AMERICAN OPERA CLASSICS LORI LAITMAN The Scarlet Letter Libretto by David Mason Claycomb • Armstrong MacKenzie • Belcher Knapp • Gawrysiak Opera Colorado Orchestra and Chorus Ari Pelto Lori CD 1 66:18 LAITMAN Act I (b. 1955) 1 Scene I: A Meeting Place 14:47 The Scarlet Letter (2008, rev. 2015–16) (Wilson, Bellingham, Dimmesdale, Chillingworth, Prynne, Chorus) Opera in Two Acts 2 Scene II: The Prison 13:33 (Chillingworth, Prynne) Libretto by David Mason (b. 1954) 3 Interlude: Time Passing 2:29 Based on the novel by Nathaniel Hawthorne (1804–64) (Chorus) Commissioned by The University of Central Arkansas through Robert Holden and the UCA Opera Program 4 Scene III: The Governor’s Rose Garden, Seven Years Later 14:18 (Bellingham, Wilson, Chillingworth, Dimmesdale, Prynne) Cast in order of vocal appearance 5 Scene IV: Dimmesdale’s Study – His Nightmare 21:11 A Sailor . Charles Eaton, Baritone (Chillingworth, Dimmesdale, Hibbons) A Farmer . Benjamin Werley, Tenor Goodwife 1 . Emily Robinson, Soprano John Wilson, an elder minister . Kyle Knapp, Tenor CD 2 45:04 Governor Bellingham . Daniel Belcher, Baritone Arthur Dimmesdale, a young minister . Dominic Armstrong, Tenor Act II Congregation Leader . William Bryan, Baritone 1 Scene I: The Forest 22:33 Goodwife 2 . Becky Bradley, Soprano (Chillingworth, Prynne, Dimmesdale) Goodwife 3 . Danielle Lombardi, Mezzo-soprano Roger Chillingworth, Hester’s long-missing husband . Malcolm MacKenzie, Baritone 2 Scene II: A Meeting Place – Election Day 22:31 Hester Prynne, a young seamstress . Laura Claycomb, Soprano (Hibbons, Prynne, Bellingham, Wilson, Dimmesdale, Chillingworth, Chorus) Mistress Hibbons, a witch . Margaret Gawrysiak, Mezzo-soprano A Shipmaster . William Bryan, Baritone Pearl, Hester’s daughter . Maiah Howie (non-speaking role) Opera Colorado Orchestra and Chorus General Director: Gregory Carpenter • John Baril, Chorus-master Ari Pelto Beth Greenberg, Stage Director • Erhard Rom, Scenic Design Robert Wierzel and Amith Chandrashaker, Lighting Design • Topher Blair, Projection Design Terese Wadden, Costume Design • Ronell Oliveri, Wig and Makeup Design Lori Laitman (b. 1955) The Scarlet Letter First published in 1850, Nathaniel Hawthorne’s The statements, Dimmesdale’s evolving music suggests an Two, she needs to be a young girl, no longer a babe in now using the name Roger Chillingworth. Declaring that Scarlet Letter is one of the most familiar of all American increasing self-awareness. By the final scene, one may arms. To facilitate casting, Laitman has written the part as he will discover the identity of her lover, he confronts literary works, the title alone having established itself in well sympathize with him, which might not have been the a non-singing role. However, the character is still a crucial Hester in her prison cell, but fails to learn what he is the popular lexicon. That the story is also a love triangle, case in Hawthorne’s novel. Together, Laitman’s music dramatic presence. Using light-hearted phrases to determined to know. After he leaves, Hester sings a as well as a moral allegory may have escaped some and Mason’s text allow Dimmesdale to grow more than he represent Pearl playing in the forest is but one way in lullaby to her child, ‘the Pearl beyond all price.’ readers, but not composer Lori Laitman and librettist did originally. In any dramatic art form, one likes to see which Laitman brings the character to musical life. The Chorus reflects on the passage of time. Several David Mason. A focused set of central characters – built- characters be changed by their experiences; Along with the protagonists, there is also the issue of years pass, and Pearl is now a young girl. Governor in conflict between those characters – potential for large Dimmesdale’s music is an expression of that process. the community and how it judges Hester. In fact, it is the Bellingham and other leaders of Boston debate whether choral scenes – a dramatic denouement: those features The husband Chillingworth, too, wears varied musical community that comes first to the listeners’ attention, in the Hester should be permitted to keep her child, who they seemed ideal for the operatic stage. Streamline the masks. When in Hester’s company, his lines are gruff and opening pages intoning ‘One law’ in shades of moody gray. fear is not being raised in a suitably Christian manner. language to craft singable lines; use the music to paint the determined, like the voice of a man who is sure of being in It is law, as much as Chillingworth, that has condemned Chillingworth takes rooms with the young minister Arthur characters in the most vivid fashion possible, the better to the right and determined to prove it. By contrast, once he Hester – librettist Mason emphasizes that point from the Dimmesdale, who is concealing from all the fact that he is increase the story’s immediacy for listeners. Just as the has befriended Dimmesdale, apparently suspecting the very first words. The theme recurs, and for it, Laitman has the father of Hester’s child. Although taunted by the local greatest opera composers of past generations have faced other man of being Hester’s lover, Chillingworth takes on crafted a stern motif, representative of the unforgiving witch Mistress Hibbons, Dimmesdale will not confess, and those challenges, Laitman and Mason approached them a smoother, more insinuating character. He still seeks Puritan culture in which the protagonists live. Mason attests Chillingworth begins to sense that the minister is again from a 21st-century perspective. vengeance, but wants answers first, so in the scenes of that he wished to bring out ‘the moral texture of the book, or concealing something. Dimmesdale, almost overwhelmed All three central characters stand brilliantly in the the two men together, Chillingworth’s music is mellower in human law vs. the law of nature and life.’ Laitman’s music by his guilt, is in ever-failing health. spotlight. Hester’s music varies from scene to scene. As spirit, both vocally and in the instrumental support. That reinforces the point. Let the characters get out into the the curtain rises to reveal her, with infant Pearl in her Laitman has stocked her orchestra with an abundance of forest, and they are given freer, less constrained music Act Two arms, standing before her neighbors, the music is more varied woodwinds proves an advantage, as the diverse than they have in the village. In Hawthorne’s own time, the resolute than shamed, and one feels at once that Hester instrumental timbres do much to shade the general flavor idea of nature as a purifying influence was beloved in In the forest, Chillingworth accosts Hester once more, is equal to her burden. Firm and unyielding with her of any given melodic line. literature. The author and his contemporaries would likely demanding to know her lover’s name, but again failing to husband, she is gentle and encouraging with the father of Laitman places the principal characters in very be pleased to find their concept captured so vividly in force her to any revelation. After Chillingworth departs, her child, and in Act Two, she shifts musically from one to specific niches within their respective ranges. Hester’s music, as it is here in Latiman’s The Scarlet Letter, which Hester is approached by Dimmesdale. They muse on the the other in short order. Hester’s love duet with lines lie on the higher, lighter side of the soprano realm, premiered May 7, 2016. possibility of fleeing the community, and it becomes clear Dimmesdale is especially revealing, beginning as it does more coloratura in spirit than lyric. As for the men, that Pearl is coming to recognize Dimmesdale as her with the two singers first alternating lines with one Dimmesdale has scarcely any coloratura writing, but father. Plans are made for all three to sail back to Europe another, then beginning to overlap musically speaking, neither is he a Wagnerian Heldentenor; the minister’s Synopsis and begin their lives anew, to ‘know joy again.’ However, and finally blending together in harmony, as if expressive music makes him a conflicted young man, rather than a Dimmesdale, unable to set aside his guilt, chooses an of their closeness with one another. Mozart had used that bold adventurer. Despite being the closest thing to a Setting: mid-1600s Boston Election Day rally to confess to the crowd, revealing a approach in his famed duet ‘La ci darem la mano’ from villain in the opera, Chillingworth is a Puccini-esque letter ‘A’ branded on his own chest. Hester and Pearl join Don Giovanni; that master composer would likely be baritone, rather than a stereotypical bass. Like Act One him on the platform, but Dimmesdale’s heart finally gives impressed that Laitman thought to employ it here. Dimmesdale, he is a troubled soul, not just an out, and he falls dead at their feet. Chillingworth rages at Her lover Dimmesdale is the character who, both embodiment of the dark side. A crowd gathers to gawk at young Hester Prynne, having lost the target for his hatred. A choral epilogue musically and dramatically, undergoes the greatest Around the central trio one finds other characters for charged with adultery. With the damning scarlet ‘A’ on her resolves the story for mother and child. growth. Mistress Hibbons demands of him, ‘Who do you whom Laitman has also used musical tools to underline breast, she appears on the platform clutching her infant think you are?’ a question Dimmesdale poses to himself roles. Mistress Hibbons’ music has restless, generally daughter, Pearl. In the crowd is the minister Arthur Betsy Schwarm again and again, in ever new musical terms. Evolving unpredictable rhythms evocative of the character’s Dimmesdale, unacknowledged father of her child. Also from shorter phrases to gradually more expansive outsider status in the community.