A Lily Among Thorns Program

Celebrating local dance, theatre and art in the

Dallas Arts District.

A Lily Among Thorns Presented by Das Blümelein Project

September 2 - 4, 2021

Das Blümelein Project is a collaborative arts company based in Dallas, Texas and created by classical musicians Bethany Mamola and Agostina Migoni. Dr. Mamola and Ms. Migoni met in music school almost a decade ago and have since founded DBP, an organization created by artists to support artists. Both women strayed from the limited, traditional career options for opera singers and created their own path, one that gives them and other artists an avenue to create.

Das Blümelein Project creates musical storytelling productions that break the barriers of accessibility, foreign language, elitism, and cultural misrepresentation associated with opera and classical music to highlight the beauty of this valued repertoire.

DBP pushes the boundaries of traditional performance practices by touring and producing our shows in intimate settings, therefore allowing for a greater, and more diverse audience. We collaborate with creatives across a wide spectrum of mediums including but not limited to sculpture, textile, painting, photography, video production, music, dance, acting, and the culinary arts. By ditching the ego found in traditional production settings and balancing our expertise with experimentation, DBP enables curiosity and creativity, further supporting the mission for cultural innovation and creative thinking through artistic collaboration and education.

Since its inception, Das Blümelein Project has been chosen to participate in AT&T Performing Art Center’s Elevator Project season, have been the recipients of the Breckenridge Creative Artist Residency in Colorado, and the TX Studio Artist Residen-

cy in Dallas, Texas. The project has been in collaboration with the National Repertory Orchestra and has participated in the Cherry on Top Creatives Festival in Marfa, Texas. DBP regularly tours throughout the United States and has been invited to perform and speak at a number of universities.

TRY ME, GOOD KING Last Words of the Wives of King Henry VIII (2000) Music by Libby Larsen (b. 1950) Text is taken from letters, execution recordings, and speeches by: Katherine of Aragon, Anne Boleyn, Henry VIII, Jane Seymour, Anonymous, Anne of Cleves, unknown Spaniard I. II. III. IV. V.

Katherine of Aragon Anne Boleyn Jane Seymour Anne of Cleves Katherine Howard

CAST Youna Jang Hartgraves, Katherine of Aragon Agostina Migoni, Anne Boleyn Samantha Kantak Dapcic, Jane Seymour Bethany Mamola, Anne of Cleves Morgan Horning, Katherine Howard

PRODUCTION TEAM Tracie Hunter, Director of Photography Morgan Horning, Stage Director Hannah Abercrombie, Piano Agostina Migoni, Assistant Director Bethany Mamola, Assistant Director Samantha Kantak Dapcic, Assistant Director Casey Reid, Audio Engineer Greg Slawson, Audio Engineer

Synopsis of Try Me, Good King In Try Me, Good King, Libby Larsen has lovingly woven the purported final words of five former Queens of England with contemporaneous lute songs in a modern compositional idiom to create a timeless exploration of their individually vivid and complex humanity, often in their very darkest hours.

On her deathbed, Katherine of Aragon, a woman of unshakeable faith, wrote an extraordinary, strongly-worded letter to the excommunicated Henry VIII in which she offers advice and prayers

for his soul, ultimately revealing the depth of her forgiveness and devotion.

Anne Boleyn commanded her husband to give her a fair trial to allow her to face her accusers with truth. By turns fiery, cajoling, loving and pleading, she was granted her wish, perhaps not realizing that in Henry’s court, the truth was relative to his desire to be rid of her. In a final testament to her unquenchable spirit, Anne offered a witticism on the size of her neck before facing the sword.

Before her life was tragically cut short by maternal mortality, Jane Seymour shared the news of the birth of the long-awaited Prince of England, likening her son to the Tudor Rose, an emblem meant to signify the unity of the nation after the Wars of the Roses.

Anne of Cleves and Henry VIII never suited one another; her letter acknowledging the verdict of annulment was carefully crafted to hide what was most likely a relief to Anne, considering the string of deceased wives Henry left in his wake. Treated as the King’s sister, Anne was allowed to live out her remaining days, afforded property and status unfettered by forced marriage alliances.

Katherine Howard was only seventeen when she married the 49-year-old Henry. A year and half later, Katherine found herself at the scaffold, allegedly pleading her innocence and revealing her remorse at marrying Henry.

Director’s Note for Try Me, Good King Das Blümelein Project’s production of Try Me, Good King has taken many forms along the harrowing road that resulted in the video you will see today. Originally conceived by Libby Larsen as a song cycle for a single voice, the division of the songs by their respective queens also just as easily lends itself to a treatment with five different singing actors. We had intended to do a staged live show where these women from history came together to share their joys and sorrows, but when our current pandemic reality arrived, we chose to move the show into a digital space for safety’s sake. While that certainly provided a unique set of challenges, shooting the queens in this particular medium allowed us to treat each song as its own intimate and dramatic scena.

In this modern setting of Try Me, Good King, I wanted to explore the ways in which the words of these women from five centuries ago are still relevant and resonant in our current world. In writing her final letter to her former husband, Katherine of Aragon shows us that it is possible and sometimes painfully necessary to achieve closure on our own. She received peace in the act of writing the letter - not through Henry’s approval of the letter’s contents. Anne Boleyn shows us our dual nature - the collected person we feel we must be on the outside versus the explosive emotions we often hold in check. Jane Seymour reveals that life’s jarring transitions may be gentle and need not always be feared. Anne of Cleves shows us that stepping into your own power can be as simple as saying “yes” at an opportune moment. Finally, Katherine Howard explores the isolation of deep

grief.

As one of too many who have experienced the recent loss of a family member, I find myself increasingly focused on history and the idea of legacy, as well as the ways that stories draw us close to those we’ve lost. When we experience Try Me, Good King, some unseen filament from ages past connects us to these extraordinary women - and, for a short time, they live again.

‒ Morgan Horning

A WOMAN’S LIFE AND LOVE Frauenliebe und Leben (1840) Music by Robert Schumann (1810-1856) Poetry by Albert von Chamisso I. Seit ich ihn gesehen: Clara meets him.

II. Er, der Herrlichste von allen: She is smitten.

III. Ich kann’s nicht fassen, nicht glauben: She begins to get to know him and he her.

IV. Du Ring an meinem Finger: She becomes engaged.

V. Helft mir, ihr Schwestern: She weds.

VI. Süßer Freund, du blickest mich verwundert an: She is intimate with him.

VII. An meinem Herzen, an meiner Brust: She meets her baby and sings a lullaby.

VIII. Nun hast du mir den ersten Schmerz getan: Clara experiences loss.

CAST Bethany Mamola, Clara Agostina Migoni, Clara

PRODUCTION TEAM Hannah Abercrombie, Piano Lisa Miller, Lighting Design Agostina Migoni, Stage Director Bethany Mamola, Stage Director Eliza Smith, Stage Manager Akilah Whitaker, Costume Design

Director’s Note for Frauenliebe und Leben This set of Lieder is traditionally presented by one singer and a pianist. However, in our interpretation of this work, two sopranos will take turns singing the eight numbers and occasionally sing on a couple of them together. We have staged this work with minimal props and simple clothing to give the audience a greater presence of the character and her story. By splitting the musical set for two sopranos, we are able to utilize the singers’ different timbres, further emphasizing the chiaroscuro found in the music and poetry.

INTERMISSION

A LILY AMONG THORNS Music by John La Montaine (1920-2013) Text from the biblical book, Song of Songs A Lily Among Thorns is an operatic combination and reordering of La Montaine’s two song cycles for soprano and orchestra, Songs of the Rose of Sharon (1947) and Fragments from the Song of Songs (1959), and his instrumental Opus 49, 2 Scenes from the Song of Solomon (1978).

CAST Erica Simmons, Rose of Sharon MaKayla McDonald, Rose Cover/Daughter of Jerusalem Heather McKay, Sensual Spirits (Dancer) Ally Des Jardins, Sensual Spirits (Dancer) Isabella Ginter, Daughters of Jerusalem (Dancer) Lyvia Baldner, Daughters of Jerusalem (Dancer) Kira Drawe, Daughters of Jerusalem (Dancer) Samantha Dapcic, Daughters of Jerusalem (Vocalist) Agostina Migoni, Daughters of Jerusalem (Vocalist) Bethany Mamola, Daughters of Jerusalem (Vocalist)

PRODUCTION TEAM Esme Wong, Piano Samantha Dapcic, Stage Director Heather McKay, Choreographer Temi Coker, Projection Design Afritina Coker, Set Design Akilah Whitaker, Costume Design Lisa Miller, Lighting Design Jessica Kantak Bailey, Makeup and Hair Artist Eliza Smith, Stage Manager

SCENE I: Rose’s Bedroom At sunset, Rose comes home from an exciting encounter with her lover. She busies herself about her room, completely smitten and unable to get him out of her mind. She reminisces about an intimate moment with him, portrayed by the Sensual Spirits, as she gets ready for bed.

Rose awakens joyfully before dawn; she is suddenly struck with the realization that this is her forever love and sweetly, but solemnly expresses her intense devotion. She knows they will continue to face judgement and weather hardships; regardless, her love—like death—is unwavering. As the sun begins to rise, her mood softens and she playfully gets herself ready to meet her lover in their secret garden.

I. II. III. IV. V.

I am the rose of Sharon and the lily of the valleys My beloved is white and ruddy O my dove, that art in the clefts of the rock I sat down under his shadow His left hand is under my head, and his right hand doth embrace me VI. My beloved is mine, and I am his VII. Set me as a seal upon thine heart VIII. Come, my beloved, let us go forth IX. Musical Interlude: My Beloved, Let Us Go Forth

SCENE II: Secret Garden Rose enters the secret garden excited to see her lover, but he is not there. She waits for him, but when he does not come, worries and doubts seeded by the judgmental and disapproving Daughters of Jerusalem begin to cloud her mind. After a moment of insecurity, Rose dispels her doubts and reaffirms her trust in her lover and their commitment to each other. She is confident that he will come to meet her.

As evening approaches, Rose is still waiting in the secretgarden for her lover. Frustrated, she decides to go out and search for him. During her outing she is frightened, beaten, and stripped in the streets. Dazed and alone, in her torn clothes, she defiantly proclaims “I am black, but comely” in response to the hateful prejudice that she has faced. As she tells the story of her past, we learn that she is an unmarried woman

and that her brothers have sent her to work in the vineyards as punishment, likely for her sexual behavior. In doing this, her family has unwittingly allowed her the opportunity for sexual autonomy and independence. Though she is hurt and angry, she is reminded of her personal strength and resilience through all she’s endured. Both heartbreaking and inspirational, Rose’s courage in this scene can be interpreted as a parallel to the strength and determination of African-American people throughout American history.

X. Wither is thy beloved gone?

XI. By night on my bed I sought him whom my soul loveth XII. Musical Interlude: Come Into My Garden

SCENE III: Secret Garden After collecting herself, Rose returns to the secret garden bench to wait and sleep for the night. In the morning, a faint noise in the distance rouses her from her dream. Becoming optimistic again that it is her lover, she sings the words that he had spoken to her earlier. Another noise in the distance catches her ear—this time, she is sure that it is his voice! Finally, she sees him and is overcome with joy; her true love has chosen her as she has chosen him.

Throughout A Lily Among Thorns, Rose protests discrimination, demands autonomy of her own body and sexuality, celebrates the pleasures of mutual physical love, and expects equality in her relationship. Rose is not a naïve or shy virgin; she makes it

unmistakably clear that she is a free woman in charge of her own body and sexuality. In her freedom, she has chosen to remain unwaveringly committed to her lover, even outside the bonds of marriage and understanding of society.

XIII. I sleep, but my heart waketh XIV. The voice of my beloved! Behold, he cometh XV. Rise up, my love, my fair one, and come away

Director’s Note for A Lily Among Thorns Originally, I was drawn to La Montaine’s music because of his beautiful and harmonically-adventurous writing style, which features lush melodies that drip with sensuality. As I studied his two song cycles on texts from the biblical book Song of Songs, Songs of the Rose of Sharon (1947) and Fragments from the Song of Songs (1959) for my dissertation, I discovered that these works are infinitely richer and more cleverly layered with meaning—musically, dramatically, and historically—than I imagined upon first hearing them. My hope is that by sharing historical and textual context for this music, you will walk away tonight with a deeper enjoyment and appreciation for A Lily Among Thorns.

La Montaine held a lifelong fascination with Song of Songs, which is a provocative collection of poems that center around the life and love of one woman who calls herself “The Rose of Sharon.” Song of Songs was once thought to have been written

by King Solomon, but many biblical scholars now believe that

this rebellious, “unbiblical” text was actually written by a woman. The text never mentions God or religious philosophy, but blatantly explores sexual pleasures between unmarried lovers.

The depth and strength of Rose’s character is entirely unique in the Bible: she boldly seeks her lover, demands his kisses, arouses him, and commands him to go away. She also shares her vulnerability and presents a seemingly-unfiltered view of her desires, excitements, dreams, and insecurities. Regardless of the true identity of the author, the underlying message is arguably one of female empowerment, independence, and equality within a relationship.

La Montaine, a religious man himself, was straight-forward about the fact that he interpreted Song of Songs literally as a secular love song. His fixation on these texts, when examined in the context of his own time, is striking. Inspired by the line “I am black, but comely” in a period of American history that has been characterized by Jim Crow laws, segregation, and rampant sexism, La Montaine composed two orchestral song cycles (with plans for a third, which were never realized) on this text.

Throughout American history, racism against African-Americans has paralleled the prejudice found in Song of Songs. La Montaine’s historic piano-vocal performance of Songs of the Rose of Sharon with famed soprano Leontyne Price for a mixed-race audience in Laurel, Mississippi, at the height of racial tensions in the 1950s, seems to associate him with social justice work of the period. Leontyne Price’s performance of Rose of Sharon with the National Symphony Orchestra in 1956 functioned as La Montaine’s professional compositional debut and led to his

critical acclaim as a composer. In 1959 he won a Guggenheim Fellowship and Pulitzer Prize for his piano concerto, In Time of War. Later that year, he composed Fragments from the Song of Songs, which was premiered by renowned soprano Adele Addison. He was awarded a second Guggenheim Fellowship in 1960 and was the first classical composer ever to be commissioned for a presidential inauguration—John F. Kennedy’s—in 1961.

La Montaine’s vocal works have been championed by famous singers including Adele Addison, Donald Graham, Jessye Norman, Leontyne Price, and Eleanor Steber. In fact, Jessye Norman remarked to La Montaine: “to me, you are the only person who knows how to write for the voice.” Throughout his career, La Montaine remained attached to Song of Songs and even intended to compose an opera on the life story of “the Rose of Sharon,” but he died in 2013 before realizing this vision.

Our premiere of A Lily Among Thorns is just one step towards accomplishing La Montaine’s vision of an operatic telling of this remarkable woman’s story. The composer carefully rearranged the text of Song of Songs in order to create through-stories in his song cycles; likewise, I have combined and reordered all of his songs on these texts to create a hybrid opera with a clear narrative and a musically-dramatic arc. This project has been years in the making and has transformed significantly along the way. As a response to COVID-19, we have opted to maintain La Montaine’s original format of a monodrama with piano. Dancers will represent the sensual spirits of the lovers in Scene I as well as the Daughters of Jerusalem in Scene II and III. We have also incorporated staging, set pieces, projections, lighting, cos-

tumes, and backstage singers for the Daughters of Jerusalem in order to bring this drama to life.

We programmed A Lily Among Thorns because we believe it is necessary for artists to present works that relate to current issues and events. Critical issues involving discrimination, sexuality, race, and gender are ongoing in our own social climate.

Though American culture has continued to improve upon its racist, sexist, intolerant past, there are deep-rooted elements of all of these issues that continue to persist. In our modern world, violence and discrimination of those considered “other” continue to propagate movements such as #BlackLivesMatter, #MeToo, #EverydaySexism, and #EffYourBeautyStandards. The messages of female empowerment, equality within a relationship, sexual freedom, and the beauty in being black that can be interpreted in this work transcend the era of the compositions’ creation and is still relevant today.

‒ Samantha Dapcic

Thank You From Das Blümelein Project This project has been one of the most collaborative and creative projects we have ever dreamed up. To all the creatives who said “yes!” to our wild ideas, we thank you from the bottom of our hearts. The truth is, none of this could have come together without each and every one of your brilliant minds. To all those who have donated to DB Project, we hope you know how much your support helps us to keep creating a platform for Dallas artists to create together. To our families, who were among the first people to believe in the project and its mission, we thank you. Thank you for believing in Blümelein, thank you for sharing your art, your music, your ideas, and your time with us. This small, but mighty project continues to grow and we are incredibly grateful.

-Bethany & Agostina Founders of Das Blümelein Project

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