The Ghosts of Versailles Music by John Corigliano, Libretto by William M. Hoffman (suggested by the play La Mère coupable by Pierre-Augustin Caron de Beaumarchais)

Performance July 27 at 8:15 p.m. Peter Kazaras Premiere Performance: The Metropolitan Opera, New York City, 1991 This summer we celebrate Miriam Charney’s 25th year on the music staff of the Chautauqua Opera Company. She has an extraordinary passion for contemporary American opera, and her skill with new music has been a blessing for our company. It is with great respect, admiration and gratitude that we dedicate this production of The Ghosts of Versailles to Miriam Charney. — Steven Osgood CAST CREATIVE AND PRODUCTION Caitlin Lynch Marie Antoinette Conductor Steven Osgood Caitlin Lynch Stage Director Peter Kazaras Beaumarchais Choreographer/ Nicola Bowie Daniel Belcher Period Etiquette Consultant Louis XVI/Suleyman Pasha Marco Nisticò+ Set Designer Alan Muraoka Samira Lighting/Video Designer Michael Baumgarten Aleks Romano+ Costume Designer B.G. FitzGerald Figaro Wig & Makeup Designer Martha Ruskai Daniel Belcher Scott Purcell* Bégearss Chorus Master Carol Rausch Patrick Dean Shelton* Fight Choreographer Dale Anthony Girard Susanna Fight Captain Sara E. Widzer Quinn Middleman* Dance Captain Cristina María Castro Countess Rosina Lauren Yokabaskas* Assistant Directors Grant Preisser Count Almaviva Sara E. Widzer Blake Friedman* Assistant Conductor Jorge Parodi Florestine Coach/Accompanist Miriam Charney Marco Nisticò Natalie Trumm* Léon Emily Jarrell Urbanek James Stevens* Diction Coach/Supertitles Allison Voth Cherubino Technical Director John P. Woodey Antona C. Yost* Properties Master/Scenic Artist Theresa Pierce Wilhelm Edwin Joseph* Associate Set Designer Shih-Ying Hazel Kuang Woman in a Hat/Duchess Production Stage Manager Valerie K. Wheeler Gabrielle Beteag* Assistant Stage Managers Emily Barber Marquis/Page with Crotale Kendra Green Aleks Romano Jordan Loyd* Amelia Nordin Gossips RoseMary Prodonovich Cristina María Castro*, Lindsey Chinn*, Wan Zhao* Concertmaster Vahn Armstrong Opera Box Ghosts Lydia Grace Graham^, Gal Kohav^, Mathieu Levan^, Brandon Mecklenburg^ CREDITS Ensemble Performed by arrangement with G. Schirmer, Inc., publisher and Michael Colman*, Matthew Cossack*, copyright owner. Yazid Gray*, Brian Jeffers*, Seunghee Lee*, Orchestral materials furnished by G. Schirmer, Inc. Scott Purcell Laura León*, Jesús Vicente Murillo*, Sidney Scenery constructed by Local #266 I.A.T.S.E Ragland*, Kaitlyn Stavinoha*, Timothi Lighting provided by Advanced Production Group Williams* Wigs provided by Martha Ruskai Supernumeraries Nathalie Borden, Kerry Byard, Daniel Costumes provided by Sarasota Opera and the Chautauqua Opera Gefter, Elliana Gefter, Kristine Gefter, Costume Shop. Samantha Grambow, Jaidyn Janes, Taurin Supertitles designed by Allison Voth Janes, Rob Kobel, Eve Kushmaul, Lydia + Chautauqua Opera Debut Kushmaul, Ben Lawson, Hannah McBroom, * 2019 Chautauqua Opera Young Artist Shawn Sprankle ^ Chautauqua School of Music Voice Program Student Patrick Dean Shelton NOTES FROM THE DIRECTOR SYNOPSIS I was lucky enough to be in the original production Act I of John Corigliano and William M. Hoffman’s In the present, the ghosts of the court of Louis XVI arrive at The Ghosts of Versailles, which premiered at the the theatre of Versailles. Bored and listless, even the King Metropolitan Opera in December 1991. By the is uninterested when Beaumarchais arrives and declares time we had our final dress rehearsal, the riotous his love for the Queen. As Marie Antoinette is too haunted reception from the audience assured us all that by her execution to reciprocate his love, Beaumarchais we had a hit on our hands. A masterful mix of announces his intention to change her fate through the plot of his new opera A Figaro for Antonia. period-style music, more contemporary aleatoric techniques and lush romanticism, the score The cast of the opera-within-the-opera, which follows the appealed to music lovers of varying tastes. We familiar escapades of the Figaro characters, is introduced. all felt keenly the responsibility to do our best for Almaviva is estranged from the Countess, and has realized that their son Léon is in fact the result of an affair that this work to succeed — after all, it was the first the Countess had with Cherubino. Léon wants to marry new opera the Met had produced in 27 years! The Florestine, who has grown up as ward of Count Almaviva, creators had set out to fashion a “Grand Opera and is actually his illegitimate daughter. The Count has Buffa” for the Met Opera audience, and they forbidden the union and has promised Florestine instead to succeeded brilliantly. Bégearss, the opera’s villain. The idea of investigating the past in order to forge The opera-within-an-opera, A Figaro for Antonia begins in change for the future is at the very heart of this 1793, in the midst of the French Revolution. Figaro enrages work, and is reflected in the glorious music of the the Count by warning him that his trusted Bégearss is a score. As the composer has stated, “while The revolutionary spy. Figaro is fired, but overhears Bégearss Ghosts of Versailles is, in part, an entertaining and his servant Wilhelm hatching a plot to arrest the Count that evening at the Turkish Embassy when he sells Marie buffa, it is also a serious meditation on history and Antoinette’s necklace to the English Ambassador. Figaro change: specifically, on how change comes about intercepts the plot by infiltrating the party, dressed as a both in politics and in art.” dancing girl. After the outrageous performance by the Returning to Ghosts after all these years, it is singer Samira, Figaro steals the necklace from the Count stunning to consider how our ears have changed. before the sale can take place, and runs away. New opera is no longer something that audiences Act II fear. Our hearing has become accustomed to the music of Philip Glass, Missy Mazzoli and Laura Figaro returns and defies Beaumarchais’s intentions, Kaminsky, each of whom has been heard here at as he wants to sell the Queen’s necklace to help the Almavivas escape France. To put the story back on course, Chautauqua in recent seasons, along with a host Beaumarchais enters the opera-within-an-opera and shocks of other talented composers actively expanding Figaro into submission by allowing him to witness the unfair the canon. Almost 30 later, it is gratifying to revisit trial of Marie Antoinette, as the present, history and fiction the many joys of The Ghosts of Versailles. The mix together. After the trial, Bégearss manipulates the melodies remain poignant and nostalgic, the chaos revolutionaries into a bloodthirsty frenzy. of the opening is still technically difficult to execute Meanwhile, at the Almaviva’s last ball, Léon and Florestine but so worthwhile. And the zany chase scenes express their love for each other, and the Count is finally involving Figaro are still tough to learn, challenging swayed by his wife’s wishes. Bégearss arrives with the to stage, but so much fun to see! After so many revolutionaries. Even though Figaro gives Bégearss the years, I find myself ever more moved by Marie queen’s necklace, he is enraged and sends the Almaviva Antoinette’s decision to accept the past for what it family to prison — the same prison in which Marie Antoinette was and to move on to what is next. lingers following her trial. — Peter Kazaras Beaumarchais and Figaro, the only two to have evaded capture, arrive at the prison to try to rescue the Almavivas. They are shortly followed by Bégearss, whom Figaro denounces to the revolutionaries, revealing that he has kept the necklace rather than using it to feed the poor. Bégearss is carried off, the Almavivas escape to America and Beaumarchais is left with the keys to Marie Antoinette’s cell. But the power of his love has made Marie accept her fate and she refuses to let Beaumarchais alter the course of history. CHAUTAUQUA OPERA ORCHESTRA Violin I Viola Flute Trombones Vahn Armstrong, Concertmaster Christopher Fischer, Principal Kathryn Levy, Principal Christopher Wolf, Principal David Hult, Assistant Eva Stern, Assistant Barry Crawford Eric Lindblom Erica Robinson Jennifer Stahl Ming Gao Kayleigh Miller Oboe Timpani Amanda Gates Carrie Fischer Jan Eberle, Principal Brian Kushmaul, Principal Adrienne Finet Brian Walniki Jason Weintraub Percussion Anton Shelepov Clarinet Tom Blanchard, Principal Liana Koteva Kirvan Cello Daniel Spitzer, Principal Pedro Fernandez Heidi Brodwin Jolyon Pegis, Principal Allan Kolsky Suzanne Fassett Wright Leslie Anderegg Lars Kirvan, Assistant Jeff Szabo Bassoon Harp Violin II Daryl Goldberg Jeffrey Robinson, Principal Beth Robinson Cynthia Berginc, Principal Igor Gefter Ben Atherholt Margaret Cooper, Assistant Si-Cheng Liu Piano/Celesta Karen Lord Powell Horn Miriam Charney Bass Jonathan Richards Roger Kaza, Principal Owen Lee, Principal Heejin Weisbrod Bill Bernatis Synthesizer Irina Shelepov David Rosi, Assistant Emily Jarrell Urbanek Janice Carlson Caitlyn Kamminga Trumpet Jennifer Jansen Ian Saunders Leslie Linn, Principal Peter Lindblom

CONTRIBUTORS TO CHAUTAUQUA OPERA (current as of June 19, 2019) The Chautauqua Foundation and Chautauqua Opera Company acknowledge the generous support provided by the following contributors in support of opera through significant annual giving and sustained endowment funds:

The Amphion Foundation, Inc. Pat and Jay Hudson A. Chace & Josephine B. Anderson Opera Endowment Fund Robert W. Jeffrey Charitable Fund John E. Anderson Opera Endowment The Mildred Lesenger Fund for Opera The Peggy and Andy Anderson Family Fund for Opera The Kay H. Logan Opera Fund The Cynthia Auerbach Fund for Opera Annette Pickens Malvin Memorial Fund for Opera Oliver G. & Sarah Sloan Bauman Fund for the Arts The Christopher and Susan Martin Opera Fund Bemus Endowment for Opera Margaret Clark Mercer Fund for Opera Loretta E. Bower The Ralph E. Miller and Paul E. Cawein Fund for Opera The Anne and John Burden Opera Fund The Steve Z. and Mary G. Mitchell Family Fund Chautauqua Opera Endowment Fund The M.L.E. Foundation, Inc. Chautauqua Opera Guild Endowment Fund The Reverend Lloyd V. Moffett Opera Endowment Fund The Thomas and Kathleen Clingan Fund for Opera New York State Council on the Arts with the support of The Connolly Family Fund for Opera Governor Andrew M. Cuomo and the New York State The Aaron Copeland Fund for Music Legislature The John A. and Emily McKnight Corry Opera Fund The Robert G. and Lillian Vitanza Ney Family Opera Fund The Barbara Baldwin DeFrees Opera Fund Robert and Anne Plyler The Walter F. Ferchen Opera Fund The Joseph A. and Anne T. Prezio Opera Endowment Fund The Eleanor B. Franks Fund for the Opera Richards Family Opera Fund Estate of Dr. and Mrs. Myron B. Franks Molly Rinehart Fund for Opera The Kay Frantz Israel Fund for Opera The Zemsky Endowment for Opera The James and Elisabeth Groninger Fund for Opera The Wadsworth Fund The Jane A. Gross Opera Endowment Charles Weaver and Family Fund for Opera Jane A. Gross Philanthropic Fund of the Jewish Communal Dr. Fred R. Whaley and Helen A. Whaley Fund for Opera Fund The Robert & Virginia Young Opera Fund The Chautauqua Opera Guild Board of Directors thanks the following members for their outstanding support of the 2019 Chautauqua Opera season. (current as of July 19, 2019)

Archangel ($1,000+) Benefactor cont’d Member ($50–$124) Mary Clements Ellen Harmon Beth and Les Adler Jack Connolly and Peg Barrett Terrie Vaile Hauck Mark Altschuler John and Virginia DiPucci Robert L. Ivers William S. and Renee B. Andrews Paula Gierszal and Lisa Gierszal Brad and Deanna Johnson Anna Antemann Cheryl Gorelick and Jake Zeigler Lavonne Johnson Ed and Marlene Batoff Kate Groninger and Molly Meyer Robert and Nancy Kyler Bea Blumenthal Jane A. Gross Nancy M. Leininger Joyce and Scott Brasted Nancy Langston Cynthia Norton Carolyn Byham Jay Lesenger George and Melissa Orlov Tom and Kathy Clingan Jeffrey Lutz and Cathy Nowosielski Mary and Bob Pickens Gail Eovito Chris and Sue Martin John and Eleanor Pless Jean and Sigo Falk Mary and Steve Mitchell Robin and Mark Robbins Marwin Feldman Hale and Judy Oliver Carol Schaal Janice Freedman Stephen and Martha Smith Nancy and Don Seel Christopher Gibbs Rev. Richard and Joreta Speck Bethanne Snodgrass and Marianna Montrie Carole Gladstone and Naomi Kaufman Linda Steckley and Pete Weitzel Pat and Steve Telkins Syd Goldsmith Sue and Gary Tebor Ralph and Pari Tuthill Don and Kathleen Greenhouse Ralph G. Walton, MD Angela Twist Arlene Hajinlian Drs. Jeanne E. Wiebenga and E. Jane Stirniman Sponsor ($125–$249) Sallie Lou Holder Angel ($500–$999) Shirley Adams Carol and Bob Hopper Catherine Jarjisian Virginia H. Cox Dr. Ruth Bennett Phil and Livia Kades Gregory Ferriss and Lucille Richardson Loretta E. Bower Jackie Katz and Edie Teibel Deborah and Ted First Juanell and David Boyd Barbara and Herb Keyser Carol Christine Flanders and Margaret M. Barbara and Jim Brady Douglas Kreider Wagner Judith Claire and Robert Van Every Kate Swan Letarte Joseph and Toni Goldfarb Kim Rieck Fisher Rich and Karin Lewis Arlene Gottlieb and Chaz Miller Judy and Al Goldman Susan Rowan Masters Tom Hagen Penny and David Kurtz Michael D. Minor Patricia L. King Sharon and Dick Levick Casey and Marilyn Neuman Jane and Jerry Lahey Susan Luehrs John and Esther Northman Rich and Lynn Moschel Mr. and Mrs. Sanford Nobel Barbara Rait Richard J. Osborne Mary Lou and Richard Parlato Drs. Alice and Robert Rosenthal Jana Stone and Ray Galligan John and Sue Ann Power Rodney Schlaffman and Lawrence Greenberg Adele M. Thomas Charitable Foundation, Inc. Carole Reeder Shellie Sedlak Al and Barbara Turbessi Bart Richards Joan and Bob Spirtas Katherine (Kay) White Kathleen M. Riley Margo Stuart Ann P. Winkelstein Rachel and Philip Rogers Suzanne Shull Suzanne Taub Benefactor ($250–$499) Rabbi Samuel and Lynn Stahl Jo-an M. Webb Philip and Susan Allen Brenda and Larry Thompson Junior Member Paul E. Cawein Nancy Waasdorp Alexandra McKee Sally Craig Elizabeth A. Welch and Stephen E. Glinick Shannon McKee Jim and Karen Dakin Mary Lou Williamson Richard and Marty Davis Burt and Sandi Zucker Judith and Elliot Goldman Susan Grelick and John Heffron opera.chq.org /chautopera @ChautOpera @ChautauquaOpera

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