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Così Fan Tutte at Seattle Opera

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Così Fan Tutte at Seattle Opera mozart COSÌ FAN TUTTE B:8.625” T:8.375” S:7.375” C M Y K BELLEVUE SQUARE T:10.875” S:9.875” B:11.125” COME TOGETHER EAP full-page template.indd 1 11/10/17 11:53 AM 309485bar01_SeattleSymphy df PUBLICATION BACK COVER UNIT/SIZE PAGE INSERTION DATE 12.03 DOCUMENT NAME: BRSP17DE_ADV_SEATTLESYMPHONY_AD.INDD PRODUCTION ARTIST: PIERXE LUONG FILE PATH: ...NTOSH HD:USERS:PI17943:BOX SYNC:PIERXES_PROJECTS:ADVERTISING:BRSP17DE_ADV_SEATTLESYMPHONY_AD.INDD DESIGNER: SARASVATI MUNOZ BLEED: 8.625” X 11.125” LASER SCALE: NONE COPY/PROOF READ: STEPHANIE DAVILA TRIM: 8.375” X 10.875” LAST MODIFED: 11-6-2017 5:21 PM ACCOUNT MANAGER: DAVID PRETZOLD LIVE: 7.375” X 9.875” MODIFED BY: PIERXE LUONG PRINT PRODUCTION: MARY AGRESTA GUTTER: NONE DUE TO PUB: NONE PROJECT MANAGER: STEPHANIE MONRAD SCALE: 100% IMAGE CODE: 17HO461_17_75260009_R4_QC.TIF FONTS: FUTURA LT BT (LIGHT), TFARROWMEDIUM (REGULAR) COLORS: CYAN DIE LINE/NOTES MAGENTA YELLOW BLACK PACIFIC DIGITAL IMAGE • 333 Broadway, San Francisco CA 94133 • 415.274.7234 • www.pacdigital.com Filename: 309485bar01_SeattleSymphy.pdf_w Operator:SpoolServer Time:15:13:15 Colors: Cyan, Magenta, Yellow, Black Date:17-11-08 NOTE TO RECIPIENT: This file is processed using a Prinergy Workflow System with an Adobe Postscript Level 3 RIP. The resultant PDF contains traps and overprints. Please ensure that any post-processing used to produce these files supports this functionality. To correctly view these files in Acrobat, please ensure that Output Preview (Separation Preview in earlier versions than 7.x) and Overprint Preview are enabled. If the files are re-processed and these aspects are ignored, the traps and/or overprints may not be interpreted correctly and incorrect reproduction may result. Please contact Pacific Digital Image with any questions or concerns. COSÌ FAN TUTTE VOLUME 42 ISSUE 3 14 THE MATCH MADE IN...? Production Essentials By Jessica Murphy Moo 8 2017/18 Production Sponsors 9 The Cast of Così fan tutte 10 The Story of Così fan tutte 16 MEN AND WOMEN, MUSIC AND WORDS 11 Artists By Lucy Caplan 13 Chorus 13 Supernumeraries 13 Orchestra 21 OUR NEW YEAR’S RESOLUTION By Barbara Lynne Jamison, Departments Director of Programs and Partnerships 5 From the General Director 6 Board of Directors 40 SEATTLE OPERA GALA 7 From the President 7 Service Directory 18 Seattle Opera Staff 19 Staff Chat 20 Direct Sales 20 Education and Community Program Sponsors 22 Individual Donors 33 Institutional Donors 33 In-Kind Sponsors 33 Volunteer Fundraising 34 Seattle Opera Foundation 35 Leadership and Producer’s Circles 36 Seattle Opera at the Center Seattle Opera 39 Amusements Editor Contributing Editors Jessica Murphy Moo Mary Brazeau 39 Online at Seattleopera.org Jonathan Dean Graphic Design 41 Next Up at Seattle Opera Kelly Hamilton Colglazier Ed Hawkins David McDade 42 Upcoming Events Marcella Morrow Cover Image: © Philip Newton Seattle Opera is now offering large-print and Braille versions of this program. Please see coat check for details. Così fan tutte 3 January 2018 Volume 42, No. 3 Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, Stevie VanBronkhorst Production Artists and Graphic Design Mike Hathaway Sales Director Brieanna Bright, Joey Chapman, Ann Manning Seattle Area Account Executives Amelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Carol Yip Sales Coordinator Leah Baltus Editor-in-Chief Andy Fife Publisher Dan Paulus MUCH ADO Art Director Gemma Wilson, Jonathan Zwickel Senior Editors Amanda Manitach ABOUT Visual Arts Editor SHAKESPEARE beatrice & benedict Paul Heppner President Mike Hathaway MUSIC BY HECTOR BERLIOZ Vice President Genay Genereux CONDUCTED BY LUDOVIC MORLOT Accounting & Office Manager Photo © Philip © NewtonPhoto Sara Keats Marketing Manager Shaun Swick SEATTLE OPERA PREMIERE! FEB. 24−MAR. 10 Senior Designer & Digital Lead Don’t miss this exciting adaptation of Much MCCAW HALL Barry Johnson Ado About Nothing—the classic comedy of Digital Engagement Specialist overheard confessions, tender reconciliation, In English with English subtitles. Evenings 7:30 PM Ciara Caya and plenty of witty banter. Hector Berlioz’s Customer Service Representative & Sunday 2:00 PM exuberant score is paired with sung and Administrative Assistant spoken English text, including Shakespeare’s Corporate Office original dialogue. This one-of-a-kind TICKETS FROM $25! 425 North 85th Street Seattle, WA 98103 206.389.7676 p 206.443.0445 f 206.443.1246 theatrical hybrid, staged by ACT Theatre’s [email protected] Artistic Director John Langs, features world- SEATTLEOPERA.ORG 800.308.2898 x105 www.encoremediagroup.com class opera singers, favorite local actors, full PRODUCTION SPONSORS: chorus, and 55-piece orchestra conducted by NESHOLM FAMILY FOUNDATION Encore Arts Programs is published monthly by Encore Media MARKS FAMILY FOUNDATION Group to serve musical and theatrical events in the Puget Seattle Symphony’s Ludovic Morlot. OFFICE OF ARTS & CULTURE | SEATTLE Sound and San Francisco Bay Areas. ©2018 Encore Media Group. All rights reserved. Reproduction without written consent of Seattle Opera and Encore Media Group is prohibited. 4 Seattle Opera 2017/18 Season FROM THE GENERAL DIRECTOR Welcome to this Seattle Opera production of Così fan tutte. This great Mozart comedy is so beloved and so frequently produced that it’s easy to assume it took hold in the operatic canon from the moment of its world premiere in 1790. But Così had many twists and turns in its path to Seattle today. An initial obstacle was the period of national mourning for the passing of Austrian Emporer Joseph II, which abruptly halted the opera’s first run of performances. Mozart would only live to see it five more times, and after his death, the piece fell into a period of neglect. The second obstacle came from those delicate nineteenth-century sensibilities— © RICK DAHMS the opera was considered to be vulgar and distasteful, with a subject matter that was unworthy of Mozart. As a consequence it was either performed in heavily doctored versions, often with a completely new libretto grafted onto Mozart’s music, or else ignored. In addition to its perceived immorality and its inherent misogyny, there was yet another obstacle in the story of Così for early audiences. Its plot is an experiment in human psychology, and this is a quintessentially eighteenth-century idea, an expression of the Enlightenment, which held the view that love and human emotion could be subjected to scientific analysis. With the arrival of the Romantic movement, this view simply became outdated. Ultimately, Così didn’t make it back into circulation until well into the twentieth century. What the performance history of Così shows us is that art is not static and rooted in the time of its creation; on the contrary, it is dynamic and subject to a continual process of re- evaluation according to the social mores of its audience. This particular production of Così by Jonathan Miller illustrates this point perfectly. Although first seen by Seattle Opera in 2006, it was originally created in London a decade earlier, and has since been seen all around the world. But rather than being “revived” at each outing, the production receives new costumes—here by Cynthia Savage—and reflects thoughts on the piece that are both current and pertinent to the city presenting it. This approach chimes happily with the way that Seattle Opera sees itself as an integral part of the fabric of this city. Our new opera center, which is rising so rapidly behind McCaw Hall, is an obvious symbol of this civic duty; but our work extends much further than the confines of the McCaw auditorium. On February 2 and 3 at the Cornish Playhouse, more than eighty young performers will tread the boards, many for the very first time, in our Youth Opera for families, Robin Hood. Just as in its time Così fan tutte was a contemporary take on a very old story, so our youth opera gives a new look to an age-old tale, which reflects the needs and sensibilities of our life today. If most of the performers in Robin Hood will be new to you, the same may well be true of the artists in Così fan tutte. Of our ten soloists, six are making their Seattle Opera debuts with this production, along with our conductor, Paul Daniel. Of all operas, Così fan tutte is probably the one that is most dependent on the chemistry of its performers for its final effect, and no two productions are ever the same. It is an endlessly intriguing and often contradictory work that is ripe for interpretation, and I greatly look forward to seeing how our 2018 version plays out. Così fan tutte 5 CANTUS Thursday, Feb. 15 BOARD OF 7:30 pm | $19–$49 Vocal ensemble Cantus is widely known for its trademark warmth and DIRECTORS blend as well as innovative programming. At its heart, Discovery of Sight revels in 2017/18 Season the mystery, science, and poetry of what it means to truly “see.” HARLEM QUARTET & ALDO LÓPEZ-GAVILÁN Thursday, Mar. 8 Chairman Treasurer 7:30 pm | $19–$49 Representatives to the Board John F. Nesholm John Starbard Cuban piano prodigy Aldo Gayle Charlesworth, Seattle Opera Guild López-Gavilán joins the President Secretary Gail Neil, Seattle Opera Chorus Harlem Quartet in this dynamic cross-cultural collaboration. The program will consist of Brian Marks Milkana Brace Eoin Hudson, BRAVO! Latin jazz and classical repertoire, as well as Immediate Past Eric Jacobs, The Seattle Symphony and Opera original compositions by Mr. López-Gavilán. President Players’ Association THE MYSTICAL Maryanne Tagney ARTS OF TIBET Seattle Opera Foundation Thursday, May 11 Vice Presidents Jeffrey Hanna, Brian Marks, 7:30 pm | $15–$44 President ex officio Brenda Bruns, M.D. Jonathan Rosoff As part of a 5-day ECA Charles B.
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