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Contents

The Minnesota Opera

President & CEO Kevin SmithArtistic Director Dale Johnson

Chair, Board of Directors J. A. Blanchard, III

The Minnesota Opera, 620 North First Street Minneapolis, MN 55401 (612) 333-2700

www.mnopera.org

The Minnesota Opera is a member of OPERA America.

The Minnesota Opera Programis published by

Corporate Administrator/Publisher Todd HydeAssoc. Publisher/Director of Production Marsha Kitchel

Account Executives Liesl Hyde, Amy NewtonCreative Designer Stacy Hawkins

Graphic Designers Sue Sentyrz Klapmeier, Robert Ochsner

This activity is made possible in part by a grant provided by the Minnesota State ArtsBoard through an appropriation by the Minnesota State Legislature. This project is

supported in part by a grant from the National Endowment for the Arts.

May 2007

Large-print and Braille programs are available at the Patron Services Office

The Minnesota Opera Staff and Volunteers . . . . . . . . . . . . . . . . . . . . . . . . . 6Notes from the Leadership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7The Marriage of Figaro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Background Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Wolfgang Amadeus Mozart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

The Artists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16The Minnesota Opera Chorus and Orchestra . . . . . . . . . . . . . . . . . . . . . . . 20Education at the Opera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22Opera at the Ordway Initiative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24The Minnesota Opera Annual Fund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30Young Professionals Group Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322007-2008 Season Announcement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

TBD

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MINNESOTA OPERA Staff

MINNESOTA OPERA Volunteers

Welcome to today’s production of The Marriage

of Figaro. For more than four decades, TheMinnesota Opera has enriched the cultural lifeof our community by producing outstanding andinnovative operas that inspire and entertain.

U.S. Bank is honored to sponsor the 2006 –2007 season. We are proud of our 20+ yearrelationship with The Minnesota Opera and thespectacular Ordway in St. Paul.

At U.S. Bank, we support great dreams, great art and great arts organizations. They enrich thecommunity with vibrancy, creativity and excellence. As the sixth largest bank in Americatoday, U.S. Bank is the only major bank headquartered in Minnesota, and we’re deeplycommitted to giving back to this community.

Thank you for coming and enjoy the performance!

Rod Boren, Senior Vice President, Personal Trust Regional Manager, U.S. Bank Private Client Group Jose Peris, Senior Vice President, Private Banking Regional Manager, U.S. Bank Private Client Group and Minnesota Opera Board Member

President & CEO Kevin SmithArtistic Director Dale Johnson

ArtisticArtistic Administrator . . . .Roxanne Stou∂er CruzArtistic Associate . . . . . . . . Floyd AndersonCommunity Education Director . . . . . . . . . . .

Jamie AndrewsDramaturg . . . . . . . . . . . . . . . David SanderConductor-in-residence . . . . . .Robert WoodResident Artists . . . . . . . . . .Kyle Albertson,

Alison Bates, Andrea Coleman, Jamie-Rose Guarrine, Bryan Lemke,

Kelly Markgraf, Cortez Mitchell, Bill Murray, Nili Riemer,

Eric Schnobrick, Hugo VeraRAP Faculty . . . . . . . . . . . . . .Nancy Boler, Carlotta Dradi-Bower, Doug Scholz-Carlson,

Barbara Kierig, Peter Robinson Master Coach . . . . . . . . .Mary Jo GothmannLibrarian . . . . . . . . . . . .Griffin WoodworthTeaching Artist . . . . . . . . . . . . .Lisa ButcherProject Opera Apprentices . . . . .Setara Barukzoy,

Celeste Johnson, Siri Jorstad, Kaitlin VeryProject Opera Music Director . . . Dale KruseProject Opera Accompanist . . .Kathy KraulikEducation Intern . . . . . . . . . . .Nick Nolte

ProductionProduction Director . . . . . . . Kevin RamachProduction Stage Manager . . . . . Alex FarinoAssistant Stage Managers . . . . .Justin Hossle,

Megan TrainaProduction Admin Asst. . Katherine Cattrysse

CostumesCostume Shop Manager . . . .Erica M. BurdsAssistant Costume Shop Manager . .Beth SandersDrapers . . . . . . . . .Chris Bur, Yancey Thrift,

Angela Yarbrough Costume Technicians . . . .Helen Ammann,

Jennifer Dawson, Mary Farrell, Rose Ryan Wig/Makeup Designer . . . . . . Tom WatsonWig/Makeup Assistants . . . . . . Mary Farrell,

Emily Rosenmeier, Nina Stewart

SceneryTechnical Director . . . . . Mike McQuistonAsst. Technical Director/Lighting Coordinator. . . . . Marc D. Johnson

Scenery cont.Properties Master . . Stanley Dean HawthorneProperties Assistant . . . . . . . . . Mike LongProduction Carpenter . . . . . . . . . JC AmelScene Shop Foreman . . . . . . . . . . Rod AirdMaster Carpenter . . . . . . . . . .Steven RovieCarpenter . . . . . . . . . . . . . . . . . . . Eric VeldeyCharge Painter . . . . . . . . Kevin Noteboom

DesignersSet & Costume Designer . . . . . . . . . . . . . .

Carl Friedrich OberleLighting Designer . . . . . . . . Marcus Dilliard

AdministrationFinance Director . . . . . . . . . . . . Je∂ CoutureOperations/Systems

Manager . . . . . . . . . . . . Steve MittelholtzHR/Accounting Manager . . . . Jennifer ThillExecutive Assistant . . . . . . . Theresa MurrayFinance Assistant . . . . . . . . . . . . . . .Libby JonesIT Applications Specialist . . . . . .Jessica Wright

Institutional AdvancementVice President of Institutional

Advancement . . . . . . . . . . .Patrick DewaneInstitutional Advancement

Manager . . . . . . . . . . . . . .Kelly Clemens

DevelopmentDirector of the Annual Fund . . . .Dawn LovenInstitutional Gifts Associate/Gala Coordinator

Emily SkoblikIndividual Gifts Associate . . . .Megan Stevenson

Marketing/CommunicationsMarketing and Communications Director . . . . . . . . . . . . . . . . . . . .Lani WillisAudience Development Associate . . Jamie NiemanTicket O∑ce Manager . . . Katherine CastilleTicketing and Communications Associate . . . . . . . . . . . . . . . . . . . Robert SchmidtTicket O∑ce Assistants . . . . .Kendra Ramthun,

Brianne Whitcraft, Alexandrea Kouame, Max Wirsing, Leah Mathes

The following volunteers contribute their time and talent in support of key activities of The Minnesota Opera.

Catherine AhernAnn AlbertsonGerald BensonJim Brownback*Sue BrownbackSarah BurmanChristine BussJerry CassidyDiane ChoihJoann CierniakSusan CoggerCaroline CoopersmithBeverly Dailey*Denis DaileyJeanette DaunTimothy DavisLee DrawertJudith DuncanSally EconomonSvea ForsbergChristopher FosterHazel FrancoisLi-Jun FuJane FullerJoan Gacki*Alex Garay

Christine A. Garner*Juhi Gupta-GulatiMark GustinMary E. HagenMark HahnLucinda HalletMerle J. HansonJohn Harris*Cari Beth HeadAnne HesselrothHeather HuberAlisandra JohnsonKaren JohnsonNancy JohnsonSteve JohnsonJeannie JohnstonKristen JohnstonRobin KeckDawn KlassenShannon KloneckiEleanore KolarLucinda LamontShirley LarsonMathilda LienJerry LillquistJoyce Lillquist

Maura LoMonicoAbby MarierMargery MartinJoan MasuckYasuko MatsumotoMary McDiarmid*Beth McGuireVerne MelbergJeanette MiddletonIrma MonsonBarbara MooreDoug MyhraDenise NicholsPam NielsenDavid NifoussiCandyce OsterkampDan PanshinPat PanshinMegan PelkaHolly PetersonBill PhillipsSydney PhillipsJulia PorterCarol PurvisKathleen RileyShannon Robinson

Leigh RoethkeJohn RosseEmma RotilieEnrique RotsteinJohn SauerLynette SaucierMichael SilhavyWendy SilhavyAngie SolomonWendi SottNaomi St. GregoryKaren St. JohnKatie SteermanHarry SwepstonDave TerwilligerEmily ThompsonDoris UngerStacey VonderhearCarolyn WahteraMary WeitzBarbara Willis*Elizabeth Cutter WilsonKathie WojtkiewiczEve Yang

*Lead volunteer

TOGMC

We’re glad you’rehere to see TheMarriage of Figaro.Many of you maybe new to theOpera, and I’d liketo give you a special welcome!

Whether this is your first time at theOpera or your hundredth, we inviteyou to subscribe to the exciting 2007-2008 season Dale describes above. It’snot as hard as you might think …

In a recent survey, we learned fromnewcomers to opera that it is per-ceived as expensive. So we loweredmany of our prices, and now offer a$20 ticket. We also learned that newcomers wish we had more optionsfor subscription packages, so we creat-ed them – we now offer 3- and 4-opera packages. We learned thateveryone values flexibility, so we lib-eralized our exchange policies for sub-scribers. We hope we have removedany barriers you had to subscribing,

and if we have not, we hope you let usknow what barriers remain.

A national study by OPERA Americaindicates that people come to theopera most often when invited byothers. If you enjoy your experiencetoday at the Opera, please introduceus to your friends and invite them tojoin you next season as a subscriber.

I’d also like to extend a special welcome and thank you to all of our Opera at the Ordway contribu-tors (listed on page 24 of this pro-gram). This campaign, designed totransform the company through newproductions, expanded educationprograms and an expanded season, isnear completion, thanks to theirgenerous support.

Enjoy the performance.

Kevin Smith,President and CEO

Welcome totoday’s perform-ance of TheMarriage of Figaro!The genius ofMozart is morethan evident in the clever plot,

unforgettable characters and delight-ful comedy. It’s no wonder that itremains a hit more than 200 yearsafter its premiere, and there’s no better way to end a terrific opera season than on this high note.

You will only need to wait a fewshort months for the 2007-2008opera season, which begins onSeptember 22 with the company premiere of Verdi’s A Masked Ball.The rest of the lineup of world-classopera experiences includes Rossini’smadcap comedy The Italian Girl in

Algiers, our Bel Canto offering; the world’s most famous love story,Romeo and Juliet, sensuously composed by Gounod; the American premiere of The Fortunes of KingCroesus, a 297-year-old GermanBaroque masterpiece by a contempo-rary of Handel and our first stagingin 20 years of Rusalka, which is theLittle Mermaid story (without theDisney ending) by Dvorak, the composer of the New WorldSymphony. You won’t want to missany of them, so please visit our kioskin the lobby and purchase your season tickets today! Thank you forbeing here today, and I hope youenjoy The Marriage of Figaro.

Dale Johnson, Artistic Director

NOTES FROM THE Leadership

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BOARD OF DirectorsFROM THE Artistic Director

FROM THE President

OfficersJ. A. Blanchard III, Chair

Jane M. Confer, Vice ChairRuth S. Huss, Secretary

Denver Gilliand, TreasurerKevin Smith, President & CEO

Directors

Directors EmeritiKaren BachmanBurton Cohen

Julia W. DaytonMary W. Vaughan

Honorary DirectorsDominick Argento

Philip BrunelleElizabeth CloseDolly Fiterman

Charles C. FullmerNorton M. Hintz

Liz KochirasPatricia H. Sheppard

Legal CounselJames A. Rubenstein, Moss & Barnett

Martha Goldberg AronsonSusan S. BorenKathleen CallahanNicky B. CarpenterRichard P. CarrollRachelle D. ChaseSusan J. CrockettMary A. DearingSara DonaldsonChip EmeryThomas FoleySteve FoxSharon HawkinsKaren L. HimleHeinz F. HutterPhilip Isaacson

Lucy Rosenberry JonesMichael F. Kelly, Jr.B. John LindahlLynne E. LooneyDiana E. MurphyBrian E. PalmerDebra PatersonJose PerisMary Ingebrand PohladStephanie J. PremElizabeth RedleafConnie RemeleStephanie SimonMitchell StoverVirginia StringerH. Bernt von Ohlen

You are Invited to a Grand Evening of Fun– an Exclusive After-Hours Playdate forGrandparents and Grandchildren.Complimentary valet parking, dinner, special activities,

and live entertainment.

Minnesota Children’s MuseumSaturday, May 19, 6:00-8:30 p.m.

Presented by RBC Dain Rauscher

Tickets:

$25/Grandparents, $10/Grandchildren

For information or reservations,

call 651.225.6039.

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ordway.org

AT ORDWAY CENTER

MAY Thurs, May 17, 8pm; Fri, May 18, 8pm; Sat, May 19, 8pmThe Saint Paul Chamber Orchestrapresents Joshua Bell and Carnival of the AnimalsJoshua Bell, director & violin Stephen Prutsman, pianoLayton James, pianoRuggero Allifranchini, narrator

Sat, May 19, 10:30amThe Saint Paul Chamber Orchestrapresents Family Concert Series:Joshua Bell and Carnival of the Animals

Fri, May 25, 10:30am, 8pm; Sat, May 26, 8pmThe Saint Paul Chamber Orchestrapresents Joshua Bell Plays Bruch Violin ConcertoJoshua Bell, director & violin Kathryn Greenbank, oboe

JUNE Sat, June 2 – Sun, June 3Ordway Center presentsFlint Hills International Children’s FestivalBringing the best international performing artists to our youngest audience members and their families.Ordway Center for the Performing Arts, Rice Park, & Landmark Plaza

JULY/AUGUSTJuly 10 - 15Ordway Center presents CHICAGO(performance times vary) It’s Broadway’s most popular musical! The razzle-dazzle tale of sin and celebrity is back by popular demand.

July 24 – Aug. 12Ordway Center presents Monty Python’s Spamalot(performance times vary) Winner of the 2005 Tony Award® for Best Musical, Monty Python’s Spamalot is the outrageous musical comedy lovingly ripped off from the film classic “Monty Python and The Holy Grail”

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The Marriage of Figaro is a production of Houston Grand Opera Association.

Le nozze di Figaro by Wolfgang Amadeus Mozart; edited for the New MozartEdition (Neue Mozart-Ausgabe) by Ludwig Finscher; by arrangement with

Bärenreiter, publisher and copyright owner.

English captions by Jonathan Dean © Seattle Opera 1997

The appearances of Christina Pier, grand finals winner, Alison Bates, Erin Wall andAndrew Wilkowske, regional finalists; and Kyle Albertson, Jamie-Rose Guarrine,

Jeffrey Madison, Nili Riemer, district finalists of the Metropolitan Opera NationalCouncil Auditions, are made possible through a Minnesota Opera Endowment Fund

established for Artist Enhancement by Barbara White Bemis.

Performances of The Marriage of Figaro are being taped for delayed broadcast onMinnesota Public Radio, KSJN 99.5 in the Twin Cities.

The 2006–2007 Season Preview Recording is madepossible, in part, with the assistance of Universal Music,featuring The Marriage of Figaro on its London/Decca label(catalogue no. 2lh3410150 conducted by Sir Georg Solti).

The Minnesota Opera season is sponsored by FAF Advisors and U.S. Bank.

The appearances of the 2006–2007 season conductors are underwritten by SpencerStuart.

Opera Insights is sponsored by Thrivent Financial for Lutherans Foundation.

Camerata Dinners and Meet the Artist Program sponsored by Lowry Hill Private Wealth Management.

City of St. Paul’s Cultural Start Program is the sponsor of the Subscription Initiative.

W hen we last left the mischievous dealings of The Barber of Seville, Count Almaviva had stolenRosina from the clutches of Dr. Bartolo with the

aid of the town jack-of-all-trades, Figaro. In the secondinstallment of Beaumarchais’ trilogy, three years havepassed, the setting has been moved out of town toAlmaviva’s castle of Aguas Frescas, the character list hasexpanded (with some conveniently re-employed asservants to the Count’shousehold) and the content ofthe drama has becomemore politically

BACKGROUND Notesby David Sander

The Marriage of Figaro is sponsored by

Music by Wolfgang Amadeus Mozart

Libretto by Lorenzo da PonteBased on Pierre-Augustin Caron de Beaumarchais’

La folle journée, ou Le mariage de Figaro (1784)

World premiere at the Burgtheater, ViennaMay 1, 1786

May 5, 6, 8, 9, 10, 11, 12 and 13, 2007Ordway Center for the Performing Arts

Sung in Italian with English translations

Conductor ..................................................Robert WoodStage Director ..........................................Kevin NewburyProduction................................................Göran JärvefeltSet and Costume Designer ....................Carl Friedrich OberleLighting Designer ......................................Marcus DilliardWig Master and Makeup..................Tom Watson & AssociatesAssistant Director............................................Bill MurrayContinuo ..................................Robert Wood, Jim JacobsonProduction Stage Manager ........................Alexander FarinoEnglish Captions ........................................Jonathan Dean

THE CASTFigaro, valet to Count Almaviva........................Denis Sedov*

......................................................Andrew Wilkowske**

Susanna, maid to Countess Almaviva..........Christine Brandes*

....................................................Jamie-Rose Guarrine**

Count Almaviva ......................................Carlos Archuleta*

............................................................Kelly Markgraf**

Countess Almaviva ............................................Erin Wall*

..............................................................Christina Pier**

Cherubino, page to Count Almaviva ............Lauren McNeese*

............................................................Cortez Mitchell**

Bartolo, a doctor from Seville ........................Kyle AlbertsonMarcellina, the housekeeper ......................Andrea ColemanDon Basilio, a music teacher ..............................Hugo VeraDon Curzio, a local magistrate ......................Robert SchmidtAntonio, a gardener, uncle to Susanna ..........Jeffrey MadisonBarbarina, daughter of Antonio ..........................Nili RiemerTwo peasant girls ..............Katherine Haugen, Michelle Hayes

Villagers, peasants, servants

Setting: Aguas Frescas near Seville during the 18th century* performs May 5, 8, 10, 12** performs May 6, 9, 11, 13

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volatile. In fact, at first Beaumarchais was prevented fromstaging his original play La folle journée, ou Le mariage deFigaro in France by King Louis XVI himself, whoprophetically extolled: “We should have to destroy theBastille if a performance of this play was not to be adangerous blunder. This man mocks everything that mustbe respected in a government.”

But Beaumarchais was not a man to be put down andhad a few favors to call in, not the least of which was owedto him by the French government – his role as armssupplier to the American Revolution and the subsequentembarrassment of England was the only triumph theFrench king was to experience during his accursed reign.Folding under the pressure of influential court players(including the king’s own brother, the Count of Artois),Louis relented. Le mariage de Figaro premiered in 1784 andwas an unprecedented success – for the first time in thehistory of French drama, a play actually made its author asizable profit. Both the Empress of Russia and the Britishgovernment begged for the play to be produced in theirrespective countries, but in Austria, Joseph II (whose sisterMarie-Antoinette just happened to be the French queen atthe time) forbade any performances of the play, although heallowed it to be printed. This put a serious kink inimpresario (and soon to be Mozart-collaborator) EmanuelSchikaneder’s plans to produce the play in German atVienna’s Kärntnertortheater.

That edict could hardly frustrate a young upstart likeMozart. With the German singspiel The Abduction from theSeraglio firmly behind him, and the emperor’s Germanopera troupe officially disbanded, the composer was lookingto make a name for himself in Italian opera. Several falsestarts in the confectionary Viennese vein yielded theincomplete L’oca del Cairo and Lo sposo deluso. Afterconsidering “hundreds” of similarly tried-and-truescenarios, he and librettist Lorenzo da Ponte were drawn toBeaumarchais’ play in part because of the notorietyassociated with it. Mozart also was hoping to ride thecoattails of a recent operatic adaptation of the first drama inthe Figaro series, Il barbiere di Siviglia, by Giovanni Paisiello(Rossini’s more famous opera by the same title came manyyears later in 1816). Premiering in St. Petersburg in 1782,Paisiello’s Barber reached Vienna the following year and wasa triumph. Mozart was certain he could achieve the samelevel of success with a sequel.

Getting around thecensors took a bit offinessing and da Ponteclaims they prepared theopera in secret, to beshown to Joseph in itscompleted state, and whenthe moment of unveilingcame, he managed to convince the emperor that the moreserious political affronts and sharp-tongued satire had beenexpunged from the libretto. In fact, Figaro’s tirade against“the system,” which occurs in Act V of the play, was

transformed into a rage about the unfaithfulness of womenin his Act IV aria “Aprite un po’ quelgl’ occhi,” a subjectwhich would appeal to Joseph’s overall misogynistcharacter. Another aspect of the libretto toned down for theemperor was its inherent feminist nature. In the play,Bartholo is more reluctant to wed Marceline once theydiscover Figaro’s true identity, and she rejects a proposal ofmarriage proffered by Don Bazile. She emerges frominvisible spinsterhood to become an emancipated woman,proclaiming her independence from men in another heatedmonologue. In the opera, her spirited persona isdownplayed to a mere dispenser of motherly advice (thoughshe’s given an opportunity to speak her mind in an Act IVaria – sadly it is usually cut in performance). For his part,Mozart’s attraction to the play was not the politics, but itscomplex plot and comic situations, which he felt could bedone justice with his music. That argument being made,the Count’s philandering antics were overlooked by theimperial authorities. It is also believed Figaro secretly servedas propaganda for Joseph’s private politics – in his eyesnobles should be held to the same moral standards as thecommon people.

Still, the condensation of Beaumarchais’ five-act playinto a still sizeable opera was an arduous task. Severalcharacters were removed, others were given new names, anda number of scenes were shifted or deleted. Eighteenth-century custom required each character to have at least onearia, several had two, and the action was fleshed out induets, trios and finales. As da Ponte noted, “In spite ofevery effort, and of all the diligence and care taken by thecomposer and by myself to be brief, the opera will not beone of the shortest to have appeared on our stage.” Theresulting four-act format was new to audiences accustomedto a two- or three-act comedy, and the complex plot had abit more bite than the usual fluff akin to Viennese operabuffa. Its reception was mixed, and the opera initiallyreceived only nine performances. The heightenedexpectations of the public may have sealed the new work’sdemise – their excitement over the musical adaptation of ascandalous play must have dissipated once they discoveredmuch of the objectionable material had been removed.

Another part of the problem was due to prejudice andcircumstance. Mozart, as a Germanic composer, wasconsidered an outsider in an industry dominated and definedby Italian musicians. Besides Paisiello (whose Il re Teodorofollowed in 1784, as well as continued revivals of Barber),Giuseppe Sarti’s Fra i due litiganti il terzo gode gainedheadway in Vienna as did Vincente Martín y Soler’s hugelypopular Una cosa rara (though born in Spain, Martín isgenerally considered of the Italian school by training andstyle). And, of course, there was the city’s composer-in-residence, Antonio Salieri, whose powerful position ensuredhis operas were frequently staged. Adding to the generalintrigue and jealousy of Mozart’s natural talent was thepopularity of these aforementioned composers’ works,eclipsing many of the major achievements of the latter.Opera, in those days, was a tough business. ➤

BACKGROUND NOTES CONTINUED ON PAGE 12

BACKGROUND Notes

As long as I don’t print anythingregarding government, religion,ethics, the ruling class or people ofinfluence, opera, theater, or aboutanyone connected with anything, I canpublish whatever I want subject to theapproval of one or two censors.– Figaro, Le mariage de Figaro, V.iii

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BACKGROUND Notes

Interestingly, the Prague premiere of The Marriage ofFigaro was greeted with wild enthusiasm, according to thecomposer’s letter of January 15, 1787. Mozart was haileda genius, and not surprisingly, chose Prague for thepremiere of his next opera, Don Giovanni, later that year.When Don Giovanni made it to Vienna one year later, ittoo had a modest run, but Figaro was revived in 1789 andgenerated a far more prestigious 29 performances. Sinceits release to opera houses around the world, The Marriageof Figaro has enjoyed the noble distinction of being thefirst opera that has always been in repertory (though itwas not Mozart’s most popular opera until the 20th

century; Don Giovanni’s supernatural elements had greaterappeal to the 19th-century Romantics).

Beaumarchais and Figaro

T he diverse career of Pierre-Augustin Caron deBeaumarchais (1732–1799) went far beyond that ofthe average playwright, a factotum-like existence that

has led many to conclude he is the source of his owncharacter Figaro. One commentator has gone as far to suggestthe very name is a conflation of fils (“son” in French, but inthose days pronounced “fi” without the aspirated “s”) and“Caron.” Beaumarchais indeed followed Caron père, at first inthe family watchmaking tradition, and his first notableaccomplishment brought him to the attention of the kinghimself – a tiny escapement that vastly improved on theaccuracy of time (an invention from which we benefit to thisday). To his good fortune, Beaumarchais was also musical,and in addition to making watches for the king, heinstructed the royal daughters on the finer points of the harp.

Louis XV must have seen potential in the youngBeaumarchais (who obtained his noble name by

marrying a penniless widow). He was sent to Spain tonegotiate a deal with Charles III over the leasehold ofLouisiana (which had passed into Spain’s hands as a resultof the War of the Spanish Succession). Beaumarchais wasunsuccessful in his pursuit but still became the darlingof Madrid. It was his first exposure to Spain, later thesetting of his first two Figaro plays.

The budding playwright produced two early works(Eugénie in 1767 and Les deux amis in 1770), but thingswere about to go sour. As the result of some questionablebusiness transactions, he found himself accused offorgery, and in the process of bungling a bribe to thecourt magistrate (a customary practice of the day),Beaumarchais received a sentence just short of the deathpenalty. The intervention of influential friends saved himfrom long-term imprisonment but not from the loss ofhis civil rights. The bitter experience empowered him towrite his most enduring works, Le barbier de Séville(1775) and the more politically subversive Le mariage deFigaro (completed in 1778).

During his legal troubles, the royal household remainedstrangely aloof. But with the ascension of a new monarch,Louis XVI, Beaumarchais found himself once again in itsemploy. He was directed to covertly suppress severalslanderous pamphlets about to be published concerningthe royal family and was sent to England, the Netherlandsand Austria. Successful in these endeavors, Beaumarchaiswas further engaged to provide covert assistance to theNew World in its efforts toward American independence.

Handsomely compensated by both the French andAmerican governments, Beaumarchais underwrote severalinteresting entrepreneurial escapades including hot-airballoons (a marvel in France at the time) and a canalsystem that supplied water to Parisian homes. He also

BACKGROUND NOTES CONTINUED FROM PAGE 11

C hild wonder, virtuosoperformer and prolific creativeartist, Mozart is the first

composer whose operas have neverbeen out of repertory. His prodigioustalents were apparent very early in hislife; by the age of four he couldreproduce on the keyboard a melodyplayed to him, at five he could playthe violin with perfect intonation andat six he composed his first minuet.

Wolfgang’s father, Leopold,immediately saw the potential of hisson’s talents, and embarked on aseries of concert tours showing off thechild’s extraordinary gifts. As Mozartgrew older, his concert tours turnedinto a search for permanentemployment, but this provedexceedingly difficult for a Germanmusician in a market dominated byItalian composers. Although many ofhis early operas were commissionedby Milanese and Munich nobles, hecould not rise beyond Konzertmeister ofthe Salzburg archbishopric. With theappointment of a new archbishop,Mozart found the Salzburg musicalscene even more stifling.

Things came to a head in 1781immediately following the successfulpremiere of Mozart’s first maturework, Idomeneo. After several heateddiscussions, the composer wasrelieved of his Salzburg duties. InVienna, completely on his own for thefirst time, Mozart embarked onseveral happy years. He marriedConstanze Weber and premiered anew work, The Abduction from theSeraglio, at the Burgtheater. A smallcommission came his way from theemperor for a one-act comedy, TheImpresario, but his first truemasterpiece for the Imperial courtwas The Marriage of Figaro, premieredin 1786. His next opera, DonGiovanni, premiered in Prague in1787 to great acclaim, but its Viennapremiere in 1788 was coolly received.Joseph II commissioned anotheropera, Così fan tutte, which wasunveiled on January 26, 1790, but

the emperor was too ill to attend theopening and died soon after.

Crisis hit in 1791. Constanze’smedical treatments at Baden and thebirth of a second child pushed theirfinances to a critical point.Composition of The Magic Flute beganthat summer but had to be haltedwhen two generous commissionscame his way: a requiem for ananonymous patron and an opera seriato celebrate the new emperor’scoronation as King of Bohemia. La clemenza di Tito premieredSeptember 6, and The Magic Flute wascompleted in time to open September30. The Requiem, however, remainedunfinished, and as Mozart’s healthbegan to fail, the composer feared hewas writing his own death mass. InDecember Mozart died at the age of35 and was given a simple funeral byhis impoverished widow, then buriedin an unmarked grave on theoutskirts of Vienna.

BACKGROUND NOTES CONTINUED ON PAGE 18

WOLFGANG AMADEUS Mozartb Salzburg, January 27, 1756; d Vienna, December 5, 1791

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“Wolfgang Amadeus Mozart at the Piano” (1789)Joseph Lange (1751-1831)

Photo credit : Alinari / Art Resource, NY

Photo courtesy of Houston Grand Opera

dabbled in opera, engaging AntonioSalieri to set his libretto for Tarare(1787) to music. A final installmentto the Figaro series, La mère coupable(1792), failed to achieve the tenor orsuccess of its two predecessors (itwas finally set to music in the 20th

century by Darius Milhaud).Following the French Revolution,Beaumarchais’ role in the ancienrégime was scrutinized by the newgovernment. In 1794, while he wasabroad, his family was placed underarrest and he himself was designateda criminal émigré. He spent hisfinal years clearing his name.

The Figaro plays are indebted notonly to Beaumarchais’ eclecticlifetime activities but also to the richtheatrical traditions of commediadell’arte. Of Italian origin, commediadell’arte evolved during the 16th

century from improvisatory scenesplayed at county fairs andmarketplaces into a somewhatcodified art form involving stockcharacters with predictable behaviorand costume. The use of masks(derived in part from the custom ofmore frequent commedia dell’arteperformances during Carnival)further obscures the identity of theactual person and reinforces thecharacter “type.” First brought to ➤

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ACT I

An unfinished room Figaro is measuringthe floor, while Susanna puts thefinishing touches on her bridal attire.They are to be married that very day,and as a wedding gift, Count Almavivais giving them a bed and a new roomto share. Figaro observes the room’sstrategic location to both the Countand Countess’s apartments, but whenSusanna realizes this now will be theirlodgings, she is apprehensive. It is alittle too convenient for the Count,who has made it clear through DonBasilio his romantic intentions towardher. Figaro counters that the masterhas relinquished the antiquated droit duseigneur, but Susanna discloses hisoffering of a handsome dowry if shesubmits. Susanna leaves to answer theCountess’s page, and Figaro angrilyplans to teach the Count a lesson.

Elsewhere, Marcellina enlists thehelp of her former employer, Dr.Bartolo. She intends to frustrate thewedding day by executing a contractmade between her and Figaro – he hasfailed to repay a debt, and thereforemust marry her (in spite of the greatdifference in their ages). She hopes tofrighten Susanna into rejecting theCount’s advances, thereby using hisirritation to her benefit. Bartoloheartily agrees to the plan, for he hashis own score to settle – three years agohis marriage plans to Rosina (now theCountess) were upset by Figaro, thatmeddling barber of Seville.

Marcellina encounters Susanna, andthey exchange courteously veiledsniping remarks. Marcellina exits in afury, and in comes the page boy,Cherubino. He is distraught – theCount caught him in Barbarina’s roomand now he is to be dismissed. Nomore will he behold his true love, theCountess. About to leave the room heeyes the Count approaching and hidesbehind an armchair. The Countimmediately begins to press hisadvances on Susanna. Basilio is seennearby, and the Count, not wanting tobe compromised, takes cover behindthe armchair. Cherubino slips into thechair, and Susanna cleverly conceals

him. Entering the room, Basilio beginsto make slanderous innuendoes aboutCherubino’s love escapades,implicating Susanna and even theCountess. This draws the Count out ofhiding. He angrily orders the page befound at once but soon discoversCherubino is already in the room andhas heard every word, including hisromantic overtures to Susanna.

Figaro enters with staff andpeasants. They offer a chorus of thanksto the Count for renouncing theabhorrent droit du seigneur with a cleverreminder that Figaro and Susanna arethe first wedded couple to benefit fromthe repeal. Susanna and Figaro make afurther entreaty – Cherubino must bepardoned for his amorous indiscretionsso he may join the wedding festivities.But the Count does more than that,offering the young man an honorableposition in his regiment. His departurewill be immediate. Figaro bids a comicfarewell, detailing the great gloriesCherubino is about to face.

ACT II

A bedroom In her boudoir, the Countesslaments the loss of her husband’saffection. Susanna attends to her ladyand confesses the Count’s illicitproposition. Figaro enters and tellsthem the Count is taking upMarcellina’s cause in the disputedcontract. He hopes to confuse thesituation by inflaming the Count’sjealousy – he has sent an anonymous

letter, via Basilio, informing his masterof a future assignation between theCountess and an unnamed lover. At thesame time, Susanna is to let the Countknow she is willing to submit to hiswishes in the garden. But when theCount arrives, he will find in her placeCherubino disguised as a woman.

Figaro departs, and Cherubino arrivesmoments later. As a parting gesture,Susanna instructs him to sing a song hewrote in honor of the Countess. Whilesizing him up for the charade to beperformed that evening, the Countessnotices his commission, hastilyunsealed. As they prepare Cherubino’sdisguise, Susanna leaves for a momentand a knock is heard. It is the Count,and the mortified Cherubino scurriesinto the Countess’s wardrobe. Onceallowed entry, the Count is immediatelysuspicious – the door was locked (italmost never is), and he heard voices. Heshows his wife the letter, but theconfrontation is interrupted by a loudnoise coming from the closet. TheCountess says it’s Susanna in a state ofundress and orders her to be silent – theCountess’ integrity is in question, andshe refuses to dignify these accusationsby opening the closet. The Count leavesto get some tools and takes the Countesswith him, locking all the doors so noone can escape.

Having quietly slipped into theroom, Susanna has secretly observed theentire situation. She takes Cherubino’splace, and left with no other option ofescape, Cherubino jumps out the

Synopsis

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window. The Count and Countessreturn – she now prepares her husbandfor what he might find inside and begsfor his understanding, but whenSusanna emerges instead of Cherubino,both are dumfounded. Figaro arrivespresently, and once the issue of the letteris settled (merely a joke to tease theCount), he announces the hour hasarrived for the wedding ceremony. TheCount tarries – Marcellina is due toarrive any minute to present her claim.Instead, Antonio the gardener comes in,fussing over flowers damaged by afalling man. Again suspicions are raised,but the three conspirators allude to theold man’s habitual drunkenness, andFigaro admits it was he who jumped toescape the Count’s wrath – he had beenin the adjoining room waiting forSusanna. Antonio produces a documentdropped by the escapee; the Count grabsit and demands Figaro to tell him whatit is. The Countess whispers to Susanna– it is the page’s military commission –and Susanna in turn whispers to Figaro.Figaro suddenly remembers and addsthat he was bringing it to the Countbecause it lacked the official seal.Marcellina, Bartolo and Basilio belatedlyarrive and make their case – Figaro isobligated to marry Marcellina if he can’tpay off the debt.

– INTERMISSION –

ACT III

A state room prepared for a wedding feastThe Count reviews the complex events

of the day and eyes Susanna and theCountess discussing details of theircovert plan. Confronting Susanna alone,he insists Marcellina shall marry Figaro.Susanna retorts that the debt will berepaid by the dowry promised by heremployer. The Count denies makingany such promise, but Susanna coylyreveals that her protests have beenfeigned – she is willing to meet theCount in the garden as he desires (theCountess having persuaded her to doso). She encounters Figaro as she leavesthe room and whispers that there is nolonger need for a lawyer. The Countoverhears this remark and is enraged.

Barbarina masks Cherubino inwoman’s clothes to conceal hissupposed departure. Alone, theCountess rues the humiliation shesuffers as the result of her unfaithfulhusband and recalls happier days.

Don Curzio’s judgment enforces theterms of the contract – Figaro will haveto marry Marcellina. Figaro argues hecannot marry without the consent ofhis noble parents, whose birthright wasindicated by the jewels and linensthieves found nearby when he waskidnapped as a small child. Marcellinaand Bartolo recognize a distinguishingmark on his arm and realize that Figarois their long-lost son.

Susanna enters, and seeing Figaroembrace Marcellina, momentarilybecomes jealous. When all is explained,Bartolo decides to do the right thingand announces there will be a doublewedding ceremony. Marcellina

discharges the debt as a weddingpresent to the young couple.

Antonio informs the Count ofCherubino’s sighting on the premisesdressed as a young girl. The Countessdictates a letter to Susanna confirmingthe clandestine meeting with theCount and seals the note with a pin. Itis agreed they will exchange cloaks sothe Countess, disguised as Susanna, cancatch her husband red-handed.

Peasant girls (Cherubino amongthem) present flowers to the Countess.Antonio arrives and exposes the page’sdeception to the Count. Barbarinaintercedes as the Count is about torelease his wrath – he once promised todo anything she asked in exchange forher kisses. She begs for permission tomarry Cherubino. Figaro invites all todance as the wedding ceremony begins.As the couples prepare for thefandango, Susanna slips the letter intothe Count’s hand.

ACT IV

The garden Barbarina searches for thelost pin she was entrusted to return toSusanna as confirmation of therendezvous. Figaro happens upon thescene and pretends to play along;privately he discloses to Marcellina hisdespair over what he believes to beSusanna’s infidelity. His motheradvises him not to be rash, and afterhe leaves, she goes to warn Susanna,whom she believes to be innocent.

Susanna and the Countess wait inthe darkness. Marcellina has cluedthem in, and knowing Figaro can hearher voice, Susanna sings of her happyanticipation of a lovers’ tryst. Lookingfor Barbarina, Cherubino happensupon the Countess, and thinking it isSusanna, makes his approach. TheCount arrives, and the game ofmistaken identities ensues. Figaro andSusanna are eventually reconciled, andthe Count, who has had a chance towoo “Susanna” (the Countess), iscaught when he threatens to exposethe unknown man (Figaro) he believesis seducing “the Countess” (Susanna).All is forgiven as the day of folly drawsto a close.

Synopsis

Photo courtesy of Housten Grand Opera

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THE Artists For more biographical information about these artists,visit our website at www.mnopera.org

Kyle AlbertsonBartolo

Minnesota Opera Resident ArtistRecently

Lakmé; Tales of Hoffmann; La donna del lago, Minn. OperaIl matrimonio segreto, Merola Opera Program

Nixon in China; A Midsummer Night’s Dream; Le nozze di Figaro; Finding Yolanda, Chicago Opera Theater

Giasone; The Cunning Little Vixen; Rigoletto, Aspen Opera Theater Center

UpcomingUn ballo in maschera, The Minnesota Opera

Carmen, Aspen Music Festival

Andrea ColemanMarcellinaMinnesota Opera Resident ArtistRecentlyThe Tales of Hoffmann; Lakmé, The Minnesota OperaGlimmerglass Opera Young American ArtistCosì fan tutte; Little Women; Cendrillon; The Turn of the

Screw; The Magic Flute, New England ConservatoryThe Gondoliers, Harvard-Radcliffe G & S PlayersThe Magic Flute; The Mikado; The Pirates of Penzance,

University of KansasUpcomingL’italiana in Algeri, The Minnesota Opera

Kelly MarkgrafCount Almaviva

Minnesota Opera Resident ArtistRecently

Tales of Hoffmann; Grapes of Wrath; Lakmé, Minn. OperaStreet Scene, Opera Theatre of St. Louis

Carmen; Barbiere; Madama Butterfly, Pensacola OperaDie Fledermaus, Rimrock Opera

Così fan tutte; The Memory Game; The Village Singer,Univ. of Cincinnati – College Conservatory of Music

Des Moines Metro Opera Apprentice ArtistUpcoming

Roméo et Juliette, The Minnesota Opera

Jamie-Rose GuarrineSusanna

Minnesota Opera Resident ArtistRecently

San Francisco Opera Merola ProgramThe Elephant Man; Don Giovanni, The Minnesota Opera

Paul Bunyan; Face on the Barroom Floor; Madame Butterfly, Central City OperaHansel and Gretel, Opera for the Young

Carmen, Madison Opera; Dr. Miracle, Florentine OperaUpcoming

Croesus, The Minnesota OperaHotel Casablanca, San Francisco Opera Merola Program

Jeffrey MadisonAntonioMinnesota Opera DebutRecentlyTosca, Fargo-Moorhead OperaIolanthe, North Star OperaLa donna del lago; Joseph Merrick dit Elephant Man;

Tosca (ensemble), The Minnesota OperaStreet Scene; Le nozze di Figaro; Don Giovanni; Gianni

Schicchi; Albert Herring, University of MinnesotaUpcomingWerther; Carmen, Chautauqua Opera

Nili RiemerBarbarina

Minnesota Opera Resident ArtistRecently

Lakmé; The Tales of Hoffmann, The Minnesota OperaSuor Angelica; Le nozze di Figaro, Chautauqua Opera

Die Zauberflöte; Lucia di Lammermoor; The Medium; Hansel and Gretel; La fille du régiment, Tri-Cities Opera

The Tales of Hoffmann, Des Moines Metro OperaL’enfant et les sortilèges, Lowell House Opera

The Impresario, International Vocal Arts Institute (Israel)Upcoming

Un ballo in maschera, Minnesota Opera

Cortez MitchellCherubino

Minnesota Opera Resident ArtistRecently

Bach Cantata #147; Herz und Mund und Tat und Leben,Dayton Philharmonic

Done Made My Vow; The Ordering of Moses, AfricanPortraits, Baltimore Symphony Orchestra

Monteverdi Vespers, Philharmonia Chamber OrchestraRachmaninov Vespers, St. Petersburg

All Rise, Lincoln Jazz Ensemble; Paris OrchestraUpcoming

Chanticleer 2007–2008 season

Christina PierCountess AlmavivaMinnesota Opera DebutRecentlyBeethoven Symphony No. 9, St. Paul Chamber OrchestraIphigénie en Tauride; Così fan tutte (cover),

Lyric Opera of ChicagoDon Giovanni, Santa Fe OperaCarmen; The Magic Flute; La traviata; Szulamit,

Florida Grand OperaUpcomingCarmen, Princeton Festival

Lauren McNeeseCherubinoMinnesota Opera DebutDon Giovanni, 2006RecentlyDon Carlo; Manon, Los Angeles Opera; Le Comte Ory, Wolf TrapCosì fan tutte; Die Zauberflöte; The Cunning Little Vixen;

The Ring Cycle; others, Lyric Opera of ChicagoUpcomingRoméo et Juliette, Michigan Opera TheatreDon Giovanni; Jenufa; Der Zwerg; Der Zerbrochene Krug,

Los Angeles OperaIl barbiere di Siviglia, PORTOpera

Christine BrandesSusanna

Minnesota Opera DebutRecently

Giulio Cesare, Seattle OperaHänsel und Gretel; L’incoronazione di Poppea,

Los Angeles OperaThe Turn of the Screw, Lyric Opera of Kansas City

Le nozze di Figaro, Opera Company of PhiladelphiaL'incoronazione di Poppea, Central City Opera

UpcomingThe Saint of Bleecker Street, Central City Opera

A View from the Bridge, Washington National Opera

Robert SchmidtDon CurzioMinnesota Opera DebutCinderella (tour), 1997RecentlyGrapes of Wrath; Lakmé; Carmina burana; Tosca (1998);

Transatlantic; Aida (roles); La Cenerentola; Otello; Macbeth;Semiramide; Le nozze di Figaro; Turandot; I Capuleti ed i Montecchi; Il barbiere di Siviglia; La clemenza di Tito; La bohème; Don Carlos; Norma; Flying Dutchman; Handmaid’s Tale; Rigoletto; Passion; Madame Butterfly;Carmen; Nixon in China; Don Giovanni; Orazi, ElephantMan; Tales of Hoffmann (ensemble), Minnesota Opera

Carlos ArchuletaCount AlmavivaMinnesota Opera DebutLucia di Lammermoor, 2001RecentlyCarmen, Tulsa Opera; Madame Butterfly, Boston Lyric OperaLe nozze di Figaro, New Orleans OperaElisir; Luisa Fernanda; Il trovatore, Washington OperaNixon in China; The Magic Flute; others, Minnesota OperaLa fanciulla del West; The Magic Flute, Utah OperaUpcomingCarmen, New York City OperaCroesus, The Minnesota Opera

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Wells Fargo

THE ArtistsFor more biographical information about these artists,visit our website at www.mnopera.org

Hugo VeraDon BasilioMinnesota Opera Resident ArtistRecentlyThe Tales of Hoffmann, The Minnesota OperaIl trovatore; Tosca; The Gondoliers; La traviata, Opera NorthThe Magic Flute, Wichita Grand OperaOf Mice and Men; A Midsummer Night’s Dream; Roméo et

Juliette; Salome, Lyric Opera of Kansas CityRenard; L’heure espagnole; Tanglewood Music FestivalThe Glass Blowers, New York City OperaUpcomingCarmen, Aspen Music Festival

Erin WallCountess Almaviva

Minnesota Opera DebutDon Giovanni, 2006

RecentlyCosì fan tutte, Theater an der Wien

Opéra National de Paris; Aix-en-Provence Fest.Così fan tutte; Die Zauberflöte; Don Giovanni; Faust,

Lyric Opera of ChicagoDido and Aeneas, Théâtre du Châtelet; Faust, Vancouver Opera

UpcomingDaphne, Santa Fe Opera; Don Giovanni, Washington OperaCold Sassy Tree, Atlanta Opera; La traviata, Arizona Opera

Andrew WilkowskeFigaroMinnesota Opera DebutTransatlantic, 1998RecentlyRichard Tucker Gala, Avery Fisher HallMadame Butterfly; Tosca, Los Angeles OperaHansel and Gretel, Skylight Opera TheatreThe Grapes of Wrath; Nixon in China; others, Minn. OperaUpcomingDona Nobis Pacem; Requiem da Camera, Ashville Choral SocietyDie Zauberflöte; Madame Butterfly, Eugene OperaL’italiana in Algeri, The Minnesota Opera

Marcus DilliardLighting Designer

Minnesota Opera DebutTurandot, 1995

RecentlyDon Juan Giovanni; Figaro; Tartuffe; The Miser, Jeune Lune

Songs of Innocence and Experience, VocalEssenceHandel and Gretel; Minnesota Orchestra;

Susannah, Theater Latté Da; Wellstone!, The History TheaterUpcoming

Private Lives, Guthrie Theater; The Deception, La Jolla PlayhouseAwards

2005 Ivey Award; 2006 and 1998 McKnight Fellowships

Denis SedovFigaro

Minnesota Opera DebutSemiramide, 2000

RecentlyDon Giovanni, Teatro Real di Santiago

Mazeppa; Don Giovanni (tour), Metropolitan OperaIl viaggio a Reims, Théâtre de la Monnaie (Brussels)

Ariodante, Gran Teatre del Liceu (Barcelona)Upcoming

Faust, Cincinnati Opera; I puritani, Seattle OperaLa bohème (recording), Atlanta Symphony

Les pêcheurs de perles, Washington Opera

Bill MurrayAssistant DirectorMinnesota Opera Resident ArtistRecentlyRigoletto; Carmen (roles); La donna del lago; Elephant

Man; Orazi; others (ensemble), Minnesota OperaAriadne auf Naxos; The Merry Wives of Windsor,

University of Minnesota Opera TheatreLe nozze di Figaro, La Musica Lyrica2002 La Musica Lirica Festival (Urbania, Italy)1998 Tanglewood Music FestivalUpcomingUn ballo in maschera; Roméo et Juliette (ad), Minn. Opera

THE Artists For more biographical information about these artists,visit our website at www.mnopera.org

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France by Catherine de’ Medici during the reign of her son,Charles IX, commedia dell’arte underwent a revival in 18th-century France. The characters in the Figaro plays arederived from these stock characters: the prima donna inlove (Isabella – Rosine (the Countess); her smart andvirtuous maid, who is also a confidante (Columbina –Suzanne); the crafty valet, left as a foundling but thinks heis the son of a noble (Arlecchino – Figaro); the enamoredyoung man in pursuit of the prima donna (Lindoro, theCount’s assumed name in The Barber of Seville, and in alustful, younger incarnation of himself, Chérubin); thedoddering, stingy older man in search of a young bride (Il dottore – Dr. Bartholo as he was in Barber); the slander-wielding, shifty go-between (Brighella/Scapino – DonBasile); the gossipy old maid (La Vecchia – Marceline).Even Don Gusman’s stammering can be found in thetradition of the stuttering Tartaglia. Equally important isthe pace of the action. The slapstick comedy of charactershiding behind chairs and inside closets, jumping outwindows and receiving blows meant for others are alldescended from the commedia dell’arte, present inBeaumarchais’ play and accentuated in this production.

Le mariage de Figaro was originally cast in five acts(Beaumarchais originally had intended to produce an opera),which da Ponte cut to four by reducing several scenes andcombining Acts III and IV. A large section of the play’scentral act involves processing Marceline’s contract – bydevoting so much time to this detail, the playwrightsatisfies a personal vendetta. Beaumarchais’ judge, DonGusman Brid’oison (Don Curzio in the opera) bearsresemblance to a certain Judge Goëzman, who caused theauthor’s ruin and imprisonment. The playful stutter adds afurther gibe as does the inclusion of the greedy-fingered clerk“Double-Main,” who is all too ready to process any bribe.

Other deletions include Bazile’s unsuccessful courting ofMarceline, Antonio’s disgust over his niece marryingbeneath her station and a vaguely Oedipal scene duringwhich the Countess showing more than polite interest inher godson Chérubin’s advances (in fact, she eventuallysubmits – by the time of the third installment of thetrilogy, La mère coupable, they have begotten an illegitimatechild). In fact, the Countess is by far the one character whogoes through the greatest transformation from play to

opera. Her plight is given more depth and intensity offeeling – indeed she is the one serious character in theentire drama who endures many sacrifices to win back thelove of her husband. Her two solo arias yield solemnmoments of great introspection amidst the scurry, vivacityand comedy of the otherwise “crazy day.”

The character of Figarochanges as well. In Lebarbier de Séville, his quicksolutions and sense ofadventure solve many aproblem with relativeease, but by Le mariage deFigaro his answers are notas readily available (asevidenced by the secondact finale), and he mustbe aided by his nimble-minded fiancée, Susanna,who soon becomes thereal brains of the operation (it is, after all, her and theCountess’ plan that ultimately brings success). Also, byMariage, Figaro is demeaned in his new position ashousehold servant and has acquired a bit more attitude, attimes sassy, even insolent to his boss, Count Almaviva, in aconstant battle of wits and surprises. Figaro’s growingbitterness reflects Beaumarchais’ own issues with royal ➤

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Kevin NewburyStage Director

Minnesota Opera DebutNixon in China, 2005

RecentlyThe Magic Flute, Opera Colorado

Nixon in China, Portland Opera; Chicago Opera TheaterCandy and Dorothy, NYC; Cape Cod; Kiss and Cry, NYC

Il viaggio a Reims, New York City OperaUpcoming

The Magic Flute, Houston Grand OperaNixon in China, Cincinnati Opera; The Second Tosca, NYC

Santa Fe Opera Apprentice Scenes

Robert WoodConductorMinnesota Opera DebutLa donna del lago, 2006RecentlyThe Nutcracker, San Francisco BalletLe Comte Ory, Wolf Trap Opera CompanyL’italiana in Algeri; La traviata, San Francisco OperaTosca; Faust; Manon; Carmen; L’elisir d’amore;

Rigoletto; La bohème, Opera San JoséUpcomingL’italiana in Algeri, Vancouver OperaThe Magic Flute, Wolf Trap Opera Company

BACKGROUND NOTES CONTINUED FROM PAGE 13

“Harlequin and Colombina”. Edgar Degas (1834-1917) Photo credit : Nimatallah / Art Resource, NY

No, Monsieur Count, you will not haveher ... you will not have her ... Justbecause you are a powerful lord, youbelieve yourself to possess great genius!... Nobility, fortune, rank, situation; allthat makes you proud. What have youdone to earn such rewards? You weresimply born to it, and nothing more!Otherwise you are an ordinary man!While me, zounds! lost in obscurityamong the populace, it’s been necessaryto deploy more cunning and calculationto subsist on my own, more than it'staken to rule Spain for the last 100years; and you want to match wits ...– Figaro, Le mariage de Figaro, V.iii