Press Kit: the Barber of Seville

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Press Kit: The Barber of Seville

Press Release

José Maria Condemi Bio

Bryan Nies Bio

Synopsis

Images: Krassen Karagiozov (as Figaro in The Barber of Seville) José Maria Condemi (stage director) Bryan Nies (conductor)

News Release

Press contacts: Virginia Perry, 408.437.4463 or 650.799.1341 [email protected] Elizabeth Santana, 408.437.2229 [email protected]

FOR IMMEDIATE RELEASE: December 13, 2010

“Give Us More Barbers!” – Beethoven

The Barber of Seville Opera San José presents Rossini’s comic masterpiece

SAN JOSÉ, CA— Opera San José continues its 27th Season with Rossini’s delightful comic opera, The Barber of Seville. The charming tale of a clever young woman, her eager lover, and their resourceful accomplice, Figaro, The Barber of Seville is a tuneful testament to all that’s wonderful about fun and romance. Eight performances are scheduled from February 12 through 27 at the California Theatre, 345 South First Street in downtown San José. Tickets are on sale at the Opera San José Box Office, by phone at (408) 437-4450 or online at www.operasj.org. This production of The Barber of Seville is made possible, in part, by a Cultural Affairs Grant from the City of San José.

The madcap story unfolds fast and furious in 18th-century Seville, Spain. Young Rosina is a wealthy orphan and the ward of a grasping old codger, Dr. Bartolo, who is plotting to marry her not only for her beauty, but for her substantial dowry. However, Rosina has two things on her side: the handsome Count Almaviva, who has fallen in love with her, and the town barber, Figaro, her conniving accomplice, who through clever disguises and quick wit succeeds in securing victory for the young couple.

Composed thirty years after Mozart’s The Marriage of Figaro, The Barber of Seville is based on the first of French playwright Pierre Beaumarchais's trilogy of plays, Le Barbier de Séville (1775). With a libretto by Cesare Sterbini, Rossini’s masterpiece is full of effervescent music and never-ending wit. It contains some of the most popular music in opera, from the easily recognizable overture to the refrain “Figaro, Figaro, Figaro!” in the aria “Largo al factotum.” The Barber of Seville is the most admired of Rossini’s comedic works and according to Opera America, is in the top five operas performed in the United States.

Irene Dalis, General Director 2149 Paragon Drive David Rohrbaugh, Music Director San Jose, CA 95131-1312 Larry Hancock, General Manager Box office 408-437-4450; fax 408-437-4455 www.operasj.org; [email protected]

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Italian composer Gioachino Rossini (1792-1868) is highly regarded as one of the great opera composers of the 19th century. Rossini began his operatic career at the age of eighteen and would compose roughly forty operas, his last at the age of 37. His comedic operas The Barber of Seville, La Cenerentola, The Italian Girl in Algiers, and The Turk in Italy remain his most popular works, as well as Guillaume Tell (William Tell), primarily remembered for its famous overture. His serious operas are rarely performed today, as they require a vocal prowess that is rare.

Bryan Nies returns to Opera San José to conduct The Barber of Seville. Earlier this season he served as assistant conductor for the West Coast premiere of Carlson’s Anna Karenina. Previously, he conducted for Opera San José’s Eugene Onegin, and shared conducting duties for the company's productions of Manon, La rondine, Werther, The Barber of Seville (2006), The Crucible and A Masked Ball. Nies is the newly appointed director of opera and orchestra at San José State University as well as assistant conductor of the Oakland East Bay Symphony and the resident conductor of the Oakland Youth Orchestra. Ming Luke will conduct the February 24 and 27 performances. He made his company debut as assistant conductor for Eugene Onegin and was chorus master for Così fan tutte. Luke currently serves as assistant conductor for the Sacramento Philharmonic Orchestra, general director and conductor of the Napa Valley Youth Symphony, and chorus master of the Sacramento Opera, among others.

José Maria Condemi, who recently staged the highly acclaimed Madama Butterfly for San Francisco Opera, returns to Opera San José as stage director for The Barber of Seville. Condemi earned rave reviews for his stage direction of the company premiere of Puccini's La rondine last season. Previous directorial credits with Opera San José include The Magic Flute (2008), Don Pasquale (2003), and L'elisir d'amore (2000). Condemi is the artistic director for Opera Santa Barbara. His other directing venues include Lyric Opera Chicago, Canadian Opera Company, Seattle Opera, Cincinnati Opera, Portland Opera, Minnesota Opera, Austin Lyric Opera, Lake George Opera, Festival Opera, Western Opera Theater, and Houston Grand Opera.

The Barber of Seville is a revival of Opera San José’s 2006 production with original designs by Matthew Antaky (sets) and Cathleen Edwards (costumes). New for the 2011 production is lighting design by Kent Dorsey, and wig and makeup design by Jeanna Parham.

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Baritones Krassen Karagiozov and Adam Meza alternate in the role of the quick-witted barber of Seville, Figaro. Karagiozov is a third-year member of Opera San José’s resident company and recently appeared as Count Vronsky in Carlson’s Anna Karenina and Angelotti in Tosca. Other roles performed with the company include Lescaut (Manon), Dandini (La Cenerentola), Count Almaviva (The Marriage of Figaro), Rambaldo (La rondine), the title role of Eugene Onegin, Sgt. Belcore (The Elixir of Love), Guglielmo (Così fan tutte) and Escamillo (Carmen). Meza returns to Opera San José after appearing as De Brétigny in the company’s 2009 - 2010 production of Manon. He made his company debut as Morales (Carmen) during Opera San José's 2008 - 2009 season. He has performed extensively throughout the Bay Area including North Bay Opera, Livermore Valley Opera, Bay Area Summer Opera Theatre, West Bay Opera, Pocket Opera, Cinnabar Opera and the San Francisco Conservatory of Music.

Sharing the role of the plucky Rosina are mezzo-sopranos Betany Coffland and Cathleen Candia. Opera San José resident artist, Betany Coffland, appeared earlier this season as Dolly in the West Coast premiere of David Carlson’s Anna Karenina. Coffland joined the resident company during the 2008 - 2009 season, performing the roles of Olga (Eugene Onegin), Dorabella (Così fan tutte), and the title role in Carmen and last season, appeared as Javotte (Manon), Angelina (La Cenerentola), and Cherubino (The Marriage of Figaro). Candia made her Opera San José debut during the 2009 - 2010 season as Rosette (Manon) and Tisbe (La Cenerentola). A native of the San Francisco Bay Area, she made her professional debut singing the roles of Lola (Cavalleria Rusticana) and Grisette (Merry Widow) with West Bay Opera, and Third Lady (The Magic Flute) with the AIMS Festival Orchestra.

Tenors Michael Dailey and Chester Pidduck share the role of Rosina’s devoted young lover Count Almaviva. Dailey is in his third year as a member of Opera San José’s resident company and appeared earlier this season as Levin in Anna Karenina. Previous seasons have featured Dailey as Prunier (La rondine), Don Ramiro (La Cenerentola), Des Grieux (Manon), Don José (Carmen), Ferrando (Così fan tutte), Nemorino (The Elixir of Love), and Lensky (Eugene Onegin). Pidduck makes his company debut with The Barber of Seville. His recent performances include Rodolfo (La bohème) for Opera San Luis Obispo and Mission City Opera, and Remendado (Carmen) for the Mendocino Music Festival. For the San Francisco Opera's a la Carte program, he performed Tonio in The Daughter of the Regiment.

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Baritone Torlef Borsting and Bass Silas Elash alternate as Rosina’s infatuated and pompous guardian Dr. Bartolo. Both are members of Opera San José’s resident company and previously shared the role of Scarpia in Tosca. Borsting made his company debut this season as Alexei Vronksy, in Anna Karenina. His recent performances include Sharpless (Madama Butterfly) for Verismo Opera, Marcello (La bohème) for Pacific Repertory Opera, the Marquis (La traviata) for Sacramento Opera, and the 2nd Apprentice (Wozzeck) with Ensemble Parallèle in San Francisco. He has also performed with Berkeley Opera, West Bay Opera, Trinity Lyric Opera, Capitol Opera, Martinez Opera, and San Francisco Opera. Elash appeared last season as Rambaldo in La rondine, Bartolo in The Marriage of Figaro, Don Magnifico in La Cenerentola, and Count des Grieux in Manon. Previously, he performed the roles of Zuniga in Carmen, Dr. Dulcamara in The Elixir of Love, and Prince Gremin in Eugene Onegin. Mr. Elash was a finalist in the Fourth Annual Irene Dalis Vocal Competition, and was the recipient of the Wagner Society of Northern California Award.

About Opera San José Opera San José, performing at the historic California Theatre in downtown San José, is a professional, regional opera company that is unique in the United States. Maintaining a resident company of principal artists, Opera San José specializes in showcasing the finest young professional singers in the nation. In addition to mainstage performances, Opera San José maintains extensive educational programs in schools and in the community at large, and offers Preview lectures and Introduction to Opera talks for all mainstage productions.

The Barber of Seville Opera San José presents Rossini’s comic masterpiece

In Italian with English Supertitles

Cast: February 12, 15, 20, 26 February 13, 18, 24, 27 Rosina Betany Coffland• Cathleen Candia Count Almaviva Michael Dailey• Chester Pidduck† Figaro Krassen Karagiozov• Adam Meza Basilio Isaiah Musik-Ayala• Paul Murray Dr. Bartolo Silas Elash• Torlef Borsting• Berta Tori Grayum Kindra Scharich Fiorello Anders Froehlich† Anders Froehlich†

• Resident Company † Company debut

Opera San José presents Rossini’s The Barber of Seville 5-5-5-5-5-5-5-5

What: Opera San José continues its 27th Anniversary Season with Rossini’s delightful comic opera, The Barber of Seville. The charming tale of a clever young woman, her eager lover, and their resourceful accomplice, Figaro, The Barber of Seville is a tuneful testament to all that’s wonderful about fun and romance. Eight performances are scheduled from February 12 through 27 at the California Theatre, 345 South First Street in downtown San José. Tickets are on sale at the Opera San José Box Office, by phone at (408) 437-4450 or online at www.operasj.org. The Barber of Seville is made possible, in part, by a Cultural Affairs Grant from the City of San José.

Who: Composer: Gioachino Rossini Libretto: Cesare Sterbini, based on Le Barbier de Séville by Beaumarchais Conductors: Bryan Nies, Ming Luke (2 performances- February 24 and 27, 2011) Stage director: José Maria Condemi Chorus master: David Kurtenbach Designers: Matthew Antaky (sets); Cathleen Edwards (costumes); Kent Dorsey (lighting); Jeanna Parham (wigs/makeup)

Dates: February 12, 13m, 15, 18, 20m, 24, 26, 27m; 2011

Time: “m” indicates matinee at 3pm; all other performances are at 8pm

Location: California Theatre, 345 South First Street between San Carlos and San Salvador streets, downtown San José

Tickets: $51–$101 (includes city facility usage fee) from Opera San José Box Office, 2149 Paragon Dr., San José, CA 95131; 408-437-4450; 408-437-4455 fax; www.operasj.org Available 90 minutes prior to curtain at the California Theatre box office only: Seniors (65 and older) 10% discount; Students 25 and younger (with student ID) $11

Photos: http://www.operasj.org/barberhires.html

Press Room: http://www.operasj.org/pressroom.html

To learn more about The Barber of Seville, please visit www.operasj.org and consider these opportunities:

The Barber of Seville Preview/Panel Discussion: February 1, 12 noon, Dr. Martin Luther King, Jr. Library, 150 E Fernando Street, downtown San José. Free vocal preview with members of the cast, followed by a panel discussion with members of the creative team. For information, call 408-437-4450. The Barber of Seville Preview/Lecture: February 1, San Jose Woman’s Club, 75 South 11th Street, downtown San José. Doors open at 6:30pm for wine and light hors d’oeuvres; program 7-8pm. Vocal preview with members of the cast, followed by a lecture by general manager, Larry Hancock. For tickets ($25), call 408-437-4450.

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Introduction to Opera: Before each performance (except opening night), general manager, Larry Hancock, will present a free 45-minute talk about the opera at the California Theatre, beginning at 6:30pm prior to evening performances and at 1:30pm prior to Sunday matinees. No reservations required. Opening Night Dinner: A three-course dinner with a performance by a resident artist for Opera San José patrons before the opening night performance on Saturday, February 12. Eulipia Restaurant, 374 South First Street, downtown San José. $60 per person for a three-course dinner. For menu and reservations, call the Opera San José Box Office at 408-437-4450. Meet the Artists: Meet members of the cast, the stage director, and the conductor immediately after the close of the opening Sunday matinee, February 13, at the California Theatre. Free for matinee attendees. Amici Night: February 24. Members of Opera San José’s Amici Club (young professionals 35 and younger) are invited to the VIP Lounge at the California Theatre for wine and light hors d’ oeuvres at 7pm, prior to attending the 8pm performance.

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José Maria Condemi Stage Director – The Barber of Seville

Earning rave reviews for his stage direction of the company premiere of Puccini's La Rondine last season, José Maria Condemi returns to Opera San José to direct The Barber of Seville. Mr. Condemi's previous directorial credits with the company include The Magic Flute (2008), Don Pasquale (2003) and L'elisir d'amore (2000). Other recent directing engagements for Mr. Condemi include his directorial debut with the Lyric Opera of Chicago directing Deborah Voigt in their 08/09 season production of Tristan und Isolde, Il barbiere di Siviglia (Lake George Opera), Falstaff (Associate Director for Houston Grand Opera), Così fan tutte (San Francisco Opera), Il trovatore (Austin Lyric Opera), Don Giovanni (Portland Opera), Un Ballo in Maschera (Revival Director, Teatro Carlo Felice, Genova) and La bohème (a new production for Seattle Opera). Upcoming 2009 - 2010 engagements include a new production of Ernani for Lyric Opera of Chicago and Il trovatore for Seattle Opera.

Mr. Condemi is a former Adler Fellow of the San Francisco Opera. He has directed to critical acclaim, Puccini's Suor Angelica, Gianni Schicchi and La bohème for the San Francisco Opera Center. Other notable opera productions include a new production of Maria Padilla for the Minnesota Opera, Don Giovanni for the Cincinnati Opera, Così fan tutte for the Seattle Opera Young Artist Program, La Cenerentola with Bay Shore Lyric Opera, Susannah and Roméo et Juliette with Festival Opera, and Un Ballo in Maschera for the Canadian Opera Company. For the Western Opera Theater he directed national tours of Die Fledermaus and Don Giovanni and Poulenc's Les Mamelles de Tiresias, a production which earned him the first prize in the 2000 USA National Opera Association competition.

Condemi is actively involved in the development of new works such as the world premiere of Hector Armienta’s River of Women that he directed at Theater Artaud in San Francisco. He recently directed the world premiere workshop performance of the San Francisco Opera- commissioned piece Earthrise by 2000 Pulitzer Prize Lewis Spratlan. His theater credits include Caryl Churchill's Mad Forest, Dürrenmatt's The Physicists and Lorca's The House of Bernarda Alba.

A Fulbright Scholar from 1998 until 2000, Mr. Condemi is a recipient of the Argentina National Fund for the Arts Awards. He received his undergraduate degree in Opera Stage Direction at the Teatro Colón (Buenos Aires) and completed a Master of Fine Arts in Directing at the University of Cincinnati College Conservatory of Music.

Bryan Nies Guest Conductor – The Barber of Seville

Bryan Nies returns during the 2010 - 2011 season as conductor for The Barber of Seville and as assistant conductor in Anna Karenina. Mr. Nies previously served as conductor for OSJ's production of Eugene Onegin, and shared conducting duties for the company's productions of Manon, La rondine, Werther, The Barber of Seville, The Crucible and A Masked Ball.

Mr. Nies is currently the Bruno Walter Memorial Foundation Assistant Conductor of the Oakland East Bay Symphony and the Resident Conductor of the Oakland Youth Orchestra, which he recently led on a tour of Australia and New Zealand during the orchestra's 40th season. In addition, he has conducted performances for Festival Opera in Walnut Creek and Opera Idaho, and is the founding conductor of the Oakland Chamber Ensemble.

Pursuing an avid interest in all musical genres, Mr. Nies recently conducted performances for the grand re-opening of the Castro Valley Arts Center, has been an associate musical director with the American Musical Theater of San Jose and Theatreworks, in Palo Alto, and teaches the musical theater workshop at the San Francisco Conservatory of Music.

In 2002, Mr. Nies received a Leonard Bernstein Fellowship to participate as a conductor at the Tanglewood Music Center. He received his Masters degree in Orchestral Conducting from the Peabody Conservatory, and served as assistant conductor of the Peabody Camerata. He also holds a B.M. in piano performance and a B.A. in Psychology from Northwestern University.

The Barber of Seville Synopsis

Act I, Scene 1 During a visit to Seville, Count Almaviva has glimpsed a beautiful girl, Rosina, and has resolved to win her. Rosina, however, is kept a virtual prisoner in the house of her guardian, Dr. Bartolo, who wants to marry her himself. One night, Almaviva comes with a band of musicians to serenade his lady beneath her balcony (Ecco ridente in cielo, “There, laughing in the sky”). When she fails to answer his song, he pays off his accompanists, who thank him profusely. He hides as the barber Figaro bounds in, boasting of his busy life as a jack‐of‐all‐ trades (Largo al factotum della città, “Make way for the factotum of the city”). When Almaviva steps forward, Figaro recognizes him; the barber, currently in Bartolo’s employ, promises to help Almaviva win Rosina’s heart. No sooner has Bartolo hobbled from the house to arrange his marriage with Rosina than Almaviva launches into a second serenade to the girl, describing himself as Lindoro, a poor creature who can offer nothing but love (Se il mio nome saper voi bramate, “If my name you claim to know”). Peeking over the balcony, Rosina replies she will take him as he is, but suddenly someone pulls her inside. Figaro suggests that Almaviva disguise himself as a drunken soldier to gain access to the house; as Almaviva dwells on his love, the barber happily anticipates his own reward from the count (All’ida di quel metallo, “At the idea of that metal”).

Act I, Scene 2 Alone in the house, Rosina muses on Almaviva’s voice, which has touched her heart (Una voce poco fa, “A voice just now”). She resolves to oppose Bartolo by a thousand tricks so as to have her way. Figaro joins her briefly, but they scurry away on hearing footsteps. Bartolo enters, soon joined by the music master Basilio, who announces that Almaviva is a rival for Rosina’s hand and suggests slandering the count’s reputation (La calunnia è un venticello, “Calumny is a little breeze”). Bartolo agrees, but Figaro overhears the plot. Warning Rosina that Bartolo plans to marry her the following day, the barber promises to deliver a note she has written to Lindoro (Dunque io son…tu non m’inganni?, “Then I’m the one…you’re not fooling me?”). Rosina, left alone with Bartolo, is subjected to his suspicious interrogations and pompous boast that he is too clever to be outwitted by her ruses (A un dottor della mia sorte, “To a doctor of my class”). Berta, the maid, goes to the door in answer to violent knocking; she returns with Almaviva, who is disguised as a drunken soldier in search of a night’s lodging. During a long argument with Bartolo, whose name he pretends not to grasp, Almaviva gives a love letter to Rosina; when Bartolo demands to see the paper, the girl cleverly substitutes a laundry list. Figaro dashes in to warn that a crowd has gathered in the street, attracted by the hubbub within. He is too late; the police arrive to silence the disturbance. As the confused officer in charge is about to arrest Almaviva, the count shows his true identity and is released. Rosina, Berta, Bartolo, and Basilio are all stupefied by this turn of events (Fredda ed immobile, “Cold and unmoving”).

Act II Pleased with himself for getting rid of Almaviva, Bartolo admits to the house a young music teacher, ‘Don Alonso’ (Almaviva in a new disguise), who claims to be a substitute for the ailing Basilio. Rosina enters, and quickly recognizing her suitor, begins her singing lesson as Bartolo falls asleep in his chair. Figaro arrives to shave the doctor; when he goes to get his utensils in the next room, breaking several of Bartolo’s best pieces of china in the process, he steals the key to the balcony window. Basilio now comes in, looking the picture of health. Bribed by Almaviva, however, the music teacher feigns illness, and after an elaborate sendoff (Buona sera, mio signore, “Good evening, good Sir”), he departs. Figaro shaves Bartolo while Almaviva and Rosina plan their elopement that night. The lovers are overheard by the suspicious doctor, who drives Figaro and Almaviva from the house, and Rosina to her room. He then sends a servant to fetch Basilio. Berta, unnerved by all the confusion, complains about the madness of love (Il vecchiotto cerca moglie, “The old fool seeks a wife”).

Bartolo dispatches Basilio to get a notary and then tricks Rosina into believing that “Lindoro” is really one of Almaviva’s flunkies. After a violent thunderstorm during which the room is deserted, the count climbs through a window with Figaro to abduct Rosina. At first the girl rebuffs her ‘Lindoro,’ but when he explains that Lindoro and Almaviva are one and the same, she falls joyously into his arms (Ah! qual colpo inaspettato!, “Ah, what unexpected bliss!”). Figaro urges haste; before they can leave, however, their ladder is taken away. Suddenly, Basilio enters with the notary. Though summoned to wed Rosina and Bartolo, the official is instructed to marry her instead to Almaviva, who bribes Basilio. Rushing in too late, Bartolo finds his ward already married, and he admits he has been a fool; he is consoled, however, when the count gives him Rosina’s dowry. With the others, he agrees that “all’s well that ends well” (Amore e fede eterna, “Love and eternal faith”). 