{"id":113802,"date":"2025-04-23T16:49:14","date_gmt":"2025-04-23T20:49:14","guid":{"rendered":"https:\/\/www.ludwig-van.com\/toronto\/?p=113802"},"modified":"2025-04-24T08:00:01","modified_gmt":"2025-04-24T12:00:01","slug":"preview-composer-ronald-beckett-talks-ruth-musical-drama-stage-may-10","status":"publish","type":"post","link":"https:\/\/www.ludwig-van.com\/toronto\/2025\/04\/23\/preview-composer-ronald-beckett-talks-ruth-musical-drama-stage-may-10\/","title":{"rendered":"PREVIEW | Composer Ronald Beckett Talks About Ruth, A Musical Drama On Stage May 10"},"content":{"rendered":"
\"From
From the 2017 production of the opera Ruth at the Sanderson Centre in Brantford, ON, with Bethany Turpin as Ruth, and Kieran Kane as Boaz (Photo courtesy of Arcady Ensemble)<\/figcaption><\/figure>\n

Ruth, the musical drama by composer Ronald Beckett and librettist Roger Bayley, will take the stage on May 10 in Brantford, Ontario. It\u2019s the first time the popular opera returns to Southwestern Ontario since 2017.<\/p>\n

Ruth is based on the Old Testament book of the same name, but while the inspiration may be time honoured, its structure is contemporary. The opera consists of 12 sections and runs a short (for opera) 78 minutes.<\/p>\n

In the Biblical story, Ruth is a Moabite woman who becomes one of the Israelites as she marries Boaz of Bethlehem. The opera follows the title character of Ruth, depicted as a strong and independent woman who is full of hope as she searches for a better life, both for her own family and her people. It’s a story about immigration and the welcome she receives in a new land.<\/p>\n

Ruth was a hit on its premiere in 1996, and has been performed 25 times throughout Ontario and beyond. The 2007 original cast recording has been broadcast from stations in Austria, Lithuania, the Czech Republic, Israel, Romania, and Turkey.<\/p>\n

The work became the first of a trilogy that was later completed with John (1997) and I Am\u2026 (1998).<\/p>\n

LvT spoke to Ronald Beckett about the work and its new production.<\/p>\n

Ronald Beckett: Canadian composer, conductor, choir director<\/h2>\n

A native of Simcoe, Ontario, Ronald Beckett began piano studies as a child, and was encouraged by his piano teacher to add composing to his practice. He began writing music at the age of 11, and his original compositions and arrangements were performed at annual house concerts for neighbours and friends of the family. He went on to earn a Bachelor of Music degree in History and Theory from McMaster University in Hamilton, and a Master of Music in composition from Western University.<\/p>\n

His music has been heard throughout Ontario, and is often broadcast on classical music radio throughout North America and Europe.<\/p>\n

Ronald formally founded the Arcady Ensemble in 1998. The acclaimed collective incorporates more than 100 vocalists, musicians and dancers across Ontario, and is dedicated to performing his own works, as well as those of emerging artists and affiliated composers. They have released three recordings, including Ruth in 2007.<\/p>\n

He was named as the inaugural winner of the Walter MacNutt Prize in 2023.<\/p>\n

\"From
From the 2017 production of the opera Ruth at the Sanderson Centre in Brantford, ON, with Allison Walmsley as The Poet (Photo courtesy of Arcady Ensemble)<\/figcaption><\/figure>\n

Ronald Beckett: The Interview<\/h3>\n

\u201cIt was originally written in 96,\u201d Beckett recalls.<\/p>\n

\u201cAt the time, we were doing a lot of early music,\u201d he says of the Arcady Ensemble, which began its life as the Norfolk Singers. \u201cWe had done a lot of Baroque performances using historical instruments.\u201d Ronald would lead the ensemble from the keyboard. \u201cWe did two productions of [Purcell\u2019s] Dido and Aeneas, and [Handel\u2019s] Acis and Galatea. I thought it was only natural to continue that format.\u201d Then, another consideration struck him. \u201cI thought, why don\u2019t I use that format to write an opera of my own.\u201d<\/p>\n

The result was Esther, which premiered in 1993. Librettist Roger Bayley was in attendance, who was inspired to write another opera that was focused on prominent Old Testament female figures.<\/p>\n

\u201cHe gave me the libretto,\u201d says Ronald.<\/p>\n

With one major original production just under his belt, however, it would be a couple of years before he picked it up to work on his next project in 1995. One of his concerns was Arcady Ensemble, which consists of a mix of experienced artists and performers, along with high school and university age emerging artists.<\/p>\n

\u201cThey might enjoy this,\u201d was his thought.<\/p>\n

Roger was in attendance for the first rehearsal. \u201cHe was in tears,\u201d Ronald says. Roger went home from the rehearsal, and penned its sequel, John, that night.<\/p>\n

Of the three works in the trilogy, however, it\u2019s Ruth that has proven the most popular.<\/p>\n

\u201cRuth is the one we come back to time and time again.\u201d Along with its popularity with audiences, there are practical considerations. \u201cIt\u2019s easier to stage, and it\u2019s shorter.\u201d The cast is also primarily women, and as he points out, many university and other ensembles are predominantly women. That\u2019s not the primary reason, but for many ensembles, it fulfills a need.<\/p>\n

In contrast with many operas, Ruth is characterized by a primarily upbeat mood. \u201cIt\u2019s opera,\u201d he says. In operatic works, characters are traditionally either good or bad. \u201cThere\u2019s nothing in between.\u201d<\/p>\n

At its core is a concept similar to the Hebrew hesed, which incorporates notions of filial devotion, kindness, mercy, responsibility to family, and preservation of culture. \u201cThey have varying degrees of depth,\u201d he says of the characters.<\/p>\n

The character of Malchi-Shua, a kind of huckster who disputes the heir of a piece of property, provides the conflict. Orpah is the person who understand the kind of devotion to family that is required, but lacks the conviction to follow through on it. Ruth, with her incredible strength of character, becomes a leader. But, it\u2019s also a difficult position to be in.<\/p>\n

\u201cThe more strength of character you have, the more you\u2019re going to face,\u201d Beckett says. He notes that Ruth was facing down a patriarchal society, the spectre of starvation, and difficult and even dangerous travel conditions.<\/p>\n

Combined, the ingredients have turned into an audience favourite.<\/p>\n

\u201cIt usually sells out,\u201d he says. \u201cI think they just like to see people caring about each other.\u201d<\/p>\n

Unlike many other dramatic operas, there are no bloodbaths, no irredeemable tragedies. It created a challenge in coming up with the right story, one that would have enough ups and downs to satisfy the audience\u2019s emotions.<\/p>\n

\u201cThere is darkness, but light emerges, and good emerges from dark circumstances,\u201d he says. \u201cThere\u2019s a fair amount of humour.\u201d<\/p>\n

\"From
From the 2017 production of the opera Ruth at the Sanderson Centre in Brantford, ON, with the children’s chorus (Photo courtesy of Arcady Ensemble)<\/figcaption><\/figure>\n

The Music<\/h3>\n

Beckett\u2019s training included time in an English opera group. \u201cEssentially, I\u2019m a Britten guy,\u201d he says. \u201cThere is that element in the writing.\u201d<\/p>\n

He also describes himself as a fan of 12-tone music, but he hesitated to create a full-scale 12-tone opera when he realized the majority of his audience might be hearing the art form for the very first time. Nonetheless, he\u2019s based Ruth on a tonal row, and incorporates dissonance where it serves a dramatic purpose. Consonant passages align with the happier moments in the story.<\/p>\n

\u201cIf it\u2019s chromatic and dissonant in spots, the audience will know why.\u201d<\/p>\n

The shorter format is also more in tune with newcomers to opera. \u201cIt\u2019s a very compressed work,\u201d he says. \u201cIt moves on very quickly form scene to scene.\u201d<\/p>\n

With its modernity, and lack of the usual operatic elements, such as extended arias, its out of the box success was not expected.<\/p>\n

\u201cFrankly, the success of it surprised me,\u201d he says. When its first two performances sold out quickly, they added more. \u201cContemporary composers aren\u2019t really expecting that.\u201d<\/p>\n

\u201cRuth has a 12-tone row,\u201d he elaborates. It\u2019s echoed in John, the second opera of the trilogy, where the last six notes relate back to the beginning of Ruth\u2019s tone row. \u201cIt results in a motivic consistency from opera to opera.\u201d<\/p>\n

Audiences may find certain motives that are similar from one opera to the next, but not entirely the same.<\/p>\n

In the end, it\u2019s the story they love.<\/p>\n

\u201cWe all want to be loved by somebody like Ruth.\u201d<\/p>\n

A taste of the music, from the 2017 production:<\/p>\n