OPENING TONIGHT!!!
Apr. 15th, 2005 01:22 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
thedarksiren2Friday, April 15th & Saturday, April 16th...
The Ohio University School of Music presents...
Le Nozze di Figaro
by Wolfgang Amadeus Mozart
Templeton-Blackburn Auditorium
Ohio University's Main Green
Union St., Athens OH 45701
Oooh!!! Monstrous Flyer/ Invite gif for Le Nozze di Figaro at Ohio University!!!
Curtain is at 8 P.M.
Tickets are general admission
$6 for students and Seniors
$12 for the general public
Call 740-593-1780 for ticket information.
***
Synopsis:
from http://www.music-with-ease.com/marriage-figaro-synopsis.html:
Opera in four acts by Mozart; words by Lorenzo da Ponte, after Beaumarchais. Originally produced at the National Theatre, Vienna, May 1, 1786, Mozart conducting.
The story of Le Nozze di Figaro is a sequel to that of The Barber of Seville, which Rossini set to music. Both are derived from Figaro comedies by Beaumarchais. In Rossini's opera it is Figaro, at the time a barber in Seville, who plays the go-between for Count Almaviva and his beloved Rosina, Dr. Bartolo's pretty ward. Rosina is now the wife of the Count, who unfortunately, is promiscuous in his attentions to women, including Susanna, the Countless's vivacious maid, who is affianced to Figaro. The latter and the music-master Basilio who, in their time helped to hoodwink Bartolo, are in the service of the Count, Figaro having been rewarded with the position of valet and major-domo. Bartolo, for whom, as formerly, Marcellina is keeping house, still is Figaro's enemy, because of the latter's interference with his plans to marry Rosina and to secure her fortune to himself. The other characters in the opera also belong to the personnel of the Count's household.
Aside from the difference between Rossini's and Mozart's scores, which are alike only in that each opera is a masterpiece of the comic sentiment, there is at least one difference between the stories. In Rossini's Barber Figaro, a man, is the mainspring of the action. In Mozart's opera it is Susanna, a woman; and a clever woman may posses in the role of protagonist in comedy a chicness and sparkle quite impossible to a man. The whole plot of Le Nozze di Figaro plays around Susanna's efforts to nip in the bud the intrigue in which the Count wished to engage her. She is aided by the Countess and by Figaro; but she still must appear to encourage while evading the Count's advances, and do so without offending him, lest both she and her affianced be made to suffer through his disfavour. In the libretto there is much that is risque, suggestive. But as the average opera goer does not understand the subtleties of the Italian language, and the average English translation is too clumsy to preserve them, it is quite possible -- especially in this advanced age -- to attend a performance of Le Nozze di Figaro without imperiling one's morals.
Editor's note: I assure you, we SHALL "imperil" your morals in our rendition! You won't miss a single inuendo!!!~;D
There is a romping overture. Then, in Act I, we learn that Figaro, Count Almaviva's valet, wants to get married. Susanna, the Countess's maid, is the chosen one. The Count has assigned to them a room near his, ostensibly because his valet will be able to respond quickly to his summons. The room is the scene of this Act. Susanna tells her lover that the true reason for the Count's choice of their room is the fact that their noble master is running after her. Now Figaro is willing enough to "play up" for the little Count, if he should take it into his head "to venture on a little dance" once too often. ("Si vuol ballare, Signor Contino!")
Unfortunately, however, Figaro himself is in a fix. He has borrowed money from Marcellina, Bartolo's housekeeper, and he has promised to marry her in case of his inability to repay her. She now appears, to demand of Figaro the fulfillment of his promise. Bartolo encourages her in this, both out of spite against Figaro and because he wants to be rid of the old woman, who has been his mistress and even borne him a son[Bartolo, however, was unaware that the son was his], who, however, was kidnapped soon after his birth. There is a vengeance aria for Bartolo, and a spiteful duet for Marcellina and Susanna, beginning: "Via resti servita, madama brillante" (Go first, I entreat you, Miss, model of beauty).
I will cease giving more information beyond this, so as to not spoil the story! There will be smarmy references, hilarious sexual tension and a massive web of confusion and laughter throughout the opera. The opera-theater and orchestra have been working on this show for four months, and I cannot even begin to explain just how entertaining this show shall be!
The opera will be entirely orchestrated, performed partly in English, and partly in Italian, so as to allow the audience to keep up with the plot and lend to understanding the Italian which is used in the arias. There will be supertitles as well during the arias.
As for my part, I will be playing the role of the super-feisty Spaniard Marcellina in Saturday's show.
I look forward to seeing you all there!!!
Le Nozze di Figaro
by Wolfgang Amadeus Mozart
Templeton-Blackburn Auditorium
Ohio University's Main Green
Union St., Athens OH 45701
Oooh!!! Monstrous Flyer/ Invite gif for Le Nozze di Figaro at Ohio University!!!
Curtain is at 8 P.M.
Tickets are general admission
$6 for students and Seniors
$12 for the general public
Call 740-593-1780 for ticket information.
***
Synopsis:
from http://www.music-with-ease.com/marriage-figaro-synopsis.html:
Opera in four acts by Mozart; words by Lorenzo da Ponte, after Beaumarchais. Originally produced at the National Theatre, Vienna, May 1, 1786, Mozart conducting.
The story of Le Nozze di Figaro is a sequel to that of The Barber of Seville, which Rossini set to music. Both are derived from Figaro comedies by Beaumarchais. In Rossini's opera it is Figaro, at the time a barber in Seville, who plays the go-between for Count Almaviva and his beloved Rosina, Dr. Bartolo's pretty ward. Rosina is now the wife of the Count, who unfortunately, is promiscuous in his attentions to women, including Susanna, the Countless's vivacious maid, who is affianced to Figaro. The latter and the music-master Basilio who, in their time helped to hoodwink Bartolo, are in the service of the Count, Figaro having been rewarded with the position of valet and major-domo. Bartolo, for whom, as formerly, Marcellina is keeping house, still is Figaro's enemy, because of the latter's interference with his plans to marry Rosina and to secure her fortune to himself. The other characters in the opera also belong to the personnel of the Count's household.
Aside from the difference between Rossini's and Mozart's scores, which are alike only in that each opera is a masterpiece of the comic sentiment, there is at least one difference between the stories. In Rossini's Barber Figaro, a man, is the mainspring of the action. In Mozart's opera it is Susanna, a woman; and a clever woman may posses in the role of protagonist in comedy a chicness and sparkle quite impossible to a man. The whole plot of Le Nozze di Figaro plays around Susanna's efforts to nip in the bud the intrigue in which the Count wished to engage her. She is aided by the Countess and by Figaro; but she still must appear to encourage while evading the Count's advances, and do so without offending him, lest both she and her affianced be made to suffer through his disfavour. In the libretto there is much that is risque, suggestive. But as the average opera goer does not understand the subtleties of the Italian language, and the average English translation is too clumsy to preserve them, it is quite possible -- especially in this advanced age -- to attend a performance of Le Nozze di Figaro without imperiling one's morals.
Editor's note: I assure you, we SHALL "imperil" your morals in our rendition! You won't miss a single inuendo!!!~;D
There is a romping overture. Then, in Act I, we learn that Figaro, Count Almaviva's valet, wants to get married. Susanna, the Countess's maid, is the chosen one. The Count has assigned to them a room near his, ostensibly because his valet will be able to respond quickly to his summons. The room is the scene of this Act. Susanna tells her lover that the true reason for the Count's choice of their room is the fact that their noble master is running after her. Now Figaro is willing enough to "play up" for the little Count, if he should take it into his head "to venture on a little dance" once too often. ("Si vuol ballare, Signor Contino!")
Unfortunately, however, Figaro himself is in a fix. He has borrowed money from Marcellina, Bartolo's housekeeper, and he has promised to marry her in case of his inability to repay her. She now appears, to demand of Figaro the fulfillment of his promise. Bartolo encourages her in this, both out of spite against Figaro and because he wants to be rid of the old woman, who has been his mistress and even borne him a son[Bartolo, however, was unaware that the son was his], who, however, was kidnapped soon after his birth. There is a vengeance aria for Bartolo, and a spiteful duet for Marcellina and Susanna, beginning: "Via resti servita, madama brillante" (Go first, I entreat you, Miss, model of beauty).
I will cease giving more information beyond this, so as to not spoil the story! There will be smarmy references, hilarious sexual tension and a massive web of confusion and laughter throughout the opera. The opera-theater and orchestra have been working on this show for four months, and I cannot even begin to explain just how entertaining this show shall be!
The opera will be entirely orchestrated, performed partly in English, and partly in Italian, so as to allow the audience to keep up with the plot and lend to understanding the Italian which is used in the arias. There will be supertitles as well during the arias.
As for my part, I will be playing the role of the super-feisty Spaniard Marcellina in Saturday's show.
I look forward to seeing you all there!!!
![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
Blarg...
Date: 2005-04-15 03:14 pm (UTC)no subject
Date: 2005-04-15 03:34 pm (UTC)wish i could be there. knock em dead babbeeee!
love and prayers