![]() ![]() Vivace ma non presto: Virtue, the charmer sweet repliesĬantata II: Why, Lysidas, shou’d Man be vainįor soprano, 2 violins and basso continuo (Mirjam Berli, soprano)Ĥ Recitative: Why, Lysidas, shou’d Man be vainĥ Aria. Hear their conversation at the audio link.Cantata I: A winter scene at Ross in Herefordshireįor tenor, violoncello obbligato and basso continuo (Paul Bentley, tenor)Ģ Recitative: But oh, when age, life’s winter comesģ Aria. Mitchell spoke with NPR's Ari Shapiro about the themes of Hadestown imitating life, the beauty of Greek tragedy and the road to Broadway. There's many, but I think that it's like an image that speaks to people and it's an image that works well on people who feel scared." And I'm not the first person to write a song about a wall. ![]() It feels like a collective unconscious weird thing. Then to start to hear that language during the campaign. "That was one of those songs that just felt like it was a gift, like, I didn't even know what it meant when it came," Mitchell says. ![]() With today's current debate over border control, reality has caught up to the fiction Mitchell created. Mitchell's song " Build The Wall," was written in 2006 and appears in the production when Hades sings it, supported by this chorus of workers in the underworld. ![]() So you open your mouth and you started to sing.'" "He even says that to the king: 'There were no words for the way that you felt. It's actually that he has channeled this melody."Ĭourtesy of Hadestown, The Musical Reeve Carney and Eva Noblezada play Orpheus and Eurydice in the Broadway production of Hadestown.Īs Mitchell explains, there's no words that approach the simple beauty of his melody. But I think that what we hit upon a couple productions ago that took some pressure off and made a lot of sense is that the gift that Orpheus brings to King Hades isn't necessarily like the eloquence of his poetry. "I mean, there's just like sheets and sheets on the cutting room floor of the epics. "I just can't tell you how many times I've rewritten it," Mitchell says. When tackling the show's climax, Mitchell admits it was no easy task to write a song that melts the heart of King Hades. She chooses the security of Hadestown, which comes with this kind of lifelessness. "The underworld is a place of wealth and security, in contrast to the above ground world where there's freedom but it's also unpredictable and the weather is unpredictable," Mitchell explains. In Mitchell's version, Eurydice chooses to go to the underworld. In Mitchell's DIY folk-opera, Mitchell makes some changes to the myth. She's turned these lyrics into a song, then a concept album in 2010 called Hadestown, stage productions in the U.S., Canada and London and on April 17, Hadestown finally opened on Broadway. Mitchell's fascination with this story has taken her on journey across mediums, one that is as winding as her hero's quest. In the story, Orpheus sings a song so sweet, it melts the heart of Hades. Eurydice goes to the underworld and Orpheus follows to bring her back. Those lyrics never made it into one of Mitchell's productions, but as the musician says, they pointed her to the story of Eurydice, the Greek myth that follows two lovers, Eurydice and Orpheus. In my garters and pearls with what melody did you barter me from the wicked underworld,'" she remembers. "The lines that came were, 'Wait for me I'm coming. Along the drive, a song lyric popped into her head. The singer-songwriter, in her 20s at the time, was trying to get from one gig to another and found herself lost. More than a decade ago, Anaïs Mitchell was running late for one of her shows. ![]()
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