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Eklund Opera Program: the Marriage of Figaro, March 13-15, 2020

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Eklund Opera Program: the Marriage of Figaro, March 13-15, 2020 The Marriage of Figaro: March 13-15, 2020 March The Marriage of Figaro: The Marriage of Figaro An opera by Wolfgang Amadeus Mozart Stage Director Leigh Holman Music Director Nicholas Carthy Scenic Designer Peter Dean Beck Lighting Designer Peter Dean Beck Costume Designer Tom Robbins Costume Coordinator Ann Louise Piano Wig, Hair, Makeup Designer Sarah Opstad Demmon Technical Director Ron Mueller Choreographer Bud Coleman Production Stage Manager Christopher Denver Assistant Director Sarah Cain Opera TA Nnamdi Nwankwo Production Assistant Christie Conover This production will run approximately three PLEASE NOTE hours and 30 minutes, including a 15-minute • Photography and video recordings of any type intermission. are strictly prohibited during the performance. • Food is permitted in the seating areas of Macky ACKNOWLEDGEMENTS Auditorium but is prohibited in other campus • Costumes supplied by Harlequin Costume venues unless otherwise noted. Co., Winnipeg, Canada. • Smoking is not permitted anywhere. CU • Costumes originally designed in 2000 by Boulder is a smoke-free campus! retired CU Costume Designer Tom Robbins. #cupresents · @cupresents C-1 Cast ROLE FRIDAY/SUNDAY SATURDAY Count Almaviva Brandon (Tyler) Padgett Nnamdi Nwankwo Countess Almaviva Erin Hodgson Elza Picasso Susanna Linsey Duca Sabina Balsamo Figaro Dominic Aragon Erik Erlandson Cherubino Claire McCahan Casey Klopp Marcellina Kelly Riordan Natalie Simpson Basilio Thomas Bocchi David Starry Don Curzio David Starry Thomas Bocchi Bartolo Chance Lytle Chance Lytle Antonio Mack Rodgers Mack Rodgers Barbarina Elizabeth Bowersox Sophia Zervas Flower Maiden 1 / Chorus Helena Regan Helena Regan Flower Maiden 2 / Chorus Asha Romeo Asha Romeo Chorus Christian Atherton, Joseph Berrios, Shyanne Freeman, Anna Hansil, Kaisa Herrmann, Joy Johnson, Sabrina Lasica, Maija Pieper, Megan Pryor, Derek Russo, RJ Walters-Dorchuk Orchestra Violin Viola Flute Horn Ingrid Anderson Jaryn Danz Madison Hardick Natalie Miller * The Marriage of Figaro: March 13-15, 2020 March The Marriage of Figaro: Jackson Bailey * Tyler McKisson Mara Riley * Annika Ross Kimberly Bill Conrad Sclar * Maggie Brady Thomas Maeda Oboe Trumpet Megan Healy Brittany Bonner * Tristan Frank * Lindey Hoak Cello Sophia Oehlers Dartagnan Stephen Hannah Kennedy + Ethan Blake * Paul Kim Nicholas Johnson Clarinet Timpani Helena Schumann Jessica Lee Charles Burnside John Sevy Holly Sidney Matthew Wiest Gleyton Pinto * Natalie Smith Harpsichord continuo Kendalia Spencer Double bass Bassoon Nathália Kato Caitlin Stokes Justine Barrera Kristina Nelson * + Concertmaster Julia Taylor Jordan Walters * Kaitlin Zadow * Principal Synopsis Act I time guardian and suitor, enters the now empty Figaro, former barber of Seville, measures the room with his housekeeper, Marcellina. Since room in preparation for his marriage to Susanna. Marcellina was given promise of marriage from Both are in the service of Count Almaviva; after Figaro as collateral on a loan, Bartolo persuades Susanna warns Figaro that the Count has designs her to press charges (“La vendetta”). Marcellina on her, Figaro vows to outwit his master (“Se and Susanna exchange insults (“Via resti servita”). vuol ballare”). Dr. Bartolo, the Countess’ one Suddenly, the skirt-chasing page Cherubino C-2 · cupresents.org · 303-492-8008 The Marriage of Figaro: March 13-15, 2020 March The Marriage of Figaro: arrives, begging for Susanna’s protection from the “Riconosci in questo amplesso”). The Countess Count. After expressing his amorous enthusiasm dictates a note to Susanna, inviting the Count (“Non so più”), Cherubino hides when the Count to the garden (“Che soave zeffiretto”). Peasants enters to woo Susanna. Don Basilio appears, present flowers to their lady; among them is the forcing the Count to hide, later revealing himself disguised Cherubino, whom Antonio spots. The when Basilio hints that Cherubino has eyes for the Count is distracted by the wedding, and Susanna Countess. Figaro leads a group of fellow servants slips him the note, sealed with a pin. to salute the Count for abolishing the droit du seigneur (the custom granting local lords the first Act IV night with any bride among his servants). The The pin, intended to accompany the Count’s Count drafts Cherubino into his regiment, leaving reply, is lost by his messenger Barbarina (“L’ho Figaro to tease the boy mercilessly (“Non più perduta, me meschina”). Hurt by Susanna’s andrai”). “treachery,” Figaro gives Barbarina another pin, planning to ambush his bride with the Count. He Act II turns to Marcellina for comfort, and she consoles In her boudoir, the Countess laments the waning him. Figaro curses women (“Aprite un po”), and of her husband’s love (“Porgi, amor”) but plots to Susanna rhapsodizes on her love for Figaro, chasten him with Figaro and Susanna. Cherubino, without naming him (“Deh vieni”). Overhearing, disguised as Susanna, will meet with the Count. Figaro is heartbroken, assuming she means Cherubino serenades the Countess with a song the Count. Susanna and the Countess secretly of his own composition (“Voi che sapete”). exchange cloaks. In the darkness, both Cherubino Susanna leaves to find a ribbon; suddenly, the and the Count woo the Countess, thinking she’s Count knocks, furious to find the Countess’ door Susanna (“Pian, pianin leandrò più presso”). locked. Afraid and dressed in girl’s clothing, Figaro perceives the joke, getting even by wooing Cherubino hides in a closet. The Count hears the disguised Susanna. The Count sees Figaro a noise; the Countess insists it’s Susanna, but with, who he thinks is, his wife. The Count calls he isn’t convinced. The two leave in search of for his subjects to witness the betrayal, but is tools to force the lock. Eavesdropping, Susanna dumbstruck when the real Countess reveals the helps Cherubino escape out a window and truth. Granting the Count’s pleas for forgiveness enters the closet herself, baffling the Count and (“Contessa, perdono”), everyone rejoices. Countess upon their return. As the gardener, —Opera News Antonio, appears with crushed carnations, Figaro, announcing the wedding ceremony is ready, claims he jumped from window to flowerbed, Stage director’s note feigning injury. When the Count questions a By Leigh Holman paper found by Antonio, Figaro identifies it as It has been a joy to work with our CU students Cherubino’s commission, which requires sealing. on The Marriage of Figaro, one of the most Marcellina, Bartolo and Basilio burst in, revealing brilliant works in the operatic canon. It is a perfect Figaro’s loan contract, allowing the Count to gem. Figaro is a hilarious comedy and also a postpone the wedding. piece that tugs at your heart strings. For any woman that feels she is growing old and that (Intermission) her husband is no longer in love with her, it can Act III feel as devastating as any physical loss. So, our Countess, at age 22, finds herself. Her arias evoke Susanna promises the Count a rendezvous such longing and sadness. For over 230 years, (“Crudel! perchè finora”) but revives his suspicions this opera has spoken deeply to women through when he overhears her laughing with Figaro. its poignant music and text. Enraged, he vows revenge (“Vedrò mentr’io sospiro”). Alone, the Countess hopes to revive her Luckily, you are not in for a sad evening and this husband’s love (“Dove sono”). Marcellina demands is not a story about a victimized woman. Oh no! that Figaro pay his debt or marry her, only to find In fact, I would say this would be one of the best out he is her long-lost son by Bartolo; the parents examples of feminist opera in our repertoire. call off their suit, confounding the Count (sextet: Mozart’s women in le nozze di Figaro are strong! #cupresents · @cupresents C-3 The Countess is in fact the anchor of the entire about all the advantages of their future apartment piece. She is noble, good, playful and is not afraid in the castle, which is a present from the Count. to stick up for herself and put her husband in his But within a couple of minutes Susanna has place when she must. Susanna, who incidentally turned this relationship on its head and is telling has one of the longest soprano roles in the Figaro everything he doesn’t know about the repertoire, is crafty, smart and an obvious leader. disadvantages; above all, the room’s proximity She would have made a great CEO in 2020! Even to that of the Count, whose interest in Susanna Marcellina, who initially comes across as a mean, borders on the obsessional. bitter woman, changes after she finds her son. She becomes a loving mother to Figaro, embraces Beaumarchais’ play, on which da Ponte based her daughter-in-law and even joins forces with his libretto, was banned throughout the Habsburg the women when the men become insecure and Empire, its rulers considering it to be likely to bombastic. foment revolution. (The year was 1786 and the French revolution was a mere three years away.) I would have liked to have met this Mozart! To get the libretto past the royal censor, da Way beyond his years, he admired, not only the Ponte and Mozart were required to remove all physical beauty and sensuality of women, but it is revolutionary and subversive elements from the obvious that he respected and acknowledged their plot. strength, intelligence, compassion and nobility. What an important and relevant piece this is in our This, of course, they did not do. current time as we continue to try to navigate the battle of the sexes. All the elements of revolution that so exercised the censor are present in the opera, but they are much more subtly drawn. In the play, Figaro rails against Music director’s note his master, Count Almaviva, asking the audience By Nicholas Carthy why a man should have money, power, lands and the feudal right just because he was born to the The word genius is probably one of the most right woman.
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