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Role of Count de Grieux in J. Massenet’s "Manon" Welsh, Justin Joseph 2004

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ROLE OF COUNT DE GRIEUX IN J. MASSENET'S MANON by JUSTIN JOSEPH* WELSH B.Mus., UNIVERSITY OF BRITISH COLUMBIA, 2 0 0 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC in THE FACULTY OF GRADUATE STUDIES (School Of Music) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA Ap r i l 2 0 0 4 © Justin Joseph Welsh 2 0 0 4 Library Authorization In presenting this thesis in partial fulfillment 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. • j g s t i o W i s h APQ\ ^ Name of Author (please print) Date (dd/mm/yyyy) Title of Thesis: PreS€/YvKfV) i h l fp -c of Coufrre dt (jntu^y Degree: fVvkfS jft f W c ; Ofw ftrfprm^cp Year: 700H Department of f ^ U ^ l C The University of British Columbia Vancouver, BC Canada ABSTRACT The thesis for the Master of Music degree i n Opera consists of the performance of a major role i n one f u l l opera production i n the f i r s t or second year. I performed role of Count De Grieux i n Jules Massenet's Manon on the 6th of March 2004. For this role, I had to present myself as an older gentleman of a distinguished class. Since, I myself am s t i l l a young man of 23, I had to use my imagination, stage experience and technique to give a great portrayal of this middle-aged gentleman. Through my training, voice color and stature, I was able to give the audience the idea of myself being the s i g n i f i c a n t father of one of the main characters. Even though I am using the role of Count De Grieux as my thesis, during rehearsals and production I also had to play another character that was completely the opposite. The Count could be considered extremely serious and sure of himself i n his ways and virtues. However, the other character that I was required to play, Lescaut, cousin of Manon, could be interpreted as careless, reckless and a man of the world. Since these are not the virtues of such a man as the Count I had the unique challenge of separating the two mentalities and voice colors even though they were the same voice type. The Count must have a strong, powerful even commanding voice to show his quality and status. Lescaut however i s more l a i d back must be portrayed i n a more easy going manner. With this problem of double role, i t made my thesis role of the Count more challenging and gave me an opportunity express my talent and ingenuity. Massenet's M A N O N The Chan Shun Concert Hall March 4, 5, 6, 7 2004 UBCMUSIC The Chan Centre M A N O N By Jules Massenet Opera in 5 Acts with 6 Scenes Text by Meilhac and Gille Based on the story by the Abbe Prevost With the U B C Opera Ensemble & The U B C Symphony Orchestra Premiere, Opera-Comique, Paris, January 19, 1884 Conductor Norbert Baxa Director Nancy Hermiston Music Director Richard Epp Set and Costume Design by Alessia Carpoca Lighting Design by Jeremy Baxter There will be two twenty- minute intermissions This production is made possible by generous assistance through the Chan Endowment Fund of the University of British Columbia Chan Shun Concert Hall March 4, 5, 6, 7, 2004 A Message from the Director of the UBC School of Dear Friends of the School of Music, Fans and Followers of U B C Opera. We are excited and very proud to welcome you to another opera production here on the University of British Columbia cam-pus. Tonight's performance of Manon promises to be another ex-ample of what has become an important aspect of the cultural and artistic life in Vancouver and in the growing "campus town". To-night's production is yet another wonderful cooperative event be-tween the Department of Theatre, Film and Creative Writing and the School of Music, and we thank the faculty, staff and students who continue to support our efforts. Who can deny the success of the wonderfully-trained singers who are winning major competitions, making Metropolitan Opera debuts, finding themselves engaged in opera houses around the globe? How exciting and rewarding it is to watch the growth and development of a singer from the tentative first appearances in a minor role in a production to a full-fledged star only a few short years later. Tonight, the brilliant voices of the U B C Opera Ensemble in combination with the well-trained, respon-sive University Symphony Orchestra and the brilliant musical direc-tion of our guest conductor from the Czech Republic, Norbert Baxa and a timeless and beautifully dramatic score promise an unforget-table evening. We hope you are ready to be transported effortlessly away from the day-to-day for a few brief moments. Enjoy, and please come back again. Warm Wishes, Jesse Read Director, School of Music A Message from the Head of Theatre, Film & Creative Writing The Department of Theatre, Film, and Creative Writing is honoured to again be part of the School of Music spring opera. The artistic, scholarly, and practical collaboration between students, faculty, and staff in Music and Theatre has been a satisfying and rewarding experience over the years, and it's a pleasure to see this latest exciting result of that collaboration onstage at the Chan Centre in a wonderful production featuring distinguished guest artists and ex-traordinary student performers. Robert GaVdiner Department Head Theatre, Film and Creative Writing It UBC UBCMUSIC A Message from Head of Opera Welcome to this very special evening of opera. The U B C Opera Ensemble is pleased to present this masterpiece of the French operatic repertoire. We have performed this opera in 2002 and 2003 in Usti nad Labem, where it was produced especially for us as a showcase for our Ensemble members. We are delighted that Maestro Norbert Baxa, who was the conductor for the Usti performances, will lead this production as well. Our audiences will remember him from last year's performance of the Czech masterpiece. The Bartered Bride. Mr. Baxa is one of the Czech Republic's youngest and most successful General Music Directors. This year we are also delighted to have the renowned Czech tenor Ales Briscein. Ales, who is one of his country's leading tenors, has appeared in France, Italy, Germany and Japan. His appearance with the U B C Opera Ensemble marks his Canadian debut. We are very privileged and proud to have him as one of our cast members. Another favourite tenor of the U B C Opera Ensemble is Keith Klassen. Keith also sang in the 2002 production of Manon in Usti and returns to us for these performances. He will join the Ensemble on this year's tour, singing the role of Rodolfo in La Boheme. We will return to the Czech Republic this year to perform Eugene Onegin, in Russian, under the baton of Maestro David Aglerand La Boheme, in Italian, under the baton of Maestro Baxa. Your attendance and support of our productions makes this wonderful European experience possible for our students. These trips have had a significant impact on the development of our young singers. This year has seen many of our young talent winning major competitions, engagements and contracts with companies throughout Europe, Canada and the United States. I hope that you will continue to enjoy the energy, talent and exceptional voices of these wonderful young singers and through your attendance at our performances support their journey to the professional world of opera. Enjoy the performance and many thanks for choosing opera at U B C . Nancy Hermiston Head of Opera and Voice Norbert Baxa - Conductor Nobert Baxa, the gifted young Czech conductor, is currently the General Music Director at the Usti nab Labem City Thea-tre in the Czech Republic. Mr. Baxa was appointed there in 1999, and at the age of 24, was the youngest music direc-tor ever appointed in a major Czech house. Mr. Baxa began his training at the prestigious Bratislava Conservatory as a singer and conductor, and continued his studies at the Music Academy in Prague. He worked as guest singer for the Prague Chamber Choir and as a vocal coach and accompanist for singers. He graduated in 1998 and was awarded the "Red Diploma", the Academy's top honour. In 1996, Mr. Baxa founded the progressive chamber music group C L U B 20, dedicating their performances to composers of the 20th Century. His extensive repertoire covers the operatic and ballet genres, with a special interest in the music of Czech and Slovak composers such as Smetana, Janacek and Martinu. In 2001, he conducted the European premiere of Robert Ward's The Crucible with a combined Canadian and Czech cast. Mr. Baxa is a frequent guest conductor throughout the Czech Republic and Germany, and has appeared in Hungary, Spain and Japan. U B C O P E R A E N S E M B L E To inform our patrons of upcoming events, we are preparing an opera-lovers email directory. If you wish to be added to our list, please see one of our students at the desk in the lobby. And, of course, any donations to the ensemble are always greatly appreciated. Thank you for supporting opera at UBC. Singers for Hire Soloists and Ensembles available for all occasions. Let the magic of these talented young performers make your special occasion filled with memorable musical moments. Please call the UBC School of Music Voice and Opera Division 822-8246 aHJBC UBCMUSIC Guest Artists Tenor Ales Briscein Originally he studied clarinet and saxophone and later V T I operatic singing at the Prague Conservatoire (Prof. . 1 Dr. Miloslav Pospisi l . He continued in his studies at the Western-Bohemian University in Pilsen. Since 1995 Mr. Briscein has been a Prague State Opera soloist. Within a short period of time there he learned several roles (Taminofrom Mozart's The Magic Flute, Ferrando in Cosifan Tutte, Almaviva in Rossini's //barbiere di Siviglia, Jenik in Smetana's The Bartered Bride, A l f redo in Verd i 's La Traviata, Lensky in Tchaikovsky's Eugene Onegin winning a prize at the Opera festival 2003. He performed at prestigious festivals such as the Edinburgh International Festival and The Prague Spring Festival. He performs with eminent orchestras such as the Czech Philharmonic, the Scot-tish Royal National Orchestra and Virtuosi di Praga. He regularly guest performs in the Prague National Theatres. On a tour of J a -pan he introduced himself as Tamino in The Magic Flute and a year later as Kudrjas in Kat'a Kabanova at a premiere of this opera to-gether with the Tokyo Philharmonic. He has concertized many times in the Czech Republic as well as abroad (Germany, Austria, Italy, England, USA, Australia and Japan). Upcoming engagements in-cludes The Paris Opera and Barcelona's Liceu. Tenor Keith Klassen Tenor keith Klassen is an Honours graduate of the University of Toronto's Opera Division, where his credits include the title roles in Albert Herring and Barbe-Bleue and Ruggero in La Rondine. Previous roles include Rinuccio in Opera Nuova's Gianni Schicchi, Tamino in the Manitoba touring production of The Magic Flute, Rodney in the Fine Young Classicals presentation of Seven Stories and he toured the Czech Republic as Des Grieux in Massenet's Manon. Mr. Klassen has also performed Jenik in a Vancouver production of Bartered Bride and Don Jose in Saskatoon Opera's and Toronto Summer Lyric Opera's Carmen. He appeared as Alexius in The Chocolate Soldierfor Toronto Operetta Theatre and made his debut with Opera in Concert as Ivan Lykov in The Tsar's Bride. Mr. Klassen has also appeared in a number of productions for the Canadian Opera Company. Cast Thursday March 4 t h and MANON DES GRIEUX L E S C A U T GUILLOT DE BRETIGNY C O U N T DES GRIEUX (understudy) P O U S E T T E JAVOTTE R O S E T T E INNKEEPER TWO SOLDIERS Kevin Lee Saturday March 6 t h. Rhoslyn Jones Ales Briscein John Conlon Stephen Bell Todd Delaney Justin Welsh* Andrew Stewart Katie May Dionne Sellinger Leah Field David English David Mitten Friday March 5 t h and Sunday March 7" M A N O N (understudy) DES GRIEUX L E S C A U T GUILLOT DE BRETIGNY C O U N T DES GRIEUX P O U S E T T E JAVOTTE R O S E T T E INNKEEPER TWO SOLDIERS Amy LaFroy Jennifer Farrell Keith Klassen* Justin Welsh John Marino Andrew Jameson Brent Calis Jennifer Farrell Alison Nystrom Erinn Roberts Mike Broder Kevin Lee David Mitten ' Appears courtesy of the Canadian Actors' Equity Association LADIES CHORUS Christina Avril, Jessica Bowes, Maria Christina Fantini, Brooke Harris, Chloe Hurst, Teiya Kasahara, Gina McLellan, Paula MacNeil Whitney Sloan, Lucy Smith, Evie Vassilikakis, Anna Whelan, Katherine Landry, Margo Le Vae, Vicki Lewis, Melanie McTaggart, Megan Morrison, Rose-Ellen Nichols, Kathleen Susak, Diana Wilder, Heidi Wood, Debbie Wong MEN'S CHORUS Brian Lee, Kevin Lee, John Marino, Mike Broder, Russell Cripps, Cory Esaryk, Darrell Croft, Riley McMitchell, David Mitten, Michael Mori, Scott Brooks, David English, John Hales, Bryn Jones, Kevin Louden, Andrew Stewart fad a U B C UBCMOSIC U B C Symphony Orchestra - Manon Violin 1 *Angela Hodgson Mira Benjamin Karen Mende Erik Sum Annelies Deacock Jessica Deutsch Hyunah Cho Gigi Lau Jessica Wan Megan Wolfe Oboes *Fleur Sweetman Emily Sadlier-Brown Clarinets *Sam Davidson Jeanette Searle Bassoons *Gwen Seaton Rachel Fels Elliott Violin 2 *Jenny Atkinson Drie Ignas Young Joo Tina Lee Alana Chang Jenny Hsu Heather Wright Theresa Choi Elaine Griffiths Viola *Peter Ing Genevieve McKay Chantal Lemire Isla Dowing Cellos *Sarah Tippett Alex Sia Regina Matthew Sabrina Tsou Bass *Trevor Yeates Salvador Pedraza Adam Jones Flutes *Cheryl McHugh Sara Kalke Horns *Allison Zaichowski MindyLian Nick Anderson Jessica Piper Trumpets *Chris Mitchell Malcolm Aitken) Trombones *James Chilton Caleb Mutch Michael Schafer Tuba Dan Pain Harp Andrew Chan Joy Yeh Timpani Bruce Henczel Percussion *Katie Rife Soho Fujimoto * Section Leaders Production Stage Manager Assistant Stage Manager Assistant Stage Manager Props Crew Chief Stage Crew Stage Crew Lighting Designer Asst. Lighting Design Lighting Operator Head of Wardrobe Surtitle Preparation Surtitle Operator Costumes Sewer Properties Supervisor Properties Supervisor Properties Assistant Builder Builder Builder Builder Wigs Make up Make up Make up Assistant Production Manager TD, Carpenter Technical Advisor Opera Ensemble Technical Director Opera Ensemble Technical Assistant Opera Ensemble Technical Assistant ATD Chan Centre Alishia Harris Melissa Tsang Rosemary Morgan Amy Peradenic Adrienne Lister Siuling Leung Jeremy Baxter Erin Harris Crystal McConeghy Parvin Mirhady Megan Morrison Krzysztof Biernacki Robert Prince Connie Sia Janet Bickford Lynn Burton Wendy Subity Helina Patience Melissa Tsang Rosemary Morgan Diana Domm Elke Englicht NelVolrich Carmen Garcia Weylon Aran Jay Henrickson Elia Kirby Ian Pratt John Conlon Andrew Jameson David English Owen Schellenberger a U B C UBCMUSIC Plot Synopsis for Manon Act One In the courtyard of an inn in Amiens, two noblemen, Guillot and De Bretigny, and their actress friends, Pousserte, Javotte and Rosette, loudly demand dinner from the innkeeper. The coach arrives from Arras. Curious villagers are joined by Lescaut, who is meeting his 15-year-old cousin Manon on her way to a convent on her parent's orders. She arrives, breathless with wonder at her first journey away from home. While Lescaut leaves to search for her luggage, Guillot sees her and offers here money "for a word of love". He is rebuffed with laughter, and mocked by his companions. He nevertheless tells Manonthat his coach is at her disposal. Lescaut witnesses the end of the conversation and reproaches Manon for her lack of discretion, which threatens the family honour, then leaves her to gamble with his friends. Left alone once more, Manon casts envious glances at the actresses and their fine clothes, realizing sadly that prospects of a life of luxury will be shut off by the convent door. Des Grieux enters to await the coach that will take him to his father. Seeing Manon, he immediately falls in love with her. Des Grieux invites her to come with him to Paris. Manon returns his love and suggests that they take advantage of Guillot's carriage. They set off for Paris. Guillot is humiliated and swears revenge. Act Two Manon and Des Grieux are sharing an apartment together in Paris. Des Grieux is writing a letter to his father, asking for permission to marry his love. Suddenly Lescaut, accompanied by De Bretigny in disguise, bursts in. While Bretigny pretends to counsel clemency, Lescaut's anger diminishes when he hears that Des Grieux is seeking his father's approval to marry Manon. Bretigny privately informs Manon that Des Grieux will be abducted on his father's orders. This is her chance of escape to a better life. The intruders leave, and Des Grieux goes to mail the letter. Manon struggles with herself, feeling unworthy of her lover and knowing that she will be unable to resist Bretigny's offer. She bids a sentimental farewell to the domestic scene. She does not warn her lover on his return and he is subsequently abducted. 12 Synopsis continued Act Three, Scene One There is merry-making in the Cours-la-Reine. De Bretigny and Manon enter together. She draws admiration from everyone and extols the pleasures of youth and the joys of her new life. Guillot continues to be intrigued. Manon overhears a conversation between Bretigny and the Count des Grieux, the chevalier's father. He reveals that his son is taking holy orders and is to preach his first sermon at St Sulpice later in the day. Manon asks the Count if his son has forgotten the cause of his misery, and he answers that he has. Abruptly Manon orders a coach to take her to St Sulpice. Guillot is publicly humiliated once more. Act Three, Scene Two In the church of St Sulpice, Des Grieux has just given an eloquent sermon. The congregation is quite taken with the new Abbe .His father is there and urges him to reconsider his decision to become a priest. Des Grieux insists that it is the only way that he can forget Manon. Manon has come to the church to find Des Grieux. She begs forgiveness, and with a few loving gestures, his reservations are dispelled. They express their love once again. Act Four Gamblers and professional card-sharpers including Lescaut gather at the Hotel de Transylvanie. Guillot suggests a game to the honourable Des Grieux. He accepts, but is then accused of cheating. After delivering an ominous threat, Guillot leaves and then returns with the Count Des Grieux and the police. Manon and Des Grieux are arrested. Act Five Des Grieux has been freed, but Manon is sentenced to deportation. On the road to Le Havre, Des Grieux and Lescaut plan to rescue Manon by bribing a soldier in the escort party. The two lovers are reunited. Manon broken in body and spirit, begs Des Grieux's forgiveness for the shame she has brought him. She dies in his arms. a U B C U B C M U S I C " Upcoming Concert Listings ~ UBC School of Music Fri Mar 5 @ 12 noon Music @ Main Student Highlights Main Library, Rm 502 F R E E Mon Mar 8 @ 12 noon UBC Student Composers Recital Hall F R E E Wed M a r l O ® 12 ndon Wednesday Noon Hours Beth Orson, oboe Rita Costanzi, harp works by Bellini, Brod and Ravel Recital Hall $4.00 at the door T h u r M a r l l @ 12 noon Contemporary Players Recital Hall F R E E ThurMar 11 @ 3 pm Concert & Masterclass with Dr. Jonathan Helton from the School of Music at the University of Florida Recital Hall Admission - F R E E Thur Mar 11 @ 8 pm Borealis String Quartet with Sadao Harada, cello works by Beethoven, Murphy & Schubert Recital Hall $20/$10 Fri Mar 12 @ 12 noon UBC Chamber Strings Recital Hall F R E E Mon Mar 15 @ 12 noon String Chamber Ensembles Recital Hall F R E E Wed Mar 17 @ 12 noon Wednesday Noon Hours Miranda Wong, piano Schubert Sonata in A Major, D. 959 Granados Goyescas Recital Hall $4.00 at the door Thu Mat 18 @ 12 noon Chamber Choirs of UBC The Chan Centre F R E E Thu Mar 18 @ 12 noon UBC Chinese Ensemble Recital Hall F R E E Mon Mar 22 @ 12 noon UBC Student Composers Recital Hall F R E E Wed Mar 24 @ 12 noon Wednesday Noon Hours Alan Matheson Nonet The Birth of Cool and Beyond. . . Recital Hall $4.00 at the door Thu Mar 25 @ 12 noon UBC Symphonic Wind Ensemble The Chan Centre F R E E Fri Mar 26 @ 12 noon Recital Hall Contemporary Players F R E E Fri Mar 26 @ 8 pm U B C Symphonic Wind Ensemble The Chan Centre F R E E Mon Mar 29 @ 12 noon UBC Percussion Ensemble Recital Hall F R E E 14 For the Chan Centre for the Performing Arts Acting Managing Director Sid Katz Director of Facilities and Operations Cameron McGiil Assistant Technical Director Owen Schellenberger Director of Programming & Administration Joyce Hinton Programming Coordinator Wendy Atkinson Events Manager Lindsay Jameson Director of Marketing & Customer Services Marie Edwards Head Lighting Technician Andrew Riter Head Audio Technician Jay O'Keeffe Systems Administrator Ted Clark Front of House Coordinators Carl Armstrong Andrew Elliot Concessions Coordinator Nathan Lee Ticket Office Manager Donna Caedo Financial Officer Flora Lew Financial Clerk Laura Lee Samuels Reception Clerk Kim Claybo Production Clerk Sherri Fetterly Tour Guide Rachel Lowry P E R S I S T E N C E O F V I S I O N F I L M F E S T I V A L Friday April 30 & Saturday May 1,2004 7:30pm www.film.ubc.ca/pov AAARCH 18-27, 2004 7:30pm T E L U S S T U D I O T H E A T R E THE LADY FROM THE SEA by Henrik Ibsen adapted by Bryan Wade Acknowledgements The David Spencer Endownment Encouragement Fund The Chan family David Agler Irving Guttman Jesse Read David Boothroyd Craig Holzschuh H . L. Vanderwoude Vancouver Playhouse Arts Club theatre Vancouver Opera Capilano College Stagecraft Department Staff and Faculty of the Theatre at UBC Staff and Faculty of the School of Music Staff of the Chan Centre for the Performing Arts Clarke's Audio/Visual Brian Pollock A special thank-you to the Vancouver Opera Guild for their donation to this production. Excerpt from Abbe Prevost's novel Manon Lescaut, the last part of a series called Memoires et aventures d'un homme de qualite. The vacation Having arrived', I was preparing to return to my fattier, •who had promised to send me soon to the Academy. "My onCy regret on quitting Jimiens arose from parting with a friend, some years older than myself, to whom I had always Seen tenderly attached. 'We had been brought up together; but from the straitened circumstances of his family, he was intended to take orders, and was to remain after me at JLmiens to complete the requisite studies for his sacred calling. J£e had a thousand good qualities. 'You will recognize in him the very 6est during the course of my history, and above alt, a zeal and fervor of friendship which surpass the most illustrious examples of antiquity. If I had at that time followed his advice, I should have always continued a discreet and happy man. If I had even taken counsel from his reproaches, when on the brink^ofthat gulf into which my passions afterwards plunged me, I should have been spared the melancholy wreck^of both fortune and reputation, (but he was doomed to see his friendly admonitions disregarded; nay, even at times repaid by contempt from an ungrateful wretch, who often dared to treat his fraternal conduct as offensive and officious. "I had fixed the day for my departure from Jlmiens. Jilas! that I had not fixed it one day sooner! I should then have carried to my father's house my innocence untarnished." 

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