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Ausrine Stundyte as Cio-Cio-San, Elizabeth Janes as Butterfly’s child and Sarah Larsen as Suzuki in Seattle Opera's production of Puccini's Madama Butterfly. Photo by Elise Bakketun.
North American Works Directory Listing
Voce di Diva
Emory Waters
Neil Gould
Michael Clement, music director
Lynn Gale Smith (La Diva); Lynne Cox (Adina); Brady Macosko (Filippo); Lorraine Gorol-Lewis (Mother); Don Yule (The Old Man); Matthew Peters (Emanuel)
December 10, 1994
Opera Excelsior
La Diva, a famous opera singer, at last has won the opportunity to sing her favorite role, ^Tosca`. In her dressing room as Act I of ^Tosca` is ending, she is surrounded by the trapping of success: flowers, maid, lover, jewels. But because she has chosen to make her debut as Tosca on Good Friday, she is tempting fate. She sees all these trappings of success as chains, and resolves to break them. Act II of ^Tosca` starts. La Diva goes on stage to sing--and loses her voice. Distraught, she returns to her dressing room. Her mother tells her it is God's judgment, and tells her to go through the world to seek her voice and her redemption. La Diva wanders through the world, and on Holy Saturday years later, finds shelter in the hut of a strange sailor who has had no visitors for 40 years. Timidly, with hesitation, the two reveal themselves to each other, and they begin to reach out to one another to help each find a way back. The next day, Easter Morning, the sailor and La Diva meet a choir boy on their way to church. The boy Emanuel (whose name means "God with us"), through his simple childlike faith, leads them home. La Diva at last finds her voice: not in her own mouth but in Emanuel's.
Tonal; lyrical; through-composed arioso style, with several distinct arias and ensemble numbers
Emory Waters
1411 Olde Coalmine Road
Midlothian, VA 23113

Fall 2014 Magazine Issue
  • Are Women Different?
  • Preparing for Klinghoffer
  • Emerging Artists: Act One

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