PERFORMANCES MARCH 23-25 AT 7:30 PM. AUSTAD AUDITORIUM MATINEE SATURDAY, MARCH COMPOSED BY WOLFGANG AMADEUS WITH AN ITALIAN LIBERETTO BY LORENZO DA PONTE MOZART 25 AT 2 PM. DIRECTED BY KAREN BRUESTLE CONDUCTED BY FRANCISCO DE GALVEZ The Weber State University _ Lindquist College of Arts & Humanities Department of Performing Arts — presents THE MARRIAGE OF FIGARO LE NOZZE DI FIGARO Composed by Wolfgang Amadeus Mozart With an Italian Liberetto by Lorenzo Da Ponte | Directed by Karen Bruestle Conducted by Francisco de Galvez March 23-25, 2017 Austad Auditorium at 7:30 p.m. with a matinee performance on March 25 at 2 p.m. FOREWORD ARTISTIC STAFF ce ee ASSISLANT DITeClOl ines: tecmeneves a) Catherine Omer Music Director.........cceeececceeeeessseeeeeeensseeeeesennneeens er CONG UC DOF osniaes it eamis sncmtiam f¥ tdiemame + exam Jennifer Erickson emmeninn sammich semana x wih Francisco de Galvez SCENIC DESIQNSN i ccninits nv ndignibinidmecceas tqabinkeg Cacia’ semaines samnnbee,s aemtmass sokn Bryce Allen Costume DOSIQNED..........cccceeeeeeceeeceeececeeeeeeeeeeeeneaeaeneeeeeeeeaes Linda Faldmo Lee LSI By Karen Bruestle ..... Karen Bruestle DES OMEN: tannic wninennadt somal « nemendd « semtimens snemtilions shaw Kirsten “Fluffy” Blake PROD DSSS Gl eeceis steamer sv ealeresd senses iran fraser neatnerarieomeraes tome Camree Larkin Malt, Wie, MaKG=UO DGS! 2G lees renews scammers ssciepues simmemwed) samme n vee As Katie Rogel Slipertitle DeSigner.....:..s:s:sccsssenccccsssecceeccocsceddavensscssceeaddsntiecvondes Kyle Jensen | An exploration of The Marriage of Figaro’s background provides much amusement and curiosity about its social and political statements of the day. The play, later adapted into an opera by Mozart and his librettist Lorenzo da Ponte, explores territory that many found worrisome when it was written in the mid1780s — the often contentious relationship between the classes. That’s why the original play by Beaumarchais was banned by ruling authorities in France, and further explains why Mozart’s opera made the Austrian monarchy more than a little nervous. The Austrian emperor, Leopold, was ill at ease with the story’s liberal overtones and fearful of the political unrest already brewing throughout the Empire (One knows all too well the demise of his sister, Marie Antoinette, during the French Revolution). Although the opera’s premiere in 1786 was deemed highly successful, rival composers encouraged criticism of the work, including paid hecklers placed _in the audience on opening night. There were a total of nine performances in Vienna. Its performance in Prague proved to be more pivotal, leading to the commission of Don Giovanni. Both the play and the opera clearly illuminate the limitations of rank and priv- A special thank you to those who made this production possible: the upper hand over self-indulgence and pride. _ transcends the boundaries of place and time. Bob and Marcia Harris Bill J. and Helen S. Brookens WSSU Association Yulia Goff and the Office of Development Dr. Scott Sprenger Dr. Carey Campbell The fineness of his musical characterizations and the ingenuity of legacy that still astounds, ignites and fulfills the senses. ——— DEPARTMENT OF —— Lindquist College of Arts & Humanities roles of Susanna and Cherubino multiple times, | couldn’t agree more with that the ensembles confirm his talent as a musical dramatist. The mature Mozart was filled with frustration and irritation at the system in which he was forced to live and work. Yet, despite all of that, his all too brief thirty-six years left a Dr. Mark Henderson ) The Marriage of Figaro truly Today, The Marriage of Figaro is considered by many to be the most perfect of Mozart's operas. As the director of this show and one who has performed the sentiment. Jean Louise England WEBER STATE UNIVERSITY ilege. The opera teaches us, the audience member, how common sense can readily overcome wealth and power, and that genuine humility will always win PERFORMING DANCE A RT | music | THEATRE SYNOPSIS ACT III, THE COUNT’S STUDY AND GARDEN Beaumarchais’ play, The Marriage of Figaro, is a sequel to his earlier play, The Barber of Seville, (basis for Rossini’s opera) in which a young nobleman named Susanna sets the servants’ plot in motion by leading the Count on with the promise of a tryst. Marcellina demands that Figaro pay her back or marry her, Almaviva won his lover, Rosina, away from her lecherous guardian, but when Figaro shows her his birthmark, Marcellina realizes that Figaro is her long-lost child — and Bartolo is his father! They embrace joyously. Susanna and the Countess put their plan into action in the duet Su//‘aria, a note arranging a late night rendezvous in the garden. At the wedding celebration of Susanna Dr. Bartolo — but only with considerable help from his friend Figaro. As The Marriage of Figaro begins, three years have passed. The young lovers are now the Count and Countess Almaviva. Figaro is the Count’s personal valet, and he’s engaged to marry the Countess’ maid, Susanna. and Figaro, Susanna discreetly passes along the note to the Count, nealed ll apin. SETTING ACT IV, THE CASTLE GARDEN AND PAVILION A castle in Seville, Spain during the late 18th century. One day in the life of Later that night, the gardener’s daughter, Barbarina, is upset because she has lost the pin, which the Count entrusted her, and she tells Figaro and Marcellina about the rendezvous. Figaro rants against women, especially his faithless bride. When Susanna and the Countess appear, dressed in one another's clothes, he hides to watch. Susanna sings of love in the aria Deh vieni non tardar, knowing that she is making the listening Figaro squirm with jealousy. Figaro. ACT I, THE STORE ROOM — The servants Figaro and Susanna are about to be married, but their employer, — the Count Almaviva, has also cast his roving eye on the bride-to-be. Figaro vows to outwit his master. And there’s another problem: the much-older Marcellina, — The Count arrives to woo “Susanna” — the Countess in disguise. Figaro, who has : housekeeper to Dr. Bartolo, wants to marry Figaro herself — and he owes her a tidy sum of money. Meanwhile, the young, tempestuous pageboy Cherubino can’t help flirting with all the women of the household, including the Countess herself. Caught once © — again in Susanna’s room by the court’s music master Basilio, an enraged Count © orders Cherubino to join the army, much to the page’s dismay. However, Figaro | playfully cajoles Cherubino about the army in his aria Non piu andrai at the close of Act |. ACT II, THE COUNTESS’ BOUDOIR The Countess Almavivais sitting in her boudoir, lamenting the loss of her hus- band’s affection in the aria Porgi amor. Susanna enters and the two women be- | gin discussing the Count’s behavior. Figaro joins them and together they hatch ~ a plan to curb the Count'’s passions. Susanna and the Countess recruit Cherubino to their plan to trick the Count, playfully dressing him up as a girl. When the Count unexpectedly arrives, they must maneuver quickly, making Cherubino jump from the window so that Su- sanna can take his place undiscovered. But the complaining gardener, Antonio, ruins their plot, and Figaro must cover for the boy by faking a limp. Marcellina and Bartolo demand that the Count settle the dispute of whom Figaro will marry. realized what is happening, declares his love for the “Countess,” to the conster_ nation of Susanna and the rage of the Count. The real Countess reveals herself, and her husband realizes his folly and begs her forgiveness. She grants it, and all the couples — the Count and Countess, Susanna and Figaro, Barbarina and Cherubino, and Marcellina and Bartolo— enjoy a happy ending. Please note: there will be a 20 minute intermission after Act II. CAST Ce PIA Gis ecrs remstvare snelimome ralidews vememin vaneeeontsssamnnescsieimmni Timothy Coral Mair COUPOSS PUAN IGE. cmneiiais scares ts amemad Femmes 3 seummren'eseenemenies komme 14 viata Sarah Singer SwSavitea (A WIG) sw cnesnssseummews vated veBemeen ed sremrens « satin ss imienems oman Karllen Johnson PISORO: CR. VAG) ernst siceniinns dareonnic Chernin ibid remtonn eRe SERINE Ye Dugan Brunker Marcellina (Bartolo’s Housekeeper)...........:0::eeee Annalyn Adams (Friday Night, Saturday Matinee) Jessica Morgan (Thursday Night, Saturday Night) Bartolo (A DOCtOr)...........cccessccscecescsenseaesssceseerseeeeouares Brayden James Bernard sramaces « omcinece nosemans res Austin Toney Basile (Court Music Waster) ois icccnsnissensinece Cherubino (A Page).......ccccccceseceseecceeeeeeeeeeeeeeeeeaeeeeeneeaeeeees Katherine Johnson Barbarina (Antonio’s Daughter)...........:.:eeeee Rachel Hoferitza (Thursday Night, Friday Night) Camree Larkin (Saturday Matinee, Saturday Night) PRETEOTEO CA GST IST) isis onesie d Acct atteneens Rewrnies « racemes Vammenndind anemones Paul Gibson Don Curzio (A LaWwyer).........:ccssscssscssrsssersestesssensaescseeeeesooeaes Bridger Silvester FY CGS lS ie jedavere a sccaenss samira seemmnes amon «5 eee eee ee eM lreri Tetelpa McKinzie Robertson CHORUS Alyssa Vincent AnnaLyn Adams Joe Johnson Audrey Christensen Jessica Morgan Brandon Dickson Baylee Rouse Rachel Hoferitza Blake Merriam Kiera Wheadon Camree Carter Lennox Macey Quigley Mark Ashby Mary Abbott James Mirada D’Asto Ben Saunders PROFESSIONAL Larkin Nicholas Smith Pace STAFF Director of Marketing & PR.........cccecececeeeeeeeeeeeeeeeeeeeeeeeeeeees Christie Denniston PRODUCTION STAFF amananis pommel Derek Walden Stare WANA Sic icdcties jnactinns canatnnsscncmsascsscommesssammenh iain dale Chris Carignan seancnas TaMeNeeT cameneNeien erciedseayaueq TOGHINICA! DIFECIOL «x nkecorc Rehearsal ACCOMPANISH..........ccceceeeeeeeeeeeeeeeeeeeeaeeeeeeaeeeeeeeeeeneees Debby Cannon SEF Cal PG OiS wircctsnes ssamanas sesesmesss eseumersemmnmas somone iammmnieddaomess scan Jason Baldwin Andy Nish SEE PAAR eviscaccrcens viekenintie » pyeomes i nccaigut 12 cemmmresnamnmane f iandialenymemmeie Brindle Brundage PRODGMY: MAS TEL ssisks es csttmnstets cemnemerys + mewcome « sasematun uy cemearesins tains silnetaitiaa bectios Camree Larkin SUDEP LIS DODGEOl ic22 sess hncascnnass aametzar « vera cimmitesirsweteanyls 4 daibtaan's wpe Kyle Jensen Sound Engineer, Deck Crew, Microphone Technician Val A. Browning Center Staff WEBER STATE SYMPHONY ORCHESTRA Violin | Jose Flores, Concert Master Jeline Oliva Brent Hales Clarissa Prigmore Vanessa Bott Eia Steward Allison Sawyer Savannah Kofford Violin I Shi Pong Lee, Principal Brielle Hahn Annie Moyes Rebekah Wakefield Anson Clark Bryce Michelson Viola Jacqueline Noriega, Principal Alyssa Thornley Serena Bird Amanda Capener Klea Roller Cello Yi-An Chi, Principal Timothy Leake Kyle Tuttle Justin Millard Bass Spencer Howe, Principal Ryan Bell Maxwell D. Cox Flutes Cami Palmer Stephanie Strait Oboe Kirsten Madsen Anna Elmer Camille LeBaron Clarinet Luis Moreno Zachery Patrick Bassoon John Arnold Kaitelyn Simmons Horn Ashley Bush Carey Campbell Benjamin Scott Trumpet Byron Ward Teagan Davis Ryan Wheeler Timpani Courtney Hales Harpsichord Deborah Cannon ABOUT DR. KAREN BRUESTLE, DIRECTOR ABOUT DR. FRANCISCO DE GALVEZ, CONDUCTOR Soprano, Dr. Karen Bruestle has enjoyed a rich and varied career that includes opera, oratorio, recital, and concert works through- out the United States and Canada. She has performed a variety of roles that include Cathleen in Riders to the Sea in Boston, MA, Susan B. Anthony in The Mother of Us All, Blanche in Dialogues of the Carmelites, and the roles of Susanna and Cherubino in Le Nozze di Figaro throughout the Western United States. Recital credits include the complete songs of Henri Duparc performed widely in Arizona, Weber State as well as performances on the Temple Square Recital Series in Salt Lake City and the faculty concert series at University. Dr. Bruestle has premiered the works of such composers as Judith Cloud, Michael Cunningham, and Mark Henderson. She appeared as the soprano guest artist with the Utah Symphony on the Holiday Pops Concert with conductor Jerry Steichen. Dr. Bruestle has been a featured guest artist with the Arizona New Music Ensemble, the St. Paul Chamber Orchestra in Minneapolis, and she has been a frequent guest artist on the Bonneville Chamber Festival Series at Weber State University. She has been a recurring soprano soloist in The Messiah with The Oratorio Society of Utah. Dr. Bruestle has taught vocal master classes in technique and interpretation from New York, to Hawaii, and has served on the national board as the Cal-Western Regional Governor in the National Association of Teachers of Singing organization. Upon completion of a doctor of musical arts degree from Arizona State University, Dr. Bruestle taught on the faculties of Northern Arizona University and University of Wisconsin-Eau Claire. She now serves as professor of voice and vocal pedagogy and director of the opera program at Weber State University,a program she began in 2004. Dr. Bruestle’s directing credits include Cosi fan tutte, Die Zauberflote, The Gondoliers, Die Fledermaus and Madama Butterfly. Francisco de Galvez Is one of the leading Spanish conductors of his generation. He obtained international recognition when he was awarded First Prize and Gold Medal in the 1994 Tokyo International Conducting Competition (Min-On), among 194 conductors of 36 countries. Dr. De Galvez is Director of Orchestral Studies at Weber State University, Ogden, Utah, USA. He has been Music Director of Malaga Symphony Orchestra (1998-2011) and of University of Malaga Chamber Orchestra, OCUMA (2004-2013). As guest conductor, Francisco has offered concerts with Orchestras like Berliner Symphoniker, Zagreb Philharmonic, New Japan Philharmonic, Tokyo City and Osaka Philharmonics, Saint Petersbourg Philharmonic, Filarmonica di Russe Orchestra, Postdam Philharmonic, Sinfonica di Sofia, Fort Worth Symphony, Danish Radio Orchestra, Flanders Opera, Spanish National Orchestra, Madrid Symphony, Malaga, Seville and Granada Symphony Orchestras, among many others. : He has performed in prestigious concert halls worldwide, like Philharmonie Saal, Berlin, Carnegie Hall, New York, Auditorio Nacional and Teatro Real, Madrid, Teatro Colon, Buenos Aires, or Suntory Hall, Tokyo. He has been Artistic Director of Contemporary Music Cycles organized by the Malaga Philharmonic Orchestra between 1995 and 2000. He was director and founder of the Montreal Chamber Players Orchestra in 1991, with whom he performed extensively in North America and Spain. With this orchestra made Its first CD, which others have followed, as well as numerous recordings for radio and TV. Dr. De Galvez obtained a PhD “cum laude” in Music and Comunication at Malaga University. He previously studied Conducting, Composition, Orchestration and Analysis in Canada and graduated with a Master in Orchestral Conducting at McGill University, Montreal. His main teachers in conducting have been Timothy Vernon and Ferdinand Leitner. He also studied conducting at Vienna, Hochschule fiir Musik, and Siena, Accademia Chigiana, Italy. In 1993 he continued his studies with Carlo Maria Giulini in Milan, Italy. He has an extensive musical background as a violinist (Titulo Superior-Madrid; Orquesta Nacional de Espafia; Performing Diploma-Royal College, London, England; Master-McGill, Montreal, Canada). Between 1995 and 1998 he lived in Berlin, where he performed with various orchestras (it is worth mentioning his conducting of the World’s Premiere of Carlo Domenicont’s El trino del diablo at the Philharmonie, later presented at the Istambul International Music Festival and recorded on CD). Dr. De Galvez now lives with his family in Ogden, Utah, and teaches at Weber State University, where he develops an intensive educational and creative musical program. Learn more at: http://franciscodegalvez.com SOCIAL BALLROOM DANCE Just one of the many community education classes available at Weber State. Single Fl Issue Sil We 4 | 7 wey THE CON FETPORARY WEST WEBER STATE UNIVERSITY Continuing Education SPRING 2017 ISSUE HIGHLIGHTS The artwork of PAM BOWMAN The fiction of LANCE OLSEN AND PHYLLIS BARBER The poetry of DAVID LEE, KATHARINE COLES, AND NANCY TAKACS Interviews with writers MARGARET ROSTKOWSKI, COLM TOIBIN, AND DOUGLAS A. BLACKMON WWW.WEBER. EDU/WEBERJOURNAL WWW. FACEBOOK.COM/WEBERJOURNAL CHAMBER ORCHESTRA Ogden WEBER STATE DEBATE INSTITUTE » July 9-29, 2017 The TUITION ABOUT : Concert Season 20 16-2017 | October 22 - Our First Concert in Peery’s Egyptian Theater! Beethoven Overture to “Egmont” with the Ogden Youth Orchestra Humperdinck Witch's Ride from “Hansel and Gretel” (Halloween is coming...) Diverse, experienced, championship-winning P P 8 facult y $1,800.00 3-week policy Earn college credit | 1-week policy, LD & PF.............. $700.00 2-week policy, LD &PF........... $1,300.00 Dvorak Cello Concerto with Viktor Uzur, cello February4 - Red Dress Concert celeb rating A merican til Heart Month Sponsored by Ogden Regional Medical Center Music for Jazz Orchestra, featuring Brian Booth, saxophone Schumann - Konzertstiick for 4 Horns and Orchestra April 8 - Family Concert and all ages are welcome Featuring Jason Black (The Backwards Piano Man) Featuring Gershwin’s Rhapsody in Blue Dukas’ The Sorcerer’s Apprentice and much more All concerts begin at 7:30 pm and take place at Peery’s Egyptian Theater Tickets are $5.00 and available at the door or at http://www. brownpapertickets.com/event/2589671 3 GEORGE S. AND DoLoRES Dor& ECCLES Boy & OY i BEE ART WORKS. aaa Se oe COUNCI ee Pe & Museu VISIT US ie weberdebatecamp.com WEBER ST. Utah Division of Arts | a4 WEBER Ogden UNIVERSITY ms espe ee of Arts & Humanities DEBATE bs CONTACT US weberdebatecamp@gmail.com ABOUT THE WEBER STATE UNIVERSITY TELITHA E. LINDQUIST COLLEGE OF ARTS & HUMANITIES The Weber State University Telitha E. Lindquist College of Arts & Humanities teaches students to excel as they seek, understand, question and express complexities critical to the experience of being human. The Lindquist College of Arts & Humanities offers five degree programs in the following areas: Communication, English, Foreign Language, Performing Arts and Visual Arts. Master’s degrees also are offered in Communication and English. The college serves nearly 2,000 undergraduate majors and 200 graduate students. The Lindquist College of Arts & Humanities is the Western region’s foremost institution for student-centered teaching and research that investigates the human experience and aims to educate global citizens who are responsible, creative and critical artists, performers and communicators. For more information please visit (www.weber.edu/cah) or online at (www.facebook.com/WSUartsandhumanities). ge a aque xe < Saas ee WeberStatePerformingArts SSaees i eau pare @WeberStateArts Lindquist College of Arts & Humanities 03/23/17 Floor ia 106 0.00 et-employee _ INV# 12782373 Performing Arts VITOZZA presents 03/23/17 The Marriage of Figaro Floor. Austad Auditorium, Val Browning Sat Mar 25 2017 2:00 PM Any purchased unoccupied seat may be resold 10 minutes before show with no refunds issued. 106 et-employee Portal 1 -loor Center H H 106 0.00 () ap54 7392 754226 M1622A WSU AMERICA FIRST CREDIT UNION Business Free Checking Auto Loans | Mortgage Mobile Visa® a0 americafirst.com Go nee