Savannah in the City
a chamber opera in one act for young voices
Savannah discovers she is not alone.
Dan the Cab Driver
John the Pizza Guy
Mark the Jeweler
Chorus: city folk, animals, lion
scored for treble voices and piano (17 pages)
Synopsis: Savannah, a teenager living in a Manhattan penthouse, thinks she is an only child. She lives with her Nanny as her parents are away most of the time for work. A soccer star and used to having everything she wants, Savannah has an attitude. On a day like any other day, having been sent down to the street by her irritable Nanny, she waits for a cab. The journey does not end where she expects, and an important discovery is made.
Performance duration: circa 13 ½″
Read the libretto
See sample pages of the score
Download a sample performance license
Piano-vocal score: $25 to print as needed for local use
Rehearsal libretto: $10 to print as needed for local use
Rehearsal recordings (solo voice and piano, not for public performance) $50 upon request
Performance License: $250 for up to 5 performances in a 12 month period
With documentation, public or private schools may apply for a substantial discount on the performance license. Please contact us for additional information.
20% of any proceeds will be returned to the Santa Fe Opera Company in support of their Community Development and Education programs.
The initial concept of these little operas came out of works created in class sessions in the ‘Active Learning Through Opera’ program of the Santa Fe Opera Company with the Rio Rancho School District in Northern New Mexico, USA.
The main characters, storyline, libretto, and melodies are developed in weekly sessions as guided by Teaching Artists (typically a dramaturg and a composer). Accompaniments and performing editions are then prepared by the resident composer with considerable discretion in refining the pieces for presentation.
For these newly prepared editions, the scores have been adapted, expanded, and developed significantly beyond that of their original performing versions. This includes changes to the libretti, dramatic structure and melodic material intended to attain a sense of overall refinement for better storytelling.
The operas may be sung by adults or youth ad libitum and the rôles should be considered as gender flexible. Accompaniments are designed somewhat simply for piano solo and may be ‘filled in’ at the performers discretion. Additional performance directions, specifically regarding the use of ‘soundscapes’ are indicated in the individual scores.