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CONTENTS
A SCENE FROM PORTLAND OPERA’S 2012 PRODUCTION OF PUCCINI’S MADAMA BUTTERFLY. PHOTO BY CORY WEAVER
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Message from the Interim General Director Sue Dixon Message from the Board President Curtis T. Thompson, MD Madama Butterfly
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Cast & Crew / Synopsis
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A Note from the Stage Director E. Loren Meeker
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The Origins of Puccini's Madama Butterfly
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A Complex Legacy: Artistic Appreciation and Social Responsibility
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Production Staff
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Orchestra
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Chorus
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A Timeline
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Staff & Board
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Biographies
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In the Community
MESSAGE FROM THE INTERIM GENERAL DIRECTOR
PHOTO BY GIA GOODRICH
SUE DIXON
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Welcome to the start of Portland Opera's 55th anniversary season! I’m thrilled to celebrate and experience our fall classic, Giacomo Puccini’s iconic Madama Butterfly, with you. I think that the act of experiencing a magnificent work of art like this one is more meaningful when we share it live, and together as a community. Your presence makes it possible for this unforgettable story and exquisite music to truly come to life. I am especially honored to be here with you as we welcome Japanese soprano Hiromi Omura to Portland for her U.S. debut. She joins an incredible cast and our celebrated chorus and orchestra, under the baton of our beloved George Manahan, all powered by the direction of E. Loren Meeker and an amazing crew and company—you get the idea—we are so excited to share this masterpiece with you! Our organization recognizes that Madama Butterfly is one of the world’s most beloved operas, and that it also has a complicated legacy. I hope that you will dig deeper into the community and cultural context of this piece, and explore the articles and lobby displays that our POR TL ANDOPER A .ORG
team has created—based on community discussions and dramaturgical research. I’d also like to mark this occasion by taking a moment to welcome Daniel Biaggi to Portland Opera, as our Interim Artistic Director. He has a proven commitment to the beauty and breadth of this art form, and I believe that the future of Portland Opera will shine brighter as a result of his collaborations with us. I hope that you’ll stop and say hello to both of us in the lobby at each performance. Here we go! This marks the start of our 19/20 season: a celebration of the art of opera from four different centuries. Thank you for being here today, and for helping Portland Opera thrive. I hope you are inspired and moved by Puccini’s music! Cheers,
SUE DIXON Interim General Director, Portland Opera
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MESSAGE FROM THE BOARD PRESIDENT
CURTIS T. THOMPSON, MD Dear Friends,
PHOTO BY LOMA SMITH
Welcome to Portland Opera’s 55th season with our opening production of Giacomo Puccini’s Madama Butterfly! This season spans nearly 300 years of the opera repertoire and features the compelling variety for which we have become known. We are excited to welcome an international cast of singers making their Portland Opera debuts as well as some familiar faces back to Portland for this production of Madama Butterfly. Acclaimed soprano Hiromi Omura makes her U.S. debut as Cio-Cio-San, having performed the role around the globe. Tenor Luis Chapa also makes his Portland debut as the brash naval officer Pinkerton, a role he sang at the Metropolitan Opera in the 2017-18 season. We are also thrilled to present the American premiere of Vivaldi’s 1735 opera Bajazet, featuring the Portland Opera debuts of rising stars Kathleen Kim, Aryeh Nussbaum Cohen (2017 Metropolitan Opera National Council Auditions Grand Finals winner), and Avery Amereau. This spring, we look forward to one of the finest examples of opera verismo in Leoncavallo’s Pagliacci. And of course, you’ll find something for every opera lover, both old and new, in our Big Night concert of opera favorites. This season also highlights American composers from the 20th and 21st centuries, with An American Quartet of four short operas by Samuel Barber, Gian Carlo Menotti, Douglas Moore, and Lee Hoiby, and our production of Jake Heggie’s Three Decembers. As we look toward the future, we are committed to listening to you, our patrons, stakeholders, and community members. We heard you, and we have made the decision to return to a September–May performance season, starting in Fall 2020. We look forward to announcing the season soon.
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Warmest regards,
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CURTIS T. THOMPSON, MD Board President, Portland Opera
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PHO TO BY CARO LINE LABE RGE , OPÉ RA DE MONTRÉA L
HIROMI OMURA AS C IO-C IO-SAN.
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OCTOBER 25, 27m, 31, NOVEMBER 2, 2019 | KELLER AUDITORIUM
Libretto by Luigi Illica and Giuseppe Giacosa Performed in Italian with projected English translations
Premiere: Teatro alla Scala, Milan, February 17, 1904 | Portland Opera Premiere: March 1967
Conductor GEORGE MANAHAN
Stage Director E. LOREN MEEKER
Set and Costume Designer LLOYD EVANS
Lighting Designer MARK MCCULLOUGH
Japanese Movement and Cultural Advisors MOMO SUZUKI * KEVIN SUZUKI *
Chorus Master and Assistant Conductor NICHOLAS FOX
Principal Accompanist SEQUOIA *
Production Stage Manager JON WANGSGARD *Portland Opera Debut
Scenery and costumes are property of Portland Opera, originally constructed for New York City Opera. Projected English captions written and produced by Cori Ellison.
PERFORMED IN TWO ACTS WITH ONE INTERMISSION. TOTAL RUNNING TIME IS APPROXIMATELY 2 HOURS AND 40 MINUTES.
Recording equipment, cameras, and personal phones are prohibited. Portland Opera appreciates the continuing support of the Meyer Memorial Trust, the James F. and Marion L. Miller Foundation, Oregon Arts Commission, Regional Arts and Culture Council, and the National Endowment for the Arts. Portland Opera is a member of OPERA America. THIS PRODUCTION MADE POSSIBLE BY GENEROUS GIFTS FROM:
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Late seating is not available for Portland Opera productions, and re-entry during the performance is not permitted.
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MADAMA BUTTERFLY THE CAST
in order of vocal appearance
B. F. Pinkerton, U.S. Navy Lieutenant
LUIS CHAPA *
Goro, a marriage broker KARL MARX REYES * Suzuki, Cio-Cio-San’s servant NINA YOSHIDA NELSEN * Sharpless, U.S. Consul at Nagasaki TROY COOK * Cio-Cio-San, Madama Butterfly HIROMI OMURA * Cio-Cio-San’s Cousin CRISTINA MARINO Cio-Cio-San’s Mother AIMEE CHALFANT Yakuside, Cio-Cio-San’s Uncle JIM JEPPESEN Cio-Cio-San’s Aunt KATE STROHECKER Imperial Commissioner/ Prince Yamadori ANDRÉ CHIANG^ Official Registrar BRYAN ROSS The Bonze, Cio-Cio-San’s Uncle PEIXIN CHEN * Sorrow, Cio-Cio-San’s Child VIVIENNE ESMÈ MUIR SURI PARK Kate Pinkerton CAMILLE SHERMAN +
+ Member of the Portland Opera Resident Artist Program ^ Alumnus of the Portland Opera Resident Artist Program Biographies of artists begin on page 34.
Pinkerton inspects the house he has leased from a marriage broker, Goro, who has procured him servants and a wife, Cio-Cio-San, known as Butterfly. The American consul, Sharpless, arrives, and Pinkerton describes the carefree philosophy of a sailor roaming the world in search of pleasure. At the moment, he is enchanted with Cio-Cio-San, but the 999-year contract Goro has arranged contains a monthly renewal option. When Sharpless warns that the girl may not take her vows so lightly, Pinkerton brushes aside such scruples, saying he will one day marry a “real” American wife. Cio-Cio-San is heard in the distance joyously singing of her wedding. Entering surrounded by friends, she tells Pinkerton about her background; she belongs to an honorable family, but when they fell on hard times, she had to earn her living as a geisha*. Her relatives bustle in, noisily expressing their opinions on the marriage. In a quiet moment, Cio-Cio-San shows her bridegroom her few earthly treasures, among them the dagger with which her father committed hara-kiri, and tells Pinkerton she intends to embrace his Christian faith. The Imperial Commissioner performs the wedding ceremony. The celebration is interrupted by Cio-Cio-San’s uncle, a Buddhist monk, who curses the girl for renouncing her ancestors’ religion. Pinkerton angrily sends the guests away. Alone with Cio-Cio-San in the moonlit garden, he dries her tears, and they consummate their marriage.
—INTERMISSION—
ACT II. Three years later, Cio-Cio-
San awaits her husband’s return. As her servant, Suzuki, prays to her gods for aid, her mistress stands in the doorway, her eyes fixed on the harbor. When Suzuki shows her how little money is left, Cio-Cio-San urges her to have faith: one fine day, Pinkerton’s ship will appear on the horizon. Sharpless brings a letter from the lieutenant, but before he can read it, Goro presents a wealthy suitor, Prince Yamadori. The girl dismisses both the marriage broker and the prince, insisting that her
American husband has not deserted her. Sharpless tries tactfully to suggest that she might be better off with Yamadori, but Cio-Cio-San proudly carries forth her child, saying that as soon as Pinkerton knows of his child’s existence he surely will come back; if he does not, she would rather die than return to her former life. Moved by her devotion and faith, Sharpless leaves. Cio-Cio-San, on the point of despair, hears a cannon report; seizing a spyglass, she discovers Pinkerton’s ship entering the harbor. Delirious with joy, she orders Suzuki to help her strew the house with flowers. As night falls, Cio-Cio-San, Suzuki, and the child begin their vigil.
ACT II, Part II. As dawn breaks,
Suzuki insists that Cio-Cio-San rest. She carries her child to another room, humming a lullaby. Before long, Sharpless enters with Pinkerton, followed by Kate, his new wife. When Suzuki learns who the American woman is, she is heartbroken, but she agrees for the sake of the child to aid in breaking the news to her mistress. Pinkerton, overcome with remorse, begs Sharpless to speak to Cio-Cio-San for him, then bids an anguished farewell to the scene of his former happiness and rushes away. When Cio-Cio-San comes forth expecting to find her beloved, she finds Kate instead. Guessing the truth, Cio-Cio-San agrees to give up her child if Pinkerton will return. Then, sending even Suzuki away, she takes out her father’s dagger and bows before a statue of Buddha, preparing to die with honor rather than live in disgrace. Just as she raises the blade, Suzuki pushes the child into the room. Sobbing a last farewell, Cio-Cio-San sends the child into the garden to play, then stabs herself. As she dies, Pinkerton is heard calling her name.
* Puccini and the librettists writing Madama Butterfly in the early 20th century mischaracterized the role of geisha in Japan. In reality, geisha are highly specialized entertainers that train rigorously for years to become the artists they are. See page 27 to learn more. REPRINTED COURTESY OF OPERA NEWS.
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* Portland Opera Debut
ACT I. U.S. Navy lieutenant B. F.
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WITH THE PORTLAND OPERA ORCHESTRA AND CHORUS
SYNOPSIS
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A NOTE FROM THE STAGE DIRECTOR
E. LOREN MEEKER
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n 2015, an article from Stars and Stripes came to my attention. The opening sentence of the article states, “Prosecutors in South Korea have reopened the case of a U.S. soldier who allegedly tricked a local woman into a bigamous marriage and left her $50,000 in debt when he returned to his wife in America, according to South Korean news reports.” Upon reading this I instantly thought about Puccini’s masterpiece, Madama Butterfly, and realized that this over one-hundred-year-old opera is still, sadly, relevant. In 2015, a man was being accused of actions that were eerily similar to the actions of Pinkerton and Butterfly in the early 1900s. Since then, my brain has been ruminating on Butterfly. For all of its flaws, and there are many, can a modern audience learn lessons from the atrocious arrogance of Pinkerton and the fatal innocence of Butterfly? Equally as important, can a traditional production of this opera be respectful of Japanese culture? Europe in the early 1900s was fascinated by “the orient” which resulted in enormous misunderstandings of Japanese culture that any production of this opera has to tackle. I also think Puccini created an appropriate cultural villain in Pinkerton, and a successful production
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should point to his very core (and perhaps the core of American culture at the time) as crude and culturally insensitive. Madama Butterfly, like all great works of art, exposes the human condition. Puccini’s story sets up a clash of worldviews and begs the audience to analyze our past in order to create a better future. I am thrilled to take on this challenge with a company and team of artists dedicated to creating a sensitive, and dramatically and musically full evening of opera. Japanese Movement and Cultural Advisors Momo and Kevin Suzuki, along with costume director Christine A. Richardson, have worked with me to overhaul the costumes to more accurately reflect the clothing traditions in the 1900s for both the American and Japanese characters. I’m also working with Momo and the cast to create a world where the carefree Pinkerton can mock the traditions of Butterfly, Suzuki, and their community while basing the movements of the Japanese characters in historical tradition—traditions that Pinkerton simply doesn’t have the capacity to understand (or maybe the heart to truly care about). Our goal is to create a world that respects Japanese culture even as Butterfly tries to drive herself as far away from her roots as possible. She’s a fifteen-year-old girl, desperate to make something of herself which allows her to fall victim to a man and circumstances that she ultimately isn’t equipped to deal with or strong enough to break out of on her own. Our hearts should break with her and our anger should be pointed at Pinkerton. Producing Madama Butterfly in 2019 provides an opportunity to contemplate how sensitively, or not, Americans have treated Japanese people since the early 1900s. As citizens of the United States, our past is not to be ignored, nor accepted. Instead we should critically self-reflect and let those reflections guide our future. E . L OR E N M E E K E R IS THE STA GE DIR E C TOR FOR THIS P R ODU C TION OF M A DA M A B U TTE R FLY.
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The Origins of Puccini’s Madama Butterfly B Y A L E X I S H A M I LT O N
“On the hill opposite ours lived a little tea-house girl; her name was Chô-san, Miss Butterfly. She was so sweet and delicate that everyone was in love with her. In time we learned that she had a lover… quite nice, but very temperamental, of a moody, lonely disposition. One evening there was quite a sensation when it was learned that poor little Chô-san and her baby had been deserted. The man had promised to return at a certain time; had even arranged a signal so that Chô-san would know when his ship had come in; but the little girl-wife awaited that signal in vain. Many an hour and many a long night did she peer from her shoji over the lovely harbor, but to no purpose: He never returned.” —JENNIE CORRELL, AS RELATED IN 1931
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or 250 years, the Japanese government forbid shipwrecked Americans, and permission for Americans to contact with foreigners. Shipwrecked sailors from purchase supplies from Japan. other nations who survived the sea and wound The opening of Japan was the first trickle in a flood up on Japanese soil were imprisoned or executed. Japanese of Western fascination for all things Japanese. The West ports were shut tightly to ships seeking to purchase coal nurtured an interest in anything from Japan. Art, craft, music, or otherwise re-supply. As a result, Japan was considered and theater all began to reflect this obsession, spurred on by mysterious and dangerous. But in the 19th century, the the Centennial World’s Fair, to which the Japanese brought United States Navy began to eye Japanese coal as a strategic goods specifically designed for Western audiences. For opportunity. The U.S. had begun stocking their fleet with nearly 50 years, the West continued its preoccupation with steamships—steamships that required fuel. In the Pacific, the mysterious “Orient,” and Puccini was influenced by the Japan was the perfect location for U.S. ships to restock their Japonisme of the 19th century. coal supplies. Additionally, there was the intriguing possibility The opera Madama Butterfly (1904), was based upon a that, if approached with care, Japan might develop into a play of the same title by David Belasco, which, in turn is based profitable new trading partner. upon a short story by John Luther Long. Long contended On July 8, 1853, Commodore Matthew Perry steamed into that his story was based upon actual events as related to him Tokyo Bay on the U.S.S. Powhatan, flanked by three more by Jennie Correll, his sister who spent years as a missionary ships. He carried a letter of greeting from the President of in Nagasaki. While clearly inspired by his sister’s anecdote, the United States. The Japanese had never seen steamboats, it is understood that Long almost certainly borrowed some nor were they familiar with the vast array of guns these elements from French naval officer and writer Pierre Loti’s “smoking dragons” carried. semi-autobiographical novel, Intimidated by the veiled Madame Chrysanthème, to threat at anchor in their flesh out his version. harbor and realizing that The theme of an East the kingdom could not risk meets West romance gone war with this new power, terribly wrong had flourished the Japanese government in the Western imagination entered into negotiations since the 1885 publication of with Commodore Perry. Madame Chrysanthème. Loti’s On March 31, 1854 a treaty description of temporary between the United States Japanese marriages (engaged and the kingdom of Japan in by male foreigners in Japan) guaranteed “peace and provides insight into the tragic friendship” between the misunderstanding at the heart two nations, access to of Long’s literary adaptation the ports of Shimoda of his sister’s narrative. C OMMOD ORE MAT T HEW PERRY'S “BLACK S HIP” FROM THE BROOKLYN MUSEUM'S ASIAN ART COLLECTION and Hakodate, help for Judging by the shockingly
intense and violent letters Long received from U.S. Navy officers protesting the book (“savage,” as he described them), even if his plot was not factual, the situation described by the story struck a chord. Chô-san, as so many women of her time and station, has been lost to history. We know no more of her as an actual woman than Correll’s description of her as “sweet and delicate.” Her story has been narrated by Long, Belasco, and Puccini. Pinkerton’s American wife is certainly fictional, as is Pinkerton’s return to collect his son. Correll states that no one returned for Chô-san or her child, and the most likely fate for them is described by Clara Whitney, a young woman living in Japan in 1875:
GIACOMO
Young men here are wicked and depraved and insult the gentle Japanese as often as they can. Merchants—married men—keep native women in their houses as wives without marriage. Sailors are even worse still, and it is pitiful to see the poor little half-caste children running around uncared for, as the Japanese regard them as unclean and their fathers don’t care.
Given this reported state of affairs, the conclusion of Belasco’s play is imaginable. In this version, Chô-san preferred to commit suicide and give up her child rather than face her future. We know that in 1900, Puccini attended a performance of Belasco’s play in London. Despite his limited English, Puccini was entranced by the tragic tale of Chô-san and applied to Belasco for the adaptation rights. During his wait for permission to proceed, Puccini sent a copy of Long’s short story to his customary librettists, Luigi Illica and Giuseppe Giacosa, so that they could begin work at once. Their original structure included a “prelude” of Butterfly’s wedding not in the play and then an additional three acts. The first and third acts were to be set in Butterfly’s “little house on the hill” and the second at the American Consulate in Nagasaki. Illica also favored the ending in Long’s story in which Butterfly survives her suicide attempt and raises her own child. Puccini objected to his librettist’s suggestions. The composer disliked Long's more hopeful ending, favoring the stark tragedy of the play. He also insisted that they remove the consulate act, preferring a ninetyminute second act.
Puccini completed the opera in December 1903, and it premiered in 1904. It was a complete catastrophe. Catcalls, boos, and hisses greeted Puccini’s work, flaying the delicate story and making ridiculous the cataclysmic undoing of Cio-Cio-San. How could this have happened? Puccini had had tremendous success with Manon Lescaut, La Bohème and Tosca. The public adored him; the cast was brilliant. What could have prompted such a stupendous shellacking? Multiple factors likely contributed: excessive length, excessive anti-Western feeling, and excessive audience desire to PUCCINI “put Puccini in his place.” All are plausible and would have been enough to precipitate Butterfly’s failure, though not, perhaps, the intense negativity on opening night. Such vitriol might be explained, however, by the most delightfully tabloid theory: sabotage. Though many biographers decline to name the saboteurs, the logical suspect is Edoardo Sonzogno, whose publishing house was archrival to Casa Ricordi, Puccini’s publisher. Sonzogno’s entire stable (Leoncavallo, Cilea, Mascagni, and Giordano) had done tremendous work, and none had matched Ricordi’s powerhouse, Puccini. In Sonzogno’s eyes, a fourth triumph for Puccini (and consequently, Casa Ricordi) was unacceptable, and hiring rowdy claques could have been a simple solution. Combined with an already challenging opera, it is little wonder that Madama Butterfly failed on its first night. This failure was deeply traumatic for Puccini. The experience forced him to withdraw the score and modify what he considered his masterwork. His adaptability allowed subsequent success for Butterfly in Brescia, Italy, later that year. Many articles and sources, no doubt for brevity’s sake, lead the reader to believe that this revision was the final version—the spectacular success that catapulted Butterfly into the canon of contemporary operatic performance. Nothing could be further from the truth. Puccini notoriously tinkered with his own works after their initial opening, and he was a savvy man of the theater. Whenever he had the opportunity to be at rehearsals of new productions of his operas, he was there, and he often
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Art has a unique opportunity to give a voice to the voiceless.
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changed the score to suit both the producing organization and his own artistic ideas. With Butterfly, the multiple scores have been described by some musicologists as distinct versions of the opera. It may be more accurate to describe these multiple scores as the slow evolution of a Puccini masterpiece. Perhaps most remarkable is that the majority of the changes were cuts, some of which substantially changed the characters and their motivations. Of all the character arcs affected by the cuts, Pinkerton’s was the most profound. The callousness and racism of the original character is efficiently excised by Puccini, leaving him looking weak, rather than boorish. Some of this may be due to the objections of the U.S. Navy, and some to Puccini’s desire to create a more romantic love story. Many operas, including Madama Butterfly can leave contemporary audiences uncomfortable with the content of the story and the perceived insensitivity and carelessness of the creators. There is a lot in Madama Butterfly—especially in common performance practices—that is potentially offensive. From harmful stereotypes about Asian women, to racially inappropriate casting, to cultural appropriation—audiences have every right to question why we continue to produce Madama Butterfly. And Butterfly remains a powerful story with tremendous relevance for us today. For a more in-depth discussion of this, please see page 27. Art has a unique opportunity to give a voice to the voiceless. At its heart, Madama Butterfly is about a disenfranchised and country-less young woman. She is separated from her child by a foreigner. She is out of options. Her dreams of the promise of America end up breaking her heart. If we believe in the power of opera to give voice through allegory, then perhaps we can honor Chô-san’s life and the lives of countless other women battered by callousness, cultural indifference, and abuse.
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WI LL IS TH OM AS
OCT. 12 2019 — JAN. 12 2020
portlandartmuseum.org Hank Willis Thomas (American, born 1976), Amandla, 2014. Silicone, fiberglass, metal finish, Courtesy of the artist and Jack Shainman Gallery, New York. © Hank Willis Thomas.
Hank Willis Thomas: All Things Being Equal… The Portland Art Museum presents the first major survey for the Brooklyn-based artist.
ALL THINGS BEING EQUAL...
A COMPLEX LEGACY Artistic Appreciation and Social Responsibility B Y A L E X I S H A M I LT O N
“…Opera cuts to the chase—as death does. So now, contented indifference … coexisted with a craving for an art in which violent, overwhelming, hysterical and destructive emotion was the norm; an art which seeks, more obviously than any other form, to break your heart.” —JULIAN BARNES, LEVELS OF LIFE
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violence, rape, misogyny, jealousy, hatred, rage, infanticide, matricide, patricide, adultery, blackmail, psychological abuse, domestic abuse—the breathless, sordid list goes on and on—and we haven’t even begun to touch on the bigger questions of representation, appropriation, and interpretation that we face as opera practitioners. The fact is that many operas that audiences adore today are seventy to hundreds of years old, and have a complex legacy; the content of these works can be harmful. To summarize the story of Madama Butterfly in its baldest terms: an orphaned, penniless, fifteen-year-old Japanese girl is sold into what she thinks is a marriage to a wealthy (in her mind), older American man who impregnates and abandons her for three years before returning with his new, white, American wife and taking her child. Having been abandoned by her erstwhile husband and rejected by her community, the girl commits suicide. Not very pretty, is it? On one hand, Puccini is clearly sympathetic to Cio-Cio-San’s plight. She is our heroine, and Pinkerton comes off as clueless and callous at best, and cruel and abusive at worst. In the score and libretto that are typically performed today (which was reworked extensively by the composer after its initial failure), Puccini tacitly acknowledges that the U.S. naval officers, including Pinkerton, are racist and don’t think of the Japanese people as equal to themselves. Pinkerton tells Sharpless that he looks forward to going home and finding a “real
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any of the world’s most beloved operas are problematic, and Madama Butterfly is one of the most difficult for audiences to grapple with responsibly—it is a beautiful work that demands context. The power of Butterfly to move people and elicit empathy means that modern audiences must approach it with eyes wide open to see both its beauties and its horrors. One could argue that really looking, really hearing, and really thinking about the plot, the motivations of the characters, and the power dynamics inherent between them, makes the opera even more moving, affecting, and relevant. Opera has an intrinsic emotional power. Opera’s raison d’être is to stab into the audience’s viscera, rummage around, and leave them panting for more. The passion of opera—the catharsis of it— is all communicated by something much more compelling than verse alone. The strength of the operatic experience lies in the music, and the voice. The overwhelming psychological undertow of melody, harmony, and rhythm drown reason under a tempest of emotions too forceful to resist. Therein lies opera’s greatest strength—and its greatest weakness. The sweeping emotion of opera can erase our ability to think critically about the plot and the origins of the piece. We can be awash in beauty and reluctant to look at what a given opera is actually about. Sometimes we can become defensive when someone less sonically seduced than we are asks uncomfortable questions about what it all means, and how we can responsibly respond to tales of murder, suicide,
M A DA M A B U T T E R F LY 28
American wife” even as he by predominantly white prepares to wed Cio-Cio-San. performers attempting to The original libretto was more signal their Japanese-ness. The explicit—in fact, one of the inherent issues in the opera reasons that Puccini rewrote were augmented by the practice parts of the opera is that the of yellowface, especially in U.S. Navy objected to his casting Madama Butterfly. portrayal of its officers. In a piece for The Guardian, On the other hand, Carmen Fishwick summarizes Puccini is a Westerner that the practice “…plays looking at the East through into years of unequal power a Western lens. He never dynamics in spaces such as questions the validity of acting, where the dominant his Western view of Asian ethnicity has historically culture. He and his librettists, enforced rules that keep Luigi Illica and Giuseppe minority ethnicities excluded, Giacosa, perpetuate harmful and anything that maintains stereotypes about Japanese this inequality is wrong.” people, about women, and The voice has been at the about Japanese women center of opera casting for specifically. Although Puccini years—if you could sing a was composing in an era role beautifully, you could be before cultural appropriation cast—regardless of race or was widely recognized, it is ethnicity. While there may be important for us, as modern some merits to this concept PUCCINI CAPITALIZES ON THE ELUSIVE MYTH OF THE audiences, to acknowledge (it can be viewed as similar GEISHA IN HIS TRAGIC OPERA MADAMA BUTTERFLY, that these stereotypes would to the practice of colorBUT PROFOUNDLY MISUNDERSTOOD A GEISHA’S have been harmful in that blind casting), the inherent PROFESSION, ROLE, AND HISTORY IN JAPANESE SOCIETY. I M A G E : B E A U T Y , GIO N S E ITO KU (J APANE S E , 1 7 8 1 –CA. time period as well as today. valuation of the voice above all 1 8 2 9 ) ; B R O O KLY N MUS E UM, PUBLIC DO MAIN Madama Butterfly presents an else and the fact that the field exotic vision of Japan filled has been dominated by white with fragile, submissive Asian women. The submissive singers has also tacitly given permission to perpetuate the Asian woman is a pernicious cliché that has fueled use of blackface and yellowface on opera stages. Western fantasies for generations and contributed to the As the artistic leaders of the American theatre and film fetishization of Asian women. industry grapple with questions of authenticity in casting, Despite Puccini and his librettists’ efforts at authenticity the opera world is not exempt. If color-blind casting is not (Puccini uses more than a few quotes from Japanese acceptable when roles are written to be performed by artists songs in his score, for instance), they were painting with with a specific race or ethnicity, then a solution may be found very broad strokes, and the performance practice of in color conscious casting—which includes casting decisions the last 100 years has helped to perpetuate the painful informed by the implications of discrimination. Add to this misrepresentations in the opera. In addition, Puccini’s lush, complex conversation the long history of valuing the voice deeply emotional score seems to romanticize and minimize above all else in operatic auditions, and you will see one of the true nature of the power imbalance in the relationship the challenges facing artistic leaders of opera today. between Cio-Cio-San and Pinkerton. It is the opinion of some people that operas like Butterfly also completely mischaracterizes the role Madama Butterfly, with inherent issues and with a legacy of geisha in Japan. In the opera, Cio-Cio-San became a of offensive casting, should no longer be produced. For geisha because her father died, and she is ashamed of being others, it is vital that these types of pieces give us a chance reduced to this role. In the opera, it is hinted that geisha are to reckon with the implications of our history as an art simply prostitutes. In reality, geisha are highly specialized form, in order to move toward the opera of tomorrow. entertainers that train rigorously for years to become the And so, as the beauty of this music and the emotional artists they are. intensity of the characters sweeps over you—keep in For years, these issues have been swaddled in Puccini’s mind that there is no one way to encounter Madama exquisite music, and we have been distracted by a gorgeous, Butterfly. Together, we must measure the impact of how a orientalist vision of shoji screens and kimonos, all worn masterpiece can transform through the decades.
POR TL ANDOPER A .ORG
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Not seen in Seattle since 2002, this poignant lyric opera by the beloved composer of The Nutcracker, Swan Lake, and 1812 Overture chronicles an out-of-sync romance between the idealistic Tatyana and the dashing but jaded title character. Tchaikovsky’s exquisite and sophisticated masterpiece makes its McCaw Hall debut with “a striking new production” featuring “sumptuous costumes and elegant scenery [that] tastefully convey the opulence of rich gentry in nineteenthcentury Russia” (Opera News).
A TIMELINE
1898 John Luther Long publishes his short story “Madame Butterfly”
Performance practices are impacted by many factors—including pop culture, sociology, political and government acts, and much more. While it is not a comprehensive history, here we look at Madama Butterfly in relation to historical events, people, legislation, and stereotypes in mass media. Compiled by Alexis Hamilton, based on research and writings from The Oregon Encyclopedia, from The Oregon Historical Society and Portland State University; the Oregon Nikkei Legacy Center, the United States of America’s Office of the Historian, and Resolution Northwest’s “Timeline of Oregon’s Racial and Education History.”
18 0 0 s July 8, 1853
1873
1880
1882
1890s
U.S. Navy Commodore Matthew Perry seeks to reestablish contact and trade between Japan and the Western world and utilize Japanese ports. He arrives in Tokyo harbor with a squadron of two steamers and two sailing ships and demands a treaty on behalf of the U.S. government.
Baron Matsumura Junzō graduates from the U.S. Naval Academy in Annapolis. He is one of the first Asian graduates of the academy and will go on to a career in the Imperial Japanese Navy.
Miyo Iwakoshi and her family arrive in Oregon, the first documented Japanese immigrants to the state. Miyo Iwakoshi was married to Andrew McKinnon, a Scottish man whom she’d met when he was teaching animal husbandry in Japan. Together they establish a sawmill that McKinnon named Orient, in honor of his wife. Orient exists today as an unincorporated community near Gresham.
President Chester A. Arthur signs the Chinese Exclusion Act into law. It is repealed in 1943.
Relations between Japan and the United States are strained, as both countries advocate for immigration policies and their interests in East Asia and the Pacific. There is an increase in Japanese immigration to the United States, especially Hawaii and the West Coast; where Asian immigrants are often met with hostility and racism.
1914
1915
Madama Butterfly is performed for the first time in Japan. It is conducted by Takaori Shūichi, with his wife, Sumiko, in the title role.
Japanese soprano, Miura Tamaki makes her debut as Cio-Cio-San at the London Opera House. She becomes a celebrity in Japan and the first internationally acclaimed Japanese opera singer. She would meet Puccini in 1920.
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M A DA M A B U T T E R F LY
Miura Tamaki
POR TL ANDOPER A .ORG
1915
1922 The Toll of the Sea opens—a film which follows the plot line of Madame Butterfly reset in China. The film stars Anna May Wong, a Chinese American actress whose career was severely curtailed by the practice of yellowface and stereotypes.
Mary Pickford stars as Cio-Cio-San in the first movie version of Madame Butterfly.
1920s
1922
1924
Members of the Ku Klux Klan (a white supremacist hate group) are elected to office in Oregon. Their legislative agenda includes passing laws that had previously been rejected—including the Oregon Alien Land Law, and the Oregon Business Restriction Law. First-generation Japanese Americans (known as Issei) are prohibited from owning land, and the local jurisdictions are empowered to practice discriminatory business licensing.
The Cable Act of 1922 allows American women who marry foreign nationals eligible for naturalization to retain their U.S. citizenship. That year, the Supreme Court of the United States rules in Ozawa v. United States that first-generation Japanese people are ineligible for citizenship and cannot apply for naturalization.
President Calvin Coolidge signs the Immigration Act of 1924; imposing immigration limitations based on a national origins quota.
1900
19 0 0 s
1904
David Belasco opens his one-act play Madame Butterfly: A Japanese Tragedy in New York. Blanche Bates, a white actress, plays the title role of Butterfly. She was born in Portland, OR in 1873.
1912 Puccini’s Madama Butterfly premieres in Milan, Italy. Italian soprano Rosina Storchio creates the role. Later that year, after substantial revisions, the Ukranian soprano Solomiya Amvrosiivna Krushelnytska takes over the role.
The Chinese character Dr. Fu Manchu makes his first appearance in the novel, The Zayat Kiss, by Sax Rohmer. Fu Manchu is depicted as a dangerous, genius villain out to destroy the West. The character is representative of the first iteration of the “Yellow Peril.”
1906–1907 Original 1904 Madama Butterfly poster by Adolfo Hohenstein.
Tensions between the U.S. and Japan continue to rise, and in 1906, the San Francisco Board of Education orders the segregation of Asian children into separate schools. In 1907 the two countries form a “Gentleman’s Agreement:” the U.S. will refrain from passing Japanese exclusion laws and will allow wives and fiancées to join their husbands, and parents to join their children in the U.S.; and Japan will limit the immigration of laborers.
1907 The U.S. passes the Expatriation Act of 1907 which strips citizenship from American women who marry foreigners.
1931
1937
The movie Daughter of the Dragon opens. This may be the origin of the term “Dragon Lady,” a harmful stereotype of East Asian women as strong, deceitful, domineering, or mysterious. Two of the three leading actors are Asian. Warner Oland (a non-Asian actor in yellowface) continued to play Charlie Chan in two dozen films.
Luise Rainer is cast as a Chinese peasant woman in the film The Good Earth. Rainer wins an Academy Award for her performance. Anna May Wong reports being offered the role of Lotus, the concubine, and refused the role, explaining: "you’re asking me—with Chinese blood—to do the only unsympathetic role in the picture, featuring an all-American cast portraying Chinese characters."
1942
Japan’s attack on Pearl Harbor, Hawaii, galvanizes the U.S. war effort to enter World War II. Over 1,000 Japanese American community leaders are incarcerated on the pretext of national security concerns.
President Franklin D. Roosevelt signs Executive Order 9066 authorizing the building of “relocation camps,” a euphemism for prison camps to be populated by Japanese Americans living along the Pacific Coast and forcibly removed from their homes and businesses. More than 4,000 Japanese Americans from Oregon are removed and sent to prison camps. Two thirds of those incarcerated are American-born citizens. POR TL ANDOPER A .ORG
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1941
The Japanese American Citizens League is founded “to benefit the progress of Japanese Americans and Asian Americans in combating prejudice and bigotry.”
M A DA M A B U T T E R F LY
1928
Map of World War II Japanese American Internment Camps (1942–1946)
1944 Public Proclamation No. 21 of December 17, 1944 declares that Japanese Americans who had been removed from their homes by Executive Order 9066 may return, effective January 1945.
1944 Hood River receives national attention when the local American Legion post removes the names of 16 Japanese American members of the U.S. military from a plaque honoring local members of the armed forces. Over 33,000 Japanese Americans served in the U.S. Military during World War II, even when their families were imprisoned.
1946
1961
Miura Tamaki records Madama Butterfly for the last time. This recording is made in Japan during the Allied Occupation. She dies shortly thereafter of cancer.
The movie Breakfast at Tiffany’s co-stars Mickey Rooney in yellowface as Mr. Yunioshi.
1945
1952
1958
The Oregon House of Representatives passes Joint Memorial No. 9, a failed attempt to prevent Japanese Americans from returning to the state. Japanese Americans returning from incarceration are met by hostility, harassment, vandalism, and violence.
The Immigration and Nationality Act allows individuals of all races to be eligible for naturalization. The act also affirms a national origins quota system and introduces a system of preference based on skill sets and family reunification. Hundreds of Oregon Issei, those born in Japan, apply for citizenship.
Portland becomes a sister city to Sapporo, Japan. The Portland-Sapporo Sister City Association’s mission is to foster and promote cross-cultural understanding between the U.S. and Japan. The Association is instrumental in creating the Portland Japanese Garden, which opens in 1967.
1996
2005
Portland Opera stages Madama Butterfly with Susan Bullock as Cio-Cio San.
Portland Opera stages Madama Butterfly with Shu Ying Li as Cio-Cio-San.
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Photo by Steve Morgan
1993
1996
2001
An exhibition honoring the first Issei pioneers in Oregon is developed with funding from the Meyer Memorial Trust (also a Portland Opera funder) and support from the Japanese American National Museum in Los Angeles, the Oregon Historical Society and the Portland Nikkei community (Japanese immigrants and their descendents). From this effort, a committee is assembled to begin work on what will become the Oregon Nikkei Legacy Center, a history museum in Portland whose mission is to preserve and honor the history and culture of the Japanese American community.
The city of Portland changes the name of Front Avenue to Naito Parkway to honor Bill Naito, an influential Japanese American businessman, philanthropist, and civic leader.
A memorial honoring Japanese-American veterans and detainees opens in Washington D.C.
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1967
1972
Portland Opera stages its first production of Madama Butterfly, after its founding in 1964. Soprano Elaine Malbin stars as Cio-Cio-San.
Portland Opera stages Madama Butterfly with Azuma Atsuko in the title role.
The 1950s, 60s, and 70s The decades long Civil Rights Movement in the United States includes an Asian American Civil Rights movement in the 60s and 70s. In addition to many Asian Americans participating in the national movement, activists in the specific Asian American Civil Rights movement advocate for pedagogical changes in the U.S. university system, an end to the Vietnam War, and reparations for those incarcerated during World War II.
2009 To celebrate Oregon’s 150th birthday, the Oregon Library Association selects the book, Stubborn Twig, for the Oregon Reads program to encourage statewide conversation through a shared reading experience. The book tells the true story of three generations of a Japanese American family in Hood River.
1979 Portland Opera stages Madama Butterfly with Maria Pellegrini as Cio-Cio-San.
1984 The film comedy Sixteen Candles includes a character named Long Duk Dong (portrayed by Japanese American actor Gedde Watanabe) in a supporting role as an Asian foreign exchange student. The term “donger” enters popular youth lexicon as a racial slur.
1987 Portland Opera stages Madama Butterfly with Patricia Craig as Cio-Cio-San.
1976
1979
1988
1990
On February 19, President Gerald R. Ford formally rescinds Executive Order 9066 (which granted authority for incarceration camps) by issuing Proclamation 4417. In recognizing this grave national mistake, he resolves that ‘‘this kind of action shall never again be repeated.’’
Oregon, along with the Portland chapter of the Japanese American Citizens League, holds its first Day of Remembrance on February 17, in commemoration of community members who were incarcerated by the U.S. government.
President Ronald Reagan signs the Civil Liberties Act, an act that granted reparations to the Japanese Americans who were incarcerated by the U.S. government during World War II.
The Japanese American Historical Plaza is completed at the north end of the Tom McCall Waterfront Park in Portland to help share the story of Japanese people in Oregon.
2012
2018
The movie Cloud Atlas opens featuring Jim Sturgess and Keith David in yellowface.
Crazy Rich Asians (the first mainstream Hollywood movie with an all Asian and Asian American cast since 1993’s Joy Luck Club) becomes the highest-grossing romantic comedy of the past decade.
2012 Portland Opera stages Madama Butterfly with Kelly Kaduce as Cio-Cio-San.
2016 Tilda Swinton is cast as the Ancient One, originally a Tibetan Monk, in the Marvel movie Doctor Strange.
2019 Portland Opera stages Madama Butterfly featuring the U.S. debut of Japanese soprano Hiromi Omura as Cio-Cio San.
M A DA M A B U T T E R F LY 33
POR TL ANDOPER A .ORG
BIOGRAPHIES LUIS CHAPA
ANDRÉ CHIANG
GEORGE MANAHAN
Pronouns: He/Him/His
Pronouns: He/Him/His
Pronouns: He/Him/His
Hometown: Monclova, Mexico
Hometown: Mobile, AL
Hometown: Atlanta, GA
Role: Pinkerton
Role: Prince Yamadori/ Imperial Commissioner
Role: Conductor
Tenor
Portland Opera Debut Recently: Pinkerton, Madama Butterfly, Metropolitan Opera; Radamès, Aida, Opera North; Don José, Carmen, The National Theatre, Czech Republic; Title role, Stiffelio, Palacio de Bellas Artes, Mexico; Title Role, Andrea Chénier, Deutsche Oper am Rhein, Germany
Recently: Schaunard, La Bohème, Mississippi Opera; Conte Gil, Il segreto di Susanna, Mobile Opera; Sam, Trouble in Tahiti, Painted Sky Opera
Portland Opera Debut: Conductor, Macbeth (2006) Recently: Merola Grand Finale Concert, San Francisco Opera; Tales of Hoffmann, La Traviata, Aspen Music Festival; Champion, Opéra de Montréal and New Orleans Opera; Fellow Travelers, Prototype Festival/ American Composers Orchestra; The Barber of Seville; La Finta Giardiniera, Faust, Portland Opera
Upcoming: Canio, Pagliacci, Israeli Opera, Israel
PEIXIN CHEN
TROY COOK Baritone
MARK MCCULLOUGH
Pronouns: He/Him/His
Pronouns: He/Him/His
Pronouns: He/Him/His
Hometown: Hulunbeier, Inner Mongolia, China
Hometown: Eminence, KY
Hometown: Charlottesville, VA
Role: Sharpless
Role: Lighting Designer
Portland Opera Debut
Portland Opera Debut: Lighting Designer, Salome (2013)
Role: Bonze Portland Opera Debut
M A DA M A B U T T E R F LY
Portland Opera Debut: Prince Yamadori/Registrar, Madama Butterfly (2012)
Portland Opera Music Director
Upcoming: Dandini, La Cenerentola, Dayton Opera; Rambaldo, La Rondine, Mobile Opera; Mercutio, Roméo et Juliette, Mississippi Opera
Bass
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Baritone
Recently: Alaska Joe, Aufstieg und Fall der Stadt Mahagonny, Festival d'Aix-en-Provence, France; Colline, La Bohème, Opera Philadelphia; Masetto, Don Giovanni, Metropolitan Opera Upcoming: Bass Soloist, Mozart’s Requiem, Milwaukee Symphony Orchestra; Colline, La Bohème, Opera Naples; Ramfis, Aida, Houston Grand Opera POR TL ANDOPER A .ORG
Recently: Rodrigo, Don Carlo, Washington National Opera; John Cree, Elizabeth Cree, Opera Philadelphia; Father Palmer, Silent Night, Minnesota Opera, Austin Opera Upcoming: Watty Watkins, Lady Be Good, Teatro di San Carlo, Italy; Enrico, Lucia di Lammermoor, Lyric Opera of Kansas City; Athanaël, Thaïs, Utah Opera
Upcoming: Albert Herring, La Clemenza di Tito, Curtis Institute of Music
Recently: Lighting Designer, La Traviata, Show Boat, Glimmerglass Festival; Lighting Designer, Macbeth, Wiener Staatsoper, Austria Upcoming: Lighting Designer, Luisa Miller, Lyric Opera of Chicago; Lighting Designer, Fidelio, Washington National Opera; Lighting Designer, How I Learned to Drive, Manhattan Theatre Club
E. LOREN MEEKER
Local cuisine, inspired by the British Isles
Hometown: Boston, MA Role: Stage Director Portland Opera Debut: Assistant Director, La Bohème (2009) Recently: Director, Tosca, Opera San Antonio; Director, The Pearl Fishers, Houston Grand Opera; Director, Rigoletto, Lyric Opera of Chicago
Join us for dinner before your show or a nightcap in The Rookery Bar after! 1331 SW Broadway (503) 222-7673 ravenandrosepdx.com
Upcoming: Director, Madama Butterfly, Florida Grand Opera; Director, Don Giovanni, Washington National Opera; Director, Rigoletto, Opera San Antonio
NINA YOSHIDA NELSEN Mezzo Soprano
FAST BECOMING THE NUMBER ONE CHOICE OF WORLD COMPETITION WINNERS 2014 RUBINSTEIN COMPETITION – TEL AVIV, ISRAEL 2015 CHOPIN COMPETITION – MIAMI, FLORIDA 2016 SYDNEY INTERNATIONAL – PIANO COMPETITION 2017 SCOTTISH INTERNATIONAL – PIANO COMPETITION
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P REMIER PIANO STORE
Pronouns: She/Her/Hers Hometown: Santa Barbara, CA Role: Suzuki Portland Opera Debut
503.775.2480 portlandpianocompany.com
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Upcoming: Suzuki (Cover), Madama Butterfly, Lyric Opera of Chicago; Soloist, Beethoven’s Mass in C, Santa Barbara Symphony
M A DA M A B U T T E R F LY
Recently: Mama, An American Dream, Lyric Opera of Chicago; Tituba, The Crucible, Opera Santa Barbara; Suzuki, Madama Butterfly, Manitoba Opera, Atlanta Opera, Utah Opera; Khanh, Bound, Houston Grand Opera
POR TL ANDOPER A .ORG
BIOGRAPHIES
HIROMI OMURA Soprano
po rtland’s ho tel to the arts Pronouns: She/Her/Hers Hometown: Tokyo, Japan Role: Cio-Cio-San Portland Opera Debut
IN THE HEART OF PORTLAND’S
Recently: Cio-Cio-San, Madama Butterfly, Tokyo Bunka Kaikan, Japan, 65° Festival Puccini, Italy; Soloist, Opera Gala 2019, Teater Vanemuine, Estonia
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Upcoming: Soloist, Recital: Hiromi Omura & Alberti Veronesi, Toppan Hall, Japan; Soloist, Beethoven: Mass in C Major, Kujira Chorus, Japan; Violetta, La Traviata, Nikikai Opera, Japan
KARL MARX REYES Tenor
Pronouns: He/Him/His Hometown: Burien, WA Role: Goro
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Recently: NVA Lieutenant Commander, Amelia, Seattle Opera; Le Remendado, Carmen, Tacoma Opera; Orpheus, Orpheus in the Underworld, Eugene Opera Upcoming: The Messenger, Aida, Seattle Opera; Phra Alack/ Lun Tha (cover), The King and I, Civic Light Opera/Seattle Musical Theater; Rodolfo, La Bohème, Vashon Opera
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M A DA M A B U T T E R F LY
Portland Opera Debut
3/22/13 12:57 PM
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Portland Opera 2019 sponsor size 8-375x10-875 Madama Butterfly.indd 1
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BIOGRAPHIES
CAMILLE SHERMAN Mezzo Soprano
Pronouns: She/Her/Hers Hometown: Petaluma, CA Role: Kate Pinkerton
MOMO SUZUKI
Artistic Director, The Japanese Folk Dance Institute of New York
Pronouns: She/Her/Hers Hometown: Yamagata, Japan
Portland Opera Debut: Flora Bervoix, La Traviata (2018)
Role: Japanese Movement & Cultural Advisor
Recently: Ramiro, La Finta Giardiniera, Portland Opera; Stéphano, Roméo et Juliette, Pensacola Opera; Semi-Finalist, Metropolitan Opera National Council Auditions
Portland Opera Debut
Upcoming: Soloist, Handel’s Messiah, Naples Philharmonic; Sally, A Hand of Bridge/Announcer, Gallantry (An American Quartet); Asteria, Bajazet, Portland Opera
KEVIN SUZUKI
Recently: Japanese Movement Advisor/Choreographer, Team Japan Ice Dance, 2010 Winter Olympics; Dancer/Choreographer, Madama Butterfly, Riyo Saito; Dancer/Choreographer, “Nothing Really Matters” Music Video, Madonna Upcoming: Dancer/Choreographer, Kamioroshi: The Descent of the God, Boston University; Dancer/Choreographer, Manyo no Mori, COBU; Dancer, Sakura Matsuri: Cherry Blossom Festival, Brooklyn Botanic Garden
Pronouns In Our Biographies Pronouns: He/Him/His Hometown: Tokyo, Japan Role: Japanese Movement & Cultural Advisor Portland Opera Debut
M A DA M A B U T T E R F LY
Recently: Dancer/Choreographer, Dojoji: The Man Inside The Bell, Riyo Saito; Dancer/Choreographer, Freedom Isn’t Free, MoustacheCat Dance; Dancer, Japan Day @ Central Park, Japan Day Inc.
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Upcoming: Dancer/Choreographer, Kamioroshi: The Descent of the God, Boston University; Dancer/Choreographer, Manyo no Mori, COBU; Dancer, Shinshun Matsuri, The Japan Commerce Association of Washington, DC POR TL ANDOPER A .ORG
We offer our artists and creative team members the option to include
gender pronouns with
their biographies as a way of letting people know
how our community members refer to themselves, and hope that this can also
be a reminder about the
assumptions that we make
regarding the gender identity of others. Portland Opera is dedicated to creating a diverse and inclusive
environment for everyone involved in creating and
enjoying our beautiful art form.
lan su
rain in the
This project was made possible in part by a grant from Travel Oregon
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POR TL ANDOPER A .ORG
PRODUCTION STAFF PRODUCTION
Jon Wangsgard, Production Stage Manager Valerie Clatworthy, Samantha Dugan, Assistant Stage Managers Carla E. Jimenez, Production Assistant/ Scheduling Specialist Cambria Herrera, Directing Intern
ARTISTIC ADMINISTRATION
Erika Richter, Music Librarian, Surtitle Coordinator Anders J. Tobiason, Sherrie Van Hine, AGMA Delegates Eva Wolff, Chorus Secretary Michael Hettwer, Orchestra Manager Sequoia, Pianist
TECHNICAL
Cindy Felice, Props Director Jaison Stagg, Production Carpenter Carl Faber, Assistant Lighting Designer Mark James, Production Electrician Jona Stagg, Warehouse Supervisor
Ian Anderson-Priddy, Props Liaison Sean Casey, Laura Fraley, Audrey Goldfarb, Daniel Wilson, Properties Assistants Gina Fagnani, Pre-Production Electrician
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Christine A. Richardson, Costume Director Jeffery Wilson, Tailor/Draper Tevis Hockenbury, Brooke Krawetz , Mooch Martin, Emma Mast, Dorian Parker, Costume Technicians
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Portland’5 Centers for the Arts Portland’5 Centers for the Arts includes the Keller Auditorium, Arlene Schnitzer Concert Hall, and Antoinette Hatfield Hall, comprising the Newmark Theatre, Dolores Winningstad Theatre, and Brunish Theatre. All are public facilities owned by the City of Portland and managed by Metro through the Metropolitan Exposition-Recreation Commission. Each year approximately one million people attend more than 1,000 performances in these facilities. Metro: Lynn Peterson, Metro Council President City of Portland: Ted Wheeler, Mayor Metropolitan Exposition-Recreation Commission: Karis Stoudamire-Phillips, Chair; John Erickson, Vice-Chair; Deidra Krys-Rusoff, Secretary-Treasurer; Damien Hall; Ray Leary; Dañel Malán; Deanna Palm; Scott Cruickshank, Visitor Venues General Manager
ET FILLE WINES applauds the PORTLAND OPERA
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M A DA M A B U T T E R F LY
Portland’5 Centers for the Arts: Robyn Williams, CVE, Executive Director; Allison Alfano, Director of Marketing; Julie Bunker, Director of Operations; Nike Greene, Director of Education; Stephanie Viegas Dias, Director of Ticket Services; Brian Wilson, Director of Event Services; Heather Wilton, Director of Programming and Booking; Riley Hartman, pacificwild General Manager
POR TL ANDOPER A .ORG
Portland’5 Centers for the Arts Advisory Committee: Greg Brown; Jim Brunberg; Gus Castaneda, Chair; Elisa Dozono; Greg Heinze; Antonio Lara; Karl Lisle; Gary Maffei; Brian Sanders; Daniel A. Sullivan; Richard Wattenberg; Steve Wenig W W W .E T FI L L E WINES. CO M/ 503. 538. 2900 718 E FI R ST ST REET, NEWBERG , O R 97132
Revised: July 12, 2019
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PORTLAND OPERA ORCHESTRA VIOLIN
Margaret Bichteler, concertmaster James M. McLennan, asst. concertmaster Linda Vasey, principal second violin Lucia Atkinson Jenny Estrin Irene Gadeholt Barbara George Janet George Karen Hilley Marya Kazmierski Hae-Jin Kim Nelly Kovalev Hannah Leland Heather Mastel-Lipson Elizabeth Peyton Peter V. Piazza Nic Price Eva Richey Deborah Singer
VIOLA
Marissa Winship, principal Julie Asparro Pamela Burovac Angelika Furtwangler Adam Hoornstra Shauna Keyes Michelle Mathewson
CELLO
TRUMPET
FLUTE
TROMBONE
OBOE
TUBA
Michelle Lindberg, principal Chris Kim David Parmeter
GeorgeAnne Ries, principal Sydney Carlson Rachel Rencher
Kelly M. Gronli, principal Alan Juza
ENGLISH HORN Karen Strand
CLARINET
Louis DeMartino, principal Theresa Schumacher
BASS CLARINET Carol Robe
Charles Butler, principal Robert Rutherford Craig Gibson
Lars Campbell, principal David Bryan Graham Middleton
Joseph Ready, principal
HARP
Matthew Tutsky, principal
TIMPANI
Will Reno, principal
PERCUSSION
Gordon Rencher, principal Brian Gardiner Jeffrey Peyton
BASSOON
Carin Miller Packwood, principal Janice Richardson
FRENCH HORN
Michael Hettwer, principal Jen Harrison Jonathan Kuhns-Obana Steve Hayworth
M A DA M A B U T T E R F LY
PHOTO S BY GA RR ICK ANTIKAJ IA N
Dylan Rieck, principal Heather Blackburn Jae Choi Katherine Schultz Karen Schulz-Harmon
BASS
ORCHESTRA MUSICIANS REPRESENTED BY THE AMERICAN FEDERATION OF MUSICIANS LOCAL 99. PRINCIPALS, CHORUS, AND STAGING STAFF REPRESENTED BY THE AMERICAN GUILD OF
42
MUSICAL ARTISTS. PHOTO BY GARRICK ANTIKAJIAN
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PORTLAND OPERA’S BIG NIGHT CONCERT, 2019. PHOTO BY CORY WEAVER
PORTLAND OPERA CHORUS SOPRANO
Aline Bahamondez * Kari Burgess Aimee Chalfant * Lindsey Johnson Cristina Marino * Rachael Marsh * Dru Rutledge * Audrey Sackett Jocelyn Thomas * Eva Wolff *
MEZZO-SOPRANO AnDee Compton * Sadie Gregg Anna Jablonski * Allison Knotts Sarah Maines Kate Strohecker * Jena Viemeister
TENOR
Scot Crandal * Robert S. Gardner * Jim Jeppesen * Joseph M. Muir * Bryan Ross * Jereme Wilkie Paul Wright *
ADDITIONAL ADULT CHORISTERS Celine Clark Alishia Garcia Emmanuel Henreid Aaron Lange Nick Stevens Maeve Stier
* Vested choristers who have been a regular member of the Portland Opera Chorus for more than two years and have sung in five or more productions.
SUPERNUMERARIES Beatriz Abella Will Bailey Laura Christensen Keith Clausen Gigi Little
Robert Nove Stephen O’Donnell James Sherman Tayler Uesato
PHOTO BY GARRICK ANTIKAJIAN
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Finding Inspiration is important. At M&T Bank, we understand how important the arts are to a vibrant community. That’s why we offer our time, energy and resources to support artists of all kinds, and encourage others to do the same. Learn more at mtb.com.
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PORTLAND OPERA STAFF ★
Sue Dixon, Interim General Director Daniel Biaggi, Interim Artistic Director George Manahan, Music Director Christopher Mattaliano, Artistic Consultant
PATRON SERVICES
James Bartlett, Patron Services Manager Jessie Bodell, Patron Services Representative Emily Estrada, Patron Services Representative Torin Frey, Patron Services Representative Sammuel Murry-Hawkins, Concierge of Patron Services
ADMINISTRATION & OPERATIONS ★ ★
Richard Seals, Director of Finance & Administration Maureen Beaudry, Controller Lynne Creary, Disbursements Specialist Ruth Ellen King, Payroll & Benefit Specialist Tamara Russell, Human Resources Manager Kevin Morris, Facility Manager Ju Park, Executive Assistant
BROADWAY IN PORTLAND ★
★
ARTISTIC OPERATIONS ★ ★
Clare Burovac, Director of Artistic Operations Alexis Hamilton, Manager of Education & Outreach Erika Richter, Music Librarian & Artistic Operations Specialist Nicholas Fox, Chorus Master & Assistant Conductor
PRODUCTION
EXTERNAL AFFAIRS
★
DEVELOPMENT
★
Lacey Rowberg, Associate Director of Development Celeste Miller, Grants & Advocacy Manager Angela Glabach-Vu, Donor Relations Manager Avery Lemons, Special Events Manager Brita Enflo, Development Associate MARKETING & COMMUNICATIONS
Andrea Tichy, Associate Director of Marketing & Audience Development Silja Tobin, Marketing & Communications Manager Garrick Antikajian, Graphic Designer Jen Wechsler, Marketing & Communications Coordinator
Tracy Wenckus, General Manager Morgan Jones, Assistant General Manager Roberta McNary Rosso, Marketing Coordinator Jess Morgan, Group Sales & Customer Service Supervisor Michael Brumage, Customer Service Supervisor Katie Clope, Customer Service Supervisor Stephanie Calinski, Customer Service Representative Klint Keys, Customer Service Representative Jacqueline Harpole, Customer Service Representative Chris Olson, Customer Service Representative
★ ★
Laura Hassell, Director of Production Cindy Felice, Prop Director Carla E. Jimenez, Production Assistant/Scheduling Specialist Jon Wangsgard, Production Stage Manager Zachary Dalton, Broadway Technical Liaison Pascaline Lefèbvre, Production Coordinator COSTUME SHOP
Christine A. Richardson, Costume Director Jeffery Wilson, Tailor/Draper Broadway in Portland is a partnership between Broadway Across America and Portland Opera. ★ Ten-year-plus employees
BOARD OF DIRECTORS OFFICERS
DIRECTORS
Curtis T. Thompson, MD, President President, Curtis T. Thompson & Associates
Sona Andrews, Professor and Provost Emerita, Portland State University
Kay Abramowitz, Past President Retired Attorney Gregory K. Hinckley, Vice President Past President, Mentor Graphics Corp. Callie Pappas, Vice President VP & Chief Compliance Officer, Schnitzer Steel Industries, Inc.
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M A DA M A B U T T E R F LY
William Lockwood, Treasurer Senior Vice President-Investments, Wells Fargo Advisors William Sweat, Secretary Owner, Winderlea Winery and Vineyard Kregg Arntson, At Large Director of Corporate Social Responsibility & Executive Director, Portland General Electric & PGE Foundation Linda Brown, At Large Owner, Brown’s Blueberries Carole Morse, At Large Board Member, Oregon Cultural Trust POR TL ANDOPER A .ORG
Nelson D. Atkin II, Partner, Barran Liebman, LLP L. David Ericksen, SVP, Enterprise Banker Commercial Banking, OR, KeyBank Matthew Essieh, CEO, EAI Information Systems Connie Gougler, Senior Director of Marketing, Iovation, A TransUnion Company Diana Harris, Retired Intel Executive Hugh Harris, Co-Founder, East County Rising Chris Hermann, Partner, Stoel Rives LLP Patricia Norris, Owner, Norris Dermatology & Lasers NW Greg Tibbles, Retired Executive Kathryn Wheeler, Senior Sales Consultant, Atlas by Faria Education Group Cyrus Vafi, VP, Commercial Banking, Banner Bank
Classical 2019/20 From Beethoven’s Fifth to Joshua Bell, you won’t want to miss a single note! Classical Series packages start at just 6 concerts – subscribe today for best seats and prices.
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POR TL ANDOPER A .ORG
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POR TL ANDOPER A .ORG
In the Community PORTLAND OPERA TO GO Portland Opera To Go (POGO) strengthens the quality of arts education in our communities by providing accessible, live opera performances in schools. We integrate learning goals by providing in-class workshops and teacher resources—including curriculum connections that highlight academic and creative activities for student audiences. For Fall 2019, we are proud to present a POGO production of Giacomo Puccini’s La Bohéme, ideal for students in 7th–12th grades.
PORTLAND OPERA’S RESIDENT ARTISTS Portland Opera’s Resident Artist Program provides a bridge from the music conservatory world to the professional opera stage. Promising young singers join the company for an intensive two-year residency and training program. Each Resident Artist appears in featured roles in main stage opera productions and performs a solo recital at the Portland Art Museum. As a group they perform at season and opera previews, concerts, and other community-based performances. Enjoy evenings of song featuring the 2019 Resident Artists: Camille Sherman (January 14), Geoffrey Schellenberg (March 31), Ricardo Garcia (April 28), and Emilie Faiella (June 9).
OPERA A LA CART Opera a la Cart is a mobile music venue that brings live opera performance directly into the community spaces where people gather. Opera a la Cart reaches more than 30,000 people during the summer months, through free pop-up performances at farmers markets, city parks, neighborhood festivals, street fairs, and other public events and places throughout the Portland metro area and beyond. Opera singers sing some of the most famous and
COMMUNITY ACCESS Portland Opera provides additional community access through rush ticketing for students and seniors, and for veterans and active military through the Veteran Tickets Foundation. We offer $5 Arts for All tickets to Oregon Trail Card members and participate in the Multnomah County Library’s Discovery Pass program. We also hold free previews and concerts at public
M A DA M A B U T T E R F LY
libraries and community venues. Free Simulcast: Join us outside of the Newmark Theatre for a special performance of Three Decembers, starting at 7:30 pm on July 22.
TO L EA RN MORE , O R T O V IS IT O UR C O M M UNIT Y CALE N D AR , VI SI T PORTL AND O PERA.O RG
49
PHO TOS B Y: WILL COR WIN, JO NATHAN LE Y, AND GARR ICK ANTIKAJ IAN
recognizable songs from opera and classic musical theater.
POR TL ANDOPER A .ORG
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M A DA M A B U T T E R F LY
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POR TL ANDOPER A .ORG
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CONTRIBUTORS
AS OF SEPTEMBER 16, 2019
Without our generous donors, Portland Opera would not be able to share the art of opera on stage, in schools, and throughout our great state. Thank you to all of you who are philanthropic role models and champions for our non-profit arts and culture community!
$25,000+
$5,000–$9,999
Paul and Kathleen Cosgrove*
Carol Franc Buck Foundation
Kay and Roy Abramowitz
Thomas H. Denney♥
Ellyn Bye and
Tremaine and Gail Arkley
Dr. Claudine Torfs ♥
Dream Envision Foundation
Matthew R. Baines*
Richard and Carol Dickey
Leo Conkle
The Breunsbach Family
Richard B. Dobrow, M.D.
Bill and Karen Early
Linda and Marcia Brown
Paul and Kristina Elseth
Carol and John Hampton Family Fund of
George and Lee Anne Carter
Jeffrey A. and Diane M. Evershed
The Oregon Community Foundation
William and Suzanne Dolan
Robert and Dana Fischer
Gregory K. and Mary Chomenko Hinckley
Emilie F. and Don C. Frisbee Fund of
Michael J. Gentry
Joanne M. Lilley
The Oregon Community Foundation
Ed Gronke*
Laura S. Meier
Connie Gougler
Kirk Hall
Dorothy Piacentini
Robert and Dorothy Haley
David and Brette Hampton
Pat and Trudy Ritz and
Susan and Richard Helzer
Betsy and Gregory Hatton
The Ritz Family Foundation
Sue Horn-Caskey and Rick Caskey
Marsh Hieronimus
Arlene Schnitzer
Andrew and Carol Kay
Dr. Robert H. and Barbara Jones
Jordan D. Schnitzer
Judith and Martin♥ Kelley
Randy and Leslie Labbe
The Harold and Arlene Schnitzer
Robert L. Ladehoff
Dorothy Lemelson
CARE Foundation
Walter E. Lander and Kit Tong Ng
Carol Schnitzer Lewis Fund of
The Stoller Group
Drs. Dolores and Fernando Leon
The Oregon Community Foundation
Greg and Cathy Tibbles
Nancy Locke and Donald Harris
Dr. and Mrs. John Lindgren
Anonymous
Bill and Kate Lockwood
Donn and Carole Lobdell
Jerome Magill
Marco Lopez
The Estate of Hannelore Mitchell-Shicht♥
Carol Mangan Fritz and Peter Fritz
Sona Karentz Andrews
Nathan Family Charitable Fund of
The M. and L. Marks Family Fund of
Marilyn Crilley and George Rowbottom
The Oregon Community Foundation
The Oregon Community Foundation
Pamela and Paul De Boni
Callie Pappas and John Winner
Dr. and Mrs. Louis McCraw
George and Barbara Dechet
Dr. Charles and Ruth Poindexter
Sir James and Lady McDonald
Matthew and Emmanuella Essieh
Michael and Alice Powell
Designated Fund of The Oregon
Jamey Hampton and Ashley Roland
Wallace and Elizabeth Preble
Community Foundation
Diana Harris and Gary Piercy
Fred Ramsey
Nancie S. McGraw
Chris and Kathryn Hermann
Mary and Russell Reid
Brad and Nancy Miller
Richard and Delight Leonard
N. Robert and Barre Stoll
Yooy and Joey Nelson
Elizabeth Lilley
Su Tunney and James DePew
John and Ginger Niemeyer
Joy McNichols
David and Carol Turner
Mrs. Elizabeth Noyes
Carole Morse
Anonymous
Jane S. Partridge
$10,000–$24,999
William and Mary Lou Mullin
David and Heidi Pasqualini
Patricia Norris and Mark Schlesinger
$2,500–$4,999
David and Valerie O'Brien
Kirby and Amy Allen*
Robert and Marilyn Ridgley
Kay Parr
Kregg Arntson and Ted Fettig
Bob and Barbara Schuppe
Marcia H. Randall
Arleen Barnett
Sue and Drew Snyder
William D. Rutherford and Joan Lamb
Brent Barton and Liz Fuller
David Staehely
John and Carol Steele
Eric Bell
Garry and Ardith Stensland
Donna Morris and Bill Sweat
Alan and Sherry Bennett
Zela and Elsa
Dr. Curtis T. Thompson
Megan Brown
Anonymous (2)
Greg and Cathy Tibbles
Marianne Buchwalter
Charles R. Watkins
The Burns Family Fund of
$1,000–$2,499
Dean and Patricia Werth
The Oregon Community Foundation
Margaret and Scott Arighi
Anonymous
Deborah A. Coleman
Marc and Maureen Beaudry
Julie and William Reiersgaard
M A DA M A B U T T E R F LY 55
POR TL ANDOPER A .ORG
Fine Custom Design... SHIMMERING BLUE ZIRCON AND DIAMONDS SET IN 18K WHITE AND ROSE GOLD
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25
M A DA M A B U T T E R F LY
56
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CONTRIBUTORS Alene and Bruce Bikle
Dr. Greg Zarelli and Mr. John Bush*
Jeffrey C. King and Jessie K. King
Frances Britt*
Anonymous (2)
Sara and John Kochavatr
Ellen and Robert Brittan
Sophia Kremidas
William Buettner
$500–$999
Dr. Carlos Castro-Pareja and Lori Dunkin*
Donald Andersen*
Mrs. Stanley A. Landeen
Frederic and Nancy Delbrueck
Christopher Andrews
Daniel Laurence
Susan C. Dixon
Ron Attrell and Michael Oard
Drs. Fred and Catherine Lauritsen
Mardi Epps
Nancy Babka and Michael Morgan
Clif and Cheryl Leonard*
Michael Alan Fox and Deborah D. Garman*
Dr. Natalie and Mr. Anthony Ballas
Robert E. Lowe
Eric and Rebecca Friedenwald-Fishman
Charles G. Barany
Carole and William McDonald
Suzy Gates
Tom Bard
David Millman and Juliette Levy
Susan Halton
James and Kathryn Bash
Stephan Morris
Senator Elizabeth Steiner Hayward
Sidney and Barbara Bass
Martha Havens Moyer
Pamela Henderson
Bryan and Vicki Beazley
J. Neuwelt
Dennis and Jacqueline Isiguen
David and Jeanne Beck
Richard and Beverly North
Helen and Paul E. Johnson MD
Jon Betlinkski
George and Reba O'Leary
Arthur and Virginia Kayser
John H. Block
Rev Dr. Rodney and Sandra Page
Dr. Angela and Matt Kilman
Margaret Branson
Mr. and Mrs. Peter Pope
H. Alexander Krob, M.D.*
Gilbert and Mary Ann Brokaw
Suzanne Rague
Kathleen Lewis
Matt and Marian Brouns
Russell Ramsey
Craig and Anne Lindsay
Ed and Nancy Buckman
Bruce Ramseyer
Linda McGeady
Virginia V. Burgess
Robert Reynolds and Denise Barnes
Steven McGeady
Mark A. Buser
Dell Rhodes
Paula and Bert Morgan
Anne Clark
Dr. Robert H. and Anne A. Richardson*
Virginia S. Mullen
Charles Richard Clarkson
Stephen and Leslie Robinson
Marianne Ott
Elaine and Arnold Cogan
Richard and Mary Rosenberg
Corinne and Duane Paulson
Dee and Vickie Cooper
Weston Roth and Lisa Shaw
Frank Piacentini and Sara Weinstein
Huck and Jennie Cronin
Lacey and Bjorn Rowberg
Robert Piacentini
Dr. Duane Denney
Kenneth Schriver
Art Dodd ♼ and Diane Plumridge
James and Kelley Dulcich
Ruth A. Short
Harold and Jane Pollin
Randall and Laurie Dunn*
Scott Showalter
Heidi Pozzo
Donna Elsasser
Robyn Shuey
William Pressly and Carole Douglass
Ron and Ann Emmerson
Cameron C. Smith
Ben and Lillian Pubols
Edward and Jeanette Feldhousen
Kristin Stathis
Augustina Ragwitz*
Stephen and Susan Ford
William and Cornelia Stevens
J. Chris Rasmussen
Morris Galen
Eric and Cyndi Strid
Lynne Diane Roe, M.D.
Rolf Glerum
L. Susan Sullivan
Charlene Rogers
Pam Gordon and Betty Goddard
Drs. Donald and Roslyn Sutherland
Don V. Romanaggi, MD
Gary and Heidi Grenley
Frances and William Tucker
Izhak Shafran
Jim and Karen Halliday
Drs. Gerry and Angela Uba
William Space and Allen Brady
Richard L. Hay
Cyrus Vafi
Kathleen Strohecker
John L. Hedrick
Peter and Ann van Bever
Bill Supak and Linda Kozlowski
Fred and Harriet Hegge
Peter Vennewitz*
Hank Swigert and Marlene Koch
Maryanne and David Holman
Geoff Verderosa
Rick and Carol Terrell Charitable Fund of
Joseph and Jo Won Homann
Karen and Bob Vineyard
The Oregon Community Foundation
Kimberly Howard
Jon Vorderstrasse
Justine Thede Occhipiniti*
Rebecca and Zach Howell
Drs. R Bastian and Barbara Wagner
Misty and Derek Tompoles
John Hren and Pam Aneshansley Hren
Wendy Ware and Dan Gleason
Russell Turner and Urszula Iwaniec
Nancy Jerrick
Sharon L. Weil
David Urman
Kelvyn Johnson
Weiss Fund of The Oregon
Dave and Christine Vernier
Douglas and Dena Keszler
Community Foundation
Damianos Kyriakopoulos
M A DA M A B U T T E R F LY 57
AS OF SEPTEMBER 16, 2019 POR TL ANDOPER A .ORG
Airs Wednesdays on KATU’s AM Northwest from 9–10 AM & Afternoon Live from 2–3 PM
H.M.S. PINAFORE Gilbert & Sullivan | June 5 – 28 Join us in June 2020 for H.M.S. Pinafore, when Mock’s Crest Productions becomes Opera On The Bluff.
Your host Ashley Coates.
OPENING THIS WEEK
in ®
WEEKLY VIDEO ARTS CALENDAR PRESENTED ON KATU, AT ARTSLANDIA.COM, BY E-MAIL TO ARTSLANDIA SUBSCRIBERS
We
this music. The Metropolitan Opera | Saturday Matinee Live Weekly Radio Broadcasts Saturdays at 10am
89.9 FM Portland/Vancouver • 88.1 Lincoln City/Newport • 96.3 Columbia Gorge East 88.1 Hood River/ The Dalles • 88.9 Manzanita • 95.7 Corvallis/Flynn • 90.3 HD-2 McMinnville
Listen around the world at allclassical.org
58
M A DA M A B U T T E R F LY
WITH ASHLEY COATES
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CONTRIBUTORS Tracy Wenckus
Donovan Bonner
Barbara Courts*
Dr. and Mrs. David S. Wisdom
Richard R. Bosch
Susan and Tim Cowles
John and Nancy Zernel
William Boyd and Marna Tisdel
Mr. James Cox and Mrs. Brenda Nuckton
Anonymous (7)
Art and Diane Brandenburg
Georgia Ronan Crampton
Larry and Daniela Brandt
Dr. Richard Crisera
$100–$499
Lauri Noell Crocker
Jack Wussow and Kyle Adams*
The Honorable Kate Brown and
W. Ron Crosier
Dr. George Adlhoch
First Gentleman Dan Little
Janet Cruz
Joseph Alexander and Janine Clayton
Donna Brune
Leigh Cummins and Eric Mills
Abby Alford
Peggy A. Bryant*
Tim and Suzanne Cusick
Farouk Al-Hadi
Nick Bulder
Nancy Lee Cutler
Jutta Allen
Rex Bull and Judith Widen
Janice Czerniejewski
Kathleen and John Allen
Jim and Linda Burch
Dr. and Mrs. Aloys J. Daack
Robert Amundson and Sully Taylor
Karie Burch
Paul Dantas
Kris Anderson and Michael O'Brien
Barbara Burns
Erin Dawson
Thomas Anderson and Joan Montague
Carol J. Burns
Hoyt A. Day
Ruby Apsler
Robert Burovac
Mariah de Forest
Jacque Arellano
Kate Bushman
Amy Dechet
Brandon Arends and Anne Sires
Judy Ann Butler
Jan Dellibovi
Annette Arrieta
Andrew Butts and Abby Kirchem-Butts
Janis L. Cantrell
Dr. and Mrs. James W. Asaph
Truddy Cable
Richard G. Denman
Raymond and Nancy Asbury
Barbara and Worth Caldwell
Mr. and Mrs. Eugene P. DiLoreto
Ruth Aschkenasy
Amy Drake Campbell*
Allen and Mary Lou Dobbins
Dr. Martha B. Atkinson
Maurine and Paul Canarsky
Mandy Doherty
Roberta August
Geoffrey Carr
Julia Dolan
Fran Aversa and Tom Johnston*
Kendall Carr
Christopher Domschke
John T. Bagg
Dr. and Mrs. Rob Cavasher
Dejan and Vida Dordevich
Arlene Baker
Richard Cave
Merrilee Dowty
Kathleen Baker
Ron and Jane Cease
Margaret and Richard Drake
Jane Tait Baldwin
Doug Beckman and Joanna Ceciliani
Patricia Dresler
Lajos Balogh
Shelly Chabon
Imelda Dulcich
David Bangsberg and Lynn O'Kelley
Christine Chen
Shari Dunn
Dr. Jaime Barnard
Susan Church
Dr. David Dunning
Barbara and David Barnes*
Sarah L. Claiborne
Maryann Dutton
Tom and Molly Bartlett
Ann and Andrew Clark*
Sandra and Rodger Dwight
Karen Barton
Alicia Coakley
Chris and Elizabeth Eber
Paul Bascom
Ashley Coates
Jane Edwards
Kathleen Beaufait
Kathryn Coffel
Roger Edwards and Carol La Brie
Phyllis L. Beemsterboer
Christine Colasurdo
Douglas Egan
Clarissa Benfield
Joseph and Vonnie Condon*
Dr. Maura and Ray Egan
Richard H. Berkey
Bryant and Michal Conger
Mrs. Bill Eklund
Karen Berkowitz and Robert Rutenberg
Victor Congleton
Amy Elliott
Aase Maja Besson*
Joan Conley
Kevin and Cinda Embree
Hella Betts
Ralph and Barbara Cook
James A. Endler
Maryka Biaggio and Deb Zita*
Rick Cooley
Joseph Erceg
Susan and Larry Black
Tim Cooper
L. David and Heidi Ericksen
Rick and Sydney Blaine
John and Anne Osborn Coopersmith
Michelle Erickson
Alice P. Blatt
Gretchen Coppedge
Wes Evans and Lou Scorca
Karen and Bob Blomquist
Dave and Char Corkran
Laurie Fay
Brittany Blumberg
Mr. and Mrs. Thomas S. Councell
Robin Feidelson
59
Ellen Crivella and Daniel Jaynes
Nick Bremer and Kendra Parkin
M A DA M A B U T T E R F LY
Lindsay Bregante Myers
Andrew Ackman*
AS OF SEPTEMBER 16, 2019 POR TL ANDOPER A .ORG
LUNCH WEEKDAYS AT 11:30 AM DINNER NIGHTLY AT 5 PM HAPPY HOUR DAILY 4 PM - 6 PM
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MASTERWORKS BY SOVIET-ERA COMPOSERS NOVEMBER 9, 8 p.m. FIRST BAPTIST CHURCH Works by Vasks, Shostakovich, Gubaidulina OREGON MUSIC FESTIVAL
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M A DA M A B U T T E R F LY
music unleashed
POR TL ANDOPER A .ORG
TICKETS AVAILABLE NOW AT OREGONMUSICFEST.ORG
CONTRIBUTORS Jean Feller*
Francis Hanchek
David Horowitz
Cecily Feudo
Frances Hanckel
Carolyn Howard
Ron and Kathleen Fial
Irvin Handelman
Carol and Tom Hull
Debra and Karl Finkelnburg
Barbara S. Hansen
Angela and Nathan Hult
Keiko Amakawa and Dr. Harvey Fishman
Amy Lynne Harrison
Romeo Ilie-Nicolof
Lawson Fite
Judith A. Heath
James and Sara Ingle
Nicole Forbes
Chris and Alicia Heaton
Robina Ingram-Rich and Tim Rich
Heather Fossity
Andrea and Ted Heid*
Jean, Sam, Theresa, Brian, and
Patricia France
Stanley O. Heinemann
Christopher Inzerillo
Anne Francis
Mr. and Mrs. David A. Hendersen
Martha Ireland
Andrea Frank
Kay Sweeney
Punya Jain
Dick Frey*
Sudee and Clayton Hering
Joyce Jakubiak and David Parks
Richard Frey
Joanne Hermens
Bernadette and Jeffrey Janisch
Jacob L. Friesen
Jean Herrera
Mr. and Mrs. Richard Janzig
Theresa Fritchle
James S. Heuer
Paulette S. Jarvey
Cynthia Fuhrman
Amiko Hiraiwa Riley
Barbara Jeddeloh
Albert Furtwangler
Carol and Herb Hoefer*
Doug Jenkins and Mike Boyles
Oksana Fusselman
Catherine Holder
Richard and Linda Jenkins
Elizabeth Gamino
Mary Holdman and Lawrence J. Evers
Kathy and Nils Jensen
Lyn Garcia
Kenneth L. Holford
Gayle Jimenez*
Michael Butts and Lily Gardner-Butts
Avon and Fred Holmes
Carla Jimenez
Michael and Nancy Gaston
Kathryn J. Holt*
Karen Johnson*
Richard and Erika George Mrs. Lora Giles Larry and Marlis Gilman J.A. Godshall Benjamin S. Goff Josh Goldberg Jennifer and Tim Goldsmith Rosalie Goodman Nihal Gooneratne Corbett Gordon Barbara and Marvin Gordon-Lickey Kendall Gourley-Paterson Martha Graner and William DeBolt Emma K. Gray Cindel Green Mark Greenfield Susan Greer Michael Greer Kelsey Gregory Marsha Gulick Paul Gunderson Patrick G. Hager and Alessandra Capperdoni Mia Hall Miller Eric Hallquist Rosemary Hamerton-Kelly Jo Lynne Hamilton Peter Hammond and Frank Johnson
Moving ever forward, the Ponzi sisters continue a half-century legacy of winemaking excellence and innovation. Enjoy the classic Ponzi experience at our hilltop tasting room. O P E N D A I LY
Just 40 minutes from Portland P O N Z I V I N E Y A R D S .C O M
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Anne Hanchek
in its second generation
M A DA M A B U T T E R F LY
Anton Haas Jr.
AN OREGON ORIGINAL
AS OF SEPTEMBER 16, 2019 POR TL ANDOPER A .ORG
May 10 – November 12, 2019
ohs.org/beatles
Curated by the GRAMMY Museum® & Fab Four Exhibits
learn to
soar
RENT TO OWN
Original works of art for your home or office Choose from Oregon’s largest selection of local artists in one place
CLASSES LESSONS PARTIES EVENTS www.thecircusproject.org
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M A DA M A B U T T E R F LY
• More than 200 artists • Over 1,000 works of art in various mediums
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RENTAL SALES GALLERY TUES – SAT 10 A.M. – 5 P.M. SUN NOON – 4 P.M. 1237 SW 10th Avenue rentalsales@pam.org
rentalsalesgallery.com
CONTRIBUTORS Barbara A. Johnston
Joyce and Stanley Loeb
William F. Mayclin
Annette Jolin and Richard U'Ren
Sharon Loomis-Malin*
Oscar and Mary Mayer
Becky and Jarrett Jones
Henry C. Louderbough, MD
Nic Mayne
Shelley L. Jones
Patricia and Walter Loveland*
Colleen and Alex Mazzia
The Jorgensons
Jack and Kathy Lucier
Nancy E. McCall
Robert Kavanaugh and Dale Robards
Rob and Theresa Lusardi
John M. McClelland
Galen Kawamoto
Susa Lynne
Dr. and Dr. McClure
Carole S. Keefer
Donna and Joseph MacKenzie*
Maria McCormick
Arthur and Kristine Keil
William Mahan
Walter and Barbara McDonald
Mark and Pam Keller
James and Midge Main
Ed and Judith McKenney
Esther Kelley
Bill and Mary Mainwaring
John and Candace McMunn
Felice D. Kelly
Barbara Manildi
Karen McNamee*
Alberto Kelso
Linda L. Mann
Tim McNichol and Anne Egan
Nino Kilgore-Marchetti
Gerald Marcyk
Bill McRae
Meagen Kincaid
Michelle Marcyk
Victoria Meadows
Rev. Lawrence R. King
John Martin
Christine Meadows
Louis and Patricia Kingman
Don Mason and Kathy Hinson
Ann Medellin
Mary and Bruce Kinsch*
Agneta and Mike Massa
Edward and Nancy Meece
Frederick Kirchhoff and Ronald Simonis*
Drs. Ruth and Joseph Matarazzo
Jan Merrimon
Nico Galoppo and Allison Knowles
Len Mathes
Charles Meshul and Maureen Ober
Judy and Fritz Kokesh
Julie Mathews
Marion Meyer
Paul Kondrath
Thomas J. Mathews and Lois L. Heinlein
Susan Mikota
Rachel Kopf Allen Koshewa Norman P. Krasne* Nicolai Kruger Louise J. Kurzet Kathleen Kusudo Ryan and Stephanie La Pier Monique's Boutique Rebecca Langdon Dennis Langston Grethe Larson and James Mullins Marina Laurette and Gerald Cosby A.M. LaVey Danielle Lee Barbara Coombs Lee Krystal Lee Leonheart Photography Judith K. Leppert Joan Levers and David Manhart* Christine E. Lewis Jordan and and Anna Lewis* M A DA M A B U T T E R F LY
Monelle Lewis Amy Light Jane and Robert Lightell Michael and Jeanette Lilly Nicholas Lim Ashley Lindsay Jeffrey W. Littman
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Carolyn and James Loch* AS OF SEPTEMBER 16, 2019 POR TL ANDOPER A .ORG
THE REVIEWS ARE IN. Do Something Dramatic
DOWNLOAD THE APP & REVIEW. WE WANT TO HEAR FROM YOU!
Lila Downs Oregon Symphony
Theater. Dance. Music.
Find news and reviews of the most Pure magic! It was an thrilling performances toof come out and evening nostalgia of Portland’s performing scene. hope forarts the future. —Chris 11/9/2018
Fridays & Sundays in a&E. Every day on OrEGONLiVE. your cultural concierge
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DRAMATIC Theater. Dance. Music.
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M A DA M A B U T T E R F LY
Do Something
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CONTRIBUTORS Tom and Pamela Miles
Guy and Sally Pope
Mary B. Rose
Jen Milius and John Eisemann
Richard Poppino and Tina Bull
Rosalind M. Roseman
Ken and Sandra Miller
Richard A. Potestio
Rosemarie F. Rosenfeld
Pamela Gesme Miller and Fred B. Miller
Marjorie Powell*
Charles W. Rosenthal
Kay Mitchell
John and Debbie Purcell
Pavel and Alena Rott
Daniel Mobbs and Vincent Bresciano
Nancy Pyburn
Mr. and Mrs. Mark Rowlette*
Katie Kinsley
Carole Quick
Laurens and Judith Ruben
John and Shanna Molitor
Kasia Quillinan
Dr. Elizabeth Rudy
Ingeborg Momberg
Sohyon Rahe
Barry and Penny Russman
Kathleen Anne Moon
Michael and Julia Ratoza
Elaine C. Ruys
Chris Morgan
Julie Rawson
Charles Ryberg
Susan D. Morgan, VMD
Denise Reed
Peter and Carolyn Saba
J. Michael Morrison
Russell and Jolae Reed
Sam Sadler*
Jean S. Morrison
Steven R. Reinisch*
Andrew and Jamie Sakshaug
Ilse Moser
Michelle Reynolds
Adam Salazar
Patricia G. Moss
Mrs. Charles Rhyne
Laura and David Salerno Owens
Matthew Mueller
Forrest and Rae Richen
Jeannie and Leonard Santos
Richard and Midge Mueller
Judge R. William Riggs
Kevin and Gabe Sasse
Alfred W. and Susan Mukatis
Judith Rimbey
Rochelle Satter
Nancy Murray
Lisa Ripps and Michael Hynes
Steve and Chris Satterlee
Prabu Muruganantham
Mr. and Mrs. Richard Roberts
Fred and Maralee Sautter
Kathryn Myers and Jonathan Ortiz Myers
Brian Rogers and Cassandra Scholte
James and Julianne Sawyer
Samantha Arlene Nash Bee and Quentin Neufeld Shirley and Mike Newcomb Anne Nguyen and Eli Krueger Roger G. Nibler Angela Niederloh and Matthew Hayward David Nijhawan Mary Jo and Robert Nye Nancy H. Oberschmidt Alison N. O'Brien Leslie Odegard Tavis Oehley Kris Oliveira Olive and John Orr* Patricia O'Shea Karen and Abby Oxendine* Pam and Ken Palke Caroline Lewis Palmer Dr. Laetitia Pascal Lanetta Paul Carole J. Peggar* M A DA M A B U T T E R F LY
Hannah Penn Vince L. Penta Team Jam Rebecca Phillips* Sue Piazza Susan and Walter Piepke Matthew Plavcan
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Laura Polich AS OF SEPTEMBER 16, 2019 POR TL ANDOPER A .ORG
Karol and B.R. Scheminske Eric and Elizabeth Schneider John Schoon Dick Schouten Susan Schubert John Schulte Art Schwartz and Myrna Glenn Sarah Schwarz
Celebrating Over Two Decades of Pro Bono Partnership
Dr. and Mrs. J. D. Schweinfurth Bill Scott and Kate Thompson Paul and Ketta Sedler Kristen Seidman Diana Shenk Kim Shirts Kathryn B. Everts and Mark Smallwood Caren Smeltzer and Herman Migliore Ashleigh Smith Cathleen L. Smith* Lindsey Smith Sarah E. Smith
Employment | Labor | Benefits | Higher Education www.barran.com | 503.228.0500
Neil Soiffer and Carolyn Smith Charles and Melissa Sollitt Martha and Les Soltesz Kyle and Sophia Spencer Alice Spitzer Gabriella Sprenger Charles and Karen Springer
DOWNTOWN
_THE FUN STARTS HERE
Kristin Sterling and Lorin Wilkerson Kristin Stevens
Mike and Judy Stoner Jennifer Stout
Milan and Jean Stoyanov
Stay at the epicenter of the George city’sChung art,Sumusic and fashion Barbara Swails scene with Radisson RED Richard Swart* Portland Downtown. Great Jane Thanner and Tim Smith nightlife, theaters, restaurants Bruce and Suzanne Thiel William andThierfelder attractions are all nearby. Frederick Jean Thompson Free and WiFi, Starbucks on site Jan Elizabeth Thorpe and OUIBar + KTCHN serving Rebecca and Robert Todd local craft Dr. Matti and Najla brews, Totonchy cocktails and eats. Joawesome Ann and Ric Tower Meg Stuckey
M A DA M A B U T T E R F LY
DOWNTOWN
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TOWN
BARRAN LIEBMAN IS PROUD TO PLAY A SUPPORTIVE ROLE WITH THE
CONTRIBUTORS
_THE FUN STARTS HERE
Stayatatthe theepicenter epicenter Stay of of thethe city’s art, music city’s art, music and fashion and fashion scene with Radisson RED Portland scene with Radisson RED Downtown. Great nightlife, theaters, restaurants Portland Downtown. and attractions are Great all nearby. Free WiFi, nightlife, theaters, restaurants Starbucks on site and OUIBar + KTCHN serving and attractions are all nearby. local craft brews, cocktails and awesome eats. Free WiFi, Starbucks on site and OUIBar + KTCHN serving local craft brews, cocktails and awesome eats. POR TL ANDOPER A .ORG
BOOK RED AT RADISSONHOTELS.COM/RED OR CALL US AT +1 (503) 334-2167
_THE FUN STARTS HERE Stay at the epicenter of the city’s art, music and fashion scene with Radisson RED Portland Downtown. Great nightlife, theaters, restaurants and attractions are all nearby. Free WiFi, Starbucks on site and OUIBar + KTCHN serving local craft brews, cocktails and awesome eats.
BOOK RED AT RADISSONHOTELS.COM/RED OR CALL US AT +1 (503) 334-2167
Stanley and Marie Townsend Jackie Tran
BOOK RED AT RADISSONHOTELS.COM/RED Karie Trumbo ORM.CALL Lyle Tucker US AT +1 (503) 334-2167 Brandon Triglia Julie Tripp
Kyle Tushaus
Arlene Tuttle Ingeborg Vaden Sarah Vallese Allen and Muriel van Veen Donald and Linda Van Wart Jerry and Thuy Vanderlinde*
TIMELESS, AFFORDABLE ELEGANCE IN THE HEART OF DOWNTOWN PORTLAND
Justine and Sean Virnig* Les Vuylsteke Carolyn Walker Kara Walton Shu-Ju Wang Mark Ward Katherine and Jason Wax Marion T. Weatherford Grace Weaver Deanna Wiley Andrew Wilson and Ronnie-Gail Emden Julie Wilson Mary Wilson Peter Wilson Margaret Wiltschko Patricia Winn Nancy and Larry Wissbaum
PROUD SPONSOR OF THE PORTLAND OPERA 309 SW BROADWAY - 503.228.2000 - BENSONHOTEL.COM *Portland Opera patron offer: Save 10% off food and beverages at The Palm Court. Mention this offer to your server at the time of order. 15% off Best Available Rate and room upgrade, subject to availability. Reserve online with promotional code PORTOPER.
Tom and Mariol Wogaman Dee Wolfe Ruth and Peter Wolff* Marjorie L. Wolford Richard and Leslie Wong Linda M. Wood Deborah Woodcock David DeMoss and Geoffrey Wren Lindsay Yousey* Ilya Yusufov Charlie Zhang Anonymous (38)
Visit exotic 110 SE Washington St.
AS OF SEPTEMBER 16, 2019
* Sustaining Donors have opted M A DA M A B U T T E R F LY
to give through automatic monthly contributions. For more information about sustained giving, please contact Angela Glabach-Vu at 503-417-0601 or aglabach@portlandopera.org. ♥ In Memoriam.
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smithtea.com
POR TL ANDOPER A .ORG
The Portland Opera Legacy Society Gorgeous music that captivates your soul. Incredible stories that transport you to new worlds of passion and discovery. Opera is truly the most potent of all the art forms. By including Portland Opera in your will or estate plan, you will share your love of opera with generations to come through our breathtaking mainstage productions and wide-ranging education programs. The Portland Opera Legacy Society honors those who have included Portland Opera in their wills or estate plans or who have made a significant gift to the Portland Opera Endowment.
To Learn How to Create Your Own Legacy Call Lacey Rowberg at 503.417.0572 or email at lrowberg@portlandopera.org. Organization Legal Name: Portland Opera Association, Inc. Mailing Address: 211 SE Caruthers Street, Portland, OR 97214
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M A DA M A B U T T E R F LY
Tax ID Number: 93-6034321 Kay and Roy Abramowitz
Don C. Frisbee♥
Jackie B. Miller
Randa Cleaves Abramson and
William A. and Joyce♥ Furman
Mrs. Philip H. Miller♥
Jonathan Abramson
Gwyneth Gamble Booth
Pamela Gesme Miller and Fred B. Miller
Douglas and Kerry Aden
Edith V. Gautschi♥
Max♥ and Suzanne Millis
Marylou W. Alberdt
Richard♥ and Janet Geary
Susan D. Morgan, VMD
Kirby and Amy Allen
Michael J. Gentry
Mr.♥ and Mrs. Robert H. Noyes, Jr.
Margaret and Scott Arighi
Robert and Dorothy Haley
David and Valerie O'Brien
Tremaine and Gail Arkley
Carol♥ and John Hampton♥
Mrs. Janice Orloff♥
Stephen S. Babson♥
Jamey Hampton and Ashley Roland
Marianne (Gerke) Ott
Matthew R. Baines
Diana Harris and Gary Piercy
Callie Pappas and John Winner
Kaaren Bedi
Arland Hatfield♥
Jane S. Partridge
Gilbert T. Benson ♥
Orpha H. Hedrick♥
Dorothy and Franklin♥ Piacentini
Blue Bickford
Susan and Richard Helzer
R. Ronald Roy
Laura Bieber
Bill Hetzelson and Robert Trotman
Bruce Ramseyer
Peter J. Bilotta and
Douglas and Candace Higgins
Richard A. and Mary W. Raub
Shannon M. Bromenschenkel
E. Roxie Howlett♥
Herbert and Helen Retzlaff♥
Mrs. Robert Bitar ♥
Nancy Jerrick
Esther Riley♥
David E. Wedge ♥
Monroe A. and Frances Jubitz♥
Claire and George Rives♥
Marianne Buchwalter
Judy C. Kelley
Catherine and Ottomar♥ Rudolf
Diane Burns and Doug Foster
Lora L. and Martin N. Kelley♥
Luwayne E. Sammons♥
Ellen E. Bussing
Randy and Leslie Labbe
Lois Schnitzer
George and Lee Anne Carter
Mark LaMalfa
Harold♥ and Arlene Schnitzer
Tim and Marianne Chapman
Violet B. Lang♥
Mr. and Mrs. Gilbert Schnitzer♥
Alyce R. Cheatham♥
Ghislaine Le Jeune♥
Zella C. Schwartzenhauer♥
Mary A. Clancy ♥
Drs. Dolores and Fernando Leon
David and Karen Sly
Richard M. and Tracey A. Clark
Kathleen Lewis
Grace Spacht♥
Mrs. Maurie D. Clark♥
Joanne M. Lilley
Eric Steinhauser and Gregg Macy
Craig L. Clark♥
Bill and Kate Lockwood
Mr. and Mrs. W. T. C. Stevens
Debi Coleman
Mr.♥ and Mrs. William W. Lyons
Diane Syrcle
Mr. James Cox and Mrs. Brenda Nuckton
Maybelle Clark Macdonald♥
Jeffrey and Jan Thede
Marilyn Crilley and George Rowbottom
Lorna MacLeod
Peter and Ann van Bever
Pamela and Paul De Boni
Anne Catriona MacLeod♥
Esther D. Vetterlein♥
Gay Hamilton Dielschneider♥
Joanne♥ and Jerome Magill
Jean and Howard Vollum♥
William and Suzanne Dolan
Susan Maltby♥
Les Vuylsteke
Bill and Karen Early
Sherrilyn S. Maltby♥
William and Patricia Wessinger♥
Edna L. Holmes♥
Drs. Ruth and Joseph Matarazzo
Ben♥ and Elaine Whiteley♥
Spencer and Jane Ehrman♥
Christopher Mattaliano
Virginia Willard and Jack Olson
Ruth P. Elliott♥
Gail and Bill McCormick
Margaret T. Winch♥
Jeffrey A. and Diane M. Evershed
Dr. and Mrs. Louis McCraw
Susan Yamanaka
William Finlay♥
Sir James and Lady Anne McDonald♥
Jay and Diane Zidell
William Michael Foster♥ Family
Nancie S. McGraw
Anonymous (7)
POR TL ANDOPER A .ORG
TRIBUTE IN MEMORY OF
IN HONOR OF
Gerry Allen
Zita F. Kondrath
IN HONOR OF
IN MEMORY OF
Stephen and Leslie Robinson
Paul Kondrath
Diane Bickford
Tami G. Martin
IN MEMORY OF
IN HONOR OF
Sarah Vallese
Marge Browning
John Martin
Donna Morris
Nancy and Larry Wissbaum
David and Jeanne Beck
IN HONOR OF
IN MEMORY OF
Michael Brumage Amy Elliott
Michael James O'Neill
IN MEMORY OF
Kathleen Baker Kim Shirts
Richard Cave
IN MEMORY OF
Steve Carpenter IN HONOR OF
Henri Champagne William Mahan
IN MEMORY OF
Sue Ross Clark
Greg Parsons
IN MEMORY OF
Luwayne Engwall Sammons John M. McClelland IN MEMORY OF
Mayer D. Schwartz Anonymous
IN HONOR OF
Curtis T. Thompson, MD Kristin Stevens IN HONOR OF
Ryan Thorn
Jim and Linda Burch IN HONOR OF
Karen Vernier
Roberta August
Alberto Kelso Allen Koshewa
IN MEMORY OF
IN RECOGNITION OF
Rev. Lawrence R. King
Douglas Watkins
Tillie Rea
Laura Watkins
Guy and Sally Pope IN MEMORY OF
Francesca Bishop Clifford Imelda Dulcich IN HONOR OF
Marie Colasurdo Christine Colasurdo IN HONOR OF
Dandrea
Bernadette and Jeffrey Janisch IN MEMORY OF
Manuel Garcia Les Vuylsteke
IN HONOR OF
Carolyn J. Glass Anonymous
IN MEMORY OF
Nancy Glerum
M A DA M A B U T T E R F LY
Rolf Glerum
IN HONOR OF
Monte and Peggy Greer Susan Greer
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AS OF SEPTEMBER 16, 2019
POR TL ANDOPER A .ORG
YPS is Portland Opera’s under-40 social club for the arts.
www.pdx.net 503.972.7272 hello@pdx.net
Portland’s original wine storage facility
YOUR SUPPORT UNLOCKS ACCESS TO: Two $25 tickets to Thursday evening performances Invitations to the Young Patron lounge at intermission
portlandopera.org/ youngpatronsociety
306 SE Ash St, Portland OR 97214 503 231 1121
info@portlandwine.com
*mention Portland Opera & receive 1st month free*
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M A DA M A B U T T E R F LY
Access to special events
- full range of wine cellar services, including transport, inventory and custom racking - state-of-the-art climate control, security technology, and 24 hour access - hip client lounge & event space
POR TL ANDOPER A .ORG
Season Sponsors Portland Opera is proud to collaborate with community and business allies to create impactful relationships both regionally and nationally. We would like to recognize the generosity, advocacy, and support of the businesses, foundations, and organizations that comprise our list of vibrant sponsors and partners:
Thank you! MAJOR SUPPORT IS PROVIDED BY: Barran Liebman LLP
The McGeady Family Foundation
Regional Arts & Culture Council,
The Collins Foundation
Meyer Memorial Trust
including support from the City of
Curtis T. Thompson MD & Associates
The National Endowment for the Arts
Portland, Multnomah County, and
The Hampton Family Fund
OPERA America |
the Arts Education & Access Fund
The James F. and Marion L. Miller Foundation
The Standard
The Harold & Arlene Schnitzer
Oregon Arts Commission
The Oregon Community Foundation
CARE Foundation
The National Opera Center
ADDITIONAL SUPPORT IS PROVIDED BY: Advanced Wealth Management
Lamb Family Foundation
Richard & Mary Rosenberg
The Autzen Foundation
M&T Bank
The Boeing Company
Miller Nash Graham & Dunn LLP
Rutherford Investment Management
Broadway Across America
The Monday Musical Club of Portland
Schnitzer Steel Industries, Inc.
EAI Information Systems
Norris Dermatology & Lasers NW
Stoel Rives
Fidelity Charitable Gift Fund
NW Natural
The Stoller Group
The Flowerree Foundation
Oregon Cultural Trust
Rose E. Tucker Charitable Trust
Ann and Gordon Getty Foundation
The Oregonian/OregonLive!
Umpqua Bank
The Hearst Foundation
The Outlander Foundation
Union Bank
Hoffman Corporation
PGE Foundation
U.S. Bank Foundation
Intel Volunteer Grant Program
Pride Foundation
Wave Form Systems
The Jackson Foundation
Pat & Trudy Ritz and
Wells Fargo
JEZ Foundation
Wheeler Foundation
Kerr Pacific Foundation
PSU Foundation
the Ritz Family Foundation
Charitable Foundation
Winderlea Vineyard & Winery
KeyBank
We would also like to recognize our corporate partners who encourage matching gifts or volunteerism through their employee programs, including: Bank of America
IBM
PGE
The Boeing Company
Intel
Rockwell Collins
Chevron Corporation
KeyBank
Tektronix
General Mills
Microsoft
The Standard
Hanna Andersson
Nike
US Bank
HP
NW Natural
IN-KIND PARTNERS INCLUDE: Elk Cove Vineyards
Radisson RED Portland Downtown
Anthropologie
Et Fille Wines
Raven & Rose
Argyle | The Official Sparkling Wine
The Mark Spencer Hotel
Remy Wines
Nel Centro
RingSide Steakhouse
Aria Portland Dry Gin
Ponzi Vineyards
Steven Smith Teamaker
Artslandia
Portland Internetworks
Utopia Vineyard
The Benson Hotel
Portland Piano Company | The Official
Water Avenue Coffee
Botanica Floral Design
Wildwood & Company
Cana’s Feast
Portland Wine Storage
of Portland Opera
Piano Sponsor of Portland Opera
Winderlea Vineyard & Winery
Elephants Catering & Events
M A DA M A B U T T E R F LY
200 Market Building
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POR TL ANDOPER A .ORG
ELISABETH JONES ART CENTER Fine art that actively supports the world you love and the social and environmental issues that concern you
A 4000 sq ft. art space that hosts exhibitions, events, and classes in Portland’s Pearl District. 10% to 50% of sales of all original artwork beneďŹ t an individual or organization working toward protecting the environment or supporting a particular human rights issue.
Wed - Sun 12 Noon - 5 pm and by appointment 503.286.4959 516 NW 14th Ave Portland, OR, 97209 elisabethjones.art
Image: Claire Duncan, Hesitant Attraction, Acrylic on hand-crafted Baltic birch panel
“Electrifying, brilliant theater at its finest!”
Sep. 28 – Nov. 24
Nov. 30 – Dec. 29
Three women tackle all the roles in this piercing, stripped-down adaptation of Shakespeare’s infamous tale of political gluttony.
This clever sequel to Jane Austen’s Pride and Prejudice puts Mary Bennet front and center as she endeavors to find independence and perhaps even love.
Feb. 29 – Apr. 5
Apr. 18 – May 17
This Broadway smash hit takes us inside the mind of an extraordinary boy trying to solve the murder of his neighbor’s dog.
The gorgeous heart of E.M. Forster through a playful 21st century lens! Follow the Schlegel sisters as their lives are upturned by two very different men.
REDWOOD • HEDWIG AND THE ANGRY INCH • SCHOOL GIRLS; OR, THE AFRIC AN ME AN GIRLS PL AY • 9 PARTS OF DESIRE • C AMBODIAN ROCK BAND Portland Center Stage at
BUY TICKETS TODAY!
503.4 45. 3700
•
PCS.ORG
Photo: Cast members from In the Heights. Photo by Owen Carey.
We appreciate the art of great storytelling. Cheers to the 2018 Portland Opera season.
THE A RGY LE TASTING HOUSE
What began as a conviction to grow world class Sparkling Wine in the Willamette Valley has grown into so much more. Come experience Argyle.
Open Daily 11 AM - 5 PM ARGYLE TASTING HOUSE 691 HWY 99W - Dundee OR 97115 503.538.8520 For information about upcoming events visit argylewinery.com
Portland Opera Production History 2018–19
2010–11
2002–03
1993–94
1983–84
1973–74
La Traviata, Verdi As One, Kaminsky Big Night Concert The Barber of Seville, Rossini La Finta Giardiniera, Mozart In The Penal Colony, Glass
Pagliacci, Leoncavallo & Carmina Burana, Orff Hansel and Gretel, Humperdinck Turandot, Puccini L’Heure Espagnole & L’Enfant et les Sortilèges, Ravel
Il Trovatore, Verdi The Elixir of Love, Donizetti The Tales of Hoffmann, Offenbach A View from The Bridge, Bolcom
Carmen, Bizet Lucia di Lammermoor, Donizetti Man of La Mancha, Leigh Don Carlo, Verdi Die Fledermaus, J. Strauss, II
Lohengrin, Wagner Così fan tutte, Mozart Lucia di Lammermoor, Donizetti The Bartered Bride, Smetana
The Tales of Hoffmann, Offenbach La Bohème, Puccini Don Pasquale, Donizetti Ariadne auf Naxos, R. Strauss
2001–02
1992–93
1982–83
1972–73
La Traviata, Verdi The Pearl Fishers, Bizet Così fan tutte, Mozart The Consul, Menotti Candide, Bernstein
Eugene Onegin, Tchaikovsky The Elixir of Love, Donizetti Così fan tutte, Mozart La Traviata, Verdi
La Traviata, Verdi Wuthering Heights, Herrmann Girl of the Golden West, Puccini Die Fledermaus, J. Strauss, II
2000–01
1991–92
1981–82
Carmen, Bizet Madame Butterfly, Puccini Hansel and Gretel, Humperdinck Così fan tutte, Mozart Tristan und Isolde, Wagner
Carmen, Bizet Otello, Verdi La Bohème, Puccini Dialogues of the Carmelites, Poulenc La Belle Hélène, Offenbach
Samson and Delilah, Saint-Saëns Falstaff, Verdi Hansel and Gretel, Humperdinck The Daughter of the Regiment, Donizetti My Fair Lady, Lowe
Rigoletto, Verdi Eugene Onegin, Tchaikovsky The Abduction from the Seraglio, Mozart Manon Lescaut, Puccini
1999–00
1990–91
Aïda, Verdi Werther, Massenet Pagliacci, Leoncavallo & Carmina Burana, Orff The Cunning Little Vixen, Janácek The Mikado, Sullivan
Rigoletto, Verdi Salome, R. Strauss Manon, Massenet La Favorita, Donizetti Carousel, Rogers
2018 Die Winterreise, Schubert Big Night Concert Rigoletto, Verdi Faust, Gounod La Cenerentola, Rossini Orfeo ed Euridice, Gluck
2017 Songs of Love and War, Monteverdi Big Night Concert La Bohème, Puccini Man of La Mancha, Leigh Così fan tutte, Mozart The Difficulty of Crossing a Field and The Little Match Girl Passion, Lang
2016 The Magic Flute, Mozart Sweeney Todd, Sondheim Eugene Onegin, Tchaikovsky The Italian Girl in Algiers, Rossini
2014–15 Die Fledermaus, J. Strauss, II Carmen, Bizet Show Boat, Kern The Rake’s Progress, Stravinsky The Elixir of Love, Donizetti
2013–14 Big Night Concert Salome, R. Strauss Lucia di Lammermoor, Donizetti Postcard from Morocco, Argento The Pirates of Penzance, Gilbert and Sullivan
2012–13
2011–12 Big Night Concert The Marriage of Figaro, Mozart Madame Butterfly, Puccini Galileo Galilei, Glass Candide, Bernstein
La Bohème, Puccini Orphée, Glass Così fan tutte, Mozart Trouble in Tahiti, Bernstein, Il Ballo Delle Ingrate & Il Combattimento di Tancredi e Clorinda, Monteverdi The Barber of Seville, Rossini
2008–09 La Traviata, Verdi Fidelio, Beethoven The Turn of the Screw, Britten La Calisto, Cavalli Rigoletto, Verdi
2007–08 Carmen, Bizet Cinderella, Rossini Rodelinda, Handel Albert Herring, Britten Aida, Verdi
2006–07 Faust, Gounod The Return of Ulysses, Monteverdi Norma, Bellini The Flying Dutchman, Wagner The Magic Flute, Mozart
2005–06 Tosca, Puccini The Rape of Lucretia, Britten Macbeth, Verdi Nixon in China, Adams Don Giovanni, Mozart
2004–05 The Journey to Reims, Rossini Madame Butterfly, Puccini Street Scene, Weill The Abduction from the Seraglio, Mozart
2003–04 The Marriage of Figaro, Mozart Turandot, Puccini Lucia di Lammermoor, Donizetti The Barber of Seville, Rossini
1998–99 Rigoletto, Verdi Don Pasquale, Donizetti Faust, Gounod Julius Caesar, Handel
1997–98 Don Giovanni, Mozart Roméo et Juliette, Gounod Tosca, Puccini The Love for Three Oranges, Prokofiev The Student Prince, Romberg
1996–97 Madame Butterfly, Puccini The Merchant of Venice, Hahn The Magic Flute, Mozart Pagliacci, Leoncavallo & Carmina Burana, Orff
1995–96 Turandot, Puccini Der Rosenkavalier, R. Strauss Sweeney Todd, Sondheim Jenufa, Janàĉek The Marriage of Figaro, Mozart
1994–95
Aïda, Verdi Faust, Gounod Don Pasquale, Donizetti Lucy’s Lapses, Drobny Show Boat, Kern
1988–89 Tosca, Puccini The Pearl Fishers, Bizet Don Giovanni, Mozart The Merry Widow, Lehàr
1987–88 Roméo et Juliette, Gounod Madame Butterfly, Puccini Andrea Chénier, Giordano The Magic Flute, Mozart
1986–87 La Bohème, Puccini Der Rosenkavalier, R. Strauss Macbeth, Verdi Porgy and Bess, Gershwin
1985–86 The Tales of Hoffmann, Offenbach Pagliacci, Leoncavallo & Gianni Schicchi, Puccini The Marriage of Figaro, Mozart Turandot, Puccini
1984–85
Don Giovanni, Mozart Tosca, Puccini Die Walküre, Wagner Don Pasquale, Donizetti
1979–80 Madame Butterfly, Puccini Faust, Gounod Fidelio, Beethoven Il Trovatore, Verdi
1978–79 Norma, Bellini The Flying Dutchman, Wagner The Daughter of the Regiment, Donizetti La Bohème, Puccini
1977–78 Carmen, Bizet Elektra, R. Strauss The Magic Flute, Mozart Falstaff, Verdi
1976–77 The Consul, Menotti Werther, Massenet Cinderella, Rossini Die Meistersinger, Wagner
1975–76
La Rondine, Puccini The Marriage of Figaro, Mozart Tosca, Puccini Der Rosenkavalier, R. Strauss
1970–71 Cavalleria Rusticana, Mascagni, & Pagliacci, Leoncavallo Fidelio, Beethoven A Masked Ball, Verdi Don Giovanni, Mozart
1969–70 Aïda, Verdi The Barber of Seville, Rossini Lucia di Lammermoor, Donizetti The Magic Flute, Mozart
1968–69 Otello, Verdi The Flying Dutchman, Wagner Manon, Massenet Il Trovatore, Verdi
1967–68 La Bohème, Puccini La Traviata, Verdi Carmen, Bizet Rigoletto, Verdi
1966–67 Faust, Gounod Tosca, Puccini Madame Butterfly, Puccini
La Traviata, Verdi Life of Orestes, Krenek The Barber of Seville, Rossini Die Fledermaus, J. Strauss, II
1965–66
1974–75
Die Fledermaus, J. Strauss, II La Bohème, Puccini
Rigoletto, Verdi Der Freischütz, von Weber The Elixir of Love, Donizetti Salome, R. Strauss
The Bartered Bride, Smetana The Barber of Seville, Rossini
1964–65
The Barber of Seville, Rossini Carmen, Bizet A Masked Ball, Verdi Martha, von Flotow
75
La Bohème, Puccini The Flying Dutchman, Wagner The Tales of Hoffmann, Offenbach The Barber of Seville, Rossini Porgy and Bess, Gershwin
1989–90
1980–81
1971–72
M A DA M A B U T T E R F LY
Big Night Concert Don Giovanni, Mozart Tosca, Puccini Rinaldo, Handel Falstaff, Verdi
2009–10
POR TL ANDOPER A .ORG
2019/20 season —OCT/NOV 2019—
PUCCINI
MADAMA BUTTERFLY —FEBRUARY 2020—
FOUR ONE-ACT OPERAS
AN AMERICAN QUARTET —MARCH 2020—
VIVALDI
BAJAZET —MAY 2020—
A SPECIAL CONCERT
BIG NIGHT —JUNE 2020—
LEONCAVALLO
PAGLIACCI —JULY 2020—
HEGGIE
THREE DECEMBERS Single tickets start at $35. Don’t miss a single moment. Season subscriptions are still available. PORTLANDOPERA.ORG | 503. 241.1802
A STATEMENT TO OUR AUDIENCES Since 1964, Portland Opera has contributed to the cultural, artistic, and economic landscape of the city and region that we love. Our commitment to our audiences and community has been, and remains, vital to our work and ability to thrive. At this moment, we want to reaffirm our responsibility to this community—by presenting work that inspires our humanity and reflects our love for this art form. It is true that the stories we tell often reflect a time, place, and society of the past. The actions and attitudes of the characters we present onstage do not always represent acceptable worldviews. We believe that revisiting these works of art remains a worthy enterprise, and that they can give us a unique opportunity to face history and the past—through dialogue and collaboration.
Let us be clear: there is no place for bigotry, discrimination, harassment, hate, intolerance, or violence at Portland Opera. We remain committed to welcoming people of all abilities, ages, ethnicities, gender identities, nationalities, races, religions, sexual orientations, and socioeconomic backgrounds to Portland Opera. We believe that opera can unlock our hearts, and deepen our understanding of our shared human experience. We invite you to join us.
portlandopera.org/values
GENERAL AUDIENCE INFORMATION & RESOURCES Concierge Services
Stop by the concierge booth in the main lobby to say hello. Our complimentary concierge services are designed to make sure your visit to Portland Opera is an excellent one. We can assist with opera etiquette, history, dining recommendations, directions, and more. Our concierge can also be reached at 503-241-1407 and concierge@portlandopera.org.
Late Seating Policy
Late seating is not available for Portland Opera performances, and re-entry during the performance is not permitted. Patrons arriving late or leaving the theater during the performance will be reseated at intermission.
Photography and Cell Phone Use
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M A DA M A B U T T E R F LY
The use of cameras, phones, and other recording devices is strictly prohibited during performances. We welcome you to take photos at intermission and share photos using the hashtag #pdxopera and tagging @portlandopera.
Continue the Conversation
Before the first act, join us for a free lecture one hour before the performance. Experts and artists provide context and unique insights into the world of the opera. After the performance, join us for a post-show conversation with company and cast members about our work.
POR TL ANDOPER A .ORG
Security, Food, and Beverage
In order to ensure patron safety, security is present at all performances and all attendees must have tickets. All firearms and weapons are prohibited. Bags are subject to search. Oversized bags will not be permitted in the theater. You may bring drinks into the theatre—as long as they are covered with lids and purchased at the theatre. Food is not permitted.
Accessibility & Interpreted Performances The performance on October 27 will include a live audio description of the visual and physical events onstage for patrons who are blind or have low-vision. Call 503-241-1802 for more information.
If you require wheelchair accessible and/or companion seating, or have any other hearing or vision needs, please let us know when you reserve your tickets so that we can make sure your visit to the theatre is an excellent one. Portland Opera does not typically offer ASL Interpreted performances, as each performance is accompanied by English captions/surtitles. Please note that dates, times, company, and cast members are subject to change. The Hampton Opera Center at 211 SE Caruthers St. houses our administrative, production, and rehearsal operations, as well as All Classical Portland Public Media and Friends of Chamber Music. The Keller Auditorium box office opens two hours prior to the performance. Administrative Offices: 503-241-1407 Patron Services: 503-241-1802 www.portlandopera.org Monday–Friday, 10am–5pm
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