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Research SCM |
Percy the Opera
All materials and documents on this website are copyright protected. Please contact Dr Anke Hoeppner-Ryan at [email protected], or Michael McNeill at [email protected], or John Matthews at [email protected] for permissions.
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Percy Role List by Michael McNeill
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Percy the Opera, Act 1, Scene 1
A news flash announces Percy Grainger’s death, ending with a photograph showing him as a child. The photograph morphs into the image of the young adult Percy who reminisces about the day of his fundraising concert in Melbourne that set him and his mother up to leave their home for Germany: Melbourne Town Hall on May 19, 1895. Concertgoers, excitedly chatting, fill the space. In the center stands adult Percy looking back to this day in his childhood. As the chorus sings praises to Percy's talent, he moves to the front of the stage to his piano. On the piano are manuscripts. Percy is absorbed in his thoughts while the music swells as the chorus exchanges gossip about Percy's lineage and talents. Men wave tickets in the air, eager to witness the young prodigy's performance. As they enter the Town Hall, their voices echo, emphasizing Percy's potential. Percy, absorbed in his manuscripts, expresses his devotion to creation, even as he laments the tedium of practice. The scene ends leaving the audience with a sense of anticipation and Percy's internal struggle. Director: Barry Ryan Opera School of the Sydney Conservatorium of Music 2022 Percy: Alexander Young Piano: Ingrid Sakurov, Jamie-Lee Xu Conductor: Omid Moheb-Zadeh Video: David Kim-Boyle Set & Story Board, Scene Description: Anke Hoeppner-Ryan |
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Percy the Opera, Act 1, Scene 2
In the intimate setting of Percy's childhood drawing room, adult Percy stands immersed in memories. Before his eyes, a scene unfolds: young Percy diligently practices at the piano, his mother, Rose, standing nearby, a stick in hand, ready to correct any mistakes with a swift strike. Suddenly, his slightly intoxicated father, John, bursts in, accompanied by the excited Nellie Mitchell (Melba), announcing her departure abroad to study singing. Tensions rise as Rose scolds John for disrupting Percy's practice, leading to a heated altercation between the parents. Sensing the tension, Nellie intervenes, diffusing the situation with her gentle demeanour. As a gesture of reconciliation, she suggests singing for them, accompanied by young Percy on the piano. Director: Barry Ryan Opera School of the Sydney Conservatorium of Music 2022 Percy: Alexander Young Rose: Olivia Swaine John: Yuan Gao Nellie Mitchell: Natasha Gesto Piano: Ingrid Sakurov, Jamie-Lee Xu Conductor: Omid Mohed-Zadeh Video: David Kim-Boyle Set & Story Board, Scene Description: Anke Hoeppner-Ryan |
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Percy the Opera, Act 1, Scene 3 The scene is set in the Hoch Conservatorium in Frankfurt in 1901 within a drawing room where Percy and fellow students from the Frankfurt Gang are gathered. Balfour praises Percy's choice of Paderewski and reflects on Karl Klimsch's influence on Percy's composions. The group engages in a playful refrain: “No theme in your head—don’t compose. No melody in your head—don’t compose. When the melody stops—you stop!” The group connues to tease Percy about his mother’s strong influence. Professor Klimsch enters with Professor Mueller, introducing him to the young men. While all shake hands, Mueller comments on their naonalies. Percy puts on a broad Australian accent and rattles Mueller, leaving his friends in hysterics. Mueller and Percy’s friends leave. Alone with Percy, Klimsch expresses concerns for his mother’s health. He hands him an envelope with money, urging him to travel with her. Klimsch insists on not wanng repayment. Director: Barry Ryan Opera School of the Sydney Conservatorium of Music 2022 Percy: Alexander Young Balfour: Robert Adam Cyril: Michael Burden Norman/Roger: Jeremy Boulton Professor Klimsch: Daniel Ott Professor Mueller: Michael Kaufmann Piano: Ingrid Sakurov, Jamie-Lee Xu Conductor: Omid Moheb-Zadeh Video: David Kim-Boyle Set & Story Board, Scene Description: Anke Hoeppner-Ryan |
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Percy the Opera, Act 1, Scene 5
The scene unfolds in a railway carriage with Percy seated opposite Herman and Alfhild. Percy listens intently to the rhythmic sounds of the wheels on the tracks as the train moves, finding beauty and music in the journey's rhythm. Alfhild, curious about Percy's photographs, asks to see more. Percy obliges, sharing pictures from his recital tour. However, when Alfhild comments negatively on one photo of his mother, Percy's demeanour subtly shifts, indicating a change in their relationship dynamics. Percy then expresses his defiance against societal norms and moral expectations, rejecting the constraints of religion and conventional morality. He asserts his identity as an Australian and his autonomy to define his own moral code. The scene ends with Percy's declaration of selfacceptance and defiance against societal expectations, highlighting his determination to remain true to himself despite outside influences. Director: Barry Ryan Opera School of the Sydney Conservatorium of Music 2022 Percy: Alexander Young Herman: Angus Ledgerwood Alfhild: Sophie Mohler Piano: Ingrid Sakurov, Jamie-Lee Xu Conductor: Omid Moheb-Zadeh Video: David Kim-Boyle Set & Story Board, Scene Description: Anke Hoeppner-Ryan |
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Percy the Opera, Act 1, Scene 6 Percy is bored and, on the deck of a ship travelling with Ada on their concert tour, feels restless. Ada notices his agitation and mentions that they will have performed 300 concerts once they finish their tour in South Africa. Percy, feeling the need to be productive, rejects the idea of idleness and opts to stoke the ship's fires instead. The scene ends with Percy heading towards the boiler room, symbolizing his need for activity and purpose amidst the confines of the ship. Director: Barry Ryan Opera School of the Sydney Conservatorium of Music 2022 Percy: Alexander Young Ada: Eden Shifroni Piano: Ingrid Sakurov, Jamie-Lee Xu Conductor: Omid Moheb-Zadeh Video: David Kim-Boyle Set & Story Board, Scene Description: Anke Hoeppner-Ryan |
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Percy the Opera, Act 1, Scene 8 Percy is haunted by voices calling out various city names in Denmark, reflecting the exhaustive itinerary of his performance schedule. A solo soprano voice rises above the rest, emphasizing the relentless cycle of performances. The intensity builds as the chorus repeats the mantra, with the basses punctuating the rhythm with the word “Denmark.” The list culminates in a crescendo, with the chorus declaring their final destination as Copenhagen with utmost fervour. The scene changes. In a complex web of relationships, Percy finds himself torn between his mother Rose’s expectations, his artistic commitments (embodied by composer Edvard Grieg and his wife Nina), and his erotic desire for his girlfriend, Karen. As Percy enters, the Griegs, Karen, and Rose eagerly await his arrival, each with their own desires and hopes. Percy exchanges warm greetings with the Griegs, expressing his readiness to rehearse Grieg's Piano Concerto. Meanwhile, Karen awaits Percy's attention, offering herself up for his desires. Rose, on the other hand, questions Percy's dedication and artistic resilience. Percy grapples with conflicting emotions as he moves between the Griegs, Karen and Rose. Edvard encourages Percy to embrace his free spirit; he and Rose emphasize the importance of finding balance in his life. Caught between these conflicting demands, Percy expresses his inner turmoil and self-loathing. As tensions escalate, his inner conflict reaches a breaking point, culminating in a haunting realization of his own identity and struggles. Percy's internal turmoil remains unresolved, leaving the audience to ponder his character's and relationships' complexities. Citation: Percy Grainger plays Grieg’s piano concerto A minor, op. 16 at 04:08-04:48 min. Director: Barry Ryan Opera School of the Sydney Conservatorium of Music 2022 Percy: Alexander Young Rose: Olivia Swayne Karen: Olivia Payne Ghosts: Elise Morton, Claire Burrell-McDonnell, Michael Kaufmann, Aidan O'Donnell Nina Grieg: Janine Harris Edvard Grieg: Aidan O’Donnell Soprano Solo: Eden Shifroni Piano: Ingrid Sakurov, Jamie-Lee Xu Conductor: Omid Moheb-Zadeh Video: David Kim-Boyle Set & Story Board, Scene Description: Anke Hoeppner-Ryan |
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Percy the Opera, Act 1, Scene 10 Percy stands before a board in a classroom-like setting. As the characters call out familiar musical terms, Percy replaces them with his own invented words, emphasizing his desire for simplicity and purity in language. The exchanges between Percy and the characters take on a lively and fast-paced tone. Percy playfully reimagines each musical term. He rejects traditional musical terminology's elitism, advocating for clarity and accessibility. Nina Grieg enters, offering Percy a gold watch and chain as a gift from her deceased husband Edvard. Her gesture underscores the respect and admiration Edvard held for Percy. Director: Barry Ryan Opera School of the Sydney Conservatorium of Music 2022 Percy: Alexander Young Nina Grieg: Janine Harris Piano: Ingrid Sakurov, Jamie-Lee Xu Conductor: Omid Moheb-Zadeh Video: David Kim-Boyle Set & Story Board, Scene Description: Anke Hoeppner-Ryan |
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Remaining Archival Audio Recordings act 1, Scenes 4, 7, 9, 11
Musical Quotes as recounted by John Matthews
Examples of Musical Quotes used in Percy – The Opera, Act 1 (John Matthews) All works mentioned here are by Percy Grainger, unless another composer is indicated. Scene 1 Grainger: Mock Morris – bar 1 Grainger: Lord Peter’s Stable-Boy – bar 23 Grainger: Country Gardens – bar 104 Scene 2 Bach: Cantata “Sheep May Safely Graze” – bar 1 Bach/Gounod: “Ave Maria” – bar 41 Scene 3 Grainger: The Lads of Wamphray – bar 1 Grainger: Gay but Wistful – bar 25 Wagner: Tannhauser Overture – bar 126 passing reference Grainger: Gum Suckers March – bar 137 passing reference Haydn: German National Anthem – bar 141 passing reference Rule Britannia – bars 146, 150 passing reference Scene 4 Grainger: Mock Morris – bar 239 Scene 5 Bars 169-171 Passing references to Advance Australia Fair and Waltzing Matilda Scene 6 Grainger: Jutish Medley – bar 1, and again bar 88. Bach/Gounod: Ave Maria – bar 18 Chopin: Polonaise in Ab Op 53 – direct quote bar 32… Scene 7 Grainger: English Waltz – bar 1 Grainger: Power of Rome & Christian Heart – bar 56 Scene 8 Grieg: Piano Concerto – bar 1, direct quote bars 165-174. Grieg: Wedding Day at Troldhaugen – Bar 116 passing reference Grieg: Norwegian Dance Op 35, No 2 – bar 124 passing reference Scene 10 Elgar: Pomp & Circumstance (Land of Hope & Glory) – bar 20… Grieg: The Last Spring – bar 128 Scene 11 Grainger: The Warriors – bar 68 Grainger: Colonial Song – bar 89 Text references as recounted by Michael McNeill
Quotations and their sources* from Percy The Opera as recounted by MichaelMcNeill *Letters and books 1. “Piano practise…I hate”.Percy, p. 4 2. ‘“You are as florid as Mendelssohn,” He said’Percy referring to Karl Klimsch, p. 8. 3. “No theme in your head – don’t compose.No melody in your head – don’t compose. When the melody stops…you stop No prelude No interlude Just the pith of the music all the time” Percy, p. 9 4. “Aym from Arestraylya Mite”Percy, p. 12. 5. “You reprobate”Rose (letter to John), p. 15 6. “Why could not you simply have me shot”; paraphrased from Rose’s doctor as written to John, “Why could not you simply have her shot?” 7. “I am a fraud and a liar”.Percy, p.21 8. “Oh my! She looks like a devil!”Alflild, p.22 9. “Developing Personality?”I will not have a jot Of your anglo-saxon morality. Its goodgoodyness and cant. That book, your bible, Makes a good door stopper – I’ll none of it ere I come a cropper. My Grandmother was a blue-eyed atheist, I was not taught enough religion to harm a cat; I cannot concur with what you insist And that simply is all there is all there is to that. I am a complete enigma to myself. A riddle I do not wish to be solved. No commandments: tenth, eleventh, twelfth, Do I follow so here’s what I resolved I don’t care a straw about God About eternity I don’t have to behave morally. I am good. I am good. I am complete as I am – I am an Australian. Percy (letter to Alfhild) p.23 10. “How I hope to earn such suffering As my elders have gone through” Percy letter to Roger, p.27 11. I am personally an example in music Of all, everything, everything I hate; I really ought to be burnt at the stake I can’t help what I am. Percy, p.34 12. “Blue roses” Rose and Karen, p. 35. 13. “Don’t reprimand For I am a Socialist A Pacificist A Democrat…. All labels at demand. “Oh, and give me blue-eyed English In England it is so unBritish Yes, give me blue-eyed English No Greek or Latin words…. To be truthful in all things Leaping towards where truth begins So, if this be lust, for which I live, Then I live for it so please give Me back the pre-Norman edifice That speaks not of artifice In such principles I trust You will now speak English as I must (EACH CHARACTER DELIVERS HIS/HER WORD(S) IN NORMAL ENGLISH VOCABULARY, FOLLOWED BY PERCY’S “PERCY’S BLUE-EYED ENGLISH - SOURCED FROM MULTITUDINOUS LETTERS AND BOOKS. P. 38-42) 14. As for me I play My key hammmerstring dish-ups As soft or louden as I want and greedily. To hell with tone-art-judges; They have no fury feelthily But soft what light through yonder music breaks It is the truth of Hastings-freed English takes. Percy, p. 42 15. Just heard your colonial song… At the prestigious Torquay festival You’ve achieved the almost impossible. Out of all possible musical climes You’ve written the worst piece of modern times. Thomas Beecham to Percy (reporter present) 16. ALL LINES COME FROM THE BEGINNING OF ROSE’S LETTERS. P. 63-64 17. “You’re the only one I like”. Percy (dying words) p. 98 |
Opera School of the Sydney Conservatorium of Music 2022
Piano: Ingrid Sakurov, Jamie-Lee Xu Conductor: Omid Moheb-Zadeh Video: David Kim-Boyle Facilitator: Anke Hoeppner-Ryan |