AMERICAN RECORD GUIDE
NOVEMBER/DECEMBER 2008
GEORGE QUINCY: Pocahontas at the Court of King
James I; Choctaw Diaries
Roberta Gumbel (Pocahontas & Lady of the Court), Marshall Coid (King),
Timothy Archambault, Queen’s Chamber Band, Bronx Arts Ensemble
Lyrichord 6009 - 51 minutes
The American Indian princess Pocahontas (c. 1595-1617) has become an iconic figure in American history. Pocahontas (her personal tribal name - not to be used outside of the tribe - was Matoaka) was one of the many daughters of Chief Wahunsenacawh, ruler of 25 tribes in the Powhatan Alliance, and befriended the English colonists of the Jamestown, Chesapeake Bay area in 1607.
There followed the now familiar episode of her rescue of Captain John Smith from execution by her father. Less known are her later adventures, where she was captured by the colonists. She was treated kindly and during this time converted to Christianity and was baptized with the name Rebecca.
She and colonist John Rolfe fell in love and were married by Virginia governor Sir Thomas Dale. In 1615 she bore Rolfe their only child, Thomas.
The following year the family and other Native Americans were invited to England for presentation at the royal court of King James I, where she became the center of attention for English society. She was received with royal honor, and Queen Anne showered her with special favor.
While in England, Pocahontas was reunited with Captain Smith, whom she believed was dead.
Having contracted small pox (or possibly tuberculosis) she wanted to see her native land one last time and set sail for Virginia. But before the ship could even leave the Thames estuary, she died in England in March 1617, age 21. She was buried in the parish church in Gravesend, England.
But just who was this remarkable lady? A remarkably intelligent woman, a shaman of her tribe, deemed an American savage, she educated herself in English manners and learned to speak fluent English and French. This charming lady, known as Lady Rebecca Rolfe, captivated the English court.
But was she just a surprising curiosity from the New World? Was she a tool of the Virginia Company to promote colonization and the importation of Virginia tobacco? A pawn of the colonials? A spy? Or all of the above?
In his fascinating mini-opera, composer George Quincy has composed a hauntingly beautiful, sad piece.
He has given full freedom to his lyricism, which he believes is deeply rooted in his Choctaw (Oklahoma) heritage combined with his analytic talent in his Caucasian western education (Juilliard School of Music).
And he has succeeded marvelously.
In Part 1, King James I and a Lady of the Court await the much anticipated arrival of Lady Rebecca Rolfe. An entertainment by Ben Jonson is scheduled to follow. In Part 2, Lady Rolfe confronts the English king and his court, though she is fatally ill. The King and Lady Rolfe agree that they both want to make the world a better place.
The two sections are interrupted at the midpoint by the insertion of Quincy’s orchestral fantasy, Choctaw Diaries. These four beautiful pieces are dominated by the mysterious, haunting beauty of the native flute, played with superb skill by Timothy Archambault.
The Bronx Arts Ensemble - a few strings, oboe, bassoon, trumpet, and percussion - plays with radiant beauty. The interruption works well as a premonition of the Lady soon to appear and as a reminiscence of her longing for her native land.
For Pocahontas the accompaniment is of great delicacy, with the Queen’s Chamber Band, the five strings, flute, oboe, oboe d’amore, lute, and rain stick, with the harpsichord showering bright sparkling drops while evoking the era of the court.
The performance could hardly be bettered. Gumbel differentiates between her two roles: rather matter of fact, and just a bit “superior” as the Lady of the Court, giving Pocahontas a kind of regal purity and innocence.
The casting of a countertenor as King James seems an odd choice, undercutting the seriousness of the role. But Coil sings with immaculate beauty, artfully blending his voice with Gumbel’s. The accompaniment cannot be faulted.
English libretto included.
- CHARLES H. PARSONS
© 2008 American Record Guide, used with permission
