Sherrill milnes biography sampler
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by Jack Belsom, Archivist
THE EARLY YEARS
The date of the very first staging of opera in the Crescent City cannot be firmly established and seems forever lost to music historians. But it can safely be stated that since 1796, in the final decade of the Spanish colonial era, New Orleans has had operatic performances on almost a yearly basis. What is also significant is that, with few exceptions throughout the nineteenth century, each year the city hosted a resident company which was engaged for its principal theatre and which could be depended upon for performances throughout an established operatic season.
The Théâtre St. Pierre, on St. Peter street between Royal and Bourbon, opened in October 1792. Louis Alexandre Henry had purchased the land the previous year and built the theatre, which featured plays, comedies and vaudeville. It was there, on May 22,1796, that the first documented staging of an opera in New Orleans,André Ernest Grétry’s Sylvain, took place.
The St. Pierre closed in 1803 and the Théâtre St. Philippe, at St. Philip and Royal streets, opened January 30, 1808 with the American premiere of Etienne Nicholas Méhul’s Une Folie. During the first third of the nineteenth century there was slow yearly growth as various theatres
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Mourning Becomes Electra (opera)
Opera by Marvin David Levy
Mourning Becomes Electra is an opera in 3 acts by composer Marvin David Levy. The work uses an English language libretto by Henry W. Butler after the 1931 play of the same name by Eugene O'Neill.
It premiered at the Metropolitan Opera in New York City on March 17, 1967 with Zubin Mehta conducting. Michael Cacoyannis directed the production and Boris Aronson designed the sets, costumes, and lighting. The original production was critically well received, returned for a second season at the Met, and was presented successfully in Germany.
However, it then vanished from the stage. After thirty years, the opera was presented by Lyric Opera of Chicago in 1998 in a revised version that reduced the orchestration and simplified the harmonic language. A more drastic revision of the opera was subsequently premiered at the Seattle Opera on October 18, 2003. The orchestration was further cut down and electronic samplers added. A number of passages were re-written or omitted and a new finale was created. In addition, the opera was restructured from the original three acts (corresponding to the original O'Neill drama) into two. [1] This version was subsequently mounted in 2004 at the New York City Opera .