director’s notes

Rossini’s Il barbiere di Siviglia (The Barber of Seville), is a perfectly hilarious way to process the bittersweetness of my retirement. It is also a beginning. Never in BYU’s opera history has this work been performed as a main-stage production. We are very proud to present this well-known and beloved opera.

Demanding in its agility and stamina, The Barber of Seville stands to challenge any cast. Those who are well-aquainted with the opera will notice sections have been cut in order to meet the needs and abilities of our students and to keep the performance within reasonable time constraints.

Under the able coaching of Nicolas Giusti and Barbara Allen, students have mastered their roles with amazing proficiency. A special thanks to our rehearsal accompanists, Christopher Madsen and Kaden Larson.

A good stage manager is worth their weight in gold and Susan Kupferer has proven her value time and again. Scheduling rehearsals and managing the performances themselves is a logistical nightmare. Without her help, the creation of this work would have been incredibly complicated, if not impossible.

Thank you to our costume, set, make-up, supertitle, and technical teams for their commitment to this production. Their generous talents make opera “believable.” We are so grateful for their many years of support without which, the opera program would never have enjoyed such overwhelming success.

A special thanks to Logan Anderson for not only conducting the orchestra, but for creating and rehearsing the orchestra as well. The efforts of Nicolas Giusti and his contribution mentoring Logan and Nancy Jacobs preparing the score for the musicians are also greatly appreciated.

Thank you to my colleagues once again for training our singers in this daunting work. Diane Reich, Darrell Babidge, and Robert Brandt should receive applause, as well. I will miss these dear friends and colleagues but know, thanks to the vocal area, the opera program continues to be in competent and able hands.

Again, dear audience, thank you for twenty years of attendance and loyal support. May you be blessed to enjoy many more BYU opera productions. I will see you there!

With great fondness,

Dr. Lawrence P. Vincent

June 2017

plot synopsis

act iWith the help of Fiorello and his band of musicians, Count Almaviva (disguised as a poor

student, “Lindoro”) sings a love song to his new found sweetheart, Rosina. His disguise is to ensure that Rosina love’s him for who he is and not as the Count. After the musicians leave, Almaviva is happily reunited his friend Figaro where he learns that Figaro is the personal barber of Rosina’s guardian, Bartolo. Figaro suggests that the Count introduce himself by singing another song. After a brief encounter on the balcony with Rosina, the Count and Figaro scheme a plan for the Count to meet her.

In the next scene inside Bartolo’s house, Rosina is busy writing a letter to “Lindoro”. Figaro arrives, but is interrupted by a visit from Rosina’s music teacher, Don Basilio. When he is left alone with Bartolo, he tells of the Count’s presence in Seville and explains that he has nothing to fear because of his uncanny ability to spread false rumors. After they leave together to plot Bartolo and Rosina’s wedding later that night, Figaro speaks with Rosina who asks him to introduce her to his friend. Unaware that she has already written the student a letter, Figaro asks Rosina to write “Lindoro” a few words of encouragement. When she presents him with the completed letter, he realizes just how cleaver the young lady is.

After Figaro leaves, Rosina is confronted with Bartolo, whose jealousy explains that he demands her respect. After they leave, Bartolo’s servant, Berta, enters with complaints of the crazy household. She is interrupted by the Count’s arrival as a drunken soldier who brings with him orders from his friend in the visiting regiment, that the drunken soldier be quartered in Bartolo’s home. This would give Almaviva the opportunity to pass Rosina a note explaining his intentions (as “Lindoro”) to elope with her that evening. His plan is foiled when Bartolo presents a letter of exemption. When the Count angrily, challenges Bartolo to a duel, Figaro arrives just in time to break up the fight. The police soon arrive to arrest the perpetrator of his disorderly deeds. But when Almaviva shows the officer his true identity, the police quickly release him of any responsibility, leaving Bartolo and the others completely confused.

act iiAs Bartolo swears he will win Rosina, whether by love or force, he is interrupted by yet another

visitor. Once again it is the Count. But this time he is disguised as “Don Alonso” - Don Basilio’s so-called apprentice; here to give Rosina her music lesson. Before her lesson, Bartolo is able to take Rosina’s letter from the Count (disguised as Don Alonso). During the lesson that follows, Figaro arrives to give Bartolo his daily shave; hoping to distract him while the Count and Rosina make plans for her midnight escape. Bartolo discovers “Don Alonso’s” false identity and chases the Count, and Figaro out of the house. Berta arrives to clean up the mess left by the others. She sings of the confusion in the house caused by Bartolo wanting to marry Rosina and Rosina’s being in love with “Lindoro”. She too, is tormented because she has not found love. Berta leaves as Bartolo re-enters calling for Rosina. He shows her the letter she wrote to “Lindoro” and claims that her “student” is only taking her away to give her to the Count. She swears revenge.

The final scene is at midnight. Almaviva and Figaro arrive with a ladder to facilitate Rosina’s escape. They are both shocked when Rosina accuses them of stealing her away to Count Almaviva. The Count happily reveals his true identity. As they sing of their love, Figaro warns them that someone is coming with a lantern. It’s Don Basilio and the Notary who is there to marry Bartolo and Rosina. Figaro, Almaviva and Rosina take advantage of the notary’s presence and sign the wedding contract for Count Almaviva and Rosina. Bartolo soon arrives with the police to have the “thieves” arrested. Almaviva reveals his true identity to Bartolo and the officer. Although his plan is foiled, Bartolo is compensated for his trouble and everyone lives happily ever after (at least until the next opera; The Marriage of Figaro).

Lawrence Vincent, director

director Lawrence Vincentconductor Logan Andersonproduction manager Jennifer Reedproduction stage manager Susan Kupferertechnical director Travis Coynescenic designer Travis Coyne

lighting supervisor Michael Handleylighting designer Michael Handleycostume shop manager Donnette Perkinscostume designer Cortnie Beattyco-makeup designer Rachel Hughes Harli McShinskyaudio/visual manager Troy Streeter

properties supervisor Jennifer Reedproperties designer Taylor Robinsonsuper titles Lawrence Vincentsuper title operator Hanna Marteeny

This musical event is the 183rd performance sponsored by the BYU School of Music for the 2016–2017 season.

violin i Megumi Terry Elizaveta Shaikhulina Emily Holmsteadviolin ii Kirsten Skabelund Cassidy Wake Kristi Hatch Forrest Howellviola Esther Judd Jessica Ekstrom Lauren Anderson

cello Max Olivier Nate Shumway Taylor Boyackflute Catherine Boyack Rachel Christensen Kalysha Chandler Katie Greenwell Worshamclarinet Ryan Wing Caleb Rhoton

horn Andrea Manwaring Alan Dahltrumpet Sam Evanstrombone Jordan Christensen Elizabeth Wheeler Sadie Smith

orchestra

production team

cast Wednesday/Friday Thursday/Saturday

figaro Stephen Pace Dylan Glennrosina Annie Powell Rachel Glenncount almaviva Benjamin Bird Banner Smithbartolo Tyler Yarbrough Tyler Yarbroughbasillio Isaac Carlin Isaac Carlinberta Josie Larsen Alicia Fairbanksambrogio Cameron Mayo Connor Leefiorello Sam Neff Sam Neffofficer Jared Wells Jared Wells

chorus J Alexander Bennett, Matthew Dewsnup, McKay Elwood, Taylor Knapp, Daniel Perez (Notary), Tyler Shelton, Mitchell Wassom, Jared Wells (Officer), Connor Lee

understudies Bartolo—Mitchell Wassom Rosina—Alicia Fairbanks