{"id":9087,"date":"2023-08-01T00:00:17","date_gmt":"2023-08-01T00:00:17","guid":{"rendered":"https:\/\/www.chiapatino.com\/home\/?page_id=9087"},"modified":"2024-08-28T23:15:04","modified_gmt":"2024-08-28T23:15:04","slug":"trgdycrmn","status":"publish","type":"page","link":"https:\/\/www.chiapatino.com\/home\/trgdycrmn\/","title":{"rendered":"LA TRAGEDY DE CARMEN"},"content":{"rendered":"

[vc_row unlock_row_content=”yes” row_height_percent=”0″ override_padding=”yes” h_padding=”0″ top_padding=”0″ bottom_padding=”0″ back_color=”color-wayh” back_image=”8569″ overlay_color=”color-prif” overlay_alpha=”11″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”350159″ back_color_type=”uncode-palette” overlay_color_type=”uncode-palette”][vc_column width=”1\/1″][vc_empty_space empty_h=”5″][vc_empty_space empty_h=”5″][vc_empty_space empty_h=”5″][vc_empty_space empty_h=”5″][vc_empty_space empty_h=”5″][\/vc_column][\/vc_row][vc_row row_height_percent=”0″ overlay_color=”color-xsdn” overlay_alpha=”50″ gutter_size=”3″ column_width_percent=”100″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”117128″ overlay_color_type=”uncode-palette”][vc_column column_width_percent=”100″ gutter_size=”3″ style=”dark” overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/1″][vc_empty_space empty_h=”2″][vc_column_text uncode_shortcode_id=”206838″]Music by Georges Bizet, Adapted by Peter Brook, Written by Jean-Claude Carri\u00e8re, Composed by Marius Constant\u00a0<\/strong><\/em>[\/vc_column_text][vc_custom_heading heading_semantic=”h1″ text_font=”font-165742″ text_size=”h1″ uncode_shortcode_id=”121674″ subheading=”Chautaqua Opera, July 20 – 21, 2023″]<\/p>\n

La Trag\u00e9die de Carmen<\/h1>\n

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Creative & Production Teams<\/h3>\n

[\/vc_column_text][vc_column_text uncode_shortcode_id=”730213″]Stage Director:<\/strong> \u00a0Ch\u00eda Pati\u00f1o
\nConductor:<\/strong> \u00a0Steven Osgood
\nSet Designer:<\/strong> Brian Ruggaber
\nLighting Designer:<\/strong> Michael Baumgarten
\nSound Designer:<\/strong> Graham Riggle
\nCostume Supervisor:<\/strong> Cristine Patrick
\nWig & Makeup Supervisor:<\/strong> Martha Ruskai
\nAssistant Stage Director:<\/strong> Kia Smith
\nProps Director:<\/strong> Wendy Ann
\nTechnical Director:<\/strong> John P. Woodey
\nAssistant Conductor<\/strong>: Carol Rausch
\nCoach\/Pianist:<\/strong> Emily Jarrell Urbanek, Nathaniel LaNasa
\nDiction Coach\/Supertitles:<\/strong> Allison Voth[\/vc_column_text][vc_empty_space empty_h=”3″][vc_button hover_fx=”outlined” outline=”yes” border_width=”0″ link=”url:https%3A%2F%2Faudienceaccess.co%2Fshow%2FCHQ-8397|target:_blank” uncode_shortcode_id=”715201″]Complete credit list[\/vc_button][\/vc_column][vc_column width=”1\/3″][vc_empty_space empty_h=”1″][vc_column_text uncode_shortcode_id=”123448″]<\/p>\n

Cast<\/h3>\n

[\/vc_column_text][vc_column_text uncode_shortcode_id=”172134″]Carmen <\/strong>\u2013 Monique Galv\u00e3o
\nMica\u00ebla<\/strong> \u2013 Lili Juyeon Yoo
\nDon Jos\u00e9<\/strong> \u2013 Louis Tiemann
\nEscamillo<\/strong> \u2013 Tshilidzi Ndou
\nLillas Pastia <\/strong>– Brian Jeffers
\nZuniga and Garcia <\/strong>– Evan Lazdowski<\/p>\n

Supernumeraries <\/strong>– Nathan Bowles, Alexis Peart, Atticus Rego, Nathan Savant, Trevor Scott[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][vc_empty_space empty_h=”1″][vc_column_text uncode_shortcode_id=”168068″]<\/p>\n

Chautauqua Opera Orchestra<\/strong><\/h3>\n

[\/vc_column_text][vc_column_text uncode_shortcode_id=”307522″]Violin I<\/strong> – Vahn Armstrong
\nViolin II<\/strong> – Jonathan Richards
\nViola<\/strong> – Chris Fischer
\nCello<\/strong> – Lars Kirvan
\nBass<\/strong> – P.J. Cinque
\nFlute<\/strong> – Kathy Levy
\nOboe\/English Horn<\/strong> – Adam Dinitz
\nClarinet<\/strong> – Dan Spitzer
\nBassoon<\/strong> – Jeff Robinson
\nHorn<\/strong> – Bill Bernatis
\nTrumpet<\/strong> – Les Linn
\nTrombone<\/strong> – Aidan Chamberlain
\nTimpani<\/strong> – Brian Kushmaul
\nPercussion<\/strong> – Tom Blanchard, Principal
\nPedro Fernandez
\nHarp<\/strong> – Beth Robinson
\nPiano<\/strong> – Nathaniel LaNasa[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/1″][vc_empty_space empty_h=”2″][vc_custom_heading heading_semantic=”h3″ text_font=”font-165742″ text_size=”h3″ uncode_shortcode_id=”830446″]<\/p>\n

Gallery – Act 1<\/h3>\n

[\/vc_custom_heading][vc_separator sep_color=”color-jevc” uncode_shortcode_id=”839995″ sep_color_type=”uncode-palette” el_width=”15%”][vc_gallery el_id=”gallery-122021″ medias=”8602,8589,8590,8591,8592,8593,8594,8595,8596,8597″ gutter_size=”2″ screen_lg=”1000″ screen_md=”600″ screen_sm=”480″ single_width=”3″ single_overlay_opacity=”50″ single_overlay_anim=”no” single_text_anim=”no” single_image_anim=”no” single_padding=”0″ single_border=”yes” uncode_shortcode_id=”215744″][vc_empty_space empty_h=”2″][vc_custom_heading heading_semantic=”h3″ text_font=”font-165742″ text_size=”h3″ uncode_shortcode_id=”810905″]<\/p>\n

Gallery – Act 2<\/h3>\n

[\/vc_custom_heading][vc_separator sep_color=”color-jevc” uncode_shortcode_id=”153291″ sep_color_type=”uncode-palette” el_width=”15%”][vc_gallery el_id=”gallery-122021″ medias=”8608,8609,8610,8611,8612,8613,8614,8615″ gutter_size=”2″ screen_lg=”1000″ screen_md=”600″ screen_sm=”480″ single_width=”3″ single_overlay_opacity=”50″ single_overlay_anim=”no” single_text_anim=”no” single_image_anim=”no” single_padding=”0″ single_border=”yes” uncode_shortcode_id=”148570″][vc_empty_space empty_h=”2″][vc_custom_heading heading_semantic=”h3″ text_font=”font-165742″ text_size=”h3″ uncode_shortcode_id=”186243″]<\/p>\n

Gallery – Act 3<\/h3>\n

[\/vc_custom_heading][vc_separator sep_color=”color-jevc” uncode_shortcode_id=”170710″ sep_color_type=”uncode-palette” el_width=”15%”][vc_gallery el_id=”gallery-122021″ medias=”8618,8619,8620,8621,8622,8623,8624,8625″ gutter_size=”2″ screen_lg=”1000″ screen_md=”600″ screen_sm=”480″ single_width=”3″ single_overlay_opacity=”50″ single_overlay_anim=”no” single_text_anim=”no” single_image_anim=”no” single_padding=”0″ single_border=”yes” uncode_shortcode_id=”316445″][vc_empty_space empty_h=”2″][vc_custom_heading heading_semantic=”h3″ text_font=”font-165742″ text_size=”h3″ uncode_shortcode_id=”179205″]<\/p>\n

Gallery – Act 4<\/h3>\n

[\/vc_custom_heading][vc_separator sep_color=”color-jevc” uncode_shortcode_id=”308329″ sep_color_type=”uncode-palette” el_width=”15%”][vc_gallery el_id=”gallery-122021″ medias=”8628,8629,8630″ gutter_size=”2″ screen_lg=”1000″ screen_md=”600″ screen_sm=”480″ single_width=”3″ single_overlay_opacity=”50″ single_overlay_anim=”no” single_text_anim=”no” single_image_anim=”no” single_padding=”0″ single_border=”yes” uncode_shortcode_id=”562491″][vc_empty_space empty_h=”2″][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/1″][vc_empty_space empty_h=”2″][vc_custom_heading text_font=”font-165742″ uncode_shortcode_id=”462363″]<\/p>\n

Director\u2019s Notes on The Trag\u00e9die de Carmen, or the importance of dissenting voices.<\/h2>\n

[\/vc_custom_heading][vc_separator sep_color=”color-jevc” uncode_shortcode_id=”213944″ sep_color_type=”uncode-palette” el_width=”15%”][vc_column_text uncode_shortcode_id=”987431″]W<\/strong>hen Peter Brook accepted to adapt Bizet\u2019s Carmen in the 80’s, he went back to the source and tried to refocus the story to its origin. Prosper M\u00e9rim\u00e9e, a 19th-century French novelist that had traveled to Spain, was fascinated by it. He fell under the spell of Andalusia, a country where many cultures lived, danced, and sang together. He was fascinated by the Moorish influence in Seville and C\u00f3rdoba. The bullfights felt dangerous and exotic to him. It was intoxicating\u2026<\/p>\n

Around 1939, during the Franco-era, Spain embraced a code of morality for women that restricted careers but honored them as wives and mothers, prohibited divorce, contraception, and abortion, but permitted prostitution. It was a period where there was little respect for life itself. Dissenting voices were confronted and executed. In the name of “goodness”, and because he won the Spanish Civil War, Franco marked the outsiders, and justice was served. Silence was planted.<\/p>\n

Carmen, the woman, embodies everything we are taught to fear: she lives under her own rules. Mica\u00ebla points out these contradictions in her aria:<\/p>\n

She is dangerous\u2026 she is beautiful.
\nCarmen\u2019s freedom seduces her. Most societies will condemn and extract the temptation, while the sinner gets absolved…such is the law. And silence grew.In M\u00e9rim\u00e9e\u2019s novella, when the narrator first observes Carmen among the Nymphs of the Guadalquiver in C\u00f3rdoba, he is already judging her, even as he knows he is transgressing: \u2026 I could perceive that she was pretty, young, well made, and that she had very large eyes\u2026 \u201cGo along! Go along! You see quite well that I am a gipsy. Do you wish me to tell you la baji (good-fortune)? Have you ever heard of La Carmencita? I am she.\u201d<\/p>\n

I was such infidel at the time \u2013 that I did not recoil with horror at finding myself in company with a sorceress. \u201cAll right,\u201d I said to myself. \u201cLast week I supped with a bandit \u2013 a highway robber; today I am eating ices with a handmaiden of the devil! \u201c<\/p>\n

\u201cShe was of a strange and savage beauty \u2013 a face which at first surprised you, but it was one you could never forget. Her eyes especially had an expression at once voluptuous and fierce, which I have never since noticed in any human eyes. \u201cEye of gypsy, eye of wolf\u201d is a Spanish saying which denotes quick observation. [1]<\/a><\/p>\n

If we ask any opera-goer what Carmen is about, everyone will have an idea of who Carmen is before she walks on stage. Endless adjectives will describe her, always with a hint of fascination and fear. That is Carmen\u2019s tragedy- everyone sees who they want to see, and use her at their convenience: as a warning, a sexual object, an idol, or a cautionary tale. Mostly, she scares us, because she lives under her own laws, and we do not forgive her for that. Carmen is as free as we can only dream to be. She makes us feel small, so we will not show mercy. We will silence her.<\/p>\n

Before Carmen walks on stage, we have judged her and condemned her. So most likely, we will not see who she is. And just like Don Jos\u00e9, we will try to save her. When we can\u2019t morph her, we need to kill her. Carmen can foresee the dilemma and could change her future. But, she remains true to herself: that is her fate. She knows the price to pay, and she faces it. She is the master of her fate and the captain of her soul. Her year was 1845\u2026 Silenced.<\/p>\n

Ch\u00eda Pati\u00f1o<\/strong><\/em>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/1″][vc_empty_space empty_h=”2″][vc_custom_heading text_font=”font-165742″ uncode_shortcode_id=”200213″]<\/p>\n

Rehearsals & Custom Design<\/h2>\n

[\/vc_custom_heading][vc_separator sep_color=”color-jevc” uncode_shortcode_id=”649759″ sep_color_type=”uncode-palette” el_width=”15%”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/1″][vc_gallery el_id=”gallery-122021″ medias=”8540,8541,8542,8543,8545,8546″ explode_albums=”yes” gutter_size=”0″ screen_lg=”1000″ screen_md=”600″ screen_sm=”480″ single_overlay_opacity=”50″ single_overlay_anim=”no” single_text_anim=”no” single_image_anim=”no” single_padding=”2″ single_text_reduced=”yes” single_border=”yes” uncode_shortcode_id=”950321″ title=”Carmen Rehersals”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/1″][vc_empty_space empty_h=”2″][vc_row_inner row_inner_height_percent=”0″ back_color=”color-xsdn” overlay_alpha=”50″ gutter_size=”4″ shift_y=”0″ z_index=”0″ uncode_shortcode_id=”105116″ back_color_type=”uncode-palette”][vc_column_inner column_width_use_pixel=”yes” position_vertical=”middle” align_horizontal=”align_center” gutter_size=”3″ style=”dark” overlay_alpha=”50″ shift_x=”0″ shift_y=”0″ shift_y_down=”0″ z_index=”0″ medium_width=”0″ mobile_width=”0″ width=”1\/1″ column_width_pixel=”900″ uncode_shortcode_id=”164941″][vc_separator sep_color=”color-prif” uncode_shortcode_id=”103397″ sep_color_type=”uncode-palette” el_width=”50%” el_height=”0.5″][vc_custom_heading text_color=”color-prif” text_font=”font-165742″ sub_lead=”small” sub_reduced=”yes” uncode_shortcode_id=”123138″ text_color_type=”uncode-palette” subheading=”“Chautauqua Opera Company production directed by Chia Patino on July 20 at Norton Hall offered plenty of excellence to focus on“”]Review: In Chautauqua Opera\u2019s \u2018Carmen,\u2019 Young Artists strike balancing act[\/vc_custom_heading][vc_button button_color=”color-jevc” hover_fx=”outlined” border_width=”0″ link=”url:https%3A%2F%2Fchqdaily.com%2F2023%2F07%2Freview-in-chautauqua-operas-carmen-young-artists-strike-balancing-act%2F|target:_blank” uncode_shortcode_id=”470288″ button_color_type=”uncode-palette”]The Chautauquan Daily[\/vc_button][vc_empty_space empty_h=”1″][vc_separator sep_color=”color-prif” uncode_shortcode_id=”103397″ sep_color_type=”uncode-palette” el_width=”50%” el_height=”0.5″][\/vc_column_inner][\/vc_row_inner][vc_empty_space empty_h=”2″][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

When Peter Brook accepted to adapt Bizet\u2019s Carmen in the 80’s, he went back to the source and tried to refocus the story to its origin. Prosper M\u00e9rim\u00e9e, a 19th-century French novelist that had traveled to Spain, was fascinated by it. He fell under the spell of Andalusia, a country where many cultures lived, danced, and sang together. He was fascinated by the Moorish influence in Seville and C\u00f3rdoba. The bullfights felt dangerous and exotic to him. It was intoxicating\u2026<\/p>\n","protected":false},"author":1,"featured_media":8174,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-9087","page","type-page","status-publish","has-post-thumbnail","hentry","page_category-workcollection","page_category-stagedirector"],"yoast_head":"\nLA TRAGEDY DE CARMEN - Chia Pati\u00f1o<\/title>\n<meta name=\"description\" content=\"When Peter Brook accepted to adapt Bizet\u2019s Carmen in the 80's, he went back to the source and tried to refocus the story to its origin. Prosper M\u00e9rim\u00e9e, a 19th-century French novelist that had traveled to Spain, was fascinated by it. He fell under the spell of Andalusia, a country where many cultures lived, danced, and sang together. He was fascinated by the Moorish influence in Seville and C\u00f3rdoba. The bullfights felt dangerous and exotic to him. It was intoxicating\u2026\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.chiapatino.com\/home\/trgdycrmn\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"LA TRAGEDY DE CARMEN - Chia Pati\u00f1o\" \/>\n<meta property=\"og:description\" content=\"When Peter Brook accepted to adapt Bizet\u2019s Carmen in the 80's, he went back to the source and tried to refocus the story to its origin. Prosper M\u00e9rim\u00e9e, a 19th-century French novelist that had traveled to Spain, was fascinated by it. He fell under the spell of Andalusia, a country where many cultures lived, danced, and sang together. He was fascinated by the Moorish influence in Seville and C\u00f3rdoba. The bullfights felt dangerous and exotic to him. 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