Angels in America

Opera in two parts

Commissioned by Théâtre du Châtelet Paris

Description

World premiere: 23 November 2004, Paris, Châtelet
Conductor: Peter Eötvös
Staging: Philippe Calvario

Opera based on Tony Kushner’s play
Libretto: Mari Mezei
Original language: English

The two-part play by Tony Kushner (“Millennium Approaches” and “Perestroika”) is one of the most important dramas of 20th century American literature. Both parts of the play were performed around the world in the 1990s, and have been filmed. The drama which lasts for seven hours has been re-structured by Mari Mezei and this opera version lasts between two, and two and a half hours. The premiere of the opera was take place in November 2004 in Paris, at the Châtelet Theater, the commissioners of this work.

The New York author Tony Kushner, very politically aware, describes the American neurosis at the turn to a new Millennium as a dark nightmare set within dramatic hallucinations. Many of the main characters are persons from real life, as for example Ethel Rosenberg, who has been sent by the criminal lawyer (Roy Cohn) – a collaborator of McCarthy – to death on the electric chair. Ethel Rosenberg’s spirit appears in Kushner’s play, and in the opera as well, to watch the painful death of AIDS suffered Roy Cohn.

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Hallucination and reality merge perfectly in Angels in America. It is precisely this characteristic of Kushner´s play which has inspired me most to work on this piece. In my opera version, I do not focus so much on the political aspect of the piece, but instead emphasise the passionate relationships, the dramatic suspense created by the strong writing, as well as the shapeless condition of the hallucinations.
Prior Walter, the protagonist of the story, suffers from the AIDS virus. He knows he must die and in his battle for life, he imagines an angel (a woman) who orders him to save the world by being a prophet. In his vision, he ascends to heaven, but refuses the angel´s instructions with following words:

“I’ve lived through such terrible times, and there are people who live through much worse, but… You see them living anyway. When they’re more spirit than body, more sores than skin, when flies lay eggs in the corners of the eyes of their children, they live. If I can find hope anywhere, that’s it, that´s the best I can do. I want more life.”
… he puts the angel’s book aside and returns back to earth.

/Peter Eötvös/

Synopsis

Angels in America focuses on the stories of two troubled couples, one gay, one straight: Louis Ironson and Prior Walter, and Mormon lawyer Joe Pitt and his wife Harper. After the funeral of Louis’s grandmother, Prior tells him that he has contracted AIDS, and Louis panics, realizing he cannot stand the strain and fear. Meanwhile, Joe is offered a job in the Justice Department by Roy Cohn, his right-wing, bigoted mentor and friend. But Harper, who is addicted to Valium and suffers anxiety and hallucinations, does not want to move to Washington.

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The two couples’ fates quickly become intertwined: Harper and Prior meet, in a fantastical mutual dream sequence in which Prior, operating on the “threshold of revelation,” reveals to Harper that her husband is a closeted homosexual. Louis then leaves Prior in a fevered state, which causes Prior to begin hallucinating that he hears the voice of an angel telling him that he is a prophet. Harper confronts Joe about his homosexuality, which he denies but says he has struggled inwardly with the issue. Roy receives a different kind of surprise: At an appointment with his doctor Henry, he learns that he too has been diagnosed with AIDS. But Roy, who considers gay men weak and ineffectual, thunders that he has nothing in common with them—AIDS is a disease of homosexuals, whereas he has “liver cancer.” Henry, disgusted, urges him to use his clout to obtain an experimental AIDS drug. The ghost of Ethel Rosenberg, who Roy helped convict, appears at his bedside.

Prior’s illness and Harper’s terrors both grow worse. Fortunately, Prior has a reliable caretaker in Belize, an ex-drag queen and dear friend. Prior confesses to Belize that he has been hearing a wonderful and mysterious voice; Belize is skeptical, but once he leaves we hear the voice speak to Prior, telling him she is a messenger who will soon arrive for him. Joe drunkenly telephones his mother Hannah in Salt Lake City to tell her that he is a homosexual, but Hannah tells him he is being ridiculous. Louis strays from Prior’s bedside to seek anonymous sex in Central Park at night, where he meets and later goes home with Joe. Hannah arrives in New York to find and help Joe, but she gets lost and is confronted by a homeless woman. In a tense scene, Joe tells Harper about his feelings, while simultaneously Louis tells Prior he is moving out.

The disconsolate Prior is awakened one night by the ghosts of two ancestors who tell him they have come to prepare the way for the unseen messenger. Tormented by such supernatural appearances and by his anguish over Louis, Prior becomes increasingly desperate. In the climax of Act One, Prior’s prophetic visions culminate in the appearance of an imposing and beautiful Angel who crashes through the roof of his apartment and proclaims, “The Great Work begins.”

In Act Two, after her dramatic arrival, the Angel gives Prior a prophetic book and explains that she seeks his help to halt the migratory tendency of human beings, which the Angels in Heaven believe tempted God to abandon them. God, she explains, left Heaven forever on the day of the San Francisco earthquake in 1906, and since then his Angels—whose vast powers are fueled by constant sexual activity—have been rudderless and alone. To reverse the trend, the Angel says humans must end their constant motion, their addiction to change. Not surprisingly, Prior is aghast at her words and vows to flee from her at all costs.

With Joe nowhere to be found, Hannah comes to Harper’s rescue in the depths of depression. She finally insists that Harper join her at the Mormon Visitor’s Center, where she has begun to volunteer. Roy learns that his political opponents plan to disbar him for an ethical lapse, but he vows to remain a lawyer until he dies. Ethel comes to observe him in his misery, and sings the Kaddish while Roy dies. Joe’s wife, on the other hand, spends her days at the Mormon Visitor’s Center watching a diorama of the Mormon migration featuring a father dummy who looks suspiciously like Joe. When Prior drops in to conduct research on angels, a fantasy sequence ensues in which Louis and Joe appear in the diorama.

Prior suffers an episode at the visitor’s center, where the Angel descends and Prior wrestles her. He succeeds, and is granted entry into Heaven to refuse his prophecy. In Heaven, which resembles San Francisco after the great earthquake, Prior tells the Angels that despite all his suffering he wants them to bless him and give him more life. The Angels sympathize but say they cannot halt the plague. He tells them should God return, they should sue Him for abandonment.

In 1990, four years later, Louis, Prior, Belize and Hannah appear in a moving epilogue. Prior says that the disease has killed many but that he intends to live on, and that the “Great Work” will continue.

Performances

3 Mar, 2020

Braunschweig, Germany

Eötvös: Angels in America

Cond: Christopher Lichtensein

Stage & Costumes: Adriane Westerbarkey

Dramaturge: Sarah Grahneis

Director: Florentine Klepper

Cast:

Prior Walter: Christian Miedl

Louis Ironson / Angel Oceania: Joska Lehtinen

Joseph Pitt / Ghost 2 / Angel Europe: Maximilian Krummen

Harper Pitt / Ethel Rosenberg / Angel Antarctica: Milda Tubelytė

Hannah Pitt / Rabbi Chemelwitz / Henry / Angel Asian: Zhenyi Hou

Roy Cohn / Ghost 1 / Angel Australia: Rainer Mesecke

Belize / Mr. Lies / Woman / Angel Africanii: Rik Willebrords

The Angel / Voice: Jelena Bankovic

Venue: State Theatre Braunschweig

29 Feb, 2020

Braunschweig, Germany

Eötvös: Angels in America

Cond: Christopher Lichtensein

Stage & Costumes: Adriane Westerbarkey

Dramaturge: Sarah Grahneis

Director: Florentine Klepper

Cast:

Prior Walter: Christian Miedl

Louis Ironson / Angel Oceania: Joska Lehtinen

Joseph Pitt / Ghost 2 / Angel Europe: Maximilian Krummen

Harper Pitt / Ethel Rosenberg / Angel Antarctica: Milda Tubelytė

Hannah Pitt / Rabbi Chemelwitz / Henry / Angel Asian: Zhenyi Hou

Roy Cohn / Ghost 1 / Angel Australia: Rainer Mesecke

Belize / Mr. Lies / Woman / Angel Africanii: Rik Willebrords

The Angel / Voice: Jelena Bankovic

Venue: State Theatre Braunsweig

12 Oct, 2019

Budapest, Hungary

Eötvös: Angels in America

Müpa Budapest
Hungarian Radio Orchestra, cond. Peter Eötvös
Neue Oper Wien production

12 October 2019,

Venue: Müpa Budapest
https://m.mupa.hu/program/komolyzene-opera-szinhaz/eotvos-peter-angels-in-america-2019-10-12_19-00-fesztivalszinhaz

10 Oct, 2019

MÜPA Budapest, Hungary

Eötvös: Angels in America

Hungarian Radio Orchestra, cond. Peter Eötvös
Neue Oper Wien production

10 October 2019, Müpa Budapest
https://www.mupa.hu/program/komolyzene-opera-szinhaz/eotvos-peter-angels-in-america-magyarorszagi-bemutato-2019-10-10_19-00-fesztivalszinhaz

1 Oct, 2019

Vienna, Austria

Eötvös: Angels in America

Neue Oper Wien
Conductor: Walter Kobéra

29 Sep, 2019

Vienna, Austria

Eötvös: Angels in America

Neue Oper Wien
Conductor: Walter Kobéra

28 Sep, 2019

Vienna, Austria

Eötvös: Angels in America

Neue Oper Wien
Conductor: Walter Kobéra

26 Sep, 2019

Vienna, Austria

Eötvös: Angels in America - New production

New production
Premiere
Neue Oper Wien
Conductor: Walter Kobéra

26 Sep, 2019

Neue Oper, Wien, Vienna, Austria

Eötvös: Angels in America

new production
Neue Oper Wien, cond. Walter Kobéra
26, 29 September, 1, 2 October Vienna, Austria

30 Jun, 2019

Berlin, Germany

Eötvös: Angels in America

Universität der Künster Berlin
Conductor: Enrico Fresis
Stage Director: Isabel Hindersin

29 Jun, 2019

Berlin, Germany

Eötvös: Angels in America

Universität der Künster Berlin
Conductor: Enrico Fresis
Stage Director: Isabel Hindersin

28 Jun, 2019

Berlin, Germany

Eötvös: Angels in America

Universität der Künster Berlin
Conductor: Enrico Fresis
Stage Director: Isabel Hindersin

27 Jun, 2019

Berlin, Germany

Eötvös: Angels in America

Universität der Künster Berlin
Conductor: Enrico Fresis
Stage Director: Isabel Hindersin

3 Jun, 2018

Freiburg, Germany

Eötvös: Angels in America

Theater Freiburg - new production

Philharmonisches Orchester Freiburg
Conductor: Daniel Carter
Stage Director: Ingo Kerkhof
Stage design: Dirk Becker
Costume: Inge Medert

Cast:
Susana Schnell (Angel),
Inga Schäfer (Harper Pitt),
Anja Jung (Hannah Pitt),
Andreas Jankowitsch (Roy Cohn),
Joshua Kohl (Louis Ironson),
John Carpenter (Joseph Pitt),
Robin Adams (Prior Walter),
Bernhard Landauer (Belize),
Irina Jae Eun Park (Vocaltrio S),
Jongsoo Yang (Vocaltrio B)
Yuki Toyoshima (Vocaltrio M)

18 May, 2018

Freiburg, Germany

Eötvös: Angels in America

Theater Freiburg - new production

Philharmonisches Orchester Freiburg
Conductor: Daniel Carter
Stage Director: Ingo Kerkhof
Stage design: Dirk Becker
Costume: Inge Medert

10 May, 2018

Freiburg, Germany

Eötvös: Angels in America

Theater Freiburg - new production

Philharmonisches Orchester Freiburg
Conductor: Daniel Carter
Stage Director: Ingo Kerkhof
Stage design: Dirk Becker
Costume: Inge Medert

27 Apr, 2018

Freiburg, Germany

Eötvös: Angels in America

Theater Freiburg - new production

Philharmonisches Orchester Freiburg
Conductor: Daniel Carter
Stage Director: Ingo Kerkhof
Stage design: Dirk Becker
Costume: Inge Medert

18 Apr, 2018

Münster, Germany

Eötvös: Angels in America

Theater Münster - new production

Sinfonieorchester Münster
Conductor: Golo Berg
Stage director: Carlos Wagner
Stage and costume design: Christophe Ouvrard

Cast:
The Angel: Kathrin Filip
Harper Pitt: Kristi-Anna Isene
Hannah Pitt: Suzanne McLeod
Joseph Pitt: Filippo Bettoschi
Prior Walter: Christian Miedl
Louis Ironson: David Zimmer
Belize: Yosemeh Adjei
Roy Cohn: Christoph Stegemann
Vocal trio: Melanie Spitau, Barbara Bräckelmann, Frederik Schauhoff

18 Apr, 2018

Münster, Germany

Eötvös: Angels in America

Theater Münster - new production

Sinfonieorchester Münster
Conductor: Golo Berg
Stage director: Carlos Wagner
Stage and costume design: Christophe Ouvrard

7 Apr, 2018

Freiburg, Germany

Eötvös: Angels in America

Theater Freiburg - new production

Philharmonisches Orchester Freiburg
Conductor: Daniel Carter
Stage Director: Ingo Kerkhof
Stage design: Dirk Becker
Costume: Inge Medert

29 Mar, 2018

Münster, Germany

Eötvös: Angels in America

Theater Münster - new production

Sinfonieorchester Münster
Conductor: Golo Berg
Stage director: Carlos Wagner
Stage and costume design: Christophe Ouvrard

28 Mar, 2018

Freiburg, Germany

Eötvös: Angels in America

Theater Freiburg - new production

Philharmonisches Orchester Freiburg
Conductor: Daniel Carter
Stage Director: Ingo Kerkhof
Stage design: Dirk Becker
Costume: Inge Medert

23 Mar, 2018

Münster, Germany

Eötvös: Angels in America

Theater Münster - new production

Sinfonieorchester Münster
Conductor: Golo Berg
Stage director: Carlos Wagner
Stage and costume design: Christophe Ouvrard

21 Mar, 2018

Münster, Germany

Eötvös: Angels in America

Theater Münster - new production

Sinfonieorchester Münster
Conductor: Golo Berg
Stage director: Carlos Wagner
Stage and costume design: Christophe Ouvrard

18 Mar, 2018

Freiburg, Germany

Eötvös: Angels in America

Theater Freiburg - new production

Philharmonisches Orchester Freiburg
Conductor: Daniel Carter
Stage Director: Ingo Kerkhof
Stage design: Dirk Becker
Costume: Inge Medert

16 Mar, 2018

Münster, Germany

Eötvös: Angels in America

Theater Münster - new production

Sinfonieorchester Münster
Conductor: Golo Berg
Stage director: Carlos Wagner
Stage and costume design: Christophe Ouvrard

10 Mar, 2018

Münster, Germany

Eötvös: Angels in America

Theater Münster - new production

Sinfonieorchester Münster
Conductor: Golo Berg
Stage director: Carlos Wagner
Stage and costume design: Christophe Ouvrard

27 Feb, 2018

Münster, Germany

Eötvös: Angels in America

Theater Münster - new production

Sinfonieorchester Münster
Conductor: Golo Berg
Stage director: Carlos Wagner
Stage and costume design: Christophe Ouvrard

24 Feb, 2018

Münster, Germany

Eötvös: Angels in America

Theater Münster - new production

Sinfonieorchester Münster
Conductor: Golo Berg
Stage director: Carlos Wagner
Stage and costume design: Christophe Ouvrard

16 Jun, 2017

New York, USA

Eötvös: Angels in America

New York City Opera

Conductor: Pacien Mazzagatti
Stage Director: Sam Helfrich
Set Design: John Farrell
Lighting: Derek van Heel
Costumes: Kaye Voyce
Sound: Mark Grey
Cast:
The angel: Kirsten Chambers
Harper Pitt/Ethel Rosenberg: Sarah Beckham-Turner
Hannah Pitt/Rabbi Chemelwitz/Henry: Sarah Castle
Joseph Pitt/Gost II.:Michael Weyandt
Prior Walter: Andrew GarlandLouis Ironson: Aaron Blake
Belize/Mr. Lies/Woman: Matthew Reese
Roy Cohn/Ghost I.: Wayne Tigges
Venue: New York City Opera

14 Jun, 2017

New York, USA

Eötvös: Angels in America

New York City Opera

12 Jun, 2017

New York, USA

Eötvös: Angels in America

New York City Opera

10 Jun, 2017

New York, USA

Eötvös: Angels in America

New York City Opera

22 Feb, 2015

Boston, USA

Eötvös: Angels in America

Venue: Boston University Theatre, USA

Conductor: William Lumpkin
Stage Director: Jim Petosa
Scenic Design: Ryan Bates
Lighting Design: Jessica Elliott
Costume Design: Emma Connelly
Lighting Design: Jessica Elliott
Sound Design: Jennifer Timms

Cast:
The angel: Arielle Basile, Helen Hassinger
Harper Pitt/Ethel Rosenberg: Kaitlin Bertenshaw, Kelley Hollis
Hannah Pitt/Rabbi Chemelwitz/Henry: Kylee Slee, Sara Beth Shelton
Joseph Pitt/Gost II.: Darrick Speller, Franklin Mosley
Prior Walter: Benjamin C. Taylor, John Allen Nelson
Louis Ironson: Jesse Darden, John David Nevergall
Belize/Mr. Lies/Woman: Bryan Pollock, Patrick Dailey
Roy Cohn/Ghost I. Jorgeandrés Camargo, Erik Van Heyningen

21 Feb, 2015

Boston, USA

Eötvös: Angels in America

Venue: Boston University Theatre, USA

20 Feb, 2015

Boston, USA

Eötvös: Angels in America

Venue: Boston University Theatre, USA

19 Feb, 2015

Boston, USA

Eötvös: Angels in America

Venue: Boston University Theatre, USA

4 Oct, 2014

Wroclaw, Poland

Eötvös: Angels in America

Opera Wroclaw

conductor: Christian Schumann
Stage director: András Almási-Tóth

Cast:
David Adam Moore - Prior Walter
Maurice Lenhard - Joseph Pitt
Gyula Rab - Louis Ironson
Lukas Dulewicz - Belize, Mr Lies
Dorota Dutkowska - Hannah, Rabbi, Henry
Michal Kowalik - Roy Cohn
Malgorzata Godlewska - Harper Pitt, Ethel Rosenberg
Aleksandra Kubas-Kruk - Angel

3 Oct, 2014

Wroclaw, Poland

Eötvös: Angels in America

Opera Wroclaw

conductor: Peter Eötvös
Stage director: András Almási-Tóth

15 Jan, 2013

Los Angeles, USA

Eötvös: Angels in America

Los Angeles Philharmonic - concert version
Conductor: Pablo Heras Casado

Cast:
David Adam Moore - Prior Walter
Nikolas Sean-Paul Nackley - Joseph Pitt
Jonas Olofsson - Louis
Brian Asawa - Mr Lies
Janice Hall - Hannah
Kelly Anderson - Roy Cohn
Julia Migenes - Harper Pitt
Measha Brueggergosman - Angel

29 Sep, 2012

Wroclaw, Poland

Eötvös: Angels in America

Contemporary Opera Festival
Polish premiere

Wroclaw Opera - concert version
Conductor: Bassem Akiki

Cast:
Alexandra Kubas - Angel
Malgorzata Godlewska - Harper Pitt, Ethel Rosenberg
Dorota Dutkowska - Hannah Pitt, Rabbi, Henry
Jacek Jaskula - Joseph Pitt, Ghost
Lukasz Rosiak - Prior Walter
Aleksander Zuchowich - Luis Ironson
Lukasz Dulewicz - Belize, Mr Lies, Woman
Michal Kowalik - Roy Cohn, Gosth
Vocal trio: Malgorzata Wegrzyn-Krzyzosiak, Jolanta Gorecka, Andrzej Zborowski

26 Mar, 2010

London, UK

Eötvös: Angels in America

semi-staged version
Barbican Center

26 Mar, 2010

London, UK

Eötvös: Angels in America

UK premiere
Semi staged - concert version
Stage Director: David Gately
Conductor: David Robertson
BBC Symphony Orchestra London

Cast:
David Adam Moore - Prior Walter
Ava Pine - The Angel
Scott Scully - Louis Ironson
Kelly Anderson - Roy Cohn
Janice Hall - Hannah Pitt, Rabbi
Omar Ebrahim - Joseph Pitt
Julia Migenes - Harper Pitt, Ethel Rosenberg
Brian Azawa - Belize, Mr. Lies, Bag Lady
Vocal trio: Swingle Singers

Venue: Barbican Center, London

3 Apr, 2009

Frankfurt, Germany

Eötvös: Angels in America

Stage Director: Johannes Erath
Conductor: Erik Nielsen
Set Design: Stefanie Pasterkamp
Light: Joachim Klein

Cast:
Michael McCown - Prior Walter
Nina Bernsteiner - The Angel
Peter Marsh - Louis Ironson
Dietrich Volle - Roy Cohn, Ghost
Christin-Marie Hill- Hannah, Rabbi, Henry
Nathaniel Webster - Joseph Pitt, Ghost
Jenny Carlstedt - Harper Pitt, Ethel Rosenberg
Jeffrey Kim - Belize, Mr. Lies,
Anja Fidelia Ulrich, diana Schmid, Leszek Solarski - vocal trio

2 Apr, 2009

Frankfurt, Germany

Eötvös: Angels in America

Stage Director: Johannes Erath
Conductor: Erik Nielsen
Set Design: Stefanie Pasterkamp
Light: Joachim Klein

29 Mar, 2009

Frankfurt, Germany

Eötvös: Angels in America

Stage Director: Johannes Erath
Conductor: Erik Nielsen
Set Design: Stefanie Pasterkamp
Light: Joachim Klein

27 Mar, 2009

Frankfurt, Germany

Eötvös: Angels in America

Stage Director: Johannes Erath
Conductor: Erik Nielsen
Set Design: Stefanie Pasterkamp
Light: Joachim Klein

25 Mar, 2009

Frankfurt, Germany

Eötvös: Angels in America

Stage Director: Johannes Erath
Conductor: Erik Nielsen
Set Design: Stefanie Pasterkamp
Light: Joachim Klein

23 Mar, 2009

Frankfurt, Germany

Eötvös: Angels in America

Stage Director: Johannes Erath
Conductor: Erik Nielsen
Set Design: Stefanie Pasterkamp
Light: Joachim Klein

21 Mar, 2009

Frankfurt, Germany

Eötvös: Angels in America

Stage Director: Johannes Erath
Conductor: Erik Nielsen
Set Design: Stefanie Pasterkamp
Light: Joachim Klein

7 Jun, 2008

Fort Worth, USA

Eötvös: Angels in America

Stage Director: David Gately
Conductor: Christopher Larkin
Set Design: Peter Nigrini, Claudia Stephens

Cast:
David Adam Moore - Prior Walter
Ava Pine - The Angel
Scott Scully - Louis Ironson
Kelly Anderson - Roy Cohn
Janice Hall - Hannah Pitt
Craig Verm - Joseph Pitt
Erin Smith - Harper Pitt, Ethel Rosenberg
Brian Azawa - Belize, Mr. Lies

Venue: Scott Theatre, Fort Worth

4 Jun, 2008

Fort Worth, USA

Eötvös: Angels in America

Stage Director: David Gately
Conductor: Christopher Larkin
Set Design: Peter Nigrini, Claudia Stephens

Venue: Scott Theatre, Fort Worth

31 May, 2008

Fort Worth, USA

Eötvös: Angels in America

Stage Director: David Gately
Conductor: Christopher Larkin
Set Design: Peter Nigrini, Claudia Stephens

Venue: Scott Theatre, Fort Worth

28 May, 2008

Fort Worth, USA

Eötvös: Angels in America

Stage Director: David Gately
Conductor: Christopher Larkin
Set Design: Peter Nigrini, Claudia Stephens

Venue: Scott Theatre, Fort Worth

24 May, 2008

Fort Worth, USA

Eötvös: Angels in America

Stage Director: David Gately
Conductor: Christopher Larkin
Set Design: Peter Nigrini, Claudia Stephens

Venue: Scott Theatre, Fort Worth

18 May, 2008

Fort Worth, USA

Eötvös: Angels in America

Stage Director: David Gately
Conductor: Christopher Larkin
Set Design: Peter Nigrini, Claudia Stephens

Venue: Scott Theatre, Fort Worth

16 May, 2008

Fort Worth, USA

Eötvös: Angels in America

Stage Director: David Gately
Conductor: Christopher Larkin
Set Design: Peter Nigrini, Claudia Stephens

Venue: Scott Theatre, Fort Worth

9 Mar, 2008

Lyon, France

Eötvös: Angels in America - film

Amphi de l`Opéra de Lyon

24 Jun, 2006

Boston, USA

Eötvös: Angels in America

Opera Unlimited Boston - Wimberly Theatre in the Calderwood Pavilion

Stage Director: Steven Maler
Conductor: Gil Rose
Lighting Designer: Christopher Ostrom
Scenic and Costume Designer: Clint Ramos
Projection Designer: Zachary Borovay

Cast:
Thomas Meglioranza - Prior Walter
Amanda Forsythe - The Angel
Matthew DiBattista - Louis Ironson, Angels Oceania
Drew Poling - Roy Cohn, Ghost I, Angels Australia
Ja-Naé Duane - Hannah Pitt, Rabbi, Henry, Angel Asiatica
Nikolas Sean-Paul Nackley - Joseph Pitt, Ghost II, Angel Europe
Anne Harley - Harper Pitt, Ethel Rosenberg, Angel Antarctica
Matthew Truss - Belize, Mr. Lies, Woman in the Bronx, Angel Africanii
Geoffrey Hawes, Paul Shafer, Matthew Sherbach - Supernumeraries

20 Jun, 2006

Boston, USA

Eötvös: Angels in America

Opera Unlimited Boston - Wimberly Theatre in the Calderwood Pavilion

Stage Director: Steven Maler
Conductor: Gil Rose
Lighting Designer: Christopher Ostrom
Scenic and Costume Designer: Clint Ramos
Projection Designer: Zachary Borovay

17 Jun, 2006

Boston, USA

Eötvös: Angels in America

Opera Unlimited Boston - Wimberly Theatre in the Calderwood Pavilion

Stage Director: Steven Maler
Conductor: Gil Rose
Lighting Designer: Christopher Ostrom
Scenic and Costume Designer: Clint Ramos
Projection Designer: Zachary Borovay

17 Jun, 2006

Amsterdam, The Netherlands

Eötvös: Angels in America

Holland Festival
Dutch premiere

Hamburg version
Stage Director: Benedikt von Peter
Conductors: Peter Eötvös, Alejo Perez

Cast:
James Bobby - Prior Walter
Julia Sukmanova - The Angel
Maria Theresa Ullrich - Harper, Ethel, Angel Antartica
Anna Steiger - Hannah, Rabbi, Henry, Angel Asiatica
Matthias Lüderitz - Joe, Ghost 2, Angel Europe
Jonas Olofsson - Louis, Angel Oceania
Gary Boyce - Belize, Mr Lies, Woman, Angel Africanii
Tomas Mowes - Roy Cohn, Ghost 1, Angel Australia

Muziekgebouw

16 Jun, 2006

Boston, USA

Eötvös: Angels in America - US premiere

Opera Unlimited Boston - Wimberly Theatre in the Calderwood Pavilion

Stage Director: Steven Maler
Conductor: Gil Rose
Lighting Designer: Christopher Ostrom
Scenic and Costume Designer: Clint Ramos
Projection Designer: Zachary Borovay

15 Jun, 2006

Amsterdam, The Netherlands

Eötvös: Angels in America

Holland Festival
Dutch premiere

Hamburg version
Stage Director: Benedikt von Peter
Conductors: Peter Eötvös, Alejo Perez

Muziekgebouw

29 Nov, 2005

Paris, France

Eötvös: Angels in America

new opera
Théâtre du Châtelet

Cond: Peter Eötvös

28 Nov, 2005

Paris, France

Eötvös: Angels in America

new opera
Théâtre du Châtelet

Cond: Peter Eötvös

26 Nov, 2005

Paris, France

Eötvös: Angels in America

new opera
Théâtre du Châtelet

Cond: Peter Eötvös

23 Nov, 2005

Paris, France

Eötvös: Angels in America - premiere

new opera
Théâtre du Châtelet

Cond: Peter Eötvös

2 Jul, 2005

Hamburg, Germany

Eötvös: Angels in America

Conductor: Cornelius Meister
Assistant conductor: Alexander Winterson
Staging: Benedikt von Peter
Scene and costume: Saskia Zschoch
Lisht: Bernd Grube
Coreograph: Kristin Schaw Minges

Cast:
Julia Sukmanova - The Angel
Renate Spingler - Harper Pitt, Ethel Rosenberg, The Angel Antarctica
Anna Steiger - Hannah Pitt, Rabbi Chemelwitz, Henry, The Angel Asiatica
James Bobby - Prior Walter
Jonas Olofsson - Louis Ironson, The Angel Oceania
Christoph Pohl - Joe Pitt, Prior 2, The Angel Europa
Tomas Möwes - Roy Cohn, Prior 1, The Angel Australia
Brian Asawa - Belize, Mr Lies, The woman in Bronx, The Angel Africanii
Ingrid Froseth - vocal
Susanne Sommer - vocal
Martin Berner - vocal

30 Jun, 2005

Hamburg, Germany

Eötvös: Angels in America

Conductor: Cornelius Meister
Assistant conductor: Alexander Winterson
Staging: Benedikt von Peter
Scene and costume: Saskia Zschoch
Lisht: Bernd Grube
Coreograph: Kristin Schaw Minges

28 Jun, 2005

Hamburg, Germany

Eötvös: Angels in America

Conductor: Cornelius Meister
Assistant conductor: Alexander Winterson
Staging: Benedikt von Peter
Scene and costume: Saskia Zschoch
Lisht: Bernd Grube
Coreograph: Kristin Schaw Minges

26 Jun, 2005

Hamburg, Germany

Eötvös: Angels in America

Conductor: Cornelius Meister
Assistant conductor: Alexander Winterson
Staging: Benedikt von Peter
Scene and costume: Saskia Zschoch
Lisht: Bernd Grube
Coreograph: Kristin Schaw Minges

23 Jun, 2005

Hamburg, Germany

Eötvös: Angels in America

German premiere

Conductor: Cornelius Meister
Assistant conductor: Alexander Winterson
Staging: Benedikt von Peter
Scene and costume: Saskia Zschoch
Lisht: Bernd Grube
Coreograph: Kristin Schaw Minges

29 Nov, 2004

Paris, France

Eötvös: Angels in America

Conductor: Peter Eötvös
Staging: Philippe Calvario
Scene: Richard Peduzzi
Costume: Jon Morrell
Light: Bertrand Couderc
Coreograph: Sophie Tellier
Sound ingenieur: Mark Grey
Musical assistant: Alejo Perez

Cast:
Barbara Hendricks - The Angel
Julia Migenes - Harper Pitt, Ethel Rosenberg, The Angel Antarctica
Roberta Alexander - Hannah Pitt, Rabbi Chemelwitz, Henry, The Angel Asiatica
Daniel Belcher - Prior Walter
Topi Lehtipuu - Louis Ironson, The Angel Oceania
Omar Ebrahim - Joe Pitt, Prior 2, The Angel Europa
Donald Maxwell - Roy Cohn, Prior 1, The Angel Australia
Derek Lee Ragin - Belize, Mr Lies, The woman in Bronx, The Angel Africanii
Claudine Le Coz - vocal
Isabelle Poinloup - vocal
Frédéric Goncalves - vocal

28 Nov, 2004

Paris, France

Eötvös: Angels in America

26 Nov, 2004

Paris, France

Eötvös: Angels in America

23 Nov, 2004

Paris, France

Eötvös: Angels in America

World premiere

Details

Genre:

Opera - Music Theatre

Duration:

130 minutes

Date:

2002/2004

Publisher information

Schott Music Mainz

https://en.schott-music.com/shop/angels-in-america-no276087.html

Cast

(8 singers with amplification)
The Angel – soprano
Harper – soprano
Hannah – mezzo soprano
Joe – baritone
Prior – lyrical baritone
Louis – tenor
Belize – counter-tenor
Roy Cohn – bass-baritone
3 vocal singers (sopran, mezzo, baritone with amplification)

Orchestration

TITLE Dur. Soloists & choir fl ob cl bcl bn hn tpt tbn tba perc pf hp vn1 vn2 va vc db Other Tech

Angels in America
Opera - Music Theatre 130' 2sop,mez,cten,ten,bar,lyr bar,bbar,3voc 2 0 3 0 0 0 1 1 0 2 0 0 6 0 4 3 2 2sax,gtr,egtr,hammond org,cel amp, cd

The small orchestration of the world premiere is withdrawn, one version is available for orchestra:

2 flutes (also Alto Flute and Piccolo)
3 Clarinets in A (also Clarinet in Eb, Bass Clarinet and Double Bass Clarinet)
1 Saxophone (Soprano, Alto and Baritone Saxophone)
1 Saxophone (Alto, Tenor Saxophone)
1 Trumpet in Bb (also Piccolo Trumpet)
1 Trombone (Tenor, Bass Trombone with Quarter Valve)

Percussion 1: vibraphone, marimba (1 instrument together with Perc. 2.), crotales, cymbals (small, large), chinese cymbal, sizzle cymbal, snare drum, conga, little cabaza, triangle, metal guiro, whisper chimes

Percussion 2: marimba, glockenspiel, gongs, crotales, tubular bells, cymbals (small, medium), chinese cymbal, tam-tams (small, medium, large), bass-drum, 3 metal-tubes, metal-guiro, 2 triangles (second very high), indian bells, 1 tube maraca (chocalho), small tamburino, large tambourine (without jingles), whisper chimes (metal chimes with thin sticks)

Percussion setup

Indian Bells

Acoustic Guitar with amplification (also bell tree)
Electric Guitar with Chorus and Reverb
Hammond B3 with Leslie (or digital hammond)
Celesta 5 octaves
Strings: 6 violins – 4 violas – 3 violoncellos – 2 double bass

Technical information

The voices of all singers (both in the pit and on the stage) are amplified.
Sound engineer is needed in the hall.
Acoustic guitar needs amplification, both guitars need monitor loudspeakers, too.
A CD containing various sounds and noises is part of the hire material. (Schott Music Mainz)

Further information

Das zweiteilige Theaterstück (Millennium Approaches” und “Perestroika”) von Tony Kushner gehört zu den wichtigsten dramatischen Werken der amerikanischen Literatur des 20. Jahrhunderts. Beide Stücke wurden überall in der Welt gespielt und auch verfilmt.

Das ursprünglich 7-stündige Monumentaldrama wurde von Mari Mezei neu strukturiert, diese Opernversion dauert nun etwa zwei bis zweieinhalb Stunden. Die Uraufführung der Oper fand im November 2004 im Theater Châtelet in Paris statt, das mir auch den Auftrag für dieses Werk gegeben hat.
Der politisch sehr engagierte New Yorker Schriftsteller Kushner beschreibt die amerikanische Neurose des Jahrtausendwechsels wie einen dunklen Alptraum in einer spektakulären theatralischen Halluzination. Viele der Hauptcharaktere waren reale Personen, wie z.B. Ethel Rosenberg, die von einem kriminellen Rechtsanwalt (Roy Cohn) – einem Mitarbeiter von McCarthy – auf den elektrischen Stuhl geschickt wurde. Bei Kushner und auch in der Oper erscheint der Geist Ethel Rosenbergs, um den qualvollen Aids-Tod von Roy Cohn mitzuerleben.

Halluzination und Realität gehen in diesem Stück nahtlos ineinander über. Diese Eigenschaft hat mich am meisten animiert, mit diesem Stoff zu arbeiten. In der Opernversion lege ich weniger Akzente auf die politische Linie als Kushner, vielmehr auf die leidenschaftlichen Beziehungen, auf die hochdramatische Spannung des wunderbaren Textes, auf den permanent schwebenden Zustand der Visionen.
Die Hauptperson der Geschichte, Prior Walter, bekommt den Aids-Virus, er weiß, daß er sterben muss. In seinem Überlebenskampf erfindet er einen Engel, der (in diesem Fall “die”) ihm befiehlt, als Prophet die Welt zu retten. In einer Vision steigt er in den Himmel und lehnt den Auftrag vor den staunenden Engeln mit folgenden Worten ab:

“I’ve lived through such terrible times, and there are people who live through much worse, but… You see them living anyway. When they’re more spirit than body, more sores than skin, when flies lay eggs in the corners of the eyes of their children, they live. If I can find hope anywhere, that´s it, that’s the best I can do. I want more life.”
— dann legt er das Buch der Propheten ab und kehrt auf die Erde zurück.

/Peter Eötvös/

La pièce de Théâtre en deux actes (“Millennium Approaches” et “Perestroika”) de Tony Kushner compte parmi les oeuvres dramatiques les plus notables de la littérature américaine du vingtième siècle. Les deux parties furent jouées dans le monde entier et une adaptation cinématographique a été créée.

Ce drame monumental, dont la durée d´origine était de sept heures, a été restructuré par Mari Mezei. La durée de cette version lyrique est de deux heures á deux heures trente. La première de l´opéra était en novembre 2004 au Théâtre du Châtelet à Paris, qui m´a chargé de ma mission.
Kushner, un écrivain new-yorkais qui s´engage de plus en plus sérieusement en politique décrit la névrose américaine du tournant de siècle comme un sombre cauchemar d´une hallucination théâtrale spectaculaire.

Nombre des protagonistes de la pièce étaient des personnes ayant téellement existé, comme par exemple Ethel Rosenberg, qui fut envoyée par un juge criminel, collaborateur de McCarthy (Roy Cohn) sur la chaise électrique. Dans la version de Kushner, tout comme dans la version lyrique, l´esprit de Ethel Rosenberg réapparaît pour se faire le témoin de la mort Roy Cohn, atteint du SIDA.
Dans la piece, hallucination et réalité se recoupent totalement pour ne faire qu´un. Cette particularité est ce qui m´a poussé a entreprendre mon travail sur ce thème.

Dans la version lyrique, je mets moins l´accent sur l´aspect politique que Kushner, mais j´insiste plutôt sur les rapports passionnels, sur le suspens on ne peut plus dramatique de ce merveilleux texte, et sur l´immuable va-et-vient latent des visions.
Le personnage principal de l´histoire, Prior Walter, est séropositif. Il sait qu´il va mourir. Dans sa lutte acharnée contre la mort, il invente un ange féminin qui lui commande de se faire prophète pour sauver l´humanité. Sa vision le représente lui-mème en ascension vers le ciel et, au plus grand étonnement de l´ange, rejetant la mission qui lui est confiée, par ces mots.

“J´ai vécu des moments si durs, et des gens en vivent de tellement plus terribles encore mais… vous les voyez vivre malgré tout. Quand ils sont devenus des esprits plus que des corps, des souffrances plus que des peaux, lorsque les mouches pondent au coin des yeux de leurs enfants, ils vivent. Si je parviens à trouver de l´espoir partout, voilà, c´est le mieux que je puisse faire. Je veux plus de vie.”
… pose de côté le Livre des Prophètes et s´en retourne sur terre.

/Peter Eötvös/

Read further...

Angels in America, a drama staged all over the world, is claimed to be one of the greatest plays of the 20th century. The author, Tony Kushner, regards to it as his best work and emphasizes that the world presented in Angels in America is the one he lives in. Kushner’s piece achieved great success not only in the USA, but also in Europe and the Far East. It was awarded with many prestigious prizes, the Pulitzer Prize in 1993 among them. A film version of the drama was realised in form of a miniseries, produced by HBO, directed by Mike Nichols, with all-star cast including Meryl Streep, Al Pacino and Emma Thompson. The drama was staged in Poland for the first time in 2000 in the Wilam Horzyca Theatre in Toruń. Next staging was directed by Krzysztof Warlikowski in the TR Theatre in Warsaw in 2007.

Kushner’s drama aroused Peter Eötvös’s interest, an outstanding Hungarian composer, conductor and pedagogue. He is one of the leading contemporary musicians-creators and he also belongs to the best interpreters of 20th and 21st century music. His works became a canon for the greatest symphonic orchestras, groups and contemporary music festivals in Europe and around the world.

Angels in America was written to order for Parisian Théâtre du Châtelet. The composer could choose any opera theme. The beginning of the new century was a perfect opportunity to transform Kushner’s drama into an opera, because of its first part’s title – Millennium Approaches. Why did Eötvös like novels from Angels in America? The composer explained this in one of the interviews: “Prior, main character, is seriously ill and close to end of his life. He rejected death, however, and wanted to live. He found a method to do just that, making himself a prophet, who was entrusted with a mission of saving the earth. He created a character of an angel, who could help him. In fact Prior’s angel doesn’t exist, it remains a creation of his imagination.” The composer’s wife, Mari Mezei, undertook a difficult task of shortening the play that lasted over seven hours. It resulted in writing a libretto to the opera that lasted 140 minutes.

In Reagan’s times, that is in the eighties, AIDS epidemic and homosexuality were a serious social issues in the USA. In Kushner’s work they became a starting point of wider and deeper reflections on humans and society. Angels in America is an opera not only about love, but also about its lack. It shows both real and superficial emotions, kindness and cruelty of human being toward himself and others. The drama concerns the essence of political and social problems of the twilight of the 20th century USA, appearing in today’s Europe and Poland. Most of all, Angels in America confronts two worlds with each other, material and spiritual, showing the essence of both.

Most interesting thing for Eötvös was the opposition of reality and abstraction, everyday life and hallucination, materiality and spirituality. The composer said, that this particular clash of reality and abstraction was a solid base for creating music. Because the drama is written by a New Yorker, the action takes place in New York during the times of first musical productions on Broadway, such as La Cage aux Folles, Cats or 42nd Street, Eötvös decided to add an American sound to his music. He experienced New York’s life himself, as he had an opportunity to watch many musical productions, feel the atmosphere of this exceptional city and most importantly see the famous Bethesda Angel in Central Park, an important place because of the drama’s action placement.

The world premiere of Angels in America in 2004 was a success, in the next few years concerts and shows took place in Germany (Hamburg State Opera, Frankfurt Opera), Netherlands (The Netherlands Festival in Amsterdam), Great Britain (London) and the USA (Boston, Fort Wroth ? Texas, and planned for January of 2013 concert in Los Angeles Philharmonic).

Angels in America opera arouses emotions, even though the music lacks showiness. Eötvös in a very consistent matter builds and leads action and characters – their emotions and personalities. Eötvös’s music is widely eclectic, which means French spectral music is noticeable, as well as inspirations with Karlheinz Stockhauzen, electro-acoustic music and fascination with various cultures (e.g. American, Far East). Precision and diligence of the matter, richness of colours, spaciousness and deepness of music are special assets of Angels in America.

What remains to emphasizing is the opera’s message, and it is expressed by the main character Prior in his dialogue with an angel: “I live in terrible times, and there are people, who live far worse? You still see them alive, though. When they have more spirit than body, more wounds than skin, when flies lay eggs in corners of their children’s eyes, they are still alive. If only I could find hope anywhere, it would be the best thing I could do. Bless me anyway. I want more life…

/Wroclaw Opera performance text/

A Theatre du Chatelet felkérésére kerestem opera témát ….. –es években, valami mai, élő szerzőt, nagyhatású történetet, amit operaszínpadon zenévé lehet formálni. Az első operámnak, a 3 nővérnek a librettóját a feleségemmel, Mezei Marival írtuk-szerkesztettük át az eredeti Henneberg librettó helyett, és a közös munka nagyszerűen ment. Elhatároztuk, hogy együtt keresünk valami új témát.

Amerre jártunk a világban, minden nagyobb városban találkoztunk a színházműsorokban az Angels in Amerika előadásával. Érdekelni kezdett, kerestük a lehetőséget, hogy megnézzük valahol. Koncertjeim miatt sok városban jártunk, de a sors mindig úgy hozta, hogy pont akkor nem játszották.

Így aztán nem láttunk sosem színpadi előadást a darabból, ezért nem befolyásolt bennünket egyetlen rendező hozzáállása, egyéni elképzelése sem. De ezáltal nem volt látványélményünk a történetről. A könyvet olvastuk először eredetiben, angolul. Mindketten beszélünk és értünk angolul, de ez a szöveg több volt annál, amit elsőre részleteiben, finomságaiban vagy vulgaritásában jól meg tudtunk érteni, ezért nekifogtunk másodszor is elolvasni.

Engem kezdettől fogva nagyon vonzott a benne rejlő lehetőség, a víziók, a tudat és tudatalatti, az angyal és a szellemek valós és vizionált megjelenése, az emberi kiszolgáltatottság és gyarlóság vegyülete. Mindezt zenében nagyon gazdagon meg lehet jeleníteni.

A második olvasás után már közel voltam a döntéshez, hogy ez lesz a kiválasztott. Amikor külföldről hazatértünk, végre elolvastuk az anyanyelvünkön, magyarul is a könyvet, és a döntés megszületett. A Chatelet igazgatója, Pierre Brossmann elfogadta és örült a javaslatnak, meghívta Kushnert egy találkozóra Párizsba. Egy hosszú és kellemes beszélgetés után megadta az engedélyt arra, hogy szabadon hozzányúlhassunk a szöveghez, hiszen ő is tudta, hogy 1,5 órára kell csökkentenünk a szöveget, az eredeti 7 órásról. Egy író számára minden szó úgy fontos, ahogyan leírta, tehát biztosan lehetetlennek tartotta, hogy ebből valami elfogadható születhet, de ezt nagyon udvariasan nem mondta.

A prózai színházban a szöveg az egyetlen és elsődleges, amire a közönség fókuszál. Az operában a zene az elsődleges, aminek alapja viszont egy jó librettó, ami inspirálja a zeneszerzőt. A jó librettó helyet hagy a zenének, nem követel a közönségtől külön a szövegre történő koncentrációt, és a cselekmény egyszerűen követhető a színpadon. Ekkor tud érvényesülni a zene és az énekesek minősége. Tehát a szöveg radikális meghúzása nyilvánvalóan nagy veszteséggel jár az irodalmi mű szempontjából. Ezt mindannyian tudtuk.

Először a tényeket kellett rögzíteni, az operaház megadta a lehetséges énekesek számát, tehát kijelöltük a librettóban szereplő személyeket. Mindegyiknek megnéztük a saját életvonalát és a többivel való kereszteződéseket, hogy a karakterüket és a történéseket az opera közönsége számára egyszerűen érthetővé tegyük. Attól, hogy nagyon sok szöveget ki kellett hagyni, nem maradhattak lukak a történetben, vagy elvarratlan szálak az egyes szereplőknél.

Az egyes szereplőkhöz összeraktuk a velük történt eseményeket, szövegeket, vezető vonalként Prior történetét véve, és ahhoz csatlakoztatva a többit. Tehát nem irodalmi művet alkottunk, hanem gyakorlati módon nyúltunk a szöveghez, benne tartva mindazokat az elemeket, amelyek kompozíciós szempontból számomra fontosak voltak, aminek a zenéjét a fejemben már hallottam, amivel fel tudtam építeni zeneileg a művet. Lehetett ez akár egy New Yorki utcakép zajokkal, egy zsidó temetési szertartás, parallel jelenetek, morfiumos víziók, jelenések, szellemek vagy angyalok a menyországban. Ebben a műben milliónyi lehetőség van egy zeneszerző számára.

A szövegcsökkentés fokozatosan történt, először 100 oldal, majd 80 oldal, 50 oldal, 40 oldalnyi szöveg. Mindig figyeltünk arra, hogy követhető legyen a történet, hiszen egy-egy további kihúzás felboríthatja az egészet. A végleges verzió ….. oldalnyi lett. Egyetlen kérdéses jelenet maradt benne, a Mormon Centerben történő találkozás, amit az első előadások alkalmával a rendezők választása szerint más-más módon játszottak, vagy elhagytak. Tehát ott valami nem végleges még, és ez azóta is felmerül idönként bennem, hogy mégiscsak meg kellene csinálni, át kellene írni. Talán még nincs teljesen kész addig az opera, amig ez a kérdés motoszkál bennem.

/Eötvös Péter/

Die Fassung der Uraufführung am Châtelet 2004 war stark von gesampelten Synthesizer-Keyboards und (wenn ich es recht erinnere) solistischen Streichern geprägt, bereits Hamburg 2005 hatte dann eine etwas größere (wenn auch immer noch kleine) Streicherbesetzung, um – wie Peter Eötvös damals schrieb – “eine generelle Erhöhung der Orchesterdynamik” zu erreichen, auch wurden die Sänger, z.B. das Vokaltrio, durch Verdopplungen in Instrumenten stärker unterstützt. 2006 gab es für Boston und Amsterdam eine 32-seitige Korrekturliste mit dynamischen und anderen, eher kleineren Änderungen. Für Frankfurt 2008/09 wurden nochmals Szenen dicker instrumentiert, 2 Szenen gekürzt, 1 Szene verlängert, und die ursprüngliche Szene 15 gestrichen. Für die BBC wurde 2010 eine Version ganz ohne Elektronik erstellt, mit 12er Streicherbesetzung und 2-3-fach Bläsern und Celesta plus Hammond-Orgel anstelle Synthesizern. Für Los Angeles und Wroclaw wurden 2012 die erweiterten Bläser der BBC-Fassung beibehalten und die Streicher wieder auf die Hamburg-Frankfurter Größe reduziert sowie einige nicht auf Celesta und Hammondorgel darstellbare Klänge wieder, nun aber auf Zuspiel-CD implementiert. Diese letzte Revision ist die nun endgültige und alleinige Fassung des Stücks.

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