September 2019
WHEN HE WAS GOOD A Space Opera in Two Acts Music: Ronnie Reshef Libretto: Elad Keidan ____________________________________________________________________ INFORMATION KIT INCLUDES:
Synopsis Characters Development history Scene breakdown Photos from the premiere Bios of creators Five excerpts from the piece (mp3 attached separately, in an email) 1. Waiting Aria (Helen, P. 80 in the score) 2. Ascension Aria (Roy, P. 29 in the score) 3. Nosy Neighbor Scene (Mrs. Nezekstow, Martin, Helen, P. 49 in the score) 4. Farewell Aria (Xardashir, P. 221 in the score) 5. Second Thoughts Aria (Roy, P. 139 in the score)
SYNOPSIS: Martin and Helen are a middle-class couple, parenting a small child named Roy. One day, an alien appears on their doorstep. It turns out that as part of the Aliens' research, they need a human child. They want Roy. But they are not going to abduct him, god forbid. Instead, they have an offer: they will take care of the child and return him safe and sound a year later. In fact, because of light-speed travel, the child will only spend one week in space. With their fast-teaching techniques, they promise the boy will return with a Master’s degree - at his young age. After deliberations, the parents agree. Separation surely will be painful, but their son will get to see the galaxy, become a space traveler, experience different cultures. For a year they are having a wonderful time. Traveling, being together, going out, improving their home, seeing to their hobbies. After a year, Roy returns. The alien thanks them again, and, feeling responsible, and since he liked the kid, he leaves them with an emergency button: if they wish, they can press the button and the alien will be happy to take their kid again, this time - indefinitely. Of course, Helen and Martin cannot imagine that they will ever use the button, and so they stash it in the closet. And up and away go the aliens in their strange vessel. Expecting their little boy, Martin and Helen are excited, but also a little sad to lose their freedom and independence. They assume he will remain as he was, a small child looking up to his parents. But the boy turns into a little devil, disobeying his parents at any possible occasion, causing trouble, performing pranks and driving everyone mad. It is then that we discover that the aliens’ purpose was completely different. In fact, they gave Roy a mission: They needed to check whether love was real, in order to decide if to preserve the human race. They instructed Roy to test his parents’ love in any possible way, so that if Martin and Helen ever press the button, thus disproving love, it would be the end of the human race. Is love real? Does it have limits? Or is it infinite? Will humanity be saved? Contact: ronnie.reshef@gmail.com; +972-54-5223134; www.ronniereshef.com
CHARACTERS: Roy, a 12 years old boy ……………………………………………………….…. Soprano coloratura Martin, his dad, 42 ………………………………………………………………… Baritone Helen, his mom, 40 ………………………………………………………………... Full lyric soprano Xardashir, an Alien, head of aliens’ delegation/Passerby 5.……… Bass Mrs. Nezekstow, a nosy neighbor …………………………………………… Mezzo Sandor Balasz, a detective, alien researcher and private eye ……. Tenor Four Aliens/Four Passersby ………………………………………...………… Sop., Sop., Mezzo, Mezzo
In order to suit a smaller cast, the parts of the Aliens and Passersby can be sung by the singers who sing the main parts (Roy, Helen, Nezekstow, and Balasz). This would make the fourth alien a tenor, and would add up to a cast of six (SSMTBB).
RUNNING TIME: 85 min. INSTRUMENTATION: violin, cello, clarinet, piano, percussion (small and large). Piano version available.
DEVELOPMENT HISTORY:
Commissioned by International Masterclass of Vocal Arts Jerusalem (IMVAJ). Supported by the Rabinovich Foundation for the Arts, Tel-Aviv.
Premiered in August 2019 by IMVAJ in Jerusalem and Tel-Aviv. “Outstanding and interesting story… …Many wonderfully beautiful musical moments” (27.8.19, Haaretz newspaper). “This modest production proves that this opera is worthy and deserves further life. It
should now move on to the “grown-up’s” arena and receive a big full production” (28.8.19, Channel B, Kan Israeli Radio Corporation).
Contact: ronnie.reshef@gmail.com; +972-54-5223134; www.ronniereshef.com
SCENE BREAKDOWN: ACT I (40 min.) 1. First Encounter + Roy's Ascension (scene + aria) The aliens appear with their offer; Roy leaves with them. Martin, Helen, Roy, Xardashir. 2. Sleepless Night (duet) Martin and Helen are worried. Martin, Helen. 3. Sinking Into Comfort (duet) Martin and Helen are enjoying life without Roy. Martin, Helen. 4. Nosy Neighbor (scene) Mrs. Nezekstow starts nosing where Roy has disappeared to. Martin, Helen, Mrs. Nezekstow. 5. The Detective (scene) A detective appears, investigating suspicious rumors of supernatural stories. Sandor Balasz, Mrs. Nezekstow. 6. Roy’s Return (scene + aria) Roy returns and Xardashir presents the button. Martin, Helen, Roy, Xardashir.
– INSTRUMENTAL TRANSITION – ACT II (45 min.) 7. Destroyed Dinner (ensemble scene) Roy starts his mischief and his parents are enraged. Martin, Helen, Sandor Balasz, Mrs. Nezekstow, Roy. 8. Roy is Worried (arioso) Roy worries about his parents’ love for him. Roy. 9. Flashback + Roy’s Second Thoughts (scene + aria) Where we discover the truth about Roy’s adventure in space, and Roy doubts the mission he took. Roy, Xardashir. 10. Roy’s Hiding (scene) Roy enrages his parents with another annoying trick. Martin, Helen, Roy. 11. Aliens #1 (ensemble scene) Xardashir is pressed by his alien peers. Xardashir and aliens (Baaz, Zork, Gek, Moxo). 12. The Things He’s Done (ensemble number) People on the street, complaining about Roy’s deeds and mischief. Martin, Helen, Sandor Balasz, Mrs. Nezekstow, five passersby, Roy. 13. Button (scene + aria) Martin and Helen contemplate pressing the button. Martin, Helen. Contact: ronnie.reshef@gmail.com; +972-54-5223134; www.ronniereshef.com
14. Balasz Killed (scene) Xardashir arrives to the family house to take Roy. He is met by Balasz, who comes to investigate the aliens’ mystery. Xardashir, Sandor Balasz. 15. The Parents’ Regret (scene) Martin and Helen regret pressing the button. Xardashir sees them and makes a final decision. Martin, Helen. 16. Aliens #2 + Farewell (scene + aria) The aliens scold Xardashir for leaving the family in peace and not taking the water they need from earth. Xardashir persists, and they leave for good, ending the opera with a Shakespearean concluding aria. Xardashir and aliens (Baaz, Zork, Gek, Moxo).
PHOTOS FROM THE PREMIERE: (taken by Yoel Levy)
Contact: ronnie.reshef@gmail.com; +972-54-5223134; www.ronniereshef.com
RONNIE RESHEF, COMPOSER: Ronnie Reshef’s work spans from classical music to Off-Broadway musicals, concentrating on works for the theater. Her first opera Requiem for the Living was performed in New York city, Kentucky, and Texas, where it was a finalist in Opera Vista competition (TX). Her musical Conspiracy! had an Off-Broadway run at MITF (NYC), where it was nominated for best music and lyrics, among four other nominations. Her opera Something to Live For participated at Fort Worth Opera’s (TX) Frontiers showcase, was awarded the MainStage Prize by Boston Metro Opera (MA), and was a finalist in The American Prize. Recent highlights include When He Was Good, a new chamber opera commissioned and premiered by IMVAJ Masterclasses Jerusalem, and Childhood Sketches, commissioned and premiered by the Thelma-Yellin wind band; Upcoming projects include a new opera commission for the annual Israeli Music Festival 2020, in collaboration with librettist Daniel Neer, a new piece for the Israeli Alma Vocal Ensemble, and music for a new theater production at Gesher Theater. Ronnie’s works are commissioned and performed by groups such as the Israeli Chamber Project, Opera On Tap, Atlanta Opera, The Secret Opera, The Qube Quartet, Thompson Street Opera, and the Israeli Philharmonic Orchestra, throughout the US and Israel, in venues such as Le Poisson Rouge, Jazz in Lincoln Center, The Tank, Teneri Institute, HaTeiva, and the Israel International Festival. Past fellowships and workshops include American Opera Projects’ Composer and the Voice program, BMI’s Lehman Engel Musical Theatre Workshop, and a residency in Yaddo. Ronnie serves as faculty at Ono Academic College. She holds a Doctoral degree from Manhattan School of Music. Her main teachers include Richard Danielpour, Reiko Fueting, Steven Osgood, Robert Cuckson, and Tzvi Avni. Honors include The Jordan Berk Prize, The Secret Opera Composers Competition, Atlanta Opera 24-Hour-Opera Competition, Boston Metro Opera Composers’ Competition, and the Sam Spiegel Excellence Prize for film scoring. www.ronniereshef.com
ELAD KEIDAN, LIBRETTO: Elad Keidan is an Israeli born film director and writer, known for: • Anthem (2008), a short film. Won 1st prize at the Cannes Film Festival student section, the first Israeli film to receive it. It became one of the most celebrated Israeli short films, garnering many other top awards (Poland, Moscow, Bucharest, Cilect Award) and shown at scores of festivals while being regularly screened at film academies. • And on he Walks (2011), a short film, presented at Locarno International film festival as part of the competition. • Afterthought (2015), full length feature. Part of the official selection at Cannes film festival 2015. Won the best film award at the Haifa film festival, as well as 3 local academy awards for screenwriting, editing and sound-design. • A Wish and a Half (2018), a short film, selected by more than 15 festivals in Israel and abroad. • 500 Years a day (In production), a 2nd feature film, awaiting funding. • When He Was Good (2019), libretto for an opera composed by Ronnie Reshef. Apart from that, Elad gives lectures on film at several film academies, as well as a public highschool, and guiding a group of community TV. He plays several musical instruments and holds interests in various fields of science, including electronics, programming and signal processing. He has two kids and lives in Tel-Aviv. Contact: ronnie.reshef@gmail.com; +972-54-5223134; www.ronniereshef.com