Curtis Opera Theatre Presents "Il barbiere di Siviglia" May 6-9
Fully Staged Production Conducted by David Hayes, Stage Directed by Ned Canty
Need a shave--or a secret wedding? Just ask the barber of Seville. The Curtis Opera Theatre presents Il barbiere di Siviglia in the Prince Music Theater May 6 through 9. The fully staged production with the Curtis Symphony Orchestra is sung in the original Italian, with English supertitles.
Performances of Rossini's comic masterpiece take place at 7:30 p.m. on Thursday, May 6 through Saturday, May 8, and at 2:30 p.m. on Sunday, May 9. The Prince Music Theater is located at 1412 Chestnut Street, Philadelphia.
Tickets are $33 and are available from the Curtis Ticket Office at (215) 893-7902 or www.curtis.edu.
Il barbiere di Siviglia is conducted by David Hayes and stage directed by Ned Canty. Set and costume design is by Marie Anne Chiment, associate scenic design is by Randall Parsons, and lighting design is by Thom Weaver. Tiziana Vieira plays harpsichord.
David Hayes (conductor) serves on the conducting staff of the Philadelphia Orchestra (where he made his debut in 2003 at the request of Wolfgang Sawallisch), as director of orchestral and conducting studies for the Mannes College of Music in New York City, and as staff conductor of the Curtis Symphony Orchestra. In addition Mr. Hayes is the music director of the Philadelphia Singers and has served as cover conductor for the New York Philharmonic, as well as for André Previn on the Curtis Symphony Orchestra's 1999 European Tour with Anne-Sophie Mutter.
Mr. Hayes's guest-conducting engagements over the past few seasons have included concerts with the Louisiana Philharmonic, Philadelphia, and Rutgers University orchestras; Curtis, Lancaster (Pa.), and Richmond symphony orchestras; Relâche Ensemble; Chamber Orchestra of Philadelphia; Curtis Opera Theatre; Opera Company of Philadelphia; and a Kennedy Center debut with the Washington Chorus and Orchestra.
Mr. Hayes has collaborated with some of the world's finest soloists, including Roberto Díaz, Vladimir Feltsman, Evelyn Glennie, Gary Graffman, Hilary Hahn, Jennifer Koh, Meng-Chieh Liu, Alan Morrison, Eric Owens, Meredith Arwady, and Rinat Shaham. In addition Mr. Hayes has a strong commitment to nourishing contemporary music and frequently collaborates with composers, including Tan Dun, Jennifer Higdon, Ezra Laderman, James MacMillan, Paul Moravec, Bright Sheng, Christopher Theofanidis, and Chen Yi, among many others.
Ned Canty (stage director) most recently directed La Calisto for Portland Opera's Studio Program. Other recent productions include the world premiere of Lee Hoiby's This is the Rill Speaking at Symphony Space in New York, which Opera News called "one of the highlights of the New York opera season"; a new production of The Mikado for Opera Theatre of Saint Louis; and the world premiere, in Tel Aviv, Israel, of Lost Childhood, an opera based on the Holocaust memoir of Yehuda Nir. In 2006 he directed L'italiana in Algeri at Connecticut Opera. In 2004 he directed the critically acclaimed revival of Lee Hoiby's Month in the Country, available on Albany Records. In 2003 he directed the American premieres of Voice of the Forest and Tears of the Knife at Gotham Chamber Opera, which the New York Times described as being staged "with a startling combination of sensitivity and panache." He has also directed Don Giovanni at Florida Grand Opera, Lucky Girl at the McCarter Theatre, and Madama Butterfly for the New York City Opera National Company. He especially enjoys working with young singers and has directed multiple productions at the Curtis Institute of Music, Manhattan School of Music, Juilliard School, Israeli Vocal Arts Institute, Yale University, Academy of Vocal Arts, Boston University, University of Michigan, and Louisiana State University as well as with the Young American Artist Program at Glimmerglass Opera.
Mr. Canty is a winner of an ITT Fellowship to study Shakespeare performance in London and has been a member of the Lincoln Center Theatre Directors Lab since its founding in 1995. He is festival director of the New York Television Festival and serves as director of libretto development for American Opera Projects. For more on his work, visit at www.nedcanty.com.
Marie Anne Chiment (set and costume design) has designed sets and costumes for hundreds of theatre, opera, and dance productions across the nation and around the world. Design credits include national tours of Grease, Carousel, and the Broadway musical Metro, as well as numerous designs for the Oregon Shakespeare Festival, Santa Fe Opera, Chicago Lyric Opera, Kennedy Center, Arena Stage, Opera Theatre of Saint Louis, and Actors' Theatre of Louisville.
Ms. Chiment recently won a Kevin Kline Award for her costume designs for the new musical Ace. Her set and costume designs for Repertory Theatre of St. Louis's I Am My Own Wife won a Kevin Kline Award for outstanding production and were nominated for a Helen Hayes Award for outstanding design. Her set design for the Black Repertory Theatre's production of Macbeth won the Judy Award and was a Woodie King Award nominee. For the Lincoln Center Festival, Ms. Chiment designed the sets and costumes for the Glama award-winning world premiere of the opera Patience and Sarah. She serves as head of design for the theatre department of Temple University.
Randall Parsons (associate scenic design) is a New York-based designer for theatre, film, and television. His work has included Off Broadway, Broadway (associate), regional theatre, and national tours. This season marks a decade of working with Marie Anne Chiment. Mr. Parsons received his Master of Fine Arts degree from New York University's Tisch School of the Arts.
Thom Weaver's (lighting design) designs for area productions include the Arden Theatre Company's Romeo and Juliet, Blue Door, and My Name is Asher Lev; the Wilma Theater Company's Scorched, Coming Home, and Becky Shaw; People's Light & Theatre Company's Snow White in Follywood; Lantern Theater Company's Breath of Life; Delaware Theatre Company's It's a Wonderful Life, All the Great Books, and The Diary of Anne Frank; Theatre Exile's Shining City and American Buffalo; Two River Theater Company's 26 Miles, ReENTRY, A Year with Frog and Toad, Macbeth, and Bad Dates; and Pennsylvania Shakespeare Festival's Complete Works and A Midsummer Night's Dream. Mr. Weaver's other theatre credits include designs for California Shakespeare, City, Folger, and Pittsburgh Public theatres; Children's, Signature, Vital, and York theatre companies; Berkshire, Lincoln Center, Spoleto USA, Summer Play, and Williamstown theatre festivals; CENTERSTAGE; Syracuse Stage; Berkshire Opera; Lincoln Center Institute; 37 Arts; and Yale Rep.
Mr. Weaver received two Barrymore nominations in 2009, a 2010 Helen Hayes nomination, and a 2007 AUDELCO Award for King Hedley II at Signature Theatre. He is the artistic director of Flashpoint Theatre Company and a member of Wingspace Design Group. Mr. Weaver received his education at Carnegie Mellon and Yale universities.
Originally from Italy, Tiziana Vieira (harpsichord) lived in Caracas, Venezuela, where she studied piano with Russian professor Igor Lavrov and was an active recitalist and teacher. She coached experimental workshops, performed in opera productions, and played cello in orchestras. She has traveled to Spain for the Reina Sofia Summer Festival, where she performed in several recitals; to Sienna, Italy, where she studied with Michele Campanella; to Sofia, Bulgaria, where she participated in the Stefan Popov's Violoncellists Festival; and to Vancouver, Canada, accompanying the Youth Schola Cantorum at a World Choir's Competition.
While working on her master's in opera coaching at Temple University, Ms. Vieira studied with Lambert Orkis, John Douglas, and Alexander Fiorillo. In 2003 she was the intern pianist for the Lake George Opera Festival. She has worked for Temple University, Opera Columbus, and, as head of the coaching staff, the Atlantic Coast Opera Festival. Ms. Vieira performs with Amici Opera, Center City Opera Theater, and the New Jersey Opera Festival. She is a staff pianist at the Curtis Institute of Music and works as a coach and accompanist for the Academy of Vocal Arts.
The Curtis Opera Theatre, under the artistic direction of Mikael Eliasen, is the performing entity of the Curtis Vocal Studies Department. Each season the Curtis Opera Theatre presents at least four performances and concert productions in venues such as the Prince Music Theater, Perelman Theater at the Kimmel Center, and the Curtis Opera Studio with established professional directors and designers who create fresh interpretations of standard repertoire and contemporary works. All of the department's twenty-five voice and opera students are cast repeatedly each season, providing students a rare level of performance experience. As a result Curtis vocal studies graduates have sung with opera companies all over the world, including La Scala, Covent Garden, the Vienna Staatsoper, Houston Grand Opera, the San Francisco Opera, and the Metropolitan Opera. Several graduates are among the current Met performance roster, including leading tenors Juan Diego Flórez and Michael Schade, bass-baritones Eric Owens and John Relyea, and contralto Meredith Arwady.
The Curtis Institute of Music educates and trains exceptionally gifted young musicians for careers as performing artists on the highest professional level. One of the world's leading conservatories, Curtis is highly selective and provides full-tuition scholarships to all of its 160 students. In this intimate environment, students receive personalized attention from a celebrated faculty. A busy schedule of performances is at the heart of Curtis's distinctive "learn by doing" approach, a philosophy which has produced an impressive number of notable artists since the school's founding in 1924.
Curtis Opera Theatre: Il barbiere di Siviglia
Thursday, May 6 at 7:30 p.m.
Friday, May 7 at 7:30 p.m.
Saturday, May 8 at 7:30 p.m.
Sunday, May 9 at 2:30 p.m.
Prince Music Theater, 1412 Chestnut Street, Philadelphia
David Hayes, conductor ('89)
Ned Canty, stage director
Marie Anne Chiment, set and costume designer
Randall Parsons, associate scenic design
Thom Weaver, lighting designer
Tiziana Vieira, harpsichord
Fully staged production with the Curtis Symphony Orchestra, sung in the original Italian with English supertitles.
Single tickets: $33; available from the Curtis Ticket Office at (215) 893-7902 or www.curtis.edu.
|Cast (singing order)||May 6 and 8||May 7 and 9|
|Fiorello||Allen Boxer||Allen Boxer|
|Count Almaviva||Joshua Stewart||Diego Silva|
|Figaro||Kevin Ray||Elliot Madore|
|Rosina||Sarah Shafer||Anna Davidson|
|Bartolo||Joseph Barron||Brandon Cedel|
|Basilio||Allen Boxer||Allen Boxer|
|Berta||Shir Rozzen||Meredith LaBouff|
|Official||Brandon Cedel||Joseph Barron|
Chorus: Joseph Barron, Brandon Cedel, Diego Silva (May 6 and 8), Joshua Stewart (May 7 and 9)
Supernumeraries: Richard Bartnik (Notary), J'nai Bridges, Charlotte Dobbs, Jazimina MacNeil, Elizabeth Reiter, Alize Rozsnyai
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Senior Director of Public Relations and Patron Engagement