Michael Head's light opera,

Abstract

The analytical chapter consists of a determination of the dramatic values of the libretto and a full musical analysis, with particular emphasis on how the composer has articulated and defined these values and the dramatic events, in essence, how music serves the drama. The uses of musical parody and musical motives are identified and discussed.

The reputation of British composer Michael Dewar Head (1900--1976) rests primarily on his compositions for solo voice, most of which remain in print. Head also wrote two children's operas and four light one-act operas. The unpublished manuscript of one of the light operas, Key Money, with a libretto by Head's sister, Nancy Bush, is examined from historical, analytical and critical aspects, with an emphasis on informing directors and singers on aspects of performance.

The one-act chamber opera is placed in perspective by noting its numerous commonalities with the Italian comic intermezzo of the eighteenth century and its relationship to miniature chamber operas of the present day, particularly Menotti's The Telephone. Michael Head's other operas are described.

The historical chapter presents the musical environment and influences on Michael Head's compositional style, much of which was taken from his personal diaries. The life and career of librettist Nancy Bush is discussed, with emphasis on her libretti for three full-length operas by Alan Bush, which were published and performed in East Germany. Her extensive work as a published translator and writer of English versions of songs is noted in an appendix. The genesis of the opera, which was commissioned and performed by the British Intimate Opera Company, is addressed, as well as its performance history.

As an experienced professional singer, Head wrote music that not only enhanced dramatic values, but was highly singable. He achieved the desired dramatic effects with greatest ease for the singer and utmost intelligibility for the audience. Because Key Money is extremely well-crafted and it requires only two singers with piano accompaniment, this chamber work could be valuable in the repertoire of college studios, opera workshops and opera touring companies.