David Yeagley's Lies About His Holocaust Opera
Can a White Supremacist spawn the FIRST Holocaust Opera?
from the Bad Eagle journal
Can a White Supremacist spawn the FIRST Holocaust Opera? Well, as you have probably guessed already, Yeagley is prevaricating yet again. As you can easily see below — from the rather small assemblage of evidence to the contrary — Yeagley did not create the first Holocaust opera. And, I find it highly unlikely that any white supremacist including Yeagley could ever truly compose something noteworthy of that particular horror. Pray as loud as you wish, I simply do not believe him.
David Yeagley — “How a Comanche Indian Came to Write the First Opera About the Nazi Holocaust... the first grand opera on the Holocaust” (4-24-01)
David Yeagley — “There is a reason no Holocaust opera has ever been written before. What I have done is more modern than modernist... THIS is the Holocaust story... I made this as painful as possible... It is a strange opera, in this sense... constant increased disappointment... It is all quite dreadful” (1-14-05)
David Yeagley — “I want to let everyone know, I have composed the only grand opera on the Holocaust” (3-15-05)
David Yeagley — “Furthermore ...I created the first, and so far the only, grand opera on the Holocaust” (7-9-07)
For those of you "believers" who still insist on bowing in the church of Yeagley, I have a simple equation for you to consider: the probability of tumbling onto Yeagley’s blog is directly proportional to the muttonhead gymnastics being exhibited there, because anything is possible in Holy Yeagleyland if you don't know what you are talking about:
Viktor Ullman's Holocaust Opera
“A rare performance of an opera that was written in the Theresienstadt ghetto in Terezin, Czech Republic during World War II ... composed by Viktor Ullman.”
Hans Krasa’s Holocaust Opera
“...a charming piece by the Czech-Jewish composer Hans Krasa.”
Stefan Heucke’s Holocaust Opera
“Stefan Heucke, 47, the composer of the opera, said he had been interested in the topic since he read the 1977 memoir ''Playing for Time,'' the Holocaust survivor Fania Fénelon's portrait of the orchestra, which was led mainly by the conductor and violinist Alma Rosé, a niece of Gustav Mahler.”
Nicholas Maw’s Holocaust Opera
“Its complicated set, which takes in Auschwitz, including a train of cattle trucks that brought the heroine there, and Brooklyn streets and apartments, has been devised by Rob Howell, who won an Olivier award last year for his work with Nunn at the National on Troilus and Cressida...Nicholas Maw has delivered a great score.”
Cathy Mansfield's Holocaust Opera
“The opera follows a German Jewish family in Berlin... The extensive research Mansfield undertook for the opera brought her to the U.S. Holocaust Memorial Museum in Washington, D.C., ...What began nearly 30 years ago as a production produced at a community center has become the driving force in her life. Mansfield would like to take a year off to complete the work.”
David Amram’s Holocaust Opera
“David Amram has composed more than 100 orchestral and chamber music works... including the classic scores Splendor in The Grass and The Manchurian Candidate, two operas including the ground-breaking Holocaust opera... He has collaborated with Leonard Bernstein (who chose him as The New York Philharmonic's first composer-in-residence in 1966), Langston Hughes, Dizzy Gillespie, Dustin Hoffman, Willie Nelson, Thelonious Monk, Odetta, Elia Kazan, Arthur Miller, Charles Mingus, Lionel Hampton, E. G. Marshall, and Tito Puente, among others.
Joel Hoffman’s Holocaust Opera
Joel Hoffman, professor of composition, was commissioned by Hebrew Union College to write a piece ...his now-complete opera, is the culmination of more than two years of work. With the country entangled in war, Hoffman didn't realize that the opera he wrote would have such a timely message and theme... about the life of Mordechai Gebirtig ...who was killed in a concentration camp during World War II.”
And this list goes on and on ... on and on ... and on.