Montezuma is an opera in three acts by the American composer Roger Sessions, with an English libretto by Giuseppe Antonio Borgese that incorporates bits of the Aztec language, Nahuatl, as well as Spanish, Latin, and French. Though Sessions did not receive Borgese's libretto (in first draft) until 1941, and work on the opera proceeded in an irregular fashion after ("Sessions thought that the end of his labor was in sight in the summer of 1952. He was mistaken, and the work on Montezuma was suspended"), the opera incorporates, essentially unchanged, sketches (from Sessions' notebooks) dating from the late 1930s, and was completed on July 1, 1962. Performance history Montezuma was first performed on 19 April 1964 at the Deutsche Oper in Berlin, in a German translation. The American premiere (and the first performance with the original English libretto) was given on 31 March 1976 by the Opera Company of Boston, conducted by Sarah Caldwell. The cast included Richard Lewis (Montezuma), Alexander Stevenson (Bernal Díaz del Castillo, the Young), Donald Gramm (Bernal Díaz del Castillo, the Old), Brent Ellis (Cortez), Phyllis Bryn-Julson (Malinche), Alan Crofoot (Jerónimo Aguilar/veteran), and Eunice Alberts as Cuaximatl. The New York City premiere was given in February, 1982 by the Juilliard American Opera Center, conducted by Frederik Prausnitz. Bernal was sung by Robert Keefe, Cortez by James Dietsch, Alvarado by Cornelius Sullivan, Montezuma by Robert Grayson, and Malinche by Hei-Kyung Hong. The scenery was designed by Ming Cho Lee, costume design by Nan Cibula, and the lighting was by Beverly Emmons. Roles Reception Former British Prime Minister Edward Heath, after hearing the US premiere in Boston in 1976, said "I found it fascinating. … I liked the subject—one of the few instances of an important event in history where the British played no part. In the tragedy of Montezuma we share no responsibility". The opera contains human sacrifice, burning at the stake, stabbing, stoning, rule by terror, cannibalism, a love story, war, homesickness, intrigue, a ritual dance, and the supernatural. Frank J. Oteri asks whether Montezuma and the operas of Dallapiccola ought to be regarded as being among the "important 12-tone operas", along with Berg's Lulu, Schoenberg's Moses und Aron, and Zimmermann's Die Soldaten. Andrea Olmstead agrees that Montezuma may aptly be compared with Berg's Lulu and Wozzeck, but primarily because of their shared extensive use of ostinato rhythms. Michael Steinberg says that it is "arguably the