Experience the Music…

Experience the Joy…
Experience the Music…
Experience the
Drama…
La traviata
A Young Courtesan, Destined to Die Alone...
Cinderella
(La Cenerentola)
Wicked Stepsisters, a Prince Disguised
as a Servant, and the Search for True Love.
Lakmé
A Fanatical Priest, a Violated Temple,
and Warring Generations…
The Marriage of Figaro
(Le Nozze di Figaro)
Sexy Servants, a Philandering Count
and a Frisky Teenager…
Madama Butterfly
She Fell in Love…And Never Stopped Falling
Season 68. Don’t Miss a Performance!
w w w. fg o. o rg
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Come as You Are...
Let yourself go!
You Don’t Have to Be a Snob to Have a Great Time at the Opera!
People often have the misconception that to enjoy the
opera you must be a classical music expert, wear a tuxedo,
or be a snob to have a great time. Nothing could be further
from the truth. In fact, a night at the opera is a fun, relaxing
chance for you to socialize with friends, see some amazing
performances, and experience some of the most beautiful
music you will ever hear.
Don’t worry about the languages…
While it is true that many operas are sung in Italian, French,
and other languages, you won’t miss a beat. You’ll find a
screen above the stage offering titles in both English and
Spanish at every FGO performance. Operas are usually sung
in the language in which they were originally composed,
because the musical values of certain syllables are not
preserved if you translate to other languages. (That’s why
you will hear Parisians conversing in perfect Italian in La
traviata, for instance.)
Opera is drama set to music, and both add to your
enjoyment. So just glance at the titles to know what is
being conveyed. If you are not used to it, this may be a bit
distracting at first, but without them you would get much
less of the story. After a while reading the titles becomes
automatic. (And when the chorus or other singers repeat
the same lyrics over and over, the titles cease in order to let
you concentrate on the music.)
For most performances you’ll find people are dressed
casually and elegantly, in true South Florida style. So don’t
obsess over how you look. Just make sure you’re fabulous!
You don’t have to be an expert…
One hour before every performance FGO’s own “secret
weapon,” Justin Moss gives his famous opera talks. Justin
is an opera savant, but he speaks your language. He’ll
give you some background on the composer, explain their
inspiration for writing the opera, and give you an overview
of the plot.
Justin can take the most complex arrangements and explain
it in a way you can understand. He also lets you know
about any special scenes, melodies, arias (solos) or duets
you’ll want to pay special attention for. You’ll get a real
“behind the scenes” feel for what will happen that evening,
which will increase your enjoyment of the performance
immensely. And there are no pop quizzes afterward either.
So just concentrate on getting to the opera house on time,
and relish the fascinating costumes, spectacular sets, and
breathtaking music!
Also, each performance has a synopsis, broken down by
acts, letting you know what is happening all the time. Take
a few minutes to read this before each act, and then you
won’t get so wrapped up in following the plot that you
don’t pay attention to the music. You can just relax and
enjoy the music!
Tux and tails not required…
At FGO it’s all about the music. And transporting you to
that magical place that only an evening at the opera can
deliver. So don’t think you need a tuxedo or formal evening
gown to attend. (Although you’re more than welcome to.)
You don’t. WARNING: Be advised however, if you show up
in Crocs, or sandals with socks, you may be detained by the
fashion police!
We do offer the chance to attend Opening Night Galas and
Black Tie after parties, but you decide if you want to be
a part of those. If you do choose to attend these special
events, you’ll find they are a wonderful way to network and
fellowship with the cast members, celebrities, and a “who’s
who” of area leaders.
FGO’s own “secret weapon,” Justin Moss conducts his famous
opera talks one hour before each performance. These behindthe-scenes previews of the productions give you background
information about the composer, the plot structure, and
alerts you to special music to listen for. They allow you to
understand, appreciate, and enjoy the performance more.
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Message from the Maestro
Welcome to Season 68, a canvas rich in drama, romance, and adventure. It opens and closes with two of opera’s
“top ten,” both with tragic heroines, and each with a variation on the timeless theme of salvation through love.
Puccini’s Madama Butterfly is based on an unlikely but true story from 19th century Japan, and contains one of
my personal favorite love duets, with music full of passion and yearning.
Verdi’s La traviata contrasts brilliant party music and romantic love
duets with scenes of despair and tragedy. The duet between the
heroine, Violetta, and her lover’s father, is surely what must be
one of the finest creations in 19th century opera.
By way of contrast, Rossini’s La Cenerentola provides us with an
irreverent and Monty Pythonesque take on the Cinderella story.
The title role is written for a mezzo-soprano with formidable
coloratura abilities, and throughout the opera we are carried along
on a musical wave of breathless energy and zany humor.
The play on which Mozart’s The Marriage of Figaro is based caused a
scandal at its premiere. In poking fun at the upper class, it was seen
as politically inflammatory, and was banned in Vienna where Mozart
lived most of his life. In the opera, with its depiction of Cherubino’s
adolescent sexuality, the nobility of the Countess, the temperamental
and philandering nature of the Count, and the quickwittedness of Figaro and his fiancée, Mozart gives us
music of genuine hilarity and pathos, where human
foibles are exposed and ultimately forgiven.
And finally, at the heart of the season there is something
of a rarity for South Florida audiences. Léo Delibes’
ravishingly beautiful music for Lakmé contains one of the
most beautiful duets for soprano and mezzo ever written,
and the amazing “Bell Song” is surely one of the most difficult
coloratura arias ever penned. Set in the exotic location of British
Colonial India, Lakmé is a tale of two people caught in a struggle
between duty to country, religion, and love.
Season 68 will be amazing. I do hope you’ll be a part of it!
- Stewart Robertson
Stewart Robertson has served as Music Director for Florida Grand Opera for
ten seasons. He’s conducted New York City Opera productions that were
nationally televised on LIVE FROM LINCOLN CENTER, and his recording of
The Mines of Sulphur was nominated for a Grammy, for best
opera recording.
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The Coolest Night of
Entertainment in Town
More Captivating than a Hollywood Movie…
More Powerful than a Broadway Show…
More Magical than an Ordinary Concert…
Experience the Adventure of Live Opera!
When you want an escape from
the grind of work, traffic, and
monotony, there is no better way
to put some excitement in your
life than spending a night with
our talented artists of Florida
Grand Opera. No matter which
performance you attend, you’ll
experience heart-stopping drama,
gorgeous costumes, beautiful sets,
and the most breathtaking music
you’ve ever heard!
Whether you’re out on a first date,
celebrating your anniversary, or
simply enjoying a night out with
friends, there isn’t a cooler way to
spend an evening in South Florida.
Season 68 promises to be our
best yet.
We open with a new production
of Verdi’s La traviata, with sets
and costumes designed by Allen
Charles Klein and directed by
Bliss Hebert, whose spectacular
production of Aida launched
our inaugural season at the new
opera house. Met tenor Stephen
Costello, stars as Alfredo, and
alternating in the role of Violetta
are sopranos Eglise Gutiérrez and
Ailyn Pérez, both rising stars in the
international opera world. It also
marks the first time Italian Maestro
Aldo Sisillo wields the baton for
FGO. This opera is guaranteed to
have you spellbound.
The season continues with La
Cenerentola, Rossini’s charming
opera based on the fairy-tale
Cinderella. This opera features
mezzo-soprano Jennifer Rivera in
the title role, sharing it with mezzo
Julie Boulianne, and dashing
Canadian tenor Frédéric Antoun as
Prince Ramiro. Bring someone you
love!
Lakmé, is a lush, romantic story
set in India. We haven’t done this
wonderful opera since 1964. It
features the famous “Bell Song,”
which will be sung in the return of
South Florida’s favorite diva: Leah
Partridge. Lakmé also features the
Met’s celebrated baritone, Aaron
St. Clair Nicholson. March offers
the return of soprano Kelly Kaduce
as the Countess in Mozart’s classic,
The Marriage of Figaro. Kelly will
alternate in the role with Elizabeth
Caballero, who you probably
remember as Mimì in our last
production of La bohème. Figaro
is one of the greatest operas ever
written, offering some of the most
famous arias and duets you will
ever enjoy.
You may want to see this one more
than once!
Check out our special subscription
offers, because by subscribing to
the full season, you can attend all
five shows for the price of four.
There is no better way to enjoy
the opera than by having your
regular seats guaranteed for each
production.
So just say ‘no’ to another boring
night of dreary television, renting
DVDs, or surfing the Net.
And say ‘yes’ to a
night of adventure
at the Opera!
- Robert Heuer
General Director
and CEO
The season will conclude with
the universally loved masterpiece
from Puccini: Madama Butterfly. It
features one of opera’s truly great
arias, “Un bel di,” and one of the
most spellbinding and intense
endings you will ever experience.
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A Young Courtesan, Desti
Can She Find Redemption Through the Power of Love?
Paris serves as the backdrop for
one of the most captivating stories
in all of opera. La traviata is the
gripping tale of Violetta Valéry, a
teenage girl who comes to the City
of Light in 1839. To survive, she
becomes one of the city’s most
desired courtesans, fulfilling the
secret fantasies of gentlemen, but
keeping her heart to herself.
But things change dramatically,
when she meets Alfredo, and they
fall deeply in love. (Listen closely
to the duet in which Alfredo sings
of his love reaching across the
universe. The melody recurs from
time to time as Violetta is thinking
of his love for her, including briefly
just before the end.)
Violetta has second thoughts
however, as she discovers that
society has no place for a courtesan
in love. This is the provocation
for her spectacular aria, “Sempre
libera” (Always free).
As Act II opens, we realize love has
won out, as Violetta is now living
happily in the country with Alfredo.
However the mood changes
abruptly when Violetta receives a
visit from Alfredo’s father, Giorgio
Germont, who tells her that she
is ruining the family’s reputation.
Alfredo’s sister is to be married,
and the scandal of his liaison
jeopardizes the engagement.
Playing the cruelest card of all, he
tells her that although young and
beautiful today, she will grow old
and Alfredo will leave her. She can
save the family by giving him up now.
In one of opera’s most heartbreaking scenes, she agrees to
6
leave Alfredo, but only if Germont
will promise that one day he will
let his son know of her sacrifice. It
is here you will experience their
duet, in what is certainly one of
the most beautiful pieces of music
you will ever hear. One of Verdi’s
trademark devices is to have one or
more singers perform a throbbing
rhythmic pattern while another
sings a long, soaring melodic line
over the top. Listen for this effect
in this duet, and again at the end of
the opera.
Alfredo returns to find her gone,
and is deeply embittered, believing
she has returned to her old ways.
The next scene contains gripping
drama, as Alfredo encounters
Violetta at a party, in the company
of a Baron. Not knowing the truth,
Alfredo confronts and insults
Violetta. She is sworn not to reveal
the truth to him, but before she
leaves, she sings, “Alfredo, Alfredo,
you can never know how much
love for you I have in my heart.” It
is some of the most beautiful music
in the production.
This leads us to the final act,
one of the most enthralling and
suspenseful in all of opera. Violetta
lies dying in a cold, dark room,
reading a note from Alfredo’s
father. Germont has learned that
she is ill, and is rushing to bring
Alfredo to her. Violetta is hanging
on, minute by minute, hoping to be
reconciled with her one true love
before she dies.
In La traviata, Verdi has created
one of the most glorious musical
masterpieces of romantic opera.
You’ll be on the edge of your seat,
waiting to see if Alfredo can arrive
in time, and if our tragic heroine
can be saved by the power of love.
You will simply love this
spectacular new production
directed by Bliss Hebert and
designed by Allen Charles Klein.
Italian Maestro Aldo Sisillo will
wield the baton for the first time
for FGO in this opera.
Alternating in the role of Violetta
are fast-rising Latina soprano stars
Eglise Gutiérrez and Ailyn Pérez,
who have graced the stages of the
Met and Carnegie Hall.
Handsome Met tenor, Stephen
Costello, will make his FGO debut
as Alfredo, alternating with
smoldering Leonardo Capalbo, who
is quickly establishing himself as a
leading tenor with performances
at New York City Opera, Berlin, and
Dresden.
This heart-wrenching story, based
loosely on real events, has become
one of the most beloved operas
of all time. One performance and
you’ll understand why in 100 years,
the Met has performed La traviata
943 times! You simply must
experience it for yourself.
utiérrez
Eglise G
CAST:
Violetta
Eglise Gutiérrez
November 15, 21 & 23 in Miami
December 5 in Broward
Ailyn Pérez Nov 19, 22 & 25 in Miami
Dec 4 & 6 in Broward
Alfredo
Stephen Costello
Nov 15, 21 & 23 in Miami
December 5 in Broward
Leonardo Capalbo
Nov 19, 22, & 25 in Miami
Dec 4 & 6 in Broward
o Capa
Ailyn Pérez
Stephen
lbo
Costello
Conductor
Aldo Sisillo
Set & Costume Designer
Allen Charles Klein
Stage Director
Bliss Hebert
Lighting Director
Thomas Hase
New Co-Production—Florida Grand Opera and Cincinnati Opera
Nov 15, 21 & 23 in Miami
December 5 in Broward
This production is made possible by a generous gift in
honor of Audrey Love from the Audrey Love Charitable
Foundation.
Mark Walters Nov 19, 22 & 25 in Miami
Dec 4 & 6 in Broward
Sung in Italian with English and Spanish projected titles made
possible by
.
etc.
Germont
Luis Ledesma
This is the opera Richard Gere took Julia Roberts to see in the movie Pretty Woman. Violetta’s “Amami, Alfredo” is one
of the musical highlights featured in the soundtrack. The film Moulin Rouge is actually a recycled take on La traviata,
but using more recent pop tunes. Both movies and the original opera all deal with the plot of a lady of the evening
who finds love when she least expects it.
La traviata
Leonard
Giuseppe Verdi
ined to Die Alone...
7
Wicked Stepsisters, a Prin
Servant, and the Search
Can a Peasant Girl Become a Princess?
Though he left out the pumpkin,
glass slipper, and fairy godmother,
Rossini was true in every other way
to everyone’s favorite rags-to-riches
classic, Cinderella. Many believe this is
his best work, with music that will touch
your soul. This “once upon a time” story
is complete with wicked stepsisters, a
quintessential Prince Charming, and, of
course, a “they lived happily ever after”
ending.
The fairy tale of Cinderella has roots
deep in antiquity, and variations on
the story are to be found in virtually
every culture: Cenerentola (Italy),
Cendrillon (France), Cenicienta (Spain)
and Aschenputtel (Germany), to
name but a few. And a good story
it is, too, of oppression, redemption,
and forgiveness. It’s an even better
opera, with enchanting sets, stunning
costumes, and simply dazzling music.
Poor Cenerentola lives with her ugly
stepsisters, Clorinda and Tisbe, and her
evil stepfather Don Magnifico, who has
cheated her out of her entire fortune,
and keeps her in the house as a scullery
maid.
The stepsisters bicker and fight while
Cenerentola, isolated and alone, sings
a sad folk-tune as she goes about her
tasks. The song, curiously enough, is
about a king who chooses a wife for
her innocence and goodness, rather
than for wealth and power. Things get
exciting when heralds announce that
Prince Ramiro will be giving a ball at
which he will choose a wife.
The Prince has learned that there is an
interesting woman in the household
who may be a worthy companion,
and he comes to investigate disguised
as his servant, Dandini. Cenerentola
is startled when she sees him, and a
wonderful, hesitant duet ensues, during
a sustained, electric moment. The die is
8
cast. When Don Magnifico prepares to
present his two daughters, he is asked
about a third and responds that she has
died. Cenerentola sadly overhears him,
and resigns herself to staying home.
The intervention of Alidoro, Prince
Ramiro’s tutor, rather than a fairy
godmother transforms Cenerentola
from rags to ballgown, and she is
spirited away to the ball. The ruse
continues, with the Prince disguised as
the servant and the servant disguised
as the Prince. Clorinda and Tisbe are
rude to the Prince, believing him to be
the servant, and make much over the
servant, believing him to be the Prince.
Cenerentola, having earlier been
smitten by “the servant,” is interested
only in him.
When the truth is finally revealed,
Clorinda, Tisbe, and their father, Don
Magnifico, are devastated, and seeing
Cenerentola now chosen by the
Prince, fear her retribution. Instead
Cenerentola sings that she was born to
sorrow and tears, but now everything
has changed, and in a glorious rondo
finale, she showers her relatives with
forgiveness as she takes her place
beside the Prince. It’s a spectacular
aria and brilliant ending, packed with
coloratura and fireworks, guaranteed
to have you leaving the theater living
happily ever after!
Rossini’s music was so popular that after
he had retired, the next generation
of composers complained that if they
wanted to eat, they had to write in his
style, because that was all audiences
wanted to hear. This bel canto style
requires tremendous vocal agility, and
a beautiful voice with the ability to
sustain long, exposed vocal lines.
This production features dashing
Canadian tenor Frédéric Antoun as
the sweet-voiced and ardent prince.
Jennifer Rivera will perform the title
role, sharing it with Julie Boulianne.
Rivera has been rapidly earning
recognition as a superb lyric mezzosoprano, and you’ll see why both the
New York Times and the New York Sun
have hailed her as “someone to watch.”
Boulianne is one of today’s most
promising young Canadian lyric artists.
Rossini composed this opera when
he was only 25 years old, following
the success of The Barber of Seville the
year before. La Cenerentola, which
he completed in just three weeks, is
considered to have some of his finest
writing for arias and ensembles.
It was first performed in Rome in 1817,
and received with hostility. But it soon
became popular throughout Italy and
beyond; it reached Lisbon in 1819,
London in 1820 and New York in 1826.
Through most of the 19th century, its
popularity rivaled that of Barber. But
the title role is written for a mezzosoprano with formidable coloratura
abilities, and the difficulty finding
singers caused it to slowly fall out of
many repertoires.
However, in the 1970’s Rossini enjoyed
a renaissance, and a new generation of
Rossini mezzo-sopranos (such as Cecilia
Bartoli, Ewa Podles, and others) brought
the work to the forefront again. Today it
reigns as Rossini’s second most popular
opera after Barber.
La Cenerentola provides wacky comedy,
wonderful music, and a heart-warming
ending. Now is your chance to
experience the fairy tale for yourself!
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CAST:
Cenerentola
Jennifer Rivera
January 24, 27 & 30 in Miami
February 7 in Broward
Conductor
Joel Revzen (Miami) Andrew Bisantz (Broward)
Costume Designer
John Lehmeyer
Julie Boulianne
January 25, 28 & 31 in Miami
February 5 in Broward
Stage Director
A. Scott Parry Lighting Designer
Gordon W. Olson
All Performances
Set Designer
Gary Eckhart
All Performances
Baltimore Opera Production
Don Ramiro
Frédéric Antoun
Don Magnifico
Gaètan Laperriére
Dandini
Marian Pop
All Performances
Sung in Italian with English and Spanish projected titles made
.
possible by
Clorinda
etc.
Nili Riemer
The Miami performances of La Cenerentola are supported by
Funding Arts Network
All Performances
In Rossini’s version of Cinderella, a pair of bracelets replaces the glass slipper, because at that time it was considered
indecent for a woman to bare her naked foot on stage! Other composers who wrote Cinderella operas include
Massenet (1899) and Wolf-Ferrari (1900). Rossini also wrote the operas The Barber of Seville, and William Tell. The
William Tell Overture is familiar to millions; but they know it as the theme music for The Lone Ranger television show.
La Cenerentola
Baltimore Opera Company production, 1999.
(c) Stan Barouh
Gioachino Rossini
nce Disguised as a
for True Love.
9
A Fanatical Priest, a Viol
Warring Generations…
Heady Love Meets Crushing Despair, with Two Young Love
Lakmé, set in India, is the passionate
tale of a man and a woman caught
in an epic struggle between duty to
country, religion, and love. Cultures
collide, generations are at war, and
our young lovers struggle to find
happiness amidst the chaos of it all.
he has ever laid eyes upon her.
But before he can leave, the priest
Nilakantha returns to discover them.
Gérald flees, and the priest swears
to kill the man responsible for this
sacrilegious violation of the holy
temple.
behind. She returns from the spring,
and senses what’s about to happen.
This leads to the climactic final
scene, one of the most gripping in all
of opera. The poignant combination
of hope, despair, and love will leave
you breathless.
Our story begins as Nilakantha, a
Brahmin priest, is bent on rebelling
against the occupying British forces
that have forbidden him from
practicing his religion. When he
goes to attend a gathering of the
faithful, his daughter Lakmé and
her servant go off toward a river to
gather flowers in a sacred garden.
Listen closely, as this is where they
sing the famous “Flower Duet,” a
breathtaking piece of music. As they
approach the water, Lakmé removes
her jewelry and leaves it on a bench
as she and her servant decide to get
into a small boat by the river.
The next scene takes place in a
busy marketplace. Nilakantha has
brought his daughter Lakmé to serve
as a lure to catch the intruder. He
forces her to sing, hoping that her
song, together with her beguiling
costume, will cause the soldier to
give himself away. Lakmé sings
her “Bell Song,” in which her voice
must imitate the tinkling bells on
a magical staff that she describes.
This aria is renowned for its exotic
musical colors and spectacular,
high coloratura. The song works its
magic, but when Lakmé sees Gérald,
she stops singing and faints. When
he rushes forward, Nilakantha stabs
him and flees.
Lakmé marks the return of South
Florida’s favorite diva: the remarkable
Leah Partridge. Her roles with FGO
have included Violetta in La traviata,
Lucia in Lucia di Lammermoor,
Gilda in Rigoletto, and Cleopatra
in Julius Caesar and she made her
Metropolitan Opera debut last
season. Sharing the role of Lakmé
with Leah will be lyric coloratura
soprano Evelyn Pollock, a prominent
emerging artist in both America and
Europe. Celebrated baritone Aaron
St. Clair Nicholson returns to FGO
from a stint at the Met to perform
the role of Frédéric.
Nearby, British officers Gérald and
Frédéric are on a picnic with two
young English girls. Driven by
curiosity, they accidentally break
through a bamboo fence that
surrounds the temple. Frédéric
warns his companions that they
are violating the sacred place of
the Brahmins, but the girls notice
Lakmé’s jewelry and want sketches
of the pieces. Gérald agrees to stay
behind to make the drawings.
Lakmé and her servant return
and are startled and frightened
to find Gérald. But Gérald, who
is inconveniently engaged to be
married to one of the British girls, is
entranced by Lakmé, and she by him.
Lakmé, fearful of the consequences,
urges Gérald to leave and forget
10
Then things really heat up…
Gérald survives the attack, and is
hidden in the forest so Lakmé can
tend to him. They hear singing far
in the distance, and Lakmé explains
that it’s a band of lovers going to
drink from a sacred spring whose
waters confer the gift of eternal love.
She asks Gérald to drink the magical
water in order to ensure everlasting
love between them. However when
Lakmé goes to get the sacred water,
Gérald ‘s co-officer Frédéric turns up,
and convinces him to return to his
duty: the army and his fiancée.
Gérald knows he must fulfill his
responsibilities and leave Lakmé
Lakmé contains some of opera’s
greatest show-stoppers, including
one of the most beautiful duets for
soprano and mezzo you will ever
hear, and of course the amazing “Bell
Song,” surely one of the most difficult
coloratura arias ever penned. Is
there anything more romantic than
arias sung in French? Bring someone
you love!
Léo Delibes
ated Temple, and
ers Caught in the Crossfire
CAST:
Lakmé
Leah Partridge
February 21, 24 & 27 in Miami
March 5 in Broward
Evelyn Pollock
February 22, 25 & 28 in Miami
March 7 in Broward
Gérald
Bryan Griffin
February 21, 24 & 27 in Miami
March 5 in Broward
Chad A. Johnson
February 22, 25 & 28 in Miami
March 7 in Broward
Nilakantha
Burak Bilgili
All Performances
etc.
Evelyn Pollock
Conductor
Stewart Robertson Stage Director
Adam Cook
Aaron St. Clair
Nicholson
Lighting Designer
Gavan Swift
Choreographer
Elizabeth Hill
Set & Costume Designer
Mark Thompson
Presented by arrangement with Opera Australia and
Opéra de Montréal
Leah Partridge’s performance is made possible by a gift
from the Laurans and Arlene Mendelson Family.
The Fort Lauderdale performances of Lakme are supported by
Funding Arts Broward
Frédéric
Aaron St. Clair Nicholson
e
rtridg
Pa
Leah
All Performances
Lakmé
Photograph by Opera Australia April 2006.
Sung in French with English and Spanish projected titles made
possible by
.
The title role was originally written for 24-year-old American soprano Marie van Zandt, who helped ensure the opera’s
immediate international success. The famous “Viens Mallika” or “Flower Duet” has been heard in movies as diverse as
The American President, The Mirror Has Two Faces, Lara Croft Tomb Raider, and Meet the Parents. It has also been used in
television ads as the soundtrack to sell everything from British Airways to Ghirardelli Chocolates.
11
Sexy Servants, a Philande
Frisky Teenager…
Cupid has his hands full getting this wedding party to the
The Count makes sexual advances
to the maid, who is engaged to
the valet, who is pursued by an
older woman, who is annoyed
by a hormonal teenager, who is
obsessed with the boss’s wife…
Any questions?
Le nozze di Figaro actually
continues the story of Rossini’s
opera The Barber of Seville.
(Rossini’s opera was actually
written later than Mozart’s, but
they both were based on plays by
Pierre-Augustin Beaumarchais.) If
you’ve seen Barber, then you know
it ends happily ever after.
Or so we thought…
In Le nozze di Figaro, we learn
that the happiness hasn’t lasted.
The Count has been cheating on
the Countess, and she is none
too happy about it. Figaro now
plans to wed the Countess’s maid
Susanna, but discovers that the
Count plans to seduce Susanna.
In a deliciously complicated
plot that you simply have to see
to appreciate, the servants, in
collaboration with the Countess,
manage to ensnare the Count
in a trap, where he is exposed
for exactly what he is. He begs
forgiveness from the Countess,
who complies in a magnificent
closing hymn.
Along the way, we have astonishing
arias from an array of characters,
including the hormonal adolescent
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boy Cherubino, in what is known
in opera as a “trouser role.” This is a
high-pitched male part, performed
in costume by a female. This gets
interesting later when Cherubino
is disguised as a girl. So for those
of you keeping score at home, we
have a girl, singing the part of a
boy, disguised as a girl!
Today, Le nozze di Figaro, one of
three operas Mozart composed
with librettist Lorenzo Da Ponte,
is considered to be one of the key
monuments of western musical
culture. Mozart’s incredible
musical vitality never flags
throughout, and some of the most
delightful scenes in all of opera
come from this work. There are
wonderful duets, and ingenious
collaborative passages.
Baritones Andrew Oakden and
Keith Miller make their FGO debuts
as Figaro. Oakden continues to
garner critical acclaim and made
his New York City Opera main stage
debut last season. And in what
must certainly be a first for opera,
Miller actually played professional
football for five years and is now
becoming a regular at the Met.
David Pittsinger (Scarpia in FGO’s
2008 Tosca) returns in the role of
Count Almaviva, along with Aaron
St. Clair Nicholson, who appears
in the earlier production of Lakmé.
Figaro also marks the return of two
of South Florida’s favorite sopranos,
Kelly Kaduce and Elizabeth
Caballero, who will alternate in the
role of the Countess.
Many consider Le nozze di Figaro
the greatest opera buffa (farcical
comic opera) ever written.
It was revolutionary for its
sexual misadventures, political
connotations, and satirical
treatment of the ruling class.
However its greatest achievement
may be the way it defined the
form comic opera would take for
centuries to come. Mozart gives us
music of pure genius and joy, filled
with one breathtaking aria after
another.
This delicious plot involving
cross-dressing, sexy servants,
and sex-crazed masters was
a howling success from the
start. (It premiered in Vienna
on May 1, 1786, with Mozart
himself conducting, seated at the
keyboard in the custom of the
day.) Although the 18th century
censors didn’t find its parody of the
ruling class particularly amusing –
you, however, will find it hilarious,
delightful, and captivating!
CAST:
Figaro
Andrew Oakden
March 21, 24 & 27 in Miami
April 4 in Broward
Keith Miller
March 22, 25 & 28 in Miami
April 2 in Broward
James Maddelena
Lauren Skuce
March 21, 24 & 27 in Miami
April 4 in Broward
Dorothy Byrne
Valentina Farcas
March 22, 25 & 28 in Miami
April 2 in Broward
Conductor
Stewart Robertson
Costume Designer
Johann Stegmeir
David Pittsinger
March 21, 24 & 27 in Miami
April 4 in Broward
Stage Director
Stephen Lawless
Lighting Designer
Joan Sullivan-Genthe
Aaron St. Clair Nicholson
March 22, 25 & 28 in Miami
April 2 in Broward
Kelly Kaduce
March 21, 24 & 27 in Miami
April 4 in Broward
Florida Grand Opera/Glimmerglass Opera Production
Elizabeth Caballero March 22, 25 & 28 in Miami
April 2 in Broward
Sung in Italian with English and Spanish projected titles made
possible by
.
Susanna
Count
etc.
Countess
Bartolo
Marcellina
Andrew
Oakden
iller
Keith M
Set Designer
Benoit Dugardyn
The play on which Le nozze di Figaro is based caused a scandal at its premiere. In poking fun at the upper
class, it was seen as politically inflammatory, and in fact was banned in Vienna during Mozart’s lifetime. (Marie
Antoinette had a reading of the play secretly given at Versailles.) By replacing political satire with sexual rivalry,
Mozart and Da Ponte were able to sneak their comedy past the censors. The Imperial Italian Opera Company
paid Mozart 450 florins for the work. This was three times the lowly salary he received when he had worked as a
court musician in Salzburg. Da Ponte was paid 200 florins.
Le nozze di Figaro
e church on time!
Wolfgang Amadeus Mozart
ering Count and a
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She Fell in Love…And Ne
The gripping true story of a young geisha, seduced and ab
For him it was a few moments of passing
pleasure. For her it meant a lifetime of
love and devotion. Family, fortune and
honor—poor Butterfly forsakes them all,
for the officer who was no gentleman.
Madama Butterfly is the haunting story
of a young girl who was sold to be
trained as a geisha after her disgraced
father takes his life. But Cio-Cio-San,
known as “Madama Butterfly,” falls in love
and marries U.S. Navy Lieutenant B. F.
Pinkerton. To show her trust in him, she
has renounced the faith of her ancestors
and, therefore, can never return to her
own people. As Act I concludes, watch
for the duet, as Pinkerton carries her
from under the stars to the bed, surely
one of the most rapturous love songs
you will ever hear.
Unfortunately Pinkerton sees the
marriage as a brief port of call in his
traveling life and soon sails away.
Butterfly turns away suitors and sinks
into poverty — always believing he’ll
return one day.
In Act II, Butterfly is alone with her
servant Suzuki. Pinkerton has been gone
for so long that everyone but Butterfly
has begun to doubt that he will ever
return. Butterfly has no such fears,
however, and in one of the opera’s great
arias, “Un bel di,” sings in no uncertain
terms exactly how it will be when he
comes back. “One fine day,” she sings,
“We’ll see his ship in the harbor.” She
goes on to describe how she will almost
die of anxiety while waiting for him to
arrive at the house, and once he does,
how she will nearly die of happiness.
“This will all come to pass,” she sternly
tells Suzuki, and forces her to agree that
it will.
Sharpless, the American consul, arrives
with a letter from Pinkerton. Butterfly
is so overcome with joy that she keeps
interrupting the consul until he has to
tell her to be quiet. In a devastating
scene, with Butterfly clinging to hope,
and the consul growing bitterly unhappy
about his assignment, Butterfly is asked
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what she will do if he doesn’t come back.
The question hits her like a thunderbolt,
and we hear one, from the orchestra.
Butterfly’s heart is broken at the very
thought, and she finally arises and
returns with a young child on her
shoulder. A stirring brass fanfare
accompanies his introduction. “Can my
husband forget this?” she challenges.
Butterfly explains that the boy’s name
is “Sorrow,” but when his father returns,
his name will become “Joy.” Sharpless is
stunned at this latest news, and promises
to let Pinkerton know of the child as
he leaves.
Times drags on, and Butterfly is the topic
of much gossip. Just as things cannot
seem worse, distant guns salute the new
arrival of a man-of-war; Pinkerton’s ship.
In a joyous duet, Butterfly and Suzuki
strew cherry blossoms throughout
the house and array themselves and
the child in gala dress. All three peer
through shōji doors to watch for
Pinkerton’s coming. As night falls, a long
orchestral passage with choral humming
(the haunting “Humming Chorus”) plays.
Suzuki and the child gradually fall asleep,
but Butterfly never closes her eyes.
In Act III it is dawn, and Butterfly is still
intently watching. Suzuki awakens and
brings the baby to her. She persuades
the exhausted Butterfly to rest. Then
Pinkerton and Sharpless arrive and tell
Suzuki the terrible truth…
Pinkerton has abandoned Butterfly
for an American wife named Kate.
The lieutenant is stricken with guilt
and shame, but is too cowardly to tell
Butterfly himself. Suzuki is violently
angry, but is finally convinced to listen
as Sharpless assures her that the new
Mrs. Pinkerton will care for the child if
Butterfly will give him up. Pinkerton
then leaves.
Suzuki brings Butterfly into the room.
She is glowing, expecting to find her
husband, but is confronted instead
by Pinkerton’s new wife. As Sharpless
watches silently, Kate begs Butterfly’s
forgiveness and promises to care for her
child if she will surrender him
to Pinkerton.
Butterfly receives the truth with stoicism,
politely congratulating her replacement.
She advises Kate to tell her husband to
return in half an hour, and then he may
have their son. She herself will “find
peace.” She bows her visitors out, and
is left alone with her child. Shamed,
humiliated, and disgraced, will Butterfly
choose to live or, like her father, die
with honor?
She bids a wretched farewell to her
son, begging him to look closely at her
face so he will remember her when
he is far away. She puts a doll and a
small American flag in his hands, then
blindfolds him. She produces her
father’s dagger — the very weapon he
used to commit suicide — and reads its
inscription: “To die with honor, when one
can no longer live with honor.”
She takes the dagger and a white scarf
behind a screen, and emerges a moment
later with the scarf wrapped around
her throat. (The music is incredibly
tense and dramatic here, and one of
the most difficult roles for any soprano
to handle.) She embraces her child
for the last time and sinks to the floor.
Pinkerton and Sharpless rush in to find
the dying woman. The lieutenant cries
out Butterfly’s name in anguish… and
the curtain falls.
This final scene may be the most
emotionally powerful in the history
of opera. Madama Butterfly simply
overflows with some of opera’s greatest
music. The passionate duet as Butterfly
and Pinkerton consummate their
marriage; her poignant aria “Un bel di” in
Act II, and the unforgettable “Humming
Chorus” are just a few of the hauntingly
beautiful melodies that will linger in your
soul, long after you leave the theater.
CAST:
Cio-Cio-San
Shu-Ying Li
Adina Aaron
April 25, May 1, 3, 5 & 8 in Miami
May 16 in Broward
April 29 & May 2 & 9 in Miami
May 14 in Broward
Pinkerton
Arturo Chacón-Cruz
April 25, May 1, 3, 5 & 8 in Miami
May 16 in Broward
Alessandro Liberatore
April 29 & May 2 & 9 in Miami
May 14 in Broward
Suzuki
Katharine Goeldner
All Performances
Sharpless
Jake Gardner
All Performances
Goro
etc.
Jeffrey Halili
All Performances
Conductor
Stewart Robertson
Adina A
aron
Stage Director
Bernard Uzan
Set Designer
Roberto Oswald
ing Li
Shu-Y
Costume Designer
Anibal Lápiz
Lighting Designer
Gordon W. Olson
Production of Opéra de Montréal
This production has been made possible by a generous
gift from the Arthur F. and Alice E. Adams Foundation.
The performances of Shu-Ying Li and Adina Aaron as
Cio-Cio-San are sponsored by Northern Trust.
Sung in Italian with English and Spanish projected titles made
possible by
.
Madama Butterfly
bandoned by a U.S. Navy Lieutenant
Giacomo Puccini
ver Stopped Falling
Madama Butterfly inspired the award-winning musical Miss Saigon, and music from Madama Butterfly has been used
in countless Hollywood blockbusters. In fact, this is the opera that Glenn Close buys the tickets for in the movie Fatal
Attraction. It is this music she is listening to when we see the first signs that she is losing her mind.
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The Hottest Night in South Florida - Happens in Paris!
Florida Grand Opera’s
Opening Night Gala
Join us for an evening you will never forget, as for one
night only, Paris relocates to Florida! On November
15th, the hottest ticket in town will be the Florida
Grand Opera Gala Parisian Ball. It will be a spectacular
evening of music, dining, fashion, and fun!
It begins with the opening night performance of
Verdi’s La traviata. Then you will be ushered to a
private cocktail reception while the stage is cleared
and reset, for a magnificent gala dinner-dance for 400
guests. This Bal à Paris will be the social event of the
season in South Florida, and you don’t want to miss it.
It’s a celebration of all things French—romance, fine
food, haute couture, fragrance, and of course, Paris.
You’ll be joined by the La traviata cast and creative
team for this special dinner.
In honor of Season 68, Florida Grand Opera
commissioned five of South Florida’s hottest fashion
designers — to create five of the hottest gowns —
for five of the hottest operas! Each designer chose
one opera from this season, and created a unique,
one-of-a-kind ballgown, inspired by the production.
Bring your checkbook, because these gowns will be
unveiled for the first time ever at the Gala — and you
have a chance to bid on them! They’ll be part of the
fundraising auction during the evening. It’s a fun
opportunity to support the opera, and own your very
own spectacular haute couture gown!
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• Rafael Cennamo of Cennamo Couture creates a gown worthy of Violetta for La traviata
• Nicolás Felizola of Nicolas Felizola Atelier & Studio is inspired by the
Cinderella story for La Cenerentola
• Ana Maria Guiulfo from “Ana G.” Boutique designs a gown fit for a princess for Lakmé
• Lisbeth Hazoury couture designer captures the fun and romance of
The Marriage of Figaro
• Yoly Muñoz of Yoly Muñoz Couture forsakes it all for love, for
Madama Butterfly
Here are just some of the amazing
items you will have a chance to bid on
and possibly take home:
• Private Dinner with Met Opera
Superstar Dmitri Hvorostovsky;
• Spa Day at the luxurious House of
Guerlain, Paris;
• Cruise for two with luxury
accommodations to any port of call on
World Residensea;
• Elegant lady’s watch, from Van Cleef &
Arpels;
There will also be lots of other cool things up for auction to the highest
bidder. This is your chance to own signed opera memorabilia, weekend
getaways, and other high-end luxury items. You get cool stuff, and FGO
gets to present more cool opera!
• Five-star hotel weekend in Paris,
France;
Share in the “joie de vivre” as we celebrate the opening of Season 68, and
Florida Grand Opera’s status as one of Florida’s premier cultural institutions!
• Two front row seats at Mercedes-Benz
Fashion Week, New York;
The Opening Night Gala is a major annual fundraiser for Florida Grand
Opera, and tickets are limited, so make your reservations now! For tables,
tickets, underwriting, sponsorship, and other information, please contact
Denise Courshon at (305) 854-1643, ext. 1202.
• Diamond and aquamarine earrings
from M. Kanners Fine Jewelry;
• Private wine tasting including a case of
French wine, advice on building a wine
cellar from Wine and Cellar Concepts;
• Original fur piece from Castelli; and,
• Other exciting things!
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Don’t Miss a P
Subscribe for the Season and Experienc
When you subscribe for the season, you get a discount
that makes your fifth opera free. Subscribers receive
preferred seating, discounts and special benefits
throughout the year. And you’ll get to experience all
the winding plots of mistaken identities, passionate
encounters, heartbreaking betrayals, heartwarming
reunions, and breathtaking music. There simply is no
entertainment option anywhere in South Florida that
can compare to a season at the opera. You’ll find each
performance is the highlight of your week.
South Florida’s Best Entertainment Value...
Five-opera subscriptions start as low as $40. That’s eight
bucks an opera: Less than the price some people paid
to see “Snakes on a Plane!” Children age six and older
are welcome to attend the opera.
Lock in Your Seat…
As a subscriber you select the seats you want, and then
they’re guaranteed for every performance. And of
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course you get the first option to renew your same seat
each season every year.
We’ll Work with You…
If something comes up and you can’t make a particular
date, we’ll work with you. You can exchange your
tickets for another day, so you never have to miss a
performance. Simply let us know by 4 p.m. on the day
of a weekday performance or 4 p.m. on Friday for a
weekend performance. And there’s no service charge to
exchange tickets by mail or in person. (Of course tickets
cannot be exchanged after a performance has occurred.
If tickets are exchanged for higher-priced sections
or performances then you must pay the difference,
and if they’re exchanged for lower-priced sections or
performances, we cannot refund the difference.) Ticket
exchanges are subject to availability.
Advance Purchase Privileges…
Got some friends or family coming to town and want to
Performance!
e All Five Operas, but Only Pay For Four
snag some extra seats? As a subscriber you will receive
first choice for the best available seating when single
tickets go on sale.
Dog Ate Your Tickets?
Don’t worry if you forget or misplace your tickets. As
a season ticket subscriber, we can always look up your
place and give you location passes for your seats.
Special Gift…
Each year we do something to show our appreciation
for your support. Sometimes we collaborate with an
artist to create a commemorate poster, or perhaps a
beautiful calendar you’ll enjoy all year. Just know we
appreciate you and will find a way to show it!
The Fine Print…
Seating Priority for the most desirable seat locations
is given according to donor level and number of
continuous years as a subscriber. Seating is subject
to availability. Programming and artists are subject to
change.
You’ll Feel all Warm and Fuzzy…
We only hire nice people for our box office! If you have
any special needs or requests, they will do their best to
help you. Call them now at 1-800-741-1010, or
(305) 854-7890 and they will be happy to help you
choose your seats and save you the paperwork. Or you
can get them online at www.fgo.org. The best seats go
fast, so act quickly!
TICKET HOT LINE: 1-800-741-1010,
or (305) 854-7890, or fgo.org
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YOU Can Play a Sta
Even if You Can’t Sing a Note – We Can Make Bea
Your Sponsorship to Florida Grand Opera Keep
As you can probably imagine, opera is the most
labor intensive of all of the art forms. It’s a special
collaboration of both visual and performing arts,
and involves the creative talents of singers, dancers,
musicians, directors, conductors, technicians, stage
hands, and set, costume and lighting designers.
They all work together to bring the magnificent
productions of Florida Grand Opera to the stage. And
we can’t do it without your help!
Ticket sales only provide about one-half of Florida
Grand Opera’s annual operating budget. The other half
must come from gifts, grants and sponsorships from
corporations, foundations, government — and help
from people like you. Your tax-deductible gift makes it
possible for us to create the spectacular productions
you see on our stage, helps develop the careers of the
extraordinary singers who participate in our Young
Artist Studio, and provides education and outreach
initiatives that take opera to every corner of our
community.
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Over 100,000 tickets are sold to our performances
each year in South Florida, and more than 50,000
youngsters and adults participate in our educational
and community programs, which include in-school
opera programs, free concerts and lectures. We need
your help to keep serving our community in this way.
Ways You Can Help:
Outright Gifts: Your annual gift helps us
maintain the Opera as a central cultural
force in our community and one of the
major cultural institutions in Florida.
Donating publicly traded securities in lieu
of, or in addition to, your cash gifts can
offer tax advantages. Check with your
financial planner.
rring Role!
autiful Music Together!
ps the Curtain Rising.
Commemorative and Memorial Gifts:
You can make a gift in honor or in memory
of a family member or treasured friend.
Planned Gifts: Remember the Opera
in your estate plans through bequests,
trusts, and other planned gifts, ensuring
both your legacy and the future of the
Company.
Matching Gifts: Your contribution could
be doubled if your company participates
in FGO’s Matching Gift Program. Check
with your human resources department.
(Sometimes retired employees are also
eligible.)
Become a part of the Opera’s family and
join us in keeping grand opera strong in
South Florida. More than 7,500 individuals
support Florida Grand Opera through their
membership contributions. Won’t you join
them?
Find the Level Right for You…
In acknowledgement of their generosity,
FGO supporters receive special
recognition, and a variety of benefits
commensurate with their giving levels.
Annual Fund
Gifts from $25 to $1,499 are deeply
appreciated, and in recognition, are
listed at the $100 and over level each
year in the Season Program Book.
Lyric Society
Beginning at the $1,500 level,
membership in the Lyric Society offers
special benefits and recognition at its
various contribution levels, including a
photograph in the Season Program Book.
At the $15,000 level and above, donors
also receive a half- or full-page profile.
Other benefits include: attendance
at dress rehearsals, priority seating,
membership in the Opera Club, and
invitations to all Opera special events.
Crown Jewel Society
Beginning at the $25,000 level,
membership in the Society reflects the
commitment of major donors to the
mission of Florida Grand Opera and
represents the backbone of support for
the Opera’s annual operations. Donor
recognition includes a full-page profile
and a photograph in the Season Program
Book.
At this level of support and over, benefits
and recognition include production
sponsorships, performance underwriting
credit, exclusive events with performers
and members of the Young Artist Studio,
even private concerts at your home or
business. For complete details of all
categories and benefits, please call:
(305) 854-1643, ext. 1203, in Miami-Dade
(954) 728-9700, ext. 1700, in Broward
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Artist Spotlight…
Leah Partridge
A Shocking Confession:
South Florida’s favorite diva admits she sings
country when there’s no one around!
Leah Partridge, budding soprano superstar, and
one of South Florida opera goers favorite singers
has a startling confession: She always thought
she would grow up to be a country singer. The
Georgia native grew up singing gospel and doing
country duets with her sister Stephanie.
Leah went straight from university to Florida
Grand Opera’s Young Artist Studio, and became
one of its greatest success stories. She has
received consistent praise for her virtuosic
technique and dramatic insight. FGO has brought
her back in starring roles to rave reviews.
She still loves singing country when alone at
home or in the car. “There are all the low notes,
and I think they help my high notes when I sing
opera,” she says, laughing. “I guess. I don’t know.”
The Miami Herald praised her performance of
Lucia in Lucia di Lammermoor as “a singular
triumph,” and the Sun-Sentinel wrote that she
had “undeniable star quality.” Along the way
she has made some of the great bel canto roles
her own, and her career already includes many
performances as Lucia, Violetta in La traviata, and
Gilda in Rigoletto.
It was only when she was in college that one
of her professors recommended that she study
classical music with legendary soprano Virginia
Zeani. There’s no doubt now it was a great career
move, as she went on to win first place in the
vocal competitions of Palm Beach Opera and
Opera Birmingham.
Last season she returned to FGO starring as
Cleopatra in Giulio Cesare (Julius Caesar), and
made her debut at the Met. This season you
can see her again, as she stars in the title role
of Lakmé. The part requires some of the most
difficult coloratura singing around, so that
country music must be paying off!
Leah Partridge as Lakmé
Photo by: Deborah Gray Mitchell
Leah Partridge’s performance is made possible by a gift from the Laurans and Arlene Mendelson Family.
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Florida Grand Opera
8390 NW 25th Street
Miami, FL 33122
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