An operatic setting of the dance-play by W.B. Yeats which is also performable as a dramatic cantata in a concert version. This is a one-act work and is ritualistic in nature reflecting Yeats’ modeling of the text on the Japanese Noh play. The music is at times dark and atmospherlc, and the archetypal symbolism and metaphysical suggestion of the text, wlth its archaic language and bleak images, is a rich source of inspiration for this. The musical language is comprehensive with tonality and atonality used in conjunction with each other to express literary ideas. Written for five solo singers with the main roles being a tenor and a bass, and a dancer, the backing ii provided by a 30 or so piece orchestra including piano, solo electric violin, and gamelan instruments.
(Programme note from composer’s website)
Text Note:
Setting of the play by W.B. Yeats (1865-1939)
Commissioned:
Commissioned by the Nelson School of Music, with financial assistance from the QEII Arts Council (now Creative New Zealand)
Performed by the Nelson Chamber Orchestra conducted by Miranda Adams with soloists David Clark (tenor), Paul Densem (bass), Joanne Hodgson (mezzo soprano), Helen Bowater (mezzo soprano), and Ben Ayre (Bass)
29 Mar 1992
Performed by the Nelson Chamber Orchestra conducted by Miranda Adams with soloists David Clark (tenor), Paul Densem (bass), Joanne Hodgson (mezzo soprano), Helen Bowater (mezzo soprano), and Ben Ayre (Bass)
29 Mar 1992
Performed by the Nelson Chamber Orchestra conducted by Miranda Adams with soloists David Clark (tenor), Paul Densem (bass), Joanne Hodgson (mezzo soprano), Helen Bowater (mezzo soprano), and Ben Ayre (Bass)
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