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Roles of Zita in Giacomo Puccini's Gianni Schicchi and the Sorceress in Henry Purcell's Dido and Aeneas Fynn, Jeanine Rosanne 2002

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ROLES OF ZITA IN GIACOMO PUCCINI'S GIANNI SCHICCHI AND THE SORCERESS IN HENRY PURCELL'S DIDO AND AENEAS by JEANINE ROSANNE FYNN B.Mus., University of B r i t i s h Columbia, 2000 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC 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 2002 ® Jeanine Rosanne Fynn 2002 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 The University of British Columbia Vancouver, Canada Date IS AWL 2MZ DE-6 (2/88) ABSTRACT ii My thesis is the performance of two operatic roles: Zita in Giacomo Puccini's Gianni Schicchi, performed on March 7 and 9, 2002, and the Sorceress in Henry Purcell's Dido and Aeneas, performed on March 8 and 10, 2002. Gianni Schicchi is derived from a section of Dante's Inferno, dealing with the death of Buoso Donati and the greed of his surviving relatives. Zita is cousin to Buoso and aunt to Rinuccio, one of the lovers. She is part of the family ensemble, which is onstage for almost the entire opera - a very unusual occurrence in opera. After Buoso's death, Zita becomes the commandatore of the family, a comic mezzo-soprano character role that remains bitter and greedy until she and the family are chased offstage. Dido and Aeneas is based on Virgil's The Aeneid, and deals with Dido, the queen of Carthage, in her relationship with, and loss of, Aeneas. The Sorceress, an evil mezzo-soprano role, who carries herself as if she were queen, plots disaster for both Dido and her lover, and oversees the queen's subsequent death. I am entering both roles combined as my thesis because they were performed in the same run of a double bill with the UBC Opera Ensemble. The two roles differ in character and musical style, creating a nice juxtaposition for my thesis. TABLE OF CONTENTS Abstract i Table of Contents ii Program Appendix 1 Tapes of production of Giacomo Puccini's Gianni Schicchi, March 9, 2002 Appendix 2 Tapes of production of Henry Purcell's Dido and Aeneas, March 8, 2002 1 2 O 3 o I CD o CO CO CD O h -CO Q_ Q. L U Q CC Z < O X cc o >-o z < > CD Q LU I -O LU CC < > UJ Q LU LU CC o Q g. y z w ° «? O 2 tr UJ 0- o LU o CC X < CD > LU > CD I o o X o ^ m .Lu > CO Q CO LU 2 CL CO LU LU cc n> CL cc CO LU _ . 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