Lucia di Lammermoor - Program Notes

LUCIA DI LAMMERMOOR MAY 6 | 9 | 12 | 14, 2017 ELLIE CAULKINS OPERA HOUSE Opera in Three Acts

By Gaetano Donizetti Libretto by Salvadore Cammarano There will be two 20 minute intermissions, one between each act.

CAST I N OR D E R OF VOCAL APPEARANCE

Normanno Enrico Raimondo Lucia Alisa Edgardo Arturo

Omar Najmi^ Timothy Mix Matthew Treviño Anna Christy* Marcia Ragonetti Eric Barry* Brett Sprague

Opera Colorado Orchestra Opera Colorado Chorus Conductor Stage Director Associate Conductor Lighting Design Wig and Makeup Design

Ari Pelto Keturah Stickann Andres Cladera Lucas Krech Ronell Oliveri

PRODUCTION CREATED FOR THE FLORIDA GRAND OPERA SCENERY DESIGNED BY ROBERT R. O’HEARN MADE AVAILABLE COURTESY UTAH SYMPHONY COSTUMES DESIGNED FOR UTAH SYMPHONY

| UTAH OPERA

& OPERA BY SUSAN MEMMOTT ALLRED

ADDITIONAL COSTUMES FOR ANNA CHRISTY DESIGNED FOR OPERA COLORADO BY ANN PIANO THE PRE-PERFORMANCE LECTURE IS PRESENTED BY MUSIC HISTORIAN BETSY SCHWARM AND SPONSORED BY FAIRFIELD AND WOODS, P.C.

*Opera Colorado Debut ^Opera Colorado Young Artist

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SPONSORS This production of Lucia di Lammermoor is sponsored by the Avenir Foundation 2016-2017 SEASON SPONSORED BY ELLIE CAULKINS Music Director Ari Pelto is sponsored by Mike and Julie Bock The Opera Colorado Young Artists Program is sponsored by Mr. and Mrs. Kenneth T. Barrow

Opera Colorado Young Artists Sponsors Allison Nicholas is sponsored by Patrick Spieles and Carol McMurry.

Danielle Lombardi is sponsored by Dr. Stephen L. Dilts.

Omar Najmi is sponsored by Patrick Spieles and Carol McMurry.

Ryan Bradford is sponsored by Peyton and Suzanne Bucy and David & Elizabeth Budd.

Charles Eaton is sponsored by Marlis & Shirley* Smith and Dirk & Joyce deRoos.

Opera Colorado recognizes the following organizations and businesses for their generous support.

*indicates sponsor is deceased

DONIZETTI LUCIA DI LAMMERMOOR I

n a tragic coincidence of history, the composer of the best-known scene of operatic insanity himself ended his days in an asylum.

Gaetano Donizetti (1797-1848) was far from the only great composer to cause an operatic character to fall into insanity; Handel and Mozart had gotten there long before Donizetti, and neither ever found himself in the madhouse. However, it is Donizetti’s troubled Lucia who becomes most famously unhinged, and it is Donizetti’s music for her that has come to epitomize operatic mad scenes and the vocal extravagance that such situations apparently demand.

Depending on how one counts the operas that Donizetti revised and then re-premiered under new titles, Lucia di Lammermoor stands roughly 60 percent of the way through a total of 70 Donizetti operas. The tale derives from The Bride of Lammermoor, published in 1819 by Sir Walter Scott (1771-1832). Donizetti’s operatic version came to the stage three years after Scott’s passing, which may have been for the best, as the opera and the novel are only passingly related. Both have a Scottish setting, and both have, as a title character, a young lady driven into madness by her manipulative family. Beyond that point, the opera is a unique creation.

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Admittedly, no literary work comes entirely intact to the stage.

Streamlining is always necessary: digressive description is discarded and singable scenes may need to be created. However, Scott would likely have been startled to find the politics entirely gone, the bridegroom murdered (rather than maimed), the romantic lead dying by his own hand (rather than lost in a marsh), and the principal controlling force in Lucia’s life transformed from her mother to her brother. In the novel, Lucia’s brother Henry is a most harmless youth; Donizetti’s librettist, Salvatore Cammarano (1801-1852), decided that a baritone would make a better bad guy.

Lucia di Lammermoor premiered September 26, 1835, at the San Carlo Theatre in Naples. Two years later, the opera reached Paris. 1838 found Lucia in London; it reached New York in 1845. Any opera composer today would have been thrilled for a new work to reach such widely-flung audiences in only a few years. For Donizetti, it was only the latest in a long string of successes. In Lucia, listeners again reveled in the splendors of bel canto at its best.

Literally meaning “beautiful singing,” bel canto is a vocal

style identified with Italian composers of Donizetti’s generation.

Characterized by flamboyant singing, it is nowhere better represented than in Lucia’s famed Act Three Mad Scene.

Donizetti devotes twenty minutes to it, calling upon the soprano to alternately maintain long flowing lines and the most rapid runs and trills imaginable. The larger ensemble comments in horror upon developments, though Lucia herself is lost in her own world.

At times, she trades phrases with the flute; Donizetti had wanted a glass harmonica, but didn’t get one. That the plot has stopped in its tracks for all this time is, perhaps, representative of the fact that Lucia, too, is remote from events. It is singing for the sake of vocal display, and its complexities were specifically designed for the soprano who filled the role at the Naples premiere, and again in Paris and London. Any soprano whose voice falls short of Fanny Tacchinardi Persiani’s must look elsewhere for repertoire.

One might puzzle that an opera about a mad murderess would stay so long in the spotlight. However, poor Lucia is as much a victim of circumstance as her ill-fated bridegroom. Depending on the director’s approach, one can come away feeling that her brother Enrico all but held her hand through the deed, pushing her over the edge. Whatever one’s opinion of the title character, the fact remains that her part is one of the most challenging in the soprano repertoire, and when ideally cast, is sure to impress listeners. Donizetti’s craftsmanship also rewards other members of the cast. All major characters have their own arias; the duets and ensembles – especially the Act Two sextet, as Edgardo, Lucia’s true beloved, appears unexpectedly at her wedding to Arturo – are among the finest ever written. With good reason, Lucia di Lammermoor is still one of the most frequently performed of early 19th century operas.

SYNOPSIS LUCIA DI LAMMERMOOR CHARACTERS

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I N OR D E R OF VOCAL APPEARANCE

Normanno, Ashton family retainer and follower of Enrico – tenor Lord Enrico Ashton of Lammermoor, head of the family – baritone Raimondo, chaplain of Lammermoor – bass Lucia Ashton, Enrico’s sister; beloved by Edgardo – soprano Alisa, Lucia’s companion – mezzo-soprano Edgardo, Master of Ravenswood, scion of a rival family; beloved by Lucia – tenor Lord Arturo Bucklaw, the man Lucia is ordered by Enrico to marry – tenor Act One: In Scotland, the Ashton family of Ravenswood Castle is in disarray. Enrico, head of the family, is infuriated that his sister Lucia refuses to marry the man whom family politics and finances dictate she must accept, Lord Arturo Bucklaw. The chaplain Raimondo tries to defend the girl, suggesting that she still mourns their dead mother. Normanno, captain of the guard, reveals another motivation: that Lucia has been trysting with a stranger in the park. The stranger is revealed as Edgardo, son of the former Lord of Ravenswood, who had been stripped of his title and usurped by the Ashton family. Enrico is further enraged by this revelation.

Meanwhile, Lucia, accompanied by her companion Alisa, is waiting for Edgardo near a fountain on the castle grounds.

She is fretful because of a ghostly spirit which has warned her that she will face a terrible fate if she persists in the romance.

Edgardo arrives with word that he must depart on a diplomatic mission, but expresses his wish that their families could mend the rift so that he and Lucia could marry. The sweethearts bid farewell, sure that they will be together again.

Act Two: Enrico presents to his sister a forged letter falsely claiming that Edgardo has been unfaithful to her. Crushed by the revelation, she reluctantly gives in to her brother’s demands

that she marry Arturo, whose fortune will save the Ashton family. Festivities begin all too promptly, and even as Lucia is signing the marriage contract, Edgardo, having returned from his mission, rushes in to claim her. Only Raimondo can stop the enemies from attacking each other, and Lucia faints as she realizes the error she has made and that Edgardo believes she has abandoned him.

Act Three: Back in Ravenswood Castle, the bride and groom are upstairs in their chambers, as the guests continue in revelry.

The chaplain Raimondo brings the news that Lucia has gone mad and murdered Arturo. Soon, the distraught young woman enters, imagining that all is well and that she has married her beloved Edgardo. Overwhelmed by the torment of events, she collapses.

Afterward, in the Ravenswood family cemetery, Edgardo bitterly reflects on what he views as Lucia’s betrayal. He sees wedding guests leaving Ravenswood Castle followed by Raimondo, who tells him that Lucia’s madness has caused her death. Realizing that Lucia’s love for him had not wavered, Edgardo takes his own life, intending to join her in heaven.

Notes and synopsis by Betsy Schwarm, author of the Classical Music Insights series

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THE ARTISTS ERIC BARRY* | Edgardo Spanish-American tenor Eric Barry is “making an impressive mark” on opera and concert stages “with a clear timbre, evenness of projection and exceptional sensitivity” (Opera News).

Operatic highlights included Rodolfo La bohème for Pittsburgh Opera, Teatro Comunale di Sulmona, North Carolina Opera and Opera Memphis, Nemorino L’elisir d’amore for Boston Midsummer Opera and Shreveport Opera, Macduff Macbeth for Opera San Antonio, Edgardo Lucia di Lammermoor, Rodolfo La bohème and The Duke of Mantua Rigoletto for Amarillo Opera, Arbace Ciro in Babilonia at the Caramoor Music Festival, Eginhard Fierrabras for Bard Summerscape, Anthony Hope Sweeney Todd and Tom Rakewell The Rake’s Progress for Wolf Trap Opera. Mr. Barry is equally comfortable on the concert stage having performed with the American Symphony Orchestra, Madison Symphony, Utah Symphony, Indianapolis Symphony, Poznan Philharmonic, Polish Radio Orchestra, Jerusalem Symphony Orchestra and many others. His recording portfolio includes seven commercial opera albums, two of which having been nominated as ICMA’s Opera Album of the Year. He is the subject of the feature PBS documentary Eric Barry: Home for Christmas, Eric Barry holds a Master of Music degree and Artist Diploma from the School of Music at Yale University. For more information please visit www.eric-barry.com.

ANNA CHRISTY* | Lucia Praised by the New York Times as “nimble of voice, body and spirit,” soprano Anna Christy continues to delight audiences with an extraordinary blend of sparkling voice and powerful stage presence. In the 2016-2017 season, Anna Christy was seen as Sophie in the Metropolitan Opera’s production of Werther.

She returned to Japan for performances of L’enfant et les sortilèges with Seiji Ozawa and sang Carmina burana with Marin Alsop and the Baltimore Symphony. She also debuted at the Bayerische Staatsoper as Constance in Dialogues des

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Carmélites and returned to Central City Opera as Baby Doe in the 60th Anniversary production of The Ballad of Baby Doe. This summer she will reprise her performances of Morgana in David Alden’s production of Alcina at Santa Fe Opera, a role she sang to great acclaim at Teatro Real in Madrid and Opéra National de Bordeaux.

ANDRES CLADERA Associate Conductor Uruguayan conductor Andres Cladera, recently named Associate Conductor with Opera Colorado and Artistic Director of Opera Steamboat, is a versatile and cultivated artist in both the operatic and symphonic worlds.

He has prior conducting experience with Opera San Antonio, Opera Colorado, Carnegie Mellon Philharmonic, Opera Theater of Pittsburgh, Edgewood Symphony, Opera Steamboat, Chatham Baroque and San Antonio Symphony. Maestro Cladera holds a Masters of Music degree from Carnegie Mellon University and Bachelors of Fine Arts degrees in Piano and Voice Performance from College of Charleston. Cladera was awarded the Outstanding Young Conductor of the year by the Association of Choral Directors of America, and first place in several international piano competitions including: Luis Troccoli International Piano Competition and Luis Cluzeau Mortet Piano Competition. He conducted Opera Colorado’s production of As One in March. Upcoming engagements include his debut with Cincinatti Opera.

LUCAS KRECH | Lighting Design A multi-media artist working in light, video projection and code, Lucas Krech’s work has been seen across the US, Romania and the UK. He has received multiple nominations for NYIT and BATCC awards, and won Broadway World, SF “Best Lighting Design” 2011. He received the Lighting Artist in Dance grant from The Dancers Group for collaboration on new multi-media work in 2013. His opera designs include Opera Santa Barbara,

THE ARTISTS Opera Colorado, West Edge Opera, West Bay Opera, First Look Sonoma, Yale Arts & Ideas Festival, LPR and Berkeley Opera. His theater credits span Off-Broadway & regional including The Magic, Barter Theater, Marin Theater Company, Shotgun Players, Center Rep, Gotham Stages, Friendly Fire, Immigrant’s Theater and NYMF. Dance collaborators include Nicolo Fonte, Matthew Neenan, Sean Curran, Amy Seiwert, Adam Houghland, Johannes Weiland, Emery LeCrone, Peter Quantz, Erika Tsimbrovsky, Derek Hough, Andrea Schermoly and Marcello Gomes. Design work has been featured in American Theater Magazine. His writing appears in Stage Directions, On Stage Lighting, Parabasis Blog, Brooklyn Rail, and PLSN magazines. He has been a guest artist at UC Berkeley, Williams College and USF. Installation work shown at SOMArts, Studio Gracia, Outside/Input and Black Rock City. He holds a MFA in design from NYU. TIMOTHY MIX | Enrico Recipient of a 2008 Richard Tucker Foundation Career Grant, FinnishAmerican baritone Tim Mix is recognized for the beauty of his voice and his compelling stage presence. Mr. Mix received critical acclaim for his portrayal of the pivotal role of Edward Gaines in the New York premiere of Richard Danielpour and Toni Morrison’s Margaret Garner, a new production by Tazewell Thompson, for which he received New York City Opera’s 2008 Christopher Keene Award. Last season saw a debut with the Santa Fe Opera as Capulet in Romeo and Juliet, Amonasro in Aida in a return to Opera Southwest, and the role of Claudio in Faccio’s Amleto with Opera Delaware. This season Tim debuts with the Finnish National Opera as Escamillo in Carmen, returns to the Santa Fe Opera for their production of The Golden Cockerel, and returns to the San Francisco Opera to perform De Brétigny in Manon. Other career highlights include performances with Washington National Opera, Opera Theatre of Saint Louis, Lyric Opera Baltimore, Opera Grand Rapids, Palm Beach Opera, The Dallas Opera, The Oregon Symphony, The Baltimore Symphony, and the LA Philharmonic with Gustavo Dudamel, among others.

OMAR NAJMI^ | Normanno Originally from Boston, MA, Omar has spent three seasons as an Emerging Artist with the Boston Lyric Opera. His roles there have included Vanya Kudrjas in Katya Kabanova, Reverend Harrington in Lizzie Borden, Bruno in I Puritani, Borsa in Rigoletto and 1st Armored-Man in The Magic Flute. An avid performer of contemporary music, Omar has appeared as El Gobernador in La Reina with the American Lyric Theater, Bill in Flight and Laurie in Little Women – both with Opera Fayetteville. Recent credits include Aufidio in Lucio Silla, with Odyssey Opera, and Don Ottavio in Don Giovanni, with Opera NEO. As an Opera Colorado Young Artist this season, his role with Opera Colorado’s touring productions include Almaviva in The Barber of Seville and Nemorino in The Elixir of Love. In addition to this role in Lucia di Lammermoor, he appeared as Joe in La Fanciulla del West in the fall, and Edgardo in the Student Matinee of Lucia di Lammermoor.

ARI PELTO Opera Colorado Music Director and Conductor Ari Pelto, music director of Opera Colorado, is widely known for performances, which have been called poetic, earthy, vigorous and highly individual. He is in demand in opera houses and with symphony orchestras throughout the United States. At the age of 24 Pelto was appointed Assistant Conductor at the Spoleto Festival and has gone on to conduct on stages worldwide. His international appearances include symphonic performances with the Bochumer Philharmoniker, productions of Le Nozze di Figaro and Falstaff at New National Theatre of Tokyo, and Faust at the Teatro Nacional Sucre in Quito, Ecuador. In 2004 he made his highly-praised debut with New York City Opera conducting La Traviata, after which he became a regular guest conductor, returning for productions of Madama Butterfly, La Bohème and Carmen. In 2015, Pelto was named Opera Colorado’s first ever Music Director, where he has conducted acclaimed performances of Don Giovanni, Madama Butterfly, Aida and the world premiere of Lori Laitman’s

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THE ARTISTS The Scarlet Letter, a recording of which will be released in fall 2017 on the Naxos label. In addition to this production of Lucia di Lammermoor, Pelto lead a production of La Fanciulla del West last fall, and will lead La Bohème, Steal a Pencil for Me and Falstaff in the 2017-2018 season.

ANN PIANO | Lucia Nightgown Costume Design Ann Piano is pleased to be designing for Opera Colorado’s mainstage. For the past 14 years, she has run the costume department and designed costumes for the Young Artist’s touring productions. In 2012, she won a True West “Best Costume Design” Award for The Elaborate Entrance of Chad Deity at The Curious Theatre Company in Denver, Colorado. In 2009, she was nominated for a Henry Award for Enchanted April at Miner’s Alley Playhouse, Golden, Colorado. Piano received a BFA in Fashion Design from Stephens College, Columbia, Missouri.

MARCIA RAGONETTI | Alisa Esteemed mezzo-soprano Marcia Ragonetti is an Opera Colorado veteran with a rich 35-year history with company, having performed more than 20 roles including Cherubino, Rosina, Angelina, Mercedes, Meg Page, Siebel, Tisbe, Third Lady and others. A career highlight was helping to inaugurate “The Ellie” in 2005 in its gala concert and celebrated production of Carmen. She has also performed with Central City Opera, Opera Fort Collins, Opera Theatre of the Rockies as well as multiple guest appearances with the Colorado Symphony, Colorado Springs Philharmonic, Utah and San Antonio orchestras among others. Her international debut in Italy was in a touring production of Sweeney Todd as the Beggar Woman, a role she first performed with Opera Colorado. She received her second Henry Award nomination for “Best Actress” in 2016 as Norma Desmond in Sunset Boulevard; her first was in 2012 for her virtuosic portrayal of Maria Callas in Master Class which also earned her a “Best

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Diva” award from Westword. She continues to create cabaret shows based on The Great American Songbook composers Gershwin, Kern and Porter among others. Marcia is a Phi Beta Kappa graduate of Cornell University.

BRETT SPRAGUE | Arturo American tenor Brett Sprague has been praised for his vocal and dramatic quality on stages across the United States. Past professional credits include Herb Shuttle Happy Birthday Wanda June – World Premiere and Henry Crawford Mansfield Park with Indianapolis Opera, Laurie Little Women with Eugene Opera and the Astoria Music Festival, Tenor Soloist Carmina Burana with the Orquesta Filarmónica de Sonora, Antinoüs Pénélope with Vespertine Opera, Don José and Remendado Carmen, Tamino and First Man in Armor Die Zauberflöte, Borsa Rigoletto, and the Registrar Madama Butterfly with Opera Colorado, Almaviva The Barber of Seville, The Witch Hansel & Gretel, and Romeo in Romeo & Juliet with Opera Colorado’s touring productions, Malcolm Macbeth and Rector Adams Peter Grimes with Chautauqua Opera, Little Bat Susannah and Mordcha Fiddler on the Roof with Ash Lawn Opera, Ernesto Don Pasquale with Amore Opera, Tenor Swing The Most Happy Fella with Dicapo Opera, among others. He has performed as a soloist in concerts across North America in venues such as the Stern Auditorium at Carnegie Hall, The Ellie Caulkins Opera House, The Festival Internacional Alfonso Ortiz Tirado and the Historic Amphitheatre at the Chautauqua Institution. Originally from Tacoma, WA, he holds degrees from Chapman University and Manhattan School of Music.

THE ARTISTS KETURAH STICKANN | Director Keturah Stickann’s directing and choreography has been seen on five continents, as well as on television through PBS’ Great Performances.

Recent credits include Ricky Ian Gordon’s Orpheus and Euridice (Vermont Opera Project and the National Gallery), Seven Deadly Sins/Pagliacci (Virginia Opera), L’elisir d’amore (Opera Birmingham), La traviata (Chautauqua Opera), Tosca (Knoxville Opera), Macbeth (Kentucky Opera), Don Quichotte (San Diego Opera), Flight (Opera Fayetteville), Rigoletto (Opera Memphis, San Diego Opera), La clemenza di Tito (Opera in the Heights), The Tales of Hoffman (Knoxville Opera), Manon (Knoxville Opera), and Madama Butterfly (Opera Colorado). Ms Stickann is a frequent collaborator with director, Leonard Foglia, most recently as choreographer for the world premiere production of Heggie/Scheer’s It’s A Wonderful Life at Houston Grand Opera. She was his choreographer and movement director for the world premiere of Heggie/Scheer’s Moby-Dick at Dallas Opera in 2010, choreographer for Cruzar la Cara de la Luna with Mariachi Vargas, and Ricky Ian Gordon’s A Coffin in Egypt, both in Houston, and his assistant director for the world premiere of Jennifer Higdon’s Cold Mountain at Santa Fe, and for the national tour of Anna Deavere Smith’s Let Me Down Easy.

MATTHEW TREVIÑO | Raimondo Praised by the San Francisco Chronicle as “a bass of rare talent” and by Opera News as singing “impressively, with velvety legato,” Matthew Treviño is proving to be one of today’s most soughtafter basses. His celebrated portrayal of Dr P in The Man Who Mistook His Wife for a Hat with the Nashville Opera was recently released by Naxos recordings to high critical acclaim. Recent engagements include Sparafucile in Rigoletto with Vancouver Opera, English National Opera and Hawaii Opera Theatre, Colline in La bohème with Florentine Opera and the Colorado

Symphony, Beethoven’s Ninth Symphony with the Santa Fe Symphony, Leporello in Don Giovanni with Opera Colorado, the title role in the world premiere of The Canterville Ghost

by Gordon Getty with Opera Leipzig, and a debut with the Saint Louis Symphony (Messiah) under Christopher WarrenGreen. Future engagements include the world premiere of Three Way with the Nashville Opera and American Opera Projects in New York City, Zuniga in Carmen with Hawaii Opera Theater, and the Doctor in La Traviata with the Austin Opera.

ENGLISH OR SPANISH SUBTITLES AT YOUR FINGERTIPS OPERATING THE SUBTITLES FOLLOW THESE EASY STEPS

 Prior to the performance, the screen will display a

sponsored message automatically.

(You cannot turn it off.)  When the singing begins, briefly press the red button.  Press once for English titles and twice for Spanish titles.  Press three times to turn the system off.  Repeat these steps after intermission(s).

Pressing the button too many times or holding the button down will result in system failure. Titles are only broadcast when singing occurs on the stage.

If you experience difficulty with the system, please contact an usher for assistance. Opera Colorado does not offer refunds or exchanges in the event of subtitle system failure. A synopsis of the opera is available in this program.

All Sunday matinee performances offer audio description for the visually impaired. Headsets are available at the coat check.

English subtitles written by Jeremy Sortore for Opera Colorado. Spanish translation by TranslatingSpanish.com

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LUCIA DI LAMMERMOOR ORCHESTRA

VIOLIN I Margaret Gutierrez, concertmaster Angela Dombrowski Debra Holland Robyn Julyan Chris Jusell Regan Kane Cyndi Mancinelli Leah Mohling Robyn Sosa Takanori Sugishita

CELLO Jeff Watson, principal Cedra Kuehn Charles Lee David Short Elle Wells Carole Whitney BASS David Crowe, principal Jeremy Nicholas Matthew Pennington James Vaughn

VIOLIN II René Knetsch, principal Lynne Glaeske Susie Peek Ingrid Peoria Gyongyver Petheo Veronica Sawarynski Leslie Sawyer Christine Short

FLUTE Susan Townsend, principal Elizabeth Sadilek

VIOLA Matthew Dane, principal Michael Brook Brian Cook Mary Harrison Sarah Richardson Lora Stevens

CLARINET Michelle Orman, principal Heidi Mendenhall

PRODUCTION STAFF MUSIC STAFF Andres Cladera, Associate Conductor Keun-A Lee, Coach/Accompanist Kim Peoria, Orchestra Personnel Manager Ingrid Peoria, Orchestra Librarian PRODUCTION STAFF Katie Preissner, Director of Production & Stage Manager Jordan Lee Braun, Assistant Director Amelia Nordin, Assistant Stage Manager Madeline Levy, Assistant Stage Manager Jeremy Sortore, Title Coordinator Beth Nielsen, Title Operator Brian Greffe, MD, Company Physician Buzz Reifman, NPPA, Company Otolaryngologist 8

PICCOLO Olga Shilaeva OBOE Sarah Bierhaus, principal Max Soto

BASSOON Charles Hansen, principal Kim Peoria

TECHNICAL STAFF Erin Turner, Technical Director Ed Saindon, Head Carpenter Mike Boswell, Shop/Production Carpenter Greg Killpack, Assistant Carpenter Jeff Reidel, Head Flyman Chris Green, Head Electrician Stephen Mazzeno, Light Board Operator Susan Osborn, Assistant Electrician Patrick Howard, Assistant Lighting Designer Maria Hedrick, Head Props Terry Gulley, Assistant Props Charles Polich, Head Sound ELLIE CAULKINS OPERA HOUSE CREW Randy Mitchell, House Carpenter James Gralian, House Sound Tanya Rist, House Props Dave Wilson, House Electrician

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HORN Michael Yopp, principal Lauren Varley Devon Park Marian Hesse TRUMPET Colin Oldberg, principal Ken Aikin TROMBONE Bron Wright, principal Andy Wolfe Jeremy Van Hoy TUBA Michael Allen, principal TIMPANI Peter Cooper, principal PERCUSSION Carl Dixon, acting principal Nena Lorenz Wright

OPERA COLORADO CHORUS Soprano Emily Gradowski Margaret Ozaki Graves Ji Hee Kim Allison Nicholas^ Susan Rahmsdorff Kristen Smith Sally Swallow Alexandra Trosper

COSTUMES Ann Piano, Costume Director Alison Milan, Shop Manager and Wardrobe Head DRAPER Kevin Brainerd SHOP ASSISTANTS Barbara Piano Elizabeth Woods VOLUNTEER STITCHER Julie Parker DRESSERS Kevin Brainerd Alie Holden Tom Holmes Annabel Reader Elizabeth Woods VOLUNTEER DRESSERS Valerie Kreck Amburn Leslie Cady Kathy Heider Jan Heimer Pat Smith

Mezzo- Soprano Janet Braccio Teleri Gee Jennifer Harpel Christina Hazen Claire Leborgne Danielle Lombardi^ Katherine Snyder Tenor Matt Cantwell Nathan Crowder Brian Harris Luke Johnson Leo Kaufman Omar Najmi^ Norman Spivy Ron Stauffer Joey Taczak Anthony Varner Keith Williamson Bass/Baritone John Adams Ryan Bradford^ Robert Charlock Bradley Gibbons Shane Delavan Charles Eaton^ Kasey Nahlovsky Zeky Nadji Luke North Todd Resseguie ^Opera Colorado Young Artist

WIGS AND MAKEUP Sarah Opstad, Associate Wigs and Makeup Coordinator Angela Norris, Wigs and Make-Up Assistant Devanie Blake, Wigs and Make-Up Assistant ARTIST HOSTS Host Chairmen: Merrill Shields Katy Burley Brian Crane Robert Kahn Cherity Koepke Heather MacKinnon Kevin O’Connor Astrid Stocks SUPERNUMERARY Kristen Smith, Fountain Ghost

A supernumerary is a person who appears as an extra in a non-speaking, non-singing role.