Temptation (2012)
A Chamber Opera - from Fallen Angels
Duration - 17:00
Cast
Stephen Carlisle - baritone - An executive
Joshua Clark - baritone - Stephen's former lover
Veronica James - mezzo-soprano - Stephen's secretary
Instrumentation - flute, Bb clarinet, piano, violin, viola
Libretto
Including the following public domain poems and original words by Shannon Berry
"The Dark Night of the Mind" - John Frederick Freeman
"Nearness" - John Frederick Freeman
"The Mystery of Pain" - Emily Dickinson
"Break, break, break" - Alfred Lord Tennyson
Setting - Stephen's office
Duration - 17:00
Cast
Stephen Carlisle - baritone - An executive
Joshua Clark - baritone - Stephen's former lover
Veronica James - mezzo-soprano - Stephen's secretary
Instrumentation - flute, Bb clarinet, piano, violin, viola
Libretto
Including the following public domain poems and original words by Shannon Berry
"The Dark Night of the Mind" - John Frederick Freeman
"Nearness" - John Frederick Freeman
"The Mystery of Pain" - Emily Dickinson
"Break, break, break" - Alfred Lord Tennyson
Setting - Stephen's office
Program Notes
This opera is drawn from the story of Satan tempting Jesus in the desert. In keeping with the theme of the other Fallen Angels operas, the original villain, Satan, (or Stephen in my opera) is the protagonist. As bad things happen to him, I want the audience to feel bad for him.
This story takes place in Stephen's office. Stephen is an executive in his business, and has called Joshua (Jesus) into his office. Joshua has just returned from several years away, and Stephen is hoping to rekindle the romance they had before Joshua abruptly left.
The opera begins with a trio that takes place nowhere and at no time in particular - perhaps we're seeing Stephen's thoughts. After the trio, Stephen's secretary Veronica enters to tell Stephen that Joshua has arrived. Stephen is nervous - he hasn't seen Joshua in so long, and he's not sure how to act. Veronica encourages him until finally Stephen in ready for Joshua to be shown in. Veronica exits, and Stephen and Joshua discuss the years they had been apart. Stephen makes it clear that he wants things to go back to how they were, but Joshua retorts in his aria, "Nearness," that he is no longer interested. He leaves.
Veronica returns. Stephen turns to her for sympathy, but she doesn't have anything more she can give. She sings her ambiguous aria, "The Mystery of Pain," and it's unclear whether she feels sorry for Stephen or gets some sadistic joy out of it.
Finally, Stephen closes the opera with his heartbroken "Break, break, break."
One thing I tried to bring out in this opera is a difference between the characters speaking to eachother in a more formal, business matter, or when they're speaking casually, as friends. It's another layer to add to this opera, which has my subtlest characters so far. The orchestra builds connections between lines - in the recitative, the opening trio is referenced, or the following arias are foreshadowed. One example is "I never stopped thinking about you" at rehearsal J. Here, Stephen is taking a fairly light tone, trying to temper his amorous intentions a bit. This music returns during Stephen's aria at rehearsal R. Here, though, the strings become the boy and girl at play in Tennyson's poem, while Stephen doesn't take part - he watches sadly from a distance.
This story takes place in Stephen's office. Stephen is an executive in his business, and has called Joshua (Jesus) into his office. Joshua has just returned from several years away, and Stephen is hoping to rekindle the romance they had before Joshua abruptly left.
The opera begins with a trio that takes place nowhere and at no time in particular - perhaps we're seeing Stephen's thoughts. After the trio, Stephen's secretary Veronica enters to tell Stephen that Joshua has arrived. Stephen is nervous - he hasn't seen Joshua in so long, and he's not sure how to act. Veronica encourages him until finally Stephen in ready for Joshua to be shown in. Veronica exits, and Stephen and Joshua discuss the years they had been apart. Stephen makes it clear that he wants things to go back to how they were, but Joshua retorts in his aria, "Nearness," that he is no longer interested. He leaves.
Veronica returns. Stephen turns to her for sympathy, but she doesn't have anything more she can give. She sings her ambiguous aria, "The Mystery of Pain," and it's unclear whether she feels sorry for Stephen or gets some sadistic joy out of it.
Finally, Stephen closes the opera with his heartbroken "Break, break, break."
One thing I tried to bring out in this opera is a difference between the characters speaking to eachother in a more formal, business matter, or when they're speaking casually, as friends. It's another layer to add to this opera, which has my subtlest characters so far. The orchestra builds connections between lines - in the recitative, the opening trio is referenced, or the following arias are foreshadowed. One example is "I never stopped thinking about you" at rehearsal J. Here, Stephen is taking a fairly light tone, trying to temper his amorous intentions a bit. This music returns during Stephen's aria at rehearsal R. Here, though, the strings become the boy and girl at play in Tennyson's poem, while Stephen doesn't take part - he watches sadly from a distance.
Score (Piano/vocal score)
2012 Fringe Festival Performance
Recorded July 28, 2012 - Produced by Silver Finch Arts Collective
Stephen - Andrew Sauvageau
Joshua - Benjamin Taylor
Veronica - Francesca Aguado
Flute - Julianne Martinelli
Clarinet - Elena Forbes
Violin - John Philligin
Viola - Henry Valoris
Piano - William Yanesh
Conductor - Michael Oberhauser
Joshua - Benjamin Taylor
Veronica - Francesca Aguado
Flute - Julianne Martinelli
Clarinet - Elena Forbes
Violin - John Philligin
Viola - Henry Valoris
Piano - William Yanesh
Conductor - Michael Oberhauser