 |
 |
Performed at the Clinton Street Opera Center. |
|
 |
| |
Opera Previews
Discover the story behind the music. The Opera Preview is a fun-filled tour through the plot as Maestro Duane Skrabalak offers his insightfully witty commentary, while members of the cast sing selections from the opera. Doors open at 7 PM for a cocktail hour and the opportunity to purchase wine, hors d’oeuvres and desserts.
The performance starts at 8 PM.
Seating is cabaret-style at the Clinton Street Opera Center.
Call the TCO box office, (607) 772-0400 for tickets.
Adults - $12
Seniors (60 and over)/Guild Members - $9
Students - $6
Children (12 and under) - $4
Tri-Cities Opera Clinton Street Series
(In addition to our 2007-2008 Subscription Season)
Adults - $17
Seniors (60 and over)/Subscribers/Guild Members - $15
Students - $12
Children (12 and under) - $10
Group rates also available - Call the Box Office for information.
Beauty and the Beast
by Vittorio Giannini
Performed at the Clinton Street Opera Center.
Written in 1951 by American composer Vittorio Giannini, Beauty and the Beast is a retelling of the classic fairy tale. A prince is changed into a beast by an enchantress because she saw no love in his arrogant heart. The only way to break the spell is to love another and earn her love in return. Beauty, the daughter of an inventor, takes the place of her father who was imprisoned in the beast’s castle. Beauty and the beast learn true love and respect from each other, and break the evil spell. The production features the talents of our resident artists and is conducted by Maestro Duane Skrabalak.
Spring Medley
Information and performance dates available soon.
For more information contact:
Dave Cottrell, Box Office Manager, 607-772-0400
e-mail: boxoffice@tricitiesopera.com
Opera Synopsis—
Don Giovanni
Spain, 17th Century
Act I
Scene 1: Leporello, Don Giovanni’s servant, waits outside for his master, who is attempting to seduce the Commendatore’s daughter, Donna Anna. Suddenly Giovanni rushes out concealing his face from Donna Anna, who returns to the palace when her father appears in response to her cries for help. In a duel, the Commendatore is killed by Don Giovanni, who then flees with Leporello. Anna returns with her fiancé, Don Ottavio, finds the body of her father and, together with Ottavio, swears vengeance on the unknown murderer.
Scene 2: Giovanni and Leporello observe a beautiful, distraught noblewoman, who turns out to be Donna Elvira, one of Don Giovanni’s most recent conquests, whom he abandoned. She berates him, but he slips off, leaving Leporello to explain that Giovanni is a compulsive philanderer.
Scene 3: Zerlina and Masetto, a young peasant couple, happily celebrate their wedding. Giovanni and Leporello enter and the Don is immediately attracted to Zerlina. Giovanni first has Leporello take Masetto and the other peasants away, and then attempts to seduce the girl, but is thwarted by Donna Elvira, who leads Zerlina away. Donna Anna and Don Ottavio arrive as a furious Elvira reenters only to be hurried off by Giovanni. It is too late, however; Anna has recognized him as her seducer and she and Ottavio once again vow to avenge her father’s murder.
Scene 4: Giovanni and Leporello prepare for a gala evening – a grand party and ball. As the guests enter, Zerlina tries to persuade Masetto that she cares nothing for Giovanni. Anna, Elvira and Ottavio enter, masked, and are also invited by Leporello, who is unaware for their identities. They ask for the blessing and the protection of Heaven.
Scene 5: As his guests congregate, Giovanni lures Zerlina into a corridor and tries to once again seduce her. She cries out for help and Giovanni tries to blame Leporello. The three maskers reveal their identities, but Giovanni disarms Ottavio and escapes amid the resulting confusion.
Act II
Scene 1: Elvira pines over her betrayal by Don Giovanni before returning home. Leporello enters vowing to leave Giovanni, but the Don laughs off his objects and successfully bribes him with money. As Elvira appears on her balcony, Giovanni, whose latest would-be conquest is Elvira’s maid, forces Leporello to impersonate him, exchanging cloaks and hats. Leporello (disguised as Giovanni) then charms a once again infatuated Elvira and they go off together as Giovanni serenades the maid. Masetto and a group of peasants enter, searching for Giovanni, but the Don (still disguised as Leporello) sends the peasants’ off in various directions, beats Masetto, and runs away. Zerlina comes in and comforts her bruised lover.
Scene 2: Elvira enters with Leporello, who tries to sneak ways in the darkness. He is stopped by Anna, Ottavio, Zerlina and Masetto who, mistaking him for Giovanni, threaten him with death. Leporello unmasks and slips away amid the confusion. Anna rushes off and Ottavio once again sings of his love for her.
Scene 3: Leporello and Giovanni, having escaped their pursuers, meet close to the memorial of the slain Commendatore. Suddenly the statue speaks. Leporello gibbers with terror, but Giovanni merely laughs and invites the statue to dine with him that evening. The statue agrees.
Scene 4: Donna Anna refutes Ottavio’s contention that she keeps cruelly putting off their wedding and reassures him of her love, vowing that they will be married once the murderer of her father is brought to justice.
Scene 5: Giovanni dines in splendor. Suddenly Elvira enters, begging Giovanni once again to reform and marry her. He laughs at her and she rushes off. A scream is heard and when Leporello investigates, he too shouts – the statue of the Commendatore has indeed arrived for dinner. The statue also bids Giovanni to repent, but he steadfastly refuses. The statue takes his hand and drags him to Hell. Elvira, Anna, Ottavio, Zerlina, and Masetto enter in search of Giovanni and are informed by Leporello of what has happened. The all proclaim the moral: “As one has lived, so shall he die.”
Opera Synopsis—
Carmen
ACT I – Outside the Factory
In a square in Seville, soldiers and townspeople relax in the summer sun. Micaela comes in looking for her sweetheart, Corporal Don José. Moralès, an officer, tells her José will be there later and she leaves. As the guard changes, children parade around, imitating the soldiers whose number now includes José. The noon bell rings and the girls from the cigarette factory come out to smoke and chat. The gypsy Carmen flirts, explaining her philosophy of life: love is a wild bird that cannot be tamed. José sits apart, distracted. Carmen is drawn by his indifference and tosses him a flower as the work bell summons the girls back to the factory. Micaela returns to give José news of his mother. As she leaves a disturbance is heard in the factory. Carmen is involved in a fight, and the girls run out, arguing over who started it. Captain Zuniga orders that José arrest Carmen, but she resists their questions with brazen nonchalance. Her wrists bound, she sings “to herself” about Lillas Pastia’s inn and the rendezvous she might arrange with José. Falling under her spell, he loosens her bonds. The crowd roars with delight as she escapes; José is arrested.
ACT II – Lillas Pastia’s Tavern
Two months later, at Pastia’s inn, Carmen regales the customers with a gypsy song and exerts her charms on the matador Escamillo, who boasts of his exploits in the arena. When the inn closes, Carmen tells Frasquita, Mercedes, Dancairo and Remendado that love for José keeps her from joining their next smuggling escapade. They laugh at her, then hide as José approaches. Carmen sings and dances for him, but a distant bugle sounds, summoning the soldiers back to their barracks. This angers her, but José calms her by showing her the flower she threw, telling what it meant to him in prison. She invites him to join her wild mountain life, but he refuses. Zuniga breaks in looking for Carmen, provoking a jealous attack by José. He now has no choice but to desert the army and join the gypsy band.
ACT III – In the mountains
In their mountain hideout the smugglers congratulate themselves on their success, but José is unhappy. Carmen tires of his homesickness and busies herself with her friends, reading fortunes in the cards. Frasquita foresees an ardent lover in her future, Mercedes a wealthy husband, Carmen only death. The gypsies leave and Micaela enters, searching for José. She hears a shot fired and hides. It was José firing a warning at Escamillo who had come looking for Carmen. The two start to fight, but are separated by the gypsies. Escamillo invites them to his next bullfight and leaves. Remendado brings in Micaela, who begs José to return home to his dying mother. Wanting to be free of José, Carmen urges him to go. José consents, but vows to find her after he has seen his mother.
ACT IV – Outside the Arena
A crowd gathers for the bullfight in the Plaza de Toros. Carmen enters with Escamillo, assuring him of her love. She waits in the square, though her friends warn her that José has been seen prowling around, looking desperate. Carmen, a fatalist, knows that she must face José. He begs her to come back to him, but she refuses, tossing his ring at him as the crowd cheers Escamillo. As Carmne tries to run past José into the arena, he stabs her, then falls in despair over her body.
Opera Synopsis—
The Barber of Seville
Seville, 18th Century
ACT I: A courtyard, shortly before dawn
Count Almaviva arrives with a hired band of musicians to serenade Rosina, the ward of Dr. Bartolo, from beneath her balcony, hoping got have a glimpse of her and to talk privately. This is very difficult, for Bartolo guards her very carefully, intending to marry her himself and thus collect her inheritance. After an unsuccessful attempt to draw her outside, he is interrupted by Figaro, the village barber and factotum, who is on his way to his shop and his seemingly endless duties. The two are old friends, and Figaro is quickly enlisted, with the promise of generous payment, to help the Count in his attempts to secure Rosina’s affections. The Count is posing as the poor student Lindoro to ensure that Rosina will love him for himself, not for his wealth and high born station. The two make hasty and elaborate plans to gain entrance to the house using various disguises, and how to thwart Bartolo’s own matrimonial agenda.
ACT II: The interior of Dr. Bartolo’s home, later that same morning
Rosina has heard the serenade offered up to her earlier and vows that she will belong to her “Lindoro.” Figaro arrives and tries to convey the Count’s intentions, but they are both interrupted by the entrance of Bartolo and then Basilio, the elderly doctor’s old friend, singing master, and all around town gossip. The two debate plans on how to best deal with the news that Count Almaviva has arrived in Seville. Basilio suggests slander and subterfuge, but Bartolo decides to draw up his marriage contract that very day. When they retire to the study, Figaro, who has overheard their conversation, tells Rosina about her guardian’s plans, and “Lindoro’s” devotion to her. The two are now allies and co-conspirators. Later, when Bartolo accuses Rosina of having sent secret letters out of the house, she manages to parry every accusation, but Bartolo is unconvinced and more suspicious than ever. A drunken soldier arrives, presenting billeting orders for Bartolo’s house. He is, of course, the Count in disguise, and the ruckus that ensues attracts first Figaro, and then the entire police force who have been summoned to quiet the disturbance. When the officer tries to arrest the Count, Almaviva reveals his identity to him and the officer immediately salutes. Everyone is dumbfounded, and the act concludes with and ensemble of total confusion.
ACT III: Later that same day, and that evening
Unsuccessful in his first attempt to see Rosina privately, the Count arrives at the house once more, this time dressed as a clerical music–master, and claims to be a substitute for Basilio who is ill. After much double talk, he is allowed to give Rosina her singing lesson, which provides an opportunity for the two lovers to make plans for their elopement. All is nearly lost when the supposedly ailing Basilio arrives, seeming in perfect health. With many twists of logic, Basilio is convinced that he is “ill,” is given a generous bribe by the Count, and departs. Figaro tries to distract Bartolo by giving him a shave, and also manages to steal the keys to Rosina’s balcony from the doctor’s key ring. But soon the two lovebirds are betrayed by a remark overheard by the doctor. He chases the two men from the house and orders Rosina to her room.
Again, with Basilio’s help, the doctor has a plan to dishonor Rosina’s young suitor. He produces Rosina’s original letter, and convinces her that “Lindoro” is merely toying with her affections to win her for his master, Count Almaviva. Rosina, unaware that these two names belong to the same person, is devastated, and in her grief promises to marry Bartolo. After a violent thunderstorm, Figaro and the Count enter via the balcony to find a very uncooperative Rosina, who has come only to heap her contempt upon her young suitor. When everything is explained, all are ecstatic and plan to leave the way they came, but the ladder to the balcony has been removed. Basilio arrives with a notary; Figaro and the Count, by various means and artillery, convince them to go through with the wedding contract. By the time Bartolo arrives, he is too late to stop the marriage, but is soothed by the knowledge that he may keep Rosina’s dowry. All have achieved their various goals, and the curtain falls on a happy company. |
|
|
|
|
 |
|
Traffic Analysis |
|
|
|
Similar Sites |
|
|
| |
Canadian Opera Company : largest producer of opera in Canada : Opera company-
The COC produces seven fully staged opera productions and a series of 100 free concerts at the Four Seasons Centre. In addition, it presents operatic and orchestral concerts in
The Opera Company of Philadelphia: The Opera Company of Philadelphia is Philadelphia's only producer of grand opera, performing at the Academy of Music, America's oldest, continuously-running opera house. Established in 1975 through a merger of
AAC presents Opera for All performs: AAC presents Opera for All performs fully-staged, ensemble Opera in English accompanied by a small orchestra, using a mixture of talented singers drawn from many different nationalities, ethnic groups and
Welcome to the website of Aarhus Sommeropera, Denmark's leading chamber opera company.: Aarhus Summer Opera was formed in 1988 by Preben Bjerkø and Erik Kaltoft. The company's
aim was to resurrect the tradition started in the 1960's of performing various popular operas
during
About The Academy of Vocal Arts: The mission of The Academy of Vocal Arts, founded in 1934 by Helen Corning Warden, is to provide tuition-free vocal and opera training of the highest quality, and financial support
Boston Lyric Opera New England: Boston Lyric Opera (BLO) is New England’s favorite opera company. Founded in 1976, BLO is recognized for its artistically excellent productions of a diverse repertoire that entertain and inspire audiences
Academy of Vocal Arts (AVA): The mission of The Academy of Vocal Arts, founded in 1934 by Helen Corning Warden, is to provide tuition-free vocal and opera training of the highest quality, and financial support
Seating Chart of the Amato Opera: The members of the Sally Amato Opera Guild are dedicated to sharing an in-depth understanding and enjoyment of opera. Meetings are held in conjunction with four special opera programs presented
Festival over for another year - check back soon for details of our 2008:
About Us
Festival Staff Contact Us Festival Diary Artistic Director Volunteer
Anna Livia Dublin International Opera Festival exists to promote and enable international and national accessibility to the lyrical arts, providing a
LOVE ENDURES IN VERDI'S LAVISH OPERA: In Good Company
Arizona Opera – now in its 37th Season – produces grand opera throughout the state of Arizona and is one of only three companies in the US that
First Tuesday Vocal Recitals- at noon- First Baptist Church Chapel: News
NEW! - Presented by the Asheville Lyric Opera Guild
First Tuesday Vocal Recitals- at noon- First Baptist Church Chapel
downtown Asheville- free parking - lunch ($8 w/ reservation) available after each recital
The
Welcome to York Opera online!: York Opera is one of York’s leading amateur companies, founded in 1966. Each year we produce a number of performances, of operas, operettas and concerts, including some for charity. Our
|
|
|
|
|
|
