~ J

The Schools of Music and Drama I More Friends present the 111th program of the 1990-91 season and the 208th Theater Production. Randolph and Dorod!y Hokansoo. Patricia E. Micbaclim Carol R. Scott James and Jayne Holland Elaine and Joseph Moosen Seattle Civic Opera Assoc. Mrs. Clarence Howell Frank and Maryalyce Morrison Eleanor H. Seifert Ainu and Lorraine Johnson Kenneth and Irene Morrison Ruth L. Settennan Robert F. Jones Mark and Mari..Morel Jerrold K. Sherson Michael and Beret Kischner Peter and Anna Marie Monon Mrs. L. H. Solomon Maurice and Jeane Kutner Mrs. Herbert NellOIl Steven S. Staryk: The Abduction ;z.(t:ttt " ( Ladies Musical Oub Kenneth and Pearl Noreen Joseph .and Evelyn Sterne Stan and Judy l.ennard Lois H. North Zora F. SlDldberg from the (7 Elon and Barbanl Lundquist Lynn E. Nowels Jean P. Swansoo. r· William and Clarloue M4hIik James L. 0dI.in Carole R. Terry SaUyMann Casey Gnmt Peacock DianeThcme Seraglio Frank and Sheila Marks Alan and Mary-Louise Peterson Ronald O. Thompson LiDy Maxwell Gustav and aain= Raaum Jonathan M. Turner David and Carol McCallum John and SUZIIDl1e Rahn Randall Jon Uyeno David and Marcia McCracken Juanita RicbaJda Joris and Mary Louise WaJli Clades and Alice McGregor Martin and Bernice Rind Richard and Jean Weick Ann Oteri McLaughlin Randall and Willa Jane Rockhill Mary Helen Wells Michael Joe McPhail Walter and Ucla Roubik Douglas Wieboldt Music by William McQueen Annand K. Russell Raymclld and Eleanor Wdson Donald and Renate McVittie Irwin and Barbanl Sarason Ste'W:iD IIIIl Mary Jo WripI John and Gail Mensher Peter and Elft Schmidt Grepry IIIIl Bd.y YCIUIZ Libretto Oar"l'rilDlllol...... ill-.lWJO.~~iI...... ,"':ooOoc:t-..m...... WhiIo ___.u_ 1'lIoaoiI,...... 1WiIIdiIt...... _III,,"...le¥oI of~or""'. f'Iouollrlliai..-ibotioao ~~ .1bo~oI'11fIllbiapm • ..,.;....I...dIoriIoIlIo...... ,;.r;-_ Gottlieb Stephanie the Younger -a..-,"iiiiiiitliiii~...... ==.IICW

Support "Friends of Opera" Please make checks payable to: "Friends ofOpem" • School of Music, DN-IO Peur 'Eros, Cmufuctor - ~ 'Deacon, tJJirector University ofWasbington • Seattle, WA 98195 :J.Ijmn Scrivner, Sets - f(idiarr{ ~ Hoek, LientitIJI '(aren Lufeer, Co.stu:mu

Upcoming Concerts

University Singers; May 20, 8:00 PM, Meany Theater May a&(li .... 8:00 PMJ Jazz Combos 1& D; May 20 & 21, 8:00 PM, Brechemin Auditorium May 19 3:00 PM CoDegium Musicum & Madrigal Singers; May 21, 8:00 PM, Meany Theater Meany Tbeater Tom ColDer, Michael Brockman, Marc Seales, Dan Dean, & WiDiam O. Smith May 28, 8:00 PM, Meany Theater Wind Ensemble and Symphonic Band; May 29, 8:00 PM, Meany Theater PRoCONART; May 30, 8:00 PM, Brechemin Auditorium .~l~~r_Il,~;lJl;'; r ., DAI 11' II,

Program Notes The National boasted some of the best German singers on any stage in Europe. For the part of Belmonte, Mozart was given the finest in the company, Josef Valentin Adamberger (1743-1804). His From its very inception in 1778, Mozart had known about Vienna's stature with the enterprise is reflected in its pay records (his salary was National Singspiel, an enterprise established by the bigh-minded nearly twice that of the other male Singers) and in the number ofarias Emperor Joseph II. The Viennese court expressed immediate interest assigned to him by Mozart and Stephanie-four, including one of in seeing· what Mozart could do for the German company when the ~ Mozart's own favorite creations ('0 wie Ingstlich, 0 wie feurlg') and a arrived in March, 1781. Itenttusted the task ofproviding him two-tempo rondo tailored to the sweet, lyric pliancy of Adamberger's with a German libretto to one of the overseers of the National Singspiel, ~ voice ('Wenn der Freude Thritnen flie8en'). Gottlieb Stephanie the Younger, an actor-d.ramatist who was already on friendly terms with the Mozarts. Wolfgang at first offered Stephanie a The part of Constanze was created by Caterina Cavalieri (1760-1801), German opera, already nearly fmished, that he had composed in a native Viennese trained in the grand Italian bravura tradition by Salzburg-the work now known as Zaide (K.344), its text by the Salieri. The series of Mozart wrote for her beginning with the Salzburg court trumpeter Johann Andreas Schachtner. But Stephanie three in Die EntfUhrung and continuing through the insertion for found it too serious for Vienna, 'where one prefers to see comic pieces,' Donna Elvira in the Viennese production of Don Giovanni ('Mi tradi: as Mozart told Leopold in April. K.54Oc) attests to her outstanding technical prowess and musicianship. Her two arias in Act II sketch the heroine's personality with a depth and The oriental milieu ofZaide was very much in vogue, however: the two precision rivalled only by her great recitative and duet with Belmonte most popular with Burgtheater audiences at the time were both in the final act. Never before had MOzart asked a singer to carry off older pieces set in the Middle East, Gluck's La Rencontre imprevue two such demanding arias back to back, and he never did so again. (Vienna. 1764) and Gr6try's celebrated zemire et Azor (Paris, 1771). By happy coiDcidence the. ~able Leipzig playwright-librettist Mozart's greatest musical coup in Dil Entfiihrung was the transforma­ Cbristopb Friedrich Bretzner bacl just published a new opera text with tion of the surly old overseer Osnun into a central character. In a plot laid in Turkey, Belmont DOd Constanze. That it had already been Bretzner's original libretto the part is a minor one: Osmin scarcely sings set by Johann Andre and produced at Berlin that May was of small at all, and both his blustery sexual 8dvances on Blonde and his swift consequence. Stephanie handed ~ copy of the printed libretto over to recourse to violence in dealing with Belmonte and Pedrillo are more Mozart on 30 July. risible than dangerous. But with the duet of confrontation between. Osmin and Belmonte, followed immediately by Osmin's vindictive Stephanie hoped that Mozart's setting could be ready in little over a 'Solche hergelauf'ne Laffen" Mozart places him on an equal musical month, when it could be used as part of festivities honoring the visit of footing with Belmonte and Constanze. Both these numbers represent the Russian Grand Duke Paul Petrovich and his wife. Mozart began musical additions specifically ordered by the composer. as does the composing feverishly. All of Act I (as Bretzner had planned it) was brilliant standoff between Osmin and Blonde near the beginning of the finished in one week. Then news came that the grand duke's visit had second acL Osmin's fmal aria of triumph, malice, and retribution (,O! been put off until November. Almost at once Mozart asked Stephanie wie will ich triumpbiren') completes Mozart's musical portrait with all to make some changes in the first act. the verve of a brilliant symphonic finale (in fact, its theme was shortly to see use in the last movement of the 'Haffner' Symphony, K.385). Eventually other musical planS were made for the Russian guests (revivals of several of Gluck's operas), and Mozart in turn sought The singer for whom the part was destined, Ludwig Fischer (1745­ further and more thorough-goinl clllnges in Bretzner's text. In the end, 1825), possessed two qualities that figured prominently in Mozart's Die EntfUhrung aus dem Se1li!-Which was originally to have been a thinking-a magnificent basso profondo, as agile as it was rich, and feat of compositional dispatcb-took ten months to complete, the high standing with the Viennese public. Die Bntfllhrung was, as it longest gestation of any of Mozart·s operas. turned out, Mozart's major trial by fire at Vienna. After his break with "_ --.--I j • 1--- the prince archbishop, his trip to Vienna was no longer a temporary visit Mozart had cast his lot with the imperial city, and almost at once an Running Crew: Melinda Anderson, Steve Burney. Jon Curry. Oarissa anxiety to identify with Vienna and please Viennese ears took hold of Ellis, Corinne Leland, lindaMiyahira, Emily Nagel, Louis Parent, Micbael him. Much rode on the opera's success, and that in tum rested squarely Ripko. Walter Stanford, Justin Zimmerman on the shoulders of the original Cast Set Construction Crew: Bob Boehler. Malcolm Brown, Edward Cage, Chris McBride, Hoy Robinson Mozart had need of his singers' loyalty at the premiere of Die Entftlhrung on 16 July 1782. A cabal organized against the composer Seenic Painters: Norm Scrivner. Usa BeUaro, Leila Stewart at the first performance redoubled its efforts at the second performance three days later. But the opera carried the day, frrst at the Burgtheater, Stichers: Jim Westerland, Maggie Woicek, Pauline Smith, Paula then in Prague that autumn, and soon on nearly every German operatic Tankersley. Wendy Oberlin stage. Mozart follOWed the opera's fortunes closely, both at Vienna and elsewhere. He even returned to the keyboard to conduct a performance Supratitles Starr: Theodore Deacon, Malcolm Brown, Laurent Philippe, in October of 1782 for the Russian grand duke (now on the return Stan Shockey, Nancy Hines, April Ryan journey from Italy), who may well have learnt only then that he himself had been one of the frrst of the many and varied stimuli that had guided the opera's creation. . Stafffor the Schools of Music and Drama - Thomas Bauman Production Manager Anne Stewart Head, Design and Technical Production Robert A. Dahlstrom 1 Technical Director Jay Glerum f PrGdueticMt SCalI' Lighting Advisor Rick Paulsen Costume Advisor Sarah Nash Gates Publicist Shantha Benegal Staff for The Abduction from the Seraglio Scene Shop Supervisor Alan Weldin Scene Shop Carpenter Malcom Brown Stage Manager Jane E. Green Property Master Alex Danilchik Chorus Master Randy Johnson Costume Shop Supervisor Jim Wauford Opera Coach UsaBa:gman Wardrobe Supervisor Josie Gardner Technical Director Alan Weldin Poster Design Skot O'Mahony Repititeurs Kevin Johnson, Laurent Philippe Program Design David Wilcox Director's Assistant Duk-Young Kim Program Printing UW Copy Duplicating Services Assistant Stage Manager Craig Brooks I Tickets UW Arts Ticket Office Assistant lighting Designer William Spaulding Meany Hall Staff John Paulson, Dave Saxton Master Electrician Barrett Scott Pete Zink, Nancy Hautala-BaIter, Liz Collier (GSA) Drop Construction Xenia Mara Callahan Scenic Artist Jeanne Franz Acknowledgements: ACT, Seattle Repertory Theater, Intiman Playhouse, Cutter Laura Me Smith Empty Space Theater, Seattle Opera Association, Emmi Darth, Hans Wolf. Instructional Media Services

~ University Symphony Orchestra University Opera Orchestra Peter Eros, Conductor RandayJohnson,Conduc~ Joban Louwersbeimer, J0s6 Nilo Valle, Assistant Conductors

Violin I Bass Soprano Ana Lackovic Jennifer Sanderson SimonSbiao DavidEmst Debora Batista TelfOr Anne Marie Hoffman OlavHekaJa Lucretia Fleury Andrew Yeung Anthony Wigbt KeUie Eickmeyer KaiGruner MaldJew Weiss MegBll Cleary Emily McGlocklin Peter Hodges MaryClalk Piccolo Lynne Poritsky amsWillman Rebekah Pou1Dl JefIYang LaunaLube Alto BtIII TooylD Flute Alice Bridgforth Phillip Gainey David Tobin Nancy Gentemann OudRaDcourt Andrea Mogil Carolynn Gronlwld NateMuUen Violin II LaunaLube Smmy Lee Kim Obol SmieKim Robin Fulfoo Cbiun·Mei Huang HannabKim Molly Samlvict Christine Olen Clari.t [ Friends of Music Rachael Alexander Sharon Kim Joel Barbosa UII'IttIME FRIENDS Mrs. V.R.Sc:beumatIn In memory of Corrine Berg Lora Schuldt Susan Ediger Seattle Foundatioo Usa Bergman ... David FJuIwty MandyTu Clester and Marioo Beals Dale IIld Alicia ThoInpsoa Faye W. Bicbon Bassoon The Boeing Ccxnpany Frances A. Wright Kdly IIld M..-pmt Bonham Marmie Whipple Brechemin Family Foundatioo KaJmao _ Amy Brauner SUPPORTERS