SELECTED PRESS CLIPS

Shining Brow has received a number of staged, semi-staged, and concert productions. Following is a digest of critical reaction culeld from the many articles that have been penned about the work. Writers and periodicals are credited at the end of each excerpt.

Barry Busse as Louis Sullivan
"The finale [of Shining Brow] is as devastating as anything in opera. At Wednesday's premiere, given by the Madison Opera, 2,200 at the Oscar Mayer Theater were so quiet that baritone Michael Sokol, who played Wright, could bring his closing aria down to a murmur.

The power of the finale comes from more than subject matter. It does not merely press emotional buttons. It moves us because theatrical and emotional logic accumulate over 21/2 hours of music, words and action.

A great strength of this piece (and a rarity in opera) is its complexity of character. People drift off in soliloquy, they contradict themselves, they quote other characters without realizing it.

That is, they think and act like real people, with all the social and personal chaos that suggests. The miracle of Shining Brow is that such a taut and gripping form rises from such chaos.

Form follows feeling. Musical motives and keys associated with characters and situations rise from the flow and take on meaning and resonance parallel to the text repetitions. And those motives and keys overlap to make dramatic conflict live in musical sound.

Hagen's baseline idiom seems to be modernist-expressionist, tonal but freely dissonant. He sets all sorts of influences, from barbershop to ticky-tick dance music against that idiom, to underscore character and crystallize the period (1903-'14). Wright and the chorus of draftsmen sing in a sort of Romantic Anglican church style, which the draftsmen satirize behind Wright's back. The same goes for the spacious, Copland-Americana song of the construction workers.

In the finale, when the Maid undercuts Wright's lament with a song like a mouth full of nails, we remember how amusingly he was undercut earlier. The contrast touches us all the more deeply.

This fine new opera, this Shining Brow, will be repeated at 8 p.m. Friday and 2:30 pm Sundayhttp://daronhagen.com/brow." — Tom Strini The Milwaukee Journal 4/22/93


"Madison Opera has come up a winner in the tricky business of commissioning operas: Daron Hagen and Paul Muldoon, composer and librettist of the exciting new Shining Brow, neither of whom has written an opera before, bring fresh ideas to their work — based on an incident in the life of Frank Lloyd Wright. The great American architect and Taliesin (Welsh for Shining Brow), the home he built for himself in Wisconsin, share the center of the story. The remarkable quality of Muldoon's libretto is quickly evidenthttp://daronhagen.com/brow.

Like Dominick Argento, Hagen writes particularly well for the voice. The vocal burden falls on Wright — a plummy role for lyric baritone, marvelously sung and acted by Michael Sokol — and Mamah, a no less juicy spinto soprano role, beautifully realized by velvet-toned Carolann Page. Each of these characters has an affecting soliloquy, splendidly crafted to display a huge emotional and vocal range, and each singer made the most of the opportunityhttp://daronhagen.com/browhttp://daronhagen.com/brow

A full, enthusiastic house closed the production (April 25) with a standing ovation." — John Koopman, Opera News, November 1993

"Hagen's music makes no errors. And like the stronger stretches in the theater and concert music of, say, Dominick Argento and John Harbison, he sustains the idea of non-minimalist tonality as a still-viable medium.

Hagen can also use musical quotations from the past wittily without sounding opportunistic. The word "Utopia," for example, is punched at you suddenly on the notes of "Suburbia" from Leonard Bernstein's Trouble in Tahiti, a motif that Bernstein himself lifted from the opening phrase of "New York, New York" in his own On the Town. The homage is appropriate since Hagen got much advice from Bernstein and dedicated Shining Brow to his memory.

And it's only justice that Hagen zeroed in on that chronic self-borrower, Richard Strauss, to construct a party-scene trio of on-stage piano, violin, and cello and occupy them with a chain of variations (including ersatz-jazz segments) on a couple [sic] of tunes from Der Rosenkavalier. Furthermore, Hagen wasn't above musicalizing some loud-mouthed reporters as a barbershop quartet. (He hopes for good reviews?)

[Late in the opera, Wright and Sullivan] meet for a painful reconciliation; they stand motionless and leave it to the orchestra to pour out softly Hagen's most moving music. The show was an event." — Leighton Kerner, The Village Voice 5/5/93


"Commissioning new work is risky business, for even the largest and most established opera companies. But American opera is on a roll http://daronhagen.com/brow. Shining Brow proved to be an absorbing, beautiful staged work.

Sullivan's design maxim, "Form follows function," was evoked throughout the opera. But Hagen's spare, evocative score demonstrated the truth of another famous architect's rule, Mies van der Rohe's "Less is more," The orchestral writing was austere and carefully placed as the beams in Wright's homes.

Hagen and Muldoon managed to turn a debate about order in the universe into a riveting operatic scene." — Wynne Delacoma, Chicago Sun-Times 4/23/93

"Muldoon's libretto, commissioned for use by Hagen as a libretto, is one of the few one may actually want to take home and study as literature. The vocal lines might remind some of Benjamin Britten, and at lighter moments, even of Stephen Sondheim. Though sometimes difficult, and with wide leaps, it does not tear at the voices, but favors them. Similarly, the orchestral score http://daronhagen.com/brow. closely supports, rather than fights, both the singers and the drama." — Joseph Cunniff, Hyde Park Herald 7/30/97

"Shining Brow is a powerful, perfect liaison of music and words." — Bill Gowen, Arlington Heights Daily Herald 8/1/97


"This [is a] stunning new American opera. The music is splendid with haunting tonal intensity, and as down to earth as a barbershop quartet." — Kathleen Tobin, The Beverly Review, Chicago 8/13/97

"Daron Aric Hagen's music was quite in tune with the drama of [Wright's life]." — Stanley Tigerman, Architecture Magazine 9/97

"Hagen's lyrically sensitive, multilayered score deals in shifting tonal centers and textures that mirror various 'realities' in the lives of the opera's characters." — Blair Kamin, Architecture Critic, The Chicago Tribune 7/25/79

"SHINING BROW IS MODERN MASTERPIECE"

"[Shining Brow] is a masterpiece of the '90'shttp://daronhagen.com/browhttp://daronhagen.com/brow Melodic yet dissonant, Hagen's gripping music, with some suggestions of hymn and folksong styles, grows out of the tradition of Copland."

"Its unnerving impact brings to mind [Gian Carlo] Menotti's The Medium. To ease the tension before the catastrophic events, a delightful barbershop quartet, in razor-sharp tune, gives a tour of world events from 1912 to early 1914." — Walter Skiba, The Illinois Times, Lansing, Indiana 7/30/97

"Operas that are essentially interior dramas have always been difficult to bring off in the theater — but not impossible, as Daron Hagen's and Paul Muldoon's Shining Brow, now playing in Chicago, makes clear." — John von Rhein, The Chicago Tribune 7/29/97

"Chicago Opera Theater's performances of Shining Brow http://daronhagen.com/brow. were a triumph." — Sarah Bryan Miller, Chicago Reader 8/8/97

"[Shining Brow] is a daring venture on the part of several bright young talents. The entire enterprise exuded intelligence. Mr. Hagen has a gift for the big tune, and he serves up some beauties in the choruses, evoking the blues and a Colonial hymn. Mr. Hagen is most interesting when he assaults the ear roundly or falls squarely back on tradition. The musical texture is well varied and consistently engaging.

Mr. Muldoon's libretto and Mr. Birn's design, excellent and involving in themselves, accord well with Mr. Hagen's style. One scene in particular, evoking a disastrous news conference held by Wright on Christmas 1911 to explain his relationship to Cheney despite his continuing marriage to Catherine, was utterly brilliant." — James R. Oestreich, The New York Times 4/28/93

"Hagen and Muldoon crafted their opera with much the same eye on the unity-within-variety that was basic to Wright's own aesthetic. From the evidence of Shining Brow, the Milwaukee-born Hagen is a composer born to write operas. Hagen uses various keys to identify the principal players — B-flat for Wright, E major for Mamah, and so forth — sometimes merging them in ingenious polytonal passages that mirror these characters' shifting emotional states. There are also deliberate references to older music, including a quotation from Der Rosenkavalier, which Wright and Cheney saw in its world premiere in Berlin in 1911. Hagen gives his singers gratifying flights of lyrical expansion, but his score is all of a piece, underscoring the drama and propelling it forward. Particularily impressive are the choral ensembles that support the two acts of the opera like firm musical pillars.

Shining Brow offers further evidence that the salvation of American opera will come not necessarily from the big East Coast companies but from enterprising regional theaters like Madison's. One hopes other companies will mount productions of their own." -John Von Rhein, American Record Guide, July/August 1993

"From the evidence of Shining Brow, Daron Hagen is a composer born to write operas. His shifting tonal centers neatly mirror the shifting emotional realities of his characters, while his integration of various "found" musics (barbershop quartet here, fake Copland there) into a seamless, always singable flow is expert.

The work is a natural for the Chicago Lyric Opera's "21st Century" program. It is an opera any major opera company could present with pride." — John von Rhein, Chicago Tribune 4/23/93

"It is Carleton [the murderous Taliesin chef] who, on the plot level, is responsible for the culminating catastrophe, the burning of Taliesin with Mamah and her children inside [sic], and who, below the plot, challenges the other characters with the certainty and uniqueness of his language. To emphasize the point, this language is spoken — or rather, declaimed — while the orchestra stays silent. Mr. Hagen's nobility is to leave Carleton's self-statement outside the purlieu of music —

Mr. Hagen is a wizard at ornamentation, at form without function, at rhapsodic revellings in rhapsodic Strauss, at A-minor monologues, at perky orchestration, at blues and hymn and barbershop." — Paul Griffiths, The New Yorker 5/17/93

"The publicity surrounding the [premiere of Shining Brow] has been credited with indirectly influencing the passage of a local bond referendum authorizing the building of a local convention center designed by Wright many years previously.

Shining Brow is a considerable artistic achievement of uncompromising seriousness — one which found favor with those Wright admirers with whom I spoke for its accurate picture of some unlikely events.

Hagen's compositional ability is a decided asset. He is, first of all, an exceptional orchestrator, and the variety of sounds from the pit — from full orchestra to combination of instruments -- attests to an extremely acute ear for sonority.

One hopes that Shining Brow will be heard again." - Patrick Smith, The Times Literary Supplement 5/15/93

"Shining Brow deserves the Pulitzer Prize for three reasons: It is a quintessentially American opera (you won't find such a ravishingly beautiful hymn to work and craft in any German, Italian, or French opera). Its libretto is unusually inventive and poetic, rich in repetitive motifs and allusions. The music is by turns soaringly lyrical and wrenchingly dramatic.

More to the point, it is that rarest of all finds: an enduring piece of contemporary repertoire, something you will eventually see on recordings and in other productions. It would not be a surprise to see, for example, PBS put a production on the TV series "American Masters" or "Great Performances." — Jacob Stockinger, The Capital Times 5/6/93

"In common with much American composition of the 1980's, the music projects a very mixed pallet of styles, from highly abstract forms verging on expressionism to tonal lyricism of the unapologetically transparent sort, with many other things besides these extremes. If one were forced to pick a single parallel stylistic model, it would be Benjamin Britten, based on the opera's complex orchestration, on its original and enormously difficult vocal lines for solo voices and on skilled choral writing.

Scored for a large orchestra, the work is prodigious. The sheer emotional intensity of the characters and their painful, complex circumstances make it seem longer than it is; there's little happiness in Shining Brow.

To my ear, the best music was Sullivan's. He is truly a tragic figure, lost in loneliness, surpassed in fame by Wright, and consigned by fate to drown himself in brandy.[The singer who portrayed Sullivan] Barry Busse's bows were greeted by sustained shouts of "'Bravo!' from all over the house, including one from me.

It is a great work." — Jess Anderson, Madison Wisconsin Isthmus 4/30/93

"Composer Daron Hagen's score is textural and versatile — sometimes pompous, others witty, still others foreboding — but always in step with the action. His choral and orchestral arrangements are multi-layered yet beautifully simple. The interludes in particular are lyrical — so much so that the orchestration could stand on its own." — Ina Pasch, Wisconsin State Journal 4/22/93

"Intelligent theater talents both, Hagen and Muldoon make us think even as they make us feel. The libretto resonates with a richly allusive poetry one needs supertitles to fully appreciate — and Chicago Opera Theater duly obliges. The text merges seamlessly with the long, singable lines and fluid tonal centers of Hagen's score, newly reduced for COT's 36-piece orchestra. He composes with enormous flair for voices and instruments in a postmodern tonal style distinctly his own. Hagen was born to write music theater works. It will be fascinating to see where he goes from here.

Shining Brow is one of the most important American operas of the past decade. Don't miss it."— John von Rhein, Chicago Tribune 7/27/97

"[Hagen] handles the chorus very well using different forms — barber shop, hymns, Broadway-style numbers — to convey a great deal of critical information and delineate individual voices with absolute clarity. http://daronhagen.com/brow.It's a difficult line to walk, skirting the ahistoricism of popular Broadway styles without throwing in contemporary distractions simply to show the flag." — Philip Kennicott, The St. Louis Post Dispatch 7/31/97

"Like Wright's flowing, open-plan prairie houses, [Hagen's] opera has immediate appeal."

"Just as Wright's seemingly simple houses expressed a far-reaching philosophy of architecture, so are Hagen and Muldoon interested in more than operatic pot-boiling. Shining Brow explores serious issues — the relationship of artist and muse, artist and mentor, the artist's place in society. Moving between the racy plot and extended moments of poetic philosophizing, the opera offers listeners a rigorous, ultimately rewarding, night at the opera.

"Hagen's score, with its unsettled solo melodies, dramatic orchestration and off-kilter passages, reflects Wright's life superbly. Hagen scaled down the forces for COT's 36-piece orchestra but lost none of the color that made the opera's premiere at the Madison (Wis.) Opera so compelling. When a broken, dispirited Sullivan, affectingly sung by tenor Barry Busse, wandered the stage in the second act, a solo cello melody accompanied him like a mournful shadow. A soft-shoe routine, spiked by dissonances and quirky rhythms, was exactly right for a quartet of cynical newsmen." — Wynne Delacoma, The Chicago Sun-Times 7/28/97

"There was always something larger than life about Frank Lloyd Wright, who defied convention in his architectural designs and generally treated associates, clients, wives and lovers as accessories to his self-aggrandizing vision of his own destiny. On July 25, the architect who exerted such a profound effect on American architecture in this century returned, in song, to his heartland home.

"Shining Brow, composer Daron Aric Hagen and librettist Paul Muldoon's 1993 opera, which had its local premiere in a brilliant new production by Chicago Opera Theater, explores the ambiguities that separated Wright's flamboyant public image from his darker private side mdash;.

"The libretto, which resonates with richly allusive poetry, merges seamlessly with the long, singable lines and fluid tonal centers of Hagen's score, newly reduced for COT music director Lawrence Rapchak's thirty-six piece orchestra. COT's production, directed by Ken Cazan and supervised by the composer, was more intimate, better at defining relationships than the world premiere at Madison Opera four years ago had been. The choral scenes that function as pillars supporting the action were especially well achieved.

"Robert Orth made a superb Wright, firmly sung and believably acted. The Yuletide press reception at which the architect defends his adulterous behavior showed what a commanding singing actor the baritone can be. Matching his strengths, soprano Brenda Harris deftly revealed the pain beneath Mamah's free-spirited facade. Tenor Barry Busse ... offered a believably weary, disillusioned Louis Sullivan, Wright's brandy-quaffing mentor. Bass Bradley Garvin and mezzo Kitt Reuter Foss were admirable as the discarded spouses, Edwin Cheney and Catherine Wright." — John Von Rhein, Opera News, 10/97

Robert Orth, Brenda Harris, JoAnn Falletta, the Buffalo Philharmonic, performing Shining Brow in November of 2006. They are two of Buffalo's guiding lights. Frank Lloyd Wright left us a wealth of creations, including the Darwin Martin House, pointing to the past and the future. Louis Sullivan's legacy is our magnificent, imposing terra cotta Guaranty Building.

The two architects lived and worked at a time when the world was changing so fast that, looking back, it seems a blur. "Shining Brow," the opera by Daron Hagen about Wright's impressive array of midlife crises — which included a thorny professional relationship with Sullivan — captures this moment with close to perfect accuracy. Music can express what can't be said in words, or even in bricks and mortar.

Many people tend to avoid new music, fearing it is dissonant and jarring. Hagen's music is not. Except for a couple of shocking moments, it falls sweetly on the ears. The Buffalo Philharmonic Chorus, especially, contributes lovely, carollike interludes. BPO Music Director JoAnn Falletta moves the work along with a steady grace.

The references to the music of Wright's time are striking. An anguished cry mirrors a moment in Mahler's "Songs of a Wayfarer." The opera's second half includes a whimsical collage of the teens. A kind of barbershop quartet refers to historical events, from Geronimo to the Model T. A cafe pianist and violinist [Amy Glidden, the Philharmonic's associate concertmaster, fills the role charmingly] play a waltz. The charm is shockingly offset by the musical depiction of the murder of Wright's muse, Mamah, and her children at Taliesin. Hagen makes the orchestra instruments scream, and a haunting image appears on screen of flames and the shadow of a hand.

Baritone Robert Orth makes Wright a sympathetic figure. It's a glitch of casting that Robert Frankenberry, who plays his "Lieber Meister" [dear master] Sullivan, looks so much younger. Frankenberry threatens to steal the show. His clear tenor carries easily through the hall. The light-voiced Elaine Valby gives a touching portrayal of the abandoned Catherine Wright, and Brenda Harris gives Mamah an arresting intensity. Mamah's husband, Edwin, is sung by Matthew Curran, an excellent baritone. — Mary Kunz, Buffalo News, 11/5/06

"Shining Brow," Daron Hagen's opera about a tumultuous time in the life of Frank Lloyd Wright, ends with a tragedy. The love of Wright's life has just been massacred, along with most of their household. The architect stands on stage, dazed and alone, wondering how he will go forward.

This weekend, the Buffalo Philharmonic Orchestra will be joined by a cast of singers for a semi-staged performance of that opera. Hagen will be in the audience, and as he loses himself again in the drama, he will almost certainly remember the emotions he felt after the first production, 15 years ago.

"What I will never forget is when Paul Muldoon, the librettist, and I were standing at the back rail, and the stage director, Stephen Wadsworth, he tapped me on the shoulder and he said, "You did that.' I said, "What?' He said, "Look around. They're all crying.' "

Hagen grows quiet, reliving the moment. "I said, "Good, that's what you want.' I realized here we were in the dark telling ghost stories.

"We were partaking in a ritual that goes back to the beginning of time," he says. "It's a communion. It's what the Catholic Church understands. That what makes Mass moving. It's the distillation of opera. What opera hopes to achieve is that communion."

Hagen, who has written four major operas, has been in town most of the week helping prepare the latest production of "Shining Brow."

Already, he's familiar with Buffalo from research he has done on Wright's architecture and also from Wright's ardent cult of fans, whom he hears from frequently.

JoAnn Falletta, who will be conducting the opera, stresses the beauty of its music.

"The opera is very romantic, neo-romantic," she says. "Daron Hagen went back to the kind of language that really speaks to people. It's very accessible, warm, beautiful music — lush, wonderfully written for voice."

Falletta is sure "Shining Brow" will speak to Buffalonians.

"It talks about Buffalo a lot," she says. "He never thought it would be coming to Buffalo, but it talks about his early life, houses he's building in Buffalo where one room flows into the next. He talks about the Darwin Martin house, which is eerie. He talks about his thorny relationship with Louis Sullivan," she adds, alluding to the great architect who built our Guaranty Building.

Hagen, 44, grew up in Wisconsin, not far from Taliesin, Wright's estate. He wrote the opera in the 1980s, coached by his composition teacher, Leonard Bernstein. (Hagen refers to him as "L.B.")

"Shining Brow" confronts Wright at what could be called the dramatic crossroads of his life. The opera's opening finds him beginning to break free from his mentor, Sullivan. His personal life is thrown into upheaval, too, when he meets Mamah, the woman for whom he would leave his wife.

When he wrote "Shining Brow," Hagen was fascinated by this turbulent point in Wright's life. The composer, who is married, was particularly drawn by Wright's struggles to balance his creativity with his family.

"Back then, I was giving a lot of time in my own life to thinking about what role a family plays in the life of a dedicated artist," he says. "To put that many people's lives in jeopardy because of your own personal and ethical decisions, that's great personal drama."

What words does Hagen have for all of us who will be seeing his opera for the first time?

Hagen pauses, pondering. "I would encourage you to take the journey with the characters," he says.

"It's my hope — and the librettist's, Paul Muldoon's — that at the end of the opera, people wind up thinking about the personal decisions all these people made. To me, that's the power of a great human drama like this, about the intersection between life and art. We don't answer any questions, but we do pose questions." —Mary Kunz, Buffalo News, 11/3/06

"We enter into an entirely different work with Daron Hagen’s Shining Brow, a work that covers the earlier years of architect and modern day icon Frank Lloyd Wright. I had not realized how sordid his story is; he takes a client’s wife as mistress only to see her life end up as disoriented as that of the wife he has left. His live-in mistress, Mamah, ends up dead along with her two children and three other people as the famous house he built for himself, Taliesin (“Shining Brow” in Welsh) burns to the ground, though the man who started the fire, Julian Carleton (Wright’s chef), took a hatchet to the family members first.Sounds like a Shakespearian tragedy, does it not? The elements are certainly in place, and such a story only serves to emphasize the universality of the Bard. But the approach is far different than the one taken with Ades; Hagen uses an almost populist approach (not surprising considering his close relationship with Leonard Bernstein) that works very well on many levels, but other times seems surprising. Some potentially dramatic elements are present in the action that feels incongruous with the music. Tunes reminiscent of early Americana certainly have their place if a composer so desires, but to me they don’t fit certain events unless the composer is intending irony, but that is not clear to me here.

"The cast is uniformly excellent, Robert Orth convincingly egomaniacal and suitably rough in his portrayal while at the same time genuinely repentant (or at least emotionally affective) in the last moments. Brenda Harris is a wonderful Mamah Cheney, and the rest of the cast quite generous in their acting and vocal abilities. The sound is somewhat of a letdown; despite the acoustical properties of Kleinhans Music Hall in Buffalo the voices are too far forward and dominant of the orchestra. The chorus is generally good but not as sharp and resonant as others I have heard. The Philharmonic plays the music quite adeptly, with Maestro Falletta in possession of a commanding knowledge of the score that she imparts to all forces with rigorous authority. This piece has found an audience and doesn’t need my approval or disapproval; perhaps seeing it in the theater would answer some of my lingering questions about it. For now, this recording is a milestone for a work that certainly deserves a hearing, and for which the public so far is inclined to accept. — Steven Ritter, Audiophile Audition, 8/27/2009

"Regarded as one of the most successful American operas in the second half of the 20th century, Daron Hagen’s Shining Brow, relates an episode in the life of the architect, Frank Lloyd Wright. It comes at a very difficult time for opera, those still working in lyric tonality often finding little to offer that is new, while hard-core modernists find themselves cut-off from opera audiences. Hagen has gone down the first path, composing a score that readily communicates, the opera built from conventional arias, choruses and orchestral interludes. The story relates the affair between Wright and Mamah, the wife of a couple whose house he has designed. They elope, but she soon realises he is wedded to his life as an innovative architect. Tragedy strikes when she and her children are hatcheted to death before the house Wright had created was set on fire with the staff burnt to death. The chef is accused of this horrific murder and is found with his throat burned drinking acid. At the close the thing seemingly uppermost in Wright’s mind is to rebuild the house. I find a score that can reach great heights, the big sweeping aria and duet that ends the first act as good as anything in modern opera. But this story needs more to set the scene, and only when we get into the opera’s ‘scherzo’, at the beginning of the second act, does it take off, and from therein grips your attention, the ending sounding to have come from Britten’s Peter Grimes. The main roles of Wright, Mamah, and her one-time husband, Edwin, are well sung by Robert Orth, Brenda Harris and Matthew Curran, and it is on this trio of characters that much of the work resides. I wish the bottom end of the cast list had been stronger, and the men of the Buffalo chorus find it hard going. Hagen certainly could not be better served than by conductor, JoAnn Falletta, and her Buffalo orchestra, the balance between singers and orchestra expertly handled. I doubt we will be engulfed with recordings of the work, so we are grateful for Naxos’s support of modern music. I just wish other labels would do the same." — David Denton, David's Review Corner, March 2009

"Now in his late forties Daron Hagen has been eminently successful for many years in a wide variety of musical genres: orchestral, concertos, chamber music, vocal and opera. He has received commissions from leading American orchestras like the New York Phil, the Philadelphia and the National Symphony and from numerous instrumentalists. He numbers among his teachers Ned Rorem, David Diamond, Witold Lutosławski and Leonard Bernstein. With such diverse musical influences it’s no wonder that his own compositional style is eclectic, a remark that is in no way deprecating. It only denotes that he is at home in a variety of styles and is able to adjust to the requirements for each specific composition. I have listened to excerpts from a number of his compositions and the remaining impression is that here is basically a warm romantic with ability and willingness to write gorgeous melodies. Romeo and Juliet for flute, cello and orchestra is a splendid example and the second movement from his third piano trio Wayfaring Stranger (2007) is extremely beautiful. He is just as adept at writing rhythmically fresh and rather naughty music for brass—the Invention from Concerto for Brass Quintet!. He is also accomplished when writing for the human voice. I haven’t heard any of his solo songs—of which there are a lot—but his choral writing is extremely affecting. The Waking Father for six male voices is music to return to. His musical idiom is largely tonal though he employs various modern techniques for expressive reasons. Mixing styles—high and low—is one of his hallmarks and he is a splendid communicator, which his first opera Shining Brow aptly demonstrates.

"It was in July 1989 that Daron Hagen was asked by the Madison Opera to write an opera about the famous architect Frank Lloyd Wright. Together with the chosen librettist, Paul Muldoon, Hagen worked out a synopsis and set to work with the first act, which fizzed along without problems. The second act was tougher and he met Leonard Bernstein several times for guidance. Bernstein died in October 1990, before the opera was finished, and it is dedicated to his memory.

"Frank Lloyd Wright fell in love with a client’s wife Mamah while outlining their house. They left their respective wife and husband, went to Europe. Eventually returning to the USA, they built a house in Wisconsin, Taliesin, which is Welsh for ‘Shining Brow’. In 1914, when Wright was in Chicago, his manservant murdered seven people in the house, including Mamah and her two children and then set the house on fire. Two survivors managed to put out the fire but the house was seriously damaged. This is essentially the story of the opera. Frank Lloyd Wright lived until 1959 and probably his most famous creation is the Guggenheim Museum in New York.

"Musically Hagen’s score is a conglomerate of the manifold styles I referred to in his other works, but wholly efficient and personal. Shining Brow is a number opera with arias, choruses, orchestral numbers and ensembles. The music is very varied to mirror the dramatic and emotional contents of the story. The chorus of draftsmen (CD 1 tr. 2) has ‘go’ and makes me think of Orff and Carmina burana. Wright’s arietta (CD 1 tr. 5) is melodious and agreeable and his wife Catherine’s aria (CD 1 tr. 6) has echoes of Broadway musical. The Sullivan Variations (CD 1 tr. 8) is hymn-like brass music and there is another chorus with plainsong character. In act II there is a barbershop quartet (CD 2 tr. 8) and the Canapé Variations (CD 2 tr. 9) is a long gossip scene at a cocktail party played against the waltz from Der Rosenkavalier. Initially there are quotations from the Presentation of the Silver Rose from the same opera. Symbolically this ‘theft’ of another composer’s music is a parallel to Wright’s ‘theft’ of another man’s wife. Sullivan’s arietta (CD 2 tr. 15) is a song that should be on many opera-lovers’ list of the most beautiful opera arias. It is followed by an a cappella chorus that nods in the direction of Bernstein’s Candide (the Westphalia chorus). The rhythmic elements are often very much in the foreground and there are no longueurs. To my mind this is a truly inspired and dramatically convincing opera and readers who prefer operas with melodies should know that there is a wealth of melodic inventiveness.

"The cast is a good one and several of the members have taken part in earlier productions, including Robert Orth as Frank Lloyd Wright and Brenda Harris as Mamah. They are both excellent and Robert Frankenberry as Wright’s one-time mentor and friend Louis Sullivan sports a fine lyric tenor. The Buffalo forces are splendid and JoAnn Falletta brings out the dark dramatic side of the work as well as the lyrical music of which there is also a lot.

"The recording can’t be faulted and the few stage noises only enhance the feeling of a real occasion. While writing the final paragraphs of this review I have been listening again to large portions of the opera and can report that it grows further with renewed acquaintance. The orchestration stands out as superbly varied, brilliant and expressive and the melodic material is organically interwoven with the story. The only regrettable thing is that there is no libretto available. We get only a synopsis that gives the outline but leaves you in limbo as far as detailed understanding is concerned.

"Anyway, relatively contemporary operas are rare guests in the record catalogues. Shining Brow, like Carlson’s Anna Karenina that I reviewed a short while ago, are extremely valuable additions to a repertoire that far too seldom reaches beyond Puccini. Daron Hagen has no intention to challenge Puccini; he has his own musical world that is just as valid—and it shouldn’t be less accessible to opera-lovers." — Göran Forsling, MusicWeb International, July, 2009

"From the recording it is easy to hear why this opera has caught on with audiences; it is suitably dramatic and moves forward with an inexorability that keeps the listener captivated. About Hagen, The New York Times commented once that he 'has a gift for the big tune,' and this is true; he’s not afraid of melody and understands its value in keeping the action moving forward and focusing the ear. Hagen also has a gift for interesting orchestration that supports the story and adds color and also utilizes purely instrumental passages that are, in themselves, well done and are indivisibly linked to the story. Shining Brow is not made up of wall-to-wall singing, as so many post-modern operas are. Falletta’s command of the Buffalo Philharmonic is indispensible to the success of the recording; the orchestra never covers the singers, but comes in with authority in passages where they are the main event. There is only a summary provided with no libretto, but if you speak English, you won’t need one. The singing and diction are so clear throughout that everything is easily understood, not a common attribute with recorded operas in English. Some of Hagen’s most inspired writing attaches to those scenes where Wright is off on a tangent, expressing his bold visions about his given profession. This naturally goes toward character building and not toward developing the plot, and many composers would find such material boring and not linger on it, but not Hagen, who understands that power of the man is principal motivation for the ultimately awful things that happen to him. Shining Brow is a compelling, substantive, and strong entry into the canon of American opera, and Naxos’ recording of it speaks volumes about just how vital and fresh opera has become in the twenty first century." — Uncle Dave Lewis, Allmusic.com, May 2009


"JoAnn Falletta keeps things moving at what seems like a reasonable pace, and her excellent orchestra delivers well-articulated, responsive, sensitive accompaniment. The sound in this live production (from November 2006) is well-recorded, with minimal stage and audience noise." — David Vernier, Classicstoday.com, May, 2009

"Few living American composers have written more operas than Daron Hagen (six, at age 47), and among his most widely performed is the 1993 Shining Brow, about architect Frank Lloyd Wright. Imagining how it would work theatrically is difficult just from hearing the recording, but the ceaselessly inventive score hooks you early on, easily embracing a wide range of predominantly tonal modes of expression, from barbershop quartet to Der Rosenkavalier quotations. The music’s theatrical timing and naturalistic sense of language—so problematic in other contemporary operas—feels effortlessly right. Dramatically speaking, the portrayal of the great architect is so unflinching that Wright (played with many layers of irony by the excellent Robert Orth) borders on being too unsympathetic to carry this sizable, two-act opera. Particularly effective is the musical creepiness that sets in as Wright’s high-ego world grows refracted from reality. In many ways, this is an artist-as-monster portrait; such things need to be said, and some unstable but text-attentive vocalism in this mostly solid recording doesn’t obscure what Hagen and librettist Paul Muldoon have so deftly projected." — David Patrick Stearns, The Philadelphia Inquirer, April, 2009

Shining Brow (1992) is now available on CD for the first time, and it is a considerable achievement. The title is the English translation of the Welsh Taliesin, the name of one of Frank Lloyd Wright’s most famous and ill-starred houses, and the opera is a set of scenes about Wright, two of the women in his life, and his relationship with Taliesin and with the architectural establishment. Hagen is essentially a tonal composer, but Shining Brow is also filled with polytonality (reflecting the interrelationship of principal characters) and a variety of 20th-century techniques (reflecting their emotional state)…Shining Brow is an often-effective opera that it is good to have on CD—JoAnn Falletta keeps everything moving smartly, and the Buffalo Philharmonic Chorus and Orchestra handle their roles with strength and even passion. This Naxos set is a worthwhile purchase for anyone curious about one direction that American opera is now taking." — Infodad.com, April, 2009

"La directora JoAnn Falleta se encargó de dirigir a la ‘Buffalo Philarmonic Orchestra & Chorus’ con mucho acierto. Una composición colorista y brillante, muy bien interpretada que supone una aportación más que interesante para la ópera del siglo XXI." — La Discoteca de HispaOpera, 5/31/2009

"Daron Hagen is one of the most inventive American composers of his generation, working in art song, chamber and orchestral genres as well as operatic forms. So it is surprising that this November 2006 taping marks Hagen’s first appearance in Naxos’s extensive ‘American Classics’ catalogue; one trusts more will ensue. A protégé of Ned Rorem and Leonard Bernstein (who furnished advice as Shining Brow took shape), Hagen likes bridging gaps between different cultural layers and semantic fields. His staged works have included Bandanna, a Tex-Mex retelling of Othello (1999), Vera of Las Vegas (2003), the trilogy New York Stories (2005-8) and The Antient Concert (2007); Amelia arrives at Seattle Opera next May.

"Hagen’s score – proudly eclectic, often elegiac, tonal but occasionally dissonant – incorporates contemporary allusions and popular forms (including dance and liturgical music). Unlike many contemporary composers, he writes singable vocal lines; the choral deployment is inventive, often droll. The brass writing is notably good.

"Robert Orth and Brenda Harris (here Wright and Mamah Cheney) are among America's most protean, skilled singing actors. They first tackled these demanding roles at Chicago Opera Theater in 1997. The ensuing decade cost some vocal freshness (Harris now tackles Norma and Roberto Devereux), but both give admirable performances with stretches of attractive tone. Orth, particularly, inflects English masterfully onto legato lines. The bass-baritone Matthew Curran makes a solid Edwin Cheney (whose marriage Wright ruins while building his house).

"Several participants here are frequent Hagen collaborators. Robert Frankenberry's lyric tenor is characterful and ductile if not conventionally dulcet; his superbly enunciated Sullivan, rather Vere-like musically, both comments on and takes part in events. Elaine Valby earns sympathy as Wright's long-suffering wife Catherine, though her mezzo varies in focus. Gilda Lyos's clear soprano compels admiration. Act 2 seems a shade long, but Shining Brow is affecting home listening, making one eagerly await new stagings." — David Shengold, Opera, UK, July, 2009

Composer Daron Aric Hagen and librettist Paul Muldoon were shrewd to make an opera centered on Frank Lloyd Wright (1867–1959). Not only is there more than ample dramatic material in the tumultuous life of America's first "starchitect," but a number of major American cities have a building connected to his legacy. Shining Brow had its premiere in 1992, at Madison Opera in Wisconsin, and was also staged at Chicago Opera Theater in 1997. The piece has received several concert performances in other locales, as well. This premiere recording comes from a November 2006 semi-staged production by the Buffalo Philharmonic Orchestra.

The libretto telescopes into two acts and six scenes the years 1903 to 1914, a period when Wright achieved fame not just for his Prairie Houses but for a very public extramarital affair conducted on both sides of the Atlantic with the wife of one of his clients. The opera's Act II includes a fire and seven offstage axe murders at Taliesin (literally, the Shining Brow of the title), Wright's famed headquarters and retreat. Along the way, Wright struggles with his relation to a mentor — a theme that apparently spoke to Hagen, who made the score a tribute to his own sometime teacher Leonard Bernstein. Tunes from Bernstein's musicals are everywhere in the opera, while a party scene is based on portions of Richard Strauss's Der Rosenkavalier. But rather than being a big identification game, the music flows along well enough on its own terms, with a regular underpinning of vague familiarity and western spaciousness.

While the blueprint of Hagen's score is elegant and strong, this performance might not earn a certificate of occupancy. The cast frequently seems under-rehearsed in Act I and especially insecure with pitch. Even the normally redoubtable baritone Robert Orth sounds occasionally tentative as Wright. Yet in his biggest aria, near the opening of Act II, Orth achieves a compelling mix of confession and defiance. Soprano Brenda Harris, as Wright's paramour, also rallies to bring Act I to a fine close. As she sings of resignation at her fate, the music is triumphant.

Conductor JoAnn Falletta's pacing never slackens and her orchestra generally sounds strong, especially the mighty low brass. But the chorus often can't seem to spit out all the lyrics, which are at times a total mystery: they are not included in the Naxos booklet, due to copyright restrictions. (Used copies of the libretto, which is out of print, can be searched for online but are not available through Naxos.) A kind of cowboy tune near the opening is carried well enough by the male voice to linger long in the ear. In another memorable ensemble number, a band of nosy reporters is played by a delightful barbershop quartet. — Joseph Dalton, Opera News, September 2009

"Based on episodes from the life of Frank Lloyd Wright, and ending with the tragedy amid the destruction of the first Taliesin, Hagen’s tuneful and richly characterized, unashamedly popular opera concentrates on Wright’s problematic and complex relationships with the people around him as he pursued his brilliant and single-minded career path. Hagen’s music is tonal, fresh and vital, bringing a revitalizing blast of Broadway in the sense of West Side Story - the composer consulted Bernstein during the work’s formative process, and plainly the two were kindred spirits, with Hagen already skilled in the kind of eclectic, instantly appealing, sophisticated yet vernacular-based idiom in which the older composer excelled. As the story unfolds, with its interpersonal conflicts, infidelities, ambition and disappointments played out in a very public arena, the music matches the moods and motivations of the characters with flawless precision and an apparently inexhaustible supply of great tunes. The tragic finale is dramatically powerful and genuinely moving. 2 CDs. No libretto. Robert Orth (baritone), Brenda Harris (soprano), Robert Frankenberry (tenor), Elaine Valby (mezzo), Buffalo Philharmonic Chorus and Orchestra; JoAnn Falletta." —Records International, Summer, 2009

"...a well-crafted post-tonal work...the score's eclecticism is often appealing, roaming freely among hymn, blues, and barbershop quartet...." —Howard Goldstein, BBC Music Magazine, November 2009

Shining Brow Website