Sen D IEGo DarLY Tnnxs cRIPr November 2I, 2008 San Diego mixes romance with suicide set to grand mu.sic coping with the shame oftheir fate without their men. The Glimes is driven by hos- tile village neighbors to find redemption in death at sea. In the season opener, the Searching for a theme for celebrated singer Floria Tosca San Diego Opela's 2oo9 sea- is pursued by a lecherous son provides some unlikely police chief who bargains for corlparisons of opera plots. her favors in exchange for' The usual unrequited love release of Tosca's rebel lover. affairs leading to rash sui- The deal goes bad when she cides, cornmoll to most kills the evil scoundrel to save , are there in four ofthe her honol not knowing the live operas in the repertory chief arranged a "mock" exe- openiug witli Giacomo cution of her man that turned Puccini's "Tosca' on Jan. 24 aI out real. In flight from the fir- the Civic Theatre. ing squad, Tosca in despair Probably the most obvious takes a ì.eap from atop Castel bheme for the SDO seasou is Sant'Angelo in Rome. the similar identity of three A bit of comic relief is pro- leading female characters. vicled in the second opera of 'Iìosca, Gilda ('s the season, "Don Quixote" by daughter) and Madama .Tules Massenet, The familiar Butterfly ale all women tale of an eccentric knight betrayed by the rnen they searching for the Impossible tlusted, Thlee of the operas Dream, takes hirn through a f,eature deranged men in the seuies of misad.ventures. roles of Don Quixote, Singing the choice character Rigoletio and Peter Grimcs. role is basso Ferruccio These fir'e opera dramas Furlanetto, a leading stal of would make a psychiatry field the international opera stage, day if the characters were who has appeared with SDO The San Diego Opera presents 'Don Quixote," in February. real-life persons in the mod- in major roles over the last 13 ern woild. sea,S0ns. "Bjgoletto." Woven into a famous quartet. Suicide does impact the Conductor Edoardo Müller background of tleachery, The hunchback jester for outcome of four of the operas. and dil'ector Lotfi Mansouri abduction and personal sacri- the Duke of Mantua tries to Three , Tosca, Gilda retuln to SDO and team up to fice are some of the best pïotect his daughter Gilda and tsutterfly, have lost their shape the third oper4 a fast- known in opera leading lþv-ç¡g q.nrl,clroqse deatþ pr,',er paeed Çiuseppe yçrdl classic, to a dramatic climax with the See Opera Scene on 104 Page 2

Opera Scene ContínuedfromPagc 2A. taken with mystery and fore- background for the bitter- from his lecherous boss. She is boding. "Sunday Morning" sweet romance in Puccini's abducted by courtiers as a lifu the spirits of despair as "." payback to Rigoletto's jests the villagers answer the call of After Lt. Pinkerton, an and falls for the Duke's sweet church bells. "Moonlight" rolls American naval officer sta- talk. Gilda learns of her lover's with the sea, setting the stage tioned in Nagasaki, leaves his infidelþ but still protects him for Grimes' ultimate fate. Japanese bride and returns to from her father's revenge. "Storm" brings out the full sea,'Butterflyt obsession is Gilda is the disguisecl victim force of nature's conflict focused on the view ofthe har- of a paid assassin. Suicide is linked to Grimes' inner ten- bor from her hilltop cottage. her redemption. sions ofhostility and frustra- The dramatic climax of the The sea plays a significant tion that drive him to be swal- second act is sighting her role in both "Peter Grimes" lowed up by the sea. lover's ship returning years and "Madama Butterfly," the Modern-day therapy could later. Tickets for all perform- last two operas of the 2Oo9 have helped this demented ances at the Civic Theatre are season. The four sea inter- and lonely fisherman who had now available at 619-533-7000 ludes of Benjamin Britten's only akindly schoolmarm as a or online at sdopera.com. score for "Peter Grimes" depict friend. Anthony Dean Griffey a brooding quality with the brings his dynamic interpre- Ford ís a past president of feel ofthe English seacoast fog tation fresh from last season's San Diego Opera and sup- covering the tragedy to come: produc- ports the opera archive at San "Dawn" sets the mood of tion. Diego State University. 'surface tranquility soon over- The sea also provides a Sou¡ce Code: 2OO8lI2Otbi Sax DrEGo DruLY TnaxscRrPr November 20, 2008

San Diego Opera mixes romance with suicide set to grand music By JOHN PATRICK FORD

Searching for a theme for San Diego Opera's 2009 season provides some unlikely compari- sons of opera plots. The usual unrequited love affairs leading to rash suicides, common to most operas, are there in four of the five operas in the repertory, openirig with Giacomo Puc- cini's "Tosca" on Jan. 24 atlhe Civic Theatre.

Probably the most obvious theme for the SDO season is the similar identity of three leading female characters, Tosca, Gilda (Rigoletto's daughter) and Madama Butterfly are all women betrayed by the men they trusted. ïhree of the operas feature deranged men in the roles of Don Quixote, Rigoletto and Peter Grimes.

These five opera dramas would make a psychiatry field day if the characters were real-life per- sons in the modern world.

Suicide does impact the outcome of four of the operas. Three sopranos, Tosca, Gilda and But- terfly, have lost their lovers and choose death over coping with the shame of their fate without their men. The tenor Grimes is driven by hostile village neighbors to find redemption in death at sea.

ln the season opener, the celebrated singer Floria Tosca is pursued by a lecherous police chief who bargains for her favors in exchange for release of Tosca's rebel lover. The deal goes bad when she kills the evil scoundrel to save her honor not knowing the chief arranged a "mock" execution of her man that turned out real. ln flight from the firing squad, Tosca in de- spair takes a leap from atop Castel Sant'Angelo in Rome.

A bit of comic relief is provided in the second opera of the season, "Don Quixote" by Jules Massenet. The familiar tale of an eccentric knight searching for the lmpossible Dream, takes him through a series of misadventures. Singing the choice character role is basso Ferruccio Furlanetto, a leading star of the international opera stage, who has appeared with SDO in ma- jor roles over the last 13 seasons.

Conductor Edoardo Müller and director Lotfi Mansouri return to SDO and team up to shape the third opera, a fast-paced classic, "Rigoletto." Woven into a background of treachery, abduction and personal sacrifice are some of the best known arias in opera leading to a dramatic climax with the famous quartet.

The hunchback jester for the Duke of Mantua tries to protect his daughter Gilda from his lech- erous boss. She is abducted by courtiers as a payback to Rigoletto's jests and falls for the Duke's sweet talk. Gilda learns of her lover's infidelity but still protects him from her father's revenge. Gilda is the disguised victim of a paid assassin. Suicide is her redemption.

The sea plays a significant role in both "Peter Grimes" and "Madama Butterfly," the last two operas of the 2009 season. The four sea interludes of Benjamin Britten's score for "Peter Grimes" depict a brooding quality with the feel of the English seacoast fog covering the tragedy to come: Page 2

"Dawn" sets the mood of surface tranquility soon overtaken with mystery and foreboding. "Sunday Morning" lifts the spirits of despair as the villagers answer the call of church bells. "Moonlight" rolls with the sea, setting the stage for Grimes' ultimate fate. "Storm" brings out the full force of nature's conflict linked to Grimes' inner tensions of hostility and frustration that drive him to be swallowed up by the sea.

Modern-day therapy could have helped this demented and lonely fisherman who had only a kindly schoolmarm as a friend. Anthony Dean Griffey brings his dynamic interpretation fresh from last season's Metropolitan Opera production.

The sea also provides a background for the bittersweet romance in Puccini's "Madama But- terfly." After Lt. Pinkerton, an American naval officer stationed in Nagasaki, leaves his Japa- nese bride and returns to sea, Butterfly's obsession is focused on the view of the harbor from her hilltop cottage.

The dramatic climax of the second act is sighting her lover's ship returning years later. Her expectation of reunion is soon to be dashed with the appearance of a new American wife. Hari-kari is the only solution for the abandoned child bride so her little boy can be taken away by his father.

Despite the pathos of the opera stories, the music by Puccini in the opening and closing pro- ductions of "Tosca" and "Madama Butterfly" is supplemented by the ever-popular Verdi score for "Rigoletto," so full of hummable tunes.

A final similarity of the 2009 season is that the title of each opera is the name of the main character, providing instant identity of the plot and leading role.

Tickets for all performances at the Civic Theatre are now available at 619-533-7000 or online at sdopera.com. illFord is a past president of San Diego Opera and supports the opera archive at San Diego State University.[/l]