Abstract

This paper demonstrates how the drama, dialogue, and music of Toni Morrison and Richard Danielpour's opera Margaret Garner (2005) serve their project of improving race relations in the United States. Exemplifying Morrison's thesis that remembering slavery can mollify its unhealed wounds, the music and libretto invert the racial roles of her novel Beloved, with which it shares historical source material. The score reinforces the motif of memory by engaging with Scots-Irish songs, Britten's Peter Grimes, Bernstein's West Side Story, and other music. A synopsis of the opera is included.

pdf

Additional Information

ISSN
1080-658X
Print ISSN
0026-7724
Pages
pp. 524-541
Launched on MUSE
2006-07-20
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.