2.2.26FINAL_infernal_angel by Amy Beth Kirsten

an evening-length work of composed theatre chamber-scale for vocal soloists, chorus, and mixed ensemble

Infernal Angel was commissioned by the Curtis Institute for the institution’s Centennial Celebration 2024-25

It is dedicated to Ty Bouque baritone, musical soul-mate, fellow scholar, and nervous-system regulator without whom this work would not exist.

I am also ever-grateful to Alex Sopp, who took what lived in my imagination and made it so much better through artistic talents that are singular and inspiring.

This world we made, Ty and Alex, is yours as much as mine.

NOTE:

I use the term composed theatre to describe multidisciplinary work that functions as one whole dramaturgical machine, where every medium text, staging, movement, and media behaves like music: motivic, structural, and developmental. Each component carries dramaturgical weight onstage and drives narrative; nothing is decorative

In my work, this often includes instrumentalists as onstage dramaturgical agents (frequently vocalizing), vocalists who play, and an ensemble structure performed without a conductor.

Artist

Characters ...................................................................................................vi

Instrumentation ..........................................................................................vii

Instrumentation by Scene...........................................................................viii

Performance Practice……………………………………………………………ix

Setting by Scene ………………………………………………….……………..x

Synopsis

Score

Infernal Angel Artist Statement

Infernal Angel (80’) was commissioned by the Curtis Institute of Music for the institution’s Centennial Celebration (2024–2025). I composed the score and wrote the libretto. I also designed and directed the full production integrating film, staging, movement, scenic/visual design, and costumes and sang and recorded the role of The Stag, a pre-recorded character whose voice lives inside the film.

An evening-length work of composed theatre music, text, staging, movement, and media built as one interlocking system Infernal Angel unfolds inside projected “film sets”: a monumental, hand-built stop-motion world whose images carry narrative force. The score is for four soloists (baritone, tenor, mezzo-soprano, soprano), a six-voice chorus (SSATBB), violin, trumpet, trombone, bass clarinet, and percussion, with pre-recorded audio woven throughout. While the work stands fully on its own, it also serves as a companion piece to Savior (2018, after Joan of Arc), forming a diptych.

Intention

My intention was not to retell history, but to build a meditation on guilt, mythmaking, and the fragility of truth realized through the fusion of music, theatre, and an immersive film world. The story of Gilles de Rais companion of Joan of Arc and later vilified as the historical source for the folktale Bluebeard became a lens for asking: How do narratives of innocence and monstrosity get constructed, and what does a culture demand when it wants certainty? The opera is not a documentary; it is a ritualized exploration of descent, self-delusion private and collective and reckoning.

The Fiction

In this work of historical fiction, I reimagine Gilles as the agent of Joan’s capture: for political reasons, he gives a word, and on his word, she is found and taken an act that leads directly to her death. Afterward, legends surround him withdrawal, occult obsession, ruin. In Infernal Angel, those legends become the outward weather of an inward catastrophe: guilt that cannot be survived.

Vocal Architecture as Drama

From the start, I designed the voice itself to be central to the drama. Gilles (baritone) begins in an unnaturally high, soprano register and refers to himself only as “he,” as if dissociating from the truth a rupture further embodied by a recurring hand gesture: at key moments when the pronoun is spoken, he covers his face. Across the work, the register slowly sinks toward baritone; at the confession it drops further into

fractured subtones split, animal, half-sung until the voice itself becomes the “monster” history remembers.

Isolation and paranoia shape the sound world: much of Gilles’ music is unaccompanied or sparsely shadowed, intensifying his solitude; fuller instrumental presence emerges only at specific thresholds.

The role of Gilles was composed for Ty Boque and developed in close collaboration, enabling the score to move credibly through extreme register, extended techniques, and subtones.

Embodied Performance Practice

Also central to the work is the conviction that the performing body carries dramatic intent and musical meaning. Stylized movement such as Gilles’ recurring gesture makes visible the subtext language tries to conceal. Performers slip fluidly between musician and mechanism, sometimes embodying both at once.

Infernal Angel is designed to be performed without a conductor. Responsibility for timing, balance, and pacing lives in the performers’ shared listening; melodic flexibility is built into the score, and notation gives way at times to lived rhythm. This is not merely a technical choice but an ethical one: in a world where truth is unstable, the ensemble must embody instability in real time. The collective performing body becomes the true conductor.

Agents of the Drama

Several figures press Gilles toward collapse. Baron an emissary of the Devil appears as a little girl in rabbit ears, a tulle skirt, and sparkly sneakers, snapping the production to life with a single clap: film powered on, stage activated. She is both character and stage machinery animating the world and manipulating it in plain sight. Later, in the wake of the Stag’s abandonment, she seizes control completely, conducting a tea-and-torture party beneath a cosmic chandelier. With her grip tightening on the stage, she forces Gilles into first-person at last the confessional “I.”

Around Gilles gathers The Smoke (SSATBB): a choral force that moves between destruction, time, memory, and tribunal first as an inventory of absence, singing the names and ages of missing children, and later as the pressure of public certainty.

François Prelati (tenor), a charlatan and false friend within Gilles’ household, administers a “medicinal” tincture that worsens Gilles’ condition; in this telling,

Prelati is the true murderer of children, hidden in plain sight. In his private studio, the ensemble becomes a ritual apparatus chanting, moving in interlocking, gear-like patterns, and playing clay pots and small hand-held percussion as if assembling an alchemical contraption around a conjuring that is less “magic” than method. In Prelati’s aria, it felt unthinkable to make the depravity of the English text singable, so I built a deliberate veil an invented language through which the horror can be read on screen without being performed as beauty.

Counterposed to these forces is The Stag an embodiment of God heard through pre-recorded film audio in digitally processed vocal layers whose first appearance offers brief balm and gentle interrogation, and whose second appearance registers as devastating absence. In that return, the Stag’s utterance is threaded with fragments of medieval French song and lyric pointed, riddling, confounding felt less as counsel than as abandonment. Digitally layered many times over, the voice thickens into a dense, stratified sonority, as if built from layers of earth or dimensions of heaven: divinity becomes both intimate and unreachable heard, but never answered.

A second time-plane opens in 1992, where Marceline (mezzo-soprano), a scholar, convenes a symposium and recites evidence trial transcripts, marginalia, invented folklore against the roar of public certainty, including the later myth that cast Gilles as Bluebeard. Dramatically, I see Marceline as a counterweight to the opera’s machinery of certainty: she devotes her life to the possibility that truth can still be recovered. Her devotion echoes an historical fact of Gilles’ life: after Joan’s death he poured immense resources into memorializing her, as if trying to consecrate what could not be undone. Marceline’s music begins to mirror Gilles’ descent in a downward scale, binding the accused to the witness who refuses to abandon him.

The Film World

Equally central is the visual world developed in close collaboration with stop-motion animation artist Alex Sopp, whose hand-drawn, hand-cut aesthetic carries fragility and childlike innocence. I wanted the presence of the missing children to be felt never literal, but woven into paper, line, and light. The Stag is the work’s only filmborn character made of this world and Gilles is ultimately drawn into it, as his story is transmuted into the folktale of Bluebeard.

Across eleven linked scenes woods and bathroom, elixir and fire, symposium and tea party, arrest and procession the work asks what confession can mean when it is not admission, but atonement: a false acceptance of blame for crimes one did not commit, offered as payment for a betrayal one cannot undo.

In the music-only “Danse Macabre,” the musicians drive a newly composed saltarello tarantella-like, accelerating toward panic while the women of The Smoke fracture into uncanny dance fragments. The men play “jig dolls,” both percussion and puppet: a body danced by powers beyond its control. Gilles is escorted out of the theatre and reappears inside the film, drawing closer and closer to the lens until his face fills the screen. As the saltarello spins beyond control, the score and film stop abruptly, as if someone flipped a power switch: a sudden slam of gallows; Gilles freeze-framed; the jig dolls violently dropped to the floor. We linger on his face, caught mid-word. Fade to black. The swinging squeak of ropes bearing his weight.

The boundary between film and stage is deliberately porous film becomes location, and Gilles is ultimately absorbed into its world. That crossing fractures the frame, lifting the chorus out of the piece for the Epilogue.

The Residue: a cri de cœur

In the Epilogue (“Stop the Plough”), in the sickening absence of the blank screen, the theatrical world softens into something closer to ordinary life: performers wipe their brows, remove small pieces of costume, and still carrying the story’s residue speak plainly to the audience. Here The Smoke are no longer “in character,” yet grief remains uncontainable by period or plot.

In that unveiling, a through-line comes into focus: concealment in plain sight Prelati’s violence disguised as “medicine,” Gilles’ self-erasure in the pronoun “he” and the hand that covers his face, Baron’s authorship of the machinery that animates the world, and finally The Smoke stepping out of character, as if the human witnesses have been present all along.

“there is no ‘here’ now – / there is no ‘now.’” Epilogue: “Stop the Plough,” Infernal Angel

The work ends not with verdict, but with a communal demand for attention: a refusal to let time keep moving as if the missing can be made to disappear.

My hope is that Infernal Angel resonates not only as an aesthetic work but as an ethical one a work that confronts how stories can be weaponized, and how art might bear witness to horror while still making space for fragile, human glimpses of hope.

CHARACTERS—in order of appearance

Gilles de Rais baritone

Baron, the Devil’s Emissary soprano (light lyric)

The Smoke SSATBB (vocal sextet)

François Prelati tenor

The Stag, God soprano (pre-recorded film voice)

Marceline, the Scholar mezzo-soprano

GILLES DE RAIS baritone (with a wide range of extended techniques) 15th-century knight and lord; Joan of Arc’s companion-in-arms and a leader in the French army during the Hundred Years’ War. He suffers extreme mental anguish shaped by war, grief, and the aftermath of Joan’s capture and execution and becomes dependent on PRELATI’s “medicinal” tinctures, which only hasten his unraveling. In this telling, he is innocent of the child murders yet guilty of betraying Joan, an act that leads directly to her death, his coerced confession, and execution.

BARON soprano (light lyric)

An emissary of the Devil who appears as a little girl in rabbit ears, a tulle skirt, and sparkly sneakers. She ignites the production and controls its machinery; later, she hosts a tea-and-torture party, moving the players around the stage like toys and conducting the scene’s music as she flits through the action torturing GILLES with tea until he confronts the truth of his betrayal.

THE SMOKE SSATBB

A chorus of three women and three men, shifting between embodiments of destruction, time, memory, and tribunal.

FRANÇOIS PRELATI tenor

Charlatan, self-styled alchemist and magician; a false friend within Gilles’ household. He employs child sacrifice in his failed efforts to conjure BARON and, in this telling, is the true murderer of children, hidden in plain sight.

THE STAG soprano (pre-recorded film voice)

Embodiment of God.

MARCELINE, THE SCHOLAR (1992) mezzo-soprano

A present-day academic who has devoted her life to proving Gilles de Rais’ innocence.

SCORE IN C

INSTRUMENTATION

violin (doubling gopichand and harmonica)

trumpet in C (doubling piccolo trumpet, ocarina, and harmonica)

bass clarinet (doubling clarinet, mini-piano, tiny brass bell, and kazoo) trombone (doubling kazoo)

percussion (also plays toy piano and harmonica)

– all instrumentalists also vocalize –

– all chorus play small percussion –– use of lavalier mics is required for everyone –

DURATION: 80 minutes percussion inventory:

bass drum, snare drum, kick drum, piccolo woodblocks, 17” Constantinople dark crash cymbal (mounted), 18” Constantinople bright crash cymbal (mounted), bowed crotale (D4, F4), (off-stage bass drum), *3 pitched metal ramekins, *wine glass, *small ceramic bowl, D almglocken, 2 pitched flower pots and 2 ceramic bowls (played by singers), 2 elephant bells (played by singers), glockenspiel, tiny triangle, medium triangle, toy piano, 2 harmonica (1 perc; 1 violin), guiro, tiny trashy splash cymbal, rubber ball mallet (for bass drum), tuning fork on small plastic container, *wah-wah tube, tambourine, headed spark shaker, devil chaser, *three jig dolls (played by men in the chorus)

*instruments provided by composer

INSTRUMENTATION by SCENE

I. she is endless: Baritone soloist (GILLES) + trumpet, percussion

II. elixir: Chorus (SSATBB), Tenor soloist (PRELATI), sound design

III. night terror: Baritone soloist (GILLES) + violin, trumpet, percussion

IV. pierced, part one: Pre-recorded soprano soloist (THE STAG), Baritone soloist

V. ocean of fire: Tenor soloist (PRELATI) + full ensemble playing percussion, moving, and vocalizing

VI. the scholar: Mezzo-soprano soloist (MARCELINE) + Violin, Clarinet in B flat, Trumpet in C, Trombone, Percussion, TBB

VII. pierced, part two: Pre-recorded soprano soloist (THE STAG) + Baritone (GILLES)

VIII. tea party: Soprano soloist (BARON), Baritone soloist (GILLES), violin (doubling harmonica), piccolo trumpet (doubling kazoo), trombone (doubling kazoo), bass clarinet (doubling mini-piano), percussion (doubling toy piano and harmonica); SSA (for stylized movement and two sung notes)

IX. arrest / confession: Baritone soloist (GILLES), violin, trumpet in C, trombone, percussion, SSATBB

X. danse macabre: piccolo trumpet, violin, trombone, bass clarinet, TBB (each playing a jig doll)

XI. epilogue – stop the plough: A cappella chorus with pre-recorded audio

PERFORMANCE NOTES

Notation explanations are given in the score itself. Accidentals carry through the measure, unless indicated otherwise. Baritone is notated at the sounding octave.

PERFORMANCE PRACTICE

Central to the work is the conviction that the performing body carries dramatic intent and musical meaning. Stylized movement such as Gilles’ recurring gesture makes visible the subtext language tries to conceal. Performers slip fluidly between musician and mechanism, sometimes embodying both at once.

To that end, there are two concepts of time at play: strict time and flex time.

Strict time is self-explanatory performers follow the notated music, as written.

≈ FLEX TIME (soloist with little or no accompaniment)

Free temporal shaping. The performer may stretch/contract time organically, guided by breath, text, and dramatic intent.

≈ FLEX TIME (ensemble plus soloist) The ensemble accompaniment functions as a steady engine: maintain shared pulse and groove as an ensemble (together, with small natural looseness permitted), while the soloist shapes phrases in flexible time above it. The ensemble does not chase the soloist beat-for-beat; instead, listen and respond, then reconverge at each ◆ SYNC POINT, where everyone aligns precisely. These passages are fully notated in meter; the written vertical alignment represents the ideal composite of the texture the goal is not independence, but elasticity within a steady engine.

SETTING by SCENE

All scenes unfold within projected “film sets,” except the Epilogue, which occurs on the bare stage (screen blank).

I. she is endless the hovering woods

II. elixir GILLES DE RAIS’ bathroom

III. night terror the thickening woods

IV. pierced, part one THE STAG’s domain: nowhere and everywhere

V. ocean of fire PRELATI’s private alchemy studio

VI. the scholar Paris, 1992: academic symposium

VII. pierced, part two THE STAG’s domain: nowhere and everywhere

VIII. tea party BARON’s domain beneath a cosmic chandelier

IX. confession / arrest landscape with orphaned shoes, doves

X. danse macabre bathroom and woods collapse into one space: a prison

XI. epilogue (stop the plough) screen powered off / here and now

SYNOPSIS

With a clap, BARON snaps the production to life. GILLES DE RAIS, grieving and guilt-ridden, remembers Joan of Arc and, in this retelling, the betrayal that led to her capture and death. The memory triggers denial and paranoia; the alchemist PRELATI administers a “medicinal” tincture.

THE SMOKE sing the names and ages of the missing children; the so-called medicine has the opposite effect, and GILLES awakes to a night terror. In desperation, he calls out to God. THE STAG appears, offering soothing words and gentle interrogation. As PRELATI’s efforts to conjure BARON intensify, his depravity is revealed.

In 1992, MARCELINE devotes her life to proving GILLES’s innocence, while THE SMOKE argue with her as tribunal and witness. GILLES is visited again by THE STAG but this time, God abandons him, and BARON seizes the opening, tightening her grip on the production: flitting through the action, moving performers like toys, serving tea as she tortures GILLES into facing the truth of his betrayal.

THE SMOKE come to arrest GILLES on suspicion of the child murders. Under pressure, GILLES confesses to betraying Joan; THE SMOKE seize on the confession as proof, and he is sentenced to hang for crimes he did not commit. Escorted offstage, he reappears absorbed into the film the paper stop-motion world that holds the missing children’s presence as the crowd dances him toward the gallows. In the final turn, THE SMOKE at once grieving parents and timeless witnesses face outward and demand our attention.

Libretto and Music by Amy Beth Kirsten with French/English translations by Hai-Ting Chinn

Duration: approximately 80 minutes

Viewing Guide for Performance Video: Timecodes by Scene

SCENE (SCORE PAGE #)

HH: MM: SS

I. she is endless 00:01:15

II. elixir (p. 10) 00:09:31

III. night terror (p. 27) 00:16:18

IV. pierced, part one (p. 40) 00:21:14

V. ocean of fire (p. 44) 00:29:24

VI. the scholar (p. 55) 00:36:58

VII. pierced, part two (p. 88) 00:45:16

VIII. tea party (p. 94) 00:55:03

IX. confession / arrest (p. 113) 01:03:47

X. danse macabre (p. 156) 01:09:23

XI. epilogue (p. 165) 01:12:51

Recording note: This video is drawn from live performances and includes minimal postproduction for clarity: two brief audience-noise edits to remove coughs and one short audio patch from the previous night to correct a memory slip; a subtle image hold maintains synchronization.

F u l l S c o r e

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° ¢ ° ¢ ° ¢ ° ¢ ° ¢

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ro u n d e d - t r a p p e d ! ff

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t u e s e bi t t e s ha m e f s ha m e s ha m e e n d l e s s - bl o o d t u e s e bi t t e t e u s z hm

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n * B C l P e r c

i l l e s S 1

G i l l e s S 1 S 2 A f o r yo u f o r p 11 3 5 11 3 6

g a l l o w s - t o t he g a l l o w s - t o t he g a l mf l o w s - t o t he g a l l o w s - t o t he

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G i l l e s S 1 S 2

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S 1

S 2

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f e e l s r i g h t i n t h e m o m e n t

1 2 8 5

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S 1 S 2

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S 1

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B 1 B 2 i n g1 2 9 7

n ﬁ e l d s w he re

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S 1 S 2

y mf d a u g h t e r, - m y s o n n o w w i t h w i n g s o f p q = 8 8 a b i t f a s t e r q = 8 0 s u d d e n l y 1 2 9 8

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S D he a r ? p q = 8

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