Opera Follies 2023

AN OPERET TA EX TRAVAGANZA

Opera Follies James Haffner, stage director Eric Dudley, music director and piano

Friday, October 20, 2023 | 7:30 pm Saturday, October 21, 2023 | 2:30 pm and 7:30 pm Sunday, October 22, 2023 | 2:30 pm Alex and Jeri Vereschagin Alumni House

12–15TH PERFORMANCES OF 2023–24 ACADEMIC YEAR

OC TOBER 20–22, 2023 OVERTURE Overture from A Little Night Music (1973)

Stephen Sondheim (1930–2021) Lilac Robertson, Juliette Frédière, Elizabeth Neumeyer, Michael Megenney, Alexis Bondoc, and the Company GRAND WALTZ

Meine Lippen, sie küssen so heiβ from Giuditta (1934)

Kailey Diggs

Franz Lehár (1870–1948) Paul Knepler, Fritz Löhner–Beda (1879–1967, 1883–1942)

THE PRINCESS MONTAGE My Own Little Corner from Cinderella (1957)

Magdalena Bowen The Lusty Month of May from Camelot (1960)

Ria Patel

Richard Rodgers (1902–1979) Oscar Hammerstein II (1895–1960)

Frederick Loewe (1901–1988) Alan Jay Lerner (1918–1986)

Take Me to the Fair from Camelot (1960) Ria Patel, Lilac Robertson, Leo Hearl, Ian Orejana, Michael Megenney, and Landon Horstman

Loewe Lerner

LAMENT Send in the Clowns from A Little Night Music (1973) Andie Reposa

Sondheim

OC TOBER 20–22, 2023 CHAMPAGNE MONTAGE Ich lade gern mir Gäste ein from Die Fledermaus (1874)

Elizabeth Neumeyer

Johann Strauss II (1825–1899) Karl Haffner, Richard Genée (1804–1876, 1823–1895)

The Night They Invented Champagne from Gigi (1958) Rose Krueger

Loewe Lerner

I’ve Dined So Well from La Périchole (1868)

Jacques Offenbach (1819–1880) Henri Meilhac, Ludovic Halévy (1830–1897, 1834–1908)

Charlize Price

Johann Strauss II

Champagne Trio from Die Fledermaus (1874) Mia Janosik, Jordan Yang, Michael Megenney, and the Company

Franz Lehár (1870–1948) Leo Stein, Viktor Léon (1861–1921, 1858–1940)

Da geh’ ich zu Maxim from Die lustige Witwe (1905) Landon Horstman RHAPSODY The Miller’s Son from A Little Night Music (1973) Alexis Bondoc

Sondheim

OC TOBER 20–22, 2023 PRIMA DONNA MONTAGE Life Upon the Wicked Stage from Show Boat (1927) Andie Reposa

Jerome Kern (1885–1945) Hammerstein II

Andrew Lloyd Webber (b. 1948) Charles Hart, Richard Stilgoe (b. 1961, b. 1943) Michael Megenney and Leo Hearl

Prima Donna from Phantom of the Opera (1986)

I Want to be a Prima Donna from The Enchantress (1911) Kailey Diggs

Agony from Into the Woods (1987) Landon Horstman and Lilac Robertson

Victor Herbert (1859–1924) Harry B. Smith (1860–1936)

Sondheim

ACT ONE FINALE Now to the Banquet We Press from The Sorcerer (1877) The Company Dinner Is Served from La vie parisienne (1866) Jordan Yang and the Company

Arthur Sullivan (1842–1900) W. S. Gilbert (1836–1911)

Offenbach Meilhac Halévy

OC TOBER 20–22, 2023 ¡ZARZUELA! La petenera from La marchenera (1928) Kailey Diggs

Federico Moreno Torroba (1891–1982)

Torero quiero sé from El gato montés (1916) Michael Megenney and Juliette Frédière Qué te importa que no venga from Los claveles (1929)

Mia Janosik

Manuel Penella (1880–1939)

José Serrano (1873–1941) Luis Fernández de Sevilla Anselmo C. Carreño (1888–1974, 1896–1952)

FANTASIE Fly Duet from Orpheus in the Underworld (1858)

Landon Horstman and Jordan Yang

Offenbach Hector Crémieux (1828–1893) and Halévy

INTERJECTION Tchaikovsky from Lady in the Dark (1941)

Kurt Weill (1900–1950) Ira Gershwin (1896–1983)

Lilac Robertson TRIO Joseph Bologne, Chevalier de Saint-Georges (1745–1799) Juliette Frédière, Michael Megenney, and Landon Horstman

Ah! Quel trouble m’agite from L’amant anonyme (1780)

OC TOBER 20–22, 2023 UNLIKELY DUET Unworthy of Your Love from Assassins (1990)

Sondheim

Leo Hearl and Bell Souza LULLABY Summertime from Porgy and Bess (1935)

George Gershwin (1898–1937) Ira Gershwin

Michelle Miracle

AMERICAN OPERETTA MONTAGE It Only Takes a Moment from Hello, Dolly! (1964)

Jerry Herman (1931–2019)

Ian Orejana Rodgers Hammerstein II

People Will Say We’re in Love from Oklahoma! (1943) Ian Orejana and Bell Souza The Saga of Jenny from Lady in the Dark (1941)

Weill

Rose Krueger Michael Megenney, Landon Horstman, Leo Hearl, and Lilac Robertson My Ship from Lady in the Dark (1941)

Weill

Rose Krueger Meredith Willson (1902–1984)

Goodnight, My Someone from The Music Man (1957) Charlize Price

OC TOBER 20–22, 2023 AUF WIEDERSEHEN Robert Stolz (1880–1975) Alfred Grünewald, Ludwig Herzer (1884–1942, 1872–1939) Katie Pelletier and the Company

Zwei Herzen im Dreivierteltakt from Venus in Seide (1932)

FINALE Dance a Cachucha from Gondoliers (1889) The Company

The Threatened Cloud Has Passed Away from Il ducato (1885) Michael Megenney, Jordan Yang, Mia Janosik, Elizabeth Neumeyer, Landon Horstman, Lilac Robertson, and the Company

Sullivan Gilbert

Sullivan Gilbert

TEX TS AND TRANSL ATIONS Lehár: Meine Lippen, sie küssen so heiß

My lips, they give so fiery a kiss

Ich weiß es selber nicht, warum man gleich von Liebe spricht, wenn man in meiner Nähe ist, in meine Augen schaut und meine Hände küsst.

I don’t understand myself, why they keep talking of love, if they come near me, if they look into my eyes and kiss my hand.

Ich weiß es selber nicht warum man von dem Zauber spricht, dem keiner widersteht, wenn er mich sieht wenn er an mir vorüber geht.

I don’t understand myself, Why they talk of magic, you fight in vain, if you see me If you pass me by.

Doch wenn das rote Licht erglüht Zur mitternächt’gen Stund Und alle lauschen meinem Lied, dann wird mir klar der Grund: Meine Lippen, sie küssen so heiß Meine Glieder sind schmiegsam und weiß, In den Sternen da steht es geschrieben: Du sollst küssen, du sollst lieben!

Meine Füße sie schweben dahin, meine Augen sie locken und glüh’n und ich tanz’ wie im Rausch den ich weiß, meine Lippen sie küssen so heiß!

In meinen Adern drin, da rollt das Blut der Tänzerin Denn meine schöne Mutter war Des Tanzes Knigin im gold’nen Alcazar.

But if the red light is on in the middle of the night and everybody listens to my song, then it is plain to see: My lips, they give so fiery a kiss, my limbs, they are supple and white, it is written for me in the stars: Thou shalt kiss! Thou shalt love!

My feet, they glide and float, my eyes, they lure and glow, and I dance as if entranced, cause I know!

My lips give so fiery a kiss!

In my veins runs a dancer’s blood, because my beautiful mother was the Queen of dance in the gilded Alcazar!

Sie war so wunderschön, ich hab’ sie oft im Traum geseh’n.

Schlug sie das Tamburin, zu wildem Tanz, dann sah man alle Augen glühn!

She was so very beautiful, I often saw her in my dreams, if she beat the tambourine, to her beguiling dance all eyes were glowing admiringly!

Sie ist in mir aufs neu erwacht, ich hab’ das gleiche Los. Ich tanz’ wie sie um Mitternacht Und fühl das eine bloß: —Hugh Wheeler

She reawakened in me, mine is the same lot.

I dance like her at midnight and from deep within I feel: —trans. Linda Godry

TEX TS AND TRANSL ATIONS Torroba: La petenera

The Petenera

Tres horas antes del día la lunita buscaba al sol, va de lucero en lucero, ¡ay! buscando su resplandor.

Three hours before the day the little moon sought the sun, going from star to star, ah! seeking its radiance.

Tengo un querer forastero que por los ojos entró; voy de suspiro en suspiro, ¡ay!, buscando su corazón.

I have fallen for a stranger who captured me with his eyes; I go from sigh to sigh, ah! seeking his heart.

La primera rosa, la más primorosa, que den mis rosales, al entregársela, diré . . .

Tómala.

Tómala, que es tempranera, y tu corazón y el mío dentro van uníos en un solo ser.

Tómala; tenla dentro de tu pecho debajo e siete llaves, pa que ya en la vía, se salga de él . . .

Tómala, mi querer te la da.

The first rose, the most exquisite, that flowers in my rose garden, as I yield it to him, I will say . . .

Take it.

Take it, that is the first fruit, and your heart and mine beat within us as one in one being.

Take it; within your breast, securely hidden, already on its way, my heart is gone . . .

Take it, I want to give it to you.

Pregonero, pregonero, ve y publícame este pregón: ¿De quien es este cariño que he encontrado en mi corazón?

Toíta la gente lo sabe y el bien de mi vida, no.

Pregonero, pregonero, ve y publícame este pregón.

—Federico Moreno Torroba

Town crier, town crier hear, and proclaim this cry: For whom is this fond affection that I have found in my heart?

Surely the crowd knows, but the beloved of my soul, no.

Town crier, town crier hear, and proclaim this cry.

—trans. unknown

TEX TS AND TRANSL ATIONS Panella: Torero quiere sé

I want to be a bullfighter

RAFAEL: ¡Vaya una tarde bonita que hase pa toreà! ¡Este sol y esta alegría no se ve en ninguna parte como aquí en Andalusía!

Bendita la tierra mía, donde é la noche má clara, donde má lú tiene er día. ¡Bendita sea mi tierra, bendita mi Andalusía!

(Hablado) ¡Soleá!

SOLEÁ: ¡Me llamaba, Rafaelillo?

R: Si mujé, pa que me haga la corbata, que yo, no me la sé hasé.

S: ¡Josú, que piyo! (Vaya un tronera! ¿Y pué sabese quién te la jase, cuando estás fuera?

R: No farta un arma caritativa.

RAFAEL: What a beautiful afternoon for bullfighting!

This sun and this joy is not seen anywhere like here in Andalusia!

Blessed is my land, where the night is clearer, where the day is brighter.

Blessed be my land, blessed my Andalusia.

(Spoken) Soleá!

SOLEA: Were you calling me, Rafaelillo?

R: Yes, woman, so you can make my tie, I don’t know how to do it.

S: Josú, what a catch! What a pocket!

And who knows who’ll hit on you when are you away?

R: There is no shortage of a charitable weapon.

S: Take care! Well, that little gun will be me.

R: How funny my gypsy is!

How beautiful, how pretty!

S: What a temper my bullfighter has!

R: Tell me that you want?

S: Yes, I love you!

R: Gypsy of my life’s path, I want you to be only mine!

S: I want only yours to be, Rafaelillo of my life=s path.

R: Gypsy of my path, tell me you love me. Soleá, tell me again.

S: I love you my Rafalillo, because you are so good to me.

I love you because it is natural for me to love you like that!

I walked through the world always feeling sad and alone, you gave me your hand and you took me to your side.

It was the salvation of all my sorrows, blessed are you, blessed be your heart.

R: Don’t say that little girl.

S: ¡Vaya por Dió! Pué esa armita voy a sé yo.

R: ¡Qué graciosa es mi gitana! ¡Qué presiosa, qué bonita!

S: ¡Qué templao é mi torero!

R: Di, ¡me quieres?

S: Sí, ¡te quiero!

R: Gitanilla de mi vía, ¡yo te quiero sólo mía!

S: Sólo tuya ser yo quiero, Rafaelillo de mi vía.

R: Gitanilla de mi vía, dime que me quieres. Soleá, dímelo otra vé.

S: Te quiero mi Rafalillo, porqu’has sío güeno pá mí. ¡Te quiero porque me sale del arma quererte así!

Yo andaba por er mundo siempre roando triste y solita, tú la mano me diste y me recogiste a tu verita.

De toas mi penitas fuite la sarvasión, bendito seas mil vese, bendito sea tu corasón.

R: No diga eso chiquilla, no diga eso.

TEX TS AND TRANSL ATIONS S: Déjame que te lo diga, toito er bien que tú m’ha hecho.

R: Pué tó eso é poco, Soleá, pa lo que te espera.

S: Yo en teniéndote a mi vera, ya no m’hasé farta ná.

R: ¡Soleá!

S: ¡Mi Rafaelillo!

R: ¡Mi gitana!

S: ¡Mi torerillo!

R: ¡Tuyo! ¡Tuyo! Sí!

Torero quiero sé, y a toreá pa ti, que yo por ti, gitana mía, delante de los toros me juego la vía.

S: Torero quiere sé y a toreá pa mí.

R: Torero quiero yo sé pa tí, sí, vía mía.

JUNTOS: Ay mi torera/gitana te quiero, Rafael/Soleá de mi vía! ¡De verdá!

—Manuel Penella

S: Let me tell you, everything is good that you have done for me.

R: Well, that’s not enough, Soleá, for what awaits you.

S: Having you at my side, I no longer need worry about anything.

R: Soleá!

S: My Rafaelillo!

R: My gypsy!

S: My bullfighter!

R: Yours! Yours! Yes! I want to be a bullfighter, and I will fight for you, that I for you, my gypsy, in front of the bulls I risk my life’s path.

S: Bullfighter wants to be and fight for me.

R: Bullfighter I want to be for you, yes, my life’s path.

TOGETHER: Oh my bullfighter/gypsy I love you, Rafael/Soleá of my life’s path! Truly!

—trans. Jane Vial Jaffe

Serrano: ¿Qué te importa que no venga?

What matter to you that he does not come?

¿Qué te importa que no venga? me aconseja el pensamiento.

Y aunque no quiero escuchar lo que dice la razón, no me deja el corazón marchar.

What matter to you that he does not come? my thoughts advise me.

And though I do not want to listen to the voice of reason, neither do I want to let my heart race.

Si no sé por qué lo espero si es tan solo por reírme, como no me puedo ir ¿y por qué en vez de reír pienso que voy a morirme?

If I do not know why I’m waiting, if he’s only going to laugh at me, why can’t I leave?

And why, instead of laughing, do I think that I am going to die?

¿Quién me había de decir que en el fuego de un querer mi ventura había de morir?

Who could have told me that in the fire of desire my happiness would have to die?

TEX TS AND TRANSL ATIONS ¡Ay, Virgen santa, querida, consuela tú mis dolores o acabará con mi vida el mal de mis amores!

Que amor nacido entre burlas pronto se sabe vengar, burlas y risas que hacen llorar.

Ay, Holy Virgin, beloved! console my sorrow, or my life will be ruined by the sickness of love!

The love born of mockery quickly takes its revenge, jeering and laughter make for tears.

¡Maldito sea mi sino! ¡Maldita sea mi suerte! ¿Por qué te vi en mi camino y llegué a quererte? ¡Si pudiera yo tener, corazón y voluntad para al fin poderte aborrecer!

—Luis Fernández de Sevilla

Damned be my fate!

Damned be my fortune!

Why when I came across you did I come to want you?

If I could only have the heart and will to be able to hate you in the end!

—trans. unknown

Bologne: Ah! Quel trouble m’agite

Ah! What trouble perturbs me

LÉONTINE: Ah! Quel trouble m’agite.

Quel trouble je sens.

Mon cœur palpite et mes pas sont tremblants.

VALCOUR: Ah! Quel trouble m’agite.

Quel trouble je sens.

Mon cœur palpite et mes pas sont tremblants.

OPHÉMON: Ah! Quel trouble les agite.

Quel trouble est dans leurs sens.

Et mes pas sont tremblants.

L: Mon bonheur est extrême.

V: Quoi, Léontine m’aime?

L: Je vous engage ma foi, Oui, l’amour me fait la loi.

V: L’amour enfin vous fait la loi.

L: Oui, mon bonheur est extrême.

Le tendre amour nous soumet à sa loi.

Le tendre amour me soumet à sa loi.

V: Oui, mon bonheur est extrême.

Le tendre amour nous soumet à sa loi.

Le tendre amour me soumet à sa loi.

O: Oui, leur bonheur est extrême.

Le tendre amour les soumet à sa loi.

LÉONTINE: Ah! What trouble perturbs me? What trouble I feel.

My heart beats fast and my steps are unsteady.

VALCOUR: Ah! What trouble perturbs me? What trouble I feel.

My heart beats fast and my steps are unsteady.

OPHÉMON: Ah! What trouble stirs them? What trouble are they feeling?

And my steps are unsteady.

L: My happiness is extreme.

V: What? Léontine loves me?

L: I plight my troth to you.

Yes, love now rules me.

V: Love finally rules you.

L: Yes, my happiness is extreme.

Tender love subjects us to its law.

Tender love subjects me to its law.

V: Yes, my happiness is extreme.

Tender love subjects us to its law.

Tender love subjects me to its law.

O: Yes, their happiness is extreme.

Tender love subjects them to its law.

TEX TS AND TRANSL ATIONS L and V: Ma tendresse sera sans cesse, Le prix d’un si fidèle amour.

L: Plus de larmes.

V: Plus de larmes.

L: Mon coeur est à vous sans retour.

V: Quoi! Votre coeur est à moi sans retour.

L: Oui, mon coeur est à vous sans retour.

Bonheur suprême, Valcour m’aime.

L’amour le soumet à sa loi.

V: Bonheur suprême, Léontine m’aime.

L’amour la soumet à sa loi.

O: Bonheur suprême, Léontine l’aime.

L’amour les soumet à sa loi.

L: Recevez ma foi.

V: Recevez ma foi.

O: Il reçoit sa foi.

—Joseph Bologne

L and V: My tenderness will be endless, The prize of such a faithful love.

L: No more tears.

V: No more tears.

L: My heart is unalterably yours.

V: What? Your heart is unalterably mine.

L: Yes, my heart is unalterably mine.

Supreme happiness, Valcour loves me.

Love subjects him to its law.

V: Supreme happiness, Léontine loves me.

Love subjects her to its law.

O: Supreme happiness, Léontine loves me.

Love subjects him to its law.

L: Receive my oath.

V: Receive my oath.

O: He receives her oath.

—trans. unknown

Stolz: Zwei Herzen im Dreivierteltakt

Two hearts in three-quarter time

Zwei Herzen im Dreivierteltakt Die hat der Mai zusammengebracht Zwei Herzen im Dreivierteltakt In einer Walzernacht

Two hearts in three-quarter time May brought them together Two hearts in three-quarter time On a night for waltzing

Ein Viertel Frühling und ein Viertel Wein Ein Viertel Liebe—verliebt muss man sein!

Zwei Herzen im Dreivierteltakt Wer braucht mehr, um glücklich zu sein?

—Alfred Grünewald and Ludwig Herzer

One quarter spring and one quarter wine One quarter love—you have to be in love!

Two hearts in three-quarter time Who needs anything more to be happy?

—trans. unknown

ARTIST BIOGRAPHIES James Haffner is a professor of opera at University of the Pacific’s Conservatory of Music where he teaches opera theatre workshop, introduction to lyric diction, opera literature, and opera production. He also produces and directs the Pacific Opera Theatre productions. He is a graduate of the Cincinnati College Conservatory of Music and holds a master of fine arts degree in directing and an artist’s diploma in opera stage directing. He is also a certified teacher of the Michael Chekhov acting technique and an artistic associate with the Great Lakes Michael Chekhov Consortium.

Haffner’s production of Rossini’s La Cenerentola took first place in the 2001 National Opera Association Production Competition and was a finalist both at the regional and national levels in the Kennedy Center/American College Theatre Festival (KC-ACTF). La Cenerentola holds the distinction of being the first opera to be invited to perform in the KC-ACTF national festival.

Haffner’s work has been further recognized by the KC-ACTF with encore productions of his reworking of Berlin to Broadway with Kurt Weill and the West Coast premiere of Glen Roven’s musical Heart’s Desire. Recognition from the National Opera Association includes his productions of Nicolai’s The Merry Wives of Windsor and Purcell’s Dido and Aeneas. Additional significant credits include the German premiere of Kushner’s A Bright Room Called Day; Das Mahagonny Songspiel, which was presented as part of the premiere Brecht Fest at the Berliner Ensemble; and Dido and Aeneas with the first annual Museumsinsel Fest, Berlin.

Haffner has served as the producing artistic director of the Stockton Opera Association and has worked with both the Bay View and Bear Valley Music Festivals. He is a member of the Lincoln Center Directors’ Lab-West and has served as an adjudicator for the Irene Dalis Vocal Competition (Opera San Jose). A Fulbright Scholar, he has taught at the Technische Universität, Berlin, as well as the University of Kentucky–Lexington, Miami University (OH), Webster University, and the California State University–Fullerton.

Eric Dudley joined University of the Pacific’s Conservatory of Music in 2019. He previously taught at Mannes College/The New School for Music in New York and at the San Francisco Conservatory of Music.

Dudley leads a multifaceted career as a conductor, composer, vocalist, and pianist immersed in the creation of music both past and present. As an original

ARTIST BIOGRAPHIES member of the Grammy Award–winning vocal octet Roomful of Teeth, Dudley toured worldwide with the group and appears extensively on their acclaimed recordings.

Dudley moved to the Bay Area from New York in 2016 as interim music director of the orchestra program at the San Francisco Conservatory of Music. He is currently in his sixth season as artistic director of the San Francisco Contemporary Music Players, the largest and longest-standing ensemble dedicated to the performance of new music on the West Coast.

While in New York, Dudley performed and conducted with organizations as diverse as Ekmeles and Tenet vocal ensembles, the Choir of Trinity Wall Street, Ensemble Signal, Bard Summerscape Opera, the American Symphony Orchestra, and the New York Philharmonic. Prior to that he was an assistant conductor for the Cincinnati Symphony Orchestra under Paavo Järvi. His guest-conducting engagements have included the Ojai Festival in California, Ensemble L’Instant Donné in France, the National Symphony Orchestra at the Kennedy Center, and the Adelaide Symphony Orchestra in Australia.

As a pianist and chamber musician, Dudley has performed with members of Novus New York and the Cincinnati and Princeton Symphony Orchestras. His own music has been premiered and recorded by Roomful of Teeth and Quey Percussion.

ENSEMBLE PERSONNEL The Company Alexis Bondoc Magdalena Bowen Kailey Diggs Juliette Frédière Leo Hearl Landon Horstman Mia Janosik Rose Krueger Michelle Miracle Michael Megenney Elizabeth Neumeyer Ian Orejana

Ria Patel Katie Pelletier Charlize Price Andie Reposa Lilac Robertson Bell Souza Jordan Yang Pacific Voice and Opera Faculty Daniel Ebbers, program director Eric Dudley, musical director and piano Robin Fisher Darita Seth James Haffner, director Pacific Opera Theatre

Special Thanks: Tuxedo Express, Midtown Creperie & Café, and Marty Weiner Piano Services

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Coming soon . . .

Oct. 25, 7:30 pm, Recital Hall Chamber Music Recital Viet Cuong, composer-in-residence Oct. 28, 7:30 pm, Faye Spanos Concert Hall Pacific Wind Bands Viet Cuong, composer-in-residence Oct. 29, 2:30 pm, Faye Spanos Concert Hall Friends of Chamber Music Tesla Quartet Nov. 1, 3:30 pm, Faye Spanos Concert Hall Third Coast Percussion Master Class View a digital version of this program at issuu.com/MusicatPacific.

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