To try to give it some authenticity, I'm incorporating a sort of Aztec - Maya atmosphere. I realize they are not the same. :)

However, I'm drawing upon Aztec dance and music. Right now, I'm taking "class" in Aztec dance, making music transcriptions of the music.

It's very interesting. The group that I'm with, does not see it as simply an art form, but part of a ritual. Truly Magical to be in the room with them.

They greet the four elements and IT begins.  I'm hoping to use these experiences in completing the final scene.

I hope you can come.

I trust Western Stage so I'm sure it will be fine.

I'm still working on the orchestration. Writing it for a 12 piece ensemble is tricky. I hear a 40 piece ensemble, but that is not musical theater.

SUMMER WORKSHOP 07

At Western Stage ( the theater company that' producing the work), we had a workshop of scenes from the second act. The performers were quite committed to the process.  No audience was allowed to view the work which was different for me. Usually, I do get feedback from the audience after a workshop. I find it very useful.

In any case,  it was interesting.  It's very much developing like a hybrid between musical theater and opera. It reminds of the structure of Soundheim's Sweeney Todd, a masterful work.  Unlike the first act, most of the second act is either sung or underscored.

The first scene of the second act is underscored with song interspersed. It opens with Sara, Maria's daughter, coming to the Dead Forest. ( Note: Sara is the child that will be sacrificed to the river). The Shaman has tricked young Sara to leave the safety of her home.  She is searching for a bird, hidden in the shadows of the great Ceiba Tree. The bird is the Shaman's familiar, his helper. In this scene the Shaman reveals that there was girl much like her that once lived in this ancient forest.  When she left and deserted her kind, the river left this place. Both the Xochil, the indios that lived here, and the forest soon died. The legend, he tells young Sara, is that it is foretold that one day a child of sweet and tender age shall sing the ancient blood song of the river and when she does, the river shall return and the people shall rise again. Little does Sara know that her mother, once known by her Xochil name - Sichwa, was the little girl that left so long ago. She left because she fell in love with an earth walker - one whose skin is as white as the utahl sand.

Well, that'a lot of info.

I'm pretty much finished with all of the music with exception of the final scene - the sacrifice of Maria's only child to the GREAT RIVER.

I'd very much appreciate any feedback or questions.

Till next time.

Most tell it this way,

"She was a beauitiful Indian woman who was betrayed by her husband. She goes mad with grief and seeks to destroy all that represents her love with him. In the end, she kills her child and forever after, searches the world for the child"

I instead ask the question, what forces brought her to this place. What is predetermined? What is it her fate? I ask the question did she have any choice? Do we have any choice or do the gods determined for us the day we were born?

My Version - Mexico late 19th century.                                                                    She was of the great Xochil people, wedded to the River. When she went with him,  a man of Spanish lineage,  the River felt betrayed and was determined to seek its revenge on her and all of her kind.  It would force her hand and leave her no choice but to sacrafice her only daughter - Sara.  Sara - Sara. 

I must also say that it was a challenge to produce it. I had received an SF Arts Commission grant and it was not enough to cover all the expenses. Fortunately, the artists and artistic team were very giving of their time. It was truly a collaborative effort.

I had hoped that the folks at SF Opera would come to see it. They were invited by colleagues of mine connected to SF Opera, but they declined to come to the presentation.

On a side note, SF Opera, in partnership with Opera America had a "special day" for Opera Composers to meet Gockley a few months back, but I did not go.  I've been to these kinds of events before. Great discussion, but rarely any initiatives  of substance come out of it.

However, Speight Jenkins from Seattle Opera  and Ian Campbell from San Diego Opera were kind enough to reply regarding producing La Llorona.



As it turns out, a theater company decided to produce the work, though they new it was being written as an opera. Rebecca Nelson had done work for them and told them about it. In one meeting, they decided not only to produce it, but to commission me to complete the work.

And so, my journey has begun  - to explore the work and explore what form it will take.  This summer we have been working on a few scenes to get to know one another and to know the work.