The Gondoliers

Welcome!

Valley Light Opera has been bringing exceptional productions of Gilbert & Sullivan and other operettas to the Pioneer Valley since 1975. Along the way we've developed some very special traditions -- an adventurous (and slightly irreverent) spirit, an emphasis on fun and community, and a wonderful mixture of newcomers and company veterans working together. Each year nearly a third of our cast and crews are new to the organization. Everyone volunteers his or her time, and everyone works together to create the best show possible. If you like to sing, try out for one of the principal roles or chorus. If you'd like to get involved behind the scenes, give us a call -- there are always plenty of jobs for every level of skill and time commitment. (See below for a list of crews and positions.) Join us for our 32nd annual autumn production -- you'll have a great time!

or The King of Barataria

VLO's Fall 2006 presentation, to be performed November 3, 4, 5, 10 & 11, will be The Gondoliers. Two just-married Venetian gondoliers are informed by the Grand Inquisitor that one of them has just become the King of Barataria (a small island nation), but only their foster mother, presently at large, knows which one. As Barataria needs a king to put down unrest in the country, they travel there to reign jointly, leaving their wives behind in Venice until the old lady can be interviewed. It turns out that the king was wed in infancy to the beautiful daughter of the Spanish Duke of Plaza Toro, and so it seems he is an unintentional bigamist. Of course, the beautiful daughter is in love with a common servant! When the young Spaniard and the two Venetian wives all show up wanting to know which of them is queen, complications arise. No worries: The true identity of the king is revealed, and all is combed out spectacularly well by the end. Debuted on December 7, 1889, this was the twelfth operetta by Gilbert & Sullivan, and the last to achieve wide-spread popularity.

Production Staff

Mary Jane Schulze Disco has played contralto leads for Valley Light Opera many times since The Mikado in 1977, as well as appearing with other groups in the area including Arena Civic Theatre, Commonwealth Opera and ALSCT. The Gondoliers will be her directorial debut, though a career as an elementary school music teacher may prove useful experience!

David Kidwell directed the music for Princess Ida, The Mikado, and The Vagabond King for VLO in '95, '96 and '97, as well as last year's The Merry Widow. Before and since he has also accompanied rehearsals, played violin in the orchestra, taken photographs and decorated the lobby display cases. David is a composer, the conductor of Holyoke Civic Symphony and Minister of Music at Edwards Church in Northampton.

Graham Christian will return as choreographer for the third time, after creating such wonderful dance numbers in our last two productions, and he is eager to begin on the Cachucha!

Dick Gregory will once again design the beautiful costumes for which VLO is famous. Recent VLO credits include The Merry Widow, Ruddigore ('04), H.M.S. Pinafore ('03), The Yeomen of the Guard ('02), and The Grand Duke ('01).

Chris Riddle and Linda Stark will collaborate to design the stage setting. Both are veterans of VLO's set design and other production jobs.

Jacqueline Haney Kidwell is coordinating producer for The Gondoliers. Other producers on the team this year are Lee Pershyn, Jim Walker, and Elaine Walker, all veterans of many positions with VLO shows. Nina Levin Pollard will assist.

You've never auditioned before? Very few of our chorus members had auditioned elsewhere before they tried out for us that first time! While auditions can be nerve-wracking for newcomers and seasoned veterans alike, we try to make them as simple and non-threatening as possible. You will sing before a small committee of five or six people. We look for voice projection, intonation, musical quality, diction, and stage presence. You will be asked to perform a short, easy bit of choreography with a small group of other auditioners.

An accompanist will be provided, and scores for all G&S operas will be available. If you bring your own music for a non-G&S piece and want piano accompaniment, please bring a copy for the accompanist as well. Remember, the accompanist will probably be sight-reading your piece -- so please keep it simple!

The piano/vocal score and an audio tape of The Gondoliers are available for copying at the circulation desk of the Jones Library in Amherst.

Callbacks: If we feel we need more information in some cases to cast principals, we will hold a callback session. More information will be available at auditions.

Directions to First Congregational Church: From the traffic light in the center of Amherst (Bank of America on one corner, Subway sandwich shop diagonally across), take Main Street east two blocks. The church is on the right, just beyond the police station. You may park in the lot at the rear of the church, or on the street. You'll be greeted in the hallway near the sanctuary.

What to Sing?

Chorus -- Prepare one verse of a song -- something straightforward and simple, not too long, which displays your range, projection, diction, and ability to sing on pitch.

Principals -- Prepare a solo from an operetta or musical. It is not necessary to sing something from The Gondoliers. You will also be asked to read some dialogue.

Rehearsal Schedule

Because we depend on one another, we take our rehearsal policy very seriously. We start and end rehearsals on time, and we work hard. If you are asked to join the company, you are required to attend all your scheduled rehearsals (except for sickness and real emergencies), and to arrive early enough to begin on time. Everyone who auditions will be asked to agree to this policy in writing, and anyone who cannot adhere to it may be dropped from the cast. You will also be expected to take a turn working on scenery, costumes or other production tasks.

Character Sketches

Giuseppe Palmieri -- He is a little more "earthy" and less genteel than Marco. He should also have good diction, as his "Rising early in the morning" is one of the more demanding patter songs in G&S. A baritone (low B-flat to high E-flat) with the agility and power to match Marco.

Tessa -- "Lower in range and generally more appealing than Gianetta, Tessa has the lovelier melodies of the two and more opportunities for humor. Otherwise, her part is in every way comparable to that of Gianetta, with whom she always appears on stage." (Peter Kline) A mezzo-soprano (low B-flat to high F), with lots of ensemble singing and a few featured solos.

Gianetta -- The female counterpart of Marco, the more staid and romantic of the two girls, with a warm personality. A soprano with both a high B-flat and a low B-flat, requiring excellent diction and accuracy of pitch and rhythm.

Duke of Plaza Toro -- The Duke must be able to command the stage by his comic wit and presence. He is our "patter" singer and doesn't need a beautiful voice. He should be "fleet of foot", able to instruct the gondoliers in proper court etiquette. A baritone or bass with excellent diction, he must be able to handle a high E and a low G, both ensemble and solo singing.

Duchess of Plaza Toro -- The Duchess should be as commanding as the Duke, if not more so. She is the "woman behind the man" and very much "motivates" her husband's actions. She, too, has a "patter" song which requires a strong voice with excellent diction. A mezzo-soprano with a wide range (low G to high F), mostly ensemble singing, with one featured solo.

Casilda -- Our romantic soprano, she sings two very beautiful but demanding arias in the first act and has little to say in the second act. She is, of, course, a Plaza-Toro, and must appear dignified and in command at all times (except when she is alone with Luiz). A soprano with a high B-flat, both ensemble and solo singing.

Luiz -- The drummer boy turned King must have a dashing, youthful appearance and an agreeable voice. "Great acting ability is not required, but polished sophistication is." (Peter Kline) It would be great if he could play the drum and imitate a few barnyard animals. A romantic baritone or light tenor (high F), both ensemble and solo singing.

Don Alhambra del Bolero -- "This macabre and funereal gentleman delivers every word as if it were a quiet, but, to him, delicious, decree of Fate." (Peter Kline) He is the most intelligent of the characters and should always appear so. His voice should be heavy and dark, and should have a great deal of character. It would help if he could have a touch of the "lecher" in him. Baritone or bass (low B-flat to high E) with excellent diction.

Inez -- the dea ex machina of the opera, having a single recitative just before the end. This is a dramatic opportunity for an actress. Musically, a small alto role which requires a fair amount of rhythmic security.

Francesco and Giorgio -- Tenor (high G) and bass members of the chorus who have brief sung and spoken passages and must exude the jollity that characterize the Gondoliers as a group. These featured chorus roles require projection, good intonation and vocal agility.

Antonio -- This role requires the ability to dance well and make his short solo sparkle. A baritone requiring projection, vocal agility, and secure rhythm; featured chorus role.

Annibale -- An excellent comic role, though a short one. This part can give a "delicious" flavor to the opening of Act Two.

Guilia -- A soprano (high F) whose sunny disposition helps to establish the opening of the opera; featured chorus role requiring projection and good intonation.

Fiametta -- An important role in the opening number of the opera, she is a soprano with a high B-flat, requiring projection and good intonation; featured chorus role.

Vittoria -- Helps supply the feminine charm at the opening of the opera. An alto or soprano (high E) with good projection; featured chorus role.

Chorus of Contadine -- A bright, vivacious and happy bunch. Women are in two parts -- soprano and alto.

Chorus of Gondoliers -- The second act offers an opportunity for individuality to be expressed among the group as they engage in various activities. Some of the writing for the men is in four parts, so male chorus members will be cast as first and second tenors, first and second basses.

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