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Opera Theatre - Michigan State University Flipbook PDF
A Note from the Director Mozart’s 1790 comic opera, Così fan tutte, is currently one of the most performed operas worldw
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MSU Music Opera Theatre PRESENTS:
7:30 pm, Wednesday, November 19, 2014 8:00 pm, Friday, November 21, 2014 8:00 pm, Saturday, November 22, 2014 3:00 pm, Sunday, November 23, 2014 Fairchild Theatre, MSU Auditorium Building The 2014-2015 MSU Opera Theatre season is generously supported by The Worthington Family Foundation. Così fan tutte is generously sponsored by Kurt and Cheryl Burmeister
A Note from the Director Mozart’s 1790 comic opera, Così fan tutte, is currently one of the most performed operas worldwide. But its beginnings were not so auspicious. There were only five performances in its first outing at the Burgtheater in Vienna, with the run being cut short by the death of Emperor Joseph II. Sadly, it was never performed in Vienna again during Mozart’s lifetime. Così is filled with some of Mozart’s loveliest music and most complex ensembles. Indeed, it is a marathon for all six singers, who are all onstage for the majority of the two acts. Mozart did not specify the voice types other than to say that the three women are all sopranos, and that the Guglielmo and Don Alfonso are basses, with Ferrando a tenor. However, current performance practice is to have a mezzosoprano sing Dorabella, and either a soubrette soprano or mezzo sing Despina. Both baritones and basses have sung the lower men’s roles. Interestingly, Guglielmo’s music often lies lower than Alfonso’s, which is surprising given that Guglielmo is the more youthful character. Mozart wrote the role of Fiordiligi, who was the lover of the librettist Lorenzo da Ponte, for soprano Adriana Ferrarese di Bene. A rumor of the day stated that Mozart wrote the great aria “Come scoglio” to make fun of Ferrarese’s habit of tilting her chin up for high notes and down for low notes. It delighted Mozart to see her bobbing like a chicken in all of the extreme leaps of the piece. Mozart obviously enjoyed her technical singing, but was less enamored of her acting. She had sung performances of Susanna in Le nozze di Figaro, and Mozart wrote new pieces for her two arias that showcased her virtuosity and minimized her apparent lack of charm. Così is a bit of a puzzlement when it comes to interpretation. Mozart and da Ponte never answer the question of which lady is the right love for which gentleman. Even though the title states “all women are like that,” the men are as unfaithful as their fiancées. Our production takes its clues from the music. Fiordiligi and Ferrando’s arias and duet are all directly out of the opera seria (serious opera) tradition of the 18th century.
Their emotions are deep and heartfelt, and they struggle more with fidelity than their counterparts. On the other hand, Dorabella and Guglielmo’s arias and duets are sometimes in triple meter, usually indicative of more earthy, peasant music. So, it seems to me that the girls are with the wrong men from the beginning, and once they find someone whose music matches theirs, happiness ensues. Some audience members may wonder why the orchestra pit is in a higher position than in previous productions. This is much more the arrangement that one would see in 18th century opera houses, and we are trying to get that same acoustic feeling in our production. This summer, I had the pleasure of touring the opera house in Prague where Don Giovanni was premiered, and I marveled at what it must have been like to see Mozart himself conduct. We welcome with delight Maestro Marcello Cormio to our MSU Opera Theatre family. He brings great musicality, charm and Italian brio to the podium. For our students, working with a native speaker in this piece has been a brilliant course in all things Italian. He has instilled a love of the language in them, and they have worked extremely hard on diction and inflection, as well as a deep understanding of the text and the subtext. We’d also like to welcome our new faculty member, Dr. Elden Little, who is serving as our first full-time vocal coach. He comes to MSU after many years working in professional opera houses and as a fine recital accompanist. Enjoy!
Mark your calendars for
MSU Opera Theatre’s Spring Production of
Georg Frideric Handel’s
Xerxes
March 25-29, 2015
Cast of Characters (In order of appearance) Ferrando, a soldier Guglielmo, a soldier Don Alfonso, a nobleman Fiordiligi, a young noblewoman
Isaac Frishman* Jon Oakley** Nicholas Kreider* Andrew Breuninger** Daniel Ewart* Aaron Petrovich** Heather Benson* Schyler Sheltrown**
Dorabella, her sister
Jenna Washburn* Anne Todey**
Despina, their maid
Leah Brzyski* Alina Tamborini**
Ensemble: Kalli Allen Anna Doering Caite Lenahan Sydney Rostar Quinn Rulison Conductor Marcello Cormio***
David Anderson Cody Davis Quentin Fettig David Moul Kyle White Stage Director Melanie Helton
*Friday, November 21 & Sunday, November 23; **Wednesday, November 19 & Saturday, November 22 ***Guest Artist
Staff for MSU Opera Theatre Music Director Producer Scenic Design Associate Scenic Design Set Construction Lighting Design Projection Design Costume Design Production Stage Manager Technical Director Musical Preparation Assistant to the Music Director Italian Diction Coach Poster Illustrator Costume Mistress Chorus Master Assistant Stage Manager Head Electrician/Light Board Operator Head Carpenter Flyman/Carpenter Fairchild Theatre Stage Manager Recording Services Publicity, MSU College of Music Budget Officer Rehearsal Accompanists
Marcello Cormio Melanie Helton Tina M. Newhauser Mark R. Willoughby Mark R. Willoughby Brent Wrobel* Peter Johnston A.T. Jones, Inc. Mary Garner Mark Willoughby Marcello Cormio*, Elden Little Weimar Arancibia Marcello Cormio* Barbara Hranilovich Cathy McKenzie Holly Lewis Sarah Reed Michael Wright Dave Barnum Dustin Peiffer Ron Fenger Jennifer Shangraw, Jon Whiting, Steve Boughton Michael Sundermann, Kathleen Adams Debra Galehouse Neill Campbell, Chia-Ying Huang, Kisun Lee, Yiying Wu *Guest artist
Grateful Acknowledgments James Forger, Dean, College of Music MSU Vocal Arts Area Faculty: Richard Fracker (chair), Melanie Helton, Harlan Jennings, Peter Lightfoot, Elden Little, Anne Nispel, David Rayl, Jonathan Reed, Sandra Snow Kevin Noe, Director of Orchestral Activities, College of Music Deborah Moriarty, Chair, Piano Area MSU Department of Theatre, Kirk Domer (Chair) Wharton Center, Sandy Thomley, Production Manager Rebecca Surian, Director of Development, College of Music Christine Babiak-Smith, Lori Garza, Shawn Mahorney, Michael Morgan, Amy Rivard, College of Music Dean Trailways Bell’s Pizza
The Story Location: A Seaside Villa near Lago di Garda, Italy Act I Two young soldiers, Ferrando and Guglielmo, are dining with an older friend, Don Alfonso. Alfonso has stated that he doesn’t believe that women can be faithful, and the two young men leap to the defense of their girlfriends. Alfonso proposes a bet. He will set up a scenario in which the girls’ fidelity will be tested. The young men agree heartily, each singing praises to their respective future spouses. Meanwhile, their girlfriends, sisters Fiordiligi (engaged to Guglielmo) and Dorabella (engaged to Ferrando), are mooning romantically over the portraits of their suitors. Don Alfonso suddenly appears, seemingly heartbroken. He tells them that their young men have been recalled to the army and will be sent off to battle. The girls nearly swoon as their lovers appear, also seemingly heartbroken, although already in on the secret plot. The pair of lovers bid each other a sad farewell, and Alfonso and the ladies watch as the ship supposedly bearing their lovers off to war departs. In the villa of Fiordiligi and Dorabella, their maid Despina is complaining about her daily chores. Why does she have to work hard to make the chocolate and not get to taste it? The two girls enter, moaning and seemingly in pain. When Despina questions them as to what has happened, Dorabella throws a tantrum of epic proportions. Despina discovers the reason, and laughs, asking the girls if they expect the soldiers to be faithful to them. She tells them that men are all alike, and that women would do well to be as unfaithful as the men. The girls leave in a huff, and Alfonso enters, proposing a plan to Despina. He tells her that there are two exotic, rich men from afar who want to meet the girls, and that there will be some money for Despina if she can facilitate this. At this, Ferrando and Guglielmo, disguised as “Albanians,” enter the room and begin to seduce Despina. She finds them amusing and is going along with the plan, not recognizing the two Albanians as the suitors of her mistresses. Fiordiligi and Dorabella enter, finding two strange men in their house, and are appropriately shocked. Fiordiligi says that their fidelity is like a rock (“Come scoglio”) and that the men must leave immediately. Guglielmo replies, wondering how the girls cannot be astonished and
attracted to their mustaches. The girls leave and the men break out in laughter. Guglielmo declares the bet is won, but Alfonso has more in store. Ferrando is entranced by the fidelity of his Dorabella and sings a song to the virtues of love. The girls are mourning their departed fiancés when the Albanians burst in, each carrying a bottle of supposed arsenic. They collapse in fits and shudders, seemingly almost dead. The girls are panicked and call for Despina (who is in on the plan). She tells Alfonso that they must go and get a doctor. The girls are left with the comatose bodies of the Albanians, confused and yet somehow excited. Alfonso returns with Despina, now disguised as a doctor. The “doctor” cures the Albanians with a magnet, and they come slowly to life. Seeing the girls, they wonder if they are in heaven. Recovering quickly, they demand a kiss. Despina and Alfonso encourage the kiss, saying it will aid in the healing process. The girls again are confused and shocked, and the Albanians completely enjoy themselves as the curtain falls on Act I. Act II In the morning after the Albanians’ arrival, the girls are exhausted and confused. Despina suggests that the strangers are the perfect opportunity for the girls to have a diversion during their lovers’ absence. Despina declares that any girl over the age of 15 needs to be an expert at managing men, and that it is obvious that the sisters could use some practice. When Despina leaves, the sisters gingerly discuss the possibility. Finally deciding that it would do no harm, Dorabella asks Fiordiligi which one she wants. Dorabella chooses the brunette (Guglielmo in disguise, and NOT her fiancé but Fiordiligi’s). Fiordiligi is thrilled, because she wanted the blond one (Ferrando). The Albanians serenade the girls and are surprised and happy to see that the sisters have dressed in their version of “Albanian” clothing. They converse awkwardly and Ferrando and Fiordiligi take a stroll, leaving Guglielmo and Dorabella alone. He seduces her by giving her a heart on a chain, and then by taking away the portrait of Ferrando that she wears around her neck. Dorabella gives in eagerly and they disappear into the garden. Fiordiligi appears, distressed, followed by Ferrando, who has been reading poetry to her. Something in the poetry has reminded her of her vow to Guglielmo, and she begs Ferrando to leave. As he leaves, Fiordiligi begs for help with her
fidelity, as she is strongly attracted to Ferrando, finding in him a kindred spirit. She exits, and Ferrando boasts to Guglielmo that Fiordiligi is a paragon of virtue. Ferrando assumes that Dorabella has been equally constant, but Guglielmo not so subtly lets him know that Dorabella has indeed caved in and has been seduced. Guglielmo tries to console his friend, but Ferrando will have nothing of it. Guglielmo then turns on women in general, saying that women are beautiful, sweet and loving, but that they are also tricky, deceitful and impossible to understand. Ferrando lashes out at his image of Dorabella, calling her a traitor. In the meantime, back in the villa, Dorabella enters having been out all night with Guglielmo. Despina is delighted but Fiordiligi is shocked. Dorabella laughs at her sister, telling her that she now knows all about love and Cupid’s deceiving ways. Fiordiligi, left alone, decides to put on a uniform and join Guglielmo at the battlefield. Ferrando enters, telling Fiordiligi he would rather die rather than not love her. She tries to resist but it is hopeless. She loves him and responds to his embraces. Guglielmo eavesdrops and is furious, but Alfonso reiterates his initial premise: “all women are alike.” A wedding is prepared for the two couples (each sister with the other’s fiancé, unknowingly). After a toast (in which Guglielmo expresses his anger in an aside), Alfonso produces a notary, who is Despina once again in disguise. Just as the nuptial contract is signed, military music is heard in the background, announcing the return of the soldiers. The girls panic and send their now husbands into the villa to hide. Alfonso tells the girls he sees the soldiers (Ferrando and Guglielmo, now back in their uniforms and without mustaches) coming up the hill. Guglielmo discovers first Despina as the notary, to the girls’ amazement and dismay, then the nuptial contract, signed and sealed. The girls attempt to apologize, but are soon confused by the quandary of which man they really want. The couples switch, again and again. Who will end up with whom? We shall see…
MSU Symphony Orchestra Kevin Noe, Director of Orchestras Violin Jalen Adams Samvel Arakelyan Andrew Hatfield Tsung-Yu Lee Ji Eun Lee *I-Pei Lin Diana Moisejenkaite Andrea Rohr Megan Wixom **Tatiana Zueva Viola Stefanie Bilidas Howard Jones *Yury Ozhegov Matthew Pickart Isaac Sarver Cello Go Eun Choi *Seunghyun Kang Elliot Mliakoff Eun Kyung Noh Bass *Matt Gibson Duncan Petersen-Jones Zachary Suttner Max Verhagen
**Concertmaster *Principal
Flute Nicholas Buonanni Kathryne Salo Oboe Amelia Van Howe Alana Rosen Clarinet Sarah Korneisel Evelyn Moria Tunison Bassoon Adam Farmer Kaylee Whitfield Horn Joseph L’Esperance Holly Thornton Trumpet Carlot Dorve Emily Northrop Timpani Daniel Gerhardt Harpsichord Chia-Ying Huang Assistant Conductor Weimar Arancibia
Guest Conductor Conductor Marcello Cormio recently made “a notable conducting debut” at the 2014 Sarasota Opera Festival, with performances of Il barbiere di Siviglia. He was praised for a “lovely, light touch with the music:” “the young Italian drew vital and spirited playing, with the fizzing ensemble exciting yet with a fine balancing of solo voices, chorus and orchestra.” His upcoming engagements include Le nozze di Figaro at the 2015 Sarasota Opera Festival. In the 2013-14 season, he was music director and conductor of the Opera Scenes production at the Manhattan School of Music, and as cover and assistant conductor for a new production of Turandot at the Opéra National de Lorraine in Nancy, France. Cormio has appeared with orchestras around the U.S. and Europe, including the San Antonio Symphony, the Orchestra della Società dei Concerti di Bari, the Bacau Symphony, the Orchestra Sinfonica del Conservatorio di Bari, and the Bay View Festival. He recently had his conducting debut in China, performing at the head of the University of Kentucky Symphony in concert halls in Hangzhou, Tianjin, and at the National Centre for Performing Arts in Beijing. He has led productions of Die Zauberflöte at the Bay View Music Festival, and of Gounod’s Romèo et Juliette with the University of Kentucky Opera Theatre. He has been regularly invited as guest lecturer and conductor for opera workshops at prestigious academic institutions. Mr. Cormio has served on the music staff of the Indiana University Opera Theatre and of the University of Kentucky Opera Theatre as opera coach, chorus master, and assistant conductor. He is currently Director of Opera at West Virginia University. Cormio earned a Master of Music in Instrumental Conducting at Indiana University. He has worked with conductors Leonard Slatkin, Jorge Mester, Herbert Blomstedt, Larry Rachleff, Donato Renzetti, Alexander Mickelthwate, and Carl Topilow. His previous musical studies in Italy had earned him diplomas in Piano, Instrumental Conducting, Composition, as well as a Master’s Degree and a PhD in History and Critical Study of the Musical Heritage.
MSU Opera Society Donors 2014 – 2015 Season MSU Opera Society is the community support organization of the MSU Opera Theatre. We are grateful to our members for their generous contributions. The 2014-15 MSU Opera Theatre season is generously supported by the Worthington Family Foundation Così fan tutte is generously sponsored by Kurt and Cheryl Burmeister
Underwriters ($1,000 - $4,999) Susan and Jack Davis Rolf and Starla Dietrich Earle and Virginia Helton Selma and the late Stanley Hollander Herbert and Mary Jim Josephs Impresarios ($500 - $999) Richard and Lynne Fracker Ronald Schoen and Jeannie Wilcox-Schoen David Snyder Angels ($250 - $499) Jennifer Barrymore James Forger and Deborah Moriarty Frank and Katharine Dennis Melanie Helton Ronald and Carol Horowitz Ron Junttonen and Mary Black Junttonen Bill and Shirley Paxton Richard and Cheryl Rice Ronald and Janet Tamborini Ruth Worthington
Benefactors ($100 - $249) Kenneth Beachler Rodolfo and Mimi Brereton Patrick and Deborah Byrne Roger and Elaine Calantone Peter Cooke and Barbara Fretwell Cooke Lee and Esther Dalrymple Lois Dean Conrad and Judith Donakowski Arlene Friedland Richard Johnson Ruth Koenig Donald and Giovanna Lammers Cleo-Rae Lavey Michael and Celine LePere Miriam Loomis Seth and Michelle Martin Frank and Jeanne McKowen Charles and Susan Millar Gordon Miracle Alan and Harriett Posner Milton and Sue Powell David Rayl and Joel Maurer Evelyn Rivera Richard Scala and Gretchen Bria
MSU Opera Society Donors 2014 – 2015 Season Continued Benefactors ($100 - $249) Continued Charles and Nancy Seebeck Eric and Carol Simmons Eloise Snyder George and Marilyn Stephens Carolyn Stieber Charles and Mary Ellen Toy Meredith Zara Patrons ($50 - $99) Pauline Adams David Auge and Sandra Wright-Auge James Campana Marilyn Deussen
Patrons ($50 - $99) Continued Molly Fillmore Roger and Marilyn Grove Alan and Phyllis Grunewald Bruce Helmer Donald and Elizabeth Kaufman Leo and Margaret Kennedy Joseph and Kathleen Lessard Ross and Barbara Lowes William and Orilla McHarris Chris and Rebecca Surian Carolyn White Audrey Wilson Amy Yeung
Become a member of the MSU Opera Society! Your contribution is tax deductible and will be used to assist with high production costs involving set design and construction, costumes and operations. Please consider how much you enjoy the Opera Theatre productions and send your check or money order made payable to Michigan State University with “MSU Opera Society – AE0605” written on the memo line. Mail your contributions to: Opera Theatre College of Music Advancement Office 333 W Circle Drive, Room 105 Michigan State University East Lansing, MI 48824 For information about the MSU Opera Society or sponsoring Xerxes the spring 2015 opera, please contact the College of Music Advancement Office at (517) 353-9872 or e-mail Rebecca Surian at [email protected].