February 19, 2016 at 7:30 PM
February 20, 2016 at 7:30 PM
February 21, 2016 at 2:00 PM
Kravis Center for the Performing Arts
Don’t mess with love.
While we do not advocate playing tricks on people in real life, we can assure you that this performance is all in good fun!
You see, ol’ Don Pasquale tries to meddle with a young man and woman in love. They get back at him by playing the prank of a lifetime – she marries him!
Effervescent, upbeat music dances throughout the opera, setting the tone for a fun, lighthearted performance you’ll love.
Sung in Italian with English translations projected above the stage.
Production Underwriter: Mrs. Cornelia T. Bailey
Performance Sponsor: Mr. & Mrs. William G. Brown
Title Role Sponsor: Martin & Toni Sosnoff
Supertitles Sponsor: Palm Beach Opera Guild
Opening Night Dinner: Sponsored by Mr. & Mrs. Ellis Parker
Conductor: Antonino Fogliani
Director: Fenlon Lamb
Don Pasquale: Carlo Lepore
Norina: Janai Brugger
Ernesto: David Portillo
Dr. Malatesta: Lucas Meachem
Additional cast information will be listed as it becomes available.
Cast subject to change.
ANTONINO FOGLIANI – CONDUCTOR
Fogliani studied composition at the Conservatorio “G. B. Martini” in Bologna with Francesco Carluccio and graduated with honors in orchestral conducting at the Milan Conservatory, under Vittorio Parisi. He then furthered his musical training at the Accademia Musicale Chigiana in Siena where he studied composition with Franco Donatoni and Ennio Morricone and conducting with Gianluigi Gelmetti.
His debut at the Rossini Opera Festival in Pesaro in 2001 with Il viaggio a Reims was the beginning of a remarkable international career. Since then he conducted productions of Donizetti’s Ugo conte di Parigi and Maria Stuarda at Teatro alla Scala in Milan, Mascagni’s Amica and Rossini’s Mosè in Egitto at the Teatro dell’Opera di Roma, Lucia di Lammermoor in St. Gallen, Verdi’s Oberto conte di San Bonifacio at Teatro Filarmonico di Verona, Il barbiere di Siviglia at Teatro La Fenice in Venice, and Bellini’s La sonnambula at the Teatro Calderón de Valladolid. He conducted Paisiello’s Il Socrate immaginario at the Teatro San Carlo in Naples (2005; new production by Roberto De Simone), as well as the 2007 reprise at Teatro alla Scala in Milan.
He has conducted and recorded several titles of Rossini (Otello, Il signor Bruschino, La scala di seta, L’occasione fa il ladro, Edipo coloneo, Ciro in Babilonia, La cenerentola, Il turco in Italia, Semiramide, Adina). In 2011 he was appointed Musical Director of Rossini in Wildbad Festival: there he conducted the first contemporary performances of Mercadante’s Don Chisciotte alle nozze di Gamaccio and I briganti, Vaccaj’s La sposa di Messina and Giovanni Tadolini’s additions to Rossini’s Stabat Mater (for which he reconstructed the orchestral score).
Fogliani made his American debut in 2011 conducting Lucia di Lammermoor at the Houston Grand Opera. In 2012 he debuted Aida at the Teatro Regio in Parma adding to the Verdi repertoire which he had previously conducted (Rigoletto, Giovanna d’Arco, La battaglia di Legnano, La traviata, I masnadieri, and I Lombardi alla prima crociata).
He opened the 2014/15 season with his acclaimed company debut at the Opernhaus in Graz with Guglielmo Tell, followed by Don Giovanni in Oslo, La cenerentola in Rouen and Bern, Il barbiere di Siviglia at Opéra de Dijon, La fille du régiment at Palm Beach Opera, Madama Buttefly at Opéra de Lille and at Grand Théâtre de la Ville de Luxembourg, Bianca e Faliero and L’inganno felice at Rossini in Wildbad Festival, IX Symphony by Beethoven with the Orchestre Philharmonique de Montecarlo and Don Giovanni with Den Norske Opera in Oslo.
The 2015/16 season began with great successes in Carmen for Den Norske Opera and La traviata in Kopenhagen. Among his future plans are La cenerentola at Den Norske Opera, La bohème in Antwerp, Don Pasquale in Palm Beach, La cambiale di matrimonio in Strasbourg, L’italiana in Algeri in Toulouse, Ariadne auf Naxos in Enschede, Faust at Houston Grand Opera and Maria Stuarda at Opéra Monte Carlo.
In the symphonic field he has conducted the Orchestra of Accademia Nazionale di Santa Cecilia and Orchestra dell’Opera di Roma, the Orchestra of Teatro Comunale di Bologna, the Orchestra of the Teatro San Carlo in Naples, the Orchestra Sinfonica della Fondazione Toscanini di Parma, the Orchestra Regionale della Toscana, the Orchestra Filarmonica of Teatro Massimo Bellini of Catania, the Orchestra of Teatro alla Scala, I Pomeriggi Musicali in Milan, the Spanish orchestras of La Coruña, Tenerife and Castilla y Leon, the Orchestra of the Teatro Municipal in Santiago de Chile, the Sydney Symphony Orchestra, the Ensemble Orchestral de Paris, Orchestre de Bretagne and the Württembergische Philharmonie Reutlingen.
Fogliani has recorded for Arthaus Musik, Bongiovanni, Dynamic and Naxos. Since 2011 he has taught orchestral conducting at the Conservatory G. Tartini in Trieste. He lives in Bologna.
FENLON LAMB – DIRECTOR
Opera News called stage director Fenlon Lamb “moving and convincing” and Seen and Heard International praised her “well-honed theatrical sensibility.” Ms. Lamb is the current Director of Opera and Vocal Programming at Bar Harbor Music Festival where she designed and directed engaging productions of Puccini’s La Bohème, Bizet’s Carmen, Donizetti’s L’Elisir d’Amore, Puccini’s Madama Butterfly, and Rossini’s Il Barbiere di Siviglia. This season, she joins the faculty of University of Missouri Kansas City as Director of Opera and will lead their production of Die Zauberflöte, directs Don Pasquale at Palm Beach Opera, a double-bill of Suor Angelica and Gianni Schicchi at Opera Santa Barbara, and La Cenerentola at Bar Harbor Music Festival. In recent seasons, she returned to Opera Carolina to direct Wagner’s Der fliegende Holländer, Arizona Opera to direct Donizetti’s Lucia di Lammermoor; directed Mozart’s Le Nozze di Figaro for the Orlando Philharmonic; Massenet’s Cendrillon at the University of Missouri Kansas City; Il Barbiere di Siviglia for Palm Beach Opera; Humperdinck’s Hänsel und Gretel and Werther at Nightingale Opera; Massenet’s Werther at Mobile Opera; Verdi’s Rigoletto at Arizona Opera; La Bohème at Palm Beach Opera, and Bizet’s Les Pêcheurs de Perles in her début with Dayton Opera. Beginning her career as Director of Opera at Kent State University, she created an acting and performance curriculum to train young singers, and directed full productions of Dido and Aeneas and Menotti’s The Telephone, Gilbert and Sullivan’s Trial by Jury, and Händel’s Semele. This was followed by her main stage début directing La Traviata for Toledo Opera.
CARLO LEPORE – BASS
Lepore was born in Naples, and as a child moved to Rome, where he later studied singing while pursuing a degree in law. His early successes included winning the Giovanni Battista Pergolesi Competition in Rome and the Adriano Belli Competition in Spoleto. Opera engagements include Don Magnifico (La Cenerentola) in Naples, Doctor Bartolo (Il Barbiere di Siviglia) for Paris Opéra, Teatro Colón and Opéra de Montréal and in Naples and Palermo, Dulcamara (L’Elisir d’Amore) for La Fenice and in Cologne, Selim (Il Turco in Italia) and Gianni Schicchi in Turin, Geronte di Revoir (Manon Lescaut) in Rome, Leporello (Don Giovanni) in Turin and Bergamo and for the Savonlinna Festival, Mustafà (L’Italiana in Algeri) for Semperoper Dresden, Don Alfonso in Turin and Cologne, Don Basilio (Il Barbiere di Siviglia) for Teatro Real, Madrid, Don Profondo (Il Viaggio a Reims) for Opera Vlaanderen, Fra Melitone (La Forza del Destino) in Pisa and the title role of Falstaff in Parma and Bari. Lepore’s Baroque repertory includes concert works and operas by Peri, Monteverdi, Cavalli, Stradella, Handel, Purcell and Vivaldi. He has performed in concert in such venues as the Barbican Centre, Konzerthaus Berlin and the Terme di Caracalla, Rome, and has toured Italy singing Die Winterreise. His many recordings include a solo recital disc.
JANAI BRUGGER – SOPRANO
Former winner in 2012 of Placido Domingo’s prestigious Operalia competition and the Metropolitan Opera National Council Auditions, American soprano Janai Brugger begins the 2015-16 season with her debut at Washington National Opera as Michaela Carmen, a role she later sings at Lyric Opera of Kansas City. She returns to Los Angeles Opera to revive the role of Musetta La Boheme with Gustavo Dudamel on the podium. Recent highlights include her debut at the Royal Opera House Covent Garden as Pamina Die Zauberflote and a return appearance at the Metropolitan Opera as Helena The Enchanted Island, which followed her debut in 2012 as Liu Turandot. She debuted as Michaela Carmen at Opera Colorado and covered Pamina at the Met. Miss Brugger has numerous concert and recital appearances to her credit including an appearance with Marilyn Horne at Carnegie Hall, Ravinia Festival with the Chicago Symphony Orchestra, Los Angeles Philharmonic with Gustavo Dudamel, a Gala concert with Philadelphia Orchestra and most recently, the Parks concerts in New York at Brooklyn Bridge and on the Summerstage.
DAVID PORTILLO – TENOR
Praised by Opera News for “high notes with ease, singing with a luxuriant warm glow that seduced the ear as he bounded about the stage with abandon,” American tenor David Portillo has established himself as one of the leading artists of his generation. In the 2015/16 season, David Portillo will make his Metropolitan Opera debut as Count Almaviva in Il Barbiere di Siviglia, opposite Isabel Leonard. He will also return to Lyric Opera of Chicago as Andres in Wozzeck in a new production by Sir David McVicar, conducted by Sir Andrew Davis and Palm Beach Opera in a role debut as Ernesto in Don Pasquale. European engagements include debuts at the Théâtre des Champs–Élysées and Bremen Festival as Pedrillo Die Entführung aus dem Serail, and the tenor soloist in Schumann’s Das Paradies und die Peri with the Netherlands Radio Orchestra. Finally, Mr. Portillo will return to the Glyndebourne Festival to sing David in Die Meistersinger.
LUCAS MEACHEM – BARITONE
American baritone Lucas Meachem is an internationally sought-after performer whose compelling lyric baritone voice and dramatic interpretations have led him to the world’s most important operatic stages. Hailed by critics for his “fluent, lyrical phrasing” (San Francisco Chronicle) as well as his “natural vocalism and theatricality” (Chicago Sun-Times), his 2015-16 season brings both new and signature repertoire to theaters across the United States and Europe. He begins the season in his debut with Den Norske Opera in Oslo, Norway as the title role in Il Barbiere di Siviglia, a role which he reprises in November in his highly anticipated return to the San Francisco Opera. Meachem makes two role debuts this season in the United States: as Giorgio Germont in La Traviata with Opera Birmingham, and as Dr. Malatesta in Don Pasquale with Palm Beach Opera. Meachem returns to the Théâtre du Capitole de Toulouse in April as Almaviva in Le Nozze di Figaro, and closes his season with his debut at Semperoper Dresden as the title role in Don Giovanni.
The old bachelor Don Pasquale plans to marry in order to punish his rebellious nephew, Ernesto, who is in love with the young widow Norina. Pasquale wants an heir so he can cut the young man off without a penny. He consults Dr. Malatesta, who suggests as a bride his own beautiful younger sister (“Bella siccome un angelo”). Feeling his youth returning, the delighted Pasquale tells Malatesta to arrange a meeting at once. Ernesto enters and again refuses to marry a woman of his uncle’s choice. Pasquale tells him that he will have to leave the house, then announces his own marriage plans to his astonished nephew. With no inheritance, Ernesto sees his dreams evaporating. To make matters worse, he learns that his friend Malatesta has arranged Pasquale’s marriage.
On her terrace, Norina laughs over a silly romantic story she’s reading. She is certain of her own ability to charm a man (“Quel guardo il cavaliere”). Malatesta arrives. He is in fact plotting on her and Ernesto’s behalf and explains his plan: Norina is to impersonate his (nonexistent) sister, marry Pasquale in a mock ceremony, and drive him to such desperation that he will be at their mercy. Norina is eager to play the role if it will help her win Ernesto (Duet: “Pronta io son”).
Ernesto, who knows nothing of Malatesta’s scheme, laments the loss of Norina, imagining his future as an exile (“Cercherò lontana terra”). He leaves when Pasquale appears, impatient to meet his bride-to-be. The old man is enchanted when Malatesta introduces the timid “Sofronia” and decides to get married at once. During the wedding ceremony, Ernesto bursts in and accuses Norina of faithlessness. Malatesta quickly whispers an explanation and Ernesto plays witness to the wedding contract. As soon as the document is sealed and Pasquale has signed over his fortune to his bride, Norina changes her act from demure girl to willful shrew. The shocked Pasquale protests, while Norina, Ernesto, and Malatesta enjoy their success (Quartet: “È rimasto là impietrato”).
Pasquale’s new “wife” has continued her extravagant ways and amassed a stack of bills. When servants arrive carrying more purchases, Pasquale furiously resolves to assert his rights as husband. Norina enters, dressed elegantly for the theater, and gives him a slap when he tries to bar her way. He threatens her with divorce, while she, in an aside, expresses sympathy for the old man’s pain (Duet: “Signorina, in tanta fretta”). As she leaves, she drops a letter implying that she has a rendezvous with an unknown suitor in the garden that night. The desperate Pasquale sends for Malatesta and leaves the servants to comment on working in a household fraught with such confusion. Malatesta then tells Ernesto to make sure that Pasquale will not recognize him when he plays his part in the garden that evening. Alone with Pasquale, Malatesta assures him they will trap “Sofronia” in a compromising situation (Duet: “Cheti, cheti, immatinente”). Pasquale agrees to leave everything to Malatesta.
In the garden, Ernesto serenades Norina, who responds rapturously (Duet: “Tornami a dir che m’ami”). They are interrupted by Pasquale and Malatesta—too late to catch the young man, who slips into the house while “Sofronia” plays the innocent wife. Malatesta announces that Ernesto is about to introduce his own bride, Norina, into the house. “Sofronia” protests she will never share the roof with another woman and threatens to leave. Pasquale can hardly contain his joy and grants permission for Ernesto to marry Norina, with his inheritance. When Sofronia turns out to be Norina, Pasquale accepts the situation with good humor, gives the couple his blessing, and joins in observing that marriage is not for an old man (Finale: “La morale in tutto questo”).
Photo: Scott Schuman for Washington National Opera