Native of Brooklyn, New York, composer/violinist Justine F. Chen has received many prestigious awards, including prizes from BMI and ASCAP. Her works have been performed by New York City Opera, New York City Ballet, The Juilliard School, New York Festival of Song, New Juilliard Ensemble, Washington Ballet, Brooklyn Philharmonic, FLUX Quartet, Elements Quartet, and Concertante. Formal training in violin and composition began at Juilliard’s Pre-College Division, and in dance at School of American Ballet. She has performed in various children's roles in New York City Ballet productions. Show more
Her unique inter-disciplinary background has guided her to artistic collaborations. She has written music for projects ranging from incidental music to animation. In 2001, she scored digital artist Yewon Cho’s animation Trilemma, which was screened at the Hiroshima Animation Festival, New York Expo, Student Academy Awards, and broadcast on PBS’s Reel New York.
Her numerous dance collaborations include Of Roots and Stones, which was performed in Juilliard’s Spring Dance Concert in 2000. The New York Times wrote, “Chen… blended popular dance rhythms into the kind of propulsive, emotionally resonant score that choreographers tend to dream of.”
As a violinist, she has performed throughout the world and specializes in contemporary music. Her interactive computer music studies (MAX/MSP) with Mari Kimura have resulted in the composition and performance of several interactive pieces, including her first opera. This computer-enhanced chamber opera entitled The Maiden Tower was initially presented at Juilliard before being featured in City Opera’s VOX 2006, and it will be performed by Chants Libres in Montréal in December 2008.
She is currently working on a youth opera based on Macbeth (June 2008) for Long Leaf Opera, where she is composer-in-residence.
In 2005, she completed doctoral studies in composition at Juilliard with Robert Beaser. She also earned her BM and MM in violin and composition at Juilliard. She heads the music department at Pierrepont School in Westport, CT. Show less
Because of the peculiarity of her path, Joan was investigated numerous times, so many contemporary records and recollections of her life are accessible. Show more
The three main historical moments relating to her life are the Hundred Years War (1337-1453), the struggle between the French and the English over the French throne; Joan’s Trial of Condemnation at Rouen (1431), which ended in her death at the stake; and her Rehabilitation Trial (1455), in which 115 witnesses, many from the previous trial and her hometown were interviewed. This resulted in the nullification of the 1431verdict. Throughout the opera, we move forwards and backwards on this timeline.
The libretto was written after consulting Régine Pernoud’s Joan: By Herself and Her Witnesses, and Joan of Arc: Her Story (Duquesnay Adams’ 1998 translation/revision). It is a free interpolation of what could have happened. Structural influences include Michael Frayn’s Copenhagen and David Auburn’s Proof. Show less
Scene 1 An Old Peasant Woman from Joan’s hometown testifies about Joan’s character. She recalls an anecdote about Joan’s angry father.* Show more
Scenes 2-5 In her cell, Joan discusses her imprisonment with her Confessor. She talks of her capture in battle, mistaken perceptions of her divinity, and her mission to put Charles Dauphin on the throne of France.
A limp Charles listens to his power-hungry mother scheme to use Joan’s popularity to their advantage, finally capturing the throne of France.
Joan speaks of the prophecy of her arrival. Her Confessor has her consider the idea of betrayal by her soldiers.
A soldier from Joan’s troops describes Joan’s miraculous effect upon her men.
Scene 6 Reluctantly considering the possibility of betrayal, Joan discusses her enemies.
Meanwhile, Bishop Cauchon and his rabble gather for a rally. Cauchon incites fear and hatred for Joan’s heresy, then goes on to pray for her confession, and thus the deliverance of her soul.*
Scene 7 Joan reveals her frustration about the Dauphin’s passivity. She expresses her fear of the grueling interrogation.
Scene 8 During a break in the trial, Joan’s interrogators are abuzz about her remarkable performance in court.*
Scenes 9-11 In prayer, Charles decides against sending aid to Joan in prison.
Cauchon and an Interrogator brainstorm as to how to get Joan to the stake. They need only to prove she has broken an oath that she has pledged in writing.
Convinced of her impending freedom, Joan discusses the ostensibly manageable conditions of the written statement she just signed.
Scene 12 Riddled with doubt, Cauchon prays for guidance.*
Scene 13 (Pantomime) Cauchon visits Joan’s cell as she sleeps and approaches her with wonderment.*
Scene 14 Witness to Joan’s final confession and execution, Brother Jean recounts those final moments.*
*Indicates excerpt performed in VOX 2008 Show less
