Sylvia
A Chamber Opera Music & Libretto by Julia Adolphe
Sylvia A chamber opera in one act Music & Libretto by Julia Adolphe Circa 50 minutes Cast of Characters: Sylvia, age 19
Soprano
portrays her younger self (Sylvie) ages 13 & 14, her Father, her Mother & Nathan
Female Doctor
Mezzo-Soprano
portrays the young Sylvie, Nathan, Nathan’s Wife & Saleswoman
Male Patient
Tenor
portrays Sylvia’s Father, Nathan, Nathan’s Son & Pedestrian
Male Doctor
Baritone
portrays Sylvia’s Father, Nathan & Pedestrian
Instrumentation: Clarinet doubling Alto Saxophone Cello Piano Setting: A psychodrama therapy session, where doctors and patients explore past traumas through role-playing and reenacting personal memories. The time is present day. Scene-by-Scene Synopsis: Scene 1: Father's Studio To begin her psychodrama session, Sylvia reenacts an argument she had with her Father earlier that day at his art studio. The Male Doctor portrays Sylvia’s Father, a sculptor whose work consists of piles of discarded objects that evoke the Holocaust. Sylvia explains to him that she saw Nathan today on the street for the first time in five years. Their ensuing argument reveals that Nathan was an old friend of her Father’s who took advantage of Sylvia when she was a teenager. The Female Doctor stops the scene when Sylvia’s voice begins to choke and the material becomes too painful for her. In order to give Sylvia another outlet for self-expression, the Female Doctor suggests that Sylvia speak to her Father as if she were the objects in his artwork. Sylvia embodies her Father’s sculptures, expressing her wish that her father could stop dwelling on their tragic family history and instead learn to love his “living, breathing daughter,” his “live creation.” Scene 2: The Seder Before The Female Doctor discusses how Sylvia’s family history impacts her Father and his art. His grandparents were murdered during the Holocaust and while his parents survived, they died while he was a young boy. Sylvia adds that her parents always invited Nathan, Nathan's Wife, and two sons over for birthdays and Seders because their existing family remained so small. In a re-creation of a family Passover Seder circa Sylvia’s thirteenth birthday, the Male Patient portrays Sylvia’s Father, the Male Doctor portrays Nathan, and the Female Doctor portrays Nathan’s Wife. Sylvia embodies both her younger self and her Mother. In the reenacted scene, Nathan teases Sylvia’s Father, referring to him as “the ragman” since his artwork consists of “old clothes in piles.” Nathan asks if he can take the young Sylvie shopping for her birthday. Sylvia’s Father agrees while her Mother thanks Nathan and Nathan’s Wife for being so kind to their daughter. Sylvia reflects on her parents’ blind trust of their friend.
Scene 3: The Changing Room Sylvia reenacts a crucial childhood memory: the Male Patient portrays Nathan and Sylvia portrays her younger self, out shopping for her thirteenth birthday. She runs through the clothing store with innocent excitement. Sylvia enters the store’s dressing room to try on some clothes and Nathan attempts to follow her. The Female Doctor portrays a Saleswoman who tries to stop Nathan from going inside. Nathan lies and exclaims: “It’s OK, I’m her father.” Sylvia recalls that she “suddenly felt as if the walls were closing in.” On this cue, the Female Doctor, Male Doctor, and Male Patient become the walls of the changing room. They encircle Sylvia, asking her to show them what happened. Sylvia now portrays both herself and Nathan, struggling inside the dressing room. Nathan asks Sylvia to try on a seductive nightgown in front of him. She protests, but then asks him to close his eyes. Nathan refuses, stating that they are “old friends.” He pleads with her to trust him and his words are echoed by the surrounding walls. His aggression becomes magnified as the Female Doctor, Male Doctor, and Male Patient all transform into Nathan, unleashing his desire on the young Sylvia. Their plea to trust turns into a threat. Sylvia screams. She asks if they can leave. Nathan reinterprets her request, implying that Sylvia wants to in fact go back to his apartment with him. “It will be our secret,” he reassures her. They exit the changing room, leaving behind the pile of unwanted clothes. Scene 4: The Seder After Sylvia remembers the secrets that Nathan forced her to keep. She reflects on the shame she felt in the company of her parents, Nathan, his wife, and children. The Female Doctor suggests that the group recreate another family Seder, circa Sylvia’s fourteenth birthday, to demonstrate how the family dynamics have shifted. They take their places around an imaginary table: once again, the Male Patient portrays Sylvia’s Father, the Male Doctor portrays Nathan, and the Female Doctor portrays Nathan’s Wife. In the reenacted scene, Nathan’s Wife teases Sylvia for supposedly having a boyfriend at school. The conversation provokes Nathan to loose control. The families attempt to focus on the Seder rituals. The Male Patient, as Nathan’s Youngest Son, reads the traditional Four Questions: “Why is this night different from all other nights?” Sylvia turns the Four Questions inward, exploring how she feels different since her abuse. She uses the Passover metaphors of bitter herbs, blood on the door, and reclining in comfort, to express her state of enslavement to Nathan. The scene ends with two contrasting prayers expressed through overlapping music. Sylvia cries for God to “pass over this house, don’t look inside” for she is ashamed of what will be found within. Meanwhile, the rest of the family sings a passage from the Four Questions, a line that expresses hope and renewal: “Parsley reminds us that Spring is here and new life will grow.” Scene 5: In the Car The Female Doctor analyzes Sylvia's declaration that the windows of her house are black. Sylvia freeassociates, remembering that Nathan once told her the windows of his car were black and that no one could see them inside. The Male Doctor suggests that they improvise a scene. The Female Doctor portrays Nathan, advancing on Sylvia and locking her inside his car. Sylvia realizes that the car windows are not black and that the people outside can see them. The Male Patient and Male Doctor, as Pedestrians, peer into the car and exclaim their disgust with what they see within. Sylvia protests and stands up to Nathan, asserting herself in a way she could not as a child. She questions whether Nathan really loved her, and in her fury, wishes aloud that he were dead. Scene 6: On the Street The Female Doctor suggests that Sylvia imagine that Nathan is dead and asks what she wants to say to him. Sylvia addresses the imaginary body of Nathan. She grows to understand what she and Nathan needed from each other and learns to forgive Nathan, her parents, and herself. Sylvia realizes that her path forward means accepting her past, healing in the present, and taking responsibility for her future. The group reflects on Sylvia’s discoveries and the session ends as Sylvia exclaims: “I’ll let tomorrow come, for I’m my own creation.”
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œœ œœ œœ œ œ œ bœ
There's
p
bœ œ J ‰ Ó
b˙ ™
p
‰ œJ 42
please,
b˙
Ó
p
O˙
Ó &
bœ
Œ
œœ œœ œœ œ
subp
marked, so
bœ œ™ œ œ
˙-˙ œ œ œ- ˙
bœœ ™™
mf
3
˙
p
p
œ œ b œœ ™™
bœ œ bœœ
œ™ bœ œ
Pass
œ œ œ™ bœ œ ≈ œj R
‰ œ J
3
this
n˙
house!
bœ ™ œ œ œ œ ˙ ˙ ø °
œ œ™
nœ bœ nœ œ
œ œ™
this
œ-œœ J & b˙œ™ œ œ ˙ b œn˙
mf
r œ œ œ œ bœ œ œ œ nw
Ó œ™
œ
˙˙ b˙
& b˙
° fi S. & bœ œ œ ¢ Cl.
#œ ™
‰™ œ #œ ™ ˙
o - ver
Vc.
œ bœ
#œb œ nœ ™ œb œ b œ œ œ œ ™ œ œ™ œ œ J
Ϫ
Oh
˙
° #œ #œ S. & ¢ Cl.
œ
Œ
p
œ bœ bœ p
Œ
Œ
3
°
œ œ ˙ mf
Ó
Pass
42 42 42 42
739 737 ° 2 œœ œ œ 4 j bœ 4 ‰ bœ œ œ œ ™ bœ œ ≈ œ bœ ™ Œ S. & 4 ¢ J R œ œ œ œ œ™ œ 3 2<b>˙ &4
o - ver this
Cl.
Vc.
Pno.
B 2 O˙ 4 “” b œœ 2 &4
{
? 42
house.
44 ˙
∑
˙ 44 b˙ &
œ œ bœ
w~
bb˙O
4Ó
Ϫ
The win dows are black.
˙
?4
œœœ
bϪ
Don't look in side.
∑
œ œ ™ œ œ œ œ bœ œ œ™ w~
pp
#œ œ œ
pp
˙ b˙
∑
∑
j œ ‰ Œ œ
∑
∑
pp
44 ˙ ˙ ø
83
=
° S. & 741
FD.
MP.
MD.
Cl.
Vc.
¢
poco rit.
Œ
#œ
#œ
Spring
&
Ó
& ‹
Ó
?
p
is
? <b><b>˙O ™™
œ J
here,
and
Ϊ
#œ J p
And
Ϊ
#œ
œ
Ϫ
new
#œ ™
new
life
mf
grow,
œ
œ
#œ
mf
will
grow,
œ
mf
life
new
grow,
will
new
And
will
#œ
And
#œ ™
œ
œ
#œ ™
p
mf
#˙
#œ
p
#œ J
#˙
742 q = 42 #œ ™ #œ œ
life
#œ J
Ϊ
Ó
& #œ
#œ ™
#œ life
œ
#˙ ˙
Ϫ
will
grow,
∑ Œ
∑
#œ
œ
° #œ j S. & J #œ #œ #˙ 743 p
84
pp
œ Œ
745
e = 112
∑
48
G. P.
∑
48
G. P.
Ó
∑
48
G. P.
∑
∑
38
Ó
∑
48
G. P.
∑
38
Ó
new life will grow.
p
FD.
pp
& #œj œ œj #˙
new life will grow.
#œ œ œ ˙ & J J ‹ new life will grow. p
MP.
? #œ œ œJ #˙ MD. ¢ J p
new life will grow.
Cl.
Vc.
Pno.
& Ó
Œ #œ
? Ó
œ
p
Œ
{
p
& Ó
Œ bœ
& Ó
Œ bœ bœ
p
œ
Œ
Ó
pp
œ Œ
pp
œ Œ ˙™ ˙
mf
p
œ. . œ œ. œœœ . . . ‰ œŒ mp
j œ‰ Œ œ
˙ ˙
#œ
œ #œ 38
œ
∑ bœ ™
G. P.
∑
∑
48
G. P.
∑
48
G. P.
p
∑
G. P.
∑
?
this
i-
j3 bœ- 8
bœ bœ
™
œ
bœ ™ 38
œ
œœœ œ
38
pp
∑
48
∑
(to Sylvia, as FD:) p
You have
p
œ J ‰ Œ
38
∑
∑
œ#œ ™ œ Œ 48 J
œ
mf
∑
pp
bbœœ °
38
bœ œ ø
=
° 3 FD. & 8 #œ ¢ 748
dea
Cl.
Vc.
Pno.
3 & 8 bœ-
j œ 48 nœ
of
mf
God
peer - ing
j4 j œ 8 bœ- œ
j œ
œ
? 3<b>œ œ œ œ 4 œ œ œ bœ 8 8 bœ bœ bœ
{
mf
mp
48 bbœœ ø
bœ bœ ø
bœ ø
in - side
œ
œ 4 #œ ™ J 8
your house.
œ
38 j œ œ
48
nœ
38 Ϫ
48 #˙
38
48
p
mp
3 4 &8 œ œœœ œ 8 œ œ œ œ œ œ œ œ bœ ? 3 œœ™™ 8 ø
œ bœ 38 J
œ œ J
œ
# œ œ œ™
œ # œ œ œ™ pp
3 j œ œ nœ ™ 8 œ œ ø ø
nœ ≈ œ 58 In a
œ œ œ pp
˙
48 œ œ œ œ œœ
58 58 ?5
8
58