Opera M.D.-University of Tennessee Opera Theatre

Opera Guidelines - A few helpful tips for opera pianists and singers

2011-09-21T05:54:00.000-07:00

The following is collected from information I have used in the past while working with pianists and singers in opera training programs. Some of it may even have been posted here in the past.

No one has ever said that opera is easy. In fact, to do it (as with almost anything else) WELL, takes a lot of hard work and determination. Here are just a few thoughts and suggestions on ways to work productively both before and during rehearsals.

Cheers!

Role of the opera pianist:

Rule #1: The pianist always rules the rehearsal

Both musical and staging rehearsal time is always minimal and often very valuable. There is little, if anything, that a stage director, conductor or the singers can do if the pianist is fumbling or unsure to any extent. Since the pianist is expected to be able to follow a conductor, play the score with great security and virtuosity (sounding like the world’s greatest orchestra) and catch all mistakes the singers are making in pitch, rhythm, text and diction and be able to sing any missing vocal parts when necessary (while continuing to play), the pianist must then be the most prepared of anyone in the room.

The pianist’s role is to be subservient to the conductor’s musical vision and instruction, but must not rely on the conductor to provide all musical information or correct all mistakes. The pianist should be the most knowledgeable about the score and the text and use his/her skills to assist the conductor as much as possible. The opera pianist will regularly correct the mistakes of the singers, without waiting for the conductor to address them. The pianist often helps to control the pacing of a rehearsal too. The pianist can help to prevent a rehearsal from getting bogged down in silence or indecision by anticipating where the conductor or stage director may wish to begin after a pause. This sort of ‘telepathy’ is achieved when the pianist has a very thorough knowledge of score and libretto and has paid careful attention to the singers, and to the discussions of the stage director and conductor during the pause.

In summary: The rehearsal pianist is extremely active, never passive.

Rule #2: Rehearsal #1 = Performance #1

Not just in opera, but in any collaborative situation, there should be one guiding rule: Be prepared for your first rehearsal as though it were a performance.

With rehearsal time always at a minimum, the coaching or rehearsals are not the place for the pianist to be learning his/her score. When coaching singers individually, the pianist is solely responsible for progress in the rehearsal as there will usually be no conductor (or anyone else) present. The pianist’s job is correcting all pitches, rhythms, text and diction. Moreover, it is the pianist’s responsibility to make sure the singer has thoroughly studied the character and made strong musical decisions based on their decisions of character. Since the pianist will, in fact, lead the singer through all facets of preparation (technical, dramatic and musical), the pianist must have a complete knowledge of the score, the language, the libretto, the characters, the performance traditions AND be able to play the score and sing all parts with perfection BEFORE meeting for the very first rehearsal.

Summary: The pianist must be as prepared for the first rehearsal as he/she would be for a performance

Rule #3: Be methodical

Because there is so much information and material for an opera pianist to master, it is essential to be very organized and disciplined in the way one prepares. With experience, everyone will come up with a method of practice and score study that is most useful, but the following is an example of how to gain the most BASIC of preparations. Note that the pianist is responsible for the information not just for pianists, but for being able to lead the singers through their preparations as well. In other words, everything the singers are asked to do must also be done by the pianist:

Donizetti’s L’Elisir d’amore (The Elixir of Love)

Recommended process for learning this score:

There are several steps necessary to gain a thorough knowledge of a work before setting foot in the rehearsal room. While you may find your own method more suitable, the following is intended as one suggestion for learning an opera score for those that may have little or no experience.

Materials needed:

· Piano/Vocal score (Ricordi edition is preferred)

· Full Score, if possible (Ricordi publishes an affordable edition)

· CD Recordings

· Libretto which includes both the original Italian text and a good (preferably literal) translation of the text. The best source is Nico Castel’s literal, word-for-word translation.

Steps for score study/preparation:

1) Read through the entire libretto first to acquaint yourself with the story and the characters.

2) Start from the beginning, and read through the translation of the text for each section (ie. Chorus, aria, trio, etc.)

3) Write the word-for-word literal translation into your score.

4) Speak, out loud, the Italian text for this section

5) Listen to a recording of this section

6) Work through the piano part, learning all notes, rhythms, fingerings, etc.

7) Play through the vocal part(s), singing along, making sure to learn the Italian text as you go.

8) Listen to the recording once again, this time following along with the full orchestra score (if you have one). Pay particular attention to the sounds of the orchestra, noticing as much detail as you can about the sounds of different instruments, etc..

9) Play through the section again at the piano, trying to imitate the sounds of the orchestra as much as possible while also trying to sing/”hear” the vocal part as you play.

10) Listen to the recording once more while again following along with the score.

For Singers:

The singers prepare according to the following guidelines. However, the pianist may need to assist or even teach much of this to them. Therefore, the character study section is very important for pianists to think about before coaching as well.

The following are suggestions to a singer as to how to prepare his/her role in Mozart’s Die Zauberflote:

Steps to Preparing Your Role:

1) Read the libretto (not just a synopsis) in its entirety at least twice. Do this before doing ANYTHING else.

2) Translate the entire score

--word for word (which you will write underneath each word of the original). Translate everything your character says AS WELL AS everything your character would overhear other characters saying on stage. (In other words, don’t translate only half of a conversation!)

--in a loose translation of all that is said when you are not on stage: even if it is not your material, you MUST understand the whole opera to be able to know your character’s place in the story and relationship to other characters.

3) Listen to recordings (always listen to more than one recording!!!)

--NOT TO LEARN THE ROLE but to get an overview of the opera.

--Follow along with your score. Pay attention to the orchestration and how it will influence/impact your vocal performance (e.g., thick orchestra vs. light orchestral color; pizzicato vs. legato playing from the strings, etc.)

--Listen/watch videos of the opera in the original language.

4) Historical Research

--social situation: Understand the place your character holds in society and what that means with respect to the way you interact with social superiors, equals or underlings. (For example, if your character is a servant, does he/she bow to others? does he/she look a superior in the eyes?)

--literary influences: Is this work based on a book, a legend or some other kind of story? If so, how is it similar, or how does it differ from the original or different versions?

--composer: Who was Mozart? What do you know about him, his personality, his life? What is his musical “style” and what is characteristic about his music?

--librettist: Likewise, who was the Emanuel Schikaneder? Did he write this story? If not, how did he change the original story? What was his relationship with the composer?

5) Style

--music: What is the appropriate musical style for this work (for example, do we sing using portamenti, ornamentation, cupa, etc.)? How do you sing Mozart differently than Puccini or Massenet?

--physicality: what are the physical demands required to safely and effectively sing your role? (For example, does your character often have to sing while fighting, or crawling on the ground?)

--costumes of the period: How might your character be dressed on stage and how might this affect your movement/physicality. (For example, are the ladies wearing corsets? If so, how will this affect the way you breathe? Men: Will you have heavy costumes that require extra strength or breath control?)

--artwork of the period: A helpful way to learn the aesthetic of the Classical period is to look at artwork (paintings, sculptures, architecture) from that period. Often that can tell us some things about the style, people and music.

*Questions to answer about your Character:

Sometimes the libretto/story tells us many things about our characters. However, sometimes it does not tell us everything we need to know. When you cannot find information in the libretto, you may be required to either find the answers somewhere else OR to make up the answers for yourself. While a big part of this program will be helping you to do this, it is important that you already begin to understand your characters as much as possible by asking yourself many of the following questions and finding the answers. Read through the libretto, maybe the answer is there. If not, sometimes that historical research will tell us. If that doesn't work, then just think about your character and decide for yourself. This will all be very important to how you move on stage, how you act and even how you will sing!

--Where did he/she come from?

--How old is he/she?

--What is he/she like?

--How does he/she differ from “original” character (if the work is based on pre-existing story)?

--How does he/she change during the opera?

--Where is he/she going?

--Where/when does he/she live?

--What are the social structures, standards, expectations of the period?

--What are you based on? (a fictional character? a legend? an actual person?)

--What do the other characters think about you?

--What do you learn as the character develops?

--What does the audience know that you don’t?

--Who are some of the past great interpreters of the role?

--What was their contribution to the role and what special qualities of voice did they have to help the character?

UTOT Fall Casting

2011-08-25T09:56:00.000-07:00

First of all, thanks to everyone for their attention and professionalism during auditions. It really was one of the smoothest and most enjoyable audition experiences since my arrival at UT. While life dictates that there will ultimately be disappointments, I couldn't help but be impressed with the seriousness with which everyone took these auditions. In all honesty, there were several instances in which individuals did some of their most impressive work. It was a pleasure to see and hear everyone giving their all.

Below are the cast lists for UTOT's Fall productions.

More information about the Medea workshop in particular will be available very soon!

All my best

K.C.

SUOR ANGELICA - G. Puccini

Angelica: Theresa Dunigan, Linda Brimer

Genovieffa: Maria Natale, Genevieve Kimbrough, Erin Underwood

Osmina: Alex Engle, Adara Towler

Dolcina: Annie Schwartz, Natalee McReynolds

Principessa: Cate Bolden, Martha Prewitt

La Badessa: Adara Towler, Holly Ownby

La Maestra delle novizie: Sarah Fitch

Zelatrice: Susan Thieme, Julie Roy

Infermiera: Amanda Lovell

Cercatrici: Lauren Brown, Katie Merrell

Rachel Goldsten, Hana Lamb

Converse: Bianca Griffin, Mariel Westervelt

Novizia: Christina Marcenkus, Maddy Witt

Jenna Weaver, Elizabeth Williams

**(All MEN participate in off-stage Chorus)**

NOTE: CAST MEETING: Tuesday, August 30, 2011 at 7pm in AMB 50

More information regarding the content of this meeting will be forthcoming.

THE MEDIUM - G. Menotti

Monica: Natalee McReynolds, Genevieve Kimbrough

Madame Flora (Baba): Martha Prewitt, Cate Bolden

Mrs. Gobineau: Alex Engle, Maria Natale, Annie Schwartz

Mr. Gobineau: Ryland Pope, Ian Richardson

Mrs. Nolan: Sarah Fitch, Susan Thieme

Toby: Boris VanDruff, Ian Richardson, Kris Herron

NOTE: CAST MEETING: Monday, August 29, 2011 at 3:30pm in AMB 50

More information regarding the content of this meeting will be forthcoming.

MEDEA - L. Delinger

Workshop: October 17-26

Jason: Kevin Doherty

Medea: Susan Thieme

Creon: Aaron Murphy

Older Boy (tenor): Kris Herron

Younger Boy (tenor): Cody Galyon

Nurse: Sarah Fitch

Tutor: Ian Richardson

Messenger: Boris VanDruff

Chorus: TBD

NOTE: More information regarding the score and workshop plans will follow.

For UTOT: A Spittoon Chorus

2011-06-05T19:27:00.000-07:00

Spittoon Chorus

from

A Hillbilly Opera that Kevin Class will probably

never get around to actually finishing.

by.....

Guido Flarfenfarkenzamboni

(aka: Kevin Class)

It has been said that "Kevin Class only composes on a dare." This, I frankly admit, is true. Even a good dare is rarely enough to get me to put on paper the freak show of musical thoughts that tumble around inside my head. However, something is in the wind these days that motivated me. In part a wedding gift (since I'm too cheap to send a real one) and welcome gift for James and Kathryn; a parting shot (mind out of the gutter) for Patrick, and a hillybilly hug for Eileen, this little video and the composition it features is my gift of all UTOTers past, present and future.

Yee-haw!!!!!!!!!!!!

2011-2012 Season

2011-05-23T21:11:00.000-07:00

By now most of you have heard that we have hired James Marvel to head our program as the new Director of Opera Theatre. We will also be welcoming a new Lecturer-Coach/Accompanist to take over the reigns from Patrick Harvey, who is heading off to do great things for Houston Grand! It is an exciting time of transition here at UT, and the coming season is sure to be tremendously rewarding.

James has introduced himself, to those of you who are returning, by announcing the repertoire we have selected for this coming season. While much more information will be forthcoming from both of us, I would like to get a bit of preliminary information out to you regarding these works (for those of you who wish to invest some time in acquainting yourself with these scores).

Our Fall production will be a double-bill featuring Gian Carlo Menotti's The Medium and Puccini's Suor Angelica. Incidentally, 2011 is the centennial of Menotti's birth!

The score to The Medium is published by G. Schirmer

http://www.sheetmusicplus.com/title/The-Medium/3168235?aff_id=453775

The preferred edition for Suor Angelica is the Ricordi edition.

http://www.sheetmusicplus.com/title/Suor-Angelica/8111987?aff_id=453775

While you may use Schirmer, or any other edition you may already own, the source we will be referencing will be the Ricordi. Page and rehearsal numbers used in notes and schedules will refer to this Piano/Vocal score.

Suor Angelica will be performed in Italian.

You may access a literal translation, with IPA, by referring to Nico Castel's The Complete Puccini Libretti. Music Library Reference ML49.P83 N53 1993

UTOT's Spring production will be Mozart's Le Nozze di Figaro

This work will also be performed in Italian, and the Nico Castel translation can be found in The Libretti of Mozart's Completed Operas, volume two

Music Library Reference ML49.M83 C315 1997

While any reliable score you may have in your library is acceptable, it is highly recommended that you consider investing in the Baerenreiter edition. Baerenreiter is the most respected, authoritative edition of Mozart's works, and it will be the source referenced for questions concerning text, ornamentation, articulation, pitches, etc.. It is more expensive than other editions, but very much worth having in your personal library.

http://www.sheetmusicplus.com/title/Le-nozze-di-Figaro-The-Marriage-of-Figaro/2435211#?aff_id=453775

In addition to having a piano/vocal score, those who are cast in this production will be asked to purchase a copy of the full-score (Dover or other study score edition). More information will be provided later, but plans are being made to incorporate group score study into the preparation process for this production.

Auditions for Le Nozze di Figaro will be held in October (date TBA).

There will be much more information to come throughout the summer. I am working with James Marvel to plan and prepare our offerings for the coming season, so do make a point of checking in from time to time.

With all best wishes for a wonderful summer, I look forward to a fabulous season with UTOT.

--- K. Class

UTOT Rehearsal Schedule Week of March 21-27

2011-03-18T11:21:00.000-07:00

March 21-March 27
ALBERT HERRING

Note regarding musical work:

As we are “kicking into high gear” with work/run-throughs beginning this week, I have not added specific coaching calls for anyone this week. HOWEVER, that does not mean that individual work is not needed. We are trusting each one of you to take responsibility for your own comfort with your parts. If you need help with securing portions of your role, please contact Shinyoung, Jonathan or Melony to set up some individual coaching time (during opera hours preferably). A score such as Albert Herring needs consistent attention, so please take advantage of the resource we have in having these pianists at our disposal.

As we continue to work and run larger portions of the show, I will utilize the blog for more musical notes and instructions. It is important to work efficiently during rehearsals so that the vital staging work can get done. Please make a habit of REVIEWING YOUR MUSIC before each rehearsal, and check the blog regularly for notes and comments beyond those communicated in rehearsal.

Thank you for your hard work and dedication!

-- K.C.

Monday, March 21, 2011 3:40-6:40pm

Opera Room McConnell/Harvey (Class w/ Orchestra)

STAGING Act III (cont.) Sid/Nancy/Mum/Vicar/Miss W/

Flo/Lady B; ADD Mayor/Budd @ 4:30; ADD Albert @ 5:30

Tuesday, March 22, 2011 6:30-7:30pm McConnell/Class/Maness

Role memorization exam. Each cast member will be requested to sing, from memory, one or more excerpts, chosen at random, from anywhere within the scope of his/her assigned role.

7:30-10 p.m. Act III (cont.) FULL III Cast (no Kids); ADD Kids @ 9

Wednesday, March 23, 2011 3:40-6:30pm

Opera Room McConnell/Class/Kim

STAGING Work/Run II-ii, III FULL Act II-ii/III Cast as called;

Thursday, March 24, 2011 7:00-10:00pm

Opera Room McConnell/Class/Harvey

STAGING Work/Run Act II-ii/III FULL Act II-ii/III Cast as called

Friday, March 25, 2011 3:40-6:40pm

Opera Room McConnell/Harvey (Class w/Orchestra)

STAGING Work/Run I FULL Act I Cast as called

Saturday, March 26, 2011 1:00-5:00pm

Opera Room McConnell/Class/Maness

STAGING Work/Run II-i FULL Act II-i Cast as called

Sunday, March 27, 2011 2:00-6:00pm

Opera Room McConnell/Harvey

STAGING Work/Run II-ii/III FULL Act II-ii/III Cast as called

Rehearsal Notes: Monday, March 7, 2011

2011-03-08T18:25:00.000-08:00

ALBERT HERRING

MUSICAL NOTES

Monday, March 7, 2011

Act II, Scene I

Florence p. 187 solidify rhythm “For three weeks..”
Cis p. 194 (3rd syst.) early on “hooray for the...”
Mum 195 watch conductor “very nice I’m sure”
Billows 195 don’t rush “Thank you children”

195 take time on “Thank you Miss Wordsworth”

198 in general, take your time. Well-poised; self-indulgent.

Fill out your long notes/vowels.

***** 201 (3rd syst.) ***E-FLATS “and leave the rest to nature”

Tutti 201-203 “Hooray” - more energy, crisp rhythm on eighth-notes
Mayor 205-207 watch conductor coming out of fermatas
Tutti 208 do not slow down too much (too soon) “well done”
Mayor 208 keep rhythm clean “my council wishes...”
Florence 217 pitches “say thank you”
Tutti 218 secure entrances/rhythms
Tutti after #41 don’t drag; good, energized initial consonants
Tutti after #44 Review this music! (some staggered entrances were incorrect - pp. 227-228)

Florence 228 pitches “Go on Albert”
Tutti 230 (#46) Do not start glissando too soon (Hold pitch for one full bar followed by slow gliss.)
Tutti 231-234 Continue to review entrances for sake of security. Overall tempo should be brisk but fairly accurate.

Cis/Em/Har “Tee hee...”: start louder so it doesn’t get lost in the texture
Florence 234 Do not jump in too quickly “From the wrong side” The tempo here is slower, so take your time

UTOT Rehearsal Schedule Week of March 7-11

2011-03-03T19:28:00.000-08:00

ALBERT HERRING

Monday, March 7, 2011 3:40-6:40pm

Opera Room McConnell/Class/Maness

STAGING Work/Run Act II-i II-i Cast as called

Tuesday, March 8, 2011 7:00-10:00pm

Opera Room McConnell/Class/Kim

STAGING Work II-ii Albert; ADD Sid/Nancy @ 7:30;

ADD Mum @ 8:30

Wednesday, March 9, 2011 3:40-6:40pm

Opera Room McConnell/Harvey (Class w/Orchestra)

STAGING Begin III Nancy; ADD Kids/Mayor @ 4:15;ADD Sid @ 4:45; ADD Budd/Mum@ 5:30

S. Kim Rm. 118

3:30-5:30 Albert

Ziegler Rm. 41

3:30-5:30 Wordsworth

Thursday, March 10, 2011 7:00-10:00pm

Opera Room McConnell/Harvey

STAGING Work III Nancy/Kids/Mayor; ADD Sid @

7:45; ADD Budd/Mum @ 8:30

Friday, March 11, 2011 3:40-5:30pm

Opera Room

MUSICAL REHEARSAL TBD

UTOT Rehearsal Schedule Week of February 28-March 6

2011-02-27T13:42:00.000-08:00

ALBERT HERRING

Monday, February 28, 2011 3:30-6:30pm

Opera Room McConnell/Class/S. Kim

STAGING Act I - ii Albert/Emmie; ADD Mum/Flo@4:30

ADD remaining Committee@5:30

Tuesday, March 1, 2011 7:00-10:00pm

Opera Room McConnell/Class/Harvey

STAGING Act I-ii Kids/Sid: ADD Albert @7:45; ADD Nancy@8:30

Wednesday, March 2, 2011 3:30-6:30pm

Opera Room McConnell/Class/Maness

STAGING Work/Run I-ii I-ii Cast as called

Thursday, March 3, 2011 7:00-10:00pm

Opera Room McConnell/Harvey

STAGING Work Act II-i II-i Cast as called

Friday, March 4, 2011 3:30-6:30pm

Opera Room McConnell/Harvey

STAGING Work/Run 1-i FULL Act I-i Cast as called.

S. Kim Rm. 118

3:30-5:30 Albert

Ziegler (McConnell Studio)

3:30-4:30 Emmie/Cis/Harry

Sunday, March 6, 2011 2-5:30pm

Opera Room McConnell/Harvey

STAGING Begin Act II-ii Albert; ADD Sid/Nancy @ 3:00; ADD Mum @ 4:00

UTOT Revised Rehearsal Schedule Week of February 22nd

2011-02-21T11:46:00.000-08:00

ALBERT HERRING

Hello everyone:

Please find below a revised game plan for this week. This schedule includes Michael's calls for Staging Rehearsals this week. Due to his plans, the coaching calls have been altered. Please disregard previous schedules. -KC

Monday, February 21, 2011 3:30-6:30pm

Opera Room McConnell/Maness

STAGING Continue Act I; Scene i Flo; ADD remaining I;i cast @ 4:30

S. Kim Rm. 118

3:30-5:00 Albert

Ziegler (McConnell Studio)

3:30-5:00 Mum

Tuesday, February 22, 2011 7:00-10:00pm

Opera Room McConnell/Class/Harvey

STAGING Begin Act II; Scene i Nancy, Sid, Flo; ADD Miss W/Kids @8:30

Wednesday, February 23, 2011 3:30-6:30pm

Opera Room McConnell/Class/S. Kim

STAGING Act II; i (cont.) Sid/Nancy; ADD Miss W/Kids@4:15

Harvey Rm 40

3:30-5:00 Mum

5:00-6:30 Albert

Maness Rm. 118

3:30-4:30 Mayor

4:15-5:30 Billows (Ballew)

Ziegler (McConnell Studio)

3:30-4:15 Emmie/Cis/Harry

4:30-5:30 Vicar

Thursday, February 24, 2011 7:00-10:00pm

Opera Room McConnell/Class/S. Kim

STAGING Act II; i FULL Act II;i Cast

Friday, February 25, 2011 3:30-6:30pm

Opera Room McConnell/Class/Maness

STAGING Act II; i FULL Act II, i Cast

S. Kim Rm. 118

3:30-5:30 Albert

Ziegler (McConnell Studio)

3:30-5:30 Billows

UTOT Rehearsal Schedule Week of February 21-25

2011-02-19T18:40:00.000-08:00

ALBERT HERRING

Monday, February 21, 2011 3:30-6:30pm

Opera Room McConnell/Maness

STAGING TBA

S. Kim Rm. 118

3:30-5:00 Albert

Ziegler Rm. 41

3:30-5:00 Mum

Tuesday, February 22, 2011 7:00-10:00pm

Opera Room McConnell/Class/Harvey

STAGING TBA

Wednesday, February 23, 2011 3:30-6:30pm

Opera Room McConnell/Class/S. Kim

STAGING TBA

Harvey Rm 40

3:30-5:00 Mum

5:00-6:30 Albert

Maness Rm. 118

3:30-5:00 Sid

5:00-6:30 Nancy

Ziegler Rm. 41

3:30-5:30 Emmie/Cis/Harry

Thursday, February 24, 2011 7:00-10:00pm

Opera Room McConnell/Class/S. Kim

STAGING TBA

Friday, February 25, 2011 3:30-6:30pm

Opera Room McConnell/Class/Maness

STAGING TBA

S. Kim Rm. 118

3:30-5:30 Albert

Ziegler Rm. 41

3:30-4:30 Sid

4:30-5:30 Nancy

UTOT Rehearsal Schedule Week of February 14-16

2011-02-13T17:33:00.000-08:00

ALBERT HERRING

Monday, February 14, 2011 3:30-6:00pm

Opera Room Class/Maness

Act II work-through TUTTI

Tuesday, February 15, 2011 7:00-10:00pm

Opera Room Class/Harvey

*****ENTIRE OPERA: RUN-THROUGH***** TUTTI

Wednesday, February 16, 2011 3:30-6:30pm

STAGING BEGINS!!! Act I, Scene One McConnell/Class/S. Kim

Harvey Rm 40

3:30-5:00 Mum

5:00-6:30 Albert

Maness Rm. 118

3:30-5:00 Sid

5:00-6:30 Nancy

Ziegler Rm. 41

3:30-5:30 Emmie/Cis/Harry

Thursday & Friday: TBA

UTOT Rehearsal Schedule Week of February 7

2011-02-05T14:41:00.000-08:00

ALBERT HERRING

Monday, February 7, 2011 3:30-5:30

Opera Room Class/Harvey

pp. 318-365 (Threnody; etc.) Words., Billows, Nancy, Mum, Pike, Mayor, Sid, Vicar,

S. Budd

pp. 305-317 (Quartet, etc.) Words., Nancy, Mum, Vicar; Billows, Pike

Maness Rm. 118 (Class‘ Office)

3:30-4:30 Albert (Lickiss)

4:30-5:30 Albert (Boling)

Ziegler Rm. 41

3:30-5:30 Emmie, Cis, Harry (Review all music)

Tuesday, February 8, 2011 7:00-9:00pm

Opera Room Class/S. Kim

pp. 100-110, 368-372 Emmie, Cis, Harry, Sid

pp. 159-161 Emmie, Cis, Harry

pp. 174-183, 189-195 Emmie, Cis, Harry, Wordsworth

Review ALL Em/Cis/Harry Music

Wednesday, February 9, 2011 3:30-5:30pm

Opera Room Class/Harvey

Work Act I, Scene One Billows, Pike, Words., Vicar, Mayor, S. Budd

Maness Rm. 118 (Class‘ Office)

3:30-4:30 Albert (Lickiss)

4:30-5:30 Albert (Boling)

Ziegler Rm. 41

3:30-5:30 Nancy

Thursday, February 10, 2011 7:00-10:00pm

Opera Room Class/S.Kim

pp. 219-237 TUTTI

pp. 202-203; 208

Review pp. 70-91

Work Act I, Scene Two

Friday, February 11, 2011 3:30-5:30

TBA

UTOT Rehearsal Schedule Week of January 31st

2011-01-30T09:56:00.000-08:00

Monday, January 31, 2011

Class – AMB 118

3:30-4:30 Mayor

4:30-6:30 Albert

Harvey – AMB 43

3:30-4:30 Corrine Stevens

4:30-5:30 add Balew (Billows)

Kim – AMB 41

3:30-5:00 Nancy

5:00-6:30 Emmie/Cid/Harry

Maness – AMB 50 (Opera)

3:30-5:30 Pike

5:30-6:30 Wordsworth

Ziegler – TBA

3:30-4:30 Sid

4:30-5:30 Vicar

5:30-6:30 Mum

Wednesday, February 2, 2011

Class – AMB 118

3:30-5:00 Nancy

5:00-6:30 Wordsworth

Maness – AMB 50

3:30-4:30 Mum

4:30-5:30 Albert

5:30-6:30 Vicar

Ziegler – AMB 41

3:30-4:30 Sid

4:30-5:30 Mayor

Friday, February 4, 2011

Class – AMB 118

3:30-5:00 Billows

5:00-6:30 Pike

Harvey – AMB 43

3:30-4:30 Vicar

4:30-5:30 Albert

Kim – AMB 41

3:30-5:00 Sid

5:00-6:30 Mum

Maness – AMB 50

3:30-5:00 Super Budd

5:00-6:30 Nancy

Ziegler – AMB 43

3:30-5:00 Emmie/Cid/Harry

5:00-6:30 Mayor

UTOT Schedule Week of January 24th

2011-01-22T13:29:00.000-08:00

Week of January 24-28

Monday, January 24, 2011

Miss Kim Rm. 118 (Class Office)

3:30-4:30 Nancy

4:30-5:30 Sid

5:30-6:30 Albert

Mrs. Maness Rm. 50 (Opera)

3:30-5:30 Emmie/Cis/Harry

Wednesday, January 26, 2011

Dr. Class AMB 118

3:30-5:30 Sid

4:30-5:30 Super

5:30-6:30 Albert

Miss Kim Rm. 41

3:30-4:30 Mayor

4:30-5:30 Nancy

Mrs. Maness Rm. 50 (Opera)

3:30-4:30 Wordsworth

Mr. Ziegler Rm. 41 - Small Office

3:30-4:30 Billows

4:30-5:30 Vicar

Friday, January 28, 2011

Dr. Class AMB 118

3:30-4:30 Wordsworth

4:30-5:30 Albert

5:30-6:30 Sid/Nancy

Miss Kim TBA

3:30-4:30 Emmie/Cis/Harry

(Act I and II material)

4:30-5:30 Vicar

Mrs. Maness Rm 50 (Opera)

3:30-4:30 Super

4:30-5:30 Mayor

Mr. Ziegler TBA

3:30-4:30 Billows

4:30-6:30 Pike

UTOT Schedule Week of January 17th

2011-01-17T14:01:00.000-08:00

Schedule for January 19-21

Wednesday, January 19, 2011

Dr. Class AMB 118

3:30-5:30 Billows

5:30-6:30 Mum

Mr. Harvey AMB 43

3:30-4:30 Albert

4:30-5:30 Sid

5:30-6:30 Super Budd

Miss Kim Rm. 41

3:30-4:30 Vicar

4:30-5:30 Nancy

Mrs. Maness Rm. 50 (Opera)

3:30-5:30 Wordsworth

5:30-6:30 Pike

Mr. Ziegler Rm. 41 - Small Office

3:30-5:30 Mayor Upfold

Friday, January 21, 2011

Dr. Class AMB 118

3:30-5:30 Sid

5:30-6:30 Mum

Mr. Harvey AMB 43

3:30-5:30 Albert

5:30-6:30 Super Budd

Miss Kim Rm. 41

3:30-4:30 Vicar

4:30-6:30 Pike

Mrs. Maness Rm. 50 (Opera)

3:30-4:30 Wordsworth

4:30-6:30 Emmie/Cis/Harry

Mr. Ziegler Rm. 41 - Small Office

3:30-4:30 Billows

4:30-6:30 Nancy

Welcome Back

2011-01-12T12:02:00.000-08:00

Michael McConnell, Director

Kevin Class, Music Director

Welcome back everyone!

I hope the holidays have been kind to you, and the weather cooperative during your travels.

Today marks the official start of classes for this semester and, with it, a new stream of messages, notes and schedules to clutter your inboxes.

We WILL begin coachings for Albert Herring this Friday. A schedule has been posted on my office door, as well as outside the Opera Room and on the Voice Area bulletin board. The schedule has also been placed online via the "Rehearsal Schedule" link on the opera webpage.

For your convenience I will include the coaching calls below and also remind you to consult

More information to follow shortly.

Best wishes,

Kevin Class

Wednesday, January 12, 2011

3:35-5:30pm Opera Room

TBA per Mr. McConnell

Pianists meet in AMB 118

Friday, January 14, 2011

COACHINGS - Begin working Act I material (except for Albert and Sid)

Dr. Class AMB 118

3:30-4:30 Lady Billows

4:30-5:30 Florence Pike

Mr. Harvey AMB 43

3:30-4:30 Albert

4:30-5:30 Sid

Miss Kim Rm. 41

3:30-5:30 Vicar

Mrs. Maness Rm. 50 (Opera)

3:30-5:30 Wordsworth

Mr. Ziegler TBA

3:30-5:30 Mayor Upfold

Musical Notes: November 9 & 10, 2010

2010-11-11T11:43:00.000-08:00

UTOpera Theatre

Michael McConnell, Director

Kevin Class, Music Director

Musical Notes

Piano Dress/Orchestra Dress #1

November 9 & 10, 2010

Thanks to all on stage, backstage and in the pit for your continuing hard work. I’m pleased with the progress the show is making on many fronts and am encouraged that, by tomorrow night, we will have a quality product to present. Going into the second orchestra dress this evening, I ask that everyone remain focused. Concentration is difficult to sustain throughout an opera, but it is absolutely essential. Now that we have a couple run-throughs under our belts, we can all appreciate what we need to do to keep our heads in the game through the final curtain. Continue to look over problematic passages, tricky entrances, words, articulations, etc.. However, take confidence in your performance and trust that you know this music better than you may, at times, believe that you do. We must all remain fearless in these performances.

Please find here some notes for Cast and Orchestra. I have incorporated items from both Tuesday’s Piano Dress rehearsal and last evening’s Orchestra Dress rehearsal. Please take a few minutes to review these prior to this evening’s runthrough.

-K. Class

Act I

ORCH: Preludio: As throughout, middle textures need to make sure they can hear top voices. In particular, the opening passage needs to be voiced more to Vln I and Flute. Eventhough ff, this should still remain rather light in character.

ORCH: [OBOE]: Check pitches four mm. before Reh. #2 (E,D#, C natural, B, A#, B, Dnatural grace-note, C natural, B)

ORCH: [Flute/Picc] 7 mm. before Reh. #3: A little bit of push then pull in this bar. Think crescendo toward the middle of the bar so we do not get stuck in the eighth note.

ORCH: 5 before Reh. #13: Longer on the first sixteenth of each group

CHORUS: #21 and elsewhere: close the ‘e’ on ‘elisir’

BELCORE: “Come Paride”... pitches are flat

ADINA: After #34: Too early/too fast on entrance “Nemorino”

CHORUS: “Andiam, Andiam” -- this was a mess. Be ready for it. It comes IMMEDIATELY after “il sol declina”

NEMORINO: 8 before # 52: “e nel”: too early. This starts after the beat. Don’t rush into it.

ORCH: [2nd violins]: Reh. #53 ; eighth-notes

ORCH: reh. #66: Stress is on the first beat of each bar.

DULCAMARA: we were not together on much of this (Wednesday); I’m understanding that the orchestra was not being piped onstage and you probably could not hear. We’ll try to remedy this before tonight.

CHORUS: #79: Chorus holds only FOUR measures. Cut off!!!! Dulcamara holds longer.

PAUL: We need to develop a better filler here before “Ardir!”

NEMORINO: in recit “Ardir!”: e ver che possediate NOT possendiate

ORCH: [Strings]: be prepared for beginning of Recitative (Scene VII) “Caro Elisir!”

BELCORE: Can you be in position to see me for the pickup into “In guerra ed in amore” ?

ADINA: take pickup from me “e non vi dice”

ORCH: Reh. #113: Strings: Sharper staccato

ORCH: [W.W.] 3mm before #127: Bassoons only. Don’t confuse this entrance with 1m. before #127

NEMORINO: #127-128: pitches not clean

CHORUS: #130: Continue to review text.

CHORUS: #141: Continue to review.

ACT II

STAGE/ORCH: Major concentration issues throughout the act. Notes following will be minimal assuming most issues from the orchestra dress #1 will remedy themselves by this evening.

CHORUS: Don’t rush at “si, si l’avremo cara” - You ended up a full beat ahead of the orchestra

ORCH: Before #7: Be attentive. Chorus sings “Attenti” before you play (2 mm. before #7)

CHORUS/ORCH: We have two tempos going through much of this number. We need to clean this up

NEMORINO: Recit: “Le fest niziali...” -- memorization issues

NEMORINO: #25: Take more time with “Dulcamara”. I need time to cue the orchestra if I’m going to take this off of you.

CHORUS: #34: keep sound spinning through long notes

ORCH: #37: Be attentive. Remember this is not metronomic. There is a slight tempo push into the 8th mm. after #37 which then relaxes back into tempo by the 10th measure. 2nd violins and Clarinet are much needed on the 16th note articulations in this bar.

ORCH: #42: Violin I, etc.. Be ready and on time

ORCH: 7mm after #46 [Bassoons] – came half a bar early and took half the orch and half the stage with you. This bar is in 4.

ORCH: 5th m. after #47 STRINGS: Do not double the tempo

ORCH: At #57: Bars accompanied by strings are somewhat relaxed in tempo, those bars accompanied by Winds should not drag.

ORCH: #61: [CL/HN] this is in 2. Be ready for the triplet.

ORCH: 2mm before #62: [FLUTE]: NO Pickups into this bar (stage only)

ADINA: #62: Take cue from me on “Una tenera...”

ORCH: #70 [STRINGS] I will give the downbeats to these first three measures. We change chord on the 4th measure and I will then give the downbeat of the 5th measure, be prepared for the chord change on third beat of that 5th bar. It come much quicker than everyone is expecting.

ADINA: 8th and 10th mm. after #73: I still need a cleaner rhythm going into “non” or I cannot put the orchestra chord in place. Come see me if you’re still not clear what I’m asking.

Musical Notes November 6, 2010

2010-11-07T15:08:00.000-08:00

UT Opera Theatre

Michael McConnell, Director

Kevin Class, Music Director

Musical Notes

November 6, 2010

Very promising and productive run-through! I appreciate everyone’s hard work and attention. Please continue to review your scores to keep things fresh in mind, even during production week.

The most important lesson from this run is to keep your concentration throughout. I know it is always difficult to keep your head in your music while also trying to remember staging and (most important) be believable in all that you are doing. This will get easier as the week goes on, just be sure to take some time each day to look through your scores and give some attention to troubling passages. That time will be very well spent as the week wears on.

Following are a few notes from Saturday’s rehearsal.

A reminder: On MONDAY, the Sitzprobe with the orchestra is from 4:00-6:30 in Cox Auditorium.

--K. Class

ACT I

CHORUS: Review opening number for memorization

CHORUS: Clean release on held note before Una furtiva (pg 8) and before Benedette..(pg. 14)

NEMORINO: pitches/entrance “perche!” before #51

NEM: before #54: late on “No. No, vo’morir con te”

ADINA: before #56: “morir per me?”: NO cadenza. It’s not working dramatically.

CHORUS: No. 3 Review this material, particularly which syllables are being sung through (eg. Certo eglie e un gran…)

Also, some people stumbling over words “Qualche grande che corre…”

CHORUS: after #73: Review articulation (legato) on “Gran dottore che voi siete!”

CHORUS: after #79: hold last not for FOUR measures. DULCAMARA continues to hold four more measures. [I will give you the cut off]

MAESTRO: Wait for visual before giving Paul cue to being Recit. “Ardir”. (maybe need some piano filler here if it takes to long to set)

DULCAMARA: before #88: still slower on “impacciar se ne potria un tantin l’Autorita”. Very deliberate with this line which will also make the a tempo more dramatic at #88.

NEMORINO: before #89: place the “n” or “ne anche” on beat three (my cue) not before the beat.

MAESTRO: Clean up Recit “Caro elisir” [after #96] - you’ve gotten sloppy!

ADINA: Duet (after #98): keep legato “non so se e finta o vera la sua giocondita”

ADINA/NEMORINO: Duet (E sulti…): 3 mm. before #103. Wait for the orchestra to finish. Take a breath, then start. You do not have to jump in so quickly. (I can cue the beginning of this cadenza if need be).

MAESTRO: New cut: #107 to fourth mm. after #110 (announce to orchestra at Sitz)

ADINA: Tran, tran trio: “A tempo vien Belcore” - keep in tempo for sake of simplicity.

ADINA: take pickup to #112 from me (“E non vi dice il core…”)

TUTTI: Last note of Act I: Holds for FOUR measures. Clean cutoff please.

ACT II

NEMORINO: After #25: “volo tosto…” Keep reviewing pitches for clarity and security.

MAESTRO: Give Nemorino more time for melisma in third measure after #25

BELORE/MAESTRO: #27: I will give you this pick up (“ho ingaggiato”) in tempo. We’ve not been connecting on it cleanly, so I will give it from now on.

BELCORE/NEMORINO: Hold final note of duet for FOUR measures (after #33)

CHORUS: Before #42: Review how many times you sing “ha l’aria da signor”. A few people are singing one too few!

NEMORINO: #49: Review these passages: “Le smanie, I palpiti”. Still not secure with these entrances

CHORUS: Still missing entrance at #53. You must spend time reviewing this ensemble as many of you are still not sure of your music at this part.

CHORUS: At #56: Hold final note to TWO measures.

NEMORINO: in Una furtiva: still not consistent with rhythm on “quelle festose giovani invidiarsembro”

ADINA: in “Prendi”: 8 and 10 after #73: The key to getting this with the orchestra is that the rhythm must be clean on the sixteenth notes. You are moving through them too quickly and not giving the orchestra what it needs to hook on to.

ADINA: At #79: Revision to plan. I will cue your pickup into the Allegro (“il mio …”) in tempo for the sake of security.

TUTTI: Final note of the opera: Hold for FOUR measures

UTOT List of Cuts

2010-09-26T14:24:00.001-07:00

List of Cuts in the Ricordi Piano/Vocal Score

These are the cuts as of Sept. 24, 2010

Cuts may be opened, added or otherwise altered as deemed necessary during the course of production.

L’elisir d’amore

Act I

Page/System/Measure

· 32/5/3 to 38/3/2

· 45/1/1 to 45/1/5

· 55/1/2 to 56/1/1

· 89/1/1 to 92/1/1

· 115/2/2 to 115/3/1

· 146/2/1 to 146/2/9

Act II

· 152/1/2 to 154/1/2

when this repeats, the following cut will be taken:

149/3/2 to 151/2/1

152/1/2 to 154/1/2

· 170/4/1 to 171/1/1

· 175/3/1 to 177/4/1 (Nem/Bel. do NOT sing “Ah non v’ha/ho Ingaggiato il mio”, but join back in in m. 3 after #33 (“se riesce/anche questa”)

· 178/2/3 to 178/3/3

· 183/3/1 to 185/1/4

[No repeat on pg. 211]

· 213/4/1 to 213/4/5

· 225/1/1 to 228/2/1

· 228/4/5 to 229/1/3

· 232/5/2 (after “spiegarsi”) to 233/3/3 (before “Dimmi”)

· 240/4/4 to 244/1/4

· 247/4/6 to 249/1/1

· 250/2/1 to 251/1/4

Kevin Class/Michael McConnell

UTOT Coaching Schedule 9/13-9/17

2010-09-09T17:57:00.001-07:00

Schedule for September 13-17, 2010

(as of 9/9/10)

Monday, Sept. 13, 2010

K. Class – AMB 50

3:30-4:30 Adina: pp. 96-147

4:30 - ? Rehearse for Orangery – Guild membership performance (Eschbach/Dunigan/Doherty/McConnell)

M. Maness – AMB 118

3:30-4:30 Belcore: Review/Work to end of Act I

4:30-5:30 Nemorino: pp. 118-147

P. Lee – AMB 41

3:30-4:30 Dulcamara: pp. 61-94 (Act I)

4:30-5:30 Gianetta: pp. 149-154; 179-186; 188-212; 246; 247-252 (Act II)

Tuesday, Sept. 14, 2010

P.M. Guild Membership at the Orangery (calls per M.M.)

Wednesday, Sept. 15, 2010

K. Class – AMB 118

3:30-4:30 Adina: pp. 151, 158-161; 190-212

4:30-5:30 Nemorino: pp. 162-178; 187-212

M. Maness – AMB 50

3:30-5:30 Belcore: pp. 149-151; 155; 160-161; 164-178; 244

P. Lee – AMB 41

3:30-4:30 Dulcamara: 149-155; 158-160; 162-163; 191-229/Review

4:30-5:30 Gianetta: Review

Friday, Sept. 17, 2010

K. Class – AMB 118

3:30-4:30 Adina: pp. 213-229; 232-246; 249-252 //

4:30-5:30 Nemorino: pp. 229-233; 236-246; 249-252//

M. Maness – AMB 50

3:30-5:30 Belcore: 249-252// Review

P. Lee – AMB 41

3:30-4:30 Dulcamara: pp. 245-252//Review All

4:30-5:30 Gianetta: Review All

NOTES: Chorus rehearsals will take place on Monday, Sept. 20th and Wednesday, Sept. 22nd, 3:30-5:30 in AMB 50.

UTOT Coaching Schedule 9/1 - 9/10

2010-09-01T07:43:00.001-07:00

Wednesday, Sept. 1, 2010

Principals:

Preliminary Discussion of Characters. (McConnell, Class, Harvey, Maness, Lee)

Cast members will discuss and exchange ideas about their characters based on their readings of the libretto and personal experiences with this work.

Friday, Sept. 2, 2010

Tutti (this means everyone involved in the production):

Presentation on L’elisir d’amore by WUOT’s Daniel Berry

Monday, Sept. 6, 2010

Labor Day

Wednesday, Sept. 8, 2010

Coachings:

K. Class – AMB 118

3:30-5:30 Nemorino

pp. 8-14; 17-18; 20-24; 27-28; 30-45

M. Maness – AMB 50

3:30-5:30 Belcore

pp. 26-45; 46; 107-115

P. Harvey – AMB

3:30-5:30 Adina

pp. 14-24; 27-28; 30-45; 46-56;

P. Lee – AMB 41

3:30-5:30 Gianetta

pp. 4-8; 10-15; 17-18; 20-24; 27-28; 33-45

Friday, Sept. 10, 2010

K.Class – AMB 118

3:30-5:30 Nemorino

Review

pp. 46-56; 75-94; 95-97; 97-115

M. Maness – AMB 50

3:30-5:30 Belcore

Review

pp. 116-130

P. Lee – AMB 41

3:30-5:30 Gianetta

Review

pp. 116; 125-147

P. Harvey – AMB

3:30-5:30 Adina

Review

pp. 96-97; 97-115

Notice of First Elixir Meeting

2010-08-27T20:24:00.000-07:00

Dear Cast of Elixir,

Next Wednesday, September 1^st, we will meet during opera time (3:35-5:30) in order to give everyone an opportunity to discuss their first impressions of their characters, and begin the process of exploration of this work.

Please begin by reading through the entire libretto at least twice, and bring to the table your thoughts and impressions about your own character and your relationships/interactions with other characters.

While any quality translation of the libretto will be suitable for these purposes, you will be expected to have a word-for-word translation as we work through this piece. For your information, our School of Music library does have the Nico Castel collections in its Reference section. The libretto can be found in Volume 1 of “Italian bel canto opera libretti”, ML48 .I83 2000.

In addition, preliminary coachings will begin on Friday, September 3^rd, so begin looking over your material immediately.

A specific coaching schedule will follow shortly.

Best wishes

Kevin Class

Music Director/Conductor

UT Opera Theatre

Information for Pianists enrolled in Music 551

2010-08-19T17:33:00.000-07:00

Information for Pianists

Donizetti’s L’Elisir d’amore (The Elixir of Love)

Recommended process for learning this score:

Materials needed:

· Piano/Vocal score (Ricordi edition is preferred)

· Full Score, if possible (Ricordi publishes an affordable edition)

· CD Recordings

· Libretto which includes both the original Italian text and a good (preferably literal) translation of the text. The best source is Nico Castel’s literal, word-for-word translation which is available in the UT Music Library reference section: Castel, Nico. Italian bel canto opera libretti. Vol. 1 ML48 .I83 2000

Steps for score study/preparation:

1) Read through the entire libretto first to acquaint yourself with the story and the characters.

2) Start from the beginning, and read through the translation of the text for each section (ie. Chorus, aria, trio, etc.)

3) Write the word-for-word literal translation into your score.

4) Speak, out loud, the Italian text for this section

5) Listen to a recording of this section

6) Work through the piano part, learning all notes, rhythms, fingerings, etc.

7) Play through the vocal part(s), singing along, making sure to learn the Italian text as you go.

9) Play through the section again at the piano, trying to imitate the sounds of the orchestra as much as possible while also trying to sing/”hear” the vocal part as you play.

10) Listen to the recording once more while again following along with the score.

Score Study: Impressions of Character for Act II (based on a second reading of the libretto)

2010-07-26T09:30:00.000-07:00

L’elisir d’amore

Act II

Act II commences with Belcore reaffirming his preoccupation with women and wine, and Adina’s wish to torment Nemorino.

Dulcamara’s duet with Adina is, of course, an appropriate commentary on the relationship between Adina and Nemorino; albeit accidentally selected by the character. Explore the diction directions given by Castel regarding Tredenti. Dulcamara relishes in the compliments of the crowd and feels perfectly comfortable in proclaiming himself a “professor [master] of all the arts” (including singing).

The arrival of the notary makes Belcore happy, but Adina’s only verbal reaction is again being angrily upset that Nemorino is not there. It seems almost surprising that Belcore is attentive enough to notice something is not quite right with her, although he does not pursue any further when she answers that nothing is wrong. There might be an opportunity for comic indifference on Belcore’s part here.

Although he arrives after the Adina and Belcore have left with the notary, Nemorino did, in fact, see the notary and arrives distraught. With “voi qui, dottore!”, is Nemorino surprised to see the doctor, or simply relieved?

Dulcamara obviously sees the opportunity for another sale of elixir, but more importantly feels a pressure to get himself away as quickly as possible. Obviously the prospect of making the sale before his getaway is more enticing than simply telling Nemorino he has no more elixir, or that it cannot work so quickly.

Why does Belcore enter alone? Obviously he is puzzled and unhappy that Adina has asked to postpone until the evening, but it begs the question as to how that scene unfolded. The two left with the notary and a crowd of well wishers, so what happened and how did it transpire? Just how embarrassed, angry, humiliated…is Belcore at this moment? If nothing else, his ego has surely taken a critical blow, despite being convinced still that Adina loves him. Perhaps in his interaction with Nemorino he does see an opportunity to make himself feel better by feeling he may bully the idiot boy. When describing the joys of consorting with the “vivandieres”, how much is a persuasion tactic and how much is genuine on Belcore’s part? Considering how easily Belcore lets Adina go later, it seems he must be perfectly happy with the lifestyle he is describing to Nemorino.

Discuss with Michael whether or not to insert “sai scrivere?/No./Bestia!” It is not necessary, but could be used to better define the emotional state of the characters in the moment.

When Nemorino says “you don’t know who has caused me to take this step”, etc.., is he speaking to Belcore? Does Belcore really have no idea of Nemorino’s obsession with Adina? He seems not to care about it, but if Belcore is known so well to all in the town, including Nemorino and Adina then surely he must be aware. After all, Belcore just said “I’ve recruited my rival.” Perhaps this is Nemorino’s own naïveté at play again.

Giannetta’s dialogue in this opera does not give us a lot of information about her, so most will have to be provided with imagination and the construction of a back-story. She tells her friends to keep secret the fact that Nemorino has become wealthy, obviously because she intends to make a play for him now herself. Yes, she does not appear to be threatened enough by her friends to want to keep it secret from them.

Very interesting that Dulcamara, of all people, is the first to think the most logical explanation for Nemorino’s sudden popularity is his elixir for Bordeaux.

Giannetta and the other girls seem to display a bit of venom toward Adina once they realize she remains their primary rival for Nemorino’s affections. Seems obvious as to why, but interesting to see “costei s’immagina d’aver l’omaggio”. Seems a bit catty.

In the dialogue between Dulcamara and Adina, is Dulcamara convinced now of the power of his elixir or not? He seems to be, but he is also trying to make a sale. When she fails to fall for it, he does say “she is more clever than you.” Adina, rightfully, knows that the “elixir [which owns Nemorino’s heart] is her face and in her eyes”. She seems truly relieved to know that Nemorino still swoons for her only, but her sudden proclamations of love for him hardly can succeed in making us forget all she has said before.

Nemorino does, at least momentarily, enjoy the idea that, for once, he has made Adina feel a pang of jealousy. He wishes to continue playing the indifferent one until she confesses her love to him. It works.

Once Belcore dismisses Adina, Dulcamara is quick to jump on an opportunity to sell the elixir. Does Belcore fall go for it as all the villagers do? If he did, it could be an excellent underlining of his “true” insecurity. Perhaps, in the flurry of activity, to ask Dulcamara to discretely slip him a bottle.[?] Dulcamara, in fact, replies to Belcore’s comment that the world is full of thousands of women by saying “Ve lo dara questo elisir d’amore [they will be given to you with this elixir of love]”. This is obviously directed to Belcore. Dulcamara then continues the pitch by saying the elixir makes even the most hideous creatures attractive. Is this also intended as a subtle shot at Belcore??? I hope so!

Q: In the subsequent praises of Dulcamara, what does Adina mean when she said “per lui solo io son felice!” ? It is clear that Nemorino credits the doctor for his winning of Adina, but Adina never seemed to believe in the elixir. Is she basically thanking the doctor for giving Nemorino the self-confidence that she has now fallen in love with? Possible.

Belcore’s final blast might disinherit the idea of him secretly buying a bottle of the elixir for himself, but not necessarily. He may still wish to reap the advantages of the potion while still cursing Dulcamara for foiling his plans to wed Adina.

Score Study: Impressions of Character for Act I (based on a second reading of the libretto)

2010-07-25T16:39:00.000-07:00

L’elisir d’amore

Now that a general overview of each character has been drawn, a second reading of the libretto should reveal more detail about the characters and their interactions with one another. In this process, we are adding levels of understanding by being more aware of the details we encounter in the dialogue and stage direction. It should be noted that, once again, we are reading ONLY the libretto and not consulting the score. Once we have uncovered our understanding of these characters through their words, we will then turn to the score to reconcile or rethink our observations based on the composer's interpretation of text and circumstances.

Notes for Act I

Nemorino: Hopeless romantic. Generally lacking in self-confidence considering his self-deprecating remarks (eg. “I’m always an idiot”, “I’m not good enough”). What is the extent of previous interaction between N. and Adina? She obviously knows who he is and something about him since she speaks to him with familiarity and knows about his rich uncle.

Adina: Clearly independent, well educated and well spoken. She is intentionally the “photo-negative” of Nemorino. So perhaps this can be played up in various ways (clothing, body-language, general appearance, diction [?]). The opening scene establishes the contrast between these two in that he confesses to being “un idiota” and she, in fact, is engrossed in reading (and telling) the story of Tristan.

Q: To what extent, and in what manner, should Nemorino’s own lack of confidence be exhibited in how he sings?

Q: Any significance in the words “belta crudele” in Adina’s reference to Isolda? A. is, in fact, reading – so the words are not her own. Still, in this brief passage, Isolda is called “cruel” twice. Surely meant to reflect Adina’s own character, but probably should not be unnaturally emphasized.

Belcore: What to make of his apparent knowledge of Greek mythology? Do the villagers understand his reference? Is it a legitimate knowledge, or simply a nugget he uses for self-serving purposes? His arrogance certainly knows no bounds and so it is easier to assume he is not particularly well read; although he is literate.

Adina’s first reaction to Belcore is a sarcastic “e modesto” to the chorus. I suspect, however, that Giannetta and the chorus are more awestruck by Belcore’s flash than really aware of Adina’s attitude. Therefore, their “si, davvero” should be with full enthusiasm.

Belcore’s ego is enormous; but he seems far less refined than he believes. His aria should, perhaps, be full of flash and testosterone, but maintain its rough edges.

Double entendre on “non v’ha bell ache resista alla vista d’un cimiero”? Examine this musically to see.

Great difficulty in connecting to characters with any depth in this work. Perfect example being Belcore’s marriage proposal after first seeing Adina, AND considering she hasn’t yet said a single word to him directly. Perhaps some believability if we assume they are not meeting for the first time but, perhaps, he flirts with her on a regular basis and this whole act is really nothing new. In fact, there might be some good opportunity then to allow his pleadings of love to be a bit more exaggerated. However, Adina’s reaction with “vedete di quest’uomini…non e si facile Adina a conquistar” almost suggests she is not so accustomed to this from Belcore. I think this relationship can be played in different ways, so need to get a read from S.D. regarding this. Still, why does Adina say she’d like to think over his proposal, rather than just saying ‘no’, if she really is indifferent to him?

Nemorino admits that he is too timid to approach Adina and is in awe of Belcore’s confidence and swagger.

Ah! The chorus and Giannetta seem to be well aware of Belcore’s “act” as they comment it would be crazy if Adina (the clever old fox) actually fell for it. SO – revise the thought about their earlier “si, davvero”.

Belcore is so confident about himself that her simple agreement to allow his soldiers to rest in the shade and offer him something to drink implies, to him, her devotion to him “io gia sono della famiglia”.

Nemorino does take up the courage to talk to her, with his “usual sighs”….so what is it he believes himself to be so ‘timid’ about? He is not too shy to talk to her, so it must be more his lack of self-confidence that he sees Belcore displaying.

How does Adina speak to him? Is it with a genuine annoyance or something more playful? If it is annoyance, is it due to him or to an annoyance with Belcore that she snaps at Nemorino? I suppose she must, at the very least, bit a bit tired of Nemorino as, in all likelihood, these really are the same words and sentiments. Take ‘no’ for an answer already!

Adina speaks very frankly to Nemorino. She really can’t be accused of lying or manipulating him. This is, I suppose, an admirable trait and explains why she must get tired of his constant approaches. But despite this, she is rather passive-aggressive and takes the opportunity to not only suggest his efforts are in vain, but to deliberately hurt him by suggesting he could never woo her like Belcore.

Adina tells Nemorino that she cannot be satisfied; and that there isn’t “a whim that doesn’t die as soon as it is aroused.” N. attentively asks her why that is. It may be the most probing question anyone asks in this opera! Does Adina’s attitudes regarding her “fickle” and “unfaithful” nature reflect her true awareness of herself or is it just her way of telling Nemorino to “give up loving me”? Assuming Adina is not genuinely familiar with the principles of Love, Freedom and Aloneness, her advice to love as she does (a new love each day), is surely intended to reveal her as only fickle and lacking a substantial love in her life. It is possible, if Nemorino is to be played with any depth, that he does recognize that behind such a wall as A. is putting up, there is an opportunity if he can truly grant her something she has not experienced.

Nevertheless, Adina is an independent woman: educated, articulate, wealthy, beautiful. It makes sense that she feels no need to commit herself to a man (even in the day and age) in order to feel complete. At the very least, he seems to have perseverance (stubbornness) on his side.

Entrance of Dulcamara: The theatrics of his entrance must be as ‘big’ as his personality. No place for subtlety.

Dulcamara’s first address, in all likelihood, would have a circus-like ring master quality. Well rehearsed, flashy, etc.. With such colorful and carefully chosen words, surely the color of the language itself needs to be exploited as much as possible.

Dulcamara has little respect for the people of this, his native region; and even less for Nemorino (“a bigger dimwit I’ve never encountered”). It’s not entirely clear why Dulcamara would think N. to be unique simply for asking for a love-potion. Surely amongst all the fake remedies and cure-alls he peddles to people everywhere, this is not the silliest thing for which he’s ever been asked.

When Nemorino and Adina encounter each other again, he exhibits the modest confidence that belief in the elixir instills. He doesn’t approach Adina as usual, since he recognizes that “tomorrow she will love him”. However, this unusual behavior on his part disturbs Adina. Despite the fact that she claimed to be so bored and annoyed by his constant approaches (which she likely was), she reveals now openly that she has a need to be admired and the center of his attention. The first time he does not approach her, it rather enrages her, causing her to vow that he will have to feel the “weight of his chains heavier than ever before.” The girl seems to have some issues. She cannot ignore his apparent indifference and must confront him about it – even challenging him as to whether or not he can follow her advice to actually forget his love for her.

Belcore really betrays his nature when one of his first references to himself is that he uses “pointed weapons in both love and war”. Seems to say it all.

*Nemorino observes “E qua il seccator”, implying a familiarity with Belcore. Castel figuratively translates this as “that nuisance is here again.” This answers my earlier question as to whether or not Belcore is already known to Adina and everyone else. Obviously he is a regular, which explains much of the dynamic between Belcore and Adina. This is nothing new. [I did not observe this line during my first read-through of the libretto!]

Q: Is Adina convinced that Nemorino is pretending not to be interested, or genuinely concerned that he really has lost interest? She confesses her inability to hide her anger over it any longer while, at the same time, Nemorino demonstrates his annoyance with Belcore’s arrogance: “Gradasso!”

The love-triangle of this preceding scene does seem to define the characters within it. Adina reveals her need to be the center of attention, even from Nemorino. She cares nothing for Nemorino’s feelings, only whether or not his suffering is for her. She takes pride and delight in causing him pain. Nemorino may or may not be aware of Adina’s nature, but he is convinced of his own Love for her. His own naïveté is what builds him up. Belcore is concerned with neither Adina nor Nemorino as much as with admiring himself.

After Gianetta informs Belcore that he and his men must move out in the morning, Nemorino observes that “Adina is upset.” Adina says nothing, so this must be some sort of visual reaction to the news.

Adina takes her only pleasure in seeing that Nemorino does become upset when Belcore suggests they should marry ‘today’. This just fuels Adina, and so she agrees (only to torment N.).

Belcore shows his extreme agitation with Nemorino once N. does beg Adina to postpone until tomorrow. Belcore knows of no way to deal with Nemorino other than threatening to beat him if he does not go away.

Score Study: First Impressions of Character (based on first read of libretto)

2010-07-20T19:44:00.000-07:00

One useful tool in preparing an opera is to read through the libretto at least twice. After (or during) each read, make notes on the character in order to give yourself a general understanding of what these people are like. More details should be expected with each read and, of course, you will develop these characters throughout your study and staging process. The following are an examples of the minimal impressions you should have after a first read-through of the entire text.

Nemorino: a young peasant: tenor

Whiny, weak. His peasantry is revealed not only through the fact that he cannot read, but also through his naivety. His Love is genuine (as much as can be expected in this story) in that his heart never waivers from his affection for Adina, even once all the women of the village throw themselves at him. Unlike Adina, he does not actually enjoy making her jealous or respond to his indifference. Instead, he keeps up such an appearance only because he sees it is working to win her affection. Maybe he’s not a COMPLETE idiot. (?) Perhaps he realizes, to some extent, that her sickness allows her to love the one who seems to despise her, so he rolls with it just until she finally tells him she loves him.

Adina: a wealthy farm owner: soprano

Unlike Nemorino, Adina exhibits no real redeeming qualities. She truly delights in making Nemorino suffer. Admitting as much repeatedly, she not only enjoys viewing his anguish over her, but also in actively creating circumstances with which to cause him pain. Once he feigns indifference to her (and especially once all the other girls take an interest in him), she then reverses her feelings to desire him – even confessing that she must love the one who despises her. Really nothing likeable about her. We see nothing of what Nemorino could be in love with, other than physical beauty, I suppose.

Her interaction with Belcore is ONLY for the purpose of torturing Nemorino. She actually pays no attention to Belcore’s wishes.

Belcore: a sergeant: baritone

Pompous ass! One woman is as good as the next, as far as he is concerned. In respect to a sense of self-worth, he and Adina sort of deserve each other. Obviously he is determined to take advantage of her physical attributes by wanting to marry her tonight, even though the regiment is moving out in the morning. Still, he actually believes Adina loves him – which is why he is perplexed when she asks that the ceremony be postponed until morning. Although he is working, and selling, he does tell Nemorino that, all in all, he seems like a good lad. Probably a testament to character considering his position as a regimental leader (i.e., being able to assess character, at least somewhat). Still, he has and shows no respect for Nemorino whatsoever. This is consistent with his out-of-control ego. Once Adina declares love for Nemorino, he just says “no problem. I’ll have thousands of other women to choose from.”

Is he a “dumb jock” type? Must have some sense/wits about him as a leader. A bully, nonetheless.

Dulcamara: an itinerant quack doctor: basso-buffo

A traveling salesman who, in this story at least, gets away with it. Definitely enjoys being the center of attention and takes great pride in being able to outwit/con most people. Perhaps he is actually a bit disturbed when he acknowledges that, perhaps, Adina is even more clever than him? I think he takes a genuine interest in the love story with Nemorino; but only more as a curiosity to amuse himself. Yet, despite his own intelligence, he is the first to really believe his Elixir has some power in the end.

Giannetta: a peasant girl: soprano

Seems very young. Perhaps experienced in Love, but not necessarily. Is more fascinated by status and wealth than anything else. With the townsfolk, is quick to ridicule Nemorino for being dimwitted, and the first to praise him once she realizes he’s come into a large inheritance. Probably not very experienced beyond casual affairs. She’s likely very attractive and aware of it, but relatively shallow do to her age and lack of any real responsibilities.

L'Elisir d'amore: An Introduction to Role Preparation

2010-07-20T19:24:00.000-07:00

Role Preparation:

Preparing an opera role requires much more than just learning notes and words and singing the music well. The world of opera has change a lot in recent years, and audiences around the world demand much more than beautiful voices. For that reason, more stage directors from theatre and film are being asked to stage operas because audiences want to see characters that can move and act in a believable way. The days when a singer could just stand in place and sing an aria are of the past. So, in order to fit into the future of the opera world, singers must develop their acting abilities and learn to develop their characters with a lot of detail.

There are many things that must be studied to fully understand an opera character and be able to perform that character in a way that will be believable to an audience. It is the singer’s job to understand how the music and the words are related. Also, it is important to be aware of any historical aspects that may influence the way you present your character, as these may influence the musical decisions you make.

Materials needed:

Piano/Vocal score (Ricordi edition is preferred)

Full Score (any affordable edition such as Dover or Ricordi study score)

CD Recordings

Libretto which includes both the original Italian text and a good (preferably literal) translation of the text. (Many CD recordings include a complete libretto with good translation).

Steps to Preparing Your Role:

1) Read the libretto (not just a synopsis) in its entirety at least twice. Do this before doing ANYTHING else!

2) Translate the entire score

3) Listen to recordings (always listen to more than one recording!!!)

--NOT TO LEARN THE ROLE but to get an overview of the opera.

--Follow along with your score. Pay attention to the orchestration and how it will influence/impact your vocal performance (e.g., thick orchestra vs. light orchestral color;pizzicato vs. legato playing from the strings, etc.)

--Listen/watch videos of the opera in the original language.

4) Historical Research

--literary influences: Is this work based on a book, a legend or some other kind of story? If so, how is it similar, or how does it differ from the original or different versions?

--composer: Who was Donizetti? What do you know about him, his personality, his life? What is his musical “style” and what is characteristic about his music?

--librettist: Likewise, who was the Felice Romani? Did he write this story? If not, how did he change the original story? What was his relationship with the composer?

5) Style

--music: What is the appropriate musical style for this work (for example, do we sing using portamenti, ornamentation,cupa, etc.)? How do you sing Donizetti differently than Puccini or Massenet?

--physicality: what are the physical demands required to safely and effectively sing your role? (For example, does your character often have to sing while fighting, or crawling on the ground?)

*Questions to answer about your Character:

--Where did he/she come from?

--How old is he/she?

--What is he/she like?

--How does he/she differ from “original” character (if the work is based on pre-existing story)?

--How does he/she change during the opera?

--Where is he/she going?

--Where/when does he/she live?

--What are the social structures, standards, expectations of the period?

--What are you based on? (a fictional character? a legend? an actual person?)

--What do the other characters think about you?

--What do you learn as the character develops?

--What does the audience know that you don’t?

--Who are some of the past great interpreters of the role?

--What was their contribution to the role and what special qualities of voice did they have to help the character?.

Editions:

Ricordi preferred

Suggested Readings (in Engish):

--The 10^th Muse: A Historical Study of the Opera Libretto by Patrick Smith

--Power Performance for Singers by Shirlee Emmons and Alma Thomas

--Opera as Drama by Joseph Kerman

--The Third Line by Daniel Helfgott

UTOT Brief Update

2010-07-19T17:11:00.000-07:00

On behalf of the musical staff of UTOT, I am delighted to welcome Michael McConnell as this year’s interim Director of Opera Theatre. As you can imagine, the summer months have not given us a lot of time to undertake such a change. However, I can say that things have gone as smoothly as could be imagined and that we have every reason to expect a wonderful and productive year together.

During the past few weeks, he have discussed the repertoire for next season, taking into consideration our present circumstances and concerns. Specifically: voice types available to us next year, works that will be manageable by the UT orchestra next season, and works that will fit both programmatic and pedagogical objectives of a UTOT in transition. We are pleased to announce the 2010-2011 repertoire for UT Opera Theatre:

Fall 2010: Donizetti: L’elisir d’amore

Spring 2011: Britten: Albert Herring

Once Prof. McConnell has had an opportunity to relocate to Knoxville, we will meet to discuss planning and strategies for this coming season. I am thrilled with his foresight, attention to detail and organization and, especially, his interest in continuing to advance the educational objectives of the opera program. I am excited to offer my assistance to him in his mission and know that we are all in for a rewarding season at UTOT.

Best wishes and safe travels!

See you in August