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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
The Crucible
Robert Ward
Bernard Stambler
Allen Fletcher (Stage Director)
Emerson Buckley (Conductor)
Samuel Krachmalnick (Musical Director)
Paul Sylvert (Set Designer)
Ruth Morley (Costume Designer)
Patricia Brooks (Abigail Williams)
Frances Bible (Elizabeth Proctor)
Chester Ludgin (John Proctor)
Norman Treigle (Reverend John Hale)
Norman Kelley (Reverend Samuel Parris)
Eunice Alberts (Rebecca Nurse)
Ken Neate (Judge Danforth)
Debria Brown (Tituba)
Mary LeSawyer (Ann Putnam)
Paul Ukena (Thomas Putnam)
Lorna Cenicero (Ruth Putnam)
Joy Clements (Mary Warren)
Spiro Malas (Francis Nurse)
Maurice Stern (Giles Corey)
Harry Theyard (Ezekiel Cheever)
Joan Kelm (Sarah Good)
Helen Guile (Susanna Walcott)
Nancy Roy (Mercy Lewis)
Elizabeth Schwering (Martha Sheldon)
Beverly Evans (Bridget)
October 26, 1961
New York City Opera
The story is a parable of good and evil, in which bigoted men and women in 17th century Salem, MA used the cry of "witch" to destroy those they hated or envied. The town of Salem has been seized by a wave of hysteria. The slave, Tituba, is accused by the wily and pretty Abigail, who uses the situation to attempt to destroy the community. When the witch trial begins under the administration of the terrifying zealot, Judge Danforth, Abigail accuses Elizabeth, the wife of John Proctor, of witchcraft. Abigail hopes thereby to get Elizabeth out of the way and regain John's affection. John remains loyal to his wife, however, even admitting in court to his adultery with Abigail in order to expose her fraud. He is not believed and is arrested. John Proctor, along with Tituba and other innocents, is condemned to the gallows. In a blaze of courage at the opera's end, John refuses to sign the false confession that would free him.
The New Yorker, Andrew Porter, 12-26-88; The New York Times, John Rockwell, 12-9-88; The New York Times, John Rockwell, 11-17-85; Chicago Sun Times, 5-27-85; Chicago Tribune, Kyle Gann, 5-27-85; Toronto Star, William Littler, 1-31-76; The Denver Post, Glenn Giffin, 1-27-71; The Cincinnati Enquirer, Gail Stockholm, 1-25-71; Saturday Review, Irving Kolodin, 11-11-61; The New Yorker, Winthrop Sargeant, 11-4-61; New York Journal American, Miles Kastendieck, 10-27-61.
Won the Pulitzer Prize for Music in 1962. The opera was seen as allegorical commentary on the Communist witch hunts of the McCarthy era.
2 fl(picc), 2 ob(Eng horn), 2 cl(bcl), 2 bsn (cbsn) - 4 hrn, 2 tpt, ttbn, btbn, timp, perc, hp - str
Through-composed, diatonic, accessible, and eclectic; American neo-classic style; some melodies evoke 17th-century Protestant hymnody; some parlando; influenced by Hindemith, Puccini, and popular song, among others
ECS Publishing
138 Ipswich Street, Boston, MA 02215-3534
1-800-777-1919; 617-236-1935
Schedule of Performances Listings
The Crucible (Ward)
Friday, March 16, 2012 - Piedmont Opera
The Crucible (Ward)
Saturday, March 05, 2011 - Sarasota Opera
The Crucible (Ward)
Saturday, April 28, 2007 - Tulsa Opera
The Crucible (Ward)
Thursday, October 20, 2005 - Mobile Opera
The Crucible (Ward)
Friday, July 22, 2005 - Chautauqua Opera
The Crucible (Ward)
Friday, March 04, 2005 - Indianapolis Opera
The Crucible (Ward)
Saturday, April 17, 2004 - Toledo Opera
The Crucible (Ward)
Saturday, June 28, 2003 - Des Moines Metro Opera
The Crucible (Ward)
Saturday, July 11, 1998 - Central City Opera
The Crucible (Ward)
Thursday, March 26, 1998 - Opera Carolina
The Crucible (Ward)
Friday, March 10, 1995 - Tri-Cities Opera
The Crucible (Ward)
Saturday, February 25, 1995 - Tulsa Opera
The Crucible (Ward)
Friday, August 02, 1991 - Chautauqua Opera

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