Given the periods rich musical heritage, was it a chance to produce a uniquely American opera?
Steinbeck’s language is so American that it calls out for American roots music. It’s already a stretch to put this story on at an opera house. We wanted it to be gripping and emotional, powerful and political — and the key was melody. Over the years, many classical composers had tried to get the rights to make an opera of The Grapes of Wrath, but the estate never granted permission; they felt it needed a particular sound. When they heard Ricky Gordon’s music that was it. What are the great issues here? Hurricane Katrina hit when we began writing the score and libretto. And the way some of our elected officials responded, namely, “It’s a natural disaster, these things happens, it’s not our fault” is the same mind-set Steinbeck lambastes in his novel. There is no one “villain” in it. Instead, it’s the pass-the-buck system, where no one is willing to take responsibility for the tragic neglect besetting the people. During the Bush years, that mentality was in overdrive: Social services we
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