In Stanley McCandless’ A Method of Lighting the Stage, the lighting pioneer said that the role of the designer is to “give visibility where and when it is wanted” and to “control and conquer” the medium as “to provide a new horizon for artistic direction.”
At 8:15 p.m. Saturday in the Amp, he’s using those frequent flier miles to spirit the Chautauqua Opera Company on sojourn to San Juan, Puerto Rico, as they rendezvous with the CSO to highlight the work of Broadway legends Leonard Bernstein and Stephen Sondheim.
If Douglas Moore is no longer a name to inspire even a flicker of recognition, then his signature work, The Ballad of Baby Doe, still has a place in the collective consciousness of opera buffs. After all, no less a soprano than Beverly Sills turned the piece into a star vehicle two years after its 1956 premiere, and no less a label than Deutsche Grammophon made a recording — back when making a recording meant something.
When Elizabeth Doe met Horace Tabor in Leadville, Colorado, she sparked a romance that would make her one of the wealthiest women west of the Mississippi. Two decades later, in 1899, with her beloved Horace dead, she would be one of the poorest.