The story drives the opera, but it’s all about music onstage. Stewart and I worked together, discussing the story, breaking it down structurally. By the time I wrote the libretto, it was clear that only what is absolutely essential gives power; too many words would dilute it. I’d say, “I want to include this notion of guilt or anger.” He’d say, “I’ll have this in the music.” We cut out everything that could be done by the music.

Dan and I will get to see and hear the opera when San Francisco opera premieres it this coming season. I’ve read a lot of Amy Tan’s work. (As a side note, my father was her English teacher when she was in middle school, and had even saved at least one poem she wrote from then and showed it to us some years ago.) I’m just sure I’ve read The Bonesetter’s Daughter, but I think I should reread it, as my memory isn’t the best sometimes.

Ms. Tan goes on to say:

If people respond enthusiastically, I’ll be grateful. But even terrible reviews cannot diminish its success for me personally. It will hurt, but I won’t regret doing what’s been so fulfilling.

I do hope it’s a success. I’m always very excited about new operas.

You can read the whole article here and click here for the SF Opera link.