Baltimore Opera Theatre, Inc.

DISTRIBUTION

Artists are subject to change without notice

Time and Place:
Scotland in the late 17th Century

OLGA ORLOVSKAYA (Lucia): The young Russian dramatic coloratura soprano (who is not a resident of the state of Maryland) graduated with honors from the Russian Academy of Music. She was a special prize winner of the international competition in Operetta Land for best performance in 2008 in Moscow. Her career highlights have included singing the role of Katerina in LADY MACBETH OF THE MTSENSK by Shostakovich with Novosibirsk State Opera Theater, for which she won a Golden Mask nomination. Others include her roles as Violetta in LA TRAVIATA, Rusalka in RUSALKA by Dvorak, Queen of the Night in DIE ZAUBERFLÖTE and solo concerts in Paris, Dresden, Brussels, Luxemburg and Geneva. Ms. Orlovskaya made her debut in the United States in 2006 with the role of Adele in Johann Strauss’s DIE FLIEDERMAUS with THE STANISLAVKSY OPERA of MOSCOW in a 50 cities tour of the United States. Ms. Orlovskaya is founder and artistic director of the quartet The Russian Sopranos.

LARISSA YUDINA (Lucia): The young Russian soprano was a prize winner at the International Diaghilev Young Opera Singers’ Competition and the International Rimsky-Korsakov Vocalists’ Competition. She was a recipient of the Elena Obraztsova special prize at the IV International Elena Obraztsova Young Opera Singers’ Competition in St Petersburg, as well as a diploma from the Russian Ministry of Culture for best performance at the Mariinsky Theatre during the 2000-2001 season. In 2006 Ms. Yudina was nominated for a Golden Mask, Russia’s highest theatre prize, for “best female role” in Rossini’s opera IL VIAGGIO A REIMS, as the Contessa di Folleville.

Born in Perm, Ms. Yudina graduated from the Perm School of Music in voice and choral conducting. She entered the St. Petersburg State Rimsky-Korsakov Conservatoire in 1997. She has been a soloist with the Mariinsky Theatre since 1998. Her first roles at the Mariinsky Theatre were as Rosina in Rossini’s IL BARBIERE DI SIVIGLIA and Olympia in Offenbach’s LES CONTES D’HOFFMANN. At the Mariinsky Theatre she has performed the following roles: the Queen of Shemakha in THE GOLDEN COCKEREL, the Nightingale in LE ROSSIGNOL, Cleopatra in LA CLEOPATRA, Rosina in IL BARBIERE DI SIVIGLIA, the Contessa di Folleville and Oscar in UN BALLO IN MASCHERA, Gilda in RIGOLETTO, Olympia in LES CONTES D’HOFFMANN, the Bird in SIEGFRIED and Zerbinetta in ARIADNE AUF NAXOS.

Ms. Yudina’s repertoire also includes Lyudmila in RUSLAN AND LYUDMILA, Snegurochka in THE SNOW MAIDEN, Amina in LA SONNAMBULA, the Queen of the Night in DIE ZAUBERFLÖTE, Konstanze in DIE ENTFŰHRUNG AUS DEM SERAIL, Madame Herz in DER SCHAUSPIELDIREKTOR, Armida in ARMIDA E RINALDO, Semiramida in SEMIRAMIDA, Norina in DON PASQUALE, Ophelia in HAMLET, Dinorah in DINORAH, Lakmé in LAKMÉ, Leila in LES PÊCHEURS DES PERLES, Violetta in LA TRAVIATA and Musetta in LA BOHÈME.

At the Stars of the White Nights festival, Ms. Yudina has performed in IL VIAGGIO A REIMS under Valery Gergiev and in Verdi’s RIGOLETTO (Gilda). She has toured throughout Russia, the United Kingdom, France, Austria, Germany, the Netherlands, Finland, the United States, Denmark, Canada, Italy and Estonia and has taken part in festivals in Germany, Finland and Estonia. In Graz, Austria, she performed the role of Cleopatra in Jonathan Miller’s production of CIMAROSA’S LA CLEOPATRA, which was premiered as part of the Graz-European City of Culture 2003 program. In 2006 Ms. Yudina performed the role of Lucia in Donizetti’s LUCIA DI LAMMERMOOR and the Queen of the Night in Mozart’s DIE ZAUBERFLÖTE with Teatro Lirico D’Europa and Mozart Festival Opera on its winter 2006 U.S. tour to outstanding critical acclaim. Ms. Yudina returned to the United States for the fall 2006-2007 season tours of Teatro Lirico and Mozart Festival Opera for Queen of the Nights in DIE ZAUBERFLÖTE, Gilda in Verdi’s RIGOLETTO and the title role of LUCIA DI LAMMERMOOR. Ms. Yudina has worked with conductors including Valery Gergiev, Gianandrea Noseda, Boris Gruzin, and Constantine Orbelian.

VIARA ZHELEZOVA (Alisa): The Bulgarian mezzo-soprano graduated from the National Conservatory of Music in 1985 and joined the roster of the Bulgarian National Opera, where she has performed leading mezzo-soprano roles alongside such singers as Ghena Dimitrova, Nicolai Giuselev, Anna Tomova Sintova and others. She has appeared as a guest artist with opera companies throughout Eastern Europe and has been a principal soloist with Teatro Lirico D’Europa since 1992. She has enjoyed a huge success with Teatro Lirico on tour in the United States as Rosina in IL BARBIERE DI SIVIGLIA and with the Czech Opera Prague as Prince Orlofsky in its lavish production of DIE FLEDERMAUS. Ms. Zhelezova has also sung the role of Suzuki in MADAMA BUTTERFLY.

GIORGIO LALOV (Artistic Director/Stage Director/Set, costumes): Gueorgui (Giorgio) Lalov was born in Telesh, Bulgaria in June 1958. His father, Lalo, a doctor, and his mother, Stoiyanka, an elementary school teacher and Bulgarian folk singer, were educated patrons of the arts. When Lalo Lalov died, Giorgio was only nine years old, but because he was an excellent student, he had the good fortune to be accepted at an elite boarding school in the capital city of Bulgaria, where all the lessons were taught in French. When he graduated from high school in 1976, he was fluent in French and English. That fall he entered the Bulgarian National Academy of Music and went on tour throughout Italy with a choir from the university. While in Milan, he auditioned for the famous International School for Young Opera Singers at La Scala, was accepted and went on to make his operatic debut at La Scala at the age of 25.

After living in Italy for a short time, Mr. Lalov became fluent in Italian. In 1986, while on tour with an opera company in France, he met Yves Josse, a former ballet dancer who was booking opera and ballet tours. They became business partners. Mr. Lalov had many resources: He spoke several languages, was able organize the creation of sets and costumes in Bulgaria and put together an excellent orchestra and chorus. He also knew many fine opera singers in Bulgaria, central Europe, and the United States. By 1988, Messrs. Josse and Lalov were collaborating on what was to become the most successful opera touring company in Europe. At the time of Mr. Josse's death in 1995, Teatro Lirico presented over 250 performances a season throughout Europe.

In 1990, Mr. Lalov established the Sofia Symphony Orchestra and Chorus. Winter 2000 marked Teatro's first major American tour. The reviews from the 10 consecutive tours Teatro Lirico D'Europa has completed thus far in the United States speak for the high quality and consistency of the company. The fact that the company is able to tour with many different productions is an indication of Mr. Lalov’s hard work, excellent organizational skills and unfailing dedication to the art of opera. In spring 2009, the impresario became the artistic director of Baltimore Opera Theatre.

I’m not alone in hoping that Giorgio Lalov, the talented opera singer turned creator of Teatro Lirico D’Europa stays happy and healthy and continues to bring us such magnificent productions. We can only hope to see more from this company in years to come.ILLINOIS TIMES - Ann Kerr

Donizetti’s Lucia di Lammermoor

In a feud between the Scottish families of Ravenswood and Lammermoor, Enrico (Lord Henry Ashton of Lammermoor) has gained the upper hand over Edgardo (Edgar of Ravenswood), killing his kinsmen and taking over his estates. By the time of the opera’s action, however, Enrico’s fortunes have begun to wane. In political disfavor, he stakes all on uniting his family with that of Arturo (Lord Arthur Bucklaw), whom he means to force his sister, Lucia (Lucy Ashton), to marry.

ACT I. In a ruined park near Lammermoor Castle, Enrico’s retainers prepare to search for a mysterious trespasser. Normanno, captain of the guard, remains behind to greet Enrico, who decries Lucia’s refusal to marry Arturo. When the girl’s elderly tutor, Raimondo, suggests that grief over her mother’s death keeps her from thoughts of love, Normanno reveals that Lucia has been discovered keeping trysts with a hunter who saved her from a raging bull. He suspects the stranger is none other than Edgardo. Enrico rages, and as retainers confirm Normanno’s suspicions, he swears vengeance.

At a fountain near her mother’s tomb, Lucia, fearful of her brother, awaits a rendezvous with Edgardo. She tells her confidante, Alisa, the tale of a maiden’s ghost that haunts the fountain and has warned her of a tragic end to her love for Edgardo. Though Alisa implores her to take care, Lucia cannot restrain her love. On arrival, Edgardo explains he must go to France on a political mission but wishes to reconcile himself with Enrico so he and Lucia may marry. Lucia, knowing her brother will not relent, begs Edgardo to keep their love a secret. Though infuriated at Enrico’s persecution, he agrees. The lovers seal their vows by exchanging rings, then bid each other farewell.

ACT II. In an anteroom of Lammermoor Castle, Enrico plots with Normanno to force Lucia to marry Arturo. As the captain goes off to greet the bridegroom, Lucia enters, distraught but defiant, only to be shown a forged letter, supposedly from Edgardo, proving him pledged to another. Crushed, she longs for death, but Enrico insists on her marrying at once to save the family fortunes. Now Raimondo urges her to consent to the wedding, invoking the memory of her mother and asking her to respect the family’s desperate situation. When she yields, he reminds her there are heavenly rewards for earthly sacrifices.

In the great hall of Lammermoor, as guests hail the union of two important families, Arturo pledges to restore the Ashtons’ prestige. Enrico prepares him for Lucia’s melancholy by pleading her grief over her mother’s death. No sooner has the girl entered and been forced to sign the marriage contract than Edgardo bursts in. Returning earlier than expected, he has learned of the wedding and come to claim his bride. Bloodshed is averted only when Raimondo commands the rivals to put up their swords. Seeing Lucia’s signature on the contract, Edgardo tears his ring from her finger, curses her and rushes from the hall. Hardly comprehending his words, Lucia collapses.

ACT III. Edgardo sits in a chamber at the foot of Wolf’s Crag tower, deep in thought, as a storm rages. Enrico rides there to confront him, and the flames of their enmity flare. They agree to meet at dawn among the tombs of the Ravenswoods to fight a duel.

The continuing wedding festivities are halted when Raimondo enters to announce that Lucia, gone mad, has stabbed and killed Arturo in the bridal chamber. Disheveled, unaware of what she has done, she wanders in, recalling her meetings with Edgardo and imagining herself married to him. When the angry Enrico rushes in, he is silenced by the sight of her pitiful condition. Believing herself in heaven, Lucia falls dying.

Among the tombs of his ancestors, Edgardo, last of the Ravenswoods, laments Lucia’s supposed betrayal and awaits his duel with Enrico, which he hopes will end his own life. Guests leaving Lammermoor Castle tell Edgardo the dying Lucia has called his name. As he is about to rush to her side, Raimondo arrives to tell of her death, and her bier is carried by. Resolving to join Lucia in heaven, Edgardo stabs himself and dies.

Driving Women Mad

by Mary Jane Phillips-Matz

One of the most versatile and popular opera composers of all time, Gaetano Donizetti dominated his field for many years, but his success did not come easily. Born in 1797 into a desperately poor family in the northern Italian city of Bergamo, he was sent to charity schools, where he was quickly identified as promising music student. As a youth, however, he had to defy his parents, who did not want him in the theatre.

Three student operas were written before he turned professional; and when he was twenty one, his first full-scale stage work was produced in Venice, launching a career that lasted nearly thirty years. Later commissions from impresarios and opera houses took him to Naples, Milan, Florence, Paris, and Vienna, among many other cities. In Vienna in 1843, he achieved the highest honor imaginable when the emperor named him the official Court Composer and Master of the Imperial Chapel, a post Mozart had once held. Over the course of his career, Donizetti wrote more than 75 operas and scores of other works: songs for the solo voice and difficult pieces for two or three voices or piano; chamber music, cantatas, hymns, and religious and orchestral works. Donizetti died in 1848.

The Background of Lucia di Lammermoor

The most popular of all Donizetti's operas has always been Lucia di Lammermoor, which he wrote under a commission from a major theatre, the San Carlo Opera in Naples. This opera is based on The Bride of Lammermoor, Sir Walter Scott’s great Romantic novel, the plot of which Scott may have taken from an actual murder case when a bride killed her groom on their wedding night.

The librettist of Lucia was Salvatore Cammarano, a polished Neapolitan poet and playwright who wrote several librettos for Donizetti. Coming from a large clan of theatrical professionals: actors, comedians, writers, and stage managers, Cammarano also wrote texts for Giuseppe Verdi and other composers.

The Opera's World Premiere and Subsequent Popularity

After the premiere of Lucia in 1835, the opera became so wildly successful that the world’s “celebrity” singers wanted to appear in it, and it almost immediately became a showpiece for coloratura sopranos. The busiest theatres scheduled performances of it by the hundreds, and soon Lucia was being produced all over Europe and even in South America and the Caribbean. Having reached London in 1838 and the United States in 1841, it has remained in the world's repertory for more than 170 years. Its success is certainly owed to Donizetti’s genius at bringing characters to vivid life while achieving a perfect balance between voices and orchestra. In a word, Lucia is a seamless, poetic, heartrending Romantic work.

The Hapless Bride and Her Fate

When Donizetti was looking for a source to use for his new opera, he said he wanted to write about “love, violent love, without which operas are cold.” That is what he did in Lucia, which is set in the Lammermoor Hills of Scotland. The action takes place in the turbulent 1680s and 1690s, when several European countries were at war and many Scottish families were torn apart by clan wars. The hero and heroine of the opera are Edgardo of Ravenswood and Lucia Ashton, whose families are mortal enemies. Because Lucia and Edgardo have secretly exchanged rings with each other and taken private vows, they consider themselves husband and wife. Their happiness, however, is destroyed when Lucia’s villainous brother, Enrico Ashton, forces her into an arranged marriage to save their family’s fortunes.

The opera conveys a weighty moral message by showing how brutally Lucia is treated by her brother. At the same time it lays bare the wretched status of women, whose oppression was then fully sanctioned by law. To protect her virginity, a girl or woman could be locked up at home for years, a prisoner of her family’s need to make a “respectable” marriage for her. The moment she married, her condition worsened, for her all her money, her property, and even her children became her husband’s under law, and he could beat her or rape her at will. Divorce was almost impossible, and if she left her husband, she was forced to leave her children with him. It is certainly no exaggeration to say that women and children were no more than mere property for men to dispose of however they wished. In practice, this meant that from childhood on, millions of girls were forced to show respect and abject humility to all adults, speak with low voices, and be “as meek as lambs.” From birth to death, they lived without ever taking a single breath of freedom.

Quite naturally, this repression of every emotion, every hope, and every desire was required for women to live “normally.” Lucia is the absolute personification of the horrors such total repression would cause. Enrico, Lucia’s brother, is desperate to see her married to Lord Bucklaw, and when she resists, he lies to her and shows her forged letters proving that Edgardo is in love with someone else. Close to a total breakdown, she feels chills and fever and is close to fainting, but she bows to Enrico’s relentless pressure and signs the marriage contract with Lord Bucklaw. At that moment, in one of opera's most electrifying scenes, Edgardo bursts in upon the celebration and curses Lucia for betraying their love. After he is driven out, the formal rites go forward, and Lucia is led to her marriage bed. There, driven to madness, she kills her groom and emerges from the bridal chamber drenched in blood. Edgardo takes refuge in the cemetery where his ancestors lie, but people from Ashton's castle tell him she is dying. Hearing the tolling of the bell for the dead, Edgardo kills himself.

It is surely no accident that Lucia di Lammermoor remains Donizetti’s most popular opera, for it so much more than a Romantic tale with a touch of Gothic horror. Instead it is an intimate portrait of a woman driven mad by the repression of her very self.