149
10
1775
-
https://omeka.binghamton.edu/omeka/files/original/53f38503ae994be53fd6bb8eddef77ce.pdf
a9572b7ad8ee80972db8ff24eb8313e4
PDF Text
Text
The
Mozart's
Marriage
of
Figaro
�STATE UNIVERSITY OF NE W YORK AT BINGHAMTON
THE MUSIC AND THEATER DEPARTMENTS
WITH THE SUPPORT OF THE STUDENT ASSOCIATION
AND OPERA WORKSHOP
Present
T h e M a r r i a g e o f F i g a r o
Music by WOLFGANG AMADEUS MOZART
Libretto by LORENZO DA PONTE
(after Beaumarchais’ “La Folle Journée ou Le Mariage de Figaro”)
English version by RUTH and THOMAS MARTIN
Conducted by PEYTON HIBBITT
Directed by CARMEN SAVOCA
Scenery designed by LLOYD BURLINGAME
(for Manhattan School of Music, 1973)
Costumes by BROOKSVAN H ORN, New York City
Lighting by RACHEL BUDIN
Choreography by JOAN KUNSCH
Stage Manager, NANCY ROPER
Technical Director, JEFF WACHTEL
APRIL 27, 29 and MAY 1, 1976 — 8:00 p.m.
in the Don A . Watters Theater
�CAST
(in order of appearance)
April 27
April 29
May 1
Figaro
Gary S. Levine
John R. Hughes
Gary S. Levine
Susanna
Mary Ann Ferraiolo Victoria Devany Mary Ann Ferraiolo
Dr. Bartolo
Eugene Sawczyn
Eugene Sawczyn Eugene Sawczyn
M arcellina
Alma Mora
Alma Mora
C herubino
Karen L. Haight
Jacquelyne Garms Karen L. Haight
Count Almaoioa
Michael D. Quinn Robert Cuarino
Don Basilio
Kevin McDermott Preston Stockman Kevin McDermott
Valet of the Count
Chambermaid of the Countess
A Doctor from Seville
The Count’s page
Music Master
Alma Mora
Michael D. Quinn
Countess Almaoiva Rachel Gardner
Susan Ball
Antonio
Richard Bartmon
Richard Bartmon Thomas Fordham
Don Curzio
Kevin McDermott Kevin McDermott Preston Stockman
Barbarina
Ellen Beattie
Almaviva
The Count’s gardener
A judge
Antonio’s daughter
Jill Small
Rachel Gardner
Jill Small
Servants of the castle, dancers and villagers
Chris Arneson will understudy all performances of Anton io
Jacquelyne Carms will understudy all performances of Marcellina
Gary S. Levine will understudy all performances of Dr. Bartolo
*
»
Q
*
The action covers one day and takes place in the Castle and grounds of
Aguas Frescas, the domain of Count Almaviva near Seville, in the eighteenth
century.
ACT I–A Room in the Castle
Intermission
ACT II– The Countess’ Boudoir
Intermission
ACT III–The Hall of the Castle
ACT IV–The Garden of the Castle
Count Almaviva, bent on winning the favor of Susanna before her wedding
to his valet, Figaro, tries to jeopardize the latter’s marriage with the help of
several underlings, Basilio, Marcellina and Bartolo, who are promoting a
wedding of Figaro to Marcellina. The Countess, neglected by her husband,
joins forces with Susanna and the crafty Figaro, and by means of a clever
scheme, the Count is finally obliged to return to his wife and to unite Figaro
and Susanna.
( By arrangement with G. Schirmer, Inc., publisher and copyright owner)
�NOTES
The year 1775 saw the premiere performance of Caron de Beaumarchais’
comedy The Barber cf Seville. The play was so successful that the author
was moved a few years later to present to the public, in the words of one
critic, “that rare occurrence in literature, a true sequel, “The Marriage of
Figaro.” In the original play, Figaro, the barber, had placed his ingenuity at
the service of the Count Almaviva to help win the Count’s beloved Rosina
from her guardian, Dr. Bartolo. In characteristic 18thcentury manner, the
plot abounded in complex stage situations involving disguises, mistaken
identities, and confusions piled on confusions. At the end, love triumphed,
the Count won Rosina, and Figaro was handsomely paid.
Any aspects of The Barber of Seville that might have been considered
suspect at the time were only lightly suggested, and would certainly escape
notice today. They were, however, implicit in the idea that a member of the
servant class could be shown to be cleverer than his master, a member of
u
l
I]
t
l
‘I
the aristocratic class. But, of course, clever servants spouti ng sly witticisms
A
were familiar from the comic style of this time, and were not looked upon
with disapproval, even in a France on the verge of a revolution. With his
Marriage of Figaro, on the other hand, as Beaumarchais explored the fur
ther fortunes of the Count, Rosina ( now his Countess ) and Figaro ( now
the Count’s valet ) the tone changed. To be sure, the 18thcentury apparatus
is still there: the mistaken identities, disguises, the continual hiding behind
chairs and in closets, and even the unexpected identification of the long
lost child at a most astonishin g moment. But with one fundamental change
in the situation, Beaumarchais magnified the prerevolutionary tendencies
of his original story. For now master and servant no longer band together
to outwit some foolish old man; indeed, master and servant are at odds with
each other. And the goal toward which they both strive is patently less an
object for humor. In The Barber of Seville the goal was to win the pretty
young lady away from her elderly guardian, who wanted to marry her him
self. But in The Marriage of Figaro, where it is the barber’s turn to find love
and marriage, the count, already tiring of his wife, longs to revive the
ancient feudal rights that allowed the lord of the manor to seduce any
young servant girl on her wedding night before she was united with her
husband. The object of this mutual concern is Suzanna, the Countess’ maid,
once again a clever and attractive 18thcentury comic servant girl. Of
course, we never really worry for a moment that the count will succeed in
persuading her to comply with his wishes. She and Figaro always control
the situation, even at its most complex and bewildering. And it certainly
does get bewildering! For the stage swarms with characters, some from the
earlier play and others newly invented for this one. There is Don Basilio,
Rosina’s old music teacher, now functioning as a gobetween to carry the
Count’s secret messages to Su zanna (what the count does n ot realize is that
whatever Basilio knows the rest of the castle will also know in short time ) ;
there is Dr. Bartolo, still smarting over the loss of his Rosina, and thirsting
for an opportunity to take revenge on Figaro; there is Marcellina, Bartolo’s
old house servant, who had, some years past, loaned Figaro money on the
condition that if he could not repay it he would marry her ( clearly, we must
not look for too much realism in these situations, but simply take them as
L
i
�they are given ) ; there is Antonio, the gardener, who cannot understand why
the people in the castle have to jump out of the windows onto his flower
pots; there is Barbarina, the gardener’s da ughter, available to any number
of people in the castle to carry messages and perform other services. And
finally we have Cherubino and the Countess, probably the two most re
markable figures in this work . More about them in a mom ent.
When Lorenzo da Ponte, a fascinating figure in many ways and a genuine
literary talent, set about to convert Beaum archais’ comed y into a libretto f or
an opera, he had to do more than merely versify the prose passages so they
could be accommodated to a musical setting. He had to remove the political
statements f rom the play so that nothing was lef t’but the basic plot intrigue.
All of Figaro’s soliloquies like the following were of necessity eliminated:
“No, my Lord Count, you shall not have her! Because you are a great noble
man, you think you are a genius. Nobility, fortune, rank, position, how
proud they make a man feel! But what have you done to deserve these ad
vantages? You went to the trouble of being born, that’s all. Aside from that,
you’re a very ordinary man. Whereas I, lost in the dark crowd, have more
knowledge, more skill, . . .” and so on. It was passages like this that led
Napoleon to comment that this play was indeed “the revolution in action.”
So the book Mozart received to set to music no longer contained any politi
cal implications; what was left was a colorf ul panorama filled with a variety
of figures all of whom act, react, and interact motivated ( and this is truly
the key to the opera!) by their sexual feelings. For Figaro and Suzanna, their
physical feelings for each other are a direct expression of their love; for the
Count, egotism and vanity force him to envisage himself as a virile con
queror; to Bartolo, frustrated sexual feelings have turned to a desire for
revenge which is relished wi th all the plea sure a libertine brings to a seduc
tion; to Basilio, other people’s feelings and escapades stimulate him and
turn him into a comic lipsmacking gossip. To the elderly Marcellina, no
longer attractive and never chaste, it seems perfectly acceptable to use
money and coercion to achieve sexual ends; to Barbarina, the gardener’s
daughter, sex is something one plays with as openly and innocently as a
child plays with a toy. Which brings me round once again to the two last
characters: the Countess and Cherubino.
It is strange to realize that the dignified Countess of The Marriage of
Figaro was, only a few years earlier, the charming, impish Rosina of The
Barber of Seville. Da Ponte (unlike Beaumarchais) reserves her entrance for
the second act of the opera, where, at her initial appearance, she casts a
serious but irresistably appealing color over the entire proceedings. Now
no longer sought after by a handsome young count for marriage, she has
become, in much too short a time, a lonely woman who can no longer a ttract
her husband’s affections, who must stand by and pretend not to notice as he
tries to seduce her maid, and who, much against her inna te sense of dignity,
must plot with Susanna to ou twit and ultim ately recaptur e a n exposed and
embarrassed husband. She f aces one of life’s most bewildering truths : that
sexual feelings cannot be compartmentalized, limited, or directed in an
exclusively rational way, not even through love. Sex is life itself, and life
blindly wills i ts own being. She will win her Count back at the end, per
haps forever, perhaps for only a short tim e. But her serious, almost m elan
choly persona lity is essentia l f or the total pi cture of this ta pestry, filling out
�the darker side of human feelings and giving this comedy some of its more
sobering and touching moments.
Finally we come to Cherubino, the young page, the beautiful teenage
boy ( in the opera, as in the original play, always performed by a female)
infatuated with love. He loves them all : Marcellina, Barberina, the Count
ess, Suzanna; in short, he is in love with love. Weaving in and out of the
action at all its crucial points, involved with everyone and with no one, he
becomes the abstract personification of the life force that moves the other
characters. He lives only for the breathless, undirected enthusiasm of love
as it appears in some ideal sphere, embracing all women but never nar
rowing down to anyone in particular. He is consumed with desire, but his
desire has yet to find a specific object. It is in essence its own experience.
Cherubino is a unique stage figure, at one and the same time a character
in the story, as well as the embodiment of an archetype. And this dual role,
by turn realistic and symbolic, is made manifest by the character’s being
played by a woman. This creates an and rogynous figure that contains within
itself male and female in union, needs nothing outside itself, and effort
lessly convinces us that desire, in this case, is simply its own object.
And it is this movement from individual character to abstract per
sonification that ultimately needs music for its completion. This is the rea
son why, as successful as was Beauma rchais’ comedy, it was only in con
junction with Mozart’s music that it attained its truly immortal shape. For
only when music and theater combine in one, can stage characters function
simultaneously as individuals and personifications. And now, concluding
my essay, I find that I have said nothing about Mozart’s music. And I will
saying nothing beyond one comment that may throw some light, not only
on this work, but on Mozart’s style in general. Through a saturation with
19thcentury musical styles, we tend to associate “love music,” certainly at
its most passionate and sexually explicit, with a sound very different from
that offered by Mozart. Wagner, Tchaikovsky, and Chopin all offer us fa
miliar examples of love music replete with expressive melodies and har
monies, and rich orchestral textures rising to passionate climaxes. Mozart,
however, approaches not the surface expression of love but the power
behind it, the energy of life itself that finds its most forceful expression in the
sexual drive. In Mozart’s music, and certainly in this opera, the drives that
animate these characters in so many varied ways are captured in a music
that moves with a seemingly inexhaustable invention that is astonishingly
fertile, continually tossing out new melodic ideas, rarely lingering to elab
orate or develop their symphonic potentials, but spinning them out lyrically
and then dropping them to go on to some new melodic idea. Each char
acter is given music that uniquely reflects his or her own personality as it
supplies a variation on, and a reflection of, the force that moves us all.
Philip Friedheim
�ORCHESTRA
BASSOONS
Lois Chantry
Principal
Valarie Durham
VIOLIN I
Evelina Chao
Concertmaster
David Harrington
Bob Provell
Paul Turco
Olev Viro
CELLO
David Heiss
Principal
Michael Finchel
Holly Wilson
VIOLIN II
Andrea Andros
Principal
Karen Fliegler
Marcia Miller
Evan Paris
Lydia Werbizky
F LUT ES
Nancy Becker
Sharon Kosakoff
Susan Passanante
Karen Tax
BASS
Richard Thomas
TRUMPETS
Dave Bespalko
Principal
Scott Kelley
HARPSICHORD
Diane Pendleton
OBOES
Geoffrey Barron
Principal
Eliot Friedman
VIOLA
Larry Bradford
Principal
Barbara Corin
HORNS
Ken Steiger
Principal
Ed Deskur
CLARINETS
Wendy Osteyée
Principal
Paul Ketchoyian
TYMPAN I
Geoffrey Brooks
ORCHESTRA M ANAGER AND LIBRARIAN: Larry Bradford
REHEARSAL ACCOMPANISTS
Barbara Garges
ChaiKyou Mallinson
Diane Pendleton
Q
1k
*
0!
DANCERS
Cara Bujarsky
Colleen Friends
Carol Hageman ( assistant to Ms. Kunsch)
Kate Ragan
Demaris Hollenbeak
Mary Meyer
W O R K S H O P C H O R U S
MEN
Chris Arneson
Richard Bartmon
Thomas Fordham
Kevin McDermo tt
Stuart Silverman
Preston Stockman
WOMEN
Ellen Beattie
Susan Glass
Joan Jurich
Judi Kahan
Danette Lipten
Kim Lovett
Jill Small
�P R O D U C T I O N S T A F F
Roberta Schlosser, David Clatworthy
Musical Preparation
Stephanie Herman
Properties Mistress
Terry Di Massino
Makeup .
Roy Abbott, Rick Augustine, Howie Cantor,
Davis Weiss, Joe Houghtaling, Bob Volk
Stage Crew
Electricans
Karen Molinelli, Ron Katz
Wardrobe Mistress
Gerri Miller, Marie Ianotti
.. Karen Tax
House Manager .
Tony Bednarcyzk
Box Office Manager
Technical Consultants
John Bielenberg, Linda Giese, Rob Robinson,
Judith Somogi, John Eloy Vestal, Lisbeth Roma
OPERA PRODUCTION COMMITTEE FOR THE UNIVERSITY
Harry B. Lincoln
Roberta Schlosser
Alfred G. Brooks
David Clatworthy
SUNY–BINGHAMTON OPERA WORKSHOP
Roberta Schlosser, director
Jill Small, secretary
Richard Bartmon, president
Rachel Gardner, treasurer
#
*
i
*
A c k n o w l e d ge m e n t s
We would like to thank the following for their help and contribution to the
production of The Marriage of Figaro: TriCities Opera Co., Roberson’s
Ballet Binghamton, WSKG, WBNGTV, Michael Ennist, Joan Whiting, Chris
Focht, Etta Knapp, Duane Skrabalak, Joseph Kotylo, MacLennan Flowers
Inc.
�
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Marriage of Figaro, April 29, 1976
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https://omeka.binghamton.edu/omeka/files/original/4abaf71bf3946a604d7d00c9bf753477.pdf
a9572b7ad8ee80972db8ff24eb8313e4
PDF Text
Text
The
Mozart's
Marriage
of
Figaro
�STATE UNIVERSITY OF NE W YORK AT BINGHAMTON
THE MUSIC AND THEATER DEPARTMENTS
WITH THE SUPPORT OF THE STUDENT ASSOCIATION
AND OPERA WORKSHOP
Present
T h e M a r r i a g e o f F i g a r o
Music by WOLFGANG AMADEUS MOZART
Libretto by LORENZO DA PONTE
(after Beaumarchais’ “La Folle Journée ou Le Mariage de Figaro”)
English version by RUTH and THOMAS MARTIN
Conducted by PEYTON HIBBITT
Directed by CARMEN SAVOCA
Scenery designed by LLOYD BURLINGAME
(for Manhattan School of Music, 1973)
Costumes by BROOKSVAN H ORN, New York City
Lighting by RACHEL BUDIN
Choreography by JOAN KUNSCH
Stage Manager, NANCY ROPER
Technical Director, JEFF WACHTEL
APRIL 27, 29 and MAY 1, 1976 — 8:00 p.m.
in the Don A . Watters Theater
�CAST
(in order of appearance)
April 27
April 29
May 1
Figaro
Gary S. Levine
John R. Hughes
Gary S. Levine
Susanna
Mary Ann Ferraiolo Victoria Devany Mary Ann Ferraiolo
Dr. Bartolo
Eugene Sawczyn
Eugene Sawczyn Eugene Sawczyn
M arcellina
Alma Mora
Alma Mora
C herubino
Karen L. Haight
Jacquelyne Garms Karen L. Haight
Count Almaoioa
Michael D. Quinn Robert Cuarino
Don Basilio
Kevin McDermott Preston Stockman Kevin McDermott
Valet of the Count
Chambermaid of the Countess
A Doctor from Seville
The Count’s page
Music Master
Alma Mora
Michael D. Quinn
Countess Almaoiva Rachel Gardner
Susan Ball
Antonio
Richard Bartmon
Richard Bartmon Thomas Fordham
Don Curzio
Kevin McDermott Kevin McDermott Preston Stockman
Barbarina
Ellen Beattie
Almaviva
The Count’s gardener
A judge
Antonio’s daughter
Jill Small
Rachel Gardner
Jill Small
Servants of the castle, dancers and villagers
Chris Arneson will understudy all performances of Anton io
Jacquelyne Carms will understudy all performances of Marcellina
Gary S. Levine will understudy all performances of Dr. Bartolo
*
»
Q
*
The action covers one day and takes place in the Castle and grounds of
Aguas Frescas, the domain of Count Almaviva near Seville, in the eighteenth
century.
ACT I–A Room in the Castle
Intermission
ACT II– The Countess’ Boudoir
Intermission
ACT III–The Hall of the Castle
ACT IV–The Garden of the Castle
Count Almaviva, bent on winning the favor of Susanna before her wedding
to his valet, Figaro, tries to jeopardize the latter’s marriage with the help of
several underlings, Basilio, Marcellina and Bartolo, who are promoting a
wedding of Figaro to Marcellina. The Countess, neglected by her husband,
joins forces with Susanna and the crafty Figaro, and by means of a clever
scheme, the Count is finally obliged to return to his wife and to unite Figaro
and Susanna.
( By arrangement with G. Schirmer, Inc., publisher and copyright owner)
�NOTES
The year 1775 saw the premiere performance of Caron de Beaumarchais’
comedy The Barber cf Seville. The play was so successful that the author
was moved a few years later to present to the public, in the words of one
critic, “that rare occurrence in literature, a true sequel, “The Marriage of
Figaro.” In the original play, Figaro, the barber, had placed his ingenuity at
the service of the Count Almaviva to help win the Count’s beloved Rosina
from her guardian, Dr. Bartolo. In characteristic 18thcentury manner, the
plot abounded in complex stage situations involving disguises, mistaken
identities, and confusions piled on confusions. At the end, love triumphed,
the Count won Rosina, and Figaro was handsomely paid.
Any aspects of The Barber of Seville that might have been considered
suspect at the time were only lightly suggested, and would certainly escape
notice today. They were, however, implicit in the idea that a member of the
servant class could be shown to be cleverer than his master, a member of
u
l
I]
t
l
‘I
the aristocratic class. But, of course, clever servants spouti ng sly witticisms
A
were familiar from the comic style of this time, and were not looked upon
with disapproval, even in a France on the verge of a revolution. With his
Marriage of Figaro, on the other hand, as Beaumarchais explored the fur
ther fortunes of the Count, Rosina ( now his Countess ) and Figaro ( now
the Count’s valet ) the tone changed. To be sure, the 18thcentury apparatus
is still there: the mistaken identities, disguises, the continual hiding behind
chairs and in closets, and even the unexpected identification of the long
lost child at a most astonishin g moment. But with one fundamental change
in the situation, Beaumarchais magnified the prerevolutionary tendencies
of his original story. For now master and servant no longer band together
to outwit some foolish old man; indeed, master and servant are at odds with
each other. And the goal toward which they both strive is patently less an
object for humor. In The Barber of Seville the goal was to win the pretty
young lady away from her elderly guardian, who wanted to marry her him
self. But in The Marriage of Figaro, where it is the barber’s turn to find love
and marriage, the count, already tiring of his wife, longs to revive the
ancient feudal rights that allowed the lord of the manor to seduce any
young servant girl on her wedding night before she was united with her
husband. The object of this mutual concern is Suzanna, the Countess’ maid,
once again a clever and attractive 18thcentury comic servant girl. Of
course, we never really worry for a moment that the count will succeed in
persuading her to comply with his wishes. She and Figaro always control
the situation, even at its most complex and bewildering. And it certainly
does get bewildering! For the stage swarms with characters, some from the
earlier play and others newly invented for this one. There is Don Basilio,
Rosina’s old music teacher, now functioning as a gobetween to carry the
Count’s secret messages to Su zanna (what the count does n ot realize is that
whatever Basilio knows the rest of the castle will also know in short time ) ;
there is Dr. Bartolo, still smarting over the loss of his Rosina, and thirsting
for an opportunity to take revenge on Figaro; there is Marcellina, Bartolo’s
old house servant, who had, some years past, loaned Figaro money on the
condition that if he could not repay it he would marry her ( clearly, we must
not look for too much realism in these situations, but simply take them as
L
i
�they are given ) ; there is Antonio, the gardener, who cannot understand why
the people in the castle have to jump out of the windows onto his flower
pots; there is Barbarina, the gardener’s da ughter, available to any number
of people in the castle to carry messages and perform other services. And
finally we have Cherubino and the Countess, probably the two most re
markable figures in this work . More about them in a mom ent.
When Lorenzo da Ponte, a fascinating figure in many ways and a genuine
literary talent, set about to convert Beaum archais’ comed y into a libretto f or
an opera, he had to do more than merely versify the prose passages so they
could be accommodated to a musical setting. He had to remove the political
statements f rom the play so that nothing was lef t’but the basic plot intrigue.
All of Figaro’s soliloquies like the following were of necessity eliminated:
“No, my Lord Count, you shall not have her! Because you are a great noble
man, you think you are a genius. Nobility, fortune, rank, position, how
proud they make a man feel! But what have you done to deserve these ad
vantages? You went to the trouble of being born, that’s all. Aside from that,
you’re a very ordinary man. Whereas I, lost in the dark crowd, have more
knowledge, more skill, . . .” and so on. It was passages like this that led
Napoleon to comment that this play was indeed “the revolution in action.”
So the book Mozart received to set to music no longer contained any politi
cal implications; what was left was a colorf ul panorama filled with a variety
of figures all of whom act, react, and interact motivated ( and this is truly
the key to the opera!) by their sexual feelings. For Figaro and Suzanna, their
physical feelings for each other are a direct expression of their love; for the
Count, egotism and vanity force him to envisage himself as a virile con
queror; to Bartolo, frustrated sexual feelings have turned to a desire for
revenge which is relished wi th all the plea sure a libertine brings to a seduc
tion; to Basilio, other people’s feelings and escapades stimulate him and
turn him into a comic lipsmacking gossip. To the elderly Marcellina, no
longer attractive and never chaste, it seems perfectly acceptable to use
money and coercion to achieve sexual ends; to Barbarina, the gardener’s
daughter, sex is something one plays with as openly and innocently as a
child plays with a toy. Which brings me round once again to the two last
characters: the Countess and Cherubino.
It is strange to realize that the dignified Countess of The Marriage of
Figaro was, only a few years earlier, the charming, impish Rosina of The
Barber of Seville. Da Ponte (unlike Beaumarchais) reserves her entrance for
the second act of the opera, where, at her initial appearance, she casts a
serious but irresistably appealing color over the entire proceedings. Now
no longer sought after by a handsome young count for marriage, she has
become, in much too short a time, a lonely woman who can no longer a ttract
her husband’s affections, who must stand by and pretend not to notice as he
tries to seduce her maid, and who, much against her inna te sense of dignity,
must plot with Susanna to ou twit and ultim ately recaptur e a n exposed and
embarrassed husband. She f aces one of life’s most bewildering truths : that
sexual feelings cannot be compartmentalized, limited, or directed in an
exclusively rational way, not even through love. Sex is life itself, and life
blindly wills i ts own being. She will win her Count back at the end, per
haps forever, perhaps for only a short tim e. But her serious, almost m elan
choly persona lity is essentia l f or the total pi cture of this ta pestry, filling out
�the darker side of human feelings and giving this comedy some of its more
sobering and touching moments.
Finally we come to Cherubino, the young page, the beautiful teenage
boy ( in the opera, as in the original play, always performed by a female)
infatuated with love. He loves them all : Marcellina, Barberina, the Count
ess, Suzanna; in short, he is in love with love. Weaving in and out of the
action at all its crucial points, involved with everyone and with no one, he
becomes the abstract personification of the life force that moves the other
characters. He lives only for the breathless, undirected enthusiasm of love
as it appears in some ideal sphere, embracing all women but never nar
rowing down to anyone in particular. He is consumed with desire, but his
desire has yet to find a specific object. It is in essence its own experience.
Cherubino is a unique stage figure, at one and the same time a character
in the story, as well as the embodiment of an archetype. And this dual role,
by turn realistic and symbolic, is made manifest by the character’s being
played by a woman. This creates an and rogynous figure that contains within
itself male and female in union, needs nothing outside itself, and effort
lessly convinces us that desire, in this case, is simply its own object.
And it is this movement from individual character to abstract per
sonification that ultimately needs music for its completion. This is the rea
son why, as successful as was Beauma rchais’ comedy, it was only in con
junction with Mozart’s music that it attained its truly immortal shape. For
only when music and theater combine in one, can stage characters function
simultaneously as individuals and personifications. And now, concluding
my essay, I find that I have said nothing about Mozart’s music. And I will
saying nothing beyond one comment that may throw some light, not only
on this work, but on Mozart’s style in general. Through a saturation with
19thcentury musical styles, we tend to associate “love music,” certainly at
its most passionate and sexually explicit, with a sound very different from
that offered by Mozart. Wagner, Tchaikovsky, and Chopin all offer us fa
miliar examples of love music replete with expressive melodies and har
monies, and rich orchestral textures rising to passionate climaxes. Mozart,
however, approaches not the surface expression of love but the power
behind it, the energy of life itself that finds its most forceful expression in the
sexual drive. In Mozart’s music, and certainly in this opera, the drives that
animate these characters in so many varied ways are captured in a music
that moves with a seemingly inexhaustable invention that is astonishingly
fertile, continually tossing out new melodic ideas, rarely lingering to elab
orate or develop their symphonic potentials, but spinning them out lyrically
and then dropping them to go on to some new melodic idea. Each char
acter is given music that uniquely reflects his or her own personality as it
supplies a variation on, and a reflection of, the force that moves us all.
Philip Friedheim
�ORCHESTRA
BASSOONS
Lois Chantry
Principal
Valarie Durham
VIOLIN I
Evelina Chao
Concertmaster
David Harrington
Bob Provell
Paul Turco
Olev Viro
CELLO
David Heiss
Principal
Michael Finchel
Holly Wilson
VIOLIN II
Andrea Andros
Principal
Karen Fliegler
Marcia Miller
Evan Paris
Lydia Werbizky
F LUT ES
Nancy Becker
Sharon Kosakoff
Susan Passanante
Karen Tax
BASS
Richard Thomas
TRUMPETS
Dave Bespalko
Principal
Scott Kelley
HARPSICHORD
Diane Pendleton
OBOES
Geoffrey Barron
Principal
Eliot Friedman
VIOLA
Larry Bradford
Principal
Barbara Corin
HORNS
Ken Steiger
Principal
Ed Deskur
CLARINETS
Wendy Osteyée
Principal
Paul Ketchoyian
TYMPAN I
Geoffrey Brooks
ORCHESTRA M ANAGER AND LIBRARIAN: Larry Bradford
REHEARSAL ACCOMPANISTS
Barbara Garges
ChaiKyou Mallinson
Diane Pendleton
Q
1k
*
0!
DANCERS
Cara Bujarsky
Colleen Friends
Carol Hageman ( assistant to Ms. Kunsch)
Kate Ragan
Demaris Hollenbeak
Mary Meyer
W O R K S H O P C H O R U S
MEN
Chris Arneson
Richard Bartmon
Thomas Fordham
Kevin McDermo tt
Stuart Silverman
Preston Stockman
WOMEN
Ellen Beattie
Susan Glass
Joan Jurich
Judi Kahan
Danette Lipten
Kim Lovett
Jill Small
�P R O D U C T I O N S T A F F
Roberta Schlosser, David Clatworthy
Musical Preparation
Stephanie Herman
Properties Mistress
Terry Di Massino
Makeup .
Roy Abbott, Rick Augustine, Howie Cantor,
Davis Weiss, Joe Houghtaling, Bob Volk
Stage Crew
Electricans
Karen Molinelli, Ron Katz
Wardrobe Mistress
Gerri Miller, Marie Ianotti
.. Karen Tax
House Manager .
Tony Bednarcyzk
Box Office Manager
Technical Consultants
John Bielenberg, Linda Giese, Rob Robinson,
Judith Somogi, John Eloy Vestal, Lisbeth Roma
OPERA PRODUCTION COMMITTEE FOR THE UNIVERSITY
Harry B. Lincoln
Roberta Schlosser
Alfred G. Brooks
David Clatworthy
SUNY–BINGHAMTON OPERA WORKSHOP
Roberta Schlosser, director
Jill Small, secretary
Richard Bartmon, president
Rachel Gardner, treasurer
#
*
i
*
A c k n o w l e d ge m e n t s
We would like to thank the following for their help and contribution to the
production of The Marriage of Figaro: TriCities Opera Co., Roberson’s
Ballet Binghamton, WSKG, WBNGTV, Michael Ennist, Joan Whiting, Chris
Focht, Etta Knapp, Duane Skrabalak, Joseph Kotylo, MacLennan Flowers
Inc.
�
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Binghamton University Music Department Tape Recordings
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Marriage of Figaro, May 1, 1976
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Concerts ; Instrumental music ; Live sound recordings
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Lenox String Quartet Recital, February 2, 1973
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Works of Mozart, Schoenberg, and Brahms. Held at 8:15 pm, February 3, 1973, Recital Hall.
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Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
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Walter Ponce, recital, February 7, 1973
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Works of Scarlatti, Liszt, and Ginastera. Held at 8:15 pm, February 7, 1973, Watters Theater.
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David Clatworthy, recital, March 10, 1973
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Works of Telemann, Handel, Brahms, Mozart, Respigi and Copland. Held at 8:15 pm, March 10, 1973, Watters Theater.
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Harpur Symphony Orchestra, a concert in antiphony, March 15, 1973
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Works of Vivaldi, J.C. Bach, Ives, and Schoenberg. Held at 8:15 pm, March 15, 1973, Watters Theater.
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Binghamton University Music Department Tape Recordings
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Amici Quartet, recital, March 17, 1973
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Works of Mozart, Marisi, Webern and Beethoven. Held at 8:15 pm, March 17, 1973, Recital Hall.
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The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: Universal Viewer / Rosetta
Rosetta audio media
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
2 audiotape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
40:43
33:55
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243588">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243588</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Norman Carey, recital, March 18, 1973
Recital Tape 1973-3-18
Description
An account of the resource
Works of Bach, Schubert, SchoÌnberg and Liszt. Held at 2:00 pm, March 18, 1973, Recital Hall.
Creator
An entity primarily responsible for making the resource
Carey, Norman
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
3/18/73
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: Universal Viewer / Rosetta
Rosetta audio media
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
4 audiotape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
41:09
13:57
25:39
18:46
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243592">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243592</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Donald Currier, recital, March 24, 1973
Recital Tape 1973-3-24
Description
An account of the resource
Works of Haydn, Beethoven, Schumann, Berkowitz and Chopin. Held at 8:15 pm, March 24, 1973, Recital Hall.
Creator
An entity primarily responsible for making the resource
Currier, Donald
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
3/24/73
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
1960's - present
Title
A name given to the resource
Binghamton University Music Department Tape Recordings
Subject
The topic of the resource
Concerts ; Instrumental music ; Live sound recordings
Description
An account of the resource
Binghamton University Music Department recordings is an audio collection of concerts and recitals given on campus by students, faculty, and outside musical groups. The physical collection consists of reel-to-reel tapes, cassette tapes, and compact discs. The recordings <a href="https://suny-bin.primo.exlibrisgroup.com/discovery/search?query=any,contains,Binghamton%20University%20Music%20Department%20tape%20recordings&tab=LibraryCatalog&search_scope=MyInstitution&vid=01SUNY_BIN:01SUNY_BIN&mode=basic&offset=0&conVoc=false">have been catalogued</a> and are located in <a href="https://www.binghamton.edu/libraries/about/special-collections/">Special Collections</a>. In addition, the collection includes copies of programmes. <br /><br />The Libraries have begun making some of the collections available digitally on campus. These recordings are restricted to the Binghamton University Community. Please contact Special Collections for questions regarding access off campus.<br />Email: <a href="mailto:speccoll@binghamton.edu">speccoll@binghamton.edu</a>
Rights
Information about rights held in and over the resource
In copyright.
Template: Universal Viewer / Rosetta
Rosetta audio media
Original Format
The type of object, such as painting, sculpture, paper, photo, and additional data
3 audiotape reels
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
24:03
29:37
30:21
Streaming Audio
Streaming URL
<a href="https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243598">https://eternity.binghamton.edu/delivery/DeliveryManagerServlet?dps_pid=IE243598</a>
Accessibility
Copy/Paste below:
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Binghamton University Libraries is working very hard to create transcriptions of all audio/visual media present on this site. If you require a specific transcription for accessibility purposes, you may contact us at <a href="mailto:orb@binghamton.edu">orb@binghamton.edu</a>.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Lenox String Quartet, recital, March 31, 1973
Recital Tape 1973-3-31
Description
An account of the resource
Held on March 31, 1973.
Creator
An entity primarily responsible for making the resource
Lenox String Quartet
Publisher
An entity responsible for making the resource available
Binghamton University Libraries
Date
A point or period of time associated with an event in the lifecycle of the resource
3/31/73
Rights
Information about rights held in and over the resource
In copyright
Type
The nature or genre of the resource
sound