597:"was intended to be an instantly accessible work with wide popular appeal. It may be just that. For a start, the opera is an improvement on the play, which is verbose, faultily structured and moralistic; instead, Teachout's terse libretto recaptures the stringent economy of the much finer story, also by Maugham, upon which the play is based." He praised the score as "richly orchestrated...it amplifies emotions, emphasizes confrontation and crisis and drives the action forward. But it also creates a dramatic world in which singing seems to be the only appropriate medium." Williams concluded by observing that the "warm response of the Santa Fe audience suggests the work may have legs."
627:
of drama. The arias keep obtruding at inopportune moments to spell out things that don't need spelling out ('What have I done? I've killed him. He is gone forever'). They bring the action to a screeching halt." In his blog librettist
Teachout linked to this "scorched earth pan" with a wry concession: "I can't say I enjoyed reading it, but I believe I can stand the heat. I ought to be able to: after all, I've been dishing it out for most of my professional life!"
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thought the opera might be somewhat too brief: "I think they have mistaken brevity for intrinsic value and left one of opera's most vital components unrealized: Truly expressive arias for all the main characters, in which introspection welds dramatic truth with music that reaches the heart, not just the mind."
168:, a music drama about ordinary people who make a few mistakes and suddenly find themselves swept into very deep emotional water. It combines the aesthetic of American verismo with dream-like qualities often characteristic of a psychological drama. We intend it to be as fast-moving and hard-hitting as a
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Kyle McMillan commented: "The piece, which runs an economical 100 minutes with no intermission, has virtually all the essential — and expected — ingredients, including style, humor and grit. The only thing missing, unfortunately, is heart." McMillan believed that the score's "unnatural leaps in pitch
496:
Howard Joyce learns from Ong of the existence of a letter sent by Leslie to
Hammond on the day of the murder, which suggests that she and Hammond had pre-arranged the meeting. The letter is in the possession of Hammond’s mistress, a Chinese woman who offers to sell Leslie the incriminating letter for
564:
Joyce and
Withers arrive for dinner. Robert appears, somewhat drunk. When he finds out what really happened, he demands to see the letter but tells Leslie that he loves her in spite of what she has done. “With all my heart,” she replies, “I still love the man I killed!” Taking what appears to be the
524:
The club members seem to be fully supportive of the distraught Robert. Without telling him of the amount demanded for the letter, Joyce explains to Robert that the letter exists and, if produced in court, it would implicate and convict Leslie. Robert agrees that it should be acquired, but is full of
510:
Joyce visits Leslie in jail and confronts her with the existence of the letter. Eventually, she admits to having written it. Via a flashback, the events of the murder are played out between Leslie and Geoff. Jealous of his relationship with his
Chinese mistress and angry that he intends to break off
175:
Teachout added that their goal was “to write a work that’s firmly rooted in traditional operatic practice—one that will make dramatic sense to mainstream audiences.” By
January 2009, as reported in the January 5th blog, both the opera's libretto and the orchestral score had been finalized and it was
626:
ran a harshly critical review by Anne
Midgette, who maintained that the opera lacked real content: "'The Letter' is all form and little content...But in adhering to the rules of opera -- we must have arias and ensembles -- Moravec and librettist Teachout repeatedly show a tin ear for the exigencies
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by Craig Smith disagreed with criticism of the score while recognizing its technical challenges, calling the opera "exceptionally well-crafted and beautifully orchestrated, though far too thick for the singers' ease, especially in the brass." Smith praised the performers and production staff but
160:
Later
Teachout described the challenges to adapting a literary work into a new medium, in this case an opera: "Every great opera based on a literary source involves an imaginative transformation of the original, one that typically goes far beyond the setting of the old words to new music."
764:,(see below): "Maugham's play is set in 1924; we chose not to uproot the opera from the period." The time of the opera was originally given as 1924 in the score, but Moravec and Teachout have since decided to identify it less specifically.
726:
and is ready to transmit the manuscript to Subito Music. Once it's set up in type, we'll proofread it, after which the orchestral score will go to press." In "Free at Last", January 5th, 2009, see below
648:
than with
Maugham's play, and that while Moravec was generous with his music, it never took over as it should in opera. The music was more akin to a film score, expanded in scope, but not in function.
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generally found the opera entertaining, though some reviews questioned the emotional depth of the production and the technical intricacies of the score. There was general agreement that
470:
Leslie
Crosbie, a British expatriate who lives with her husband Robert on a rubber plantation in the jungles of Malaya, shoots and kills Geoff Hammond on the verandah of her bungalow.
483:
Following the arrival of Joyce, Withers, and her husband, Leslie claims that
Hammond, a neighbor, had tried to rape her. They all leave for Singapore.
113:. Teachout began writing the libretto in November 2006 and started posting an ongoing account of the opera's genesis and development on his blog,
241:, who made his debut as a stage designer with this production. Lighting design was by Duane Schuler, who regularly works at the Santa Fe Opera.
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In May 2008 Moravec and Teachout discussed the opera at a press conference held in Santa Fe. Moravec called it “an opera
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The Chinese woman arrives with the letter and, although initially reluctant to sell it, she relents and Joyce buys it.
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The opera is in eight scenes. It runs for approximately ninety-five minutes and plays without an intermission.
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Deborah Baker, "'Opera noir' latest new offering at Santa Fe Opera", Associated Press wire story, 24 July 2009
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their relationship, she shoots him. Returning to the jail cell, she convinces Joyce to obtain the letter.
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and non-intuitive phrasing" made it difficult for the audience to empathize with the opera's characters.
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Geoff appears to Leslie as the jury foreman; he declares her to be guilty. However, Leslie is acquitted.
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237:. Hildegard Bechtler designed the sets. The costumes were designed by the well-known fashion designer
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from one of his short stories. The play has been filmed twice. The first version, called
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See the "External links" section below for the progress of the Teachout blogs and tweets
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by George Loomis noted that the opera would be more readily identified with
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Santa Fe Opera press release with details of the 2009 season, 30 April 2008
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Chloe Veltman, "Pushing Opera's Envelope": interview with Terry Teachout,
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to sound old-fashioned—Paul's musical language is in no way derivative of
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Terry Teachout, "First Person: A Drama Critic's Turn to Face the Music",
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The inspiration for Maugham's story and his subsequent play came from a
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On July 14, Teachout began "livetweeting" from rehearsals for
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there and on his blog between then and the opera's premiere.
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Both Moravec and Teachout made their operatic debuts with
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Howard Joyce's law office in Singapore, two weeks later
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ten thousand dollars on the eve of her murder trial.
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Leslie's husband, the manager of a rubber plantation
789:"Santa Fe Opera's "Letter" has everything — almost"
773:Scene numbers, names, and descriptions taken from
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756:Terry Teachout in interview with Desirée Mays, "
705:Terry Teachout in interview with Desirée Mays, "
833:"'The Letter' Evokes Dark Charm of a True Tale"
157:—but we do want it to move fast and hit hard."
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1069:"No, but I heard the movie", 24 November 2008
1009:"The case for lower-case opera", 2 April 2008
999:"Men (and women) at work (VI)", 10 March 2008
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63:. The better-known 1940 version, also called
1103:"Step away from the car, sir", 10 March 2009
1004:"Entries from an unkept diary", 1 April 2008
958:Chronological links to Terry Teachout's blog
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1234:"We know every part by heart", 24 July 2009
930:, Vol. 11. Santa Fe: Art Forms Inc., 2009.
855:"In Santa Fe, Concepts Without Connections"
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1204:"Modern opera in a nutshell", 15 July 2009
969:"Lend me your ears (and eyes)", 9 May 2007
565:only course of action, she stabs herself.
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40:and was premiered there on 25 July 2009.
1019:"Right turn at Albuquerque", 12 May 2008
580:was "opera noir", a clear homage to the
1301:Simon Williams, "In Review: Santa Fe",
994:"For better and worse", 15 January 2008
948:, Vol. 4. New York: Penguin Books, 1978
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1229:"Did Maugham know best?", 23 July 2009
1117:"All blessings are mixed", 11 May 2009
1093:"Looking for trouble", 26 January 2009
1044:"Becoming an artist", 9 September 2008
984:"Men at work (III)", 17 September 2007
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233:) and conducted by Patrick Summers of
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1179:"Who'd have thought it?", 6 July 2009
1054:"Among the brethren", 3 November 2008
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1194:"At the starting gate", 14 July 2009
1169:"Another little taste", 29 June 2009
1039:"Scene stealing (II)", 4 August 2008
1014:"The envelope please", 30 April 2008
989:"Men at work (IV)", 17 December 2007
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722:"...Paul has finished orchestrating
213:). The two appeared together in the
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1249:"Blowin' in the wind", 30 July 2009
1112:"A ripping good show", 6 April 2009
1034:"Scene stealing (I)", 3 August 2008
547:A Singapore courtroom, the next day
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1174:"And...they're off!", 30 June 2009
1154:"A very small world", 10 June 2009
979:"Men at work (II)", 13 August 2007
900:Loomis, George (August 10, 2009).
520:The Singapore club, late afternoon
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1219:"The news in brief", 21 July 2009
1149:"Tied to the tracks", 1 June 2009
1083:"A doll's house", 9 December 2008
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506:Leslie's jail cell, an hour later
207:(who appeared in Santa Fe's 2008
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1199:"Minute by minute", 15 July 2009
1184:"Tweeting an opera", 7 July 2009
1064:"Size matters", 17 November 2008
1029:"Men at work (VII)", 7 July 2008
809:Simon Williams (November 2009).
775:The Santa Fe Opera: 2009 Program
610:A highly positive review in the
534:Joyce's office, later that night
525:doubt about Leslie's innocence.
271:an Englishwoman living in Malaya
1059:"By the clock", 4 November 2008
1049:"In one piece", 20 October 2008
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745:The Santa Fe Opera: 2009 Season
679:The Santa Fe Opera: 2009 Season
560:The bungalow, that same evening
260:Cast of the premiere production
59:, was made in 1929 and starred
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1164:"Now's the time", 25 June 2009
1159:"A little taste", 24 June 2009
1098:"Cover story", 29 January 2009
1088:"Free at last", 5 January 2009
1024:"Moment's notice", 20 May 2008
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176:ready to go to the publisher.
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1315:Terry Teachout's Twitter page
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878:Terry Teachout (2009-07-28).
264:(Conductor: Patrick Summers)
36:. It was commissioned by the
1489:Compositions by Paul Moravec
1310:The Santa Fe Opera's website
1214:"All there is", 20 July 2009
902:"Santa Fe Opera, New Mexico"
853:Anne Midgette (2009-07-27).
787:Kyle McMillan (2009-07-30).
453:Time: Between the world wars
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1244:"Unrest cure", 28 July 2009
1239:"How it felt", 26 July 2009
974:"Men at work", 11 July 2007
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16:Opera of Paul Moravec, 2009
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1273:, June 2008, Vol. 2, No. 4
1189:"Head first", 13 July 2009
831:Craig Smith (2009-07-27).
593:Simon Williams wrote that
354:Joyce's confidential clerk
217:'s new 2008 production of
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1224:"In a mist", 22 July 2009
479:The same, two hours later
384:of the plantation workers
49:, a 1927 play adapted by
1209:"Pit stop", 16 July 2009
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584:of the 1940s and 1950s.
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100:Development of the opera
1499:English-language operas
1078:is in", 1 December 2008
946:Collected Short Stories
940:Maugham, W. Somerset, "
474:Scene 2: The Confession
1271:The Biographer's Craft
835:. Santa Fe New Mexican
501:Scene 4: The Interview
466:The Crosbies' bungalow
325:the Crosbies' neighbor
299:Anthony Michaels-Moore
230:The Marriage of Figaro
205:Anthony Michaels-Moore
43:The opera is based on
1504:Operas based on plays
1140:"Almanac (apropos of
1131:"Almanac (apropos of
1122:"Almanac (apropos of
811:"In Review: Santa Fe"
691:"Men at Work (III)",
1360:List of compositions
1144:, III)", 21 May 2009
613:Santa Fe New Mexican
542:Scene 7: The Verdict
88:which took place in
77:and was directed by
1135:, II)", 20 May 2009
747:program book, p. 63
713:,(see below), p. 64
695:, 17 September 2007
681:program book, p. 64
487:Scene 3: The Letter
461:Scene 1: The Murder
370:a colonial official
235:Houston Grand Opera
51:W. Somerset Maugham
1514:Operas set in Asia
1282:, July/August 2009
1126:, I)", 19 May 2009
882:. About Last Night
569:Critical reception
555:Scene 8: The Truth
529:Scene 6: The Woman
307:a Singapore lawyer
215:Metropolitan Opera
195:Production history
187:. He posted about
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515:Scene 5: The Club
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281:Patricia Racette
269:Leslie Crosbie,
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172:from the ’40s.”
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136:Double Indemnity
115:About Last Night
75:Herbert Marshall
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1494:2009 operas
1394:Other works
1383:The Shining
1263:Other links
646:Bette Davis
603:Denver Post
121:opera like
71:Bette Davis
1483:Categories
1375:The Letter
1303:Opera News
1142:The Letter
1133:The Letter
1124:The Letter
942:The Letter
924:The Letter
917:References
886:2009-07-30
864:2009-07-30
839:2009-07-30
817:2009-10-20
795:2009-07-30
758:The Letter
724:The Letter
707:The Letter
595:The Letter
590:Opera News
578:The Letter
413:Kevin Ray
382:Head Man,
256:Voice type
189:The Letter
181:The Letter
147:The Letter
111:The Letter
69:, starred
66:The Letter
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644:starring
582:film noir
410:baritone
170:film noir
130:film noir
1422:Category
442:Synopsis
429:A Guard
418:A Judge
294:baritone
239:Tom Ford
210:Falstaff
1435:Portals
600:In the
574:Critics
447:Place:
276:soprano
183:on his
155:Puccini
119:verismo
1519:Operas
1405:(2003)
1386:(2016)
1378:(2009)
1367:Operas
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1076:Doctor
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449:Malaya
432:tenor
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1461:Opera
1074:"The
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359:tenor
330:tenor
252:Role
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932:ISBN
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