Il seGretO DI susANNA rItA

presents
Il segreto di
susanna
&
RITA
at the
artsdepot
16-17 May 2008
IL SEGR­ETO DI SUSANNA
(Susannah’s secret)
Intermezzo in one act
Music by Ermanno Wolf-Ferrari
Original Italian Libretto by Enrico Golisciani
This amateur production is presented by
arrangement with Josef Weinberger Ltd.
Il Segreto di Susanna was first performed at the
Hoftheater, Munich, on 4 December 1909.
RITA
Opera in one act
Music by Gaetano Donizetti
Libretto by Gustave Vaëz
Rita was first performed at the
Opéra-Comique (Salle Favart)
on 7 May 1860.
IL SEGRETO DI SUSANNA
(Susannah’s secret)
Segreto di Susanna is a one act opera composed
by Ermanno Wolf-Ferrari which premiered
in German at the Hoftheater in Munich on
4 December 1909.
Synopsis
Count Gil returns home believing he has seen his wife Susanna walking
alone in the street. He is relieved when he discovers that she is humming
to herself in her room. His happiness, however, dissolves after a few
moments: the room smells of tobacco.
He is surprised. He doesn’t smoke, Susanna doesn’t smoke nor does the
servant Sante. Suddenly a horrible thought strikes him - is it possible that
Susanna is unfaithful to him with a smoker?
Although he chastises himself for his jealousy, as Gil goes to hug Susanna he
notices that the tobacco smell comes from her clothes. Susanna eventually
admits that she has a secret, but refuses to tell him what. Enraged beyond
the realms of endurance, Gil turns the house upside down looking for “the
smoker”. Eventually he calms down and determines to go to his club (a
ruse to see whether Susanna can be caught in the act).
As soon as he leaves, Susanna, desperate to calm her nerves, lights a
cigarette. This is her secret. Gil, on the pretext of having forgotten his
umbrella, returns, smells the smoke and yet again sets about the house
looking for the culprit.
Finally, Susanna is caught with a cigarette in her hand and the secret is
out. They forgive each other and puff away merrily together swearing
eternal love.
RITA
Rita, also known as Le mari battu, is a comic opera
composed by Gaetano Donizetti in 1841 and first
performed on 7 May 1860 at the Opéra-Comique,
Paris.
Synopsis
Rita is the tyrannical and abusive wife of the timid Beppe. The life of the
couple is thrown into turmoil with the unexpected arrival of Gasparo, the
first husband of Rita, whom all believed to have drowned.
In reality, Gasparo had run away to Canada. Believing that Rita has died
in a fire, Gasparo has returned to obtain her death certificate so that he
can remarry.
When Beppe realises the situation he sees this as an opportunity to free
himself from Rita’s beatings, Gasparo being her legitimate husband.
The two men agree to play a game, the winner is to remain with Rita. Both
try to lose, but ultimately the winner is Gasparo.
Rita, who had suffered frequently from the hand of Gasparo, refuses
to return to be his wife. Gasparo, pretending he has lost the use of his
arm persuades Rita to come back to him, she agrees giving Gasparo the
marriage contract.
Only then does Gasparo (the cad) refuse to stay. Beppe challenges him
to fight believing Gasparo to be crippled. Gasparo, of course, is not and
Beppe receives yet another beating.
Rita shows concern for Beppe who realises that he loves her and all then
happily resolve to abuse each other firmly and affectionately all in the
name of love.
artsdepot is the only professional arts venue in the London
Borough of Barnet and is committed to providing a diverse range
of high quality visual and performance arts for everyone. This
summer there are a whole range of activities, many of which are
completely free. Come and visit the Apthorp Gallery and see
one of the diverse exhibitions artsdepot presents. Catch some
free music in the foyer, either at our Sunday Buzz sessions or
the monthly Folk in the Foyer. Performance highlights include
Cirque Bijou with their high energy circus show, artsdepot’s
comedy festival North to North Fest and an Audience with
Prunella Scales.
For further information log on to
www.artsdepot.co.uk
Box Office: 020 8369 5454
A message from the Director
Although both Segreto di Susanna and Rita appear frivolous in content,
I do believe that there is slightly more to them than meets the eye. I also
believe that even though the context of each is highly comic and rather
ludicrous, there are some relevant and perhaps more sinister parallels in
today’s very different yet complex social scenarios.
Underlying Susanna’s need to have a “fag” and its truly comic consequence
is her need to keep this a secret and her very real fear of discovery.
Although the human condition has moved on a great deal from the
original setting of Wolf-Ferrari’s opera and although the piece resolves
well enough with the happy couple chuffing merrily away together, let
us not forget that the main motivation driving this comedy is that most
invidious of emotions: jealousy. Also, should we consider that perhaps
women are still not as free as they could be? And, although we all can now
enjoy a night out without bringing home the stench of tobacco smoke, is
the debate concerning the increasingly proscriptive nature of our society
today one that we should all re-enter with renewed vigour?
In terms of Rita’s penchant for abusing her husband, Beppe’s chinless,
quivering lack of manliness and Gasparo’s overwhelming brutishness,
I have delighted in directorially taking this to the most burlesque of
extremes whilst retaining a family rating. However, again, although I hope
that you greatly enjoy what is ostensibly a rather fluffy and light 50 minutes
of comic entertainment, let us not forget that spousal abuse, whether male
or female is as real an issue today as it was 30, 50 or 150 years ago.
But - for tonight let us entertain you with magnificent music, engaging
performance and some rather silly slapstick.
Have fun (I know I have)!
Dan Luxon
IL SEGRETO DI SUSANNA
(Susannah’s secret)
Cast List
Susanna
Count Gil Graham Stone
Sante
Gabrielle Highman
Dan Luxon
The action takes place in and around Susanna’s
bedroom, a most pleasant boudoir somewhere near
Dorking.
We would respectfully remind patrons that tape recording, video recording and the
taking of photographs are not permitted during performances. Please also ensure
that mobile phones are switched off in the theatre.
RITA
Cast List
Rita
Sara Clark
Beppe
Dan Luxon
Gasparo
Oliver Gibbs
Narrator
Gabrielle Highman
The action takes place somewhere dark and a little
seedy, outside Rita’s, an establishment of some dubious
class and certain serendipity.
Production
Director
Dan Luxon
Musical Director Julian Jacobson
Assistant Musical Director
Wai-Yin Lee
Lighting
Arts Depot Staff
Stage Manager
Arts Depot Staff
Stage Crew
Helen Johnson
Marianne Wentzel
Front of House
Arts Depot Staff
Props
Gabrielle Highman
Programme Design Peter Burch
Box Office
Arts Depot
There will be an interval of 20 minutes
between the operas.
Biographies
Dan Luxon – Director/Beppe/Sante
Dan’s directorial debut of Cosi fan tutte for Rhapsody in 2007 was well
received. Determined to incorporate all, from the sublime to solidly
ridiculous, he hopes his directorial mark will be enjoyed by all. As a
performer, Dan has delivered many leading roles for a wide variety of
travelling and permanent companies. For a number of years Dan sang
regularily with Garsington Opera and for Raymond Gubbay. Operatic roles
include Don Jose (Carmen), Nadir (The Pearl Fishers), Riccardo (Ballo in
Maschera), Alfredo (La Traviata), Turridu, (Cavalleria Rusticana), Rodolfo
(La Bohème), Rinuccio (Gianni Schicchi); Alfredo (Die Fledermaus),
Tamino (The Magic Flute), Ferrando (Cosi fan tutte), Bob Bowles (Peter
Grimes).
Outside Opera, Dan performed as a soloist in the Northeast Proms series,
was part of an Opera themed cruise down the Amazon and frequently
performs oratorio and recital work all over the UK.
Julian Jacobson – Musical Director
Julian Jacobson has a well-established reputation as a distinctive and
wide-ranging pianist with an enormous repertoire covering all periods
and many different styles. In 2003 his marathon performance of the 32
Beethoven sonatas in a single day at St James’s Church Piccadilly attracted
worldwide media coverage, as well as excellent reviews, and raised over
£6000 for WaterAid. He has toured in more than 40 countries on five
continents and recorded some two dozen CDs. A founder-member of
the National Youth Jazz Orchestra, he has recently begun to play jazz
professionally again and has also performed the Sprechstimme role in
Schoenberg’s Pierrot Lunaire three times since 2006. In the opera world,
he was Assistant Conductor for Longborough Opera’s Ring cycles of 2002
and 2004. Some of his instrumental music is published by Bardic Edition,
and he has composed and conducted five TV and film scores.
He is currently professor of piano and chamber music at the Royal College
of Music and gives masterclasses internationally.
Wai-Yin Lee – Assistant Musical Director
Wai-Yin Lee was born in Hong Kong, where she obtained her first Music
Degree in Piano from the Hong Kong Academy for Performing Arts
(HKAPA). In 2000, she was awarded a two-year Full Scholarship from the
Royal College of Music in London (RCM Hong Kong Scholar,) supported
by Rothshild Trust and Crocher Trust, to pursue her postgraduate
studies with Professor Julian Jacobson from September 2000 to July
2002. After completing her Masters Degree in Piano Performance at
the Guildhall School of Music and Drama (GSMD), she continued her
studies as repetiteur with Professor Caroline Palmer on City Educational
Scholarship. The following year, she was awarded a repetiteur fellowship
at the GSMD for the period of two years. She was the professional accompanist for the vocal department of GSMD
and HKAPA, rehearsal pianist of the Opera Society of Hong Kong and
senior pianist of the Hong Kong Children’s Choir.
Since her arrival in the United Kingdom , Wai-Yin has established a dynamic
and versatile musical activity. Apart from giving solo and chamber recitals
at various venues across UK, she’s been working as Musical Director of the
European Chamber Opera for the autumn tours since 2004, performing
well-known operas (Rigoletto, Carmen, Madama Butterfly and La
Traviata) in south-east Asia, Japan and the United Arab Emirates. In the
summer of 2004-2006, she was selected as one of the repetiteurs for the
British Youth Opera’s productions - Cunning Little Vixen, Eugene Onegin
and Cosi fan tutte, in which she played the continuo part in Sadler’s Wells
– Peacock Theatre. Other operatic experiences include Marriage of Figaro,
Lucia di Lammermoor, Tosca, Il Trovatore, Beatrice and Benedict, Comedy
on the Bridge, Don Pasquale, Mignon, Falstaff, Il Tabarro, Gianni Schicchi,
L’amore di Tre Rei, Koanga and The Little Green Swallow.
Wai-Yin has also appeared on Hong Kong Radio 4 (Young Artist
Programme) and BBC3 in tune with singers from GSMD and BYO. She
has also worked for Guildhall Junior, Opera Holland Park, English Pocket
Opera Company, Pegasus Opera Company, Lyrique en Mer and National
Opera Studio.
Sara Clark – Rita
Sara was born in London and read History at Cambridge University. Sara
has sung a variety of roles in opera, operetta and musicals, including
Despina (Cosi fan tutte), Rosalinda and Adele (Die Fledermaus), Musetta
(La Bohème), Zerlina (Don Giovanni), Oscar (Masked Ball), Nannetta
(Falstaff ), Susanna and Barbarina (Marriage of Figaro), Queen of the
Night (Magic Flute), Morgana (Alcina), Gabrielle (La Vie Parisienne),
Sarah Millick (Bitter Sweet), Rapunzel (Into the Woods), Polly Peachum
(The Threepenny Opera), the title roles in Maria Stuarda, La Belle Hélène
and Massenet’s Cendrillon.
She has also sung most of the Gilbert and Sullivan heroines, namely
Mabel (Pirates of Penzance), Gianetta (Gondoliers), Josephine (HMS
Pinafore), Patience (Patience), Plaintiff (Trial by Jury), Phyllis (Iolanthe),
Aline (Sorcerer), Elsie (Yeomen of the Guard), Princess Ida (Princess Ida)
and Yum Yum (Mikado). Sara’s future plans include Donna Anna (Don
Giovanni) for Rhapsody Opera in December 2008.
Oliver Gibbs – Gasparo
Oliver was born in London and gained a degree in Theatre Studies and
English Literature at Lancaster University and a postgraduate diploma
in acting from the London Academy of Performing Arts. After initially
following a career in acting, he subsequently concentrated on his singing
with spells appearing in the chorus with The D’Oyly Carte Opera and
Grange Park Opera. He has performed principal roles such as Eugene
Onegin, The Count and Figaro (Figaro), Coppelius (Tales of Hoffmann),
Malatesta (Don Pasquale) and Peter (Hansel and Gretel) with Opera SouthEast, Midsummer Opera, Aquarian Opera and Opera Del Mar.
He has also appeared as Dromio di Efeso in Storace’s Gli Equivoci at the
Batignano Festival in Tuscany and presented a solo recital at the Edinburgh
Festival. Other roles include Mustapha (Italian Girl in Algiers) for Bath
Opera, Giorgio Germont (La Traviata) for Windsor and Eton Opera, Silvio
(Pagliacci) for Riverside Opera, and Captain Corcoran (HMS Pinafore)
for Carl Rosa Opera. He has more recently sung the roles of Dr Bartolo
(Barber of Seville) for Opera East and Fire in the new opera Flood by Kirsten
Morrison – a role created for him. He is also a member of the extra chorus
at the Royal Opera House.
Gabrielle Highman – Susanna/Narrator
Gabrielle has sung various roles in opera including Susanna (Marriage
of Figaro), Despina (Cosi fan tutte), Musetta (La Boheme), Lauretta
(Gianni Schicchi), Frasquita and Mercedes (Carmen), L’enfant (L’enfant
et les sortileges), Giannetta (The Gondoliers) and Second Lady (The Magic
Flute).
Gabrielle has also performed in oratorio singing soprano solo in such
works as Dona Nobis Pacem (Vaughan Williams), Pergolesi’s Stabat
Matar and Mozart’s Mass in C. Gabrielle is a regular member of Opera
Viva which specialises in concert performances of opera scenes and arias.
Gabrielle’s next appearance will be in the role of Zerlina in Don Giovanni
for Rhapsody Opera.
Graham Lawder-Stone – Count Gil
Graham started in music as a brass player and by the age of 17 had
performed in a Royal Variety Performance and on Val Parnell’s Sunday
Night at the London Palladium. His first real stage role was as Tony in
West Side Story which was advertised in an episode of Dixon of Dock
Green. He studied singing with the eminent baritone John Hargreaves,
and later with Nina Walker, Joy Roper and Stephen Wilder.
In the last four years he has sung 17 different major baritone roles in
opera, including most recently, Amonasro (Aida) for Windsor and Eton,
Sharpless (Madam Butterfly) and Germont (La Traviata) for Hampstead
Garden Opera, Rigoletto for Park Opera, Kecal (The Bartered Bride) and
Henry (Lucia) for Opera at Bearwood and Colline (La Boheme) at Epsom
Playhouse and the Minack for Beaufort Opera.
In set design, commissions include full productions of The Magic Flute for
Diana Saperia, The Mariage of Figaro for Oliver Broome, and Projection
designs for Bussoni’s Turandot, Gianni Schicchi for Stephen Pimlott and
Dialogues of the Carmelites for Michael Rennison.
Do you need something novel, quirky, stimulating and
fun for a corporate function? Then look no further.
Whether you want to pep up a conference or awards ceremony with
something impromptu, operatically entertain during a dinner, round off
a successful event or 0rganise the performance of an entire opera to
woo and wow clients, Rhapsody Opera will deliver.
Contact either Sara or Dan on 020 8248 3323, email us at
[email protected] or visit www.rhapsodyopera.com
for further details.
Dr D Sister
Feel as young as you look
Look as young as you feel
8/9 Lambton Place
London W11 2SH
Tel: 020 7221 2248
[email protected]
www.drdsister.com
Will return to the artsdepot in
December 2008 with:
DON GIOVANNI
by W A Mozart