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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

 

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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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