In the morning, he tells Tina that he has changed his mind and must have the score. She tells him it is too late, and he departs. Later, alone in her music room, Tina drops the score of the opera—page by page—into a blazing fire. It opens with a gentle shimmer, like light on water, that swells to an aching lushness. In the final quarter of the nineteenth century, there lived in Florence a very elderly woman who was said to possess a cache of valuable manuscripts, relics of a romantic liaison sixty years before with the poet Shelley.
A gentleman—an ardent admirer of the poet—coveting these priceless papers acquired lodgings in her house. He hoped to obtain them by any means possible, even—if necessary—waiting for the old lady to die. That, in essence, was the anecdote told to Henry James and upon which he fashioned The Aspern Papers. He changed the locale from Florence to Venice; he transformed the historical Shelley into the fictitious Aspern; he introduced a few new characters; and he borrowed a detail from another anecdote told of one of Shelley's contemporaries, Lord Byron, in which that poet's surviving mistress threatened to burn his papers rather than allow them to be published after her death.
From these sources and modifications James produces the novella many regard as his most brilliant short work of fiction. In adapting the novella for the lyric stage, I have tried to remain as faithful as possible to James's masterpiece, but for reasons which cannot be adequately explained in this short introduction, I too have felt the need to make certain modifications: James tells his story in a half-dozen or so separate episodes spread out over the course of a single summer I chose to make it the year Between these episodes a period of time passes, ranging from a day to six weeks.
It would have been possible in a dramatization merely to lower the curtain to indicate these passages of time, and then raise it on the next scene as, Sir Michael Redgrave does in his stage version. Katherine Ciesinski sings and acts strongly. Everything here looks and sounds so well prepared, and speaking from experience premieres are incredibly daunting and performers and crew alike are plagued with what if thoughts.
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Full Cast and Crew. Dominick Argento libretto , Henry James after. Michael Mando Teases 'Spider-Man: Share this Rating Title: The Aspern Papers 09 Sep 9. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Edit Cast Episode cast overview: Juliana Frederica von Stade The Lodger Eric Halfvarson Olimpia John Calvin West Edit Storyline An opera based on Henry James's famous story about an adventurer in Venice trying to get hold of the secret letters of a famous, long-dead poet.
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The Aspern Papers is a opera in two acts with music and libretto by Dominick Argento, commissioned by The Dallas Opera. It is based on the novella The Aspern Papers by Henry James. The opera premiered on November 19,
Information on the opera The Aspern Papers by Dominick Argento from coachoutleta.cf, the web's best reference site about American opera.
DALLAS The Aspern Papers Dallas Opera 4/12/13 T wenty-five years ago, Dallas Opera commissioned its first world premiere, The Aspern Papers, from American composer Dominick Argento. Argento's thirteenth opera, Aspern was adapted from H. Before getting into the substance of this review, let me say this. The Dallas Opera production of Dominick Argento's The Aspern Papers is spectacular, but in a subtle way. (You will understand.
The Aspern Papers is a novella by American writer Henry James, In the Dallas Opera presented the world premiere of Dominick Argento's opera The Aspern Papers. In , Les Papiers d'Aspern, scenic adaptation by Jean Pavans, staged by Jacques Lassalle. 'The Aspern Papers' is a great story, it's thematically intriguing, with an unforgettable double climax that one can discuss and rave about for hours and a tension reminiscent of a mystery story, and has fully realised, complex characters.