VINCENZO BELLINI THE CAPULETS AND THE MONTAGUES VICTORIAN OPERA PRESENTS THE CAPULETS AND THE MONTAGUES
Tragedia lirica in Two Acts - Opera in Concert
Composer Vincenzo Bellini Librettist Felice Romani Based on the play by Luigi Scevola
Conductor Richard Mills AM
Tebaldo Carlos E. Bárcenas Capellio David Parkin Lorenzo Teddy Tahu Rhodes Romeo Caitlin Hulcup Giulietta Jessica Pratt*
Tasmanian Symphony Orchestra
14 SEPTEMBER 2018 Arts Centre Melbourne, Hamer Hall
Original premiere 11 March 1830, Teatro La Fenice, Venice Running Time is approximately 2 hours and 50 minutes, including interval Sung in Italian with English surtitles
Arts Centre Melbourne, Hamer Hall *Jessica Pratt’s appearance is generously supported by Hans and Petra Henkel Photo: Charlie Kinross
3 PRODUCTION ORCHESTRA
PRODUCTION TEAM OBOE Production Manager Eduard Inglés David Nuttall* Dinah Woods Cor Anglais Stage Manager Luke Hales CLARINET VIOLIN Andrew Seymour* Emma McGrath Concertmaster MUSIC STAFF Chris Waller Bass Clarinet Elinor Lea Associate Concertmaster Principal Repetiteur Tom Griffiths Lucy Carrig-Jones Principal 2nd BASSOON Chorus Preparation Phoebe Briggs Jennifer Owen Principal 1st Tahnee van Herk* Miranda Carson Alison Wormell Contrabassoon Repetiteur Phillipa Safey Yue-Hong Cha HORN Frances Davies Edwina George Geoff Lierse# Principal 1st CHORUS Michael Johnston Heath Parkinson* Principal 3rd Christine Lawson Roger Jackson Soprano Alison Lazaroff-Somssich Greg Stephens Kirilie Blythman, Alexandra Ioan, Michelle McCarthy, Cristina Russo, Christopher Nicholas TRUMPETS Diana Simpson, Nicole Wallace Rohana O’Malley Yoram Levy* Hayato Simpson Mezzo Soprano Mark Bain VIOLA Kerrie Bolton, Shakira Dugan, Ursula Paez, Belinda Paterson, TROMBONES David Wicks# Juel Riggall, Lynlee Williams David Robins# Douglas Coghill Amanda Tillet Tenor Anna Larsen Roach Jonathon Bam, Paul Batey, Paul Biencourt, Alastair Cooper-Golec, Rodney McDonald BASS TROMBONE Irving Dekterev, Michael Dimovski, Ernst Ens, Douglas Kelly, Will Newbery Mitchell Nissen* Alister Lamont, Timothy Reynolds CELLO TUBA Bass Sue-Ellen Paulsen* Tim Jones* Jonathan Békés Darcy Carroll, Stephen Coutts, Nick Cowall, Paul Hughes, Nathan Lay, TIMPANI Oliver Mann, Stephen Marsh, Alex Pokryshevsky, Ivan James Matthew Goddard* Kiran Rajasingam, Julian Wilson Sophie Radke DOUBLE BASS PERCUSSION Stuart Thomson* Gary Wain* ACKNOWLEDGEMENTS Aurora Henrich Evan Pritchard BAAC Light and Jim Atkins, Sound Consultant James Menzies HARP FLUTE Melina van Leeuwen# Douglas Mackie* * Principal player Lloyd Hudson Piccolo # Guest principal 4 5 WELCOME
This performance marks the fourth opera in a survey of the major Bellini operas in concert and is part of Victorian Opera’s newly established profile as Australia’s leading exponent of the bel canto repertoire.
These performances have featured of Romeo. Caitlin has also developed major artists in the field, and tonight a significant international career, we welcome back our own Australian appearing at the Royal Opera House, superstar Jessica Pratt for one of her the Bolshoi, the Berlin Staatsoper and signature roles. Our relationship with Vienna State Opera. Jessica began in 2014 – we were the I am also very proud to welcome The first Australian company to welcome her Tasmanian Symphony Orchestra to home – and since then her international PHOTO Melbourne for this concert. Victorian stature has steadily grown with triumphs Opera are now Tasmania’s opera at both the Metropolitan Opera in company, and are regular visitors and New York and La Scala in Milan. Other collaborators with this fine orchestra, great singers like Celso Albelo and with many exciting projects planned Saoia Hernandez have also left a legacy for the years ahead. The orchestra’s to the artists of our company; their mastery of the classical style and their example of the perfect fusion of text reputation for artistic partnerships and melody, the essence of bel canto, make them an ideal partner for bringing an essence of which all great singers this music to life. of this literature are masters, is a continuing inspiration for all of us at But finally, this evening is about singing; Victorian Opera. rendering the unique and sublime utterances of Bellini, a composer I am very proud of the continuing whose ability to speak to the hearts achievements of Carlos E. Bárcenas of audiences makes him a priceless in this literature and I am delighted treasure of our heritage. Enjoy. to welcome back Teddy Tahu Rhodes. We also welcome David Parkin for his Victorian Opera debut. Caitlin Hulcup and I have been associated since my RICHARD MILLS Artistic Director and Conductor years at Western Australian Opera, and I am delighted that she will mark her Victorian Opera debut in the role Caitlin Hulcup and Richard Mills Photo: Beata Bowes
6 SYNOPSIS
Setting: Verona, Italy in the 13th century
ACT ONE ACT TWO Verona is torn apart by conflict the offer, telling him that he has already Lorenzo brings Giulietta the news recognising his enemy pulls out his between two rival clans – the Guelfi promised Giulietta’s hand to Tebaldo, that Romeo is safe, but Giulietta will sword. As they are about to fight, a (supported by the Capuleti) and and war is declared. shortly be taken to Tebaldo’s castle for funeral procession passes by. Realising the Ghibellini (supported by the her wedding. Lorenzo suggests that it is carrying Giulietta’s lifeless body, In her chamber, Giulietta is in despair Montecchi). Giulietta take a potion that will put her they are both distraught. about her upcoming marriage, and into a deep sleep resembling death and Capellio, the head of the Capuleti yearns for Romeo. Lorenzo brings Romeo arrives at the crypt to mourn. that after she has been placed to rest family, has gathered his followers, Romeo through a secret door and He demands that Giulietta’s tomb be in the family crypt he will bring Romeo fearing another attack by the Romeo tries to convince her to run opened so he can say a proper goodbye to her. Giulietta has her doubts but she Montecchi, led by Romeo. Tebaldo tells away with him, but Giulietta refuses, and asks his men to leave him alone. drinks the potion. them that Romeo, who earlier killed bound by honour and duty to her father. Thinking that death is his only hope, Capellio’s son in battle, is sending an Capellio enters and orders her to be he drinks poison. Giulietta suddenly As the Capuleti prepare for the envoy to discuss peace. Tebaldo has ready at dawn. Giullietta tells him she awakens and calls out to Romeo. She festivities, Romeo tells Lorenzo that vowed to avenge the murder and in is close to death and asks him for an reveals her faked death and that she a thousand Ghibellini disguised as return marry Capellio’s daughter, embrace. Capellio rebuffs her and told Lorenzo to give Romeo a message. Guelfi are waiting to attack during Giulietta. Capellio agrees to have the sends his daughter away. Once she But it is too late. They curse their cruel the wedding. The Ghibellini storm marriage take place that night despite is gone, Capellio feels disturbed but fates and Romeo tells her to remember the palace. In the chaos, Giulietta and protests from Lorenzo, the family refuses to show pity. He tells his men their love as he dies. Giulietta is Romeo encounter each other and he doctor, that Giulietta is ill. to closely watch Lorenzo, of whom he is overcome by grief. Cappelio, Lorenzo again urges her to run away with him. increasingly suspicious. and the Montecchi enter to find the The Montecchi envoy, Romeo in Tebaldo and Capellio recognise him as two lovers dead in each other’s arms. disguise, arrives. He tells Capellio that the envoy and Romeo reveals his true Romeo wanders the palace grounds to guarantee peace, Giulietta should identity. Romeo is saved by his men and looking for Lorenzo but instead become Romeo’s bride. Capellio rejects the lovers are separated. encounters Tebaldo, who upon
8 9 MUSIC INDEX
ACT ONE ACT TWO Aggiorna appena… ed eccoci (Chorus) Scene and Giulietta’s aria: Né alcun ritorna!... Oh! cruda / Morte io non temo, Recitative: O di Capellio generosi amici il sai… (Giulietta, Lorenzo, Capellio, (Tebaldo, Lorenzo, Capellio) Chorus) Tebaldo’s Cavatina: È serbata a questo Recitative: Qual turbamento io provo! acciaro (Tebaldo, Lorenzo, Capellio, (Capellio) Chorus) Scene and duet: Deserto è il loco. Di Carrying tradition Recitative: Vanne, Lorenzo; e tu che il Lorenzo in traccia (Romeo, Tebaldo) puoi, disponi (Tebaldo, Capellio) into the future. Duet: Stolto! A un sol mio grido (Romeo, Scene and Romeo’s Cavatina: Ma già ver Tebaldo, Chorus) noi s’avvia / Se Romeo t’ucccise un figlio (Romeo, Tebaldo, Capellio, Chorus) Finale Act Two: Siam giunti. Il ciel consenta (Giulietta, Romeo, Lorenzo, Scene and Giulietta’s Cavatina: Eccomi Capellio, Chorus) in lieta vesta / Oh! Quante volte, oh! quante (Giulietta) Recitative and duet: Propizio è l’ora / Sì fuggire: a noi non resta (Giulietta, Romeo) Finale Act One: Lieta Notte, avventurosa (Chorus) Recitative: Deh! Per pietà t’arresta (Romeo, Lorenzo) Qual tumulto! / Oh gioia estrema! Yamaha’s Brand New Range of Premium Piano (Giulietta, Romeo, Tebaldo, Lorenzo, At Yamaha, inspiration is born at the crossroads of tradition and innovation. In our SX Series premium Capellio, Chorus) grands, innovation comes in the form of A.R.E.-treated rims and newly designed hammers. These expand the piano’s tonal palette, giving warmth and depth. Whether in a conservatory or on a small stage, the SX offers a richly expressive sound that will inspire the player and beguile any audience. ON DISPLAY AT THE YAMAHA PREMIUM PIANO CENTRE
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10 BIOGRAPHIES
RICHARD MILLS CARLOS E. BARCENAS DAVID PARKIN TEDDY TAHU RHODES CAITLIN HULCUP JESSICA PRATT Conductor Tebaldo Capellio Lorenzo Romeo Giulietta Richard is one of Australia’s Born in Cali, Colombia, Winner of the Vienna Teddy has performed in Caitlin Hulcup has an Since her debut in the title most prolific and Carlos moved to Australia in State Opera Award and major houses throughout international career and her role of Donizetti’s Lucia internationally recognised 2007. He holds a Bachelor Lady Fairfax New York the USA and Europe repertoire features major di Lammermoor in 2007, composers. He pursues of Music Performance and Scholarship, among many including San Francisco, roles by Händel, Mozart, and Jessica has established a diverse career as a a Master of Music (Opera others, David Parkin has New York, Hamburg, Paris, Strauss. Since her European herself as one of the composer, conductor Performance) from the performed with Opera Vienna, Welsh National debut at Wiener Staatsoper world’s finest and most and artistic director, University of Melbourne Australia, Pinchgut Opera, Opera and Scottish Opera in 2004, she has performed sought-after interpreters and has an extensive where he was awarded the West Australian Opera, companies. at major opera houses of bel canto repertoire. discography of orchestral Keith G. Chapman Memorial State Opera of South including Bolshoi Theatre She has performed in 103 Roles include: Escamillo works including his own Scholarship. His roles for Australia, Melbourne and Moscow, Maggio Musicale productions for 78 different (Hamburg, Paris, Munich, compositions. He has held Victorian Opera include West Australian Symphony Fiorentino, Bayerisches organisations, in 70 cities Bilbao, Metropolitan Opera, numerous prestigious Steuermann (Der fliegende Orchestras and recently Staatsoper Munich and over 12 countries, including OA), Don Giovanni (OA, posts, and received many Holländer, Wagner), Edgardo for Sydney Opera House Royal Opera House London seasons at La Scala, La WA Opera), Scarpia (WA scholarships, fellowships (Lucia di Lammermoor, Trust as Henry Kissinger and in Australia, for WA Fenice, San Carlo, Covent Opera), Emille de bec/ and awards including Donizetti), Elvino (La (The Nixon Tapes). David’s Opera, Opera Queensland, Garden and The Met. South Pacific (OA) , King of an AM in 1999. He is Sonnambula, Bellini), Sir repertoire encompasses Pinchgut, SSO and the Siam/The King and I (OA), Jessica was awarded the currently Artistic Director Bruno (I Puritani, Bellini), Sarastro (The Magic Huntington Festival. Méphistophélès (OA, SOSA, prestigious international of Victorian Opera, and Arnold (William Tell, Rossini), Flute), Raimondo (Lucia di Caitlin recently performed WA Opera), Sweeney Todd prize for coloratura sopranos was Artistic Director of Flavio (Norma, Bellini), Lammermoor), Ramfis (Aida), Penelope (Il Ritorno d’Ulisse) (Victorian Opera/NZO). La Siola d’Oro in 2013, the West Australian Opera Gastone de Letorières (La Frate (Don Carlos), Basilio for Royal Opera, Idamante International Opera Award 1997 – 2012, Director traviata, Verdi), Prince April (Barber of Seville), Colline Teddy has been awarded (Idomeneo) TNSC Lisbon, for Best Soprano of the Year of the Australian Music (Sleeping Beauty, Respighi) (La bohème), Angelotti an ARIA, two Helpmann Micah (Samson) and Ravel in 2016 and was honoured Project for the Tasmanian and Ramiro (La Cenerentola, (Tosca), Commendatore Awards, a Limelight Award, Sheherazade. This year she with a signature dessert La Symphony Orchestra Rossini). Carlos received a (Don Giovanni), Sparafucile a Green Room Award plus a sings Mozart Requiem Dolce Jessica by Maggie Beer. 2002 – 2008 and Musica Green Room award for his (Rigoletto), Walter (Luisa MO Award. in Leipzig, Mahler 2 in Viva’s Composer of performance of Steuermann Miller), Ferrando (Il Singapore, and Beethoven Jessica returns to La Scala In 2018 Teddy released his the Year in 2008. This in Der fliegende Holländer. trovatore), Titurel (Parsifal) Symphony 9 / Ravel to perform in recital in May new CD, “I’ll Walk Beside year Richard conducts and the Requiems of Mozart Mallarmé Songs for the SSO. 2019. You” with ABC Classics. Victorian Opera’s and Verdi. Jessica Pratt’s appearance is BIOGRAPHIES William Tell, The Capulets generously supported by Hans and The Montagues, and and Petra Henkel. 12 Pelleas and Melisande. 13 Jessica Pratt Photo: Alessandro Moggi IN DEPTH
The Capulets and the Montagues the subject of much commentary and now as it was then, and the virtuosity of Hulcup to Victorian Opera. Caitlin has (I Capuleti e i Montecchi) was really the discussion, in print as well as verbally. the vocal lines still demands the finest a distinguished international career first major success for Bellini. It had bel canto singers to do them justice. (including London’s Royal Opera House Bellini jumped at this commission an extremely stressful birth, being The melodies display an uncannily and Munich’s Bayerisches Staatsoper) by the Fenice, for which he was the written in just six weeks because of perfect fusion of poetic and musical and is perfect for the ‘pants role’ of second choice (rare, in those days, for contractual arrangements surrounding impulse, absolutely perfected in later Romeo. composers who had had a ‘dud’). The the premiere at Teatro La Fenice in operas, but, nevertheless, of sufficient first choice was Giovanni Pacini, now In conclusion, a little anecdote. Venice in 1830. Bellini was just 29 years merit to render this work its place in more noted for some unremarkable old when he began work on this project the canon of the famous four – the Bellini’s teacher, Zingerelli, is keyboard music rather than operas, with librettist Felice Romani who also others being Norma, La Sonnambula documented as having told him: ‘If your despite writing 74 of them. Poor Bellini wrote the text for Norma, Il Pirata, and I Puritani –which have already been compositions “sing” your music will also contracted a heavy cold during Zaira, La Sonnambula and Beatrice di performed by Victorian Opera. So, this most certainly please… Therefore, if you the dark northern Italian winter days, Tenda. Unfortunately, a quarrel and a venture concludes our celebration of train your heart to give you melody, and struggled to finish the opera, misunderstanding prevented Romani the genius of Bellini, at least for the and then you set it forth as simply as appropriating sections from Zaira to from providing the text for Bellini’s last time being. possible, your success will be assured. help the project along and enable it to opera, I Puritani. You will become a composer. Otherwise be delivered on time. It has been a great pleasure to you will end up a good organist in some Romani was a man of culture and wide collaborate with one of the singers Romani based his text on Italian sources village.’ academic learning, and was appointed who deserves the title of prima donna rather than Shakespeare, most directly librettist for La Scala. He was learned assoluta – Jessica Pratt, now a veteran This is good advice for any composer on a play by Luigi Scevola written in Celtic and French literature but of both La Scala and the Met, as well at any time. It certainly was not lost on in 1818, which in turn was based on despite many proffered opportunities, as being able to bring other notable Bellini who, as ‘the Swan of Catania’, Italian Renaissance sources by Matteo he refused to work in France, preferring singers, such as Paolo Pecchioli, to lives in our affections now and, I Bandello and Luigi Da Porto from the the Italian milieu. He wrote over 100 Australia, and also to inculcate the suspect, for as long as we care about mid-1500s. The major elements of the libretti. traditions of fine lyric singing in our the genius of Italian opera. story are present: the warring families, company artists. The artistic growth of His previous collaboration with Bellini, the potion, the mix up, and the deaths tenor Carlos E. Bárcenas is substantially Zaira, was not successful and damaged in the tomb, though in the opera it is a result of such a collaboration. RICHARD MILLS Bellini’s standing in the fiercely not actually clear how Juliet meets her Artistic Director and Conductor This is a legacy of which Victorian competitive Italian opera industry of end, she just dies. Opera is very proud, and which has his day. This industry closely resembled But there were enough dramatic and gained international recognition, today’s Hollywood film industry, with lyrical elements in the libretto to inspire particularly through the streaming of powerful impresarios, a star system and Bellini to compose some extraordinary La Sonnambula on Opera Vision last lots of gossip and intrigue. A failure music. The dynamic lyricism of the very year. In this context, it is also a delight was a very public event and was always long melodic sections is as distinctive and a privilege to welcome Caitlin
16 17 ABOUT US
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