O P E R A T H E A T R E
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 8
F E S T I V A L
S E A S O N
O F
LA TRAVIATA
S A I N T
• REGINA
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L O U I S
AN AMERICAN SOLDIER WORLD PREMIERE OF A NEW TWO-ACT OPERA
• ORFEO & EURIDICE
• CENTER STAGE
T H E 4 3 r d
F E S T I V A L S E A S O N | 2 0 1 8
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Celebrating Exceptional Performance The CONSERVATORY OF THEATRE ARTS at WEBSTER UNIVERSITY celebrates 50 years of excellence in preparing professionals in acting, musical theatre, directing, theatre studies and dramaturgy, design, technical theatre and stage management. We salute our partner, OPERA THEATRE of SAINT LOUIS, and thank General Director Timothy O’Leary for his outstanding leadership. Learn more about the Conservatory at: webster.edu/conservatory.
Photo from a production of Macbeth
Three generations: Granddaughter Mollie Schmid, Owner of Advanced Nursing Services Maggie Holtman, and Daughter Mimi Schmid.
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
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assist with daily living activities such as bathing, meals, transportation, errands & doctors appointments
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Celebrating Over 30 Years of Service & Family 1
OUR MISSION IS TO DO THE SAME.
WE ARE PROUD TO SUPPORT Opera Theatre of Saint Louis
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DESIGNING ENGAGING SPACES FOR LIVE PERFORMANCES
DESIGNING AMAZING PERFORMANCES FOR LIVE AUDIENCES
Proud Webster University alumni helping the Conservatory of Theatre Arts, Opera Theatre of Saint Louis, and Repertory Theatre of St. Louis create spaces for what’s next. www.mytheatredna.com/opera
43RD SEASON
TIMOTHY O’LEARY
JAMES ROBINSON
STEPHEN LORD
General Director
Artistic Director
Music Director Emeritus
ANDREW JORGENSEN
General Director Designate
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 2017
Madame B utte rfly Gia c om o Pu c c in i
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FAC I N G PAG E
Sam Holder | Renée Rapier | Rena Harms
PHOTO © KEN HOWARD
Ta b l e o f Co n t e n t s
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102
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BEYOND THE STAGE
WELCOME TO OPERA THEATRE
2018 FEATURE ARTICLES
2017 Album 6 • 2018 Schedule 11 • Welcome from the
General Director 13 • Welcome from the Chairman 15 •
The Story of Opera Theatre 20 • Our Picnics and Gardens 80
OTSL Welcomes Andrew Jorgensen 17 • Ten Years with Timothy O’Leary 33 • Salute to Jim & Cathy Berges 39 • OTSL on the National Stage 44 • Salute to Myrna & Arnie Hershman 157
THE PEOPLE OF OPERA THEATRE
SUPPORT FROM OUR DONORS
Board of Directors 9 • 2018 Artists 116 • St. Louis Symphony Orchestra 129 • Opera Theatre Staff 130 • Opera Theatre Guild Board & Volunteers 155 • In Memoriam 159 • Toast to Webster University 161
Lifetime Giving 135 • Major Contributors to the Endowment 137 • Annual Fund Donors 138 • National Patrons Council 143 • Intermezzo Society 145 • Crescendo Circle 146 • 2018 Wine & Beer Tasting 148 • 2018 Spring Gala 149 • Tribute Gifts 153
OPERA THEATRE IN THE COMMUNITY The Mabel Dorn Reeder Foundation Young Artist Education & Development Programs 47 • Emerson Behind the Curtain 50 • Education For All Ages 61 • Connecting Our Community Year-Round 65 • Engagement & Inclusion Task Force 68 • Young Friends of Opera Theatre 69
INFORMATION Acknowledgments 162 • Opera Theatre Repertory 164 • Program Book Advertisers 167 • House Policies & Program Credits 168
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ALBUM 2017
T h e G rap e s of W r at h Ricky Ian Gordon & Michael Korie
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Board of Directors
Executive Committee CHAIRMAN
TREASURER
VICE-CHAIRMEN
IMMEDIATE PAST CHAIRMAN
Noémi K. Neidorff Lelia J. Farr William C. Rusnack V. Raymond Stranghoener
Jim Berges
MEMBERS
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 Robert L. Scharff, Jr. Rex Sinquefield Ann McFarland Sullins Stephen L. Trampe
Mrs. Irl F. Engelhardt Edes P. Gilbert Heather Hunt-Ruddy Frank Jacobs Bettie Johnson 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 W. 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
Richard Gaddes Patricia G. Hecker Mrs. W. R. Konneker Joseph Losos Charles MacKay
Mrs. Robert S. McDorman Matthew Newman, M.D.† Roma B. Wittcoff
Spencer B. Burke
CHAIRMAN EMERITA
SECRETARY
Sally S. Levy
Board of Directors Peter F. Benoist Holly Benson* Mrs. Stephen F. Brauer Barbara Bridgewater Thriess Britton Jane Clark Jamison F. Craft* Robert H. Craft, Jr.* Adrienne Davis Arnold W. Donald
FAC I N G PAG E
Nathaniel Mahone | Harry Moppins | Deanna Breiwick
PHOTO © KEN HOWARD
Life Members Mrs. Eugene C. Adam Phyllis Brissenden Richard W. Duesenberg Robert M. Feibel, M.D. Mrs. William B. Firestone
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 2017
Th e Trial Phil ip Gl a ss
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2018 Festival Season Schedule
La traviata
Regina
An American Soldier
GIUSEPPE VERDI
MARC BLITZSTEIN
WO R L D P R EM I ER E O F T H E N EW T WO -ACT O P ER A
HUANG RUO & DAVID HENRY HWANG
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Orfeo & Euridice
Center Stage
CHRISTOPH WILLIBALD GLUCK
A YOUNG ARTIST SHOWCASE
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
APRIL
19 Saturday
8 p.m.
La traviata
25 Friday
8 p.m.
La traviata
26 Saturday
8 p.m.
Regina
30 Wednesday 8 p.m.
La traviata
8 p.m.
Regina
2 Saturday
1 p.m.
La traviata
3 Sunday
7 p.m.
An American Soldier
6 Wednesday 1 p.m.
Regina
31 Thursday JUNE
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FAC I N G PAG E
Robert Mellon | Theo Hoffman | Joshua Blue
PHOTO © KEN HOWARD
i
8 p.m.
An American Soldier
7 Thursday
8 p.m.
La traviata
8 Friday
8 p.m.
Regina
9 Saturday
1 p.m.
An American Soldier
8 p.m.
Orfeo & Euridice
10 Sunday
7 p.m.
La traviata
13 Wednesday 8 p.m.
Orfeo & Euridice
14 Thursday
8 p.m.
An American Soldier
15 Friday
8 p.m.
Orfeo & Euridice
16 Saturday
1 p.m.
Regina
8 p.m.
An American Soldier
17 Sunday
7 p.m.
Orfeo & Euridice
19 Tuesday
8 p.m.
Center Stage
20 Wednesday 1 p.m.
La traviata
8 p.m.
Regina
21 Thursday
8 p.m.
Orfeo & Euridice
22 Friday
8 p.m.
An American Soldier
23 Saturday
1 p.m.
Orfeo & Euridice
8 p.m.
La traviata
24 Sunday
7 p.m.
Regina
Encore
John D. Levy Master Classes
Opening Night Champagne Toast Tweet Seats
Kids’ Club
Opera Art Tours
3 0 Monday, 7:30 p.m. Spotlight on Opera: La traviata at the Ethical Society of St. Louis MAY
3 Thursday, 11 a.m. SLAM Gallery Talk: “Fashion and Art” featuring costume designer Gregory Gale at the Saint Louis Art Museum (repeated Friday, May 4 at 6 p.m.) 3 Thursday, 5:30 p.m. Meet the Makers: Women in the Director’s Chair at Armstrong Teasdale 7 Monday, 7:30 p.m. Spotlight on Opera: Regina at the Ethical Society of St. Louis 12 Saturday, 6:30 p.m. Spring Gala at the Sally S. Levy Opera Center 1 4 Monday, 7:30 p.m. Spotlight on Opera: An American Soldier at the Ethical Society of St. Louis 1 9 Saturday, 11 a.m.
Opera Art Tour: La traviata at the Saint Louis Art Museum (repeated Sunday, May 27 at 2 p.m.)
2 6 Saturday, 11 a.m.
Opera Art Tour: Regina at the Saint Louis Art Museum (repeated Sunday, June 3 at 2 p.m.)
21 Monday, 7:30 p.m. Spotlight on Opera: Orfeo & Euridice at the Ethical Society of St. Louis 31 Thursday, 11 a.m. SLAM Gallery Talk: “Music with a View” featuring baritone Justin Austin and pianist Lachlan Glen at the Saint Louis Art Museum (repeated Friday, June 1 at 6 p.m.) 31 Thursday, 7 p.m.
Meet the Makers: Asian-American Service in the US Military at the Missouri History Museum
JUNE
2 Saturday, 11 a.m.
Opera Art Tour: An American Soldier at the Saint Louis Art Museum (repeated Sunday, June 10 at 2 p.m.)
9 Saturday, 11 a.m.
Opera Art Tour: Orfeo & Euridice at the Saint Louis Art Museum (repeated Sunday, June 17 at 2 p.m.)
15 Friday, 2 p.m.
John D. Levy Master Class with tenor Frank Lopardo at Winifred Moore Auditorium
1 8 Monday, 12:30 p.m. A Little Lunch Music at Bonhomme Presbyterian Church 22 Friday, 12:30 p.m. John D. Levy Master Class with bass-baritone James Morris at Winifred Moore Auditorium A Little Lunch Music SLAM Gallery Talks
Meet the Makers Spotlight on Opera
Military Appreciation Performance Spring Gala
Subscriber Appreciation Reception
Young Friends Reception
Pre-show picnics may be enjoyed in the David W. Mesker Festival Gardens prior to each performance. Free opera previews begin one hour before each performance in the Community Music School Concert Hall next door to the theater.
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ALBUM 2017
Titu s L A C L EM EN Z A D I T I T O
Wol f gang A madeus M ozar t
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A MESSAGE FROM THE
General Director
Welcome to Opera Theatre, and thank you for being here. It is a special pleasure to say so this year as I reflect on ten wonderful years of serving as this company’s general director. We are thrilled about the 2018 season awaiting you. Working with Huang Ruo and David Henry Hwang on An American Soldier has been especially inspiring. Through Danny Chen’s story, these artists ask what it means to be an American. In a rousing soldiers’ chorus, they offer an answer in the words of our national motto, e pluribus unum — “out of many, one.” When I think about the past decade, I’m filled with gratitude for the joy of working with the OTSL community, especially my two great friends and our artistic visionaries, Artistic Director James Robinson and Music Director Emeritus Stephen Lord. This year, they have put together a stunning array of artists who represent the Opera Theatre mission. We are privileged to have some of the greatest singers of our time returning to St. Louis, and we are equally honored to offer major opportunities for the next generation of talent. During my time here, three brilliant chairmen of the Opera Theatre Board have provided transformative leadership to our incomparable Board of Directors: Donna Wilkinson, Spencer Burke, and Noémi Neidorff. It is hard to describe the untold amounts of time, wisdom, determination, and passion they have invested. For their friendship, I am thankful beyond words.
FAC I N G PAG E
René Barbera
PHOTO © KEN HOWARD
As we look to the future, I am thrilled to welcome Andrew Jorgensen as Opera Theatre’s next leader. I know that he is the perfect person to build on the family spirit and devotion to excellence that define this company. And, as my two illustrious predecessors Richard Gaddes and Charles MacKay each said to me ten years ago, I know that he is in for the most magnificent experience, thanks to all of you. Like opera itself, OTSL is made possible by a kind of magical collaboration — a combination of people whose commitment, gifts, and spirit make Opera Theatre such a special company. I am honored to be part of this family — the artists, staff, technicians, board members, volunteers, donors, subscribers, and audiences in St. Louis and around the country who care deeply about this company and its mission. Thank you for ten years of your encouragement, fellowship, and belief in what we do together. I look forward to seeing you in the Opera Theatre gardens after the show tonight, and for years to come! Timothy O’Leary General Director
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ALBUM 2017
Center Stage A Young Artist Showcase
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A MESSAGE FROM THE
Chairman
Each spring brings with it a new season at Opera Theatre of Saint Louis. For many of us here today, spring is associated with wonderful music, thrilling drama, and cherished memories of friends and family sharing a meal under a green-and-white tent.
FAC I N G PAG E
Alex Rosen | Monica Dewey | Rafael Helbig-Kostka
PHOTO © KEN HOWARD
This year, however, the season strikes a poignant note as we bid farewell to our General Director of ten years, Timothy O’Leary. I feel incredibly fortunate to have worked so closely with Tim in my role as Board Chairman for the last two and a half years, and to have enjoyed a friendship with him for many years before that. Tim has always brought intelligence, kindness, passion, and — above all — integrity to his work in St. Louis. That is evidenced by the wonderful accomplishments of his decade-long tenure: a record-high endowment, a series of critically acclaimed world premieres, and a national reputation for thoughtful civic engagement and discourse. This year, Opera Theatre dedicated its annual Spring Gala to celebrating Tim’s legacy. Thanks to the extraordinary efforts of our gala co-chairs, Marsha and Bill Rusnack and Cathy and Jim Berges, I am proud to share that this event surpassed all previous records by raising more than $1.4 million. The bittersweet pride that we feel as Tim heads to the Washington National Opera is balanced in equal measure by the genuine excitement shared by the OTSL board and staff as we welcome a new General Director in Andrew Jorgensen. After a vigorous international search, we are confident that we have found a leader who will take us as boldly into the next ten years as his predecessor did in the last. I must offer a special thank-you to those distinguished fellow board members who served on the search committee, especially my co-chairs Spencer Burke and Donna Wilkinson, and to the management team of Opera Theatre’s staff, who were an essential part of this process. This season also marks another special milestone: from June 20–23, Opera Theatre serves as host for OPERA America’s national Opera Conference. We welcome the more than 400 administrators, artists, board trustees, and volunteers from across North America who have come to St. Louis to discuss the future of this art form. As the national opera field focuses on questions of equity, diversity, and inclusion, we at Opera Theatre thank our vibrant audiences who join us every year to share in the stories that celebrate our similarities and differences. It is your dedication and interest that keep our work relevant, and we are so grateful to you for your support. Noémi K. Neidorff Chairman, Board of Directors
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Fostering creativity for future careers.
Emerson is proud to support Opera Theatre of Saint Louis
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OTSL Welcomes GENERAL DIRECTOR DESIGNATE
Andrew Jorgensen Over the course of its 43-year history, Opera Theatre has become a leading opera festival thanks in no small part to the extraordinary vision and leadership of three general directors: Richard Gaddes (1976–1985), Charles MacKay (1985–2008), and Timothy O’Leary (2008–2018). Now, after an international search spanning several months, the Opera Theatre Board is thrilled to welcome Andrew Jorgensen as General Director Designate. Andrew comes to St. Louis from the Washington National Opera (WNO) at the Kennedy Center, where he currently serves as both acting Interim Executive Director and Director of Artistic Planning and Operations. In partnership with WNO Artistic Director Francesca Zambello, Andrew has brought many bold and critically acclaimed productions to the Kennedy Center, including the company’s first complete Ring cycle, the revised world premiere of Appomattox by Philip Glass and Christopher Hampton, and the East Coast premiere of Moby-Dick by Jake Heggie and Gene Scheer. He also was responsible for bringing OTSL’s world premiere of Champion to WNO, where it had its East Coast premiere in 2017. Over the course of his career, Andrew has become known as a passionate advocate for new American opera. In just six years at WNO, Andrew has been involved with the commissions of no fewer than six new works as part of the company’s American Opera Initiative. In addition to his artistic credentials, Andrew holds a deep commitment to increasing the accessibility of the art form. In Washington, D.C. he launched initiatives to introduce opera to high school students and audiences on the autism spectrum. There is no question that Opera Theatre’s traditions of bold new programming and committed civic partnership will continue with such an energetic visionary at the helm. Andrew comes to Opera Theatre with a deep appreciation for the company’s aesthetic and culture. He has attended every festival season since 2013, enjoying many warm spring evenings under our green-and-white tents. “I was enchanted when I first visited OTSL,” Andrew recalls. “I have since returned to the festival every season to experience the thrill of extraordinary performances and the warm hospitality of the enthusiastic and thoughtful community of opera-lovers in St. Louis.” His dedication, energy, enthusiasm, and warmth have made him a beloved colleague at WNO, and Opera Theatre has much to look forward to. “I have had the great pleasure of knowing Andrew for several years and have always thought of him as a rising star in the opera world,” says Artistic Director James Robinson. “His knowledge, passion, and enthusiasm are unparalleled, and he will bring great energy to both Opera Theatre of Saint Louis and the entire community.” Prior to his time at WNO, Andrew’s career included positions at such prestigious institutions as the Metropolitan Opera and Columbia Artists Management. He currently serves on the board of the William Matheus Sullivan Musical Foundation, which supports the careers of young professional opera singers. He received his undergraduate degree at Harvard University and his MBA from New York University’s Stern School of Business. Andrew looks forward to moving to St. Louis with his husband Mark and their adorable Tibetan terrier, Aria. He will officially take up his duties as General Director of Opera Theatre of Saint Louis on July 2, but he will be present at performances and special events throughout this season. If you spot him under the tent, please feel free to welcome him to St. Louis and the Opera Theatre family!
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CAN ART HELP SOLVE ST. LOUIS’ DEEPEST COMMUNITY PROBLEMS?
CAN CREATIVITY BE AN AGENT FOR POSITIVE CHANGE?
THESE ARE THE QUESTIONS WE ARE ASKING THROUGH EVOKE
EVOKE is a cultural planning process sponsored by the Regional Arts Commission to engage, inspire and explore how the arts can help make our community a more vibrant and equitable place to live.
Join the conversation at
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EVOKE.RACSTL.ORG
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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Welcome to Opera Theatre! Audiences enjoy pre-performance picnics in Opera Theatre’s gardens. PHOTO © KEN HOWARD
“If opera is to remain a viable, accessible 21st century art form, it will be largely owing to the commitment of visionary companies like Opera Theatre of Saint Louis…” OPERA TODAY
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: performing a wide mix of classics and new works, singing entirely in English, performing on an intimate thrust stage, developing the talents of America’s finest young singers, and creating a welcoming and casual environment for audiences and artists to meet after every performance — all in 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 outgoing General Director Timothy O’Leary, Artistic Director James Robinson, and Music Director Emeritus Stephen Lord, Opera Theatre is committed to developing the careers of young artists and commissioning new work to help shape the future of American opera. As of 2018, we have introduced audiences to 27 world premieres and 27 American premieres — which may be among the highest percentages of new work in the repertory of any US company. Audiences and press travel here from up to 48 states and 5 continents, drawn by our adventurous repertory. Opera Theatre productions have been programmed at major stages across the world, including the Kennedy Center in Washington D.C., the San Francisco Opera, the Pittsburgh Opera, New York’s City Center, the Edinburgh Festival, Wexford Festival Opera, Opéra de Montréal, the Canadian Opera Company, Tokyo’s Nissay Theatre, and many more. Our ongoing New Works, Bold Voices cycle continues our tradition of championing new works by living composers, bringing resonant and diverse new stories to the stage, and proving that opera is a living American art form. 20
We also help nurture the most talented young artists in American opera. Each year, as many as 1,200 singers apply for our Gerdine Young Artist and Richard Gaddes Festival Artist programs, with nearly 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 opera-goers 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 arrives 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 hallmark 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 on-site scene, costume, and prop shops; our rehearsal halls; 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 zip codes. We bring music out 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 celebrated the 28th 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.
The cast and ensemble of La bohème (2016). PHOTO © KEN HOWARD
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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 theater’s potential, from its intimate size 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 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). 22
PHOTO © BILL SMITH
The company and staff of Opera Theatre share a bow on closing night of the 2017 Festival Season.
PHOTO © J. DAVID LEVY
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 Orchestra 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 bringing you another wonderful opera season!
Thank you for joining us. Enjoy your visit to the opera!
Facebook.com/OperaTheatre
@OTSL
@OperaTheatreSTL
OperaTheatreSTL
YouTube.com/OperaTheatreSTL
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make Saint Louis a great place to live, visit, and cultural engagement; STEM preparedness; youth empowerment; and support for our heroes and ďŹ rst responders.
The Berges Family is proud to support Opera Theatre of Saint Louis and
congratulates the company on its 43rd Season!
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Proud to Support Opera Theatre of Saint Louis Monsanto is proud to partner with nonprofits, farmers, researchers, universities and others to create a positive impact for people and the planet. We’re 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.
Visit Monsanto.com to learn more.
Monsanto and Vine Design® is a registered trademark of Monsanto Technology LLC. ©2018 Monsanto Company
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THE
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OF THE
ARTS We believe the arts are critical to shaping a more vibrant community for all. They start a ripple effect of positive change across our region by connecting millions of adults and children with meaningful arts experiences.
Give to A&E to start your ripple effect today. 26
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28 Photo credit: Ken Howard, 2012
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Normally, we don’t celebrate drama. There’s an art to building financial futures and delivering a calm, confident wealth management experience. As we celebrate more than 20 years of practicing that art, Buckingham Strategic Wealth is proud to support Opera Theatre of Saint Louis and the world-class opera it brings to the community.
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From Our Family to Yours
When it came to planning the 18/19 season, we tried something a bit different. We asked our family of musicians to select works they were excited to perform – for themselves and for you. And they responded with pieces they know you adore. (Yes, they notice!) Beethoven’s “Pastoral” Symphony, Brahms’ German Requiem, Handel’s Messiah, Mahler’s Ninth, as well as Mozart, Vaughan Williams, and Copland. And Music Director Designate Stéphane Denève will charm you with his four programs, which will make you fall in love with your orchestra all over again. Join us and hear a special season created by our family, especially for yours.
Subscriptions on sale now. Single tickets on sale August 8.
SEASON HIGHLIGHTS JOSHUA BELL PLAYS BRUCH I PROKOFIEV’S ALEXANDER NEVSKY I HANDEL’S MESSIAH I HAYDN’S CREATION BRAHMS’ GERMAN REQUIEM I TCHAIKOVSKY 6 I ELGAR’S ENIGMA VARIATIONS I MAHLER 9
314-534-1700 | slso.org
THE 2018/2019 CLASSICAL SERIES IS PRESENTED BY
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MAKE PLANS TODAY FOR
THE MARRIAGE OF FIGARO Wolfgang Amadeus Mozart
When all your plans go out the window Conductor Christopher Allen | Director Mark Lamos Featuring MaryAnn McCormick, and John McVeigh
RIGOLETTO Giuseppe Verdi
He is crime. I am punishment. Conductor Roberto Kalb | Director Bruno Ravella Featuring Roland Wood, So Young Park, Joshua Wheeker, Christian Zaremba, and Lindsay Ammann
THE CORONATION OF POPPEA Claudio Monteverdi
Good things happen to bad people. Conductor Nicholas Kok | Director Tim Albery Featuring Emily Fons, Brenton Ryan, Sarah Mesko, David Pittsinger, Patricia Schuman, and Devon Guthrie This production was originally created by Tim Albery and Laurence Cummings in 2014 for Opera North in Leeds, UK. World Premiere
FIRE SHUT UP IN MY BONES Terence Blanchard & Kasi Lemmons Adapted from the memoir by Charles Blow
“Sometimes you just got to leave it in the road.” Conductor William Long | Director James Robinson Featuring Davóne Tines, Karen Slack, and Julia Bullock
SUBSCRIPTIONS
CENTER STAGE Classic Opera. Rising Stars. Opera Theatre’s annual showcase concert featuring the company’s Gaddes Festival Artists and Gerdine Young Artists.
All Subscription Handling Fees Waived for 2019 Purchases During the 2018 Festival Season.
Single tickets go on sale in late October 2018.
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ExperienceOpera.org | (314) 961-0644
All productions are sung in English and accompanied by members of the St. Louis Symphony Orchestra.
TEN YEARS WITH
Timothy O’Leary
PHOTO © ERIC WOOLSEY
Opera Theatre Bids Farewell to its General Director
by ANH LE
“ Within the first minute of meeting Timothy, I felt I could be exactly who I was and I could do exactly the kind of work I wanted to do,” says Ricky Ian Gordon, composer of both The Grapes of Wrath and “27.” “What I was met with was love, excitement, and encouragement. Tim is impossibly unusual in his spaciousness that allows everyone to feel welcome, comfortable, seen, and heard.” Over the last ten years, Timothy O’Leary’s tenure as General Director has furthered Opera Theatre’s reputation among the world’s top festival companies. His success adds to the legacies of the two legendary leaders who preceded him, Richard Gaddes and Charles MacKay. In July 2018, Tim will become the new General Director of the Washington National Opera at the Kennedy Center. While Opera Theatre mourns the loss of its beloved leader, it also feels tremendous pride in his appointment to lead one of the nation’s most iconic opera companies. As Charles himself puts it, “Tim is truly one of the hottest stars in the operatic realm.” Tim began his tenure at Opera Theatre when he was only 32 years old. Music Director Emeritus Stephen Lord looks back on those early days fondly. “Tim O’Leary was the first boss in my life younger than I. I welcomed his freshness and new cultural references. He was the first person I knew who ever used the word ‘hip’ as an adjective!” However, Tim’s journey with opera began much earlier. Tim first encountered opera as a high school student, when he was recruited to be an extra chorus tenor in The Magic Flute with Yale Opera. As Tim recalls, “I really fell head over heels… In time, I started to understand that this was not just something that was beautiful, but something that really was meaningful and important.” After graduating from Dartmouth College, Tim made his way to New York City, where he developed a promising career as an assistant stage director. However, Tim began to realize that he was most passionate about enabling other artists to thrive and achieve their best work, so he returned to New York City to freelance as a grant writer. The defining shift in Tim’s career trajectory came when he attended a performance at the Henry Street Chamber Opera — later to become the Gotham Chamber Opera. Tim was intrigued by the dramatically intimate and musically excellent work. He offered his services to Artistic Director Neal Goren, who just happened to be searching for a managing director. Tim quickly secured the job. After two and a half years at Gotham, Tim transitioned to New York City Opera to become its Administrative Director, working under General Director Paul Kellogg and Executive Director Jane Gullong.
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TEN YEARS WITH
Timothy O’Leary
OTSL triumvirate Timothy O’Leary, Stephen Lord, and James Robinson in 2008.
PHOTO © KEN HOWARD
In 2007, Tim moved to St. Louis to fill a newly-minted Executive Director role at Opera Theatre. Looking back on that time, OTSL Artistic Director James Robinson recalls, “I recommended to Charles MacKay an aspiring young administrative type named Tim O’Leary. Tim was a diligent assistant director for me over several years. Was he destined to be a great stage director? Who knows? But he remains one of the most wonderful people in the business, as both advocate and cheerleader for the art form.” Charles hoped from the outset that Tim would become his successor at OTSL, but thoughtfully planned for a period of overlap so the young administrator would have time to get to know the company and community. When the transition became official in 2008, Tim was already well-prepared for success, thanks in large part to his relationships with Stephen Lord, James Robinson, hundreds of OTSL supporters, and a board led first by now-Chairman Emerita Donna Wilkinson, followed by Immediate Past Chairman Spencer Burke. Since 2008, Opera Theatre has only continued to grow its reputation as a center for innovative programming and community building. Artistry and civic dialogue have gone hand in hand, beginning particularly with the 2011 production of John Adams’s The Death of Klinghoffer. “In other cities, outrage at The Death of Klinghoffer has caused picketing, controversy, and, sometimes, canceled performances,” wrote the St. Louis Post-Dispatch. “In St. Louis…it has caused an outbreak of interfaith understanding and civility.” Similarly, when Tim, Stephen, and Jim launched the New Works, Bold Voices cycle in 2013 — a series dedicated to telling
Brian Mulligan and Nancy Maultsby in John Adams’ The Death of Klinghoffer (2013).
PHOTO © KEN HOWARD
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stories that resonate with diverse, contemporary audiences — Tim assiduously ensured that expert community partners were always part of the conversation. The first opera in the series, Champion by Terence Blanchard and Michael Cristofer, was co-commissioned with Jazz St. Louis and has become the best-selling world premiere in OTSL’s history. Gene Dobbs-Bradford, President and CEO of Jazz St. Louis, recalls of that partnership, “Working with Tim to create Champion was one of the most enjoyable experiences of my career. The reason he makes such a tremendous impact in St. Louis is that he genuinely cares for the community and believes in the power of the arts to make a positive change.” The New Works, Bold Voices series has since continued with the world premieres of “27” by Ricky Ian Gordon and Royce Vavrek in 2014, Shalimar the Clown by Jack Perla and Rajiv Joseph in 2016, and An American Soldier by Huang Ruo and David Henry Hwang in 2018. As Board Chairman Noémi Neidorff puts it, these premieres have been among the company’s proudest moments during Tim’s decade-long tenure. “Among those operas, there were some very relevant and very sensitive subjects. Somehow, Tim has the knack to reach out to all cultural, religious, and ethnic groups and get a dialogue going. I think that is his greatest strength.”
Laura Wilde as Vitellia in Mozart’s Titus (2017). PHOTO © KEN HOWARD
Tim is passionate not only about programming, but also about building new audiences. Over the last ten years, OTSL has re-invigorated its commitment to reaching the next generation. During Tim’s first year as General Director, OTSL offered a pilot Young Friends event during the season that reached 80 or so young patrons. This season, the program is expected to engage more than 700 audience members under the age of 45. For the past three years, Opera Theatre has been one of four US opera companies to win a major grant from The Wallace Foundation’s Building Audiences for Sustainability initiative, supporting OTSL’s work to build Generation X and Millennial audiences, with an emphasis on diversity. Tim has also been an active advocate for OTSL’s nationally renowned young artist programs. Together with Stephen and Jim, he has invited back several young artist alumni for leading roles. One such singer, soprano Laura Wilde, credits Tim’s “unwavering support over the years” for helping her to establish an international career. “Tim is kind, honest, open, and unashamedly enthusiastic about opera. He started his time with OTSL during my first summer as a Gerdine Young Artist and since then, I have grown to deeply value his authentic interest in the young artists, his warm and thoughtful leadership, and his easy, infectious laughter.”
Tim with mezzo-soprano Kendall Gladen (2012).
PHOTO © KEN HOWARD
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TEN YEARS WITH
Timothy O’Leary
Another former young artist, bass-baritone Aubrey Allicock, had this to say: “I first met Tim at the Metropolitan Opera National Council District Auditions during my graduate studies at Indiana University. Since then we have become great friends through my seasons spent with OTSL. I’m so proud of him and proud to come from ‘his era’ at OTSL!”
Aubrey Allicock as Emile Griffith in Champion (2013).
In 2012, Tim established OTSL’s Engagement & Inclusion Task Force (at the urging of Director of Marketing and Public Relations Joe Gfaller) to help the company tackle issues of diversity, equity, and inclusion both onstage and in the audience. “His sincerity, thoughtfulness, and compassion are clear in everything that OTSL does,” says Adrienne Davis, a member of the task force as well as an OTSL Board Member and Vice Provost of Washington University. “Under his vision and leadership, Opera Theatre has become the exemplar for diversity and inclusion in the arts within the St. Louis community and across the field of opera.”
Although Tim is best known for his humorous demeanor and relentless pursuit of artistic excellence, he is also an accomplished fundraiser. With his departure, Tim leaves the company in an exceptionally strong financial position, thanks to his partnership with OTSL’s Board and the tireless Development staff. Since the start of his tenure, the Opera Theatre endowment has more than doubled in size — from $16.5 million to more than $34 million. The company’s ratio of endowment to operating budget is among the strongest in the nation and is a crucial ingredient in the company’s ability to lead the field through groundbreaking new commissions and audience-building initiatives. Contributions to OTSL’s Annual Fund have also grown by more than 46%, and now exceed $6 million per year.
PHOTO © KEN HOWARD
During Tim’s last two years at OTSL, he has served as Chairman of the Board for OPERA America. Reflecting on Tim’s appointment in Washington, OPERA America’s President and CEO Marc Scorca said, “It is not surprising that a leader of Tim’s caliber should be recruited to lead the company in our nation’s capital. OTSL is one of the country’s most outstanding companies in terms of repertoire diversity, artistic quality, financial health, and civic practice.” Continued on page 166.
Tim and Jim oversee a technical rehearsal (2011). PHOTO © KEN HOWARD
Tim with previous OTSL General Directors Charles MacKay and Richard Gaddes (2015). PHOTO © JOEL MARION
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liVe Here. GiVe Here. Talk to us about your charitable-giving plan. We can help.
carol Klein “While Ferguson put our community at a crossroads, it’s how we react that matters. That’s why I published Painting for Peace in Ferguson, a book of photos of the amazing murals that artists painted on boarded-up windows. It captures a remarkable moment when our community came together in a call for a better future.
“The Community Foundation helped me create a charitable-giving fund, so that book sales benefit nonprofits and social initiatives in the areas affected. The Foundation’s local knowledge, charitable-giving stewardship, and expertise are invaluable.” stlgives.org 314-588-8200 37
Arts and culture can make a good life that much better
Photo by: Ken Howard
Here’s to making time to enjoy the cultural treasures that make our community special. Support provided to Opera Theatre of Saint Louis by Wells Fargo Foundation in cooperation with Wells Fargo Advisors. Consistently ranked as one of the top companies for giving and philanthropy, Wells Fargo has a long, rich history of supporting the communities in which we live and work. wellsfargoadvisors.com/community
Wells Fargo Advisors is a trade name used by Wells Fargo Clearing Services, LLC, Member SIPC, a registered broker-dealer and nonbank affiliate of Wells Fargo & Company. Š 2018 Wells Fargo Clearing Services, LLC. All rights reserved. 0318-0080 IHA-5622901
A SALUTE TO
Jim & Cathy Berges It is a tall order to describe the impact Jim and Cathy Berges have on the St. Louis community. Their commitment to ensuring St. Louis is a vibrant place to live, visit, and invest is made obvious by their incredible contributions of time, talent, and philanthropy to so many of the institutions that make this city great. While their philanthropic mantra is about making an impact “an inch wide and a mile deep,” those who know them know their impact is, in fact, both a mile wide and deep! Jim and Cathy married during Jim’s senior year at Notre Dame, and this year they will celebrate 50 years of marriage and more than 40 years in St. Louis. Here, they have served and supported a multitude of arts and cultural organizations, ranging from The Repertory Theatre of St. Louis, COCA, the St. Louis Symphony Orchestra, and Jazz St. Louis to the Missouri History Museum, Missouri Botanical Garden, and the Nine Network. After an illustrious 30-year career at Emerson, Jim retired as president of the multinational firm in 2005. Emerson has a long tradition of support for Opera Theatre and a company culture that puts great emphasis on philanthropic investments that strengthen the region. This culture had an impact on Jim and Cathy, and on many of the company’s other executives. Following his retirement, Jim joined the private equity firm Clayton, Dubilier, & Rice in Manhattan, where he continues to work today. In 2012, Jim and Cathy started the Berges Family Foundation to better support the causes that mean the most to them — including cultural engagement, STEM preparedness, youth empowerment, and support for heroes and first responders.
PHOTO COURTESY OF RANKEN JORDAN PEDIATRIC BRIDGE HOSPITAL
Jim and Cathy’s generosity is matched by the leadership, service, and thoughtfulness they share with Opera Theatre. Jim joined the OTSL Board of Directors in 2014, became a member of the Executive Committee in 2016, and was appointed Treasurer in 2017. Cathy co-chaired Opera Theatre’s 2009 Spring Gala, and together the Bergeses chaired the 2015 Annual Holiday Benefit. This year, they join Marsha and Bill Rusnack as co-chairs of the 2018 Spring Gala. What is most admirable about Jim and Cathy is the way they inspire philanthropy from others. Many of their commitments are challenge gifts with ambitious goals — as evidenced by their extraordinary $5 million gift to COCA, which required a match within 90 days. They have supported new works at Opera Theatre for the past three years through leadership gifts for Shalimar the Clown (2016), The Grapes of Wrath (2017), and An American Soldier (2018). Also at OTSL, they have created an endowed Gerdine Young Artist position and have intentionally and generously supported efforts to retain and strengthen Opera Theatre’s executive leadership. Most recently, the Bergeses joined Michael and Noémi Neidorff in making a $250,000 challenge gift for the 2018 Spring Gala. Their gift establishes Opera Theatre’s Next Generation Fund, which honors Timothy O’Leary’s accomplishments as general director and provides the resources necessary to ensure a successful transition in leadership. With this tremendous gift, Opera Theatre will continue its important work in cultivating the next generation of artists, arts administrators, and audiences.
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OTSL
on the National
Stage
Staging of an New Works, Bold commission Staging ofOTSL a New Works, BoldVoices Voices commission
Since its earliest seasons, Opera Theatre of Saint Louis has been on the forefront of the national stage thanks to its consistently adventurous programming. Over the last decade, there has been an explosion of new opera across the country — a phenomenon that Marc A. Scorca, President and CEO of OPERA America, often alludes to as a “Golden Age” for American opera. But long before this new wave of operatic reinvention, OTSL was commissioning new operas, a fact that is reflected in the company’s roster of 27 world premieres — a ratio that is among the highest in the nation. With its New Works, Bold Voices series, which began in 2013, OTSL has redoubled its efforts to bring modern stories to the stage and tell diverse and resonant stories for American audiences. An American Soldier, which opens this season, is the fourth premiere in this cycle. Thanks to their artistic and critical success, these commissions are quickly traveling across North America. Champion, by Terence Blanchard and Michael Cristofer, has now appeared at Opera Parallèle, New Orleans Opera, and Washington National Opera — and another production was recently announced for Opéra de Montréal’s 2018–19 season. New performances of “27,” by Ricky Ian Gordon and Royce Vavrek, have appeared at Pittsburgh Opera, Michigan Opera Theatre, and New York City Center. Shalimar the Clown, by Jack Perla and Rajiv Joseph, has joined “27” as the second of OTSL’s commissions to be released as a CD recording from Albany Records. 44
Staging of an production rental Staging ofOTSL an OTSL production
rental
However, it is not only OTSL’s world premieres that are seen across the country. Through the rental of physical productions, which are crafted on-site in St. Louis, hundreds of OTSL costumes, sets, and props traverse the nation every year. Since the late 1990s, the company’s rentals have traveled as far as to Atlanta, Austin, Cleveland, Des Moines, Honolulu, Montreal, Palm Beach, Quebec, San Diego, and Seattle. Not only does Opera Theatre travel to audiences across the country, but national opera-lovers also make a point of journeying to St. Louis each year to see the new spring season. In 2017, OTSL’s audiences included people from 48 states and 8 countries. Subscribers travel from as far away as Anchorage, Alaska; Melbourne, Australia; and Kirchdorf, Germany. These voyagers are drawn by OTSL’s adventurous repertory and frequent world premieres, knowing that they can see something in St. Louis that they are unlikely to experience anywhere else. The interest of national audiences is matched by that of national funders, who offer generous support of both OTSL’s main season and community engagement initiatives. Over the last several years, Opera Theatre is grateful to have received extraordinary support from foundations such as The Andrew W. Mellon Foundation, the National Endowment for the Arts, OPERA America, and The Wallace Foundation, among others. Much of this philanthropy is inspired by Opera Theatre’s work in reaching new audiences. The
By helping to spread great opera across the country, by successfully reaching diverse new audiences, and by attracting visitors and support from across the globe, OTSL impacts the field of opera far beyond the boundaries of the greater St. Louis region.
( L E F T ) N A N C Y YAO M A A S B AC H , P R E S I D E N T O F T H E M U S E U M O F C H I N E S E I N A M E R I C A , L E A D S A D I S C U S S I O N W I T H C O M P O S E R H U A N G R U O, L I B R E T T I S T DAV I D H E N R Y H WA N G , A N D OT S L A R T I S T I C D I R E C TO R J A M E S R O B I N S O N D U R I N G A “ WO R K S & P R O C E S S ” P R E S E N TAT I O N A B O U T A N A M E R I C A N S O L D I E R . ( R I G H T ) T E N O R A N D R E W S T E N S O N A N D S O P R A N O FA N G -TAO J I A N G P E R F O R M E XC E R P T S F R O M A N A M E R I C A N S O L D I E R F O R T H E G U G G E N H E I M ’ S “ WO R K S & P R O C E S S ” S E R I E S . P H OTO S © J AC K LY N M E D U G A
company was one of only twenty-six organizations (and just four opera companies) selected for The Wallace Foundation’s Building Audiences for Sustainability program. Despite downward trends in national arts attendance, Opera Theatre has seen an overall trend of steady growth in young and diverse audiences since 2011. In the 2017 season, approximately 34% of all attendees had never before purchased tickets to Opera Theatre’s festival season. This record-breaking number of new attendees is a promising metric in OTSL’s ongoing quest to make opera accessible, engaging, and relevant to modern audiences.
company. New operas are often workshopped in NYC and, in 2018, a panel of OTSL artists appeared at the Guggenheim Museum’s “Works & Process” series to discuss and perform excerpts from An American Soldier. In 2017, OTSL even had a presence at the Tony Awards, as two of the company’s long-time designers won well-deserved awards: Christopher Akerlind received Best Lighting Design of a Play for Indecent and Jane Greenwood won Best Costume Design of a Play for Lillian Hellman’s The Little Foxes. Together, these activities help OTSL maintain its visibility as a thought leader in the field of American opera.
Beyond its work with The Wallace Foundation, Opera Theatre’s research efforts and community-building initiatives have given the company a seat at the table for important national conversations. OTSL was invited to join OPERA America’s first-ever Civic Action Forum to help create a common vocabulary and set of best practices surrounding authentic civic impact in the field of opera. Similarly, when OPERA America convened its first-ever Data Summit on best practices in data analysis and business intelligence, OTSL was included as one of the nation’s leading opera companies.
By helping to spread great opera across the country, by successfully reaching diverse new audiences, and by attracting visitors and support from across the globe, OTSL impacts the field of opera far beyond the boundaries of the greater St. Louis region. Thanks to OTSL’s young artist programs, the company also helps develop the future of American opera singers. Alumni of OTSL’s Gerdine Young Artist and Richard Gaddes Festival Artist programs have gone on to perform in major roles at the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, La Scala, Royal Opera at Covent Garden, Paris Opera, Vienna State Opera, and more. It’s a long-established pattern that has not gone unnoticed by the national press, with the Chicago Tribune writing, “The company remains one of the best springboards in the nation for young Americans on the cusp of big careers.” p
Through these and other important events, OTSL frequently has a presence in New York City. It is one of the six cities on OTSL’s annual young artist audition tour, and each year OTSL artists and national press meet during a luncheon to discuss what is new and exciting at the
45
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T h e M a b e l Do r n Re e d e r Fo u n d a t i o n Yo u n g A r t i s t Ed u c a t i o n & De v e l o p m e n t Pro g r a m s 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 for their potential as 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, 352 candidates were heard in nationwide auditions from a group of more than 1,000 applicants, from which 29 singers were engaged.
S O P R A N O A N U S H AV E T I SYA N A N D T E N O R J O S H U A B L U E P E R F O R M A S C E N E F R O M L A T R AV I ATA D U R I N G C E N T E R STAG E ( 2 0 1 7 ) . P H OTO © K E N H OWA R D
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 of identifying and developing the careers of young singers through innovative programming and professional experience. 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 they continue to benefit from coaching and mentoring opportunities. This year, one singer was selected for this program. In the case of young artists showing exceptional promise, Richard Gaddes Career Awards 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 Awards 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. 47
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
T E N O R N E I L S H I C O F F WO R K S W I T H G E R D I N E YO U N G A R T I S T N I C O L E T T E B O O K D U R I N G A L E V Y M A S T E R C L A S S ( 2 0 1 7 ) . P H OTO © K E N H OWA R D
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 the company’s young 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 Frank Lopardo teaches on June 15, followed by internationally acclaimed bass-baritone James Morris on June 22. Master classes are made possible by the Levy Family and presented in memory of John D. Levy, a founding board member of Opera Theatre. For more information about attending Levy Master Classes, see page 113. 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. These 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 50. 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. MONSANTO ARTISTS-IN-TRAINING GRADUATE STUDY AWARDS
AIT program graduates who are currently pursuing advanced vocal training are eligible to receive scholarship awards for their studies. 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. 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 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 MONSANTO
FOR TECHNICAL THEATER ARTISANS:
Mabel Dorn Reeder Foundation Prize Laura Wilde Elihu M. Hyndman Memorial Award Samuel Weiser Barbara & Stanley Richman Memorial Award Simona Rose Genga Richard Gaddes Career Awards Jeff Byrnes Mary-Hollis Hundley Andrea Núñez
Larry & Jinny Browning Technical Fellowship Career Award Traci Clapper Emerson Behind the Curtain Scholarship Awards Justin Chaipet Rachel Clayton Kendrick Lawson-Knight Meg Powers Katie Schoenfeld Jacob Stahl
ARTISTS-IN-TRAINING ALUMNI:
Mr. & Mrs. Anthony Guerrerio/ Wedgewood Partners, Inc. Award Michaela Wolz Scott Joplin Award Michael Hawkins Kenneth Billups Award Abby Benson
Rabbi Dr. Jay & Erika† Goldburg Scholarship Award Morgan Fisher
P R O D U C T I O N A S S I S TA N T S S M I L E F O R T H E C A M E R A D U R I N G A C H A N G E OV E R B E T W E E N S H OW S ( 2 0 1 7 ) . P H OTO © E M M A C L E M E N S
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 138. † IN MEMORIAM
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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
P R E S E N T 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 a range of careers in contemporary stagecraft. Training programs are offered in multiple specialties, so that students can gain in-depth experience in the logistical and sophisticated technical demands of a repertory opera season. In addition to production experience, students receive special training and guidance through Emerson Opera Production Workshops, which offer college students an intensive classroom introduction to technical design and construction.
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. Jack Austin
Maddy Herwig
Jerran Kowalski
Elizabeth Pope
Ashton Rust
Savannah Gipson
Seth Howard
Sarah Lockwood
Ben Rogers
Kristin Solodar
SNAPSHOTS OF THE 2017 EMERSON BEHIND THE CURTAIN PROGRAM. PHOTOS © EMMA CLEMENS
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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. Chasyn Andrews-Philbin
Colin Marshall
Bryan Gonzalez
Katie Schoenfeld
Tyler Tippit
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. Steven Barnes
Elizabeth Kump
Serena Thomas
Nalee Douangvilay
Dre Spears
Emily Valencia
Brandi White
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Education for All Ages: Inspiring Creativity and Building Community Introducing teachers, students, and adults to the world of music theater and helping build an audience for the next generation, these programs offer an environment where members of the community can discover their own talent, creativity, and imagination through the richness of opera.
(LEFT) BASS-BARITONE KEVIN SHORT WORKS WITH A STUDENT DURING A MONSANTO ARTISTS-IN-TRAINING MASTER CLASS. PHOTO © ERIC WOOLSEY (RIGHT) MONSANTO ARTISTS-IN-TRAINING STUDENTS ATTEND CITIZENS DAY AT THE LEGISLATURE TO ADVOCATE FOR THE ARTS. PHOTO © MICHELLE MYERS
MONSANTO ARTISTS-IN-TRAINING
Recognized as one of ten outstanding programs for youth nation-wide by the President’s Committee for the Arts and the Humanities, AIT supports talented high school singers who aspire to professional singing and other music-related careers. In the winter of 2018, students participated in a 10-day artist residency with renowned bass-baritone Kevin Short, culminating in a Winter Recital at Washington University’s Graham Chapel. OTSL stage favorite and acclaimed mezzo-soprano MaryAnn McCormick adjudicated the Spring Recital, in which 24 students competed for approximately $12,000 in scholarships at The Sheldon Concert Hall. Today, more than a dozen 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-baritone Derrell Acon (2006), soprano Julie Tabash (2007), tenor Chase Hopkins (2008), tenor MarQuis Murphy (2009), and rising stage director Alison Moritz (2004). Two such alumni, tenor Chaz’men Williams-Ali (2007) and mezzo-soprano Michaela Wolz (2013), return to OTSL this season as a Gaddes Festival Artist and Gerdine Young Artist, respectively. MONSANTO ARTISTS-IN-TRAINING PREPARATORY PROGRAM
The AIT Preparatory Program readies students in the St. Louis Public, 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.
Sponsored by Monsanto Fund for the 28th 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. 61
Education for All Ages: Inspiring 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 3,300 students take part in all or a portion of the M!W!O! curriculum. A supplemental three-day teachers’ workshop is led by local and national experts, including M!W!O! curriculum authors Roger Ames and Clifford Brooks. A year-long residency with Ferguson Middle School is currently underway, giving 7th and 8th grade students access to in-school OTSL programs, resources for an original student opera, and opportunities to attend Opera Camp for Kids and Spring Training Vocal Camp, which include a trip to see one of Opera Theatre’s mainstage productions. Made possible with support from Enterprise Holdings Foundation. The Ferguson Middle School residency is made possible with support from the Trio Foundation of St. Louis. STUDENTS PERFORM AN ORIGINAL SHOW AT MICDS AS PART OF MUSIC! WORDS! OPERA!. PHOTO © ERIC WOOLSEY
DAISY GIRL SCOUTS ATTEND
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 handson introductions to acting, movement, singing, and stage makeup. After these workshops, participants enjoy a 30-minute opera performance — in 2017, Mozart’s The Magic Flute — supplemented by props, costumes, and video projections. These performances feature a small cast typically chosen from Opera Theatre’s Richard Gaddes Festival Artists and Gerdine Young Artists. Last fall, 21 performances reached a total audience of 3,600 individuals across St. Louis, brought to life by 6 talented young artists. In partnership with Mary Queen of Peace School, OTSL also offered a sensoryfriendly public performance for students with special needs.
AN OPERA ON THE GO! DRESS REHEARSAL. PHOTO © J. DAVID LEVY
Made possible in part by the Fred M. Saigh Endowment at Opera Theatre, with generous support from Monsanto Fund, and the E. Desmond Lee Fine Arts Collaborative at the University of Missouri - St. Louis. Special thanks to the Trio Foundation of St. Louis for underwriting the performance at Johnson Wabash Elementary.
STUDENTS ENJOY PAPAGENO’S ARIA, PERFORMED BY ROBERT MELLON DURING OPERA ON THE GO!. PHOTO © J. DAVID LEVY
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Creativity and Building Community SOPRANO KATHERINE JOLLY PERFORMS DURING AN ARTISTS-IN-RESIDENCE CONCERT (2016). PHOTO © ERIC WOOLSEY
ARTISTS-IN-RESIDENCE
Last winter, Opera Theatre visited 20 schools, juvenile detention facilities, and community centers to provide brief musical concerts to adults and students alike. Soprano Nicolette Book and baritone Justin Austin electrified audiences across St. Louis, accompanied by music director Lachlan Glen. Made possible in part by the E. Desmond Lee Fine Arts Collaborative at the University of Missouri - St. Louis.
BARITONE ROBERT MELLON AND SOPRANO KATHERINE JOLLY MEET WITH HIGH SCHOOL STUDENTS DURING THEIR ARTISTS-IN-RESIDENCE TOUR (2016). PHOTO © ERIC WOOLSEY
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, and many others. ILLUMINATING OPERA
A popular lecture series presented by St. Louis Symphony Orchestra Chorus Director Amy Kaiser, Illuminating Opera leads audience members in a musical investigation of each opera featured in OTSL’s season. The program was offered on four Thursday and Saturday mornings in March at the Sally S. Levy Opera Center.
OTSL STAFF, VOLUNTEERS, AND AIT STUDENTS MEET WITH 80TH DISTRICT STATE REPRESENTATIVE AND AIT ALUMNUS PETER MERIDETH (TOP CENTER) TO ADVOCATE FOR THE ARTS. PHOTO © MICHELLE MYERS
Additional funding for these programs is generously provided by endowment gifts from the Fred M. Saigh Endowment at Opera Theatre, 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 137. 63
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3/22/18 4:46 PM
Connecting our C o m m u n i t y Ye a r - R o u n d If you are joining us for the first time as a result of being introduced to opera — or Opera Theatre — at one of our community programs, we are so glad that you are here!
COMPOSER HUANG RUO, LIBRETTIST DAVID HENRY HWANG, AND ARMY VETERAN DICK HEMNI
THE “CANVAS CREW” (THE REGIONAL ARTS COMMISSION’S PROGRAM FOR MIDDLE SCHOOL
SHARE THEIR STORIES AT ST. LOUIS PUBLIC RADIO. PHOTOS © ERIC WOOLSEY
STUDENTS) ATTENDS A MEET THE MAKERS EVENT AT ST. LOUIS PUBLIC RADIO.
MEET THE MAKERS
An American Soldier Community Tour
During the last weekend of January, Opera Theatre welcomed composer Huang Ruo and librettist David Henry Hwang to St. Louis for a series of public and private events in anticipation of the world premiere of An American Soldier. Opera Theatre collaborated with Saint Louis University Library Associates, St. Louis Public Radio, Ladue Chapel, Crispy Edge, the 620th Combat Sustainment Support Battalion of the US Army, and OCA – St. Louis to produce panels, Q&As, and cocktail receptions that generated meaningful community dialogue. Conversations explored the creative process of writing an opera, the true story of Private Danny Chen, stories of other local veterans, and the experience of minorities in the armed forces today. Artist residencies and community engagement events surrounding An American Soldier are made possible with leadership gifts from The Andrew W. Mellon Foundation and the Sally S. Levy Family Fund for New Works, and with generous endowment support from the late Pris McDonnell.
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Connecting our C o m m u n i t y Ye a r - R o u n d
OPERA TASTINGS
In mid-March, OTSL produced its fourth year of the extremely popular Opera Tastings series. Designed both to introduce first-time audiences to opera and to help casual opera-goers “develop their palate” for the art form, Opera Tastings paired live performances with food and drink crafted to complement the flavors of the music. The series traveled to restaurants and venues across the St. Louis region, as well as from Central Missouri to Edwardsville, IL. At each venue, a customized tasting menu was developed by the venue’s chef, sommelier, or mixologist. Nearly 1,200 audience members were reached over the course of all 11 events — our largest audience for this program to date. This year’s Opera Tastings cast featured four former members of OTSL’s young artist programs: soprano Mary-Hollis Hundley (who returns as a Gerdine Young Artist in the 2018 season), mezzo-soprano Melody Wilson (who appears in the principal role of Addie in this season’s Regina), tenor Joshua Blue (who last appeared in 2017’s The Trial), and baritone Robert Mellon (who also last appeared in The Trial). Derrick Goff served as music director and accompanist. Members of OTSL’s Young Friends Steering Committee, Engagement and Inclusion Task Force, and Audience Cultivation Committee served as hosts for each event, as did a range of community organizations: Alpha Kappa Alpha Sorority Incorporated, the Arts & Education Council, Cortex Innovation District, the Hispanic BARITONE ROBERT MELLON AND TENOR JOSHUA BLUE PERFORM A DUET AT CATRINAS Chamber of Commerce, Les Dames d’Escoffier, IN EDWARDSVILLE, IL ON MARCH 19, 2018. PHOTOS © ERIC WOOLSEY OCA – St. Louis, the Omega Psi Phi Fraternity Incorporated, the National Association of Black Accountants, and A&E’s Young Friends of the Arts. This year’s culinary partners included 23 City Blocks (at @4240 in the Cortex District), Blue Bell Farm (Central Missouri), Catrinas (Edwardsville), J’s Taste of Elegance (at the Omega Center, North City), Mandarin House (University City), Moulin Events (Lafayette Square), SqWires (Lafayette Square), Tenacious Eats (South City), and Turn Restaurant (at the Centene Center for the Arts, Grand Center). Special thanks to Allison W. Roberts and Ted Wight for their generous support of Opera Tastings, and to media sponsors Feast, Gazelle, Alive Magazine’s Guided, Out in STL, and the Riverfront Times.
MEZZO-SOPRANO MELODY WILSON HANDS OUT FLOWERS DURING AN OPERA TASTINGS PERFORMANCE AT MANDARIN HOUSE ON MARCH 13, 2018.
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COCKTAILS ARE SERVED AT @4240 IN THE CORTEX DISTRICT ON MARCH 17, 2018.
Connecting our C o m m u n i t y Ye a r - R o u n d SPRING FOR SITEMAN
In addition to performing at eleven events, the artists involved in this year’s Opera Tastings series also appeared in the Spring for Siteman concert, held on March 17 at the John Burroughs School Performing Arts Center. This annual fundraising concert helps to raise money for Siteman Cancer Center’s Discovery Fund, enabling some of the nation’s leading research scientists and doctors to develop new treatments to prolong life and ultimately cure cancer for patients facing terminal diagnoses. Over the nine years that OTSL artists have participated in this fundraising concert, more than $500,000 has been raised in the fight against cancer.
THE CAST AND MEMBERS OF THE STEERING COMMITTEE FOR SPRING FOR SITEMAN. PHOTO © SUZY GORMAN
JENNIFER JOHNSON CANO WORKS WITH BACH SOCIETY YOUNG ARTISTS AND WEBSTER UNIVERSITY GRADUATE STUDENTS DURING A PUBLIC MASTER CLASS. PHOTO © ERIC WOOLSEY
MEET THE MAKERS
Jennifer Johnson Cano Community Tour
From March 1–3, Opera Theatre was pleased to host Festus, MO native and acclaimed mezzo-soprano Jennifer Johnson Cano for a series of community events. Ms. Cano led master classes for young singers from her alma maters (St. Pius X High School and Webster University), as well as for singers from Kirkwood High School and the young artists of the Bach Society of St. Louis. She also inspired young professionals from across St. Louis at a special happy hour reception at Sophie’s Lounge at .ZACK in Grand Center.
Continued on page 160. JENNIFER JOHNSON CANO PERFORMS AT A YOUNG PROFESSIONALS HAPPY HOUR. PHOTO © ERIC WOOLSEY
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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 more fully reflects the rich diversity of the St. Louis region. In the fall of 2012, the group formalized its role and now meets four times each year to discuss and develop opportunities to achieve this vision. The Task Force is grounded in a belief that by bringing audiences from diverse backgrounds together to share a common operatic experience, we build community, create opportunities for dialogue, and ultimately, 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; composers Terence Blanchard, Huang Ruo, Jack Perla, and Ricky Ian Gordon; librettists David Henry Hwang, Rajiv Joseph, Royce Vavrek, and Michael Korie; mezzosopranos Kendall Gladen and Jennifer Johnson Cano; and director/designer Isaac Mizrahi. p Panels and community discussions in partnership with the Missouri History Museum, Diversity Awareness Partnership, Washington University, Saint Louis University, St. Louis Public Radio, Urban League Young Professionals, The Links Incorporated, the Gesher Music Festival, the Jewish Community Center, and the OCA – St. Louis. Welcome receptions for first-time visitors at select performances during the season.
p SERGEANT FRANK WILLIAMSON SHAKES HANDS WITH FELLOW PANELIST AND JAPANESE-AMERICAN VETERAN DICK HENMI BEFORE “THE DANNY CHEN STORY,” A PANEL EVENT AT ST. LOUIS PUBLIC RADIO. AN AMERICAN SOLDIER LIBRETTIST DAVID HENRY HWANG AND OTSL GENERAL DIRECTOR TIMOTHY O’LEARY LOOK ON. PHOTO © ERIC WOOLSEY
p Opera Tastings (see page 66 for more details).
If you are interested in becoming involved with this group, please contact staff liaison Joe Gfaller, Director of Marketing and Public Relations, at jgfaller@opera-stl.org. THE 2017–18 ENGAGEMENT AND INCLUSION TASK FORCE
Gail Boker Sara Burke Lucy Burns Adrienne Davis Philip Deitch Lisette Dennis Kim Eberlein Caroline Fan Yvonne Foo
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Ken Haller Carletta Harlan Deb Hollingsworth Nicole Roach Donald Suggs Maria Taxman Emily Underwood Kira Van Niel AUDIENCES OF ALL AGES ENJOY OPERA TASTINGS AT MANDARIN HOUSE ON MARCH 13, 2018. 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
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 an exciting new generation of opera-goers for the 21st century. The Steering Committee is an enthusiastic group of young professionals who support the organization in a variety of ways. Feedback from the group has helped to shape OTSL’s popular pre-season Opera Tastings program, the group’s signature inseason Young Friends events, as well as the more recent Kids’ Club program — providing childcare to young parents at select matinees during the season. By serving as ambassadors for OTSL among their friends and professional networks, the Steering Committee is instrumental in helping the company reach new audiences. YOUNG FRIENDS ATTENDEES ENJOY A DELICIOUS BUFFET, OPEN BAR, AND BEHIND-THE-SCENES REMARKS DURING PRE-SHOW RECEPTIONS. PHOTOS © KEN HOWARD
Participation in OTSL’s Young Friends program continues to grow each year thanks to the dedication of this group. Each in-season event offers an all-inclusive ticket featuring a pre-show buffet, open bar, and a seat to the performance. At evening performances, drinks are provided courtesy of The Spirits of St. Louis; at matinees, SqWires provides their award-winning Bloody Mary bar. Single tickets to these events can be purchased for only $49. With a “Pick Two… Or More” Pass, Young Friends can attend multiple in-season events and enjoy even greater savings. All ticket buyers to these events must be 45 years of age or younger. To learn about this season’s Young Friends events, see page 111. If you are interested in joining the Young Friends 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
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OUR COMMUNITY VALUES ENGAGE We, as members of the Washington University community, strive to Engage, Learn, Respect, and Include in order to know each other by name and story.
We are valued members of the Washington University community. We seek out different perspectives and experiences. We share our stories and listen to others.
LEARN We hold the courage to speak up, take risks, and make mistakes. We challenge ourselves to think critically and reflect upon our actions and words. We discover and explore identity.
RESPECT We act with kindness and empathy. We are responsible to our community and for our actions. We will forgive and be forgiven.
INCLUDE We welcome differences as well as commonalities. We learn from others. We value others.
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JOIN US FOR A PICNIC Our green-and-white tents are a
You’re about to hear some of the best voices in America, accompanied
hallmark of Opera Theatre’s season. Enjoy a memorable meal before
by members of the renowned St. Louis Symphony Orchestra. Each
each performance with one of our delicious pre-ordered picnic boxes,
exciting production is performed completely in English, bringing the
prepared by Ces & Judy’s Catering, or by feasting on your own food
magic of opera to life in a uniquely accessible, dramatic way.
and drinks! Sandwiches, snacks, desserts, cocktails, beer, and wine are
Whether this is your first or hundredth time at Opera Theatre, we hope
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all available at our concession bars.
you feel like part of our family from the moment you arrive. From our
FREE OPERA PREVIEWS One hour before the performance,
garden picnics to our internationally acclaimed performances to our
Opera Theatre’s music staff offers an informal talk to introduce you
starry post-show cocktails, you’re in for an experience unlike any other!
to the show you’re about to see. Hear fresh perspectives, entertaining
anecdotes, and thoughtful insights on the story and music. These
EXPLORE THE DAVID W. MESKER FESTIVAL GARDENS
free 20-minute previews take place in the Community Music School,
In 2016, Opera Theatre recognized David Mesker, our late Board
located next door to the Loretto-Hilton Center.
Chairman, by naming the gardens in his honor. His legendary
Previews are generously underwritten by Mary Susman & Tom Herm.
generosity, hospitality, and leadership helped make possible the
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P H O T O © K E N H O WA R D
With the Stars, Under the Stars festival you enjoy today. Thanks to the support of the Gateway Foundation, our grounds and pavilions have been enhanced over the last two years to further improve the festival experience for you, our audience. We hope you enjoy your time at Opera Theatre! Made possible by 8181
GIUSEPPE VERDI
La traviata OPERA IN THREE ACTS Music by Giuseppe Verdi. Libretto by Francesco Maria Piave, after the drama La dame aux camélias by Alexandre Dumas fils. English translation by Edmund Tracey. La traviata was first performed at Teatro La Fenice, Venice on March 6, 1853. The opera was first performed by Opera Theatre of Saint Louis on May 25, 1979. CONDUCTOR
Christopher Allen Roberto Kalb (June 2)
WIG AND MAKEUP DESIGNER
ASSISTANT STAGE DIRECTOR
CHOREOGRAPHER
STAGE MANAGER
CHORUS MASTER
ASSISTANT STAGE MANAGER
ENGLISH DICTION SPECIALIST
ASSISTANT STAGE MANAGER
REPETITEUR
INTERN ASSISTANT STAGE MANAGER
Tom Watson Seán Curran
STAGE DIRECTOR
Patricia Racette*
Cary John Franklin
SET DESIGNER
Laura Jellinek
Ben Malensek
COSTUME DESIGNER
Kaye Voyce
LIGHTING DESIGNER
Christopher Akerlind
Lachlan Glen
Tara Branham* Trevor Regars
Brandon Ehrenreich Sarah Johnson Luci Burdick
* OPERA THEATRE MAIN SEASON DEBUT
THERE WILL BE TWO INTERMISSIONS. THE PERFORMANCE WILL LAST APPROXIMATELY TWO HOURS AND FORTY-FIVE MINUTES.
Major production sponsorship is provided by the William T. Kemper Foundation – Commerce Bank, Trustee and The Commerce Trust Company, with production underwriting from the Engelhardt Family Foundation.
Patricia Racette’s engagement is made possible with the generosity of the Shepard 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 Orchestra is provided by the Taylor family and the late Jack C. Taylor.
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La traviata THE CAST (in order of vocal appearance) VIOLETTA VALÉRY
Sydney Mancasola° FLORA BERVOIX
Briana Hunter*+ MARQUIS D’OBIGNY
Samson McCrady*+ BARON DOUPHOL
Jeff Byrnes+
DOCTOR GRENVIL
Andrew Munn*+ GASTONE, VICOMTE DE LETORIÈRES
Matthew Dalen+
ALFREDO GERMONT
Geoffrey Agpalop ° ANNINA, VIOLETTA’S MAID
Simona Rose Genga+
Amelita Galli-Curci (1882-1963) as Violetta.
JOSEPH, VIOLETTA’S SERVANT
Philippe L’Esperance+ GIORGIO GERMONT, ALFREDO’S FATHER
SYNOPSIS
Joo Won Kang*
Act One: Violetta’s Paris home
A MESSENGER
The courtesan Violetta is throwing a lavish party. Among the crowd is a young admirer, Alfredo Germont. When Violetta asks for someone to give a toast, Alfredo’s friend is quick to volunteer him for the task. Determined to impress, Alfredo improvises a salute to the delights of love. Violetta is overcome with a wave of illness and excuses herself from the party. Out of concern, Alfredo follows her and subsequently reveals his own feelings. Violetta laughingly dismisses him. Alone, she grapples with the idea of love but ultimately convinces herself that a life of pleasure is more rewarding.
Gregory Feldmann*+ FLORA’S SERVANT
William Guanbo Su*+ Friends, servants, and party-goers. The action takes place in the mid to late 1930s.
* Opera Theatre main season debut
Act Two, Scene One: A country house and garden near Paris
°
Despite her attempts to suppress her feelings, Violetta has fallen in love with Alfredo. They now live together in a small house in the countryside. But Annina, Violetta’s maid, reveals to Alfredo that Violetta has been selling her possessions to support the household. Mortified, Alfredo rushes into the city to secure other financial means. While he is gone, his father, Giorgio, arrives and begs Violetta to end the affair. Giorgio fears that his daughter’s reputation — and her chance for a happy marriage — will be ruined by her brother’s scandalous relationship. Unbeknownst to Alfredo or Giorgio, Violetta has been suffering from consumption. She knows her health is worsening and secretly laments the limited time she has left with Alfredo. Heartbroken, she agrees to heed Giorgio’s request in order to save Alfredo’s sister from public disgrace.
Former Richard Gaddes Festival Artist Former Gerdine Young Artist + Gerdine Young Artist p
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Formal photo of a costume ball at an artist’s studio. Marc Vaux: Documentation du Musée national d’art moderne, Centre Georges Pompidou.
Act Two, Scene Two: A masquerade party Back in Paris, Violetta attends a masquerade party hosted by Flora Bervoix, resuming her former life on the arm of the Baron. Alfredo arrives, determined to confront Violetta about her betrayal. Rather than cause any bitterness between Alfredo and his father by revealing the truth, Violetta claims she is in love with the Baron. Deeply wounded, Alfredo throws money at Violetta as payment for their time together. Giorgio arrives on the scene to publicly chastise Alfredo for his shameful behavior. Violetta collapses in despair in front of the shocked gathering as the Baron challenges Alfredo to a duel. Act Three: Violetta’s quarters Violetta is gravely ill and alone, except for occasional visits from her doctor, who realizes her days are numbered. Her spirits are lifted when she receives a letter from Giorgio, assuring her that his son was not injured in the duel. He also confesses that he has told Alfredo the truth about Violetta’s sacrifice. Alfredo suddenly enters and begs her forgiveness. The two lovers enjoy a bittersweet reunion. p La traviata has inspired countless adaptations in popular culture, including Julia Roberts’ character in the 1990 film Pretty Woman.
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La traviata (left) A costume ball at Maison Watteau, 1924. (right) Poster for a 1896 production of the play by Alexandre Dumas fils, La dame aux camélias. Alphonse Mucha (1860–1939) (opposite) Marie Duplessis. Édouard Viénot (1804-1872)
PAT R I C I A R AC E T T E
A Note from the Direc tor
When I was approached to consider making my directorial debut, I said a resounding “yes,” not only because the charge meant taking that step with Opera Theatre of Saint Louis, but also because it meant I could revisit La traviata from the other side of the stage. I view my role of director as that of a collaborative catalyst and storyteller who shines the light on the creative process both from my standpoint and that of my insightful design team as well as from the lens of the artists on stage. And while it was my privilege to portray Violetta in many productions (some incredibly traditional, others not), from a director’s perspective, I wanted to create a visual palette that sets the scene to allow this timeless tale of honor, love, and sacrifice to bloom — pun intended. It is not just Violetta who is fragile; the story is fragile and pivots on the relationships that evolve (and devolve) as the characters interact and engage us in their journey. It walks the line between the societal norms of what behavior is forbidden yet simultaneously rewarded and condemned. That sense of fragility and delicateness (with an intentional nod to the original source material of Alexander Dumas fils) was the starting point for my vision of the camelliainspired centerpiece, a seemingly undulating kaleidoscope of flower petals that not only gives us nuance and envelops the story being told, but also reveals the vulnerable psychological state of mind of our heroine. Declining health is sheathed in its layers. As the story unfolds and traverses between inner Paris and the outskirts of the countryside, the healing aura of nature with its provocatively deceptive sense of security is juxtaposed with the vibrant energy of Flora and the gathering of friends, suitors, and partygoers who draw Violetta and Alfredo back from country seclusion. I chose to suggest the time period of Paris in the 1930s for several reasons: For me, the aesthetic of that period ushers in a contemporary accessibility, attractiveness, and opportunity for character definition via costume choices while leaving room for deviations from convention. Artist balls were a popular pastime during the 1930s, allowing people from varying tiers of society to come together in a bar or other favorite local haunt to “blow off steam” at a time when relief from the Great Depression was settling only to give way to the mounting tensions of the Second World War. Though not compulsory, costumes were common in these gatherings. Typically, the festivities began with an enthusiastic group photo harkening to a present day “group selfie,” which kicks off Flora’s party in Act II. Not only does this visual animate the wild exuberance of Parisian nightlife, but it also lends a “fade in” effect to the scene change from rural country house to glittering masquerade for which Verdi notoriously provided only twenty seconds of music. We know how this story ends, but what we get to witness and experience is the unraveling of not just a love story but also a “life story,” as our heroine’s heartbroken body succumbs to illness and the harsh reality of her circumstances. And despite those odds, we get to experience this journey as she ultimately acquiesces to her own revelation of resolution and sense of joie de vivre in her last breaths. p 86
THE ORIGINAL “ PRE T T Y WOMAN ” “Reading her biography, you just get so much more respect for who this self-made woman was…a determined, visionary, aggressive woman who refused to be repressed by conventional morality.” – Liesl Schillinger, translator of The Lady of the Camellias
La traviata is one of the most performed operas in the world — and for good reason. The opera’s story of love and sacrifice is timeless, inspiring popular film adaptations like Moulin Rouge. But it’s not just a story…Violetta, Verdi’s tragic heroine, is actually based on a real woman: Marie Duplessis, one of the most famous courtesans of the 19th century. Born in 1824 in a small Normandy village, Marie grew up under the thumb of an abusive, alcoholic father. She escaped to Paris when she was just a teenager and found a job in a dress shop, but her wages were barely enough to live upon. She quickly decided that she could enjoy a better life by becoming a wealthy man’s mistress, and she was right. Marie’s first patron provided her with a furnished apartment and an initial sum of 3,000 francs. (By comparison, she likely earned no more than 22 francs a day at the dress shop, despite working 13-hour days.) Marie aspired to rise still higher, but she recognized that an uneducated peasant girl — no matter how beautiful — would never hold the attention of powerful men. She taught herself how to read and write, and then hired tutors in literature, history, politics, geography, and more. Within a few years, Marie transformed herself into one of Paris’s most intellectual, desired women. Marie’s first aristocratic lover was Duke Agénor de Guiche, who lavished Marie with jewels, clothing, horses, and camellias — which became her trademark symbol. This liaison brought her into the same social circles as influential men like Nestor Roqueplan (editor of the newspaper Le Figaro) and Louis-Désiré Véron (director of the Opéra de Paris). Marie soon became famous in her own right for hosting glittering salons filled with Paris’s most important politicians, writers, and artists…and all by her early 20s. However, Marie’s fame comes from a humbler lover, Alexandre Dumas fils (the son of the author of The Three Musketeers). It was he who captured Marie’s spirit in the book La dame aux camélias (“The Lady of the Camellias”), which closely mirrored the details of their real-life romance. The couple was said to be madly in love, but their relationship was troubled. Alexandre couldn’t afford to support Marie, but he was also bitterly jealous of her liaisons with other, wealthier men. Marie parted ways with Alexandre just a year after their affair began. Despite many other aristocratic conquests, Marie’s only other true love was the composer Franz Liszt, who once wrote, “[Marie] puts me in mind of poetry and music.” However, when Marie offered to give up her lifestyle and tour Europe with Franz, he rejected her proposal. Whether out of heartbreak or pragmatism, shortly thereafter Marie married one of her other devoted admirers, Count Edouard de Perregaux. The marriage seems to have been a mismatch, since within just a few months, the pair were living separate lives. Sadly, Marie’s meteoric rise to fame was mirrored by an equally swift decline. Marie fell ill with tuberculosis and died on February 3, 1847. She was only 23 years old. Hundreds of people are said to have attended her funeral in the Montmartre cemetery. The lavish processional was paid for by two of Marie’s most loyal lovers, including the Count de Perregaux. A few weeks before her death, Marie allegedly told her maid, “I’ve always felt that I’ll come back to life.” She couldn’t have known how right she was. Alexandre Dumas fils wrote the majority of La dame aux camélias in eight days after her death. The book was published in 1848, and Alexandre adapted the story into a play just a few years later. The story leapt from the stage to the silver screen with the advent of moving pictures, and subsequent adaptations have starred some of the most famous women in entertainment history, including Sarah Bernhardt, Greta Garbo, Julia Roberts, and Nicole Kidman. But no adaptation of Marie’s story is more famous than Verdi’s masterpiece La traviata. The legacy of this fearlessly independent woman will doubtlessly live on for many more centuries to come. ANH LE
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MARC BLITZSTEIN
Regina OPERA IN THREE ACTS Music by Marc Blitzstein. Libretto by the composer after Lillian Hellman’s play The Little Foxes. Restored by Tommy Krasker and John Mauceri. Scottish Opera Version. Used by arrangement with European American Music Corporation, US and Canadian agent for Christopher Davis, and agent for The Kurt Weill Foundation for Music, Inc. Regina was first performed at 46th Street Theatre, New York on October 31, 1949. CONDUCTOR
CHOREOGRAPHER
ASSISTANT STAGE MANAGER
STAGE DIRECTOR
CHORUS MASTER
ASSISTANT STAGE MANAGER
SET DESIGNER
ENGLISH DICTION SPECIALIST
INTERN ASSISTANT STAGE MANAGER
COSTUME DESIGNER
DIALECT COACH
MUSICAL TRIO:
Stephen Lord
Seán Curran
James Robinson Allen Moyer
Cary John Franklin Erie Mills
James Schuette
Stephen Gabis
LIGHTING DESIGNER
REPETITEUR
SOUND DESIGNER
ASSISTANT STAGE DIRECTOR
Christopher Akerlind Michael Hooker WIG AND MAKEUP DESIGNER
Tom Watson
Andrea Grant Richard Gammon STAGE MANAGER
Valerie J. Clatworthy Alec Rigdon
Traci Clapper VIOLIN
Shawn Weil CELLO
Bjorn Ranheim PIANO
Andrea Grant
Kimberley S. Prescott
THERE WILL BE TWO INTERMISSIONS. THE PERFORMANCE WILL LAST APPROXIMATELY TWO HOURS AND FIFTY-FIVE MINUTES.
Made possible with leadership gifts from Centene Charitable Foundation, Phyllis Brissenden, and Sally S. Levy & Family. This performance is funded in part by the Kurt Weill Foundation for Music, Inc., New York, NY.
THE KURT WEILL FOUNDATION FOR MUSIC
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. Generous leadership support for the services of the St. Louis Symphony Orchestra is provided by the Taylor family and the late Jack C. Taylor.
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Regina Author and playwright Lillian Hellman, 1935.
THE CAST (in order of vocal appearance)
SYNOPSIS
ADDIE, THE GIDDENS’ HOUSEKEEPER
Prologue: The Giddens House, Alabama, 1900
Melody Wilson°
The house servants, Addie and Cal, sing a spiritual as they go about their chores. Alexandra, the young daughter of the house, shows up with Jazz, a local musician, and his Angel Band. They start playing ragtime. Regina, Alexandra’s mother, scolds the servants for the racket and instructs her daughter to get dressed for supper.
CAL, THE GIDDENS’ HOUSE MAN
Justin Austinp
JAZZ, TRUMPETER IN THE ANGEL BAND
Chaz’men Williams-Ali*f
ALEXANDRA GIDDENS, REGINA’S DAUGHTER
Monica Deweyp ° REGINA GIDDENS
Susan Graham
BIRDIE HUBBARD, OSCAR’S WIFE
Susanna Phillips*
OSCAR HUBBARD, REGINA’S YOUNGER BROTHER
Ron Raines
LEO HUBBARD, OSCAR’S SON
Michael Dayp °
WILLIAM MARSHALL, A BUSINESSMAN FROM THE NORTH
Robert Stahley+
BENJAMIN HUBBARD, REGINA’S ELDER BROTHER
James Morris*
HORACE GIDDENS, REGINA’S HUSBAND
Kristopher Irmiter* MANDERS, A BANKER
Leo Radosavljevic*+ JOHN BAGTRY, REGINA’S FORMER BEAU
The Hubbard siblings Oscar, Ben, and Regina are pooling their funds to build a new cotton mill that could make them all wildly rich. They’ve already secured some backing from Chicago businessman William Marshall, who is the guest of honor at dinner. However, the siblings are still missing a third of the needed capital. That money is supposed to come from Horace Giddens, Regina’s husband, who is hospitalized in Baltimore with a heart condition. Without his support, the deal will fall apart, so Regina uses that as leverage to negotiate a larger share of the mill’s profits. Ben agrees to give Regina part of Oscar’s share if Alexandra marries Oscar’s son Leo — keeping the money in the family. Regina promises to consider it, and sends Alexandra to Baltimore to retrieve Horace. Act Two: A week later The Giddens household is preparing for a party when Oscar catches Leo stealing a cigar. To distract his father, Leo informs him that Horace’s safety deposit box contains bonds worth thousands of dollars. Alexandra arrives home with an exhausted, suspicious Horace. Regina pretends to have missed him, but Horace knows better and flatly informs her that he has no intention of investing in the new mill. As the guests begin to arrive, Ben, Oscar, and Leo plot to steal Horace’s bonds, which they then use to finalize an agreement with William Marshall. When Regina finds that her brothers have cut her out of the deal, she becomes furious.
Evan Bravos+
Act Three: The next day
BELLE
Horace asks Addie to protect Alexandra from her relatives. He plans to revise his will so that Regina will only inherit his bonds, which he already knows the brothers have stolen. As Regina rages at him, Horace suffers a heart attack. Regina doesn’t move an inch to help her husband, who collapses on the stairs attempting to get to his medicine. Horace has been taken upstairs to his room when the brothers arrive. Regina informs them that she knows about their theft, and blackmails them for an even larger share in the mill. Little does she suspect that her victory may have far-reaching consequences. p
Brittany Graham* Guests at the party. The action takes place in 1900 at the Giddens home in Alabama.
* Opera Theatre main season debut
p
Act One: That evening
Former Richard Gaddes Festival Artist
f Richard Gaddes Festival Artist
°+ Former Gerdine Young Artist Gerdine Young Artist
The Kurt Weill Foundation, Inc. promotes and perpetuates the legacies of Kurt Weill and Lotte Lenya by encouraging an appreciation of Weill’s music through support of performances, recordings, and scholarship, and by fostering an understanding of Weill’s and Lenya’s lives and work within diverse cultural contexts. It administers the Weill-Lenya Research Center, a Grant and Collaborative Performance Initiative Program, the Lotte Lenya Competition, the Kurt Weill/Julius Rudel Conducting Fellowship, the Kurt Weill Prize for scholarship in music theater, and publishes the Kurt Weill Edition and the Kurt Weill Newsletter. Building upon the legacies of both Weill and Lenya, the Foundation nurtures talent, particularly in the creation, performance, and study of
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musical theater in its various manifestations and media. Since 2012, the Kurt Weill Foundation has administered the musical and literary estate of composer Marc Blitzstein. www.kwf.org
(below) Demopolis, Alabama
(right) Tallulah Bankhead as Regina
in 1920, the home of Hellman’s
in the first production of the play
maternal relatives on whom
The Little Foxes, 1939.
The Little Foxes is based.
JAMES ROBINSON
A Note from the Direc tor
I’ve often considered Marc Blitzstein’s Regina one of the great American operas. Sadly and curiously, it is not as widely performed as it deserves to be. Based on Lillian Hellman’s searing play The Little Foxes, the opera is a brilliant tapestry of wildly inventive music and brilliantly sculpted characters. While the opera does not depart significantly from the play in terms of the characters and storyline, it does take on the quality of a Greek tragedy — something that doesn’t exist in Hellman’s original, but something that only opera can successfully achieve. Consider it a more genteel House of Atreus where, at times, cast members and the chorus provide information to the audience that doesn’t just move the plot along, but also comments on the state of this Alabaman society circa 1900. The tale of family greed run amok is certainly front and center in Regina, but Marc Blitzstein also sheds light on the topics of racial inequality, financial exploitation, and sexual politics. Gospel music is used as a moral anchor and ragtime is introduced as an encroaching
threat to the southern world order. Spoken dialogue swiftly helps to fill us in on important details while gorgeously rendered arias and ensembles elevate emotions as only music can do. The design team and I all shared the same reactions to Regina: We were excited by the currents of Greek drama and tragedy running through the opera, and we were eager to seize upon the opportunity to create a visual world that reflected an emotional harshness, while still providing a certain opulence one would expect in Alabama society at the turn of the last century. It is indeed a great pleasure to introduce Regina to Opera Theatre of Saint Louis audiences, and I am honored to be working with Stephen Lord, who introduced me to this marvelous opera many years ago in Boston. And I am thrilled to be working with such an accomplished group of American artists on this most American work of music theater. p 91
Regina
(above) Composer Marc Blitzstein, 1943. (left) Bette Davis as Regina in the 1941 film The Little Foxes by William Wyler.
STEPHEN LORD
A Note from the Conduc tor
REVIVING REGINA Regina is a piece I have known a long time. I was the chorus master and repetiteur for one of its first big revivals in 1980 at the Houston Grand Opera with an all-star cast. Subsequently, while Music Director for Boston Lyric Opera, I programmed it in our 1990–91 season. For that production, James Robinson served as assistant director to the talented stage director, Rosalind Elias, who was also a legendary singer. Both Jim and I have a great fondness for this opera. Each of those productions used what came to be the “standard” version of the opera, recorded many years before at the time of the New York City Opera’s 1958 revival. This version removed what some might consider “operatic” elements and went for the drama in real time, not suspended time. But now, in preparing for the piece, I decided we should try something based more on the Scottish Opera version created just after the Boston production. There is restored music, some of which we have used, and restored scenes. We are removing some of the underscoring (music played under dialogue), as we found it unnecessary to the drama and it requires the singers to speak over the orchestra, which is often distracting. We have, however, also added some underscoring from the Scottish Opera version in the places where it actually helps emphasize the drama of the spoken word. There are, given the piece’s setting in turn-of-the-century Alabama, a few moments in the dialogue that would appear insensitive to today’s audiences because of their outdated language about race. The only sung example is the song “Chinkypin,” which we have decided not to include. As we have combined aspects of the original score and the Scottish Opera version, we have altered very small sections of the dialogue in such a way as to preserve the broader merits of this wonderful opera. p 92
MAUREEN WOODALL
M U S I C A L S T Y L E S I N R EG I N A In Regina, Marc Blitzstein incorporated a wide variety of musical styles from both popular and classical idioms. Their interplay created a new style, as was popular with many mid-century classical composers working in theater. George Gershwin adapted jazz in Rhapsody in Blue and traditional African-American music in Porgy and Bess; Aaron Copland incorporated American folk songs into the ballets Rodeo and Appalachian Spring; and Leonard Bernstein fused Latin dance rhythms and New York street sounds into his trio of American musicals: On the Town, Wonderful Town, and West Side Story.
King Oliver’s Creole Jazz Band, ca. 1920.
Below are brief descriptions of various musical styles, and where they can be heard in Regina. Spiritual – A distinctly American form which blends sounds from the experiences of enslaved African-Americans, including traditional African music and Christian hymns. Spirituals developed into gospel songs, such as that call and answer: “Is a new day coming? – Certainly Lord!” that ends Regina. Ragtime – The precursor to 20th century jazz, which adds irregular syncopation to create a casual, popular feel. Ragtime was popular in the late 1890s through the 1910s, and Scott Joplin (whose music was heard in The Sting) is one of the best-known composers of ragtime. You can hear ragtime sounds in the opening section of the Act Three “Rain Quartet.” Dixieland Jazz – One of the first forms of contemporary jazz, developed by Afro-Creole musicians in New Orleans, and prominently seen in elaborate outdoor funeral bands. Eventually, this music began to be performed in club settings, was heard in black communities in the Deep South, and was later embraced by a wider community. The character of Jazz sings in this style. Blues – A jazz lament, originally defined more by subject matter than form. Blues highlight and contrast the major and minor keys, finding the pathos in the flatted notes. Addie sings a number entitled “Blues” to soothe Birdie in Act Two. American Folk Song – Alongside the tradition of African-American music, American folk songs of the Appalachian region and the West developed. Directly tonal, with large sweeping intervals, many sound as open and expansive as the land itself. Although not an authentic folk song itself, Horace’s “Consider the Rain” has many of these qualities. Broadway Ballad – Jerome Kern and Richard Rodgers/Oscar Hammerstein were proponents of a form of the Broadway ballad, heard in musicals. Alexandra’s “What Would It Be,” written at the request of the producer for a “tune,” is in this form. Ballroom Dances – Music with standard rhythms and forms, many with specific European origins. At Regina’s party, Blitzstein has the drama unfold over a series of dances, including the Viennese waltz (Regina’s flirtation with John Bagtry), the bohemian polka (the party’s opening chorus), and the French country galop (the driving finale where Ben, Oscar, and Leo’s treachery is revealed). p Reprinted with permission from Pacific Opera Victoria.
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H U A N G R U O | D AV I D H E N R Y H W A N G WORLD PREMIERE OF THE NEW TWO-ACT OPERA
An American Soldier OPERA IN TWO ACTS Music by Huang Ruo. Libretto by David Henry Hwang. © 2018 by Huang Ruo and David Henry Hwang. Commissioned by Opera Theatre of Saint Louis. An American Soldier was first performed in a one-act version of the opera for Washington National Opera’s American Opera Initiative on June 13, 2014. CONDUCTOR
LIGHTING DESIGNER
REPETITEUR
STAGE DIRECTOR
WIG AND MAKEUP DESIGNER
ASSISTANT STAGE DIRECTOR
CO-STAGE DIRECTOR & DRAMATURG
MILITARY CONSULTANT
STAGE MANAGER
CHOREOGRAPHER
ASSISTANT STAGE MANAGER
FIGHT CHOREOGRAPHER
ASSISTANT STAGE MANAGER
CHORUS MASTER
INTERN ASSISTANT STAGE MANAGER
Michael Christie
Christopher Akerlind
Matthew Ozawa
Tom Watson
James Robinson
Seán Curran
SET DESIGNER
Andrew Boyce* COSTUME DESIGNER
Gregory Gale
VIDEO PROJECTIONS DESIGNER
Greg Emetaz
Gordon Penn*
Shaun Sheley
Cary John Franklin ENGLISH DICTION SPECIALIST
Ben Malensek
Damien Francoeur-Krzyzek James Blaszko Sara Prince
Brandon Ehrenreich Sarah Johnson Traci Clapper
*O PERA THEATRE MAIN SEASON DEBUT
THERE WILL BE ONE INTERMISSION. THE PERFORMANCE WILL LAST APPROXIMATELY TWO HOURS AND THIRTY 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, the Berges Family Foundation, and the Ferring Family Foundation, and with an award from the National Endowment for the Arts. The production is made possible with generous support from Emily Rauh Pulitzer and OTSL’s Rudolph W. Driscoll Endowment for Contemporary Opera, and with production underwriting from Clayco, Inc. and Agnes Hsu-Tang & Oscar L. Tang.
Michael Christie’s engagement is made possible with the generosity of Mr.† & Mrs. Laurance L. Browning, Jr. Opera Theatre gratefully acknowledges Pris McDonnell † for endowment support for composer residencies. Generous leadership support for the services of the St. Louis Symphony Orchestra is provided by the Taylor family and the late Jack C. Taylor. † IN MEMORIAM
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An American Soldier THE CAST (in order of vocal appearance) MILITARY JUDGE
Nathan Stark* PVT. DANNY CHEN
Andrew Stenson* JOSEPHINE YOUNG
Kathleen Kim*
TRIAL COUNSEL MAJ. ROSE / SPC. AUSTIN HALDEMANN
Phillip Lopez+ MOTHER CHEN
Mika Shigematsu* DEFENSE LAWYER MAJ. BAKER / PVT. RODERIC CARTER
Matthew Dalen+
PVT. BRYAN JOHNSTON / SGT. LUCAS BROWN
Evan Bravos+
PVT. SONIA GONZALEZ
Andrea Núñez+ PVT. STANTON
Briana Hunter*+ SGT. AARON MARCUM
Wayne Tigges
SYNOPSIS
PVT. RANDALL PINKTON / SPC. JULIAN SWANSON
Act One: A military courtroom with flashbacks to New York City, Fort Benning, and Fort Wainwright
PVT. ROMAN PARKER / SGT. JACKSON BLAKEMORE
Courtroom, 2012: Sgt. Aaron Marcum is being prosecuted on multiple charges in connection to the death of Pvt. Danny Chen. Danny’s ghost watches the military tribunal, wishing that he could turn back time, but no one can hear him.
Andrew Munn*+
Samson McCrady*+
PVT. WASHINGTON / PVT. MANNY DAVIS
Babatunde Akinboboye* SPC. CAMERON RODRIGUEZ
Ángel M. Vargas*+ SPC. TOUSSANT
Brittany Graham* PFC. MIHAIL
Allison Glass* The action takes place in a military courtroom in Fort Bragg, North Carolina, 2012 with flashbacks to Chinatown NYC, Fort Benning, Fort Wainwright, and “The Palace” near Kandahar, Afghanistan.
* Opera Theatre main season debut + Gerdine Young Artist
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Fort Benning, Georgia. Photo © John D. Helms
New York City, 2010: Danny, a high school senior, sits on a Chinatown rooftop with his friend Josephine as they discuss their futures. Josephine is set on college, but Danny dreams of enlisting in the army after graduation. Courtroom: Danny’s mother appears as a witness. Mother Chen is full of sorrow and rage as she faces Sgt. Marcum. She testifies that Danny’s death could not possibly have been a suicide, as the military has claimed. New York City, 2011: Danny and Mother Chen are preparing dinner when he reveals that he has enlisted. Angry and hurt, Mother Chen begs him to reconsider. Danny tells her he’s tired of being treated like a foreigner. He wants to prove that he’s a real American. Fort Benning, Georgia, 2011: Danny trains hard at boot camp. His platoon is full of soldiers from different backgrounds, but they all seem to get along well. Danny’s letters home are cheerful and colorful. Because his parents can’t read English, Josephine translates, often censoring out the more inappropriate sentences. Courtroom: Further testimony reveals that Fort Wainwright, Danny’s next post, was less accepting of soldiers of color. Insults were not only tolerated, but encouraged on “Racial Thursdays.” Nonetheless, Danny finishes basic training and prepares to ship out to Afghanistan.
A group of soldiers keep watch in Kandahar, Afghanistan. Photo © US Navy Ensign Haraz N. Ghanbar
Act Two: A military courtroom with flashbacks to Kandahar, Afghanistan and New York City Kandahar, Afghanistan, 2011: In an outpost known as “The Palace,” Sgt. Marcum drills his troops, who are much less diverse than Danny’s training platoon. His running commentary is cruel and vulgar. When Danny arrives, Marcum heaps criticism on the young Chinese-American. The witnesses in court argue over whether Danny’s hazing went beyond that of any other new soldier. New York City, 2011: Josephine tries to message Danny online, but his responses have become rare. She visits Mother Chen and reads an email from Danny aloud. Danny’s tone is somber, and he is concerned about his parents’ welfare. Courtroom: One soldier recalls that Marcum bodily dragged Danny over a field of rocks before forcing him to speak Chinese in front of his comrades. Pvt. Manny Davis, an African-American, testifies next. He didn’t serve with Danny, but was once under Sgt. Marcum’s supervision and experienced hazing that almost exactly mirrors Danny’s abuse. Kandahar, Afghanistan: Battered yet defiant, Danny is determined to regain control of his life. He is singled out once again by Marcum, who urges other soldiers to pelt Danny with stones. Afterwards, Danny ascends into a tower on base for guard duty. Courtroom: The verdict is delivered. The judge and assembled soldiers sing the nation’s motto, “E pluribus unum” (“out of many, one”). As they slowly exit the court, Mother Chen is left alone to mourn her son. p
Pvt. Danny Chen’s military portrait.
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An American Soldier
The casket of US Army Private Danny Chen is carried by an honor guard during a funeral procession in New York, October 13, 2011.
M AT T H E W OZ AWA
A Note from the Direc tor
Danny Chen was a US Army soldier who served in Afghanistan and was found dead at age 19 in a guard tower on October 3, 2011. Singled out for his Chinese-American heritage, Danny was racially harassed and physically abused by his fellow soldiers on a daily basis for over six weeks prior to his death. In 2012, several soldiers stood court-martial, faced with various charges including assault, dereliction of duty, involuntary manslaughter, and negligent homicide, among others. Danny Chen was born to Chinese immigrant parents and raised in Chinatown, New York City. Following his time in the army, he had hoped to join the New York City Police Department. For much of Danny’s life, he felt invisible, treated as a foreigner despite having been born and raised in the US. But he always dreamed of being seen as a true American, in part by serving and protecting his nation. In bringing Danny’s story to the stage, something I have been really drawn to is the concept of memory and what truths are revealed when we relive our past experiences. David Henry Hwang’s poignant libretto and Huang Ruo’s haunting music create a memory collage, in which Danny’s memories are ignited as he grapples with and tries to reconcile how his American dream (belonging to a community and proving his worth as an American) perhaps was in conflict with his actual reality (purposely isolated by his own countrymen and treated as an outsider). As we watch the opera’s characters explore this conflict in their search for justice, ultimately we must ask ourselves how we, too, can come to terms with our nation’s divisive views on American identity in the face of our professed ideals. In this story, we honor Danny and all those whose citizenship and patriotism have been questioned because of their ethnicity. We stand with Suzhen Chen as she seeks justice for her son’s death. And we end with the hope that Danny’s tragic story can serve as a catalyst for greater unity within our nation. p Danny Chen with his mother prior to his deployment to Afghanistan. Photo courtesy of the Chen family.
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FA M I LY A N D F R I E N D S R E M E M B E R D A N N Y C H E N Opera Theatre’s latest world premiere pays tribute to the memory of a heroic American soldier, Private Danny Chen. We recognize that the power of this opera comes from a place of deep tragedy, one that has forever altered the lives of Danny’s family and friends. No words or music can ever fully express their loss, but we offer these memories from those who knew and loved this remarkable young man. “Danny to me personally was more of an ordinary American and my closest cousin than he was a soldier to everyone else. He was there ever since I could remember. We collectively created countless memories growing up. From sitting in front of a tiny television screen watching cartoons every Saturday morning, to tossing our younger cousins around the bed during Lunar New Year gatherings, to the last family dinner we had together before he went to basic training, and the very last dinner before he left for Alaska and Afghanistan. He was family before he was duty.” – Banny Chen, Danny’s cousin “I had the honor and privilege of being Danny’s pre-kindergarten and kindergarten teacher. He was one of those students a teacher always remembers and never forgets because of his jovial spirit. He always managed to brighten the classroom by putting a smile on everyone’s face and making us laugh out loud with his sense of humor. He brought so much joy to his family and to his friends. He had the biggest heart for others. Danny’s legacy has inspired me to be better and to do better. He’ll forever be one of my greatest teachers.”
Danny Chen with his cousin Banny. Photos courtesy of the Chen family.
– Renny Fong, Danny’s pre-kindergarten and kindergarten teacher “Everyone came over to my place since it was the easiest to get to after school, so it naturally became a hangout spot for Danny and all of our friends. One time, we were playing a video game that we were all having difficulty with and we started to stress out. But Danny diffused the situation by making silly, witty jokes that we all laughed at. In the end, his diffusion got us killed in the game. It still was funny, though, and all of us just didn’t care about winning after.” – Justin Lum, a high school classmate “At age 5, Danny Chen graduated from Chinatown Head Start, a non-profit pre-school program. We remember Danny’s bright smile and eagerness to help others. How happy Danny was when his mom brought lots of goodies to celebrate his birthday with his class. Ms. Chen cared deeply about his education; she was elected as President of our Policy Council. It is truly a tragedy that such unjust and intolerable hazing led to his death in the Army. His senseless death has brought great sadness to everyone close to him. Danny, we miss you. Your legacy and spirit continue at Chinatown Head Start.”
A young Danny with teacher Renny Fong at Public School 130.
– Sook Ling Lai, Executive Director of Chinatown Head Start “My most memorable time with Danny is back in high school when we used to go over to Justin’s to play ‘Gears of War.’ He would say the funniest things during the game and we couldn’t hold back our laughter every time he said something. I still bring up the jokes he used to say, but the delivery of it never matches his.” – Jin Huang, a high school classmate
Danny enjoys a laughter-filled meal with his cousins at a Chinatown restaurant.
“A memorable moment of Danny was in our senior year of high school, in our college prep counselor’s room. We were doing college applications. When asked his college of choice, his response was to join the military. The counselor and I were both in disbelief. Given his academic excellence, he qualified for scholarships. Between college or the military, he chose the latter. Although Danny is no longer with us, he has done something many wouldn’t have the courage to do. He remains in our memories as an American hero, a patriot, and a redefinition of an Asian-American.” – Judy Hoang, a high school classmate 99
An American Soldier
After multiple years of advocating by the Asian-American community, a block of Elizabeth Street in Chinatown, NYC was renamed Private Danny Chen Way in 2014 as part of the annual memorial services in his honor.
HUANG RUO
A Note from the Composer
INSPIRING REFLECTION THROUGH MUSIC An American Soldier started as a one-act chamber docu-opera that was premiered at the Washington National Opera in 2014 as part of its American Opera Initiative. Now, thanks to Opera Theatre of Saint Louis’s New Works, Bold Voices series, David Henry Hwang and I have been given this precious opportunity to expand it horizontally, vertically, and dimensionally into a two-act, full-length opera. Our new version tells Pvt. Danny Chen’s story with greater scope, detail, nuance, and depth, primarily through the unbreakable bond between a grieving mother and her beloved son. It posits timeless yet timely questions about the American creed and what it means to be an American. In 2014, it felt important to ask who gets to be accepted as an American, and how our nation draws its strength and power from the diversity of its people. In 2018, this exploration feels even more critical. One of the challenges we faced was how to create an opera about a true event that occurred so recently. If the goal were just to document what happened to Pvt. Danny Chen, then a documentary film would have been more suitable. Opera can, however, achieve something that no other art form can. With opera, the impact of a story can be deepened and transformed through music. One of opera’s greatest strengths is inspiring people to feel, reflect, and seek. This was our motivation for An American Soldier. Like my past works, An American Soldier is created with the technique of dimensionalism, in which multiple musical layers and elements co-exist in time and space. Dimensionalism not only creates characters in the micro level, but also creates structure in the macro level. This new fulllength version, which runs around 120 minutes, starts with a court-martial in which a heartbroken mother fights for justice for her beloved son, and ends with the same mother bidding her son farewell by singing a touching lullaby. Above all, the story of Pvt. Danny Chen is a profoundly human story, which should reach far, and bear no barriers, boundaries, or limits. p
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A b o u t t h e C o m p o s e r HUANG RUO Composer Huang Ruo has been lauded by The New Yorker as “one of the world’s leading young composers” and by The New York Times for having “a distinctive style.” His vibrant and inventive musical voice draws equal inspiration from ancient and folk Chinese music; Western avant-garde; experimental, noise, natural and processed sound; rock; and jazz. Huang Ruo’s diverse compositional works range from orchestra, chamber music, opera, theater, and dance to cross-genre, sound installation, architectural installation, multimedia, experimental improvisation, folk rock, and film. His music has been premiered and performed by the New York Philharmonic, Philadelphia Orchestra, San Francisco Symphony, Polish National Radio Symphony Orchestra, Washington National Opera, Houston Grand Opera, New York City Opera, Opera Hong Kong, Asko|Schönberg, Ensemble Modern, and London Sinfonietta. His opera Dr. Sun Yat-sen received its American premiere at The Santa Fe Opera in 2014. His opera Paradise Interrupted was premiered at the Spoleto Festival USA in 2015 and later performed at the Lincoln Center Festival in 2016, with future touring planned for Europe and Asia. Huang Ruo was also recently named the composer-inresidence for Het Concertgebouw Amsterdam and National Symphony Orchestra of Taiwan. Huang Ruo received his education at the Shanghai Conservatory of Music, Oberlin Conservatory of Music, and the Juilliard School. He is the artistic director and conductor of Ensemble FIRE (Future In REverse) and was selected as a Young Leader Fellow by the National Committee on United States–China Relations in 2006. Huang Ruo’s music is published by Ricordi.
A b o u t t h e L i b r e t t i s t D AV I D H E N R Y H WA N G Librettist David Henry Hwang is one of America’s leading playwrights, acclaimed by Time as “the first important dramatist of American public life since Arthur Miller.” The author is best known for his play M. Butterfly, which won a Tony Award, Drama Desk Award, John Gassner Award, Outer Critics Circle Award, and was also a finalist for the Pulitzer Prize. His many other plays include Golden Child, Yellow Face, Chinglish, and Kung Fu. His newest play with music, Soft Power, with composer Jeanine Tesori (Fun Home), premiered in May 2018 at Los Angeles’ Ahmanson Theatre. Named America’s most-produced living opera librettist by Opera News, he has written four works with composer Philip Glass, and collaborated on projects with Osvaldo Golijov, Phil Collins, Elton John, and Unsuk Chin. His libretti have been performed at the Metropolitan Opera, The Santa Fe Opera, Bavarian State Opera, Lincoln Center, Spoleto Festival USA, and elsewhere. The Deutsche Grammophon recording of his libretto for Ainadamar won two Grammy Awards. Most recently, he wrote the libretto for Dream of the Red Chamber, with a score by Bright Sheng. The work was commissioned by the San Francisco Opera and premiered in September 2016. A native of Los Angeles, Hwang attended Stanford University and the Yale University School of Drama. From 1994–2001, he served by appointment of President Bill Clinton on the President’s Committee on the Arts and the Humanities. In 2014, he became the director of Columbia University’s School of the Arts’ MFA program in playwriting. Hwang is on the board of the American Theatre Wing and, in 2016, was named chair of the organization.
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C H R I S TO P H W I L L I B A L D G LU C K
Orfeo & Euridice OPERA IN THREE ACTS Music by Christoph Willibald Gluck. Libretto by Pierre Louis Moline after Ranieri de’ Calzabigi. New English translation by Amanda Holden, © 2017. Commissioned by Opera Theatre of Saint Louis. Orfeo & Euridice was first performed at the Burgtheater, Vienna on October 5, 1762. The opera was first performed by Opera Theatre of Saint Louis on June 6, 1984 in the Vienna version. The current performances of Orfeo & Euridice will be given in the 1866 edition created by Alfred Dörffel under the guidance of Hector Berlioz. CONDUCTOR
Pierre Vallet* Roberto Kalb (June 17)
ASSISTANT STAGE DIRECTOR
WIG AND MAKEUP DESIGNER
STAGE MANAGER
CHOREOGRAPHER
ASSISTANT STAGE MANAGER
CHORUS MASTER
ASSISTANT STAGE MANAGER
ENGLISH DICTION SPECIALIST
INTERN ASSISTANT STAGE MANAGER
Christopher Akerlind Tom Watson
STAGE DIRECTOR
Ron Daniels SET DESIGNER
Riccardo Hernández COSTUME DESIGNER
Emily Rebholz
VIDEO PROJECTIONS DESIGNER
Peter Nigrini*
LIGHTING DESIGNER
Katarzyna Skarpetowska* Cary John Franklin Erie Mills
REPETITEUR
Michael Shannon*
Keleigh Eisen* Cindy Knight
Valerie J. Clatworthy Alec Rigdon
Luci Burdick
THEATRE MAIN SEASON DEBUT * OPERA
THERE WILL BE ONE INTERMISSION. THE PERFORMANCE WILL LAST APPROXIMATELY TWO HOURS AND FIVE MINUTES.
Opera Theatre gratefully acknowledges an anonymous donor for leadership support of this production. Made possible in part with generous production underwriting from Wells Fargo Advisors and from Adrienne & Russ Patton and Byerly RV.
Pierre Vallet’s engagement is made possible with the generosity of the Edward Chase Garvey Memorial Foundation. 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 Orchestra is provided by the Taylor family and the late Jack C. Taylor.
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Orfeo & Euridice SYNOPSIS
Act One, Scene One: The Monument to Euridice THE CAST (in order of vocal appearance) ORFEO
Jennifer Johnson Cano° AMORE
Maria Valdes* EURIDICE, ORFEO’S WIFE
Andriana Chuchman DANCERS
The Big Muddy Dance Company Brian Enos
ARTISTIC DIRECTOR
Erin Warner Prange EXECUTIVE DIRECTOR
Geoffrey Alexander CJ Burroughs Karina Cardella Dustin Crumbaugh Brandon Fink Mallory Hensel Thomas Jacobson Zoe Linder Miranda Payne Robert Poe Ellen Reed Mourners, Furies, Blessed Spirits, and celebrants. The action takes place at Euridice’s funeral, at the gates into the Underworld, in the Elysian Fields, and at the Temple of Love.
*
°
Opera Theatre main season debut Former Gerdine Young Artist
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Surrounded by his companions, Orfeo mourns the death of his young bride, Euridice. He calls plaintively for her, but hears only the echo of his own voice. Amore, the god of love, appears to announce that Orfeo has been granted permission to rescue Euridice from the Underworld. However, there are conditions: not only must Orfeo tame the monstrous Furies (the guardians of the Underworld), but he is also forbidden to look at Euridice until they have reached the world above…nor can he tell her why he may not look at her. If Orfeo fails, Euridice will remain in the Underworld forever. Act One, Scene Two: The Journey to the Underworld Orfeo dreads the task before him. He’s not afraid of the spirits of the Underworld, but he knows that Euridice will be distraught if he saves her only to refuse to look at her. Nevertheless, Orfeo bravely begins his journey into the Underworld. Act One, Scene Three: The Gates of Hades When Orfeo reaches the entrance into Hades, the Furies and other monsters are alarmed and enraged by the presence of an intruder. They try to frighten Orfeo from his mission, but he sings so poignantly that they finally take pity on him and allow him to enter through the gates. Act Two, Scene One: The Elysian Fields Orfeo discovers Elysium, a sweet abode of happiness and grace, where all sorrow has faded and disappeared. This is where Euridice’s spirit has come to rest, surrounded by the Blessed Spirits. The Blessed Spirits welcome Orfeo into their midst and lead Euridice to him. Act Two, Scene Two: The Return Journey Orfeo escorts Euridice back to the world above, but keeps his face turned away from her. Euridice becomes increasingly troubled, and desperately begs Orfeo to explain his cold behavior. When Euridice faints, Orfeo impulsively turns and looks at her face, breaking his promise to the gods. Euridice perishes a second time. Act Two, Scene Three: The Temple of Love Griefstricken, Orfeo sings an anguished lament. Just as he plans to take his own life, Amore intervenes once more: Orfeo has proved his love and his suffering is now over. p
(opposite) Orfeo ed Euridice. Spring, one of the Four Seasons (detail), 1865. Eugène Delacroix (1798-1863)
(Right) Orpheus and Eurydice, Jean Raoux (1677-1734). Getty Museum Open Content
R O N D A N I E L S A Note from the Direc tor T H E T R I A L S O F LOV E Hey, Calzabigi, what’s this ending you’re giving me here? Such a downer, I should send folks home with their faces long like a wurst? HELLO? Happy it up, ja! – Salman Rushdie, The Ground Beneath Her Feet “Let not the date of the first performance of Orfeo, 5th October 1762, be forgotten,” writes Alfred Einstein, the great musicologist (not Albert, the scientist). “It was the name-day of the Emperor Francis I, a day on which it would have been impossible to produce a piece with a tragic ending.” And so Gluck and Calzabigi, his librettist, set about transforming the age-old tragic myth of Orfeo, forgoing Orfeo’s gruesome death at the hands of the vengeful Circonian women and giving the opera a new and controversial “happy ending” in which love and music triumph. This triumph, however, comes only through loss, suffering, and pain. For love is an unbearable torment, and it is no wonder that Euridice — wracked by terrible doubts and uncertainties as her husband cruelly keeps his face turned away from her on their return to the living world — wishes to go back to Elysium, where all troubling passions have ceased and even the memories of love have faded away, and where, finally, there is peace and tranquility. However, by radically altering the ending of the story, Gluck and Calzabigi added a new meaning to the Orfeo myth of enduring love and the transcendental power of music. Euridice’s second return to life borrows its significance from yet another ancient myth, that of Persephone, the Queen of the Underworld, whose return to the world at the end of every bleak winter announces the arrival of springtime and with it, the promise of the glorious warmth of summer days. The days of grief and lamentation are over. And if before reaching the above world, Orfeo fails the final test and turns, full of concern, to look on Euridice’s anguished face, his failure is but a triumph that proves his love is greater than his obedience to the gods. Through his love, death itself is vanquished. Orfeo & Euridice becomes then not only a celebration of the triumph of love, but also a festive ritual during which the earth itself is reborn. Love, it makes the gods merciful. Works for me. Nice going, Raniero. Sure thing, Willibald. – The Ground Beneath Her Feet p
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Orfeo & Euridice Tantalus (ca. 1870) was one of eight designs made to decorate a grand piano. They depicted various scenes from the story of Orpheus’s descent into the Underworld to rescue his wife Eurydice. Sir Edward Coley Burne-Jones, Bt (1833-1898)
CELEB R ATING LIFE THROUG H MUSIC Orpheus with his lute made trees, And the mountain tops that freeze, Bow themselves when he did sing: To his music plants and flowers Ever sprung; as sun and showers There had made a lasting spring. – William Shakespeare, Henry VIII What brings so many composers to the Orpheus myth? From Gluck to Glass, over 65 operatic versions of this story exist, including what many consider to be the earliest opera for which the complete music survives, Jacopo Peri’s Euridice. However, Gluck’s version has remained one of the most popular since its premiere in 1762. And despite the fact that this opera is now centuries old, it actually started from rebellious origins. Gluck’s Orfeo & Euridice was the first of the composer’s “reform operas,” which revolutionized 17th century opera by prioritizing the purity of drama over the complicated plots and florid musical style of opera seria. Gluck believed that show-stopping arias and endless amounts of recitative were getting in the way of operatic storytelling. To solve that problem, Gluck decided to write an opera whose sum would be greater than its parts — a cohesive, continually flowing performance that created a dramatic arc and evoked pathos with the audience. The role of Orfeo in particular has evolved throughout history. Although Gluck first wrote the role for an alto castrato, then a soprano castrato, he remained unsatisfied with his heroic leads for the majority of his career. When the opera premiered in Paris in 1774, Gluck even went so far as to refashion the role into a bravura performance for a haute-contre or high tenor. The opera was given another makeover by the composer Hector Berlioz in 1859, when he transposed the title role specifically for the acclaimed mezzo-soprano Pauline Viardot. Her voice and stage presence, described as intense and dramatic, was perfect for Orfeo’s mournful demeanor. This is the version that has become part of the standard repertoire, and the starting point for the Dörffel/Berlioz version that we present this season. 106
Perhaps it is thanks to the mezzo-soprano voice that modern audiences remain transfixed with Orfeo & Euridice. The opera has a beautiful universality that keeps drawing us back. Orfeo’s musically androgynous quality gives the audience the ability to relate with the character, regardless of gender. It is, after all, a deeply human story…Orfeo journeys from the joy of true love to the depths of grief and despair, all before he has set a foot in the Underworld. There are few people who cannot relate to the experience of losing a loved one, facing a seemingly insurmountable hardship, or questioning their place in the world. Orfeo’s journey is the metaphorical embodiment of human perseverance. As Winston Churchill once famously said, “If you’re going through hell, keep going.” The cyclical nature of the opera’s voyage — traversing from light to the darkest of darkness before emerging back into the light — speaks to the very core of life’s journey. Orfeo & Euridice also remains beloved because of the testament it makes to the power of music and art. In the myth, and before the beginning of the opera, the god Apollo gives Orfeo a lyre because the gods admire his musical talents so much. Although Orfeo’s music brings joy to the world, perhaps more importantly, Orfeo’s music also allows him to mourn — and eventually conquer — Euridice’s death. Throughout the opera, it is Orfeo’s honest, heartfelt music that appeases every supernatural soul, from the gods in the heavens to the Furies in the Underworld. It is through his pain that he creates beautiful, moving art, reminding us that even as mortals, we can find beauty in the darkest circumstances. There isn’t a soul, no matter how pure or wicked, that cannot be moved through the power of human expression. Music alone grants Orfeo the power to descend into the Underworld, and even when he defies the gods, it is thanks to music that he is once again able to sway Amore and save Euridice. The triumphant finale celebrates the balance of life: light and darkness, male and female, sorrow and grace. No matter who we are, or where we come from, music can bring us together to teach us a beautiful thing: joy can be found against all odds. KELSEY NICKERSON
Eurydice is taken away from Orpheus in this decoration for the Vienna Opera House. Eduard von Engerth (1818–1897)
P I E R R E VA L L E T
A Note from the Conduc tor
THE EVOLUTION OF ORFEO & EURIDICE When OTSL invited me to conduct Gluck’s Orfeo & Euridice, they asked me which version I would choose. In my library, I discovered five different scores of Orfeo: the Vienna version of 1762, the Paris version of 1774, the Berlioz version of 1859, as well as the Ricordi Edition and an orchestra score published by Kalmus. I decided to create a spreadsheet and line up the musical numbers of each score in order to compare the various versions. Each version had its own unique beauty and personality. My preference led me to the Berlioz version published by Bärenreiter, which synthesized aspects of the earlier Vienna and Paris versions. Berlioz’s changes went beyond re-ordering scenes in the opera. He also changed the text in various places, modified the orchestration, and cut the beautiful final trio (Tendre Amour) as well as a chorus number (L’Amour triomphe) from the Paris version. Berlioz’s Orfeo finishes rather curtly with a chorus (Le Dieu de Paphos) from another Gluck opera, Echo & Narcisse. This new ending seemed somehow abrupt and inauthentic. Director Ron Daniels and I were not thoroughly enamored by it. Continuing my investigation, I discovered that of the 1859 Berlioz version, only the piano vocal score was ever published. In 1866, a German publisher offered to engrave the manuscript orchestra score, but Berlioz was too ill to tackle the revision of the score. The task was then given to a musician named Alfred Dörffel. Dörffel thought to restore some musical numbers that Berlioz had cut from both the Vienna and Paris versions, and to reopen other musical cuts he had made. Dörffel’s final version was ultimately approved by Berlioz and published by C.F. Peters. It was then published by Ricordi in Italian, this becoming the “standard” version, and later reproduced by Kalmus. It is this Dörffel/Berlioz version, with some modest adaptations, that we will present in these performances. Opera Theatre, as is its custom, has commissioned a new English translation from Amanda Holden. In addition, Ron Daniels also proposed we select only a few of the many ballet numbers introduced by Gluck for his Paris audience, and reposition them to enhance the dramatic flow. We both agreed to this approach, and now present this “version,” hoping that Gluck and Berlioz would be pleased! p 107
CENTER STAGE A SHOWCASE CONCERT FOR THE
Richard Gaddes Festival Artists & Gerdine Young Artists Tuesday, June 19, 2018 · 8 p.m. The Loretto-Hilton Center e
YOUNG ARTISTS PERFORM AT THE 2017 CENTER STAGE CONCERT. PHOTOS © KEN HOWARD
Accompanied by members of the ST. LOUIS SYMPHONY ORCHESTRA Conductor STEPHEN LORD, MUSIC DIRECTOR EMERITUS Stage Director JAMES ROBINSON, ARTISTIC DIRECTOR Dedicated to the memory of COLIN GRAHAM RICHARD GADDES FESTIVAL ARTIST
Chaz’men Williams-Ali
Tenor
GERDINE YOUNG ARTISTS
Kasia Borowiec
Simona Rose Genga
Samson McCrady
Robert Stahley
Evan Bravos
Mary-Hollis Hundley
Andrew Munn
William Guanbo Su Rehanna Thelwell
Soprano
Baritone
Jeff Byrnes
Mezzo-soprano Soprano
Baritone Bass
Tenor Bass
Baritone
Mezzo-soprano
Briana Hunter
Andrea Núñez
Vanessa Croome
Courtney Jameson
Leo Radosavljevic
Bass-baritone
Mezzo-soprano
Matthew Dalen
Philippe L’Esperance
Lisa Marie Rogali
Ángel M. Vargas
Soprano Tenor
Anna Farysej
Mezzo-soprano Tenor
Soprano
Soprano
Mezzo-soprano Karis Tucker
Tenor
Soprano
Bass-baritone
Phillip Lopez
Brandon Scott Russell
Tenor
Mezzo-soprano
Amber Fasquelle
Greer Lyle
Michael St. Peter
Calvet Young
Mezzo-soprano
Soprano
Tenor
Michaela Wolz
Tenor
Gregory Feldmann
Baritone
Center Stage is made possible with major production support from Leigh & Jean Mason and with support from the late William H.T. Bush, given in loving memory of Patricia R. Bush. 108
Generous leadership support for the services of the St. Louis Symphony Orchestra is provided by the Taylor family and the late Jack C. Taylor.
S
ince its founding in 1976, Opera Theatre of Saint Louis has built a reputation for identifying and promoting the nation’s most promising early-career singers. In 2015, Opera Theatre added to this legacy with the first Center Stage concert: a now-annual event that puts the company’s young artists in the spotlight, accompanied onstage by the renowned St. Louis Symphony Orchestra. 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 through invaluable professional experience. Over the course of nine weeks, these artists receive extensive vocal coaching, participate in master classes led by renowned opera artists, appear in community events and concerts, and — most importantly — sing in both the ensemble and featured supporting roles.
Each year, as many as 1,200 young singers apply for our Gerdine Young Artist Program. This year, only 30 were selected, and just 1 was offered a spot in our Richard Gaddes Festival Artist Program, an honor reserved for truly exceptional young singers. This season, we’re proud to share that seven principal artists received their professional starts as Gerdine Young Artists. They include the two romantic leads in La traviata, Sydney Mancasola and Geoffrey Agpalo, and the title role of Orfeo in Orfeo & Euridice, St. Louis area native Jennifer Johnson Cano. In addition, four principal artists in this season’s production of Regina began at OTSL as young artists: Monica Dewey, Melody Wilson, Michael Day, and Justin Austin. Many OTSL alumni go on to perform on the world’s most renowned stages, from the Royal Opera House at Covent Garden 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 long-standing dedication to gifted young singers has played a significant part in the company’s remarkable success. And, in turn, we feel fortunate to host and nurture these exciting singers. They are a crucial cornerstone of any Opera Theatre season. 109
Beyond the Stage: Discover More Carol Kimball Spotlight on Opera Series
April 30 – May 21 M O N D A Y S , 7 : 3 0 P. M . The Ethical Society of St. Louis
·
9001 Clayton Road
Discover fascinating insights into all four mainstage productions through this popular Monday night panel series, which presents conversations with OTSL’s composers, librettists, directors, designers, and special guests. Each Spotlight is moderated by OTSL General Director Timothy O’Leary and features live performances of operatic excerpts from our Gaddes Festival Artists and Gerdine Young Artists. S O P R A N O L I V R E D PAT H P E R F O R M S AT S P OT L I G H T O N O P E R A ( 2 0 1 6 ) . P H OTO © K E N H OWA R D
Made possible with gifts celebrating the life of Carol L. Kimball, a member of the Opera Theatre family who was a generous friend and a beloved volunteer.
S L A M G a l l e r y Ta l k s
O p e r a To u r s a t t h e A r t M u s e u m
ART & FASHION
May 19 – June 17
May 3, 11 a.m. & May 4, 6 p.m.
Saint Louis Art Museum
·
1 Fine Arts Drive
MUSIC WITH A VIEW
May 31, 11 a.m. & June 1, 6 p.m. Saint Louis Art Museum
·
1 Fine Arts Drive
Join members of the OTSL season as they bring art to life in this new collaboration with the Saint Louis Art Museum. “Art & Fashion” features costume designer Gregory Gale (An American Soldier) on May 3 and 4. “Music with a View” presents baritone Justin Austin (Regina), pianist Lachlan Glen, and SLAM assistant curator of modern and contemporary art Hannah Klemm on May 31 and June 1. No reservations are required for these free events, but space is limited.
Student Dress Rehearsals
May 17 – June 7 Loretto-Hilton Center
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·
130 Edgar Road
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.
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.
La traviata Saturday, May 19 at 11 a.m. Sunday, May 27 at 2 p.m.
Regina Saturday, May 26 at 11 a.m. Sunday, June 3 at 2 p.m.
Student attendance at orchestra dress rehearsals is made possible with a gift from Dr. Rabbi Jay Goldburg in loving memory of Erika Goldburg.
An American Soldier Saturday, June 2 at 11 a.m. Sunday, June 10 at 2 p.m.
Orfeo & Euridice Saturday, June 9 at 11 a.m. Sunday, June 17 at 2 p.m.
During Our 2018 Festival Season Yo u n g F r i e n d s DINNER RECEPTIONS
May 19, June 6, June 17, & June 23 BRUNCH RECEPTIONS
June 2 & 16
GENERAL DIRECTOR TIMOTHY O’LEARY ADDRESSES THE YOUNG FRIENDS BEFORE THE OPERA. PHOTO © ZAC COLEMAN
Loretto-Hilton Center
·
130 Edgar Road
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. To learn more, visit ExperienceOpera.org/YoungFriends. Special thanks to media sponsor Feast Magazine and cocktail sponsors Spirits of St. Louis Distillery and SqWires.
Opera Previews
Tw e e t S e a t s
May 19 – June 24
May 25, May 31, & June 13
1 HOUR BEFORE EACH PERFORMANCE
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.
Loretto-Hilton Center
·
130 Edgar Road
OTSL’s special Tweet Seats nights give social media influencers unique access to curate their experience at the opera for their followers by live tweeting select performances. This year, the program is offered at three different performances: La traviata (May 25), Regina (May 31), and Orfeo & Euridice (June 13). Season artists regularly join in the conversation, creating an unforgettable virtual experience for everyone involved. Participation is by application only. To learn more, visit ExperienceOpera.org/TweetSeats.
Encore!
May 25, May 30, June 8, June 10, June 19, & June 22 Loretto-Hilton Center
·
130 Edgar Road
Our popular TGIF Opera series has expanded…because you shouldn’t have to wait until Friday to enjoy a great party! Join us in the gardens after the show for live entertainment by OTSL’s young artists, great photo ops, boozy ice cream, and other delicious late-night snacks and surprises. ENJOY THE DELICIOUS FLAVORS OF CLEMENTINE’S HOMEMADE ICE CREAM AT ENCORE! AFTER-PARTIES.
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Beyond the Stage: Discover More S p r i n g Tr a i n i n g Vo c a l C a m p
Kids’ Club
May 29 – June 1 & June 4–8
June 2 & June 23
Community Music School
·
535 Garden Avenue
Spring Training is an extension of OTSL’s award-winning Monsanto Artists-inTraining Program. Over the course of two weeks, high school students receive daily private voice lessons and participate in vocal master classes with season artists. They also get to engage with every aspect of opera performance by studying movement, acting, dance, set design, and stage makeup. The program culminates with a fully-staged opera scene. Tuition includes one ticket per student for a live performance of La traviata. To learn more, visit ExperienceOpera.org/SpringTraining. Made possible by Monsanto Fund and in collaboration with the Webster University Community Music School.
Emmanuel Episcopal Church
·
9 South Bompart Avenue
(Across the street from the Loretto-Hilton Center)
Opera Theatre now provides programmed daycare at select matinees! While parents watch a world-class performance, children ages 3-12 can hang out at Kids’ Club. Your young ones will love this half-day camp experience, which offers opera-inspired crafts and activities led by OTSL teaching artists and assisted by Webster Child Care licensed professionals. Registration is just $20 per child. Drop-off begins an hour before the performance. To learn more, visit ExperienceOpera.org/KidsClub.
The Asian-American Perspective: Service in the US Military
May 31, 7 p.m. Missouri History Museum
·
5700 Lindell Boulevard
An American Soldier is the latest addition to OTSL’s New Works, Bold Voices series of contemporary works for American audiences. Hear composer Huang Ruo speak about the process of adapting a true story for the operatic stage, while local Asian-American military veterans share their own experiences. Attorney Liz OuYang also joins Opera Theatre to share her perspective on the advocacy work that followed Danny Chen’s death. The panel discussion is led by Dr. Frances Levine, President of the Missouri Historical Society. To learn more, visit ExperienceOpera.org/Makers. Artist residencies and community engagement events surrounding An American Soldier are made possible with leadership gifts from The Andrew W. Mellon Foundation and the Sally S. Levy Family Fund for New Works, and with generous endowment support from the late Pris McDonnell.
Military Appreciation Performances
YO U T H S PA R T I C I PAT E I N A N O P E R A C A M P AC T I V I T Y. P H OTO © K E N H OWA R D
Opera Camp for Kids
June 4–8 & June 11–15 Clark Elementary School
·
Hoech Middle School
June 6 & June 9 Loretto-Hilton Center
·
130 Edgar Road
In recognition of the men and women of the US armed forces, OTSL hosts two military appreciation performances of An American Soldier. Active duty military and veterans can purchase $15 tickets, which include a complimentary pre-show wine reception. As an added bonus, before the June 9 performance, the Air Force Band of Mid-America will give a free concert in the gardens. OTSL continues its commitment to offering affordable tickets to active duty military with $15 tickets at many other performances. Call the Box Office for more details. This special offer has been underwritten by Lelia & David Farr, strong supporters of the United States Armed Forces, who are honored to share these performances with military families. Additional support is provided by a group of Vietnam Veterans. 112
We b s t e r G r o v e s
·
St. Ann
Opera Camp for Kids is open to students entering grades 4-7 and offers hands-on experience in singing, writing, composing, costuming, makeup, set design, and more, supervised by OTSL professionals and leading music educators. This year, campers also get to participate in special dance and movement workshops alongside professional dancers from St. Louis’ own The Big Muddy Dance Company, OTSL’s co-collaborator for Orfeo & Euridice. Camp tuition includes one ticket per student for a live performance of Orfeo & Euridice. To learn more, visit ExperienceOpera.org/OperaCamp. Made possible by lead corporate sponsor Edward Jones and with generous support from Monsanto. Attendance from Ferguson Middle School is made possible by the Trio Foundation of St. Louis.
During Our 2018 Festival Season A Little Lunch Music
June 18, 12:30 p.m. Bonhomme Presbyterian Church
·
14820 Conway Road
Enjoy a free lunchtime concert with the three stars of La traviata. This informal concert is the perfect start to your week, serving up musical selections ranging from opera and art song to musical theater. There’s no better way to spend a summer lunch hour! Admission is free and no reservations are required. Seating is on a first-come, first-served basis. Sydney Mancasola, soprano Geoffrey Agpalo, tenor Joo Won Kang, baritone Lachlan Glen, pianist Presented by Bonhomme Community Concerts. S O P R A N O R E N A H A R M S A N D M E Z ZO - S O P R A N O R E N É E R A P I E R P E R F O R M D U R I N G A L I T T L E LU N C H M U S I C ( 2 0 1 7 ) . 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 15, 2 p.m. & June 22, 12:30 p.m. Winifred Moore Auditorium
·
470 E. Lockwood 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 15
FRIDAY, JUNE 22
FRANK LOPARDO
JAMES MORRIS
Tenor
Regarded as one of the foremost lyric tenors of his generation, Frank Lopardo has appeared with the world’s leading opera companies and orchestras. Having collaborated with many of the internationally acclaimed conductors of our time, Mr. Lopardo brings a wealth of understanding and experience to share with this season’s Richard Gaddes Festival and Gerdine Young Artists. Mr. Lopardo made his operatic debut at Opera Theatre in 1984 as Tamino in The Magic Flute. This will be his second Levy Master Class appearance.
Bass-baritone
Legendary bass-baritone James Morris is world-famous for his performances in opera, concert, recital, and recording. With a repertoire including works by Wagner, Verdi, Puccini, Stravinsky, Mussorgsky, Mozart, Gounod, and Britten, Mr. Morris has performed in virtually every international opera house and has appeared with all the major orchestras of Europe and the United States. Mr. Morris taught his first Levy Master Class in 2016, and will be making his Opera Theatre debut this season as Benjamin Hubbard in Regina. 113
“…the production had no polite veneer to soften Blitzstein’s social outrage, with a cast that had the scrupulousness of opera but the theatricality of Broadway.” - THE PHILADELPHIA INQUIRER
THE CRADLE WILL ROCK Music, Book, and Lyrics by Marc Blitzstein
Featuring Marc Blitzstein’s Original 1937 Orchestration
covery
a life of dis
DISCOVER THE ARTS at MICDS When your child attends MICDS, they’ll explore their passions and pursue academic excellence in state-of-theart classrooms, labs, athletic facilities, theaters and art studios throughout the 100-acre campus. Join us for a life of discovery! JK-12 Independent Coed Education Visit discovery.micds.org or call 314.995.7367
LET ONE COMPANY DO IT ALL!
Ginger Costa Jackson – Keith Jameson – Christopher Burchett Audrey Babcock – Matt Boehler Michael Anderson – Adam Bradley – Jorgeandrés Camargo – Dylan Elza Miles Herr – Justin Hopkins – Heather Jones – Meghan Kasanders Eric McConnell – Andy Papas – Scott Purcell – Efraín Solís – Nina Spinner John Tibbetts – Spencer Viator – Brian Wallin
John Mauceri, Conductor Recorded Live at Opera Saratoga Lawrence Edelson, Artistic and General Director
AVAILABLE THIS JUNE ON
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(314) 647-4800 www.AllenOutdoorSTL.com alleninfo@allenoutdoorstl.com
Lead funding provided by The Kurt Weill Foundation for Music, Inc., New York, NY and Stephen E. Davis
114
CONGRATULATIONS & THANK YOU
TIM O’LEARY FOR YOUR LEADERSHIP AND VISION
“To Build a Harmonious St. Louis” AS A FOUNDER OF
FORSYTH SUMMER DISCOVERY
June 11-August 10, 2018 REGISTER: ForsythOnline.com
Unforgettable. FORSYTH. THERE’S NOTHING LIKE IT.
ForsythOnline.com
Wydown-Forsyth Historic District GRADE 6 PERFORMS SHAKESPEARE
AGE 3 - GRADE 6
115
SOLO ARTISTS
Geoffrey Agpalop° Babatunde Akinboboye* Justin Austinp Evan Bravos+ Jeff Byrnes+ Andriana Chuchman Matthew Dalen+ Michael Dayp°
Monica Deweyp° Gregory Feldmann*+ Simona Rose Genga+ Susan Graham Briana Hunter*+ Kristopher Irmiter* Jennifer Johnson Cano° Joo Won Kang*
Kathleen Kim* Philippe L’Esperance+ Phillip Lopez+ Sydney Mancasola° Samson McCrady*+ James Morris* Andrew Munn*+ Andrea Núñez+
Susanna Phillips* Leo Radosavljevic*+ Ron Raines Mika Shigematsu* Robert Stahley+
Nathan Stark* Andrew Stenson* William Guanbo Su*+
Wayne Tigges Maria Valdes* Ángel M. Vargas*+ Chaz’men Williams-Ali*f Melody Wilson°
RICHARD GADDES FESTIVAL ARTIST TENOR
Chaz’men Williams-Ali GERDINE YOUNG ARTISTS SOPRANOS
MEZZO-SOPRANOS
TENORS
BARITONES
BASS-BARITONES
Kasia Borowiec Vanessa Croome Anna Farysej Mary-Hollis Hundley Greer Lyle Andrea Núñez Lisa Marie Rogali
Amber Fasquelle Simona Rose Genga Briana Hunter Courtney Jameson Rehanna Thelwell Karis Tucker Michaela Wolz
Matthew Dalen Philippe L’Esperance Brandon Scott Russell Michael St. Peter Robert Stahley Ángel M. Vargas Calvet Young
Evan Bravos Jeff Byrnes Gregory Feldmann Samson McCrady
Phillip Lopez Leo Radosavljevic
* Opera Theatre main season debut
Former Richard Gaddes Festival Artist f Richard Gaddes Festival Artist p
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°+ Former Gerdine Young Artist Gerdine Young Artist
BASSES
Andrew Munn William Guanbo Su
The ensemble of The Death of Klinghoffer (2011). PHOTO © KEN HOWARD
DANCERS DANCERS THE BIG MUDDY DANCE COMPANY
Brian Enos,
ARTISTIC DIRECTOR
Erin Warner Prange,
EXECUTIVE DIRECTOR
CHORUS
Geoffrey Alexander CJ Burroughs Karina Cardella Dustin Crumbaugh Brandon Fink Mallory Hensel Thomas Jacobson
Zoe Linder Miranda Payne Robert Poe Ellen Reed
DESIGNERS
CHORUS MASTER
SOPRANO
Brittany Graham MEZZO-SOPRANO
Allison Glass BASS
Shawn Neace
ARTISTIC STAFF CONDUCTORS
Christopher Allen Michael Christie Roberto Kalb Stephen Lord Pierre Vallet* STAGE DIRECTORS
Ron Daniels Matthew Ozawa Patricia Racette* James Robinson
CHOREOGRAPHERS
Seán Curran Katarzyna Skarpetowska* FIGHT CHOREOGRAPHER
Shaun Sheley
Christopher Akerlind Andrew Boyce* Greg Emetaz Gregory Gale Riccardo Hernández Michael Hooker Laura Jellinek Allen Moyer Peter Nigrini* Emily Rebholz James Schuette Kaye Voyce Tom Watson RESIDENT CONDUCTOR/ HEAD OF MUSIC
Roberto Kalb
Cary John Franklin SOLTI FOUNDATION ASSISTANT CONDUCTOR
Joseph Young*
ENGLISH DICTION SPECIALIST/ YOUNG ARTIST TEACHER & COACH
Erie Mills
REPETITEURS
Damien FrancoeurKrzyzek Christina Giuca* Lachlan Glen Andrea Grant Michael Shannon* MILITARY CONSULTANT
Gordon Penn*
PRINCIPAL COACH/ ENGLISH DICTION SPECIALIST
Ben Malensek
DIALECT COACH
Stephen Gabis
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Artist Profiles GEOFFREY AGPALO
Tenor (Illinois) Mary Ann Lee Memorial Artist Alfredo Germont, La traviata OTSL DEBUT
CHRISTOPHER AKERLIND
Lighting Designer (Connecticut) La traviata, Regina, An American Soldier, Orfeo & Euridice OTSL DEBUT
Hooker, Emmeline, 2015
The Marriage of Figaro, 1990
The Grapes of Wrath, Shalimar the Clown, OTSL; Turandot, Lyric Opera of Chicago
Indecent, Tony Award, 2017; Alcina, Washington National Opera; The House without a Christmas Tree (world premiere), Houston Grand Opera; Time and the Conways, Broadway
PAST
PAST
FUTURE
Roberto Devereux, San Francisco Opera; Kát’ya Kabanová, Scottish Opera BABATUNDE AKINBOBOYE
Baritone (Nigeria) John H. Russell Artist Pvt. Washington/Pvt. Manny Davis, An American Soldier OTSL DEBUT PAST
Moby-Dick, Utah Opera; La bohème, Opera San Luis Obispo; The Barber of Seville, Opera San José
CHRISTOPHER ALLEN
Conductor (California) Barbara M. Osborne Memorial Artist La traviata OTSL DEBUT
The Grapes of Wrath, 2017 PAST
The Magic Flute, Cincinnati Opera; The Daughter of the Regiment, The Atlanta Opera FUTURE
La voix humaine, Opera Philadelphia; “All Bernstein,” Atlanta Symphony Orchestra; The Marriage of Figaro, OTSL
JUSTIN AUSTIN
ANDREW BOYCE
OTSL DEBUT
OTSL DEBUT PAST
Baritone (Germany) Ann & Bill Sullins Artist Cal, Regina Pyarelal Kaul, Shalimar the Clown, 2016 PAST
Porgy and Bess, Xerxes, The Glimmerglass Festival FUTURE
Don Giovanni, Die Fledermaus, La traviata, Palm Beach Opera
MICHAEL CHRISTIE
Conductor (New York) Mr. & Mrs. Laurance L. Browning, Jr. Endowed Artist An American Soldier OTSL DEBUT
The Barber of Seville, Kentucky Opera; The Magic Flute, Il Signor Bruschino, Curtis Opera Theatre; Don Giovanni, Des Moines Metro Opera; Another Word For Beauty, Goodman Theatre
ANDRIANA CHUCHMAN
Soprano (Canada) Mabel Dorn Reeder Foundation Prize Recipient, 2017; Josephine & Monte Throdahl Endowed Artist Euridice, Orfeo & Euridice OTSL DEBUT
The Ghosts of Versailles, 2009
Boonyi/India, Shalimar the Clown, 2016
The (R)evolution of Steve Jobs (world premiere), The Santa Fe Opera; Rigoletto, Minnesota Opera
The Merry Widow, The Metropolitan Opera; Orfeo & Euridice, Lyric Opera of Chicago; The Daughter of the Regiment, The Atlanta Opera
Das Rheingold, Opéra de Montréal; La traviata, Lyric Opera of Chicago; The Grapes of Wrath, Michigan Opera Theatre
It’s a Wonderful Life, San Francisco Opera; Orfeo & Euridice, Hamburg State Opera
SEÁN CURRAN
RON DANIELS
PAST
FUTURE
Choreographer (Massachusetts) Mr. & Mrs. Ernest A. Eddy, Jr. Endowed Artist La traviata, Regina, An American Soldier OTSL DEBUT
PAST
FUTURE
Stage Director (Brazil) Sally S. Levy Endowed Artist Orfeo & Euridice OTSL DEBUT
Nixon in China, 2004
Sweeney Todd, 2012
Stage Director and Choreographer: Ariadne on Naxos, The Daughter of the Regiment, Salome, The Pirates of Penzance, OTSL Choreographer: Champion, OTSL
Don Giovanni, Lucia di Lammermoor, The Santa Fe Opera; Charlie Parker’s Yardbird, English National Opera; Carmen, LA Opera
PAST
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Set Designer (California) An American Soldier
PAST
FUTURE
Madame Butterfly, Lyric Opera of Kansas City
Artist Profiles MICHAEL DAY
Tenor (Illinois) Richard Gaddes Career Award Recipient, 2017; Walter F. Brissenden Memorial Artist Leo Hubbard, Regina
MONICA DEWEY
Soprano (Georgia) Margaret B. Grigg Memorial Artist Alexandra Giddens, Regina OTSL DEBUT
OTSL DEBUT
Servilia, Titus (La clemenza di Tito), 2017
PAST
Manon, San Francisco Opera; “27,” Michigan Opera Theatre; Sullivan Foundation Award, The Sullivan Foundation, 2017–2018; First Prize, International Hilde Zadek Voice Competition, 2017
An Officer, Ariadne on Naxos, 2016 Tosca, “27,” The Marriage of Figaro, Michigan Opera Theatre; The Grapes of Wrath, OTSL; Man of La Mancha, Utah Festival Opera & Musical Theatre
PAST
FUTURE
The Marriage of Figaro, OTSL GREG EMETAZ
Video Projections Designer (Oregon) An American Soldier OTSL DEBUT
DAMIEN FRANCOEUR-KRZYZEK
Repetiteur (Colorado) An American Soldier OTSL DEBUT
The Golden Ticket, 2010
Madame Butterfly, 2008
Counting Sheep, Hot Feat Productions; In the Heights, The Kennedy Center; The Creation, Pittsburgh Symphony Orchestra; Champion, New Orleans Opera
Carmen, Boston Youth Symphony Orchestra; L’enfant et les sortilèges, New England Conservatory Opera; “Bloch, Beethoven, & Brahms” Music for Food, Boston
PAST
FUTURE
The Wiz, The Muny
CARY JOHN FRANKLIN
Chorus Master (Iowa) La traviata, Regina, An American Soldier, Orfeo & Euridice
PAST
STEPHEN GABIS
Dialect Coach (New York) Regina OTSL DEBUT
OTSL DEBUT
Sweeney Todd, 2012
PAST
Indecent, Harry Potter and the Cursed Child, Hedwig and the Angry Inch, Broadway; Spotlight, feature film; The Americans, FX
1988 Season
Composer: Civic Orchestra of Minneapolis; American Composers Forum; VocalEssence
PAST
CONTINUES AS
Music Director, Borderline Music Festival; Music Director, Civic Orchestra of Minneapolis
GREGORY GALE
Costume Designer (Washington) An American Soldier OTSL DEBUT
La rondine, 2015 PAST
The Prince of Players (world premiere), Houston Grand Opera; Cyrano de Bergerac, Broadway/PBS Great Performances; Arcadia, Broadway; Rock of Ages, US National Tour FUTURE
CHRISTINA GIUCA
Staff Accompanist & Projected Text Coordinator (Illinois) La traviata, Regina, An American Soldier, Orfeo & Euridice OTSL DEBUT PAST
Marilyn Horne Song Competition Winner, 2017; The Elixir of Love, Music Academy of the West; Rigoletto, Opera in the Heights; Collaborative Piano Fellowship, Bard College Conservatory of Music FUTURE
NOLA, feature film
Artist Faculty, Lutheran Summer Music Academy and Festival
LACHLAN GLEN
SUSAN GRAHAM
Repetiteur (Australia) MacKay Career Development Fund Artist La traviata OTSL DEBUT
Mezzo-soprano (New Mexico) Phoebe & Spencer Burke Artist Regina Giddens, Regina OTSL DEBUT
The Barber of Seville, 2015
Erika, Vanessa, 1988
Pianist & Coach, The Metropolitan Opera National Council Auditions; Conductor & Coach, Music Academy International; Coach, Mason Gross School of the Arts, Rutgers University; Lindemann Young Artist, The Metropolitan Opera
Trouble in Tahiti, Lyric Opera of Chicago; The Merry Widow, The Metropolitan Opera; Die Fledermaus, The Santa Fe Opera; Dead Man Walking, Washington National Opera
PAST
CONTINUES AS
PAST
FUTURE
Hansel and Gretel, LA Opera
President/CEO, Mise-En-Scène Studios 119
Artist Profiles ANDREA GRANT
Repetiteur (Canada) Regina OTSL DEBUT
RICCARDO HERNÁNDEZ
Set Designer (Cuba) Orfeo & Euridice OTSL DEBUT
The Death of Klinghoffer, 2011
Sweeney Todd, 2012
Medea, Wexford Festival Opera, Opera Omaha; Rigoletto, Canadian Opera Company; Of Thee I Sing, University of Toronto Opera
Don Giovanni, Lucia di Lammermoor, The Santa Fe Opera; Admissions, Lincoln Center Theater; The White Card, ArtsEmerson/American Repertory Theater
PAST
FUTURE
Dinner at Eight, Wexford Festival Opera
PAST
FUTURE
La dame aux camélias, Théâtre National de Bretagne
AMANDA HOLDEN
Translator (United Kingdom) Orfeo & Euridice OTSL DEBUT
MICHAEL HOOKER
Sound Designer (Arizona) Regina OTSL DEBUT
Sister Angelica, 2004
Sweeney Todd, 2012
Il re pastore, Il tabarro/Pagliacci, OTSL; La bohème, Don Giovanni, Rodelinda, English National Opera
Tarzan: Call of the Jungle, Shanghai Disneyland; Looped, Lyceum Theatre, Broadway; Sunday in the Park with George, The Repertory Theatre of St. Louis; The Little Foxes, Pasadena Playhouse
PAST
FUTURE
Passion, Music Theatre Wales
PAST
FUTURE
Oklahoma!, Oregon Shakespeare Festival
KRISTOPHER IRMITER
Bass-baritone (South Carolina) MacKay Career Development Fund Artist Horace Giddens, Regina OTSL DEBUT PAST
Set Designer (Pennsylvania) La traviata OTSL DEBUT
Madame Butterfly, 2017 PAST
Don Pasquale, Florida Grand Opera; Tosca, Lyric Opera of Chicago; Silent Night, Michigan Opera Theatre; Riders of the Purple Sage (world premiere), Arizona Opera; Cold Sassy Tree, The Atlanta Opera
Don Giovanni, Boston Lyric Opera; The Cunning Little Vixen, Juilliard Opera; Owen Wingrave, Opera Philadelphia; Marvin’s Room, Broadway; A Life, Playwrights Horizons
JENNIFER JOHNSON CANO
ROBERTO KALB
OTSL DEBUT
Resident Conductor & Head of Music (Mexico) Stephen H. Lord Endowed Artist La traviata, Regina, An American Soldier, Orfeo & Euridice
PAST
2015 Season
Mezzo-soprano (Missouri) Thriess & Lynn Britton Artist Orfeo, Orfeo & Euridice
3rd Graduate, Street Scene, 2006 The Cunning Little Vixen, The Cleveland Orchestra; Bernstein’s Symphony No. 1 Jeremiah, The Phoenix Symphony FUTURE
Otello, Falstaff, The Metropolitan Opera; The Handmaid’s Tale, Boston Lyric Opera
OTSL DEBUT PAST
Conductor, “27,” Michigan Opera Theatre FUTURE
Conductor, The Barber of Seville, Tulsa Opera; Conductor, Rigoletto, Kentucky Opera; Conductor, Frida, Florida Grand Opera
JOO WON KANG
KATHLEEN KIM
OTSL DEBUT PAST
OTSL DEBUT PAST
Baritone (South Korea) Donald L. Bryant, Jr. Endowed Artist Giorgio Germont, La traviata Turandot, San Francisco Opera; The Barber of Seville, Arizona Opera; Nixon in China, LA Philharmonic; Maria de Rudenz, Wexford Festival Opera
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LAURA JELLINEK
Soprano (South Korea) Bettie S. Johnson Artist Josephine Young, An American Soldier Cendrillon, Der Rosenkavalier, The Metropolitan Opera; The Abduction from the Seraglio, Bayerische Staatsoper; Rigoletto, Korean National Opera; Nixon in China, LA Philharmonic
Artist Profiles STEPHEN LORD
Music Director Emeritus/Special Advisor to the General Director/Artistic Director of Young Artist Programs/Conductor (Massachusetts) Regina OTSL DEBUT
The Gondoliers, 1986 PAST
Norma, La traviata, Canadian Opera Company; Tosca, Lyric Opera of Chicago; Eugene Onegin, Michigan Opera Theatre CONTINUES AS
BEN MALENSEK
Principal Coach & English Diction Specialist (Ohio) La traviata, An American Soldier OTSL DEBUT
Carmen, 1987 PAST
Rigoletto, Canadian Opera Company; Apprentice Program Coach, The Santa Fe Opera FUTURE
Canadian Opera Company; Apprentice Program Coach, The Santa Fe Opera
Principal Conductor/Artistic Advisor, Michigan Opera Theatre
SYDNEY MANCASOLA
Soprano (California) Mabel Dorn Reeder Foundation Prize Recipient, 2016; Mr. & Mrs. Sanford N. McDonnell Endowed Artist Violetta Valéry, La traviata OTSL DEBUT
ERIE MILLS
English Diction Specialist & Young Artist Teacher/Coach (Illinois) Mr. & Mrs. Harvard K. Hecker Endowed Artist Regina, Orfeo & Euridice OTSL DEBUT
Lisette, La rondine, 2015
Britomarte, The Tree of Chastity, 1978
Rigoletto, English National Opera; La bohème, Oper Frankfurt; Julius Caesar, Komische Oper Berlin
The (R)evolution of Steve Jobs (world premiere), The Santa Fe Opera; American Opera Initiative, Washington National Opera
PAST
FUTURE
The Magic Flute, The Metropolitan Opera; King Roger, Oper Frankfurt
PAST
FUTURE
Teacher, Rose Rock Opera Institute CONTINUES AS
Artistic Director, Livermore Valley Opera JAMES MORRIS
Bass-baritone (Maryland) Colin Graham Master Artist Endowment Benjamin Hubbard, Regina OTSL DEBUT PAST
Der Ring des Nibelungen, Tosca, The Flying Dutchman, The Metropolitan Opera; Die Meistersinger von Nürnberg, Lyric Opera of Chicago FUTURE
Otello, The Metropolitan Opera
PETER NIGRINI
Video Projections Designer (Canada) Orfeo & Euridice OTSL DEBUT PAST
ALLEN MOYER
Set Designer (Pennsylvania) Regina OTSL DEBUT
The Marriage of Figaro, 1999 PAST
The House without a Christmas Tree (world premiere), Houston Grand Opera; Die Fledermaus, The Santa Fe Opera; ENCORES! Series, New York City Center; The Grapes of Wrath, OTSL FUTURE
Log Cabin (world premiere), Playwrights Horizons
MATTHEW OZAWA
Stage Director (California) Ann Lee & Will Konneker Endowed Artist An American Soldier OTSL DEBUT
Dear Evan Hansen, Broadway; Lucia di Lammermoor, The Santa Fe Opera; Real Enemies, Brooklyn Academy of Music; Grounded, The Public Theater
A Little Night Music, 2010
Beetlejuice, Broadway
Madame Butterfly, The Santa Fe Opera; An American Dream, Lyric Opera of Chicago; The Marriage of Figaro, Opera Colorado
SUSANNA PHILLIPS
PATRICIA RACETTE
FUTURE
Soprano (Alabama) Lucy & Stanley Lopata Memorial Artist Birdie Hubbard, Regina OTSL DEBUT PAST
Don Giovanni, Opernhaus Zürich; L’Amour de Loin, The Metropolitan Opera; Romeo and Juliet, Lyric Opera of Chicago FUTURE
Carmen, The Marriage of Figaro, The Metropolitan Opera
PAST
The Barber of Seville, Kentucky Opera; A Little Night Music, Houston Grand Opera FUTURE
Stage Director (New Hampshire) Shepard Family Foundation Artist La traviata OTSL DEBUT
Donna Elvira, Don Giovanni, 1993 PAST
Street Scene, Teatro Real; Salome, The Metropolitan Opera, LA Opera FUTURE
La voix humaine, Opera Philadelphia; Kát’ya Kabanová, Gran Teatre del Liceu
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Artist Profiles RON RAINES
Baritone (Texas) Ellen & Bill Yeckley Artist Oscar Hubbard, Regina OTSL DEBUT
EMILY REBHOLZ
Costume Designer (Nebraska) Dr. Alvin R. Frank Memorial Endowed Artist Orfeo & Euridice OTSL DEBUT
Dr. Malatesta, Don Pasquale, 1976
Sweeney Todd, 2012
A Little Night Music, OTSL; Follies, Annie, Broadway; Candide, Palm Beach Opera; The Merry Widow, Houston Grand Opera
Lucia di Lammermoor, Don Giovanni, The Santa Fe Opera; Dear Evan Hansen, Broadway; Il tabarro/Pagliacci, OTSL
PAST
PAST
FUTURE
Gettin’ the Band Back Together, Broadway
JAMES ROBINSON
Artistic Director & Stage Director (West Virginia) Regina
JAMES SCHUETTE
Costume Designer (Wisconsin) Regina OTSL DEBUT
OTSL DEBUT
Nixon in China, 2004
PAST
The House without a Christmas Tree (world premiere), Julius Caesar, Houston Grand Opera; Alcina, Champion, Washington National Opera; Vanessa, The Santa Fe Opera
Radamisto, 2000 Vanessa, The Santa Fe Opera; The House without a Christmas Tree (world premiere), Houston Grand Opera; The Elixir of Love, Canadian Opera Company FUTURE
PAST
Porgy and Bess, English National Opera, Dutch National Opera
MICHAEL SHANNON
Repetiteur (Canada) Orfeo & Euridice OTSL DEBUT PAST
The Marriage of Figaro, Merola Opera Program; Another Sunrise & Farewell, Auschwitz, Electric Bond Opera Ensemble FUTURE
Hadrian (world premiere), Così fan tutte, Otello, Canadian Opera Company
MIKA SHIGEMATSU
Mezzo-soprano (Japan) Fred Wehrle, Jr. Memorial Artist Mother Chen, An American Soldier OTSL DEBUT PAST
I Puritani, Boston Lyric Opera; La Cenerentola, San Francisco Opera; Werther, Teatro Carlo Felice; I Capuleti e i Montecchi, Netherlands Radio Philharmonic Orchestra; The Letter (world premiere), The Santa Fe Opera
NATHAN STARK
Bass (California) Robert & Lorraine Duesenberg Endowed Artist Military Judge, An American Soldier OTSL DEBUT PAST
Cinderella, Opera San José; Macbeth, Opera San Antonio; La bohème, Cincinnati Opera; Fidelio, Boston Baroque FUTURE
Silent Night, Arizona Opera
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SHAUN SHELEY
Fight Choreographer (New York) An American Soldier OTSL DEBUT
Carmen, Così fan tutte, 2012 PAST
Fight Director: Jesus Christ Superstar, Newsies, The MUNY; West Side Story, Romeo and Juliet, SLU High School Stage Director: The Comedy of Errors, St. Louis Shakespeare
KATARZYNA SKARPETOWSKA
Choreographer (Poland) Orfeo & Euridice OTSL DEBUT PAST
Metro, Broadway; Parsons Dance; Lar Lubovitch Dance Company; Named “25 to Watch,” Dance Magazine, 2016; Nominated “The Bessie,” NY Dance and Performance Bessie Awards, 2017
ANDREW STENSON
Tenor (South Korea) Janet McAfee Weakley Memorial Artist Pvt. Danny Chen, An American Soldier OTSL DEBUT PAST
Così fan tutte, Lyric Opera of Chicago; Candide, San Francisco Symphony; Don Pasquale, Glyndebourne; Fidelio, Boston Baroque; Margherita, Wexford Festival Opera
Artist Profiles WAYNE TIGGES
MARIA VALDES
OTSL DEBUT
OTSL DEBUT PAST
Bass-baritone (Wisconsin) Mr. & Mrs. William H.T. Bush Endowed Artist Sgt. Aaron Marcum, An American Soldier Mr. Maguire, Emmeline, 2015
Soprano (Georgia) Emma Coulter Ware Artist Amore, Orfeo & Euridice
PAST
Rigoletto, La bohème, San Francisco Opera; Cruzar la Cara de la Luna, New York City Opera; Così fan tutte, Opera San José
FUTURE
Rigoletto, Berkshire Opera Festival
Champion, Washington National Opera; The Flying Dutchman, The Atlanta Opera; Pagliacci/Gianni Schicchi, Utah Opera The Barber of Seville, Michigan Opera Theatre; Dead Man Walking, The Atlanta Opera
PIERRE VALLET
Conductor (France) Edward Chase Garvey Memorial Foundation Artist Orfeo & Euridice OTSL DEBUT PAST
Samson and Delilah, The Dallas Opera; Don Carlo, Lithuanian National Opera Theatre; Tannhäuser, Opéra national de Paris FUTURE
Carmen, The Dallas Opera, Opéra national de Paris
TOM WATSON
Wig & Makeup Designer (Northern Ireland) La traviata, Regina, An American Soldier, Orfeo & Euridice OTSL DEBUT
FUTURE
KAYE VOYCE
Costume Designer (Wisconsin) La traviata OTSL DEBUT
Dialogues of the Carmelites, 2014 PAST
The Summer King, Pittsburgh Opera; Il turco in Italia, Festival d’Aix-en-Provence; A Quiet Place, New York City Opera; Hamlet, The Public Theater; I’m Going to Toss My Arms – If You Catch Them They’re Yours, Trisha Brown Dance Company
MELODY WILSON
Mezzo-soprano (Maryland) MacKay Career Development Fund Artist Addie, Regina OTSL DEBUT
H.M.S. Pinafore, 1981
Opera Quartet, The Ghosts of Versailles, 2009
My Fair Lady, Saint Joan, Broadway
Mondparsifal Alpha 1-8, Wiener Festwochen, Berliner Festspiele; Rigoletto, Hungarian State Opera; Carmen, Theater Bremen; Doubt, Union Avenue Opera
PAST
FUTURE
Soft Power (world premiere), Center Theatre Group; The King and I, West End
PAST
JOSEPH YOUNG
Solti Foundation Assistant Conductor (Virginia) Regina OTSL DEBUT PAST
Kát’ya Kabanová, Spoleto Festival USA, Juilliard Opera CONTINUES AS
Artistic Director of Ensembles, Peabody Institute
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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 KASIA BOROWIEC
Soprano (New Jersey) Helen S. Shopmaker Artist Gerdine Young Artist PAST
The Marriage of Figaro, Candide, Palm Beach Opera; The Golden Cockerel, The Santa Fe Opera
EVAN BRAVOS
Baritone (Illinois) Phoebe Dent Weil Artist John Bagtry, Regina; Pvt. Bryan Johnston/Sgt. Lucas Brown, An American Soldier; Gerdine Young Artist OTSL DEBUT
Joe/Pump Guy, The Grapes of Wrath, 2017 PAST
Don Giovanni, Opera on the James; The Cunning Little Vixen, Carmen, Opera Santa Barbara
JEFF BYRNES
Baritone (Louisiana) Richard Gaddes Career Award Recipient, 2018; Larry Travis Bushong Memorial Artist Baron Douphol, La traviata; Gerdine Young Artist OTSL DEBUT
A Trucker/Jim, The Grapes of Wrath, 2017
VANESSA CROOME
Soprano (Canada) Barbara M. Bryant Artist Gerdine Young Artist PAST
Candide, Opera McGill; Viva la mamma, Alcina, Oberlin Opera Theater
PAST
Madame Butterfly, Raylynmor Opera; Carmina Burana, Charleston Symphony Orchestra; La fanciulla del West, Michigan Opera Theatre
MATTHEW DALEN
Tenor (Canada) Margery Fort Armstrong Endowed Tenor Gastone, La traviata; Defense Lawyer Maj. Baker/ Pvt. Roderic Carter, An American Soldier; Gerdine Young Artist OTSL DEBUT
Hank/Lou, The Grapes of Wrath, 2017
ANNA FARYSEJ
Soprano (Poland) Robert & Martha Scharff Endowed Artist Gerdine Young Artist PAST
Eugene Onegin, Polish National Opera; Così fan tutte, Opera na Zamku w Szczecinie FUTURE
The Magic Flute, Opera na Zamku w Szczecinie
PAST
The Elixir of Love, Eugene Onegin, Vancouver Opera; Orpheus in the Underworld, University of Toronto Opera
AMBER FASQUELLE
Mezzo-soprano (Ohio) Steve Trampe & Jenny Gupta Endowed Artist Gerdine Young Artist PAST
The Magic Flute, Cincinnati Opera; Sister Angelica, CCM Opera, University of Cincinnati
Baritone (Pennsylvania) Maggie & Ron Holtman Artist A Messenger, La traviata; Gerdine Young Artist OTSL DEBUT PAST
As One, Cincinnati Opera
L’enfant et les sortilèges, The Burning Fiery Furnace, Juilliard Opera; The Scarlet Letter, West Chester Opera Theatre
SIMONA ROSE GENGA
MARY-HOLLIS HUNDLEY
FUTURE
Mezzo-soprano (Canada) Barbara & Stanley Richman Memorial Award; Elleard B. Heffern Fine Jewelers Endowed Artist in memory of Keith Shaw Annina, La traviata; Gerdine Young Artist OTSL DEBUT
Cabin Mistress, The Grapes of Wrath, 2017 PAST
Dead Man Walking, Opera NUOVA; Of Thee I Sing, University of Toronto Opera; First Prize and Audience Choice Award, Canadian Opera Company Centre Stage Competition, 2017 124
GREGORY FELDMANN
Soprano (Kentucky) Richard Gaddes Career Award Recipient, 2018; Carla Myerson Artist Gerdine Young Artist PAST
A Midsummer Night’s Dream, Virginia Opera FUTURE
Medea in Corinto, Teatro Nuovo; Hansel and Gretel, Michigan Opera Theatre
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 BRIANA HUNTER
Mezzo-soprano (Maryland) The Berges Family Foundation Endowed Artist Flora Bervoix, La traviata; Pvt. Stanton, An American Soldier; Gerdine Young Artist OTSL DEBUT PAST
“27,” Michigan Opera Theatre; Porgy and Bess, The Glimmerglass Festival; Carmen, Music Academy of the West
PHILIPPE L’ESPERANCE
Tenor (Massachusetts) Dorothy & Billy Firestone Endowed Artist Joseph, La traviata; Gerdine Young Artist OTSL DEBUT
Jake, The Grapes of Wrath, 2017 PAST
La Cenerentola, Così fan tutte, Manhattan School of Music Opera Theater; The Turn of the Screw, Chautauqua Institution
COURTNEY JAMESON
Mezzo-soprano (Pennsylvania) Adelaide Cherbonnier Memorial Artist Gerdine Young Artist PAST
L’étoile, Così fan tutte, Indiana University Opera Theater; La Cenerentola, Bay View Music Festival
PHILLIP LOPEZ
Bass-baritone (Illinois) Salvatore & Dagnija Comado Artist Trial Counsel Maj. Rose/Spc. Austin Haldemann, An American Soldier; Gerdine Young Artist OTSL DEBUT
The Imperial Commissioner, Madame Butterfly, 2017; Traffic Cop/Peach Checker, The Grapes of Wrath, 2017 PAST
The Marriage of Figaro, The Elixir of Love, Wichita State University Opera; Messiah, Wichita Choral Society GREER LYLE
Soprano (Georgia) Nancy & Ken Kranzberg Artist Gerdine Young Artist PAST
Don Giovanni, La bohème, The Magic Flute, Georgia State University Opera Theater
SAMSON McCRADY
Baritone (Ohio) Karen & Mont Levy Artist Marquis d’Obigny, La traviata; Pvt. Roman Parker/Sgt. Jackson Blakemore, An American Soldier; Gerdine Young Artist OTSL DEBUT PAST
Gianni Schicchi, Ariodante, CCM Opera, University of Cincinnati; La Cenerentola, Queen City Opera
ANDREW MUNN
Bass (California) Glenn Sheffield Artist Doctor Grenvil, La traviata; Pvt. Randall Pinkton/Spc. Julian Swanson, An American Soldier; Gerdine Young Artist OTSL DEBUT PAST
ANDREA NÚÑEZ
Soprano (Canada) Richard Gaddes Career Award Recipient, 2018; Virginia Weldon & Francis Austin Artist Pvt. Sonia Gonzalez, An American Soldier; Gerdine Young Artist OTSL DEBUT
Cousin, Madame Butterfly, 2017 PAST
Agrippina, The Merry Wives of Windsor, Juilliard Opera; The Magic Flute, Bard Graduate Vocal Arts Program
Arabella, Canadian Opera Company; Roberta Peters Award, George London Foundation Competition, 2017; Cold Mountain (world premiere), The Santa Fe Opera
LEO RADOSAVLJEVIC
LISA MARIE ROGALI
Bass-baritone (Illinois) Jane & Robert Feibel Artist Manders, Regina; Gerdine Young Artist
Soprano (Ohio) Myrna Hershman Endowed Artist Gerdine Young Artist PAST
OTSL DEBUT PAST
Gianni Schicchi, CCM Opera, University of Cincinnati; Dialogues of the Carmelites, Penn State University Opera Theatre
FUTURE
La rondine, Minnesota Opera
Mozart Opera Scenes, Buffalo Philharmonic Orchestra; Così fan tutte, DuPage Opera Theatre Tancredi, Teatro Nuovo
FUTURE
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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 BRANDON SCOTT RUSSELL
Tenor (Missouri) Jan Soest Boleto Memorial Artist Gerdine Young Artist PAST
Candide, Idomeneo, CCM Opera, University of Cincinnati
Tenor (New York) Christoph Willibald Gluck Artist Gerdine Young Artist PAST
Another Brick in the Wall, Cincinnati Opera
The Turn of the Screw, Chautauqua Institution; The Cunning Little Vixen, Manhattan School of Music Opera Theater; La Calisto, Juilliard Opera
ROBERT STAHLEY
WILLIAM GUANBO SU
FUTURE
Tenor (Massachusetts) Edes P. Gilbert Artist William Marshall, Regina; Gerdine Young Artist OTSL DEBUT
Cropper Husband/Washroom Guard/George, The Grapes of Wrath, 2017 PAST
Candide, CCM Opera, University of Cincinnati; Turandot, Kentucky Symphony Orchestra
REHANNA THELWELL
Mezzo-soprano (Michigan) Clark & Jeanette Gamble Memorial Endowed Artist Gerdine Young Artist PAST
Porgy and Bess, Dinner at Eight, The University of Michigan Opera Theatre; Götterdämmerung, The Wagner Institute
ÁNGEL M. VARGAS
Tenor (Puerto Rico) Arnold Hershman Endowed Artist Spc. Cameron Rodriguez, An American Soldier; Gerdine Young Artist OTSL DEBUT PAST
Seven Angels, Aspen Music Festival; Gianni Schicchi, Rice University Shepherd School of Music
MICHAELA WOLZ
Mezzo-soprano (Missouri) Joanne & Alan Kohn Artist Gerdine Young Artist PAST
Così fan tutte, Dead Man Walking, Alcina, Boston Conservatory at Berklee
126
MICHAEL ST. PETER
Bass (New York) Kim & Tim Eberlein Artist Flora’s Servant, La traviata; Gerdine Young Artist OTSL DEBUT PAST
The Merry Wives of Windsor, Hippolytus and Aricia, Juilliard Opera FUTURE
The Barber of Seville, Aspen Music Festival
KARIS TUCKER
Mezzo-soprano (Belgium) Dr. Mary Anne Rudloff Endowed Artist Gerdine Young Artist PAST
Sister Angelica, Candide, Cendrillon, CCM Opera, University of Cincinnati
CHAZ’MEN WILLIAMS-ALI
Tenor (California) Thelma Steward Endowed Artist Jazz, Regina; Richard Gaddes Festival Artist OTSL DEBUT PAST
La bohème, The Glimmerglass Festival; Madame Butterfly, Washington National Opera FUTURE
Porgy and Bess, English National Opera
CALVET YOUNG
Tenor (Kansas) Steven & Gwendolyn Mizell Artist Gerdine Young Artist PAST
Don Giovanni, The Impresario, The University of Kansas Opera
Chorister Profiles ALLISON GLASS
BRITTANY GRAHAM
Mezzo-soprano (Louisiana) An American Soldier PAST
Carousel, Union Avenue Opera; The Clever Artifice of Harriet and Margaret, Gateway Opera; The Magic Flute, New Orleans Opera
Soprano (Missouri) Belle, Regina; An American Soldier OTSL DEBUT PAST
La bohème, Webster University Opera Studio
SHAWN NEACE
Bass (Illinois) Orfeo & Euridice PAST
Macbeth, OTSL; Principal Singer, Bach Society of St. Louis; Founding Member, Pro-Arte Saint Louis
Dancer Profiles GEOFFREY ALEXANDER
Dancer (Missouri) Orfeo & Euridice OTSL DEBUT PAST
The Wizard of Oz, Disney’s Beauty and the Beast, Mary Poppins, Variety Children’s Theatre CONTINUES IN
CJ BURROUGHS
Dancer (Pennsylvania) Orfeo & Euridice OTSL DEBUT PAST
Thodos Dance Chicago CONTINUES IN
The Big Muddy Dance Company
The Big Muddy Dance Company
KARINA CARDELLA
Dancer (Arizona) Orfeo & Euridice OTSL DEBUT PAST
Tucson Symphony Orchestra CONTINUES IN
The Big Muddy Dance Company
DUSTIN CRUMBAUGH
Dancer (Missouri) Orfeo & Euridice OTSL DEBUT PAST
The Wizard of Oz, Disney’s Beauty and the Beast, Variety Children’s Theatre CONTINUES IN
The Big Muddy Dance Company
BRANDON FINK
Dancer (Oklahoma) Orfeo & Euridice OTSL DEBUT PAST
Fiddler on the Roof, The Muny; The Wizard Of Oz, Variety Children’s Theatre; R.A.C.E. Dance Company; Modern American Dance Company CONTINUES IN
The Big Muddy Dance Company
MALLORY HENSEL
Dancer (Missouri) Orfeo & Euridice OTSL DEBUT PAST
University of Missouri – Kansas City Conservatory of Music and Dance; Summer Program, Peridance Capezio; Kansas City Ballet; Nashville Ballet CONTINUES IN
The Big Muddy Dance Company
127
Dancer Profiles THOMAS JACOBSON
Dancer (North Dakota) Orfeo & Euridice OTSL DEBUT PAST
Dancer (Oregon) Orfeo & Euridice OTSL DEBUT PAST
Thodos Dance Chicago; Chicago, Arts Center of Coastal Carolina; Breaking Boundaries Dance Company; Trainee, Minnesota Dance Theatre
Loyola University; Summer Program Batsheva, Tel Aviv; Summer Program Batsheva, Barcelona; Hedwig Dances
The Big Muddy Dance Company
The Big Muddy Dance Company
MIRANDA PAYNE
ROBERT POE
CONTINUES IN
Dancer (Missouri) Orfeo & Euridice OTSL DEBUT
The Ghost of Versailles, 2009
CONTINUES IN
Dancer (South Carolina) Orfeo & Euridice OTSL DEBUT PAST
PAST
Nashville Ballet; Aida, Amahl and the Night Visitors, Nashville Opera
CONTINUES IN
The Big Muddy Dance Company
Variety Children’s Theatre; Shoji Tabuchi Theatre; The Music Man, STAGES St. Louis The Big Muddy Dance Company
ELLEN REED
Dancer (Kentucky) Orfeo & Euridice OTSL DEBUT CONTINUES IN
The Big Muddy Dance Company
128
ZOE LINDNER
CONTINUES IN
THE ORCHESTRA FOR LA TRAVIATA AND AN AMERICAN SOLDIER FIRST VIOLINS
Celeste Golden Boyer Erin Schreiber Jessica Cheng Joo Kim Melody Lee Angie Smart Hiroko Yoshida John Bian SECOND VIOLINS
Eva Kozma Andrea Jarrett Nicolae Bica Lisa Chong Asako Kuboki Wendy Rosen Kyle Lombard
VIOLAS
Beth Guterman Chu Leonid Gotman Chris Tantillo Shannon Farrell Williams Xi Zhang Laura Reycraft CELLOS
HARP
Megan Stout FLUTES
Mark Sparks Ann Choomack PICCOLOS
Ann Choomack Laura Dwyer OBOES
Daniel Lee David Kim James Czyzewski Elizabeth Chung Alvin McCall
Jelena Dirks Xiomara Mass CLARINETS
BASSES
Christopher Carson David DeRiso Donald Martin Mary Reed
Scott Andrews Robert Walker Jeanine York-Garesche
BASSOONS
Andrew Gott Felicia Foland HORNS
Thomas Jöstlein Chris Dwyer Tod Bowermaster Lawrence Strieby TRUMPETS
Michael Walk Caroline Schafer Ian Kivler
TUBA
Michael Sanders CIMBASSO
Michael Sanders TIMPANI
Shannon Wood PERCUSSION
Alan Stewart Joseph LaPalomento
TROMBONES
Amanda Stewart Jemmie Robertson BASS TROMBONE
Gerard Pagano
THE ORCHESTRA FOR REGINA AND ORFEO & EURIDICE FIRST VIOLINS
Heidi Harris Dana Edson Myers Ann Fink Emily Ho Silvian Iticovici Xiaoxiao Qiang Mary Edge SECOND VIOLINS
Alison Harney Kristin Ahlstrom Rebecca Boyer Hall Janet Carpenter Elizabeth Dziekonski Ling Ling Guan Shawn Weil
VIOLAS
FLUTES
Katy Mattis Susan Gordon Morris Jacob Christian Woehr Amy Greenhalgh
Andrea Kaplan Jennifer Nitchman
CELLOS
OBOES
HORNS
CLARINETS
HARP
PERCUSSION
Jennifer Nitchman
Cally Banham
Erik Harris Ronald Moberly Adam Anello
BASSOONS
Andrew Cuneo Vincent Karamanov
ENGLISH HORN
BASSES
TIMPANI
Tzuying Huang
PICCOLO
Philip Ross Cally Banham
Melissa Brooks Anne Fagerburg Bjorn Ranheim Yin Xiong
BASS CLARINET
Thomas Stubbs William James Alan Schilling Edouard Beyens
Roger Kaza Julie Thayer
GUITAR/BANJO
TRUMPETS
PIANO/CELESTE
Thomas Drake Jeffrey Strong
Diana Haskell Tzuying Huang Jane Carl Linda Phipps
TROMBONES
ARTISTIC OPERATIONS
STAGE PERSONNEL
Kirk Hanser
Andrea Grant (OTSL)
Timothy Myers Jonathan Reycraft Jim Martin
Allegra Lilly
ST. LOUIS SYMPHONY ORCHESTRA TEAM
Marie-Hélène Bernard PRESIDENT & CEO
Vicki Boutwell VP, COMMUNICATIONS
Amy Drummond VP, PHILANTHROPY
Erik Finley
Audrey Kwong
VP, ARTISTIC AND OPERATIONS
ORCHESTRA PERSONNEL
James Garrone CHIEF FINANCIAL OFFICER
David Nischwitz VP, MARKETING
Ian Kivler
ORCHESTRA OPERATIONS
Margaret Bailey Alexander Bryant
M. Jason Pruzin Ron Bolte, Jr. Joseph Clapper Rick McKenna
Steinway is the official piano of Opera Theatre of Saint Louis.
MUSIC LIBRARIANS
Elsbeth Brugger Henry Skolnick Amanda Tallant
Generous leadership support for the services of the St. Louis Symphony Orchestra is provided by the Taylor Family and the late Jack C. Taylor. Orchestra lists complete as of April 15, 2018.
129
Opera Theatre of Saint Louis Staff TIMOTHY O’LEARY General Director
JAMES ROBINSON Artistic Director
STEPHEN LORD Music Director Emeritus
ANDREW JORGENSEN General Director Designate
ADMINISTRATIVE STAFF
Artistic Administration Paul Kilmer Director of Artistic Administration
Stephanie Nigus
Marketing & Public Relations Joe Gfaller Director of Marketing & Public Relations
Anh Le
Assistant Director of Marketing
Manager of Artistic Operations
Kim Oswalt
Artistic Coordinator
Kelsey Nickerson
Center Stage Program Coordinating Consultant & Artistic Administration Intern
Sarah Thompson
Madalyn Mentor Robert Mellon°
Wailani E. Ronquillio
Artistic Administration Intern
Development Nicole Ambos Freber
Digital Marketing Manager Public Relations Coordinator
Membership & Development Operations Manager
Cameron James
Manager of Special Events
Kaitlyn Neel
Development Associate
Rachel Butchko
Constituent Relations Coordinator
Riley Brennen
Development Intern
Education & Community Engagement Allison Felter
Noémi & Michael Neidorff Endowed Director of Education & Community Engagement
Mia DeJong
Education & Community Engagement Coordinator
Anna Kay
Education Intern
Finance Mary Ip
Charlie Barron
Costumes/Wardrobe/Props Materials Coordinator
Jacob Stahl+
Michael Simpson
Program Book Designer
Associate Director for Strategy & Organizational Development
Stacey Bregenzer
Scenery/Props Materials Coordinator
Community Ambassador & Consultant
Liana Gallyoun
Assistant Director of Development
Assistant Technical Director
Mike Dowdy
Emma Clemens+
Ken Howard
Caron House
Production Administration Emilie Weilbacher-McMullan
Public Relations Consultant
Robert McNichols, Jr.
Director of Development
Michelle Myers
SEASONAL PRODUCTION STAFF
Company Photographer PR & Communications Intern
Box Office Kara Koverman
Associate Director for Audience Services
Sally Kurt
Assistant Box Office Manager
Tara Campbell Vaughn Edward Zak Farmer Hank Hantak Monica Roscoe Dina Young Office of the General Director Erin Waters Ryan
Production Assistant Intern Assistant Technical Director
SCENERY
Stage Carpentry Theo Prifti Rick Shetley, Jr. Shop Carpenters Dave McCarthy
Master Carpenter
Daniel McCarthy Jim McCarthy Kevin McCarthy Dan Roach, Jr. Scenic Artists Stephen Pollihan
Master Scenic Artist
Allison Larkins
Assistant Charge Artist
Production & Operations Personnel Manager
Emily Frei Scott Loebl James VanWell Stage Crew Luke Dawson Isabelle Denstaedt Trevor Hannagan Molly Meyer Jacob Noce Elizabeth Pope* Ashley Puskarich Ross Rubright Ashton Rust* Edward Teshara
Technical Director
PROPERTIES
Executive Assistant to the General Director
Mason Boudrye
Patron Relations Intern Charla Sausele Intern for Opera Administration
Production & Operations Stephen M. Ryan Director of Production & Operations
Vonetta Flowers
Director of Finance
Hans Fredrickson
Accounting Manager
Stacy Michele Harris
Meg Brinkley
Staff Accountant
Kendra Henry
Mary Kathryn Jacobi°
Barry Rowold
Sharon Ackermann Peggy Brooks
Accounts Coordinator
Madeleine Snow Finance Intern
Costume Shop Manager Production & Operations Business Manager
Eric Woolsey
Operations Manager
Lucie Garnett Receptionist
Properties Manager
Assistant Properties Manager
Tara Phelan
Shop Supervisor
Carpenters Scott Gardner Jim Robert
The position of General Director is underwritten in part by a generous gift from the Zoe and Max Lippman Memorial Fund. 130
° Charles MacKay Career Development Fund Honoree
Artisans Kim Doyle Chasyn Andrews-Philbin• Katie Schoenfeld• Properties Run Supervisors Andy Amann John Amann Properties Run Crew Jimmy Bernatowicz Seth Howard* Kristin Solodar* Rebecca Xhajanka LIGHTING/SOUND/VIDEO
Peggy Thierheimer Master Electrician
Christine Shetley
Deck Electrician
Michael Ferguson
Sound Technician
Charles LeRoi
Video Technician
Kaitlyn Breen
Assistant Lighting Designer
Paige Seber°
Assistant Lighting Designer
Eric L. Elz
Lighting Supervisor
Colin Marshall•
Sound Assistant
Jayson M. Lawshee+
Assistant Master Electrician
Electrics Crew Catherine Adams Jack Austin* Aaron Freeman Halani Harber Jerran Kowalski*
Frank J. Gfaller Memorial Artist
Madeleine Reid Nicholas Wylie Orchestra Crew Mike Lynch
Orchestra Crew Manager
Savannah Gipson* Maddy Herwig* Blake Howard Max Skolnick
WIGS & MAKEUP
Tom Watson
Wig Shop Supervisor
Thomas Kurzman
Assistant Wig Shop Supervisor
Nina Stewart Ashley Wise Bryan Gonzalez•
Wig & Makeup Intern
Opera Theatre of Saint Louis Staff COSTUMES
Pat Seyller
Costume Director
WARDROBE
Theresa Loebl
Head of Wardrobe
Robert W. Trump
Morgan Fisher+
Carole Tucker
Emma Bruntrager
Drapers Ginny McKeever Jeffery Park Richard W. Tuckett James Weeden First Hands Bruk Longbottom Cristine Patrick Carrisa Sexton Judith Skyles Briana Wiegand
Wardrobe Crew Emma Glose Lauren Kinder Chelsea Krenning Sarah Lockwood* Alycia Martin Ben Rogers* Kathryn Schondek
Master Stitchers Lou Bird Patty MacDonnell-Smith Stitchers Steven Barnesp Jennifer Blum Vicki Burroughs Marissa Crozier Carol Crudden Nalee Douangvilayp Jennifer Llewelyn Christina Marcantonio Bryan McDonald Rosemary Paeltz Dre Spearsp Serena Thomasp Brandon Thompson Emily Valenciap Brandi Whitep Megan Harshaw
FRONT OF HOUSE
Head Draper
Emerson Costume Apprentice Mentor
Catherine Vail Levy Endowed Artist
Design Assistant
Tyler Tippit•
Shop Assistant
Costume Crafts Elizabeth Gunderson
Craft Shop Supervisor
Angelique Newbauer
Assistant Craft Shop Supervisor
Costume Craft Artisans John Inchiostro Elizabeth Kumpp Kelly Myers Margaret Powers Bridget Kraft Painter/Dyer
Lauren Tracy
Painter/Dyer
Assistant Wardrobe Supervisor Wardrobe Assistant Keith Shaw Endowed Artist
Garden Hosts Steven Lane II Nadia Loebl Killian Von Malottke Mary Robinson Zachary Robinson
Sarah Johnson
STAGING STAFF
Traci Clapper+
Resident Assistant Stage Director Richard Gammon Regina
Assistant Directors James Blaszko
An American Soldier
Tara Branham La traviata
VAN DRIVERS
Keleigh Eisen
Phillip Haley Angela Wheeler Michael Winfield
Orfeo & Euridice
Assistant Designers La traviata Brendan Boston
Maggy Bort
Sets
House Manager
You-Shin Chen
Assistant House Manager
Frank Oliva
Assistant House Manager
Beth Goldenberg
Garden Manager
Regina Ryan Howell
S. Diane Fukunaga Rebecca Siefert Hannah Ryan
Season Catering Ces & Judy’s Ushers/Greeters Kate Arendes Peter Billing Jarod Boada Kari Brinkley Lucy Clarke Leah Frazier Cordelia Frese Calista Goldwasser Mike Heise Kaytlin Houghtaling Emily Jackoway Rebecca Jackoway Trevor Scott Linda Spall Reilly Thompson Darren Tucker Miles Umbaugh Carl Wickman Parking Guides Augustus Baken Matthew Beavin Zohra Coday Christian Hoffman Michael Klein Samuel Leach Stephen Underwood
* Emerson Production Artists • Emerson Production Assistants
Sets Sets
Costumes
Sets
Beth Goldenberg Costumes
Ben Scheff Sound
An American Soldier Julie Levin Costumes
Orfeo & Euridice Sarafina Bush Costumes
Steven Rotramel Costumes
Kate Ducey
Video Projections
Stage Management Kimberley S. Prescott
Production Stage Manager David N. Farr Endowed Artist
Assistant Stage Manager
Alec Rigdon
Assistant Stage Manager
Luci Burdick+
Intern Assistant Stage Manager Joan F. Richman Endowed Young Artist Intern Assistant Stage Manager
VOLUNTEERS
Ann Fusz & Ellen Fusz
Committee Co-Chairs
Dressers Nancy Shulze Adams Alane Antoine Cecily Erker Ann Fusz Ellen Fusz Bill Kumke Jane Shumate Lightwalkers Anne Carmen Pat Church Alan Fiddleman Ann Fusz Ellen Fusz Bob Heider Marilyn Humiston Margie Knapp Bill Kumke Kirk Stein Mary Susman Elise Tegtmeyer Debby Wafer Libby Weinman Anne Williams Supernumeraries Randy Getz Laura Huff Aedan James Charles Letourneau Harry Moppins Trevor Scott Michael Tran Darren Tucker Miles Wadlington Joshua Woodard
Cindy Knight
Stage Manager
Sara Prince
Stage Manager
Trevor Regars
Stage Manager
Valerie J. Clatworthy
Assistant Stage Manager
Brandon Ehrenreich
Assistant Stage Manager
p Emerson Costume Apprentices
+ Larry & Jinny Browning Technical Fellows
131
132
ATSE I
STAGEHANDS – LOCAL #6 Joe Rudd Business Manager
BUILDERS OF SCENERY OPERATORS OF LIGHTING, SOUND, AND VIDEO
133
134
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 43rd season, we pay special tribute to the donors who have made extraordinary lifetime investments in Opera Theatre. The following list includes donors whose cumulative gift to Opera Theatre totals $100,000 or more. $5,000,000 & ABOVE
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) Phyllis 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 St. Louis Community Foundation The Mabel Dorn Reeder Foundation – Mabel L. Purkerson, M.D., Trustee The Andrew W. Mellon Foundation David W. Mesker† Missouri Arts Council Monsanto Fund & Monsanto Company National Endowment for the Arts Noémi & Michael Neidorff Whitaker Foundation $1,000,000-$1,999,999
Anonymous Donors (2) AT&T Alison & John Ferring The Ford Foundation Margaret B. Grigg† & Margaret Blanke Grigg Foundation William T. Kemper Foundation – Commerce Bank, Trustee E. Desmond† & Mary Ann† Lee Marsha & William C. Rusnack The Saigh Foundation David & Thelma Steward & The Steward Family Foundation Jack C. Taylor† 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.
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 Mr. & Mrs. Robert L. Scharff, Jr. Dr. Jeanne & Rex Sinquefield Mr.† & Mrs.† Monte Throdahl Stephen Trampe & Jenny Gupta Emma Coulter Ware† & The Ware Family Foundation Fred J. Wehrle, Jr.† $250,000-$499,999
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 Ces & Judy’s Catering 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 Joanne & Alan Kohn Nancy & Ken Kranzberg The Kresge Foundation Mr.† & Mrs.† Oliver M. Langenberg J. David & Lucy S. Levy 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
Continued on page 136
135
Lifetime Giving Continued from page 135
Colin Graham, O.B.E.† The William Randolph Hearst Foundation Kit & Patricia Heffern & Elleard Heffern Fine Jewelers Jack† & Anne Heisler Arnold & Myrna Hershman Mrs. Homer V. Howes† Diane & Paul Jacobson Henry Katz† & Dr. Hildegard Gruenbaum Katz Carol Kimball† Gene Kornblum Mr. & Mrs. Lawrence Langsam John Frank Lesser 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† Adrienne & Russ Patton & Byerly RV 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 Mary Strauss Mary Susman & Tom Herm Thompson Coburn LLP Union Pacific Foundation US Bank, NA Private Client Group The Hon. & Mrs. G. H. Walker III Franklin F. Wallis Professors Emeriti Charles M. & Shirley F.† Weiss Mr. & Mrs. W. David Wells Donna Wilkinson Marjorie Wyman† Sharon & Elliot Zucker
Phyllis McPheeters† 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 Barbara & Gene Spector Ann & Bill Sullins 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 St. Louis Community Foundation $100,000-$249,999
Anonymous Donor (1) Anita & Gene Adam Mrs. Norris H. Allen† Adam† & Judith† Aronson Arthur Andersen & Company Mr.† & Mrs.† Richard L. Battram Mrs. Morton Baum† Louis D. Beaumont Fund of the Greater St. Louis Community Foundation Mr. & Mrs. B. A. Bridgewater, Jr. Mr. & Mrs.† Arthur P. Brigham III Bryan Cave LLP Gertrude B. Busch† Paul & Elissa Cahn 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† † IN MEMORIAM
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, 2018. We regret the omission of anyone who contributed after this date, but look forward to recognizing these donors in the 2019 program book. 136
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 Noémi & Michael Neidorff 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. 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† Phyllis 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.
137
Do n o r s : A n n u a l Fu n d 2 0 1 7–2 0 1 8 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 2018 season.
Leadership Circle
p
Director’s Circle
p
$100,000 & Above
Anonymous Donors (2) Arts & Education Council of Greater St. Louis Mr. & Mrs. James G. Berges & Berges Family Foundation Phyllis Brissenden Centene Corporation & Centene Charitable Foundation Emerson Lelia & David Farr John & Alison Ferring & Ferring Family Foundation William T. Kemper Foundation – Commerce Bank, Trustee & The Commerce Trust Company Sally S. Levyg & the Levy Family The Andrew W. Mellon Foundation Monsanto Fund & Monsanto Company Noémi & Michael Neidorff Regional Arts Commission David & Thelma Steward & 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 Edward Jones Mr. & Mrs. Irl F. Engelhardt & Engelhardt Family Foundation Marilyn & Sam Fox The Margaret Blanke Grigg Foundation Leigh & Jean Mason Missouri Arts Council National Endowment for the Arts Emily Rauh Pulitzer Marsha & William C. Rusnack Dr. Jeanne & Rex Sinquefield Wells Fargo Advisors
g Crescendo Circle † In Memoriam
138
Do n o r s : A n n u a l Fu n d 2 0 1 7–2 0 1 8 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 the General Director 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. Donald L. Bryant, Jr. Phoebe & Spencer Burkeg William H.T. Bush† & Bush Family Fund of the St. Louis Community Foundation Caleres Clayco, Inc. Patricia G. Heckerg & Hecker Family Charitable Fund of the St. Louis Community Foundation Agnes Hsu-Tang & Oscar L. Tang Mary Ranken Jordan & Ettie A. Jordan Charitable Foundation Nancy & Ken Kranzberg & Kranzberg Family Charitable Foundation Mercy Russ & Adrienne Patton & Byerly RV Roy Pfautch Shepard Family Foundation Stifel Webster University* Kurt Weill Foundation for Music, Inc. Edward H. & Rosemary Young Fund of the St. Louis Community Foundation
Aria Patrons
p
$15,000-$24,999
Armstrong Teasdale LLP Thriess & Lynn Britton Dr. & Mrs. Timothy Eberlein Enterprise Bank & Trust Robert & Jane Feibel Edward Chase Garvey Memorial Foundation Husch Blackwell LLP & Joseph P. Conran Bettie S. Johnson Ann Lee Konnekerg Karen & Mont Levy MacCarthy Foundation John H. Russell Mr. & Mrs. Donald J. Sherg Ann & Bill Sullins Mary Susman & Tom Hermg
Producer Patrons $7,500-$9,999
UPBrand Collaborative* Nina Coulter Ware Dr. Virginia V. Weldon & Francis Austin Ellen & Bill Yeckley
Sponsor Patrons $10,000-$14,999
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Anonymous Donor (1) Joyce Aboussie Mr. & Mrs. Stephen F. Brauer Barbara M. Bryant Buckingham Strategic Wealth Salvatore Comado The Aaron Copland Fund for Music Robert Duesenberg Dorothy & Billy Firestone Edes P. Gilbert Mr. & Mrs. Ronald A. Holtman Mrs. William S. Knowles Joanne & Alan Kohn Gene Kornblum J. David & Lucy S. Levyg Lewis Rice LLC Joseph & Carolyn Losos Danny & Susan Ludeman Elizabeth Mannen Mrs. Sanford N. McDonnell† & Mr. & Mrs. Sanford N. McDonnell Foundation Veronica & Randy McDonnell Gwendolyn & Steven C. Mizell Dr. & Mrs. Robert J. Myersong Georgia C. Pettus Allison W. Robertss The Saigh Foundation Mr. & Mrs. Robert L. Scharff, Jr.g Mrs. William H. Sheffieldg Helen Shopmakerg Steinway Piano Gallery of St. Louis* Stephen Trampe & Jenny Guptag Trio Foundation of Saint Louis Franklin F. Wallisg Phoebe Dent Weilg Mr. & Mrs. Tim Wentworth W. Grant Williams & Williams Family Charitable Fund of the St. Louis Community Foundation
† In Memoriam
* In-kind Gift
p
A & O Family Fund of the St. Louis Community Foundation Ann & Henry Bauer Bryan Cave LLP DM3 Fund Mrs. Joseph F. Gleason Mr. & Mrs. Lawrence Langsamg John Frank Lesserg Major Brands* Dr. Robert Packman Mabel L. Purkerson, M.D. Jan Paul Richter & Ellen von Seggern Richter Mary & Steve Schoolman & Clemence S. Lieber Foundation Annemarie & Matt Schumachers Judy Scott The St. Louis Trust Company Josephine & Richard Weil Sharon & Elliot Zuckerg
Benefactor Patrons $5,000-$7,499
p
Anonymous Donors (2) Accenture Anita & Gene Adam David & Melanie Alpers Louis D. Beaumont Fund No. 1 of the St. 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 William & Suzanne Dolang Richard & Phyllis Duesenberg Bill & Cynthia Durham
s Intermezzo Society
Enterprise Holdings Foundation Mr. & Mrs. Ronald Fromm Richard Gaddesg Rabbi Dr. Jay & Erika† Goldburgg Graybar International, Inc. George Handran Janet & Andy Hoyne Heather Hunt-Ruddy Dr. Ann Johanson Mr. & Mrs. David Kemper Karen & Harry Knopf Pam & Jim Krekeler Ann S. Lux & Lux Family Foundation Mr. & Mrs. John Peters MacCarthy & Ruth Peters MacCarthy Trust Dr. & Mrs. John S. Meyer Gyo Obata & Mary Judge Paul M. Packman, M.D.† Dr. & Mrs. William A. Peck Pinnell Foundation Polsinelli Mrs. Robert L. Rosenheim & Rosenheim Charitable Family Foundation Linda & Bruce Ryder Sauce Magazine* Sondra & Milton† Schlesinger Barbara & Gene Spector The St. Louis Originals* Mary Strauss Mr. & Mrs. Robert Tancer Susan & Ben Uchitelle U.S. Bank Professor Emeritus Charles M. Weissg Rita & David Wells Donna Wilkinsong
Patrons
p
$2,500-$4,999
Anonymous Donor (1) Mrs. Vern Akers The Amphion Foundation AT&T Mrs. Walter F. Ballinger II Julia B. Bamburg Gailya & John Barker Mrs. William Barnes III BDO USA Dr. & Mrs. Martin Bellg
g Crescendo Circle
Patron Program continued on page 140
139
Do n o r s : A n n u a l Fu n d 2 0 1 7–2 0 1 8 Patron Program continued from page 139 Pam Belloli & Dave Shimek Mr. & Mrs. Barry Beracha Rudi J. Bertrand & Paul A. Williams, M.D. June R. Bierman† David A. Blanton III Elaine & Harold Blatt Buron F. Buffkin & Donn Kleinschmidt, M.D. Amanda Trudell Cambridge & Paul Cambridges Mr. & Mrs. Don R. Carlson Elaine Coe Collaborative Strategies* Mrs. P. Terence Crebs Hope & Julian† Edison Employees Community Fund of Boeing St. Louis Sara Epstein & Sara & Fred Epstein Family Foundation Ernst & Young LLP Dr. & Mrs. Charles Ettelson Sara F. & Darryl Fabick Ann Fagetg Melanie & Anthony Fathman, M.D. Feast Magazine*
Keith & Ann Fischer John Forestner & Brad Alford Gretta Forrester & Gretta Forrester Family Fund of the St. Louis Community Foundation Marti & Bob Fowler Don & Margie Franz Bettie Gershman & Gershman Foundation Ann & Randy Getz Joe Gfaller & Kraig Turner Grey Eagle Distributors Arnold & Myrna Hershmang Bea Hollander†g Alfred & Marilyn Holtzer Linda Horne & Daniel Phillips Jeannette R. Hueyg Frank Jacobs & Marylen Mann Diane & Paul Jacobson & JOSAL Foundation Mr. & Mrs. Newell S. Knight Shirley & Norton Kronemer Mr. & Mrs. Ned Lemkemeier Joe & Alice Maffit Mr. & Mrs. Mark McCallum
John G. W. McCord Mrs. S. Lee A. McMillan Sedgwick Mead, Jr. & Catherine Perry William D. Merwin Erie Millsg & Thomas Rescigno Liz & Brian Mischel Moneta Group Charitable Foundation Terri Monk, M.D. & B. Craig Weldon, M.D. Mr. & Mrs. Jean-Paul Montupet Mr. & Mrs. Nate Moore Mr. & Mrs. William C. Morris & The Cove Point Foundation Julia K. Muller & Earl K. Shreckengast Kitty Pearl Cindy & Sandy Peters & The Peters Family Fund Peggy & Jerry Ritter Kathleen S. & John C. Rorris Dr. Mary Anne Rudloffg Mr. & Mrs. Alan Sachs & Argo Foundation, Inc. Tom & Ulrike Schlafly & Sycamore Tree Charitable Fund of the St. Louis Community Foundation
Mr. & Mrs. Henry L. Schweich Kathy Sears, in memory of Frances & Walter Sears & Florentine Friedman Dr. David Sewall Eve Simon Solti Foundation Frank Steeves & Sheryl Andrews James V. & Susan S. Stepleton Mr. & Mrs. V. Raymond Stranghoener Dr. Donald Suggs Mr. & Mrs. E. R. Thomas, Jr. Mr. & Mrs. Mark C. Throdahl Trademark Wines* Susan & Peter Tuteur James Viscardi & Lisa Brubaker George & Betsy Vogt Robert & Nancy Wagoner The Hon. & Mrs. G. H. Walker III Ted Wight, Dielmann Sotheby’s Real Estate Peter J. Wender Mr. & Mrs. Robert Wislow Dr. David† & Marilyn Yahnke Stuart & Susie Zimmerman
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 under the tent, and more. Thank you to the following Friends of the Festival: Guarantors
p
$1,000-$2,499
Anonymous Donors (2) Advertisers Printing Company* Mr. William Aitken Mr. & Mrs. Larry Albus Donna & Harvey Allen H. Dieter & Karla Ambos Patricia Anderson Robert C. Anderson Anti-Defamation League of St. Louis Steven Arenberg Shannon Bagley & Ryan Tuseks Tony Bardol Mr. & Mrs. Hendrick Barner Anthony Bassett Mr. & Mrs. Peter F. Benoist Holly Bensons Sally Brayley Bliss & Jim Connett
Catherine S. Bollinger Dr. Michael R. Borts & Dr. Mary Jo Gorman Mr. & Mrs. Ken Bowers Martha Brewer & Calvin Bentley Charitable Foundation Trust Cindy Brinkley Mary I. Brown Melvin & Pamela Brown Russell Browning & The Russell E. Browning Family Foundation Jane D. Bryan Mr. & Mrs. Jacob Buchowski The Hon. Bruce Buckland Brandy Burkhalters Mrs. Parks Campbell Dr. Anne Carman Judith Chouteaus
† In Memoriam 140
* In-kind Gift
Rich Chrismer Charles & Katherine Claggett & Claggett Family Charitable Fund Beverly Clarkson Clayton Financial Group John Michael Clear & Isabel Marie Bone Vicki & Brian Clevinger Mr. & Mrs. Herbert Condie III Kevin Counihan & Maryanne Hertels Mr. & Mrs. Andrew B. Craig III Emily Cutler Diane Dark Dr. Jason Deess Jack & Sherry Delo Mr. & Mrs. Dale B. Dendtler Mr. & Mrs. Arnold Donald & Arnold & Hazel Donald Fund of the St. Louis Community Foundation s Intermezzo Society
g Crescendo Circle
Dr. & Mrs. James W. Donnelly Dr. Majella Doyle Quintus L. Drennan, Jr. Kitty Drescher Drilling Service Co. George Drysdale Susan† & Robert Eastman Mark W. Eggert & Julia Tang Elleard Heffern Fine Jewelers Edgar W. Ellermann Mr. & Mrs. John E. Evans III Excel Business Concepts Alan R. Fiddlemang Drs. Cynthia Florin & Andrey Shaw Janice & Bill Forsyth Warren & Mattie French Nancy Friedland & James Florczak, in memory of Waldo & Lucille Friedland
Do n o r s : A n n u a l Fu n d 2 0 1 7–2 0 1 8
Ann M. Fuszg Ellen M. Fuszg Mr. & Mrs. Martin E. Galt III & The Jackes Foundation Walter & Nancy Galvin Dr. James Gandre & Dr. Boris Thomas Joseph E. Geist John & Dora Gianoulakis Gail & Louis† Glaser Barbara B. Goodman Joan Goodsong Jan & Ronald Greenberg Greensfelder, Hemker, & Gale, PC Michael L. & Paula E. Gross Frank J. Guyoll III Hastings+Chivetta Architects, Inc. Louis & Marcela Hawn Donna & Robert Heider Mr. & Mrs. Gerard Hempstead 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 Roger & Lynn Irvine Margaret & Martin Israel Gayle Jackson & Dr. Frederic Kraus Kyle Kerr LeRoy Kim & Lindsey Boylan David Kimball & Laura Arnold Mary M. Kimball & Daniel D. Fey Richard & Shirley Knight Helen Kornblum Chris Koster & Jennifer Cullens Gerald M. Kowarsky Bill Kumke Tom & Linda Langsdorf Terry Lay, in memory of Jerry Boyer Sally Leflerg & Jane Towater Myla Lerner Fran & Norman Leve Drs. Laurence & Edith Levine Barbara Liberman Mr. & Mrs. Richard Liddy & Liddy Family Foundation The Stanley L. & Lucy Lopata Charitable Foundation Charles MacKayg Erin Mahonys Linda M. Martinez Dr. John E. Mazuski Mr. & Mrs. Mark McCallum Pat & Brigid McCauley Diane McCulloughg Rus McMahan
David McNeel Brenda K. Melson Jack Austin Miller Mr. & Mrs. Lawrence Moceri Mr. & Mrs. James R. Moog Cynthia & Rob Nevett Dr.† & Mrs. Matthew Newman Martha C. Nussbaum Timothy & Kara Graziano O’Learyg J. Matthew Pantaleoni Mr. & Mrs. Brooks Parriott Mrs. Frederick G. Peil John Howard Percy Mr. & Mrs. Andrew Phillips James D. & Joy M. Pierce Ruthe Ponturo & The Virginia Ruthe S. Ponturo Charitable Fund Tola Porter & Dr. John McGrath Kate Poss-Morency & René Morencys Dr. & Mrs. John A. Powell Noel Prince Jennah Purk, Purk & Associates, PC R. B. Willoh Company Wade A. Rakes IIs Susan & John Rava & Rava Family Fund Heidi & Win Reed Mr. Trevor D. Reese, Jr. Marti Reichman Lee & Nancy Reycraft Allen & Merry Richon Don J. Riehn & Jon Goeders Mr. & Mrs. Rodger Riney Elizabeth & Richard G. Robb Al & Martha Roux Dr. & Mrs. Joseph Ruwitch St. Louis Magazine* St. Louis Symphony Orchestra Mrs. Harvey Saligman & The Linda & Harvey Saligman Charitable Foundation Lucinda P. Santiago Alice & Peter Sargent Sandy Schonwald 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. Kenneth & Marjorie Smithg Janie & Sandy Sommer & The Sommer Family Charitable Fund Dr. John A. Sopuch Linda Stark & Linda & Walter Stark Charitable Gift Fund Nancy Staudt & Lee Epstein
Mr. & Mrs. Bill Stebelski Ed & Katie Stouts Molly Strassner Georgia Streett J. Kennard Streett Drs. Elizabeth & Paul Stroble Mr. & Mrs. Warren G. Sullivan Peggy Walter Symes Dr. & Mrs. John W. Tabash Maria & Philip Taxman Ina Tornallyay & Arthur P. Brigham III TROCO Custom Fabricators, LLC Emil & Marianne Unanue Jane Unger Rowena B. Van Dyke Mr. & Mrs. Thomas R. Voss Washington University Mr. & Mrs. John D. Weil & Pershing Place Foundation Mr. & Mrs. Robert Weiss Chrissie & Bradford K. Werner Barbara McAfee Wohltman Mr. & Mrs. Richard R. Woods & Heart of Oak Foundation, Inc. Wunsch Foundation F. Lee Zingale Donna Zoeller Risa Zwerling & Chancellor Mark Wrighton
Supporters
p
$500-$999
Anonymous Donors (3) A. Bommarito Wines Leonard & Audrey Adreon Advanced Nursing Services, Inc.* Mr. & Mrs. Charles C. Allen, Jr. Rodger & Diane Alexander Steven & Patrice Bain Harriet Baron Virginia Bensong Heather Benz & Arnav Moudgil Sharon Biegen & Brian Vandenberg Catherine Binns & James Honkisz Mrs. Merle N. Blundell Drs. Nanci & James Bobrow Kenneth & Ann Bohm Eugenie R. Bonte Jane & Charlie Brader Shirleen & Jerry Brown Linda Burns Ann M. Corrigan Irene Cortinovisg 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
Connie Emge First Bank Louise Flick & William True Gerard Frankenfeld Nicole & Keith Freber Mr. & Mrs. Frank Galka Ann Carole Gaspar & Peter Gaspar Matt & Karen Geekie Jerome & Catherine Gidlow Lois Goldring Anne P. Grady Anthony M. Gryzmala Chris Guyol Rik & Gail Hafer Stephen C. Hall Shirley A. Heimang Carolyn & Jay Henges Mr. & Mrs. James O. Holton Mr. & Mrs. Merle Horowitz & The Harold & Ethel Horowitz Family Charitable Foundation Mr. & Mrs. John Howell Thomas Incrocci Silvian Iticovici & Cathy Ifune Glenn & Ingeborg Jackson Marjorie Eddy Johnson Suzanne & Jim Johnson III Nancy F. Kalishman John Kavadas Mr. Stephen E. Kraft Laura & Anthony Lancia Ronni Lodato & Bill Radlinski Mr. & Mrs. Jack Mandel Sally Markland Mrs. Lansden McCandless, Jr. Laura & John Meyer Mr. & Mrs. Stephen D. Mitchell Lydia Mower Janet Mulroy Ruth Orth & Rick Harper Elizabeth C. Parsons Mr. & Mrs. Keith Patten Gina Pellegrino & Eric Staley Dr. Keith I. Polakoff Judy & Paul Putzel Brian Abel Ragen Stanley Ransomg Patricia Rice Robert E. Ricklefs & Susanne Renner Mary Riebold Ray & Cherry Robbins Mr. & Mrs. Bruce Robert & The Jane M. & Bruce P. Robert Charitable Foundation Dr. & Mrs. Leon R. Robison III Mr. & Mrs. Alan C. Rosenkoetter Ann R. Ruwitch & John Fox Arnold Jennifer A. Sage Saint Louis Opera Club
Friends of the Festival continued on page 142 141
Do n o r s : A n n u a l Fu n d 2 0 1 7–2 0 1 8 Friends of the Festival continued from page 141 Geraldine Schiller Maria Schlafly & Dave Aholt Mr. & Mrs. Jerome J. Schlichter & Schlichter Fund of the St. Louis Community Foundation Henry & Sally Schwartz Janice & Stephen Seele R.A. Seeliger Drs. Barry & Marilyn Siegel Sylvia Silver Nanne Simonds Mr. & Mrs. Torbjorn Sjogren Dr. Jamie Spencer & Anna Ahrens Susan Hacker Stang Gary L. Stansbery Howard V. Stephens Bob & Liza Streett James Tobin & Virginia Heagney Douglas M. & Sherida E. Tollefsen Wall Street Capital Corp. Mrs. Robert B. Weinman Tom Wendel & Marian Nunn Susan & Alan Witte Douglas & Lynn Yaeger George Yeh
Contributors p $250-$499
Anonymous Donors (3) Natalie Alberici Scott Amelung & David Booker M. J. Aneskievich Susan & Bob Appleton Barbara C. Archer Robert Arensman Mr. & Mrs. Leif Bergquist Michael G. Biggers Mr. & Mrs. David Bishop Lynn Bodicky Radine & Ben Borowsky Mr. & Mrs. Robert C. Boyd Elsbeth Brugger Drs. L. Michael & Elizabeth Brunt Heinrich & Dorothea H. Bruschke Mr. & Mrs. Richard Buck Robert Burns Rodney & Elaine Carlson Pat Church & Jim Daues Karen Levin Coburn Robert & Janice Coleman Mr. & Mrs. Laurence K. Condie Mr. & Mrs. John J. Corbett Dr. Mark Corman & Jane Seelig Ann P. Corrigan Joseph E. Corrigang Mr. & Mrs. David Crane Dorothy Cunningham Dr. Debbie Depew & Mr. Brad Moore Carl & Jeanne Deutsch Max & Suzanne De Volder Mary & Wallace Diboll Nicholas Divirgilio
142
David & Susan Dobmeyer Mary Ruth Donnelly Robert & Jamie Driver Ingrid & Rich Dubberke Sarah Duffy Kay & Larry Dusenbery Barbara Eagleton Linda J. Eaker John Eddy Robert & Sarah Elgin Helen & Tom Etling Greg & Prissy Evans Mary Ferguson Dr. Kathleen Ferrell & Dr. Richard Brasington Mr. & Mrs. Francis W. Field Mary Sue Finney Wilford J. & Susan Forbush Liza Forshaw Christy & Gary Fox Mary Jane Fredrickson Dr. Anna Fu & Will Bockenkamp Keith H. Fulling & Deborah J. Gersell M. Carolyn Gamache Eileen Garcia Mr. & Mrs. Anthony Garnett Dr. Fred & Carol Gaskin Mr. & Mrs. John Gazzoli Elaine Gernstein Nicki & John Gillis James Glazier Lois Gould† Robert & Catherine Gresick Edith L. Grunwald Susan L. Hahn Mark Halton Matt Harvey Harwood Family Fund of the Community Foundation for the National Capital Region Deanna Hasler Franklin & Rachel Haspiel Dr. Nanette Hegamin Jennifer Heglin Michael Herron Mr. & Mrs. John M. Hillhouse Luise N. Hoffman Jim Hollingsworth & Alex Sherrer Mark & Peggy Holly Mr. & Mrs. Patrick Huber Mr. & Mrs. Philip L. Huddleston Mr. & Mrs. David H. Hutchinson Jan Jacobi Dr. Marie G. Jureit Marlene Katz Greg & Emily Klimek Steve & Margie Knapp William B. Kountz, Jr. Mr. & Mrs. Tom Kuntz Jack & Mary LaBarge Paul & Martha LaFata
John & Marjorie Larsen Dr. & Mrs. Frederick Lewis Laurie & Sean Lock Dr. George A. Lodoly Melvin Loeb Rosalyn & Charles Lowenhaupt Dr. Gregg & Cindy Lueder Dr. & Mrs. Carl A. Lyss Virginia MacDonald Daniel E. Marshall Mr. & Mrs. Richard Marx Dr. Jerald & Jane Maslanko Matter Family Office Ruth McBrayer Jane & Jim McDaniel Maureen McDonnell & Stephen Pakan Mr. & Mrs. Hugh A. McGaughy Andrew J. & Roxanne T. Miller Drs. Tom & Karen Miller Mary & Timothy Mitchell Verla & Richard J. Mitchell Frank Modruson Mr. & Mrs. Stephen Montgomery Drs. Marc & Cynthia Moon Lucy Morris Ruth Hubert Morris Dr. David & Lynn Mutch Michelle Myers Sima & Philip Needleman Alice B. Nelson Melany Nitzsche Sarah Packman Mrs. James L. Ottolini Mr.† & Mrs.† Emmanuel C. Paxhia Douglas Pedersen Dr. & Mrs. Edward Perantoni Amanda Peters Jeffrey A. Pierce Marta & Jorge Pineda Harriet & Philip Polster Donald & Jane Prahlow Doris B. Pree Mr. & Mrs. J. L. Price Mr. & Mrs. Dan Rabata Steve & Sue Rakel Drs. Roger & Valerie Reichert Susanne Reimer-Fey & Dave Fey Charles & Marian Rice Henry Robertson Mr. & Mrs. Dave Rodriguez Larry Rosen Carol L. Roslund Mitchell & Gina Rotman Walter & Marie Schmitz Schnucks Harriet Scholle Lenore Harris Schulein Mr. & Mrs. Kenneth Schutte Linda Schwartz 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 Janet Spencer Bruce Springer & Patricia West Kevin T. Staley Patricia Stanton John H. & Jolly Stewart Dr. & Mrs. Philipp A. Stoeberl Drs. Phillip & Susan Storm Dr. Pamela Stuerkeg Carol Sullivan Dr. & Mrs. Lawrence A. Taylor Katelyn Tobnick & Family Jane & Pat Tracy Mr. & Mrs. Charles Van Dyke Mr. & Mrs. William R. VanLuven Annie Vogt Dr. Monika E. Volkhardt Barbara & David Ware Grace T. Weber Sue Webster Marlita Weiss K. E. Wentzien Joie Werner Stevie & Joe Werner D. John Whiting Gerald Wilemski Greg & Ann Willard Mike & Barbara Willock Jim & Judy Wilson Tani Wolff Kay E. Wunder Jerry Wunderlich Mr. & Mrs. Darrell Yearwood † In Memoriam * In-kind Gift
s Designates members of the Intermezzo Society. Please see page 145 for more information about this exciting 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. The list of Opera Theatre contributors was complete at press time and indicates those who made annual fund gifts before April 1, 2018. Donors who made gifts later will be included in the 2019 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.
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. The guidance and perspective of National Patrons Council members are important resources for Opera Theatre, helping the company better define key issues and trends in the field. Council members help guide OTSL’s efforts to achieve enhanced artistic quality, raise the company’s national profile, and advance outstanding young American artists. National Patrons Council members enjoy special benefits, including access to Opera Theatre’s leadership team, updates on strategic planning and other key information, and invitations to special social events and activities. Membership is available with an annual gift of $2,500, with additional levels of support available at $5,000 (NPC Gold Circle) and $7,500 (NPC Platinum Circle). 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 or mmyers@opera-stl.org. Opera Theatre is deeply grateful for the support of the following National Patrons Council, NPC Gold Circle, and NPC Platinum Circle members. CHAIRS
Mr. & Mrs. Robert H. Craft, Jr.
Washington, D.C.
p
COUNCIL MEMBERS
Mrs. Walter F. Brissenden
p
Illinois
Mr. & Mrs. Donald L. Bryant, Jr. Mrs. Parks Campbell
Texas
p
Oregon
Suzanne & William Dolan
p
Robert H. Duesenberg
Missouri
Dr. John E. Forestner George Handran
p
p p
Texas
Massachusetts
Dr. Diane & Mr. Paul Jacobson Jack McCord
p
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
Kathy Sears
California & Maryland
Missouri
Drs. Sondra & Milton† Schlesinger p
p
p
California
Washington, D.C.
Mrs. Frederick J. Simon
p
Mr. & Mrs. Robert Tancer
Nebraska p
Arizona
Professor Emeritus Charles M. Weiss Mr. & Mrs. Robert Wislow Sharon & Elliot Zucker
p
p
p
North Carolina
Illinois
Missouri & New Mexico
† IN MEMORIAM 143
MUSIC gives a soul to the universe, wings to the mind, flight to the imagination & LIFE TO EVERYTHING. ~PLATO
e… Care… Lov Und
erst a n d i n g .
Skilled Nursing & Rehabilitation DELMAR GARDENS OF CHESTERFIELD 636.532.0150 DELMAR GARDENS OF CREVE COEUR 314.434.5900 DELMAR GARDENS OF MERAMEC VALLEY 636.343.0016 DELMAR GARDENS OF O’FALLON 636.240.6100 DELMAR GARDENS ON THE GREEN 636.394.7515 DELMAR GARDENS NORTH 314.355.1516 DELMAR GARDENS SOUTH 314.842.0588 DELMAR GARDENS WEST 314.878.1330
Retirement Living / Assisted Living CHESTERFIELD VILLAS 636.532.9296 GARDEN VILLAS 314.434.2520 GARDEN VILLAS NORTH 314.355.6100 GARDEN VILLAS OF O’FALLON 636.240.5560 GARDEN VILLAS SOUTH 314.843.7788
Medical Supplies, Equipment, Orthotics MED RESOURCES RETAIL 636.530.4500 / ALTON, IL 618.466.5632 CHESTERFIELD, MO 636.733.7200
Other Services DELMAR GARDENS HOME CARE 636.733.7330 DELMAR GARDENS PRIVATE SERVICES 636.733.7100 PATHWAYS HOSPICE & PALLIATIVE CARE 636.733.7399 SPECIALIZED WOUND MANAGEMENT 636.536.0183
Proud to support Opera Theatre of Saint Louis & the St. Louis Arts. The
144
Foundation
www.DelmarGardens.com St. Louis • Atlanta • Kansas City • Omaha • Las Vegas
Family Owned & Operated Since 1965
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, thought-provoking entertainment between the “serious acts” of life. With an annual gift of $1,500, members enjoy access to unique networking opportunities, coupled with exclusive benefits and VIP events throughout the year. The Intermezzo Society, which is designed for the next generation of Opera Theatre supporters, gives members the chance to be among the first to learn about OTSL’s upcoming productions and to meet the company’s talented artists, all while making new connections with their peers throughout the St. Louis community.
PAUL CAMBRIDGE & AMANDA TRUDELL CAMBRIDGE.
KEN & MARY BOWER, MATT SCHUMACHER. PHOTOS © WENDI FITZGERALD
INTERMEZZO SOCIETY MEMBERS CHAIRMAN
Shannon Bagley & Ryan Tusek Mary & Ken Bower Brandy Burkhalter Amanda Trudell Cambridge & Paul Cambridge Judith Chouteau Kevin Counihan & Maryanne Hertel Jason Dees
Holly Benson
Julia & Kevin Hoffman Chris Koster & Jennifer Cullen Erin Mahony Kate Poss-Morency & René Morency Wade Rakes Allison W. Roberts Annemarie & Matt Schumacher Katie & Ed Stout
For more information about the Intermezzo Society, visit ExperienceOpera.org/Intermezzo or contact Michelle Myers, Associate Director for Strategy & Organizational Development, at (314) 963-4226 or mmyers@opera-stl.org. 145
Crescendo Circle: Leaving Members of the 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 Nicole Ambos Freber, Director of Development, at (314) 963-4222. All inquiries are strictly confidential. With utmost gratitude, Opera Theatre acknowledges the members of the Crescendo Circle:
Anonymous Donors (5) Susan Ahl Judith C. Anderson Dr. & Mrs. Martin Bell Virginia Benson & George Benson, M.D.† Robert A. Bilzing Mr.† & Mrs. Laurance L. Browning, Jr. Phoebe & Spencer Burke Carolyn Kehlor Carr Earl Charvet Mrs. James Corrigan Joseph E. Corrigan Irene E. Cortinovis 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 David R. Ganz 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 Dr.† & Mrs. W.R. Konneker Michael Kramer George B. Kyle Mr. & Mrs. Lawrence Langsam 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 Mr. & Mrs. Robert S. McDorman Erie Mills & Tom Rescigno Mr.† & Mrs. Reuben M. Morriss III Forrest L. Moses, Jr. Dr. & Mrs. Robert J. Myerson 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
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
a Legacy for Opera Theatre “ We want to help assure that Opera Theatre will continue to be the exciting artistic force it is today.” Mary Susman and Tom Herm are a vital part of the Opera Theatre family. A member of the OTSL Board of Directors since 2007, Mary led OTSL’s volunteer Guild as President from 2007–2009. Tom has served on the Guild’s Executive Committee as Treasurer for more than eight years. Both have worn a multitude of other volunteer hats, as well — from transporting artists and housing young singers, to spearheading the efforts of the Tempos, to chairing successful Guild events. Their generosity as donors has ensured the success of the Spotlight on Opera series, pre-performance lectures, and the Spring Sing! program. Their enthusiasm for opera and passion for St. Louis has had an invaluable impact on our community.
Board members, volunteers, subscribers, patrons — Mary Susman and Tom Herm have numerous connections to Opera Theatre of Saint Louis. They decided to deepen that connection and help provide a secure foundation for the company’s future by including OTSL in their estate plans. We talked to Mary and Tom recently about this decision. Why is having an estate plan important to you? Like all people executing an estate plan, we want to ensure that our legacy is divided according to our wishes, safeguarding the future for people and organizations we care about. Our estate plan will of course provide for our son and his family, but it also includes provisions for members of our extended family. Opera Theatre is an important member of our extended family. Why did you choose Opera Theatre? OTSL is a vital part of our life; throughout our long association with it we have made lifelong friendships. The six-week festival season is something we look forward to year-round — we know we can count on every production being of the highest quality. The company is fiscally responsible (with a history of always balancing the annual budget) and a national model for excellence. They greatly value their donors and repeatedly demonstrate that appreciation, along with creating a positive impact on the community and embracing diverse audiences. 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? We want to help assure that Opera Theatre will continue to be the exciting artistic force it is today. In addition, the company, under Timothy O’Leary’s leadership, has been dedicated to making the organization relevant to the entire St. Louis community. This is a driving force behind our continued support. Our annual giving has always stressed engagement initiatives such as Spring Sing!, Spotlight on Opera, and free pre-performance lectures. This community engagement will continue to raise the importance and relevance of our planned gift in these troubling times. What do you hope your gift will support? We believe it is important for organizations to have unrestricted gifts — we want our future gift to be directed to Opera Theatre’s area of greatest critical need at the time; we have full confidence in the OTSL Board and staff leadership to make the right decision about that need. Why would you encourage others to include OTSL in their estate plans? If you care about the cultural fabric of St. Louis, demonstrate your commitment through annual donations, volunteering, and a planned gift. In particular, planned giving enables you to continue to enrich the St. Louis community after you are gone. Also, it allows you to experience the joy of knowing the impact that your personally significant, hard-earned money will make! 147
2 0 1 8 W i n e & B e e r Ta s t i n g On Friday, February 9, Opera Theatre welcomed over 320 guests for the annual Wine & Beer Tasting. Event guests sampled exquisite wines, extraordinary microbrews, and an impressive array of hors d’oeuvres from some of St. Louis’s most popular restaurants and distributors while enjoying a beautiful display of past OTSL sets and costumes. The evening’s festivities were themed around this season’s opening production of La traviata. The 2018 Wine & Beer Tasting grossed more than $80,000, beating its revenue goal and becoming one of the most financially successful nights in the event’s history. All proceeds benefitted Opera Theatre’s nationally acclaimed professional development programs for emerging artists. Opera Theatre gratefully acknowledges the following event donors for their generous support: PRESENTING SPONSORS
BENEFACTORS
Tracy & Nate Moore Annemarie & Matt Schumacher CONTRIBUTORS
Laura & Anthony Lancia Liz & Brian Mischel Noémi & Michael Neidorff Northwestern Mutual & Gerard Hempstead Jennah Purk, Purk & Associates, PC Allison W. Roberts Smith Moore Bill Stebelski TROCO Custom Fabricators LLC Mike Weiss
BDO USA, LLP Drs. Katherine & Jacob Buchowski Amanda Trudell Cambridge & Paul Cambridge Rich Chrismer Clayton Financial Group Laurie & Dale Dendtler Becky Ditmer, Ernst & Young Drilling Service Co. Excel Business Concepts Stacy & Scott Galt Greensfelder, Hemker, & Gale, PC Hastings+Chivetta Architects, Inc. CONNOISSEURS
Heather Benz & Arnav Moudgil Kim & Tim Eberlein Karen & Matt Geekie Gina & Lee Hoagland Pam & Jim Krekeler Erin Mahony
Cheryl & Greg Noe Lynne & Brooks Parriott Wade Rakes & Nicholas Miller Trevor D. Reese Jr. Webster University
EVENT CO-CHAIRS LAURA & ANTHONY LANCIA, ANNEMARIE & MATT SCHUMACHER, AND TRACY & NATE MOORE WITH GENERAL DIRECTOR TIMOTHY O’LEARY.
MANY THANKS TO OUR TASTING TABLE HOSTS:
Big Sky Cafe, Café Napoli, Kakao Chocolate, Kaldi’s Coffee, Parker’s Table, Randall’s Wines and Spirits, Robust Wine Bar & Catering, Saint Louis Club, Sardella, and The Wine Merchant Ltd. Saint Louis Originals and their members: Baileys’ Chocolate Bar; Cravings Restaurant, Bakery and Catering; LoRusso’s Cucina; Small Batch; SqWires Restaurant and Annex; and Three Kings Public House. SPECIAL THANKS TO:
Ces & Judy’s Catering; Collaborative Strategies, Inc.; Grey Eagle Distributors; Major Brands; Jennie Moser Design; Sauce Magazine; and Trademark Wines. WINE & BEER TASTING CO-CHAIRS COMMITTEE
Anna Ahrens & Dr. Jamie Spencer Michelle Beattie Heather Benz & Arnav Moudgil Ellie & Leif Bergquist Mary & Ken Bower Drs. Katherine & Jacob Buchowski 148
CRYSTAL & PATRICK DALLAS AND JENNIFER McCLEARY ENJOY AN OPERA-INSPIRED PHOTO STATION. PHOTOS © WENDI FITZGERALD
· Laura & Anthony Lancia, Tracy & Nate Moore, Annemarie & Matt Schumacher
Amanda Trudell Cambridge & Paul Cambridge Rich Chrismer Crystal & Patrick Dallas Diane Dark Laurie & Dale Dendtler Kim & Tim Eberlein Stacy & Scott Galt Karen & Matt Geekie
Gina & Lee Hoagland Emily & Patrick Huber Jeannette R. Huey Emily & Greg Klimek Pam & Jim Krekeler Stephen Lenivy Erika & Frecky Lewis Laurie & Sean Lock Erin Mahony
Olivia & Jason McAdamis Trow Meier Noémi & Michael Neidorff Maureen & Stephen Pakan Lynne & Brooks Parriott Kate Poss-Morency & René Morency Susanne Reimer-Fey & Dave Fey
Allison W. Roberts Sarah Roberts Stephanie & Nathan Ruggles Bill Stebelski Jobie & Meade Summers Kristi & Mike Weiss Donna Wilkinson George Yeh Donna Zoeller
THE 2018 SPRING GALA:
A To a s t t o T i m o t h y O ’ L e a r y a n d O p e r a T h e a t r e Under the incredible leadership of Cathy & Jim Berges and Marsha & Bill Rusnack, Opera Theatre kicked off its 43rd season with the Spring Gala on May 12th. Nearly 400 guests came to celebrate General Director Timothy O’Leary’s distinguished tenure at this exciting event that featured several Opera Theatre principal artists and a special performance by internationally renowned mezzo-soprano Susan Graham. To honor Tim, all gala proceeds exceeding the net goal were designated for the Next Generation Fund. This new fund will provide the resources necessary to ensure a successful leadership transition, while enabling Opera Theatre to continue cultivating the next generation of artists, artisans, and audiences. To bolster this fund, all new and increased gala gifts were matched by a generous $250,000 challenge gift from Cathy & Jim Berges and Noémi & Michael Neidorff. Opera Theatre gratefully acknowledges the following donors for their generous support of the 2018 Spring Gala: PRESENTING SPONSORS
UNDERWRITERS
BENEFACTORS
Phoebe & Spencer Burke
Noémi & Michael Neidorff
Joseph P. Conran Nancy & Ken Kranzberg
LEAD SPONSORS Catherine & James Berges
GUARANTORS SUSTAINERS Lelia & David Farr William T. Kemper Foundation – Commerce Bank, Trustee Roy Pfautch Marsha & Bill Rusnack Camilla T. & Stephen F. Brauer Marilyn & Sam Fox Sally S. Levy Veronica & Randy McDonnell and the Mr. & Mrs. Sanford N. McDonnell Foundation Robin & Tim Wentworth
SPONSORS Bryan Cave Leighton Paisner Kim & Tim Eberlein Lewis Rice & TuckerAllen The St. Louis Trust Company Josephine & Richard Weil DIRECTORS Anonymous Donor (1) Phyllis Brissenden Laura & Norm Eaker Cheri & Ron Fromm Patricia G. Hecker Ann & Bill Sullins U.S. Bank PRODUCERS Mr. & Mrs. Barry Beracha Barbara & Dolph Bridgewater Elissa & Paul Cahn Carol & Don Carlson Dr. William Danforth Alison & John Ferring Jeffrey Fox Jenny Gupta & Steve Trampe Bettie S. Johnson Gail & Glenn Kellow Joanne & Alan Kohn Gene Kornblum Karen & Mont Levy Moneta Group Charitable Foundation/Steve Finerty Mr. & Mrs. Jean-Paul Montupet Pat & Bill Peck Dr. Mabel L. Purkerson Ellen von Seggern Richter & Jan Paul Richter RubinBrown Annemarie & Matt Schumacher Mary Susman & Tom Herm The Hon. & Mrs. G. H. Walker III Dr. Virginia Weldon & Francis M. Austin Jr. PATRONS Anita & Gene Adam Jan & Larry Albus Mary Randolph Ballinger Julia Barnes
Alexandra & Lee Benham David A. Blanton III Amanda Trudell Cambridge & Paul Cambridge Karen Levin Coburn Jamie & Bob Craft Quintus L. Drennan, Jr. Jane & Bob Feibel Alan Fiddleman Roxanne Frank Margie & Don Franz Edes Powell Gilbert Jane Gleason & Ted Atwood Rabbi Dr. Jay B. Goldburg & Esther Scharf Patricia & Kit Heffern Debra Hollingsworth & Mark Stacye Maggie & Ron Holtman Drs. Linda Horne & Daniel Phillips Janet & Andrew Hoyne Ann Lee Konneker Carolyn & Joseph Losos Charles MacKay Marylen Mann & Frank Jacobs Dr. Robert C. Packman & Len Powers Lynne & Brooks Parriott Judy Peil Emily Rauh Pulitzer Peggy & Jerry Ritter Linda & Bruce Ryder Alice & Peter Sargent Mr. & Mrs. Robert L. Scharff, Jr. Mary & Steven Schoolman Linda Seibert Glenn Sheffield Steve Skrainka Louise & Warren Sullivan Julie Tang & Mark Eggert Susan & Peter Tuteur Franklin F. Wallis Webster University Phoebe Dent Weil Barbara McAfee Wohltman
2018 SPRING GALA CHAIRMEN · Cathy & Jim Berges; Marsha & Bill Rusnack COMMITTEE Anita & Gene Adam Mary Randolph Ballinger Gailya & John Barker David A. Blanton III Barbara & Dolph Bridgewater Cynthia J. Brinkley Thriess & Lynn Britton Barbara Bryant Phoebe & Spencer Burke Amanda Trudell Cambridge & Paul Cambridge Carol & Don Carlson Jamie & Bob Craft Kim & Tim Eberlein
Sue & Irl Engelhardt Sara & Darryl Fabick Lelia & David Farr Jane & Robert Feibel Alison & John Ferring Alan Fiddleman Marilyn & Sam Fox Gerry E. Frankenfeld Cheri & Ron Fromm Nancy & Walter Galvin Jan & Rand Goldstein Jan & Ronald Greenberg Jenny Gupta & Steve Trampe Patricia G. Hecker
Patricia & Kit Heffern Beatrice S. Hollander† Maggie & Ron Holtman Bettie S. Johnson Mary Judge & Gyo Obata Joanne & Alan Kohn Nancy & Ken Kranzberg Peggy & Don Lents Karen & Mont Levy Sally S. Levy Marylen Mann & Frank Jacobs Elizabeth H. Mannen Veronica & Randy McDonnell Noémi & Michael Neidorff
Dr. Robert Packman & Len Powers Pat & Bill Peck Judy Peil Dr. Mabel L. Purkerson Peggy & Jerry Ritter John H. Russell Alice & Peter Sargent Martha & Bob Scharff Annemarie & Matt Schumacher Linda Seibert Glenn Sheffield Mary Ann & Andrew Srenco Daria & Ray Stranghoener Drs. Elizabeth & Paul Stroble
Lists complete as of April 15, 2018. We regret the omission of anyone who contributed after this deadline.
Donald M. Suggs Ann & Bill Sullins Louise G. Sullivan Mary Susman & Tom Herm Peggy Walter Symes Julia Tang & Mark Eggert Susan & Peter Tuteur Franklin F. Wallis Josephine & Richard Weil Phoebe Dent Weil Donna Wilkinson † IN MEMORIAM
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D o n o r s t o t h e Tr i b u t e F u n d 2 0 1 7 – 2 0 1 8 Opera Theatre gratefully acknowledges the following gifts to the Tribute Fund in honor/memory of the following special individuals: In Honor of Tim & Tricia Anderson Hamtil Construction LLC In Memory of Paul Arenberg Steven Arenberg In Memory of June Bierman Murray Darrish In Honor of David Blanton U.S. Bank In Honor of Mr. & Mrs. Harold Blatt Matter Family Office In Honor of Phyllis Brissenden David E. McNeel In Honor of Barbara Bryant Marjorie & John Dozier In Memory of John Buckley Mr. & Mrs. Michael Smith In Honor of Spencer & Phoebe Burke Phyllis Brissenden Ann Scott James & Ellen Scott In Memory of William H.T. Bush Mrs. Walter F. Ballinger II Mr. & Mrs. Stephen F. Brauer John Finger Greenbriar Investment Syndicate Mrs. Reuben Morriss III† Timothy & Kara Graziano O’Leary In Memory of Lois Caplan Virginia Benson John Frank Lesser In Honor of Karen Crebs Joie Werner In Memory of Aaron H. Darrish Murray Darrish In Memory of Morris E. Darrish Murray Darrish In Memory of Rose L. Darrish Murray Darrish In Memory of Sara Heller Darrish Murray Darrish In Memory of Chick Early Virginia Benson In Memory of Susan Eastman Sharon & Elliot Zucker In Memory of Marjorie C. Eddy Heather Ardoin Mr. & Mrs. Stephen Bell Virginia Benson Bon Marche Investment Syndicate Nettie O. Dodge John Eddy Allison Felter
Mr. & Mrs. Lucien R. Fouke, Jr. Nicole & Keith Freber Richard Gaddes The Gatesworth Residents Association Harmon Painting Inc. Patricia G. Hecker Mr. & Mrs. Ronald A. Holtman Lotsie & Rick Holton Mr. & Mrs. David Irwin Mr. & Mrs. John Peters MacCarthy Charles MacKay & Cam McCluskey Renie Morrill Timothy & Kara Graziano O’Leary Patricia Rice Penelope P. Rodday The Piano Club Dr. & Mrs. Ernest T. Rouse, III Mr. & Mrs. Leo B. Schmid Mr. & Mrs. Robert Seidler Mr. & Mrs. Frederick H. Semple Mr. & Mrs. David Q. Wells, Jr. In Honor of Jane & Bob Feibel Dr. & Mrs. Robert H. Friedman Marcia B. Mellitz Diane Weitman In Honor of Allison Felter Alice B. Nelson
In Honor of Steve & Mary Goldfarb Dr. & Mrs. Robert Karsh In Honor of Patty Hecker Phyllis Brissenden Mr. & Mrs. Clark R. Hecker Stephen Lord Karen L. Munger Gillian Noero In Memory of Sophie Heller Murray Darrish In Honor of Anne Hetlage Ann & Bill Sullins In Honor of Gina Hoagland Kit Sundararaman In Honor of Theo Hoffman Marianne Erickson & Michael Meinhold In Memory of Bea Hollander Richard A. Barger Murray Darrish Mr. & Mrs. Anthony Garnett Charles MacKay & Cam McCluskey Timothy & Kara Graziano O’Leary Maggie Stearns Sharon & Elliot Zucker In Honor of Pamela & George Horton Belinda Carstens-Wickham
In Honor of Dorothy & Billy Firestone Miriam Wilhelm In Honor of Marilyn Fox Charles MacKay & Cam McCluskey In Honor of Nicole & Keith Freber Donna & Harvey Allen Phyllis Brissenden Allen & Merry Richon In Memory of Florentine Friedman Kathy Sears In Honor of Ann & Ellen Fusz Phyllis Brissenden In Honor of Edes Gilbert Lou Stemmler In Honor of Gail & Louis Glaser Helaine Levin In Memory of Fritz Goebig Kathy Dehen Mr. & Mrs. Richard Edwards Patricia Rodems Robin Vota In Memory of Marcia Goldberg John Frank Lesser In Memory of Erika Goldburg John Kavadas
In Honor of Betty & Toby James Mrs. P. Terence Crebs In Memory of Kris Jepson Erie Mills & Thomas Rescigno In Honor of Paul Kilmer Nicholas Divirgilio In Memory of Carol L. Kimball Anna Ahrens & Dr. Jamie Spencer Mr. & Mrs. B. A. Bridgewater, Jr. Phyllis Brissenden Beverly Clarkson Mrs. P. Terence Crebs Melanie & Anthony Fathman, M.D. Allison Felter Dorothy & Billy Firestone Patricia G. Hecker Anne W. Hetlage Mary Ip Bettie S. Johnson David Kimball & Laura Arnold Mary M. Kimball & Daniel D. Fey Sally Lefler & Jane Towater J. David & Lucy S. Levy Sally S. Levy Stephen Lord Ann Mandelstamm Timothy & Kara Graziano O’Leary
James D. & Joy M. Pierce Mary & Frank Rassieur Erie Mills & Thomas Rescigno Jan Paul Richter & Ellen von Seggern Richter Damaris Schmitt Catherine C. Sullivan Stephen Trampe & Jenny Gupta Rowena Van Dyke Robert & Nancy Wagoner Franklin F. Wallis Sharon & Elliot Zucker In Honor of Karen & Harry Knopf Aaron & Jenny Knopf Joelyn & Ed Levy In Memory of Will Konneker Ann Lee Konneker In Honor of Gene Kornblum Ann & Bill Sullins In Honor of Kara Koverman Phyllis Brissenden In Honor of Lada Krasznai Mr. & Mrs. Tye Beasley In Memory of Mary Ann Lee MacCarthy Foundation Franklin F. Wallis In Honor of Sally Lefler Virginia A. Hoeper In Honor of Sally Levy Elizabeth Garland In Honor of Mary & Arthur Lieber Mr. & Mrs. Steven Schoolman In Honor of Stephen Lord Phyllis Brissenden Anne D. Crane Alfred & Marilyn Holtzer In Memory of Peasy Love Richard Gaddes In Honor of Charles MacKay Phyllis Brissenden Phoebe & Spencer Burke Dorothy & Billy Firestone Mr. & Mrs. Ronald A. Holtman Ann & Bill Sullins Stephen Trampe & Jenny Gupta Donna Wilkinson In Memory of Pris McDonnell Peggy Barnhardt & Mike Newport Virginia Benson Phoebe & Spencer Burke Bertram B. Culver III Cindy Erickson Allison Felter
Continued on page 154 153
D o n o r s t o t h e Tr i b u t e F u n d 2 0 1 7 – 2 0 1 8 Continued from page 153 Dorothy & Billy Firestone Nicole & Keith Freber Richard Gaddes Patricia G. Hecker Anne W. Hetlage John Frank Lesser Sally S. Levy Mr. & Mrs. Daniel Liberman Charles MacKay & Cam McCluskey Leigh & Jean Mason Timothy & Kara Graziano O’Leary Erie Mills & Thomas Rescigno Georgia C. Pettus Dr. & Mrs. Forbes D. Porter Patricia Rice Marsha & William C. Rusnack Maria Schlafly & Dave Aholt Mrs. William H. Sheffield Jenny & Walter Shifrin Dr. & Mrs. Kenneth R. Smith, Jr. Maggie Stearns Ann & Bill Sullins Franklin F. Wallis Sharon & Elliot Zucker In Honor of Ursula Moeller Marti Reichman In Honor of Laverne Riebold Moseley & Willard Moseley Mary Riebold In Memory of Nicholas John Musial John Kavadas In Honor of Noémi & Michael Neidorff Joyce Aboussie Dr. James Gandre & Dr. Boris Thomas LeRoy Kim & Lindsey Boylan In Memory of Eric P. Newman Murray Darrish In Memory of Matthew Newman, M.D. Phoebe & Spencer Burke Margaret Crane Melanie & Anthony Fathman, M.D. Patricia G. Hecker Mr. & Mrs. Harold Helmkampf Claire & Lee Kaufman, Jr. Mr. & Mrs. Richard Kniep Gene Kornblum Peggy & Don Lents Sally S. Levy Rosalyn & Charles Lowenhaupt Mr. & Mrs. James R. Moog Timothy & Kara Graziano O’Leary Emily Rauh Pulitzer Judy & Paul Putzel
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Mr. & Mrs. John Snodgrass Mr. & Mrs. Gregory Steinkamp David & Thelma Steward Todd & Val Terry Mr. & Mrs. E. R. Thomas, Jr. Wunsch Foundation Betsy Zimbalist In Honor of Gyo Obata The Feuerbacher/Williams Group at Merrill Lynch In Honor of Timothy O’Leary Phyllis Brissenden Alfred & Marilyn Holtzer Dr. Gina Pellegrino & Eric Staley Hannah & Andrew Phillips Josephine & Richard Weil
In Honor of Roy Pfautch Mr. & Mrs. A. Charles Hiemenz III In Honor of Jim Robinson Phyllis Brissenden In Memory of Maynord Rosen Larry Rosen In Honor of John Russell Ruthe Ponturo Franklin F. Wallis In Memory of Milt Schlesinger Drs. Cynthia Florin & Andrey Shaw Nicole & Keith Freber Charles MacKay & Cam McCluskey Timothy & Kara Graziano O’Leary Maria Schlafly & Dave Aholt
In Memory of Dr. Paul M. Packman Dr. Patricia Balke Lee & Alexandra Benham Mr. & Mrs. Robert Bruce Chaney Premier Pools Mr. & Mrs. Alan Dewoskin Mr. & Mrs. Thomas Douglass Dr. & Mrs. Duane Hagen Janet & Andy Hoyne Laurie Justiss Richard Kraner Martha Lane John Frank Lesser Mr. & Mrs. Robert Little Julie Logan Charles MacKay & Cam McCluskey Elizabeth & James Marchbank William D. Merwin Ken Miesner Noémi & Michael Neidorff Timothy & Kara Graziano O’Leary Kirt Pavitt Georgia C. Pettus Dr. & Mrs. Steven Plax Mabel L. Purkerson, M.D. Mr. & Mrs. David Raich Dr. & Mrs. Tom Richardson Mr. & Mrs. Richard Rovak Bernard D. Tischler Frances Weintraub Susan Williams Jim & Judy Wilson Sharon & Elliot Zucker
In Memory of Frances & Walter Sears Kathy Sears
In Honor of Juliette Panara Carol Panara
To honor or remember a loved one, please call (314) 963-4228 or visit us online at ExperienceOpera.org.
In Honor of Ruth Eastin Pfaender Virginia A. Hoeper
In Memory of Sarah Kerr Sears Elizabeth C. Parsons Melanie Topper & DSS Colleagues In Honor of Ray Slavin Marti Reichman In Memory of Irene Sokol John Frank Lesser In Honor of Jamie Spencer Kate S. Pitman In Memory of Harold Unger Jane Unger In Honor of Nancy Wagoner Sharon & Elliot Zucker In Honor of Mr. & Mrs. Richard Weil Matter Family Office In Honor of Marcelle Bynny Weilbaecher Robert Weilbaecher In Honor of Sam Weiser Sarah Packman In Memory of Ray Wittcoff Anita & Gene Adam Patricia G. Hecker Noémi & Michael Neidorff The list of Opera Theatre contributors was complete at press time and indicates those who made tribute fund gifts before April 1, 2018. Donors who made gifts later will be included in the 2019 program book.
† IN MEMORIAM
2018 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 more than 12,000 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
DRESS REHEARSAL REFRESHMENTS
Myrna Hershman Cay Sullivan
LIBRETTI
Tani Wolff George Yeh
OFFICE/PHONE COVERAGE
Rowena Van Dyke
SPOTLIGHT ON OPERA
Inge Jackson
Eugenie Bonte Damaris Schmitt
Ann Fusz Ellen Fusz
MARKETING
TEMPOS
Susie Hahn
GREETERS
MET AUDITIONS
CONCIERGE
HISTORIAN
ARTISTS-IN-TRAINING
Mark Kent BOUTIQUE
Beverly Clarkson Merchandising
Operations
Margie Knapp Harry Moppins DOCENTS
Jane Brader Diane McCullough John Rorris
DRESSERS, SUPERS, & LIGHTWALKERS
Sara Fabick Ursula Moeller HOUSING
Carol Carlson Ann Holton
MAILING
Beverly Whittington Gerry Frankenfeld Elliot Zucker Sharon Zucker NATIONAL OPERA ACTIVITIES
Bill Yeckley
Mary Bower Cecily Erker TRANSPORTATION
Linda Seibert Elliot Zucker
VOLUNTEER RECORDS
Steve Knapp
NEWSLETTER
Ann Fischer Tani Wolff
SPECIAL THANKS
Many thanks to the volunteers who, under the leadership of Phoebe Burke, chair, and Janet Hoyne and Karen Levy, co-chairs, are volunteering at the 2018 OPERA America Conference, hosted by Opera Theatre of Saint Louis.
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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 7 – 2 0 1 8 !
156
ANITA ADAM
ADRIENNE DAVIS
HANK HOLDER
SEAN LOCK
GWEN ADAMS
PHILIP DEITCH
SAM HOLDER
JOE LOSOS
ANNA AHRENS
LISETTE DENNIS
DEB HOLLINGSWORTH
ANDY LOVE
ALANE ANTOINE
ASTAD DHUNJISHA
KEN HOLMES
DANNY LUDEMAN
ZEKITA ASUQUO
ARNOLD DONALD
MAGGIE HOLTMAN
ELIZABETH MAHONY
GAILYA BARKER
RICHARD DUESENBERG
ANN HOLTON
KELLIE MANDRY
JOHN BARKER
KIM EBERLEIN
TRACY HOLTZMAN
NANCY MARRON
ANTHONY BASSETT
JUNKO ECCLES
STEPHEN HOULDSWORTH
HELEN MCCALLIE
ANN BAUER
CONNIE EMGE
ANDY HOYNE
DIANE MCCULLOUGH
MARTY BELL
SUE ENGELHARDT
JANET HOYNE
HUGH MCGAUGHY
PETER BENOIST
CECILY ERKER
MARILYN HUMISTON
YUKO MILLER
GINNIE BENSON
HELEN ETLING
JEAN HUNLETH
CARL MITCHELL
HOLLY BENSON
TOM ETLING
HEATHER HUNT-RUDDY
ELIZA MITCHELL
HEATHER BENZ
SARA FABICK
PHYLLIS HYKEN
MARVIN MITCHELL
CATHY BERGES
LELIA FARR
GLENN JACKSON
STEVE MIZELL
JIM BERGES
MELANIE FATHMAN
INGE JACKSON
URSULA MOELLER
JANYCE BEYER
TONY FATHMAN
FRANK JACOBS
NATE MOORE
LYNN BODICKY
BOB FEIBEL
BETTIE JOHNSON
TRACY MOORE
GAIL BOKER
JANE FEIBEL
PAUL JORJORIAN
CAROL MOPPINS
EUGENIE BONTE
JOHN FERRING
MARJORIE JURGENSON
HARRY MOPPINS
CLAIRE BOWER
ALAN FIDDLEMAN
ARINDAM KAR
RENÉ MORENCY
JOE BOWER
DOROTHY FIRESTONE
MARK KENT
JUDY MUCKERMAN
KEN BOWER
ANN FISCHER
EMILY KLIMEK
JEANETTE MYERS
MARY BOWER
KEITH FISCHER
MARGIE KNAPP
KATSUKO NADEAU
GEOFF BOWERS
PAT FOGLE
STEVE KNAPP
MICHAEL NEIDORFF
JOHN BRADBURY
GERRY FRANKENFELD
AMANDA KOEHLER
NOÉMI NEIDORFF
JANE BRADER
HANNECRISTL FRUHAUF
JOANNE KOHN
ROSE MARIE NESTER
BILL RUSNACK
LINDA STARK
LIBBY WEINMAN
KIMMY BRAUER
LYDIA FULTON
ANN LEE KONNEKER
INGRID NEUEFEIND
MARSHA RUSNACK
FRANK STEEVES
DAVID WELLS
RICHARD BRICKSON
MARIE FURRER
GENE KORNBLUM
MATT NEWMAN
JOHN RUSSELL
KIRK STEIN
BRAD WERNER
BARBARA BRIDGEWATER
ANN FUSZ
KEN KRANZBERG
JAMES NICHOLSON
CHRIS SAULTER
DAVID STEWARD
CHRISTINE WERNER
ART BRIGHAM
ELLEN FUSZ
JIM KREKELER
MELANY NITZSCHE
BOB SCHARFF
THELMA STEWARD
JOIE WERNER
PHYLLIS BRISSENDEN
CAROL GARR
PAM KREKELER
GYO OBATA
MARTHA SCHARFF
DARIA STRANGHOENER
BEVERLY WHITTINGTON
THRIESS BRITTON
ANN GETZ
NORTON KRONEMER
CAROL O’KEEFE
ELISSA SCHAUMAN
RAY STRANGHOENER
DONNA WILKINSON
ASHLEY BUDDE-TAYLOR
RANDY GETZ
SHIRLEY KRONEMER
PEGGY OTTO
CHRISTOPHER SCHMID
BETH STROBLE
ANNE WILLIAMS
REBECCA BUFFINGTON
EDES GILBERT
BILL KUMKE
SUE PASTER
DAMARIS SCHMITT
DON SUGGS
ANNE L. WILLIAMS
JACK BURKE
KAREN GRAFLAGE
ANTHONY LANCIA
ISABEL PASTRANA
HARRIET SCHOLLE
ANN SULLINS
ROMA WITTCOFF
PHOEBE BURKE
LARISA GRAYPEL
LAURA LANCIA
LINDSAY PATTAN
ANNEMARIE SCHUMACHER
BILL SULLINS
ANDEE WOLFE
SARA BURKE
SOL GUBER
DOUG LANE
ADRIENNE PATTON
MATT SCHUMACHER
CAY SULLIVAN
JOSH WOLFE
SPENCER BURKE
GAIL HAFER
TERESA LANE
JUNE PELLARIN
JANICE SEELE
MARY SUSMAN
LOUIE WOLFE
AMANDA TRUDELL CAMBRIDGE
RIK HAFER
SALLY LEFLER
KATHY PETERSEN
STEPHEN SEELE
MARY SUTHERLAND
SAM WOLFE
PAUL CAMBRIDGE
SUSIE HAHN
KENYA LEONARD
GEORGIA PETTUS
LINDA SEIBERT
PEGGY WALTER SYMES
TANI WOLFF
CAROL CARLSON
KEN HALLER
JOHN LESSER
JOY PIERCE
GLENN SHEFFIELD
MARIA TAXMAN
JAMES WYRSCH
DON CARLSON
WILLIAM HARRIS
CHARLES LETOURNEAU
KATE POSS-MORENCY
BONNIE SHOPPER
PHILIP TAXMAN
JASON YANG
ANNE CARMAN
GHAZALA HAYAT
FRAN LEVE
MABEL PURKERSON
JANE SHUMATE
ELISE TEGTMEYER
BILL YECKLEY
PAT CHURCH
PATTY HECKER
DAVID LEVY
WIN REED
JIM SHUMATE
STEVE TRAMPE
ELLEN YECKLEY
JANE CLARK
SHIRLEY HEIMAN
KAREN LEVY
PAT RICE
REX SINQUEFIELD
EMILY UNDERWOOD
GEORGE YEH
BEVERLY CLARKSON
TOM HERM
LUCY LEVY
LISA RICHTER
TURBO SJOGREN
ROWENA VAN DYKE
JESSIE YOUNGBLOOD
PAT CODDEN
CARL HERMANN
MONT LEVY
NICOLE ROACH
KEN SMITH
KIRA VAN NIEL
NANCY ZANDER
LOUIS COLOMBO
JAN HERMANN
SALLY LEVY
ALLISON ROBERTS
MARJORIE SMITH
LINDA VANDIVORT
ELLIOT ZUCKER
LYNA COLOMBO
MICHAEL HERRON
ERIKA LEWIS
TYRELL RODGERS
AMY SOPER
LINDSEY VEHLEWALD
SHARON ZUCKER
MICHAELEEN CRADOCK
ARNIE HERSHMAN
FRECKY LEWIS
JOHN RORRIS
ROBERT SOPER
DEBORAH WAFER
BOB CRAFT
MYRNA HERSHMAN
TOM LIMBRICK
MIEKI ROSSI
GENE SPECTOR
BOB WAGONER
JAMIE CRAFT
GINA HOAGLAND
CONNIE LIPPERT
MARTHA ROUX
JAMIE SPENCER
NANCY WAGONER
KAREN CREBS
NANCY HOBSON
JIM LIPPERT
MARY ANNE RUDLOFF
JANET SPENCER
FRANK WALLIS
JILL CUMMING
VIRGINIA HOEPER
CORA LIPPI
NATHAN RUGGLES
ANDY SRENCO
NINA WARE
JIM DAUES
CY HOLDER
LAURIE LOCK
STEPHANIE RUGGLES
MARY ANN SRENCO
PHOEBE WEIL
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.
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 M y r n a & A r n i e H e r s h m a n
T
hroughout their many years on the Guild Board, the Hershmans’ willingness to pitch in wherever needed has been unflagging. From
offering housing to supporting dress rehearsals to staffing the Boutique, Myrna and Arnie Hershman exude generosity and warmth in everything they do. T hese dedicated Opera Theatre supporters have opened their home to singers since 2006, when they hosted Kate Lindsey and Patrick Carfizzi, who sang Rosina and Doctor Bartolo respectively in The Barber of Seville. Tenor Geoffrey Agpalo recalls staying in their children’s bedroom, surrounded by swimming and gymnastics ribbons and photos. “The rooms are right next to Arnie and Myrna’s office, so they were never more than a few steps away if we needed anything, even if it was just conversation.” Supper, snacks, and soda were always available and the Hershmans were even known to lend singers a car when needed. Agpalo notes, “They let us borrow coffee makers, microwaves, and cookware, and I’m sure they would have offered their washer and dryer if we could fit it into our cars.” The many OTSL artists who have lived with Myrna and Arnie remember fondly the serious, day-long process of baking challah, a traditional braided bread. Creating the perfect loaf usually requires painstaking work by several singers
ARNIE AND MYRNA HERSHMAN AT THE BOUTIQUE (2015). PHOTO © KEN HOWARD
and the dedication of time and patience from Myrna and Arnie. Baritone
Robert Mellon, who has stayed with the Hershmans three times, recalls Myrna’s admonition, “Bobby, you still have egg left there to coat the challah. You have to use it all. Can’t go to waste!” Their hospitality extends beyond the Opera Theatre season, as they continue to stay in contact with and support singers throughout their careers. They have traveled to see OTSL alumni perform at companies across the country, from LA to Des Moines, IA. Mellon recalls Arnie, an avid Cardinals fan, even congratulated the Chicago-based singers when the Cubs won the World Series in 2016. The Hershmans’ support of OTSL extends far beyond housing singers. Long-time members of the Guild Board, they have participated on the hospitality committee for the Opera Volunteers International/OPERA America conference, helped to clean up after “Meet the Cast” picnics, and worked backstage at the Metropolitan Opera National Council Auditions. Arnie served as Guild Treasurer for several years. For many OTSL patrons, Myrna is a familiar lobby presence during the season, when she co-chairs the dress rehearsal refreshment committee. Both are often found working in the Boutique, and Myrna, the ultimate saleswoman, is frequently draped in merchandise — shawls, hats, necklaces, and more! Their community contributions extend beyond Opera Theatre to the St. Louis Senior Olympics, Life Skills Foundation, and Jewish Community Center. Myrna has worked on the Senior Olympics since its start in 1980, applying her expertise from running children’s swim meets to organizing senior competitions. (She even tried competing once, but decided she was better at running events than at running.) Myrna is currently an elected member of the Board of the Mid-East Area Agency on Aging. The dedication and warmth shown by volunteers such as Myrna and Arnie are key to creating the family atmosphere that encourages performers, production staff, and patrons to return to Opera Theatre year after year for the company’s festival season. TANI WOLFF
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SUMMERS COMPTON WELLS L IMITED L IABIL ITY C OMPANY
A TTORNEYS A T L AW ADVISING BUSINESSES AND BUSINESS FAMILIES SINCE 1978 MAIN OFFICE:
8909 LADUE ROAD ST. LOUIS, MISSOURI 63124
Drama Queen
After the Opera, try our world-famous Cleopatra or any of our other dramatic desserts, and a nightcap.
*ILLINOIS OFFICE: 1254 UNIVERSITY DRIVE, SUITE 300 EDWARDSVILLE, ILLINOIS 62034
}
603 E. Lockwood Webster Groves, MO (314) 963-3232 www.cyranos.com
*OFFICE HOURS BY APPOINMENT ONLY
(314) 991-4999 WWW.SUMMERSCOMPTONWELLS.COM
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158
www.winteroperastl.org
In Memoriam In loving tribute to much-missed members of the Opera Theatre family
Oh all the comrades that e’er I’ve had Are sorry for my going away, And all the sweethearts that e’er I’ve had Would wish me one more day to stay. But since it falls unto my lot That I should rise and you should not, I’ll gently rise and I’ll softly call Good night and joy be with you all. Good night and joy be with you all. The Parting Glass TRADITIONAL IRISH SONG
Diane C. Barnes June R. Bierman Lee Blakeley Heinrich H. Bruschke William H.T. Bush Louree Clem Elizabeth Ann Cohen Marion Commerford Frank Corsaro Reverend Albert F. Danter Gilbert Gordon “Chick” Early Susan Eastman Marjorie C. Eddy Julian Edison Ann M. Geraty Louis W. Glaser Edwin Goebig Marcia Lee Goldberg Lois Gould Thelma Hayes Bea Hollander Catalina E. Jamieson Kenneth Lewi Leslie F. Loewe Steven Lopata Peasy Love William Mayer J. D. McClatchy Priscilla Robb McDonnell Nina Meissner Sheila B. Michaels Lois Caplan Miller A.F. Moeller, Jr. Dr. Jeff Moley Dr. Arturo C. Montes Irene R. Morrill Barbara Morriss Lydia Mower Dr. Allen Myers Matthew Newman, M.D. Betsy O’Herin Paul M. Packman, M.D. JoAnne Parrish Emmanuel C. Paxhia Dennis Rose Peggy Salarano Elizabeth Gentry Sayad Milton J. Schlesinger Sarah Sears Irene Sokol Ela Stein Weissberger Raymond Wittcoff Dr. David Yahnke 159
C o n n e c t i n g o u r C o m m u n i t y Ye a r - R o u n d Continued from page 67.
WOMEN IN THE DIRECTOR’S CHAIR
OPERA-INSPIRED FILM SCREENINGS
On May 3, Opera Theatre and Armstrong Teasdale hosted a panel discussion featuring several women who have chosen to take on a director’s role in their career — whether in the theater, the C-Suite, or the board room. Panelists included Patricia Racette, renowned soprano and La traviata stage director; Joan Magruder, FAMED SOPRANO PATRICIA RACETTE STAGE President of Children’s Hospital and DIRECTS OPERA THEATRE OF SAINT LOUIS’S Group President of BJC Healthcare; PRODUCTION OF LA TRAVIATA THIS SEASON. Mary Nelson, general counsel and chief legal officer of St. Louis Community College; Pravina Pindoria, co-founder and COO of the workflow tech company Tallyfy; and moderator Adrienne Davis, Washington University Vice Provost and William M. Van Cleve Professor of Law. Together, they discussed their career paths, the successes and challenges they’ve encountered, and the evolution towards gender parity in their professions.
In partnership with the Webster University Film Series, Opera Theatre curated a weekend of opera-inspired film screenings in April. Verdi’s La traviata received the silver screen treatment with a showing of Camille, the 1936 classic film starring Greta Garbo as the tragic heroine. A post-film Q&A was led by Cliff Froehlich, GRETA GARBO AND ROBERT TAYLOR STARRING Executive Director of Cinema St. AS CAMILLE AND ARMAND IN CAMILLE, THE 1936 Louis. Two days later, audiences FILM DIRECTED BY GEORGE CUKOR. returned to see The Little Foxes, a 1941 cinematic adaptation of Lillian Hellman’s seminal play, which also inspired Blitzstein’s Regina. Regina stage director and OTSL Artistic Director James Robinson provided remarks and insights to the audience before the screening. The film was followed by a discussion led by Dr. Diane Carson, Adjunct Professor of Film Studies at Webster University.
A portion of audience building programs are supported by The Wallace Foundation.
CASUAL FINE DINING IN THE HEART OF KIRKWOOD
DISCOVER CDs Books OTSL logo items Picnic accessories One-of-a-kind pieces from local artists and more!
C I T I Z E N
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160
H O U S E
133 W. Clinton Place 314-965-9005 Open Tuesday-Sunday at 5:00 pm www.citizenkanes.com
PHOTO © KEN HOWARD
S a l u t i n g We b s t e r U n i v e r s i t y Since Opera Theatre’s first season in 1976, the company has called Webster University home. This unique alliance was born thanks to OTSL’s founding Board Chairman, Dr. Leigh Gerdine, who was also the president of the university. Without his advocacy and the university’s support, it is unlikely that Opera Theatre could have grown into the worldclass festival it is today. Every summer, Opera Theatre attracts music lovers and opera fans from around the country and beyond. The idyllic backdrop of the university has long been hailed as one of the key hallmarks of the OTSL experience. In addition, the partnership between opera company and university continues to produce new generations of talented theater artists. Many begin their training in Webster University’s conservatory program (which celebrates its 50th anniversary this year) and graduate into professional roles with Opera Theatre. We offer our deepest thanks to 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 wonderful partnership. 161
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.
OPERA THEATRE WISHES TO THANK THE FOLLOWING: Warren Sauer for help with lobby décor and garden metal work; Rock Hill Cleaners and Laundry for assistance with costumes; Steve Heaton for assistance with shoes; Colonel Ronald J. Weeden for assistance with An American Soldier; Malabar Limited for rental of La traviata and Regina costumes; Oregon Shakespeare Festival for rental of Regina costumes; JC Darlynn Designs for additional costume construction for Orfeo & Euridice; Winter Opera Alterations for Orfeo & Euridice; 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; Cheryl Marting of Stay Tuned Piano Service, Shannon Dobsch, and Bill McGreevey of McGreevy Piano for tuning and maintenance of pianos; Artistic Director Brian Enos and Executive Director Erin Warner of The Big Muddy Dance Company for collaboration on the production of Orfeo & Euridice; Enterprise Rent-A-Car for assisting with transportation needs for artists; 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 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, Lofts at the Highlands, Alinea Apartments, The Georgetown Apartments, Hampton Corporate Suites, VIP Corporate Housing, Springhill Suites by Marriott – Brentwood, Drury Inn & Suites, Greenbriar Condominiums, 8110 Roxburgh Apartments, Station Plaza Apartments, and The Orion for consideration in housing season artists. 162
We are deeply grateful to the following for arranging and providing patron housing for season artists: Susan Adams, Carol & Don Carlson, Buron F. Buffkin & Donn Kleinschmidt, M.D., Melanie & Anthony Fathman, Gerry Frankenfeld, Ann & Randy Getz, Joe Gfaller & Kraig Turner, Myrna & Arnold Hershman, Ann & James Holton, Pam & Jim Krekeler, Lucy & J. David Levy, Andy Love, Janice & Steve Seele, Ann & Bill Sullins, 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 2017–18 academic year: Emma Clemens, Liana Gallyoun, Nicholas Lanham, Max Rodhouse, and Wailani E. Ronquillio. Opera Theatre acknowledges with gratitude the generous hospitality of the following friends of the company: Phyllis Brissenden, Kim & Tim Eberlein, Jane & Robert Feibel, Tricia & Josh Ferguson, Dorothy & Billy Firestone, Edes P. Gilbert, Gina Hoagland, Kaldi’s Coffee, Nancy & Ken Kranzberg, Bill Kumke, Karen & Mont Levy, Lucy & J. David Levy, Sally S. Levy, Frank McGinty, Tracy & Nate Moore, Noémi & Michael Neidorff, Dr. Mabel L. Purkerson, Allison W. Roberts, John H. Russell, St. Louis Symphony Orchestra, Mr. & Mrs. Robert L. Scharff, Jr., Mary Susman & Tom Herm, Trademark Wines, Franklin F. Wallis, Webster University, Phoebe Dent Weil, The Wine Merchant Ltd., and Sharon & Elliot Zucker.
Hosts of board meetings, committee meetings, and events: Hazel & Arnold Donald, Holly Benson, Cathy & Jim Berges, Spencer Burke, Sue & Irl Engelhardt, Tracy & Nate Moore, Noémi & Michael Neidorff, Marsha & Bill Rusnack, Rex Sinquefield, Thelma & David Steward, and Ray Stranghoener. Spotlight on Opera refreshments: Genie Bonte and Damaris Schmitt. Contributors of welcome gifts for artists: Big Sky Cafe; Bissinger’s; Bowood Farms + Café Osage; City Museum; Coffee Cartel; Contemporary Art Museum; Cravings Restaurant, Bakery, and Catering; Dewey’s Pizza; Forest Park Forever; Fuzzy’s Taco Shop; Highway 61 Roadhouse and Kitchen; Kind Soap; Llewelyn’s Pub; Morgan Ford Massage & Spa, Nothing Bundt Cakes; St. Louis Symphony Orchestra; STL Cinemas; The Cup.
OTSL acknowledges with thanks the contributions of the following to community engagement programs: Crispy Edge Restaurant, Ladue Chapel, Left Banks Books, OCA – St. Louis, St. Louis Public Radio, and St. Louis University Library Associates for their support as hosts and partners for our January Meet the Makers series with Huang Ruo and David Henry Hwang; The Bach Society of St. Louis, pianist Sandra
Acknowledgments Geary, Kirkwood High School, Sophie’s Artists Lounge and Cocktail Club at .ZACK, St. Pius X High School, and Webster University Music Department for partnering on our March Meet the Makers series with mezzo-soprano Jennifer Johnson Cano; Jason Arnold of Moulin Events, Chef Ana Becerril of Catrinas, Jamilia Bow of J’s Catering with A Taste of Elegance, Executive John Bowman of the Upsilon Omega Foundation, Derek & Jamie Bryant of Blue Bell Farm, Bethany Budde of SqWires, Chef David Kirkland of Turn Restaurant, Jessica LaBozzetta of Venture Café, Chef Nick Miller of 23 City Blocks Catering, Cynthia Prost of the Arts and Education Council, Chef Elizabeth Schuster of Tenacious Eats, and Chenying Zhang of The Mandarin House for serving as culinary and venue partners for our 2018 Opera Tastings series; William McGreevy and Pack Matthews for tuning and maintenance of pianos; Olson Piano Moving and Steven Trawford for pick-up and delivery of pianos; Alpha Kappa Alpha Sorority Incorporated, Arts & Education Council Young Friends, Heather Benz & Arnav Moudgil, Gail Boker, Geoff Bowers, Peggy Brooks, Ashley Budde, Rebecca Buffington, Lucy Burns, Patrick & Crystal Dallas, Les Dames d’Escoffier, Adrienne Davis, Janet Dayawon, Vickie Denson, Caroline Fan, Yvonne Foo, Nina Furstineau, Kay Gage, Dr. Carletta Harlan, Hispanic Chamber of Commerce, Deb Hollingsworth, Mark Kent, Anthony & Laura Lancia, Teresa Lane, Tom Limbrick, Sean & Laurie Lock, National Association of Black Accountants, OCA – St. Louis, Steven Piphus, Cynthia Prost, Gabriela Ramirez-Arellano, Carlos Restrepo, Ty Rogers, Maria Taxman, Emily Underwood, Upsilon Omega Chapter of Omega Psi Phi Fraternity Incorporated, Beverly Whittington, and Jessie Youngblood for serving as event hosts for our 2018 Opera Tastings series; Tamara Keefe of Clementine’s Naughty and Nice Creamery, Lachlan Glen, and Ces & Judy’s Catering for providing food and entertainment during our Encore! After-Parties; Kim Gruner, Don Hutcherson, Webster Child Care, and William L. Clay Sr. Early Childhood Development/Parenting Education Center for their partnership on our Parents’ Night Out program; Dr. Diane Carson, Cinema St. Louis, Cliff Froehlich, Harris-Stowe State University, James Harrison, Missouri History Museum, Regional Business Council, Webster Chamber of Commerce, Webster Film Series, and Urban League Young Professionals for support of our community events.
OTSL acknowledges with thanks the contributions of the following to education programs: Monsanto Artists-in-Training visiting artists Kevin Short and MaryAnn McCormick; Jennifer Gartley and the Washington University Department of Music for their provision of Graham Chapel for the Artists-in-Training Winter Recital; Paul Reuter and the staff of The Sheldon Concert Hall for hosting the Artists-inTraining Spring Recital; Mark Kent, Guild volunteer sponsor for 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; Kaye Harrelson, Charles Butler, and Dwayne Buggs of the St. Louis Public Schools, Kelly Gerstner of Riverview Gardens High School, and Duane Foster of Normandy High School for their support of the Artists-in-Training Preparatory Program; staff and congregation of Bellefontaine United Methodist Church for hosting the Artists-in-Training Preparatory Program recital; Christine McDermott and Alice Montgomery for providing an instructional voice clinic for AIT students; 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 Workshop; The Switch for their donation of sound equipment; J. David Levy for photographing Opera on the GO!; Michael Neiman and Mary Queen of Peace Catholic School for hosting the Opera on the GO! sensory-friendly performance; Trevor McKee for volunteer services; Dr. Michael Smith of the Des Lee Fine Arts Collaborative; Dr. John Simpson and Joe Hays of the Webster Groves School District, Dr. Mike LaChance and the Ritenour School District, and the volunteer teacher aides for their support of the 2018 Opera Camp for Kids; Lynn Packwood of Bonhomme Presbyterian Church and Karen Roche of Bonhomme Community Concert Series for presenting A Little Lunch Music; Amanda Thompson Rundahl, Lesley Wellman, and Ann Burroughs of the Saint Louis Art Museum for Opera Art Tours and Gallery Talks; Dr. Fran Levine and Emily Underwood of the Missouri History Museum for hosting the spring panel discussions for An American Soldier; Arts Connection Task Force co-chairs Christine Brewer and Edes Gilbert and its members; Kids’ Club partners Emmanuel Episcopal Church and Webster Child Care Center; and docent co-chairs Diane McCullough, Jane Brader, and John Rorris.
2017 Holiday Celebration The 2017 Holiday Celebration occurred on December 10 and was chaired by Sue & Irl Engelhardt. The evening featured a performance by soprano Deanna Breiwick accompanied by Damien Francoeur-Krzyzek, as well as caroling by Opera Theatre artists Monica Dewey and Michael Day. Over 260 people attended the event, which raised more than $67,000 to support Opera Theatre’s professional training programs for emerging artists and education and outreach initiatives. Thank you to Chrissie & Bradford Werner for underwriting Deanna Breiwick’s engagement. Special thanks to our generous table sponsors: Phoebe & Spencer Burke, Kim & Tim Eberlein, Sue & Irl Engelhardt, Lewis Rice, Steven C. Mizell & Monsanto Company, and Noémi & Michael Neidorff. Thank you to Connie Cissell for her help with the centerpieces, and to Sue & Irl Engelhardt for underwriting the evening’s favors and a portion of the wine. 163
Opera Theatre Repertory John Adams Nixon in China, 2004 The Death of Klinghoffer, 2011
Domenico Cimarosa The Secret Marriage, 2004 John Corigliano The Ghosts of Versailles, 2009
Dominick Argento The Boor, 1980
(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 Dvořák 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)
Lukas Foss The Jumping Frog of Calaveras County, 2000
Marc Blitzstein Regina, 2018
(YMCA, Missouri History Museum)
Tomás Bretón La verbena de la paloma, 1982
Cary John Franklin The Enchantment of Dreams,* 2007
Benjamin Britten Albert Herring, 1976, 1978 Billy Budd, 1993
(Original version: American premiere) Curlew River, 1986 (Christ Church Cathedral)
Gloriana, 2005 A Midsummer Night’s Dream, 1992 Noah’s Flood,* 1990
1986
(Christ Church Cathedral)
Philip Glass The Trial, 2017 (American premiere)
The Rape of Lucretia, 1996 The Turn of the Screw, 1980 David Carlson Anna Karenina, 2007 (World premiere production) The Midnight Angel, 1993 (World premiere) Unsuk Chin Alice in Wonderland, 2012 (American premiere)
André-Ernest-Modeste Grétry Beauty and the Beast, 2005 Adolphus Hailstork Joshua’s Boots,* 1999
(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 Huang Ruo An American Soldier, 2018 (World premiere) Engelbert Humperdinck Hansel and Gretel, 2006 Leoš Janáček Katya Kabanova, 1998 Scott Joplin Treemonisha, 2000 Hans Krása Brundibár,** 1997 (COCA), 2009 (Touhill Performing Arts Center – UMSL) Franz Lehár The Merry Widow, 1989
Stephen Mager Dream of the Pacific,* 2004
1996, 2001 The Very Last Green Thing,* 1992
(The Apple Shed, Clarksville, Missouri); 1985 (National touring production: St. Louis, San Antonio, and Los Angeles);
Peter Grimes, 1990 The Prodigal Son, 1987
Charles Gounod Faust, 1998 Romeo and Juliet, 2005
(Regional touring production: World premiere);
Thunder of Horses,* 1995
1995, 2013
(American professional premiere)
(Premiere of a new performing version) “27,” 2014 (World premiere)
Ruggero Leoncavallo La bohème, 1991 Pagliacci, 2013
John Gay The Beggar’s Opera, 1982
Paul Bunyan, 1984
Ricky Ian Gordon The Grapes of Wrath, 2017
(Saint Louis Art Museum) Loss of Eden, 2002 (World premiere)
(Regional touring production: World premiere);
(St. Alphonsus Rock Church)
164
1976–2018
Christoph Willibald Gluck Iphigenia in Tauris, 1994 Orfeo & Euridice, 1984, 2018 Alexander Goehr Arianna, 1998 (American premiere)
(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.
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) Jōruri, 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)
Bedřich 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
1976–2018 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,* 1984 (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, 2018 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
TEN YEARS WITH
Timothy O’Leary Continued from page 36.
Timothy O’Leary, James Robinson, and the OTSL staff welcome General Director Designate Andrew Jorgensen (2018). PHOTO © ERIC WOOLSEY
When the announcement of Tim’s appointment at WNO went live last September, the national press was quick to agree. “Washington’s Opera Taps a Champion of New Work from St. Louis,” wrote The New York Times, while the Washington Post headline read, “Washington National Opera Lands a Star.” Tim will officially begin his duties at Washington National Opera on July 1, 2018. “Timothy’s impressive stewardship of OTSL has been a model of visionary and inspired management of a modern American opera company,” says Robert Downing, President of the WNO Board of Trustees. While Opera Theatre is sad to lose this visionary, talented, and thoughtful leader, the company wishes Tim and his family all the best for the next chapter. Asked to reflect on his tenure at OTSL, Tim grew contemplative and said, “There are no words for how grateful I am to the whole Opera Theatre family. Family is really the word. When Kara and I moved to St. Louis, we couldn’t believe our good fortune as we got to know everyone in the company, which includes the audience, board, donors, volunteers, staff, and partners throughout the community. Every accomplishment of the past 10 years, and of OTSL’s whole 43-year history, is the result of incredible teamwork among all those people. One thing is for sure, the O’Leary family — which is now larger by three little people than it was in 2008 when we moved here — intends to remain part of this wonderful OTSL family, visiting at least every June to attend the season and reconnect with all our wonderful friends. Other than that, all I can say is thank you.” As for the OTSL family, our feelings are best captured by the words of Board Chairman Noémi Neidorff: “The future of Opera Theatre is indeed bright — and is all the brighter thanks to the partnership of this incredible community and the sterling legacy of fiscal prudence and artistic innovation that Tim will leave behind.”
Tim, Kara, and their three children (2017).
166
O P E R A
T H E A T R E
S A L U T E S
The 2018 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 (43) Webster University (43) IATSE Local #6 Stagehand Union (38) Hunter Engineering Company (35) St. Louis Symphony Orchestra (35) Ces & Judy’s Catering (34) Janet McAfee (34) Advanced Nursing Services of St. Louis (30) Arts & Education Council (30) Emerson (30) Washington University (29)
The Commerce Trust Company (28) STAGES St. Louis (28) The Delmar Gardens Family (27) Gunther Salt Company (24) Summers Compton Wells LLC (24) Centene Corporation (22) Stifel Investment Services (21) Wildflowers (19) St. Louis Public Radio (18) Des Moines Metro Opera (17) Regional Arts Commission (17)
Monsanto (16) The Santa Fe Opera (16) Union Avenue Opera (16) Big Sky Café (14) Central City Opera (14) Glimmerglass Festival (13) Buckingham Strategic Wealth (10) Cyrano’s (10) Metro Lighting (10) Opera Omaha (10) The Willows at Brooking Park (10)
Advertiser Index Accucare, 71 Advanced Nursing Services of St. Louis, 1 Advertiser’s Printing Company, 57 Aldine Travel, 42 Allen Outdoor Solutions, 114 Arts & Education Council, 26 Arts & Faith St. Louis, 115 Assistance Home Care, 54 Berges Family Foundation, 24 Big Sky Café, 79 BKD, 79 Buckingham Strategic Wealth, 30 Carnival Corporation, inside back cover Centene Corporation, 2 Central City Opera, 72 Ces & Judy’s Catering, 40 Chase Park Plaza Hotel, 3 Citizen Kane’s Steak House, 160 Clayco, 144 The Commerce Trust Company, 28 Cyrano’s, 158 The Delmar Gardens Family, 144 Des Moines Metro Opera, 56 Elleard Heffern Fine Jewelers, 27 Emerson, 16 Forsyth School, 115 The Gatesworth, 78
We are grateful to members of the Advertising Sales Committee for their outstanding efforts and dedication to the success of the 2018 program book.
Glimmerglass Festival, 55 Gunther Salt Company, 150 Hamtil Construction, 77 Hunter Engineering Company, 73 IATSE Local #6 Stagehand Union, 133 J.W. Terrill, 74 JAG Capital Management, 79 Janet McAfee, 46 Ken Miesner’s Flower Shoppe, 41 Lewis Rice, back cover MAC, 151 Manor Grove, 74 Mary Institute and Saint Louis Country Day School, 114 Metro Lighting, 52 Monsanto, 25 Mosquito Squad, 158 Niche Food Group, 151 Opera Omaha, 75 Opera Philadelphia, 60 Opera Saratoga, 114 Opera Theatre of Saint Louis Boutique, 160 Pacific Place, 115 Plancorp, 115 Pulitzer Arts Foundation, 64 Radio Arts Foundation, 132 Regional Arts Commission, 18
Chair Maggie Holtman
Staff Liaisons Anh Le Kelsey Nickerson
Rent-A-Relative/Pattering Paws, 75 Robert E. Butler, D.D.S., 150 Robust Wine Bar, 152 Saint Louis Zoo, 78 The Santa Fe Opera, 43 Siteman Cancer Center, 29 The St. Louis Children’s Choirs, 150 St. Louis Community Foundation, 37 St. Louis Public Radio, 134 St. Louis Speakers Series, 70 St. Louis Symphony Orchestra, 31 STAGES St. Louis, 76 Stifel Investment Services, 64 Summers Compton Wells LLC, 158 TheatreDNA, 4 Union Avenue Opera, 152 Washington University, 73 Washington University Voice and Airway Center, 53 Webster University, inside front cover Wells Fargo Advisors, 38 Wildflowers, 77 The Willows at Brooking Park, 76 Wilson Lighting, 59 Winter Opera, 158 World Wide Technology, Inc., 19
The Committee Margo Cooper Jeannette Huey Ann M. Fusz Lynn Pollak Ellen M. Fusz 167
General Information
PROGRAM BOOK
Editor Anh Le Editor Emeritus Maggie Stearns Designer/Typographer Michael Simpson Printer The Advertisers Printing Company Cover and Poster Design Michael Simpson The Forty-Third Season Program Book © Opera Theatre of Saint Louis, 2018 ADDITIONAL PICTURE CREDITS Cover: “Camellia Flower” by IMAGEMORE Co, Ltd. / Getty Images. Page 84: Amelita Galli-Curci. Photo © Music-Images / Alamy Stock Photo Page 85: Pretty Woman. Photo © AF Archive / Alamy Stock Photo Page 98: The casket of US Army Private Danny Chen, Photo © Brendan McDermid / Reuters Pictures Page 107: Decoration for Vienna Opera House. Photo © Music-Images / Alamy Stock Photo
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
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Timothy O’Leary
Andrew Jorgensen
Lewis Rice salutes General Director Timothy O’Leary for eleven seasons of dedicated service to Opera Theatre of Saint Louis and the St. Louis community, and welcomes General Director Designate Andrew Jorgensen.
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