Standing Ovation for World Premiere of Slaying The Dragon

The audience roared to its feet at the conclusion of the premiere of the new opera, Slaying the Dragon on Thursday night, with music by Michael Ching and an original libretto by Ellen Frankel. Perhaps you know the name, Ellen Frankel? Former long-time CEO of Jewish Publication Society and author of numerous books, a life-time goal, to create opera was satisfied in this powerful event at the Prince Music Theater in downtown Philadelphia. A renaissance woman among us and there’s another week of performances ahead!
Inspired by the true story about a Grand Dragon of the Klu Klux Klan and a transformative series of experiences with a rabbinic couple that was chronicled in the book Not the Sword by Kathryn Watterson, Slaying the Dragon stimulated voluminous lobby discussion of the challenging events portrayed which challenge each of us to find our own courageous voice in a world increasingly rife with racism, hatred and intolerance.

How was it for Ellen? In her own words:

After working on the opera, “Slaying the Dragon” for two years, through nine revisions of the libretto, seven workshops, and hours of collaboration with a team of talented artists, it’s hard to believe that the opera has finally taken its bow on the stage before live audiences — and to enthusiastic applause.There’s no feeling like it in the world!

Slaying the Dragon continues at the Helen Corning Warden Theater June 14 & 16 at 8:00 pm and June 17 at 2 pm. It is appropriate for a wide age range and those from all backgrounds. As Ellen added: “I’ve been incredibly gratified by the audience’s positive reaction, especially from a group of African-American high school students, who told me how meaningful and real it was to them. ‘It was so real, so emotional,’ one said.”

Tickets: www.OperaTheater.org

 

New Opera Aims to ‘Slay’ Intolerance

Slaying the DragonA new opera, Slaying the Dragon, by composer Michael Ching, with libretto by Ellen Frankel, will have its world premiere in Philadelphia at the Prince Music Theater June 7 and 9 during the national Opera America Conference, with additional performances at the Academy of Vocal Arts on June 14, 16, and 17. It will be presented by Center City Opera Theater.

More after the jump.

Based on a true story depicted in the book, Not by the Sword by Kathryn Watterson, Slaying the Dragon is about a Grand Dragon of the Ku Klux Klan, who renounces violence and hatred because of his unlikely friendship with a rabbi and his wife. The opera is a powerful vehicle for confronting contemporary themes of tolerance, the dangers of inflammatory rhetoric and stereotyping, and the possibilities of atonement, forgiveness, and personal redemption. Both men undergo personal transformations and break from the prisons of their dark pasts. We are all too familiar today with the brutal landscape of intolerance: bullying, gay-bashing, terrorism, anti-immigrant sentiment, and flash-mobs. One way to confront and overcome these modern manifestations of intolerance is to take a contemporary and non-traditional approach-through opera, for instance.

Ellen Frankel“This opera is a powerful vehicle for confronting contemporary themes,” says Ellen Frankel, librettist for Slaying the Dragon. “Tolerance, the dangers of inflammatory rhetoric and stereotyping, and the possibilities of atonement and personal redemption.”

Although Slaying the Dragon is librettist Ellen Frankel’s first opera, she has been writing libretti for choral works for the past twelve years, working primarily with Philadelphia composer, Andrea Clearfield. In May 2000, the Los Angeles Jewish Symphony premiered Clearfield’s cantata, Women of Valor, which included two pieces by Frankel, “Sarah” and “Hannah.” In 2011, the Women’s Sacred Music Project commissioned Clearfield and Frankel to write a new movement, “Hagar,” for an adapted version of Women of Valor, which was performed in September 2011 at a Philadelphia abbey and synagogue.

In 2005, Philadelphia’s prestigious Mendelssohn Club Choir commissioned Clearfield to write a new oratorio; Frankel wrote the libretto. The resulting work, The Golem Psalms, inspired by the ancient Jewish legend of the Golem, premiered at the University of Pennsylvania in May 2006, performed by the Mendelssohn Club and the Philadelphia Chamber Orchestra, with Sanford Sylvan as baritone soloist, and has also been performed at Haverford College, Indiana University, and at Verizon Hall in the Kimmel Center. Frankel and Clearfield have signed agreements with Center City Opera Theater to develop a full-length opera based on the legend of the Golem, as part of CCOT’s Creative Development Projects.

The Five Books of MiriamJPS Illustrated Children's BibleThe Encylopedia of Jewish SymbolsThe Classic Tales: 4000 Years of Jewish LoreDr. Frankel is the author of ten published books, including The Classic Tales: 4,000 Years of Jewish Lore, The Encyclopedia of Jewish Symbols, The Encyclopedia of Jewish Symbols, The Five Books Of Miriam and JPS Illustrated Children’s Bible, which won the 2009 National Jewish Book Award. She served for eighteen years as the Editor in Chief and CEO of The Jewish Publication Society, the oldest and only nondenominational, non-profit publisher of Jewish works in English, and was named its first Editor Emerita upon her retirement in 2009.

Michael ChingIn writing the music for Slaying the Dragon, composer Michael Ching counters intolerance through the joy of music, bringing together a range of lively, eclectic, and wide-ranging styles. For his score, Ching drew from a variety of musical genres and sources-Yiddish folk songs, Vietnamese children’s songs, Jewish sacred music, Aryan rock, Broadway, and country-western tunes. Slaying the Dragon is Ching’s third full length opera.

Slaying the Dragon is the latest work to emerge from Center City Opera Theater’s Creative Development Projects, an ongoing series of new opera works that are brought from inception to fully-staged premieres. During the two-year development process, workshops for Slaying the Dragon included a libretto reading in June 2011, music workshops in September 2011 as a part of the Philadelphia Live Arts Fringe Festival and a second music workshop in January 2012, plus staged workshops in February 2012.