Lieutenant Marshall, returning home after fighting for the Confederacy, finds only despair and disarray. His attempts to help his loved ones end in disaster. Based on Dostoyevsky's 'The Idiot.'

 

CAST

Philip Marshall, Lieutenant in the Confederate army
Mr. Hannon, a Southern gentleman
Mrs. Hannon, his wife
Maritha Hannon, their daughter
Jonathan Hannon, their son
Wellington, servant in the Hannon house and a former slave
Lucius, a Northerner, owner of a bordello
Rosellen, his mistriss, formerly betrothed to Philip
Andrew, a Union soldier
Liz and Amy, Southern women of easy virtue
A Very Drunk Man, patron of the bordello
Dr. Norris, head of a Southern Sanatorium
Nurse

Non-speaking parts: Strollers, revelers

ACT I
The winter of 1866, shortly after the end of the Civil War. Somewhere in the State of Virginia.

ACT II
The same, about three weeks later.

All action, except the Prologue and Epilogue, takes place in the minds of Philip and Mrs. Hannon

 

Ordering from G. Schirmer

Scenes from and Reviews of the World Premiere, Chatauqua Opera Association (1974)


Directed by Leonard Treach
Conducted by Wolfgang Schantzer

OPERA NEWS, OCTOBER 1974

By E. Thomas Glascow

ON JULY 12 came the world premiere of Seymour Barab's Philip Marshall, a timeless, engrossing drama (libretto by the composer) about a Civil War veteran who, on returning home, finds life irrevocably altered by the conflict. Sandwiched between a spoken prologue and epilogue (Mrs. Hannon's visit to the doctor of the mentally crippled hero), the opera unfolds as flashback in the minds of Philip and Mrs. Hannon; a single, functional set served through the two long acts, with blackouts and prop changes behind one of the spotlit characters carrying on a sort of memory trip. The opera seemed tailor made for television.
  Barab's lyrical, tastefully orchestrated score (with arias and ensembles) got sensitive treatment from the large orchestra under Wolfgang Schanzer. In the role of Maritha--the naive impetuous girl in love with Philip--Julia Lovett proved herself a singing actress of the highest caliber, with a soprano voice of exceptional purity and range. The other roles were well filled, from Theodor Uppman's sympathetic, war-weary hero to tenor David Griffith's war-dodging prodigal son, Jonathan Hannon. Soprano Suzanne Blum sang a passionate Rosellen (Philip's fiancé-turned-madam), and as Lucius, baritone Ronald Holgate developed from sinister bordello owner to heartsick, jealous lover...

 

 

MUSIC JOURNAL, SEPTEMBER 1974

'Philip Marshall' will endure; production a credit to Chautauqua, opera in general

by Robert Cumming


'PHILIP MARSHALL' will endure. This opera's sole creator, composer Seymour Barab, wrote his own libretto--and it is a gem...Barab's resourcefulness was matched by admirable restraint. His book was compassionate, natural, highly singable and splendidly complemented musically--both vocally and orchestrally...
  This Civil War piece is allegorical and will remain timely as long as there is fresh memory of war. It partly concerns a son who didn't go to war because he objected to killing. A moving experience, with in-depth characters, the book searches for the elusive, twosided coin of Truth. This Menotti-ish, mainstream modern work should be of immediate interest to all major U.S. opera companies. It can be produced with a single set, is grateful to the voice (and ear), and belongs in the company of Ward's 'The Crucible' and Floyd's 'Susannah'. It definitely deserves a major spot in the celebration of this cultural infant's Bicentennial...
  We'll be hearing more of Philip Marshall. He may be ficticious, but he is believable. He may not appeal to those of the avant-garde or their champions among some critics. But I couldn't help but notice the inscription above the proscenium in Norton Hall, which served as a symbolic halo for the entire production: "All passes: Art Alone Endures."

 

 

 

MUSIC JOURNAL, May 1975

Barab Opera Wins Praise

By Gerald Heglund

THE EYES of opera lovers, music critics, the musically curious throughout the States were focused on the date of July 12, the world premiere of Seymour Barab's first full-length opera, Philip Marshall...In discussing the plot the composer took note of its basically being a story of a man with the highest principles who wants to put them into practice on his return from the Civil War. "He has a different set of values now. Determined to right the wrong of the immediate past, his efforts are doomed to failure. The world is not ready for him. I suppose," Barab continued thoughtfully, "you might even call him a fanatic for he is unyielding in his devotion to do good. This results in tragedy."
  Theodor Uppman defines Philip Marshall as one of the finest operas to be written in many years. "Each character is so well established through the story and the music. As for Philip himself, one must realize that one must create the feeling that he is not going to reach through to his friends with his ideals. He is seeking the unattainable, not being realistic, yet does not feel superior." Uppman concurs with his wife, Jean, who watched the opera come to life, that the opera further proved English is a beautiful language to sing, especially if well written, and Barab has put powerful theatre to music with Philip Marshall.

Ordering from G. Schirmer