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Korean soprano Hye Jung Lee lights up the stage in beautiful costumes with sensual lyrics and a piercing voice as Ah Sing, a Chinese bar girl who falls in love with the all-American miner Joe Cannon. Bridges sings powerfully in both English and Spanish, her vibrant voice conveying both anger at the assault by the miner and forgiveness of the armed men who are about to execute her.
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Her texts are drawn from the works of Argentine poet Alfonsina Storni. She is modeled on a Mexican woman of the same name who was lynched in 1851 after defending herself against the sexual advances of an aggressive miner.
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Mezzo-soprano J’Nai Bridges portrays Josefa Segovia, a beautiful hostess at the mining camp’s Empire Hotel. He was praised by the New Yorker for his “astonishing two-and-a-half octave range.” His relationship with Dame Shirley and her husband is intriguing and multi-layered, as Sellars’ lyrics illustrate. Bullock’s voice and acting have been praised by the Financial Times for “combining purity and sweetness of tone with absolute honesty on stage.”īass-baritone Davone Tines also makes his first local appearance in a fully staged opera as Ned Peters, a cowboy and fugitive slave who is drawn to the western frontier. Soprano Julia Bullock makes her San Francisco debut as Dame Shirley, an educated woman who lived in the miners’ world for more than a year and chronicled her experience during the early days of the gold rush. He also consulted poems of Chinese immigrants, the diary of Chilean miner Ramon Gil Navarro, memoirs of fugitive slaves, a speech by Frederick Douglass and a book by Mark Twain.Īdams is one of the best known and most often performed of American composers. In researching the gold rush period, Peter Sellars has said he consulted some 80 works of state history including The Shirley Letters written by a doctor’s wife, Louise Clappe, under the pen name Dame Shirley. And Adams was the first Harvard student to be allowed to submit a musical composition as a senior honors thesis.Įxcept for the name, Adams’ latest composition bears little resemblance to “The Girl of the West,” a gold rush opera composed by Giacomo Puccini in 1910, based on a play by American author David Belasco. The Death of Klinghoffer and Nixon in China both exhibited his “depth of expression and brilliance of sound.” He also wrote “On the Transmigration of Souls,” for which he received a Pulitzer Prize in 2003.
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Utilizing letters, journals and song lyrics of the period, Adams and librettist Peter Sellars faithfully recreate the colorful story of the California gold rush, a clash-filled and tumultuous period which reshaped the history of our state, changing its culture significantly.Īdams is one of the best known and most often performed of American composers. The work was created expressly for the San Francisco Opera. The opera’s premiere is taking place just 200 miles from the mining camps of the High Sierra. Immediately after Cather, in terms of literary reputation, is Mary Austin, a supremely well-connected author in bicoastal literary circles and native Californian of whom it was said, alternately, that she was a genius.Girls of the Golden West is the latest historical opera composed by John Adams, and it is of particular interest to California residents. The best known of Brosman’s subjects is, of course, Willa Cather, two of whose novels- My Ántonia and Death Comes for the Archbishop-are classics of 20th-century American literature, while a third, the semiautobiographical Song of the Lark, though not so well known, presses to be another. (Admittedly, several of these women were, to one degree or another, feminists, as was that great writer of the Nebraska plains, Mari Sandoz, best known as the author of Old Jules, whose merged affinity with her native Sandhill country in the northwest part of the state and its indigenous people, the Sioux, is comparable to that of her Southwestern sisters considered here.) Van Dyke, Eugene Manlove Rhodes, Joseph Wood Krutch, Zane Grey, Edward Abbey, Charles Bowden-with their feminine ones. Catharine Savage Brosman’s emphasis is not on the ideological but rather on the intellectual and artistic identity of her subjects, which complement the masculine sensibilities of their male counterparts-Walter Van Tilburg Clark, Tom Lea, John S. Prospective readers should not be put off by the words “women writers” in the title of this book.