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A NEW BLO PRODUCTION STRAVINSKY
MAR 12 - 19 | EMERSON/CUTLER MAJESTIC THEATRE
ESTHER NELSON, STANFORD CALDERWOOD GENERAL & ARTISTIC DIRECTOR | DAVID ANGUS, MUSIC DIRECTOR | JOHN CONKLIN, ARTISTIC ADVISOR
BOSTON IS AN OPERA TOWN Whether you’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
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 Boston Baroque 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 Midsummer Opera Boston Opera Collaborative Guerilla Opera
Odyssey Opera Opera on Tap OperaHub
WELCOME Dear Patrons, One has to marvel at the resilience of artists able to produce profound works in spite of life-altering tragedies and personal losses. I have long been particularly intrigued by the community of writers, artists and musicians who found their new home in carefree, sunny Southern California and the world of make-believe Hollywood, after escaping the horrors of the Nazi regime. (Ironically, some of them would later find themselves again a target, that of the House Un-American Activities Committee.) 70 years ago, when Igor Stravinsky and his collaborators W.H. Auden and Chester Kallman started to work on The Rake's Progress, it was just about a decade after Stravinsky had joined this vibrant émigré community in Los Angeles, which included Arnold Schoenberg, Erich Korngold, Otto Klemperer, Lion Feuchtwanger, Hanns Eisler, Thomas Mann, Bertolt Brecht, Alma Mahler and Franz Werfel. Stravinsky's own life was marred by constant uprooting and new adaptations, since his initial escape from the Bolshevik Revolution after World War I, subsequently becoming a citizen of France, and finally adopting the U.S. as his third homeland. Along the way, Stravinsky's compositional style constantly evolved in often unpredictable and unconventional ways, yet always with his own voice. His earlier large-scale works, like The Firebird, were influenced by strong Russian themes, with powerful rhythmic vitality and intensity, but after WWI he moved toward much greater economy of both means, expression, and experimentation with new theatrical techniques. He entered what is called his neoclassical period, a deliberate imitation of an earlier style and themes of centuries past, but in a contemporary context. This movement was embraced by a number of composers in the wake of WWI’s devastation, finding pleasure in the vaguely nostalgic. The Rake's Progress is considered Stravinsky's last and most profound work in that style, with a nod mostly to Mozart. Shortly after the opera's completion, Stravinsky began to dig into twelve-tone serial composition. The Rake's Progress seems initially like an 18th-century pastiche but it is, in fact, one of the composer's most complex and many-tiered scores. The subject matter, influenced by the series of Hogarth's prints, which inspired the composer during an exhibit in Chicago, is actually quite un-Mozartian. One wonders if Stravinsky was intrigued by the downfall of empty material greed, as he adjusted to his new home, and post-war lifestyle? Our stage director, Allegra Libonati, feels the composer's sense of entrapment into a new society embedded in this opera. The opera's Rake, Tom, surrenders to every temptation. Librettists Auden and Kallman consider Tom's downfall the result of his complete denial of nature, abandoning his loving girlfriend Anne and the ordered country life, in favor of urban, ephemeral material gratification. In the end, it remains Love that offers Tom hope. Stravinsky, throughout his life, stressed the central life force of Love. As always, I value your feedback and comments, and look forward to seeing you at the intermission.
Esther Nelson Stanford Calderwood General & Artistic Director
PROGRAM CONTENTS
Welcome 1
Board of Directors 3
BLO Events Calendar 4
Venus & Adonis: 5 An Eternal Love
Making Sense of Igor 6
Cast 8
Synopsis & Director's Note 10
Meet the Artists 11
Production/Artistic Staff & 15 Acknowledgments
BLO Staff/Volunteers 16 Donors 17
Fire Exit Plans 19
Spread the Word 21
Above, The Emerson/Cutler Majestic Theatre; On our cover, Ben Bliss, photo by Liza Voll Photography, composite image by Leapfrog Arts
on and off the stage
The Opera Gala 2016
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GET INVOLVED WITH BLO Bring opera into your life—
A MESSAGE FROM THE BOARD CHAIR Emerson’s Cutler Majestic Theatre is a beautiful space that—like many of our revered Boston spaces—has a storied, historic past. It’s one of the few remaining examples of the beaux arts style in the United States (its architect John Galen Howard was an MIT student before becoming one of just 400 American architects to study at L’Ecole des Beaux Arts in Paris). Upon its restoration a number of years back, the Majestic was renamed to honor philanthropist Ted Bernard Cutler and his late wife Joan, long-time supporters of BLO and the arts throughout Boston as leaders, donors, and subscribers. Subscribers form the core of our work at Boston Lyric Opera, they are the heart of why we do what we do here. If you’re a subscriber, I trust you heard from us over the past few weeks, during our Subscriber Appreciation Month activities. We spoke to many of you— asking your thoughts about our current Season, getting feedback such as your desire to know what’s coming up artistically in the next Season, where we’ll be located, and more. Together with the BLO staff, I really appreciate hearing from you. Learning what you like (or don’t) is extremely informative and helpful to us. Your feedback is the only way we can constantly improve the experiences you have at BLO. Elsewhere in the program you will find some early details about our upcoming Season. It’s a great one, in my opinion and I hope you’ll agree. The extraordinary line-up promises more of the great variety of artists and productions you’ve grown accustomed to from BLO. Again next Season, we ask you to join us on our journey; experience four extraordinary operas that have been specifically designed for some of our City’s most iconic locations. While a single venue location is our ultimate goal, an ideal space for a professional non-profit opera company—sufficient for the needs of a full orchestra, cast, chorus and scenery, with comfortable gathering space for audience members and more—we will continue to bring vibrant and inspiring opera creations to venues available to us. You may have heard recently about some new performance space opportunities. We continue to investigate both short and long-term possibilities. As Subscribers you’ll be among the first to know when we have found the path we feel is best for our BLO community. We strive to make patron appreciation our goal year-round. As always, please let me or one of our staff members know how we can make your experience better.
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 Susan D. Eastman Andrew L. Eisenberg, Esq. Thomas D. Gill, Jr. 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
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 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 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 As of February 20, 2017
BOSTON LYRIC OPERA THE RAKE'S PROGRESS 2017 | 3
OPERA BEYOND THE STAGE BLO SIGNATURE SERIES BRAVO! BRAVA!: GENDER, OPERA AND THE MARRIAGE OF FIGARO MAR 29 | 6:30PM Boston Athenæum In partnership with the Boston Athenæum
BLO SIGNATURE SERIES THE MUSICAL WORLD OF MATISSE
The opera stage is a place of play and possibility, especially when it comes to the rules of gender. Dr. Laurence Senelick delves into the rich tradition of gender-bending on the operatic stage, illustrated through musical examples performed by BLO artists. With a central focus on the hilarious and poignant Cherubino scene in Mozart’s The Marriage of Figaro, this evening event surveys the men and women of the operatic stage from the 18th century through the 20th—in all states of dress.
APR 12 | 1:00PM MFA Boston | Remis Auditorium In partnership with the Museum of Fine Arts, Boston James Myers, coach/pianist, and artists from Boston Lyric Opera explore the nexus of music and art in Matisse’s world, the rich cultural landscape in Paris of the early 20th century. Part of the 10-week course | Henri Matisse: Art and Life $28 for BLO Subscribers and MFA members | $35 general public Full course: $240 for BLO Subscribers and MFA members | $300 general public
OPERA NIGHTS AT THE BPL WEDDING PLANNING: REIMAGINING THE MARRIAGE OF FIGARO MAR 30 | 6:00PM BPL Central Branch, Copley Square Rabb Lecture Hall Take a peek into the process that brings an opera from the page to the stage, and gain insight into the setting and approach for the new BLO production of The Marriage of Figaro, with live musical selections performed by BLO artists. Free and open to the public.
TEACHER PROFESSIONAL DEVELOPMENT WORKSHOP LET’S TALK TECHNICAL THEATER! LIZA VOLL PHOTOGRAPHY
JEFFREY DUNN, 2007 / LIZA VOLL , 2017
$20 BLO subscribers/Members | $30 general public On sale at BLO.org and BostonAthenaeum.org
MAY 6 | 10:00AM BLO’s Resident Teaching Artists and Teaching Artist Special Guests present strategies for teaching and learning focusing on technical theater skills and connections to STEAM learning. Boston-area educators and partnership teachers: inquire at education@blo.org
FOR A FULL LIST OF BLO’S UPCOMING EVENTS, VISIT BLO.ORG Clockwise from top left, A 1779 Playbill by John Colley of an actress dressing in breeches. Costume designs by Henri Matisse for the Ballets Russes premiere of The Song of the Nightingale (Stravinsky), 1920. A “Create Your Own Opera” student prepares props backstage. Two views of The Marriage of Figaro: Ailyn Pérez and Kyle Ketelsen in BLO’s 2007 production, and Emily Birsan, singing Susanna in 2017.
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VENUS ADONIS: AN ETERNAL LOVE Weep for Adonis, the beautiful, the young; Weep for Adonis whom Venus loved. The Rake’s Progress W.H. Auden
Love is a spirit all compact of fire, Not gross to sink, but light, and will aspire. Venus and Adonis William Shakespeare
V
enus, playing one day with her boy Cupid, wounded her bosom with one of his arrows. The wound was deep and before it healed, she beheld Adonis and was captivated by him. She absented herself from heaven and followed him everywhere. She who used to recline in the shade with no care but to cultivate her charms, now rambles (garbed like Diana the huntress) through the woods and over the hills. She chases hares and stags but keeps clear of the wolves and bears, reeking with the slaughter of the herd. She charged Adonis, too, to beware of such dangerous animals. Having given him this warning, she mounted her chariot drawn by swans and drove away through the air. But Adonis was too noble (or foolish) to heed such counsels. A furious boar wounded by a spear thrown by Adonis turned against him, buried his tusks in his side and stretched him dying on the plain.
Venus heard coming up through midair the groans of her beloved. She saw his lifeless body and bending over it, beat her breast and tore her hairs. She cursed the cruel Fates, saying, “Your triumph shall be but partial; memorials of my grief shall eternally endure and my lamentations shall be annually renewed. Adonis, your blood shall be changed into a flower that will bloom each year.” She sprinkled nectar over the blood, and as they merged, up sprang a flower of carmine hue. But it is short lived. It is said that the wind blows the blossoms open and afterwards blows the petals away—hence it is called Anemone, or Wind Flower, from the breath that equally assists in its production and its decay. from Bulfinch’s Mythology Thomas Bulfinch
COMPILED & ADAPTED BY JOHN CONKLIN John Conklin is an internationally-recognized set designer and dramaturg. He 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, Bastille Opera in Paris, The Royal Opera at Covent Garden and the opera houses of Munich, Amsterdam, and Bologna, among many others. Mr. Conklin is on the faculty of New York University’s Tisch School and has served as the Artistic Advisor to BLO since 2009. Above, Venus and Adonis by Ferdinand Bol, ca. 1660. The final image in William Hogarth’s series, A Rake’s Progress, showing Tom Rakewell, insane and in chains at Bedlam, London’s infamous mental asylum, attended by the fiancée he abandoned. BOSTON LYRIC OPERA THE RAKE'S PROGRESS 2017 | 5
I
GOR STRAVINSKY had an uncanny knack for landing in the
Portrait of Igor Stravinsky, ca. 1920s-30s, George Grantham Bain Collection, Library of Congress.
most chic and supportive creative environment at any given time during his long and productive life—whether it be high society St. Petersburg during its glamorous pre-Revolutionary Silver Age, suave France between the wars, sunny Los Angeles after 1939, or a cemetery on the isle of San Michele near immortal Venice after death. No matter where Stravinsky turned up, beginning with his earliest years as protégé of Ballets Russes impresario Serge Diaghilev in Paris, through his associations in America with New York City Ballet founder George Balanchine and amanuensis Robert Craft, publicity clung to him like moss to a rock. No other composer of the 20th century has been more thoroughly interviewed, documented, analyzed, idolized, criticized, or imitated. Library shelves groan under studies—in many languages and equipped with a dizzying array of critical jargon and diagrams—of Stravinsky as boy, student, young man, old man, conversationalist, Russian, Frenchman, American, New Yorker, Californian, ballet composer, opera composer, symphonist, conductor, man of the theater, humanist, collaborator, harmonic innovator, serialist, bon vivant, ladies’ man, wit, and sage. The music of most of Stravinsky’s rivals for the imaginary title of the “greatest” or even “most influential” composer of the 20th century (some names that come to mind are Schoenberg, Shostakovich, Prokofiev, Britten) has fallen in and out of fashion over the years. But Stravinsky’s music has exhibited remarkable staying-power with musicians and maestros—from Serge Koussevitsky to Leonard Bernstein to Seiji Ozawa to Esa-Pekka Salonen. Audiences have perhaps tended to respect Stravinsky rather than to love him. But that may be exactly what the composer wanted. As Sergei Prokofiev, a fellow Russian and veteran Stravinsky-watcher, noted in a letter sent back to Russia from France in 1924, Stravinsky was aware very early of “trying to lead music.” The audience would have to learn to follow.
MAKING SENSE OF IGOR BY HARLOW ROBINSON
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Stravinsky disliked the romantic image of the wild-eyed creative artist, always drove hard bargains with theaters, performers and publishers, and was not bashful about financial success or fame. “Let me say, once and for all, that I have never regarded poverty as attractive; that I do not wish to be buried in the rain, unattended, as Mozart was; that the very image of Bartók’s poverty-stricken demise, to mention only one of my less fortunate colleagues, was enough to fire my ambition to earn every penny that my art would enable me to extract from the society that failed in its duty toward Bartók as it had earlier failed with Mozart.” And yet, even with the oceans of ink spilled by himself and others, it still isn’t easy to make sense of Igor. Perhaps it’s because there are so many of him, and because he hid behind so many different masks. Does the fact that Stravinsky was born under the sign of Gemini (on June 17, 1882) help to explain his ability to create and exploit so many different musical personalities over the course of his long (he died in 1971) and remarkably productive career? First, there’s the “Russian” Stravinsky of the three early ballets— Firebird, Petrushka, Rite of Spring—written for the Ballets Russes and its sophisticated pre-World War I Paris audience, hungry for the latest exotic fashions in culture no less than in couture. For many, these fabulously colorful and shimmering early creations represent the height of the composer’s achievement, and they remain today his most
From left, part of Nicholas Roerich’s designs for Diaghilev’s 1913 production of The Rite of Spring. Firebird, Ballerina, 1910 by Léon Bakst. Sketches of dancer Maria Piltz performing the sacrificial dance by Valentine Gross-Hugo, published in Montjoie!, Paris, June 1913.
popular scores. Like the publication of James Joyce’s Ulysses, or the unveiling of Kazimir Malevich’s painting Black Suprematist Square, the first performance of The Rite of Spring on May 29, 1913, on the eve of World War I, was one of the defining events of 20th-century cultural history. With this savage portrayal of pre-historic pagan ritual, the 19th-century sensibility was shattered into tiny Cubist pieces. What was startling about The Rite was not so much its harmonic dissonance, already extensively employed by Debussy and Schoenberg and others, but its fragmentary, dynamic, montage-like structure, composed of small units that collide with each other like atoms in a smasher. Following in the footsteps of his adored model Tchaikovsky, Stravinsky also established ballet as a serious and respectable arena for 20th-century composers. Influenced by the trend-setting views of Diaghilev’s entourage, Stravinsky even considered ballet superior to opera, a form he dismissed as passé, moribund and “a backwater.” “I dislike opera,” he famously proclaimed in an interview with a London reporter in 1913. Throughout the 1920s and 1930s, he avoided opera, instead producing numerous hybrid works for the stage that freely mixed genres (dance, song, movement, narration in various languages) under such labels as “burlesque” (Renard), “action dansante” (Pulcinella), “choreographic scenes with song and music” (The Wedding), or oratorio (Oedipus Rex). But with time, Stravinsky’s hostility towards “pure” opera softened. After living in the United States for nearly a decade, he felt he had finally acquired the “ripeness of style” (in the words of his friend the composer Nicolas Nabokov) to undertake The Rake’s Progress. This work was, he explained, “emphatically an opera—an opera of arias and recitatives, choruses and ensembles. Its musical structure, the conception of the use of these forms, even to the relations of tonalities, is in the line of the classical tradition.” The “Russian” Stravinsky periodically resurfaced in later works (The Fairy's Kiss), but the composer was anxious to shed what he regarded as the limitations of that identity. Unlike his countrymen Prokofiev and Shostakovich, whose music remained profoundly Russian in subject matter and inspiration from beginning to end, Stravinsky cultivated and sought the role of a cosmopolitan artist, not a nationalist, at home everywhere and yet nowhere. So it makes perfect sense that the internationalist Stravinsky would work long and successfully in what is usually referred to as a “neoclassical” style, with its wide-ranging possibilities for finding,
reexamining and reinterpreting through an ultra-modernist prism musical material and forms from various cultures and eras. This phase of Stravinsky’s career came to its glorious climax in the opera The Rake’s Progress, first staged at La Fenice in Venice on September 11, 1951. Some critics and historians have even credited Stravinsky with the invention of neoclassicism, although numerous other composers, including Prokofiev (“Classical” Symphony), Richard Strauss (Ariadne auf Naxos) and Vincenzo Tommasini (The Good-Humored Ladies) were also employing elements of this aesthetic in the early years of the 20th century. After The Rake’s Progress, Stravinsky explored new creative horizons. He moved on from neoclassicism, looking for inspiration and renewal in dodecaphony (also known as serialism), the atonal system originally developed by Arnold Schoenberg and the members of the so-called “New Viennese School.” Stravinsky assiduously followed musical fashion, and feared that his neoclassical work was increasingly viewed as “reactionary” when compared to that of the “progressive” Schoenberg and his many followers. The genre-mixing theatrical works that followed The Rake’s Progress (the ballet Agon, the musical play The Flood, and the sacred ballad Abraham and Isaac) all make use of serial technique to some degree. But Stravinsky’s brand of serialism was, not surprisingly, entirely unique and individual. As Stephen Walsh has written, “he did not, and could not, put on this strange new method like a new fur hat.” He adopted aspects of serialism in a personal and selective manner that suited the material and his own standards of taste. In music and in life, Stravinsky never stopped searching. A brilliant synthesizer rather than an inventor, he always stayed one step ahead of fashion and of danger. Assiduously avoiding the political revolutions and wars of a bloody and violent century, he created musical uprisings instead. In his world, art is the supreme apollonian value, rising with supreme assurance over tragedy and pain.
Harlow Robinson is Matthews Distinguished University Professor of History at Northeastern University and author of Sergei Prokofiev: A Biography; Russians in Hollywood, Hollywood’s Russians; and editor/translator of Selected Letters of Sergei Prokofiev (Northeastern). A lecturer and annotator for the Boston Symphony, Metropolitan Opera Guild, Aspen Music Festival and Lincoln Center, he has written essays and articles for The Boston Globe, The New York Times, Los Angeles Times, Opera News, Dance, Stagebill, and other publications. BOSTON LYRIC OPERA THE RAKE'S PROGRESS 2017 | 7
STRAVINSKY
Music Director David Angus
2016/17 Season Sponsor, Linda Cabot Black
Music by Igor Stravinsky
CONDUCTOR
DAVID ANGUS
STAGE DIRECTOR
ALLEGRA LIBONATI
SET DESIGNER
JULIA NOULIN-MÉRAT
COSTUME DESIGNERS
JOHN CONKLIN NEIL FORTIN*
PERFORMANCES:
LIGHTING DESIGNER
MARK STANLEY
SUNDAY, MARCH 12 AT 3:00PM
MAGIC DESIGNER
CHRISTOPHER ROSE*
MOVEMENT DIRECTOR
YURY YANOWSKY
WIG AND MAKEUP DESIGNER
JASON ALLEN
DRAMATURG
JOHN CONKLIN
SURTITLE DESIGNER
ALLISON VOTH
BOSTON LYRIC OPERA ORCHESTRA
SANDRA KOTT Concertmaster
BOSTON LYRIC OPERA CHORUS
MICHELLE ALEXANDER Chorusmaster
REHEARSAL COACH/ACCOMPANIST
MAJA TREMISZEWSKA†*
ASSISTANT DIRECTOR
ANDERSON NUNNELLEY†
STAGE MANAGER
HESTER WARREN-STEIJN*
Libretto by W.H. Auden and Chester Kallman Sung in English with English surtitles
WEDNESDAY, MARCH 15 AT 7:30PM FRIDAY, MARCH 17 AT 7:30PM SUNDAY, MARCH 19 AT 3:00PM Performed in two parts with one intermission. Performance running time is approximately 2 hours and 45 minutes.
EMERSON/CUTLER MAJESTIC THEATRE 219 TREMONT STREET BOSTON, MA 02116
*Boston Lyric Opera Debut
† Boston Lyric Opera Jane and Steven Akin
Emerging Artist
‡ B oston Lyric Opera Jane and Steven Akin
Emerging Artist Alumnus
Sponsored by Linda Cabot Black
CAST CAST in order of vocal appearance ANNE TRULOVE
ANYA MATANOVIC
TOM RAKEWELL
BEN BLISS*
TRULOVE
DAVID CUSHING‡
NICK SHADOW
KEVIN BURDETTE
Sponsored by Mr. and Mrs. E. Lee Perry Sponsored by Katie and Paul Buttenwieser
Sponsored by Susan W. Jacobs
MOTHER GOOSE
JANE EAGLEN*
BABA THE TURK
HEATHER JOHNSON
SELLEM
JON JURGENS†
KEEPER OF THE MADHOUSE
SIMON DYER†
Sponsored by Wendy Shattuck and Sam Plimpton Sponsored by Alicia Cooney
AND: YURY YANOWSKY AS STRAVINSKY
“ I live neither in the past nor in the future. I am in the present. I cannot know what tomorrow will bring forth. I can only know what the truth is for me today. That is what I am called upon to serve, and I serve it in all lucidity.” – igor stravinsky
BOSTON LYRIC OPERA THE RAKE'S PROGRESS 2017 | 9
SYNOPSIS & DIRECTOR'S NOTE THE STORY In the idyllic countryside, Anne Trulove and Tom Rakewell celebrate their love. Anne’s father has found a job for Tom in the city, but Tom longs for an easier path to money. Nick Shadow appears with news that Tom has inherited a fortune from an unknown uncle. They must leave for London and Tom need only pay Shadow for his services after a year and a day. In the wicked city, Shadow introduces Tom to Mother Goose’s brothel. Back in the country, Anne fears the worst and decides that she must rescue Tom. Meanwhile, Tom, in his new London house, is already bored with ordinary pleasures, so Shadow suggests visiting the amazing bearded woman, Baba the Turk. When Anne arrives at Tom’s house, she is horrified to find him married to the hideous Baba. When Tom tires of Baba as well, Shadow appears with one last new idea… a machine that turns stones into bread. Anne again appears to save Tom, but this time his house is for sale and his property for auction. The bankrupt Tom has disappeared with Shadow. Baba urges Anne to follow him. A year and a day from their first meeting, Shadow brings Tom to a graveyard at night. A terrified Tom discovers he must pay not with money but with his soul. But, as Shadow is about to take hold of him, Tom hears Anne’s voice in the distance and his past love is reawakened. Shadow, defeated, disappears into the ground. Tom survives, but he is now mad and is shut up in Bedlam. Anne comes there to comfort him, but there is little to be done. Her father arrives and persuades her to leave Tom to his fate.
Synopsis courtesy of Boosey & Hawkes
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A NOTE FROM STAGE DIRECTOR ALLEGRA LIBONATI
“ In order to create there must be a dynamic force, and what force is more potent than love?” – igor stravinsky Stravinsky—an artist, inventor, and a man in the moment. This production places the composer himself into the center of the narrative of The Rake’s Progress. As a young man, Stravinsky knew he was an artist. From his first successes, he was hooked on creating works that would not only be exceptional, but be known as exceptional. This quest to express through music, to break the rules, and to receive the accolades of his community, became a driving force throughout his life. At the very start of this production, we see the composer mid-career searching for inspiration. He witnesses Hogarth’s series of prints depicting a young man’s journey from rake to socialite to madman. Stravinsky projects his own soul into this narrative and must ride the ride of his own relentless mind. In the first moments of the opera, Stravinsky manifests Tom, a young man determined to prove fate, not work, is the key to happiness. He manifests Anne, a young woman with an unwavering trust in the power of eternal love. Stravinsky then discovers Nick, his devil, who pries upon his worldly desires. As in a dream, where we cannot control the visions of our subconscious, Stravinsky must experience his hero wracked by the glittery illusions of society’s golden idols of happiness. The stage design is influenced by the many inspirations surrounding Stravinsky when he composed the opera. Visions of 1950s Hollywood and Hogarth etchings collide around him. This is by no means a literal biographical approach, but our impression of what could have been in this master’s mind and heart as he envisioned this opera for the first time. The Rake’s Progress is a maddening spiral to insanity and quest to find love. Perhaps, however, this is the necessary road we must take in order to break free and evolve to a new understanding. As Stravinsky himself takes this ride, he gives us all the gift to experience our own Rake’s Progress.
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. ALLEGRA LIBONATI Stage Director Allegra Libonati returns to Boston Lyric Opera, having served as Assistant Stage Director for BLO’s 2015 production of Don Giovanni. An international theater and opera director, her Guerilla Opera production, Troubled Waters, won Best World Premiere in the Boston Classical Review. Other credits include Death and the Powers: The Robot’s Opera (Dallas Opera, Chicago Opera Theatre, American Repertory Theater, Monaco Opera House) and most recently, Peter Pan’s Neverland, a new, immersive adventure currently running in Beijing, China. A guest teacher at Harvard University, Ms. Libonati serves as Resident Director at the American Repertory Theater (ART) in Cambridge, where she has devised and directed The Snow Queen, Hansel and Gretel, The Pirate Princess and The Light Princess, which also ran at the New Victory Theater. She has directed numerous musicals and Shakespeare productions at the Summer Theatre of New Canaan and looks forward to working at Opera Omaha next season on their production of Falstaff. JULIA NOULIN-MÉRAT Set Designer In addition to her work as Associate Producer for Boston Lyric Opera, Julia Noulin-Mérat is Director of Design and Production for Guerilla Opera and resident set designer for Attic Theater in New York. She has designed over 300 opera, theater, immersive shows and television productions, including: Clemency, In the Penal Colony and La Traviata (Boston Lyric Opera); Così Fan Tutte and Bluebeard’s Castle (Opera Omaha); Sumeida’s Song and 27 (Pittsburgh Opera); Madama Butterfly (Opera New Jersey and El Paso Opera); Giver of Light, Loose Wet Perforated, Heart of a Dog, Say it Ain’t So, Joe, Gallo, Troubled Water, Pedr Solis, and No Exit (Guerilla Opera); L’Heure Espagnole and Scalia/Ginsburg (Castleton Festival); Transformations and Alcina (Boston Conservatory); The Barber of Seville (LoftOpera); and La Descente d’Orphée aux Enfers (Gotham Chamber Opera). Ms. Noulin-Mérat recently returned from Beijing, China where she designed for the immersive production of Peter Pan’s Neverland.
JOHN CONKLIN Costume 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 I Puritani (2014), La Bohème (2015), Werther (2016) and The Merry Widow (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. NEIL FORTIN Costume Designer Neil Fortin is a Boston-based costume designer and a graduate of Boston University with an MFA in Costume Production. He has most recently completed designing for the American Repertory Theater production of James and the Giant Peach directed by Dmitry Troyanovsky. Mr. Fortin serves as Designer in Residence for Guerilla Opera and has also worked for The Huntington Theatre Company, The Boston Conservatory, Actors Shakespeare Project, The Walnut Hill School for the Arts, and the Metro Stage Company. This summer, Mr. Fortin will design Dido and Aeneas in Rochester, New York. MARK STANLEY Lighting Designer Mark Stanley, Resident Lighting Designer for New York City Ballet, has designed over 200 premieres for their repertoire including Paul McCartney’s Ocean’s Kingdom. His designs are in the repertoire of The Royal Danish Ballet, The Royal Ballet, Paris Opera Ballet, Het Nationale Ballet, San Francisco Ballet, Kevin O’Day Ballet National Theatre Mannheim, La Scala Ballet, Mariinsky Ballet, Norwegian National Opera & Ballet, Boston Ballet, Stuttgart Ballet, Miami City Ballet, Pilobolus Dance Theatre, Alvin Ailey Dance Theater, The Joffrey Ballet, and other ballet and dance companies in North America and Europe. Mr. Stanley previously served as Resident Designer for New York City Opera. His theatre work includes the Kennedy Center, Long Wharf Theater, Goodspeed Opera House, Ordway Music Theater, Paper Mill Playhouse, Maurice Sendak’s In the Night Kitchen and off-Broadway. His designs for George Balanchine’s The Nutcracker and Peter Martins’ Romeo and Juliet, among others, have been seen on Live from Lincoln Center and Great Performances. Mr. Stanley heads the MFA Design and Production Programs as well as the Lighting Design Program at Boston University and is on the Board of Directors of the Hemsley Lighting Programs.
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ARTISTS CHRISTOPHER ROSE Magic Designer Christopher Rose is a Magician, Mind Reader, and Mystery Entertainer in Las Vegas, NV. He has performed his show “Christopher Rose: Mind Control Artist” at numerous hotels on the Las Vegas Strip including the Royal Resort, The Orleans Hotel, and The Harmon Theater in Planet Hollywood. Mr. Rose has worked as part of the production team for several major theatre productions, including The Tempest (American Repertory Theater, Smith Center for the Performing Arts, South Coast Repertory Theater), for which he received the Los Angeles Drama Critic Circle Award. YURY YANOWSKY Movement Director STRAVINSKY Yury Yanowsky returns to Boston Lyric Opera after appearing in BLO’s 2015 production of In the Penal Colony. His career as a principal dancer with the Boston Ballet spanned over two decades. He was the recipient of the first prize at the Prix de Lausanne and won the Silver medal at both the Varna International Ballet Competition and the International Ballet Competition. Over the past decade, Mr. Yanowsky has had the opportunity to choreograph numerous ballets for Boston Ballet, Boston Ballet II, Carlos Acosta’s “Premieres Plus,” Festival Ballet Providence, The Bundes Jugend Ballet, among others. In 2015, he was awarded the Choreographic Prize at the prestigious Erik Bruhn Competition for his ballet, District, and he was the guest choreographer at the 2016 Jacob’s Pillow Opening Night Gala. Mr. Yanowsky is currently on faculty at Harvard University and most recently served as movement consultant for the American Repertory Theater’s production of Fingersmith. 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 The Huntington Theatre Company, Boston Ballet, and many other organizations in Boston and throughout the country.
ANYA MATANOVIC Soprano ANNE TRULOVE Anya Matanovic returns to Boston Lyric Opera after playing the role of Violetta in BLO’s production of La Traviata. Recent roles include Adele in Die Fledermaus (New Orleans Opera); Musetta in La Bohème (Arizona Opera); Marzelline in Fidelio (Seattle Opera); Gilda in Rigoletto (Opera Memphis, BYSO) Papagena in Die Zauberflöte and Wanda in Offenbach’s La Grande-Duchesse de Gérolstein (Santa Fe Opera); Micaëla in Carmen (Glimmerglass Opera); Pamina in The Magic Flute (Crested Butte Music Festival, Utah Opera and BYSO); and Carmina Burana (Qatar Philharmonic Orchestra). Ms. Matanovic made her professional debut as Mimì in the Los Angeles commercial engagement of Baz Luhrmann’s Tony Award-winning production of La Bohème. Her 2016/17 Season roles include Gretel in Hansel and Gretel (Seattle Opera) and Mabel in Pirates of Penzance (Lyric Opera of Kansas City) as well as a return to the Cleveland Orchestra. BEN BLISS Tenor TOM RAKEWELL Ben Bliss is a 2016 recipient of the Martin E. Segal Award at Lincoln Center, awarded by The Metropolitan Opera. He was also the recipient of the Mozart and Plácido Domingo Awards at the 2015 Francisco Viñas International Competition in Barcelona, first prize in the 2014 Gerda Lissner and Licia Albanese-Puccini Foundation competitions, as well as Sara Tucker and Sullivan Foundation grants. Mr. Bliss’ 2016/2017 Season included a US recital tour with pianist Lachlan Glen, with stops at Carnegie Hall, the Folly Theater in Kansas City as part of the HarrimanJewell series, Theater of the Arts at the University of the District of Columbia as part of the Vocal Arts DC Emerging Artists series, Hahn Hall at Music Academy of the West as part of the University of California, Santa Barbara Arts & Lectures series, and in Cincinnati with Matinée Musicale. Operatic appearances include a return to The Metropolitan Opera, as Tamino in The Magic Flute and Steuermann in Der Fliegende Höllander. Other opera appearances included Belmonte in Die Entführung aus dem Serail (Atlanta Opera), Count de Rosillon in Die Lustige Witwe (Gran Teatre del Liceu). This is his Boston Lyric Opera debut. DAVID CUSHING Baritone TRULOVE David Cushing’s recent opera appearances include the title roles of Don Pasquale and Le Nozze di Figaro, Frère Laurent in Roméo et Juliette, and Bottom in A Midsummer Night’s Dream. This Season, Mr. Cushing performs the roles of Bartolo in Boston Lyric Opera's production of The Marriage of Figaro; 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’s Symphony No. 5 (The Washington Chorus). He is a BLO Jane and Steven Akin Emerging Artist alumnus.
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ARTISTS KEVIN BURDETTE Bass NICK SHADOW Kevin Burdette returns to Boston Lyric Opera after playing Leporello in Don Giovanni and Death/ Loudspeaker in The Emperor of Atlantis. Recent highlights include Stefano in The Tempest with The Metropolitan Opera (Deutsche Grammophon DVD, 2014 Grammy® Award); Beck Weathers in Everest, Eric Gold/Bazzetti’s Ghost in Great Scott, and Ob in Becoming Santa Claus, all world premieres with The Dallas Opera; multiple roles in Shostakovich’s The Nose (The Metropolitan Opera); Doktor in Wozzeck (Philharmonia Orchestra); Scattergood in The Last Savage, Général Boum in La Grande-Duchesse de Gérolstein and Stobrod/Blind Man in the world premiere of Cold Mountain (Santa Fe Opera); Leporello in Don Giovanni (Los Angeles Philharmonic); Sulpice in La Fille du Régiment (San Diego Opera, Santa Fe Opera, Washington National Opera); Osmin in Die Entführung aus dem Serail and Colline in La Bohème (Teatro Colón); Bartolo in Il Barbiere di Siviglia, Prophet/King in Dark Sisters, and Stobrod/Blind Man in Cold Mountain (Opera Philadelphia); and Dulcamara in L’Elisir d’Amore (Opera Philadelphia, San Diego Opera). His upcoming engagements include performances with The Metropolitan Opera, Santa Fe Opera, Seattle Opera, and Dallas Opera. JANE EAGLEN Soprano MOTHER GOOSE Jane Eaglen has enjoyed unique success with opera’s most demanding heroines including the roles of Isolde in Tristan und Isolde, the title characters in Turandot and Norma, and most notably, Brünnhilde in the operas of Der Ring des Nibelungen. Ms. Eaglen has performed these roles to critical acclaim in the world’s leading opera houses including Deutsche Oper Berlin, Lyric Opera of Chicago, The Metropolitan Opera, l’Opéra National de Paris, Royal Opera Covent Garden, San Francisco Opera, Teatro alla Scala, and the Wiener Staatsoper. Her concert performances include the Boston Symphony, Chicago Symphony, Czech Philharmonic, Israel Philharmonic, LA Philharmonic, London Philharmonia, The National Symphony, NY Philharmonic, Prague Symphony, and the Budapest, Edinburgh, Ravenna, and Salzburg Festivals. Her discography includes solo albums, several complete opera and concert recordings, and her recording of Wagner’s Tannhäuser which earned her a Grammy® Award. Ms. Eaglen was honored by the United States House of Representatives and awarded the Baccarat Award from the Licia Albanese-Puccini Foundation. She is a member of the voice faculty at the New England Conservatory, and returns annually to teach and mentor at the Merola Program at San Francisco Opera. HEATHER JOHNSON Mezzo-Soprano BABA THE TURK Heather Johnson returns to Boston Lyric Opera after playing the title character of Lizzie Borden in Boston and at Tanglewood. She made her Metropolitan Opera debut as a Flower Maiden in Parsifal and returned for their productions of A Midsummer Night’s Dream, Hansel and Gretel and Enchanted Island. Ms. Johnson began the 2016/17 Season singing the title role in Tancredi (Baltimore Concert Opera and
Opera Southwest) and will also appear as La Messaggera, La Musica and La Speranza in Monteverdi’s L’Orfeo (Chautauqua Opera). Other highlights include Page in Salome (Dallas Opera), Berlioz’s Nuits d’Eté (Minnesota Orchestra), Jesse in the world premiere of The Long Walk (Opera Saratoga) and Jo in Little Women (Madison Opera). She has appeared with Sarasota Opera, Glimmerglass Opera, Opera Orchestra of New York, Virginia Opera, Nashville Opera, PORTOpera, National Art Centre Orchestra, New York Choral Society, Volkstheater Rostock, American Ballet Theater, Moab Music Festival, New Hampshire Music Festival, Mill City Summer Opera, Napa Festival del Sole and New York City Opera where she was the 2006 recipient of the prestigious Stanley Tausend Award. JON JURGENS Tenor SELLEM Jon Jurgens was most recently seen in the title role of The Picture of Dorian Gray while making his debut with Odyssey Opera. Recent roles include Pinkerton in Madama Butterfly (Hubbard Hall Opera Theater); St. Brioche in The Merry Widow and Schmidt in Werther, while covering the roles of Camille and Werther (Boston Lyric Opera); and the title role in The Picture of Dorian Gray (Opera Fayetteville). Other highlights include the roles of Rodolfo in La Bohème (Opera Raw) and Don José in Carmen (Opera NEO). As a studio artist with Sarasota Opera, he has performed many roles including Curley in Of Mice and Men, Steuermann in Der Fliegende Höllander, and Don Basilio in Le Nozze di Figaro. There, he has also covered Edoardo in Un Giorno di Regno and the Duke in Rigoletto. Mr. Jurgens is a 2015/16 and 2016/17 BLO Jane and Steven Akin Emerging Artist who was highly acclaimed as Tristan in BLO’s production of The Love Potion, and earlier that year made his BLO debut as Gastone, while covering Alfredo in La Traviata. He will be making his debut with Opera Columbus as Don José in May 2017. SIMON DYER Bass KEEPER OF THE MADHOUSE Simon Dyer is a 2016/17 BLO Jane and Steven Akin Emerging Artist. He 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. 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 The Zoo (Odyssey Opera); Superintendent Budd in Albert Herring (Boston Opera Collaborative); Prophet/King in Dark Sisters, Melisso in Alcina, Figaro in Le Nozze di 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 also appears on a CD with Boston Modern Orchestra Project released in late 2016.
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BOSTON LYRIC OPERA ORCHESTRA & CHORUS BOSTON LYRIC OPERA ORCHESTRA VIOLIN I SANDRA KOTT Concertmaster COLIN DAVIS JODI HAGEN NATALIE FAVALORO GERALD MORDIS PATTISON STORY STACEY ALDEN CYNTHIA CUMMINGS VIOLIN II ANNIE RABBAT Principal HEIDI BRAUN-HILL TERA GORSETT LENA WONG ROHAN GREGORY ROBERT CURTIS VIOLA KENNETH STALBERG Principal DAVID FELTNER ABIGAIL CROSS DONNA JEROME DON KRISHNASWAMI
CELLO LOEWI LIN Principal MELANIE DYBALL ARON ZELKOWICZ JAN PFEIFFER-RIOS BASS ROBERT LYNAM Principal BARRY BOETTGER KEVIN GREEN FLUTE LINDA TOOTE Principal IVA MILCH OBOE NANCY DIMOCK Principal LYNDA JACQUIN
BASSOON RONALD HAROUTUNIAN Acting Principal SALLY MERRIMAN FRENCH HORN KEVIN OWEN Principal DIRK HILLYER TRUMPET TERRY EVERSON Acting Principal JESSE LEVINE TIMPANI JEFFREY FISCHER Principal HARPSICHORD MAJA TREMISZEWSKAâ€
CLARINET JAN HALLORAN Principal DAVID MARTINS
BOSTON LYRIC OPERA CHORUS MICHELLE ALEXANDER Chorusmaster SOPRANO ALISA CASSOLA MOLLY CROOKEDACRE CELESTE FRASER KIRSTEN HART KATHRYN MCKELLAR SARA WOMBLE
TENOR ETHAN BREMNER KEVIN COURTEMANCHE JESSE DARDEN CHRIS MAHER THOMAS OESTERLING PATRICK WATERS
ALTO BRITT BROWN HEATHER GALLAGHER FELICIA GAVILANES JESSICA JOHNSON BROCK JAIME KORKOS EMMA SORENSON
BASS RYNE CHERRY JUNHAN CHOI JONATHAN COLE ANDY PAPAS PAUL SOPER RON WILLIAMS
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SUPERNUMERARIES MITCHELL BUCKLEY MENCKEN GRAHAM NATALIE LOGAN TARA LYNCH DOMENICO MASTROTOTARO NICOLE VANDER LAAN
PRODUCTION/ARTISTIC STAFF Dustin Z. West Calling Stage Manager Julie Langevin Assistant Stage Manager Skylar Ely Assistant Stage Manager Melanie Bacaling Production Assistant Bailey Costa Lighting Director Harrison Burke Assistant Lighting Designer Aja Jackson Lighting Intern Shannon Clarke Lighting Intern Liz Perlman Costume Director Gail Astrid Buckley Costume Supervisor Ryan Goodwin Costume Design Assistant Lisa Berg Props Master Elizabeth Callas Audio/Visual Coordinator Rachel Shufelt, Melinda Abreu Wig-Makeup Artists 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 Music Librarian Maynard Goldman Orchestra Personnel Manager
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). Boston Lyric Opera is a member of OPERA America, the national service organization for opera in the U.S. and Canada.
ACKNOWLEDGMENTS Boston Lyric Opera extends its gratitude to the following individuals and organizations for their extraordinary courtesy in making our productions possible: Abby Lane Acentech, Inc. | Carl Rosenberg and Ben Markham Advanced Lighting and Production Services Jim DeVeer Alexander Aronson Finning Beacon Hill Seminars Susan Bennett, M.D., Company Physician Consultant, Associate Physician, Massachusetts General Hospital Boston Athenaeum Boston Center for the Arts Boston Public Library CaffĂŠ Nero
Emerson College | Office of the Arts
Pierce Harman Photography
Erbaluce
Production Advantage
Eric Levenson
Opus Affair
Fessenden & Sykes
ProPrint Boston
Films Around the World, Inc. Alexander W. Kogan, Jr.
Quality Graphics, Inc.
Goodman Media International, Inc.
Santander
Harpsichord Clearing House HUM Properties | Casey Smith The HYM Investment Group IATSE Local #11 JACET | Colleen Glynn IRN Internet Services | Jay Williston Joel Esher Josiah Quincy Orchestra Project Leapfrog Arts | Melissa Wagner-O’Malley Liza Voll Photography
Chandler Inn
mindSHIFT Technologies Inc.
Constangy, Brooks, Smith & Prophete, LLP Andrew Eisenberg and Will Krasnow
Museum of Fine Arts, Boston Myles Standish Business Condominiums
Costume Works, Inc. | Liz Perlman
NEPS Primary Freight
Elderhostel, Inc./Road Scholar
New England Professional Systems | Bill Miller
Ryder Transportation Scalped Productions Sebastians Starburst Printing | Jason Grondin T. Charles Erickson Tessitura United Staging & Rigging | Eric Frishman Vantage Technology Consulting Group Geoffrey Tritsch VOICES Boston WBUR WGBH/WCRB The work is performed by arrangement with Boosey & Hawkes, Inc., publisher and copywright owner.
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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.
BOSTON LYRIC OPERA STAFF
VOLUNTEER CORPS
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 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 Amy Molloy Meg Morton Kameel Nasr Gail Neff Amy O'Connell Cosmo Papa Jane Papa Barbara Papesch Elizabeth Sarafin Alexandra Sherman Barbara Trachtenberg Amy Walba Gerry Weisenberg Debbie Wiess Beverly Wiggins Alfred Williams Lynn Williams Sybil Williams
ARTISTIC Nicholas G. Russell Director of Artistic Operations Steven Atwater Artistic Manager Zachary Calhoun Artistic Associate 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 Lindsay Conrad Production Administration Assistant 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 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 Amy Holland Crafton Senior Marketing Strategist Jeila Irdmusa Communications Manager Goodman Media Public Relations Julia Propp Director of Operations, External Relations Andrew J. Moreau Operations Manager & System Administrator Robin Whitney Development & Outreach Manager Robin Schweikart Database Administrator Rebecca Kittredge Audience Services Manager Narcissa McArthur Development Coordinator Bailey Kerr Patron 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
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 and January 24, 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 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*§ Katie and Paul Buttenwieser Ted Cutler Karen Johansen and Gardner Hendrie Mr. and Mrs. Amos B. Hostetter, Jr. Massachusetts Cultural Facilities Fund Susan and Dennis Shapiro* Board Member * Lyric Circle Member † Goldovsky Society Member § Deceased ‡
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 January 24, 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 Janet and Irv Plotkin*† 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*† The Catered Affair 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* Be Our Guest, Inc. 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 Mr. and Mrs. Morton Hoffman Mr. and Mrs. Charles Hood Dr. Maydee G. Lande, in memory of her father Mr. and Mrs. Gerard Moufflet OPERA America 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. Winston Flowers 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
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 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 Dr. Nicholas and Mrs. Charlotte Mastroianni Mr. Domenico Mastrototaro§ Margaret McDormand, in memory of Anna Elizabeth McDormand Kate Meany 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 Dr. Ioannis Yannas Maestro Ben Zander
ENSEMBLE ($500 - $999) Anonymous 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 Mr. 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 18 | BOSTON LYRIC OPERA THE RAKE'S PROGRESS 2017
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 Mr. Spiros Antoniadis 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 Ms. Elizabeth Bjorkman Ms. Holly Bodman Ms. Christine Bradt Ms. Judy Cabot 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 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 Fred and Caroline Hoppin Mr. Thomas Hotaling Mr. Cliff Hurley Mr. Michael Jacoff and Ms. Jeanne Vanecko James and Ellen Kaplan Mr. and Mrs. Jeffrey Katz Mr. Stanley Keller Mr. Richard Kimball Jonathan and Deborah Kolb Mr. Peter Koso Peter Laytin and Paula Callanan
Mr. Mark Lippolt Mr. and Mrs. Stuart E. Madnick Peter and Betsy Madsen Ms. Kathleen Malley Mr. Joseph Mari Judith K. Marquis and Keith F. Nelson Mr. Tony Martin Mr. Holt Massey and Ms. Sandra Ourusoff Ms. Carole 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. 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. and Mrs. Robert Wulff Mr. Chris Yabut Ms. Isabel C. Yoder Joan and Michael Yogg Albert and Judith Zabin Mr. and Mrs. Andy Zelleke BOSTON LYRIC OPERA GREEK 2016 | 18
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RAMPED UP ABOUT RAKE’S? Ben Bliss, The Rake's Progress, 2017
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