philip glass’s
Appomattox Libretto by Christopher Hampton Conducted by Dennis Russell Davies Directed by Tazewell Thompson
Can prejudices still exist after 100 years? Find out as two key moments in history collide on the operatic stage.
David and Alice Rubenstein are the Presenting Underwriters of WNO.
Major support for WNO is provided by Jacqueline Badger Mars.
Performance Guide
open Rehearsal
Cuesheet
washington national opera
About Glass’s
Appomattox
While reading about the events at Appomattox in 1865, American composer Philip Glass was struck by the grace and dignity with which Generals Lee and Grant ended the Civil War and made plans for future peace. Feeling this gentlemanly behavior stood in stark contrast to the turbulent protests of the Civil Rights Movement, Glass and his librettist, Christopher Hampton, created an opera comparing the surrender at Appomattox to the violent conflicts that occurred 100 years later.
The Story ACT I: 1865 As the story begins, four female Civil War figures sing of sorrow and bloodshed. Later, Frederick Douglass congratulates President Lincoln on his re-election, and they discuss voting rights for men of color. Lincoln also consults with General Ulysses S. Grant, who receives reports of an encouraging victory. Meanwhile, in Richmond, a general asks Robert E. Lee for help repealing a Southern bill allowing slaves to fight for the Rebel Army. Lee declines and, as war rages on, Union forces invade Richmond. Inside the Confederate Capitol, a Southerner insults black reporter T. Morris Chester. Grant sends a letter to Lee proposing his surrender. Realizing his cause is hopeless, Lee sorrowfully agrees. On April 9th, Grant and Lee meet near Appomattox River. With
kindness and courtesy, the opponents negotiate terms. Eight years later, Chester reports on unspeakable violence suffered by black men at the hands of White Leagues and the Ku Klux Klan.
ACT II: 1965 Dr. Martin Luther King, Jr. leads a memorial for Jimmie Lee Jackson, who was killed after a voters’ rights protest in Alabama. King mentions an upcoming march from Selma to Montgomery in Jimmie’s honor. Two days later, King meets with President Lyndon Johnson who expresses some doubts on the marches. After two march attempts fail due to violence and threats from Alabama troopers, demonstrators surround the White House. The president speaks to Alabama governor George Wallace, commanding him to “stop harking back to 1865” and pressuring him to commit to free, unobstructed votes for all citizens. Wallace refuses. Johnson calls for the passage of a universal voting rights bill. Later, on March 25th, King makes a speech on the Montgomery Capitol steps. While there, a white supporter, Viola Liuzzo, approaches and claims to have had a disturbing vision. The next day, the president hears reports from FBI director J. Edgar Hoover, that Ms. Liuzzo was murdered by the KKK. The opera ends in a fast-forward to 2011, as two convicted murderers discuss the Civil Rights Movement.
Appomattox contains language and content that are considered offensive in today’s society and some words and scenes may be unsuitable for young students.
Main Characters 1865 Frederick Douglass, abolitionist and author Abraham Lincoln, President of the United States Mary Todd Lincoln, the First Lady Elizabeth Keckley, her friend Gen. Ulysses S. Grant, Union Commander Julia Grant, his wife Gen. Robert E. Lee, Confederate Commander Mary Custis Lee, his wife
1965 Dr. Martin Luther King, Jr., activist and civil rights leader Coretta Scott King, his wife Lyndon B. Johnson, President of the United States Lady Bird Johnson, the first lady Nicholas Katzenbach, Attorney General Viola Liuzzo, civil rights supporter J. Edgar Hoover, Chief of the FBI
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About the composer… Born in Baltimore, Philip Glass is considered one of today’s most influential composers. He began music lessons at age six, eventually studying at the University of Chicago and the Juilliard School. He has Photo by Steve Pyke developed a unique style (known to some as “minimalism”) in a vast body of work including operas, orchestral pieces, chamber works, and film scores.
About the librettist… Christopher Hampton was born to a British family living in Portugal and studied languages at Oxford University. Hampton has worked on projects for both stage and screen and created a play version of Appomattox in 2012.
About Washington National Opera Originally founded in 1956, Washington National Opera (WNO) ranks as one of today’s largest American opera companies. As an affiliate of the John F. Kennedy Center for the Performing Arts, WNO presents several operas each year at the Kennedy Center Opera House and performs throughout the city, offering training and enrichment programs yearround. In the past decade, WNO has reached worldwide audiences through international broadcasts.
David M. Rubenstein Chairman Deborah F. Rutter President Mario R. Rossero Senior Vice President, Education
THINGS TO THINK ABOUT… n The
“double casting” of many of the opera’s characters. Some singers will play one character in 1865 and a different one in 1965. What do you think this says about the link between the time periods?
n The
roles that women play in the opera. How do you think the creators viewed the feelings of women in times of war and violence?
n The
way the opera deals with prejudice. Though there are obvious acts of racism throughout the opera, some prejudices are expressed more subtly. What moments stand out to you the most? Why?
WHAT TO WATCH AND LISTEN FOR… n The
quartet of females at the beginning of the opera. Though these women stood for different principles, their voices are able to blend on stage. What is the statement being made?
n Dr.
King’s call and response with the congregation in scene one of Act II. This is a musical style often used in churches. Do you think the repeated phrases make King’s message more effective?
n The
rhythmic patterns that are heard over and over again throughout the opera, which are a standard feature of Glass’s understated “minimal” composing. Do these rhythms remind you of anything specific? (Hint: war drums, weapons, and marching footsteps.)
n Dr.
King’s speech in Montgomery, which is reimagined as an operatic aria or song. Watch for King’s use of lyrics from the famous “Battle Hymn of the Republic.”
cover Photo by cade martin
Michael L. Mael Executive Director Francesca Zambello Artistic Director WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey. General Dynamics is the Presenting Sponsor of WNO’s 2015-2016 Season.
WNO’s season is presented with the support of Daniel and Gayle D’Aniello. Appomattox is a production of the Clarice Smith Opera Series. Additional support for Appomattox is provided by John and Cynthia Gunn. Events for Students is made possible by Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; and the U.S. Department of Education. Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program. Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.
www.kennedy-center.org/artsedge Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center. Learn more about Education at the Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education and do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government.
© 2015 The John F. Kennedy Center for the Performing Arts