Before “The Golden Gate”
Duet for Mezzo, Baritone, and Piano
Lyrics from the Novel in Verse by Vikram Seth Adapted by the Composer
PREMIERE: September 10, 2014, Marc Scorca Hall, National Opera Center, NYC
DURATION Fourteen minutes
PUBLISHER: All Conrad Cummings works are self-published; contact him here
INSTRUMENTATION: mezzo, baritone, and piano
Excerpt from the premiere performance:
Ever since I sang Conrad’s opera, The Golden Gate, in 2010, it is my soundtrack to the sight of the bridge itself. I cannot see that crimson span without hearing Conrad’s music. And I’m from Northern California, so that bridge is part of my earliest and fondest memories. The bridge could be just a mass of steel and concrete that gets you from one side of San Francisco Bay to the other. Vikram Seth’s novel-in-verse could be just a story of unremarkable people going about their lives and loves in 1980s San Francisco. The opera could be just a pretty, lyrical setting of the novel, with quotes from 80s music thrown in. Yet instead, Conrad’s creation is rather like the bridge itself: a perfect combination of simplicity and artifice that elevates the everyday into the realms of magnificence. It’s a worthy soundtrack for the Golden Gate Bridge. And of the many new works I’ve sung, it is one of my favorites.
—Hai-Ting Chinn
Baritone Jesse Blumberg and mezzo Hai-Ting Chinn love working together — you should have heard them as Ulysses and Penelope in Opera Omnia’s Monteverdi last year — they’ve both had big roles in the development of my opera to Vikram Seth’s The Golden Gate, but they’ve never gotten to be in it together. Tonight’s the night. They sing a duet I wrote as preparation for the full-length opera, a kind of writing into the material and an exploration of the darker colors of the piece.
—Conrad Cummings
Before The Golden Gate
Music: Conrad Cummings
Lyrics: from the novel-in-verse by Vikram Seth
Whether
It’s love or not means nothing much.
Love by itself’s a tightening tether,
A habit-forming drug, a crutch. . .
The impassioned advocate was wearing
A cambric blouse, a wine-dark suit,
An air both fragile and acute –
And there was something in her bearing
That seemed to make her flame and burn
With sorrow,
Again tonight the moon advances,
A casual crescent, fine and high,
A sort of innocent passerby
Across the city of Saint Francis,
Across the freeway, red and white,
With last month’s curvature and light.
Are the dead, too, defiled by sorrow,
Remorse, or anguish? We who live
Clutch at our porous myths to borrow
Belief to ease us, to forgive
Those who by dying have bereft us
Of themselves, of ourselves, and left us
Prey to this spirit-baffling pain.
The countries round our lives maintain
No memoirists and no recorders.
Those who are born are too young, those
Who die too silent, to disclose
What lies across the occluded borders
Of this bright tract, where we can see
Each other evanescently.
Slowly,
Dusk turns to dark, and from the car
Jan sees how, star by star by star,
The sky, now constellated wholly,
Domes over the fluid freeway, bright
With red and silver lanes of light.
Take this as proof
She loved you, saw through your evasion
And knew your love, was not aloof
From you; and without pride or rancor
Kept all you gave her. Do not hanker
For clarity; you cannot find
It now, or ever; be as kind,
As generous, and as incisive
With your grief as you know she’d be.
She loved you undeludedly
Though – self-protectively derisive
Of love, deluded and self-maimed
(Or unillusioned, as you claimed) –
You gave her nothing. . .
Ed drives on, hardly knowing why,
Across the tall-spanned bridge. Unthinking,
He parks, and looks out past the strait,
The deep flood of the Golden Gate.
Dear Reader, once upon
A time, say, circa 1980,
There lived a man. His name was John.
Successful in his field though only
Twenty-six, respected, lonely,
One evening as he walked across
Golden Gate Park, the ill-judged toss
Of a red Frisbee almost brained him.
He thought, “If I died, who’d be sad?
Who’d weep? Who’d gloat? Who would be glad?
Would anybody?” As it pained him,
He turned from this dispiriting theme
To ruminations less extreme.
Sighing
A harsh, prolonged, exhausted breath,
John feels his heart revisit death.
Depleted by his pain, he slowly
Walks to Jan’s desk. What did not last
In life has now possessed him wholly.
Nothing can mitigate the past.
He gently touches Jan’s sand dollar.
It soothes him in the ache, the squalor
That is his life, and she seems near
Him once again, and he can hear
Her voice, can almost hear her saying,
“I’m with you, John. You’re not alone.
Trust me, my friend; there is the phone.
It isn’t me you are obeying.
Pay what are your own heart’s arrears.
Now clear your throat; and dry these tears.”
Video of the complete premiere performance with Hai-Ting Chinn, Jesse Blumberg, and Charity Wicks at the National Opera Center:
Perusal copy of the score: