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Capitol City succeeds with local talent and believable theater |
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Capitol City Opera Company was formed in 1983 to provide Atlanta area classically trained singers the opportunity to learn and perform complete opera roles and to continue to develop their post-graduate vocal and acting skills on a professional level. Since its inception, the company has flourished as the only opera company in the Southeast that primarily helps local singers establish their careers.
We present high quality, innovative, and exciting opera theater.
Capitol City Opera Company, a 501(c)3 non-profit organization, has created many recurring programs that benefit all ages and demographics of the general public and has toured throughout the Southeast and also Italy. Currently, the company performs two opera theatre shows per year, a quarterly recital series (Sunday of Songs), a monthly restaurant series (Dinner and a Diva), a vocal competition, a summer workshop, touring Madrigals, touring gala singers, Cosìfan tutte on tour, a summer pops concert, and an astonishing 150-200 performances solely for children every year.
Each year, Capitol City Opera Company employs an average of 60 singers and reaches approximately 40,000 people through its various programs.
Holding true to the belief that arts education is paramount in our society, CCOC has one of the most extensive education departments of any performing arts group in the Southeastern U.S. Each year, our various education programs reach approximately 30,000 people.
Opera for Children - CCOC brings costumed operas to children. The various shows are performed up to 200 times per year at schools, community centers, and special event centers throughout Georgia and often out of state.
Teen Apprenticeship Program - Parents often contact CCOC and ask if their child can be a part of our productions. The answer is almost always, “Absolutely!” If a teen wants to be a part of a production, we will try our best to honor that request. If we have a show that has a chorus or supernumerary parts, we include as many young people as possible.
Opera is for everyone: It is not a remote art form that only the initiated appreciate – it reflects human conflicts and passions. It has inspired a level of devotion in some people best compared to that of a die-hard sports fan. Just as you do not need to know every statistic to enjoy watching a football game, you do not need to be a music or opera expert to enjoy our performances.
Of course, the more you know, the more there is to enjoy. With that in mind we provide ways for you to learn more about the opera you are attending. On-line, you can read our synopsis or purchase recommended recordings. At the performance, we often provide pre-show lectures and always provide free programs with your opera ticket to guide you through the plot and introduce you to the performers.
What to Wear: Can I wear my sequined blue dress? Do I have to wear a tux?!
Dress comfortably, and be yourself. Opera is not the playground of the rich, and we work hard to make sure that everyone feels at home at our performances. However, some people consider a night at the opera a real event and choose to dress up
Applause: At the opera, unlike the symphony or other classical music concerts, you can applaud when the performance moves you (similar to a solo at a jazz or rock performance).
One of the most unique and amazing aspects of opera is that the music is not amplified! The orchestra is not electronically enhanced and the singers are not “miked”. Because we feature professionally trained singers, you’ll easily hear them even in the top row of the balcony. However, audience noise is easily heard and can disrupt enjoyment of the opera.
Just like a night out at a movie theater, please turn off the sound on all electronic devices and don’t leave or enter during the show. There is no flash photography allowed.
If it moves you, laugh, cry, or sigh. Most of all, enjoy yourself.
ACT I: Naples, late 1700s, early morning. Two young officers, Ferrando and Guglielmo, boast about the beauty and virtue of their sweethearts, the sisters Dorabella and Fiordiligi ("La mia Dorabella"). Don Alfonso, an older man and a friend of the two officers, insists that a woman's constancy is like the Arabian phoenix - everyone says it exists but no one has ever seen it ("È la fede delle femmine"). He proposes a wager of one hundred sequins that if they give him one day, and do everything he asks, he will prove the sisters are like all other women - fickle. The two young men willingly agree to Alfonso's terms and imagine with pleasure how they will spend their winnings ("Una bella serenata").
Fiordiligi and Dorabella gaze blissfully at their miniature portraits of Guglielmo and Ferrando ("Ah, guarda sorella"), and imagine happily that they will soon be married. Alfonso's plan for the day begins when he arrives with terrible news: the young officers have been called away to their regiment. The two men appear, apparently heartbroken, and they all make elaborate farewells ("Sento, o dio"). As the soldiers leave, the two women and Alfonso wish them a safe journey ("Soave sia il vento"). Alfonso is delighted with his plot and feels certain of winning his wager.
As Despina complains about how much work she has to do around the house, Fiordiligi and Dorabella, upset by the departure of their fiancés, burst in. Dorabella vents her feelings ("Smanie implacabili"), but Despina's advice is to forget their old lovers with the help of new ones. All men are fickle, she says, and unworthy of a woman's fidelity ("In uomini, in soldati"). Her mistresses resent Despina's approach to love, and depart. Alfonso arrives to plan the next stage of his wager: he enlists Despina's help to introduce the girls to two exotic visitors, in fact Ferrando and Guglielmo in disguise, and is relieved when Despina does not recognize the two men. The sisters are scandalized to discover strange men in their house. The newcomers declare their admiration for the ladies, each wooing the other's girlfriend, according to Alfonso's design, but the girls reject them. Fiordiligi likens her constancy to a rock in a storm ("Come scoglio"). The men are confident of winning the bet, but Alfonso reminds them that the day is still young. Ferrando reiterates his passion for Dorabella ("Un'aura amorosa"), and the two go off to await Alfonso's further orders. Despina, still unaware of the men's identities, plans the afternoon with Alfonso.
As the sisters lament the absence of their lovers, the two "foreigners" stagger in, pretending to have poisoned themselves in despair over their rejection. The sisters call for Despina, who urges them to care for the men while she and Alfonso fetch a doctor. Despina re-enters disguised as a doctor and, with a special magnet, pretends to draw off the poison. She then demands that the girls nurse the patients as they recover. The men revive ("Dove son?"), and request kisses. As Fiordiligi and Dorabella waver under renewed protestations of love, the men begin to worry.
ACT II: In the afternoon, Despina lectures her mistresses on their stubbornness and describes how a woman should handle men ("Una donna a quindici anni"). Dorabella is persuaded that there could be no harm in a little flirtation, and surprisingly, Fiordiligi agrees. They decide who will pair off with whom, and fitting perfectly into Alfonso's plan, each picks the other's original suitor ("Prenderò quel brunettino").
Alfonso has arranged a romantic serenade for the sisters in the garden, and after delivering a short lesson in courtship, he and Despina leave the four young people together. Guglielmo, courting Dorabella, succeeds in replacing her portrait of Ferrando with a golden heart ("Il core vi dono"). Ferrando apparently has less luck with Fiordiligi ("Ah, lo veggio"); but when she is left alone, she guiltily admits he has touched her heart ("Per pietà").
When they compare notes later, Ferrando is certain that they have won the wager. Guglielmo, although pleased at the report of Fiordiligi's faithfulness to him, is uncertain how to break the news of Dorabella's inconstancy to Ferrando. He shows his friend the portrait he took from Dorabella and Ferrando is furious. Guglielmo blames it all on women ("Donne mie, la fate a tanti!"), but his friend is not comforted ("Tradito, schernito"). Guglielmo asks Alfonso to pay him his half of the winnings, but Alfonso reminds him again that the day is not yet over.
Fiordiligi rebukes Dorabella for being fickle, but finally admits that in her heart she has succumbed to the stranger. Dorabella coaxes her to give way completely, saying love is a thief who rewards those who obey him and punishes all others ("È amore un ladroncello"). Left alone, Fiordiligi decides to run away and join Guglielmo at war, but Ferrando, pursuing the wager, tries one last time to seduce her and succeeds.
Guglielmo is furious, but Alfonso counsels forgiveness: that's the way women are, he claims, and a man who has been deceived can blame only himself ("Tutti accusan le donne"). As night falls, he promises to find a solution to their problems: he plans a double-wedding.
Despina runs in with a double-wedding plan of her own: the two sisters have agreed to marry the "foreigners," and she is to find a notary for the ceremony. The scene is set for the marriage, and Alfonso arrives with the notary - Despina in another disguise. As Fiordiligi and Dorabella sign the contract, martial strains herald the return of the former lovers' regiment. In panic the two women hide their intended husbands and try to compose themselves for the arrival of Ferrando and Guglielmo. The two apparently joyful soldiers return, but soon become disturbed by the obvious discomfort of the ladies. When they discover the notary the sisters beg the two men to kill them. Ferrando and Guglielmo reveal to them the identities of the "foreigners." Despina realizes that Alfonso had let her in on only half of the charade and tries to escape. Alfonso bids the lovers learn their lesson and, with a hymn to reason and enlightenment, the day comes to a close.
Capitol City Opera is always performing something somewhere – whether it’s a main stage production, a show for school children, a recital at a church, or a dinner with our Divas, there is always something available for everyone!
Please check the location of each performance.
Below, you will find our mailing address, primary email address, and phone number:
Mailing Address:
Capitol City Opera Company, Inc.
1266 West Paces Ferry Road #451
Atlanta, GA 30327
Phone:
678-301-8013—voicemail
General Email Address:
info@ccityopera.com
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