87:
618:– Sexton's version sticks fairly closely to the Grimms' narrative, and is used to explore the simultaneous desire for and fear of death. The first stanza portrays death as a state of sexual frustration rather than the beginning of an afterlife: "Hurry, Godfather death, Mister tyranny, each message you give has a dance to it, a fish twitch, a little crotch dance". The theme is reinforced by the explicit sexual desire which leads to the physician's fatal defiance of his Godfather. This poem is set, in contrast to the rest of the opera, as an entirely solo piece, a jazz ballad sung by Sexton at a microphone.
670:) – Sexton eliminates Briar Rose's mother from the narrative and changes the ending of the tale considerably. As in the original, the Prince awakens Briar Rose from her 100-year sleep with a kiss, and the couple marry. However, her first words on being awakened are "Daddy! Daddy!", and for the rest of her life Briar Rose suffers from insomnia. The tale itself is fairly short, preceded and followed by lengthy autobiographical stanzas in which Sexton explicitly alludes to her own psychiatric history involving controversial "
579:
482:. In both Sexton's original book and the opera, this poem introduces the sequence of re-told fairy tales to follow. As in the original book, each of the subsequent tales also has its own introduction and coda in which the poet comments to the audience on her perception of the significance of the story. Sexton and Susa selected nine of the original sixteen re-told tales for the opera. They are presented in the order in which they appeared in the original book. The first and last tales in the book (
631:– In the introductory lines to the tale, "My sisters, do you remember the fiddlers of your youth? Those dances so like a drunkard lighting a fire in the belly?", Sexton explicitly compares women's sexual response to music with the response of the animals whom the Wonderful Musician enchants and then cruelly entraps. The scene can be read as a cautionary tale about the demonic power of music, but on a deeper level about women cooperating in their own victimization.
1486:
566:– Sexton's sardonic view of motherhood, "He was like most new babies, as ugly as an artichoke but the Queen thought him a pearl", co-exists with an urge to identify not with the protagonist/winner of the tale (the former miller's daughter who becomes Queen) but rather with the antagonist/loser (Rumpelstiltskin), a theme which recurs in the following scene,
514:), addresses an audience of adults by their first names. Children, the stereotypical audience for fairy tales, are nowhere mentioned. She then tells the story of a sixteen-year-old youth searching for answers, whom she proclaims to be "each of us". He eventually finds a gold key that unlocks the book of Grimm's Fairy Tales in their transformed state.
60:, Minnesota. Anne Sexton, who had worked closely with Susa on the libretto, was in the audience. It went on to become one of the most frequently performed operas by an American composer with its chamber opera format of eight singers and an instrumental ensemble of eight musicians making it particularly popular with smaller opera companies and
490:) remain the first and last tales in the opera. According to Susa, "the poems are arranged with the author's approval to emphasize the sub-plot which concerns a middle-aged witch who gradually transforms into a vulnerable beauty slipping into a nightmare." The opera's libretto sticks very closely (usually
648:
is one of their darkest tales. Two young children repeatedly abandoned in a forest by their father and stepmother, narrowly escape from a cannibal witch by burning her alive in her own oven. Sexton follows the story quite closely but makes it even more disturbing by an introduction in which a mother
604:
in love with
Rapunzel, the young girl she has imprisoned. In the opera, Mother Gothal and Rapunzel sing a duet to "A woman who loves another woman is forever young". Roger Brunyate, who directed the 1999 production at the Peabody Institute, also sees clear allusions in the story to Sexton's beloved
144:
with set and costume design by Robert Israel and lighting design by Bruce Miller. Sexton herself was in the audience that night. She subsequently returned to
Minneapolis for further performances and made a tape-recording of the opera which she listened to repeatedly and played for her friends and
157:. Anne Sexton did not live to see the broadcast. Throughout her life she had suffered from mental illness with repeated suicide attempts followed by stays in psychiatric hospitals. On 4 October 1974, dressed in her mother's old fur coat, she killed herself at her home in
1012:
deliberately induced by cultural or religious practices, dissociative trance states are a psychiatric disorder. See
American Psychiatric Association (2000) p. 783. For more on Sexton's psychiatric history as reflected in her work, see Kavaler-Adler (1996) pp.
540:– Sexton satirizes marriage as a kind of "deathly stasis", writing of the young husband and wife, "they were placed in a box and painted identically blue and thus passed their days living happily ever after – a kind of coffin".
1227:
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The original
Minnesota Opera production was set in a mental hospital, a setting used in most of its revivals. However, the 2006 San Francisco production was set in an outdoor party in 1970s American
272:
Described by its composer as "An
Entertainment in 2 Acts", the opera has a running time of approximately two hours and is scored for eight singers and an ensemble of eight to nine musicians.
653:
becomes explicit as the mother's language becomes increasingly sadistic. "I want to bite, I want to chew I have a pan that will fit you. Just pull up your knees like a game hen."
527:– The vanity, fragility and naiveté of Snow White ("a dumb bunny" who must be protected by the dwarfs) eventually lead to her becoming the mirror image of her wicked stepmother.
1401:
1049:
128:. Delighted with the idea of hearing her poetry as song, she cooperated closely with Susa in selecting and arranging the ten poems which would form the basis of the opera.
553:– The wild man, Iron Hans, eventually freed from his cage becomes a parable for Sexton's own struggles with insanity and society's ambivalence to the mentally ill.
1173:
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494:) to the wording in the poems. The comments below relate to some of the themes which critics have highlighted in each of Sexton's "transformed" tales.
56:, the work, which is described by its composer as "An Entertainment in 2 Acts", had its world premiere on 5 May 1973 at the Cedar Village Theater in
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468:
The opera is set in a mental hospital, with the patients acting out the tales, although some subsequent revivals have altered the setting. (See
260:. The opera was given a pop-art treatment, inspired by Klaus Oldenburg and Andy Warhol, when it was performed in 1980 at San Francisco's
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The musical style is eclectic with multiple references to
American popular music, dance rhythms, and artists of the 1940s and 1950s.
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affectionately pretends to "eat up" her little boy (sung in the opera as "The Witch's
Lullaby"). The conflation of mother love with
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3: The Good Fairy/Mirror/White Snake/Talking Woman/Golden Spring/ Doppelgänger/Mother/Andrews Sister/Narrator/Witch/Twelfth Fairy (
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is referenced by a number on a casting grid (rather than a character name) and takes multiple roles, with one of the
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Theatre Award for Best Opera
Production. The continental European premiere, directed by Elsa Rooke, was given at the
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5: The Magic Object/Animal/Dwarf/Dog/Animal/Caged Man/Gardiner/Baby/Vegetable/Tower/Hunter/Pebble/Bird/Fairy (tenor)
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See: Robinson (February 2010); Hall (30 October 2006); Harries (2008) pp. 854–555; and Kosman (17 July 2006)
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8: The
Neighboring King/Hunter/Dwarf/Bird/ Crying Man/King/ Miller/Messenger/Vegetable/Tower/Hare/Father (
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by San
Francisco Spring Opera in a production designed by Thomas Munn and directed by Richard C. Hudson.
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family. In August 1978, the opera received its US television premiere when it was broadcast on the
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2: Anne Sexton/The Witch/Step-Mother Queen/Aunt/Mother Gothel/Andrews Sister/Briar Rose (soprano)
252:, while the 2007 University of Maryland production was set in a 1970s nightclub (complete with a
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playing Anne Sexton as well as several other characters. The Division of roles is as follows
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went on to become one of the most frequently performed operas by an American composer. Its
1228:"Fairy tales revisited and transformed: Anne Sexton's critique of social(ized) femininity"
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1: The Princess/Virgin/Young Anne/Snow White/Rapunzel/Andrews Sister/Gretel/Briar Rose (
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network in a slightly shortened version performed by Minnesota Opera and co-produced by
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7: The KingAnimal/Dwarf/Lunatic/Iron Hans/Husband/Tower/Wolf/Bread/Fairy/Father (high
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where Anne Sexton taught poetry in 1968 and where she herself became a patient in 1973
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The Supernatural in Short Fiction of the Americas: The Other World in the New World
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in Ireland. The Wexford production, directed by Michael Barker-Caven, won the 2006
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389:/Rumpelstiltskin/Vegetable/Tower/Wonderful Musician/Step-Mother/Thirteenth Fairy (
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format has made it particularly popular with smaller opera companies and
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See Sexton (2004) p. 384; ECS Publishing (2010) p. 40; and Opera America
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We Heal from Memory: Sexton, Lorde, Anzaldúa, and the Poetry of Witness
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510:– The speaker, Sexton herself (as a "middle-aged witch", her frequent
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The Creative Mystique: From Red Shoes Frenzy to Love and Creativity
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Kennicott, Philip, "Susa's Music, Sexton's Poetry – Transformed",
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Anne Sexton and Middle Generation Poetry: The Geography of Grief
1215:"Medieval tales, Sexton musings fuse into graceful Merola opera"
1070:"A Feminist Far from Grimm: Anne Sexton and her Transformations"
999:
McGowan (2004) pp. 73–92; Young (1988) pp. 255–287; Valby (2005)
1437:, Steven E. Colburn (ed.), University of Michigan Press, 1988.
1371:, Steven E. Colburn (ed.), University of Michigan Press, 1988.
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6: The Prince/Worm/Boy on a Bridge/Messenger/Fox/Hansel (tenor)
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223:(2010). Although it has remained relatively unknown in Europe,
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215:'s Merola Program with the composer in the audience (2006),
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as Anne Sexton (1982), New York Opera Repertory Theater at
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premiered on 5 May 1973 at the Cedar Village Theater in
1286:, vol. XXV, no. 5, February 2010 (accessed 6 June 2010)
1262:, North American Works Directory (accessed 6 June 2010)
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The Greenwood Encyclopedia of Folktales and Fairy Tales
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4: The Wizard/Servant/Animal/Dwarf/Suspicious Man/King/
1058:(DSM-IV-TR), American Psychiatric Publications, 2000.
136:, Minnesota. The premiere production was conducted by
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Diagnostic and Statistical Manual of Mental Disorders
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1174:"With Anne Sexton's Help, a Grimmer Shade of Grimm"
600:– Sexton portrays the witch, Mother Gothal, as a
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990:Wagner-Martin (1989) p. 142; Steele (2000) p. 62
120:, a poetic re-telling of sixteen stories by the
1289:Runco, Mark A. and Pritzker, Steven R. (eds.),
231:and was one of the featured operas of the 2006
605:great-aunt, who died in a mental institution.
227:had its UK premiere in 1978 performed by the
1232:Revista española de estudios norteamericanos
1033:Gay Histories and Cultures: An Encyclopedia
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175:. Notable US revivals include those at the
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1280:"Opera Performs Fairy Tales With a Twist"
78:Theatre Award for Best Opera Production.
1388:, The Phoenix Concerts, 19 January 2014.
1329:, edited and annotated by Lois Ames and
1148:, 30 October 2006 (accessed 6 June 2010)
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116:with the idea of using her 1971 book,
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28:in two acts by the American composer
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674:" of sexual abuse by her father and
586:in a painting by Henry Maynell Rheam
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1333:, Houghton Mifflin Harcourt, 2004.
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863:Irish Theatre Awards: Past winners"
217:University of Maryland Opera Studio
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582:The prince discovers the sleeping
470:Background and performance history
82:Background and performance history
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744:Runco and Pritzker (1999) p. 557.
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64:. The 2006 revival production of
16:1973 chamber opera by Conrad Susa
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1234:, No. 17–18, 1999, pp. 9–22
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1414:Critical Essays on Anne Sexton
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1050:"Dissociative Trance Disorder"
805:Kennicott (10 June 1997) p. 3D
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1368:Anne Sexton: Telling the Tale
1275:, 26 May 1980, pp. 60–61
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229:English Music Theatre Company
201:Center for Contemporary Opera
1411:Wagner-Martin, Linda (ed.),
1408:, 12 August 1978, p. 6D
1352:, Palgrave Macmillan, 2000.
1151:Harries, Elizabeth Wanning,
775:San Francisco Opera Archives
205:Opera Theatre of Saint Louis
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981:Del George (2001) pp. 37–38
930:Wagner-Martin (1989) p. 183
900:ECS Publishing (2010) p. 40
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91:McLean Psychiatric Hospital
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1532:Operas based on literature
1427:Young, Vernon, "Review of
1313:, Houghton Mifflin, 1971.
1297:, vol. 2, Elsevier, 1999.
1295:Encyclopedia of Creativity
1226:Martín Gonzalez, Matilde,
1207:, 10 June 1997, p. 3D
1153:"Sexton, Anne (1928–1974)"
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472:above.) The first scene,
203:in New York City (1996),
199:in New York City (1987),
1119:"Opera Repertory Stages
1078:Johns Hopkins University
972:Young (1988) pp. 255–287
921:McGowan (2004) pp. 73–92
891:Rich (26 May 1980) p. 61
840:Robinson (February 2010)
664:(The Grimms' variant of
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48:based on stories by the
1512:English-language operas
1220:San Francisco Chronicle
1204:St. Louis Post-Dispatch
417:The original cast was:
351:Each of the singers in
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187:as Anne Sexton (1980),
124:, as the basis for the
1460:Wexford Opera Festival
1365:, "A Reminiscence" in
1185:Kavaler-Adler, Susan,
849:Hall (30 October 2006)
796:Holland (28 June 1996)
787:Henahan (20 June 1987)
735:(12 August 1978) p. 6D
627:The Wonderful Musician
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233:Wexford Opera Festival
104:was commissioned from
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95:Belmont, Massachusetts
70:Wexford Opera Festival
1527:Operas by Conrad Susa
1393:The Victoria Advocate
1284:The Juilliard Journal
1029:"Susa, Conrad (1935)"
960:Swan (1988) pp. 39–53
828:Kosman (17 July 2006)
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159:Weston, Massachusetts
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1458:of the October 2006
1417:, G. K. Hall, 1989.
1344:Steele, Cassie Premo
1109:Opera Catalogue 2010
700:Sexton (2004) p. 384
685:Notes and references
189:Aspen Music Festival
177:Spoleto Festival USA
1278:Robinson, Lisa B.,
1191:, Routledge, 1996.
874:San Francisco Opera
753:Adams (2000) p. 851
423:Catherine Malfitano
262:Palace of Fine Arts
213:San Francisco Opera
181:San Francisco Opera
46:confessional poetry
40:from her 1971 book
1179:The New York Times
1128:The New York Times
1083:Del George, Dana,
672:recovered memories
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256:) and modelled on
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52:. Commissioned by
44:, a collection of
1470:Peabody Institute
1331:Linda Gray Sexton
1319:978-0-395-12722-3
1272:New York Magazine
1237:McGowan, Philip,
1074:Peabody Institute
1068:Brunyate, Roger,
733:Victoria Advocate
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276:Voices: two
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179:(1980), the
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41:
20:
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1522:1973 operas
651:cannibalism
438:Vern Sutton
331:, electric
327:, electric
323:, electric
321:harpsichord
319:, electric
238:Irish Times
197:Merkin Hall
134:Minneapolis
114:Anne Sexton
108:in 1972 by
106:Conrad Susa
58:Minneapolis
38:Anne Sexton
30:Conrad Susa
1501:Categories
1462:production
1406:Hit Opera"
661:Briar Rose
584:Briar Rose
488:Briar Rose
337:percussion
317:contrabass
292:, and one
254:disco ball
1145:The Stage
1136:"Review:
657:Scene 10.
549:Iron Hans
512:alter-ego
305:saxophone
258:Studio 54
1013:183–239.
681:states.
635:Scene 9.
622:Scene 8.
609:Scene 7.
596:Rapunzel
591:Scene 6.
568:Rapunzel
557:Scene 5.
544:Scene 4.
531:Scene 3.
518:Scene 2.
503:Scene 1.
492:verbatim
464:Synopsis
404:baritone
357:sopranos
313:trombone
301:clarinet
284:, three
278:sopranos
250:suburbia
207:(1997),
126:libretto
34:libretto
1267:"Music"
1076:of the
1021:Sources
1010:trances
1008:Unlike
602:lesbian
370:soprano
329:celeste
309:trumpet
68:at the
32:with a
1507:Operas
1477:Portal
1466:Photos
1456:Photos
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881:(1980)
679:trance
455:
335:, and
288:, one
286:tenors
280:, one
1491:Opera
1431:" in
1396:(via
771:(PDF)
574:Act 2
498:Act 1
391:tenor
333:organ
325:piano
268:Score
191:with
183:with
24:is a
1439:ISBN
1419:ISBN
1373:ISBN
1354:ISBN
1335:ISBN
1315:ISBN
1299:ISBN
1245:ISBN
1193:ISBN
1161:ISBN
1091:ISBN
1060:ISBN
1037:ISBN
486:and
155:KTCA
153:and
151:WNET
72:won
1400:),
1155:in
1052:in
1031:in
436:4:
427:2:
421:1:
147:PBS
93:in
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1293:,
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296:.
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