No Ladies in the Lady's Book - Full Score - Lisa DeSpain, Rachel J. Peters

Catalog No. 8898A

1. "Haulenbeek" 1. OPENING OPENING "Haulenbeek" (Subtitle) (Subtitle) from “No Ladies in the Lady's Book” from “No Ladies inbythe Lady's Commissioned Utah Opera Book”

Libretto by Libretto by RACHEL J. PETERS RACHEL J. PETERS

by Utah Opera in celebration ofCommissioned the 150th Anniversary of the "Golden Spike." in celebration of the 150th Anniversary of the "Golden Spike."

Triumphant (q = 126) Triumphant (q = 126)

& bb &

Violin Violin

?b ?b

Cello Cello

& bb &

Piano Piano

Vln. Vln.

Vc. Vc.

# & # Ï ÏÏ & Ï w 4 w 4 b & b ww & 4 4

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>Ï >Ï >Ï >Ï

& bb & ?b ?b

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úúú úúú >ú >

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www Ï Ï Ï Ï Ï wÏ wÏÏ Ï Ï ÏÏ Ï Ï ÏÏ Ï Ï ÏÏ Ï ÏÏÏ Ï Ï >Ï Ï Ï Ä> > Ä >Ï Ï Ï Ï ggg ÏÏ Ïww Ï Ï Ï ggg Ï w * gg >>Ï w * · ·

>Ï Ï >Ï JÏ J > Ï >ÏÏ ÏJ J

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Composer’s Engraving

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ú .. ú

> ú>úúúú úú

> > ú Ï Ï ÏÏ gggg b b úú Ï Ï gg b ggg b ú

Music by Lisa DeSpain © Copyright by Lisa DeSpain. Used by permission. Opera © 2020 Rachel J. Peters and Lisa DeSpain, and administered by ECS Publishing Group. All rights reserved. © 2019 PIANO NINJA PRODUCTIONS All Rights Reserved © 2019 PIANO NINJA PRODUCTIONS All Rights Reserved

Ï ÏÏ ÏÏ ÏJ J

Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

úúú úúú >ú >

Libretto by Rachel J. Peters © Copyright by Rachel J. Peters. Used by permission.

1. Opening - 7 - 1 Utah Opera--7No 1. Opening - 1Ladies in the Lady's Book Utah Opera - No Ladies in the Lady's Book

Î Î

î î

w w

ggg úú ggg ú gg >>ú

w ?b w ?b 4 4

Ï Ï Ï fÏ f

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Pe

Bb Cl. Bb Cl.

?b ?b

44 4

Î Î

ru sa lC op y

Clarinet in Clarinet in

#4 & # 4 îî & 4

Bb Bb

Music by Music by LISA DESPAIN LISA DESPAIN

ÏÏ ÏÏ >Ï >

> ú>úúúú úú

> > ggg úú ggg ú gg ú

Ï Ï

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Enter: GODEY with papers in hand.

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7

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rit.

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GODEY paces. HE is under a deadline and impatient. Deep in thought, GODEY is looking for the proper words. 10

G.

Vc.

1. Opening - 7 - 2 Utah Opera - No Ladies in the Lady's Book

³ Ï.

GODEY pauses, exasperated

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Anxious (q = 116)

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Haul-en -beek!

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on cue Pizz.

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on cue Pizz.

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a tempo

Haul - en - beek!

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ä

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freely

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ä

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Where is Haul - en -beek?

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1. Opening - 7 - 3 Utah Opera - No Ladies in the Lady's Book

ä

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2 4

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F

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freely

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Ï Ï 42 Ï Ï > 2 4

HAULENBEEK enters; clearly deferent and late.

3

ä

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ä

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ä

Blast!

n ùÏ J

ä

ä

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ùÏ J

ru

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sa lC op y

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GODEY crosses out words on the page, frustrated

13

Arco

a tempo Arco

a tempo

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j Ï #Ï >

I'm sor - ry,

î

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Pizz.

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Mis - ter Go - dey!

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G.

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Young man, we be - gin prompt-ly at

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42

Ï Ï nÏ > Ï . 3

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úú úú

1. Opening - 7 - 4 Utah Opera - No Ladies in the Lady's Book

Î

ä

ru

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Bb Cl.

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·

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nine.

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18

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2 4

sa lC op y

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> Ï Ï ä

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you

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Af - ter all:

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P C n ww

sub - scrib - ers

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are count-ing on us!

· j

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Ï

n úú F

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úúú

ÏÏÏ ...

Ï Ï

ú ú F

Arco

j

n úú

ÏÏ . .

(Ladies: off stage)

P ä ÏJ C Ï

rit.

n úú ..

1. Opening - 7 - 5 Utah Opera - No Ladies in the Lady's Book

Oo,

"Go - dey's

C

î

úúú ...

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Oo,

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27

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nÏ Ï

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nÏ

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su - per - i - or

to

an - y

La - diesBook

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oo,

nÏ

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p

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w w

oo,

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ú

j

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With proud reverence (h = 76)

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j

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One hund-red fif - ty thou-sand

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27

Vln.

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Bb Cl.

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Mis - ter Go - dey!

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3

Yes,

24

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o - ther

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Cl.

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Cir - cu - lat - ing as

in tempo

in tempo

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in tempo

n úúú

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oo.

town,

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vil- lage,

and

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these

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42

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42

falsetto

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U - ni - ted

U ú (ú )

î

42

U î

î

42

States."

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U Î

nÏ Ï

ÏÏ

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U Î

U î

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Pizz.

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nÏ

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U Ï

U î

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n n ÏÏÏÏ -

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# ÏÏÏ Ï-

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rit.

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Ï

known

·

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nÏ

aw

ú n n úú

1. Opening - 7 - 6 Utah Opera - No Ladies in the Lady's Book

Î

ham - let

## & ##

Arco

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Ï

Ï

Ï

·

rit.

n úÏ .

Ï

ev - 'ry

ú ú

in tempo

Oo,

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it does in

úú ú

w w

nú

35

Ï Ï Ï Ï Ï Ï Ï Ï

ru

w

nÏ

continuing in tempo

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# # # nú & # ## 35

Vln.

nú

Oo,

35

Bb

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Ï.

w

# # nw & ## ú V

·

Pe

H.

·

î

35

####

U î

Ï.

# ## & # n www

Sop/ M.Sop.

î

Pizz.

31

? ####

·

sa lC op y

31

·

pub - lished.

31

Bb Cl.

U î

î

ww

# ## n w V # ? ####

GODEY takes a breath to bask in pride of HIS accomplishment.

rit.

Ï

rit.

rit.

n Ï-

U ÏÏÏ Ï U

# Ï-

U î U î

j ä

42

Pizz.

j Ï. ä

42

Î

42

Ï.

Ï.

42

# ## # 2 & # # 4 39

Bb Cl.

Vc.

# ## 2 & # 4 ? #### 42

Ï > F

demanding

F Ï

? #### 44 Î

Ï

We

# ## 4 & # 4

Ï

must

42

G.

44

Bb Cl.

&

ru

f nÏ

Ï nÏ

"The Pa - ci

·

Arco

³ ? b b b ww bb f

Arco

Vc.

ù Ï J

Ï

ä

yes - ter

-

Ï.

day's

ed

Ï nÏ

-

i - tor

· u

4 4

· u

44

· u

4 4 4 4

· u

·

Ï

4 4

Ï -

i

Ï

nnnn b b bbb

al,

-

nnnnbb b bb nnnnbb b bb

ww

³ b & b b b b n www f 44

Vln.

bbb

Ï

Ï

· u

www

Pe

44

·

Ï

Ï

Ï

fin - ish

Broadly, with energy (q = 116)

? bb b Î bb

ä

sa lC op y

· u

42

(Pause) "Now,

·

· u

? #### 2 4

ù Ï J

Ï

· u

# ## 2 & # 4

www > F # ? ## # 44 n ww >

Ï

Ï Ï > F

· u

39

G.

on cue

· u

39

Vln.

GODEY: (Spoken with pride) I did.

HAULENBEEK: (Spoken) "Who wrote that?

b & b bbb w n n ww > f ? bb b b b ww > 44

1. Opening - 7 - 7 Utah Opera - No Ladies in the Lady's Book

-

Ï

fic

Ï

ú.

·

Rail - road!"

î ³ n ÏÏÏ ³ Ï úúú ú > úú >

ä f Î

³ ÏÏ Ï

Î

³ Ï

>Ï Ï Ï Ï Ï. Î

³ n ÏÏÏ

Î

³ Ï

Ï Ï Ï. Ï Ï ÏÏÏÏ > .

úú >

to Bass Clarinet

· Pizz.

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. >Ï Ï Ï Ï Ï

Ï.

rall.

Pizz.

Ï.

Ï.

Ï.

Ï.

Ï.

Ï.

Ï.

Ï.

rall.

Ï.

rall.

úú >

Ï.

Ï.

j ÏÏ ä .

Î

Segue to 2. The Editorial

2. GODEY'S EDITORIAL from “No Ladies in the Lady's Book - Extended Cut” Commissionned by Utah Opera in celebration of the 150th Anniversary of the "Golden Spike."

Libretto by RACHEL J. PETERS

Music by LISA DESPAIN

Drawing much attention to HIS importance, GODEY clears HIS throat.

? #### 4 Î #4

With pomp (q = 100)

Godey

ä À À ä Î J J "ah - hem,

F À ä ä À À ä ä Ï J J J J

j j j Ï Ï Ï Ï J

Sings:

sniff,

"This great work was

ah - hem,"

Ï . r Ïj Ï J Ï J

be - gun and car - ried

With pomp (q = 100)

bb 4 &bbb 4 Ï .

Bass Clarinet

Bass Clarinet

Î

Î

Ï.

Violin

#### 4 & #4

Pizz.

Ï. F

Î

Î

Î

Ï.

Î

Ï.

sa lC op y

With pomp (q = 100)

Ï.

î

Ï.

·

·

·

·

Î

With pomp (q = 100) Pizz.

Cello

Î Î

î

Î

Ï Ï.

Î

Ï Ï.

Pe

? #### 4 #4 Ï Ï.

Î

ru

? # # # # 44 Ï # . F # ## 4 & # #4 Ï F Ï.

Ï Ï. Ï Ï.

Î Î

HAULENBEEK obliviously interrupts while taking dictation.

4

H.

G.

V

####

# ä

? #### Ï #

on..."

bb &bbb Ï . 4

B. Cl.

4

&

####

? ####

#

Ï Ï.

# Ï Ï.

F pedantic Å Ïr Ïr Ïr Ïr Ïr Ïr Ïr Ïr Ïr Ï

Î

Ï Ï.

Î

Ï Ï.

Î

ä

Î Î

2. Godey's Editorial - 4 - 1 Utah Opera - No Ladies in the Lady's Book

Ï. Ï Ï. Ï Ï.

Î Î Î

Î

Ï Ï.

46

À J

"ah

Î

Ï Ï. Ï Ï.

Î Î

GODEY dramatically clears HIS throat. interupting HAULENBEEK. GODEY gives HAULENBEEK a withering look then continues....

This great work was be - gun and car - ried on....

Î

Î

Ï Ï.

-

·

> > 46 ÀJ ä ÀJ ä Î hem!

6 4 Ï . 6 4

Ï Ï.

6 4 Ï Ï.

sniff"

Î Î Î

Ï. Ï Ï. Ï Ï.

>. r Ï Ï Ï Ï J J

Ï J

"and com - plet - ed

Î Î Î

Ï. Ï Ï. Ï Ï.

by

44 44

Î

4 4

Î

4 4

Î

4 4

HAULENBEEK at first questioning, slowly gets on board.

H.

G.

? #### 4 ú #4

men..."

Î ä Ï Ï Î J

Ï Î

Men?

bb 4 . & b b b 4 Ï. Î Ï Î # ## 4 & # #4 Ï Î Ï Î Ï. Ï. ? #### 4 #4 Ï Î Ï Î Ï. Ï. f > ? # # # # ÏR ÏR n ÏJ #

Ï Ï. Ï Ï.

proud and pompus

bb &bbb 12

B. Cl.

12

Vln.

Vc.

&

####

? ####

wo - man has

Ï. J

j # ÏÏ f

Arco

ä ä

Ï J

laid

Î

Î

Ï Ï.

Ï J a

Î

Ï Ï.

Arco

# Ïj f ß 12 . ? # # # # n ÏÏÏÏ # J f ? # # # # Ïj # Ï .

ä

Ï Ï.

men,

Î

Ï Ï.

b Ï. J

ä

j n Ï.

Î

ä

j Ï.

ä

Î

ä

ä

Î

ä

Ï Ï.

ä

rail!

ä

cresc.

Î

Î

2. Godey's Editorial - 4 - 2 Utah Opera - No Ladies in the Lady's Book

men.

Ï men,

. Ï. Î Ï Î

Î

>Ï

Pe

G.

Ï. Î

ru

12

by men,

Ï. Î

6

men,

Ï cresc. Î ä J Ï Î Ï Î

by men,

6

B. Cl.

cresc.

by men?

Î ä ÏJ ú

Ï Î Ï Î

Î Ï Î Ï

by men!

Î Î

Ï

Ï Ï

"men

on ly."

. Ï. Î Ï Î

Î

Ï Ï.

Î

Ï Ï.

î

Î

Ï. Ï Ï.

sa lC op y

# ## 4 V # #4 î 6

ÏÏÏÏ. J

j Ï Ï.

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j ÏÏ ß

j Ï ß ÏÏÏÏ. J j Ï Ï.

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No

ä ä ä ä ä

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wo - man has

Ï. J

j ÏÏ ß

j Ï ß n ÏÏÏÏ. J j Ï Ï.

Î

Ï J

made

Ï Ï.

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by men

on - ly.

î Ï. Ï Ï. Ï Ï. Ï J

sur

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on ly.

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j Ï

vey!

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ä

ä

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ä

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ä

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ä

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ä

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j Ï Ï.

The

?

G.

n >Ï # J

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>Ï J

ä

j Ï ß

3

mus - cu - lar force

bb &bbb

j nÏ ß ³ 14 #### j & # n ÏÏ ß ³ ? # # # # n ùÏ # J 14

B. Cl.

Vln.

Vc.

ä

14 . ? # # # # n n ÏÏÏÏ # J

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ä Ä >ú

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&

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Ï.

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ä

ä

j Ï ß

ä

j nÏ ß

in - tel - lect - ual guid - ance

and

ä

Î Î Î

Ï.

ä

ÏÏÏ. Ï J

ÏÏ Ï. ÏÏ Ï.

2. Godey's Editorial - 4 - 3 Utah Opera - No Ladies in the Lady's Book

Î Î

ÏÏÏ. Ï J

ä

ä

j ÏÏ Ï.

ä

j ÏÏ Ï.

>ú

ä

. n n ÏÏÏÏ J

ä

nÏ J

nÏ J

Ï J

Ï

ä

j Ï ß

ä

j Ï ß

have come

j nÏ Ï ß n ùÏ J

ä

ä

j Ï Ï ß ùÏ J

ä ä

men,

>ú

men!

men,

men,

men!

Ï.

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ä

ä

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ä

ú.

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w Ï.

ä

ú.

>w

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a - like

ä

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ä

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>w

>ú

w w

Î

j Ï Ï ß ùÏ J

ä

î

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j Ï ß

ä

j Ï Ï ß ùÏ J

ä

Pe

B. Cl.

j ÏÏ Ï.

î Î

>Ï >Ï >Ï > > Ï bÏ R R R J R

ä

men!

men!"

16

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ä

16

H.

j Ï Ï ß ùÏ J

ä

Ï J

sa lC op y

14

ru

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Ï.

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j Ï ß

ä

from

ä

j Ï Ï ß ùÏ J

j Ï Ï ß ùÏ J

ä ä

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ÏÏÏ. Ï J

ä

j ÏÏ Ï.

Ï J

ä

" PÏ

freely

P " nÏ

j ÏÏ Ï.

Ï

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Ï

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ä ä ä

&

ä ## n## ## n##

ú.

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ú.

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B. Cl.

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20

&

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####

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24

Vln.

Vc.

&

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ci

-

ty;

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can rule

the

State.

She must

hand

can build

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ci

-

ty;

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can rule

the

State.

She must

Ï Ï J

Ï Ï J

î

·

·

·

î

ú.

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P ww w F

ú.

j Ï ú

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j Ï ú

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ww ww

úú ... ú

w w

Ï.

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reign

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by

love

and

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Through her good - ness

reign

by

love

and

pi - ty.

Through her good - ness

Ï J

Ï- .

Ï J

Ï Ï ú J J Ï Ï ú J J

ú

úú ú ú

sub.

ú ú ú

sub.

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sub.

ú.

p

p

p ÏÏ- .. ÏÏ .. ú ú

2. Godey's Editorial - 4 - 4 Utah Opera - No Ladies in the Lady's Book

Ï Ï J J

Ï

Ï Ï J J

Ï

Ï

Ï

w w Ï J

ú.

ÏÏ J

ÏÏ ÏÏ w w w

Ï úú ..

Ï

Ï Ï

Î

Ï Ï

Ï Ï Ï Ï P Ï Ï Ï Ï Ï Ï

Ï

Ï

Ï Ï J J

ú.

·

legato

Ï

Ï

·

With reverence, flowing (q = 112)

w w

Ï Ï J J

·

With reverence, flowing (q = 112)

####

? ####

Ï Ï Ï Ï Ï J J J J

With reverence, flowing (q = 112)

ú

&

Ï

Ï.

Ï Ï J J

ú.

Ï

the

? #### 24

Ï Ï J

can build

## # & # ## ú 24

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Ï.

Pe

Vc.

? ####

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hand

20

Vln.

j j j j Ï Ï Ï Ï Ï

Ï

sa lC op y

H.

Ï.

ru

# ## V #

With reverence, flowing (q = 112)

20

U Ï Ï Ï J J U Ï Ï Ï J J

ÏÏ Ï j Ï ú ú

rit.

make

men

great."

make

men

great."

U ú

Ï Ï Ï Ï U ú J J J J U

Ï P

Ï

Ï

U Ï

Ï P Ï

Ï

Ï

U Ï Ï

úw

Ï

Ï

U Ï

ú

U ú ú

w úú

U ú

P ÏÏÏÏ Ï-

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ÏÏ ÏÏ-

U ÏÏ ÏÏ U Ï

ú

rit.

rit.

rit.

rit.

ú

ú To Bb Clarinet U ú

U ú ú

Segue to 3. Susan Morningstar's Entrance.

3. Susan Morningstar's Entrance from “No Ladies in the Lady's Book”

Libretto by RACHEL J. PETERS

Music by LISA DESPAIN

SUSAN MORNINGSTAR appears

Freely yet driving!

Goday

Clarinet in Bb

Violin

Cello

ä

freely

4 >Ï Ï Ï Ï Ï Ï Ï Ï b Ï 4 Ï > > >

3 4

·

3 4 Î

·

3 4

par - don the in - ter - rup - tion gen -tle-men.

You'll

? b2 b 4

·

4 4

2 & 4

·

4 4

b2 &b 4 Ï f> ? b b 42 >Ï f

> Ï >Ï

b & b 42 Ï ÏÏ > f ? b b 42 Ï Ï >

ÏÏ Ï >

44 b w>

S.M. M.Sop

& 44 Ï 4

Bb Cl.

b & b 44 ú

Ï

Ï.

Vc.

? b b 44 Ï b & b 44 4

Ï F ? b b 44 Ï Ï

Ï

Ï.

ä Ï Ï Ï

Who is this?

subito

43

P

Ï Ï Ï. subito P 43 ÏÏ

44 w b b ww

4 4 4 4 4 4 44

bú

44

úúú

44

b b úú

ä

F Ï J

I'm

Su

Ï

bÏ

ú

42 ú

44

freely

bú

42 ú

44

bÏ

nú

42 ú

44

ÏÏÏ Ï

úú b b úú-ú

42 úúú úú

44

4

Vln.

subitoP

43 Ï

44 ww ww

Pe

b & b 44 Î 4

(to HAULENBEEK)

ú Ï Ï Ï. subito P 3 4 . ú subito P

4 ww> 4 fp

ru

ÏÏ >

4 4

·

sa lC op y

Susan Morningstar

b2 &b 4 Î

f Ï J

b b ÏÏ

3. Susan Morningstar's Entrance - 4 - 1 Utah Opera - No Ladies in the Lady's Book

freely with emphasis

> Ï

-

freely

freely

b b úú-

Ï

san

b >Ï

Ï

Morn - ing

-

42 Ï

star,

42 ú ú

ä

Ï J

the

44

44

slowly

b 4 b >Ï &b 4 6

S.M. M.Sop

first,

Î

accel., imitating a train picking up speed.

>Ï Ï Ï

b >Ï

fe - male,

Ï Ï Ï Ï bÏ Ï

full - time em-ploy-ee of the

bÏ Ï Ï

"B and O" Railroad,

ala "Orange Blossom Special" accel., imitating a train picking up speed.

Vln.

Vc.

³ ? b4 b 4 Ï ÏÏ Ï J

Î

b 4 bÏ & b 4 ÏÏ. Ï ÏÏÏ Ï.

Ï Ï.Ï

b5 Vb 4

³ b5 Ï & b 4 ÏÏ Ï 10

Vln.

Vc.

5 4

Ï Ï.Ï accel. e cresc.

Ï Ï.

since eight-een fif - ty five!

·

³ ? b5 Ï b 4 Ï

b5 Ï & b 4 ÏÏÏ ß 10

? b5 Ï b 4 Ï ß

³ Ï Ï Ï Ï

³ Ï Ï Ï Ï

rall.

³ Ï Ï

³ nÏ Ï

ÏÏ ÏÏ ß

ÏÏ ÏÏ ß

Ï Ï ß

·

rall.

rall.

nÏ Ï ß

3. Susan Morningstar's Entrance - 4 - 2 Utah Opera - No Ladies in the Lady's Book

³ Ï Ï Ï Ï ³ Ï Ï

ÏÏ ÏÏ ß Ï Ï ß

Ï Ï.

Ï Ï.

Ï Ï.

> > > > > ä ÏJ Ï Ï Ï Ï Ï ·

î

b ÏÏ Ï Ï. Ï ÏÏÏ .

Pe

&

Ï Ï.

î

Î

Ï J

ÏÏ ÏÏ .

³ Ï Ï Ï Ï

Î

³ ÏÏ Ï

Î

b ÏÏ Ï. Ï

ÏÏ ÏÏ .

accel., imitating a train picking up speed.

with emphasis rall.

? b5 b 4 10

Bb Cl.

Ï Ï.

Î

ru

b5 &b 4 Î 10

G.

³ ÏÏ Ï

î

? b4 b 4 Ï Ï.

H

î

Î

6

S.M. M.Sop

³ Ï Ï Ï Ï

Ï J

ÏÏ ÏÏ .

³ Ï Ï Ï Ï

>Ï Ï Ï >Ï Ï Ï >Ï >Ï >Ï >Ï 5 4

Bal-ti-moreTerm-in -al Sta-tion a - gent

³ Ï Ï Ï Ï

Î

accel. e cresc.

³ Ï Ï

Î

³ Ï Ï

Ï Ï.Ï

ÏÏ ÏÏ .

ÏÏ ÏÏ ß

accel. e cresc.

sa lC op y

³ bb 4 ÏÏ & 4 Ï Ï 6

Ï Ï. J

² Ï Ï bÏ Ï

³ Ï Ï

Ï b ÏÏÏ ß ÏÏ Ï ß

4 4

Ï Ï.

Ï Ï.

Ï Ï.

Ï Ï.

Ï b Ï.

Ï Ï ß

·

rapid monotone without emotion (taking dictation)

³ Ï Ï Ï Ï

³ Ï Ï Ï Ï

³ Ï Ï

³ n ÏÏ

ÏÏ ÏÏ ß

ÏÏ ÏÏ ß

nÏ Ï ß

Ï Ï ß

³ Ï Ï Ï Ï ³ Ï Ï ÏÏ ÏÏ ß Ï Ï ß

5 4 5 4 5 4 5 4

1 4

·

F 4 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï 4

rit. U ä Ï Ï Ï Ï- Ï- Ï "41 J

4 4

·

î

Î

4 4

·

î

Î

U "1 Î 4

4 4

·

î

Î

U" 1 Î 4

4 4

·

î

Î

U" 1 Î 4

4 4

·

î

Î

U" 1 Î 4

4 4

·

î

Î

U" 1 Î 4

-in-al Sta - tion ag - ent Bal - timoreTerm

since eight-een fif - ty five?

U "1 Î 4

b1 &b 4 ä 13

? b1 b 4

·

4 4

b1 &b 4

·

4 4

? b1 b 4

·

4 b >ú 4 F

&

13

Vln.

Vc.

b1 &b 4 13

G.

&

bb

? b b

·

freely with emphasis

Ä >Ï Who

16

Bb Cl.

&

16

Vln.

Vc.

&b

b

>Ï dares

·

bÏ

Ï

b >Ï

chal - lenge

Ï

Ï

a tempo

w

on your

part!

·

·

·

·

a tempo

w

a tempo

>ú

bw a> tempo ÏÏ Ï. ÏÏ >

úú úú > ú ú ú >

Ï

a tempo

Ï.

Ï.

Ï.

Ï.

>Ï Ï

bw bw >

# nn #

·

>ú .

# nn #

Î

3

Lou - is

Pe

16

er - ror

Ï

ú

ú F

4 ú 4 úú ú > 4 4 bú bú >

·

? b1 b 4

S.M. M.Sop

4 4

·

Ï

cons - ti - tutes an

1 4

13

Bb Cl.

That

Ï Ï

Ï

sa lC op y

G.

Ï

freely with emphasis

Ï J

ru

S.M. M.Sop

4 >Ï . 4

to GODEY

Go - dey?!?

·

·

####

·

·

# nn #

? b b ¾ nw > Ä 16 b &b w b ww > Ä ? b nw b n w nw >

3. Susan Morningstar's Entrance - 4 - 3 Utah Opera - No Ladies in the Lady's Book

j nÏ

n Ï. ¾ Ï > bÏ

n Ï. n Ï. >

Ï bÏ

Ï j bÏ bÏ

Ï

rit.

Ï

rit.

Ï Ï-

# nn #

Ï Ï

Ï

Ï

Ï Ï Ï-

Ï

# nn # # nn #

SUSAN MORNINGSTAR addresses the audience. The Soprano remains off-stage singing subito, as if a ghostly representation of the thousands of women and their unheard of voices.

Sop

&

##

S.M. M.Sop

î

P 3 ÏÏ Ï Ï

Ï

past,

î

ÏÏ Ï Ï

Ï

Ï

ú

w

ú

w w

w w

w w

w w

bw

w

Expansive (q = 102)

# ## & # Ï P 18 ## ww & p 18

Bb Cl.

Vln.

Vc.

? ##

Allof us. 3

Allof us.

Ï

w w P

# Ï Ï Ï Ï & # NÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï P legato ? ## w w nw 18

(with pedal)

Sop

&

##

S.M. M.Sop

Ï.

Ï.

Vc.

&

##

? ## 22

&

##

? ##

Ï

Ï

ú

fu - ture,

ä Ïj Ï

Ï

Ï

Ï

Ï

ú

j ä Ï nÏ

3

pres - ent and 3

ÏÏ w w w

the wo - men

Ï

Ï

w nw bw

2 Ï 4

Ï Ï 44 Ï n Ï Ï Ï n Ï

w w w

ú 2 ú 4 2 4 ú

ú.

Ï

Ï

Ï

4 4

·

rall.

on the

·

Ï

ú.

- -tal Rail - road. Trans-Con-tinen

4 4

·

4 w 4 w

rall.

4 bw 4

· w w

w w w

·

freely

w w

freely

ÏÏ ÏÏ ÏÏ ÏÏ 2 Ï Ï Ï Ï 4 ww Ï Ï Ï Ï Ï Ï Ï Ï 4 Ï Ï Ï Ï 4 ww

nw

F w Ï Ï Ï ÏÏÏÏ ÏÏÏÏ Ï Ï www

w w w

ww w

n n ww nw

rall.

rall.

4 4 bw bw ×

·

F ä Ï ÏÏÏ Ï Ï Ï Ï > Letme in-troduceyouto a

freely

w

2 4 ú ú ú

n >Ï

ÏÏÏÏÏÏ ÏÏÏÏÏÏÏ ÏÏÏÏÏÏÏ ÏÏÏÏÏÏÏ ÏÏÏÏÏÏÏ ÏÏÏÏÏÏÏ Ï Ï Ï Ï Ï

Ï

2 ú 4

ú.

the wo - men

fu - ture,

pres - ent and

Î

Pe

Vln.

3

Ï

2 Ï 4

ded - i-cat-ed in-vent - ors,

# ## & # w 22

ÏÏ Ï Ï Ï

Ï

Ï

ded - i-cat-ed in-vent - ors,

22

Bb Cl.

ÏÏ Ï Ï Ï 3

past,

ru

&

##

22

Ï

sa lC op y

&

##

18

Segue to 4. "YOU STAY ON TRACK"

3. Susan Morningstar's Entrance - 4 - 4 Utah Opera - No Ladies in the Lady's Book

4. YOU STAY ON TRACK from “No Ladies in the Lady's Book” Commissionned by Utah Opera in celebration of the 150th Anniversary of the "Golden Spike."

Libretto by RACHEL J. PETERS Lively (q = 132)

Soprano

## 4 & # 4

·

·

## 4 w & # 4

SUSAN MORNINGSTAR:

few!

Violin

Cello

# ## 4 & # #4 Î ## 4 & # 4 Î

? ### 4 w 4 F ### 4 & 4 ä F ? # # # 4 ÏÏ 4 ## & #

Ï.

S.

5

Bb Cl.

& 5

Vln.

Vc.

Ï

Ï F

Ï

j ÏÏÏ ä Ï.

j ÏÏÏ ä Ï.

F

ÏÏ

Ï

Î Î

Ï

&

#### ###

track

j ÏÏÏ ä Ï.

Ï

³

ÏÏ

ÏÏ

Ï Ï

Ï

Ï

Î

Ï

Ï

Î

Ï

î

Ï Ï. J

ÏÏ

j ÏÏÏ ä Ï.

ÏÏ

j ÏÏÏ ä Ï.

Ï

of

Ï Ï

Ï

Ï

Ï

Î

Ï

Ï

Ï

j j ÏÏÏ ä ÏÏÏ ä Ï. Ï.

j ÏÏÏ ä Ï.

j ÏÏÏ ä Ï.

Ï

ÏÏ

Ï Ï

ev - 'ry freight-er trip.

ÏÏ

ä

j ÏÏÏ ä Ï.

ÏÏ

j ÏÏÏ ä Ï.

ÏÏ

j Ï. Ï

To

w

Ï Ï

³ Ï

³ Ï

Ï Ï

ÏÏ

Ï Ï

ÏÏ

ÏÏ

reach your dest - i - na - tion

a

2 4

· Ï Ï

j j j ÏÏÏ ä ÏÏÏ ä ÏÏÏ ä Ï. Ï. Ï. ÏÏ ÏÏ Ï Ï

Ï Ï

³ Ï

³ Ï

Ï Ï

j ÏÏÏ Ï.

j 2 Ï 4

Ï Ï Ï Ï J Ï

·

j j j ÏÏÏ ä ÏÏÏ ä ÏÏÏ ä Ï. Ï. Ï. ÏÏ ÏÏ ÏÏ Ï Ï

4. You Stay on Track - 15 - 1 Utah Opera - No Ladies in the Lady's Book

Î

Ï

Ï

The

·

Gib -bon!

Ï

j j ÏÏÏ ä ÏÏÏ ä Ï. Ï.

Î

SUSAN MORNINGSTAR disappears

w

j Ï Ï Ï Ï Ï Ï

is the found - a - tion

Ï

Ï

Cath - 'rine

Ï

·

Ï P 5 ? # # # ³Ï P 5 ## & # ä ? ###

Ï

j j ÏÏÏ ä ÏÏÏ ä Ï. Ï.

Ï Ï Ï Ï J Ï

#

Ï

Î

w

Pe

5

Ï

ru

Clarinet in

Bb

·

ú.

F ä j Ï

CATHARINE GIBBON:

sa lC op y

Mezzo

Music by LISA DESPAIN

Ï Ï

j j j j ÏÏÏ ä ÏÏÏ ä ÏÏÏ ä ÏÏÏ ä Ï. Ï. Ï. Ï. ÏÏ ÏÏ ÏÏ Ï Ï

Ï Ï

2 4 2 4

j j ÏÏÏ ä ÏÏÏ 2 Ï. Ï. 4 ÏÏ 2 4

S.

#### 2 & #4

train must nev - er

8

Bb Cl.

## 2 & # 4

Ï

Ï

Ï

Ï

Ï

? ### 2 Ï 4

Ï

### 2 & 4 ä

j ÏÏÏ ä Ï.

8

Vc.

8

? # # # 2 ÏÏ 4

11

Bb Cl.

&

####

## & # 11

Vln.

? ### 11

Vc.

j ÏÏÏ Ï.

ÏÏ

4 ³j ä 4 Ï > § >³Ï 4 J ä 4 § 4 ÏÏÏ ... 4 Ï. > § >Ï . 4 4

Ï Ï Ï Ï Ï Ï Ï Ï

short - est stretch from point to point is

#

î

Î

î

Ï Ï Ï Ï > Ï Ï >Ï

Ï.

Pizz

F

bÏ

F

3

2 4 Ï

one

&

Ï

Ï

3

un - bend - ing

·

·

2 4

·

2 4 ä

Ï. 2 Ï 4

Ï

j ÏÏÏÏ ä . Ï. Ï

Ï >Ï

?

Ï > bÏ

Ï. Ï.

b Ï. b Ï.

Pizz

>Ï . Ï

2 4

4. You Stay on Track - 15 - 2 Utah Opera - No Ladies in the Lady's Book

Ï. Ï Ï

Î

3

·

###

Ï > F

>. ÏÏÏÏ ... Ï Ï Ï >Ï

3

·

j j j j Ï Ï ä ä ÏÏÏ ÏÏÏ ä ÏÏÏ ä ÏÏÏ & . . . . p. Ï. Ï. Ï Ï. nÏ Ï Ï ? ### Ï 11

Î

2 4

·

î

î ·

ru

S.

slip!

Pe

## & # 11

Î

4 4

·

8

Vln.

4 Ï 4

. Ï Ï Ï

sa lC op y

### 2 & 4 Ï 8

Ï. J

ä ä

Î

ä

Î

j Ï. ä

Ï.

ä

Î

Ï. J

. Ï. b ÏÏÏ J

b Ï. b Ï. b ÏÏ. J

Ï J

The

ù ä # Ïj Ï

4 w 4

line!

4 4

j ÏÏÏÏ .

Î

4 Ï. 4 P 4 n Ï. 4 P

4 ä 4 Ï nÏ cresc. Ï4 nÏ 4

·

Ï.

Ï.

Ï.

Ï.

Ï.

Ï.

. Ï. Ï Å Ï Ï Ï Ï Ï Ï Ï > -Ï ÏÏÏ Ï Ï

14

&

14

ùÏ Ï

? ###

Ï

Î

î

ùÏ

###

ù ÏÏÏÏ

Î

ù ÏÏÏÏ

F

? ###

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î

&

17

&

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## & #

#

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Î Î

? ### 17

17

&

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? ###

Î

ù ÏÏÏÏ

Î

ùÏ Ï

ä j Ï Ï Ï Ï Ï Ï

I took this re - ve - la

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4. You Stay on Track - 15 - 3 Utah Opera - No Ladies in the Lady's Book

-

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4. You Stay on Track - 15 - 4 Utah Opera - No Ladies in the Lady's Book

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Crack!

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ä

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4. You Stay on Track - 15 - 5 Utah Opera - No Ladies in the Lady's Book

Î

ä

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Arco

Cath - 'rine Gib-bon, less

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is

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(with eyeroll)

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4. You Stay on Track - 15 - 6 Utah Opera - No Ladies in the Lady's Book

·

Ï

nnn b b b nÏ

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·

All singers mime as if watching a collision.

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JANE SWISSHELM:F

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two freighttrains crash - ing!

37

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You stay on track!

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4. You Stay on Track - 15 - 7 Utah Opera - No Ladies in the Lady's Book

Ï@ > § >Ï Ï @ §

·

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sa lC op y

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with

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4. You Stay on Track - 15 - 8 Utah Opera - No Ladies in the Lady's Book

a

f

Î Î

lo

Ï

w

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·

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such

ca

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ru

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sa lC op y

49

CATHARINE: (to GODEY) Heavens JANE! What did YOU do?

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Ï

Ï

nú.

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F Ï

ú.

Why

ú.

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w nú.

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j ÏÏÏÏ ä . j Ï n Ï. ä

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Brill - iant!

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lights,

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4. You Stay on Track - 15 - 9 Utah Opera - No Ladies in the Lady's Book

j ÏÏÏ ä Ï.

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úÏ

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63

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>Ï >Ï >Ï Ï Haulen beek!

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## & # ÏÏÏ Ï > 67

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ru

CATHARINE GIBBON and JANE SWISSHELM disappear. GODEY rounds on HAULENBEEK

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Ï

Pe

Bb

F j ä JÏ Ï Ï Ï ä Î

ä ÏJ Ï Ï

sa lC op y

63

>Ï Ï Ï Ï

·

3

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4. You Stay on Track - 15 - 10 Utah Opera - No Ladies in the Lady's Book

Î Î

> Ï nÏ Ï Ï 3

Quit mess-ing a round!

Î

Ï

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Nev - er en-cour- age fem - in - ine flights of

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nÏ nÏ >

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4. You Stay on Track - 15 - 11 Utah Opera - No Ladies in the Lady's Book

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4. You Stay on Track - 15 - 12 Utah Opera - No Ladies in the Lady's Book

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Melodramatic! over doing GODEY's earlier coughs and sniffs See GODEY'S EDITORIAL

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4. You Stay on Track - 15 - 13 Utah Opera - No Ladies in the Lady's Book

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4. You Stay on Track - 15 - 14 Utah Opera - No Ladies in the Lady's Book

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4. You Stay on Track - 15 - 15 Utah Opera - No Ladies in the Lady's Book

>Ï Ï Ï

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The Women vanish.

5. THIRD PARAGRAPH from “No Ladies in the Lady's Book” - Extended Cut Commissionned by Utah Opera in celebration of the 150th Anniversary of the "Golden Spike."

Libretto by RACHEL PETERS

Music by LISA DESPAIN

GODEY attempts to refocus and control the situation.

Colla Voce, demanding

Violin

Cello

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5. Third Paragraph - 3 - 1 Utah Opera - No Ladies in the Lady's Book

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5. Third Paragraph - 3 - 2 Utah Opera - No Ladies in the Lady's Book

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Segue: 6. WE ARE A PAIR OF MARY JANES 5. Third Paragraph - 3 - 3 Utah Opera - No Ladies in the Lady's Book

6. We Are a Pair of Mary Janes from “No Ladies in the Lady's Book - Extended Cut” Commissionned by Utah Opera

Libretto by RACHEL J. PETERS

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6. We Are a Pair of Mary Janes - 9 - 1 Utah Opera - No Ladies in the Lady's Book

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Music by LISA DESPAIN

commemorating the 150th Anniversary of the "Golden Spike."

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2 " 4

15

?

2 " 4

2 Ï 4

-

2 4

to

Ï

Ï

Ï

a

work

of

·

ú 2 gggg úú 4 gg ggg gg 2 ggg ú 4 gg úú gg g

4 4 4 4 4 4 4 4

· u · u · u · u

HAULENBEEK: (enthusiastically clapping) Brava! Brava!!!!! MARY JANE M bows MARY JANE C. is impressed THEY all turn to GODEY who is flumoxed and trying to double down on his point of view. MARY JANE C. sings directly to GODEY.

6. We Are a Pair of Mary Janes - 9 - 2 Utah Opera - No Ladies in the Lady's Book

I

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6. We Are a Pair of Mary Janes - 9 - 3 Utah Opera - No Ladies in the Lady's Book

some-one

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re - in -vents the wheel!

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ä

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sa lC op y

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6. We Are a Pair of Mary Janes - 9 - 4 Utah Opera - No Ladies in the Lady's Book

Now

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ä

ä

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rain.

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sleet, or

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to

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to

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slight rall.

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ru

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ú gg úúú gg gg ggg gg ú gg úú gg ú

ú 1 ggg úúú 2 gg ggg gg gg ú gg úú 12 ggg ú

C C

30

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sa lC op y

MJM

##

rest'aurant -

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j ÏÏ ä Ï. ÏÏ. J ä

6. We Are a Pair of Mary Janes - 9 - 5 Utah Opera - No Ladies in the Lady's Book

Ï

Ï

Ï. J

ä

j Ï. ä

ä

ä

Ï

Ï

ä

Ï

be - side each rail - road stop

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j Ï

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in

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ä

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î

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. ÏÏÏ

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6. We Are a Pair of Mary Janes - 9 - 6 Utah Opera - No Ladies in the Lady's Book

Ï

Ï

Ï

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ä

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ä

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j ÏÏÏ ä . ÏÏ. ä J

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the two

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6. We Are a Pair of Mary Janes - 9 - 7 Utah Opera - No Ladies in the Lady's Book

Î

Î

C Ï Ï Ï Ï Ï Ï Ï F 44 a tempo . ## Ï Ï. Î Î C Ï Ï & F a tempo 44 Ï. Ï. Ï Ï ? ## C Î Î F &

î

ä

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·

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call them "Har - vey Hous - es" but they

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ru

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ä

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gg úúú ggg gg slight rall. gg úú gg ú g

Mar - y Jane

a tempo

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·

F a tempo ## C Ï Ï Ï Ï & ##

1 2 Ï

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a tempo ## F Î C Ï &

Jane!"

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j Ï. ä

Jane!"

MJC

1 Ï 2

ä

44

MJM

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slight rall.

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but they

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F Ï Ï Ï

Mar - y Jane,

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f >Ï No!

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should say

should say

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"Mar - y

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·

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Î ÏÏÏÏ. Î

C C Ï

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Mar - y, Mar - y, Mar - y,

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Mar - y, Mar - y, Mar - y,

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Mar - y,

Ï Ï Ï Ï Ï

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Mar - y, Mar - y, Mar - y,

Mar - y,

>Ï >Ï >Ï Ï 3

Haul-en - beek!

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·

1 2

sa lC op y

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el - e - gant do - main.

41

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el - e - gant do - main.

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slight rall.

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MJM

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# & # # V #

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Vc.

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6. We Are a Pair of Mary Janes - 9 - 8 Utah Opera - No Ladies in the Lady's Book

Ï-

w

Ï

Men

on

ú-

Ï.

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Mar - y,

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ly!

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Mar - y

>Ï Ï

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Mar - y

Mar - y,

No!

Ï

Mar - y

Î Ï

Ï

Ï

ÏÏ. Î Î

ÏÏÏ.

w

By

Ï-

Ï.

Mar - y,

ÏÏÏÏ.

Î

ú

Ï

Ï

ÏÏ.

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Î

Ï

No!

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Ï

Î

Î

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Î

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Ï

Ï

49

Bb Cl.

Ï

Ï

Ï

w

Jane!

w

Ï

>Ï

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Î

Jane!

# V #

Ï

Mar - y,

Mar - y,

Î

Î

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Ï

Ï

Ï

Î

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# & # 49

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Mar - y,

ru

? ##

Ï

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Ï

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Mar - y,

No!

Pe

Vln.

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Mar - y,

Ï

Mar - y,

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47

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Mar - y,

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Mar - y,

? ##

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Mar - y,

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Ï

Mar - y,

Ï

Ï

Mar - y,

47

Bb Cl.

Mar - y,

Ï

Ï

Ï

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sa lC op y

# & # 47

Î GODEY: ARRRRGH!!!!!!

î

"

U î

î

"

U î

î

"

U î

î "

U î

î "

U î

ùÏ Ï ùÏ

ù ÏÏÏÏ Ï Ï ß

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Î"

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&

P

Charming, Moderato (h = 72)

MJC

&

# & # ? ## 52

Vc.

Ï.

56

MJM

MJC

& &

56

Vln.

&

## ##

P

rit.

Ï

take

rit.

Ï

Ï.

Ï Ï Ï-

Ï. Ï

Ï-

Ï.

Ï

Ï

Ï

Ï

a - long

a - long

Ï

this

Ï

this

rit.

î

Î Ï.

Ï.

Ï-

Ï.

Ï

Ï

Ï

Ï

Ï

Ï

Ï

vi - sion - a - ry,

Î

a - cross the count-ry,

each time you board the trains,

a - cross the count-ry,

each time you board the trains,

Î

î

&

ä

Î

î

6. We Are a Pair of Mary Janes - 9 - 9 Utah Opera - No Ladies in the Lady's Book

î

Î

Ï Ï Ï-

Ï. Ï

Ï.

Ï.

Ï-

Ï.

Ï

Ï

pair

of

Ï

Ï

pair

of

Ï

Ï

Mar - y

Ï

Ï

Mar - y

ú-

Janes.

ú-

Janes.

·

î

Î

j ÏÏÏ .

Ï.

All

vi - sion - a - ry,

ä

##

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Ï. Ï

Ï

. # # ÏÏÏ & J

rit.

Ï Ï Ï Ï Ï

·

rit.

56

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, P j j Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï

Ï Ï Ï-

Pe

Vc.

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take

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# & # Î P # & # Ï . 52

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sa lC op y

MJM

##

ru

52

· ÏÏ. Ï J

ä

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î

j ÏÏ ä Ï.

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î

Î

î

j ä Ï you

ä Ïj you

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Ï.

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On Cue

On Cue

On Cue Ï. Ï Î ¹ Ï. Î ¹ U ggg www ggg w ggg ggg ¹ ggg ggg w gg ww

· u · u U î U î

7. THE ONLY WORTHWHILE MARY JANES from “No Ladies in the Lady's Book” - Extended Cut Commissionned by Utah Opera commemorating the 150th Anniversary of the "Golden Spike."

Libretto by RACHEL J. PETERS

Moderato, with arrogance (q = 100)

Clarinet in

Bb

Violin

Cello

4 n >Ï n >Ï >Ï 4

b 2 > Ï. &bb 4 Ï Ï

>Ï

ä

> Ï

4 w 4

ä

>Ï

4 w 4

F bb 2 j &bbb4 Ï > F ? b b 2 >Ï bbb4 J F bb 2 &bbb4

The

ad lib pointedly

G.

Bb Cl.

& b

j b Ï. §

bb j & b b b n n ÏÏ ß § 4

Vln.

bb

Martele

? bb j b b b nÏ Ï ß § 4 bb &bbb j n n ÏvÏ § ? bb j b b b nÏ Ïv

Martele

Vc.

wo - men's

Pe

si - lent ones on

4

n >Ï

ùÏ

ru

> > > > > ? b b nÏ Ï Ï Ï Ï bbb

feet.

ä

Î

î

ä

Î

î

ä

Î

î

ä

Î

î

ä

Î

î

7. The Only Worthwhile Mary Janes - 4 - 1 Utah Opera - No Ladies in the Lady's Book

Ï

Ï

on - ly worth -while Mar - y

4 w 4

Subito

Subito

Ï

ú

Janes

p p

Subito p

4 4 w ww

Ï Ï Ï Ï . n n >ÏÏ > F ? bb 2 j ä Ï bbb4 Ï Ï Ï > >

4

>Ï

sa lC op y

Godey

? bb 2 Î bbb4

F nÏ ä. R

4 4 w w

ä

P Ï J

Music by LISA DESPAIN

We'll

## nnn # ##

&

Ï

fea - ture

Ï

those

To Bass Clarinet

## n n n n n # ww P ú # # nnnnn # P ú nn n # # # gggg úúú nn g P ## nnnnn # ú

Ï

Ù~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w Are the

Ù~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ w w Ï.

Ï.

ú.

w w

Andante, smugly (q = 84)

## Ï nnnnn #

Ï

Î

Ï Ï Ï

in

the Sep

Ï -

Ï

tem - ber

·

nú ggg n úúú gg ú nú

?

G.

## & # ##

Ï-

Ï.

MARY JANE MONTGOMERY vanishes

Î

iss - ue.

6

Bb Cl.

6

Vln.

Vc.

&

###

? ###

·

Ï.

? ###

î

Ï. P ÏÏ. ÏÏ

P Ï.

? # # # 42

·

#### 2 & #4

Vc.

·

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Pizz. .

Ï

Ï.

## Ï. & # 42

Ï.

? # # # 42 9

? # # # 42

Ï.

Ï.

Ï.

Ï.

Pe

# # # 2 Pizz. Ï. & 4 F 9

Vln.

" Î

HAULENBEEK rushes back to the typewriter.

9

Bb Cl.

Î"

F

î

Ï. ·

7. The Only Worthwhile Mary Janes - 4 - 2 Utah Opera - No Ladies in the Lady's Book

GODEY clears his throat, "ah-hem."

Ï

Ï

Mean - while,

Î

· U w

Arco

Ï > F

ú. > >. ú

>Ï F

Arco

Tempo Primo

Ï Ï Ï Ï úúú ... F ÏÏ ú. ú.

n n n 4 .. 4

Optional vamp

n n # # 4 Bass Clarinet Î n 4 .. Ï. F nnn 4 . Ï Î 4 .Ï .

ru

G.

" Î

Pizz.

With pomp (q = 86) 9

" Î

P

î î

&

"

Pizz.

î

###

6

"

î

Tempo Primo

Ï.

n n n 44 .. ÏÏ . nnn 4 . 4 .

ÏÏ Ï. F n n n 44 .. ÏÏ .

Î Î Î

Ï Ï. ÏÏ . ÏÏ Ï. ÏÏ .

Î Î Î Î Î

2 4

· u

2 4 2 4 42

U ww w U w w

2 4 2 4

Ï. Ï Ï. ÏÏ . ÏÏ Ï. ÏÏ .

..

·

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7. The Only Worthwhile Mary Janes - 4 - 3 Utah Opera - No Ladies in the Lady's Book

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Segue 8. I'M FROM A CATTLE RANCH 7. The Only Worthwhile Mary Janes - 4 - 4 Utah Opera - No Ladies in the Lady's Book

8. I'M FROM A CATTLE RANCH (IN OLD TERRE HAUTE)

Libretto by RACHEL J. PETERS

from “No Ladies in the Lady's Book - Extended Cut”

Music by LISA DESPAIN

Commissionned by Utah Opera commemorating the 150th Anniversary of the "Golden Spike."

MARY JANE MONTGOMERY miraculously changes into NANCY WILKERSON

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Moderato, Hoe-Down (q = 112)

Violin

Cello

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8. I'm From a Cattle Ranch in Old Terre Haute - 5 - 1 Utah Opera - No Ladies in the Lady's Book

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8. I'm From a Cattle Ranch in Old Terre Haute - 5 - 2 Utah Opera - No Ladies in the Lady's Book

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8. I'm From a Cattle Ranch in Old Terre Haute - 5 - 3 Utah Opera - No Ladies in the Lady's Book

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8. I'm From a Cattle Ranch in Old Terre Haute - 5 - 4 Utah Opera - No Ladies in the Lady's Book

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8. I'm From a Cattle Ranch in Old Terre Haute - 5 - 5 Utah Opera - No Ladies in the Lady's Book

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