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Trouble in Tahiti

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210:. The sun wakens the couple, kindles their love, kisses the windows, kisses the walls, kisses the doorknob and the "pretty red roof", kisses the flagstones on the front lawn, the paper at the front door, the roses around the front door of "the little white house" in Scarsdale (New York), Wellesley Hills (Massachusetts), Ozone Park (New York), Highland Park (Illinois), Shaker Heights (Ohio), Michigan Park (a white enclave in black Washington, D.C.), and Beverly Hills (California) – all upper-middle-class, white suburbs where people lived who had "made it", who had gotten "out of the hubbub". "Have a good day in the city today. Joy to your labors, until you return." The viewer is about to witness a day in the life of an idyllic couple living there. "Skid a lit day: skid a lit day... Ratty boo." In the middle of the opening, one member of the trio sings a stanza of nonsense, then sings it again – the same nonsense – accompanied by a solo jazz clarinet. 342:
She also reminds Sam that their son Junior's play is that afternoon, but Sam insists that his handball tournament at the gym is more important, to which she retorts, "To hell with the gym". She needs more money to pay for her analyst, who Sam calls an "out-and-out fake". Dinah says Sam should go too, which suggestion Sam pays no attention to. They agree that this is not the way to live, and they will have a conversation about their relationship problems in the evening. They both ask each other for kindness, ask the other for help "to love you again" and pray that the wall built up between them can be broken down. They continue to argue until Sam leaves for the office, late for his train.
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The Trio sings of imaginary evenings of domestic bliss in Suburbia: "bringing the loved ones together, safe by the warmth of the firelight". After dinner, Dinah is knitting and Sam is reading the paper. Sam decides the time has come for their talk, and Dinah, after asking what he wants to talk about,
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in the opera, Sam asks Dinah about Junior's play, and she admits she didn't go either. He suggests they go to the movies, to see a new film about Tahiti; Dinah consents. ("Sure, why not? Anything.") As they leave, they each long for quiet and communion, wondering if it's possible to rediscover their
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The opera is frequently performed with minimal scenery (although Bernstein gave detailed instructions for drops and props) and very simple costumes. There are only two soloists, a married couple named Sam and Dinah. Their son, Junior, is often referred to but is never seen or heard. Other characters
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Scene I – Real life in suburbia contrasts greatly with what the Trio has painted. Sam and Dinah are having breakfast, alternating between habitual bickering and lyrical moments of longing for kindness. Dinah is angry with Sam. She accuses him of having an affair with his secretary, which he denies.
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is the story of one day in the life of these desperately unhappy, though married people, lonely, longing for love, and unable to communicate. At the end of the opera, Sam and Dinah show a willingness to sacrifice for each other, out of commitment to the marriage, though there's not much pleasure to
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Scene VI – In a hat shop, Dinah tells an unidentified person about a South Sea romance movie called "Trouble in Tahiti", which she has just spent the afternoon watching. (Later, we learn that she has missed Junior's play.) At first she dismisses the movie as Technicolor drivel. But as she recounts
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Scene IV – Sam and Dinah accidentally run into each other on the street. Rather than having lunch with each other, they both make up lies about imaginary commitments to lunch with others. They continue to sing on the stage (though not to each other), reflecting on the confusing and painful course
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The trio appears several times later. In an interlude, they speak well of how possessions contribute to the "wonderful life": up-to-date kitchen, washing machine, colorful bathrooms, Life magazine, Sheraton sofa, Chippendale chair, bone chinaware, real solid silver, two-door sedan and convertible
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Then comes a call from "Bill", who he is glad to lend money to: "You'll return it whenever you want to... Is it sufficient?" Coincidentally, Bill is also participating in the handball tournament with Sam. The chorus observes that "When it comes to the giving, no one touches big-hearted Sam".
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gave a semi-staged performance of the opera with a chamber choir substituting the Trio as scored. On 17 June 2018, the chorus performed the adaptation with Garth Edwin Sunderland's reduced orchestration in their Leonard Bernstein centennial celebration concert "Bernstein in the Theater" at
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Scene V – At the gym, Sam has just won the handball tournament. He sings triumphantly that "There's a law about men" – how some try with all their might to rise to the top, but will never win; while others, like him, are born winners and will always succeed. "Men are created unequal."
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are addressed in certain scenes but also are never seen or heard: Sam's client Mr Partridge (on the telephone); his friend Bill (present and interacting with Sam but intended to be invisible); his secretary Miss Brown (present but intended to be invisible); Dinah's
200:), whose role is important. Bernstein refers to them in production notes published with the score as "A Greek chorus born of the radio commercial". The trio opens the work singing the glories of Su-bur-bi-a, using the same pattern – c, f, g, c' – as in the line " 691: 636: 345:
Scene II – Sam, at work, exuding confidence, is dealing with business on the telephone. On the phone, he turns down entreaties from Mr. Partridge, presumably for a loan. The chorus calls him a genius and a "marvelous man".
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Meanwhile, at Sam's office, he asks his secretary if he ever made a pass at her. When reminded of an incident, he insists, in a menacing way, that it was an accident and that she should forget that it ever happened.
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Prelude – A smiling jazz trio sings of perfect life in an affluent, unnamed suburban town, with its little white houses and happy, loving families ("Mornin' Sun"). The town could be anywhere; many names (such as
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the story and its theme song "Island Magic", backed by the Trio, she gets caught up in the escapist fantasy of love. Suddenly self-conscious, she stops herself, as she has to prepare dinner for Sam.
151:. The story is based on the relationship of Bernstein's own parents, Sam and Jennie, but the wife's name was changed to the more singable Dinah, Bernstein's grandmother. The work is dedicated to 622: 388:
love for one another. For now, they opt for the "bought-and-paid-for magic" of the silver screen. The Trio makes its final ironic comment, reprising the movie's "Island Magic" theme song.
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agrees: "anything you say". Yet Sam can't talk; he doesn't know where to begin. He blames Dinah for interruptions, but she has not said anything. "It's no use", he says. In the only
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by the composer. It is the darkest among Bernstein's "musicals", and one of only two for which he wrote the words and the music. (He also wrote the lyrics for the 1950 production of
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compilation CD in 1988, and the Columbia recording was re-released on CD as part of a three-disc Bernstein Theatre Works set in 1991, in the "Bernstein Century" series (along with
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in the form of an extended flashback. The opera, set 30 years later, depicts the aftermath of Dinah's death in a car crash and Sam's struggle to reconcile with his adult children.
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Scene III – In her analyst's office, Dinah recalls a dream about finding an imaginary garden amid a "black and bare" landscape, and sings about the image longingly.
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for MGM Records. It was then recorded by the composer with the Columbia Wind Ensemble and the same cast as the 1973 PBS broadcast. It was released by
482:. Nancy Williams and Julian Patrick played the couple, with Antonia Butler, Michael Clarke and Mark Brown as the trio. Leonard Bernstein conducted. 737: 216:
coupe – "Who could ask heaven for anything more?" Their "sweet little son" seems another one of the possessions: "family picture, second to none".
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Scene VII – About to enter his home, Sam sings of another law of men – that even the winner must pay "through the nose" for what he gets.
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created a film version, based on the company's stage production, produced by The Space and directed by Matthew Eberhardt, starring
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Interlude – Inside the house, the Trio sings of lovely life in Suburbia, detailing the possessions that contribute to the
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received its first performance on 12 June 1952 at Bernstein's Festival of the Creative Arts on the campus of
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subsequently presented the opera on television in November 1952, a production which marked mezzo-soprano
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and Quirijn de Lang. The film was broadcast on Sky Arts in October 2018 and again in October 2020.
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The opera also uses a vocal trio, dance-band "ensemble" style (often referred to by others as a
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be had. A copyright is held for an alternate ending by Bernstein, which has not been released.
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produced a television version of the opera. It was first broadcast in Sydney on
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on 19 March 1972. It starred Raymond Duparc as Sam and Marie Tysoe as Dinah.
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A version with live singers performing on animated sets was broadcast on
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in Philadelphia. Bernstein had produced one production of Blitzstein's
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There's a Place for Us: The Musical Theatre Works of Leonard Bernstein
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In 2001, the BBC released a film version directed by Tom Cairns with
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their relationship has taken, and yearn for their lost happiness.
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Songfest: A Cycle of American Poems for Six Singers and Orchestra
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With the permission of the Leonard Bernstein Office Inc., the
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With the permission of the Leonard Bernstein Office Inc. (the
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Bernstein was working on the opera during his honeymoon with
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performed the New York premier of the adaptation at
809:: watch Bernstein's swinging one-act opera – video" 718: 651: 474:in the United States in 1973, later available on 204:" from Bernstein's (as composer) earlier musical 1722: 875:"A Short Bernstein Opera on a Troubled Marriage" 523:in October 1974. Extracts were re-released in a 1646:Leonard Bernstein Festival of the Creative Arts 1220:Fanfare for the Inauguration of John F. Kennedy 1651:New York Philharmonic concert of April 6, 1962 753:: An Opera in Three Acts by Leonard Bernstein" 617: 1433:Non troppo presto (Music for the Dance No. 1) 902: 738:Opera America: North American Works Directory 127:, to an audience of nearly 3,000 people. 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Ashgate. 539:Dawn Upshaw 494:Opera North 207:On the Town 1725:Categories 1502:(ca. 1950) 1465:Seven Ann. 1306:Piano Trio 1164:Fancy Free 725:Smith 2011 713:Smith 2011 658:Smith 2011 603:January 7, 572:References 504:Recordings 332:Ozone Park 237:Voice type 143:Background 76:1952-06-12 52:Librettist 1484:(1949–51) 1481:Five Ann. 1473:Four Ann. 1468:(1942–43) 1400:So Pretty 1377:Psalm 148 1227:CBS Music 1099:Somewhere 1010:Peter Pan 587:Peter Pan 529:Facsimile 492:In 2018, 455:On screen 313:baritone 198:jazz trio 112:Peter Pan 1690:Category 1535:The Lark 1417:" (1988) 1402:" (1968) 1356:" (1981) 1216:) (1963) 1196:) (1942) 1194:Jeremiah 978:Musicals 812:Archived 784:Archived 757:Archived 692:Archived 643:July 23, 637:Archived 597:Archived 560:See also 325:Synopsis 268:his wife 255:baritone 180:milliner 107:libretto 68:Premiere 60:Language 1672:Maestro 1515:Touches 1214:Kaddish 1105:Tonight 1050:America 1038:(1957) 1021:(1953) 989:(1944) 959:Candide 831:Sources 790:May 24, 288:soprano 266:Dinah, 74: ( 63:English 1751:Operas 1701:Portal 1556:(1986) 1548:(1971) 1540:(1955) 1518:(1980) 1510:(1960) 1492:(1988) 1476:(1948) 1452:(1938) 1444:(1938) 1436:(1937) 1410:(1977) 1362:(1988) 1349:(1965) 1341:(1945) 1330:Choral 1322:(1989) 1314:(1942) 1308:(1937) 1291:(1981) 1283:(1954) 1275:(1948) 1246:(1980) 1238:(1977) 1230:(1976) 1222:(1961) 1175:(1974) 1172:Dybbuk 1167:(1944) 1156:Ballet 1140:(1976) 1132:(1968) 1013:(1950) 970:(1983) 962:(1956) 954:(1951) 934:Awards 845:  515:under 465:ABC-TV 1715:Opera 1599:Books 1370:Vocal 1288:Ḥalil 1078:Maria 301:tenor 248:Sam, 233:Role 221:Roles 99:opera 30:Opera 1545:Mass 1057:Cool 1026:Ohio 843:ISBN 792:2017 700:2019 645:2018 605:2019 478:and 334:and 480:DVD 476:VHS 472:PBS 123:in 115:.) 32:by 1727:: 877:, 873:, 818:, 776:. 690:. 684:. 665:^ 635:. 629:. 595:. 591:. 545:. 416:. 368:. 165:. 1703:: 1413:" 1398:" 1352:" 1256:) 1212:( 1202:( 1192:( 1114:" 1110:" 1107:" 1101:" 1097:" 1094:" 1090:" 1087:" 1083:" 1080:" 1076:" 1073:" 1069:" 1066:" 1062:" 1059:" 1055:" 1052:" 1048:" 1045:" 1041:" 1028:" 1024:" 1003:" 999:" 996:" 992:" 910:e 903:t 896:v 851:. 805:" 794:. 749:" 702:. 647:. 607:. 589:" 585:" 78:)

Index

Opera
Leonard Bernstein

Brandeis University
opera
Leonard Bernstein
libretto
Peter Pan
Brandeis University
Waltham, Massachusetts
NBC Opera Theatre
Beverly Wolff
New York City Opera
Felicia Montealegre
Marc Blitzstein
Curtis Institute
The Cradle Will Rock
psychoanalyst
milliner
scat singing
jazz trio
New York, New York
On the Town
Voice type
baritone
David Atkinson
mezzo-soprano
Nell Tangeman
soprano
tenor

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