Emmett Till, The Opera
Emmett Till, the Opera Mary Watkins, Composer Clare Coss, Librettist
For more information: Clare Coss, Clarechi@gmail.com
In 1955, fourteen year old African-American Emmett Till from Chicago was brutally lynched in the Mississippi Delta for allegedly wolf-whistling at a white woman, Carolyn Bryant. The murderers were acquitted. His mother, Mamie Till Mobley, changed history when she demanded an open casket, and called upon the world to help her struggle against racial violence and for a just future.
Emmett Till, the opera, is based on Coss’ prize-winning play, Emmett, Down in My Heart.
Mary Watkins' bold prismatic score blazes with compelling energy, heals with outrage and melodies of love and compassion. Woven through are harmonies that evoke violence, compassion, faith, and the complexities of human experience.
The cast features five African-American soloists and three white soloists, a Black Chorus, a White Chorus. One invented character, Roanne Taylor, a school teacher, represents white silence, collusion, responsibility. Robert Anthony Mack, General Manager, Opera Noire, splendidly cast the workshops.
This project expands opportunities for African-American singers and composers, and for music lovers to confront the on-going issues of our racial divides. This work will build community and audiences for opera in high schools, colleges, community centers, and regional opera companies.
We are grateful to donors who have contributed since our start in 2013. Greatly appreciated are two seed grants from the Eva and Lucius Eastman Fund and one from the Ford Foundation. Mary Watkins is currently orchestrating the score for 23 instruments.
To listen to two mp3 recorded scenes with libretto, please go to: www.ClareCoss.com
Composer Mary Watkins
I grew up in Colorado yet knew first-hand about discrimination. The difference between my southern sisters and brothers and me was that I was one Black among fifty or sixty whites at any given time every day of the week except Sunday. I lived in a white neighborhood where some of my neighbors were blatant racists. As a child I heard derogatory remarks and jokes about “colored people/Negroes” and had no peers in a community where many people did not see or respect me or my people. Fortunately, much of my ability to cope came through my artistic pursuits. I was able to be alone, and to find ways to deal with the anxiety of being “the only one.” I dealt with that pain through drawing, story-telling and music.
Setting music to the Libretto of Emmett Till has been an exciting challenge for me. I remember when Emmett Till was murdered, and the horror and sadness that affected me so deeply. Writing music for an opera telling the Emmett Till story isn’t something I ever thought I would do. However, I have been accorded the opportunity to fulfill this honor and I can only say I am deeply grateful. I am an eclectic composer, and believe this opera provides the space to exercise a wide range of musical expression from which to draw in establishing empathy for the characters, emotional tone and events of Emmett Till’s lynching, one of the great tragedies of the 20th century.
Librettist Clare Coss
I grew up in New Jersey and New Orleans. At a very young age my southern mother taught me to introduce myself as "Half Yankee and Half Rebel." Summers visiting my grandparents in New Orleans I was immersed in the disturbing and painful Jim Crow reality of separate water fountains, a separate entrance to the Bell corner movie theatre, “For Colored Only” wood signs separating seats in street cars and buses. Until U.S. history in fourth grade, I thought “rebel’ meant a rebellious spirit. I was distraught to learn "Rebel" meant a member of the Confederacy, the perpetrator of "For White Only/For Colored Only." Mother tried to explain, the South never got over losing the war between the states and the end of slavery.
In August 1955 I was starting my junior year at Louisiana State University in Baton Rouge when Emmett Till was killed not far up river. Haunted and marked by his horrific lynching and the failure of justice, I awoke one dawn in the winter of 1993 with a "spiritual" directive to write the play, Emmett, Down in My Heart. I invented one character, a white woman teacher, Roanne Taylor, my entry into the story. Roanne Taylor represents white people who care but who remain silent. Emmett Till's mother, Mamie Till, broke the silence and changed history when she made her courageous decision to have an open casket: "so the world could see what was done to her son. So the world could help her tell the story." Composer Watkins and I seek to pay respect to the greatness of ordinary people who suffered, stood up, and struggled to bring about change in this country. I am grateful to be working with Mary Watkins on this extraordinary collaboration.