Tag Archives: COSI FAN TUTTE

What does “scandalous” mean? It makes as much sense as “promiscuous” or “sacrilegious.”

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Feature Fridays

Marcus Dilliard (lighting designer)

Of what previous work are you most proud?

Marcus Dilliard (Lighting Designer)

Uncle Vanya, The History Plays, The Cherry Orchard, Resurrection Blues and M. Butterfly for The Guthrie Theater, Turandot for Minnesota Opera, The Cunning Little Vixen for Portland Opera, Tartuffe and The Miser for Theatre de la Jeune Lune.

With what show would you most like to be involved and why?

The Ring Cycle – because it’s The Ring Cycle. And The Tempest, when it’s time to close the book.

How long have you been working in opera?

30 years

What do you think makes Minnesota Opera unique from other companies?

Courage and imagination, a rare combination these days.

If you were stuck on a deserted island and could only bring three things, what would they be?

My first thought was my wife and two daughters but assuming that they wouldn’t be too happy living on a deserted island, I’d have to say fishing tackle, matches and a lot of Tastycakes.

What has been the most challenging piece you have worked on and why?

Frankenstein, a million years ago at the Guthrie. It took me forever to figure out the aesthetic, so every minute of tech rehearsal was self-inflicted torture.

How has music changed your life?

Music and light are different manifestations of the same emotions. Learning that gave me a way of communicating with the world.

Are there any favorite backstage stories/moments you would like to share from this or previous productions?

Just recently, sitting backstage during Act II of Cosi fan Tutte on opening night, watching the moonrise on the Magic Garden. Thanks to a programming glitch, the moonlight was bright red. That doesn’t happen in the movies.

What are your top three favorite operas?

Only three? OK, The Cunning Little Vixen, The Flying Dutchman and Dialogues of the Carmelites.

Have you ever had hot dish, and if so what is your favorite variety?

Yes, of course. “Beef stroganoff” hot dish.

Mark Stephen Campbell (librettist)

What advice do you offer aspiring artists?

Mark Stephen Campbell (librettist)

Ignore people who give you advice.

Who are your biggest inspirations?  

I could come up with some highfalutin names but I have to say I draw the most inspiration from the people I’m currently working with. And in this case, the producers (notice I mention them fir$t), the director, the conductor, the cast (especially) are a constant source of inspiration.

Of what previous work are you most proud?

The best parts of Later the Same Evening, Bastianello, and Songs from an Unmade Bed.

How long have you been working in opera?

About 10 years. I started when I was 8.

What do you think makes Minnesota Opera unique from other companies?

Oh, jeez. I dunno. Many reasons. But I think it helps that Minnesota Opera is in Minnesota, a state that demonstrates a very real understanding of the importance of art in our lives. If Minnesota Opera were in Wyoming that might not be the case.

What is your favorite Twin Cities destination?

Right now, the rehearsal hall. I hope that will change, however, when Minnesota Opera allows me travel on my own.

If you were stuck on a deserted island and could only bring three things, what would they be?

Hmmmmm. Well, let’s take this question in a different direction because you could bring ONE thing and it would get you off of the deserted island (like an amazing cell phone). Okay, I’ll just answer the question: a food source, a water source and Bill Burden’s sense of humor.

What has been the most challenging piece you have worked on and why?

Maybe The Inspector. Humor can be difficult business.

Are you really as scandalous as they say you are?

What does “scandalous” mean? It makes as much sense as “promiscuous” or “sacrilegious.”

Have you ever had hot dish, and if so what is your favorite variety?

I have not and eagerly await anyone’s invitation to ask me to partake of this delightful regional culinary specialty!

Tommy Glass (chorus)

What made you decide on a career in the arts?

Tommy Glass, Minnesota Opera Chorus

Well, I’m actually a student at the University of St. Thomas in Saint Paul, and I’m majoring in Vocal Music Education and Vocal Performance, so I’m not quite to the career bit yet haha.  However, music specifically is something I’ve always connected with and the feeling of performing well in front of an audience makes me feel alive.

What is your favorite Twin Cities destination?

My favorite Twin Cities destination has got to be the Lakes area.  Walking around Calhoun and Harriet or relaxing on a dock on Harriet has got to be one of the most beautiful and enjoyable things about the area.  Sunsets over Harriet with the Minneapolis skyline in the background are to die for.

If you were stuck on a deserted island and could only bring three things, what would they be?

I would bring my iPhone, my headphones, and my guitar.  I could probably entertain myself endlessly that way.

What has been the most challenging piece you have worked on and why?

Since I’ve only been in two operas, I’d say Silent Night is the toughest.  I have a small part (French Soldier #2), and some of those rhythms are killer.  When it all gets put together however, it’s pretty cool.

How has music changed your life?

I think it opened up an area of myself that I didn’t know existed.  Being able to study music and perform it seriously gives way to raw emotion.  Music can be as powerful as you want it to be, and in some of the performances I’ve done, there have been moments I wouldn’t trade for the world.

If you had to choose a different field of work, what would you choose?

Broadcast journalism.  I have a lot of friends who are going into that field, and the work seems so interesting and important.  Plus, I may be no Ron Burgundy, but I like to think I have a pretty decent anchorman voice ;) .

What is your favorite thing about Minnesota?

Most definitely the colors season on Summit Avenue.  Gotta be the prettiest stretch of the Twin Cities.  Or Twins games in the summer.  Target Field is the greatest stadium in all of professional sports.

Do you speak any languages besides English? What are they?

I’m minoring in German, so I’m learning that.  I’ve also been to Mexico several times and took years of Spanish, so I can stumble through comprehending that.

One a scale of 1-10, 10 high, how foxy is James Valenti?

12.  He’s a fox.  And I’m straight and saying that.

Besides opera, do you have any other favorite genres of music? What are some of your favorite artists from that genre?

Though they’re at the exact opposite of the musical spectrum, AC/DC is one of my favorite bands of all time.  I can do a pretty good Brian Johnson impression as well, and can duckwalk just like Angus Young.  Beyond that, I listen to lots of music that’s on the Current.  Bon Iver is definitely one of my favorites.  Plus, he’s from Eau Claire, so that’s sort of within the Twin Cities area!

A boat, a back up boat, and a captain…

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Feature Friday

Daniel Mobbs (baritone, Don Alfonso)

Where are you based when not performing?

Daniel Mobbs as Tell in Rossini's Guillaume Tell at the Caramoor International Music Festival Photo © by Gabe Palacio

My partner Vince and I live in center city Philadelphia.

What advice do you offer aspiring artists?

Don’t concentrate on “making it” because there is no “it”.  A career goes up and down so many times, you just have to ride the ride.

Who are your biggest inspirations?

Beverly Sills for one. The American who was scrappy and long lasting in her many roles in the operatic world.

Where do you feel you delivered your strongest performance?

Every summer for 12 years I have had the pleasure to sing bel canto roles with the Caramoor International Music Festival. The most wonderful crowds and colleagues make for the best concerts I’ve ever done.

What is your dream role?

Just sang William Tell this summer at Caramoor which was a dream come true. In the future I would love to sing John the Baptist in Salome. I made my debut in this opera in a tiny part when I was 18, and have always dreamed of singing the leading baritone.

How long have you been working with opera?

This is my 20th season in the business.

What do you think makes Minnesota Opera unique from other companies?

The leadership here is unique in it’s closeness with the artists, the sweet and fun attitude of Floyd and Dale trickles down to all the staff here. Makes for a lot of fun at work, and a great product on stage.

If you were stuck on a deserted island and could only bring three things, what would they be?

A boat, a backup boat, and a captain.

What has been the most challenging piece you have worked on and why?

A piece called Dr. Faust, the last night by Pascal du Sapin at Spoletto. Terribly challenging music that took forever to learn. Made my brain hurt.

How has music changed your life?

One aspect of my career I love is introducing new people to the art form for the first time. People who never have gone to the opera come to hear me and they are really touched by opera.

 

 

Peter Rothstein (Director)

Where are you based when not performing?

Minneapolis

What advice do you offer aspiring artists?

Do what you love; your passion will take you further than your talent.

Who are your biggest inspirations?  

My teachers (too many to list here), young people discovering their love of performance, those who dare to create art despite the dangers or audacity of the act.

How long have you been working with opera?

College

What is your favorite Twin Cities destination?

The Lakes

How has music changed your life?

This impossible to answer, because I can’t imagine life without music.

If you had to choose a different field of work, what would you choose?

I’m quite certain I would succeed at nothing else, because I would always feel like I showed up at the wrong place.

What are your top three favorite operas?

The Tender Land, La Boheme,  Péleas and Mélisande

John Tessier (tenor, Ferrando)

Where are you based when not performing?

London, Ontario

What advice do you offer aspiring artists? 

Don’t let anyone stop you.
Who are your biggest inspirations?

My parents, my Wife and my teachers.

Where do you feel you delivered your strongest performance? 

When the police came to my door when I was 15.  “Where did you get these 46 pink flamingoes we found on your ex-girfriend’s lawn”.  I never had more clarity at any moment when I said “ Where did YOU get these 46 pink flamingoes”
What tends to be the most challenging element of performing?  

Getting out of one’s own way.
What do you typically eat before a performance? 

I eat early at about 3:30, chicken, rice and green beens.
What is your dream role? And why?

I love to sing Nemorino.  I like to show the transition from “ Jerry Lewis to Dean Martin”. That is Jonathan Miller’s Idea and I buy it.
How long have you been working with opera?

Professionally since ’98.
What do you think makes Minnesota Opera unique from other companies?

Two things, the quality of the work and the organization itself.  Top to bottom the people that work here are second to none.

 

What is your favorite Twin Cities destination?  

Swimming the outdoor pool at the YMCA

Super Ross

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I Remember Thursday

This week, supernumerary (the fanciest word, ever, for a non-speaking extra, a.k.a. “Super”) David Ross discusses his involvement with The Grapes of Wrath, one of many he has performed with the company. Enjoy, and if you would like to share your Minnesota Opera memory please email dzillmann@mnopera.org with the subject line “I Remember Thursday!”

Kelly Kaduce in The Grapes of Wrath. See her this season in Madame Butterfly! © Michal Daniel
The Grapes of Wrath, © Michal Daniel
The Grapes of Wrath, © Michal Daniel

He Can Have His Cake and Eat It Too…

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Watch + Listen Wednesday

 

Are you looking for a taste of Così fan tutte? Take a little sample and let us know what you think about our sassy treat…

 

More interviews and music clips at www.mnopera.org/watchlisten.

“I Am Far More Scandalous Than Most People Know”

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Feature Fridays

Jacquelyn Wagner

Where are you based when not performing? 

Jacquelyn Wagner (soprano, Fiordiligi)

Berlin, DE

What advice do you offer aspiring artists? 

First and foremost, really be brutally honest with yourself and find out if you can REALLY make it in the business, meaning if you will find work.  I have seen too many artists really struggling, and it’s quite a sad thing!  But, after that, work hard, take what you can, and by all means, only do it if you love it!

What is your favorite Twin Cities destination?  

I haven’t had much time to explore the city, but I really love all the parks around here.  The Stone Arch Bridge is also quite beautiful.

If you were stuck on a deserted island and could only bring three things, what would they be?

Never thought about it.  I guess lots of water, my husband, and a piano.

What has been the most challenging piece you have worked on and why? 

Probably a modern piece that I did in school but don’t remember what it was called anymore.  But, that kind of rep isn’t a part of my normal rep, so I don’t have another answer than that.

How has music changed your life?

I’ve never been without it, so it’s so a part of my life that I don’t really know how it changed it.  My dad is a musician so I really grew up with it.  I guess it has helped identify me, and allowed me to express myself in a way that I can’t do with words and actions.

If you had to choose a different field of work, what would you choose?

Oh man, I think that I couldn’t really do much else.  I’ve thought of that way too many times, and I’ve never come up with an answer.  I would really have to do some soul searching for that!

Are you really as scandalous as they say you are?

Haha, you must be talking about someone else!

Is there any “haute” backstage gossip you would like to share from this or previous performances?

No.  We don’t have any backstage gossip.  Only goofing around!

What are your top three favorite operas? 

Too difficult.  Maybe top three composers?  Strauss, Puccini, and Wagner

Nina Olsen

Nina Olsen, clarinet

What made you decide on a career in the arts? 

I don’t know that anyone decides on a career as a performer.  It’s more of a calling or a compulsion, and I feel fortunate that I have the opportunity to follow it.

How long have you been working with opera? 

Since the Fall of 1989.  My first production was a tour of Madam Butterfly through Iowa, Northern Michigan and South Dakota.

What do you think makes Minnesota Opera unique from other companies? 

The (relative) intimacy of the Ordway, and the emphasis on Bel Canto and Contemporary operas.

What is your favorite Twin Cities destination? 

The Opera pit at the Ordway.

What has been the most challenging piece you have worked on and why? 

Nixon in China was the hardest technically, John Adams has high expectations of the clarinet section!

How has music changed your life? 

Because music has always been a part of my life, I would say that it has defined a path rather than changed my life.

If you had to choose a different field of work, what would you choose? 

I think being a NPR radio journalist would be interesting.

Are you really as scandalous as they say you are? 

I am far more scandalous than most people know.

Besides opera, do you have any other favorite genres of music? What are some of your favorite artists from that genre?

My mother loved Pete Seeger and Mahalia Jackson, and I love musicals.  Pete Seeger and Stephen Sondheim are my favorites.

Name your top five favorite movies.  

  • The Princess Bride, Strictly Ballroom
  • L’Argent de poche (Small Change)
  • Strictly Ballroom
  • Pride and Prejudice (BBC 1995)
  • Harry Potter and the Prisoner of Azkaban

Laugh It Off and Observe the Lessons

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Watch + Listen Wednesday

Act I


Scene one – a coffee shop  Don Alfonso questions the fidelity of sisters Fiordiligi and Dorabella, whose goodness Guglielmo and Ferrando vehemently affirm. Still skeptical, Alfonso suggests the two officers put their girlfriends to the test. A wager of a hundred zecchini is at stake, and the two young men already plan how to spend what they believe to be easy money – Ferrando shall hire a band of players to serenade his beloved, while Guglielmo shall throw a lavish party. They accept the challenge.

Act I, scene 1: Vienna State Opera, 1983: Directed by Riccardo Muti with James Morris as Guglielmo, Francisco Araiza as Ferrando and Sesto Bruscantini as Don Alfonso

 

Scene two – a garden near the seashore  Fiordiligi and Dorabella admire miniatures of their respective boyfriends, whom they compare to Adonis and Apollo. Fiordiligi suddenly has a strange sense of apprehension, and shortly after, Don Alfonso drops in with some dreadful news. Guglielmo and Ferrando have been called up for active duty in the army and must depart that very morning. As the two soldiers arrive to bid farewell, the ladies swoon, knowing they will languish in their lovers’ absence. Promising to write often, the men depart to the march of a soldiers’ chorus. Don Alfonso is pleased with the progress of his plan.

Act I, scene 2 Trio: “Soave sia il vento” — “May the wind be gentle” at Paris Opera Garnier, 1996: Susan Chilcott as Fiordiligi, Susan Graham as Dorabella and William Shimell as Don Alfonso.

 

Scene three – a room inside the villa  Despina disdainfully prepares her ladies’ breakfast chocolate. She steals a tiny sip and is nearly caught by the two sisters, who enter despairingly. Once familiar with the cause of their distress, Despina shrugs it off. Why not look at the bright side and take new lovers in their stead – that’s what the men are likely to do. She has found one can’t find constancy in soldiers or gentlemen. Both women are shocked at the suggestion.

Act I, scene 3 Aria: “In uomini, in soldati, sperare fedeltà?” —”In men, in soldiers, you hope for faithfulness?” at Metropolitan Opera, 1996: Cecilia Bartoli as Despina.

 

Don Alfonso sees Despina as a valuable ally to his scheming, but he can’t let her in on all of the details. He finds that a little money will make her a willing accomplice. She agrees to make the villa accessible to two Albanian soldiers, who are entranced by the ladies. Despina meets them at the door and is surprised by their unusual appearance – she does not recognize the disguised Guglielmo and Ferrando.
Fiordiligi and Dorabella are angered by the intrusion of the suitors, who immediately and inappropriately profess their love. The two men pretend to recognize Don Alfonso as their former tutor, but this extra credibility does nothing to impress the two sisters. They order the intruders out of their house of virtue. Further pleading does not break the ladies’ indomitable will, and they brusquely leave the room. Guglielmo and Ferrando are reassured by their lovers’ steadfast devotion.
The day is not over yet, observes Alfonso. They must pursue the sisters in the garden. He confers with Despina, who is certain her vapid employers will eventually capitulate. They strategize their next move.

 

Scene four – a garden  Fiordiligi and Dorabella overhear the men’s desperate cries – if the ladies won’t have them, then death is the only alternative. Appearing before them, Guglielmo and Ferrando each pretend to take a draught of arsenic. Horrified, the sisters have Despina fetch a doctor and try to comfort the dying men. The doctor soon arrives (really Despina in disguise) and provides a fashionable cure using a large magnet. It works like a charm, and the men begin to revive, begging for a kiss to ensure a complete recovery. The indignant sisters refuse.

Act 1, scene 4: Finale at Glyndebourne, 2006: Luca Pisaronin as Guglielmo, Miah Persson as Fiordiligi, Topi Lehtipuu as Ferrando, Anke Vondung as Dorabella, Ainhoa Garmendia as Despina and Nicolas Riven

 

Act II

Scene one – a room   Despina continues to deride her employers’ priggish attitudes – why not have a little harmless fun while their boyfriends are away? If people talk, the sisters can claim the men were calling upon her. Dorabella is the first to see reason. They should seek a brief diversion to alleviate their melancholy. Once their beaus are back, the affairs shall be over. She’ll take the dark one (Guglielmo) while Fiordiligi may have the fair one (Ferrando).

Act II, scene 1 Duet: “Prenderò quel brunettino”—”I will take the dark one” at Metropolitan Opera, 1996: Carol Vaness as Fiordiligi and Susanne Mentzer as Dorabella

 

Scene two – a garden near the seashore  Still disguised, Guglielmo and Ferrando have hired a barge with musicians, and serenade their paramours. The sisters are quite taken aback and need a little more coaxing from Don Alfonso and Despina. The plan now is to divide and conquer. Privately, Guglielmo gives Dorabella a heart-shaped pendant, exchanging it for the miniature of Ferrando. Fiordiligi is more resistant, yet is forced to wrestle with her conscience after Ferrando’s frank admission of love.
The two men compare notes, and Ferrando is shocked to discover his miniature in Guglielmo’s possession. He is crushed by Dorabella’s faithlessness, and Guglielmo provides little comfort.

Act II, scene 1 Aria: “Per pietà, ben mio, perdona” —”Please, my beloved, forgive” from the 1988 Jean-Pierre Ponnelle film: Edita Gruberova as Fiordiligi.

 

Scene three – a room  Dorabella confides in Despina her recent acquiescence to her Albanian’s affections. Fiordiligi enters, angered by the uncontrollable desire blossoming in her heart. To create some distance, she instructs Despina to get their fiancés’ uniforms from the closet. She will go to the battlefront to be with Guglielmo – she encourages Dorabella to do the same.

Ferrando enters and begins to woo Fiordiligi with renewed zeal. Her resolve finally falters, and she gives in to his entreaties. Guglielmo is furious when he discovers what has happened, and he and his friend plan their retaliation. Don Alfonso suggests a fake wedding ceremony for the grand denouement and sagely reminds them of his earlier premise – they are women, after all, and women are all like that. Despina confirms the ladies are amenable to marriage.

Act II, Scene 2 Duet: “Fra gli amplessi” — “In the embraces” at Piccolo Teatro di Milano, 1998: Jonas Kaufmann as Ferrando and Eteri Gvazava as Fiordiligi.

 

Scene four – an elegantly prepared salon   Despina instructs the servants to ready the house for a festive celebration. The two couples enter jubilantly as the men conceal their rage. Again disguised, Despina officiates as the notary, and the ladies (only) sign the marriage contracts. Suddenly, drums are heard in the distance – their former boyfriends have returned from battle. Flustered, Fiordiligi and Dorabella hide their new spouses in another room and scramble for an explanation.

Guglielmo and Ferrando reenter, now dressed as themselves, and question their lovers’ uneasy demeanor. They discover the marriage contracts and angrily demand to see their rivals. Don Alfonso points them to the hiding place, and the men go inside, only to emerge later in partial disguise, thus revealing the ruse. The duped women sheepishly return to their original partners. Despina is shocked to find that she too was deceived, Don Alfonso advises everyone to laugh it off and all observe the lessons of their misadventure.

Act II, scene 4: Finale at Salzburg Festival, 2009: Miah Persson as Fiordiligi, Isabel Leonard as Dorabella, Patricia Petibon as Despina, Topi Lehtipuu as Ferrando, Florian Boesch as Guglielmo and Bo Skovhus as Don Alfonso.