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The Tender Land

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The Tender Land LEON WILSON CLARK OPERA SERIES SHEPHERD SCHOOL OPERA and the SHEPHERD SCHOOL CHAMBER ORCHESTRA present THE TENDER LAND An opera in three acts by Aaron Copland Libretto by Horace Everett Orchestral adaptation by Murry Sidlin Larry Rachleff, conductor Carey Kugler, guest director Hal Lanier, musical preparation John Schejjler, set design Debra Dickinson, choreographer March 24, 26, 28, and 30, 1996 7:30p.m. Wortham Opera Theatre RICE UNNERSITY CAST Laurie Moss, the older sister . Kelley Mack MaMoss Angelia LaRock Beth Moss, the younger sister Julianne Gearhart Grandpa Moss Raymond Granlund Drifters Martin Jason Scarcella Top . Philip Bouknight Mr. Splinters, the postman Matthew Pittman Mrs. Splinters Mary Cowart A neighboring couple Mr. Jenks . Jeffrey Jackson Mrs. Jenks Laura Coker Young.... guest . Anna Christy PARTY GUESTS Dawn Bennett, Cathie Deans, Adam Feriend, Matthew George, Brandon Gobson, Jim Harper, Michelle Herbert, Jameson James, Brandon McReynolds, Rebecca Morris, Kristin Sampson, Claire Salomon, Daniel Wampler SHEPHERD SCHOOL CHAMBER ORCHESTRA Violin I Viola Clarinet Kimberly Fick, KellyDylla Benjamin Freimuth concertmaster Cory Balzer Cello Bassoon Marie-Andre Chevrette Isabelle Chouinard, Ann Radek principal Violin II Emma Sponaugle Piano William Fedkenheuer, Philip King Beth Winterfeldt principal Double Bass Rachael Snow Orchestra Manager Brian Doyle, Jana Vander Schaaf Martin Merritt principal Chris Windham Viola Orchestra Librarian Ellen Craig, principal Flute Lisa Vosdoganes Paul Reynolds Kris Guthrie PRODUCTION STAFF Stage Director Carey Kugler Conductor . Larry Rachleff Musical Preparation . Hal Lanier Rehearsal Pianist . Neal Kurz ' Set Design John Scheffler Lighting Design Carey Kugler Technical Direction . Don Russell Stage Manager and Properties Master . Alex Stutler Carpenters . Roger Evans, L.H Harris Christian Long, Tim McBrayer, Don Russell Running Crew . Rebecca Coberly, Kristin Nelson Production Crew Members of the Opera Workshop The Tender Land by Aaron Copland (1900-1990) This opera was commissioned by Richard Rodgers and Oscar Hammerstein II for the League of Composers' thirtieth anniversary year. It was first produced at the New York City Center ofMusic and Drama on April], 1954, Lincoln Kirstein, Managing Director. The action takes place on a lower-middle-class farm in the Midwest. The time is in the late forties - June - the time of spring graduation and spring harvest. ACT I - The day before graduation - late afternoon. INTERMISSION ( 15 minutes) ACT II - That evening. ACT III - Later that night; then graduation day - dawn. This production is made possible by a generous endowment from the late Dr. Leon Wilson Clark. PROGRAM NOTES " . my opera, The Tender Land, was not meant to be big dramatic opera. It was for young people to perform, and for that reason, it is rather simple in musical style and story line. In writing The Tender Land, I was trying to give young American singers material that they do not often get in the opera house; that is, material that would be natural for them to sing and perform :' - Aaron Copland If we take Mr. Copland at his word, then I cannot conceive ofa more ideal forum for this production of The Tender Land than the intimate confines of the Wortham Opera Theatre. This setting presents us with the opportunity to ap­ preciate the subtlety of this wonderful work whose roots have more in common with musical theater than grand opera. The Tender Land was originally conceived as an opera for television, but the first version was rejected by NBC Television Opera Workshop . It might have died the e had not New York City Opera agreed to produce the work in its 1954 spring season. The premiere was sandwiched between performances of Mozart's Don Giovanni and Le Nozze di Figaro. When compared to such masterpieces, the television-scaled work surely must have suffered. Reviews were mixed at best and the opera was performed only once more in the season. The opera was revived at Tanglewood, with revisions, in the summer of1954 . This is the version we will present tonight although with a reduced orchestral adaptation. Nonetheless, The Tender Land was Copland's final attempt atop­ era. That decision might be considered regrettable in light ofthe many spark­ ling musical moments in this score and the surprisingly astute treatment of the psychological drama. Despite its simplicity, The Tender Land explores issues every bit as rele­ vant today as when it was written. The traditional American family structure was dissolving in the aftermath of the second World War. The lure of big city lights on the new generation offarm sons and daughters strained the strongest of ties to the land. Suspicion of "foreigners" or "strangers" was at its height. Librettist Eric Johns (Horace Everett was his pseudonym) recalled: "When Grandpa Moss says to the boys, "You're guilty all the same;' we were thinking about all the false McCarthy accusations and the effects they had on innocent people:' Johns' colloquial libretto uses metaphor and simile to explore the larger themes of home and family, as well as each character's aspirations and expec­ tations. This almost Chekovian drama is further defined by Copland's 'Ameri­ cana' style. The artful interweaving of twentieth-century compositional tech­ nique and regional folk melodies through music and text allows these charac­ ters to develop before us as they struggle with the choices that will define their futures. Where some have missed the point in trying to make this an American grand opera, tonight's performance sets this work in the light it so richly deserves - a simple and timeless drama that will reverberate in our very soul. - Carey Kugler BIOGRAPHY CAREY KUGLER was last at Rice University in 1990 to direct the Shep­ herd Singers and the Rice Chorale inArgentos Masque ofAngels . A graduate ofFlorida State University s prestigious opera program, Mr. Kugler has direct­ ~d over two hundred operas, musicals, and plays. He served for eight seasons as Associate Stage Director at The Academy of Vocal Arts in Phi/adelphia where he assisted former Metropolitan Opera stage director Dino Yannopoulos. While in Philadelphia, he directed the local premieres of Mozart's La Finta Giardi­ niera, Musgraves A Christmas Carol, and Pasatieris The Seagull. His staged credits include Aida, Porgy and Bess, and La Boheme for Opera North at the famed Philadelphia Academy of Music, and R Trovatore, Lucia di Lammer­ moor, and Toscafor Opera Delaware. Mr. Kugler is a frequent guest at col­ leges and universities that have included Baylor University, Florida State Uni­ versity, Davidson and Shorter Colleges, and the University of North Carolina at Charlotte. He returns to his native Charlotte to be with his wife and five-year old son, Christopher, before leaving for Evansville, Indiana, to stage Music Man. This June will find him at home directing South Pacific at the Central Piedmont Community College Summer Theater. ACKNOWLEDGEMENTS Special thanks to Louise and Joseph Levy, Houston Grand Opera, John Villarreal, Mr. and Mrs. A. C. Stutler, Suzanne Simpson and Cheryl and Tom Urbanovsky. This production is made possible by arrangement with Boosey & Hawkes, Inc., publisher and copyright owner. SHEPHERD SCHOOL VOICE DEPARTMENT AND OPERA STUDIES FACULTY Virginia Babikian, Professor of Voice and Chair of the Voice Department Richard Bado, Artist Teacher of Opera Studies Debra Dickinson, Artist Teacher of Opera Studies for Acting and Movement Joyce Farwell, Professor of Voice Thomas Jaber, Associate Professor of Music, Director of Choral Activities, and Vocal Coach Hal Lanier, Artist Teacher of Opera Studies William Murray, Associate Professor of Voice .
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