Act I of
True Fifths
a new opera
Nate Goldsmith
composition
Kat Stephenson, libretto & lyrics
Jackson Cooper, conductor
Senior Recital
Wednesday, April 22, 2015
5:30 pm
Recital Hall, Music Building
Program
True Fifths, Act I Nate Goldsmith
I. “Overture” (b. 1992)
II. “Recitative” Kat Stephenson
III. (dialogue) (b. 1993)
IV. “Sister Song”
V. (dialogue)
VI. “I'm In Love With the Violin”
VII. (dialogue)
VIII. “Sofia Song”
IX. (dialogue)
X. “I Just Want To Be Loved”
XI. (dialogue)
XII. “Intermezzo”
________
Cast
Marribelle ......................................................................................................... Therese Pircon
Annabelle ............................................................................................................. Evan Leontis
Sofia ................................................................................................................ Megan Callahan
Georges ................................................................................................................... Drew Green
Orchestra
Flue ......................................................................................................................... Elena Gagon
Oboe ......................................................................................................................... Luke Baker
Clarinet ....................................................................................................................... Rose Kim
Clarinet .............................................................................................................. Shihhan Hsieh
Bass Clarinet ......................................................................................................... Chris Bittner
Violin .......................................................................................................................... Will Estes
Violin .................................................................................................................. Tori Gilbreath
Viola ........................................................................................................................ Leigh Dixon
Cello ..................................................................................................................... Socrates Razo
Double Bass ........................................................................................................ Emily Damrel
Electric Piano ................................................................................................ Andrew Sanchez
Vibraphone ............................................................................................................ Chris Miller
Guitar ............................................................................................................... Nate Goldsmith
Nate Goldsmith is a student of Alejandro Rutty, Mark Engebretson and Steven Bryant
________
In partial fulfillment of the degree requirements for the
Bachelor of Music in Composition
Program notes
True Fifths is a surreal modern opera that takes the farcical story lines and
patrician atmospheres of 19th century opera and juxtaposes them against a backdrop
of pop and rock music. The story is a classic case of mismatched fiances and scheming
old spinsters that centers around the two sisters, Marribelle and Annabelle. Marribelle
is a brash and confident young woman who has grown bored with the prospect of
marrying her current beau Georges, and has instead set her sights on the first violinist
of the pit orchestra. Her sister Annabelle is inexperienced in the ways of love and
longs to take Marribelle's place in the arms of Georges. Their mother Sofia's uncanny
intuition tells her all she needs to know about the mischief her daughters perpetrate,
and she is unable to help herself from getting involved. Georges is a vain and lusty
pretty boy who is nevertheless unfairly caught in the middle of a very tempestuous
family affair.
The opera begins with an un-staged Overture that paints a landscape of the
dark and dreamy world that our characters inhabit. It is a place where playfulness
and dread dwell in such close proximity that it is easy to mistake one for the other.
Several tunes from the opera appear partially formed in the Overture as a hint of
what is to come later on. The Overture bleeds directly in to a Recitative accompanied
by the full orchestra. Marribelle sits up in bed, questioning the reality of dream she
just woke from. However, it becomes unclear whether she ever really woke up in the
first place. Sofia questions Maribelle about her impending wedding in futility before
giving up and allowing her to return to her dream-within-a-dream.
The next scene opens with a depiction of Maribelle and George's relationship,
which could be politely described as “one-sided”; Georges worships his fiance,
whereas Maribelle would not be upset to never have to see Georges again. Georges is
eventually rejected and dismissed by Maribelle, when suddenly Annablle furiously
bursts in to the room to lecture Maribelle for her cruelty, having just overheard her
entire conversation with Georges (Sister Song). Maribelle can only laugh at
Annabelle's naivety but begs Annabelle to be understanding; It's not that Maribelle
dislikes Georges or intentionally wants to be cruel to him, there is simply someone
else in her heart now. Annabelle's is scandalized to hear Maribelle casually break the
4th wall of performance and proclaim her love for the first violinist of the pit orchestra
(I'm In Love With The Violin).
The second half of Act I opens with the sisters' mother Sofia contemplating
the tough situation she finds herself in as the mother of these two girls (Sofia Song).
Sofia loves Maribelle and would do anything to make sure she is happy, but is
frustrated that she would throw away her chance at happiness with Georges for
reasons she does not understand. Sofia is in for the shock of her life when the family
sits down for dinner and Mariblle eventually reveals to Sofia the true reason she has
grown distant from Georges: her burning love for the first violinist. This topic once
again inflames Annabelle and her instinct to protect George's feelings. Sofia and
Maribelle accuse Annabelle of having impure motives for attempting involving
herself with Georges, but Annabelle explains simply: “I Just Want to Be Loved.”
In a full performance of True Fifths, the Intermezzo appears in the directly
middle of the opera between the acts, belonging to neither half but instead forming a
bridge between the two. The movement's light character is an idealized model of the
wistful dreaminess the opera is founded on.
A note from the composer: Art is the most important thing in the world, and the
chance to bring my vision or someone else's vision to life in the most full-realized way
is what motivates me every day. I believe music is a sensual thing first and foremost,
meant to be felt and experienced directly. The simple tunes, lavish drama and pure
message of this opera together are symbol of everything I believe music and
performance should be. Thank you most of all to Kat and Jackson for making this
happen, thank you to Dr. Engebretson for your guidance, thank you to everyone who
is performing for shredding, and thanks to the fans.
