DOCSLIB.ORG

LIBRETO | Werther

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LIBRETO | Werther LIBRETO | Werther Drame lyrique en quatre actes Drame lyrique en cuatro actos Livret: Libreto: Édouard Blau, Paul Milliet, Georges Hartmann Édouard Blau, Paul Milliet, Georges Hartmann Musique: Música: Jules Massenet Jules Massenet Création: Estreno: 16 février 1892, Hofoper, Vienne 16 febrero 1892, Hofoper, Viena Personnages: Personajes: Werther, jeune poete Werther, joven poeta Tenor Tenor Albert, fiancé de Charlotte Albert, prometido de Charlotte Baryton Barítono Le Bailli El Magistrado Baryton Barítono Charlotte, fille aînée du bailli Charlotte, hija mayor del magistrado Mezzo-soprano Mezzosoprano Sophie, sa soeur Sophie, su hermana Soprano Soprano Schmidt, ami du bailli Schmidt, amigo del magistrado Tenor Tenor Johann, ami du bailli Johann, amigo del magistrado Basse Bajo Brühlmann, jeune homme Brühlmann, muchacho Tenor Tenor Käthchen, jeune fille Käthchen, muchacha Mezzo-soprano Mezzosoprano Fritz, Max, Hans, Karl, Gretel, Clara, Fritz, Max, Hans, Karl, Gretel, Clara, enfants du bailli (sopranos enfants) hijos del magistrado (niños soprano) LIBRETO | Werther Prélude Preludio Acte I Acto primero La Maison du Bailli (Juillet 178...) La casa del Magistrado. (Julio de 178…) A gauche, la maison à large baie vitrée, A la izquierda se ve la casa, avec une terrasse praticable, con una gran ventana cristalera, couverte de feuillages, précédée d’un escalier con terraza cubierta de plantas en bois. A droite, le jardin. Au fond, y precedida por una escalera de madera. une petite porte à claire voie. Au loin, A la derecha el jardín. les maisons du bourg et la campagne. Al fondo, una pequeña puerta que deja pasar la luz. Au premier plan, une fontaine. A lo lejos se ven las casas del pueblo y la campiña. Au lever du rideau, le Bailli est assis En primer plano hay una fuente. Cuando se alza sur la terrasse, au milieu de ses six enfants el telón, se ve al Magistrado sentado en la terraza, qu’il fait chanter. Le rideau se lève rodeado por seis niños a los que hace cantar. sur un grand éclat de rire, El telón sube mientras se oye très prolongé des Enfants. una buena carcajada de los niños. LE BAILLI EL MAGISTRADO (grondant) (refunfuñando) Assez! Assez! ¡Basta! ¡Basta! M’écoutera-t-on cette fois? ¿Me vais a escuchar ahora o qué? Recommençons! recommençons! ¡Empezamos otra vez! ¡Otra vez! Surtout pas trop de voix! pas trop de voix! ¡Y sobre todo, con menos voz! LES ENFANTS LOS NIÑOS (chantant avec brusquerie, (cantando con grosería, très fort et sans nuances) muy alto y desafinando) Noël! Noël! Noël! ¡Navidad! ¡Navidad! ¡Navidad! Jésus vient de naître, Jesús ha nacido, Voici notre divin maître... he aquí nuestro divino Maestro... P á g i n a | 1 LIBRETO | Werther LE BAILLI EL MAGISTRADO (se fâchant) (se enfada) Mais non! ce n’est pas ça! ¡No! ¡Así no! Non! Non! ce n’est pas ça! ¡No! ¡No es así! (sévèrement) (con severidad) Osez-vous chanter de la sorte ¿Os atrevéis a cantar así de mal Quand votre sœur Charlotte est là! estando aquí vuestra hermana Charlotte? Elle doit tout entendre au travers de la porte! ¡Os debe estar oyendo a través de la puerta! Les Enfants ont paru tout émus, Los niños callan, muy emocionados, au nom de Charlotte: ils reprennent le Noël al oír nombrar a Charlotte: vuelven a cantar, avec gravité. esta vez con más seriedad. LES ENFANTS LOS NIÑOS Noël! Noël! ¡Navidad! ¡Navidad! LE BAILLI EL MAGISTRADO (avec satisfaction) (satisfecho) C’est bien! C’est bien! ¡Bien, bien! LES ENFANTS LOS NIÑOS Jésus vient de naître Jesús ha nacido. Voici notre divin maître ¡He aquí nuestro divino Maestro, Rois et bergers d’Israël! reyes y pastores de Israel! Dans le firmament En el firmamento Des anges gardiens fidèles fieles ángeles guardianes Ont ouvert grandes leurs ailes han desplegado sus alas Et s’en vont partout chantant: Noël! y cantan por doquier: ¡Navidad! LES ENFANTS ET LE BAILLI EL MAGISTRADO Y LOS NIÑOS Noël! ¡Navidad! Johann et Schmidt qui s’étaient arrêtés Johann y Schmidt, que se habían detenido à la porte du jardin pour écouter ante la puerta del jardín para escuchar le chœur d’enfants derrière la haie, el coro de niños tras el seto, sont entrés dans la cour. entran en el patio. P á g i n a | 2 LIBRETO | Werther JOHANN JOHANN Bravo pour Les Enfants! ¡Bravo esos niños! SCHMIDT SCHMIDT Bravo pour le couplet! ¡Bravo ese villancico! LES ENFANTS LOS NIÑOS (accourant joyeusement) (rodeándolos alegremente) Ah! monsieur Schmidt! ¡Señor Schmidt! Ah! monsieur Johann! ¡Señor Johann! Schmidt et Johann embrassent Les Enfants Schmidt y Johann abrazan a los niños et les félicitent. y los felicitan. JOHANN JOHANN (au Bailli) (al Magistrado) Eh! mais, j’y pense vous chantez Noël en Juillet. Aunque, estáis cantando a la Navidad en julio. Bailli, c’est s’y prendre à l’avance! Señor Magistrado, eso sí que es tomárselo con tiempo. LE BAILLI EL MAGISTRADO (qui est descendu et serre la main à ses amis) (que ya ha bajado, le da la mano a sus amigos) Cela te fait rire, Johann! ¡Eso te hace gracia, Johann! Mais quoi? Pero, ¡qué le vamos a hacer!, Tout le monde n’est pas artiste comme toi. no todo el mundo es artista como tú. Et ce ne sont point bagatelles y no es cosa baladí Que d’apprendre le chant esto de enseñar a cantar… (avec importance) (con importancia) le chant! à ces jeunes cervelles! ¡A cantar!, a estos jovenzuelos. SCHMIDT SCHMIDT (à Sophie qui vient d’entrer) (a Sophie, que acaba de entrar) Bonjour, Sophie! ¡Buenos días, Sophie! Eh! Eh! Charlotte n’est pas loin... Charlotte no estará lejos… P á g i n a | 3 LIBRETO | Werther SOPHIE SOPHIE (lui faisant une révérence) (haciéndole una reverencia) En effet, monsieur Schmidt! ¡En efecto, señor Schmidt! puisque nous prenons soin, Porque Charlotte y yo Charlotte et moi, de la famille. cuidamos de la familia. JOHANN JOHANN (au Bailli) (al Magistrado) Hein, le superbe temps! Qué buen día hace, ¿verdad? Viens-tu? ¿Viene usted? LE BAILLI EL MAGISTRADO (à Johann) (a Johann) Dans un instant. Acudo en un momento. SOPHIE SOPHIE (à Johann, continuant la conversation) (a Johann, continuando con la conversación) Ma sœur s’habille pour le bal... Mi hermana se está vistiendo para el baile... LE BAILLI EL MAGISTRADO (à Schmidt) (a Schmidt) Oui, ce bal d’amis et de parents Sí, el baile de amigos y parientes Que l’on donne à Wetzlar. que celebran en Wetzlar. On vient prendre Charlotte. Vienen a recoger a Charlotte. SCHMIDT SCHMIDT C’est donc cela! ¡Ah, era eso! Koffel a mis sa redingote, Koffel lleva su levita, Steiner a retenu le cheval du brasseur, Steiner lleva el caballo del cervecero; Hoffmann a sa calèche et Goulden sa berline; Hoffmann su calesa y Goulden su berlina; enfin, monsieur Werther en fin, el señor Werther m’a paru moins rêveur! me ha parecido menos soñador. LE BAILLI EL MAGISTRADO (à ses deux amis) (a sus dos amigos) Fort bien, ce jeune homme. Un joven bien formado. P á g i n a | 4 LIBRETO | Werther JOHANN JOHANN Oui; mais pas fort en cuisine... Sí, pero algo flojo en cocina. LE BAILLI EL MAGISTRADO (insistant) (insistente) Il est instruit... très distingué... Instruido... y muy distinguido... SCHMIDT SCHMIDT (vivement) (vivamente) Un peu mélancolique... Algo melancólico... JOHANN JOHANN Ah! certes! jamais gai! Ah, cierto, nunca está contento. LE BAILLI EL MAGISTRADO (poursuivant son idée) (persevera en su idea) Le Prince lui promet, dit-on, une ambassade, Se dice que el Príncipe le promete una embajada, Il l’estime et lui veut du bien... él lo aprecia y le tiene mucha estima. JOHANN JOHANN (avec mépris) (con desprecio) Un diplomate! ¡Un diplomático! Bah! ça ne vaut rien à table! ¡Eso no vale para nada en la mesa! SCHMIDT SCHMIDT (de même) (como el anterior) Ça ne sait pas boire une rasade! ¡No sabe ni echarse un buen trago! JOHANN JOHANN (au Bailli en lui tendant les mains) (al Magistrado, tendiéndole la mano) A tout à l’heure au Raisin d’or. Nos vemos en un rato, en la Uva de Oro. P á g i n a | 5 LIBRETO | Werther SCHMIDT SCHMIDT (de même) (como el anterior) Oui, tu nous dois une revanche. Sí, nos debes la revancha. LE BAILLI EL MAGISTRADO (se récriant) (sorprendido) Encor! ¿Otra? JOHANN JOHANN (revenant sur ses pas) (volviendo sobre sus pasos) Dame! Et puis, c’est le jour des écrevisses! Además, es el día de los cangrejos de río, Grosses comme le bras tan grandes como brazos, Gretchen nous l’a promis... Gretchen nos lo ha prometido. LE BAILLI EL MAGISTRADO O les gourmands! les deux complices! ¡Menudos glotones sois los dos! (Les deux hommes font mine de se retirer.) (los dos hombres hacen ademán de marcharse) Vous n’attendez donc pas Charlotte, mes amis? ¿No esperáis a Charlotte, amigos míos? SCHMIDT SCHMIDT (à Johann) (a Johann) Nous la verrons ce soir. La veremos esta noche. Nous voulons faire un petit tour Vamos a dar un paseíto sur le rempart. por la muralla. LE BAILLI EL MAGISTRADO (souriant, à Johann) (sonriente, a Johann) Pour t’ouvrir l’appétit? ¿Para hacer gana de comer? JOHANN JOHANN (un peu grognon, à Schmidt) (algo gruñón, a Schmidt) Toujours il exagère... Siempre tan exagerado... Allons, viens, il est tard! ¡Vamos, venga, que es tarde! P á g i n a | 6 LIBRETO | Werther SCHMIDT SCHMIDT (revenant au Bailli) (al magistrado) A propos! A propósito, Quand Albert revient-il? ¿cuándo vuelve Alberto? LE BAILLI EL MAGISTRADO (simplement) (con sencillez) Je l’ignore, il ne m’en parle pas encore, Lo ignoro. No hemos vuelto a hablar más, mais il m’écrit que ses affaires vont au mieux.
Load more

Recommended publications
  • TURANDOT Cast Biographies
    TURANDOT Cast Biographies Soprano Martina Serafin (Turandot) made her San Francisco Opera debut as the Marshallin in Der Rosenkavalier in 2007. Born in Vienna, she studied at the Vienna Conservatory and between 1995 and 2000 she was a member of the ensemble at Graz Opera. Guest appearances soon led her to the world´s premier opera stages, including at the Vienna State Opera where she has been a regular performer since 2005. Serafin´s repertoire includes the role of Lisa in Pique Dame, Sieglinde in Die Walküre, Elisabeth in Tannhäuser, the title role of Manon Lescaut, Lady Macbeth in Macbeth, Maddalena in Andrea Chénier, and Donna Elvira in Don Giovanni. Upcoming engagements include Elsa von Brabant in Lohengrin at the Opéra National de Paris and Abigaille in Nabucco at Milan’s Teatro alla Scala. Dramatic soprano Nina Stemme (Turandot) made her San Francisco Opera debut in 2004 as Senta in Der Fliegende Holländer, and has since returned to the Company in acclaimed performances as Brünnhilde in 2010’s Die Walküre and in 2011’s Ring cycle. Since her 1989 professional debut as Cherubino in Cortona, Italy, Stemme’s repertoire has included Rosalinde in Die Fledermaus, Mimi in La Bohème, Cio-Cio-San in Madama Butterfly, the title role of Manon Lescaut, Tatiana in Eugene Onegin, the title role of Suor Angelica, Euridice in Orfeo ed Euridice, Katerina in Lady Macbeth of Mtsensk, the Countess in Le Nozze di Figaro, Marguerite in Faust, Agathe in Der Freischütz, Marie in Wozzeck, the title role of Jenůfa, Eva in Die Meistersinger von Nürnberg, Elsa in Lohengrin, Amelia in Un Ballo in Machera, Leonora in La Forza del Destino, and the title role of Aida.
    [Show full text]
  • MASSENET and HIS OPERAS Producing at the Average Rate of One Every Two Years
    M A S S E N E T AN D HIS O PE RAS l /O BY HENRY FIN T. CK AU THO R O F ” ” Gr ie and His Al y sia W a ner and H W g , g is or ks , ” S uccess in Music and it W How is on , E ta , E tc. NEW YO RK : JO HN LANE CO MPANY MCMX LO NDO N : O HN L NE THE BO DLEY HE D J A , A K N .Y . O MP NY N E W Y O R , , P U B L I S HE R S P R I NTI N G C A , AR LEE IB R H O LD 8 . L RA Y BRIGHAM YO UNG UNlVERS lTW AH PRO VO . UT TO MY W I FE CO NTENTS I MASSENET IN AMER . ICA. H . B O GRAP KET H II I IC S C . P arents and Chi dhoo . At the Conservatoire l d . Ha D a n R m M rri ppy ys 1 o e . a age and Return to r H P a is . C oncert a Successes . In ar Time ll W . A n D - Se sational Sacred rama. M ore Semi religious m W or s . P ro e or and Me r of n i u k f ss be I st t te . P E R NAL R D III SO T AITS AN O P INIO NS . A P en P ic ure er en ne t by Servi es . S sitive ss to Griti m h cis .
    [Show full text]
  • Ariadne's Transformation
    Bard College Bard Digital Commons Senior Projects Spring 2020 Bard Undergraduate Senior Projects Spring 2020 Ariadne’s Transformation: Presenting Femininity From Roman Poetry to Modern Opera Xinyi Wang Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2020 Part of the Classics Commons, and the Music Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Wang, Xinyi, "Ariadne’s Transformation: Presenting Femininity From Roman Poetry to Modern Opera" (2020). Senior Projects Spring 2020. 165. https://digitalcommons.bard.edu/senproj_s2020/165 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Ariadne’s Transformation: Presenting Femininity From Roman Poetry to Modern Opera Senior Project Submitted to The Division of Languages and Literature of Bard College by Xinyi Wang Annandale-on-Hudson, New York May 2020 Acknowledgments To my advisor Lauren Curtis, for her warm and inspiring presence, for guiding me through this project with constructive suggestions and valuable input, and for spending incredible time on polishing my thoughts and writing. To my tutor Emily Giangiulio, for her warm support, and for carefully helping me with grammar.
    [Show full text]
  • Short Operas for Educational Settings: a Production Guide
    SHORT OPERAS FOR EDUCATIONAL SETTINGS A PRODUCTION GUIDE by Jacquelyn Mouritsen Abbott Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2020 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee Patricia Stiles, Research Director and Chair Gary Arvin Jane Dutton Dale McFadden 10 April 2020 ii Copyright ⃝c 2020 Jacquelyn Mouritsen Abbott iii To my dearest love, Marc – my duet partner in life and in song iv Acknowledgements I am deeply grateful to my research director Patricia Stiles, for her devoted teaching, help, care, and guidance. I have learned so much from you throughout the years and am profoundly grateful for your kindness and your mentorship. I am deeply indebted to Dale McFadden, Gary Arvin, and Jane Dutton—it was a great honor to have you on my committee. I offer sincerest thanks to all of the composers and librettists who sent me scores, librettos, or recordings and who answered my questions and allowed me to use musical examples from their works. These exceptional artists include Dan Shore, Michael Ching, Leanna Kirchoff, Harry Dunstan, Kay Krekow, Milton Granger, Thomas Albert, Bruce Trinkley, John Morrison, Evan Mack, Errollyn Wallen, and Paul Salerni. I also owe a special thank you to ECS publishing for allowing me to use musical examples from Robert Ward’s Roman Fever. Thanks to Pauline Viardot, Jacques Offenbach, and Umberto Giordano for inspiring the musical world for the past 150-plus years.
    [Show full text]
  • New on Naxos | November 2013
    NEWThe World’s O LeadingN ClassicalNAX MusicOS Label NOVEMBER 2013 This Month’s Other Highlights © 2013 Naxos Rights US, Inc. • Contact Us: [email protected] www.naxos.com • www.classicsonline.com • www.naxosmusiclibrary.com • blog.naxos.com NEW ON NAXOS | NOVEMBER 2013 Leonard Slatkin Maurice RAVEL (1875–1937) Orchestral Works, Volume 2 Orchestre National de Lyon • Leonard Slatkin Valses nobles et sentimentales Gaspard de la nuit (orch. Marius Constant) Le tombeau de Couperin • La valse Maurice Ravel’s Valses nobles et sentimentales present a vivid mixture of atmospheric impressionism, intense expression and modernist wit, his fascination with the waltz further explored in La valse, a mysterious evocation of a vanished imperial epoch. Heard here in an orchestration by Marius Constant, Gaspard de la nuit is Ravel’s response to the other-worldly poems of Aloysius Bertrand, and the dance suite Le tombeau de Couperin is a tribute to friends who fell in the war of 1914-18 as well as a great 18th century musical forbear. ‘It is a delightful and assorted collection… presented in splendid performances by the Orchestre National de Lyon led by their music director, the venerable American conductor Leonard Slatkin.’ (Classical.net / Volume 1, 8.572887) Volume 1 of this series of Ravel’s orchestral music (8.572887 and NBD0030) has proved an immediate hit and has been warmly received by the press. Gramophone admired Leonard Slatkin’s ‘affinity with [Ravel’s] particular world of sound’, and of the Orchestre National de Lyon, stated that ‘it augurs well as a companion to the orchestra’s Debussy set 8.572888 Playing Time: 66:39 under Jun Märkl.’ The Blu-ray version provides a spectacular alternative to CD, ‘the orchestral colors… are beautifully realized by Slatkin and his forces, and well-preserved in either hi-res format’ (Audiophile Audition 7 47313 28887 8 5-star review).
    [Show full text]
  • Introduction. Dionysus in Rome: Accommodation and Resistance
    Fiachra Mac Góráin Introduction. Dionysus in Rome: accommodation and resistance Abstract: This introductory chapter provides a wide-angle history of the presence of Dionysus/Bacchus/Liber on Italian soil from the archaic to the early Christian periods, covering archaeological and literary sources. In parallel, it surveys the main scholarly trends on the Italian versions of Dionysus, and emplots the con- tributions to this volume in a history of scholarship. The main focus of the chap- ter, which is programmatic for the volume, is the interface of Greek and Roman cultures, and whether it is possible to identify and define (an) Italian version(s) of Dionysus. It posits two aspects to the Romans’ reception of Bacchus, which may be termed ‘accommodation’ and ‘resistance’. The interplay between these two levels of response will inform an analytic narrative that assesses the relation- ship between the Greek Dionysus and the Roman Liber, embracing interpretatio and religious polymorphism, and addressing some of the most important Diony- sian manifestations in Roman culture: the founding of the temple of Ceres, Liber and Libera; the Bacchanalia; the Liberalia; Roman leaders’ uses of Dionysus; the poets’ references to Bacchus; and a brief glance at the Bacchic-Christian inter- face. As ‘our oldest living symbol’,1 Dionysus/Bacchus has evolved over many different forms. Until relatively recently, scholars believed that he was an import from the East, and a late addition to the Greek pantheon. Rohde, Nilsson, Wilamowitz and Otto all subscribed to different versions of the Nietzschean myth that an ecstatic Dionysus cult was assimilated from Thrace and tamed by the influence of Apollo.2 This view was based on the god’s slight role in the Homeric poems, coupled with For discussion of Dionysus in Rome and bibliographical advice, I wish to thank Clifford Ando, Andreas Bendlin, Tom Carpenter, Michael Crawford, Elena Giusti, Dan Hogg, Duncan MacRae, John North, Donncha O’Rourke, Richard Seaford, and Peter Wiseman.
    [Show full text]
  • TENET​ ​By Night
    TENET​ ​by night Bacchus Cantatas for the God of Wine Jonathan Woody, bass Jolle Greenleaf, soprano Alana Youseffian, violin Matt Zucker, viola da gamba Jeffrey Grossman, harpsichord NOVEMBER 26, 2020 PROGRAM Bachus, Nicolas Bernier (1664-1734) L’Amour et Bacchus, Louis-Nicolas Clérambault (1676-1749) NOTES The early 18th century in France saw the continued adaptation of Italian styles that had been taking place in the country for a century, as King Louis XIV elevated France to a great power and, in doing so, elevated the music of the French court. However, the grand motets of Jean-Baptiste Lully at the Sun King’s court at Versaille had, by the 1710s, given way to religious and political austerity, and a cloistering of artistic activity only in Versailles and select Parisian institutions. Outside of those mostly noble (read: 1%) spaces, the emerging bourgeoisie of France was primed for a more accessible musical offering, and the cantates françaises, with their manageable forms and smaller forces, served to fill the gap. These more nimble works found their performances in concerts spirituels that took place in the salons of wealthy patrons in Paris, and académies that were founded by intellectuals in the provincial cities. Nicolas Bernier’s (1665-1734) career as organist and composer reflects these shifting musical and historical forces, studying with Antonio Caldara (1670-1734) in Rome before serving in positions at Chartres and the Sainte Chappelle. Bernier’s represents the first generation of cantata composition in France, following the tradition established by Lully and synthesizing older Italian forms and French airs de cour into a more fully realized style.
    [Show full text]
  • Ariadne Auf Naxos
    UNLV OPERA THEATER UNLV OPERA THEATER AND SYMPHONY ORCHESTRA .. c.Y\DA LISTER. DIRECTOR Q 1-<0STA POPOVIC co~\JDUCT()t~ !I OPEB! BJ Blel!BD STRAUSS ARIADNE AUF NAXOS APRIL 4 + S, 7:30 011c1 APRIL 6, 2:00 2 GEN ERAL, 15 SENIORS/MILITARY/STAFF, $5 STUDENTS WITH ID F R TICK ET INFO, CALL BOX OF{; ICE (702) 895 - ARTS UNLV Opera Theater presents Ariadne auf N axOs Music by Richard Strauss Libretto by Hugo van Hofmannsthal CAST The Major Domo Anthony Barone The Music Master Jonathan Baltera A Lackey Kyle Johnson (April 4, 6) Ianrod Gargantiel (April 5) An Officer Miguel Alasco The Composer Stephanie Weiss The Tenor/Bacchus William McCullough (April 4, 6) Daniel Hunter (April 5) The Wigmaker Jordan Madagame Zerbinetta Isabella Ivy (April 4, 6) Bonita Bunt (April 5).. The Primadonna/ Ariadne Lillian Roberts (April 4, 6) Sheronda McKee (April 5) The Dance Master Alfredo Martirena Najade Lindsay Cunningham (April 4, 6) Cheyna Alexander (April 5)" Echo Carolina Gamazo (April 4, 6) Stephanie Redman (April 5) Dryade Nicole Thomas (April 4, 6) Nicole Harris (April 5) Harlequin Xavier Brown Scaramuccio Jonathan Mancheni Truffaldin David Casey Brighella Faustino Solis III (April 4, 6) Erickson Franco (April 5) Nymph Dancers Kaileigh O'Neill Cassandra O'Toole Meimei Valenzuela Covers Ariadne: Carrie Wachsberger The Composer: Nicole Harris Najade: Suzanne Stone Echo: Cassandra O'Toole Dryade: Breanna Lesure Scaramuccio: Erickson Franco Officer/ Dance Master: Barry Abarquez Wigmaker/ Truffaldin: Ianrod Gargantiel Harlequin: Kyle Johnson Major Domo: Richelle
    [Show full text]
  • Massenet and Opera: Richness and Diversity
    jules massenet : thérèse Massenet and opera: richness and diversity Jean-Christophe Branger Massenet (184 2- 1912) is known above all for two works, Manon and Werther , and to these have been added another four: Hérodiade , Thaïs , Don Quichotte and Cendrillon , which are now enjoying renewed popularity. However, his output was much larger than that: twenty-five complete operatic works have come down to us (not counting Marie-Magdeleine , an oratorio written in 1873 and staged in 1903). But his output has been large - ly neglected because of its singularity: few people realise that Massenet experimented with opera far more than most other composers, thus cre - ating a multi-faceted world all of his own. It was in Massenet’s temperament, no doubt, to feel a constant need for change and renewal, diversity and challenge, and he was generally encouraged in that direction by his publishers and librettists and those close to him. In 1896 he told the periodical Le Temp s: You will notice [...] that my works are taken from very diverse sources. I try to vary their subjects. Manon came after Hérodiade , Esclarmonde fol - lowed Le Cid . I tear myself away from one world to immerse myself imme - diately in another one that is very different, in order to change the course of my ideas. That is the best way to avoid monotony. Massenet thus approached every genre and every register. While Le Roi de Lahore (1877), Hérodiade (1881), Le Cid (1885) and Le Mage (1891) are 40 unquestionably grand operas à la Meyerbeer (including the inevitable bal - let), Ariane (1906), Bacchus (1909), Roma (1912) and Cléopâtre (posthu - mous, 1914) belong rather to an important neo-Gluckist movement, showing a keen interest in Greek and Roman antiquity.
    [Show full text]
  • Ariane Et Bachus Saturday, September 30 – Tuesday, October 3, 2017 Studebaker Theater | Chicago, Illinois Dear Friends
    Marin Marais Ariane et Bachus Saturday, September 30 – Tuesday, October 3, 2017 Studebaker Theater | Chicago, Illinois Dear Friends, Thank you for joining us as we make history by presenting Marin Marais’ five-act operaAriane et Bachus in its first fully-staged production since 1696. About 25 years ago, I heard the music of Marais for the first time and was so moved that I decided to learn how to play the viola da gamba. His breathtakingly exquisite music has changed the course of my life in wonderful ways. I hope these performances will sound a chord deep within you as well. Three years ago I learned that musicologist/lutenist Silvana Scarinci was preparing a new performing edition of Ariane. I reached out to her at her home in Brazil and we began a partnership to present this opera for the first time in Chicago. Ms. Scarinci has devoted years of her life to this wonderful work and we are all richer for her labors of love. We are delighted to make our company debut at the newly-renovated Studebaker Theater. Perhaps you gasped the same way I did when you first entered the theater.Ariane is the largest production HOC has ever offered to the public. The Haymarket Opera Ballet Company, under the expert eyes of Stage Director and Choreographer Sarah Edgar, makes its official debut with these performances. Costumier Meriem Bahri has managed to surpass her own work once again with an enormous collection of elegant costumes. We welcome Alabama-based set designer Mike Winkelman to the HOC team for the first time.
    [Show full text]
  • Massenet's Cendrillon
    Massenet’s Cendrillon: Exploring the interactions of the orchestra and vocal line as found in the role of Cendrillon, and a dramatically rich role for the lyric mezzo soprano By Kristee Haney Submitted to the graduate degree program in the School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________ Chairperson Dr. Roberta Schwartz ________________________ Joyce Castle _______________________ Mark Ferrell ________________________ Dr. John Stephens ________________________ Dr. Michelle Heffner - Hayes Date Defended: April 18th, 2014 ii The Dissertation Committee for Kristee Haney certifies that this is the approved version of the following dissertation: Massenet’s Cendrillon: Exploring the interactions of the orchestra and vocal line as found in the role of Cendrillon, and a dramatically rich role for the lyric mezzo soprano ________________________________ Chairperson Dr. Roberta Schwartz Date approved: April 18th, 2014 iii Abstract Composer Jules-Émile- Frédéric Massenet wrote a variety of roles for mezzo sopranos, and his soaring vocal lines are coupled with sensitive communication of the text. In Cendrillon, Massenet writes leading roles for three mezzo soprano voices: Le Prince Charmant, Madame de la Haltière, Cendrillon (and one featured supporting role, the step- sister Dorothée). The three leading roles involve different vocal and dramatic demands, while still allowing the unique colors of the mezzo soprano voice to shine. I will explore Massenet’s writing for the mezzo soprano and the interaction of the vocal line with the orchestra, in his “fairy tale” opera, Cendrillon. I will analyze scenes that deal with the role of title character Cendrillon and the specific vocal qualities that Massenet highlights in each: Cendrillon’s arias in Act I and Act III; the scene with La Feé in Act I; the duet with the Prince Charmant in Act II; and the duet / trio with Prince Charmant and La Feé that ends Act III.
    [Show full text]
  • JULES MASSENET – His Life and Works by Nick Fuller I
    JULES MASSENET – His Life and Works By Nick Fuller I. Introduction Jules Massenet’s operas made him one of the most popular composers of the late nineteenth century, his works performed throughout Europe, the Americas and North Africa. After World War I, he was seen as old- fashioned, and nearly all of his operas, apart from Werther and Manon , vanished from the mainstream repertoire. The opera-going public still know Massenet best for Manon , Werther , and the Méditation from Thaïs , but to believe, as The Grove Dictionary of Opera wrote in 1954, that ‘to have heard Manon is to have heard all of him’ is to do the composer a gross disservice. Massenet wrote twenty-seven operas, many of which are at least as good as Manon and Werther . Nearly all are theatrically effective, boast beautiful music and display insightful characterisation and an instinct for dramatic and psychological truth. In recent decades, Massenet’s work has regained popularity. Although he Figure 1 Jules Massenet, drawing by Ernesto Fontana (Source: is not the household name he once http://artlyriquefr.fr/personnages/Massenet%20Jules.html) was, and many of his operas remain little known, he has been winning new audiences. Conductors like Richard Bonynge, Julius Rudel and Patrick Fournillier have championed Massenet, while since 1990 a biennial Massenet festival has been held in his birthplace, Saint-Étienne, in the Auvergne-Rhône-Alpes, its mission to rediscover Massenet’s operas. His work has been performed in the world’s major opera houses under the baton of conductors Thomas Beecham, Colin Davis, Charles Mackerras, Michel Plasson, Riccardo Chailly and Antonio Pappano, and sung by Joan Sutherland, José van Dam, Frederica von Stade, Nicolai Gedda, Roberto Alagna, Renée Fleming, Thomas Hampson and Plácido Domingo.
    [Show full text]