 |
 |
 |
 |
Spring 2006
Haydn and Donizetti Double Bill
La Canterina (The Songstress), by Franz Josef Haydn, sung in Italian
English supertitles by David Toulson
Le Convenienze Teatrali, an operatic farce in one act, sung in English
Music and Italian libretto by Gaetano Donizetti
Based on two comedies by Antonio Simone Sografi
Performing edition based on the composer's autograph manuscripts by Michael Kaye
English translation by Michael Kaye and William Ashbrook
The Cast for La Canterina:
Garparina, Katherine Osborne
Don Pelagio, Ole Hass
Apollonia, Antony Zwerdling*
Don Ettore, Ilah Raleigh*
*OTNV debut
The Cast for La Convenienze Teatrali:
Corilla, Danielle Talamantes
Il Musico, Ilah Raleigh*
Luigia, Katherine Osborne
Guglielmo (Divo), Ole Hass
Mama Agata, Antony Zwerdling*
Don Procolo, Darren Perry
Maestro and Poet, Michael Nansel
Impressario, Don Bicoy
*OTNV debut
The Story of La Canterina:
La Canterina was written in 1767 by Haydn for Prince Esterhazy's private opera house and precedes by one year his opera Lo Speziale (The Apothecary), which OTNV presented in 2002. This work is very interesting in that within its 35 minutes of music it displays two practices of casting that are at once diametrically opposed and in agreement with each other. On one hand, the role of Apollonia (an older woman) is sung by a baritone in female drag, and on the other, the role of Don Ettore (the young suitor) is sung by a mezzo soprano in male "drag." Thus, in one work, we have two opposite examples of gender bending.
The practice of casting a lower voiced male as an older woman was common in early opera but had started to die out by Haydn's time. The practice of having a mezzo soprano play the part of a young boy was just starting up. This is the only opera by Haydn in which both kinds of casting can be found.
Synopsis: Gasparina (soprano) and her duenna, Apollonia (baritone), make sport of their benefactor, Don Pelagio (tenor), Gasparina's singing teacher. Don Ettore (mezzo soprano), a wealthy merchant's son, "borrows" his mother's jewels to give to Gasparina in an effort to win her favor. Pelagio, who has asked Gasparina to marry him, becomes infuriated when he hears the two women mocking him. He calls the bailiff to put the women out of the house, but Gasparina's singing and her cunning cause Pelagio to relent and clear the way for Don Ettore to advance his suit.
The Story of La Convenienze Teatrali:
Le Convenienze Teatrali, written in 1827, is a one-act version of a longer work by Donizetti called Le Convenienze ed Inconvenienze Teatrali. This one-act version has been adapted by Michael Kaye, who translates the title as "Unconventional Rehearsals." It has some similarities to the William Ashbrook and Thomas Phillips version, which is sometimes called Viva la Mamma!
In this work, we once again find the convention of having the role of an older woman played by a baritone and the role of a young boy (Il Musico), played by a mezzo soprano. Both this work and the Haydn are excellent examples of vocal practices in late 18th and early 19th Century opera. The backstage antics of the singers--as well as their supporters (in this case, their families)--help to create a very humorous atmosphere.
Synopsis: A small opera company is rehearsing a new work, Romulus and Ersilia. The prima donna (soprano) is impossible to work with; the tenor cannot learn his part; and the singers are always fighting. Then, in comes Mamma Agata (baritone in drag), mother of one of the singers, who insists her daughter be given an aria to sing and even dictates how it should be written. Meanwhile, the tenor refuses to go on and his role is taken over by the singer's agent, who knows nothing about singing. Yet another crisis looms when loss of financial support threatens to force the company to close. Nonetheless, all the obstacles are overcome and the curtain rises!
