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    (2026) SUMMERLAND

    Chapter V from Chronicles of Ghosts

    A chamber work for soprano, mezzo-soprano, and orchestra · 23 minutes
    Music and libretto by Clarice Assad
    Commissioned by the Vermont Symphony Orchestra

    Summerland is based on the lives of Charity Bryant and Sylvia Drake, as documented in Rachel Hope Cleves’s biography Charity and Sylvia: A Same-Sex Marriage in Early America (Oxford University Press, 2014). The work unfolds in Summerland, in the afterlife. Sylvia Drake has searched for Charity Bryant, her companion of forty-four years, across a thousand lifetimes. She finds her at last in Summerland, where Charity has been waiting so long that her memories have faded, and Sylvia must help her remember who they were, and what they built together.

    At a glance

    Characters

    Sylvia Drake — soprano
    Charity Bryant — mezzo-soprano

    Setting

    Summerland, the Spiritualist afterlife where souls rest between lives.

    Commission

    Commissioned by the Vermont Symphony Orchestra.
    More info →

    Full instrumentation
    2 Flutes
    2 Oboes
    English Horn
    2 Clarinets in B♭
    Bass Clarinet in B♭
    2 Bassoons
    4 Horns in F
    3 Trumpets in C
    3 Trombones
    Tuba
    Timpani
    Percussion (3 players)
    Harp
    Soprano
    Mezzo Soprano
    Strings

    Percussion 1: Bass Drum, Suspended Cymbal, Vibraphone, Mouth Harmonica in C
    Percussion 2: Chimes, Tubular Bells, Cymbals, Tam-tam, Suspended Cymbal, Drum Set
    Percussion 3: Marimba, Glockenspiel, Cymbals, Tam-tam, Suspended Cymbal

    Mouth Harmonica in C (ad lib. passage): Trumpets 2 & 3, Trombones 1 & 2, Trombone 3, Tuba, and Percussion 1 double on a C harmonica cluster.
    “Tiny Bells”: Violin I, Violin II, Viola, Cello, and Contrabass double on tiny bells.

    Sources

    Charity and Sylvia were real women who lived together in Weybridge, Vermont, for forty-four years, running a tailoring business at a time when women could not own property, sign contracts, or vote in their own right. Their partnership was, in every practical sense, a marriage, quietly known and accepted within their community, even as the era’s churches and physicians treated desire itself as a danger to health and soul. Assad’s libretto moves between tenderness and dark comedy as Charity slowly recovers her memory: her restless youth, her string of loves before Sylvia, the couple’s courtship and shared business, and the era’s genuinely strange attempts to police desire. Charity died in 1851 at seventy-four; Sylvia lived seventeen more years without her, preserving the letters and poems Charity had tried to burn. The two are buried together in Weybridge under a single headstone, which still stands today.

     
     
     
     
     
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    Their story, in full

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    Performance history

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