Urgewalt der Musik

Am 19. Februar 1997 meldete der San Francisco Chronicle:
»PULITZER PRIZE-winning playwright Tony Kushner has been named librettist for ›Saint Cecilia‹, the work with music by Bobby McFerrin [Don’t worry, be happy] that the San Francisco Opera will premiere Nov. 2, 1999, at the War Memorial Opera House. Conducted by music director Donald Runnicles, the opera will be performed seven times in the regular subscription season. […] Kushner, who won the 1993 Pulitzer for his epic ›Angels in America‹, will base his libretto on ›Saint Cecilia, or The Power of Music‹, a story by the late 18th century German author, Heinrich von Kleist. This will be his first opera. […] McFerrin ventured this will be an experiment for him, too. ›I’ve never worked in this form before. The longest piece I’ve written was for cello and voice for the San Francisco Symphony and it ran 15 to 20 minutes.‹ The composer said that ›Saint Cecilia‹ will be heavy on solo voices and chorus and that he may leave the orchestration to other hands. ›When I read the Kleist story, I heard many different kinds of music.‹ There will be an improvisatory element in the score, noted McFerrin. ›I believe that some music can be taught only orally. The opera will be different every time‹«. http://www.sfgate.com/style/article/Kushner-named-Cecilia-librettist-3135830.php

Die Oper kam nicht zustande. »Saint Cecilia, sadly, remains a great ›what if‹«, schreibt Lotfi Mansouri, seinerzeit Generaldirektor der San Francisco Opera, in seinen Erinnerungen True Tales from the Mad, Mad, Mad World of Opera (Toronto 2012), S. 129f.: http://tinyurl.com/a3g4kw6

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