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8.111360-61 bk Menotti2_EU:8.111360-61 bk Menotti2_EU 11-10-2010 8:58 Pagina 12 • XIX The March to the Castle (Chorus) the Manticore (Chorus) The Townsfolk complain of the slowness of the The Man sings of how the Townsfolk have killed the Gian Carlo working of God’s law. They will judge those who live poet’s dreams and of the comfort which the Unicorn, and condemn those who love. They will respect only the Gorgon and the Manticore have given him during what fashion blesses and what is clever. his life. He loved them all equally, and all remain in the MENOTTI ª XX Twelfth Madrigal: As they enter the Castle, poet’s heart. He does not fear death in their arms. the Townsfolk see the Man in the Castle lying on his The Saint of Bleecker Street deathbed, surrounded by the Unicorn, the Gorgon and David Patmore The Unicorn, the Gorgon and the Manticore • SC TTI HIP O PE N R E S Also Available M 19 gs 55 din - 1957 Recor Gabrielle Ruggiero • Gloria Lane • David Poleri 8.112023-24 Leon Lishner • Catherine Akos • Maria Di Gerlando Orchestra and Chorus Thomas Schippers 8.111360-61 12 8.111360-61 bk Menotti2_EU:8.111360-61 bk Menotti2_EU 11-10-2010 8:58 Pagina 2 MENOTTI CENTENARY EDITION The Unicorn, the Gorgon and the Manticore ( X Sixth Madrigal: (Chorus) The Townsfolk ask the Man what he did with the Synopsis Unicorn. He replies that he killed and cooked it. They condemn him: ‘Wicked is Man, Patient is God, / All Gian Carlo 0 I Introduction (Chorus) He gives Man to enjoy Man will destroy.’ The Chorus sings of a strange Man who lives in a ) XI Seventh Madrigal: The Countess has just MENOTTI Castle and who shuns society. secretly poisoned her Unicorn (Chorus) ! (1911-2007) II Interlude One: The Dance of the Man in the The Countess tells the Count that her Unicorn is very Castle (Instrumental Ensemble) ill. He says that they can acquire another one. She @ III First Madrigal (Chorus) replies that they are so commonplace now that she The Chorus describes the Sunday afternoon walk of wants a Gorgon instead. Initially shocked the Count The Saint of Bleecker Street local society and the conversational inanities that take eventually relents in the face of the Countess’s Opera in Three Acts • Libretto by the Composer place then. entreaties and agrees to find a Gorgon for her. # IV Interlude Two: Promenade (Instrumental ¡ XII Interlude Four (Instrumental Ensemble). Ensemble) Annina . Gabrielle Ruggiero (soprano) Third Sunday First Sunday ™ XIII Eighth Madrigal: Enter the Man in the Michele, her brother . David Poleri (tenor) $ Desideria, Michele’s mistress . Gloria Lane (mezzo-soprano) V Second Madrigal: Enter the Man in the Castle Castle with the Manticore (Chorus) and the Unicorn Carmela . Maria Di Gerlando (soprano) (Chorus) The Man warns against caressing the lonely One Sunday afternoon the Man who lives in the Castle Don Marco, a priest . Leon Lishner (bass) Manticore: he is shy and is lost in dreams. He may kill joins the crowds with a Unicorn on a silver chain. They what he loves best. Assunta . Catherine Akos (mezzo-soprano) pour scorn on him by suggesting what he might do £ XIV Ninth Madrigal (Chorus) Maria Corona, a newspaper vendor . Maria Marlo (soprano) other than raise a Unicorn. The Townsfolk, after seeing the Manticore, ask what Her dumb son (about 16 years old) . Ernesto Gonzales % VI Third Madrigal: (Chorus) happened to the Gorgon. The Man confesses that he Salvatore . David Aiken (baritone) The Man advises the Unicorn to stay close to him and caged and then killed him. Concettina, a child . Lucy Becque to beware the virgin sleeping under the lemon tree: her ¢ XV Interlude Five: The Countess secretly stabs A young man . Richard Cassilly (tenor) kiss is poison. Home is safer. her Gorgon (Instrumental Ensemble) A young woman . Elizabeth Carron (soprano) ^ VII Fourth Madrigal: (Chorus) – XVI Tenth Madrigal (Chorus) First guest . Keith Kaldenberg (tenor) The Count asks his wife the Countess why she is sad. The Count asks the Countess why she is so sad. She Second guest . John Reardon (baritone) She replies that she cannot go through life without a replies that her Gorgon is lost. She asks for a Barman . Russell Goodwin (baritone) Unicorn. The Count swears to acquire a Unicorn for her. Manticore. They bicker and, after the Countess has & VIII Interlude Three: As the Count and the slapped him, the Count eventually agrees. § Orchestra and Chorus Countess appear with a Unicorn, the Townsfolk stare XVII Interlude Six: As the Count and the at them in surprise. Soon everyone in town imitates (Chorus director: Walter Baker) Countess appear with a Manticore, the Townsfolk them until every respectable couple is seen stare at them in great surprise. Soon all the Gorgons in Thomas Schippers promenading with its own Unicorn (Instrumental town are killed and every respectable couple is now Ensemble) seen promenading a Manticore. Recorded February - March, 1955 in New York City ¶ XVIII Eleventh Madrigal (Chorus) First released on RCA Victor LM-6032 Second Sunday The Townsfolk have noticed that the Man in the Castle * IX Fifth Madrigal: Enter the Man in the Castle is no longer seen on Sundays with his Manticore. with the Gorgon (Chorus) Suspicious, they decide to explore his Castle and find Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn Behold the proud and stately Gorgon who sees neither out what he has done with the Manticore. crowds nor enemies as he mixes with the elite. Fearless, he fascinates and frightens. 8.111360-61 211 8.111360-61 8.111360-61 bk Menotti2_EU:8.111360-61 bk Menotti2_EU 11-10-2010 8:58 Pagina 10 summons up the courage to tell him that she is dying. carrying the white dress. CD 1 79:30 & 7 Eh già che I giovinotti 3:20 She will take the veil very soon. He says that she Don Marco clothes himself in preparation for the (Chorus, Desideria, Michele) cannot do this in his hour of need. ceremony. Assunta tells Maria Corona and Salvatore * 2 Act 1 Ah, Michele, don’t you know that love Maria Corona confirms Michele’s fate from the that Michele has been seen close by: all he is interested Scene 1 can turn to hate 3:02 horoscopes in the newspapers. Annina confirms that in is dragging Annina to hell with him. Don Marco 1 Rosa Mystica 3:34 (Desideria) she can no longer help him. She cannot resist the voice tells Salvatore to keep Michele out if he sees him. He ( of God. She tells him that this is goodbye for ever. He places candles by the altar and lights them. All sing of (Assunta, Chorus, A Young Man) You will regret it 1:31 2 Well … I’m tired of waiting! 3:11 (Michele, Don Marco, Chorus, Annina, Salvatore) runs up the stairs: Annina tries to restrain him but she what Annina has had to suffer because of Michele. ) pushes him away. She collapses at the foot of the stairs Dressed as a bride Annina appears, apprehensive, in (Maria Corona, Assunta, Carmela, Chorus, I know that you all hate me 3:53 where Maria Corona comforts her. the doorway of her room. The nun walks over to her. A Young Woman) (Michele) 3 Interlude, leading to: 8 The chorus sings the Gloria. Annina bows to the 3 The vision has begun 3:37 ¡ You are wrong, Michele 1:27 nun and is led across the stage to a screen in the corner (Don Marco, Chorus) (Don Marco, Annina, Michele) Scene 2 of the room. She stands behind the screen, but is 4 Oh, sweet Jesus, spare me this agony 8:04 ™ Yes, Michele, go home 6:00 The tenement flat, as in Act 1, scene 1. It is late visible to the audience. Annina knocks three times (Annina, Chorus) (Desideria, Michele, Annina, Chorus) afternoon. Annina, wrapped in a shawl, lies in her against the screen and Don Marco commences the 5 Look, the stigmata! 0:55 armchair, her face very pale. A nun sits close by. Don investiture ceremony. The nun leads Annina to the (Chorus) CD 2 76:18 Marco stands by the front door, as if waiting for centre of the room where she kneels. She then 6 Stop it! Out of here, all of you! 4:27 someone. Carmela, who has been crying, sits in a prostrates herself on the floor; her extended arms form (Michele, Carmela, Chorus, Don Marco) Act 3 corner of the room, comforted by Salvatore. In another a cross. The nun covers her with a black cloth. Don 7 Ah, poor Michele, it is not I your rival 2:43 Scene 1 corner, a group of women, among them Maria Corona Marco renames her as Sister Angela. The nun removes (Don Marco) 1 There she is. Be careful, Michele, and Assunta, are kneeling. the black cloth and helps her to her knees. At this 8 4 The group of women chants the Agnus Dei. Annina moment Michele bursts in. He is restrained by Interlude – 2:00 try not to upset her 6:33 (Orchestra) (Don Marco, Maria Corona, Annina, Michele) opens her eyes and asks Carmela if there is any news – Salvatore; everyone turns to him, except Annina who, 2 she hopes to take the veil as soon as possible as she transfixed, stares at the altar. Scene 2 Weeping, these, for him, are days of weeping 4:56 does not think she will live for long; but if permission 9 Michele pleads with Annina to return to this world 9 Canta ninna, canta nanna al mio bambino 2:42 (Maria Corona, Annina, Michele) comes she will have nothing to wear.
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  • Changing Fortunes > Opera News > the Met Opera Guild

    Changing Fortunes > Opera News > the Met Opera Guild

    Changing Fortunes > Opera News > The Met Opera Guild http://www.operanews.com/Opera_News_Magazine/2007/7/Fea... Features July 2007 — Vol. 71, No. 1 (http://www.operanews.org/Opera_News_Magazine/2007/7 /THE_CAREER_ISSUE.html) Changing Fortunes BARRY SINGER assesses the legacy of Gian Carlo Menotti, whose Saint of Bleecker Street arrives this month at Central City Opera. When Gian Carlo Menotti first Deep down, Menotti was surfaced, in 1937, as a twenty- no rebel. five-year-old Italian-born prodigy from the shores of Lake Lugano in Lombardy, by way of the Curtis Institute in Philadelphia, the world of American opera was waiting for him - or for someone, anyone like him. The Depression had taken down a number of America's major companies, including the Chicago Opera, and had pummeled the Metropolitan Opera to the brink of Muriel Dickson in the bankruptcy. Accessibility was suddenly a Met premiere of Menotti in rehearsal for paramount concern within these Menotti's Amelia Goes The Medium, 1947 infamously elitist institutions - to the Ball, 1938 (http://www.operanews.org accessibility in the populist sense of new /_uploaded/image/article (http://www.operanews.org /menottimedlg7107.jpg) social equality for potential ticket- /_uploaded/image/article Menotti in rehearsal for buyers, but also in the hardcore /dicksonamelialg7107.jpg) The Medium, 1947 marketing sense. American opera Muriel Dickson in the companies needed new operas they Met premiere of could sell. Menotti's Amelia Goes to the Ball, 1938 Of course, no one at the top knew precisely what such an opera should sound like. Menotti showed them. His first, Amelia al Ballo, was a frolicsome Puccini send-up with dark undercurrents - a mixture of diversion and dire foreboding for an American audience consumed by the oncoming conflagration in Europe.