Dolores Claiborne as an Opera

This Saturday we’ll broadcast Tobias Picker and J.D. McClatchy’s opera adaptation of Stephen King’s Dolores Claiborne from San Francisco Opera’s premiere production (get a preview below).

But first, watch Opera America’s “Creators in Concert,” with guest Tobias Picker, this evening at 7pm through their website.

Kentucky Opera


Our Lunchtime Classics series returns in September. Until then, we’re featuring some artists who have performed on past episodes.

Kentucky Opera was founded in 1952 by Moritz von Bomhard. Its first productions were presented in the Columbia Auditorium until 1964 when they moved to the Brown Theatre. The company later moved some performances to Whitney Hall in the Kentucky Center for the Arts in 1984 and moved all productions there in 2000. Kentucky Opera currently presents most of its performances in the Brown Theatre.

Under Bomhard’s direction, Kentucky Opera grew to become a respected regional company. The Bomhard Theater at the Kentucky Center for the Arts is named in his honor. After 30 years of tenure, Bomhard retired in 1982.

Thomson Smillie became the company’s next General Director. A native of Glasgow, Scotland, Smillie had worked for the Scottish National Opera for twelve years in addition to being the Artistic Director of the Wexford Festival of Ireland. In the United States, Smillie led the Opera Company of Boston before coming to Louisville. Smillie served 16 seasons with Kentucky Opera before leaving in 1997.

In 1998, Deborah Sandler became the third General Director of Kentucky Opera. She came to Louisville from the Opera Festival of New Jersey where she had been on staff as Executive Director since 1985 and later as General Director. During her tenure at the Opera Festival of New Jersey, the company grew under her tenure to be a major national force in American Opera.

In January 2006, David Roth was announced as the new general director of Kentucky Opera, succeeding Ms. Sandler. Roth had been with Fort Worth Opera since 2000 where he balanced the artistic and fiscal responsibilities as both Director of Production and Director of Finance.

Kentucky Opera begins its 2014-2015 season with Fidelio by Ludwig van Beethoven in mid-September.

2014 Pulitzer Prize in Music Winners

Congratulations to the 2014 winner of the Pulitzer Prize in Music, John Luther Adams, for his orchestral work Become Ocean, premiered by the Seattle Symphony last June.

The finalists this year, two operas, are John Adams’ (not related) The Gospel According to the Other Mary and Christopher Cerrone’s Invisible Cities.

Blackness in Opera: Porgy and Bess


The most famous African-American themed opera started out as a novel by DuBose Heyward. Composer George Gershwin read Porgy and contacted the author asking if he’d like to collaborate on what Gershwin referred to as a “folk opera.” That was in 1926. Nine years later, Porgy and Bess had its premiere in Boston at the Colonial Theatre. George Gershwin wrote the music, Heyward supplied the libretto and Heyward and Ira Gershwin wrote the lyrics. The original version of Porgy and Bess was 4 hours long. Cuts were made before it hit Broadway later that year. After a touring production ran its course, Porgy returned to Broadway in 1942 and ran for nine months.

Although Gershwin referred to it as an opera, Porgy and Bess was still considered by many to be a glorified musical. It wasn’t performed by an American opera company until 1976 by the Houston Grand Opera. It didn’t make it to the stage of the Metropolitan Opera until 1985 (Meanwhile it had already graced La Scala’s stage in Milan in 1955).

The story takes place in Catfish Row, a black tenement on the waterfront in Charleston, South Carolina. The depiction of black life in Catfish Row is unflinchingly grim. So much so that many took offense to the work. They said the opera showed African-Americans as stereotypes. Many productions of Porgy were begun but left unproduced because the casts were offended by the characters portrayals. Others, however, realized what Gershwin had given them – a monumental opus for black artists to perform (Ira Gershwin stipulated that all American productions of the work be performed by African-Americans).

Learn more about this opera and hear from some of the artists who performed it by listening to African American Voices.

Blackness in Opera: Treemonisha

Scott Joplin

Although he concentrated on smaller pieces for piano, Scott Joplin wrote an opera. Joplin wrote Treemonisha in 1910 and had a vocal/piano score published the following year at his own expense. Joplin presented parts of the work to a Harlem audience, but it was met with little enthusiasm. Treemonisha wasn’t fully performed until 1975 by Houston Grand Opera with orchestration by Gunther Schuller. It received a “historically informed” arrangement in 2003 by Rick Benjamin to better reflect the instrumental forces at Joplin’s disposal.

It’s difficult to describe Treemonisha in a few words. It’s not grand opera. But it’s not completely a Ragtime opera either. There are stand-out songs in the work, including Aunt Dinah has blowed the horn and A real slow drag. The opera takes place on a former slave plantation near Texarkana in 1884. Treemonisha is a young educated former slave who rallies her community to throw away the shackles of ignorance and superstition. She is kidnapped and almost murdered, but is saved. The people choose her as their leader as they reject mysticism and realise the value of education.
Treemonisha has received recent performances in the Schuller arrangement. Rick Benjamin presents selections of his arrangement occasionally and released a recording of the full score in 2011.