The Picture of Dorian Gray Opera in two acts Op.45 (1995) c.120'00"

(3d1.2+1.2+1.2+1/4.3.3.0/timp/perc(2)/hp/cel/strings)
reduced orchestration available

Commissioned by L'Opera de Monte-Carlo

Dedicated to H.S.H. Princess Caroline of Monaco

First performed on May 8th, 1996 at the Salle Garnier in Monte-Carlo, Monaco by L'Opera de Monte-Carlo conducted by Steuart Bedford

PRODUCTIONS

1996 - L’Opera de Monte-Carlo (World Premiere)
1999 - Florentine Opera (US Premiere)
2007 - Center City Opera Theater (World Premiere of Reduced Orchestra Version)
2014 - Aspen Opera Center
2016 - Fayetteville Opera
2016 - Odyssey Opera

REVIEWS

“Certainly, no one denies that “The Picture of Dorian Gray” is an astonishing operatic debut. Like Britten, whose first opera was “Peter Grimes,” Mr. Liebermann has burst forth fully formed as a theatrical composer. In the end the drama is so compelling and the structure so taut that the question of influence pales in comparison…The 12 scenes are clearly defined, each focusing on a single dramatic event. And Mr. Liebermann has an intuitive sense of pacing that enables him to build inexorably to the shattering climax…Above all, “The Picture of Dorian Gray” is the work of a composer who wields a virtuoso technique with self-assurance and conviction.”
The New York Times

“Lowell Liebermann is an epicure among American composers, savoring glittery chords, gossamer lines, and velvety textures that more self-consciously intellectual colleagues might be scared to put on paper. He’s well equipped to take on Oscar Wilde, and his 1996 opera, The Picture of Dorian Gray, luxuriates in a suitably eclectic aesthetic language…”
Alex Ross, The New Yorker

“The Picture of Dorian Gray claims a significant place among American operas premiered in recent decades. Liebermann knows how to write melodies that take flight, but he also proves he can write vivid music drama that reflects the passions in Wilde’s tale of corrupted innocence. The glory of this compelling score is the cogent orchestral interludes that connect the 12 scenes. Those interludes vividly underscore the characters’ turbulent emotions.”
The Courier-Post

“Musically and dramatically, Mr. Liebermann’s work is effective; as a first opera, it is remarkable…Mr. Liebermann’s handling of the orchestra is masterly, summoning great power at times without in most cases swamping the voices. And his setting of English was natural enough to carry at least to one choice seat with little need for supertitles.”
The New York Times

“North American viewers will have to wait until 1998 to see and hear this exceptional work…Without being in the least bit pejorative, the music was often reminescent of film music of the highest quality. Liebermann’s masterful orchestration demonstrated a craftsmanship not always found today.”
Opera

“Nearly three years ago a glittering crowd in Monte Carlo cheered the world premiere of a new American opera: Lowell Liebermann’s The Picture of Dorian Gray. The music combines rich, unabashed emotions with an energy that at times recalls the minimalists…Shot through with expressive melody, brilliantly orchestrated, paced with unerring dramatic flair, the score is all that Andrew Lloyd Webber’s turgid Phantom of the Opera ought to be:…a first class popular entertainment crafted with passion and art.”
The Atlantic

"…it comes as no surprise that his orchestral writing in this piece is stunning. The score is a rich tapestry of sweeping phrases, wrenching harmonies, and plaintive instrumental solos.”
American Record Guide

"It is an impressive work…Liebermann is able to move from full ensemble to solo cello with ease and expertise. There are echoes of other composers…but at all times the music is Liebermann’s own.”
Opera News

“The Milwaukee Symphony, conducted urgently and intelligently by Steuart Bedford, glowed from the orchestra pit in hues of endless variety and fascination. Liebermann’s command of orchestration is complete. Every combination and voicing was ringingly resonant and dramatically compelling throughout this two-hour opera, which is symphonic in conception. Dorian Gray is not an opera of tunes accompanied by the orchestra. It is, rather, a grand programmatic symphony in which the singing and the text are integral parts. Signature motifs wind through it and function as both markers of character and formal musical elements. The music accumulates meaning as it goes on, its many elements stick in the mind and add up to something; webs of musical and dramatic relationships form as the music unfolds.”
Milwaukee Journal-Sentinel

“…the 90’s have seen a considerable number of high-profile premieres,…But to date, only one, Lowell Liebermann’s The Picture of Dorian Gray, has been both musically distinguished and dramatically effective.”
Commentary Magazine

“Altogether the musical complexity is indeed accessible at first hearing, and it makes for an extremely engrossing performance. This is an unusually lyric opera for a contemporary work…In particular, I found that the dialogues between Dorian and his “soul-painting”, transposed into duets between tenor and orchestra, quite superb. To make visual art become music was a real challenge, and this young composer is certainly someone to watch.”
OperaGlass

“But above all, to offer up lovely, melodious music that draws upon the heritage of Wagner, Berlioz, Philip Glass and Adams. At every step of the drama, one is aware of aharmonious osmosis of the vocal line and the orchestral score, which finds its apotheosis in the second act…Here is an opera in which the message of Oscar Wilde has found a particularly refined outlet.”
Nice Matin

“Liebermann’s striking musicality dazzled his audience through to the finale.”
Riviera-Côte d’Azur Zeitung