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The marriage of Figaro : role of figaro Schiebler, James Karl 1989

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THE MARRIAGE OF FIGARO: ROLE OF FIGARO By JAMES KARL SCHIEBLER B.Mus., The University o£ B r i t i s h Columbia, 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 thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA A p r i l 1989 © James Karl Schiebler, 1989 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 MUSIC  The University of British Columbia Vancouver, Canada Date APRIL 6, 1989  DE-6 (2/88) The Univers i ty of Br i t i sh 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 Clark* SUSANNA, her chambermaid.. Kandie Kearley affianced to FIGARO, valet to the Count James Schiebler CHERUBINO, the Count's page Karen Olinyk MARCELLINA, the cast le housekeeper Gail Mandryk OR. BARTOLO, a physician from Sev i l le Christopher Johnson BASIL 10, the music maker Jay Hebert ANTONIO, the Count's gardener Christopher Johnson DON CURZIO, a judge Jay Hebert BARBARINA, Antonio's daughter Brenda Bakos Al ine Kutan* Understudy to Susanna Jacqueline Holstein The scene is the Castle Aguas-Frescas, three leagues from S e v i l l e ; in the Eighteenth Century. * indicates 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 Castle Aguas-Frescas. Act IV: A small room arid later the Castle gardens. 10 minute intermissions wi l l occur after Acts I and II only . i THE MARRIAGE OF FIGARO i s . o n e of those t r u l y ra re occurances in "1 i t e r a t u r e . . .an honest s e q u e l . I t d i r e c t l y f o l l ows (some three years l a t e r ) Beaumarchais 1 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 per iod a f te r the three years that have passed in the "s tage i n t e r i m " of the two p l a y s . In THE BARBER OF SEVILLE we f i nd R o s i n a , the p re t t y young ward of o ld Dr. Bar to lo (who ea rnes t -l y hopes to wed her) enamoured of a young student ( in r e a l i t y , the young Count A lmav iva ) . The Count, unable to f i nd the oppor tun i ty to win Rosina fo r h i m s e l f , t he re fo re e n l i s t s the help of F i g a r o , a former employee, who is now a barber and a general factotum for much of S e v i l l e . Many t h e a t r i c a l de-v i c e s are used to a r r i v e at the p rescr ibed outcome, d i s g u i s e being the most f requent and most e f f e c -t i v e . The Count seeks entrance into B a r t o l o ' s home d i sgu i sed 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 rep lace Don B a s i l i o , the regu la r musical t u t o r . Each i n -stance of d i sgu i se a l lows a few moments te te -a - te ' 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 igaro as man ipu la to r . The schemes of F igaro win out in the end and Count Almaviva f i n a l l y succeeds in employing the very notary sum-moned by Bar to lo for h is own use to solemnize the marr iage between h imse l f and R o s i n a . Bar to lo i s 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 Almaviva) take up res idence in the C a s t e l l o Aguas-Frescas j u s t out -s ide of S e v i l l e , having brought with them F igaro as v a l e t fo r the Count, Don B a s i l i o as music master for 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 ld house-keeper as c h a t e l a i n e fo r the c a s t l e . We f i nd them there now. 5~ PRODUCTION STAFF Director French Tickner Associate Music Director and Head Coach Richard Epp Repetiteur Nicholas Maloff Chorus Master James Schel 1 Stage Design Cricket Pr ice Costume Design J i l l Buckham Lighting Design Kandie Kearley Karen 01inyk Technical Director James Schiebler Stage Manager Etoin Schrdlu Properties Adele Clark Scenic A r t i s t s Cr icket Price Choreography Sheri lene Neyedli Wigs Terry Kuzyk Hair Styles Elke Engl icht Make-up Cynthia Johnstone UBC OPERA CHORUS Soprano Al to Tenor Pamela Ascroft L isa Farynowski Col in de Bourcier Brenda Bakos Irene Lau Kevin O 'Nei l l Sarika Bose Lynne McMurtry Anne Edwards Roberta Norman Bass Francesca Fung Elizabeth Parker Jacqueline Holstein Alexandrea Trimble Deiter P i l t z Bonnie Kawchuk David Stratkauskas Sherilene Neyedli Acknowledgements: The Frederick Wood Theatre 3> 

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