2009-2010 - New Orleans Opera

Tosca
– by Giacomo Puccini
Student Performance - October 7, 2009 • 7:00 PM
October 9, 2009 • 8:00 PM & October 11, 2009 • 2:30 PM
New Orleans
Opera Association
Robert Lyall, General &
Artistic Director
1010 Common Street • Suite 1820
New Orleans, LA 70112
(504) 529-2278 • FAX 529-7668
1-800-881-4459
www.neworleansopera.org
The Plácido Domingo Stage
at The Mahalia Jackson Theater
for the Performing Arts
Student Preview Performances
and Student Study Guides
Sponsored by
Joe W. and
Dorothy Dorsett
Brown Foundation
The Selley Foundation
This Student Study Guide is
Published by the New Orleans
Opera Association.
Carol Rausch, Education Director
Edited & Compiled by John Fink
Designed by Arlene D. Brayard
Romeo and Juliet
The Verdi Requiem The Flying Dutchman
November 20, 2009 • 8:00 PM
November 22 2009 • 2:30 PM
January 22, 2010 • 8:00 PM
January 24, 2010 • 2:30 PM
March 19, 2010 • 8:00 PM
March 21 2010 • 2:30 PM
Student Performance
November 18, 2009 • 7:00 PM
Student Performance
January 20, 2010 • 7:00 PM
Student Performance
March 17, 2010 • 7:00 PM
FINE ARTS
MUSIC AND
COLLEGE OF
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Office Staff
General and Artistic Manager
Robert Lyall
Executive Director
Alyona Ushe
Director of Production
Micah Fortson
Chorus Master, Music Administration
and Education Director
Carol Rausch
Director of Marketing
and Public Relations
Janet Wilson
Business Manager
Gina Klein
Box Office Manager
Assistant Box Office Manager
Devin Ernest
Technical Director
G. Alan Rusnak
Opera Guild Volunteer
Dr. Carolyn Clawson
John Fink
Development Manager
Jenny Windstrup
Anthony
Anthony DeCuir
DeCuir
new orleans opera association
present
Tosca
THE CAST
Floria Tosca . . . . . . . . . . . . Mary Elizabeth Williams
Soprano
Mario Cavaradossi . . . . . . . . . . Antonello Palombi
Tenor
Baron Scarpia, . . . . . . . . . . . . . . . . . . . Mark Rucker
Baritone
Sacristan . . . . . . . . . . . . . . . . . . . . . . Michael Wanko
Baritone
Cesare Angelotti. . . . . . . . . . . . . . . Kenneth Weber
Bass
Spoletta . . . . . . . . . . . . . . . . . . . . . . . . . John Giraud
Tenor
Sciarrone . . . . . . . . . . . . . . . . . . . . . . Joseph Quigley
Bass
A Jailer . . . . . . . . . . . . . . . . . . . . . . Richard Stanford
Bass
A Shepherd Boy, . . . . . . . . . . Madeleine Bourgeois
Soprano
Composed by Giacomo Puccini
Conductor . . . . . . . . . . . . . . . . . . . . . . . . . Robert Lyall
Libretto by Luigi Illica & Giuseppe Giacosa
World premiere, January 14, 1900,
Teatro Costanzi, Rome
Performed in Italian with projected
English translation
Director . . . . . . . . . . . . . . . . . . . . . . . . . . . Jay Jackson
Chorus Master. . . . . . . . . . . . . . . . . . . . . Carol Rausch
Stage Manager . . . . . . . . . . . . . . . . . . . Brynn Baudier
1st Asst. Stage Mgr.. . . . . . . . . . . . Francesca DeRenzi
2nd Asst. Stage Mgr.. . . . . . . . . . . . . . Christina Babin
Lighting Designer . . . . . . . . . . . . . . . . . . . . Neil Ingles
Scenic Designer. . . . . . . . . . . . . . . . . . . . . David Gano
Costumer . . . . . . . . . . . . . . . . . . . . . . . Charlotte Lang
Props. . . . . . . . . . . . . . . . . . . . . . . . . Jonathan Ullman
Wigs/Makeup . . . . . . . . . . . . . Don and Linda Guillot
Piazza Farnese Fountain
Music Preparation. . . . . . . . . . . . . . . . . . . Janna Ernst
Sant’ Andrea della Valle
Tosca
The Plot of
Scarpia, chief of the secret police, in search of
Angelotti. When Tosca comes back to her lover,
Scarpia shows her a fan with the Attavanti crest,
which he has just found. Thinking that Mario is
faithless, Tosca tearfully vows vengeance and
leaves as the church fills with worshipers.
Scarpia, sending his men to follow her to
Angelotti, schemes to get the diva in his power
(“Va, Tosca!”).
ACT II.
Cesare Angelotti, an escaped political prisoner,
rushes into the church of Sant’ Andrea della
Valle to hide in the Attavanti chapel. As he
vanishes, an old Sacristan shuffles in, praying at
the sound of the Angelus. Mario Cavaradossi
enters to work on his portrait of Mary
Magdalene - inspired by the Marchesa Attavanti
(Angelotti’s sister), whom he has seen but does
not know. Taking out a miniature of the singer
Floria Tosca, he compares her raven beauty with
that of the blonde Magdalene (“Recondita
armonia“). The Sacristan grumbles disapproval
and leaves. Angelotti ventures out and is
recognized by his friend and fellow patriot
Mario, who gives him food and hurries him back
into the chapel as Tosca is heard calling outside.
Forever suspicious, she jealously questions him,
then prays, and reminds him of their rendezvous
that evening at his villa (“Non la sospiri la nostra
casetta?”). Suddenly recognizing the Marchesa
Attavanti in the painting, she explodes with
renewed suspicions, but he reassures her (“Qual’
occhio al mondo”). When she has gone, Mario
summons Angelotti from the chapel; a cannon
signals that the police have discovered the
escape, so the two flee to Mario’s villa.
Meanwhile, the Sacristan returns with choirboys
who are to sing in a Te Deum that day. Their
excitement is silenced by the entrance of Baron
Farnese Palace Hall
ACT I.
In the Farnese Palace, Scarpia anticipates the
sadistic pleasure of bending Tosca to his will
(“Ha più forte sapore”). The spy Spoletta arrives,
not having found Angelotti; to placate the
baron he brings in Mario, who is interrogated
while Tosca is heard singing a cantata at a royal
gala downstairs. She enters just as her lover is
being taken to an adjoining room: his arrogant
silence is to be broken under torture. Unnerved
by Scarpia’s questioning and the sound of
Mario’s screams, she reveals Angelotti’s hiding
place. Mario is carried in; realizing what has
happened, he turns on Tosca, but the officer
Sciarrone rushes in to announce that Napoleon
has won the Battle of Marengo, a defeat for
Scarpia’s side. Mario shouts his defiance of
tyranny (“Vittoria!”) and is dragged to prison.
ACT III.
Castel Sant’Angelo
The voice of a shepherd boy is heard as church
bells toll the dawn. Mario awaits execution at
the Castel Sant’Angelo; he bribes the jailer to
convey a farewell note to Tosca. Writing it,
overcome with memories of love, he gives way
Farnese Palace Galleria
Scarpia, resuming his supper, suggests that Tosca
yield herself to him in exchange for her lover’s
life. Fighting off his embraces, she protests her
fate to God, having dedicated her life to art and
love (“Vissi d’arte”). Scarpia again insists, but
Spoletta interrupts: faced with capture,
Angelotti has killed himself. Tosca, forced to give
in or lose her lover, agrees to Scarpia’s
proposition. The baron pretends to order a mock
execution for the prisoner, after which he is to
be freed and Spoletta leaves. No sooner has
Scarpia written a safe-conduct for the lovers
than Tosca snatches a knife from the table and
kills him. Wrenching the document from his
stiffening fingers and placing candles at his head
and a crucifix on his chest, she slips from the
room.
to despair (“E lucevan le stelle”). Suddenly Tosca
runs in, filled with the story of her recent
adventures. Mario caresses the hands that
committed murder for his sake (“O dolci mani”),
and the two hail their future. As the firing squad
appears, the diva coaches Mario on how to fake
his death convincingly; the soldiers fire and
depart. Tosca urges Mario to hurry, but when he
fails to move, she discovers that Scarpia’s
treachery has transcended the grave: the bullets
were real. When Spoletta rushes in to arrest
Tosca for Scarpia’s murder, she cries to Scarpia to
meet her before God, then leaps to her death.
The Composer Giacomo Antonio Domenico
Michele Secondo Maria
PUCCINI
Dec. 22, 1858 — Nov. 29, 1924
Puccini was born Lucca,
Italy on December 22,
1858 and died in
Brussels on November
29, 1924.
He studied music with
his uncle, Fortunato
Magi, and with the
director of the Instituto
Musicale Pacini, Carlo
Angeloni. He started
his career at the age of
14 as an organist at St.
Martino and St.
Michele in Lucca, and at other local churches.
However, after attending a performance of
Verdi‘s Aida at Pisa in 1876, which made such an
impact on him, he decided to follow his instinct
for operatic composition. Obtaining a
scholarship and with financial support from an
uncle, he was able to enter the Milan
Conservatory in 1880, where he studied with
Bazzini and Ponchielli.
While still a student, Puccini entered a
competition for a one-act opera announced in
1882 by the publishing firm of Sonzogno. He
and his librettist, Ferdinando Fontana, failed to
win, but their opera Le villi came to the
attention of the publisher Giulio Ricordi, who
arranged a successful production of it at the
Teatro del Verme in Milan and commissioned a
second opera. Fontana’s libretto, Edgar, was
unsuited to Puccini’s dramatic talent and the
opera was coolly received at La Scala in April
1889. It did, however, set the seal on what was
to be Puccini’s lifelong association with the
house of Ricordi.
The first opera for which Puccini himself chose
the subject was Manon Lescaut. Produced at
Turin in 1893, it achieved great success and gave
him world-wide recognition. Among the writers
who worked on its libretto were Luigi Illica and
Giuseppe Giacosa, who provided the librettos
for Puccini’s next three operas. The first of
these, La Bohème, is widely considered Puccini’s
masterpiece, but with its mixture of
lighthearted and sentimental scenes and its
largely conversational style, was not a success
when produced at Turin in 1896. Tosca, Puccini’s
first excursion into verismo, was more
enthusiastically received by the Roman audience
at the Teatro Costanzi in 1900.
Later that year Puccini visited London and saw
David Belasco’s one-act play Madam Butterfly.
This he took as the basis for his next
collaboration with Illica and Giacosa; he
considered it the best and technically most
advanced opera he had written. He was
unprepared for the fiasco attending its first
performance in February 1904, when the La
Scala audience was urged into hostility, even
pandemonium, by the composer’s jealous rivals;
in a revised version it was given to great acclaim
at Brescia the following May. Puccini was
married to Elvira Gemignani, the widow of a
Lucca merchant, who had borne him a son in
1896. Until 1921, the family lived in the house at
Torre del Lago which Puccini had acquired in
1891. Scandal was unleashed in 1909 when a
servant girl of the Puccinis, whom Elvira had
accused of an intimate relationship with her
husband, committed suicide. A court case
established the girl’s innocence, but the publicity
affected Puccini deeply and was the main reason
for the long period before his next opera.
La Fanciulla del West, based on another
Belasco drama, was given its premiere at
the Metropolitan Opera, New York, in
December 1910.
Differences with Tito Ricordi, head of the firm
since 1912, led Puccini to accept a commission
for an operetta from the directors of the Vienna
Karltheater. The result, La Rondine, was warmly
received at Monte Carlo in 1917. While working
on it, Puccini began the composition of the
dramatic Il Tabarro, the first of three one-act
operas collectively known as Il Trittico. The
other two operas in the set are Suor Angelica
and a comedy, Gianni Schicchi.
In his early 60s Puccini was determined to strike
out on new paths and started work on
Turandot, based on a Gozzi play which satisfied
his desire for a subject with a fantastic, fairy-tale
atmosphere, but flesh-and-blood characters.
During its composition he moved to Viareggio
and in 1923 developed cancer of the throat.
Treatment at a Brussels clinic seemed successful,
but his heart could not stand the strain and he
died, leaving Turandot unfinished. It was
completed by Franco Alfano. All Italy went into
mourning and two years later his remains were
interred at his house at Torre del Lago which
was turned into a museum after his wife’s death
in 1930.
Puccini’s choral, orchestral and instrumental
works, dating mainly from his early years, are
seldom performed, though the Mass in A-flat
(1880) is still performed occasionally. His operas
may not engage us on as many different levels
as do those of other major composers, but on
his own most characteristic level, where passion,
sensuality, tenderness, pathos and despair meet
and fuse, he was an unrivalled master. His
melodic gift and harmonic sensibility, his
consummate skill in orchestration and unerring
sense of theatre combined to create a style that
was wholly original, homogeneous and
compelling. He was fully aware of his limitations
and rarely ventured beyond them. He represents
Verdi’s only true successor, and his greatest
masterpiece, Turandot, belongs among the last
20th-century stage works to remain in the
regular repertory of the world’s opera houses.
The facade of the Palazzo Farnese, a product
of the minds of Sangallo and Michelangelo
working for Pope Paul III (Alessandro
Farnese, 1468 - 1534 - 1549 (81)) is as close to
perfection as makes no difference. Inside,
the famous Galleria frescoed by Annibal
Carracci in the years 1597 - 1608 (the setting
for the Second Act of Puccini’s opera “Tosca”
where Floria, after a lot of singing, kills the
nasty Scarpia after he had let slip “Tosca,
you made me forget god” as he made her a
proposition which turned out to be
dramatically unsuccessful.
Tosca’s popularity, its realism, and its highvoltage finale provide the perfect background
for a tradition of (in)famous accidents. There are
plenty of anecdotes about the theatre: but
where Tosca is concerned they become mythical.
From the front-page headlines in Italian
newspapers: “Cavaradossi has been shot!”... At
the Macerata summer festival in 1995, the tenor
(Fabio Armiliato) was shot in the 3rd act - as
usual. But this time when Tosca (Raina
Kabaivanska) rushed to him she heard a
whisper: “Call an ambulance!...”, and then she
fainted at the sight of his blood. Because of a
blank charged with too much powder, the plug
had pierced Cavaradossi’s boot and hurt his leg.
It is possible that the guns were overcharged
because at the same festival some years before,
the guns did not go off, possibly because there
was not enough power in the rounds. The
headlines on that occurrence read: “Cavaradossi
dies from heart attack”
However, that was not the only problem
incurred by the now wounded tenor - 5 days
later, going on stage at the beginning of act 2,
his crutch slipped, causing a double fracture of
the other leg!!
An even more realistic execution supposedly
took place in the first years of Tosca‘s stage
history: in the title role was Lina Cavalieri,
known as the “world’s most beautiful woman”
and known also for her courage and boldness:
actually she did not faint when Cavaradossi was
really shot to death in error!
Anecdotes
Tosca
Tosca’s finale seems to be prone also to less
lethal accidents. The tales are legendaryl, and
you can hear them told of many theatres and
productions. The most popular is the bouncing
Tosca: Tosca, as usual jumps, from the walls of
Castel Sant’Angelo. But the stage workers had
improved her safety by replacing the mattress
with a trampoline, so that Tosca appeared 2 or 3
times from behind the wall.
Another famous incident was when the stage
director was giving last-minute instructions to
the supers hired as soldiers. Due to the small
budget there had been no stage rehearsal, and
he gave them the usual instruction of “exit with
the principals”. So when Tosca leapt from the
parapet, seeing no other principals left on stage,
they all did just as they were told and dutifully
jumped after her, giving a Shakespearean
greatness to the final tragedy.
Even the great Callas was not immune to
mishaps: During the 2nd act she came too near
the candles burning on Scarpia’s desk, her wig
ignited and Scarpia (Tito Gobbi) immediately
improvised a raptor-like motion: he jumped on
Tosca, embraced her and extinguished the
flames. Tosca rejected him with disgust, but
then whispered him a, “Thank you, Tito”... just
before killing him.
And lastly,
Placido Domingo’s headlong fall while rushing
down from the scaffolding during Act 1 of the
broadcast of “Tosca live at the real times &
places”: he smashed into the bottom of the
fence of the real Cappella Attavanti, giving a
definite hint of realism to the broadcast.
Vocabulary
Sacristan
A sacristan is a church officer who is charged with the care of
the sacristy, the church, and their contents. In ancient times
many duties of the sacristan were performed by the
doorkeepers. Nowadays, the sacristan is usually elected or
appointed by the head of the church. Other responsibilities
might include duties in regard to the sacristy, the Blessed
Eucharist, the baptismal font, the holy oils, the sacred relics, the
decoration of the church for the different seasons and feasts,
the preparation of what is necessary for the various ceremonies,
the ringing of the church bells, the preservation of order in the
church, and the distribution of Masses.
Te Deum
The Te Deum (also known as Te Deum Laudamus, Ambrosian
Hymn or A Song of the Church) is an Early Christian hymn of
praise. The hymn remains in regular use in the Roman Catholic
Church in the Office of Readings found in the Liturgy of the
Hours, and in thanksgiving to God for a special blessing (eg. the
election of a pope, the consecration of a bishop, the
canonization of a saint, the profession of a religious, the
publication of a treaty of peace, a royal coronation, etc) either
after Mass or Divine Office or as a separate religious ceremony.
The hymn also remains in use in the Anglican Communion and
some Lutheran Churches in similar settings.
Prima Donna
Originally used in opera companies, “prima donna“ is Italian for
“first lady”. The term was used to designate the leading female
singer in the opera company, the person to whom the prime
roles would be given. The prima donna was normally, but not
necessarily, a soprano. The corresponding term for the male
lead (almost always a tenor) is “primo uomo“.
Legendarily, these “prima donnas” (prime donne- ital. plural)
were often regarded as egotistical, unreasonable and irritable,
with a rather high opinion of themselves not shared by others.
Although whether they are truly more vain or more hottempered than other singers (or than any other people in the
opera houses) is not substantiated, the term often describes a
vain, obnoxious and temperamental person who, although
irritating, cannot be done without.
Famous prima donnas have often caused opera enthusiasts to
divide into opposing “clubs” supporting one singer over
another. The rivalry between the respective fans of Maria Callas
and Renata Tebaldi, for example, was one of the most famous
of all opera, despite the friendship of the two singers. In recent
times the term prima donna has almost become a synonym of
diva and is used to designate popular female opera singers,
especially sopranos.
Castel
Sant’Angelo
The Castel Sant’Angelo is an imposing building on the right bank of the Tiber river. It has had a
turrbulent history, even by Rome’s standards. During its many years of existence, the building
functioned first as a mausoleum, then became part of the city wall and later was turned into a
fortress before it functioned as a papal residence and finally as a barracks and military prison. It
is currently a national museum.
Recordings of Tosca
Tosca - Puccini
Maria Callas, Giuseppe di Stefano,
Tito Gobbi
Chorus & Orchestra of La Scala, Milan
Tosca - Puccini
Leontyne Price, Placido Domingo,
Sherrill Milnes
New Philharmonia Orchestra,
Zubin Mehta, cond.
Tosca - Puccini
Renata Tebaldi, Giuseppe Di Stefano,
Tito Gobbi
La Scala Theater Orchestra
& Chorus, Gavazzani, cond.
Etiquette And Outfits
Minding your P’s & Q’s
Every baseball fan knows what to do during the seventh-inning stretch. Likewise, every opera fan knows to honor
certain longstanding traditions. Here are a few to keep in mind:
Don’t be Late!
Unlike a movie theater, New Orleans Opera does not allow latecomers to take their seats after the performance
has begun. (Those who miss the curtain can still take in the show—live—on television monitors in the lobby.
Latecomers will be able to take their seats at a suitable interval—usually intermission.) When cued to go back into
the hall at the end of intermission, please do not delay. Contracts require us to adhere to a strict performance
time and a late entry will disturb your fellow patrons, cast and orchestra.
Be a Quiet Audience Member!
The talents of New Orleans’ Opera singers and musicians are presented without amplification. There is no Dolby™
Stereo in the Mahalia Jackson Theater, and some of the most dramatic moments in opera are the quietest. Please
don’t create noisy disruptions such as talking, rustling programs, or fiddling with candy wrappers.
Show Appreciation Appropriately!
Enthusiastic displays of appreciation are always welcome after a well-executed aria. If you’re not exactly sure when
to react, just follow the crowd. Feel free to shout “Bravo!”
What to Wear
Once patronized mainly by royalty, opera today is enjoyed by people from all walks of life. In modern day New
Orleans, you’ll see opera-goers wearing everything from ball gowns to Birkenstocks. Feel free to dress up for a
special night out, dress down for comfort, or find your own happy medium. When it comes to the opera, almost
anything but the most casual wear is considered appropriate.
Additional Reminders
• Please unwrap all cough drops and candies before the curtain rises.
• Please use moderation in applying perfume, cologne, or scented lotion; many people are highly allergic to
perfumes.
• Avoid hats that might obstruct the view of the person seated behind you. Also please leave jewelry that may
make noise (for example: bangles) at home.
• Please, no babes in arms in the theater.
• Many operas contain adult themes. Before bringing children, it is best to make sure that the material is
appropriate for their age or maturity level. Our box office staff can help you make this determination.
• If bringing children, instruct them in proper audience behavior. It is also helpful to familiarize them with the
story and the score so that they know what to expect.
• Please turn off all beepers, cell phones, and watch alarms before entering the theater.
• No food or drink is allowed in the theater seating area, both to preserve the condition of the theater and to
spare other patrons the noise and distraction.
• The Overture is part of the performance. Please refrain from talking at this point.
• Please also refrain from talking, humming, singing, or beating time to the music during the performance.
• Avoid kicking the back of the seat in front of you; this is very annoying, even if it is done in time to the music.
Also, watch your children to prevent their doing the same.
• We realize that traffic both in and out of the theater can be congested following a performance; still, it is
distracting to other patrons to leave while the show is still in progress. Thank you for your consideration. (If
you’d rather not sit in traffic, consider taking part in the free pre-performance “Nuts and Bolts” session one
hour prior to the performance on floor M-2.)
Home of the
New Orleans Opera Association
Robert Lyall, General & Artistic Director
MetroPelican Opera
Hansel and Gretel
Opera A La Carte
A Celebration in Song
MetroPelican Opera in-school performances
can be booked through Young Audiences
by calling (504) 523-3525. For more information
on scheduling please contact the New Orleans
Opera Director of Education at 529-2278, ext.222
or email crausch@neworleansopera.org.
(504) 529-2278 • FAX 529-7668 • 1-800-881-4459 • www.neworleansopera.org
619 N. Tyler Street • Covington, LA 70433
985.893.9522
.com
Fax: 985.893.2679
1.866.801.0022
Serving Both
Northshore and Southshore
the magic of performance