Opera Cues - Holiday 2022

Keeping ELITE PERFORMERS IN THE SPOTLIGHT

At Houston Methodist, we’re proud partners in helping artists achieve peak performance, week in and week out. We treat artists and their unique needs, while bringing the same level of specialized care to every patient we serve.

Photo Credit: Lynn Lane Photography

A MESSAGE FROM THE GENERAL DIRECTOR AND CEO

Welcome to the Wortham Theater Center, and Houston Grand Opera’s holiday opera, Javier Martínez and Leonard Foglia’s El Milagro del Recuerdo (The Miracle of Remembering). It is our joy to present this original, HGO-commissioned work, which made its world premiere in 2019 and has become a new Houston holiday tradition.

It is thrilling for us at HGO that so many of the incredible artists who originated the opera’s unforgettable characters for its world premiere have returned to our stage, including mezzo-soprano Cecilia Duarte (Renata), soprano Vanessa Becerra (La Mujer), and mezzo-soprano Vanessa Alonzo (Lupita).

The incomparable Trio Chapultepec, comprised of William Carlton Galvez, Israel Alcala, and Vincent Pequeño, also makes a highly antici pated return to HGO for this production, with bass-baritone Federico de Michelis in his role debut as Laurentino and our very own Benjamin Manis at the podium.

As recently as 2010, the idea of a mariachi opera might have seemed outlandish to some. It’s a fitting part of HGO’s legacy that this natural fusion of musical styles took place here, in this city full of innovators, and has now been shared all over the world. From all our families at HGO to yours, we wish you joy and peace this holiday season. Please enjoy the show!

Khori Dastoor General Director and CEO

Opera Cues is published by Houston Grand Opera Association; all rights reserved. Opera Cues is produced under the direction of Chief Marketing and Experiences Officer Jennifer Davenport and Associate Director of Marketing and Communications Natalie Barron, by Houston Grand Opera’s Audiences Department.

Associate Director of Communications / Editor-in-Chief

Catherine Matusow

Designers

Chelsea Crouse

Christopher Robinson

Contributors

Jennifer Bowman

Khori Dastoor

Leonard Foglia

Jeremy Johnson

Chelsea Lerner

Alisa Magallón

Jadsia Roopchand

Brian Speck

Patrick Summers

Advertising

Matt Ross/Ventures Marketing 713-417-6857

For information on all Houston Grand Opera productions and events, or for a complimentary season brochure, please email the Customer Care Center at customercare@HGO.org or telephone 713-228-6737.

Houston Grand Opera is a member of OPERA America, Inc., and the Theater District Association, Inc.

The Show supports Houston Grand Opera’s Community and Learning initiative, including the Student Performance Series, Opera To Go!, and Storybook Opera. The program serves nearly 70,000 students every season and has been a Show grant recipient for the past 20 years.

Small Steps Nurturing Center is a comprehensive, high-quality early childhood education program that prepares children living in poverty for success in elementary school and life. Small Steps operates two preschools in Houston at no financial cost to the families they serve. Over the next year, Small Steps expects to serve approximately 180 children.

Schreiner University – Western Art Academy Scholarship Program awards scholarships to 48 students who participate in the Houston Livestock Show and Rodeo School Art program each year. These scholarships allow high school students to study Western art and learn traditional studio techniques from practicing professional artists.

AFA • Barbara Bush Houston Literacy Foundation • Big Brothers Big Sisters Lone Star Glassell School of Art • Houston Ballet • Houston Police Foundation Houston Symphony • Houston Zoo • and many others!

Changers in Opera: A Series Khori Dastoor in conversation with composer Kamala Sankaram.

Note Leonard Foglia explains why, in Mexico, there is no Christmas story without Satan.

Mariachi at HGO Patrick Summers on the welcome return of El Milagro de Recuerdo

Born in Bayou City It’s no accident that Houston gave rise to the mariachi opera.

Life on the Other Side The complicated legacy of the Bracero Visa Program.

Out of Character: Trio Chapultepec Two members of the trio on the joys and challenges of combining mariachi with opera.

Photo credit: Lynn Lane

Photo credit: Lynn Lane

Photo credit: Lynn Lane

HGO BOARD OF DIRECTORS 2022-23

OFFICERS

Claire Liu, Chair of the Board

Allyn Risley, Senior Chair of the Board

Janet Langford Carrig, Chair Emeritus of the Board; Houston Grand Opera Endowment, Inc. Chair Emeritus

Lynn Wyatt, Vice Chair of the Board

MEMBERS AT LARGE

Richard E. Agee, Finance Committee Vice Chair

Thomas R. Ajamie

Robin Angly, Community and Learning Committee Vice Chair

John S. Arnoldy *

Christopher V. Bacon, Secretary; General Counsel

Michelle Beale, Governance Committee Chair

Astley Blair, Audit Committee Chair

Albert Chao

Louise Chapman Mathilda Cochran, Community and Learning Committee Chair

Albert O. Cornelison Jr. * James W. Crownover Khori Dastoor

Joshua Davidson David B. Duthu *

Warren A. Ellsworth IV, M.D., Studio Committee Vice Chair

Benjamin Fink, Finance Committee Chair

Joseph Geagea

Michaela Greenan, Audit Committee Vice Chair

Dr. Ellen R. Gritz

Richard Husseini

José M. Ivo, Philanthropy Committee Vice Chair

Myrtle Jones

HOUSTON GRAND OPERA ASSOCIATION CHAIRS

1955–58 Elva Lobit 1958–60 Stanley W. Shipnes 1960–62 William W. Bland 1962–64

Thomas D. Anderson 1964–66 Marshall F. Wells 1966–68

John H. Heinzerling 1968–70

Lloyd P. Fadrique 1970–71

Ben F. Love 1971–73 Joe H. Foy 1973–74 Gray C. Wakefield

1974–75 Charles T. Bauer 1975–77

Maurice J. Aresty 1977–79

Searcy Bracewell 1979–81

Robert Cizik 1981–83

Terrylin G. Neale 1983–84

Barry Munitz 1984–85

Jenard M. Gross 1985–87

Dr. Thomas D. Barrow 1987–89

John M. Seidl 1989–91

James L. Ketelsen

Marianne Kah, Houston Grand Opera Endowment, Inc. Vice Chair

Yolanda Knull, Houston Grand Opera Endowment, Inc. Chair

David LePori, Governance Committee Vice Chair

Gabriel Loperena, Philanthropy Committee Chair Richard A. Lydecker Jr. Beth Madison *

Paul Marsden Sid Moorhead

Sara Morgan Terrylin G. Neale, Houston Grand Opera Endowment, Inc. Secretary; Treasurer

Ward Pennebaker, Audiences Committee Chair

Cynthia Petrello Gloria M. Portela

Matthew L. Ringel, Audiences Committee  Vice Chair

Kelly Brunetti Rose Glen A. Rosenbaum

Jack A. Roth, M.D., Studio Committee Chair Harlan C. Stai

John G. Turner * Alfredo Vilas Margaret Alkek Williams * Senior Director

1991–93

Constantine S. Nicandros 1993–95 J. Landis Martin 1995–97 Robert C. McNair 1997–99

Dennis R. Carlyle, M.D. Susan H. Carlyle, M.D. 1999–2001 Archie W. Dunham 2001–03 Harry C. Pinson 2003–04 James T. Hackett 2004–07

John S. Arnoldy 2007–09 Robert L. Cavnar

2009 Gloria M. Portela 2009–11 Glen A. Rosenbaum 2011–13 Beth Madison 2013–16

John Mendelsohn, M.D. 2016–18

James W. Crownover 2018–20 Janet Langford Carrig 2020–22

Allyn Risley 2022–present Claire Liu

Photo credit: Lynn Lane

IMPRESARIOS CIRCLE

IMPRESARIOS CIRCLE

$100,000 OR MORE

Judy and Richard Agee

Robin Angly and Miles Smith

Janice Barrow

The Brown Foundation, Inc. Sarah and Ernest Butler

Anne and Albert Chao Louise Chapman

The Robert and Jane  Cizik Foundation

Mathilda Cochran

ConocoPhillips

Mr. and Mrs. James W.  Crownover

The Cullen Foundation

The Cullen Trust for  the Performing Arts City of Houston  through Houston  Arts Alliance

Connie Dyer

Drs. Liz Grimm and Jack Roth Nancy Haywood H-E-B

Houston Methodist

The Humphreys Foundation Elizabeth and Richard Husseini

Donna Kaplan and  Richard A. Lydecker

Claire Liu and Joe Greenberg Beth Madison

To learn more about HGO’s Impresarios Circle members, please see page 58.

Mr. Paul Marsden and  Mr. Jay Rockwell

The Robert and Janice  McNair Foundation

Mr. and Mrs. D. Bradley  McWilliams

M.D. Anderson Foundation

Sara and Bill Morgan National Endowment  for the Arts

Novum Energy

Jill and Allyn Risley Glen A. Rosenbaum

Susan D. Sarofim Shell USA, Inc.

Dian and Harlan Stai

Texas Commission on the Arts

Mr. John G. Turner and  Mr. Jerry G. Fischer Margaret Alkek Williams

The Wortham Foundation, Inc. Lynn Wyatt 2 Anonymous

Timeless

Australia is home to the world’s oldest indigenous culture. Today, the ancient Aboriginal spirit survives, with both its traditions and aspirations reflected in contemporary paintings unlike any other.

Cultures evolve. So has Booker-Lowe! Our gallery on Feagan is closed, and we now show Aboriginal art by appointment only, and provide personalized searches for artworks, as well as other art services.

Booker • Lowe Galler y Abor iginal fine ar t of Australia since 2002

For infomation or to schedule a visit: www.bookerlowegallery.com info@bookerlowegaller y.com

Theo (Faye) Nangala Hudson, Fire Country Dreaming, 18” x 36” Image © the artist and Booker-Lowe

FOUNDERS COUNCIL FOR ARTISTIC EXCELLENCE

Houston Grand Opera is deeply appreciative of its Founders Council donors. Their extraordinary support over a three-year period helps secure the future while ensuring the highest standard of artistic excellence. For information, please contact Greg Robertson, chief philanthropy officer, at 713-546-0274 or grobertson@hgo.org.

Ajamie LLP

Robin Angly and Miles Smith

Baker Botts L.L.P.

Dr. Saúl and Ursula Balagura Michelle Beale and  Dick Anderson Albert and Anne Chao Jane Cizik ConocoPhillips

Mr. and Mrs. James W.  Crownover

Mr. and Mrs. Joshua Davidson Connie Dyer

Drs. Rachel and  Warren A. Ellsworth IV Frost Bank Marianne and Joe Geagea

Drs. Liz Grimm and Jack Roth

Dr. Ellen R. Gritz and  Mr. Milton D. Rosenau Jr.

Houston Methodist Ms. Myrtle Jones

Ms. Marianne Kah

Donna Kaplan and  Richard A. Lydecker Carolyn J. Levy

Claire Liu and  Joe Greenberg

Gabriel Loperena

M. David Lowe and  Nana Booker  Booker Lowe Gallery

Beth Madison

Mr. Paul Marsden and  Mr. Jay Rockwell John P. McGovern Foundation

The Robert and Janice McNair  Foundation

Andrew W. Mellon Foundation

Dr. and Mrs. Miguel  Miro-Quesada

Kathleen Moore and  Steven Homer Novum Energy

Matthew L. Ringel Jill and Allyn Risley

Kelly and David Rose Glen A. Rosenbaum

John Serpe and Tracy Maddox Dian and Harlan Stai

Sheila Swartzman

Mr. and Mrs. Donald G.  Sweeney

Mr. John G. Turner and  Mr. Jerry G. Fischer

Vinson & Elkins LLP

Helen Wils and  Leonard Goldstein

The Wortham Foundation, Inc. R. Alan and Frank York

GRAND UNDERWRITER— $50,000 OR MORE

Thomas R. Ajamie

Michelle Beale and  Dick Anderson

Janet Carrig

Drs. Rachel and Warren A.  Ellsworth IV Marianne and Joe Geagea

Dr. Ellen R. Gritz and  Mr. Milton D. Rosenau Jr. Stephanie Larsen Will L. McLendon

Mr. and Mrs. D. Bradley  McWilliams

Mr. and Mrs. Charles G. Nickson Allyson Pritchett Isabel and Ignacio Torras Mr. and Mrs. Jesse B. Tutor Mr. Veer Vasishta

2 Anonymous

UNDERWRITER— $25,000 OR MORE

Mr. William J. Altenloh and  Dr. Susan Saurage-Altenloh Dr. Saúl and Ursula Balagura Dr. Gudrun H. Becker

Meg Boulware and  Hartley Hampton Bill and Melinda Brunger

Ms. Kiana K. Caleb and  Mr. Troy L. Sullivan Shelly Cyprus

Mr. and Mrs. Joshua Davidson Ms. Lynn Des Prez Joanne and David Dorenfeld C.C. and Duke Ensell

Benjamin and Jennifer Fink Amanda and Morris Gelb

Lynn Gissel

Leonard A. Goldstein and  Helen B. Wils

Michaela Greenan and  Nicholas Greenan

Janet Gurwitch and Ron Franklin

Brenda Harvey-Traylor

Mr. Matthew Healey Gary Hollingsworth and  Ken Hyde

Ms. Marianne Kah Stephanie Larsen David and Lori LePori Carolyn J. Levy Sharon Ley Lietzow and  Robert Lietzow

M. David Lowe and Nana Booker  Booker · Lowe Gallery Mrs. Marilyn Lummis Mrs. Rosemary Malbin Dr. Laura Marsh Muffy and Mike McLanahan Amy and Mark Melton

Dr. and Mrs. Miguel  Miro-Quesada

Kathleen Moore and  Steven Homer Sid Moorhead Ms. Diane K. Morales

Terrylin G. Neale

Cynthia and Anthony Petrello Mrs. Gerald Rauch

Mr. Todd Reppert Matthew L. Ringel

Kelly and David Rose James and Nathanael  Rosenheim

Mr. and Mrs. David Rowan John Serpe and Tracy Maddox Jeff Stocks and Juan Lopez

Dr. Laura E. Sulak and  Dr. Richard W. Brown Sheila Swartzman

Mr. and Mrs. Donald G. Sweeney Alejandra and Héctor Torres

Mr. Scott B. Ulrich and  Mr. Ernest A. Trevino Georgios and Laura Varsamis Marietta Voglis

Mr. Trey Yates Alan and Frank York Rini and Edward Ziegler 2 Anonymous

THE LEADERSHIP COUNCIL

The Leadership Council is a program designed to provide fiscal stability to Houston Grand Opera’s Annual Fund through three-year commitments, with a minimum of $10,000 pledged annually. We gratefully acknowledge these members.

Mr. and Mrs. Frank N. Barnes

Dr. Michael and Susan Bloome

Mr. and Mrs. Lester P. Burgess

Mr. and Mrs. Richard Burleson

Dr. Peter Chang and Hon.  Theresa Chang

Mr. Anthony Chapman

Ms. Anna M. Dean Elisabeth DeWitts Anna and Brad Eastman

Michelle Klinger and  Ru Flanagan Gerard and Christine Gaynor

Brenda Harvey-Traylor

Ann and Stephen Kaufman Ann Koster

Elizabeth and Bill Kroger Jan and Nathan Meehan Terrylin G. Neale

Mr. and Mrs. Michael J. Pancherz

Dr. Angela Rechichi-Apollo Ed and Janet Rinehart

Michelle and Chuck Ritter Adel and Jason Sander Mrs. Helen P. Shaffer

Mr. and Mrs. John Untereker Georgios and Laura Varsamis Mary Lee and Jim Wallace

THE PRODUCTION FUNDERS

Houston Grand Opera is internationally acclaimed for its onstage excellence. Ensuring the exceptional quality of our productions and the creativity of our artistic forces — singers, conductors, directors, designers — is our highest priority. The art we make onstage is the foundation for everything we do. For information about joining The Production Funders, please contact Greg Robertson, chief philanthropy officer, at 713-546-0274 or grobertson@hgo.org.

Baker Botts L.L.P.

Bank of America

Dr. Dennis Berthold and  Dr. Pamela Matthews Boulware & Valoir

The Brown Foundation, Inc. Ms. Kiana K. Caleb and  Mr. Troy L. Sullivan

Louise Chapman

The Robert and Jane  Cizik Foundation ConocoPhillips

The Cullen Trust for  the Performing Arts Connie Dyer Frost Bank

Drs. Liz Grimm and Jack Roth

Janet Gurwitch and Ron Franklin

Marianne and Joseph Geagea

H-E-B

Mr. Matthew Healey

Houston Grand Opera  Endowment, Inc.

Houston Methodist

The Humphreys Foundation

Elizabeth and Richard Husseini

Ms. Marianne Kah

Donna Kaplan and  Richard A. Lydecker

Kirkland & Ellis

Claire Liu and Joe Greenberg

Muffy and Mike McLanahan

Will L. Mclendon

The Robert and Janice  McNair Foundation

Sara and Bill Morgan

Terrylin G. Neale

Mr. and Mrs. Charles G. Nickson Norton Rose Fulbright LLP

Novum Energy

Principal Financial Allyson Pritchett Mr. Todd Reppert

James and Nathanael  Rosenheim

Susan Sarofim

Robin Angly and Miles Smith

Dian and Harlan Stai

Sheila Swartzman

Rhonda and Donald Sweeney

Texas Commission on the Arts

Tokio Marine HCC

Isabel and Ignacio Torras

Alejandra and Héctor Torres

John Turner and Jerry Fischer

Veer Vasishta

Vinson & Elkins

Westlake Chemical Corporation

Margaret Alkek Williams

The Wortham Foundation, Inc. Lynn Wyatt

NOURISH YOUR SPIRIT

This season, connect with yourself, your fellow Houstonians, and the art form of opera!

It’s hard to believe that it has been almost six years since HGO launched Seeking the Human Spirit (STHS), or that the initiative, designed to highlight the universal spiritual themes raised in opera, is already coming to a close. Through next spring, programming exploring our 202223 theme—fittingly, Spirit—will take place throughout Houston.

As part of that, on opening night for each of our four STHS operas this season—The Wreckers, El Milagro del Recuerdo, Werther, and Salome—local artist Reginald Adams is creat ing a series of labyrinth installations on Fish Plaza, outside of the Wortham Center.

HGO, in partnership with Houston First, invites community members to tour the labyrinths, and to connect not only to the opera they are about to attend, but also to their own inner spirits. Local poets, spoken word artists, and musi cians will also participate, curating an atmosphere of deep reflection, meditation, and discovery for all participants.

And make a note! Our six-year journey culminates in spring 2023 with the premiere of six new compositions for small ensembles, each a reflection of one of our Seeking the Human Spirit themes: Sacrifice, Transformation, Identity, Faith, Character, and Spirit. Please join us for the perfor mance at Rothko Chapel and the Menil Collection, followed by a final labyrinth walk at Menil Park, on May 18. More details to come.

YOU’RE INVITED!

Photo credit: Maricruz Kwon.

Come out to Giving Voice, presented by HGO and Wheeler Avenue Baptist Church in partnership with Texas Southern University, Houston Ebony Opera Guild, and Prairie View A&M University

This season, a company tradition now in its fourth year—Giving Voice—will take place in a new location: the recently opened 2,600-seat Cathedral at Wheeler Avenue Baptist Church!

The popular concert series was created by superstar tenor Lawrence Brownlee, an advocate for diversity in opera, both onstage and in the audience. This year’s event, also part of HGO’s Seeking the Human Spirit initiative, will celebrate Black History Month with a group of beloved opera artists sharing their own personal stories through a mix of popular songs, spirituals, gospel music, and opera arias.

The featured opera stars will be joined by choral performers from Wheeler Avenue Baptist Church; emerging talents from our two Historically Black College and Universities, Texas Southern University and Prairie View A&M University; and voices from the Houston Ebony Opera Guild and the HGO Chorus. The program will include an arrangement by brilliant rising star Joel Thompson, the composer of HGO worldpremiere opera The Snowy Day and the company’s new Composer-in-Residence.

Join us in celebration at 7:30 p.m. on February 24, 2023, inside the beautiful new space at Wheeler Avenue Baptist Church, 3826 Wheeler Ave. Tell everyone you know! All are invited. Tickets are free but required for entry; get yours at HGO.org/GivingVoice.

Soprano Nicole Heaston at last year's Giving Voice

Photo credit: Lynn Lane.

Reginald Adams's labyrinth on opening night of The Wreckers.

NEW FOR NEXT SEASON!

HGO joins forces with Lyric Opera of Chicago to produce The Factotum.

We have an exciting announcement about HGO’s 2023-24 season! The company is joining Lyric Opera of Chicago to co-commission a new opera, The Factotum, created by Grammy-nominated baritone Will Liverman and DJ King Rico. Houston audiences will get the incredible opportunity to experience the opera—which resets Rossini's The Barber of Seville in a Black barbershop on Chicago’s South Side— next year, following its world premiere in the Windy City.

Members of the HGO community recently gathered to learn about The Factotum at an exciting sneak-peek event at Emancipation Park, where they had the opportunity to meet Liverman, hear him sing a bit of thrilling music from the new opera, and enjoy a conversation between him and HGO General Director and CEO Khori Dastoor.

Liverman told the crowd how he came up with the idea for the new opera, which shares its story about the power of family and community through a fusion of classical singing and gospel, funk, rap, hip-hop, classic barbershop quartet, and R&B. “I was doing The Barber of Seville, and I went to a Black barbershop,” he said. “It sparked this idea to update The Barber of Seville to the present day, with something that is familiar to me, and a story and a culture that I know.” We cannot wait!

CONGRATULATIONS ARE IN ORDER!

On October 21, just as Houston Grand Opera’s 2022-23 season was opening with Verdi’s La traviata, former HGO General Director David Gockley was inducted into Opera America’s Hall of Fame in New York City. Terrilyn Neale, longtime member of the HGO Board of Directors, hosted an intimate dinner in David’s honor in New York that weekend, representing all of us who could not attend in person.

David Gockley is, quite rightly, an opera legend, because during the three decades of his leader ship of HGO, he took the company from one enjoyed in eastern Texas to one recognized and imitated all over the world. His instinct for the right thing at the right moment was uncanny: Joplin’s Treemonisha at a time when no one revived old American works, Gershwin’s Porgy and Bess to align with America’s 1976 bicentennial, in a production that resurrected the great opera as it was originally conceived. He also pushed for the building of the Wortham Theater Center despite

mid-1980s economic downturn.

With his instinct for premiering operas by important American composers, David changed the face and feeling of American opera forever, and the company will benefit from his leadership for genera tions to come. He has always been our Hall of Famer. Congratulations, David! —Patrick Summers

David Gockley inducted into the Opera America Hall of Fame.

an epic

David Gockley has always been our Hall of Famer.

Will Liverman, who is creating T he Factotum with DJ King Rico, with HGO General Director and CEO Khori Dastoor.

Photo credit: Trulove Studios.

Dear Opera Patrons,

It means so much that you’ve joined us tonight for Javier Martínez and Leonard Foglia’s celebration of family, home, and the holiday spirit: El Milagro del Recuerdo

In addition to our guiding mission to make financial lives better for all Houstonians, it is our honor to support cultural institutions like HGO which provide economic opportunity and contribute to the vitality and livability of our community.

Bank of America has supported HGO’s Mariachi Opera series since it premiered in 2010. We are proud to be part of such a powerful, authentic story that captures the hearts of audiences of all ages and backgrounds by pairing the bold stylings of Mariachi and opera.

We hope El Milagro del Recuerdo brings joy and meaning to you and your family. Thank you for making HGO part of your holiday tradition this year.

Hong Ogle President, Bank of America Houston

Dear Opera Patron,

All of us at Novum Energy wish you and your loved ones a happy holiday season! There is no better way to celebrate the holidays with family and friends than to enjoy the heartwarming story and uplifting music of El Milagro del Recuerdo

Through tailored logistics and finance packages, Novum provides bespoke solutions for the energy commodity trade. Novum is socially committed to serving our global and local communities by actively engaging in cultural and philanthropic work, and we are thrilled to partner with HGO to share the magic of opera with everyone in our community.

This opera holds a special place in my heart and in the hearts of many Houstonians who understand that home is not defined by a place, but by the people we call family. Novum has been a lead supporter of HGO’s Mariachi Opera Series for many years and helped make possible the 2019 world premiere of El Milagro del Recuerdo

Please enjoy the opera!

Alfredo Vilas Founder and President

GAME-CHANGING MOMENTS IN OPERA: A SERIES

Composer Kamala Sankaram is expanding the definition of what opera can be.

Opposite: Her original HGO-commissioned opera Monkey and Francine in the City of Tigers

NOTES FOR A NEW WORLD

A conversation with Kamala Sankaram, game-changing composer of Monkey and Francine in the City of Tigers

By Khori Dastoor General Director & CEO

Photo credit: Dario Acosta

Irecently attended a performance of Kamala Sankaram’s family opera Monkey and Francine in the City of Tigers at Miller Outdoor Theatre on a beautiful Houston fall morning. Sitting among 600 deliriously happy students, I was over come with déjà vu reflecting on Sankaram’s artistic journey. As a half-Indian soprano from California, I feel a special kinship with her story.

Sankaram started composing for a simple reason: she wanted new music to sing. “For me, as a high soprano, there just weren’t a lot of new things out there,” she recalls. “Most of the new pieces that were being written were for much heavier voices than my voice. And so, if I wanted to do stories that had a contem porary resonance, then I would have to write them myself.”

She decided to jump over the barrier before her—the one that said she had to be one thing, and for that matter, that opera had to be one thing—and never looked back. She has now spent more than a decade both singing and writing music, not just for her voice type, but for the person who she is.

Kamala Sankaram grew up outside of San Diego, singing in choir and obsessing over musical theater. Hers was a multicultural household—Mom was white, Dad Indian—and a musical one, although she wouldn’t discover her love for opera until college at Sarah Lawrence, where several of the professors were members of the Philip Glass Ensemble.

Bollywood. I guess Bollywood is operatic, so maybe that’s where it comes from!”

Today it seems Sankaram was destined to lead Bombay Rickey, which she calls “an operatic Bollywood surf ensemble,” to serve as co-artis tic director of the company Experiments in Opera, and to compose a collection of captivating works that combine Indian classical music and other genres with opera. But it took real courage to forge her own path.

At HGO we are proud to have commissioned Sankaram to write two uniquely American original works. In 2019 we debuted A Rose, her one-act chamber opera for our Star Cross’d web series, written with Misha Penton, about an Indian wedding in Houston. And in 2018 we staged the world premiere of her one-act opera for children, written with David Johnson, Monkey and Francine in the City of Tigers

“It’s global,” Sankaram says about Monkey and Francine. “David and I wanted to make something that would be resonant for all the communities in Houston. So that includes people from India, and people from Africa, and Latin America. And all that makes its way into the score, to be something that anyone can hear and say, okay, there’s something in there that I recognize.”

Over the course of a career defined by its courage, composing for children may be the scariest thing Sankaram has done. “Writing for kids is terrifying, but also the most honest thing that you can do,” she says, “because they will

“You have to do the thing that sticks, the thing that grooves, the thing that is going to keep their attention. That might mean doing something that seems simpler, or going for the joke, right? And that’s not actually a simple thing to do, to pull off humor and to keep the energy constant. But it’s a different priority than when you’re making a piece for, quote-unquote, art’s sake.”

If only more composers wrote with those priorities in mind, perhaps they too would have audiences dancing in their seats. Monkey and Francine’s tale of a pair of monkey siblings on an epic adventure has delighted both children and adults, during its initial run with HGO and afterward, on stages throughout the country. In fact, the opera has been so successful, we’ve brought it back this season for another tour through Houston with our Opera to Go! program.

We are grateful to Sankaram for changing the game, jumping the barrier, and in doing so, expanding the definition of what opera can be. “The goal for me, always, is to make it so that opera is not a foreign and inaccessible thing, because at its core, it’s human stories that are made accessible through music.”

She pauses to muse about Mozart, the way he borrowed from popular music of his era and incorporated references his contemporary audiences would understand. “I think it should be the same for us,” she says. “We should put in things that the audience is going to be famil iar with, because that’s how we stay relevant, and that’s how we stay current.” ∎

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DIRECTOR'S NOTE

IT’S SO EASY TO FORGET, BUT IT’S A MIRACLE TO REMEMBER

By Leonard Foglia Librettist and Director

The Christmas story is reenacted every year all over the world, and each country has its own particular way of presenting this holy event. In Mexico, pastorelas or Los Pastores (“The Shepherds”) have all the usual suspects—angels, the three kings and, of course, the Holy Family—but with one interesting addition: the Devil. Here in the United States, Satan never makes an appearance in the Christmas story, but in Mexico there is no Christmas story without Satan.

In the pastorela, an angel appears to the shepherds who are tending their sheep. The angel tells them the good news that the Savior has been born, and the shepherds then leave their sheep and set out on a journey to find the newborn babe. That’s when Satan enters the picture. He will try everything in his bag of tricks to divert the innocent shepherds from their mission: to encounter the divine.

We all have devils in our lives—some attractive and some not so—working hard to divert us from our goals, our deepest desires. The most insidious and shrewd of these devils sometimes convince us that our true desires are not really our desires at all and replace them with new false gods. The old (true) desires are sometimes forgotten, and we find ourselves going after things we never wanted in the first place that ultimately do not bring us joy. We go against our own best impulses, and that is when good people make bad decisions.

It happens to all of us. I know it has happened to me. There is something about the Christmas holidays, maybe because it is so close to the New Year, that makes many of us take stock and think about our lives and the decisions we have made.

On Christmas Eve, in a small village in the Mexican state of Michoacán, two families are rehearsing a pastorela. As they reenact the age-old story of the struggle between good and evil, they are forced to face their own devils, choices, and decisions.

Conoces una canción antigua y la conoces bien.

¿Puedes captar un rastro de esa melodía Muy detro de tu ser?

Tal vez este un poco nublada Perono del todo olvidada Es tán fácil olvidar, pero es un milagro recordar.

You know an ancient song And you know it well. Can you catch a hint of the tune Deep inside you?

Dim, perhaps, and yet Not altogether forgotten. It’s so easy to forget. But it’s a miracle to remember. ∎

Original artwork created by Javier Martínez Pedro, used with the permission of Leonard Foglia.

MARIACHI MARIACHI AT HGO

HGO's first mariachi opera, Cruzar la Cara de la Luna, made its world premiere in 2010.

Photo credit: Felix Sanchez

The welcome return of El Milagro de Recuerdo

Patrick Summers Artistic and Music Director

Musicians trained in the European tradition, which is to say all of us classical musicians, probably went through our whole expen sive education without hearing the word mariachi. This omission has distinguished company: we probably didn’t hear the words Gnawa, Giacomo Puccini, gamelan, or desi sangeet, either—as all of these are generally grouped together as “popular,” and classical music is notoriously glacial about catching up with the rest of the world. One thing is certain: mariachi is the most cherished music of our Mexican neighbors, and though it has origins stretching back centuries to Spain, it is utterly unique to Mexico. Mariachi speaks right to the heart, which is why it has held such popularity for so long, and it has the immediacy for us now that Italian opera had at its height.

Until fairly recently, mariachi orchestras were solely string instruments, some bowed and some plucked, including specifically Mexican instruments like the jarana and vihuela—both of them five-string guitars—and the guitar rón, a full-sized bass guitar. You hear all of these and more in a very special opera this season in its first HGO revival, El Milagro de Recuerdo (The Miracle of Remembering). Mariachi trumpets, now so associated with this music, are relatively new to mariachi orchestras, as are saxophones and other additions. Mariachi, uniquely, always sounds like it was just written, whether it is new or old.

Mariachi has always included a lot of singing, but incred ibly, until HGO commissioned a mariachi opera, the tradition had not included narrative songs like one would find in musicals or operas. It was former HGO General Director Anthony Freud who, on a holiday in Oaxaca, 300 miles southeast of Mexico City, had the original idea for a mariachi opera, the first of which was Cruzar la Cara de la Luna (To Cross the Face of the Moon) which HGO premiered in 2010.

Since Anthony’s idea was a broad one—“what if we wrote a mariachi opera?”—it required some research as to who should compose the music and write the story. Veteran stage director Leonard Foglia, who lived in Mexico at the time, was asked to think about a story and a potential writer, and his quick email reply outlined what became the beautiful story of what would become Cruzar He happily wrote the libretto himself. There are countless mariachi orchestras in Mexico and throughout the United States, but we didn’t simply need musicians; we needed creators.

In opera, the composer leads everything, and all roads of our mariachi research led to the same famous name: Mariachi Vargas De Tecalitlán, unquestionably the RollsRoyce of mariachi orchestras, and most especially to their

leader, the late José “Pepe” Martínez (1941-2016), a musi cal legend in Mexico. Pepe and his forces enthusiastically signed on and set to work with Lenny, also committing Mariachi Vargas to perform as the orchestra for the origi nal Cruzar. Coming from our insular opera world, little did we know that Mariachi Vargas would need a V.I.P. private arrival at Bush Intercontinental, to avoid being mobbed; these guys are famous. I don’t think I’ve ever heard an audience in the Wortham scream louder for anything than the audience for Mariachi Vargas.

Milagro was composed by Pepe Martínez’s son, Javier, to a libretto by Leonard Foglia, and it was very much a musi cal tribute to his late father. The writing of the mariachi operas, and there are so far only these three in the world, has become an important part of the Martínez family legacy. How special that this moving multi-generational story of a loving family has been composed by a multigenerational loving family.

All three of our mariachi operas share common themes, and should be thought of as a cycle that presents a crosssection of historic ties between Texas and Mexico. Cruzar is set in both the present day and in the memories of previous generations of the Velásquez family. The second mariachi opera, El Pasado Nunca Se Termina (The Past Never Ends) takes place during the appearance of Haley’s Comet in 1910, on the eve of the Mexican Revolution, and within it mariachi takes on its political “voice of the people.” Our dear El Milagro de Recuerdo is a touching prequel to Cruzar, telling the story of the last Christmas the Velásquez family spent together in Mexico before their immigration to the U.S. Milagro is a holiday story, filled with the traditions of Christmas in the Mexican state of Michoacán, a place unknown to many Americans though they are not far away: the beautiful Michoacán Mountains are the same distance south of Houston as St. Louis, MO is north.

Operas during the holidays are, historically, a mixed bag, as the art form carries some particularly loaded cultural baggage. Many people associate opera with heavy themes, and let’s face it: a lot of characters die in opera, and there’s lots of angst, so little in the history of opera conjures thoughts of candy canes, snowmen, or Santa Claus, much less Hanukah, Christmas, or Kwanza. The other performing arts have “holiday” works of various kinds—Messiah, A Christmas Carol, The Nutcracker but not opera. Often, opera companies will perform the supposedly family-friendly Hansel and Gretel in December. Undeniably, it is one of the greatest operas in the repertoire, but what within Hansel and Gretel puts people in a holiday mood? Is it the cannibal witch who kidnaps children, or the starving children who kill her to save their own lives? Ho! Ho! Ho! HGO has commissioned

Top: Trio Chapultepec performed in the world premiere of El Milagro del Recuerdo in 2019 and returns for 2022.

Bottom: A member of Mariachi Vargas De Tecalitlán at the world premiere of Cruzar la Cara de la Luna in 2010.

Photo credits: Lynn Lane and Al Rendon

a number of holiday operas, and time will tell which of them may find an audience. The Nutcracker, remember, sat in complete obscurity for 50 years after it was written, and remains a uniquely American holiday phenomenon. Audiences decide, but often not immediately.

Though the stage story of Milagro is fictional, it is the real story of countless Mexican families. Milagro is set in 1962 during the Bracero Visa Program, a U.S. immigration policy from 1942-64 which allowed Mexican workers to legally enter the U.S. for short-term work, multiple times, and return to their families. It was the largest labor program in U.S. history, and those who participated in it, the braceros, still feel a unique bond with each other and with the U.S.

In the plot of Milagro, a small mountain town in Michoacán is preparing their Christmas pageant, a pastorela, in which Saint Michael the Archangel is subduing a satirical and only-slightly-scary Satan, who is vying for the souls of a group of shepherds on their way to Bethlehem to meet the newly-born Jesus. Multiple genera tions of the family take part in the pageant.

Christmas traditions in Mexico are unrecognizable to many of us in the U.S., and Milagro brings many of them to joyous life. While we are accustomed to Christmas music and merchandise appearing as early as October and our holiday decorations barely make it to New Year’s Day, in the oldest Mexican traditions the holiday season begins on December 12 with the Feast Day of the Virgin of Guadalupe and stretches to February 2 with the Día de la Candelaria (Candlemas). During that time there are the many celebrations of Las Posadas, including processions in which children dress as Mary and Joseph and the shepherds; families sharing star-shaped piñatas with seven points, one for each of the cardinal sins; and most famously, feasts of Mexican treasures such as buñuelos, atole, ponche, mole, bacalao…such deliciousness.

Mariachi is, beyond everything else, pure musical joy, and it has a unique ability to invite everyone into its embrace. I have an indelible memory of attending the last performance of Milagro in December of 2019, shortly before the pandemic reordered our world. I was seated next to a very nice Houston grandmother with whom I had a long conversation before the opera; she was a firstgeneration immigrant from Michoacán. She leaned over to me in tears during the opera’s finale and said, “I never thought I would see my life on stage in an opera.” El Milagro warms the heart, and we could not be more delighted to have it back on our stage. Javier Martínez, who wrote its tuneful score, said it best: “As soon as you leave, you will want to see your parents.” Happy Holidays. ∎

“

MARIACHI IS, BEYOND EVERYTHING ELSE, PURE MUSICAL JOY, AND IT HAS A UNIQUE ABILITY TO INVITE EVERYONE INTO ITS EMBRACE.

THIS SACRED FAMILY

LAURENTINO

Laurentino has worked as a bracero for the last few years, but his time in the United States each season is getting longer and longer as more work comes in. It is 1962, and even though the Bracero Visa Program will end in 1964, he wants to work as much as he can to provide for his family.

By Jeremy Johnson, Dramaturg & Associate Director of New Works

It’s Christmas Eve in 1962 in a small town in Michoacán, Mexico, and the tight-knit community is rehearsing for their annual pastorela. In this traditional folk drama, a group of shepherds tries to reach the city of Bethlehem to meet baby Jesus by following a bright star that is guiding their way. They are stopped by Satan, who tries to tempt them off their path, but Saint Michael the Archangel defends them from the prince of evil. While some of the older members of the community have performed almost every role over the years, 7-year-old Rafael will be participating in his very first pastorela this year.

The town’s plaza is decorated for the festivities, and towns people are dressed as angels and shepherds. Renata and Lupita are best friends, and their husbands are away in the United States, working to help support their families. This is the first time they will be separated for the holidays.

RAFAEL

RENATA

Renata is a young woman of 28 years. She is the wife of Laurentino and mother of their 7-year-old, Rafael. She and Rafael have stayed in Michoacán while Laurentino works in the U.S.

Rafael is only 7 years old and has grown up with his father going to the U.S. for a few months every year. This will be Rafael’s first Christmas without his father in town.

Get to know the characters of El Milagro del Recuerdo

ARACELI

Araceli is the 9-year-old daughter of Lupita and Chucho. She and her older brother are very close, and she loves being part of the annual Christmas pastorela play.

LUPITA

Lupita is Renata’s close friend, and her husband Chucho also works as a bracero with Laurentino. She and Chucho have two children, Silvio and Araceli.

SILVIO

Silvio is the 11-yearold son of Lupita and Chucho.

CHUCHO

Chucho is Laurentino’s exuberant best friend who goes to the U.S. with Laurentino for work every year.

ABA

Aba, a man of 60 years, is Chucho’s father. He has lived his entire life in their small town, but he hardly knew his parents, who died as young fighters in the Mexican Revolution.

Costume design sketches by Gregory Gale.

LOS MARIACHIS

The town mariachis, who play the guitar, the guitarrón, and the vihuela, are an integral part of the town’s pastorela.

EL PADRE MATIAS

Father Matías is a priest who leads the town’s annual Christmas pastorela play.

LA MUJER

A

JOSEFINA

Josefina, a widowed woman in her fifties, is Renata’s mother. She has raised Renata to have faith in the strength of one’s family.

woman who comes to town in search of the butterflies.

hgoguild.org, email guild@hgoguild.org, or call (713) 546-0269.

a dd your drama! Guild volunteer opportunities include:

• The Artist Hospitality Program gives visiting guest artists personal attention and world-class airport transportation. Have dinner with a production director, designer, maybe an opera star!

• The Guild’s Buddies Program is a one-of-a-kind chance to get to know a future opera star! Adopt a Studio artist and enjoy fun social events, go out for dinner and a movie, and be their in-town family.

• The HGO Boutique in the Wortham’s Grand Foyer offers opportunities to take pride in teamwork as you develop your interest in retail merchandising, sales, and cashiering! Volunteers receive 15% in-store discounts, paid parking, and a ticket to a dress rehearsal opera performance.

Join HGO Guild for more!

Recibimos con gusto aquellos hispanohablantes y de habla inglesa que deseen ser voluntarios en los programas del HGO Guild. Para averiguar las oportunidades disponibles sobre este trabajo voluntario llamar al 713-546-0269.

Shop the Boutique! Support HGO by visiting the Guild’s Boutique when you come to a performance! This season you’ll find new clothing, jewelry, home accessories, and more. What better place to find a gift for an opera-loving friend?

Guild Underwriters include Anne Schelleng and Maren Mitchell, James and Alice Storm, Theresa Einhorn, Lynn Gissel, Lois Glover, Joy Hester, Ann Koster, Robert and Pamela Krinock, Susie and Jim Pokorski and Fiona Toth.

BORN IN BAYOU CITY

It’s no accident that Houston gave rise to the mariachi opera.

By Jeremy Johnson Dramaturg & Associate Director of New Works

HGO’s storied history with mariachi operas can only be attributed to the Houston community’s long history with and love for mariachi music.

Composer Javier Martínez and librettist Leonard Foglia’s El Milagro del Recuerdo premiered at HGO in 2019 and marks the world’s third-ever mariachi opera. The first—introduced in 2010 with HGO’s 41st world premiere, Cruzar la Cara de la Luna—was composed by Javier’s father, Don José “Pepe” Martínez, the former band leader of the world’s oldest and most famous mariachi band, Mariachi Vargas. Pepe Martínez teamed up with Foglia to write both the first mariachi opera and the second, El Pasado Nunca se Termina, which made its world premiere at Lyric Opera of Chicago in 2015, shortly before HGO presented it at the Wortham. After Pepe’s passing, his son took up the mantle, composing the opera you’ll see today.

Mariachi music has existed in Mexico for centuries. Before the Spanish colonized present-day Mexico in the 16th century, the indigenous population played their cultural music on a variety of instruments that included drums and pan flutes. This highly rhythmic musical style combined with Western European instruments when the Spanish arrived and introduced guitars and violins. This fusion represented, more or less, the birth of mariachi music. While the name “mariachi” has many disputed etymological origins, one of the leading explanations is that it derives from an indigenous name for the type of wood used for the performers’ dance platforms.

The genre was also called son jaliscience, as it arose most prominently in the Jalisco region of Mexico. Field workers in the region were paid more if they also played music, but at the turn of the 20th century, when the Mexican Revolution led to higher industrialization and urbanization, many workers lost their jobs and moved to larger cities to play mariachi music for a living. This was when trumpets, one of the signature instruments of the modern style of mariachi, were introduced—nearly 300 years after the rise of the early son

jaliscience style—thanks to the popularity of jazz and Latin American music in Mexico. The rise of the modern Mexican mariachi band—trumpets, violins, harps, guitar, guitarrón, and vihuela—followed.

Shortly after the Revolution, the Mexican government, seek ing ways to unite Mexican people and culture, used mariachi as the driving force of this unification. It was played on the radio, on TV, and in plazas throughout Mexico, and soon became one of the country’s main genres of popular music. It wasn’t long before it spread to the United States, particu larly to areas with large populations of Mexican American immigrants. One of the earliest professional mariachi bands in the U.S. was Grammy Award-winning Mariachi Los Camperos, founded in 1961 in Los Angeles. Los Camperos performed with HGO in 2018 for Cruzar la Cara de la Luna, and they still play today, traveling across the country and influencing countless student and professional bands.

Mariachi music has long been a staple of Texan and Houstonian heritage, heard not only at cultural events, parties, restaurants, and church services, but in recent decades, also in our schools. In 1998, Houston’s High School for the Performing and Visual Arts began a program for mariachi students. Under the direction of Antonio Roca, the school teaches two mariachi groups, the Mariachi Nuevo Jalisco and the Mariachi Los Pasajeros, which play concerts throughout the year. There are now dozens of middle and high school mariachi ensembles throughout Houston, as school districts, noting its significance both to music educa tion and our city’s culture, have introduced programming.

Another notable development in Houston’s long history with mariachi music came about in 2019, when Jose Longoria—a trailblazer in the development of mariachi education within HISD—became the first professor of mariachi at the University of Houston. Mariachi Pumas, the UH mariachi ensemble, performs all over the city and, Longoria says, will serve as a training ground for middle and high school mariachi teachers. Be sure to check out the Mariachi Pumas website and attend their next public performance—they are incredible musicians.

Finally, who can forget the Houston Livestock Show and Rodeo competition? On Go Tejano Day, the Rodeo hosts its annual Mariachi Invitational, inviting five professional maria chi ensembles from across Texas to compete. With their identities obscured, the ensembles perform during three different rounds; two finalists are then selected to perform in the final round at NRG Stadium for a crowd of over 70,000 people—with applause determining the winner. This year’s Mariachi Invitational will be held on March 11, 2023.

The mariachi tradition is strong in Houston, and the next generation of musicians is on the way. Some may win the Rodeo’s Mariachi Invitational; others, like tonight’s Trio Chapultepec, may perform all over the country in Cruzar la Cara de la Luna or El Milagro del Recuerdo. Who knows? Perhaps the creators of the next mariachi opera are out somewhere in Houston, honing their craft right now. ∎

HSPVA’s Los Pasajeros is one of the best groups in the state, having earned the highest rating possible at the Texas UIL State Mariachi Festival.

Mariachi Vargas De Tecalitlán performed at the world premiere of the world's first mariachi opera, Cruzar la Cara de la Luna, in 2010.

Live Aria Performances!

Houston’s Annual Met Opera Competition

Discover the stars of tomorrow as they perform your favorite arias and display their extraordinary vocal techniques.

Alice Pratt Brown Hall at The Shepherd School of Music. Save the Date! January 7, 2023 — Doors open 9:30 a.m., auditions start 10:00 a.m., winners announced 4:00 p.m. For information, search Facebook.com/MetCompHouston.

Cocktail

Winners of the 2022 Houston District Audition

LEAD FUNDERS

This six-year multidisciplinary initiative, concluding in 2023, is designed to highlight the universal spiritual themes raised in opera and to expand and deepen Houstonians’ connections to opera and to art. The theme for 2022-23 is Spirit and includes the operas The Wreckers, El Milagro del Recuerdo, Werther, and Salome, as well as the fourth Giving Voice concert. On May 18, 2023, a culminating performance featuring six new works, composed to highlight each season’s theme, will take place at the Rothko Chapel and the Menil Collection. For information on providing leadership support for Seeking the Human Spirit, please contact Greg Robertson at 713-546-0274 or grobertson@hgo.org.

Harlan and Dian Stai Lynn Wyatt

The Andrew W. Mellon Foundation

The Brown Foundation, Inc. Mathilda Cochran Connie Dyer

Claire Liu and Joe Greenberg Elizabeth Phillips

Mr. and Mrs. Donald G. Sweeney

The Wortham Foundation, Inc. Albert and Anne Chao/Tin Tsung and Wei Fong Chao Foundation Mr. John G. Turner and Mr. Jerry G. Fischer Louisa Stude Sarofim Foundation

MARTÍNEZ / FOGLIA

SUNG IN SPANISH WITH PROJECTED ENGLISH TRANSLATION

A Mariachi Opera in One Act Music by Javier Martinez Libretto by Leonard Foglia

The performance lasts approximately 1 hour and 18 minutes, with no intermission. Commissioned by Houston Grand Opera

Co-produced by Houston Grand Opera, Arizona Opera, and San Diego Opera

The activities of Houston Grand Opera are supported in part by funds provided by the City of Houston through Houston Arts Alliance and by a grant from the Texas Commission on the Arts.

Quick Start Guide

THE OPERA IN ONE SENTENCE

As Christmas approaches in 1962 Michoacán, Mexico, two families struggle with the absence of the men in their families—away in the United States as part of the Bracero Visa Program—and while lives drift apart, these families will have to decide what is most precious.

BACKGROUND

El Milagro del Recuerdo, by composer Javier Martínez and librettist Leonard Foglia, is the second mariachi opera to be commissioned by HGO (2019), and only the third mariachi opera ever to be written. The first two, Cruzar la Cara de la Luna (HGO, 2010) and El Pasado Nunca Se Termina (Lyric Opera of Chicago, 2015), were both composed by José “Pepe” Martínez, Javier’s father, with libretti also by Foglia. Cruzar tells the story of present-day Laurentino, nearing the end of his life in the U.S., being reunited with his long-lost son, Rafael, following the family’s tragic separation in the 1960s. El Milagro del Recuerdo is a prequel to that story, exploring the decisions the family grappled with in 1962 Michoacán.

WHAT TO LISTEN FOR

every year to spend their summers in the U.S. and their winters in Mexico. The butterflies serve as an impetus for important questions the characters of El Milagro are asking themselves, about identity and where home truly is: which journey should I take? Where is true happiness found, in stability and reliability, or in adventures and experiences?

THE BRACERO VISA PROGRAM

The Bracero Visa Program was initiated on August 4, 1942, when the U.S. signed the Mexican Farm Labor Agreement with Mexico. This program was intended to fill the labor shortage in agriculture because of the war. The program lasted 22 years until its termination in 1964. It offered employment contracts to 5 million braceros in 24 American states—becoming the largest foreign worker program in U.S. history. For more on the program, see page 44.

LA PASTORELA

The pastorela, one of the most enduring Mexican traditions, is performed in multiple variations all over the country. It is a play, Los Pastores (“The Shepherds”), that was brought by Spanish priests to Mexico in the 1500s. Pastorelas re-enact the Christmas story in which an angel appears before a group of shepherds and tells them the good news that the Savior has been born. As they follow the Star of Bethlehem, they encounter the Devil, who does everything possible to

Famous for their seasonal migration, millions of monarchs migrate from the United States and Canada south to California and Mexico for the winter.

CAST & CREATIVE

CAST (in order of vocal appearance)

Mariachi

Trio Chapultepec

Vincent Pequeño

William Carlton Galvez

Israel Alcala

Father Matías

Rafael Moras

Rafael Leonardo Pisano *

Renata Cecilia Duarte

Josefina

Silvio

Araceli

CREATIVE TEAM

Conductor

Original Director

Revival Director

Set Designer

Costume Designer

Claudia Chapa

Josué Duran-Orantes *

Nicole Gabriela De la Torre *

Lupita Vanessa Alonzo Aba Héctor Vásquez

Laurentino Federico De Michelis ‡ Chucho Miguel De Aranda

Young Renata Victoria Aleno Torres *

Young Laurentino Antonio Rico *

The Woman Vanessa Becerra

SUPERNUMERARIES

Matthew Martinez

Roberto Reyna

PRODUCTION CREDITS

Supertitles called by Emily Kern.

Benjamin Manis

Leonard Foglia

Beth Krynicki

Neil Patel

Gregory Gale

Lighting Designer Ken Billington

Sound Designer

Joshua D. Reid * Musical Preparation Kirill Kuzmin ‡ Bin Yu Sanford †

Lynn Des Prez/ Stephanie Larsen / Dr. and Mrs. Miguel Miro-Quesada Fellow

Stage Manager Annie Wheeler

Supertitles by Leonard Foglia Assistant Director Kaley Karis Smith

* Company debut

† Houston Grand Opera Studio artist

‡ Former Houston Grand Opera Studio artist

Performing artists, stage directors, and choreographers are represented by the American Guild of Musical Artists, AFL-CIO, the union for opera professionals in the United States.

Scenic, costume, and lighting designers and assistant designers are represented by United Scenic Artists, IATSE Local USA-829. Orchestral musicians are represented by the Houston Professional Musicians Association, Local #65-699, American Federation of Musicians.

Stage crew personnel provided by IATSE, Local #51.

Wardrobe personnel provided by Theatrical Wardrobe Union, Local #896.

Usher personnel provided by IATSE, Local B-184. This production is being recorded for archival purposes.

HGO ORCHESTRA

VIOLIN

Denise Tarrant*, Concertmaster

Sarah and Ernest Butler Concertmaster Chair

Chloe Kim*, Assistant Concertmaster

Natalie Gaynor*, Principal Second Violin

Carrie Kauk*, Assistant Principal Second Violin Miriam Belyatsky†

Anabel Detrick† Rasa Kalesnykaite* Hae-a Lee-Barnes† Chavdar Parashkevov* Mary Reed† Erica Robinson† Linda Sanders†

Oleg Sulyga* Sylvia VerMeulen* Melissa Williams†

VIOLA

Eliseo Rene Salazar†, Principal Lorento Golofeev*, Acting Principal Whitney Bullock, Acting Assistant Principal Gayle Garcia-Shepard† Erika C. Lawson† Suzanne LeFevre† Dawson White†

CELLO

Barrett Sills*, Principal Erika Johnson†, Assistant Principal Ariana Nelson†

Wendy Smith-Butler† Steven Wiggs†

DOUBLE BASS

Dennis Whittaker†, Principal Erik Gronfor†, Assistant Principal Carla Clark†

FLUTE

Henry Williford†, Principal Tyler Martin†

OBOE

Elizabeth Priestly Siffert†, Principal Mayu Isom†

CLARINET

Sean Krissman†, Principal Eric Chi†

BASSOON

Amanda Swain†, Principal Michael Allard†

HORN

Sarah Cranston†, Principal Kimberly Minson† Spencer Park†

TRUMPET

Tetsuya Lawson*, Principal Randal Adams* Daniel Egan

TROMBONE

Thomas Hultén†, Principal Mark Holley† Justin Bain†

TUBA

Mark Barton†, Principal

TIMPANI

Alison YuChia Chang†, Principal

PERCUSSION

Richard Brown†, Principal

HARP

Joan Eidman*, Principal

ORCHESTRA PERSONNEL MANAGER

Richard Brown*

* HGO Orchestra core musician

† HGO Orchestra core musician on leave this production

Patrick Summers, Artistic and Music Director Sarah and Ernest Butler Chair

JAVIER MARTÍNEZ (MEXICO) COMPOSER

Composer and mariachi musician Javier Martínez made his HGO debut with the 2019 world premiere of El Milagro del Recuerdo/The Miracle of Remembering. He began his career at the age of 17 as a violinist and singer. Martínez hails from a long line of mariachi musicians—both of his grandfathers, Felipe Pérez and Blas Martínez, were members of the famous Mariachi Vargas de Tecalitlán—and his father, José “Pepe” Martínez, was the musical director of Mariachi Vargas de Tecalitlán for many years in addition to being the composer of the world’s first two mariachi operas, Cruzar la Cara de la Luna/To Cross the Face of the Moon and El Pasado Nunca Se Termina/The Past Is Never Finished. Martínez has directed and made recordings with mariachi groups including Mariachi Agaveros, Mariachi Juvenil Camperos, Mariachi Gallos de Mexico, Mariachi Azteca, and Mariachi Los Charros de Ameca. He has also performed musical backing for several internationally famous artists including Luis Miguel, Jeni Rivera, Pablo Montero, Leo Dan, Aida Cuevas, Rocío Dúrcal, and Grupo Exterminador. In 2018, he served as the music director for a revival of Cruzar la Cara de la Luna/To Cross the Face of the Moon at the Diana Theater in Guadalajara, Mexico.

LEONARD FOGLIA (UNITED STATES) LIBRETTIST/ORIGINAL DIRECTOR

Leonard Foglia has served as director and libret tist for all of the world-premiere mariachi operas commissioned by HGO: El Milagro del Recuerdo/ The Miracle of Remembering (2019); Cruzar la Cara de la Luna/ To Cross the Face of the Moon (2018, 2013, and 2010), which has played across the county as well as at Théâtre du Châtelet in Paris; and El Pasado Nunca Se Termina/The Past Is Never Finished (2015). Also for HGO, he directed the world premiere of It’s a Wonderful Life (2016); directed and wrote the libretto for the world premiere of A Coffin in Egypt (2014); directed Dead Man Walking (2011), in a production that has been seen at New York City Opera and across the U.S. as well as at Teatro Real in Madrid; and directed the worldpremiere work Last Acts (Three Decembers) (2008). Foglia has directed the world premieres and subsequent stagings of Moby-Dick (Dallas Opera and San Francisco Opera—where it was filmed for PBS); Everest (Dallas Opera); and Cold Mountain (Santa Fe Opera). For Broadway, he directed Master Class, Wait Until Dark, Thurgood (filmed for HBO), The People in the Picture, On Golden Pond, and The Gin Game. Off-Broadway credits include Anna Deavere Smith’s Notes from the Field (filmed for HBO) and Let Me Down Easy (filmed for PBS); One Touch of Venus at Encores!; The Stendhal Syndrome; and If Memory Serves

BENJAMIN MANIS (UNITED STATES) CONDUCTOR

Benjamin Manis returns to HGO for the first time after serving as the company’s resident conductor from 2019 through spring 2022. In spring 2023 for HGO, he also will conduct Tosca Last season for the company, he conducted performances of Carmen, The Snowy Day, and Romeo and Juliet Other recent performances at HGO include Rigoletto, the 2019 world premiere of El Milagro del Recuerdo/The Miracle of Remembering, the 2020 world premiere of Marian’s Song, and the subsequent HGO Digital filmed version and Miller Outdoor Theatre performances of the same work. Manis has served as cover conductor for the St. Louis and Dallas Symphonies, working with conductors David Robertson and Stéphane Denève, and was a winner of the 2019 Solti Foundation U.S. Career Assistance Award. Winner of the Aspen Conducting Prize, he returned to the Aspen Music Festival in summer 2021 for the fourth consecutive year. Manis has a Master of Music degree from Rice University’s Shepherd School of Music.

BETH KRYNICKI (UNITED STATES) REVIVAL DIRECTOR

Beth Krynicki served as assistant director at HGO for the 2019 world premiere of El Milagro del Recuerdo/The Miracle of Remembering and remounted the same production for Arizona Opera in 2021. She has worked with numerous directors throughout her career, from David Alden to Francesca Zambello, and Gian Carlo Menotti to Giancarlo del Monaco. Other collab orations include Washington National Opera, Seattle Opera, The Dallas Opera, Wolf Trap Opera Company, Ópera de Tenerife, Bolshoi Ballet, Royal Opera House Muscat (Oman), Palau de la Música (Barcelona), Houston Symphony, and the National Symphony Orchestra (DC), among others. She was the Assistant Camera Director for opera simulcasts at WNO, Palm Beach Opera, and Santa Fe Opera. She has led masterclasses for the Butler School of Music at UT Austin and the Universities of Iowa and Maryland, as well as Ópera de Colombia in Bogotá and Teatro Nacional Sucre in Quito.

NEIL PATEL (UNITED STATES) SET DESIGNER

Neil Patel returns to HGO after serving as set designer for the 2019 world premiere of El Milagro del Recuerdo/The Miracle of Remembering. He also designed the sets for HGO’s Mary Stuart in 2012. Patel has applied his life-long passion for design and storytelling to work in theater, opera, dance, film, and television. Current projects include Pretty Little Liars: Original Sin for HBO Max, and Theater of the Mind, created by David

Byrne and Mala Goankar. Notable past television and film projects include Dickinson for AppleTV+ (Peabody Award), The Path for Hulu, In Treatment for HBO (Peabody Award), and Little Boxes for Netflix. Award-winning designs for theater, dance, and opera have been seen on Broadway, the West End and throughout the world and include the recent productions of Mughal E Azam in Mumbai, New Dehli, Kuala Lampur and Singapore; Father Comes Home from the Wars (Parts 1, 2, and 3) at the Royal Court in London; and Time and the Conways on Broadway.

GREGORY GALE (UNITED STATES) COSTUME DESIGNER

Gregory Gale’s work for HGO includes Romeo and Juliet (2022) and the world premieres of El Milagro Del Recuerdo/The Miracle of Remembering (2019) and The Prince of Players (2016). Other recent opera work includes An American Soldier and La Rondine for Opera Theatre of St. Louis. Gale is a recipient of the Irene Sharaff Young Master Award and has been nominated for two Tony Awards for Cyrano de Bergerac and Rock of Ages. His other Broadway production credits include Arcadia, The Wedding Singer (Drama Desk Nomination), Urinetown (Lucille Lortel Nomination), and Band in Berlin. He won the Lucille Lortel Award for Fairycakes (Greenwich House) and The Voysey Inheritance (Atlantic Theater Company) and was nominated for The Third Story (Primary Stages). Gale’s television credits include Cyrano De Bergerac with Kevin Kline and Jennifer Garner (PBS and Amazon Prime); Will Work for Food, Chocolate Dress Maker episode (Food Network); NBC New Year’s Eve 2019 (NBC); and the 2009 FIFA World Conference Opening Ceremony (multiple networks). Film projects include The Mental State (feature) and Real Drag (short). Gale is the co-artistic director of an upcoming reimagined Nutcracker that melds digital art with live performance.

KEN BILLINGTON (UNITED STATES) LIGHTING DESIGNER

Ken Billington returns to HGO after serving as lighting designer for the 2019 world premiere of El Milagro del Recuerdo/The Miracle of Remembering. He has designed lighting for 20 HGO productions, including Willie Stark (1981), Aida (1987) for the opening of the Wortham Center, Porgy & Bess (1995), the company’s 50th Anniversary Gala, and Faust (2007, 2016). He has served as lighting designer for over 100 Broadway shows, including the longest running American musical, Chicago (25 years), Chaplin, Hugh Jackman Back on Broadway, The Scottsboro Boys, Title of Show, White Christmas, The Drowsy Chaperone, Footloose, Sweeney Todd, Sondheim on Sondheim, Sunday in the Park with George (2008, 2017), Annie (1997), Hello Dolly (1995), and Fiddler on the Roof (1976, 1981, 1990). Tours include Waitress, High School Musical, and Annie Other projects include Radio City Christmas Spectacular (1979-06), Smash for NBC, Disneyland

Fantasmic!, SeaWorld’s One Ocean, and 12 shows for Busch Gardens Williamsburg. Architecture lighting projects include Tavern on the Green (2014) and Feinstein’s 54 Below He is the recipient of Tony, Drama Desk, Outer Critics, Lumen, and Ace awards.

JOSHUA D. REID (UNITED STATES) SOUND DESIGNER

Joshua D. Reid is making his HGO debut. Reid is a New York-based sound and systems designer who has worked extensively on Broadway, Off-Broadway, national tours, international productions, and sound system installations. Recent design selections include Ragtime (Calgary Philharmonic), Million Dollar Quartet (Theatre Calgary), A Little Night Music (Arizona Opera), Dr. Seuss’ How the Grinch Stole Christmas (national tour), The Color Purple (national tour), Girlfriend (TheatreWorks Hartford, Connecticut Critics Circle Award), A Christmas Carol (Geffen Playhouse, LA Drama Critics Circle Award, LA Ovation Award), Jerry Springer: The Opera (Signature Theatre), and A Time Like This (Carnegie Hall). Broadway associate design selections include Flying Over Sunset, The Ferryman, The Iceman Cometh, Falsettos, American Psycho, The Visit, and Act One

FEDERICO DE MICHELIS (ARGENTINA) BASS-BARITONE—LAURENTINO

HGO Studio alumnus Federico De Michelis has performed the roles of Balthazar in Donizetti’s La favorite (2020), Dr. Dulcamara in The Elixir of Love, Achillas in Julius Caesar (2017), Nourabad in The Pearl Fishers (2019), Colline in La bohème (2018), and other roles with HGO in recent seasons. In spring 2022, he gave a Live at The Cullen recital for HGO Digital. In the 2020-21 season, De Michelis returned to the Gran Teatre del Liceu as Colline in La bohème and performed the role at Seattle Opera. He also made his house debut at Dutch National Opera in the role of the Sagristano, in a new production of Tosca directed by Barrie Kosky and conducted by Lorenzo Viotti. In concert, he sang Beethoven’s Symphony No. 9, both with the Greensboro Symphony Orchestra and at the Curtis M. Phillips Center for the Performing Arts in Gainesville, Florida. Highlights of recent seasons include his house and role debut at Florida Grand Opera as Leporello in Don Giovanni, his house debut at Palm Beach Opera as Figaro, and his house debut at the Gran Teatre del Liceu as Nourabad in The Pearl Fishers. On the concert stage, he has performed at Opera Louisiane’s opening night gala, and sung both Handel’s Messiah and Mozart’s Mass in C minor with the North Carolina Symphony. Born in Buenos Aires, De Michelis received third prize in HGO’s Eleanor McCollum Competition Concert of Arias, and was named “Outstanding Student” by Her Majesty Queen Sofía of Spain.

CECILIA DUARTE (MEXICO) MEZZO-SOPRANO—RENATA

Cecilia Duarte originated the role of Renata in HGO’s 2019 world premiere of El Milagro del Recuerdo/The Miracle of Remembering, as well as in Cruzar la Cara de la Luna/To Cross the Face of the Moon (2010 world premiere and revivals in 2013 and 2018), and toured with that production to Paris, Lyric Opera of Chicago, San Diego Opera, Arizona Opera, Fort Worth Opera, and New York City Opera. She originated other roles in HGO world premieres including Alicia in Some Light Emerges (2017); First responder/Harriet in After the Storm (2016); Jessie Lydell in A Coffin in Egypt (2014); and Gracie in A Way Home (2010). Other opera roles include Zerlina in Don Giovanni, Sarelda in The Inspector, Tituba in The Crucible, and Maria in Maria de Buenos Aires, among others. An early music enthusiast, Duarte often sings with Ars Lyrica Houston; Mercury Houston; the Bach Society Houston; the Festivalensemble in Stuttgart, Germany; the Festival de Música Barroca in San Miguel de Allende, Mexico; and most recently, the Boston Early Music Festival and the Bach Collegium San Diego, with whom she debuted singing Handel’s Messiah in a complete adaptation in Spanish. She is also a vocalist in the Kaleidoscope Vocal Ensemble, performing early and contemporary music. 2022 brings the release of her first solo album of Latin American songs, Reencuentros

MIGUEL DE ARANDA (MEXICO) MARIACHI SINGER—CHUCHO

Miguel de Aranda, born in León, Guanajuato, Mexico, returns to HGO after originating the role of Chucho in the company’s 2019 world premiere of El Milagro del Recuerdo/The Miracle of Remembering. He made his HGO debut in Cruzar la Cara de la Luna/To Cross the Face of the Moon in 2018. He studied singing at the Music Academy CEPAC (Centro Profesional Artístico y Cultural) in his hometown. He has been conducted by the late José “Pepe” Martínez, former music director of Mariachi Vargas de Tecalitlán, and Rosario Martinez Pérez, director of performing arts at the school. His discography includes three recordings. He has participated in several mariachi festivals accompanied by Mariachi Vargas de Tecalitlán. In March of 2017, he created a promotional video for the Mexican Heart Foundation with the theme “Corazón Mexicano” (Mexican Heart).

VANESSA ALONZO (UNITED STATES) MARIACHI MEZZO-SOPRANO—LUPITA

Vanessa Alonzo returns to HGO after originating the role of Lupita in the 2019 world premiere of El Milagro del Recuerdo/The Miracle of Remembering, as well as in the 2010 world premiere of Cruzar la Cara de la Luna/To Cross the Face of the Moon, which she has reprised at the Théâtre du Châtelet

in Paris, Teatro Nacional Sucre in Quito, and across the United States. In 2015, Alonzo created the role of Juana with Lyric Opera of Chicago in El Pasado Nunca Se Termina/The Past Is Never Finished, which she also performed at HGO and with San Diego Opera. She reprised the role at Fort Worth Opera in 2019. Alonzo performed with Mariachi Los Camperos at HGO’s Opera Ball in 2019 and at Minnesota Opera’s Ópera Afuera at Allianz Field in fall 2021. Also in fall 2021, she performed with Trío Chapultepec in Austin Opera’s Concerts at the Consulate series. Alonzo is lead female vocalist in the Houston-based Latin-fusion group Los Guerreros de La Musica, which has been recognized as the Best Latin Band in the East Texas Music Awards. Other honors include the International Leadership Award, given by the Texas Women’s Empowerment Foundation in 2014 for her outstanding career; and the Best in the U.S. Vocalist Award in the 1999 Mariachi Vargas Extravaganza vocal competition judged by the world-renowned Mariachi Vargas de Tecalitlán. Her credits include tours to Ireland, Mexico, Norway, and Vietnam. In 2002, she performed for the opening ceremonies of the Winter Olympics in Salt Lake City. Television credits include El Show de Cristina on Univision as a participant in Festival de Rancheras and an appearance as a finalist on Estrella TV’s Tengo Talento, Mucho Talento in 2011.

RAFAEL MORAS (UNITED STATES)

TENOR—FATHER MATÍAS

Rafael Moras returns to HGO after making his company debut as Father Matías in the 2019 world premiere of El Milagro del Recuerdo/ The Miracle of Remembering. This season with HGO he also performs as Second Jew in Salome During the 2021-22 season he made company debuts as Don José with Minnesota Opera in Carmen, Alfredo in La traviata with Holy City Arts & Lyric Opera, and Father Matías in El Milagro del Recuerdo with Arizona Opera. He gave a recital for Austin Opera and the Consulate General of Mexico for their brand-new Concerts at the Consulate series, continued performances as a tenor soloist in Grammy Award-winning jazz trumpeter Chris Botti’s Chris Botti Live global tour, and performed in Entre Amigos, an all-star concert in celebration of Hispanic Heritage Month with Forth Worth Opera. In 2023, Moras will make his Seattle Opera debut in the world premiere opera A Thousand Splendid Suns. An alumnus of LA Opera’s Domingo-Colburn-Stein Young Artist Program and The Santa Fe Opera’s Apprentice Program for Singers, Moras is a 2019 Dallas Opera Guild Vocal Competition semifinalist, a 2017 and 2018 recipient of The Santa Fe Opera’s Richard Tucker Fund Award, a 2014 Metropolitan Opera National Council Auditions (Eric and Dominique Laffont Competition) Grand Finalist, 2014 Operalia quarterfinalist, and a 2013 and 2014 finalist in HGO’s Eleanor McCollum Competition.

HÉCTOR VÁSQUEZ (UNITED STATES) BARITONE—ABA

Héctor Vásquez returns to HGO after originat ing the role of Aba in the 2019 world premiere of El Milagro del Recuerdo/The Miracle of Remembering. Also for HGO, he performed Emperor Altoum in the 2022 production of Turandot and Benoît/Alcindoro in the 2018 production of La bohème, having previously appeared as Benoît/Alcindoro in outdoor performances of the opera in 2013 and in mainstage performances of the opera in 2012. Other past roles at HGO include George Benton in Dead Man Walking (2011), Scarpia in outdoor performances of Tosca (2010), the title role in Rigoletto in outdoor performances (2009), Forester in The Cunning Little Vixen (2007), Alvaro in Florencia en el Amazonas (2001, world premiere in 1996), and Schaunard in La bohème (1996). Vásquez has appeared with major opera companies, orchestras, and festivals including the Metropolitan Opera; San Francisco Opera; Utah Opera; Seattle Opera; Opera Colorado; LA Opera; the Los Angeles Philharmonic; the San Francisco Symphony; the Santa Fe Chamber Music Festival; and the Ojai Festival. Vásquez is on the faculty of the Moores School of Music at the University of Houston and is a voice faculty member of HGO Community and Learning’s Bauer Family High School Voice Studio. He is also the co-director of the High School Voice Program at the Brevard Music Center. He was the director of the HGO Studio from 2006 to 2008.

CLAUDIA CHAPA (MEXICO) MEZZO-SOPRANO—JOSEFINA

Claudia Chapa returns to HGO after making her company debut as Josefina in the 2019 world premiere of El Milagro del Recuerdo/The Miracle of Remembering, a role she also performed with Arizona Opera. Other recent engagements include Marcellina in The Marriage of Figaro with Opera Delaware; Gertrude in Romeo and Juliet with Opera San Antonio; Filipjevna in Eugene Onegin with the Dallas Symphony Orchestra; Alisa in Lucia di Lammermoor with Opera San Antonio and Winter Opera St. Louis; Ortrud in Lohengrin with Opera Southwest; La Zia Principessa in Suor Angelica and Zita in Gianni Schicchi with St. Petersburg Opera; Fenena in Nabucco with West Bay Opera; Azucena in Il trovatore with St. Petersburg Opera Company, Winter Opera St. Louis, and Opera in Williamsburg; Zita in both Gianni Schicchi and Buoso’s Ghost with Opera Delaware and Baltimore Concert Opera; Marcellina in The Marriage of Figaro with Charlottesville Opera; Ulrica in A Masked Ball, Madame Flora in The Medium, and the Witch in Hansel and Gretel with Opera in the Heights; Fairy Godmother in Alma Deutscher’s Cinderella with Opera San José; Mary in The Flying Dutchman and Dryade in Ariadne Auf Naxos with Austin Opera; Berta in The Barber of Seville with San Antonio Opera; Bloody Mary in South Pacific with Gulf Coast Symphony; Hedwige in William Tell with Opera Southwest; Dame Quickly in Falstaff with Winter Opera St. Louis and Opera in the Heights; Marthe in Faust with Indianapolis Opera; and Third

Lady in The Magic Flute with the Glimmerglass Festival. She is an alumna of the International Vocal Arts Institute, Des Moines Metro Opera’s Apprentice Artist Program, and the Glimmerglass Festival.

VANESSA BECERRA (UNITED STATES) SOPRANO—A WOMAN

Vanessa Becerra returns to HGO after making her company debut as a Woman in the 2019 world premiere of El Milagro del Recuerdo/The Miracle of Remembering. During the 2022-23 season she performs as Rosina in The Barber of Seville with Amarillo Opera, Marie in La fille du regiment with Minnesota Opera, Susanna in The Marriage of Figaro with Opera Omaha, and Gilda in Rigoletto with Intermountain Opera Bozeman. Last season, she performed as Rosina in The Barber of Seville with Intermountain Opera Bozeman; Alicia Hernández in Sankaram’s Rise, part of the world premiere tetralogy Written in Stone, with Washington National Opera; Marzelline in Fidelio with Austin Opera; and Belle in La Belle et la Bête with Opera Parallèle. Additional recent appearances include Zerlina in Don Giovanni with Washington National Opera and Maria in West Side Story with Lyric Opera of Kansas City, The Glimmerglass Festival, and Atlanta Opera. She also joined the roster of The Metropolitan Opera and returned to Opera Omaha as Lise in Glass’s Les enfants terribles. A graduate of LA Opera’s Domingo-Colburn-Stein Young Artist Program, Becerra received her master’s degree from The Boston Conservatory.

VINCENT PEQUEÑO (UNITED STATES) MARIACHI

Born in San Antonio, Vincent Pequeño made his debut with HGO in 2019 for the world premiere of El Milagro del Recuerdo/The Miracle of Remembering, performing with Trio Chapultepec. As a professional musician Pequeño performs several genres of Mexican music, including mariachi, trío romántico, and son huasteco. With Trio Chapultepec he has performed with opera houses including the Fort Worth Opera, Austin Opera, and Arizona Opera, in addition to working with the Texas Opera Alliance. Pequeño has performed as a professional mariachi for over 12 years, accompa nying myriad singers and mariachi ensembles. He also has education experience, serving as a guitar clinician in several schools and mariachi programs in Central Texas. Trio Chapultepec will release their first CD in 2022 with mezzo-soprano Cecilia Duarte.

WILLIAM CARLTON GALVEZ (UNITED STATES)

MARIACHI

Originally from Uhland, Texas, William Carlton Galvez made his debut with HGO in 2019 for the

world premiere of El Milagro del Recuerdo/The Miracle of Remembering, performing with Trio Chapultepec. With Trio Chapultepec he has performed with opera houses including the Fort Worth Opera, Austin Opera, and Arizona Opera, in addition to working with the Texas Opera Alliance. He started his musical journey playing guitar in an after-school mariachi program at Hemphill Elementary in 2002 and began to play professionally with two of his teachers in 2007. In 2010 he moved to San Antonio to continue studying mariachi music and perform with local groups. In 2013 he competed in the Vargas Extravaganza National Vocal Competition, where he was awarded Best Mariachi Vocalist in the U.S. by Mariachi Vargas De Tecalitlán, and in 2014 he opened for the group during their Texas tour. The same year, Galvez began working for Southwest Independent School District as a vocal specialist and in 2015 as a violin consultant with the Youth Orchestra of San Antonio. He discovered his passion for teaching, and returned to San Antonio College in 2016 to study Voice and Music Education.

ISRAEL ALCALA (UNITED STATES) MARIACHI

Israel Alcala made his debut with HGO in 2019 for the world premiere of El Milagro del Recuerdo/ The Miracle of Remembering, performing with Trio Chapultepec. With Trio Chapultepec he has performed with opera houses including the Fort Worth Opera, Austin Opera, and Arizona Opera, in addition to working with the Texas Opera Alliance. He is a professional mariachi musician based in Austin.

LEONARDO PISANO (UNITED STATES) RAFAEL

Nine-year-old Leonardo (Leo) Sebastián Pisano, a gifted and talented and honors student at Sherwood Elementary, is making his HGO debut. Previous accomplishments include creating and performing in a skit about history’s first female detective, Kate Warne, at Odyssey of the Mind World Finals, as well as roles in Aristocats, The Little Mermaid, and Madagascar at Inspiration Stage Theater.

NICOLE GABRIELA DE LA TORRE (UNITED STATES) ARACELI

Eleven-year-old Nicole G. De la Torre is making her HGO debut. She is a sixth-grader at Lanier Middle School, where she is a member of the dance drill team and the school choir. In elemen tary school she performed as Ms. Henry in Ruby Bridges. For the last five years she has been a Mexican folklórico dancer, performing regional routines with Mixteco School of Dance and MECA Houston. In 2021 she participated in the final performance of HISD’s Summer Dance Intensive.

VICTORIA ALENO TORRES (UNITED STATES)

YOUNG RENATA

Ten-year old Victoria Aleno Torres is making her HGO debut. She attends Lamkin Elementary in Cypress and has performed in productions including Joseph and the Amazing Technicolor Dream-Coat, Understanding Your Pet with Dr. Marla Brett, and Judy Moody & Stink: Mad, Mad, Mad, Mad Treasure Hunt. Torres has also done some print work for Academy Sports and Outdoors and a commer cial for a large food chain. She is learning to play the piano.

JOSUÉ DURAN-ORANTES (UNITED STATES) SILVIO

Twelve-year-old Josué Duran-Orantes is making his HGO debut He is studying theater at Briscoe Junior High School and has performed in The Legend of Lightning Larry as Crooked Curt; The Lion, the Witch and the Wardrobe as Edmund; The Wiz as part of the Children’s Chorus; and in the one-act play Anatomy of Gray for the Texas UIL competition. Duran-Orantes is proud of his Hispanic heritage and thankful to have been part of this journey.

ANTONIO RICO (UNITED STATES)

YOUNG LAURENTINO

Twelve-year-old Pin Oak Middle School student Antonio Rico is making his HGO debut. He participated in Honk! and Lafayette No. 1 performances at his school, where he belongs to advanced theater and choir. Rico also plays the guitar and the flute. He has earned two UIL prizes for storytelling on behalf of his school.

By including HGO Endowment in your will or as a beneficiary of your retirement plan or insurance policy, you become a partner with HGO in perpetuating the art form we love, sustaining its vibrant good health for future generations. As a member of the Laureate Society, your legacy gift helps ensure opera forever in Houston.

YPC SEASON KICK-OFF

September

28, 2022

Members of HGO’s Young Patrons Circle raised a glass (or two) to HGO’s bold 2022-23 season at a lively happy hour hosted by Ouzo Bay in the River Oaks District. A coastal chic vibe, Mediterranean delights, Greek wines, and handcrafted cocktails set the scene for YPC’s opera enthusiasts to share in their mutual love for the art of opera. For information on YPC membership and benefits, contact Sarah Long at 713-980-8687 or slong@hgo.org.

A toast to the new season!

Lennart Matzen, Abby Sanchez-Matzen

Daniel and Rachael MacLeod

Daniel Katz, David Broadwell, Matt Healey

Ronald Domantay, Yin Yiu

Lauren Buchanan, Constance Rose-Edwards, Emily Bivona, Lindsay Buchanan Anna Gryska, Morgan Reid, Susan Eisenberg, Yvonne Pham Bicocca, Sarah Bertrand

WILL LIVERMAN + THE FACTOTUM

September 21, 2022

HGO and Emancipation Park Conservancy partnered to introduce Houston to Grammy-nominated singer and composer Will Liverman at a gathering in the Park’s Cultural Center. Liverman and HGO General Director Khori Dastoor spoke about his rising career and gave guests a special sneak peek of his collaboration with producer DJ King Rico, The Factotum. Inspired by Rossini’s The Barber of Seville, the new opera blends opera, gospel, funk, rap, hip-hop, barbershop quartet, and R&B and updates the action to a Black barbershop on Chicago’s South Side. HGO has its sights set on bringing this dynamic production to Houston in 2023. For information on how to help bring The Factotum to HGO’s stage, contact Deborah Hirsch at dhirsch@hgo.org or 713-546-0259.

Madelyn and Lynden Rose, Khori Dastoor, Will Liverman

Frank Wilson, Marjorie Joseph

Scott Wise, Raymond Manning

Alan York, Jarett Dillard

Claire Liu, Glen Rosenbaum, Chris Bacon

Frost Bank's Michael Williams, Angela Holliday, Karen White, Ogadi Fields Cenaca and Donald Cyprian, Ebony Goudeau, Necole Fielder

LIFE ON THE OTHER SIDE

The complicated legacy of the Bracero Visa Program

By Jadsia Roopchand

El Milagro del Recuerdo captures an intimate snapshot of the family lives of two men, Laurentino and Chucho, as they make a surprise visit home to Michoacán, Mexico from the United States on Christmas Eve, 1962. The pair arrive in Santa and elf costumes, carrying novel gifts, customs, and expectations from America, alongside their worn boots and hats.

Laurentino and Chucho are braceros who have been away on contract in Texas. At the Christmas celebration, their families must grapple with new ideas, lost time, and the difficulty of maintaining close bonds through long periods of separation. It is a timeless narrative that still reverberates today. The joy, excitement, and tension are palpable.

So, what does history tell us about the experience of reallife braceros—laborers working in the U.S. as part of the Bracero Visa Program? Records and interviews with former braceros tell us that it varied quite a bit and depended on many factors, chief among them the humanity, or lack thereof, of those who employed them. And though experi ences were different for each bracero, it was not an easy life for most.

The Bracero Visa Program, which existed from 1942 to 1964, started as a common-sense solution to American labor shortages during World War II. Diplomatic agreements between Mexico and the U.S. allowed Mexican citizens to receive short-term visas to work in American industries suffering from wartime labor shortages. Industries spanned railroad maintenance to farming, and contracts were available in many states across the country, with Texas and California being the largest employers.

At its outset, the program offered benefits for both parties. American industries received critical labor support, and Mexican workers received legitimate employment with the promise of an American wage. However, the program

grew more and more complicated as laborers fell victim to government negligence and employer greed.

A bracero aspirante (hopeful candidate) began his journey at a Reception Center, where his fitness for the program would be judged by physicians and employers. Reception Centers were located in the U.S., especially in Texas and California, and served as a first entry-point for newly arrived Mexican workers. In these centers, aspirantes were subjected to inva sive physical examinations and fumigation before chosen candidates were dispersed to their region of hire.

With only their Alien Laborer’s Identification Card and whatever possessions they could carry on their backs, the selected workers were loaded into transportation vehicles for dispatch. Some ex-braceros later reported extortion by reception officers who extracted an unsanctioned “processing fee” in exchange for program inclusion. Others recalled feeling inhuman during the examination, like cattle undergoing inspection. Rio Vista Farm Reception Center, one of the last remaining centers in existence, is located in Socorro, Texas and is currently undergoing restoration and transformation into a museum.

Braceros lived in barracks-style accommodations typically situated on or nearby their place of work. Some barracks were originally intended as housing; others were converted from chicken coops or stables and outfitted with stretchedcanvas mattresses and a single wooden shelf for posses sions. Although contracts stipulated employers provide safe, sanitary housing and food for braceros outside of their wages, greedy employers collected fees for these necessi ties, and supplied substandard provisions in return. Charges were filed against contractors for violations such as feeding braceros sub-grade meat and housing hundreds of men in a single building.

WE COME FROM A PLACE UP NORTH WHERE THEY SAY ALL YOUR WISHES COME TRUE BUT WE HAD JUST ONE WISH THIS TIME OF YEAR TO COME TO SPEND CHRISTMAS WITH YOU. —TRANSLATION, “NAVIDAD EN MÉXICO,” EL MILAGRO DEL RECUERDO

An official examines a bracero's teeth and mouth with a flashlight while others stand next to him with their backs to the wall at the Monterrey Processing Center, Mexico.

Workdays were long and laborious. Having no transport of their own, workers were beholden to their employers to drive them to and from worksites each day. To cut costs, some vehicles were fashioned from cattle cars refitted with wooden benches to carry men and their equipment between sites. Cramped and unsafe, these vehicles contrib uted to a number of underreported injuries and deaths. Once braceros arrived at the jobsite, they began a day of backbreaking labor.

Despite harsh conditions, the promise of a prevailing American wage to send home to their families kept braceros coming back for new contracts. The exact wage a bracero was paid depended on which region or industry he worked in, and whether he received payment based on hours worked or amount produced. Regardless of region or payment style, braceros in every part of the country received far less than their American counterparts.

Texas agriculture employers were notorious for underpay ing their braceros if they paid them at all. Poor program oversight and legal representation allowed many employers to withhold or neglect wages, even though braceros were bona fide workers in the eyes of the American government. Later attempts to petition the American and Mexican governments for lost wages after the program’s termination were futile, as neither government took responsibility for laborers’ exploitation.

Although many ex-braceros vividly recalled their hardship within the program, they also acknowledged the excitement of bridging their new life in America with the one waiting for them in Mexico. Generous contractors were known to drive their braceros into town on the weekends to shop, meet people, and experience the city. Many men enjoyed the opportunity to experience contemporary American life beyond the gaze of their families.

Some braceros were married with wives and children in Mexico, but many other young, single men used these

outings to meet significant others. Men who married American women often chose to stay and raise their family in the U.S. Some married men with families in Mexico saw a new life for themselves in America and resettled with wives and children. These blended families would go on to forge an amalgamation of cultures that continues to shape many of the traditions practiced in both countries today. However, the influence of American culture on these men was not always viewed positively in traditional Mexican communities. At a time when many Mexican families lived in poverty, durable work clothes and electronic gadgets stood out as extravagant. Seasoned braceros typically enjoyed the luxuries of a radio, denim jeans, and work boots, while newer recruits toiled in the fields in linen pants and leather sandals. Adopting laid-back attitudes, materialism, and a modernized perspective on women, wealth, and leisure left many braceros ostracized when they returned home.

In addition to the tension between their Mexican and American lifestyles, laborers in the segregated South also experienced rampant racism. Southern Americans, operat ing with a Jim Crow mindset and Cold War era xenophobia, ousted braceros from Whites-only restaurants, bars, and shopping centers with signs reading “No Blacks, Dogs, Mexicans.”

Notably, braceros were also treated coldly by some Mexican Americans, who denigrated them as neither American citizens nor full assimilates. As World War II ended and job competition mounted, braceros won labor contracts over their Chicano peers because they unwittingly broke strikes and accepted lower wages. To supplement the post-war demand for cheap labor, employers began to bypass the program altogether and employ illegal Mexican immigrants, which further fueled existing anti-bracero prejudice.

In the 1950s, with immigration numbers soaring, the U.S. launched a large-scale federal deportation effort, attempting to reverse the massive migration generated by the program. The effort was unsuccessful in displacing hundreds of thousands of Mexican families making their new homes abroad. Therefore, much of the rich cultural diversity in America, and especially in Texas, can be traced to the program.

For so many men, the Bracero Visa Program’s promises of fair wages and working conditions went unfulfilled. In more than a few instances, the opportunity to pursue the American Dream through the program cost men their lives. But for other braceros, the program supported their families and hometowns in Mexico or brought about new lives in America.

One wonders if this audience would be gathered here at the Wortham Theater Center in Houston, Texas, experi encing a mariachi opera, if not for the program and its complicated legacy. ∎

William Carlton Galvez, Israel Alcala, and Vincent Pequeño of Trio Chapultepec

OUT OF CHARACTER

TRIO CHAPULTEPEC

By Catherine Matusow

Together, Vincent Pequeño, William Carlton Galvez, and Israel Alcala are Trio Chapultepec, the mariachi group that performed with Houston Grand Opera during the 2019 world premiere of El Milagro del Recuerdo and now makes its anticipated return to the HGO stage.

All three musicians are incredible multiinstrumentalists who share the art of mariachi through teaching and performing. They’ve known each other for a decade and played together in a host of different mariachi groups. But they didn’t form their own trio until they auditioned for El Milagro together in 2019, joined the cast, and went on to wow audiences with their beautiful, soulful music.

Since then, they have performed El Milagro with opera houses including our co-producer Arizona Opera, the Fort Worth Opera, and Austin Opera. Split between San Antonio and Austin, they play weddings, quinceañeras, and other events throughout Texas. They also recently recorded a new album of romantic ballads recorded with mezzo-soprano Cecilia Duarte, an HGO favorite who originated the role of Renata and reprises it with this production.

One recent afternoon, we caught up with two of the trio’s members, Pequeño and Galvez, to ask them about their love for mariachi and the joys and challenges of combining the art form with opera.

Opera Cues: When did you fall in love with mariachi music?

Vincent Pequeño: In eighth grade, I wanted to join band, but they didn’t let me. They kind of threw me in mariachi. That’s where I met my first official teacher, Gino Rivera. He was the one who taught me the history of mariachi and how to play mariachi. And I fell in love with it. In high school I started playing downtown, here at the Riverwalk. And ever since then, I’ve just been playing all day, every day.

William Carlton Galvez: In fourth grade, my music teacher, Carlos Maldonado, showed us a

video of a PBS special from Mariachi Vargas de Tecalitlán, and it was Steeven Sandoval singing “Por Amor,” collaborating with the Jalisco Symphonic Orchestra. So the first time I ever heard of mariachi was in combination with an orchestra. I remember getting goosebumps as a kid. I didn’t understand what the music was, but the emotion just played through so clearly. In eighth grade, I started playing vihuela, and I saw Mariachi Vargas live for the very first time. There’s a vihuela player—his name is Victor Cardenas, “El Pato”—and I just fell in love with his playing.

OC: What was it like joining the HGO Orchestra for Milagro?

WCG: It was a unique experience. Having us on stage and then having the orchestra in the pit, it feels natural to me, in a sense—both these genres of music, classical and mariachi, just seamlessly integrate. My mariachi teacher would always say that you can turn any orches tra into a mariachi just by adding a guitarrón, a vihuela, and a guitar, because really, the heart of the mariachi is that—the armonia section, specifically. It was fun when we were rehears ing with the orchestra, because we were feed ing off each other, you know, with their styling and our styling, trying to meet in the middle to create a unified sound.

VP: All of us, we were kind of craving it—you know, doing something bigger. And being able to be around other good musicians made it so easy and smooth for us. We just had fun the whole time.

OC: Tell us about rehearsals.

WCG: To be honest, we didn’t know what was going to be expected of us. The first day, they told us, “Yeah, you have to have it memorized, because we want you all to play on stage.” It was like 20 songs, and so we did it in chunks. They were very patient with us. And we got the music memorized in like two to three weeks, you know, along with learning the stage setup and, at the same time, trying to figure out the positioning for seeing the conductor, because there would be times when there’d be a pillar in front of me. I would have to rely on Vince or

Israel, or the monitors that they have on the sides. But those can be delayed, so we often had to rely just on the feel.

OC: What other challenges did you guys face?

VP: We knew the songs going in, but we never got to hear them, hear them. It was just the bones. So then, when we met the singers, we said, “Oh my god. Now it sounds completely different.” We were trying to find the right groove. One of the songs kept changing, even when we only had like two weeks until show time. So we said, “Okay, we memorized it,” and they said, “Oh, no, a different song.” And then we memorized that one. And they said, “No, again, we’re going to change it.”

There were a lot of obstacles, and it didn’t go unnoticed. When I would talk to the singers and the orchestra, they would say, “Man, y’all are on stage and singing and playing by memory.” They had sheet music, and the sing ers have all these breaks, whereas we had to be there from curtain up to curtain down.

WCG: But we were very well-rehearsed. It’s kind of funny. When we’d go back to our Airbnb, we would still have the songs stuck in our heads. And it really became a part of us. It still is. I can still replay the opera in my head from start to finish. So it’s a very personal project for us, too, because we were there, when they were still figuring it out.

OC: Do the opera’s themes speak to you personally?

WCG: You already know what’s going to happen, but the finale—it gets me a little teary-eyed sometimes. The whole opera itself really focuses on family values, the want and need to give one’s family a better life, but the difficulty of leaving one’s home—you know, that’s the hardest thing to do. It helps us to better understand what people are going through, and also helps remind us what our families and ancestors went through for us to be able to even be here today—you know, the sacrifices, and the difficulty in trying to preserve our roots.

“

YOU ALREADY KNOW WHAT’S GOING TO HAPPEN, BUT THE FINALE—IT GETS ME A LITTLE TEARY-EYED SOMETIMES. THE WHOLE OPERA ITSELF REALLY FOCUSES ON FAMILY VALUES, THE WANT AND NEED TO GIVE ONE’S FAMILY A BETTER LIFE, BUT THE DIFFICULTY OF LEAVING ONE’S HOME—YOU KNOW, THAT’S THE HARDEST THING TO DO.

In “Chica Americana,” when Chucho puts on his jacket and he’s acting like Elvis—he’s trying to show his wife all these things: “Over here in America, we have all this, and this is the living that we can have, and security.” But his wife, she says, “I want to stay here. This is my home. This is where I want to raise my family.”

VP: My family is based out of San Antonio, and I never really got to know any of my family from Mexico. But I have friends from Colombia, Venezuela, Mexico, and they’re out here— usually, they live together in a house. It’s like four or five guys. And they work, and they keep sending money back home for their families If they’re lucky, they can go back and visit, but a lot of them can’t. So it’s a way for them to provide. And I’ve seen how hard it can be.

of this in there?” So it became this melting pot of ideas.

And I remember one of the last shows that we did—Javier Martínez came backstage, and he was crying. And he said, “Y’all were the ones that helped make this a reality.” And now, every time someone says, “Let’s do a show,” we’re like, “Yeah, let’s do it. Let’s go!” Working with the Austin Opera and San Antonio Opera and the Fort Worth Opera and then even Arizona—this thing that HGO created for us grew, and it’s continuing to grow. And it was such a great thing to be able to work with HGO, that I’m super glad we’re going to be able to do it again!

OC: What was it like working with HGO?

VP: I like seeing things grow. By the time the show opened, everything was already in our heads. It was scary to say, “Okay, this is it—people are paying to see you.” (laughs) I liked seeing how we kind of made the opera our own. Because they did have an idea—we want y’all to stand here, and we want y’all to play these chords, and play this, like this—but maybe Carlton wanted to change one note, and they would do it. It was like they gave us a recipe, and we asked, “Can we just put a dash

WCG: It feels like family at HGO. They really make sure that we feel at home. It was a great first experience with an opera company. I remember when we finally put it all together for that first show. It felt like a space launch, in a sense. Right before the curtain call, when Israel goes out there to start off the vihuela solo, it’s like, three, two, one, liftoff. And then the stagehand gives the thumbs up, and boom, that’s it. We’ll see you in an hour and 20 minutes. ∎

Trio Chapultepec at the Wortham for the opera's world premiere.

LIFE AFTER THE HGO STUDIO

By Brian Speck, HGO Studio Director

From left: William Guanbo Su, Sun-Ly Pierce, Daniel Noyola, Elena Villalón.

Where has life taken you since you completed the HGO Studio?

William Guanbo Su: I’ve been very fortunate to be able to get a full season of engage ments right after I finished my Studio time. That includes three role debuts as well as my second appearance at The Metropolitan Opera in The Magic Flute

Sun-Ly Pierce: This summer I covered the role of Bao Chai in Dream of the Red Chamber at San Francisco Opera, and went on for several performances! After that I sang Donna Elvira in Don Giovanni in Aspen, then Emilia in Rossini’s Otello at Opera Philadelphia.

Daniel Noyola: Since the 2021-22 season, I’ve been part of the ensemble of soloists at the Bayerische Staatsoper in Munich, Germany.

Elena Villalón: I spent the summer at Santa Fe Opera, singing Nannetta in Falstaff. I had September off, so I went to Peru and hiked the Andes! Now I am singing Gretel in Hansel and Gretel at The Dallas Opera.

What’s your most important takeaway from your time in the Studio?

SP: First, I think it’s of the utmost importance of being a good colleague. That means being a positive contributor to the process and creat ing a welcoming environment that enables

Which part of the Studio’s training have you found most useful in your career?

WGS: There are so many! If I have to point one out, it must be the language lessons. They helped me with German, Italian, and French, not only diction but also understanding.

DN: When we are on stage, all the training and all the knowledge have to become one. The acting has to marry with the vocal aspect, the linguistic part, and the character that you are interpreting. The Studio gave me the necessary tools, and the time to assimilate information and incorporate it all when I am performing.

EV: So many elements of our training are crucial—lessons, coachings, languages, and more—but the onstage experience at a toplevel opera house is unparalleled.

What is a memory from the Studio that makes you smile or laugh?

WGS: I can’t think of a better one than my dear friend Nicholas Newton (who is also a Studio alum), and his legendary wig fall during open ing night of Romeo and Juliet last season. It fell like a hat during bows, but he caught it, and put it back on his head like it was all planned.

EV: In my first month in the Studio, we traveled

What does it mean to be returning to HGO this season?

SP: It means everything to me. It means return ing to my team, my friends, my family. HGO will always have a special place in my heart. I’ve had some of my hardest learning experiences there, but also some of my greatest triumphs. Having the opportunity to go back to the place where I know I can push myself and continue to set even higher goals is a huge motivation for me.

DN: Returning to HGO means a lot. I’m going back to the place that helped me become a professional. I am so excited to see my colleagues, administrative staff, audience, friends, teachers, and mentors—to reconnect with this big family and express my gratitude.

EV: HGO has a long history of supporting their young artists in the dawn of their careers, and it is an honor to have the support and confidence of the company post-Studio. In high school, I used to drive from Austin to Houston to watch the operas from the nosebleed seats, and singing at HGO was something I never imagined would happen, so it is quite special.

successful and enjoyable rehearsal experience. When you’re prepared and ready to work, you’re already groundwork for a successful

The importance of team-building. In the Studio I found people with whom I would like to continue collaborat ing in the long term. People who believe in me and guide me, in all aspects: vocal, linguistic, artistic, and

Elena Villalón in The Snowy Day and William Guanbo Su in Carmen, both from last season at HGO.

Meryl Dominguez, soprano

Mr. and Mrs. Harlan C. Stai Fellow

Ricardo Garcia, tenor Michelle Beale and Dick Anderson/ Dr. Ellen R. Gritz and Mr. Milton D. Rosenau Jr. Fellow

Navasard Hakobyan, baritone Melinda and Bill Brunger/ Mr. and Mrs. Charles G. Nickson/ Gloria Portela Fellow

Cory McGee, bass Beth Madison Fellow

HGO STUDIO FACULTY & STAFF

Brian Speck, Director

Maureen Zoltek, Studio Music Director

Sponsored by Mr. and Mrs. Albert B. Alkek Chair Endowment Fund

Jamie Gelfand, Studio Manager

Ana María Martínez, HGO Artistic Advisor

Stephen King, Director of Vocal Instruction

Sponsored by Jill and Allyn Risley, Janet Sims, and James J. Drach Endowment Fund

Patrick Summers, Conducting Instructor and Coach, Sarah and Ernest Butler Chair

HGO STUDIO SUPPORTERS

The HGO Studio is grateful for the in-kind support of the Texas Voice Center. The Young Artists Vocal Academy (YAVA) is gener ously underwritten by Mr. and Mrs. Robert N. Wakefield and the HGO Guild.

Additional support for YAVA is provided by Mr. Patrick Carfizzi, Gwyneth Campbell, and David and Norine Gill. HGO thanks Magnolia Houston for outstanding support of the HGO Studio and YAVA programs.

Additional support for the Houston Grand Opera Studio is provided by Sylvia Barnes and Jim Trimble, Dr. Raymond Chinn, Mr. and Mrs. Melvyn Hetzel, Ms. Diane K. Morales, Mr. and Mrs. Jay Watkins, and the following funds within the Houston Grand Opera Endowment, Inc.:

Michelle Papenfuss, pianist/coach Dr. Saúl and Ursula Balagura/ Dr. Laura E. Sulak and Dr. Richard W. Brown Fellow

Renée Richardson, soprano Kathleen Moore and Steven Homer/ Carolyn J. Levy/ Jeff Stocks and Juan Lopez Fellow

Luke Sutliff, baritone Lynn Gissel/ Brenda Harvey-Traylor/ Nancy Haywood Fellow

Eric Taylor, tenor Drs. Rachel and Warren A. Ellsworth IV/ Sharon Ley Lietzow and Robert Lietzow/ Jill and Allyn Risley Fellow

Emily Treigle, mezzo-soprano

Mr. and Mrs. James W. Crownover/ John Serpe and Tracy Maddox Fellow

Erin Wagner, mezzo-soprano Amy and Mark Melton/ Drs. Liz Grimm and Jack Roth Fellow

Bin Yu Sanford, pianist/coach Lynn Des Prez/ Stephanie Larsen / Dr. and Mrs. Miguel Miro-Quesada Fellow

Peter Pasztor, Principal Coach

Sponsored by Mr. and Mrs. James A. Elkins Jr. Endowment Fund

Kirill Kuzmin, Head of Music Staff

Kevin J. Miller, Assistant Conductor

Madeline Slettedahl, Assistant Conductor

Brian Connelly, Piano Instructor

Tara Faircloth, Drama Coach, Showcase Director

Adam Noble, Movement Instructor, Showcase Fight and Intimacy Director

Christa Gaug, German Instructor

Enrica Vagliani Gray, Italian Instructor Sponsored by Marsha Montemayor

Raymond Hounfodji, French Instructor

Sponsored by Craig Miller and Chris Bacon

Joy Jonstone, English Instructor

Warren Jones, Guest Coach

Thomas Lausmann, Guest Coach

The Gordon and Mary Cain Foundation  Endowment Fund

Marjorie and Thomas Capshaw  Endowment Fund

James J. Drach Endowment Fund

The Evans and Portela Family Fund

Carol Lynn Lay Fletcher Endowment Fund

William Randolph Hearst  Endowed Scholarship Fund

Charlotte Howe Memorial Scholarship Fund Elva Lobit Opera Endowment Fund

Marian and Speros Martel  Foundation Endowment Fund

Erin Gregory Neale Endowment Fund

Dr. Mary Joan Nish and  Patricia Bratsas Endowed Fund

John M. O’Quinn Foundation Endowed Fund

Shell Lubricants (formerly  PennzoilQuaker State Company) Fund

Mary C. Gayler Snook Endowment Fund

Tenneco, Inc., Endowment Fund

Weston-Cargill Endowed Fund

Mary C. Gayler Snook Endowment Fund

Tenneco, Inc., Endowment Fund

Weston-Cargill Endowed Fund

Ticket sales cover less than 20% of producing great opera. Your contributions make up the rest. It’s donors like you who bring grand opera to the Wortham Stage.

Your gift to HGO gives you exclusive and behind-the-scenes benefits like valet parking, lecture series, and Green Room access.

For more information on benefits, visit HGO.org/DONATE. Please contact David Krohn, director of philanthropy, at 713-980-8685 or dkrohn@HGO.org.

AN ARTIST’S JOURNEY HOME

Jorge Garza on launching the new Garza Studios and Segundo Barrio Children’s Chorus

By Jennifer Bowman Director of Community and Learning

Jorge Garza’s story is quintessentially Houston. A child of Mexican immigrants, Garza found his passion for music at the age of 4 in a community center in Houston’s Second Ward. He spent his youth performing with the Singing Boys of Houston (now the Houston Boychoir) and attending the [Kinder] High School for Performing and Visual Arts. Those experiences led Garza to the Juilliard School, a successful career singing at opera houses throughout Europe, and U.S. engagements at Carnegie Hall, LA Opera, Lincoln Center, and San Francisco Opera.

Since returning to Houston in 2020, Garza has started two ventures: Garza Studios, a 5,000-square-foot facility with ten practice and performance spaces, designed for use by classical musicians and other performing artists; and a non-profit, Segundo Barrio Children’s Chorus, Houston’s first bilingual children’s chorus, which joined us at this year’s HGO Carols on the Green at Discovery Green.

HGO Director of Community and Learning Jennifer Bowman sat down with Garza to learn more about his journey.

Jennifer Bowman: Jorge, you continue to have a flourishing career as an interna tional opera singer. Why did you return to Houston?

Jorge Garza: In March 2020, we started hearing about COVID. Soon after, my engage ments for the next 18 months were canceled. It was a real identity crisis for me and other working musicians. I decided to come back home to Houston and focus on spending time with my family. Being a traveling musician

seems glamorous on the outside, but it is a big sacrifice being away from your loved ones and community.

JB: How did Garza Studios become your first venture here?

JG: I have had these amazing experiences in music throughout the world, and I felt the need to do something for the greater Houston arts community and the East End where I grew up. My first inclination was to start a business. That became Garza Studios. We opened our doors in early 2021 with a mission to support artists and provide arts programming for Houston’s Second Ward, a community that is over 70% Latino/Hispanic. The Studios were so good that we had professional chamber musi cians with no connection to the Second Ward using them. They had their own agenda of practicing for upcoming concerts. The dream of having programming and engagement specifically for the residents of Second Ward did not turn out as I hoped.

JB: How did you respond to that?

JG: In late 2021 I started having conversations around creating Houston’s first children’s choir, focused on recruiting members of the bilingual and immigrant community in Houston’s Second Ward. The idea alone brought on a lot of enthusiasm, but the question became how to get it off the ground. Garza Studios was able to be a launch pad for the program. We started by having a summer camp so we could get as many children as possible. We offered free tuition, high-level music instructors from schools around Houston, and a final commu nity concert. We posted flyers all over the Second Ward—at grocery stores, panaderías,

churches, schools, Mexican restaurants—to register children for Houston’s first bilingual choir summer camp. We had an enormous number of families sign up. We got to the first day of camp and half of those families showed up, but those who came were very dedicated.

JB: What did the young people do in that first summer camp?

JG: Many of these children and families had never been exposed to a program this intense. This was a four-week camp where the children were dropped off at 8:30 in the morning and picked up at 1:30 in the afternoon. We placed it on an HISD school campus, Yolanda Black Navarro Middle School, to facilitate engage ment with the community. Navarro has a beautiful 900-seat auditorium and a baby grand piano. We decided to use traditional, indigenous Spanish music. We taught basic music principles and solfege with songs that the children could connect with their culture and traditions. The July 7 final concert was well-attended by members of the community, as well as local, state, and federal officials. All the comments were, “wow, we’ve never seen children sing in Spanish in our community.”

JB: How are you building on the success of the program?

JG: This fall we launched an after-school music enrichment program for the school year. We still have the choir for children ages 8 to 13 from East End community elementary and middle schools, Los Jóvenes Cantantes. We expanded the program with an early childhood immersion program for ages 4 to 7, dubbed Los Exploradores. These kids are being exposed to a curriculum of resonator bells, drums,

xylophones, marimba—anything that encour ages music instruction and literacy. They will also have their own concert in December at Garza Studios.

JB: What has been the response from the community?

JG: There was a real sense of surprise from the summer camp. What the parents saw was the children achieving something—a 25-minute concert of six pieces, completely memorized and representing all of Latin America. The children had developed discipline, confidence,

COMMUNITY AND LEARNING FUNDERS

Guarantors

The Brown Foundation, Inc.

City of Houston through the  Miller Theatre Advisory Board

William Randolph Hearst Foundation

The Andrew W. Mellon Foundation

Sara and Bill Morgan

The Wortham Foundation, Inc.

Grand Underwriter

Judy and Dick Agee

Mathilda Cochran

ConocoPhillips

H-E-B

Houston Livestock Show and Rodeo ™

The Powell Foundation

with HGO at Discovery Green, singing on a stage for people throughout the city, is exactly the type of experience we want to give the children and Houston. It is important to show an organization that is focused on serving groups of our citizens for whom English is not necessarily the first language. It is important to raise awareness that these children—regard less of their financial resources or residence in under-resourced communities—still deserve the same access to music education and arts and cultural experiences that this city can offer.

JB: How can our HGO family support

Segundo Barrio Children’s Chorus?

and stage presence, and learned how to bow. These are things we take for granted as performers. Seeing that was transformative for the families.

JB: What has the opportunity to perform at Carols on the Green meant to Segundo Barrio?

JG: Our vision is for the choir to serve as cultur al ambassadors representing the East End, and to bring attention to the importance of arts education and the value of diversity and inclu sion in Houston’s arts scene. This performance

JG: I would love for the HGO audience to know there is a whole new generation of potential operagoers. We, as a collective, can see this as an opportunity to foster the growth of new arts and opera audiences. These types of partnerships with the arts organizations throughout Houston are one way to open the door. Even in our own little way, Segundo Barrio Children’s Chorus is trying to bridge the gap. This is important to the sustainability of HGO looking forward, and the viability of this art form. I, as an opera singer, know that we must work hard to foster new audiences and a new generation and bring them into the fold by making it accessible.

To learn more about Segundo Barrio Children's Chorus, please visit segundobarriocc.org.

Underwriters

Ruth and Ted Bauer Family Foundation

Shelly Cyprus

Rosemary Malbin

Vivian L. Smith Foundation

Alan and Frank York

Supporters

Adrienne Bond

M. David Lowe and Nana Booker  Booker Lowe Gallery

Mr. and Mrs. Lester P. Burgess

The Lawrence E. Carlton, MD,  Endowment Fund

The Cockrell Family Fund

James J. Drach Endowment Fund

William E. and Natoma Harvey Charitable Trust

Albert and Ethel Herzstein Foundation

Houston Grand Opera Guild Lee Huber

Dr. Laura Marsh

Mrs. Michael J. Pancherz

Texas Commission on the Arts Union Pacific Foundation

The activities of Houston Grand Opera are supported in part by funds provided by the City of Houston through Houston Arts Alliance.

The NEXUS Initiative

Community and Learning programs including Student Performances and HGO’s performances at Miller Outdoor Theatre, are supported through the NEXUS initiative, which is made possible by:

The Brown Foundation, Inc.

The Wortham Foundation, Inc.

Shell USA, Inc.

Los Jóvenes Cantantes at their first concert.

ALL TOGETHER, NOW!

HGO’s partnership with Discovery Green is about more than holiday carols.

By Alisa Magallón Associate Director of Programming and Engagement

HGO and Discovery Green—Houston’s beautiful, vibrant 12-acre park in the heart of downtown—have been partners since 2008.

“I met the visionary Sandra Bernhard when she came from San Francisco,” recalls Discovery Green Programming Director Susanne Theis. The late Bernhard founded HGOco, now HGO’s Community & Learning initiative, around the same time the park first opened to the public.

“Her immersion in our community and her dedication to engaging all Houstonians made her a perfect collaborator for Discovery Green, which aims to engage all of Houston in a celebration of the arts and traditions that enrich life in our city.”

Our organizations’ first collaboration was a 2010 “Citycast” of a live opera onto a big screen at Discovery Green for an audience of thousands. HGO performed at the park several times after that, including on the tenth anniversary of September 11.

In 2018, Discovery Green and HGO hosted their first holiday sing-along to complement the park’s seasonal art installations and ice skating. Hundreds of Houstonians came out for the event, dubbed Carols on the Green, singing along with the HGO Chorus on the lawn overlooking the park’s live oaks. The evening was so successful, the next year Discovery Green moved it to the park’s main AnheuserBusch Stage.

Every December since, the HGO Chorus, soloists, Studio artists, and Bauer Family High School Voice Studio performers have joined forces with talented performers represent ing the city’s Historically Black Colleges and Universities, houses of worship, community music organizations, mariachi ensembles, and hundreds of Houstonians for this festive tradition at the park—except 2020, when we gathered online.

The 2022 HGO holiday opera El Milagro del Recuerdo inspired this year’s Carols on the

Green program of holiday music from Latin America. Featuring Spanish and English language repertoire, as well as an arrange ment of “Three Spanish Carols” by local composer Mark Buller, the occasion brought HGO performers together with special guests Segundo Barrio Children’s Chorus, principal artists from HGO’s production of El Milagro del Recuerdo, and the opera’s mariachi ensemble, Trio Chapultepec.

The past five years have brought challenges from hurricanes to pandemics, but HGO considers the cultivation of relationships with community partners like Discovery Green to be vital as we continue offering profoundly enriching experiences to Houston’s diverse community.

Last year, Carols on the Green made a joyful return after going virtual during the pandemic.

Photo credit: Lynn Lane.

The Impresarios Circle is Houston Grand Opera’s premier donor recognition society. These vanguard supporters who provide annual support of at least $100,000 are instrumental to HGO’s success. For information, please contact Greg Robertson, chief philanthropy officer, at 713-546-0274 or grobertson@ hgo.org.

ROBIN ANGLY AND MILES SMITH

HGO subscribers Robin and Miles joined the Founders Council in 2010. The company is honored to have Robin on the HGO Board of Directors and as a member of HGO’s Laureate Society. The couple is very familiar with the view from the HGO stage as well—both are former singers in the HGO Chorus. Robin and Miles have been donors to HGO special events, the Young Artists Vocal Academy, and HGO’s Ring cycle. They are charter members of the Impresarios Circle and generously underwrite a mainstage production each season.

JANICE BARROW

Jan’s relationship with HGO extends back to the early 1980s, when she and her late husband, Dr. Thomas Barrow, first became subscribers. Jan is a member of HGO’s Laureate Society and the Founders Council, contributing to HGO’s main stage and special events. She also supports the HGO Studio, having underwritten several rising opera stars over the past 20 years. Jan’s late husband, Tom, former chairman of the HGO Board of Directors, was instrumental in the concept and construction of the Wortham Center. A lifelong lover of music, Jan is past president of the Houston Symphony and has a special affinity for Puccini and Wagner.

THE BROWN FOUNDATION, INC.

The Brown Foundation, Inc., established in 1951 by Herman and Margarett Root Brown and George R. and Alice Pratt Brown, has been a treasured partner of HGO since 1984. Based in Houston, the Foundation distributes funds principally for education, community service, and the arts, especially the visual and performing arts. HGO is tremen dously grateful for The Brown Foundation’s leadership support, which has been critical to the company’s unprecedented growth and success in recent years. The Brown Foundation was among the lead contributors to HGO’s Hurricane Harvey and COVID-19 recovery efforts.

SARAH AND ERNEST BUTLER

HGO subscribers for over 20 years, Ernest and Sarah are the lead underwriters for the company’s digital artistic programming. They also have generously endowed three chairs at HGO: those of HGO Artistic and Music Director Patrick Summers, Chorus Master Richard Bado, and HGO Chorus Concertmaster Denise Tarrant. Because supporting young artists is a particular passion for both, HGO’s Concert of Arias is one of their favorite annual events. Ernest and Sarah reside in Austin and are longtime supporters of Ballet Austin, Austin Opera, Austin Symphony Orchestra, the Texas Cultural Trust, and the University of Texas Butler School of Music,

which has carried their name since 2008. Ernest and Sarah are world travelers, and they never miss an opportunity to see opera in the cities they visit.

ANNE AND ALBERT CHAO

Anne and Albert have been subscribers and supporters of HGO for the past two decades. While serving as president and CEO of Westlake Chemical Corporation, Albert finds time for numerous cultural causes. He is a member of the HGO Board of Directors and was the co-chair of Inspiring Performance—The Campaign for Houston Grand Opera. Over the years, the Chaos have sponsored HGO special events, the HGO Studio, Song of Houston, and mainstage productions. The couple has also supported the HGO Endowment. This season they will chair the annual Opera Ball.

LOUISE G. CHAPMAN

Louise Chapman of Corpus Christi, Texas, a longtime supporter of HGO, recently joined the HGO Board of Directors. Louise’s late husband, John O. Chapman, was a south Texas agricultural businessman and philanthropist. In addition to HGO, the Chapmans have supported numerous organizations in health, education, and the arts, including Texas A & M University, the Corpus Christi Symphony, and the Art Museum of South Texas. Louise and HGO Trustee Connie Dyer have known each other since they were college roommates at The University of Texas.

THE ROBERT AND JANE CIZIK FOUNDATION

The Cizik family name is synonymous with passion, devotion, and service to the people of Houston. The Ciziks have always been associ ated with hard work, high achievement, inspirational leadership, and love for their family. Survived by his wife, Jane, Robert Cizik spearheaded the fundraising and building of HGO’s home, the Wortham Theater Center. The Robert and Jane Cizik Foundation gives generously to many educational institutions and charitable organizations, including UTHealth, Harvard University, the University of Houston, and the University of Connecticut. In 2017, the School of Nursing at UTHealth was re-named the Jane and Robert Cizik School of Nursing at UTHealth in recognition of the family’s dedicated support.

Robin Angly, Chair

MATHILDA COCHRAN

Mathilda is a native of New Orleans and a long-time resident of Houston. She is a retired museum educator, having served for many years as Manager of the Docent and Tour Program at the Museum of Fine Arts, Houston, as well as a volunteer with Taping for the Blind, Inc. She and her late husband, Mike, created the Cochran Family Professorship in Earth and Environmental Sciences to support Tulane University’s School of Science and Engineering. Mathilda currently serves as a member of the HGO Board of Directors and is chair of the Community and Learning Committee. She has been an HGO subscriber since the 1986-87 season.

CONOCOPHILLIPS

For over 40 years, ConocoPhillips has supported various programs at HGO, from special events to mainstage productions, including a long-standing tradition of supporting HGO’s season-opening operas. In 2009, the company gave a major multi-year grant to establish ConocoPhillips New Initiatives, a far-reaching program that allows the Opera to develop new and innovative education and community collaboration programs. Kelly Rose, general counsel and SVP, serves on the HGO Board of Directors.

JIM AND MOLLY CROWNOVER

Molly and Jim have been HGO subscribers for over 30 years and are members of the Impresarios Circle and Laureate Society. Jim has been a member of HGO’s Board of Directors since 1987 including service as chairman from 2016-18 and on the Executive, Governance, Development, and Finance Committees. He currently serves as Chair Emeritus. In 1998, Jim retired from a 30-year career with McKinsey & Company, Inc. and has served on myriad corpo rate and non-profit boards including Rice University (past board chair), United Way (past campaign chair), and most recently as M.D. Anderson Foundation President. Molly continues to serve on the HGO Studio and Special Events Committees. She also serves as Chairman of The Shepherd Society at Rice University and on the Houston Ballet Board of Trustees (past Executive Committee and Ballet Ball chair). Molly and Jim have chaired HGO's Concert of Arias, been honorees at Concert of Arias and Opening Night Dinner, and chaired this season's Opening Night.

THE CULLEN FOUNDATION

For more than three decades, The Cullen Foundation has been a vital member of the HGO family. Established in 1947, the Foundation has more than a half-century history of giving generously to education, health care, and the arts in Texas, primarily in the Greater Houston area. The Opera is very grateful for the Foundation’s longstanding leadership support of HGO’s Family and Holiday Opera Series, as well as special support for HGO’s COVID-19 recovery efforts.

THE CULLEN TRUST FOR THE PERFORMING ARTS

The Cullen Trust for the Performing Arts has been a lead underwriter of HGO’s mainstage season for nearly 30 years. The Trust was established from assets of The Cullen Foundation to specifically benefit Texas performing arts institutions, particularly those within the Greater Houston area. In recent years, The Cullen Trust has provided lead support for memorable productions including HGO’s Family and Holiday Opera Series, and made a leadership contribution to HGO’s Hurricane Harvey recovery fund, as well as a generous gift to HGO’s COVID-19 recovery efforts.

CONNIE DYER

Connie Dyer has been an important member of the HGO family for decades. Connie loves HGO Opening Night festivities and the Concert of Arias. She is a leadership donor, Trustee, and a member of the Laureate Society and the Founders Council for Artistic Excellence. With her late husband Byron, she has hosted receptions for HGO Patrons in their beautiful home in Santa Fe. They were early and enthusiastic underwriters for HGO’s Seeking the Human Spirit initiative, and most recently Connie made a grand grand guarantor pledge for HGO’s COVID Relief Campaign. HGO Board Member Louise Chapman and Connie were college roommates at the University of Texas, Austin.

DRS. LIZ GRIMM AND JACK ROTH

HGO subscribers since the 2013–14 season, Liz and Jack have both committed themselves to cancer research and patient care through their work at The University of Texas MD Anderson Cancer Center. Jack is a member of the HGO Board of Directors and serves as HGO Studio Committee Chair. Liz and Jack were generous underwriters of HGO’s historic, first-ever Ring cycle and lead supporters of HGO’s German repertoire, including Elektra.Additionally, Liz and Jack chaired the 2018 Opera Ball and chaired last season’s Concert of Arias.

NANCY HAYWOOD

Long-time Trustee Nancy Haywood loves HGO, and her particular passion is the HGO Studio and supporting young artists. Her enthusiasm is infectious. This season Nancy is underwriting second-year HGO Studio artist Luke Sutliff. Her love for supporting young artists goes beyond HGO to the Houston Boy Choir, where she is one of their most ardent benefactors and Board Members. Nancy is a member of HGO’s Studio Committee, Philanthropy Committee, and the Laureate Society. Most recently, she made a guarantor pledge for HGO’s COVID Relief Campaign. Nancy and her late husband, Dr. Ted Haywood, approached every opera performance as a “date night.” Ted Haywood was a prince.

WILLIAM RANDOLPH HEARST FOUNDATION

The William Randolph Hearst Foundation is a national philanthropic resource for organiza tions working in the fields of culture, education, health, and social services. The Foundation identifies and funds outstanding nonprofits to

ensure that people of all backgrounds in the United States have the opportunity to build healthy, productive, and inspiring lives. A dedicated supporter of HGO, the Foundation is a leading advocate for the Opera's Community and Learning initiatives. The continued support from the Foundation makes it possible for Houstonians of all ages to explore, engage, and learn through the inspiring art of opera.

H-E-B

For over 115 years, H-E-B has contributed to worthy causes throughout Texas and Mexico, a tradition proudly maintained today. And for over 20 years, H-E-B has been a lead supporter of the Opera's arts education programs for Houston area students. H-E-B’s partnership helps over 70,000 young people experience the magic of opera each season. Always celebrating Houston’s cultural diversity, H-E-B helped make possible last season’s The Snowy Day and this December's El Milagro del Recuerdo.

HOUSTON GRAND OPERA ENDOWMENT, INC.

Established and incorporated in 1982, the Houston Grand Opera Endowment (HGOE) is a vital financial management tool that ensures HGO has a reliable, regular source of income. Today, the Endowment contains over 50 named funds, both unrestricted and restricted, and annually distributes 4.5 percent of the Endowment’s average market value to HGO, making it the largest single annual funder of the Opera. HGOE leadership includes Chair Yolanda Knull, Senior Chair Tom Rushing, and several members of the HGO Board of Directors.

HOUSTON METHODIST

For over ten years, Houston Grand Opera has partnered with Houston Methodist, the official health care provider for HGO. Houston Methodist’s Center for Performing Arts Medicine (CPAM) is the only center of its kind in the country, comprising a specialized group of more than 100 physicians working collaboratively to address the specific demands placed upon performing artists. In addition to the first-rate medical care CPAM provides HGO artists, Houston Methodist also generously supports HGO’s mainstage season and partners frequently on Community and Learning collaborations. HGO is fortunate to have Dr. Warren Ellsworth and Dr. Apurva Thekdi serve as Houston Methodist’s corporate trustees.

THE HUMPHREYS FOUNDATION

Based in Liberty, Texas, the Humphreys Foundation has been a major underwriter of HGO’s mainstage season since 1980. Geraldine Davis Humphreys (d. 1961), a member of the pioneer Hardin family of Liberty, Texas, bequeathed her estate to the Humphreys Foundation, which was formally established in 1959. The Foundation provides support for performing arts in Texas and college scholarship funding for students in the arts. Linda Bertman, Louis Paine, and Robert Wall serve as trustees of the Humphreys Foundation. This season, the Foundation is supporting two family-friendly productions, El Milagro del Recuerdo and The Marriage of Figaro

ELIZABETH AND RICHARD HUSSEINI

We like to think that HGO helped “set the stage” for Elizabeth and Richard Husseini's love story. When a set malfunction at the end of the first act of HGO’s The Flying Dutchman forced Maestro to re-start the opera from the top, the two seatmates bonded in their shared delight that they got to hear more Wagner! The two got engaged one year later (at HGO, of course). Richard is a tax partner at Kirkland & Ellis, a generous HGO corporate supporter, and serves on both the HGO Board of Directors and the HGO Endowment Board. Elizabeth retired from Baker Botts as a corporate and securities partner and devotes her attention to family and community matters, including Catholic Charities of the Archdiocese of Galveston-Houston, Preservation Houston, the Junior League, and River Oaks Baptist School, which the Husseinis' two sons attend. Enthusiastic supporters of the young artists and alumni of the HGO Studio, the couple chaired the 2019 Concert of Arias. This season, the Husseinis are generously underwriting the U.S. premiere of The Wreckers as well as HGO Studio alumna Tamara Wilson's much-anticipat ed role debut in the titular role of Tosca

DONNA KAPLAN AND RICHARD LYDECKER

Richard Lydecker has been an HGO subscriber and supporter for more than three decades. He is a member of the HGO Board of Directors and Impresarios Circle. Richard has great passion for opera, especially Wagner, and he and Donna were underwriters for HGO’s Ring cycle. They are also special events sponsors, supporting Opera Ball and Concert of Arias.

CLAIRE LIU AND JOE GREENBERG

Claire and Joe have subscribed to HGO for many seasons and are members of HGO’s Founders Council for Artistic Excellence. Claire assumed the role of Chair of the HGO Board of Directors in August 2022. She is newly retired from LyondellBassell Industries where she led the corporate finance team, and was formerly a managing director with Bank of America. Joe is founder and CEO of Alta Resources, L.L.C., a private company involved in the development of shale oil and gas resources in North America. Claire and Joe support many organizations, with particular emphasis on educational organizations including YES Prep and Beatrice Mayes Charter School. An avid runner, Claire has completed a marathon in all 50 states.

BETH MADISON

This season marks Beth’s 23rd as an HGO subscriber. HGO has had the honor of her support since 2004. Past chair of the HGO Board of Directors, she currently serves on the HGO Studio Committee, and is an active member of HGO’s Founders Council. She was the honoree at the 2017 Concert of Arias. Beth generously supports the HGO Studio, special events, and mainstage operas. Beth has been inducted into the Greater Houston Women’s Hall of Fame and serves on the University of Houston System Board of Regents.

LAURA AND BRAD MCWILLIAMS

HGO subscribers for 35 years, Laura and Brad have been passionate advocates for HGO. A longtime Trustee, Laura has served on the HGO Finance Committee, chaired the Annual Fund Drive, and serves on the Laureate Society Council. Laura and Brad’s generosity has impacted almost every area of the company including HGO Special Events – they chaired the 32nd Annual Concert of Arias in 2020. They most recently created the McWilliams Fund for Artistic Excellence to underwrite HGO’s mainstage operas for the 22/23, 23/24 and 24/25 seasons.

PAUL MARSDEN AND JAY ROCKWELL

Paul Marsden and Jay Rockwell became HGO Trustees in the 2020–21 season and generously increased their support to join the Impresario’s Circle in late 2021. Paul is President of Bechtel’s Energy global business unit in Houston and has served in key leadership roles for over two decades, dating back to his start with the company in London in 1995. His background as a pianist comes in handy as he accompanies his partner Jay Rockwell, an accomplished operatic baritone, who has sung with the Houston Grand Opera Chorus in recent productions.

THE ROBERT AND JANICE MCNAIR FOUNDATION

Janice and the late Bob McNair, longtime HGO subscribers and supporters, are well known for their incredible philanthropy and for bringing the NFL back to Houston. Bob was a former chair of the HGO Board of Directors (1995-97). Through the family’s passionate support of students, young entrepreneurs, medical research and the community, The Robert and Janice McNair Foundation is transforming some of the biggest challenges our nation faces today into the solutions of tomorrow. As the lead supporter of HGO’s Holiday Opera Series, the McNair Foundation makes it possible for thousands of students and families to experience shorter length family-friendly operas during the holiday season each year.

M.D. ANDERSON FOUNDATION

The M.D. Anderson Foundation has provided general operat ing support to HGO for more than 30 years. The Foundation was established in 1936 by Monroe Dunaway Anderson, whose company, Anderson, Clayton and Co., was the world’s largest cotton merchant. While the Foundation started the Texas Medical Center and was instrumental in bringing to it one of the premier cancer centers in the world, the Foundation’s trustees also looked to improve the wellness of communities through the arts. HGO is privileged to have such a longstanding and committed partner in enhancing the quality of life for all Houstonians.

SARA AND BILL MORGAN

Sara and Bill have been supporting HGO since 2002. Sara is a co-founder of the Houston Center for Contemporary Craft, where she currently serves on the board. Bill is a co-founder of the Kinder Morgan companies and the retired vice chairman and president of Kinder Morgan, Inc., and Kinder Morgan Energy Partners, LP. The Morgans support

Community and Learning initiatives, HGO’s special events, and mainstage productions, including the Holiday Opera Series. HGO is thrilled to have Sara serve on the HGO Board of Directors and as a member and past chair of the Community and Learning Committee.

NOVUM ENERGY

Founder and President of Novum Energy, Alfredo Vilas serves on the HGO Board of Directors. He is a passionate lover of opera and together with his wife Marcia chaired HGO’s unforgettable “Cielito Lindo” Opera Ball in 2018. The Vilases and Novum Energy have generously supported many operas over the past decade, including all three of HGO’s celebrated mariachi operas, and are proud underwriters for this season’s production of El Milagro del Recuerdo

JILL AND ALLYN RISLEY

Jill and Allyn Risley have been HGO subscribers since the 2003-04 season and are members of the company’s Founders Council. Allyn and Jill have been key influencers of HGO programs for many years, with special affection for our esteemed HGO Studio. They co-sponsor HGO Studio Artist Eric Taylor and faculty member Dr. Stephen King, Director of Vocal Instruction. Allyn is Chairman of Gaztransport & Technigaz (GTT) North America, an engineering company specializing in liquid gas containment systems using cryogenics. Allyn served as Chair of the HGO Board of Directors from 2020 to August 2022.

GLEN ROSENBAUM

Glen Rosenbaum is a Senior Partner of Tax at Vinson & Elkins. As part of his broad-based tax practice Glen works on behalf of civic and cultural organizations, for which he handles formation, obtaining of tax-exempt status, and various corporate, tax, and business matters, some on a pro bono basis. Glen received his B.B.A. from the University of Texas and his J.D. from the University of Texas School of Law. He is a Board member of the Texas Taxpayers and Research Association and serves on its Executive Committee, as well as President and Board member of Houston Food Bank Endowment, and a Trustee of the Nathan J. Klein Fund. Glen is a member of HGO’s Board of Directors, serving as its Chairman from 2009-11, and is currently a member of the Finance and Philanthropy Committees. As a long-serving Board member, Glen led a team of Vinson & Elkins lawyers from 1983-87 that represented HGO in connection with the negotiation and drafting of the various development and operating agreements relating to the Wortham Center and the Wortham Center Operating Company. These agreements remain in effect today.

SHELL USA, INC.

Shell USA, Inc. is a leader in the Houston arts community, supporting HGO for over 40 years. Shell USA, Inc.’s leadership support makes opera more accessible to everyone through the NEXUS Initiative for Affordability and inspires young minds with STEM-aligned arts education opportunities like our annual Opera Camps. Shell USA, Inc. was also a major supporter of HGO’s Hurricane Harvey recovery. HGO is honored to have Selda Gunsel, president, Shell Global Solutions, as a member of the Board of Directors, and Christos Angelides, external relations general manager of integrated gas ventures, as a Trustee.

DIAN AND HARLAN STAI

Harlan, a member of the HGO Board of Directors, and Dian are charter members of HGO’s Founders Council for Artistic Excellence, and their leader ship support includes mainstage productions, the HGO Studio, the HGO Endowment, and special events. The Stais have also sponsored HGO Studio artists and they host annual recitals featuring HGO Studio artists at Mansefeldt, their renowned Fredericksburg ranch. HGO was privileged to recognize Dian and Harlan as the honorees of Opening Night 2008 and the 2014 Concert of Arias.

TEXAS COMMISSION ON THE ARTS

The mission of the Texas Commission on the Arts (TCA) is to advance our state economi cally and culturally by investing in creative projects and programs. TCA supports a diverse and innovative arts community in the state, throughout the nation, and internationally by providing resources to enhance economic development, arts education, cultural tourism, and artist sustainability initiatives. Over the years, TCA has provided invaluable support to many HGO projects, including mainstage productions and Community and Learning education initiatives.

JOHN G. TURNER & JERRY G. FISCHER

John and Jerry, based in Baton Rouge, Louisiana, travel around the world to experience the best that opera has to offer. HGO subscribers and donors for over a decade, the couple’s leader ship support of Wagner’s Ring cycle (2014–17) was the largest gift ever made to HGO for a single production. John, a shareholder at Turner Industries Group, is a member of the HGO Board of Directors and past chair of the HGO Studio Committee. Jerry is a board member of Baton Rouge Symphony Orchestra. In recent years, John and Jerry have supported HGO mainstage productions, the HGO Studio, and special events. They are members of the Founders Council for Artistic Excellence, and John is a member of HGO’s Laureate Society.

VINSON & ELKINS LLP

HGO has been privileged to have the support of international law firm Vinson & Elkins LLP for 40 years. For more than 100 years, Vinson & Elkins LLP has been deeply committed to empowering the communities in which it serves. It has enriched the cultural vibrancy of Houston by supporting HGO through in-kind legal services and contributions to special events and mainstage productions, including this season’s Tosca. The Opera is honored to have two Vinson & Elkins LLP partners serve on its board of directors: from left, Chris Bacon and Glen A. Rosenbaum.

MARGARET ALKEK WILLIAMS

Margaret, a longtime singer, possesses a deep affinity for all music, and especially opera, supporting HGO for over 30 years. Currently, Margaret continues her parents’ legacy as chairman of their foundation, where her son Charles A. Williams serves as president. HGO is humbled by Margaret’s incredible generosity and dedication to the company, both as an individual donor and through her family’s foundation. She has endowed the Margaret Alkek Williams Chair, held by HGO General Director Khori Dastoor, and is a member of HGO’s Laureate Society. A valued member of the HGO Board of Directors, Margaret was the honoree of the 2009 Opera Ball and chairman of the 2014 Ball, and she generously chaired the 2018 Hurricane Harvey benefit Concert HGO and Plácido: Coming Home!

THE WORTHAM FOUNDATION, INC.

In the 1980s, the Wortham Foundation contrib uted $20 million to lead the capital campaign for the Wortham Theater Center, guided by business man Gus S. Wortham’s early recognition of the vital role of the arts in making Houston an appealing place to live and work. During their lifetimes, Gus and his wife, Lyndall, were dedicated to improving the lives of Houstonians. The Foundation continues to support the Opera through the Wortham Foundation Permanent Endowment and generous annual operating support. This leadership support has been vital to HGO’s growth and commitment to excellence. The Wortham Foundation’s support of HGO’s Hurricane Harvey recovery helped to bring the company back home, and its special support of HGO's COVID-19 recovery efforts have helped us come back stronger than ever.

LYNN WYATT

Lynn’s generosity touches every aspect of HGO. She is a Lifetime Trustee of HGO and serves as the vice chairman of the HGO Board of Directors. She chaired HGO’s Golden Jubilee Gala in 2005. Oscar Wyatt endowed The Lynn Wyatt Great Artist Fund in 2010, honoring Lynn’s service to the company and dedication to bringing the world’s best operatic artists to HGO, and she was the honoree at the 2010 Opera Ball. Lynn and Oscar have been lead supporters of a number of HGO productions and programs, including the multiyear company-wide initiative Seeking the Human Spirit.

Houston Grand Opera Trustees and Patrons Circle members support the Opera with annual donations of $10,000 or $5,000, respectively, and make possible the incredible work of HGO. Trustees and Patrons enjoy many benefits at the Opera, including Masterson Green Room privileges during performance intermissions, behind-the-scenes experiences, personalized ticket service, two tickets to all open dress rehearsals, Opera Guild membership, a discount on Opera Guild Boutique purchases, and much more. For information on joining as a Trustee or Patron, please contact David Krohn, director of philanthropy, at 713-980-8685 or dkrohn@hgo.org.

CHAIR, DONOR ENGAGEMENT COMMITTEE

Ms. Gwyneth Campbell, Chair, Donor Engagement Committee TRUSTEE—$10,000 OR MORE

Christopher Bacon and Craig Miller

Mr. and Mrs. Frank N. Barnes Blanche S. and Robert C. Bast, Jr., MD Jack Bell

Dr. James A. Belli and Dr. Patricia Eifel Dr. Dennis Berthold and  Dr. Pamela Matthews, College Station, TX

Dr. Michael and Susan Bloome Ms. Adrienne Bond

Walt and Nancy Bratic Mr. Stephen Brossart and Mr. Gerrod George

Dr. Janet Bruner

Mollie and Wayne Brunetti Ms. Elise Bungo

Mr. and Mrs. Lester P. Burgess

Mr. and Mrs. Richard Burleson Mr. Tom Burley and Mr. Michael Arellano Mrs. Carol Butler

Drs. Ian and Patricia Butler

Ms. Gwyneth Campbell and  Mr. Joseph L. Campbell

Mr. and Mrs. Beto Cardenas Jess and Patricia Carnes

Ms. Janet Langford Carrig

Mr. Eliodoro Castillo and Mr. Eric McLaughlin Dr. Peter Chang and Hon. Theresa Chang

Mr. Robert N. Chanon

Mr. Anthony Chapman

Mr. and Mrs. Robert L. Clarke

Julie and Bert Cornelison

Mr. Robert L. Cook and  Mrs. Giovanna Imperia Kathy and Richard Stout

Mr. And Mrs. Hiram Davis Ms. Anna M. Dean

Dr. Elaine Decanio Ms. Elisabeth DeWitts Jeanette and John DiFilippo Anna and Brad Eastman Mr. Perry Ewing Mary Ann and Larry Faulkner Carol Lay Fletcher

Wanda and Roger Fowler

Ms. Marion Freeman and  Ms. Caroline Freeman

Ms. Patricia B. Freeman and  Mr. Bruce Patterson

S. Scott and Gina Gaille Dr. and Mrs. Ronald Galfione Mr. and Mrs. Scott J. Garber Gerard and Christine Gaynor Dr. and Mrs. David P. Gill Mrs. Geraldine C. Gill

Mr. Wesley Goble and Mr. Barry Liss Sandy and Lee Godfrey Mr. and Mrs. Melvyn Hetzel Rosalie and William M. Hitchcock Dr. Patricia Holmes Lee M. Huber

Ms. Linda Katz

Ann and Stephen Kaufman Mr. and Mrs. William H. Knull III Mr. and Mrs. Frederick Kolb Ann Koster

Elizabeth and Bill Kroger

Mr. and Mrs. Blair Labatt Mr. and Mrs. Randall B. Lake Mr. and Mrs. Richard J. Langenstein Mr. Alfred W. Lasher III Dr. and Mrs. Ernst Leiss Max Levit

Ms. Bernice Lindstrom Ms. Michele Malloy Ms. Diane M. Marcinek Mary Marquardsen

Dorothy McCaine

Mr. and Mrs. D. Patrick McCelvey Ms. Janice McNeil

Dr. Alice R. McPherson Jan and Nathan Meehan Ginger Menown

Jerry and Sharyn Metcalf Chadd Mikulin and Amanda Lenertz

Dr. Indira Mysorekar Mills and Dr. Jason Mills Dr. and Mrs. William E. Mitch Marsha L. Montemayor

Erik B. Nelson and Terry R. Brandhorst Beverly and Staman Ogilvie Susan and Edward Osterberg

Mr. and Mrs. Michael J. Pancherz

Ms. Jeanne M. Perdue

Ms. Elizabeth Phillips

Mr. Mark Poag and Dr. Mary Poag

Dr. Angela Rechichi-Apollo

Ms. Katherine Reynolds Mr. Serge Ribot

Ed and Janet Rinehart

Mr. and Mrs. Walter Ritchie

Mr. Mike Rydin

Adel and Jason Sander

Judy and Henry Sauer

Ms. Jill Schaar and Mr. George Caflisch

Mr. Vance Senter and Mrs. Jane Senter Mrs. Helen P. Shaffer

Hinda Simon

Ms. Janet Sims

Dr. Ioannis Skaribas and Mrs. Evelina Skaribas

Diana Strassmann and Jeffrey Smisek

Bruce Stein

Dr. and Mrs. Demetrio Tagaropulos Mrs. Carolyn Taub

Mr. Minas and Dr. Jennifer Tektiridis Ann Tornyos

James M. Trimble and Sylvia Barnes

Mr. and Mrs. John Untereker

Salle Vaughn

Mr. and Mrs. Alexander van Veldhoven

Mr. and Mrs. Robert N. Wakefield Mary Lee and Jim Wallace

Mr. and Mrs. Jay Watkins

Mr. and Mrs. K.C. Weiner

Mr. and Mrs. David S. Wolff

Mr. and Mrs. C. Clifford Wright, Jr. Mr. Hugh Zhang and Ms. Lulu Tan

1 Anonymous

YOUNG TRUSTEE—$5,000 OR MORE

Emily Bivona and Ryan Manser

Michelle Klinger and Ru Flanagan

Mr. and Mrs. Damian Gill

Meredith and Joseph Gomez

Mr. and Mrs. Christopher Hanno Ms. Kathleen Henry

Mr. Peter Hermosa

Ms. Ellen Liu and Ms. Ilana Walder-Biesanz Gabriel Loperena

Drs. Mauricio Perillo and Luján Stasevicius Lauren Randle

Mr. and Mrs. Daniel Ritter

Dr. Nico Roussel and Ms. Teresa Procter Jennifer Salcich

Drs. Vivek and Ishwaria Subbiah Mr. and Mrs. Steven Tang Dr. Yin Yiu

1 Anonymous

NATIONAL TRUSTEE— $5,000 OR MORE

Ms. Jacqueline S. Akins, San Antonio, TX Mrs. Estella Hollin-Avery, Fredericksburg, TX

Jorge Bernal and Andrea Maher,  Bogota, Colombia

Dr. Dennis Berthold and Dr. Pamela Matthews Mr. Richard E. Boner and  Ms. Susan Pryor, Austin, TX Mr. Bryce Cotner, Austin, TX Dr. Thomas S. DeNapoli and  Mr. Mark Walker, San Antonio, TX

Mr. James M. Duerr and  Dr. Pamela Hall, San Antonio, TX

Mr. and Mrs. Brian Duncan, Santa Fe, NM

Mr. and Mrs. Samuel Evans, Coldspring, TX Jack and Marsha Firestone, Miami, FL Charles Hanes, San Jose, CA

Brian Hencey and Charles Ross Jr., Austin, TX Edward and Patricia Hymson,  San Francisco, CA

Mrs. Judy Kay, Dallas, TX

Dr. and Mrs. Morton Leonard Jr.,  Galveston, TX

Cathleen C. and Jerome M. Loving, Bryan, TX Barbara and Camp Matens, Baton Rogue, LA

Mr. Kenton McDonald, Corpus Christi, TX Ms. Alissa Adkins, Corpus Christi, TX

Mr. and Mrs. Spencer Mehrens, Longview, TX Mr. and Mrs. Bruce Misamore, Sedona, AZ

Mr. John P. Muth, Wimberly, TX Ms. Claire O'Malley, San Antonio, TX

Ms. Wanda A. Reynolds, Austin, TX Dr. Sid Roberts and Mrs. Catherine Roberts,  Lufkin, TX

James and Nathanael Rosenheim,  College Station, TX

Mr. Donald Wertz, Austin, TX Ms. Charlotte Williams, Killeen, TX Valerie and David Woodcock,  College Station, TX

PATRONS CIRCLE—$5,000 OR MORE

Ms. Jacquelyn M. Abbott Mr. W. Kendall Adam

Mr. and Mrs. Henry Clay Adams Jr. Mrs. Nancy C. Allen Mr. and Mrs. Orlando Alvarado Alfredo Tijerina and JP Anderson Shaza and Mark Anderson

Dr. Julia Andrieni and Dr. Robert Phillips Chris and Michelle Angelides Mr. and Mrs. Robert J. Ardell Bill A. Arning and Aaron Skolnick Paul and Maida Asofsky Mr. Neely Atkinson Mr. and Mrs. Bryan W. Bagley Kate Baker

Nancy and Paul Balmert

Dr. Roger Barascout

Mr. William Bartlett

Mr. and Mrs. James Becker

Drs. Robert S. and Nancy Benjamin Dr. and Mrs. Joel M. Berman

Drs. Henry and Louise Bethea

Mr. and Mrs. Stanley C. Beyer

Mr. and Mrs. Stephen D. Bickel Dr. Joan Hacken Bitar

Dr. Jerry L. Bohannon

Mr. and Ms. Steve Bond

Mr. Jeffery Bosworth and  Mr. Timothy Bammel

Mr. Al Brende and Mrs. Ann Bayless

Mr. Chester Brooke and Dr. Nancy Poindexter Dr. Luis Camacho

Ms. Marion Cameron Mr. Patrick Carfizzi

Mr. and Mrs. Thierry Caruso Mrs. John R. Castano

Dr. Beth Chambers and  Mr. J. Michael Chambers

Ms. Nada Chandler

Mr. and Mrs. Jack Christiansen

Ms. Janet Clark Ms. Donna Collins Mr. and Mrs. Robert Collier Dr. and Mrs. J. Michael Condit Dr. Nancy I. Cook

Ms. Sasha Davis

Dr. and Mrs. Roupen Dekmezian Dr. and Mrs. William F. Donovan

Mr. and Mrs. Larry Dooley

Mr. James Dorough-Lewis and Mr. Jacob Carr

Dr. and Mrs. Giulio Draetta

Mr. and Mrs. Daniel Dubrowski

Mrs. Eliza Duncan

Mrs. Nancy Dunlap

Dr. David Edelstein and Mrs. Julie Riggins

Mr. John Egbert and Mrs. Kathy Beck

Kellie Elder and David Halbert

Mrs. James A. Elkins III Parrish N. Erwin Jr. Ms. Thea M. Fabio and Mr. Richard Merrill

Ms. Ann L. Faget

Mr. Brian Faulkner and Ms. Jackie Macha Ms. Vicki Schmid Faulkner

Ms. Ursula Felmet

Ms. Julie Fischer

Mr. and Mrs. Dennis Fish Mr. John E. Frantz

Drs. Daniel and Jean Freeman Mr. and Mrs. William B. Freeman Jr. Dr. Alice Gates and Dr. Wayne Wilner Dr. Layne O. Gentry

Nancy Glass, M.D. and John Belmont, M.D. Rhoda Goldberg

Mr. Thomas K. Golden and  Mrs. Susan Baker Golden Mary Frances Gonzalez Sue Goott

Mrs. Gwynn F. Gorsuch

Dr. and Mrs. David Y. Graham Joyce Z. Greenberg

Dr. and Mrs. Stephen B. Greenberg Ms. Dianne L. Gross

William and Jane Guest

Mr. Walker Hale and Dr. Katherine Hale Mr. and Mrs. Thomas C. Halsey Mrs. Mary Hankey

Mr. Frank Harmon III and  The Honorable Melinda Harmon Mr. and Mrs. A. John Harper III Dr. Linda L. Hart Ms. Paige Hassall

Mr. and Mrs. Robert C. Hewell Pam Higgins and Tom Jones Mrs. Ann G. Hightower Dr. Douglas & Maureen Hirsch Deborah and Michael Hirsch

Dr. Holly Holmes

Alan and Ellen Holzberg

Mr. and Mrs. John H. Homier Dr. and Mrs. Gabriel N. Hortobagyi Mr. and Mrs. Clay Hoster Dr. Kevin Hude

Robert and Kitty Hunter Dr. Alan J. Hurwitz Mr. and Mrs. Paul Jacob

Mr. and Mrs. Malick Jamal Ms. Joan Jeffrey

Mr. and Mrs. James K. Jennings, Jr. Mr. and Mrs. Basil Joffe Mr. Anson Jones Charlotte Jones

Mr. Richard F. Kantenberger Mr. and Mrs. Robert J. Kauffman Mr. Anthony K. Mr. and Mrs. George B. Kelly Mr. and Mrs. Hugh Rice Kelly Ms. Nancy J. Kerby Mr. and Mrs. Albert Kidd Mr. Mark Klitzke

Dr. and Mrs. Lary R. Kupor Dr. Helen W. Lane Mr. and Mrs. Bryant Lee Mr. Richard Leibman Dr. Mike Lemanski Dr. and Mrs. Olivier Lhemann Ms. Eileen Louvier Ms. Lynn Luster

Mr. and Mrs. Paul A. Lynn Renee Margolin

Mark and Juliet Markovich Mr. Joseph Matulevich Mr. R. Davis Maxey Dr. and Mrs. Malcolm Mazow Wynn and Shawna McCloskey Gillian and Michael McCord Mimi Reed McGehee Keith and Elizabeth McPherson

Wendy and Patrick McWilliams Kay and Larry Medford Mrs. Anne C. Mendelsohn Hal and Terry Meyer Dr. Douglas D. Miller Mr. David Montague Mr. and Mrs. Sidney S. Moran Ms. Anne Morris

Mr. and Mrs. Stephen J. Morris Ms. Linda C. Murray Franci Neely Mrs. Bobbie Newman

Maureen O'Driscoll-Levy, M.D.

Drs. John and Karen Oldham

Geoffry H. Oshman

Mrs. Maria Papadopoulos Adrienn L. Parsons

Susan and Ward Pennebaker Mr. and Mrs. Harry C. Pinson Mr. and Mrs. Elvin B. Pippert Jr. Mrs. Jenny Popatia Lou and Joan Pucher

Dr. and Mrs. Florante A. Quiocho Radoff Family Ms. Judith Raines

Dr. David Reininger and Ms. Laura Lee Jones Carol F. Relihan

Mr. Robert Richter Jr. Mr. and Mrs. Gregory S. Robertson Mrs. Henry K. Roos

Drs. Alejandro and Lynn Rosas

Dr. and Mrs. Franklin Rose Dr. and Mrs. Sean Rosenbaum Mrs. Shirley Rose Mrs. Richard P. Schissler Jr. Ms. Denmon Sigler and Mr. Peter Chok Mr. Douglas Skopp

Mr. and Mrs. George Sneed Karen Somer and David Shein

Mr. and Mrs. Aaron J. Stai

Mr. Per A. Staunstrup and Ms. Joan Bruun Richard P. Steele and Mary McKerall Mrs. Sue Stocks

Mr. Burke Strickland Dr. Pavlina Suchanova Drs. Adaani E. Frost and Wadi N. Suki Ms. Susan L. Thompson Ms. Sara Tirschwell

Mr. and Mrs. Charles Tobias Mrs. Ann Gordon Trammell

Dr. Elizabeth Travis and Mr. Jerry Hyde

Dr. David Tweardy and Dr. Ruth Falik John C. Tweed

Mr. and Mrs. Larry Veselka Greg Vetter and Irene Kosturakis Ms. Marie-Louise S. Viada Dean Walker

Mr. and Mrs. M. C. "Bill" Walker III Geoffrey Walker and Ann Kennedy Diane and Raymond Wallace

Mr. Jesse Weir

Ms. Pippa Wiley

Mr. and Mrs. Charles A. Williams Dr. Courtney Williams

Ms. Jane L. Williams Loretta and Lawrence Williams Nancy and Sid Williams

Mr. and Mrs. Scott Wise Ms. Debra Witges

Mr. and Mrs. John W. Wright Drs. Edward Yeh and Hui-Ming Chang Dr. and Mrs. Peirong Yu John L. Zipprich II

5 Anonymous

YOUNG PATRONS—$2,500 OR MORE

Dr. Matthew J. Bicocca and  Mrs. Yvonne Pham Bicocca

Mr. David Broadwell

Ms. Lindsay Buchanan Mr. Sholto Davidson

Mr. and Mrs. Raul Flores

Mr. Albert Garcia Jr. Ms. Anna Gryska Mr. Birk Hutchens and Ms. Lauren Alleman Mr. Daniel Katz

Lady Kimbrell and Mr. Joshua Allison Mr. Brett Lutz and Mrs. Elizabeth Lutz

HGO DONORS

Rachael and Daniel MacLeod

Mr. and Mrs. William McElhiney

Ms. Zoe Miller

Adam and Tina Outland

Ms. Constance Rose-Edwards

Mr. Justin Rowinsky and Ms. Catarina Saraiva Abby Sanchez-Matzen and Lennart Matzen

Ms. Emily Schreiber

Mr. Lars Seemann and Mrs. Nancy Elmohamad Kelsey Stewart

Ms. Susan Tan

Julia and Jason Wang Joshua and Rebekah Wilkinson Mr. and Mrs. Jamie Yarbrough

NATIONAL PATRONS— $2,500 OR MORE

Ms. Cynthia Akagi and Mr. Tom Akagi,  Madison, WI

Mr. and Mrs. Thomas R. Allison, Olympia, WA Dr. Debra Blatz, Austin, TX

Tom and Kay Brahaney, Midland, TX

Dr. Bernd U. Budelmann, Galveston, TX

Mrs. Carol W. Byrd, Wetumka, OK Ms. Louise Cantwell, San Antonio, TX

Ms. Susan Carvel, New Braunfels, TX Mr. and Mrs. F. H. Cloudman III, Boulder, CO Dr. and Mrs. Marvin A. Fishman, NM Michael Freeburger and Matilda Perkins,  Fair Oaks Ranch, TX

Mr. Raymond Goldstein and  Ms. Jane T. Welch, San Antonio, TX

Ms. Gabriella M. Guerra, San Antonio, TX

Mr. Charles Hanes, San Jose, CA

Ms. Gail Jarratt, San Antonio, TX

Mr. and Mrs. Geoffrey S. Kay, Austin, TX Jeff and Gail Kodosky, Austin, TX Mr. Peter Manis and  Ms. Susan Richman, Chicago, IL Dr. and Mrs. Stanley Milstein, Olney, MD Dr. James F. Nelson and  Mr. Yong Zhang, San Antonio, TX Mr. William Nicholas, Georgetown, TX

John and Elizabeth Nielsen-Gammon,  College Station, TX

Mr. and Mrs. Eliseo Salazar, San Antonio, TX Mr. Richard See, Lagunas Baru, Costa Rica Mr. and Mrs. Victor E. Serrato, Pharr, TX

Robert and Nancy Shivers, San Antonio, TX Ms. Alice Simkins, San Antonio, TX

Eleanor and Philip Straub, Metairie, LA

Ms. Lori Summa, Lancaster, NH

Mr. Kiyoshi Tamagawa and Mr. Bill Dick, Austin, TX Dr. and Mrs. Clark D. Terrell, Boerne, TX

Dr. David N. Tobey and Dr. Michelle Berger,  Austin, TX

Mr. and Mrs. Harvey Tucker, Bryan, TX

Mr. Tom Turnbull and Mr. Darrell Smith, Eunice, LA Mrs. Rons Voogt, Huntsville, TX

Mr. and Mrs. Kirk Weaver, Washington, D.C. Margaret and Alan Weinblatt,  San Antonio, TX

Jim and Sydney Wild, San Antonio, TX Dr. Raymond Chinn, San Diego, CA

Houston Grand Opera appreciates all individuals who contribute to the company’s success. Support in any amount is received most gratefully. Our donors share a dedication to supporting the arts in our community, and the generosity of these individuals makes it possible for HGO to sustain worldclass opera in the Houston area. For information on becoming a Houston Grand Opera donor, please contact David Krohn, director of philanthropy, at 713-980-8685 or dkrohn@hgo.org.

ASSOCIATE PATRONS— $2,000 OR MORE

Dr. Robert E. Anderson

Mr. and Mrs. V. G. Beghini

Ms. Sonja Bruzauskas and  Mr. Houston Haymon

Mr. and Mrs. Joseph Carvelli

Mr. and Mrs. M. J. Castelberg

Kenneth T. Chin

Vicki Clepper

Mr. Jerry Conry

Ms. Joyce Cramer

Mr. and Mrs. Warren Dean

Cynthia A. Diller

Mr. Alan England

Mr. and Mrs. Blake Eskew

Dr. Wm. David George

Susan Giannatonio and Bruce Winquist

Mr. Michael Gillin and Ms. Pamela Newberry

Mr. and Mrs. Kirk Girouard

Mr. and Mrs. David Guenther

Mr. Claudio Gutierrez

Mr. and Mrs. Dewuse Guyton

Ms. Julia Gwaltney

Dr. and Mrs. Carlos R. Hamilton, Jr.

Mr. and Mrs. Michael F. Henderek

Mr. Stanley A. Hoffberger

Mr. and Mrs. Ronald E. Huebsch

Mr. and Mrs. Richard A. Jackson

Mr. and Mrs. Marvin Kaplan Mr. John Keville

Lynn Lamkin

Ana María Martínez

Onalee and Dr. Michael C. McEwen Mr. James L. McNett

John Newton and Peggy Cramer

Mr. Nigel Prior Ms. Michelle Denise Profit

Suzanne Page-Pryde and Arthur Pryde Mr. Jack Rooker

Sharon Ruhly

Ramon and Chula Sanchez

Ms. Jo Ann W. Schaffer

Mr. and Mrs. Charles Schufreider

Christopher B. Schulze, M.D. Virginia Snider and Michael Osborne

Dr. Robert Southard and Mrs. Kristi Southard Mr. Leon Thomsen and Mrs. Pat Thomsen Nancy Thompson

Mr. and Mrs. Robert B. Trainer Jr.

Mr. and Mrs. John Wallace Mr. and Mrs. Alton L. Warren Barbara and Erroll Wendland The Cook Foundation

Pamela and James Wilhite Ms. Elizabeth D. Williams Dr. Randall Wolf

3 Anonymous

CONTRIBUTING FELLOWS— $1,000 OR MORE

Ms. Cecilia Aguilar

Mr. and Mrs. Neil Ken Alexander

Joan Alexander

Mrs. Linda Alexander

Mr. and Mrs. Orlando Alvarado

Mr. Robert K. Arnett Jr. Ms. Dorothy B. Autin

Dr. Carlos Bacino Mrs. Deborah S. Bautch

Mr. Mervyn G. Blieden Jim and Susan Boone

Mr. Bob F. Boydston Ms. Julia Cambra Ms. Mary Clark Dr. Claude Cech Mr. and Mrs. James Collins Mr. and Mrs. Larry Corona Mr. John Dazey

Peggy DeMarsh Dr. Susan E. Denson

Dr. and Mrs. R. L. Deter Mrs. Sarah D. Donaho

Mr. and Mrs. J. Thomas Eubank Steve and Marie Fay Evnochides

Sylvia B. Fatzer Mrs. Madeleine Ferris Mr. David Fleischer Mr. and Mrs. Michael Fowler Lucy Gebhart

Mr. Enrico R. Giannetti Mr. David Gockley Ruzena Gordon Mr. Urban Grass Ms. Janet Graves Ms. Suzanne Green Dr. James E. Griffin III and Dr. Margo Denke Mr. and Mrs. Ira Gruber Mr. and Mrs. W. F. Guinee Mr. and Mrs. Philip Gunnels Mr. Donald Hang Ms. Rebecca Hansen

Mr. Rawley Penick and  Mrs. Meredith L. Hathorn Dr. Ralph J. Herring Ms. Eliane S. Herring Dr. Sallie T. Hightower Kay and Michael W. Hilliard Mr. Edward L. Hoffman Mr. Steven Jay Hooker Mr. John Hrncir

Mr. Francisco J. Izaguirre Mr. Mark E. Jacobs Mr. and Mrs. John Jordan Dr. Ngaruiya Kariuki

Lynda and Frank Kelly

Mr. and Mrs. John Lattin

Mr. John Lauber and Ms. Susan M. Coughlin

Ms. Rachel Le and Mr. Lam Nguy Mrs. Yildiz Lee

Mr. David Leebron and Ms. Ping Sun Dr. Benjamin Lichtiger Ms. Nadine Littles

Mrs. Sylvia Lohkamp and Mr. Tucker Coughlen

Mr. and Mrs. Karl R. Loos

Mr. Robert Lorio

Dr. Robert Louis

Mr. and Mrs. Oscar Y. Lui

Mr. and Mrs. C. Robert Mace

Ms. Nancy Manderson

Dr. and Mrs. Moshe H. Maor

Mr. and Mrs. Ben Marshall

Mr. H. Woods Martin

Ms. Marion Andrus McCollam

Dr. Mary Fae McKay

Frank J. Meckel

Mrs. Theresa L. Meyer

Ms. Celia Morgan

Mr. and Mrs. Gerald Moynier Mr. and Mrs. Marvin H. Mueller

Mr. and Mrs. Mike Newman Mr. Dean Niemeyer and  Dr. Marlowe D. Niemeyer

Ms. Marilyn Oshman

Mr. and Ms. Carl Pascoe

Dr. and Mrs. Richard B. Pesikoff

Mr. and Mrs. Phil Plant

Dr. V.A. Pittman-Waller

Susie and Jim Pokorski

Ms. Ella W. Prichard

Mr. and Mrs. William Rawl

Mr. and Mrs. Gene Steve Rhea

Mr. William K. Rice

Mrs. Carol Ritter

Mansel and Brenda Rubenstein

Mr. Alan Schmitz

Kenneth and Deborah Scianna

Mr. Nick Shumway and Mr. Robert Mayott Mr. Herbert Simons Jan Simpson

Mr. and Mrs. Louis. S. Sklar

Ms. Anne Sloan

Len Slusser

Ms. Linda F. Sonier

Mr. and Mrs. George Stark

Dr. and Mrs. C. Richard Stasney Mr. and Mrs. Tim Unger

Dr. and Mrs. Lieven J. Van Riet Darlene Walker and Reagan Redman Andrea Ward and David Trahan

Mr. Peter J. Wender J. M. Weltzien

Ms. Susan Trammell Whitfield Mrs. Dolores Wilkenfeld Ms. Irena Witt

Dr. Thomas Woodell II Drs. William and Huda Yahya Zoghbi 3 Anonymous

FELLOWS—$500 OR MORE

Elizabeth Baber

Julia Barnhill

Mr. Mark Barton

Jeb and Cynthia Blackwell Ms. Sally Schott

Ana Bovet

Farhad Bozorgmehr and Margery Anderson

Judith Brett Richard and Claire Brooks Nora and Richard Brooks

William Bryan Dr. and Mrs. L. Max Buja

Dorothy E. F. Caram, Ed.D. Roxi Cargill and Peter Weston, M.D. Richard Abram and Paul Chandler

Dr. Bob Chapman and Ms. Balvy Bhogal Ms. Virginia Ann Clark

Leighton and Olga Cooke

Lorraine Cornwell and Matthew Antonelli

Mr. and Mrs. Thomas Daly Elena deLaunay

Timothy Doyle

Betsy Dunn

Dr. and Mrs. Charles L. Dupin John Edwards

Mari Emaus

Marlene Eng

Raouf and Mona Farid

Mr. and Mrs. Peter J. Ferenz Israel and Pearl Fogiel Julia Frenkel

Mr. Blake Frere Monica Fulton G Orthodontics

Susan Gentz Marion and Gary Glober Joanne Goff

Edward and Susan Greenberg Christian and Bernadette Gronister Mr. Marc Grossberg

Mr. and Mrs. William Haase Mr. Teruhiko Hagiwara

William and Maarit Harp

Carol Hebert

Stacey Henry Dr. Janice L. Hewitt Mr. Tim Hilt

Brian Horrigan

Mr. and Mrs. George M. Hricik Sigmund Hsu and Felicia Feng

Mr. Daniel Hu and Ms. Susan Yang Robert Hughes and Tracy Leissner Greg and Sandra Ingram

Jo Jagoda

Mary and Paul Janicke Mr. David K. Johnson Ben Kamins

Lucille Kearney Mr. Paul Kellogg

Kathryn Kirkland Dr. Milton and Gail Klein Armen Kocharian

KPMG U.S. Foundation, Inc. Charles and Linda Lansdell Dr. and Mrs. Victor R. Lavis Rebecca Lee

Wendy Lee-Graham

Mr. and Mrs. Thomas Leffler Mr. and Mrs. Lawrence R. Leib Marshall Lerner

Amy Luke

Dr. and Mrs. R. A. MacLean

Mr. and Mrs. J. Mathalone Ms. Nancy Wynne Mattison Dr. and Mrs. Robert G. McCandless Jeffrey and Ann McKennis Ernie and Martha McWilliams

Christianne Melanson and Durwin Sharp

Mr. and Mrs. John H. Meltzer

Dr. Richard Moiel and Mrs. Katherine Poeppel John and Joan Ostroot

Ms. Martha P. Palmer

Ms. Marcia Pampe

Ms. Jo L. Papadakis

Sue Patrick

Ms. Barbara Paull

Mr. and Mrs. John R. Pipkin Mrs. Helen B. Preddy

Dr. and Mrs. Harry R. Price Eamonn Quigley Richard and Kathryn Rabinow

Dr. Paul B. Radelat and Ms. Irina Grant Cindy Hageney Raimond Ms. Sina Raouf

Janet Rarick

Ms. Mallory Robinson George Rountree

David Ruiz

Doug Salyers

Ms. Joan Sanborn

Dr. and Mrs. C. Dan Sauls

Drs. Kathleen and Jed Sazama Mr. Ronald Seeliger

Mr. and Mrs. Charles Shearouse Ms. Sue A. Shirley-Howard Diana Skerl

Bruce Smith

Ms. Marylen Smith Kelly Somoza Thomas and Marypat Stoddard Mr. Leon Strieder Dr. Jeffrey Sweterlitsch

Mr. and Mrs. Boris Taksa Ms. Katherine Thomasson and  Mr. Michael Talbot

Ms. Mary Ross Taylor

Stefanie and Ralph Telford

Dr. and Mrs. Douglas Tsuchida

Timothy Tyler and Christa Gaug Donna Van Fleet

Mr. and Mrs. Christophe E. Venghiattis Ms. Margaret S. Walker Ryan Weise

Mr. and Mrs. Bert B. Williams Ms. Joanne Wilton

CORPORATE, FOUNDATION, AND GOVERNMENT SUPPORTERS

Susan Wong-Andrus Tim Wright

Ms. Pinar Oya Yilmaz

Luca and Stefania Zanotti 5 Anonymous

Houston Grand Opera’s corporate, foundation, and government partners make it possible for HGO to create and share great art with our community. We are incredibly proud to work with these organizations and grateful for all they do. For information on joining HGO’s valued team of corporate and foundation supporters, please contact Kelly Finn, director of institutional giving, at 713-546-0265 or kfinn@hgo.org.

CORPORATE, FOUNDATION, GOVERNMENT

HOUSTON GRAND OPERA CORPORATE COUNCIL

Thomas R. Ajamie, Ajamie LLP

Chris Angelides, Shell USA, Inc.

J. Scott Arnoldy, Triten Corporation

Chris Bacon, Vinson & Elkins LLP

C. Mark Baker, Norton Rose Fulbright LLP

Astley Blair, Marine Well  Containment Company

Meg Boulware, Boulware & Valoir

Albert Chao,  Westlake Chemical Corporation

Adam Cook, Tokio Marine HCC

Joshua Davidson, Baker Botts L.L.P.

Frederic Dyen, Schlumberger

Susan R. Eisenberg, Kirkland & Ellis LLP

Warren Ellsworth, MD, Houston Methodist

John C. Harrell, Truist

Michael Hilliard, Winstead PC

Richard Husseini, Kirkland & Ellis LLP

Michelle Huth, Frost Bank

Beth Jarlock, EY

Patrick Keller, Truist

Bill Kroger, Baker Botts L.L.P.

Richard Leibman, FROSCH

David LePori, Frost Bank

Bryce Lindner, Bank of America

Claire Liu, LyondellBasell (Retired)

Craig Miller, Frost Bank

Arcy Muñoz, Wells Fargo

Ward Pennebaker, Pennebaker

Gloria M. Portela, Seyfarth Shaw LLP

Allyn Risley, GTT North America

Susan Rivera, Tokio Marine HCC

Kelly Rose, ConocoPhillips

Glen Rosenbaum, Vinson & Elkins LLP

Silvia Salle, Bank of America

Manolo Sánchez, Spring Labs

Susan Saurage-Altenloh,  Saurage Marketing Research

Peter D. Seltz, Principal Securities

Apurva Thekdi, MD, Houston Methodist

Ignacio Torras, Tricon Energy

Tom Van Arsdel, Winstead PC Alfredo Vilas, Novum Energy Allison Young, Wells Fargo

CORPORATE SUPPORTERS

GUARANTORS—$100,000 OR MORE ConocoPhillips †

H-E-B †

Houston Livestock Show and Rodeo™ † Houston Methodist †*

Novum Energy Vinson & Elkins LLP †*

GRAND UNDERWRITERS—  $50,000 OR MORE Ajamie LLP Bank of America

M. David Lowe and Nana Booker  Booker Lowe Gallery

Frost Bank

Kirkland & Ellis LLP

Shell USA, Inc. †

UNDERWRITERS—$25,000 OR MORE

Baker Botts L.L.P. †

Boulware & Valoir

Norton Rose Fulbright LLP †

Principal Financial Securities Saurage Marketing Research

Tokio Marine HCC

Truist Wells Fargo Westlake Chemical Corporation † Winstead PC

SPONSORS – $10,000 OR MORE

CenterPoint Energy Locke Lord LLP †

MEMBERS – $1,000 OR MORE

Infosys

Maovor, Inc. Patterson & Sheridan LLP Union Pacific

IN-KIND CONTRIBUTORS

TO OPERATIONS AND SPECIAL EVENTS

UNDERWRITERS—$25,000 OR MORE

Abrahams Oriental Rugs  and Home Furnishings

Michaela Greenan, Corporate Council Chair

ALTO

City Kitchen Catering

The Events Company

SPONSORS—$15,000 OR MORE

Kirksey Gregg Productions Magnolia Houston

Neiman Marcus Precious Jewels

CO-SPONSORS—$7,500 OR MORE BCN Taste and Tradition

Elegant Events and Catering by Michael Fort Bend Music Company

Medallion Global Wine Group Sakowitz Furs Steak48

BENEFACTORS—$5,000 OR MORE

The Corinthian at Franklin Lofts

David Peck

The Lancaster Hotel

The Four Seasons Hotel Houston Masterson Design/Mariquita Masterson Shaftel Diamond Co.

MEMBERS—$1,000 OR MORE

Brasserie du Parc

Chu Okoli Art

Connie Kwan-Wong/CWK Collection Inc. Dar Schafer Art

Elliott Marketing Group

Ellsworth Plastic Surgery Gittings Portraiture Glade Cultural Center

The Glimmerglass Festival Guard and Grace Hayden Lasher

The Hotel ZaZa

Joan Laughlin Art

Kim Ritter Art

Las Terrazas Resort & Residences

Lavandula Design

Matt Ringel/Red Light Management

Mayfield Piano Service

Megan Murray Photography Page Piland Art

Rhonda Lanclos Art

Sandi Seltzer Bryant Art Shoocha Photography

Marcia and Alfredo Vilas

FOUNDATIONS AND GOVERNMENT AGENCIES

PREMIER GUARANTOR—  $1,000,000 OR MORE

The Brown Foundation, Inc. † Houston Grand Opera Endowment Inc. †

The Wortham Foundation, Inc. † Anonymous

PRINCIPAL GUARANTORS— $500,000 OR MORE

City of Houston through Houston  Arts Alliance †

The Cullen Trust for the Performing Arts †

GRAND GUARANTORS— $250,000 OR MORE

The Alkek and Williams Foundation †

M.D. Anderson Foundation †

The Cullen Foundation †

The Humphreys Foundation †

John P. McGovern Foundation †

The Andrew W. Mellon Foundation †

Texas Commission on the Arts † Anonymous

GUARANTORS—$100,000 OR MORE

The Robert & Jane Cizik Foundation

The Robert and Janice McNair Foundation † National Endowment for the Arts †

The Sarofim Foundation William Randolph Hearst Foundation

GRAND UNDERWRITERS— $50,000 OR MORE

City of Houston through the  Miller Theatre Advisory Board †

The Powell Foundation †

UNDERWRITERS—$25,000 OR MORE

Carol Franc Buck Foundation

Ruth and Ted Bauer Family Foundation † Stedman West Foundation †

Vivian L. Smith Foundation

SPONSORS—$10,000 OR MORE

Albert and Ethel Herzstein  Charitable Foundation †

Cockrell Family Fund

OPERA America

Sterling-Turner Foundation

The Vaughn Foundation

William E. and Natoma Pyle  Harvey Charitable Trust †

MEMBERS—$1,000 OR MORE

University of Houston  Bauer College of Business

George and Mary Josephine  Hamman Foundation †

Houston Grand Opera Guild †

Houston Endowment Inc. Houston Saengerbund

The Nathan J. Klein Fund

* Contribution includes in- kind support † Ten or more years of consecutive support

CORPORATE MATCHING

Baker Hughes Foundation

Bank of America Charitable Foundation

BP Foundation

Chevron Humankind

Coca-Cola North America ConocoPhillips

Encana

EOG Resources, Inc. EQT Foundation

ExxonMobil Foundation Fannie Mae

Hewlett-Packard Company

IBM Corporation

Illinois Tools Works Inc.

LyondellBasell Chemical Company Macquarie

Microsoft Employee Giving

Nintendo Of America

Quantlab Financial, LLC Salesforce

Shell USA, Inc. Foundation

The Boeing Company Union Pacific Williams Companies

LAUREATE SOCIETY

The Laureate Society comprises individuals who have helped ensure the future of Houston Grand Opera by remembering the Opera in their wills, retirement plans, trusts, or other types of estate plans. The Laureate Society does not require a minimum amount to become a member. Planned estate gifts to the Houston Grand Opera Endowment can be used to support general or specific Opera programs. Houston Grand Opera is deeply grateful to these individuals. Their generosity and foresight enable the Opera to maintain its growth and stability, thus enriching the lives of future generations. For information regarding charitable estate gift planning and how it might positively impact you, your loved ones, and Houston Grand Opera, please contact Deborah Hirsch, senior director of philanthropy, at 713-546-0259 or dhirsch@hgo.org.

LAUREATE SOCIETY MEMBERS

Ms. Gerry Aitken

Margaret Alkek Williams

Mr. William J. Altenloh and  Dr. Susan Saurage-Altenloh

Mrs. Judy Amonett

Robin Angly and Miles Smith

Bill A. Arning and Aaron Skolnick

Mrs. Judie Aronson

Christopher Bacon and Craig Miller

Gilbert Baker

Dr. Saúl and Ursula Balagura

Janice Barrow

Mr. William Bartlett

Mr. James Barton

Mr. Lary Dewain Barton

Michelle Beale and Dick Anderson Marcheta Leighton-Beasley Mrs. Natalie Beller

Dr. James A. Belli and Dr. Patricia Eifel

Mr. and Mrs. Stanley C. Beyer Dr. Joan Hacken Bitar

Susan Ross Black

Dr. Michael and Susan Bloome Dr. and Mrs. Jules H. Bohnn Ms. Lynda Bowman

Mr. and Mrs. Harry W. Bristol Ms. Zu Dell Broadwater

Catherine Brock

Myra Brown

Mr. Richard S. Brown

Mr. and Mrs. Logan D. Browning

Mr. Richard H. Buffett

Mr. Tom Burley and Mr. Michael Arellano Mr. Ralph Byle

Ms. Gwyneth Campbell

Roxi Cargill and Peter Weston, M.D. Jess and Patricia Carnes Ms. Janet Langford Carrig

Sylvia J. Carroll

Ms. Nada Chandler

Mr. Robert N. Chanon Ms. Virginia Ann Clark Mathilda Cochran

Mr. William E. Colburn

Mr. and Mrs. Paul L. Comstock Mr. Jim O. Connell Mrs. Christa M. Cooper

Mr. Efraín Z. Corzo and Mr. Andrew Bowen

Mr. and Mrs. James W. Crownover

Shelly Cyprus

Mr. Karl Dahm Dr. Lida Dahm

Mr. Darrin Davis Ms. Sasha Davis Ms. Anna M. Dean Peggy DeMarsh Ian Derrer and Daniel James Dr. and Mrs. R. L. Deter Ms. Elisabeth DeWitts

Connie Dyer

Mr. and Mrs. Samuel Evans Ms. Thea M. Fabio and Mr. Richard Merrill Ms. Ann L. Faget

Ms. Vicki Schmid Faulkner Mrs. Thomas Fauntleroy

Carol Sue Finkelstein

Jack and Marsha Firestone

Carol Lay Fletcher

Mr. Bruce Ford

Dr. Donna Fox

Dr. Alice Gates and Dr. Wayne Wilner

Dr. Layne O. Gentry

Mr. Michael B. George Dr. Wm. David George

Dr. and Mrs. David P. Gill

Lynn Gissel

Dr. Rollin Glaser

Mr. Wesley Goble

Mr. David Gockley

Rhoda Goldberg

Leonard A. Goldstein and Helen B. Wils Mary Frances Gonzalez

Jon Kevin Gossett

Mr. and Mrs. Fred Gott

Mr. and Mrs. Donald Graubart Claire Liu and Joe Greenberg Dr. Nichols Grimes

Dr. Ellen R. Gritz and Mr. Milton D. Rosenau Jr. Mr. Jas A. Gundry

Mr. Claudio Gutierrez

Dr. Robert W. Guynn

Mr. and Mrs. William Haase Dr. Linda L. Hart

Mrs. Brenda Harvey-Traylor

Nancy Haywood

Teresita and Michael Hernandez

Dr. Ralph J. Herring

Mr. and Mrs. Robert C. Hewell

Mr. Edward L. Hoffman

Gary Hollingsworth and Ken Hyde

Alan and Ellen Holzberg

Mr. Frank Hood

Ms. Ami J. Hooper

Mr. and Mrs. George M. Hricik

Helen Wils, Chair

Lee M. Huber

Robert and Kitty Hunter

Greg Ingram

Mrs. Lamar Jackson

Brian James

Spencer A. Jeffries and Kim Hawkins

Charlotte Jones

Ms. Marianne Kah

Mr. and Mrs. Robert J. Kauffman Ann and Stephen Kaufman

Charles Dennis and Steve Kelley Mr. Anthony K.

Mr. Kyle Kerr

Ms. Virginia E. Kiser

Ann Koster

Dr. Lynn Lamkin

Ms. Michele LaNoue and Mr. Gerald Seidl Carolyn J. Levy

Mr. and Mrs. W. H. Liesner

Mr. Michael Linkins

Mr. and Mrs. Karl R. Loos Mrs. Marilyn Lummis

Dr. Jo Wilkinson Lyday

Mr. and Mrs. Paul A. Lynn Sandy L. Magers

Mrs. Rosemary Malbin

Ms. Michele Malloy

Emily Bivona and Ryan Manser

Mr. and Mrs. J. Landis Martin Ms. B. Lynn Mathre

Ms. Nancy Wynne Mattison Dr. and Mrs. Malcolm Mazow

Mrs. Dorothy McCaine Mrs. Sarah McCollum

Deirdre McDowell

Muffy and Mike McLanahan

Will L. McLendon

Mr. Allen McReynolds

Ms. Maryellen McSweeney

Mr. and Mrs. D. Bradley McWilliams

Christianne Melanson and Durwin Sharp

Mr. and Mrs. Robert Menzie

Ms. Georgette M. Michko

Ms. Suzanne Mimnaugh

Kathleen Moore and Steven Homer

Sid Moorhead

Juan R. Morales

Mr. and Mrs. Sidney S. Moran

Mr. and Mrs. Marvin H. Mueller Ms. Linda C. Murray Terrylin G. Neale

Erik B. Nelson and Terry R. Brandhorst Mrs. Bobbie Newman Mrs. Tassie Nicandros

Mrs. James W. O'Keefe

Beverly and Staman Ogilvie Geoffry H. Oshman

Ms. Maria C. (Macky) Osorio Susan and Edward Osterberg Mrs. Joan D. Osterweil

Mr. and Mrs. Richard A. Percoco Sara M. Peterson Mark and Nancy Picus

Mr. and Mrs. Harry C. Pinson Susie and Jim Pokorski Gloria M. Portela

Suzanne Page-Pryde and Arthur Pryde Dr. Angela Rechichi-Apollo Carol F. Relihan

Mr. Todd Reppert Conrad and Charlaine Reynolds Ms. Wanda A. Reynolds Ed and Janet Rinehart Edward N. Robinson Mrs. Shirley Rose Glen A. Rosenbaum

Mr. John C. Rudder Jr. Mr. and Mrs. Tom Rushing Mr. and Mrs. Terrell F. Sanders Ms. Wanda Schaffner Mr. Chris Schilling Kenneth and Deborah Scianna

Mr. and Mrs. Charles Senuta Mrs. Helen P. Shaffer Ms. Sue A. Shirley-Howard Hinda Simon

Mr. Herbert Simons Ms. Susan Simpson Ms. Janet Sims Bruce Smith

Mr. Robert J. Smouse

Ms. Linda F. Sonier

Dian and Harlan Stai Ms. Darla Y. Stange

Dr. and Mrs. C. Richard Stasney Catherine Stevenson

Bruce Suter

Rhonda Sweeney

Mrs. Carolyn Taub

Mr. Quentin Thigpen and Ms. Amy Psaris

Mr. John G. Turner and Mr. Jerry G. Fischer

Mr. and Mrs. Paul Turner

Mr. and Mrs. Jesse B. Tutor

Birgitt van Wijk

Mr. and Mrs. Alfredo Vilas Marietta Voglis Mrs. Rons Voogt

Dean Walker

Mr. William V. Walker Shirley Warshaw Mr. Gordon D. Watson Ms. Rebecca Weaver Mr. Jesse Weir Mr. Geoffrey Westergaard

Pippa Wiley Ms. Jane L. Williams

Mr. and Mrs. David S. Wolff Dr. Fabian Worthing

Lynn Wyatt

Alan and Frank York

Mr. and Mrs. Mark Yzaguirre Mrs. Lorena Zavala John L. Zipprich II 26 Anonymous

WE HONOR THE MEMORY OF THOSE WHO INCLUDED HGO IN THEIR ESTATE PLANS:

Elaine Jaffe Altschuler

Dr. Antonio Arana

Dr. Thomas D. Barrow

Ms. Evelyn M. Bedard Ronald Borschow

Mr. Stephen R. Brenner

Mr. Ira B. Brown

Mr. and Mrs. Thomas Capshaw Dr. Lawrence E. Carlton

Mr. Tony Carroll, LCSW

Michael Cochran

Judy Cummings

Karl A. Dahm

Ms. Marilyn R. Davis

Dick Evans

Frank R. Eyler

Linda Finger

Christine E. George Adelma Graham

Roberta and Jack Harris

HOUSTON GRAND OPERA ENDOWMENT

Jackson C. Hicks

Dr. Marjorie Horning

Mark Lensky

Mary R. Lewis

Bette and Peter Liebgold

Mrs. Margaret Love Ms. Marsha Malev

Mr. Constantine Nicandros M. Joan Nish

Mr. James W. O’Keefe

Barbara M. Osborne

Mrs. Mary Ann Phillips

Mr. Howard Pieper

Mr. and Mrs. Craig M. Rowley

Mrs. Joseph P. Ruddell

Mr. Eric W. Stein Sr. John and Fanny Stone

Dr. Carlos Vallbona

Daisy Wong

Miss Bonnie Sue Wooldridge

The Houston Grand Opera Endowment, Inc., is a separate nonprofit organization that invests contributions to earn income for the benefit of Houston Grand Opera Association. The Endowment Board works with CAPTRUST, an independent investment counsel, to engage professional investment managers. An endowed fund can be permanently established within the Houston Grand Opera Endowment through a direct contribution or via a planned gift such as a bequest. The fund can be designated for general purposes or specific interests. For a discussion on endowing a fund, please contact Deborah Hirsch, senior director of philanthropy, at 713-546-0259 or dhirsch@hgo.org. HGO acknowledges with deep gratitude the following endowed funds.

BOARD OF DIRECTORS

Officers

Yolanda Knull, Chair

Tom Rushing, Senior Chair

Janet L. Carrig, Chair Emeritus Marianne Kah, Vice Chair Terrylin Neale, Secretary; Treasurer

Members at Large

Thomas R. Ajamie

Khori Dastoor

Richard Husseini

Stephen Kaufman Claire Liu Mark Poag

Scott Wise

GENERAL ENDOWMENT FUNDS

Susan Saurage-Altenloh and William  Altenloh Endowed Fund

The Rudy Avelar Patron Services Fund

Charles T. (Ted) Bauer Memorial Fund Sandra Bernhard Endowed Fund

The Stanley and Shirley Beyer  Endowed Fund

Ronald C. Borschow Endowment Fund

Mary Frances Newton  Bowers Endowment Fund

Pat and Daniel A. Breen Endowment Fund

The Brown Foundation Endowment Fund Jane and Robert Cizik Endowment

Michael and Mathilda Cochran  Endowment Fund

Douglas E. Colin Endowment Fund

The Gerald and Bobbie-Vee Cooney  Rudy Avelar Fund

Mary Jane Fedder Endowed Fund

Linda K. Finger Endowed Fund

Robert W. George Endowment Fund

Adelma Graham Endowed Fund

Frank Greenberg, M.D. Endowment Fund

Roberta and Jack Harris Endowed Fund

Jackson D. Hicks Endowment Fund

General and Mrs. Maurice Hirsch  Memorial Opera Fund

Ann Holmes Endowed Fund

Ira Brown Endowment Fund

Elizabeth Rieke and Wayne V. Jones  Endowment Fund

Leech Family Resilience Fund

Lensky Family Endowed Fund

Mary R. Lewis Endowed Fund

Beth Madison Endowed Fund

Franci Neely Endowed Fund

Constantine S. Nicandros  Endowment Fund

Barbara M. Osborne Charitable Trust

Cynthia and Anthony Petrello  Endowed Fund

Mary Ann Phillips Endowed Fund

C. Howard Pieper Endowment Fund

Kitty King Powell Endowment Fund

Rowley Family Endowment Fund

The Ruddell Endowment Fund

Sue Simpson Schwartz Endowment Fund

Shell Lubricants (formerly Pennzoil —  Quaker State Company) Fund

Dian and Harlan Stai Fund

The John and Fanny Stone  Endowment Fund

Dorothy Barton Thomas Endowment Fund

John G. Turner and  Jerry G. Fischer Endowed Fund

John and Sheila Tweed Endowed Fund

Marietta Voglis Endowed Fund

Yolanda Knull, Chair

Bonnie Sue Wooldridge Endowment Fund

The Wortham Foundation Permanent  Endowment Fund

PRODUCTION FUNDS

Edward and Frances Bing Fund Tracey D. Conwell Endowment Fund The Wagner Fund

PRINCIPAL ARTISTS FUNDS

Jesse Weir and Roberto Ayala Artist Fund

The Lynn Wyatt Great Artist Fund

ENDOWED CHAIRS AND FELLOWSHIPS

Margaret Alkek Williams Chair:  Khori Dastoor, General Director and Chief Executive Officer

Sarah and Ernest Butler Chair:  Patrick Summers, Artistic and  Music Director

Sarah and Ernest Butler Chorus  Master Chair: Richard Bado Sarah and Ernest Butler  Concertmaster Chair: Denise Tarrant

Mr. and Mrs. James A. Elkins Jr.  Endowed Chair: Peter Pasztor

Mr. and Mrs. Albert B. Alkek Chair:  Maureen Zoltek

James A. Elkins Jr. Endowed Visiting  Artist Fund

ELECTRONIC MEDIA FUNDS

The Ford Foundation Endowment Fund

HOUSTON GRAND OPERA STUDIO FUNDS

Audrey Jones Beck Endowed Fellowship  Fund/Houston Endowment, Inc.

The Gordon and Mary Cain Foundation  Endowment Fund

Marjorie and Thomas Capshaw  Endowment Fund

Houston Grand Opera Guild  Endowment Fund

James J. Drach Endowment Fund

Evans and Portela Family Endowed Chair Carol Lynn Lay Fletcher Endowment Fund

William Randolph Hearst Endowed  Scholarship Fund

Charlotte Howe Memorial  Scholarship Fund

Elva Lobit Opera Endowment Fund

Marian and Speros Martel Foundation  Endowment Fund

Laura and Bradley McWilliams  Endowed Fund

Erin Gregory Neale Endowment Fund

Dr. Mary Joan Nish and Patricia Bratsas  Endowed Fund

John M. O’Quinn Foundation Endowed  Fellowship Fund

Shell Lubricants (formerly Pennzoil —  Quaker State Company) Fund

Mary C. Gayler Snook Endowment Fund

Tenneco, Inc. Endowment Fund Weston-Cargill Endowed Fund

EDUCATION FUNDS

Bauer Family Fund

Sandra Bernhard Education Fund

Lawrence E. Carlton, M.D.,  Endowment Fund

Beth Crispin Endowment Fund

James J. Drach Endowment Fund

Fondren Foundation Fund for  Educational Programs

David Clark Grant Endowment Fund

The Schissler Family Foundation  Endowed Fund for Educational Programs

OUTREACH FUNDS

Guyla Pircher Harris Project

Spring Opera Festival Fund (Shell  Lubricants, formerly Pennzoil—Quaker  State Company)

CONCERT OF ARIAS

Eleanor Searle McCollum  Endowment Fund

BAYLOR UNIVERSITY SCHOOL OF MUSIC

SAVE THE DATES

THROUGH DECEMBER 16, 2022; JANUARY 23-MAY 19, 2023

Monkey and Francine in the City of Tigers: This year’s Opera to Go! touring production for students presents Kamala Sankaram and David Johnston’s HGO-commissioned original opera. Drawing on influences including ’60s Bollywood, psychedelic Afro-fusion, this opera grooves! Recommended for children grades 2-8. Visit HGO.org/operatogo for more information.

DECEMBER 8

Local artist Reginald Adams presents a laby rinth installation inspired by Javier Martínez and Leonard Foglia’s El Milagro del Recuerdo on Fish Plaza, outside of the Wortham Center. 5-7 p.m. Free.

DECEMBER 8, 9, 10, 11M, 13, 15, 16, 17, 18M

Performances of Javier Martínez and Leonard Foglia’s El Milagro del Recuerdo. Wortham Theater Center’s Cullen Theater. Ticketholders are invited to Dramaturg Jeremy Johnson’s Opera Insights lectures, held in the Cullen’s Orchestra section 45 minutes prior to each performance. Special intermission reception for members of Opening Nights for Young Professionals at the December 8 performance only, and for members of Overture at the December 17 performance only.

DECEMBER 9, 11

HGO Studio Recital: Artists of the HGO Studio perform in the intimate and elegant salon at Rienzi, the decorative arts wing of the Museum of Fine Arts, Houston, at 1406 Kirby Drive. 7:30 p.m. December 9; 5 p.m. December 11.

JANUARY 11

Opera Club Meeting for high school students, followed by 7:30 p.m. dress rehearsal for The Marriage of Figaro. For information, email community@hgo.org.

JANUARY 13, 15M, 20, 22M, 26, 28

Performances of Mozart’s The Marriage of Figaro. Wortham Theater Center’s Brown Theater. Ticketholders are invited to Dramaturg

Jeremy Johnson’s Opera Insights lectures, held in the Brown’s Orchestra section 45 minutes prior to each performance. Special intermis sion reception for members of Opening Nights for Young Professionals at the January 13 performance only.

JANUARY 27

Local artist Reginald Adams presents a labyrinth installation inspired by Massenet’s Werther on Fish Plaza, outside of the Wortham Center. 5-7 p.m. Free.

JANUARY 27, 29M, FEBRUARY 4, 8, 10

Performances of Massenet’s Werther Wortham Theater Center’s Brown Theater. Ticketholders are invited to Dramaturg Jeremy Johnson’s Opera Insights lectures, held in the Brown’s Orchestra section 45 minutes prior to each performance. Special intermission reception for members of Opening Nights for Young Professionals at the January 27 performance only.

FEBRUARY 5

HGO presents singers from the Bauer Family High School Voice Studio in a masterclass with a company artist. 2 p.m. Free; public invited. Contact Lisa Vickers at lvickers@hgo.org for information.

FEBRUARY 3

Concert of Arias: The 35th Annual Eleanor McCollum Competition for Young Singers Concert of Arias, a celebration of the future of opera. 7 p.m. live competition finals and concert. Dinner with the artists follows in the Grand Foyer. Rita Leader and Glen Rosenbaum, chairs. For infor mation, contact Brooke Rogers at 713-546-0271 or brogers@hgo.org. HGO.org/COA

FEBRUARY 24

Giving Voice: HGO’s 4th annual concert celebrates Black artists in opera, and Black History Month, at Wheeler Avenue Baptist Church. 7:30 p.m. Free tickets at HGO.org/ GivingVoice.

MARCH 9, 10, 11M

Another City: Jeremy Howard Beck and Stephanie Fleischmann’s world-premiere opera, which shares stories of unhoused Houstonians, makes its world premiere at Ecclesia Houston. 7:30 p.m. March 9 and 10; 2 p.m. March 11.

APRIL 15

Opera Ball 2023: Enjoy cocktails, dinner, a luxe silent auction, dancing the night away, and more! 6:30 p.m. Wortham Theater Center. Anne and Albert Chao, chairs. For information, contact Brooke Rogers at 713-546-0271 or brogers@hgo.org. HGO.org/OperaBall.

For more performances and events, visit HGO.org!

APRIL 21, 23M, 29, MAY 2, 5

Performances of Puccini’s Tosca. Wortham Theater Center’s Brown Theater. Ticketholders are invited to Dramaturg Jeremy Johnson’s Opera Insights lectures, held in the Brown’s Orchestra section 45 minutes prior to each performance. Special intermission reception for members of Opening Nights for Young Professionals at the April 21 performance only.

APRIL 28, 30M, MAY 6, 10, 12

Performances of Strauss’s Salome. Wortham Theater Center’s Brown Theater. Ticketholders are invited to Dramaturg Jeremy Johnson’s Opera Insights lectures, held in the Brown’s Orchestra section 45 minutes prior to each performance. Special intermission reception for members of Opening Nights for Young Professionals at the April 28 performance only, and for members of Overture at the May 6 performance only.

Monterey Jazz Festival

New Orleans’s French Quarter Jazz

Tanglewood

Metropolitan Opera House

PLAN YOUR VISIT

RESOURCES

HGO is here to make your outing to the opera a special one. When planning your visit, you have multiple resources:

Visit our website, HGO.org, to learn more about the opera you’re seeing, get directions to the theater, purchase tickets and merchandise, make a donation, and much more.

Contact HGO’s Customer Care Center at 713-228-6737 or customercare@hgo.org to request assistance with performance informa tion, purchase or exchange tickets, or make a donation. 1-5 M-F, 10-curtain performance days.

Purchase tickets and make exchanges in person at the HGO Box Office at the Wortham Theater Center, 550 Prairie. 10-5 M-F; nooncurtain weekends during performances. Hours are subject to change.

ENJOY THE WORTHAM

We encourage our guests to make full use of the Wortham Theater Center when at an HGO performance. You can:

Attend a free Opera Insights lecture: Brush up on the day’s opera during one of HGO Dramaturg Jeremy Johnson’s popular talks. Join us on the Orchestra level of the Brown Auditorium 45 minutes before curtain time.

Relax and reflect: The Wortham Theater Center’s Brown and Cullen alcoves are there for all to enjoy. Step inside one of these golden-hued spaces in the Grand Foyer, and you’ll find a calm place to reflect on the day’s performance.

Rent a pair of binoculars: Want to see the action up close? You can rent binoculars on the Grand Tier level (5th floor).

Browse the merchandise: Posters from our current season, T-shirts, and more are available at the boutique in the Grand Foyer.

Dine in: Food services are available prior to each performance, with seating available throughout the Grand Foyer.

Enjoy a drink: The lobby bars are open before each performance and during intermission, with a larger variety of premium selections available at the Fine Wine Bar located near the Brown Alcove. Pro tip: Pre-order beverages for intermission at any of the bars when you arrive at the theater, and your drinks will be waiting for you!

The Founders Salon: The Founders Salon features a prix fixe, seasonally inspired menu. Reservations are required, with a priority reservation window open for Patrons Circle members up to 72 hours before the performance date. Reservations then open to full-season subscribers. To reserve, call 713.533.9318 or email cafe@eleganteventsbymichael.com.

TICKET ASSISTANCE

Exchanging tickets: Subscribers may exchange their tickets for a different performance of the same opera without fee, subject to availability, by phone. Non-subscription single tickets may be exchanged with a service fee of $10 per ticket. When exchanged for tickets of greater value, the customer will be responsible for the difference; no refunds will be made. No exchanges are permitted after the perfor mance has begun.

Replacing lost or misplaced tickets: Contact the Customer Care Center to request replace ment tickets, which will be reprinted and held at the Will Call window for you free of charge.

Options for patrons with disabilities: The Wortham features wheelchair access to both theaters with a choice of seating locations and ticket prices. An FM assistive listening device, provided by the Houston First Corporation, is available for use free of charge at all perfor mances. Contact the Customer Care Center for

details. Descriptive services for persons with vision loss are available with 48-hour advance reservations; call 713-980-8662 for details.

PARKING

Nearby paid-parking garages: These include The Theater District Parking Garage, the Lyric Parking Garage, and the Alley Theatre Garage. All are credit card-only.

Parking for guests with disabilities: If you have a state-issued disability permit and need valet parking, you may purchase special passes by contacting the Customer Care Center. Parking spots for disabled ticket holders are also available in the Theater District Garage on a first-come, first-served basis.

Patrons Circle parking: Members enjoy complimentary self-parking in the reserved Patron Circle section of the Theater District Parking Garage.

Trustee valet parking: Trustees may utilize the valet station located on Prairie Street. If you would like information about Patrons Circle or Trustee membership, please contact HGO’s Philanthropy staff at 713-546-0704 or donorservices@hgo.org.

Leave your car at home: Alto is the official rideshare of HGO. Use the special designated drop-off/pick up area located 551 Prairie Street.

EXPLORE DOWNTOWN

HGO's recommendations for making the most of our vibrant neighborhood

Many of our audience members take the opportunity to explore downtown during a night or afternoon out at the opera. Here are some of our favorites for dining near the Wortham:

Lyric Market food hall, for a wide variety of tasty cuisines and a gorgeous bar in a fun, urban setting.

Georgia James Tavern, for an incredible burger and a cocktail.

Guard and Grace, for steaks, oysters, and charcuterie with a view.

B&B Butchers & Restaurant, for the finest Texas and Japanese Wagyu hand-cut steaks.

Bravery Food Hall, for a casual, chef-driven culinary experience.

Cultivated F+B in the Lancaster Hotel, for a refined night out at a historic Houston landmark.

Rosalie Italian Soul in the C. Baldwin, for red-sauce Italian in a gorgeous setting.

Common Bond Brasserie, for French comfort classics in an adorable dining room.

POST Houston Food Hall, for a foodie paradise inside an eye-popping downtown landmark (as featured on Top Chef !).

For guests coming in from out of town, or any operagoer wanting to make it a downtown staycation, we recommend:

The Lancaster, for old-world glamour and service to match.

Magnolia Hotel, for historic charm with modern style.

Hilton-Americas, for refined elegance plus all the amenities.

There’s lots of fun to be had downtown! Spots to explore include:

The Buffalo Bayou Walking Trail: Walk or take a tour of the bayou on a Segway and cover more ground.

Downtown Houston Tunnel System: a system of underground tunnels that includes myriad restaurants and food halls.

Bayou Place: a collection of entertainment and dining venues.

Minute Maid Park: home of the Houston Astros.

Discovery Green: a vibrant urban park.

Julia Ideson Library: historic library with distinctive and elegant Spanish architecture.

Avenida Houston: fun place to sip, stroll, and savor.

Toyota Center: home of the Houston Rockets.

Wells Fargo Tower Observation Deck: FREE!

EAT STAY DO

Sam Houston Park: eight historic homes in a park setting, open for tours.

Market Square Park: Houston’s oldest park.

Khori Dastoor

General Director and CEO Margaret Alkek Williams Chair

Patrick Summers

Artistic and Music Director * Sarah and Ernest Butler Chair

ADVISOR

Ana María Martínez, Artistic Advisor

EXECUTIVE

LEADERSHIP GROUP

Richard Bado, Director of Artistic Planning/  Chorus Director *, Sarah and Ernest  Butler Chorus Director Chair

Jennifer Davenport, Chief Marketing and  Experience Officer

Molly Dill, Chief Operating Officer * Elizabeth Greer, Chief Financial Officer Gregory S. Robertson, Chief Philanthropy  Officer *

SENIOR MANAGEMENT TEAM

Natalie Barron, Associate Director of  Marketing and Communications

Jennifer Bowman, Director of Community  and Learning

Kristen E. Burke, Director of Production*

Sharon Ellinger, Director of Human Resources

Deborah Hirsch, Senior Director of  Philanthropy *

Scott Ipsen, Director of Patron Experience *

David Krohn, Director of Philanthropy

Alisa Magallón, Associate Director of  Programming & Engagement,  Community and Learning

Brian Speck, Director of HGO Studio *

Monica Thakkar, Associate Director of  Artistic Planning

OFFICE OF THE GENERAL DIRECTOR

Mary Elsey, Chief of Staff to the  General Director and CEO

ARTISTIC

Chris Abide, Rehearsal Administrator

Lyanne Alvarado, Assistant Manager of  Rehearsal Planning & Artist Services

Alex Amsel, Resident Conductor Richard S. Brown, Orchestra Personnel  Manager *

Emilia Covault, Music Administrator

Joel Goodloe, Manager of Rehearsal  Planning & Artist Services

Eun Sun Kim, Principal Guest Conductor

Kiera Krieg, Artist Services Coordinator

Kirill Kuzmin, Head of Music Staff

Mark C. Lear, Associate Artistic  Administrator *

Joshua Luty, Music Librarian

Kevin J. Miller, Assistant Conductor

Peter Pasztor, Principal Coach *

Karen Reeves, Children’s Chorus Director * Madeline Slettedahl, Assistant Conductor

AUDIENCES

Marc Alba, Customer Care Specialist

Gabrielle Castillo, Customer Care Specialist

Chelsea Crouse, Creative Manager

Sadie Dill, Customer Care Specialist

Jessica Gonzalez, Marketing Manager

Latrinita Johnson, Customer Care Specialist

Maricruz Kwon, Digital Content Coordinator

Jazzlyn Levigne, Customer Care Representative

Stephan Little, Customer Care Specialist

Catherine Matusow, Associate Director of  Communications

Joel Nott, Customer Care Specialist

Candace Pittman, Digital Marketing Manager

Christopher Robinson, Graphic Designer

Alan Sellar, Videographer

Amber Sheppard, Patron Services Manager

Armando Urdiales, Marketing Coordinator,  Audience Initiatives

Charlotte Weschler, Customer Care Center  Manager

THE GENEVIEVE P. DEMME ARCHIVES AND RESOURCE CENTER

Brian Mitchell, Archivist *

COMMUNITY AND LEARNING

Sonia Hamer, Programs Coordinator

Jeremy Johnson, Dramaturg &  Associate Director of New Works

Chelsea Lerner, Programs Manager

Karen Mata, Operations Manager

Joel Thompson, Composer-in-Residence

Lisa Vickers, Bauer Family High School Voice  Studio Manager

FINANCE AND ADMINISTRATION

Christian Davis, Human Resources Generalist

Ariel Ehrman, Business Intelligence Manager

Luis Franco, Office Services Coordinator * Denise Fruge, Accounts Payable  Administrator *

Matt Gonzales, Database Administrator * Vicky Hernandez, Business Intelligence  Coordinator

Chasity Hopkins, Accounting Manager Ty Jones, Network Administrator Elia Medina, Payroll Administrator

M. Jane Orosco, Business Intelligence  Manager*

Denise Simon, Office Administrator *

OPERATIONS

Christopher Staub, Operations Manager *

Kiara Caridad Stewart, Covid  Compliance Manager

PHILANTHROPY

Sarah Bertrand, Philanthropy Officer

Alex de Aguiar Reuter, Associate Director  of Philanthropy

Kelly Finn, Director of Institutional Giving * Tessa Larson, Philanthropy Officer

Sarah Long, Associate Director of  Philanthropy

Patrick Long-Quian, Philanthropy Associate

Catie Lovett, Donor Event Specialist

Meredith Morse, Operations Manager,  Institutional Giving

Allison Reeves, Associate Director of  Special Events

Sherry Rodriguez, Philanthropy Officer,  Institutional Giving

Brooke Rogers, Director of Special Events

Madeline Sebastian, Associate Director  of Philanthropy

PRODUCTION

Philip Alfano, Lighting Associate * Brian August, Stage Manager

Kaleb Babb, Costume Coordinator

Katherine Carter, Assistant Director

Michael James Clark, Head of Lighting &  Production Media *

Andrew Cloud, Properties Associate * Norma Cortez, Costume Director *

Meg Edwards, Assistant Stage Manger

Caitlin Farley, Assistant Stage Manager

Vince Ferraro, Head Electrician *

Beth Goodill, Assistant Stage Manager

Mark Grady, Assistant Head Electrician/  Light Board Operator

Bridget Green, Wig and Makeup Assistant

Jackson Halphide, Assistant Technical Director

Terry Harper, Technical Director

Eduardo Hawkins, Head of Sound * David Heckman, Costume Coordinator  Assistant John Howard, Head Carpenter

Jennelle John-Lewis, Assistant Stage Manager

Esmeralda De Leon, Costume Coordinator * Beth Krynicki, Assistant Director

Nara Lesser, Costume Production Assistant Judy Malone-Stein, Wardrobe Supervisor * Melissa McClung, Technical and Production  Administrator

Megan, Properties Design Director * Frances Rabalais, Assistant Director

Colter Schoenfish, Assistant Director

Kaley Karis Smith, Assistant Director

Meghan Spear, Assistant Stage Manager

Dotti Staker, Wig and Makeup  Department Head *

Myrna Vallejo, Costume Shop Supervisor * Sean Waldron, Head of Props Annie Wheeler, Stage Manager *

HOUSTON GRAND OPERA STUDIO

Jamie Gelfand, Studio Manager

Maureen Zoltek, Studio Music Director Mr. & Mrs. Albert B. Alkek Chair

*denotes 10 or more years of service

The lovesick yearnings of the tortured young poet Werther lead to his tragic fate in Massenet’s lush opera, which returns to HGO for the first time in 40 years with this production from French director Benoît Jacquot, making his HGO debut.

After Werther escorts the lovely Charlotte to a ball, he falls hope lessly in love with her, but she is engaged to Albert, with no intention of breaking things off. Unable to conceive of life without her, Werther grows ever more despondent as he continues his attempts to woo the object of his affections, who doesn’t love him back—or does she?

Matthew Polenzani, one of the world’s most distinguished tenors, leads the cast as Werther in his long-anticipated Houston debut. With mezzo-soprano Isabel Leonard, an international star and winner of three Grammy awards, debuting alongside, and world-renowned conductor Robert Spano taking the podium, audiences won’t want to miss this chance to see a cast of legends perform a rare psychological drama.

BRING ON THE SHENANIGANS!

Few operas have as much comedic energy as Mozart’s The Marriage of Figaro. Tony Award-winning director Michael Grandage’s production of the boisterous rom-com, first staged by HGO in 2016, resets the classconscious comedy in late ’60s Francoist Spain. Full of bright colors and costumes evoking the Moroccan influence on Muslim Spain, the vibrant production synthesizes transcendent music and lively perfor mances into an unforgettable evening at the opera.

The opera’s large cast is led by bass Nahuel Di Pierro as the titular Figaro, a working-class man set to marry the beautiful Susanna despite the meddling of their employer, a married Count who would rather have the beauty for himself. The role of Susanna is performed by soprano Elena Villalón in her first return to the company after complet ing her training with the HGO Studio. Renowned bass-baritone Adam Plachetka portrays the Count, with beloved soprano Nicole Heaston, an HGO Studio alumna and company favorite, as his wife.

Ian Rutherford directs the celebrated production’s revival, with HGO Artistic and Music Director Patrick Summers conducting.

SHE LOVES HIM NOT

SUNG IN ITALIAN WITH PROJECTED ENGLISH TRANSLATION