Scott Joplin's opera, *Treemonisha*, published in 1911, holds a unique and significant place in American musical history. Initially largely unknown, it would take decades for the work to receive its first complete performance in 1972. This opera, sometimes mistakenly labeled a "ragtime opera," actually encompasses a broad spectrum of musical styles, including an overture, prelude, various recitatives, choruses, small ensemble pieces, a ballet, and arias.
Its eventual recognition, culminating in a posthumous Pulitzer Prize for Joplin in 1976, highlights its enduring artistic and cultural importance, particularly for its celebration of African American music and its powerful message about education.
The Long Road to Performance and Recognition
Despite its publication in 1911, *Treemonisha* remained largely unperformed for over 60 years. The opera's first complete performance in 1972 marked a turning point, bringing Joplin's ambitious work to a wider audience. Music historian Gilbert Chase described this performance as a "semimiracle," noting that *Treemonisha* "bestowed its creative vitality and moral message upon many thousands of delighted listeners and viewers" once it was finally recreated. This initial performance paved the way for subsequent productions across the United States, including at the Houston Grand Opera, the Kennedy Center in Washington, D.C., and a 1975 run at the Uris Theatre on Broadway, which garnered significant critical and public acclaim.The original orchestrations for *Treemonisha* have been completely lost, a fate also shared by Joplin's earlier opera, *A Guest of Honor* (1903). This loss meant that modern performances required new orchestrations. For instance, Rick Benjamin, conductor of the Paragon Ragtime Orchestra, dedicated five years to orchestrating the opera score for a 12-piece theater pit orchestra, a type of ensemble common in Joplin's era. Benjamin's version premiered in June 2003 at the Stern Grove Festival in San Francisco, further contributing to the opera's revival and accessibility.
Musical Style and Thematic Depth
Joplin's ambition for *Treemonisha* was to create a serious opera in the European tradition while also making it an entertaining piece of music. He incorporated the ragtime idiom primarily in the dance episodes, demonstrating a broader musical vision than the "ragtime opera" label suggests. The musical style of *Treemonisha* is characterized as the popular romantic style of the early 20th century, described as "charming and piquant and... deeply moving." It integrates elements of black folk songs and dances, including a form of pre-blues music, spirituals, and a call-and-response scene featuring a preacher and congregation, showcasing a rich tapestry of African American musical heritage.The opera's central theme revolves around the celebration of African American music and culture, coupled with a strong advocacy for education as a path to empowerment. The protagonist, Treemonisha, is a black teenager educated by a white woman, mirroring Joplin's own educational background with a white music teacher, Julius Weiss. Treemonisha's journey involves leading her community against conjurers who exploit ignorance and superstition, ultimately highlighting the transformative power of knowledge. Critics have praised the opera for its heroine, calling her "a startlingly early voice for modern civil rights causes, notably the importance of education and knowledge to African American advancement." This message of literacy, learning, hard work, and community solidarity as a formula for racial advancement underscores the opera's profound social relevance.
Inspirations and Lasting Legacy
Historians speculate that Joplin's second wife, Freddie Alexander, may have been a significant inspiration for *Treemonisha*. Like the title character, Alexander was educated, well-read, and a proponent of women's rights and African American culture. The opera is set in September 1884, the month and year of Alexander's birth, which supports this theory. Joplin's biographer, Edward A. Berlin, suggests the opera was a tribute to Alexander, a woman he loved. Berlin also notes the parallel between Treemonisha's education by a white woman and Joplin's own lessons with Julius Weiss, indicating a personal connection to the narrative.Lottie Joplin, the composer's third wife, also saw a connection between Treemonisha's desire to lead her people out of ignorance and a similar drive in Joplin himself. She even described Treemonisha as a spirit who would speak to him while he played the piano, helping to "shape" the composition and revealing "secrets" about the past and future. This suggests that Treemonisha was not just a character but an entity deeply intertwined with the creative process. The opera's lasting legacy was cemented with Joplin's posthumous Pulitzer Prize in music in 1976, recognizing its artistic merit and its powerful, forward-thinking message.
