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UMS Concert Program, November 12, 1965: New York Pro Musica -- Noah Greenberg

UMS Concert Program, November 12, 1965: New York Pro Musica -- Noah Greenberg image UMS Concert Program, November 12, 1965: New York Pro Musica -- Noah Greenberg image UMS Concert Program, November 12, 1965: New York Pro Musica -- Noah Greenberg image UMS Concert Program, November 12, 1965: New York Pro Musica -- Noah Greenberg image
Day
12
Month
November
Year
1965
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University Musical Society
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Season: Eighty-seventh
Concert: Third
Complete Series: 3490
Rackham Auditorium, Ann Arbor, Michigan

1965 Eighty-seventh Season 1966
UNIVERSITY MUSICAL SOCIETY
THE UNIVERSITY OF MICHIGAN
Charles A. Sink, President Gail W. Rector, Executive Director Lester McCoy, Conductor
Sixth Program Eighty-Seventh Annual Choral Union Series Complete Series 3495
NEW YORK CITY OPERA
JULIUS RUDEL, General Director
THE BARBER OF SEVILLE
An Opera in Three Acts
Music by Gioacchino Rossini
Libretto by Cesare Sterbini
Based on the comedy of Beaumarchais
Sunday Evening, November 21, 1965, at 8:30 Hill Auditorium, Ann Arbor, Michigan
ARS LONGA VITA BREVIS
CAST
Count Almaviva.........Gene Bullard
Figaro, a barber.........Dominic Cossa
Rosina, ward of Dr. Bartolo......Patricia Brooks
Dr. Bartolo...........Spiro Malas
Don Basilio, a music teacher........Noel Tyl
Berta, Dr. Bartolo's housekeeper .... Marlena Kleinman Fiorello, Count Almaviva's servant .... William Ledbetter
Ambrogio, Dr. Bartolo's servant......Kellis Miller
An Officer..........William Ledbetter
Conductor: Anton Coppola
Stage Director: Riccardo Moresco
Set and Costume Designer: Lloyd Evans
Time and Place: Seville in the seventeenth century. ACT I--A Square in Seville ACT II--A Room in Dr. Bartolo's House ACT III--The same as Act II
SYNOPSIS
The Count Almaviva is desperately in love with Rosina, the ward of Doctor Bartolo. After serenading his mistress, he encounters Figaro, the barber and factotum of the town, a meddling busy-body; to him the Count confesses his love, and they mutually plot for the purpose of bringing about the introduction of Almaviva to the maiden.
Rosina is strictly watched by her guardian, Doctor Bartolo, who cherishes a desire of wedding his ward himself; in this design he is assisted by Basilio, a music-teacher. Rosina returns the affection of the Count, to whom, in spite of the watchfulness of her guardian, she contrives to convey a letter, declaring her passion and her intention to break through her trammels, and at the same time requesting his name.
To obtain an interview with his mistress the Count disguises himself as a drunken soldier and forces his way into Bartolo's house. Rosina has already been told by Figaro that the name of the Count is Signor Lindor. The disguise of Almaviva is discovered by the guardian, the pretended soldier is placed under arrest, and the first act concludes.
In the second act the Count again enters Bartolo's house, disguised as a music-teacher, pretending that he has been sent by Basilio to give a lesson in music, because of the illness of the latter. To obtain the confidence of Bartolo, he produces Rosina's letter to himself, and offers to persuade Rosina that the letter has been given to him by a
mistress of the Count, and thus to break off the connection between the two. He obtains the desired interview, which proceeds satisfactorily, and Figaro manages to obtain the keys of the balcony, while at the same time an escape is determined on at midnight and a private marriage arranged. In the meantime, Basilio himself makes his appearance, the lovers are disconcerted, and the Count makes his escape.
Bartolo, who possesses the letter Rosina has written to the Count, succeeds, by pro?ducing it, in exciting the jealousy of his ward, who, while under the influence of this feeling, discloses the plan of escape which had been arranged and agrees to marry her guardian. At the appointed time Figaro and the Count make their appearance, and after some confusion the lovers are reconciled. A notary, procured by Bartolo, celebrates the marriage of the enamored pair. Immediately afterwards the guardian enters, accom?panied by the officers of justice, into whose hands he is about to consign Figaro and the Count, when mutual explanations take place, and all parties are reconciled.
This opera was first produced at the Teatro Argentina, in Rome, at the Carnival in 1816.
STAFF FOR THE NEW YORK CITY OPERA
Administrative Staff
General Director............Julius Rudel
Associate Director . ..........John S. White
Music Administrator............Felix Popper
Assistant to the Directors..........Ruth M. Hider
Executive Secretary...........Saba McWhxiams
Administrative Intern............Daniel Rule
General Press Representatives......Nat and Irvin Dorfman
Production Staff
Company Manager..........Catherine Parsons
Executive Stage Manager.........Hans Sondheeher
Stage Managers..........Dan Butt, Bill Field
Costumer..............J. Edgar Joseph
Make-Up.............Ted Marcinkowski
Choreographer............Thomas Andrew
Orchestra Personnel Manager.........Secondo Proto
Wardrobe Mistress...........Joyce Burevitch
Wardrobe Master...........Anthony Fiorxto
Conductors and Musical Staff: Anton Coppola, David Effron, Dean Ryan, Charles Wilson.
Directors and Staging Staff: Riccardo Moresco, Nikos Psacharopoulos, Emile Renan, Mell Reynolds.
New York City Opera Ensemble: Joan August, Don Carlo, Donald Chapman, Paul Corder, Harris Davis, Philip Erikson, Pearle Goldsmith, Margaret Goodman, Harriet Greene, Helen Guile, Don Henderson, Lila Herbert, Robert Lee Kelly, Jodell Ann Kenting, Dan Kingman, Dolores Molteni, Alan Olsen, Donna Owen, Hanna Owen, Richard Park, Leonard Polow, Charlotte Povia, Anthony Safina, Judit Schichtanz, Lana Tonkoschkur, Maria West, Marie Young, Don Yule.
UNIVERSITY MUSICAL SOCIETY
INTERNATIONAL PRESENTATIONS--1965-1966
All presentations are at 8:30 p.m. unless otherwise noted.
Remaining Performances in Hill Auditorium
Grand Ballet Classique de France .... Tuesday, November 23 Program: "Giselle" (complete)--Ballet pantomime in two acts, by de Saint-Georges, Gautier, and Coralli; Pas de deux "Esmeralda"; and Divertissement (Faust), music by Gounod.
Messiah (Handel).........Friday, December 3
(Tickets: $2.50--$2.00--i.So--$1.00) Saturday, December 4
(2:30) Sunday, December 5
Phyllis Curtin, Soprano.......Thursday, January 20
Rumanian Folk Ballet......Wednesday, February 16
To be announced........Wednesday, February 23
Monte Carlo National Orchestra .... Saturday, February 26 Paul Paray, Conductor Michel Block, Piano Soloist
Rudolf Serkin, Pianist........Monday, March 7
National Ballet, from Washington, D.C. . . (2:30) Sunday, March 27
Remaining Performances in Rackham Auditorium
Hermann Prey, Baritone......Wednesday, February 2
Twelve Songs from "Kerner-Lieder," Op. 35......Schumann
Twelve Songs from "Mbrike-Lieder"..........Wolf
Vienna Octet..........Tuesday, March 1
I Solisti Veneti.........Wednesday, March 16
Chicago Little Symphony......Thursday, March 31
Chamber Music Festival.....February 18, 19, (2:30) 20
New York Chamber Soloists, including Adele Addison, Soprano; and Charles Bressler, Tenor.
Series Tickets: $7.00--$5.00--$4.00 Single Concerts: $4.00--$3.00--$2.00
1966 MAY FESTIVAL--six concerts, May 5, 6, 7, 8. Orders for series tickets accepted and filed beginning December 1.
Block A, $25.00 --Block B, $20.00 --Block C, $16.00 --Block D, $12.00 --Block E, $9.00.
For tickets and information, address UNIVERSITY MUSICAL SOCIETY, Burton Tower

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