I'm hugely stimulated by the dynamic, high-spirited and deeply moving music that John is creating, and I am in high anticipation in my eagerness to bring this new work to life, first in San Francisco, and later around the world.' These true stories of the Forty-Niners are overwhelming in their heroism, passion and cruelty, telling tales of racial conflicts, colorful and humorous exploits, political strife and struggles to build anew a life and to decide what it would mean to be American. Not many composers can hope to be as lucky as I to have this connection to the historical reality.'Дirector/librettist Peter Sellars commented: 'While I was doing research to create a new production of Puccini's La fanciulla del West for a European company, I uncovered a treasure trove of fascinating historical and literary descriptions and accounts from the California Gold Rush, unveiling vivid and fascinating personalities, events and situations. These events took place literally in my own backyard. To be able to set to music the authentic voices of these people, whether from their letters or their songs or from newspaper accounts from their time, is a great privilege for me. A drama played out against the backdrop of California's natural beauty, the Gold Rush brought out the very best and the very worst of human traits, from scenes of ugly nativist racism and casual violence to examples of nobility, generosity and ingenuity-and of course there was always that great humor, gritty and self-deprecating. 'Those who came here were willing to give up everything and endure the worst in hopes of a quick fortune. 'The Gold Rush was California's first 'bubble,'' says composer John Adams, who has lived in California for 45 years. In addition to the 'Dame Shirley Letters,' the opera libretto sources include the lyrics of original Gold Rush songs, passages from Mark Twain, newspaper accounts, political slogans, Chinese poetry from the era, and memoirs by Mexicans who worked the mines. In the course of her time there, she witnessed frantic and often chaotic gold mining, claim disputes, the destruction of natural surroundings, whippings, murders, lynchings, encounters with the local Native Americans, and an array of diverse nationalities all thrown together in the shared desire for quick wealth. The principal narrative voice is that of Louise Amelia Knapp Smith Clappe, a doctor's wife, from the letters she wrote under the pen-name 'Dame Shirley' during her time in the mining camp of Rich Bar during the Gold Rush. The opera is based on factual events and persons that typify the mix of wildness, optimism, greed, violence, humor, and racial prejudice of the era in the California mountains. The libretto by Peter Sellars, who also directs the opera, is drawn from historical sources and interweaves stories of three Gold Rush women whose lives intersected in a small mining community in the Sierra Nevada mountains in 1850. This premiere will be a part of the John Adams at 70 celebrations, featuring performances of his work around the world throughout 2017.Д¬omprising two acts and sung in English, Girls of the Golden West is scored for eight characters, men's chorus and orchestra, which includes musicians on guitar, accordion, and piano.

The opera is being co-commissioned and co-produced by San Francisco Opera, The Dallas Opera, Amsterdam's Dutch National Opera, and Teatro La Fenice, Venice.

Composer John Adams and director/librettist Peter Sellars are joining forces once again to create Girls of the Golden West, a new opera set during the 1850s California Gold Rush that will be presented by San Francisco Opera at the War Memorial Opera House in seven performances in November 2017.

Adams girls of the golden west