by Gabe Palacio
Saturday July 12 8:00pm

Lucrezia Borgia

by Gaetano Donizetti

$15, $30, $50, $65, $85, $115
Buy Tickets

Overview

Angela Meade, soprano;  Tamara Mumford, mezzo-soprano;  Michele Angelini, tenor;  Christophoros Stamboglis, bass;  Bel Canto Young Artists;  Orchestra of St. Luke’s;  Will Crutchfield, conductor and Director of Opera

Set during the Renaissance in Venice and Ferrara, Victor Hugo’s play is full of sensuality and decadence – jealousy, espionage, betrayal and poison. Even more than Lucia di Lammermoor, Lucrezia Borgia is Donizetti’s great bel canto masterpiece. Vocal fireworks illumine this grand, dark-hued melodrama.

Intermissions: Members (donors of $100 or more) are welcome to join us in the Reception Tent for refreshments

 

Italian Pavilion, Photo by Gabe Palacio

Symphony Court, Caramoor’s dining pavilion, is open to all ticket buyers. Enjoy a casual prix fixe buffet dinner among the beautiful gardens in the Reception Tent and Italian Pavilion. Cash bar is available, guests may also bring their own wine. Take a look at the menu and order form here. Symphony Court reservations for this event are now closed.

 

Photo by Gabe Palacio

Let us pack your picnic for you! For delicious dining and the ease of ordering a picnic in advance, consider the special picnic menu offered by our caterer, Great Performances. Picnic tables are available, and you may bring your own blankets and lawn chairs if you like. This service is only available Thursday through Sunday on performance days during the summer. Picnic reservations for this event are now closed.

 


This performance will be broadcast on November 8 on Classical 105.9 WQXR, Classical 90.3 FM Ossining and at www.wqxr.org, and distributed nationally by the WFMT Network.
wqxr logo

Pre-Opera Events

3:00pm Italian Opera and the Parisian stage
A conversation with Will Crutchfield and Victoria Crutchfield, translator and director of the scenes from Victor Hugo to be performed by members of the Bel Canto Young Artists.

3:30pm / Bel Canto a Due
Caramoor’s Bel Canto Apprentice Artists are featured in recital, in another installment in our popular series of Italian vocal duets.
Derrick Goff, pianist

4:30pm/Scenes from Lucrèce Borgia by Victor Hugo
translated and directed by Victoria Crutchfield
acted in English by Bel Canto Young Artists and Apprentices

5:15pm / Victor Hugo dans la musique I
This recital by Bel Canto Young Artists explores various composers’ settings of Hugo’s poetry.
Rachelle Jonck, Derrick Goff, Timothy Cheung, pianists

6:00pm Dinner Break

7:00pm Ken Benson introduces Lucrezia Borgia

 

Schedule

Pre-Opera Events

3:00pm Italian Opera and the Parisian stage
A conversation with Will Crutchfield and Victoria Crutchfield, translator and director of the scenes from Victor Hugo to be performed by members of the Bel Canto Young Artists.

3:30pm / Bel Canto a Due
Caramoor’s Bel Canto Apprentice Artists are featured in recital, in another installment in our popular series of Italian vocal duets.
Derrick Goff, pianist

4:30pm/Scenes from Lucrèce Borgia by Victor Hugo
translated and directed by Victoria Crutchfield
acted in English by Bel Canto Young Artists and Apprentices

5:15pm / Victor Hugo dans la musique I
This recital by Bel Canto Young Artists explores various composers’ settings of Hugo’s poetry.
Rachelle Jonck, Derrick Goff, Timothy Cheung, pianists

6:00pm Dinner Break

7:00pm Ken Benson introduces Lucrezia Borgia

 

Artist Info

 

Angela Meade

Angela Meade

American soprano Angela Meade is the winner of the 2012 Beverly Sills Artist Award from the Metropolitan Opera and the 2011 Richard Tucker Award. Since her professional debut in 2008, she has quickly become recognized as one of the outstanding vocalists of her generation. The New Yorker has hailed her as “a lavishly gifted young soprano who sings across a very wide range with uncommon beauty and strength of tone.” She excels in the most demanding heroines of the nineteenth century bel canto repertoire as well as in the operas of Verdi and Mozart. Meade joined an elite group of history’s singers when she made her professional operatic debut on the stage of the Metropolitan Opera as Elvira in Verdi’s Ernani substituting for an ill colleague in March 2008. She had previously sung on the Met stage as one of the winners of the 2007 Metropolitan Opera National Council Auditions, a process that is documented in the film The Audition and released on DVD by Decca. The New York Times singled out Meade as “an impressive soprano who powered out a ‘Casta diva’ from Bellini’s Norma that left everyone breathless.” Highlights of the 2014/15 season include Meade’s return to the Metropolitan Opera as Elvira in Verdi’s Ernani opposite Plácido Domingo, conducted by James Levine, and her acclaimed interpretation of the title role in Bellini’s Norma for her debut in Seville. On the concert stage, she makes her debut with the New York Philharmonic under Alan Gilbert in Verdi’s Requiem, which she will also perform in Oviedo, Spain. She travels with the orchestra of the Teatro Regio di Torino under Gianandrea Noseda to the Edinburgh International Festival and the Stresa Festival in Italy for concert performances of Mathilde in Rossini’s Guglielmo Tell, and will repeat the role for a North American tour that includes performances in Chicago, Toronto, Ann Arbor, and New York’s Carnegie Hall. The season brings a return to the Philadelphia Orchestra for Mahler’s Second Symphony with Yannick Nézet-Séguin in Philadelphia and at Carnegie Hall, as well as performances of Beethoven’s Ninth Symphony with both the Atlanta Symphony Orchestra led by Robert Spano and the BBC Scottish Symphony Orchestra under Donald Runnicles. Additional projects include a studio recording of Donizetti’s rarely performed Le duc d’Albe with Opera Rara in London and a New York joint recital under the auspices of the George London Foundation. Angela Meade is a native of Washington State and an alumnus of the Academy of Vocal Arts. Comprehensive information is available at www.angelameade.com.

 

Tamara Mumford

Tamara Mumford

This season, mezzo-soprano Tamara Mumford returned to the Metropolitan Opera for A Midsummer Night’s Dream and Wozzeck, and appeared in concert with the New York Philharmonic, Baltimore Symphony Orchestra, and Seattle Symphony Orchestra. This summer she appears in concerts with the Dallas and Kansas City symphony orchestras, returns to the Hollywood Bowl for Cavalleria Rusticana with Gustavo Dudamel, and makes a debut at the Caramoor Festival as Orsini in Lucrezia Borgia. Next season’s many engagements include returns to the Los Angeles Philharmonic and the San Francisco Symphony and her debut at the Dallas Opera in Iolante. A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, Ms. Mumford made her debut there as Laura in Luisa Miller, and has since appeared as Smeton in the new production of Anna Bolena, and in productions of Rigoletto, Ariadne auf Naxos, Il trittico, Parsifal, Idomeneo, Cavalleria Rusticana, Nixon in China, The Queen of Spades, the complete Ring Cycle, and The Magic Flute. Other recent opera engagements have included the title role in the American premiere of Henze’s Phaedra and the title role in The Rape of Lucretia at the Opera Company of Philadelphia, the title role in Dido and Aeneas at the Glimmerglass Festival, Ottavia in L’incoronazione di Poppea at the Glyndebourne Opera Festival and the BBC Proms, Isabella in L’italiana in Algeri at the Palm Beach Opera, the title role in The Rape of Lucretia, conducted by Lorin Maazel at the Castleton Festival; the title role in Carmen at the Crested Butte Music Festival, Principessa in Suor Angelica and Ciesca in Gianni Schicchi with the Orchestra Sinfonica Giuseppe Verdi di Milano in Italy; and the title role in La cenerentola at Utah Festival Opera. Also an active concert performer and recitalist, Ms. Mumford recently appeared with Gustavo Dudamel and the Los Angeles Philharmonic Orchestra in US and European tours of the world premiere of John Adam’s oratorio, The Gospel According to the Other Mary. She has also appeared with the New York Philharmonic, San Francisco Symphony, and Milwaukee Symphony orchestras, and at the Hollywood Bowl and the Ravinia, Tanglewood, Grand Teton, and La Jolla Summer Music festivals. Other recent concert appearances have included a concert with James Levine and the Met Chamber Orchestra in Zankel Hall, her Carnegie Hall debut in 2005 as part of the Richard Goode and friends concert series in Zankel Hall, and appearances in the Musicians from Marlboro’s summer festivals and US tours. In recital she has been presented in New York by both the Marilyn Horne Foundation and the Metropolitan Museum of Art, and in Philadelphia by the Philadelphia Chamber Music Society. Ms. Mumford has appeared in the Metropolitan Opera’s Met: Live in HD series broadcasts of Anna Bolena, Das Rheingold, Götterdämmerung, The Magic Flute, Nixon in China, Manon Lescaut, and Il trittico. She also recorded Beethoven’s Cantata on the Death of Emperor Joseph II with Michael Tilson Thomas and the San Francisco Symphony (Avie), and in 2005 she was one of sixteen singers invited to work with Naxos Records and Yale University in a collaborative project to record the complete songs of Charles Ives. A native of Sandy, Utah, Ms. Mumford holds a Bachelors of Music from Utah State University. Her many awards include the Arthur E. Walters Memorial Award in the 2005 Opera Index Competition, second place in the advanced division in the 2005 Palm Beach Opera Competition, and awards in the 2005 Sullivan Foundation Competition, the 2005 Connecticut Opera Guild Competition and the 2004 Joyce Dutka Foundation Competition. Ms. Mumford was also a Mathias Winner and PBS Concert Soloist for the 2001 MacAllister Awards.

 

Michele Angelini

Michele Angelini

Heralded by the Dallas Morning News as an artist who “displays a voice of silken loveliness as well as graceful agility,” Michele Angelini made his European operatic debut at the world famous Rossini Opera Festival in Pesaro as Count Libenskof in Il viaggio a Reims and has been thrilling audiences on leading international stages in the operatic repertoire of Bellini, Donizetti, Handel, Mozart, and Rossini.

Highlights of recent seasons include Il viaggio a Reims at Maggio Musicale Fiorentino, L’Italiana in Algeriat Teatro Comunale di Bologna, Asociación Bilbaína de Amigos de la Ópera, and the Atlanta Opera, Così fan tutte at Teatro dell’Opera di Roma, the world premiere of Benoit Mernier’s Frühlings Erwachen at the Théâtre Royal de la Monnaie, Don Giovanni at the Royal Swedish Opera and Savonlinna Opera Festival,La cenerentola at Fort Worth Opera and Opera Colorado, Il turco in Italia  at Düsseldorf’s Deutsche Oper am Rhein, La sonnambula at Florida Grand Opera, Il barbiere di Siviglia with the Royal Swedish Opera and New Orleans Opera, the title role of Mozart’s Il sogno di Scipione with Gotham Chamber Opera, and Chabrier’s Le Roi Malgré Lui at Bard Summerscape.

Metropolitan Opera engagements have included La Fille du Régiment (covering Juan Diego Flórez) and Rossini’s Armida (covering Lawrence Brownlee); a principal role debut is scheduled for a future season.  Mr. Angelini will make his Royal Opera House, Covent Garden debut in the coming season in Il barbiere di Siviglia and already has been rebooked by the theatre to sing Don Giovanni and the title role of Gluck’sOrphée et Eurydice in a new production conducted by Sir John Eliot Gardiner.  The artist also makes his Staatsoper im Schiller Theater Berlin debut in Il barbiere di Siviglia in 2014.

Concert work has featured the tenor in Rossini’s Otello with Opera Orchestra of New York and Moïse et Pharaon with The Collegiate Chorale both at Carnegie Hall, Rossini’s Petite Messe Solennelle with the New York Choral Society at Lincoln Center, and Handel’s Messiah with the National Symphony Orchestra at the Kennedy Center and at Oslo’s Den Norske Opera.  In the summer of 2014, Mr. Angelini sings Gennaro in Lucrezia Borgia at Bel Canto at Caramoor.

Awards include First Prize in the 2010 Savonlinna Opera Festival International Singing Competition, First Prize in the 2012 Gerda Lissner Foundation Singing Competition, Top  Prize winner of the 2013 Opera Index Award,, and an Encouragement Award in the memory of Charles Anthony from the George London Foundation.

He is a graduate of The Ohio State University with degrees in both Vocal and Bassoon Performance.

 

Christophoros Stamboglis

Christophoros Stamboglis

Christophoros Stamboglis made his United States debut as Sobakin in Rimsky-Korsakov’s The Tsar’s Bride with Opera Orchestra of New York at Carnegie Hall in 2008 followed by his Metropolitan Opera debut as Basilio in Il barbiere di Siviglia and Bartolo in Le nozze di Figaro in 2010. Most recently he has performed Ramfis in Aida at the Herodes Atticus, the Cook in Love for Three Oranges in Geneva, Rodolfo in La sonnambula and Ramfis in Covent Garden, Ferrando in Il trovatore at the MET and Nourabad in Les pêcheurs des perles in Madrid, Le nozze di Figaro in Geneva and Madrid and Barber of Seville at Covent Garden, I puritani at Grange Park and Don Carlos at the Caramoor Festival. Upcoming performances include Barber of Seville in Madrid and Glyndebourne and Don Carlo at the MET. Mr. Stamboglis made his operatic debut while still a student of the Guildhall School singing Figaro in Le nozze di Figaro with the Pimlico Opera in London. His debut in Athens was singing Leporello in Don Giovanni at the Greek National Opera, becoming a member of the ensemble where he sang many bass roles such as Basilio in Il barbiere di Siviglia, Silva in Ernani, Fiesco in Simon Boccanegra, Maometto II in L’ assedio di Corinto, Enrico VIII in Anna Bolena and Attila. In 2006 he sang his first Filippo II in Don Carlos at the new “Alexandra Trianti Hall” of the Megaron in Athens. He is a member of the Greek National Opera. From 2002 to 2008 he joined the ensemble of the Deutsche Oper am Rhein where performances included Oroveso in Norma, Alidoro and Don Magnifico in La cenerentola, Mustafa in L’italiana in Algeri, Don Pasquale, Leporello, Don Alfonso in Così fan tutte, Raimondo in Lucia di Lammermoor, Sparafucile in Rigoletto, Crespel in Les contes d’Hoffmann, Don Basilio and Claudius in Hamlet. He has also performed in many concerts all over the world; his repertory contains more than 70 roles and has recorded for LYRA, EMI Classics, Bongiovanni records and the “Fondazione Rossini.”

Program Notes

The celebrated Bel Canto at Caramoor series, led by Director of Opera Will Crutchfield, is now in its 18th season of presenting distinguished operas at Caramoor. The 2014 Bel Canto season opens with Donizetti’s Lucrezia Borgia on Saturday, July 12 – with an encore performance on Friday, July 18 – and features acclaimed soprano Angela Meade, who will return to Caramoor to make her highly-anticipated debut as Lucrezia. Reviewing her breakout role debut as Norma at Caramoor in 2010, the New York Times exclaimed “From the first lines of Norma’s entrance…Ms. Meade sounded in complete control of the role.” She has gone on to display that control in acclaimed Norma performances at the Metropolitan Opera, the Washington National Opera, and elswhere. Now she returns to Caramoor to introduce her interpretation of another iconic Bel Canto heroine. Rigoletto on Saturday, July 19 will feature baritone Stephen Powell as Verdi’s tragic jester, following up his unanimously praised performance as Rodrigue in Don Carlos during Caramoor’s “Verdi in Paris” celebration in 2013. He is joined by Caramoor favorite Georgia Jarman as Gilda and tenor John Osborn as the Duke of Mantua. Other members of the Lucrezia cast are tenor Michele Angelini and mezzo Tamara Mumford, making their Caramoor debuts as Gennaro and Maffio Orsini, and bass Christophoros Stamboglis, returning after his triumphant Philippe in Don Carlos. Two former Caramoor Bel Canto Young Artists will return to take roles in Rigoletto: Mezzo Nicole Piccolomini as Maddalena and bass Jeffrey Beruan as Sparafucile. Both operas will be performed in semi-staged concert form, sung in Italian with English supertitles, and accompanied by the Orchestra of St. Luke’s led by Will Crutchfield. Lucrezia and Rigoletto are “sister operas” based on a pair of Victor Hugo plays that Hugo himself called a “duology.” In each, a morally compromised parent secretly lives for the love and well-being of a hidden child, but brings about the death of that child at the final curtain. Hugo described them as illustrating “physical deformity redeemed by paternal love, and moral deformity redeemed by maternal love.” But the link goes beyond Hugo – Verdi, setting Le roi s’amuse to music as Rigoletto, modeled his opera closely on Donizetti’s Lucrezia Borgia, including some of its most progressive and dramatically compelling details. Rigoletto also continues Caramoor’s series of Bel Canto reinterpretations of Verdi’s middle-period classics, following performances of La traviata in 2005 and Il trovatore in 2008, both widely praised for the revelations that the performing style of the Bel Canto era brought to thise familiar scores. Rigoletto will complete the period-style restoration of what is often called Verdi’s “Romantic trilogy.” (The three operas were written in succession in 1851-53) According to Crutchfield, “presenting these two operas together has been a dream of mine for many years. Hearing the two side-by-side at Caramoor gives operagoers a rare opportunity to hear how one genius passed the torch to another in the heyday of Italian opera. I find it extremely moving to see how eagerly Verdi seized and developed the ideas Donizetti had proposed, how seriously he took them, and how generously the older composer praised and aided the younger one. Furthermore, Rigoletto – the first Verdi opera I ever learned as a child – truly stands in need of a reinterpretation based on things we now know about how opera was interpreted in the era of its composition. There is a lot to discover in its familiar pages.”