIVAL NEXT WAVE Roy Lichtenstein, Reflections on Hair, 1990 Published by: Season Sponsor: Brooklyn Academy of Music Adam E. Max, Chairman of the Board William I. Campbell, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Savage Winter Executive Producer American Opera Projects and Pittsburgh Opera Music by Douglas J. Cuomo Directed by Jonathan Moore DATES: NOV 7—10 at 7:30pm Season Sponsor: LOCATION: BAM Fisher (Fishman Space) Leadership support for music programs at BAM RUN TIME: Approx 1hr 15mins provided by the Baisley Powell Elebash Fund. no intermission #BAMNextWave BAM Fisher Savage Winter Written and Composed by Music Director This project is supported in part by an Douglas J. Cuomo Alan Johnson award from the National Endowment for the Arts, and funding from The Andrew Text based on the poem Winterreise by Production Manager W. Mellon Foundation. Significant project Wilhelm Müller Robert Signom III support was provided by the following: Ms. Michele Fabrizi, Dr. Freddie and Directed by Production Coordinator Hilda Fu, The James E. and Sharon C. Jonathan Moore Scott H. Schneider Rohr Foundation, Steve & Gail Mosites, David & Gabriela Porges, Fund for New Performers Technical Director and Innovative Programming and The Protagonist: Tony Boutté (tenor) Sean E. West Productions, Dr. Lisa Cibik and Bernie Guitar/Electronics: Douglas J. Cuomo Kobosky, Michele & Pat Atkins, James Conductor/Piano: Alan Johnson Stage Manager & Judith Matheny, Diana Reid & Marc Trumpet: Sir Frank London Melissa Robilotta Chazaud, Francois Bitz, Mr. & Mrs. John E. Traina, Mr. & Mrs. Demetrios Patrinos, Scenery and properties design Assistant Director Heinz Endowments, R.K. Mellon Brandon McNeel Liz Power Foundation, Mr. & Mrs. William F. Benter, Amy & David Michaliszyn, The Estate of Video design Assistant Stage Manager Jane E. Knox, Arthur Weldon, Joseph M. Joseph Seamans Jessica L. Halem Newcomer, Ph.D. Lighting design Props Master/Wardrobe Assistant Cindy Limauro Sophia Andreyev AOP’s season is made possible by The Aaron Copland Fund for Music, Inc., Sound design Supertitles Operator The Andrew W. Mellon Foundation, David Bullard Ellen Máirín Johnston the Amphion Foundation, BMI, Howard Gilman Foundation, the Virginia B. Production Assistants Toulmin Foundation, the National Alissa Jaquin, Joel Kalow, Endowment for the Arts (NEA), public Cal Silberstein, Holly Wright funds from the New York State Council on the Arts with the support of Governor Production Photographer Andrew Cuomo and the New York State Steven Pisano Photography Legislature, and the New York City Department of Cultural Affairs, in partnership with the City Council, and the contributions of many individuals. Savage Winter is a co-production of Text adapted by Douglas J. Cuomo from American Opera Projects & the original poems by Wilhelm Müller. Pittsburgh Opera Used by arrangement with European American Music Distributors Company, World premiere performance presented by sole US and Canadian agent for Schott Pittsburgh Opera, February 17, 2018 Music Corporation, New York, NY, publisher and copyright owner. Some people choose to go on a silent retreat I chose to write for piano, electric guitar, ABOUT to embark on this interior journey to find ABOUT trumpet, and electronics, an unusual this deep authenticity. Others are thrown combination but one that I felt would support Savage Winter kicking and screaming from the wreckage Savage Winter the spare sonic landscape I imagined, one of their workaday lives into a degree of that would match the inner world of “The DIRECTOR’S STATEMENT self- awareness. COMPOSER’S STATEMENT Man,” our protagonist. I’d used electronics often in writing music for television and film, Winterreise. Winter Journey. Still others might ignore the call to grow and I always loved Schubert’s Winterreise and but this was the first time I’d felt inspired A journey in winter. change altogether and spend the rest of their at some point a number of years ago I got to use this sonic palette for more “serious” lives frozen into the rictus of a smile that the idea of adapting the underlying text—the music for the stage. I built a world of The idea of Journey, Pilgrimage, Camino, might be, in fact, a silent scream. poetry cycle of Wilhelm Müller (also called slow-motion grooves, unfamiliar moaning, seems to be something embedded in Winterreise)—and creating a piece around crackling wind, of whirring and spinning our race memory as humans. A deep, It seems to me that both the Müller/Schubert it. I’m generally not a negative or depressive things. The soundscape is like a musical pan-cultural need for an epic journey to original and this piece, inspired with loving person, though I’ve certainly gone through prism to be held up to the light, refracting enlightenment. The Ur narrative. A young awe by that original source material, periods of internal darkness and despair, but the roiling and inchoate insides of a man in a aboriginal warrior on solo walkabout in the are concerned with the deep existential there was something in this poetry that was highly charged and unsteady orbit. wilderness. The grail knight who must travel questions. The timeless questions of the enticing to me—a look at this darker side of a on a new path alone through the forest. quest for authenticity and individuation, person’s internal landscape. It’s a meditation Both the trumpet player and guitarist The 40 days and nights in the desert. The and of course the experience of the painful on life, lost love, faith, and death. Extremely improvise a fair amount; before I was a Camino. The Way. The Mythical Journey. “pangs of despised love” as my countryman, dark but also quite beautiful and moving. composer I was a jazz guitarist so that’s a Large, towering archetypes suffused Shakespeare, has it. Indeed, when the Fates part of my musical DNA. But also there are with numinous power. I made a solo 400- and the Furies come crashing down on us, Even before I began adapting the text (which influences from the sounds of electronica, mile Camino on foot from the Basque we might even join Hamlet in the primal I did before writing the music) I knew I loop-based music, distorted rock guitar, and country to Catalonia in Spain with just question at the nub of it all: “To be or not to wanted to compose this piece in a state of course contemporary art song. And though a backpack a few years ago. Of course, be.” as close to automatic writing as I could. I the text has a very clear (though elastic) a journey of this sort is a physical route had a vision of the music flowing like water relationship to Müller’s original poems, the through a topographical, empirically testable The room in which our protagonist finds effortlessly from my pen. This desire was a music doesn’t reference Schubert at all until landscape. But it is also a journey of an himself is of course a recognizable, physical conscious reaction to what I had just finished the very last poem, The Hurdy-Gurdy Man, interior kind. It is a paradigm of the bigger space. But it is also a metaphysical one. He — my first large work, Arjuna’s Dilemma which quite clearly pays its respects to that journey of life. It is a journey through one’s is here on a journey of reflection, confronting (BAM Next Wave 2008), which for me was, master composer. interior landscape too. his demons, his fears, his grief for his lost though very satisfying, also very painstaking. love, and feelings of pain and rejection. He Here my goal was to break free and let the This is at times a hard-edged piece, filled Someone, at the very end of my Camino, feels primal, animal pain. He is like a wolf in music determine where I would go as I with acute angles, but it is also a world of said, “Bien Camino” (“Have a good Camino,” a cave, licking his wounds. He needs to go wrote it. I realized that if I adapted the text miniatures—intimate, stark, and delicate. normally said at the beginning or during alone on a journey into the winter of his soul without any preconceived rules I could let Operatic in its heightened emotion, with the journey). Initially I thought he made a and hopefully find a thawing, a discovery of the music do just that; I could change it as moments of great power and great stillness, mistake. But of course he realized, unlike the truth that will possibly set him free. I was composing to fit my inspiration in the The Protagonist is singing a long and me at the time, that at the end of my specific moment. evolving mad scene as he searches for faith Camino I had just begun the rest of my life’s I was reflecting on ideas around the Desert and grapples with his (and our) ideas of Camino. Fathers and Mothers, painters, prophets, I kept this freedom within a defined overall love, human connection, loneliness, desire, hermits, “the lunatic, the lover, and the structure however—I stay strictly within the betrayal, faith, and finally the nature of I’m interested in the idea of certain points in poet,” sequestering themselves from the form of the Schubert song-cycle. There are existence itself. our lives being moments of great epiphany. world for short or lifelong periods in order 24 poems in the original, and I re-interpret Epiphanos. A manifestation or revealing. to journey to the center of their souls. And the text of each in a different way. For a few —Douglas J. Cuomo, Composer They can be revealed in the resonance of return to the world perhaps with insights poems I use more or less literal translations ecstatic revelation.

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