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. “K”? It’s beautiful. Young Alma Young John No. Johnny… What? Young John Young Alma “R”? I said, it’s beautiful. Young Alma Young John Yes. “E-T-E-R…” Well then, let’s kiss each other. Young John Come on, Alma. Come on, let’s “Eternity!” just try it! Young Alma Eternity, yes. Doesn’t it give you Act I the shivers? Scene One Track 2 Young John Summer, 1911. Same town square. No. Reverend Winemiller (entering) Young Alma Alma, here we are. Well, it did me. Mrs. Winemiller Young John Here we are, Alma! Where is the “Young” Alma (Chloë Niemann) That’s because you’re a preacher’s ice cream man? and “Young” John (Sam Rodd). ■ 5 ■ and bring you some ice cream. Alma Mrs. Winemiller I’ve looked through a telescope Strawberry, Alma. Chocolate. but never a microscope. What do Chocolate and strawberry mixed! you see? Not vanilla. John Alma (distracted) Oh, Miss Alma... Yes, mother. Vanilla… Alma Mrs. Winemiller No, tell me. Go on. No, I said not vanilla. If you dare... John Reverend (pulling her away) You see a world… Mother, people are noticing! Alma Mrs. Winemiller (Claire Coolen, at left) and Alma (Anna Viemeister) You see a world… John Buchanan Track 3 John Alma I believe it’s the nightingale. ...and it’s a mystery. It’s all the Mother, there isn’t any ice Good evening, Miss Alma. same. No matter where you look, cream man. Alma you see the same. Examining the Reverend You’re home for the summer? vast and distant galaxies through a Are you intending to stay here? Summer is not the pleasantest telescope. You see part anarchy and Alma time of year to renew an ac- part order. I won’t be late. I promised Roger quaintance with Glorious Hill… Alma I’d wait till after the concert. Is it? Your father tells me you’ve It’s part order and part anarchy… Reverend made a study of bac…bac…ter… John I suppose you’ve noticed who’s by John No matter where you look. And of the fountain. Hadn’t you better Bacteriology. the mystery we know no more for wait on a different bench? Alma sure than we know of any world, Alma A bacteriologist! or of you and me. This is where Roger will meet me. John Alma Reverend Yes. Mother, we’ll run along then. This Part order... The footprints of God. Alma John is the way. And peer through a microscope. But not God. Mrs. Winemiller John I want to stay for the fireworks Well, sometimes. Alma Track 4 display. Alma I belong to a little group that meets Reverend Isolating germs. Definitely not! every ten days. John John Alma We hope. Roger and I will stop by the store As often as that? ■ 6 ■ Alma What? Why? More serious? John Miss Alma, what I think you have is something that sounds lovely. A Doppelgänger. You have a Doppel- gänger and the Doppelgänger is irritated. Alma Oh, my goodness! An irritated Doppelgänger. It doesn’t sound lovely at all. John Don’t be upset. Alma Dr. John Buchanan (Nickoli Strommer) and Alma. And how did you arrive at this diagnosis? (He laughs.) But you’ve Alma Alma been teasing me, haven’t you? You mustn’t make fun. They’re Yes. people with intellectual and John John artistic interests. ...that you come running in panic No one would tease a nightingale. Alma John at two in the morning. You used to call me that in school. Yes, I see. Alma John Alma Yes. Sometimes as late as that. Was I so terribly cruel? You must come. I’ll remind you of it. He always reassures me. Alma John John I must not detain you. You should go out with people your Temporarily. John own age. Alma You think I don’t like you. Don’t Alma (She falters.) Yes. you know that I do? Oh… John Alma John I think, Miss Alma, your situation No, you don’t. What is it? is more serious than to require a John Alma little temporary reassurance. Of course, I do. Nothing. A nervous heart. Or so Alma Alma your father tells me. What? No, let me go. John John A nervous heart. Which can be so John I do. alarming... Very much. ■ 7 ■ John Track 5 John (going off) Don’t rush! Sometimes at night when I come Then get one! Nellie home late… Roger (enters) “For the gentle wind doth move Alma Well, how did it go, Miss Alma? silently, invisibly.” Late… Alma (distracted) Nellie and Alma (together) John Roger… How did what go? “I told my love, I told him all my Late at night… I look over at the Roger heart. Trembling cold, in ghastly rectory and no matter how late it My solo! fear…” is, with all the lights out. I seem Alma Mrs. Winemiller (has entered) to see something at the window, Your solo? I’m feeling so dizzy. “I told my love...!” You sound like something white and watching. I’ll have to hang on to your arm. two cats. Who is it, Miss Alma, looking out of Alma the window that faces my way? Scene II Track 6 Mother, please! Could that be you, or is it your (The Winemiller parlor, Alma Nellie Doppelgänger? conducts a singing lesson.) “...Did my love depart.” Alma Nellie (standing near the piano) Mrs. Winemiller That’s enough about my “Never seek to tell thy love…” Alma’s in love... Doppelgänger. Alma (coaches from the keyboard) Alma John Open, nice. If you refuse to go upstairs, please Would the two of you like to go Nellie do not interrupt Nellie’s lesson. riding? “...Love that never told can be.” “No sooner had he…” Alma Alma Nellie What, now? Two-three-four-five-six… “...gone, than a stranger passing by” John Mrs. Winemiller (she is wearing a Oh, some afternoon. fancy hat) Alma’s in love. Alma Alma Would you observe the Where did you get that hat? speed limit? Mrs. Winemiller John I bought it. Strictly, with you, Miss Alma. Alma Alma You took it from Mister Gillam’s Why, then I’d be glad to… John. shop. You should be ashamed. John Mrs. Winemiller And wear a hat with a plume! He gave it to me. Alma Reverend Winemiller (storming in) I don’t have a hat with a plume! Nellie (Audean Farmer) Alma! Your Mother… ■ 8 ■ Nellie wonderful for you to live next You know about mother’s repu- door to him! tation. Nobody nice but you will Alma have anything to do with us. All of He was with... your mother? her friends act like pigs. Nellie Mrs. Winemiller No, he was with some loud and “Pigs, pigs, pigs, pigs, pigs!” tacky dame in a bright dress with Alma a “z” in her name. Mother! (to Nellie) Hadn’t we Alma better run over the song? Gonzales. Rosa Gonzales. Nellie Nellie But oh! Last night! I’d fallen asleep Yes. From the Moon Lake Casino. Reverend Winemiller (Robert E. and suddenly he was standing in But oh, Miss Alma. Mellon) berates his wife. the door of my room. Alma Alma Alma No. Your mother was right. He isn’t I know, Father. We’ll just have to Nellie, I’m not sure I want to hear… fit to call himself a doctor. He’s pay for it. Nellie pitiably weak. Reverend Someone you know. Voice (heard from a distance) Mister Gillam says the hat costs Alma Johnny! fourteen dollars. I know? Alma Nellie Nellie (looks out window) Track 7 You pay six and I’ll pay eight. The most wonderful man in all the Someone’s calling him! Reverend world! He sat on the bed and held Alma (anxiously) What an insufferable cross we my hand. And he talked to me so Nellie, don’t lean out the window have to bear. politely. He was terrible to mom. and have us caught spying. Mrs. Winemiller He made her promise to send me Mrs. Winemiller “Insufferable cross” yourself, you to a girls’ school to learn to curtsy, Show Nellie how you spy on him all old windbag. I suppose. She said, “You’re not fit the time. “Oh, Johnny!” Only Alma Alma to call yourself a doctor!” stands behind the curtain. Nellie, I’m sorry. Mrs. Winemiller (overhearing this) Alma Nellie Ha! Mother! It’s all right, Miss Alma. I can’t Alma Mrs. Winemiller concentrate. I have to tell some- Doctor… John Buchanan? He’s coming here tonight with all one. It’s so wonderful! Nellie her poet friends. Alma Yes, of course. Doctor Johnny Bu- Alma You seem so excited. chanan. And all I can think is how Mother! ■ 9 ■ Mrs. Winemiller Mrs. Winemiller (grabbing it back) me cry. She called him on the phone and Fight! Fight! Fight! God have Vernon had a fit! Alma’s in... mercy! She’s hitting me! Thank you, Nancy! Alma Alma Roger Be still! Give that to me! Boys and girls, the meeting is Mrs. Winemiller (quietly) Mrs. Winemiller called to order. Miss Alma will Alma’s in love… Pigs...! (She exits.) read the minutes of the previous Alma Alma (exhausted, slumps, into a meeting. Nellie, please go. I’m sorry. chair) Heav’n have mercy! Alma Nellie (going) Very well. Scene III Track 8 Alright, Miss Alma. Good after- Mrs. Bassett (That evening. The Winemiller noon, Miss Alma. Good afternoon, living room. A literary group has Skip the minutes and concentrate Mrs. Winemiller. assembled.) on the present and future. That’s a Alma (to her mother) Vernon widow’s philosophy. If I ever hear you say such a thing I think it’s a question of whether or Alma (reading) again. If you ever dare to repeat not we have a serious purpose. I “Our last meeting fell on August such a thing again… If you must act was under the impression that we fourteenth…” (drops the papers) like a child, then I will punish you had a serious purpose. But then, if Mrs. Bassett as a child. There’ll be no more ice we don’t have a serious purpose… Butterfingers! And that was the cream because I’m tired of your Alma meeting before last. malice. People wonder why I’m tied Of course we have a serious pur- Alma here. You’ve taken my youth away. pose. But I don’t think we should You’re perfectly right. Our last And I wouldn’t say such a thing if publish a manifesto! meeting fell… (The doorbell rings.) you were kind. I wouldn’t mind. But Mrs. Bassett Vernon I could spread my life out like a rug It’s a beautiful manifesto! It made That’s the door. and have you step on it. Which is what you’ve always done. And then you dare repeat a disgusting lie in front of that girl! Mrs. Winemiller Don’t you think I hear you go to the window every night to watch him come in? Alma (tearing the hat from her mother) Give me that hat! It goes The Poetry Group: Rosemary (Anna Christina Lawrence, at left), with Mrs. Bassett (Samantha Korbey) and Roger (Chris Lucier, at left) with Vernon back to the shop tonight! (Michael O’Halloran). ■ 10 ■ Alma John Rosemary Was that the bell? Of course. Is this a vote? Mrs. Bassett Roger Roger It sure did sound like it to me. A play in seventeen acts. No rough tactics, Mrs. Bassett. Alma Vernon Alma Excuse me a moment. I think it Only five, Roger, only five! Vernon, we’ll only postpone your may be our guest. Yes, it is! Our Roger play until cooler weather. guest of honor! Everybody, this is We decided to put it off till Vernon Doctor John Buchanan, Junior! cooler weather. I don’t at all mind… John Rosemary Rosemary (stands) Hello, everybody. I’m supposed to read my paper on “The poet William Blake...” Mrs. Bassett (aside) William Blake. Mrs. Bassett I never thought he’d show. Mrs. Bassett Insane! That man was a mad John No, no. fanatic! I’m sorry I’m late, how much did Vernon Roger I miss? It’s all right, I don’t at all mind to No, Mrs. Bassett… Alma postpone it again. Alma Nothing... only the minutes. Here, Roger Surely not Blake. sit on the sofa by me. Well, now Let’s hear Rosemary’s paper on Rosemary we’re completely assembled… William Blake. He was a wonderful man. John Mrs. Bassett Mrs. Bassett I can’t stay long. Those dead poets can wait. Vernon’s I can speak my opinion. I’ve read Alma alive and he’s brought his play three up on Blake. Go on, Rosemary, I No, you must. times and each time he’s been wasn’t criticizing your paper. Mrs. Bassett disappointed. Alma Vernon has brought his play Vernon Mrs. Bassett is only joking. in verse. I’m not at all disappointed. That Rosemary Alma isn’t the point. I just won’t if she feels so strongly. Is that right, Vernon? Oh, I see Alma Mrs. Bassett you have. Shall we take a standing vote on He’s gone to a drunkard’s grave Vernon the question? and we shouldn’t encourage it. “The Tender Thistles.” Roger Rosemary John Yes, let’s do. That’s simply not true. I beg your pardon? Alma Alma Vernon All those in favor… Mrs. Bassett, you’ve confused The title. Blake with someone else. ■ 11 ■ Mrs. Bassett Roger Alma He ran around with that Frenchman Will the meeting come to order? What, John? who shot at him and landed them Rosemary John both in jail. Mad as a hatter. A pau- How can anyone hear themselves I didn’t realize how late it was per who died in a drunken stupor. think? getting. Died of TB in the gutter. Go on with Mrs. Bassett Alma your paper. I’m sorry. I know what I’m thinking of... what’s-his-name? John! I’m saying. Vernon John (leaving) Rosemary “The Tender Thistles” is really quite I have to call on a patient, I’m sorry. “The poet William Blake was born long and should be planned with Rosemary in 1757.” appropriate songs. “Born in 1757…” Mrs. Bassett Roger Roger It’s a shame, is all I’m saying. Everyone, please! Rosemary’s Of poor but honest parents. Roger reading. Rosemary I think you’re confusing Blake… Mrs. Bassett Not at all! Mrs. Bassett I just don’t want to wait till fall to Mrs. Bassett “The Tender Thistles...” read Vernon’s play. No supercilious remarks out of Vernon Roger you, sir. Go on, Rosemary. Such a It’s all in iambic pentameter. We can’t just ignore her. Boys and beautiful voice. Stand up! Alma (encouraging Rosemary) girls, please come to order. Rosemary Please, Rosemary. Blake wrote that Rosemary “Little did little William know lovely poem: I simply can’t read in all this what a rude and callous…” confusion. Alma (furious) Alma TRACK 9 Vernon I’m ashamed of you! All of you! “Never seek to tell Reading it now would probably be You... thy love…” a mistake. Mrs. Winemiller (rushes in) Mrs. Bassett Rosemary Alma! Alma! Help me! The ice Oh, I remember. I’ve got something For the love of Heaven! How could cream man is after me. He is, I to say. anyone hear themselves think? know it! I know it! (stops, sees the Roger Vernon others) Who’s all this? Everyone, please, please everyone! Rosemary, please go on with your Alma Rosemary paper on Blake. Oh mother! I simply can’t read in all this John (gets up) Mrs. Winemiller (runs out again) confusion. I’m terribly sorry but I’ll have Help me, Alma! Mrs. Bassett to go. Alma (leaves the room) I’m not thinking of Blake at all… Excuse me, please. ■ 12 ■ Mrs. Bassett John Alma I think we’d better go. Poor Miss He’s asleep, Miss Alma. It’s two Such as yourself and that lady Alma. o’clock in the morning. outside. Roger Alma John I move the meeting adjourn. I’m aware of the time. I’m afraid I Or you and me. You’ll be sleepy. Vernon must see him. Alma I second the motion. Dr. Buchanan (calling from the I couldn’t sleep. Mrs. Bassett (They start to go.) upstairs bedroom) John! What’s John I knew it was a mistake to have the going on? You began to hear your heart? John (calling up to him) meeting here. Nobody comes to the It scared you? Nothing much, Dad. Someone was rectory anymore. Alma cut in a fight. Rosemary (as they go out) It always does. I don’t understand. What happened? Dr. Buchanan I’m coming down. John Alma (comes back, finds an empty I know. room.) I’m sorry. I hope you’ll John Stay in bed, Dad. I’ve patched him Alma excuse… I don’t think I’ll be able to get Mrs. Winemiller up. You sleep. Alma through the summer. Alma. Alma, can I have some I must see your father. I’m ill. punch? Alma? Alma! John AIR Track 11 Alma (frantic) You’re hysterical. Drink this down. John Please, Mother! You can have it all! Alma Yes, yes, Miss Alma, you’ll get Please! Please! What is it? through the summer. The days will John get warmer until they get cooler. Scene IV Track 10 Don’t you trust me? One day will come after the other. (Late that night. Doctor Buchanan’s Alma One night will come after another, office. Rosa bandages John’s arm.) You’re in no condition to inspire till sooner or later the summer will John (slightly drunk, hears knocking) confidence… (She suddenly col- be all through. And you’ll be through I’d better answer before they wake lapses into a chair.) I seem to be… it. And it will be fall. And all the dad! An emergency case. John summer leaves will be smoke. And Alma (comes in, sees Rosa) Your intellectual meeting wore you’ll come to me and say you can’t The “patient” you had to call on this you out. even hope to see how you’ll get evening. I want to see your father. Alma through the fall. Breathe deeply. John (as Rosa leaves) You made a quick escape. There’s nothing wrong, but I’ll check Anything I can do? John your heart. Alma I only like meetings between Rosa’s Voice (from outside) No, I want to see your father. two people. Johnny! ■ 13 ■ John (calls off to her) about it a lot. Many times I’ve Scene V Track 12 Callatela boca! looked across to the rectory and (Saturday night, outside the Alma wondered if it would be worth Moon Lake Casino) I hate to keep her waiting. trying you and me. John (enters with Miss Alma) John Alma It’s almost time for the cockfight Rosa doesn’t mind. Unbutton your And...? to begin. blouse. John Alma Alma Fingers warm now? Then we’re certainly not going in. Unbutton? Alma I thought such things were illegal. John I’m feeling drowsy, like a water John The blouse. Fingers frozen? lily on a Chinese lagoon. This is Moon Lake Casino where Let me. Rosa’s Voice anything goes. Alma (He helps her with the Johnny! Alma buttons.) If your father discovered Alma And you come here frequently? that lady, it would distress him I must go. John terribly. John I’d say continually. John (takes out his stethoscope) I’ll call for you Saturday night at Alma He won’t. Breathe. Breathe. eight o’clock. I’m afraid you must be sincere Alma Alma about abandoning your medical What do you hear? What? John John career. A little voice saying Miss Alma is Take these tablets, never more John lonely. than two at a time. I certainly am. Why should I stay Alma Alma here? I thought I might go down to If your idea of helping me… What did you say? Mexico or South America. The John señoritas are caviar among women. Breathe. Fingers still frozen? John I’d laze in the sun. Alma I said I’ll call for you Saturday Alma A little. night. Indulging your senses. John Alma You know I like you. You have great At eight o’clock. John feeling in your heart and that’s rare. John Well, Miss Alma, one uses his senses Alma Is that all right? to get what he can of satisfaction. The last time we spoke, you said Alma Alma we’d go riding, but you forgot. Oh… (Alma leaves.) No, John, self-satisfaction. John Rosa John No, Miss Alma, I’ve thought Johnny… What other kind is there? ■ 14 ■ some of us are looking at the stars!” John John (amused) A man should have a lot more than Mister Oscar Wilde. respect for the woman he marries. Alma The cockfight is starting! Love, Oh! Nevertheless, it’s still true. Miss Alma, is what you bring to it. Some of us are looking at the stars. Alma John Some women bring only their With gloves on? bodies. Some women, John, can Alma bring their hearts to love, can bring Then I’ll take them off. their souls to love. John John Under the surface, you have a Souls and Gothic cathedrals. Alma, great deal of excitement. More Alma, Spanish for soul. Sometime than any woman I know. (They kiss.) I’d like to show you a chart of the Alma rhapsodizes to John. Oh, Miss Alma… human anatomy. Maybe you can Alma show me where that beautiful soul AIR Track 13 Just “Alma,” John. is located. There are rooms above Alma John in the casino. Have you ever been to, or seen a “Miss Alma” suits you better, Miss Alma picture of a Gothic cathedral? Alma. (She pulls away.) Is it so I had heard you made suggestions John difficult to forget you’re a like that to the girls you go out Yes, I suppose I have. preacher’s daughter? with. What made you think you Alma Alma could say such a thing to me? How everything reaches up, A minister’s daughter is no John straining for something out of the different from any other lady. I counted your pulse in the office reach of human fingers. Those John that night you couldn’t sleep. glorious windows and portals many Is being a lady so important? times as high as the tallest man. Alma Those great vaulted ceilings, and all Perhaps not to the girls you bring to the delicate spires, all, all reaching the Moon Lake Casino. But suppose, higher. Straining for something out John, suppose that someday… of the reach of stone. Thrown at the suppose you marry? Wouldn’t you sky, higher than man can reach or want that woman to be a lady? hope to attain. Who was it said Someone you and her children that, oh, such a beautiful thing: could respect? “All of us are in the gutter, but They kiss. ■ 15 ■ Alma will come after another till sooner Alma I was ill and went to your father or later the summer will be all What an active lady. for help. through. And I’ll be through it and Roger John it will be fall. And here she is with a telescope. It was me you went to. John (is seen, still at the casino, Alma Alma drinking. He has Rosa with him.) Telescope. I went to see your father. Rosa, Rosa, has anyone gone down Roger John hill as fast as I have this summer? And here on the top of an elephant. You’re so excited tonight; you had Alma Is it always so noisy at Doctor to take one of those pills I gave you. And all the summer leaves will be Buchanan’s or is there a party Alma smoke... tonight? Why would I? John Alma John In a clean white suit every day… I really don’t notice. You have them here… and every night is the same; they’re Roger Alma all the same. It’s all a joke. Rosa... Someone should call his father in Yes! Because of your driving! Flying! Alma Lyon and tell him. John And I’ll come to you and say…I Alma Fingers frozen... (He roughly can’t even hope to see… how I’ll Why is your mother holding a bow kisses her.) get through the fall. and arrow? Alma END ACT I / END CD ONE Roger Oh, I want to go… But not with John Buchanan and Rosa Gonzales you! I’ll call a taxi. ACT II are having a wedding tomorrow. John Prelude CD II, Track 1 Alma I’ll get you one, Miss Alma! (calls, Scene VII Track 2 That isn’t true, Roger. You off) Taxi...! (The rectory. Sounds of a party are shouldn’t say… Alma (hurries away) heard from next door.) Roger You’re not a gentleman...! Roger (showing Alma photos and I have a friend at the courthouse. postcards) And this is Ceylon, the They took out a license today. Scene VI Track 15 pearl of the Orient. Alma (Later that night. Back in town. Alma (only half paying attention) Well, what do you know. Alma, alone at her house.) Ceylon, pearl of the Orient. Roger Alma Roger I think I’d better go. Yes, yes, John, I’ll get through the And here is my mother on top Alma summer. The days will get warmer of a temple. And here in a trop- Take your photographs… until they get cooler. One day will ical tree… Roger come after the other. One night Miss Alma… Goodnight. ■ 16 ■ Alma John bailas? (Rosa, let’s celebrate! Why Someone should call Doctor Off we go and live off money from do you not dance?) Buchanan. (Scene shifts to the Papa Gonzales. Oh, not long ago Rosa (to John, as Papa falls into a Buchanan doctor’s office.) that would have disgusted me. But chair, drunk) Let him stay. Come not anymore. Rosa, Rosa, has any- back to the party. (She goes off, Rosa (entering) Track 3 Johnny? Johnny? Aw! You have one gone downhill as fast as I have but John remains, then staggers blood on your face. this summer? over to the rectory and walks in. John Rosa Alma is inside.) Yes. You bit my ear. No, no, you’re drunk. Rosa Papa Gonzales (stumbles in waving John Track 4 Aw! a pistol) Rosa, por qué non bailas? I took the open door for an invita- John Oye! Mal apostador! Eres mal tion. The air is cool tonight. A You never make love without apostador! Yo soy buen apostador. wind is blowing, but my head is on scratching or biting or something. Lo que quieras, Rosa, lo que sea. Le fire. Alma, contained and quiet. Why is that? doy la tierra, y si tierra no basta, le Peaceful, but not at peace. Will Rosa doy el cielo! Rosa quería un collar you or I ever find that peace? Alma. Because I know I can’t hold you. de perlas y dijo el tipo cincuenta Before I go I want to feel your hands John pesos; entonces yo dije, ahora bien, on my face. Eternity and Alma have You’re doing a damn good job. To- cuanto vale ese collarcito? (Rosa, such cool hands. (He kneels beside morrow, tomorrow it’s off we go! why don’t you dance? Hey, bad her, rests his head in her lap.) Dance for me, Rosa. gambler! You’re a bad gambler. But Rosa (back at the Buchanans’) Rosa I am a good gambler. Rosa, I will Johnny… Oh! I thought you were Tu eres mi amor. Yo soy tu mujer! give you the entire world. The sky Johnny. But you’re Johnny’s father. (You are my love. I’ll be your wife!) is the limit! Rosa wants a pearl I’m Rosa Gonzales. John necklace. I give you fifty pesos. Dr. Buchanan (angry) Tomorrow, tomorrow, we’re off Now how much is the necklace?) I know who you are. What are you and away. In a little red boat we John (pushing him away) doing in my house? go off to sea. Get your stinking breath out of Rosa Rosa my face. John is giving a party because we’re You say it, but I don’t believe it. Papa Gonzales leaving tomorrow together. I hope Papa Gonzales (heard from off) Eh, mal apostador! you like the idea. But if you don’t it Lo que quieras, Rosa, lo que sea! Rosa doesn’t matter, because we like the John Déjalo, Papa. (Papa, leave him idea… and my father likes the idea. What is he saying? alone!) Papa Gonzales (drunk, from the Rosa Papa Gonzales chair) Lo que quieras, Rosa, lo “The sky is the limit!” Rosa, vamos a festejar! Por qué no que sea! ■ 17 ■ John It happened because someone called him back here tonight. Alma I did. John Rosa (María So it was you. You brought him Leticia Hernández) back here to be shot. watches as Alma Papa Gonzales (Steve Gokool, You can’t blame anything but at right) shoots your weakness. Dr. Buchanan, Sr. (Salim Paul John Abed). You call me weak? Alma John Dr. Buchanan Sometimes it takes something like What is your father saying in Get your swine out of my house! this to make someone strong. there? Take your swine from my house, John Gonzales! Get your swine out! Reverend Miss Alma, you don’t know how You up there! Come down here! “…in the path of righteousness wrong everything you believe. Get out of my house! Get out! for his name’s sake.” All your mumbled litanies, all of Rosa (Her father drunkenly draws Alma its lies. his pistol.) No, Papa! No, Papa! No! A prayer. (He shoots Dr. Buchanan.) Johnny! John Alma Johnny! We don’t want his magic. John you’re drunk, you mustn’t… Alma John Scene VIII Track 5 It isn’t a question of what you Look at this chart of anatomy. Later. The Buchanan house. want. Drink this coffee. Alma Reverend Winemiller (heard in the John Please don’t, John! distance, praying) “The Lord is my I don’t want it. John shepherd; I shall not want. He Alma I’d like to show you what maketh me to lie down in green You should go in. people are. pastures...” John Alma John He wouldn’t want me in there. What is that litany in there? Please! Alma Reverend John This happened because of his “He leadeth me beside the still You think you’re stuffed with rose devotion to you. waters. He restoreth my soul...” leaves. ■ 18 ■ John I wouldn’t have made love to you. Alma What? John Could not. That night at the casino. Even if you had consented. Isn’t that funny? I’m more afraid of your soul than you’re afraid of my body. The Anatomy Reverend (comes in) Track 6 Lesson Alma, Doctor Buchanan is asking Alma what have you done? You’ve fed for you. John, your father… the belly a little—cakes and tea— Alma John but love and truth, none! Nothing. For me? Rose leaves and lavender… Nothing! Nothing but archaic plat- Reverend Alma itudes, notions and poses, lavender He would like you to sing to him. With you so much to blame, at sachet and roses. Alma least for this while you could feel Alma I couldn’t just now. some shame. Is that your high conception of Reverend John (pulls her over to an office human desires? I… I reject your Alma… anatomy chart) Look at what you notion of where love is… And the John really, Miss Alma, really, really are! kind of truth to which you say we Go in and sing to him, Miss Alma. Now, this upper story is the brain, aspire. There is something more (She goes in, then is heard gently which is hungry for something than brain and stomach and heart. singing.) The most angelic voice called truth, but it doesn’t get John cannot tell the doctor he will live. much, so it goes on feeling hungry. Something that Alma is Spanish for? But sing to us, Alma, and we’ll Do you follow me? This is the belly, Alma pretend to forget. Forget the the middle’s the belly which is Yes, and it’s not on your chart! waste! Forget the time we hungry for food. And this part down But it’s there just the same. Some- haven’t got. Forget. You came here is the sex, which is hungry for where not seen, but it’s there. And here to save me again, but I can’t love because… Do you follow me? it’s that I loved you with. Not what save you, Father! Father! (The People get lonely… Now I’ve fed you mention. Yes, did nearly die of, Reverend returns, sadly shakes his all three as much as I wanted. And when you hurt me. head.) ■ 19 ■ Scene IX Track 7 Sometimes I must walk for awhile Reverend Time has passed. The rectory. before I can sleep. Haven’t you seen the papers? Reverend (enters with wife.) Let Reverend Alma go of my arm! She was on her People ask after you. No, not lately. worst behavior. Alma Reverend Mrs. Winemiller Tell them I’ve changed, and you’re It’s a disgrace, the way things go. I got myself an ice cream cone. waiting to see in what way. He’s finished the work his father Reverend Reverend started and gotten all the glory And she walked home licking it Are you going to stay this way himself. That’s how it is in this every step of the way! indefinitely? world. That’s the world we live in. Mrs. Winemiller (imitating him) Alma Years of devotion and sacrifice are Every step of the way! You may wish I had. (She looks out. overlooked and forgotten while Reverend Music is heard.) Is there a parade? someone young and lucky… Just to humiliate me. Mrs. Winemiller Mrs. Winemiller Mrs. Winemiller Yes, yes, they met him at the There he is! (As her parents hurry Lick? station with a great big silver out to watch, Alma tries to open a Reverend loving cup. bottle of pills; they spill over the No thank you. Alma floor. Hysterical, she tries to gather Alma (in a robe and nightgown) Who? them up. The Reverend returns, Now, children... Mrs. Winemiller attempts to comfort her.) Reverend The boy next door. The one you Alma, why don’t you dress? It hurts used to watch all the time. Scene X Track 8 me to see you sitting around like John (in his office. Nellie enters.) this, day in, day out, like an invalid. High heels, feathers and paint. Alma Nellie I’ve made the beds. I’ve washed Not paint. the dishes. I’ve sent the laundry out. John I’ve phoned the store. I’ve set the Natural color? table for lunch. What more do Nellie you want? Excitement. Reverend John I want you either to dress or stay in Over what? your room. I’ve heard you slip out Nellie of the house at two in the morning. Everything. You. Here. Didn’t you Alma see me at the train? I waved my What do you want of me? Alma’s father tries to comfort her. arm half off. I’m home for ■ 20 ■ Thanksgiving. John Scene XI Track 9 John Suppose I did? (She kisses him.) That winter. The park. Home from where? Where did you learn such tricks? Mrs. Bassett Nellie (giggling) Nellie Good afternoon, Miss Alma. Sophie Newcomb’s School For I’ve been away… but they didn’t Alma (sitting on a bench, alone) Young Ladies. I’m returning this teach me to love. Good afternoon, Mrs. Bassett. nasty book you gave me last John Rosemary. summer when I was pretending That’s a very long word. Rosemary such ignorance. Nellie You seem very tired. John No it isn’t. Alma Only pretending? John Yes, I had to sit down. Nellie You think not? Run along before Mrs. Bassett I’m afraid so. Shall I go? I might be we get into trouble. It’s good to see you again after sick. See my tongue. Nellie your illness. John (examines it) Who’s afraid of trouble? Alma Strawberry! John Thank you. Nellie I am. Rosemary Peppermint. Nellie Our poor little group broke up John I’ll go if you say so. John? after you dropped out. Even better. Why the smile? John Alma Nellie Yes? What a pity. I always take one… when I hope to Nellie (going) Mrs. Bassett be kissed. I’ll be back for Christmas. You should have come to our last meeting. Vernon read his play to us. Alma And how was it received? Mrs. Bassett Maliciously torn to pieces. The way children tear the wings off butterflies. Rosemary I think next spring we might reorganize. Nellie (comes in) Miss Alma! Home from school, Nellie flirts with John. ■ 21 ■ Mrs. Bassett you had been. improperly heated. Oh dear. Well, goodbye. Alma Alma Rosemary (The ladies go.) Influence? Such a strange afternoon! Goodbye! Nellie John Nellie How you had inspired him. John Is it? I haven’t been out. There you are. said you came to his house that Alma Alma night like an angel of mercy. The Gulf wind is blowing enormous Nellie, why Nellie. Alma (points to the statue) white, fluffy cumulous clouds Nellie Ha-ha-ha! There is the only angel in across the sky, one after the other. I stopped by the rectory just for Glorious Hill. Her body is stone and John a second and they said you had her blood is mineral water. I’m Sit down, Miss Alma. been ill. going in now, you run along, Nellie. Alma Alma Nellie If I’m not disturbing you. How you’ve grown up. Wait! I want to tell you the most John Nellie wonderful news… No. I called at the rectory when I Oh yes, they prepare us to be Alma heard you were ill. smart young ladies in society. Only I’m going home now… Goodbye! Alma I needed a rest, that was all. I hear here there’s no society to be in! Scene XII Track 10 Alma Alma (coming into John’s office) you’ve been out of town. Ha-ha-ha! Oh, you’ll find other No greeting? No greeting at all? fields to conquer. John Nellie Hello, Miss Alma. I’ve a present for you. Alma Alma How white everything is. Oh, you shouldn’t… John Nellie New equipment. Yes, I should. Alma Alma Everything new but the chart. I hardly realized Christmas was John coming. How lovely. (takes it, reads Anatomy’s always the same old the card) ”Joyeux Noël to Alma thing. from Nellie and... John?” Alma Nellie And such a tiresome one. I’ve Doctor John helped me wrap it. been plagued with colds. John We talked about you for hours last Alma finally realizes John does night. He told me what an influence These Southern homes are all not love her. ■ 22 ■ John But now the high Gulf wind has In awe of your glory and that is my Redeeming myself as much as I blown that feeling away. And I story. John! John! (He does not could. know now I’m not dying. I see that respond. She slowly begins to Alma quite clearly. It isn’t going to be understand, then speaks.) Do you It’s rather late to tell you how happy nearly that simple. remember those pills you gave me? I am and also how proud of you. I John John almost feel as your father might Have you been anxious about your I’ll write you a prescription. have felt. Are you happy now? heart again? (Alma slowly buttons her blouse.) John Alma Nellie I’ve settled with life on fairly And now the stethoscope? (Slowly, Johnny? Johnny! acceptable terms. Isn’t that all a Alma opens her blouse so he can Alma person can ask? listen to her heart; she suddenly Someone to see you, the girl who Alma kisses him, but he pulls away. A helped you wrap this lovely He can ask for the coming true of painful silence.) handkerchief for me. his most improbable dreams. Nellie (comes in suddenly) John Alma Track 11 I’ve been all over town just It’s best not to ask for too much. You say nothing? shouting, shouting glad tidings! Alma John John I cannot believe that, John. I say Miss Alma, what can I say? I thought we weren’t going to tell ask for everything and be prepared Alma anyone for a while. to get nothing. No, I haven’t been It’s no longer a secret that I love Nellie well. I’ve thought many times you. It never was...! I know I’ve I just couldn’t stop myself. Oh, of something you told me last always shown it without shame Miss Alma, has he told you? summer: that I had a Doppelgänger. from as long ago as when you read Alma I found out that means I have the angel’s name. Yes, I remember He didn’t need to, Nellie. I another person inside me. I don’t those long afternoons of our child- guessed. know if I thank you for telling me. hood. Those days I stayed inside to Nellie No... I’ve thought many times this practice my music. The music I Then you were really the first summer that I was going to die. heard was your name being called to know. That was the change that was by your friends: “Johnny, Johnny!” Alma coming. I’d run to the window to see you run I’m proud of that. John to your friends. Yes, it had begun as Nellie (shows her engagement ring) When was that feeling? early as then, this affliction of love. See, this was the present I couldn’t Alma And all I think of is you. Anyone I tell you about. August. September. October, touch will be you. I’ve lived next Alma (hurrying off) November. No, I haven’t been well. door to you all the days of my life… It’s lovely. It hurts my eyes. ■ 23 ■ Epilogue Track 12 Young John Alma (The fountain in the park. Dusk.) “K?” Oh, I said…. The water is… cool. Young Alma Young Alma Stranger Yes, she has a name. It’s engraved No. Yes it sure is. It’s nice and cool. on the base but it’s all worn away, Young John Alma so you have to read it with your “R?” It’s always cool. fingers. Young Alma Stranger Young John Yes. “E-T-E-R…” Is it? “E”… Young John Alma Young Alma Eternity! Yes, even in summer. It comes “E,” yes. Young Alma from deep underground. Young John Eternity, yes. Doesn’t it give you Stranger “T”? the shivers? That’s what makes it cool. Young Alma Young John Alma Yes. No. There are many artesian springs Young John Alma (as the children disappear) in Glorious Hill. Another “E?” Well, it did me! Stranger Young Alma Stranger (enters) I didn’t know. “E.” Did you say something? Alma Are you a stranger in town? Stranger Tonight is my first night in town. Tomorrow I move on to Jefferson. I’m a traveling salesman. Alma A salesman who travels. The life of a salesman is interesting… but lonely. Stranger You’re right about that. Hotel bedrooms are lonely. Alma All rooms are lonely where there is only one person. Stranger You’re tired, aren’t you. I’ve heard of a place by the lake called the Alma meets a stranger (Brian Wahlstrom). ■ 24 ■ Moon Lake Casino. Are you too Stranger Alma tired to go dancing with me? Spanish for soul. To the Moon Lake Casino? Alma Alma Stranger I do not dance. Habla usted espagnol, señor? How do you know you can’t dance Stranger Stranger until you try? What? Well, my name is Archie Un poquito. Habla usted espagnol, Alma Kramer. Tonight is my first night señorita? Until I try… I never will. I shan’t in town. Alma make you lonely, Mr. Kramer, your Alma Yo tambien, un poquito. first night in Glorious Hill. And tomorrow you move on to Stranger Stranger Jefferson. Sometimes un poquito is plenty! I’ll call a taxi. Taxi! Taxi...! Stranger Alma Young John Yep! And we must be grateful. Well, then, let’s kiss each other. Alma Stranger Come on. Come on, let’s just And my name is Alma. What’s that? Are you sure you try it! won’t go? END ACT TWO / END CD II

MANHATTAN SCHOOL OF MUSIC OPERA ORCHESTRA Steven Osgood, conductor Heidi Studner, Director of Performance Operations Nolan Robertson, Orchestra Manager VIOLIN I BASSOON SOLO GUIITAR: Sharon Oh, concertmaster, Lele Jiang, Christine Choi, Leah Kohn Jordan Dodson Puya Aravand, Margaret Kim, Min Yang, Hannah Min HORN VIOLIN II Jessica Santiago, Kyra Sims Nicholas Pappone,* David Schaum, Gemma Baehr, TRUMPET Off-Stage Band: Minghao Li, Caroline Young, Abby Fennessy Matthew Gasiorowski VIOLIN: VIOLA TROMBONE Katherine Thomas Liuyin Yang,* Chi-Jui Lee, David Derrico, Zhenzhen Dai Sean Tripp Tatevik Ayazyan CELLO PERCUSSION BASS Carl Baron,* Andrew Yu, Sae Yun Kim, Jan Roszkowski Daniel Morris Max Jacob DOUBLE BASS TIMPANI TRUMPET Jonathan Stein,* Sam Ballantyne James Ritchie Michael Dobrinski FLUTE HARP Sam Nester Caitlyn Phillips, Kathleen Ellingson Brittany Hicken PIANO OBOE PIANO / CELESTE Mun Tzong Wong Jason Smoller Mun Tzung Wong CLARINET *principal Mark Dover, Camila Barrientos ■ 25 ■ At Madison, Hoiby’s prodigious Hoiby’s 1971 setting of Ten- pianistic gift was nurtured by Gun- nessee Williams’ Summer and nar Johansen, the Danish virtuoso. Smoke (with libretto by Lanford He passed Hoiby on to his own pian- Wilson) was declared “the finest istic mentor, the Busoni acolyte American opera to date” by Harriet Egon Petri, with whom he studied Johnson of the New York Post. Still, at Cornell and Mills College. On the the mid-twentieth century prejudice verge of a career as a concert against tonality and lyricism, com- pianist, Hoiby was offered, on the bined with Hoiby’s own professional basis of a few works, written for fun and social independence, worked and submitted without his know- against widespread recognition. In ledge, a full scholarship to study 1981 Peter Davis wrote of a new LEE HOIBY (1926-2011) was born in composition with Gian Carlo Menot- production of Summer and Smoke in Wisconsin of Scandinavian extrac- ti at the Curtis Institute in Philadel- New York Magazine: “Perhaps ten tion. His maternal grandfather was a phia. He worked closely with Men- years ago, music of this sort, un- violinist and teacher who emigrated otti as assistant during the period of abashedly drenched in ardent mel- from Denmark. His aunts comprised the historically unique simultaneous ody, was considered something of an a touring all-girl saxophone band, successes, on the world operatic and embarassment. Today such an atti- and like Brahms, he was forced by Broadway stages, of The Consul, The tude seems childish and irrelevant.” his father to entertain in alcoholic Saint of Bleecker Street, and The Hoiby continued to pursue lyric dives, leading him to rebel against Medium. The effectiveness of Hoi- opportunities with his 1986 setting any form of pop music, while un- by’s 1957 one-act opera The Scarf of Shakespeare’s final play, The avoidably imbibing the 30s idiom. was noted at the first Italian Spoleto Tempest, (also recorded by Albany) Important European musicians Festival, and it was produced at the of which Opera Magazine wrote in flight from Hitler gathered at New York City Opera the following that it was “redolent of Das Rhein- the remarkable war-time music season. Hoiby’s next opera, Natalia gold and Richard Strauss, but even so department of the University of Petrovna (NYCO, 1964; revised in was melodically, harmonically, and Wisconsin at Madison. Among them 1980 as A Month in the Country and musically, pure Hoiby.” were performers like the Pro Arte recorded by John Ostendorf for Before his passing in March Quartet, led by Arnold Schoenberg’s Albany in 2004) was praised by the 2011, Hoiby completed a lavish son-in-law Rudolph Kolisch, from distinguished Washington critic Paul three-act setting of Romeo and whom Hoiby absorbed the highest Hume, particularly the closing oc- Juliet. Other operatic works by Lee levels of European musicianship. tet (“of overwhelming beauty, a Hoiby include the one-act comedy They also introduced him to the supreme moment in opera”) which Something New for the Zoo (1979); dodecaphony of Schoenberg and he classed with the Rosenkavalier the musical monologues The Italian Webern, which he viscerally trio and the Meistersinger quintet. Lesson (1981, text by Ruth Draper) rejected. and the the recently recorded—Bon ■ 26 ■ Appetit! (1985, text by Julia Child) American singers everywhere. His most substantial works are for which together ran off-Broadway style is an elegant and unobvious chorus, including the Christmas and toured nationally with Jean bridging of the lyrical worlds of cantata A Hymn of the Nativity Stapleton in the late 1980s, and the Verdi and Gershwin, which can be (text by Richard Crashaw), the one-act chamber opera, This Is the profoundly moving or smoothly oratorio Galileo Galilei (libretto by Rill Speaking (1992—both works good-humored, but skirts entirely Barrie Stavis), and an accrual of on the Albany label). the modernist obsession with works for voice, chorus and or- Recent vocal chamber works “originality.” He turned frequently chestra on texts of Walt Whitman include a music-theater piece on to texts of great literary and civic which have been gathered into a full texts of Virginia Woolf, What Is the value. His exemplary performer has evening’s program called A Whit- Light? written for Claire Bloom and been the great American soprano man Service. He has written cham- the 92nd Street Y; Rain Forest for Leontyne Price, who, from 1964 ber music in numerous combina- voice, wind quintet and piano, on until her retirement in 1996, tions, including sonatas for violin, prose poems of Elizabeth Bishop for introduced many of his best known cello, a concerto for flute and the Santa Fe Chamber Music Fest- poem settings and arias to the chamber orchestra (Pastoral Dan- ival; and Sonnets and Soliloquies, a public, including “The Serpent” of ces), and Dark Rosaleen (rhapsody group of Shakespeare settings. Also Roethke, “Be Not Afear’d” (from The on a theme by James Joyce) of note among his larger compo- Tempest), the Dickinson songs, the recorded by the Ames Piano sitions for the voice is his 1991 set- “Evening” of Wallace Stevens, Quartet and recently released on ting of Martin Luther King, Jr.’s I “Lady of the Harbor” and “Where the Albany label. Have a Dream for baritone and the Music Comes From.” More recently he has written orchestra, which has had memor- Hoiby also made significant Trio for the Verdehrs for violin, able performances by William contributions to the piano repertory clarinet and piano, and Last Letter Stone and Simon Estes. including two piano concertos and a Home for the male vocal ensemble Hoiby’s immense contribution to volume of solo piano works pub- Cantus. A solo version of this moving the song repertoire is recognized by lished by G. Schirmer. Some of his song can be heard on YouTube.

Robert Sirota, President, Manhattan School of Music MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Dona D. Vaughn, Artistic Director / Stage Director Anne Ford-Coates, Hair/Makeup Designer

Gordon Ostrowski, Assistant Dean / Opera Producer William Tracy, Head Coach Manhattan School of Music Steven Osgood, Conductor June Marano-Murray, Elizabeth Rodgers, Vocal Coaches Alexander Dodge, Set Designer Kathyrn LaBouff, Diction Coach Tracy Dorman, Costume Designer Kathleen Stakenas, Production Stage Manager Philip Rosenberg, Lighting Director Silas Huff, Associate Producer ■ 27 ■ Summer and Smoke CD One (61:28) 1 PROLOGUE Act One (4:46) 2 SCENE I Reverend: “Alma!” (1:53) 3 John: “I believe it’s the nightingale” (3:52) 4 Alma: “I belong to a little group” (3:00) 5 John: “Sometimes at night” (2:54) 6 SCENE II Nellie: “Never seek to tell” (5:56) 7 Nellie: “Someone’s calling him” (3:28) 8 SCENE III Vernon: “I think” (5:37) 9 Alma: “Never seek to tell thy love” (4:42) 10 SCENE IV John: “I’d better answer” (3:06) 11 John: “Yes, yes, Miss Alma” (5:59) 12 SCENE V John: “It’s almost time” (1:55) 13 Alma: “Have you ever been” (3:47) 14 John: “Oh, Miss Alma!” (6:19) 15 SCENE VI Alma: “Yes, yes, John!” (4:06)

CD Two (61:02) 1 PRELUDE Act Two (1:57) 2 SCENE VII Roger: “And this is Ceylon” (2:16) 3 Rosa: “Johnny?” (3:39) 4 John: “I took the open door” (5:51) 5 SCENE VIII Reverend: “The Lord” (6:22) 6 Reverend: “Alma, Dr. Buchanan” (3:40) 7 SCENE IX Reverend: “Let go of my arm” (7:20) 8 SCENE X John: “High heels?” (3:08) 9 SCENE XI Mrs. Bassett: “Good afternoon” (5:18) 10 SCENE XII Alma: “No greeting?” (6:55) 11 Alma: “You say nothing?” (7:17) 12 EPILOGUE Girl: “Yes, she has a name” (7:10) LEE HOIBY HOIBYSummer and Smoke First recording of Lee Hoiby’s 1971 two-act opera, with libretto by Lanford Wilson, based on the play by Tennessee Williams—recorded at the acclaimed 2010 Manhattan School of Music Opera Theatre production; Gordon Ostrowski, opera producer; Steven Osgood, conductor; Dona D. Vaughn, stage director.

John Ostendorf, Albany record producer. SUMMER ANDSMOKE TROY 1272 / 73

Lee Hoiby(1926 -2011) Anna Viemeister Nickoli Strommer Audean Farmer COMPOSER ALMA JOHN NELLIE

Lanford Wilson Robert E. Mellon Claire Coolen

TROY1272/73

SUMMER AND SMOKE SUMMER AND Steven Osgood CONDUCTOR LIBRETTIST REVEREND WINEMILLER MRS. WINEMILLER

CD I: 61:28 CD II: 61:02 Albany Records U.S. CD Producer: John Ostendorf 915 Broadway, Albany, NY 12207 Tel: 518-436-8814 FAX: 518-436-0643 Engineer: Kevin Boutote Albany Records U.K. Recording Consultant: Christiane Orto Box 137 Kendal, Cumbria LA80XD Tel: 01539 824008 Warning: Copyright subsists in all recordings issued under the label Production Photos: Carol Rosegg LEE HOIBY © 2011 ALBANY RECORDS Made in the USA. www.albanyrecords.com Rock Valley Music Co; Long Eddy, NY