FOR IMMEDIATE RELEASE
April 16, 2013
April 16, 2013
Media Contact: Jon Miles | Vice President, Marketing & Public Relations
jmiles@usuo.org | 801-869-9021
UTAH OPERA’S 2012-13 SEASON CLOSES WITH
“THE BARBER OF SEVILLE”
ROSSINI’S COMIC MASTERPIECE
OPENS MAY 11, 2013 AT CAPITOL THEATRE
OPENS MAY 11, 2013 AT CAPITOL THEATRE
JERRY STEICHEN CONDUCTS A CAST FEATURING
WILL LIVERMAN, ROBERT MCPHERSON AND CELENA SHAFER
SALT LAKE CITY—
“Figaro, Figaro, Figaro!” sung by the witty and mischievous town
barber, Figaro himself, is one of the most recognizable musical tunes in
operatic history. Audiences have the opportunity to hear this famous
music live and in its original context when Utah Opera presents Giachino
Rossini’s “The Barber of Seville.”
Utah
Opera performs Rossini’s comic masterpiece “The Barber of Seville” May
11, 13, 15 and 17 at 7:30 p.m. and May 19 at 2:00 p.m. at Capitol
Theatre in Salt Lake City (50 West 200 South). Celena Shafer, Utah
native and Metropolitan Opera performer, returns to the Utah Opera stage
as the charming Rosina. Robert McPherson, another Utah Opera favorite,
sings the role of the love-stricken Count Almaviva. Will Liverman,
praised by The New York Times as “a mellow-voiced and charismatic baritone,” makes his Utah Opera debut as the clever Figaro.
This
production is directed by Tara Faircloth and conducted by Jerry
Steichen, a Utah Opera regular who is now also the Utah Symphony’s
Principal Pops Conductor. The opera will be sung in Italian with English
supertitles and last approximately three hours with one twenty-minute
intermission.
The
hilarious story and playful music from “The Barber of Seville”
captivates audiences of all ages. It has been featured in many musical
and cartoon parodies including the infamous Bugs Bunny animation of
Rossini’s delightful overture in “Rabbit of Seville.” Woody Woodpecker
also sang Figaro’s legendary aria in his own 1944 version of “The Barber
of Seville.”
SHORT SYNPOSIS
In
the exotic town of Seville, Count Almaviva sings and woos the confined
and beautiful Rosina. Figaro, the local barber, knows all the secrets
in the town and explains to Almaviva that Rosina is kept locked up as
the ward of Doctor Bartolo, who plans to marry her. Figaro devises a
plan to help Almaviva get the girl by disguising the Count as a drunken
solider under orders to be quartered at Bartolo’s own home. Chaos ensues
as Bartolo grows suspicious and Figaro and Almaviva must come up with
innovative ways to get closer to Rosina and prevent her marriage to
Bartolo.
ADDITIONAL EVENTS
Utah
Opera Principal Coach Dr. Carol Anderson will offer a free Opera
Prelude Lecture one hour before curtain of each performance in the front
of the orchestra seating level of Capitol Theatre (50 West 200 South).
Utah
Opera Artistic Director Christopher McBeth will hold a free Q&A
session immediately following each performance in the front of the
orchestra seating level of Capitol Theatre (50 West 200 South).
TICKETS
Single
tickets for the performances range from $13 to $78 and can be purchased
by calling 801-355-2787, in person at the Capitol Theatre ticket office
(50 West 200 South) or by visiting www.utahopera.org.
A limited number of $10 Youth Tickets and USUO Upbeat Tickets
(discounts for patrons 30 or younger) are available for the Monday and
Wednesday performances. Subscribers and those requesting group rates
should call 801-533-6683. All ticket prices are subject to change and
availability. Ticket prices will increase $5 when purchased on the day
of the performance.
Utah Opera presents
THE BARBER OF SEVILLE
Composed by Giachino Antonio Rossini
Libretto by Cesare Sterbini
Capitol Theatre
May 11, 13, 15 and 17 at 7:00 p.m.
May 11, 13, 15 and 17 at 7:00 p.m.
May 19 at 2:00 p.m.
Sung in Italian
English supertitle translation by Kathleen Lowe
Premiere: 1816
Premiere: 1816
Previously at Utah Opera in 1980, 1987, 2006
CAST
Rosina Celena Shafer
Count Almaviva Robert McPherson
Figaro Will Liverman
Don Basilio Ryan Speedo Green
Dottore Bartolo Michael Wanko
Fiorello Shea Owens
Berta Sishel Claverie
Sergeant Tyler Oliphant
Notary Gunter Radinger
ARTISTIC STAFF
Stage Director Tara Faircloth
Conductor Jerry Steichen
Chorus Master Susanne Sheston
Musical Preparation Carol Anderson
Set Designer Peter Dean Beck
Costume Designer Susan Memmott Allred
Lighting Designer Nicholas Cavallaro
Wigs and Make-up Designer Yancey J. Quick
Guest Coach Dallas Heaton
Assistant Rehearsal Pianist Sahar Nouri
Stage Manager Amy Soll
Assistant Stage Manager Emily D. Grand
Supertitle Technician Glenn Linder
SYNOPSIS
Act I
Seville. Count Almaviva comes in disguise to the house of Doctor Bartolo and serenades Rosina, whom Bartolo keeps confined to the house, beneath her balcony window. Figaro the barber, who knows all the town’s secrets and scandals, arrives. He explains to Almaviva that Rosina is Bartolo’s ward, not his daughter, and that the doctor intends to marry her. Figaro devises a plan: the count will disguise himself as a drunken soldier with orders to be quartered at Bartolo’s house so that he may gain access to the girl. Almaviva is excited and Figaro looks forward to a nice cash pay-off.
Seville. Count Almaviva comes in disguise to the house of Doctor Bartolo and serenades Rosina, whom Bartolo keeps confined to the house, beneath her balcony window. Figaro the barber, who knows all the town’s secrets and scandals, arrives. He explains to Almaviva that Rosina is Bartolo’s ward, not his daughter, and that the doctor intends to marry her. Figaro devises a plan: the count will disguise himself as a drunken soldier with orders to be quartered at Bartolo’s house so that he may gain access to the girl. Almaviva is excited and Figaro looks forward to a nice cash pay-off.
Rosina
reflects on the voice that has enchanted her and resolves to use her
considerable wiles to meet its owner, whom the count leads her to
believe is a poor student named Lindoro. Bartolo appears with Rosina’s
music master, Don Basilio. Basilio warns Bartolo that Count Almaviva,
who has made known his admiration for Rosina, has been seen in Seville.
Bartolo decides to marry Rosina immediately. Figaro, who has overheard
the plot, warns Rosina and promises to deliver a note from her to
Lindoro. Bartolo suspects that Rosina has indeed written a letter, but
she outwits him at every turn. Angry at her defiance, Bartolo warns her
not to trifle with him.
Almaviva
arrives, creating a ruckus in his disguise as a drunken soldier, and
secretly passes Rosina his own note. Bartolo is infuriated by the
stranger’s behavior and noisily claims that he has an official exemption
from billeting soldiers. Figaro announces that a crowd has gathered in
the street, curious about the argument they hear coming from inside the
house. The civil guard bursts in to arrest Almaviva but when he secretly
reveals his true identity to the captain he is instantly released. Everyone except Figaro is amazed by this turn of events.
Act II
Bartolo suspects that the “soldier” was a spy planted by Almaviva. The count returns, this time disguised as Don Alonso, a music teacher and student of Don Basilio. He announces he will give Rosina her music lesson in place of Basilio, who, he says, is ill at home. “Don Alonso” tells Bartolo that he is staying at the same inn as Almaviva and has found a letter from Rosina. He offers to tell her that it was given to him by another woman, seemingly to prove that Lindoro is toying with Rosina on Almaviva’s behalf. This convinces Bartolo that “Don Alonso” is indeed a student of the scheming Basilio, and he allows him to give Rosina her music lesson. She sings an aria, and, with Bartolo dozing off, Almaviva and Rosina express their love.
Bartolo suspects that the “soldier” was a spy planted by Almaviva. The count returns, this time disguised as Don Alonso, a music teacher and student of Don Basilio. He announces he will give Rosina her music lesson in place of Basilio, who, he says, is ill at home. “Don Alonso” tells Bartolo that he is staying at the same inn as Almaviva and has found a letter from Rosina. He offers to tell her that it was given to him by another woman, seemingly to prove that Lindoro is toying with Rosina on Almaviva’s behalf. This convinces Bartolo that “Don Alonso” is indeed a student of the scheming Basilio, and he allows him to give Rosina her music lesson. She sings an aria, and, with Bartolo dozing off, Almaviva and Rosina express their love.
Figaro
arrives to give Bartolo his shave and manages to snatch the key that
opens the doors to Rosina’s balcony. Suddenly Basilio shows up looking
perfectly healthy. Almaviva, Rosina, and Figaro convince him with a
quick bribe that he is sick with scarlet fever and must go home at once.
While Bartolo gets his shave, Almaviva plots with Rosina to elope that
night. But the doctor overhears them and furiously realizes he has been
tricked again. Everyone disperses. Bartolo summons Basilio, telling him
to bring a notary so Bartolo can marry Rosina that very night. Bartolo
then shows Rosina her letter to Lindoro, as proof that he is in league
with Almaviva. Heartbroken and convinced that she has been deceived, she
agrees to marry Bartolo. A thunderstorm rages. Figaro and the count
climb a ladder to Rosina’s balcony and let themselves in with the key.
Rosina appears and confronts Lindoro, who finally reveals his true
identity as Almaviva. Basilio shows up with the notary. Bribed and
threatened, he agrees to be a witness to the marriage of Rosina and
Almaviva. Bartolo arrives with soldiers, but it is too late. Almaviva
explains to Bartolo that it is useless to protest and Bartolo accepts
that he has been beaten. Figaro, Rosina, and the count celebrate their
good fortune.
ARTISTS
Sishel Claverie (Mexico) - Berta
Most Recently at Utah Opera: “The Magic Flute “
Recently:
Utah Opera Resident Artist;
“Rigoletto,” “Il Trovatore,” Utah Opera;
“The Consul,” Opera New Jersey;
“To Cross the Face of the Moon,” Houston Grand Opera;
“Ariadne auf Naxos,” Rice Opera;
“Così fan tutte,” Moores Opera Center
Upcoming:
“The Grand Duchess of Gerolstein,” The Santa Fe Opera
Ryan Speedo Green (Florida) – Don Basilio
Utah Opera Debut
Recently:
“Parsifal,” The Metropolitan Opera;
“Turandot,” The Metropolitan Opera;
“La Bohème,” Central City Opera
Upcoming:
“Il Viaggio a Reims,” Wolf Trap Opera;
“Madame Butterfly,” The Metropolitan Opera
Will Liverman (Virginia) - Figaro
Utah Opera debut
Recently:
“Werther,” “La Bohème,” Lyric Opera of Chicago;
“The Last Savage,” The Santa Fe Opera;
“Kommilitonen!,” Juilliard Opera Center
Upcoming:
“Carmina Burana,” University of Chicago;
“The Barber of Seville,” “La Traviata,” “Madame Butterfly,” “Die Fledermaus,” Lyric Opera of Chicago
Robert McPherson (Washington) – Count Almaviva
Most Recently at Utah Opera, “Rigoletto”
Recently:
“The Magic Flute,” English National Opera;
“Turn of the Screw,” “La Juive,” “La fille du regiment,” “Il viaggio a Reims,” New Israeli Opera;
“Wozzeck,” Houston Symphony Orchestra
Upcoming:
“Anna Bolena,” Welsh National Opera;
“Otello,” Vlaamse Opera
Tyler Oliphant (Utah) - Sergeant
Most Recently at Utah Opera: “The Magic Flute”
Recently:
“Madame Butterfly,” Intermountain Opera Bozeman;
“Rigoletto,” “Il Trovatore,” Utah Opera
“Falstaff,” Utah Lyric Opera Ensemble
“Pirates of Penzance,” Indianapolis Opera
Shea Owens (Arizona) - Fiorello
Most Recently at Utah Opera, “The Magic Flute”
Recently:
“La Bohème,” Central City Opera;
“Die Fledermaus,” Rice University;
“Les Contes d'Hoffmann,” Wolf Trap Opera;
“The Magic Flute,” Phoenix Opera;
“Don Giovanni,” Brigham Young University
Upcoming:
“Our Town,” “The Barber of Seville,” Central City Opera
Celena Shafer (Utah) - Rosina
Most Recently at Utah Opera, “Rigoletto”
Recently:
Bach: Mass in B Minor, Atlanta Symphony;
“Carmina Burana,” Phoenix Symphony, Orchestra of St. Luke's;
Upcoming:
“Abduction from the Seraglio,” Utah Opera
Utah Opera in the Open Air, Deer Valley® Music Festival
Michael Wanko (Bronx, NY) - Don Bartolo
Most Recently at Utah Opera, “Gianni Schicchi”
Recently:
“The Marriage of Figaro,” Austin Lyric Opera;
“The Elixir of Love,” Opera on the James & Mississippi Opera;
Documentary "Detropia" (“The Mikado”) from Michigan Opera Theatre
ARTISTIC STAFF
Tara Faircloth (Houston, TX) - Stage Director
Most Recently at Utah Opera, “Rigoletto”
Recently:
“La Fille du regiment,” Tulsa Opera;
“The Rake's Progress,” Wolf Trap Opera;
“Il Trovatore,” Opera Colorado
Upcoming:
“HMS Pinafore,” Arizona Opera;
“The Elixir of Love,” Arroyos Foundation, NYC
Jerry Steichen - Conductor
Most recently at Utah Opera, “Cinderella”
Upcoming:
Utah Opera in the Open Air, Deer Valley® Music Festival;
“Fatal Song,” Utah Opera
Susanne Sheston (Iowa) – Chorus Master
Most Recently at Utah Opera, “The Magic Flute”
Recently:
Cover Conductor and Chorus Master, Utah Opera 2002-13;
Chorus Master, The Santa Fe Opera 2008-13
Peter Dean Beck (New York) - Set Design
Most recently at Utah Opera, “La Traviata”
Recently:
“Dialogues of the Carmelites,” Hawaii Opera Theatre;
“The Sound of Music,” Skylight Music Theatre;
“Cold Sassy Tree,” Florida State Opera;
“Rake's Progress” and “Falstaff,” University of Colorado, Boulder
Upcoming:
“Turandot,” Hawaii Opera Theatre;
“Les Misérables,” Skylight Music Theatre
Susan Memmott Allred (Utah) – Costume Designer
Most Recently at Utah Opera, “The Magic Flute”
Recently:
Resident Designer, Utah Opera 1979–2011;
Mormon Tabernacle Choir Christmas Concert;
Mormon Miracle Pageant;
University of Utah Pioneer Memorial Theatre;
Exhibition Ski Clothing;
Utah Shakespearean Festival;
Southern Utah State College
Nicholas Cavallero (Utah) – Lighting Design
Most Recently at Utah Opera, “The Magic Flute”
Recently:
“Florencia en el Amazonas,” Utah Opera;
“Cinderella,” Ballet West;
“Into the Woods,” Grand Theater
Yancey J. Quick (Utah) – Wigh and Makeup Designer
Most Recently at Utah Opera, “The Magic Flute”
Recently:
“Florencia en el Amazonas,” Utah Opera;
Ballet West (Wig Master);
Utah Shakespeare Festival (Cosmetologist);
Utah Lyric Opera Ensemble (Wig and Makeup Design)
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