York Opera

Tales of Disguise and Deception

Excerpts From

L’Elisir D’Amore

By Gaetano Donizetti

The Marriage of Figaro

By Wolfgang Amadeus Mozart

Princess Ida

By Gilbert and Sullivan

Falstaff

By Giuseppe Verdi

27th-29th April 2016

York Guildhall

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the performance of opera in the ‘round’ here in the Guildhall brings the action up close and personal and is as good as an experience, if not better than, the performances broadcast to cinemas around the country
— Alan Gillott, York Mix

2016’s Spring performance focuses on the theme of Disguise and Deception in opera. So often this form of theatre relies on performers either hiding or pretending to be someone else whilst on stage, and our selection of operas this evening - presented in the round - shows off this theme.

 

L’Elisir D’Amore

The story of Nemorino, a simple village youth who loves Adina, a wealthy farmer, who favours the more wordly and boastful soldier, Belcore. After hearing Adina reading the story of Tristan and Isolde, Nemorino enlists the help of Dr. Dulcamara, a travelling medicine man, who claims to have an infallibale love potion. Dulcamara is a quack, whose elixir is not what he claims, but, as in all good operatic comedies, love and human nature eventually win through.

Did you know that Donizetti was given only fourteen days to write L’Elisir (commissioned by the Teatro della Cannobiana) - seven of which were taken up by the librettist preparing the script!

The Marriage of Figaro

In the final scene of the opera, Countess Almaviva and her maid, Susanna, are in the garden at night, disguised in each other’s clothes in order to expose the infidelity of the Count.

Count Almaviva thinks that he has an assignation with Susanna, but ends up making amorous overtures to his disguised wife. Susanna is also angry with her newly married husband, Figaro, for doubting her fidelity. Eventually all is resolved and the other characters emerge from their hiding places in the garden to sing a rousing finale.

Did you know that, based on Beaumarchais’ play (sequel to The Barber of Seville), Le Nozze di Figaro was Mozart’s first collaboration with librettist, Lorenzo da Ponte, who went on to write the libretti for Cosí fan Tutti and Don Giovanni.

Princess Ida

Princess Ida is the only Gilbert and Sullivan opera to be written in three acts and this excerpt is from the delightful second act. In Act 1 we have learnt that King Gama’s daughter, Princess Ida, was betrothed as a baby to King Hildebrand’s son, Prince Hilarion. It is now time for Kilarion to claim his bride, but shee has established an all-female university in Castle Adamant, and refuses to leave. Hilarion and his friends Cyril and Florian scale the walls of the castle and disguise themselves in ladies’ academic robes to gain access to the community. They manage to deceive Ida, but Lady Psyche and Melissa are not so easily taken in.

Did you know that Gilbert based his story and characters on Tennyson’s long poem The Princess, and wrote his dialogue in blank verse, even incorporating one or two quotes. The poem (of 1847) tells of a princess who was:

All wild to found an University

For Maidens

predating the establishment of Girton and Newnham Colleges, Cambridge, in 1872 and 1875.

Falstaff

Falstaff was Verdi’s last opera and it is his version of Shakespeare’s The Merry Wives of Windsor, in which the ageing Sir John Falstaff attempts to seduce Alice Ford and Meg Page, both happily married ladies. They conspire to pay him back for insulting their virtue and the final scene is in Windsor Forest where all the townspeople come, disguised to trick and torment Sir John. Alice’s daughter, Nanetta, disguised as Titania, who commands all the “fairies” to torment the would-be seducer. During the proceedings Nanetta manages to slip away and marry her true love, Fenton.

Did you know that Arrigo Boito, whose libretti for Otello and Falstaff are considered to be the finest in Italian opera, was also a composer in his own right whose best-known work is Mefistofele, based on both parts of Goethe’s Faust. Its original version (later altered) was five and a half hours long!

 Cast

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Cast for L’Elisir D’Amore

Adina

Nicky Burrows

Gianetta

Thea Jacobs

Nemorino

Andrew Powis

Dulcamara

Ian Thomson-Smith

Belcore

Anthony Gardner

Cast for The Marriage of Figaro

Countess Almaviva

Hilary Dyson

Susanna

Susan Blenkiron

Cherubino

Olivia Hildreth

Marcellina

Amanda Shackleton

Barbarina

Helen Eckersall

Count Almaviva

Clive Goodhead

Figaro

Anthony Gardner

Bartolo

John Soper

Antonio

Richard White

Basilio

Stephen Wilson

Curzio

Paul Richardson

Cast for Princess Ida

Princess Ida

Clare Meadley

Lady Psyche

Sally Lewis

Melissa

Bethan Terry

Hilarion

Michael Foster

Cast for Falstaff

Cyril

Hamish Brown

Florian

Alex Holland

Alice Ford

Ione Cummings

Meg Page

Rebecca Smith

Nanetta

Elisha Lofthouse

Mistress Quickly

Margaret Soper

Falstaff

Ian Thompson-Smith

Fenton

Andrew Powis

Ford

Clive Marshall

Bardolph

Hamish Brown

Dr. Caius

Mark Greene

Pistol

Duncan Campbell

Crew

Musical Director

Steve Griffiths

Piano

James Sanderson

Tim Tozer

Costume

Margaret Soper

Anna Day

Sandra Rowan

Staging

Paul Richardson

Members of the Company

Properties

Patricia Easton

Sue Goodhead

Publicity Design

John Soper

Repetiteurs

Les Bresnen

Margaret Griffiths

Alasdair Jamieson

James Sanderson

Tim Tozer

 Press

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Review: York Opera, Tales Of Disguise And Deception, York Guildhall

York Evening Press | Martin Dreyer | 28th April 2016

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Review: Tales of Disguise and Deception, York Opera

York Mix | Alan Gillott | 29th April 2016

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York Opera celebrates 50 golden years with two special performances

York Mix | Hilary Dyson | 27th April 2016

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Review: Tales of Disguise and Deception, York Opera

York Evening Press | Michael Foster | 22nd April 2016

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Galleries

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