Word: salzmann
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Produced by Christina M. Mulligan ’04 and James R. Salzmann...
...creative team, led by producer James R. Salzmann ’02, director Sarah E. Meyers ’02 and music director Michael A. Schuler ’03, presents a vigorous but faithful retelling of the tale of Count Almaviva, his valet, Figaro, and the beautiful women and mischievous boys that people their aristocratic world...
...this adaptation of the opera, Meyers, Salzmann and Schuler have emphasized the story’s universality in an attempt to involve the audience more fully in the characters’ plights. Understanding the content of the libretto, including the banter between characters, also adds to the music an emotional component that may not be possible when the opera isn’t in English...
...between Susanna and Rosina, in which Rosina, in a wonderfully ironic twist, suggests writing a note to the Governor in Italian. The ensuing duet between the two superbly talented singers recalls the historical and emotional associations the original libretto is able to conjure. These qualities are what Salzmann defines in his Note on the Translation as ties “to a world of aristocratic titles, hard-ridden horses, and first night privileges...
Still, there were a few who saw the PSLM as both unjustified and unhelpful in bringing light to the issue. James R. Salzmann ’02 says that he feels “more negative to the PSLM” after the sit-in and that the group “should have continued to speak with the administration instead of breaking the law.” Another student was more caustic, commenting that while the PSLM may “have their hearts in the right place,” it’s “easy...