Lyric Opera 2019-2020 Issue 7 The Light in the Piazza

Lyric Opera House | 14 Without giving out spoilers, her own marriage is in trouble and there’s a generational element to this, because she’s looking at her daughter in this innocence. And also, that her daughter’s fallen in love, that Clara and Fabrizio are very much in love. Italy is an inspiration for this, the beauty, the being away from home, the sense of adventure… Italy is a very important character – in a way, it’s a protagonist in the piece. So, there’s possibility everywhere. Margaret gradually discovers what the situation is and really figures out how to manipulate it. I was thrilled to find a lyric soprano character with so much complexity. There’s an extraordinary song at the fulcrum of the piece, ‘Dividing Day’, which kind of underlines her marital issues. I think it is so extraordinary – it’s so understated and devastating. Yes, it’s true. Adam was worried that the title was maybe too convoluted. But it makes you stop and think, ‘what does that mean, “Dividing Day”? What part of this relationship was divided?’ She’s asking, when did it happen? How did it happen? It happens to so many relationships, especially long-term ones – people grow apart, and that’s very much what this song is about. So, it hits home with the audience. It’s something many people experience. It’s not the razzmatazz that one typically expects from musical theatre. Light in the Piazza is closer to musical theatre than opera. As someone who is used to the operatic stage and no amplification, are there vocal adjustments to be made or not at all? Well, it’s interesting because, having heard Adam sing, he has an extraordinary range himself, and he wrote some very challenging parts for all the roles. Some portions of the role of Margaret Johnson actually sit a bit low for Renée Fleming with The Light in the Piazza composer, Adam Guettel