Michigan: Friday, November 18, 8:00 PM, & Sunday, November 20, 3:00 PM.
«Το ελιξίριο του έρωτα», μελόδραμα σε δύο πράξεις, γράφηκε σε συντομότατο χρονικό διάστημα δεκαπέντε – κατ' άλλους τριάντα – ημερών. Το ποιητικό κείμενο είναι του Φελίτσε Ρομάνι, του διασημότερου Ιταλού συγγραφέα της εποχής, και βασίζεται στο ποιητικό κείμενο του Εζέν Σκριμπ για την κωμική όπερα (opera comique) του Ντανιέλ Φρανσουά Εσπρί Ωμπέρ «Το φίλτρο», που είχε παρουσιαστεί λίγους μήνες νωρίτερα στο Παρίσι. Ο Σκριμπ είχε δανειστεί την υπόθεση από το ομώνυμο θεατρικό έργο του Ιταλού συγγραφέα Σίλβιο Μαλαπέρτα. Η πλοκή αφορά στον έρωτα που αισθάνεται ο φτωχός χωρικός Νεμορίνο για την όμορφη, πλούσια και φιλάρεσκη Αντίνα. Πιστεύει ότι αν πιει ένα μαγικό ελιξίριο, εκείνη θα τον αγαπήσει. Την αφέλειά του εκμεταλλεύεται ο πλανόδιος αγύρτης Δρ. Ντουλκαμάρα, που του πουλά αντί για ελιξίριο ένα μπουκάλι κρασί Μπορντό. Ο Νεμορίνο δεν έχει χρήματα. Έτσι, προκειμένου να το αγοράσει, κατατάσσεται στο στρατό, γεγονός που του αποφέρει άμεσα το επιθυμητό ποσό. Όταν το μαθαίνει, η Αντίνα πείθεται για τη δύναμη των αισθημάτων του, ομολογεί πως κι εκείνη τον αγαπά και η υπόθεση οδηγείται σε αίσιο τέλος.
«Το ελιξίριο του έρωτα» καθιέρωσε τον Ντονιτσέττι, ο οποίος διαδέχεται τον Τζοακίνο Ροσσίνι στο είδος της κωμικής όπερας, διατυπώνοντας μια προσωπική γλώσσα πολύ διαφορετική από αυτήν του διάσημου συναδέλφου του. Η μεγάλη τομή που κατάφερε ο Ντονιτσέττι είναι ότι εισήγαγε το συναισθηματικό στοιχείο στο είδος αυτό της κωμικής όπερας. Στο «Ελιξίριο του έρωτα», οι δύο βασικοί χαρακτήρες ωριμάζουν μπροστά στα μάτια των θεατών τόσο δραματουργικά όσο και μουσικά, ενώ η λύση της ιστορίας δίνεται από την εξέλιξη στην ψυχολογία τους. Με άλλα λόγια, σε αντίθεση με την παράδοση του 18ου αιώνα, οι χαρακτήρες του «Ελιξιρίου» μοιάζουν να έχουν αληθινά συναισθήματα, τα οποία μάλιστα ο συνθέτης δείχνει να τα προσεγγίζει με σκεπτικό σύγχρονης ψυχολογίας.
«Το ελιξίριο του έρωτα» παρουσιάστηκε για πρώτη φορά στο Τεάτρο ντελά Κανομπιάνα του Μιλάνου, στις 12 Μαΐου 1832. Το πρώτο ελληνικό Θέατρο που υποδέχτηκε την όπερα ήταν το Σαν Τζάκομο της Κέρκυρας ήδη από το 1835. Αρχές του 1843 το έργο παρουσιάστηκε από περιοδεύοντα ιταλικό θίασο στην Αθήνα, ενώ στο ρεπερτόριο της Εθνικής Λυρικής Σκηνής μπήκε στις 27 Ιανουαρίου 1961.
Το Τμήμα Όπερας και Θεάτρου του Κρατικού Πανεπιστημίου του Μίσιγκαν παρουσιάζει τη διάσημη, ρομαντική, κωμική όπερα του Γκαετάνο Ντονιτσέττι «Το ελιξίριο του έρωτα». Τη Συμφωνική Ορχήστρα του Πανεπιστημίου διευθύνει ο Ιταλός μαέστρος Marcello Cormio. Τη σκηνοθεσία υπογράφει η γνωστή Αμερικανίδα υψίφωνος και αγαπημένη ερμηνεύτρια πολλών Αμερικανών συνθετών, καθηγήτρια μουσικής και διευθύντρια του Τμήματος Όπερας και Θεάτρου του Πανεπιστημίου του Μίσιγκαν, Melanie Helton.
Η όπερα ανεβαίνει στο Θέατρο Fairchild, στο Κρατικό Πανεπιστήμιο του Μίσιγκαν. Ζωντανά από το Livestream θα μεταδοθούν οι παραστάσεις της 19ης και 20ής Νοεμβρίου 2016 (18ης και 20ής Νοεμβρίου 2016, αντίστοιχα, για το Μίσιγκαν). Το Σάββατο 19 Νοεμβρίου, η ζωντανή αναμετάδοση θα αρχίσει στις 2:30 το πρωί, ενώ την Κυριακή 20 Νοεμβρίου στις 10:00 το βράδυ.
Gaetano Donizetti (1797-1848)
♪ L'elisir d'amore / The elixir of love (1832)
Opera in 2 Acts
MSU Symphony Orchestra
Conductor: Marcello Cormio
MSU Opera Theatre
Director: Melanie Helton
Live from Fairchild Theatre, MSU Auditorium
Michigan State University – College of Music
With English subtitles / Με αγγλικούς υπότιτλους
Saturday, November 19, 2016, 2:30 AM (EET, UTC+02:00)
(Michigan: Friday, November 18, 2016, 8:00 PM)
Live on Livestream
Marcello Cormio is an Italian born conductor, opera coach and pianist. Among his recent engagements, he has served as cover conductor for the Pittsburgh Symphony Orchestra during the 2014-2015 season. South Florida Classical praised him as "an assured hand in the pit, conducting the score with vitality while leaving the singers room to breathe in their solos" for Così fan tutte at Sarasota Opera's 2016 season. Mr. Cormio's "notable" conducting debut at the 2014 Sarasota Opera Festival in Il barbiere di Siviglia was praised for a "lovely, light touch with the music": "the young Italian drew vital and spirited playing, with the fizzing ensemble exciting yet with a fine balancing of solo voices, chorus and orchestra" (The Classical Review). Upcoming operatic engagements for Mr. Cormio include L'elisir d'amore at the Michigan State University Opera Theatre.
He has recently led productions of Così fan tutte and Robert Nelson's A Room with a View at Michigan State University, Street Scene at West Virginia University, and Le nozze di Figaro at the 2015 Sarasota Opera Festival.
In the 2012-2013 and 2013-2014 seasons, Mr. Cormio was seen as music director and conductor of the Opera Scenes production at the Manhattan School of Music in New York, and at the Indiana University School of Music. In 2013 he was cover and assistant conductor for a new production of Turandot at the Opéra National de Lorraine in Nancy, France.
Mr. Cormio has led productions of Die Zauberflöte at the Bay View Music Festival, and of Gounod's Romèo et Juliette with the University of Kentucky Opera Theatre. He has collaborated with internationally renowned soloists, such as pianists Aldo Ciccolini and soprano Cynthia Lawrence.
He has appeared with orchestras around the United States and Europe, including the San Antonio Symphony, the Orchestra della Società dei Concerti di Bari, the Bacau Symphony, the Orchestra Sinfonica del Conservatorio di Bari, the Bay View Festival, and the collegiate festival orchestra at Georgia All-State. He has also led the different orchestras of the Indiana University School of Music and the University of Kentucky Symphony Orchestra in several performances. In 2013, he had his conducting debut in China, performing at the head of the University of Kentucky Symphony in concert halls in Hangzhou, Tianjin, and at the National Centre for Performing Arts in Beijing.
In recent years, Mr. Cormio has been regularly invited as guest lecturer and conductor for opera workshops at prestigious academic institutions. In 2010 he was first assistant conductor and cover conductor at the Sarasota Opera. He has also served on the music staff of the Indiana University Opera Theatre and of the University of Kentucky Opera Theatre as opera coach, chorus master, and assistant conductor. In 2005 he was conductor and music director of the Contemporary Music Ensemble "Makrokosmos" in Italy.
The American soprano and music pedagogue, Melanie Helton, earned a Bachelor of Music degree with honors from Indiana University, and a Master's in Music with honors from the University of Houston.
Melanie Helton has been hailed by The New York Times for her "dark soprano that warms the ear". She made her international debut as Marietta/Marie in Korngold's Die Tote Stadt at the Brisbane (Australia) Biennial. Her successes include Lucrezia Borgia at the Caramoor International Music Festival, Aida with Opera Carolina, as well as Donna Anna in Don Giovanni with Caramoor, Opera Carolina, and Lake George Opera Festival. Other engagements included Alice Ford opposite the Falstaff of Sherrill Milnes at the New York City Opera, Maddalena in Andréa Chénier, Elsa in Lohengrin, Foreign Princess in Rusalka, and Leonora in Il Trovatore for Seattle Opera, Donna Elvira in Don Giovanni for New York City Opera, and the title role in Norma for Teatro de Colon, Bogotà. In addition, she has sung leading roles with the Santa Fe Opera, Houston Grand Opera, Dallas Opera, Glimmerglass Opera, Washington Opera, and San Francisco Opera Center. In 2006 she appeared to rave reviews as the Fairy Godmother in Pauline Viardot's Cendrillon with Caramoor.
A favourite of American composers, Melanie Helton worked directly on the creation of the role of Dede with Leonard Bernstein on his only full-length opera, A Quiet Place, and the creation of the role of Ariel in Lee Hoiby's The Tempest. She originated the fiendishly difficult role of Venus in Hugo Weisgall's The Gardens of Adonis in its world premiere at Opera Omaha. Fall 2005 brought the world premiere of Ricky Ian Gordon's song cycle and flowers pick themselves (commissioned for her by the MSU Sesquicentennial Foundation) with the MSU Symphony Orchestra. She subsequently recorded the cycle plus 14 songs with piano, with the original orchestral team and the composer at the piano. That recording, "and flowers pick themselves", is available on Blue Griffin Recording and was named one of American Record Guide's "Best of 2008".
April 2007 brought Melanie Helton first appearance in the title role of Turandot, also with the MSU Symphony Orchestra. An active concert soloist, she was heard in 2006-2007 with the Lansing Symphony in excerpts from Idomeneo and Mozart's C minor Mass and with the Ann Arbor Symphony in Verdi's Requiem and excerpts from La Traviata. Next season she will return to the Ashland Symphony for La Traviata excerpts, as well as recitals in Milwaukee and Lansing.
As a stage director, Melanie Helton has helmed the American premiere of Francisco Conti's Don Quixote in Sierra Morena, as well as the world premiere of Donizetti's long-lost French opera, Elisabeth. Most recently, she directed the university premiere of Daniel Catan's Florencia en el Amazonas, with the composer in attendance for the performances. She has taught acting and coached at La Fabbrica, an opera workshop in Vicchio, Italy, at Rising Star Singers in Rising Sun, Indiana, and at the Tyrolean Opera Program in Maurach am Achensee, Austria. She made her debut as a librettist with the world premiere at MSU of The Legend of Sleepy Hollow, music by William Witham.
Melanie Helton is Associate Professor of Voice (soprano) and director of opera and theatre at the Michigan State University College of Music. Her students have been accepted to graduate programs at Indiana University, New England Conservatory, Peabody Conservatory, Westminster Choir College, University of Michigan, and Rice University, as well as in apprentice programs with the Santa Fe Opera, Glimmerglass Opera, and Central City Opera. Her students have won prizes in the Metropolitan Opera regional auditions, the Shreveport "Singer of the World" competition, the Connecticut Grand Opera Competition, the Opera Columbus competition, and the NATSAA national competition.
|Giuseppe Frezzolini (1789-1861) as Dr Dulcamara|
in Donizetti's L'elisir d'amore, which premiered
at the Teatro della Canobbiana, Milan, on 12 May 1832.
L'elisir d'amore, comic opera in two acts by the Italian composer Gaetano Donizetti (Italian libretto by Felice Romani, after a French libretto by Eugène Scribe for Daniel-François-Esprit Auber's Le Philtre, 1831) that premiered in Milan on May 12, 1832.
L'elisir d'amore was written under challenging circumstances. Early in 1832 the Teatro della Canobbiana in Milan commissioned Donizetti to compose a new opera, and Donizetti took a mere six weeks to complete it.
Cast and vocal parts:
Nemorino, a young peasant (tenor)
Adina, a wealthy young woman (soprano)
Belcore, a sergeant (baritone)
Dulcamara, a charlatan (bass)
Giannetta, a young peasant (soprano)
L'elisir d'amore takes place in an Italian village in the early 19th century.
Adina's farm. Adina is sitting beneath a tree on her farm, reading a book. Her friend Giannetta and other peasants are resting nearby. Nemorino watches Adina from a distance, lamenting that he has nothing but love to offer her ("Quànto è bella, quànto è cara"). The peasants ask Adina to read to them, and she reads them the story of how Tristan won Isolde by drinking a magic love potion.
Sergeant Belcore swaggers in with his troop. Adina laughs at his braggadocio, but when he presses her to marry him, she promises to think it over. She invites the whole troop to her house for some wine, and the peasants return to their work. Nemorino intercepts Adina on her way to the house and awkwardly declares his love for her. She tells him that he is a nice fellow but that she is not inclined to fall in love with anyone.
In the village square, the populace eagerly greets the traveling "Doctor" Dulcamara, who proclaims the virtues of his patent cure-all ("Udite, udite, o rustici"). Nemorino asks Dulcamara if he has the Elixir of Love described in Adina's book. Dulcamara gives Nemorino a bottle of wine, telling him that it is the magical elixir. Nemorino gulps it down and becomes tipsy. When Adina enters, Nemorino, certain that the potion will work, pretends to ignore her. To punish him, Adina flirts with Belcore, who tells her that he must return to his garrison and so must marry her at once. Nemorino, dismayed by this turn of events, urges Adina to wait just one more day, but she spitefully ignores him and invites the entire village to the wedding.
Adina's house. Everyone is celebrating at the pre-wedding feast at Adinas house. Adina secretly wishes Nemorino had come so she could enjoy her revenge. Dulcamara sings a flirtatious duet with Adina ("Io son ricco e tu sei bella"), to great applause. Adina, still miffed at Nemorino's absence, goes off with Belcore and a notary to sign the marriage contract.
Nemorino arrives, fearing that he is too late to prevent the wedding. Seeing Dulcamara, he begs for another bottle of the magic elixir, but Dulcamara will not give it to him until he can pay for it. Nemorino throws himself on a bench in despair. Belcore now returns, annoyed that Adina has postponed the wedding until that evening. Seeing Nemorino, Belcore asks why he is so sad. Nemorino tells him that he is despondent because he has no money. Belcore advises him to join the army, where he can instantly earn 20 scudi. Nemorino is reluctant, but Belcore persuades him with a vision of the glories (and opportunities for winning the ladies) of being a military man. Nemorino enlists and takes the money, thrilled at the prospect of winning Adina. Belcore secretly plumes himself on having recruited his rival and getting him out of the way.
In the village, Giannetta tells her friends the exciting news that Nemorino's uncle has died and left him a fortune. Nemorino staggers in, having drunk the second bottle of "elixir". He suddenly finds himself the centre of female attention, and, not knowing that he has become an eligible bachelor, believes that the elixir is finally working. Adina and Dulcamara arrive and are both astonished to see Nemorino surrounded by the village maidens and fully enjoying his newfound popularity. Adina angrily confronts him about joining the army, but Nemorino, enjoying her jealousy, goes off with a gaggle of girls. Dulcamara tells Adina that the magic elixir has made Nemorino popular, and that he joined the army in order to get the money to pay for it. Adina realizes that Nemorino's love is true. Dulcamara, seeing an opportunity to sell more elixir, tries to rouse her jealousy, but she vows to win him back her own way.
Alone, Nemorino recalls the tear on Adina's cheek and is convinced that she loves him ("Una furtiva lagrima"). But when she arrives, he pretends to be uninterested, in order to get her to declare her true feelings. She asks him not to leave and tells him that she has bought back his commission ("Prendi, per me sei libero"). But she still will not confess her love, so Nemorino vows to die a soldier. At last, Adina tells him that she loves him and begs his forgiveness. Belcore arrives to find the lovers embracing. But he is confident that there are plenty of fish in the sea – and that Dulcamara and his love potion can help.
Source: Linda Cantoni (britannica.com)
See also / Δείτε επίσης
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