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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 U n i v e r s i t y 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  t h e s i s as conforming  to the r e q u i r e d  THE  standard  UNIVERSITY OF BRITISH COLUMBIA A p r i l 1989 ©  James K a r l S c h i e b l e r , 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  MUSIC  The University of British Columbia Vancouver, Canada  Date  DE-6  (2/88)  APRIL 6, 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  advanced  shall  permission for  granted  is  for  by  understood allowed  the  make  extensive  head  that  without  it  of  copying my  my or  written  The U n i v e r s i t y of B r i t i s h Columbia Opera Theatre in i t ' s 25th Anniversary Production Proudly Presents  THE MARRIAGE OF FIGARO by Wolfgang Amadeus Mozart  CAST  COUNT ALMAVIVA COUNTESS ALMAVIVA  Mark Booden 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 OR. BARTOLO, a physician from S e v i l l e BASIL 10, the music maker ANTONIO, the Count's gardener DON CURZIO, a judge BARBARINA, A n t o n i o ' s daughter  James Schiebler 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 Castle Aguas-Frescas, three leagues from S e v i l l e ; Eighteenth Century. *  Act  I:  indicates performances on March 18,  and 21,  1989  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 arid 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  i  only.  in  the  THE MARRIAGE OF FIGARO i s . o n e of those t r u l y r a r e occurances in "1 i t e r a t u r e . . .an 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 t h r e e 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 . 1  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 is 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 entrance 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 e ' 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 i o 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.  5~  PRODUCTION STAFF  Director A s s o c i a t e Music D i r e c t o r Repetiteur Chorus Master Stage Design Costume Design L i g h t i n g Design  and Head Coach  Technical D i r e c t o r Stage Manager Properties Scenic A r t i s t s Choreography Wigs Hair S t y l e s Make-up  French Tickner Richard Epp Nicholas Maloff James Schel 1 Cricket Price J i l l Buckham Kandie Kearley Karen 01inyk James Schiebler Etoin Schrdlu Adele Clark Cricket Price S h e r i l e n e Neyedli Terry Kuzyk Elke Engl icht Cynthia Johnstone  UBC OPERA CHORUS  Soprano  Al to  Pamela A s c r o f t Brenda Bakos Sarika Bose Anne Edwards Francesca Fung Jacqueline H o l s t e i n Bonnie Kawchuk Sherilene Neyedli  Acknowledgements:  L i s a Farynowski Irene Lau Lynne McMurtry Roberta Norman Elizabeth Parker Alexandrea Trimble  The Frederick  Wood Theatre  3>  Tenor C o l i n de Bourcier Kevin O ' N e i l l Bass Deiter P i l t z David Stratkauskas  

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