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Role of Susanna in Mozart’s the Marriage of Figaro Tait, Alexandra Marion 1999

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ROLE OF SUSANNA IN MOZART'S THE MARRIAGE OF FIGARO by ALEXANDRA MARION TAIT B.A.H. (History), Queen's University, 1992 A r t i s t Diploma, University of Toronto, 1997 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC (OPERA) i n THE FACULTY OF GRADUATE STUDIES (School of Music) We accept t h i s thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA A p r i l 1999 © Alexandra Marion Tait, 1999 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of HPQ^ The University of British Columbia Vancouver, Canada DE-6 (2/88) THe M A R R J A G E oF R G A R O w.a. mozart 1 ft x 1 . . . . Feb25-2PI < tl*, :" 1999 , ; | ^ ^ h b n ^ c t t t e r t Hall | ,<Shcrrf Centre"fpr the Performing Arts * , •*' »«* * - •• ,»:»* y» w *v \ . * * •»» • , «* i»« y.' >" » • « - >* * K USIC * * t i c K: C M L Present THe MARRJAGE oF RGARO By W. A. Mozart L i b r e t t o by L o r e n z o d a P o n t e w i t h T h e U B C O p e r a E n s e m b l e & T h e U B C S y m p h o n y O r c h e s t r a UBCMUSIC Conductor ~ Jesse Read Stage Director ~ Nancy Hermiston Musical Director ~ Richard Epp Set Design by Lorenzo Savoini Light Design by Jeremy Baxter There will be two twenty minute intermissions Chan Shun Concert Hall Feb 25-28, 1999 THIS PRODUCTION IS MADE POSSIBLE BY GENEROUS SUPPORT FROM THE CHAN ENDOWMENT FUND OF THE UNIVERSITY OF BRITISH COLUMBIA Page 4 Thea t re at U B C & the U B C Schoo l of Music A Message from the Head of Theatre, Film and Creative Writing Opera is both music and theatre. The history of opera is part theatre history and part music history. Staging and performing opera contributes to the production experience of students and provides a model for study in academic classes and seminars in both music and theatre. Thus, The Marriage of Figaro is a not just a co-production - it is a natural collabora-tion of the School of Music and the Department of Theatre, Film and Creative Writing. We are very grateful to the Chan Foundation for their support of this interdisciplinary project, and we look forward to continuing our collaboration in the years to come. A Message from the Conductor and Director of the UBC Shool of Music In my dual role as Director of the School of Music and the Conductor of tonight's production, I am delighted to welcome you to the world of the 18th century , a time of brilliant developments in technology, science, philosophy, politics, art, drama, and music, much like our very own. Wolfgang Amadeus Mozart combined his genius with the spirit of enlight-enment and revolution which was upending the continents to create a work of eternal beauty, defiant resistance to the feudal status quo, and a lasting testament to the strength and endurance of the human spirit. As the final production in a quartet of masterworks from this period, (includ-ing Beethoven's Symphony #9, Haydn's Creation, and last year's produc-tion of Mozart's early gem, La Finta Giardiniera,) The Marriage of Figaro takes place as a marvelous vehicle for the talents and artistry of the students and faculty from the School of Music and Department of Thea-tre, Film, and Creative Writing, who have brought it to life. I invite you to share and delight in their vigour, talent, craft and artistry as this amazing production unfolds. Please continue with us in further productions and performances as we endeavour to make you part of our audience "family" for the performing arts at UBC. Jesse Read Director, School of Music Theatre at UBC & the UBC School of Music Page 5 A Message from the Director 1999 marks the 35 t h anniversary year of the Opera Division at the School of Music, University of British Columbia. In this special co-production with the Frederic Wood Theatre, UBC Symphony Orchestra and the Chan Foundation, we are proud to celebrate the beginning of this anniversary year with Mozart's masterpiece, The Marriage of Figaro. Our students in the Opera Ensemble have proven themselves to be performers of great initiative, talent, energy and enthusiasm. Through our many university productions, community concerts and school tours, they have become a favourite amongst Vancouver audi-ences. They were well received in the 1997 co-production of Hansel and Gretel with the Kamloops and Okanagan Symphonies. As a result of our successful performances of Mozart's Die Zauberflote in Germany and the Czech Republic in 1997 we have been invited to return to those countries with our production of The Marriage of Figaro in May of 1999. In Jan. 1998 they joined the Vancouver Opera in their X-treme Opera production. They are living up to a very proud heritage. As we look back on our history, we can be proud that such great perform-ers as Judith Forst, Ben Heppner, Heather Thompson, Wendy Nielson and many others took their first steps on the operatic stage at UBC. The young artists performing for you tonight are also taking their first major steps on the operatic stage and together with their colleagues from the UBC Symphony Orchestra and the Frederic Wood Theatre, they hope to bring the magic of Mozart to you. By your attendance at our performances and your support of our endeav-ours you help us to keep that magic happening. Thank you! Nancy Hermiston Director UBC Opera Ensemble Page 6 Theatre at UBC & the UBC School of Music Mozart In His Own Words When I am, as it were, completely myself, entirely alone, and of good cheer, travelling in a carriage, or walk-ing after a good meal, or during the night when I cannot sleep: it is on such occasions that my ideas flow best and most abundantly. Whence and how they come, I know not; nor can I force them. Those ideas that please me I retain in memory and am accustomed, as I have been told, to hum them to myself. If I continue in this way, it soon occurs to me how I may turn this or that morsel to account, so as to make a good dish of it, that is to say, agreeably to the rules of counterpoint, to the peculiarities of the various instruments etc. All this fires my soul; and provided that I am not dis turbed, my subject enlarges it self, becomes methodised and de-fined, and the whole, though it be long, stands almost complete and fin-ished in my mind, so that I can sur-vey it, like a fine picture or a beautiful statue, at a glance. Nor do I hear in my imagination the parts succes-sively, but I hear them, as it were, all at once. What a delight this is I cannot tell! All this inventing, this producing, takes place in a pleasing lively dream. Still the actual hearing of the ensemble is after all the best. What has been thus produced I do not easily forget, and this is perhaps the best gift I have my Di-vine Maker to thank for. When I proceed to write down my ideas, I take out of the bag of my memory, if I may use that phrase, what has previously been col-lected into it. For this reason the committing to paper is done quickly enough, for everything is, as I said before, already fin-ished; and it rarely dif-fers on paper from what it was in my imagination. But why my productions take from my hand that par-ticular form and style that makes them Mozartish, and different from the works of other composers, is probably owing to the same cause which renders my nose so large or so aquiline, or, in short, makes it Mozart's and different from those of any other people. For I really do not study or aim at any origi-nality. Theatre at UBC & the UBC School of Music Beaumarchais on the Characters k 1 i 1 i ~ Figaro If the actor sees in this role anything other than good sense sea-soned with gaiety and sallies of wit, he will diminish the effect of a role which would bring honour to the talents of any player able to appreciate the fine shades of the part. ~ Susanna She is a resourceful, intelligent, and lively young woman, but she has none of the almost brazen gaiety characteristic of some of our young actresses who play maidservants. ~ Cherubino The basis of his character is an undefined and restless desire. He is entering on adolescence all unheeding and with no understanding of what is happening to him, and throws himself eagerly into everything that comes along. In fact, he is what every mother, in her innermost heart, would wish her own son to be even though he might give her much cause for suffering. - Count Almaviva Almaviva should be played with great dignity yet with grace and affability. The depravity of his morals should in no way detract from the elegance of his manners. ~ The Countess Torn between two conflicting emotions, she should display only a restrained tenderness and very moderate degree of resentment, above all, nothing which might impair her amiable and virtuous character in the eyes of the audience. Page 8 Theatre at UBC and the School of Music CAST FEBRUARY 25 & 27 COUNT ALMAVIVA COUNTESS ALMAVIVA FIGARO SUSANNA CHERUBINO MARCELLINA BARTOLO BASILIO DON CURZIO ANTONIO BARBARINA VILLAGE GIRL 1 VILLAGE GIRL 2 KEVIN SEAN POOK KIMBERLY WEBB JONATHAN LIEBICH MARI HAHN SANDRA STRINGER SUZANNE ABBOTT (UNDERSTUDY) JEANINE FYNN CHAD LOUWERSE MICHAEL WALKER PAUL OUELLETTE PETER MULHOLLAND ROBYN DRIEDGER-KLASSEN NEEMA BICKERSTETH SUZANNE ABBOTT FEBRUARY 26 & 28 COUNT ALMAVIVA COUNTESS ALMAVIVA FIGARO SUSANNA CHERUBINO MARCELLINA BARTOLO BASILIO DON CURZIO ANTONIO BARBARINA VILLAGE GIRL 1 VILLAGE GIRL 2 GIL ANDERSON ** CINDY KOISTINEN ALESSANDRO JULIANI * * ALEXANDRA TAIT SASCHA KARP SUZANNE ABBOTT (UNDERSTUDY) MAAIKE DEBRUYN GARRICK HUANG RUSSELL ROBSON PAUL OUELLETTE SHAE APLAND JINNY PARK RAPUNZELTU KATY BOWEN-ROBERTS ** APPEARING COURTESY OF CANADIAN ACTOR'S EQUITY ASSOCIATION Theatre at UBC and the School of Music Page 9 CHORUS RHONWEN ADAMS ALIYA AHMAD ALEXIS BARTHELEMY JULIANNA CHIN EVA GERSBACH WEI HSI HU JEN LEGARE DANCERS RHOSLYN JONES IAN PAUL CATHERINE REDDING MARK SAMPSON JASON SPITTEL GERRIT THEULE JUSTIN WELSH HELEN NICHOLS STEVEN SPARLING ORCHESTRA VIOLIN 1 + CATHERINE WONG ROSEMARY SIEMENS CHERIE JARROCK ADRIAN LEE GILLIAN MOTT EMILY AKITA VIOLIN 2 * ALICIA AU BETH SCHAUFELE NOLLAIG WALSH RUTH HUANG LAWRENCE LO KIMBERLY STRAIN MONICA KUEHN DORIE HALEY VIOLA * ROBERT ASHWORTH MARCUS TAKIZAWA KIM HSIEH KAREN CHENG CELLO * COLIN GILES ANIELA PERRY DIEDERIK VAN DIJK ANNE DAVISON BASS * LEANNAWONG JAMES HIGGS PEGGY TONG TOM ECCLESTON FLUTES * JODI DAWKINS SAMANTHA FU OBOES * BRIAN BRUCE CHRISTIE GOODWIN CLARINETS * ANDREA CIONA BRENDA KIM BASSOONS * INGRID CHIANG GORDON MACLEOD HORNS * JOANNA SCHULTZ JOLIE CHAI TRUMPETS * ROBERT MORSON THOMAS MACKENZIE TIMPANI MARTIN FISK HARPSICHORD RICHARD EPP + CONCERT MASTER * PRINCIPAL Page 10 Theatre at U B C & the U B C School of Music PRODUCTION FOR THE PRODUCTION ASSISTANT DIRECTOR PEGGY JAMESON CRAIG HOLZSCHUH REPETITEURS DONNA FALCONER KAREN LEE-MORLANG TECHNICAL DIRECTOR DEREK MACK PRODUCTION M A N A G E R RONALD FEDORUK S T A G E M A N A G E R SUSEH NIEVARES ASSISTANT S T A G E M A N A G E R CECILIA NGAI PRINCIPALS' C O S T U M E S MALABAR C O S T U M E COORDINATOR LINDA CHOW C O S T U M E S FIRST H A N D KAREN BATES S E A M S T R E S S MIRIAM MELANSON W I G S ELKE ENGLICHT PROPERTIES MARGARET LAM M A K E - U P S U P E R V I S O R JILL WYNESS S C E N I C ARTIST TARA ARNETT ASSISTANT LIGHTING D E S I G N LIZ BACA LIGHTING B O A R D O P E R A T O R S U S A N N E C L A M P E T T PAINTERS GENNIE WILLOUGHBY-PRICE MORGAN CARRIER SHARON HUIZINGA M A K E - U P ASSISTANTS JENNIFER CIRESI DAWN STEVENSON D R E S S E R S NEYIR HALL TARA TANG RUNNING C R E W YVONA HAAS V E E ATHERTON ROBYN BAINCROFT-WILSON LINDSAY BAILEY JOANNA G o G R E E N E R Y LAURA FRANCIS-LAMB MORGAN CARRIER CHAD FINDLAY LOAD IN C R E W TRANG V o PATRICIA LEWIS VICKY HUANG FOR THE THEATRE DEPARTMENT TECHNICAL DIRECTOR IAN PRATT P R O P S SUPERVISORS JANET BICKFORD LYNN BURTON C O S T U M E SUPERVISORS JEAN DRISCOLL-BELL S T A G E C A R P E N T E R S JIM FERGUSSON DON GRIFFITHS JAY HENRICKSON P R O P S B U Y E R ERINNE DRAKE P R O P S BUILDERS MELANIE WALDEN VICKY HUANG NICOLE BRABER BUSINESS M A N A G E R MARIETTA KOZAK COMMUNICATIONS JOAN WELLWOOD HUSSEIN JANMOHAMED NICOLE PRESTON P O S T E R D E S I G N JAMES A . GLEN B O X O F F I C E LENORE NEMANI O F F I C E S U P P O R T G.VANDERWOUDE Theatre at UBC & the UBC School of Music Page 11 FOR THE CHAN CENTRE D I R E C T O R MICHAEL NOON D I R E C T O R O F FACILITIES A N D OPERATIONS CAMERON MCGILL P R O G R A M M I N G M A N A G E R JOYCE HINTON C U S T O M E R S E R V I C E S M A N A G E R MARIE EDWARDS A S S I S T A N T T E C H N I C A L DIRECTOR STEVE DARKE SUSANNE CLAMPETT S Y S T E M S COORDINATOR TED CLARK E V E N T S COORDINATOR PASCALE DE KERCKHOVE F R O N T O F H O U S E COORDINATOR JAMES UFTON C O N C E S S I O N S COORDINATOR BASIL WAUGH T I C K E T O F F I C E C O O R D I N A T O R SARAH ROBERTS FINANCIAL C L E R K III FLORA LEW FINANCIAL C L E R K II KATHERINE SHEARER O P E R A E N S E M B L E E X E C U T I V E PRESIDENT N E Y E R H A L L VICE PRESIDENT J E N N I F E R L E G A R E SECRETARY J O N A T H A N LIEBICH TREASURER A L E X A N D R A TAIT DEVELOPMENT R O B Y N D R I E D G E R - K L A S S E N HEIDI DAVIS PUBLICITY J E A N I N E F Y N N E V A G E R S B A C H H U S S E I N J A N M O H A M E D EDUCATION S U Z A N N E A B B O T T KIMBERLY W E B B A C K N O W L E D G E M E N T S THE VANCOUVER PLAYHOUSE, VALERIE MOFFAT, VANCOUVER OPERA, BRIAN KING, SCHOOL OF Music OFFICE STAFF, DAVID AGLER, CARMEL BACH FESTIVAL, DR. IRVING GUTTMAN, PROFESSOR JAMES FRASER-CRAIG M E D I A A N D P R O M O T I O N A L S U P P O R T CBC '*•»•Vancouwcr Radio-Television Page 12 Theatre at UBC & the UBC School of Music 1781-1791: The Turmoil of a Decade ~ The French Revolution begins. Paris mob storms the Bastille. ~ Canada Act divides the country into two provinces, Upper and Lower Canada. ~ J.J. Rousseau publishes Confessions. ~ Lord Byron, English poet, born. ~ Franciscan monks settle at Los Angeles. - Mennonites from Central Europe settle in Canada. ~ Thomas Paine publishes The Rights of Man. ~ Beaumarchais writes his comedy The Marriage of Figaro. Mozart composes his opera The Marriage of Figaro. ~ James Watt invents rotary steam engine. ~ Louis Daguerre, pioneer of photography, born. ~ Auld Lang Syne published. ~ George Vancouver explores northwest coast of America. A Note on Lorenzo da Ponte Emanuele Conegliano was born near Venice in 1749. He converted from Judaism to Catholicism at the age of fourteen and took his new name from the bishop who baptised him. After training in Poetics and Oratory, he was named Professor of Letters. He was dismissed from this position after having defended the ideas of Rousseau. He settled in Venice and became friends with Casanova and Goldoni. After various scandals, he was banished from the city for fifteen years. In 1781, he arrived in Vienna with an introduction to Salieri. He was made "Poet to the Court" by Emperor Joseph II. He soon became a centre of Vienna's cultural life, and began a friendship with Mozart. They collaborated on a number of operas, among them The Marriage of Figaro. Da Ponte got involved in Court intrigues, and was ordered to leave Vienna. He tried his luck in London. A year later, then bankrupt, he fled to New York. He began teaching Italian literature, managed a small opera company, and died in 1838, an American citizen. Theatre at UBC & the UBC School of Music Page 13 Plot Synopsis for The Marriage Of Figaro ACT ONE The palace of Count Almaviva Figaro (the valet of Count Almaviva) and Susanna (the Countess Almaviva's maid) are preparing for their wedding. As Figaro measures their room to see if their new bed will fit, Susanna warns him that the Count intends to use his Droit du Seigneur (nobleman's privilege) with her. Figaro vows to outwit him. After Figaro and Susanna have left, Dr. Bartolo (the Countess's former guardian, who bears a grudge against Figaro) enters with his housekeeper Marcellina. She explains that she has in her possession a contract signed by Figaro stipulating that he must either pay back a sum of money he borrowed from her or marry her. Bartolo eagerly agrees to help Marcellina enforce this contract. Following a hostile encounter between Susanna (who has overheard the discus-sion of the contract) and Marcellina, the young page Cherubino enters in great distress. He asks for Susanna's protection from the Count, who has found him in a compromising position with Barbarina, the gardener's daughter. Cherubino conceals himself just before the entrance of the Count, who, unaware that the page-boy is hiding in the room, proceeds to arrange a tryst with Susanna. As he coaxes her to meet him that night in the garden, Don Basilio, the music master, is heard approaching. The Count also hides. When Basilio's insinuating gossip turns to the subject of Cherubino's interest in the Countess Almaviva, the Count angrily emerges and soon discovers the concealed Cherubino. In order to get rid of him, the Count presents Cherubino with a commission in the army, with orders to immediately depart. ACT TWO In the boudoir of Countess Almaviva Hearing of the Count's intentions toward Susanna, the Countess bemoans her husband's unfaithfulness. Figaro enters and presents a plan. In accordance with his scheme, the Countess and Susanna dress Cherubino (who, unknown to the Count, is still in the palace) as a girl, to take Susanna's place in the rendezvous with the Count. The plan is thrown into confusion when the Count is heard banging on the door. Just before the entrance of the Count, Susanna hides and the Countess pushes Cherubino into her closet, which he locks from the inside. Noises are soon heard from within the closet, and the Count—suspecting that Cherubino is hiding inside— tries to open it and finds it locked. Making plain his jealous mistrust of his wife, the Count forces the Countess to go with him to fetch a crowbar to open the closet. As soon as the Count and the Countess have left the room, Susanna helps Cherubino escape through a window and takes his place in the closet. The Count returns and is astounded to find Susanna in the closet. Page 14 Theatre at UBC & the UBC School of Music Figaro enters to inform everyone of the beginning of the wedding festivities. The bewildered Count is about to give his blessing to the marriage of Figaro and Susanna when the gardener Antonio enters complaining that an unknown man has just jumped from the Countess's window into his flower-bed. Figaro tries to convince the suspicious Count that it was he who jumped from the window, but at this moment Marcellina, Bartolo and Basilio burst in and complicate matters by pressing Marcellina's breach-of-promise case against Figaro. The Count post-pones the marriage. ACT THREE A hall in the palace Prompted by the Countess, Susanna finally agrees to a rendezvous with the Count, but he suspects a trick when he overhears her talking to Figaro and angrily vows revenge. When the notary Don Curzio enters to force Figaro to pay off his old debt to Marcellina or to marry her, the Count agrees that Figaro must abide by the terms of the contract and (since he has no money) marry Marcellina. This marriage is, however, abruptly cancelled when it is discovered that Figaro is none other that the long-lost son of Marcellina and Dr. Bartolo. This unexpected turn of events leaves the Count with no grounds to prevent the marriage of Figaro and Susanna. The Countess, in order to put an end to her husband's philandering, dictates a note for Susanna to sign, inviting the Count to the garden at night (where the Countess intends to appear disguised as Susanna). Figaro arrives, the wedding begins and in the midst of dancing Susanna manages to slip the Count the note sealed with a pin. He is to signify his agreement to the time and place of the rendezvous by returning the pin to Susanna. ACT FOUR The garden of the palace Evening has fallen and Barbarina has lost the pin the Count has given her to take to Susanna in reply to "her" note. As Barbarina tells Figaro and Marcellina that Susanna has offered to meet the Count in the garden, Figaro, in a fit of jealousy, assumes that Susanna is deceiving him with the Count. All of the characters independently proceed to the garden, and the confusion that soon reigns in the darkness is further complicated when Susanna and the Countess disguise themselves in each other's clothes. The Count, disoriented but angry, finally accuses his wife of unfaithfulness and his valet of treachery. When the Countess and Susanna reveal their identities, the Count has no choice but to admit that he has been fooled. There is nothing for him to do but to ask the Countess for forgiveness and bestow his blessings on the marriage of Figaro and Susanna. Special Upcoming Events • Helikon Ensemble # A Concert of 20th Century Music Monday, March 15 8pm Chan Centre for the Performing Arts Chan Shun Concert Hall Wallace Leung ~ Conductor Beckett Birthday Bash II Breath Play a special champagne toast to Beckett after the performance ONE SHOW ONLY April 13th, 1999, 7:30pm Frederic Wood Theatre $5 at the door 822-2678 U p c o m i n g E v e n t s T H E BaCCHAE by euripides Mar 10-20 7:30pm B C Te l S t u d i o T h e a t r e Chan Centre for the Performing Arts Tickets Reg $15 St/Sr $9 Box Office 822-2678 C O B A R E T by kander and ebb Mar 17-27 7:30pm Freder ic W o o d T h e a t r e Tickets Reg $15 St/Sr $9 Box Office 822-2678 T h e U n i v e r s i t y o f B r i t i s h C o l u m b i a 

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