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Role of Fenton in Otto Nicolai's Merry wives of Windsor Walker, Michael Hamilton 2000

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ROLE OF FENTON IN OTTO NICOLAI'S MERRY WIVES OF WINDSOR by MICHAEL HAMILTON WALKER B.Mus., University of B r i t i s h Columbia, 1998 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC (OPERA) in 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 2000 © Michael Hamilton Walker 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. 1 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. Der^rtment of i_P^^z The University of British Columbia Vancouver, Canada Date lAfMA- Z% ^poo DE-6 (2/88) PRI/M -Presents ~ The Univeristy of British Columbia's CREATIVE WRITING R E S I D E N C Y PRIZE F O R A N ORIGINAL S T A G E PLAY The Department of Theatre, Film and Creative Writing at the University of British Columbia is proud to announce the estab-lishment of UBC's Creative Writing Residency Prize in Stage Play, worth $25,000.00. The bi-annual prize, the most generous in Canada, includes a one-month residency at U B C . While on campus, the winning playwright will mentor Creative Writing students, work with The-atre students and faculty on the development of the play for per-formance, and deliver the Stage Play Residency Lecture. The winning play will be published by PRISM international, Cre-ative Writing's literary magazine, and a public performance will be presented by Theatre at UBC. For complete rules and regulations, please send a self addressed, stamped envelope to: Residency Prize in Stage Play c/o PRISM INTERNATIONAL Buchanan E462 1866 Main Mall, UBC Vancouver, B.C. V6T 1Z1 Or visit our web site at: www.arts.ubc.ca/crwr/resprize ) n at U B C UBCMUSIC P r e s e n t s The Merry Wives of Windsor B y O t t o N i c o l a i Libretto by H. von Mosenthal English Libretto by Josef Blatt 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 Conductor ~ Jesse Read Stage Director ~ Nancy Hermiston Musical Director ~ Richard Epp Set Design by Robert Gardiner Light Design by Jeremy Baxter There will be one twenty minute intermission Chan Shun Concert Hall February 10-13th, 2000 THIS PRESENTATION IS MADE POSSIBLE BY GENEROUS ASSISTANCE THROUGH THE CHAN ENDOWMENT FUND OF THE UNIVERSITY OF BRITISH COLUMBIA Page 4 A Message from the Head of Theatre, Film and Creative Writing The world of Opera and the world of Drama quite often follow separate and sometimes not even parallel courses. But there are times when those courses spectacularly converge. The Merry Wives of Windsor sits at one of those intersections, and it is a great pleasure to be able to explore all the ways that this union can create exciting and moving Theatre. The Department of Theatre, Film and Creative Writing must continually address Marshall McLuhan's famous mantra "The Medium is the Message". To achieve meaningful communica-tion, the manner in which a story is told may be more important than the story itself. The transference of any story from one performance medium to another also involves a translation, and in the process, some elements will be emphasized, and others suppressed, maybe even abandoned altogether. So, in the realm of human communication, it is more than a matter of passing interest to compare the way in which the story of Sir John is changed by the addition of a musical score. One of the great advantages of operating a Theatre Program in the diverse environment of UBC is the possibility of interraction with other Artists and Scholars, and input from colleagues around the university is a vital factor in our presentations. The body of knowledge that surrounds The Merry Wives of Windsor as a play can be added to the knowledge of The Merry Wives of Windsor as an opera. Our students, whether they be singers, actors, technicians, musicologists or dramaturgs, will all benefit from exposure to the sort of joint presentation The Merry Wives of Windsor represents. We trust that they will take forward an increased understanding of both the work itself and of the com-plexities of the Art of the Theatre. Head of the Department of Theatre, Film and Creative Writing Page 5 A Message from the Conductor and Director of the UBC School of Music Who could resist such a combination, Shakespeare, Nicolai, the brilliant and exciting cast from the UBC Opera Ensemble, our fine Orchestra and the production so creatively designed by the Theatre Department? Obviously you couldn't, you are here! We welcome you again with open arms and hearts, and we know you will leave tonight's production singing, whistling and joyfully recalling the humour, the intrigue, the lyrical beauty of the music and the engaging unfoldment of the drama which was Falstaff! Not the Falstaff of the Globe Theatre, not the Falstaff of Verdi, but a version steeped in the Germanic tradi-tion no fantastic dreams and puns in this version, but rather, Fallstaff, gullible and self-deceived, and a musical cast of char-acters who sing the story of The Merry Wives into life. Nicolai's music might have more in common with Mozart than one would first imagine. (After all, his musical experience was similar, his life in Vienna can even be compared to Mozart's,) he is forceful in his ensemble writing, crafty in his memorable and lilting melodies, and he never lets us forget this is musical/ theatrical invention at its best. So here we are: you- our devoted and honoured audience. Us-cast, crew, musicians and dramatic and musical supervisors this is why we do it, to give life to all these precious elements-literary, musical and theatrical splendour, and to arrive here tonight together with you for this, the living experience we know as OPERA. Jesse Read Conductor Director, School of Music Page 6 A Message from the Director The UBC Opera Ensemble continues its 1999-2000 season at the Chan Centre for the Performing Arts with Otto Nicolai's delightful operatic rendering of Shakespeare's timeless play "The Merry Wives of Wind-sor". Joining forces with Theatre UBC and the UBC Symphony Or-chestra we hope that, in the words of our two leading ladies, "wit and fancy, merry jesting will attract you to our bait." We greatly appreciate the Chan Foundation's financial support that made this production. Since its creation in 1995, the Opera Ensemble has performed in Eu-rope twice, toured B.C., collaborated with the Vancouver Opera and the Vancouver Symphony, appeared in senior's homes, colleges and schools throughout the Vancouver region and has become an integral part of our University's life. In May 2000 we return to the Czech Repub-lic to begin our association with the third largest opera house in that country, Mestske Divadlo, Usti. With their production of Mozart's "Gartnerin aus Liebe", their orchestra and technical staff, we will present two performances in The Estate Theatre in Prague, the theatre in which Mozart premiered his opera, "Don Giovanni." Several other perform-ances of the "Gartnerin" will be given in Usti along with performances of Johann Strauss' "Die Fledermaus". Our performances in Europe last summer were well received and the whole experience was truly a multi cultural event. There we were - a group of English speaking Canadians, singing in Italian, in a German Opera House, with a Ukrainian orchestra. Our Ensemble consisted of students from China, Japan, Korea, India, Armenia, and Switzerland as well as Canadians of German, Russian, Scottish, Irish, British, Dutch, Swedish and French Heritage. It is no wonder that the European audi-ences not only marveled at the vocal and dramatic talent of the sing-ers, but also delighted in the multi-cultural nature of our Ensemble. We were told on several occasions that we were indeed Canada's best ambassadors. Our language was universal - music. Our example -literal and symbolic harmony. We look forward to the 21 s t Century with confidence, determination, energy, and enthusiasm. The Ensemble and I thank you for your sup-port of and interest in our activities and hope that we can continue to win your respect and loyalty in the future. Nancy Hermiston Director UBC Opera Ensemble CAST February 10th and 12th Mrs. Ford Mrs. Page Mr. Ford Mr. Page Sir John Falstaff Anne Fenton Mr. Slender Dr. Cajus A Neighbour Lambroula Pappas Sandra Stringer Kevin Sean Pook Shae Apland Chad Louwerse Mari Hahn Michael Walker Russell Robson Peter Mulholland Ian Paul February 11th and 13th Mrs. Ford Mrs. Page Mr. Ford Mr. Page Sir John Falstaff Anne Fenton Mr. Slender Dr. Cajus A Neighbour Kimberly Webb Suzanne Abbott Garrick Huang Justin Welsh David Jeffries Sook Hyung Park Neil Wright Philippe Castagner Elio Catana Craig Johnson OPERA CHORUS Rhonwen Adams Marianne Alonzo-Marin Melissa Bencic Neema Bickersteth Katy Bowen-Roberts JuliannaChin Charlotte Cumberbirch Neyir Hall Dory Hayley Rhoslyn Jones Mariya Krywaniuk Katherine Landry Shauna Martin Yoonjo Park Janet Vandertol Craig Johnson Joel Klein Riley McMitchell Matt Olver Ian Paul Mark Sampson ORCHESTRA VIOLIN 1 +Alycia Au Adrian Dyck Rosemary Siemens Katherine Pawluk Gillian Mott Brooke Day James Hill Emily Akita VIOLIN 2 *Ruth Huang Gillian Hunter Phyllis Ho Trevor Pearce Jonathan Ng Kevin McDonnell Monica Kuehn Willmann Liang VIOLA *Beth Schaufele Suzanne Schweikle Manti Poon Sarah Kwok CELLO *Diederik van Dijk Colin Giles Aniela Perry Anne Davison Hsin-pei Liu Colly Blenkinsop Katherine Sepp BASS *Megan Bradfield LeannaWong Peggy Tong Dave Mansell Jennifer Chu Joanne Lee FLUTES *JackChen Rebecca Obedkoff Stacey Taylor OBOES * Sarah Cardwell Marisa Chang CLARINETS *Brenda Kim Mike Dowler BASSOONS *Gordon MacLeod Joyce Hong HORNS "Cheryl Lane Sarah Robinson Garlanda Kwan Adrienne Wasyluk Meg Smith TRUMPETS "Miriam Norton Ashley Moor TROMBONES Andrew Cormier Jim Trarquilla Janice Jensen TIMPANI Martin Fisk PERCUSSION Kenneth Hsieh Dan Sia LIBRARIAN Megan Bradfield MANAGER Colin Giles Dave Mansell + C O N C E R T M A S T E R * P R I N C I P A L PRODUCTION FOR THE PRODUCTION ASSISTANT DIRECTOR P E G G Y J A M E S O N REPETITEURS R I C H A R D E P P D A N I E L C H O W D O N N A F A L C O N E R B R E T T K I N G S B U R Y CHORUS MASTER T O N Y F U N K TECHNICAL DIRECTOR D E R E K M A C K PRINCIPALS' COSTUMES M A L A B A R L T D WIGS E L K E E N G L I C H T HEAD OF PROPERTIES V A L E R I E M O F F A T PROP BUILDER V I C T O R W A G N E R MAKE-UP N E L L V O L R I C H MAKE-UP ASSISTANTS F R I E N D S O F UBC O P E R A ASSISTANT SET DESIGN A L E S S I A C A R P O C A ASSISTANT LIGHTING DESIGN M I K E I N W O O D LIGHTING BOARD OPERATOR M I K E I N W O O D PAINTERS G E N N I E W I L L O U G H B Y - P R I C E L I Z B A C A M O R G A N C A R R I E R COSTUME COORDINATOR L Y D I A H I E B E R T COSTUME ASSISTANT R O M A C H I N WARDROBE MISTRESS L Y D I A H I E B E R T DRESSERS F R I E N D S O F UBC O P E R A STAGE MANAGER S U S E H NlEVARES ASSISTANT STAGE MANAGER V A T H E R T O N T A R A R O U T PROPERTIES CREW M A R G A R E T L A M L I N D S E Y B A I L L E PROPERTIES ASSISTANTS S E R E N A Y A U D A R C Y C O R R I G A N L O A D IN C R E W O P E R A E N S E M B L E RUNNING CREW O P E R A E N S E M B L E FOR THE THEATRE DEPARTMENT TECHNICAL DIRECTOR I A N P R A T T PRODUCTION MANAGER R O B E R T E B E R L E PROPS SUPERVISORS J A N E T B I C K F O R D L Y N N B U R T O N COSTUME SUPERVISORS J E A N D R I S C O L L - B E L L STAGE CARPENTERS J I M F E R G U S S O N D O N G R I F F I T H S J A Y H E N R I C K S O N BUSINESS MANAGER M A R I E T T A K O Z A K COMMUNICATIONS J O A N W E L L W O O D H U S S E I N J A N M O H A M E D J U L I A N N A C H I N POSTER DESIGN J A M E S A . G L E N BOX OFFICE G E R R Y B R A T Z OFFICE SUPPORT G. V A N D E R W O U D E Page 10 FOR THE CHAN CENTRE DIRECTOR M I C H A E L N O O N DIRECTOR OF FACILITIES AND OPERATIONS C A M E R O N M C G I L L PROGRAMMING MANAGER J O Y C E H I N T O N CUSTOMER SERVICES MANAGER M A R I E E D W A R D S ASSISTANT TECHNICAL DIRECTOR S T E V E D A R K E SYSTEMS COORDINATOR T E D C L A R K FRONT OF HOUSE COORDINATOR K E N T M A R T I N CONCESSIONS COORDINATOR B A S I L W A U G H TICKET OFFICE COORDINATOR S A R A H R O B E R T S FINANCIAL CLERK III F L O R A L E W FINANCIAL CLERK II L A U R A L E E S A M U E L S OPERA ENSEMBLE EXECUTIVE S U Z A N N E A B B O T T R H O N W E N A D A M S N E E M A B I C K E R S T E T H J U L I A N N A C H I N R O B Y N D R I E D G E R - K L A S S E N J E A N I N E F Y N N R H O S L Y N J O N E S ACKNOWLEDGEMENTS T H E V A N C O U V E R O P E R A , T H E V A N C O U V E R P L A Y H O U S E , B R I A N K I N G , V A L E R I E M O F F A T , R O M A C H I N , S C H O O L O F M U S I C O F F I C E S T A F F , D R . F L O Y D S T . C L A I R , P H Y L L I S L A V A L L E A N D T H E F R I E N D S O F U B C O P E R A , D A V I D S P E N C E R E N D O W M E N T E N C O U R -A G E M E N T F U N D , M A P L E L E A F S T O R A G E , E N C H A N T E D F L O R I S T , S A M C O P R I N T E R S , RS D E S I G N , I A N P R A T T , UBC O P E R A E N S E M B L E A Very Special Thank You to the Vancouver Opera Guild for their monetary donation to build "Heme's Oak" in the third act of this production. MEDIA AND PROMOTIONAL SUPPORT Plot Synopsis Setting: Windsor in the early 17th century ACT 1.i Between the houses of Ford and Page Mrs Ford is reading a love letter from Falstaff; Mrs Page joins her and they real-ize that he has sent them identical letters. Their reaction to the effrontery of the fat old knight, and their plans to take revenge on him are revealed in their duet. In the following dialogue Page tells Ford, Slender and Dr Cajus that he hopes to wed his daughter, Anne, to Slender, though Dr Cajus and Fenton both want to marry her. In the recitative and duet Fenton urges his suit in vain; his ardent melodic line is effectively contrasted with Page's busy semiquaver patterns as he gloats over Slender's wealth. 1.H Inside Ford's house Mrs Ford considers what she will say to Falstaff when he visits her; the fine recitative and aria skilfully develops her character as a quick-witted, resourceful and charming woman. Mrs Page enters and in dialogue they discuss their plan to make Falstaff hide in a washing basket and then have him thrown in the river. Mrs Page conceals herself and as the finale begins Falstaff arrives. His portliness contrasts amusingly with the tripping figures that Nicolai gives him to sing as he begins his courting of Mrs Ford. Mrs Page bursts in as planned with the news that Ford is coming, and the two women get Falstaff into the basket. Ford, accompanied by his neighbours, enters in a fury and searches the house (he has been informed, anonymously, by his own wife of Falstaff's assignation with her). Meanwhile, the washing basket is removed by two servants, and Mrs Ford and Mrs Page laugh together, in a delightful duet, at the lessons they are teaching the men. When Ford returns from the search, his wife roundly scolds him for his unworthy suspicions; as the curtain falls, she simulates a fainting spell. continued on next page... ACT2.i The Garter Inn In a dialogue scene Falstaff is gossiping with his cronies; he has been invited to a further meeting with Mrs Ford. He and his friends sing a tuneful drinking song. In another short section of dialogue the waiter tells Falstaff that a certain Sir Brook, actually Ford in disguise, is waiting to speak to him. The following recitative and comic duet in which Ford tries to discover the truth about Falstaff's relationship with Mrs Ford, amusingly depicts the increasingly furious Ford's struggles to maintain the character of Sir Brook while Falstaff boasts of his success with Mrs Ford. 2.ii Page's garden It is the evening and Anne's three suitors have the idea of serenading her. Nicolai blends this succession of scenes into a musically continuous number. Slender enters with comic tearfulness but hides on the arrival of Dr Cajus, whose comical mixture of French and mispronounced English increases the humour of the situation. Hear-ing Fenton approaching, he too hides. Fenton, thinking he has the garden to himself, sings a Romanze which is full of charming melodic invention with a smooth, expressive string accompaniment and bird-like trills in piccolo and flute. When Anne appears, they sing a duettino, an elaborate violin solo enriches the orchestral colour and the section closes with an ingenious cadenza for the two voices and solo violin. In the concluding quartet, the lovers pledge themselves to each other while Slender and Dr Cajus comment in suppressed fury from their hiding places. 2. iii Inside Ford's house In a dialogue scene Falstaff is again courting Mrs Ford. As before, Mrs Page interrupts them with the news that Ford is coming. This time they disguise Falstaff as an old woman. Ford and his wife confront each other in the duet and she mocks his jealous fury. The finale follows without a break as Slender, Dr Cajus and Page ar-rive; Falstaff is smuggled out under their very noses and-they again search the house fruitlessly. ACT 3.i Page's house The scene begins in dialogue. Mrs Ford and Mrs Page have explained the situation to their husbands; Ford is penitent. They plan to teach Falstaff a lesson he will not forget, and Mrs Page sings the ballad of Heme the Hunter. Mrs Page privately tells Anne (in dialogue) that she has arranged for her to marry Dr Cajus that night; then Page tells Anne that he has arranged for her to marry Slender. Anne, alone, vows to con-found both of them and marry Fenton, affirming her determination to outwit them in the aria. 3.ii Windsor Park The moon rises during the orchestral introduction and Ford, Page and their neighbours sing the chorus 'Oh Sweet-est Moon' as they prepare for Falstaff's arrival. Falstaff enters dressed as Heme the Hunter and in the trio Mrs Ford and Mrs Page flirt teasingly with him. Then follows a chorus of the neigh-bours dressed as elves and a harp solo announces the arrival of Anne dressed as Titania and Fenton as Oberon. Page appears dressed as Heme and the terrified Falstaff is further tormented. In the meantime, Slender and Dr Cajus go off with each other, disguised as elves, both thinking that they are with Anne, and Anne and Fenton hurry away to get married; there is then a general dance and chorus. In the final dialogue, Anne reconciles her par-ents to her marriage with Fenton, and the opera concludes with a charming trio for the' merry wives', Mrs Ford and Mrs Page, with Anne. About Otto Nicolai A native of Konigsberg, Otto Nicolai was educated largely in Berlin, through the intervention of a sym-pathetic patron, and made a name for himself there, without great material success. A period in Rome as organist at the Prussian Embassy aroused his interest in opera, an enthusiasm he was able to pur-sue at the Court Opera in Vienna, finally, in the year before his death, achieving the position of director of the Berlin Cathedral Choir and Kapellmeister of the Berlin Opera. Nicolai is best known for his op-era based on Shakespeare's comedy The Merry Wives of Windsor. Die lustigen Weiber von Windsor first performed in Berlin in March 1849, two months before Nicolai's early death.The opera occupies an important position in German Romantic operatic repertoire. Otto Nicolai was only 38 when he died. Page 14 1999/2000 Wednesday N O O N UBC School of Music Recital Hall 12:30pm February 23 Quartet for the End of Time Messiaen's masterpiece: Quartet for the End of Time per-formed by Andrew Dawes, violin Gene Ramsbottom, clarinet Heather Hay, cello Terence Dawson, piano March 1 Sound Moves Clarinet, Saxophone & Piano trio. Sound Moves' accessible, informal concerts strike a refreshing balance between new and traditional works. March 8 Miranda Wong Wilkins, piano Works by Bach, Ravel & Schumann March 15 Diversions Jazz Trio featuring Jon Bentley Drawing on influences from traditional jazz, funk, early electric jazz and free improvisations, Diversions is an electric jazz trio led by saxophonist Jon Bentley Upcoming Events at The School of Music UBC Symphony Orchestra April 6th, 12:30pm & April 7th, 8:00pm Chan Centre for the Performing Arts Bons Bons Anyone? - Opera Excerpts April 8th, 8:00pm & April 9th at 3:00pm The Old Auditorium For more concert information visit The School of Music website at: w w w . m u s i c . u b c . c a o r p h o n e 8 2 2 - 5 5 7 4 Upcoming Theatre at UBC Productions & Events Life and a Lover by Natalie Meisner March 8 - 1 8 , 7:30pm, Frederic Wood Theatre Casanova by Constance Congdon March 22-April 1, 7:30pm, BC Tel Studio Theatre The Wood Carver's Wife by Marjorie Pickthall Presented by The Faculty of Arts, Women's Studies, Green College, Canadian Studies & The Department of English April 27 ~ 29, 7:30pm, Frederic Wood Theatre Canada's National Voice Intensive The National Voice Intensive is sponsored by Equity Showcase & the Department of Theatre, Film and Creative Writing. Sunday May 14th - Friday June 16th, 2000 "nothing less than one of the most searching learning events for the actors in this country, if not the whole continent." - - Guy Sprung. Canadian Theatre Review #7 The National Voice Intensive, under the direction of David Smukler, is a five-week program designed for professional actors (stage and screen), other performing artists, voice teachers and advanced students. The Voice Intensive faculty has, for fourteen years, continuously refined its approach to the performer's work. The work integrates investigations of Shakespeare text with vocal , physical, intellectual and imaginative practices. For More information please contact: The Canadian National Voice Intensive at UBC, 6354 Crescent Road, Vancouver B.C., V6T 1Z2 Phone:(604)822-3093 Fax: (604)822-5985 email: voice® interchange.ubc.ca BECKETT B I R T H D A Y B A S H breathcatas t rophecomeandgo one night only apr i l 13 2000 7 30pm B C Tel Studio 822-2678° 


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