Typical story themes in LGBT literature are being pushed to the side in the Stonewall 50 anniversary, and with good reason. Poignant tales of finding a loved one in a homophobic world seem comparatively pale as the two-day 1969 Stonewall uprising is re-experienced and commemorated, maybe incongruously, in the uptown world of classical music. Brick-throwing lesbians, a gay Australian outlaw, and unfiltered rage from once-marginalized corners of society might seem out of place in reputedly genteel symphonic and operatic terrains, but they’re not at all, at least now. The long history of classical music provides an endlessly possible vocabulary for amplifying social issues beyond the basic Wikipedia headings about drag queens repelling a routine police raid in the West Village a half century ago.
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Political cabaret, refracted Renaissance-era counterpoint and modern dissonance are all resources coming into play in several Stonewall 50 commemorations this year, including The Stonewall Operas, four half-hour works performed May 19 and 20 John Corigliano’s AIDS-era Symphony No. 1 that’s played by the New York Philharmonic May 30 and June 1, and arising from 19th-century history books, Captain Moonlite, the nickname for the gay Australian outlaw who may be a hero for our times thanks to Wally Gunn’s excellent new choral opera Moonlite, heard in May in the Bronx, Princeton, and Philadelphia.
Gays once had too much fear and shame to fight at all. In Chicago, such raids included publishing the arrested names in the newspaper — causing any number of suicides. Stonewall patrons from Wall Street were reportedly being blackmailed. Mafia extortion was part of the toxic mix.
Fighting back, however, was in the air on June 28 and 29, 1969. The women’s rights movement had gained plenty of momentum. Israel’s victory in the 1967 Six-Day War gave birth to something known as “the fighting Jew” after centuries of persecution. The Vietnam War was being still being protested. Topping it off on the day the riots began was the depressing funeral of Judy Garland, who had made impromptu visits to West Village bars. Yet, fighting back at that particular moment had a singular price that was characterized in a number of different directions in the Stonewall Operas.

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