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his music "not original" since it was too dependent on external influences such as spirituals and Tin Pan Alley songs. But the same reviewer said the opening dance of second act was most effective, and called the third act the most original, showing off the composer's "inspired creative powers" with "effectively barbaric moments the music accompanying the voodoo ceremony." "various elements making a conglomerate rather than a homogeneous, well-fused score." Nevertheless, the combination of nineteenth-century
Italian-French style arias with Freeman's modernistic trends created an odd juxtaposition.
383:." He particularly condemned archaic-sounding language, such as the line "Ah, could I to thy for life but restore." Frankenstein then continued his review by describing the stresses carried by African Americans who must navigate a combination of racial inferiority and racial pride. He contended that these opposing forces can be heard in
379:, Alfred Frankenstein found the book formless (which he admitted was true of many operas) with most of the action taking place in the opera's final act, making the first two acts seem inconsequential. He criticized of the use of language among the characters, the leads singing in proper English while subsidiary characters sang in "
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detailed review heralded the production, calling it "another step toward establishing a distinct negro culture in this country." The review went on to note production limitations brought about due to lack of sufficient funding. The composer's style came in for harder criticism, the reviewer calling
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In general the reviewer found the plot complex but believable, while the libretto was generally good but at times "a trifle lavish." Of the singers, the review noted Doris
Trotman's "rich soprano" while Carlotta Freeman was good but with "weak high notes." While calling Valdo Freeman and Thomas R.
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varied its reportage of the time
Freeman had spent on composing the opera. Initially, the paper said "Although Professor Freeman has been prepared for years for the opportunity to present the negro in opera he has had to bide his time." After the opera had closed, the paper said that Freeman had
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as well as spirituals, although
Freeman's musical expression was hampered by the poor libretto. Frankenstein concludes on a condescending note recommending that Freeman read the music history of various nationalities as a means of raising African Americans' position within musical art.
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overseer on the plantation where they live. The voodoo queen, Lolo, is jealous and, seeing Cleota as a rival, tries to put her out of the way. A voodoo ceremony takes place during which Lolo and her associate Fojo distribute amulets and charms to participants, then retreat to a
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also felt that the "production amateur in spirit." The unnamed reviewer noted "The composer utilizes themes from spirituals, Southern melodies and jazz rhythms which, combined with traditional
Italian operatic forms, produce a curiously naive mélange of varied styles."
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The alternate cast for the staged presentation included
Rosetta Jones, Cordelia Paterson, Luther Lamont, Blanche Smith, John H. Eckles, Leo C. Evans, and Harold Bryant. Named participants also included the dancer Ollie Burgoyne, who had recently performed at the
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Costumes were supplied by
Chrisdie & Carlotta and F. Berner supplied the wigs. The executive staff included Robert Eichenberg, Leon Williams, Esther Thompson, Octavia Smith, Philip Williams, William Thompson, Grace Abrams, and Walter Mattis.
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The opera was first presented as a radio broadcast with piano accompaniment (played by
Freeman) on May 20, 1928, over station WGBS. The cast included Doris Trotman, soprano; Carlotta Freeman, soprano; Ray Yates, tenor; Otto Bohanan, baritone.
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highlighted how
Freeman had to pay for the production with his own funding, and questioned why the African American community wasn't more supportive. A letter from a reader also questioned why more African Americans did not attend the opera.
29:, it was first performed with piano accompaniment as a radio broadcast on May 20, 1928. The first staged performance with orchestra took place on September 10, 1928, at the Palm Garden (a temporary name for the 52nd Street Theatre) in
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Pierre Key reported that the production was "feeble" and "amateurish." But his estimation of the score was more positive: "A degree of rhythmic invention and facility for instrumental color are excellences this composer has." The
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been working on the opera for two years. The paper corrected itself later when it reported that he had completed the opera in 1914. (The finding aid for
Freeman's papers at Columbia University indicates a vocal score dated 1912.)
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Notices prior to the production's staged premiere mentioned a "company of over fifty people." Advertisements also indicated the company was to include fifty people, although this figure was reduced to thirty in later notices.
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noted that "the opera is not perfect." Its dependence on familiar styles resulted in the "impression of lacking a genuine authenticity and that it depends too much on outside influences to be completely Negro."
130:) had its first staged performance at the "Palm Garden" (apparently a temporary name for the 52nd Street Theatre) on September 10, 1928. Freeman conducted an orchestra of twenty-one musicians. The review in the
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reported that the opera was to illustrate "typical Negro life in the days of slavery, while the music includes spirituals, chants, arias, tangoes and other dances, among these a ritualistic voodoo ceremony."
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was written earlier and performed in 1903 (the score is lost). Although Freeman had written his first opera in 1891, the Joplin opera is thus far the earliest known opera by an African American composed
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to invoke the snake-god. Cleota is about to be put to death but is rescued by Mando and Chloe (Lolo's mother). Another attempt by Lolo to subdue Cleota results in the queen being shot.
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H. Lawrence Freeman Papers, 1870-1982, Series I: Musical scores, Rare Book and Manuscript Library Collections, Columbia University Libraries.
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said the presentation was "offered" by his son Valdo Freeman. One review referred to the producing company as the "Negro Opera Company Inc."
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Freeman was a talented African American musician, becoming assistant church organist at age 10. A seminal moment in his life was seeing
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by the Harlem Opera Theatre, Morningside Opera, and the Harlem Chamber Players. It was conducted by Gregory Hopkins.
51:. In 1891, at age 18, he completed his first opera. He continued to compose numerous operas during much of his life.
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Hall "the best voices of the evening," the review opined that "the performance was earnest rather than polished."
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was scheduled to run for a week with a matinee on Saturday. Apparently it had to close early for lack of funding.
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Alfred Frankenstein, "New York Hears First Negro Opera Company Sing "First Opera by Colored Composer","
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Calling it (incorrectly) the first opera composed, produced and sung by African Americans, the
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inspired other African American operas to surface. Just a month after the opera's premiere
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The African American press had more understanding words to say about the opera. The
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was billed as "the first American opera composed by an African American" (
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Michael Cooper, "Long-Unheard Harlem Renaissance Opera Coming in June,"
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F.D.P., "Negro Grand Opera Company Pleases in First Performance,"
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during a radio recital also broadcast on WGBS on June 25, 1928.
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The score was never published. The manuscript resides in the
644:"Valdo Freeman, Negro Barytone, In Father's Compositions,"
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clearly tainting some reviewers' opinions (such as that of
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Richard L. Baltimore Jr., "Broadcasts Negro Grand Opera"
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Dave Peyton, "The Musical Bunch—Freeman's Jazz Opera,"
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Echoing the uneven musical style in other reviews, the
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The "Negro jazz grand opera" (as it was called by the
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is an opera in three acts with music and libretto by
82:. Cleota, a house servant, is in love with Mando, a
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Premiere stage performance cast, September 10, 1928
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813:H. Lawrence Freeman papers 1870-1982 1890-1954
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796:"Another Negro Opera Planned For Broadway,"
783:, Race Opera, Closes After Short N.Y. Run,"
657:"The Negro Invades The Grand Opera Field,"
335:Contemporaneous responses were mixed, with
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753:Pierre Key, "Sharps and Flats,"
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766:Lydia Bass, "Freeman's Opera,"
387:as one hears the influences of
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757:(September 23, 1928), p. D1.
729:(September 22, 1928), p. 10.
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703:(September 16, 1928), p. G4.
587:(September 11, 1928), p. 20.
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522:"Lawrence Freeman's Opera,"
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648:(June 24, 1928), p. G6.
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622:(May 21, 1928), p. 11.
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743:(May 1, 2015), p. C3.
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670:"Negro Jazz Opera,"
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45:'s opera
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67:Synopsis
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37:History
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