Mississippi Opera Association–Artistic Excellence

2 MISSISSIPPI OPERA 4 MISSISSIPPI OPERA FROM THE BOARD PRESIDENT elcome to the fall production of Mississippi Opera’s 73rd season. Thank you for investing Win Mississippi’s only professional opera company, the 9th oldest in the United States. Our productions would not be possible without the commitment of our supporters, performers, Guild volunteers, individual and corporate contributions. I encourage you to be part of something truly magical by renewing or purchasing your season tickets as soon as possible, I can assure you, that the best seats will go quickly. Nothing touches my soul like opera—music, theatre and dance all rolled into one glorious art form. Opera provides avenues for music lovers of all ages. Whether you know opera from years of study or a casual passing, the outstanding national and local voices, together with members of the Mississippi Opera Orchestra and Chorus are dedicated to sharing their talents with you—our valued patron. The season has something for every music lover, the fun series at Duling Hall; which runs the gambit from Frank Sinatra to Nat King Cole to Carole King. Coming in April, 2019 be ready for one of the world’s favorite operas, Puccini’s beautiful La bohème at Thalia Mara Hall. There are opera stars, leads and divas, but no one plays a more important part than you. Please consider making a tax-deductible charitable contribution or ponder the possibility of a legacy gift of a life insurance policy or estate gift. Elbert Bivins Board President Mississippi Arts Commission 2017 Governor’s Arts Awards Recipients The Mississippi Opera Association–Artistic Excellence MISSISSIPPI OPERA 5 FROM THE GENERAL DIRECTOR Dear Friends of Mississippi Opera, It is my pleasure to welcome you to our 73rd season of the Mississippi Opera. Over the course of this season we will present a wide variety of musical events ranging from My Way, a Frank Sinatra Tribute, Unforgettable, a Nat King Cole Centennial Celebration and Feel the Earth Move, an evening of Carole King to stage productions of The Hilarious World of Gilbert and Sullivan, Amahl and the Night Visitors, and our season finale, the most popular opera in the world, Puccini’s La bohème. There is truly something for everyone. I am very honored to be the General and Artistic Director of the Mississippi Opera. It continues to be a pleasure to be a part of this organization’s growth and to work with our outstanding performers, board members, staff and the Mississippi Opera Guild. The growth of the Mississippi Opera is reflected in our significant increase in our various activities, variety of performances, board members, sponsors, and donors, and educational audiences, as well as our increase in ticket sales and grants. If you are new to the Missisippi Opera we hope that you will enjoy our many wonderful performances. If you are an opera regular, welcome back and we’re glad you’re here. We hope you enjoy each of our very special events. Sincerely, Jay Dean General and Artistic Director 6 MISSISSIPPI OPERA 2018-2019 BOARD OF DIRECTORS Elbert Bivins, President Hogan Allen, Treasurer Anthony Cloy, Secretary Matt Allen Sharon Pratt Wendy Thompson Megan West Sid Davis Scott Newton David Trigiani Jane Woosley Mark Henry Bob Soukup Shannon Warnock Jon Weiner John Hooks Barbara Travis Lynn Wentworth Mary Acthley, Mississippi Opera Guild President PAST PRESIDENTS Founder Mrs. John T. Caldwell, Jr. Chairman in Perpetuity Dr. Samuel B. Johnson H. M. Addkinson, Jr. A. Spencer Gilbert, III Earle F. Jones Mrs. Alexander S. J. Michael Ainsworth Dr. Guy Gillespie, Jr. Mrs. H. K. Kent Payne John Alexander Mrs. William F. Mrs. Edward J. Don Potts Hogan Allen Goodman, Jr. Killelea James L. Robertson Elbert Bivins P. N. Harkins, III Mrs. Dorothy H. W. Albert Simmons Kim Breese Robert E. Hauberg, Jr. Kitchings Mrs. Heber Simmons George Bria Mrs. Robert Hearin Mrs. Wilbur H. Patsy Tolleson Carroll Brinson Ralph Hester, Jr. Knight Mrs. T. Arnold Sandra Person Burns John R. Hutcherson Gus Leep Turner, Jr. Mrs. Frank Cabell Mrs. Peggy B. J. Jasper Lowe O. Edward Wall Mrs. John T. Johnson Lee Ann Mayo Mrs. Cecile Wardlaw Caldwell, Jr. A. Charles Jackson, Charles J. McCool Louis H. Watson M. L. Cashion, Jr. M.D. Jack W. McDaniel Joshua J. Wiener Chandler Clover Mrs. Samuel B. Mrs. E. B. McGehee Jonell B. Williamson Mrs. Armand Coullet Johnson Charles L. Mortimer Richard B. Wilson, Jr. Eric Eaton Dr. Samuel B. Lamar Nesbit James W. Woolridge Richard M. Fountain Johnson W. L. Norton Monroe M. Wright MISSISSIPPI OPERA 7 T HE H ILARIOUS W ORLD OF G ILBERT & S ULLIVAN Saturday, November 10, 2018 Duling Hall Jackson, Mississippi Paul Houghtaling, Director Richard Nechamkin, Music Director/Conductor Jay Dean, Producer Susan Williams, soprano Alexis Davis-Hazell, mezzo-soprano David Tayloe, tenor James Bobick, baritone Paul Houghtaling, bass-baritone 8 MISSISSIPPI OPERA MUSICAL NUMBERS ACT I Quintet: If Saphir I Choose to Marry, from Patience – Susan, Alexis, David, Jim, and Paul Aria: Alone and Yet Alive, from The Mikado – Alexis Aria: Tit Willow – Paul Duet: There is Beauty in the Bellow of the Blast – Alexis and Paul Aria: Take a Pair of Sparking Eyes, from The Gondoliers – David Duet: We’re Called Gondolieri – Jim and David Trio: When You Had Left Our Pirate Fold (“Paradox Trio”) from The Pirates of Penzance – Alexis, Jim, David Solo and ensemble, “I Am the Very Model of a Modern Major General” and Act I Finale, Paul, the Company, with the Mississippi Opera Chorus ACT II Quintet: Woman of the Wisest Wit, from Princess Ida – Susan, Alexis, David, Jim, and Paul Duet: Were You Not to Ko-Ko Plighted, from The Mikado – Susan and David Aria: The Suns Whose Rays Are All Ablaze – Susan Quartet: When a Wooer Goes A-Wooing from The Yeomen of the Guard – Susan, Alexis, David, Paul Duet: Hereupon We’re Both Agreed (“Cock and Bull” duet) – Jim, Paul ACT II Entr’acte, from H.M.S. Pinafore – Richard and the Orchestra Aria: Fair Moon to Thee I Sing – Jim Trio: Never Mind the Why and Wherefore (Bell Trio) – Jim, Susan, Paul Finale, “Let’s Give Three Cheers,” the Company, with the Mississippi Opera Chorus MISSISSIPPI OPERA 9 MEET THE COMPOSERS W. S. GILBERT ARTHUR SULLIVAN ilbert and Sullivan the Victorian-era musical theatre through the 20th century. Gtheatrical partnership of the librettist The operas have also influenced political W. S. Gilbert (1836–1911) and the discourse, literature, film and television and composer Arthur Sullivan (1842–1900) have been widely parodied and pastiched and to the works they jointly created. The by humorists. Producer Richard D’Oyly two men collaborated on fourteen comic Carte brought Gilbert and Sullivan together operas between 1871 and 1896, of which and nurtured their collaboration. He built H.M.S. Pinafore, The Pirates of Penzance and the Savoy Theatre in 1881 to present their The Mikado are among the best known. joint works (which came to be known as the Savoy Operas) and founded the D’Oyly Gilbert, who wrote the words, created Carte Opera Company, which performed fanciful “topsy-turvy” worlds for these operas and promoted Gilbert and Sullivan’s works where each absurdity is taken to its logical for over a century. conclusion—fairies rub elbows with British lords, flirting is a capital offence, gondoliers Gilbert before Sullivan ascend to the monarchy, and pirates emerge as noblemen who have gone astray. Sullivan, six Gilbert was born in London on 18 November years Gilbert’s junior, composed the music, 1836. His father, William, was a naval surgeon contributing memorable melodies that could who later wrote novels and short stories, convey both humor and pathos. some of which included illustrations by his son. In 1861, to supplement his income, the Their operas have enjoyed broad and younger Gilbert began writing illustrated enduring international success and are stories, poems and articles of his own, many still performed frequently throughout the of which would later be mined as inspiration English-speaking world. Gilbert and Sullivan for his plays and operas, particularly Gilbert’s introduced innovations in content and form series of illustrated poems, the Bab Ballads. that directly influenced the development of 10 MISSISSIPPI OPERA MEET THE COMPOSERS In the Bab Ballads and his early plays, Gilbert Sullivan before Gilbert developed a unique “topsy-turvy” style in which humor was derived by setting up a Sullivan was born in London on 13 May ridiculous premise and working out its logical 1842. His father was a military bandmaster, consequences, however absurd. Director and by the time Arthur had reached the and playwright Mike Leigh described the age of eight, he was proficient with all the “Gilbertian” style as follows: instruments in the band. In school he began to compose anthems and songs. In 1856, he With great fluidity and freedom, received the first Mendelssohn Scholarship [Gilbert] continually challenges our and studied at the Royal Academy of Music natural expectations. First, within and then at Leipzig, where he also took up the framework of the story, he makes conducting. His graduation piece, completed bizarre things happen, and turns the in 1861, was a suite of incidental music to world on its head. Thus the Learned Shakespeare’s The Tempest. Revised and Judge marries the Plaintiff, the soldiers expanded, it was performed at the Crystal metamorphose into aesthetes, and so Palace in 1862 and was an immediate on, and nearly every opera is resolved sensation. He began building a reputation as by a deft moving of the goalposts... England’s most promising young composer, His genius is to fuse opposites with composing a symphony, a concerto, and an imperceptible sleight of hand, to several overtures, among his early major blend the surreal with the real, and the works for the voice included The Masque caricature with the natural.

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