Verdi's LA TRAVIATA Press Kit
PRESENTS LA TRAVIATA
OPERA IN THREE ACTS Music by Giuseppe Verdi Libretto by Francesco Maria Piave First performed March 6, 1853 at the Teatro La Fenice in Venice, Italy.
SUNG IN ITALIAN WITH ENGLISH SUPERTITLES.
Performances of La traviata are made possible, in part, by a Cultural Affairs grant from the City of San José.
PRESS CONTACT Chris Jalufka Communications Manager Box Office (408) 437-4450 Direct (408) 638-8706 [email protected] OPERASJ.ORG
For additional information go to https://www.operasj.org/about-us/press-room/ CAST
IN ORDER OF APPEARANCE
Violetta Valéry Amanda Kingston Flora Bervoix Christina Pezzarossi Annina, Violetta's Maid Erin O'Meally Alfredo Germont Pene Pati Dane Suarez (4/15, 27) Giorgio Germont Malcolm MacKenzie Trevor Neal (4/15, 27) Gastone, Vicomte de Letorieres Mason Gates Baron Douphol Philip Skinner Marchese D'Obigny Babatunde Akinboboye Doctor Grenvil Colin Ramsey Giuseppe, Violetta's Servant Kevin Gino A Guest Noah DeMoss Messenger Lazo Mihajlovich
Covers Congcong Wang, Violetta Michelle La Jeunesse, Flora Gwendolyn Kuhlmann, Annina Michael Mendelsohn, Gastone Stephen Boisvert, Baron Douphol Matthew LaRochelle, Marchese D’Obigny Brendan Stone, Doctor Grenvil Christian Barajas, Giuseppe Noah DeMoss, Messenger
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CONDUCTOR Joseph Marcheso CO-CONDUCTOR Dennis Doubin 4/27 & 4/29 STAGE DIRECTOR Shawna Lucey CHOREOGRAPHER Michelle Klaers D’Alo SET DESIGNER Eric Flatmo COSTUME DESIGNER Elizabeth Poindexter LIGHTING DESIGNER Pamila Z. Gray WIG AND MAKEUP DESIGNER Christina Martin PROPERTIES MASTER Lori Scheper-Kesel CHORUS MASTER Andrew Whitfield ASSISTANT STAGE DIRECTOR Jimmy Marcheso PRODUCTION STAGE MANAGER Bethanie Baeyen ASSISTANT STAGE MANAGERS Emi Komatsu Philip Jacke MUSIC STAFF Veronika Agranov-Dafoe Victoria Lington
La traviata Press Kit 5 1ST VIOLIN Cynthia Baehr, Concertmaster Alice Talbot, Assistant Concertmaster Matthew Szemela Chin Le Virginia Smedberg Rochelle Nguyen Michael Grossman Eugenia Wie
2ND VIOLIN Claudia Bloom, Principal Susan Stein, Assistant Principal Sue-Mi Shin Sergi Goldman-Hull Gulnar Spurlock Andrew Lan
VIOLA Chad Kaltinger, Principal Janet Doughty, Assistant Principal Melinda Rayne Ivo Bokulic
CELLO Lucinda Breed Lenicheck, Principal Evan Kahn, Assistant Principal Paul Hale Nancy Kim
BASS Andrew Butler, Principal William Everett, Assistant Principal
FLUTE Isabelle Chapuis, Principal Mary Hargrove
PICCOLO Mary Hargrove
6 Opera San José ORCHESTRA
OBOE ORCHESTRA MANAGER Patricia Emerson Mitchell, Principal Mark Veregge Pamela Hakl ORCHESTRA LIBRARIAN CLARINET Tim Spears Mark Brandenburg, Principal Ann Lavin
BASSOON Deborah Kramer, Principal Carolyn Lockhart
FRENCH HORN Meredith Brown, Principal Caitlyn Smith Eric Achen Beth Zare
TRUMPET William B. Harvey, Principal John Freeman
TROMBONE Kathryn Curran, Principal Bruce Chrisp C.L. Behrens
CIMBASSO Scott Choate
TIMPANI Mark Veregge, Principal
PERCUSSION James Kassis
HARP Karen Thielen
La traviata Press Kit 7 ACT I, Paris 1887: Violetta Valéry’s salon Violetta, a beautiful courtesan, is hosting a party to celebrate her recovery from an illness. Her patron, the Baron Douphol is in attendance. Gastone (Vicomte de Letorieres) has brought along his friend, Alfredo, a young man who has long admired Violetta from afar. When they are introduced, Alfredo raises a toast to her health with a spirited brindisi (“Libiamo ne’ lieti calici”—Let’s drink to happiness). As her guests move to the ballroom to dance, Violetta suddenly feels faint. She sends everyone on ahead, and sits a moment to recover. Alfredo returns and confesses that he has loved her since the day he first saw her (“Un dì, felice, eterea”—One happy, etherial day). At first, she protests that love means nothing to her, but something about Alfredo charms her. She hands him a camellia and tells him he may return when the flower has wilted. Alone, Violetta muses on the possiblity of finding true love (“Ah fors’ è lui”—Perhaps it is he.), but concludes that freedom trumps love (“Sempre libera”—Always free). Alfredo’s voice is heard in the distance singing about the marvels of love, highlighting the conflict in Violetta’s heart. Intermission (20 minutes) ACT II, Countryside near Paris, three months later
In love with Alfredo, Violetta has abandoned her urban life and moved away from Paris with him. Alfredo sings of their blissful domestic happiness (“De’ miei bollenti spiriti”—My youthful ardor). When their maid, Annina, returns from Paris, Alfredo discovers that Violetta has been secretly selling her posessions to support their lavish lifestyle. His pride wounded, Alfredo leaves immediately to recover her belongings and pay their debts. Violetta comes into the house looking for Alfredo and a servant delivers a party invitation from her friend Flora. Violetta is amused, as she has no intention of returning to her former life in the city. Her cheerful mood is brought to an end with the unexpected arrival of Giorgio Germont, Alfredo’s father. Although impressed by Violetta’s noble demeanor, he demands that she break off her relationship with Alfredo, explaining that their scandalous affair has threatened his younger daughter’s engagement (“Pura siccome un angelo”—As pure as an angel). Violetta begs him not to demand such a sacrifice, but finally agrees to separate from Alfredo (“Dite alla giovine”—Tell your daughter). After Germont leaves, she sends an acceptance to Flora and begins to write a farewell letter to Alfredo, who returns abruptly. She hides the note and tries to excuse her excited state by tearfully asking him to love her no matter what the future holds (“Amami, Alfredo”—Love me, Alfredo), before rushing from the house. Puzzled
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by her behavior, Alfredo sits down to await the expected arrival of his father. A messenger delivers Violetta’s letter just as Germont returns to console his son (Di Provenza il mar, il suol—The sea and soil of Provence). Alfredo immediately suspects that Violetta has gone back to her former patron, and bent on jealous revenge, leaves to confront her at Flora’s party. A brief pause (Back in Paris, a few days later) Flora Bervoix’s Salon. Guests are enjoying a lavish masquerade and entertainment. Flora is surpised to learn from the Marchese that Violetta and Alfredo have separated. Alfredo arrives, and begins gambling recklessly. Violetta arrives with Baron Douphol who joins Alfredo at the gaming table and soon loses a small fortune to him. Supper is announced and Violetta remains behind to speak with Alfredo. She cautions him not to provoke the Baron, and implores him to leave. Misunderstanding her motives, Alfredo calls back the guests and throwing his winnings in her face, declares that he is repaying his debt. Arriving unexpectedly, Germont reprimands his son for so dishonorably humiliating a woman (“Di sprezzo degno sè stesso rende”—No man of honor insults a woman). Baron Douphol challenges Alfredo to a duel as the guests witness it all in horror. Intermission (20 minutes) ACT III (Violetta’s bedroom) Violetta’s health has gravely deteriorated. Dr. Grenvil tries to cheer her, but as he departs, confides to Annina that her mistress has but a few hours to live. Alone, Violetta reads a letter from Germont, describing the outcome of the duel, and saying that he has informed Alfredo of her sacrifice and that his son is on his way to beg her forgiveness. Sensing that the end is near, she bids farewell to her days of happiness (“Addio, del passato”—Goodbye to the past). Annina rushes in to alert Violetta of Alfredo’s arrival. The lovers are reunited, and Alfredo suggests that they leave Paris (“Paragi, o cara, noi lasceremo”). Violetta struggles to stand, but cannot; realizing the gravity of her illness, Alfredo calls for the doctor. Violetta appeals to God not to let her die, now that happiness is so near (“Ah, Gran Dio! morir sì giovine”—Ah, great God! To die so young). Germont arrives, followed by the doctor. Violetta gives Alfredo a portrait locket as a token of her love (“Prendi, quest’è l’immagine”—Take this portrait). Violetta is filled with a surge of strength. Feeling life return, but falls dead in Alfredo’s arms.
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Amanda Kingston SOPRANO HOMETOWN: MADISON, WISCONSIN
Violleta Valéry – Amanda Kingston joins the resident company in the 2017-2018 season, appearing as Fiordiligi in Mozart’s Così fan tutte, Magda in Puccini’s La rondine, and Violetta in Verdi’s La traviata. Recent performances for Ms. Kingston include her professional debut as Josephine in Gilbert and Sullivan’s HMS Pinafore with Nevada Opera, Mimì in Puccini’s La bohème, Gilda in Verdi’s Rigoletto, Donna Elvira in Mozart’s Don Giovanni, and Despina in Così fan tutte. Later this season, Amanda will make her debut with Madison Opera as First Lady in Mozart’s The Magic Flute.
On the concert stage, highlights include Handel’s Messiah with Houston Ars Lyrica, Rossini’s Stabat Mater with the Houston Camerata, and the role of the Countess in excerpts from The Marriage of Figaro with the Ann Arbor Symphony. She performed the role of Katharina Cavalieri in Amadeus with the prestigious Alley Theatre in Houston, and also frequently travels to sing the work of composer Eric Genuis.
Awards include First Place in the Lois Alba Aria Competition, the Lucy Morgan Award at the Shreveport Singer of the Year Competition, Finalist in the McCammon Competition and Dallas Opera Competition, and District Winner and Regional Finalist in the Metropolitan Opera National Council Auditions.
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Pene Pati TENOR HOMETOWN: AUKLAND, NZ
Alfredo Germont – Pene Pati makes his company debut in the role of Alfredo in Verdi’s La traviata during OSJ’s 2017-18 season. A former member of San Francisco Opera’s Merola Program, Mr. Pati recently became an Adler Fellow and has since performed and studied a wide range of roles in San Francisco including Messenger (Verdi’s Aïda), Count Lerma and Royal Herald (Verdi’s Don Carlo), and Pinkerton (Puccini’s Madama Butterfly), as well as being part of the world premiere of Bright Sheng’s Dream of the Red Chamber. Most recently, he enjoyed a major debut on the stage of San Francisco Opera as Duca di Mantua in Verdi’s Rigoletto.
Awards and accolades received include both Second and Audience Prize at Operalia, and Second Prize at Neue Stimmen. He was also winner of First Prize at the Montserrat Caballé International Aria Competition in 2014 and the prestigious Joan Sutherland and Richard Bonynge ‘Bel Canto’ Award in 2012.
Mr. Pati completed his studies at the Wales International Academy of Voice under Dennis O’Neill, with whom he continues to work alongside César Ulloa.
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Dane Suarez TENOR HOMETOWN: PRINCETON, ILLINOIS
Alfredo Germont - Dane Suarez joins OSJ’s resident ensemble during the 2017-18 season, appearing as Alfredo in Verdi’s La traviata. Recent performances for Mr. Suarez include his John F. Kennedy Center debut with Washington National Opera as Ely Parker in Glass’s Appomattox. Other performances included a return to Opera in the Heights appearing as Rodolfo in Puccini’s La bohème with Opera Memphis, and Sarasota Opera where he sang the role of Flaminio in Montemezzi’s L’amore dei tre re.
Career highlights in previous seasons include the role of Cavaradossi in Puccini’s Tosca with LoftOpera, the roles of Don José in Peter Brook’s La tragédie de Carmen, Beppe ( Leoncavallo’s Pagliacci), and Borsa (Verdi’s Rigoletto) for Opera Memphis and Rodolfo (Puccini’s La bohème) at Crested Butte Music Festival.
Awards and accolades received include being named a National Semi- Finalist in the 2014 Metropolitan Opera National Council Auditions, Beethoven Club of Memphis (First Place), Bel Canto Foundation (Bella Voce Award), and Sigma Nu Fraternity, Inc. (International Talent of the Year). He is a member of the Mu Phi Epsilon International Music Fraternity, Pi Kappa Lambda National Music Honor Society, and won the 2010 Butler University Concerto Competition singing Ravel’s Cinq mélodies populaires grecques.
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Malcolm MacKenzie BARITONE HOMETOWN: DAVIS, CALIFORNIA
Giorgio Germont –Malcolm Mackenzie makes his company debut during the 2017-18 season, appearing as Don Alfonso in Mozart’s Così fan tutte and Germont in Verdi’s La traviata. Roles performed recently include Tonio in Leoncavallo’s Pagliacci with Dayton Opera; creating the role of Roger Chillingworth in Colorado Opera’s world premiere of The Scarlet Letter by Lori Laitman; returning to LA Opera as Stubb in Jake Heggie’s Moby-Dick; Enrico in Donizetti’s Lucia di Lammermoor with Eugene Opera; Giorgio Germont in Verdi’s La traviata with Virginia Opera; Schaunard in Puccini’s La bohème with San Diego Opera; a return to the Metropolitan Opera as Dancaïre in Bizet’s Carmen; the title role in Verdi’s Simon Boccanegra with Kentucky Opera; Belcore in Donizetti’s L’Elisir d’amore with San Diego Opera; and Jack Rance in Puccini’s La fanciulla del West with Nashville Opera.
On the concert stage, Mr. MacKenzie has performed frequently as the baritone soloist for Carl Orff’sCarmina Burana, most recently with Los Angeles’ New West Symphony, the Symphony Orchestra of the University of California, Davis and the Savannah Symphony. He has also appeared with the Los Angeles Master Chorale, the Pacific Chorale, the Los Angeles Mozart Orchestra, and the Madison Symphony.
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Trevor Neal BARITONE HOMETOWN: DALLAS, TEXAS
Giorgio Germont - Trevor Neal makes his company debut in the 2017- 18 season, joining OSJ’s resident company. Mr. Neal will appear as Rambaldo in Puccini’s La rondine and Germont in Verdi’s La traviata. Roles performed recently Killian in Der Freischutz with Virginia Opera, Sciarrone in Puccini’s Tosca with Opera North, and the Bonze in Puccini’s Madame Butterfly with Ash Lawn Opera.
He was member of the Herndon Foundation Emerging Artist program at Virginia Opera for the 2015/2016 season, where he covered Mars/ Morpheus in Orpheus in the Underworld and Dutchman in The Flying Dutchman. Previously, he was a Young Artist at Opera North where he performed the role of Henry Davis in Kurt Weill’s Street Scene and covered the role of Germont in Verdi’s La traviata.
On the concert stage, Mr. Neal has appeared in concert with the South Arkansas Symphony Orchestra, Wichita Falls Symphony Orchestra, Abilene Symphony, and numerous community orchestras performing such works as Orff’sCarmina Burana, Verdi’s Requiem, Durufle’s Requiem, and Handel’s Messiah.
Mr. Neal began his formal training at the University of North Texas where he studied with Verdi baritone Jeffrey Snider. He previously served as the Director of Strategic Planning for New York based chamber opera company, The Secret Opera.
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Mason Gates TENOR HOMETOWN: DAVIS, CALIFORNIA
Gastone, Vicomte de Letorieres – In the 2017-18 season, Mason Gates returns as a member of OSJ’s resident company, appearing as Prunier in Puccini’s La rondine, the Steersman in Wagner’s The Flying Dutchman, and Gastone in Verdi’s La traviata. Last season, Mr. Gates performed the role of Jonathan Dale in Puts and Campbell’s Silent Night, and made his company debut as Don Curzio in the 2015-16 production of The Marriage of Figaro.
He received his Bachelor’s of Music from Brigham Young University in Utah, and his Master’s of Music from the San Francisco Conservatory of Music. A two-time recipient of the encouragement award from the Metropolitan Opera National Council Auditions, Mr. Gates was also a festival artist at Utah Festival Artist two years in a row, as well as a Vocal Fellow at the esteemed Music Academy of the West.
Other roles performed recently include the title role in Albert Herring, El Remendado (Carmen), The Man with Old Luggage (Postcard from Morocco), Spoletta (Tosca), Grigori (Boris Godunov), Rodolfo (La bohème), Ferrando (Così fan tutte), Monostatos (Die Zauberflöte), and Edwin the Defendant (Trial by Jury).
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La traviata Press Kit 21 NOTES
22 Opera San José CONTENTS OF USB DRIVE
Opera San José La traviata Calendar Release Opera San José La traviata News Release Opera San José La traviata Press Kit Opera San José La traviata Program California Theatre History Headshots Production Images
For additional information go to https://www.operasj.org/about-us/press-room/
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