Nine Rivers from Jordan is an opera in a prologue and three acts by composer Hugo Weisgall. The work uses an English libretto by Denis Johnston who derived the libretto from the book of the same title he wrote based on his experiences as a BBC radio reporter during World War II. The work premiered on October 9, 1968, at the New York City Opera. [1] The opera musically, dramatically and symbolically attempts to deal with the unprecedented moral problems caused by the circumstances of the Second World War. The use of many different languages in the libretto, the rapid changes of scene and the geographical extent of the action mirror the universal involvement and confusion of those years. In the opera, actual happenings and imaginary events are juxtaposed.
Don Hanwell, a British soldier stationed in the desert by the Dead Sea, is warned by a mysterious woman not to carry a weapon, as it is ordained that man will meet his death according to the arms he bears. Don heeds her warning and goes weaponless for the rest of the war, but this fact, coupled with Don’s general indifference to questions of right or wrong, causes him to allow a German prisoner, Otto Suder, to escape. Subsequently, Suder becomes a guard at Todenwald, a German concentration camp.
In a scene on the Brocken, legendary site of the Walpurgisnacht, an allegorical trial takes place to fix the guilt for the atrocities committed at Todenwald. Don himself feels guilty for his part in Suder’s escape years before. Though the verdict of the court is that all mankind is guilty, it pronounces that if Suder dies God will forgive everyone else. Don, feeling it is his duty to kill Suder, takes a hand grenade and sets out to find him.
In the last days of the war Don and a companion, Copperhead Kelly, find Suder, disguised as an English soldier, trying to escape into Italy. When Don announces he has come to kill him, Suder tricks him into taking his identification papers and convinces a mob of refugees that Don is a Nazi and he, Suder, is a British soldier. Copperhead Kelly makes no attempt to come to Don’s defense and Don feels betrayed. A woman in the mob takes the grenade from Don and gives it to Suder, who then throws it in an attempt to kill them all but succeeds only in killing himself. Don calls upon Heaven for an explanation of his betrayal and, in a dialogue with God, who speaks with the voice of Copperhead Kelly, is finally made to realize that, though we must accept all of life, both good and bad, we ourselves have the personal responsibility for making the choice between right and wrong and, though we are all “dirty,” we are not all damned.
Role | Voice type | Premiere Cast, [1] October 9, 1968 (Conductor: – Gustav Meier) |
---|---|---|
Private Don Hanwell | baritone | Julian Patrick |
Sergeant Abe Goldberg | bass | Joshua Hecht |
Copperhead Kelly | baritone | Paul Huddleston |
Otto Suder | tenor | David Clements |
Salt Woman/The Pieta/Woman D.P. | soprano | Eileen Schauler |
Lieutenant Jean l'Aiglon | tenor | William Brown |
Father Matteo Angelino | bass | William Ledbetter |
Major Mark Lyon | tenor | John Lankston |
Captain Reverend Lucius Bull | bass-baritone | Will Roy |
Andrew, the Highlander | tenor | John Stewart |
Dead Man | tenor | Joaquín Romaguera |
Little Jim Clap | tenor | Kellis Miller |
Pepper Johnny | baritone | Raymond Gibbs |
Tom Tosser | tenor | Nico Castel |
Simple Simon | baritone | Raymond Papay |
Sergeant Pete Fisher | bass-baritone | Michael Devlin |
Don Giovanni is an opera in two acts with music by Wolfgang Amadeus Mozart and Italian libretto by Lorenzo Da Ponte. It is based on the legends of Don Juan, a fictional libertine and seducer, by Spanish writer Tirso de Molina. It was premiered by the Prague Italian opera at the National Theater, now called the Estates Theatre, on 29 October 1787. Da Ponte's libretto was billed as a dramma giocoso, a common designation of its time that denotes a mixing of serious and comic action. Mozart entered the work into his catalogue as an opera buffa. Although sometimes classified as comic, it blends comedy, melodrama and supernatural elements.
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Fragging is the deliberate killing or attempted killing by a soldier of a fellow soldier, usually a superior officer or non-commissioned officer (NCO). The word was coined by U.S. military personnel during the Vietnam War, when such killings were most often attempted with a fragmentation grenade, sometimes making it appear as though the killing was accidental or during combat with the enemy. The term fragging is now often used to encompass any means used to deliberately and directly cause the death of military colleagues.
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Timeline is a 2003 American science fiction adventure film directed by Richard Donner and starring Paul Walker, Frances O'Connor, Gerard Butler, Billy Connolly, David Thewlis, and Anna Friel. Based on Michael Crichton's 1999 novel of the same name, the screenplay concerns a team of present-day archaeology and history students who are sent back in time to medieval France, to rescue their professor from the middle of a battle.
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Copperhead is a fictional supervillain in DC Comics.
Hugo David Weisgall was an American composer and conductor, known chiefly for his opera and vocal music compositions. He was born in Ivančice, Moravia and moved to the United States at the age of eight.
Hernani is a drama in rhyming alexandrines by the French romantic author Victor Hugo.
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Esther is an American opera in 3 acts composed by Hugo Weisgall, with a libretto by Charles Kondek. Esther was premiered by the New York City Opera in October 1993. The opera is about Esther's struggle as she becomes the queen of Persia, and her heroic triumph over the evil Prime Minister Haman and his plot of exterminating the Jews.
The Dirty Dozen: Next Mission is a 1985 made-for-TV film and sequel to the original 1967 film Dirty Dozen, directed by Andrew V. McLaglen and reuniting Lee Marvin, Ernest Borgnine and Richard Jaeckel 18 years after the original hit war film. Marvin returns to lead an all-new dirty dozen on a mission to assassinate an SS General played by Wolf Kahler.
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Julian Patrick was an American operatic baritone and voice teacher. Born in Mississippi, Patrick grew up in Birmingham, Alabama where he was a member of the Apollo Boys Choir. After graduating from the Cincinnati Conservatory of Music, he began his professional career as a musical theatre performer in the 1950s; appearing in the original Broadway productions of The Golden Apple (1954), Bells Are Ringing (1956), Juno (1959), Once Upon a Mattress (1959), and Fiorello! (1959). He also studied singing privately in New York City with Cornelius L. Reid.
La Esmeralda is a grand opera in four acts composed by Louise Bertin. The libretto was written by Victor Hugo, who had adapted it from his 1831 novel Notre-Dame de Paris. The opera premiered at the Théâtre de l'Académie Royale de Musique in Paris on 14 November 1836 with Cornélie Falcon in the title role. Despite the lavish production, the premiere was a failure, and La Esmeralda proved to be the last opera composed by Bertin, although she lived for another 40 years.
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Libretto published by Theodore Presser, Bryn Mawr, Penna., 1968. Reprinted with revisions in The Dramatic Works of Denis Johnston, Vol. 2, Colin Smythe, 1979.