Champion
debuted at Opera Theatre St. Louis in June 2013 to sold-out audiences and great
national critical acclaim. As a modern
opera, Champion explored the human condition, its triumphs and tragedies
through the life of famed boxer Emile Griffith, who died in a New York nursing
two weeks after the opera closed. Champion has been given life and a promising
future with interest from the Washington National Opera, Opera Paralléle in San
Francisco, and Opera Philadelphia. Additionally, the opera is now represented
worldwide by Boosey & Hawkes (www.boosey.com). Most recently, Champion has
been nominated by the 2014 International Opera Awards for best 'World
Premiere,' and is the only modern American opera nominated.
With
your support, Champion will be captured and distributed to audiences worldwide.
All befitting the first-time performance of Terence Blanchard’s first opera-- a
unique and momentous occasion in the history of opera and jazz. A great first
landmark.
The
Story of Champion:
“I kill
a man and most people understand and forgive me. I love a man, and to so many
people this is an unforgivable sin" - Emile Griffith
Based on
actual events, Champion recounts the story of world welterweight champion Emile
Griffith and his 1962 bout with Benny "The Kid" Paret, which ended in
Paret’s death. After Paret hurls a gay slur at Griffith (who is closeted), they
find each other months later in the ring—face to face. The result of the fight
plagues Griffith’s thoughts for decades as his misery and guilt build up into
his later years. The irony of Griffith’s absolution after delivering fatal
blows to Paret and ostracism after being outed as a gay man presents the
psychological complexities that fueled Griffith’s emotional torture.
Recording
Details
• The
date of the recording session will depend on the success of our fundraising
efforts, but we are shooting for June 2014.
• The
live recording will include the original cast of Champion as well as members of
the St. Louis Symphony.
• We have
made the project more scalable by securing reductions in fees from St. Louis
Symphony, along with gratis usage of Powell Hall for the recording.
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