Elizabeth Cree
a chamber opera in one act
(2017)
the
© 2017 by UMP Classics & Screen (BMI) International Copyright Secured. All Rights Reserved. RNY 1384/03
ISMN 979-0-073-00127-1
Warning : Unauthorized reproduction of this publication is prohibited by Federal law, and subject to criminal prosecution.
INSTRUMENTATION
Flute (doubling Piccolo)
Oboe
Clarinet in Bb (Eb Clarinet)
Bassoon (doubling Contrabassoon)
Horn in F
Trumpet in C Bass Trombone
Percussion (2 players):
Piano (doubling Synthesizer)
Harp
2 Violins
Viola
Violoncello Contrabass
Commissioned by Opera Philadelphia and Chicago Opera Theatre
“Through art and artifice, the savage heart is finally redeemed.” — On Art and Artifice, Oscar Wilde “Dans le coeur de chaque femme bat le cœur d’un homme.” — Désirs d’une Femme, Honoré de Balzac
“Inside every riff lives another riff.” — Louis Armstrong
SET
A raised, panoramic platform that will alternately and distinctly represent the musical hall stage and dressing rooms, a scaffold for hanging, the shadow play settings for the murders recorded and enacted in John Cree’s diaries, a courtroom, London street scenes and the Cree drawing room. All of the scenes on this platform will be delineated with curtains on a long rod that can be moved to cordon off specific playing areas.
In addition, portable set pieces will also be places as needed in the space in front of the wide platform: an escritoire for John Cree, a long table for the library room, a desk for Inspector Kildare, etc. Except for the drawing room scenes, the set should be sparse and prison-like, without a whiff of Victoriana.
CAST
Elizabeth Cree .......................................................Mezzo-soprano
John Cree ................................................................Baritone
Dan Leno ..................................................................Tenor
Aveline Mortimer, Witness #1 ................................................Soprano
Uncle, Witness #9 ............................................................Bass
Inspector Kildare, Witness #7 ................................................Baritone
Doris, Witness #3 ....................................................Mezzo-soprano
Little Victor Farrell, Witness #4 .................................................Tenor
Mr. Greatorex/George Gissing/Etcher, Witness #6 .................................Baritone
Mr. Lister/Karl Marx/Voicever (Scene 1 and 27), Witness #8 .....................Bass baritone
Priest/Librarian, Witness #5 ....................................................Tenor
Jane Quig, Annie the Serving Girl, Witness #2.
Time
1. Not a straight linear narrative; the story jumps around from:
2. the trial and hanging of Elizabeth Cree (September 1880 to April 1881);
.Mezzo-soprano
3. Elizabeth Cree’s past as a music hall performer and, later, the wife of John Cree (1878-1880);
4. entries in John Cree’s dairy about the murders he commits (September 1880);
5. Inspector Kildare’s attempts at finding the murderer (September 1880); and
6. the premiere of the play, The Crees of Misery Junction (May 1881)