THE BARBER OF SEVILLE Program Book | October 2018 by Boston Lyric Opera

OCT 12â&#x20AC;&#x201C;21

EMERSON CUTLER MAJESTIC THEATRE

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

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Clockwise from left: Students from Jackson/Mann K-8 School in Allston perform their classroom opera based on the children’s book Nasreen’s Secret School, Liza Voll Photography; Artists perform in BLO’s collaborative concert series with Castle of our Skins, Todd McNeel Photography; James Myers delivers a pre-performance talk before Tosca, Liza Voll Photography.

WELCOME

In Europe, between the premieres of the play and the opera, the French Revolution had brutally swept away the old and ushered in a new, but no less complicated, order. Through Beaumarchais’ plays, especially in Le Barbier and the subsequent Le Mariage de Figaro, the revolutionary ideas found a public voice. Figaro, the barber, here interpreted by baritone Matthew Worth (last at BLO for Così Fan Tutte), represents the rising middle class, often able to outwit his aristocratic masters, while the opera’s lead female character, the rebellious young Rosina, here sung by Daniela Mack, making her BLO debut opposite returning tenor Jesus Garcia as Count Almaviva, outwits her legal guardian, who almost succeeds in keeping her caged in order to access her inheritance. Today, we would consider her an abused child. Together, Rosina and Figaro manage to find creative and often comical solutions to the challenges they face. Turning to November’s World Premiere of Schoenberg in Hollywood, Arnold Schoenberg was also a dissenter, in his defiance against the Nazi regime and as an artist who challenged the limits of the musical order. Tod Machover is a visionary composer who equally pushes new boundaries of music and technology. Together with librettist Simon Robson, Tod Machover has taken on the famed composer, who escaped Hitler’s Germany only to land in 1930s Tinseltown. (You may not know that Schoenberg first lived for a brief period right here, at Coolidge Corner!) Hollywood was a tempting world of sunshine, celebrity glitter, and movie-making, but not a natural habitat for an uncompromising composer like Schoenberg, whose world had utterly collapsed. In the end, it is an opera that radiates hope! We are proud of our Emerging Artist alumna Sara Womble and our Principal Artist-in-Residence, Jesse Darden, who rise to the challenge of interpreting their multiple roles opposite baritone Omar Ebrahim, who portrays Schoenberg. Sadly, this summer, we lost the opera’s initial stage director and one of the creative minds behind the scenario, Braham Murray. We are grateful to Karole Armitage who, on short notice, has taken over as the opera’s new stage director.

PHOTOGRA PHY

This Season we feature dissenters and rebels, opening with our brand-new production of The Barber of Seville, where we find a number of rebels. While it is a sparkling comedy, it is not only sweetness and light, as our stage director Rosetta Cucchi is quick to point out. French polymath and playwright, Pierre Beaumarchais, premiered his play Le Barbier de Séville as part of his Figaro trilogy in Paris in 1775, amidst a swelling of revolutionary fervor (notably about the same time as America’s Declaration of Independence); Rossini premiered his Il Barbiere di Siviglia in Rome in 1816 (the same year James Monroe was elected America’s fifth President).

LIZA VOLL

My earliest exposure to opera was at the age of three, with an abbreviated version The Magic Flute. My mother, unable to secure a babysitter, risked taking me along with my older cousins to see a matinee performance. She had prepared me by playing the musical themes on the piano over and over. I think there was also an ample supply of chocolate cookies in her bag to reward me for sticking with it during the performance… According to her, I was mesmerized, enough so as to subsequently request more opera visits. That continued sense of wonder—and my love for chocolate cookies—has now kept me working in opera for over 40 years. And I am still excited to be involved in the classics, like The Barber of Seville, as well as producing the works of contemporary composers, like Tod Machover’s Schoenberg in Hollywood and Poul Ruders’ The Handmaid’s Tale.

PROGRAM CONTENTS

Welcome 1

BLO Education 2

Board of Directors 3

The Barber of Seville Cast & Synopsis 4

Note from the Director 6

Meet the Artists 7

Opera Buffa and The Barber of Seville 10

Emerging Artists and Principal Artist-in-Residence 12

BLO Orchestra, Chorus, Production/Artistic Staff 14

Acknowledgments 15

BLO Staff/Volunteers/About 16

Become a Donor 17

Donors 18 Information on Venue 21 PRIMA 22

November Calendar 25

As always, I look forward to seeing you at our operas this fall. Above: Kelly Kaduce as Polly Peachum in The Threepenny Opera.

Esther Nelson | Stanford Calderwood General & Artistic Director

COVER: LIZA VOLL PHOTOGRAPHY

BLO EDUCATION SUMMER RECAP JUNE

We wrapped up the school year with our Create Your Own Opera Partnership schools and celebrated with their final performances! BLO’s 2017/18 year of School Partnerships included… • 10 schools, 644 students • 15 original operas created and performed • Over 1,350 community members cheering in the audiences • More than 135 teaching hours in classrooms by BLO Teaching Artists

JULY & AUGUST

BLO partnered for the first time with the Boys & Girls Club of Boston’s Mattapan Teen Center, sending a teaching artist to lead a group of 30 youth in the creation of their own opera during the Center’s summer session. The youth created an original story as well as original music. Eleven teachers participated in Opera Creation Boot Camp: A Professional Development Intensive where they learned and practiced how to lead youth through the process of creating their own opera. At the same time, BLO offered a week-long full-day Opera Camp for seven youth in partnership with VOICES Boston children’s chorus. Teacher-participants in the Intensive took turns leading these youth, culminating in an original opera inspired by the picture-book The Mysteries of Harris Burdick by Chris Van Allsburg.

LIZA VOLL PHOTOGRAPHY

WANT TO BRING BLO’S EDUCATION PROGRAMS TO YOUR SCHOOL OR COMMUNITY? CONTACT US AT EDUCATION@BLO.ORG! Top, from left: Students and educator participants learn about set construction, rehearse their original work, and brainstorm ideas at BLO’s Opera Creation Boot Camp in August. Bottom: Students at Joseph Lee K-8 School in Dorchester perform their original classroom opera based on the story of Little Red Riding Hood.

2 | BOSTON LYRIC OPERA FALL 2018 | THE BARBER OF SEVILLE

A MESSAGE FROM THE BOARD CHAIR On behalf of the BLO Directors and Overseers, welcome to our Company’s 2018/19 Season. We are grateful to you for being part of the BLO family and allowing this beautiful art form to flourish in Boston. Making great art—whether literature, music, dance, painting, or opera—relies upon the creative process and artistic freedom, of thinking and re-imagining, of questioning and provoking thought. Often, it calls into question otherwise accepted norms of the day and encourages the reader, the audience member, the listener, to think anew, to re-examine. It is easy enough to create a work that simply seeks to shock, to upset social norms, or to push boundaries with no apparent purpose. It is far harder to create a work that subtly, yet powerfully, calls us to think, to reflect, and to challenge ourselves. Each of this Season’s offerings will, in its own way, require that reflection of us. About what it is to be free. To be authentically human. About how to love another in a respectful and selfless way. Whether it be The Barber of Seville, where we see Rosina yearning for freedom and contending with a man who, against her will, wishes to possess her as his own, or the creative genius of Schoenberg in Hollywood, as well as challenging themes of The Rape of Lucretia and The Handmaid’s Tale, this year will ask us to think anew about a host of issues. It’s a bold Season and should prove a brilliant one. On the business side of your Company, I am delighted to report that, for the eighth straight year, Boston Lyric Opera ended its 2017/18 fiscal year in the black. In the opera world, artistic excellence and artistic freedom must stand on a foundation of sound management, strong earned revenue, and extraordinary philanthropic support; we again showed the benefit of having all three. Our financial success is due in large part to our artistic success—at least one performance of every production last year sold out, from a sublime Tosca to a breathtaking Trouble in Tahiti. We proved again last Season that, whether in a traditional theater or an ingeniously reimagined location, BLO delivers artistic magic that resonates, proving that Boston is, indeed, an opera town. This fall, we are in two traditional theater spaces, and we are so very happy to collaborate again with the team at Emerson College. Emerson has been a steadfast supporter of BLO in its transition, and we appreciate it. As with Emerson and BLO’s many other partners, your support gives BLO the freedom to create and experiment, to tell stories familiar and new, to present singers and musicians at the top of their craft (and those on the journey up), and to share the wonder of opera with new audiences. As always, we welcome your presence and thank you for supporting BLO. You give us the freedom and the opportunity to be our best.

Michael J. Puzo Chair, Board of Directors

BOARD CHAIR Michael J. Puzo VICE-CHAIR & TREASURER Wayne Davis CLERK Susan W. Jacobs STANFORD CALDERWOOD GENERAL & ARTISTIC DIRECTOR Esther Nelson, Ex Officio Linda Cabot Black Willa Bodman Miguel de Bragança Alicia Cooney Alan Dynner

Robert Eastman Andrew Eisenberg Thomas D. Gill, Jr. Mimi Hewlett Amelia Welt Katzen Maria J. Krokidas Jeffrey E. Marshall Abigail B. Mason Anne M. Morgan A. Neil Pappalardo E. Lee Perry Dr. Irving H. Plotkin William Pounds David W. Scudder Susan R. Shapiro Ray Stata Christopher Tadgell Lady Juliet Tadgell

BOARD OF OVERSEERS CO-CHAIRS L. Joseph LoDato Samuel Y. Parkinson Lawrence St. Clair James Ackerman Sarah Ashby Kimberly Balfour Elizabeth Barker Edward Bell Richard M. Burnes, Jr. Ellie Cabot Carol Deane Amos Deinard JoAnne Walton Dickinson Nicholas DiMauro Jessica Donohue Catherine Dunn David Hoffman

Amy Hunter Louise Johnson Ellen Kaplan Stephen T. Kunian Pam Kunkemueller Louis Lévy Russell Lopez Anita Loscalzo M. Lynne Markus Jillian McGrath Jane Pisciottoli Papa Susanne Potts Carl Rosenberg Carol Rubin Allison Ryder Alex Senchak Wendy Shattuck Wynne Szeto Frank Tempesta Richard Trant

Amy Tsurumi Lydia Kenton Walsh Robert Walsh Peter J. Wender Tania Zouikin EMERITI Steven P. Akin J.P. Barger Sherif A. Nada

As of September 15, 2018

BOSTON LYRIC OPERA FALL 2018 | THE BARBER OF SEVILLE | 3

ROSSINI

MUSIC DIRECTOR DAVID ANGUS

2018/19 Season Sponsor, Linda Cabot Black

THE BARBER OF SEVILLE Music by Gioacchino Rossini Libretto by Cesare Sterbini Sung in Italian with English surtitles A New BLO Production

PERFORMANCES: FRIDAY, OCTOBER 12 | 7:30PM SUNDAY, OCTOBER 14 | 3:00PM WEDNESDAY, OCTOBER 17 | 7:30PM

CONDUCTOR

STAGE DIRECTOR

DAVID ANGUS

Sponsored by Katie & Paul Buttenwieser

SYNOPSIS Count Almaviva is smitten with Rosina, the beautiful ward of old Dr. Bartolo, who intends to marry her. Figaro, barber extraordinaire, offers to help Almaviva win her heart. The Count tells Rosina that he is “Lindoro,” a humble student. Figaro suggests that Almaviva disguise himself as a soldier in order to gain access to Dr. Bartolo’s house. The enamored Rosina writes a letter to “Lindoro” and vows to be with the man she loves. Basilio, her music teacher, warns Dr. Bartolo about the Count, and Bartolo decides to speed up his own marriage to Rosina. Almaviva arrives disguised as a drunken soldier but is refused entry—although he manages to slip Rosina a love note. Almaviva narrowly avoids arrest in the resulting confusion. Later that day, Almaviva disguises himself as “Don Alonso,” a substitute music teacher, and the lovers plot their elopement during Rosina’s singing lesson. Figaro distracts Bartolo with a shave, but finally Bartolo gets suspicious and throws everyone out. Now, Bartolo is determined to marry Rosina that very night. He convinces Rosina that Lindoro is plotting with the Count to seduce her. Heartbroken, she agrees to marry Bartolo. That night, Figaro and Almaviva steal into Rosina’s room. She accuses them of betrayal, but finally Almaviva reveals his true identity. Bartolo and a group of soldiers aren’t far behind— can Figaro’s quick wits win the day for love?

BOSTON LYRIC OPERA FALL 2018 | THE BARBER OF SEVILLE | 5

“ ...IF YOU FOLLOW YOUR HEART’S TRUE DESIRE, YOU CAN BURST THROUGH ANY OBSTACLE.” A NOTE FROM STAGE DIRECTOR ROSETTA CUCCHI For me, The Barber of Seville is personal. I was born in Rossini’s hometown of Pesaro, Italy, located along the coast of the Adriatic Sea. At the age of 22, right out of conservatory, I began working as a pianist at the Rossini Opera Festival, the world’s most important festival of his music. I have played The Barber of Seville thousands of times as a pianist and directed it once before, as well as directed the Paisiello version, which was considered the finest operatic setting of the Beaumarchais story until Rossini’s came along. He is not simply my favorite composer (though he is that, too); much of my own artistic life is linked with Rossini. Quite simply, Rossini is in my blood. Rossini was the king of opera buffa, a comic genius; and yet he was also a man who, at the height of his career when he was still a young man, left it behind and did not write a single note of opera for more than 30 years. He had a quality of what in Italian we call inquietudine—a restlessness, disquietude, or anxiety. This mixture, too, appeals to me; his music contains both joy and sadness, not only passion and zest for life but also melancholy. In this way, Rossini always feels contemporary—he speaks to the core of our human experience. With this new production, the creative team and I have set out to explore the contradictions and combinations at the heart of this work. This is my fifth partnership with Maestro David Angus, our third at BLO. These collaborations are always a dream for both of us because we understand one another’s artistic language—David is always aware of what is happening onstage to tell the story, and as a musician, I am sensitive to the importance of the score. 6 | BOSTON LYRIC OPERA FALL 2018 | THE BARBER OF SEVILLE

The Barber of Seville set rendering by designer Julia Noulin-Mérat.

The music of The Barber of Seville is very precise; Rossini knew exactly how to structure and create the architecture of this opera to achieve the effect he wanted. And yet, he combined that order with the joyful, mad chaos of life in a way that is truly beautiful. We have crescendi, changes in tempi, and vocal fioritura and embellishments that thrill us and communicate a passion for life that is irresistible. These tensions between chaos and order, between fantasy and structure, also helped inspire the visual world of our production. As the great artist M.C. Escher said, “We adore chaos because we love to produce order.” Escher’s works have been pivotal in our conception of this opera, especially the famous Relativity, a vision of an impossible yet appealing world of stairs and endless possibilities. Our Barber set is thus a metaphysical world of stairs and two towers, with key objects to help indicate various locations. This non-literal approach to the set combines and juxtaposes with our lavish, period costumes—historically influenced, but again with touches of fantasy, play and character, including prints and colors influenced by Escher’s tessellated patterns as well as imaginative and exaggerated silhouettes. Perhaps above all, for me, The Barber of Seville dramatizes a struggle between two fundamentally different approaches to life. On one side, we have the Bartolos of the world, obsessed with money, power, and protecting the status quo; and on the other, we have those who are full of hope and are willing to risk everything and to fight for their dreams. These are the Figaros, the Rosinas, the Almavivas. There are differences in class among them, and yet they come together in order to find the happy ending of the story. The Barber of Seville is the revolution. To me, the opera shows us that if you follow your heart’s true desire, you can burst through any obstacle in your path. In the face of locked doors, greedy guardians, disguises and schemes, love finds a way.

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. Maestro Angus now conducts 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 this Season, apart from conducting all productions at BLO, includes further work in the recording studio with the London Philharmonic, and performing with the orchestra of Opera North (UK) where he began his career. ROSETTA CUCCHI | Stage Director Rosetta Cucchi returns to Boston Lyric Opera, having directed BLO’s 2017 production of The Marriage of Figaro and 2015 production of La Bohème. Since 2006, Ms. Cucchi has been Artistic Director of Fondazione Arturo Toscanini in Parma. Recent engagements include Rossini’s Adina (Rossini Opera Festival in Pesaro), Miseria e Nobiltá by Marco Tutino, a new commission by Teatro Carlo Felice Genova, Rodelinda (Bellini Festival della V’Ditria), Cenerentola (Circuito AsLiCo), La Traviata (Teatro Communale di Modena, Opera di Tenerife); 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). JULIA NOULIN-MÉRAT | Set Designer Julia Noulin-Mérat is an international production designer and the founder of Noulin-Mérat Studio, an intrepid NYC production design firm that specializes in theater, film and TV, with an emphasis in opera and immersive, site-specific theatre. In addition to her work as Associate Producer for Boston Lyric Opera, Ms. NoulinMérat is the Director of Design and Production for Guerilla Opera, and resident set designer for the Attic Theater. She has designed over 350 opera, theatre, and television productions, including 16 new operas and 22 new plays. Last Season’s credits include Rigoletto with Minnesota Opera; The Threepenny Opera and Tosca with Boston Lyric

Opera; The Marriage of Figaro with the Music Academy of the West; Falstaff and Tosca with Opera Omaha; and Neverland, an immersive, 13,000-square-feet tour, with China Broadway. Ms. Noulin-Mérat is an adjunct professor at Pace University. GIANLUCA FALASCHI | Costume Designer Costume designer Gianluca Falaschi is active in theatre, opera, ballet, and cinema. Highlights of Mr. Falaschi’s opera career includes Mendelssohn’s A Midsummer Night’s Dream (Teatro Regio of Parma), Donizetti’s Queens trilogy (Carlo Felice di Genova in co-production with Regio di Parma and La Fenice), Pagliacci (San Paolo, Brazil), Lucia di Lammermoor (Teatro Carlo Felice and Royal Opera House Muscat, Oman), and many more. In 2012, he designed the set and costumes for a dance adaptation of The Wizard of Oz with choreography by Francesco Ventriglia; it was later presented by Royal New Zealand Ballet under his supervision. Mr. Falaschi has a long collaboration with the director Davide Livermore, including La Fille du Régiment, Falstaff, Carmen, Tosca, L’Italiana in Algeri, and Ciro in Babilonia, which won Italy’s Franco Abbiati Prize for Best Costumes. Mr. Falaschi has collaborated in Germany with the director Lydia Steier, including Perelà, Uomo di Fumo; The Flying Dutchman, Armida, and Alcina. He recently won the national Italian Prize for Best Costume Design for the play Liolà at the National Theatre of Naples. He teaches costume design at the Italian National Academy of Theatre Silvio d’Amico in Rome. This is his Boston Lyric Opera debut. D.M. WOOD | Lighting Designer D.M. Wood returns to BLO after designing the Company’s 2017 production of The Marriage of Figaro and the 2015 production of La Bohème. Recent designs include the World Premieres of 4.48 Psychosis (Royal Opera House, Lyric Hammersmith) and Mamzer Bastard (Royal Opera House, Hackney Empire); La Bohème (Opera di Firenze); Don Giovanni and The Importance of Being Earnest (Northern Ireland Opera); Star Wars en Concert (Orchestre National de Lyon); L’Heure Espanole | Gianni Schicchi; Candide and the World Premiere of L’Importance d’être Constant (Opéra National de Lorraine); Maria Stuarda (Seattle Opera); Don Giovanni (Bergen Nasjonale Opera), Norma (Gran Teatre del Liceu); Anna Bolena (Lyric Opera of Chicago); Risurrezione, Margherita, Medea, Don Bucefalo, Silent Night and Salomé (Wexford Festival Opera); Euryanthe and Die Liebe der Danae (Bard Summerscape); La Favorite (Oper Graz); 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 UK’s 2012 Knight of Illumination Opera Award. Upcoming designs include The Niceties (Manhattan Theatre Club); James Bond Symphony (Orchestre National de Lyon); L’Elisir d’Amore and Les Enfants Terribles (Opera Omaha); and A Midsummer Night’s Dream (Opéra National de Montpellier). BOSTON LYRIC OPERA FALL 2018 | THE BARBER OF SEVILLE | 7

ARTISTS JASON ALLEN | Wig-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.

VINCENT TURREGANO | FIORELLO Vincent Turregano returns to BLO as a Jane and Steven Akin Emerging Artist alumnus. Recently with BLO, he sang as a Trio member in Trouble in Tahiti and Arias & Barcarolles and performed the role of Sciarrone in Tosca, a co-production with Opera Omaha (where he reprised the role); his Company credits also include Moralès in Carmen, The Merry Widow, and La Bohème. He made his debut with Sarasota Opera this spring covering Lescaut in Manon Lescaut and Dancaïre in Carmen. He spent two summers with Marilyn Horne at The Music Academy of the West where he performed in Carmen as an ensemble member and La Cenerentola as Dandini. Mr. Turregano is an avid recitalist, delivering recent recitals of varying repertoire in Louisiana, Arizona, and Massachusetts. His love of contemporary classical music is a driving force in his performance career. From Ligeti to Stucky, he enjoys the challenge and nerve that it takes to bring convincing and powerful performances of new music to all audiences. JESUS GARCIA | COUNT ALMAVIVA An internationally acclaimed tenor, Jesus Garcia returns to BLO having previously appeared as Rodolfo in the Company’s 2015 production of La Bohème. This summer, he made his role debut as the title role in Gounod’s Faust with the Savonlinna Festival. Recent credits include Nadir in Les Pêcheurs de Perles, Alfredo in La Traviata, Macduff in Macbeth, Fenton in Falstaff, Nemorino in L’Elisir d’Amore, Ferrando in Così Fan Tutte, Lysander in A Midsummer Night’s Dream, and many others for companies such as San Diego Opera, Houston Grand Opera, Dallas Opera, Opera Philadelphia, Omaha Opera, and internationally in Berlin, Hamburg, Marseille, Bordeaux, Prague, Rio de Janeiro, and Hong Kong. Mr. Garcia is a recipient of numerous awards, including a 2003 Tony Award for his work as Rodolfo in the Baz Luhrmann production of La Bohème on Broadway, as well as prizes at Plácido Domingo’s Operalia, the Metropolitan Opera National Council Auditions, and the George London Foundation, Licia Albanese-Puccini Foundation, and Marguerite McCammon Vocal Competitions. 8 | BOSTON LYRIC OPERA FALL 2018 | THE BARBER OF SEVILLE

MATTHEW WORTH | FIGARO Matthew Worth’s performances in 2017/18 included the title role in David T. Little and Royce Vavrek’s JFK with Opéra de Montréal, Bernstein’s Arias & Barcarolles with the New York Festival of Song at Lyric Opera of Kansas City, Laura Kaminsky and Mark Campbell’s As One with Cincinnati Opera, Nono’s Intolleranza with American Symphony Orchestra at Carnegie Hall, recitals at the University of Cincinnati and Austin Peay University, as well as continuing his doctoral studies at the University of Cincinnati College-Conservatory of Music where he performed Bach’s Mass in B Minor. Highlights of recent Seasons include the title role in the World Premiere of JFK with Fort Worth Opera, the World Premiere of The Manchurian Candidate with Minnesota Opera, and Moby Dick at Washington National Opera. He has performed principal roles at Santa Fe Opera, Lyric Opera of Chicago, Castleton Festival, Tanglewood Festival, BLO, and Opera Theatre of Saint Louis, under luminary conductors James Levine, Lorin Maazel, and Sir Andrew Davis. Mr. Worth recently performed the World Premiere of Richard Danielpour’s The Passion of Yeshua (role of Narrator), at Oregon Bach Festival; further performances are scheduled this Season at UCLA and with Buffalo Philharmonic Orchestra. DANIELA MACK | ROSINA Mezzo-soprano Daniela Mack recently created the title role in the World Premiere of Kevin Puts and Mark Campbell’s Elizabeth Cree at Opera Philadelphia and returned later in the Season for Carmen. Other recent performances include a return to Washington National Opera as Bradamante in Alcina, her debut at the Seattle Opera as Berlioz’s Béatrice in Béatrice et Bénédict, and a return to Santa Fe Opera for her first North American performances as Isabella in L’Italiana in Algeri. Ms. Mack made her Royal Opera House-Covent Garden debut as Rosina in Il Barbiere di Siviglia and made her Metropolitan Opera debut in Rusalka as the Kitchen Boy. Additional credits include leading roles with Arizona Opera, Florida Grand Opera, San Francisco Opera, Lyric Opera of Chicago, and English National Opera. She created the role of Jacqueline Kennedy in the World Premiere of David T. Little and Royce Vavrek’s JFK at the Fort Worth Opera and reprised the role at the Montreal Opera. On the concert stage, Ms. Mack has appeared with Orchestra de la Suisse Romande, Boston Symphony Orchestra, Chicago Symphony Orchestra, and Boston Baroque. Ms. Mack was recently a finalist in the BBC Cardiff Singer of the World Competition. This is her Boston Lyric Opera debut.

ARTISTS STEVEN CONDY | DR. BARTOLO This Season, Mr. Condy will return to the Metropolitan Opera for their production of Gianni Schicchi and will perform the role of Bartolo in Il Barbiere di Siviglia with Boston Lyric Opera and Manitoba Opera. Mr. Condy has performed the role of Dr. Bartolo with BLO (in 2012), Houston Grand Opera, San Francisco Opera, Washington National Opera, Toledo Opera, Portland Opera, and Opera Memphis, among many others. The title role in Verdi’s Falsaff is another of Mr. Condy’s signature roles, which he has performed at companies such as Utah Opera, Indianapolis Opera, Chautauqua Opera, Kentucky Opera, Opera San José, and Opera Delaware. Other notable engagements include: Sacristan in Tosca (Houston Grand Opera); Betto in Gianni Schicchi (Los Angeles Opera, followed by his European opera debut in the same production with the Spoleto Festival dei Due Mondi); the title role in Don Pasquale (Opera New Jersey, Utah Opera, Calgary Opera, Opera Naples, and more); Benoit/Alcindoro in La Bohème (Dallas Opera and Opera Philadelphia); Dulcamara in L’Elisir d’Amore (Chautauqua Opera, Washington National Opera, Arizona Opera, Lyric Opera of Guatemala). Mr. Condy has earned awards from The Luciano Pavarotti International Voice competition, The Richard Tucker Music Foundation, the Metropolitan Opera National Council, and many more. MICHELLE TRAINOR | BERTA Michelle Trainor is a BLO Jane and Steven Akin Emerging Artist alumna, where she has sung in The Threepenny Opera, Burke & Hare, The Marriage of Figaro, 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 Der Rosenkavalier with Andris Nelsons. This fall, she performed the role of Benoni in Gounod’s La Reine de Saba with Odyssey Opera; other recent highlights include her Odyssey Opera debut as Ghita in Der Zwerg, Isolde’s Liebestod with the Brookline Symphony Orchestra, and Vaughan Williams’ A Sea Symphony with New World Chorale. Ms. Trainor has recorded MacMillan’s Clemency and Schubert’s Hagar’s Lament on the BIS label with BLO 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. She also sang the role of Jocasta in Stravinsky’s Oedipus Rex with Emmanuel Music, where she will return this Season for Mrs. Peachum in The Beggar’s Opera. She will be featured as the role of Ofglen in BLO’s The Handmaid’s Tale, in May of 2019.

DAVID CRAWFORD | DON BASILIO Since making his debut with the Metropolitan Opera in 2007 as The Warrior Apparition in Macbeth, American bass-baritone David Crawford has taken part in over 300 performances and covered roles in over 200 performances with the Company. His recent highlights with the Company include the roles of Rochefort in Anna Bolena, Count Ceprano in Rigoletto, a Mandarin in Turandot, the Commissioner in Madama Butterfly, Paris in Roméo et Juliette, the Sergeant in Manon Lescaut, Lord Walton in I Puritani, and the Captain in Eugene Onegin. The 2017/18 Season saw his return to the Metropolitan Opera for Les Contes d’Hoffmann, as well as appearances with Atlanta Opera as Zuniga in Carmen and Betto in Gianni Schicchi with the Seiji Ozawa Music Academy Opera in Japan. Upcoming Seasons include appearances with the Knoxville Symphony Orchestra, Knoxville Opera, and more. Mr. Crawford received his Masters degree from Boston University, and has previously appeared at BLO in Don Carlos and Resurrection. JESSE DARDEN | AN OFFICER Jesse Darden returns to BLO as the Company’s first Principal Artist-in-Residence, performing in all four operas of the 2018/19 Season. This summer, Mr. Darden returned to Santa Fe Opera singing the Officer in Ariadne auf Naxos and covering the role of Robert Wilson in Doctor Atomic; he previously served as an Apprentice Artist with the company in 2017, and has also completed apprenticeships with Chautauqua Opera and Opera North. Mr. Darden was a New England Regional Finalist with the Metropolitan Opera National Council Auditions, won Third Prize in the Gerda Lissner International Voice Competition, and was a recipient of the Chautauqua Opera Studio Artist Award. He has performed roles and solos with Odyssey Opera, Dartmouth College, Piedmont Opera, Chautauqua Opera, and the Chautauqua Symphony. Mr. Darden is also a BLO Jane and Steven Akin Emerging Artist alumnus.

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“THE FINEST OPERA BUFFA IN EXISTENCE” ROSSINI’S SPARKLING THE BARBER OF SEVILLE IN JANUARY, 1816, GIOACCHINO ROSSINI WAS UP AGAINST A WALL, AND THE PERSON WHO PUT HIM THERE WAS HIMSELF. At the end of 1815, the composer was in Rome for the premiere of his opera Torvaldo e Dorliska which opened the day after Christmas. In the midst of the rehearsals and performances, the director of Rome’s Teatro Argentina asked him on very short notice to compose a new opera for carnival season in February. Rossini was almost 27 years old at that point and already had 16 operas behind him—he composed his first at the age of 17, and some of its successors were already out making their way on the international circuit. Composing a new opera in a hurry seemed as if it would be no problem; he’d done it before. What was a problem was finding a subject. He had enjoyed working with the librettist Cesare Sterbini on Torvaldo e Dorliska, and it was Sterbini who suggested basing the new opera on The Barber of Seville, a famous, 40-year-old play by the French playwright Pierre de Beaumarchais.

Portrait of Gioacchino Rossini in 1820, painter unknown, International Museum and Library of Music, Bologna; BLO’s Barber costume designs by designer Gianluca Falaschi.

BY RICHARD DYER 10 | BOSTO

RA FALL 2018 | THE BARBER OF SEVILLE

Today, Beaumarchais is best known for two operas drawn from his trilogy of plays about Figaro, a lively barber/surgeon/valet/ general factotum who enjoys outwitting his social superiors—a characteristic that would, in time, turn him into a revolutionary. Beaumarchais was not primarily a writer; he was as versatile and energetic as Figaro, and at different times was active as a watchmaker, musician, inventor, publisher, money man, diplomat, spy, arms dealer, supporter of the French Revolution and the American Revolutionary War. Figaro is many things, but maybe most of all, he is a self-portrait of Beaumarchais, a man who (as Figaro says of himself) would rather laugh than weep. Beaumarchais’ theatrical masterpieces move as smoothly and accurately as superb clockwork, and the best lines chime. Rossini was attracted to Sterbini’s idea, probably because the opera of the past he loved best and learned the most from was Mozart’s The Marriage of Figaro. But he hesitated because he did not want to offend Giovanni Paisiello, a distinguished composer then in his mid-70s who had written a successful Barber of Seville back in 1781. Rossini even wrote to Paisiello, promising to dispel any potential confusion by entitling his own opera Almaviva, or The Useless Precaution, which he did—it wasn’t until after Paisiello’s death that Rossini’s masterpiece inherited the Barber title.

Sterbini quickly cobbled a new libretto together, and Rossini began to compose. He later boasted that he had composed The Barber of Seville in 13 days. Donizetti, Rossini’s younger colleague who was even more prolific, joked that after all Rossini did have a reputation as a “lazy” composer. To be fair, Rossini did cheat a little—he didn’t have time to compose a new overture. So he simply recycled one he had already used for two previous operas—operas on serious subjects. In one respect, the overture is a curiosity because it does not anticipate or refer to any of the later music in the opera. On the other hand, no audience for The Barber of Seville has ever complained about the overture, which is so effervescent that it makes a perfect fit. The opening night was a notorious disaster—the original Rosina, a contralto named Geltrude Rigetti-Georgi, left an account of it. The opera had been hastily prepared and nothing was quite ready; also a stray cat wandered into the stage action. The audience was full of disgruntled admirers of Paisiello’s opera who did not want Rossini’s version to succeed, and saw to it that it didn’t. Rossini didn’t even bother to attend the second performance. But it was a triumph, and the new history of The Barber of Seville began. Rossini may have composed it in 13 days, but it has been running—and selling out houses—for 202 years now. What the opera boasts is a delightful plot, a lot of musical jokes that mirror the stage action, an unending wellspring of ever-fresh melody, ingenious orchestration (listen for the piccolo, which is like the sun kissing ripples of water). Ever since Beethoven’s musical storm in the “Pastoral” Symphony, other composers have tried to out-storm him. No one has really succeeded, but Rossini came close in The Barber of Seville, and closer still in the last overture he ever wrote, for his final opera William Tell. Rossini met Beethoven once, and the older composer was apparently jealous that the younger composer had taken Vienna by storm. He told Rossini that his gift was for comic operas and that he should write “more Barber,” with the strong unspoken suggestion that he shouldn’t try to compose a symphony! The music in Barber arises from character and situation. Each of the figures is drawn from commedia dell’arte stock—the doddering old fool chasing a younger woman; the scheming, rapacious music teacher; the ardent lover who is an aristocrat disguised as a student and a drunken soldier; the quick-witted barber who meets his match in the quicker-witted heroine. Even the servant Berta gets her moment in the spotlight to deliver the moral of the tale. But none of the characters is completely stock—they have the ability to surprise each other, themselves, and the audience. Stage director Rosetta Cucchi, returning for her third BLO production, calls Figaro the “James Dean” character. He is a rebel who doesn’t yet have a cause, although he will find it in Mozart’s

The Marriage of Figaro, which she has already staged here. In Rossini’s opera, Figaro already treats his social superiors as his equals, and Cucchi wants Figaro as well as the Count and Rosina to have latent within them what they will later become. “Without Figaro,” she said in a production meeting last summer, “the opera is just an amusing but conventional love story played as a game or a farce. Figaro makes it something else.” The stage design, by Julia Noulin-Mérat, is inspired by the whimsical impossibilities and clockwork tessellations of the art of M. C. Escher, while the costumes, by Gianluca Falaschi, mingle games motifs and patterns with sumptuous period silhouettes. There are duets, trios and other intricate ensembles as well as major arias for everyone, several of which have entered into popular culture—most of all Figaro’s bravura entrance aria “Largo al factotum,” known to more recent generations from the performance by the wascally wabbit himself, Bugs Bunny. This aria provides an example of one of Rossini’s most characteristic musical effects, the so-called “Rossini crescendo,” which is never a matter of simply getting louder—the orchestration adds instruments, while the music changes in register and reach as it gets faster and faster. The best example comes in the aria for the music master, Don Basilio, which traces the development of rumor into scandal as a whisper turns into gossip and ultimately a serious threat with the whack of the bass drum. After Barber, Rossini composed about 20 more operas before he retired at age 37 for the life of a bon vivant who loved to cook, eat, and admire beautiful women. With part of his fortune, he created a Rossini Foundation which still exists, and which in recent decades has done much to restore many of the composer’s long-forgotten other operas, particularly the serious ones, to life. Daniela Mack, a leading young mezzo-soprano who has already sung Rosina in San Francisco and in the Royal Opera, Covent Garden in London, will perform in Rossini’s original keys, some of which have traditionally been lifted to accommodate coloratura sopranos. In old age, Rossini composed some charming songs, chamber music, and piano pieces that he called the “sins of his old age.” Asked which of his works were his favorites and most likely to survive, he replied, “The third act of Otello, the second act of William Tell, and all of The Barber of Seville.” Verdi ratified this when he wrote, “I can’t help thinking that for abundance of real musical ideas, for comic verve, and for truthful declamation, The Barber of Seville is the finest opera buffa in existence.”

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 FALL 2018 | THE BARBER OF SEVILLE | 11

Brianna Robinson Soprano

Jessica Johnson Brock Mezzo-Soprano

BOSTON LYRIC OPERA JANE AND STEVEN AKIN EMERGING ARTISTS The pursuit of a successful career in opera is a challenging— and expensive—undertaking. Singers must continually hone their talent with regular coaching, expand their repertoire by learning new roles, and find opportunities to make themselves heard. BLO recognizes that the next generation of opera stars needs to be nurtured in order to flourish, and that the future of the art form depends on their success. To that end, BLO has proudly expanded the opportunities we provide to Emerging Artists: • Public auditions allow hundreds of singers to be heard

Brendon Shapiro Pianist

• Role and audition preparation in one-on-one sessions with both BLO’s Music Director, David Angus, and BLO coaches • Understudy key leading roles, serve on stage management staff and directing staff, to broaden their résumés • Perform principal and comprimario roles in BLO productions • Additional paid performance opportunities at BLO events

Nathan Salazar Pianist

• Stanford Calderwood General & Artistic Director, Esther Nelson, and other leaders in the field provide career guidance and support • Feedback auditions with Director of Artistic Operations Nicholas Russell provide invaluable advice on repertoire choices • Introduction of Jane and Steven Akin Emerging Artists to key artists’ managers

Melanie Bacaling Production 12 | BOSTON LYRIC OPERA FALL 2018 | THE BARBER OF SEVILLE

Jane and Steven Akin Emerging Artists are identified during the casting process of each Season’s repertoire. The Artists have, in most cases, already established themselves professionally and are drawn primarily from the post-graduate and post-young artist fields. In certain exceptional cases, younger candidates who are appropriate for specific repertoire with the Company are considered.

JESSE DARDEN:

PRINCIPAL ARTIST-IN-RESIDENCE & WINNER OF THE 2018 STEPHEN SHRESTINIAN AWARD FOR EXCELLENCE Sometimes, a Season offers opportunities to one particular voice type with recurring roles for the same fach in each production. BLO has the precedent of Emerging Artists appearing in each of the Season’s four productions—David Cushing and Chelsea Basler are two artists who have been Emerging Artistsin-Residence. Jesse Darden joined the Company’s Emerging Artist roster in the 2016/17 Season and has taken comprimario roles, as well as covering principal ones. In taking on a small role with major cover in The Barber of Seville; a significant role in BLO’s World Premiere production of Schoenberg in Hollywood; as well as two further principal

roles in The Rape of Lucretia and The Handmaid’s Tale, we felt that Jesse is well and truly emerging, and that the significance of this repertoire warranted new recognition— hence BLO’s first Principal Artist-in-Residence. We are also delighted to announce that Jesse is the recipient of the 2018 Stephen Shrestinian Award for Excellence. The Shrestinian Award is a cash award created to help an exceptional young artist in the BLO chorus further his or her career by supporting advancement activities such as coaching a new role; taking a movement, dance or acting class; or paying a portion of graduate school tuition or travel expenses. It is awarded annually in memory of one of BLO’s beloved chorus members who passed away suddenly at the age of 29. See Jesse’s full bio on page 9.

Insets from top left, Jesse Darden (far right) sings along with Macheath (Christopher Burchett, far left) and the gang in The Threepenny Opera. Mr. Darden performs at the Museum of Fine Arts, Boston, in a BLO Signature Series event; Background, Mr. Darden performs at a BLO Concert in the Courtyard at the Boston Public Library, Copley Square, Boston. ALL PRODUCTION PHOTOS: LIZA VOLL PHOTOGRAPHY

BOSTON LYRIC OPERA FALL 2018 | THE BARBER OF SEVILLE | 13

ARTISTS, STAFF & CREW ORCHESTRA VIOLIN I ANNIE RABBAT Concermaster COLIN DAVIS SANDRA KOTT HEIDI BRAUN HILL ROKSANA SUDOL PATTISON STORY CHRISTINE VITALE STACEY ALDEN VIOLIN II TERA GORSETT KECK Acting Principal JODI HAGEN ROBERT CURTIS LENA WONG ROHAN GREGORY MAYNARD GOLDMAN VIOLA KENNETH STALBERG Principal DAVID FELTNER ABIGAIL CROSS DONNA JEROME DON KRISHNASWAMI CELLO MELANIE DYBALL Acting Principal JAN PFEIFFER-RIOS MICHAEL UNTERMAN STEVEN LAVEN

CHORUS BASS ROBERT LYNAM Principal BARRY BOETTGER KEVIN GREEN FLUTE LINDA TOOTE Principal IVA MILCH OBOE NANCY DIMOCK Principal CLARINET JAN HALLORAN Principal DAVID MARTINS BASSOON RONALD HAROUTUNIAN Principal MARGARET PHILLIPS FRENCH HORN KEVIN OWEN Principal DIRK HILLYER TRUMPET BRUCE HALL Principal JESSE LEVINE PERCUSSION RICHARD FLANAGAN Principal FORTEPIANO BRETT HODGDON GUITAR WILLIAM BUONOCORE

UNIONS The Artists and Stage Managers employed on these productions 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.

14 | BOSTON LYRIC OPERA FALL 2018 | THE BARBER OF SEVILLE

BRETT HODGDON Chorus Master TENOR ETHAN BREMNER FRANK LEVAR CHRIS MAHER THOMAS OESTERLING PATRICK T. WATERS

BASS JONATHAN COLE FRED FURNARI TAYLOR HORNER BLAKE JENNINGS ISAAC KIM ANDY PAPAS RON WILLIAMS

PRODUCTION/ARTISTIC STAFF Erin Joy Swank Stage Manager Melanie Bacaling Assistant Director Julie Marie Langevin Assistant Stage Manager Max Rosenberg Assistant Stage Manager Samantha Layco Production Assistant Janae Beaver Stage Management Intern Lisa Berg Props Master Alex Brandt Lighting Director Meredith (Daisy) Long Assistant Lighting Designer Liz Perlman Costume Director Lynn Jeffery Costume Supervisor Charles Neumann Costume Design Assistant Linnea Soderberg Wig-Makeup Artist J Jumbelic Audio-Visual Supervisor Eliot Bayless Sound Board Operator Satrina Massey Surtitle Operator Maynard Goldman Orchestra Personnel Manager Kate Ellingson Music Librarian Costumes created and provided by Farani Costumi di Roma

ROAD CREW Brendan Ritchie Head Production Carpenter Patrick Barrett First Assistant Production Carpenter Brian Willis Second Assistant Production Carpenter Michael Gottke Head Production Electrician Donald King First Assistant Production Electrician Allyson Loomis Second Assistant Production Electrician Sumner Ellsworth Light Board Programmer Hilliary Kramer Head of Production Properties Larasha Payne First Assistant of Production Properties Hilliary Kramer Hospitality Coordinator Dianna Reardon Wardrobe Supervisor

ACKNOWLEDGMENTS Boston Lyric Opera extends its gratitude to the following vendors, partners, individuals, community organizations, and school partners for their extraordinary courtesy in making our 2018/19 Season possible: 4Wall Boston | Rui Alves, Mike Texeira Abby Lane Acentech, Inc. | Carl Rosenberg, Ben Markham American Repertory Theater | Stephen Setterlun Alexander Aronson Finning ArtsBoston Backstage Hardware Susan Bennett, M.D., Company Physician Consultant, Associate Physician, Massachusetts General Hospital BOCA Systems Boston Area Rape Crisis Center Boston Arts Academy Boston Center for the Arts | Gregory Ruffer The Boston Conservatory at Berklee Boston Public Library Boston Public Schools Visual & Performing Arts Office Boys & Girls Club of Boston | Mattapan Teen Center Brighter Boston | Daniel H. Jentzen Caffé Nero Cambridge Masonic Hall Cartage America | Tim Riley Casa Myrna Chandler Inn Charcoalblue LLP | Andy Hayles, Gary Sparkes, John Owens Coastal Advisory | Tom Lynch Constangy, Brooks, Smith & Prophete, LLP | Andrew Eisenberg, Will Krasnow Costume Works, Inc. | Liz Perlman

C3 Commercial Construction Consulting, Inc. | Doug Anderson East Cambridge Piano | James Nicoloro Elderhostel, Inc. | Road Scholar Emerson College | Office of the Arts Eric Antoniou Photography Farani Costumi di Roma Fessenden & Sykes Films Around the World, Inc. | Alexander W. Kogan, Jr. Furnished Quarters | Annette Clement Louis A. Gentile Piano Service Goldstar Grand Image Inc. | Tamir Luria, Shane Bandzul Timothy Hamilton High Output Inc. | Jim Hirsch Mark Howard Hubspot, Inc. HUM Properties | Casey Smith The HYM Investment Group IATSE Local #11 JACET | Colleen Glynn IRN Internet Services | Jay Williston Isabella Stewart Gardner Museum Jayne’s Flowers Inc. JMK PR Leapfrog Arts | Melissa Wagner-O’Malley Legal Crossing Liza Voll Photography Maggiano’s Massachusetts Bay Transportation Authority Massachusetts Department of Conservation and Recreation | Nick Connors mindSHIFT Technologies Inc.

Museum of Fine Arts, Boston James Myers Myles Standish Business Condominiums NEPS Primary Freight New England Professional Systems | Bill Miller Production Advantage Opus Affair | Graham Wright Oregon Shakespeare Festival ProPrint Boston Quality Graphics, Inc. Robert Silman Associates Structural Engineers | Michael Auren, Ben Rosenberg Rosebrand Inc. Ryder Transportation Santander Scalped Productions Sebastians | Maureen Carey Seyfarth Shaw LLP | Brian Michaelis Shoretel/Mitel Stagesource Starburst Printing | Jason Grondin Stoddard’s | Jamie Walsh The Strategy Group Tessitura Todd McNeel Photography Toshiba, Corp. | Cheryl Hayford, Todd Tweedie United Staging & Rigging | Eric Frishman Vantage Technology Consulting Group | Geoffrey Tritsch VOICES Boston WBUR WGBH/WCRB

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

BOSTON LYRIC OPERA FALL 2018 | THE BARBER OF SEVILLE | 15

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 operagoing 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 25,000 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.

BOSTON LYRIC OPERA STAFF

VOLUNTEER CORPS

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

Jeannie Ackerman Jose Alberto Sharon Barry Katie Bauer Allyson Bennett Laima Bobelis Pamela Borys Jane Cammack Susan Cavalieri Michelle Chen Ann D’Angelo Karla De Greef Marsha dePoo Mary DePoto Frances Driscoll Marian Ead Lee Forgosh Audley Fuller Linda George Christine Gilbert Hauray Mencken Graham Eva Karger Milling Kinard Esther Lable Daniel Levin Richard Leccese Nancy Lynn Domenico Mastrototaro Terri Mazzuli Amy Molloy Patti McGovern Anne McGuire Meg Morton Kameel Nasr Cosmo and Jane Papa Barbara Papesch Jeffrey Penta Yamel Rizk Nikta Sabouri Elizabeth Sarafian Sasha Sherman Barbara Trachtenberg Gerry Weisenberg Beverly Wiggins Debra Wiess Lynn Williams Sybil Williams

ARTISTIC Nicholas G. Russell Director of Artistic Operations Steven Atwater Artistic Manager Zachary Calhoun Artistic Coordinator Julian Killough-Miller Artistic Associate PRODUCTION Anna B. Labykina Production & Technical Director Amanda Robie Production Operations Manager Patrick McGovern Associate Technical Director Andrew M. Trego Production Coordinator Samantha Layco Production Administrative Assistant Jessica Pfau Master Carpenter William “Billy” Douglass Carpenter Thomas Farrell Carpenter Julia Noulin-Mérat Associate Producer FINANCE & ADMINISTRATION Karen T. Frost Director of Finance and Administration David J. Cullen Accounting Manager Reingard Heller Finance Manager Angela Rowland Senior Accountant Caitlin Hayes Finance & Office Coordinator Lizabeth Malanga Executive Assistant to the Stanford Calderwoord General & Artistic Director EXTERNAL RELATIONS Eileen Nugent Williston Managing Director Sarah B. Blume Director of Major Gifts Cathy Emmons Director of Institutional Gifts Robin Whitney Development and Outreach Manager Narcissa McArthur Development Coordinator Robin Schweikart Database Administrator Jeila Irdmusa Marketing & Communications Manager Madison Florence Marketing & Communications Coordinator JMK PR Public Relations Rebecca Kittredge Audience Services Manager Bailey Kerr Patron Services Associate Molly O’Keefe Audience Services Associate Lacey Upton Director of Community Engagement Rebecca Kirk Manager of Education Programs Sara O’Brien Events Manager Patricia Au Resident Teaching Artist Lydia Jane Graeff Resident Teaching Artist IRN Internet Services Website Leapfrog Arts Graphic Design As of September 15, 2018

BECOME A DONOR & GET CLOSER TO THE OPERA YOU LOVE

Support from BLO donors goes far beyond the productions seen on stage. Donations directly impact the core facets of BLO: Community & Education Programs, Emerging Artists, New Works, and Accessible Opera. Donors also receive great benefits to enhance their opera experience, from our bi-annual magazine, CODA, that enriches your knowledge, to Orfeo Lounges, that bring you closer to other opera enthusiasts. To learn more about joining our community of supporters, we encourage you to visit BLO.ORG/PATRONS or call 617.702.8984

Soprano Elena Stikhina, who made her U.S. debut as Tosca in BLO’s fall 2017 production, speaks with supporters at the opera’s Opening Night party. LIZA VOLL PHOTOGRAPHY

BOSTON LYRIC OPERA FALL 2018 | THE BARBER OF SEVILLE | 17

DONOR ACKNOWLEDGMENTS 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 BLO between July 1, 2017 and September 20, 2018. • FRIENDS OF BLO | The largest community of supporters of Boston Lyric Opera. Members enjoy exclusive opportunities to explore opera and engage with others who share their passion through benefits such as invitations to Deconstructing Opera Salons, backstage tours, final dress rehearsals and more. • ORFEO SOCIETY | Members gain behind-the-scenes access to BLO Artists and Creative Team members, while providing direct support to bring opera to our stages and communities. • THE GOLDOVSKY SOCIETY | Membership is given in recognition of those who have made a provision in a will, living trust, deferred gift plan, or retirement plan that will benefit BLO. For more information or to become a member, please call Sarah B. Blume at 617.702.8974. CRESCENDO ($100,000+) Anonymous (2) Jane & Steven Akin Linda Cabot Black*§ Willa & Taylor Bodman*† Wayne Davis & Ann Merrifield*† Jody & Tom Gill*† Jane & Jeffrey Marshall* The Montrone Family Mr. & Mrs. E. Lee Perry*† William & Helen Pounds*† David & Marie Louise Scudder*†§ Wendy Shattuck & Sam Plimpton*

Mr. & Mrs. Ray Stata* Sandra A. Urie & Frank F. Herron Miss Wallace Minot Leonard Foundation VIVACE ($50,000 - $99,999) Timothy Blodgett Nonnie & Rick Burnes*† Gerard & Sherryl Cohen Constangy, Brooks, Smith & Prophete, LLP Alicia Cooney*§ Miguel & Suki de Bragança* Susan W. Jacobs*†

ALLEGRO ($10,000 - $24,999) ADAGIO ($5,000 - $9,999) Anonymous (2) Anonymous Sam & Nancy Altschuler Boston Foundation The Amphion Foundation Mrs. Edmund Cabot Sarah E. Ashby* Ms. Ellen Cabot* Ms. Kimberly E. Balfour* Mr. & Mrs. Timothy & Jessica Donohue* Be Our Guest, Inc. Ms. Catherine Dunn* Ms. Ann Beha & Mr. Robert A. Radloff Lawrence & Atsuko Fish The Bell Family, in memory of Dr. Peggy Bell* Mr. Kenneth Freed Carolyn Bitetti & T. Christopher Donnelly Horace H. Irvine II*§ BPS Arts Expansion Fund at EdVestors Mr. & Mrs. Edward C. Johnson Ms. Jane Carr & Mr. Andrew Hertig Ellen & Robert Kaplan*†§ Corning Incorporated Foundation Ms. Amelia Katzen*† Dr. Amos Deinard* Joe & Pam LoDato*§ Mr. Eijmberts & Mr. Tinga Dr. Joseph & Mrs. Anita Loscalzo* Kathryn G. Freed§, in memory of MEDITECH Dean & Patti Freed Esther Nelson & Bernd Ulken Lise Olney & Tim Fulham OPERA America Dr. Alfred Goldberg & Dr. Joan Goldberg John & Susanne Potts* Nick & Marjorie Greville Allison K. Ryder & David B. Jones* Kathy & Ron Groves Schwab Charitable Fund Graham & Ann Gund Larry & Beverly St. Clair* Harold Alfond Foundation State Street Corporation Emily C. Hood Susan A. Babson Opera Fund Amy Hunter & Steven Maguire*§ for Emerging Artists William A. Hunter & Barbara Bradlee Hunter Gregory E. Moore & Wynne W. Szeto* Ms. Louise Johnson* Lady Juliet & Dr. Christopher Tadgell* Stephen Kunian* John H. Deknatel & Carol M. Taylor Drs. Lynne & Sidney Levitsky Peter Wender*§ Karen Levy Lynn Dale & Frank Wisneski Andrew Sherman & Russ Lopez*§ Ms. Tania Zouikin*§ Ms. M. Lynne Markus*§ 18 | BOSTON LYRIC OPERA FALL 2018 | THE BARBER OF SEVILLE

Pamela S. Kunkemueller*§ Marie I. Stultz Revocable Trust Abigail B. Mason*§ Massachusetts Cultural Council Mattina R. Proctor Foundation Mr. & Mrs. A. Neil Pappalardo* Mr. & Mrs. Michael Puzo*†§ PRESTO ($25,000 - $49,999) Anonymous (2) Katie & Paul Buttenwieser Cabot Family Charitable Trust Alan & Lisa Dynner*§ Judith K. Marquis & Keith F. Nelson Jillian C. McGrath* Karen E. McShane, MD Mr. & Mrs. John O’Brien Mr. & Mrs. Richard Olney III Barbara Goodwin Papesch Dr. Kurt D. Gress & Mr. Samuel Y. Parkinson* Suzanne & Peter Read§ Stephen & Geraldine Ricci Mr. Carl Rosenberg* Ms. Carol Rubin* Rumena & Alex Senchak* Mr. Jan Steenbrugge & Ms. Young-Shin Choi Mr. & Mrs. Frank Tempesta* Mr. Richard Trant* Jeannie Ackerman Curhan & Joseph C. Williams GRAZIOSO ($3,000 - $4,999) Anonymous (2) Advanced Lighting and Production Services, Inc. Michael Barza & Judith Robinson Drs. Susan E. Bennett & Gerald B. Pier Ronald & Ellen Brown Mr. Arthur Buckland Mr. & Mrs. Lewis Cabot Nancy & Laury Coolidge Dr. Nicholas J. DiMauro* Eli Lilly and Company Foundation, Inc. Mr. & Mrs. Ron Feinstein

Robert & Susan‡ Eastman*†§ Fidelity Charitable Gift Fund Karen Johansen & Gardner Hendrie Mimi Hewlett*§ Mr. & Mrs. Amos B. Hostetter, Jr. Maria Krokidas & Bruce Bullen* Anne M. Morgan*† National Endowment for the Arts Janet & Irv Plotkin*† Susan & Dennis Shapiro* Dr. Robert Walsh & Lydia Kenton Walsh*

Mr. & Mrs. Dozier Gardner Mr. Joseph Hammer Mr. & Mrs. Morton Hoffman Dr. Kathleen Hull & Ernest Jacob Dr. Maydee G. Lande, in memory of her father Mr. Louis Lévy, in memory of Joce Ledeuil* Richard & Nadine Lindzen MAX Ultimate Food Ms. Amy Merrill Shari & Christopher Noe D. Cosmo & Jane P. Papa* Dr. & Mrs. John William Poduska, Sr. William & Lia Poorvu Melinda & James Rabb Deborah Rose & Dr. Noel Rose Dr. Jordan S. Ruboy Charitable Fund‡§ Dr. & Mrs. R. Michael Scott Mr. & Mrs. Jeremiah Shafir David Shukis & Susan Blair Lise & Myles Striar Tee Taggart & Jack Turner Mr. Thaemert & Mr. Gokey Ms. Amy Tsurumi* UBS Financial Services, Inc. Tanya & David Virnelli PRODUCER ($1,500 - $2,999) Alliance Bernstein Matching Gift Program Anchor Capital Advisors John & Molly Beard Bessie Pappas Charitable Foundation, Inc.

BG Events & Catering Mr. & Mrs. Kenyon C. Bolton III Boston Cultural Council Ms. Kathleen Boyce Mr. & Mrs. John Cabot Judge & Mrs. Levin H. Campbell Marjorie B. & Martin Cohn Ms. Jennifer Eckert Andrew L. Eisenberg* Dr. David Golan & Dr. Laura Green Mark Kritzman & Elizabeth Gorman Mrs. Charles Hood Doris & Howard Hunter Mr. & Mrs. C. Bruce Johnstone, in honor of Steve & Jane Akin Eva R. Karger§ Mr. Edward J. Leary† Mallory Portraits Mary & Sherif Nada§ Mr. Carl R. Nold & Ms. Vicky Kruckeberg Robert & Carolyn Osteen Mr. & Mrs. Richard S. Perkins, Jr. Max & Meredith Russell Mr. & Mrs. Lionel Spiro State Street Foundation Mr. John Whittlesey PARTNER ($500 - $1,499) Anonymous (3) A.V. Presentations, Inc. Abby Lane Patricia Arroyo, PhD Mr. Richard L. Babson Mr. & Mrs. Dana Bartholomew Benefit Cosmetics Mr. Martin Berman, in memory of Lila Gross Mr. Clark Bernard Leonard & Jane Bernstein MK Bertelli Ms. Petrina Biondo Ms. Sophie Cabot Black Dr. Paul Bleicher & Dr. Julia Greenstein Dorothy & Hale Bradt Ed & Amy Brakeman Peter Braun & Diane Katzenberg Braun John & Irene Briedis Pam & Lee Bromberg Thomas Burger & Andree Robert Samuel & Claire Cabot Timothy & Sara Cabot

Susan Cavalieri, in memory of Eurydice Cavalieri Ms. Mei Po Cheung Rachel & Thomas Claflin Ms. Nina Cohen Mr. Eugene Cox Rita Cuker Gene & Lloyd Dahmen Mr. Terry O. Decima Janice Mancini Del Sesto§, in memory of Susan D. Eastman Mr. James DeVeer Mr. Lawrence M. Devito Laura Dike & Vaughn Miller Marie-Pierre & Michael Ellmann Fleur Events RADM & Mrs. S. David Frost Mr. Edward N. Gadsby Mrs. G. Peabody Gardner, in honor of Mr. & Mrs. E Lee Perry GE Foundation Mr. Clayton Geiger Lucretia Giese Mr. Walter Gilbert Dr. & Mrs. William E. Goldberg Paul Golden Mark Goodman & Jennifer Cope Goodman Google, Inc. Ms. Sandra Steele & Mr. Paul Greenfield Mr. Stephen Grubaugh & Ms. Carol McGeehan Anne & Neil Harper Ms. Bette Ann Harris Mr. & Mrs. John Henn† Dr. Robert Henry Mr. Joseph M. Herlihy Arthur & Eloise Hodges David Hoffman & Deborah Friedman Robert & Stephanie Hood Mr. Henry B. Hoover, Jr. Fred Hoppin Mr. Ted & the Rev. Canon Cynthia P. Hubbard Mr. Stanley Keller Mr. John Michael Kennedy Milling Kinard Dr. David Korn & Carol Scheman Ms. Yuriko Kuwabara & Dr. Sunny Dzik Pam Lassiter

Mr. & Mrs. Boardman Lloyd Tod Machover & June Kinoshita Peter Madsen Mr. Joseph Mari Mr. Domenico Mastrototaro§ Dr. Edward McCall Mary & Michael McConnell Kate Meany Ms. Virginia Meany Ms. Jo Frances Meyer Claudia J. Marner & Leonard S. Jones Mr. Adam G. Neilly Melissa & David Norton Prof. Suzanne P. Ogden Jack Osgood§ Finley & Patricia Perry Pamela E. Pinsky Memorial at the Silicon Valley Community Foundation Mr. & Mrs. James Post Mr. & Mrs. Patrick & Ute Prevost Clay & Emily Rives Dr. & Mrs. Edward Roberts Simon Rosenthal & Nouri Newman Sebastian’s JoAnne & Joel Shapiro Lisa G. Shaw Sayre Sheldon Ms. Elizabeth Sluder South Shore Conservatory Mr. John Stevens & Ms. Virginia McIntyre Ms. Beth Sullivan Susan A. & Donald P. Babson Charitable Foundation Ms. Roberta Sydney & Mr. Jordan Rich Mr. Andrew Szentgyorgyi Edward H. Tate II Diane C. Tillotson Michael Tomich Dr. Ed Tronick Mrs. Wat Tyler Mr. Konstantin Tyurin & Ms. Kirstin Ilse Virginia Wellington Cabot Foundation Mr. & Mrs. Walter H. Weld Leonce Welt Mr. & Mrs. Jonathan Winthrop Ms. Mary Wolfson Mr. David Wood Mr. & Ms. Douglas Woodlock Mr. & Mrs. Robert Wulff Dr. Ioannis Yannas

CONTRIBUTOR ($250 - $499) Anonymous (3) Above Summit Mr. William Aikman Mr. Peter Ambler & Ms. Lindsay Miller Mr. Bernard Aserkoff Marc & Carol Bard Mr. John Barstow & Ms. Eugenia Ware Dr. & Mrs. Martin Becker John Belchers The Benevity Community Impact Fund Ms. Andrea Benoit & Mr. Michael Parsons Nina & Donald Berk Ms. Elizabeth Bjorkman Ms. Christine Bradt Mr. Nick Breitstein Ms. Sally T. Brewster Mr. Robert G. Briggs Ms. Katherine Cain Ms. Mary Chamberlain Ms. Elisabeth Clark Cary Coen, in honor of Gerry & Sherri Cohen Paul Cravedi, in memory of Anna Cravedi James F. Crowley, Jr. Mr. Paul Curtis Ms. Deborah Black Davis Mr. Mark Donohoe Ms. Catharine-Mary Donovan Willis & Zach Durant-Emmons Bill & Susan Elsbree Mr. Martin Elvis Andrew & Karen Epstein Mr. Bruce Feibel Mr. & Mrs. Glenn L. Fencer Mr. William Fregosi Sarah Gallivan & Gopal Kadagathur Mr. James Glazier Dr. Philip L. Goldsmith & Melissa Boshco Dr. Donald Peter Goldstein Pamela & Alan Goodman Laurie Gould & Stephen Ansolabehere Hair Sessions Inc. Sylvia Hammer Mr. & Mrs. James J. Harper Mr. John Hauser Ms. Leni Herzog Mr. C. Anthony Broh & Ms. Jennifer Hochschild Mr. Thomas Hotaling

A SPECIAL ACKNOWLEDGMENT On behalf of the Board and Staff of BLO, we wish to acknowledge longtime donors, subscribers, and friends who have passed away this year:

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BOSTON LYRIC OPERA FALL 2018 | THE BARBER OF SEVILLE | 19

Investment Technology Group Elizabeth V. Foote & Howell E. Jackson Ms. Ann Johnson Leslie Kaelbling Robert Kauffman & Susan Porter Thomas & Cynthia Kazior Mr. & Mrs. Robert J. Klivans Mr. Ricardo Lewitus Ms. Kristine Maultsby & Mr. Keith Long Professor Deidre Lynch Prof. Lucy D. Manuelian Dr. Nicholas & Mrs. Charlotte Mastroianni Mr. Arthur Mattuck James & Caroline McCloy Mr. & Mrs. Kilmer McCully Margaret McDormand, in memory of Anna Elizabeth McDormand Ms. Karen Metcalf Mr. Scott Minick, in honor of Karen Frost Ms. Anne Morris Dr. Carol Nadelson Curiosity Foundation Ms. Rebecca Nemser Ms. Clare Nosowitz & Mr. Damien Valentine Mr. William Pananos PEAK Event Services Eric & Jane Philippi Enid Ricardo Quiñones & Wendy Blackfield Quiñones Mr. Jack Reynolds Barbara Robinson, in honor of Horace Irvine, II Mark & Lori Roux John & Ruth Schey Mrs. Richard Schmidt Stephen & Peg Senturia Varda & Dr. Israel Shaked Dr. George L. Sigalos Mr. Richard W. Smith Mr. Harold Stahler Mr. & Ms. Matthew Stewart Mr. Ronald Stoia Ms. Joan Suit Marcos & Faith Szydlo John & Mary Tarvin Ms. Ann Teixeira Ernst & Toinette ter Haar Ms. Antra Thrasher Amy & Matthew Torrey Linda & Harvey Weiner Mr. & Mrs. Jerome Weinstein Mr. Jerry Wheelock & Elizabeth Wood Mr. Stephen Wohler Anne Wooliever Albert & Judith Zabin

Joseph & Janet Aucoin Ms. Kay Barned-Smith Paula Jacobs & Howard Beale Dr. & Mrs. Robert M. Beazley Dr. & Mrs. Allen Berliner Beverly Flight Center Dr. & Mrs. Stuart R. Bless Mrs. Cynthia Bradley Ms. Janet Buecker Cabot Performing Arts Center Mr. Mark Campbell Mr. Claude Canizares Derek Chilvers Dr. Sung Choi Ms. Catherine Clancy Mr. Thomas Cooper Mr. Donald Coppock Mr. Robert Coren & Mr. John W. Gintell Ms. Janice Corkin Rudolf & Mr. John Emery Mr. Nicholas Danforth Dave Poutre Fine Framing Mr. William DeWitt Robert Doane Ms. Janice A. Dolan Ms. Claire Dondis Mr. John Douhan Ms. Joanne A. Dreher Mrs. Dana Dumezich, in memory of Susan D. Eastman Mr. Michael Egholm Eugene Galleries Exclusive Jewels Gallery Mr. Martin Fantozzi Mr. Lloyd Fillion Mr. George Flesh Michael S. Flier & David E. Trueblood Katherine & Richard Floyd Mr. Benjamin Forkner, in honor of Thomas D. Gill, Jr. Ms. Constance Franciosi Mr. Walter Freiberg Mrs. Ann Marie Fretts Mrs. Laurena Gatlin Mr. David Gaynor Janet & David Giele Ruth Golden Ms. Elizabeth Goodfellow Frank & Willie Gorke, in memory of Susan D. Eastman Edward Gross & Margaret Reid Ms. Joan P. Gulovsen Newell & Betty Hale Fund of Greater Worcester Mr. Daniel Halston Ms. Christine G. Hannon Dr. & Mrs. Bernhard Heersink Pauline Ho Bynum Marc & Madeleine Holzer Dr. Chi-Ting Huang Ms. Janet Hunkel Mr. David N. Hunt, PhD Mr. Emil Iantchev Akira Iriye Ms. Janet Jankowiak Prof. & Mrs. John Joannopoulos Mr. Erik Johnson Elinore C. Kagan & Herbert M. Kagan

SUPPORTER ($100 - $249) Anonymous (15) Mr. Ernest Acheson, Jr. Mrs. Daryl B. Adams, in memory of Susan D. Eastman Alice Adler & Edward Ginsberg Susan Alexander & Jim Gammill Mrs. Betty Allen Donald A. Antonioli & Robert H. Goepfert Henry & Diana Asher 20 | BOSTON LYRIC OPERA FALL 2018 | THE BARBER OF SEVILLE

Anne & Charles Kelly Ms. Anne Kelly The Kitchen At Boston Public Market Jonathan & Deborah Kolb Mr. William Kruger Mr. Robert Kruszyna, in memory of Harriet G. Kruszyna Dr. & Mrs. John Kubert Dr. & Mrs. Ira Lable Mr. William B. LaFrance Terry & Jonathan Lane Mr. Thomas Lawrence Ken & Lisa Lewis, in memory of Susan D. Eastman Ms. Judy Lieberman Laurence & Maryel Locke Mr. Merrill Mack Quinn MacKenzie Barbara P. Madden Mr. Charles Maier Mr. Kenneth Maillar Peter & Gail Marcus Judy Mason Ms. Edith Mathiowitz, in honor of Joseph Suzin Ms. Deena Matowik Ms. Janet McAllister Ms. Evelyn McFadden Ms. Patricia McGovern Sylvia & Ralph Memolo Mr. Frederick Meyer Mr. Stephan Miller Ms. Dolores Mitchell Alec & Donna Morgan Daniel & Mayo Morgan Ms. Linda Morgan Dr. Phyllis Moriarty Mr. Michael F. Murphy Ms. Eileen Murray Ms. Mary Mutschler Mr. Fred Nagle Mr. Raymond Nied Bill Nigreen & Kathleen McDermott Nancy Nitikman Ms. Diane Ota Dr. Eileen Ouellette Ouimillie Mr. Eugene Papa Mr. Mark Pasternack & Ms. Judy Meyers Patricia Patricelli Ms. Marie Pereto-Hedin Mr. & Mrs. Roy & Jean Perkinson Mr. Paul Phillipps Ms. Elana & Daniel Pierkowski John & Elaine Pisciottoli Mr. Gene Pokorny Ms. Deborah A. Poppel Anne & Francois Poulet Thomas & Elena Powers Ms. Emerzette J. Rand Mr. & Mrs. Tom Rapoport Mr. John Reed Mr. & Mrs. Thomas Remington Malcolm & Mona Roberts, in honor of Clara H. Jones S. Robertson, in memory of Jim Condon Mr. Allan Rodgers

Sherry & William Rogers Family Fund of the Essex County Community Foundation Daniel Romanow & Andrew Zelermyer Ms. Patricia Rosenblatt Ms. B. Jean Rosiello Beth Roussel Mr. & Mrs. Pasquale Rullo, in memory of Carmine Rullo Ms. Renee Sack Mr. Frank Santangelo Rob Saper & Ruth Paris, in memory of Eileen L. Saper Ms. Diane Savarese Mr. Michael Schaefer Ms. Amy Schenkein Peter Schmidt Dr. & Mrs. Arthur Schneider Robin Schweikart Mr. Peter Schweizer Ms. Catherine Scott Stephen A. Sheldahl, in memory of Susan D. Eastman Michael Skatrud Mr. Steve Smith Mr. Joel Stein R. S. Steinberg Mr. Scott Stewart Mr. Paul F. Stiga Caroline & Alan Strout Mr. Frederick G. Tilley Robert & Sarah Toole Mr. & Mrs. David Trevvett Twentieth Century Ms. Martha Ulken Andrea Urban Janet & Henry Vaillant Mr. Robert Volante Leslie Warshaw Ms. Denise Wernikoff Mr. Throop Wilder & Ms. Deborah Weisgall Mrs. Barbara Wolfenden Dr. & Mrs. Stephen Wright Elizabeth Wylde & Lance Drane Ms. Isabel C. Yoder

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

PERFORMANCE & VENUE INFORMATION All performances begin on time. At the request of our patrons, Boston Lyric Opera observes the national opera standard of a no late seating policy. Additionally, if you must leave during the performance, reentry may be prohibited. While we understand that traffic conditions, public transportation, weather and other factors can have unexpected effects on your arrival, we wish to minimize disruptions for our seated patrons and for our artists on stage. As a courtesy to the artists and for the comfort of those around you, please turn off all mobile phones, pagers, watch alarms, and any other device with audible signals prior to the start of the performance. The use of cameras or recording devices in the theatre is strictly prohibited. TICKET INFORMATION: For information on Boston Lyric Opera productions, subscriptions and tickets, visit blo.org or call BLO Audience Services at 617.542.6772, M - F | 10 - 5.

EMERSON CUTLER MAJESTIC THEATRE ACCESSIBILITY: The Emerson Cutler Majestic Theatre can accommodate both wheelchair and companion seating. Accessible restrooms are located in the lower lobby, accessible by elevator. Assisted listening devices are available at the box office windows. VENUE INFORMATION: The Emerson Cutler Majestic Theatre 219 Tremont Street, Boston, MA 02116 | 617-824-8000 | artsemerson.org FIRE EXIT PLANS: For your own safety, please take a moment to view the exits for each floor.

BOSTON IS AN OPERA TOWN 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.

bostonoperacalendar.org BOSTON LYRIC OPERA FALL 2018 | THE BARBER OF SEVILLE | 21

JOIN PRIMA FOR THE SEASON! GET CONNECTED WITH PRIMA EVENTS!

PRIMA is BLO’s social group for young arts lovers. From opera and theatre enthusiasts to musicians and music lovers of all kinds, PRIMA is the best place for young professionals who are interested in supporting the arts community and who want to explore it with others. BECOME A PRIMA PREMIER MEMBER!

For a limited time, Season Memberships are half-off at only $20, giving you access to the entire Season! Benefits include: • Priority Seating: Early access to tickets and exclusive seating in the PRIMA section • Free drinks at PRIMA Socials • PRIMA Lounges: Pre-show performance lounges • Deconstructing Opera Salons: learn how an opera is created from start to finish, featuring artistic and production staff • Discounted After Party tickets Visit BLO.ORG/PRIMA to sign up for our newsletter and get information on upcoming happenings

The 2017 PRIMA After Party Committee.

ABOVE SUMMIT PHOTOGRAPHY

BLO’S SOCIAL GROUP FOR YOUNG ARTS LOVERS

NOV 14 - 18 | THE WORLD PREMIERE OF A NEW OPERA

OPERA BEYOND THE STAGE | NOVEMBER SCHOENBERG OPENING NIGHT NOV 14 | Post-Performance Celebration SCHOENBERG TALKBACKS NOV 14 - 18 | Immediately following each performance ARNOLD SCHOENBERG SYMPOSIUM NOV 17 | 1PM - 4PM | In partnership with the MIT Media Lab and the Arnold Schรถnberg Center, Vienna

AN OPERA BY

TOD MACHOVER MUSIC BY

TOD MACHOVER LIBRETTO BY

SIMON ROBSON

BASED ON A SCENARIO BY COMMISSIONED BY BLO

LEARN MORE AT BLO.ORG/EVENTS

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BRAHAM MURRAY

BOSTON LYRIC OPERA FALL 2018 | THE BARBER OF SEVILLE | 25

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