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Michigan Opera Theatre Announces Details of 2006/2007 Opera Season
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Season to Feature Works by Gershwin, Rossini, Puccini, Mozart and Gounod
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DETROIT, Michigan, March 20, 2006…A season filled with passion invites opera goers to become obsessed with opera…
Michigan Opera Theatre’s 2006/2007 opera season will feature productions of Gershwin’s Porgy and Bess, Rossini’s The Barber of Seville, Puccini’s Turandot, Mozart’s The Abduction from the Seraglio and Gounod’s Romeo and Juliet. The season, Michigan Opera Theatre’s 36th, will open on Saturday, October 21, 2006.
Complete performance schedule and ticket information
“We are very excited about the 2006/2007 opera season,” said Dr. David DiChiera, Founder and General Director of Michigan Opera Theatre. “Not only have we planned an exceptional season artistically, we’ve made a number of improvements to the season’s schedule and to our online ticketing system to make it easier than ever to enjoy the opera.”
While opera ticket prices remain the same, the company has made adjustments to the schedule in response to patron feedback. For the first time, subscription tickets will be available through Michigan Opera Theatre’s real-time online ticketing, at www.MichiganOpera.org. Current subscribers may also renew online.
Michigan Opera Theatre’s 2006 fall opera season will be made possible by generous support from the Ford Motor Company, and the opera company’s spring season will be sponsored by Cadillac.
Subscriptions:
The Michigan Opera Theatre ticket office will be mailing subscription renewal information shortly, and new and renewal subscriptions will become available April 1, 2006. Subscribers enjoy the benefits of priority seating, limited free ticket exchanges and advanced purchase opportunities for some non-subscription events. For the first time, 2006/2007 season ticket subscriptions will be available through Michigan Opera Theatre’s real-time online ticketing at www.MichiganOpera.org, as well as through the ticket office. Michigan Opera Theatre will again offer special package discounts for “first-timers,” as well a distance discount for new subscribers traveling more than 80 miles to attend performances. The popular “family series” discount will also continue through the 2006/2007 season. For more information about ticket subscriptions, discounts and limitations, please contact the Michigan Opera Theatre ticket office at (313) 237-SING (7464).
Single Tickets:
Single tickets for Michigan Opera Theatre’s 2006/2007 opera season will become available in August 2006. Single ticket prices remain unchanged from last season, ranging from $28 to $113 for all opera productions. Single tickets will be available in person at the Detroit Opera House ticket office (1526 Broadway, Detroit, MI 48226), by phone at (313) 237-SING (7464) and through Michigan Opera Theatre’s real-time online ticketing at www.MichiganOpera.org. Single tickets will also be available through all TicketMaster outlets, by phone at (248) 645-6666 or online at www.TicketMaster.com.
Porgy and Bess by George Gershwin, October 21 - November 5, 2006
“Porgy and Bess is likely the most significant American opera in history. Filled with beautiful music like ‘Summertime’ and ‘My Man’s Gone Now,’ it’s a very accessible opera, and one which truly resonates with audiences.” ~Dr. David DiChiera
Gershwin’s Porgy and Bess premiered in Boston on September 30, 1935. Porgy and Bess, which features an English libretto by DuBose Heyward and Ira Gershwin, is based on the play Porgy, by DuBose and Dorothy Hayward. The three-act opera will be performed in English. Michigan Opera Theatre has previously presented Porgy and Bess four times, most recently in 1998.
The Opera
Porgy and Bess is set in Charleston, South Carolina, in the 1920s, and centers around Porgy, a well-liked cripple in the city’s Catfish Row district. The opera’s first scene takes place at a heated craps game. A fight breaks out and Crown, the town bully, murders one of the players. He flees, immediately, leaving his girl Bess behind. As the town shuns the abandoned girl, a dope-peddler named Sporting Life tries and fails to convince Bess to travel to New York with him. Porgy sees an opportunity. He has always loved Bess, and now, with nowhere else to turn, she needs him. Porgy takes her in.
Scene two opens on a room filled with mourners, praying for Robbins, the man Crown has killed. Porgy and Bess attend together, contributing money towards the funeral. A pair of white detectives appear, dragging off old Peter, an innocent man they believe to be a suspect.
Act two is set a month later, and opens to find Porgy and Bess living together in happiness. The fisherman Jake is preparing to sail, even though a storm is on the horizon. A military band enters, followed by a crowd of revelers, headed for a community picnic on Kittiwah Island. Though Bess is hesitant to join in, Porgy urges her to have fun and she reluctantly goes along. At the picnic, Crown appears. Though Bess is in love with Porgy, she is unable to resist Crown. A week later, Jake sets to sea. Bess, left unconscious after her encounter with Crown, is surrounded by friends who pray and sing for her. “Dr. Jesus” revives her, and Porgy tells her that he forgives her for her infidelity. She has, however, promised to return to Crown, and Porgy promises that he will defend her against the bully.
The act’s fourth scene takes place as a storm rages. The locals have gathered to pray, believing superstitiously that Judgment Day has come. Crown enters, taunting Porgy, and claiming God to be his friend. When Clara, Jake’s wife, notices through a window that her husband’s boat has overturned, Crown rushes out to the rescue. Clara follows.
The following scene opens to the town women mourning the loss of Jake and Clara. Sporting Life enters, and hints that Crown may have survived. Crown appears, crawling towards Porgy’s door, and the voice of Bess, which he hears behind it. As he passes a window, Porgy reaches out, choking Crown to death. A few hours later, the detectives arrive looking for Crown’s killer. They arrest Porgy, and Bess is left alone. Sporting Life returns, convincing Bess to leave with him for New York.
A week later, unable to charge Porgy with the Crime, the police release him. He returns, searching for Bess, only to learn that she has gone to New York with Sporting Life. As the opera draws to a close, Porgy boards a goat-drawn cart, and heads off in search of his love.
The Music
Gershwin’s opera is filled with tuneful and memorable music, including the well-known lullaby “Summertime,” the jolly “A Woman is a Sometimes Thing,” the moving dirge “My Man’s Gone Now” and the love duet “Bess, You Is My Woman Now,” among many others.
The Artists
To date, the cast of Michigan Opera Theatre’s 2006 production of Porgy and Bess will feature appearances by notable returning artists including Gordon Hawkins, who made his company debut as Porgy in 1998, and most recently appeared as Rigoletto in 2004, in the role of Porgy, and also Lisa Daltirus, who debuted as Tosca in 2005, and will also return in April of 2006, as Aida, in the role of Bess. The 2007 production of Porgy and Bess will be conducted by maestro Steven Mercurio, who most recently led the Michigan Opera Theatre Orchestra in La Boheme in 2005.
The Barber of Seville by Gioachino Rossini, November 5-13, 2006
“The Barber of Seville is the quintessential Italian comic opera. Rossini’s music is familiar and fun, and so contagious that one cannot help but hum along.” ~Dr. David DiChiera
Rossini’s The Barber of Seville premiered in Rome, February 20, 1816. The two act opera features an Italian libretto by Cesare Sterbini, and is based on a comedy of the same name, by Pierre Augustin Caron de Beaumarchais. The Barber of Seville will be performed in Italian, with English surtitle translations projected above the stage. Michigan Opera Theatre has previously presented The Barber of Seville four times, most recently in 1999.
The Opera
Rossini’s The Barber of Seville is comic opera at it’s finest. The story centers around Rosina, a beautiful Sevillian girl, and the object of two men’s affections. As the opera opens Count Almaviva, identifying himself as a student, Lindoro, serenades the girl from outside the home of Dr. Bartolo. It is his intention that the girl will give him her hand in marriage. The music fails to summon her, as Dr. Bartolo, quite taken with the girl himself, keeps a close watch on her. Somewhat defeated, the Count engages the help of the town’s barber, Figaro. Figaro, it seems, knows everyone in town, and is quick to offer his assistance faced with the prospect of a monetary reward. The two begin to hatch a plan, when they are suddenly interrupted by Dr. Bartolo, who exits muttering of his own intentions to marry Rosina.
The Barber, quickly proving his worth, announces a clever plan. The Count will disguise himself as a drunken soldier assigned a post within the doctor’s house, thereby gaining access to the object of his desire. Entering in disguise, the Count thwarts all of the Doctor’s attempts to dismiss him, discreetly making it clear to Rosina that he is, in fact, Lindoro. The doctor summons the police in an attempt to get rid of the soldier. Discreetly revealing his true status to the officers, Count Almaviva is not arrested, to the astonishment of all present.
The second act opens to find Count Almaviva returning to Dr. Bartolo’s residence, this time, disguised as a professor. He claims to be substituting for Don Basilo, who he proclaims to be ill, and insists on giving Rosina a music lesson. Figaro appears to provide a distraction, insisting that he shave the doctor. When Don Basilo enters, obviously not sick, confusion erupts as the group convinces the professor that he has actually has Scarlet Fever. Finally alone in their lesson, the Count and Rosina make plans to elope. Dr. Bartolo shoos Figaro and Almaviva out, as he, himself, makes plans to marry Rosina that very evening.
Count Almaviva and the barber Figaro return again, now disguised in cloaks. They must convince Rosina that the Count’s intentions are honorable, even though she knows him only as Lindoro. Dr. Bartolo, however, has removed their ladder as he left to make his own wedding arrangements.
When Don Basilio arrives with a notary—sent to officiate Dr. Bartolo’s marriage to Rosina—Count Almaviva bribes the men into officiating his ceremony. Rosina and Almaviva have barely finished their vows when Dr. Bartolo returns with the police. The plot is explained, and learning that the Count will allow him to keep Rosina’s dowry, even Dr. Bartolo is happy.
The Music
Some of the most widely-known music in all of opera, Rossini’s The Barber of Seville features a range of tuneful arias including Figaro’s “Largo al factotum,” Almaviva’s “Ecco ridente” and Rosina’s “Una voce poco fa.”
The Artists
To date, Michigan Opera Theatre’s 2006 production of the The Barber of Seville will feature a stunning international cast, including a number of artists making company debuts. Debut appearances include Yasu Nakajima as Count Almaviva, Manuela Custer as Rosina and Dalibor Jenis as Figaro. The production will be directed by Mario Corradi, whose recent Michigan Opera Theatre credits include 2005’s Norma and 2004’s productions of Rigoletto and Faust. The Michigan Opera Theatre Orchestra will be led by Edoardo Muller, who most recently conducted Aida in concert, for the company in 1999.
Turandot by Giacomo Puccini, April 21-29, 2007
“Puccini’s final opera, and the last true manifestation of Italian opera in the romantic 19th Century style, Puccini’s Turandot is known for its exotic orchestration and lavish production values.”
~Dr. David DiChiera
Puccini’s Turandot premiered in Milan, April 25, 1926. Turandot features an Italian libretto by Giuseppe Adami and Renato Simoni, based on a drama of the same name by Carlo Gozzi. The three act opera will be performed in Italian, with English surtitle translations projected above the stage. Michigan Opera Theatre has previously presented Turandot three times, most recently in 1998.
The Opera
Set in legendary times, in the Chinese town of Pekin, Turandot is a tale of royal love. The Princess, Turandot, is to marry, but will only wed a royal suitor capable of answering correctly three riddles. Those who attempt and fail are beheaded. The trials of the Princess’ suitors have proven bloody, and the opera opens to find the Prince of Persia awaiting his execution. A crowd of revelers has gathered, and among them are an old man, Timur, his slave girl Liu and his son Calaf. Timur, once King of the Tartars, had believed his son lost in battle. Liu, the slave girl, has attended to the old man in his wanderings, because she is grateful to Calaf for once smiling at her.
Turandot appears, giving her approval for the execution to proceed. Calaf, the Unkown Prince, is immediately taken by her beauty, and though many try to persuade him against attempting the riddles, he strikes the palace gong and calls out for the Princess to announce his intentions.
The opera’s second act opens to find three ministers of the court, Ping, Pang and Pong discussing the trouble caused by Turandot’s bloody game of riddles. The full court has assembled for the Unknown Prince’s attempt to claim Turandot. The Princess explains the trial, and its purpose, to avenge an ancient ancestress who had been captured and raped by barbarians. Calaf receives warning from the Emperor and the Princess herself, but he is determined and chooses to proceed.
The riddles are posed. Turandot: “What phantom is born every night and dies the next day?” Calaf: “Hope.” Turandot: “What blazes like a fever when you think of great deeds but grows cold in death?” Calaf: “Blood.” Turandot: “What is the ice that sets you on fire?” Calaf: “Turandot!” Calaf, has answered the riddles correctly.
The crowd is delighted, but Turandot is not. She begs the Emperor to release her from her obligation, but he refuses. The still unknown Prince, Calaf, suggests that she be released from the agreement, and he be executed, if she can answer but one riddle correctly by the next morning—his name.
In the third act, it is proclaimed that no one in Pekin shall sleep that night. The court ministers tempt Calaf to disclose his name, even promising safe passage out of China, but he refuses. The guards, having seen Timur and Liu speak to the Unknown Prince, bring the pair to the princess believing they must know his name. Liu claims that only she knows, and is tortured without mercy. When asked by the Princess how she is able to resist, Liu proclaims that her love of the Unknown Prince compels her. Fearing that she may be broken, she seizes a dagger, and sacrifices herself.
The crowd carries Timur and Liu’s body out, and Turandot is left alone with the Unknown Prince. The Prince reproaches Turandot, then swiftly takes her in his embrace. She weeps, begging him to leave her, but Calaf knows now that she loves him, and offers her his name—and in turn, his life.
The following morning the court assembles. Turandot stands and speaks before them. She has discovered the Prince’s name, and it is Love.
The Music
Puccini’s Turandot includes some of Italian opera’s most powerful music, including Calaf’s “Non piangere, Liu” and “Nessun Dorma” as well as Liu’s touching aria “Tu, che di gel sei cinta.”
The Artists
To date, the cast of Michigan Opera Theatre’s 2007 production of Puccini’s Turandot includes the company debuts of Anna Shafajinskaya as Turandot and Luis Ledesma as Ping. The production will also feature the return of Yu Qaing Dai, who last appeared as Cavaradossi in 2005’s Tosca, as Calaf, and Arutjun Kotchinian, Oroveso in 2005’s Norma, in the role of Timur. The production will be conducted by Willie Anthony Waters, General Director of Connecticut Opera, who last appeared with Michigan Opera Theatre in Faust, 1994, and made his company debut with Il Trovatore in 1979.
The Abduction from the Seraglio, by Wolfgang Amadeus Mozart May 12-19, 2007
“In recognition of Mozart’s 250th birthday, we present The Abduction from the Seraglio. One of the most popular works of his day, this production marks a company premiere for Michigan Opera Theatre, and we couldn’t be more excited. The music is vocally demanding and easily recognizable—truly a shining example of Mozart’s brilliance.” ~Dr. David DiChiera
Mozart’s The Abduction From the Seraglio premiered in Venice, July 16, 1782. The original production features a German libretto by Gottlob Stephanie, and is based on a play by Christoph Friedrich Bretzner. Michigan Opera Theatre’s 2007 production of the three act opera will be performed in English, with English surtitles projected above the stage.
The Opera
Set in 16th Century Turkey, The Abduction begins as Belmonte, a young Spaniard, arrives at the seaside plaza of the Pasha’s palace. He is met immediately by Osmin, the Pasha’s overseer. Belmonte has come in search of his love Konstanze, and asks Osmin about his compatriot and friend Pedrillo. It seems that Osmin and Pedrillo share an interest in the beautiful Blondchen, and so Belmonte’s inquiry is dismissed with an attitude of contempt. After Osmin’s departure, Pedrillo appears, and the two friends begin plotting to escape with the objects of their respective desires.
A chorus of Janissaries welcoming the Pasha is heard, and the scene moves to a conversation between the Turk and Konstanze. The Pasha is in love with the beautiful lady, but she is still taken with an old flame, Belmonte, and tells her captor as much. She leaves, and Pedrillo enters with his friend, introducing him to the Pasha as a visiting architect. All are cordial, but following the Pasha’s departure, Osmin tries unsuccessfully to block the Spaniards’ entrance into the palace.
Act two opens to find the lovely Blondchen engaged in a heated disagreement with Osmin. English girls do not take orders, she tells the overseer, even when in Turkey. The argument escalates, and Osmin departs. Konstanze enters and tells Blondchen that Belmonte has failed to rescue her. The Pasha is beginning to demand her love, and while she is defiant, she doubts that Belmonte will come to her aide.
With Konstanze’s departure, Pedrillo enters, telling Blondchen that Belmonte has arrived, and has a ship anchored off-shore. They will elope at midnight, keeping Osmin distracted with a special drink. Almost immediately the overseer appears, and a brief argument provides the perfect opportunity. Osmin, quickly intoxicated, is dragged off asleep, and the four lovers are left to confirm their plans of elopement.
The third act begins at midnight. Outside the palace walls the Spaniards stand ready to abduct their loves—armed, in romantic fashion, with ladders and serenades. While Belmonte and Konstanze are able to escape, the commotion stirs Osmin, and recovering from his stupor, the overseer is able to intercept them. The four runaways are brought before the Pasha, who quickly condemns the Spaniards to an immediate death.
The Pasha quickly reconsiders, realizing that Belmonte is the son of his enemy. He chooses to teach them a lesson in civility, and opts to free the men. He even presents them with their beloved before sending the foursome on their way.
The Music
Mozart’s The Abduction From the Seraglio is filled with passionate arias and duets, including Belmonte’s aria “Heir soll ich dich denn sehen Konstanze” (“Here may I hope to find you, Konstanze”) and Konstanze’s aria “Ach, ich liebte” (“Ah, I was in love”). Konstanze’s music is among the most challenging soprano roles in all of opera.
The Artists
To date, Michigan Opera Theatre’s 2007 production of The Abduction From the Seraglio will feature appearances by a number of artists making company debuts, including Elizabeth Futral as Konstanze, Amanda Pabyan as Blondchen and Shawn Mathey as Belmonte. The production will be directed by Dona D. Vaughn and conducted by Steven White, both making company debuts.
Romeo and Juliet by Charles Gounod, June 2-9, 2007
“Gounod’s Romeo and Juliet furthers Michigan Opera Theatre’s long-standing commitment to French opera. The classic tale of forbidden love, it features some of the most beautiful love duets of all time.” ~Dr. David DiChiera
Gounod’s Romeo and Juliet (Romeo et Juliette) premiered in Paris on April 27, 1867. Based on William Shakespeare’s familiar tragedy, the opera features a French libretto by Jules Barbier and Michel Carré. The three-act opera (originally five) will be presented in French, with English surtitle translations projected above the stage. Michigan Opera Theatre has presented Gounod’s Romeo and Juliet once previously, in 1990, at Detroit’s Masonic Temple.
The Opera
Set in 14th Century Verona, Gounod’s opera follows Shakespeare’s work closely, with only a few slight changes for operatic effect. In fact, most of the opera’s deviations from the Shakespearian tragedy merely serve to condense the story into a more opera-friendly version.
The opera opens on the Capulet’s masked ball (Shakespeare’s fifth scene). A group of unwanted visitors—the Montagues—socialize amidst the more welcome guests. Among them is Romeo, who upon seeing Juliet, the daughter of Lord Capulet, falls madly in love. Juliet, however, has been betrothed (without her knowledge) to the Count Paris. When told of her impending marriage she wants no part of it, but moments later, having met Romeo, she finds love. Juliet’s cousin Tybalt believes that the masked stranger who has caught her attention is a Montague, but restrained by Lord Capulet, is powerless to prove it.
The famous balcony scene unfolds much as it does in Shakespeare’s work. Juliet proposes marriage to Romeo, who agrees, and the couple is twice interrupted, finishing the scene with the familiar lines, “parting is such sweet sorrow.”
Having decided to marry, the lovers come to the cell of Friar Lawrence, intent on exchanging vows in a quick and secret ceremony. Believing that the marriage might end the two families’ bitter feud, the Friar agrees and the young lovers are married. After the wedding, a non-Shakespearian character appears, the page Stephano. The young Stephano, has insulted the Capulets, and a fight erupts between the two families. Tybalt challenges Romeo, who having just married into the family, refuses to fight. Another Montague, Mercutio, takes up the challenge and is quickly slain. No longer able to restrain himself, Romeo attacks Tybalt, killing him. When Lord Capulet arrives with the Duke of Verona, the two are shocked by the bloodshed. The Duke banishes Romeo from the town, and ultimately, from his beloved Juliet.
The two young lovers spend a night together before being forced apart. Romeo has been warned that if he is found within the town’s walls, he will pay with his life. Juliet, though, is about to receive news even more distressing. Her father arrives and tells her that she must marry Count Paris immediately. Distraught, she seeks advice from Friar Lawrence, who produces a potion and a plan. The potion will make Juliet appear to be dead for forty-two hours, and in that time, the Friar promises that he will return with Romeo. She promptly drinks. Lord Capulet returns to urge her to marry, and Juliet protests, claiming death a more attractive option. The potion has begun to work, and she falls to the floor, “dead.”
Juliet is placed in the family crypt. Romeo, having been misinformed, believes her to be genuinely dead, and sneaks into the tomb to sing her a final farewell. He drinks his own potion now—a genuine poison—and a moment later Juliet begins to awaken. Realizing what has just happened, the horrified Juliet seizes her dagger, and the lovers die in each other’s arms.
The Music
Gounod’s Romeo and Juliet is known as an opera of poignant love duets. While individual arias like Juliet’s “Waltz Song” and Romeo’s “Ah! lève-toi soleil!” move the drama along, it is this series of duets between the young lovers that captures the opera’s essence.
The Artists
To date, Michigan Opera Theatre’s 2007 production of Gounod’s Romeo and Juliet will feature a number of notable returning artists, as well as several company debuts. Jonathan Boyd, who most recently sang the role of George Hancock in the world premiere production of Margaret Garner, will sing the role of Romeo. Mr. Boyd debuted with the company as Tamino in The Magic Flute in 2004. Juliet will be sung by Dina Kuznetsova, in her Michigan Opera Theatre debut. Kyle Pfortmiller, who debuted with the company in the 2005 production of La Boheme, will sing Mercutio, while Lauren McNeese will debut as the page, Stephano. Romeo and Juliet will be directed by Bernard Uzan, who most recently directed Die Fledermaus in 2003, and will return to the Detroit Opera House in June 2006 for Salome. The production will be conducted by maestro Mark D. Flint, who led the Michigan Opera Theatre Orchestra in Faust 2004, most recently, and will return to the Detroit Opera House in May 2006 for Cinderella.
Complete performance schedule and ticket information
Michigan Opera Theatre, a non-profit organization, is an Equal Opportunity Employer, and provides programs and services without regard to race, color, religion, national origin, age, sex, or handicap. Michigan Opera Theatre is supported by private donations, foundation and corporate grants, the State of Michigan through the Michigan Council for the Arts and Cultural Affairs, and by the National Endowment for the Arts, a federal Agency.
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