Mason Opera - Cendrillon

Artistic & Stage Director: Professor John Aler Music Director & Conductor: Professor Joseph Walsh Director/Producer: Professor Patricia Miller

Cast

Cendrillon Pauline Viardot Marie, Cendrillon Lika Bozhich # Nairobi King * Christina Ortiz +

The Count Barigoule Luis Flores # Jaelin Mitchell +* The Baron Pictordu David Maeng # Dylan Nohilly +*

Prince Charming Benjamin Goodrich +* Case Hope #

Maguelonne Pictordu Jamilah Barnes # Julianne Kim +*

Fairy Godmother Juliana Cardine +* Julianne Kim #

Armelinda Pictordu/Pauline Viardot Madeline Manaker # Rosie Wright +*

+ Friday Night # Saturday Afternoon * Sunday Afternoon Cast

Piano Dr. Eunae Ko Han

Percussion Nicholas Wright

Pauline Viardot Biography Pauline Viardot-García, a French born singer and composer of Spanish descent, was a leading figure in late-19th century musical life throughout Europe. She was born into a famous musical family; her father, Manuel García, was an esteemed vocal pedagogue and her older sister, Maria Malibran, was one of the most adored opera singers of her time. Viardot quickly became a sensation after her operatic debut in London and enjoyed an international career of stardom that she maintained for most of her adult life. She made significant contributions to the operatic stage, music composition and in the world of music salons, which she often held in her home. She also had a tremendous influence on the careers of many of France’s most well known composers including Saint-Saëns, Liszt, Gounod, Berlioz, Meyerbeer and Fauré.

In 1840, when she was 18-years-old, Viardot married Louis Viardot, director of the Théâtre Italien and 21 years her senior. The arrangement was encouraged by Viardot’s close friend, George Sand, who advised her to marry in order to support herself. This marriage, while practical, was a great sacrifice for Viardot in her life; by succumbing to the societal expectation that women were intended to marry and start families in order to gain protection and respect in the world, she relinquished the opportunity to have a passionate romantic relationship. This circumstance tormented her, especially with regards to Ivan Turgenev, the Russian author with whom she maintained a love affair for most of her adult life.

With Louis, Viardot had four children. She did not, at any point in her career, allow the traditional responsibilities of wife and mother overshadow her musical pursuits but instead was fiercely dedicated to her art at all costs. Outside of her family, Viardot maintained friendships with many important French composers who owe the success in their careers, in great part, to her influence. These connections offer Viardot a place within the ranks of the most well-respected and successful musicians that lived, performed and composed in the 19th century, and provide a clear understanding of the influence she had throughout Europe during her lifetime.

While her voice was the instrument through which she achieved her great career and was able to provide guidance to the many French composers that admired her, Viardot’s operatic success only spanned a period of twenty-two years due to the strain she put on her voice and her insistence to sing any music she enjoyed, whether it suited her or not. Her later life was devoted to teaching voice and composing music.

As a composer, Viardot was drawn to dramatic texts. She wrote 100 songs in several different languages and styles with the technical abilities of herself and her students in mind. She set poems by Musset, Turgenev, Pushkin, Gautier, Mörike, and Goethe. Most of her music was published while she was still alive, a testament to her popularity and to the quality of her compositions. She often worked with publishers in France, Germany, and Russia, to ensure her music was distributed to a wide variety of people. Some of her most well known songs were transcriptions of 12 Chopin mazurkas, for which she received permission from Chopin to write. In addition, she arranged some of Schubert’s waltzes, one of Brahms’ Hungarian Dances as a duet, and several movements of Haydn’s string quartets for voice and piano. Beyond her song output, Viardot composed four operettas (three with libretti by Ivan Turgenev), an opera, Cendrillon, chamber music, and several small-scale piano works. She also wrote cadenzas for well-known arias both for herself and for her students. Some of these have been published. Viardot’s compositional tendencies employed various styles and influences from different countries. Her ultimate goal was to write music that communicated emotion, stories, and cultures while providing a connection between the artist and the audience. Most of her vocal music was translated into several languages with the intention of sharing this music with as many people as possible, no matter where they lived or what language they spoke.

Pauline Viardot was the glue with which much of the 19th century musical activity in Europe was connected. Her tremendous influence and fierce passion for her art cemented her as a force within all of her musical and social circles. The number of people with whom she collaborated and to whom she provided guidance and artistic inspiration is numerous, spanning several countries and decades. Viardot was unafraid to approach art in her own way, even when that meant sacrificing time with her family, the longevity of her voice, and relationships with friends and colleagues. The breadth of her compositions and her insistence on communicating with others by writing music in several languages and styles, speaks to her worldliness and desire to connect and find common ground with her audience. https://www.amodernreveal.com/pauline-viardotgarcia

Synopsis Act I It was once upon a time, Marie (Cendrillon) is a servant in her step-father's home. The Prince chooses to visit the mansion disguised as a beggar. Captivated by Cendrillon's kindness, care, and beauty, he falls in love with her. Cendrillon visits her step-sisters to ask them to provide the "poor man" with some aid. Spurned by her step-sisters, Cendrillon gives the beggar the last of her savings and asks him to leave before Armelinde and Maguelonne Pictordu enter. Despite the rudeness of the sisters, the Prince disguises himself again, now as his Chamberlain, Barigoule, and invites the stepsisters to a ball which he would host that night. Cendrillon is struck by the "Chamberlain's" (Prince’s) charm and falls deeply in love.

The Baron Pictordu enters and Cendrillon greets him as her father. Repulsed by her familiarity, he rejects her and demands to be addressed as "Monsieur le Baron". Armelinde and Maguelonne call Cendrillon away to help them get ready, leaving the Baron to muse on his old life as a humble grocer. The sisters, dressed in their best evening dresses, return and encourage their father to get ready to leave. Before abandoning Cendrillon, the sisters tease her about not being able to attend. Cendrillon responds with affection for them, wishing them a joyful evening.

After the Pictordu family leave, Cendrillon is heartbroken thinking how much she wanted to see the "Chamberlain" (Prince) again.

Hearing Cendrillon’s great distress, her fairy godmother appears and helps send her to the ball with the caveat that she must be back by midnight or the spell would break.

Act II Back at the palace, the Prince and his Chamberlain, Barigoule, have switched roles again for the evening, keeping the Prince disguised as the “Chamberlain”. The Pictordu family then arrives and is introduced to the "Prince” (Barigoule.) The "Chamberlain (Prince)” notices another woman needing to be formally introduced. The crowd is taken aback by her beauty. The evening commences with a concert to entertain the guests, followed by a waltz. After the dance, the entire crowd leaves for the buffet, Cendrillon and the Prince finally have a moment alone and profess their love for one another. Suddenly, the clock chimes midnight and Cendrillon flees, leaving behind a single slipper.

Act III Baron Pictordu is full of worry. The "Prince" from the evening before reminded him of someone from his humble past. Barigoule, now out of disguise, arrives at the Pictordu home thinking the same thing, revealing that he used to be Pictordu’s customer when he was a greengrocer. After reminiscing, they swear each other to secrecy.

The Prince, also out of disguise, assembles all eligible ladies to try on the slipper left behind the night before, so that he may marry whomever the shoe fits. The slipper fits neither of the Pictordu sisters. Before leaving, Barigoule remembered that there were three ladies from the house of Pictordu. The Prince questions Armalinde and Maguelonne who unwillingly admit that Cendrillon is in the kitchen. Marie is brought into the room, and of course, the slipper is a perfect fit. The Prince immediately asks Cendrillon to marry him and the two live happily ever after.

MASON OPERA DIRECTORS Professor John Aler, Artistic Director, Mason Opera Professor Joseph Walsh, Music Director, Conductor, and Opera Coach Professor Patricia Miller, Director of Vocal Studies, Opera Director & Producer Dr. Eunae Ko Han, Opera Coach & Accompanist

ARTISTIC AND PRODUCTION STAFF GMU Production Team Ariel Kraje, Choreographer Jonathan Dahm Robertson, Set Designer Laurel Dunayer, Costume Designer Sean Cox, Lighting Designer Carrie Cox, Scene Shop Technical Director Alexandria Wade, Props Designer Elizabeth Bozhich, Publicity Designer Dan Hobson, CVPA Production. Manager Eileen Goodrich, Stage Manager Fe Miranda, Assistant Stage Manager

SCENE SHOP PERSONNEL

COSTUME SHOP PERSONNEL

Carrie Cox- Technical Director Ethan Osborne- Scene Shop Supervisor Stephan Starling- Lead Carpenter Yaritza Pacheco- Scenic Painter Vika Hearne- Production Intern Mike Sarisky- Production Intern Susan Lane- Paint Intern Martin Bernier- Props Intern

Laurel Dunayer- Shop Manager/Designer Vicki Burroughs- Costume Shop Assistant Sarah Alspach- Costume Shop Assistant Jaime Ericson- Costume Shop Interns Charlotte Langford- Costume Shop Interns Julia Rudgers- Costume Shop Interns

MASON OPERA ADMINISTRATION AND STAFF Professor Patricia Miller, Director of Vocal Studies, Opera Director & Producer Professor John Aler, Artistic Director, Mason Opera Professor Joseph Walsh, Music Director, Conductor, and Opera Coach Dr. Eunae Han, Opera Coach & Accompanist Julie Thompson, Executive Director, Center for the Arts Elizabeth Bozhich, Mason Vocal Studies and Opera Assistant

HYLTON PRODUCTION STAFF Chris Burrell – Production and Facilities Manager Kevin Smith – Technical Director

Mason Opera Gratefully Acknowledges Rick Davis, Dean, College of Visual & Performing Arts Dr. Linda Monson, Director, Reva and Sid Dewberry Family School of Music Julie Thompson, Executive Director, Center for the Arts Dan Hobson & the Arts Support Staff Matthew May, Supertitles

Mason Voice Faculty Prof. Patricia Miller, Director of Vocal Studies; Director/Producer, Mason Opera Prof. John Aler, Artistic Director, Mason Opera Dr. Elissa Alvarez, Assistant Director of Vocal Studies Prof. Lisa Berger Prof. Debby Wenner Prof. Seong Nam Prof. Kerry Wilkerson Prof. Jim van Slyke Dr. Mira Yang Dr. Darden Purcell

MEET THE ARTISTIC & PRODUCTION TEAM John Aler (Artistic & Stage Director) tenor, joined the School of Music Faculty in the Fall of 2010 as an Adjunct member, then became a full-time faculty member in fall of 2011. He teaches voice and is the Artistic Director of the Opera at George Mason University. A winner of 4 Grammy Awards, Mr. Aler has had a distinguished international career in opera, oratorio, concerts and recitals. He has made over seventy recordings for major labels, garnering public and critical acclaim. He has sung with many of the world's great conductors and artists, and he counts himself fortunate indeed to be here at George Mason with his excellent students and generous colleagues.

Patricia Miller (Director of Vocal Studies, Director/Producer Mason Opera) is a Distinguished University Professor of Music at George Mason University, received her Bachelor of Music from Boston University, her Master of Music from New England Conservatory, and, as a Fulbright scholar, her Artist Diploma from the Accademia di Santa Cecilia in Rome. She completed advanced studies at the Schubert Institute in Baden-bei-Wien and the Mozarteum in Salzburg. Miller is a distinguished international opera and concert artist and an esteemed music educator. Included in her extensive artistic career as a leading mezzo-soprano are performances with San Francisco Opera, New York City Opera, Theatre Châtélèt Paris, Alte Oper Frankfurt, Victoria State Opera (Melbourne), Arena di Verona (Italy), and Deutsche Oper (Berlin), among others. Her concert appearances include the Musikverein (Vienna), Beethovenhalle (Bonn), Avery Fisher Hall-Lincoln Center, Kennedy Center, Library of Congress, Strathmore Music Center, and the Smithsonian. Her master classes and lecture recitals at universities and conservatories around the world include Moscow State University, Tchaikovsky National Music Academy of Ukraine, Hochschule für Musik Franz Lizst in Weimar, Germany, University of Michigan, Ann Arbor, and Ewha Womans University in Seoul, Korea. Miller’s students have garnered top awards in state, regional, national, and international competitions, including First Place at the National Opera Association Collegiate Scenes Competition. She has trained extraordinary young student artists who are now singing with major opera companies domestically and internationally, including Metropolitan Opera, Washington National Opera, Virginia Opera, Netherlands Opera, the “President’s Own” U.S. Marine Band and U.S. Army Chorus, and a Tony Award-winning Broadway revival. Miller has provided Mason students opportunities to study and perform abroad in Italy, Germany, France, Russia, and Korea. Professor Miller is a 2018 recipient of the John Toups Presidential Medal for Excellence in Teaching at George Mason University.

Joe Walsh has presented and served as music director for opera and musical theater productions in Virginia, across the country and internationally. He served on the musical staff at Virginia Opera for 17 years where, most, recently, he held the positions of Associate Artistic Director and Associate Conductor. Joe was music director for Riverside Dinner Theater’s acclaimed production of The Pirates of Penzance during the summer of 2019. He has been a regular Music Director with the In Series and Alexandria’s Metro Stage. He is on the faculty at Levine Music and has served as artistic advisor for the National Society of Arts and Letters Vocal Programs, Washington D.C. chapter. Joe has judged the Middle Atlantic Region of the MET National Council auditions, as well as The Partner for the Arts, National Society of Arts and Letters and many other voice competitions. Joe is a member of the faculties of both the School of Music and the School of Theater at George Mason University. At Mason, he has served as music director for productions of Gaining Ground, Spring Awakening, Rags, Merry We Roll Along, Big River, Dido and Aeneas and Hansel and Gretel. Currently, he is finishing up a run of performances of Cabaret at Georgetown University this weekend.

Dr. Eunae Han (Opera Production Accompanist) received her DMA in Collaborative Piano at the University of Maryland in College Park (UMCP). She has extensive experience as an accompanist and a chamber musician, performing in numerous concerts and recitals throughout United States, Korea, China and Japan. She held positions as opera coach at Seoul National University and UMCP, and has wide repertoire of vocal works including operas, oratorios, choral and song literatures. She received the McCoy Award for Collaborative Pianist, First Place in Ulrich Competition at UMCP and received rave review from the Washington Post for her performance of Mozart’s opera, The Impresario, at the Clarice Smith Performing Arts Center. She made several recordings including a chamber music CD and a classical CD with renowned artists. She currently is the music director for New Life Foundation (NLF), a non-profit organization that supports young, underprivileged musicians; music director for Christian Art Mission (CAM); and an Adjunct Professor of Music at George Mason University. She actively performs throughout the Greater Washington Metropolitan area as well as in New York/New Jersey. Recently, she performed with chamber groups at various conservatories at Turkey, Kazakhstan and Kyrgyztan.

Sean Cox is the Assistant Director of Event Services at George Mason University and is thrilled to join the creative team for the Mason Opera for this production. A graduate of George Mason University with a MA in Arts Management and Auburn University with a BFA in Theatrical Production & Stage Management, he served as Production & Company Manager for Olney Theatre Center from 2008 to 2010. He also has worked on the creative team for several productions and attractions at Busch Gardens Williamsburg, including scenic designs for Entwined, Gloria, and Open Casket. Previous designs have been featured at NextStop Theatre Company in Herndon, VA, including lighting design for Snow White, The Giver, and 45 Plays for 45 Presidents as well as projections design for Urinetown, 45 Plays for 45 Presidents, and Godspell.

Laurel Dunayer (Costume Designer/Costume Shop Supervisor) has been at GMU since 2006. After graduating from the University of Illinois at Urbana-Champaign with an MFA in Theater-Costume Design in 1998, Mrs. Dunayer moved to New York City and worked at Carelli Costumes, a Broadway costume shop. Favorite Broadway shows that the shop built costumes for where "Kiss Me Kate", The Rocky Horror Show", and "Thoroughly Modern Millie". Other previous work experience includes Draper at Colorado Shakespeare Festival for seven summer seasons and American Players Theater in Wisconsin.

Eileen Goodrich (Stage Manager) is a Stage Manager from Bedford, Massachusetts. She graduated in 2016 from Bard College with a B.A. in Theater and Performance. Her most recent work includes stage management credits in Washington National Opera’s Daughter of the Regiment, Bard College’s Don Juan, Iphigenia Among the Taurians, and Bard Summerscape’s opera The Wreckers.

Jonathan Dahm Robertson is a scenic and projections designer for theater, opera, and events. Broadway Bound(1st Stage). Selected Opera credits: Fidelio, Peter Grimes (Princeton Festival); Candide, Un Ballo En Maschera, Cosi Fan Tutte (Opera in the Heights, Houston) The Consul (A.J. Fletcher Opera Institute). Selected Theater credits:The Agitators, Oh God, (Mosaic Theater Co.); The Christians (Theater J); Murder for Two, One Slight Hitch, Jesus Christ Superstar (Totem Pole Playhouse); Coolatully, The Frederick Douglass Project (Solas Nua), The Small Room at the Top of Stairs (Spooky Action Theater Company), and many more.

Upcoming: Nixon in China (Princeton Festival) www.jdahmrobertson.com

MEET THE CAST Jamilah Barnes (Maguelonne Pictordu) is a first year Master's student in Vocal Performance studying with Distinguished Professor Patricia Miller. This is Jamilah’s debut with Mason Opera.

Elizabeth Bozhich (Cendrillon) is a second year Master's student in Vocal Performance studying with Distinguished Professor Patricia Miller. Elizabeth has previously performed with Mason Opera as Susanna in Mozart’s Le Nozze di Figaro, Madame Beurrefondue in Offenbach's Mesdames de la Halle, Ms. Nolan in Menotti’s The Medium, Second Woman in Purcell’s Dido and Aeneas, Florence Pike in Britten’s Albert Herring, and Sandman in Humperdinck's Hansel and Gretel.

Sarah Calvino (Member of the Community) is a Transfer BM Major with a concentration in vocal performance in the studio of Patricia Miller. Sarah performs with the University Chorale and the Washington Master Chorale. This is Sarah's debut with Mason Opera.

Juliana Cardine (Fairy Godmother) is a second year vocal performance major in the studio of Professor Patricia Miller. Juliana performs with George Mason University Singers. This is Juliana’s debut with Mason Opera.

Maya Champion (Member of the Community) is a Sophomore Music Technology, Electro-acoustics Major in the studio of Professor John Aler. Maya has performed with the Green Machine, University Singers, and NSC. This is Maya’s debut with Mason Opera.

Luis Flores (Count Barigoule) is a Vocal Performance major in the studio of Professor Debby Wenner. He has performed with both the University Chorale and Chamber Singers. Luis has performed with multiple groups across Virginia such as the Roanoke Symphony Orchestra and Chorus and the National Philharmonic Chorale and has performed at prestigious venues such as Carnegie Hall. Luis has previously performed with Mason Opera as Marchand d’habits in Offenbach’s Mesdames de la Halle.

Benjamin Goodrich (Prince Charming) is a 1st Year Vocal Performance Masters student in the studio of Dr. Alvarez. Benjamin has performed with Florida State Opera and Opera in the Ozarks. This is Benjamin’s debut with Mason Opera.

Case Hope (Prince Charming) is a senior vocal performance major in the studio of Professor Miller. Case Hope preforms with the George Mason University singers and has recently performed with the National Philharmonic Chorale multiple times. He has previously performed with George Mason Opera in the chorus of Dido and Aeneas, as Toby in The Medium, as Marchande De Legumes in Mesdames De La Halle, as Manuel in Dream Lovers and as Basilio in Act two of Le Nozze di Figaro.

Julianne Kim (Maguelonne/Fairy Godmother) is a junior vocal performance and psychology double major in the studio of Dr. Elissa Alvarez. Julianne has recently performed with the GMU University Chorale and at the Berkshire High Peaks Festival as a young artist. This is Julianne's debut with Mason Opera.

Nairobi King (Cendrillon) is a Junior Vocal Performance major in the studio of Professor Patricia Miller. Nairobi performs with the University Chorale during the year and recently performed with the National Philharmonic Choir singing Beethoven’s Ninth Symphony. Nairobi has performed with Mason Opera in Dido and Aeneas (Second Witch) and in Suor Angelica (Tourriers).

David Maeng (Pictordu) is a Sophomore Vocal Performance student in the studio of John Aler. David performs with University Singers. David has previously performed with Mason Opera as Antonio in Mozart's Le Nozze di Figaro Act II Finale.

Madeline Manaker (Armelinde Pictordu/Pauline Viardot) is a first year Master’s student in the studio of Dr. Elissa Alvarez. Recently, Madeline performed the title role of Rossini’s La Cenerentola with La Musica Lirica and as Leonore in excerpts from Beethoven’s Fidelio with the Berkshire High Peaks Festival. This is Madeline's debut with Mason Opera.

Jaelin Mitchell (Count Barigoule) is a Junior Choral Music Education Major in the studio of Professor Patricia Miller. He is the proud son of Nykole Mitchell-Franklin and the late Pastor Johnathan S. Franklin. He has performed with several companies including The Governor’s School for the Arts, Tidewater Opera Initiative, The Torggler Institute, Radford University and the Virginia Opera Association. He has previously performed with Mason Opera as Raflafla in Offenbach’s Mesdames de la Halle and studied the role of Littore in L'incoronazione di Poppea.

Dylan Nohilly (Baron Pictordu) is a Junior Vocal Performance Major in the Studio of John Aler. Dylan has performed with several local opera companies, such as Annapolis Opera for Verdi's La Traviata, Loudoun Lyric Opera for Menotti's Amahl and the Night Visitors, and Shakespeare Opera Theater for Romeo and Juliet.

Dylan was most recently Le Commissaire from Mason's production of Offenbach's Mesdames de la Halle.

Christina Ortiz (Cendrillon) is a Master’s Student in Vocal Performance in the studio of Patricia Miller. Christina has previously prepared/performed with Mason Opera as the Countess in Le Nozze di Figaro, Lucy in the Telephone, Poppea in Il Coronazione di Poppea, and Madame Beurrefondu in Mesdames de la Halle.

Rosemary Wright (Armelinde de Pictordu/Pauline Viardot) is a fourth-year senior in the studio of Professor Patricia Miller. Rosemary performs with the George Mason Chamber Singers and the George Mason University Chorale, as well as Fairfax United Methodist Church. Rosemary has previously performed with Mason Opera as Cherubino in Le Nozze di Figaro.

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