Extraordinary

for Soprano, Baritone and Chamber Ensemble 

Written: 2020
Duration: ca. 9’
Libretto by David Cote
Instrumentation: baritone and chamber ensemble (reed [flute, oboe, clarinet in B-flat], violin, viola, cello, percussion [see below for instrumentation], piano)
Percussion Instrumentation: small drum set (snare drum, bass drum, hi-hat, crash cymbal, ride cymbal), orchestra bells, Mark Tree, temple blocks, medium wood block, high wood block, medium triangle, small triangle
Commissioned by American Modern Ensemble with funding from the Doctorow Family Foundation
Word Premiere (Chamber Version): American Modern Ensemble, Marnie Breckenridge, soprano, Jorell Williams, baritone, The DiMenna Center for Classical Music, Mary Flagler Cary Hall, New York, NY, October 27, 2021
World Premiere (Piano/vocal Version): American Modern Ensemble, Marnie Breckenridge, soprano, Jorell Williams, baritone, Caffè Lena, Saratoga Springs, NY, October 29, 2021
PublisherBill Holab Music

View Score | Available as a companion piece with In Real Life I or In Real Life II

Extraordinary is also available as a version for soprano, baritone, and piano, and may be performed as a stand-alone piece or as a companion piece with In Real Life I and/or In Real Life II.

PROGRAM NOTE

After two cycles of longing, loss, and glimmers of hope, Robert and I knew our singers had to meet. We wrote this scene/duet to cap In Real Life I and In Real Life II, for a man and a woman who connect online and decide, during a rather complicated time, to go on a date. Extraordinary was commissioned by American Modern Ensemble with funding from the Doctorow Family Foundation.

Program note © 2020 David Cote. Reprinted with permission.

  • EXTRAORDINARY
    for Soprano, Baritone, and Chamber Ensemble

    A park before dusk. Brian, in mask, enters. He looks around, checks phone. After a moment, Angela, also in a mask, appears. They see each other. Wave. They remove their masks for recognition.

    BRIAN
    Are you JaneAustenSpace22?

    ANGELA
    KimchiWolff with two effs?

    BRIAN
    Right.

    ANGELA
    Sooo….

    BRIAN
    Is this a date?

    ANGELA
    I don’t know.

    Brian
    So, JaneAustenSpace22.

    ANGELA
    Yes?

    BRIAN
    Ever meet JaneAustenSpace21?

    ANGELA
    A total bitch.

    BRIAN
    That’s what I heard.

    ANGELA
    So, Kimchi—

    BRIAN
    Brian.

    ANGELA
    Angela.

    BRIAN
    Hi, Angela. Sit?

    (They sit on a bench, judging the distance subtly—six feet apart?—adjusting slightly. They remove their masks entirely. Awkward pause.)

    ANGELA & BRIAN (to themselves)
    This is the best date I’ve had in months.
    This is the first date I’ve had in months.
    Do we hug?
    Can we kiss?
    Is it safe?
    Will I catch something I can’t handle?
    Will I feel something I can’t handle?

    BRIAN
    It’s nice to see you I-R-L.

    ANGELA
    Huh? Oh, “In Real Life.” Yes.

    BRIAN
    You’re really funny online.

    ANGELA
    Thanks.

    (Pause. He looks eagerly at her expecting “funny.” She’s at a loss, so all she can blurt out is:)

    ANGELA
    That’s. A. Suit.

    BRIAN
    This? Yes. It’s a suit.

    ANGELA (to herself)
    You’re bombing.
    You’re super bombing.
    Like carpet bombing the date.
    This date is a war crime.
    And now you’re in the Hague.

    BRIAN (to himself)
    You’re boring.
    You’re super boring.
    She’s practically asleep.
    You’re human Ambien.
    You’re even boring me.
    (to Angela)
    I haven’t read Jane Austen’s books,
    but I was hoping you could tell me about them?

    ANGELA
    I don’t know what you’ve heard,
    but I don’t do English Lit on the first date.

    BRIAN
    See, that’s funny!

    ANGELA
    What do you do?

    BRIAN
    Malware protection.

    ANGELA
    Not funny.

    BRIAN
    Unless you make a virus joke.

    ANGELA
    Pass!

    BRIAN
    Can I ask why you said yes? To this?

    ANGELA
    I liked your smile.

    BRIAN
    I liked your jokes.

    ANGELA
    I liked your dog.

    BRIAN
    I liked your bookshelf.

    ANGELA
    I liked your eyes.
    Present tense! Like. I like your eyes.

    BRIAN
    I like present tense your eyes too.
    I’ve been alone a while.

    ANGELA
    Me too.

    BRIAN
    I’m not sure I remember.

    ANGELA
    I’ll draw you a diagram.

    BRIAN
    PowerPoint?

    ANGELA
    Paper.

    BRIAN
    How quaint.

    ANGELA
    Ain’t it, though?
    Fancy paper. Real handwriting.

    BRIAN
    Real hands.
    I wish we could hold hands for a moment.

    ANGELA
    I wish we could hold hands for a moment.

    ANGELA & BRIAN
    But it’s not safe, not safe.
    If this were a date on an ordinary day,
    a boring, dumb, humdrum day,
    anything could happen.
    Anything, anything, anything!
    But today…
    Touching hands would be extraordinary.
    Sitting close would be extraordinary.
    A goodbye kiss would be extraordinary.
    But it’s not safe, not safe.
    Must be careful, must protect.
    Wear a mask to deflect
    the sudden fleck,
    which infects,
    and don’t even think of having se—

    ANGELA
    Want to walk a bit?

    BRIAN
    Yes, let’s stroll in the gloaming.

    ANGELA
    Look at you: “the gloaming.”

    BRIAN
    Thought you’d like that.

    ANGELA
    Jane Austen would approve.

    ANGELA & BRIAN
    If only this were a date on an ordinary day…

    (They walk away, as dusk falls.)

    [The End]

    —David Cote. Libretto Copyright © 2020. Reprinted with permission.

Press Quotes

In Real Life explores online dating with much comedy in a very theatrical setting... the songs here portray five women and five men filling out their dating-site profiles, sets it to music, and essentially illuminates all the humor, romance and forthrightness that comes with searching for a mate in a charming, operatic demeanor... weaves in and out of tense, tuneful and twinkling moments.
— Take Effect Reviews
[In Real Life is] like a chamber musical. You can see why the composing duo write opera together... Paterson takes Cote’s texts and bakes into the words a new and often surprising energy... bundled with wit and a good sense of humor.
— Austin American-Statesman
Paterson’s musical settings are very much in the spirit of a first-rate contemporary Broadway score. They are melodic, accessible, and gratifyingly sensitive to the narrative’s ebb and flow. [The In Real Life Album] is a human and touching exploration of the eternal search for companionship and love.
— Fanfare Magazine
Patterson’s [sic] score is breezy, cinematic and quirky... he perfectly captures the uncertainty of the situation with hesitant yet inquisitive instrumental gestures. it’s a welcome alternative to the depressing Covid compositions already emerging in the repertoire.
— Opera News
Such charm and humor in these [In Real Life] songs... just delightful!
— Juliana Hall, Composer