The Sun, the Wind, and the Man with the Cloak

The Sun, the Wind, and the Man with the Cloak (SWMC)

In May 2017 Pax Christi Chorale gave me a beautiful parting gift: a commission to write a big new piece for them. Here’s what happened.

De-programming with my colleague Paul Ciufo at O’Brien’s Irish pub after our first operatic project The Llandovery Castle, I recalled a childhood storybook shared with a group of wide-eyed, cross-legged kids in the public library. Book upon her knee, the librarian entranced us with Aesop’s ancient fable of ‘The Sun, the Wind, and the Man with the Cloak.’

The Story

Two elemental protagonists, arguing about who is more powerful, wager they can make a passing man remove his cloak. The Wind blows cold and violent, only forcing the Man to clutch his cloak more tightly. The Sun beams her warm radiance, and the Man willingly sheds the garment. The moral comes back to me time and time again when dealing with difficult situations: “It is better to use persuasion than force!”

Paul’s challenge was to take a simple story and spin it into a libretto engaging enough to sustain an hour of music. Paul rose to that challenge, exploring the character and motivation of the two major characters, and asking a key dramatic question: who is the Man, and where is he going in that mysterious cloak?

The Workshop

We organized a libretto workshop, engaging the assistance of three actors, Christopher Spaleta, Suzanne Daniels and Geoffrey Armour. After a sumptuous dinner courtesy of Monday Night Dining, we read through the script. A lively discussion ensued around the question of gender stereotypes: the blustery Wind, a male actor; the Sun, a compassionate female. What would happen if the roles were reversed? We re-read the play with Suzanne taking the role of the Wind, and Chris representing the Sun. We all agreed it didn’t ring true, reinforcing Paul’s initial instincts to parody real-life characters. (Perhaps inspired by current American politicians?)

In any oratorio the chorus must have a major role. We took inspiration from Mendelssohn’s Elijah, where the chorus serves as cheerleaders in a competition. In our contest the SSA women’s chorus supports the Sun, and the TBB men’s chorus supports the Wind. The Man is supported by the amorphous presence of children who sing briefly, and re-appear as joy-bearing sunflowers.

The unexpected twist in Paul’s interpretation is his treatment of the Man. It is a moving tale of regret, ritual and recovery.

The Music

After the libretto was polished it came to my desk for the musical treatment. Since SWMC is fantasy, unrestricted by human or historical setting, I allowed my imagination to exploit diverse influences: nature sounds, gamelan, gospel, Mendelssohn, medieval modes and more – whatever genre best served the drama, that music became the ‘handmaiden of the text.’

I achieved unity through leitmotifs, developing, and resolving the musical narrative. A simple theme follows the Man’s journey, beginning tentatively, but emerging triumphant, revealing the Man as the true hero.

SWMC is scored economically, for piano, organ and lots of percussion. There is opportunity to mentor and create community by involving children as singers, dancers, and helpers at both ends of the piano.

The Soloists

Conductor David Bowser has engaged the very singers whose voices inspired my writing. I imagined the glowing mezzo-soprano Catherine Daniel, as the Sun. Singing the role of ‘Matron’ in Llandovery Castle, her luscious tone and expressive singing created a strong, yet compassionate character. Baritone Brett Polegato’s vim and vigour was in my ear’s mind as the blustery Wind. We’ll welcome Brett home as he returns from his Met debut in Manon. I met tenor Asitha Tennekoon when he stepped in at the last minute for a recording session. I was impressed by his flexible expressivity and musicianship. His compelling performance in the new opera The Rocking Horse Winner earned him a Dora award.

You should come

Pax Christi Chorale’s inspired leadership made this new all-Canadian oratorio possible. To the whole choir and organization, who throw themselves into projects with all their ‘Herz und Mund und Tat und Leben’, I send best wishes as you prepare for the November première.

Most importantly I salute you, valiant audience, for your curiosity and courage to try new music. There’s just one show, so I hope I will see you there!
Saturday Nov. 2, 2019, 7:30pm at Yorkminster Park Baptist Church, Toronto.
Tickets will be available through the Pax Christi website. Just click here: Pax Christi Chorale