The Anonymous Lover

Banner_Performance_2223DiscoveriesAnonymous2

Composer: Joseph Bologne, Chevalier de Saint-Georges
Librettist: François-Georges Fouques Deshayes, Desfontaines
Based on the play: L’Amant anonyme by Stéphanie Félicité, Madame de Genlis
Premiere Date: March 8, 1780

The Atlanta Opera’s acclaimed Discoveries series continues with The Anonymous Lover, an opera written in 1780 by the groundbreaking Black composer Joseph Bologne, Chevalier de Saint-Georges. A beautiful young widow begins receiving love letters from an anonymous source in this timeless comic love story. As she ponders the sender of these romantic overtures and wrestles with her own doubt of rediscovering love, her dear friend battles his own feelings of anxiety and yearning as the mysterious author of these notes of affection. True love is his goal, but time will tell if he finds his love requited.

Sung in French with English Supertitles

Cast

Maria Valdes
Léontine

Frederick Ballentine
Valcour

Indra Thomas
Dorothée 

Jonathan Bryan
Ophémon

Cadie J. Bryan
Jeannette

Christian Patterson
Colin

Creative

Emily Senturia
Conductor

Maria Todaro
Stage Director

Stéphan Moravski
Set Designer

Ari Fulton
Costume Designer

Blake Manns
Projection Designer

Stevie Agnew
Lighting Designer

Melanie Steele
Wig & Makeup Designer

Cast

Maria Valdes
Léontine

Frederick Ballentine
Valcour

Indra Thomas
Dorothée 

Jonathan Bryan
Ophémon

Cadie J. Bryan
Jeannette

Christian Patterson
Colin

Creative

Emily Senturia
Conductor

Maria Todaro
Stage Director

Stéphan Moravski
Set Designer

Ari Fulton
Costume Designer

Blake Manns
Projection Designer

Stevie Agnew
Lighting Designer

Melanie Steele
Wig & Makeup Designer

Banner_Performance_2223DiscoveriesAnonymous2

Composer: Joseph Bologne, Chevalier de Saint-Georges
Librettist: François-Georges Fouques Deshayes, Desfontaines
Based on the play: L’Amant anonyme by Stéphanie Félicité, Madame de Genlis
Premiere Date: March 8, 1780

The Atlanta Opera’s acclaimed Discoveries series continues with The Anonymous Lover, an opera written in 1780 by the groundbreaking Black composer Joseph Bologne, Chevalier de Saint-Georges. A beautiful young widow begins receiving love letters from an anonymous source in this timeless comic love story. As she ponders the sender of these romantic overtures and wrestles with her own doubt of rediscovering love, her dear friend battles his own feelings of anxiety and yearning as the mysterious author of these notes of affection. True love is his goal, but time will tell if he finds his love requited.

Sung in French with English Supertitles

Synopsis

Part I

Joseph Bologne Chevalier de Saint George contemplates aloud, shedding light on his most recent opus, “l’Amant Anonyme”, about to be performed for the honored guests of Madame de Montesson.

The composer steps into the lead role of Valcour while his contemporary and patron, Madame de Montesson, is given the role of Dorothée.

The performers arrange the sets in the fashion of the  “Salon” performance and the play begins:

For years now, Valcour has been suffering from an unrequited love for the striking, young widow Léontine (aria: “Depuis longtemps” – “For a long time”). With the hand of his friend and confidant Ophémon, Valcour has been lavishing Léontine with gifts, flowers and love letters. All this he has done anonymously in an effort of self-preservation. Léontine was left devastated following her late husband’s death, and Valcour is convinced that she has no desire to spark a romance with someone new. He reveals to Ophémon that he feels his attempts to win the affections of Léontine have at last proved unavailing. Ophémon counters this sentiment, telling Valcour that it is imperative he lay bare his secret (duet: “Tant de constance, tant d’amour” – “Such constancy, such love”). Léontine unintentionally overhears the two going back and forth, discovering the truth about Valcour’s profound and maddening love for her.

Bologne is taken aback by the sight of Marie-Josephine de Montalambert playing the role of Léontine. His awe draws him away from the play briefly, but Madame de Montesson summons him back and the performance carries on.

Léontine, trying to veil any allusion to her discovery, goes to Valcour and asks him to settle a dispute she is having with Dorothée. Léontine has received a bouquet of flowers from the Anonymous Lover, along with a letter imploring her to carry the bouquet at a wedding later that day. According to the letter, the Anyonymous Lover will concede and cease his amorous pursuit, if she does not. Dorothée believes it would be harmless for Léontine to accept the flowers. Hoping to observe Valcour’s reaction, Léontine claims she does not want to hurt her secret admirer’s feelings, nor lead him on (aria: “Son amour, sa constance extreme” – “His love, his extreme constancy”). Dorothée seems surprised by Léontine’s odd behavior, while Valcour succeeds in convincing Léontine to carry the flowers. 

Jeannette and Colin, the young couple about to be betrothed, arrive on the scene and express their gratitude towards Léontine for making their wedding possible (chorus: “Chantons, célébrons notre dame” – “Let us sing, let us celebrate our lady”). They invite their guests to revel with them in the love and joy of the moment (chanson: “Jouissez de l’allégresse” – “Enjoy the happiness”). Léontine is surprised, but this weddings seems to be one of the festivities the Anonymous Lover regularly organizes for her. The guests are eager to continue the wedding preparations as an infectious jubilance fills the air. Dorothée even improvises a special gift for the happy couple. 

Dorothée, Léontine and Valcour find themselves alone for a brief moment as the wedding guests begin the festivities inside Léontine’s villa. Valcour teases Léontine that the Anonymous Lover might very well be closer than she thinks.

He persuades her to call out to her mysterious suitor and insist he reveal himself. When she obliges, Valcour crudely attempts to mock the situation, overdramatically declaring that it is in fact he who has been the tormented Anonymous Lover all along. Valcour’s “joke” evokes a tantalizing chuckle from Dorothée. But there seems to be a pivotal revelation at this moment. A glimpse of genuine transparency between Valcour and Léontine unnerves them both, and they feel “seen” by one another. Léontine is overwhelmed, even dizzy, and everyone’s efforts to help only exacerbate the incident. 

Valcour and Ophémon nervously try to convince Léontine that it was all in jest, while Jeannette and Colin are sympathetic to Léontine’s palpable anguish (quintet: “Que de maux mon coeur ressent” – “My heart feels such pain”).

Interlude: We travel into the future and into reality, Marie-Josephine de Montalambert has received a poignant and melancholic letter from Joseph Bologne. Marie-Antoinette has been executed, The French Revolutionaries  have won, Bologne mourn their son and  lament about how much life has changed. We listen to the Largo of his concerto opus 8, numero 2 in G, composed after learning about the death of his baby boy.

Part II

Alone, Léontine is overcome with embarrassment. She laments that Valcour is unlikely to understand her feelings, though she longs to unburden her heart to him (recitative: “Enfin une foule importune” – “At last this unwelcome crowd”). Valcour impresses upon Ophémon to go to Léontine and tell her that he has spoken with the Anonymous Lover. Léontine pressures him for details, but Ophémon resists (duet: “Ah, finissez de grace” – “Ah, go on please”). Eventually, Ophémon concedes. He tells her how the Anonymous Lover agonizes over the impossibility that Léontine would love him, but that he wishes to reveal his identity anyway. (aria: “Aimer sans pouvoir le dire” – “To love without being able to admit it”) Léontine agrees to meet.

As she awaits the arrival of her not-so-anonymous lover, Léontine realizes that her heart is now full of passion, something she never expected. (ariette: “Du tendre amour” — “Such is the power of tender love”) Valcour arrives. Léotine tries everything to get him to confess his love for her, but Valcour maintains that his presence is a mere act of friendship and support. (duet: “Non, je ne puis rien entendre” — “No, I can’t listen anymore”) By now, Ophémon and Dorothée, accompanied by the whole village, are listening outside the door. At last, Léontine and Valcour surrender and profess their love for one another. Ignorant to the fact that Léontine has been aware of it for some time now, Valcour prepares to reveal himself as the Anonymous Lover  (trio: “Ah, quel trouble” —  “Ah, such confusion”). Before he has the chance, Léontine kisses him, and their powerful embrace puts an end to any uncertainties.

Léontine shares the joyous news with Dorothée, who had been hoping for this outcome all along with Ophémon. They all join Jeannette and Colin for what is now a double wedding (chorus: “Deux noces à la fois”  — “Two weddings at once”). The two couples rejoice in happiness as song and dance ensue all around them (quartet: “Aimons-nous sans cesse” — “Let us love one another”). 

Synopsis courtesy Los Angeles Opera & Minnesota Opera, written by Mark Lyons, with edits by Stage Director, Maria Todaro

Characters & Cast

Léontine

Maria Valdes

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Valcour

Frederick Ballentine

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Dorothée

Indra Thomas

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Ophémon

Jonathan Bryan

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Jeannette

Cadie J. Bryan

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Colin

Christian Patterson

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Sponsored by the Molly Blank Fund of the Arthur M. Blank Family Foundation

The Discoveries series

The Discoveries series is dedicated to audience members who are seeking new works, new ideas and fresh perspectives. These are not your standard operas.

Locations

As part of The Opera’s effort to bring opera to new audiences all over Atlanta, these productions are performed in exciting alternative venues that we don’t traditionally perform opera in.

Supertitles

Many operas are in a foreign language. Supertitles are similar to subtitles in a film, except they are projected above the stage. These translations will help you follow what’s happening on stage.

What to Wear

There is no dress code at The Opera and you will see everything from jeans to evening gowns and formal suits. Most people use it as a chance to enjoy dressing up in their own style.

Arriving in Good Time

If you are late, you will have to sit the first act in the back and then in the intermission ushers will show you to your seat. Plan ahead to arrive with extra time.

Directions to Discoveries series Venues

Enhance Your Visit

Backstory

Discoveries series performances include events either before or after the performance. As part of the Backstory program, these experiences allow audience members to learn more about the opera, open a conversation around important topics, and participate with the cast in conversation, dancing, and many other formats. Free for ticket holders.

Familiarizing Yourself with the Story

Because of the foreign languages, classical music, and often complex plots, you will very likely enjoy the performance better if you spend a few minutes familiarizing yourself with the story and characters in advance. Some people even like to listen to the music in advance and others prefer to let it wash over them during the show and perhaps look it up afterwards.

Composer

Joseph Bologne, Chevalier de Saint-Georges

Joseph Bologne, Chevalier de Saint-Georges (December 25, 1745 – June 10, 1799), was a Creole virtuoso violinist, conductor of the leading symphony orchestra and classical composer in Paris. He was born in the then French colony of Guadeloupe as the son of Georges de Bologne Saint-Georges, a wealthy married planter and an enslaved African woman. At the age of seven he was taken to France and at the age of thirteen educated as gendarme to the King. He received music lessons from François-Joseph Gossec and probably violin lessons from Jean-Marie Leclair, but continued fencing.

In 1764 Antonio Lolli dedicated two concertos to Saint-Georges. In 1769 he joined a new symphony orchestra; two years later he was appointed concertmaster and soon started composing. In 1773 he was appointed conductor of “Le Concert des Amateurs”. In 1775 he introduced the symphonie concertante, using the possibilities offered by a new bow. In 1776 he was proposed as the next conductor of the Paris Opera, but was subsequently denied this role by a petition by the divas of the time to the Queen. This then put an end to any aspirations that Saint-Georges had to becoming the music director of the institution. In 1778 he lived for 2.5 months next to Mozart in the Chaussee d’Antin and stopped composing instrumental works in 1785. He knew many composers, including Salieri, Gretry, Mozart and Gluck. He commissioned and performed the Paris Symphonies by Haydn and travelled to London where he met with the Prince of Wales in 1787.

Following the 1789 outbreak of the French Revolution, the younger Saint-Georges served as a colonel of the Légion St.-Georges (established in 1792), the first all-black regiment in Europe, fighting on the side of the Republic. Today the Chevalier de Saint-Georges is best remembered as the first-known classical composer of African ancestry. He composed numerous string quartets and other instrumental pieces, violin concertos as well as operas.

– Wikipedia

Conductor

Emily Senturia

Drawing from her diverse experience as a violinist, conductor, and coach, San Francisco Bay Area native Emily Senturia approaches operatic repertoire with a sympathetic affinity for both singers and instrumentalists.

In 2022, Ms. Senturia returns to Hawaii Opera Theatre to conduct The Tragedy of Carmen, makes debuts at Opera Santa Barbara (Semele), Florida Grand Opera (Fellow Travelers), Opera Saratoga (Sky on Swings), New Orleans Opera (Il barbiere di Siviglia) and Minnesota Opera (Rinaldo), and continues coaching students at the San Francisco Conservatory of Music.

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Ms. Senturia made mainstage conducting debuts with Houston Grand Opera and Washington National Opera in 2018, both with Il barbiere di Siviglia. Recently she has conducted La clemenza di Tito with Opera Steamboat, La traviata with Hawaii Opera Theatre, Ariadne auf Naxos with Wolf Trap Opera, and Fellow Travelers with Boston Lyric Opera. She music directed the world premiere of Denis & Katya at Opera Philadelphia’s O19 Festival, and has been on the music staff at Houston Grand Opera (Nixon in China, Tosca, Faust, Aida), the San Francisco Conservatory of Music (Le nozze di Figaro), The Atlanta Opera (Sweeney Todd, Carmen), Wolf Trap Opera (The Ghosts of Versailles, Giulio Cesare, La bohème), and Opera Philadelphia (Sky on Swings, Elizabeth Cree, War Stories).

Ms. Senturia is an alum of the Houston Grand Opera Studio, Wolf Trap, the Aspen Music Festival, and the Royal Academy of Music. She studied orchestral conducting at Boston University and violin at Rice University.

emilysenturia.com

Stage Director

Maria Todaro

A versatile artist and art entrepreneur, Maria is not simply a stage director, but a fight choreographer, stunt artist, writer and conductor. She is also training a new generation of singers and serves as general director of The Phoenicia International Festival of Voice after being one of its founder in 2010.

Maria just realized the unrealizable by presenting the 1st live performance drive in style in the US in this Covid-19 environment, fully social distanced, sci-fi Tosca in Kingston NY. for FofV.

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Todaro is specializing in virtual reality directing ( Volumetrics, VR, AR).

In 2022, Ms Todaro will open the Minnesota Opera season with ” L’Amant Anonyme” by Joseph Bologne, Chevalier de St George. an exceptional and rare opera. Ms Todaro chose a unique setting for this production: an island such as Guadalupe in the 18th century , as an homage to this remarkable black composer and the female librettist, Felicity de Genlis.

In 2021, Maria presented a unique production of Pagliacci set in the wild west, with horses, carriages, and circus artists at FofV in Phoenicia, NY

The 2019 season has her back at NJFO for ‘Tosca’ , her ” Spanish Civil War Carmen” in Fargo, and a ground breaking production of Elixir of Love set in Ghana with an exclusive African American cast at FofV , August 2019.

Maria Todaro made her US stage directing debut in 2015 with “Cavalleria Rusticana” for the Westfield Symphony Orchestra under the baton of British maestro David Wroe and was immediately invited back to direct “La Boheme” the next season. In past seasons she was an assistant director with Michigan Opera theater assisting Ron Daniels on ‘Carmen’ and serving as fight choreographer and was assistant director to Bernard Uzan on ‘Cyrano de Bergerac’’ .

In 2017, she staged “ Don Giovanni” for the South Dakota Symphony Orchestra, “La Boheme” for NJFO and in August 2017 adapted her modern version of “ La Boheme “ for the Phoenicia Int. Festival of the Voice with a prestigious cast of the Metropolitan Opera (John Osborn, Lucas Meachem, Richard Bernstein, Mireille Asselin). The 2018 season brought her to the University of Miami to assist Jeffery Buchman on a new production of ‘Cendrillon’ and saw her own, stunning ‘Madama Butterfly’ at New Jersey Festival Orchestra. Maria then scored a huge success at the Phoenicia Int. Festival of the Voice with her unique production of ‘Carmen’ starring Ginger Costa-Jackson in the title role.

A personal endeavor of Todaro was the creation of the opera ” Les Trois Mousquetaires“ inspired by Alexandre Dumas’s novel- she is the librettist and the music is by composer Mitchell Bach.

Maria Todaro is one of the co-founders of The Phoenicia International Festival of The Voice, which was created in August 2010 in upstate New York in the Hamlet of Phoenicia in the beautiful Catskills mountains.

maria-todaro.com