“La Canterina” - 1987

program cover

UCLA Department of Music and the Center for the Arts present
UCLA Opera Workshop and Chamber Orchestra

Samuel Krachmalnick, General Director and Conductor
John Hall, Producer and Stage Director

“Three Chamber Operas”
(Sung in English)

“La Canterina”


“The Goose Girl”

(A Fairy Tale for Children of All Ages)

Friday & Saturday at 8:00 P.M.
November 20 & 21, 1987
Jan Popper Theater

UCLA Opera Workshop presents
Three Chamber Operas

“The Little Harlequinade”

Music by Antonio Salieri
Libretto by Giambattista Casti
Adapted by Fritz Schroder

Anna Kerkorian

Mark Dyer

Peter Reilly
Originally an intermezzo from Act III of the opera Azura, King of Ormus, (Vienna 1788) which was a rewrite of Tarare (Paris 1787), with Libretto by Beaumarchais, this little operatic diversion was from the same author as The Marriage of Figaro. Using characters typical of the Commedia dell’arte, this is a simple story about how Columbine’s two ardent lovers only want her when she is young and pretty. Through disguise she tricks them and happily is rid of them both. Music as tuneful and artifical as the plot is supplied by Salieri in this souvenir from 18th century opera.

La Canterina

(The Songstress)

Music by Franz Josef Hayan
English translation by Carl Zytowski

Gasparina, the songstress
Julia Wang

Apollonia, her duenna
Brian Asawa

Don Pelagio, her singing teacher
Peter Reilly

Don Ettore, a merchant’s son
Agy Lejman
The action takes place in Gasparina’s apartment

Originally written as a two-act comic intermezzo to be performed between the acts of a serious opera, La Canterina was instead performed by itself at Esterhazy in 1767 during carnival as an opera buffa. The slight story line about a wily young singer and her ability to satisfy two lovers is made more amusing by the double travesty of having the young suitor, Don Ettore written for soprano and the old woman, Apollonia written for counter-tenor. While there are many operas in the 18th century with young men portrayed by women (Cherubino is the most famous of these) the part of the old woman cast as a man comes from an earlier Venetian operatic tradition (Arnalta in Monteverdi’s Poppea for instance). The double exchange of sexes certainly adds to the hilarity of this little comedy which is one of Haydn’s lightest compositions for the stage, a true and loving burlesque of operatic styles of his time.

The Goose Girl

Libretto and Music by Thomas Pasatieri
(Based on a Grimm’s Fairy Tale)

The Princess
Sarah Blaze

The Queen, her mother
Aimee Willis

The Waiting Woman
Heidi Herzog

Falada, her horse
Christian Nova

The King
Jeff Calof

The Prince, his son
Paul Trent

Conrad, the gardener
Sung Hwan Cho
Thomas Pasatieri (b. 1945-) is one of the most prolific operatic composers in the United States. Since his opera The Women won the Aspen Prize in 1965, he has written a large number of operas commissioned by many of the leading regional companies in America. Most of his works have melodious passages alternating with a more declamatory style set with conventional harmonies. Last year, we produced his Signor Deluso an opera which was closely related to 19th century Italian opera buffa. The Goose Girl (premiered in 1980) uses the bright, direct language of the fairy tale and is called an opera for children of all ages.

UCLA Contemporary Ensemble

Samuel Krachmalnick,
Director & Conductor

Lisa Ho
Caroline Reutter

Margaret Gilinsky
Lee-Wen Chen

Stacey Kahn
Amanda Walker

Sarah Howard
Ralph Jones

Sarah Cramton
Alice Hunt

Brian Rice
Aaron Smith
Eric Gorfain, I
Lowell Silverman, II

Fergus Scarfe

Carol Reitan

Gualberto Pillich

Norman Mamey

Teaching Assistant
Lawrence Kohl

UCLA Opera Workshop

General Director
Samuel Krachmalnick

Producer/stage director
John Hall
Theodore Crain

Musical Preparation
James Low
Laraine Stivers
Teaching Assistant
Pamela Palmer

Edythe Johnson

Diction Coach
Sybil Hast

Production Manager
Nancy Norby