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Summer and Smoke Opera in Two Acts, Libretto by Lanford Wilson, Based on the Play by Tennessee Williams

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Summer and Smoke Opera in Two Acts, Libretto by Lanford Wilson, Based on the Play by Tennessee Williams LEE HOIBY Summer and Smoke Opera in Two Acts, libretto by Lanford Wilson, based on the play by Tennessee Williams Manhattan School of Music Opera Theatre Steven Osgood conductor WORLD PREMIERE RECORDING Summer and Smoke Opera in One Act PROGRAM NOTES.........................................Jane V. Jaffe Music........................................Lee Hoiby In 1964, playwright Tennessee Williams, who had Libretto...........................Lanford Wilson regularly refused to grant permission for A Streetcar (Based on the play by Tennessee Williams) Named Desire to be set as an opera, was so impressed by Conductor........................Steven Osgood Hoiby’s Natalia Petrovna (later renamed A Month in the Stage Director................. Dona D. Vaughn Country and recorded by MSM for Albany), that he Opera Producer..............Gordon Ostrowski asked the composer if he would like to make an opera PREMIERE RECORDING from one of his plays. “I was stunned,” said Hoiby,” and CAST: Alma Winemiller................Anna Viemeister I asked Williams which play he’d like me to use. ‘Take your pick,’ said he.” John Buchanan...............Nickoli Strommer Hoib y re-read the plays, but decided against the Nellie................................Audean Farmer ultra-famous Streetcar, Glass Menagerie or Cat on a Reverend Winemiller.........Robert E. Mellon Hot Tin Roof. “I kept coming back to his 1948 Summer Mrs. Winemiller....................Claire Coolen and Smoke, with its changing moods, continual shifts Mrs. Bassett.....................Samatha Korbey of feeling from innocent to casual, gritty to demented, Rosemary............Anna Christina Lawrence comic, pathetic, violent, anguished, desparate, heart- Roger..................................... Chris Lucier breaking—all very singable feelings. Vernon........................Michael O’Halloran “Music is heard in many of Williams’ plays, and in Rosa.....................María Leticia Hernández Summer and Smoke there are a Victorian song (which I Papa Gonzales......................Steve Gokool call my Lillian Russell song), a marching band, and several Dr. Buchanan...................Salim Paul Abed mariachi-type numbers heard offstage. In the opera, Stranger.......................... Brian Wahlstrom these offer a dramatic contrast to the orchestra in the Young Alma.....................Chloë Niemann pit, a device borrowed from Mozart b y Verdi, from Young John.............................Sam Rodd Verdi by Berg—and one which I could not resist. “In the end, however, it was Alma who captured me. ENSEMBLE: Josh Agosto, Satchell Beer, Alma Winemiller, the repressed virgin, the minister’s Sophia Benedetti, Heather Boaz, Nicholas Connolly, Lindsey Fraser, Allyson Herman, daughter, custodian of a mad mother—Alma, eaten up Greg Hoyt, Briana Hunter, Ivan Miller, by longing for the boy next door, but denying her sensual Matthew Montana, Jonathan Myers, Vera feelings, holding those inner pressures in check behind a Rees, and Nicole Weigelt. mask of gentility until they become her phantom double, ■ 2 ■ her ‘Doppelgänger.’ We see her in combat with those by the St. Paul Opera which commissioned the work, feelings. Only when it is too late does she realize the with soprano Mary Beth Piel and baritone John Rear- fatal game she has played. In the end, she cannot even don in the lead roles, conducted by Igor Buketoft and sing any more—she only speaks in the Epilogue.” directed by Frank Corsaro. Its success led to a pro- Hoiby found the ideal librettist in successful play- duction with the New York City Opera, which gave wright Lanford Wilson. “The libretto he fashioned for three sold-out performances the following year. That me sings itself. Composing the music was a breeze. A March, Miss Piel revived her role for Chicago Opera lovely, three-year-long breeze.” Wilson’s libretto adheres Theater’s production, which was later broadcast on to Williams’ play, incorporating many of its memorable PBS-TV. The work has been presented in many sub- lines. Hoiby set the text in a Puccini-esque flow of dia- sequent American productions. logue and lyrical phrases that often expand into arias. Summer and Smoke’s skillful combination of The scenes, however, are almost separate vignettes, each sung and spoken passages, sadness and irony, and lush chronicling a meeting between Alma and John. Working orchestral accompaniment have kept the work in the with the soul-versus-flesh duality of Alma’s character, public’s consciousness. With atonality’s stranglehold Hoiby ingeniously uses the four-note chromatic motive loosened in recent decades, Hoiby declared himself of Franz Schubert’s famous art song Der Doppelgänger optimistic about opera’s future in America—which to represent her throughout the opera. should translate into more frequent performances of Summer and Smoke was premiered on June 19, 1971, this and his other operas, ensuring his legacy. Lee Hoiby, Composer; Lanford Wilson, Librettist; Tennessee Williams, Playwright; Dona D. Vaughn, Stage Director Producer’s Note—Albany Music sadly reports the March 2011 passing of composer Lee Hoiby, just prior to this CD’s June 2011 release. Lee and Mark were active in the lovely MSM production and the subsequent recording of Summer and Smoke. All involved respectfully dedicate this project to Lee’s memory. John Ostendorf ■ 3 ■ PLOT SYNOPSIS SCENE V: John and Alma are at the PROLOGUE: Alma and John as young Moon Lake Casino. When it appears children meet at the fountain in the that they might overcome the emo- town park of Glorious Hill, Mississippi. tional barriers between them, John ACT ONE suggests they take a room there and SCENE I: (1911) Some years later in becomes amorous. Alma tears her- the same park, Alma strolls with her self away and rushes off. parents, Reverend Winemiller and his SCENE VI: Alma returns to the rec- eccentric wife. She meets John Bu- tory and muses on her future. Still at chanan, now a medical student. the casino, John is now drunk and Attracted to him, but shy and sickly, caresses Rosa. Alma is delighted when he invites ACT TWO her to go riding with him. John is dis- SCENE VII: While Alma and her tracted by the appearance of the friend Roger look at photographs, seductive Rosa Gonzales. they hear noise from a wild party at SCENE X: John is in his office when SCENE II: In the family rectory, the Buchanan’s. Roger tells Alma that Nellie, now a mature young lady, Alma gives a voice lesson to young John and Rosa are planning to elope. surprises him; they flirt and then Nellie, who reveals her youthful Next door, John is again drinking, and kiss. She promises to renew the fascination with John. Alma is mor- Rosa and her drunk father are with relationship at Christmas. tified when her mother describes him. Later,John’s father comes in SCENE XI: (Winter) Alma sits in the Alma’s own attraction to John. unexpectedly, is outraged, and insults park and greets Nellie, who gives her Papa Gonzales, who shoots him. SCENE III: Alma’s group of friends a present inscribed “To Alma, from come to the rectory for a poetry SCENE VIII: While Dr. Buchanan is Nellie and John.” The implication of night. John, her “guest of honor,” being tended to, John confronts this sends Alma back into the rectory. arrives. The members argue over the Alma. She admits it was she who SCENE XII: Alma visits John’s office. evening’s agenda and John leaves, informed his father about the party. She hasn’t been well; while he exam- much to Alma’s distress. Mrs. Wine- The Reverend tells Alma that the ines her, she suddenly kisses him, miller again interrupts and the dying doctor wants her to sing for confesses her love. When he makes meeting breaks up. him. As her voice is heard, John is no response, she slowly begins to un- left to agonize over his father and to SCENE IV: Later that evening, John derstand. Nellie’s arrival with an contemplate his own decline. is in the office of his doctor father. engagement ring makes it all clear. Alma arrives, complaining of an SCENE IX: (Fall 1911) Alma has aban- Alma runs off in great distress. anxiety attack. He gives her a seda- doned her friends and her interests. EPILOGUE: Sitting in the park, Alma tive and reassures her that she will The Reverend urges her to come out recalls the children’s voices. A stran- make it through the summer until of isolation, but she is further shat- ger appears and invites her to go the leaves “turn to smoke” in the tered when she hears a celebration dancing at the Moon Lake Casino. fall. They make a date for the fol- for John’s homecoming. lowing Saturday night. She accepts and they go off slowly. ■ 4 ■ Young John daughter. What’s eternity? Summer and Smoke Why don’t you just tell me and Young Alma Prologue CD One, Track 1 save me the trouble. It’s something that goes on and on A park in Glorious Hill, Mississippi. Young Alma and on when life and death and Young Alma No, I won’t. Go on. Read it. time and everything is finished. Johnny… Johnny, do you know the Young John Young John name of the angel? “E…” There’s no such thing! Young John Young Alma Young Alma Does she have a name? “E,” yes. Where people’s souls live. Here, Young Alma Young John take this handkerchief. Yes, she has a name. It’s engraved “T?” Young John on the base, but it’s all worn away Young Alma What’s that for? so you can’t read it. Yes. Young Alma Young John Young John Because you need it. Then how do you know? Another “E?” Young John Young Alma Young Alma I do not. (wipes his face) There. Is my You have to read it with your fin- “E.” face clean enough to suit you now? gers. It gave me the shivers when I Young John Young Alma found out what her name was.
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