CCM OPERA D’ARTE UNDERGRADUATE OPERA Series presents
Dido and Aeneas is composed by Henry Purcell with a libretto by Nahum Tate
Gianni Schicchi is composed by Giacomo Puccini with a libretto by Giovacchino Forzano
8 p.m. Feb. 3-4, 2 p.m. Feb. 5, 2023, Cohen Family Studio Theater
Opera d'Arte Sponsor
Rafael and Kimberly de Acha
*CCM Student
Dido and Aeneas + Gianni Schicchi will last approximately two hours with intermission
Featured image at the top of the program: Students perform in CCM Opera's 2018 production of Gianni Schicchi. Photo by Mark Lyons.
By Kenneth Shaw
I have had a long relationship with both operas in tonight's production, having been involved with them on both sides of the footlights. At first glance, they may seem an odd combination for a double bill, but when one looks just under the surface, we first learn that both stories are, to some extent, allegorical. The Purcell is based upon Book IV of Virgil's Aeneid, and the Puccini text comes directly from an incident mentioned in Dante's Divine Comedy. Musically, the two are certainly of vastly different styles, but both are masterful in their depiction of human experience and emotion. Dramatically, therefore, we easily see how human passions burn — whether in the desire for each other or for material things, for love or for duty. And in both, we see how those passions clash, with utterly different outcomes.
I have a special affinity for Dido and Aeneas for many reasons, but I confess to having always struggled with an aspect of the opera that, for me, is unexplained. In past productions, I have simply ignored the nagging question of just who this Sorceress is and why she and the Witches with her hate Dido so much. Though some purists will take issue with me, I have chosen to make a case for this relationship by inventing a reason for that hatred. Built from the legend that Dido fled her murderous brother in Lebanon and landed on the Northern coast of Africa, the Berber chieftain who controlled the region welcomed her and told her she could have as much land as an ox hide would cover. Dido cut a single ox hide into thin strips and laid them end-to-end around a hill, successfully claiming it for her people. I have set forth a premise that Dido has invited the Berber leadership (known in the opera as Sorceress and Witches) into her court at a high level, but not that of leadership. I proffer that their resentment has given birth to a plot to take down Dido in subtle ways — drugging her with ‘medicinal’ droughts and conjuring ancient methods of magic and the supernatural which ultimately, and quite successfully drive the story to its tragic end. Whether one accepts my premise or not, there is nonetheless much to appreciate and enjoy with this work — Purcell's only fully sung opera.
Gianni Schicchi, which Puccini composed as the third in his trilogy of one act operas (with Suor Angelica and Il Tabarro) is his only true comedy, portraying human nature at its most selfish. Yet because we can easily recognize in all the characters some aspect of ourselves that most of us would never dare to express, we can go along with the craziness and laugh about it.
These aspects of the human experience seem to share a commonality across cultures and generations, so we've seen productions set in various historical time periods, with myriad character delineations, the core characteristics of which are found in commedia dell'arte. Tonight's production is set in 1953, with costumes designed with a nod to the Avant Garde of the period, largely for the purpose of exaggerating the nature of each character. And we have intended to push the entire design toward that of black and white TV, giving hints of color only to the characters who bring depth and empathy to the story — Rinuccio, Lauretta, and the man himself: the sly, crafty hero of our story Gianni Schicchi.
Special thanks to The Busse Fund, David Adams, Kimberly and Rafael De Acha, Robert Doak, Donna Lowey, the CCM Voice Faculty.
Dido and Aeneas, Carthage
Gianni Schicchi, 1950’s Florence, Italy
*Featured in the performance on Saturday, Feb. 4
Brett Scott, conductor
Landon Scriber, assistant conductor
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November 18, 2024
Experience world-class performances by the next generation of performing and media artists at the University of Cincinnati College-Conservatory of Music (CCM)! The college’s spring 2025 schedule of major events is now available; tickets are on sale now through the CCM Box Office.
November 13, 2024
This year, four UC College-Conservatory of Music alumni and one current faculty member are among the nominees named for the 67th Annual Grammy Awards, which will be held in February of 2025. Represented across four categories, the Bearcats specifically named in the Grammy's published list of nominees include CCM Associate Professor of Voice Elliot Madore along with alumni Kevin McCollum (BFA Musical Theatre ’84, HonDoc ’05), Fotina Naumenko (MM Voice ‘12, DMA Voice ‘18), Jeannette Sorrell (MM Orchestral Conducting) and Donald Nally (BM Music Education ‘82).
November 13, 2024
CCM's collegiate and preparatory ensembles celebrate the winter holidays with a variety of upcoming performances!
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The competitive scholarships CCMpower provides help attract and retain the best and brightest students, nurture professional development opportunities and – in turn – continue CCM’s tradition of excellence for the next generation of student-artists. Join or renew your CCMpower membership today to help provide critical scholarship funds.
Join or renew your CCMpower member today to help provide critical scholarship funds. Visit foundation.uc.edu/ccmpower to learn more.
Sponsors listed as of August 1, 2024
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