I’ve set up a Julia Perry Working Group on Humanities Commons. You can access the group here, where you’ll find a discussion board, a list of members, and my complete files of Perry’s music. These are all downloadable, and I’ve provided citation information including copyright and dates of composition where I have them.
I hope this is useful for anyone interested in Perry’s life and work, and helps facilitate the study of her music.
Composer Lisa Neher and Librettist Kendra Leonard present the One Voice Project Virtual Micro Opera Festival, a weeklong festival of micro opera world premieres. Every day from March 22-26, a new 5-minute unaccompanied opera written by Neher & Leonard will be released on YouTube.
The operas feature acclaimed opera singers from across the United States, including tenor Hugo Vera (Metropolitan Opera), mezzo Margaret O’Connell (Center for Contemporary Opera), soprano Audrey Yoder (Pacific Opera Project), tenor Zach Finkelstein (New York City Opera), and mezzo Lisa Neher herself (Opera Theatre Oregon).
The festival channels the artistic brilliance of opera singers who have frequently found themselves without work and artistic outlets during the pandemic. Each opera is a self-contained story, with plots that address women in sport, the life of musicians during the pandemic, and resilience in the face of obstacles. Several works were composed in collaboration with the singers, with plots drawn from their experiences over the last year. These operas are offered through a Pay as You Can model as a way to make opera accessible to all.
Immediately following the final release on Friday March 26, audiences are invited to a donation-based Talkback and Q&A Reception with the artists, hosted by Gina Morgano of the Practice Parlour Podcast.
| WHAT: | The One Voice Project Micro Opera Festival |
| WHEN: | Mon March 22 – Fri March 26, 2021 |5:00 PM PDT: Operas Released Daily
Fri March 26, 2021 | 5:10 pm PDT: Zoom Talkback and Q&A Reception |
| WHERE: | Operas Released as YouTube Premieres: https://www.youtube.com/LisaNeher |
| COST: | Pay as You Can. We invite you to make a donation to @Lisa-Neher on Venmo or lisanehermusic@gmail.com on PayPal in support of the artists. Consider donating your one-hour salary. All proceeds will be split evenly between the artists. |
| TICKETS/LINK: | https://forms.gle/Ks8HZN193bQ72URUA
Register to receive a link to each day’s micro opera premiere and to RSVP for the Talkback and Q&A Reception with the Artists. |
Schedule:
| Monday, March 22 | 5:00 pm PDT | Wide Awake in a New City: Hugo Vera, Tenor |
| Tuesday, March 23 | 5:00 pm PDT | Par for the Course: Audrey Yoder, Soprano |
| Wednesday, March 24 | 5:00 pm PDT | Momentum: Lisa Neher, Mezzo-Soprano |
| Thursday, March 25 | 5:00 pm PDT | Woman Waits with Sword: Margaret O’Connell, Mezzo-Soprano |
| Friday, March 26 | 5:00 pm PDT | Now Available: Zach Finkelstein, Tenor |
| Friday, March 26 | 5:10 pm PDT | Talkback and Q&A Reception with the Artists, Hosted by Gina Morgano of the Practice Parlour Podcast |
Program Notes
Wide Awake in the New City
When you move to a completely new place in the middle of the Covid-19 pandemic, things are not exactly normal. Raul struggles to unpack and settle into his apartment, wondering if he can serve his students while teaching virtually and finally questioning what he’s doing in his life. His despair turns to excitement and hope with a little change of view.
Wide Awake in the New City acknowledges the uncertainty and doubt we all feel while keeping the flame of hope alive for the future.
This opera was written for tenor Hugo Vera and is based in part on his own life experiences moving during the pandemic. Thanks to Hugo for suggesting the inclusion of Spanish phrases in this opera and consulting on grammar.
Par for the Course
One of the greatest athletes of all time, Mildred Ella “Babe” Didrikson Zaharias excelled at every sport she tried. She won two gold medals in track and field at the 1932 summer Olympics and later turned to golf, winning 10 Ladies Professional Golf major championships. She often faced sexism in her work and from reporters who criticized her involvement in athletics and her unladylike personality. Known for her brash confidence, she would often say at competitions, “Okay, Babe’s here! Now who’s gonna finish second?”
Sport has played an important role in both of our lives and we are passionate about representing women in sport on the opera stage. We were drawn to Babe by her confidence, her passion for sport, and her example of excellence in spite of a society that was often against her. This micro-opera envisions the moment in which Babe learns that her attempt to qualify for the U.S. Open has been rejected.
Par for the Course was written for soprano Elisabeth Halliday-Quan for Rhymes With Opera’s 2020 Pocket Opera Workshop.
Momentum
In 1967, Kathrine Switzer became the first woman to run the Boston Marathon as an officially registered competitor, registered under the initials “K.V.” Switzer. At this time, her own coach believed that a marathon was too far for “fragile women” to run, even though Roberta Gibb had become the first woman to run Boston (without a registration) the year before.
During the race, Kathrine was attacked repeatedly by race manager Jock Semple, who yelled, “Get the hell out of my race and give me those numbers!” (referring to her race bib, number 261). As her boyfriend at the time, Tom Miller, fought him off, Switzer describes feeling frozen with fear and embarrassment in the face of the assault. She wondered briefly if she should quit, but she kept going, finishing in 4 hours, 20 minutes.
After her run, women were banned from racing in men’s events. In 1972, the Boston Marathon established an official women’s race.
Woman Waits with Sword
Woman Waits with Sword celebrates self-reliance. In 17th century France, Alberte-Barbe D’ernécourt, Dame (noble lady) de Saint-Baslemont, has been protecting her people from invaders during the Hundred Years’ War. But when an intruder tries to claim her home and ignores her because of her sex, she becomes the Chevalier (knight or noble lord—assumed to be a man) de Saint-Baslemont and challenges him to a duel he cannot turn down.
This opera was written for mezzo-soprano Margaret O’Connell.
Now Available
A singer stuck at home expresses anxiety and frustration about his musical career and the treatment of artists by opera companies and ensembles. He wonders how Covid-19 will change the shape of future performances and how to create art during such a challenging time. Amid these struggles, he finds a reason for optimism.
This opera was written for tenor Zach Finkelstein, and the plot was developed in conversation with Zach about his experiences and feelings as a professional singer dealing with the artistic and career ramifications of the Covid-19 pandemic.
UPDATE: All of the PDFs I have are now posted at the Julia Perry Working Group on Humanities Commons at https://hcommons-staging.org/groups/julia-perry-working-group/documents/. I’ve also uploaded a more complete works list to the Working Group site.
I know, I said I wasn’t going to do work on Julia Perry, but that doesn’t mean I can’t help other people research her music and life. Or maybe make an edition or two. So here is a list of the copies of manuscripts I have, a beginning of a works list for her. This list is compiled from the Walker Hill Collection at the American Music Research Center at the University of Colorado-Boulder, and other documented sources (such as the presumed lost Viola Sonata, which is referenced in documents of the Conservatoire Américain de Fontainebleau). You’ll notice that these do not have dates–I’ll try to add those as I I discover them. I have PDF copies of all of these; please email me if you want any of them.
As far as permissions for recording or creating editions of Perry’s works, well, the situation is difficult. In her 1992 book Piano Music by Black Women Composers: A Catalog of Solo and Ensemble Works, Helen Walker Hill lists Lucie Perry Bigbie as the representative of Perry’s estate. I have not been able to locate this person anywhere, which leads me to think that Perry’s works may be orphan works. However, I searched the Copyright Office’s Public Catalog, and there is also no record of many of her works being copyrighted, which puts them in the public domain.
A Partial Works List for Julia Perry
“Alleluja” for Medium Voice and Organ. Full Score. Manuscript. Dedicated to Virginia Shuey.
“Be Merciful Unto Me, O God” for Chorus of Mixed Voices, with Soprano and Bass Solos. Piano-vocal score. Printed.
The Beacon, for 2 English Horns, 2 Tenor Saxophones, 2 Bassoons, and 2 Trumpets. Full Score. Manuscript.
“By the Sea,” for High Voice and Piano. Text by Perry. Full Score. Printed.
“Carillon Heigh-ho” for four-Part Chorus of Mixed Voices (divided). Full Score, with piano for rehearsal only. Printed.
The Cask of Amontillado. Opera in One Act. Libretto by Julia Perry and Virginia Card. Full Score. Printed.
Contretemps for Orchestra. Full Score. Manuscript.
Concerto for Piano and Orchestra in Two Uninterrupted Speeds. Full Score. Manuscript.
Concerto No. 2 for Piano and Orchestra. Full Score. Manuscript.
Concerto for Violin and Orchestra. Full Score. Manuscript.
Concerto for Violin and Orchestra. Piano-violin reduction. Manuscript.
A Dance for Chamber Orchestra. Full Score. Manuscript.
Divertimento for Five Wind Instruments. Full Score. Printed. Edited by Helen Walker Hill and Christopher Hahn.
Fisty, a play. Typed text.
Frammenti: dalle lettere di Santa Caterina for “piccolo orchestra, coro e solo voce (soprano)’. Full Score. Manuscript.
“Free at Last.” Voice and piano. Printed.
“Graves of Untold Africans.” Typed text.
Homonculus C. F. for Percussion and Harp. Printed.
Homage to Vivaldi for Orchestra, Full Score. Manuscript.
“How Beautiful are the Feet.” Voice and Piano/organ. Full Score. Printed.
“Hymn to Pan” for SATB and organ or piano. Full Score. Manuscript.
“I’m a Poor Li’l Orphan in this Worl,’“ for Voice and Piano. Full Score. Printed.
“Lord! What Shall I Do.” Voice and Piano. Full Score. Printed.
“Miniature” for Piano. Full Score. Printed.
“Parody,” for Voice and Piano. Text by Patricia Sides. Full Score. Manuscript.
“Pastoral,” for Flute, 2 Violins, 2 Violas, Cello, and Bass. Full Score. Printed.
“Our Thanks to Thee,” Anthem for Thanksgiving, or General Use for Chorus of Mixed Voices, with Contralto Solo. Vocal-organ score. Printed.
“Popping Popcorn,” for Piano. Full Score. Manuscript.
Prelude for Piano. Full Score. Manuscript.
“Quartette” for Wind Quintette (Flute, Oboe, Bb Clarinet, Eb Alto Saxophone, Bassoon). Full Score. Manuscript.
Quinary Quixotic Songs (formerly Tryptich) for Bass-Baritone and Five Instruments (Flute, Bb Clarinet, Viola, Baritone Horn, Piano). Full Score. Printed. Edited by Helen Walker Hill and Christopher Hahn.
The Selfish Giant: a Sacred Musical Fable in III Acts. Piano-vocal score. Manuscript.
“Serenity” for Bb Clarinet. Full Score. Manuscript.
“A Short Service,” from The Mystic Trumpeter, for Tenor and Trumpet. Full score. Manuscript.
“Short Piece for Orchestra.” Full score. Manuscript.
Sonata for Viola and Piano. Lost.
“Song of Our Saviour,” for Chorus of Mixed Voices Unaccompanied. Full score with piano for rehearsal only. Printed.
Soul Symphony. Parts. Manuscript.
Soul Symphony II, III. Full Score. Manuscript.
Soul Symphony. Full Score. Printed. Edited by Helen Walker Hill and Christopher Hahn.
“Spreading Peanut Butter,” for Piano. Full Score. Manuscript.
A Suite Symphony for Orchestra. Full Score. Manuscript.
Symphony No. 4. for Orchestra. Full Score. Printed. Edited by Helen Walker Hill and Christopher Hahn.
Symphony No. 13 for Wind Quintet (Flute, Oboe, Bb Clarinet, Eb Alto Saxophone, Bassoon). Full Score. Printed. Edited by Helen Walker Hill and Christopher Hahn.
Symplegades (opera). Sketches. Manuscript.
Symphony in One Movement for Violas and String Basses. Full Score. Manuscript.
Three Spirituals for Full Orchestra. Full Score. Printed.
Three Spirituals for Full Orchestra. Parts, some identified and some not. Manuscript. Two files.
“Ye, Who Seek the Truth,” for Chorus of Mixed Voices, with Tenor Solo. Vocal-organ score. Printed.
