Jack Beeson's Opera

[Constantine]

This past weekend, I FINALLY got into the Historical Society. Among the MANY purchases I made was a recording of Jack Beeson's opera, which I have just finished listening to for the second time. So far, I find it something of a chore. The performance is fine, with the six characters nicely differentiated vocally. Standouts are bass-baritone Herbert Beattie as Andrew, soprano Ann Elgar as Lizzie's younger (!) sister Margret (!!!) and baritone Richard Fredricks as Margret's suitor (!) (successful(!!)) Captain Jason MacFarlane. It is in a very modern style, definitely not for all tastes, if any. I intend to give it some more tries (after all, I bought it, didn't I?), but I do not have high hopes. However, I didn't like The Rite of Spring the first time I heard it, and I have loved that for many years. (On the other hand, I was seven when I first heard it.)

As you can see, this is a great place not to begin if you are learning about the case. (A few other interesting things you will learn: the girls' mother's name was Evangeline, the murders were committed with a scimitar kept in a Turkish Corner in the living room, and the girls' room (singular) was on the first floor.)

Anyone else ever heard (or seen) it? What was your opinion?

[Kat]

I've not heard it, but it sounds like you have experience in reviewing an opera you are interested in- enough to listen multiple times to get your mind wrapped around it.

You might consider writing that more thoroughly for The Hatchet.

[Bob Gutowski]

It's better seen than just listened to, I'd say, having been lucky enough to have seen the Glimmerglass staging (it later came to NY City Opera) starring the amazing Phyllis Pancella as Elizabeth/Lizzie.

The libretto's whole thing about Abigail and her "Turkish corner" is kind of a bust, I think, and Liz most assuredly used an axe at Glimmerglass, not a scimitar (though Abigail still sang about her plans for redecorating).

I recorded the TV presentation of the opera from NY City Opera.

[Constantine]

I've just listened to it for the third time. I find it's beginning to gel. I'm becoming aware of recurring motifs, for example. The orchestral parts especially are quite interesting.

I wouldn't say it's perfect. The libretto in particular has its awkwardnesses. (I don't mean that I expect it to be true to life, which it certainly isn't. This is a work of the imagination only loosely based on fact and I have no problem with any amount of poetic license.) But perhaps greater acquaintance with the work will change my mind about even this.

Anyhow, I now find that this is a work that I can actually experience with pleasure (if that's the word).