Indianapolis Opera Company Inc. presents Ayres Applauds The Indianapolis Opera Company Words and Music by RUGGIERO LEONCAVALLO

Opera in Two Acts

June 2 and 3, 1978

8:00 P. M,

in the FREDERIC M. AYRES JR. AUDITORIUM

On the Park-Tudor Campus, 7200 N. College ^^f ^

Premiered at the , Milan, Italy, May 21, 1892

Cast of Characters

CANIO, head of a troupe of strolling players, (Pagliaccio in the play) Richard Versalle

NEDDA, his wife, (Columbine in the play) Theresa Rivera

TONIO, a member of the troupe, (Taddeo in the play) Richard Baer

PEPPE, a member of the troupe, (Harlequin in the play) Perry Darden Smith

SILVIO, A villager Ray Poland

Understudies

CANIO David Sundby

NEDDA Maria McDaniels

TONIO Denis R. Kelly

PEPPE Jim Logan Chorus

SOPRANO I SOPRANO II Judy Bruner Anna Lee Hamilton Alexis Dardon Theodotia Hartman Maryliese Happel Elizabeth Michael Veronica Lewis Valerie D. Phelps Maria McDaniels Jane West

TENOR John Curry Robert Coons Jim Logan Denis R. Kelly Tim Moore Joseph Leamon David Sundby Joe Ledell

BASS Kenneth Cox Doug Ellrich Phillip M. Walker

CHILDREN Amanda Bruner Rick Fredland Larry Jones Michael Lang Heather Reese Bob Sauer Joel Sauer Benji Wright

DANCER Therese Chatelaine

YOUNG MAN Larry Sullender

PIPERS C. B. Konkowski Donald Winslow

Please refrain from using flash cameras or any kind of recording equipment. LORETTA YODER, director of "I ," has been associate director of the Repertory Theatre at CTS for ten years. Miss Yoder, who has a master's degree in drama and theatre from IU, has also directed at the Singers Theatre, Theatre-in-the-Woods, and Footlite Musicals. At Singers, she directed and also performed in light operas. Miss Yoder has arranged numerous national church conferences and music festivals, and has performed in summer stock at Lancaster, Pa. She was responsible for the direction and design of the Western Ontario Bicentennial Pageant at the Avon Theatre at Stratford, Ont., and directed the IOC's production of "Amahl and the Night Visitors."

RICHARD VERSALLE (Canio) has performed opera and light opera roles for the Lyric Opera, Chicago; Civic Opera of Michigan, Grand Rapids Symphony, and Opera Assn. of Western Michigan. Some of his roles have been Lt. Pinkerton in Puccini's "Ma- dama Butterfly"; Rodolfo in Puccini's "La Boheme" and Alfred in Strauss' "Die Fledermaus." Mr. Ver- salle appeared as Moser and von Stolzing in Wag­ ner's "Die Meistersinger," Idomeneo in Mozart's "Idomeneo." He has sung concerts for the Music of the Baroque, Chicago, with symphony orchestras in Albuquerque, N.M.; Fort Wayne; Oak Park, Illinois; Flint, Detroit, Grand Rapids and Kalamazoo, Mich.

THERESA RIVERA (Nedda) holds a B.A. degree in applied voice from the U. of Miami. She performed in many operatic roles at the Greater Miami Opera, the U. of Miami Opera and the Florida Family Opera. Some of her major roles have been Gretel in "Han­ sel and Gretel" by Humperdinck; Rita in "Rita" by Donizetti; Yum Yum in Gilbert and Sullivan's "The Mikado"; Miranda in Seigmeister's "Miranda and the Dark Young Man" and Laeticia in Menotti's "The Old Maid and the Thief." She performed as Lucy in Menotti's "The Telephone" and Frou Frou in Le- har's "The Merry Widow." She previously played the role of Nedda in "I Pagliacci" for the U. of Miami.

RICHARD L. BAER (Tonio) studied music at Butler U. and holds a B.F.A. degree in voice from the U. of Wisconsin. He has performed in many oratorio roles and was minister of music at the Plymouth Congre­ gational Church and the First Congregational Church in Indianapolis. Some of his roles in opera have been: Blitch in Floyde's "Susannah"; Luigi in Puccini's "II Tabarro"; John in Menotti's "The Consul"; Sid in Britten's "Albert Herring" and Megone in Haydn's "Lo Speziale." He has appeared in three Gilbert and Sullivan operettas, as Nankipoo in "The Mikado"; Alexis in "Sorcerer," Ralph in "H.M.S. Pinafore." RAY POLAND (Silvio) made his debut with the New Orleans Opera Co. in the role of Ein Peruckenma- cher in Strauss' "Ariadne auf Naxos." Mr. Poland has also appeared in the world premiere opera at IU, "Heracles" by Eaton in the role of the High Priest. His many roles include Schaunard in "La Boheme" by Puccini; Aeneas in Purcell's "Dido and Aeneas"; Porgy in Gershwin's "Porgy and Bess" and the Dark Young Man in Seigmeister's "Miranda and the Dark Young Man." He has also appeared with Indianapo­ lis Symphony in IU Opera's production of Puccini's "La Boheme," and had solo symphony experience with Memphis, New Orleans, Lauderdale orchestras.

PERRY SMITH (Peppe) is a graduate with a bachelor of music degree from Oberlin College-Conservatory. He received a master's degree in music from IU and performed as soloist with IU Opera Theatre, Oberlin Conservatory Opera Theatre, Interlochen Arts Academy Opera Theatre. His roles include Don Ottavio in Mozart's "Don Giovanni"; Andrew John­ son in "The Mother of Us All" by Thompson, and Miser Stevens, Simon Gerty in Moore's "The Devil and Daniel Webster." He played King Kaspar in the IOC's production, "Amahl and the Night Visitors." He received Interlochen Arts Academy Scholarship Award and Oberlin Vocal Faculty Personal Award.

JACKSON WILEY, Conductor and Musical Director, is the director of the orchestra and opera workshop at the Jordan College of Fine Arts at Butler U. He has a music degree from Yale U. and Julliard School of Music in New York. He conducted his first opera as a student coach and conductor in Julliard's Opera Theatre. Later, he returned to Yale to establish an opera theatre and direct the orchestra at the Yale Graduate Summer School of Music and Art. For sev­ eral years, he was in the orchestra of the New York City Opera Co. and was musical director for the Tur- nan Opera Players in Woodstock, N.Y. a training ground for many leading American opera stars.

P. E. MacALLISTER, Executive Producer, is chairman of the board of MacAllister Machinery Co., Inc., and is one of the founders of the Indianapolis Opera Co. A civic leader in the community, Mr. MacAllister is president of the Capital Improvement Board; presi­ dent of the board of trustees of Christian Theo­ logical Seminary; president of the board of trustees of Carroll College, Waukesha, Wise, and is a member of the board of trustees of McCormick Theological Seminary, Chicago. He served as executive director of "Conference on Cities" and was executive producer of the IOC's production of "Amahl and the Night Visitors," by Menotti. Kimball is the official piano of the Indianapolis Opera Co. "Business in the Arts" Award

Cultural enrichment. One of our most significant endeavors for the benefit of our community.

Each year, the National Business Committee for the Arts presents this prestigious award to members of the business community in recognition of their sponsorship of the performing arts. American Fletcher was honored to receive this award in 1976 and 1977.

Our Symphony on the Circle, Downtown Gallery of the Indianapolis Museum of Art and the many performing arts programs we have sponsored are for everyone's benefit and enjoyment. We at American Fletcher would like to thank all of you who have participated in our programs as well as the National Business Committee for the Arts for their award. It has given us an even greater sense of responsibility to continue our efforts to bring the world of art closer to our community.

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"I PAGLIACCI" was first performed in the United States at the Grand Opera House in New York on June 15, 1893, just over a year from its initial per­ formance in Milan. Six months later, on Dec. 11, 1893, it was presented at the House with Nelli Melba as Nedda; as Canio, and Mario Ancona as Tonio. Canio became Enrico Caruso's most famous role.

Synopsis of Scenes

ACT I A village in Calabria, Italy. It is an afternoon in August during the Feast of the Assumption in the 1860's.

INTERMISSION - 15 MINUTES

ACT II Later that evening. The Story

In the prologue, Tonio opens the curtain to explain to the audience that the play they are about to see is a true fragment of life, not a fantasy, presenting the emotions and passions of real people. Act I The curtain rises on a typical Italian village. The villagers, dressed in holiday clothes, hail the arrival of a troupe of strolling players, especially Canio, the "prince of players." Canio announces that a performance will be given that evening and urges them to come. The villagers, full of gaiety and life, greet the troupe in song. Canio goes off with friends to the tavern, while Tonio, the clown of the company, remains behind. Finding Nedda alone, Tonio declares his love for her. She scorns him and upon his insistence, she grabs a whip and strikes him. Infuriated, Tonio swears his revenge. As Tonio leaves, Silvio, Nedda's lover, appears. He urges her to leave her husband and run away with him. She ultimately agrees. Tonio overhears them and sees his opportunity for revenge. He goes to fetch Canio, who arrives in time to hear his wife promise to meet her lover later that night. Silvio escapes but Canio demands to know the name of his wife's lover. She refuses and is almost killed in a fit of rage by Canio. Peppe stops him and reminds him of the perform­ ance. Nedda leaves to dress for the play and Canio is left alone with his famous outcry of despair. He must go on as a clown to make people laugh but his heart is breaking. Act II There is much excitement as the villagers gather for the play. The play's theme is based on the popular comedy vehicle, the trusting husband deceived by a faithless wife. The play begins and Tonio, as the dumb servant, Taddeo, declares his love for Columbine (Nedda), but Columbine is in love with Harlequin, played by Peppe. Their supper is interrupted by the arrival of her husband, Pagliaccio (Canio). Harlequin escapes as Columbine promises to meet him later. As Canio plays his part, he gradually feels the reality of his real-life situation and insists that Nedda tell him the name of her lover. She tries to continue the comedy and the audience is amused. His reproach becomes so angry that the audience begins to suspect that the actors are no longer playing a part. Irate at her silence, he seizes a knife and stabs her. With her last breath, she calls out for Silvio, who is in the audience. Canio now knows his wife's lover and stabs him to death. Canio stands in a trance and lets the knife fall from his hand. The comedy is ended. INDIANAPOLIS OPERA COMPANY, INC.

Board of Directors

Larry J. Hannah President P. E. MacAllister Executive Vice President Mrs. Stephen Rechtoris Vice President Richard E. Retterer Secretary Ewing H. Miller Treasurer James R. Thayer Assistant Treasurer Peter J. Barrick Robert C. Bruner William K. Byrum Mrs. Herschel V. Caldwell Louis F. Chenette Pauline Hamra Charles L. Manning Mrs. E. Kirk McKinney Jr. Mrs. Patrick C. Smith John R. Williams

Elaine Morgan Bookwalter, General Manager

Artistic Advisors

Andre Aerne Dominic Bisignano Mallory Bransford John Eaton Geraldine Miller James Mulholland Paul Polivnick Jackson Wiley

P. O. Box 44311, Indianapolis, Ind. 46204 History of IOC

The Indianapolis Opera Company was incorporated on Oct. 1, 1975 as a not-for-profit organization with one of its main purposes "to establish and maintain an organization for the promotion of opera and to arrange and produce private and public performances."

In addition to several major operas produced each season, the IOC performs one-act operas which tour the city parks under the auspices of the Indianapolis Parks Dept. The IOC also brings operas on tour to various cities in Indiana.

For several centuries, opera has been considered the highest art form man has devised and it is still the most popular form of family theatre entertainment in Europe.

With the opening of its fourth season, the IOC has kept pace with its objective — to bring opera productions with the highest artistic standards possible to Indianapolis and surrounding areas.

Enjoy your favorite beverage with FUTURE PERFORMANCES

P&RTYTIME La^Tfaviata ICE by Verdi 8 p.m. Oct. 6 and 7 KEEP A BAG IN YOUR FREEZER FOR < c UNEXPECTED We Barber GUESTS cfSeville Lasts twice as long as other ice by Rossini 8 p.m. Feb. 16 and 17 POLAR ICE COMPANY, INC. 2000 NORTHWESTERN AVE. For ticket information, call 635-7464. INDIANAPOLIS, INDIANA 926-2451 The IOC has an educational responsi­ bility to the community which it is ful­ A GIFT TO filling in our in-school opera programs. Opera has had a lasting effect on Euro­ THE pean culture, presenting the greatest of literature set to music. We of the OPERA FUND IOC feel an obligation to the commu­ nity to educate and promote this art form for the future enjoyment of the IS A GIFT public here in Indiana. TO THE CULTURAL HERITAGE IN MEMORY OF ROY POLAND SR. OF INDIANAPOLIS

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"Quality Is More Than a Name With Us" i. Specialists In The Printing Trades t h Production Staff

Director Loretta Yoder

Conductor and Musical Director Jackson Wiley

Musical Coordinator Anna Lee Hamilton

Stage Manager Nelda Warren

Costume Designer Arniece Russell McWilliams

Choreographer Therese Chatelaine

Staff Designer Louis Popcheff

Lighting Designer Chris Willis

Properties Mistress Vicki L. Dittemore

Costume Assistant Patti Reese

Public Relations Ray Poland

Publicity Rosemarie L. Travis

Accompanist Miriam V. Winslow

Rehearsal Accompanist Kyle Latshaw

Special Thanks

American Fletcher National Bank Framemakers I — Carmel

Butler University Indiana Arts Commission

Phil Hedback Indianapolis Foundation

Footlite Musicals Lilly Endowment

Fort Benjamin Harrison Mr. Barney Magner

Repertory Theatre at CTS

A very special thanks to all our new members, sponsors, patrons and benefactors. A complete listing of these names will appear in our next production's program.

The Indianapolis Opera Company is partially funded by CETA. Program Notes from the Executive Producer "I Pagliacci" (The Clowns) is the work of Ruggiero Leoncavallo and was written in 1892. Although the same composer wrote eight other operas, none of them have captured the American audience quite so enthusiastically as the one you will see this evening. The story is told that the composer submitted this opus in a prize com­ petition at the same time mailed in "Cavalleria Rusticana." Leoncavallo lost top honors because technically, it was a contest for one-act operas and not having read the instructions on the package, he wrote "I Pagliacci" in two acts. Given the impact of the work and the wondrous and passionate music, it survived to become the classic we all know and love so well today. It is interesting to note that "Cavalleria Rusticana" and "I Pagliacci" have become a traditional double bill, "Cav and Pag" as they're referred to by opera buffs and the denizens of the "Peanut Gallery" at the Old Met. The composer not only wrote the music for "I Pagliacci" but also the libretto. In addition to that, he used a Shakespearean device involving a play within a play. As you become better acquainted with the plot, however, you will see that both plays use the same story. With the prologue sung by Tonio (Taddeo in the play, not Pagliaccio), it explains what we are about to see, and the plot converges into the same as the one the players perform. With this, Leoncavallo creates a slightly complex set of theatrical circumstances. We have two plots that begin to thicken. "I Pagliacci" was first performed in Milan on the 21st of May, 1892, and was a bigger hit than "Star Wars" (though never earned the same royalties). The conductor? I'll bet you've guessed . . . . It says that "the great baritone, Victor Maurel sang the part of Tonio." Although reverting to a romantic period for the basic material in the opera, a form called "commedia dell'arte," Leoncavallo was really part of an Italian musical movement that was breaking with the romanticism of the past (personified both in Wagner and Italian Romanticists) in order to depict the rougher realities of life. The movement, called "," or truth, fash­ ioned opera to be more gutsy, more lifelike with fewer fainting heroines and less illusions about life's glory. Maybe that should be "life's on-going flirtation with tragedy." Anyway, this work has some powerful music and drama at its moments of deepest poignancy that has always sent chills up my back. I'm sure the cast will do the same for you at this performance. Leoncavallo was born in Naples on March 8, 1858, and received his education at the conservatory there. After graduating, he supported himself by producing small concerts in cafes, playing piano and teaching voice. In between times, he wrote operas which attracted virtually no attention. One was "," a second, "I Medici" and in 1897 he wrote "La Vie de Boheme," timed badly since it was the same year Puccini wrote "La Boheme." Other operatic efforts were "Zaza" and "Der Roland," neither of which made it into the big time, although "Zaza" was performed at the Met. Leoncavallo wrote most of his own librettos which are very artistic and ironically, he was also gifted in theatrical technique. He died near Florence in 1919. Let's thank him for "I Pagliacci." It is a burst of brilliance that might get a bit brutal but has an undeniable passion and genuine claim to musical immortality. From the Executive Committee

June 2, 1978 is a significant date for the Indianapolis Opera Company. After several months of reorganization, the presentation of Leoncavallo's "I Pagliacci" literally opens our doors. You, the audience, are cutting the ribbon, so to speak.

The staff of the Indianapolis Opera Company has increased from one to twenty-five persons in just six months. We are proud of the new personnel. We are now involved in career seminars for the public schools, presentation recitals for many varied civic functions, concerts at homes for the aged, and in the near future, we plan to furnish music for the Parks Department, the Children's Museum, as well as a complete "Music Sunday" for many local churches. Our Classiques have provided late evening therapy for tired minds.

Our purpose is not merely Opera for Indianapolis but to train young voices in how the art form is organized, staged and produced, and to locate and cultivate voices and to supply opportunity for young artists.

Opera is the most complicated of all art forms and has been around four hundred years. It gives enjoyment to millions of Americans weekly and there is no way Indianapolis can claim to be a first class city without this vener­ able and accepted cultural expression.

The Indianapolis Opera Company is no longer scrambling for existence and trying to make the cut. It is now fully blown and on the way. We have tested our wings, developed into a responsible company and have every intention of being a permanent part of the artistic composite of this community.

Tonight it is "I Pagliacci." On October 6 and 7, we hope you will join us for Verdi's "La Traviata," and again on February 16 and 17, we offer Rossini's "The Barber of Seville."

The Indianapolis Opera Company is exaulted. We hope you enjoy the evening with our cast and want you to come back in October and again in February. To everyone who has stood by and believed in us — our sincere THANK YOU. KNABE

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MacAllister MACHINERY CO., INC. Your Caterpillar Dealer P.O.Box 1941 / Indianapolis. IN 46206 / 317-545-2151 P.O. Box 276/Fort Wayne, IN 46801/219-483-6469 2019 W. Lusher Ave./Elkhart. IN 46514/219-294-7402 Caterpillar Cat and 03 are Trademarks of Caterpillar Tractor Co. An Invitation To Join

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INDIANAPOLIS OPERA CO., INC.

P. O. Box 44311 Indianapolis, IN 46204