Chair’s Welcome to ‘The Boor’ by Dominick Argento

It is with great excitement that we welcome you to The Boor by Dominick Argento, the first production of Springboard Opera for 2025. Springboard Opera is dedicated to supporting emerging artists, providing a stage to develop their talents and share their voices with the world. At the same time, we seek to transform the very idea of opera—reimagining classic works and presenting bold new interpretations that challenge expectations and engage modern audiences. With The Boor, Dominick Argento’s lively adaptation of Chekhov’s The Bear, we celebrate this mission by infusing tradition with fresh energy and showcasing the dynamic artistry of our performers.

– Don Jameson - Board Chair

A Word From the Artistic Directors

Welcome! It’s a pleasure to share with you this sharp and spirited one-act opera, a gem of 20th-century American repertoire that combines biting humour with beautifully expressive music.The Boor is a masterclass in character-driven comedy, brought to life through Argento’s wit, economy, and theatrical flair. Tonight’s performance showcases not only the clever interplay of text and score but also the remarkable talents of our artists.

At Springboard Opera, we are committed to championing works that offer both artistic challenge and joyful accessibility—pieces that allow emerging performers to grow while engaging audiences in fresh and meaningful ways. The Boor encapsulates that mission perfectly: it’s compact, compelling, and crackling with energy. We are thrilled to have you with us for this performance, and we hope it brings you laughter, surprise, and a renewed appreciation for the vibrant possibilities of chamber opera.

– Leslie Martin

Notes from the Director

In The Boor, Dominick Argento takes Chekhov’s sharp little one-act play and sets it to music that sparkles with wit, frustration, and unexpected tenderness. At its heart, the opera is a cheeky, spirited tale about the absurd lengths we go to in order to protect our pride. Beneath the farcical surface lies something deeply human: two people trapped by grief, pride, and stubbornness, both aching for connection but too pig-headed and constrained by ridiculous social norms to admit it. In staging this work, I was drawn to its playful collision of emotional repression and impulsive action—the way it dances between rage and attraction, formality and farce. The clever libretto and vocal writing give us characters that are heightened yet familiar, displaying both satire and empathy.

For me, this is an enemies-to-lovers story that revels in its own ridiculousness. There’s heat and humour with a flirtation masquerading as a duel (the best type of duel). I wanted to lean into the comedy without losing the emotional undercurrent: that ultimately, it can be our own self-sabotage that keeps us from what we truly want. In directing this production, I’ve aimed to balance the opera’s bold theatricality with a little wink to the audience, inviting them to enjoy the chaos, the charm, and perhaps recognise a little of themselves in the madness.

– Emma Nightingale