presents
NIGHT AT THE OPERA
MAY 7, 2005 AT 8:00 PM
ST. MARK'S SCHOOL, SOUTHBOROUGH
PROGRAM NOTES
Puccini’s TOSCA:
#1 Italy is in political turmoil in the year 1800, and radical patriots are looking to Napoleon for deliverance from the ruling despots. A political prisoner has escaped, and the villainous Chief of Police (Baron Scarpia) is bent on capturing him, but has thus far found only his friend Mario, who is being threatened with torture for information. Through the open window is heard the soaring sound of the chapel chorus led by the heroine and prima donna Floria Tosca. As the music rises in volume and urgency, Scarpia slams the window shut. (“Sale, ascende…”)
#2 Mario Cavaradossi, the hero and lover of Tosca, has been tortured and sentenced to death. Tosca pleads with Baron Scarpia to spare his life. Scarpia wants only the heroine. In anguish Tosca sings of her living only for art, for love and beauty, and for faith. Why has she been rewarded in such a way? In desperation she agrees to offer herself in order to save Mario, but she stabs Scarpia to death before he can win his prize. (“Vissi d’arte…”)
#3 Mario, awaiting his execution, has bribed the guard for a piece of paper. He writes a note full of memories and love for Tosca, remembering especially the stars over the garden of their small cottage (“E lucevan le stelle…”).
Verdi’s OTELLO:
#1 Otello and his crew have sailed through a night-time storm into port in Cyprus, cheering that the Turkish fleet has been destroyed in battle and sunk. As the storm dies away, soldiers and townspeople gather around a huge bonfire to drink and celebrate, singing “Fuoco di gioia.”
#2 After the fire dies down, the villain Iago and others share a jug of wine. Iago (baritone) intends to get Cassio (tenor) drunk and into a fight in order to discredit Cassio and to cause Otello to demote him. Unfortunately, this is but the first of Iago’s devious acts. (“Inaffia l’ugola!…”)
Donizetti’s DON PASQUALE and LUCIA DI LAMMERMOOR:
Gaetano Donizetti is said to have written more than sixty operas in characteristic Italian lyricism—both comedies and tragedies. Each type is represented here.
The humor in DON PASQUALE is light-hearted, rapid, and altogether silly. Pasquale, a wealthy “elderly” bachelor, threatens to disinherit his nephew and heir (Ernesto) for his refusal to marry a rich and noble young lady. Ernesto is in love with a pretty but penniless widow (Norina). The Don yields to the temptation of his own marriage to the ideal woman (Sofronia)—the supposed sister of a trusted friend who arranges a mock wedding ceremony. Sofronia is Norina in disguise—who swiftly causes Pasquale complete domestic chaos with lively gossip between maids and footmen, as sung by the chorus. (“Che interminabile andirivieni!…”)
In the tragic example on our program, Enrico, a “monetarily-challenged” noble has an all-consuming hatred of Edgardo, who is deeply in love with Lucia (Enrico’s sister). In order to improve the family’s fortunes, Enrico arranges a marriage between the very reluctant Lucia and Arturo. The unknowing guests who are gathered for signing of the marriage contract sing of joy and the hope for a brighter future in “Per te d’immenso giubilo…” Unfortunately for Arturo, he is soon to be stabbed to death by his unwilling bride as she falls victim to the disintegration of madness in a vocally lofty and fragmented “Mad Scene” not on our program.
Bizet’s THE PEARL FISHERS:
The baritone Zurga, leader of the pearl fishers of Ceylon, is reunited with his friend Nadir after having quarreled many years before. They had each loved Leila, who is now an unattainable priestess within the sacred Hindu temple. They sing of her beauty and charm, but they realize that their own bonds of friendship are too strong to remain fractured. (“Au fond du temple saint…”)
Puccini’s MADAMA BUTTERFLY:
#1 The American Naval Lieutenant Pinkerton has married the lovely and thoroughly trusting Japanese girl, Butterfly. Three years after his ship has sailed away, Butterfly is saddened that her husband has not returned to see her and her son. She and her maid Suzuki have very little money to buy food, but Butterfly refuses to doubt the trusting love that she has for the American. She sings a beautiful aria, imagining the events on the day of his return (“Un bel di…”).
#2 A few weeks later the ship is seen coming into the harbor. In great excitement Butterfly puts on her wedding robes, scatters flower petals, and dresses her son in his best to prepare for Pinkerton’s return. Butterfly, Suzuki, and the baby wait quietly in the gathering darkness, accompanied by a melancholy hummed chorus off stage. By dawn only Butterfly remains patient and motionless, the others sleeping soundly.
Puccini’s LA BOHEME:
#1 It is Christmas Eve, 1830, in the Latin Quarter of Paris. Four friends are dwelling in artistic and bohemian style in a cold garret. Three go off to the café, but Rodolfo remains behind to finish his writing. Answering a knock at the door, he finds an unfamiliar neighbor, Mimi. The drafty hallway has caused her candle to blow out. As Rodolfo attempts to re-light her candle, his own is extinguished and her room key is dropped in the darkness. As they search on their hands and knees, their hands touch. Shocked to find Mimi’s hand so chilled, Rodolfo clasps it for warmth while telling her about his life and dreams and his desire to know who she is (“Che gelida manina…”).
#2 Later they stand by the window with the moonlight enhancing Mimi’s frail beauty. Rodolfo takes her into his arms and they sing a duet of love before leaving to join the friends at the café. (“O soave fanciulla…”)
Beethoven’s FIDELIO:
Don Pizarro, Governor, is hiding political prisoners in a Spanish prison. His opponent, Florestan, whose wife Leonora is determined to free him, is alone in the deepest dungeon. Under the name of Fidelio she disguises herself and finds employment with the jailer. Hoping to discover Florestan amongst the prisoners, Leonora convinces the kind-hearted jailer to acknowledge the King’s birthday by allowing the prisoners a stroll in the courtyard, where they sing “O welche Lust…” (O what joy!) Despite the fact that Florestan remains far below close to death during this time, he is ultimately saved and the tyrant Pizzaro arrested.
Dvorak’s RUSALKA:
#1 In combining Czech folk-tales with the “Little Mermaid” story, a new fairy tale was created about the love of the water-nymph Rusalka for a human prince. She sits unhappily on a willow branch as the wood-sprites dance in the moonlit glade and tease the Water Goblin (“Hou, hou, hou…”)
#2 When the wood-nymphs have vanished, Rusalka pleads with the Water Goblin to help her acquire human form so that the prince will embrace her. The Water Goblin reluctantly sends her to the witch Jezibaba, warning her of the tragic outcome. In a beautiful aria Rusalka sings to the moon, pleading that the prince will love her. (“Mesicku na nebi hlubokem…”)—O moon in the velvet heavens.
Verdi’s NABUCCO:
Following the loss of Jerusalem to King Nebuchadnezzar in 587 BC, the defeated Hebrews were exiled to Babylonia for nearly 50 years. They wept for their homeland, longing to return to re-establish their national identity.
During the next two decades following Verdi’s composition of NABUCCO, there was political ferment among the numerous duchies, states, and kingdoms of the Italian peninsula and a wide-spread hope for a unified and self-governing Italy. Verdi was himself an ardent nationalist, and many of his countrymen soon adopted “Va, pensiero” as a consoling and passionate melody of hope for their own political stability. According to reports, at Verdi’s funeral celebration in 1901 the multitude of guests spontaneously broke into a mighty chorus of this beloved song.