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A Garden of Operatic Delights
Enjoy an evening of two full acts from Mozart’s The Marriage of Figaro and scenes from other operas, all sung in English. Find yourself immersed in romantic connections and conniptions, starting out in our theater, then moving on in the intermission for wine and moonlit Mozart in a beautiful private gardens just a hundred yards away…

The Marriage of Figaro

Catch Cherubino with the Countess in a leafy bower, Susanna leading Figaro up the garden path—and the Count getting his comeuppance with a splash in the ornamental pond. This program features the singers of our Young Professional Artists Program.

Due to the intimate nature of the garden, seating is extremely limited—book ahead, as this will definitely sell out.

 

Production Credits

Music   Wolfgang Amadeus Mozart
Libretto    Lorenzo da Ponte
English Translation   Jeremy Sams
Directors   Ian Silverman, Briana Sosenheimer, Eunbi Cho 
Conductor    Joel Goodloe 
Pianists   Steven Liening, Yu-Ju Wu
Costume Design   Alexandra Filipovich, Dorothy Sherman.
Hair and Makeup Design   Rikkilee Rose, Jina Pounds 
Stage Manager   Francesca Mamlin, Emma Squire.
     

 

Cast

Figaro Act 2    
Count Almaviva   Bill Townsend 
Countess Almaviva   Kelsey Fredriksen 
Figaro   Evan Koons 
Susanna   Angela Joy Lamb 
Cherubino   Marie Anello
Don Basilio   Alex Longnecker
Marcellina   Hannah Shea
Don Bartolo   Richard Block
Antonio   Nic Barilar
     
Figaro Act 4    
Count Almaviva
  Scott Cuva 
Countess Almaviva   Chunghee Lee 
Figaro   Zachary Wood 
Susanna   Hongkyung Kim
Cherubino   Emily Weaver
Don Basilio   Alex Longnecker
Marcellina   Lesley Baird
     
     
     
     

 

The Story

Act 2
In her bedroom, the Countess laments her husband’s waning love and wandering eye, but plots to chasten him, encouraged by Figaro and her maid Susanna. They will send the pageboy Cherubino, disguised as Susanna, to a romantic assignation with the Count. Cherubino, smitten with the Countess, appears, and she and Susanna begin to dress the page for his fake rendezvous. While Susanna goes out to find a ribbon, the Count knocks at the door, suspicious to find it locked. 

Cherubino quickly hides in a closet, and the Countess admits her husband, who, when he hears a noise, is suspicious of her story that Susanna is inside the wardrobe. He takes his wife to fetch some tools with which to force open the closet door. Meanwhile, Susanna, having observed everything from behind a screen, helps Cherubino out of a window, then takes his place in the closet. On their return, both Count and Countess are amazed to find her there. Figaro runs in to announce that his wedding ceremony to Susanna is ready - then the gardener, Antonio, storms in with crushed hydrangeas from a flowerbed below the widow. Figaro pretends it was he who jumped from the window, faking a sprained ankle. Marcellina, Bartolo, and Basilio burst into the room waving a court summons for Figaro, which delights the Count, as this gives him an excuse to delay his wedding. The act ends in a chaos of confusion. 

Act 4
In the moonlit garden, the gardener's daughter Barbarina tells Figaro and Marcellina about the coming assignation between the Count and Susanna. Figaro inveighs against women and leaves, missing Susanna and the Countess, who enter dressed as each other, ready for their dual assignations with Figaro and the Count. Alone, Susanna (dressed as the Countess) rhapsodizes on her love for the Count in order to make Figaro jealous. Susanna hides in time to see Cherubino enter; he tries to seduce the Countess (who is dressed as Susanna), until Count Almaviva chases him away. 

The Count pursues this ‘Susanna’ (actually his wife) into an arbor. By now Figaro understands the joke and, joining in on the fun, makes exaggerated love to Susanna in her Countess disguise. The Count returns, seeing, or so he thinks, Figaro wooing his wife. Outraged, he calls everyone to witness this adultery, but now the real Countess appears and reveals the ruse. Grasping the truth at last, the Count begs her pardon. All are reunited, and so ends this “craziness of a single day” at the court of the Almavivas.

 

Program Notes

The Mad Day

Great works of music are not necessarily groundbreakers. Often they are those that summarize and put the final stamp on a period in musical history and open the way to others who seek new avenues of expression. Certainly, The Marriage of Figaro is such a work. Thanks to the inspiration of Lorenzo Da Ponte in transforming the controversial text of Beaumarchais' revolutionary play (its alternate title is The Mad Day) into a humorous yet profound portrayal of humankind, and to Mozart's brilliant score, opera buffa with its stock characters became little by little a thing of the past, and the way was open to treating comic situations on the operatic stage with greater sympathy and a greater sense of reality.

The Marriage of Figaro was first presented at the Burgtheater in Vienna on May 1, 1786. The opera was the first of three collaborations between Mozart and Da Ponte, the subsequent works being Don Giovanni and Così fan tutte. It was a moderate artistic success (in spite of a cabal which occasionally disturbed the performance) but also a financial one for Mozart, who was paid 450 florins for the opera—three times his annual salary when employed as court musician in Salzburg. Later, it was rapturously received in Prague and found its way quickly into the rarified pantheon of "great operas."

What distinguishes The Marriage of Figaro from the tradition of opera buffa is that it combines elegance and subtlety with the more earthly elements of good theater. The delineation of character (pace Da Ponte) is vivid and more revealing than had been encountered before in opera buffa. Moreover, it goes without saying, this masterfully conceived libretto is clothed in music enhancing Da Ponte's vision.

Mozart lovers need no instruction in The Marriage of Figaro. Still, I would like to share my enthusiasm for several passages:

First, the spectacular and unique finale of the second act, which runs for something like thirty minutes beginning with the Count's attempt to open the Countess' locked closet. Next, the Countess' exquisite lament that starts the third act. And, finally, the ravishing final moments of the fourth act where the Count begs the Countess' pardon. However, one caution. It is clear that Almaviva is a philanderer. Is his repentance sincere? I doubt it and I would be more pleased if at the same time he would give a wink to the audience. Such a gesture would confirm the libertinage he has displayed throughout the opera. 

—Jerry Clack

 

Meet the Composer

Wolfgang Amadeus Mozart

27 January 1756–5 December 1791

Wolfgang Amadeus Mozart, baptized as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical era.

Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, he was engaged as a court musician in Salzburg, but grew restless and travelled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons.

He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence on subsequent Western art music is profound; Ludwig van Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote that "posterity will not see such a talent again in 100 years."

In January 1781, Mozart's opera Idomeneo premiered with "considerable success" in Munich. The following March, Mozart was summoned to Vienna, where his employer, Archbishop Colloredo, was attending the celebrations for the accession of Joseph II to the Austrian throne. Fresh from the adulation he had earned in Munich, Mozart was offended when Colloredo treated him as a mere servant and particularly when the archbishop forbade him to perform before the Emperor at Countess Thun's for a fee equal to half of his yearly Salzburg salary. The resulting quarrel came to a head in May: Mozart attempted to resign and was refused. The following month, permission was granted but in a grossly insulting way: the composer was dismissed literally "with a kick in the arse", administered by the archbishop's steward, Count Arco. Mozart decided to settle in Vienna as a freelance performer and composer.

Mozart's new career in Vienna began well. He performed often as a pianist, notably in a competition before the Emperor with Muzio Clementi on 24 December 1781, and he soon "had established himself as the finest keyboard player in Vienna". He also prospered as a composer, and in 1782 completed the opera Die Entführung aus dem Serail ("The Abduction from the Seraglio"), which premiered on 16 July 1782 and achieved a huge success. The work was soon being performed "throughout German-speaking Europe", and fully established Mozart's reputation as a composer.

Despite the great success of Die Entführung aus dem Serail, Mozart did little operatic writing for the next four years, producing only two unfinished works and the one-act Der Schauspieldirektor. He focused instead on his career as a piano soloist and writer of concertos. Around the end of 1785, Mozart moved away from keyboard writing and began his famous operatic collaboration with the librettist Lorenzo Da Ponte. 1786 saw the successful premiere of The Marriage of Figaro in Vienna. Its reception in Prague later in the year was even warmer, and this led to a second collaboration with Da Ponte: the opera Don Giovanni, which premiered in October 1787 to acclaim in Prague, but less success in Vienna in 1788. The two are among Mozart's most important works and are mainstays of the operatic repertoire today, though at their premieres their musical complexity caused difficulty for both listeners and performers. These developments were not witnessed by Mozart's father, who had died on 28 May 1787.

 

Lorenzo Da Ponte

10 March 1749–17 August 1838

Lorenzo DaPonte was a Venetian opera librettist and poet. He wrote the librettos for 28 operas by 11 composers, including three of Mozart's greatest operas, Don Giovanni, The Marriage of Figaro and Così fan tutte.

1781 he believed (falsely) that he had an invitation from his friend Caterino Mazzolà, the poet of the Saxon court, to take up a post at Dresden, only to be disabused when he arrived there. Mazzolà however offered him work at the theatre translating libretti and recommended that he seek to develop writing skills. He also gave him a letter of introduction to the composer Antonio Salieri.

Lorenzo daPonte

With the help of Salieri, Da Ponte applied for and obtained the post of librettist to the Italian Theatre in Vienna. Here he also found a patron in the banker Raimund Wetzlar von Plankenstern, benefactor of Wolfgang Amadeus Mozart. As court librettist in Vienna, he collaborated with Mozart, Salieri and Vicente Martín y Soler. Da Ponte wrote the libretti for Mozart's most popular Italian operas, The Marriage of Figaro (1786), Don Giovanni (1787), and Così fan tutte (1790), and Soler's Una cosa rara. All of Da Ponte's works were adaptations of pre-existing plots, as was common among librettists of the time, with the exceptions of L'arbore di Diana with Soler, and Così fan tutte, which he began with Salieri, but completed with Mozart. However the quality of his elaboration gave them new life.

With the death of Austrian Emperor Joseph II in 1790, Da Ponte lost his patron. He worked in London undertaking various theatrical and publishing activities until 1805, when debt and bankruptcy caused him to flee to the United States in 1805 with Grahl and his children.

In the United States, Da Ponte settled in New York first, then Sunbury, Pennsylvania, where he briefly ran a grocery store and gave private Italian lessons. He returned to New York to open a bookstore. He became friends with Clement Clarke Moore, and, through him, gained an appointment as the first professor of Italian literature at Columbia College. He was the first Roman Catholic priest to be appointed to the faculty, and he was also the first to have been born a Jew. In New York he introduced opera and produced a performance of Don Giovanni (1825). He also introduced Gioachino Rossini's music in the U.S., through a concert tour with his niece Giulia Da Ponte.

In 1828, at the age of 79, Lorenzo Da Ponte became a naturalized U.S. citizen. In 1833, at the age of eighty-four, he founded an opera house in the United States, the New York Opera Company. Owing to his lack of business acumen, however, it lasted only two seasons before the company had to be disbanded and the theater sold to pay the company's debts. It was, however, the predecessor of the New York Academy of Music and of the New York Metropolitan Opera.