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OVERT URE FALSTAFF

Scott Concert Hall, Porter Center Thursday, August 1 7:30pm Saturday, August 3 2:00pm

SUSTAINING SPONSOR

The Zimmerli Family Opera Endowment

Janiec Opera Company of the Brevard Music Center Brevard Festival Orchestra Dean Anthony, stage director Jerome Shannon, conductor

Music Libretto

INTERMISSION

Giuseppe Verdi Arrigo Boito Performed in Italian with English supertitles

ACT I

ORCH EST RA

­ INTERMISSION

ACT II

ACT III

Evan F. Adamson, scenic designer

Tláloc López-Watermann, lighting designer Glenn Avery Breed, costume designer Necole E. Bluhm, wig and make-up designer Craig Brinker, sound designer

CAST:

CHORUS:

Micaela Aldridge Katie Bieber Caitlin Bolden

Christine Browning Sarah Coit James Eder Brandon Evans Michael Fragale Mary Evelyn Hangley Peter Johnson Jacob Kato Elizabeth Kinder Joshua Quinn Evelyn Saavedra Skyler Schlenker Kathryn Supina Natasha Thweatt Makoto Winkler Patrick Zurschmeide

OP ERA

Sir John Falstaff • Reginald Smith, Jr.* Ford • J. Daniel Altman Alice Ford • Rebecca Kidnie Nannetta • Abbey Curzon Mistress Page • Allison Deady Dame Quickly • Melissa Zgouridi Fenton • Nicholas DeMeo Dr Caius • Kyle Gee Bardolfo • Michael Hogue Pistola • Brandon Bell

CHAMBER

* Janiec Opera Company Alumnus

2013 Summer Institute & Festival

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FALSTAFF

Scott Concert Hall, Porter Center Thursday, August 1 7:30pm Saturday, August 3 2:00pm

The biography for Reginald Smith, Jr. can be found on page 126 of your OVERTURE season brochure.

The role of Dr. Caius will be sung by Patrick Dean Shelton. You may find a bio for Mr. Shelton on page 126 of your program.

Michael D. Hogue, Tenor This Season at BMC: Falstaff (Bardolfo) Michael received his Bachelors of Music in Vocal Performance and Music Business from Mansfield University of Pennsylvania. Recent roles include Tebaldo in scenes from I Capuleti e i Montecchi, Dr. Cajus in Falstaff, Monostatos in Die ZauberflÜte, Parpingol in La Bohème, Don Basilio in Marriage of Figaro, Bill in A Hand of Bridge, and Dr. Blind in Die Fledermaus. Michael currently studies with Valerie Haber.


Violin 1

Viola

Flute

Bassoon

Trombone

Marjorie Bagley* Chih-Le Chang Chae Jeong Lee

Erika Eckert* Larissa Dos Santos

Amanda Galick Jenna Taylor

Susan Barber*

Dan Satterwhite* Derek Mitchell

Cello

Oboe

Timpani

Violin 2

Felix Wang* Ariel Arthur

Bethany Lawrence

Hazel Dean Davis* Abigail Black

Clarinet

Trumpet

Percussion

Mark Schubert* Ian Kivler

Ben Kipp John Benton

Byron Tauchi* Marianna Cutright Hana Segerstrom

Bass Kevin Casseday*

Celeste Markey

Horn

Conrad Alexander*

Harp Anna Ellsworth

*denotes Artist Faculty

GIUSEPPE VERDI (1813-1901): Falstaff

Act II

What was left to be said for the aging Verdi after a successful run of 27 operas that ended on a high note with Otello, considered one of the greatest operas of all time? Realizing the impossibility of the task, Verdi turned to comedy—only his second attempt in that genre. While Verdi had intermittently toyed with the idea of writing another comic opera, he simply couldn’t find the right libretto. Yet, when his trusted collaborator, the librettist Arrigo Boito, suggested an adaptation of Shakepeare’s The Merry Wives of Windsor, Verdi immediately saw the operatic possibilities and went to work enthusiastically. After the libretto was completed in 1890, it took the composer until the fall of 1892 to finish the score. Not surprisingly, the 1893 La Scala premiere was a huge success, and Falstaff has been part of the standard repertoire ever since. The most notable performer of the premiere was Victor Maurel, who had helped create the role of Iago in Verdi’s Otello.

At the Inn. As Falstaff accepts Bardolfo and Pistola’s apology, Quickly enters, telling Falstaff of Alice and Meg’s ardor and suggesting a rendezvous with Alice that afternoon. A little later the disguised Ford (Fontana) introduces himself to Falstaff and asks him for a favorable introduction to Alice. When Falstaff reveals his date with Alice that afternoon, Fontana can barely contain his jealousy.

Synopsis

Act III

-- Siegwart Reichwald Act I

Inside the Garter Inn. While Falstaff is working on two identical, phony love letters in a ploy to get to their wealthy husband’s money, Dr. Caius storms in accusing Falstaff and his two servants, Bardolph and Pistol, of robbery and drunken confusion. Falstaff ’s calm acceptance and Pistol’s irate reactions cause Caius to give up and leave exacerbated. After Bardolfo and Pistola’s refusal to be part of Falstaff ’s love-letter scheme, he directs a page to deliver the letters— but not without lecturing his servants on honor.

Ford’s Garden. It doesn’t take long for Alice Ford and Meg Page to figure out that they have received the same love letter. Together with Alice’s daughter Nannetta and Dame Quickly, they vow to exact revenge on Falstaff. As the women leave, Caius, Fenton, Bardolfo, and Pistola appear with Ford, warning him of Falstaff ’s plot. All leave except for Fenton who enjoys a rendezvous with Nannetta, stealing kisses before the women return. The women and men each hatch their own plan. While Quickly is to set up a date for Alice and Falstaff, Ford decides to pay Falstaff a visit in disguise.

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In Ford’s House. While Quickly tells the other women about her meeting with Falstaff, Nannetta bemoans her fate to have to marry the elderly Cauius. As Falstaff arrives, Alice starts playing the lute while the other women hide. Falstaff ’s wooing is cut short by the arrival of the jealous Ford and the other men. Falstaff first hides behind a screen before he is forced into a laundry basket. When the whole company hears a kiss behind the screen, instead of Falstaff and Alice, they find Nannetta and Fenton. As the search commences, Alice orders the hamper with Falstaff inside thrown out the window and into the river—for all to witness Falstaff ’s humiliation. Before the Inn. As Falstaff is licking his wounds, Quickly appears, convincing him of Alice’s love for him and setting up a meeting at midnight at the Herne’s Oak dressed as a black huntsman, fitting the dark ambience of this spooky place. While the rest of the crew plans Falstaff ’s second punishment, Ford wants Caius to marry Nannetta that night.

Herne’s Oak. Fenton is given a monk costume by Alice before everybody hides as Falstaff arrives at the stroke of midnight. As soon as Falstaff begins his advances to Alice, Meg comes running, warning of approaching demons, at which point Falstaff falls straight to the ground out of fear. The dressed up collaborators torment Falstaff until Bardolfo’s hood slips, revealing their masquerade. As Falstaff berates his servants, Ford proceeds with a double-wedding. After the exchange of vows, Caius realizes that his fairy queen is not Nannetta but rather Bardolfo, while Nannetta has been wed to her lover Fenton. Realizing that Ford was also duped, Falstaff joins in the celebration and all ends well.


Falstaff opera