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Giacomo Puccini PEABODY OPERA THEATRE PRESENTS La BY RondineGIACOMO PUCCINI PEABODY OPERA THEATRE DAVID GRABARKEWITZ SAMUEL MUNGO DIRECTORS PEABODY OPERA THEATRE ORCHESTRA ANTONY WALKER CONDUCTOR THURSDAY, MARCH 12 7:30 PM FRIDAY, MARCH 13 7:30 PM SATURDAY, MARCH 14 7:30 PM SUNDAY, MARCH 15 4:00 PM PEABODY OPERA THEATRE Samuel Mungo Managing Artistic Director and PEABODY OPERA THEATRE ORCHESTRA Joseph Young Ruth Blaustein Rosenberg Artistic Director of Ensembles present LA RONDINE Music by Giacomo Puccini Libretto by Giuseppe Adami Thursday, March 12, 2020 Friday, March 13, 2020 Saturday, March 14, 2020 at 7:30 PM Sunday, March 15, 2020 at 4:00 PM Miriam A. Friedberg Concert Hall David Grabarkewitz and Samuel Mungo, Stage Directors Antony Walker, Music Director Eileen Cornett, Principal Coach Jebat Kee, Assistant Conductor Bobby Bradley, Scenic Designer Katie McCreary, Lighting Designer A.T. Jones & Sons, Inc., Costume Designer Georgianna Eberhard, Wig and Make-up Designer Samuel Mungo, Supertitles There will be two 15-minute intermissions. This opera will be performed in Italian with English supertitles. Sponsored by Claire and Allan Jensen For your own safety, look for your nearest exit. In case of emergency, walk, do not run to that exit. CAST THURSDAY SATURDAY Magda Miso Kang (Ava Borowski, cover) Lisette Tess Ottinger (Dena Goodman, cover) Ruggero Yi Li * (José Vargas, cover) Prunier E. Lukas Schmidt (Nathan Hawsey, cover) Rambaldo Kyle Dunn Yvette Elizabeth Russell Bianca Dana Douglass Suzy Alexandria Zallo Gobin Nathan Hawsey Crebillon Kevin Paton-Cole Perichaud/Rabonnier Philip Barskey Georgette Hana Abrams Gabriella Marcella Astore Lolette Caroline Lacy Voce di Sopranino M i n J i C h o * Guest 2 FRIDAY SUNDAY Magda Carly Cummings (Ava Borowski, cover) Lisette Hannah Alexandra Noyes (Dena Goodman, cover) Ruggero Carl Hengen Prunier Mengzhi Qui (Nathan Hawsey, cover) Rambaldo Obi Okechukwu Yvette Hana Abrams Bianca Marcella Astore Suzy Caroline Lacy Gobin Jasper Cox Crebillon Evan Nelson Perichaud/Rabonnier Philip Barskey Georgette Elizabeth Russell Gabriella Dana Douglass Lolette Alexandria Zallo Voce di Sopranino H a n a A b r a m s ALL PERFORMANCES Adolfo José Vargas Il Maggiordomo Sebastian Rodriguez Alameda Four Flower Girls Min Ji Cho, Emma Hils, Lacey Hindman, and Yu-Jen Joanie Tsai A Girl Zoë Christine Another Girl Abigail Head Il Notario Jasper Cox A Tenor/A Student Nathan Hawsey A Waiter Emma Webster Chorus Hana Abrams, Marcella Astore, Philip Barsky, Christa Beveridge, Ava Borowski, Min Ji Cho, Zoë Christine, Jasper Cox, Dana Douglass, Kyle Dunn, Bailey Galindo, Nathan Hawsey, Abigail Head, Marie Herrington, Emma Hils, Lacey Hindman, Caroline Lacy, Min Lu, Evan Nelson,Obi Okechukwu, Kevin Paton-Cole, Sebastian Rodriguez Alameda, Elizabeth Russell, Yu-Jen Joanie Tsai, José Vargas, Emma Webster, Zoe Woodaman, Alexandra Zallo 3 DIRECTOR’S NOTE When Puccini began to take an interest in his own form of operetta — by historical counts about 1912 but possibly earlier — he originally thought about La Rondine in the context of a book operetta, such as the big hits Die Fledermaus and Die Lustige Wifke (now The Merry Widow). What he migrated towards was Der Rosenkavalier, with no spoken dialogue but with a clear harkening to operetta. What evolves is a piece that includes influences from all of these works and others (La Traviata, principally). Puccini also seems to be aware of the emerging art form of film (still silent), and the script, as adapted by Adami, became an extraordinary treatise on the di¦erence between the exchange of sex for money and the ideal of romantic love. The result is a wonderful, painful mix for the character of Magda, formerly Paulette, before she became a mistress. In Act One we see her in her glamorous home, being o¦ered gifts by her benefactor, Rambaldo. Life is as it has been § fun and vacuous. At the suggestion of a song by composer Prunier (Il Bel Sogno di Doretta), she remembers a moment at a bar, Bullier’s, where she met a young man and had a brief but romantic flirtation. In Act Two, all of her friends, including Lisette and Prunier, decide to go to Bullier’s for a nightcap. (Bullier’s was famous for being open late.) Magda, however, decides to go in disguise as a student and encounters another young man, Ruggero, with whom she falls in love. The spectacular quartet and ensemble in this act is based on the ideal of a love that wants a spiritual connection. In Act Three, we see Ruggero and Paulette at an inn by the sea, but visited by past haunts Prunier and Lisette and a letter from Ruggero’s mother. The result is Paulette’s decision to revert to Magda, leaving Ruggero broken-hearted. Puccini was a master, and his verismo style is famous not only for making opera more accessible, but for protracting an art form while film began to creep in, and in some ways take over. He does, with La Rondine as well as La bohème and Madame Butterfly, principally but not exclusively, develop the art form of opera along the lines of Gluck, Mozart, and Verdi to adapt to current audience expectations and style. He achieves, in my mind at least, the beginning of the synthesis of great orchestration and storytelling in film, such as The Philadelphia Story and The Lady Eve especially. While 20 years away, as the cameras rolled and the orchestra played… they talked. – David Grabarkewitz 4 PRODUCTION STAFF Stage Directors David Grabarkewitz Samuel Mungo Music Director Antony Walker Principal Coach Eileen Cornett Assistant Conductor Jebat Kee Rehearsal Pianists Monica Daly Pei-Hsuan Lin Isaiah Shim Assistant Director Claire Cooper Production Manager Dave Blachowicz Production Assistant/A.V. Adam Scalici Properties Ailish O’Donnell Props Assistants Philip Barskey Joanie Tsai Scenic Designer Bobby Bradley Lighting Designer Katie McCreary Costume Designer A.T. Jones & Sons, Inc. Wardrobe Crew Emma Hils Megan Zuhowski Wig and Make-up Designer Georgianna Eberhard Wig and Make-up Assistants Christa Beveridge Bailey Galindo Board Operator Dennis Malat Master Electrician/Lighting Coordinator Natalie Colony Set Construction Michael Sheehan Supertitles Samuel Mungo Supertitle Operator Karly Ritland Production Stage Manager John Lipe Assistant Stage Manager Emma Rocheleau Crew Philip Barsky, CJ Hartung, Yu-Jen Joanie Tsai, and Zoe Woodaman Production Photographer Britt Olsen-Ecker Program Design Amelia Stinette Cover Design and Art Ben Johnson 5 DIRECTOR BIOGRAPHIES Peabody Voice Faculty Eileen Cornett, principal coach Tony Arnold Eileen Cornett established the graduate Margaret Baroody Vocal Accompanying Program at the Stanley Cornett Peabody Conservatory and is principal Carl DuPont coach with Peabody’s Opera Department. Elizabeth Futral She began her professional career as Denyce Graves musical director of the Croswell Opera Ah Young Hong House (Mich.) and has subsequently Steven Rainbolt conducted and coached internationally for Randall Scarlata the Amalfi Coast Music and Arts Festival William Sharp (Italy), Tanz und Gesang Studio at the Theater an der Wien (Vienna, Austria), Creaton Opera Company (Kaohsiung, Vocal Coaching and Taiwan), Souland Music Institute (Hangzhou, Repertoire Studies China), Fairbanks (Alaska) Summer Arts Festival, Lake Placid Institute, and the Seagle Ronald Gretz Colony Summer Vocal Program. Wolfgang Justen Cornett led Peabody Chamber Opera’s U.S. Ernest Liotti premiere of Jonathan Dove’s Mansfield Park, Robert Muckenfuss cited by TheBaltimore Sun as one of Baltimore’s Patrick O’Donnell best classical music productions of 2015, and Claire Galloway Weber recently conducted the newly revised version of Jake Heggie’s Out of Darkness: Two Remain, with the composer in residence. A featured Peabody Opera solo pianist with the National Symphony Theatre Program Orchestra, she has performed as orchestral Samuel Mungo pianist for James Levine, Leonard Slatkin, Tito Managing Artistic Director Muñoz, and Paul Gemignani in concerts with The Three Tenors, Bryn Terfel, Denyce Graves, JoAnn Kulesza and Anna Netrebko. She is the o®cial pianist Music Director for the Annapolis Opera Competition and has collaborated in recital at the Kennedy Center, Eileen Cornett Merkin Hall, National Portrait Gallery, Embassies Principal Coach of France and Russia, and Strathmore Hall. Garnett Bruce Cornett is a member of the chamber music Resident Director trio Northern Accord and has toured nationally Catrin Davies with the political satire group The Capitol Steps. Academic Coordinator This past summer, Cornett recorded A Treasury of Polish Songs with Peabody faculty member Monica Daly Laura Kafka-Price, as well as a disc of clarinet Pei-Hsuan Lin sonatas by 20th century New England Isaiah Shim composers with clarinetist Elizabeth Graduate Assistants Gunlogson. She and her husband, tenor Stanley Cornett, make their home in Baltimore, Abigail Head where they are the enormously proud parents Outreach Coordinator of two young women, Lydia and Emily. 6 David Grabarkewitz, stage director David Grabarkewitz has undergraduate and graduate degrees from The University of Hartford’s Hartt Conservatory of Music and The London Academy of Music and Dramatic Art. The New York Times called his staging of La bohème “…the best in New York!” and The New Yorker magazine calls his work “…inspired direction.” In addition to serving as resident director for The New York City Opera at Lincoln Center from 1995 to 2010, he also served as artistic and general director of El Paso Opera from 2009 to 2015. His staging of Madame Butterfly for The New York City Opera won the 2008 Prime Time Emmy Award for Best Live Performance, Music, or Dance. He has directed La bohème, Hansel and Gretel, The Magic Flute, Paul Bunyan, and Rigoletto for The New York City Opera; Hansel and Gretel for Austin Lyric Opera; Paul Bunyan for Opera Omaha; Lucia di Lammermoor and The Marriage of Figaro for Connecticut Grand Opera; l’Enfant et les Sortileges, Elixir of Love, and Figaro for Opera New Jersey; Hair and Cabaret for The Hartt Conservatory of Music; and West Side Story, Tosca, The Barber of Seville, The Desert Song, Figaro, and Madame Butterfly for El Paso Opera.
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