“Harlequinade” - 1987

Originally an intermezzo from Act III of the opera Azura, King of Ormus, (Vienna 1788) which was a rewrite of Tarare (Paris 1787), with Libretto by Beaumarchais, this little operatic diversion was from the same author as The Marriage of Figaro. Using characters typical of the Commedia dell’arte, this is a simple story about how Columbine’s two ardent lovers only want her when she is young and pretty. Through disguise she tricks them and happily is rid of them both. Music as tuneful and artifical as the plot is supplied by Salieri in this souvenir from 18th century opera.

The action takes place in Gasparina’s apartment

Originally written as a two-act comic intermezzo to be performed between the acts of a serious opera, La Canterina was instead performed by itself at Esterhazy in 1767 during carnival as an opera buffa. The slight story line about a wily young singer and her ability to satisfy two lovers is made more amusing by the double travesty of having the young suitor, Don Ettore written for soprano and the old woman, Apollonia written for counter-tenor. While there are many operas in the 18th century with young men portrayed by women (Cherubino is the most famous of these) the part of the old woman cast as a man comes from an earlier Venetian operatic tradition (Arnalta in Monteverdi’s Poppea for instance). The double exchange of sexes certainly adds to the hilarity of this little comedy which is one of Haydn’s lightest compositions for the stage, a true and loving burlesque of operatic styles of his time.

Thomas Pasatieri (b. 1945-) is one of the most prolific operatic composers in the United States. Since his opera The Women won the Aspen Prize in 1965, he has written a large number of operas commissioned by many of the leading regional companies in America. Most of his works have melodious passages alternating with a more declamatory style set with conventional harmonies. Last year, we produced his Signor Deluso an opera which was closely related to 19th century Italian opera buffa. The Goose Girl (premiered in 1980) uses the bright, direct language of the fairy tale and is called an opera for children of all ages.

Violins
Eric Gorfain, I
Lowell Silverman, II

Viola
Fergus Scarfe

Cello
Carol Reitan

Bass
Gualberto Pillich

Piano
Norman Mamey

Teaching Assistant
Lawrence Kohl

Teaching Assistant
Pamela Palmer

Costumes
Edythe Johnson

Diction Coach
Sybil Hast

Production Manager
Nancy Norby