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Princess Eudoxia (sometimes called Eudoxie) Augusta Philippine Clementine Maria of Bulgaria was born on 17 January 1898 at Sofia, the capital of her father's realm. Eudoxia's parents were Prince Ferdinand of Bulgaria (1861-1948; né Saxe-Coburg and Gotha) and his wife Princess Marie Louise of Bourbon-Parma (1870-1899): Ferdinand and Marie Louise were married at the Villa Pianore, a property of the bride's immensely wealthy father the Duke of Parma, on 20 April 1893. Eudoxia joined two older brothers, Prince Boris (1894-1943) and Prince Kyril (1895-1945); the princess was followed a year after her arrival by the last of the four children, Princess Nadejda (1899-1958).
Prince Ferdinand and Princess Marie Louise of Bulgaria
Ferdinand's search for a wife had begun in 1890, after it became clear that the political situation in Bulgaria was tenacious so long as its sovereign had no heirs. Ferdinand had been elected as Prince of Bulgaria in July 1887 after the deposition of Prince Alexander of Bulgaria (1857-1893; né Battenberg). British historian Theo Aronson, in his book Crowns in Conflict, recalled the reaction of Ferdinand's cousin Queen Victoria to her kinsman's elevation to the Principality of Bulgaria: "He is totally unfit ... delicate, eccentric and effeminate ... Should be stopped at once." Fortunately, over time, the Queen's opinion of her cousin would improve. Ferdinand persevered, and his mother, Princess Clémentine, was extremely instrumental in advocating on behalf of her son's interests.
Archduchess Luisa of Austria-Tuscany
In 1890, Prince Ferdinand of Bulgaria was twenty-nine: he was fairly good looking, rich, and had impeccable family ties. The first candidate chosen for Ferdinand by his mother was his cousin Archduchess Luisa of Austria-Tuscany (1870-1947; later Crown Princess of Saxony), the daughter of Grand Duke Ferdinando IV of Tuscany (1835-1908) and his second wife Princess Alicia of Bourbon-Parma (1849-1935), who was herself an aunt of Ferdinand's future wife Marie Louise. Needless to say, Ferdinand's wooing in June 1891 of Luisa of Tuscany was not successful, which was probably for the best. Although Luisa's father the grand duke (impoverished as he was) was in favour of the marriage, her mother Grand Duchess Alicia was decidedly not - the grand duchess had no love lost for the Coburgs.
Princess Marie of Saxe-Coburg and Gotha in 1888
Next on Ferdinand's radar was one of the daughters of the Duke and Duchess of Saxe-Coburg and Gotha (Prince Alfred, Duke of Edinburgh, and his wife Grand Duchess Maria Alexandrovna of Russia). Presumably, the object of the prince's "affections" was Princess Marie, the eldest daughter at age sixteen...though which of the daughters was never specified. Ferdinand mused in a letter: "...granddaughter of the Queen of England, granddaughter of the Tsar-liberator and cousin of the German Kaiser! Que voudrait on de plus. That would be a terrible blow for the Russophil part in this country - it would be forced to be loyal to the granddaughter of Alexander II! I see from the Coburg newspapers that the respective parents are already at Coburg. May God give them wisdom, for I am thoroughly sick of this marriage question and long for a result! I do not fear the father: he would agree out of hatred for Russia. But as for the mother? Will she have the good sense to defy her pig-headed and odious brother?" Given the youth of the young ladies involved, it would come as no surprise that no engagement emanated from Ferdinand's daydreams on the subject. His search would have to continue.
Princess Clara of Bavaria
Finally, in late 1892, the prince found his princess...after beating around the bush quite a bit. Princess Clémentine had been in contact with Duke Roberto of Parma, who had lost his duchy in 1860, for sometime; Clémentine realised that the duke's daughter Marie Louise might offer the solution to Ferdinand's marital dilemma. Religion was to play a major part in the negotiations for Marie Louise's hand. Although the Bulgarian constitution required that the heir to the throne must be raised in the Orthodox faith, Duke Roberto demanded that this stipulation would have to be cast aside if Ferdinand were to marry Marie Louise: the duke made it clear that all issue of the marriage must be raised as Roman Catholic At the time, Ferdinand agreed, and was able to have his government acquiesce that the heir to the Bulgarian throne did not need to be baptised in the Orthodox church. With this carte blanche from his government, Ferdinand made one last attempt to snag a Catholic princess from a reigning dynasty. He traveled to Munich to briefly engage Princess Clara of Bavaria (1874-1941), but, again, he met with no success, as the Bavarian Prince Regent forbade any of the Wittelsbach princesses from accepting Ferdinand's proposal. And, so, Ferdinand returned to the prospect of Marie Louise. Their engagement was celebrated at the Castle of Schwartzau: it was the first time that either of the pair had laid eyes on the other. Princess Clémentine was rather forward in describing her future daughter-in-law: "[She is] unhappily not very pretty." Thus began the marriage of convenience of Ferdinand and Marie Louise; neither person in love with the other.
The wedding of Ferdinand of Bulgaria and Marie Louise of Bourbon-Parma
Princess Marie Louise of Bulgaria
At their wedding at the Villa Pianore, Marie Louise appeared in flowing white, her veil held by a fleur-de-lis tiara: she looked fragile and small next to her husband in his uniform. Pope Leo XIII gave a blessing to the couple via the Archbishop of Lucca. Ferdinand addressed his father-in-law the Duke of Parma by saying, "Bulgaria is grateful to you for having confided your daughter to her Prince. Bulgaria will honour her and guard her like a treasure." The princely couple then set off for a honeymoon cruise around the Mediterranean.
Prince Ferdinand and Princess Marie Louise of Bulgaria with Princess Clémentine of Saxe-Coburg and Gotha
(left to right) Princess Clémentine of Saxe-Coburg and Gotha (née Orléans), Prince Boris of Bulgaria, and Princess Marie Louise of Bulgaria (née Bourbon-Parma)
Ferdinand quickly ruined Marie Louise's hopes of any semblance of a happy marriage. After a difficult pregnancy, the couple's first son, Boris, was born on 30 January 1894 - the infant was baptised into the Roman Catholic faith with the Duke and Duchess of Parma coming to witness to occasion. Two years later, in 1896, Ferdinand opted for the infant heir Boris to be converted from Roman Catholicism to the Orthodox Church. This move earned Ferdinand the intense frustration of his wife, the anger of his Catholic relatives, and excommunication from the Catholic Church. In order to remedy this difficult situation, Ferdinand christened all his remaining children as Catholics; thus, Kyril, Eudoxia, and Nadejda were all raised in the faith of their parents, as Ferdinand never converted to Orthodoxy. A goddaughter of Pope Pius IX, Marie Louise was so distraught at her husband's betrayal of his initial promise to bring up all their children as Catholics that she initially left Bulgaria and was only pursued to return after the intercession of her mother-in-law Clémentine. Always delicate of health, Princess Marie Louise died on 31 January 1899 of pneumonia, aged twenty-eight. The day before her passing, on 30 January, the princess had given birth to her fourth child and second daughter Nadejda.
Princess Clémentine with her three eldest Bulgarian grandchildren: Boris, Kyril, and Eudoxia
(left to right) Princess Eudoxia, Prince Kyril, Prince Boris, and Princess Nadejda of Bulgaria
Princess Eudoxia of Bulgaria
After the premature death of their mother, the two Bulgarian princes and two Bulgarian princesses were looked after by their ageing grandmother, Princess Clémentine, the last surviving child of King Louis Philippe and Queen Marie Amélie of the French. Clémentine was completely devoted to her young grandchildren and their upbringing. In 1903, the eighty-five year-old princess was the subject of a profile by the French newspaper Gaulois, wherein it was written by its author: "And during all seasons one can see this infallible old lady, leave her palace and her peace and to go from Vienna to the Balkans, from the Balkans to Menton, in order to bring to the Prince of Bulgaria, to her son and to the motherless children of this most beloved son, the resources of her heart. I had the privilege, during these days, to observe an unforgettable intimate scene, where the most tender and the most noble and sad mixed together. A large blue room overlooking the palm trees and the sea, in a corner close to the window in a ray of sunshine, the little princes Boris and Cyril and their very blond little sisters Eudoxia and Nadezhda played on the rug. An exquisite picture of innocent delicacy, like a nest fallen from a tapestry, barely a murmur, quiet yet a happy enjoyment of children. While motionless in her chair, the protecting Grandmother watches vigilantly over her brood." Sadly, the Bulgarian siblings lost their overseeing Grand-mère when Clémentine passed away in February 1907 at the age of eighty-nine.
Tsar Ferdinand and Tsaritsa Eleonore of Bulgaria at their wedding
Tsaritsa Eleonore of Bulgaria
Tsaritsa Eleonore with her stepdaughters Princess Eudoxia and Princess Nadejda
In Autumn 1908, Ferdinand I became the Tsar (King) of the Kingdom of Bulgaria. Earlier that year, on 1 March, he had remarried to Princess Eleonore Reuß (1860-1917) in another marriage of convenience. Grand Duchess Maria Pavlovna Senior was instrumental in bringing about this union. Ferdinand barely gave any attention to Eleonore: he treated her merely as a member of the household. Eleonore remained neglected by Ferdinand throughout their marriage; she was left to raise her stepchildren and devote herself to the welfare of the Bulgarian people. Having become quite ill during World War I, Eleonore died at the age of fifty-seven on 12 September 1917 Euxinograd, Bulgaria. Her last wish was to be buried in the cemetery of a 12th-century church at Boyana, near Sofia. During the Socialist period, however, the grave was broken into, her jewelry stolen and then the memorial stone bulldozed back in the grave, with no visible marks left over the ground. However, after the democratic changes in 1989, the original memorial stone was excavated and the site was restored back to the original state.
German Emperor Wilhelm II and Bulgarian Tsar Ferdinand I at Sofia in 1916
Ferdinand I of Bulgaria abdicates in favour of his son Boris III (October 1918)
Another result of World War I was the abdication of Tsar Ferdinand I. During the initial phase of World War I, the Kingdom of Bulgaria achieved several decisive victories over its enemies and laid claim to the disputed territories of Macedonia after Serbia's defeat. For the next two years, the Bulgarian army shifted its focus towards repelling Allied advances from nearby Greece. They were also partially involved in the 1916 conquest of neighboring Romania, now ruled by another Ferdinand I, who was also Ferdinand's second cousin once removed. To salvage the Bulgarian monarchy after multiple military setbacks in 1918, Tsar Ferdinand abdicated in favour of his eldest son, who became Tsar Boris III on 3 October 1918. For a time, Eudoxia resided in Coburg with her father after the loss of his throne. Yet, in 1922, she returned to Bulgaria to lend her support to her brother King Boris III.
Princess Eudoxia of Bulgaria
Article on Princess Eudoxia of Bulgaria from 1928
Pavran Draganov (1890-1945)
It was at this point in the dynasty's saga that Princess Eudoxia came to prominence. After her brother's accession to the throne, and her return to Bulgaria after joining her father Ferdinand in exile at Coburg, the princess became a devoted and trusted confidante to Boris. Eudoxia briefly had a romance with an aide-de-camp of Boris, Parvan Draganov; she remained close to Parvan after their relationship ended and stayed friendly with his family as well. Another one of Eudoxia's beaus was van Ivanov Bagryanov. Both Parvan Draganov and Ivan Bagryanov were close friends of her brother the king, being army officers around his age. The royal family's immediate circle became smaller when Princess Nadejda married Duke Albrecht Eugen of Württemberg (1895-1954) in 1924. Prince Kyril never married. Happily, Tsar Boris III found his match in Princess Giovanna of Savoy (1907-2000). Boris and Giovanna were married at Assisi in Italy on 25 October 1930. In the biography of the queen, Giovanna of Bulgaria - The Queen of Charity, the following portrait was given of Princess Eudoxia:
Her [Queen Giovanna's] relations with Eudoxie did not differ much from the usual ones between sisters-in-law. Until the autumn of 1930 the princess had performed the duties of first lady in the kingdom, she was the constant counsellor and confidant of the young march and the mistress of his home. Eudoxie had an exceptional personality, with a quick mind, alert, watchful eyes, an uncanny feeling for people and events. Of all of King Ferdinand's children she is said to have inherited most of his typical character traits. Usually kind and witty, she could be sharp, critical and even sarcastic towards those she thought deserved it. Her authoritarian behaviour towards people contrasted with her full and utter devotion to her brother. She spent the happiest and most difficult times for the crown at his side. Even her personal life was directly linked with the people around him. In the mid-1920s she and one of his inner circle, Ivan Bagryanov, shared a mutual fondness for each other. The instant intervention of the old king, who continued to exert pressure even from a distance, nipped this romance in the bud. The thought of his daughter becoming the wife of an ordinary, albeit wealthy, Bulgarian citizen seemed almost sacrilegious to him. Heart-broken, Eudoxie put herself completely in the service of her brother and forgot about her marriage plans. She was totally in love with everything Bulgarian, fanatically linked to the Bulgarian land, the Bulgarian language, the Bulgarian music and art. She herself was a talented artist who painted remarkable landscapes from beautiful parts of the country, as well as exquisite flowers and still life's.
Princess Eudoxia with her father King Ferdinand in 1931
Eudoxia still kept ties with her father, who had settled into exile in Coburg. As mentioned in the biography of her sister-in-law Queen Giovanna, Princess Eudoxia was considered to be the most similar in character to Ferdinand of all his children. This ability to outlast all misfortunes that came their way was to serve both the king-in-exile and his eldest daughter well.
When Bulgaria found itself in the throes of World War II, Eudoxia was very put off by her brother Boris allowing for their country to become aligned with the Third Reich. In his biography of King Boris, Stephane Groueff recounted Eudoxia's situation: "Princess Evdokia, once the closest confidante of her brother, had gradually drifted apart from him, their relations becoming distant and cool. One reason was personal. Evdokia had never resigned herself to the reduced role she had to play in Boris's life since he had brought Queen Giovanna to the palace. Neither did she learn to get along with her sister-in-law. An emotional and touchy woman, she resented living by herself in her villa instead of at the palace - 'my father's house' - from which she considered herself exiled. She made remarks such as, 'They finally had to invite me to Euxinograd, but I don't know how many days they'll deign to keep me there.' Or when asked about the royal children, she would reply that as far a she knew Simeon and Maria-Luisa were all alright, but she was 'allowed' to see them only occasionally. Increasingly, she showed her hurt feelings, saw herself as the neglected sister, abandoned by old friends, acquaintances, and even the palace personnel. The second reason for her alienation from her brother was political." Eudoxia greatly feared Bulgaria entering into another alliance with Germany, worried that it would let to a repeat of the events of World War I, which had almost cost the Bulgarian Royal Family their country and people. In 1941, the princess told her brother the king: "How long will these Germans stay here! I know how this war will end; I will never live through a second exile." Euxodia was to prove herself wrong in this statement: of the three Bulgarian siblings still in the country during the War, only the princess would make it out of the chaos alive.
King Boris III of Bulgaria meets Adolf Hitler
On 9 August 1943, Hitler summoned King Boris to a meeting at Rastenburg, East Prussia. Boris arrived by plane from Vrazhdebna on 14 August. The Tsar asserted his stance once again not to send Bulgarian Jews to death camps in Poland and Germany. While Bulgaria had declared a "symbolic" war on the distant United Kingdom and United States, the Tsar was not willing to do more than that. At the meeting, Boris once again refused to get involved in the war against the Soviet Union, giving two major reasons for his unwillingness to send troops to Russia.
Shortly after returning to Sofia from a meeting with Hitler, Boris died of apparent heart failure on 28 August 1943. At his deathbed, he was surrounded by Queen Giovanna, Prince Kyril, and Princess Eudoxia. According to the diary of the German attache in Sofia at the time, Colonel von Schoenebeck, the two German doctors who attended the King – Sajitz and Hans Eppinger – both believed that he had died from the same poison that Dr Eppinger had allegedly found two years earlier in the postmortem examination of the Greek Prime Minister, Ioannis Metaxas, a slow poison which takes weeks to do its work and which causes the appearance of blotches on the skin of its victim before death. Princess Eudoxia was firmly convinced about who was to blame for her eldest brother's death: "The Nazis did it."
Prince Kyril of Bulgaria
Boris was succeeded by his six-year-old son Simeon II, under a Regency Council headed by Boris's brother Prince Kyril of Bulgaria. At this stage, Eudoxia surely was aware that the royal family's time was running out. On his website, King Simeon records the next stages of his aunt's life: "Two days after the communist coup of 9 September 1944, she was arrested by officers of the newly formed People’s Militia. She was placed in solitary confinement and subjected to interrogation and torture with the aim of extracting 'proof' of her guilt as a confidant of ther brother, the late King-Unifier of Bulgaria. The Princess was released after several months and placed under house arresst. The tragic news about the assassination of her brother – Prince Regent Kyril of Preslav – reached her while in confinement at the Directorate of the Militia." On the night of 1 February 1945, Kyril, along with former Prime Minister and Regent Professor Bogdan Filov, General Nikola Mikhov, and a range of former cabinet ministers, royal advisors and 67 MPs were executed. Their death sentences had been pronounced earlier that day by a "People's Tribunal."
King Simeon II of Bulgaria is deposed by Communists
King Simeon II is dethroned after a Communist plebiscite in September 1946
On 15 September 1946, a referendum was held in the presence of the Soviet army. It resulted in a 97% approval for republic (a rigged referendum) and abolition of the monarch. King Simeon was deposed as a result. On 16 September 1946, King Simeon II, Queen Mother Giovanna, and Princess Marie Louise were exiled from Bulgaria. Princess Eudoxia joined her sister-in-law and nephew and niece in their journey from the hell that had encompassed their country.
Princess Eudoxia with Queen Mother Giovanna, King Simeon II and Queen Margarita, Princess Maria Luisa, Duke Ferdinand of Württemberg and descendants of the Bulgarian Royal House.
Princess Eudoxia rejoined her father Ferdinand in Coburg. After his death in 1948, she lived with the family of her sister Nadejda, Duchess of Württemberg, until the latter died in 1958. Then Princess Eudoxia found shelter in the Catholic House for elderly people in Friedrichshafen by the Bodensee Lake. The princess paid regular visits to her sister-in-law Queen Giovanna at her residence in Estoril, as well as to her nephew King Simeon II in Madrid and her niece Princess Maria Luisa in Canada and the United States. The princess lived in austere, almost monastic conditions, overwhelmed with nostalgia for Bulgaria. She shared before visitors, that even the air in her homeland was different from the one she breathed afterwards. Her window panel was invariably lined with fragrant Bulgarian wild geranium. A person of profound faith, Eudoxia never parted with her book of prayers, in which she had written her prayers from the time of her detention. She left it to her niece with the inscription: “To Maria Luisa, the only one who speaks to God in Bulgarian!”
At the age of eighty-seven, Princess Eudoxia of Bulgaria died on 4 October 1985 and was laid to rest in the family vault of the Dukes of Württemberg at Schloß Altshausen. In the epilogue of Crown of Thorns: The Reign of King Boris III of Bulgaria, Stephene Groueff wrote, "She spent her old age around her Württemberg relatives on the shores of the lake of Constance, where she died in October 1985, a deeply hurt, ailing old lady burdened with nostalgia."
Prime Minister Ivan Ivanov Bagryanov (1891-1945)
In February 1945, Princess Eudoxia lost her youngest brother and the two Bulgarians with whom she had recorded romances. Ivan Bagryanov served a very short tenure as Bulgarian Prime Minister during World War II. Bagryanov was noted for his pro-Western views, his open dialogue with Bulgarian Jewish leaders, and his attempts to thwart anti-Jewish legislation. His term in office lasted only from 1 June 1944 until 2 September 1944. Aged fifty-three, Ivan was executed on 1 February 1945: the same day that bullets struck down Eudoxia's brother Prince Regent Kyril and another of her former loves, Parvan Draganov, who had briefly served as Foreign Minister under Bagryanov.
Princess Eudoxia of Bulgaria
Princess Eudoxia of Bulgaria seated below her niece Duchess Sophie of Württemberg and Sophie's groom Antonio Manuel Rôxo de Ramos-Bandeira at their 1969 nuptials at Altshausen
(left to right) Duchess Sophie of Württemberg, Antonio Manuel Rôxo de Ramos-Bandeira, Duke Ferdinand of Württemberg, Duchess Marguerite of Württemberg, Princess Eudoxia of Bulgaria, Duchess Alexandra (née Austria) and Duke Eugen of Württemberg in 1969 at Schloß Altshausen
The ultimate survivor, Princess Eudoxia outlived all of her siblings. She survived her brother King Boris III (d.1943) by forty-two years. The princess survived her brother Prince Kyril (d.1945) by forty years. Eudoxia survived her sister Nadejda (d.1958) by twenty-seven years. Princess Eudoxia was the last surviving grandchild of Duke Roberto I of Parma to be born during his lifetime.
The Coat of Arms of Princess Eudoxia of Bulgaria
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50 Years After Stonewall, Classical Music Still Fights the Fight By David Patrick Stearns June 5, 2019 Typical story themes in LGBT literature are being pushed to the side in the Stonewall 50 anniversary, and with good reason. Poignant tales of finding a loved one in a homophobic world seem comparatively pale as the two-day 1969 Stonewall uprising is re-experienced and commemorated, maybe incongruously, in the uptown world of classical music. Brick-throwing lesbians, a gay Australian outlaw, and unfiltered rage from once-marginalized corners of society might seem out of place in reputedly genteel symphonic and operatic terrains, but they’re not at all, at least now. The long history of classical music provides an endlessly possible vocabulary for amplifying social issues beyond the basic Wikipedia headings about drag queens repelling a routine police raid in the West Village a half century ago. Political cabaret, refracted Renaissance-era counterpoint and modern dissonance are all resources coming into play in several Stonewall 50 commemorations this year, including The Stonewall Operas, four half-hour works performed May 19 and 20 John Corigliano's AIDS-era Symphony No.1 that's played by the New York Philharmonic May 30 and June 1, and arising from 19th-century history books, Captain Moonlite, the nickname for the gay Australian outlaw who may be a hero for our times thanks to Wally Gunn's excellent new choral opera Moonlite, heard in May in the Bronx, Princeton, and Philadelphia. Gays once had too much fear and shame to fight at all. In Chicago, such raids included publishing the arrested names in the newspaper – causing any number of suicides. Stonewall patrons from Wall Street were reportedly being blackmailed. Mafia extortion was part of the toxic mix. Fighting back, however, was in the air on June 28 and 29, 1969. The women's rights movement had gained plenty of momentum. Israel's victory in the 1967 Six-Day War gave birth to something known as "the fighting Jew" after centuries of persecution. The Vietnam War was being still being protested. Topping it off on the day the riots began was the depressing funeral of Judy Garland, who had made impromptu visits to West Village bars. Yet, fighting back at that particular moment had a singular price that was characterized in a number of different directions in the Stonewall Operas. The four works by New York University Tisch School graduate students, co-produced by American Opera Projects, were first seen at NYU's Schubert Theatre, and then crammed into a stage space about a tenth of that size on the Stonewall Inn's second floor. The dim lights and lack of dinner menu told you this was a place to hide out from the world, and not something that made you feel especially great about being gay. Yet being there was essential to understanding how fighting back was possible only among those who had nothing to lose. You had to be at Stonewall to know what that looked like. And – with the dried alcohol scent – what that smelled like. And felt like. Their world was nasty. The first opera, Nightlife (by composer TJ Rubin and librettist Deepali Gupta) is a fairly predictable coming-out-in-the-face-of-homophobia story. But its deepest moment is an extended aria by one of the secondary characters about heroin addiction – sung as an answer to the question of if he has a mistress in his life. The detail of the words and the conviction of the music has nothing directly to do with Stonewall, but showed the desperate, dead-end level of society in which West Village gays trafficked. Heroin kills any sex drive – one way to circumvent the gay problem. To fight or not to fight? That was the question in The Pomada Inn, with music by Brian Cavanagh-Strong and a libretto by Ben Bonnema, set in modern-day Kiev where, as in 1960s America, gays feared raids that would result in job loss and general ostracization. In contrast, an intelligent, sensitive, upscale lesbian couple from New York that would easily pass for straight becomes morally committed to fighting the good fight. But when handed a brick, will they throw it on behalf of their less-fortunate friends? Maybe not. They aren't wired for physical combat. Who is, really. The missing piece, with them, is desperation. Cut to Outside, with music by Bryan Blaskie and libretto by Seth Christenfeld. It's 1969, Stonewall uprising–eve. But at a gay bar down the block, a drag performer is happy to play to an audience of 10 – despite, thanks to the composer, having some good, barbed cabaret music to sing. His boyfriend is back from the Midwest, still not having come out to his family back home. When the disturbance erupts down the block at the Stonewall Inn, the drag queen – who is down to his last $10 – is out the door ready to break a bottle over somebody's head. The boyfriend stays behind but comes out to his sister by phone – it's still not brick-throwing, but it's a start. There you have the dilemma. Hiding can be effortless, which is maybe why gay rights lagged behind. If African-Americans could change the color of their skin at will, would that movement had happened when it did? If feminists could pass for men in the work place and get equal pay, would they? Gays could do exactly that. But one of many stages to increased visibility within society was the AIDS epidemic, which pushed gays to publicly protest the indifference of the larger world during the 1980s. John Corigliano took a huge risk when he wrote his 1989 Symphony No.1 ("Of Rage and Remembrance"), which confronted audiences with the AIDS epidemic. Whatever the subject matter, any new, 45-minute symphony requiring a huge symphonic contingent is a gamble. (With its many collage effects, the piece requires, among other things, the extra expense of a mandolin section.) Corigliano might seem to have had career insurance with his long-in-the-works opera The Ghosts of Versailles waiting in the wings at the Metropolitan Opera. But its 1990 premiere was by no means assured, since Met commissions don't always translate into Met productions (Virgil Thomson's Lord Byron, for example). And no matter how receptive artistic circles are to openly gay composers, what about the conservative donors who have a certain amount of clout? Corigliano's Symphony No.1 is indeed a case of fighting back from the inside out – and at its recent May 30 New York Philharmonic performance, it felt angrier than it ever did, partly because the challenging score can now be played with more authority. Much to the piece's credit, the poly-stylistic piece maintains a piercing fierceness, not to mention eloquent clashes, that apparently prompted a small walkout rate that evening. The fact that conductors such as Jaap van Zweden (who led the Philharmonic performance) and Charles Dutoit have conducted the piece without needing a special occasion suggests that it has a staying power that can't necessarily be expected of something so specifically tied to an historic event. But even with the composer on hand to talk the Philharmonic audience through the work's extensive musical symbolism as a prelude of sorts, I forgot much of it during the supercharged performance – which told me what the symphony says is one thing, and what it does is another. (Of course, the two are welded together.) This is a piece that drew on Bernstein, Stravinsky, and Ives to create something wholly original. Nothing like it before; nothing like it since. From the offstage piano playing an Albéniz tango, to the poignant cello duet near to the end, to the aforementioned mandolin section, Corigliano brought together sounds and gestures with astounding virtuosity and mastery. Put simplistically, Corigliano is having his cake and eating it too. Though listeners easily forget that Beethoven's Symphony No.3 was once inspired by Napoleon, audiences will always know that this is a work about the AIDS epidemic. But tragedy is timeless, and so is Corigliano's symphony. He didn't just fight back – he created something with an artistic future that won't stop fighting. "A queer true crime love story" is how Moonlite was dubbed at its May 16 premiere in Philadelphia by the vocal group Variant 6 and Mobius Percussion. And that wasn't an exaggeration. The two-hour choral opera details the events leading to the moment in which Andrew George Scott (1842-80) – already notorious for robbing a bank or two – was caught in a shoot-out that sent him to the gallows. With so many dramatic episodes to choose from in Scott's life, Veronica Jurkiewicz's libretto is weighted toward the dramatic conclusion, when Scott and his lover James Nesbitt, who had been publicly vilified, headed into the bush country looking for work, but ended up starved and exhausted. The final straw was a torrential rainstorm that washed away or ruined what little they had. Except for their firearms. In desperation, Scott and his gang held up the railroad station and hotel, resulting in a shoot-out in which Nesbitt died in Scott's arms. Some of the libretto came from some of Scott's own texts, and the choral writing utilized a modern version of madrigal-like counterpoint as well as austere harmonies dating back late-medieval composers such as Dufay, which were pungent but avoided the primary-color emotions of major and minor keys. Percussion could blend with the vocal effects, but was particularly atmospheric amid the awful rainstorm that drove Scott back into the outlaw zone. The message: Weep for Scott and Nesbitt if you must, but observe what drove them to fight back. Moonlite has been quite well received. There's serious talk of staging it fully. So we haven't heard the last of Scott. Or Corigliano, Stonewall, and any number of others once considered to be outlaws in one way or another. Forthcoming is the New York City Opera's Stonewall, June 21-28 at the Rose Theater – with the high-pedigree creative team of composer Iain Bell and Mark Campbell. It dramatizes the riots head on. Can we expect a good percussion section? After all, these pieces are about fighting back. Source: wqxr.org "Stonewall", New York City Opera, June 21-28, 2019, Jazz at Lincoln Center's Rose Theater
Exhibits, panels, opera, more mark 50th anniversary of Stonewall riots
By Deepti Hajela June 7, 2019
NEW YORK — If it's Pride Month, there's gotta be a parade. And there will be, in New York City and places around the country and world. But this year, the 50th anniversary of the Stonewall uprising that fuelled the fire for a global LGBTQ movement, there's also a lot more. From symposiums to movie screenings, walking tours to art exhibits, and even an opera, a slew of institutions and organizations are filling June with events that commemorate that moment and its impact through the past five decades, and also using it as inspiration for the current generation of activists to keep pushing for civil rights. The uproar at the Stonewall Inn, a gay bar in New York City's West Village, began on June 28, 1969, when bar patrons and area residents, tired of harassment that was still allowed by law, clashed with police officers who had come to raid the nightspot. Demonstrations continued for the next several nights. Those events weren't the first resistance act of the gay rights movement, but it galvanized activism in the United States and around the world. That history is all over the events that a wide range of institutions are hosting in June, from an exhibit at the Brooklyn Museum called "Nobody Promised You Tomorrow: Art 50 Years After Stonewall" to an opera by British composer Iain Bell commissioned by the New York City Opera called "Stonewall", which is getting its world premiere toward the end of the month. There are walking tours, like the one from the New York City LGBT Historic Sites Project that will take participants around Greenwich Village and talk about the anti-gay climate that led to the Stonewall protests, and a panel discussion at a branch of the New York Public Library from transgender speakers talking about Stonewall and current trans life. "In the best possible world we would use these anniversaries, and I think it's happening this time, as a jumping-off point to look deeper", said Eric Marcus, founder of the Stonewall 50 Consortium, an organization that brought together cultural institutions and others primarily in New York City that have created programming connected to Stonewall. It's not just New York City, as Pride festivals and parades are taking place around the country in June and beyond, and references to the Stonewall anniversary are everywhere. In Raleigh, North Carolina, a month of events will include a ball celebrating those who resisted at Stonewall. At the Library of Congress in Washington, a display that went up at the end of May called "Stonewall at 50 – LGBTQ+ Activism in the United States" uses flyers and other historical items to showcase protest history. But for New York City, the anniversary has become the opportunity to take its already high-profile Pride celebrations even higher; Heritage of Pride, the organization that plans the city's parade and other events, has included a commemorative rally in its slate of events for the month, and is hosting WorldPride as well, the first time the international event has been held in the United States in its two-decade existence.
The confluence of all that has Pride organizers and city tourism officials hopeful that the throngs of visitors who come to take part in the various Pride activities over a period of about six weeks could double. Fred Dixon, president and CEO of NYC & Company, the city's marketing organization, said the city's cultural institutions really responded to the anniversary. "We're proud of how many came forward and put together great programming", he said. The spirit of protest that Stonewall represents is also represented in some events this month, including the Queer Liberation March being planned by the Reclaim Pride Coalition. That group decries what it sees as the commercialization and corporatization of mainstream Pride events. The coalition's march is planned for the same day as the main Heritage of Pride march June 30. "There are members of our community who have always struggled, who have always been left behind", said Natalie James, co-founder of Reclaim Pride. "What I think we want to go back to is... the radicalism and solidarity of the early days of the activists in this movement." Source: The Associated Press
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Today, 7 June, Prince Joachim of Denmark celebrated his fiftieth birthday surrounded by family and friends. Accompanied by his wife Princess Marie and his four children, the prince was the guest at a dinner hosted by his mother Queen Margarethe II at Amalienborg Palace this evening. The Crown Princely couple and their four children were also on hand to celebrate Prince Joachim's birthday. Joachim's first wife Alexandra, Countess of Frederiksborg, was amongst the guests.
All photographs (c) Keld Navntoft, Kongehuset
Also present were Joachim's first cousins Prince Nikolaos and Princess Tatiana of Greece and Denmark as well as Princess Alexandra zu Sayn-Wittgenstein-Berleburg and her husband Count Michael Ahlefeldt-Laurvig-Bille, who married in May. Other Danish relatives included in the celebratory affair were Count Valdemar of Rosenborg and his sister Countess Marina, the grandchildren of Prince Erik of Denmark and his Canadian wife Lois Frances Booth.
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