Theresa Koon’s Promise Delivers
Opera is a fascinating medium that has taken many forms since its conception. The most memorable operas of the past and present have become staples in the repertoire through a combination of tangible and intangible elements: unforgettable music; imaginative scenery and costumes; spellbinding plots; and mesmerizing characters…
Fortunately, for those who love opera and desire to feast on new and exciting works, there are composers like Theresa Koon, the Oregon-based composer/librettist who has contributed to this much-loved medium with her new opera, Promise, about the sculptor Camille Claudel (1864-1943)…Koon is a rare breed of composer whose…professional acting and singing credits show a remarkable range of expertise in fields that have served to impact on the eloquence with which she incorporates the varieties of expression needed to create the world of the much admired, despised, and misunderstood Camille Claudel; the brilliant artist who showed much “promise” at an early age, became famous as a sculptor and infamous as the model and mistress of Rodin, eventually succumbing to mental illness (destroying every new sculpture she created), and spending the last decades of her life in French mental institutions before dying in 1943.
Koon’s pursuit of the subject of the opera seems less a choice than a fateful conjoining of unconnected events. Just after World War II her parents lived for a time in Chatou, France next door to the family of Paul Claudel’s son, Henri Claudel…Eventually, Koon reconnected with the Claudel family in France, who shared their remembrances, personal letters and their own research about Camille. She was also allowed to view private materials at the Rodin museum in Paris. From this curiosity and research came insight, inspiration, craft, imagination and eloquence that united to bring forth an extraordinary, artistic operatic experience, resulting in Promise.
A number of questions arose from these encounters with the elusive Camille and those who knew her. Was she really insane or a victim of commitment to Rodin and to her art? What are the subtle nuances in life that bring “promise” to fruition? Is one obligated to express one’s talent if one has “promise”? What is the role of art in society? Is there a correlation between art and sanity? What subtleties of mind and spirit are connected to creativity?
The composer did not write an opera that was simply a biography of Camille. Nor did she exploit the dramatic, volatile relationship between Camille and her mentor/lover Rodin, who was unwilling to marry Camille and felt threatened by her growing fame as a sculptor. Rather, she chose to delve into the questions about art and sanity, art and spirituality, and art in our society. Primarily, it is a story about love; an interpretative work about Camille through a factual account of important relationships and events. However, the conversations between characters are imaginary, interpreted dialog that bring the characters to life. The opera centers on the relationship between Camille and her brother Paul. Members of the Claudel family called them “twin souls”. Both were creative, forever tied in spirit. At the end of her life, Camille comes to a place of peace, somehow focusing on joy as seen in the light in her face during her final days. Paul was with her to the very end. During the course of the opera, Paul comes to realize that he can only love her, not take away her pain or save her. Once he stops trying to save her, Camille feels connected to him again, permitting her to see how much he loves her. This love transcends all of her suffering. She reaches out to comfort him and is able to love again. Some believe that it is that bond between the two that prevented Camille from committing suicide…
The opera is beautifully constructed with arias, duets, and ensemble pieces that depict Camille’s life, environs, relationships, and emotional turmoil. The roles require strong actors able to project the subtleties of nuance in the dialog sections. There are gorgeous, inspiring arias and scenes for the characters to express anger, loss, fear, insecurities, or joy in intimate and overtly dramatic situations. Koon’s compositional style is basically tonal but becomes angular when needed to project a wide emotional range. Equally effective instrumental writing that is never cloying or intrusive upon the vocal lines supports the strong and direct vocal writing. She uses the small instrumental ensemble in dramatically creative ways: underpinning the dialog sections with a single clarinet or violin that becomes an audible character in response to what has been said by the actors; as a reflective instrumental duet during onstage dramatic pantomime; or as a flexible instrumental ensemble capable of projecting every nuance of the text from the spiky, pointillism of articulated gossip to the soaring and lush harmonies that portray strong emotion…
Though Promise would be a rewarding undertaking for semi-professional or professional opera companies, it is particularly suitable for college and conservatory opera training programs…This is an opera demanding to be heard and seen. It has layers of meaning that listeners will want to discuss and music that will long be remembered. It is a versatile work that can be done in concert form or as a fully staged production. But the latter would be most satisfying and would serve to bring the fascinating Camille to life once again. After meeting her here, one can only want to know more about why she stayed alive at all.
–Sharon Mabry, PANPIPES, Fall 2006
Strong Work Makes a ‘PROMISE’ Fulfilled
PROMISE, an engaging new opera by Theresa Koon, considers the tormented journey of an artist going mad…The style is tonal and highly textured, by turns charming, jagged and haunting…Opera needs new works to refresh the art form, and “Promise” is exactly the kind that deserves a full production.
–David Stabler, THE OREGONIAN, April 18, 2004
Theresa Koon’s PROMISE Fulfills
The word “promise” can be used to mean several things. It can be a declaration that something will or will not be done, an indication of future virtuosity and distinction as in a singer shows promise, a reference to a pledge of some kind, or the expectation of an engagement, act, gift or stated outcome. Lastly, it is often used as an emphatic declaration (I won’t do that again, I promise you!). All of these usages appear, in some manner, in Theresa Koon’s new opera, Promise, about the sculptor Camille Claudel (1864-1943)…The Oregon-based composer/librettist, Theresa Koon, has an extensive resume that includes degrees and training in voice, composition, improvisation and acting, as well as ballet… These experiences and skills have contributed to the fluency and security with which she creates the world of the much admired, despised and misunderstood Camille Claudel, the brilliant artist who showed much “promise” at an early age. Claudel became famous as a sculptor and infamous as the assistant, model, mistress and muse of Rodin, eventually succumbing to mental illness (destroying every new sculpture she created), and spending the last decades of her life in French mental institutions before dying in 1943…
A number of questions arose from [Koon’s] encounters with the elusive Camille and those who knew her. Was she really insane, or a victim of a complicated commitment to Rodin? Did notoriety, responsibility to her art, or expectations of greatness cause her ultimate cessation of creativity? What are the subtle nuances and coincidences in life that bring “promise” to fruition? How much of the fulfillment of “promise” is fate? Is one obligated to express one’s talent if one has “promise”? What is the role of art in society? Is there a correlation between art and sanity? What subtleties of mind and spirit are connected to creativity? These are questions that all artists, their mentors and loved ones face when choosing a roadmap to help nurture a potentially great artist. Watching these ideas play out in Promise will give the audience much to think about concerning the development of talent and problems that arise when dealing with the innate sensitivity of the artist’s temperament.
This opera is not simply a biography of Camille. Koon did not focus on the intense, mercurial relationship between Camille and her mentor/lover Rodin, who was unwilling to marry her. Eventually, irreconcilable artistic and personal differences developed between them and Rodin felt threatened by her growing fame as a sculptor. Rather, Koon chose to delve into the questions about art and sanity, art and spirituality, and art in our society. Primarily, this is a story about love in all its forms, joys and disappointments; it serves as an enlightening work about Camille through a factual account of important relationships and events. However, the conversations between characters are imaginary, construed dialog that bring the characters to life.
The heart of this work concerns the relationship between Camille and her brother Paul. Members of the Claudel family called them “twin souls.” Both were fragile, creative spirits, forever tied. At the end of her life, Camille found mental, physical and spiritual peace. Those who were with her at the end of her life spoke of the joy that was seen in the light of her face during her final days. Paul was with her to the very end. Some believe that it is that bond between the two that prevented Camille from committing suicide. Near the end of the opera, Paul bets her to fight to live and she promises that she will. During the course of the opera, Paul comes to realize that he cannot take away her pain or save her; he can only love her. Once he stops trying to save her, Camille somehow reconnects with him and feels his love for her. This love transcends all of her suffering. She reaches out to comfort him and is able to love again. After having created and destroyed many sculptures, then becoming dormant for many years, she is suddenly able to create her final work, a sculpture of her brother’s face. It would be the only work she did not destroy from that period of her life…
This opera with thirteen scenes, several segues and interludes, and considerable connecting dialog is beautifully constructed with arias, duets and ensemble pieces that depict Camille’s life, environs, relationships and emotional turmoil. The various segments proceed seamlessly as the small ensemble of instruments is used to connect dialog with music, voices with voices, and characters with dramatic import. Koon uses the small instrumental ensemble in dramatically creative ways: underpinning the dialog sections with a single clarinet or violin that becomes an audible character in response to what has been said by the actors; as a reflective instrumental duet during onstage dramatic pantomime; or as a flexible instrumental ensemble capable of projecting every nuance of the text from the barbed pointillism of animated gossip to the ardent and lush harmonies that portray strong emotion. This pristine and flexible ensemble of instruments becomes the thread that holds the work together. It can be delicate at one moment and overtly harsh and dramatic at another. The singing roles require strong actors able to project the subtleties of nuance in the dialog sections. There are gorgeous, soaring, inspiring arias and scenes for the characters to express anger, loss, fear, insecurities or joy in intimate and overtly dramatic situations. The inclusion of elements of dance, voice and theater in this opera are natural outgrowths of the composer’s multifaceted training and professional life. Camille’s emotional changeability is often projected through the voices of the sculptures as the audience is allowed to view Camille’s circumstances and feelings as she sculpts them.
Koon’s compositional style is basically tonal but shows an easy ability to become angular when needed to project an extreme emotional range. The effective instrumental writing is never excessive or intrusive upon the vocal lines. Rather, it completely and satisfyingly supports the strong and direct vocal writing. Promise is a work that will be intellectually and musically gratifying for both singers and instrumentalists. The composer’s innate ability to write fulfilling music for each character and instrument is apparent and will be appreciated by those who perform the work…
This is an opera that deserves to be seen and heard. Its thought-provoking themes and memorable music will give listeners much to discuss and enjoy. It is a versatile work that can be done in concert version or as a fully-staged production. The latter would be more satisfying and would allow the fascinating Camille to come to life once again.
–Sharon Mabry, IAWM Journal Volume 12, No. 2, 2006.
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