At one point in this work, a man refuses to return a borrowed telescope, while earlier, another character poses with a dove for a photo and asks "Can women have wishes?" It includes the much-mocked line "Pigeons on the grass, alas," and its scenery was painted by Maurice Grosser, to which Florine Stettheimer added cellophane for its premiere performance by the Friends and Enemies of Modern Music, an all-black troupe. It ends with the call-and-response couplet, "Last act...which is a fact." For 10 points, name this opera which parallels the Lost Generation of Paris and the sixteenth-century Spa
At one point in this work, a man refuses to return a borrowed telescope, while earlier, another character poses with a dove for a photo and asks "Can women have wishes?" It includes the much-mocked line "Pigeons on the grass, alas," and its scenery was painted by Maurice Grosser, to which Florine Stettheimer added cellophane for its premiere performance by the Friends and Enemies of Modern Music, an all-black troupe. It ends with the call-and-response couplet, "Last act...which is a fact." For 10 points, name this opera which parallels the Lost Generation of Paris and the sixteenth-century Spanish religious orders, written by Gertrude Stein and Virgil Thomson.
At one point in this work, a man refuses to return a borrowed telescope, while earlier, another character poses with a dove for a photo and asks "Can women have wishes?
Four Saints in Three Acts