Thomson, Virgil. (1896-1989). "The Mother of Us All" - Signed Poster. Original poster from a 1971 production of Virgil Thomson's and Gertrude Stein's "American Musical Pageant," boldly signed at the upper right by the composer. The popular opera was produced "in honor of Virgil Thomson's 75th birthday" at St. Peter's Church, New York. The boldly designed poster folds horizontally, and the verso bears a cast list and synopsis of the opera. In very fine condition. 11 x 17 inches (27.9 x 43 cm).
"[Thomson and Stein] got together in October 1945 to begin a second project. Thomson, always fascinated by the inflections of American vernacular speech, felt that the language of American political oratory could form the basis of an opera, and proposed one on political life in the 19th century. Stein, as a feminist, suggested as the central figure Susan B. Anthony (1820–1906), who pioneered political rights for American women. ...[T]he score has been widely hailed as the greatest and most enduring of American operas. Although it has not entered the repertory of major opera houses in the United States or Europe, it has been frequently performed by American regional and community companies, especially in the solo-piano and chamber-ensemble reductions made by Thomson." (John Rockwell, New Grove Dictionary of Opera)
Thomson, Virgil. (1896-1989). "The Mother of Us All" - Signed Poster. Original poster from a 1971 production of Virgil Thomson's and Gertrude Stein's "American Musical Pageant," boldly signed at the upper right by the composer. The popular opera was produced "in honor of Virgil Thomson's 75th birthday" at St. Peter's Church, New York. The boldly designed poster folds horizontally, and the verso bears a cast list and synopsis of the opera. In very fine condition. 11 x 17 inches (27.9 x 43 cm).
"[Thomson and Stein] got together in October 1945 to begin a second project. Thomson, always fascinated by the inflections of American vernacular speech, felt that the language of American political oratory could form the basis of an opera, and proposed one on political life in the 19th century. Stein, as a feminist, suggested as the central figure Susan B. Anthony (1820–1906), who pioneered political rights for American women. ...[T]he score has been widely hailed as the greatest and most enduring of American operas. Although it has not entered the repertory of major opera houses in the United States or Europe, it has been frequently performed by American regional and community companies, especially in the solo-piano and chamber-ensemble reductions made by Thomson." (John Rockwell, New Grove Dictionary of Opera)