Die Fledermaus by Johann Strauss II Libretto by J Barbier & M Carré

Transcription

1 Die Fledermaus by Johann Strauss II Libretto by J Barbier & M Carré by arrangement with Chester Music Limited trading as G Schirmer, on behalf of G. Schirmer Inc Queen Victoria Hall, Oundle Thursday-Saturday th October 2018 at 7.30 pm The Key Studio, Peterborough Sunday 28 th October 2018 at 4 pm 1

2 Welcome to our October 2018 production! Peterborough Opera invites you to have a ball with a bat! Featuring fabulous music by Johann Strauss II, including the famous Champagne and Laughing songs, Die Fledermaus, now held to be the quintessential Viennese operetta, premiered in 1874 to no special enthusiasm. Yet within a few years it gained enormous popularity and by the end of the century achieved the international success it has enjoyed ever since. Strauss treats the original satirical French comedy with a lighter and sweeter touch that would come to define Vienna s Golden Age operetta. Endearing pranks drive the action forward with a cast of lovable schemers. Our production has a reduced orchestration for string quartet and piano. Strauss light-hearted opera tells the story of mistaken identities, flirtation and mischief at a nobleman s party. The production is directed energetically by Jan Haylock, with our inspiring Dr Kate Wishart as Musical Director. Thank you to all our cast, musicians and behind the scenes members who have put in many hours of work to achieve so much! We invite you to sit back and enjoy the party! Clive Morton Chairman, Peterborough Opera What a joy to be here on this marvellous occasion! 2

3 Die Fledermaus - Synopsis Act 1 Dr Falke is out to get his own back on his old friend Gabriel Eisenstein, who played a trick on him after a fancy dress ball a few years ago. Eisenstein has been sentenced to 5 days in prison, but has managed to get it extended to 8 days, for which he blames his stammering lawyer, Dr Blind. Eisenstein s wife, Rosalinda, is enjoying the attentions of her old flame, Alfred, a tenor. The Eisenstein s maid Adele is trying to get the night off to go to a party, and using a relative s illness as an excuse. Dr Falke turns up just before Eisenstein leaves for jail, and persuades him to attend Prince Orlofsky s party before he goes to the prison first thing in the morning. He doesn t take much persuading, having heard of the beautiful ballerinas who are also attending. He takes tender leave of his wife before leaving for prison in full evening dress! Dr Falke has already told Rosalinda about the party, and she goes too in disguise, as does the Prison Governor, Frank. But before he goes there he arrives at the Eisenstein s house to take charge of the prisoner. He believes Alfred, who is there sipping wine, clad in a dressing gown, is Eisenstein and hauls him off instead! Interval (20 minutes) Act 2 The party is a riot of dancing, singing, and drinking champagne, although the Prince is utterly bored. Dr Falke promises to make him laugh. Adele is there in her mistress s best dress. Eisenstein recognises Adele, but fails to recognise his own wife with whom he sets up a flirtation. She vows revenge! Act 3 The action ends at the prison, where Frosch the drunken jailer presides. Adele and her sister Ida arrive to find that Frank is not after all a French Chevalier, and Alfred and Rosalinda confront their problem with Dr Blind, who turns out to be Eisenstein in disguise. At the end all is forgiven and laughter prevails. 3

4 Cast (in order of appearance) Alfred Adele Rosalinda Gabriel Eisenstein Dr Blind Dr Falke Frank Ida Ivan Prince Orlofsky Frosch Adrian Wall Anna Murgatroyd Liz Williams Martin Muir Laurence Lewis Michael Hammond Glyn Jones Helen Reece John Torr Julie van Haperen John Torr Chorus: Evie Ablett, Carolyn Browse, Karen Davies*, Lyndsey Evans, Diane Harcourt, Nickie Kenning, Helen Reece, Audrey Springford, Alex Steel, Ann Williams John Attwell, Phil Hammersley, Laurence Lewis, Clive Morton, Adrian Wall * understudy to Adele Here s health to His Highness King Champagne! 4

5 Johann Strauss II ( ) had to learn the violin in secret as a child, as his father wanted him to be a banker. A beating did not deter him however, and he became highly successful as a composer of waltzes and polkas in Vienna. Among his most famous works are The Blue Danube, The Emperor Waltz and the Tritsch tratsch Polka. Die Fledermaus is his best loved operetta. Musical Director - Kate Wishart Our musical director Kate Wishart started her professional life as an orchestral timpanist, joining the Academy of the BBC at age 19. Before deciding to become a doctor she worked with several opera companies including Phoenix Opera, D Oyly Carte and Kent Opera, then directed by Roger Norrington. She has always loved opera, having first played in the orchestra at the Birmingham School of Music s annual opera performances from age 14 to 16. At medical school she took up the baton to conduct the music society, including performances of Ruddigore and Pirates of Penzance, Carmina Burana and Vivaldi s Gloria. More recently Kate was the musical director for Oundle G&S Players, and took the role for Peterborough G&S for one year to fill their MD s sabbatical. Kate has been repetiteur for Chelsea Opera Group, and recently Thrapston Opera as well as Peterborough Opera. She retired from her work in medical education in Producer - Jan Haylock Strauss Die Fledermaus is the fourth opera Jan has produced and the second for Peterborough Opera, following on from Cosi Fan Tutte in Having joined Thrapston Plaza Opera in 2014 she sang in their productions of Die Fledermaus (chorus), Madam Butterfly (Kate Pinkerton) and La Vie Parisienne (Pauline), producing Eugene Onegin in 2017 and La Traviata earlier this year. Jan studied at the Royal Academy of Music and the European Opera Centre, Belgium. Joining Central Festival Opera in the late 1980 s and based in Northampton, she sang both in the chorus and as a principal for many years, gaining much experience whilst working with professional producers and musical directors. Her repertoire included The Magic Flute (First and Second Lady), Orpheus in the Underworld ( Venus), The Beggar s Opera (Polly Peachum), The Tales of Hoffmann ( Stella), Gianni Schicchi ( La Ciesca), Macbeth ( The Dama), Song of Fortunio (Valentine), La Traviata (Annina), The Marriage of Figaro (Second Bridesmaid), Cosi Fan Tutte, Carmen, La Boheme, Tosca, Die Fledermaus, Dido and Aeneas. 5

6 Liz Williams has frequently appeared in concerts, oratorios and recitals, predominantly as a mezzo soprano. Stage roles include Carmen, Azucena (Il Trovatore), Amneris (Aida), Santuzza (Cavalleria Rusticana), Musetta (La Bohème), Mrs Lovett (Sweeney Todd) and most recently Amelia (A Masked Ball) and the Mother in Amahl and the Night Visitors (Menotti). She has also directed Madam Butterfly, Die Fledermaus an d La Vie Parisienne for Thrapston Plaza Opera. Most recently she appeared for Peterborough Opera as Mercutio in Romeo and Juliet. Martin Muir gained an Honours B.Mus degree in Voice from the ANU in Australia and has sung numerous roles for amateur London companies, Peterborough Opera and Thrapston Plaza Opera. Recent roles include Eisenstein (Die Fledermaus), Sharpless (Madam Butterfly), Guglielmo (Cosi fan Tutte), Essex (Merrie England), Renato (A Masked Ball), Friar Laurence in Romeo & Juliet and the Judge in Sweeney Todd. He is a Biomedical Scientist by profession, a qualified youth football coach and a Trustee of a Uganda based charity, Friends of North Kigezi Diocese. Anna Murgatroyd lives in Cambridge and has performed with many societies in the area. Her recent roles have included Frasquita (Carmen) and 1st Lady (Magic Flute) with Commedia Productions, and Pamina (Magic Flute) with Cambridge Operatic Society. She has played many of the soprano G&S roles and she also loves performing in musicals. Her favourite operatic role is Susanna in The Marriage of Figaro and her most challenging role was Magnolia in Showboat. She enjoyed taking part in Sweeney Todd with CAOS at Cambridge Arts Theatre and is very happy to return to Peterborough Opera after playing Oscar in last year s A Masked Ball. Anna had lessons with Sandra Dugdale after completing Vocal Studies at the Royal Welsh College of Music and Drama and now studies with Nicky-Jane Kemp. 6

7 Julie van Haperen has performed as a keen amateur over many years in numerous concerts and productions ranging from pantomimes and comedic plays to choral society concerts and grand opera. Before moving up to the East Midlands in 2016, Julie was a member of Kennet Opera in Newbury for 6 years, during which time she performed the roles of Clorinda ( La Cenerentola), Anna (Nabucco) and understudied the role of Musetta (La B ohème), as well as being an enthusiastic chorus member. Since joining Peterborough Opera, she has performed as Amelia s Servant and chorus member in last year s production of Verdi s U n B allo in Maschera, and more recently, Annina (La T raviata) for T hrapston Plaza Opera. Julie is thrilled to be performing the role of Prince Orlofsky and promises to deliver an unforgettable party! Michael Hammond has sung Lenski in Eugene Onegin, Gaston in La Traviata (Thrapston Plaza Opera), Walter Wilkins in Merrie England and Sylvano in A Masked Ball (Peterborough Opera). He has sung many roles in productions of Gilbert and Sullivan, and has just performed Nanki - Poo in The Mikado for Peterborough G&S Players on tour. Laurence Lewis joined Peterborough Opera in 1991 to sing in the chorus for Verdi's Aida. He has sung in most of the subsequent productions and taken many supporting roles, including Morales in Carmen (2008 & 2015). In the 2004 production of Die Fledermaus he played the part of Alfred and appeared as Pirelli in Sweeney Todd (2003). Laurence has also had a long career singing Gilbert and Sullivan starting in Liverpool in He currently sings with Stamford G & S Players where he has performed most of the tenor leads, including the Duke in Patience only two weeks ago. 7

8 Helen Reece studied music at York University. She is a pianist, singer, composer, conductor and an experienced teacher. Helen made her debut with Peterborough Opera in the chorus last year for A Masked Ball, followed by Romeo and Juliet earlier this year. She is delighted to be taking the role of Ida in this production. Helen enjoys singing in Cathedrals in the UK and Europe with the Peterborough Chamber Choir and several other choirs who sing the services in these wonderful venues. In her spare time, Helen enjoys tai chi, yoga, swimming and ballroom dancing. Adrian Wall began his musical training as a chorister at Rochester Cathedral and has continued his involvement with choral music ever since, both while at university in the North East, where he also performed in several Gilbert & Sullivan productions, and more recently with a variety of Peterborough choirs. Since joining Peterborough Opera, Adrian has taken a number of principal roles, including Don Basilio (Marriage of Figaro), Malcolm (Macbeth), El Remendado (Carmen), Schaunard (La Bohème), Camille (Merry Widow), Gherardo (Gianni Schicchi) and Ferrando (Così fan Tutte). Glyn Jones has a masters degree in overacting. He has previously offended egyptologists with his interpretation of the King of Egypt in Aida, offended the French and the Swiss together as Bobinet in a production of La Vie Parisienne and insulted the legal profession as Herr Doctor Blind in an earlier production of Die Fledermaus. This evening he is expected to offend only correctional facility operatives (and the French, again.) John Torr This is John s first part with Peterborough Opera and his second non-singing role. Previously he has played 35 different characters in the Savoy Operettas and eight in other musicals. Since retiring as a romantic lead he has taken on comic and patter roles with Trent Opera, Peterborough, Derby and West Norfolk G&S societies and PODS. He performs regularly at the International G&S festival, was part of Derby s winning Sorcerer and Pirates and has found new interests in concert work and Bus Pass Opera! 8

9 Musicians Violin I Violin II Viola Cello Piano Liz Taylor Roger Loose Karen Hubbard Simon Hubbard Phil Bass Die Fledermaus arrangement for string quartet and piano by Kate Wishart. Acknowledgements Stage Manager Properties Set design Lighting Costumes Costume coordinator Make up Repetiteurs Programme Website Publicity Front of House Tony Haylock Tony and Jan Haylock Colin Ray Mark Sharman Violet Truelove Wardrobe, Boston Carolyn Browse Andrew Spurrell with Jenny Ray & Jane Grant Phil Bass, Craig Torr Diana Awdry John and Ann Marie Walsh Lyndsey Evans Diane Harcourt (co-ordinator) Colin Ray Additional thanks to all helpers, seen & unseen, not listed above. 9

10 Honorary Patrons Clive Fairbairn, Dr Roy Tipping, John Walmsley Patrons List correct at time of going to print Ms S Benjamins Mr & Mrs R E Bridges Mr & Mrs P Browse Mr & Mrs P A Burchell Mrs S Cochrane Mr I Ferguson Mr & Mrs D Fisher Mr & Mrs P Hazell Mr & Mrs M Hoskin Mr M Kennelly Mrs S Mackay Meakin Mr B Murphy Miss M Murphy Miss D A Nichols Miss V M Orr Miss K Osborne Mr & Mrs C R Pendrill Mr & Mrs R Pope Mrs J Rollings Mr & Mrs M Saunders Mr & Mrs G Simons Mr & Mrs A P Spurrell Mr W J Swann Mr D Wheeler Peterborough Opera is grateful for all donations made by our Patrons. A Patron makes a minimum donation of 10 each year which if Gift Aided enables the Company to claim another 2.50 tax refund. Details from shirley.burchell@outlook.com 10

11 FUTURE PERFORMANCE Carl Menotti s Amahl and the Night Visitors St Peter s Church, Oundle Saturday 5 th January 2019 at 6pm St John the Bapti s t Church, Peterborough Sunday 6 th January 2019 at 6pm And in our 50 th anniversary year: Verdi s requiem with City of Peterborough Symphony Orchestra and Take Note. Saturday 30 th March 2019, 7.30pm at Queen Katharine Academy, Peterborough 11

12 Join Us The health benefits of singing, and especially singing with others, are well researched and documented. Singing uses the brain and the body, and improves breathing, posture and muscle tone. It is believed to release endorphins that help pain relief, and there is some evidence that it is beneficial for the immune system as well. Learning new music is good for the memory, and singing produces a sense of happiness and wellbeing. We meet weekly on a Friday evening at Folksworth Village Hall, and we always welcome new singers, of any voice. You will only audition if you wish to sing a principal role in an opera. We do occasional concerts, as well as operas, and rehearse throughout the year. We have social events too, and most importantly lots of fun! We also need non singers to help with productions and concerts backstage and front of house helpers. You can also support us as a Patron for a small donation. You can find out more on our website: Or contact us at: peterboroughopera69@gmail.com 12