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
With Blood, With Ink
Daniel Crozier
Peter M. Krask
Gene Young (conductor)
Roger Brunyate (director and set designer)
John Lehmeyer (costume designer)
Douglas Nelson (lighting designer)
Monica Reinagel (Dying Juana)
Elizabeth Knauer (Young Juana)
Kenneth Shelley (Padre Antonio)
Kathleen Stapleton (Countess of Paredes)
Kristi Cook (Prioress)
Jennifer Davison (Sor Isabel)
Nicolee Wilkin (Sor Rosa)
Steven Rainbolt (Archibishop Seijas)
March 07, 1993
Peabody Conservatory of Music
"With Blood, With Ink dramatizes the visionary and tragic life of the 17th century Mexican nun and poet, Sor Juana Inés de la Cruz (1648–95). One of six bastard children, Juana Inés made her way to the glittering Viceregal palace in Mexico City, where the self-taught prodigy dazzled the court with her beauty, brilliance, and intellectual virtuosity. Without a place in the confines of colonial society and unwilling to marry (or become a courtesan), Juana Inés joined a convent in an effort to maintain her career as a writer and intellectual. Over the next twenty years, Sor Juana cultivated a literary salon, served as a court advisor, published two volumes of secular poetry to international acclaim, argued for the education of women, and collected the largest library in the Americas—all from behind the cloister walls.

Hers was an extraordinary life; one bound to create enemies and foster bitterness. In 1693, it came to a stop. Sor Juana Inés de la Cruz, the “Tenth Muse” and “Phoenix of America,” was forced by the Inquisition to sign an oath in blood renouncing her life’s work. Within two years—two years of silence—she was dead.

With Blood, With Ink explores this fascinating and heartbreaking life in nine continuous scenes, each of which is framed by textural and musical fragments of the Requiem mass. The novelty of the opera is the device of having two singers play Sor Juana simultaneously—one as the Dying Juana watching her life as if in a dream, and the other as Young Juana living that life. Throughout the opera, Dying Juana watches her younger self, through all of the years her memory can embrace, and attempts to warn and comfort this elusive shadow who cannot be physically reached until the opera’s climactic moment. Then, arms outstretched through the haze of years and memories, Dying Juana embraces her younger self with the words, “Enough of suffering, my love. Enough.” Reconciled to herself, at last, she dies.

No opera—especially an opera in one act—can do full justice to such a rich and disturbing story, or to such complex, inspiring, and even confounding woman. Many liberties have been taken: historical figures have been combined into composite characters, chronologies have been compressed and altered, and theological and political arguments have been simplified, all in the interest of dramatic clarity. But, wherever possible, whether in fragments or borrowed imagery, Sor Juana’s poetry has been incorporated into the text. And like Sor Juana, who believed that poetry could reveal truths that could in no other way be expressed, the creators of With Blood, With Ink hope to explore and honor this amazing story in the spirit and service of larger truths."

-Peter M. Krask
Length is not available.
Not Available
Daniel Crozier
Schedule of Performances Listings
With Blood, With Ink (Crozier)
Sunday, April 20, 2014 - Fort Worth Opera

Summer 2014 Magazine Issue
  • Summer Apprenticeships
  • Opera Tours for Board Members
  • My First Opera by Speight Jenkins
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.