Opera Theatre of Saint Louis 2017 Program Book

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O P E R A T H E A T R E O F S A I N T L O U I S

O P E R A T H E A T R E O F S A I N T L O U I S 2 0 1 7

F E S T I V A L

S E A S O N

Madame Butterfly •

The Grapes of Wrath •

T h e Tr i a l

AMERICAN PREMIERE

T H E

Ti t u s

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n d

Center Stage

F E S T I V A L S E A S O N | 2 0 1 7

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WHERE THE ARTS MEET THE SCIENCES

C O M I N G FA L L 2 0 1 7 Today’s Webster University is where students meet the world. Webster University faculty, staff and students collaborate across disciplines to engage with the broader community locally, regionally and internationally at campuses on four continents and online. The new state-of-the-art Browning Hall, Interdisciplinary Science Building, is designed to advance the St. Louis region’s growing strengths in science, technology, engineering, and mathematics (STEM).

WEBSTER.EDU Webster University is proud to partner with Opera Theatre of Saint Louis and to be your host on campus in the Loretto-Hilton Center for the Performing Arts, bringing live performances to St. Louis since 1966.


T O O P E R A T H E AT R E O F S A I N T L O U I S enriching local culture and uniting our community for forty-two glorious seasons.

Wedgewood Partners, Inc.

9909 Clayton Road, Saint Louis, MO 63124 314.567.6407 • 800.537.1252 www.wedgewoodpartners.com 1 Photo by Ken Howard, courtesy of OTSL.


Three generations: Daughter Mimi Schmid, Granddaughter Mollie Schmid, and Owner Advanced Nursing Services Maggie Holtman.

141 N. Meramec Ave., Suite 102 St. Louis, MO 63105

863-3030 Registered & Licensed Practical Nurses skilled nursing care for short or long term illness

Caring Aides & Personal Assistants

assist with daily living activities such as bathing, meals, transportation, errands & doctors appointments

Personal & Professional Attention RN supervision of all cases

Our caregivers are available on an hourly basis up to 24 hours per day to meet individual needs at home, hospital or nursing facility

Celebrating Over 30 Years of Service & Family


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PLAN A GREAT STORY. 2018 FESTIVAL SEASON MAY 19 – JUNE 24

2018 SUBSCRIPTIONS NOW ON SALE. Renew or subscribe by June 25 and all handling fees will be waived! Subscribe before September 30 to enjoy early-bird prices and first access to pre-paid parking.

ExperienceOpera.org | (314) 961-0644


2017 42ND SEASON

TIMOTHY O’LEARY

STEPHEN LORD

JAMES ROBINSON

General Director

Music Director

Artistic Director

Opera Theatre of Saint Louis is funded in part by the Regional Arts Commission, Arts and Education Council, National Endowment for the Arts, and the Missouri Arts Council, with audience building programs supported by The Wallace Foundation.


ALBUM 2016

La bohème G iacomo Puccini

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Ta b l e o f Co n t e n t s

82

88

MADAME BUTTERFLY

THE GRAPES OF WRATH

100

106

FAC I N G PAG E

Andrew Haji | Hae Ji Chang

PHOTO © KEN HOWARD

TITUS

94 THE TRIAL

American Premiere

110 CENTER STAGE

BEYOND THE STAGE

WELCOME TO OPERA THEATRE

2017 FEATURE ARTICLES

2016 Album 6 • Board of Directors 9 • 2017 Schedule 11 •

Welcome from the General Director 13 • Welcome from the Chairman 15 • The Story of Opera Theatre 20 • Our Picnics and Gardens 80

Celebrating Stephen Lord 30 • Salute to Virginia Browning 47 • Honoring Opera Theatre’s Music Staff 50 • The Man Behind the Magic: Richard Shetley 55 • Leave a Legacy 147 • Salute to Bob & Jane Feibel 155 • A Tribute to Carol Kimball 158

THE PEOPLE OF OPERA THEATRE

SUPPORT FROM OUR DONORS

2017 Artists 116 • St. Louis Symphony 129 •

Opera Theatre Staff 130 • Opera Theatre Guild Board & Volunteers 153 • Young Friends of Opera Theatre 156 • Engagement & Inclusion Task Force 157 • In Memoriam 159 • Toast to Webster University 161

Lifetime Giving 137 • Major Contributors to the Endowment 139 • Annual Fund Donors 140 • Intermezzo Society 145 • Crescendo Circle 146 • National Patrons Council 148 • 2017 Spring Gala 149 • 2017 Wine & Beer Tasting 150 • Tribute Gifts 151

OPERA THEATRE IN THE COMMUNITY

INFORMATION

The Mabel Dorn Reeder Foundation Young Artist Education & Development Programs 48 • Emerson Behind the Curtain 54 • Education For All Ages 60 • Connecting Our Community Year-Round 63

Acknowledgments 162 • Opera Theatre Repertory 164 • Program Book Advertisers 167 • House Policies & Program Credits 168

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ALBUM 2016

Macbe th Giu sep p e V er d i

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Board of Directors

Executive Committee CHAIRMAN

SECRETARY

VICE-CHAIRMEN

TREASURER

Noémi Neidorff Mrs. Irl F. Engelhardt Lelia J. Farr William C. Rusnack V. Raymond Stranghoener

Sally S. Levy

MEMBERS

Robert L. Scharff, Jr. Rex Sinquefield Ann McFarland Sullins Stephen L. Trampe

Donna Wilkinson

Gailya Barker* Kim Eberlein John H. Ferring IV Patricia G. Hecker Gina G. Hoagland Debra Hollingsworth Mrs. Ronald A. Holtman John H. Russell

Heather Hunt-Ruddy Frank Jacobs Bettie Johnson Carol Kimball † Mrs. Alan C. Kohn Eugene Kornblum Kenneth Kranzberg James A. Krekeler J. David Levy, Jr. Mont S. Levy

Danny Ludeman Steven C. Mizell Michael Neidorff Gyo Obata Mabel L. Purkerson, M.D. Winthrop B. Reed, III Allison Roberts Mrs. William H. Sheffield Torbjorn Sjögren Gene W. Spector, M.D.

Frank L. Steeves Thelma Steward Dr. Elizabeth Stroble* Dr. Donald M. Suggs Mary Susman Maria Guadalupe Taxman Franklin F. Wallis Phoebe Dent Weil W. David Wells

Robert M. Feibel, M.D. Mrs. William B. Firestone Richard Gaddes Patricia G. Hecker

Mrs. W. R. Konneker Mrs. E. Desmond Lee† Joseph Losos Charles MacKay

Pris McDonnell Mrs. Robert S. McDorman Matthew Newman, M.D. Roma B. Wittcoff

Jim Berges

IMMEDIATE PAST CHAIRMAN

Spencer B. Burke

CHAIRMAN EMERITA

Board of Directors Peter F. Benoist Holly Benson* Mrs. Stephen F. Brauer Barbara Bridgewater Arthur P. Brigham III Mrs. Walter F. Brissenden* Thriess Britton Adrienne Davis Arnold W. Donald Edes P. Gilbert

FAC I N G PAG E

Robert Pomakov | Roland Wood | Julie Makerov

PHOTO © KEN HOWARD

Life Members Mrs. Eugene C. Adam Mrs. Walter F. Brissenden Richard W. Duesenberg Mrs. Ernest A. Eddy, Jr.

Opera Theatre of Saint Louis Chairmen of the Board Chairmen terms align with Opera Theatre’s fiscal year (October 1 – September 30).

Dr. Leigh Gerdine† Laurance L. Browning, Jr.† Josephine C. Throdahl † David W. Mesker†

1976–1978 1979–1986 1987–1995 1996–2001

Janet McAfee Weakley† Donna Wilkinson Spencer B. Burke Noémi K. Neidorff

2002–2003 2004–2008 2009–2015 2016–present

*Ex-Officio Member †In Memoriam

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ALBUM 2016

A riadn e o n N ax os Ric ha r d S t r a u ss

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2017 Festival Season Schedule

Madame Butterfly

The Grapes of Wrath

GIACOMO PUCCINI

The Trial

PR EM I ER E O F A N EW P ER F O R M I N G V ER SI O N

A M ER I CA N P R EM I ER E

RICKY IAN GORDON & MICHAEL KORIE

PHILIP GLASS & CHRISTOPHER HAMPTON

Titus

Center Stage A YOUNG ARTIST SHOWCASE

LA CLE M E NZA DI T I TO

WOLFGANG AMADEUS MOZART

M A I N S TAG E P E R F O R M A N C E S

B E YO N D T H E S TAG E

MAY

MAY

20 Saturday

8:00 p.m.

Madame Butterfly

26 Friday

8:00 p.m.

Madame Butterfly

27 Saturday

8:00 p.m.

The Grapes of Wrath

31 Wednesday

8:00 p.m.

The Grapes of Wrath

1 Thursday

8:00 p.m.

Madame Butterfly

3 Saturday

1:00 p.m.

Madame Butterfly

4 Sunday

7:00 p.m.

7 Wednesday

8:00 p.m.

Madame Butterfly

8 Thursday

8:00 p.m.

The Trial

9 Friday

8:00 p.m.

The Grapes of Wrath

10 Saturday

1:00 p.m.

The Trial

8:00 p.m.

Titus

11 Sunday

7:00 p.m.

Madame Butterfly

14 Wednesday

1:00 p.m.

Madame Butterfly

8:00 p.m.

Titus

15 Thursday

8:00 p.m.

The Grapes of Wrath

16 Friday

8:00 p.m.

Titus

17 Saturday

1:00 p.m.

The Grapes of Wrath

8:00 p.m.

The Trial (M)

18 Sunday

7:00 p.m.

Titus

20 Tuesday

8:00 p.m.

Center Stage

21 Wednesday

1:00 p.m.

The Grapes of Wrath

8:00 p.m.

The Trial

22 Thursday

8:00 p.m.

Titus

23 Friday

8:00 p.m.

The Trial

24 Saturday

1:00 p.m.

Titus

8:00 p.m.

Madame Butterfly

25 Sunday

7:00 p.m.

The Grapes of Wrath

FAC I N G PAG E

So Young Park

PHOTO © KEN HOWARD

JUNE

The Trial (M)

Spring Gala

Tweet Seats

Art Museum Tour

TGIF Opera

2 Tuesday, 2:00 p.m.

The Grapes of Wrath Film Screening at the Missouri History Museum

8 Monday, 7:30 p.m.

Spotlight on Opera: The Trial at the Ethical Society of St. Louis

13 Saturday, 6:30 p.m.

Spring Gala at the Ritz-Carlton

15 Monday, 7:30 p.m.

Spotlight on Opera: Madame Butterfly at the Ethical Society of St. Louis

20 Saturday, 11:00 a.m.

Madame Butterfly Art Museum Tour at the Saint Louis Art Museum (repeated May 28 at 2 p.m.)

22 Monday, 7:30 p.m.

Spotlight on Opera: Titus at the Ethical Society of St. Louis

3 Saturday, 11:00 a.m.

The Grapes of Wrath Art Museum Tour at the Saint Louis Art Museum (repeated June 11 at 2 p.m.)

10 Saturday, 11:00 a.m.

Titus Art Museum Tour at the Saint Louis Art Museum (repeated June 18 at 2 p.m. and June 24 at 11 a.m.)

16 Friday, 12:30 p.m.

John D. Levy Master Class with tenor Neil Shicoff at the Sally S. Levy Opera Center

17 Saturday, 11:00 a.m.

The Trial Art Museum Tour at the Saint Louis Art Museum (repeated June 25 at 2 p.m.)

19 Monday, 12:30 p.m.

A Little Lunch Music at First Presbyterian Church of Kirkwood

23 Friday, 12:30 p.m.

John D. Levy Master Class with soprano Patricia Racette at the Sally S. Levy Opera Center

See pages 110-113 for more information on Beyond the Stage offerings.

Kids’ Club

John D. Levy Master Class

Performance not part of a regular subscription series

Spotlight on Opera: The Grapes of Wrath at the Ethical Society of St. Louis

JUNE

Free opera previews begin one hour before each performance in the Community Music School Concert Hall next door to the theater. Young Friends Reception

1 Monday, 7:30 p.m.

Teen Matinee

Spotlight on Opera

Film Screening

A Little Lunch Music 11


ALBUM 2016

Shalimar the Clown W OR L D PR E M I ER E

Jack P erl a & R aj i v Joseph

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A MESSAGE FROM THE

General Director

Welcome to Opera Theatre! On behalf of the hundreds of people who make our season happen, we are delighted you’re here. Our company’s core values, printed on the wall opposite our office’s front door, say that we “welcome audience, artists, staff, volunteers, and board members as colleagues in a creative adventure.” We hope you enjoy this journey as much as we love preparing it. It’s been a turbulent year, during which voices across our world have spoken often about the importance of empathy — of recognizing our common humanity across our differences. There is even a growing field of research about whether empathy is an inborn trait or, as more evidence suggests, a skill that gets stronger through practice. I believe the arts exist to make us more connected. I am always grateful and amazed to observe what happens when people are pulled into a common emotion by listening to a human voice. In opera, we see and hear the humanity in characters who are often very different from ourselves.

FAC I N G PAG E

Andriana Chuchman

PHOTO © KEN HOWARD

It is an honor to work with so many dedicated and talented people to pursue this goal — from my great colleagues Stephen Lord and James Robinson, to great creators such as Philip Glass, Christopher Hampton, Ricky Ian Gordon, and Michael Korie. Our artists even get to collaborate, across the centuries, with the likes of Mozart and Puccini. I hope you find that each story this season resonates in today’s world — whether the Joad family struggling for a better life, or Josef K. thirsting for justice, or Tito searching his heart for forgiveness, or Cio-Cio-San refusing to give up her dignity. It is inspiring, too, for the OTSL staff to partner with so many devoted volunteers and donors throughout our community, including the generous and deeply committed OTSL Board of Directors. I am especially thankful for the vision and leadership of our chairman, Noémi Neidorff. Thank you again for being with us. After the show, I hope you’ll join our artists and your fellow audience members in the gardens outside the theater — for a drink, a snack, a laugh, a debate, or, most importantly, the chance to spend time together under the starlight. Timothy O’Leary General Director

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ALBUM 2016

Center Stage A Young Artist Showcase

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A MESSAGE FROM THE

Chairman

Opera Theatre of Saint Louis is a special place. Our audiences enjoy innovative, world-class performances, blending music and theater in beautiful harmony — bookended by wonderful food and drinks in beautifully landscaped gardens. Each season, Opera Theatre hosts guests from across the country and all over the world. Last year, visitors came from as far away as Australia and Ethiopia. But this festival isn’t just for the long-time opera lover. Over a quarter of our audience last year was new to us, with many experiencing opera for the very first time. When you join us, you’re in for more than a great performance. Bask in the glorious sounds flowing from the orchestra pit, courtesy of the world-renowned St. Louis Symphony. Few opera companies have as fine an orchestra, and we are deeply grateful for their artistic collaboration. While the artistry is great, and our singers are among the very best, that is only part of the entire experience. People love dining in our Mesker Festival Gardens or stopping by our post-performance champagne receptions, where they can mingle with members of the cast, orchestra, and friends. Perhaps most importantly, our audiences cherish the intimacy of the Opera Theatre experience. Our theater has fewer than 1,000 seats — the size of the very first opera houses. Even more unique is our thrust stage, surrounded by the audience on three sides. It is a far cry from stereotypical “grand opera,” but the impact of a performance is more powerful because of it. “Smaller is better… More intimate performance spaces have, with reason, become the rage,” recently wrote Anthony Tommasini (chief music critic for The New York Times). Yes, indeed!

FAC I N G PAG E

Liv Redpath | Joshua Blue

PHOTO © KEN HOWARD

Each spring, I am reminded that creating a season is a herculean task. From our expert artisans and our outstanding staff to our dedicated board and volunteers, it truly “takes a village” to stage an opera. Although I do not have enough space here to name everyone, I must thank our General Director, Timothy O’Leary, whose leadership continues to inspire us all. This is just one of many reasons why his recent election as Chairman of the Board for OPERA America is so well-deserved! Of course, no praise of the Opera Theatre team would be complete without saluting the one-and-only Stephen Lord, now about to become Music Director Emeritus. It is impossible to describe his monumental impact upon Opera Theatre. As a classically trained pianist, I continue to marvel over Stephen’s ability to discover great voices, and to identify the roles best-suited to showcase their particular strengths. These singers do not just play a part…they become the character. Stephen has boundless artistic integrity and courage. His passion is palpable, igniting artists and audiences alike. How fortunate we are, to have benefited from Stephen’s leadership for 25 years. Bravo, Maestro! Thank you for joining us for this particularly special season of music and celebration! We are so grateful to you, our loyal patrons, for all your wonderful support over the years. Noémi Neidorff Chairman, Board of Directors

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Awaken your senses

The Regional Arts Commission (RAC) has been

supporting artists and arts organizations for over 30 years, transforming the region into a more vibrant and economically thriving community. Explore the power of the arts and ďŹ nd what inspires you.

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To learn more about the Regional Arts Commission visit racstl.org.


OUR MISSION IS TO DO THE SAME.

CENTENE IS PROUD TO SUPPORT

Opera Theatre of Saint Louis


Fostering creativity for future careers.

Emerson is proud to support Opera Theatre of Saint Louis

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TECHNOLOGY RUNS ON GREAT PEOPLE.

PROUD TO SUPPORT OPERA THEATRE OF SAINT LOUIS AND ITS MISSION TO NURTURE THE DEVELOPMENT OF THE NEXT GENERATION OF OPERA ARTISTS AND ARTISANS.

60 WELDON PARKWAY | ST. LOUIS, MO 63043 | 800.432.7008 | WWW.WWT.COM

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“No US company has shown more leadership in the development of the art form.” THE DENVER POST

Welcome to Opera Theatre! We’re delighted that you’re sharing the season with us. Opera Theatre is proud to be among America’s leading opera companies, and we are grateful to our audience and all our contributors for fostering this special experience for more than 40 years!

WHO ARE WE? As a festival company, Opera Theatre has several qualities that make it unique among American opera companies: programming a wide mix of classics and new works, singing entirely in English, performing on an intimate thrust stage, and developing the talents of America’s finest young singers…all within a six-week season, with the show onstage changing nearly every night. Opera Theatre was founded in 1976, and since our earliest days, three hallmarks have been central to our mission:

I. Artistic Leadership Led today by General Director Timothy O’Leary, Music Director Stephen Lord, and Artistic Director James Robinson, Opera Theatre is committed to developing the careers of young artists and commissioning new work to help shape the future of opera in America. As of 2017, we have introduced audiences to 26 world premieres and 27 American premieres — which may be among the highest percentages of new work for any US company. Audiences and press travel here from up to 47 states and 5 continents, drawn by our adventurous repertory. Opera Theatre productions have been programmed at major stages across the country, including the John F. Kennedy Center for the Performing Arts in Washington D.C., the San Francisco Opera, New York’s City Center, the Edinburgh Festival, Wexford Festival Opera, the Canadian Opera Company, and many more. Our ongoing New Works, Bold Voices cycle continues our tradition of championing new works by living composers, bringing important new and diverse stories to the stage, and proving that opera is a living American art form.

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(top) The cast of Champion (2013). Audiences enjoy pre-performance picnics in Opera Theatre’s gardens. PHOTOS © KEN HOWARD


General Director Timothy O’Leary leads the audience in a champagne toast at the opening night of Shalimar the Clown (2016). PHOTO © KEN HOWARD

We also help nurture the most talented young artists in American opera. Each year, more than 1,000 singers apply for our Gerdine Young Artist and Richard Gaddes Festival Artist programs, with up to 500 auditions heard in 6 cities — but fewer than 40 singers are accepted. We also develop outstanding talent backstage and in administration through our Larry & Jinny Browning Fund for Technical Fellowships, Emerson Behind the Curtain program, and administrative internships.

II. A One-of-a-Kind Experience A visit to Opera Theatre is an experience unlike any other. Our unique setting fires the imagination of first-time operagoers and reminds long-time opera fans why they fell in love with the art form in the first place. Hours before the performance begins, the audience begins to arrive on our lawns, picnics in hand, ready to enjoy a meal amidst the beauty of our David W. Mesker Festival Gardens. Opera Theatre’s green-and-white striped tents have become a landmark of spring in St. Louis. After each performance, singers join the party under these tents — ensuring that all audiences can meet some of the world’s best singers in a casual, friendly environment. This welcoming atmosphere extends into our theater, the Loretto-Hilton Center, where 94% of the seats are closer to the center of the stage than the front row at the Metropolitan Opera. Opera Theatre’s intimate scale, combined with our commitment to singing in English, helps to make beautiful music into powerful, engaging theater.

III. Fiscal Strength & Responsibility OTSL programs are not only a source of community pride; they also contribute to the region’s economy. The combined direct and indirect impact of Opera Theatre’s operations, including visitor spending, contributes an estimated $17 million to the local economy each year. More than $1 million in OTSL’s annual budget comes directly from sources outside St. Louis, such as The Andrew W. Mellon Foundation, The Wallace Foundation, the National Endowment for the Arts, and members of our National Patrons Council. Our rehearsal halls; our on-site scene, costume, and prop shops; our gardens; and our administrative offices employ nearly 500 people at the height of the spring season. Due to the size of our intimate theater, we earn less than 25% of our budget at the box office, yet we have never accumulated a deficit. So, when you make an investment in OTSL as a ticket buyer, a donor, or a volunteer, you know your support will be managed wisely and well.

p In addition to our annual festival, Opera Theatre’s civic programs reach a year-round audience of 15,000 young people and adults in more than 50 zipcodes. We bring music into the community at unique events such as Opera on the GO! (an in-school workshop and performance program) and Opera Tastings (a culinary concert series). This year, Opera Theatre also celebrates the 27th anniversary of our landmark Monsanto Artists-in-Training Program, which remains unique in the US as a means of offering vocal lessons and college scholarships to talented high school students. 21


HOW IT ALL STARTED Opera Theatre was born in 1976 as the brainchild of a handful of opera-lovers who were determined to bring a permanent first-class opera company to this very musical city. They knew there was enough interest in St. Louis to support such a company, thanks to the popularity of other local and touring opera productions.

THE FOUNDERS The founders were not amateurs when it came to opera. Leigh Gerdine was the president of Webster College and the former Chair of the Washington University Department of Music. Already a patron of The Santa Fe Opera (another summer opera festival), Leigh was convinced that a similar model could succeed in St. Louis. He enlisted James A. Van Sant, president of General Steel Industries and a long-time opera champion, and Laurance Browning of Emerson, who had come to appreciate opera because of his young daughter, who was just starting a singing career. Both of them knew the business community well, and could help build credibility for a fledgling enterprise. Laurance, better known as Larry, later followed Leigh as board chairman. Larry’s greatest gift to Opera Theatre was insisting from the outset that — like any other business — the company must finish every year in the black...a rule that is religiously followed to this day. These local leaders knew that they needed to find the right artistic leader to bring their vision to life. They turned to Richard Gaddes, then an artistic administrator for The Santa Fe Opera, and brought him in as a consultant. Richard toured a number of local theaters, but the Loretto-Hilton Center was the one that caught his interest. He recognized the potential of this space, from the intimate size of the theater to the uniquely inviting lawns outside, and knew that an opera company could thrive here. His vision inspired such excitement that he was quickly hired to become Opera Theatre’s first General Director.

STARTING SMALL The first season opened on May 22, 1976. No one knew what to expect of this new opera company, and fewer than 200 people had actually paid for tickets to hear the opening night performance of Donizetti’s Don Pasquale. Board members handed out free tickets to employees, neighbors, acquaintances...anyone who they thought might attend. But that first night’s audience agreed in no uncertain terms: the production was a smash success. By the end of the three-week season, OTSL was playing to sold-out houses. Even from that very first season, Opera Theatre was doing things differently, presenting rare works such as Mozart’s The Impresario and Britten’s Albert Herring.

Ron Raines, Peter Strummer, Sheri Greenawald, and Vinson Cole perform in Don Pasquale, Opera Theatre’s very first production (1976). PHOTO © BILL SMITH

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The entire staff of Opera Theatre of Saint Louis shared a company bow on closing night of the 2016 Festival Season. (below) Andriana Chuchman in Shalimar the Clown (2016).

PHOTO © J. DAVID LEVY

PHOTO © KEN HOWARD

CRITICAL SUCCESS After that, the momentum never let up, as word got around that something interesting was happening in St. Louis. The New Yorker sent esteemed critic Andrew Porter to review the 1977 season, and he liked what he saw. He said of Puccini’s Gianni Schicchi, “I have never seen a better performance of that opera anywhere,” and described Opera Theatre as “fresh, welcoming, artistically serious, and quite unpompous.” By 1978, music critic Alan Rich was calling Opera Theatre “one of the true jewels of the operatic firmament.” And it went on from there. By 1978, members of the St. Louis Symphony were playing in the pit for all productions, and distinguished British stage director Colin Graham joined the company as Director of Productions, the year he was named to the same position at the English National Opera. In 1983, Opera Theatre became the first American company ever to be invited to perform at the Edinburgh Festival. When Charles MacKay succeeded Richard Gaddes as General Director in 1985, joining Colin Graham and Stephen Lord, he led the company to even greater triumphs: among them the first-ever visits to Japan by an American company singing Japanese repertory — Jōruri (1988) and The Tale of Genji (2001) — with music by Japanese composer Minoru Miki and libretti by Colin Graham. Today, Opera Theatre continues this artistic legacy, making waves both within our own community and the broader opera industry. In recent seasons, the Chicago Tribune called OTSL “the go-to summer festival for audience members seeking interesting, varied repertory,” and Fox 2 News summed up the OTSL experience with these words: “If you think opera is stuffy, snooty, and pretentious, you haven’t been to Opera Theatre of Saint Louis…deflating stuffed shirts for the past 40 years with lush productions that get attention worldwide. As Opera Theatre of Saint Louis looks forward to the next 40 years, it sees itself doing a lot more of the same. But, of course for Opera Theatre, that means doing things very differently.” Opera Theatre owes a great debt of gratitude to the many founders, donors, and visionaries who made — and continue to make — our success possible. We look forward to the next 40 years of opera in St. Louis!

Thank you for joining us. Enjoy your visit to the opera! Facebook.com/OperaTheatre

@OTSL

@OperaTheatreSTL

OperaTheatreSTL

YouTube.com/OperaTheatreSTL

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Supporting the institutions and organizations that make Saint Louis a great place to live, visit, and invest, with contributions for cultural engagement; STEM preparedness; youth empowerment; and support for our heroes and first responders.

The Berges Family Foundation is proud

to support

Opera Theatre of Saint Louis and congratulates the company on its 42nd Season!

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Proud to Support Opera Theatre of Saint Louis Monsanto is proud to support Opera Theatre of Saint Louis and its Artists-in-Training Program to help grow the next generation of opera singers from the Saint Louis area.

Learn more at Monsanto.com

Monsanto and Vine DesignŽ is a registered trademark of25 Monsanto Technology LLC. Š2017 Monsanto Company.


WE WERE THERE IN THE BEGINNING. AND WE’RE HERE NOW. JOIN US. The Arts and Education Council and its donors believe the arts are essential for a thriving city. That’s why for more than 40 years, A&E has proudly supported the growth of Opera Theatre of Saint Louis into the internationally recognized gem it is today. Join us in making St. Louis a more vibrant community for all. Become a member today! 26


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Celebrating Stephen Lord

W

hen Stephen Lord graduated from Oberlin with a degree in piano, he set his sights on a career as an accompanist and accepted his first job offer from Michigan Opera Theatre. “They needed an alternate pianist on a touring Figaro production. They asked if I knew the opera, and I lied — but I learned it fast.” Before long, he was heading the company’s education program. He went from

Michigan to Opera Omaha to Wolf Trap Opera and Houston Grand Opera, where he met OTSL’s founder, Richard Gaddes. “It was the good old Opera Theatre tradition — I was nobody in particular but Richard took a real chance on me.” Although Richard asked him several times to work as a season coach, Stephen didn’t actually join Opera Theatre full-time until he came to head the music staff in 1981 — and the rest is history. At the end of the 2017 season — his 25th anniversary as Music Director and his 37th year with Opera Theatre — Stephen will become our Music Director Emeritus. He’ll still lead the Gerdine Young Artist and Richard Gaddes Festival Artist programs, conduct both a production and Center Stage each year, and give master classes. He’ll also be able to accept more conducting assignments outside St. Louis, in a career which has flourished since his 1989 OTSL mainstage debut and taken him to some of the world’s most renowned stages, including San Francisco Opera, English National Opera, The Santa Fe Opera, Lyric Opera of Chicago, and Canadian Opera Company.

Understanding the Human Voice MATTHEW EPSTEIN

Legendary impresario Matthew Epstein has worked with artistic institutions across the world. He has served as the Director of the Vocal Division of Columbia Artists Management, General Director of the Welsh National Opera, and Artistic Director of the Lyric Opera of Chicago. Stephen and I met in New York in the 70s and our lives and careers have been woven together ever since. Stephen is painstaking, incisive, and smart, with a sure sense of what a singer needs. What is rare about him is his understanding of what singers do — he can sense their breathing, and knows when they need to move faster or take more time. His musicianship and instincts are superb. He is expert in leading singers to an honest response. The Opera News quote about him [“one of the most powerful names in US opera”] is absolutely true: Stephen’s influence is very strong. If he tells me someone is good, I follow him. He is pretty much infallible, with one of the best sets of ears I know. Those of us who started going to the Met in the early 60s really learned about great voices. Stephen understands the old-fashioned style of singing. 30


CHARLES MACKAY

Charles MacKay was General Director of Opera Theatre from 1985–2008 and is now General Director of The Santa Fe Opera. Stephen has made immense contributions to the field of opera. There’s always a wonderful freshness to his musicmaking, as if we’re discovering the music anew. Apart from the sheer pleasure of hearing him conduct, one of the greatest gifts is watching him work with a singer. Always kind yet totally honest, he can pinpoint the most demanding phrases, helping a singer overcome challenges. It’s a kind of alchemy, making something difficult suddenly sound easy and natural. His is an incredibly rare gift — I don’t know anyone else who has it. ERIE MILLS

Soprano Erie Mills is one of OTSL’s English diction specialists and a young artist teacher/coach. She made early OTSL appearances that helped launch an internationally acclaimed career, and triumphed in the title role of Miss Havisham’s Fire in 2001. She was recently appointed Artistic Director of the Livermore Valley Opera. I met Stephen in 1977 when we were both at the Houston Grand Opera Studio. What makes him so special is his love of the human voice and languages, and how he combines them. He has always been a fan of great singing — he is steeped in the tradition and knows how the music should go. What makes him a wonderful coach and conductor is that he understands what is not on the page. When Stephen conducts there is that extraordinary sense of “the theater,” that wonderful combination of the stage and orchestra all working to one glorious end. I could always trust him with the music and with my performance. He makes it much easier! I’ve watched Stephen work with young singers. If they do what he suggests, they sound better — it’s really as simple as that. TIMOTHY O’LEARY

Timothy O’Leary is the current General Director of Opera Theatre and the Chairman of the Board for OPERA America. The chance to work with Stephen has been one of the great privileges of my life. What I’ve learned from him has been invaluable — from his encyclopedic knowledge of voices and the opera rep to his deep insights into what makes music truly alive. Auditioning singers with him for the past nine years has been a gift beyond measure, just as it is to sit in the theater and feel the way that an audience responds to his performances. I don’t know how else to say it except that Stephen knows how to make music cook as theater. When he gets going, the artists and audience are all in for a great and beautiful ride.

(OPPOSITE) STEPHEN LORD CONDUCTS DURING A DRESS REHEARSAL FOR CENTER STAGE (2016). PHOTO © KEN HOWARD

STEPHEN (RIGHT) DISCUSSES ARTISTIC MATTERS WITH PREVIOUS GENERAL DIRECTOR CHARLES MACKAY AND LATE ARTISTIC DIRECTOR COLIN GRAHAM. PHOTO © KEN HOWARD

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STEPHEN LORD COMPARES NOTES WITH VOCAL COACH BEN MALENSEK (2007). PHOTO © KEN HOWARD

Creating a Music Staff PAUL KILMER

Paul Kilmer, OTSL’s Director of Artistic Administration, works closely with Stephen Lord on all musical and artistic aspects of OTSL productions, in addition to planning and leading the audition tours for young artists and principal singers. Not simply a musical genius, Stephen collaborates in the choices of repertory, stage directors, conductors, and principal artists both from auditions and his far-reaching connections. Stephen’s expertise is extraordinary in assembling a music staff. He brought in people like Chorus Master Donald Palumbo, who went on to Chicago and the Met, and Rob Ainsley, who went on to Minnesota Opera and Washington National Opera. His exceptional network has allowed him to find top emerging talents, and everyone wants to work with him. He’s not afraid to take a risk on someone! That’s key. Anyone can go with a safe choice. But dealing with uncut stones takes courage. A nine-week season is a good incubator for discovering real promise. BEN MALENSEK

Ben Malensek is one of OTSL’s English diction specialists and principal coaches, and works for several of the nation’s top opera companies. Stephen invited me to join OTSL’s music staff in 1987. I’ve lost count of how many productions we’ve worked on together — but I do know that they all allowed me to grow and enriched my life. Stephen takes the time to explore every layer of musical expression to arrive at true vocal freedom. He is one of very few conductors who can achieve freedom in the straitjacket that great performances require. Stephen’s guidance frees the artist to transform his ideas into their own — it’s the mark of a brilliant leader and a wonderful human being. I’ll always be grateful for what Stephen has given, not only to me, but to our musical world — it is his integrity, as a man, musician, and friend.

From Music Coach to Maestro PAUL KILMER

Stephen was head of OTSL’s music staff when our first Artistic Director, Colin Graham, pushed him to conduct. Stephen insisted he never wanted to conduct, but Colin decreed, in his inimitable way, that he would. When Stephen first started, he even took violin lessons. It took a while for him to work out ways to communicate with the orchestra — at first he would say, “This is what I want…you do it, however you do these things…” — but in time, with experience, he refined a collaborative technique for describing what he wanted.

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Celebrating Stephen Lord CHARLES MACKAY

You might say Stephen is an “old-school” conductor, in the mold of greats like Tullio Serafin and Otto Klemperer, who began as repetiteurs and coaches in the opera house. He learned all the core repertory inside out, and that’s one of the reasons he brings such depth to his music-making. It’s given him this uncanny ability to “unlock” musical passages, an ability to find the correct arc and shape to a phrase, where to place emphasis, how to approach the top notes. He explores the balance between words and music, and he always achieves a perfect marriage. Stephen is especially gifted in the bel canto repertory — the music of Rossini, Donizetti, and Verdi — and Mozart, of course, but he’s equally adept in Handel, 20th century Romantics, and even contemporary music. As a conductor who has led performances in cities including London, Toronto, Santa Fe, San Francisco, Chicago, Seoul, and St. Louis, Stephen has given tremendous enjoyment to audiences around the world. DAVID HALEN

David Halen is Concertmaster of the St. Louis Symphony. I quickly discovered the secret to Stephen’s success as Music Director once I began leading the operas in 1995. He has a natural musician’s gift of phrasing coupled with the heart of a lion. A conductor’s greatest success comes with the secret ability to win the heart of every musician. Singers and instrumentalists are always unanimous in their desire to please him. I have loved every production he conducted. He holds a mutual trust with us, a relationship that always remains true. Stephen is a beautiful person, and that has made the long relationship between the St. Louis Symphony and the opera a genuine success. He has defined the greatest performances of Opera Theatre, which I will never forget! JAMIE BARTON

Mezzo-soprano Jamie Barton was a Gerdine Young Artist in 2006 and 2007, returning to OTSL as Suzuki in Madame Butterfly (2008) and Marcellina in The Marriage of Figaro (2010). She now enjoys a worldwide career, appearing regularly at the Metropolitan Opera and winning the 2013 BBC Cardiff Singer of the World Competition and the Met’s 2017 Beverly Sills Artist Award. In my first year, I was only onstage for Street Scene. I was just in the chorus, but Stephen told me early on that in one scene, he knew when to start the music again by watching my left ankle. He trusted my timing — as a first-year Gerdine Young Artist! — enough to base the orchestra’s next movement on me. That was a huge compliment at the time, and still speaks to me of Stephen’s quality — his intuition, his openness to collaboration (no matter the age of his collaborator), and the desire to foster good relationships on and offstage. This is all, in turn, to make the art stronger and to create a better audience experience. He is one of the great mentors for so many singers who come through St. Louis.

STEPHEN CONDUCTS AN ORCHESTRA REHEARSAL OF STREET SCENE WITH THE ST. LOUIS SYMPHONY (2006). PHOTO © KEN HOWARD

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STEPHEN CONSULTS WITH SLSO MUSICIANS THOMAS JÖSTLEIN AND ALVIN MCCALL DURING A MACBETH REHEARSAL (2016). PHOTO © KEN HOWARD

THOMAS DRAKE

Thomas Drake is Associate Principal Trumpet of the St. Louis Symphony. My professional relationship with Stephen began during my second season with the SLSO. Opera Theatre had programmed Purcell’s King Arthur and Stephen was our conductor. The two trumpet parts were not terribly difficult, but very exposed — so much so that Colin Graham made a show of them by staging them in full costume. Even though I play an instrument that occasionally draws attention to itself, I’m within my comfort level in the back of the orchestra. To be thrust into an “acting” scenario dressed like an oversized jockey was something I’d never expected. I was a nervous wreck. Cue Stephen Lord. His professionalism, wit, grace, and trust allowed us to play to our capabilities — perhaps beyond. (The trumpets were even mentioned in the Times review!) Stephen’s rehearsals are fun but professional, peppered with anecdotes and his own “interpretations” of the synopsis. He gets done what he needs to get done, then leaves the rest to us. At the downbeat on opening night, all we have to do is watch him. The relationship that has developed between Stephen and the musicians of the SLSO is one of mutual fondness, born of our deep respect for the musical language we speak and the trust we have in each other. HEIDI HARRIS

Heidi Harris is Associate Concertmaster of the St. Louis Symphony. Stephen Lord has an innate talent for managing large productions. I have never seen him act unprofessionally, even while juggling musicians, singers, composers, librarians, and staff alike…this is not easy! With all the creative and somewhat intense personalities in an opera production, the music director is critical for keeping the peace and achieving a successful end result. Stephen is always a steady and grounded force within the production, and knows how to guide people positively, both musically and personally. He is one of the best leaders I know. His sense of the lyrical line is completely organic, and he conducts from his soul. His love for music seeps through every pore and flows through the musicians around him. There are moments when I’ve looked up as he leads us through some beautiful, free-flowing passage, and I’ve seen him wearing an expression of utter happiness. The joy he feels is contagious, and makes performing a joy for those around him. Stephen is truly one of a kind, with his big heart, his bear hugs, his kindness, and last, but most certainly not least, the donuts and pizza — and the occasional bottle of champagne — that he often brings to ease the pain of hourslong rehearsals. Stephen is one of the loveliest people I know.

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Celebrating Stephen Lord

Mentoring Singers & Launching Careers SHERI GREENAWALD

Soprano Sheri Greenawald gave memorable performances in OTSL’s early seasons in Don Pasquale (1976), La traviata (1979), The Turn of the Screw (1980), and Rigoletto (1981). After a long and successful international career, she is now Director of the Opera Center at the San Francisco Opera. I did my first Traviata in St. Louis, and Stephen taught me the role. He made sense of every accent on an unaccented syllable, explaining that those jerky moments were indicative of Violetta’s illness. He explained that Verdi wanted the “party music” to sound a bit cheap because that world was cheap, compared to the dignity of Violetta’s soul. We labored over every phrase. Whenever I sang the role after that, it was always Stephen’s vision to which I held fast. I was lucky, too, to have him play recitals with me; one was even in my hometown of Monticello, Iowa, where we proceeded to crash the senior prom! Stephen has what I call “purity” — adhering to the tenet that my friend, conductor Edo de Waart, always espoused: it’s not about you, it’s about the music. When you take your ego out of the equation, you get a much better interfacing of the material and your nature. That is what Stephen understands and teaches. He is a superb musician and human being! JAMIE BARTON

One of the reasons I wanted to audition for OTSL was that they allowed art songs as audition pieces. I opened with the Witch’s Aria, but when I came to the second piece, Stephen asked for my art song (Debussy’s “Beau Soir”). So even in my very first interaction with Stephen, I felt comfortable — like this was a company that really valued music-making of all types. They could look at a 24-year-old student and understand that maybe some weren’t ready to sing the Wagnerian roles that they would do later in life. They would hear me for what was right, right then, and correct for OTSL. When I got to OTSL, Stephen was hands-on with everything, as he always has been. Whether it was looking at my resume in between rehearsals, or teaching young artist master classes, he was always there as a support.

STEPHEN COACHES SOPRANO KERRY McCARTHY AS VIOLETTA IN LA TRAVIATA (1983). PHOTO © KEN HOWARD

LAWRENCE BROWNLEE

Lawrence Brownlee was a Gerdine Young Artist in 1998 and 1999, returning in 2000 as Andy/Cephus in Treemonisha. One of today’s leading tenors, Brownlee has performed with nearly every international opera house including the Metropolitan Opera, Teatro alla Scala, and London’s Royal Opera House. Stephen gave me my very first job in classical music — I auditioned for him and Paul and they invited me to join the OTSL program. I was a real beginner, and learned a lot about singing in the chorus when he conducted Othello; we had a lot of stage business and difficult music, but I vividly remember Stephen saying he wanted everyone’s eyes on him. Being in the front, I glued my eyes on him — after which he said he found my eyes in every performance! I also remember him saying in an OTSL master class that if Mozart makes a phrase happen more than once, it means he expects you to do it differently each time…maybe make it more heartfelt, or somehow developed. When I sang for him in Indiana, he told us that singers nowadays have to be proactive, and not just expect to be given careers. So I went back and started a kind of workshop where we sang for each other and tried to perfect the way we presented ourselves in auditions — and I got that from Stephen. People in the business have always trusted Stephen. When someone cancelled in Seattle, Dean Williamson called him for a suggestion, and Stephen knew that I was eager to work. Even though I had never sung for Seattle, they took me into their young artist program; that led to a lot of other things. 35


STEPHEN WORKS WITH DIRECTOR OF ARTISTIC ADMINISTRATON PAUL KILMER AND CHORUS MASTER SANDRA HORST ON A NATIONAL AUDITION TOUR (2007). PHOTO © KEN HOWARD

MORRIS ROBINSON

Bass Morris Robinson was a Gerdine Young Artist in 2000 and 2001, returning to OTSL as Sparafucile in Rigoletto (2005) and the Blind Ballad Singer in Gloriana (2005). He now appears in major roles with companies including the Metropolitan Opera, Lyric Opera of Chicago, and the Aix-en-Provence Festival. Maestro was absolutely instrumental in the beginning of my career. He first heard me do a chorus audition for the Boston Lyric Opera, and immediately asked me to sing the King in their production of Aida. (This was just two weeks after I began to study opera!) Maestro took me under his wing, teaching me tough lessons about a career in opera. In my first Aida rehearsal, he was incredibly mean! He stopped me after every phrase, beat me down about my languages, scolded me about style, and basically made me miserable. In my frustration, I whispered “Jesus!” under my breath. To which he replied, “You can call him all you want, but he can’t save you now!” That was my first-ever music rehearsal. But in his wisdom, he was showing me how important this art form is to those who appreciate it. Later, he invited me to cover a role in Treemonisha at OTSL and sing in the chorus during the 2000 season. He also gave me three roles in the following Boston Lyric season, and two in the subsequent OTSL season. Maestro introduced me to Gayletha Nichols, head of the Lindemann Young Artist Development Program at the Metropolitan Opera, who invited me to join the program. That was almost 18 years ago. To this day, the lessons learned from my precious time with Maestro accompany me daily. I can honestly say that Stephen Lord gave me a career, and trusted in me long before I deserved it. He had faith in my God-given talents, and provided me with unprecedented opportunities to hone, nurture, and develop my craft. Without him, I would not be singing today. He told me once, “Morris, lots of people get opportunities, but not everyone has the ability to capitalize on them. Making the most of them, proving yourself worthy by working hard and producing, is the only way to ensure that opportunities continue to come your way!” I literally owe him everything. PAUL KILMER

Stephen auditions and casts all the members of the Gaddes Festival Artist and Gerdine Young Artist programs, assigning roles and covers from the Gerdine Young Artist audition tours. Stephen is amazing — he remembers a voice not by name, look, place, or time, but by what aria the artist sang. He has first choices for roles in his mind and they stick. Sometimes we will hear an amazing voice with an unusual character, but he will always come back to what the role needs. He knows the repertory so well that he is surefire in matching a specific person to the specific role. SANDRA HORST

Sandra Horst was OTSL’s Chorus Master from 2004–2010; she is currently Chorus Master for the Canadian Opera Company and Director of Musical Studies for the Opera Division of the Faculty of Music, University of Toronto. Audition tours can be arduous. Starting in 2005, we (Stephen, Paul Kilmer, and myself) would be on the road for approximately ten days each winter. We’d hear nearly 60 singers a day. Then we’d go on to the next city. Even before I started doing Gerdine Young Artist audition tours with Stephen, he was a legend to all young singers. I was still a student when I played for a bunch of auditions in New York. Stephen offered one soprano a job on the spot! Stories like that travelled far and fast, even before computers, cell phones, or social media. 36


Celebrating Stephen Lord There are few people in the business who hear voices like Stephen does. The most crucial thing is to hear the potential in a sound. In the years I have worked with him, the percentage of GYAs going on to careers has been very high. Stephen’s special gift is how he hears the ability and musicality of a voice without ever insisting on conformity. He genuinely allows singers to express themselves. Even when he feels exhausted at the end of a gruelling day, he will pick out a singer with an interesting quality in their voice and offer them a place in the program. Stephen exemplifies a lifelong commitment to the business of opera. Stephen is a treasure — devoted to his art, his family, his friends. He has given musical joy and opportunities to so many people…singers and lovers of opera alike. He has kept his roots in Boston, but has managed to be a citizen of many places and companies and a true son of St. Louis!

Thank You, Stephen! JAMES ROBINSON

James Robinson has been OTSL’s Artistic Director since 2009, and is one of the country’s most acclaimed operatic stage directors. His productions have appeared across the globe, including The Santa Fe Opera, San Francisco Opera, Washington National Opera at Kennedy Center, and the Wexford Festival. Stephen Lord is my champion, my colleague, my confidant, my inspiration, my collaborator, my dinner companion, my favorite conductor, my strength, my frustration, my mentor, my lover of art, my hater of mediocrity, my off-color joke teller, my seeker of truth, my advocate for young talent and, above all, my dear friend. Almost 30 years ago, I arrived in Boston to take a position at New England Conservatory and was introduced to Maestro Lord. When a Canadian director was having problems crossing the border, Stephen enlisted my aid and entrusted me with starting rehearsals for OTSL’s The Daughter of the Regiment. His confidence, faith, and trust quite literally helped launch my career. At the time, I had no idea just how much Stephen would mean to me many years later. Because of him, I’m a richer person, a better director, and the most grateful friend. TIMOTHY O’LEARY

Among the things I’ve learned by working with Stephen is that I’ll simply never know as much as he does. When we’re listening to auditions and the singer has just finished an aria, Stephen can always, always sing the line that comes next in the opera, and he often does. When I first started working with him, I thought, “Oh, after a few more years of doing this, maybe I’ll be able to do that, too.” Not exactly! As the years have gone by, I’ve come to understand just how rare a gift he has, and how incredibly fortunate we are at Opera Theatre to have him in our midst. What’s most important, though, is not what Stephen knows about music and singing, or his “ears of gold,” or even his wholehearted commitment to raising artists up and giving them the chance to grow. What means the most about Stephen is his heart — his deep goodness — and the way his artistry shines light on what is best in all of us. With Stephen, music is about what it means to be human, and about inspiring us to be better. Thank you, Stephen. COMPILED BY MAGGIE STEARNS

STEPHEN AND THE ST. LOUIS SYMPHONY AT THE CONCERT FOR COLIN (2007). PHOTO © KEN HOWARD

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THE

Stephen H. Lord Fund for Music

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o honor Stephen Lord and his remarkable accomplishments, Opera Theatre has established the Stephen H. Lord Fund for Music, a new endowment fund that will sustain OTSL’s commitment to the highest level of artistic quality and will assure outstanding musical preparation for each production. The new fund was created with a transformational gift of $750,000 from Patricia G. Hecker. Mrs. Hecker’s leadership gift is a one-to-one challenge, requiring Opera Theatre to raise $750,000 in gifts designated for the new fund.

We invite you to consider making a gift to the Stephen H. Lord Fund for Music in honor of Maestro Lord’s 25th anniversary as Music Director at Opera Theatre. Your gift will qualify for Mrs. Hecker’s challenge and will enhance the musical infrastructure Stephen Lord has built during his tenure with the company, supporting the talented assistant conductors, repetiteurs, and vocal coaches who provide invaluable training for the company’s young artists. Gifts to the fund will also make possible OTSL’s national audition tour, which identifies the most exciting young artists in the country. Your support at any level is deeply appreciated. LEADERSHIP DONORS

Patricia G. Hecker Anonymous Donor

MUSIC DIRECTOR CIRCLE

p

$50,000 & ABOVE

Mrs. Walter F. Brissenden The Robert H. & Lorraine F. Duesenberg Foundation Mrs. Joseph F. Gleason Sally S. Levy Mr. & Mrs. Michael F. Neidorff ANNIVERSARY CIRCLE

p

$25,000-$49,999

Dr. & Mrs. Timothy J. Eberlein

CONDUCTOR CIRCLE

p

$10,000-$24,999

Billy & Dorothy Firestone

ARTIST CIRCLE

p

$5,000-$9,999

Mr. & Mrs. Donald J. Sher Ann & Bill Sullins Mary Susman & Tom Herm Terry & Cindy Tobias Phoebe Dent Weil

ANNIVERSARY PATRON

p

$2,500-$4,999

David & Melanie Alpers Karen & Mont Levy Erie Mills & Tom Rescigno Dr. David Sewall & Jeff Kapfer Franklin F. Wallis ARTIST PATRON

p

$1,000-$2,499

Robert C. Anderson John & Gailya Barker John Forestner & Brad Alford Joanne & Alan Kohn Mr. & Mrs. Lawrence Langsam John Frank Lesser Mabel L. Purkerson, M.D. Al & Martha Roux Alan & Marilyn Sachs Mrs. William H. Sheffield

Our thanks to the many donors of less than $1,000, whose gifts are vital to Opera Theatre’s continued success. We regret that those contributors could not be listed due to space limitations. List complete as of April 1, 2017. 38


A Letter from

Stephen Lord

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empus fugit has never struck home as much as it does now, on the eve of my transition to an emeritus position that I used to think was only reserved for “old” people. Was it not just yesterday that Richard Gaddes phoned me and asked if I was interested in becoming the head of his music staff? I had to choose between OTSL and the Monnaie in Brussels, and I opted for the young, exciting company on a meteoric rise. I have rarely looked back since, and the honor of being adopted by the professional and, more, personal family at OTSL has been the centerpiece of my artistic life. The friends I have made are too many to name. But I owe this to Richard and to Sheri Greenawald, who only slightly twisted his arm. Thank you, both. And the memories of seasons past are as if they were yesterday. The hires of chorus masters Donald Palumbo, Cary Franklin, Sandra Horst, and Rob Ainsley were crucial in bringing the standard of music to an exceptional level. Our relationship with the St. Louis Symphony has grown into one of the most satisfying of my entire career. Then there is Charles MacKay. I was already in place when he arrived to mount Richard’s throne. I wondered who this handsome, bright, musical, fun, and funny man was and what his contribution would be. Other than becoming a close personal friend and visionary leader, I owe him — and the next name I’ll mention — my conducting career. They took a chance on a beginning conductor when probably nobody else would have dared. Between them and the fantastic musicians of the SLSO, I was tutored to become the person I am proud to be today. But the next gentleman, our beloved late Artistic Director Colin Graham, had more faith in me than any 50 people. Collaborations and conflicts and ultimate true friendship defined our time together. I have planted trees in his memory at my home that grow as beautifully as our friendship did. Timothy O’Leary, so understanding when I decided to make this transition, has been a colleague without peer. His is the new day at OTSL and I look forward to watching it from my new emeritus position. He has a huge heart and overwhelming desire to keep OTSL a vibrant and vital part of the St. Louis community. Along with James Robinson — a friend of 25 years as well as an esteemed collaborator and colleague whom I had the privilege of recommending to this company — OTSL is in loving and caring hands. Between the new, bold operas spurred on by Tim and Jim and the fresh looks at familiar ones, they will continue to provide St. Louis audiences with the diversity they have come to expect. Paul Kilmer has been the tie that binds and he does it with class, dignity, paternal love of the artists and his staff, and his close relationship with me. My quick thank you’s, with apologies for any omissions, go to Sally Levy and her remarkable family, and Patty Hecker, who has endowed a fund in my name to help those on my same early path. The late Carol Kimball for devoted friendship, my dear Phyllis B., Sharon and Elliot Zucker, Jo, Spencer, David, Noémi and Michael, the divine Roma, every single staff person who made me so much better than I am, any and all singers who helped me live the music, fans in the audience, board members too numerous to name, and local merchants, especially the Chase Park Plaza. And then Maggie Stearns, everyone’s favorite English major. I am in debt to all. Favorite moment? At the Apple Shed in Clarksville as The Beggar’s Opera was in its opening night, Richard Gaddes put his head on my shoulder and said, “We did it, my dear.” I would say so. And thanks to my beloved parents, Jean and Charles. This is au revoir, friends, not adieu.

Stephen Lord Music Director

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We know what art can do — how it can change perspectives, and even change lives. That’s why the PNC Foundation developed PNC Arts Alive, a multi-year, multi-million-dollar initiative that supports the arts in local communities. Through this initiative, we continue to challenge visual and performing arts organizations to put forth their best, most original thinking while expanding audience participation and engagement. Because when art thrives, everybody benefits. To learn more, go to pncartsalive.com 40

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Subscriptions on sale now. Single tickets on sale August 8. 2017/2018 Season Highlights Include: BEETHOVEN 5 October 27-29

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community catalysts Positive outcomes making a difference for generations

“The Bertha Black Rhoda Scholarship helped lift a huge weight from my shoulders while I pursued my bachelor’s degree. Mrs. Rhoda died in the 1990s, but she was a teacher at Vashon High School who wanted to leave a legacy of helping St. Louis area students fund their college degrees. “Thanks to her generosity and the stewardship of the St. Louis Community Foundation, she’s making a difference even today. I followed in her footsteps, and am now an elementary school teacher in the St. Louis Public Schools. As I am sure she did years ago, I love making a difference in the lives of my kids. Mrs. Rhoda makes that possible.” Shawn Williams, teacher and aspiring legislator #2 OAK KNOLL PARK St. Louis, Missouri 63105 314-588-8200, stlgives.org

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Coat (detail), France, c.1800; Los Angeles County Museum of Art, gift of B. Rich; Vest (detail), France, c.1800; Los Angeles County Museum of Art, purchased with funds provided by Suzanne A. Saperstein and Michael and Ellen Michelson, with additional funding from the Costume Council, the Edgerton Foundation, Gail and Gerald Oppenheimer, Maureen H. Shapiro, Grace Tsao, and Lenore and Richard Wayne. Photo © Museum Associates/LACMA

June 25–September 17

For ticket information, visit slam.org/reigningmen. Members always free. Everyone free on Friday.

#SLAMreigningmen 46

Reigning Men: Fashion in Menswear, 1715–2015 was organized by the Los Angeles County Museum of Art.


A SALUTE TO

I

Virginia Browning

n the early years of Opera Theatre, there was always one person you would call if you needed help. Whether the job at hand was throwing a company pool party or chasing down the last donations needed to balance the budget, Virginia Browning — better known as “Jinny” to her family and friends — was always there to answer the call.

Jinny’s heart has always been in the performing arts. When she was a child in upstate New York, her parents established a local theater called The Aurora Players. She loved performing in plays there, but pursued microbiology as a Cornell undergraduate. It was there that she met fellow student Laurance (Larry) Browning. Soon after Jinny graduated, they married and moved to Maysville, Kentucky, the home of Larry’s family business: Browning Manufacturing. Jinny quickly decided to start her own theater company there. The Maysville Players still operate to this day in a beautiful Beaux Arts theater named in her honor: the Virginia Jackson Browning Auditorium. Jinny and Larry moved to St. Louis in 1973, when Larry was named Executive Vice Chairman and Chief Administrative Officer of Emerson. Jinny and Larry’s philanthropy is legendary in this community, transforming organizations such as Grand Center, The Sheldon Concert Hall, the St. Louis Science Center, the St. Louis Symphony, and Webster University, whose theater — and Opera Theatre’s home — is also named after Jinny. In 1975, Larry was approached by Leigh Gerdine regarding a new opera company; they became two of OTSL’s three principal founders, along with James Van Sant. Less well known is how much Jinny did behind the scenes to help the fledgling company get started. From the very first season, Jinny volunteered as an office administrator, setting up a filing system for artist records along with the general director’s assistant, Georgea Coleman, and maintaining ledgers of ticket buyers and donors. Jinny was also instrumental in creating the Opera Buffs — the predecessor of today’s Opera Theatre Guild. Her work has always been characterized by thoughtfulness and integrity; when Larry became the second Chairman of the Board in 1979, Jinny stepped away from the Opera Buffs to avoid any potential conflicts of interest. Before recusing herself entirely, though, she helped thenPresident Robert Feibel to transform the group into the Opera Theatre Guild and to establish an ex-officio position for the Guild President on the Board of Directors. To this day, volunteers from committees first established by the Opera Buffs provide crucial support for Opera Theatre, in the form of artist housing, transportation, and more. Together with Larry, Jinny has worked tirelessly to ensure that Opera Theatre’s financial strength matches its artistic excellence. Their gift of $110,000 in 1992 encouraged other Opera Theatre patrons to support the company’s fledgling endowment, which is valued today at more than $32 million. They have also passionately supported Webster University, donating $1 million in 2001 to support the expansion and renovation of the Loretto-Hilton Center’s backstage facilities. In 2013, to commemorate the passing of her husband, Jinny and her family made a gift of $1 million to endow the Larry & Jinny Browning Fund for Technical Fellowships. Combined, Larry and Jinny have contributed millions of dollars to this company, along with untold amounts of time, wisdom, and leadership. For their impact on Opera Theatre’s art, mission, structure, and financial success, we at Opera Theatre can never thank Jinny and Larry enough.

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T h e M a b e l D o r n R e e d e r Fo u n d a t i o n Yo u n g SUPPORTING CAREERS IN THE ARTS

“One reason OTSL has become a not-to-be-missed festival on the summer circuit is its sure-fire method of staying supplied with energetic young singing actors: nurture them in supporting roles as they train, inside and out, in a young-artist development program, then entrust them with major assignments… It is a delight to follow the progress of these singers.” OPERA NEWS THE GERDINE YOUNG ARTIST PROGRAM

This program honors OTSL’s founding board chairman Leigh Gerdine and his wife Alice, who saw that an important part of the company’s mission was to nurture and showcase the best young American singers. Gerdine Young Artists are chosen as potential future principal artists. They appear in supporting roles, understudy featured roles in main season productions, and sing in the chorus. They learn and coach repertoire with OTSL’s music staff and appear as soloists in master classes, recitals, and concerts. This year, 389 candidates were heard in nationwide auditions from a group of over 1,200 applicants, from which 29 singers were engaged. THE RICHARD GADDES FESTIVAL ARTIST PROGRAM

The Richard Gaddes Fund for Young Singers was established in 1986 to honor the contributions of Richard Gaddes, Opera Theatre’s founding General Director, and his legacy T E N O R B E N J A M I N L E E A N D M E Z ZO - S O P R A N O K R I S T E N of identifying and developing the careers of young singers DININNO PERFORM A SELECTION FROM LA CENERENTOLA through innovative programming and professional experience. AT C E N T E R STAG E ( 2 0 1 6 ) . P H OTO © K E N H OWA R D Richard Gaddes Festival Artists are chosen from among the most outstanding participants in The Gerdine Young Artist Program to perform specially selected featured roles that represent a natural progression on their path toward solo careers, while continuing to benefit from coaching and mentoring opportunities. This year, six singers were selected for this program. In the case of young artists showing exceptional promise, Richard Gaddes Career Grants are awarded to support the advancement of early career activities. The Gerdine Young Artist Program is supported in part by the Charles MacKay Career Development Fund. The Richard Gaddes Festival Artist Program and Gaddes Career Grants are supported by the Richard Gaddes Fund for Young Singers and funds established in memory of OTSL founding board members Elihu Hyndman and Barbara & Stanley Richman. A major gift from The Mabel Dorn Reeder Foundation – Mabel L. Purkerson, M.D., Trustee in 2010 helped endow OTSL’s professional development programs and established the Mabel Dorn Reeder Foundation Prize. JOHN D. LEVY MASTER CLASSES

Inaugurated by the legendary Eleanor Steber and named for one of OTSL’s great benefactors, these extraordinary master classes give members of both the Gerdine Young Artist and Gaddes Festival Artist programs the opportunity to learn from leaders in the field through focused, intense sessions. This season, two such master classes are open to the public: famed tenor Neil Shicoff teaches on June 16, followed by internationally acclaimed soprano Patricia Racette on June 23. For more information about attending master classes, see page 113. Master classes are made possible by the Levy Family and presented in memory of John D. Levy, a founding board member of Opera Theatre. THE ADMINISTRATIVE INTERNSHIP PROGRAM

OTSL is committed to the advancement of the next generation of arts management professionals. Interns are integral members of the company’s seasonal staff and may also work on special projects during the off-season. Members of the administrative, artistic, and music staffs lead seminars for the interns, who may also attend rehearsals, lectures, and special events. Many interns have gone on to full-time positions both at Opera Theatre and other arts organizations. The internships are made possible with support from the Charles MacKay Career Development Fund, the Dixie Long Memorial Fund, and gifts made in memory of Mrs. John Sausele. EMERSON BEHIND THE CURTAIN

Emerson Behind the Curtain participants receive advanced instruction in technical theater production, from construction to costume and stage design. Special scholarships for outstanding college-level assistants in this program are supported by Emerson, gifts from Rabbi Dr. Jay & Erika† Goldburg, and a fund established in memory of Catherine Vail Levy. Distinguished young designers of OTSL productions are supported by the Alvin R. Frank Memorial Fund. For more information about Emerson Behind the Curtain, see page 54. 48


A r t i s t Ed u c a t i o n a n d D e v e l o p m e n t P r o g r a m s LARRY & JINNY BROWNING FUND FOR TECHNICAL FELLOWSHIPS

Made possible with a transformative endowment gift from the family of Opera Theatre’s late board chairman, Larry Browning, the Larry & Jinny Browning Fund for Technical Fellowships offers advanced training for young artisans pursuing careers in technical theater production. Browning Fellowships are offered to young technicians who are returning after at least one season with the company, progressing through the ranks backstage just as Gerdine Young Artists do onstage. Browning Fellows attend advanced seminars taught by visiting designers, directors, and OTSL professional staff. A $5,000 career grant is awarded to one Fellow each season in recognition and support of extraordinary potential to advance the field of technical theater.

MEMBERS OF THE 2017 BROWNING FELLOWS PROGRAM. PHOTO © ERIC WOOLSEY

MONSANTO ARTISTS-IN-TRAINING GRADUATE STUDY AWARDS

AIT program graduates who are currently pursuing music degrees are eligible to receive scholarship awards for advanced vocal study. These scholarships are supported by the Monsanto Fund, Mr. & Mrs. Anthony Guerrerio/Wedgewood Partners, Inc., and funds named for Scott Joplin, composer of Treemonisha, and Kenneth Billups, noted St. Louis music educator. PROFESSIONAL DEVELOPMENT AWARDS

In addition to the extensive training programs offered during the festival season, Opera Theatre is pleased to provide career grants to exceptional singers and theater artisans to continue their artistic and professional growth. FOR SINGERS:

FOR TECHNICAL THEATER ARTISANS:

Mabel Dorn Reeder Foundation Prize Andriana Chuchman

Larry & Jinny Browning Technical Fellowship Career Award Megan Harshaw

Elihu M. Hyndman Memorial Award Joshua Blue Barbara & Stanley Richman Memorial Award Cheyanne Coss Richard Gaddes Career Awards Anush Avetisyan Nicolette Book Michael Day Caitlin Redding

FOR MONSANTO ARTISTS-IN-TRAINING ALUMNI:

Mr. & Mrs. Anthony Guerrerio/ Wedgewood Partners, Inc. Award Angel Riley

Emerson Behind the Curtain Scholarship Awards Margaret Goldrainer Kayla Page Maram Samaha Amera Spagnoli Zoe Spangler Will Vicari Dr. Jay & Erika† Goldburg Scholarship Award Charlotte Wester

Scott Joplin Award Randell McGee Kenneth Billups Award Michaela Wolz

IN MEMORIAM

Additional funding for these programs is generously provided by the E. Desmond Lee Family Fund for Professional Development, the William T. Kemper Fund – Commerce Bank, Trustee, the Herman T. & Phenie R. Pott Foundation, and the contributors listed on page 140.

“The company remains one of the best springboards in the nation for young Americans on the cusp of big careers.” CHICAGO TRIBUNE

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G I V I N G

V O I C E

T O

E X C E L L E N C E :

Honoring Opera Theatre’s Music Staff BY ANH LE

p

During an opera season, it is easy to become enraptured with individual singers. After all,

they supply us with moment after moment of heart-stopping dramatic intensity and transcendent musical beauty. Yet there is an entire team that supports and prepares these singers before opening night: the music staff. Opera Theatre of Saint Louis is extremely fortunate to employ a staff of the most talented vocal coaches, chorus masters, and repetiteurs in the nation. That is in no small part thanks to Music Director Stephen Lord, who is renowned not only for his ability to pick young vocal talent, but also for his commitment to developing careers behind the scenes. Many audience members may never have seen our music staff at work, but every single listener benefits from the wisdom and talents of these unsung heroes. This year, Opera Theatre celebrates three individuals from our music staff who have spent a decade or more supporting OTSL’s mission and artists. Special thanks to the many donors who have contributed to the new Stephen H. Lord Fund for Music. The fund will help sustain OTSL’s musical infrastructure, including the company’s talented vocal coaches and repetiteurs, in perpetuity. To learn more about this fund, visit page 38.

Ben Malensek Principal Coach & English Diction Specialist

1987–2017 “In an art form where longevity can be rare, OTSL has truly been my operatic home. I am so grateful for this long association and the importance it has had not only in my musical career, but also in my personal life. The music we’ve made and the relationships I cherish have enriched my life immeasurably.” Ben Malensek works with soprano Ailyn Pérez as she prepares to sing Violetta in La traviata (2007). Photo © Ken Howard

Ben Malensek is recognized as one of North America’s finest vocal coaches. Over the course of his career, Ben has worked for some of the continent’s most prestigious opera houses, including the Metropolitan Opera, The Dallas Opera, Canadian Opera Company, The Santa Fe Opera, and Washington National Opera. At Opera Theatre, Ben is responsible for working with the season’s leading artists, not only to help them refine their musical performances, but also to ensure that their diction is impeccable (an all-important task when every opera is sung in English). One of Ben’s most invaluable skills lies in his ability to identify and evoke the most crucial musical and textual elements in any piece of music. His approach is never generalized. Ben’s artists step away from their coachings with a greater understanding of how their own unique voice can enhance the vocal and dramatic power of their role. Equally important are Ben’s patience and commitment — challenging artists without intimidating them, and following up on their discoveries over a period of days during season rehearsals. “He has helped countless artists at OTSL,” says Paul Kilmer, Director of Artistic Administration. “Not only did they sing better in our production, but their artistry grew and developed and they went away better for their work with him. His joy is found in their success!” As Music Director Stephen Lord puts it, “My long association with Ben Malensek has been one of the most honest, frank, and joyous in my musical career.” 50


Erie Mills English Diction Specialist & Young Artist Teacher & Coach

2004–2017 “I went from singing at OTSL to becoming a member of the music staff as English diction coach and master teacher/coach for the GYAs. OTSL, under the leadership of Stephen Lord and Paul Kilmer, has created a wonderful atmosphere in which to work. I have always appreciated the knowledge, talent, time, and consideration of all the members of the music staff. It is a pleasure to work with such a wonderful group of people, and I’m thrilled to be a part of it.” Erie Mills works with an Artist-in-Training student at a master class (2010). Photo © Ken Howard

Erie Mills began performing at Opera Theatre in 1978, and went on to a legendary singing career at the Metropolitan Opera, La Scala, and other major venues worldwide. Given her early start at Opera Theatre, it was all the more special that she chose this company for her second career as a coach. In fact, it was as a singer that she first crossed Stephen Lord’s path. “Erie and I have been friends and colleagues almost from the beginning of our respective careers,” he says. “It is a cherished relationship founded on mutual admiration and respect, complete candor, and a driving need to help others reach their potential.” Erie has been mentoring up-and-coming young singers since 1998. While she has worked as an English diction coach for both the Metropolitan Opera and The Santa Fe Opera, no company has benefited from her expertise as much as Opera Theatre, where she has been on music staff since 2004. “Erie is a ‘triple threat’ asset to Opera Theatre,” says Paul Kilmer. “In her ‘disguise’ as our diction specialist, she brings a personal history as a consummate singer/actor, coach, and teacher to each interaction with an artist.”

Damien Francoeur-Krzyzek Repetiteur

2008–2017 “As music staff members, we get to be involved in every musical aspect of our productions, and I always feel like a valued collaborator with our singers, conductors, and directors. I can’t thank Stephen enough for his constant support and everything I’ve learned from working with him.” Damien Francoeur-Krzyzek accompanies Gerdine Young Artist Jessica Faselt at a 2016 master class. Photo © Katie Long/Switzerfilm

If you ever need a translator, find Damien Francoeur-Krzyzek. In addition to being Opera Theatre’s longest-serving repetiteur (opera-speak for a rehearsal pianist and coach), Damien has an extraordinary facility for languages, both inside and outside the rehearsal room. Some of his linguistic specialties include Russian, Dutch, Catalan, and Polish. “My acquaintance with Damien began when he was a member of the San Francisco Opera’s Merola Program,” says Stephen Lord, who first hired Damien. “I was instantly struck by his pianistic, vocal, and linguistic abilities and I vowed to bring him to Boston, where I was conducting frequently. After that came an association at New England Conservatory, and he was instantly invited to St. Louis for his enormously varied knowledge.” Repetiteurs have a crucial role in any opera production. Not only do they make rehearsals possible, but they also are active collaborators with conductors, stage directors, and singers to ensure that the show is both musically accurate and dramatically exciting. Paul Kilmer sums up this repetiteur’s contributions nicely: “Damien is an extraordinary artist and critical force on the OTSL music staff.” p 51


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CHARLOTTE WESTER, AN EMERSON APPRENTICE ALUMNA, HELPS FOCUS LIGHTS DURING THE 2016 FESTIVAL SEASON. PHOTO © ERIC WOOLSEY

O P E R A

T H E A T R E

O F

S A I N T

L O U I S ' S

Behind the Curtain Opera Theatre’s commitment to professional development backstage continues to grow, made possible by Emerson’s vision and longtime generosity. Emerson Behind the Curtain, which began in 2005, prepares students for careers in a range of technical specialties in contemporary stagecraft with training programs arising from the logistical and sophisticated technical demands of a repertory opera season. Emerson Opera Production Workshops offer college students an intensive classroom introduction to technical design and construction, and the potential for backstage careers. Emerson Production Artists are college students entering the program. They receive eight weeks of intensive experience in theater production and attend weekly professional development seminars with Opera Theatre artists and production staff. Emerson Production Assistants are participants returning for their second or third year in Emerson Behind the Curtain, or undergraduate and graduate students who demonstrate advanced experience in the field. These young professionals play an integral role in the production of the festival season, working under the direction of Opera Theatre’s renowned designers, directors, and professional production staff. Emerson Costume Apprentices are college students receiving advanced training in costume design and construction, working with visiting designers and other professionals in the company’s costume department.

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2017 EMERSON PRODUCTION ARTISTS

2017 EMERSON PRODUCTION ASSISTANTS

2017 EMERSON COSTUME APPRENTICES

Chontol Calvin Justin Chaipet Beth Gasser Nicholas Lanham Jayson Lawshee

Robert Ashurst Emma Bruntrager Morgan Fisher Will Vicari

Zahrah Agha Rachel Clayton Sarah Greenstone Jenna Light

Kendrick Lawson-Knight Katherine Schoenfeld Sophie Shugart Jacob Stahl Tyler Tippit

Meg Powers Katie Ray Rodriguez Judith Skyles Amera Spagnoli

Lists complete as of April 21, 2017.

EMERSON PARTICIPANTS ENJOY A WIG AND MAKEUP SEMINAR (2010).

DESIGNER GREG EMETAZ TEACHES A VIDEO AND PROJECTION SEMINAR (2011).

PHOTO © SHANNON TERRACE

PHOTO © SHANNON TERRACE


THE MAN BEHIND THE MAGIC

RICHARD SHETLEY, SR. BY STEVE RYAN , DIRECTOR OF PRODUCTION AND OPERATIONS

C

ertain Opera Theatre productions are particularly memorable for their sets and visual effects. I have often been asked by amazed audience members, “How did you do that?” and my response is usually, “Magic.” Truthfully, that magician has a name: Richard (Dick) Shetley. Dick has been a carpenter at OTSL for more than 30 years, and has created some of this company’s most magical scenic moments. Often seen under a welding hood or buried in catalogues, Dick is an engineer, a scientist, a craftsman, and — above all — fearless. I have often brought Dick design challenges that I was ready to abandon and he would look at me over his glasses and say, “Let’s give it a try.” Dick has created many of our most impressive stage effects. Our first project together was building a “wall of water tanks” for The Pearl Fishers. We were asked to create 40 feet of water tanks and I had no idea how to realize this element. The scientist in Dick was intrigued. He spent a few weeks doing research on plexiglass and adhesives before creating a plan. After many hours in his garage with his son, Dick created water tanks that achieved the desired effect. Little did I know that this was the beginning of a unique relationship between an incredibly creative engineer and OTSL’s many designers.

DICK SHETLEY AT WORK. PHOTO © JIM SHUMATE

Another memorable project was the “handleabra” for Beauty and the Beast. The idea was to have a 16-foot-tall hand holding a candelabra, designed to look like an overgrown tree. It was a project that required careful engineering, artistic sensitivity, and a true collaboration between designer and craftsman. Dick worked directly with designer André Barbe to create a structure that was both functional and beautiful. On numerous occasions, I walked into the shop to find them bending pieces of metal together to create the effect of twisted branches. Dick always supported the artistic vision of the design team. In my opinion, Dick’s finest project was the giant iris door for Salome. I walked into the shop with a photo lens that designer Bruno Schwengl had given me and said, “We need to build an eight-foot-tall one of these.” After a disapproving look over his glasses, Dick started playing with a lens to figure out how it was built. He reverse engineered the lens and scaled up each component to create half-scale pieces for a four-foot-tall working model. He then sent us off to draw full-sized patterns. Not only were we impressed, but our co-producing partners at San Francisco Opera and Opéra de Montréal marveled at Dick’s craftsmanship when the set arrived on their stages. While I will miss Dick’s presence every day, he has left us in good hands with his son Rick — who has worked with his dad on most of these projects — and his daughter Chris, who is a deck electrician. I wouldn’t begin to call this a retirement, because Dick will be even busier being a grandfather and completing home projects for Pat (his wife of 45 years) that he has put off during his time as OTSL’s resident magician. p

THE FAMOUS “HANDLEABRA” FROM BEAUTY AND THE BEAST (2005). PHOTO © KEN HOWARD

THE IRIS DOOR FROM SALOME UNDER CONSTRUCTION (2009). PHOTO © JIM SHUMATE

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Education for All Ages: Inspiring Opera Theatre’s education programs offer an environment where members of the community can discover their own talent, creativity, and imagination through the magic of opera. As detailed below, these offerings help build an opera audience for the next generation by introducing students, teachers, and other participants of all ages to the world of performing arts.

TENOR AND VISITING ARTIST STANFORD OLSEN WORKS WITH AIT STUDENT ANYA JONES DURING THE 2017 AIT WINTER RESIDENCY. PHOTO © ERIC WOOLSEY

MONSANTO ARTISTS-IN-TRAINING

Recognized as one of ten outstanding programs for youth nationwide by the President’s Committee for the Arts and the Humanities, AIT supports talented high school singers who aspire to professional singing careers. In the spring of 2017, students participated in an eight-day artist residency with renowned tenor Stanford Olsen, culminating in a Winter Recital at the Ethical Society of St. Louis. Hometown favorite and internationally acclaimed soprano Christine Brewer adjudicated the Spring Recital, in which 24 students competed for approximately $12,000 in scholarships at The Sheldon Concert Hall. Today, ten alumni of the AIT program are in the midst of professional careers taking them to performing venues throughout the US and overseas. They include tenor Jermaine Smith (1991), mezzo-soprano Kendall

Gladen (1994), bass-baritone Robert McNichols, Jr. (1996), soprano Jennifer Sheehan (2003), soprano Julia Bullock (2005), bass Derrell Acon (2006), soprano Julie Tabash (2007), tenor Chaz’men Williams-Ali (2007), soprano Michaela Wolz (2013), and rising stage director Alison Moritz (2004). MONSANTO ARTISTS-IN-TRAINING PREPARATORY PROGRAM

The AIT Preparatory Program readies students in the St. Louis Public, Ferguson-Florissant, Normandy, and Riverview Gardens school districts for AIT auditions through a nine-week residency, which includes private voice lessons and a public recital. The program is taught by AIT alumnus Dr. Robert McNichols, Jr. and Artists-in-Training faculty member Johanna Nordhorn.

Sponsored by Monsanto Fund for the 27th consecutive year and made possible in collaboration with the Leigh Gerdine College of Fine Arts at Webster University, SIU - Edwardsville, the University of Missouri - St. Louis, and Washington University. Opera Theatre’s AIT endowment is funded by the Whitaker Foundation, the Gertrude and William A. Bernoudy Foundation, William T. Kemper Foundation - Commerce Bank, Trustee, Ameren, the Marielle Huber Memorial Fund, and the OTSL William E. Maritz Memorial Endowment Fund. 60


Creativity and Building Community MUSIC! WORDS! OPERA!

This annual program incorporates opera into the curriculum for history, literature, and other disciplines, culminating in performances of original operas created and produced by students. More than 30 schools representing 4,000 students take part in all or a portion of the M!W!O! curriculum. A supplemental week-long teachers’ workshop is led by local and national experts, including M!W!O! authors Roger Ames and Clifford Brooks. A year-long residency with Johnson Wabash Elementary School is currently underway, giving 5th grade students access to in-school OTSL programs, resources supporting an original student opera, and opportunities to attend Opera Camp for Kids, which includes a trip to see one of Opera Theatre’s mainstage productions. Made possible with support from Enterprise Holdings Foundation. The Johnson Wabash Elementary residency is made possible with support from the Trio Foundation of St. Louis. SECOND-GRADE STUDENTS AT MICDS RONALD S. BEASLEY SCHOOL PERFORM AN ORIGINAL OPERA UNDER THE DIRECTION OF MUSIC TEACHER BARB SPIELER (2017). PHOTO © ERIC WOOLSEY

(LEFT) STUDENTS LEARN ABOUT STAGE MAKEUP IN AN OPERA ON THE GO! WORKSHOP (2016). (BELOW) OTSL YOUNG ARTISTS GIVE A SPIRITED PERFORMANCE DURING OPERA ON THE GO! (2016). PHOTOS © J. DAVID LEVY

OPERA ON THE GO!

This beloved program brings the fantastic world of opera into the classroom through multimedia workshops and performances. Students experience opera through hands-on introductions to acting, movement, singing, and stage makeup. After these workshops, participants enjoy a 30-minute opera performance — in 2016, Gilbert and Sullivan’s The Pirates of Penzance — with props, costumes, and video projections. These performances feature a small cast of Opera Theatre’s Richard Gaddes Festival Artists and Gerdine Young Artists. Last fall, 20 performances reached a total audience of 2,800 individuals across St. Louis, led by stage director Carol North and music director Timothy Cheung. For the first time, 2016’s Opera on the GO! also offered a sensory-friendly public performance for students with special needs. Made possible with generous support from The Dana Brown Charitable Trust, U.S. Bank, Trustee, and Monsanto Fund. Special thanks to Pi Beta Phi/Sign of the Arrow for program support, and to the Trio Foundation of St. Louis for underwriting the performance at Johnson Wabash Elementary. 61


ARTISTS-IN-RESIDENCE

Last winter, Opera Theatre visited 18 schools, juvenile detention facilities, and senior community centers to provide brief musical concerts to adults and students alike. Soprano Katherine Jolly and baritone Robert Mellon electrified audiences across St. Louis, accompanied by music director Gail Hintz. Made possible with support from Prison Performing Arts and the E. Desmond Lee Fine Arts Collaborative at the University of Missouri - St. Louis.

BARITONE ROBERT MELLON ENTERTAINS STUDENTS AT CROSS KEYS MIDDLE SCHOOL DURING AN ARTISTS-IN-RESIDENCE CONCERT (2016). PHOTO © ERIC WOOLSEY

ILLUMINATING OPERA

PROFESSIONAL DEVELOPMENT FOR TEACHERS

A popular lecture series presented by St. Louis Symphony Chorus Director Amy Kaiser, Illuminating Opera leads audience members in a musical investigation of each opera featured in OTSL’s season. The program is offered on four Thursday and Saturday mornings in April at the Sally S. Levy Opera Center.

In collaboration with The Sheldon Concert Hall, Opera Theatre presented a February workshop for educators titled “Body Basics for the Classroom.” Designed for fine arts teachers in the St. Louis region, this one-day seminar focused on skills and techniques for physical, vocal, and aural health in the classroom. Fifty teachers participated under the tutelage of professionals from the Voice and Swallowing Center of St. Louis, Washington University School of Medicine’s Program in Audiology and Communication Sciences, and St. Louis University’s Department of Fine and Performing Arts. OPERA GUILD DOCENTS

Volunteers from the Opera Guild enhance Opera Theatre’s education programs with presentations to schools, senior groups, and community organizations, including The Gatesworth, The Ethical Society, Shepherd Center, OASIS, Kirkwood and Webster Groves Public Libraries, and many others. AMY KAISER LEADS AN ILLUMINATING OPERA LECTURE (2015). PHOTO © ERIC WOOLSEY

Additional funding for these programs is generously provided by endowment gifts from Opera Theatre’s Fred M. Saigh Endowment Fund, The William Randolph Hearst Foundation, the E. Desmond Lee Fine Arts Collaborative at the University of Missouri – St. Louis, and the contributors listed on page 139.

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Connecting our C o m m u n i t y Ye a r - R o u n d MEET THE MAKERS: THE GRAPES OF WRATH COMMUNITY TOUR

Between March 22–24 and May 1–3, Opera Theatre welcomed composer Ricky Ian Gordon and librettist Michael Korie to St. Louis for a series of public and private events celebrating The Grapes of Wrath. Opera Theatre collaborated with the Missouri History Museum, Cinema St. Louis, St. Louis Jewish Community Center, Gesher Music Festival, Saint Louis Fashion Fund Incubator, Webster University Film Series, The Ethical Society of St. Louis, Webster Groves Public Library, and St. Louis Public Library to host and produce programs that generated resonant community conversations about the opera in advance of the season. From film screenings to book clubs to panel discussions, opera, history, and literature lovers alike explored themes of migration and the American dream in the 20th and 21st centuries. Leadership support for artist residencies and community engagement events surrounding The Grapes of Wrath is provided by The Andrew W. Mellon Foundation and the Sally S. Levy Family Fund for New Works, with generous underwriting from The Silk Foundation and endowment support from Pris McDonnell. OPERA TASTINGS

Following a sold-out run in 2016, Opera Theatre offered twelve of these popular culinary concerts in 2017. Designed to introduce first-time audiences to opera, Opera Tastings paired live performances of operatic excerpts with food and drink crafted to complement the flavors of the music. The series traveled to restaurants and venues across the St. Louis region and even as far as Columbia, MO and Edwardsville, IL. At each venue, a customized tasting menu was developed by the venue’s chef, sommelier, or mixologist. Opera Tastings features young stars who are all current or former members of The Gerdine Young Artist Program. In January, audiences were dazzled by soprano Katherine Jolly, mezzosoprano Jennifer Panara, tenor Joshua Blue, baritone Robert Mellon, and pianist Lachlan Glen, with emcee Robert McNichols, Jr. In April, opera won new fans thanks to performances by soprano Nicolette Book, mezzo-soprano Stephanie Sanchez, tenor Geoffrey Agpalo, baritone Justin Austin, and pianist Ben Malensek, with emcee Ryan McAdams. Members of OTSL’s Young Friends Steering Committee and Engagement & Inclusion Task Force served as hosts for each event. This year’s culinary partners included Moulin Events (Lafayette Square), Quintessential Dining & Nightlife (St. Charles), The Wine Cellar (Columbia, MO), The National Blues Museum (Downtown), Balaban’s (Chesterfield), ClevelandHeath (Edwardsville, IL), SqWires (Lafayette Square), The Omega Center (North City), Vicia (Cortex District), and Culture Catering.

(TOP) YOUNG PROFESSIONALS ENJOY COCKTAILS, FOOD, AND FASHION AT A PRE-SEASON RECEPTION WITH COMPOSER RICKY IAN GORDON AT THE SAINT LOUIS FASHION FUND INCUBATOR (2017). PHOTO © ERIC WOOLSEY

(BOTTOM) SOPRANO KATHERINE JOLLY PERFORMS A HANDEL ARIA AT OPERA TASTINGS (2017). PHOTO © ELIZABETH WISEMAN

Presented by PNC Arts Alive, with thanks to media sponsors Alive Magazine, Feast Magazine, Gazelle STL, and The Riverfront Times. Additional host partners and individual event sponsors included Ted Wight, Dielmann Sotheby’s International Realty (Vicia), Cortex (Vicia), Les Dames d’Escoffier (The Wine Cellar), and the Arts & Education Council (Balaban’s). 63


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“…the go-to summer festival for audience members seeking interesting, varied repertory…” CHICAGO TRIBUNE

Experience Opera Theatre of Saint Louis: Welcome to Opera Theatre of Saint Louis! Get ready to hear some of the best voices in America, accompanied by members of the incomparable St. Louis Symphony. Each exciting production is performed completely in English, bringing the magic of opera to life in a uniquely accessible way. Whether you’re a first-time visitor or a long-time subscriber, we hope you feel like part of our family the moment you walk onto our grounds. Between picnics, performances, and post-show cocktails, you’re in for an opera experience unlike any other! 80

JOIN US FOR A PICNIC! Our green-and-white tents are a festive cornerstone of the Opera Theatre experience. Enjoy a memorable meal before each performance with one of our delicious pre-ordered picnic boxes, prepared by Ces & Judy’s Catering, or by feasting on your own food and drinks! Sandwiches, snacks, desserts, beer, and wine are all available at our concession bars. FREE OPERA PREVIEWS One hour before each performance, Opera Theatre’s music staff offers an informal talk to give you fresh perspectives, entertaining anecdotes, and thoughtful insights on the composer and the music. These free 20-minute previews take place


With the Stars, Under the Stars Mary Susman & Tom Herm.

RAISE A GLASS Just because the show is over doesn’t mean the fun has to end. After the opera, the gardens fill with parties that connect our artists and our audience — and everyone is invited! Celebrate with a champagne toast or cocktails under the stars while you meet and mingle with the singers and musicians who bring our operas to life.

EXPLORE THE DAVID W. MESKER FESTIVAL GARDENS In memory of his legendary hospitality, leadership, and generosity, Opera Theatre recognizes David Mesker, our late Board Chairman, by naming the festival grounds in his honor. Thanks to a generous gift from the Gateway Foundation, the gardens have been enhanced to provide guests an unparalleled festival experience and will undergo further renovation following the current season.

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GIACOMO PUCCINI

Madame Butterfly A TRAGEDY IN TWO ACTS Music by Giacomo Puccini. Libretto by Giuseppe Giacosa and Luigi Illica after the story by John Luther Long and the play by David Belasco. English translation by Margaret Stearns and Colin Graham. Madame Butterfly was first performed at La Scala, Milan on February 17, 1904 for one performance only. The final version, presented in this production, was first performed at the Opéra-Comique, Paris on December 28, 1906. First performed by Opera Theatre of Saint Louis in a special production at The Muny on July 31, 1978. CONDUCTOR

Michael Christie Roberto Kalb (June 3) STAGE DIRECTOR

Robin Guarino SET DESIGNER

Laura Jellinek* COSTUME DESIGNER

Candice Donnelly* LIGHTING DESIGNER

Christopher Akerlind

WIG AND MAKEUP DESIGNER

ASSISTANT STAGE DIRECTOR

CHOREOGRAPHER

STAGE MANAGER

DRAMATURG

ASSISTANT STAGE MANAGER

CHORUS MASTER

ASSISTANT STAGE MANAGER

ENGLISH DICTION SPECIALIST

INTERN ASSISTANT STAGE MANAGER

Tom Watson Seán Curran

Christine Mok* Cary John Franklin Ben Malensek REPETITEUR

Lachlan Glen

Kyle Lang*

Trevor Regars

Sarah Johnson Alec Rigdon*

Traci Clapper* *O TSL DEBUT

THERE WILL BE ONE INTERMISSION. THE PERFORMANCE WILL LAST APPROXIMATELY TWO HOURS AND THIRTY-FIVE MINUTES.

Made possible with a leadership gift from the Steward Family Foundation and World Wide Technology Foundation in honor of Kimberly Steward. Major production sponsorship is provided by the William T. Kemper Foundation – Commerce Bank, Trustee, and The Commerce Trust Company, and production underwriting is provided by the Engelhardt Family Foundation.

Opera Theatre dedicates this production to Leigh† & Alice† Gerdine, whose support and commitment helped guide the company’s growth and success. Generous leadership support for the services of the St. Louis Symphony is provided by Jack C. Taylor† and the Taylor family. † IN MEMORIAM

The Lady Fujitsubo watching Prince Genji departing in the moonlight, 1835. Utagawa Hiroshige (1797-1858)

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Madame Butterfly THE CAST

SYNOPSIS

(in order of vocal appearance)

During the early 20th century, Western military men stationed in Japan were allowed by Japanese law to enter into temporary “marriages,” which were nullified if the husband was absent for 30 days.

BENJAMIN FRANKLIN PINKERTON, LIEUTENANT IN THE US NAVY

Michael Brandenburg*

GORO, A MARRIAGE BROKER

John McVeigh°

SUZUKI, CIO-CIO-SAN’S SERVANT

Renée Rapier

SHARPLESS, THE AMERICAN CONSUL

Christopher Magiera CIO-CIO-SAN, KNOWN AS MADAME BUTTERFLY

Rena Harms* HER COUSIN

Andrea Núñez*+

Act One: Pinkerton’s house, near Nagasaki Benjamin Franklin Pinkerton, a lieutenant in the US Navy, has decided to “marry” Cio-Cio-San, a young Japanese geisha also known as Madame Butterfly. Goro, the marriage broker and pimp, has arranged for their sham wedding, from the contract to the guests. Sharpless, the American consul, arrives at the site of the wedding to warn Pinkerton that Cio-Cio-San may take the marriage more seriously. Cio-Cio-San — dressed by her maid, Suzuki, and her fellow geishas — appears and the marriage contract is signed. Her uncle, the Bonze, interrupts the festivities and denounces her for abandoning her heritage and secretly converting to Christianity. Her family and friends join in and scorn her. Pinkerton responds by throwing out her family and all the wedding guests. As he consoles her, they celebrate their wedding night.

HER MOTHER

Caitlin Redding*+ HER UNCLE, YAKUSIDE

Dominik Belavy*+ HER AUNT

Stephanie Tritchew*+ THE IMPERIAL COMMISSIONER

Phillip Lopez*+

THE OFFICIAL REGISTRAR

Benjamin Dickerson+

THE BONZE, CIO-CIO-SAN’S UNCLE, A PRIEST

Matthew Stump* PRINCE YAMADORI

Benjamin Taylorf° KATE PINKERTON

Anush Avetisyan*+ Servants, friends, and relatives of Cio-Cio-San. The action takes place in and around the house Pinkerton has bought for Cio-Cio-San outside Nagasaki, Japan.

* Opera Theatre main season debut

f Richard Gaddes Festival Artist

°+ Former Gerdine Young Artist Gerdine Young Artist

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Young girl in a kimono (circa 1860-70). Hand-colored photograph.


Group of Six Geisha Under the Cherry Trees on Gotenyama (circa 1785). Torii Kiyonaga (1752–1815)

Act Two, Scene One: Inside the house, three years later

Act Two, Scene Two: Inside the house, the next morning

Cio-Cio-San is alone, abandoned by Pinkerton shortly after the wedding. Left with few options to provide for herself and her household, Cio-Cio-San is on the brink of poverty. Although Goro has brokered another match, she turns down Prince Yamadori’s marriage proposal. Meanwhile, Sharpless receives a letter from Pinkerton asking him to break the news that he is indeed returning to Japan — with his American wife, Kate. Sharpless can’t bring himself to deliver the entire message, especially after Cio-Cio-San introduces her child, Pinkerton’s son, born during his absence. A cannon booms from the harbor — it is Pinkerton’s ship. Cio-Cio-San and Suzuki adorn the house with flowers and await his arrival.

As dawn breaks, Cio-Cio-San is still watching for Pinkerton, but Suzuki takes the child and convinces her to go into the house and rest. Within minutes, Sharpless arrives with both Pinkerton and Kate, who wants to adopt and legitimize CioCio-San’s son. Kate and Sharpless beg Suzuki to brace her mistress for what is to come. As she readies herself for Pinkerton’s arrival, Cio-Cio-San asks Suzuki to prepare her son, Sorrow, for the journey to America. p

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Madame Butterfly ROBIN GUARINO

A Note from the Director When Opera Theatre of Saint Louis first spoke to me about directing Madame Butterfly, I was thrilled to take on the project. It is not a coincidence that this work remains one of the most popular in the operatic canon. Butterfly contains some of Puccini’s most memorable, beautiful music while also capturing a devastating depth of human emotion. At the same time, however, I was not unaware of the challenges that this story poses to a 21st-century director and her creative team.

View of Nagasaki, Japan, hand-colored vintage albumen print, 1872. Kuichi Uchida (1844-1875)

I wanted to tell a story about a woman in a particular time and place who is forced to make choices in order to survive — and one who, ultimately, does not survive. I did not want to be wooed by romanticism and fall into easy stereotypes of east and west, feminine and masculine, wrong(ed) and right. So I began by looking at not just one, but three women in the opera: CioCio-San, Suzuki, and Kate Pinkerton. Three very different women from varying socioeconomic and cultural backgrounds, each striving for agency and a sense of self within the challenges of their respective lives. Cio-Cio-San’s family has fallen from means. She has trained as a geisha but agrees to a precarious marriage, blinded by the romantic notion of a future life with Lieutenant Pinkerton. She chooses to continue this fantasy even after Pinkerton has abandoned her and refuses the security of Prince Yamadori’s hand. Suzuki is a witness, and thus a stand-in for the audience. She observes all the proceedings, including the ill-fated “marriage.” She remains with Cio-Cio-San throughout the opera, as her servant, as a caretaker to the child Sorrow, and finally, as her friend. Suzuki never deserts her, even as the solvency and security of the Butterfly household becomes more precarious. Kate Pinkerton travels abroad with her new husband and arrives in Nagasaki. While she is an American citizen, she would not yet have had the right to vote in 1904. However, Kate is living through the Progressive Era, a period of widespread reform, when a number of changes reshaped women’s rights in the United States. Kate provides us with another lens through which to view the opera. Understanding these women and their choices became key to my understanding and directorial approach. Recognizing that they each maintain a sense of agency within the limits of their culture and circumstances became crucial to our seeing them beyond stereotypes. The obstacle of stereotype is certainly ever-present. As cherished an opera as Butterfly is, there is also a long history of controversy — from issues of sexism, racism, and imperialism in the story to the issue of casting in theater and opera, which both have historically employed problematic practices like yellowface minstrelsy and the playing of Asian characters by white performers in makeup and prosthetics. Butterfly is not alone; many other operas, plays, and musicals have all come under scrutiny and even protest, from The Mikado to Miss Saigon. Despite their inherent challenges, however, we should not avoid works like Madame Butterfly. Instead of brushing them off as outdated relics or mere entertainment, these pieces present important opportunities for necessary cultural conversation. When I agreed to work on this opera, I discovered that OTSL was hoping for a period production. This forced our team to examine even more deeply the dramaturgical aspects of the music, text, and history. Rather than re-contextualize the story or side-step these issues with a modern re-telling, we had to deal with the problems of sexism and imperialism head-on. I found it inspiring to explore Butterfly this way while still honoring a work of undeniable art, craft, and beauty.

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As a creative team, this challenge was central to our conception: how to tell the story of Madame Butterfly without defaulting to cultural and racial stereotypes. It is important to keep in mind that Madame Butterfly is Puccini’s fantasy of Japan. The composer had never traveled there, which was not unusual for a European artist of his time. He was inspired to write Butterfly in 1900 after viewing a London production of David Belasco’s play, Madame Butterfly – Tragedy of Japan, which was, in turn, a theatrical adaptation of John Luther Long’s 1898 short story. Because Puccini did not speak English, his experience was rooted in the visual story-telling of Belasco and Long’s fantasies. He was moved by the emotional depth captured within the spectacle of what he perceived to be an exotic setting. Therefore it was important for me, as a director, to be vigilant in understanding the musical and literary orientalism that structures the opera. OTSL has always been known for casting artists based solely on musical, dramatic, and artistic expertise, rather than appearance. We therefore had to consider carefully how to approach the visual language of the production through costume, makeup, and setting — the very things that inspired Puccini in London. There was never a question of using Soprano Geraldine Farrar (1882-1967), the makeup to alter the race of any individual singer onstage. However, Metropolitan Opera’s first Cio-Cio-San, 1908. stage makeup and costumes can be extremely helpful in revealing when a character is playing a part within a part. For example, Cio-Cio-San is herself in costume when she appears in full geisha dress and makeup, masking her reality behind an illusion. The costumes are constructed as real, everyday apparel, as in a straight play, and based upon historical research. Many of the kimonos in our production were ordered directly from Kyoto. The contrast between “real” and “masked” life is also represented in our set. We wanted to present Cio-Cio-San’s home in all its architectural detail and function, as described in the libretto. Since Act One is largely told from Pinkerton’s perspective, the audience is seduced by the beauty of the new environment. Because the opera is about dreams and fantasies (Cio-Cio-San, Pinkerton, and Puccini’s), the hillside is constructed out of origami paper. The walls of the home are made of fragile Shoji screens that open and close but, much like the marriage “contract” that Pinkerton signs, are “easily broken or torn.” Act Two is told from Cio-Cio-San and Suzuki’s point of view, so instead of pretty paper exteriors surrounding a closed-off house, the stage rotates so we can see into a home demystified and exposed. We are invited beyond fantasy to witness the reality of these women’s lives. I would like to think that Madame Butterfly has endured because of Puccini’s extraordinary music and lyrical writing, and not purely out of voyeurism for the sacrifice of a submissive Asian butterfly. My hope is that through a feminist reading of the text, we can create a visual world that addresses the functional needs of the libretto while allowing for abstraction and poetic realism. We are in a world of shifting fantasies, exposed before our very eyes, but we see and feel something beyond those illusions. It is by moving beyond that we emancipate both Cio-Cio-San and the opera. p

Stills from the 1922 silent film The Toll of the Sea, which was loosely based on Madame Butterfly and set in China. Anna May Wong as Lotus Flower (Cio-Cio-San), Kenneth Harlan as Allen Carver (Pinkerton), Beatrice Bentley as Mrs. Carver (Kate Pinkerton), and Priscilla Moran as Little Allen (Sorrow).

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R I C K Y I A N G O R D O N | M I C H A E L KO R I E PREMIERE OF A NEW PERFORMING VERSION

The Grapes of Wrath AN OPERA IN TWO ACTS Music by Ricky Ian Gordon. Libretto by Michael Korie. Based on the novel by John Steinbeck. The Grapes of Wrath was first performed by Minnesota Opera in Saint Paul, Minnesota on February 10, 2007. The newly revised version, presented in these premiere performances, was commissioned by Opera Theatre of Saint Louis and used by arrangement with Carl Fischer, LLC, publisher and copyright owner. CONDUCTOR

WIG AND MAKEUP DESIGNER

ASSISTANT STAGE DIRECTOR

STAGE DIRECTOR

CHOREOGRAPHER

STAGE MANAGER

SET DESIGNER

CHORUS MASTER

ASSISTANT STAGE MANAGER

COSTUME DESIGNER

ENGLISH DICTION SPECIALIST

ASSISTANT STAGE MANAGER

LIGHTING DESIGNER

REPETITEUR

INTERN ASSISTANT STAGE MANAGER

Christopher Allen*

Tom Watson Seán Curran

James Robinson

Cary John Franklin

Allen Moyer James Schuette

Christopher Akerlind

Erie Mills

Andrea Grant

Richard Gammon

Kimberley S. Prescott Valerie J. Clatworthy Brandon Ehrenreich Luci Burdick* * OTSL DEBUT

THERE WILL BE ONE INTERMISSION. THE PERFORMANCE WILL LAST APPROXIMATELY TWO HOURS AND FIFTY-FIVE MINUTES.

Made possible in part by the Fred M. Saigh Endowment at Opera Theatre and by the Sally S. Levy Family Fund for New Works, which provides support for contemporary opera and related community engagement activities. Leadership support comes from the Whitaker Foundation, The Andrew W. Mellon Foundation, Mrs. Walter F. Brissenden, the Berges Family Foundation, and the Ferring Family Foundation, with an award from the National Endowment for the Arts, and with major production support from OTSL’s Rudolph W. Driscoll Endowment for Contemporary Opera and OPERA America’s Opera Fund.

Opera Theatre gratefully acknowledges Pris McDonnell for endowment support for composer residencies. Christopher Allen’s engagement is made possible with the generosity of Mr.† & Mrs. Laurance L. Browning, Jr. Generous leadership support for the services of the St. Louis Symphony is provided by Jack C. Taylor† and the Taylor family. † IN MEMORIAM

The Departure of the Joads, 1939. Thomas Hart Benton (1889-1975) Art © T.H. Benton and R.P. Benton Testamentary Trusts/UMB Bank Trustee/Licensed by VAGA, New York, NY

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The Grapes of Wrath THE CAST

(in order of vocal appearance) ROSASHARN, TOM’S PREGNANT SISTER

PETE FOWLER, A TRACTOR OPERATOR / RAGGED MAN, A CROPPER / BILL, A VIGILANTE

Deanna Breiwick

Michael Miller*+

MA JOAD, FAMILY MATRIARCH

JOE, A DEPUTY / PUMP GUY 1

Katharine Goeldner

Evan Bravos*+

PA JOAD, A TENANT FARMER

FRED, A DEPUTY / PUMP GUY 2

Levi Hernandez

Samuel Weiser+

UNCLE JOHN, PA’S BROTHER

HANK, A DEPUTY / LOU, A STRIKER

Robert Orth

Matthew Dalen*+

CONNIE RIVERS, ROSASHARN’S HUSBAND

SENATOR, OKLAHOMA POLITICIAN

Andrew Lovato*

RUTHIE, THE YOUNGER SISTER

Hannah Dishman*+

WINFIELD, THE YOUNGEST BROTHER

Devin A. Best *

NOAH JOAD, TOM’S SLOW-WITTED BROTHER / PRISON GUARD

Hugh Russell

AL JOAD, TOM’S YOUNGER BROTHER

MULEY’S WIFE

Megan Callahan*+ GRANMA, PA AND JOHN’S MOTHER

MaryAnn McCormick° MAN IN SUIT, REPOSSESSES FARMS / INSPECTOR, AN AGRICULTURAL OFFICER

TOM JOAD, A RELEASED PRISONER

Tobias Greenhalgh

°

JIM CASY, A LAPSED PREACHER p

°

MULEY GRAVES, EVICTED FARMER / GRAMPA, PA AND JOHN’S FATHER / GEORGE ENDICOTT, CALIFORNIA FARM OWNER / CONTRACTOR OF MIGRANT WORKERS / PATROL GUARD

Dennis Petersen*

The action takes place in the Dust Bowl of Oklahoma, various stops on the way to California, and migrant worker camps in California.

Robert Stahley*+ DEPUTY

Rafael Helbig-Kostka+ CABIN MISTRESS AT HOOPER RANCH

Simona Genga*+ JAKE, A STRIKER

* Opera Theatre main season debut

p

Former Richard Gaddes Festival Artist

f Richard Gaddes Festival Artist

°+ Former Gerdine Young Artist Gerdine Young Artist

Philippe L’Esperance*+ SOPRANO

Erica Petrocelli *+ BOY IN BARN

Nathaniel Mahone* SYNOPSIS

Prologue

TRAFFIC COP / PEACH CHECKER

Dust Bowl migrants recall the devastation of their native Oklahoma lands, brought about by drought and the Great Depression.

A TRUCKER / JIM, A STRIKER

Jeff Byrnes*+ PUMP GUY 3

Matthew Swensen*+ MAE, A WAITRESS

Jennifer Panaraf° VAL, A COOK

Alexander McKissick*+ BILL, A TRUCKER / COMMISSARY CLERK OF HOOPER RANCH STORE

Benjamin Dickerson+

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CROPPER HUSBAND / WASHROOM GUARD AT HOOPER RANCH / GEORGE, A VIGILANTE

Nicolette Book*+

CONSTABLE, ENFORCES EVICTIONS / JOE, A TRUCKER

Phillip Lopez*+ p

Oklahoma croppers, protesters, migrant workers, bankers, truckers, and camp residents.

Alex Rosen*+

Dominik Belavy*+

Michael Dayf°

Geoffrey Agpalo

Daevyd Pepper*+

CROPPER WOMAN, HOOVERVILLE SQUATTER

Act One Tom Joad is paroled after serving four years for manslaughter. Walking home he meets an old friend, Jim Casy. Tom invites Jim home to meet his family, but the family has been evicted by the bank. The Joads plan to move to California, where it is rumored there is work. Tom agrees to go with them, even though it means breaking his parole. Tom’s younger brother Al buys a beat-up truck for the 2,000-mile journey. But Granma and Grampa are disturbed by leaving their land — as is Ma, who laments the loss of the family’s home. The Joad family sets off down Route 66. They meet other travelers with handbills advertising farm jobs. The migrants are ridiculed as “Okies” by suspicious townspeople. One ragged man warns them there is no work left in California, and that the handbills are lies printed by ranchers to attract enough labor to keep wages low. Undiscouraged, Tom’s pregnant sister Rosasharn and her husband Connie dream of the car and house they will buy one day. Grampa dies during the night, unable to survive away from the land of his birth. The family buries him and then continues down the highway. At a highway diner, Pa tries to buy a dime’s worth of bread; he cannot afford the entire loaf. The waitress refuses to sell it to him, but relents when she sees the two youngest Joad kids, Ruthie and Winfield. As the family crosses the Mojave Desert, Rosasharn and Connie make love unseen in the back of the truck as Ma sits by Granma’s side to comfort her. At dawn, the family is amazed to see a valley of green California farmlands before them. They have made it to the Promised Land. Then Ma reveals that Granma has died during the crossing. Gazing out at an uncertain future, the family asks California to keep its promise.


(opposite)

(above)

Four families, three of them related with fifteen children, from the Dust Bowl

A “black blizzard” over Prowers Co., Colorado, 1937.

in Texas in an overnight roadside camp near Calipatria, California, 1935.

Arthur Rothstein (1915-1985)

Dorothea Lange (1895-1965)

Act Two As the Joads unsuccessfully seek work, the land’s history is revealed through the evolution of Endicott Farms, beginning in 1849 with California settler George Endicott and moving to the present agribusiness corporation. Tom watches as a fire is deliberately set in the orchard, burning the bumper crop to keep prices high. No one thinks to give the food to the starving migrants. Having run out of money, the Joads are forced to stop in a squalid shanty town known as a “Hooverville.” Al angrily reproaches their other brother, the slow-witted Noah, for being more of a burden than a help. Al wants to break off on his own but Ma insists the family stay together. Connie regrets leaving Oklahoma and mocks Rosasharn’s dreams of home and family. The next day, a contractor and a deputy show up with more handbills offering work. When the Joads become suspicious, a scuffle breaks out and Tom knocks the deputy unconscious. Casy takes the blame and is arrested as the family attempts to sneak out before the authorities find Tom. Noah is confused by these events and the family’s panic but, wanting to help, makes himself useful in the most heartbreaking of ways. He drowns himself in the nearby creek — one less mouth for the family to feed.

Finally, the Joads find work at a peach orchard, where underpaid workers are striking. They are unaware that they are being hired as scabs. The family soon discovers that every penny they earn must be spent to house and feed themselves at the ranch commissary. They are no better off than they were before. Tom learns to his surprise that a released Casy is leading the strike. He and Tom reflect on the slow and painful progress of American society and economics. They are interrupted by local vigilantes. One cuts Tom with a knife, and another murders Casy. Enraged, Tom kills the man who struck Casy before fleeing. Ma outsmarts a policeman and brings food to Tom’s hiding spot, but each knows that he must leave. Tom vows to keep their family’s story alive and to fight for justice and opportunity. The decimated Joad family takes shelter in a boxcar during a torrential rainstorm, which turns into a flood just as Rosasharn goes into labor. Her child is stillborn. The flood consumes the truck with Al in it. Ma herds Ruthie and Winfield, a shell-shocked Pa, and a weakened Rosasharn into a deserted barn to wait out the storm. Inside are a boy and his starving, nearly dead father. Ma and Rosasharn intuitively know what must be done. Ma ushers everyone else back outside as Rosasharn revitalizes the dying man with the milk of human kindness. p 9191


RICKY IAN GORDON

A Note from the Composer

The opportunity to re-visit The Grapes of Wrath at this time in our society was a gift. Unfortunately, or fortunately, the book maintains its resonance today: governments and people at odds, human-induced environmental disasters, distrust between corporations and workers, passing the buck and denying responsibility. The world premiere of Grapes occurred at Minnesota Opera on February 10, 2007. Writing the opera then was a cathartic experience, but I quickly realized that I would inevitably want to revise the opera for a new, streamlined audience experience. So here we are, ten years later, with a new two-act version distilled down from our original three-act opera…but I could not have participated in the “re-think” of this piece any sooner. It takes courage to revisit a work of this scale. I had to be ready to let go of things and to decide with librettist Michael Korie how to shape this new version. When I was working on the new version, I felt like I was returning to visit old friends. I found a kind of satisfaction in reaffirming what was already in the score while blurring some edges, committing to a fresh and vibrant version. I even wrote some new music, because in this kind of edit you often need new connective tissue. The first time around, Michael and I felt we needed to finish things cleanly; here, we bled more...it is a more cinematic approach. That being said, it was not easy to condense the novel for the operatic stage. I love the story and the people of Grapes deeply. Choosing what to include in the world premiere — and which parts of the novel to leave out — was heartbreaking. This time, I embraced the challenge.

Farm child from a family later resettled on the Bosque Farms project, New Mexico, 1935. Dorothea Lange (1895-1965)

JAMES ROBINSON

I look forward to the world hearing this new, leaner Grapes. It might have been easier to rework this opera, had we decided to just focus on the story of the Joads and excise some of the broader political themes, but that felt sacrilegious. The Joads have to be seen in a wider context, as Steinbeck meant for them to be...so this is the balancing act: the ever-hopeful Joads, and the ravaged world that catapults them forward towards a non-existent dream. p

A Note from the Director

John Steinbeck, the great American realist author, believed that we must always look to our past in order to move forward. His monumental 1939 book The Grapes of Wrath is the harrowing story of the Joad family, whose journey from a drought-ravaged, Depression-soaked Oklahoma to a better life in California became a battle hymn for social justice and a cautionary tale about man’s impact on the natural world. The Dust Bowl was an epic ecological disaster brought on by a collision of natural occurrences and a blatant disregard for science. The far-reaching results were devastating and are still considered one of humanity’s greatest self-inflicted wounds. Most of the victims of the one-two punch of the Depression (that other great human mishap at the time) and the Dust Bowl were, of course, the poor. The Okies, as they were disparagingly called at the time, were true American refugees. As they moved west in search of a better life in their own country, they were not just ostracized and harassed, but also were branded as job-stealing criminals and not “real” Americans. The only groups who fared worse than the refugees from Oklahoma were African-Americans and migrant Mexicans. Steinbeck was so outraged by what he saw happening in his own native California that he felt compelled to give these people faces and names. The Joads are not just vivid in their desperation, they are vibrant in their need to keep their family together. In Steinbeck’s novel, the Joads turn from victims to survivors, people not just looking for work but citizens in search of dignity and deliverance from oppression. Steinbeck, who came from German and Irish immigrant stock, was raised in a Christian (Episcopal) family. Although he became more agnostic in his adult life, he believed there were many lessons to be learned in Judeo-Christian teachings, and his writings frequently incorporated Bible-inspired allegories. And a recurring question emerges in the work of Steinbeck: can a man honestly call himself a Christian without really understanding the teachings of Christ? Regardless of our own personal and individual thoughts on religion — Christianity, Judaism, Islam, Hinduism, etc. — there is something that world-traveling, endlessly-searching Steinbeck begs all of us to embrace when dealing with our fellow man: compassion. John Steinbeck, author of the 1939 novel The Grapes of Wrath. 92

The Grapes of Wrath is indeed a cautionary tale. But caution need not inspire fear. Now more than ever it is a battle cry, a hymn, and an anthem. And, in this operatic version, an essential and inspiring celebration of word, music, and voice. p


The Grapes of Wrath RICKY IAN GORDON

Composer

Ricky Ian Gordon is a New York City-based composer and a leading writer of vocal music that spans art song, opera, and musical theater. Mr. Gordon’s songs have been performed and/or recorded by internationally renowned singers including Renée Fleming, Nathan Gunn, Kelli O’Hara, Audra McDonald, Kristin Chenoweth, and Frederica von Stade, among many others. Opera Theatre of Saint Louis commissioned and produced Mr. Gordon’s “27” in 2014 to critical acclaim; he has also received commissions from the Metropolitan Opera, the Lyric Opera of Chicago, Houston Grand Opera, Minnesota Opera, and Cincinnati Opera, and had two evenings dedicated to his music at Lincoln Center’s American Songbook series. Two of Mr. Gordon’s operas, including The Grapes of Wrath, are on Opera News’ list of “New Masterpieces of the 21st Century,” and The New York Times has compared his music to that of Stephen Sondheim and Leonard Bernstein. Mr. Gordon premiered The Grapes of Wrath, with a libretto by Michael Korie, in 2007 at Minnesota Opera; the opera was later performed at Carnegie Hall where The New York Times wrote, “The hall was packed and ovation tumultuous.”

M I C H A E L KO R I E

Librettist

Michael Korie is a New York City-based librettist and lyricist who was recognized in 2016 with the American Academy of Arts and Letters’ Marc Blitzstein Award. Mr. Korie’s operatic collaborations have been produced by San Francisco Opera, Houston Grand Opera, Minnesota Opera, New York City Opera, BAM Next Wave Festival, Carnegie Hall, and Disney Los Angeles Symphony Hall. The Chicago Tribune hailed Harvey Milk, his 1995 opera with composer Stewart Wallace, as “one of the best new operas in years” while The Independent said, “The libretto is among the sharpest in contemporary opera.” Together with composer Scott Frankel, Mr. Korie has created Broadway and off-Broadway musicals including Grey Gardens and Far From Heaven. Their scores have been nominated for Tony and Drama Desk Awards, won the Outer Critics Circle Award, and been produced across the US, Europe, Australia, and South America. His newest musical, War Paint, opened on Broadway earlier this spring starring Patti LuPone and Christine Ebersole. His lyrics have received the Edward Kleban Prize, Jonathan Larson Award, and the ASCAP Richard Rodgers New Horizons Award. Mr. Korie teaches at both the Dramatist Guild Fellows Program and the Yale School of Drama.

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P H I L I P G L A S S | C H R I S TO P H E R H A M P TO N AMERICAN PREMIERE

TheTrial A COMIC OPERA IN TWO ACTS Music by Philip Glass. Libretto by Christopher Hampton. Based on the Story of Franz Kafka. Dedicated to Music Theatre Wales. The Trial was commissioned by Music Theatre Wales, the Royal Opera, Theater Magdeburg, and Scottish Opera. The world premiere took place on October 10, 2014 at the Linbury Theatre, Royal Opera House, London. Music Director Michael Rafferty. Stage Director Michael McCarthy. ©

2014 Dunvagen Music Publisher Inc. Used by permission.

CONDUCTOR

WIG AND MAKEUP DESIGNER

STAGE MANAGER

STAGE DIRECTOR

CHOREOGRAPHER

ASSISTANT STAGE MANAGER

SET AND COSTUME DESIGNER

ENGLISH DICTION SPECIALIST

ASSISTANT STAGE MANAGER

LIGHTING DESIGNER

REPETITEUR

INTERN ASSISTANT STAGE MANAGER

Carolyn Kuan*

Tom Watson

Michael McCarthy* Simon Banham*

Christopher Akerlind

Seán Curran

Ben Malensek

Adam Nielsen ASSISTANT STAGE DIRECTOR

Alison Moritz

Sara Prince

Sarah Johnson Alec Rigdon*

Luci Burdick* *O TSL DEBUT

THERE WILL BE ONE INTERMISSION. THE PERFORMANCE WILL LAST APPROXIMATELY TWO HOURS AND TWENTY-FIVE MINUTES.

Opera Theatre gratefully acknowledges an anonymous donor for leadership support of this production. Made possible in part with major production support from Emily Rauh Pulitzer and with production underwriting from Byerly RV and Clayco.

Opera Theatre dedicates this production to the memory of David W. Mesker†, whose leadership and gifts of treasure, time, and spirit will enrich this company for years to come. Carolyn Kuan’s engagement is made possible with the generosity of the Edward Chase Garvey Memorial Foundation. Generous leadership support for the services of the St. Louis Symphony is provided by Jack C. Taylor† and the Taylor family. † IN MEMORIAM

Une cause célèbre (A Famous Case), 1862-1865. Honoré Daumier (1808-1879)

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The Trial SYNOPSIS

Act One Illustration from The City, 1925. Frans Masereel (1889-1972)

THE CAST (in order of vocal appearance) JOSEF K.

Theo Hoffman° FRANZ (GUARD 1) / BLOCK

Joshua Bluef°

WILLEM (GUARD 2) / COURT USHER / CLERK OF COURT / PRIEST

Robert Mellonf°

THE INSPECTOR / UNCLE ALBERT

Matthew Lau

FRAU GRUBACH / WASHERWOMAN / WOMAN

Sofia Selowsky°

FRAÜLEIN BÜRSTNER / LENI

Susannah Biller

MAGISTRATE / ASSISTANT / LAWYER HULD

Keith Phares°

BERTHOLD, A STUDENT / FLOGGER / TITORELLI

Brenton Ryan*

The action takes place in an unknown city somewhere near you a hundred years ago — or now.

* Opera Theatre main season debut

f Richard Gaddes Festival Artist

° Former Gerdine Young Artist

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Someone must have slandered Josef K., for one morning — without having done anything wrong — he is arrested. And so begins The Trial. It is Josef K.’s 30th birthday. Two men appear in his apartment to arrest him. No explanation is offered, but everyone seems to know why they are there. People are already watching. K. tries to laugh it off, but nobody finds it funny. After the Inspector has informed him of his arrest and observed his reaction, K. is allowed to go to work. Later that evening, K. apologizes to his housekeeper for the extra work he has caused her. He decides to tell another resident, Fräulein Bürstner, about his arrest. She is attracted by his predicament and he impulsively kisses her. K. finds the Court, located in an obscure domestic block. He is led into the room by a Washerwoman only to discover that everyone is waiting for him. K. remonstrates against the Court but is interrupted by a sudden cry. A man is pressing himself up against the Washerwoman. K. tries to defend her and accuses the entire Court of being corrupt. K. returns for a second hearing but the Court is not in session. The Washerwoman reveals she is the Court Usher’s wife but offers herself to K., saying she liked his speech but that her interruption stopped him just in time. K. looks at the Magistrate’s books and sees they contain pornography, and as he continues to be seduced, the student Berthold arrives to carry off the Washerwoman. Again K. wants to defend her, but Berthold disappears with the Washerwoman. At that moment the Usher appears. He hates the Court’s inhabitants for constantly taking his wife away and suggests K. could beat up the student for him — because as a defendant, he has nothing to lose. K. needs help to get out of the courtroom. K. is in his office. His Uncle arrives to admonish him for not revealing his arrest and offers to help him by taking him to a Lawyer. K. isn’t convinced this is necessary but accepts. On his way out, he hears strange noises from a cupboard and discovers that the Guards who arrested him are being flogged. As he closes the door, his Assistant asks what the noise is. “Only a dog,” K. responds.


Act Two K. and his Uncle visit the Lawyer, Huld. The maid, Leni, tells them the Lawyer is ill. K. can’t keep his eyes off her and she returns his lingering glances before she is asked to leave. Much to K.’s surprise, Huld knows all about his case. He finds K.’s case far too interesting to ignore and begins to brag about how well-connected he is in legal circles. K. takes the sound of a breaking plate as an excuse to leave. It turns out Leni did this on purpose to draw him to her, and as she starts to seduce him, she recommends he visits the painter Titorelli to get more advice. After they have made love, K.’s Uncle bursts in and scolds him for his outrageous behavior with Leni, who also happens to be Huld’s mistress. K. visits Titorelli in his hot and chaotic attic, which is besieged by noisy girls. Titorelli advises K. he has three options: genuine acquittal, apparent acquittal, or postponement. None of them seem quite right for K. As K. leaves, Titorelli sells him a number of identical paintings, then suggests that he use a different exit. K. recognizes it as the corridor to the Court.

Anthony Perkins on the set of The Trial, a film by Orson Welles based on Franz Kafka’s novel, 1961. Photo © Nicolas Tikhomiroff

Leni is with Block, another client of Huld. K. sees them together. He and Block agree to share a secret with each other. Block reveals he has six lawyers, none of whom he believes are actually helping his case. He now spends all his time and all his money working on his case, anxiously waiting for any help he can get. K. reveals he is going to dispense with Huld’s services. When K. tells Huld, the Lawyer seems unconvinced. He knows all about Block’s deception and Leni’s promiscuity and tries to make an example of Block, humiliating him in front of K. K. finds himself in the cathedral. It is dark and cavernous. A priest appears. He knows who K. is and explains, “The verdict is not suddenly pronounced. The verdict slowly evolves from the proceedings.” The Priest tells the story of “The Door of the Law,” a strange parable which hints at the impossibility of K.’s situation. One year after his arrest, K. is led to a deserted place by the Guards. Fräulein Bürstner passes by. Someone is watching. The Guards exchange glances and with that, K.’s fate is sealed. “Like a dog.” p 9797


MICHAEL McCARTHY

A Note from the Director Creating this stage production was done in a most unusual way for an opera. It began before we had a note of the opera and even before the libretto was complete. Although this was necessary due to our timeline, it was also an important part of the collaboration we had with Philip Glass. The whole thing evolved simultaneously, and during an interview on BBC Radio 3 after the premiere, Philip made the following statement: “What’s interesting is how the text and the drama on stage impact the music, and there’s a dichotomy there. Christopher Hampton is a very, very good writer, and we were all together on this interpretation, his writing of the libretto, the staging, and the composition of the music itself.” During the design process, I was in regular contact with Philip and Christopher, and we all agreed that one of the core aspects of the novel is the way in which everything just happens to K., as if it’s pre-ordained. Once the trial is set in motion, there is no stopping it. Whatever he does or tries to do, K. cannot alter its course; Franz Kafka (1883-1924), circa 1915. even though there are times when he might think he has achieved something, he simply hasn’t. From the very first moment it’s all a surprise to him and totally unexpected, but somehow feels and is presented as inevitable — The Guards and Inspector know exactly why they are there and what is happening to K., even though they don’t seem to have knowledge of anything other than their own roles. It has all been fixed. K. feels he sits outside the system but is completely trapped in it. Even with the first court scene — he is expected by the court, but he has no idea where to go or what time to be there. Everyone he meets seems to know more than him, either about the system or about his actual case. In some ways this is the most bewildering and terrifying aspect of the story, the way the system seems to know everything in advance and gradually grinds down the resistance of anyone who tries to confront it or believes they are not part of it. When K. finally accepts this, he simply offers himself up to his fate. He accepts its inevitability but has spent the entire year fighting it tooth and nail. Another critical aspect of the novel and the opera is the sense of being watched, from the opening scene with the neighbors in the window to the quarry where there is a figure watching from a distant window. We have envisioned this as an abstract room in which all the action happens — all inside K.’s world. All the other performers are part of this world and manipulate it according to the requirements of the story — as they do in the story and as Kafka himself does to the reader. The other performers bring on and place any furniture that is required for each scene, but in a way that’s part of the action, controlling the space in which K. exists, disorienting yet familiar. K. has no choice. It all happens to him. At times he tries to take it into his own hands, only to discover that it was all going to happen anyway. K. is the only constant. The other performers emerge as the people who inhabit and manipulate K.’s world and as the other characters in the story. The audience sees that it is the same people who keep returning in different guises. We know Kafka enjoyed seeing Yiddish theater and silent movies, especially Charlie Chaplin. And we also know that when Kafka first read the story out loud to his friends, they all split their sides laughing! I have aimed to embrace this feeling of black comedy by relishing the overt theatricality as a way of expressing the nightmare in which K. finds himself. One man, stuck inside a world which is constantly changing and shifting around him, into which people keep emerging as different characters and from which he cannot escape until he accepts he can’t. Then it goes. p

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The Trial PHILIP GLASS

Composer

Philip Glass is one of the most widely acclaimed and celebrated composers of the modern era. His work spans a number of musical genres — including symphonies, operas, and film scores — and collaborations with artists such as Twyla Tharp, Allen Ginsberg, Woody Allen, David Bowie, Paul Simon, and Yo-Yo Ma. His operatic works include Appomattox, Einstein on the Beach, Satyagraha, and Akhnaten, among many others, and have been performed throughout the world’s leading opera houses. Mr. Glass is a three-time Academy Award nominee for the film scores of Kundun, The Hours, and Notes on a Scandal. His musical style has continued to evolve throughout his lifetime, based on the extended reiteration of brief, elegant melodic fragments that weave in and out of an aural tapestry. Although often described as a “minimalist,” there has been nothing minimalist about Mr. Glass’s musical output. In the past 25 years, Glass has composed more than 20 operas; 11 symphonies; 2 piano concertos and concertos for violin, piano, timpani, and saxophone quartet and orchestra; film soundtracks; string quartets; and a growing body of work for solo piano and organ. Today, Mr. Glass presents lectures, workshops, and solo keyboard performances around the world, and continues to appear regularly with the Philip Glass Ensemble.

CHRISTOPHER HAMPTON

Librettist

Christopher Hampton is a Tony, Olivier, and Academy Award-winning playwright, screenwriter, translator, and director. His first play, When Did You Last See My Mother?, written while still a student at Oxford University, made him the youngest playwright ever to have a play in London’s West End. Mr. Hampton is best known for his stage and screen adaptations of Dangerous Liaisons, for which he won an Academy Award in 1988. He received a second Academy Award nomination in 2007 for his adaptation of Ian McEwan’s Atonement. Mr. Hampton’s stage work includes the plays Total Eclipse, The Philanthropist, and Tales from Hollywood. His many film adaptations include The Quiet American and A Dangerous Method. He both wrote and directed three films, including Carrington. He also created the book and co-wrote the lyrics for three musicals, including Sunset Boulevard. Mr. Hampton has collaborated with Philip Glass on two previous occasions: Waiting for the Barbarians and Appomattox. His libretto for Appomattox (adapted from his own original play) was hailed in 2015 as “as deeply moving as anything I’ve seen in opera” by The Washington Post.

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WO L F G A N G A M A D E U S M OZ A R T

Titus

La clemenza di Tito OPERA SERIA IN TWO ACTS Music by Wolfgang Amadeus Mozart. Libretto by Pietro Metastasio, adapted by Caterino Mazzolà. English translation by Daniel Dooner, commissioned by Opera Theatre of Saint Louis, © 2017. Edited for the Neue Mozart-Ausgabe by Franz Giegling. Used by arrangement with European American Music Distributors Company, US and Canadian agent for Baerenreiter-Verlag, publisher and copyright owner. La clemenza di Tito was first performed at the National Theatre of Prague on September 6, 1791 to celebrate the coronation of King Leopold II of Bohemia. First performed by Opera Theatre of Saint Louis on June 9, 1996. CONDUCTOR

Stephen Lord Roberto Kalb (June 22)

STAGE MANAGER

CHORUS MASTER

ASSISTANT STAGE MANAGER

ENGLISH DICTION SPECIALIST

ASSISTANT STAGE MANAGER

REPETITEUR

INTERN ASSISTANT STAGE MANAGER

Seán Curran

Cary John Franklin

STAGE DIRECTOR

Stephen Lawless SET AND COSTUME DESIGNER

Leslie Travers *

LIGHTING DESIGNER

Christopher Akerlind WIG AND MAKEUP DESIGNER

Tom Watson

CHOREOGRAPHER

Erie Mills

Damien Francoeur-Krzyzek ASSISTANT STAGE DIRECTOR

James Blaszko

Cindy Knight

Valerie J. Clatworthy Brandon Ehrenreich Traci Clapper * * OTSL DEBUT

THERE WILL BE ONE INTERMISSION. THE PERFORMANCE WILL LAST APPROXIMATELY TWO HOURS AND FORTY MINUTES.

Made possible with leadership gifts from Centene Charitable Foundation and Sally S. Levy & Family. Opera Theatre dedicates this production to Carol L. Kimball†, a generous friend and beloved volunteer. This production is made possible with Carol’s support and gifts celebrating her life. Generous production underwriting is provided by The Mabel Dorn Reeder Foundation – Mabel L. Purkerson, M.D., Trustee, Leigh & Jean Mason, and Wells Fargo Advisors.

Additional production support is provided by Mr. & Mrs. William B. Firestone, Mrs. Paul A. Lux, Mr. & Mrs. Robert L. Scharff, Jr., and Dr. & Mrs. Gene W. Spector. Generous leadership support for the services of the St. Louis Symphony is provided by Jack C. Taylor† and the Taylor family. † IN MEMORIAM

Flying Eagle, 2012. Robert Freiberger

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Titus THE CAST

(in order of vocal appearance) VITELLIA, DAUGHTER OF THE DEPOSED EMPEROR VITELLIO

Laura Wilde°

SESTO, FRIEND OF TITO, IN LOVE WITH VITELLIA

Cecelia Hall °

ANNIO, FRIEND OF SESTO, IN LOVE WITH SERVILIA

Emily D’Angelo*

PUBLIO, PREFECT OF THE PRAETORIAN GUARD

Matthew Stump *

TITO FLAVIO VESPASIANO, EMPEROR OF ROME

René Barbera

SERVILIA, SISTER OF SESTO, IN LOVE WITH ANNIO

Monica Dewey *f°

The people of Rome. The action takes place in Rome.

* Opera Theatre main season debut f Richard Gaddes Festival Artist Former Gerdine Young Artist

°

D. Titus Vespasian, Emperor of Rome. Engraving by Aegidius Sadeler (1570-1629) after Titian (1488-1576).

SYNOPSIS

Act One Vitellia, the daughter of the dethroned emperor Vitellio, is determined to regain power by marrying the new emperor, Tito. Unfortunately for her, Tito is already in love with another woman — a foreign princess named Berenice. Furious, Vitellia persuades Tito’s close friend Sesto (who is desperately in love with her) to assassinate the new emperor. Fortunately, Tito has announced that he no longer plans to marry Berenice for political reasons, and Vitellia hopes he will choose her this time. Torn between love and friendship, Sesto is relieved when Vitellia takes back her deadly request. Unfortunately, when Tito makes a new proposal, it is to Sesto’s sister Servilia. Rejected for a second time, Vitellia is even more enraged and urges Sesto to go through with his original plan. Meanwhile, Servilia is equally upset at the thought of having to marry Tito, as she is already in love with the nobleman Annio. She begs the emperor to take back his proposal, and Tito kindly agrees to find another bride. Annio visits Vitellia to tell her that she is the emperor’s next choice, but Vitellia’s plot has already been set in motion. Before Vitellia can stop Sesto, the Capitol is ablaze and the emperor is reported dead. Act Two The emperor has miraculously escaped assassination. Sesto is terrified that Tito will find out about his betrayal and confesses everything to Annio, who advises that Sesto turn himself in and rely on the emperor’s mercy. Vitellia begs Sesto to ignore Annio’s advice, fearing that he will eventually reveal her part in the conspiracy. Before Sesto can make up his mind, he is arrested. After weathering an interrogation in silence, Sesto is condemned to death by the Senate. Annio begs the emperor to show mercy. Tito questions Sesto alone, desperate for an excuse to grant his friend a pardon. Sesto promises that his actions weren’t politically motivated, but refuses to say why he attempted to kill Tito — or for whom. Left with no other choice, a heartbroken Tito signs the death warrant. Vitellia is tormented by guilt as she awaits Sesto’s execution, knowing that he only betrayed Tito to win her love. After Servilia and Annio beg her to intervene on Sesto’s behalf, Vitellia finally confesses the entire plot to Tito. As everyone waits for the final judgment, Rome’s new emperor must decide whether justice or mercy will rule. p

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The Burning of Rome, circa 1834-1840. J. M. W. Turner (1775–1851)

S TE PH E N L AW LE S S

A Note from the Direc tor La clemenza di Tito is Mozart’s last opera — the majority of The Magic Flute having already been written — and one of his greatest, yet it languished in obscurity for two centuries. Written (allegedly) in 18 days as a commission for the coronation of Leopold II, it was dismissed as somehow being unworthy of Mozart — that he was prostituting his talents — a piece written in haste to a crusty 50-year-old libretto by the godfather of opera seria, Metastasio. This assessment of Titus I think is unfair. The quality of the musical invention seems to me to be neither rushed nor written to order. This is the work of a composer at the height of his powers. This opera offers the integrity and compassion that you would expect from Mozart, but Titus also has a dramatic character that is unlike anything he had written before. Aided by major surgery to the libretto from Caterino Mazzolà (omitting the original second act and changing the endless recitative into short ensembles), the opera is transformed into something much sleeker and fastermoving…in contemporary terms, the equivalent of a political thriller about an assassination attempt (and its aftermath) in which ideas — forgiveness versus retribution, the personal versus the political — still resonate today. Therefore, we have tried to evoke these similarities in our presentation of the piece, and to reflect Enlightenment ideas of the time of composition — using iconography that is common to Classical Rome, the 18th century, and today. p

A replica of the historical Aquila eagle standard that ancient Roman legions carried into battle. “SPQR” is the abbreviation of Senatus Populusque Romanus (Senate and People of Rome).

STEPHEN LORD

A Note from the Conduc tor Many have asked my colleagues and me, “Why Titus for Stephen Lord’s final opera as Music Director of Opera Theatre?” I have always chosen to conduct operas at OTSL that I love and this opera speaks to me in a unique way. Added to that was the opportunity to cast it with former members of The Gerdine Young Artist Program and with people I have mentored from their beginnings. This way, I feel we are fulfilling the true mission of the company. What better way to conclude such a wonderful period of my life? p 103 103


The Capitol, set design for La clemenza di Tito, the performance directed by Anton Genast in the Hoftheater in Vienna, 1815. Friedrich Beuther (1776-1856)

CRAIG A. SMITH

Magnanimit y Rules — A Look Inside Mozar t ’s Titus At 10:30 p.m. on Friday, October 7, 1791, Wolfgang Amadeus Mozart began a loving letter to his wife, Constanze, who was away from Vienna at the time. The missive would range far and wide, from glad tidings about the current notable success of the recent premiere of The Magic Flute to the delectability of the cutlets Mozart would have for supper. It also would contain important news about the final performance of his recently commissioned opera La clemenza di Tito (Titus), which had premiered in Prague on September 6. Mozart had the latest information from his longtime friend and colleague Anton Stadler, the acclaimed clarinetist and basset hornist. Mozart told his “dearest, most beloved little wife!” that “On the very evening when my new opera [Flute] was performed for the first time with such success, [Titus] was given in Prague for the last time with tremendous applause.” Among the highlights of that performance, Stadler wrote Mozart, were that the lead castrato Bedini sang better than ever, and that a charming duet for two female singers was encored. In addition, the challenging but beautiful final aria for the prima donna (Vitellia) was highly acclaimed. Stadler reported that he himself was bravo’d by both the audience and the orchestra for his deft accompanying of two principal arias. “What a miracle for Bohemia,” Stadler wrote, “but indeed I did my very best.” At that, so had Mozart. Written with his trademark inspired fluency, and brimming with brilliant dramatic sonic touches, Titus is an appealing masterwork. The opera also occupies an interesting position in Mozart’s output: it was composed at his usual rapid pace, between late July and early September 1791 — according to some sources, in just 18 days. This was after the bulk of Flute had been completed, making a good case for referencing Titus as Mozart’s last opera, a distinction usually assigned to Flute. Incidentally, the speed with which Mozart wrote may be thought unusual today, but it was simply business as usual for the composer: he worked details out in his mind with extreme rapidity, so the process of scoring was simply a matter of transferring a completed work to paper rather than composing from scratch. Also, when he arrived in Prague, he would have been prepared to make immediate adjustments in the score to accommodate his singers and their strengths and weaknesses. That was the customary practice of the day. The commission for Titus came from Domenico Guardasoni, an impresario resident in Prague. He had been retained by the Estates, the governing body of Bohemia, to produce a work honoring the coronation of Leopold II as King of Bohemia. Mozart, who was always in need of money, saw an invaluable opportunity to ingratiate himself with the imperial court and was glad to take on the job when Guardasoni arrived on his doorstep in Vienna. Incidentally, court composer and Mozart’s rival Antonio Salieri had previously turned it down, saying he was too busy to take the task on. The text was a reworking by Caterino Mazzolà of a 1734 libretto by the revered poet Pietro Metastasio. Mazzolà trimmed the original three acts to two and adjusted the balance of arias and ensembles, yielding for Mozart a more streamlined version of the old opera seria format. This provided Mozart with a cohesive story to set to music, while reducing the length of the piece to accord more with contemporary tastes. Mozart, Constanze, Stadler, and another friend, Franz Xaver Süssmayr, arrived in Prague on August 28, 1791. Due to time constraints, Süssmayr wrote the opera’s original recitatives. (He would later gain fame for completing Mozart’s Requiem after his death on December 5 that same 104


Titus

Wolfgang Amadeus Mozart. Barbara Krafft, 1819

Leopold II half thaler, 1791. La clemenza di Tito

A portrait of Pietro Metastasio. His libretto of La clemenza di Tito,

was composed to honor the coronation of

which had already been set to music many times, was adapted by

Leopold II, king of Hungary and Bohemia.

Caterino Mazzolà for Mozart. Martin van Meytens (1695-1770)

year.) Mozart conducted the first, private performance, which took place a few hours after Leopold’s coronation. Though it received several additional performances that month, Titus’s initial reception was mixed — quite possibly because the subject, while by extension lauding the Emperor’s benevolence, was not the kind of light-hearted romp usually associated with a major celebration. But as we’ve seen, it soon gained in popularity. Still, Titus has not always had easy sailing. Very popular and widely performed in the three decades after Mozart’s death, it rapidly lost favor thereafter. Only the aria “Parto, ma tu ben mio” kept the opera’s name before the public — thanks to its being a favorite of countless mezzo-sopranos, and of clarinetists who loved to play the brilliant accompanying part written for Stadler. (The composer wrote both the Clarinet Quintet and the Clarinet Concerto for Stadler, and created the prominent clarinet part in Titus specifically with Stadler in mind.) The tide began to turn with later 20th-century Mozart scholarship, and today, while not as widely performed as the big Mozartean triumvirate of The Marriage of Figaro, Don Giovanni, and Così fan tutte, Titus is widely respected as well as mounted with more and more regularity. It repays attention handsomely. Musically, Titus stands on a notably high and assured level. The vocal writing offers plenty of opportunities for florid display, but it is display at the service of character development. The orchestral writing is confident and decisive, supporting the story while never musically overwhelming it. Theatrically, the work presents a full range of human emotional expression, from burning rage to generosity of soul, from firm fortitude to unwavering friendship. And in the end, we find, magnanimity rules. p Craig A. Smith is the author of A Vision of Voices: John Crosby and The Santa Fe Opera, published by the University of New Mexico Press. 105 105


CENTER STAGE A SHOWCASE CONCERT FOR THE

Richard Gaddes Festival Artists & Gerdine Young Artists Tuesday, June 20, 2017 · 8:00 p.m. The Loretto-Hilton Center e

YOUNG ARTISTS PERFORM AT THE 2016 CENTER STAGE CONCERT. PHOTOS © KEN HOWARD

Accompanied by members of the ST. LOUIS SYMPHONY Conductor STEPHEN LORD, MUSIC DIRECTOR Stage Director JAMES ROBINSON, ARTISTIC DIRECTOR Dedicated to the memory of COLIN GRAHAM

Featuring musical selections from operas conducted by Stephen Lord during his 25 years as Music Director. RICHARD GADDES FESTIVAL ARTISTS

GERDINE YOUNG ARTISTS

Joshua Blue

Anush Avetisyan

Simona Genga

Erica Petrocelli

Michael Day

Dominik Belavy

Rafael Helbig-Kostka

Christine Taylor Price

Monica Dewey

Nicolette Book

Mary-Hollis Hundley

Caitlin Redding

Robert Mellon

Evan Bravos

Courtney Jameson

Alex Rosen

Jennifer Panara

Jeff Byrnes

Philippe L’Esperance

Robert Stahley

Benjamin Taylor

Megan Callahan

Phillip Lopez

Matthew Swensen

Cheyanne Coss

Alexander McKissick

Stephanie Tritchew

Matthew Dalen

Michael Miller

Samuel Weiser

Benjamin Dickerson

Andrea Núñez

Michaela Wolz

Hannah Dishman

Daevyd Pepper

Soprano

Tenor

Baritone

Tenor

Tenor

Soprano

Soprano

Soprano

Baritone

Baritone

Mezzo-soprano

Baritone

Mezzo-soprano Baritone

Mezzo-soprano

Tenor

Mezzo-soprano

Bass-baritone

Soprano

Tenor

Tenor

Baritone

Baritone

Mezzo-soprano

Soprano

Soprano Soprano

Mezzo-soprano Bass

Tenor Tenor

Mezzo-soprano Bass

Mezzo-soprano

Tenor

Center Stage is made possible in part with a gift from William H.T. Bush in loving memory of Patricia R. Bush. Generous underwriting is also provided by Phoebe and Spencer Burke. 106

Generous leadership support for the services of the St. Louis Symphony is provided by Jack C. Taylor† and the Taylor family. † IN MEMORIAM


S

ince its founding in 1976, Opera Theatre of Saint Louis has built a reputation as a company that identifies and promotes the careers of the nation’s most promising early-career singers. In 2015, Opera Theatre added to this legacy with the very first Center Stage concert: a now-annual event that allows the company’s young artists to stand in the spotlight, accompanied onstage by the renowned St. Louis Symphony. This one-night-only event features concert performances of duets, trios, and ensemble pieces from opera’s most beloved classics and cherished rarities, sung in the original language by some of opera’s next superstars. Opera Theatre’s celebrated young artist programs offer two unique opportunities for singers: The Gerdine Young Artist Program and The Richard Gaddes Festival Artist Program, which nurture the next generation of rising opera talent by offering emerging young singers invaluable professional experience. Over the course of nine weeks, these artists receive extensive vocal coaching, appear in solo settings in widespread community appearances, participate in master classes led by renowned opera artists, and — most importantly — sing in both the ensemble and featured supporting roles. This year, more than 1,200 young singers applied for our Gerdine Young Artist Program. Only 29 were selected, and an even smaller number — just 6 — were offered a spot in our Richard Gaddes Festival Artist Program, an honor reserved for the most promising recent Gerdine Young Artists.

It is always thrilling to watch the careers of these singers after they leave our young artist programs for triumphs in new cities and new opera houses. Many OTSL alumni have performed on the world’s most renowned stages, from the Royal Opera House to the Metropolitan Opera, and include names such as Christine Brewer, Matthew Polenzani, Susan Graham, Nathan Gunn, Patricia Racette, Morris Robinson, Thomas Hampson, Ashley Putnam, Dawn Upshaw, Sylvia McNair, Erie Mills, Dwayne Croft, Lawrence Brownlee, Jamie Barton, Christine Goerke, and many more. Opera Theatre’s matchless dedication to gifted young singers — and many generations before — has played a significant part in the company’s remarkable success. And, in turn, we feel indescribably fortunate to host and nurture these exciting singers. They are a crucial cornerstone of any Opera Theatre season. Center Stage holds an even greater significance this season, for it also offers a special celebration of Music Director Stephen Lord. For 25 years, our maestro has been a crucial mentor to each and every young artist who has stepped onto Opera Theatre’s stage, offering musical guidance and professional influence that have (sometimes single-handedly) launched major careers. At the end of the 2017 season, Stephen Lord will step into a new role as Music Director Emeritus. Although he will continue to be involved in the selection and training of future Gerdine Young Artists and Gaddes Festival Artists, this concert marks the closing of a wonderful chapter in Opera Theatre’s story. In honor of Stephen Lord, this year’s musical selections come exclusively from operas that he has conducted over the course of his career at Opera Theatre. Bravo, Maestro Lord, and thank you! n 107


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Beyond the Stage: Discover More Spotlight on Opera

May 1, 8, 15, & 22, 7:30 p.m. Ethical Society of St. Louis

·

9001 Clayton Road

On Mondays in May, discover fascinating insights into all four mainstage productions through panel discussions with composers, librettists, directors, designers, and special guest speakers. Spotlights are moderated by OTSL General Director Timothy O’Leary on May 1, 15, and 22 and by Washington University Vice Provost Adrienne Davis on May 8. Between conversations, enjoy live performances of operatic excerpts from our Gaddes Festival Artists and Gerdine Young Artists. A N U S H AV E T I SYA N , S E A N PA N I K K A R , A N D T I M OT H Y O ’ L E A R Y AT S P OT L I G H T

Spotlight on Opera for The Grapes of Wrath is made possible with generous support from Mary Susman & Tom Herm.

O N O P E R A : S H A L I M A R T H E C LOW N ( 2 0 1 6 ) . P H OTO © K E N H OWA R D

Student Dress Rehearsals

Opera Previews

May 18, May 25, June 2, & June 8

May 20 – June 25

Loretto-Hilton Center

·

1 hour before every performance

130 Edgar Road

Students from schools and universities throughout the St. Louis region attend orchestra dress rehearsals for each of the mainstage productions, providing hundreds of students with some of their first opera experiences. Made possible by the Employees Community Fund of Boeing St. Louis, and with a special gift in loving memory of Erika Goldburg.

Community Music School

·

535 Garden Avenue

One hour before each performance, members of OTSL’s music staff present a free, informative 20-minute talk highlighting the story and music of each opera. Previews take place in the Concert Hall of the Community Music School, located next door to the theater. It’s the perfect introduction to the opera you are about to see! Opera Previews are generously underwritten by Mary Susman & Tom Herm.

O p e r a To u r s a t t h e A r t M u s e u m

May 20 – June 24 Saint Louis Art Museum

·

1 Fine Arts Drive

In specially tailored one-hour tours, Saint Louis Art Museum docents lead guests through the Museum’s collection, highlighting sculptures, paintings, and themes that correspond to Opera Theatre’s mainstage productions. Tours depart from the Visitor Information Center in the Sculpture Hall in the Main Building. All tours are free; no reservations are required. Madame Butterfly Saturday, May 20 at 11 a.m. Sunday, May 28 at 2 p.m. 110

The Grapes of Wrath Saturday, June 3 at 11 a.m. Sunday, June 11 at 2 p.m.

The Trial Saturday, June 17 at 11 a.m. Sunday, June 25 at 2 p.m.

Titus Saturday, June 10 at 11 a.m. Sunday, June 18 at 2 p.m. Saturday, June 24 at 11 a.m.


During Our 2017 Festival Season Yo u n g F r i e n d s DINNER RECEPTIONS

May 20, May 31, June 8, June 18, & June 20 BRUNCH RECEPTIONS *

June 3 & 24

Loretto-Hilton Center

·

130 Edgar Road

YOUNG FRIENDS ENJOY A DELICIOUS BUFFET DINNER RECEPTION BEFORE A PERFORMANCE OF ARIADNE ON NAXOS (2016). PHOTO © KEN HOWARD

Young Friends events are designed to give patrons 45 and under the chance to meet, mingle, and socialize during an unforgettable trip to the opera — without breaking the bank. Participants enjoy an exclusive pre-performance buffet and open bar along with great seats for the opera, all for just $49 per person. “Pick Two… Or More” passes are also available starting at just $79. * Young Friends brunch receptions are the perfect solution for parents with young children! Drop children ages 3–12 off at a fun half-day camp while you enjoy brunch and the opera. See Kids’ Club on the next page for more information. Special thanks to media sponsors Feast Magazine and Delux Magazine and cocktail sponsor Spirits of St. Louis Distillery. Thanks to event co-hosts Urban League Young Professionals (June 8), Mound City Bar Association Young Lawyers Division (June 8), Regional Business Council Young Professionals Network (June 8), and The Hispanic Chamber of Commerce (June 18).

TGIF Opera

May 26, June 9, June 16, & June 23 Loretto-Hilton Center

·

130 Edgar Road

After the performance, the audience is always welcome to join us under the tents for cocktails with the artists. But on Friday nights, thanks to our new TGIF Opera parties, there is even more reason to hang out after the show! Enjoy live music in the gardens, boozy ice cream from Clementine’s Naughty & Nice, other surprise refreshments, and fun photo opportunities. Kicking off the weekend has never felt so good. All TGIF parties are free; no reservations are required. May 26 · Madame Butterfly

Try your hand at traditional Japanese drumming with St. Louis Osuwa Taiko.

June 9 · The Grapes of Wrath Soak up the sounds of Americana-inspired folk music with The Moore Brothers.

June 16 · Titus

Revel in Mozart’s sparkling compositions for strings, performed by The Cardinal String Quartet.

June 23 · The Trial

Pianist Lachlan Glen ignites the gardens with the unmistakable sounds of Philip Glass.

ENJOY THE DELICIOUS FLAVORS OF CLEMENTINE’S HOME-MADE ICE CREAM AT TGIF OPERA!

111111


Beyond the Stage: Discover More Tw e e t S e a t s

S p r i n g Tr a i n i n g V o c a l C a m p

May 26 & 31, 8 p.m.

May 30 – June 2 & June 5–9

Loretto-Hilton Center

·

130 Edgar Road

OTSL offers special seating for active Twitter users at two season performances: Madame Butterfly on May 26 and The Grapes of Wrath on May 31. Participation is by application only. Those who are selected will create a virtual “night at the opera” experience by livetweeting the event. To learn more or apply, visit ExperienceOpera.org/TweetSeats.

Opera Camp for Kids

June 5–9 & June 12–16 · · City Academy

Avery Elementary School

·

Community Music School

535 Garden Avenue

Spring Training is an extension of the Monsanto Artists-in-Training Program and offers two weeks of master classes and vocal coaching for students who will audition for AIT in the fall. Students also take classes in movement, set design, and stage makeup; interface with season artists; attend OTSL mainstage performances; and take part in a fully-staged opera scene. Weekly tuition is $140-$175. To learn more, visit ExperienceOpera.org/SpringTraining. Made possible by Monsanto Fund and in collaboration with the Webster University Community Music School.

Kids’ Club

St. Louis

We b s t e r G r o v e s

This high-energy creative exploration of opera for young people ages 8-13 is held at Avery Elementary School in Webster Groves and City Academy in North St. Louis during the opera season and is taught by veteran Music! Words! Opera! teachers. In addition to creating their own works, campers will learn about and attend Puccini’s Madame Butterfly. Weekly tuition is $175 per camper. To learn more, visit ExperienceOpera.org/OperaCamp. Made possible by lead corporate sponsor Edward Jones and with generous underwriting from the Ferring Family Foundation.

June 3, 10, 17, & 24, 12 p.m. Emmanuel Episcopal Church

·

9 South Bompart Avenue

(Across the street from the Loretto-Hilton Center)

With this new program, parents and young children can both enjoy an afternoon at the opera! At every Saturday matinee, OTSL will offer a fun-filled half-day camp for children ages 3-12, featuring games and activities led by OTSL teaching artists and licensed child care providers from Webster Child Care, while you watch a world-class performance. Participation in Kids’ Club costs $20 per child and is only available with the purchase of a Saturday matinee ticket. Reservations must be made no later than 48 hours prior to each Saturday matinee performance. To learn more, visit ExperienceOpera.org/KidsClub.

Funded by OPERA America’s Building Opera Audiences grant program, supported by the Ann and Gordon Getty Foundation.

Te e n M a t i n e e

June 17, 12 p.m. Loretto-Hilton Center

·

130 Edgar Road

Introduce teens to opera at this matinee performance of The Grapes of Wrath. The party begins at 12 p.m., when teens can hang out preshow in a reserved tent, enjoy a lunch of pizza, sliders, and soft drinks, and learn more about the opera they are about to see. C A M P E R S P E R F O R M T H E I R OW N O P E R A D U R I N G O P E R A C A M P F O R K I D S ( 2 0 1 6 ) . P H OTO © K E N H OWA R D

112

Teen tickets are $25. Family group tickets are also available. To learn more, visit ExperienceOpera.org/TeenMatinees.


During Our 2017 Festival Season A Little Lunch Music

June 19, 12:30 p.m. First Presbyterian Church of Kirkwood 100 East Adams Avenue

Enjoy performances by three leading artists from this season’s production of Madame Butterfly in an informal concert that is free and open to the public. Program selections range from opera and art song to musical theater. There’s no better way to spend a summer lunch hour! Special thanks to the Kirkwood Arts Commission with support from the Kirkwood Arts Foundation for their generous support. Rena Harms, soprano Renée Rapier, mezzo-soprano Michael Brandenburg, tenor Lachlan Glen, pianist

B A R I TO N E J O H N B R A N C Y, S O P R A N O L I V R E D PAT H , A N D M E Z ZO - S O P R A N O C E C E L I A H A L L P E R F O R M AT A L I T T L E LU N C H M U S I C ( 2 0 1 6 ) . P H OTO © K E N H OWA R D

J o h n D. L e v y M a s t e r C l a s s e s

June 16 & 23, 12:30 p.m. Sally S. Levy Opera Center

·

210 Hazel Avenue

Inaugurated by the legendary Eleanor Steber in 1988, these extraordinary master classes offer insights by distinguished artists into the craft of singing and interpretation, with performances by select Gaddes Festival Artists and Gerdine Young Artists. Tickets are $12 and available at the door. Donors at or above the $250 Contributor level may attend free of charge. Made possible by the Levy Family and presented in memory of John D. Levy, a founding board member of Opera Theatre.

FRIDAY, JUNE 16

FRIDAY, JUNE 23

NEIL SHICOFF

PATRICIA RACETTE

Tenor

Neil Shicoff is one of the most sought-after tenors of his generation, having sung with all of the world’s leading opera companies and orchestras to great critical acclaim. He has amassed a repertoire encompassing dozens of operas, including signature roles from Verdi, Mozart, Puccini, Massenet, Offenbach, Donizetti, Britten, Bizet, Strauss, and Tchaikovsky. Mr. Shicoff brings experience garnered from his extensive career to share with this season’s young artists.

Soprano

Patricia Racette is known as one of the great singing actresses of our time, and she continues to share her artistry with audiences around the world. She has performed in all of the world’s major opera houses and is a particular favorite at San Francisco Opera and the Metropolitan Opera. Ms. Racette returns to OTSL, where she made her debut as Donna Elvira in Don Giovanni in 1993. Ms. Racette will make her directing debut with OTSL’s 2018 production of La traviata. 113113


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VISIT THE

8th Annual

BOUTIQUE BROWSE UNIQUE OTSL LOGO ITEMS, CDS, BOOKS, PICNIC ACCESSORIES, LOCAL ARTISAN CRAFTS, AND MORE! Located in the lobby of the Loretto-Hilton Center and staffed by OTSL Guild volunteers.

MONDAY, JUNE 12, 2017 CONCERT AT 7:30 PM DOORS OPEN AT 7:00 PM PERFORMING ARTS CENTER JOHN BURROUGHS SCHOOL 755 S. PRICE RD. ST. LOUIS, MO 63124

2017 Artists (featured this season at Opera Theatre of Saint Louis): Susannah Biller, Michael Brandenburg, Deanna Breiwick, Tobias Greenhalgh, Cecelia Hall, Theo Hoffman, Christopher Magiera, and Laura Wilde Founder, Artistic Director, and Pianist: Carol Wong

NEW! SHOP THE BOUTIQUE ONLINE AT EXPERIENCEOPERA.ORG/BOUTIQUE.

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SOLO ARTISTS

Geoffrey Agpalop° Anush Avetisyan*+ René Barbera Dominik Belavy*+

Devin A. Best* Susannah Biller Joshua Bluef° Nicolette Book*+ Michael Brandenburg* Evan Bravos*+ Deanna Breiwick Jeff Byrnes*+

Megan Callahan*+ Matthew Dalen*+ Emily D’Angelo* Michael Dayf° Monica Dewey*f° Benjamin Dickerson+ Hannah Dishman*+ Simona Genga*+ Katharine Goeldner Tobias Greenhalghp° Cecelia Hall° Rena Harms*

Rafael Helbig-Kostka+ Levi Hernandez Theo Hoffman° Matthew Lau Philippe L’Esperance*+ Phillip Lopez*+ Andrew Lovato* Christopher Magiera Nathaniel Mahone* MaryAnn McCormick° Alexander McKissick*+

Robert Mellonf° Michael Miller*+ Andrea Núñez*+

TENORS

BARITONES

John McVeigh°

Robert Orth Jennifer Panara*f° Daevyd Pepper*+ Dennis Petersen* Erica Petrocelli*+ Keith Phares° Renée Rapier Caitlin Redding*+ Alex Rosen*+

Hugh Russell Brenton Ryan* Sofia Selowsky° Robert Stahley*+

Matthew Stump* Matthew Swensen*+ Benjamin Taylorf° Stephanie Tritchew*+ Samuel Weiser+ Laura Wilde°

RICHARD GADDES FESTIVAL ARTISTS SOPRANO

Monica Dewey

MEZZO-SOPRANO

Jennifer Panara

* Opera Theatre main season debut

p

Former Richard Gaddes Festival Artist

f Richard Gaddes Festival Artist

°+ Former Gerdine Young Artist Gerdine Young Artist

116

Joshua Blue Michael Day

Robert Mellon Benjamin Taylor

BASS–BARITONE

Erik Van Heyningen


The cast and ensemble of Carmen (2012). PHOTO © KEN HOWARD

GERDINE YOUNG ARTISTS SOPRANOS

Anush Avetisyan Nicolette Book Cheyanne Coss Mary-Hollis Hundley Andrea Núñez Erica Petrocelli Christine Taylor Price

MEZZO-SOPRANOS

Megan Callahan Hannah Dishman Simona Genga Courtney Jameson Caitlin Redding Stephanie Tritchew Michaela Wolz

TENORS

Matthew Dalen Rafael Helbig-Kostka Philippe L’Esperance Alexander McKissick Daevyd Pepper Robert Stahley Matthew Swensen

BARITONES

Dominik Belavy Evan Bravos Jeff Byrnes Benjamin Dickerson Michael Miller

BASS–BARITONE

Phillip Lopez BASSES

Alex Rosen Samuel Weiser

ARTISTIC STAFF CONDUCTORS

Christopher Allen* Michael Christie Roberto Kalb Carolyn Kuan* Stephen Lord STAGE DIRECTORS

Robin Guarino Stephen Lawless Michael McCarthy* James Robinson

CHOREOGRAPHER

Seán Curran DESIGNERS

Christopher Akerlind Simon Banham* Candice Donnelly* Laura Jellinek* Allen Moyer James Schuette Leslie Travers* Tom Watson

HEAD OF MUSIC STAFF/ ASSISTANT TO THE MUSIC DIRECTOR

Roberto Kalb

CHORUS MASTER

Cary John Franklin SOLTI FOUNDATION ASSISTANT CONDUCTOR

Daniel Black*

ENGLISH DICTION SPECIALIST/ YOUNG ARTIST TEACHER & COACH

Erie Mills

GADDES FESTIVAL & GERDINE YOUNG ARTIST VOCAL CONSULTANT

MaryAnn McCormick PRINCIPAL COACH/ ENGLISH DICTION SPECIALIST

REPETITEURS

Damien FrancoeurKrzyzek Lachlan Glen Andrea Grant Tessa Hartle Adam Nielsen DRAMATURG

Christine Mok*

Ben Malensek

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Artist Profiles GEOFFREY AGPALO

Tenor (Illinois) Richard Gaddes Career Award Jim Casy, The Grapes of Wrath OTSL DEBUT

CHRISTOPHER AKERLIND

Lighting Designer (Connecticut) Madame Butterfly, The Grapes of Wrath, The Trial, Titus OTSL DEBUT

Hooker, Emmeline, 2015

The Marriage of Figaro, 1990

Shalimar the Clown, OTSL; Der Rosenkavalier, Bel Canto (world premiere), Lyric Opera of Chicago

Indecent, Waitress, Broadway; Table (world premiere), Long Wharf Theatre

CHRISTOPHER ALLEN

SIMON BANHAM

PAST

Conductor (California) Mr. & Mrs. Laurance L. Browning, Jr. Endowed Artist The Grapes of Wrath OTSL DEBUT PAST

The Barber of Seville, English National Opera; Morning Star (world premiere), Cincinnati Opera; The Daughter of the Regiment, Washington National Opera; Before Night Falls, Florida Grand Opera

PAST

FUTURE

Lucia di Lammermoor, The Santa Fe Opera; Elizabeth Cree (world premiere), Opera Philadelphia

Set & Costume Designer (Nigeria) Colin Graham Master Artist Endowment The Trial OTSL DEBUT PAST

The Persians, Coriolan/us, National Theatre Wales; The Trial, The Royal Opera House, Covent Garden; The Golden Dragon, Music Theatre Wales FUTURE

The Magic Flute, Cincinnati Opera

Passion, National Dance Company Wales/ Music Theatre Wales

RENÉ BARBERA

DEVIN A. BEST

FUTURE

Tenor (Texas) Mabel Dorn Reeder Foundation Prize; Mr. & Mrs. Ernest A. Eddy, Jr. Endowed Artist Tito Flavio Vespasiano, Titus OTSL DEBUT

Tonio, The Daughter of the Regiment, 2011 PAST

Treble (Missouri) Winfield, The Grapes of Wrath OTSL DEBUT PAST

St. Louis Children’s Choir; Zion Lutheran Church Harvester

L’italiana in Algeri, The Metropolitan Opera; Der Rosenkavalier, Lyric Opera of Chicago; Les Troyens, San Francisco Opera FUTURE

The Barber of Seville, Opéra national de Paris; La Cenerentola, Bayerische Staatsoper

SUSANNAH BILLER

Soprano (Tennessee) Ellen & Bill Yeckley Artist Fraülein Bürstner/Leni/Offstage Voice, The Trial OTSL DEBUT

Adina, The Elixir of Love, 2014 PAST

Dinner at Eight (world premiere), Minnesota Opera; Semiramide, Opera Delaware FUTURE

DANIEL BLACK

Solti Foundation Assistant Conductor (Wisconsin) Titus OTSL DEBUT PAST

Associate Conductor, Fort Worth Symphony Orchestra; Solti Foundation, US Career Assistance Award 2015, 2016; Assistant Conductor, Spoleto Festival USA

Don Pasquale, Minnesota Opera; Falstaff, Opera Colorado; Der Ring des Polykrates, The Dallas Opera MICHAEL BRANDENBURG

Tenor (Indiana) Phoebe & Spencer Burke Artist B.F. Pinkerton, Madame Butterfly OTSL DEBUT PAST

Soprano (Washington) Mr. & Mrs. Sanford N. McDonnell Endowed Artist Rosasharn, The Grapes of Wrath OTSL DEBUT

The Flying Dutchman, Washington National Opera; Vanessa, Wexford Festival Opera; La bohème, The Glimmerglass Festival

Johanna, Sweeney Todd, 2012

Madame Butterfly, Opera North; Arabella, Canadian Opera Company

Thaïs, The Metropolitan Opera; The Coronation of Poppea, Opernhaus Zürich; Elizabeth Cree (world premiere), Opera Philadelphia

FUTURE

118

DEANNA BREIWICK

PAST

Orlando, Opernhaus Zürich; Rigoletto, Palm Beach Opera FUTURE


Artist Profiles MICHAEL CHRISTIE

Conductor (New York) Barbara M. Osborne Memorial Artist Madame Butterfly OTSL DEBUT

SEÁN CURRAN

Choreographer (Massachusetts) Madame Butterfly, The Grapes of Wrath, The Trial, Titus OTSL DEBUT

The Ghosts of Versailles, 2009

Nixon in China, 2004

Dead Man Walking, Washington National Opera; La bohème, Minnesota Opera The (R)evolution of Steve Jobs (world premiere), The Santa Fe Opera; Aida, Washington National Opera; The Marriage of Figaro, Minnesota Opera

Stage Director and Choreographer: Ariadne on Naxos, OTSL; Dream’d in a Dream, Brooklyn Academy of Music Choreographer: Shalimar the Clown, OTSL; Vanessa, The Santa Fe Opera; Il turco in Italia, Bergen National Opera

EMILY D’ANGELO

CANDICE DONNELLY

PAST

FUTURE

Mezzo-soprano (Canada) Josephine & Monte Throdahl Endowed Artist Annio, Titus OTSL DEBUT PAST

The Marriage of Figaro, Festival dei Due Mondi; The Magic Flute, Canadian Opera Company; Grand Prize Winner, The Metropolitan Opera National Council Auditions, 2016; 21C Music Festival, Canadian Opera Company Orchestra FUTURE

Lindemann Young Artist Development Program, The Metropolitan Opera DAMIEN FRANCOEUR-KRZYZEK

PAST

Costume Designer (New York) Madame Butterfly OTSL DEBUT PAST

Die Fledermaus, Cincinnati Opera; Haroun and the Sea of Stories (world premiere), New York City Opera; X: Or, Betty Shabazz v. The Nation, The New Victory Theater; Indian Ink, Roundabout Theatre Company; A Little Night Music, American Conservatory Theater

CARY JOHN FRANKLIN

OTSL DEBUT

Chorus Master (Iowa) Madame Butterfly, The Grapes of Wrath, Titus

PAST

1988 Season

Repetiteur (Colorado) Titus

Madame Butterfly, 2008 La finta giardiniera, La vida breve, New England Conservatory Opera; Eugene Onegin, Boston Youth Symphony Orchestra

OTSL DEBUT PAST

Composer: Cantus; VocalEssence; Loss of Eden, OTSL CONTINUES AS

Music Director, Borderline Music Festival; Music Director, Civic Orchestra of Minneapolis

LACHLAN GLEN

Repetiteur (Australia) MacKay Career Development Fund Artist Madame Butterfly

KATHARINE GOELDNER

Mezzo-soprano (Iowa) Ma Joad, The Grapes of Wrath OTSL DEBUT

OTSL DEBUT

Peggy Ophuls, Shalimar the Clown, 2016

PAST

Aida, Utah Opera; Das Rheingold, Minnesota Opera; Carmen, Lyric Opera of Chicago

The Barber of Seville, 2015 Pianist, The Metropolitan Opera National Council Auditions Semi-Finals; Conductor, Die Fledermaus, Trentino Music Festival; Music Staff, International Vocal Arts Institute CONTINUES AS

PAST

FUTURE

Samson and Delilah, Virginia Opera; JFK, Opéra de Montréal

President/CEO, Mise-En-Scène Studios

ANDREA GRANT

Repetiteur (Canada) The Grapes of Wrath

TOBIAS GREENHALGH

OTSL DEBUT

Baritone (Pennsylvania) Bettie S. Johnson Artist Tom Joad, The Grapes of Wrath

PAST

Samuel, The Pirates of Penzance, 2013

The Death of Klinghoffer, 2011 Vanessa, The Bear, Wexford Festival Opera; Louis Riel, Canadian Opera Company FUTURE

Medea, Wexford Festival Opera; Rigoletto, Canadian Opera Company

OTSL DEBUT PAST

Eugene Onegin, Wiener Kammeroper FUTURE

The Barber of Seville, Glyndebourne Tour; Maria Stuarda, A Midsummer Night’s Dream, Theater an der Wien; Candide, Palm Beach Opera

119


Artist Profiles ROBIN GUARINO

Stage Director (New York) Ann Lee & Will Konneker Endowed Artist Madame Butterfly OTSL DEBUT

CECELIA HALL

Mezzo-soprano (North Carolina) Fred Wehrle, Jr. Memorial Artist Sesto, Titus OTSL DEBUT

Dialogue of the Carmelites, 2014

The Composer, Ariadne on Naxos, 2016

Some Light Emerges (world premiere), Houston Grand Opera; Die Fledermaus, Cincinnati Opera; Il combattimento di Tancredi e Clorinda/ I Have No Stories to Tell You, Gotham Chamber Opera; The Marriage of Figaro, San Francisco Opera

The Marriage of Figaro, Opera Philadelphia; La finta giardiniera, The Santa Fe Opera; The Barber of Seville, Canadian Opera Company

PAST

FUTURE

PAST

FUTURE

War Stories, Opera Philadelphia; Dido and Aeneas, Oper Frankfurt

War Stories, Opera Philadelphia RENA HARMS

Soprano (New Mexico) Margaret B. Grigg Memorial Artist Cio-Cio-San, Madame Butterfly OTSL DEBUT PAST

Madame Butterfly, English National Opera; Simon Boccanegra, Opéra National de Bordeaux; Otello, Oldenburgisches Staatstheater; La bohème, LA Opera FUTURE

Ring Cycle, Grand Théâtre de Genève

LEVI HERNANDEZ

Baritone (Texas) Pa Joad, The Grapes of Wrath OTSL DEBUT

Staff Accompanist/Projected English Text Coordinator (Pennsylvania) Madame Butterfly, The Grapes of Wrath, The Trial, Titus OTSL DEBUT

2013 Season PAST

The Passenger, Florida Grand Opera; Orpheus in the Underworld, Virginia Opera; Il trovatore, Sarasota Opera FUTURE

Principal Coach/Accompanist, Michigan Opera Theatre Studio

THEO HOFFMAN

Baritone (California) Josef K., The Trial OTSL DEBUT

Leporello, Don Giovanni, 2011

Thierry, Dialogues of the Carmelites, 2014

Madame Butterfly, Houston Grand Opera; La Cenerentola, Lyric Opera of Chicago; The Queen of Spades, Komische Oper Berlin Florencia en el Amazonas, San Diego Opera; La bohème, Opera Colorado

Salome, LA Opera; La bohème, The Atlanta Opera; The Magic Flute, Les mamelles de Tirésias, Juilliard Opera; Grand Finalist, The Metropolitan Opera National Council Auditions, 2016

LAURA JELLINEK

ROBERTO KALB

PAST

FUTURE

Set Designer (Pennsylvania) Madame Butterfly OTSL DEBUT PAST

Don Giovanni, Boston Lyric Opera; Owen Wingrave, Opera Philadelphia & Curtis Opera Theatre; Orlando paladino, Manhattan School of Music Opera Theater; The Cunning Little Vixen, Juilliard Opera

PAST

Conductor/Head of Music/ Assistant to the Music Director (Mexico) Stephen H. Lord Endowed Artist Madame Butterfly, The Grapes of Wrath, The Trial, Titus OTSL DEBUT

2015 Season PAST

La traviata, OTSL

Cover Conductor, Sibelius Symphony No. 2, Detroit Symphony Orchestra; Music Director, Life Sciences Orchestra, University of Michigan Assistant Conductor: La fanciulla del West, Michigan Opera Theatre; The Magic Flute, Juilliard Opera

CAROLYN KUAN

MATTHEW LAU

FUTURE

Conductor (Taiwan) Edward Chase Garvey Memorial Foundation Artist The Trial OTSL DEBUT PAST

The Magic Flute, The Glimmerglass Festival; Florencia en el Amazonas, Washington National Opera; Dr. Sun Yat-sen, The Santa Fe Opera CONTINUES AS

Music Director, Hartford Symphony Orchestra

120

TESSA HARTLE

Bass (Indiana) The Inspector/Uncle Albert, The Trial OTSL DEBUT

Benoit/Alcindoro, La bohème, 2009 PAST

Emmeline, OTSL; Elmer Gantry, Florentine Opera Company, Naxos Records; Billy Budd, Seattle Opera; The Marriage of Figaro, New York City Opera; Die Meistersinger von Nürnberg, Lyric Opera of Chicago


Artist Profiles STEPHEN LAWLESS

Stage Director (United Kingdom) Sally S. Levy Endowed Artist Titus

STEPHEN LORD

Music Director and Conductor (Massachusetts) Titus OTSL DEBUT

OTSL DEBUT

The Gondoliers, 1986

PAST

Norma, English National Opera; Tosca, Lyric Opera of Chicago; Rigoletto, San Francisco Opera

Troilus and Cressida, 2008 Boris Godunov, Wiener Staatsoper; Un ballo in maschera, LA Opera; The Flying Dutchman, New York City Opera; Der Rosenkavalier, Bolshoi Opera FUTURE

The Marriage of Figaro, Palm Beach Opera

ANDREW LOVATO

Baritone (Wisconsin) MacKay Career Development Fund Artist Connie Rivers, The Grapes of Wrath OTSL DEBUT PAST

La fanciulla del West, The Magic Flute, Minnesota Opera; Morning Star (world premiere), Cincinnati Opera FUTURE

Ariadne on Naxos, La bohème, Austin Opera

NATHANIEL MAHONE

Treble (Missouri) Boy in Barn, The Grapes of Wrath OTSL DEBUT PAST

PAST

FUTURE

Rigoletto, Canadian Opera Company; Eugene Onegin, Michigan Opera Theatre

CHRISTOPHER MAGIERA

Baritone (Illinois) Donald L. Bryant, Jr. Endowed Artist Sharpless, Madame Butterfly OTSL DEBUT

Onegin, Eugene Onegin, 2010 PAST

The Death of Klinghoffer, English National Opera; La bohème, Semperoper Dresden; Dead Man Walking, Fresno Grand Opera; The Pearl Fishers, The Santa Fe Opera; Don Giovanni, Opera Colorado

BEN MALENSEK

Principal Coach and English Diction Specialist (Ohio) Madame Butterfly, The Trial OTSL DEBUT

Tarzan, Fiddler on the Roof, Seussical the Musical, Shrek, The Muny; A Christmas Carol, The Repertory Theatre of St. Louis

Carmen, 1987

MICHAEL MCCARTHY

MARYANN MCCORMICK

Stage Director (United Kingdom) The Trial OTSL DEBUT PAST

The Golden Dragon, Music Theatre Wales & Buxton International Festival; In The Penal Colony, Jane Eyre (world premiere), Music Theatre Wales FUTURE

Passion, Music Theatre Wales; Simple (world premiere), The Royal Opera House, Covent Garden

JOHN MCVEIGH

Tenor (Connecticut) Goro, Madame Butterfly OTSL DEBUT

Achilles, La belle Hélène, 1995 PAST

Susannah, The Metropolitan Opera; Ariodante, De Vlaamse Opera; Cold Sassy Tree (world premiere), Houston Grand Opera; L’Allegro, il Penseroso ed il Moderato, Mark Morris Dance Group, Kennedy Center FUTURE

Candide, South Dakota Symphony Orchestra

PAST

Norma, Canadian Opera Company FUTURE

Apprentice Program Coach, The Santa Fe Opera; Rigoletto, Canadian Opera Company

Mezzo-soprano (Pennsylvania) Mary Ann Lee Memorial Artist Granma Joad, The Grapes of Wrath; Gaddes Festival and Gerdine Young Artist Vocal Consultant OTSL DEBUT

A Fishwife, Peter Grimes, 1990 PAST

I puritani, The Metropolitan Opera; Madame Butterfly, Lyric Opera of Chicago; Dr. Sun Yat-sen, The Santa Fe Opera; Das Rheingold, North Carolina Opera FUTURE

The Marriage of Figaro, The Metropolitan Opera ERIE MILLS

English Diction Specialist and Young Artist Teacher/Coach (Illinois) Mr. & Mrs. Harvard K. Hecker Endowed Artist The Grapes of Wrath, Titus OTSL DEBUT

Britomarte, The Tree of Chastity, 1978 PAST

Vanessa, The Santa Fe Opera; Master Teacher, Hawaii Opera Theatre; Candide, University of Northern Colorado FUTURE

The (R)evolution of Steve Jobs (world premiere), The Santa Fe Opera CONTINUES AS

Artistic Director, Livermore Valley Opera

121


Artist Profiles CHRISTINE MOK

Dramaturg (New York) Madame Butterfly OTSL DEBUT PAST

The Road Weeps, The Well Runs Dry, Brown University; Harvest, La MaMa ETC; The Intelligent Design of Jenny Chow, Yale Repertory Theatre

ALLEN MOYER

Set Designer (Pennsylvania) The Grapes of Wrath OTSL DEBUT

The Marriage of Figaro, 1999 PAST

Orfeo and Euridice, The Metropolitan Opera; Dead Man Walking, Champion, Washington National Opera; Curlew River, Mark Morris Dance Group & Brooklyn Academy of Music FUTURE

Die Fledermaus, The Santa Fe Opera

ADAM NIELSEN

Repetiteur (Idaho) The Trial OTSL DEBUT

ROBERT ORTH

Baritone (Illinois) Uncle John, The Grapes of Wrath OTSL DEBUT

La bohème, 2016

Figaro, The Barber of Seville, 1985

Romeo and Juliette, Virginia Opera; Kát’a Kabanová, Juilliard Opera; “Ordinary Dust: Lazarus Lieder” (world premiere), Carnegie Hall; Pianist, The Metropolitan Opera National Council Auditions Semi-Finals and Grand Finals

Sweeney Todd, Mill City Summer Opera; Out of Darkness (world premiere), Music of Remembrance; Man of La Mancha, Central City Opera; Dead Man Walking, Opera Parallèle; Death and the Powers, The Dallas Opera

PAST

FUTURE

PAST

Crossing, Brooklyn Academy of Music

DENNIS PETERSEN

Tenor (Iowa) Muley Graves/Grampa/Endicott/ Contractor/Patrol Guard, The Grapes of Wrath OTSL DEBUT PAST

Das Rheingold, Minnesota Opera; La fanciulla del West, Michigan Opera Theatre FUTURE

Salome, Minnesota Orchestra; Dead Man Walking, Minnesota Opera; Das Rheingold, Arizona Opera

KEITH PHARES

Baritone (New Jersey) Magistrate/Assistant/Lawyer Huld/ Offstage Voice, The Trial OTSL DEBUT

Second Noble, The Merchant and the Pauper, 1999 PAST

Sister Carrie (world premiere), Florentine Opera Company; The Pearl Fishers, Seattle Opera; Three Decembers (world premiere), Houston Grand Opera FUTURE

Prince of Players, Florentine Opera Company; Usher House/The Canterville Ghost, LA Opera JOSEPH POTTINGER

Treble (Missouri) Muley’s Son, The Grapes of Wrath OTSL DEBUT PAST

St. Louis Children’s Choirs; La bohème, OTSL; The Music Man, St. Louis University High School

RENÉE RAPIER

Mezzo-soprano (Iowa) Janet McAfee Weakley Memorial Artist Suzuki, Madame Butterfly OTSL DEBUT

Mrs. Bass, Emmeline, 2015 PAST

The Barber of Seville, Opera San José; The Marriage of Figaro, LA Opera; Nixon in China, LA Philharmonic FUTURE

La traviata, San Francisco Opera; Madame Butterfly, Seattle Opera

JAMES ROBINSON

Artistic Director and Stage Director (West Virginia) The Grapes of Wrath OTSL DEBUT

Baritone (Canada) Noah Joad/Prison Guard, The Grapes of Wrath OTSL DEBUT

Radamisto, 2000

Sander, Beauty and the Beast, 2005

Vanessa, The Santa Fe Opera; The Abduction from the Seraglio, LA Opera; Champion, Washington National Opera

The Pirates of Penzance, Palm Beach Opera; The Bells, Orchestre Métropolitain; Carmina Burana, Orquesta Sinfónica de Minería; Elijah, Cincinnati Symphony Orchestra; The Magic Flute, Calgary Opera

PAST

FUTURE

The Elixir of Love, Canadian Opera Company; The House without a Christmas Tree (world premiere), Houston Grand Opera 122

HUGH RUSSELL

PAST


Artist Profiles BRENTON RYAN

JAMES SCHUETTE

OTSL DEBUT PAST

Nixon in China, 2004

Tenor (Missouri) Berthold/Flogger/Titorelli, The Trial The Abduction from the Seraglio, The Metropolitan Opera; The Makropulos Case, San Francisco Opera; Pagliacci, LA Opera; Wozzeck, Lyric Opera of Chicago FUTURE

Costume Designer (Wisconsin) The Grapes of Wrath OTSL DEBUT PAST

Costume Designer: Shalimar the Clown, OTSL Set Designer: Ariadne on Naxos, OTSL FUTURE

Tosca, The Metropolitan Opera

Costume Designer: Julius Caesar, Houston Grand Opera; Alcina, Washington National Opera

SOFIA SELOWSKY

MATTHEW STUMP

Mezzo-soprano (Maryland) Paul M. Arenberg Memorial Artist Frau Grubach/Washerwoman/ Offstage Voice/Woman, The Trial OTSL DEBUT

Mother Jeanne of the Child Jesus, Dialogues of the Carmelites, 2014 PAST

Messiah, Minnesota Orchestra; Madame Butterfly, Houston Grand Opera

Bass-baritone (Indiana) Mr. & Mrs. William H.T. Bush Endowed Artist The Bonze, Madame Butterfly; Publio, Titus OTSL DEBUT PAST

Jenůfa, Don Carlo, Madame Butterfly, Andrea Chénier, San Francisco Opera FUTURE

The Marriage of Figaro, Michigan Opera Theatre

FUTURE

Argento “Casa Giudi,” Lexington Philharmonic; Mozart Requiem, North Carolina Symphony; The Barber of Seville, Houston Grand Opera LESLIE TRAVERS

Set and Costume Designer (United Kingdom) Dr. Alvin R. Frank Memorial Endowed Artist Titus

TOM WATSON

Wig and Makeup Designer (Northern Ireland) Madame Butterfly, The Grapes of Wrath, The Trial, Titus

OTSL DEBUT PAST

H.M.S. Pinafore, 1981

FUTURE

Tristan und Isolde, The Metropolitan Opera; Oslo, Broadway

The Haunted Manor, Polish National Opera; The Marriage of Figaro, Philadelphia Opera Werther, Opéra national de Lorraine; Fiddler on the Roof, Malmö Opera; I puritani, Gran Teatre del Liceu

OTSL DEBUT PAST

FUTURE

Norma, Tosca, The Metropolitan Opera; The Little Foxes, Broadway

LAURA WILDE

Soprano (South Dakota) MacKay Career Development Fund Artist Vitellia, Titus OTSL DEBUT

Mrs. Segstrom, A Little Night Music, 2010 PAST

Jenůfa, English National Opera; Das Rheingold, Lyric Opera of Chicago; Carmen, Nashville Opera FUTURE

Die Walküre, Lyric Opera of Chicago; Der Ring des Polykrates, The Dallas Opera

123


R i c h a r d G a d d e s F e s t i v a l A r t i s t & G e r d i n e Yo u n g A r t i s t P r o f i l e s ANUSH AVETISYAN

Soprano (Armenia) Richard Gaddes Career Award; The Berges Family Foundation Endowed Artist Kate Pinkerton, Madame Butterfly; Gerdine Young Artist OTSL DEBUT PAST

Così fan tutte, Eugene Onegin, Yale Opera; Don Giovanni, Academy of Vocal Arts

JOSHUA BLUE

Tenor (New York) Elihu M. Hyndman Memorial Award; Thelma Steward Endowed Artist Franz (Guard 1)/Offstage Voice/Block, The Trial; Richard Gaddes Festival Artist OTSL DEBUT

A Singer, La rondine, 2015 PAST

The Rape of Lucretia, Street Scene, Oberlin Opera Theater FUTURE

The Elixir of Love, Music Acadamy of the West

EVAN BRAVOS

Baritone (Illinois) Joe/Pump Guy, The Grapes of Wrath; Gerdine Young Artist OTSL DEBUT PAST

Baritone (Michigan) Larry Travis Bushong Memorial Artist Yakuside, Madame Butterfly; Constable/Trucker Joe, The Grapes of Wrath; Gerdine Young Artist OTSL DEBUT PAST

La fanciulla del West, Michigan Opera Theatre; La fedeltà premiata, Juilliard Opera; The Other Side of the Door, Tanglewood Music Festival

NICOLETTE BOOK

Soprano (Minnesota) Richard Gaddes Career Award; Robert & Martha Scharff Endowed Artist Cropper Woman, The Grapes of Wrath; Gerdine Young Artist OTSL DEBUT PAST

Idomeneo, CCM Opera, University of Cincinnati; The Ghosts of Versailles, Wolf Trap Opera; Corbett Award, University of Cincinnati College Conservatory of Music Opera Scholarship Competition, 2017

JEFF BYRNES

Baritone (Louisiana) Ann & Bill Sullins Artist A Trucker/Jim, The Grapes of Wrath; Gerdine Young Artist OTSL DEBUT PAST

The Cunning Little Vixen, Carmen, Opera Santa Barbara; El Pasado Nunca Se Termina, Lyric Opera of Chicago

La fanciulla del West, Little Women, Silent Night, Michigan Opera Theatre

MEGAN CALLAHAN

CHEYANNE COSS

Mezzo-soprano (Washington) Adelaide Cherbonnier Memorial Artist Muley’s Wife, The Grapes of Wrath; Gerdine Young Artist OTSL DEBUT PAST

The Merry Wives of Windsor, Dark Sisters, Boston Conservatory at Berklee; Dialogues of the Carmelites, University of North Carolina at Greensboro Opera Theatre

MATTHEW DALEN

Tenor (Canada) Christoph Willibald Gluck Artist Hank/Lou, The Grapes of Wrath; Gerdine Young Artist OTSL DEBUT PAST

Orpheus in the Underworld, Paul Bunyan, University of Toronto Opera; I Capuleti e i Montecchi, Opera NUOVA

124

DOMINIK BELAVY

Soprano (Michigan) Barbera & Stanley Richman Memorial Award; Lucy & Stanley Lopata Memorial Artist Gerdine Young Artist OTSL DEBUT

Lady-in-Waiting, Macbeth, 2016 PAST

Brahms Requiem, Charleston Symphony Orchestra; La finta giardiniera, Iphigénie en Tauride, New England Conservatory Opera

MICHAEL DAY

Tenor (Illinois) Richard Gaddes Career Award; Shepard Family Foundation Artist Al Joad, The Grapes of Wrath; Richard Gaddes Festival Artist OTSL DEBUT

An Officer, Ariadne on Naxos, 2016 PAST

Man of La Mancha, Utah Festival Opera and Musical Theatre; Florencia en el Amazonas, The Magic Flute, Indiana University Opera Theater


R i c h a r d G a d d e s F e s t i v a l A r t i s t & G e r d i n e Yo u n g A r t i s t P r o f i l e s MONICA DEWEY

Soprano (Georgia) Servilia, Titus; Richard Gaddes Festival Artist OTSL DEBUT PAST

The Daughter of the Regiment, The Barber of Seville, Indiana University Opera Theater; First Place, International Hilde Zadek Voice Competition, 2017

HANNAH DISHMAN

Mezzo-soprano (Virginia) Edes P. Gilbert Artist Ruthie Joad, The Grapes of Wrath; Gerdine Young Artist OTSL DEBUT PAST

BENJAMIN DICKERSON

Baritone (Texas) Phoebe Dent Weil Artist The Official Registrar, Madame Butterfly; Trucker Bill/Commissary Clerk, The Grapes of Wrath; Gerdine Young Artist OTSL DEBUT

A Herald, Macbeth, 2016 PAST

Don Giovanni, The Dangerous Liaisons, Manhattan School of Music Opera Theater; La Cenerentola, Music Academy of the West

SIMONA GENGA

Mezzo-soprano (Canada) Steve Trampe & Jenny Gupta Endowed Artist Cabin Mistress, The Grapes of Wrath; Gerdine Young Artist OTSL DEBUT PAST

Die Fledermaus, Operafestival di Roma; A Little Night Music, La Doriclea, Manhattan School of Music Opera Theater

Falstaff, University of Western Ontario Opera; Prima Zombie, University of Toronto Opera; Dead Man Walking, Opera NUOVA

RAFAEL HELBIG-KOSTKA

MARY-HOLLIS HUNDLEY

Tenor (Germany) Deputy, The Grapes of Wrath; Gerdine Young Artist OTSL DEBUT

Shalimar’s Brother #2, Shalimar the Clown, 2016 PAST

Iphigénie en Tauride, Così fan tutte, New England Conservatory Opera; The Marriage of Figaro, Pittsburgh Festival Opera

COURTNEY JAMESON

Mezzo-soprano (Pennsylvania) Jane & Robert Feibel Artist Gerdine Young Artist PAST

Così fan tutte, Rodelinda, Indiana University Opera Theater; La Cenerentola, Bay View Music Festival

PHILLIP LOPEZ

Bass-baritone (Illinois) Glenn Sheffield Artist The Imperial Commissioner, Madame Butterfly; Traffic Cop/Peach Checker, The Grapes of Wrath; Gerdine Young Artist OTSL DEBUT PAST

The Merry Widow, The College Light Opera Company; Acis and Galatea, Gianni Schicchi, Millikin University Opera Theatre

Soprano (Kentucky) Robert & Lorraine Duesenberg Endowed Artist Gerdine Young Artist PAST

Aida, Sarasota Opera; La bohème, Tulsa Opera; Apprentice Artist, The Sante Fe Opera

PHILIPPE L’ESPERANCE

Tenor (Massachusetts) Maggie & Ron Holtman Artist Jake, The Grapes of Wrath; Gerdine Young Artist OTSL DEBUT PAST

La clemenza di Tito, Le roi l’a dit, Der Zigeunerbaron, Manhattan School of Music Opera Theater

ALEXANDER MCKISSICK

Tenor (Connecticut) John H. Russell Artist Val, The Grapes of Wrath; Gerdine Young Artist OTSL DEBUT PAST

La Navarraise, Bard SummerScape; The Magic Flute, Juilliard Opera FUTURE

La traviata, Aspen Music Festival

125


R i c h a r d G a d d e s F e s t i v a l A r t i s t & G e r d i n e Yo u n g A r t i s t P r o f i l e s ROBERT MELLON

Baritone (New York) Karen & Mont Levy Artist Willem (Guard 2)/Court Usher/ Clerk of Court/Priest, The Trial; Richard Gaddes Festival Artist OTSL DEBUT

A Customs Officer, La bohème, 2016

Baritone (Pennsylvania) Nancy & Ken Kranzberg Artist Pete Fowler/Ragged Man/Bill, The Grapes of Wrath; Gerdine Young Artist OTSL DEBUT PAST

Carmen, Opera Maine; The House Taken Over, National Sawdust; Così fan tutte, Shreveport Opera

The Crucible, The Glimmerglass Festival; The Merry Wives of Windsor, Boston Conservatory at Berklee; The Barber of Seville, Seagle Music Colony

ANDREA NÚÑEZ

JENNIFER PANARA

PAST

Soprano (Canada) Kim & Tim Eberlein Artist Cousin, Madame Butterfly; Gerdine Young Artist OTSL DEBUT PAST

Mezzo-soprano (New Jersey) Barbara M. Bryant Artist Mae, The Grapes of Wrath; Richard Gaddes Festival Artist OTSL DEBUT PAST

Finalist, Canadian Opera Company Centre Stage Competition, 2016; The Magic Flute, Calgary Opera; Cold Mountain (world premiere), The Santa Fe Opera

The Marriage of Figaro, North Carolina Opera; Rusalka, Minnesota Opera; Faust, Annapolis Opera

DAEVYD PEPPER

ERICA PETROCELLI

Tenor (Canada) Joanne & Alan Kohn Artist Senator, The Grapes of Wrath; Gerdine Young Artist OTSL DEBUT PAST

Soprano (Rhode Island) Dorothy & Billy Firestone Endowed Artist A Singer, The Grapes of Wrath; Gerdine Young Artist OTSL DEBUT PAST

Orpheus in the Underworld, University of Toronto Opera; Eugene Onegin, Muskoka Opera Festival; The Rape of Lucretia, MYOpera

Cendrillon, New England Conservatory Opera; Ezio, Odyssey Opera; L’amico Fritz, Boston Midsummer Opera

CHRISTINE TAYLOR PRICE

CAITLIN REDDING

Soprano (Oklahoma) Myrna Hershman Endowed Artist Gerdine Young Artist PAST

The Magic Flute, Juilliard Opera; The Marriage of Figaro, Opera in Williamsburg FUTURE

The Turn of the Screw, Opera Columbus

ALEX ROSEN

Bass (California) Helen S. Shopmaker Artist Man in a Suit/Inspector, The Grapes of Wrath; Gerdine Young Artist OTSL DEBUT PAST

Kát’a Kabanová, Juilliard Opera; A Midsummer Night’s Dream, Rice University Shepard School of Music FUTURE

Messiah, Houston Symphony 126

MICHAEL MILLER

Mezzo-soprano (Maryland) Richard Gaddes Career Award; Elleard B. Heffern Fine Jewelers Endowed Artist in memory of Keith Shaw Cio-Cio-San’s Mother, Madame Butterfly; Gerdine Young Artist OTSL DEBUT PAST

Carmen, Berlin Opera Academy; The Magic Flute, La Calisto, Juilliard Opera

ROBERT STAHLEY

Tenor (Massachusetts) Margery Fort Armstrong Endowed Tenor Cropper Husband/Washroom Guard/ George, The Grapes of Wrath; Gerdine Young Artist OTSL DEBUT PAST

Idomeneo, CCM Opera, University of Cincinnati; La bohème, The Rape of Lucretia, Wolf Trap Opera


R i c h a r d G a d d e s F e s t i v a l A r t i s t & G e r d i n e Yo u n g A r t i s t P r o f i l e s MATTHEW SWENSEN

Tenor (Germany) Arnold Hershman Endowed Artist Pump Guy 3, The Grapes of Wrath; Gerdine Young Artist OTSL DEBUT PAST

Flight, La Calisto, Les mamelles de Tirésias, Juilliard Opera

STEPHANIE TRITCHEW

Mezzo-soprano (Canada) Dr. Mary Anne Rudloff Endowed Artist Cio-Cio-San’s Aunt, Madame Butterfly; Gerdine Young Artist OTSL DEBUT PAST

Elektra, Edmonton Opera; Die tote Stadt, Carmen, Calgary Opera

BENJAMIN TAYLOR

Baritone (Maryland) Steven & Gwendolyn Mizell Artist Prince Yamadori, Madame Butterfly; Richard Gaddes Festival Artist OTSL DEBUT

Fiorello, The Barber of Seville, 2015 PAST

Carmen, Florida Grand Opera; La bohème, Crested Butte Music Festival; Blue Monday, Baltimore Symphony Orchestra

SAMUEL WEISER

Bass (New Jersey) Walter F. Brissenden Memorial Artist Fred/Pump Guy 2, The Grapes of Wrath; Gerdine Young Artist OTSL DEBUT

A Sergeant, La bohème, 2016 PAST

The Perfect American, The Fairy-Queen, Le Vin herbé, Chicago Opera Theater

MICHAELA WOLZ

Mezzo-soprano (Missouri) Clark & Jeanette Gamble Memorial Endowed Artist Gerdine Young Artist PAST

Dark Sisters, Alcina, The Marriage of Figaro, Boston Conservatory at Berklee

127


ATSE I

STAGEHANDS – LOCAL #6 Joe Rudd Business Manager

BUILDERS OF SCENERY OPERATORS OF LIGHTING, SOUND, AND VIDEO

128


THE ORCHESTRA FOR MADAME BUTTERFLY AND THE TRIAL FIRST VIOLINS

Celeste Golden Boyer Erin Schreiber Jessica Cheng Ann Fink Melody Lee Xiaoxiao Qiang Hiroko Yoshida Hyorim Han SECOND VIOLINS

Kristin Ahlstrom Andrea Jarrett Nicolae Bica Lisa Chong Elizabeth Dziekonski Ling Ling Guan Shawn Weil

VIOLAS

HARP

Kathleen Mattis Susan Gordon Leonid Gotman Shannon Farrell Williams Xi Zhang

Allegra Lilly FLUTES

Mark Sparks Ann Choomack PICCOLO

Ann Choomack

CELLOS

Daniel Lee David Kim Elizabeth Chung Bjorn Ranheim Yin Xiong

OBOES

Jelena Dirks Cally Banham ENGLISH HORN

Cally Banham

BASSES

Christopher Carson David DeRiso Sarah Hogan Kaiser Donald Martin

CLARINETS

Diana Haskell Tzuying Huang BASS CLARINET

Tzuying Huang

BASSOONS

Andrew Cuneo Felicia Foland HORNS

Roger Kaza Julie Thayer Tod Bowermaster Lawrence Strieby TRUMPETS

Karin Bliznik Jeffrey Strong Mary Weber

TIMPANI

Shannon Wood PERCUSSION

John Kasica Henry Claude Alan Schilling PIANO/CELESTA

Lachlan Glen (OTSL) Adam Nielsen (OTSL)

TROMBONES

Amanda Stewart Tyler Vahldick BASS TROMBONE

Gerard Pagano

THE ORCHESTRA FOR THE GRAPES OF WRATH AND TITUS FIRST VIOLINS

Heidi Harris Dana Edson Myers Charlene Clark Emily Ho Silvian Iticovici Joo Kim Angie Smart Mary Edge SECOND VIOLINS

Alison Harney Eva Kozma Rebecca Boyer Hall Janet Carpenter Asako Kuboki Wendy Plank Rosen Kyle Lombard Jane Price

VIOLAS

Beth Guterman Chu Gerald Fleminger Morris Jacob Chris Tantillo Christian Woehr CELLOS

PRESIDENT & CEO

James Garrone CHIEF FINANCIAL OFFICER

Adam Crane VP FOR EXTERNAL AFFAIRS

Amy Drummond

Jennifer Nitchman OBOES

Michelle Duskey CLARINETS

Scott Andrews Tina Ward Jane Carl

Erik Harris Carolyn White Ronald Moberly

BASSET HORN

HARP

Scott Andrews

Megan Stout

Anna Kuwabara VP FOR ORCHESTRA OPERATIONS & FACILITIES

VP FOR MARKETING & PATRON SERVICES

PICCOLO

ENGLISH HORN

BASSES

David Nischwitz

Andrea Kaplan Jennifer Nitchman

Philip Ross Michelle Duskey

Melissa Brooks Anne Fagerburg James Czyzewski Alvin McCall

ST. LOUIS SYMPHONY EXECUTIVE STAFF

Marie-Hélène Bernard

FLUTES

BASS CLARINET

Jane Carl

SAXOPHONE

Jeffrey Collins BASSOONS

Andrew Gott Vincent Karamanov CONTRABASSOON

Vincent Karamanov HORNS

Thomas Jöstlein Christopher Dwyer TRUMPETS

Thomas Drake Michael Walk

ORCHESTRA PERSONNEL

STAGE PERSONNEL

Beth Paine Ian Kivler

Joseph Clapper Ron Bolte, Jr. Rick McKenna

ORCHESTRA OPERATIONS

MUSIC LIBRARIANS

Margaret Bailey Alexander Bryant

TROMBONES

Timothy Myers Jonathan Reycraft James Martin TIMPANI

Thomas Stubbs PERCUSSION

William James Ted Rubright Kim Shelley GUITAR/BANJO

Kirk Hanser

PIANO/HARPSICHORD

Andrea Grant (OTSL) Damien Francoeur-Krzyzek (OTSL)

Steinway is the official piano of Opera Theatre of Saint Louis.

Elsbeth Brugger Henry Skolnick

VP FOR PHILANTHROPY

Generous leadership support for the services of the St. Louis Symphony is provided by Jack C. Taylor† and the Taylor family. † IN MEMORIAM Orchestra lists complete as of April 21, 2017.

129


Opera Theatre of Saint Louis Staff TIMOTHY O’LEARY General Director

ADMINISTRATIVE STAFF

Artistic Administration Paul Kilmer

STEPHEN LORD Music Director

Brian Jones

Digital Media & Database Manager

JAMES ROBINSON Artistic Director

SEASONAL PRODUCTION STAFF

Publications & Brand Manager

Production Administration Emilie Weilbacher-McMullan

Public Relations Coordinator

Kristine St. Gemme

National Public Relations Consultant

Charles Barron

Michael Simpson

Public Relations Consultant

Emma Clemens°

Director of Development

Program Book Designer

Ken Howard

Michael Brightman, With Love Catering

Associate Director for Strategy & Organizational Development

Jennie Moser

Director of Artistic Administration

Anh Le

Stephanie Nigus

Kelsey Nickerson

Madalyn Mentor

Maggie Stearns

Wailani E. Ronquillio°

Sarah Thompson

Manager of Artistic Operations Artistic Coordinator

Artistic Administration Intern

Development Nicole Ambos Freber Michelle Myers Caron House

Assistant Director of Development

Stacey Bregenzer

Membership & Development Operations Manager

Cameron James

Manager of Special Events

Kaitlyn Neel

Development Associate

Emily Bishai

Development Intern Charla Sausele Intern for Opera Administration

Education & Community Engagement Allison Felter Director of Education & Community Engagement

Robert McNichols

Manager of Community Events & Engagement

Mia DeJong

Education & Community Engagement Coordinator

Luke Harnish

Education Intern

Finance Mary Ip

Company Photographer Graphics & Media Intern

Synthia Steiman

Photography Intern

Box Office Kara Koverman

Associate Director for Audience Services

Sally Kurt

Assistant Box Office Manager

Denise Angieri Johnny Barton Tara Campbell Liz Engel Monica Roscoe Dina Young Office of the General Director Erin Waters Ryan Executive Assistant to the General Director

Morgan Ulyat

Patron Relations Intern

PRODUCTION & OPERATIONS Stephen M. Ryan

Director of Production & Operations

Hans Fredrickson

Technical Director

Director of Finance

Vonetta Flowers

Accounting Manager

Kendra Henry

Barry Rowold

Sharon Ackermann Staff Accountant

Production Manager Production & Operations Business Manager

Costumes/Wardrobe/ Props Materials Coordinator Production Assistant

Production Catering

SCENERY

Stage Carpentry Theo Prifti Rick Shetley, Jr. Shop Carpenters Dave McCarthy

Master Carpenter

Daniel McCarthy Jim McCarthy Kevin McCarthy Tim McCarthy Dan Roach, Jr. Scenic Artists Stephen Pollihan

Master Scenic Artist

Marketing & Public Relations Joe Gfaller

Lucie Garnett Receptionist

Director of Marketing & Public Relations

° Charles MacKay Career Development Fund Honoree

Master Electrician

Christine Shetley

Deck Electrician

Michael Ferguson

Sound Technician

Charles LeRoi

Video Technician

Kaitlyn Breen

Assistant Lighting Designer

Paige Seber

Assistant Lighting Designer

Charlotte Wester°

Assistant Charge Artist

Stage Crew Trevor Hannagan Lauren Harders Nicole Hunt Kendrick Lawson-Knight* Christopher McDonald Molly Meyer Dylan Norris Ross Rubright Adrianna Schreck Jacob Stahl*

Properties Manager

Assistant Properties Manager

Nickolas Mathis+

Assistant Properties Manager

The position of General Director is underwritten in part by a generous gift from the Zoe and Max Lippman Memorial Fund.

130

LIGHTING/SOUND/VIDEO Peggy Thierheimer

Emily Frei Scott Loebl James VanWell

Mary Kathryn Jacobi+

Stacy Michele Harris

Properties Run Crew Raven Bouvier Emily Furst Nicholas Lanham* Gretchen Le Seure Maram Samaha Katherine Schoenfeld*

Eric L. Elz

Costume Shop Manager

Rebecca Lauren Miller

Shop Supervisor

Carpenters Aaron Justice Todd Moore Artisans Robert Ashurst• Katherine McPhail Properties Run Supervisors Andy Amann John Amann

Allison Larkins

PROPERTIES Meg Brinkley

Eric Woolsey

Finance Intern

Scenery/Props Materials Coordinator

Operations Manager

Peggy Brooks

Accounts Coordinator

Assistant Technical Director

Tara Phelan

Lighting Supervisor Lighting Assistant

Benjamin Lewis

Sound Assistant Keith & Cynthia Shaw Endowed Artist

Jonah Schnell+

Assistant Master Electrician

Electrics Crew Jack Austin Justin Chaipet* Jacob Farkus Henry Hamper Jayson Lawshee* Connor Meers Ashton Rust Orchestra Crew Mike Lynch

Orchestra Crew Manager

Chontol Calvin* Sophie Shugart* Hunter Stout Brandi White


Opera Theatre of Saint Louis Staff

WIGS & MAKEUP Tom Watson

Wig Shop Supervisor

Thomas Kurzman

Assistant Wig Shop Supervisor

Sara Jane Donovan Nina Stewart Will Vicari•

Wig & Makeup Intern

COSTUMES Pat Seyller

Costume Director

Costume Craft Artisans Margaret Flanagan Loribeth Gonzalez John Inchiostro Margaret Powersp Bridget Kraft Painter/Dyer

WARDROBE Theresa Loebl

Crew A Supervisor

Carole Tucker

Wardrobe Crew Grace Austin Anna Mei Bromley Beth Gasser* Bonny Green Kate Slovinski Tyler Tippit* Emily Valencia Laura Weis

Emerson Costume Apprentice Mentor

Drapers Jan Evans Ginny McKeever Jeffery Park Richard W. Tuckett First Hands Lauren Allmeyer Bruk Longbottom Cristine Patrick Carrisa Sexton Briana Wiegand Stitchers Zahrah Aghap Lou Bird Jennifer Blum Faith Brown Vicki Burroughs Rachel Claytonp Marissa Crozier Carol Crudden Sarah Greenstonep Elizabeth Hahn Jenna Lightp Patty MacDonnell-Smith Christina Marcantonio Natalie Maynard Katie Ray Rodriguezp Judith Skylesp Amera Spagnolip Megan Harshaw+ Design Assistant

Marie Green

Shop Assistant Catherine Vail Levy Memorial Endowed Artist

Costume Crafts Rhyan Shipman

Craft Shop Supervisor

Angelique Newbauer

Assistant Craft Shop Supervisor

Resident Assistant Stage Director Richard Gammon

Head of Wardrobe

Emma Bruntrager•

Head Draper

STAGING STAFF

Morgan Fisher•

Robert Trump

Parking Attendants Michael Klein Sam Leach Isaac Schmitt Garden Hosts Andrew Powers Hannah Ryan

The Grapes of Wrath

Assistant Directors James Blaszko

Crew B Supervisor

Titus

Kyle Lang

Madame Butterfly

Alison Moritz The Trial

Assistant Designers Madame Butterfly You-Shin Chen Sets

VAN DRIVERS Kathy Nix Michael Winfield

Yu-ting Lin Sets

Jason Sherwood Sets

FRONT OF HOUSE Maggy Bort

Glenna Ryer

Josie Dawson

Assistant House Manager

The Grapes of Wrath Ryan Howell

Lobby Manager

Margaret Goldrainer

Costumes

House Manager

S. Diane Fukunaga Victoria Peacock

Garden Manager

Melanie Umbaugh Parking Manager

Season Catering Ces & Judy’s Ushers/Greeters Rebecca Siefert Head Usher

Olivia Cross Dustin Duhon Scarlett Fortin Calista Goldwasser Elizabeth Grossman Emma Harris Michael Heise Bea Hollander Andrea Lair Alex Mitchell Wes Ragland Miles Umbaugh Diana Vazquez Carl Wickman

* Emerson Production Artists • Emerson Production Assistants

Sets

Costumes

Titus Karen Britcliffe Sets

Joseph Bisat Marshall Sets

Stage Management Kimberley S. Prescott

Production Stage Manager David N. Farr Endowed Artist

Luci Burdick+

Intern Assistant Stage Manager

Traci Clapper+

Intern Assistant Stage Manager Joan F. Richman Endowed Young Artist

Valerie J. Clatworthy

Assistant Stage Manager

Brandon Ehrenreich

Assistant Stage Manager

Sarah Johnson

Assistant Stage Manager

Cindy Knight

Stage Manager

p Emerson Costume Apprentices

Sara Prince

Stage Manager

Trevor Regars

Stage Manager

Alec Rigdon

Assistant Stage Manager

VOLUNTEERS Ann Fusz & Ellen Fusz

Committee Co-Chairs

Dressers Alane Antoine Cecily Erker Ann Fusz Ellen Fusz Bill Kumke Liza Mitchell Chris Saulter Nancy Shulze Adams Jane Shumate Debby Wafer Lightwalkers John Bradbury Anne Carmen Pat Church Alan Fiddleman Marilyn Humiston Kirk Stein Elise Tegtmeyer Rowena Van Dyke Debby Wafer Libby Weinman Anne Williams Supernumeraries Claire Bower Joe Bower Jim Daues Junko Eccles Cecily Erker Tom Etling Randy Getz William Harris Cy Holder Hank Holder Sam Holder Susannah Klimek Peter Law Charles Letouneau Yuko Kitajima Miller Carl Mitchell Harry Moppins Katsuko Nadeau Andee Wolfe Dani Wolfe Josh Wolfe Louie Wolfe Sam Wolfe

+ Larry & Jinny Browning Technical Fellows 131


Don’t concern yourself about anybody. Just do what you think is right. ~FRANZ KAFKA, THE TRIAL

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Congratulations on 42 years of adventurous repertory, outstanding artists and exceptional teamwork!

Photography by Ken Howard

APPLAUSE! Providing a showcase for the St. Louis arts to thrive and flourish for years to come is the mission of RAF-STL. Congratulations to Opera Theatre of Saint Louis on its 42nd season!

Donate on-line today at rafstl.org/support-raf.

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Lifetime Giving Opera Theatre was founded in 1976 as an ensemble company committed to welcoming artists, audiences, staff, and volunteers as colleagues in a creative adventure. Thanks to the generosity of our donors, Opera Theatre has grown tremendously since those early days and now reaches more than 50,000 people annually through performances and community education and engagement programs. As we celebrate the company’s 42nd season, we pay special tribute to the donors who have made extraordinary lifetime investments in Opera Theatre. The following list includes donors whose cumulative gifts to Opera Theatre total $100,000 or more. $5,000,000 & ABOVE

Edward Jones Mr. & Mrs. Irl F. Engelhardt & The Engelhardt Family Foundation David & Lelia Farr Edward Chase Garvey Memorial Foundation Dr.† & Mrs.† Leigh Gerdine Mary Ranken Jordan & Ettie A. Jordan Charitable Foundation Ann Lee & Will† Konneker Mr.† & Mrs.† L. Max Lippman, Jr. Mr.† & Mrs. Sanford N. McDonnell Mr.† & Mrs.† William B. McMillan, Jr. Emily Rauh Pulitzer Marsha & William C. Rusnack Mr. & Mrs. Robert L. Scharff, Jr. Dr. Jeanne & Rex Sinquefield Mr.† & Mrs.† Monte Throdahl TOKY Branding + Design* Stephen Trampe & Jenny Gupta Emma Coulter Ware† & The Ware Family Foundation Fred J. Wehrle, Jr.†

Anonymous Donor (1) Arts & Education Council of Greater St. Louis Sally S. Levy & The Levy Family Regional Arts Commission $2,000,000-$4,999,999

Anonymous Donor (1) Mrs. Walter F. Brissenden Mr.† & Mrs. Laurance L. Browning, Jr. Centene Corporation & Centene Charitable Foundation Rudolph W. Driscoll†/The Driscoll Foundation Emerson Mr.† & Mrs. Harvard K. Hecker & Hecker Family Charitable Fund of the Greater Saint Louis Community Foundation The Andrew W. Mellon Foundation David W. Mesker† Missouri Arts Council Monsanto Fund & Monsanto Company National Endowment for the Arts The Mabel Dorn Reeder Foundation Mabel L. Purkerson, M.D., Trustee Whitaker Foundation

$250,000-$499,999

$1,000,000-$1,999,999

Anonymous Donors (2) AT&T Alison & John Ferring & Ferring Family Foundation The Ford Foundation Margaret B. Grigg† & Margaret Blanke Grigg Foundation William T. Kemper Foundation - Commerce Bank, Trustee E. Desmond† & Mary Ann† Lee Mr. & Mrs. Michael F. Neidorff The Saigh Foundation David & Thelma Steward & The Steward Family Foundation Jack C. Taylor† & the Taylor Family The Wallace Foundation Webster University* Wells Fargo Advisors $500,000-$999,999

A.G. Edwards & Sons, Inc. Anheuser-Busch InBev Bank of America Mr. & Mrs. James G. Berges & The Berges Family Foundation Ruth Palmer Blanke† Mr. & Mrs. Stephen F. Brauer Dana Brown Charitable Trust, U.S. Bank Trustee Mr. & Mrs. Donald L. Bryant, Jr. Adelaide Cherbonnier† Caleb C. & Julia W. Dula Educational & Charitable Foundation Mr.† & Mrs. Ernest A. Eddy, Jr.

Anonymous Donors (5) Ameren Ann† & Paul M.† Arenberg Gertrude & William A. Bernoudy Foundation The Boeing Company Spencer & Phoebe Burke Mr. & Mrs.† William H.T. Bush Caleres Commerce Bank of St. Louis & The Commerce Trust Company The Robert H. & Lorraine F. Duesenberg Foundation Enterprise Holdings Foundation Dorothy & Billy Firestone The Honorable & Mrs. Sam Fox & Fox Family Foundation Clark & Jeanette Gamble Trust GenAmerica Financial Corp. Ann & Gordon Getty Foundation Joanne & Tony Guerrerio & Wedgewood Partners, Inc. Mr. & Mrs. Ronald A. Holtman Mrs. Lee Hunter† Bettie S. Johnson Nancy & Ken Kranzberg The Kresge Foundation Mr.† & Mrs.† Oliver M. Langenberg Mr.† & Mrs.† Stanley Lopata Mrs. Charles W. Lorenz† Joseph & Carolyn Losos The J.E. & L.E. Mabee Foundation, Inc. Maritz Inc. MasterCard Worldwide May Department Stores Company Phyllis McPheeters†

Continued on page 138

137


Lifetime Giving Continued from page 137

Mr.† & Mrs. Reuben M. Morriss III Spencer T. & Ann W. Olin Foundation OPERA America, Inc. Robert Schaefer† Sondra & Milton Schlesinger Dr.† & Mrs. William H. Sheffield Mrs. Leif J. Sverdrup† Katharine Q. Wagner† Janet McAfee Weakley† Phoebe Dent Weil World Wide Technology, Inc. Dr. Richard D. Yoder† Edward H. & Rosemary Young Fund of the Greater Saint Louis Community Foundation $100,000-$249,999

Anonymous Donor (1) Anita & Gene Adam Mrs. Norris H. Allen† Arthur Andersen & Company Adam† & Judith† Aronson Mr.† & Mrs.† Richard L. Battram Mrs. Morton Baum† Louis D. Beaumont Fund of the Greater Saint Louis Community Foundation Mr. & Mrs. B. A. Bridgewater, Jr. Mr. & Mrs.† Arthur P. Brigham III Bryan Cave LLP Gertrude B. Busch† Paul & Elissa Cahn Ces & Judy’s Catering Margaret Crumpacker, M.D.† Bertram B. Culver III Dr. & Mrs.† William H. Danforth Richard & Phyllis Duesenberg Dr. & Mrs. Timothy Eberlein The Educational Foundation of America Enterprise Bank & Trust Melanie & Anthony Fathman, M.D. Robert & Jane Feibel Mrs. Aaron Fischer† Mrs. Paul F. Fletcher† John Forestner Richard Gaddes Gateway Foundation Catherine Manley Gaylord Foundation Clifford Willard Gaylord Foundation Susan & Warren Gelman Mrs. Joseph F. Gleason Samuel R. Goldstein† Colin Graham, O.B.E.† The William Randolph Hearst Foundation Kit & Patricia Heffern & Elleard Heffern Fine Jewelers Jack† & Anne Heisler † IN MEMORIAM

138

Arnold & Myrna Hershman Mrs. Homer V. Howes† Diane & Paul Jacobson Henry Katz† & Dr. Hildegard Gruenbaum Katz Carol Kimball† Joanne & Alan Kohn Gene Kornblum Mr. & Mrs. Lawrence Langsam John Frank Lesser J. David & Lucy S. Levy Mont & Karen Levy Mr. & Mrs. Richard Liddy Ann S. Lux Mr. & Mrs. John Peters MacCarthy Macy’s Mark Twain Bancshares, Inc. Leigh & Jean Mason Mr.† & Mrs. S. Lee A. McMillan MetLife Foundation Mr.† & Mrs.† Hubert C. Moog Olive Noerteman† Gyo Obata & Mary Judge Mr.† & Mrs. James B. Orthwein Arthur Osver† & Ernestine Betsberg Osver† Paradowski Creative* Adrienne & Russ Patton Peabody Energy Roy Pfautch Herman T. & Phenie R. Pott Foundation Pulitzer Publishing Company Foundation Joan F. Richman† Susan & Elihu Rose Ronald† & Alloyce Ross John H. Russell Keith† & Cynthia Shaw Mr. & Mrs. Donald J. Sher Helen S. Shopmaker Eve & Fred† Simon Mr.† & Mrs.† Robert Brookings Smith Barbara & Gene Spector Mary Strauss Ann & Bill Sullins Mary Susman & Tom Herm Thompson Coburn LLP Union Pacific Foundation UPBrand Collaborative* U.S. Bank, NA Private Client Group The Hon. & Mrs. G. H. Walker III Franklin F. Wallis Professors Emeriti Charles M. & Shirley F.† Weiss Donna Wilkinson Marjorie Wyman† Sharon & Elliot Zucker * IN-KIND

Lifetime giving totals include contributions for Opera Theatre’s operations, endowment fund, capital fund, and special events. This list is complete as of April 1, 2017. We regret the omission of anyone who contributed after this date, but look forward to recognizing these donors in the 2018 program book.


THE GOLDEN CIRCLE — Major Contributors to the Endowment

Opera Theatre’s high standards of performance and, indeed, the company’s survival in the future depend on building a substantial endowment. To ensure the quality of this institution for succeeding generations, individuals, foundations, and corporations in the Golden Circle have made major gifts to Opera Theatre’s endowment fund. For their commitment to the company’s continued artistic excellence and community service, we express our deepest gratitude.

DONORS OF $1,000,000 & ABOVE

Anonymous Donors (2) Mr.† & Mrs. Laurance L. Browning, Jr. The Ford Foundation Mr.† & Mrs. Harvard K. Hecker & The Hecker Family Charitable Fund Sally S. Levy & Family David W. Mesker† The Mabel Dorn Reeder Foundation – Mabel L. Purkerson, M.D., Trustee The Saigh Foundation

DONORS OF $500,000-$999,999

Anonymous Donor (1) Rudolph W. Driscoll†/The Driscoll Foundation Des Lee Foundation/ Mr.† & Mrs.† E. Desmond Lee National Endowment for the Arts DONORS OF $250,000-$499,999

Mr. & Mrs. James G. Berges & The Berges Family Foundation Adelaide Cherbonnier† Emerson David & Lelia Farr Dr.† & Mrs.† Leigh Gerdine Margaret B. Grigg† Ann Lee & Will† Konneker Mr.† & Mrs.† L. Max Lippman, Jr. Mr. & Mrs. Michael F. Neidorff Robert W. Schaefer† David & Thelma Steward & The Steward Family Foundation Jack C. Taylor† Fred J. Wehrle, Jr.† Whitaker Foundation Dr. Richard D. Yoder†

DONORS OF $100,000-$249,999

Anonymous Donors (3) Mrs. Norris H. Allen† Paul M. Arenberg† Gertrude & William A. Bernoudy Foundation Ruth Palmer Blanke† Mrs. Walter F. Brissenden Mr. & Mrs. Donald L. Bryant, Jr. Gertrude B. Busch† Mr. & Mrs.† William H.T. Bush Margaret Crumpacker, M.D.† The Robert H. & Lorraine F. Duesenberg Foundation Mrs. Ernest A. Eddy, Jr. Enterprise Holdings Foundation Clark & Jeanette Gamble Trust Colin Graham, O.B.E.† Mr. & Mrs. Anthony L. Guerrerio The William Randolph Hearst Foundation William T. Kemper Foundation – Commerce Bank, Trustee Mr.† & Mrs.† Stanley Lopata Mrs. Charles W. Lorenz† Morton J. May Foundation Mr.† & Mrs. Sanford N. McDonnell Mr.† & Mrs.† William B. McMillan, Jr. Monsanto Fund Mr.† & Mrs. Reuben M. Morriss III Arthur Osver† & Ernestine Betsberg Osver† Emily Rauh Pulitzer Mr. & Mrs. Robert L. Scharff, Jr. Dr. Jeanne & Rex Sinquefield Mrs. Leif J. Sverdrup† Mr.† & Mrs.† Monte Throdahl Janet McAfee Weakley† Marjorie Wyman†

† IN MEMORIAM Our thanks to the endowment donors of less than $100,000, whose gifts are vital to Opera Theatre’s continued success. We regret that these donors could not be listed due to space limitations.

139


Donors: Annual Fund 2016–2017 Opera Theatre acknowledges with gratitude the spirit and generosity of the following individuals, corporations, foundations, and public agencies, whose investments at all levels provide invaluable operating support for the company’s mission. Their philanthropy permits Opera Theatre to maintain its fiscal soundness and high level of artistic achievement.

THE COUNCIL FOR ARTISTIC EXCELLENCE The Council for Artistic Excellence recognizes donors who have made significant leadership commitments in support of the 2017 season.

Leadership Circle

p

Director’s Circle

p

$100,000 & Above

Anonymous Donors (3) Arts & Education Council of Greater St. Louis Mr. & Mrs. James G. Berges & Berges Family Foundation Mrs. Walter F. Brissenden Centene Charitable Foundation & Centene Corporation Emerson David & Lelia Farr Alison & John Ferring & Ferring Family Foundation William T. Kemper Foundation - Commerce Bank, Trustee & The Commerce Trust Company Sally S. Levy g & the Levy Family The Andrew W. Mellon Foundation Monsanto Fund & Monsanto Company Mr. & Mrs. Michael F. Neidorff Regional Arts Commission David & Thelma Steward & The Steward Family Foundation Jack C. Taylor† & the Taylor Family The Wallace Foundation Whitaker Foundation World Wide Technology Foundation

$50,000-$99,999

Anonymous Donors (2) Mrs. Laurance L. Browning, Jr. g & The Pulley Foundation Mr. & Mrs. Irl F. Engelhardt & Engelhardt Family Foundation Marilyn & Sam Fox The Margaret Blanke Grigg Foundation Missouri Arts Council National Endowment for the Arts OPERA America, Inc. Emily Rauh Pulitzer Marsha & William C. Rusnack Dr. Jeanne & Rex Sinquefield

g Crescendo Circle † In Memoriam

140


Donors: Annual Fund 2016–2017 THE PATRON PROGRAM The Patron Program recognizes generous donors who make annual gifts between $2,500 and $49,999. These donors make possible work at the heart of Opera Theatre’s mission — mainstage productions, education and community engagement programs, and more. For more information about joining the Patron Program, please call (314) 963-4228 or visit us online at ExperienceOpera.org. Patron Program membership benefits include reserved picnic seating under the Terrace Tent, complimentary parking adjacent to the gardens, an invitation to a special brunch with General Director Timothy O’Leary prior to a dress rehearsal, and more. Thank you to the following Patron Program members: Production Underwriter Patrons p $25,000-$49,999

Ameren Mr. & Mrs. Stephen F. Brauer & Brauer Charitable Trust Dana Brown Charitable Trust, U.S. Bank Trustee Mr. & Mrs. Donald L. Bryant, Jr. Spencer & Phoebe Burkeg William H.T. Bush & Bush Family Fund of the Greater Saint Louis Community Foundation Caleres Clayco Edward Jones Patricia Heckerg & Hecker Family Charitable Fund of the Greater Saint Louis Community Foundation Bettie S. Johnson Mary Ranken Jordan & Ettie A. Jordan Charitable Foundation Nancy & Ken Kranzberg Leigh & Jean Mason Adrienne & Russ Patton & Byerly RV Roy Pfautch PNC Arts Alive The Mabel Dorn Reeder Foundation Mabel L. Purkerson, M.D., Trustee Webster University* Wells Fargo Advisors Edward H. & Rosemary Young Fund of the Greater Saint Louis Community Foundation

Aria Patrons

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$15,000-$24,999

Armstrong Teasdale LLP Dr. & Mrs. Timothy Eberlein Enterprise Bank & Trust Edward Chase Garvey Memorial Foundation Ann & Gordon Getty Foundation Carol Kimball†g Mary Ann Lee†g Mont & Karen Levy John H. Russell The Silk Foundation Ann & Bill Sullins Mary Susman & Tom Hermg UPBrand Collaborative*

Nina Coulter Ware Ellen & Bill Yeckley

Sponsor Patrons $10,000-$14,999

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Anonymous Donors (2) Joyce Aboussie Bank of America Barbara M. Bryant Robert & Jane Feibel Dorothy & Billy Firestone Edes P. Gilbert Mr. & Mrs. Ronald A. Holtman Husch Blackwell LLP Joanne & Alan Kohn Gene Kornblum Mrs. Oliver M. Langenberg† & Pershing Charitable Trust Ledbetter Fidelity Charitable Fund J. David & Lucy S. Levyg Joseph & Carolyn Losos Danny & Susan Ludeman Mrs. Sanford N. McDonnellg & Mr. & Mrs. Sanford N. McDonnell Foundation Mercy Gwendolyn & Steven C. Mizell Dr. & Mrs. Robert J. Myerson Georgia C. Pettus The Saigh Foundation Mr. & Mrs. Robert L. Scharff, Jr.g Sondra & Milton Schlesinger Mrs. William H. Sheffieldg The Shepard Family Foundation Mr. & Mrs. Donald J. Sherg Helen S. Shopmakerg Spire Steinway Piano Gallery of St. Louis* Thompson Coburn LLP Trio Foundation of Saint Louis Franklin F. Wallisg Phoebe Dent Weilg Dr. Virginia V. Weldon & Francis Austin

Producer Patrons $7,500-$9,999

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Ann & Henry Bauer Bryan Cave LLP Buckingham † In Memoriam

* In-kind Gift

Salvatore & Dagnija† Comado Commerce Bank The Aaron Copland Fund For Music DM3 Fund Mrs. Joseph F. Gleason Joanne & Tony Guerrerio & Wedgewood Partners, Inc. Mr. & Mrs. Lawrence Langsamg John Frank Lesserg Major Brands* Dr. Robert C. Packman Dee Pavelka & Pavelka Fund of the Greater Saint Louis Community Foundation Jan Paul Richter & Ellen von Seggern Richter Mary & Steve Schoolman & Clemence S. Lieber Foundation Stifel The St. Louis Trust Company Stephen Trampe & Jenny Guptag Josephine & Richard Weil & Sage Charitable Foundation Sharon & Elliot Zuckerg

Benefactor Patrons $5,000-$7,499

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Anonymous Donor (1) Accenture Anita & Gene Adam Mrs. William Barnes III Louis D. Beaumont Fund No. 1 of the Greater Saint Louis Community Foundation Lee & Alexandra Benham Lee Bohm & The Milford & Lee Bohm Charitable Foundation Mr. & Mrs. B. A. Bridgewater, Jr. Pamela Buell Paul & Elissa Cahn & Paul & Elissa Cahn Foundation Ces & Judy’s Catering Rev. Ronald C. Chochol Mr. & Mrs. Robert H. Craft, Jr. Bertram B. Culver III Dr. William H. Danforth Professor Adrienne Davis Richard & Phyllis Duesenberg Bill & Cynthia Durham Richard Gaddesg

s Intermezzo Society

Rabbi Dr. Jay & Erika† Goldburgg GrayBar International, Inc. George Handran Hilliker Corporation Janet & Andy Hoyne Heather Hunt-Ruddy Impact Group Charitable Foundation Dr. Ann Johanson Mr. & Mrs. David W. Kemper Jim & Pam Krekeler Lewis Rice Ann S. Lux & Lux Family Foundation Dr. & Mrs. John S. Meyer Gyo Obata & Mary Judge Paul M. Packman, M.D. Pinnell Foundation Polsinelli Mabel L. Purkerson, M.D. Allison Robertss Mrs. Robert L. Rosenheim & Rosenheim Charitable Family Foundation Linda & Bruce Ryder Sauce Magazine* Judy Scott Barbara & Gene Spector The St. Louis Originals* Mary Strauss The Hon. & Mrs. G. H. Walker III & The George Herbert Walker Foundation Rita & David Wells Donna Wilkinsong

Patrons

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$2,500-$4,999

Anonymous Donors (2) Mrs. Vern Akers David & Melanie Alpers The Amphion Foundation AT&T Julia B. Bamburg BDO, USA Dr. & Mrs. Martin Bellg Pam Belloli & Dave Shimek Rudi J. Bertrand & Paul A. Williams, M.D. June R. Bierman David A. Blanton III Employees Community Fund of Boeing St. Louis

g Crescendo Circle

Patron Program continued on page 142

141


Donors: Annual Fund 2016–2017 Patron Program continued from page 141 Catherine Bollinger Russell Browning & The Russell E. Browning Family Foundation The Hon. Bruce Buckland Buron F. Buffkin & Donn Kleinschmidt, M.D. Elaine Coe Colliers International Mrs. P. Terence Crebs William & Suzanne Dolang Mr. & Mrs. Julian Edison & Julian I. & Hope R. Edison Foundation, Inc. Enterprise Holdings Foundation Sara Epstein & the Sara & Fred Epstein Family Foundation Ann Fagetg Melanie & Anthony Fathman, M.D. Feast Magazine* John Forestner & Brad Alford Marti & Bob Fowler Mr. & Mrs. Ronald Fromm Mr. & Mrs. Martin E. Galt III & The Jackes Foundation Ann & Randy Getz Grey Eagle Distributors Arnold & Myrna Hershmang

Milton H. Hieken & Barbara Barenholtz & Hieken Barenholtz Fund of the Jewish Community Foundation Bea Hollanderg Alfred & Marilyn Holtzer Liz Hopefl & Brian Mischel Linda Horne & Daniel Phillips Jeannette R. Hueyg Diane & Paul Jacobson & JOSAL Foundation Mr. & Mrs. Newell S. Knight Karen & Harry Knopf Ann Lee Konnekerg Shirley & Norton Kronemer Mr. & Mrs. Ned Lemkemeier Mr. & Mrs. Andrew S. Love & Martha Love Symington Charitable Trust Mr. & Mrs. John Peters MacCarthy & Ruth Peters MacCarthy Trust Joe & Alice Maffit Lizbeth Maher Elizabeth Mannen Mr. & Mrs. Mark McCallum John G. W. McCord Mrs. S. Lee A. McMillan & S. Lee McMillan Charitable Foundation

Sedgwick Mead, Jr. & Catherine Perry William D. Merwin Erie Millsg & Thomas Rescigno Terri Monk, M.D. & B. Craig Weldon, M.D. Mr. & Mrs. Jean-Paul Montupet Susan F. Morris & The Cove Point Foundation Martha C. Nussbaum Kitty Pearl Dr. & Mrs. William A. Peck Judy Peil Cindy & Sandy Peters & The Peters Family Fund Charlotte Prince Heidi & Win Reed Kathleen S. & John C. Rorris Dr. Mary Anne Rudloffg Mr. & Mrs. Alan Sachs & Argo Foundation, Inc. Peter & Alice Sargent Steve Schankman Mr. & Mrs. Matt Schumacher Arthur Bud Schweich & ABS Fund Mr. & Mrs. Henry L. Schweich

Kathy Sears, in memory of Frances & Walter Sears & Florentine Friedman Dr. David Sewall Marjorie & Kenneth Smithg Solti Foundation Janie & Sandy Sommer Mary Ann & Andrew Srenco Frank Steeves & Sheryl Andrews James V. & Susan S. Stepleton Katinka Stout† Mr. & Mrs. V. Raymond Stranghoener Mr. & Mrs. Robert Tancer Mr. & Mrs. Andrew Taylor Mr. & Mrs. E. R. Thomas, Jr. Mr. & Mrs. Mark C. Throdahl Trademark Wines* Susan & Peter Tuteur Susan & Ben Uchitelle George & Betsy Vogt Robert & Nancy Wagoner Peter J. Wender Bradford K. Werner Dr. David & Marilyn Yahnke

FRIENDS OF THE FESTIVAL Friends of the Festival make gifts of $50 to $2,499 to support Opera Theatre’s annual operations. These wonderful partners make the work of Opera Theatre possible through generous unrestricted support. For more information about becoming a Friend of the Festival, please call (314) 963-4228 or visit us online at ExperienceOpera.org.

Friends of the Festival membership benefits include complimentary passes to final dress rehearsals, invitations to the donor-only Season Design Preview, Donor Appreciation Concert, pre-performance dinners, and more. Thank you to the following Friends of the Festival:

Guarantors

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$1,000-$2,499

Anonymous Donors (2) Advertisers Printing Company* Air Climate Services William Aitken Donna & Harvey Allen H. Dieter & Karla Ambos Robert C. Anderson A. Gonzalez Angel & T.H. Mathews Shannon Bagley & Ryan Tuseks Mrs. Walter F. Ballinger II Tony Bardol John & Gailya Barker Anthony Bassett Mr. & Mrs. Peter F. Benoist Holly Bensons Virginia Bensong Mr. & Mrs. Barry Beracha Berkshire Hathaway Alliance

Elaine & Harold Blatt Sally Brayley Bliss & Jim Connett Dr. Michael R. Borts & Dr. Mary Jo Gorman & The Borts Gorman Charitable Fund Mr. & Mrs. Ken Bowers Martha Brewer & Calvin Bentley Charitable Foundation Trust Cindy Brinkley Mary I. Brown Melvin & Pamela Brown Jane D. Bryan Brandy Burkhalters Paul & Amanda Cambridges Mrs. Parks Campbell Mr. & Mrs. Don R. Carlson Beverly Clarkson John Michael Clear & Isabel Marie Bone † In Memoriam

142

* In-kind Gift

Vicki & Brian Clevinger Mr. & Mrs. Bert Condie III Mr. & Mrs. Andrew B. Craig III Diane Dark Peter & Jayne Davis Jack & Sherry Delo Mr. & Mrs. Dale B. Dendtler Mr. & Mrs. Arnold W. Donald & the Arnold & Hazel Donald Fund of the Greater Saint Louis Community Foundation Dr. & Mrs. James W. Donnelly Quintus L. Drennan, Jr. Kitty Drescher George Drysdale Dr. & Mrs. Wm. Claiborne Dunagan & The Dunagan Foundation Susan & Robert Eastman Dr. & Mrs. Sean Edelstein s Intermezzo Society

g Crescendo Circle

Mark Eggert & Julia Tang Ernst & Young LLP Hildy Etzkorn Mr. & Mrs. John E. Evans III Alan R. Fiddlemang First Bank Keith & Ann Fischer Drs. Cynthia Florin & Andrey Shaw Gretta Forrester & Gretta Forrester Family Fund of the Greater Saint Louis Community Foundation Janice & Bill Forsyth Don & Margie Franz Warren & Mattie French Nancy Friedland & James Florczak, in memory of Waldo & Lucille Friedland Ann M. Fuszg Ellen M. Fuszg


Donors: Annual Fund 2016–2017

Dr. James Gandre & Dr. Boris Thomas Eileen Garcia Joseph E. Geist Bettie Gershman & Gershman Foundation Gail & Louis Glaser Barbara B. Goodman Joan Goodsong Ronald & Jan Greenberg & The Ronald K & Jan C Greenberg Family Foundation Michael L. & Paula E. Gross Frank J. Guyoll III Louis & Marcela Hawn Donna & Robert Heider Anne W. Hetlage Gina & Lee Hoagland Julia & Kevin Hoffmans Debra Hollingsworth & Mark Stacye Alan W. Hopefl Dr. & Mrs. John W. Hubert Mrs. Lawrence C. Hultengreng Phyllis R. Hyken Innovative Construction and Roofing Roger & Lynn Irvine Frank Jacobs & Marylen Mann John Mess Plumbing & Drainlaying LLC Kyle Kerr Richard & Shirley Knight Helen Kornblum Bill Kumke Terry Lay, in memory of Jerry Boyer Sally Leflerg & Jane Towater Myla Lerner Fran & Norman Leve Drs. Laurence & Edith Levine Dr. Frederick & Erika Lewis Mr. & Mrs. Richard Liddy & Liddy Family Foundation Ronni Lodato & Bill Radlinski Leslie F. Loewe & Jean M. Agatstein The Stanley L. & Lucy Lopata Charitable Foundation Charles MacKayg Dr. & Mrs. Stan Margul Linda M. Martinez Pat & Brigid McCauley Diane McCulloughg Rus McMahan Mr. & Mrs. Kimball R. McMullin David McNeel Brenda K. Melson Jack Austin Miller Mr. & Mrs. James R. Moog Mr. & Mrs. Nate Moore Julia K. Muller & Earl K. Shreckengast Cynthia & Rob Nevett

Dr. & Mrs. Matthew Newman Jerome Nuell Timothy & Kara Graziano O’Learyg Robert F. O’Loughlin J. Matthew Pantaleoni Mr. & Mrs. Brooks Parriott John Howard Percy Pi Beta Phi/Sign of the Arrow James D. & Joy M. Pierce Tola Porter & Dr. John McGrath Kate Poss-Morency & René Morencys Dr. & Mrs. John A. Powell Wade A. Rakes IIs Susan & John Rava & Rava Family Fund Marti Reichman Rent-a-Relative LLC Don J. Riehn & Jon Goeders Peggy & Jerry Ritter Elizabeth & Richard G. Robb Al & Martha Roux Dr. & Mrs. Joseph Ruwitch St. Louis Magazine* Mrs. Harvey Saligman & The Linda & Harvey Saligman Charitable Foundation Lucinda P. Santiago Tom & Ulrike Schlafly & Sycamore Tree Charitable Fund of the Greater Saint Louis Community Foundation Thomas Sehr & Margaret A. Wayne Linda Seibert Dr. Mim Shelden & Lou Kinsey Jenny & Walter Shifrin Moisy & Bonnie Shopper Stephen W. Skrainka Raymond G. Slavin, M.D. Dr. John A. Sopuch Linda Stark Ed & Katie Stouts Georgia Streett J. Kennard Streett Drs. Elizabeth & Paul Stroble Dr. Donald Suggs Mr. & Mrs. Warren G. Sullivan Peggy Walter Symes Maria & Philip Taxman Emil & Marianne Unanue Rowena B. Van Dyke Annie Vogt Washington University Leroy Wehrle Mr. & Mrs. John D. Weil & Pershing Place Foundation Mr. & Mrs. Robert Weiss Ann Carroll Wells James Williams & Melissa Georges † In Memoriam

* In-kind Gift

Mr. & Mrs. Robert Wislow & Susan & Robert Wislow Foundation Barbara McAfee Wohltman Mr. & Mrs. Richard R. Woods & Heart of Oak Foundation, Inc. Stuart & Susie Zimmerman F. Lee Zingale

Supporters

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$500-$999

A. Bommarito Wines James Adams Leonard & Audrey Adreon Mr. & Mrs. Charles C. Allen, Jr. Patricia Anderson Mary Atkin Steven & Patrice Bain Sharon Biegen & Brian Vandenberg Catherine Binns & James Honkisz Mrs. Merle N. Blundell Drs. Nanci & James Bobrow Lynn Bodicky Eugenie R. Bonte Jane & Charlie Brader Arthur P. Brigham III Brooks Brothers Shirleen & Jerry Brown Mr. & Mrs. Charles Claggett Ann M. Corrigan Dr. & Mrs. James P. Crane Mr. & Mrs. Anthony Cutaia Dr. Rand E. Dankner Dr. & Mrs. Carlos C. Daughaday Lawrence & Maureen Dennis Mrs. Leo Drey ECS Publishing Group Richard L. Egilsrud Robert & Sarah Elgin Betsy Enslin Sara & Darryl Fabick Don & Darlene Freber Nicole & Keith Freber Mary Lee Frisbie Mr. & Mrs. Frank Galka Mr. & Mrs. Peter Gaspar Matt & Karen Geekie Mr. & Mrs.† Lloyd Gerlach Joe Gfaller & Kraig Turner Jerome & Catherine Gidlow Lois Goldring Lois Gould Anne P. Grady Chris Guyol Rik & Gail Hafer Jon & Mary Hagarg Hastings+Chivetta Architects Carolyn & Jay Henges Mr. & Mrs. Merle Horowitz & The Harold & Ethel Horowitz Family Charitable Foundation Thomas Incrocci

s Intermezzo Society

Silvian Iticovici & Cathy Ifune Gayle Jackson & Dr. Frederic Kraus Glenn & Ingeborg Jackson Marjorie Eddy Johnson Mr. & Mrs. Robert Johnson Suzanne & Jim Johnson III Nancy F. Kalishman Mrs. William S. Knowles Gerald M. Kowarsky Stephen E. Kraft Barbara Liberman Dr. George A. Lodoly Beth E. Lundy Barbara Mahon Mr. & Mrs. Jack Mandel Sally Markland Mr. & Mrs. Richard Marx Dr. John E. Mazuski Melissa & Robert Merlin & Ray R Marglous Family Foundation John & Laura Meyer Mr. & Mrs. Stephen D. Mitchell Lydia Mower Janet Mulroy Ruth Orth & Rick Harper Mr. & Mrs. Keith Patten Paule, Carmazine, & Blumenthal Judy & Paul Putzel Brian Abel Ragen Stanley Ransomg Trevor D. Reese, Jr. Lee & Nancy Reycraft Allen & Merry Richon Ray & Cherry Robbins Dr. & Mrs. Leon R. Robison III Mr. & Mrs. Alan C. Rosenkoetter Ann R. Ruwitch & John Fox Arnold Saint Louis Opera Club John F. Sappington & Mary H. Karr Elizabeth Gentry Sayad Geraldine Schiller Maria Schlafly & Dave Aholt Jerry & Sue Schlichter & Schlichter Fund of the Greater Saint Louis Community Foundation Sandy Schonwald R.A. Seeliger Marian Senger Drs. Barry & Marilyn Siegel Sylvia Silver Nanne Simonds Mr. & Mrs. Torbjorn Sjogren W. Dennis† & Janet Spencer Susan Hacker Stang Maxine Stoneg Molly Strassner Bob & Liza Streett Dr. & Mrs. John W. Tabash Keith Taylor

g Crescendo Circle

Friends of the Festival continued on page 144

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Donors: Annual Fund 2016–2017 Friends of the Festival continued from page 143 James Tobin & Virginia Heagney Douglas M. & Sherida E. Tollefsen U.S. Bank Mrs. Robert B. Weinman Mr. & Mrs. Richard Weinstock Tom Wendel & Marian Nunn Susan & Alan Witte Douglas & Lynn Yaeger

Contributors p $250-$499

Anonymous Donors (7) Scott Amelung & David Booker M. J. Aneskievich Susan & Bob Appleton Morton & Norma Baron Michael G. Biggers Kenneth & Ann Bohm Gregory Burley Brown Elsbeth Brugger Heinrich & Dorothea H. Bruschke Mr. & Mrs. Richard Buck Linda Burns Rodney & Elaine Carlson Pat Church & Jim Daues Robert & Janice Coleman Mr. & Mrs. Laurence K. Condie Mr. & Mrs. John J. Corbett Joseph E. Corrigang Bob & Irene Cortinovis Mr. & Mrs. David Crane Dorothy Cunningham Karen Dahman† Dr. Debbie Depew & Brad Moore Carl & Jeanne Deutsch Max & Suzanne De Volder Mary & Wallace Diboll David & Susan Dobmeyer Mary Ruth Donnelly Robert & Jamie Driver Ingrid & Rich Dubberke Sarah Duffy Kay & Larry Dusenbery Barbara Eagleton Linda J. Eaker Helen & Tom Etling Dr. & Mrs. Charles Ettelson Greg & Prissy Evans Mary Ferguson Dr. Kathleen Ferrell & Dr. Richard Brasington Mr. & Mrs. Francis Field Mary Sue Finney Louise Flick & William True Liza Forshaw Gerard E. Frankenfeld Mary Jane Fredrickson Dr. Anna Fu & Will Bockenkamp Keith H. Fulling & Deborah J. Gersell M. Carolyn Gamache

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Mr. & Mrs. Anthony Garnett Elaine Gernstein John & Dora Gianoulakis Margaret Gilleo & Charles Guenther Nicki & John Gillis Florence M. Glass† Robert & Catherine Gresick Edith L. Grunwald Claiborne Handleman Harwood Family Fund of the Community Foundation for the National Capital Region Franklin & Rachel Haspiel Dr. Nanette Hegamin Jennifer Heglin Shirley A. Heimang Michael Herron Luise N. Hoffman Jim Hollingsworth & Alex Sherrer Mark & Peggy Holly Mr. & Mrs. James O. Holton Mr. & Mrs. Patrick Huber Mr. & Mrs. Philip L. Huddleston Mr. & Mrs. David H. Hutchinson Margaret & Martin Israel Joseph & Melissa Jedlicka Dr. Marie G. Jureit Marlene Katz Steve & Margie Knapp C. Kneidl Dr. & Mrs. Nicholas Kouchoukos Jack & Mary LaBarge Bob & Marcia Lange Sharon Lapin Maureen Lewis Ellen Livingston & Edward Levitt Laurie & Sean Lock Melvin Loeb Rosalyn & Charles Lowenhaupt Dr. Gregg & Cindy Lueder Dr. & Mrs. Carl A. Lyss Virginia MacDonald Dr. Jerald & Jane Maslanko Ruth McBrayer Mrs. Lansden McCandless, Jr. Mr. & Mrs. Hugh A. McGaughy Andrew J. & Roxanne T. Miller Drs. Tom & Karen Miller Mary Mitchell Timothy Mitchell Verla & Richard J. Mitchell Mr. & Mrs. Stephen Montgomery Cynthia Moon Lucy Morris Michelle Myers Sima & Philip Needleman Dr. Tom & Jody Nowotny Mrs. James L. Ottolini

Jamie Papero Mr. & Mrs. Emmanuel C. Paxhia Douglas Pedersen Gina Pellegrino & Eric Staley Dr. & Mrs. Edward Perantoni Jeffrey A. Pierce Marta & Jorge Pineda Harriet & Philip Polster Donald & Jane Prahlow Doris B. Pree Steve & Sue Rakel Mr. & Mrs. B. Franklin Rassieur, Jr. Drs. Roger & Valerie Reichert Charles & Marian Rice Patricia Rice Robert E. Ricklefs & Susanne Renner Henry Robertson Larry Rosen Carol L. Roslund Mrs. Robert Rothbarth Mitchell & Gina Rotman Jennifer A. Sage Jamie & David Sauerburger Walter & Marie Schmitz Schnucks Harriet Scholle Mr. & Mrs. Kenneth Schutte Arlene P. Schwind Joan & Paul Shaver Michael & Susan Shaw Sudie Shinkle Jim & Jane Shumate Ray M. Simon & Mel Pashea Dr. Fredric & Beverly Simowitz Dr. & Mrs. L.D. Smith Laurie K. Smith & Gerald L. Shaikung Stephen & Kristine Sneeringer Dr. Jamieson Spencer & Anna Ahrens Kevin T. Staley Patricia Stanton Dr. & Mrs. Philipp A. Stoeberl Drs. Phillip & Susan Storm Dr. Pamela Stuerkeg Stuart & Janey Symington Dr. & Mrs. Lawrence A. Taylor David Wanders Barbara & David Ware Grace T. Weber Sue Webster Marlita Weiss Stevie & Joe Werner Mary Whitman Greg & Annie Willard Mike & Barbara Willock Jim & Judy Wilson Heide Wolff Tani Wolff

Dr. & Mrs. Julien Worland Mr. & Mrs. John J. Wuest Kay E. Wunder Jerry Wunderlich Mr. & Mrs. Darrell Yearwood George Yeh † In Memoriam * In-kind Gift

s Designates members of the new Intermezzo Society. Please see the facing page for more information about this group and the special benefits of membership.

g Designates members of the Crescendo

Circle, those individuals who have notified OTSL of their intent to make a deferred gift in addition to their annual fund gift. Please see page 146 for more information on the Crescendo Circle. This list of contributors indicates those who made annual fund gifts before April 1, 2017. Donors who made gifts later will be included in the 2018 program book. Our thanks to the many donors of less than $250, whose gifts are vital to Opera Theatre’s continued success. We regret that these contributors could not be listed due to space limitations.


Intermezzo Society

in·ter·mez·zo / in(t)ər'metsō / noun a short, light, entertaining piece of music between acts of a serious opera Much like a musical intermezzo, Opera Theatre’s Intermezzo Society offers an opportunity for fun, thoughtprovoking entertainment between the “serious acts” of life. Members of this new group, launched in March of 2017 under the leadership of Chair Holly Benson, will be among the first to learn about OTSL’s upcoming productions and meet the company’s talented artists, while making new connections throughout the St. Louis community.

ANNEMARIE SCHUMACHER, ALLISON ROBERTS, AND INTERMEZZO

MICHELLE WILLIAMSON, LORI BAHO, RENÉ MORENCY, AND KATE POSS-MORENCY.

SOCIETY CHAIR HOLLY BENSON. PHOTO © KAITLYN NEEL

PHOTO © KAITLYN NEEL

Members of the Intermezzo Society enjoy access to the following special perks with an annual gift of $1,500: Two VIP tickets to a festival season performance and an invitation to join season artists, patrons, and OTSL’s General Director at a private pre-performance dinner in our gardens

s No-stress arrivals with free reserved parking for any performance

s

Early access to productions with four reserved passes to your choice of final dress rehearsals

s Sneak peeks at sets, costumes, and special effects for the coming season at the annual Donor Season Preview

s Invitations to unique members-only special events, like a concert in December featuring Opera Theatre’s leading artists

s Periodic invitations to participate in activities with Opera Theatre’s Board of Directors, such as a board meeting, special panels and presentations, and social events

s Recognition for you and/or your corporation in OTSL’s annual report, season program book, and the Loretto-Hilton Center lobby

For more information about the Intermezzo Society, visit ExperienceOpera.org/Intermezzo or contact Michelle Myers, Opera Theatre’s Associate Director for Strategy & Organizational Development, at (314) 963-4226 or mmyers@opera-stl.org. 145


Crescendo Circle

Members of the Crescendo Circle help secure Opera Theatre’s commitment to artistic excellence, innovative programming, and fiscal stability by making provisions for OTSL in their estate plans or by establishing life income arrangements naming the company as a beneficiary. Thanks to their support, the quality you experience today will be enjoyed by future generations of operagoers. By informing us of your planned gift, you will be included as a member of this important group of friends. To learn more about planned gift opportunities or to make arrangements to speak with a member of Opera Theatre’s Planned Giving Advisory Council, please contact Director of Development Nicole Ambos Freber at (314) 963-4222. All inquiries are strictly confidential. With utmost gratitude, Opera Theatre acknowledges the members of the Crescendo Circle:

Anonymous Donors Susan Ahl Judith C. Anderson Paul M. Arenberg† Dr. & Mrs. Martin Bell Virginia Benson & George Benson, M.D.† Mr.† & Mrs. Laurance L. Browning, Jr. Phoebe & Spencer Burke Gertrude B. Busch† Carolyn Kehlor Carr Earl Charvet Mrs. James Corrigan Joseph E. Corrigan Terry E. Crow & Dr. Tom Peters Charles G. Dennis William & Suzanne Dolan Ann Faget Alan R. Fiddleman Ann M. Fusz Ellen M. Fusz Richard Gaddes Rabbi Dr. Jay & Erika† Goldburg Mr.† & Mrs. Jean Goodson Barbara Grace Mr. & Mrs. Jon Hagar, Jr. Dr. Richard C. Hancey Mr.† & Mrs. Harvard K. Hecker Shirley A. Heiman Mr. & Mrs. Arnold Hershman Bea Hollander Jane House Jeannette R. Huey Mrs. Lawrence C. Hultengren Amy Kaiser Dorothy Kelley Carol Kimball† Dr.† & Mrs. W.R. Konneker Michael Kramer George B. Kyle Mr. & Mrs. Lawrence Langsam Mr.† & Mrs.† E. Desmond Lee Sally Gene Lefler

John Frank Lesser Mr. & Mrs. J. David Levy, Jr. Sally S. Levy Barry Arthur Litwin Stephen Lord Charles MacKay Ben Malensek Helen McCallie Cameron A. McCluskey Diane McCullough Pris McDonnell Mr. & Mrs. Robert S. McDorman Erie Mills & Tom Rescigno Mr.† & Mrs. Reuben M. Morriss III Forrest L. Moses, Jr. Charles Dean Mueller† Timothy & Kara Graziano O’Leary Peggy Otto Stanley Ransom Dr. Mary Anne Rudloff Mr. & Mrs. Robert L. Scharff, Jr. Cynthia & Keith† D. Shaw Dr.† & Mrs. William H. Sheffield Mr. & Mrs. Donald J. Sher Dr.† & Mrs. Allen B. Shopmaker Dr. & Mrs. Kenneth R. Smith, Jr. Laurie K. Smith & Gerald L. Shaikun Mr.† & Mrs. James P. Stearns Maxine Stone Pamela S. Stuerke Mary Susman & Tom Herm Isolde & Ruediger Thalmann Dr. Patrick R. Thomas Stephen L. Trampe & Jenny Gupta Franklin F. Wallis Phoebe Dent Weil Wendy Holmes Weil Professors Emeriti Charles M. & Shirley F.† Weiss Donna Wilkinson Sharon & Elliot Zucker † IN MEMORIAM

Opera Theatre of Saint Louis Planned Giving Advisory Council CHAIRMAN

V. Raymond Stranghoener – The Commerce Trust Company W. David Wells – Thompson Coburn LLP

CO-CHAIRMAN

Spencer B. Burke – The St. Louis Trust Company David M. Diener – Retired, The St. Louis Trust Company James A. Hardin – Northern Trust Bank

146

Lawrence K. Otto – U.S. Bank Franklin F. Wallis – Shands, Elbert, Gianoulakis & Giljum, LLP


LEAVE A LEGACY

Support Artistic Quality and Nurture Young Singers

“Opera Theatre IS community and family.” — Stephen Lord, Music Director, Opera Theatre of Saint Louis From his role as Opera Theatre’s Head of Music Staff in 1981 to his 25 seasons as Music Director, Maestro Stephen Lord has been a driving force behind OTSL’s musical and artistic success for many years. His career has taken him to leading opera houses around the world, including the English National Opera, the Canadian Opera Company, Lyric Opera of Chicago, San Francisco Opera, Santa Fe Opera, Washington National Opera, Seoul Arts Center, L’Opéra de Montréal, and many others. In recognition of his remarkable track record of spotting and nurturing young singing talent, Maestro Lord was named one of the “25 Most Powerful Names in US Opera” by Opera News in 2006.

In his role as Music Director, Stephen Lord has guided the company to new heights of artistic excellence over the past 25 years. He has decided to help ensure this quality continues for many future generations by including Opera Theatre in his estate plan. We talked to Stephen recently about this decision. Why did you decide on a planned gift? I was brought up with the attitude that sharing is what makes community. Since I have benefited from Opera Theatre emotionally, financially, and professionally, it is only morally right to share what I have received from the profession, largely due to my long association with my “artistic family.” What was the single most important consideration in your decision to make a planned gift? Is there an important moment, person, or special occasion that influenced your decision? When I was given the title of Music Director by Charles MacKay, it came with a stipulation — that any money I received from OTSL had to have the maximum held back for retirement. I saw the wisdom of that, and it is my honor to be able to share my good fortune with those who come after me at OTSL.

Why did you choose to give back to Opera Theatre? Can you describe the impact it has had on you, on the world of opera, and on the community? Opera Theatre is community and family, not only to me, but to all who have been involved on stage and off. Richard Gaddes, Charles MacKay, and now Timothy O’Leary have centered their sights on a lasting contribution to the betterment and beautification of the St. Louis community. Who am I not to join this trio? Legacy is everything. When we are gone, I believe that to have made a difference for younger people, and for the company that supports, mentors, and launches them, will help ensure that my many miles walked on this earth will have been for good cause. What do you hope your gift will support? My gift should go to support whatever the leadership of OTSL thinks best. We have had three first-rate general directors and their wisdom has taken us to where we are now. Why would you encourage others to include Opera Theatre in their estate plan? I would encourage friends and colleagues to join me in this sort of gift. Investing in feeling, sentiment, emotion, and expression is the best thing we can do with our earthly goods.

(ABOVE) STEPHEN LORD AND MEMBERS OF THE ST. LOUIS SYMPHONY AT THE 2015 CENTER STAGE CONCERT. PHOTO © KEN HOWARD

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National Patrons Council

Opera Theatre’s National Patrons Council is a group of generous friends from around the country who encourage ongoing national support of OTSL through the development of a strong network throughout the United States. The guidance and collective national perspective of National Patrons Council members is an important resource for Opera Theatre, helping the organization better define key issues and trends in the world of opera. This council helps to guide Opera Theatre’s efforts to achieve enhanced artistic quality, to create a higher national profile, and to advance outstanding young American artists. National Patrons Council members participate in Opera Theatre’s Patron Program (see page 141 for more information) and enjoy additional special benefits including an annual meeting during the festival season, access to Opera Theatre’s leadership team, updates on strategic planning and other key information, as well as invitations to special social events and activities. We are always interested in expanding the Opera Theatre family. If you would like to join this group of dedicated supporters, we would love to speak with you about this opportunity. Please contact Michelle Myers, Associate Director for Strategy & Organizational Development, at (314) 963-4226.

NATIONAL PATRONS COUNCIL MEMBERS CHAIR

Mrs. Walter F. Brissenden

p

Illinois

COUNCIL

Mr. & Mrs. Donald L. Bryant, Jr. Mrs. Parks Campbell

Texas

p

Mr. & Mrs. Robert H. Craft, Jr.

p

p

Robert H. Duesenberg

Missouri

Massachusetts

p

Dr. John E. Forestner George Handran

p

p

p

Texas

Massachusetts

Dr. Diane & Mr. Paul Jacobson Jack McCord

p

Washington, D.C.

Oregon

Suzanne & William Dolan Susan D. Eastman

California & Missouri

p

p

Minnesota

Illinois

Drs. Terri A. Monk & B. Craig Weldon

p

Missouri

Ellen von Seggern Richter & Jan Paul Richter Carol L. Roslund

p

California & Maryland

Missouri

Drs. Sondra & Milton Schlesinger Mrs. Frederick J. Simon

p

Mr. & Mrs. Robert Tancer

p

California

Nebraska p

Arizona

Professor Emeritus Charles M. Weiss Sharon & Elliot Zucker

148

p

p

p

North Carolina

Missouri & New Mexico


The 2017 Spring Gala Under the incredible leadership of Marilyn Fox, Opera Theatre kicked off its 42nd season with the Spring Gala on May 13th. Approximately 400 guests celebrated at this exciting event, which featured several Opera Theatre principal artists and a special performance by The Grapes of Wrath composer Ricky Ian Gordon accompanying internationally renowned mezzo-soprano Frederica von Stade. The Spring Gala supports the exceptional artists who make Opera Theatre’s season possible, from the world’s most acclaimed conductors, directors, designers, and choreographers to the talented singers just beginning their careers onstage and the gifted young artisans who work behind the curtain. Proceeds from the event enable these artists to collaborate and learn from each other as they create innovative festival season productions, and to connect new audiences of all ages to the power and beauty of opera. Opera Theatre gratefully acknowledges the following donors for their generous support of the 2017 Spring Gala: PRESENTING SPONSORS

Thelma & David Steward

UNDERWRITERS

GUARANTORS

Leila & David Farr

Nancy & Ken Kranzberg

Roy Pfautch

Sally S. Levy Dr. Jeanne & Rex Sinquefield Rita & David Wells

SPONSORS Bryan Cave LLP Buckingham Strategic Wealth Phoebe & Spencer Burke Karen & Mont Levy Elizabeth Mannen The St. Louis Trust Company Josephine & Richard Weil DIRECTORS Camilla T. & Stephen F. Brauer Evntiv

SUSTAINERS

BENEFACTORS

Marilyn & Sam Fox

William T. Kemper Foundation – Commerce Bank, Trustee

Noémi & Michael Neidorff

Marsha & Bill Rusnack

PRODUCERS Barbara Barenholtz & Milton Hieken Mrs. William Barnes III Cathy & Jim Berges David A. Blanton III Barbara & Dolph Bridgewater Dr. William H. Danforth Alison & John Ferring Cheri & Ron Fromm Bettie Gershman Jenny Gupta & Stephen Trampe Bettie S. Johnson Joanne & Alan Kohn Mr. & Mrs. Jean-Paul Montupet Annemarie & Matt Schumacher Mr. & Mrs. Andrew C. Taylor Mr. & Mrs. G. H. Walker III Virginia Weldon & Francis Austin PATRONS Anita & Gene Adam Jan & Larry Albus Robert C. Anderson Mary Randolph Ballinger Cynthia J. Brinkley Mrs. Walter F. Brissenden Barbara Bryant

Paul & Amanda Cambridge Carol & Don Carlson Katie & Charlie Claggett Dr. & Mrs. Timothy J. Eberlein Alan Fiddleman Mr. & Mrs. Walter Galvin Edes P. Gilbert Patricia Hecker Maggie & Ron Holtman Margaret & Martin Israel Mary Judge & Gyo Obata Mrs. W.R. Konneker Gene Kornblum Carolyn & Joseph Losos Marylen Mann & Frank Jacobs Pris McDonnell Lisa & Kimball McMullin Mr. & Mrs. William C. Morris Dr. Robert Packman Pat & Bill Peck Judy Peil Mabel L. Purkerson, M.D. Paula & Rodger Riney Peggy & Jerry Ritter Linda & Bruce Ryder Alice & Peter Sargent Mr. & Mrs. Robert L. Scharff, Jr. Mr. & Mrs. Tom Schlafly Glenn J. Sheffield Ann & Bill Sullins Louise & Warren Sullivan Julie Tang & Mark Eggert Susan & Peter Tuteur Carol & Tom Voss Franklin F. Wallis Webster University Phoebe Dent Weil Donna Wilkinson Ellen & Bill Yeckley

2017 SPRING GALA CHAIRMAN · Marilyn Fox COMMITTEE

Anita & Gene Adam Mrs. Anna Ahrens & Dr. Jamie Spencer Jan & Larry Albus Mary Randolph Ballinger Barbara Barenholtz & Milton Hieken Mrs. William Barnes III Mr. & Mrs. James G. Berges Mr. & Mrs. James Blair IV David A. Blanton III Mr. & Mrs. Stephen F. Brauer Barbara & Dolph Bridgewater Cynthia J. Brinkley

Thriess & Lynn Britton Pamela & Mel Brown Barbara Bryant Phoebe & Spencer Burke William H.T. Bush Amanda & Paul Cambridge Carol & Don Carlson Diane Dark Dr. & Mrs. Timothy J. Eberlein Suzanne & Irl Engelhardt Lelia & David Farr Alison & John Ferring Sam Fox

Jan & Rand Goldstein Jan & Ronald Greenberg Jenny Gupta & Steve Trampe Patricia Hecker Bea Hollander Maggie & Ron Holtman Bettie S. Johnson Joanne & Alan Kohn Mrs. W.R. Konneker Nancy & Ken Kranzberg Mr. & Mrs. James A. Krekeler Dr. & Mrs. Norton Kronemer Peggy & Don Lents Karen & Mont Levy

Lucy & J. David Levy Sally S. Levy Carolyn & Joseph Losos Ann S. Lux Marylen Mann & Frank Jacobs Gwendolyn & Steven Mizell Noémi & Michael Neidorff Ellen & George Pace Dr. Robert Packman Pat & Bill Peck Judy Peil Mabel L. Purkerson, M.D. Heidi & Win Reed Peggy & Jerry Ritter

Marsha & Bill Rusnack John H. Russell Alice & Peter Sargent Elizabeth Gentry Sayad Mr. & Mrs. Robert L. Scharff, Jr. Mr. & Mrs. Tom Schlafly Annemarie & Matt Schumacher Glenn J. Sheffield Barbara & Gene Spector Thelma & David Steward Daria & Ray Stranghoener Elizabeth Stroble

Lists complete as of April 20, 2017. We regret the omission of anyone who contributed after this deadline.

Ken Stückenschneider Dr. Donald Suggs Ann & Bill Sullins Louise & Warren Sullivan Mary Susman & Tom Herm Peggy Walter Symes Julie Tang & Mark Eggert Susan & Peter Tuteur Carol & Tom Voss Mr. & Mrs. G.H. Walker III Franklin F. Wallis Phoebe Dent Weil Donna Wilkinson Lynn & Doug Yaeger 149


2 0 1 7 W i n e & B e e r Ta s t i n g On Friday, February 10, Opera Theatre welcomed 356 guests for the annual Wine & Beer Tasting. Event guests sampled exquisite wines, extraordinary microbrews, and an impressive array of hors d’oeuvres. The beautiful costumes from Opera Theatre’s 2008 production of Madame Butterfly were on display for guests to admire. The event grossed more than $94,000 for Opera Theatre’s nationally acclaimed professional development programs for emerging artists, breaking all previous records for revenue. Opera Theatre gratefully acknowledges the following event donors for their generous support: PRESENTING SPONSORS

BENEFACTORS

CONTRIBUTORS

Air Climate Services, Inc. BDO USA, LLP The Breihan Malecek Team with Berkshire Hathaway Alliance Realtors Drs. Jacob & Katherine Buchowski The Cornerstone Insurance Group Dale & Laurie Dendtler Becky Ditmer, Ernst & Young First Bank Stacy & Scott Galt Maggie & Ron Holtman Liz Hopefl Innovative Construction & Roofing CONNOISSEURS

John Mess Plumbing & Drainlaying Laura & Anthony Lancia Stephanie & Paul Lancia Erika & Frecky Lewis Tracy & Nate Moore Don C. Musick, III Jennah Purk, Purk & Associates, PC Rent-A-Relative LLC Allison Roberts Annemarie & Matt Schumacher Mary Ann & Andy Srenco Josh & Stephanie Wilson Washington University in St. Louis EVENT CO-CHAIRS JOBIE & MEADE SUMMERS, CO-CHAIRS ERIKA & FRECKY LEWIS,

Brooks Brothers Amanda & Paul Cambridge Hastings+Chivetta Architects Matt & Karen Geekie Gina & Lee Hoagland

Jim & Pam Krekeler Joe & Lisa Roddy US Bank Donna L. Zoeller, AAMS, Waddell & Reed Financial Advisors

GENERAL DIRECTOR TIMOTHY O’LEARY, AND CO-CHAIRS LAURA & ANTHONY LANCIA.

MANY THANKS TO OUR TASTING TABLE HOSTS:

Big Sky Cafe, Café Napoli, Cooper’s Hawk Winery & Restaurants, Kakao Chocolate, Larder & Cupboard, Parker’s Table, Randall’s Wines and Spirits, Robust Wine Bar & Catering, Sardella, and The Wine Merchant Ltd. Saint Louis Originals & their members Baileys’ Chocolate Bar; Cravings Restaurant, Bakery & Catering; LoRusso’s Cucina; Small Batch; SqWires; Three Kings Public House; and Vito’s Sicilian Pizzeria. SPECIAL THANKS TO:

Ces & Judy’s Catering; Collaborative Strategies, Inc.; Grey Eagle Distributors; Major Brands; Musick Design; Saint Louis Originals; Sauce Magazine; and Trademark Wines. WINE & BEER TASTING CO-CHAIRS COMMITTEE

Mary E. Bower Drs. Jacob & Katherine Buchowski Amanda & Paul Cambridge Diane Dark John DeGregorio Dale & Laurie Dendtler Kate Ewing 150

EVENT GUESTS PERUSED THE AUCTION WHILE ENJOYING THE GORGEOUS COSTUMES FROM THE 2008 PRODUCTION OF MADAME BUTTERFLY. PHOTOS © WENDI FITZGERALD

· Laura & Anthony Lancia, Erika & Frecky Lewis, Jobie & Meade Summers

Susanne Reimer-Fey & Dave Fey Stacy & Scott Galt Matt & Karen Geekie Gina & Lee Hoagland Mitch & Devyani Hunt Emily & Greg Klimek Pam & Jim Krekeler Trow Meier

Melissa & Robert Merlin Elizabeth M. Mesker Tracy & Nate Moore Kate Poss-Morency & René Morency Mina & Kevin Nashan Stacey Osborn Amber & Jeff Ott Ellen & George Pace

Maureen & Stephen Pakan Lynne & Brooks Parriott Julie & Eric Ralph Allison Roberts Sarah Roberts Nathan & Stephanie Ruggles Betsy & Jeff Schechter Annemarie & Matt Schumacher

Linda Seibert Mary Ann & Andy Srenco Bill Stebelski Mike & Kristi Weiss Peter Wheeler & Heidi Schamburg George Yeh


D o n o r s t o t h e Tr i b u t e F u n d 2 0 1 6 – 2 0 1 7 Opera Theatre gratefully acknowledges the following gifts to the Tribute Fund in honor/memory of the following special individuals: In Honor of Rob Ainsley Jamie L. Sutphen Tani Wolff In Memory of Paul Arenberg Susan Arenberg Spencer & Phoebe Burke Mr. & Mrs. Michael F. Neidorff Timothy & Kara Graziano O’Leary Ann & Bill Sullins Sharon & Elliot Zucker In Honor of Ann & Hank Bauer Mr. & Mrs. Robert Johnson In Memory of Bourne Bean Bettie S. Johnson Maggie Stearns In Honor of Cathy Berges Mr. & Mrs. Kenneth Schutte In Honor of Cathy & Jim Berges Mr. & Mrs. Jerry Ritter In Memory of Neil Bernstein Marcia Bernstein

In Memory of Merribeth Cook Mary Lee Frisbie In Memory of Karen Dahman Pat Baer In Memory of Aaron H. Darrish Murray Darrish In Memory of Morris E. Darrish Murray Darrish In Memory of Rose Darrish Murray Darrish In Memory of Sara Heller Darrish Murray Darrish In Honor of Melsene Field Mr. & Mrs. Francis W. Field In Honor of Billy Firestone Mary Elbert

In Honor of Nicole & Keith Freber Mr. & Mrs. Harvey Allen Dr. & Mrs. Allen Richon

In Honor of Phyllis Brissenden David E. McNeel

In Memory of Henrietta Fredman Shelley Pincus

In Memory of John Buckley Mr. & Mrs. Michael Smith

In Memory of Florentine Friedman Kathy Sears

In Honor of Phoebe & Spencer Burke Harwood Family Fund of the Community Foundation for the National Capital Region James & Ellen Scott

In Memory of Allen L. Garber Murray Darrish

In Honor of Beverly Clarkson Carolyn & Ernest Clarke In Memory of Dagnija Comado Dr. & Mrs. John Auzins Mr. & Mrs. Larry Biras Salvatore Comado Mr. & Mrs. Ralph Erickson Mr. & Mrs. Efren Gonzalez & Sheri Gonzalez Mr. & Mrs. Patrick Henn Charles MacKay Mr. & Mrs. Michael McClernon Timothy & Kara Graziano O’Leary Mr. & Mrs. Michael Paugh Mairin Brennan Pod Mr. & Mrs. Dan Rabata John Richardet & Peter Curd Mr. & Mrs. William L. Thornberry

In Memory of Sophie Heller Murray Darrish In Honor of Maggie Holtman James Williams & Melissa Georges In Honor of Chase Hopkins Patrick Biarkis In Honor of George & Pamela Horton Belinda Carstens-Wickham In Memory of Marlyne Huenneke Julie Nicolai In Honor of Inge & Glenn Jackson John & Gailya Barker In Memory of Kris Jepson Erie Mills & Tom Rescigno

In Honor of Dorothy & Billy Firestone Miriam Wilhelm

In Honor of Mr. & Mrs. Harold Blatt Lisa Hauck & Matter Family Office

In Honor of Don & Carol Carlson Mr. & Mrs. Newell S. Knight, Jr.

In Memory of Sister Mary Angelita Heinrich Dorothy Hitt

In Honor of Lucie Garnett Carolyn & Ernest Clarke In Memory of Frank Gfaller Paul M. Arenberg† Lisa H. Chang Benjamin Lebwohl Elizabeth Musick Mr. & Mrs. Michael F. Neidorff James Tomlinson & Daniel McCarthy In Honor of Joe Gfaller & Kraig Turner Mary Whitman In Honor of Edes Gilbert Sarah Wilson & Lou Stemmler In Honor of Lois Goldring Dr. & Mrs. Thomas Woolsey In Honor of John Gray Emily Gray In Honor of Patty Hecker Joseph Bean & Karen Munger Sally S. Levy

In Memory of Jorge Kalb Tani Wolff In Memory of Carol Kimball Mr. & Mrs. David Arnold Mr. & Mrs. Allan Baker Virginia Benson Kathleen Bibbins Mrs. Walter F. Brissenden Merrill R. Buettner Spencer & Phoebe Burke Beverly Clarkson Marjorie S. Courtney Mrs. P. Terence Crebs Mr. & Mrs. Adalbert K. Dietz Sara Epstein Dr. & Mrs. Edward E. Etheredge Melanie & Anthony Fathman, M.D. Robert & Jane Feibel Allison Felter Mr. & Mrs. Simon Ffitch Alan R. Fiddleman Dorothy & Billy Firestone Gretta Forrester Christy & Gary Fox Nicole & Keith Freber Ann Fusz & Ellen Fusz Richard Gaddes Eileen Garcia Anne Graziani Patricia Hecker Anne W. Hetlage Bea Hollander Janet & Andy Hoyne Bettie S. Johnson Reverdy Jones Stephen Kennedy Eric Kimble

Carly King Cornelia Kolster John Frank Lesser Sally S. Levy Mary Lewis Maureen Lewis Stephen Lord Charles MacKay Richard & Eileen Mackey Chandra Mak Ann Mandelstamm Patrice Mathews & Mark Wunsch Mr. & Mrs. James S. McDonnell III Erie Mills & Thomas Rescigno Mrs. Reuben M. Morriss III Margaret Munchmeyer Northern Trust Bank Timothy & Kara Graziano O’Leary Peggy Otto Jamie Papero Josephine Palmer Parish Adrienne & Russ Patton Gina Pellegrino & Eric Staley Georgia C. Pettus James D. & Joy M. Pierce Mr. & Mrs. B. Franklin Rassieur, Jr. Susan & John Rava Mr. & Mrs. Bart Richards Jan Paul Richter & Ellen von Seggern Richter Mary Ries Al & Martha Roux Ann R. Ruwitch & John Fox Arnold John Sant Dr. Vicki L Sauter Maria Schlafly & Dave Aholt Linda E. Schulte Mr. & Mrs. William G. Segal Mr. & Mrs. Paul Sergenian Mrs. William H. Sheffield Joanne Siesennop Mr. & Mrs. John Snodgrass Maggie Stearns Georgia Streett J. Kennard Streett Catherine C. Sullivan Mary Susman & Tom Herm Stephen Trampe & Jenny Gupta Mr. & Mrs. Scott Valoff Robert & Nancy Wagoner Mr. & Mrs. John K. Wallace, Jr. Franklin F. Wallis David Wanders Mr. & Mrs. Bob Webb Mr. & Mrs. Weiss Kathie Wilson William Wilson Anne Winkler Sharon & Elliot Zucker

Continued on page 152 151


D o n o r s t o t h e Tr i b u t e F u n d 2 0 1 6 – 2 0 1 7 Continued from page 151 In Honor of Eugene Kornblum Paul & Elissa Cahn

In Honor of Marsha & Bill Rusnack Virgil & Sandra Van Trease

In Honor of Kay Whittington Beverly Whittington

In Honor of John Lesser Harris Frank

In Honor of John Russell Charlotte Prince

In Honor of David Levy Mr. & Mrs. Alan Sachs

In Memory of Pat Schoetker Ann Fusz & Ellen Fusz

In Honor of Sally Levy Mont & Karen Levy Mr. & Mrs. Michael F. Neidorff Mr. & Mrs. Michael Newmark Georgia C. Pettus Dr. & Mrs. Steven Plax Marion Sachs Ann & Bill Sullins Sharon & Elliot Zucker

In Memory of Frances & Walter Sears Kathy Sears

In Honor of Elliot Zucker Robert & Jane Feibel Mr. & Mrs. Lee Kaufman, Jr. Mr. & Mrs. Lawrence Langsam Sally S. Levy Tom & Cindy Mitchell

In Honor of Jean Lord Sharon & Elliot Zucker

In Honor of Glenn Sheffield Allyce Bullock In Memory of Manuel Sherberg Murray Darrish

This list of contributors indicates those who made tribute fund gifts before April 1, 2017. Donors who made gifts later will be included in the 2018 program book. † In Memoriam

In Honor of Ken & Marjorie Smith Elaine Coe Georgia C. Pettus In Memory of Shea Smith III Mrs. P. Terence Crebs

In Honor of Joe Losos Dorothy & Billy Firestone Gene Kornblum In Memory of Ceci Lowenhaupt Ann & Mike Solomon Mr. & Mrs. David Stratmann John Wasserman Mr. & Mrs. Richard Weinstock In Memory of Peggy McCalpin Ann Fusz & Ellen Fusz

In Memory of W. Dennis Spencer Erie Mills & Thomas Rescigno Tom & Cindy Mitchell In Honor of David & Thelma Steward Jim Kemp & Michael Slawin

In Memory of Irene McCann Charles MacKay

In Honor of Ray & Daria Stranghoener Mr. & Mrs. James Schiele Mr. & Mrs. Charles Van Dyke

In Memory of Dale Moore Erie Mills & Thomas Rescigno

In Memory of Jack Taylor John Duffy

In Memory of Elbelle Moore John Forestner & Brad Alford

In Memory of Jessie Ternberg Spencer & Phoebe Burke Nicole & Keith Freber Mr. & Mrs. Michael F. Neidorff Timothy & Kara Graziano O’Leary Dr. & Mrs. Sherman J. Silber Douglas M. & Sherida E. Tollefsen Washington University School of Medicine David & Monita Wilson

In Honor of Noémi Neidorff Mr. & Mrs. Barry Beracha In Honor of Noémi & Michael Neidorff Joyce Aboussie Dr. James Gandre & Dr. Boris Thomas Charles MacKay & Cam McCluskey Mr. & Mrs. Robert Wislow In Honor of Gyo Obata Merrill Lynch Feuerbacher Group In Honor of Timothy O’Leary Mr. & Mrs. Paul Cahn In Honor of Ellen & Jan Richter Catherine C. Sullivan In Memory of Maynord Rosen Larry Rosen In Memory of Dr. Willard Rowland Georgia C. Pettus

In Memory of Shannon Vincel Mr. & Mrs. Arthur Behrens Mr. & Mrs. Timothy Bidwill Patricia Drew Robert & Jane Feibel Nicole & Keith Freber Richard Gaddes Mr. & Mrs. Ed Killius Keith Krebeck Mr. & Mrs. Michael F. Neidorff Timothy & Kara Graziano O’Leary Betty & Edwin Schmid Mary Strauss Franklin F. Wallis

To honor or remember a loved one, please call (314) 963-4228 or visit us online at ExperienceOpera.org. 152


2017 Opera Theatre of Saint Louis Guild

THE VOLUNTEER SUPPORT GROUP OF OPERA THEATRE

The volunteers of the Opera Theatre of Saint Louis Guild provide vital support for OTSL’s main season productions, education programs, special events, and off-season activities. Last year, these devoted opera-lovers gave nearly 15,000 hours of volunteer time to support Opera Theatre, providing a variety of invaluable services and strengthening the company’s programs in the community. Guild volunteers provide transportation, housing, and welcome bags for our artists, publish bi-annual newsletters, staff the lobby boutique, contact legislators about arts issues, give talks to schools and adult education groups, provide support for dress rehearsals and performances, edit opera libretti, help staff community events, offer administrative support in the main offices, and much more. Over the years, Opera Theatre has come to deeply depend on the unwavering support, dedication, and passion of the Guild. Our heartfelt thanks to each volunteer!

GUILD EXECUTIVE COMMITTEE PRESIDENT

Gailya Barker IMMEDIATE PAST PRESIDENT

Janet Hoyne SECRETARY

Mary Bower

ADVISORS

Ann Fusz Ellen Fusz Lucy Levy Sally Levy Mary Susman Bob Wagoner Peggy Walter Symes

VICE PRESIDENT OF COMMUNITY ENGAGEMENT

Beverly Whittington VICE PRESIDENT OF MEMBERSHIP

Cay Sullivan

VICE PRESIDENT OF ARTISTIC SUPPORT

Bill Yeckley

TREASURER

Tom Herm

MEMBERS OF THE GUILD BOARD ADVOCACY

Helen McCallie Jamie Spencer ARTISTS-IN-TRAINING

Mark Kent BOUTIQUE

Beverly Clarkson Merchandising

Susie Hahn Operations

CONCIERGE

Margie Knapp Harry Moppins DOCENTS

Jane Brader Diane McCullough John Rorris

DRESS REHEARSAL REFRESHMENTS

Myrna Hershman Cay Sullivan DRESS REHEARSAL USHERS

Georgia Pettus Martha Roux

DRESSERS, SUPERS, & LIGHTWALKERS

Ann Fusz Ellen Fusz GREETERS

Sara Fabick HISTORIANS

Norton Kronemer Shirley Kronemer

HOUSING

NEWSLETTER

LIBRETTI

OFFICE/PHONE COVERAGE

Carol Carlson Ann Holton Tani Wolff George Yeh

Ann Fischer Tani Wolff Rowena Van Dyke

SPOTLIGHT ON OPERA

Ingeborg Jackson

Eugenie Bonte Damaris Schmitt

MARKETING

TEMPOS

MAILING

Emily Klimek Beverly Whittington MET AUDITIONS

Elliot Zucker Sharon Zucker NATIONAL OPERA ACTIVITIES

Mary Bower TRANSPORTATION

Linda Seibert Elliot Zucker

VOLUNTEER RECORDS

Steve Knapp

Bill Yeckley

153


O u r D e e p e s t T h a n k s t o t h e Vo l u n t e e r s f r o m 2 0 1 6 – 2 0 1 7 !

154

ANITA ADAM

KIMBERLEY EBERLEIN

VIRGINIA HOEPER

JAMES LIPPERT

MELANIE ADAMS

MIDGE EDDY

DEBRA HOLLINGSWORTH

LAURIE LOCK

LYDIA AIKEN

GAVIN EDWARDS

MARK HOLLY

NADIA LOEBL

ALANE ANTOINE

EDGAR ELLERMAN

PEGGY HOLLY

SCOTT LOEBL

GAILYA BARKER

CONNIE EMGE

KEN HOLMES

THERESA LOEBL

JOHN BARKER

SUE ENGELHARDT

MAGGIE HOLTMAN

KATHRYN LOEPER

ANTHONY BASSETT

CECILY ERKER

ANN HOLTON

JOSEPH LOSOS

ANN BAUER

HELEN ETLING

STEPHEN HOULDSWORTH

ANDREW LOVE

BRAYDON BECKER

THOMAS ETLING

ANDREW HOYNE

PEASY LOVE

MARTIN BELL

PHYLLIS EVANS

JANET HOYNE

DANIEL LUDEMAN

PAM BELLOLI

SARA FABICK

JEANNETTE HUEY

BARBARA MAHON

PETER BENOIST

LELIA FARR

LAURA HUFF

ELIZABETH MAHONY

VIRGINIA BENSON

ANTHONY FATHMAN

MARTY HUGHES

KELLIE MANDRY

HEATHER BENZ

MELANIE FATHMAN

HEATHER HUNT-RUDDY

NANCY MARRON

CATHY BERGES

JANE FEIBEL

PHYLLIS HYKEN

KIRA MAYO

JAMES BERGES

ROBERT FEIBEL

GLENN JACKSON

HELEN MCCALLIE

JANYCE BEYER

JOHN FERRING

INGE JACKSON

MOLLY MCCANN

LYNN BODICKY

ALAN FIDDLEMAN

FRANK JACOBS

DIANE MCCULLOUGH

GAIL BOKER

DOROTHY FIRESTONE

BETTIE JOHNSON

PRIS MCDONNELL

EUGENIE BONTE

ANN FISCHER

MARJORIE JOHNSON

MARGE MCDORMAN

MARY BOWER

MARIAN FLOWERS

PAUL JORJORIAN

HUGH MCGAUGHY

GEOFF BOWERS

PAT FOGLE

MARJORIE JURGENSON

KAT MENKE

JOHN BRADBURY

GERRY FRANKENFELD

ARINDAM KAR

LOREN MILLER

JANE BRADER

MATTIE FRENCH

MARY KARR

CARL MITCHELL

RACHEL BRANDT

HANNECRISTL FRUHAUF

MARK KENT

ELIZA MITCHELL

BEVERLY BRASSIL

MARIE FURRER

EMILY KLIMEK

ERIC MITCHELL

KIMMY BRAUER

ANN FUSZ

MARGIE KNAPP

MARVIN MITCHELL

BARBARA BRIDGEWATER

ELLEN FUSZ

STEVE KNAPP

RICK MITCHELL

ARTHUR BRIGHAM

EILEEN GARCIA

CATHY KNEIDL

STEVEN MIZELL

PHYLLIS BRISSENDEN

ADDIE GERARD

AMANDA KOEHLER

URSULA MOELLER

PHYLLIS BROWN

MEREDITH GERARD

JOANNE KOHN

CAROL MOPPINS

ASHLEY BUDDE-TAYLOR

EDES GILBERT

ANN LEE KONNEKER

HARRY MOPPINS

REBECCA BUFFINGTON

LOUISA GOLDMAN

EUGENE KORNBLUM

RENÉ MORENCY

PHOEBE BURKE

KAREN GRAFLAGE

BUCK KOUBEK

LUCY MORRIS

SARA BURKE

LARISA GRAYPEL

KEN KRANZBERG

ARNAV MOUDGIL

SPENCER BURKE

SOL GUBER

JIM KREKELER

JUDY MUCKERMAN

EMILY BYNUM

LYNN HACKETHAL

PAM KREKELER

JEANETTE MYERS

AMANDA CAMBRIDGE

GAIL HEYNE HAFER

NORTON KRONEMER

MICHAEL NEIDORFF

PAUL CAMBRIDGE

RIK HAFER

SHIRLEY KRONEMER

NOÉMI NEIDORFF

CAROL CARLSON

ANDREW HAHN

BILL KUMKE

ROSE MARIE NESTER

DON CARLSON

SUSIE HAHN

MARTHA LAFATA

INGRID NEUEFEIND

PAT CHURCH

REENA HAJAT CARROLL

PAUL LAFATA

MATTHEW NEWMAN

COOPER CLARKE

KEN HALLER

ANTHONY LANCIA

MELANY NITZSCHE

MEG CLARKE

JAMES HARDIN

LAURA LANCIA

PHYLLIS OAKES

BEVERLY CLARKSON

BARBARA HARRIS

DOUGLAS LANE

GYO OBATA

PATRICIA CODDEN

LARRY HARRIS

TERESA LANE

ROBERT OFFICER

LOUIS COLOMBO

MICHAEL HAWKINS

SALLY LEFLER

LARRY OTTO

LYNA COLOMBO

GHAZALA HAYAT

KENYA LEONARD

PEGGY OTTO

MICHAELEEN CRADOCK

PATRICIA HECKER

JOHN LESSER

SUE PASTER

KAREN CREBS

DONNA HEIDER

FRAN LEVE

ISABEL PASTRANA

JILL CUMMING

ROBERT HEIDER

DAVID LEVY

LINDSAY PATTAN

JIM DAUES

SHIRLEY HEIMAN

KAREN LEVY

ADRIENNE PATTON

MARY DAVIDSON-OFFICER

JOHN HENSLEY

LUCY LEVY

HELEN PEARL

ADRIENNE DAVIS

TOM HERM

MONT LEVY

JUNE PELLARIN

PHILIP DEITCH

CARL HERMANN

SALLY LEVY

GEORGIA PETTUS

LISETTE DENNIS

JANICE HERMANN

ERIKA LEWIS

JOY PIERCE

ASTAD DHUNJISHA

MICHAEL HERRON

FRECKY LEWIS

MICHAEL PLURAD

MARISSA DICKMAN

ARNIE HERSHMAN

LINDA LEWIS

KATE POSS-MORENCY

DAVID DIENER

MYRNA HERSHMAN

MARY LIEBER

MABEL PURKERSON

ANN DIVINE

VERONICA HILYARD

RICHARD LIEKWEG

DIANA RAWIZZA

ARNOLD DONALD

NATHAN HINDS

STACEY LIEKWEG

WINTHROP REED

RICHARD DUESENBERG

GINA HOAGLAND

TOM LIMBRICK

PATRICIA RICE

SALLY EATON

NANCY HOBSON

CONNIE LIPPERT

NICOLE ROACH

The Guild is always looking for enthusiastic individuals to help support Opera Theatre by volunteering. To learn more, visit

ExperienceOpera.org or contact Michelle Myers, Associate Director for Strategy & Organizational Development, at

(314) 963-4226. TYRRELL RODGERS

JAMIE SPENCER

NANCY WAGONER

BRIAN ROLF

JANET SPENCER

FRANKLIN WALLIS

JOHN RORRIS

MARIAN SQUIRES

NINA WARE

MIEKI ROSSI

ANDY SRENCO

PHOEBE WEIL

MARTHA ROUX

MARY ANN SRENCO

ELIZABETH WEINMAN

MARY ANNE RUDLOFF

LINDA STARK

MICHAEL WEISBROD

NATHAN RUGGLES

FRANK STEEVES

DAVID WELLS

STEPHANIE RUGGLES

DAVID STEWARD

BEVERLY WHITTINGTON

MARSHA RUSNACK

THELMA STEWARD

ASA WILD

WILLIAM RUSNACK

JESSICA STONE

DONNA WILKINSON

JOHN RUSSELL

DARIA STRANGHOENER

ANNE WILLIAMS

JOHN SAPPINGTON

RAY STRANGHOENER

ANNE L. WILLIAMS

BOB SCHARFF

BETH STROBLE

JAMES WILSON

ROBERT SCHMIDT

DONALD SUGGS

JUDITH WILSON

DAMARIS SCHMITT

ANN SULLINS

ROMA WITTCOFF

HARRIET SCHOLLE

CAY SULLIVAN

ALAN WITTE

FIONA SCOTT

MARY SUSMAN

DIANE WOEPKE

LINDA SEIBERT

MARY SUTHERLAND

JOSHUA WOLF

GLENN SHEFFIELD

CINTIA SUTTON

TANI WOLFF

MIM SHELDEN

PEGGY WALTER SYMES

ROBERTA WOODS

MIKAYLA SHERFY

MARIA TAXMAN

KAY WUNDER

BONNIE SHOPPER

ELISE TEGTMEYER

ROSLYN WYLIE

JAMES SHUMATE

CAROLYN TOFT

JAMES WYRSCH

JANE SHUMATE

JANE TOWATER

BILL YECKLEY

CAROLE SIMON

STEPHEN TRAMPE

ELLEN YECKLEY

ROBERT SIMON

EMILY UNDERWOOD

GEORGE YEH

REX SINQUEFIELD

ROWENA VAN DYKE

JESSIE YOUNGBLOOD

TURBO SJOGREN

KIRA VAN NIEL

NANCY ZANDER

KENNETH SMITH

LINDA VANDIVORT

LEE ZINGALE

MARJORIE SMITH

LINDSEY VEHLEWALD

ELLIOT ZUCKER

AMY SOPER

DEBORAH WAFER

SHARON ZUCKER

GENE SPECTOR

BOB WAGONER

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O p e r a T h e a t r e S a l u t e s Vo l u n t e e r s B o b & J a n e F e i b e l

BY TANI WOLFF

O

phthalmologist Robert M. Feibel grew up loving music and, more specifically, opera. As with many fans, Bob has always

believed in sharing his love of the art form. Accordingly, after being set up with a blind date for a formal dance, he followed up by inviting Jane Miskoe to not just one, but three operas. The Met was touring in Boston and together Bob and Jane saw Queen of Spades (Friday night), The Marriage of Figaro (Saturday afternoon), and Otello (Saturday night). The immersion approach worked. Jane was sold on opera…and on Bob. Moving to St. Louis, Bob and Jane were — at first — disappointed by the limited amount of opera in their new home. But when they heard of a fledgling company called Opera Theatre opening in the summer of 1976, they hurried to see every production that season (and have seen every one since). By the second performance, Bob was so impressed that he went to the coffee bar to ask how he could donate — but no one seemed to know the answer! (He finally managed to get someone in the ticket office to take his donation…the first of many.)

JANE AND BOB FEIBEL AT OPERA THEATRE’S 2005 SPRING GALA.

From the start, Jane and Bob have been devoted volunteers and strong

supporters of the other volunteers who make the OTSL season possible. Bob was the first to record volunteer hours, keeping detailed notes on file cards in a shoe box until Jane digitized them. When he realized how hard the volunteers were working, he organized a thank-you party to reward their time and effort. That event has become an annual tradition, and is now organized by the grateful OTSL staff. Along the way, while Bob served as President of the Opera Buffs (the Guild’s predecessor), Jane supervised the dress rehearsal volunteers. Finding the task of checking off patron names at the door cumbersome, Jane printed dress rehearsal tickets on her own computer. She also served as Guild Treasurer, collecting and recording all but the largest individual gifts, while Bob became the buyer for the Boutique. In addition to many other volunteer activities over the years, the duo has served on the transportation committee, greeting singers and staff at the airport; Jane and their children have been supernumeraries; and Bob has served on the Board of Directors’ Membership Committee. In recognition of his years of devoted service, Bob has also been named a Life Member of the Opera Theatre of Saint Louis Board of Directors. Every year since 2000, Bob has contributed a background article for at least one of the season’s printed libretti. Preferring to write about operas that have a historic or mythic content, he heads to the Washington University Music Library and pulls several books on the opera, the composer, and the time period. His carefully-crafted articles provide context to make each opera more interesting and accessible. Additionally, as “The Opera Doc,” Bob also contributes an opera quiz for each issue of Overture, the Guild’s newsletter. One memorable example tested knowledge of doctors and diseases in OTSL operas. The mutual attraction that began with a blind date and an opera-filled weekend has endured. Bob and Jane have two children, Carrie and Juliet, and three grandchildren. They will celebrate their 50th wedding anniversary this summer. p 155


O p e r a

T h e a t r e

o f

S a i n t

L o u i s

Yo u n g F r i e n d s S t e e r i n g C o m m i t t e e Opera Theatre’s Young Friends Steering Committee was formed in 2009 to build interest, appreciation, and passion for opera by engaging young professionals and exciting a new generation of operagoers for the 21st century. The Steering Committee is an enthusiastic group of young professionals who support the organization in a variety of ways: serving as hosts for Young Friends events during the season, planning unique pre-season events (such as Opera Tastings and a cocktail event with composer Ricky Ian Gordon) to introduce opera to new audiences, and providing valuable insights and feedback as OTSL continues to evolve its plans to grow audiences for the future. Members of the Steering Committee also serve as ambassadors for OTSL among their friends and their professional networks. YOUNG FRIENDS ATTENDEES ENJOY A DELICIOUS BUFFET AND OPEN BAR DURING PRE-SHOW RECEPTIONS. PHOTOS © KEN HOWARD

Each season, Young Friends events — an all-inclusive package with a pre-show buffet, open bar, and a ticket to the opera — sell out. At the recommendation of the Steering Committee, this year Opera Theatre has expanded the program. In addition to one Young Friends night for each season production, OTSL is now also offering Young Friends events at two Saturday matinees, featuring brunch and Bloody Marys. Single tickets can be purchased to Young Friends events for only $49, and with a “Pick Two… Or More” Pass, Young Friends can enjoy even greater savings. To learn about this season’s Young Friends events, see page 111. Participation in the Young Friends Steering Committee and Young Friends events is open to anyone under 45 years of age. If you are interested in joining the Steering Committee, please contact staff liaison Joe Gfaller, Director of Marketing and Public Relations, at jgfaller@ opera-stl.org.

YOUNG FRIENDS STEERING COMMITTEE

SPECIAL THANKS TO MEDIA SPONSORS

CO-CHAIRS · Ashley Budde, Laurie Lock, Amy Soper

COMMITTEE

Heather Benz Geoff & Allison Bowers Rebecca Buffington Paul & Amanda Cambridge Paul Jorjorian Mark Kent Amanda Koehler

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Anthony & Laura Lancia Teresa Lane Frecky & Erika Lewis Kate Poss-Morency Arnav Moudgil Isabel Pastrana Lindsay Pattan

Nathan & Stephanie Ruggles Mary Ann Srenco Lindsey Vehlewald James Wyrsch Jessie Youngblood

EVENT COCKTAILS PROVIDED BY


E n g a g e m e n t a n d I n c l u s i o n Ta s k F o r c e Opera Theatre’s Engagement and Inclusion Task Force began as an informal network of supporters, committed to helping the company grow an audience that better reflected the rich diversity of the St. Louis region. In the fall of 2012, the group formalized its role and now meets quarterly to discuss and develop opportunities to achieve this vision. The Task Force is grounded in a belief that by bringing audiences together across diverse backgrounds for a shared operatic experience, we build community, create opportunities for dialogue, and strengthen our region. Over the years, the group has helped plan a wide range of events, including:

p #WithNormandy: A Concert for Peace and Unity at Normandy High School, the school from which the late Michael Brown, Jr. was a graduate, in support of the “Friends of Normandy” Scholarship Fund. p Community tours with artists such as author Salman Rushdie, composer Jack Perla, librettist Rajiv Joseph, composer Terence Blanchard, librettist Royce Vavrek, director/designer Isaac Mizrahi, mezzo-soprano Kendall Gladen, and most recently composer Ricky Ian Gordan and librettist Michael Korie. p Panels and community discussions in partnership with the Missouri History Museum, Diversity Awareness Partnership, Washington University, Webster University Film Series, Urban League Young Professionals, Interfaith Partnership, St. Louis Public Library, the Gesher Music Festival, and the Jewish Community Center. p Welcome receptions for first-time visitors at select performances during the season. p Opera Tastings (see page 63 for more details).

TENOR JOSHUA BLUE AND MEZZO-SOPRANO JENNIFER PANARA PERFORM AT OPERA TASTINGS (2017). PHOTO © ELIZABETH WISEMAN

If you are interested in becoming involved with this group, please contact staff liaison Joe Gfaller at jgfaller@opera-stl.org.

THE 2016–17 ENGAGEMENT AND INCLUSION TASK FORCE

Zekita Asuquo Gail Boker Sara Burke Reena Hajat Carroll Adrienne Davis Philip Deitch Lisette Dennis Kim Eberlein Ken Haller Carletta Harlan

Deb Hollingsworth Steve Houldsworth Mark Kent Kenya Leonard Nicole Roach Donald Suggs Maria Taxman Emily Underwood Kira Van Niel

YOUNG AUDIENCE MEMEBERS ENJOY AN EVENING OF OPERA TASTINGS (2016). PHOTO © ELIZABETH WISEMAN

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Carol Kimball 1939–2016 Opera Theatre Board Member 1985–2016 Opera Theatre Guild President 1985–1987

CAROL WITH MUSIC DIRECTOR STEPHEN LORD.

CAROL SPEAKS AT A 2010 SPOTLIGHT ON OPERA. PHOTO © KEN HOWARD

It is hard to think of a member of the Opera Theatre family more generous, caring, and giving of herself than Carol Kimball, whose love of this company touched the lives of thousands of people. For more than 30 years, Carol supported Opera Theatre as a subscriber, donor, volunteer, board member, and educator for students of all ages. Carol was a citizen of the world in the truest sense. She received her undergraduate degree from Smith College and a master’s degree from the University of Chicago, at a time when post-graduate education was still unusual for women. Her journeys took her around the globe, as far away as the Netherlands, Finland, Geneva, and Paris. But no matter how far she traveled, she always came home to the Midwest. Carol’s involvement with opera began at the Lyric Opera of Chicago in 1974, when she became a member of the very first class of the company’s Lecture Corps. After moving to St. Louis with her family in 1980, her work with education and community engagement continued. Not only did she join the Opera Theatre Guild, but she also served as a docent for the St. Louis Symphony, a librarian at John Burroughs School, and a board member for the Alliance Française de Saint Louis. Within just a few years of joining the Guild, Carol was elected to serve as both Guild President and a member of the Board of Directors. She frequently hosted Guild Board meetings and events, welcoming everyone into her home with her signature warmth and good humor. She also delivered homemade chocolate chip cookies to the office staff every December, causing a company-wide race to the kitchen! In one particularly memorable year, all the cookies disappeared before General Director Timothy O’Leary could finish a meeting. When Carol learned that Timothy hadn’t gotten a single cookie, she made a point the next year of tipping him off before her delivery. Carol was never one to sit back quietly when she saw ways to build the effectiveness of the Guild. She founded the Docent Committee in 1991, modeling it upon her previous lecturing experiences in Chicago. Over the course of 27 seasons, this committee has reached more than 13,000 students and adults. Carol also immersed herself in other Guild outreach efforts, from education programs to the popular Spotlight on Opera series. All in all, the programs that she helped to lead and nurture serve more than 12,000 students annually today. Needless to say, Opera Theatre would be a very different company without Carol’s influence. Her love of opera was outstripped only by her love for her family — and the Green Bay Packers! On behalf of all the students and artists whose lives have been enriched by her tireless leadership, Opera Theatre is deeply grateful to Carol Kimball, and remembers her for a lifetime of generosity and passionate advocacy.

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In Memoriam In loving tribute to much-missed members of the Opera Theatre family

Time is too slow for those who wait, Too swift for those who fear, Too long for those who grieve, Too short for those who rejoice, But for those who love, time is Eternity.

HENRY VAN DYKE

Paul Arenberg Maria H. Bailley Bourne Bean Dr. C. Alan Beeler Dr. George A. Benson James B. Bishop Peter H. Bunce Gertrude B. Busch Thomas Calhoun Seth Carlin Dagnija Comado Merribeth Cook Karen Dahman Henrietta Fredman Mary Ann Gerlach Florence Glass Edward Greenberg Gloria Griffero Sr. Angelita Heinrich William M. Hoffman Marlyne S. Huenneke Margaret James Kristine Jepson Lorenzo Jones Carol L. Kimball Richard P. Kiphart Dr. Rosalind H. Kornfeld Mary Booth Langenberg Loy W. Ledbetter, Jr. Mary Ann Lee Gary Lipsutz Cecile K. Lowenhaupt Dr. Sam Lugo Margaret McCalpin Irene McCann Dr. Theodore Meiners Eleanor J. Moore Charles Dean Mueller Dr. Deborah Smith Onken Marian Paxhia Julie Schnuck Pat Schoetker George Silfies Shea Smith III W. Dennis Spencer Katinka Stout Dan Sullivan Jack C. Taylor Dr. Jessie L. Ternberg JoAnn P. Wehrle Richard J. Wolfheim 159


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PHOTO Š KEN HOWARD

A To a s t t o W e b s t e r U n i v e r s i t y

In 1976, founding Opera Theatre Board Chairman Dr. Leigh Gerdine and Webster University gave Opera Theatre a home at the Loretto-Hilton Center. Without their generosity, it is doubtful that the company would have survived. Thanks to the support of Webster University, which just celebrated its centennial, OTSL has become internationally known as a showcase venue for the best in American opera. Here, the magic of theater and music combine with the power of education to create a truly unique and stimulating environment for students and artists alike. We salute the leadership of Webster University President Dr. Elizabeth Stroble, who serves as an active member of the Opera Theatre Board of Directors, and we look forward to the continuation of this extraordinary partnership.

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Acknowledgments Wigs for all productions were furnished by Tom Watson. Key members of the technical staff belong to the International Alliance of Theatrical and Stage Employees, Local 6. All Scenic Artists employed by Opera Theatre of Saint Louis are represented by the United Scenic Artists, IATSE Local USA 829, AFL-CIO, CLC. Performing Artists, Stage Directors, Choreographers, and Stage Managers are represented for collective bargaining purposes by the American Guild of Musical Artists, the union of professional singers, dancers, and staging personnel of the United States. n

OPERA THEATRE WISHES TO THANK THE FOLLOWING: Warren Sauer for help with lobby décor; Rock Hill Cleaners and Laundry for assistance with costumes; Steve Heaton for assistance with shoes; JC Darlynn Designs for additional costume construction for Titus; Winter Opera Alterations for Titus; David Slan and Patricia Sonnett of Steinway Piano Gallery & Rogers Organs of St. Louis for the use of Steinway and Boston pianos for rehearsals and performances; Washington University Department of Music, Todd Decker, Ph.D., Chair of Music Department, and Jennifer Gartley, Facilities Coordinator, for the use of their harpsichord; Cheryl Marting of Stay Tuned Piano Service, Shannon Dobsch, and Bill McGreevey of McGreevy Piano for tuning and maintenance of pianos; Enterprise Rent-A-Car for assisting with transportation needs for artists; St. Louis ENT Health, Lisa Carr, M.H.S., CCC-SLP and The Voice & Swallowing Center of Sound Health Services, P.C.; Timothy Eberlein, M.D. and the Siteman Cancer Center; Gene Spector, M.D.; Dr. Joseph Bradley, M.D.; Dr. Archie Harmon, Ph.D.; Megan Radder, CFY-SLP; and Raymond Slavin and the Saint Louis University School of Medicine for assistance with health care for artists; The Repertory Theatre for accommodations at the Garden Apartments, Webster University for accommodations at the Webster Village Apartments, The Chase Park Plaza, MetroLofts, The Orion, Lofts at the Highlands, Central West End City Apartments, The Georgetown Apartments, Hampton Corporate Suites, VIP Corporate Housing, The Ritz-Carlton - St. Louis, The Four Seasons Hotel - St. Louis, Springhill Suites by Marriott Brentwood, Radisson Hotel and Suites - St. Louis Downtown, Drury Inn & Suites Brentwood, Moonrise Hotel, and Crowne Plaza of Clayton for consideration in housing season artists. n

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OTSL is deeply grateful to the following for arranging and providing patron housing for season artists: Gwen Adams, Janyce Beyer, Marilyn & Richard Brickson, Phoebe & Spencer Burke, Carol & Don Carlson, Jane & Robert Clark, Melanie & Anthony Fathman, Gerry Frankenfeld, Lucie & Anthony Garnett, Ann & Randy Getz, Myrna & Arnold Hershman, Ann & Jim Holton, Tracy & David Holtzman, Pam & Jim Krekeler, Lucy & David Levy, Peasy & Andy Love, Carol & Regis O’Keefe, Mary Anne Rudloff, Janice & Steve Seele, Marjorie & Dr. Kenneth Smith, Ann & Bill Sullins, Chrissie & Bradford Werner, Joie Werner, Cathie & Jerry Wille, Ellen & Bill Yeckley, and Sharon & Elliot Zucker. Opera Theatre acknowledges with gratitude the hard work and dedication of the following young volunteers and work-study students in the 2016-17 academic year: Emma Clemens, Nicholas Lanham, Brian Paul Mendoza, Wailani E. Ronquillio, and Kayla Shepperd. Opera Theatre acknowledges with gratitude the generous hospitality of the following friends of the company: Barbara & Dolph Bridgewater, The Commerce Trust Company, Edgar W. Ellermann, Jr., Jane & Robert Feibel, Tricia & Josh Ferguson, Alison & John Ferring, Dorothy & Billy Firestone, Edes P. Gilbert, Patricia Hecker, Gina Hoagland, Mr. & Mrs. Ronald A. Holtman, Bettie S. Johnson, Kaldi’s Coffee, Nancy & Ken Kranzberg, Karen & Mont Levy, Lucy & J. David Levy, Sally S. Levy, Frank McGinty, Tracy & Nate Moore, Mr. & Mrs. Michael Neidorff, John H. Russell, Mr. & Mrs. Robert L. Scharff, Jr., Mary Susman & Tom Herm, Trademark Wines, Franklin F. Wallis, Webster University, and Sharon & Elliot Zucker. n

Special thanks to Maggie Holtman and the Program Book Committee for all their help securing advertising. n

Hosts of Board Meetings, Committee Meetings, and Events: Spencer Burke, Marilyn & Sam Fox, Noémi & Michael Neidorff, Rex Sinquefield, Thelma & David Steward, and Daria & Ray Stranghoener. Spotlight on Opera Refreshments: Genie Bonte, Damaris Schmitt. Contributors of Welcome Gifts for Artists: Absopure Water Company, Alive Magazine, Billy Goat Chips, Bissinger’s Handcrafted Chocolatier, Contemporary Art Museum, Cravings Restaurant & Bakery, Forest Park Forever, Gateway Arch, Healing Touch Limited, Kind Soap Company, Kolache Factory, Morgan Ford Massage & Spa, Nothing Bundt Cakes, Schlafly Beer, St. Louis Convention & Visitor’s Commission, the St. Louis Symphony, and Webster/Kirkwood Times. n


Acknowledgments 2016 Holiday Celebration: The 2016 Holiday Celebration occurred on December 11 and was chaired by Daria & Ray Stranghoener. The evening featured tenor René Barbera accompanied by Damien Francoeur-Krzyzek, as well as caroling by Opera Theatre’s 2016 Artists-in-Residence Katherine Jolly and Robert Mellon. Over 265 guests attended, and more than $77,000 was raised to support Opera Theatre’s professional training programs for emerging artists and education & outreach initiatives. Special thanks to our generous table sponsors: Ameren Corporation, Phoebe & Spencer Burke, The Commerce Trust Company, Kim & Tim Eberlein, Lewis Rice, Susan & Danny Ludeman, Monsanto Company, and Noémi & Michael Neidorff. n

OTSL acknowledges with thanks the contributions of the following to Education Program events: Monsanto Artists-in-Training visiting artists Stanford Olsen and Christine Brewer; Jennifer Gartley and the Washington University Department of Music for their assistance with the Nathan Gunn Master Class for Artists-in-Training students; Paul Reuter and the staff of The Sheldon Concert Hall for hosting the Artists-in-Training Spring Recital; Dwayne Buggs and Mark Kent, volunteer sponsors of the AIT program; Ann Carole Gaspar and Peter Gaspar for establishing the Dee Pavelka Scholarship, honoring Ms. Pavelka’s 20 years of exemplary and inspired teaching; Deborah Patterson, former president of Monsanto Fund, for hosting the AIT Spring Recital; Kaye Harrelson and Dwayne Buggs of the St. Louis Public Schools, Kelly Gerstner of Riverview Gardens High School, Kim Harrison of McCluer North High School, Sara Giambalvo of McCluer High School, and Duane Foster of Normandy High School for their support of the Artists-in-Training Preparatory Program; Bellefontaine United Methodist Church, St. Barnabas’ Episcopal Church, and Cote Brilliante Presbyterian Church for hosting the Artists-in-Training Preparatory Program recitals; Christine McDermott and Alice Montgomery for providing an instructional voice clinic for the AIT program; Peter Sargent and the staff of Webster University for assistance with the Artists-in-Training College Retreat; Carol Cummerford of the Webster Community Music School for hosting the AIT Spring Training Vocal Camp; Dr. Michael Smith of Des Lee Fine Arts Collaborative; J. David Levy for photographing Opera on the GO!; The Switch for their donation of sound equipment; Dr. John Simpson and Dr. Tony Arnold of the Webster Groves School District, Milton Mitchell, Noah Hollenkamp, and the staff at City Academy, and Kay Wunder and the volunteer teacher aides for their support of the 2017 Opera Camp for Kids; Judy Roberts of the Kirkwood Arts Foundation and Bill Stein of the First Presbyterian Church of Kirkwood for support of A Little Lunch Music; Ann Burroughs, Ann Corrigan, and Leslie McAdoo of the Saint Louis Art Museum for Opera Tours at the Art Museum; the Arts Connection Task Force: co-chairs Christine Brewer and Edes Gilbert and members Duane Foster (Normandy Schools), Kaye Harrelson (St. Louis Public Schools), Kenneth Lederle (St. Louis Archdiocesan Schools), Brian Reeves (Parkway

Schools), Brian Thomas (MICDS), Alexis Wright (New City School), and Ericka Zoll (KIPP St. Louis); Kids’ Club partners Emmanuel Episcopal Church and Webster Child Care Center and Kids’ Club teaching artists Kim Gruner, Lisa Jones, Stephanie Ruggles, Mimi Shipp, Beverly Whittington, and Peter Winfrey; and docent co-chairs Jane Brader, Diane McCullough, and John Rorris. n

OTSL acknowledges the following for support in conjunction with The Grapes of Wrath community tour: Melanie Adams, DeAnna Michele Anderson, Cinema St. Louis, The Ethical Society of St. Louis, Cliff Froehlich, Gesher Chamber Music Festival, Ricky Ian Gordon, Ken Holmes, Dana Hotle, Eric Jackson, The Jewish Community Center of St. Louis, Michael Korie, The Missouri History Museum, Pepi Parshall, Aaron Poelker, Saint Louis Fashion Fund, St. Louis Public Library, Susan Sherman, Kathleen Sitzer, Sharon Smith, Emily Underwood, War Paint, Webster University Film Series, and Sharon & Elliot Zucker. n

OTSL acknowledges the following for support in conjunction with the 2017 Opera Tastings series: Geoffrey Agpalo, Alive Magazine, Jason Arnold, Arts and Education Council of St. Louis, Justin Austin, Balaban’s, Joshua Blue, Gail Boker, Nicolette Book, Geoff & Allison Bowers, Sarah Bowman, Dion Brown, Ashley Budde, Erin Budde, Rebecca Buffington, Cleveland-Heath, Bob Colosimo, Cortex, Culture Catering, Craig Cyr, Sarah Cyr, Dabble, Jacqueline Dace, Adrienne Davis, Philip Deitch, Mike Dowdy-Windsor, Feast Magazine, Kate Francis, Nina Furstenau, Tara Gallina, Gazelle STL, Lachlan Glen, Cillah Hall, Emily Hellmuth, Cecily Hoffius, Jeremy Idleman, Ceaira (Chef Jack) Jackson, Casey Jolly, Katherine Jolly, Erica Kenney, Jessica LaBozzetta, Anthony & Laura Lancia, Teresa Lane, Les Dames d’Escoffier, Laurie Lock, Ben Malensek, Ryan McAdams, Robert Mellon, Carol Miller, Moulin Events, Mound City Bar Association Young Lawyers Division, My Events Coordinator & Party Rentals, National Association of Black Accountants, National Blues Museum, Catherine Neville, Olson Piano Moving, Omega Center, Jennifer Panara, Sara Prince, Quintessential Dining and Nightlife, Riverfront Times, Tyrrell Rodgers, Misha Sampson, Stephanie Sanchez, Eric Sohn, SqWires Restaurant, St. Louis Regional Business Council, Maria Taxman, Elizabeth Tucker, Urban League Young Professionals, Vicia, Washington University, Erin Welch, Ted Wight, and The Wine Cellar & Bistro. Special thanks to presenting sponsor PNC Arts Alive. n

OTSL acknowledges the following for support in conjunction with the 2017 TGIF Opera events: The Cardinal Quartet, Clementine’s Naughty and Nice Creamery, JC Darlynn Designs, Tamara Keefe, JC Krajicek, Lachlan Glen, Alvin McCall, The Moore Brothers, Todd Moore, Prints Charming, and St. Louis Osuwa Taiko. 163


Opera Theatre Repertory John Adams Nixon in China, 2004 The Death of Klinghoffer, 2011 Dominick Argento The Boor, 1980

1976–2017

Domenico Cimarosa The Secret Marriage, 2004

Alexander Goehr Arianna, 1998 (American premiere)

John Corigliano The Ghosts of Versailles, 2009

Ricky Ian Gordon The Grapes of Wrath, 2017

(Premiere of a new performing version)

(Regional touring production)

Anthony Davis Under the Double Moon, 1989

Miss Havisham’s Fire, 2001

(Premiere of a new performing version)

(World premiere)

Peter Ash The Golden Ticket, 2010

Claude Debussy Pelléas and Mélisande, 2011

(World premiere)

Frederick Delius Fennimore and Gerda, 1981

Samuel Barber Vanessa, 1988

(American premiere); 1983 (International touring production: Edinburgh Festival)

Vincenzo Bellini I puritani, 2007

Margot la rouge, 1983 (World premiere)

Michael Berkeley Jane Eyre, 2006 (American premiere) Hector Berlioz Beatrice and Benedict, 1983 Leonard Bernstein Candide, 1994

(Final version: American stage premiere)

Georges Bizet Carmen, 1987, 2004, 2012 Dr. Miracle, 1982

Gaetano Donizetti The Daughter of the Regiment, 1990, 2011 Don Pasquale, 1976, 1998 The Elixir of Love, 1982, 2014 Lucia di Lammermoor, 2002 The Night Bell, 1981 (Regional touring production) Jonathan Dove Flight, 2003 (American premiere) Antonín Dvorˇák The Devil and Kate, 1990

(Regional touring production)

Carlisle Floyd Slow Dusk, 1983

The Pearl Fishers, 1999

Terence Blanchard Champion, 2013 (World premiere)

(Regional touring production)

Tomás Bretón La verbena de la paloma, 1982

(Original version: American premiere) Curlew River, 1986 (Christ Church Cathedral)

(Saint Louis Art Museum)

Loss of Eden, 2002 (World premiere)

Paul Bunyan, 1984

(Regional touring production: World premiere);

(St. Alphonsus Rock Church)

1996, 2001 The Very Last Green Thing,* 1992

(American professional premiere)

1995, 2013

John Gay The Beggar’s Opera, 1982

(The Apple Shed, Clarksville, Missouri); 1985 (National touring production: St. Louis, San Antonio, and Los Angeles);

David Carlson Anna Karenina, 2007 (World premiere production) The Midnight Angel, 1993 (World premiere) Unsuk Chin Alice in Wonderland, 2012 (American premiere)

(COCA — World premiere), 2011 (Touhill Performing Arts Center – UMSL)

George Frideric Handel Alcina, 1987 Radamisto, 2000 (American professional premiere)

Richard the Lionheart, 2015 (American premiere)

Franz Joseph Haydn Armida, 1995 Engelbert Humperdinck Hansel and Gretel, 2006 Leosˇ Janácˇek Katya Kabanova, 1998 Scott Joplin Treemonisha, 2000

Franz Lehár The Merry Widow, 1989

Thunder of Horses,* 1995

The Rape of Lucretia, 1996 The Turn of the Screw, 1980

Adolphus Hailstork Joshua’s Boots,* 1999

Cary John Franklin The Enchantment of Dreams,* 2007

(Regional touring production: World premiere);

(Christ Church Cathedral)

André-Ernest-Modeste Grétry Beauty and the Beast, 2005

Hans Krása Brundibár,** 1997 (COCA), 2009 (Touhill Performing Arts Center – UMSL)

Gloriana, 2005 A Midsummer Night’s Dream, 1992 Noah’s Flood (Noyes Fludde),* 1990

Peter Grimes, 1990 The Prodigal Son, 1987

Charles Gounod Faust, 1998 Romeo and Juliet, 2005

Lukas Foss The Jumping Frog of Calaveras County, 2000 (YMCA, Missouri History Museum)

Benjamin Britten Albert Herring, 1976, 1978 Billy Budd, 1993

(Premiere of a new performing version) “27,” 2014 (World premiere)

1986

Philip Glass The Trial, 2017 (American premiere) Christoph Willibald Gluck Iphigenia in Tauris, 1994 Orfeo and Euridice, 1984

Ruggero Leoncavallo La bohème, 1991 Pagliacci, 2013 Stephen Mager Dream of the Pacific,* 2004

(National touring production: Saint Louis Art Museum – World premiere)

Vicente Martín y Soler The Tree of Chastity, 1978 (American premiere) Una cosa rara, 2008 (American professional premiere)

Pietro Mascagni Cavalleria rusticana, 2004 Jules Massenet Cinderella, 1993 Thaïs, 2003 Werther, 1989 William Mayer A Death in the Family, 1986

*Performed by a cast of young people and featured professional singers. **Performed by a cast of young people. 164


Opera Theatre Repertory Gian Carlo Menotti Chip and His Dog,** 1991

(Regional touring production)

The Medium, 1976 The Old Maid and the Thief, 1984 (Regional touring production)

James Meyer Laclede’s Landing,* 1989

(Regional touring production: World premiere)

Minoru Miki An Actor’s Revenge, 1981 (American premiere) Jo¯ruri, 1985 (World premiere); 1988 (International touring production: Nissay Theatre, Tokyo)

The Tale of Genji, 2000 (World premiere); 2001 (International touring

production: Nissay Theatre, Tokyo)

Henry Mollicone The Face on the Barroom Floor, 1980, 1983 (Regional touring production); 1983 (International touring production: Edinburgh Festival)

Claudio Monteverdi The Tale of Orpheus, 1997 Wolfgang Amadeus Mozart The Abduction from the Seraglio, 1986, 2003 La clemenza di Tito, 1996, 2017 Così fan tutte, 1977, 1982, 1997, 2012 Don Giovanni, 1983, 1993, 2011 La finta giardiniera, 1988 Idomeneo, 1985 The Impresario, 1976 The Magic Flute, 1980, 1984, 2002, 2014 The Marriage of Figaro, 1981, 1990, 1999, 2010 Mitridate, King of Pontus, 1991 (American premiere)

Il re pastore, 2009

Jacques Offenbach La belle Hélène, 1995 The Grand Duchess of Gerolstein, 2001 The Isle of Tulipatan, 1986 (Regional touring production)

The Tales of Hoffmann, 1986, 2008 Stephen Oliver Beauty and the Beast, 1987 (American premiere) Stephen Paulus The Postman Always Rings Twice, 1982

Tobias Picker Emmeline, 2015 Francis Poulenc Les mamelles de Tirésias, 1983 Dialogues of the Carmelites, 2014 Sergei Prokofiev Maddalena, 1982 (American premiere) Giacomo Puccini La bohème, 1978, 1988, 2001, 2009, 2016; 2002 (Regional touring production) Gianni Schicchi, 1977, 1979 Madame Butterfly, 1978 (The Muny); 1984 (Brescia version: American premiere); 1992, 1997, 2008, 2017 La rondine, 1996 (Third edition: American premiere), 2015 Sister Angelica, 2004 Il tabarro, 2013 Tosca, 1995, 2003 Henry Purcell King Arthur, 1989

(Graham edition: American premiere)

Jean-Philippe Rameau Hippolytus and Aricia, 2001 Pygmalion, 1977 (American premiere) Maurice Ravel The Spanish Hour, 1982

(Regional touring production)

Emil Nikolaus von Reznicek Fact or Fiction, 1980 (American premiere) Gioachino Rossini The Barber of Seville, 1985, 1996, 2006, 2015; 1990, 1999 (Regional touring productions)

Cinderella, 1987 Count Ory, 1977 Forever Figaro, 1978 (A musical

biography compiled by Gimi Beni)

The Journey to Rheims, 1986 (American premiere)

The Turk in Italy, 1992 Paul Schoenfield The Merchant and the Pauper, 1999 (World premiere)

Bedrˇich Smetana The Kiss, 2013

(World premiere); 1983 (International touring production: Edinburgh Festival)

Stephen Sondheim A Little Night Music, 2010 Sweeney Todd, 2012

(World premiere)

Johann Strauss Die Fledermaus, 1984 (American Theatre); 1989 (Regional touring production)

The Village Singer, 1979 (World premiere) The Woman at Otowi Crossing, 1995 The Woodlanders, 1985 (World premiere) Jack Perla Shalimar the Clown, 2016 (World premiere)

Richard Strauss Ariadne on Naxos, 1979, 1991, 2016 Salome, 2009

1976–2017 Sir Arthur Sullivan Cox & Box, 1982 (Regional touring production) The Gondoliers, 1986 (Edison Theatre) H.M.S. Pinafore, 1981 (Edison Theatre) The Mikado, 1984 (Edison Theatre); 2007 The Pirates of Penzance, 1982 (Edison Theatre); 2013 Trial by Jury,* 1985 (Regional touring production)

Conrad Susa Black River, 1994 Transformations, 1997 Peter Ilyich Tchaikovsky Eugene Onegin, 1991, 2010 Ambroise Thomas Hamlet, 2002 Giuseppe Verdi Falstaff, 1980, 1994 Macbeth, 2016 Othello, 1999 Rigoletto, 1981, 2005 La traviata, 1979, 1983, 2000, 2007 William Walton Troilus and Cressida, 2008

(Premiere of a new performing version)

Carl Maria von Weber Oberon, 1988

(Graham edition: American premiere)

The Three Pintos, 1979

(Mahler edition: American premiere)

Kurt Weill The Seven Deadly Sins, 1980 Street Scene, 2006 Judith Weir The Black Spider,* 1993

(Regional touring production: American premiere)

The Vanishing Bridegroom, 1992 (American premiere)

Claude White Love, Death and High Notes, 1988

(Regional touring production: World premiere)

Ermanno Wolf-Ferrari The Secret of Suzanne, 1981 Various Composers and Artists Center Stage, annually since 2015 Christine Brewer in Concert, 1999 Colin Graham Tribute Concert, 2007 Gala Concerts, 1985 (10th season), 1986, 1995 (20th season) A Grand Night for Singing, 1981 (The Muny); 1988, 1995 (Regional touring productions)

Operetta Tonight, 1987

(Regional touring production) Stars of Saint Louis, 1983 (International touring production: Edinburgh Festival) 165


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166


O P E R A

T H E A T R E

S A L U T E S

The 2017 Program Book Advertisers The creation of each season’s program book is made possible through the generous support of our advertisers. We hope you will join us in making use of their services and tell them how much you enjoyed seeing their advertisements in these pages. The following current advertisers have supported the program book for ten years or more: Elleard Heffern Fine Jewelers (42) Webster University (42) IATSE Local #6 Stagehand Union (37) Hunter Engineering Company (34) St. Louis Symphony (34) Ces and Judy’s Catering (33) Janet McAfee (33) Advanced Nursing Services of St. Louis (29) Arts & Education Council (29) Emerson Electric (29) Wedgewood Partners, Inc. (29)

Saint Louis Art Museum (28) Washington University (28) The Commerce Trust Company (27) STAGES St. Louis (27) The Delmar Gardens Family (26) Gunther Salt Company (23) Summers Compton Wells LLC (23) Centene Corporation (21) Stifel Investment Services (20) Wildflowers (18) St. Louis Public Radio (17)

Des Moines Metro Opera (16) Northern Trust (16) Regional Arts Commission (16) Monsanto (15) The Santa Fe Opera (15) Union Avenue Opera (15) Central City Opera (13) Remy’s Kitchen & Wine Bar (13) Glimmerglass Festival (12) Laura McCarthy Real Estate (10)

Advertiser Index Advanced Nursing Services of St. Louis, 2 Advertiser’s Printing Company, 67 Aldine Travel, 41 Amini’s Galleria, 53 Artists for a Cause/ Terry Barber, 76 Arts & Education Council, 26 Assistance Home Care, 70 Berges Family Foundation, 24 BKD, 114 Buckingham Strategic Wealth, 56 Carnival Corporation, inside back cover Centene Corporation, 17 Central City Opera, 71 Ces and Judy’s Catering, 42 Chase Park Plaza Hotel, 3 Citizen Kane’s Steak House, 160 Clayco, 132 The Commerce Trust Company, 28 Cyrano’s, 160 The Delmar Gardens Family, 134 Des Moines Metro Opera, 66 Dielmann Sotheby’s International Realty, 160 Elleard Heffern Fine Jewelers, 29 Emerson Electric, 18 Forsyth School, 114 Gesher Music Festival, 79 Glimmerglass Festival, 65 Gunther Salt Company, 136

We are grateful to members of the Advertising Sales Committee for their outstanding efforts and dedication to the success of the 2017 program book.

Hamtil Construction, 109 Hunter Engineering Company, 135 IATSE Local #6 Stagehand Union, 128 J.W. Terrill, 74 Janet McAfee, 52 Kodner Gallery, 58 Laura McCarthy Real Estate, 68 Manor Grove, 72 Mary Institute and Saint Louis Country Day School, 109 Metro Lighting, 44 MGSTL LLC, 160 Monsanto, 25 Mosquito Squad, 166 Mueller Prost, 78 Northern Trust, back cover Opera Omaha, 77 Opera Philadelphia, 57 Opera Theatre of Saint Louis Boutique, 115 Plancorp, 109 PNC Arts Alive, 40 Projects + Gallery, 114 Pulitzer Arts Foundation, 75 Radio Arts Foundation, 135 Regional Arts Commission, 16 Reilly McLaughlin, 76 Remy’s Kitchen & Wine Bar, 114 Rent-A-Relative/Pattering Paws, 77

Chair Maggie Holtman

The Committee Margo Cooper Edgar W. Ellermann, Jr. Ann M. Fusz Ellen M. Fusz

Robert E. Butler, D.D.S., 134 Robust Wine Bar, 136 Saint Louis Art Museum, 46 Saint Louis Zoo, 72 The Santa Fe Opera, 59 Scape American Bistro, 74 Sing for Siteman, 115 Siteman Cancer Center, 27 The St. Louis Children’s Choirs, 166 St. Louis Community Foundation, 45 St. Louis Public Radio, 115 St. Louis Speakers Series, 75 St. Louis Symphony, 43 STAGES St. Louis, 108 Stifel Investment Services, 73 Summers Compton Wells LLC, 134 Union Avenue Opera, 166 Washington University, 73 Webster University, inside front cover Wedgewood Partners, Inc., opening page Wells Fargo Advisors, 132 Wexford Festival Opera, 133 Wildflowers, 108 The Willows at Brooking Park, 78 Wilson Lighting, 69 Winter Opera, 79 World Wide Technology, Inc., 19 WUSTL Music, 79

Jeannette Huey Lynn Pollak F. Lee Zingale

Staff Liaisons Anh Le Kelsey Nickerson

167


General Information PROGRAM BOOK

Editor Anh Le Designer/Typographer Michael Simpson Printer The Advertisers Printing Company Cover and Poster Design Michael Simpson Cover and Poster Photographer SHOSEI / Aflo The Forty-Second Season Program Book © Opera Theatre of Saint Louis, 2017

If you would like to receive future communications from Opera Theatre, please leave your name, mailing address, and email address with the Box Office, or sign up for our mailing list at ExperienceOpera.org. Opera Theatre of Saint Louis 210 Hazel Ave. St. Louis, MO 63119 Administrative offices: (314) 961-0171 Box Office: (314) 961-0644 Email: info@opera-stl.org Website: ExperienceOpera.org HOUSE RULES AND INFORMATION To ensure the enjoyment of our audience, and out of respect for our artists, Opera Theatre will not seat latecomers until there is an appropriate pause in the music. However, latecomers are invited to watch the performance via closed-circuit television in the lobby. All patrons are welcome at Opera Theatre. Please notify the Box Office as early as possible to arrange special seating if you have a service animal or any accessibility issues, as these seats are limited. We offer infrared listening devices for those with hearing impairments. Patrons expecting possible emergency calls during a performance should direct those calls to the House Manager’s Office at (314) 246-8009; please leave your name and seat location with the House Manager. All cell phones and other electronic devices must be turned off during the performance. Any use of smartphones for texting, browsing, or recording is prohibited, as is the use of any cameras or other recording equipment not previously authorized by Opera Theatre management. Patrons who leave the auditorium during a performance will be allowed to return to their seats only at predetermined breaks in the opera. Leave something behind? Lost articles may be claimed at the House Manager’s Office, or you can call (314) 246-8009 after 10 a.m. the next day. All casting is subject to change. In the event of a fire, please walk to the nearest exit. In the case of a tornado warning, please follow ushers to the designated evacuation zone. Opera Theatre of Saint Louis is a member of OPERA America, Inc. Opera Theatre promotes diversity and inclusiveness and affirms its ADA compliance. FSC Certification

PICTURE CREDITS Cover: “Cherry blossoms” by SHOSEI / Aflo / Getty Images. Pages 82-83: Utagawa Hiroshige, “The Lady Fujitsubo watching Prince Genji departing in the moonlight,” Harvard Art Museums / Arthur M. Sackler Museum, Gift of the Friends of Arthur B. Duel Page 84: Artist unknown, “Young Girl in a Kimono,” Private Collection / Archives Charmet / Bridgeman Images Page 85: Torii Kiyonaga, “Group of Six Geisha Under the Cherry Trees on Gotenyama,” The Howard Mansfield Collection / Metropolitan Museum of Art, licensed under CC0 1.0 Universal Page 86: Kuichi Uchida, “View of Nagasaki,” Wikimedia Commons Page 87: Aimé Dupont, “Geraldine Farrar,” Library of Congress Page 87: The Toll of the Sea film stills, from Treasures from American Film Archives, 50 Preserved Films. Four DVD set, National Film Preservation Foundation.

168

Pages 88-89: Thomas Hart Benton, “The Departure of the Joads,” Art © T.H. Benton and R.P. Benton Testamentary Trusts / UMB Bank Trustee / Licensed by VAGA, New York, NY

Page 98: Photographer unknown, “Franz Kafka (1883-1924) Czech writer, c. 1915 (identity photo),” PVDE / Bridgeman Images

Page 90: Dorothea Lange, “Four families, three of them related with fifteen children, from the Dust Bowl in Texas in an overnight roadside camp near Calipatria, California,” Library of Congress

Pages 100-101: “Flying eagle” by Robert Freiberger, licensed under CC-BY 2.0

Page 91: Arthur Rothstein, “A ‘black blizzard’ over Prowers Co., Colorado,” Western History Collection, University of Oklahoma Page 92: Dorothea Lange, “Farm child,” Library of Congress Page 92: Photographer unknown, “John Steinbeck,” Private Collection / The Stapleton Collection / Bridgeman Images Pages 94-95: Honoré Daumier, “Une cause célèbre” Page 96: Frans Masereel, “Illustration from The City,” Artists Rights Society Page 97: Nicolas Tikhomiroff, “Anthony Perkins,” Magnum Photos Pro

Page 102: Titian, “D. Titus Vespasian, Emperor of Rome,” Private Collection / The Stapleton Collection / Bridgeman Images Page 103: Joseph Mallord William Turner, “The Burning of Rome,” © Tate Britain, licensed under CC-BY-NC-ND 3.0 (Unported) Page 104: Friedrich Beuther, “The Capitol,” Private Collection / Bridgeman Images Page 105: Martin van Meytens, “Pietro Metastasio,” Wikimedia Commons


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SOMETIMES, A ROUND OF APPLAUSE JUST ISN’T ENOUGH. Northern Trust is proud to support Opera Theatre of Saint Louis. For more than 125 years, we’ve been meeting our clients’ financial needs while nurturing a culture of caring and a commitment to invest in the communities we serve. We’re proud to play a supporting role. FOR MORE INFORMATION CONTACT

Thomas R. Collins President & CEO – Missouri 190 Carondelet Plaza, Suite 100, St. Louis, MO 63105 314-505-8304 or trc7@ntrs.com northerntrust.com

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