There is an exciting musical opportunity just around the corner here in the DC area! OperaCréole and Opera Lafayette join forces to premiere the first complete opera by a Black American composer, written over 130 years ago. They will give a performance on February 3rd at Lincoln Theater in DC, and at The Clarice Smith Performing Arts center on February 7th. But what goes into premiering a work that was never performed, and survived as a single manuscript with plenty of musical directions? Thankfully, Opera Lafayette Artistic Director Designate*, Patrick Quigley, and star singers Kenneth Kellogg and Mary Elizabeth answered all my burning questions!
One of the wonders of our art form is that it involves centuries of history and almost archeological-like discoveries we can then perform. What can you tell us about the 2010 discovery of this opera manuscript?
Patrick Quigley: The manuscript entered the collection of Harvard in 2000. Lester Sullivan at Xavier University brought it to the attention of Givonna Joseph in 2012.
What are some of the challenges that come with copying a handwritten manuscript from 138 years ago?
PQ: There are many challenges, the largest being that the composer has been dead for over 100 years, so we cannot consult with him when we have questions. Because this was never performed, the composer did not have the benefit of a normal workshop process, whereby he could hear his music performed and consult with the singers and instrumentalists to revise or edit.
France, especially Paris, was obsessed with opera in the 19th century and even had their own traditions. Do we find French influences of this time in the music? (Is there a ballet?)
PQ: There are two ballets, in fact (though we will not be performing them in our concert version). Like many French operas of the time, the action is quick, the orchestration is vivid, the conventions of grand opera (large wedding, market, banquet scenes) evident, and the sonorities of the time are in full effect.
Do we see any influences of his earlier life in the United States within the opera?
PQ: Absolutely. There is a Southern American melodicism that is heard throughout the opera. Similarly, with his father a clarinetist and wind band leader, we hear magnificent featured writing for winds and horns throughout.
What is the significance of two companies OperaCréole and Opera Lafayette coming together for this production?
PQ: This piece sits at the center of both of our missions. OperaCreole has, from its founding, been dedicated to the music of 19th century free composers of color, especially those who come from New Orleans. Similarly, Opera Lafayette has had a long commitment to premiering French works from the 17th through 19th centuries. Morgiane is the perfect combination of our respective expertise and passion.
What is the general plot of the opera?
Synopsis
Act 1: A Wedding Celebration
On her wedding day, Amine learns Hassan, the man who raised her, is not her father. Desperate to learn her true father’s identity, she begs her mother, Morgiane, but her pleas are refused. The bridegroom, Ali, tries to comfort her. Suddenly, soldiers led by the Sultan's cruel servant Beher interrupt the celebration and kidnap the beautiful Amine.
Act 2: The Market at Ispahan
Ali, Morgiane, and Hassan journey across the desert in search of Amine. They arrive at a bustling market in Ispahan, ruled by the Sultan. They watch helplessly as Beher drags Amine in chains toward the Sultan's palace. That evening, they devise a daring rescue plan.
Act 3: The Royal Palace
The Sultan plans to seduce Amine, but she stands up to him bravely. Disguised as entertainers, Ali, Morgiane, and Hassan hope to persuade the Sultan to release her. When their story fails to sway him, Ali grows angry and draws a dagger. Beher unmasks the entertainers, revealing their true identities, and they are arrested.
Act 3: The Prison
The Sultan offers Amine a choice: become his lover and save her family or refuse and face execution with them. Amine chooses death over betrayal. Before the Sultan begins sentencing, Morgiane confronts him, revealing a diamond ring hanging around her neck. “This is the ring that you gave me, your wife and Sultana, on the day that our daughter was born. You were a cruel husband, and I fled that day, to spare my daughter. You cannot marry the woman you have kidnapped, for Amine is your daughter, too.” The Sultan, shamed and repentant, frees his prisoners and declares that the death warrant is forgiven.
Mary Elizabeth Williams, how did you prepare for this role? What differences are there when preparing a work like this for the first time and something like Aida?
ME: Actually, my preparation for this role is exactly the same as any other role. Of course, there is the study of notes and rhythms, and the technical work it takes to figure out how to sing the role comfortably and reliably — and hopefully, beautifully! But beyond that nuts-and-bots work, I read the source material, translate the libretto word-for-word, familiarize myself with the composer or creative team, what they might have been doing at the time they wrote this piece, and what was happening in the world around them…all these factors help me understand the historical context of the work, and how the work’s original context might echo (or contradict) the realities of my life, and the lives of the audience members for whom I am preparing the work. Unlike many singers I know, I avoid listening to recordings as I am learning a role because I am an excellent mimic! I don’t want to subconsciously incorporate other artists’ vocal signatures into my interpretation. Only after I have developed my own interpretive point of view do I allow myself to listen to other performances—sort of as a refiner’s fire, to make sure my point of view holds water.
I suppose the only difference I have found in preparing MORGIANE is the relative lack of historical material and information about Dédé’s life as compared to Verdi or Puccini…but there have been a few scholars who have kept Dédé’s flame lit, so to speak, by writing articles and books about his life and musical legacy. I am very grateful to them. Knowing more about Edmond Dédé helps me enter into a deeper dialogue with his music.
Kenneth Kellogg, you’ve been involved with several new opera productions. But, instead of a living composer or modern story, this is a work that no one has ever performed! How does preparing for something like this differ to a new opera by a living composer?
KK: It has been a very interesting thing to talk about with people. When I tell them, "I'm doing a world-premiere" opera the response is usually inline with the other modern operas I've been a part of. When I give the detail of it being written by a Black American, it still fits the mold of things I've done. Then when I tell them it was written in 1887, you see the confusion cross their face and the questions start flowing. It is a curious thing as you watch people try to put all the pieces together and make sense of it. Preparing for Morgiane is no different than preparing for Bellini or Mozart. The vocal style is no different than any traditional opera of the time. I have to do my research on the story and characters just as I would prepare for any role not of my lived-experience. What is different, is carrying and reclaiming the legacy of a Black American that was denied the opportunity. To lend voice to ushering him into the ears and hearts of today's audiences is a humbling honor.
What surprised you when preparing for this? Or, has a particular moment from this opera stuck with you?
PQ: The beginning of the third act, when we finally meet the Sultan (the other title character) is a magical moment featuring virtuosic wind playing over a cantabile bass vocal line. It is a remarkable aria, and a sonic feast.
ME: One thing I really appreciate about Dédé’s writing is how culturally mixed it is, just as he himself was an amalgamation of many cultures and lived experiences. I can hear influences from French grand opera, Italian bel canto, German choral music, Creole dance music…I could go on and on, and I am just beginning my journey with this piece. I am sure I will hear more and more as my point of view matures. Dédé seems to have been like a sponge, absorbing all the nuances around him, and his genius is that he managed to incorporate all these disparate influences to make a cohesive and compelling voice of his own…which, I think, is what most artists strive to do with their art. I know I do!
This is quite an opportunity, to hear an opera never heard before and the earliest extant example we have from a Black American composer?
PQ: It is!
After hearing this premiere, what should people look to next to learn/listen about this composer, Edmond Dédé?
PQ: There is an enlightening recording by Richard Rosenberg and the Hot Springs Music Festival of piano music, song, and orchestral music by Edmond Dédé . Additionally, folks might search out recordings of Dédé ’s concerto for ophicleide (now typically played on euphonium) “Mephisto Masque.” That said, most of Dédé ’s music remains in 19th century editions, so hopefully this performance will encourage other musicians to explore his rich catalogue.
ME: Well, I would love to start seeing Dédé songs recorded, and/or included on recitals. He was a prolific composer, and there is a wealth of material from him to discover. I would also hope that some pioneering, spunky opera company will step up and mount a fully-staged production of MORGIANE soon. We are making an important first step with this concert tour, but this work deserves to be experienced at full flower.
*Please note that Patrick is the AD Designate. Ryan Brown is still the AD. This is his last season, and his founding of the company and tenure will be celebrated in Opera Lafayette’s last performance of the season – RE|JOICE 30 Years of Ryan Brown at Opera Lafayette on May 1 at the Terrace Theater and April 30 in NYC. (More at www.operalafayette.org/rejoice)
WETA Passport
Stream tens of thousands of hours of your PBS and local favorites with WETA Passport whenever and wherever you want. Catch up on a single episode or binge-watch full seasons before they air on TV.