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LA CALISTO Francesco Cavalli Sydney Conservatorium of Music Opera School presents: LA CALISTO Francesco Cavalli SATURDAY 20 MAY, 6.30PM TUESDAY 23 MAY, 6.30PM THURSDAY 25 MAY, 11.30AM SATURDAY 27 MAY, 2PM MUSIC WORKSHOP, SYDNEY CONSERVATORIUM OF MUSIC Sydney Conservatorium of Music Opera School presents LA CALISTO CHARACTERS (IN ORDER OF APPEARANCE) Francesco Cavalli (1602–1676) NATURE (LA NATURA) (SOPRANO) Transcendent mystical woman of power, Opera in three acts controlling all mortal lives Libretto by Giovanni Faustini ETERNITY (ETERNITÀ) / FURY (FURIA) Sung in Italian with English surtitles (SOPRANO) Transcendent mystical woman Pitch: A = 440 Herz of power, controlling all mortal lives Temperament: 1/4 comma meantone DESTINY (IL DESTINO) / FURY (FURIA) Approximately 2 hours and 10 minutes, (MEZZO SOPRANO) Transcendent mystical with one interval of 20 minutes woman of power, controlling all mortal lives Director JUPITER (GIOVE)/JUPITER AS DIANA Elsie Edgerton-Till (BARITONE) Smooth talking good time Music Director guy and god of the heavens and of all Professor Neal Peres Da Costa humankind Set and Costume Designer MERCURY (MERCURIO) (BARITONE) Isabella Andronos Jupiter’s wingman and god of trickery Lighting Designer Christopher Page CALISTO (SOPRANO) A young woman and follower of Diana ENDYMION (ENDIMIONE) (MEZZO SOPRANO) A young man of humble origins Warning - this production contains DIANA (MEZZO SOPRANO) A powerful, adult themes. independent woman and goddess of the hunt LINFEA (COUNTER TENOR) A playful woman and follower of Diana Stay tuned with What’s on at the Con YOUNG SATYR (SATIRINO) (SOPRANO) by signing up to A young faun and follower of Pan our eNewsletter here: PAN (PANE) (TENOR) Lust-sick leader of music.sydney.edu.au/enews the pack and god of the fauns SILVANUS (SILVANO) (BASS) A world weary faun and wingman to Pan JUNO (GIUNONE) The long-suffering wife of Jupiter and matriarchal goddess of the heavens and of all humankind FEMALE CHORUS Young women and Cover image Isabella Andronos followers of Diana 2 MALE CHORUS Young men and followers of Pan Synopsis Prologue to check up on her husband – she knows Giving a preview of the opera’s ending, him well, and knows that he is a serial Destiny, Eternity and Nature decide that philanderer. She comes across Calisto Calisto deserves a place with them in the who innocently tells her that she has been heavens. intimate with Diana. But Juno is suspicious and believes that this may have been one Act 1 of her husband’s tricks; this is confirmed Jupiter (Giove), king of the gods, comes when ‘Diana’ arrives with Mercury, looking down to earth to restore order after a for Calisto. To complicate things, Endymion war. He sees the nymph Calisto looking arrives and starts to woo ‘Diana’ – not for drinking water and is struck by her surprisingly, as this is really Jupiter, he beauty. Jupiter replenishes a spring to doesn’t get far. Now the satyrs know Diana’s impress Calisto, but as she is a follower of secret admirer and they action their plan to the goddess Diana, sworn to chastity, so deal with him. They capture Endymion and his amorous advances are firmly rejected. mistreat him, mocking his true love in favour Mercury, Jupiter’s son and right-hand man, of their more earthy and uncomplicated suggests that he should take on the form of lust. Even Diana’s chaste companion Linfea Diana and press his suit again. Calisto is very seems ready to get some action. happy to receive ‘Diana’s’ affection. Act 3 The real Diana appears with Lynfea and her Juno and three of her Furies from the followers. The young man Endymion is in underworld confront Calisto. Juno curses love with Diana and tells her his feelings; she Calisto and turns her into a bear. Jupiter feels much the same, but feigns disinterest. admits that he loves Calisto, but can’t do Calisto turns up and joins the party, elated anything about Juno’s curse. The real Diana from her recent encounter, and tells the remains the object of many desires and real Diana how much she enjoyed their lusts. She and Endymion have fallen in love, caresses. Diana doesn’t understand; she is but the satyr Pane still wants her. Eventually, shocked at what she hears and banishes Pane and his boys decide that he has no Calisto. Linfea has her own encounter chance and leave in disgust. Jupiter, as king with the advances of the lusty young faun of the gods, allows Calisto a brief time on Satirino. Pane, a satyr, also lusts after Diana Earth wandering the woods as a bear. but has an idea that she is interested in someone else. Sylvano, god of the woods, The opera ends with him taking her up and his satyr friends – half human half into the heavens and turning her into the animal – concoct a plan to remove Diana’s constellation Ursa Major, the Great Bear. lover, though who this might be they don’t She is still there now! yet know. Act 2 Endymion looks up at the moon (Diana is the goddess of the moon) and falls asleep to beautiful dreams. Diana just can’t help herself. She gives him a kiss, and he wakes happily and continues the embrace. Neither of them notices that Satirino is spying on them. Juno (Giunone) descends to earth 3 Director and Designer’s Note True love and unbridled lust. These two heterosexuality with the bride in immutable human experiences sit at the virginal white, the groom in a suit, heart of the narrative of La Calisto. bridesmaids and groomsmen. ‘Male’ Calisto, the virgin follower of Diana, is and ‘female’ groups have been created an object of desire. After refusing the through costuming. Combined with the advances of Giove, she is tricked into a singers performing travesty roles, the sexual encounter with the man who lusted performative binaries of gender and after her. sexuality that exist in a contemporary wedding are playfully questioned. Diana, the fiercely independent goddess of the hunt, swears she and the young The myths on which La Calisto is based virgin women who follow her have no need are populated with many well known for a man. Teased and taunted for her Greek and Roman gods. These gods have convictions by the men who lust after her, imperfections and jealousies; they are Diana’s world is turned upside down when lustful and succumb to emotion. It is she falls head over heels in love. And in a these amplified human characteristics true meeting of souls, the young man loves that this production embraces. Here, her back. the gods are guests at the wedding reception, distinguished in status This is the point of departure for this through their entrances and their regal epic opera’s narrative. Based loosely on attire. two Greek myths, Giovanni Faustini’s libretto is a titillating interpretation of The world of the opera is rooted in reality the seduction of Calisto and Diana’s and with a touch of old world magic. The adventure with Endymione. set echoes the period when the opera was written and performed. It evokes La Calisto explores love and lust an ancient, majestic space with deep exclusively through a masculine, hetero- blue ceilings with painted gold stars. In normative gaze. To honour the delightful the opera’s prologue, the three Fates comedy and frivolity of the score and promise the audience that tonight we libretto, we felt it was important to will witness Calisto’s ascent to the stars. shift the implicit power imbalance: the By the epilogue of the opera, Calisto has women need to be more than objects become the constellation Ursa Major. of desire; love and lust need to exist This is a story these women, who have outside a heterosexual paradigm. In seen all, have told before. Tonight they keeping with the baroque precedent of are singing it for you. male singers taking female roles, we have cast a number of roles cross-gender. As We would like to thank the Sydney we still hear the gender of each singer Conservatorium of Music Opera Division performing the role, the comedy of the and the Early Music Ensemble. Our opera is revealed. special thanks to our wonderful cast, production team and creative team for This production of the opera is set at a bringing this world and music to life. modern wedding reception venue. The wedding in contemporary Australian Elsie Edgerton-Till and Isabella Andronos society remains, for the most part, a celebration of gender binaries and 4 Music Director’s Note It is splendid and extremely rewarding to for the first time for a Conservatorium bring the talented students of the Opera student), the cornetto – the instrument and Vocal, Historical Performance and that was much favoured during the Orchestral Studies Divisions together Renaissance and early Baroque eras. For to work on Cavalli’s opera La Calisto. some students, this will be their first time I am grateful to Dr Stephen Mould for playing on these instruments – a great his unstinting dedication to preparing introduction which will give them more this work with the singers and for the choice in future career paths. incredible work of the vocal teachers and In forming our interpretation of La coaches. Working with Elsie Edgerton-Till Calisto, we have had to come to grips is also a complete delight – her staging with a style that, while pushing forward, ideas are inspirational. retains (at least in its notation) vestiges of La Calisto has given us all a rich and rare late-Renaissance practice. In particular, opportunity to immerse ourselves in the we have experimented with ideas of intriguing world of mid seventeenth- keeping regular the large-scale beat (the century Italian (Venetian) opera.
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