Extraordinary
for Soprano, Baritone and Chamber Ensemble
Written: 2020
Duration: ca. 9’
Libretto by David Cote
Instrumentation: baritone and chamber ensemble (reed [flute, oboe, clarinet in B-flat], violin, viola, cello, percussion [see below for instrumentation], piano)
Percussion Instrumentation: small drum set (snare drum, bass drum, hi-hat, crash cymbal, ride cymbal), orchestra bells, Mark Tree, temple blocks, medium wood block, high wood block, medium triangle, small triangle
Commissioned by American Modern Ensemble with funding from the Doctorow Family Foundation
Word Premiere (Chamber Version): American Modern Ensemble, Marnie Breckenridge, soprano, Jorell Williams, baritone, The DiMenna Center for Classical Music, Mary Flagler Cary Hall, New York, NY, October 27, 2021
World Premiere (Piano/vocal Version): American Modern Ensemble, Marnie Breckenridge, soprano, Jorell Williams, baritone, Caffè Lena, Saratoga Springs, NY, October 29, 2021
Publisher: Bill Holab Music
View Score | Available as a companion piece with In Real Life I or In Real Life II
Extraordinary is also available as a version for soprano, baritone, and piano, and may be performed as a stand-alone piece or as a companion piece with In Real Life I and/or In Real Life II.
PROGRAM NOTE
After two cycles of longing, loss, and glimmers of hope, Robert and I knew our singers had to meet. We wrote this scene/duet to cap In Real Life I and In Real Life II, for a man and a woman who connect online and decide, during a rather complicated time, to go on a date. Extraordinary was commissioned by American Modern Ensemble with funding from the Doctorow Family Foundation.
Program note © 2020 David Cote. Reprinted with permission.
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EXTRAORDINARY
for Soprano, Baritone, and Chamber EnsembleA park before dusk. Brian, in mask, enters. He looks around, checks phone. After a moment, Angela, also in a mask, appears. They see each other. Wave. They remove their masks for recognition.
BRIAN
Are you JaneAustenSpace22?ANGELA
KimchiWolff with two effs?BRIAN
Right.ANGELA
Sooo….BRIAN
Is this a date?ANGELA
I don’t know.Brian
So, JaneAustenSpace22.ANGELA
Yes?BRIAN
Ever meet JaneAustenSpace21?ANGELA
A total bitch.BRIAN
That’s what I heard.ANGELA
So, Kimchi—BRIAN
Brian.ANGELA
Angela.BRIAN
Hi, Angela. Sit?(They sit on a bench, judging the distance subtly—six feet apart?—adjusting slightly. They remove their masks entirely. Awkward pause.)
ANGELA & BRIAN (to themselves)
This is the best date I’ve had in months.
This is the first date I’ve had in months.
Do we hug?
Can we kiss?
Is it safe?
Will I catch something I can’t handle?
Will I feel something I can’t handle?BRIAN
It’s nice to see you I-R-L.ANGELA
Huh? Oh, “In Real Life.” Yes.BRIAN
You’re really funny online.ANGELA
Thanks.(Pause. He looks eagerly at her expecting “funny.” She’s at a loss, so all she can blurt out is:)
ANGELA
That’s. A. Suit.BRIAN
This? Yes. It’s a suit.ANGELA (to herself)
You’re bombing.
You’re super bombing.
Like carpet bombing the date.
This date is a war crime.
And now you’re in the Hague.BRIAN (to himself)
You’re boring.
You’re super boring.
She’s practically asleep.
You’re human Ambien.
You’re even boring me.
(to Angela)
I haven’t read Jane Austen’s books,
but I was hoping you could tell me about them?ANGELA
I don’t know what you’ve heard,
but I don’t do English Lit on the first date.BRIAN
See, that’s funny!ANGELA
What do you do?BRIAN
Malware protection.ANGELA
Not funny.BRIAN
Unless you make a virus joke.ANGELA
Pass!BRIAN
Can I ask why you said yes? To this?ANGELA
I liked your smile.BRIAN
I liked your jokes.ANGELA
I liked your dog.BRIAN
I liked your bookshelf.ANGELA
I liked your eyes.
Present tense! Like. I like your eyes.BRIAN
I like present tense your eyes too.
I’ve been alone a while.ANGELA
Me too.BRIAN
I’m not sure I remember.ANGELA
I’ll draw you a diagram.BRIAN
PowerPoint?ANGELA
Paper.BRIAN
How quaint.ANGELA
Ain’t it, though?
Fancy paper. Real handwriting.BRIAN
Real hands.
I wish we could hold hands for a moment.ANGELA
I wish we could hold hands for a moment.ANGELA & BRIAN
But it’s not safe, not safe.
If this were a date on an ordinary day,
a boring, dumb, humdrum day,
anything could happen.
Anything, anything, anything!
But today…
Touching hands would be extraordinary.
Sitting close would be extraordinary.
A goodbye kiss would be extraordinary.
But it’s not safe, not safe.
Must be careful, must protect.
Wear a mask to deflect
the sudden fleck,
which infects,
and don’t even think of having se—ANGELA
Want to walk a bit?BRIAN
Yes, let’s stroll in the gloaming.ANGELA
Look at you: “the gloaming.”BRIAN
Thought you’d like that.ANGELA
Jane Austen would approve.ANGELA & BRIAN
If only this were a date on an ordinary day…(They walk away, as dusk falls.)
[The End]
—David Cote. Libretto Copyright © 2020. Reprinted with permission.
Press Quotes
“In Real Life explores online dating with much comedy in a very theatrical setting... the songs here portray five women and five men filling out their dating-site profiles, sets it to music, and essentially illuminates all the humor, romance and forthrightness that comes with searching for a mate in a charming, operatic demeanor... weaves in and out of tense, tuneful and twinkling moments.”
“[In Real Life is] like a chamber musical. You can see why the composing duo write opera together... Paterson takes Cote’s texts and bakes into the words a new and often surprising energy... bundled with wit and a good sense of humor.”
“Paterson’s musical settings are very much in the spirit of a first-rate contemporary Broadway score. They are melodic, accessible, and gratifyingly sensitive to the narrative’s ebb and flow. [The In Real Life Album] is a human and touching exploration of the eternal search for companionship and love.”
“Patterson’s [sic] score is breezy, cinematic and quirky... he perfectly captures the uncertainty of the situation with hesitant yet inquisitive instrumental gestures. it’s a welcome alternative to the depressing Covid compositions already emerging in the repertoire.”
“Such charm and humor in these [In Real Life] songs... just delightful!”