Information on the 2015 Festival Season is coming soon. Please stay tuned.



Artwork by Bill BrauerLa Cenerentola (Cinderella) 

by Gioacchino Rossini
(Artwork by Bill Brauer
to be performed at the Barre Opera House
June 20, 2014 at 7:30 PM and June 22, 2014 at 3 PM








Artistic Staff

Conductor - Joseph Mechavich
Production Director - Jeffrey Buchman
Costume Designer - Kevin McCluskey
Lighting Designer - Darren E. Levin
Choreographer - Rosa Mercedes
Assistant Stage Director - Dan Wallace Miller*
Musical Preparation and Continuo - David Asher Brown*

Angelina - Megan Marino
Don Ramiro - Norman Shankle
Don Magnifico - Matthew Lau
Dandini - Jonathan Beyer
Alidoro - Colin Ramsey
Clorinde - Chelsea Morris*
Tisbe - Caitlin Mathes*

*Member of the Emerging Artist Program

Act I 
The fairy-tale past. In the run-down castle of Don Magnifico, his daughters Clorinda and Tisbe are in the middle of one of their usual arguments. Their stepsister Angelina, called Cenerentola, who serves as the family maid, sings her favorite song about a king who married a common girl (“Una volta c’era un rè”). There is a knock on the door and Alidoro, tutor to the prince Don Ramiro, enters, dressed as a beggar. The stepsisters want to send him away, but Cenerentola gives him bread and coffee. Courtiers arrive to announce that Ramiro will soon pay a visit: he is looking for the most beautiful girl in the land and will hold a ball to choose his bride. Magnifico hopes that it will be one of the stepsisters: marriage to a wealthy man is the only way to save the family fortune. When the room is empty, Ramiro enters alone, dressed in his servant’s clothes so he can freely observe the prospective brides. Alidoro has told him that there is a girl in the house worthy to be a princess, and Ramiro is determined to find out who she is. Cenerentola returns and is startled by the presence of a stranger. The two are immediately attracted to each other (Duet: “Un soave non so che”). He asks her who she is, and Cenerentola stammers a confused explanation, then runs away. Finally, the “prince” arrives—in fact Ramiro’s valet, Dandini, in disguise. To Ramiro’s amusement, Magnifico, Clorinda, and Tisbe fall over themselves flattering this prince, who invites them to the ball. Cenerentola asks to be taken along but Magnifico refuses (Quintet: “Signor, una parola”). Ramiro notes how badly Cenerentola is treated. Alidoro reenters with information that there is a third daughter in the house but Magnifico claims she has died. Left alone with Cenerentola, Alidoro tells her he will take her to the ball and explains that God will reward her good heart (“Là del ciel nell’arcano profondo”).

At Ramiro’s country house, Dandini shares with the prince his negative opinion of the two sisters. But both men are confused, since Alidoro has spoken well of one of Magnifico’s daughters. Clorinda and Tisbe appear again, having followed Dandini who still poses as the prince. When he offers Ramiro as a husband to the sister the prince does not marry, they are outraged at the idea of marrying a servant. Alidoro enters with a beautiful unknown lady who strangely resembles Cenerentola. Unable to make sense of the situation, they all sit down to supper, feeling as if they are in a dream.

Act II 
Magnifico fears that the arrival of the stranger could ruin his daughters’ chances to marry the prince (“Sia qualunque delle figlie”). Cenerentola, tired of being pursued by Dandini, tells him that she is in love with his servant. Overhearing this, Ramiro is overjoyed and steps forward. Cenerentola, however, tells him that she will return home and doesn’t want him to follow her. If he really cares for her, she says, he will find her. The prince resolves to win the mysterious girl (“Sì, ritrovarla io giuro”).

Meanwhile Magnifico, who still thinks that Dandini is the prince, confronts him, insisting that he decide which of his daughters he will marry. Dandini first advises him to be patient, then reveals that he is in fact the prince’s servant (Duet: “Un segreto d’importanza”). Magnifico is furious.

Magnifico and the sisters return home in a bad mood and order Cenerentola, again in rags, to prepare supper. During a thunderstorm, Alidoro arranges for Ramiro’s carriage to break down in front of Magnifico’s castle so that the prince has to take refuge inside. Cenerentola and Ramiro recognize each other as the various parties comment on the situation (Sextet: “Siete voi?”). When Ramiro threatens Magnifico and his daughters who are unwilling to accept defeat, Cenerentola asks him to forgive them.

At the prince’s palace, Ramiro and Cenerentola celebrate their wedding. Magnifico tries to win the favor of the new princess, but she asks only to be acknowledged at last as his daughter. Born to misfortune, she has seen her life change and invites her family to join her, declaring that the days of sitting by the fire are over (“Non più mesta”).

-courtesy of The Metropolitan Opera



The Rape of Lucretia

by Benjamin Britten
to be performed at Sugarbush Resort
June 19, 2014 at 7:30PM








Artistic Staff
Conductor - Bruce Stasyna
Production Director - Alan E. Hicks
Set Designer - Alan E. Hicks
Costume Designer - Kevin McCluskey
Lighting Designer - Darren E. Levin
Assistant Stage Director - Dan Wallace Miller*
Musical Preparation - Michael Bagby*

Lucretia - Nikola Printz*
Tarquinius - Geoffrey Penar*
Female Chorus - Claire Kuttler*
Male Chorus - Kevin Newell*
Junius - Russell Wustenberg*
Collatinus - Joshua Arky*
Lucia - Marielle Murphy*
Bianca - Alexandra Rodrick*

*Member of the Emerging Artist Program

Act I
The Male Chorus and Female Chorus tell us how the ancient Etruscans seized Rome and how the Etruscan King’s son, the warrior Tarquinius Sextus, ‘treats the proud city as if it were his whore’.

At an army camp outside the city, the generals Collatinus, Junius and Tarquinius discuss how, the previous night, six generals had ridden back to Rome only to find their wives unfaithful – except for Lucretia, the wife of Collatinus. The cuckolded Junius, jealous of Lucretia’s fidelity, mocks and argues with the single Tarquinius. Junius insists that all women are whores by nature, but the drunken Tarquinius declares that Lucretia is not. ‘I’ll prove her chaste,’ he says, and leaves for Rome.

In an interlude, the Male Chorus describes Tarquinius’s ride to Rome.

That evening, at Lucretia’s house in Rome, she sews while her servants Bianca and Lucia are spinning. Lucretia thinks she hears a knock at the gate and hopes it may be her husband Collatinus, but she finds no one there. ‘How cruel men are to teach us love,’ she says.

While the three women retire for the night, the Male Chorus and Female Chorus describe the arrival of Tarquinius in Rome and his violent knock on Lucretia’s door. Claiming that his horse is lame, he asks Lucretia for wine and lodging. She shows him to a room for the night.

Act II
The Male Chorus and Female Chorus describe the Etruscan domination of Rome.

Lucretia is asleep in her bed when Tarquinius approaches. He kisses her and she, dreaming of Collatinus, draws him closer. But when Lucretia wakes and realises it is Tarquinius, she repulses him. They struggle. Tarquinius overcomes Lucretia.

In an interlude, the Male Chorus and Female Chorus interpret the events of the night from their devout Christian viewpoint.

The next morning, Lucia and Bianca arrange flowers. Bianca says she heard Tarquinius gallop away before dawn. Lucretia enters and asks Lucia to send for Collatinus, but Bianca tries to stop the messenger. Collatinus arrives with Junius. Lucretia tells Collatinus what happened. He insists it will not change their marriage, but Lucretia knows differently.

The Male Chorus and Female Chorus ask, ‘Is it all?’ They conclude that Jesus Christ is all.

- courtesy of The Glyndebourne Festival


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