FOR IMMEDIATE RELEASE      -      January 1, 2004
 
 

Kings Point Tamarac
Tamarac, Florida

Proudly Presents
The Manhattan Lyric Opera

Rigoletto
By Giuseppe Verdi
(an abridged staged version)
January 10, 2004    8:00 PM

 
 
Anne Tormela   -   Gilda
Thomas Stallone   -   Rigoletto
Thomas Smargiassi   -   Duke of Mantua
Howard Lear   -   Monterone/Sparafucile
Jennifer Moore   -   Giovanna/Maddalena
RIichard Gordon   -   Pianist
Elise Hanley   -   Stage Manager

The Manhattan Lyric Opera Company presents Giuseppe Verdi’s tragic masterpiece Rigoletto. The Hunchbacked jester, Rigoletto, seeks vengeance on his lecherous master the Duke of Mantua who has seduced his beloved and pure daughter Gilda.  He plots to kill the Duke, but in a simple twist of fate his own lust for vengeance turns against him.  Come here one of the most beautiful and adored operas that Verdi ever wrote!

THE STORY (Based on the play Le Roi S’amuse by Victor Hugo)
Place: Mantua, Italy
Time: Sixteenth Century

ACT 1

Strolling among the courtiers who throng the ballroom of his palace, the Duke of Mantua boasts of his many amorous conquests (Questo o quello).  His hunchbacked Jester, Rigoletto, suggests that his master win the beautiful Countess Ceprano by imprisoning her husband. Ceprano, furious, vows in revenge to abduct a young girl whom he believes to be Rigoletto’s mistress.  When Monterone, an elderly noble, forces his way in to denounce the Duke for seducing his daughter.  He is mocked by Rigoletto, sure of his master’s protection.  As Monterone is led away to prison by the guards he curses Rigoletto, who being very superstitious, falls to the floor in horror.

ACT II

Brooding over the curse, Rigoletto hurries late at night to the house where he has hidden his beloved daughter, Gilda.  Before he reaches his gate he is accosted by Sparafucile, a professional assassin, who offers his services for a fee.  But Rigoletto dismisses him, reflecting bitterly that his tongue works as much harm as the assassin’s dagger.  The mood of the jester softens when he is greeted by Gilda; lonesome in her seclusion, the girl embraces her father and begs him to her the story of her mother, who died long ago.  Rigoletto sadly replies that his wife was an angel, adding that now Gilda is all he has left to love in the world.  Ever fearful for his daughter’s safety, he summons her nurse, Giovanna, whom he warns not to admit anyone to the house.  As the jester leaves, the Duke himself slips past him into the garden.  Pitching a purse of coins to Giovanna as a bribe, he declares his love for the astonished Gilda, telling her that he is a poor student named Gaultier Malde.  When footsteps are heard in the street, Gilda pleads with him to flee.  Alone, she dwells tenderly on his name (Caro nome) before ascending the staircase to her room.  Meanwhile, the malicious courtiers incited by Ceprano, stop Rigoletto in the dark street and ask his aid in abducting Ceprano’s wife who lives across the way.  Relieved, the jester allows himself to be masked like the others, but the courtiers blindfold him instead.  In his confusion Rigoletto places their ladder against his own wall, while the courtiers laugh among themselves at their chance to outwit him;  they break into his house and quickly carry off Gilda.  At the sound of the girl’s muffled cry for help, the duped jester tears the blindfold from his eyes to find himself alone.  Seized with terror, he rushes into the garden, discovers Gilda’s scarf and, after searching her room, reappears in anguish.

ACT III

The Duke paces a room in his palace, fearing that his courtiers have robbed him of Gilda, whom he imagines in lonely tears.  When the courtiers return to tell him they have brought the girl to his chamber, the libertine rushes to the conquest.  Soon Rigoletto enters searching for Gilda, who he confesses to the indifferent courtiers, is his daughter.  Though astonished, they bar his way to the Duke’s quarters, at which the jester lashes out at them for their cruelty and treachery, ending his tirade with a plea for mercy.  At that very moment Gilda appears, disheveled in her nightdress; she runs in shame to her father, who orders the courtiers to leave.  When they are alone, the girl tells her father of the long courtship of the Duke, whom she had seen each week at Mass.  As Monterone is led through the corridors, the enraged Rigoletto swears to avenge his wrongs; Gilda, out of love, begs for the Duke’s pardon.

ACT IV

On a dark night, Rigoletto and Gilda lurk outside the lonely inn to which Sparafucile, aided by his voluptuous sister, Maddalena, lures his victims.  The jester forces Gilda to watch the Duke, disguised as a soldier, make love to Maddalena, laughing all the while at the fickleness of woman; while Maddalena leads her intended victim on, the jester comforts his daughter in the shadows outside.  He tells the girl to go home, dress herself as a boy and then meet him in Verona;  he pays Sparafucile to murder the Duke and departs.  As a storm brews, Gilda returns to overhear Maddalena urge her brother to spare the handsome stranger and kill Rigoletto instead.  Shocked by her lack of professional ethics, Sparafucile refuses, but at length he agrees to substitute the next guest who comes to the inn.  Gilda, glad to sacrifice herself to save the Duke, knocks on the door at the height of the storm, is pulled into the inn and fatally stabbed.  Before long, Rigoletto returns to collect the body of the Duke.  The jester gloats over the sack the assassin gives him to dump in the nearby river, but on hearing the supposedly dead libertine’s voice in the distance, he frantically cuts open the sack to find his daughter’s crumpled body.  Asking forgiveness, Gilda tells Rigoletto that she goes to join her mother in heaven.  When she dies, the distraught father cries that Monterone’s curse has been fulfilled.

Courtesy of Opera News

 

MLO Press Release - Die Fledermaus
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  FOR IMMEDIATE RELEASE  -February, 2002
 
 

La Belle Epoque
Restaurant

Proudly Presents

Die Fledermaus
By Johann Strauss
(an abridged staged version)

 

The Manhattan Lyric Opera


"Dinner and an Opera"

 
 
ANNE TORMELA   -   Rosalinda
WARREN HUFFMAN   -   Eisenstein
THOMAS STALLONE   -   Falke
KATHERINE COMEGYS   -   Adele
MARIELLA NOCETTI   -   Prince Orlofsky
SARAH SPERRY   -   Dancing Girl
KAREN SHARF   -   Party Girl
RICHARD GORDON   -   Pianist
GABRIELE BARRETT   -   Stage Manager
 

February, 2002    8:00 PM
Exact date to be posted later
827 Broadway (12th Street)
New York, NY 10003

Tel: (212)-254-6436
Music cover $20

The Manhattan Lyric Opera is pleased to present highlights from Johann Strauss’s Die Fledermaus. In it’s fourth year, The Manhattan Lyric Opera is uniquely devoted to presenting concert versions of the classic operas and operettas making them accessible to facilities which otherwise may never have the resources to offer such artistic works in their entirety or in part. Our goal is to bring these classic operas to life in an elegant, concise staged or concert version so that the audience may enjoy the heart of this great music. The artists performing this evening are some of the finest young professional classical singers in the New York area. We hope you will enjoy the performance and that this will entice you to learn more about operatic music.

THE PLOT:  DIE FLEDERMAUS

Die Fledermaus which means the bat is a charming farsical operetta taking place in old Vienna. The story involves an unfaithful mischievous husband Gabriel Eisenstein his charming wife Rosalinda, their ambitious chambermaid Adele and a plotting mischievous friend Dr. Falke. Eisenstein had played a mean trick on Dr. Falke many years back. After a costume ball Gabriel, seeing that his friend Dr. Falke (who was dressed as a bat) was very drunk took him home from the party and left him asleep on a park bench in the middle of town. Dr. Falke awoke to a crowd of spectators staring at him and had to scurry home dressed as a bat. He received the nickname the bat and did not easily forget this mean prank played upon him. Dr. Falke planned a revenge to trap Eisenstein using his wife and chambermaid. Eisenstein is scheduled to go to jail for a week for some back taxes that his lawyer neglected to pay when Dr. Falke arrives convincing him to arrive hours later for his jail sentence. This way he can attend a fabulous party being held by the famous Prince Orlofsky of Russia where there will be lots of charming young girls whom he can flirt with. Eisenstein enthusiastically agrees and tells his wife Rosalinda that he will be dressing up in tails for his first night in jail. Meanwhile, Rosalinda has been distracted by an unexpected visit from her old lover Alfred. Alfred, knowing that Eisenstein must go to jail that evening makes himself comfortable in Eisenstein’s robe and pours himself a drink. Rosalinda torn between throwing him out and enjoying the evening is distressed when Frank the jailer appears at the house to pick up Eisenstein for his 8 day sentence. Believing Alfred to be Eisenstein he hauls him off to jail. Rosalinda receives a package from Dr. Falke warning her of her husband’s infidelities and encouraging her to attend the ball disguised as as a Hungarian countess. Adele receives a letter written by Dr. Falke supposedly from her sister Sally. Adele gets the night off and steals one of her mistresses ball gowns. They all meet up at the party under great confusion which amuses the ever bored Prince Orlofsky who promises Dr. Falke a medal if he can make him laugh that evening. Eisenstein recognizes his chambermaid Adele and accuses her of being a maid. She indignantly replies with the famous laughing song "My dear Marquis it seems to me you should employ more tact." The party ends with more events as Rosalinda gets her husband to flirt with her and make passes at her merely because he thinks she is the Hungarian countess. The party ends and Orlofsky quite amused hands a medal over to Falke. In the final act Sally and Adele head to the jailhouse to plead with Frank the jailor who Adele was flirting with all night to ask for him to support Adele’s lifelong dream of becoming an actress. Frank asks Sally, "well does she have any talent?" and Adele says "Do I? Just let me show you" hence the famous "audition aria". Everyone enters the jailhouse and amid the confusion Eisenstein is exposed for who he is and Dr. Falke muses over his revenge.
Read more about the Acts from opera news

Please enjoy our abridged version of this evening’s performance of Die Fledermaus and we hope this lengthy plot description will fill in the gaps!

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