The Woman at Otowi Crossing (1995)
Opera in Two Acts
Music by Stephen Paulus
Libretto by Joan Vail Thorne, after the novel by Frank Waters
Commissioned by Opera Theatre of Saint Louis in celebration of its twentieth season.
By arrangement with European American Music Corporation, publisher and copyright owner.
Dates of Performance
June 15, 17, 21, 23
1995 Season
Tosca   La Belle Helene
Armida   The Woman at Otowi Crossing
Photo Gallery
Cast
Sheri Greenawald
Helen Chalmers
Paul Radulescu
FBI investigator
John Stephens
“Mr. Baker” (Niels Bohr)
Jeanine Bowman
Harriet
Juline Baról
Bruja
Mariana Ivanova Karpatova
Bruja
Kimm Julian
Jack Turner
Jerett A. Gieseler
Soldier
Andrew Wentzel
Tilano
Christine Abraham
Emily
Paul D. Bustin
“Mr. Farmer” (Enrio Fermi)
James Martin
Dr. Breslau
Richard Troxell
Joel Edmund
Grant Youngblood
Tranquillino
Amy M. Fuller
Martha
Julianne Borg
Lucy
Patricia Coffin
Maria
Creative Team
Richard Buckley
Conductor
Colin Graham
Stage Director
Derek McLane
Set Designer
Martin Pakledinaz
Costume Designer
Christopher Akerlind
Lighting Designer
Tom Watson
Wig & Makeup Designer
Cary John Franklin
Chorus Master
Stephen Dubberly
Retpetiteur
David Roth
Assistant Stage Director
John W. Coleman
Stage Manager
Andrew Saboe
Assistant Stage Manager
Elise Sandell
Assistant Stage Manager
Synopsis
Born and raised in the East, Helen Chalmers has been living for twenty years in New Mexico; for many of these years, she has had a relationship with Jack Turner, editor and owner of a small local newspaper. When she left the East, she also, for difficult family reasons, had to leave her baby daughter Emily in the care of her grandparents. The railway branch-line depot, which she managed alongside her tea room, has recently been closed.
Jack has sold his paper and hopes to settle down, but Helen resists his offer of marriage. Emily, now grown, arrives on a study assignment, and the two women find it difficult to come to terms with each other after so many years of separation. Encouraged by Tilano, an elder of the nearby pueblo, Helen’s spirituality finds an increasing affinity with Indian thought; Jack, however, has no patience with her visions and her concern for the nature of life and of the Earth.
The Manhattan Project has requisitioned the boys’ school on the mesa above the tea room. Tight security forbids scientists and their families to visit outside the compound; one of the few exceptions is Helen’s tea room, which must, however, cater only to them. Here Emily and Joel meet, fall in love, and begin the kind of relationship expressly forbidden by the regulations of the Project.
The scientists debate the ethics of their work, always plagued by what the results may be. When Jack returns at Christmas, he is enraged to find that the relationship between Helen and Tilano – albeit a platonic one – has deepened.
By the following spring, tension both on the Hill and in Helen’s life has increased; she now envisions a great light that will destroy the Earth. Emily and Joel find it difficult to maintain their intense relationship, and when he tells her the scientists are going away for a while, she tells him she is pregnant; but once again, she feels she is being abandoned.
Tranquillino has returned from the war with a broken body and a bitter spirit; while Helen is instrumental in helping him to regain his true spirit, she herself refuses to do anything about her own illness.
The Alamogordo test is successful, but Joel is seriously injured by it. The wives from the Hill, when they announce their husbands’ success in ending the war, are enraged at Helen’s attitude to so much death, while she herself is deeply troubled by an FBI investigation into rumors of her foreknowledge of the explosion.
When she finally agrees to see doctors in New York, her cancer is found to be inoperable. Before she dies, everyone whose life has been affected by this quiet woman thinks gratefully of her love of life itself. The opera ends, as it began, with her death, attended by her friends – and by the seven deer of Indian legend who wait to take her spirit elsewhere.

The composer’s commission was made possible by a major gift from Rudolph W. Driscoll, whose continued generosity is greatly appreciated.
The commissioning of the libretto was generously underwritten by Joan F. Richman.
The soloists are sponsored by a generous grant from the Pulitzer Publishing Company, Inc.
The services of the Saint Louis Symphony Orchestra are underwritten in part by a major gift from Sally S. Levy.
The costumes are underwritten by a generous gift from Mrs. Homer V. Howes.
Additional support for this commission has been provided by: the National Endowment for the Arts, New American Works Program; the Lila Wallace-Reader’s Digest Fund; Opera for a New America Program, a project of OPERA America; and The Aaron Copland Fund.

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