UT Opera Theatre
Michael McConnell, Director
Kevin Class, Music Director
Musical Notes
November 6, 2010
Very promising and productive run-through! I appreciate everyone’s hard work and attention. Please continue to review your scores to keep things fresh in mind, even during production week.
The most important lesson from this run is to keep your concentration throughout. I know it is always difficult to keep your head in your music while also trying to remember staging and (most important) be believable in all that you are doing. This will get easier as the week goes on, just be sure to take some time each day to look through your scores and give some attention to troubling passages. That time will be very well spent as the week wears on.
Following are a few notes from Saturday’s rehearsal.
A reminder: On MONDAY, the Sitzprobe with the orchestra is from 4:00-6:30 in Cox Auditorium.
--K. Class
ACT I
CHORUS: Review opening number for memorization
CHORUS: Clean release on held note before Una furtiva (pg 8) and before Benedette..(pg. 14)
NEMORINO: pitches/entrance “perche!” before #51
NEM: before #54: late on “No. No, vo’morir con te”
ADINA: before #56: “morir per me?”: NO cadenza. It’s not working dramatically.
CHORUS: No. 3 Review this material, particularly which syllables are being sung through (eg. Certo eglie e un gran…)
Also, some people stumbling over words “Qualche grande che corre…”
CHORUS: after #73: Review articulation (legato) on “Gran dottore che voi siete!”
CHORUS: after #79: hold last not for FOUR measures. DULCAMARA continues to hold four more measures. [I will give you the cut off]
MAESTRO: Wait for visual before giving Paul cue to being Recit. “Ardir”. (maybe need some piano filler here if it takes to long to set)
DULCAMARA: before #88: still slower on “impacciar se ne potria un tantin l’Autorita”. Very deliberate with this line which will also make the a tempo more dramatic at #88.
NEMORINO: before #89: place the “n” or “ne anche” on beat three (my cue) not before the beat.
MAESTRO: Clean up Recit “Caro elisir” [after #96] - you’ve gotten sloppy!
ADINA: Duet (after #98): keep legato “non so se e finta o vera la sua giocondita”
ADINA/NEMORINO: Duet (E sulti…): 3 mm. before #103. Wait for the orchestra to finish. Take a breath, then start. You do not have to jump in so quickly. (I can cue the beginning of this cadenza if need be).
MAESTRO: New cut: #107 to fourth mm. after #110 (announce to orchestra at Sitz)
ADINA: Tran, tran trio: “A tempo vien Belcore” - keep in tempo for sake of simplicity.
ADINA: take pickup to #112 from me (“E non vi dice il core…”)
TUTTI: Last note of Act I: Holds for FOUR measures. Clean cutoff please.
ACT II
NEMORINO: After #25: “volo tosto…” Keep reviewing pitches for clarity and security.
MAESTRO: Give Nemorino more time for melisma in third measure after #25
BELORE/MAESTRO: #27: I will give you this pick up (“ho ingaggiato”) in tempo. We’ve not been connecting on it cleanly, so I will give it from now on.
BELCORE/NEMORINO: Hold final note of duet for FOUR measures (after #33)
CHORUS: Before #42: Review how many times you sing “ha l’aria da signor”. A few people are singing one too few!
NEMORINO: #49: Review these passages: “Le smanie, I palpiti”. Still not secure with these entrances
CHORUS: Still missing entrance at #53. You must spend time reviewing this ensemble as many of you are still not sure of your music at this part.
CHORUS: At #56: Hold final note to TWO measures.
NEMORINO: in Una furtiva: still not consistent with rhythm on “quelle festose giovani invidiarsembro”
ADINA: in “Prendi”: 8 and 10 after #73: The key to getting this with the orchestra is that the rhythm must be clean on the sixteenth notes. You are moving through them too quickly and not giving the orchestra what it needs to hook on to.
ADINA: At #79: Revision to plan. I will cue your pickup into the Allegro (“il mio …”) in tempo for the sake of security.
TUTTI: Final note of the opera: Hold for FOUR measures
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