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Giuseppe Verdi
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La Traviata
NOVEMBER 2–10 | KELLER AUDITORIUM
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TABLE OF CONTENTS Message from the General Director Message from the Board President La Traviata The Cast The Plot A Note from the Director
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A History: La Traviata
La Traviata
09 11 12 15 16 18 21 24 26 30 32 33 34 38 42 47 58 62
Timeline: The History of La Traviata at Portland Opera Biographies Production Staff Orchestra Chorus and Dancers Portland Opera Staff and Board Opera in Your Community 2018/19 Season Donors Up Next: As One For Our Audiences
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FROM THE GENERAL DIRECTOR
Welcome to the first production of our 18/19 season.
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Photo: Max McDermott, Artslandia
La Traviata
This year we will celebrate the beauty and breadth of opera with timeless classics, and will be inspired by new voices and stories. We’ll experience beautiful and powerful music, and fall in love with the characters of these worlds. We begin this season with a deeply human love story, and Verdi at his greatest. La Traviata was set specifically in Verdi’s contemporary society, and was based on a best-selling novel and popular play La Dame aux Camélias by Alexandre Dumas, fils. Both men were rather qualified to share the story of affairs with famous courtesans, and were certainly informed by their own experiences (Verdi with Giuseppina Strepponi and Dumas with Marie Duplessis, neither of whom were strangers to the opera house). The censors were not pleased, but Verdi’s opera would continue to illuminate the hypocrisy and sexual politics of its day. Tonight we see a peek into Verdi and Strepponi’s Paris, in the 1850s, and I believe that this La Traviata will continue to resonate with us today. This is a story that we know too well: one where a condemned and objectified woman (a prostitute in this case) cannot possibly be anything else; where the cruelty of public humiliation can destroy us; where moral judgment is too often based in hypocrisy. These are narratives that society continues to grapple with: you cannot escape your past, women should be ashamed of their sexual decisions, your love is not acceptable to the powers that be, and not all lives are of the same value. There are other cornerstones of this story that transcend time and adaptation. At the heart of what makes La Traviata enduring is our heroine, Violetta. Singing this role is like walking a tight rope musically and emotionally. From a purely vocal standpoint, the soprano must comb the depths of despair, reveal the innermost tenderness of the human heart in her love for Alfredo, and outshine all others as the sparkling life of the party. Verdi captures all of this in the opera’s prelude—the first music we hear is the theme associated with Violetta’s ill health and despair, followed by the melody sung to the words “Amami Alfredo, amami quant’io t’amo” (Love
me, Alfredo, as much as I love you)—one of the most searing outpourings of love in all opera. This leads immediately to the breathless introduction to the Act I party and the artificial gaiety of Parisian high society—where Violetta reigns supreme. Thus, we’ve been “introduced” to Violetta before she appears on stage. It is a privilege to share this opera with you. May the sweeping melodies and timeless passion of it inspire you, and may Violetta and Alfredo’s love remind us of the transformative powers that we each hold in our hearts. Thank you for taking this journey with us. We hope to see you in March at the Newmark for As One, as we share the story of our next heroine, Hannah, and celebrate her strength of spirit.
Christopher Mattaliano General Director, Portland Opera
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Portland Opera’s Rigoletto. Portland Opera receives funding from the Oregon Cultural Trust. Photo by Cory Weaver.
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FROM THE PRESIDENT OF THE BOARD
Dear Friends,
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La Traviata
Welcome to Portland Opera’s 54th Season with our opening performance of Giuseppe Verdi’s La Traviata! As the incoming President of the Portland Opera Board of Directors, I am honored to celebrate the beginning of our 2018–2019 season with you, our patrons. I am especially excited that we have returned to a performance of a grand opera during our colorful fall. The return of a fall production is the result of us pausing and listening to you, our beloved audience. The performers, musicians, staff, and members of the Board of Directors want you to know that we are truly committed to honoring and responding to your feedback and opinions. The timing of this production is a response to audience surveys and feedback. We are grateful that you shared your opinion with us, and we promise to continue to listen. This classic production of La Traviata promises to be a delightful fall experience. We are excited to welcome Romanian soprano Aurelia Florian for her Portland Opera debut. She has been mesmerizing audiences around the globe with her heartbreaking performance as Violetta Valéry. We also welcome back tenor Jonathan Boyd to Portland. Jonathan was last seen as the title character in our John Frame-designed production of Faust from last season. Jonathan now appears as Alfredo, the other half of La Traviata’s tragic couple. We have quite a season in store for you—from grand productions to intimate chamber operas, from classic Mozart to contemporary Philip Glass, and everything in between. I look forward to personally sharing each unique opera with you as we experience the great variety that this art form allows and seek connections to modern societal themes, issues, and ills. On behalf of the Board of Directors, I thank you for your support, and for your passion. You allow us to nurture and advance this exceptional art form. You are the reason that Portland Opera exists, and I thank you for playing such an important role in our organization.
Warmest regards,
Curtis T. Thompson, MD President, Portland Opera Board of Directors
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La Traviata
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Giuseppe Verdi’s
LA TRAVIATA In Three Acts
Libretto by Francesco Maria Piave | Performed in Italian with projected English surtitles
Premiere: March 6, 1853, at Teatro La Fenice, Venice Portland Opera Premiere: January, 1968
Christopher Larkin CONDUCTOR
Elise Sandell STAGE DIRECTOR 13
Christine A. Richardson COSTUME DESIGNER
Mark Stanley* LIGHTING DESIGNER
Nicholas Fox CHORUS MASTER
Jon Wangsgard PRODUCTION STAGE MANAGER
Joel Ayau PRINCIPAL ACCOMPANIST
*Portland Opera Debut
November 2, 4m, 8, 10, 2018, Keller Auditorium Scenery designed by Ecole Sormani, provided by Stivanello Costume Company, Inc. Costumes and props constructed by Portland Opera. Mr. Boyd’s tailsuit custom tailored by Wildwood & Company. Projected English surtitles by Cori Ellison.
Photo: Cory Weaver / San Francisco Opera
There will be two intermissions. Total running time is approximately 2 hours, 45 minutes. 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. Recording equipment, cameras and personal phones prohibited. La Traviata is sponsored by Barran Liebman LLP and Et Fille Wines. Portland Opera is grateful for the ongoing support of the Arts Impact Fund, The Collins Foundation, Meyer Memorial Trust, James F. and Marion L. Miller Foundation, National Endowment for the Arts, Oregon Arts Commission, and Regional Arts & Culture Council.
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La Traviata
Seth Hoff CHOREOGRAPHER/ ASSISTANT DIRECTOR
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Helen Huang + Annina, Violetta’s maid
Camille Sherman * + Flora Bervoix, friend of Violetta
Joseph M. Muir Giuseppe, a gardener
Geoffrey Schellenberg *+ Marquis D’Obigny
André Flynn A messenger
Daniel Mobbs Baron Douphol, rival of Alfredo
Weston Hurt Giorgio Germont, father of Alfredo
Damien Geter Doctor Grenvil
Erik Hundtoft Flora’s servant
David Warner Gastone, Count of Letorières
* Portland Opera Debut + Member of the Portland Opera Resident Artist Program
Jonathan Boyd Alfredo Germont, lover of Violetta
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Aurelia Florian * Violetta Valéry, a courtesan
THE PLOT
ACT I
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In her Paris salon, the courtesan1 Violetta Valéry greets party guests, including Flora Bervoix, the Marquis d’Obigny, Baron Douphol, and Gastone, who introduces a new admirer, Alfredo Germont. This young man, having adored Violetta from afar, joins her in a drinking song. An orchestra is heard in the next room, but as guests move there to dance, Violetta suffers a fainting spell, sends the guests on ahead, and stays in her parlor to recover. Alfredo comes in, and since they are alone, confesses his love. At first Violetta protests that love means nothing to her. Something about the young man’s sincerity touches her, however, and she promises to meet him the next day. After the guests have gone, Violetta wonders if Alfredo could actually be the man she could love. She decides she wants freedom, though Alfredo’s voice, heard outside, argues in favor of romance.
ACT II Some months later Alfredo and Violetta are living in a country house near Paris, where he relishes their contentment. When the maid, Annina, reveals that Violetta has pawned her jewels to keep
the house, Alfredo leaves for the city to settle matters at his own cost. Violetta comes looking for him and finds an invitation from Flora to a party that night. Violetta has no intention of going back to her old life, but trouble intrudes with the appearance of Alfredo’s father. Though impressed by Violetta’s ladylike manners, he demands she renounce his son: the scandal of Alfredo’s affair with her has threatened his daughter’s engagement. Violetta says she cannot, but Germont eventually convinces her. Alone, the desolate woman sends a message of acceptance to Flora and begins a farewell note to Alfredo. He enters suddenly, surprising her, and she can barely control herself as she reminds him of how deeply she loves him before rushing out. Now a servant hands Alfredo her farewell note as Germont returns to console his son with reminders of family life in Provence. But Alfredo, seeing Flora’s invitation, suspects Violetta has thrown him over for another lover. Furious, he determines to confront her at the party. At her soirée that evening, Flora learns from the Marquis that Violetta and Alfredo have parted, then clears the floor for the entertainment. Soon Alfredo strides in, making bitter comments about love and gambling recklessly at cards. Violetta has arrived with Baron Douphol, who challenges Alfredo to a game and loses a small
1. A courtesan is a prostitute with a courtly, wealthy, or upper-class clientele.—Merriam-Webster
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fortune to him. Everyone goes in to supper, but Violetta has asked Alfredo to see her alone. Fearful of the Baron’s anger, she wants Alfredo to leave, but he misunderstands her apprehension and demands that she admit she loves Douphol. Crushed, she pretends she does. Now Alfredo calls in the others, denounces his former love and hurls his winnings at her feet. Germont enters in time to see this and denounces his son’s behavior. The guests rebuke Alfredo and Douphol challenges him to a duel.
ACT III In Violetta’s bedroom six months later, Dr. Grenvil tells Annina that her mistress has not long to live: tuberculosis has claimed her. Alone, Violetta rereads a letter from Germont saying the Baron was only wounded in his duel with Alfredo, who knows all and is on his way to beg her pardon. But Violetta senses it is too late. Paris is celebrating Mardi Gras and, after revelers pass outside, Annina rushes in to announce Alfredo. The lovers ecstatically plan to leave Paris forever. Germont enters with the doctor before Violetta is seized with a last resurgence of strength. Feeling life return, she staggers and falls dead at her lover’s feet. —Courtesy of Opera News
A Note from the Director by Elise Sandell
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At the center of La Traviata, one of the best-known and best-loved operas of all time, is Violetta Valéry, whose story opera-goers love to live out over and over again. It’s incredibly important to build a living world around Violetta for this opera to be successful. Without understanding her life up to the beginning of the opera, her relationships, and her situation, we can’t understand the depth of her love and the sacrifices she makes. I’m fascinated by the history behind Violetta. By now you may know that La Traviata is based on the novel La Dame aux Camélias of Alexandre Dumas, fils. You may have heard that his heroine, Marguerite, is based on a real-life courtesan, whom he himself knew, named Marie Duplessis. (She was also known as the “Lady of the Camellias.”) The most important thing to know about Marie is that she was a total celebrity, and everyone in Paris knew who she was. She and her friends spent and flaunted their money like it was going out of style; in today’s world they’d deserve a celebrity-based reality TV series. Wow, did they know how to party! The courtesans of the 19th century demimonde were a fascinating breed. They lived fast and hard, and Violetta, dying of consumption, is no exception. These women moved in the most interesting society, mixing with artists, poets, and politicians. Many were artists themselves and appeared on the stage. Women like Cora Pearl, La Castiglione, Lola Montez, Mademoiselle Maximum, and Alice Ozy innovated and influenced fashion, media, the arts, decoration, transportation, and even world events. Marie Duplessis, Violetta’s counterpart, was one of the first, and the classiest. The world she created around her was equal parts sophisticated, fun, and irresistibly hedonistic. You’ll see this world in Violetta’s party, and her friend Flora’s party…creatively frenetic romps of pleasure with little depth. In contrast, we have Violetta’s relationship with Alfredo: beautiful true love. She makes a risky sacrifice in giving up her notoriety and income to be with him. Inevitably, her past catches
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up with her; there’s no getting around the truth of a courtesan, even a former one. She sold her body and company to the pleasure of men for lots and lots of money. The point that changes the reality show into the highest form of art comes in the famous scene between Violetta and Alfredo’s father, Germont: she gives up a life of happiness with her true love for his own good. While Marie Duplessis’ life was mesmerizing, this sacrifice is only found in the novel, and further elevated in the opera by Verdi’s music. La Traviata takes place in a time when women had limited power in a conventional sense, but Violetta holds magnificent power over us…the kind that lasts for centuries. We as an audience surrender to it and are transformed by it every time we gather to relive her story on the operatic stage.
Elise Sandell is the stage director for this production of La Traviata. She was last seen at Portland Opera as the Associate Stage Director for Faust.
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A History: La Traviata “THEN IT WAS A FIASCO; NOW IT IS CREATING AN UPROAR!” — Verdi crowing about La Traviata’s second run success in 1854 to a friend
Giuseppe Verdi
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La Traviata
When La Traviata premiered in March of 1853, it had been significantly altered by Venetian censors. Rather than Verdi’s vision of a chamber opera set in the glittering night-life of the 19th century Parisian demimonde, La Traviata was re-set in the safely remote, politically safe court of Louis XIV. This concession chafed Verdi’s sense of artistry and the immediacy of the piece. The composer’s frustration is palpable in his letters at the time—and not just because of the anachronistic costuming. Verdi based La Traviata on the 1848 play and novel La Dame aux Camélias (The Lady with the Camellias) by Alexandre Dumas fils, whose father wrote The Three Musketeers. Verdi’s La Traviata immortalized Dumas’ fils character of the “unhappy prostitute” and raised his semi-autobiographical novel to high art. Dumas fils based his heroine, Marguerite Gautier (later renamed Violetta Valéry for the opera), on a woman from his own life—the great courtesan, Marie Duplessis. Marie was the daughter of an alcoholic peddler, Marin Plessis. Her mother was the impoverished heiress to a family of petit nobility who died when Marie was only six years old. By her twelfth birthday, Marin Plessis began to peddle not only his regular inventory, but Marie as well. Eventually, her drunken father sold her to “gypsies,” who brought her to Paris in 1838. Disentangling herself somehow from the caravan, the young girl found her Parisian relatives and lived with them while working in a grocery and flirting with various and sundry young men on the weekends. Albert Vandam, an
Marie Duplessis
Englishman circulating in the same Parisian salons as Marie, described her “marvelously beautiful face” and “matchless figure” in 1843. She soon attracted the attention of a wealthy older man who made her his mistress and “introduced” her to her new career as the toast of Parisian nightlife (and the money and affections of many other lovers). After a very public affair with an important man, she was recognized as one of the most celebrated courtesans of her day. She was sixteen years old. Wealthy men pursued her with desperation, and when she tired of them, they were often no longer wealthy. Marie had expensive tastes. In 1844, Marie met Alexandre Dumas fils and had an 11 month affair, which appears to have been exclusive; however, her desire for luxury led her back to Paris and her rich lovers. Her last affair was with the famous
pianist and composer Franz Liszt, for whom she seems to have genuinely cared. By now she had advanced tuberculosis and was pursued by creditors. She died in 1847 at the age of twenty-three. At the auction of her fashionable possessions, Parisian ladies fought to purchase her jewelry and hair combs. At the time of Marie’s death, Alexandre Dumas fils owed creditors 50,000 francs, which he was determined to pay back. His dissolute Parisian life had begun to tire him—he had never truly approved of the endless parade of mistresses and the decadent life to which his father had introduced him. When Marie died 14 months after their affair, he decided to work through his grief and/or cash in on his relationship with the notorious lady, depending on one’s cynicism. He wrote the novel quickly, and the endless prurient fascination with Marie Duplessis made
Portrait of Marie Duplessis by Édouard Viénot. Portrait of Giuseppe Verdi by Giacomo Brogi.
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the book a best seller. In 1852, Dumas’ play of the same name was doing well at the box office, and on a visit to Paris, Giuseppe Verdi saw it. The story spoke clearly and directly to the composer, for whom the subject had significant resonance. His own love affair with the married Giuseppina Strepponi (later his wife) was a current outrage of his hometown, Busetto. La Traviata became an opera very dear to him. In January of 1853, Verdi expressed his intent to use the play as the basis for his next opera libretto—a gutsy move, considering that up to this point no one had used a “contemporary” subject for a serious opera. Add to that the scandalous subject matter, and the composer was courting disaster. Verdi, however, was thrilled at the prospect of such a “ripped from the headlines” topic, as one can see from a letter he wrote to his friend: “A subject from our own time. Another person would perhaps not have composed it because of the costumes, because of the period, because of a thousand other foolish objections, but I am delighted with the idea.” Verdi collaborated on the opera with an old colleague, librettist Francesco Maria Piave. The libretto follows the play closely—but Piave improved the dramatic impact and flow. By tightening the dialogue and intensifying the focus on the primary relationship between Alfredo and Violetta, Piave created what many feel to be his most effective libretto. La Traviata premiered in Venice in March of 1853, and in Verdi’s words— “It was a complete and utter fiasco.” The production had been plagued at all levels from casting to rehearsals. The prima donna contracted to play Violetta was Fanny Salvini-Donatelli, thirty-eight years old and in the full flower of her voice, if not her beauty. Varesi, a baritone that had created the role of Macbeth for Verdi, wrote that the role of Violetta was “very unsuited to Salvini-Donatelli’s figure.” Salvini-Donatelli was at this time, a stout middle-aged woman, not a fragile flower
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of consumptive beauty. Varesi himself was upset by his role as Alfredo’s father Germont, which he felt to be beneath him after a bravura turn as Macbeth. At the opening, Salvini-Donatelli, sang beautifully, and received good notices from the critics, but was laughed at by the rowdy Venetians whose credulity had been stretched by the diva’s shape. The tension between casting a singer who fits a specific standard of beauty physically, versus one who can sing the role is age-old, and was most recently seen in full technicolor scandal when the world-renowned soprano, Deborah Voigt, was fired in 2003 for not fitting a stage director’s ideal of Ariadne. Interestingly, Luciano Pavoratti, another portly singer, was never fired for being fat. Voigt went on to lose 100 pounds after gastric bypass surgery, but at the cost of developing a drinking problem and finding herself in rehab. This seems a high price to pay to fit into someone else’s vision. It would be interesting to know what Maestro Verdi would have preferred at the less than stellar premiere of La Traviata, given that Salvini-Donatelli’s silvery, emotional performance was in sharp contrast to the rest of the cast, who sang poorly with little feeling for the material. Verdi was disappointed in the first production (despite the fact that it was not a failure at the box office), but he believed La Traviata would stand the test of time. When it opened again a year later in Venice, these same laughing audiences greeted La Traviata with “an uproar of indescribable applause.” But even this celebrated opening was not Verdi’s original vision—in fact it was not until 1906 that La Traviata was set in the mid-nineteenth century as Verdi had hoped. La Traviata is a masterwork, beloved by audiences, not only for its scintillating, sparkling tunes, but its remarkable depth of feeling and clarity of characterization. The audience finds itself swept into the universal longing for true love to triumph—for Violetta to find happiness and health in Alfredo’s arms—even as we know the challenges that real relationships
Alphonse Mucha’s poster for a performance of the theatrical version of La Dame aux Camélias (1896).
A HISTORY
face. There is always some life circumstance looking to sweep fairytale endings away. As we weep for Violetta and Alfredo, we weep for ourselves. We mourn our own lost loves, our own innocence. That is the remarkable power of Verdi’s opera. It captures the exhilaration and joy of young love and the calamity of its demise, while snatching our breath with virtuosic singing, glorious orchestrations, and compelling dramatic truth.
Alexis Hamilton is the Manager of Education and Outreach for Portland Opera
TIMELINE
The History of La Traviata at Portland Opera “Violetta’s agonising ability to touch us is still vividly realised at every performance of the opera, which you can hear somewhere in the world pretty much every night of the year.” —The Guardian
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Despite an unsuccessful opening night at Venice’s Teatro La Fenice in 1853, Verdi’s La Traviata has become one of the world’s most beloved and often-performed operas. In 1968, Portland Opera staged its first production of La Traviata at the Oriental Theatre (now a parking lot on SE Grand Avenue). The cast featured the esteemed soprano Anna Moffo as Violetta. Well known for her interpretation of the role, Moffo sang Violetta with the Metropolitan Opera over 75 times, including numerous performances as part of the Met’s annual tours across the United States.
Top: Our first Violetta, Anna Moffo, 1968; Left: Portland’s Oriental Theatre in 1969.
The company’s second production of La Traviata took place in 1975 at the Keller Auditorium (then called the Civic Auditorium) where it has graced the staged ever since.
1968
1975
1982
Opening: January 16
Opening: September 25
Opening: October 9
Venue: Oriental Theatre
Venue: Civic Auditorium
Venue: Civic Auditorium
Violetta: Anna Moffo
Violetta: Karan Armstrong
Violetta: Barbara Daniels
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1982
1993
From the Portland Opera Archives
1975
2001
2008
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Did you attend one of these performances? We’d love to hear about it. Share you stories on social media. #PDXOTraviata
1993
2001
2008
Opening: May 15
Opening: September 22
Opening: September 26
Venue: Civic Auditorium
Venue: Keller Auditorium
Venue: Keller Auditorium
Violetta: Maureen O’Flynn
Violetta: Andrea Trebnik
Violetta: Maria Kanyova
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BIOS Jonathan Boyd (Tenor)
Pronouns: He/Him/His Hometown: Corning, NY Role: Alfredo Germont Portland Opera Debut:
Street Scene (2005) Recently: Alfredo, La Traviata, Opéra-Théâtre de Metz Métropole; Faust, Faust, Portland Opera; Roméo, Roméo et Juliette, Teatro Colón; Lensky, Eugene Onegin, Opéra-Théâtre de Metz Métropole; Narraboth, Salome, Pittsburgh Opera, Upcoming: Faust, Faust, Opera San Antonio
Aurelia Florian (Soprano)
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Pronouns: She/Her/Hers Hometown: Brașov, Romania Role: Violetta Portland Opera Debut Recently: Leonora, Il Trovatore, Aalto Theater; Violetta, La Traviata, San Francisco Opera; Marguérite, Faust, Israeli Opera; Mimi, La Bohème, New National Theatre, Tokyo; Violetta, La Traviata, Bavarian State Opera; Amalia, I Masnadieri, Desdemona, Otello, Teatro Regio di Parma Upcoming: Nedda, I Pagliacci, Roksane, Krol Roger, Oper Graz; Amelia, Simon Boccanegra, Israeli Opera
Damien Geter (Bass-baritone)
Pronouns: He/Him/His Hometown: Chesterfield County, VA Role: Doctor Grenvil Portland Opera Debut:
La Bohème (2017) Recently: Baritone soloist, Faure Requiem, Northwest Sinfonietta; Colline, La Bohème, Vashon Opera; Undertaker, Porgy and Bess, Seattle Opera; Four Villains, Les Contes d’Hoffmann, Pacific Northwest Opera; Soloist, Little Match Girl Passion, Bass Slave, The Difficulty of Crossing a Field, Alcindoro, La Bohème, Portland Opera Upcoming: King, The Little Prince, Opera Theatre Oregon
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Seth Hoff
Pronouns: He/Him/His Hometown: Madison, WI Role: Choreographer/ Assistant Director Portland Opera Debut: Assistant Director, Rigoletto (2009) Recently: La Cenerentola, Portland Opera; Sweeney Todd, The Atlanta Opera; Carmen, Opera Philadelphia Upcoming: A Midsummer Night’s Dream, Opera Philadelphia; Carmen, Seattle Opera; The Barber of Seville, Portland Opera
Helen Zhibing Huang (Soprano)
Pronouns: She/Her/Hers Hometown: Beijing, China Role: Annina Portland Opera Debut:
Rigoletto (2018) Recently: Clorinda, La Cenerentola; Amor, Orfeo ed Euridice, Portland Opera; Baby Doe, The Ballad of Baby Doe, Central City Opera; La Fée, Cendrillon, Poppea, Agrippina, New England Conservatory Upcoming: Serpetta, La Finta Giardiniera, Singa Loh, I Am a Dreamer Who No Longer Dreams, White Snake Projects
Weston Hurt (Baritone)
Pronouns: He/Him/His Hometown: Houston, TX Role: Giorgio Germont Portland Opera Debut: Hansel and Gretel (2010) Recently: Germont, La Traviata, Opera San Antonio; Sharpless, Madama Butterfly, Seattle Opera; Scarpia, Tosca, Nashville Opera; Creon, Medea, Opera Omaha; John Peerybingle, I Grillo del Focolare, Teatro Grattacielo Upcoming: Rigoletto, Rigoletto, New Orleans Opera
Christopher Larkin
Pronouns: He/Him/His Hometown: Montclair, NJ Role: Conductor Portland Opera Debut: The Journey To Reims (2004) Recently: Don Giovanni, Edmonton Opera; La rondine, Opera San Jose; Don Giovanni, Utah Opera; Little Women, McGill University School of Music, Hydrogen Jukebox, Acis and Galatea, Carnegie Mellon University; Cendrillon, The Turn of the Screw, Oberlin Opera Theater Upcoming: Dialogues des Carmelites, Oberlin Opera Theater
Daniel Mobbs (Bass-baritone)
Pronouns: He/Him/His Hometown: Louisville, KY Role: Baron Douphol Portland Opera Debut: The Journey to Reims (2004) Recently: Alidoro, La Cenerentola, Don Alfonso, Così fan tutte, Portland Opera; Kromow, The Merry Widow, Metropolitan Opera; Music Master, Ariadne auf Naxos, Kentucky Opera; Assur, Semiramide, Opera Delaware / Baltimore Concert Opera; Orbazzano, Tancredi, Opera Philadelphia
Christine A. Richardson
Pronouns: She/Her/Hers Hometown: Vancouver, WA Role: Costume Designer Portland Opera Debut: Hansel & Gretel, Portland Opera To Go (2016) Recently: Songs of Love and War, Portland Opera; Juno and the Paycock, Skiing on Broken Glass, Uncle Vanya, An Illiad, Embers, Time Stands Still, Arsenic and Old Lace, Edge of Our Bodies, Faith Healer, Happy Days, The Caretaker, Pen, Guthrie Theater; Pure Confidence, Hijab Tube, Love Person, The Clean House, Messy Utopia, Point of Revue, Vestibular Sense, Dance on Widows Row, Mixed Blood Theatre. Also, Costume Design for Stages Theater, TigerLion Arts, Mu Performing Arts, Theater Latte Da, Dark and Stormy, Mu Daiko, Cantus, Commonweal Theatre, BodyVox, et al.
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Elise Sandell
Pronouns: She/Her/Hers Hometown: Barrington, IL Role: Stage Director Portland Opera Debut: The Marriage
NEW ISSUE OUT NOW!
of Figaro (2003) Recently: Lucia di Lammermoor, Florida Grand Opera; The Scorpion’s Sting, Lyric Unlimited; La Traviata, Central City Opera; The Marriage of Figaro, Tulsa Opera; Susannah, Opera Idaho; Don Giovanni, Madison Opera; New Arrivals, Houston Grand Opera; Così fan tutte, Portland Opera; The Marriage of Figaro, Faust, Tacoma Opera Upcoming: The Marriage of Figaro, Florida Grand Opera
Geoffrey Schellenberg (Baritone)
Marissa Wolf. Photo by Christine Dong.
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PORTL ANDOPERA.ORG
Pronouns: He/Him/His Hometown: Saint Paul, MN Role: Marchese D’Obigny Portland Opera Debut Recently: Morales, Carmen, Opera Kelowna; Sergeant, The Barber of Seville, Captain, Eugene Onegin, Sciarrone, Tosca, Calgary Opera; Belcore, L’elisir d’amore, Music Academy of the West; Marcello, La Bohème, White Rock Concerts; Sharpless, Madama Butterfly, Belcore, L’elisir d’amore, Peter, Hansel and Gretel, Burnaby Lyric Opera Upcoming: Baritone soloist, A Sea Symphony, Vancouver Bach Choir / West Coast Symphony; Fiorello, The Barber of Seville, Nardo, La Finta Giardiniera, Portland Opera
Pronouns: She/Her/Hers Hometown: Petaluma, CA Role: Flora Bervoix Portland Opera Debut Recently: Housekeeper, Man of La Mancha, Suzuki, Madama Butterfly, María, María de Buenos Aires, Pensacola Opera; Komponist, Ariadne auf Naxos, Berlin Opera Academy; Jean, Le Portrait de Manon, The Neighbor, Mavra, San Francisco Conservatory of Music Upcoming: Ramiro, La Finta Giardiniera, Portland Opera; Stéphano, Roméo et Juliette, Pensacola Opera
Mark Stanley
Pronouns: He/Him/His Hometown: Washington, DC Role: Lighting Designer Portland Opera Debut Recently: Rigoletto, Tosca, La Bohème, Madama Butterfly, Wolf Trap Opera; The Rakes Progress, Boston Lyric Opera; Something To Dance About, New York City Ballet, Resident Lighting Designer, New York City Ballet; Swan Lake, Boston Ballet; Lighting Design Program Head, Boston University Upcoming: The Little Prince, Utah Opera, 3 World Premieres, Ballet X
David Warner (Tenor)
Pronouns: He/Him/His Hometown: Kelso, WA Role: Gastone Portland Opera Debut: Candide (2012) Recently: Tenore, Opera the Great, Opera Quest Northwest; Barber, Man of La Mancha, Triquet, Eugene Onegin, Second Nazarene, Salome, Portland Opera; Espresso Guy, Too Much Coffee Man, Maryhill Museum of Art / Columbia Center for the Arts
Pronouns In Our Biographies This season, we have offered our artists and creative team members the option to include gender pronouns with their biographies. We make this change 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 artform.
You’re beautiful, PDX
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Keep wearing your joy to the opera!
LA TRAVIATA
PORTL PORTL ANDOPERA.ORG ANDOPERA.ORG
PRODUCTION Production
Jon Wangsgard, Production Stage Manager Valerie Clatworthy, Ann Moore, Assistant Stage Managers Carla E. Jimenez, Production Assistant/Scheduling Specialist
Artistic Administration
Erika Richter, Music Librarian, Surtitle Coordinator Anders J. Tobiason, Sherrie Van Hine, AGMA Delegates Eva Wolff, Chorus Secretary Michael Hettwer, Orchestra Manager Susan McDaniel, Chorus Rehearsal Pianist
Technical
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Jonathan “Bearclaw” Hart, Technical Director Cindy Felice, Prop Master Jaison Stagg, Production Carpenter Carl Faber, Assistant Lighting Designer Mark James, Production Electrician Jona Stagg, Warehouse Supervisor Rachel Schmerge, Properties Liaison Kathy Andrews, Sean Casey, Valerie Clatworthy, Kerris Cockrell, Janet Cadmus, Daniel Wilson, Properties Assistants Gina Fagnani, Pre-Production Electrician
Costumes
Christine A. Richardson, Costume Director Debra Bruneaux, Head Cutter/Draper Jane Pivovarnik, Draper Jeffery Wilson, First Hand Emmaly Chin, Marcy England, Tevis Hockenbury, Virginia Kilkelly, Sue Morgan, Stitchers Janet Cadmus, Wardrobe Supervisor
Wigs / Makeup
Sara Beukers, Designer/Supervisor Kay Hoover, Assistant Supervisor Leighann Barrie, Foreman Lisa Griffiths, Lisa Jubera, Artists Patricia N. Arnold, Patricia J. Chard, Megan Garcia, Helen Hart, Melinda McQueen, Nadine Nakagawa, Miranda Nolten, Technicians
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: Tom Hughes, Metro Council President City of Portland: Ted Wheeler, Mayor Metropolitan Exposition-Recreation Commission: Karis Stoudamire-Phillips, Chair; Ray Leary; Deidra Krys-Rusoff, Secretary-Treasurer; John Erickson, Vice-Chair; Damien Hall; Dañel Malán; Deanna Palm; Scott Cruickshank, Visitor Venues General Manager Portland’5 Centers for the Arts: Robyn Williams, CVE, Executive Director; Julie Bunker, Director of Operations; Stephanie Viegas Dias, Director of Ticket Services; Brian Wilson, Director of Event Services; Heather Wilton, Director of Programming, Booking & Marketing; Justin Riedl, pacificwild General Manager Portland’5 Centers for the Arts Advisory Committee: Greg Brown; Jim Brunberg; Gus Castaneda, Chair; Elisa Dozono; Susan Hartnett; Greg Heinze; Antonio Lara; Gary Maffei; Susan Nielsen; Brian Sanders; Daniel A. Sullivan; George Taylor; Richard Wattenberg
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CTA Lab is proud to support Portland Opera and the Arts in Oregon
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CONNECTING ART, NATURE AND PLAY THROUGH A PORTLAND LENS Proud Supporter of the Arts and the Creative Mind. HOTEL MODERA PORTLAND 515 SW Clay Street | Portland, OR 97201 503.308.1637 | www.hotelmodera.com
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PORTLAND OPERA ORCHESTRA Violin
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Margaret Bichteler, Concertmaster James McLennan, Asst. Concertmaster Linda Vasey, Principal Second Violin Lucia Atkinson Robin Baldino Mitchell Drury Janet Groh Dubay Jennifer Estrin Irene Gadeholt Janet George Karen Hilley Marya Kazmierski Hae-Jin Kim Nelly Kovalev Heather Mastel-Lipson Elizabeth Peyton Peter V. Piazza Nic Price Eva Richey Sarah Roth
Viola
Hillary Oseas, principal JoĂŤl Belgique Pamela Burovac Angelika Furtwangler Shauna Keyes Michelle Mathewson Holland Phillips Miriam English Ward
Cello
Dylan Rieck, principal Heather Blackburn Jae Choi Gregory Dubay Trevor Fitzpatrick Katherine Schultz
Bass
David Parmeter, principal Dave Anderson Garrett Jellesma Chris Kim
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Flute
GeorgeAnne Ries, principal Sydney Carlson
Oboe
Kelly M. Gronli, principal Karen Strand
OFFSTAGE BANDA
Harp
Matthew Tutsky, principal
Clarinet
Piccolo
Bassoon
Percussion
Louis DeMartino, principal Theresa Schumacher
Adam Trussell, principal Janice Richardson
Horn
Michael Hettwer, principal Daniel Partridge Jonathan Kuhns-Obana Steve Hayworth
Trumpet
Steve Conrow, principal Robert Rutherford
Trombone
Lars Campbell, principal David Bryan John Ohnstad
Tuba
Jay Steele, principal
Timpani
Will Reno, principal
Percussion
Gordon Rencher, principal
Rachel Rencher Laila Murphy
Gordon Rencher Brian Gardiner
Photos: Cory Weaver. From Portland Opera’s 2018 Big Night Concert
PORTLAND OPERA CHORUS Bass-Baritone
Mezzo-Soprano
* 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.
Gina Adorno Aline Bahamondez * Aimee Chalfant * Lindsey Johnson Cristina Marino * Rachael Marsh * Dru Rutledge * Jocelyn Thomas * Eva Wolff *
Sarah Burns AnDee Compton * Sadie Gregg Hayley Hoffmeister Green Anna Jablonski * Allison Knotts Kate Strohecker * Sherrie Van Hine * Jena Viemeister
Tenor
Juan Castañeda Robert S. Gardner * Emmanuel Henreid Ernest C. Jackson Jr. * Jim Jeppesen * Joseph M. Muir * Bryan Ross David Warner * Paul Wright *
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Soprano
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André Flynn * Erik Hundtoft * Brian Langford * Patrick Murray Paul Sadilek Michael P. Schmidt Patrick Scofield * Stefan Simanton Anders J. Tobiason *
DANCERS Suzanne Chi Lauren Herrmann Beth Maslinoff Joel Walker
Orchestra Musicians represented by the American Federation of Musicians Local 99. Principals, Chorus, Dancers, and Staging Staff represented by the American Guild of Musical Artists. Stage crew provided by IATSE Local #28. For the Keller Auditorium: Jim Burbach, Head Carpenter Marty Rugger, Head Flyman Scott Bartel, Head Propertyman TBD, Head Electrician Brandon Hoguet, Head Soundman Admission staff provided by IATSE Local #B20.
PORTL ANDOPERA.ORG
STAFF & BOARD
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PORTLAND OPERA STAFF ★
Christopher Mattaliano, General Director
George Manahan, Music Director ADMINISTRATION & OPERATIONS Richard Seals, Director of Finance & Administration ★ Maureen Beaudry, Controller ★ Lynne Creary, Disbursements Specialist Tamara Russell, Human Resources Manager Kevin Morris, Facility Manager Ju Park, Executive Assistant
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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 Mo McFeely, Opera a la Cart Project Manager
BOARD OF DIRECTORS EXTERNAL AFFAIRS
Sue Dixon, Director of External Affairs
Lacey Rowberg, Associate Director of Development Celeste Miller, Corporate & Institutional Giving Officer 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 Coordinator
PATRON SERVICES
James Bartlett, Patron Services Manager James Dixon, Patron Services Representative Emily Estrada, Patron Services Representative Sammuel Murry-Hawkins, Concierge of Patron Services
U.S. BANK BROADWAY IN PORTLAND
★ Tracy Wenckus, General Manager
Morgan Jones, Group & Corporate Sales Manager Roberta Scott, Marketing Coordinator Jess Morgan, Group Sales Coordinator ★ Michael Brumage, Customer Service Supervisor Katie Clope, Customer Service Supervisor Jacqueline Harpole, Customer Service Representative Chris Olson, Customer Service Representative Lily Copeland, Customer Service Representative
Curtis T. Thompson, MD, President President, Curtis T. Thompson, MD & Associates Kay Abramowitz, Past President Partner, Miller, Nash, Graham & Dunn, LLP Gregory K. Hinckley, Vice President Past President, Mentor Graphics Corp. Callie Pappas, Vice President VP & Chief Compliance Officer, Schnitzer Steel Industries, Inc. William Lockwood, Treasurer Senior Vice President-Investments, Wells Fargo Advisors Chris Hermann, Secretary Partner, Stoel Rives LLP William Sweat, At Large Owner, Winderlea Winery and Vineyard
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Kregg Arntson, At Large Director of Corporate Social Responsibility & Executive Director, Portland General Electric & PGE Foundation
MEMBERS
Sona Andrews Consultant Nelson D. Atkin II Partner, Barran Liebman, LLP Matthew Baines Retired Attorney & Community Volunteer Linda Brown Owner, Brown’s Blueberries Marilyn Crilley Community Volunteer
PRODUCTION
★ Laura Hassell, Director of Production
Jonathan “Bearclaw” Hart, Technical Director Cindy Felice, Prop Master ★ 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 Debra Bruneaux, Cutter/Draper Jeffery Wilson, First Hand/Stitcher
★ Ten-year-plus employees
Matthew Essieh CEO, EAI Information Systems Connie Gougler Senior Director of Marketing, Iovation, A TransUnion Company Robert K. Haley Founder and President, Advanced Wealth Management Jamey Hampton Co-founder and Artistic Director, BodyVox Diana Harris Retired Intel Executive & Community Volunteer Patricia Norris Owner, Norris Dermatology & Lasers NW Greg Tibbles Retired Executive Kathryn Wheeler Territory Manager, Rubicon
PORTL ANDOPERA.ORG
La Traviata
Photo by Cory Weaver
DEVELOPMENT
OFFICERS
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Local cuisine, inspired by the British Isles
Join us for dinner before your show or a nightcap in The Rookery Bar after! 1331 SW Broadway (503) 222-7673 ravenandrosepdx.com
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“This is how you bring Jane Austen to the stage ... irresistible.” - The Washington Post
This bold theatrical experience is an Austen-tatious delight!
Portland Center Stage at
JAN. 12 – FEB. 10
Season Superstars
La Traviata
503.445.3700 | pcs.org
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HOLIDAYS AT THE ARMORY! Nov. 24 – Dec. 30
Nov. 27 – Dec. 23
Portland Center Stage at
pcs.org
Pictured: (Left) Merideth Kaye Clark in Winter Song. Photo by Kate Szrom; (Right) Lauren Modica in Twist Your Dickens. Photo by Patrick Weishampel.
Season Superstars
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COMMUNITY
Photo by Jonathan Ley
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SUPPORT OPERA IN YOUR COMMUNITY! Join a dedicated group of individuals that bring the grand art of opera to life! Make the most of your opera experience, while ensuring the artistic vitality and financial sustainability of Portland Opera for years to come. You can enjoy behindthe-scenes access to special events, VIP ticket service, intermission lounges at performances, free parking, and more. Contributed dollars make up more than half of the cost of every opera you see on stage. We rely on the generosity of our donors to ensure a bright future for the art form. Contact our Development Department at 503-417-0581 or giving@portlandopera.org for information about making a gift.
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There are many ways to give, with rewards and benefits at every level. Portland Opera is a 501(c)3 non-profit organization. Donations to Portland Opera are fully tax-deductible as allowed by law.
OUR MISSION
Portland Opera has been part of Portland’s vibrant arts community since our founding in 1964. Our mission is to inspire, challenge, and uplift our audiences by creating productions of high artistic quality that celebrate the beauty and breadth of opera.
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Good people make great lawyers. Our philosophy is simple: hire and keep the best lawyers around. Lawsuits don’t always end at trial, and on appeal you need to hire an experienced appellate specialist. Like Christine Moore. She provides clients with the fresh perspective they need for an appeal. That’s why clients who want to succeed count on her. Simply put, Christine knows appeals.
Oregon | Alaska
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La Traviata
503.636.4025 DYKEVANDENBURGH.COM 27 A AVENUE, LAKE OSWEGO TUESDAY–FRIDAY 10:00–5:30, SATURDAY 10:00–4:00
COMMUNITY
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OPERA A LA CART
You can find our award-winning opera food truck around town in the summer at street festivals, pop-up performances, farmers markets, and wineries. Order your favorite aria off of our opera menu, and enjoy Portland’s food truck culture in the best sense of the word.
FREE SIMULCAST
Join us outside of the Newmark Theatre for a special simulcast performance of La Finta Giardiniera, starting at 7:30 PM on July 24th, 2019.
LIBRARY PREVIEWS
We break the rules of staying quiet in the library with free previews of our performances throughout the season. Hear from opera singers and artistic staff members to learn more about our work.
BROADWAY IN PORTLAND
Broadway in Portland is a partnership between Broadway Across America and Portland Opera.
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PORTLAND OPERA RESIDENT ARTIST SERIES Join us for this free series throughout the season, and celebrate our next generation of opera singers. Enjoy an evening of song featuring Portland Opera’s talented Resident Artists. Helen Huang, February 19 Thomas Cilluffo, April 9 Geoffrey Schellenberg, May 14 Camille Sherman, June 25 Each performance begins at 7PM at the Whitsell Auditorium.
PORTLAND OPERA TO GO
Each year, Portland Opera To Go (POGO) travels throughout the region with a 50 minute, English-language adaptation of a popular opera. For fall 2018, we are proud to present a bilingual (Spanish/English) POGO production of The Barber of Seville, set in Alta California in the mid-1840s. For information about POGO in your community, contact Alexis Hamilton, Manager of Education and Outreach, ahamilton@portlandopera.org.
JOIN THE CONVERSATION
Follow these events and more at www.portlandopera.org and check back for updates and info through our social media channels: @portlandopera
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SUBSCRIPTIONS & MEMBERSHIPS
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THE SUBSCRIBER EXPERIENCE
It’s not too late to subscribe to the 2018/19 Season! Choose from 5 or 4 show packages.
SUBSCRIBER BENEFITS:
THE YOUNG PATRON SOCIETY
• Select your seats and dates, and relax knowing that you’ll enjoy our best pricing, and free ticket exchanges if your plans change.
Portland Opera’s social club for the performing arts is the perfect fit for arts advocates between ages 21 – 40 who share a passion for opera! A $100 annual donation helps support opera in your community, and unlocks access to $25 tickets for Thursday night performances all season long. The Society hosts an exclusive Intermission lounge, pre-show events on Thursdays, and special events throughout the year! Learn more: www.portlandopera.org/YPS.
• Access the best seats at a discount, before single tickets go on sale. 25% down secures your subscription for the season, and we will create a payment plan that works for you! • If you’ve found your perfect seats, keep them with priority renewal, season after season. • Our team offers personalized subscriber services with a dedicated patron services representative to assist with your ticketing or concierge needs. • Enjoy invitations to exclusive events and special offers from our community partners.
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THE MEMBER EXPERIENCE
Choose two or more operas to build your flexible membership today! Photo: Cory Weaver
MEMBER BENEFITS:
THE SOLOIST
• Select your dates, price level, and operas, and our team will work with you to create your unique plan that includes built-in savings and perks.
Looking to purchase single tickets? As One and Big Night tickets are currently on sale, and the rest of the season will be on sale December 7th.
• You’ll have early access to build your next membership before tickets go on sale to the public next season. Plus, you can add more tickets or additional operas throughout the season at discounted rates.
You can purchase tickets online, by giving us a call, or in-person at the Hampton Opera Center during our regular business hours.
• Enjoy access to special events, member offers, and more! PATRON SERVICES 503-241-1802 M – F, 10 AM – 5 PM PatronServices@portlandopera.org
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THE (R)EVOLUTION OF STEVE JOBS FEB. 23–MAR. 9
“TOTALLY USER-FRIENDLY!” –The Los Angeles Times
This innovative and crowd-pleasing portrait of Apple’s visionary co-founder dazzles with “visually stunning” (ABQ Journal) staging and lyrical, cutting-edge music mixing traditional and electronic instrumentation. Compelling, funny, and touching, the unique production “does what opera does best: giving audiences a glimpse into the inner life of its title character” (Marin Independent Journal). Don’t miss this remarkable example of theatrical imagination. West Coast Premiere!
SEATTLEOPERA.ORG/STEVEJOBS 2018/19 Season Sponsor: Lenore M. Hanauer Production Sponsors: ArtsFund, C.E. Stuart Charitable Trust, Tagney Jones Family Fund at Seattle Foundation Co-commission with Santa Fe Opera and San Francisco Opera, with support from Cal Performances © Ken Howard For Santa Fe Opera, 2017
In English with English subtitles. Evenings 7:30 PM Sunday 2:00 PM Featuring the Seattle Opera Chorus and members of Seattle Symphony Orchestra.
MCCAW HALL 206.389.7676
Todd Van Voris
Allen Nause
November 2 – December 9
...a timely production that shows what can happen when courage takes the stand. By JEROME LAWRENCE & ROBERT E. LEE
Title Sponsor BILL & BARBARA WARNER Directorial Sponsor NICOLETTA’S TABLE & MARKETPLACE
Directed by ANTONIO SONERA
TICKETS: 503-635-3901 • LAKEWOOD-CENTER.ORG LAKEWOOD CENTER FOR THE ARTS • 368 S STATE ST. LAKE OSWEGO, OR 97034 /LAKEWOODCENTERFORTHEARTS
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Cuisine theItalian Italian and French Riviera Cuisine ofofthe and French Riviera Breakfast, Lunch, Dinner & Sunday Brunch Happy Hour Daily from 4 - 6 pm Spacious Patio Dining Valet Parking at Hotel Modera Close to Keller, Schnitzer & Lincoln Hall
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Available for Private Parties
Adjacent to Hotel Modera | 1408 SW 6th Avenue, Portland 97201 | 503.484.1099 | nelcentro.com
Opera Theater Oregon Presents
The Little Prince Nov. 30, Dec. 1 & 2, 2018 an opera in English based on the beloved book Winningstad Theatre | Portland, OR "Charming, whimsical, wise, moving, sorrowful and ultimately inspiring." -The Houston Chronicle
Tickets: www.operatheateroregon.com
PORTL ANDOPERA.ORG
DONORS $25,000+
Carol Franc Buck Foundation Ellyn Bye and Dream Envision Foundation George and Lee Anne Carter Bill and Karen Early Hampton Family Fund Gregory K. and Mary Chomenko Hinckley Joanne M. Lilley The McGeady Family Foundation Laura S. Meier Dorothy Piacentini Pat and Trudy Ritz and the Ritz Family Foundation Harold and Arlene Schnitzer CARE Foundation Jordan D. Schnitzer Anonymous
$10,000 – $24,999
Sona Karentz Andrews Tremaine and Gail Arkley Matthew R. Baines* Arleen Barnett The Breunsbach Family Sue Horn-Caskey and Rick Caskey William and Suzanne Dolan Paul and Kristina Elseth Emilie F. and Don C. Frisbee Fund of The Oregon Community Foundation Connie Gougler Robert and Dorothy Haley Matthew M. Haller Susan and Richard Helzer Andrew and Carol Kay Judith and Martin† Kelley Robert L. Ladehoff Walter E. Lander and Kit Tong Ng Drs. Dolores and Fernando Leon Bill and Kate Lockwood Marco Lopez Jerome Magill Carole Morse Callie Pappas and John Winner Kay Parr Dr. Charles and Ruth Poindexter Michael and Alice Powell Wallace and Elizabeth Preble Fred Ramsey William and Cornelia Stevens N. Robert and Barre Stoll Robert Swanson Greg and Cathy Tibbles Rose E. Tucker Charitable Trust David and Carol Turner Eduardo Vides, MD and Bruce Guenther Charles R. Watkins Nancy Wendt Dean and Patricia Werth Anonymous
$2,500 - $4,999
Kirby and Amy Allen* Kregg Arntson Brent Barton and Liz Fuller Alan and Sherry Bennett Marianne Buchwalter Deborah A. Coleman Paul and Kathleen Cosgrove* Thomas H. Denney Richard and Carol Dickey Richard B. Dobrow, M.D.
Sterling Dorman Jeffrey A. and Diane M. Evershed Ray and Yasuko Fields Robert and Dana Fischer Michael J. Gentry Ed Gronke* David and Brette Hampton Betsy and Gregory Hatton Marsh Hieronimus Dr. Robert H. and Barbara Jones Randy and Leslie Labbe Dorothy Lemelson Carol Schnitzer Lewis Fund of The Oregon Community Foundation Dr. and Mrs. John Lindgren Nancy Locke and Donald Harris Carol Mangan and Peter Fritz The M. and L. Marks Family Fund of The Oregon Community Foundation Christopher Mattaliano Dr. and Mrs. Louis McCraw Sir James & Lady McDonald Designated Fund of The Oregon Community Foundation Nancie S. McGraw Brad and Nancy Miller Susan D. Morgan, VMD Nathan Family Charitable Fund of The Oregon Community Foundation Yooy and Joey Nelson John and Ginger Niemeyer Mrs. Elizabeth Noyes Jane S. Partridge Mary and Russell Reid Julie and William Reiersgaard Robert and Marilyn Ridgley Janet Roberts and Edgar Clark Don V. Romanaggi, MD Bob and Barbara Schuppe Sue and Drew Snyder Albert and Victoria Starr Claudia Taylor, M.D. Su Tunney and James DePew Susan and James Winkler Anonymous (4)
$1,000 - $2,499
Margaret and Scott Arighi Sidney and Barbara Bass Marc and Maureen Beaudry Eric Bell Robin Best
Alene and Bruce Bikle Susan and Larry Black The Brodeur Family Linda and Marcia Brown Megan Brown William Buettner Dr. Carlos Castro-Pareja and Lori Dunkin* Edwin Clarke Carol Dillin Timothy Dunn Bart and Jill Eberwein Lynne Eramo Michael Alan Fox and Deborah D. Garman* Eric and Rebecca Friedenwald-Fishman Tom and Dawn Flookes Jim and Karen Halliday Susan Halton Richard L. Hay Pamela Henderson Drs. William and Nathalie Johnson H. Alexander Krob, M.D.* Joan Levers and David Manhart* Kathleen Lewis Craig and Anne Lindsay Keith Martin Jo McIntyre Christopher and Michael Mele-Wagner Paula and Bert Morgan George and Reba O’Leary Corinne and Duane Paulson Frank Piacentini and Sara Weinstein Art Dodd† and Diane Plumridge Harold and Jane Pollin Zela and Elsa Pollock Ben and Lillian Pubols Augustina Ragwitz J. Chris Rasmussen Lynne Diane Roe, M.D. John A. and Charlene Rogers Celeste Rose Steve and Lina Seabold Robyn Shuey William Space and Allen Brady Bob Speltz Randy Squires David Staehely Kathleen Strohecker Bill Supak and Linda Kozlowski Hank Swigert and Marlene Koch Justine Thede Dr. Claudine Torfs Russell Turner and Urszula Iwaniec
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Kay and Roy Abramowitz Leo Conkle Marilyn Crilley and George Rowbottom Pamela and Paul De Boni George and Barbara Dechet Shawn DuBurg Matthew and Emmanuella Essieh John S. Ettelson Fund Flowerree Foundation Jamey Hampton and Ashley Roland Diana Harris and Gary Piercy Chris and Kathryn Hermann Richard and Delight Leonard Eleanor Lieber Auditions Fund of The Oregon Community Foundation Elizabeth Lilley Joy McNichols William and Mary Lou Mullin David and Valerie O’Brien Loni and Scott Parrish Marcia H. Randall William D. Rutherford and Joan Lamb John and Carol Steele Donna Morris and Bill Sweat Jeffrey and Jan Thede Dr. Curtis T. Thompson The Warren Foundation Ben† and Elaine Whiteley Anonymous
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Weappreciate appreciate We the art the art of ofgreat great storytelling. storytelling. Cheers to Cheers tothe the Portland Opera 2018 Portland season.season. Opera
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In Memory of Greg Parsons Roberta August
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Cathleen L. Smith* Lindsey Smith Neil Soiffer and Carolyn Smith Charles and Melissa Sollitt Martha and Les Soltesz Alice Spitzer Charles and Karen Springer Kristin Stathis Kristin Stevens Mike and Judy Stoner George Chung Su Drs. Donald and Roslyn Sutherland Richard Swart* Kay Sweeney Team Jam Jane Thanner and Tim Smith Frederick and Jean Thompson Susan and Richard Thompson Jan Elizabeth Thorpe Alex and Courtney Thurber* Dr. Matti and Najla Totonchy Jo Ann and Ric Tower Stanley and Marie Townsend Brandon Triglia Ingeborg Vaden Sarah Vallese Allen and Muriel van Veen Jerry and Thuy Vanderlinde* Jon Vorderstrasse Les Vuyksteke Kara Walton Katherine and Jason Wax Julie Wilson Peter Wilson Margaret Wiltschko Nancy and Larry Wissbaum Tom and Mariol Wogaman Ruth and Peter Wolff* Marjorie L. Wolford Richard and Leslie Wong Andrew Woodle and Anne Kluesner David Demoss and Geoffrey Wren Lindsay Yousey* Charlie Zhang Anonymous (28)
In Memory of Shirley Pari Dallas Daniel Mueller and JoAnn Pari-Mueller
Luwayne June Engwall ‘Buzzy’ Sammons June 12, 1928 - Sept. 18, 2018
Earlier this year we lost a dear friend to Portland Opera and a true patron of the arts in our community. In honor of her heart, enthusiasm, and dedication to the art form, we’d like to dedicate our 2018/19 season to Buzzy. Her light, energy, style, humor, and love will be sorely missed.
“May the heavens make a star of her.” — Shakespeare
giving, please contact Angela
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Thank you for over 50 years of beaut y, music and drama that mov es t he s oul. As proud supporters of the Portland Opera, we have a deep appreciation for the beauty of an experience that moves the soul and opens the heart. As with opera, we believe that the creation of great wine is an art form that has the power to do just that. Come visit and let our beautiful wines and dramatic views move your soul.
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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 magical. By including Portland Opera in your will or estate plan, you will share your love for opera with generations to come through our breathtaking mainstage productions and wide-ranging education and community programs.
CREATE YOUR OWN LEGACY
Call Lacey Rowberg at 503-417-0572 or lrowberg@portlandopera.org Organization Legal Name:
The Portland Opera Legacy Society honors those who have included Portland Opera in their
Portland Opera Association, Inc.
wills or estate plans or who have made a significant gift to the Portland Opera Endowment.
Mailing Address:
Edith V. Gautschi† Richard† and Janet Geary Michael J. Gentry Robert and Dorothy Haley Carol and John Hampton† Jamey Hampton and Ashley Roland Diana Harris and Gary Piercy Arland Hatfield† Orpha H. Hedrick† Susan and Richard Helzer Bill Hetzelson and Robert Trotman Douglas and Candace Higgins E. Roxie Howlett† Nancy Jerrick Monroe A. and Frances Jubitz† Judy C. Kelley Lora L. and Martin N. Kelley† Randy and Leslie Labbe Mark LaMalfa Violet B. Lang† Ghislaine Le Jeune† Drs. Dolores and Fernando Leon Kathleen Lewis Joanne M. Lilley Bill and Kate Lockwood Mr.† and Mrs. William W. Lyons Maybelle Clark Macdonald† Lorna MacLeod Anne Catriona MacLeod† Joanne† and Jerome Magill Susan Maltby† Sherrilyn S. Maltby† Drs. Ruth and Joseph Matarazzo Christopher Mattaliano Gail and Bill McCormick Dr. and Mrs. Louis McCraw Sir James and Lady Anne McDonald† Nancie S. McGraw Jackie B. Miller Mrs. Philip H. Miller† Pamela Gesme Miller and Fred B. Miller Max† and Suzanne Millis Susan D. Morgan, VMD
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Kay and Roy Abramowitz Randa Cleaves Abramson and Jonathan Abramson Douglas and Kerry Aden Marylou W. Alberdt Kirby and Amy Allen Margaret and Scott Arighi Tremaine and Gail Arkley Stephen S. Babson† Matthew R. Baines Kaaren Bedi Gilbert T. Benson† Blue Bickford Laura Bieber Peter J. Bilotta and Shannon M. Bromenschenkel Mrs. Robert Bitar† David E. Wedge† Marianne Buchwalter Diane Burns and Doug Foster Ellen E. Bussing George and Lee Anne Carter Tim and Marianne Chapman Alyce R. Cheatham† Mary A. Clancy† Richard M. and Tracey A. Clark Mrs. Maurie D. Clark† Craig L. Clark† Debi Coleman Unitrust Mr. James Cox and Mrs. Brenda Nuckton Marilyn Crilley and George Rowbottom Pamela and Paul De Boni Gay Hamilton Dielschneider† William and Suzanne Dolan Bill and Karen Early Edna L. Holmes† Spencer and Jane Ehrman† Ruth P. Elliott† Jeffrey A. and Diane M. Evershed William Finlay† William Michael Foster* Family Don C. Frisbee† William A. and Joyce† Furman Gwyneth Gamble Booth
po rtland’s rtland ho tel to the arts arr ts IN THE HEART OF PORTLAND’S WEST END DISTRICT
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DONORS 2018 – 2019 SEASON SPONSORS
Portland Opera is proud to collaborate with corporate and community allies to create impactful relationships 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:
Additional support is provided by: Burlington Northern Santa Fe Foundation The Carpenter Foundation EAI Information Systems Elmer’s Restaurants Fidelity Charitable Gift Fund Floweree Foundation Ann and Gordon Getty Foundation
We would also like to recognize our corporate partners who encourage matching gifts or volunteerism though their employee programs, including: Bank of America The Boeing Company Chevron Corporation General Mills Hanna Andersson HP IBM Intel KeyBank Microsoft Nike NW Natural PGE Rockwell Collins Tektronix The Standard US Bank
Portland Piano Company | The Official Piano Sponsor of Portland Opera Winderlea Vineyard and Winery
Additional in-kind support provided by: Anthropologie & Co. Aria Portland Dry Gin Barran Liebman LLP Botanica Floral Design Elk Cove Vineyards Et Fille Wines Hotel Modera Ponzi Vineyards Portland Wine Storage Remy Wines RingSide SteakHouse Raven & Rose Smith Teamaker Utopia Vineyard Water Avenue Coffee Wildwood & Company
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Please contact giving@portlandopera.org or 503-417-0601 for more information about corporate partnerships
YOUNG PATRON SOCIETY MEMBERS AND SUPPORTERS Kay and Roy Abramowitz Abby Alford Kris Anderson and Michael O’Brien Brandon Arends and Anne Sires Dr. Natalie and Mr. Anthony Ballas Donovan Bonner Lindsay Bregante Myers Alicia Coakley Bryant Conger Dan Jaynes and Ellen Crivella Erin Dawson Megha Desai and Greg Lockwood Mandy Doherty Christopher Domschke
Nicole Forbes Heather Fossity Andrea Frank Elizabeth Gamino Josh Goldberg Nihal Gooneratne Cindel Green Kelsey Gregory Amelia Haynes Carrie Juergens Meagen Kincaid Katie Kinsley Ryan and Stephanie La Pier A.M. LaVey
Carling Leòn Christine E. Lewis Nicholas Lim Susa Lynne Carol Mangan and Peter Fritz Victoria Meadows Jen Milius & John Eisemann Chris Morgan Ilse Moser Prabu Muruganantham Anne K. Nguyen David Nijhawan Caroline Lewis Palmer Dr. Laetitia Pascal
Alyssa Petroff Dr. Charles and Ruth Poindexter Augustina Ragwitz Amiko Hiraiwa Riley Laura and David Salerno Owens Kevin and Gabrielle Sasse Ashleigh Smith Justine Thede Brandon Triglia Kara Walton Katherine and Jason Wax Grace Weaver Andrew Woodle and Anne Kluesner Lindsay Yousey
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Arts Impact Fund The Carol Franc Buck Foundation The Collins Foundation Curtis T. Thompson, MD & Associates The James F. and Marion L. Miller Foundation The Harold & Arlene Schnitzer CARE Foundation The McGeady Family Foundation Meyer Memorial Trust The National Endowment for the Arts OPERA America | The National Opera Center Oregon Arts Commission The Oregon Community Foundation The Standard The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County, and the Arts Education & Access Fund
The Hearst Foundation Intel Volunteer Grant Program The Jackson Foundation JEZ Foundation Kerr Pacific Corporation Kinder Morgan Foundation Lamb Family Foundation Multnomah County Cultural Coalition The Monday Musical Club of Portland M&T Bank NW Natural Oregon Cultural Trust The Oregonian/Oregon Live! Pacific Power Foundation PGE Foundation Richard and Mary Rosenberg Charitable Foundation Ritz Family Foundation Rockwell Collins Matching Gift Program Rose E. Tucker Charitable Trust Rutherford Investment Management Schnitzer Steel Industries Umpqua Bank Union Bank Union Pacific Foundation U.S. Bank Foundation The Warren Foundation The Wheeler Foundation Wells Fargo Winderlea Vineyard and Winery
UP NEXT
AS
ONE
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A CHAMBER OPERA FOR TWO VOICES AND STRING QUARTET
MARCH 22–30 | NEWMARK THEATRE MUSIC & CONCEPT BY
LIBRETTO BY
Laura Kaminsky
Mark Campbell & Kimberly Reed
Conducted and Directed by Andreas Mitisek Performed in English with English surtitles
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“As One is everything that we hope for in contemporary opera: topical, poignant, daring, and beautifully written.”—New York Classical Review In this brave and beautiful coming-of-age story, two voices—a mezzo-soprano and a baritone— share the role of our transgender heroine Hannah as she endeavors to resolve the discord between herself and the outside world. Celebrated as “the hottest new American opera of the decade” by the Chicago Tribune, Hannah’s story sheds light on universal truths of self-love and identity.
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About our production: This chamber opera incorporates film, directed and created by Kimberly Reed. Former Portland Opera Resident Artists Hannah Penn and Alexander Elliott sing the role of Hannah. Conductor, director, and designer Andreas Mitisek makes his Portland Opera debut with this production.
Hannah S. Penn Hannah after
Alexander Elliott Hannah before
Photos by Kathleen Behnke, Anchorage Opera
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NOW OPEN
AT 4PM FRIDAY, SATURDAY AND SUNDAY
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Portland Opera’s 2018/2019 Season
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La Traviata
Verdi
LA TRAVIATA
November 2–10 | Keller Auditorium
Laura Kaminsky
AS ONE
March 22–30 | Newmark Theatre
A Special Concert
BIG NIGHT May 11 | Keller Auditorium
Rossini
THE BARBER OF SEVILLE June 7–15 | Keller Auditorium
Mozart
LA FINTA GIARDINIERA July 12–27 | Newmark Theatre
Philip Glass
IN THE PENAL COLONY July 26–August 10 | The Hampton Opera Center
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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 contemporary or 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.
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Let us be clear: there is no place for bigotry, discrimination, hate, harassment, or intolerance 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
Security, Food, and Beverage
Late Seating Policy
Accessibility & Interpreted Performances
Stop by our concierge booth in the lobby to meet our Concierge of Patron Services, who is available for transit information, dining and lodging options, or general questions. Our concierge can also be reached at 503-241-1407 | concierge@portlandopera.org
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, and are welcome to join us until that time in the viewing lounge.
Photography and Cell Phone Use
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.
In order to ensure patron safety, the venue is providing increased security. Bags are subject to search. Oversized bags will not be permitted in the theater. All attendees must have tickets. Outside food and beverages are not permitted inside the theater.
The performances on November 4 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 projected text (or surtitles) in English. Please note that cast members are subject to change.
Continue the Conversation
One hour before each performance, join us on the first balcony for an informal and enlightening introduction to the opera you’re about to enjoy. After each performance, in the front of the orchestra level, General Director Christopher Mattaliano hosts “Back Talk,” a Q&A session with the audience and fresh-fromthe-dressing room guest performers.
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The Hampton Opera Center at 211 SE Caruthers St. houses our administrative, production, and rehearsal operations, as well as All Classical Portland Radio and Friends of Chamber Music. The box office opens two hours prior to the performance.
Administrative Offices: 503-241-1407 Patron Services: 503-241-1802 Website: www.portlandopera.org Box office hours: Monday–Friday, 10am–5pm
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