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• 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

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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 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 ...... (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 ¶ 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. Carmela fetches where he needs her love. Annina remains motionless. (Assunta, Carmela, A Woman, A Girl, Concettina) 3 Interlude – 2:32 her wedding dress for here to wear and leaves it by the Don Marco tells Michele that he is too late: she can no 0 Annina, I’ve something to confess to you 5:23 (Orchestra) chair next to Annina. A young priest rushes in and longer hear him. He resumes the investiture ceremony. (Carmela, Annina) Scene 2 hands Don Marco a letter. He looks at it and then The nun removes the white veil from Annina. Michele, ! Annina, Annina! 2:16 4 Agnus Dei 3:42 approaches Annina. watching, bursts into loud weeping. As the ceremony (Maria Corona, Assunta, Annina, Maria’s Son) (Assunta, Chorus, Annina, Carmela) 5 Don Marco tells Annina that the Church has granted continues he regains control of himself and watches. @ Michele, Michele! 4:28 5 Annina, Annina, prepare yourself Annina’s wish to take the veil. Exhausted Annina says As the ceremony reaches its conclusion Annina, by (Annina, Michele) for a great joy 1:48 she must rest. Don Marco signals to the women to now desperately weak, takes a few steps towards Don # Sister, I shall hide you and take you away 1:48 (Don Marco, Annina, Carmela) leave, and Carmela guards the door. Don Marco kneels Marco, but then suddenly sinks to the floor. Carmela (Michele, Annina) 6 Oh, my Love, at last the hour has come 3:38 in front of the altar. who has been carefully watching, catches her as she 6 $ Veglia su di noi 5:07 (Annina, Carmela) Annina sings of her joy and urges death to hold collapses, and kneels down with Annina in her arms. 7 back for a little while. She gets up and after a Don Marco lifts her lifeless arm and places the gold (Chorus, Annina, Michele) Maria, Salvatore! 1:40 (Assunta, Maria Corona, Salvatore, Don Marco) moment of hesitation, leaning on Carmela’s arm, she ring on her finger as the curtain falls. 8 walks slowly into her room, followed by the nun Act 2 Gloria tibi Domine 5:57 % Hai l’occhio nero nero della quaglia 6:14 (Chorus, Don Marco, Annina) (First Guest, Chorus, Second Guest, Michele, 9 Annina, Annina! 5:16 Annina, Carmela, Salvatore, A Guest) (Michele, Salvatore, Don Marco, Carmela, Maria ^ Where is Michele? 3:48 Corona, Assunta, Chorus) (Desideria, Barman, Michele) 8.111360-61 10 3 8.111360-61 8.111360-61 bk Menotti2_EU:8.111360-61 bk Menotti2_EU 11-10-2010 8:58 Pagina 4

and frees Michele. She kneels next to him and ) Michele asks the guests what right do they have to passionately kisses him. judge him? They live like strangers in their new land and are afraid to call themselves Italians. He would like Gian Carlo Act 2 to see the old country and would be proud to say ‘I am Italian’. He throws his wine at the guests and collapses The setting is a nearby Italian restaurant, the following at a table. Some of the guests leave. MENOTTI May. At the front of the stage are a few tables and ¡ Don Marco tells Michele that he is wrong. Annina (1911-2007) chairs. At the back an empty area which serves as a asks Carmela to forgive Michele. Led by Don Marco dance-floor, with a juke-box. Separate doors lead off to the bridal couple leaves. Michele asks Annina to forgive the kitchen and the Banqueting Room. A third door him and suggests they go home. The Unicorn, the Gorgon and the Manticore serves as the main entrance. Carmela, dressed as a ™ Desideria comes forward, and sneeringly tells bride, and Salvatore are having their photograph taken. Michele that he is in love with Annina and not her. or The Three Sundays of a Poet They are surrounded by relatives and guests, including A Madrigal Fable for Chorus, Ten Dancers and Nine Instruments Michele accuses Desideria of lying and urges her to take Text by the Composer Annina, Michele, Assunta, Maria Corona and her son. back what she has said. Annina presses him to leave. % The photograph having been taken, the group breaks Michele suddenly seizes a knife and stabs Desideria in Sopranos: ...... Jean Heisey, *Betty Hodges, *Hallie Nowland, Rosemarie Radman, up with shouts of laughter. A young man, glass in hand, the back. He runs out of the restaurant, while Annina toasts the bride, followed by another guest, everybody Martha Reynolds, Eva Wolff seeks to help Desideria through prayer. They pray and then Michele. As the guests slowly walk into the together. Desideria dies in Annina’s arms. Contraltos: ...... Nancy Hall, *Mary Hensley, Anna Julia Hoyt, Carol Jones, Banqueting Room, Carmela and Salvatore remain Laurel Miller, Jan Ruetz behind, while Annina looks tenderly at Carmela. She CD 2 Tenors: ...... Charles Anderson, Lindsey Bergen, *Frank Karian, Clifton Steere, urges Salvatore to take care of Carmela. Salvatore and Lee Wade, Robert Yeager Carmela leave to join the other guests. Act 3 Basses: ...... Howard Kahl, Raymond Michalski, John Parella, Carols Sherman, ^ Desideria enters, and asks the Bartender where Peter Sliker, Marvin Solley Michele is. After he leaves she pours herself a drink. Scene 1 *soloists Michele enters. Desideria tells him that her mother has turned her out of their house. She is upset because she is The setting is a vast, dimly-lit passage in a subway Instrumental Ensemble: the only one who has not been invited to the wedding station in the early morning. At the back of the stage a Julius Baker (flute); Theodore Weis (trumpet); Harry Shulman (oboe) celebrations. She wants Michele to commit himself to her. stairway leads up to the street. On one side of the stage & Charles McCracken (cello); Walter Lewis (clarinet); Stuart Sankey (bass) To prove his love, Desideria asks him to take her into is a newspaper kiosk run by Maria Corona, and on the the wedding celebrations. Michele says he cannot do Loren Glickman (bassoon); Stanley Koor (percussion); Gloria Agostini (harp) other a turnstile from the station platform below. Snow this – Carmela is Annina’s best friend. Desideria urges is piling up on the stairs from the station. A few, chilled, him to live with her and to abandon Annina. Michele passengers emerge intermittently and make their way Chorus Master: Walter Baker responds by saying that Annina is sick and needs him, out of the station. Annina is standing near the street exit, she is his sister. waiting for someone. A train rumbles by. Maria Corona, * Thomas Schippers, conductor Desideria urges Michele to be open about his love after bundling her son off with the morning papers, for her – to do otherwise may invoke risks. Recorded in 1957 in New York City approaches Annina and invites her to sit with her. She ( Michele leads Desideria to the Banqueting Room but leads Annina into the kiosk and they sit by the fire there. First issued on Angel 35437 they are barred from entering by Don Marco. He pleads Annina dozes off leaning against Maria Corona’s with Michele not to anatagonise the guests by taking shoulder. Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn Desideria into the celebrations. Michele is about to hit 1 Don Marco enters from the street stairway, looks Don Marco when he is held back by Annina who has around, goes back and returns with Michele. He urges rushed out of the Banqueting Room followed by the Michele not to upset Annina and departs. Annina and guests. 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The Saint of Bleecker Street 7 Don Marco suggests that Annina’s condition is the 0 I Introduction 1:06 ¡ XII Interlude Four: 2:49 work of God. As he leaves, Michele slams the door after ‘There once lived a Man in a Castle’ (Chorus) As the Count and Countess appear at a picnic Synopsis him. ! II Interlude One: 1:32 with a Gorgon, the Townsfolk stare at them in 8 Interlude, leading to The Dance of the Man in the Castle great surprise. Soon all the Unicorns in town are CD 1 (Instrumental Ensemble) killed and every respectable couple is now seen Scene 2 @ III First Madrigal 1:51 promenading a Gorgon. (Instrumental Ensemble) Act 1 9 The setting is an empty lot on Mulberry Street. It is ‘Every Sunday afternoon’ (Chorus) enclosed by a wire fence and a gate leading to the street # IV Interlude Two: 1:15 Third Sunday Scene 1 where passers-by are seen throughout the scene. Annina Promenade (Instrumental Ensemble) ™ XIII Eighth Madrigal: 1:29 The setting is a tenement flat in Bleecker Street. Doors and Carmela are sewing stars on the gown of Enter the Man in the Castle with the Manticore lead on to the hallway and to Annina’s bedroom. Next Concettina, a five year old girl who is dressed as an First Sunday ‘Do not caress the lonely Manticore’ (Chorus) to her bedroom door is an adorned altar. On the left is a angel. Assunta is seen at one of the windows, rocking $ V Second Madrigal: 2:11 £ XIV Ninth Madrigal: 0:58 kitchen stove and an iron bed. As the curtain rises a her baby to sleep. It is late afternoon. As Assunta sings, Enter the Man in the Castle and the Unicorn ‘And who is that, Methuselah or Beelzebub?’ group of neighbours are grouped around Assunta and a group of women dressed in loud prints enter from the ‘One Sunday the proud Man in the Castle’ (Chorus) (Chorus) are facing the half-open door of Annina’s room. other tenement houses. An old woman asks Annina if % VI Third Madrigal; 2:50 ¢ XV Interlude Five: 1:00 1 Assunta is chanting the Litany. A Young Man she is going to join the procession. Annina replies that ‘Unicorn, Unicorn, my swift and leaping Unicorn’ The Countess secretly stabs her Gorgon describes Annina who is in her room and appears to be her brother will not let her. Carmela and Annina finish (Chorus) (Instrumental Ensemble) having a vision. The neighbours believe Annina to be a decorating Concettina’s dress. ^ VII Fourth Madrigal 3:14 ∞ XVI Tenth Madrigal: 2:22 saint. 0 Carmela confesses to Annina that she is to be married ‘Why are you sad, my darling?’ (Chorus) ‘Why are you sad, my darling?’ (Chorus) 2 Maria Corona, who has brought her son to be cured, to Salvatore, and so she will not be taking the veil, and & VIII Interlude Three: 1:14 § XVII Interlude Six: 1:13 doubts that Annina has miraculous powers. Assunta and so become a nun, with Annina. Assunta enters and asks As the Count and the Countess appear with a As the Count and the Countess appear with a Carmela tell her of their own healing experiences with Annina if she has ever glimpsed heaven. Annina tells of Unicorn, the Townsfolk stare at them in surprise. Manticore, the Townsfolk stare at them in great Annina. They are convinced of her sanctity. Maria a dream in which the Archangel Michael came to her, Soon everyone in town imitates them until every surprise. Soon all the Gorgons in town Corona starts to quarrel with them. The neighbours look she saw the gates of Paradise, and was welcomed by St respectable couple is seen promenading with its are killed and every respectable couple is now forward to seeing Annina. As tempers flare, the priest Peter. own Unicorn. (Instrumental Ensemble) seen promenading a Manticore Don Marco enters and the crowd draws back. ! Maria Corona runs in, and warns them that Michele (Instrumental Ensemble) 3 Don Marco tells the neighbours that Annina has is in danger from the Sons of San Gennaro as he has Second Sunday ¶ XVIII Eleventh Madrigal: 0:49 experienced the stigmata. He goes into Annina’s forbidden Annina to take part in the procession. Assunta * IX Fifth Madrigal: 1:24 ‘Have you noticed’ (Chorus) bedroom and re-enters with the semi-conscious Annina. leaves to warn him. Enter the Man in the Castle with the Gorgon • XIX The March to the Castle: 2:10 She shows signs of great suffering and is placed in a @ Michele enters and scolds the women for hanging ‘Behold the Gorgon, stately and proud’ (Chorus) ‘Slow, much too slow’ (Chorus) chair near the centre of the stage. The neighbours pray. around Annina. They leave. Michele taunts Annina ( X Sixth Madrigal: 3:13 ª XX Twelfth Madrigal: 4:40 4 Annina opens her eyes, as if in a trance, gets up and about her beliefs. She tells him of her faith but he ‘And what is that, a Bloody-Nun, a werewolf?’ As they enter the Castle, the Townsfolk see the walks through the kneeling neighbours, describing the declares that she shall never take the veil. (Chorus) Man in the Castle lying on his deathbed, Crucifixion. As she reaches the point at which the nails # Michele describes how he will take her away, He ) XI Seventh Madrigal: 2:55 surrounded by the Unicorn, the Gorgon are hammered home, she lets out a cry and falls back. cannot live without her and does not want to lose her to The Countess has just secretly poisoned her and the Manticore 5 The neighbours comment on the appearance of the God. Unicorn ‘Oh, foolish people, who feign to feel’ (Chorus) stigmata on Annina’s hands and crowd around her to $ The procession is heard and passes by. Annina prays ‘Why are you sad, my darling?’ (Chorus) touch her bleeding hands. to the Holy Virgin for protection, while Michele 6 Michele, Annina’s brother enters and orders the remains defiant. As a band suddenly bursts into a neighbours to leave. As they slowly depart, he carries march, a group of youths enter and attack Michele. He Annina back into her bedroom. He asks Don Marco why is tied to the fence by his wrists. The youths hoist he does not leave as well. Don Marco replies that Annina Annina onto their shoulders and carry her into the needs him. Michele derides Annina’s condition as that of procession. The crowds cheer, while Michele cries for a sick mind. He warns Don Marco to stay away. Annina. The procession moves away. Desideria enters 8.111360-61 85 8.111360-61 8.111360-61 bk Menotti2_EU:8.111360-61 bk Menotti2_EU 11-10-2010 8:59 Pagina 6

Gian Carlo Menotti (1911-2007) The Unicorn, the Gorgon and the Manticore Menotti’s fable focuses on a well-to-do but eccentric poet who lives in a castle. It presents his life in The Saint of Bleecker Street • The Unicorn, the Gorgon and the Manticore The Unicorn, the Gorgon and the Manticore was three stages: his youth, middle, and old age. Three The Saint of Bleecker Street 1955 the opera won for Menotti the Pulitzer Prize for commissioned by the Library of Congress for the unusual pets symbolize these stages – a Unicorn, a Music and the New York Drama Critics Circle award twelfth chamber-music festival of the Elizabeth Gorgon, and a Manticore. These animals and their By the time Menotti came to compose what is probably for Best Musical. The Broadway production was Sprague Coolidge Foundation. Casting around for a behaviour mirror Menotti’s own career, and his idea of his best-known work, Amahl and the Night Visitors, recorded by RCA Victor in February and March 1955, suitable form and subject, Menotti turned to the story- artists in general. The Unicorn, the young artist, is which was first performed in 1951, he was torn between with Thomas Schippers . The Saint of telling madrigal cycles of Orazio Vecchi, a sixteenth capricious, foolish, and susceptible to temptation, but the fruits of material success and increasing spiritual Bleecker Street has been frequently revived, notably by century Italian composer whose most famous work is beautiful all the while. The Gorgon, the artist at mid- doubt. As a young boy growing up in Italy, his faith in the , in 1965 and in 1975 when L’Amfiparnaso. Menotti combined Vecchi’s madrigal life, having achieved some success, is loud, proud, and the teachings of the Catholic Church had been carefully The New York Times felt that ‘The older it gets, the less structure with a script he had previously written after fearless, ignores the critics, and can be unpleasant. As nurtured by a local priest. This faith had been shaken anachronistic it will seem’. For the 1997 production by reading The Book of Beasts, and so began to create a this stage of development is reached, the Unicorn, or slightly when Menotti went to Milan to study, and after the Central City Opera of Denver, a perceptive local work that is part masque, part ballet, and part chamber youth, dies. Interpreted symbolically this can be taken his move to America in 1928 it decayed further. critic wrote: ‘it’s hard to imagine a more relevant opera music. The actual composition was left very much to to mean that youth is killed off by mankind and its Menotti’s increasing worldly success as a composer in a world racked by religious divisions and mindless the last minute, with Menotti sending madrigals to the critics, with youthful creativity worn down by criticism was counterpointed by the growth of doubts concerning violence.’ choreographer of the first performance, John Butler, as and fickleness. (During his life Menotti constantly his religious beliefs and of feelings of sin and guilt. The opera combines two key themes which together he finished them. He did not complete the final one until railed against the numerous critics of his works). The When he eventually reached the point at which he proved to be highly combustible in dramatic terms: a week before the première, and the work’s first run- Manticore, the aging artist, is lonely – perhaps payment questioned the concept of sanctity, Menotti sought out a immigrant life in New York, with its tradition as one of through came only four days before the public was to for his previous behaviour as the Gorgon – and shy, saint. In the winter of 1951 he visited Padre Pio, the America’s great social melting pots during the early and see it. As a result the scheduled conductor of the first avoiding contact as much as possible. He regrets his Capuchin friar reputed to be able to work miracles, in middle parts of the last century, and a display of deeply- performance, Thomas Schippers, had to announce that earlier ways, and although he means well, he often hurts the town of San Giovanni Rotondo, located in the foot felt religious fervour. Underlying these themes is the he could not conduct because, as Menotti admitted, ‘he those around him, having been embittered by the years of Italy. Padre Pio suffered from the stigmata, with sense of urban alienation which was deeply explored in has to conduct at the Met next week, and still has half of of criticism. Passing into old age the Gorgon, as with bleeding from both his hands, which he covered with the 1940s and 1950s by artists such as Edward Hopper my work to learn.’ In his place Paul Callaway, the the Unicorn, fades away. Throughout the piece, each rough woollen mittens. When Menotti finally managed and George Tooker. Tooker’s iconic painting of organist of Washington Cathedral, was drafted in at appearance of the poet in the town with a new beast sets to see Padre Pio the priest condemned his visit as driven alienation The Subway (1950) was in fact the basis of short notice to conduct the première. This took place on off a series of events, with many of its citizens copying by curiosity. Menotti was severely shaken, and out of the design of the original Broadway production. The 21st October 1956 in the Coolidge Auditorium of the the poet and his adoption of these strange animals. At his confusion grew his opera The Saint of Bleecker success of this influenced later productions of the New Library of Congress, and was deemed to be highly the work’s conclusion, the townspeople find the poet on Street. York musical theatre, such as ’s West successful. The New York première was given by the his deathbed, with the three creatures at his side. The Saint of Bleecker Street opened on Broadway Side Story of 1957. The opera’s central character, the New York City Ballet at the New York City Center of Rejecting all those who live through fashion and social in New York City on 27th December 1954. The general ‘Saint of Bleecker Street’, is Annina. She is reputed to Music and Drama on 15th January 1957, the year in convention, the poet suggests that society will find critical opinion was positive, with critics hailing it as have the stigmata. Her sceptical brother Michele seeks which the American branch of EMI, Angel Records, redemption only in the artist, for it is the artist who lives ‘the best new opera… since Gershwin’s Porgy and to save Annina from their more fervent neighbours, who recorded the work, this time under the direction of by and for truth. Bess’. They praised the opera as ‘an experience no one react against him with violence. Matters are Schippers. David Patmore should miss’ and felt that Menotti had breathed new life complicated by Michele’s mistress, Desideria, who is into the operatic form and had ‘lit it with faith’. Some jealous of Michele’s love for Annina. When she accuses critics were less positive: the opera’s setting of Little him of loving Annina but not her, with the strong Italy in New York City brought comparisons with the implication of incest, Michele stabs her and she dies. world of verismo opera, such as Mascagni’s Cavalleria When Annina then tells Michele that she is seriously ill Rusticana, and from there it was just a short step to and is about to take the veil and become a nun, he seeks condemning the opera as a sensational pastiche of desperately to stop her. Unsuccessful, she is made Sister Puccini and his veristic colleagues. The initial Annina, after which she drops down dead. production ran for 92 consecutive performances, and in

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