Username:
Password:


Forgot your password?
View Photo Credit  
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
La Curandera
Robert Xavier Rodriguez
Robert Xavier Rodríguez was born on 28 June 1946 in San Antonio, Texas, where he received his earliest training in piano and harmony. Subsequent musical education included study in composition with Hunter Johnson, Halsey Stevens, Jacob Druckman, and Nadia Boulanger. He gained international recognition in 1971 when awarded the Prix de Composition Musicale Prince Pierre de Monaco by Prince Rainier and Princess Grace at the Palais Princier in Monte Carlo. Other honors include the Prix Lili Boulanger, a Guggenheim Fellowship, four National Endowment for the Arts grants, and the Goddard Lieberson Award from the American Academy and Institute of Arts and Letters.

Rodríguez's music embraces all genres and often combines Medieval, Renaissance, and Baroque techniques with ethnic and contemporary materials. He has had particular success with his seven operas. His most recent opera, Frida, based on the life of Mexican artist Frida Kahlo, has enjoyed successful runs at the American Music Theatre Festival, The American Repertory Theatre in Boston, the Brooklyn Academy's Next Wave Festival, and the Houston Grand Opera. John Rockwell of The New York Times termed Frida, "the best opera/musical theater of 1991...a fascinating, magically engrossing evening...Mr. Rodríguez's music is genuinely original and genuinely accessible, a neat combination not that often achieved." Rodríguez's charming children's opera Monkey See, Monkey Do has had more than 1,000 performances since its premiere in 1986, making it one of the most often performed contemporary American operas in the repertory. The ensemble Voices of Change received a 1999 Grammy nomination in the Best Small Ensemble Performance category for the Rodríguez work Les Niaïs Amoureux.

Rodríguez's orchestral music also encompasses wide-ranging styles, from challenging works for large orchestra such as Oktoechos and Favola Boccaccesca to ballets such as Estampie and The Seven Deadly Sins to music for children such as the popular Colorful Symphony (with a text from Norton Juster's The Phantom Toll Booth) and the circus story, Trunks.

Conductors who have commissioned Rodríguez include Eduardo Mata, Neville Marriner, and Antal Dorati. Rodríguez's music is regularly performed by leading orchestras and opera companies such as the Dallas Opera, National Opera of Mexico, the Israel Philharmonic Orchestra, the Los Angeles Philharmonic, the Chicago Symphony, the Dallas Symphony, the Houston Symphony, the Baltimore Symphony, the Indianapolis Symphony, the St. Louis Symphony, and the Cleveland Orchestra among many others. His music is published by G. Schirmer.
Mary Medrick
Versatility characterizes the career of Mary Medrick: librettist, composer, arranger, conductor, pianist, accordionist, arts administrator and teacher. The Old Majestic is Medrick's second collaboration as a librettist with composer Robert Xavier Rodriguez. Their one-act children's opera, Monkey See, Monkey Do, commissioned by the Dallas Opera, was reported by Opera News to be the fourth most often-performed 20th-century opera in the United States. Medrick's works as a composer include vocal jazz arrangements plus original scores for three full-length stage works: Frankenstein, the Musical; Lord Byron and High Popalorum, commissioned by the Union Parish Arts Council in Louisiana. Medrick has conducted productions of shows such as Forbidden Broadway, Passion, Kurt Weill: A Musical Odyssey, Man of La Mancha, Cabaret and Twelfth Night for theaters such as Plano Repertory Theater, Addison Centre Theater and the Dallas Theater Center. As a pianist, Medrick has performed with the Charleston (S.C.) Symphony, the Richardson (Texas) Symphony, the Dallas-Ft. Worth Ballet and the Dallas Summer Musicals ( Fosse, Jekyll and Hyde) and has toured 17 countries, including the premiere tour of Porgy and Bess in Israel. As an accordionist, she has appeared with the Dallas Opera, the San Antonio Symphony, the Bowdoin Festival, the Cervantino Festival (Guanajuato and Mexico City), the Sammons Jazz Series, the Dallas Museum of Art's Jazz Under the Stars Series, Musica Nova and Voices of Change (CRI recording). As an arts administrator, Medrick has served as Project Director for Meet the Composer /Texas and as Executive Director of the Texas Composers Forum. She is currently on the faculty of the University of Texas at Dallas.
Katherine Myers (Stage Director)
Robert Xavier Rodriguez (Music Director)
Leslie Remert-Soichs in the leading role
May 13, 2006
Opera Colorado
The opera is set in present-day Tepoztlán, an actual village near Mexico City known for its curanderos/curanderas, practitioners of folk magic.

Scene One: It is afternoon in the outdoor lobby of the fictitious Hotel Tepoztecatl, named for the Aztec god of the alcoholic drink, pulque. The elderly and distinguished General Godofredo de la Barca (bass) enters, accompanied by his pretty young nurse, Dionisia (mezzo-soprano). Ramón (baritone), proprietor of the hotel, has just given an annual fiesta in honor of the famous General de la Barca.

All three, especially the guest of honor, are happily tipsy, and they join in a three-person conga line. General de la Barca expresses his gratitude to Ramón for the tribute and to Dionisia for her devoted care. La Curandera (contralto) enters, inquiring about the General’s health and about his American grand-nephew, Alberto, whom the General has not seen since the funeral of his beloved wife, Estela, two years ago.

When the General and Dionisia leave, Ramón asks la Curandera about the potion she has given him to bring more lucrative tourist business to his hotel. La Curandera scoffs at his doubts and assures him of the power of her magic.

Scene Two: Later that same day, the General’s grand-nephew, Alberto (tenor), and his fiancée, Alba (soprano), count their luggage in an American airport, on their way to pay “Uncle Godo” a surprise visit. Alberto warmly recounts his childhood with “tio Godo” and “tia Estela” in Mexico, and the couple agree to name their first child “Godofredo,” after Alberto’s celebrated, and now only living, relative. Alberto leaves for a moment to get a luggage tag. While he is gone, the cell phone in his bag rings. Alba answers and hears a woman’s voice asking in Spanish for Alberto. Alba, not understanding the language, hangs up. When Alberto returns, Alba confronts him as to the woman’s identity, but he brushes off her question and hurries her onto their flight.

Scene Three: That evening in Tepoztlán, on the patio of General de la Barca’s hacienda, the General repairs his deceased wife’s silver watch and muses on the passing of time. Dionisia enters, brightly, bringing him a delicious dinner. She jokes, teases and dances with him. Soon he cheers up and observes, as she leaves, that “Time is the cure!”

Scene Four: The next morning, Alberto and Alba arrive at the Hotel Tepoztecatl and check in with Ramón. Alba, obviously upset, again questions Alberto about the suspicious female caller with the “beautiful voice.” Ramón tries, in vain, to follow their heated argument, as Alba presses Alberto for the woman’s name and Alberto persists in his innocence. Alberto further enrages Alba by repeatedly correcting her faulty Spanish. When Alba storms off to the room, Ramón tries to console Alberto. Alberto dejectedly calls Dionisia to arrange the surprise visit, sans fiancée, with his uncle. He tells Dionisia of his misunderstanding with Alba, and Dionisia suggests that Alberto send Alba to la Curandera for a dose of her magic. Dionisia tells Alberto that she will bring his uncle to meet him at la Curandera’s house. Ramón reluctantly promises Alberto that he will take Alba for her visit, and he calls la Curandera to make an appointment.

Scene Five (Finale) is set in la Curandera’s house, where the interior and exterior are both clearly visible. Inside, la Curandera gleefully awaits her new American client. Ramón brings Alba to the door and convinces her to ring the bells. Before Alba can ring them, the bells ring by themselves, and la Curandera invites her inside. Alba tells la Curandera she doesn’t think she can help her. La Curandera roughly answers that, if Alba doesn’t believe that magic can help her, then she should leave. Taken aback, Alba decides to stay, and she accepts la Curandera’s offer of tea. Instead of serving Alba tea to drink, however, la Curandera throws tea leaves over Alba’s head “to purify the air.” Little by little, La Curandera presses Alba to reveal her suspicions about the mysterious voice of the “other woman” on the telephone. When la Curandera cleverly pretends to agree with Alba about Alberto’s philandering ways, Alba abruptly changes her attitude and begins, instead, to defend Alberto and to affirm her trust and love for him.

Alberto approaches the house in the midst of the proceedings, and throughout the scene, Alberto and Ramón listen outside la Curandera’s door. They comment and speculate nervously on the action inside as la Curandera performs a series of intense and exotic incantations, waving herbs, lighting candles, giving Alba a flower to hold and taking her pulse (to “listen” to her “blood”), eventually causing Alba to swoon. When General de la Barca and Dionisia arrive, uncle and nephew are joyously reunited. Alberto and Dionisia finally meet in person, and Alberto discovers that Dionisia was the mysterious female caller. All anxiously await the outcome of Alba’s continuing encounter with la Curandera. The scene culminates as Alba crushes the flower, which, la Curandera declares, has absorbed all of Alba’s jealous suspicions. At the moment Alba emerges, however, she sees Alberto kissing Dionisia, and she immediately assumes the worst. The old argument erupts anew. Eventually, however, Alba learns that Dionisia is the General’s nurse and that she had called Alberto to invite him to visit his uncle, with Alberto not knowing who she was and with Dionisia not knowing that he was already on his way. With everything understood, Alberto is finally able to present his fiancée to his beloved uncle. Ramón, encouraged by the General and Dionisia, renews his hope for la Curandera’s promise of a more prosperous life, and Alba and Alberto again declare their love for each other. La Curandera comes out to join the happy scene. She meets Alberto and receives his thanks, and, in a joyous finale, everyone praises la Curandera for her magic and her wisdom. There is general rejoicing as the curtain falls.
General Golfredo de la Barca(b)
Dionisia(mz)
Ramon(bar)
La Curandera(cont)
Alberto(t)
Alba(s)
La Curandera (2005) is a comedy in one act, commissioned by Opera Colorado. The premiere production in 2006 will be presented on a double bill with Mozart’s Bastien und Bastienne (1768). The libretto of La Curandera is based on an original story inspired by Mozart’s three-character opera. The new Mexican setting replaces the original sorcerer with a curandera, or practitioner of folk healing and magic, and adds three additional characters. Although the libretto is primarily in English, there are frequent Spanish words and phrases, including many popular proverbs and idiomatic expressions from both Mexico and Spain. The libretto also incorporates actual curandera incantations, rituals and procedures from Mexican folklore as well as from current practice in Mexico and in the United States. In treating the natural and the supernatural as two sides of the same coin, the central character of the opera, La Curandera, embodies what conductor/ composer Eduardo Mata described as an essential feature of his childhood in Mexico, “living close to witches and sorcerers. Their sons and daughters were my friends. I grew up in a world where magic and the interplay between the real and the objective and the unreal and the magic coexisted on a daily basis. This [syncretism] has been a way of life in many of the cultures of Hispano-America...”

The music of La Curandera, likewise, pays homage to Mozart, with a Mexican flavor. The six singers are joined by eight instrumentalists: clarinet (doubling alto saxophone), trumpet, bass trombone, percussion, accordion, piano, violin and cello. In the overture, the distinctive entrance music for Mozart’s sorcerer is heard, then transformed into sounds of mariachi. Authentic Mexican melodies are employed throughout the opera, including the national anthem, Mexicanos al grito de guerra, the traditional march, Zacatecas, the folk song, La chinita and several melodies, textures and harmonic patterns derived from the traditional son jarocho-style music of Veracruz: El guapo, Coni coni, El huerfanito, El borracho, El buscapies and La bruja. Arias, spoken dialogue and accompanied recitative alternate with intricate opera buffa ensembles in a score filled with Rodriguez' characteristic "richly lyrical" (Musical America) writing, in a style "romantically dramatic" (Washington Post) and full of the composer's "all-encompassing sense of humor" (Los Angeles Times)
01:00
1
1 cl(asx), 1 tpt, btbn, 2 perc, pf, can, vln, vc
G. Schirmer, Inc.
257 Park Avenue South, 20th Floor
New York, NY 10010
pm@schirmer.com
212-254-2100
http://www.robertxavierrodriguez.com/
http://www.schirmer.com
The Opera Fund Awardee Information
2005 Audience Development Project
LA CURANDERA
Opera Colorado
2006 Repertoire Development
La Curandera
Opera Colorado
2007 Audience Development Project
LA CURANDERA: Audience Development Through Community Outreach
Opera Colorado
Audio Visual Materials

From left to right: Lianne Coble (Dionisia), Gregory Bruce (Ramón), Christopher Job (General Godofredo de la Barca), Christina Rosas (La Curandera), Sangeetha Appavoo (Alba), Chester Pidduck (Alberto)
Courtesy of: Opera Colorado; Photo credit: Matthew Staver

From left to right: Sangeetha Appavoo (Alba), Christina Rosas (La Curandera)
Courtesy of: Opera Colorado; Photo credit: Matthew Staver

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


Contact Us
330 Seventh Avenue, New York, NY 10001
P 212-796-8620 • F 212-796-8621
Info@operaamerica.orgDirections
From Airport:
The easiest way to reach the OPERA America offices is to get a cab at the airport. Cost is $40-45
(not including tip).
  • JFK - Take the AirTrain ($5 - approx. 15 minutes) to the Jamaica Street Station and transfer to the Long Island Railroad (LIRR). Take the LIRR to Penn Station ($12 - approx. 35 minutes). See Penn Station directions below.
  • LaGuardia - Take the M60 Bus to the Hoyt Ave/31st Street. Get on the or Train and take that to 42nd/Times Square Station. Follow the Times Square Station directions below.
  • Newark - Take the New Jersey Transit train to Penn Station ($15 - approx. 45 min). See the Penn Station Directions below.

From Penn Station/Madison Square Garden:
Leave the station through the 7th Avenue/33rd Street exit and walk south for four blocks. The building is on
the right hand side.

From Grand Central Station:
Take the Train to the 42nd/Times Square station and transfer to the Train.
Take the Train to the 28th Street stop and walk north on 7th Avenue.
The building is on the same block as the train stop.

From 42nd Street/Times Square:
Take the Train to the 28th Street stop and walk north on 7th Avenue.
The building is on the same block as the train stop.

For more detailed directions, most up-to-date pricing or to specify a different starting location, please visit the
MTA Web site.