Organization

Direction d'orchestre

Whitney George

Mise en scène

Chanteur

Joanie Brittingham

Costanza

Shane Brown

Alberto

Angky Budiardjono

The Cripple

Andy Dwan

Fortunato

Katie Lipow

Inez

Stephen Steffens

Don Victorio

Stephanie Feigenbaum

Amarata

Fresh Squeezed Opera

Fortunato Gideon

Public

Valide

Accordionist

Instrument

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Acteur

Autre

Choeur

Chorus Director

Chorégraphie

Coach vocal

Coiffure

Compositeur

Costumes

Danse

Diffusion

Direction de choeur

Dramaturgie

Décors

En charge de la production

Extra

Illustrator

Livret

Lumières

Maquillage

Orchestra Operations

Orchestre

Photographer

Poet

Prof

Répétiteur

Stage Manager

Traduction

Video

Wig & Makeup Designer

Writer

Writing and performance

Baryton

Contre-ténor

Ténor

Baryton-basse

Contralto

Basse

Mezzo-soprano

Soprano

Alto

Continuo

Rôle muet

Rôle parlant

Voix d'enfant

WORLD PREMIERE.
Miriam Gideon (1906-1996), New York Jewish American composer, wrote Fortunato, an opera in three acts, in 1958. The work is based on the Spanish farce of the same title written by the Álvarez Quintero brothers that was first performed in 1912. Set in 20th century Madrid, the opera traces the journey of the desperately poor and down-on-his luck title character, Fortunato. He has been without work for four years and, with a family to feed, has taken to begging for the generosity of others to support him in this unfortunate time. Unlike some of his peers, Fortunato is unwilling to sacrifice his morals for this support, and in the three scenes of the opera, we see Fortunato try, and ultimately fail, to earn the money he so desperately needs for his family.
 
In the first scene Fortunato asks for support from Alberto and his wife Constanza. Unfortunately the dubious and dramatic tenor, Don Victorio has beat Fortunato to the punch, and rallies for their support instead. In the second scene, Fortunato sees Don Victorio on the streets of Madrid, who is bragging about his conquests and duping Alberto and Constanza. Don Victorio gives some begging tips to Fortunato, who next fails at soliciting support from local the stenographer. Desperate at the end of the second act, Fortunato  steals coins from the collection pan of a blind guitarist. Ridden with guilt, he returns the bounty to the musician, as the he too sings about having a family to feed of his own. In the final scene, Fortunato finds work as the target for a sharpshooter, Inez, who will pay him for a day's work if he joins her act. A questionable reformed alcoholic, Inez has less-than-perfect aim. The opera ends with Fortunato at the barrel of Inez's gun, crying "for my children!" as he continues on the road to sacrifice to support those he loves. Composed for chamber orchestra, a frugal cast of singers, and condensed length of under an hour, the opera was rumored to be formatted for television.
 
Unlike most works in Gideon's portfolio, the opera has set to receive a fully-realized performance. The score exists in full as a piano/vocal reduction, and an orchestration of Act 1 only. Composer/conductor Whitney George is completing a style-study of Gideon's orchestrational techniques to complete the orchestrations of the second and third acts for a premiere performance in Fall 2018 with The Curiosity Cabinet and Fresh Squeezed Opera.

English

Fortunato by Gideon, Miriam, mer. 22 mai 2019, Du (2019/2019), Dirigé par Whitney George,, Chef d'orchestre Whitney George

Crédits de représentation (Distribution et équipe de production )

Programme, À Propos & Synopsis

Photos

Lectures complémentaires

Dates et lieux de représentation

Salles