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The Time Is WNO 2015/2016 Season Madness Autumn 15 I Puritani Bellini Orlando Handel Sweeney Todd Sondheim

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The Time Is WNO 2015/2016 Season Madness Autumn 15 I Puritani Bellini Orlando Handel Sweeney Todd Sondheim If When The time is WNO 2015/2016 Season Madness Autumn 15 I puritani Bellini Orlando Handel Sweeney Todd Sondheim Figaro forever Spring 16 The Barber of Seville Rossini The Marriage of Figaro Mozart Figaro Gets a Divorce Elena Langer WNO@70 Summer 16 In Parenthesis Iain Bell Cavalleria rusticana & Pagliacci Mascagni and Leoncavallo Registered Charity No 221538 In 2015 everything is ‘on demand’. We can watch films and TV wherever we are, whenever we feel like it. But live opera isn’t like that. There are only so many days a year it can be performed. You have to make time for it, make room in your diary and get there. Once it’s gone, it’s gone. But it’s worth it. Every performance is unique and special. It’s a time that creates memories to cherish forever. Our 2015/2016 season may not start for some months but plan your opera-going now. Make sure you don’t let those one-off, never to be repeated moments pass you by. Make time in 2015/2016 for opera. The time is WNO. 5 WNO@70 Our past, present, future WNO’s 2015/2016 season looks back in two very significant ways, celebrating both WNO’s 70th birthday and, with our new commission of In Parenthesis, the 100th anniversary of the Battle of the Somme. But with two newly commissioned works, it also looks forward in even more important ways, celebrating the continuing creative energy of the art form of opera - a genre frequently written off as dead but in fact one that continues to re-invent itself with astonishing vigour. The other new work of our season, Figaro Gets a Divorce, manages to look both ways at once, as it takes up the destinies of some of opera’s most beloved characters, and projects them into a future that their creators could hardly have imagined. Not many 70 year olds look far into the future with quite so much confidence and ambition as we do. But that confidence springs from the continuing passion for telling stories through music which is the simple but all-important heart of the operatic matter. Telling stories is one of the essential distinguishing features of human beings - you are not going to convince me that trees do it, or even earwigs. And music counts as one of our most potent and rich means of communicating with each other, which is why opera is not phased at all by the digital world: it simply uses a new means of communication to broaden its appeal and to enrich its diversity and access. It is another constant of the highly complex and ambitious art form of opera that it is always about to run out of money, and I predict that we will do that many times over in the next 70 years. But the essential joy of what we communicate through the sound of music - the language which may most nearly emulate the divine - wedded to the ritual gesture of theatre, will survive all the pragmatic pitfalls, and continue to enrich and define the civilisation of our social, humane discourse. David Pountney Chief Executive & Artistic Director Sweeney Todd’s mania for revenge leads him to Autumn 2015 plumb the depths of human savagery. Orlando’s jealousy takes him over the edge of reason and on to the very gates of Hell itself. Elvira’s love for brave Arturo knows no bounds, but when he appears to abandon her, she tumbles into the abyss. Stories from different times and different ages but all showcase the same power of human emotion and expose the fragility of the human mind. WNO dares you to join us on our journey to explore human turmoil. I puritani Bellini Orlando Handel Sweeney Todd Sondheim wno.org.uk/madness I puritani Bellini New production ‘I puritani epitomises bel canto at its best – exploring and depicting characters, situations, and emotions through the singing voice’ Francesco Izzo (Associate Professor of Music at the University of Southampton). Bellini’s English Civil War drama is the most purely entertaining of all bel canto operas. There are vocal fireworks aplenty. But they are never at the cost of character, story and emotional depth. I puritani contains a cavalcade of great opera moments. One such moment is the scene in which our heroine Elvira, having lost her mind, longs for her lover Arturo. Elvira’s spectacular high notes reveal her emotional distress. Another is the duet in which the reunited lovers share what they believe will be their final embrace. It is often said that I puritani is rarely performed because it is hard to find a cast who can tackle Bellini’s demanding score. We are delighted to have such a cast. The team includes one of today’s great tenors, Barry Banks, following his triumphant performances in William Tell and Moses in Egypt. Annilese Miskimmon’s new production combines the historical atmosphere and costumes of the English Civil War. If you haven’t joined us for the bel canto series so far, now is the time. Fans of great Italian opera need to see I puritani. wno.org.uk/puritani Turbulent times 10 Welsh National Opera 2015/2016 Season Autumn | Madness 11 I puritani Bellini New production Conductor Carlo Rizzi Plot summary Director Annilese Miskimmon The tide of the English Civil War is turning against Designer Leslie Travers the Royalists. In the darkness of a prison fortress, Mark Jonathan Lighting Designer Elvira, daughter of the Puritan leader Lord Valton, loses her reason when she mistakenly believes Cast her Royalist lover, Arturo, has abandoned her for Elvira Rosa Feola (until 20 Oct), Linda Richardson (from 27 Oct) another woman. With the defeat of the Stuarts Lord Arturo Talbo Barry Banks imminent, the lovers are finally reunited, and Sir Riccardo Forth David Kempster Elvira’s reason is restored. Sir Giorgio Wojtek Gierlach Co-production with Den Jyske Opera/Danish National Opera Supported by John Ward, WNO Bel Canto Syndicate, Peter and Veronica Lofthouse and The Kobler Trust • Performances start at 7pm, except for Cardiff on Sunday 4 October at 4pm • Running time approximately three hours 20 minutes including one interval • Sung in Italian with surtitles in English (and Welsh in Cardiff and Llandudno) 12 Welsh National Opera 2015/2016 Season Autumn | Madness 13 WNO’s guide to I puritani As a whole, I puritani has a characteristic and coherent sound world, blending deeply sentimental and effusive moments (such as Arturo’s entrance, the duet for the two lovers, and Giorgio’s heartfelt aria) with what Bellini himself A soprano and a tenor in love; a jealous quartet’. Bellini carefully tailored his music baritone; a fatherly bass. Conflict to the abilities of each of these artists. For called ‘a touch of military vigour and something of between love and duty. Madness. An soprano Giulia Grisi he provided a wealth abundance of high notes. Anyone wishing of coloratura, fully justified dramatically Puritan austerity’. to be introduced to a quintessentially first by her youth and rapture (as in her romantic bel canto melodrama should polonaise, ‘Son vergin vezzosa’), then by look no further than Vincenzo Bellini’s I madness and despair (as in her extended puritani. With this work the 33 year old mad scene in Act II). For Rubini, who had composer, at the height of his fame, won previously created the lead tenor roles in over the audience of the Théâtre Italien several of his operas, including in Paris, which had commissioned it. Il pirata and La sonnambula, he provided The première, on 24 January 1835, was intensely lyrical lines showcasing his touch of military vigour and something suffering, that keeps us nailed to our an astounding success. The Parisians extraordinary upper register (the high of Puritan austerity’. Unlike the Donizetti chairs even at times where little takes showered Bellini with honours, and he D-flat in his entrance piece, ‘A te, o cara’, ‘Tudor’ operas that date from the same place in terms of dramatic action. Although felt he was ‘second only to Rossini’ (an is proverbial, but the entire role is filled period, no heads roll here, and Elvira a great deal of the singing is extremely undeserved sting to his contemporary and with expansive ascents to high notes). For and Arturo are granted a fairy-tale challenging on technical grounds, none principal competitor, Gaetano Donizetti). Tamburini and Lablache, both described happy ending. Throughout the opera, of it should be understood as sheer as basses at the time but effectively Bellini’s orchestration is more robust virtuosic display; I puritani epitomises bel A debut in Paris was an opportunity not to a baritone and a bass, he provided and sophisticated than in earlier works, canto at its best – exploring and depicting be missed for any Italian composer at the opportunities for solo display at moments and so is his harmonic language and characters, situations, and emotions time, and Bellini did all he could to meet of heightened emotion, and a stirring use of formal procedures. Awareness of through the singing voice. the expectations of the local audience. patriotic duet at the end of Act II. current trends in French opera probably In his endeavour, he was assisted by informed some of his decisions, as did The plot of the opera, too, is rather one of the most formidable groups of As a whole, I puritani has a characteristic Rossini’s influence. Nonetheless, the sophisticated, balancing between the vocal virtuosos that ever existed – Giulia and coherent sound world, blending melodic vein is unmistakably Bellinian, individual pursuit of happiness of Elvira Grisi, Giovanni Battista Rubini, Antonio deeply sentimental and effusive moments and the profusion of memorable tunes and Arturo and the backdrop of the Tamburini, and Luigi Lablache, who sang (such as Arturo’s entrance, the duet for throughout the score is staggering.
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