382:'s English translation of the play in 1948. He approached his fellow Juilliard School faculty member, Bernard Stambler, to write the libretto. Upon reading the last two acts, both men were dissatisfied with the progression of the play, and the decision was made to substantially alter the focus of the plot for the second half of the work. The character of the "Gentleman" was entirely removed, and the story's focus shifted to Mancini's efforts to marry off Consuelo to the Baron. Rather than have a tragic murder-suicide by poison at the end, the writers chose instead to have Consuelo reject Pantaloon's profession of love and go off with her lover Begano instead.
771:
422:
Count
Mancini to marry her. Pantaloon argues with Baron Regnard, claiming that the Count will never marry her. The Baron and Consuelo become engaged after she is pressured by her father. At the end of the act Zinida reveal's Pantaloon's past as a man broken by an adulterous wife who publicly humiliated him in upper class society.
421:
In the second act, Pantaloon is now an established clown in
Briquet's circus and his act is highly successful, making him popular with the troop and their audiences. He has fallen in love with Consuelo from afar, who is herself in love with Begano. Consuelo's father, Baron Regnard, attempts to get
417:
In the first act of the opera, a mysterious man, later known as
Pantaloon, arrives at Briquet's circus. He requests to join the troop as a clown. Briquet asks to see Pantaloon's identification in order to register his employment with the government. Pantaloon discloses his name into Briquet's ear,
389:
in order to avoid the difficulty of finding opera singers who were able to do acrobatics and other clown tricks as well as sing. Opera directors and conductors
Frederic Cohen and Frederick Waldmann of the Juilliard Opera Theater helped in the development process of the opera, by having graduate
418:
without revealing it to the audience. The reaction of the circus owner reveals that
Pantaloon is a famous upper class intellectual who is highly respected, but the audience gains no further knowledge of the character other than he is 39 years old.
390:
students in the opera program at
Juilliard sing through material as it was being written. Ward and Stan and Stambler modified their work upon feedback from Cohen, Waldmann, and the students involved. Other artists who gave valuable input included
481:
and used sets and costumes designed by
Andreas Nomikos. For this version, Stambler revised portions of the libretto, and accordingly Ward made alterations to the score. In 1978 it was staged by the Encompass New Opera Theatre as
425:
In the third act, Pantaloon plays the part of an intoxicated court jester. He successfully sabotages
Mancini's plans to marry Consuelo. He professes his love to her. She rejects him, and goes off with Begano instead.
135:
in 1959. Stambler's adaptation of the play made some notable changes in plot and characterization, condensing the final two acts of the four act play into one act. The play's central character, "He", was renamed
144:. Additionally, the play's tragic murder and suicides at the end are removed for a somewhat happier conclusion where Pantaloon is rejected by Consuelo instead of Pantaloon murdering her.
811:
462:
as Zinida. Essentially a workshopped opera presentation by a professional cast, the original production was costumed but had minimal sets and a smaller orchestra.
385:
At the suggestion of arts patron
Elizabeth Kray Ussachevsky, the clown roles of Polly and Tilly were turned from dialogue roles to silent roles skilled in
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518:
551:
Opera: An
Encyclopedia of World Premieres and Significant Performances, Singers, Composers, Librettists, Arias and Conductors, 1597–2000
695:
Brenda Lewis was ill and replaced by Sarfaty on the opening night of the NYCO production. She resumed her role in later performances.
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796:
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Off Broadway Musicals, 1910–2007: Casts, Credits, Songs, Critical Reception and Performance Data of More Than 1,800 Shows
438:'a Columbia Theatre Associates and Opera Workshop (CTAOW), Milton Smith and the director of Columbia's opera program,
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A fully realized presentation of the opera was not given until 1959 when it was mounted under the name
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123:. The first of Ward's nine operas, the opera is written in a lyrical style reminiscent of
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677:"Opera as Theatre; American Composers Have Learned Public Demands a Good Libretto"
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Frederick H. White (2016). "A Slap in the Face of American Taste: Transporting
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127:. The work is infrequently performed; with its most notable staging being at
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to American Audiences". In Alexander Burry; Frederick H. White (eds.).
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into an opera after reading the first two acts of psychoanalyst
442:, agreed to stage the opera using funds provided by the
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Composition history and the plot in relation to the play
600:. Edinburgh University Press. pp. 140–164 (158).
446:. The opera premiered on May 17, 1956 under the title
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718:Robert Ward; Bernard Stambler (May 13, 1956).
454:. Staged by Felix Brentano, the cast included
594:Border Crossing: Russian Literature into Film
477:in April 1959. That production was staged by
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720:"Writing an Opera Is a Collaborative Effort"
414:Setting: A circus in a large city in France
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519:"Opera: By Robert Ward; City Troupe Offers
374:Robert Ward first got the idea of adapting
140:in reference to the character from Italian
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744:"Is There Opera Beyond the Met? You Bet!"
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450:by the CTAOW in the concert hall of the
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812:Adaptations of works by Leonid Andreyev
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115:by Bernard Stambler which is based on
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434:In the Fall of 1955 the director of
188:a mysterious man who becomes a clown
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154:Roles, voice types, premiere cast
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484:Pantaloon, He Who Gets Slapped
100:Pantaloon, He Who Gets Slapped
1:
277:a jockey and Consuelo's lover
78:concert hall, New York City
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170:Conductor: Rudolph Thomas
168:Premiere cast, 17 May 1956
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111:with an English language
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797:English-language operas
646:McFarland & Company
617:10.3366/j.ctt1bh2kpq.12
555:McFarland & Company
316:the owner of the circus
549:Franklin Mesa (2007).
246:Regina Sarfaty (later
107:in 3 Acts by composer
65:May 17, 1956
817:Operas based on plays
792:Operas by Robert Ward
121:play of the same name
742:(January 20, 1978).
475:New York City Center
444:Alice M. Ditson Fund
16:Opera by Robert Ward
589:He Who Gets Slapped
521:He Who Gets Slapped
471:New York City Opera
467:He Who Gets Slapped
436:Columbia University
430:Performance history
376:He Who Gets Slapped
176:cast, 12 April 1959
174:New York City Opera
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133:New York City Opera
88:He Who Gets Slapped
54:He Who Gets Slapped
24:He Who Gets Slapped
749:The New York Times
725:The New York Times
682:The New York Times
675:(April 12, 1959).
638:Dan Dietz (2010).
528:The New York Times
517:(April 13, 1959).
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142:commedia dell'arte
51:Leonid Andreyev's
458:as Pantaloon and
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295:Consuelo's father
211:a horseback rider
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380:Gregory Zilboorg
304:Francis Barnard
257:a wealthy patron
220:Jeanne Beauvais
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293:Baron Regnard,
255:Count Mancini,
180:Emerson Buckley
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117:Leonid Andreyev
91:(also known as
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356:silent role
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338:silent role
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248:Brenda Lewis
232:a lion tamer
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103:) is a 1956
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807:1956 operas
344:Paul Dooley
308:Emile Renan
186:Pantaloon,
178:Conductor:
109:Robert Ward
34:Robert Ward
786:Categories
490:References
456:Paul Ukena
404:Max Rudolf
362:Phil Bruns
224:Lee Venora
209:Consuelo,
198:Paul Ukena
164:Voice type
69:1956-05-17
40:Librettist
448:Pantaloon
387:pantomime
320:baritone
314:Briquet,
138:Pantaloon
94:Pantaloon
275:Begano,
230:Zinida,
193:baritone
113:libretto
61:Premiere
48:Based on
469:by the
352:a clown
350:Tilly,
334:a clown
332:Polly,
216:soprano
131:by the
125:verismo
67: (
802:Operas
762:Portal
652:
614:
604:
402:, and
281:tenor
776:Opera
612:JSTOR
598:(PDF)
262:tenor
160:Role
148:Roles
105:opera
30:Opera
650:ISBN
602:ISBN
410:Plot
97:and
473:at
119:'s
32:by
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722:.
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406:.
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250:)
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71:)
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