joy - florida grand opera · 2 experience the joy… experience the music… experience the...

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Experience the Joy…

Experience the Music…

Experience the Drama…

La traviataA Young Courtesan, Destined to Die Alone...

LakméA Fanatical Priest, a Violated Temple, and Warring Generations…

Madama ButterflyShe Fell in Love…And Never Stopped Falling

Cinderella (La Cenerentola)

Wicked Stepsisters, a Prince Disguised as a Servant, and the Search for True Love.

The Marriage of Figaro(Le Nozze di Figaro)

Sexy Servants, a Philandering Count and a Frisky Teenager…

Season 68. Don’t Miss a Performance!w w w . f g o . o r g

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Come as You Are... Let yourself go!People often have the misconception that to enjoy the opera you must be a classical music expert, wear a tuxedo, or be a snob to have a great time. Nothing could be further from the truth. In fact, a night at the opera is a fun, relaxing chance for you to socialize with friends, see some amazing performances, and experience some of the most beautiful music you will ever hear.

Don’t worry about the languages…While it is true that many operas are sung in Italian, French, and other languages, you won’t miss a beat. You’ll find a screen above the stage offering titles in both English and Spanish at every FGO performance. Operas are usually sung in the language in which they were originally composed, because the musical values of certain syllables are not preserved if you translate to other languages. (That’s why you will hear Parisians conversing in perfect Italian in La traviata, for instance.)

Opera is drama set to music, and both add to your enjoyment. So just glance at the titles to know what is being conveyed. If you are not used to it, this may be a bit distracting at first, but without them you would get much less of the story. After a while reading the titles becomes automatic. (And when the chorus or other singers repeat the same lyrics over and over, the titles cease in order to let you concentrate on the music.)

Also, each performance has a synopsis, broken down by acts, letting you know what is happening all the time. Take a few minutes to read this before each act, and then you won’t get so wrapped up in following the plot that you don’t pay attention to the music. You can just relax and enjoy the music!

Tux and tails not required…At FGO it’s all about the music. And transporting you to that magical place that only an evening at the opera can deliver. So don’t think you need a tuxedo or formal evening gown to attend. (Although you’re more than welcome to.) You don’t. WARNING: Be advised however, if you show up in Crocs, or sandals with socks, you may be detained by the fashion police!

We do offer the chance to attend Opening Night Galas and Black Tie after parties, but you decide if you want to be a part of those. If you do choose to attend these special events, you’ll find they are a wonderful way to network and fellowship with the cast members, celebrities, and a “who’s who” of area leaders.

For most performances you’ll find people are dressed casually and elegantly, in true South Florida style. So don’t obsess over how you look. Just make sure you’re fabulous!

You don’t have to be an expert…One hour before every performance FGO’s own “secret weapon,” Justin Moss gives his famous opera talks. Justin is an opera savant, but he speaks your language. He’ll give you some background on the composer, explain their inspiration for writing the opera, and give you an overview of the plot.

Justin can take the most complex arrangements and explain it in a way you can understand. He also lets you know about any special scenes, melodies, arias (solos) or duets you’ll want to pay special attention for. You’ll get a real “behind the scenes” feel for what will happen that evening, which will increase your enjoyment of the performance immensely. And there are no pop quizzes afterward either.

So just concentrate on getting to the opera house on time, and relish the fascinating costumes, spectacular sets, and breathtaking music!

FGO’s own “secret weapon,” Justin Moss conducts his famous opera talks one hour before each performance. These behind-the-scenes previews of the productions give you background information about the composer, the plot structure, and alerts you to special music to listen for. They allow you to understand, appreciate, and enjoy the performance more.

You Don’t Have to Be a Snob to Have a Great Time at the Opera!

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Message from the MaestroWelcome to Season 68, a canvas rich in drama, romance, and adventure. It opens and closes with two of opera’s

“top ten,” both with tragic heroines, and each with a variation on the timeless theme of salvation through love.

Puccini’s Madama Butterfly is based on an unlikely but true story from 19th century Japan, and contains one of my personal favorite love duets, with music full of passion and yearning.

Verdi’s La traviata contrasts brilliant party music and romantic love duets with scenes of despair and tragedy. The duet between the

heroine, Violetta, and her lover’s father, is surely what must be one of the finest creations in 19th century opera.

By way of contrast, Rossini’s La Cenerentola provides us with an irreverent and Monty Pythonesque take on the Cinderella story.

The title role is written for a mezzo-soprano with formidable coloratura abilities, and throughout the opera we are carried along

on a musical wave of breathless energy and zany humor.

The play on which Mozart’s The Marriage of Figaro is based caused a scandal at its premiere. In poking fun at the upper class, it was seen as politically inflammatory, and was banned in Vienna where Mozart

lived most of his life. In the opera, with its depiction of Cherubino’s adolescent sexuality, the nobility of the Countess, the temperamental

and philandering nature of the Count, and the quick-wittedness of Figaro and his fiancée, Mozart gives us music of genuine hilarity and pathos, where human

foibles are exposed and ultimately forgiven.

And finally, at the heart of the season there is something of a rarity for South Florida audiences. Léo Delibes’

ravishingly beautiful music for Lakmé contains one of the most beautiful duets for soprano and mezzo ever written,

and the amazing “Bell Song” is surely one of the most difficult coloratura arias ever penned. Set in the exotic location of British

Colonial India, Lakmé is a tale of two people caught in a struggle between duty to country, religion, and love.

Season 68 will be amazing. I do hope you’ll be a part of it!

- Stewart Robertson

Stewart Robertson has served as Music Director for Florida Grand Opera for ten seasons. He’s conducted New York City Opera productions that were

nationally televised on LIVE FROM LINCOLN CENTER, and his recording of The Mines of Sulphur was nominated for a Grammy, for best

opera recording.

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When you want an escape from the grind of work, traffic, and monotony, there is no better way to put some excitement in your life than spending a night with our talented artists of Florida Grand Opera. No matter which performance you attend, you’ll experience heart-stopping drama, gorgeous costumes, beautiful sets, and the most breathtaking music you’ve ever heard!

Whether you’re out on a first date, celebrating your anniversary, or simply enjoying a night out with friends, there isn’t a cooler way to spend an evening in South Florida. Season 68 promises to be our best yet.

We open with a new production of Verdi’s La traviata, with sets and costumes designed by Allen Charles Klein and directed by Bliss Hebert, whose spectacular production of Aida launched our inaugural season at the new opera house. Met tenor Stephen Costello, stars as Alfredo, and alternating in the role of Violetta are sopranos Eglise Gutiérrez and Ailyn Pérez, both rising stars in the international opera world. It also marks the first time Italian Maestro Aldo Sisillo wields the baton for FGO. This opera is guaranteed to have you spellbound.

The season continues with La Cenerentola, Rossini’s charming opera based on the fairy-tale Cinderella. This opera features mezzo-soprano Jennifer Rivera in the title role, sharing it with mezzo Julie Boulianne, and dashing Canadian tenor Frédéric Antoun as Prince Ramiro. Bring someone you love!

Lakmé, is a lush, romantic story set in India. We haven’t done this wonderful opera since 1964. It features the famous “Bell Song,” which will be sung in the return of South Florida’s favorite diva: Leah Partridge. Lakmé also features the Met’s celebrated baritone, Aaron St. Clair Nicholson. March offers the return of soprano Kelly Kaduce as the Countess in Mozart’s classic, The Marriage of Figaro. Kelly will alternate in the role with Elizabeth Caballero, who you probably remember as Mimì in our last production of La bohème. Figaro is one of the greatest operas ever written, offering some of the most famous arias and duets you will ever enjoy.

The season will conclude with the universally loved masterpiece from Puccini: Madama Butterfly. It features one of opera’s truly great arias, “Un bel di,” and one of the most spellbinding and intense endings you will ever experience.

You may want to see this one more than once!

Check out our special subscription offers, because by subscribing to the full season, you can attend all five shows for the price of four. There is no better way to enjoy the opera than by having your regular seats guaranteed for each production.

So just say ‘no’ to another boring night of dreary television, renting DVDs, or surfing the Net. And say ‘yes’ to a night of adventure at the Opera!

- Robert HeuerGeneral Directorand CEO

The Coolest Night of Entertainment in Town

More Captivating than a Hollywood Movie… More Powerful than a Broadway Show… More Magical than an Ordinary Concert…

Experience the Adventure of Live Opera!

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Paris serves as the backdrop for one of the most captivating stories in all of opera. La traviata is the gripping tale of Violetta Valéry, a teenage girl who comes to the City of Light in 1839. To survive, she becomes one of the city’s most desired courtesans, fulfilling the secret fantasies of gentlemen, but keeping her heart to herself.

But things change dramatically, when she meets Alfredo, and they fall deeply in love. (Listen closely to the duet in which Alfredo sings of his love reaching across the universe. The melody recurs from time to time as Violetta is thinking of his love for her, including briefly just before the end.)

Violetta has second thoughts however, as she discovers that society has no place for a courtesan in love. This is the provocation for her spectacular aria, “Sempre libera” (Always free).

As Act II opens, we realize love has won out, as Violetta is now living happily in the country with Alfredo. However the mood changes abruptly when Violetta receives a visit from Alfredo’s father, Giorgio Germont, who tells her that she is ruining the family’s reputation. Alfredo’s sister is to be married, and the scandal of his liaison jeopardizes the engagement. Playing the cruelest card of all, he tells her that although young and beautiful today, she will grow old and Alfredo will leave her. She can save the family by giving him up now. In one of opera’s most heart-breaking scenes, she agrees to

leave Alfredo, but only if Germont will promise that one day he will let his son know of her sacrifice. It is here you will experience their duet, in what is certainly one of the most beautiful pieces of music you will ever hear. One of Verdi’s trademark devices is to have one or more singers perform a throbbing rhythmic pattern while another sings a long, soaring melodic line over the top. Listen for this effect in this duet, and again at the end of the opera.

Alfredo returns to find her gone, and is deeply embittered, believing she has returned to her old ways. The next scene contains gripping drama, as Alfredo encounters Violetta at a party, in the company of a Baron. Not knowing the truth, Alfredo confronts and insults Violetta. She is sworn not to reveal the truth to him, but before she leaves, she sings, “Alfredo, Alfredo, you can never know how much love for you I have in my heart.” It is some of the most beautiful music in the production.

This leads us to the final act, one of the most enthralling and suspenseful in all of opera. Violetta lies dying in a cold, dark room, reading a note from Alfredo’s father. Germont has learned that she is ill, and is rushing to bring Alfredo to her. Violetta is hanging on, minute by minute, hoping to be reconciled with her one true love before she dies.

In La traviata, Verdi has created one of the most glorious musical masterpieces of romantic opera.

You’ll be on the edge of your seat, waiting to see if Alfredo can arrive in time, and if our tragic heroine can be saved by the power of love.

You will simply love this spectacular new production directed by Bliss Hebert and designed by Allen Charles Klein. Italian Maestro Aldo Sisillo will wield the baton for the first time for FGO in this opera.

Alternating in the role of Violetta are fast-rising Latina soprano stars Eglise Gutiérrez and Ailyn Pérez, who have graced the stages of the Met and Carnegie Hall.

Handsome Met tenor, Stephen Costello, will make his FGO debut as Alfredo, alternating with smoldering Leonardo Capalbo, who is quickly establishing himself as a leading tenor with performances at New York City Opera, Berlin, and Dresden.

This heart-wrenching story, based loosely on real events, has become one of the most beloved operas of all time. One performance and you’ll understand why in 100 years, the Met has performed La traviata 943 times! You simply must experience it for yourself.

A Young Courtesan, Destined to Die Alone...Can She Find Redemption Through the Power of Love?

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A Young Courtesan, Destined to Die Alone...Can She Find Redemption Through the Power of Love?

CAST:ViolettaEglise Gutiérrez November 15, 21 & 23 in Miami December 5 in Broward

Ailyn Pérez Nov 19, 22 & 25 in Miami Dec 4 & 6 in Broward

AlfredoStephen Costello Nov 15, 21 & 23 in Miami December 5 in Broward

Leonardo Capalbo Nov 19, 22, & 25 in Miami Dec 4 & 6 in Broward

GermontLuis Ledesma Nov 15, 21 & 23 in Miami December 5 in Broward

Mark Walters Nov 19, 22 & 25 in Miami Dec 4 & 6 in Broward

Conductor Set & Costume DesignerAldo Sisillo Allen Charles Klein

Stage Director Lighting DirectorBliss Hebert Thomas Hase

New Co-Production—Florida Grand Opera and Cincinnati Opera

This production is made possible by a generous gift in honor of Audrey Love from the Audrey Love Charitable Foundation.

Sung in Italian with English and Spanish projected titles made possible by .

Leonardo Capalbo

Stephen Costello

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This is the opera Richard Gere took Julia Roberts to see in the movie Pretty Woman. Violetta’s “Amami, Alfredo” is one of the musical highlights featured in the soundtrack. The film Moulin Rouge is actually a recycled take on La traviata, but using more recent pop tunes. Both movies and the original opera all deal with the plot of a lady of the evening who finds love when she least expects it.e

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Eglise GutiérrezAilyn Pérez

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Though he left out the pumpkin, glass slipper, and fairy godmother, Rossini was true in every other way to everyone’s favorite rags-to-riches classic, Cinderella. Many believe this is his best work, with music that will touch your soul. This “once upon a time” story is complete with wicked stepsisters, a quintessential Prince Charming, and, of course, a “they lived happily ever after” ending.

The fairy tale of Cinderella has roots deep in antiquity, and variations on the story are to be found in virtually every culture: Cenerentola (Italy), Cendrillon (France), Cenicienta (Spain) and Aschenputtel (Germany), to name but a few. And a good story it is, too, of oppression, redemption, and forgiveness. It’s an even better opera, with enchanting sets, stunning costumes, and simply dazzling music.

Poor Cenerentola lives with her ugly stepsisters, Clorinda and Tisbe, and her evil stepfather Don Magnifico, who has cheated her out of her entire fortune, and keeps her in the house as a scullery maid.

The stepsisters bicker and fight while Cenerentola, isolated and alone, sings a sad folk-tune as she goes about her tasks. The song, curiously enough, is about a king who chooses a wife for her innocence and goodness, rather than for wealth and power. Things get exciting when heralds announce that Prince Ramiro will be giving a ball at which he will choose a wife.

The Prince has learned that there is an interesting woman in the household who may be a worthy companion, and he comes to investigate disguised as his servant, Dandini. Cenerentola is startled when she sees him, and a wonderful, hesitant duet ensues, during a sustained, electric moment. The die is

cast. When Don Magnifico prepares to present his two daughters, he is asked about a third and responds that she has died. Cenerentola sadly overhears him, and resigns herself to staying home.

The intervention of Alidoro, Prince Ramiro’s tutor, rather than a fairy godmother transforms Cenerentola from rags to ballgown, and she is spirited away to the ball. The ruse continues, with the Prince disguised as the servant and the servant disguised as the Prince. Clorinda and Tisbe are rude to the Prince, believing him to be the servant, and make much over the servant, believing him to be the Prince. Cenerentola, having earlier been smitten by “the servant,” is interested only in him.

When the truth is finally revealed, Clorinda, Tisbe, and their father, Don Magnifico, are devastated, and seeing Cenerentola now chosen by the Prince, fear her retribution. Instead Cenerentola sings that she was born to sorrow and tears, but now everything has changed, and in a glorious rondo finale, she showers her relatives with forgiveness as she takes her place beside the Prince. It’s a spectacular aria and brilliant ending, packed with coloratura and fireworks, guaranteed to have you leaving the theater living happily ever after!

Rossini’s music was so popular that after he had retired, the next generation of composers complained that if they wanted to eat, they had to write in his style, because that was all audiences wanted to hear. This bel canto style requires tremendous vocal agility, and a beautiful voice with the ability to sustain long, exposed vocal lines.

This production features dashing Canadian tenor Frédéric Antoun as the sweet-voiced and ardent prince.

Jennifer Rivera will perform the title role, sharing it with Julie Boulianne. Rivera has been rapidly earning recognition as a superb lyric mezzo-soprano, and you’ll see why both the New York Times and the New York Sun have hailed her as “someone to watch.” Boulianne is one of today’s most promising young Canadian lyric artists.

Rossini composed this opera when he was only 25 years old, following the success of The Barber of Seville the year before. La Cenerentola, which he completed in just three weeks, is considered to have some of his finest writing for arias and ensembles.

It was first performed in Rome in 1817, and received with hostility. But it soon became popular throughout Italy and beyond; it reached Lisbon in 1819, London in 1820 and New York in 1826. Through most of the 19th century, its popularity rivaled that of Barber. But the title role is written for a mezzo-soprano with formidable coloratura abilities, and the difficulty finding singers caused it to slowly fall out of many repertoires.

However, in the 1970’s Rossini enjoyed a renaissance, and a new generation of Rossini mezzo-sopranos (such as Cecilia Bartoli, Ewa Podles, and others) brought the work to the forefront again. Today it reigns as Rossini’s second most popular opera after Barber.

La Cenerentola provides wacky comedy, wonderful music, and a heart-warming ending. Now is your chance to experience the fairy tale for yourself!

Wicked Stepsisters, a Prince Disguised as a Servant, and the Search for True Love. Can a Peasant Girl Become a Princess?

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Wicked Stepsisters, a Prince Disguised as a Servant, and the Search for True Love. Can a Peasant Girl Become a Princess?

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niCAST:

CenerentolaJennifer Rivera January 24, 27 & 30 in Miami February 7 in Broward

Julie Boulianne January 25, 28 & 31 in Miami February 5 in Broward

Don RamiroFrédéric Antoun All Performances

Don MagnificoGaètan Laperriére All Performances

DandiniMarian Pop All Performances

ClorindaNili Riemer All Performances

Conductor Costume DesignerJoel Revzen (Miami) John LehmeyerAndrew Bisantz (Broward)

Stage Director Lighting DesignerA. Scott Parry Gordon W. Olson

Set DesignerGary Eckhart

Baltimore Opera Production

The Miami performances of La Cenerentola are supported by Funding Arts Network


Frédéric Antoun

In Rossini’s version of Cinderella, a pair of bracelets replaces the glass slipper, because at that time it was considered indecent for a woman to bare her naked foot on stage! Other composers who wrote Cinderella operas include Massenet (1899) and Wolf-Ferrari (1900). Rossini also wrote the operas The Barber of Seville, and William Tell. The William Tell Overture is familiar to millions; but they know it as the theme music for The Lone Ranger television show.e

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Baltimore Opera Company production, 1999.(c) Stan Barouh

Julie BoulianneJennifer Rivera

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Lakmé, set in India, is the passionate tale of a man and a woman caught in an epic struggle between duty to country, religion, and love. Cultures collide, generations are at war, and our young lovers struggle to find happiness amidst the chaos of it all.

Our story begins as Nilakantha, a Brahmin priest, is bent on rebelling against the occupying British forces that have forbidden him from practicing his religion. When he goes to attend a gathering of the faithful, his daughter Lakmé and her servant go off toward a river to gather flowers in a sacred garden. Listen closely, as this is where they sing the famous “Flower Duet,” a breathtaking piece of music. As they approach the water, Lakmé removes her jewelry and leaves it on a bench as she and her servant decide to get into a small boat by the river.

Nearby, British officers Gérald and Frédéric are on a picnic with two young English girls. Driven by curiosity, they accidentally break through a bamboo fence that surrounds the temple. Frédéric warns his companions that they are violating the sacred place of the Brahmins, but the girls notice Lakmé’s jewelry and want sketches of the pieces. Gérald agrees to stay behind to make the drawings.

Lakmé and her servant return and are startled and frightened to find Gérald. But Gérald, who is inconveniently engaged to be married to one of the British girls, is entranced by Lakmé, and she by him. Lakmé, fearful of the consequences, urges Gérald to leave and forget

he has ever laid eyes upon her. But before he can leave, the priest Nilakantha returns to discover them. Gérald flees, and the priest swears to kill the man responsible for this sacrilegious violation of the holy temple.

The next scene takes place in a busy marketplace. Nilakantha has brought his daughter Lakmé to serve as a lure to catch the intruder. He forces her to sing, hoping that her song, together with her beguiling costume, will cause the soldier to give himself away. Lakmé sings her “Bell Song,” in which her voice must imitate the tinkling bells on a magical staff that she describes. This aria is renowned for its exotic musical colors and spectacular, high coloratura. The song works its magic, but when Lakmé sees Gérald, she stops singing and faints. When he rushes forward, Nilakantha stabs him and flees.

Then things really heat up…

Gérald survives the attack, and is hidden in the forest so Lakmé can tend to him. They hear singing far in the distance, and Lakmé explains that it’s a band of lovers going to drink from a sacred spring whose waters confer the gift of eternal love. She asks Gérald to drink the magical water in order to ensure everlasting love between them. However when Lakmé goes to get the sacred water, Gérald ‘s co-officer Frédéric turns up, and convinces him to return to his duty: the army and his fiancée.

Gérald knows he must fulfill his responsibilities and leave Lakmé

behind. She returns from the spring, and senses what’s about to happen. This leads to the climactic final scene, one of the most gripping in all of opera. The poignant combination of hope, despair, and love will leaveyou breathless. Lakmé marks the return of South Florida’s favorite diva: the remarkable Leah Partridge. Her roles with FGO have included Violetta in La traviata, Lucia in Lucia di Lammermoor, Gilda in Rigoletto, and Cleopatra in Julius Caesar and she made her Metropolitan Opera debut last season. Sharing the role of Lakmé with Leah will be lyric coloratura soprano Evelyn Pollock, a prominent emerging artist in both America and Europe. Celebrated baritone Aaron St. Clair Nicholson returns to FGO from a stint at the Met to perform the role of Frédéric.

Lakmé contains some of opera’s greatest show-stoppers, including one of the most beautiful duets for soprano and mezzo you will ever hear, and of course the amazing “Bell Song,” surely one of the most difficult coloratura arias ever penned. Is there anything more romantic than arias sung in French? Bring someone you love!

A Fanatical Priest, a Violated Temple, and Warring Generations…Heady Love Meets Crushing Despair, with Two Young Lovers Caught in the Crossfire

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A Fanatical Priest, a Violated Temple, and Warring Generations…Heady Love Meets Crushing Despair, with Two Young Lovers Caught in the Crossfire Lé

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NicholsonLeah Partridge

Evelyn PollockCAST:

LakméLeah Partridge February 21, 24 & 27 in Miami March 5 in Broward

Evelyn Pollock February 22, 25 & 28 in Miami March 7 in Broward

GéraldBryan Griffin February 21, 24 & 27 in Miami March 5 in Broward

Chad A. Johnson February 22, 25 & 28 in Miami March 7 in Broward

NilakanthaBurak Bilgili All Performances

FrédéricAaron St. Clair Nicholson All Performances

Conductor Lighting DesignerStewart Robertson Gavan Swift Stage Director ChoreographerAdam Cook Elizabeth Hill

Set & Costume DesignerMark Thompson

Presented by arrangement with Opera Australia and Opéra de Montréal

Leah Partridge’s performance is made possible by a gift from the Laurans and Arlene Mendelson Family.

The Fort Lauderdale performances of Lakme are supported by Funding Arts Broward

Sung in French with English and Spanish projected titles made possible by .

The title role was originally written for 24-year-old American soprano Marie van Zandt, who helped ensure the opera’s immediate international success. The famous “Viens Mallika” or “Flower Duet” has been heard in movies as diverse as The American President, The Mirror Has Two Faces, Lara Croft Tomb Raider, and Meet the Parents. It has also been used in television ads as the soundtrack to sell everything from British Airways to Ghirardelli Chocolates.e

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Photograph by Opera Australia April 2006.

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The Count makes sexual advances to the maid, who is engaged to the valet, who is pursued by an older woman, who is annoyed by a hormonal teenager, who is obsessed with the boss’s wife…

Any questions?

Le nozze di Figaro actually continues the story of Rossini’s opera The Barber of Seville. (Rossini’s opera was actually written later than Mozart’s, but they both were based on plays by Pierre-Augustin Beaumarchais.) If you’ve seen Barber, then you know it ends happily ever after.

Or so we thought…

In Le nozze di Figaro, we learn that the happiness hasn’t lasted. The Count has been cheating on the Countess, and she is none too happy about it. Figaro now plans to wed the Countess’s maid Susanna, but discovers that the Count plans to seduce Susanna. In a deliciously complicated plot that you simply have to see to appreciate, the servants, in collaboration with the Countess, manage to ensnare the Count in a trap, where he is exposed for exactly what he is. He begs forgiveness from the Countess, who complies in a magnificent closing hymn.

Along the way, we have astonishing arias from an array of characters, including the hormonal adolescent

boy Cherubino, in what is known in opera as a “trouser role.” This is a high-pitched male part, performed in costume by a female. This gets interesting later when Cherubino is disguised as a girl. So for those of you keeping score at home, we have a girl, singing the part of a boy, disguised as a girl!

Today, Le nozze di Figaro, one of three operas Mozart composed with librettist Lorenzo Da Ponte, is considered to be one of the key monuments of western musical culture. Mozart’s incredible musical vitality never flags throughout, and some of the most delightful scenes in all of opera come from this work. There are wonderful duets, and ingenious collaborative passages.

Baritones Andrew Oakden and Keith Miller make their FGO debuts as Figaro. Oakden continues to garner critical acclaim and made his New York City Opera main stage debut last season. And in what must certainly be a first for opera, Miller actually played professional football for five years and is now becoming a regular at the Met.

David Pittsinger (Scarpia in FGO’s 2008 Tosca) returns in the role of Count Almaviva, along with Aaron St. Clair Nicholson, who appears in the earlier production of Lakmé. Figaro also marks the return of two of South Florida’s favorite sopranos, Kelly Kaduce and Elizabeth Caballero, who will alternate in the

role of the Countess. Many consider Le nozze di Figaro the greatest opera buffa (farcical comic opera) ever written. It was revolutionary for its sexual misadventures, political connotations, and satirical treatment of the ruling class. However its greatest achievement may be the way it defined the form comic opera would take for centuries to come. Mozart gives us music of pure genius and joy, filled with one breathtaking aria after another.

This delicious plot involving cross-dressing, sexy servants, and sex-crazed masters was a howling success from the start. (It premiered in Vienna on May 1, 1786, with Mozart himself conducting, seated at the keyboard in the custom of the day.) Although the 18th century censors didn’t find its parody of the ruling class particularly amusing – you, however, will find it hilarious, delightful, and captivating!

Sexy Servants, a Philandering Count and a Frisky Teenager…Cupid has his hands full getting this wedding party to the church on time!

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Frisky Teenager…Cupid has his hands full getting this wedding party to the church on time!

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FigaroAndrew Oakden March 21, 24 & 27 in Miami April 4 in Broward

Keith Miller March 22, 25 & 28 in Miami April 2 in BrowardSusannaLauren Skuce March 21, 24 & 27 in Miami April 4 in Broward

Valentina Farcas March 22, 25 & 28 in Miami April 2 in BrowardCountDavid Pittsinger March 21, 24 & 27 in Miami April 4 in Broward

Aaron St. Clair Nicholson March 22, 25 & 28 in Miami April 2 in BrowardCountessKelly Kaduce March 21, 24 & 27 in Miami April 4 in Broward

Elizabeth Caballero March 22, 25 & 28 in Miami April 2 in Broward

BartoloJames Maddelena

MarcellinaDorothy Byrne

Conductor Costume DesignerStewart Robertson Johann Stegmeir

Stage Director Lighting DesignerStephen Lawless Joan Sullivan-Genthe

Set DesignerBenoit Dugardyn

Florida Grand Opera/Glimmerglass Opera Production


Keith MillerAndrew Oakden

The play on which Le nozze di Figaro is based caused a scandal at its premiere. In poking fun at the upper class, it was seen as politically inflammatory, and in fact was banned in Vienna during Mozart’s lifetime. (Marie Antoinette had a reading of the play secretly given at Versailles.) By replacing political satire with sexual rivalry, Mozart and Da Ponte were able to sneak their comedy past the censors. The Imperial Italian Opera Company paid Mozart 450 florins for the work. This was three times the lowly salary he received when he had worked as a court musician in Salzburg. Da Ponte was paid 200 florins. e

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For him it was a few moments of passing pleasure. For her it meant a lifetime of love and devotion. Family, fortune and honor—poor Butterfly forsakes them all, for the officer who was no gentleman.

Madama Butterfly is the haunting story of a young girl who was sold to be trained as a geisha after her disgraced father takes his life. But Cio-Cio-San, known as “Madama Butterfly,” falls in love and marries U.S. Navy Lieutenant B. F. Pinkerton. To show her trust in him, she has renounced the faith of her ancestors and, therefore, can never return to her own people. As Act I concludes, watch for the duet, as Pinkerton carries her from under the stars to the bed, surely one of the most rapturous love songs you will ever hear.

Unfortunately Pinkerton sees the marriage as a brief port of call in his traveling life and soon sails away. Butterfly turns away suitors and sinks into poverty — always believing he’ll return one day.

In Act II, Butterfly is alone with her servant Suzuki. Pinkerton has been gone for so long that everyone but Butterfly has begun to doubt that he will ever return. Butterfly has no such fears, however, and in one of the opera’s great arias, “Un bel di,” sings in no uncertain terms exactly how it will be when he comes back. “One fine day,” she sings, “We’ll see his ship in the harbor.” She goes on to describe how she will almost die of anxiety while waiting for him to arrive at the house, and once he does, how she will nearly die of happiness. “This will all come to pass,” she sternly tells Suzuki, and forces her to agree that it will.

Sharpless, the American consul, arrives with a letter from Pinkerton. Butterfly is so overcome with joy that she keeps interrupting the consul until he has to tell her to be quiet. In a devastating scene, with Butterfly clinging to hope, and the consul growing bitterly unhappy about his assignment, Butterfly is asked

what she will do if he doesn’t come back. The question hits her like a thunderbolt, and we hear one, from the orchestra.

Butterfly’s heart is broken at the very thought, and she finally arises and returns with a young child on her shoulder. A stirring brass fanfare accompanies his introduction. “Can my husband forget this?” she challenges. Butterfly explains that the boy’s name is “Sorrow,” but when his father returns, his name will become “Joy.” Sharpless is stunned at this latest news, and promises to let Pinkerton know of the child as he leaves.

Times drags on, and Butterfly is the topic of much gossip. Just as things cannot seem worse, distant guns salute the new arrival of a man-of-war; Pinkerton’s ship. In a joyous duet, Butterfly and Suzuki strew cherry blossoms throughout the house and array themselves and the child in gala dress. All three peer through shōji doors to watch for Pinkerton’s coming. As night falls, a long orchestral passage with choral humming (the haunting “Humming Chorus”) plays. Suzuki and the child gradually fall asleep, but Butterfly never closes her eyes.

In Act III it is dawn, and Butterfly is still intently watching. Suzuki awakens and brings the baby to her. She persuades the exhausted Butterfly to rest. Then Pinkerton and Sharpless arrive and tell Suzuki the terrible truth…

Pinkerton has abandoned Butterfly for an American wife named Kate. The lieutenant is stricken with guilt and shame, but is too cowardly to tell Butterfly himself. Suzuki is violently angry, but is finally convinced to listen as Sharpless assures her that the new Mrs. Pinkerton will care for the child if Butterfly will give him up. Pinkerton then leaves.

Suzuki brings Butterfly into the room. She is glowing, expecting to find her husband, but is confronted instead by Pinkerton’s new wife. As Sharpless

watches silently, Kate begs Butterfly’s forgiveness and promises to care for her child if she will surrender him to Pinkerton.

Butterfly receives the truth with stoicism, politely congratulating her replacement. She advises Kate to tell her husband to return in half an hour, and then he may have their son. She herself will “find peace.” She bows her visitors out, and is left alone with her child. Shamed, humiliated, and disgraced, will Butterfly choose to live or, like her father, die with honor?

She bids a wretched farewell to her son, begging him to look closely at her face so he will remember her when he is far away. She puts a doll and a small American flag in his hands, then blindfolds him. She produces her father’s dagger — the very weapon he used to commit suicide — and reads its inscription: “To die with honor, when one can no longer live with honor.”

She takes the dagger and a white scarf behind a screen, and emerges a moment later with the scarf wrapped around her throat. (The music is incredibly tense and dramatic here, and one of the most difficult roles for any soprano to handle.) She embraces her child for the last time and sinks to the floor. Pinkerton and Sharpless rush in to find the dying woman. The lieutenant cries out Butterfly’s name in anguish… and the curtain falls.

This final scene may be the most emotionally powerful in the history of opera. Madama Butterfly simply overflows with some of opera’s greatest music. The passionate duet as Butterfly and Pinkerton consummate their marriage; her poignant aria “Un bel di” in Act II, and the unforgettable “Humming Chorus” are just a few of the hauntingly beautiful melodies that will linger in your soul, long after you leave the theater.

She Fell in Love…And Never Stopped FallingThe gripping true story of a young geisha, seduced and abandoned by a U.S. Navy Lieutenant

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She Fell in Love…And Never Stopped FallingThe gripping true story of a young geisha, seduced and abandoned by a U.S. Navy Lieutenant

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CAST:

Cio-Cio-SanShu-Ying Li April 25, May 1, 3, 5 & 8 in Miami May 16 in Broward Adina Aaron April 29 & May 2 & 9 in Miami May 14 in Broward

PinkertonArturo Chacón-Cruz April 25, May 1, 3, 5 & 8 in Miami May 16 in Broward

Alessandro Liberatore April 29 & May 2 & 9 in Miami May 14 in Broward

SuzukiKatharine Goeldner All Performances

SharplessJake Gardner All Performances

GoroJeffrey Halili All Performances

ConductorStewart Robertson

Stage DirectorBernard Uzan

Set DesignerRoberto Oswald

Costume Designer Lighting DesignerAnibal Lápiz Gordon W. Olson

Production of Opéra de Montréal

This production has been made possible by a generous gift from the Arthur F. and Alice E. Adams Foundation.

The performances of Shu-Ying Li and Adina Aaron as Cio-Cio-San are sponsored by Northern Trust.


Adina Aaron

Shu-Ying Li

Madama Butterfly inspired the award-winning musical Miss Saigon, and music from Madama Butterfly has been used in countless Hollywood blockbusters. In fact, this is the opera that Glenn Close buys the tickets for in the movie Fatal Attraction. It is this music she is listening to when we see the first signs that she is losing her mind.e

tc.

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The Hottest Night in South Florida - Happens in Paris!

Florida Grand Opera’s Opening Night Gala

Join us for an evening you will never forget, as for one night only, Paris relocates to Florida! On November 15th, the hottest ticket in town will be the Florida Grand Opera Gala Parisian Ball. It will be a spectacular evening of music, dining, fashion, and fun!

It begins with the opening night performance of Verdi’s La traviata. Then you will be ushered to a private cocktail reception while the stage is cleared and reset, for a magnificent gala dinner-dance for 400 guests. This Bal à Paris will be the social event of the season in South Florida, and you don’t want to miss it. It’s a celebration of all things French—romance, fine food, haute couture, fragrance, and of course, Paris.

You’ll be joined by the La traviata cast and creative team for this special dinner.

In honor of Season 68, Florida Grand Opera commissioned five of South Florida’s hottest fashion designers — to create five of the hottest gowns — for five of the hottest operas! Each designer chose one opera from this season, and created a unique, one-of-a-kind ballgown, inspired by the production. Bring your checkbook, because these gowns will be unveiled for the first time ever at the Gala — and you have a chance to bid on them! They’ll be part of the fundraising auction during the evening. It’s a fun opportunity to support the opera, and own your very own spectacular haute couture gown!

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• Rafael Cennamo of Cennamo Couture creates a gown worthy of Violetta for La traviata

• Nicolás Felizola of Nicolas Felizola Atelier & Studio is inspired by the Cinderella story for La Cenerentola

• Ana Maria Guiulfo from “Ana G.” Boutique designs a gown fit for a princess for Lakmé

• Lisbeth Hazoury couture designer captures the fun and romance of The Marriage of Figaro

• Yoly Muñoz of Yoly Muñoz Couture forsakes it all for love, for Madama Butterfly

There will also be lots of other cool things up for auction to the highest bidder. This is your chance to own signed opera memorabilia, weekend getaways, and other high-end luxury items. You get cool stuff, and FGO gets to present more cool opera!

Share in the “joie de vivre” as we celebrate the opening of Season 68, and Florida Grand Opera’s status as one of Florida’s premier cultural institutions!

The Opening Night Gala is a major annual fundraiser for Florida Grand Opera, and tickets are limited, so make your reservations now! For tables, tickets, underwriting, sponsorship, and other information, please contact Denise Courshon at (305) 854-1643, ext. 1202.

Here are just some of the amazing items you will have a chance to bid on and possibly take home:

Private Dinner with Met Opera •Superstar Dmitri Hvorostovsky;

Spa Day at the luxurious House of •Guerlain, Paris;

Cruise for two with luxury •accommodations to any port of call on World Residensea;

Elegant lady’s watch, from Van Cleef & •Arpels;

Five-star hotel weekend in Paris, •France;

Diamond and aquamarine earrings •from M. Kanners Fine Jewelry;

Two front row seats at Mercedes-Benz •Fashion Week, New York;

Private wine tasting including a case of •French wine, advice on building a wine cellar from Wine and Cellar Concepts;

Original fur piece from Castelli; and,•

Other exciting things!•

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When you subscribe for the season, you get a discount that makes your fifth opera free. Subscribers receive preferred seating, discounts and special benefits throughout the year. And you’ll get to experience all the winding plots of mistaken identities, passionate encounters, heartbreaking betrayals, heartwarming reunions, and breathtaking music. There simply is no entertainment option anywhere in South Florida that can compare to a season at the opera. You’ll find each performance is the highlight of your week.

South Florida’s Best Entertainment Value... Five-opera subscriptions start as low as $40. That’s eight bucks an opera: Less than the price some people paid to see “Snakes on a Plane!” Children age six and older are welcome to attend the opera.

Lock in Your Seat…As a subscriber you select the seats you want, and then they’re guaranteed for every performance. And of

course you get the first option to renew your same seat each season every year.

We’ll Work with You… If something comes up and you can’t make a particular date, we’ll work with you. You can exchange your tickets for another day, so you never have to miss a performance. Simply let us know by 4 p.m. on the day of a weekday performance or 4 p.m. on Friday for a weekend performance. And there’s no service charge to exchange tickets by mail or in person. (Of course tickets cannot be exchanged after a performance has occurred. If tickets are exchanged for higher-priced sections or performances then you must pay the difference, and if they’re exchanged for lower-priced sections or performances, we cannot refund the difference.) Ticket exchanges are subject to availability.

Advance Purchase Privileges…Got some friends or family coming to town and want to

Don’t Miss a Performance!Subscribe for the Season and Experience All Five Operas, but Only Pay For Four

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snag some extra seats? As a subscriber you will receive first choice for the best available seating when single tickets go on sale.

Dog Ate Your Tickets? Don’t worry if you forget or misplace your tickets. As a season ticket subscriber, we can always look up your place and give you location passes for your seats.

Special Gift…Each year we do something to show our appreciation for your support. Sometimes we collaborate with an artist to create a commemorate poster, or perhaps a beautiful calendar you’ll enjoy all year. Just know we appreciate you and will find a way to show it!

The Fine Print…Seating Priority for the most desirable seat locations is given according to donor level and number of continuous years as a subscriber. Seating is subject

to availability. Programming and artists are subject to change.

You’ll Feel all Warm and Fuzzy… We only hire nice people for our box office! If you have any special needs or requests, they will do their best to help you. Call them now at 1-800-741-1010, or (305) 854-7890 and they will be happy to help you choose your seats and save you the paperwork. Or you can get them online at www.fgo.org. The best seats go fast, so act quickly!

TICKET HOT LINE: 1-800-741-1010, or (305) 854-7890, or fgo.org

Don’t Miss a Performance!Subscribe for the Season and Experience All Five Operas, but Only Pay For Four

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As you can probably imagine, opera is the most labor intensive of all of the art forms. It’s a special collaboration of both visual and performing arts, and involves the creative talents of singers, dancers, musicians, directors, conductors, technicians, stage hands, and set, costume and lighting designers. They all work together to bring the magnificent productions of Florida Grand Opera to the stage. And we can’t do it without your help!

Ticket sales only provide about one-half of Florida Grand Opera’s annual operating budget. The other half must come from gifts, grants and sponsorships from corporations, foundations, government — and help from people like you. Your tax-deductible gift makes it possible for us to create the spectacular productions you see on our stage, helps develop the careers of the extraordinary singers who participate in our Young Artist Studio, and provides education and outreach initiatives that take opera to every corner of our community.

Over 100,000 tickets are sold to our performances each year in South Florida, and more than 50,000 youngsters and adults participate in our educational and community programs, which include in-school opera programs, free concerts and lectures. We need your help to keep serving our community in this way.

Ways You Can Help:

Outright Gifts: Your annual gift helps us maintain the Opera as a central cultural force in our community and one of the major cultural institutions in Florida. Donating publicly traded securities in lieu of, or in addition to, your cash gifts can offer tax advantages. Check with your financial planner.

YOU Can Play a Starring Role! Even if You Can’t Sing a Note – We Can Make Beautiful Music Together!

Your Sponsorship to Florida Grand Opera Keeps the Curtain Rising.

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Commemorative and Memorial Gifts:You can make a gift in honor or in memory of a family member or treasured friend.

Planned Gifts: Remember the Opera in your estate plans through bequests, trusts, and other planned gifts, ensuring both your legacy and the future of the Company.

Matching Gifts: Your contribution could be doubled if your company participates in FGO’s Matching Gift Program. Check with your human resources department. (Sometimes retired employees are also eligible.)

Become a part of the Opera’s family and join us in keeping grand opera strong in South Florida. More than 7,500 individuals support Florida Grand Opera through their membership contributions. Won’t you join them?

In acknowledgement of their generosity, FGO supporters receive special recognition, and a variety of benefits commensurate with their giving levels.

Annual Fund

Gifts from $25 to $1,499 are deeply appreciated, and in recognition, are listed at the $100 and over level each year in the Season Program Book.

Lyric Society

Beginning at the $1,500 level, membership in the Lyric Society offers special benefits and recognition at its various contribution levels, including a photograph in the Season Program Book. At the $15,000 level and above, donors also receive a half- or full-page profile. Other benefits include: attendance at dress rehearsals, priority seating, membership in the Opera Club, and invitations to all Opera special events.

Crown Jewel Society

Beginning at the $25,000 level, membership in the Society reflects the commitment of major donors to the mission of Florida Grand Opera and represents the backbone of support for the Opera’s annual operations. Donor recognition includes a full-page profile and a photograph in the Season Program Book.

At this level of support and over, benefits and recognition include production sponsorships, performance underwriting credit, exclusive events with performers and members of the Young Artist Studio, even private concerts at your home or business. For complete details of all categories and benefits, please call:

(305) 854-1643, ext. 1203, in Miami-Dade(954) 728-9700, ext. 1700, in Broward

YOU Can Play a Starring Role! Even if You Can’t Sing a Note – We Can Make Beautiful Music Together!

Your Sponsorship to Florida Grand Opera Keeps the Curtain Rising.

Find the Level Right for You…

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Leah Partridge’s performance is made possible by a gift from the Laurans and Arlene Mendelson Family.

A Shocking Confession: South Florida’s favorite diva admits she sings country when there’s no one around!

Leah Partridge, budding soprano superstar, and one of South Florida opera goers favorite singers has a startling confession: She always thought she would grow up to be a country singer. The Georgia native grew up singing gospel and doing country duets with her sister Stephanie.

She still loves singing country when alone at home or in the car. “There are all the low notes, and I think they help my high notes when I sing opera,” she says, laughing. “I guess. I don’t know.”

It was only when she was in college that one of her professors recommended that she study classical music with legendary soprano Virginia Zeani. There’s no doubt now it was a great career move, as she went on to win first place in the vocal competitions of Palm Beach Opera and Opera Birmingham.

Leah went straight from university to Florida Grand Opera’s Young Artist Studio, and became one of its greatest success stories. She has received consistent praise for her virtuosic technique and dramatic insight. FGO has brought her back in starring roles to rave reviews.

The Miami Herald praised her performance of Lucia in Lucia di Lammermoor as “a singular triumph,” and the Sun-Sentinel wrote that she had “undeniable star quality.” Along the way she has made some of the great bel canto roles her own, and her career already includes many performances as Lucia, Violetta in La traviata, and Gilda in Rigoletto.

Last season she returned to FGO starring as Cleopatra in Giulio Cesare (Julius Caesar), and made her debut at the Met. This season you can see her again, as she stars in the title role of Lakmé. The part requires some of the most difficult coloratura singing around, so that country music must be paying off!

Artist Spotlight…

Leah Partridge as Lakmé

Photo by: Deborah Gray Mitchell

Leah Partridge

Florida Grand Opera8390 NW 25th StreetMiami, FL 33122

NON-PROFIT ORG.U. S. POSTAGE

PAIDPERMIT #2339M I A M I , F L

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