Tag Archives: Nikola Tesla

Tesla, recorded

Violet Fire, an opera about Nikola TeslaVio­let Fire, the opera about Niko­la Tes­la that I worked on as libret­tist with com­pos­er Jon Gib­son, is final­ly get­ting a stu­dio record­ing! It’s a lit­tle late—the world pre­miere and U.S. pre­miere hap­pened in Bel­grade and New York in 2006—but I’m still excit­ed. Last week, Jon con­vened a stel­lar group of musi­cians at a record­ing stu­dio in Brook­lyn to lay down tracks for the record­ing.

Jon Gibson, Gregory Purnhagen, Dean Sharenow
Jon Gib­son look­ing over score, left; singer Gre­go­ry Purn­hagen, cen­ter; record­ing engi­neer Dean Sharenow, right

I was able to sit in one day as the solo singers record­ed their parts. They includ­ed Scott Mur­phree, who played our orig­i­nal Tes­la; Peter Stew­art, our orig­i­nal Mark Twain; Solange Mer­din­ian, as Tesla’s friend Katharine John­son; Gre­go­ry Purn­hagen, as the Reporter; and Marie Mas­cari as the White Dove. The great Mick Rossi led the record­ing as music direc­tor and con­duc­tor.

Scott Murphree as Tesla
Scott Mur­phree, singing the part of Tes­la

Each char­ac­ter in the opera is there to show a dif­fer­ent facet of Tesla’s life, from the most inti­mate to the most pub­lic. Mark Twain, who sensed the mag­ni­tude of the inventor’s break­throughs in alter­nat­ing cur­rent and wire­less trans­mis­sion, sings in praise of his accom­plish­ments and glob­al influ­ence, while the Reporter offers com­men­tary on Tesla’s wax­ing and then wan­ing fame. Katharine John­son sings plain­tive­ly to her “dear and silent friend” who, devot­ed to his work, seems to have “no human needs.” Mar­ried to the writer and edi­tor Robert John­son, Katharine host­ed Tes­la at many din­ner par­ties. Her elo­quent­ly emo­tion­al let­ters to him reveal a deep but one-sided attach­ment to the inven­tor.

The real Mar­garet Storm wrote a book, The White Dove, that gave the opera its name: in it, she described Tes­la as “Prince of the Vio­let Fire,” and told of his being born on Venus and then trans­port­ed to Earth to offer his oth­er­world­ly knowl­edge to human­i­ty. And the char­ac­ter of the White Dove is inspired by a pigeon that Tes­la, late in life, admit­ted to lov­ing and car­ing for in the parks of New York. The opera took form around the sense that this bird should be allowed to sing.

Marie Mascare as the White Dove
Marie Mas­cari, singing the role of the White Dove

It was won­der­ful to hear Jon’s music brought to life again by these great singers and musi­cians. In the sin­u­ous melod­ic lines and slid­ing chords, I hear the sad­ness woven in with Tesla—not just from his self-imposed human iso­la­tion. When Scott Mur­phree, as Tes­la, sang the line “An end to suf­fer­ing…,” it car­ried both Tesla’s grand, glob­al-scale ambi­tions, and also the fail­ure to achieve them that would inevitably fol­low. Then there’s this line sung by the Reporter, tak­en near-ver­ba­tim from a poignant head­line in the New York World: “At night and in secret, Niko­la Tes­la lav­ish­es his love on pigeons.” Great explo­sions of ener­gy, secret com­mu­nion with birds, oth­er­world­ly visions—all these things are part of Tes­la, and they’re all in the opera, real­ized through Jon’s beau­ti­ful music.

After the tracks are edit­ed, a record­ing of Vio­let Fire should be available—soon, I hope. I’ll let you know.

 

 

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Living Tesla’s Dream

Cities at night seen from space
Amer­i­can Mid­west at night — a piece of Tesla’s world­wide elec­tric grid, tak­en from the ISS, 9/29/2011

Today is the 160th anniver­sary of Niko­la Tesla’s birth. Tes­la was a seer of elec­tric­i­ty, whose vision of a world trans­formed with an elec­tric grid pow­ered by his alter­nat­ing cur­rent sys­tem sure­ly seemed like a wild dream in the late 19th cen­tu­ry. Tes­la is claimed as a hero in both Ser­bia and Croa­t­ia, hav­ing been born and raised Ser­bian in what’s now Croatia—a trea­sured icon, kind of a cross between Albert Ein­stein and Abra­ham Lin­coln.

Exact­ly ten years ago, I was in Bel­grade for the pre­miere of Vio­let Fire, the opera about Tes­la that I worked on as libret­tist with com­pos­er Jon Gib­son, along with many oth­er huge­ly tal­ent­ed artists and per­form­ers. Our opera had been invit­ed there as part of a cel­e­bra­tion of Tesla’s 150th birth­day. In fact, Vio­let Fire’s open­ing night fell on Tesla’s birth­day, July 9 (he’s pop­u­lar­ly sup­posed been born on mid­night between July 9 and 10).

National Theater in Belgrade
Nation­al The­ater in Bel­grade, show­ing the Vio­let Fire ban­ner

My week in Bel­grade was won­der­ful, nerve-wracking—as the­ater can be—and sur­re­al. The first per­for­mance went well. The next night, many of us went to see anoth­er per­for­mance in the Bel­grade sum­mer arts fes­ti­val (BELEF)—this one by Lau­rie Ander­son, the avant-garde musician/artist who counts Tes­la as an inspi­ra­tion. After the per­for­mance I got pulled back­stage to meet Ms. Ander­son, and told her how much I’ve been inspired by her work.

I found myself in a dim bar-like room, with Lau­rie Ander­son and Niko­la Tesla—well, a per­for­mance artist dressed in Tesla’s dis­tinc­tive for­mal attire, who had made appear­ances in var­i­ous loca­tions in down­town Bel­grade that day. Sev­er­al Croa­t­ians were there, includ­ing a tall young woman who was an aspir­ing filmmaker—and an actu­al descen­dant of Tes­la. The group of us left the the­ater, led by the festival’s direc­tor through the balmy sum­mer night to the open plaza of Repub­lic Square.

Program image, Belgrade Arts Festival, 2006
Pro­gram image, BELEF (Bel­grade Sum­mer Arts Fes­ti­val) , where Vio­let Fire had its pre­miere in 2006

There under the stars, across from the Nation­al The­ater where our opera was still run­ning, we joined a crowd of peo­ple in and around a strange loom­ing structure—an ad-hoc build­ing glow­ing blue from inside. This was Clus­ter, its mak­er explained to me—a par­tic­i­pa­to­ry soft­ware project, hous­ing mul­ti­ple com­put­ers and shar­ing freely with all vis­i­tors. It was an inspired trib­ute to Tes­la, who had envi­sioned shar­ing the fruits of his work freely with the world.

I felt like I had wan­dered inside a dream—walking with Tesla’s ghost, his great-grand niece and Lau­rie Ander­son down dark streets to dis­cov­er a puls­ing blue thought-clus­ter. And this feel­ing, I’m real­iz­ing now, is some­thing like what I strug­gle to describe about Tes­la and his lega­cy. Our increas­ing­ly wire­less world, with its lit-up nights, its vir­tu­al­ly free stream­ing data, its elec­tric cars, is an embod­i­ment of Tesla’s visions for the future. We are liv­ing inside his dream.

Tes­la also imag­ined the future as a peace­ful place where war would be obso­lete, where women would be equal to men, and we’d all be knit­ted togeth­er in a hive of pro­duc­tive work. Right now this all seems very far away from the intractable prob­lems, suf­fer­ing and dis­cord that still sur­round us. Some­day, maybe, more of Tesla’s dream will become real­i­ty.

More about Vio­let Fire:  www.violetfireopera.com

More posts about Tes­la

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Tesla in Bankruptcy

Tesla's Wardenclyffe Tower under construction
Tesla’s War­den­clyffe Tow­er

On March 18, 1916—one hun­dred years ago today—the New York World ran an arti­cle with the head­line: “Tes­la No Mon­ey Wiz­ard; Swamped by Debts, He Vows.” The news fol­lowed a court fil­ing that revealed the great inven­tor, Niko­la Tes­la, had no assets and owed thou­sands in back rent to the Wal­dorf Asto­ria, where he lived.

This moment in Tesla’s life marks a turn­ing point: his great dis­cov­er­ies in alter­nat­ing cur­rent, radio, tele­ro­bot­ics and oth­er fields were all behind him. Tes­la had been pur­su­ing sev­er­al projects, includ­ing the devel­op­ment of his blade­less tur­bine and mar­ket­ing med­ical devices. But his com­pa­ny suf­fered from high over­head, and he was pay­ing con­tin­u­ing legal fees in a fight to declare that his radio patents had prece­dence over those of Mar­coni. To have his finan­cial dif­fi­cul­ties aired so pub­licly must have been extreme­ly painful for a man who made a point of liv­ing at the high­est stan­dards of Old World ele­gance.

Tesla’s finan­cial trou­ble would also lead to the final destruc­tion of his mas­sive War­den­clyffe Tow­er. The domed tow­er, built at the east­ern tip of Long Island, had been part of Tesla’s grand plan to beam infor­ma­tion and ulti­mate­ly, elec­tric ener­gy around the plan­et. By 1916, with the project stalled, Tes­la signed over the War­den­clyffe prop­er­ty to the Wal­dorf Asto­ria. A year lat­er, the hotel had it demol­ished, and its mate­ri­als sold for scrap—a sad­ly anti­cli­mac­tic end for a project that embod­ied a far more ambi­tious vision for radio broad­cast­ing than Marconi’s.

Many inven­tors deal with ter­ri­ble dis­ap­point­ments, and many find them­selves swamped by invest­ments in their own dreams. But Tesla’s ups and downs seem to have an epic sweep. While he con­tin­ued to come up with large-scale ideas after 1916—including his “death ray” antimis­sile system—none would come to fruition. Instead, he became a sort of future-sci­ence seer, mak­ing pre­dic­tions that were wel­comed more as sci­ence fic­tion than as real-world tech­nolo­gies.

See more posts on Tes­la:

Nikola Tesla

 

 

 

 

 

 

Link to Vio­let Fire, the opera about Niko­la Tes­la I worked on as libret­tist:

Violet Fire, an opera about Nikola Tesla

 

 

 

 

 

 

 

 

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An elegy for Tesla

Elegy for Tesla, installation by Jeanne Jaffe at Rowan University Art Gallery, detail
Ele­gy for Tes­la, instal­la­tion by Jeanne Jaffe at Rowan Uni­ver­si­ty Art Gallery, detail

Jeanne Jaffe’s ambi­tious Ele­gy for Tes­la is a high-tech, dream­like and heart­felt med­i­ta­tion on Niko­la Tes­la, the leg­endary sci­en­tist and inven­tor. Jaffe’s mul­ti­me­dia instal­la­tion fills the Rowan Uni­ver­si­ty Art Gallery with videos and sound, 3-D print­ed mod­els of his icon­ic inven­tions, and ani­ma­tron­ic, motion-acti­vat­ed fig­ures of Tes­la that move and, in some cas­es speak.

Tes­la stands as an avatar of mas­sive cre­ativ­i­ty, with his hun­dreds of patents, and basic break­throughs in alter­nat­ing cur­rent, radio, robot­ics, and even com­put­er cir­cuit­ry. Jaffe pays homage to his achieve­ments, while embed­ding them in the medi­um of a life that had strange­ly myth­ic ele­ments. She’s par­tic­u­lar­ly sen­si­tive to the poignan­cy of the old­er Tes­la, the eccen­tric lon­er who fed and cared for pigeons, whose lim­it­less imag­i­na­tion had run up against the lim­its of the public’s recep­tion of his work.

This aspect of Tes­la is part of what drew me to work with com­pos­er Jon Gib­son on Vio­let Fire, an opera that tried to cap­ture the inner life of Tes­la in all its strange­ness through music, move­ment and video. So I was delight­ed to be asked to write the cat­a­logue essay for this exhib­it. One part of the Tes­la mythos is the white pigeon he befriend­ed, and who trig­gered in him a vision of blind­ing light. Jaffe, who has cared for birds her­self, sur­rounds Tes­la with a flock of ten­der­ly mod­eled pigeons; for me, they can be seen as car­ri­ers of his ongo­ing inspi­ra­tion, and mark­ers of his intense, intu­itive con­nec­tion with the nat­ur­al world.

Elegy for Tesla, gallery view
Ele­gy for Tes­la, gallery view

But Tes­la, in the form of his motion-acti­vat­ed dop­pel­gangers, steals this show. Cura­tor Mary Sal­vante coor­di­nat­ed an NEA-fund­ed col­lab­o­ra­tion between Jaffe and stu­dents and fac­ul­ty in Rowan’s Engi­neer­ing Depart­ment to cre­ate the sys­tems that ani­mate her sculp­tures. They stand, and move, in a per­fect salute to Tes­la as “magi­cian” of wire­less elec­tric­i­ty.

I’ll be at the recep­tion on Thurs­day – if you can’t make it, the show will be up through Jan­u­ary 30.

Ele­gy for Tes­la, an instal­la­tion by Jeanne Jaffe

Rowan Uni­ver­si­ty Art Gallery/West, Glass­boro, NJ, through Jan­u­ary 30, 2016

Recep­tion Thurs­day, Octo­ber 8, 5–8 pm, start­ing with artist pre­sen­ta­tion and pan­el dis­cus­sion at 5 pm.

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