The Marriage of Figaro Program | 2016/17 Season | Boston Lyric Opera by Boston Lyric Opera

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APR 28 - MAY 7 | JOHN HANCOCK HALL

ESTHER NELSON, STANFORD CALDERWOOD GENERAL & ARTISTIC DIRECTOR | DAVID ANGUS, MUSIC DIRECTOR | JOHN CONKLIN, ARTISTIC ADVISOR

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Why do some operas—written in a distant past, and in very different cultures from our own—still captivate us today? I believe the emotional power of stories communicated through music and text is ageless. We feel the same human passions as our ancestors, as will our children. Mozart’s enduring opera, The Marriage of Figaro, is filled with our basic human desire for justice, love, and dignity. Its characters defy the injustices of a status quo: servants rise against their masters; women fight entrenched male privileges; ordinary citizens revolt against political and social injustices; the work’s own creators stood up against prevailing censorship and threats—with this opera, Mozart and his librettist even broke out of standard theatrical and compositional forms of their time.

PIERCE HARMON

The Opera Gala 2016

Dear Patrons,

The opera is based on the controversial Figaro trilogy by the enterprising and equally controversial French polymath, playwright, inventor, watchmaker, musician, womanizer, schemer, diplomat and spy—a ripe subject for an opera himself—Pierre Beaumarchais. His play, Le Mariage de Figaro, written in 1778, eight years before Mozart’s adaptation, but was promptly banned by Louis XVI for its outspokenness against monarchy and the aristocracy (the King later lifted the ban due to the book’s unstoppable popularity and, ironically, the support of his wife, Queen Marie Antionette). In 1792 the Revolution would end the monarchy. The grassroots power of the play also spread across the Atlantic. Beaumarchais not only was an early supporter of the ideals of the French Revolution but also invested personally in war supplies to America in support of our Revolution. At the time, he wrote to his sovereign: “ The Americans, resolved to suffer anything rather than yield, are filled with that enthusiasm for liberty…and already have 38,000 men under the walls of Boston—I say, Sire, that such a nation must be invincible.” Mozart was immediately taken by Beaumarchais’ play. It initially took effort to convince Austria’s Emperor (Joseph II, brother of the ill-fated Queen Marie Antoinette) to permit the opera, after he had already prohibited the play, including a promise to omit several of the play’s more offensive lines, such as Figaro’s challenge to the Count: “What have you done to deserve such advantages?” The Marriage of Figaro is a testament of hope and faith, infused with the richness of Mozart’s music. Figaro fights for equality because he has confidence in the average citizen’s ability to govern. The Countess ultimately believes in love… and her marriage. Thank you for joining us for our 40th Anniversary Season. I look forward to seeing you in the theater and I invite you to join us, once again, in 2017/18.

PROGRAM CONTENTS

Welcome 1 Board of Directors 3

High Notes from 4 Our 40th Season

Update from the Field: 5 BLO in Schools

The Director's Vision 6

Cast & Synopsis 8

Meet the Artists 10

Production/Artistic Staff & 14 Acknowledgments

BLO Staff/Volunteers 15

Join The Orfeo Society 17

Opera in the 20th 18 & 21st Centuries

Donors 20

Fire Exit Plans 23

Opera Calendar 24

PRIMA 29

Esther Nelson Stanford Calderwood General & Artistic Director Cover: Photo of Soprano Emily Birsan by Liza Voll Photography. Above, Portrait of Mozart, c. 1780, by Johann Nepomuk della Croce.

A MESSAGE FROM THE BOARD CHAIR As are so many essential relationships, marriage is about commitment: commitment to your spouse, to your family, to your community. In Mozart’s delightful The Marriage of Figaro, Figaro commits to his beloved Susanna, despite all the troubles and distractions caused by the jealous Count. At BLO, commitment is something we talk about a lot. We talk about our commitment to a beloved art form, to artistic quality, to Boston-area artists of all kinds and—first and foremost—to you, our audience. Our entire 40th Season has been proof of that commitment—bringing you the highest quality productions in venues that underscore our desire to provide comfortable, appropriate and interesting settings in some of the city’s most historic spaces. This year we were able to enhance our commitment to customer service, provide full service to Subscribers and single ticket buyers, respond to patrons faster, and make the in-theater experience smoother and easier. As we reflect on our groundbreaking 40th Season, we take pride in what we have accomplished in a rather fluid situation. BLO’s 2017/18 Season will continue to create operas that excite and inspire you. One highlight will be the World Premiere of Mark Campbell and Julian Grant’s The Nefarious, Immoral but Highly Profitable Enterprise of Mr. Burke & Mr. Hare, a piece commissioned by New York’s Music-Theatre Group with support from BLO. This extraordinary new work underscores BLO’s commitment of a different sort—to the ongoing health, growth, and well-being of the business of opera as an evolving art form. We invite you to commit to BLO next Season and to renew or buy a subscription today; I look forward to seeing you in the theater. And as always, please let us know how we can make your experience at BLO even better. Thank you for your support.

Michael J. Puzo Chair, Board of Directors

BLO’S SOCIAL GROUP FOR YOUNG ARTS LOVERS

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BOARD CHAIR Michael J. Puzo VICE-CHAIR & TREASURER Wayne Davis

FOR THE 2017/18 SEASON!

CLERK Susan W. Jacobs

PRIMA is BLO’s social group for young arts lovers interested in supporting the arts community and looking to explore it with others.

STANFORD CALDERWOOD GENERAL & ARTISTIC DIRECTOR Esther Nelson, Ex Officio

Become a PRIMA Premier Member and get amazing perks and discounted tickets.

Linda Cabot Black Willa Bodman Miguel de Bragança Alicia Cooney Alan Dynner Susan D. Eastman Andrew L. Eisenberg, Esq. Thomas D. Gill, Jr.

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Barbara Winter Glauber Mimi Hewlett Horace H. Irvine II Amelia Welt Katzen Maria J. Krokidas Jeffrey E. Marshall Abigail B. Mason A. Neil Pappalardo E. Lee Perry Irving H. Plotkin William Pounds Rusty Rolland David W. Scudder Susan R. Shapiro David Shukis Ray Stata Wynne W. Szeto Christopher Tadgell Lady Juliet Tadgell Frank Wisneski

BOARD OF OVERSEERS CO-CHAIRS L. Joseph LoDato Samuel Y. Parkinson Lawrence St. Clair James Ackerman Sarah E. Ashby Kimberly E. Balfour Elizabeth Barker Edward Bell Richard M. Burnes, Jr. Ellen Cabot Carol Gram Deane Amos Deinard Nicholas J. DiMauro Jessica Donohue Catherine Dunn Joseph Glenmullen Catherine E. Grein Amy Hunter William A. Hunter Louise Johnson

Ellen Kaplan Stephen T. Kunian Pamela S. Kunkemueller Russell Lopez Anita Loscalzo M. Lynne Markus Jillian McGrath Jane Pisciottoli Papa Barbara Goodwin Papesch Susanne Potts Carl Rosenberg Allison K. Ryder Alex Senchak Wendy Shattuck Frank Tempesta Richard Trant Robert Walsh Lydia Kenton Walsh Peter J. Wender Bertram Zarins Tania Zouikin

EMERITI Steven P. Akin J.P. Barger Sherif A. Nada

April 5, 2017

LEARN MORE AT BLO.ORG/PRIMA BOSTON LYRIC OPERA THE MARRIAGE OF FIGARO 2017 | 3

“ I’m learning that I can be much more than I think I can be.” High school students with Kathryn Skemp Moran, Jennifer Johnson Cano, and Roger Honeywell (L-R).

– bps 4th grader PAUL MAROTTA

Sara Womble, soprano, and Jesse Darden, tenor, perform at BPL Dudley Branch.

LIZA VOLL

Students at final dress rehearsal for Carmen.

LIZA VOLL

PAUL MAROTTA

Vincent Turregano, baritone, performs at BLO’s Concert in the Courtyard.

Felicia Gavilanes, mezzosoprano, and Vincent Turregano, baritone, perform at the MFA European Galleries.

Heather Gallagher and Maya Kherani, with teaching artist Brendan Buckley, center, for students at St. Brendan School in Dorchester.

4Oth ANNIVERSARY SEASON THE HIGH NOTES • A citywide celebration: 40 Days of Opera. This initiative brought together more than two dozen opera producers and cultural organizations to showcase the excellence and the variety of opera in and around Greater Boston (1). • The launch of BostonOperaCalendar.org, a new online resource for opera fans and patrons, created in partnership with the Boston Opera Alliance. • In partnership with the Boston Public Library’s exhibition, Shakespeare Unauthorized, BLO launched the concert series, Play On: BLO Sings Shakespeare that was performed at the Central Branch in Copley Square and at branch libraries in Dorchester and Roxbury (2). • In partnership with the BPS Visual and Performing Arts Office and non-profit Brighter Boston, English High School in Jamaica Plain welcomed BLO’s principal cast members of Carmen to perform an abridged version of the opera for 200 Boston public high school students (3). • BLO gave away 40 free tickets to each performance of its blockbuster Season-opener of Carmen to college students—and young people lined up around the block to take advantage! (4) • BLO earned a shout-out in the Wall Street Journal for its “tweet seat” initiative, launched during Carmen and continued throughout the Season, which welcomes social media mavens to live-tweet during Final Dress Rehearsals. Go #TweetSquad! 4 | BOSTON LYRIC OPERA THE MARRIAGE OF FIGARO 2017

• BLO and the MFA’s longstanding partnership broke new ground with the Promenade Opera Concert, which walked the halls of the MFA and closely paired musical selections with specific artworks in a unique and highly in-demand event (5). • An announcement of a commitment to BLO New Works, with two upcoming World Premieres: The Nefarious, Immoral but Highly Profitable Enterprise of Mr. Burke & Mr. Hare by Julian Grant and Mark Campbell in November 2017, and Schoenberg in Hollywood by Tod Machover and Simon Robson in the 2018/19 Season. • The launch of BLO’s first 360° Video of a rehearsal of The Rake’s Progress—giving audiences a chance to step into the creative process as never before! • BLO’s annual series of Artist Classroom Visits, which brings professional singers to perform in schools alongside a BLO Teaching Artist, totaled a record 19 performances, including six visits to Boston Public Library and branches, reaching over 1,200 young people with an interactive, dynamic, one-hour version of Humperdinck’s Hansel and Gretel (6). None of these efforts would happen without the support and commitment of our Subscribers, donors, ticket buyers, and wider community members. We are honored to be part of the cultural life of our city and dedicated to the vibrancy of opera in the 21st century.

UPDATE FROM THE FIELD: BLO IN THE SCHOOLS! Thirteen “World Premiere” original classroom operas are being created this spring in eight schools around the greater Boston area! BLO’s Create Your Own Opera Partnership Program empowers teachers to guide students through writing, composing and performing original works during a 10-week spring residency facilitated by BLO Resident Teaching Artists. This year, opera topics are inspired by… • Classic literature like The Giving Tree by Shel Silverstein • Historical events including the building of the transcontinental railroad and South African apartheid • Explorations of scientific topics like climate change and endangered species Students are hard at work writing libretti, creating melodies, as well as designing costumes, props, and set pieces. Operas will debut for audiences of peers and community members near the end of the school year. The Create Your Own Opera Partnership Program is part of BLO’s robust Community Engagement programming providing equitable access to quality arts experiences in the field of opera to its community.

“ The visiting teaching artist, by her presence in the classroom, her professionalism, and her commitment to the art form of opera, communicated to the students that the arts have an important place in learning and in life. The model of the teaching artist collaborating with both the teacher and the students gave rise to a vibrant creative energy in the classroom.” – partnership teacher, dorchester A student works on props for his classroom opera. A Boston Public Schools student makes notes and plans for his class' opera. Heather Gallagher, Resident Teaching Artist, leads a music coaching with BPS students. Students use a tree as a metaphor for learning how an opera “grows” at Winship Elementary School in Brighton. BOSTON LYRIC OPERA THE MARRIAGE OF FIGARO 2017 | 5

Set model, Act IV, by designer John Conklin; Sabrina film poster, 1954; Early costume sketch for the Countess, Act IV, by designer Gail Astrid Buckley; The Storming of the Bastille (1789), depicting the flashpoint of the French Revolution, by Jean-Pierre Houël, Bibliothèque Nationale de France.

he full title of Beaumarchais’ comedy, which Mozart and Da Ponte used as the inspiration for their opera, is La Folle Journée, ou le Mariage de Figaro—“The Crazy Day, or the Marriage of Figaro.” This concept is central to our production, a madcap 24 hours of intrigues, surprises, and pure, unbridled joy. It is perhaps the most complicated opera Mozart and Da Ponte wrote, a topsy-turvy world where endless entrances, exits, doors, windows, scheming servants, misbehaving lords, papers, a crucially lost pin, and disguises abound. When Beaumarchais wrote his comedy, only eight years before the opera debuted, its rebellious tone and criticism of the nobility enraged King Louis XVI, who presciently remarked, “The Bastille would need to be pulled down before such a play could be staged.” In the play, the character of Figaro directly challenges the Count Almaviva, questioning his authority and position of privilege. The play was subsequently banned in Vienna by Emperor Joseph II. In order to get their opera past the censors, Mozart and Da Ponte toned down the revolutionary elements; instead, they brought forth the joy and effervescence of human life. Revolution is still in the air, but it is smoothed down by the music of Mozart—music that speaks to us about love, about jealousy, about betrayal. Above all, there is a quality that in Italian we call lieve, meaning both light and poetic. The piece sparkles with wit, even as it sails along atop an ocean of feelings and depth.

6 | BOSTON LYRIC OPERA THE MARRIAGE OF FIGARO 2017

This lightness, for the creative team of The Marriage of Figaro, recalled the 1954 Billy Wilder film Sabrina, starring Audrey Hepburn and Humphrey Bogart. Set on a sumptuous Hamptons estate, the story follows Sabrina (Hepburn), the daughter of the household chauffeur, who pines for the rich, playboy son of her father’s employer but ultimately ends up with his wiser, more responsible elder brother (Bogart). The film becomes the visual inspiration for this production, as we reimagine Mozart’s opera in an Italian villa in the 1950s—a world of glamor and style, of theatricality, and of ever-persistent social classes. The emphasis is not on grand, over-the-top set pieces, but rather on the soul of the piece—we play as lightly as the comedy plays. The ground plan of the Almaviva villa is outlined on the stage floor, a technique similar to that of the Lars von Trier film Dogville (2003), with mirrors above so the audience can navigate the intrigues along with the characters. Social hierarchies still dominate, but in a modern context: Figaro is a servant to the powerful, titled Count, who believes he is entitled to whatever he wishes—even Susanna. The Count here is a car-racing enthusiast, with his Italian sports cars represented by simple cutouts; an indoor tennis court harkens back to an iconic scene in Sabrina. Free-standing doors on wheels keep the farcical elements of this “crazy day” rolling along on a stage that is otherwise mostly empty.

What does this mean, an empty theater? Not to have walls that hide what happens offstage? This is something that the public sees only very rarely: how difficult it is for a singer, a supernumerary, anyone, to go offstage and come onstage as someone else. To be Evan Hughes in one moment, and to become Figaro in just one step. Our production opens this up to the audience, showing two stories—the theater onstage, and the theater offstage. Figaro is as light as life, and life has many faces. This will be the game of the piece, the delicate balance of these two stories while letting the audience glimpse beyond the “four walls” of the set. This is a double world; the audience can follow not only the beloved story of maneuverings and disguises, but also the masks that artists put on and take off as they become other people. What is going on when Susanna goes offstage? Is she still Susanna for those moments, or does she become Emily Birsan? Thus the singers come in and out of character, without ever forgetting the context of The Marriage of Figaro, revealing their true humanity under it all. Each character of the piece is richly brought to life by Mozart and Da Ponte, aided by the detailed and thought-out backstories from Beaumarchais’ plays (both The Barber of Seville and The Marriage of Figaro were well-known by the time Mozart was composing his opera). The central characters—Figaro and Susanna, the Count and Countess, Cherubino—are complex, living beings who make mistakes, achieve triumphs, and experience emotional highs and

lows throughout the course of the work. Even the secondary characters are fully realized; for instance, Dr. Bartolo is often played for laughs, but one cannot forget his deep, abiding desire for revenge after Figaro thwarted his plan to marry Rosina (now the Countess) in The Barber of Seville. In our production, Bartolo will carry around a step-ladder, a tongue-in-cheek nod to the final scene from Barber when he snatches it away from Rosina’s balcony; here, it again will be stolen away at a key moment. Small touches like this make the material come alive. The most challenging part of the process becomes mastering and staging the recitativos. In the arias, singers can luxuriate in the music, poetry and emotional connection, but the incredibly complex plot is delivered in extended recitative—demanding for native Italian speakers and non-native alike. It is a testament to Mozart and Da Ponte that The Marriage of Figaro is truly universal—it can be transposed to any time, any place, and the humanity of the characters and sublimity of the music shine, illuminating something of ourselves. We are all Figaro in some moments, charismatic and capable; Susanna, quick-witted and determined; the Countess, aching yet hopeful; Cherubino, bursting with the promise of the future; or even the Count, arrogant and misguided but, in the end, content in forgiveness. The opera’s insistent joy, unexpected depth, and unmistakable vitality belong to all of us, each time the bubbling overture begins. BOSTON LYRIC OPERA THE MARRIAGE OF FIGARO 2017 | 7

MOZART

CAST & SYNOPSIS

Music Director David Angus

2016/17 Season Sponsor, Linda Cabot Black

Music by Wolfgang Amadeus Mozart Libretto by Lorenzo Da Ponte Sung in Italian with English surtitles

PERFORMANCES: FRIDAY, APRIL 28 AT 7:30PM SUNDAY, APRIL 30 AT 3:00PM WEDNESDAY, MAY 3 AT 7:30PM FRIDAY, MAY 5 AT 7:30PM

CONDUCTOR

Sponsored by William and Helen Pounds

BOSTON LYRIC OPERA ORCHESTRA

SANDRA KOTT Concertmaster

BOSTON LYRIC OPERA CHORUS

MICHELLE ALEXANDER Chorusmaster

SYNOPSIS

REHEARSAL COACH/ACCOMPANIST

BRETT HODGDON‡

ASSISTANT DIRECTOR

NATHAN TROUP†

The servants Figaro and Susanna are about to be married, but their employer, the Count Almaviva, has also cast his roving eye on the bride-to-be. Figaro vows to outwit his master. And there’s another problem: Marcellina, housekeeper to Dr. Bartolo, wants to marry Figaro herself—and he owes her a tidy sum of money.

STAGE MANAGER

DUSTIN Z. WEST

A villa in Italy during the 1950s.

Meanwhile, the teenager Cherubino can’t help flirting with all the women of the household, including the Countess herself. Enraged, the Count orders him to join the army. Susanna and the Countess recruit Cherubino to their plan to trick the Count, playfully dressing him up as a girl. When the Count unexpectedly arrives, they must maneuver quickly, making Cherubino jump from the window so that Susanna can take his place undiscovered. But the complaining gardener ruins their plot, and Figaro must cover for the boy by faking a limp. Marcellina and Bartolo demand that the Count settle the dispute of whom Figaro will marry. Susanna sets the servants’ plot in motion by leading the Count on with the promise of a tryst. Marcellina demands that Figaro pay her back or marry her, but when Figaro shows her his birthmark, Marcellina reveals Figaro's parenthood. Susanna confirms her rendezvous with the Count with a note, sealed with a pin.

*Boston Lyric Opera Debut

† Boston Lyric Opera Jane and Steven Akin

Emerging Artist

‡ B oston Lyric Opera Jane and Steven Akin

Emerging Artist Alumnus

Later that night, the gardener’s daughter, Barbarina, is upset because she has lost the pin, which the Count entrusted her, and she tells Figaro and Marcellina about the rendezvous. Figaro rants against women, especially his faithless bride. When Susanna and the Countess appear, dressed in one another’s clothes, he hides to watch. Susanna sings of love, knowing that she is making the listening Figaro squirm. The Count arrives to woo “Susanna”—the Countess in disguise. Figaro, who has realized what is happening, declares his love for the “Countess,” to the consternation of Susanna and the rage of the Count. The real Countess reveals herself, and her husband realizes his folly and begs her forgiveness. She grants it, and all the couples—the Count and Countess, Susanna and Figaro, Barbarina and Cherubino, and Marcellina and Bartolo—enjoy a happy ending.

BOSTON LYRIC OPERA THE MARRIAGE OF FIGARO 2017 | 9

ARTISTS DAVID ANGUS Conductor David Angus is Music Director of Boston Lyric Opera, following a very successful period as Music Director of Glimmerglass Opera. He conducts the London Philharmonic Orchestra every Season and is also Honorary Conductor of the Flanders Symphony Orchestra, where he was Chief Conductor for many years and built the orchestra into one of the most exciting young orchestras in Northern Europe. Mr. Angus now conducts opera all over Europe and North America. He began his career working at Glyndebourne, where he conducted a wide range of operas, and he went on to work in Italy and then across Europe. In the concert hall, he performs particularly in the UK and Scandinavia, and next Season will also see him in Italy, Ireland and Portugal, as well as returning to his former orchestra in Belgium. He has recorded many CDs and broadcasts regularly on classical radio channels. ROSETTA CUCCHI Director Rosetta Cucchi returns to Boston Lyric Opera, having directed BLO’s 2015 production of La Bohème. Since 2006, Ms. Cucchi has been Artistic Director of Fondazione Arturo Toscanini in Parma. Recent engagements include Rodelinda (Bellini Festival della V’Ditria), Cenerentola (Circuito AsLiCo), La Traviata (Teatro Communale di Modena, Opera di Tenerife); Rigoletto and Gioconda (St. Gallen Theatre); Werther and L’Elisir d’Amore (Teatro Comunale Bologna); Don Giovanni (Opera de Genova, Tenerife, Lucca, Piacenza and Modena); La Favorite (Teatro La Fenice); Mariotte’s Salomé and L’Arlesiana (Wexford Festival); Rigoletto and La Gioconda (Stadttheater St. Gallen); Idomeneo and Cavalleria Rusticana/La Vida Breve (Theater Lübeck); Rodelinda and Zaira (Festival della Valle d’Itria); La Cenerentola (Piacenza, Pavia, Como, Cremona and Brescia); La Traviata (Modena, Piacenza and Opéra de Tenerife); Così Fan Tutte (Opéra de Marseille, Modena, Piacenza, Lucca); Il Barbiere di Siviglia (Teatro Rendano Cosenza); The Marriage of Figaro (Opéra de Tenerife, Teatro Comunale di Piacenza); and Falstaff (Gulbenkian Hall Lisbon). JOHN CONKLIN Set Designer John Conklin has designed sets on and off Broadway, at the Kennedy Center, and for opera companies around the world, including The Metropolitan Opera, Lyric Opera of Chicago, Seattle Opera, San Francisco Opera, Bastille Opera in Paris, The Royal Opera and the opera houses of Munich, Amsterdam, and Bologna, among others. Locally, his work has been seen in Boston Lyric Opera’s recent productions of La Bohème (2015), Werther (2016), The Merry Widow (2016), and Greek (2016), as well as at the American Repertory Theater and Boston Ballet. Additionally, Mr. Conklin develops lecture series and community events for BLO that enrich the audience experience and strengthen the presence of opera in Boston’s arts community. He is on the faculty at New York University’s Tisch School of the Arts and was a recipient of the 2011 National Endowment for the Arts Opera Honors.

10 | BOSTON LYRIC OPERA THE MARRIAGE OF FIGARO 2017

ARTISTS GAIL ASTRID BUCKLEY Costume Designer Boston-based costume designer Gail Astrid Buckley has worked with BLO for nearly 20 years in a number of capacities. The Merry Widow (2016) marked her debut as solo Costume Designer. Her recent work includes The Christmas Carol (The Hanover Theatre for the Performing Arts); Hand to God (SpeakEasy Stage Company); Cendrillon (New England Conservatory); The Merry Wives of Windsor (Boston Conservatory) and Gabriel (Stoneham Theatre). Ms. Buckley has earned two “Small Theater: Best Costume Design” awards from The Independent Reviewers of New England and two Elliot Norton Awards for Best Costume Design and for Group Design for The Adding Machine (SpeakEasy Stage). D.M. WOOD Lighting Designer D.M. Wood returns to Boston Lyric Opera after designing for BLO’s 2015 production of La Bohème. Recent designs include Don Giovanni (Northern Ireland Opera); Star Wars en Concert (Orchestre National de Lyon); L’Heure Espanole |Gianni Schicchi (Opéra National de Lorraine); 4.48 Psychosis (Royal Opera House, Lyric Hammersmith); Maria Stuarda (Seattle Opera); Kansas City Choir Boy (Kirk Douglas Theatre, American Repertory Theater, Prototype Festival); Don Giovanni (Bergen Nasjonale Opera), Norma (Gran Teatre del Liceu and San Francisco Opera); Anna Bolena (Lyric Opera of Chicago); Don Bucefalo, Silent Night and Salomé (Wexford Festival Opera); Euryanthe and Die Liebe der Danae (Bard Summerscape); La Favorite (Oper Graz); Candide and the World Premiere of L'Importance d'être Constant (Opéra National de Lorraine); The Importance of Being Earnest (Northern Ireland Opera); El Chico de Oz (Teatro Municipal); L'Enfant et les Sortilèges (The Bolshoi), and Il Trittico (Royal Opera House, Covent Garden). Ms. Wood’s design for Suor Angelica (part of Il Trittico at the Royal Opera House) won the U.K.’s 2012 Knight of Illumination Opera Award. JASON ALLEN Wig and Makeup Designer Jason Allen has been Boston Lyric Opera’s resident Wig and Makeup Designer since 2003. A fixture of the Boston performing arts community, he also works with Huntington Theatre Company, Boston Ballet, and many other organizations in Boston and throughout the country.

EVAN HUGHES Bass-baritone FIGARO Making his Boston Lyric Opera debut, Evan Hughes’ engagements include Guglielmo in Così Fan Tutte, Leporello in Don Giovanni, Angelotti in Tosca, Figaro in The Marriage of Figaro, Schaunard in La Bohème, Achilla in Giulio Cesare (The Semperoper Dresden); Don Basilio in Il Barbiere di Siviglia, Leporello in Don Giovanni (Komische Oper in Berlin); Theseus in A Midsummer Night’s Dream (Aix-en-Provence Festival) and the Protector in Written on Skin (Tanglewood Festival, American Premiere); concert credits include appearances with the New York Philharmonic, Los Angeles Philharmonic, Ensemble Intercontemporain (Paris Philharmonie), and Elliott Carter's The American Sublime with James Levine and the Met Chamber Orchestra at Carnegie Hall. An alumnus of The Metropolitan Opera’s Lindemann Young Artist Development Program, Mr. Hughes attended the Curtis Institute of Music and was a regional winner and a national Semi-Finalist in the 2010 Metropolitan Opera National Council Auditions. EMILY BIRSAN Soprano SUSANNA Emily Birsan returns to Boston Lyric Opera after appearing as Musetta in the 2015 production of La Bohème. This Season, she made role debuts as Juliette in Roméo et Juliette (Madison Opera) and as Donna Anna in Don Giovanni (Florentine Opera). On the concert stage, she will make her debut with Melbourne Symphony singing Beethoven’s Missa Solemnis, a concert with the Chicago Philharmonic, and featured with the BBC Symphony in London singing Bliss’ Beatitudes. Recent credits include the Italian Singer in Capriccio (Lyric Opera of Chicago); Leila in The Pearl Fishers (Florida Grand Opera); and Anne Trulove in The Rake’s Progress (Edinburgh International Festival), among others. Her critically acclaimed performances on the concert stage include Edward Elgar (Bergen Philharmonic), Verdi and Puccini (Knoxville Symphony) and, most recently, her Carnegie Hall debut with Mozart’s Mass in C Minor. Ms. Birsan has recorded with the Chandos Record Label Elgar’s oratorio work, The Saga of St. Olaf, with Sir Andrew Davis conducting. DAVID CUSHING Baritone BARTOLO David Cushing’s recent opera appearances include the title roles of Don Pasquale and The Marriage of Figaro, Frère Laurent in Roméo et Juliette, and Bottom in A Midsummer Night’s Dream. This Season, Mr. Cushing performed the roles of Trulove in BLO’s production of The Rake’s Progress; Frère Laurent/Duke in Roméo et Juliette (Opera Tampa); Police Officer in Der Rosenkavalier (Boston Symphony Orchestra); Commendatore/Masetto in Don Giovanni (Bar Harbor Music Festival), and as a soloist in Philip Glass’ Symphony No. 5 (The Washington Chorus). He is a BLO Jane and Steven Akin Emerging Artist alumnus and will be featured in BLO's 2017/18 Season as Angelotti in Tosca and Donald in The Nefarious, Immoral but Highly Profitable Enterprise of Mr. Burke & Mr. Hare.

MICHELLE TRAINOR Soprano MARCELLINA Michelle Trainor is a BLO Jane and Steven Akin Emerging Artist alumna and has sung in Boston Lyric Opera’s productions of The Inspector, Macbeth, Clemency, The Magic Flute, The Merry Widow, and The Love Potion. Ms. Trainor recently made her debut with the Boston Symphony Orchestra in their performance of Der Rosenkavalier under the direction of Andris Nelsons. This Season, she also joined the Brookline Symphony Orchestra singing Isolde’s Liebestod and will be the soloist in Vaughan Williams’ A Sea Symphony with New World Chorale. Michelle has recorded MacMillan’s Clemency and Schubert’s Hagar’s Lament on the BIS label with Boston Lyric Opera and was the 2011 recipient of the Company’s Stephen Shrestinian Award for Excellence. As a concert soloist, she has performed at Carnegie Hall and in Boston Ballet’s production of A Midsummer Night’s Dream and will be featured in BLO's 2017/18 Season as Helen McDougal in The Nefarious, Immoral but Highly Profitable Enterprise of Mr. Burke & Mr. Hare and Mrs. Peachum in The Threepenny Opera. EMILY FONS Mezzo-soprano CHERUBINO Emily Fons’ 2016/17 Season includes performances of Angelina in La Cenerentola (Opéra de Lille); Dorabella in Così Fan Tutte (Opera Omaha); Donna Elvira in Don Giovanni (Florentine Opera). In concert, she will be heard in A Midsummer Night’s Dream (Cleveland Orchestra, with Franz Welser-Möst). Recent credits include Prince Orlofsky in Die Fledermaus (New Orleans Opera); Cherubino in The Marriage of Figaro (Canadian Opera Company); Rosina in Il Barbiere di Siviglia (Lyric Opera of Baltimore); and Stephano in Roméo et Juliette (Santa Fe Opera). In concert, she appeared with the Madison Symphony in Christmas concerts and with the Indianapolis Opera in their Crescendo series. Future projects include appearances with the Berlin Philharmonic, the Seiji Ozawa Matsumoto Festival, San Diego Opera, North Carolina Opera, and Kentucky Opera. Ms. Fons completed her Master’s Degree in Opera and Music Theatre at Southern Illinois University and received her undergraduate degree from Luther College where she was awarded the Brudos Prize. This is her Boston Lyric Opera debut. DAVID PERSHALL Baritone COUNT ALMAVIVA Featured as one of Opera’s 25 Rising Stars in Opera News, David Pershall has won several prestigious vocal competitions including the 2016 George London Award sponsored by the Lloyd E. Rigler-Lawrence E. Deutsch Foundation, First Prize at the Marcello Giordani Competition, and First Prize at the Gerda Lissner Competition. He has appeared as Figaro in The Barber of Seville (The Metropolitan Opera, Vienna State Opera); Schaunard in La Bohème, and Lord Cecil in Maria Stuarda (The Metropolitan Opera); Belcore in L’Elisir d’Amore, Sharpless in Madama Butterfly, Sebastian in The Tempest, and Lescaut in Manon Lescaut (Vienna State Opera). His most recent appearance at Carnegie Hall was as Lord Nottingham in Roberto Devereux. This Season, David has appeared as Roucher in Andrea Chenier (San Francisco Opera); Escamillo in Carmen (Greensboro Opera); and Marcello in La Bohème (Salzburg Landestheater). BOSTON LYRIC OPERA THE MARRIAGE OF FIGARO 2017 | 11

BOSTON LYRIC OPERA ORCHESTRA

ARTISTS MATTHEW DIBATTISTA Tenor BASILIO Matthew DiBattista returns to Boston Lyric Opera after playing Flute in the 2011 production of A Midsummer Night's Dream. He has sung with such conductors as Charles Dutoit, Seiji Ozawa, Keith Lockhart, Sir Andrew Davis and Robert Shaw. Mr. DiBattista has performed over 60 different roles to date, spanning the operatic repertoire. He has been on the roster of The Metropolitan Opera and performed the past four Seasons with Lyric Opera of Chicago where he recently sang Normano in Lucia di Lammermoor. Other credits include the Boston Symphony Orchestra, Glimmerglass Opera, Santa Fe Opera, Florida Grand Opera, Cincinnati May Festival, New Orleans Opera, Palm Beach Opera, Opera Omaha, Tulsa Opera, Opera Boston, Virginia Opera, Opera Colorado, Tanglewood, Long Beach Opera and has appeared for eight of the last nine Seasons as principal artist with Opera Theatre of Saint Louis. NICOLE HEASTON Soprano COUNTESS ALMAVIVA Since her debut at The Metropolitan Opera as Zerlina in Mozart’s Don Giovanni, Nicole Heaston has appeared regularly with the Company and has been heard as Ilia in Mozart’s Idomeneo, Pamina in Die Zauberflöte (conducted by James Levine), and Echo in Ariadne auf Naxos. In recent Seasons, Ms. Heaston made her Italian debut in Adriano in Siria (Fondazione Pergolesi). She also made her debut with the Los Angeles Opera as Musetta in La Bohème and returned to Carnegie Hall for the Marilyn Horne Foundation’s annual recital. Engagements in recent seasons also include Countess Almaviva in The Marriage of Figaro (Den Norske Opera, Utah Opera); the title role in Alcina (Den Norske Opera, Royal Danish Opera); Donna Elvira in Don Giovanni and Arminda in La Finta Giardiniera (Glyndebourne Festival); Pamina in The Magic Flute (Houston Grand Opera); Alice Ford in Falstaff (Opera de Lausanne, Royal Danish Opera); and the title role in L’Incoronazione di Poppea (Semperoper Dresden). Additional 2016/17 Season engagements include Adina in L’Elisir d’Amore (Houston Grand Opera); Haydn’s The Creation (Houston Symphony) and Donna Elvira in Don Giovanni (Kalamazoo Symphony Orchestra). SIMON DYER Bass-baritone ANTONIO Simon Dyer is a 2016/17 BLO Jane and Steven Akin Emerging Artist who was last seen as the Keeper of the Madhouse in Boston Lyric Opera’s production of The Rake’s Progress. Dyer was a young artist at The Glimmerglass Festival in 2016 and will spend the summer of 2017 as a member of the Apprentice Singer Program at Santa Fe Opera. He will then join the Florida Grand Opera studio for their 2017/18 season where he will sing the role of Raimondo in Lucia di Lammermoor, and 1st Nazarene in Salome. Recent appearances include Giorgio in La Gazza Ladra, and Rev. Hale (cover) in The Crucible (Glimmerglass Festival); Luka in The Bear and Mr. Grinder in

12 | BOSTON LYRIC OPERA THE MARRIAGE OF FIGARO 2017

ARTISTS The Zoo (Odyssey Opera); Superintendent Budd in Albert Herring (Boston Opera Collaborative); Prophet/King in Dark Sisters, Melisso in Alcina, Figaro in The Marriage of Figaro, Immigration Officer in Flight and Nick Shadow in The Rake’s Progress (The Boston Conservatory). In concert, he recently appeared as the soloist in Verdi’s Requiem in London, at a recital at the MFA Boston and as curator of John Cage’s SongBooks also at the MFA. He returns for more collaborations with the MFA in the Fall of 2017 to curate and perform a newly devised work. BRAD RAYMOND Tenor DON CURZIO Brad Raymond is a BLO Jane and Steven Akin Emerging Artist alumnus. He recently appeared in Candide (Glimmerglass Opera); Eugene Onegin (Opera Theatre Middlebury); Candide (Opera Toulouse and Opera Bordeaux); Manon Lescaut (Chautauqua Opera); and Amahl and the Night Visitors (Cincinnati Chamber Orchestra). His opera credits also include Opera Saratoga, Aspen Opera Theater, and Columbus Opera. In December, he performed the role of the Governor in Candide in his European debut with Opera Theater Toulouse and Bordeaux Opera. Raymond has also won prizes in numerous singing competitions, including First Prize in the National Opera Association Regional Competition, a Semifinalist in the Joy in Singing Competition, Second Place in the Fielder Grant Competition, a Finalist in the Merola Opera Program Auditions, numerous First Place awards in both district and regional National Association for the Teachers of Singing competitions, a Full Scholarship to tour Austria as a soloist for the Irving Chorale, and the award for Best Male Vocalist in the City of Austin as named by the Austin Critics’ Table for the title role in Albert Herring. SARA WOMBLE Soprano BARBARINA Sara Womble is a 2016/17 BLO Jane and Steven Akin Emerging Artist making her mainstage debut. In the summer of 2016, she was an Apprentice Artist at Opera NEO, where she sang Zerlina in Don Giovanni. Ms. Womble received her Master’s degree from Boston University, where her roles included La Fée in Cendrillon, Rosalba in Florencia en el Amazonas, Ruth Baldwin in Later the Same Evening, and Presendia in Dark Sisters. During the 2015/16 Season, Sara was a semi-finalist in the Mildred Miller International Voice Competition, the Rochester Oratorio Society Competition and the Cooper-Bing International Vocal Competition. Before her singing career, Ms. Womble graduated Phi Beta Kappa and magna cum laude from Duke University, where she double-majored in English and Vocal Performance. She will return for BLO's 2017/18 Season as Shepherd Boy in Tosca.

FELICIA GAVILANES Mezzo-soprano BRIDESMAID Felicia Gavilanes joins Boston Lyric Opera as a 2016/17 Jane and Steven Akin Emerging Artist, making her company debut. The 2017/18 season will bring Ms. Gavilanes to Havana, Cuba, to sing the title role in Dido and Aeneas (Teatro Lírico Nacional de Cuba). Other roles include Donna Elvira in Don Giovanni, Baba the Turk in The Rake’s Progress and Tisbe in La Cenerentola (Florida State Opera); Mrs. DeRocher in Dead Man Walking and Asakir in Sumeida’s Song (Boston Opera Collaborative); Flora in La Traviata (Opera Providence). Recent concert performances include the role of Maria in Respighi’s Lauda per la Natività del Signore (Gulfshore Opera); Alto Soloist in Haydn’s Paukenmesse (Fine Arts Chorale); Queen Jezebel/Angel in Mendelssohn’s Elijah (Tallahassee Community Chorus). Ms. Gavilanes joined the Tallahassee Symphony Orchestra as a featured soloist for their concert Mozart in the Jungle. Ms. Gavilanes is a recent winner of Mobile Opera’s Madame Rose Competition, a finalist in MetroWest Opera’s Competition for Emerging Artists, and recipient of prestigious fellowships including the Gallaher Award, the Beaulieu Award in Opera and the Edith S. Joel Fellowship in Opera. EMMA SORENSON Mezzo-soprano BRIDESMAID Emma Sorenson recently debuted as Isabelle Eberhardt in Chicago Fringe Opera’s production of Missy Mazzoli’s Song from the Uproar: The Lives and Deaths of Isabelle Eberhardt. This summer, Ms. Sorenson will be returning to the role as a Young Artist understudy with Cincinnatti Opera. She will also be performing the role of Hansel in Union Avenue Opera's Hänsel und Gretel later this summer. She is a 2016/17 BLO Jane and Steven Akin Emerging Artist, and she made her debut with the Company as Frou Frou in the 2016 production of The Merry Widow, and will be returning next season to sing the role of Mary Paterson in The Nefarious, Immoral but Highly Profitable Enterprise of Mr. Burke & Mr. Hare. Recently, Ms. Sorenson was engaged as an Apprentice Artist with Des Moines Metro Opera where she sang the role of Javotte in Manon, and Flower in Rappaccini’s Daughter. She has also performed several mainstage roles with The Boston Conservatory including Lucretia in The Rape of Lucretia, and Dritte Dame in Mozart’s Die Zauberflöte. Ms. Sorenson is the recipient of the 2016 Encouragement Award at The Metropolitan Opera National Council auditions in the St. Louis district, and previously won the Ileana Ingraham Encouragement Award at the auditions in the Kansas City district. She also recently advanced to the Second Round of the 2017 Classical Singer Competition in the Emerging Professional category.

VIOLIN I SANDRA KOTT Concertmaster COLIN DAVIS HEIDI BRAUN-HILL NATALIE FAVALORO GERALD MORDIS STACEY ALDEN CYNTHIA CUMMINGS VIOLIN II ANNIE RABBAT Principal TERA GORSETT LENA WONG ROHAN GREGORY ROBERT CURTIS VIOLA KENNETH STALBERG Principal DAVID FELTNER ABIGAIL CROSS DON KRISHNASWAMI CELLO ARON ZELKOWICZ Acting Principal MELANIE DYBALL JAN PFEIFFER-RIOS BASS ROBERT LYNAM Principal BARRY BOETTGER

FLUTE LINDA TOOTE Principal ANN BOBO OBOE NANCY DIMOCK Principal LYNDA JACQUIN CLARINET JAN HALLORAN Principal STEVEN JACKSON BASSOON ELAH GRANDEL Acting Principal SALLY MERRIMAN FRENCH HORN KEVIN OWEN Principal DIRK HILLYER NATURAL TRUMPET JESSE LEVINE Acting Principal GREG WHITAKER TIMPANI JOHN TANZER Acting Principal FORTEPIANO BRETT HODGDON‡

BOSTON LYRIC OPERA CHORUS MICHELLE ALEXANDER Chorusmaster SOPRANO ALISA CASSOLA KATHRYN MCKELLAR DANA VARGA ALTO FELICIA GAVILANES† VERA SAVAGE† EMMA SORENSON†

SUPERNUMERARIES TANNER EFINGER* HARSH GAGOOMAL* DALTON GORDEN* MARCUS HUNTER* NICK SULFARO* RICHARD WINGERT

TENOR JESSE DARDEN† FRANK LEVAR THOMAS OESTERLING BASS RYNE CHERRY TAYLOR HORNER RON WILLIAMS

BOSTON LYRIC OPERA THE MARRIAGE OF FIGARO 2017 | 13

PRODUCTION/ARTISTIC STAFF

BOSTON LYRIC OPERA STAFF

VOLUNTEER CORPS

Anderson Nunnelley Assistant Stage Manager Julie Langevin Assistant Stage Manager Melanie Bacaling Production Assistant Bailey Costa Lighting Director/Assistant Lighting Designer Alex Brandt Assistant Lighting Director Marcella Barbeau Lighting Intern Liz Perlman Costume Director Lynn Jeffrey Costume Supervisor Ryan Goodwin Costume Design Assistant Lisa Berg Props Master Rachel Padula Shufelt Wig-Makeup Artist Allison Voth Surtitle Operator Jeremy Smith Head Production Carpenter Joseph St Croix First Assistant Production Carpenter Brendan Ritchie Second Assistant Production Carpenter Marco Caceres Head Production Electrician Mike Wellman First Assistant Production Electrician Eric Perlmutter First Assistant Production Electrician Leanne Knight Second Assistant Production Electrician Patrick Glynn Head of Production Properties Emily Picot Second Assistant of Production Properties James McCartney Head of Production Audio Dianna Reardon Wardrobe Supervisor Kate Ellingson Orchestra Librarian Maynard Goldman Orchestra Personnel Manager

Esther Nelson Stanford Calderwood General & Artistic Director David Angus Music Director John Conklin Artistic Advisor

Jose Alberto Jeannie Ackerman Sharon Barry Katie Bauer Laima Bobelis Lynn Bregman Jane Cammack Susan Cavalieri Michelle Chen Caroline Cole Karla de Greef Ann D’Angelo Marsha de Poo Mary DePoto Frances Driscoll Marian Ead Susan Eastman Lee Forgosh Audley Fuller Linda George Mencken Graham James Karg Eva Karger Milling Kinard Esther Lable Melissa Lanouelle Richard Leccese Dan Levin Tiphanie Levesque du Rosta Nancy Lynn Domenico Mastrototaro Terri Mazzulli Patti McGovern Anne McGuire Meg Morton Kameel Nasr Gail Neff Amy O'Connell Cosmo Papa Jane Papa Barbara Papesch Jeffrey Penta Elizabeth Sarafin Alexandra Sherman Barbara Trachtenberg Amy Walba Gerry Weisenberg Debbie Wiess Beverly Wiggins Alfred Williams Lynn Williams Sybil Williams

The Artists and Stage Managers employed on this production are members of the American Guild of Musical Artists. All musicians are members of the American Federation of Musicians of the United States and Canada. The scenic, costume, and lighting designers are members of United Scenic Artists, Local USA-829 of the International Alliance of Theatrical Stage Employees (IATSE). Stagehands are represented by Local #11 of IATSE. Boston Lyric Opera is a member of OPERA America, the national service organization for opera in the U.S. and Canada.

Acentech, Inc. | Carl Rosenberg and Ben Markham

EXTERNAL RELATIONS Eileen Nugent Williston Director of External Relations Sarah B. Blume Director of Major Gifts Erin Coffey Associate Director of Major Gifts Cathy Emmons Director of Institutional Gifts Robin Whitney Development and Outreach Manager Narcissa McArthur Development Coordinator

Advanced Lighting and Production Services | Jim DeVeer Alexander Aronson Finning American Repertory Theater | Stephen Setterlun Beacon Hill Seminars

Costume Works, Inc. | Liz Perlman

Production Advantage

Elderhostel, Inc./Road Scholar

Opus Affair

Emerson College | Office of the Arts

ProPrint Boston

Fessenden & Sykes

Quality Graphics, Inc.

Films Around the World, Inc. | Alexander W. Kogan, Jr. Glimmerglass Festival Goodman Media International, Inc. HUM Properties | Casey Smith and David R. Latham

Susan Bennett, M.D., Company Physician Consultant, Associate Physician, Massachusetts General Hospital

The HYM Investment Group

Boston Athenaeum

Leapfrog Arts | Melissa Wagner-O’Malley

IATSE Local #11 IRN Internet Services | Jay Williston

Ryder Transportation Santander Scalped Productions Sebastians Seyfarth Shaw LLP | Brian Michaelis Starburst Printing | Jason Grondin T. Charles Erickson Tessitura Tillingers Concierge Inc.

Boston Center for the Arts

Liza Voll Photography

Tim Hamilton

Boston Public Library

mindSHIFT Technologies Inc.

United Staging & Rigging | Eric Frishman

Boston Symphony Orchestra

Museum of Fine Arts, Boston

Caffé Nero

Myles Standish Business Condominiums

Vantage Technology Consulting Group | Geoffrey Tritsch

Chandler Inn

NEPS Primary Freight

VOICES Boston

Constangy, Brooks, Smith & Prophete, LLP | Andrew Eisenberg and Will Krasnow

New England Professional Systems | Bill Miller

WBUR

Pierce Harman Photography

WGBH/WCRB

14 | BOSTON LYRIC OPERA THE MARRIAGE OF FIGARO 2017

PRODUCTION Anna B. Labykina Production & Technical Director Jessica Johnson Brock Production Operations Manager Katherine Clanton Production Coordinator Alix Strasnick Associate Technical Director Julia Noulin-Mérat Associate Producer FINANCE AND ADMINISTRATION Karen T. Frost Director of Finance and Administration David J. Cullen Accounting Manager Reingard Heller Finance Manager Caitlin Hayes Finance & Office Coordinator

ACKNOWLEDGMENTS Boston Lyric Opera extends its gratitude to the following individuals and organizations for their extraordinary courtesy in making our productions possible:

ARTISTIC Nicholas G. Russell Director of Artistic Operations Steven Atwater Artistic Manager Zachary Calhoun Artistic Associate

Amy Holland Crafton Senior Marketing Strategist Jeila Irdmusa Communications Manager Goodman Media International, Inc. Public Relations Julia Propp Director of Operations, External Relations Andrew J. Moreau Operations Manager & System Administrator Robin Schweikart Database Administrator Rebecca Kittredge Audience Services Manager Bailey Kerr Patron Services Associate Morgan McKendry Audience Services Associate Lacey Upton Director of Community Engagement Rebecca Kirk Manager of Education Programs Sara O’Brien Events Coordinator Brendan Buckley Resident Teaching Artist Heather Gallagher Resident Teaching Artist IRN Internet Services Website Leapfrog Arts Graphic Design

ABOUT BOSTON LYRIC OPERA Both locally and beyond, Boston Lyric Opera leads the way in celebrating the art of the voice through innovative programming and community engagement initiatives that redefine the opera-going experience. Under the vibrant leadership of Stanford Calderwood General & Artistic Director Esther Nelson, BLO’s productions have been described by the magazine Musical America as “part of the national dialogue” because of their role as entry points for new audiences. The New York Times observed that BLO “clearly intends [its productions] to catch the interest of operagoers around the country.” This view is shared by the nearly 35,000 people who experience BLO each year through dynamic performances, extensive partnerships with leading cultural organizations, and programs throughout our vastly diverse and exuberant community. BLO’s programming remains faithful to tradition while blazing new ground, building audiences, and creating new ways to enhance the opera-going experience. BLO’s Jane and Steven Akin Emerging Artists hone their craft and prepare to expand their careers to other worldleading stages. And BLO’s wide-reaching education initiatives introduce opera to new audiences across generations. Through your support and attendance, BLO employs nearly 350 artists and creative professionals annually—vocalists, artisans, stagehands, costumers, and scenic designers—many of whom are members of our own community. The Company is proud to play a significant and meaningful role in Boston’s vibrant arts community.

JOIN THE

OF BOSTON LYRIC OPERA Orfeo Society members gain behind the scenes access to BLO artists and production team members, while providing direct support to bring opera to our stages and communities. Orfeo Society members enjoy: • Access to pre-curtain Orfeo hospitality lounges • Invitations to private events • Priority seating and concierge ticket assistance • Opportunities to be part of the creative process through design presentations, workshops, open rehearsals and more. Make an annual gift of $3,000 or more and join the Orfeo Society today!

SAVE THE DATE! ORFEO SOCIETY ANNUAL EVENT Join us for a toast to the 40th Anniversary Season and a spring serenade featuring BLO artists* TUESDAY, JUNE 13, 2017 *Open to current members of the Orfeo Society.

For more information, contact Erin Coffey at ecoffey@blo.org or 617.702.8975

BOSTON LYRIC OPERA THE MARRIAGE OF FIGARO 2017 | 17

OPERA IN THE 20TH & 21ST CENTURIES: BLO’S 2017/18 SEASON NEXT SEASON BOSTON LYRIC OPERA will again journey to four different performance venues, but the Company remains committed to strongly theatrical productions of meaningful works—three contrasting 20th-century operas and the World Premiere of an opera from the 21st century. We don’t usually think of Puccini’s Tosca as a 20th-century opera, but in fact it was the first new opera premiered in 1900— on January 14, at Rome’s Teatro Costanzi. BLO has produced the opera twice before, and this time it returns to the Emerson/ Cutler Majestic Theatre. The Company’s first move to the Majestic in 1986, with Tosca, marked a great leap forward in BLO’s administrative history and artistic ambitions. The play on which Puccini based the opera has extensive political content, which Puccini minimized—although most productions today put it back in. Director Crystal Manich’s take on the politics of Tosca remains to be seen; so far people are talking about how BLO’s new production will feature the American debut of the Russian soprano Elena Stikhina. She began her career in her home theater in Vladivostok and last Season, began to appear in various opera houses in Germany; following her Boston Tosca, she will make her Paris Opera debut as Leonora in Verdi’s Il Trovatore. Tenor Jonathan Burton sings Cavaradossi and baritone Daniel Sutin the villainous police chief Scarpia; Company favorite James Maddalena returns as the busybody Sacristan, and Daniel Stern, the conductor-son of the eminent violinist Isaac Stern, makes his BLO debut at the podium. Previous productions of Tosca in the Majestic have used a reduced orchestration because of the small pit—which compromises Puccini’s colors and textures. BLO’s new version 18 | BOSTON LYRIC OPERA THE MARRIAGE OF FIGARO 2017

has been designed for a full orchestra that will play on a platform above the stage action; the production will then travel to Opera Omaha. The World Premiere comes next, The Nefarious, Immoral but Highly Profitable Enterprise of Mr. Burke & Mr. Hare, by composer Julian Grant and librettist Mark Campbell. Their subject here is the famous 19th-century serial killers William Burke and William Hare, who developed a lively business through supplying corpses for dissection by the eminent Edinburgh physician and medical researcher Dr. Robert Knox. Gravedigging was difficult for both practical and legal reasons, and punishment for the crime was severe. Murdering people “no one would miss” proved a whole lot easier; by the time the law caught up with the killers, they had smothered 16 victims. Burke and Hare are both baritones, Jesse Blumberg and Mark Schnaible, respectively; the distinguished American tenor William Burden is Dr. Knox. The text and music are full of irony, outrage, and mordant, grisly humor, but the creators have also written roles for five of the forgotten victims who tell their stories, sing in ensembles, and contribute moral and emotional depth. One of them will be portrayed by the celebrated soprano Marie McLaughlin, one of the finest Mozart singers of her generation, making her local debut. Esther Nelson, BLO’s General & Artistic Director, explains that the new opera was developed by New York’s Music-Theatre Group with a co-commissioning partner which had to drop out; when the work came to BLO’s attention, it seemed a natural for the Company’s adventurous Opera Annex and New Works program. “The opera is a real ensemble piece,” Nelson points out, “full of duets, trios, quartets, quintets and sextets—all the things that opera is good for. And Julian Grant uses his small orchestra ingeniously and really does know how to write for the voice.” History ended

with further irony and so does the opera—Hare testified against Burke and got off; Burke was hanged before a crowd of 25,000 and then his body was surgically dissected in a public setting. His skeleton remains in the museum of the Edinburgh Medical School to this day. The Threepenny Opera by Kurt Weill and Bertolt Brecht turned the musical world upside down after it premiered in Berlin in 1928. Within five years it had been translated into 18 languages and performed more than 10,000 times throughout Europe. New York critics, on the other hand, didn’t care for it and the show closed after only a dozen performances in 1933. Nazis hated it even more and banned it that same year. In 1952, Leonard Bernstein programmed it on the first Festival of the Creative Arts at Brandeis University; his friend, the composer Mark Blitzstein, translated and edited the work, and narrated that first concert performance, which was also broadcast. It was so successful that it led to the famous off-Broadway revival which ran in New York for more than seven years, establishing the work both as serious art and an icon of pop culture. Blitzstein did clean up some of the work, toning down Brecht’s text; this politeness has not been a feature of most contemporary productions. A recent revival at Britain’s National Theatre brought with it a warning: “Contains filthy language and immoral behavior.” BLO’s production will play in the Huntington Avenue Theatre. The building is only a little older than the work itself and only a hundred or so seats larger than the Berlin theater that housed the world premiere. Announced cast members include a favorite BLO diva, soprano Kelly Kaduce (Jenny), character baritone James Maddalena (Mr. Peachum), and baritone Daniel Belcher, who will sing “Mack the Knife.” The Season closes with a tribute to the 100th birthday of Leonard Bernstein, an unusual double bill of his early one-act opera Trouble in Tahiti and his final major composition, the song-cycle Arias & Barcarolles. The World Premiere of Trouble and Tahiti came during the same 1952 arts festival at Brandeis, but the composer was unhappy with the circumstances. His chamber opera did not get underway until 11PM before an audience of 3,000 people in an outdoor amphitheater with a bad sound system. But the performance did show one thing he needed to do, so he rewrote the final scene before the second production, at Tanglewood, where it was staged by Caldwell also in 1952. Bernstein was 33 when he composed, and wrote the libretto for, Trouble in Tahiti. He wrote some of it on his honeymoon, which is paradoxical because the opera is about a troubled marriage—not his own, yet, but in fact the marriage of his parents and the home in which he grew up. The mood is frequently frothy, as the idea of a perfect marriage in the best of all possible worlds is satirized, especially by a vocal trio that comments on the situation and action in the manner of a Greek chorus but in the style of a singing commercial back in the days of network radio. Set not in the tropics but in suburbia, Trouble in Tahiti is the title of a dreadful escapist Maria Montez-style movie that the opera’s heroine goes to see in her despair—and sings

OPERA CUTS DEEP TOSCA OCT 13-22 EMERSON/CUTLER MAJESTIC THEATRE

BLO NEW WORKS | AN OPERA ANNEX INITIATIVE

BURKE & HARE NOV 8-12

THE CYCLORAMA AT THE BOSTON CENTER FOR THE ARTS

THREEPENNY OPERA MAR 16-25 HUNTINGTON AVENUE THEATRE

TROUBLE IN TAHITI SPRING LOCATION TO BE ANNOUNCED

about in the score’s knockout solo scene. At the end she sees it again, with her husband this time—it's easier to sit through a movie with him than for the two of them to communicate with each other. Arias & Barcarolles was on the program of the last concert Bernstein ever conducted, although he was so ill on that Tanglewood Sunday afternoon that he handed this work over to another conductor. It is a series of songs, duets and ensembles mostly to his own texts, which reveal the lessons and effects of a lifetime’s experience. The unusual title comes from an unforgettable conversation Bernstein had with President Eisenhower after a concert. “I liked that last piece,” the President remarked. “I like music with a theme, not all them arias and barcarolles.” The principal singers will be Heather Johnson, Mara Bonde, Neal Ferreira and Vincent Turregano, and the pianists for Arias & Barcarolles will be David Angus, BLO Music Director, and Brett Hodgdon, principal rehearsal coach/accompanist. Dates for this event will be announced once a venue has been secured; anyone who wants to build a theater for the Company is welcome to do so.

BY RICHARD DYER Richard Dyer is a distinguished writer and lecturer. He wrote about music for The Boston Globe for more than 30 years, serving as chief music critic for most of that time. He has twice won the Deems Taylor/ ASCAP Award for Distinguished Music Criticism. BOSTON LYRIC OPERA THE MARRIAGE OF FIGARO 2017 | 19

INDIVIDUAL DONORS We are honored to recognize our donors who generously support the mission of Boston Lyric Opera to build curiosity, enthusiasm, and support for opera by creating musically and theatrically compelling productions, events, and educational resources for our community and beyond. We are deeply grateful for the following contributions made to Boston Lyric Opera between July 1, 2015 – March 21, 2017. CRESCENDO ($100,000 & ABOVE) Anonymous Jane and Steven Akin Barr Foundation Linda Cabot Black*†§ Willa and Taylor Bodman* Constangy, Brooks, Smith & Prophete, LLP Jody and Tom Gill*† Horace H. Irvine II*§ The Klarman Family Foundation Jane and Jeffrey Marshall*† Ms. Abigail Mason*†§ Mattina R. Proctor Foundation Paul and Sandra Montrone Mr. and Mrs. E. Lee Perry*† William and Helen Pounds* David and Marie Louise Scudder*§ Mr. and Mrs. Ray Stata* Virginia Wellington Cabot Foundation FIORITURA ($66,666 - $99,999) Timothy and Rebecca Blodgett† Wayne Davis and Ann Merrifield* Miguel and Suki de Bragança*† Alan and Lisa Dynner*§ Pamela S. Kunkemueller*§ Miss Wallace Minot Leonard Foundation Wendy Shattuck and Sam Plimpton* VIVACE ($33,333 - $66,665) Anonymous (2) Ms. Ann Beha and Mr. Robert A. Radloff Katie and Paul Buttenwieser Cabot Family Charitable Trust Estate of Fay M. Chandler‡ Gerard and Sherryl Cohen Mr. John Conklin Alicia Cooney*§ Robert and Susan Eastman*†§ Susan W. Jacobs*† Maria Krokidas and Bruce Bullen* Massachusetts Cultural Council National Endowment for the Arts Mr. and Mrs. Neil Pappalardo* Mr. and Mrs. Michael Puzo*† Lynn Dale and Frank Wisneski* PRESTO ($25,000 - $33,332) Anonymous Nonnie and Rick Burnes*§ Ted Cutler ‡ Karen Johansen and Gardner Hendrie Mr. and Mrs. Amos B. Hostetter, Jr. Massachusetts Cultural Facilities Fund Janet and Irv Plotkin*† Susan and Dennis Shapiro*

The Orfeo Society and Friends of BLO make up BLO’s core community of supporters. Members share a passion for opera and receive exclusive access to a range of benefits that enriches the operatic experience. BLO gratefully acknowledges their generous support. This list includes gifts and pledges made to the Annual Fund, restricted funds, and event sponsorships through March 21, 2017. For more information or to become a member of the Orfeo Society or Friends of BLO, please call Sarah Blume at 617.542.4912 x2280. CON BRIO ($15,000 TO $24,999) Dr. and Mrs. Eric and Elaine Bucher† Mr. and Mrs. Timothy and Jessica Donohue* Fidelity Charitable Gift Fund Catherine and Frederick Grein§ Mimi Hewlett*§ Ellen and Robert Kaplan*†§ Ms. Amelia Katzen*† Dr. Joseph and Mrs. Anita Loscalzo*† MEDITECH Anne M. Morgan Esther Nelson and Bernd Ulken John and Susanne Potts* Allison K. Ryder and David B. Jones* Gregory E. Moore and Wynne W. Szeto* Lady Juliet and Dr. Christopher Tadgell* Sandra A. Urie and Frank F. Herron Dr. Robert Walsh and Lydia Kenton Walsh* Ms. Tania Zouikin*§ ALLEGRO ($10,000 - $14,999) Anonymous (2) Sam and Nancy Altschuler Mr. and Mrs. Thomas Blumenthal Boston Private BPS Arts Expansion Fund at EdVestors Mrs. Edmund Cabot Ms. Ellen Cabot*† Arthur D. Clarke and Susan Sloan, in honor of Barbara Glauber Frank Reed & Margaret Jane Peters Memorial Fund I, Bank of America, N.A., Trustee Harold Alfond Foundation, in honor of Steve Akin William A. Hunter Mr. and Mrs. Edward C. Johnson

Ms. Louise Johnson* Stephen and Lois Kunian*† Butler and Lois Lampson Joe and Pam LoDato*†§ Rusty Rolland & The Schick Fund* David Shukis and Susan Blair* Larry and Beverly St. Clair*† State Street Corporation Susan A. Babson Opera Fund for Emerging Artists John H. Deknatel and Carol M. Taylor Mr. Richard Trant* ADAGIO ($5,000 - $9,999) Anonymous (4) Ann and Gordon Getty Foundation Sarah E. Ashby* Edward Bell* Mr. and Mrs. Hugh Bennett*† Dorothy and Hale Bradt Mr. and Mrs. Lewis Cabot Judge and Mrs. Levin H. Campbell Corning Incorporated Foundation Dr. Amos Deinard*† Dr. Nicholas J. DiMauro* Ms. Catherine Dunn*† William C. and Joyce K. Fletcher Mr. and Mrs. Tim and Lise Fulham Mr. Tim Garrison Mr. Joseph Glenmullen* Nick and Marjorie Greville Lila Gross‡ Ron and Kathy Groves Mr. and Mrs. Don and Pat Hillman Emily C. Hood Amy Hunter and Steven Maguire*†§ Karen Levy Andrew Sherman and Russ Lopez*†§ Ms. M. Lynne Markus*§ Jillian C McGrath* Ms. Karen McShane Ms. Faith Moore Shari and Christopher Noe Mr. and Mrs. John O’Brien Mr. and Mrs. Richard Olney III Barbara Goodwin Papesch* Dr. Kurt D. Gress and Mr. Samuel Y. Parkinson*† Suzanne and Peter Read§ Mr. and Mrs. John Remondi Rona and Arthur Rosenbaum Mr. Carl Rosenberg* Santander Rumena and Alex Senchak * State Street Foundation Lise and Myles Striar Takeda Employee Giving Program Mr. and Mrs. Frank Tempesta*† Peter Wender*§ Drs. Bertram and Laima Zarins*

GRAZIOSO ($3,000 TO $4,999) Anonymous (2) Anchor Capital Advisors Mr. Martin S. Berman, in memory of Lila Gross Carolyn Bitetti and T. Christopher Donnelly Ronald and Ellen Brown Nancy and Laury Coolidge Mr. Eijmberts and Mr. Tinga Ms. Winifred F. Ewing Mr. and Mrs. Ron Feinstein Kathryn G. Freed§, in memory of Dean and Patti Freed Mr. and Mrs. Dozier Gardner Dr. Alfred Goldberg and Dr. Joan Goldberg Mark Kritzman and Elizabeth Gorman Graham and Ann Gund Mr. Joseph Hammer Mrs. Charles Hood Dr. Maydee G. Lande, in memory of her father Mr. and Mrs. Gerard Moufflet OPERA America

IN MEMORIAM

BLO wishes to honor the memories of patrons whom we have lost in the past year. From long-time subscribers and generous supporters to patrons who gave of their time and skills through Board service, all were vital and important members of our opera community and BLO family. They will be missed. Dr. Peggy Bell Dr. John Constable Mr. Ted Cutler Mr. Douglass Davidson Mr. Robert B. Fraser Mr. Roy Hammer Fr. Raymond Helmick, S.J. Mr. Thomas Henderson Mr. Charles Hood Caroline Hoppin Mr. Stephen Luyben Ms. Katherine R. Peebles Mr. Samuel M. Robbins Mr. Wat Tyler

Ms. Laura Gassner Otting D. Cosmo and Jane P. Papa* Mr. Winfield Perry, in memory of Shirley and Kenneth Perry Stephen and Geraldine Ricci Dr. Jordan S. Ruboy Charitable Fund‡§ Mr. Max Russell Dr. and Mrs. R. Michael Scott Mr. and Mrs. Jeremiah Shafir Tee Taggart and Jack Turner Jeannie Ackerman Curhan and Joseph C. Williams† BRAVISSIMO ($2,000 - $2,999) Alliance Bernstein Matching Gift Program Beard Family Charitable Trust John and Molly Beard Bessie Pappas Charitable Foundation, Inc. Boston Cultural Council Mr. and Mrs. John Cabot David J. Chavolla, in honor of Pamela Kunkemueller John F. Cogan, Jr. and Mary L. Cornille Mr. and Mrs. Linzee Coolidge Janice Mancini Del Sesto§, in honor of Jane and Steven Akin and in memory of David Arnold Nathaniel and Nancy Gardiner Jamie and Ashley Harmon Arthur and Eloise Hodges Eva R. Karger§ Mr. and Mrs. William T. Kennedy Mr. Stephen Kidder Mr. Edward J. Leary Eli Lilly and Company Foundation, Inc. Dr. Harold Michlewitz Mary and Sherif Nada†§ Dr. and Mrs. John William Poduska, Sr. William and Lia Poorvu Dr. and Mrs. Edward Roberts Mr. Rod Rohda Donald and Abby Rosenfeld Mr. Jan Steenbrugge and Ms. Young-Shin Choi UBS Financial Services, Inc. Mr. and Mrs. Jonathan Winthrop Mr. Michael Wyzga and Ms. Judy Ozbun ENCORE ($1,000 - $1,999) Anonymous (2) Mr. Mark Alcaide Mr. and Mrs. David Bakalar Michael Barza and Judith Robinson Charles and Christina Bascom Drs. Susan E. Bennett and Gerald B. Pier Leonard and Jane Bernstein Dr. Rudolph and Prof. Suzanne Blier Mr. and Mrs. Kenyon C. Bolton III Mr. John Bradley Veronika and Bert Breer John and Irene Briedis Ms. Susan Bromley Mr. and Mrs. Philip Cantillon Harold Carroll Marjorie B. and Martin Cohn Mr. and Mrs. William Crozier Jr. Gene and Lloyd Dahmen Ms. Jennifer Eckert Mr. Frazor Ty Edmondson Andrew L. Eisenberg*

Mr. David Firestone Mr. Thatcher Lane Gearhart Dr. David Golan and Dr. Laura Green Mr. Bruce Gurall Mr. Ted and the Rev. Canon Cynthia P. Hubbard Holly and Bruce Johnstone Milling Kinard Yuriko Kuwabara and Sunny Dzik Drs. Lynne and Sidney Levitsky Ms. Kristine Maultsby and Mr. Keith Long Mr. Andrew Marconi Mr. Stephen Mormoris and Mr. Robert L. Cornell Ms. Barbara Murray The Honorable and Mrs. Lawrence Perera, in honor of Michael Puzo Mr. and Mrs. Richard S. Perkins, Jr. Finley and Patricia Perry Mr. and Mrs. Patrick and Ute Prevost Melinda and James Rabb Clay and Emily Rives Ms. Diana Rowan Rockefeller Edward H. Tate II Ms. Melissa Tully Mr. Scott Utzinger Mr. and Mrs. Hans Ziegler ENSEMBLE ($500 - $999) Anonymous (2) Mr. and Mrs. Dana Bartholomew Dr. and Mrs. Martin Becker Mr. and Mrs. Douglas Benjamin Mr. Daniel Berkenblit Mr. Clark Bernard Luis and Anita Berrizbeitia MK Bertelli Dr. Paul Bleicher and Dr. Julia Greenstein Mr. Peter Blume, in honor of Sarah Blume Ms. Kathleen Boyce Pam and Lee Bromberg Mr. and Mrs. Andrew Brunnock Thomas Burger and Andree Robert Susan Cavalieri, in memory of Eurydice Cavalieri Howard Chadwick Ms. Mary Chamberlain Ms. Mei Po Cheung Rachel and Thomas Claflin Mr. and Mrs. John Conley Mr. Eugene Cox Mr. Terry O. Decima Mr. James DeVeer Mr. Lawrence M. Devito Soren and Carlyn Marcus Ekstrom Marie-Pierre and Michael Ellmann Mr. and Mrs. John B. Fox, Jr. Mr. Edward N. Gadsby GE Foundation Ms. Martha Gentry Ms. Elizabeth Goodfellow Charles and Merrill Gottesman Ms. Sandra Steele and Mr. Paul Greenfield Mr. Stephen Grubaugh and Ms. Carol McGeehan Anne and Neil Harper Ms. Kathryn Heifetz Dr. Susan Hockfield and Dr. Thomas Byrne Mr. and Mrs. Morton Hoffman Ms. Stephanie Hood

E.R. Horowitz Ms. Maisie Houghton Doris and Howard Hunter Elizabeth V. Foote and Howell E. Jackson Ms. Elizabeth Kastner Jonathan and Deborah A. Kay Dr. David Korn and Carol Scheman Pam Lassiter William B. Lawrence III Mr. and Mrs. Eric Lerner Mr. Anthony S. Lucas Mr. and Mrs. Brian Lyson Tod Machover & June Kinoshita Ms. Kathleen Malley Judith K. Marquis and Keith F. Nelson Dr. Nicholas and Mrs. Charlotte Mastroianni Mr. Domenico Mastrototaro§ Margaret McDormand, in memory of Anna Elizabeth McDormand Kate Meany Ms. Jo Frances Meyer, in honor of Linda Cabot Black Dr. and Mrs. Douglas Moore Ms. Sandra Moose Toni and Jeff Musser Melissa and David Norton Paul and Elaine O’Connell Phil and Marge Odeen Mr. and Mrs. John O’Donnell Mr. and Mrs. Martin O’Donnell, in honor of Wynne Szeto & Gregory Moore Mr. Richard Ortner Jack Osgood§ Robert and Carolyn Osteen Mr. Lee Pelton Thomas Peters and Susan Sargent Eric and Jane Philippi Jim and Jeannette Post Ms. Florence Poy Robert and Elizabeth Pozen Ms. Patricia Pratt Mr. and Mrs. E. Ricardo Quiñones Mrs. Adrienne Rabkin Peter and Sheila Rawson Sally Reid and John Sigel Mr. Allan Rodgers Mr. Lewis Sassoon John and Ruth Schey Mr. Robert and Ms. Natalie Schlundt Drs. John and Elizabeth Serrage Sayre Sheldon Diane Young-Spitzer and Adelbert Spitzer Mr. Bruce Stasyna Mrs. William Sweet Mr. Andrew Szentgyorgyi Ernst and Toinette ter Haar Mr. Wheeler Thackston Diane C. Tillotson Michael Tomich Mrs. David Vogler Mr. and Mrs. Walter H. Weld Ms. Mary Wolfson Mr. David Wood Ms. Patricia Woodlock Mr. and Mrs. Robert Wulff Dr. Ioannis Yannas Albert and Judith Zabin Maestro Ben Zander

ARIA ($250 - $499) Anonymous (4) Alice Adler and Edward Ginsberg Mr. William Aikman Mr. Richard C. Albright Susan Alexander and Jim Gammill, in honor of Susan Howe Mr. Peter Ambler and Ms. Lindsay Miller Donald A. Antonioli & Robert H. Goepfert Mr. Bernard Aserkoff Ms. Ann Bajart Marc and Carol Bard Elizabeth Barker* Ms. Joy Robbins Beckwith John Belchers Ms. Andrea Benoit and Mr. Michael Parsons Ms. Deborah Davis Berman Mr. Peter A. Biagetti Ms. Petrina Biondo Mr. Morris Birnbaum Ms. Elizabeth Bjorkman Ms. Holly Bodman Ms. Christine Bradt Ms. Judy Cabot Mr. Claude Canizares Dr. Brian J. Clifton Cary Coen, in honor of Gerry and Sherri Cohen Ms. Elizabeth Coleman Paul Cravedi James F. Crowley, Jr. Mr. Paul Curtis Mrs. Elinor Davidson Ms. Francoise Delaforcade Ms. Margaret DePopolo Dr. Charles Dickinson and Ms. JoAnne Dickinson Mr. Mark Donohoe Mr. John Douhan Willis and Zach Durant-Emmons Bill and Susan Elsbree Mr. Martin Elvis Andrew and Karen Epstein Louis Esposito Mr. and Mrs. Glenn L. Fencer Katherine and Richard Floyd Mr. Valéry Freland Robert and Kathleen Garner Mrs. Laurena Gatlin Mr. Clayton Geiger Paul Golden Ruth Golden Dr. Philip L. Goldsmith and Melissa Boshco Laurie Gould and Stephen Ansolabehere Ms. Joan P. Gulovsen Mr. Kurt Hakansson Sylvia Hammer Mr. C.D. Hanson Mr. and Mrs. James J. Harper George and Daphne Hatsopoulos Ms. Jasjit Heckathorn Richard Hermon-Taylor and Southie Bundy Mr. and Mrs. Thomas High Mr. Roger Hinman Pauline Ho Bynum Mr. C Anthony Broh and Ms. Jennifer Hochschild

BOSTON LYRIC OPERA THE MARRIAGE OF FIGARO 2017 | 21

Fred and Caroline Hoppin‡ Mr. Thomas Hotaling Mr. Cliff Hurley Mr. Michael Jacoff and Ms. Jeanne Vanecko Mr. Sam Jones James and Ellen Kaplan Mr. and Mrs. Jeffrey Katz Mr. Stanley Keller Mr. Richard Kimball Jonathan and Deborah Kolb Peter Koso Ms. Susan Lamb Peter Laytin and Paula Callanan Mr. Mark Lippolt Mr. and Mrs. Stuart E. Madnick Peter and Betsy Madsen Mr. Joseph Mari Mr. Tony Martin Mr. Holt Massey and Ms. Sandra Ourusoff Ms. Carole Masters Ms. Nina Masters Mr. James M. McCloy Mr. and Mrs. Kilmer McCully

Ms. Carol McKeen and Mr. John Dunton Mr. and Mrs. Robert McKersie Ms. Virginia Meany Ms. Amy Merrill Ms. Karen Metcalf Mr. Scott Minick Mrs. Judith Mir Ms. Gwendalyn Moore Mr. and Mrs. Philip and Patricia Morehead Ms. Anne Morris Sean and Stacy Mullaney Mr. Kameel Nasr Ms. Rose Ng Ms. D’Anne Nosowitz Mr. and Mrs. Geoffrey Nunes Suzanne Ogden and Peter Rogers Mr. William Pananos Mr. and Mrs. David Parker Mr. and Mrs. Jim and Sue Pate Ms. Anita Patterson Mr. and Mrs. Roy and Jean Perkinson Peterson Family Fund at the Boston Foundation Pfizer Foundation Matching Gift Program

Mr. and Mrs. Jonathan and Lois Pond Mr. Allan Ponn Mr. and Mrs. Frank Porcelli Mr. Gerald Powers Qualcomm Matching Grant Program Mr. Jack Reynolds Barbara Robinson Donald and Nancy Rosenfield Simon Rosenthal and Nouri Newman Nicholas G. Russell Mr. Paul Ryan Mr. Michael Schaefer Mr. Javier Segovia and Rosario Sanchez-Gomez Stephen and Peg Senturia Varda and Dr. Israel Shaked Mr. Jeffrey Shapiro Mr. Harold Stahler Mr. Ronald Stoia Caroline and Alan Strout Ms. Joan Suit Mr. Michael Szeto Marcos and Faith Szydlo John and Mary Tarvin

Mr. Thaemert and Mr. Gokey Ms. Sonia Turek Mr. Konstantin Tyurin and Ms. Kirstin Ilse Ms. Martha Ulken Leo Waldemar Linda and Harvey Weiner Mr. and Mrs. Jerome Weinstein Ms. Denise Wernikoff Mr. Throop Wilder and Ms. Deborah Weisgall Mr. Stephen Wohler Larry and Pamela Wolf Mr. Chris Yabut Ms. Isabel C. Yoder Joan and Michael Yogg Ms. Linda Zaitlin Mr. and Mrs. Andy Zelleke

INSTITUTIONAL PARTNERS Opera Annex receives generous support from the National Endowment for the Arts.

Boston Lyric Opera’s programs are funded, in part, by a grant from the Massachusetts Cultural Council, a state agency.

Board Member * Lyric Circle Member † Goldovsky Society Member § Deceased ‡

GOLDOVSKY SOCIETY

JOHN HANCOCK HALL FIRE EXIT PLANS

By remembering Boston Lyric Opera with a bequest or other planned gift, members of the Goldovsky Society create living legacies that will influence and support the Company and its artists for generations to come. The name of the Society was inspired by Boris Goldovsky, a visionary teacher, stage director, conductor, and impresario with national and Boston ties to opera. His pioneering work profoundly influenced generations of artists and shaped the performance and popularity of opera in America. To ensure that your support continues to benefit Boston Lyric Opera for generations to come, please contact Sarah Blume at 617.542.4912 x2280. GOLDOVSKY SOCIETY MEMBERS Anonymous (2) Ms. Diana Abrashkin Dorothy and David Arnold‡ Linda Cabot Black* Mr. Roger Brightbill Nonnie and Rick Burnes* Mr. David Cole-Rous and Ms. Norma Greenberg Alicia Cooney* Tim Daughters Tamara P. and Charles H. Davis II Janice Mancini Del Sesto Mr. Dan Duro Alan and Lisa Dynner* Margaret Eagle and Eli Rapaport Robert and Susan Eastman* Ms. Anne Ewers Catherine and Frederick Grein Gillian Stuart Hamer Mimi Hewlett* Amy Hunter and Steven Maguire* Horace H. Irvine II* Ellen and Robert Kaplan* Eva R. Karger Ms. Mary Kiley Pamela S. Kunkemueller* Mr. David Latham Joe and Pam LoDato* 22 | BOSTON LYRIC OPERA THE MARRIAGE OF FIGARO 2017

Andrew Sherman and Russ Lopez* Mr. Stephen Lord Ms. M. Lynne Markus* Christopher Marrion Ms. Abigail Mason* Mr. Domenico Mastrototaro Richard S. Milstein, Esq. Mary and Sherif Nada Ms. Katharine Nash Jack Osgood Sandy and Herb Pollack Suzanne and Peter Read Dr. Freda Rebelsky Dr. Jordan S. Ruboy Charitable Fund Stephen and Iris Taymore Schnitzer David and Marie Louise Scudder* Mrs. Lois Silverman Kate Freed Simpson, in memory of Dean and Patti Freed Mr. Michael Tronic Peter Wender* Mrs. Marillyn Zacharis Ms. Tania Zouikin*

For your own safety, please take a moment to view the exits. BOSTON LYRIC OPERA THE MARRIAGE OF FIGARO 2017 | 23

BOSTON IS AN OPERA TOWN

ABOUT THE BOSTON OPERA ALLIANCE The Boston Opera Alliance (BOA) is a consortium of Boston-based opera companies and producers that have come together to enhance and support visibility of opera in the Greater Boston area. BOA is not a producing organization; rather, we are a community-driven group, collectively interested in increasing awareness of the wide variety of opera events happening in the city. PARTICIPATING ORGANIZATIONS

Whether youâ&#x20AC;&#x2122;re an opera lover or an opera novice, we invite you to explore and experience the work of this unique and vibrant art form taking place in our city.

Boston Baroque

bostonoperacalendar.org

Boston Midsummer Opera

Boston Conservatory at Berklee Boston Early Music Festival

Handel and Haydn Society Longy School of Music of Bard College MetroWest Opera

Boston Landmarks Orchestra

NEMPAC Opera Project

Boston Lyric Opera

New England Conservatory of Music

Boston Opera Collaborative Guerilla Opera

Odyssey Opera Opera on Tap OperaHub

CHECK OUT THE OPERA COMING TO BOSTON IN THE 2017/18 SEASON!

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OPERA IS FOR EVERYONE. MAKE IT ACCESSIBLE. KEEP IT SUSTAINABLE.

GIVE TODAY AT BLO.ORG/GIVE