GLORY DENIED

Opera by Tom Cipullo Based on the oral history by Tom Philpott Professional premiere Remarkable Theater Brigade, New York, June 2008 ©2006 Tom Cipullo. Used by permission.

THE ANN & FRANK BUMSTEAD PRODUCTION

JUDY & JOE BARKER JESSICA & ZACH LIFF CO-SPONSORS

November 11, 12, 13, 2016 Noah Liff Opera Center

Directed by John Hoomes Conducted by Dean Williamson

Featuring the Nashville Opera Orchestra CAST & CHARACTERS Older Thompson Michael Mayes Older Alyce Rebecca Sjöwall Young Thompson Eric Neuville* Young Alyce Emma Grimsley*

* Nashville Opera debut TICKETS

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Study Guide Contributors Anna Young, Education Director Cara Schneider, Creative Director THE STORY

Special Forces Officer Captain Floyd “Jim” Thompson was Upon Jim’s return, he is crushed to find the idealized shot down over Vietnam on March 26, 1964. He was held vision of his family life completely changed and is forced to captive for nearly nine years by the Viet Cong giving him the discover how to fit into society and move on. Throughout title of America’s longest held prisoner of war. Relying on our hero’s journey, Jim never complains about loss of life, the memories of his wife (Alyce) and faith in God, Jim sur - the torture he endured or the struggles he faces. He vives his imprisonment and returns home in 1973. He remains true to his life’s first love; being an American sol - returns to a country he no longer recognizes and a family dier. who barely recognizes him. Glory Denied speaks to the plight of so many of our veter - Alyce, having to raise their four children on her own and ans who nobly fight for their country but face huge chal - uncertain if Jim would ever return, was unsure whether or lenges when it comes to re-assimilating into society and not her husband was dead or alive. After years of fearing their longed-for normal lives after service. This true story the worst, she refuses to have Jim recognized nationally as a explores the relationship of Jim and Alyce and how his fate missing person with the intent of protecting her family shaped the rest of their lives. from further pain. She begins a new relationship and even - tually settles down with another man. LISTEN FOR THIS!

Composer Tom Cipullo expertly crafts ple of the youth and innocence often asso - into how each deals with the loss of the Glory Denied with only four voices; a light ciated with a high soprano voice. other. Themes from earlier in the opera soprano (Young Alyce), a lyric soprano are reintroduced. Younger Alyce sings, (Older Alyce), a tenor (Young Thompson) “After You Hear Me Out” “Time passes so slowly but our fifth week and a baritone (Older Thompson). The repeats the Older Alyce when she comes of separation is over,” while the Older usage of the higher, lighter voices shows face-to-face with Jim for the first time after Alyce voices her frustration (the military youth and vulnerability. The robust, dark - his captivity. She has moved on and begun refused to declare her husband dead and er timbres give a more direct sound to a new life. The emphasis of the words and she longs to move on with her life as 8 years older Jim and Alyce, emphasizing wisdom returning musical phrase give a pleading have passed). Older Thompson reflects with the passage of time. The Younger intention to the character of Alyce as she upon his time in captivity while the words Alyce may depict Jim Thompson’s more honestly confronts Jim and explains to him of the psalm seem to transport the piece idealized vision and memory of his wife the choices she has made in his absence. into a prayer. Ending the first act, this while the Older Alyce may be a more real - ensemble marks Jim’s release from captivi - istic depiction of her character. Older Thompson Aria/Act I ensemble ty and transition back into civilian life. We see the characters often portrayed in Older Jim sings, “Everyone has their own parallel. This unique approach allows us sense of right and wrong, but few people Older Thompson Act II aria to view past and present simultaneously. stop to think about it. It’s just there. In Older Thompson sings of his frustration prison, I had time to think and to create a in a stream of consciousness. He lists the “My Darling Jim,” genuine sense of values. Things came out many changes happening in our country an aria sung by the Younger Alyce, quotes of my subconscious; things I’d long forgot - during the 1960’s and 1970’s. So much a letter between her and Jim during his ten. I could remember the names of gram - change occurred in our country and cul - deployment. It is simplistic in nature both mar school classmates and passages from ture during this time and this music per - musically and textually, and gives the lis - the Bible we had memorized as children. fectly depicts Thompson’s feelings with tener a look into the nature of Alyce’s life For a prisoner, the Twenty-Third Psalm loud dynamics, disjunct phrases and as a young mother and member of a mili - took on a meaning I had never dreamed of intense declamatory text. tary family. She speaks of the children and before.” The text of the Twenty-Third the melting of the snow outside their Psalm, sung by Younger Thompson, house. The sweetness of the vocal line is becomes a kind of descant over the texture. emphasized by the soft pianissimo dynam - The piece develops into a full ensemble ics in the final phrases. This is a fine exam - with all cast members allowing us insight ABOUT THE COMPOSER

Name: Tom Cipullo Dates: b. November 22, 1956

LIFE AND CAREER Tom Cipullo, born November 22, 1956, is an American composer originally from Long Island, New York. Born into a musical family, Cipullo’s father successfully hosted a radio show in the 1950’s and 1960’s and performed as a jazz bassist. Cipullo, known for his vocal music, composed over 225 songs including song cycles and two completed operas: Glory Denied (2007) and After Life (2014). A review in the New York Times describes his vocal writings as, “angular and declamatory at times, but he has a keen sense of when to let the modernist approach melt into glowing melody, and he has an even keener ear for orchestral color.” Mostly tonal in style, Cipullo’s compositions occasionally An award-winning and critically acclaimed classical composer, he transition into bitonality and dissonant passages. is the winner of a 2012 Guggenheim Fellowship, the 2013 Sylvia Cipullo earned his Master’s Degree from Boston University and Goldstein Award from Copland House, and the 2013 Arts & Letters is one of the founding members of the Friends & Enemies of New Award from the American Academy. Most recently, Tom Cipullo Music, an organization that celebrates American Composers, fea - was awarded the 2018 Domenic J. Pellicciotti Opera Composition turing them in over 80 concerts to date. Prize for his forthcoming work, “Mayo.” LIBRETTO & BOOK

THE LIBRETTO

Composer Tom Cipullo crafted the libretto of the opera with his own adaptation of Tom Philpott’s 2001 book and oral history also entitled Glory Denied. Nearly all of the opera’s language comes from direct quotes of people involved in the history of the story along with exten - sive interviews with Colonel Thompson before his death in 2002.

THE BOOK Glory Denied: The Saga of Jim Thompson, America’s Longest-Held Prisoner of War

Journalist Tom Philpott’s publication includes: comments from friends, fellow soldiers and other POWs as well as intelligence briefings, service records and medical reports. An important recount of a portion of American history, Senator John McCain wrote the following foreword for the book: “Before Vietnam, the truth of war, of honor and courage, was obscure to many of us. Like Jim Thompson, I learned the truth in war. Like Jim, I discovered in Vietnam that faith in myself proved to be the least formidable strength I possessed when con - fronting organized inhumanity on a greater scale than I conceived possible. In prison, I learned that faith in myself alone was ultimately no match for the cruelty that human beings could devise when they were unencumbered by respect for the God-given dignity of man. This is the lesson many Americans, including Jim, learned in prison. It is, perhaps, the most important lesson we have ever learned. Jim Thompson kept the faith. This is his story.” ABOUT THE SUBJECT

A BRIEF BIOGRAPHY OF COLONEL FLOYD JAMES THOMPSON

Floyd James Thompson was born in dynamic eventually led to Bergenfield, New Jersey, on July 8, 1933. As divorce. a young adult, he decided to make the mili - Thompson was a highly tary the focus of his life and career after decorated man at the time of being drafted by the United States Army on his retirement and was pro - June 14, 1956. moted to full colonel. He He completed Officer Candidate School received the Distinguished and was stationed at Fort Bragg. There he Service Medal in appreciation was recruited into the Army Special Forces for his 25 years of service to his as a Green Beret. country as an Army officer. It is said that Captain Thompson was Shortly before retirement, Jim unfamiliar with the country of Vietnam suffered a stroke; his friend until he was deployed there in December and lawyer Michael C o r 1963. Originally, his orders were to serve Chamowitz read his retire - b i only a six-month tour of duty. However, ment speech on his behalf: s on March 26, 1964, the observation plane of I am honored to receive Captain Thompson and fellow soldier, Colonel Floyd James Thompson, right, returns to the United this award today, but at the States after his nine years as a prisoner of war in Vietnam. Richard L. Whitesides, was shot down by same time I am saddened to small fire arms approximately 20 kilometers be leaving active military service. The Army lem faced by POWs was fear of the from their camp near Quang Tri, South has been my life and I am proud of each of unknown. This fear can be reduced, not Vietnam. Jim suffered burns, a bullet my twenty-five years of service. only for the potential POW but across the wound and a broken back; Whitesides was Of those twenty-five years, I spent nine awesome environment of the battlefield, by never found. as a prisoner of war. Those days were grim, training which is honest enough to address Army officers notified Alyce, Jim’s wife, and survival was a struggle. I was able to the real issue of combat and which is tough the day after his capture. The shock sent withstand that long agony because I never enough to approximate battlefield condi - her into early labor and their only son was lost my determination to live—no matter tions. born later that evening. The couple also how painful that became—because I love No, I do not now retire freely—there had three daughters at the time: ages 6, 5 my country and never lost faith in her, and was much I still wanted to do—but circum - and 4. because I had dreams of what my life would stances present me no alternative. I leave For over five years, Thompson did not be like upon my return to America. Those active military service because I must. But speak to another American during his dreams were always, unquestionably, of a for the rest of my life, the Army will be no imprisonment. His final release, a part of life that was Army. I found that the dream less a part of me, and of what I am, than Operation Homecoming, occurred nearly of continued service gave me a goal that what it has always been. nine years after his capture. Captain helped me survive my years as a POW. Thompson returned home in March of Colonel Floyd James Thompson After my return from Vietnam, the 1973 making him the longest held prisoner January 29, 1982 opportunity to serve became the motivat - of war in American history. ing force in my life. Military service has As a tragic result of the war, Jim strug - Colonel Floyd James Thompson spent the given me my greatest challenges and my gled with depression, nightmares, and alco - end of his life in Key West, Florida. He greatest rewards. I have worked hard for hol abuse upon his return. The inherent passed away on July 16, 2002. sound leadership development in the Army strain upon the relationship and family and for realistic training. The greatest prob -

Albany Records 2013, CD RECOMMENDED Conductor: Tyson Deaton Artists: Michael Mayes, Caroline Worra, David Blalock, RECORDINGS & VIDEO Sydney Mancasola Fort Worth Opera Orchestra OPERA ETIQUETTE

ALWAYS BE EARLY! Please arrive early to ensure you are able to find your seat before the performance begins and before the orchestra tunes. If you are late, you may miss the overture or even the first act!

OPERA IS FOR ALL AGES TO ENJOY! Opera is full of emotion, passion, human conflict, and discovery. Nashville Opera usually presents operas in their original language and projects supertitles above the stage so the audience can understand every word.

WHAT TO WEAR Many people think of a night at the opera as a glamorous event and an excuse to bring out the fancy attire. But, it is also acceptable to dress comfortably. For dress rehearsals, the casual attire that students wear to school is perfectly acceptable. A light sweater, jacket, or wrap is suggested because the theater is air-conditioned.

USE THE RESTROOM Once in the theater it is courteous to remain seated and involved in the production until intermission. Please do not leave the theater unless there is an emergency.

PLEASE BE COURTEOUS... to everyone in the audience and on stage. Opera is a live performance, so any talking, cell-phone use (including texting) or other noise/light disruption takes away from everyone’s experience at the opera. Remember that unlike many staged performances, opera singers do not use microphones. This makes it essential to wait until intermission to unwrap gum/candy, talk to your neighbor or use electronic devices that may distract others. Be sure to turn off cell phone and pagers.

APPLAUSE WELCOME! There are several times during a performance when it is appropriate to applaud the performers. The first opportunity to applaud takes place when the conduc - tor takes the podium at the very beginning of the performance and when he/she returns to the podium following intermission(s). It is also acceptable to applaud after an overture or aria in the middle of a performance. Applaud when the per - formance moves you. You may show your appreciation to the performers by shouting “Bravo!” for a male performer, “Brava!” for a female performer, or “Bravi!” for an ensemble. At the conclusion of the performance, singers who performed principal roles in the opera will take their “curtain call.” It is appro - priate to continue applauding until all singers have stepped forward to accept their applause. Sometimes, audience members are so impressed with the overall performance of the opera, they will stand and applaud the entire ensemble. This is called a “standing ovation.”

NO PHOTOS OR REC ORDINGS PERMITTED A SOUND ANATOMY OF OPERA

There are many different kinds of songs in opera. Performers may sing alone, in couples (duets), trios, or larger groups, and there are also moments when no one sings at all—and each composer develops his or her own preferred combinations of these options.

THE OVERTURE An opera usually begins with an orchestral piece of music called the overture, which functions as an introduction to the opera. Lasting anywhere from five to twenty-five minutes, these opera overtures usually contain important themes from the rest of the production. Before 1800, house lights were not dimmed while the overture played, and audience members continued to talk, drink, and even play cards! This ceased in the 1900’s as the overture became a more integral part of an operatic performance. At the end of the overture, the curtain rises and the story of the opera unfolds through a series of scenes. These scenes are organized into acts.

ARIAS An aria is a solo moment for an opera singer and is usually accompanied by the orchestra. Italian for “air” or song, an aria stops the plot momentarily, giving each character the opportunity to express their innermost thoughts and feelings. These pieces also provide an oppor - tunity for the singer to demonstrate their vocal and artistic skill. Mozart, Verdi and Puccini were able to achieve a remarkable balance between memorable melodies that perfectly suit the human voice while still reflecting the drama of the text.

RECITATIVES Recitatives, a type of singing unique to opera, help propel the action forward. They can be accompanied either by a full orchestra, or, as is often the case with opera written before 1800, by harpsichord or keyboard instrument. Often introducing an aria, the text is delivered quickly and encompasses a very limited melodic range. It has no recognizable melody and the rhythms follow those of the spoken word.

ENSEMBLE (“TOGETHER”) Ensemble singing deals with two or more voices of different range performing together. These include duets, trios, quartets, quintets, and sometimes sextets. The composer blends the voices depending on the dramatic requirements of the plot. For instance, a love duet may begin with each performer singing different music at different times, then gradually unifying into harmony. Conversely, the music of a duet may depict conflict. Georges Bizet used this technique in Carmen: if you listen to the duets sung by Carmen and Don José, you might notice that their musical lines are never completely blended, and this foreshadows their tragic ends.

CHORUS Most operas include music sung by a large group of singers (sometimes more than 40) called a chorus. The chorus often appears in a crowd scene and can provide a stunning contrast to solo or ensemble singing. In one opera by Benjamin Britten, the chorus is played by a single male and a single female, as in the tradition of ancient Greek theatre.

ORCHESTRAL MUSIC The orchestra accompanies the singing and introduces the opera with the overture. Musical and emotional themes often appear in orches - tral introductions and conclusions to arias, recitatives, and choruses. In many cases, the orchestra plays such an important role, the gravity of its existence is that of a leading character. ON OPERATIC VOICES

Every voice is unique and no singer gets to choose the category in which they sing but must work with the vocal attributes with which they were born. Composers usually assign a voice type to a character based on his/her personality or age. Read these descriptions for examples.

BARITONE Women Men This is the middle male voice and is close to a French horn in range and tone color. The SOPRANO COUNTER-TENOR baritone usually plays villainous roles or father-figures. In Glory Denied, the role of This is the highest female voice and has a This is the highest male voice, which was Older Thompson is sung by a baritone. range similar to a violin. In opera, the mainly used in very early opera and orato - The range is from the G an octave and a half soprano most often plays the young girl or rio. The voice of a countertenor sounds below middle C to the G above. the heroine (sometimes called the prima very much like a mezzo-soprano’s voice and donna), since a high bright voice tradition - they often sing the same repertoire. Like ally suggests femininity, virtue, and inno - the contralto, true countertenors are very BASS-BARITONE cence. The normal range of a soprano is rare. There are no counter-tenors in Glory This is the lowest male voice and is similar from middle C through two octaves above Denied. to a trombone or bassoon in range and middle C, sometimes with extra top notes. color. Low voices usually suggest age and Most women are sopranos. The roles of TENOR wisdom in serious opera.The range spans Older Alyce and Young Alyce are sung by from roughly the F above middle C to the F This is usually the highest male voice in an sopranos. an octave and a fourth below. There are opera. It is similar to a trumpet in range, no bass-baritones in Glory Denied. tone, color, and acoustical ring. The tenor MEZZO-SOPRANO typically plays the hero or the love interest. Also called a mezzo, this is the middle The role of Young Thompson is sung by a female voice with a range similar to an tenor. His voice ranges from the C below oboe. A mezzo’s sound is often darker and middle C to the above. warmer than a soprano’s. In opera, com - posers generally use a mezzo to portray older women, villainesses, seductive hero - ines, and sometimes even young boys. Mezzo-sopranos also often serve as the friend or sidekick to the soprano. The mezzo-soprano’s normal range is from the A below middle C to the A two octaves above it. There are no mezzo-sopranos in Glory Denied.

CONTRALTO This is the lowest female voice and has a voice similar in range to a clarinet. Contraltos usually sing the roles of older females or special character parts such as witches and old gypsies. The range is two octaves from F below middle C to the top line of the treble clef. A true contralto is very rare—some believe they don’t exist at all! There is no featured contralto in Glory Denied.

Bass-baritone Donovan Singletary and baritone David Adam Moore as Leporello and the Don in Nashville Opera’s DON GIOVANNI, October 2016. Photo by Jonathan Pfahl THE ARTISTS

Older Thompson Older Alyce Young Thompson Young Alyce MICHAEL REBECCA ERIC EMMA MAYES SJÖWALL NEUVILLE* GRIMSLEY* baritone soprano tenor soprano Eugene Opera Nashville Opera: Nashville Opera: Seattle Opera Duke Theater NYC Pagliacci The Difficulty of Madison Opera Albany Records Crossing a Field Vespertine Opera Glimmerglass Opera Boston Lyric Opera The Man Who Central City Opera Mistook His Wife New Orleans Opera for a Hat Opera Omaha

Opera Idaho Pacific Opera Project Arizona Opera

Accompanist & Stage Director Conductor Chorusmaster JOHN DEAN AMY TATE HOOMES WILLIAMSON WILLIAMS Nashville Opera Nashville Opera Music Nashville Opera CEO & Artistic Director, 2015 –present Accompanist, Director Nashville Opera: 1998 –present 1995 –present Romeo and Juliet Nashville Opera: Nashville Opera: Samson and Delilah Elmer Gantry Elmer Gantry The Girl of the Romeo and Juliet Samson and Delilah Golden West Don Giovanni The Fall of the The Difficulty of Tosca House Crossing a Field Rigoletto of Usher Cinderella Andrea Chénier Andrea Chénier The Man Who The Girl of the The Girl of the Mistook His Wife Golden West Golden West for a Hat The Difficulty of The Difficulty of The Barber of Seville Crossing a Field Crossing a Field Hydrogen Jukebox The Man Who The Man Who Arizona Opera Mistook His Wife Mistook Opera Idaho for a Hat His Wife for a Hat Des Moines Metro Hydrogen Jukebox Opera Florentine Opera Skagit Opera * Nashville Opera Debut Opera New Jersey Opera Carolina Arizona Opera NASHVILLEOPERA.ORG