La Cenerentola Opera

University of Houston Kathrine G. McGovern College of the Arts Moores School of Music presents The Edythe Bates Old Moores Opera Center’s production of

LA CENERENTOLA

Cinderella An opera in two acts

Music by Gioachino Rossini Libretto by Jacopo Ferretti Sung in the original Italian with translations projected over the stage

January 29, at 7:30 p.m.

January 31, at 2:00 p.m.

Moores Opera House

University of Houston Kathrine G. McGovern College of the Arts Moores School of Music presents The Edythe Bates Old Moores Opera Center’s production of

LA CENERENTOLA

An opera in two acts

Music by Gioachino Rossini Libretto by Jacopo Ferretti Sung in the original Italian with translations projected over the stage

January 29, at 7:30 p.m.

January 31, at 2:00 p.m.

Moores Opera House

This production is funded by a grant from the Cullen Trust for the Performing Arts and underwriting by members of the Moores Society Opera Production Council.

Any taping, filming, recording, or broadcasting of this opera is strictly prohibited. Please turn off all cell phones and other electronic devices as a courtesy to other patrons and to the performers.

Cast List

Friday Saturday

Cenerentola (Cinderella) Don Magnifico, her stepfather Clorinda, her stepsister Tisbe, her stepsister Don Ramiro, the Prince Dandini, his valet Alidoro, his tutor

Christine Boddicker Aidan Smerud Alexandra Gorman Audrey Welsh Eric Laine Evan Cooper Aaron Oberlander

Orchestra Flute

Oboe

Clarinet

Bassoon

Horn

Trumpet

Trombone Timpani Percussion First Violin

Second Violin

Viola

Cello

Bass

Harpsichord

Moores Opera Center

Ali Kaufman Halle Goodman Matthew Harms Matthew Glattfelder Mauricio Franco Daniel Millan Daniel Westerfield Alex Easley Adam Harrington Gabi Rodriguez Ryan McArthur George Solis Steven Loung Jose Sandoval Mitchell Veriede Isabella Bengochea Ming-Wei Hsieh Iwona Augustyn Emily Gladstone Jordan Efird Jonathan Andino Holly Knoch Jason Chaviers Daniel Torres Melissa Escobar Miles Bi Victor Mauriz Gracie Martinez Mackenzie Gibbons Andrew Olges Stephen Jones

Sarah Neal Aidan Smerud Eliza Masewicz Sarah Dyer Thomas O’Neill James Siarris Brady Spell

Production Staff Producer and Stage Director

Buck Ross *

Conductor and Music Director

Raymond Harvey *

Set and Lighting Designer

Thom Guthrie +

Costume Designer

Richard Walsh +

Projections and Surtitles

Buck Ross *

Production Manager

Nicole Kenley-Miller #

Technical Director

Jason Burton #

Musical Preparation

Andreea Mut +, Stephen Jones, Catherine Schaefer +, Raymond Harvey *

Assistant Conductor

Alejandro Basulto

Stage Manager

Miriam Green

Assistant Stage Managers

Bailey Bower, Jadon Campos, Antonio Sanz

Props Master

Christine Cummins

Makeup Supervisor

Krista Pape +

Wardrobe

Kristie Shackelford +

IATSE Shop Stewards

Genesis Bustos, Mark Rhodes

IATSE Stagehands

Bryan Broussard, Caitlin Dean, Frank Henderson, John Schrum

Sound

Afshin Farzadfar #

Assistant to Mr. Ross

Christine Cummins

Scene Shop Assistants

Jennifer Barker, Xavier Lopez

* Moores School of Music faculty

#

Moores School of Music staff

 Guest artist

+

Moores Opera Center Faculty and Staff Director, Moores Opera Center

Buck Ross

Music Director, Moores Opera Center

Raymond Harvey

Production Manager

Nicole Kenley-Miller

Assistant Conductors

Myles Nardinger, Alejandro Basulto

Musical Staff Andreea Mut, Catherine Schaefer, Katherine Ciscon, Stephen Jones Principal Scenic Designer and Technical Director

Thom Guthrie

Technical Director

Jason Burton

Principal Costume Designer

Richard Walsh

Voice Faculty Cynthia Clayton, Joseph Evans, Timothy Jones, Melanie Sonnenberg, Hector Vasquez, Zach Averyt, Dominique McCormick

La Cenerentola

Synopsis Act One In the home of Don Magnifico, Cinderella is forced to take orders from her vain and boastful stepsisters, Clorinda and Tisbe. A beggar (Alidoro, the Prince’s tutor in disguise) arrives at the back door asking for some food. The stepsisters turn him away, but Cinderella sneaks him some food. An invitation to a ball arrives. The Prince will be coming soon and he’s looking to choose a wife. The stepsisters fly into a panic and demand that Cinderella prepare them for his arrival. Alidoro takes note of their terrible behavior.

The stepsisters argue about who gets to tell the news first to their father, Don Magnifico. He complains that they woke him up from a dream, which he then recounts. It was a dream with good omens for the future. The stepsisters reveal that the prince is coming. Magnifico panics and they all exit to prepare.

Prince Ramiro has disguised himself as a valet to better ascertain what the sisters are really like. He arrives alone and encounters Cinderella. They are both smitten with each other.

Ramiro informs Don Magnifico that the Prince is about to arrive. The stepsisters have put on their best gowns to meet him. Dandini, the Prince’s real valet, but disguised as the Prince, makes a grandly royal entrance. He unwisely overdoes his role playing, but Magnifico and his daughters are delighted. Clorinda and Tisbe are sent on ahead to the palace.

Cinderella begs her father to let her go to the ball too. He berates her, to the dismay of Ramiro and Dandini.

Alidoro arrives with a census that proves that Don Magnifico has three daughters, not just two. Magnifico claims that the third one died. All are stupefied. Magnifico continues to mistreat Cinderella while the rest look on appalled. Dandini, Ramiro, and Don Magnifico exit to go to the palace.

Alidoro reveals his true self. He assures Cinderella that he will see that she gets to the ball and will provide her with a coach and a gown. He explains that the world is a vast stage after all, and characters can change in a moment. They go off to the ball.

At the palace, Dandini reports to Ramiro about his unsuccessful encounters with the stepsisters. They agree that it’s wiser to keep playing their roles.

The sisters latch onto Dandini. He says that since he can only marry one of them, he will give the other one to his servant. The sisters are aghast and reject Ramiro decisively.

Alidoro announces the arrival of an unknown guest. No one knows who she is since she is wearing a veil. The stepsisters are worried and jealous. The others are intrigued.

The mysterious woman makes her entrance and announces that she disdains empty splendor. The man who will conquer her heart will offer her respect, kindness, and goodness. Ramiro thinks her voice sounds familiar.

Dandini commands her to reveal herself. All are astounded to see that she looks just like Cinderella!

Don Magnifico grovels to Dandini and then sees why everyone has been struck dumb. The woman looks exactly like Cinderella. Dandini breaks the tension by inviting everyone to dinner. All are quite disconcerted with the turn of events.

Intermission

Moores Opera Center

Synopsis Act Two The family discusses this new development. Magnifico is concerned that it will be revealed that he has spent all of Cinderella’s inheritance. Ultimately, they dismiss their worries. Magnifico fantasizes about what life will be like as a member of the court and about the bribes he will receive for his influence.

Elsewhere in the palace, Ramiro is confused by Cinderella’s resemblance to the servant girl he fell in love with earlier. Dandini chases after Cinderella, who refuses him. She loves another, in fact, his servant. Cinderella gives Ramiro one of a matching pair of bracelets and instructs him to seek her out. If he is not displeased by her true identity, she will be his. She departs hurriedly. Ramiro announces that the deception is over. Dandini will have to go back to being a valet and Ramiro will resume his rightful role as the Prince. Alidoro advises him to follow his heart, so Ramiro vows to search everywhere until he finds her. He runs off to find her.

Don Magnifico pressures Dandini to make his choice between Clorinda and Tisbe. Dandini has a secret to tell the greedy father. He reveals that he is not the real Prince, which infuriates Magnifico. Dandini is amused.

Back at Magnifico’s house, Cinderella laments by the fire. The family returns, and inconclusively inspects Cinderella’s face.

A storm, conjured up by Alidoro, overturns the Prince’s carriage outside the house, forcing him to take refuge.

Magnifico sees this as his chance to still salvage things for his daughters. Cinderella and the Prince recognize each other. Cinderella’s bracelet matches the one she gave him at the ball! All are stunned. The stepsisters and Magnifico shun Cinderella and try to send her away. Ramiro denounces them, but Cinderella begs the Prince’s indulgence for her family. The Prince makes clear that Cinderella is his choice and puts the stepsisters in their places. Cinderella tries to make peace with her family, but they firmly reject her. Confusion ensues.

The stepsisters lament their fate but finally pull themselves together. There are more men out there to be had!

Back at the palace, Cinderella is crowned, and she begs the prince to forgive her family. She rejoices in her newfound happiness.

La Cenerentola

Director’s Notes Hollywood may think that it invented the genre of the rom-com, but that would be news to Rossini. There’s no more perfect example of the operatic equivalent of the cinematic romantic comedy than his version of the Cinderella story, La Cenerentola. Indeed, the comic characters tend to steal the show whenever it is produced, often making the leading lady a little jealous that she doesn’t get to join in in the fun. Instead, she, along with her love interest the tenor Prince Ramiro, has to content herself with the audience’s sympathy and admiration rather than their laughter.

The opera premiered this very week 204 years ago in Rome. It was miraculously entirely written in less than a month due to the original plans for a subject having fallen through at the last minute. Consequently, a ready-made story had to be found and the librettist Jacopo Ferretti indeed leaned not only on the well-known fairy tale but also on a previous libretto by another author in creating his version. That rendering didn’t have the level of magic that the standard versions of the Cinderella story have led us to expect, and Ferretti stayed close to this source. Here you will find no pumpkin coaches nor mice, nor even the iconic glass slipper, which has now been replaced by a pair of matching bracelets. Gone is the wicked stepmother who is now replaced by a stepfather, and the fairy godmother has now become a man who is the tutor to the prince. He claims to have some magical gifts, but we mostly have to take those on faith. Ferretti’s source also included the notion of the prince and his valet exchanging places to allow the prince to better evaluate his future bride. While some of the magic tricks may be gone, the enchantment of Rossini’s effervescent, buoyant, and energetic music gives us all the magic we need.

Rossini was notorious for self-borrowings, especially when under a deadline. Remarkably, he kept them to a minimum in this work. The overture was taken intact from an earlier comedy La gazzetta, and the final part of Cinderella’s aria at the end of the opera was lifted from a rarely heard tenor aria in The Barber of Seville. What he did do was to farm out the writing of the connecting recitatives to another composer. In addition, arias for secondary characters were written by composer Luca Agolini. One of those, for the tutor Alidoro, Rossini eventually replaced with a much longer and more difficult piece. In the interests of time, we’ve opted for the original Alidoro aria.

Agolini’s aria for the soprano stepsister, Clorinda, we’ve rewritten as a duet with her sister Tisbe to maintain the balance of the two characters who continually threaten to walk off with the show. The rest of the opera is pure Rossini and many people in the opera business, myself included, think it the very best of Rossini’s comic operas.

None of us can escape the evil clutches of COVID, so it was understandably decreed throughout the land that we needed to perform the opera in masks for everyone’s safety. We had the choice of doing it with masks or not doing it at all. The choice was obvious.

We’ve moved the orchestra out of the pit to avoid them being in an enclosed space and to allow for social distancing. Ironically, this arrangement is exactly what would have been done in Rossini’s time, since the sunken and enclosed orchestra pit that we take for granted was a later Wagnerian invention.

While it’s the second time around for Cenerentola at UH, it is the first time it has been performed in the Moores Opera House. That first cast included as the evil stepsister Clorinda, my evil stepsister, the future founding director of Lone Star Lyric, Kelli Estes. Many others out of that cast went on to strong professional careers as well.

We wish the same good fortune on tonight’s singers.

We will bravely continue with the rest of our season in April. We’ll be producing in repertory Mozart’s comic and charming rarity La finta semplice, never heard in Houston before, and Britten’s deft and daffy send-up of smalltown British life, Albert Herring.

The full title of tonight’s opera is La Cenerentola, ossia, la bontá in trionfo: Cinderella, or Goodness Triumphant. I will leave you a quote from Oscar Wilde to mull over from a few decades after: “The good ended happily, and the bad unhappily. That is what fiction means.”

Buck Ross Director, The Moores Opera Center

Moores Opera Center

Special Thanks Costume Connection of Houston

About the Moores School of Music Moores Opera Center The Edythe Bates Old Moores Opera Center, founded in 1986 at the University of Houston, gives young voices a chance to develop through practical training and performance opportunities. Every year, the program produces four major operatic productions in the Moores Opera House, UH’s distinctive performance hall designed to blend the acoustics of a traditional European opera house with the modern equipment and technology of today.

Moores School of Music The University of Houston’s Moores School of Music (MSM) is one of the leading comprehensive music schools in the nation. Its remarkable faculty — of internationally recognized performers, composers, and scholars — outstanding student body, modern facilities, and broad range of programs make MSM the natural choice for nearly 600 students annually. The school’s commitment to academic excellence and the highest performance standards has ensured its role as a vital resource in the educational and cultural life of Houston and beyond.

Moores Society The Moores Society is the philanthropic volunteer organization for the Moores School of Music. Moores Society members and donors promote community awareness and provide funding for scholarships and special projects.

Moores Society members receive invitations to concerts and special events held throughout the year.

Please visit uh.edu/kgmca/music/moores-society.

For more information, please contact Julie Anderson-Smith, Senior Director of Philanthropy, at jdanderson-smith@uh.edu or 713.743.6878.

Join the Moores Society …and support the rising stars of opera!

like…

or…

alumna Jessica Jones (BM ’09, MM ’11), who won a Grammy for her performance on the cast recording of The (R)evolution of Steve Jobs. alumna Katherine DeYoung (MM ’18), who has signed on with one of the largest classical music management firms and has joined Lyric Opera of Chicago’s Ryan Center Ensemble this season.

La Cenerentola

LA CENERENTOLA

2020 – 2021 SEASON Music by Gioacchino Rossini | Libretto by Jacopo Ferretti

January 30 and 31, 2021 at 2 p.m.

LA DON FINTAGIOVANNI SEMPLICE

Music by W.A. Mozart | Libretto by Carlo Goldoni, adapted by Marco Coltellini Music by W.A. Mozart | Libretto by Lorenzo Da Ponte April 9, 2021 at 7:30 p.m.

April 11, 2021 at 2atp.m.

Nov 6 and 7, 2020 7:30 p.m.

ALBERT HERRING LA CENERENTOLA Music by Benjamin Britten | Libretto by Eric Crozier Music by Gioacchino Rossini | Libretto by Jacopo Ferretti

April 1030 and 12,31, 2021 atat 7:30 p.m.

January and 2021 2 p.m.

Join the Moores Society

LA FINTA SEMPLICE

…Your gift provides Moores Opera Center students with:

• Stage experience in four full-scale, professional-level productions per year

• Opportunities to perform premieres new Coltellini operas Music by W.A. Mozart | regional Libretto byand Carloworld Goldoni, adapted byofMarco

• Ability to train and work alongside leading professionals in their field 9, 2021• atOpportunities to prepare and perform roles to build their resumes April 7:30 p.m.

April 2 p.m.

11, 2021• atHands-on knowledge of how the theatre works from painting sets to curtain calls

YOUR GIFT MATTERS! Other ways to give…

ALBERT HERRING

• Online donations can be made at http://igfn.us/vf/MOC or by texting MOC to 71777 • For large and estate gifts, contact Courtney Crappell, Director, Moores School of Music, 713.743.6118, ccrapell@uh.edu Music by Benjamin Britten | Libretto by Eric Crozier

April 10 and 12, 2021 at 7:30 p.m.

Moores Opera Center

Special Thanks To MOORES OPERA CENTER 2020-2021 SUPPORTERS

IMPRESARIO ($25,000+) Cullen Trust for the Performing Arts Edythe Bates Old Endowment

DIRECTOR ($5,000+) Drs. Cheryl and Carl Carlucci Jo Dee and Cliff Wright

LEADING ROLE ($1,000+)

Robin Angly and Miles Smith Christopher Velle Bacon Margaret Boulware Scott Chase (BA ’68, JD ’71) Endowment Fund Ann Faget Ellen and Alan Holzberg Rhonda Sweeney

COMPRIMARIO ($500+) Gwyneth Campbell Richard Drapeau Helen Mann Shannon Langman (MM ’09) Buck Ross

SUPERNUMERARY ($250+) Tim Doyle Warren Ellsworth Malcolm and Jackie Mazow

CHORUS ($100+)

Mr. and Mrs. John Goode Dr. Nicole Kenley-Miller (DMA ’18) & Dr. Andy Miller

IN TEMPORE OPERA LEGACY GIFTS

Buck Ross Opera Center Production Funds Endowment Juan R. Morales Endowment to Support Opera at the Moores School of Music Kathleen Childress Guthrie Harrison Endowment Thomas H. Guthrie Endowment to Support the Moores Opera House

The Moores Society is the philanthropic volunteer organization for the Moores School of Music.

Moores Society members and donors promote community awareness and provide funding for scholarships and special projects. Moores Society members receive invitations to concerts and special events held throughout the year.

2020-2021 MOORES SOCIETY Board of Trustees Executive Committee Jackie and Malcolm Mazow, Presidents Jo Dee Wright, Immediate Past President Helen Shaffer, Vice President, Membership Rita Aron, Assistant Secretary, Corresponding Carla Burns, Secretary, Recording Debbie Feuer, Audience Development Chair Robin Angly, Opera Production Council Chair Ann Ayre Meg Boulware Terry Ann Brown Darlene Clark Beth Del Pico Mariglyn Glenn Stephen Glenn Marita Glodt

Sean Gorman Gary Hollingsworth and Ken Hyde Alan Holzberg Ellen Holzberg Linda Katz Marc S. Levine Shirley Rose Kathi Rovere

Christopher Bacon Tom Becker Anne Boss Nancy Bowden Cheryl Byington Zarine Boyce Julie Cogan Vicky Dominguez Cathy Coers Frank Joyce Frassanito Diane and Harry Gendel Beatrice and Gregory Graham John Grimmett Donna and Gene Hammons

Advisory Board Gladys Hooker Sophia and Keith James Barbara Johnson Mady Kades Janis Landry Shannon Langman Mary Ann McKeithan Cathy McNamara Celia Morgan Jo and Joseph Nogee Kitten and Ron Page Kusum Patel Carroll R. Ray Carol Lee Robertson

Robin Angly, Chair Chris Bacon Gwyneth Campbell Tim Doyle Warren Ellsworth

Opera Production Council Ann Faget Ellen and Alan Holzberg Helen Mann Jackie and Malcolm Mazow Terrylin Neale

Moores Opera Center

Richard J. Schmitt Donna Shen Rhonda Sweeney Betty Tutor Bob Wilkins Mary Ann Wilkins

Lillie Robertson Minette Robinson Donna Scott and Mitch Glassman Satoko and Anthony Shou Susan Thompson Ann and Karl Tornyos Virginia and Gage Van Horn Carol and Carl Vartian Nancy Willerson Beth Wolff Cyvia Wolff Gay Yellen

Rhonda Sweeney Beth Wolff Jo Dee Wright

MOORES SCHOOL OF MUSIC SOCIETY As of 1/1/2021

Director Level ($1,000) Ann Ayre Meg Boulware Elizabeth Del Pico Terry Ann Brown Ms. Carla Adele Burns Darlene Clark Victoria Dominguez Debbie L. Feuer Mr. and Mrs. Stephen W. Glenn Sean Gorman

Dr. Gary L. Hollingsworth Ellen and Alan Holzberg Gladys Hooker Linda Katz Stephen Leatherwood Ulyesse J. LeGrange Sharon and Robert Lietzow Tod Lindholm and Rex Adams Jackie and Malcolm Mazow Lillie Robertson

Shirley E. Rose Jane and Richard Schmitt Donna Shen Nancy and Michael Shoup Rhonda and Donald Sweeney Ann and Karl Tornyos Jo Dee and Cliff Wright Edith and Robert L. Zinn

Partner Level ($500) Helen B. Davis Douglas Koch and Marcia Murphey Dr. Gary W. Patterson

Minnette Robinson Nancy R. Schissler Donna S. Scott Virginia and Gage Van Horn

Cyvia Wolff Tobin Wright Dr. Gary W. Patterson

Patron Level ($250) Christopher Bacon Nancy Bowden Trey Brady Pam and Steve Bertone Julie Dokell Cogan Richard and Drucilla Davis Joyce Frassanito Rachel Frazier Diane Gendel Dr. Gregory D. Graham Eugene Hammons Sandra Harris Timothy Eugene Hester and

Jasmine Hatem Nancy and Carter Hixon Sophia James Marc S. Levine Cathy and Bill McNamara Dr. Celia A. Morgan Jo and Joseph Nogee Kitten and Ron Page Kusum Patel Carol Lee Robertson Minnette Robinson Kathi Rovere Honorable Frank Rynd

Nancy R. Schissler Mr. and Mrs. Robert L. Schwarz Doris and William Sing Julie Anderson-Smith and Ron Smith Christine Stevens and Richard Crishock Susan Thompson Carol and Carl Vartian David Ashley White Nancy B. Willerson Gay Yellen and Don Reiser Kathi Rovere

Friend Level ($120) David Blomstrom Judy and Harry Bristol Debra Witter and Scott Chase Cynthia Clayton and Hector Vasquez Vicie Lee Coleman Dr. Kenneth L. Euler Mr. John R. Gealy Walter Hecht Ann T. Hendrix Barbara and Raymond Kalmans Dr. Nicole Kenley-Miller and Dr. Andy Miller Richard Kummins Connie Lewis Gary Miller Susan Snider Osterberg

Nancy Strohmer on Totz Shelton M. Vaughan Eleanor and Richard Viebig Dr. Betsy and Mr. Rick Weber Patron Level ($250) Christopher Bacon Nancy Bowden Trey Brady Pam and Steve Bertone Richard and Drucilla Davis Joyce Frassanito Dr. Gregory D. Graham Eugene Hammons Sandra Harris Sophia James Marc S. Levine

Cathy and Bill McNamara Dr. Celia A. Morgan Jo and Joseph Nogee Kitten and Ron Page Kusum Patel Anni Pati Carol Lee Robertson Honorable Frank Rynd Mr. and Mrs. Robert L. Schwarz Doris and William Sing Susan Thompson Carol and Carl Vartian David Ashley White Nancy B. Willerson Gay Yellen and Don Reiser

La Cenerentola