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BEACH PARTY CI ND ERELLA STUDY GUIDE

NASHVILLE CINDERELLA

by

JUNE 12, 2021

The Ann & Frank Bumstead Production

Special 90-minute Adaptation Ascend Amphitheater

Directed by John Hoomes Conducted by Dean Williamson Featuring the Nashville Opera Orchestra

CAST & CHARACTERS

Cinderella (Angelina) Emily Fons* The Prince Matthew Grills* Dandini Jonathan Beyer* Don Magnifico Stefano de Peppo* Alidoro Christopher Curcuruto*† Tisbe Emilyl Cottam*† Clorinda Bryn Holdsworth* Brian Russell Jonas Grumby

* Nashville Opera debut † 2021 Mary Ragland Emerging Artist

TICKETS & INFORMATION

Contact Nashville Opera at 615.832.5242 or visit nashvilleopera.org/cinderella

SPONSORED BY ANN MARIE AND MARTIN M cNAMARA III

NASHVILLE WITH SUPPORT FROM

THE JUDY & NOAH SUE & EARL OPERA LIFF FOUNDATION SWENSSON THE STORY

Rossini composed his version of the CINDERELLA folk tale in a staggering three weeks during 1817. He was only twenty-four years old at the time. Based on Charles Perrault’s CENDRILLON of 1697, follows a common girl who dreams of a happier life and a prince who seeks to marry the most beautiful girl he can find. Rossini’s plot diverges from the fairy-tale tradition and takes a more realistic approach, with an endearing and sensible central character. Director John Hoomes brings some of the magic spirit back by setting the farcical tale by the sea in his -inspired staging.

THIS SYNOPSIS HAS BEEN UPDATED TO REFLECT JOHN HOOMES’S BEACH-PARTY STAGING

It’s morning in the broken-down surf shop owned by Don and tells him to search for the young woman wearing the Magnifico. Cinderella, known as Angelina, is doing the bracelet’s companion. She tells him that if he can find out household chores, as her vain stepsisters Clorinda and Tisbe who she really is, and still wants to her, she will gladly marry dance and primp. A knock at the door introduces Alidoro, him then. Cinderella leaves. Ramiro demotes Dandini and advisor of Prince Ramiro, disguise as a poor beach bum. Cin - assumes his rightful role as prince. He vows to find his un - derella’s stepsisters try to throw him out, but Cinderella known love. sneaks Alidoro some food. Word arrives that on this very Dandini tells Don Magnifico that a choice has been made re - evening the prince is holding a fantastic at his ex - garding a bride and then confesses that he is only the prince’s clusive yacht club And at this beach party, the prince will boat mechanic. Don Magnifico storms off in a rage. choose his bride. Don Magnifico, Clorinda, and Tisbe return home and take The ensuing commotion awakens the girl’s father, Don Mag - their anger out on Cinderella. A huge storm blows through, nifico. He is angry from being pulled from a splendid dream and after it passes, Dandini appears with news that the about a donkey. Clorinda and Tisbe relate the news of the Prince’s sports car has broken down outside the surf shop. beach party to their father. Prince Ramiro enters. Cinderella suddenly realizes that he is Soon thereafter, the prince enters in disguise as his own boat actually the prince! And the prince recognizes her! The two mechanic, Dandini. When the prince and Cinderella see each go off together, leaving everyone else attempting to make other, it’s love at first sight. But when her father bellows, Cin - sense of what has just happened. derella rushes out to attend to his needs. In the joyous final scene at the prince’s yacht club, Cinderella The boat mechanic Dandini arrives (disguised as Prince proclaims her happiness. She pardons her stepfather and Ramiro). He is there to escort Don Magnifico’s daughters to stepsisters for their treatment of her. Everyone hails Cin - the beach party. Cinderella asks permission to attend the derella’s beauty and wisdom as goodness is triumphant. party too, but Don Magnifico tells her no. Everyone heads to the beach resort, leaving Cinderella behind. Alidoro re - turns and tells Cinderella that he will help her get to the beach party, but she must go in disguise. On the private beach of the yacht club, Dandini, continuing his masquerade as the prince, tells Clorinda and Tisbe that he can marry only one young woman, but the other can marry his boat mechanic. The sisters angrily reject this idea. Mezzo- Emily Fons Alidoro suddenly announces the arrival of a mystery lady to heads the cast the beach party. Cinderella enters in disguise. When she re - of Nashville Opera’s veals herself, the sisters feel that this new girl looks too much CINDERELLA. like their stepsister to be considered any serious competition. Everyone jumps into the surf to swim and frolic. Near the end of the party, the prince hides when Cinderella hurries in with Dandini behind her (still posing as the prince). Dandini professes his love for Cinderella, but she confesses to only loving his mechanic (really Prince Ramiro in disguise!). Ramiro (still in disguise) steps forward and asks Cinderella to marry him. Cinderella gives him a bracelet from her wrist Need a Beach Party br ush-up ?

In 1963, American International Pictures released Beach Party starring and , and with it a genre was born. Seven more Beach Party movies followed from the studio, as it quickly became o ne of the most successful cinematic trends of all time. Low-budget and easily produced, beach-party films were profitable and developed their own cult fandom. Their appeal lay in their fantastic escapism, simple themes, and the idea of good clean fun.

Dancing, surfing, teen rebellion, motorcycles, and summer love were de rigueur in movies like Beach Party , B each Blanket Bingo (1965), Where the Boys Are (1960), and Beach (1964). Music was another key element, and beach-party films featured major artists such as , the Animals, the Beach Boys, Little Richard, and the Supremes. During the 60s, beach-party films fueled the popularity of surfing and exploded U.S. bikini sales by 3000%. (Ironically many were filmed during the winter with actors in full body makeup!)

One of the genre’s most beloved stars was Annette Funicello, who appeared in at least five Beach Party films. Her show-business career began as a Mouseketeer on The Mickey Mouse Club and grew immensely throughout the and 60s. Annette’s mentor, Walt Disney, in - sisted she wear a one-piece bathing suit in Beach Party films in order to maintain a modest public image. (No ?!) Other actors known for their roles in Beach Party films included , , and .

Years later, audiences would demand a more realistic portrayal of the young-adult experi - ence. In 1987, genre royalty Frankie Avalon and Annette Funicello were featured in which parodied their previous wholesome films. MOMENTS TO LISTEN FOR

“Una volta c’era un re” “Signor, una parola” (Sir, a word) fused when Alidoro seems to think that (Once upon a time, there was a king) one his daughters is agreeable. In this quintet, Ramiro and Dandini no - Cinderella (Angelina) sings her favorite tice Angelina’s plea to also attend the song, telling the story of a king who ball as her sisters leave. Magnifico re - “Si ritrovarla io giuro” chooses a bride for her good heart as fuses her request and insults her, while (Yes, I swear I will find her again) opposed to her wealth. trying to come across as pleasing to The prince resolves to find the girl who Ramiro and Dandini. captured his heart at the beach party. “Miei rampolli femminini” (My feminine beauties) “La del ciel” “Un segreto d’importanza” High above (A secret of importance) Don Magnifico relays a story from one of his bizarre dreams—this one fore - After her family leaves the room, An - In this comic duet, Dandini reveals to shadowing Clorinda, Tisbe, and gelina is left with Alidoro who is still in Magnifico that he is a servant, not the himself elevating their current status by disguise as a lowly beach bum. Alidoro prince. The news sends Magnifico into associating themselves with royalty. sees the pure heartedness of Angelina a rageful fit. The opening theme is re - and explains that he will take her to the stated here but in a rapid 6/8 meter. , while she believes he is “Un soave non so che” mocking her. To prove his sincerity, (A sweet something) “Ah, signor, s’è ver che in petto” Alidoro sings to her that God has (Ah, sir, is it true) In this duet, Cinderella (Angelina) con - looked down on her to reward her verses with a stranger—Ramiro dis - goodness. She deserves to go to the In this trio, Angelina pleads for recon - guised as a servant. They both show Beach Ball. He also predicts that An - ciliation between herself, Ramiro, Mag - warm but shy affections for each other. gelina will soon experience happier nifico, Clorinda, and Tisbe. Ramiro begins the duet by confessing times. that there’s a sweet feeling in his heart “Nacqui all’affanno… that he’s never felt before. Cinderella “Zitto, zitto, piano, piano” Non più mesta” answers by confessing that her heart is (Quickly, quickly, quietly, quietly) (I was born into sorrow and tears… beating so fast and she doesn’t know No more sorrow) why. In the second half of the duet, This duet begins in whispers as Prince Angelina tries to explain her compli - Ramiro quizzes Dandini about the sis - In the closing aria, Angelina revels in cated family history but gets deeply ters. The prince and Dandini compare her love and new circumstances. flustered, which endears her to Ramiro their impressions of Don Magnifico even more. and his family. They become very con -

RECOMMENDED AUDIO RECORDINGS

Label: Decca Music Group Limited Conductor: Riccardo Chailly Artists: , Enzo Dara, , Alessandro Corbelli, Source: https://open.spotify.com/album/3Bm5biiGR9hvfYOyDZ7Sig?si=J-KsFWNrRpa0aGlMrg3LgQ

Label: Naxos Conductor: Artists: Joyce DiDonato, Bruno Practico, Jose Manuel Zapata, Luca Pisaroni, Paola Bordogna Source: https://open.spotify.com/album/4WjxF7IAN7KHqOfdTWJG28?si=ugCynqh0SoWSmMGpqllFvQ ABOUT THE COMPOSER GIOACHINO ROSSINI | 1792 –1868

Gioachino Antonio Rossini was born in 1792 in , , ond wife, Olymphe, used her inheritance to establish a con - to musical parents. His father, Giuseppe Rossini, was a semi- servatory and home for retired opera singers in Rossini’s professional player and his mother, Anna Guidarini, birthplace of Pesaro, Italy. was a soprano who sang in many comic op - eras. Young Gioachino found himself in the theater, singing and playing with ease. He was educated in Along with his timeless masterpieces, Rossini is best and began composing known for composing vocal pieces in accordance with as early as twelve years old. At the bel canto style of singing. Bel canto (“beautiful fourteen, he composed his singing”) dominated Italian vocal style in the 18th and first opera, e polibio, 19th centuries. Bel canto style is characterized by or - which was later performed in namental vocal complexities. Some of the most note - 1812. By the following year, worthy composers who embraced it were Handel, he had learned several addi - Mozart, and Rossini. tional instruments including the . At this time, he was DRAMMA GIOCOSO even known to sing in public and in the theater to earn money. Translating as “playful drama,” dramma giocoso is an opera genre most commonly written in the 18th Century. The form Rossini later turned to conducting and typically inserts a comic scene as the plot tension intensifies drew inspiration from the compositional techniques of at the end of an act. Apart from Rossini’s La Cenerentola, a Joseph Haydn and . Rossini spent few other famous dramma giocoso include: Mozart’s Don the beginning of his career in his home country of Italy. He Giovanni, Rossini’s L’Italiana in Algeri, and Donizetti’s L’elisir relocated from the Papal States to in 1815 where he d’amore. Notable librettists who used a combination of com - was able to compose for renowned singers and musicians. edy and serious characters and plot themes includes Carlo During his time in Italy, Rossini was prone to have relation - Goldoni (1707 –1793) and Lorenzo Da Ponte (1749 –1838). ships with singers in the companies he worked with. Most notably, he wrote many roles for his lover who was prima donna at the Teatro San Carlo. She became Rossini’s wife in 1822. THE LIBRETTIST Rossini’s most popular operas include: La Cenerentola (Cin - derella), , , and . La | 1784 – 1852 Cenerentola is one of his longest and most beloved works. Rossini’s opera are known for crescendos Italian poet and librettist Jacopo Ferreti is most famous for and a full orchestra sound, a practice that earned Rossini the writing the libretti for five operas by and nickname “Signor Crescendo” or “Monsieur Crescendo.” two operas by Gioachino Rossini. Along with collaborating Though Rossini composed both opera buffa (comic) and opera on La Cenerentola (Cinderella), Ferretti also wrote the seria (serious), he is best known for his comic works. for Rossini’s 1821 opera, , o sia Bellezza, e cuor di ferro. Ferretti mastered not only the , but Rossini moved to in the 1820s. There, he wrote the also , Ancient Greek, French, and English. French , his final opera, Guillame Tell. This work is based on the William Tell story of a Swiss man who refused For thirty years, Ferretti’s day job was working in the tobacco to bow to a tyrant, with central themes of liberty and nation - industry. However, he still had time to compose prolific writ - alism. Unlike the Italian tradition, French grand opera is char - ings, including poems, speeches, love letters, and opera libretti. acterized by large orchestras and casts, having up to five acts, He composed libretti for over 50 operas and 11 sacred dra - and incorporating a ballet. After the success of William Tell mas, with his most successful and long-lived work being in the early 1830s, Rossini composed very few works. The Rossini’s Cinderella which premiered at the in death of his wife and father weighed heavily on Rossini and , Italy. In 1820, Ferretti married his wife, Teresa by the 1850s, his mental and physical health began to decline. Terziani who was a singer. Throughout their lives, they be - He died in Passy, France, in 1868 having composed 40 operas came friends with famous poets and musicians, such as Gae - and countless other works. Rossini is buried in , Italy, tano Donizetti who used Jacopo Ferretti’s libretti on several at the Basilica di Santa Croce. Upon his death, Rossini’s sec - occasions. ON OPERATIC VOICES

All classical singers fall into one of the categories listed below. A singer cannot choose his/her voice-type; it is something he/she is born with. Composers usually assign a to a character based on his/her personality or age. Here are some descriptions of the voice types with examples of roles for each.

character parts such as witches and old gypsies. The range is two WOMEN octaves from F below middle C to the top line of the treble clef. A true is very rare—some believe they don’t exist at all! SOPRANO Rossini originally intended the role of Cinderella (Angelina) This is the highest female voice and has a range similar to a violin. for a contralto, but is almost always sung by a mezzo-soprano. In opera, the soprano most often plays the young girl or the heroine (sometimes called the prima donna), since a high bright voice tra - ditionally suggests femininity, virtue, and innocence. The normal MEN range of a soprano is from middle C through two octaves above middle C, sometimes with extra top notes. Most women are so - COUNTER- pranos. In Cinderella, stepsister Clorinda is sung by a soprano. This is the highest male voice, which was mainly used in very early opera and oratorio. The voice of a countertenor sounds very much MEZZO-SOPRANO like a mezzo-soprano’s voice and they often sing the same reper - Also called a mezzo, this is the middle female voice with a range toire. Like the contralto, true countertenors are very rare. There similar to an . A mezzo’s sound is often darker and warmer are no counter- in Cinderella. than a soprano’s. In opera, composers generally use a mezzo to por - tray older women, villainesses, seductive heroines, and sometimes TENOR even young boys. Mezzo- also often serve as the friend or This is usually the highest male voice in an opera. It is similar to a sidekick to the soprano. The mezzo-soprano’s normal range is from trumpet in range, tone, color, and acoustical ring. The tenor typi - the A below middle C to the A two octaves above it. In Cinderella, cally plays the hero or the love interest. His voice ranges from the the title role of Cinderella (Angelina) is sung by a mezzo-so - C below middle C to the above. In Cinderella, the role of Prince prano, as is the role of Tisbe. Ramiro goes to a tenor.

CONTRALTO This is the lowest female voice and has a voice similar in range to a This is the middle male voice and is close to a in range . usually sing the roles of older females or special and tone color. The baritone usually plays vil - lainous roles or father-figures. The range is from the G an octave and a half below middle Baritone Corey McKern as Dandini in Nashville Opera’s last, C to the G above. In Rossini’s Cinderella, more traditional production of CINDERELLA, 2013 Dandini is a baritone. This is the lowest male voice and is similar to a or in range and color. Low voices usually suggest age and wisdom in serious opera. The range spans from roughly the F above middle C to the F an octave and a fourth below. In Cinderella, both Don Magnifico and Alidoro are basses. R e e d

H u m m e l l FUN FACTS

• Rossini wrote CINDERELLA (LA CENERENTOLA) in just 24 days • There is no glass slipper in this version of CINDERELLA, but instead a bracelet • Rossini ‘s CINDERELLA is based on Charles Perrault’s “Cinderella or The Little Glass Slipper” of 1697. • CINDERELLA is one of Rossini’s most popular operas, second to THE BARBER OF SEVILLE. • Rossini’s famous opera themes, such as THE BARBER OF SEVILLE and WILLIAM TELL , can be heard on TV (The Lone Ranger, Seinfeld!), in commercials, and in movies such as JUMANJI and CITIZEN KANE. • In 1860, Rossini was visited by famous German opera composer Richard Wagner. Documenting his visit, Wagner included details in an essay: “Eine Erinnerung an Rossini” (“A Memory of Rossini”).