| Tobias Picker |
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Operas
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An American Tragedy is an opera in two acts composed by Tobias Picker to a libretto by Gene Scheer. This was Picker's fourth opera, written four years after the debut of Thérèse Raquin (also composed with Scheer). Based on the Theodore Dreiser novel, An American Tragedy, the opera was commissioned by the Metropolitan Opera and premiered in New York City on December 2, 2005.
Contents |
| Role | Voice | Premier Cast, 2004 (Conductor: James Conlon) |
|---|---|---|
| Roberta Alden | Soprano | Patricia Racette |
| Sondra Finchley | Mezzo-Soprano | Susan Graham |
| Clyde Griffiths | Baritone | Nathan Gunn |
| Elvira Griffiths | Mezzo-Soprano | Dolora Zajick |
| Elizabeth Griffiths | Mezzo-Soprano | Jennifer Larmore |
| Bella Griffiths | Soprano | Jennifer Aylmer |
| Samuel Griffiths | Tenor | Kim Begley |
| Gilbert Griffiths | Tenor | William Burden |
| Orville Mason | Baritone | Richard Bernstein |
| Grace Marr | Soprano | Clare Gormley |
| Hortense | Soprano | Anna Christy |
Taking place in the Industrial Revolution at the turn of the century, Clyde Griffiths moves from Chicago to New York City to accept a job offer from his rich uncle, Samuel, the owner of a shirt factory. Despite being warned to keep away from the ladies at the factory, Clyde pursues two women at once - Roberta and Sondra. Although Clyde falls deeply in love with Sondra, he learns that Roberta is pregnant with his child. Clyde must decide between marrying his true love, achieving his American dream through the beautiful Sondra, or taking responsibility and marrying Roberta.[1]
Anthony Tommasini of the New York Times wrote that "The opera is accomplished, dramatically effective and thoroughly professional...the cast seemed to relish singing Mr. Picker's opera." And Alex Ross of The New Yorker, said that the opera "hits the mark" and is "a serious, substantial piece." David Patrick Stearns, of The Philadelphia Inquirerwrites that "...the hero here is composer Picker. He knows how to write emotionally searching arias constructed with lyrically declaimed lines and phrases that echo popular song. The orchestration is full of psychologically penetrating effects. ...The score's theatrical good sense is remarkable.... Few modern operas are paced as effectively as this."[2]