2007-11-16 Barnums Bird [recital program]

              School of Music
U N C G
Barnum’s Bird
Music by Libby Larsen
Libretto by Bridget Carpenter and Libby Larsen
November 16 and 18, 2007
Odeon Theatre, Greensboro Coliseum
The University of North Carolina at Greensboro Opera Theater presents:
Barnum’s Bird
Music by Libby Larsen
Libretto by Bridget Carpenter and Libby Larsen
First Performed February 1, 2002
The Library of Congress, Washington, D.C.
By arrangement with C.F. Peters, publisher and copyright owner
Cast
(in order of vocal appearance)
P.T. Barnum, the world’s greatest showman
Octet of Singers
Giovanni Belletti, colleague of Jenny Lind
Jenny Lind, The “Swedish Nightingale”
General Tom Thumb, Barnum’s sidekick
Andrew Owens
Cory Alexander
Conor Angell
Lindell O. Carter
Sidney Glasgow Dixon
Kate Farrar
Melissa Larkin
Whitney Myers
Michael Laverne Thomas
Neal Stratford Sharpe
Natalie Fagnan
Christina Friedmann
Pit Chorus
Jonathan Albright Gina Hurley
Liane Elias Chris Juengel
Margaret Carpenter Farin Loeb
David Clark Michael Martinez
Carlos Fuentes Diána Thompson
Bryn Hagman Marian Towe
Alice Henderson Melinda Whittington
Director’s Note
Libby Larsen’s Barnum’s Bird is the story P.T. Barnum, the “Greatest Showman on Earth”
and Jenny Lind, the “Swedish Nightingale” (and thus the “bird” in the title). Barnum would
sell a ticket to anyone to see anything, including General Tom Thumb, a “little person”
whom Barnum discovered as a child. Tom Thumb never grew to be more than a little over
3 feet tall but became Barnum’s advisor and trusted confidant. As I researched this opera
this past year, I admittedly struggled over how to portray Tom - his physicality obviously
presents some challenges. During one of my August conversations with Libby about Picnic
(the opera we have commissioned her to write for us), I told her of my questions about
Tom, whereupon she told me that she had always envisioned that he be played by a
puppet. In response, I contacted Rachel Briley of UNCG’s North Carolina Theatre for
Young People, who is teaching a class in puppetry this semester. She put me in contact
with MFA student Ericka Grayson, and it resulted in our execution of Libby’s original
concept - the Tom Thumb you will see in tonight’s performance will be puppet manipulated
by Christina Friedmann, the soprano singing the role. I asked Erika to write a note about
the process she went through in creating Tom Thumb, which you can find later in this
program.
In Barnum’s Bird, Libby invites us into and introduces us to the world of American popular
entertainment of the 1850’s, including the widely popular Minstrel Shows and other acts to
which he sold tickets, including his famous “Moustache Man.” He even created and
promoted a machine which was powered by steam that played music - an Automaton
(which opens the second act).
No one had ever promoted an opera singer to the American public, so when he hit upon the
idea of an American tour of one of Europe’s most popular classical singers, it was
revolutionary. However, since no one in America had ever heard of Jenny Lind, Barnum
faced a challenge. This was not a problem, however, for Barnum’s creative marketing
machine - before he brought Jenny over from Sweden, he put her name on as many items
as he could - ranging from the Jenny Lind crib to the Jenny Lind steam engine!
The Jenny Lind rocker and deacon’s bench The Jenny Lind
In her composer’s note in the vocal score, Ms. Larsen challenges us to see Barnum’s Bird
as a vehicle to gain insight into ourselves as lovers of art and consumers of entertainment.
We hope that you enjoy our presentation of this unique and fascinating musical drama!
David Holley
Barnum’s Bird plot summary
ACT I
In 1850, P.T. Barnum (the “Greatest Showman on Earth”), is looking for the next big
venture which will make him a profit, while Jenny Lind (the “Swedish Nightingale”) is
making a name for herself singing all over Europe. Barnum’s confidant and one of his
oddities, “General Tom Thumb” suggests that he bring Jenny Lind to America for a tour of
the country. Barnum sends Tom to Europe where he offers her $1000 per concert for the
“Grand American Tour” of 150 concerts - an amount over $1 million dollars in today’s
money. Jenny accepts.
ACT II
Barnum begins to publicize Jenny’s tour, only to find out that no one in America knows her.
In a stroke of genius, he decides to attach her name to as many items in American culture
as he can - thus we have the “Jenny Lind crib” and so many other items to this day. He
calls a press conference announcing his plans, after which Jenny crosses the Atlantic to
arrive in New York, where she is greeted by an enthusiastic press. Always scheming,
Barnum decides to auction the first ticket to her premier concert to the highest bidder,
creating a frenzy of interest. Her opening concert at Castle Garden is a huge success and
launches the tour, which makes Barnum a great deal of money. It is a grueling tour to
many cities in a short time, and Jenny, weary and exhausted, exercises the escape clause
in her contract and cuts the tour short. Barnum tries to convince her otherwise, but she
stands firm. Tom Thumb sings her a farewell, and Jenny thanks Barnum for the opportunity
to sing in America. All celebrate the success of the venture.
**********************************
Synopsis of Scenes
ACT I
Prologue
P.T Barnum, the most influential American Showman of the nineteenth century
introduces the audience to his “wondrous and popular entertainment” that is Barnum’s Bird.
Scene i, The Salon (Germany, early summer 1850)
We are introduced to Giovanni Belletti, beloved friend and colleague of Jenny Lind,
who sings “Largo al factotum” from Rossini’s The Barber of Seville. We are also introduced
to Jenny Lind, better known as the “Swedish Nightingale,” singing “Hear Ye Israel” from
Mendelssohn’s Elijah.
Scene ii, The Broadway Office (New York, late summer)
Barnum speaks to the audience, telling them he can smell the opportunity of
something big and new, but can’t decide what. Tom Thumb, Barnum’s sidekick, enters and
tells his boss that he has heard a famous opera singer named Jenny Lind. Barnum jumps
on the opportunity to bring this “Swedish Nightingale” to New York for an American tour.
Scene iii, The Salon (Europe, early autumn)
Jenny Lind and Belletti are seated at a piano, where Jenny sings a song. She
contemplates leaving the Opera stage, to sing for unfortunate children. Tom Thumb enters
to tell Jenny about Barnum’s proposal. After some thought, Jenny accepts the offer… with
the condition that he not disclose the fact she will donate much of her fee to charity.
Synopsis of Scenes (cont.)
ACT II
Prologue
Music of an automaton - one of the gimmicks that Barnum used to make money.
Scene i, The Train Ride (NY train from Bridgeport, late summer)
Barnum, excited about his new venture, converses with the Train Conductor to see if
he’s heard the news about Jenny Lind. The Conductor, indifferent to the news, has never
heard of a Miss Jenny Lind.
Scene ii, Barnum’s Office (New York, still late summer)
Barnum and Tom come up with ideas of how to advertise and publicize Jenny Lind’s
arrival into America, and share it with the press - attach her name to many everyday
products!
Scene iii, Jenny’s Crossing (Aboard the Atlantic, September 1850)
Jenny faces and withstands a storm at sea. Belletti, who is seasick, is comforted by
Jenny.
Scene iv, The Press Conference (The Lobby of the Irving Hotel, NY, September 10)
Jenny Lind and Barnum meet for the first time. Jenny is also introduced to the press
who ask her inappropriate questions.
Scene v, The Auction (Outside Castle Garden, on the eve of Jenny’s first concert)
Barnum and Tom auction off the first ticket to the highest bidder.
Scene vi, The Premiere (Castle Garden, New York, September 11, 1850)
Jenny Lind’s first concert of her American Tour. After singing “Casta Diva” from
Bellini’s Norma, Barnum announces to the audience that Jenny Lind’s entire fee will be
donated to charity. Jenny Lind, furious with Barnum for having broken their agreement,
threatens to end her American tour.
Scene vii, The American tour (Various cities on the East Coast, Fall 1850-winter 1851)
Jenny Lind performs every night while Barnum collects tickets and money.
Scene viii, The Dressing Room (Backstage at the concert hall, early summer 1851)
Jenny Lind, exhausted from the tour, ends her contract with Barnum after 93 concerts.
Barnum tries to convince her otherwise, but to no avail. Tom sings a farewell song to
Jenny, who is moved by the performance. She thanks Barnum for the opportunity to sing in
America and help her charities.
Scene ix,
The Farewell (Jenny’s dressing room, on the eve of her last concert with Barnum)
Barnum, Jenny, Tom, and Belletti celebrate the success of the American Tour.
Artists
Cory Alexander (Octet) was director of Choral Activities at Central Florida Community
College from 2001-2005 and is currently a DMA student in Choral Conducting at UNCG.
He holds a MM degree in Choral Conducting from the University of Florida in Gainesville
and a BA in Vocal Music Education from Central College in Pella, Iowa. As a performer,
Mr. Alexander has sung under several notable conductors, including Robert Shaw and has
appeared many times as a baritone soloist, including a performance of Schubert’s Mass in
G recorded in Carmarthen, Wales for Welsh television.
Conor Angell (Octet), born and reared in Ireland, studies with Dr. Robert Bracey while he
pursues his Masters degree in Vocal Performance at UNCG. Last year, he sang the role of
Melchior in Amahl and the Night Visitors, was one of the Cronies in The Ballad of Baby Doe
and created the role of Timothy in the world premiere of UNCG composer Seth Colaner’s
He Cried Uncle. Mr. Angell has performed as bass soloist with the Marion Philharmonic
Orchestra and in Handel’s Messiah in Peru, IN. He spent the summer of 2007 performing
with the Janiec Opera Company at the Brevard Music Center, where he sang Elder McLean
in Susannah, and this fall over 10,000 school children have seen him in the UNCG Opera
Theatre’s “Tour to the Schools” production of Carmenella.
Lindell O. Carter (Octet) is a junior at UNCG majoring in Vocal Performance and Choral
Music Education. Originally from the Bronx, Mr. Carter lends his talents to several areas,
including the University Chorale, Men’s Glee, and he serves as Director of Music for the
UNCG Spartones and Asbury United Methodist Church. Past performing credits include
Ahab in Mendelssohn’s Elijah, the tenor solo in the Mozart Requiem, and a member of the
ensemble in The Ballad of Baby Doe, Amahl and the Night Visitors, and The Tender Land.
Mr. Carter is a recent inductee into the American Society of Composers, Authors, and
Publishers (ASCAP).
Sidney Glasgow Dixon (Octet) is a senior at UNCG pursuing a major in Vocal
Performance and a minor in Technical Theatre. Originally from Pittsboro, NC, Ms. Dixon
has several performances to her credit, including Amahl and the Night Visitors, The Mighty
Casey, The Ballad of Baby Doe, Anything Goes, and A Funny Thing Happened on the Way
to the Forum. She is a member of the UNCG Chamber Singers, as well as a section leader
at the Westminster Presbyterian Church. A massive fan of Tarheel basketball, Ms. Dixon
also serves as a DJ for WUAG 103.1 FM.
Natalie Fagnan (Jenny Lind) hails from Calgary, Alberta, Canada. She received her
Bachelor’s Degree in Vocal Performance in May of 2006 from the Oberlin Conservatory,
where she performed the role of Maria in West Side Story. She is currently at UNCG as a
first year MM student in Vocal Performance, under the instruction of Dr. Robert Bracey. In
March of 2007, Natalie was chosen as the Rose Bowl winner of the Calgary Kiwanis Music
Festival, won in Provincials and went on to compete as a finalist in Nationals in New
Brunswick. In April of 2008, Natalie will be making her hometown debut, performing as a
featured soloist with the Calgary Philharmonic Orchestra.
Kate Farrar (Octet) from Hillsborough, NC, is a junior currently majoring in Vocal
Performance and French. A past first-place winner in the Mid-Atlantic region of NATS, Ms.
Farrar performed as an ensemble member in UNCG’s recent productions of The Ballad of
Baby Doe and The Tender Land. In addition to her performances with the UNCG Opera
Theatre, she has also participated in numerous productions with the Opera Company of
North Carolina and the Long Leaf Opera Company.
Artists (cont.)
Christina Friedmann (General Tom Thumb) is currently in her second year pursuing her
MM in Vocal Performance at UNCG with Dr. Robert Bracey. Most recently, Ms. Friedmann
made her Capitol Opera Raleigh debut as Annina in La Traviata. Other credits include
Lauretta in Gianni Schicchi, Adele in Act II of Die Fledermaus, The Countess in Figaro’s
Wedding, and the First Hand Maiden in the world premiere of Luigi Zaninelli’s Snow White
at the Teatre del Maggio Musicale in Florence, Italy. She earned her Bachelor’s in Music
Education from Syracuse University. A native of Sturbridge, Massachusetts, Ms.
Friedmann enjoys sewing, traveling, and playing with her cat, Mozart II.
Melissa Larkin (Octet), originally from the Pacific Northwest, received Bachelor’s degrees
from Prairie Bible College and the University of Lethbridge in Alberta, Canada. She is
completing her MM in Vocal Performance at UNCG, where she has appeared with the
UNCG Opera Theatre as an ensemble member of Amahl and the Night Visitors and as
Kate in The Ballad of Baby Doe. Previous operatic roles include the Countess in The
Marriage of Figaro, Monica in The Medium, and First Lady in The Magic Flute, all with the
University of Lethbridge’s Opera Theatre. Her solo appearances include Handel’s Messiah
and Haydn’s Creation for the Prairie Bible College masterworks series. Ms. Larkin studies
voice with Levone Tobin Scott.
Whitney Myers (Octet), originally from Johnson City, Tennessee, is a recent graduate of
the University of Kentucky where she earned her Bachelor’s degree in Vocal Performance,
as well as a minor in Art History. While at UK, she appeared as The Novice in Suor
Angelica, the 2nd Spirit in Die Zauberflöte, and as an ensemble member in Madame
Butterfly and L’incoronazione di Poppea. She was also a featured soloist in the University’s
Women’s Choir during their European tour. Ms. Myers is currently a first year MM student
in Vocal Performance in the studio of Dr. Nancy Walker.
Andrew Owens (P.T. Barnum), a native of the Philadelphia area, is currently a first-year
MM – Vocal Performance student at UNCG in the studio of Dr. Robert Bracey. A recent
graduate of the Oberlin Conservatory in Ohio, he has performed such roles as Laurie in
Little Women, Spärlich in The Merry Wives of Windsor, and Camille in The Merry Widow.
He has also performed as a tenor soloist in Mozart’s Coronation Mass and Schumann’s
Szenen aus Goethe’s Faust with the Cleveland Orchestra. This past summer, Andrew was
the grand-prize winner at the 4th Annual Mario Lanza Vocal Competition for Tenors in New
York City.
Neal Stratford Sharpe (Giovanni Belletti), a senior Vocal Performance major, was a first-place
winner in the North Carolina NATS auditions in 2005 and 2006 and has twice been a
semi-finalist in the Charles A. Lynam Vocal Competition. Past performances with the
UNCG Opera Theatre include Horace Tabor in The Ballad of Baby Doe, Top in The Tender
Land, Dick Deadeye in H.M.S. Pinafore, Balthazar in Amahl and the Night Visitors, and the
Concessionaire in The Mighty Casey. Mr. Sharpe is the Director of Music Ministries at
Memorial Presbyterian Church and serves on the UNCG School of Music Advisory Board.
Michael Lavern Thomas (Octet), from Columbia, South Carolina, is a freshman Vocal
Performance and Music Education major at UNCG. He is a recent graduate of the South
Carolina Governor’s School for the Arts & Humanities residential high school, where he
performed the roles of the Count in Le nozze di Figaro and the Pirate King in Pirates of
Penzance. He is involved in several ensembles at UNCG, including Men’s Glee and the
University Chorale.
Artistic Staff
David Holley (Producer/Stage Director) is the Director of Opera at UNCG, where his
productions have consistently won awards in the National Opera Association’s Opera
Production Competition, including first place for Susannah (2004), Little Women (2003),
Orpheus in the Underworld (2001), The Consul (2000), Dialogues of the Carmelites (1997),
Amahl and the Night Visitors (1996), and Don Giovanni (1994). An active performer as
well, he has sung leading tenor roles such as Tamino, Romeo, and Pinkerton throughout
the United States and Canada. Mr. Holley is the librettist for Libby Larsen’s operatic
adaptation of William Inge’s Picnic, commissioned by the UNCG School of Music which will
be premiered at UNCG in April of 2009.
James Bumgardner (Musical Director/Conductor) presently teaches studio voice at
Guilford College and Appalachian State University. He holds the DMA in Vocal
Performance from UNCG, where he served on the voice faculty and acted as vocal coach.
Dr. Bumgardner's interests range from opera to oratorio to musical theatre, and his
conducting credits include such diverse music as the Requiem of Maurice Duruflé, the
operas of Gilbert and Sullivan, and Barry Manilow's Copa Cabana. He is resident
conductor for the chamber series "SummerMusic" in Blowing Rock, NC, where he also acts
as choirmaster/organist and director of music at St. Mary of the Hills Episcopal Church.
Candice Burrows (Assistant to the Director), in her second year as a DMA student in
Vocal Performance at UNCG, makes her debut as an Assistant to the Director in Barnum’s
Bird. Candice has been involved in opera as a mezzo-soprano for 23 years and has a
background in straight theater as well. Ms. Burrows, whose appearances with the UNCG
Opera Theatre include the Mother in Amahl and the Night Visitors and Mama McCourt in
The Ballad of Baby Doe, has future engagements in Mexico, Oregon and here in the
Piedmont. She resides in Jamestown, is raising three teenagers, and teaches at the Music
Academy of North Carolina.
Pamela McDermott (Chorus Master) is a first-year doctoral student at UNCG. She comes
to us from Farmville, VA where she was teaching at Longwood University, working with the
Commonwealth Chorale, and leading church music. Ms. McDermott has degrees from
James Madison University and East Carolina University. She has conducted Amahl and
the Night Visitors and has accompanied opera scenes, but most of her stage experience
comes from the circus-like atmosphere of high school, community, and resort productions
as a singer, actress, dancer, choreographer, accompanist and/or director. She is grateful
for the opportunity to be a part of P.T.’s show.
Erika Grayson (Puppet Designer and Engineer) is a first year MFA Theatre Design
student. She hails from Virginia, and received her BA from Gettysburg College. She has
also studied abroad a number of times, including three months in Japan learning and
performing bunraku (Japanese traditional puppetry) and a semester at the Victorian College
of Art School of Production in Melbourne, Australia. Previous credits include The Secret
Garden (costume design) and Jubilee (scene and lighting design) for Gettysburg College,
Deathtrap (scene, lighting, costume and props design) for The Playhouse and Sweeney
Todd (assistant scene design) for UNCG Theatre.
Susan Young (Repetiteur) is the staff accompanist at Greensboro College but is no
stranger to UNCG, where she earned her MM in Accompanying and has served as the
pianist for numerous UNCG Opera Theatre productions. Originally from Valdese, NC, Ms.
Young’s professional credits include playing for a touring production of Amahl and the Night
Visitors with Opera Carolina and recording two soundtracks for New York tours of shows.
Presently serving as the Music Director and Organist at College Place UMC, she has
accompanied 38 choirs, 46 full productions and numerous scenes programs and served as
supertitle operator for three Greensboro Opera productions.
Konstantza Chernov (Chorus Repetiteur) was born in Sofia, Bulgaria, where she attended
the Vladigerov Conservatory of Music and was a first prize winner of the Svetoslav
Obretinov Bulgarian and the Dimitar Nenov Bulgarian National Piano Competitions. Prior to
arriving at UNCG to pursue her DMA in collaborative piano, she studied at the Mannes
College of Music and Queens College (City University of New York), where she received
both her BM (magna cum laude) and MA degrees. An active teacher, she has served on
the faculties of Queens College, the University of Alabama, the United Nations International
School, the Westchester Conservatory of Music and the Piano School of New York City.
***************************************************
Note from our Puppeteer
The infamous General Tom Thumb, a little person originally named Charles Sherwood
Stratton, never achieved the height of the puppet portraying him in this opera. When
Sherwood stood two feet, one inch, P.T. Barnum discovered and trained him in
performance before having his first American tour in 1843. At the point when Barnum
contracted Jenny Lind, Stratton had grown two more inches, yet the puppet measures in at
three feet, ten inches, six inches taller than Stratton at his highest.
The reason for this difference has to do with the construction of the puppet. The height of
the puppet was determined from the proportions of Christina Friedmann, the singer of the
role. In order for the puppet to move believably, certain distances are required for joints to
bend correctly. The ability to use stable points on the actress, such as the bust, to anchor
the puppet helps to make his posture correct. To create a lightweight and easy to maneuver
puppet, I used influences from marionette styles and modern foam structures. The rods in
his arms, unlike those you might have noticed on Sesame Street or Avenue Q , are
manipulated from above in a similar manner as the strings on a marionette. The result
creates better access and easy manipulation for the performer. Most of the structure has a
base of foam core covered in fabric and then foam. For added strength I used layers of
Sculpt or Coat® and more fabric.
Of course, this puppet could not have been built without the assistance of the UNCG scene
and costume shops, and the support of Rachel Briley. Please enjoy the opera and thank
you for coming!
-- Erika Grayson, creator of Tom Thumb
ORCHESTRA
James Bumgardner, Conductor
Violin
Jane York, Concertmistress
Viola
Christen Blanton
Cello
Diane Bonds
Flute/ Piccolo
Allison Fletcher
Percussion
Christina Palermo
Piano
Konstantza Chernov
***************************************************
The UNCG Opera Theatre would like to thank the following, without whom this production
would not have been possible:
Dr. John J. Deal Noah Hock Blondie Johnson
Jennifer Scott Ella Thompson Amy Moore
Cort McClaren Wyndell Earles Neal Thacker
John Locke Nathan Olawsky Jane York
Jill Yesko Dianna Carter Eve Hubbard
Jerry Kidd Noah Davis Julian Cheek
Juanita Dunlap Rachel Briley Imagine Design and Production
Special thanks to the Music Academy of North Carolina for the use of the melodian and to
the Music Loft for the loan of the banjo.
***************************************************
PRODUCTION STAFF
Producer/Stage Director David Holley
Assistant to the Director Candice Burrows
Musical Director/Conductor James Bumgardner
Chorus Master Pamela McDermott
General Tom Thumb Puppet Designer and Engineer Erika Grayson
Repetiteurs Susan Young
Konstantza Chernov
Lighting Designer Erin Stevie
Scene Designer David Holley
Costumes Eastern Costume Company
Julian Cheek
Wigs/Facial Hair Trent Pcenicni
Opera Theatre Graduate Assistants Natalie Fagnan
Andrew Owens
Program Typesetting and Printing Noah Hock
Program Copy Natalie Fagnan, David Holley
The UNCG School of Music is proud to announce
the World Premiere of:
Picnic
Music by Libby Larsen
Libretto by David Holley
Based on William Inge’s play
April 2-3 & 5, 2009
Aycock Auditorium
Visit our website at: http://opera.uncg.edu