The Ballad of Baby Doe

The Ballad of Baby Doe is an opera by the American composer Douglas Moore that uses an English-language libretto by John Latouche. It is Moore's most famous opera and one of the few American operas to be in the standard repertory. Especially famous are the title heroine's five arias: "Letter Aria," "Willow Song," "I Knew it Was Wrong", "Gold is a Fine Thing", and "Always Through the Changing." Horace Tabor's "Warm as the Autumn Light" is also frequently heard. Distinguished sopranos who have portrayed Baby Doe include Beverly Sills (Moore's favorite interpreter of the role), Karan Armstrong, Faith Esham, and Elizabeth Futral.

The opera's premiere took place at the Central City Opera in Colorado in 1956. Hanya Holm directed and choreographed the production, and sopranos Dolores Wilson and Leyna Gabriele alternated in the title role. The opera's New York premiere, directed by Vladimir Rosing, was presented at the New York City Opera in 1958 in a revised version which added the gambling scene in Act 2 and an additional aria for Baby Doe. At the time, further revisions were being considered, but these were abandoned upon the sudden death of Latouche.

Based on the lives of actual historical figures Horace Tabor, Elizabeth "Baby" Doe Tabor, and Augusta Tabor, the opera tracks their lives from Horace and Baby Doe's meeting to the death of Horace. "Always Through the Changing" is a postscript ending foretelling Baby's death.

Scene 1

The story begins by commenting on the riches of the Matchless Mine and on how Horace Tabor owns the whole town of Leadville, Colorado. Horace sings "It's a Bang Up Job" to the townspeople, praising his new opera house and sharing his disenchantment with his wife Augusta. During intermission at a performance at the opera house, Augusta chides Horace for not acting in accordance to his station in life. Horace pleads with her not to insult the common people, equating the prostitutes' and bar girls' work to the work her committee did in helping build the opera house. Near the end of intermission, a woman arrives, introduces herself to Horace and asks if he could direct her to her hotel. He obliges her, and returns to the opera with Augusta.

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