LUCREZIA BORGIA
Gaetano Donizetti (1797 - 1848)
Opera in two acts in Italian
Libretto: Felice Romani after Victor HugoPremièr at Teatro alla Scala, Milan – 26 December 1833
01†, 03, 06, 08 November 1974
Civic Opera, Dallas [State Fair Music Hall]
CIVIC OPERA, DALLAS
Opening Performance
Conductor: Nicola Rescigno
Chorus master: n/a
Stage director: Tito Capobianco
Scene: Henry BardonCostumes: Peter Hall
Alfonso d’Este Duke of Ferrara MATTEO
MANUGUERRA baritone
Lucrezia Borgia LEYLA GENCER soprano Maffio Orsini TATIANA TROYANOS contralto
Gennaro young nobleman in the service of Venetian Republic JOSE CARRERAS tenor
Liverotto young nobleman in the service of Venetian Republic DENISS STRING tenor
Vitellozzo young nobleman in the service of Venetian Republic PIERO DE PALMA bass
Gazella DAVID CORNELL bass
Rustighello MELVIN BROWN tenor
Gubetta ENRICO CAMPI bass
Astolfo NICOLA ZACCARIA bass
Petrucci WILLIAM FLECH baritone
Time: Early Sixteenth Century
Place: Venice and Ferrara
† Recording date
Photos © BOB SMITH / LAURA GARZA PHOTOGRAPHY, Dallas
LUBBOCK AVALANCHE JOURNAL
1974.10.20
MIDDLETOWN JOURNAL
1974.10.25
OAKLAND TRIBUNE
1974.10.25
PRESS AND SUN BULLETIN
1974.10.25
READING EAGLE
1974.10.25
THE ANN ARBOR NEWS
1974.10.25
THE ATLANTA JOURNAL
1974.10.25
THE BAY CITY TIMES
1974.10.25
THE BEE
1974.10.25
THE BIRMINGHAM NEWS
1974.10.25
THE EVENING NEWS
1974.10.25
THE FLINT JOURNAL
1974.10.25
THE GADSTEN TIMES
1974.10.25
THE JOURNAL
1974.10.25
THE REPUBLICAN
1974.10.25
WICHITA FALLS TIMES
1974.10.25
BILOXI SUN HERALD
1974.10.26
SYRACUSE JOURNAL
1974.10.26
HOUSTON POST
1974.10.27
MIDLAND REPORTER TELEGRAM
1974.10.27
OAKLAND TRIBUNE
1974.10.28
THE MORNING UNION
1974.10.28
THE TIMES PICAYUNE
1974.10.28
BIG SPRING HERALD
1974.10.29
LUBBOCK AVALANCHE JOURNAL
1974.10.29
SAN FRANCISCO CHRONICLE
1974.10.29
ODESSA TEXAS
1974.10.31
THE DALLAS MORNING NEWS
1974.11.01
Photo: Turkish soprano Leyla Gencer replaces Beverly Sills in the title role of Civic Opera's opening-night production of Donizetti's "Lucrezia Borgia," Friday at the Music Hall.
“Borgia”
By JOHN ARDOIN
Music Editor of The News
The Italian Renaissance was an age of great gestures,
cruelty and passion. Its history, then, was ideal source material for operatic
librettos, and dozens have been World made from the episodes of this era. One
of the most interesting -Donizetti's "Lucrezia Borgia"-will
inaugurate a new season by the Dallas Civic Opera at 7:30 p.m. Friday at the
Music Hall, with repeats on Nov. 3, 6 and 8.
Beverly Sills, originally engaged for the title role
of Lucrezia, has been forced to withdraw from the production to undergo
surgery. Replacing her in the title role will be soprano Leyla Gencer.
This internationally known artist made her DCO debut
in 1960 as Madame Butterfly. "Borgia" will mark Miss Gencer's return
to the company's roster.
Other principal part will be sung by Tatiana Troyanos
as Orsini, Jose Carreras as Gennaro and Matted Manuguerra as Alfonso. The new
pro duction has been staged by Tito Capobianco, with sets by Henry Bardon and
costumes by Peter Hall. Nicola Rescigno will conduct.
Before some words about the opera itself, which is
receiving its first modern U.S. staging outside the East coast, something must
be said on be- half of the historical Lucrezia, who has come down to us-more in
fable than in fact-as a villainess. Though intrigue was indeed a way of life in
the Renaissance and the real Lucrezia (1480-1519) led a remarkable life, poisoning
was not among her many interests.
FORT WORTH STAR TELEGRAM
1974.11.02
MIDLAND REPORTER
TELEGRAM
1974.11.03
SNYDER DAILY NEWS
1974.11.03
THE PARIS NEWS
1974.11.03
THE HOUSTON CHRONICLE
1974.11.04
The Spotlight: 'Lucrezia' Has Good Points Despite Sills' Withdrawal
Dallas - Despite Beverly Sills' withdrawal for surgery from Dallas Civic Opera's "Lucrezia Borgia,' that Donizetti cloak-and-dagger opera generated three positive points of interest and a curious lapse in stage direction.
Prime, of course, was Leyla Gencer, Turkish soprano called in only last week as a substitute and as one of the few singers extant who has the role in hand.
Plunked down into an opulent production at glamorous – and I mean glamorous – newly renovated State Fair Music Hall, Gencer moved as the fearsome but misunderstood Borgia with electric presence. The dark eyes, in that white face with its keenly cut features, were intense, expressive, cautiously defensive. As she set about to create the portrait of power, murderous revenge and the forgiving overlay of maternal love, Gencer handled herself with a kind of imperious reserve. She never truly bowed her head but turned instead and lifted a queenly hand. Her style, timing and selfless are interesting and reminiscent faintly of Callas.
Gencer's gestures, however, are too heavily theatrical to be viable in a homogenized production. Vocally, Gencer is uneven. The warmth and subdued, careful singing of the prologue portions were followed by a more wilful and confident assertion in her confrontation with the duke who misunderstands her interest in young Gennaro. In the final scene, Gennaro poisoned, she summons all the long-restrained emotions but arrives at the vocal fireworks with some strain and lack of total realization. Yet she was often powerful and even vivid occasionally in Donizetti's spasmodic ornamentation. Hers is not at this time the apparently effortless cascades of elaborate upper work, nor the freshet of fioriture associated with Sutherland and Sills. But Gencer's gameness, temperament and the noble aspects with which she delivered her Borgia lady were in every case to be applauded. Spanish tenor Jose Carreras was a delight as Gennaro youthful loyal, in nice balance with Gencer. Firm, round, juicy tones and easy production were just right from his first "di pescatore ignobile" to his sparkling duet with Tatiana Troyanos in the trouser role of Orsini. director, Larry Kelly, who Troyanos, too, has a luminous presence, and she attractively managed the aggressive assignment as prophet of doom. Her brief Brindisi, like her opening conjuring of horrendous portents, emerged in pure pewter tones, rightly placed, fluid, secure and darkly encompassed.
Tito Capobianco's staging was curiously obvious and permissive, and his
last scene directions which found Gennaro lying flat, dead, then rising again to make one last comment, were foolish. They caused titters through the house which in turn disarmed Gencer at a critical moment, just preparing to go into her final all-important cabaletta.
Nicola Rescigno's musical direction and the orchestral response were particularly skilful and committed.
Decor by Henry Barden and Peter Hall was lavish and very Renaissance, even to the baroque show curtain and the bizarre aspect of candles and coffins in the poisoning scene. The production honoured the memory of Dallas Civic Opera's brilliant founder and artistic director, Larry Kelly, who died recently, Operagoers may catch Dallas' "Lucrezia" Wednesday or Friday night at 8 p.m. in Dallas.
Dallas - Despite Beverly Sills' withdrawal for surgery from Dallas Civic Opera's "Lucrezia Borgia,' that Donizetti cloak-and-dagger opera generated three positive points of interest and a curious lapse in stage direction.
Prime, of course, was Leyla Gencer, Turkish soprano called in only last week as a substitute and as one of the few singers extant who has the role in hand.
Plunked down into an opulent production at glamorous – and I mean glamorous – newly renovated State Fair Music Hall, Gencer moved as the fearsome but misunderstood Borgia with electric presence. The dark eyes, in that white face with its keenly cut features, were intense, expressive, cautiously defensive. As she set about to create the portrait of power, murderous revenge and the forgiving overlay of maternal love, Gencer handled herself with a kind of imperious reserve. She never truly bowed her head but turned instead and lifted a queenly hand. Her style, timing and selfless are interesting and reminiscent faintly of Callas.
Gencer's gestures, however, are too heavily theatrical to be viable in a homogenized production. Vocally, Gencer is uneven. The warmth and subdued, careful singing of the prologue portions were followed by a more wilful and confident assertion in her confrontation with the duke who misunderstands her interest in young Gennaro. In the final scene, Gennaro poisoned, she summons all the long-restrained emotions but arrives at the vocal fireworks with some strain and lack of total realization. Yet she was often powerful and even vivid occasionally in Donizetti's spasmodic ornamentation. Hers is not at this time the apparently effortless cascades of elaborate upper work, nor the freshet of fioriture associated with Sutherland and Sills. But Gencer's gameness, temperament and the noble aspects with which she delivered her Borgia lady were in every case to be applauded. Spanish tenor Jose Carreras was a delight as Gennaro youthful loyal, in nice balance with Gencer. Firm, round, juicy tones and easy production were just right from his first "di pescatore ignobile" to his sparkling duet with Tatiana Troyanos in the trouser role of Orsini. director, Larry Kelly, who Troyanos, too, has a luminous presence, and she attractively managed the aggressive assignment as prophet of doom. Her brief Brindisi, like her opening conjuring of horrendous portents, emerged in pure pewter tones, rightly placed, fluid, secure and darkly encompassed.
Tito Capobianco's staging was curiously obvious and permissive, and his
last scene directions which found Gennaro lying flat, dead, then rising again to make one last comment, were foolish. They caused titters through the house which in turn disarmed Gencer at a critical moment, just preparing to go into her final all-important cabaletta.
Nicola Rescigno's musical direction and the orchestral response were particularly skilful and committed.
Decor by Henry Barden and Peter Hall was lavish and very Renaissance, even to the baroque show curtain and the bizarre aspect of candles and coffins in the poisoning scene. The production honoured the memory of Dallas Civic Opera's brilliant founder and artistic director, Larry Kelly, who died recently, Operagoers may catch Dallas' "Lucrezia" Wednesday or Friday night at 8 p.m. in Dallas.
SAN ANTONIO EXPRESS
1974.11.05
PALM BEACH LIFE
1975 April
Texas
Society Enjoys Opulent Opera Galas
Opera has always been enthusiastically supported in
Texas - a London company performed in Fort Worth in the mid-1800s! Today, Fort
Worth, Dallas, Houston and San Antonio have their own professional companies
which each season attract international opera stars from 'round-the-globe.
Underwriters, often individuals, and benefits assure
the continuation of Texas' musical tradition. The benefit galas which have
become an integral part of the state's social life are unsurpassed in
originality, zest and glamour.
This year it was a Circus Maximus for Fort Worth Opera
Association, while Dallas Civic Opera Guild dreamed up a Borgia Ball following
the initial performance of Lucrezia Borgia.
Opening night of Madame Butterfly inspired the Oriental
Garden party given by the San Antonio Women's Committee for the Opera, and in
Houston a Victorian theme provided a storybook setting for the unique Grand
Opera Guild Ball which annually honours debs representing opera companies from
various cities in the country.
Ancient Rome and early Barnum were combined to create
a joyous atmosphere befitting the 700 revellers who dined, danced and tested
their skills at casino games in Fort Worth's Ridglea Country Club.
More than 1000 gifts were donated for auction, for
prizes and for the casino shops. They included a 1000-lb. Charolais steer,
courtesy of Mr. and Mrs. F. Howard Walsh; a new Pontiac Firebird (from Bill
McDavid Pontiac); an Acapulco vacation (thanks to American Airlines and Las
Brisas); and 15 semester hours at Texas Christian University.
Mr. and Mrs. Frederick E. Rehfeldt and Mr. and Mrs. J.
Clark Nowlin headed the gifts committee. Volunteers from civic organizations
costumed as bareback riders and acrobats staffed the casino and its stores,
which were packed with happy spenders such as past president of FWOA Bill Cranz
Jr., and his Alice, Mr. and Mrs. C. Dickie Williamson, the Haydn Cutlers, Mr.
and Mrs. Robert E. Lee Batts Jr., and Mr. and Mrs. H. Carter Burdette.
FWOA President Rice Matthews Tilley Jr., and the
general co-chairmen Mr. and Mrs. John Marshall Hogg and Mr. and Mrs. Joseph A.
Tilley Jr., received congratulations from everyone on the successful big-top
bash.
A gondolier in 16th century attire greeted guests as
they arrived at the Sheraton-Dallas for an evening in a Venetian 'palace.' The
huge ballroom was draped in red, a marvellous backdrop for the nine-foot gold
Borgia crests. Murals of the historical palace gardens and of the Grand Canal
added an authentic touch.
Cast members, especially beautiful prima donna Leyla
Gencer and handsome young Spanish tenor Jose Carreras, found themselves
surrounded by aficionados when they stepped across the 'royal' threshold where
ball chairman Mrs. Warner H. Lewis and her committee awaited them.
The singing stars completely captivated their fans
including many out- of-towners like Mrs. Kurt Burger, who divides her time
between homes in New York, Wisconsin, California and Texas, Gibbon Denman of
San Antonio, the Aaron Krugers of Austin, Mr. and Mrs. Richard K. Allen of
Chicago, Cynthia Robbins of New York and Mrs. Blaffer Hudson of Houston.
Social star of the occasion was Elsa von Seggern, who
financed the first-night production of Lucrezia Borgia. For the elegant Elsa it
was a full day she had been feted earlier at a pre-opera reception given in the
Crystal Terrace of the Music Hall by Mr. and Mrs. Morris Jaffe (he's president
of Dallas Civic Opera), Mr. and Mrs. I. Frank Pitts and Dr. Frank Fisher.
The opulence of the Venice 'palace' enhanced the gowns
and jewels of the ladies. Louise (Mrs. Glenn) Turner in Norell's shamrock
spangles looked stunning, and so did Juanita Miller in at glittering Ron Amey.
Black was much in evidence, and Mrs. Norman Brinker's
lace Galanos and Sandy Waddill's lace Baba were two standouts. Pretty, blond
Mrs. Travis Ward (she and her husband were sponsors) wore blond chiffon, and
popular Betty (Mrs. Algur) Meadows. turned up in cerise chiffon.
The Houston Grand Opera Guild Ball in the Shamrock
Hilton's Emerald Room had all the elegance of a Victorian castle with 14 lovely
'princesses" making their curtseys by candlelight.
Photo: Enjoying Houston's gala Grand Opera Guild Ball are, left, Battlestein president Maurice Aresty and Mrs. Aresty and chairman of the ball Mrs. C. S. Wallace Jr., and Mr. Wallace.
Not only does the gala signify Houston's winter social
season has begun, it introduces debs who fly in from all over the nation as
'ambassadresses' for opera companies in other areas.
JoAnn (Mrs. Champney) Smith, Opera Guild prexy, in
lime chiffon headed the receiving line with ball chairman Mrs. C. S. Wallace
Jr., and Mrs. John Chapaton.
Battlestein's, Inc., as underwriters, made the ball
possible, and genial. president Maurice Aresty and his charming Sare were
toasted by every- body. Among the glass-lifters, we saw Lili Chookasian
(Azucena in Il Trovatore), Mr. and Mrs. James Lyon, the Ben Loves, Jack and
Carol Sue Finkelstein (she was press chairman) who were co-hosts at a large
table with the Edward G. Wallaces, Londoners Margo Lorent and Patrick Seargant
(guests of the Finkelsteins and Wallaces), Charles T. Bauer (president of
Houston Grand Opera Association) and Mrs. Bauer and the Jack Blantons.
Young ladies bowing as representatives of opera
companies were Misses Holly Hughes of Denver (for Central City), Katherine
Lloyd of Albuquerque (for Santa Fe), Lisa Francis of Dallas, Donna Thomason of
Kansas City, Mo., Laurin Mastin of Fort Worth, Mary Hyland Brown of New
Orleans, Chloe Winterbotham of Lake Forest, Ill., (for New York Met), Heather
Douglass of San Antonio, Sherilyn Fletcher of San Diego, Lisa Bergman of
Seattle, Elizabeth McLean of Shreveport, Linda Lowary and Melissa Lyon, both of
Houston.
Bright lanterns, bamboo, and multi-coloured Japanese
fans contributed to the Far East feeling of the supper dance in San Antonio's
Villa Fontana after the opening performance of Madame Butterfly.
It was a delightful affair, and chairman Mrs. Joseph
Goldzieher and her assistants Mrs. Gerhardt J. Mayer and Mrs. George Livesay
were showered with compliments from pleased participants, including Mrs. Oran
Kirkpatrick, whose generous gift helped make the Puccini production a reality.
The gracious donor a life-long patron of the arts had
herself pursued an operatic career in Italy and Vienna as Lois Farnsworth
Kirkpatrick - Cio-Cio San was her favourite role.
Since returning to San Antonio nearly three decades
ago she has never missed one of the San Antonio opera productions.
A reception in her honour followed the second
performance of Butterfly when the Women's Committee and the "Opera
Supermen" joined forces to pay. tribute to the woman who has done so much
for the arts in San Antonio.
Formed about 20 years ago, the "Supermen"
act as supernumeraries for all San Antonio opera productions. Handsome Howard
Ferguson, who is also a super host, arranged the party which was in the special
room set aside for the "Supermen" in the Theatre for the Performing
Arts. [Harriet Weaver]
OPERA MAGAZINE
1975 March
HOUSTON POST
1975.04.06
'Borgia's' brew-something to shudder about.
Like Verdi's "Il Trovatore," Donizetti's "Lucrezia Borgia" begins with a somber timpani roll. And as in the Verdi opera, seen here last fall, Houston Opera's final production of the season finds its tragedy hinged upon a mother's fierce concealment of the identity of a young man who may or may not be her son.
When Donizetti's opera about the malevolent Borgia clan opens in its Houston premiere Tuesday in Jones Hall, listeners will hear several musical devices that were later seized upon by Verdi in his early and middle-period works and which, indeed, can be traced back to the origins of melodramatic Italian opera in the early 19th century.
Twice in the opera, Donizetti employs furtive, whispered male choruses when Lucrezia's son, Gennaro, is on the point of being kidnaped. One can immediately think of Verdi deploying Banquo's assassins in the deserted park during the second act of "Macbeth." And Orsini's aria, "Il segreto per esser felice," is a standard drinking song, whose artificial gaiety precludes the catastrophe of the final mass poisoning in "Lucrezia Borgia" in the same fashion that many high spirited Verdian drinking songs are soon offset by some horrible event or traumatic occurrence.
"Lucrezia Borgia," the 46th of some 75-80 operas by the prodigious Donizetti, was composed and premiered at La Scala in Milan within the space of little more than a month. It was the first of three operas planned by the director of that opera house for the carnival season of 1833- 34 and its librettist was the redoubtable Felice Romani, who adapted Victor Hugo's play for operatic treatment.
Originally, Saverio Mercadante was to have composed it, but delays on the choice of a plot by this fussy composer and further problems with the censors (who considered an opera about the Borgias a touchy theatrical subject) caused time to run very short. Thus, Donizetti was brought in as a nimble penned composer with proven ability to turn out a musical score on short notice. Indeed, he was once caricatured by a Parisian cartoonist as being able to write an opera seria with his left hand while composing a comedy with his right hand.
Several opera scholars have commented upon "Lucrezia Borgia" as being a pivotal work between the staid, stately opera seria heritage of earlier Italian composers and the blood-and- thunder style of Verdi, Ponchielli and eventually the verismatic, Puccini: Donizetti is sometimes quoted as having asked Romani for plot situations that would arouse "emotions to make one shudder" and, for audiences of the day, "Borgia" certainly contained enough of these. While Lucrezia tries to keep Gennaro's tainted family heritage hidden from him and his friends, these companions publicly revile her and Gennaro at one point strikes the "B" of the family name from her doorway crest, leaving the word "orgia" to mock her.
Tricked at one point in the opera by her jealous husband, Alfonso d'Este (who mistakenly believes Gennaro is her lover), she is made to poison the young man and barely rescues him from this brush with death, only to unwittingly kill him later in a mass effort to annihilate all of her tormentors at one gulp of the poisoned Borgia wine.
While Hugo's play has the dying Gennaro take his revenge by stabbing his (still unknown to him) mother, the opera libretto has him only threaten to do so, before she reveals her identity to him. This, of course, permits the soprano to have the last aria and this is what the first Lucrezia, Henriette Meric-Lalande, demanded that Donizetti write for her to sing over dead Gennaro's body. The composer was forced to comply, on pain of losing his leading lady, and thus was born one of the more ludicrous finales in the history of opera.
While Romani's libretto softened many of the lurid implications of Hugo's play, in deference to Italian censorship, neither version is considered an accurate historical representation of the real Lucrezia Borgia, who was more a pawn than a perpetrator of the crimes associated with her unholy, conniving family.
Her husband in the play and opera, Alfonso d'Este of Ferrara, was indeed her fourth husband, but this final period of her 39-year life was not scandal ridden, as the plot suggests. The Gennaro of Hugo and Romani is not specifically identified as her allegedly illegitimate son, Giovanni, born about the year 1498, though he would have been a young man at the time of her death in 1519 and the story line of the plot makes this a viable implication. She had eight other children by two of her four husbands.
While an opera that had to be so hastily composed as "Lucrezia Borgia" can be expected to have (and DOES have) its share of dull, routine ensembles and cabalettas, it is also richly endowed with Donizetti's special gift for gorgeous bel canto melody. Some of its languid arias seem to almost melt in the singer's mouth and the score includes a marvellous trio for Lucrezia, Gennaro and Alfonso at the end of the central act.
While this opera, with its dark melodramatic tone, retained a solid place in the 19th century repertoire, it languished in much of the 20th century for lack of bel canto singers who could perform it. The opera had three New York performances (in German, Italian and English) during the 19th century, but only a single Metropolitan Opera staging in 1904. Finally, in 1965, Montserrat Caballe made the opera and herself suddenly stellar attractions with a concert performance for the American Opera Society in Carnegie Hall.
Still, "Lucrezia Borgia" has had precious few modern stagings on the North American continent. Joan Sutherland and Richard Bonynge performed it in Vancouver in 1972 and later in Edmonton; it is this Jose Varona production which we are to see this week in Jones Hall.
Apart from that, there has been only the rather unfortunate Dallas opera production last November, which was scenically disappointing and had a quaintly antiquated Leyla Gencer substituting for ailing Beverly Sills. Sills is said to be performing that version this fall in Los Angeles.
Advance photographs and colour slide transparencies suggest that the Varona settings should be handsome and realistic recreations of 16th century Venice and Ferrara. Basically, this unit set involves a colonnade connecting a bell tower and an apartment facade at either side of the stage. A series of backdrops changes the scene from interior to exterior settings as the action requires.
Apart from the Houston Opera debuts of Sutherland and Bonynge, this week's performances should also mark the significant Houston Opera debut of Canadian mezzo-soprano, Huguette Tourangeau in the trouser role of Orsini. [Carl Cunningham / Post Music Editor]
COMPLETE RECORDING
1974.10.05
Recording Excerpts [1974.10.05]
Com'e bello! Quale incanto Prologue Scene III
Di pescatore ignobile Prologue Scene III
Cosi turbata? Act I Scene IV
Della duchessa ai prieghi Act I Scene VII
Infelice il veleno bevesti Act I Scene VII
