Il Trittico

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Opens

June 02, 2017

Tickets available on March 13 to OCM members (above $100 level) and on March 20 to the general public. 

Call the Town Hall Theater Box Office at 802-382-9222 or click Buy Tickets above.

Il Trittico (Triptych) is fully staged with orchestra conducted by Michael Sakir. It includes three one-act operas: Il Tabarro, Gianni Schicchi, and Suor Angelica.

Length of Il Trittico: 3-1/2 hours (including 2 intermissions)

Tickets for Il Trittico will go on sale on March 13 to OCM Members (above $100 level) and on March 20 to the general public.

MAY 21 – SUNDAY

5 pm – Meet the Singers
Champlain Valley Unitarian Universalist Society

May 31 – WEDNESDAY

7 pm – Special performance for local high school students
Town Hall Theater

JUNE 2 – FRIDAY

6:30 pm – Pre-performance talk
Memorial Baptist Church

7:30 pm – Il Trittico Opening Night and Post-Performance Reception
Town Hall Theater

JUNE 4 – SUNDAY

1 pm – Pre-performance talk
Memorial Baptist Church

2 pm – Il Trittico
Town Hall Theater

JUNE 8 – THURSDAY

6:30 pm – Pre-performance talk
Memorial Baptist Church

7:30 pm – Il Trittico 
Town Hall Theater

JUNE 10 – SATURDAY

6:30 pm – Pre-performance talk
Memorial Baptist Church

7:30 pm – Il Trittico 
Town Hall Theater

The Cast of 
Il Trittico 

(Triptych)

 

Il Tabarro:

Michele Corey  Crider
Giorgetta Eleni Calenos
Luigi Jonathan Tetelman
Tinca Joshua Collier
Talpa Jeffrey Beruan
La Frugola Margaret Gawrysiak
Young Lover Suzanne Kantorski
Young Lover Matt Morgan

 

Gianni Schicchi:

Gianni Schicchi Joshua Jeremiah
Lauretta Jenna Siladie
Zita Margaret Gawrysiak
Rinuccio Matt Morgan
Gherardo Jonathan Tetelman
Nella Bevin Hill
Betto di Signa Kian Freitas
Simone Jeffrey Beruan
Marco Corey Crider
La Ciesca Alissa Anderson

 

Suor Angelica:

Sister Angelica Suzanne Kantorski
The Princess Alissa Anderson
The Monitress Margaret Gawrysiak
Sister Genovieffa Jenna Siladie
Sister Osmina Bevin Hill
Sister Dolcina Eleni Calenos

 

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Hailed by Opera News for her “deliciously over the top” and “powerful mezzo” Alissa Anderson wields her comic prowess, striking features, and powerful vocalism to great acclaim. Alissa recently sang Maddalena in Rigoletto with Opera in the Heights, Mother Goose in The Rake’s Progress with Utah Opera, John Adams’ Grand Pianola Music with the Dallas Symphony Orchestra, Haydn’s Lord Nelson Mass with Concordia University Symphony Orchestra, and La Zia Principessa/Zita in Suor Angelica/Gianni Schicchi with Opera Santa Barbara. Additional operatic highlights include Cleo in The Most Happy Fella, Mistress Quickly in Falstaff, Emilia in Otello and Lampito in Lysistrata. In the 2016-2017 season Alissa makes debuts with San Diego Opera as Tisbe in La Cenerentola and North Carolina Opera as Marcellina in Le nozze di Figaro, and joins Opera Southwest for their New Year’s Eve concert. Upcoming: Alissa sings the title role of La tragédie de Carmen with Opera Birmingham.

Website: alissaandersoncontralto.com

 

 

A rising young artist, bass Jeffrey Beruan possesses a sonorous voice and dramatic intensity. His 2016-17 schedule includes two roles debuts: Tutor in Le Comte Ory with LoftOpera and Frère Laurent in Roméo et Juliette with GLOW, as well as reprises of the Prison Warden in Dead Man Walking with Lyric Opera of Kansas City and the Bonze with Austin Opera. Recent operatic highlights include Sarastro in The Magic Flute and Zuniga in Carmen with Lyric Opera of Kansas City; King in Aïda, Don Fernando in Fidelio,and Ferrando in Il trovatore for Sarasota Opera; Reverend Baines in Elmer Gantry and Bonze in Madama Butterfly with Florentine Opera; and the Prison Warden in Dead Man Walking and Polyphemus in Acis and Galatea for Madison Opera. The 2017-18 brings his role debut as Gesler in Guillaume Tell and a return to Florentine Opera for The Magic Flute.

Website: ada-artists.com/bass-jeffrey-beruan

 

Greek soprano Eleni Calenos is capturing critics’ and audiences’ admiration for the clarity, warmth and beauty of her lyric voice and her dignified characterizations. Most recently Ms. Calenos returned to Odyssey Opera as L’Infante in Massenet’s Le Cid and to Palm Beach Opera as Micäela in Carmen, made her Madison Opera debut as Mimi in La bohème, and role debuts of Desdemona in Otello with the Phoenicia Music Festival and the title role in Tosca with Loft Opera. In concert she sang Verdi’s Requiem with the Grand Junction Symphony Orchestra and Queens Collegeand joined the Sheboygan Symphony Orchestra for Respighi’s Lauda per la Nativita del Signore. The 2016-17 season also includes her return to Shreveport Opera as Mimi in La bohème, Beethoven’s Ninth Symphony with the Queens College Choral Society, Tosca with Opera Idaho, and a return to Opera Company of Middlebury for her role debut of Giorgetta in Il tabarro.

Website: elenicalenos.com

 

 

Tenor Joshua Collier was hailed as “a great Italian tenor on the make” by Classical Scene in his June 2016 role debut as Roméo in Roméo et Juliette, and lauded by the classical Voice of North Carolina for his “exceptionally pleasing tone, and excellent command of [his] high range.” He is equally comfortable with new music, opera, operetta, musical theater, and oratorio. This winter, Mr. Collier was an advanced studio artist with Sarasota Opera (FL) where he performed in Madama Butterfly and The Dialogues of the Carmelites. He will appear as the role of Ibarra in Opera Brittenica’s (Boston) production of the Filipino opera, Noli Me Tangere in June, and in August will perform his role debut of Rodolfo in Puccini’s La Bohème with Vermont Lyric Theatre. Mr. Collier is proud to be represented by Berger Artist Management. Full details of his performance schedule, as well as links to past performances may be found at bergerartists.com/joshuacollier.

Website: JRCTenor.com

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An alumnus of Lyric Opera of Chicago’s Ryan Opera Center, baritone Corey Crider recently returned to the company as Malatesta in Don Pasquale, having previously appeared with the company as Belcore in L’elisir d’amore, Yamadori in Madama Butterfly, and Larkens in La fanciulla del West. Additional recent highlights include Sweeney Todd with Madison Opera and Opera Roanoke, Marcello in La bohème with the Munich Philharmonic and Arizona Opera, Sharpless in Madame Butterfly with Dayton Opera, and Escamillo in Carmen with Lyric Opera of Kansas City. In the 2016-17 season Corey adds two important roles to his repertoire: Ford in Verdi’s Falstaff and the title role in Rigoletto. Additionally, he sings Scarpia in Tosca for both Intermountain Opera and Finger Lakes Opera, and returns to Opera Roanoke to perform his acclaimed Emile DeBeque in South Pacific. Upcoming Corey reprises his Escamillo with Madison Opera and returns to Roanoke for La bohème.

Website: coreycriderbaritone.com

 

 

Bass-baritone Kian Freitas is gaining acclaim for his voice that “soars easily over the orchestra,” commanding stage presence, and insightful interpretations in both opera and concert. His repertoire embraces the romantic Italian repertoire (Raimondo in Lucia di Lammermoor, Monterone and Sparafucile in Rigoletto, Ferrando in Il trovatore, Schaunard in La bohème, Angelotti in Tosca, Lo zio Bonzo in Madama Butterfly); French opera (Escamillo in Carmen, Le Bailli in Werther); Mozart (the title role of Le nozze di Figaro, Masetto, Leporello, and Il Commendatore in Don Giovanni, Guglielmo in Così fan tutte); and 20th-century American works (Olin Blitch in Susannah, Grandpa Moss in The Tender Land). During the 2016–17 season, Mr. Freitas joined Opera San José to both cover and perform Raimondo in Lucia di Lammermoor, and made his debut with the South Dakota Symphony as Leporello in Don Giovanni. He makes his debut with Opera Company of Middlebury in Il trittico.

Website: kianfreitasbassbaritone.com

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Margaret Gawrysiak, mezzo-soprano, has recently performed Mistress Hibbons in the world premiere of The Scarlet Letter with Opera Colorado; Public Opinion in Orpheus in the Underworld, Little Buttercup in H.M.S. Pinafore, Gertrude/Witch in Hansel and Gretel with Virginia Opera; Marquise in La fille du Régiment with Arizona Opera; Mrs. De Rocher in Dead Man Walking with Dayton Opera; Marcellina in Le nozze di Figaro with Seattle Opera; Ježibaba in Rusalka with North Carolina Opera; Frugola in Il tabarro with Opera Theatre of Saint Louis; Dame Quickly in Falstaff, Baba the Turk/Mother Goose in The Rake’s Progress, Mrs. Lovett in Sweeney Todd with Wolf Trap Opera. She was a member of Seattle Opera’s Young Artist Program, and San Francisco Opera’s Merola Program. Margaret has won awards from the Sullivan Foundation, the Jensen Foundation, and the Gerda Lissner Foundation. Geneseo, IL is her hometown.

Website: scottlevinemanagement.com/mezzo-soprano/margaret-gawrysiak

 

 

Bevin Hill

Soprano Bevin Hill is gaining attention as a performer of great charm and charisma in a variety of leading roles. Particularly cherished for her comedic gifts, Ms. Hill has memorably been lauded as a “rubber-kneed goddess of slapstick.” A beloved guest artist of Opera Company of Middlebury, Ms. Hill has appeared with the company as Papagena in The Magic Flute, Belinda in Dido and Aeneas, Léïla (cover) in Les pêcheurs de perles, Lisette in La rondine, and in the company’s 10th Anniversary Concert. During the 2016–17 season, Ms. Hill made her debuts with Missouri’s Heartland Opera Theatre as Adina in L’elisir d’amore and Florida’s First Coast Opera in a double bill of Gilbert & Sullivan’s Trial by Jury and Tucker & Sheeley’s The Trial of B. B. Wolf. Ms. Hill has fulfilled young artist residencies with Opera Iowa, Des Moines Metro Opera, Arizona Opera, Opera Saratoga, and Opera Company of Middlebury.

Website: bevinhill.com

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Joshua Jeremiah returns to OCM for his third season with the company where he was heard last summer in the title role of Macbeth. This season includes: a concert version Pacific Rim tour with NYCO (Carmen); debut role of Col Von Kalle (Mata Hari) with PROTOTYPE Festival and a debut with LA Opera; Riders of the Purple Sage, Arizona Opera; Iago (Otello); and Ford (Falstaff) with Resonance Opera. Other activities have included: Demetrius (A Midsummer Night’s Dream), Hawai’i Opera Theater; title role of Rigoletto, Arizona Opera; Alfio (Cavalleria Rusticana); Escamillo (Carmen); Sharpless (Madama Butterfly); John Sorel (The Consul), Opera Santa Barbara; Aeneas (Dido and Aeneas), Mostly Mozart Festival; Don Pedro (La Périchole), and Deputy Mayor (Anna Nicole), New York City Opera; and Athanaël (Thaïs), Opera Co. of Middlebury. He debuted the title role in John Musto’s Volpone at Wolf Trap Opera receiving a Grammy Nomination for Best Opera in 2010.

Website: alpha-artists.com/joshua-jeremiah

 

 

Suzanne Kantorski is an award-winning performer who has appeared in leading operatic roles, as a concert soloist, interpreter of new music compositions, as well as on television programs, and in feature films worldwide. She is also a member of an innovative performance ensemble, Quintus 4, which is slated to launch in late 2017. Ms. Kantorski is a collegiate educator, music researcher, lecturer, and writer and holds degrees from the Manhattan School of Music, and the Schulich School of McGill University. She has been a featured guest in discussions and performances about opera, and new music, and film on nationally syndicated radio programs such as NPR’s “Sound Check” with John Schaefer, WQXR with Brian Wise, and VPR’s “Saturday Afternoon at the Opera.” This is Suzanne’s fifth operatic appearance with OCM.

Website: suzannekantorski.com

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Tenor Matt Morgan returns to Opera Company of Middlebury having previously appeared in La rondine and The Pearl Fishers. With New York City Opera he has performed Rameau’s Platee, Charles Wuorinen’s Haroun and the Sea of Stories, The Mines of SulphurThe Little Prince, L’etoile, and The Pirates of Penzance. Following his debut with Florentine Opera as Eddie Fislinger in Elmer Gantry he returned to the company for Goro in Madama Butterfly and Drouet in the World Premiere of Sister Carrie. Additional operatic highlights include the title role in Candide, Almaviva in Il barbiere di Siviglia, Ferrando in Così fan tutte, Laurie in Little Women, Camille in The Merry Widow, Curly in Of Mice and Men and Tony in West Side Story. With American Opera Projects he created the role of Pan in the world premiere of The Judgment of Mind and performed Hamlet in Rosencrantz and Guildenstern are Dead.

Website: mattmorgantenor.com

 

 

Soprano Jenna Siladie has been succinctly acclaimed by The Wall Street Journal as “an ebullient soprano with great stage presence” who “sparkled.” The 2016–17 season witnessed Ms. Siladie making a series of role and company debuts. In December 2016, she performed the role of Margery Campbell in the New York workshop of The Nefarious, Immoral but Highly Profitable Enterprise of Mr. Burke & Mr. Hare, under the joint auspices of Boston Lyric Opera and Music Theatre Group. She began 2017 with her first foray into the belcanto repertoire, joining St. Petersburg Opera to cover Adina in their production of L’elisir d’amore. She makes her Opera Company of Middlebury debut in the current production of Il trittico, enhancing her Puccinian credentials in the roles of a midinette in Il tabarro, Suor Genovieffa in Suor Angelica, and Lauretta in Gianni Schicchi. Ms. Siladie has fulfilled two seasons of young artist residency with Santa Fe Opera and has been honored by the company’s Campbell Wachter Memorial Award.

Website: jennasiladie.com

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Praised by Opera News for his “galvanizing presence,” tenor Jonathan Tetelman joins the Milan Festival Orchestra in Lake Como for Verdi’s Requiem, Orchestra Now for Elgar’s Dream of Gerontius, Opera Company of Middlebury for Luigi in Il Tabarro and New England Symphonic Ensemble for Mozart’s Coronation Mass. Other performances include the St. George’s Choral Society for Dvorak’s Stabat Mater, and Gulf Shore Opera for concert selections from La Traviata, La bohème, and Rigoletto. Last season, he joined Martina Arroyo Foundation as Eisenstein in Die Fledermaus and Teatro Grattacielo covering Agamemnone in Gnecchi’s Cassandra. As a young artist with Opera North, Mr. Tetelman sang Steven Sankey in Weil’s Street Scene, Freddy in My Fair Lady, and Alfredo in La Traviata. He joined New York Opera Exchange as Alfredo in La Traviata, and attended the International Vocal Arts Institute in Blacksburg, Virginia performing as Elder Gleaton with direction by composer Carlise Floyd, in his masterpiece, Susannah.

Website: jonathantetelman.com

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Il Trittico (Triptych) 

 

ROLES:

Il Tabarro
Gianni Schicchi
Suor Angelica

SYNOPSES:

Il Tabarro
Gianni Schicchi
Suor Angelica

 

BACKGROUND

Il Trittico was begun just after Puccini had finished writing La Rondine (OCM’s Spring 2011 production). He had been enamored of composing three one-act operas to be performed in one evening but had been opposed by his publisher, Ricordi, who finally relented. Begun in 1915, the three operas were completed in early 1918 and the world première was given at the Metropolitan Opera in December of that year. The three operas are Il tabarro, Suor Angelica and Gianni Schicchi. They are generally presented in the ordered just stated, but director Doug Anderson has decided to reverse the order of Suor Angelica and Gianni Schicchi

 ROLES

Il Tabarro:

Michele, a barge-owner, baritone
Giorgetta, Michele’s wife, soprano
Luigi, a stevedore, tenor
‘Tinca’ (‘tench’-fish), a stevedore, tenor
‘Talpa’ (‘mole’), a stevedore, bass
La Frugola (‘the rummager’), Talpa’s wife, mezzo-soprano
Song Seller, tenor
Young Lovers, soprano and tenor

 Gianni Schicchi:

Gianni Schicchi, baritone
Lauretta, his daughter, soprano
Zita, cousin of Buoso Donati, contralto
Rinuccio, Zita’s nephew, tenor
Gherardo, Buoso’s nephew, tenor
Nella, Gherardo’s wife, soprano
Betto di Signa, Buoso’s brother-in-law, bass
Simone, cousin of Buoso, bass
Marco, Simone’s son, baritone
La Ciesca, Marco’s wife (age 38), mezzo-soprano
Maestro Spinelloccio, a doctor, bass
Ser Amantio di Nicolao, a notary, baritone
Pinellino, a cobbler, bass
Guccio, a dyer, bass
Gherardino, Nella & Gherardo’s son

Suor Angelica:

Sister Angelica, soprano
The Princess, her aunt, contralto
The Abbess, mezzo-soprano
The Monitress, mezzo-soprano
The Mistress of the Novices, mezzo-soprano
Sister Genovieffa, soprano
Sister Osmina, soprano
Sister Dolcina, soprano
The nursing sister, mezzo-soprano
The alms sisters, sopranos
A novice, soprano
The lay sisters, soprano and mezzo-soprano

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SYNOPSES

 

Il Tabarro (The Cloak) takes place on a barge in the Seine. Michele, the barge’s owner is married to Giorgetta, who has a secret lover, Luigi, one of the stevedores with whom she has arranged a tryst that night. Michele recognizes that his marriage is no longer satisfying to Giorgetta and he begs her to return to their former happiness. When she spurns him, he is convinced that she is unfaithful. Alone, Michele lights his pipe. When Luigi sees the light from Michele’s pipe, he thinks it is Giorgetta’s signal to him and rushes aboard the barge. Michele catches Luigi and forces him to confess his love for Giorgetta. He then strangles him and conceals him under his cloak. When Giorgetta returns, he reveals Luigi’s lifeless body.   https://ssl.gstatic.com/ui/v1/icons/mail/images/cleardot.gif

Gianni Schicchi  takes place in the bedroom of Buoso Donati, a rich old man who has just died. His relatives are gathered, each feigning grief to impress each other until a rumor that Buoso has left all his money to a monastery sends them into a frantic search for his will. Young Rinuccio finds it and refuses to give it up until the relatives agree that if he hands it over they will allow him to marry Lauretta, the daughter of Gianni Schicchi. They quickly agree but are disappointed when they find that Buoso has left all his money to the Church. Rinuccio suggests they turn the problem over to Gianni Schicchi who is well known for his cunning, even though the relatives scorn Schicchi’s ‘low birth.’ Lauretta begs her father to let her marry Rinuccio (‘O mio babbino caro’). Schicchi agrees and then tells all the relatives to hide Buoso’s death while he takes Buoso’s place in the bed and makes a new will bequeathing to them Buoso’s riches. A notary is summoned and Schicchi, imitating Buoso’s voice, dictates a new will granting the lion’s share of Buoso’s estate to ‘my devoted friend, Gianni Schicchi.’ Once the notary leaves, Schicchi drives the relatives from ‘my home,’ while Rinuccio and Lauretta sing of their love.

Suor Angelica (Sister Angelica) takes place in a 17th-century Italian convent. As the curtain rises, the nuns are finishing their prayers. Sister Angelica tries unsuccessfully to hide her unhappiness. The Abbess tells Angelica that her aunt, a princess, has come to visit. The princess is cold to Angelica. We learn that Angelica has been put in the convent because she had an illegitimate child. The princess informs her that the child is dead, leaving Angelica weeping, now wishing she could die and join her child in Heaven (‘Senza Mamma’). Angelica drinks poison and then realizes that by killing herself she has ruined her chances of going to Heaven. She prays to the Madonna who suddenly appears, forgives her and brings her the child who will lead her into Heaven.

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The Music

Our own resident music expert, J. Scott Morrison, has compiled a list of his favorite recordings and videos of Puccini’s Il Trittico. We hope you enjoy them.

 

Audio CD

A performance led by Antonio Pappano and featuring Angela Gheorghiu, Roberto Alagna, and the inimitable José Van Dam as Gianni Schicchi.

 

A much older recording featuring Renata Tebaldi, Mario del Monaco, Robert Merrill and Giulietta Simionato, conducted by Lamberto Gardelli. Sound is a bit cramped.

  

On YouTube

There are no videos of the complete Il trittico on YouTube.

Il Tabarro: With the incomparable Tito Gobbi  as Michele; in black & white; English subtitles.

Suor AngelicaFrom Seattle Opera; no subtitles.

Gianni SchicchiEnglish subtitles, conducted by Antonio Pappano at the Royal Opera House. Lucio Gallo (Schicchi), Ekaterina Siurina (Lauretta), Franco Demuro (Rinuccio).

Arias:

Senza Mamma (from Suor Angelica): with the meltingly beautiful singing of Renata Scotto

O mio babbino caro (from Gianni Schicchi): Anna Netrebko, no subtitles but who cares?