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The marriage of Figaro : role of Susanna Kearley, Kandie Karen 1989

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THE MARRIAGE OF FIGARO:  ROLE OF SUSANNA  By KANDIE KAREN KEARLEY B.Mus., Stetson U n i v e r s i t y , F l o r i d a , 1987  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 t h i s t h e s i s as conforming to the r e q u i r e d  standard  THE UNIVERSITY OF BRITISH COLUMBIA A p r i l 1989 ©  Kandie Karen Kearley, 1989  In  presenting  degree freely  at  the  available  copying  of  department publication  this  of  in  partial  fulfilment  University  of  British  Columbia,  for  this or  thesis  reference  thesis by  this  for  his  and  scholarly  or  thesis  for  her  of  SCHOOL OF MUSIC  The University of British Columbia Vancouver, Canada  Date  DE-6  (2/88)  APRIL 7, 1989  I  I further  purposes  gain  the  shall  requirements  agree  that  agree  may  representatives.  financial  permission.  Department  study.  of  be  It not  that  the  be  Library  an  by  understood allowed  advanced  shall  permission for  granted  is  for  the that  without  make  it  extensive  head  of  copying my  my or  written  The University of British Columbia Opera Theatre in i t ' s 25th Anniversary Production Proudly Presents THE MARRIAGE OF FIGARO by Wolfgang Amadeus Mozart CAST COUNT ALMAVIVA  Mark Booden  COUNTESS ALMAVIVA  Maggie Brockington Adele C l a r k * Kandie Kearley  SUSANNA, her chambermaid affianced to FIGARO, valet to the Count CHERUBINO, the Count's page MARCELLINA, the c a s t l e housekeeper DR. BARTOLO, a physician from S e v i l l e BASILIO, the music maker ANTONIO, the Count's gardener DON CURZIO, a judge BARBARINA, A n t o n i o ' s daughter  James S c h i e b l e r Karen Olinyk Gail Mandryk Christopher Johnson Jay Hebert Christopher Johnson Jay Hebert Brenda Bakos Al ine Kutan* Jacqueline H o l s t e i n  Understudy to Susanna  The scene is the C a s t l e Aguas-Frescas, three leagues from S e v i l l e ; Eighteenth Century. *  i n d i c a t e s performances on March 18,  and 21,  1989  Act I:  The box room between the bedchambers of the Count and the Countess.  Act II:  The bed chamber of the Countess.  Act III:  The audience chamber of the C a s t l e A g u a s - F r e s c a s .  Act IV:  A small room and l a t e r the Castle gardens. 10 minute intermissions w i l l occur a f t e r Acts I and II  only.  in  the  THE MARRIAGE OF FIGARO i s one of those t r u l y r a r e occurances in 1 i t e r a t u r e . . . a n honest s e q u e l . It directly follows (some three years later) Beaumarchais' THE BARBER OF SEVILLE and u t i l i z e s the same c h a r a c t e r s , e x p l o i t i n g the p e r i o d a f t e r the three y e a r s t h a t have passed in the " s t a g e i n t e r i m " of the two p l a y s . In THE BARBER OF SEVILLE we f i n d R o s i n a , the p r e t t y young ward of o l d Dr. B a r t o l o (who e a r n e s t l y hopes to wed her) enamoured of a young student ( i n r e a l i t y , the young Count A l m a v i v a ) . The Count, unable to f i n d the o p p o r t u n i t y to win R o s i n a f o r h i m s e l f , t h e r e f o r e e n l i s t s the help of F i g a r o , a former employee, who i s now a barber and a general factotum f o r much of S e v i l l e . Many t h e a t r i c a l dev i c e s are used to a r r i v e at the p r e s c r i b e d outcome, d i s g u i s e being the most f r e q u e n t and most e f f e c tive. The Count seeks e n t r a n c e i n t o B a r t o l o ' s home d i s g u i s e d as a drunken s o l d i e r seeking a b i l l e t , and l a t e r as a young music master come to r e p l a c e Don B a s i l i o , the r e g u l a r musical t u t o r . Each i n s t a n c e of d i s g u i s e a l l o w s a few moments t e t e - a - t £ t e between the young l o v e r s . Over a l l i s seen the f i n e hand of F i g a r o as m a n i p u l a t o r . The schemes of F i g a r o win out in the end and Count A l m a v i v a f i n a l l y succeeds in employing the very n o t a r y summoned by B a r t o l o f o r h i s own use to solemnize the m a r r i a g e between h i m s e l f and R o s i n a . Bartolo is enraged but u t t e r l y powerless to e f f e c t a change in the f i n a l outcome. In the s e q u e l , THE MARRIAGE OF FIGARO, the Count and Rosina (now Countess A l m a v i v a ) take up r e s i d e n c e in the C a s t e l l o A g u a s - F r e s c a s j u s t o u t s i d e of S e v i l l e , having brought w i t h them F i g a r o as v a l e t f o r the Count, Don B a s i l io as music master f o r the c o u r t , and M a r c e l l i n a , B a r t o l o ' s o l d housekeeper as c h a t e l a i n e f o r the c a s t l e . We f i n d them t h e r e now.  PRODUCTION STAFF Director Associate Music Director and Head Coach Repetiteur Chorus Master Stage Design Costume Design Lighting Design Technical Director Stage Manager Properties Scenic A r t i s t s Choreography Wigs Hair Styles Make-up  French Tickner Richard Epp Nicholas Maloff James Schell Cricket Price J i l l Buckham Kandie Kearley Karen 01inyk James Schiebler Etoin Schrdlu Adele Clark Cricket Price Sherilene Neyedli Terry Kuzyk Elke Engl icht Cynthia Johnstone  UBC OPERA CHORUS Soprano Pamela Ascroft Brenda Bakos Sarika Bose Anne Edwards Francesca Fung Jacqueline Holstein Bonnie Kawchuk Sherilene Neyedli  Alto Lisa Farynowski Irene Lau Lynne McMurtry Roberta Norman Elizabeth Parker Alexandrea Trimble  Acknowledgements: The Frederick Wood Theatre  3  Tenor Colin de Bourcier Kevin O'Neill Bass Deiter P i l t z David Stratkauskas  


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