{"id":60347,"date":"2025-01-31T16:47:29","date_gmt":"2025-01-31T16:47:29","guid":{"rendered":"https:\/\/peraltafinancing.com\/aerospace\/one-of-the-oldest-surviving-operas-by-a-black-american-composer-will-be-performed-for-the-first-time-138-years-after-it-was-written\/"},"modified":"2025-01-31T16:47:29","modified_gmt":"2025-01-31T16:47:29","slug":"one-of-the-oldest-surviving-operas-by-a-black-american-composer-will-be-performed-for-the-first-time-138-years-after-it-was-written","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=60347","title":{"rendered":"One of the Oldest Surviving Operas by a Black American Composer Will Be Performed for the First Time\u2014138 Years After It Was Written"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div data-article-body=\"\">\n<figure class=\"article-image lead-article-image\">\n            <img decoding=\"async\" src=\"https:\/\/th-thumbnailer.cdn-si-edu.com\/PXosDP4nEGTxyiO_8U7weiQhYJc=\/1000x750\/filters:no_upscale():focal(363x276:364x277)\/https:\/\/tf-cmsv2-smithsonianmag-media.s3.amazonaws.com\/filer_public\/6d\/3a\/6d3a241f-efe1-4a10-a28c-8d290c3377c2\/edmond_dede.jpeg\" alt=\"D\u00e9d\u00e9\" itemprop=\"image\"\/><figcaption class=\"caption\">\n<p>                Edmond D\u00e9d\u00e9, a talented composer who is finally getting his due<br \/>\n              <span class=\"credit\"><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Edmond_D%C3%A9d%C3%A9.jpg#\/media\/File:Edmond_D%C3%A9d%C3%A9.jpg\" target=\"blank\">Public domain via Wikimedia Commons<\/a><\/span><br \/>\n            <\/figcaption><\/figure>\n<p>In the early 1800s, New Orleans was a vibrant cultural hub. As music bubbled through the city\u2019s wards, Black orchestras performed for Black audiences and tweaked classical tunes in early antecedents of jazz.<\/p>\n<p>That\u2019s the environment where Edmond D\u00e9d\u00e9 came of age. His skill on the clarinet and\u00a0<a href=\"https:\/\/www.smithsonianmag.com\/smart-news\/this-300-year-old-stradivarius-violin-could-become-the-most-expensive-musical-instrument-ever-sold-at-auction-180985599\/\">violin<\/a> made him \u201csomething of a sensation in the city,\u201d according to Keith O\u2019Brien of the\u00a0<a href=\"https:\/\/www.nytimes.com\/2025\/01\/28\/arts\/music\/edmond-dede-morgiane-opera.html\"><em>New York Times<\/em><\/a>.<\/p>\n<p>That sensational talent brought D\u00e9d\u00e9 shockingly little fame in the world of American classical music. After leaving for France, where he lived and wrote music until his death, he flourished as a\u00a0<a href=\"https:\/\/www.smithsonianmag.com\/smart-news\/was-beethoven-black-and-why-might-be-wrong-question-ask-180975159\/\">composer<\/a> but never realized his dream: to perform his 1887 magnum opus, a 545-page grand opera called <em>Morgiane<\/em>. Experts think it could be the oldest existing opera written by a Black American composer.<\/p>\n<p>Now, nearly 125 years after D\u00e9d\u00e9\u2019s death, <a href=\"https:\/\/operalafayette.org\/restore\"><em>Morgiane<\/em><\/a> will finally have its premiere. Staged by\u00a0<a href=\"https:\/\/www.operacreole.org\/\">OperaCr\u00e9ole<\/a> and\u00a0<a href=\"https:\/\/operalafayette.org\/\">Opera Lafayette<\/a>, the production is billed as the \u201cthe most important opera never heard.\u201d<\/p>\n<figure class=\"video\">\n<div class=\"embedly-plugin\" data-type=\"video\">\n<div class=\"video-image\">\n<p>Mon pauvre coeur<\/p>\n<div class=\"video-thumbnail\"><img decoding=\"async\" src=\"https:\/\/i.ytimg.com\/vi\/5IvugcwMc_8\/maxresdefault.jpg\" data-video-id=\"5IvugcwMc_8\"\/><\/div>\n<\/p><\/div>\n<p>  <iframe width=\"854\" src=\"\" frameborder=\"0\" id=\"player\" allowfullscreen=\"\" allow=\"autoplay\"><\/iframe><\/p><\/div>\n<\/figure>\n<p>The story of how the sole surviving copy of <em>Morgaine<\/em> emerged from an antique music shop in Paris in 1999, wound up in the Harvard music library and finally arrived on stage in early 2025 is nearly as sweeping as the opera itself.<\/p>\n<p>Born a free person of color in 1827, D\u00e9d\u00e9 was required to carry proof of his freedom and struggled to find employment. After a brief stint in Mexico City in the 1840s, he returned to New Orleans to work as a cigar roller. He honed his craft in the evenings, writing poignant songs like \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=5IvugcwMc_8&amp;t=227s\">Mon Pauvre Coeur<\/a>\u201d (\u201cMy Poor Heart\u201d) before finally quitting the United States for France in 1855.<\/p>\n<p>\u201cI always say \u2018Mon Pauvre Coeur\u2019 is the first blues song,\u201d\u00a0<a href=\"https:\/\/www.operacreole.org\/givonna-joseph\">Givonna Joseph<\/a>, the founder and artistic director of OperaCr\u00e9ole, tells the\u00a0<a href=\"https:\/\/www.washingtonpost.com\/entertainment\/music\/2025\/01\/16\/opera-lafayette-edmond-dede-morgiane\/\"><em>Washington Post<\/em><\/a>\u2019s Michael Andor Brodeur. \u201cHe wrote it as this wonderful art song, but sometimes I feel like maybe he\u2019s talking about himself. It\u2019s unrequited love.\u201d<\/p>\n<figure class=\"article-image right\">\n<p>    <img decoding=\"async\" src=\"https:\/\/th-thumbnailer.cdn-si-edu.com\/DJGwbvnYZaPRFNq9AqbxHn9sp9g=\/fit-in\/1072x0\/filters:focal(1070x1503:1071x1504)\/https:\/\/tf-cmsv2-smithsonianmag-media.s3.amazonaws.com\/filer_public\/ec\/d3\/ecd36994-10ff-48d4-85b4-62c27a902064\/alhambra_avenue_de_clichy50_impasse_helene_tous_les_soirs_le_centenaire_ballet_inedit_en_1_acte_de_mr_maury_ho_aff811.jpg\" alt=\"Vaudeville\" loading=\"lazy\"\/><figcaption class=\"caption\">\n<p>      D\u00e9d\u00e9 wrote scores for vaudeville productions by day and wrote his opera in the evenings.<\/p>\n<p>      <span class=\"credit\"><a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:ALHAMBRA_AVENUE_DE_CLICHY,50._(IMPASSE_HELENE)_TOUS_LES_SOIRS_LE_CENTENAIRE_BALLET_INEDIT_EN_1_ACTE_de_Mr._MAURY._HO,_AFF811.jpg#\/media\/File:ALHAMBRA_\" target=\"blank\">Public domain via Wikimedia Commons<\/a><\/span><\/p>\n<\/figcaption><\/figure>\n<p>He found greater renown in France, though he was still forced to write opera on the side. To make a living, he conducted in Bordeaux and worked in provincial theaters, producing shows that were \u201coften more like vaudeville than high art,\u201d according to the <em>Times<\/em>.<\/p>\n<p>\u201cHe wanted to be a composer in the art music tradition,\u201d\u00a0<a href=\"https:\/\/history.ucdavis.edu\/people\/sally-mckee\">Sally McKee<\/a>, a retired historian at the University of California at Davis tells the publication. \u201cHe wanted to be like\u00a0<a href=\"https:\/\/www.smithsonianmag.com\/smart-news\/sonata-fanny-mendelssohn-mistakenly-attributed-her-brother-premieres-under-her-name-180962429\/\">Mendelssohn<\/a>. He wanted to be like\u00a0<a href=\"https:\/\/www.britannica.com\/biography\/Johannes-Brahms\">Brahms<\/a>.\u201d<\/p>\n<p>He came tantalizingly close to that goal when he finished <em>Morgiane<\/em>. It was a fantastical story of a young bride abducted by a villainous sultan, until the bride\u2019s mother\u2014the title character, Morgiane\u2014reveals a shocking secret to help save her kidnapped daughter.<\/p>\n<p>But D\u00e9d\u00e9 never saw it performed. He died with little money a few years later and was buried in a communal grave in Paris. Few people understood\u2014or even witnessed\u2014his great work, bursting at the seams of two bound volumes.<\/p>\n<p>The opera disappeared, and D\u00e9d\u00e9\u2019s legacy faded into obscurity.<\/p>\n<figure class=\"video\">\n<div class=\"embedly-plugin\" data-type=\"video\">\n<div class=\"video-image\">\n<p>Edmond Dede Story<\/p>\n<div class=\"video-thumbnail\"><img decoding=\"async\" src=\"https:\/\/i.ytimg.com\/vi\/Pt7rlu3ca-o\/maxresdefault.jpg\" data-video-id=\"Pt7rlu3ca-o\"\/><\/div>\n<\/p><\/div>\n<p>  <iframe width=\"854\" src=\"\" frameborder=\"0\" id=\"player\" allowfullscreen=\"\" allow=\"autoplay\"><\/iframe><\/p><\/div>\n<\/figure>\n<p>Even his descendants back in New Orleans didn\u2019t realize they had \u201ca relative with that kind of status\u201d until one picked up a magazine in a streetcar in the 1960s and saw a familiar last name, as Wesley Dede told Laine Kaplan-Levenson of WWNO\u2019s \u201c<a href=\"https:\/\/www.wwno.org\/podcast\/tripod-new-orleans-at-300\/2018-07-19\/edmond-dede-the-classical-composer-youve-never-heard-of\">Tripod<\/a>\u201d in 2018. The composer was his grandfather\u2019s uncle.<\/p>\n<p>But in 1999\u2014nearly 100 years after D\u00e9d\u00e9\u2019s death\u2014a French music collector sold the manuscript to Harvard\u2019s music library as part of his massive collection of scores. About a decade later,\u00a0<a href=\"https:\/\/library.harvard.edu\/staff\/andrea-cawelti\">Andrea Cawelti<\/a>, a music cataloger at Harvard, was still digging through the collection when she came across the <em>Morgiane<\/em> manuscript.<\/p>\n<p>\u201cI was honestly thrilled because I\u2019ve made it my life\u2019s work to discover things and get them out into the world,\u201d Cawelti tells the <em>Times<\/em>.<\/p>\n<p>Soon after she digitized the manuscript, McKee published a book about D\u00e9d\u00e9\u2019s remarkable story called\u00a0<a href=\"https:\/\/yalebooks.yale.edu\/book\/9780300221367\/the-exiles-song\/\"><em>The Exile\u2019s Song<\/em><\/a>. Slowly but surely, D\u00e9d\u00e9\u2019s legacy was reviving. When Joseph came across the digital manuscript around 2011, she immediately wanted to bring it to life. However, staging a long-lost work comes with unique hurdles.<\/p>\n<figure class=\"article-image \">\n<p>    <img decoding=\"async\" src=\"https:\/\/th-thumbnailer.cdn-si-edu.com\/sskgs75LQGjvQzXLb4atbZStHJY=\/fit-in\/1072x0\/filters:focal(1024x683:1025x684)\/https:\/\/tf-cmsv2-smithsonianmag-media.s3.amazonaws.com\/filer_public\/a2\/c1\/a2c1a5f9-873f-41f3-a01a-d8b3a67a6456\/dede_morgaine_p230_231_msharvardhoughton-scaled.jpg\" alt=\"Music\" loading=\"lazy\"\/><figcaption class=\"caption\">\n<p>      Parts of &#8220;Morgiane,&#8221; like out-of-date instrumentation and illegible notes, had to be carefully edited.<\/p>\n<p>      <span class=\"credit\">Houghton Library, Harvard University<\/span><\/p>\n<\/figcaption><\/figure>\n<p>\u201cThere are many challenges, the largest being that the composer has been dead for over 100 years, so we cannot consult with him when we have questions,\u201d\u00a0<a href=\"https:\/\/www.patrickduprequigley.com\/\">Patrick Quigley<\/a>, the conductor and incoming artistic director of Opera Lafayette, tells\u00a0<a href=\"https:\/\/weta.org\/fm\/classical-score\/discovery-and-world-premiere-dedes-morgiane\">WETA<\/a>\u2019s John Banther.<\/p>\n<p>Some instruments written into the opera\u2019s score, like the <a href=\"https:\/\/www.britannica.com\/art\/ophicleide\">ophicleide<\/a>, are no longer used by modern orchestras. Some sections of the manuscript were near illegible, requiring tough editorial choices on the part of Quigley and Joseph, who collaborated throughout the process of restoring the opera to its intended glory. Last summer, the team began rehearsals in Cincinnati.<\/p>\n<p>\u201cThe music is so lush and gorgeous, and [there are] some indications of New Orleans, and it\u2019s perhaps a precursor to jazz,\u201d Joseph tells\u00a0<a href=\"https:\/\/wgno.com\/black-history-month\/the-music-of-edmond-dede-a-free-born-creole-of-color-from-new-orleans\/\">WGNO<\/a>\u2019s Christopher Leach.<\/p>\n<p><a href=\"https:\/\/www.kennethkellogg.com\/\">Kenneth Kellogg<\/a>, who plays the dastardly sultan, tells WETA that \u201cpreparing for <em>Morgiane<\/em> is no different than preparing for Bellini or Mozart.\u201d<\/p>\n<figure class=\"article-image left\">\n<p>    <img decoding=\"async\" src=\"https:\/\/th-thumbnailer.cdn-si-edu.com\/lVnibMr_2nm2cRd0EyT9pJZSWD0=\/fit-in\/1072x0\/filters:focal(367x513:368x514)\/https:\/\/tf-cmsv2-smithsonianmag-media.s3.amazonaws.com\/filer_public\/50\/5d\/505d42de-f11e-4573-9751-b3dfe6bef565\/dede_morgaine_titlepagebookone_18261860_harvardhoughton-scaled.jpg\" alt=\"Title page\" loading=\"lazy\"\/><figcaption class=\"caption\">\n<p>      The 1887 manuscript of <em>Morgiane <\/em>was owned by a Parisian music collector until 1999.<\/p>\n<p>      <span class=\"credit\">Houghton Library, Harvard University<\/span><\/p>\n<\/figcaption><\/figure>\n<p>He adds: \u201cWhat is different, is carrying and reclaiming the legacy of a Black American that was denied the opportunity,\u201d Kellogg adds. \u201cTo lend voice to ushering him into the ears and hearts of today&#8217;s audiences is a humbling honor.\u201d<\/p>\n<p>After an abbreviated\u00a0<a href=\"https:\/\/www.axios.com\/local\/new-orleans\/2025\/01\/24\/edmond-dede-opera-morgiane-premiere\">premiere<\/a> at the St. Louis Cathedral in New Orleans on January 24, <em>Morgiane<\/em> will greet audiences in Washington, D.C. and New York in early February. D\u00e9d\u00e9\u2019s\u00a0<a href=\"https:\/\/www.folger.edu\/whats-on\/edmond-dede-and-morgiane\/\">original manuscript<\/a> will also be on view at the Folger Shakespeare Library until March 2 as part of its \u201c<a href=\"https:\/\/www.folger.edu\/whats-on\/out-of-the-vault-exhibition\/\">Out of the Vault<\/a>\u201d exhibition.<\/p>\n<p>\u201cIt means a lot to me to bring him back home,\u201d Joseph tells WGNO. \u201cWe should never allow people to put us in a box. Whatever we are compelled to do, we should do that.\u201d<\/p>\n<div class=\"in-article-newsletter\">\n<div class=\"leade\">\n<h3>Get the latest stories in your inbox every weekday.<\/h3>\n<\/p><\/div>\n<\/p><\/div>\n<section class=\"tag-list\">\n<nav class=\"nav-tags\">Filed Under:<\/p>\n<p>                    <a href=\"https:\/\/www.smithsonianmag.com\/tag\/african-american-history\/\">African American History<\/a>, <\/p>\n<p>                    <a href=\"https:\/\/www.smithsonianmag.com\/tag\/american-history\/\">American History<\/a>, <\/p>\n<p>                    <a href=\"https:\/\/www.smithsonianmag.com\/tag\/arts\/\">Arts<\/a>, <\/p>\n<p>                    <a href=\"https:\/\/www.smithsonianmag.com\/tag\/classical-music\/\">Classical Music<\/a>, <\/p>\n<p>                    <a href=\"https:\/\/www.smithsonianmag.com\/tag\/composers\/\">Composers<\/a>, <\/p>\n<p>                    <a href=\"https:\/\/www.smithsonianmag.com\/tag\/cool-finds\/\">Cool Finds<\/a>, <\/p>\n<p>                    <a href=\"https:\/\/www.smithsonianmag.com\/tag\/france-1\/\">France<\/a>, <\/p>\n<p>                    <a href=\"https:\/\/www.smithsonianmag.com\/tag\/music\/\">Music<\/a>, <\/p>\n<p>                    <a href=\"https:\/\/www.smithsonianmag.com\/tag\/musicians\/\">Musicians<\/a>, <\/p>\n<p>                    <a href=\"https:\/\/www.smithsonianmag.com\/tag\/new-orleans\/\">New Orleans<\/a>, <\/p>\n<p>                    <a href=\"https:\/\/www.smithsonianmag.com\/tag\/opera\/\">Opera<\/a><\/p>\n<\/nav>\n<\/section><\/div>\n\n","protected":false},"excerpt":{"rendered":"<p>Edmond D\u00e9d\u00e9, a talented composer who is finally getting his due Public domain via Wikimedia Commons In the early 1800s, New Orleans was a vibrant cultural hub. As music bubbled through the city\u2019s wards, Black orchestras performed for Black audiences and tweaked classical tunes in early antecedents of jazz. That\u2019s the environment where Edmond D\u00e9d\u00e9 [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":60348,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12024],"tags":[204,393,33119,11128,28019,33567,26471,33568,5755,1003],"dealstore":[],"offerexpiration":[],"class_list":["post-60347","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-aerospace","tag-american","tag-black","tag-composer","tag-oldest","tag-operas","tag-performed","tag-surviving","tag-time138","tag-written","tag-years"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>One of the Oldest Surviving Operas by a Black American Composer Will Be Performed for the First Time\u2014138 Years After It Was Written - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=60347\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"One of the Oldest Surviving Operas by a Black American Composer Will Be Performed for the First Time\u2014138 Years After It Was Written - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"Edmond D\u00e9d\u00e9, a talented composer who is finally getting his due Public domain via Wikimedia Commons In the early 1800s, New Orleans was a vibrant cultural hub. 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