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Ausrine Stundyte as Cio-Cio-San, Elizabeth Janes as Butterfly’s child and Sarah Larsen as Suzuki in Seattle Opera's production of Puccini's Madama Butterfly. Photo by Elise Bakketun.
North American Works Directory Listing
The Aspern Papers
Dominick Argento
Dominick Argento
Nicola Rescigno (Conductor)
John Conklin (Set Designer)
Richard Winkler (Lighting Designer)
Mark Lamos (Director)
Elisabeth Söderström (Juliana Bordereau)
Neil Rosenshein (Aspern)
Eric Halfvarson (Barelli)
Katherine Ciesinski (Sonia)
John Calvin West (A Painter/Pasquale)
Frederica von Stade (Tina)
Richard Stilwell (The Lodger)
Joan Gibbons (Olimpia)
November 19, 1988
The Dallas Opera
Juliana Bordereau, a former prima donna and mistress of the composer Aspern, is living with her spinster niece, Tina, in a secluded villa on the edge of Lake Como. A stranger appears, requesting that the two women rent him a room at the villa. The lodger is a scholar and biographer of the composer Aspern, and he believes that Juliana may have in her possession the score of an operatic masterpiece, believed lost, that Aspern wrote for her shortly before his death sixty years earlier. The action alternates between two time periods: The summer of 1895, when the lodger is attempting to discover whether a score of Aspern's opera Medea exists, and the summer of 1835, where we see the young Juliana and Aspern, learn about a relationship between Aspern and a young soprano, Sonia, and find out about the fate of the opera Medea. Juliana dies, and Tina suggests that the stranger may have the score to the opera if he will consent to marry her. He rejects her offer and plans to leave the next day. In the morning, he tells Tina that he has changed his mind and must have the score. She tells him that it is too late, and he departs. Later, alone in her music room, Tina drops the score of the opera-page by page-into a blazing fire.
Juliana Bordereau(s)
Aspern(t)
Barelli(b-bar)
Sonia(mz)
Tina(mz)
The Lodger(bar)
Pasquale(b)
Olimpia(s)
The New Yorker, Andrew Porter, 12-26-88; Opera News, James Helme Sutcliffe, 11-88; Newsweek, Katrine Ames, 11-28-88; The Wall Street Journal, Willard Spiegelman, 11-22-88; Los Angeles Times, William Albright, 11-21-88 The New York Times, Bernard Holland, 11-21-88; The Dallas Morning News, John Ardoin, 11-20-88; The Dallas Morning News, Maryln Schwartz, 11-20-88; The Dallas Morning News, John Ardoin, 11-19-88.
01:56
2
Off-Stage SATB Chorus
2 fl(picc), 2 ob(Eng Hrn), 2 cl(bcl), 2 bsn(dbn) - 3 hrn, 2 tpt, 2 tbn, 1 tba - timp, 2 perc(SD, BD, tamb, tgl, bell tree, crot, glsp, chimes, large bell, steel plate(or anvil), cyms, susp cym, tam-t, wind chime(bamboo), maracas) - pf(=cel) - hp - str
Rich harmonic palette: neo-romantic with some dodecaphony and bel canto influences. Strong tonal centers.
Boosey & Hawkes, Inc.
229 W 28th Street, Floor 11
New York, NY 10001
composers.us@boosey.com
212-358-5300
http://www.boosey.com
Schedule of Performances Listings
The Aspern Papers (Argento)
Friday, February 11, 1994 - Illinois Opera Theater

Spring 2014 Magazine Issue
  • From Gold Rush to Google
  • Before, After and During Opera Conference 2014
  • OPERA America's New Works Forum Expands and Explores
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