Lucrezia Borgia
directed and designed by
John Pascoe
 
 
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‘A major ingredient in the production’s success was the fact that it was a Gesamtkunstwerk of sorts, with both stage direction and visual design in the excellent hands of the admirable John Pascoe.’
Opera Today, Nov 2008
San Francisco Opera, 2011
Act I: Bella Venezia
The terrace of Palazzo Grimani in Venice
photo: Cory Weaver
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‘Pascoe’s gowns for Miss Fleming were arrestingly beautiful, and her warrior garb for the final scene was breathtaking.’
Concerto.net, Nov 2008
San Francisco Opera, 2011
Act I: Tranquillo ei posa
Lucrezia (Renée Fleming) sees her son Gennaro for the first time.
photo: Cory Weaver
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‘In Pascoe’s view, Lucrezia was the product of an abusive family, a woman trapped and corrupted by the ruthless ways of her infamous relatives, yet yearning all the while to enjoy something purer – motherly love. Works for me!’
Opera News, Feb 2009
San Francisco Opera, 2011
Act I: Come è bello! ... Quale incanto
Lucrezia (Renée Fleming) admires her son Gennaro (Michael Fabiano).
photo: Cory Weaver
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‘Fleming conveyed Lucrezia’s internal struggles tellingly in her scenes with Gennaro, her abandoned son.’
Opera News, Feb 2009
San Francisco Opera, 2011
Act I: Di pescatore ignobile
Gennaro (Michael Fabiano) tells Lucrezia (Renée Fleming) of his love for the mother he has never met.
photo: Cory Weaver
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‘Pascoe’s costumes were colourful, striking, and dramatic … The Act I costumes in particular caught the magic, mystery, and gaiety of the Venetian carnival.’
Concerto.net, Nov 2008
Washington National Opera, 2008
Act I: Maffio Orsini, signora, son io…
Maffio Orsini (Kate Aldrich, right) accuses Lucrezia (Renée Fleming) of the murder of his brother.
photo: Karin Cooper
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‘Fast-paced … vigorous. The staging abounds in insights that illuminate the plot.’
Opera Warhorses, Oct 2011
Washington National Opera, 2008
Act I: Che ardite? S'avvi alcun d'insultarla capace
Gennaro (Vittorio Grigolo) defends the masked Lucrezia (Renée Fleming) from Maffio (Kate Aldrich).
photo: Karin Cooper
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‘The wonderfully traditional yet slightly post-punk set design and costuming were created by stage director John Pascoe.’
Opera Warhorses, October 2011
Washington National Opera, 2008
Atto I: Che ardite? S'avvi alcun d'insultarla capace
Gennaro (Michael Fabiano) is horrified to hear the accusations against Lucrezia.
photo: Karin Cooper
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‘Central to the design were gigantic stone walls, first parting in welcome to the carnival atmosphere of Venice, the endless party town, then closing ominously to lock the characters and the audience in.’
Opera Today, Nov 2008
San Francisco Opera, 2011
Act II: Nel veneto corteggio
Duke Alfonso (Vitalij Kowaljow) seeks information about Gennaro from his servant Rustighello (Daniel Montenegro).
photo: Cory Weaver
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‘Together with the fabulous lighting by Jeffrey Bruckerhoff … the sets enhanced the complex psychological drama woven by Mr Pascoe the stage director.’
Opera Today, Nov 2008
San Francisco Opera, 2011
Act II: Vieni: la mia vendetta
Believing Gennaro to be Lucrezia’s lover, Duke Alfonso (Vitalij Kowaljow) plans revenge.
photo: Cory Weaver
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‘The only genuinely romantic relationship is the friendship between Gennaro and his warrior sidekick Maffio Orsini … Pascoe essentially presents these friends as lovers … Donizetti’s duets for them, when they swear to remain together until death, are the opera’s most tenderly beguiling moments.’
The New York Times, Nov 2008
San Francisco Opera, 2011
Act II: E il sia. Stamparle in fronte vorrei l'infamia
Maffio (Elizabeth De Shong) and Gennaro (Michael Fabiano) deface the Borgia family crest.
photo: Cory Weaver
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‘Pascoe’s production is spiked with contemporary psychological twists … applying a modern-day sensibility to evoke an aggressively masculine Renaissance society.’
The New York Times, Nov 2008
Washington National Opera, 2008
Act II: E ognor di lei v'udrò parlarmi?
Gennaro (Vittorio Grigolo) boldly defies the Borgias.
photo: Karin Cooper
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‘The visual elements work well within the shadowy world Pascoe has created, a world of towering sixteenth-century Italian walls that frame the well-paced action’
Baltimore Sun, Nov 2008
San Francisco Opera, 2011
Act II: Ma il furor della duchessa ...
Astolfo (Ryan Kuster) tries to prevent Duke Alfnso’s men from arresting Gennaro.
photo: Cory Weaver
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‘Pascoe fine-tuned the story of power struggles between the Duke and Duchess of the Renaissance city of Ferrara … In Pascoe’s hands, details of the plot are clarified, producing a dramatically cohesive performance.’
Opera Warhorses, Dec 2011
San Francisco Opera, 2011
Act II: Non far motto: parti, sgombra …
Duke Alfonzo’s servant Rustighello (Daniel Montenegro, left) orders Astolfo (Ryan Kuster) to leave.
photo: Cory Weaver
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‘Pascoe, who directed the action fluently … designed a world of towering walls to frame each scene and evoke a sense of sixteenth-century Italian towns’
Opera News, Feb 2009
Washington National Opera, 2008
Act III: Tutto eseguisti?
Inside the Palazzo D’Este, Duke Alfonso (Ruggiero Raimondi) questions his servant Rustighello (Yingxi Zhang).
photo: Karin Cooper
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‘John Pascoe’s new production for Washington National Opera makes a strong case for this darkly tragic work.’
Baltimore Sun, Nov 2008
San Francisco Opera, 2011
Act III: Or bada. A quella in fondo segreta sala
Duke Alfonso (Vitalij Kowaljow) plots the murder of Gennaro.
photo: Cory Weaver
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‘Lucrezia gets her due in John Pascoe‘s compelling new production of Donizetti’s Lucrezia Borgia for Washington National Opera.’
Baltimore Sun, Nov 2008
Washington National Opera, 2008
Act III: A voi mi trae vendetta
Lucrezia (Renée Fleming) demands revenge for the insult to the name of Borgia.
photo: Karin Cooper
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‘Fleming threw herself into the daunting role, taking enormous vocal risks, singing with raw intensity and earthy richness, utterly inhabiting the character of this beautiful, murderous noblewoman in Renaissance Italy.’
The New York Times, Nov 2008
Washington National Opera, 2008
Act III: Guai se ti sfugge un moto, se ti tradisce un detto!
Duke Alfonso (Ruggiero Raimondi) forces Lucrezia (Renée Fleming) to remain silent about his plan to kill Gennaro.
photo: Karin Cooper
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‘Pascoe sees Lucrezia as a determined woman, probably a victim of abuse as a girl, trying to survive in a ferociously masculine world.’
The New York Times, Nov 2008
Washington National Opera, 2008
Act III: Gran Dio!
Lucrezia (Renée Fleming) plots to save the life of Gennaro, her son.
photo: Karin Cooper
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‘It was refreshing to encounter a director who did not flinch at the homosexual relationship between Gennaro, Lucrezia’s illegitimate son, and his young lover Maffio Orsini (a contralto trouser role)’
Concerto.net, Nov 2008
San Francisco Opera, 2011
Act IV: Ah! Non posso abbandonarti!
Gennaro (Michael Fabiano) and Maffio (Elizabeth de Shong) swear eternal loyalty
photo: Cory Weaver
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‘Pascoe, who designed the sets and costumes and also served as director, gave the production a distinctive look. A threatening world of towering walls conjures up a sixteenth-century Italy.’
Baltimore Sun, Nov 2008
San Francisco Opera, 2011
Act IV: Rischiarata è la finestra.
Acting on the orders of the Duke, Rustighello (Daniel Montenegro) and accomplices prepare to seize Gennaro.
photo: Cory Weaver
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‘Pascoe’s decision to establish an overtly gay romance between Captain Gennaro and his fellow soldier, Maffio Orsini, was a brilliant stroke.’
Opera Warhorses, Oct 2011
San Francisco Opera, 2011
Act IV: L'altezza vostra…
Inside the Palazzo d’Este, the captive Gennaro demands an explanation for his arrest.
photo: Cory Weaver
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‘Finding abundant justification in the libretto for the gay sub-plot, Pascoe cleverly draws it out to provide an extra dimension to the doomed characters, who kiss in the shadows and talk of running off together, before the Borgia curse falls heavily on them.’
Baltimore Sun, Nov 2008
Washington National Opera, 2008
Act IV: O viva, o mora. Qual due fiori a un solo stelo …
Gennaro (Vittorio Grigolo) and Maffio (Kate Aldridge) swear to live and die together.
photo: Karin Cooper
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‘Designer-director John Pascoe’s sets … were at once stunning and gorgeous, capturing the right mood and feel for each scene …’
Concerto.net, Nov 2008
San Francisco Opera, 2011
Act V: Viva il Madera!
The young members of the Venetian legation are entertained at the party held by Princess Negroni.
photo: Cory Weaver
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‘The most striking of Pascoe’s directional flourishes has to do with Gennaro and Maffio’s relationship … he provides an extra dimension to the doomed characters and gives the whole opera a little unexpected spice.’
Baltimore Sun, Nov 2008
Washington National Opera, 2008
Act V: Il segreto per esser felici
Lovers Maffio (Kate Aldridge) and Gennaro (Vittorio Grigolo) resolve to enjoy happiness while they can.
photo: Karin Cooper
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‘Renée Fleming introduced California audiences to an opera and to a production that she has championed, the John Pascoe production of Donizetti’s Lucrezia Borgia. The Fleming-Pascoe collaboration, a milestone in Italian opera, is clearly a labour of love.’
Opera Warhorses, Oct 2011
San Francisco Opera, 2011
Act V: Presso Lucrezia Borgia
Lucrezia (Renée Fleming) swears death to all those who dishonour the Borgia name.
photo: Cory Weaver
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‘Pascoe did not shy away from any of the taboo elements of the story but delineated them clearly and brought the storyline, subtexts and all, to the front.’
Concerto.net, Nov 2008
Washington National Opera 2008
Act V: Voi primiera di mia mano preparatevi a perir.
Grief-stricken at the death of his lover Maffio, Gennaro (Vittorio Grigolo) attempts to kill Lucrezia (Renée Fleming).
photo: Karin Cooper
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‘Renée Fleming exploited her smoky lower register to particularly dramatic effect, boldly digging into every syllable of the text to reveal the troubled heart beating beneath the cool exterior of one of history’s most notorious women.’
Opera News, Feb 2009
Washington National Opera 2008
Act V: Bevi ... bevi ... e il rio veleno deh!
Hoping to save Gennaro (Vittorio Grigolo) from death by poisoning, Lucrezia (Renée Fleming) begs him to drink an antidote.
photo: Karin Cooper
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‘John Pascoe’s thoughtfully conceived production …’
Financial Times, Nov 200
San Francisco Opera, 2011
Act V: Era desso il figlio mio …
Surrounded by members of the court, Lucrezia (Renée Fleming) weeps over the body of Gennaro, her son.
photo: Cory Weaver
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‘Credit should go to Renée Fleming for championing the opera and for enlisting John Pascoe, Plàcido Domingo and the Washington National Opera to create the new production.’
Opera Warhorses, Oct 2011
San Francisco Opera, 2011
Act V: Si soccorra
Overcome with grief, Lucrezia (Renée Fleming) takes her own life.
photo: Cory Weaver
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‘Strong casting and attractive sets assured stellar performances of an opera that more stage directors (and opera critics) should take seriously.
Opera Warhorses, Dec 2011
Washington National Opera, 2008
Act V: Oh! Ciel! Se n' muor
Alongside the body of Gennaro (Vittoro Grigolo, foreground), Duke Alfonso (Ruggiero Raimundi) holds the dying Lucrezia (Renée Fleming) in his arms.
photo: Karin Cooper
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‘The Pascoe production is an extraordinary contribution to the Donizetti Revival, one that takes a more sophisticated look at the theatricality … that lay hidden even from the work’s twentieth-century admirers.’
Opera Warhorses, Nov 2008
Washington National Opera, 2008
Act V: Si soccorra
Overcome with grief at having unintentionally poisoned her son Gennaro (Vittoro Grigolo), Lucrezia (Renée Fleming) takes her own life.
photo: Karin Cooper
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