Operas in English by Griffel Margaret Ross;

Author:Griffel, Margaret Ross;
Language: eng
Format: epub
ISBN: 1711880
Publisher: Scarecrow Press, Incorporated

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NABOTH’S VINEYARD, dramatic madrigal by Alexander goehr; libretto (narrative in English, arias in Latin), after the Old Testament, Book of Kings 1, 21. First performance July 16, 1968, London. First U.S. performance June 30, 1970, Aspen, Colorado, with Jacqueline Pierce, Melvin Novick, and James Selway.

King Ahab wants to have Naboth’s vineyards. Ahab’s wife, Jezebel, has Naboth stoned to death when he refuses to give them up. The Lord reserves punishment not for Ahab but for his descendants.

The work is for three vocalists (a, t, b) and six instrumentalists.

Part 1 of the Triptych,* which also includes Shadowplay* (1970) and Sonata about Jerusalem* (1971).

SCORE: fs, English-german (London: Schott; New York: Schott Music Corp., [1973]).

BIBLIOGRAPHY: Quaintance Eaton, “Aspen,” ON 35 (Sept. 19, 1970): 27; Philip Kennicott, “Composer’s Page,” ON 56 (Dec. 7, 1991): 48, 70.

NADA, opera in three acts by Harry L. Freeman; libretto (Eng) by the composer. First performance (concert, excerpts) 1900, Cleveland. Revised (1941–44) as Nada and the Lily, part of the Zululand* trilogy.

NADESHDA, romantic opera in four acts by Arthur Goring Thomas; libretto (Eng) by Julian Sturgis. First performance April 16, 1885, London, Drury Lane.

SCORE: vs (London: Boosey; New York: W. A. Pond, [ca. 1885]).

NAKED CARMEN, THE, “electric rock opera” in one act by John Corigliano and David Hess, after georges Bizet’s Carmen (1875, Paris). Composed 1970 as a “concept album.”

The update of Bizet, which portrays Carmen as a heroine rather than a temptress, employs synthesizers, rock and opera singers, and amplified instruments. Among its numbers are the Habanera, “Where Love Is Free”; the Toreador Song, “Playin’ the game”; and Micaela’s aria, “Time.” Corigliano orchestrated the symphonic excerpts.

See www.echonyc.com/~jhhl/nakedc.html for details.

DISCOGRAPHY: M. Moore, W. Walker, R. White, g. Turner, Detroit Sym., cond. Corigliano, P. Paray, Mercury, SRM 1-604 (1970, 1 LP), rev. Martin Bernheimer, LA Times (July 12, 1970): 42.

NAKED REVOLUTION, multimedia opera by Dave Soldier; libretto (Eng) by Maita di Niscemi. First performance October 11, 1997, New York, the Kitchen, with Tony Boutté (the cabdriver), Robert Osborne (the general), and Jimmy Justice (the citizen); conducted by Richard Auldon Clark; artistic concept by Vitaly Komar and Alexander Melamid; directed by David Herskovits.

The work, which stresses the theme that all revolutions eventually fade away and are replaced by others, opens with a Russian immigrant cab driver explaining his disturbing dreams to his psychiatrist. In the fantasy that follows, revolutionaries such as Washington, Lenin, and Isadora Duncan meet and put forth their beliefs.

The score includes elements of country music, dance, and choral writing.

BIBLIOGRAPHY: Anthony Tommasini, “Opera with Washington and Lenin? Revolutionary!,” NYT (Oct. 14, 1997): E, 5.

NAMIKO-SAN, tragic opera in one act by Aldo Franchetti; libretto (Eng) by the composer, after Leo Duran’s The Daymio (1921). First performance December 11, 1925, Chicago, with Richard Bonelli (Yiro Danyemon), Tamaki Miura (Namiko-San), Theodore Ritch (Yasui), Alice D’Hermanoy (Towa-San), and Vittorio Revisan (Sato); conducted by the composer. Also April 5, 1927, Brooklyn, New York, Brooklyn Academy, with Miura, graham Marr (Yiro), and Julian Oliver (Yasui).

The setting is medieval Japan. The sixteen-year-old Namiko-San is the geisha of the fierce Yiro Danyemon, warrior prince of the province.

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