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OVERT URE T HE MERRY WID OW

Scott Concert Hall, Porter Center Wednesday, July 3 7:30pm Friday, July 5 2:00pm Saturday, July 6 2:00pm

SUSTAINING SPONSOR

Mr. and Mrs. Charles D. Owen, Jr. OPENING NIGHT RECEPTION SPONSOR

Food Matters Market

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

Music Libretto

Performed in English with English supertitles

ACT I

ORCH EST RA

INTERMISSION

Franz Lehár Viktor Léon and Leo Stein

­ INTERMISSION

ACT II

ACT III

Danielle Schultz, scenic designer Andrea Boccanfuso, lighting designer Glenn Avery Breed, costume designer Necole E. Bluhm, wig and make-up designer Craig Brinker, sound designer CHORUS:

Hanna Glawari • Christine Browning Count Danilo Danilovitsch • Joshua Quinn Baron Mirko Zeta • James Eder Valencienne • Rachel Policar Camille • Nicholas DeMeo Njegus • Brandon Evans Raoul de St Brioche • Patrick Dean Shelton Viscount Cascada • Makoto Winkler Kromov • Skyler Schlenker Bogdanovitch • Michael Fragale Sylviane • Elizabeth Kinder Olga • Natasha Thweatt Pritschitsch • Patrick Zurschmeide Praskowia • Caitlin Bolden

Micaela Aldridge J. Daniel Altman Brandon Bell Katie Bieber Sarah Coit Abbey Curzon Allison Deady Kyle Gee Mary Evelyn Hangley Michael Hogue Peter Johnson Jacob Kato Rebecca Kidnie Evelyn Saavedra Skyler Schlenker Melissa Zgouridi

GRISETTES:

Katie Bieber Elizabeth Kinder Caitlin Bolden Evelyn Saavedra Sarah Coit Natasha Thweatt

2013 Summer Institute & Festival

OP ERA

CAST:

CHAMBER

115


Violin 1

Viola

Flute

Bassoon

Trombone

Marjorie Bagley* Clare Armenante Yunjung Lee

Jennifer Kozoroz* Laura Williamson

Dilshad Posnock* Tim Fernando

Adam Drake Nicole Haywood

Aaron Zalkind Dan Satterwhite*

Cello

Oboe

Horn

Timpani

Benjamin Karp* Maxwell Frank

Paige Morgan*

Robert Rydel* William Keene

Conrad Alexander*

Trumpet

Jacob Powers

Mark Schubert* David Sayers

Harp

Violin 2 Wendy Rawls* Yu-Chia Hsiao Sophia Bernitz

Bass Kevin Casseday*

Clarinet Eric Ginsberg* Manuel Ramos

Percussion

Nicole Wilkins

*denotes Artist Faculty

FRANZ LEHAR (1870-1948): The Merry Widow Since its first performance in Vienna on 30 December 1905, The Merry Widow quickly took on a life of its own with productions in Hamburg, Paris, and England within a couple of years of its premiere – in fact, the slightly altered London version from 1907 saw a staggering 778 performances! The commercial success was so astounding that an unauthorized sequel, The Merry Widow’s Second Marriage hit the stage in Vienna in 1907.

Three Hollywood versions used the operetta as a point of departure: a silent film (1925), a 1934 version with sound, and a 1952 remake in color. In 1956, an Arabic film version was produced, underscoring the unprecedented success of this operetta. The ultimate film adaptation with Placido Domingo and Julie Andrews was in the works in the 1980s; unfortunately, that project never got off the ground. It is difficult to imagine that this smash hit almost never happened. The Theater an der Wien was struggling and needed a successful production of any kind to keep it afloat. They turned to the established composer Richard Heuberger to compose music for an adaptation of the 1861 play The Embassy Attaché. Heuberger’s half-hearted attempt caused the management to withdraw its commission and turn hesitantly to the mostly unknown Lehar. Within hours of receiving the libretto, the young composer presented the tune for “Silly, silly Cavalier” in order to allay fears of his inexperience. The management bought into it, and the rest is history. -- Siegwart Reichwald Synopsis Act I

Pontevedrian Embassy, Paris, 1905. Baron Zeta is holding a ball in honor of the birthday of the Emperor. He is pleased that his wife Valencienne is charming an aristocratic French guest, Camille de Rosillon. Unbeknownst to him, Camille is making advances, which Valencienne seems to enjoy. Zeta’s main concern is to find a Pontevedrian suitor for the young wealthy widow, Hanna Glawari. It is imperative to keep her wealth in the impoverished country. Hanna’s arrival at the party demands all of his attention, which is rewarded with her announcement of a reception at her estate the next day. Zeta’s choice of husband for Hanna is the 116

embassy’s secretary Danilo, who has to be dragged to the ball from Maxim’s and is in a drunken state. Danilo and Hanna have a love/hate relationship going back before Hanna’s marriage to the now deceased wealthy banker. As the ladies’s choice is announced for the next dance, everybody is hoping to be her dance partner. Even Valencienne tries to push her unwelcomed suitor, Camille. Hanna, of course, chooses the one who ignores her, Danilo. Yet, he declines, then she declines—and in the end, a spark has been lit. Act II

Hanna’s Garden. As the perfect host, Hanna entertains her guests with a troupe of singers and dancers, performing a national Pontevedrian dance. Baron Zeta is concerned over the rumor that Camille is Hanna’s choice for her husband. Things get even worse when Danilo seemingly doesn’t show any interest Hanna. In the meantime, Zeta’s wife Valencienne has decided to put an end to Camille’s advances, persuading him to propose to Hanna. Camille only agrees if she will meet him in the summerhouse. Fortunately, Njegus, the clerk of the Pontevedrin embassy sees Valencienne and Camille enter the summerhouse. When Zeta approaches the summerhouse, Njegus rescues Valencienne through the backdoor with Hanna taking her place. Zeta, thinking he saw his wife with Camille, is surprised to see Hanna. Camille, enjoying the entanglements, professes his love for Hanna and proposes to her, much to the dismay of Danilo and Valencienne. Danilo only can keep his disgust hidden for so long, causing him to leave for his favorite bar (Maxim’s) – a telltale sign for Hanna that he still loves her. Act III

Back in the Embassy, Njegus replicates Maxim’s bar in the Grand Ballroom of the Embassy at Hanna’s request for Danilo. Bevies of Can-Can Girls arrive to entertain the guests, and Hanna herself makes a special appearance. Afterwards, Danilo asks to speak with Hanna alone. Finding out in the process that Camille was never really in the running, gripped by patriotic fervor, Danilo forbids Hanna to marry Camille. Hanna then informs the party that she would lose all her money if she remarried. Danilo, realizing that money was no longer part of the equation, professes his love for her and proposes to her on the spot. Hanna accepts and informs Danilo that her late husband’s fortune is to become property of her new husband. Laughingly, he accepts his fate and all ends well.


Merry widow opera