The Golden Ass by Tiffany M. Skidmore

00:00:00 - 01:07:12 i. Overture, "the myth of Psyche and Cupid" 01:07:13 - 01:22:33 ii. Aria, "no stars" (Psyche) 01:22:34 - 01:36:59 iii. Aria, "metamorphosis" (Cupid) 01:37:00 - 01:38:19 iv. "the Psyche/Cupid miniatures," no. 2 01:38:20 - 01:45:24 v. Psyche, Venus, Father, and Chorus, "shuangxi" 01:45:25 - 01:45:42 vi. Chorus, "the Psyche/Cupid miniatures," no. 1 01:45:43 - 01:54:09 vii. Aria, "mais mes mains" (Venus) 01:54:09 - 02:00:37 viii. Venus and Chorus, "this immoderate translation" 02:00:38 - 02:12:02 ix. Aria, "grow old" (Father) Program Notes: "the golden ass" (2017-2020) is a psychological dream-like setting of the Cupid/Psyche myth that focuses primarily on the relationship between Psyche and her mother-in-law Venus. Psyche allows her sister, mother-in-law, Father, and husband Cupid to fundamentally influence her life in ways that are ultimately destructive. Psyche and Venus exist on a continuum. At one point in her life, Venus’s life was Psyche’s life. Later in Psyche’s life, she will become Venus. Cupid and Psyche’s father exist on a similar continuum. During her aria, "no stars," it is as though Psyche is in space, so far from any star or planetary body that she sees only a black expanse. As she contemplates her life, black waves of emotion threaten to overwhelm her. Colors and scents eventually bring her consciousness back to a kind of surface. "metamorphosis" is an aria that can be sung by either Cupid or Psyche’s sister, two characters whose manipulations catalyze Psyche’s visionary transformation. During this movement, we view aspects of Psyche’s world from such a close vantage point that it is no longer possible for us to make sense of words or actions. We see only the pores of skin and individual vellus hairs. During "miniatures," no. 2, we enter into an individual cell, perhaps even an atom, the encapsulation of one small moment of Psyche’s life, to see the flurry of activity that might become visible at an even greater level of magnification–protons, neutrons, electrons–even quarks and gluons. During "shuang xi," a chorus seems to congratulate Psyche, Cupid, Venus, and the Father on their marital successes, while each character laments their individual realities. Psyche sings a Qing dynasty poem about a conflicted sexual encounter, the Father hints at the crumbling of a façade, and Venus describes an idealized placid scene that quickly becomes troubled by the undercurrent of her suffering. In "miniatures," no. 1, Psyche’s sister complains about her marriage. Venus feels betrayed by Cupid, and blames Psyche. Cupid warns Psyche not to disobey him. The Father becomes a god who condemns Psyche for her disobedience of Cupid. In her aria, "mais mes mains," Venus laments the loss of her youth and expresses deep bitterness toward Psyche, whom she sees as a kind of rival. During this immoderate translation, Psyche joins a chorus of voices who become a vehicle for the illumination of Venus’s indignation. In "grow old," the Father/Cupid sings a double-edged aria that is both coaxing and controlling. 2024 Cast and Crew: Stage Direction by Joey Crane Dramaturgy and Stage Direction by Amanda Nelson Movement Consultation by Dani Schofer Technical Direction by Chris Jacobs Piano Technician, Devin Zimmer Production Assistance by Dantrae Alonso, Kevin Bassler, Chloe Nugent, and Jonathan Rainous Graphic Design by Jerrald Spencer Conducted by David Cubek Video by Tiffany M. Skidmore Vocalists: Nina Dante, Psyche Tiffany Du Mouchelle, Venus Adam Zahller, Cupid Justin Anthony Spenner, Father/Cupid Emily Barger, Psyche’s Sister Julia Cordani, Featured Soprano Christopher Castleman, Chorus Caitlyn Faddis, Chorus Matt Reimer, Chorus Maria Taravella, Chorus Rosa Vu, Chorus Instrumentalists: Dalia Chin, flutes Joey Crane, cello Kyle Hutchins, saxophone Eric Huebner, piano Tom Kolor, percussion Sophia Klin, violin, cello Ciara McGuire, violin Steve Solook, percussion