Justin Weiss: Profile of a Composed


An exciting event coming up at Middlebury College

during its 1997 winter term is a student-led production of an

opera, “Gimpel the Fool.” The libretto itself was written

by the 1996 winter term class jointly led by Assistant Professor

of Music Su Lian Tan and Professor of English Robert Pack.

Over the 1996 fall term, the task of putting the

libretto to music fell on Su Lian Tan’s music composition class.

This work required much collaboration between the 11 students

involved. In charge of facilitating this collaboration is Justin

Weiss ‘97 of Kennebunk, Maine. Not only is Mr. Weiss composing

and administrating the score, he is also performing as one of

the leads, Yechiel.

“The art of composing and the art of performing

are two entirely different things,” the composer/singer admitted.

“Composing in collaboration with other students is different

too. However, listening to and looking at other people’s work

over time has created a natural convergence. It’s almost magical.”

The opera is definitely a product in progress. The

first week of class the composers worked on the libretto, cutting,

changing the order, and assigning arias. “Things will change

again when the performers impact it,” said Mr. Weiss.

Assistant Professor of Theatre Mark Evancho’s set

design class is actually designing the set. They created intricate

to-scale models and have met several times with the composers.

“Working with them has been an important step,” said

Mr. Weiss. “For instance, they have centered one set around

a fountain. We hadn’t really noticed that there was a fountain

in the libretto and having one on the set made a difference in

how we felt about the music.”

Many of the composers are using a computer program

called Finale that can record, do the transposition and modify

a full score to accommodate instrumentation. Not all the composers

have used this program and so one of Mr. Weiss’ jobs is to put

all their music on Finale. He worked through much of Christmas

break, integrating the score.

In January, the performers, which will include a

cast of four leads and a chorus and instrumentation by a string

octet, flute, piccolo, bassoon, percussion, keyboard, clarinet

and trombone, have three weeks to get ready for performances from

January 29 through January 31.

What does Mr. Weiss, a double music/political science

major who studied in France in his junior year, face in preparing

to sing in an opera? “Ten adjunct music faculty will work

on the leads to make sure we’re taking care of ourselves,”

he says. “It’s very important for opera singers. We must

always wear a scarf; always drink water; not talk too much; speak

the right way; not eat food that’s too hot or too cold; be in

bed by 9, up by 7; not smoke, not drink, and take no medication.”

Does Mr. Weiss feel ready for this unique production?

“The show will go on,” he says. “And we couldn’t

do it without Su Lian Tan,” he adds. “It’s amazing to

have such an advanced composer available to us. She nourishes

us, she’s artistically supportive. But she wants it to be our