February 27 – March 2,
WILLIAM LUMPKIN
A NOTE FROM THE DEAN OF BOSTON UNIVERSITY COLLEGE OF FINE ARTS
region. Understanding that a well-lived life required access to and an immersion in the arts, they decided that a theatre was needed. Teatro Amazonas would benefit everyone.
An architectural marvel located near the intersection of three rivers (including the Amazon), the theatre opened in January 1897. Immediately, it became a must-stop venue for touring singers and opera companies. It hosted a residential symphony orchestra and staged works by local artists.
Following the collapse of the rubber industry, Teatro Amazonas played a key role in the economic recovery. It was the anchor of an expanding tourist economy and, today, continues to be a destination for established and emerging artists to experiment
A theatre is a place of hope and possibility. I am glad you are
An opera in two acts
FEBRUARY 27 – MARCH 2, 2025
JOAN & EDGAR BOOTH
THEATRE
820 Commonwealth Ave. Brookline, MA
Music by DANIEL CATÁN
Libretto by MARCELA FUENTES-BERAIN
WILLIAM LUMPKIN
Conductor
AMY HUTCHISON
Stage Director
Scenic Design
LILY BITNER
Costume Design
SARA MATHEW
Lighting Design
RACHAEL HARNED
Sound Designer & Engineer
RACHAEL DeBRAAL
Principal Coach
ALLISON VOTH
Coach
MATTHEW LARSON
Assistant Conductor
DAVID SCOTT
Diction Coach
VERÓNICA RODRÍGUEZ
BALLESTEROS
Choreographic Advisor
MELODIE JEFFERY-CASSELL
Stage Manager
EMILY CADY
Production Manager
LAUREN DAVIS
Producer
Assistant Stage Director & Dramaturg
GRANT SORENSEN
OSHIN GREGORIAN
CAST & CHORUS
CAST
FLORENCIA
ROSALBA PAULA
ARCADIO
ÁLVARO
RIOLOBO
CAPITÁN
AMAZONAS
ROSALBA COVER
Avuya Ngcaweni *
Margaret Tigue +
Abigail Orr *
Anne Burgett +
Juliette Kaoudji *
Rebekah Daly +
Ilhee Lee *
David Rivera Bozón +
Libang Wang *
Noah B. Rogers +
Nathan Savant *
Wanchun Liang +
William O’Brien *
Chenxi Fu +
Rowen Bailey
Alexa Connors
Shrutant Ramaswamy
Aleah Sebrey
Hannah Prince
CHORUS
Devin Barry
Judd Blake
Jerome Boxer
Heming Cao
Rebecca Clark
Abigail Cunningham
Anna Gaddie
Emma Giventer-Braff
Ryan Hanger
Amy Lanlan
Janae Peterson
Hannah Prince
Dalton Rowe
Shuangxiang Shan
Andrew Steele
Emily Szubielski
Ethan Wagner
* Thursday/Saturday performance + Friday/Sunday performance
BOSTON UNIVERSITY CHAMBER ORCHESTRA
William Lumpkin , Conductor
VIOLIN I
Tzau-Yan (Andy) Ou Yang
Juan Shin
Sofia Nangle
HaeJin Lee
Sophia Xie
Simon Hill
VIOLIN II
Isabel Sorebo
Lana Crosson
Audrey Ma
Chiara Tan
Teresa Pyo
Elizabeth Meyers
VIOLA
Ko Shen
Lauryn Koeppel
Yeuk Sen Renee Chan
Jean Caleb Belizaire
CELLO
Umi Neal
Nathaniel Aistrup
Gabriel Lee
Noah Lee
BASS
Bonnie Huang
Sam Donato
Lindy Billhardt
FLUTE
John Legere
Anya Mazaris-Atkinson, piccolo
OBOE
Kailey Hrencecin
Jack Cabell
CLARINET
Soyeon Park
Beiyou Zhou
Sihan (David) Chen, bass clarinet
BASSOON
Nora Cannizzaro
Min-Chi Chiang + contra-bassoon
HORN
Yi-Hao Lee
Nat Penn
Gianna Ingersoll
Ben Thurtle
TRUMPET
Reynolds Martin
Aysel DeBakey
TROMBONE
Changwon Park
Diego Galiano del Toro
TUBA
Nyla Mawire
HARP
Yoonsu Cha
PIANO
Simon Hou
TIMPANI
Xingyue Xue
PERCUSSION
Yun-Chen Chou
Hayoung (Halle) Song
Dominic Porcelli
Robert Lenau
ASSISTANT CONDUCTOR
David Scott
PRODUCTION & CREATIVE TEAM
MUSIC
OPERA INSTITUTE
ARTISTIC DIRECTOR
OPERA INSTITUTE MANAGING DIRECTOR & PRODUCER
ASSISTANT CONDUCTOR
SCHOOL OF MUSIC DIRECTOR OF PRODUCTION & PERFORMANCE
SCHOOL OF MUSIC LIBRARIAN
SUPERTITLES
William Lumpkin
Oshin Gregorian
David Scott
Chris Dempsey
Ken Yanagisawa
Allison Voth
DIRECTION
STAGE DIRECTOR
ASSISTANT DIRECTOR AND DRAMATURG
CHOREOGRAPHIC ADVISOR
INTIMACY COORDINATOR
Amy Hutchison
Grant Sorenson
Melodie Jeffery-Cassell
Jayce Ross
MANAGEMENT
PRODUCTION MANAGER
ASSOCIATE PRODUCTION MANAGER
STAGE MANAGER
ASSISTANT STAGE MANAGERS
PRODUCTION ASSISTANTS
Lauren Davis
Sam Noto
Emily Cady
Sofia Merie Maravillas
Carly Stegall
E. Harris
Samanatha Koury
Renata Pavell
Tegan Trueblood
COSTUMES
COSTUME DESIGNER
ASSISTANT COSTUME DESIGNER
WARDROBE CREW
Sara Mathew
Morgan Bailie
Bianca Akoa
Jacob Robertson
Liam Fahey
Rebecca Weltmann
PRODUCTION & CREATIVE TEAM
LIGHTING
LIGHTING DESIGNER
ASSISTANT LIGHTING DESIGNERS
PRODUCTION ELECTRICIAN
ASSISTANT PRODUCTION
ELECTRICIANS
LIGHTING PROGRAMMER
LIGHTING CREW
Rachael Harned
Alisa Saisakorn
Frankie Kraus
Ailsa Smith
Riley Higgins
Nathan McWilliams
Davin Martin
Keira Bertram, Erick Cestelos, Benny Dietz, Abbie Hardy, Tessa Herr, Jacob Hise, Jaden Huang, Ben Mills, Aryan Patel, Angelina Sanchez-Russo, Max Turman, Lindsey Wildstein
SCENIC
SCENIC DESIGNER
ASSISTANT SCENIC DESIGNER PROPS COORDINATOR
ASSISTANT PROPS COORDINATOR
SCENIC CHARGE ARTIST
Lily Bitner
Liv King
Zoe Charbonneau
Kaya Solheid
Sarah Busick
TECHNICAL PRODUCTION
PROJECT MANAGER
TECHNICAL DESIGNER
CO-TECHNICAL DESIGNER
Rachel Schladenhauffen
Sean Sweeney
Madelyn Carrillo
SOUND
SOUND DESIGNER & ENGINEER
SOUND DESIGNER SOUND CREW
Rachael DeBraal
Dylan Salinger
Bridget Buckheit, Maya De La Torre, Kendall Turner, Annika Zhang
FRONT OF HOUSE
LEAD USHERS
Caleigh Howell
Julia Kenny
SYNOPSIS
ACT I
The Amazon rainforest, the early 1900s. Passengers aboard the steamboat El Dorado are traveling to hear the legendary, but intensely private opera singer Florencia Grimaldi sing at the reopening of the theater in Manaus. Riolobo, a mystical character who can assume many forms, introduces the embarking passengers: Paula and Alvaro, a middle-aged couple attempting to rekindle their marriage; Rosalba, a journalist researching a biography on Grimaldi; and Florencia herself, travelling alone and incognito, harboring a burning desire to find her long-lost lover Cristóbal, a butterfly hunter, whose love unlocked her staggering powers of musical expression.
Once en route, Rosalba accidentally drops her research notes overboard. The captain’s nephew, Arcadio, manages to rescue them, and the pair becomes aware of a strong mutual attraction. The evening concludes as Paula and Alvaro’s attempt at a romantic dinner dissolves into a bitter quarrel. Initially unaware of her identity, the captain tells Florencia of the fate of Cristóbal, who disappeared without trace in the jungle, thus dashing her dearest ambition. As a heated card game brings out the contrasting sexual and hostile tensions between Rosalba and Arcadio and Paula and Alvaro, a violent storm brews outside. Trying to save the ship from being crushed, Alvaro is swept overboard. The captain is knocked unconscious, and despite Arcadio’s efforts at the helm, the ship runs aground.
ACT II
Paula mourns the loss of Alvaro, realizing that it was pride—not lack of love—that stood between them. Riolobo appears again mysteriously to return Alvaro to the ship, claiming that Paula’s laments saved him from death. Rosalba, distraught that her notebook has been ruined in the storm, talks to the incognito Florencia about her research. During the ensuing discussion, Florencia declares passionately that Grimaldi’s gift was a result of her love for Cristóbal. Rosalba realizes that she is talking to her heroine and, hearing her story, decides her own love for Arcadio shouldn’t be suppressed. To Rosalba’s joy and relief, Arcadio reciprocates her feelings. Paula and Alvaro have also rediscovered their joy and love for each other. After a long voyage, El Dorado reaches Manaus at last; however, the passengers learn that cholera has struck the town. The passengers do not disembark. Florencia laments her loss of Cristóbal, but as she dreams of finding him, her spirit drifts towards his in a mystical transformation.
- Metropolitan Opera
STAGE DIRECTOR’S NOTE
In Florencia en el Amazonas, the Amazon is more than the setting - it is a living, breathing, force. Responsive to the emotional currents of all aboard the El Dorado, the Amazon’s mystical energy acts as a force shaping the course of their life journeys, transcending their destination to guide their very destinies - their loves, hopes, dreams.
SPANISH COACH NOTE
Daniel Catán takes us on a magical journey up the Amazon river in search of a part of us that we think we lost. Just as the diva Florencia Grimaldi comes back home in search of a lost lover that she thinks can make her feel complete, so many of us, Catán included, feel that this Bildungsreise of exploration and discovery allows us to learn and grow, but cannot provide fulfillment. It is only when we return home, when we come full circle, that we can experience completion.
This journey of learning, discovery and growth took Odysseus 10 years. It took Florencia 20. When she finally comes back to her own Ithaca in the Amazon rainforest, when she feels ready to reconnect with her roots and willing to claim what she lost there (Cristóbal, escúchame) she finds that her Ithaca is no longer what she thought. However, Daniel Catán invites us to reframe this disappointment in a dreamy atmosphere of magical realism, and like the poet C.P. Cavafy, allows us to reconsider our finding, because “Ithaka gave you the marvelous journey / Without her you wouldn’t have set out. She has nothing left to give you now.”
The Amazon rainforest has nothing left to give Florencia except the realization that she always carried Ithaca within her. Is that a disappointment? Was that a disappointment for Daniel Catán himself? Or is he inviting us to savor the journey when we reach our destination, and to claim victory for what we actually found? Fulfillment. Completion. Nothing lost. You were always whole. Welcome home.
- Verónica Rodríguez Ballesteros, Coach for Spanish and Faculty Literary Advisor, Artistic Director of La Barraca Hispanoamericana
DRAMATURGY NOTE
“All human beings have three lives: public, private, and secret.” - Gabriel García Márquez
The passengers and crew of the steamship El Dorado are each navigating their three lives as they set sail down the Amazon River in Daniel Catán’s romantic fantasia Florencia en el Amazonas. Hidden identities, long-buried resentments, familial conflicts, marital squabbles, and deeply felt desires all bubble to the surface as our characters make the treacherous journey from Letitia, Colombia toward Manaus, Brazil in the early 20th century –a trip that would cover nearly 700 miles through mostly uncharted rainforest. As in so many tales, a journey into the wilderness strips away the affectations of society and allows for revival, reunion, and renewal. Catán’s opera has echoes of these transformation stories, from Ovid’s Metamorphosis to Grimm’s fairy tales to Shakespeare’s comedies, but even moreso, Florencia en el Amazonas is a love letter to the literary genre of magical realism, popularized by the works of Latin American writers Isabel Allende, Jorge Luis Borges, and Gabriel García Márquez, master of the genre known best in the United States from his novels One Hundred Years of Solitude and Love in the Time of Cholera In magical realism, dreamlike events occur alongside the mundanity of daily life while grounded in a world that looks like our own; the living and the dead can coexist, time loops and weaves around place and space, and magical transformations occur to mirror a character’s emotional or psychological progress throughout the story. One of Márquez’s students and protégée, Marcela Fuentes-Bertain, has created the libretto of Florencia en el Amazonas, drawing inspiration from her teacher’s literary mastery of poetic lyricism and vivid imagery. Set to music by the Mexican composer Daniel Catán, Florencia
is a pinnacle of contemporary opera, full of luscious instrumentation that evokes the flora and fauna of the Rainforest, as well as nods to Puccini, Stravinsky, and Ravel. Catán has expressed his inspiration to “capture the sound of the river, the way it changes its timbre as it flows, transforming everything in its path.” Everything, in this case, includes the personages of the opera, who face the perils of the river while also facing the perils of the heart. Florencia yearns for the love she rejected in her quest for fame, while two pairs of couples navigate their changing relationships, a young budding romance set in contrast to a long-standing marriage. Chartering them toward their destination are a captain and a river guide, each with their own unique relationship to the river and the Amazon, although no one can predict the eventual outcomes fate has in store for their journeys. Throughout the opera, there is a repeated invocation to “escúchame,” or to listen. As characters begin to reveal their inner desires to each other, to themselves, and to the world around them, they implore to be listened to. Indeed, the Amazon itself demands to be heard – whisperingly, tantalizingly, eventually forcefully. This desire to give voice, to be heard, to be witnessed is the basis of the drama in Florencia en el Amazonas, and serves as an enduring reminder of the crucial need for human connection when the world around us begins to transform and grow perilous. Magical realism grew out of the rise of political oppression in Latin America as a way to push back against authoritarian regimes’ control of art and artists. Florencia begs to be heard, and encourages those who hear to find their own voices and speak their own truths, to sing with passion and intensity, and to embrace the transformative power of love.
COMPOSER & LIBRETTIST
Daniel Catán (Composer), whose sudden death in April 2011 shocked the opera world, composed in a lyrical, romantic style that lends itself particularly well to the human voice, which features in the majority of his works. Lush orchestrations reminiscent of Debussy and Strauss along with Latin American instruments and rhythms are regularly heard in his music.
His opera Florencia en el Amazonas has the distinction of being the first opera in Spanish commissioned by a major American company. The success of this opera led to the commission of Salsipuedes for Houston Grand Opera. His fourth opera, Il Postino, was commissioned by Los Angeles Opera and premiered in Los Angeles, Vienna and Paris in 2011 featuring Plácido Domingo. At the time of his death, Catán was at work on his next opera, Meet John Doe.
Born in Mexico, Catán studied philosophy at the University of Sussex in England before enrolling in Princeton as a PhD student in composition under the tuition of Milton Babbitt, James Randall and Benjamin Boretz. His music is published by Associated Music Publishers.
Marcela Fuentes-Berain (Librettist) is a multifaceted writer who has worked in film, opera, television, radio, and theater. Among her palette of projects is the script of Hasta Morir, which received two nominations from the Mexican Academy of Film Arts and Sciences; and Sumas y Restas, co-written with Colombian cult director Víctor Gaviria, awarded Best Movie at the Cartagena Film Festival and Best Foreign Film by the Mexican Academy of Film Arts and Sciences. She had the great honor to work closely with the late Hollywood director Tony Scott on Man on Fire, starring Denzel Washington. In 1995 her mentor, teacher and friend Gabriel García Márquez asked her to write the libretto for Florencia en el Amazonas, which has been performed in several opera houses around the world from Heidelberg, Germany to Manaus, Brazil.
She has been a script consultant for the Sundance Institute for more than 15 years. Her prestige as a teacher has taken her all around Latin America and Spain giving workshops and being part of several juries. She was chosen to create the academic program for the first Mexican screenwriting school, to open in Morelia in 2015. She has been a member of the selection committee of the Huelva Ibero-American Film Festival since 2001. In 2010 she was part of the Bicentennial Film Committee in Mexico. She currently lives in Mexico City.
MEET THE ARTISTIC & PRODUCTION TEAM
Opera Theatre of St. Louis and Boston Lyric Opera, having previously served on the music staff for Los Angeles Opera, Aspen Opera Theatre, and Wolf Trap Opera. Additionally, Maestro Lumpkin led performances of the Mary Zimmerman production of Philip Glass’s Galileo Galilei as part of the Brooklyn Academy of Music’s New Wave Festival, having previously conducted world premiere performances at the Goodman Theatre in Chicago. Most recently, Mr. Lumpkin conducted performances of Die Entführung aus dem Serail at Opera Grand Rapids with members of the Grand Rapids Symphony in a production directed by Eve Summer and was guest conductor for The Meadows School for the Arts at Southern Methodist University production of Suor Angelica and Gianni Schicchi. Mr. Lumpkin conducted the American premiere of Jonathan Dove’s Flight with Opera Theatre of St. Louis and again for Boston Lyric Opera, which Opera News praised, stating “Dove’s impressive score was conducted wonderfully by another veteran of the Saint Louis production, William Lumpkin.” Additional credits at St. Louis include La bohème, The Magic Flute, Lucia di Lammermoor, and Hansel and Gretel. He also joined Boston Lyric Opera to conduct Così fan tutte. Of this production, Opera News stated “Lumpkin kept his players and singers under firm control, at the same time allowing them sufficient liberty to bring out nuances in their performances,” and the Boston Globe noted, “His work had brio, style, and heart, and the orchestra played beautifully for him.” As Associate Professor of Music and the Artistic Director and Conductor for the Opera Institute at Boston University, he has conducted over 40 opera productions, including a co-production with Glimmerglass Opera of E. Loren Meeker’s production of Janacek’s The Cunning Little Vixen, a co-commission with New York City Opera of Tobias Picker’s chamber version of his opera Dolores Claiborne, and a concert
as guest conductor at Indiana University and University of Illinois at Urbana-Champaign. As a pianist, Mr. Lumpkin collaborated with Juliana Gondek recording Roger Bourland’s Four Quartets of Songs and Arias for Navona Records. A native of Lewisburg, PA, Mr. Lumpkin holds a BM from the Eastman School of Music, an MM in Conducting from UCSB, and a DMA from the University of Southern California.
Director Amy Hutchison stages “wildly imaginative” opera and theatre productions throughout the U.S. and worldwide, in wide-ranging repertoire including A VIEW FROM THE BRIDGE (Rome, Washington D.C., Portland); HANSEL & GRETEL (Zürich, Toronto, New York, San Diego); PORGY AND BESS (Milan, Paris, Tokyo, Düsseldorf, Venice); CARMEN (Kansas City, Milwaukee, Columbus), AS ONE (Chicago, Santa Barbara, San Antonio); IL CORSARO (Chicago); TURANDOT (Orlando), TROUBLED ISLAND (Chicago); DON PASQUALE (Indianapolis), and many more. Her “brilliantly mounted double bill” of Donizetti’s IL PIGMAGLIONE & RITA for Chicago Opera Theater, was hailed as “an opera lover’s dreams on a golden platter.” Amy has served on the directing staffs of Lyric Opera of Chicago and Houston Grand Opera. She directs and teaches in esteemed opera programs including Indiana University, Northwestern University, Roosevelt University and DePaul University, where her production of DARK SISTERS recently won a National Opera Association award. A critical partner in developing new works, Amy is the dramaturg and director for TIME TO ACT, a new opera by Laura Kaminsky and Crystal Manich, premiering at Pittsburgh Opera in February 2026. She is also dramaturg and director for an opera in development by Amy Scurria and Zane Corriher, A.L.I.C.E., based on Lewis Carroll’s ALICE IN WONDERLAND She is represented by Marvel Arts Management. www.amyhutchison.com. •
MEET THE ARTISTIC & PRODUCTION TEAM
Oshin Gregorian is the Managing Director and Producer for the Boston University Opera Institute. Previous positions include Director of Operations with the ProArte Chamber Orchestra, and General Manager for Collage New Music. Mr. Gregorian holds a BM in vocal performance from Boston University, a MM in vocal performance from Manhattan School of Music, and is a graduate of the Opera Institute with honors. With the Opera Institute, he has been seen as Mercutio in Roméo et Juliette, Malatesta in Don Pasquale, Demetrius in A Midsummer Night’s Dream, Il Podesta in La Finta Giardiniera, and Junius in The Rape of Lucretia, among others. He has performed in numerous concerts and oratorio works with ensembles such as the Tanglewood Festival Chorus/Boston Symphony Orchestra, The Newburyport Choral Society, and Boston Youth Symphony, among others. Mr. Gregorian made his Carnegie Hall debut in 2005 under the auspices of Music Armenia.
David Scott is currently a student at Boston University in the process of obtaining his Doctorate of Musical Arts in Orchestral Conducting. Over the years, Mr. Scott has cultivated a diverse career in orchestral conducting, starting with his tenure as Assistant Conductor for the Orange County Youth Symphony from 2015 to 2018. Mr. Scott went on to serve as Conducting Fellow with the Long Beach Symphony from 2018 to 2020, gaining invaluable experience working with a wide range of orchestral settings. In 2021, Mr. Scott was appointed Adjunct Professor of Conducting at Chapman University, where he shared his expertise with aspiring undergraduate conductors until 2023. Mr. Scott holds a Master of Music in Orchestral Conducting from California State University, Long Beach, completed in 2020, as well
as a Bachelor of Music in Instrumental Conducting from Chapman University, earned in 2018. Mr. Scott has also been invited to significant summer workshops as a participant, such as the Conductors Retreat at Medomak, CCM Opera Bootcamp, and the Sawallisch Institute, where he made his first international appearance on the podium with the Bad Reichenhall Philharmonic. With a deep passion for education, he is committed to mentoring the next generation of musicians and conductors, fostering a lifelong love for music and performance.
Grant Sorenson is a director and theater maker in his final year at Boston University pursuing his MFA in Directing. His credits at BU include Julius Caesar, The Hot L Baltimore, and anon(ymous). Originally from Minneapolis, MN, his directing credits include work at the Guthrie’s Dowling Studio, Open Eye Theater, Boston Center for the Arts Plaza Theatre, Crane Theater, Maison Bodega, Everwood Farmstead, Wayzata Theatre, Minnesota Fringe Festival, and more. He was a founding company member of 7th House Theater from 20132017, producing original and reimagined musical theater productions. He has served as an assistant director at Theater Latte Da, The Moving Company, the Hennepin Theatre Trust, and others. Upcoming: Paula Vogel’s Desdemona at Boston University’s Booth Theatre. grant-sorenson.com •
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Vocal Performance from the New England Conservatory, and bachelor’s from the National University of Colombia With the Opera Institute, he has performed as Davey Palmer from Siren Song by Jonathan Dove; Un Campesino and covering the title role from El Caminante by Eduardo Sanchez de Fuentes and Arcadio from Florencia en el Amazonas by Daniel Catán. For more information, please visit drbtenor.com.
Anne Burgett (Rosalba), a soprano from Swampscott, Massachusetts, is a secondyear Master of Music, voice student under the tutelage of Professor Penelope Bitzas at Boston University. She received her Bachelor of Music from Northwestern University in 2023, studying with Nancy Gustafson. With the Boston University Opera Institute, Anne has performed as Zina in Nico Muhly’s Dark Sisters, Cathleen in Vaughan William’s Riders to the Sea, Second Esprit in Massenet’s Cendrillon, and Gianetta in Donizetti’s L’elisir D’amore. In the spring of 2025, Anne will be performing the role of Nella in Puccini’s Gianni Schicchi with the Opera Institute, and she will perform her degree recital.
Rebekah Daly (Paula), mezzo, originally comes from the greater Boston area and is currently in her second year at the Boston University Opera Institute. At the opera institute, Daly performed Ruth (Dark Sisters), Zandra (Alice Tierney) and Madame de la haltière (Cendrillon). This upcoming summer, Daly will return to Santa Fe Opera for her second season as an apprentice artist, covering Schwertleite (Die Walküre), and Giovanna (Rigoletto). She holds a master’s degree in voice and opera performance from Northwestern University and completed her undergraduate training at Rutgers University in New Jersey. Other role highlights include Zita (Gianni Schicchi), Mrs. Herring (Albert Herring), and Mere Marie (Dialogues of the Carmelites).
earned his master’s degree at the New England Conservatory, studying with Professor Michael Meraw, and completed his undergraduate studies at Xiamen University. Chenxi has played the role of Sarastro in Mozart’s Die Zauberflöte and Makoto in Jack Perla’s An American Dream.
Mezzo-soprano Juliette Kaoudji (Paula) recently performed the role of Ginesa in Fuentes’s newly-rediscovered opera El Caminante and Almera in Nico Muhly’s Dark Sisters with the Opera Institute. During her time at New England Conservatory, she portrayed Dido in Purcell’s Dido and Aeneas and Mrs. Grose in Britten’s The Turn of the Screw, Nada in Ana Sokolović’s Svadba and Chloe in Vicente Martín y Soler’s L’arbore di Diana. Ms. Kaoudji is slated to sing Zita in Gianni Schicchi with the Opera Institute this spring. Ms. Kaoudji has received her bachelor’s, master’s, and graduate diploma degrees in Vocal Performance from New England Conservatory under the tutelage of Ms. Carole Haber.
Korean tenor, Ilhee Lee (Arcadio) is pursuing a Performance Diploma at the Boston University Opera Institute under Penelope Bitzas. He holds degrees from Seoul National University and the New England Conservatory. This season, he sings Arcadio (Florencia en el Amazonas) and Rinuccio (Gianni Schicchi). He joins Santa Fe Opera as an Apprentice Artist this summer. Ilhee has received numerous honors, including the Joan and Henry Wheeler Presidential Scholarship and the John Moriarty Award from Central City Opera.
Wanchun Liang (Riolobo), Bass baritone, born in Shijiazhuang, Hebei province, China, is currently a second-year bass baritone at the Opera institute where he studies with Professor James Demler. In 2015, he was admitted to the Xi’an Conservatory of Music,
MEET THE CAST
studying with Chen Yong, director of the Vocal Department, In 2021, he was admitted to the New England Conservatory and studied with Professor Michael Meraw. Wanchun has performed the roles of Prophet/King (Dark Sisters), Publio (La clemenza di Tito), Le surinetendant (Cendrillon), and Bass, (Hydrogen Jukebox) with the Opera Institute. This past summer, he sang the roles of Zuniga (Carmen), and Le Fauteuil (L’enfant et Les Sortilèges) at the Music Academy of the West. Next year, he will be an Adler Fellow with the San Francisco Opera Merola program.
Avuya Ngcaweni (Florencia) is a lyric soprano from Durban, South Africa. Miss Ngcaweni joined The Dallas Opera Educational Outreach program in August 2021 and then proceeded to earn the MM in Voice Performance from SMU in May 2022. In October 2023 miss Ngcaweni went on a tour with a show called BROKEN CHORD by Thuthuka Sibisi which consisted of four leads and a dancer, the show was featured at New York Times and it toured to New York, San Francisco and Connecticut. Avuya recently performed Eliza in Dark Sisters in the fall and she is now in the studio of Dr. Allison Trainer.
William O’Brien (Capitán) is a bass originally from Ōtautahi, New Zealand. He is in his second-year at the Boston University Opera Institute in the studio of Dr. Lynn Eustis. He obtained his Master of Music in Vocal Performance from the San Francisco Conservatory of Music. At Boston University, his roles include Simone in Gianni Schicchi by Puccini, Capitán in Florencia en el Amazonas by Daniel Catán, The Prophet/King in Dark Sisters by Nico Muhly, Publio in La clemenza di Tito by Mozart, Le Roi in Cendrillon by Massenet, Bass in Hydrogen Jukebox by Philip Glass, and bass soloist for Mozart’s Requiem in D Minor.
Abigail Orr (Rosalba) is a soprano from Montgomery, Texas. Her most recent performances include singing Diana in Jonathan Dove’s Siren Song and La Fée in Boston University’s production of Cendrillon
as well as Adina in L’Elisir D’amore in their scenes production. Abigail has also recently sung Fiordiligi in Utah Vocal Arts Academy’s production of Così fan tutte and was a recent alumna of Songfest as a Colburn Fellow recipient. Abigail Orr is a graduate of Oberlin Conservatory of Music and received her Certificate in Opera Performance from Texas Tech University. Abigail will receive her Master’s in Vocal Performance at Boston University under the tutelage of Dr. Lynn Eustis.
Rising baritone, Noah B. Rogers (Álvaro) is in his second year at the Boston University Opera Institute, where he studies with James Demler. A recent graduate of the University of Michigan, Mr. Rogers performed numerous lead roles during his tenure there, including the Forester in Janáček’s The Cunning Little Vixen and Henry Horatio Hobson in the world-premiere reading of Tom Cipullo’s 2023 opera Hobson’s Choice. Other recent credits include the Baker in Sondheim’s Into the Woods (Opera North), Pandolfe in Massenet’s Cendrillon (BUOI), Maestro Spinelloccio in Gianni Schicchi (Cedar Rapids Opera), and Public Opinion in Offenbach’s Orphée aux enfers (Opera North).
Nathan Savant (Riolobo) is a Performance Diploma Candidate at Boston University Opera Institute where he studies with Penelope Bitzas. Later this year at the Opera Institute, Nathan will perform the title role in Gianni Schicchi. Previously at the Opera Institute, Nathan has performed the roles of Baritone in Hydrogen Jukebox, Pandolfe in Cendrillon and Jonathan in Siren Song. This summer, Nathan will be a Gerdine Young Artist at Opera Theater of St. Louis. Nathan holds a MM degree from Northwestern University and a BM in Vocal Performance from the Eastman School of Music. For more information, please visit nathansavantsinger.com.
Praised by OperaWire for “a power and seeming effortlessness that [is] quite amazing...”, Margaret Tigue (Florencia) is
FEBRUARY 15 – MARCH 9, 2025
MEET THE CAST
a soprano currently based in Boston and New York. Her 2025 season includes Carnegie Hall’s 2025 SongStudio workshop, and the title role in Puccini’s Suor Angelica. Last season, Margaret sang Cendrillon and Vitellia in BU’s productions of Cendrillon and La Clemenza di Tito. She has been a featured soloist in concert with the Albany Symphony Orchestra, the Leipzig Gewandhaus Orchestra, The Orchestra Now, and the Tanglewood Music Center Orchestra. From Xiamen, China, baritone Libang Wang (Álvaro) is pursuing a DMA at
Boston University under the tutelage of James Demler. In 2023, he earned an MM in Vocal Performance from the New England Conservatory, where he studied with Michael Meraw. Libang has performed as Papageno in Mozart’s Die Zauberflöte for NEC’s Opera. In 2023, he appeared as the baritone soloist in Gabriela Lena Frank’s Conquest Requiem with the NEC Philharmonia and Chorus at Boston Symphony Hall. He also appeared as the baritone soloist in Dona Nobis Pacem with the Boston University Symphony Orchestra and Symphonic Chorus in 2024. •
MEET THE PRODUCTION & CREATIVE TEAM
Morgan Bailie (Assistant Costume Designer) (she/her) is a third-year BFA Costume Design undergrad. She is from Saint Paul, Minnesota. Her design work at BU includes Siren Song (2024), Grow Until... (2024), and HALF (2023). She has also worked at the Santa Fe Opera and Trollwood Performing Arts School. She would like to thank the amazing BU Costume Department for making this show a reality!
Lily Bitner (Scenic Designer) (she/her) is a Scenic Design major at Boston University, who has worked on several BU shows such as Dontrell, Hydrogen Jukebox, and Cendrillon Lily would like to thank her family and friends for their overwhelming support!
Sarah Busick (Scenic Charge Artist) is a first-year Scene Painting Certificate student with three years of prior experience as a scenic artist at a children’s theatre. She is grateful for the opportunity to continue learning, and to collaborate with such a talented group of theatre artisans.
Emily Cady (Stage Manager) (she/ they) is beyond thrilled to partake in her fifth collaboration with the Opera Institute on Florencia en el Amazonas. Favorite credits:
Opera Inferno (Boston Opera Collaborative), Kyoto (World Premiere, Good Chance/Royal Shakespeare Company - London), From Here On (World Premiere, Good Chance/GeckoLondon), Siren Song (Boston University School of Theatre/Opera Institute), Most Happy In Concert (Williamstown Theatre Festival), Just For Us (Regional Premiere, WTF), Faith Healer (Barrington Stage). Endless love and gratitude to all involved, the family, and the dream team. BFA Stage Management and Kilachand Honors College 2025. @emilyycadyy
Madelyn (Mad Dawg) Carrillo (Technical Designer) (she/her) is a sophomore Technical Production student from Houston, Texas. She is very grateful to be a part of this production and to be working with Rachel and Sean. She would also like to thank her friends, family, and team for their support!
Zoe Charbonneau (Props Coordinator) is a senior at Boston University studying Theatre Arts with an emphasis in scenic design, hoping to pursue a career in prop artistry. She has worked as a property coordinator for shows such as Once The Musical, Little Women: The Opera and The
MEET THE PRODUCTION & CREATIVE TEAM
(she/her) is a second-year MFA Production Management student from Oak Lawn, IL. She is grateful to be part of the BU management community and has so enjoyed this opportunity to collaborate with Sam, our friends in the Opera Institute, and every other brilliant mind involved in the making of Florencia en el Amazonas. Lauren would like to extend her thanks and congratulations to the full team for all their hard work throughout this journey to the opera house, as well as thanks to her partner Zac and her family for their support always.
Rachael DeBraal (Sound Designer & Engineer) is a sophomore sound design major, she is so excited to be engineering her first Booth show. She would like to thank her friends and peers who offered their utmost support in this process.
Rachael Harned (Lighting Designer) is currently a second-year graduate student at Boston University pursuing her MFA in Lighting. She is thrilled to be designing her fourth show at BU. Her most recent lighting design credits include Julius Caesar, One Penny Down and Orlando (Boston University) the world premiere of Classical Queens: Our Time (The Morrison Center), and Between Here and There (Boise Contemporary Theatre). She’s grateful for each opportunity she has to design and is thankful for the support from her family, friends and communities as she continues to pursue what she loves.
Riley Higgins (Assistant Production Electrician) is thrilled to be a part of Florencia en el Amazonas! Some of her previous credits include She’s Got Sol (CoLighting & Sound Designer) and Julius Caesar (Assistant Production Electrician). She gives
the assistant director of La Bete. A special thank you to Lily for being an inspirational collaborator and designer. Much love to the entire Florencia team (especially those in the Prop Shop!).
Frankie Kraus (Assistant Lighting Designer) is a Theatre Arts student concentrating in Lighting Design and Technical Production. He is excited to contribute to this production at Boston University and proud of all the work this team has done for the show.
Sofia Merie Maravillas (Assistant Stage Manager) (she/her) is a second year BFA Stage Management major. Her past productions at BU include being the ASM for La clemenza di Tito (2024), ASM for Entry, and ASM for The Rink! Additionally, this past summer she got to learn Theatre Management under The Shubert Organization. She would like to thank her parents and family for all their support! She is super lucky and happy to be working on this production with Emily Cady and Carly Stegall as part of the stage management team!
Davin Martin (Programmer) is a junior lighting major at Boston University where he has recently worked on The Rink, Cendrillon, Yerma, and The Drunken City. He can usually be found working on a fun project that ended up a little larger than he anticipated. Davin would like to thank Laurel, Dan, Linnea, and all his wonderful friends for their constant support. Visit him at davinmartin. com
Sara Mathew (Costume Designer) is a second-year graduate student at Boston University. She is so excited to be designing her first opera and is grateful to be working with such an incredible team. Her other BU
MEET THE PRODUCTION & CREATIVE TEAM
Nathan McWilliams (Assistant Production Electrician) is a sophomore Lighting Design major from the Pittsburgh area. Notable BU experiences include Boston Playwrights’ Theatre’s 2024 fall rep (Assistant Lighting Designer) and Molly Beall’s BFA Lighting Thesis: Illuminate! An Electric Cabaret Showcase (Production Electrician). Additional past experiences include Seussical, Young Frankenstein, and The Music Man (Lighting Apprentice) at the Pittsburgh Civic Light Opera. He would like to thank the rest of the lighting team, as well as Tori and Ben, for their hard work and dedication! nathanmcwilliams.myportfolio.com
Sam Noto (Associate Production Manager) (she/her) is a first-year MFA Production Management student from Las Vegas, Nevada. She has a background in sound design and engineering and is excited to be associate production managing this show with such an amazing team. Sam has been working professionally in the Boston and Las Vegas areas for the last few years and is excited to expand her knowledge with the opportunities that Boston University has provided. She would like to thank her incredible team for all their continued love and support.
Alisa Saisakorn (Assistant Lighting Designer) (she/they) is a sophomore lighting design student originally from Bellevue, Washington. Previous BU productions include Entry and The Skriker She would like to thank her friends, family, and the School of Theatre community for their support. She looks forward to future projects both within and outside of BU!
for all their amazing work.
Ailsa Smith (Production Electrician) (she/her) is a sophomore lighting major, originally from Sudbury, MA. BU credits include The Drunken City, Sunday in the Park with George and Dark Sisters. She also works as a freelance designer and technician in the Boston area. She’d like to thank her friends and family for their support.
Kaya Solheid (Assistant Props Coordinator) is a sophomore at Boston University pursuing a degree in scenic design. Past productions include props for Entry and scenic design for Grow Until…. She would like to thank her microwavable cow stuffie Harold.
Carly Stegall (Assistant Stage Manager) (she/her) is a Sophomore Stage Management student from Kannapolis, NC. Her past productions at Boston University include SM for She’s Got SOL and ASM for Julius Caesar. She is excited for the rest of her time at BU and would like to thank her family and roommates for their endless love and support. She wants to extend an extra special thank you to Sofia and Emily as well as the entire management team for making this experience so memorable!
Sean Sweeney (Technical Designer) is excited for his first production assignment at Boston University. Sean has previously worked as the Technical Director for Shakespeare & Company. His undergraduate degree is from SUNY New Paltz. •
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Photo
Michael J. Lutch
BOSTON UNIVERSITY SYMPHONY ORCHESTRA & SYMPHONIC CHORUS
Daniel Parsley, conductor
Sergio Savala, countertenor
Leonard BERNSTEIN • Chichester Psalms
BOSTON UNIVERSITY WIND ENSEMBLE
Kenneth Amis, conductor
Arnold ROSNER • Symphony No. 8, Op. 84, Trinity
BOSTON UNIVERSITY SYMPHONY ORCHESTRA
Sarah Ioannides, conductor
Richard STRAUSS • Suite from Der Rosenkavalier, Op. 59
BOSTON UNIVERSITY SYMPHONY ORCHESTRA & SYMPHONIC CHORUS
Sarah Ioannides, conductor
Maurice RAVEL • Daphnis et Chloé, Suite No.2
MONDAY, MARCH 31, 2025 7:30pm
SYMPHONY HALL 301 Massachusetts Ave, Boston
Boston University School of Theatre presents
Mercutio Loves Romeo Loves Juliet Loves
By Gina Femia • Directed by Shalee Mae Cole Mauleón
March 5 - 7, 2025
“Jewels 1” Studio Theatre
Corpus Christi
By Terrence McNally • Directed by Gregg Wiggans (CFA’25)
April 10 - 13, 2025
Studio ONE
Desdemona
By Paula Vogel • Directed by Grant Sorenson (CFA’25)
April 16 - 19, 2025
Joan & Edgar Booth Theatre
Emilia
By Morgan Lloyd Malcolm • Directed by Taylor Stark (CFA’25)
April 25 - 27, 2025
Joan & Edgar Booth Theatre
Sophomore Festival
Facilitated by Performance Faculty April 27 - May 1, 2025
Studio ONE
Senior Theatre Arts Major Productions
David Copeland Blackbox Theatre & “Jewels 2” Studio Theatre
American Buffalo by David Mamet
Directed by Clay Hopper February 28 - March 2
Bachelorette
By Leslye Headland
Directed by Ava Laroche March 28 - 30
Richard III
By William Shakespeare
Directed by Shai Vaknine April 25 - 27
Find more info about these productions and other upcoming projects at bu.edu/cfa/theatre/season
BOSTON UNIVERSITY COLLEGE OF FINE ARTS
Established in 1954, Boston University College of Fine Arts (CFA) is a community of artist-scholars and scholar-artists who are passionate about the fine and performing arts, committed to diversity and inclusion, and determined to improve the lives of others through art. With programs in music, theatre, and visual arts, CFA prepares students for a meaningful creative life by developing their intellectual capacity to create art, shift perspective, and think broadly. CFA offers a wide array of precollege, undergraduate, graduate, and doctoral programs, as well as a range of online degrees and certificates. Learn more at bu.edu/cfa.
BOSTON UNIVERSITY COLLEGE OF FINE ARTS SCHOOL OF THEATRE
The School of Theatre at the College of Fine Arts at Boston University is a leading conservatory for the study of acting, stage management, design, production, and all aspects of the theatre profession. These programs of study are enriched by the School’s access to the greater liberal arts programs at Boston University. The School of Theatre seeks to provide students with opportunities for artistic growth through a rigorous curriculum, professional connections, and an emphasis on collaboration and new work. bu.edu/cfa/theatre
BOSTON UNIVERSITY COLLEGE OF FINE ARTS SCHOOL OF MUSIC: OPERA INSTITUTE
The Opera Institute at CFA School of Music is an intensive, highly selective two-year performance-based training program for emerging operatic artists. A professional faculty and renowned guest artists provide personal support and training in all areas pertinent to a career in opera, including voice, acting, languages, and movement styles. Additionally, the Opera Institute selects undergraduate and graduate singers from the School of Music who demonstrate true operatic potential and have mastered an intermediate integration of acting, vocal, and movement skills for the Opera Theater, Opera Workshop, and Opera Project programs. Find more at bu.edu/cfa/opera/season
BOSTON UNIVERSITY JOAN & EDGAR BOOTH THEATRE
This bold, state-of-the-art structure encourages innovation, conversation, and collaboration. The flexible design of Booth Theatre allows for the inventive evolution of performances and a deep engagement with audiences. Research is at the core of Boston University, and BU College of Fine Arts practices it every day in the form of creative experimentation. Booth Theatre and the adjacent CFA Production Center are laboratories for such research, and in every detail, they are purpose-built for discovery. Recent productions include Sunday in the Park with George, Orlando, Cendrillon, Once, Little Women, Angels in America, Shakespeare in Love, Let the Right One In, The Rake’s Progress, Mansfield Park, Dolores Claiborne, and The Exonerated. bu.edu/booth
Find this program and other archived Boston University Opera Institute and School of Theatre production programs in our digital reader library by scanning this QR code or by visiting Boston University College of Fine Arts on issuu.com.
SUPPORT THE FINE AND PERFORMING ARTS AT BOSTON UNIVERSITY!
You can play a role in supporting the education of the next generation of artist-scholars! Scan this QR code or visit us online at bu.edu/give2cfa to donate today.