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Speedtest 4. Although the opera Vera of Las Vegas is published separately and may be performed as a freestanding work, the three-act opera is still considered a "work in progress" by the authors.
The second act was to be Vera of Las Vegas , with a co-written treatment by Muldoon and Hagen based on characters introduced in the first act.
Hagen and Muldoon co-wrote a detailed treatment for Grand Concourse. The final act was set to take place on In , it awaits a libretto by Muldoon and musical completion by Hagen.
Since the work was to be the centerpiece of a trilogy, Hagen elected to make a live recording rather than authorize a staged premiere. It was recorded to 24 tracks in March at the Artemus W.
Ham Concert Hall in Las Vegas. Hagen, at the Bard College Electronic Music Studio in April—May , oversaw postproduction mixing, editing and recording of extensive overdubs, performing many of them.
After final mastering in New York in June , the opera gained the distinction of being the final release of Composers Recordings, Inc.
As such, it received no publicity, was not shipped to stores, and was not reviewed. Nevertheless, the first pressing sold out within nine months, partly due to the fact that Carl Fischer , the publisher of the music, included the recording as part of the published vocal score.
Although available as part of the Database of Recorded American Music and as a "print-to-order" item in the New World Records catalogue, physical copies of the actual release are extremely rare.
Hagen conceived of the title role specifically for countertenor Charles Maxwell, who recorded it. American drag artist and playwright Shequida performed the role for its world premiere.
It is in this version that the opera is most frequently revived. It is a place of materialism, greed, mechanical pleasures and phony appearances, an alienating labyrinth in which the Irish travelers become lost and transformed.
To this extent, the book hints at allegiance with Hunter S. Thompson's nightmare novel, Fear and Loathing in Las Vegas , another phantasmagoric journey to the heart of darkness.
Early on, in reply to Dumdum's remark "the heart of America" Taco responds, "Built of sand," Yet, the opera announces its origins in the nightmare of Northern Ireland's Troubles by repeated references to Ulster place names, horrid flashbacks to obscure scenes of murder.
The flashbacks revolve around the brutal killing of Dessie Gillespie, to which Taco confesses towards the close,"  writes Jonathan Allison.
Taco, a forty-five-year-old man, originally from Northern Ireland, illegally living in the Bronx and driving a cab, is in an interrogation center somewhere in Northern Ireland.
Two heavies, Trench and Trilby, take turns slapping him around. As he slips into unconsciousness the sound of his own breathing, the blood rushing in his ears, and an airplane landing announce his dream's beginning: he dreams that he and his friend Dumdum Devine also forty-five and living illegally in the Bronx, where he tends bar have just arrived in Las Vegas.
They are between planes. Doll Common, a forty-five-year-old woman, formerly a blackjack dealer, now an undercover agent for the Immigration and Naturalization Service, is costumed as a stewardess.
She invites them to meet her pal, Vera Loman. She could be "your Girl Friday, or more," she teases. Taco and Dumdum meet Vera at the Forum Shops.
Trench and Trilby shadow them. Doll suggests they go to a casino called the Hippolyta. Dealers sing about their customers.
Vera wins big at the slots. We learn back stories—especially Vera's: Trench and Trilby may have been sent by one of her assignations, a corrupt judge she's suing for aggravated assault.
The four slip off to a stripper bar called the Delphine. Taco and Vera slip off as the strippers sing of their lot.