The Marriage of Figaro

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The Marriage of Figaro by Wolfgang Amadeus Mozart Presented by Florida Grand Opera Photography by Daniel Azoulay

The Marriage of Figaro by Wolfgang Amadeus Mozart Presented by Florida Grand Opera Photography by Daniel Azoulay

About the Photographer, Daniel Azoulay Daniel Azoulay has made a career of photographing some of the most beautiful people and places in the world but his favorite subject is change. An artist fascinated by the act of looking at the world through his lens, Azoulay constructs his work as a meticulous web of images that capture change in details often hidden in plain view. Born in Casablanca, Morocco and raised in Israel, Azoulay studied photography in Denmark and became a fashion photographer for major publications and advertising agencies in Copenhagen, Paris, Milan, and London. In 1970, he moved to New York City where he shot for top magazines including Vogue, Glamour, Harpers Bazaar, and Mademoiselle. Taking advantage of his extensive traveling, Azoulay also built an enormous body of personal work comprising of portraits, landscapes, and what he defines as “social photography;� including forbidden Hong Kong and the trails in Burma.

In the early 1980's, he relocated to Miami where he continued to work in the fashion world even as he remained committed to expanding his own portfolio. In 2001, he opened the Daniel Azoulay Gallery with the \purpose of promoting contemporary photography by emerging and established artists both nationally and internationally. Azoulay is an active member of the art community in Miami; lecturing, conducting portfolio reviews at major art schools, and sponsoring photography scholarships at universities. In 2010, Azoulay started a new chapter of the Miami Music Project, an organization that uses music as an instrument of social change. Much of Azoulay's current work is also part of his philanthropic activity; as proceeds from the books pertaining to the JAZZ ROOTS concert series, PAMM - Perez Art Museum Miami, and the Miami City Ballet will be donated toward scholarships and programs that support young talent.

From the General Director and CEO, Susan T. Danis

Dear friends: Welcome to the 78th Season of the Florida Grand Opera! What an accomplishment for our company, our audience and for South Florida. I can hardly believe that this is my fifth season bringing you productions that enlighten this experience; opera for everyone not diminished in simplicity to easy listening but rather art adn emotion that speaks to each of us.

We are pleased to present operas for anyone who cares to see the illunation of a lesser-known masterpiece, experience a 20th century work, or simply understand timeless classics in new ways.

We have committed patrons who truly love FGO, Board members who embrace and are determined to realize our goals, and a staff who never fails to go above and beyond to make it all happen.

Inclusion continues to be one of the cornerstones of our mission. We offer programs for children and adults of all ages that help to bring the magic of opera to their lives. We strie to include those at the fringes of society who might never have the opportunity to experience this amazing art form. Our Made for Miami series continues to connect with the many diverse people of South Florida.

Last but not least, I extend a special thanks to our wonderful Principal Conductor, Ramรถn Tebar, to Jennifer Kronenberg and Carlos Guerra of Dimensions Dance Theatre of Miami for the beautiful ballet in Orfeo ed Euridice you have experienced; and to our outstanding Board Chair, David Treitel.

As our 2017-18 Season comes to a close, I am reminded of how thankful I am to be a part of such a historical significant company.

Together, our hard work, vision, and commitment are shaping a brillinat future for Florida Grand Opera. Enjoy the opera! Susan T. Danis

The Cast & Crew Count Almaviva Jonathan Michie Countess Almaviva Lyubov Petrova Figaro Calvin Griffin Susanna Elena Galvรกn Cherubino Mariya Kaganskaya Bartolo Rafael Porto Marcellina Zaray Rodriguez* Basilio/Don Curzio Dylan Morrongiello* Barbarina Evan Kardon Antonio Simon Dyer

Conductor Andrew Bisantz Director Elise Sandell Production Created By Banff Centre Production Provided By Michigan Opera Theatre Set Designer/ Chorus Costume Designer Susan Benson* Principal and Super Costume Designer Howard Tsvi Kaplan Lighting Designer Helena Kuukka* Wig and Make-up Designer Sue Schaefer

Chorus Master Katherine Kozak Assistant Conductor Michelle Rofrano Production Stage Manager Megan Bennett Projected English Titles Christopher Bergen** Projected Spanish Titles Fernando Mayans** * = FGO debut ** = Titles originally created for the Santa Fe Opera

Act I

A palace bedroom Figaro and his fiancÊe Susanna eagerly survey their future living quarters. Figaro likes the close proximity to their masters, the Count and Countess Almaviva, but Susanna would prefer to be far away. The spinster Marcellina asks Dr. Bartolo for help in preventing the marriage; Figaro had borrowed money from her, promising marriage if he couldn't repay. When Susanna arrives, she and Marcellina exchange insults. Cherubino, the hormonally charged young page of the court, enters; he hides when the Count enters the room. The Count tries to seduce Susanna but must hide when Basilio, the meddling music teacher, is heard outside. Basilio’s disparaging remarks draw out the Count. Upon discovering Cherubino hiding in the room with Susanna, the Count names him captain of his regiment in Seville.

Ah, il mattino alle nozze vicino, quant'è dolce al mio tenero sposo, quant'è dolce al tuo tenero sposo, questo bel cappellino vezzoso che ella stessa si fe',

Se vuol ballare, signor contino, il chitarrino le suonerò, sì, se vuol venire nella mia scuola, la capriola le insegnerò, sì. Saprò, saprò, ma piano, meglio ogni arcano dissimulando scoprir potrò. L'arte schermendo, l'arte adoprando, di qua pungendo, di là scherzando, tutte le macchine rovescerò. Se vuol ballare

La vendetta, oh, la vendetta, è un piacer serbato ai saggi, l'obliar l'onte, gli oltraggi, è bassezza, è ognor viltà. Coll'astuzia...coll'arguzia, col giudizio, col crterio si fatto è serio, ma credete si farà. Se tutto il codice dovessi volgere, se tutto l'indice dovessi leggere, con un equivoco, con un sinonimo, qualche garbuglio si troverà. Se tutto il codice. Tutta Siviglia conosce Bartolo, il birbo Figaro vinto sarà,

Non so piĂš cosa son, cosa faccio, or di foco, ora sono di ghiaccio, ogni donna cangiar di colore, ogni donna mi fa palpitar. Solo ai nomi d'amor, di diletto, mi si turba, mi s'altera il petto e a parlare mi sforza d'amore un desio ch'io non posso spiegar. Non so piĂš cosa son. Parlo d'amor vegliando, parlo d'amor sognando, all'acqu, all'ombre, ai monti, ai fiori, all'erbe, ai fonti, all'eco, all'aria, ai venti, che il suon de' vani accenti portano via con sĂŠ. Parlo d'amor vegliando. E se non ho chi m'oda, parlo d'amor con me.

Da tua cugina, l'uscio ier trovai rinchiuso; picchio, m'apre Barbarina paurosa fuor dell'uso, io, dal muso insospettito, guardo, cerco in ogni sito, ed alzando pian pianino il tappeto al tavolino, vedo il paggio. Ah! Cosa veggio.

Giovani liete, fiori spargete davanti al nobile nostro signor. Il suo gran core vi serba intatto d'un piĂš bel fiore l'amco candor.

Tra guerrieri poffar Bacco! Gran mustacchi, stretto sacco, schioppo in spalla, sciabola al fianco, collo dritto, muso franco, o un gran casco, o un gran turbante, molto onor, poco contante, ed invece del fandango, una marcia per il fango, per montagne, per valloni, colle nevi, e i solleoni, al concerto di tromboni, di bombarde, di cannoni, che le palle in tutti i tuoni all'orecchio fan fischiar. Cherubino alla vittoria, alla gloria militar!

Act II

The Countess' bedroom The Countess longs for a renewal of her husband’s love. Cherubino serenades her to Susanna’s guitar accompaniment. Susanna goes off to find some women’s clothing into which to dress Cherubino as part of a plot Figaro and she have cooked up, when the Count comes knocking, and Cherubino hides in the closet. The Count is disturbed to find his wife’s door locked, and perturbed when she will not unlock her closet. He goes to summon help to force the door, taking the Countess with him and locking the outer door. Susanna returns and frees Cherubino, who escapes through the window, landing in the garden. When the Count and Countess return, it is Susanna who appears from the locked closet. Figaro rushes in to say the wedding ceremony is ready to begin. Antonio, the gardener, staggers in to complain about crushed flowers; Figaro takes the blame. Chaos reigns when Marcellina, Bartolo, and Basilio storm the room to demand Figaro’s payment in full.

Voi, che sapete che cosa è amor, donne vedete, s'io l'ho nel cor. Quello ch'io provo, vi ridirò, è per me nuovo, capir nol so. Sento un affetto pien di desir, ch'ora è diletto, ch'ora è martir. Gelo, e poi sento l'alma avvampar, e in un momento torno a gelar. Ricerco un bene fuori di me, non so chi 'l tiene, non so cos'è. Sospiro e gemo senza voler,

Consorte mio, giudizio, un scandalo, un disordine, schiviam per caritĂ !

Ascoltate! Dal balcone che guarda in giardino mille cose ogni dÏ gittar veggio, e poc'anzi, può darsi di peggio, vidi un uom, signor mio, gittar giÚ.

Son confusa, son stordita disperata, sbalordita! Certo un diavol dell'inferno qui li ha fatti capitar!

Che bel colpo! Che bel caso! Ăˆ cresciuto a tutti il naso; qualche nume a noi propizio, qui li ha fatti capitar!

Sono andati? Fingevo di dormire perchĂŠ volli con te sola restare. Ho tante cose che ti voglio dire, o una sola ma grande come il mare, come il mare profonda ed infinita... Sei il mio amor...e tutta la mia vita.


A palace hall In a brief moment of introspection, the Count wonders what has become of his honor. Susanna agrees to meet the Count in the garden after dark, as instructed by the Countess. Figaro must pay or marry Marcellina, but he says he cannot marry because he doesn’t have his parents’ permission. Moreover, he has no parents to grant it. We discover that Marcellina is his mother… and Bartolo his father. Plans are made for a double wedding! After contemplating her husband’s infidelity, the Countess and Susanna write a seductive letter to the Count to further entrap him. Country girls arrive bringing flowers to the Countess; Figaro enters telling them it’s time for the party and the dance. During the dance, the letter is slipped to the Count. He takes the bait.

Vedrò, mentr'io sospiro, felice un servo mio! E un ben che invan desio, ei posseder dovrà? Vedrò per man d'amore unita a un vile oggetto chi in me destò un affetto che per me poi non ha? Vedrò mentr'io sospiro. Ah no, lasciarti in pace, non vo' questo contento, tu non nascesti, audace, per dare a me tormento, e forse ancor per ridere, di mia infelicità! Già la speranza sola delle vendette mie quest'anima consola, e giubilar mi fa! Ah, che lasciarti in pace.

Dove sono i bei momenti di dolcezza e di piacer, dove andaron i giuramenti di quel labbro menzogner! PerchÊ mai, se in pianti e in pene per me tutto si cangiò, la memoria di quel bene dal mio sen non trapassò? Dove sono i bei momenti. Ah! Se almen la mia costanza nel languire amando ognor mi portasse una speranza di cangiar l'ingrato cor! Ah! Se almen la mia costanza

Act IV

A palace garden Figaro believes that Susanna is indeed having a tryst with the Count. Figaro, Basilio, and Bartolo lie in wait for the Count and Susanna’s rendezvous. Disguised as each other, Susanna and the Countess arrive. Susanna, warned by Marcellina about Figaro, decides to get back at him for his suspicions.

Enter Cherubino. He tries to kiss “Susanna”—but in the dark he kisses the just-arrived Count. The Count attempts to slap Cherubino—only to strike Figaro, who has stepped up for a closer look. The Count charges his “wife” with infidelity and refuses to forgive her. He is humiliated when it is revealed that he has been wooing his own wife, believing her to be Susanna. The Count begs forgiveness, and clemency is granted.

L'ho perduta, me meschina! Ah chi sa dove sarĂ ? Non la trovo. L'ho perduta! Meschinella! E mia cugina? E il padron, cosa dirĂ ?

Aprite un po' quegli occhi, uomini incauti e sciocchi, guardate queste femmine, guardate cosa son! Queste chiamate dee dagli ingannati sensi, a cui tributa incensi la debole ragion. Son streghe che incantano per farci penar, sirene che cantano per farci affogar, civette che allettano per trarci le piume, comete che brillano per toglierci il lume. Son rose spinose, son volpi vezzose; son orse benigne, colombe maligne, maestre d'inganni, amiche d'affanni, che fingono, mentono, amore non senton, non senton pietĂ .

No, no, no, no, no! Il resto nol dico, giĂ ognuno lo sa. Aprite un po' quegli occhi

Vieni, ben mio, tra queste piante ascose. Vieni! vieni! Ti vo' la fronte incoronar di rose!

Che dita tenerelle! Che delicata pelle! Mi pizzica, mi stuzzica, m'empie d'un nuovo ardor!

Mariti scimuniti, venite ad imparar.

Eccomi a vostri piedi, ho pieno il cor di foco. Esaminate il loco, pensate al traditor!

A Look Behind-the-Scenes

The Florida Grand Opera Orchestra Jeff Adkins Madison Allen John Antisz Evgenia Antonyan Nadine Asin Ruby Berland Felicia Besan Anna Brumbaugh William Bryant Jr. Brent Charran Paul Chinen Huifang Chen Monica Cheveresan Anne Chicheportiche Paul Chinen Franz Felkl Molly Flanagan Scott Flavin Naomi Franklin Orlando Forte Carly Gordon Charles Hardt

Roberto Henriquez Kevin Ildefonso Akmal Irmatov Claudio Jaffé Lily Josefsberg Morena Kalziqi Kevin Karabell Kay Kemper Yael Kleinman-Hyken Svetlana Kosakovskaya Rhonda Kremer Nora Lastre Marina Lenau Jessica Lyons Blocher Luciano Magnanini Jaime Mansilla Valentin Mansurov Germán Marcano Gary Mayone Szilard Molnar Federico Montes Joseph Monticello

Jorge Morera Jessica Myers Brian Myhr Michael Nuñez Scott O'Donnell Alfredo Oliva Evija Ozolins Chauncey Patterson Juan Peña Maciej Pietraszko Alexander Ramazanov Marc Reese Salvador Sáez Julian Santacoloma Aziz Sapaev Mark Schubert Rick Urban Karlyn Viña Robert Weiner Abby Young Mario Zelaya

The Florida Grand Opera Chorus Emilia Acon CJ Baik Thomas Ball Lievens Castillo Ana Maria Conte-Silva Donna Lane Creasman-Downey Linda Deighan Alexander Diaz Damian Diaz Enrique Estrada Veronica Fink-Menvielle Everett Ford Fernando Gonzalez Danielle Krause Darren Littman

Miguel Llerena Ravenna Maer Joanne Martinez Heather McLeod Pablo Menvielle Lucia Minervini Khrista Orantes Lisa Gansar Pitman David Ramcharitar Michael Ross Melissa Ruiz Kevin Smith Michael Testa Orlando Valdes Nina Wall

Supernumeraries Tatiana Batanero Humberto Gomez Laurel Levey Dr. Juan Pablo de Rivero Vaccari

This book was created for Florida Grand Opera. Florida Grand Opera is celebrating its 78th year of continuously producing grand opera for the 2018-19 Season. The mainstage operas of the season include: Giacomo Puccini’s La bohème, Wolfgang Amadeus Mozart’s The Marriage of Figaro, Robert Xavier Rodriguez’s Frida, and Jules Massenet’s Werther. Copyright 2019 by Daniel Azoulay who retains sole copyright in his contributions to this book

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