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There is more to the story.......... TERRY QUINN |
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| What librettists do. | ||||||||||||||||||||||||||||||||||||
| Channeling John and Abigail | ||||||||||||||||||||||||||||||||||||
| The connection of composer to librettist and how/why the music came to be: | ||||||||||||||||||||||||||||||||||||
| Gary S. Fagin: Terry and I were brought together by a mutual friend. I was quite taken by his unique literary voice. I first set to music some of his NewYorktown poems, of which Jane is one. "A Distant Love: Songs of John and Abigail Adams" followed, from which tonight’s excerpts are taken. | ||||||||||||||||||||||||||||||||||||
| Terry Quinn: “Still Get a Rush and “Hold On" Back in 1981, when my wife Jane and I started Quinnart Productions, I wrote the book, lyrics and music for a show called A Second Chance, which included the songs “Still Get a Rush�?and “Hold On.�?That music theater work had productions in Washington, DC and Savannah prior to a joyous Off Broadway run at Manhattan’s Colonnades Theater. All performances starred the inimitable Ann Semke Johnson | ||||||||||||||||||||||||||||||||||||
| Terry Quinn for the late Stephen Paulus: “Lullaby for Pearl" Mere days after the amazing Stephen Paulus told soprano Elizabeth Dabney and me he would compose Hester Prynne at Death for its 2004 world premiere in New York, he wrote the music for an aria deep in my libretto: “Lullaby for Pearl". Even as he played it for us in his Lincoln Center studio, we knew the whole opera would be beautiful. | ||||||||||||||||||||||||||||||||||||
| Richard White: 6/19/10 Hi Terry, “Many years since we've been in touch" 6/21/10 Hi Richard, “I'm working with a number of composers now and really loving it. Want to collaborate on something? I have a piece called Legendary Deaths -- three operatic scenas -- that might suit you. Lemme know". The rest is history. |
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| Tom Wallace: Having received Terry's advice on another project, I set his gorgeous To You, offering it as thanks and “also as an audition of sorts: a bid for you to consider sending something else my way. I would love to work more with you!" Thus was born Songs of Loss & Love. | ||||||||||||||||||||||||||||||||||||
| Matthew Harris: In 2010, Terry and I first met over a possible opera project and agreed on a free adaptation of the Cain and Abel Story. I started composing from Cain’s “Am I my brother’s keeper" and from there Terry and I worked in close collaboration, meeting weekly for about nine months. | ||||||||||||||||||||||||||||||||||||
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