Connie Quinn Executive Director
James Allbritten Artistic Director
Piedmont Opera 636 Holly Avenue, Winston-Salem, NC 27101
Tickets: (336)725-7101 www piedmontopera org
This is a sponsored project of the Arts Council of Winston-Salem & Forsyth County and funded through ARPA supported by the Forsyth County Board of Commissioners.
Piedmont Opera's student night allows students to engage and explore our unique productions Tickets are available to students and chaperones at a discounted price, as an opportunity to enjoy our final dress rehearsal. Il trovatore is an opera in two acts, with a running time of approximately 2.5 hours, with a fifteen minute intermission. This is still an actively rehearsal and singers make not sing in full voice, or stage management may need to hold the rehearsal and workshop something on stage, or behind the scenes. Please refrain from applause, and leave the house quietly at the end of the production as the rehearsal may still be continuing. Tickets to student night are $5 for students, and $15 for chaperones. For more information or to reserve tickets please contact Piedmont Opera at 336 725 7101
In partnership with the A J Fletcher Opera program at UNCSA, Piedmont Opera offers in-school opera outreach performances. Schools can reserve this traveling elementary opera outreach across North Carolina. This opera performance is thirty minutes with a fifteen minute Q&A, and recommended for students in pre-k to fifth grade. Outreach performances are all reserved for the 2023-2024 season; to reserve, or be on the waitlist for the 2024-2025 season please email Lindsey Allen, lallen@piedmontopera.org.
For information on student programs, contact Lindsey Allen at lallen@piedmontopera.org or 336.725.7101
Opera in four acts
Music by Giuseppe Verdi. Libretto by Salvadore Cammarano
Based on the play El trovador by Antonio García Gutiérrez.
Il trovatore premiered on January 19th, 1853, at Teatro Apollo, Rome, Italy.
Sung in Italian with English supertitles.
October 20, 22, 24 2023
The Stevens Center of The University of North Carolina School of the Arts
This production is made possible, in part, by the generous support of the McCall Family, in memory of Dr. William McCall.
Ferrando ……………………...…..............…...…..…............ Brian Banion
Ines ……….....................................................................….. Carolyn Orr*
Leonora…..............……….............................…....……...... Yulia Lysenko
Conte di Luna ………….............……….....................…. Michael Redding
Manrico…………………......................................................... Ben Gulley*
Azucena Tichina Vaughn*
Ruiz………............................................................….. Thomas Bradford*
Old Gypsy …..............………..................…............... David Arnold Paris*
Messenger …………...........…………….........................…. Jackson Ray
Conductor: James Allbritten
Stage Director: Steven LaCosse
Fight Choreographer: Alex Bodine
Lighting Designer: Norman Coates
Costume Designer: Ann M. Bruskiewitz
Props Master: Lauren Daisy Reinhartsen
Wig and Make-up Designer: Brittany Rappise
Scenery designed by Michael Schweikardt for the Sarasota Opera. Scenery constructed by Asolo Scenic Studio, Sarasota, FL.
David Arnold Paris
Ariel Barker
Alicia Bivona
Suzanne Brown
Jonathan Burdette
Eby Buscher
Jack Campbell
Jill Carson
Craig Collins
Erin Doby Atwood
Hal Garrison
Jillian Griffey
Olivia Grocott
Paul Harder
Caleb Horner
Tommy Johnston
Wyatt Johnston
Ashley Morgan
Amy Morris
Zakiyyah Niang
David Nichols
Ken Pettigrew
Marcel Pietrus
Alden Pridgen
Jackson Ray
Carmen Robinson
Jack Sargeant
Jesse Sykes
Onyx Velez
Jackson Wood
Wayne Yancey
Executive Director .................................................................….. Connie Quinn
Artistic Director ....................................................................... James Allbritten
Sr. Director of Marketing and Community Engagement... Mariedith Appanaitis
Director of Education and Outreach....……………...................… Lindsey Allen
Director of Business and Patron Services ......................... Andrew Stenhouse
Production Manager ............................................................................ Bill Volz
Production Stage Manager ………………………….……....…… Brenna Skinnon. Assistant Stage Managers ............................................................ Jordyn Fields, Alex Griner
Technical Director ............................................................................. Brian Fuller
Assistant Lighting Designer .......................................... Liz Shekhterman-Baklar
Production Electrician ............................................................. Evie Nootenboom
Wardrobe Assistant ......................................................................... Dae Chapin, Beth Sartore
Wig and Make up Assistant .................................................. Margaret Sackman
Rehearsal Accompanists ........................................................... Nancy Johnston Polina Khatsko, Supertitle Operator........................................................................ Mary Ann Bills
Supertitle Creation ............................................................... Nancy E. Goldsmith
Any video and/or audio recording of this production is strictly prohibited.
Ferrando, captain of the guard in the service of the young Count di Luna, interrupts the drowsy night watch hours with a harrowing tale. Many years ago a Romani woman was burned as a witch for supposedly casting a spell on the count’s infant brother. The woman’s daughter, Azucena, stole the child in order to slay him and avenge her mother’s death. Later, the bones of a child were found smoldering in the embers of a fire. The count has been searching for Azucena ever since.
The beautiful Leonora confides in her companion Inez that she has fallen in love with a mysterious troubadour who appears at her balcony. The Count, in love with Leonora, is devoured with jealousy of this unknown troubadour, who now comes to serenade Leonora. In the darkness of the night, Leonora mistakes the count for this troubadour, Manrico. Manrico appears and a duel ensues. Manrico overcomes the Count, but a mysterious sensation tells him to spare the Count’s life.
The mountain people begin their day’s work. Manrico is recovering from wounds received several months ago in a battle against the forces of Aragon led by Count di Luna. Azucena recalls the horrific events surrounding her mother’s death and reveals that, out of her mind with grief, she threw her own baby into the flames. She reared the Count’s brother as her son, Manrico. Diverting Manrico’s suspicion, Azucena urges Manrico never to allow the count to escape again but to kill without hesitation. A messenger brings orders from the Prince of Biscay that Manrico is to take over the command of the Castle Castellor and news that Leonora, believing Manrico dead, is seeking asylum in a convent and that the count is now on his way to abduct her.
Aljaferia Palace,Madain Project AljaferiaPalace,MadainProjectAt night the count and his men approach the convent to seize Leonora, but Manrico and his forces arrive in time to rescue her and take her away.
The count has laid siege to Castellor where Manrico has taken Leonora. Azucena, anxious to find her son, attempts to get through the besieging forces. After Ferrando recognizes her as the woman who killed di Luna’s young brother, she is captured and sentenced to be burned at the stake.
Inside the fortress of Castellor, Manrico and Leonora are about to be married. Ruiz interrupts, bringing news of Azucena’s capture. Manrico calls for his forces and leads them to rescue her.
The rescue has failed, and Manrico has been captured. Leonora begs the count to spare Manrico’s life, promising in exchange to marry the count. When the count, happily consenting, leaves for a moment, Leonora takes poison.
Manrico listens to his mother’s hysterical ravings and tries to comfort her with thoughts of their life in the mountains. Leonora manages an entrance into the dungeon to tell Manrico he is free. Manrico suspects the cost of his freedom and curses Leonora. Leonora lives only long enough to assure Manrico of her faithful love. The count, cheated of his bride, orders Manrico’s death. As Manrico is killed, Azucena shrieks, “He was your brother! O, Mother, you are avenged!”
PosterofIlTrovatore, btLuigiMorgari AlfredoEdel Colllorno, Sketch of Manrico, La Scala 1883.Il trovatore was one of 28 operas written by Verdi over a period of 51 years, including previous Piedmont Opera productions like Rigoletto, La Traviata, Falstaff, Otello, Aida!
In just three years, Il trovatore was produced 229 times throughout the world!
In those three years, Naples produced Il trovatore in six different theatres, eleven times totalling 190 performances!
A french version, Le trouvère was priemeried in Brussels May 20, 1956. This version included an addition of music for a ballet in the Grand Opera style.
Born in Roncole, October 9, 1813, Verdi was the major Italian musical dramatist of the nineteenth century, the successor to Bellini, Donizetti and Rossini Along with Wagner, he was the most important opera composer of the period and received national and international recognition for his powerful stage works Verdi’s operas were inspired by popular drams by figures such as Dumas, Hugo, Schiller and Shakespeare as the basis for his output, working closely with established librettists such as Piave and Boito
Verdi’s parents, though described as ‘innkeeper’ and ‘spinner’ on Giuseppe’s birth certificate, came from families of small landowners and traders He showed early promise as a church organist at the age of seven before beginning his formal musical training aged twelve. Following studies in Milan, home to the famous La Scala opera house, Verdi made his earliest attempts at writing operas. But it was the premiere of Nabucco at La Scala, with its celebrated chorus of the Hebrew slaves, ‘Va pensiero’, that catapulted him to national fame. This chorus of longing for a homeland later became associated with the Italian nationalist movement.
The 1850s brought three operas whose popularity has never waned: Rigoletto (1851), based on ‘Le Roi S’amuse’ by Victor Hugo; Il trovatore (1853), based on a text by the Spaniard Gutiérrez; and La traviata (1853), based on Dumas’s story of a courtesan’s love affair with a respectable young man Thereafter, Verdi never looked back and the premieres of his later Italian operas were all major cultural events, eagerly anticipated
Although he effectively ‘semi-retired’ after Aida, he was persuaded back to the theatre for two final Shakespeare operas, his last – Falstaff – being premiered when he was 80
While Verdi’s main focus was the lyric theatre, he did occasionally write in other genres, including the ever-popular Requiem (1874) and the Four Sacred Pieces (1887–96) for soloists, chorus and orchestra.
The background is a historical fact. When Martin of Aragon, King of Aragon, Valencia, Sardinia, Corsica, and Sicily died in 1410, he left no legitimate descendant to the throne His children were all dead Instead, for two years, Aragon was without a regent At least five contenders for the throne came forward, one of which was the Count of Luna, the one in the opera His baptism name was Ferdinand.
Giuseppe Verdi wrote his opera based on Antonio García Gutiérrez’ El Trovador. Verdi’s future wife Giuseppa Strepponi loved the Spanish novel and she actually translated it into Italian. Verdi too felt a special attraction to the story.
The librettist, Salvadore Cammarano, though artistically very able, he didn’t always get along with Verdi. Cammarano was a traditionalist, while Verdi wanted to venture outside the conventions. Unfortunately, Cammarano died in 1852 before his work was finished. Verdi chose the young Leone Emanuele Bardare as his successor.
The world premiere took place on January 19, 1853 at Tor di Nona in Rome, Italy The production was an immediate triumph!
Verdi’s best-known works are the operas Nabucco, Aida, Otello, Falstaff, Rigoletto, and La Traviata
Troubadours were poet-musicians who played a significant role particularly during the 11th to the 13th centuries.
The term "troubadour" is believed to have originated from the Occitan word "trobar," which means "to find" or "to compose " Troubadours were primarily active in the Occitan-speaking regions of southern France, which included areas like Provence, Aquitaine, and parts of Catalonia.
Troubadours came from various social backgrounds, including nobility, knights, and commoners Their social status did not necessarily determine their ability to become troubadours; instead, their talent for composing and performing poetry and music was more critical.
The poetry of troubadours often centered around themes of courtly love, chivalry, and the ideals of knighthood. They frequently composed love songs or "cansos" dedicated to the unattainable object of their affection, often a noblewoman
Troubadours accompanied themselves on musical instruments like the lute, vielle (a type of fiddle), and sometimes the harp.
Cavatina and cabaletta are two terms used in Italian opera to describe different sections within in an aria, and they have their own characteristics and functions:
The cavatina is the first, lyrical section of an aria. It typically features a slower tempo and a more introspective, reflective mood. Cavatinas are known for their expressive and emotional qualities, and they provide an opportunity for the singer to showcase their vocal skills in a more controlled and legato (smooth and connected) style.
The cabaletta is the second, contrasting section of an aria that follows the cavatina. It is characterized by a faster tempo and a more lively, dramatic mood. Cabalettas are often more rhythmically intense and may involve coloratura passages and high notes The purpose of the cabaletta is to build excitement, tension, or resolution in the aria
The structure of an aria in Italian opera often follows the pattern of cavatina-cabaletta, with the cavatina serving as the initial emotional setup and the cabaletta providing a thrilling conclusion This structure allows for a dynamic and dramatic presentation of the character's feelings and actions within the context of the opera's storyline It's important to note that not all arias in opera follow this exact structure, and there can be variations depending on the composer, the opera's style, and the character's role.
Examples in Il trovatore:
Leonora's Cavatina and Cabaletta:
Cavatina: "Tacea la notte placida"
Cabaletta: "Di tale amor"
Manrico's Cavatina and Cabaletta:
Cavatina: "Ah! Si, ben mio"
Cabaletta: "Di quella pira"
A Romani woman was burned for being a witch, she was accused of casting a spell on the Counts son. Avenging her mother Azucena steals the counts child, and disappears. In the ashes a child’s bones are discovered.
The Count di Luna dies His remaining son becomes the new Count di Luna.
Present day, the beautiful Leonora confides in her lady that she has fallen in love with a troubadour that sings to her at night.
The Count di Luna’s is obsessed with Leonora and wants her to be only his.
Manrico has fallen in love with a beautiful woman and visits her nightly to sing of her beauty.
Leonora thinks her stalker, the Count is her Troubadour. The men filled with jealousy fight each other - Manrico spares the Count’s life.
Manrico is still recovering from his attack from the Count’s army. Azucena begs Manrico to show no mercy the next time he sees the Count.
Azucena is haunted by the memory of her mother burning, and how instead of killing the Count’s ill son she threw her own baby into the fire - raising Manrico as her false son.
Manrico is called to take command of Castle Castellor
Leonora believes her lover has died, and seeks asylum at the convent
The Count refuses to lose his “bride” to the convent and sends his men to seize her and bring her to him
Manrico and his army rescue Leonora from the Count’s men
S E C R E T L O V E R S T R A G E D YManrico and Leonora seek shelter at Castellor
The Count and his army seige Castellor.
Azucena tries to get to her son and is recognized by Ferrando one of the Counts men. She is taken and sentenced to the same fate as her mother.
Manrico and Leonora are at the alter when news comes that Azucena has been captured Manrico pauses the wedding to save his mother
Manrico is captured by the Count’s men
Leonora pleads with the Count and offers herself in place of Manrico. The Count agrees, and believes he has finally won.
Leonora takes poison.
Leonora finds Manrico and lets him know he is free.
Manrico is devastated and realizes what Leonora has done. He curses her.
Leonora dies promising she only ever loved Manrico.
R
The Count angered that he has been cheated orders Manrico’s death.
Manrico is killed.
Azucena laughs and mocks the Count, “He was your brother! O, Mother, you are avenged!”
C A P T U R E D
W E D D I N G B E L L S
Since the early 19th century, singing voices have usually been classified in six basic types, three male and three female, according to their range.
Soprano: the highest-pitched general type of human voice, normally possessed only by women and boys.
Mezzo-Soprano: the female voice whose range lies between the soprano and the contralto (Italian “mezzo” = middle, medium).
Contralto: the lowest female voice, also called an alto.
Tenor: the highest naturally occurring voice type in adult males.
Baritone: the male voice lying below the tenor and above the bass.
Bass: the lowest sounding male voice.
A prolific Italian librettist and playwright perhaps best known for writing the text of Lucia di Lammermoor (1835) for Gaetano Donizetti July 1852, by way of an announcement in a theatrical journal, Verdi received news of Cammarano's death earlier that month. Cammarano had completed Manrico's third-act aria, "Di quella pira" just eight days before his death.
Leone Emanuele Bardare was a young poet from Naples who was beginning his career who completed Cammarano’s libretto of Il trovatore
Libretto means “little book” in Italian. It refers to the written text of an opera set to music by the composer. Today, we commonly refer to an opera as being ‘by’ the composer of the music, but the text is a vital component and is normally written first. In earlier times it was often regarded as more important than the music, and it was common for audience members to purchase the libretto to read. Early composers were usually contracted to set music to a pre-existing text. Only later did composers (such as Mozart and Verdi) work in close collaboration with their librettists. A few composers – notably Wagner – wrote their own texts.
Manrico: “mahn-REE-ko”
Azucena: “ah-dzoo-CHAY-nah”
Leonora: “lay-oh-NO-rah”
Ferrando: “feh-RAHN-do”
Ines: “ee-NESS”
Ruiz: “roo-EASE”
Aliaferia: “ahl-ya-FAIR-ee-a”
Il Trovatore: “eel troh-vah- TOH-ray”
After three years of planning, Piedmont Opera (previously known as Piedmont Opera Theatre) raised the curtain on its first production, Verdi’s Rigoletto, in September 1978. With support from the National Endowment for the Arts, this production and the four subsequent years were produced in conjunction with other regional opera companies In 1983, Piedmont Opera Theatre was able to produce Puccini’s La boheme on its own
Founded by the late Norman Johnson (1928-1996), Piedmont Opera is now in its 46th year of continuous operation The company strives to remain a nationally recognized and acclaimed regional opera company and a leader in the classical arts community.
Piedmont Opera produces the highest quality opera productions possible by using international, national, regional, and local professional singers and technicians Piedmont Opera currently attracts patrons from 42 states and 11 countries
In addition to two regularly scheduled productions each year, Piedmont Opera also conducts a wide variety of educational and outreach programs. As the second-largest opera company in the state of North Carolina, Piedmont Opera has a current operating budget of one million and operates with an administrative staff of five fulltime positions.
Connie Quinn Executive Director Mariedith Appanaitis Director of Marketing Andrew Stenhouse Director of Business and Patron Services James Allbritten Artistic Director Lindsey Allen Director of Education and Outreach