2020 Festival Casting Breakdown

    Secondary, Comprimario, and Ensemble casting may participate in both operas
    Singers in secondary, comprimario and ensemble roles may participate in the “Songs” program
    NB: The 2020 Festival will not include a “Scenes” program

    JUANA
    Music by Carla Lucero
    Libretto (in Spanish) by Alicia Gaspar de Alba and Carla Lucero
    production to be single-cast with covers
    5 performances

    # At least partial nudity is indicated in the libretto (scroll to the end of the Juana breakdown for the description)
    ^ Ages are those listed in the score, not literal singer ages
    @ Ethnicities refer to historical characters; casting will not necessarily take this information into account
    *  One singer plays multiple roles

    Sor Juana Inés de la Cruz#
    Age: 30’s^
    Criollo@
    Mezzo soprano (A3 – A5); must have easy passaggio and upper register

    Concepcíon/Young Juana*
    Age: 16 – 20
    Mestiza
    Soprano (E4 – B5); tessitura is very “high and light”

    El Alma
    Age: Any
    Countertenor (A3 – F5)

    The Vicereine (La Condesa)#
    Age: 35 – 45
    Spaniard
    Soprano (C4 – C6); tessitura sits above passaggio a significant amount, but needs a slightly mature sound for contrast with other characters

    The Viceroy/Fiscal/Men in Shadows*
    Age: 45 – 55
    Spaniard
    Tenor (F3 – B4)

    Sor Andrea/Mother Andrea/Chorus*
    Age: 30’s
    Soprano (C4 – C6); must have free, easy top

    Padre Antonio/Men in Shadows*
    Age: 55+
    Criollo
    Baritone (A2 – F4); not high tessitura – could be bass baritone

    The Bishop of Puebla/Sor Filotea/MIS*
    Age: 40’s
    Spaniard
    Tenor (D3 – A4); sits high register a good amount of the time; must be comfortable in drag

    The Archbishop/Men in Shadows*
    Age: 50 – 60
    Spaniard
    Bass (F2 – A3)

    Madre Melchora
    Age: 40’s
    Contralto (A3 – C5)

    Sor Rafaela/Chorus*
    Age: 30’s
    Mezzo-soprano (A3 – G5)

    Don Carlos/Court Clerk/Men in Shadows*
    Age: 30 – 40
    Criollo
    Tenor (Eb3 – C5); top register used, but role does not sit there

    Four additional chorus members (Nuns)
    Age: Any
    There were several kinds of nuns in the convent, including converted Jewish nuns, as well as mestizas whose racial mixture tended to be muted by years of intermixing with Spaniards 
    3 sopranos, 1 alto
    Covers for other roles will also sing chorus

    # Stage directions from the libretto: La Condesa bares and kisses Juana’s shoulders, then wraps her arms around Juana. Juana kisses La Condesa’s neck. La Condesa takes Juana’s hands and kisses them, then leads Juana to her bed, and in one fluid movement, Juana steps free of her camisole. Both naked now, they are enveloped in the darkness of the night. (end of Act I)

    ANNA BOLENA
    Music by Gaetano Donizetti
    Libretto (in Italian) by Felice Romani
    production to be double-cast; possibility for study-covers
    6 performances (3 each cast; each cast covers the other for remaining performances)

    Enrico VIII, re d’Inghilterra
    Bass (G2 – E4); needs easy coloratura

    Anna Bolena, sua moglie
    Soprano (Bb3 – C6); fullish lyric coloratura with some ability for occasional steel

    Giovanna Seymour, damigella di Anna
    Mezzosoprano (Bb3 – B5); equal comfort in all tessiture

    *Lord Rochefort, fratello di Anna
    Basso (G2 – Eb4)

    Lord Riccardo Percy
    Tenor (C3 – C5) [original keys C – Eb5); can be done in generally published keys by an “Ottavio” tenor, or by a higher tenor in original keys

    Smeton, paggio e musico della Regina
    Contralto (Ab3 – G5); some lower tessitura, but does not sit there

    *Sir Hervey, ufficiale del Re
    Tenor (Eb3 – Ab4); smallish role, modest vocal requirements

    *singers in these roles will sing in the ensemble on “off” nights”

    Ensemble (at least 3 women and 3 men)