Category: Librettists

I’ve been dark

If Lucretia Mott was alive today she’d be very cross with me. She’d be standing firm, eyeing me straight on whilst giving me a strong piece of her mind…something about perseverance, commitment, honesty to my own self. Truth! Truth to one’s own God-given Inner Light and how I have been squandering my energies. I’ve been dark. For a month this blog has been dark. Nothing posted, no excuses, no explanations…just…nothing. Yeah, sometimes nothing happens.If you are reading this then I commend you whole-heartedly and promise to post things worthy of your exquisite time in the days ahead. Thank you for giving me a bit of space to process here.

I live one foot in the digital world and the other in the analog world. I keep a paper date-book and on the cover of my paper-date book – which, yes, adds weight to my bag – are three quotes:

· First say to yourself what you would be; and then do what you have to do – Epictetus

· Nothing can be created out of nothing – Lucretia Mott

· We can know only that we know nothing. That is…human wisdom – Tolstoy

Epictetus, Lucretia Mott and Tolstoy; that is quite a literary cocktail. I may add

· We chase the melodies that seem to find us /until they’re finished songs and start to play – Lin-Manuel Miranda (from his moving acceptance sonnet from last night’s Tony Awards) 

The lesson here is to take life, whatever comes at you, and make art! I started this blog as a way to gather my thoughts about opera (a new art form to me at the time.) Now I am taking it as a tool to push myself to learn, grow and produce librettos. I fell off. Today I get back on and I have a few revisions to make to my syllabus. 

It is still imperative that I write every day. It’s not so important that I post something every week simply because “every week” becomes about just posting shit and not about producing something worth reading. I don’t want to waste your time. The new requirement is that I post something I’ll be happy about you reading. Hopefully that will make you happy too.

I’ve got three stories in development

The Light Within – on the life and times of Lucretia Mott: Quaker pacifist, warrior against slavery, poverty, war and the oppression of women, not to mention her own inner daemons – based on the book “Valiant Friend” by Margaret Hope Bacon

Goatscape – a fairy-tail about a police officer, a homeless vet, a hospital janitor and a goat on-the-lam in Bed-Stuy in the middle of the night 

Soferet – a drama about a woman becoming a Jewish scribe in the early 1980’s and the effect she has on the Orthodox community she must count on to help her in her journey

###

Once – long ago – I was a bookbinder. I made books for a living. It wasn’t much of a living so I moved on to other more profitable pursuits but the art of book-making has never left me. I make books, I can’t stop myself from doing so. Since I don’t have a bindery any more I do scrappy little projects that keep my hands and my heart at peace. As I was thinking about writing librettos I realized that a component of these works are the source elements I use to create the story. Naturally I look to making a book.


 Here are two books I’ve made specifically for the early stages of writing – brainstorming, character development etc. It all goes down in these lo-fi memory storage units and they are part of my story. So I may not have been writing but I have been creating and here is the beginning of these two tales


Let the writing begin again. 
MMN

There Are No Words

A dark stage

A single spotlight comes up on an empty stage

A woman steps into the light

She reaches out her arms in front and spins around as though someone has just hit her

She falls to the floor

Music crashes in evoking an overbearing presence filled with malice. The woman sits in the center of the light protecting herself. The music subsides.

She is alone

Woman
Sometimes these things happen
and the end result is that we just remember who we are
more than ever before

A choir of men & women dressed in Quaker garb step into the light

Choir of Quakers
Men and women must seek the light
the great heresy is to await
In a kind of indifference
for the Light to come to us

Woman
There is so much that distracts us
from love and connections

Choir of Quakers
God is the Light, the  Truth that stirs within

Woman
Years of negativity and dislike
built brick upon brick upon brick
Such that we cannot see over to the other side of the other side

Choir of Quakers
Walk worthy unto that which ye are called
Practice abstinence from that which intoxicates
How increasingly incumbent is it upon you
to carry out your principles
so that you be not found in the background
of the great reformation that is taking place
in human society today

Woman (spoken)
Last night someone looked at me and said
“Oh honey, you’ve gained weight”
And when I mentioned that to someone else they said
“Well, you have, ya know”
I know that shouldn’t bother me but today it does

Choir of Quakers
Orthodoxy and bigotry shut men and women from the Light
Prune rote-creed and superstition from your mind
Let in the Light
The clear, stark, uncompromising Nantucket Light

Woman
I always struggle with my body
the discrepancy between what I see
and what others see
I think its time to assert myself
against comments like that

Quaker Choir
Let in the Light
The clear, stark, uncompromising Nantucket light
Where there is no room for prejudice to grow
Or oppression to flourish

Woman
Do not comment on someone’s body
shape or size
unless you are fucking asked about it

Quaker Choir
Woman is claiming for herself stronger and more profitable food
There is today a more extended recognition of her rights
her important duties
her responsibilities in life

Woman
Your opinion on my body is unwarranted
unnecessary
and I didn’t ask
so don’t comment

Quaker Choir
Launch forth, as men do, amid real, independent, stormy life

Woman
This is a cultural issue
that it’s been OK to objectify women’s bodies

Quaker Choir
It is interwoven throughout our country
and we may well acknowledge that we are all
All verily guilty concerning our sisters and our brothers

Woman
I think it shows a remarkable lack of tact
What the fuck is wrong with people?!

Quaker Choir
Inquire for thyself and acknowledge the Light that resides within

Woman
I need not set aside a special time for worship
I worship always seeking the divine will
and practicing holy obedience
I appreciate the wise laws of nature
and the divine spark in man and in woman

Quaker Choir
Breath in – breath out
you can’t change people
Only your response to them

Woman
Because the Light is one in all
it binds us together
In the bonds of love
Free discussion is never to be feared
except by such as prefer darkness to light

The spotlight has expanded during this interlude and now floods the stage in brightness
The woman changed her clothing from the party girl out on the town look into simple Quaker garb. She now stands with the choir undistinguished from the rest

The end

_______________________________

Librettist’s note: This weeks Micro Opera is a curious mixture of words from a Lucretia Mott address and a dialogue I watched unfold on FaceBook. Somehow I found them to be related. This is raw, I didn’t take enough time but I had to post something because I played hooky last week. It was Passover, I was tired and full and buzzing from many glasses of wine. But this also points to my ongoing process of “turning over, and turning over” the words of my ancestor in the hopes of finding new meaning for our society today. There must be a connection. I continue to dig. I’m 20 minutes past my posting deadline. Time to get this sucker up there.

As always, thank you so much for reading.

MMN

The Light Within: A Very Early Rough Draft of an Opera on the Life of Lucretia Mott

Main Characters

2016-03-01 12.01.03
Lucretia Mott at about the age of 70…give or take. You can still see the fire in her eyes if you look beyond the bonnet

Lucretia Mott: Soprano – A short, sprite of a woman of quick movements and vivacious manner. She is slender and petite with an air of dignified simplicity and a grace of conduct beyond her years. Two features rule Lucretia’s face; A benignant mouth which softens an otherwise dominant chin and lofty brow. She has beautiful, limpid-grey eyes widely set and full that seem to grow appealingly darker whenever she is moved by the excitement of sympathy or the animation of conversation. Beneath her lively exterior lies a nature as deep and sober as that of her beloved James; always she is tender with a high degree of practical spirituality.

Thomas Mott: Baritone – A tall, quiet, grave-looking man with sandy hair and kindly blue eyes who takes his time and always acts with great deliberation. James perceives everything in a serious way but is always tender with a high degree of practical spirituality.

Miller McKim: Bass Baritone – A young man with a deep sense of spirit. He has dark features and a flair for theological discourse. He is very much a match to Lucretia’s highly spirited convictions.

Quaker Elder – Mezzo Soprano or a Baritone

Quaker Choir

 

Librettist’s note: I have been working on this particular piece for about five months. It pre-dates the launch of the Mott Academy of Libretto Writing and was partially responsible for MAWL coming about in the first place.

This Micro Opera is based on the book Valiant Friend: The Life of Lucretia Mott written by Margaret Hope Bacon. I began writing The Light Within (TLW) when Philip Glass’ Etudes for Piano came into my world. I found a compelling (one could say obsessive) relationship between Bacon’s book and Glass’ music and set to find out where the two intersected. This is very much a work in progress and I have a long, long way to go before it clicks but I’ve come far enough that I think it’s time to share it with you.

To help you make any reasoned sense of this, get yourself a copy of Glass’ Piano Etudes and read on. For a taste of what I’m trying to do, listen to this…

…while you read the first scene of act 1. Hopefully you’ll get the idea. I’d love to hear from you if anything strikes a chord. Any composer out there interested in crafting a minimalist score with Quaker ideals send me a note. This will be a full blown opera one day!

ACT I

Scene 1

Place: A busy Quaker home in Philadelphia 1880. It is the last day of Lucretia Mott’s long and storied life. Based on the tempo from Glass Etude No. 1

Lucretia Mott sits napping in the family room near the fire, an extra blanket lovingly placed over her shoulders by her daughter Mary before she dons her bonnet to head out for a meeting. Several other men, women and children – all dressed in simple Quaker garb – bustle around the home as the morning light rises. Everyone is equally busy and equally happy in their appointed tasks. A number of people head out the door after Mary while others attend to laundry, or splitting wood out back. After a great burst of energetic activity (with the one still-spot being our beloved Lucretia contentedly napping) the room falls quiet. The silence arouses our matron who is happy to be finally alone with her own company. Lucretia holds some knitting in her hand and attempts to pick up the pearl stitch she was in the midst of when she dozed off but her hands are arthritic and she rests her work back in her lap intending to resume knitting in a little while.

The weather is churning outside from the NorEaster that passed through last night. The sun darts in and out at irregular intervals indicating the fast moving clouds overhead being pushed by gale-force winds that have lost their bite but not their shove. This creates a dramatic moving light in the room. At one moment Lucretia sits in darkness and then suddenly a brilliant light breaks in bringing clarity to the room. This creates a distinct Chiaroscuro which moves around Lucretia as she stirs with the dancing light. The music conveys a reflective quality as our antagonist finds the strength to sit up straight and be fully present to the room and the audience therein witnessing the production.

LUCRETIA MOTT

Welcome
Is thee is comfortable?
The storm abates, see how it pushes and pulls the light
The light, the light
Bright like a Nantucket morning
Clear as the wind whipping my skirts

“Spitfire” twas a name they had for me then
As a girl of ten

Spitfire, spitfire indeed
Too many names have I acquired this long life
Not all said lovingly, I assure thee

As a girl I knew what my faults were
I earnestly sought a passive state
I’d wait for truth to unfold from my soul of its own accord

God speaks directly to men and women
boys and girls
through an inward Light
that illuminates our conscience

By minding the Light Within
one learns where one’s duty lay
then it is just a matter of obedience

All the troubles of the world
all evils, including slavery
are not due to human depravity
but disobedience to manifest duty

First-Day silence deep and awesome
Therein I prayed to overcome my hasty rage
My Spitfire tendencies
But it’s not fair how human beings mistreat one another
Humanity shudders at our self-inflicted atrocities!

 

QUAKER CHOIR

God speaks directly to men and women
boys and girls
through an inward Light
that illuminates our conscience

Mind the Light Within
learn where thy duties lay
then it is just a matter of obedience

All the troubles of the world
all evils, including slavery
are not due to human depravity
but disobedience to manifest duty

 

LUCRETIA MOTT

So much injustice in the world
how to fight against it all
when one is so weak and small?

I miss the sea, the ships, the salt spraying on my face
Nantucket’s stark and revealing light
The Light Within I seek so earnestly still
I miss my Thomas, my beloved Thomas

 

QUAKER CHOIR AND LUCRETIA MOTT

God speaks directly to women and men
girls and boys
through an inward Light
that illuminates our conscience

Mind the Light Within
Learn where thy duties lay
then it is just a matter of obedience

All the troubles of the world
all evils, including slavery
are not due to human depravity
but disobedience to manifest duty

 

LUCRETIA MOTT(spoken)

Thee is here to witness an accounting of my days

 

End of Scene 1

 

Intersticial:

QUAKER CHOIR
“unable to abide Thy purity till pure as Thou are pure.
Made such by Thee we then are free.
And liberty, like day, breaks on the soul
And by a flash from Heaven
Fires all the faculties with glorious joy.
Oh Thou my voice inspire
Who touch Isaish’s hallowed lips with fire.”

 

The scene transitions from the stormy set to the house first owned by Lucretia and Thomas five years into their marriage. Lucretia throws off her blankets of old age and stands before the audience a young woman in her prime. She reaches for her bonnet and ties it properly under her chin. 

 

Scene 2

Thomas enters carrying several bundles of cotton fabric

THOMAS MOTT

Lucretia dear – lend thy hand?

Lucretia goes to lend her new husband a hand, heartily hoisting a bolt of fabric over her shoulder. Thomas opens his mouth to protest

LUCRETIA MOTT

I hoisted heavier bolts of fabric before thee ever heard my name called out at Nine Partners school, Thomas Mott. I can manage.

THOMAS MOTT

Well I know thy strength, Lucretia. But there’s an additional…

Lucretia lets out a quick yelp as a small kitten pokes it’s furry head out of the bolt Lucretia is holding

THOMAS MOTT

…suprise inside that one. I could not entice it out of its hiding place so I settled to cary it home

LUCRETIA MOTT

What a delightful fright thee gave. It’s decided; we shall name thee “Boo.” Thy task is to keep the mice in order. Thomas, we must discuss the issue with cotton. A slave, a slave’s poor hands are bound up in the warp and weft of this cloth!

Sound of their child, crying, waking from his nap

LUCRETIA MOTT
My dear little Thomas is awake. We cannot continue we must divest from this wretched slave-reliant industry. Thee cannot abide much longer!

THOMAS MOTT
Go, attend to him. I shall finish stacking the bolts and Lucretia… thee is right but how to make a change that brings no harm to our family?

LUCRETIA MOTT
Thee will do what thee knows is right, Thomas, just as thee knew the right thing to do was to marry me

QUAKER CHOIR

Her life and his were destined to flow
As parallel banks of a meadow stream
Running towards the ocean of great human compassion
Making kin all bodies regardless of creed or color or custom

Scene transforms into a Quaker meeting house five year’s earlier with Lucretia and James sitting opposite one another on plain benches designated for the bride and groom. She in her simple grey Quaker dress, he in his simple black Quaker suit they are bidden to stand by one of the Elders who call them forth before the congregants. The music is formal and tight. Nerves abound but the couple show no outward emotion

 

Scene 3 – Wedding of Lucretia & Thomas based on Glass Etude No. 2

JAMES MOTT

I, James Mott, take thee, Lucretia Coffin, to be my wife, promising with divine assistance to be unto thee a loving and faithful husband so long as we both shall live.

LUCRETIA MOTT

I Lucretia Coffin, take thee, James Mott, to be my husband, promising with divine assistance to be unto thee a true and loving wife so long as we both shall live

 

QUAKER ELDER

In a true marriage relation
The independence of husband and wife is equal
Their dependence mutual
Their obligations reciprocal

 

QUAKER CHOIR

Believe always in the soul of man
invisibly rapt – ever waiting
ever responding to universal truths

Light – Dark – Voice – Seed – Hunger – Thirst – Pilgrimage

Wait for truth to unfold from the soul of its own accord

 

QUAKER ELDER (addressing the couple directly)

Love all people
Act from the direction of the inner light
Submit to God within

 

LUCRETIA & THOMAS

Life’s purpose is to live it out together
Ever alongside one another
In grace, strength and simplicity

I lend unto thee my full heart

May we be brought unto a child-like state
so to receive all the mysteries belonging to thy kingdom

 

Crescendo as Lucretia and Thomas fall into one another’s arms in an impassioned kiss on their wedding night in the upstairs bedroom of Lucretia’s parent’s house where they will live their first year of marriage.

 

End of Act 1 Scene 3

 

Act 2 Scene 1

 

In the Mott household ten years into their marriage tempo based on Glass Etude No. 3 Lucretia is orchestrating the household chores while also preaching at Quaker meeting

LUCRETIA MOTT

Sweep the floor – hang the wash – chop the meat and make the pies
tack the carpet – sew the shirt – weave the rug – darn the heel
Make the tea – set the table – prep the food – and stoke the fire
add a chair there’s a hungry woman lingering outside our door Mary

I see

I see Inner Light residing within each person

Scene swings to her standing and preaching at meeting

LUCRETIA MOTT

Launch thee forth, as men and women do, amid real, independent, stormy life

Heed the call from God

Be an instrument of the spirit

Good to be always zealously affected in a good thing

It’s a simple perception of duty
that brings thee to close examination of thy daily life and practice

Head not the voice that entices

The one that slumbers and forgets

Bring forth thy greatest possible self and be fully who thee is – man and woman, boy and girl, black and white, poor and rich

 

Scene swings back to her home

Sweep the floor – hang the wash – chop the meat and make the pies
tack the carpet – sew the shirt – weave the rug – darn the heel

Oh my stomach!! (Lucretia doubles over in pain and takes a seat. Her daughter, Mary, brings her a glass of milky water to drink)
Make the tea – set the table – prep the food – and stoke the fire

Perhaps I’ll sit a moment by the fire to knit (she falls asleep)

End of Act 2 Scene 1

 

Act 2 Scene 2 In a large assembly of abolitionists populated mostly by men with a smattering of women this scene is based on the tempo of Glass Etude No. 4. During the music-only intersticial Lucretia sits proud and straight during entire pantomimed proceedings. She “speaks” only occasionally but every time she does the entire assembly turns to listen to her. The assembly is dismissed and Miller McKim, who converses with Lucretia during the pantomimed session, steps forward in an aria

MILLER MCKIM

Who is that woman? So learned and self-possessed
So unlike all the women I have ever known
What hath God driven that she glows with such inner fire?
She, like the bright, clear light after a terrible storm
warm and compelling – harsh and direct
I feel rather that she looks directly at my heart and speaks truth
I cannot hide from her piercing gaze
No one has seen me as deeply, purely, completely
as this handsome Quaker woman from Philadelphia

 

LUCRETIA MOTT
Miller McKim, thy dark good looks
thy earnest, searching attitude
misguided, though it may be, thee is replete with potentiality
(aside) If only he would step away from the Presbyterian stronghold at seminary
Thy Light Within is strong indeed – my dear Miller – My poor, poor orphan boy – The darling subject of my pen
Dare I say he remindeth me of my little Thomas – The one who left my breast too early for his time – How I ache for my first son who would be the age that Miller McKim is today
Push this grief aside, Lucretia
Miller is a man who must make his day
And I will provide what guidance I can along the way

(Addressing Miller) Come to Philadelphia for the antislavery convention

 

Miller looks to Lucretia longingly. She returns his affectionate gaze and bustles off to another meeting with the abolitionist women. Thomas Mott notices the animated conversation between his wife and Mr McKim. He reacts not with rage but with a momentary wave of sadness.

 

__________________________________________

Rough draft, as I said. In the future I will post other scenes for TLW as I write them. It’s like creating a jigsaw puzzle from scratch except I’m making all the little pieces first and then figuring out a way to make them fit. I hope you got something out of reading this. Do let me know how it hits you. Have a productive week.

MMN

© Marianna Mott Newirth with preliminary permissions from FCG Quaker Books

Micro Opera: The Maestro and his Muse

Two character scene:

First character wants a tangible object from the second character while the second character wants something intangible from the first character. Neither character can get what they want, at least not easily.

 

 

Maestro

Look at what time it is
Nearly midnight
Calliope!

 

Calliope

Time – such a silly little human construct
Was I not made for greater things than this?
You washed your hair
How did you know I like lavender

 

Maestro

It was the shampoo in the shower
Shall we get started

Maestro strikes a chord on his piano and straightens the blank sheet music in front of him

 

Calliope

Nice piano – Your pencil’s not sharp

 

Maestro takes a small hand-held plastic pencil sharpener and sharpens his pencil

 

Calliope

Where are we tonight?

 

Maestro

Amsterdam

 

Maestro

I prefer Florence
Jacopo Peri would hold me on his lap as he worked, you know
I would turn pages for him

 

Maestro

A page-turner is not what I’m looking for
Let’s get to work

 

Calliope

I enjoyed twirling his moustache until it stuck straight out

Why do men shave these days?

 

Maestro

I’m getting to work
Will you come?

 

Calliope

If you fondle me right, I just might

 

Maestro
I’m working now
Something new, if you like
It struck me crossing Waterlooplein square

 

Calliope

So you want to play then?

 

Maestro

I like to play

 

Calliope

As do I

 

Maestro

What you have in mind will keep me from my work
We have an understanding, you and I

 

Calliope

Ah my composer, you think you know me so well

 

Maestro

After sixty-years I’ve picked up a thing or two about you

 

Calliope

Sixty years – You’re a child compared to the giants I’ve worked with

 

Maestro

There’s a reason you are here and it’s not to distract me

 

Calliope

What are you doing in this time-riddled, shit-hole of a culture anyway

 

Maestro

This is the only time I have been given (yelling)

 

Calliope.

Temper

 

Maestro

I get angry when people waste my time

 

Calliope

Oh, is that it? You’re comparing me to people now?

 

Maestro

Let’s get to work

 

Calliope

Just imagine me lying naked in your bed
wrapped in your sheets
ripe for the plucking

 

Maestro

I want to write
I need insight
Your help would be appreciated

 

Calliope

You arrogant bastard
You must work for my attention
I’m not some easy thing you can get at any opening night party

 

Maestro

I don’t do that…

 

Calliope

I know, my darling, I know.

 

Maestro

Did I call you or did you grace me with your presence? I can’t remember now. How have we ever managed to work together
I can’t remember

Calliope

Tell me now – what do you feel?

 

Maestro

My feelings border on hatred

 

Calliope

Do you hate when you make love

 

Maestro

Of course not

 

Calliope

Do you hate when you compose

 

Maestro

I cannot hate when I compose
Hate is a mear mask people hide behind

 

Calliope

What are you holding on to then?

 

Maestro

I’m holding
I’m holding on
I’m holding on to
I’m holding onto the one who bears witness to my work

 

Calliope

And who, pray tell, is that?

 

Maestro

It is Phil
The Phil who washes his hair with lavender soap
The Phil who sets a watch and calls you at midnight
The Phil sitting here arguing with his muse
He is insufficient to the task
He will never get this done

 

Calliope

And besides he’s really no fun

 

Maestro

He does the best he can in a mad world

 

Calliope

Take him off the shelf where you keep him
Smash his ceramic face upon the floor
Have sex with me

 

Maestro

You’re my muse not my lover

 

Calliope

Our session is over

 

Maestro

No, it is not.
You don’t want corporeal sex, Calliope
I am old and counting every heartbeat
You want a sacrifice

The Greek choir slowly enters singing

You’re the daughter of Zeus and Mnemosyne
A goddess of music, song and dance
You want the “I” that is watching me talk to you*
The witness has to go* – I relinquish him to you
the one always peering over my shoulder|
commenting on every thing I do
Have your way with him
Slit his throat for all I care
Take it – this power for me to see myself – take it, Calliope
Take it and suck away at his delicious banality

A Greek choir   walks around the two – conveying the thoughts of the maestro as he separates his daily-self from his artist-self and sets to compose in earnest. The choir echoes the mans constant comment…the incessantly nagging voice in his head droning on and on about nothing of consequence. They keep this up while the Maestro and Calliope sing their duet and the Maestro takes his place at the piano while Calliope takes her place on the floor eating away at a puppet that resembles the Maestro. In the end her face and dress is covered in a sticky, grotesque mass of humanity. Her glee cannot be contained.

 

Greek Choir

I am sitting on a music bench
There is music on the stand in front of me
I am trying to write an opera
The piano has white and black keys
My nose has an itch
It might snow tomorrow
Calliope has beautiful breasts
Did I remember to plug my phone in?
Is this an A or an A flat?
What should I have for breakfast
Should I just stop now and go to sleep
How far is the taxi stand from the airport terminal
Will someone be there to pick me up tomorrow
I hope Paris will be a safe place to be
Did I pack an extra pair of underwear
The back of my head is itchy

 

Calliope

Imagination is now open to you at every single moment of time*
Give me the guy who pays taxes and takes out the garbage
The guy who watches and has to remark on every little thing
Give him to me – I’ll get him done
While you swim in the spontaneous unfolding of life*

Nothings routine
Nothings repeated

Nothings routine
Nothings repeated

One foot in the world of clarity and power*
Don’t think about now it doesn’t matter

Nothings routine
Nothings repeated

Nothings routine
Nothings repeated

The sounds of Amsterdam at 3am overtake the music and drown out everything while the light tightens on the Maestro’s face as he composes, unaware of anything else going on around him. The the light clicks to black.

The End

________________________________________________________________

*Much of the inspiration for this piece came from Philip Glass’ memoir Words Without Music a gift that my husband gave to me for Hanukkah. I gobbled the book up in short order. There are a few lines marked with the * that are taken directly out of his book.

Glass, Philip: Words Without Music Liveright Publishing Company a Division of WW Norton & Co 2015 Pages 382 & 383

The picture of Philip Glass was taken by Anne Leibovitz
The picture of Calliope was taken by some guy who posted it on Google reference has been lost

If you have an issue with my using these images send me a message and I’ll take them down. I’m not making any money with this stuff right now – I’m just keeping one foot in the world of clarity and power and the other in the every day banality of daily life.

 

MMN

 

 

MAWL – Mott Academy of Writing Librettos

Got that old urge to head back to school!

It’s been a decade since earning an MA in Media Studies where I wrote my thesis on Women and the Medium of Money. True, I am a Financial Analyst today and perhaps that thesis was prophetic but my life has taken on a different focus now: opera.

The first time I took my seat in the Family Circle at the Metropolitan Opera in 2010 was for Don Giovanni. It was Ottavio’s aria, “dalla sua pace la mia dipende” that opened up the depths of possibility to me. See Where Opera Lives for details on that ahah! moment.

I knew – sitting there slack-jawed in the dark – I had to write librettos and I didn’t even know a counter tenor from a treble clef at the time. So I set to learn and this web log is one of those tools I first created to express this need. Well it’s been a few years and the time has come to ratchet up the process.

Fist I explored MFA programs at Hunter, The New School & NYU. There were playwriting programs and creative writing programs but no libretto writing programs. I’m a 52 year old woman; I don’t have time to fuck around any more. So in my particular DIY fashion, I sat down and have fashioned my own course of study and here’s my curriculum for the next year.

———————————-

The Mott Academy of Writing Librettos

Year 1: Learn the dramaturgy of playwriting & opera. Understand what makes a play work and, specifically, what makes an opera work.

Texts:
· The Poetics by Aristotle
· The Playwright’s Guidebook by Stuart Spencer
· Opera (the Cambridge Introductions to Music)
· The Cambridge Companion to Opera Studies

Daily Assignment: write every morning – it does not have to be good, it just has to be something you write down, typically 2 pages long. The objective is to establish the habit of writing…every…day. This work is for your eyes only. Don’t share it with anyone. This assignment is to start immediately.

Weekly Writing Assignment: write a micro opera – 3 to 5 pages – every week. Use the assignments provided in Stuart Spencer’s book to help guide you. Your Micro Opera (MO) must be uploaded every Sunday night before midnight onto Opera Abecedarian (yup, onto ‘yr blog!) Your first MO must be uploaded by March 13th and every Sunday night thereafter. It may suck at first – but it will get better.

Weekly Reading Assignment: Read a chapter in two of the four text books cited above. You decide what books to read. Take notes, record observations during your daily assignment if you want something to write about in the morning. This reading is to be finished by every Wednesday night. Thursday you begin reading two new chapters.

Quarterly Read (QR): Choose a libretto to read. It can be from any era and genre you like. First time around read it straight – with no music – and make your notes. Next read it through while listening to the score. It is best, at first, to pick librettos of operas you do not know as a familiar score will influence your straight reading of a text. This is to be an intensive two-to-three-hour exercise scheduled every 3 months. Make a setting where you will be able to read through the libretto and write down observations without any interruption. Take a break then listen to the score while reading along with the libretto. Post your QR on ‘yr blog. You must do this once a quarter. When you do it is entirely up to you. QR’s will start 2Q16.

· What was the difference in your experience of the story from the straight read to the scored read?
· What questions did you have about the libretto during the straight read and how did the scored read answer or complicate your questions? Why?
· How did the libretto stand on its own?
· How did the libretto support the score?
· How did the score support the libretto?

I think that is enough for one year. Keep your word, do the assignments and challenge yourself.

Opera Under Construction 

So I met with composer/rabbinical student, Bronwen Mullin, last month and we spent a fantastic evening fleshing out the eight minute piece we created together this spring entitled Transformation II. (Video and audio will follow this posting later this week.) 

There are few words one can use to sufficiently describe a collaborative conversation: flexible, intuitive, trusting (that’s a big one) and, well, fun! 

Yeah, we had tons of fun making up scenarios and back stories and character traits. Then the fun continued with identifying themes and formulating a path to walk upon. It was like stepping out over a ledge and, together, building the ground in front of us so we could walk out over the edge again; step by step walking out into the, largely, unknown realm of storytelling and discovering ourselves in the process. 

It’s not magical, it’s grinding work. The magic will come, I assume, after all the gestation, labor and delivery is done and we are holding a babe in our arms. Only then for a moment will the magic sparkle. Because then it will be time to gird our loins for putting an opera into production; a different beast, entirely. 

  
When I begin doubting all I need to do is turn to maestro Protopapas’ posting – 8 Reasons Why Kostis Protopapas Programs American Operas – and I remind myself that now is the perfect time and I’m in the perfect place. I pick up my pen and return to writing. 

MMN