2018 WEO Festival Program

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West Edge Festival 2018 Festival sponsors: Amy Roth & Robert Epstein Michael Walsh & Martha Soukup Judith Workman

West Edge Opera

Board of Directors

1700 Shattuck Ave #312 Berkeley, CA 94709 (510) 841-1903 info@westedgeopera.org

Judith Workman, President James Parr, Vice President Gertrude Allen, Secretary Paul McKaskle, Treasurer Norm Abramson Claudia Conrad Brian Rosen Terri Stuart

/westedgeopera

@westedgeopera Tag us! #WEOFest2018

Staff Mark Streshinsky, General Director Jonathan Khuner, Music Director Valden Kamph, Director of Operations Terry McKelvey, Director of Finance Jaisette Herrera, Digital Media Adam Flowers, Marketing Associate Lily Hill, Bookkeeper

The 2018 West Edge Festival is dedicated to the memory of

Joseph Workman

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Working on the planning for this festival for the past year has been wonderful except for one thing. One morning in May I got a text from our former staffer Kate McKinney, asking if I had seen the Facebook post about Matt Mark’s sudden death. I was stunned. I sat there looking at this text not knowing what to do. The day before, Matt had posted the announcement that we had a grant from The National Endowment for the Arts to do his piece. The week before, he and Jonathan and Valden had been on skype to discuss orchestration. Matt Marks’ was a great talent, too soon lost to us all. We dedicate our production of his marvelous music-theater opera: Mata Hari to his memory.

The Craneway is the sixth alternative venue that we have challenged you with in five summers. The search for astonishing venues is always a struggle and I’ve often been asked the question: If there was an appropriate theater to sign on to, would we? I won’t say I don’t long for working in a theater but I also feel that creating a space within a space has become a signature part of the West Edge adventure, right along with programming and productions. We’ve become good at molding these eclectic spaces to fit each production, and we have invested in the infrastructure needed. By the way, I love the suggestions that folks bring to me for new venues. Keep them coming!

As you know by now, I’m proud that the focus this year in our festival is on complicated and strong women. I’m especially interested to see what Jonathan and Keturah and Kendra do with the character of Mélisande. My artistic life this year has also included the characters of Leonora in Fidelio (possibly the most badass of all the standard rep opera women) and the eponymous dinner knife-wielding Tosca.

With artistic leadership at this year’s festival equally divided between the sexes, I feel as if we are doing our part to correct a long male-dominated field and I want to go one step further. We are working on a completely female production of Gluck’s Orfeo for 2019. With women performing, directing, conducting, choreographing, designing. Should be interesting.

Mark Streshinsky 3

PellĂŠas & mĂŠlisande

August 4 @ 8 p.m.

August 12 @ 3 p.m.

August 17 @ 8 p.m.

by Claude Debussy Adapted from the play by Maurice Maeterlink

Production sponsors: Bernice Lindstrom Robert Ripps & Steven Spector Hilary Honore 4

Cast and Staff Conductor Director

Jonathan Khuner Keturah Stickann

Pelléas

David Blalock

Mélisande

Kendra Broom

Sponsored by Susan Hone Sponsored by Bernice Lindstrom

Golaud

EfraínSolís

Sponsored by Helen Berggruen James Meehan

Geneviéve Arkel Yniold

Malin Fritz Philip Skinner Erin Enriquez (August 4 & 17) Sophia Stolte (August 12) Joy Jin (Understudy)

Members of the San Francisco Girls Chorus Valerie Sainte-Agathe, Artistic Director & Justin Montigne, Director of Vocal Studies

Doctor

William Neeley

Supernumeraries Tatiana Bookbinder, Joe Friedman, Christina Howell, Isabelle Magid, Evelyn Martinez, Lynn Meinhardt, Mi-Yung Rhee, Jim Troup Set Design Chad Owens Lighting Design Michael Oesch Costume Design Alina Bokovikova Projection Design Jeremy Knight Hair and Makeup Jolie O’Dell Stage Manager Gretchen Muller Rehearsal Pianists Bryndon Hassman, John Elam Fight Director Jonathan Rider Assistant Stage Manager Anthony Rivera Assistant Costumer Kathleen Qiu English translation Jonathan Khuner 3 hours including two 15-minute intermissions Orchestral reduction by Jonathan Khuner 5

Director’s Note Pellèas & Mèlisande is largely a piece about Fate, but this does not mean the characters should not have agency. It is, in fact, the recognition of this agency that makes Fate’s heavy hammer all the more terrible as it falls.

When working on an opera, I always start with the music which is usually the thing that drives the story. Working on this opera pushed me to reverse my process, for this is an opera about words, both on the page and between the lines. We cannot have a discussion about Debussy’s work without discussing Maurice Maeterlinck and his play, much of which was laid directly down on the staff as Debussy’s libretto. They are inextricably linked, just like the two main characters for whom the piece is named. Dramatist Montrose J. Moses, in his introduction to the English translation of the play, said, “All that Maeterlinck requires in his dramas is for us to recognize that there is an intimate beauty, an interior value, an essence, more real and more true than the object which symbolizes it.”

At the fulcrum of this story sits Mèlisande. When researching Maeterlink’s possible sources for her character, I came to believe that she is an otherworldly creature who is an amalgam of Melusine, the vengeful serpent girl of Lusignan, and Persinette, the French Rapunzel, both forever cursed to be trapped in their own circumstance. In addition, Maeterlinck gave her the courage of a woman who escaped the clutches of Bluebeard, the villain from his other well-known play, Bluebeard’s Castle. She has more strength than it appears, and it is her injection into this miserable, dysfunctional dynasty that sets off the final collapse of a kingdom already bent on destroying itself. Mèlisande is opportunity, she is fate itself.

It’s true that Maeterlinck’s play and hence Debussy’s opera is so full of symbolism that it is sometimes hard to extract the story. The words combined with the poetry and mystic quality of this music make it easy to turn the piece into an iconic dance, where even the players appear as hollow archetypes. This has become my biggest challenge. While working inside Debussy’s dream-like structure, my goal is to tell this story in the most painfully human way in order to lay bare the horrible, raw truth that resides in everything beautiful.

-Keturah Stickann

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Pelléas & Mélisande Synopsis Arkel, King of the secluded island nation of Allemont is worried about his grandson, Golaud, who is still mourning the death of his wife after ten years. Arkel sends Golaud away to marry a princess of a faraway kingdom to ease his suffering. While on his trip, Golaud gets lost while hunting and meets a mysterious woman crying by a pool of water.

Knowing only her name, Melisande, Golaud marries her and brings her back to Allemont. Melisande is immediately introduced to Golaud’s half-brother, Prince Pelleas, who, like Golaud is instantly taken with her intoxicating beauty. This fateful meeting sets off a series of events that bring an already crumbling kingdom to its knees.

The Family Tree After Arkel’s first son, the crown prince died, his wife Génevieve married Arkel’s second son, therefore, Pelléas and Golaud are half-brothers.

King Arkel Arkel’s Eldest Son (deceased)

Arkel’s Queen (deceased)

Geneviéve

Arkel’s Second Son (sick)

Prince Pelléas Golaud’s First Wife (deceased)

Prince Golaud

Mélisande

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Mata Hari

Music by Matt Marks Libretto by Paul Peers August 5 @ 3 p.m.

August 10 @ 8 p.m.

August 18 @ 8 p.m.

Production sponsors: Mitch Mitchell Bernice Lindstrom Paul & Ellen McKaskle 8

Cast and Staff Conductor Emily Senturia Director Paul Peers

Mata Hari Tina Mitchell Sister LĂŠonide Molly Mahoney Sponsored by Bob & Terri Ryan

Vadime/Ghost of Norman Jean-Paul Jones Sponsored by Barbara Friede

Captain Ladoux Daniel Cilli

Sponsored by Roger Bourland & Daniel Shiplacoff

Captain Bouchardon Nikolas Nackley Sponsored by John & Lois Crowe

Denvignes/MacLeod Michael Grammer Colonel Von Kalle Daniel Yoder

Set Design Video Design Costume Design Choreographer Stage Manager Costume Coordinator Assistant Stage Manager Rehearsal Pianist

Neal Wilkinson David Palmer Oana Botez Jill Breckenridge Aurelia Moulin Anastasia Todish Kathryn Gubler Kate Campbell

85 minutes without intermission Mata Hari was commissioned by the HERE Arts Center New York and produced by HERE at the 2017 Prototype Festival.

This production is dedicated to the memory of Matt Marks 9

Director’s Note It has been just over a century since a Dutch woman named Margaretha Geertruida Zelle was executed for espionage in Paris. Better known as Mata Hari - a stage name she invented as a dancer during a period in which the public craved the exotic--her story takes place during a time when a woman’s station in society was fixed, and upward mobility and independence was severely limited. Mata Hari was a survivor of domestic abuse, a violent marriage to Rudolf MacLeod, a veteran of Holland’s East Indies campaign in Indonesia. Mata Hari’s career as a dancer gave her the ability to be perceived by some as a great artist, promoting female self-determination and liberation, and by others as a whore and eventually, a traitor. Though she was a white Dutch woman, her “Asian” persona marked her as an “other” and she became a victim of prejudice. Despite the hype that surrounded her court case, she remained strong and in character right up until the shots were fired.

The genesis of this project came out of my desire to create a piece where a woman was the leading role. I was interested in the Sumerian Goddess Ishtar as a subject. The dance of the seven veils, which symbolized Ishtar’s journey to the underworld, lead me to Mata Hari who had performed the dance herself. Mata Hari, being one of the twentieth century’s most controversial icons, was the perfect subject I had been looking for.

I became a big fan of Matt Mark’s music after seeing a live performance of his piece The Adventures of Albert Fish. I immediately knew that Matt, as a composer, understood human drama and I loved his anachronistic approach for composing for voice. Matt was excited by Mata Hari’s story, so in 2010, we began our journey together, which eventually brought us to a residency at the HERE Arts Center in New York which presented Mata Hari for the Prototype Festival in 2017. Matt had a wonderful balance of reserve and a quirky humor. Mata Hari has been one of the most enriching experiences of my life and hearing of Matt’s sudden passing in May this year came as a shock. The world has lost a wonderful human being and the new music world has lost a talented composer. I’m still lost for words, all I can say is that I miss him and I’m honored to be able to bring Mata Hari to life again here with West Edge Opera.

--Paul Peers 10

Mata Hari Synopsis

In the prelude, we first see Mata Hari being admired as the famous dancer, the iconic exotic goddess from the far east, loved by all men. She then transforms to the woman, a prisoner. Convicted of espionage and condemned to death, she has lost everything: her fame, her income and her name. She is alone. Mata Hari is now identified as a number in Saint Lazare prison in Paris. She meets Sister Léonide who is charged with her care as she appeals for clemency. In a series of memories, Mata Hari guides Sister Léonide through the story of her life. We see Mata Hari as Prisoner, Wife, Lover, Patriot, Mother and finally as a woman facing Death. As the sister comes to understand her struggle, the icon of Mata Hari is peeled away revealing the human underneath.

Matt Marks 1980-2018 “Matt Marks was a wonderful combination of being open, friendly, and energetic; and not at all possesive or pedantic, though he was extremely specific about what he wrote. Matt gave me the impression of someone who had a very open future because he had a great talent for bringing different operatic elements and people together.”

--Jonathan Khuner, Music Director 11

Quartett Music by Luca Francesconi based on a play by Heiner MĂźller

August 11 @ 8 p.m.

August 16 @ 8 p.m.

August 19 @ 3 p.m.

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Production sponsors: Heidi Munzinger & John Schott Gertrude Allen Paul Wyman

Cast and Staff Conductor Director

John Kennedy Elkhanah Pulitzer

Marquise de Merteuil Heather Buck Sponsored by Timothy and Anne Kahn Vicomte de Valmont Hadleigh Adams Sponsored by Norm Abramson & David Beery Set Design Sound Design Projection Design Costume Design Hair and Makeup Dramaturg Stage Manager Assistant Stage Manager Rehearsal Pianist Costume Design Assistant

Chad Owens Jeremy Wagner Jeremy Knight Christine Crook Jolie O’Dell Lucia Scheckner RenÊe Varnas Sasha Barish Hadley McCarroll Nancy Jean Bach

1 hour 30 minutes without intermission

Major funding for Quartett is provided by:

The Carol Franc Buck Foundation Thanks to John and Helen Meyer and the team at Meyer Sound for their generous help with sound for this production.

Quartett is presented by arrangement with Hendon Music, Inc., a Boosey & Hawkes company, Sole Agent in the U.S., Canada, and Mexico for Casa Ricordi/Universal Music Publishing Ricordi S.R.L., publisher and copyright owner.

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Conductor’s Note What a strange reality this opera Quartett occupies – modifying and deconstructing a well-known story (The Dangerous Liaisons by Laclos) into an almost suspended dimension. Luca Francesconi takes us into this world with a musical score that is multi-dimensional, creating a sonic spatial environment that is both physical and psychological.

A live chamber orchestra is combined with pre-recorded music by a large orchestra and chorus (performed by the Orchestra and Chorus of La Scala), with electronics and live computer processing. This combined orchestration is also spatially rendered through a distribution of speakers and the movement of elements of the music in space.

Francesconi’s method here is a reinforcement of the story-telling – there is something metaphorical about the live musicians having to align and modulate their performance to a layer from the past. Like the two characters, the orchestra has an “other”, with a live persona reconciling itself with the residues of past experience. What these characters and their reality represent is more than meets the eye and ear. Heiner Müller’s introductory note for his play Quartett said, “Quartett is a reflection on the problem of terrorism, using material which on the surface has nothing to do with it.” Two characters stripped of their dignity, realizing their most base instincts, was for Müller a means to examine the terror of human behavior against each other, at the elemental level of controlling bodies and souls.

Müller’s technique reminds us of the line Bertolt Brecht gives Mac in The Three Penny Opera: “It’s art. It’s not nice.” I have always found the great magic of opera is that it serves as breeding ground for empathy, for taking us deeper inside our humanity and our connection to others. This, I think, is what composer Luca Francesconi and his amazingly rich, multi-dimensional music provides with this difficult tale – it helps us see inside human-on-human terror, and recognize and overcome barriers to empathy.

– John Kennedy

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Quartett Synopsis The Vicomte de Valmont and the Marquise de Merteuil are trapped together, surrounded by revolution and war.

Valmont provokes Merteuil’s fury by claiming that he is in love with Madame de Tourvel. Merteuil sees Tourvel as her great rival because she was previously rejected by Tourvel’s husband.

Valmont and Merteuil reflect that the clocks of the world cannot be brought to a standstill. They are growing old and in a constant process of decay towards death. Merteuil attacks Valmont, stating that men are nothing but inanimate vehicles for women’s pleasure.

In a role-play, Merteuil impersonates Valmont’s attempt to seduce Tourvel, played by Valmont himself. A new role-play begins: Valmont approaches Merteuil’s innocent young niece, impersonated by Merteuil. This game reaches a climax as Valmont attacks and then annihilates the niece.

Their conversation descends into bitter self and mutual destruction.

Valmont takes the role of Tourvel again, who has decided to kill herself out of shame for succumbing to him. Merteuil offers Valmont a glass of poisoned wine. At this moment the game and the acting end, and Merteuil watches Valmont die.

It is called Quartett because the two roles change identity through the whole piece, including sexual identity, in a sort of extreme, final perverted game.

Rich, bored, spoiled, and arrogant: they assume they control reality, though an exclusive rational vision of the world, completely projected in their own brains.

But the mirror reflects the decaying of their bodies and the impotence of their coldness. They become terrified. Trying to conceal their fear and horror for the void, they play a game of masks. The game then becomes real violence, impotent and cold. They repeat this scene perhaps hundreds of evenings, in their boring relationship. But tonight, exactly tonight, something is going to happen. The end will be different.

- Luca Francesconi

Festival Orchestra Personnel manager Oboe & English Horn Carole Klein Andrea Plesnarski1, 3 Violin Dan Flanagan1,2,3 Rochelle Nguyen1 Marcella Schantz 1 Emanuela Nikiforova 1

Clarinet Karen Sremac1, 3 Peter Josheff 1, 3

Violin II Ilana Blumberg Thomas1,3 Candy Sanderson1 Eddie Fong1

Keyboard Kate Campbell 3

Viola Katy Juneau1,3 Betsy London1 Margaret Tichener1 Cello Leighton Fong1, 3 Paul Hale1,3 Bass Kristin Zoernig1, 3 Yuchen Liu1

Piano Hadley McCarroll 3 Kate Campbell 2

Flute & Piccolo Amy Likar1

Stacey Pelinka3 Lenora Warkentin3

Bassoon Carla Wilson1, 3

Harp Dan Levitan1, 3

PellĂŠas & MĂŠlisande 1 16

Horn Eric Achen 3 Stephanie Stroud 1 Trumpet Carole Klein1, 3 Jason Park3 Trombone Jason Borris1, 3

Timpani & Percussion Fred Morgan 1, 3 Tim Dent, 3

Electronics Triggerer Jennifer Huang3

Accordion Douglas Morton 2

Electric Guitar John Imholz 2

Mata Hari 2

Quartett 3

Festival Staff Technical Director Assistant Technical Directors Audio Engineer Master Electrician Electricians Carpenters Scenic Painters Production Manager Production Interns Supertitle Operator Box Office Manager House Manager Bar Manager Hair and Makeup Assistant Head of Wardrobe Wardrobe Assistant

Andy Fitts Caleb Salmon, Jalua Dell Tony Kirk Melissa Ramirez Edward Liptzin, Josh Van Eyken Abraham Flores, Kyle Fite, Youssef Riahi, Emma Rodrigues, Tony Kirk Tracy Boyko, Wayne Olds Renee Varnas Toby Darci-Maher, Anais Leal Kate McKinney Josh Dougherty Jennifer DeCicco James Parr Ana Rodriguez Anastasia Todish Mary Gallahue, Mai Lee Vang

Special Thanks Carol Berkenkotter Elanor Blake Francisco Carranza Janice Dost Paul Dresher Christine Ford Barbara Fritz John Fynes Mary Gallahue Bernice Greene Donna and Arlon Hunt Kate McKinney

Helen & John Meyer Meyer Sound Brian Mohr Ray Oppenheimer Elaine Robinson (SFGC) Evan Streshinsky Shirley Streshinsky Hiram Simon Claudine Torfs Frederica Von Stade Heidi, Kaleb & Anya Wagner The Center for New Music & Audio Technologies, UC Berkeley 17

Announcing the west edge festival 2018

Emma McNairy

August 3 -August 18

Venue announcement coming soon

The Three Penny Opera Weill/BRECht Elkhanah Pulitzer creates a production of Brecht and Weill’s The Three Penny Opera, having previously done their Mahagonny Songspiel for West Edge Opera. Featuring Emma McNairy as Polly. The production will be conducted by David Möschler.

Royce Vavrek

Missy Mazzoli

Nikola Printz

Orfeo - Gluck

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We present an all-female telling of the tale of Orpheus.

Nikola Printz heads up a cast of all women on stage including Erin O’Mealy and Shawnette Sulker. Emily Senturia conducts our period orchestra, and we will announce the director/choreographer and design team very soon.

BreakinG THE WAVES Mazzolli/Vavrek Based on a film by Lars Von Trier, Breaking the Waves, music by Missy Mazzolli and libretto by Royce Vavrek, was a sensation after its 2016 premiere. Zachary Woolfe wrote in the New York Times, “It is not easy to find new operas that command attention, tell their story lucidly, and create a powerful, permeating mood.

Dark and daring, Breaking the Waves does all this with sensitivity and style.” This new production will include Sara LeMesh as Bess and Morgan Smith as Jan Nyman and will be directed by General Director Mark Streshinsky and conducted by Music Director Jonathan Khuner.

The Artists Jonathan Khuner (Conductor, Pelléas & Mélisande) has been Music Director of West Edge Opera since 1986 and served as Artistic Director from 1994 to 2009. He has conducted over 75 of our productions. He has worked at the Metropolitan Opera in New York for over fifteen years, and on the musical staff of Chicago’s Lyric Opera since 1992. He worked as assistant conductor at San Francisco Opera for over thirty years.

Keturah Stickann (Director, Pelléas & Mélisande) most recently directed Turandot for the San Diego Opera and as well as directed and choreographed Gluck’s Orfeo ed Euridice for Florida Grand Opera. Upcoming she will choreograph Jake Heggie’s It’s a Wonderful Life for the San Francisco Opera as well as direct Rusalka for Madison Opera. www.keturahstickann.com Matt Marks (composer, Mata Hari) was a founding member of Alarm Will Sound & performed as a French hornist, vocalist, & keyboardist. Matt has appeared as a soloist with the LA Philharmonic, NYU Symphony, & live on This American Life.

As a composer/arranger, Matt’s work has been presented at Carnegie Hall, Walt Disney Hall, Lincoln Center, Barbican Center, Bang on a Can Marathon, and live on WNYC radio.

Paul Peers (director/librettist, Mata Hari) has directed theatre, musical-theatre & opera for Boston Baroque, Montclair State University, Vancouver Opera, ARTEK Ensemble & Pocket Opera New York. Recent productions include Il Trovatore for Hawaii Opera Theatre & Mata Hari’s world premiere at Prototype Festival in 2017.

Upcoming productions include Jomelli’s Cerere Placata for Opera Lafayette and Magic Flute for Utah Opera.

Emily Senturia (Conductor, Mata Hari) debuted at Houston Grand Opera & Washington National Opera in 2018, both with The Barber of Seville. This fall she will be the assistant conductor for the world premiere of Lembit Beecher’s Sky on Swings at Opera Philadelphia. An East Bay native, Senturia has previously conducted performances of The Ballad of Baby Doe & coached L’enfant et les sortilèges/Bluebeard’s Castle for West Edge Opera.

Luca Francesconi (composer, Quartett) Luca Francesconi studied at the Milan Conservatory under Karlheinz Stockhausen and Luciano Berio. His Opera, Quartett was comissioned by Teatro all Scala and IRCAM in Paris. After its premiere in Milan, the opera has had 45 performances in three different productions. It has been performed in Vienna, Lille, Lisbon, Paris, Strasburg, London, Malmö, Buenos Ares and finally at the Spoletto Festival in Charleston last year.

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John Kennedy (conductor, Quartett) is the Resident Conductor & Director of Orchestral Activities at Spoleto Festival USA. He has conducted widely-regarded American premieres of operas by Saariaho, Glass, Hosokawa, & others. He led the U.S. premiere of Liza Lim’s new opera Tree of Codes, & Zemlinky’s Lyric Symphony directed by Atom Egoyan. As a composer, he has been commissioned by Sarasota Opera & Santa Fe Opera.

Elkhanah Pulitzer (Director, Quartett) previously directed Lulu, Powder Her Face, Mahagonny Songspiel & The Tender Land for West Edge. She has directed operas for LA Opera, Washington National Opera, Boston Lyric Opera, Opera Omaha, Opera Theater of Saint Louis, & Canadian Opera Company. She serves as Artistic Curator for SF Opera Lab, an intimate, experimental programming branch of the SF Opera.

Costume Designer Alina Bokovikova (Pelléas & Mélisande) recently designed costumes for La Boheme at Opera San Jose & Flight at Opera Parallele. Next year she will design world premier of Opera Today it Rains about artist Georgia O’Keeffe. Currently she is a Costume Design Coordinator at AAU. Costume Designer Oana Botez (Mata Hari) is a native of Romania and has designed for many national and international companies.

She teaches costume design at Brooklyn College and M.I.T. Her designs have been featured at Berkeley Rep, Hartford Stage, Longworth Theatre, and New York’s BAM Next Wave.

Costume Designer Christine Crook (Quartett) designed costumes for West Edge productions Lulu, Powder Her Face, The Chastity Tree, & Hydrogen Jukebox. Recent productions include Mass (La Philharmonic), Weightless (Z Space), The Black Rider (Shotgun Players). Upcoming productions inclue Mass (Lincoln Center), & Men On Boats (ACT).

Projection Designer Jeremy Knight (Quartett, Pelléas & Melisande) Has filmed every performance of Berkeley/West Edge Opera since 2000. This marks his 25th scenic projection for West Edge. His previous work was seen at Dallas Opera, Michigan Opera Theatre, Yale Opera, Livermore Opera, The Crucible, & Lamplighters Music Theatre.

Set Designer Chad Owens (Pelléas & Melisande, Quartett) Previously for WEO: The Tender Land, Hydrogen Jukebox, Lulu, Powder Her Face. Designed over 100 staged productions, also a set designer & art director for movies & TV, including Woody Allen’s Blue Jasmine, & Gus Van Sant’s Milk, both nominated for Art Director’s Guild Awards.

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Video Designer David J. Palmer (Mata Hari) is an award-winning lighting/video/projection designer & visual artist who created the original video design for Mata Hari for BMP. Recen work includes Fidelio (Opera Omaha), Aida (St. Louis Symphony), The Flying Dutchman (Princeton Festival & Piedmont Opera).

Dramaturg Lucia Scheckner (Quartett) has worked as a freelance production dramaturg and with non-profit cultural organizations. She is currently the Education Director at Brooklyn Arts Exchange (BAX), a performing arts incubator and educational venue in Brooklyn. This is her fourth collaboration with director Elkhanah Pulitzer.

Sound Designer Jeremy Wagner (Quartett) is a composer/performer/audio designer currently living and working in the Bay Area.

He has worked with San Francisco Contemporary Music Players, Contemporary Music Workshop (CMW), & Zeitgeist Consort.

Set Designer Neal Wilkinson (Mata Hari) has worked in design and production at New York’s MoMA, Phantom Limb Company, The Builder’s Association, Sankajuku, and created the scenic design for the oringinal production of Mata Hari with director Paul Peers.

Baritone Hadleigh Adams (Vicomte de Valmont, Quartett) previously appeared with West Edge in Powder Her Face. He recently appeared as Hawkins Fuller in Fellow Travellers at Minnesota Opera & as the Bass soloist in Beethoven’s C Major Mass for Philharmonia Baroque.

Next he’ll perform Angelotti in Tosca at San Francisco Opera & Bernstein’s Mass at Lincoln Center.

Tenor David Blalock (Pelléas, Pelléas & Mélisande) appeared recently as Lysander in A Midsummer Night’s Dream with Virginia Opera and Ferrando in Cosí fan tutte with Opera San Jose. Upcoming engagments include Sam in Street Scene at Virginia Opera and Alfredo in La Traviata with Arizona Opera.

Mezzo-soprano Kendra Broom (Mélisande, Pelléas & Mélisande) recently appeared in the title role in Hertzberg’s The Rose Elf & the Madwoman in Orth’s 10 Days in a Madhouse for Opera Philadelphia’s Double Exposure program.

Soprano Heather Buck (Marquise de Merteuil, Quartett) recently reprised the title role in Argento’s monodrama Miss Havisham’s Wedding Night for New York City Opera, & Alma Beers in Wouronin’s Brokeback Mountain, a role she first created with Teatro Real Madrid.

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Baritone Daniel Cilli (Captain Ladoux, Mata Hari) appeared previously for West Bay Opera as Harlekin in Ariadne auf Naxos & Billy in Mahagonny Songspiel. He played Dancaïro in Carmen with San Francisco Opera. Upcoming engagements include Charles Wilcox in the premiere of Howard’s End America with Earplay Ensemble in 2019.

Contralto Malin Fritz (Geneviéve, Pelléas & Mélisande) has performed the role of 3rd Lady in Mozart’s Die Zauberflöte with the Metropolitan Opera and the Alto Solo in Handel’s Messiah with Houston Symphony Orchestra. Previous appearances for West Edge include Ma in The Tender Land, and Grandmother in Vanessa. Upcoming performances include the Opera Gala Concert in Florence, Italy.

Baritone Michael Grammer (Devignes/Mcleod, Mata Hari) appeared in Die Meistersinger for West Edge (Berkeley Opera) in 2005.

He recently performed in Pocket Opera’s La Belle Hélène & Lucrezia Borgia. He has performed for Opera San Jose & North Bay Opera.

Countertenor Jean-Paul Jones (Vadime/Norman, Mata Hari) has performed with Bay Area companies such as Cinnabar Theater & 42nd Street Moon, as well as Los Angeles-area groups such as The Al McNeal Jubilee Singers, & L.A. Opera Chorus. He teaches music at St. James Catholic School & other San Francisco schools.

Mezzo-soprano Molly Mahoney (Sister Leonide, Mata Hari) was seen in West Edge’s production of Chastity Tree and Hydrogen Jukebox. She recently performed her one woman show Mischief! with the Society Cabaret. She performs regularly with Opera companies and performing arts organizations across California and North America.

Actress Tina Mitchell (Mata Hari, Mata Hari) is a regular cast member of Punchdrunk’s Sleep No More & has worked with The SITI Company, The Metropolitan Opera & La Fura dels Baus. She is co-artistic director of Chopt Logic Productions & originated the role of Mata Hari in the 2017 Prototype Festival & makes her West Edge Opera debut.

Baritone Nikolas Nackley (Captain Bouchardon, Mata Hari) previously performed in Return of Ulysses, Cunning Little Vixen, & Agrippina for West Edge. He was recently Joe Pitt in “Angels in America” with the LA Phil & will soon sing the Bass Solo in SF Choral Society’s Christmas Oratorio & Rückert Lieder with UC Berkeley Symphony Orchestra.

Baritone William Neeley (Doctor, Pelléas & Mélisande) has performed with Livermore Valley Opera, West Bay Opera, North Bay Opera, Cinnabar Opera, Santa Rosa Players & Lamplighters Opera.

He is on the music faculty of Santa Rosa Jr College.

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Bass-baritone Philip Skinner (Arkel, Pelléas & Mélisande) appeared previously at West Edge in Hamlet, Cunning Little Vixen, Lulu, The End of the Affair, & Vanessa. He has appeared with the Metropolitan Opera, Seattle Opera, Teatro San Carlo, Hollywood Bowl, & San Francisco Opera, where he has performed in over 55 productions.

Baritone Efraín Solís (Golaud, Pelléas & Mélisande) has previously performed at West Edge in Hydrogen Jukebox. Recent performances include Mark in Cruzar la cara del la luna (Houston Grand Opera, New York City Opera), Mercutio in Roméo et Juliette (Opera Carolina, Virginia Opera, Toledo Opera); & Figaro in Le nozze di Figaro (Opera Memphis). He will return to Mercutio (Utah Opera) & sings El Payador in Maria de Buenos Aires (Opera Southwest).

Native-American Bass-baritone Daniel Yoder (Colonel Von Kalle, Mata Hari) recently performed with the San Francisco Opera Chorus in Wagner’s Ring Cycle & the bass solos in Bach’s St. John’s Passion of Bach with the UCDavis Early Music Ensemble. Upcoming performances include the title role The Marriage of Figaro for Pocket Opera.

Erin Enriquez (Yniold, Pelléas & Mélisande) began her formal vocal training with the San Francisco Girls Chorus School in 2014, and she is now a member of Level IV. In 2017, she appeared in the title role of The Little Prince with Opera Parallèle in addition to performing as a soloist at several East Bay events. Erin has a passion for performing and loves choral music.

Sophie Stolte (Yniold, Pelléas & Mélisande) is a member of the San Francisco Girls Chorus School Level IV. She got her first taste of professional performing in the San Francisco Opera’s 2017 production of Puccini’s Turandot and emerged hungry for more. She is also a promising pianist, and has recently taken up the flute in the school band.

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West Edge Opera Supporters West Edge Opera wishes to acknowledge and thank the following individuals, businesses, foundations and goverment agencies whose generous donations help make our productions posible. Listed below are those whose gifts and pledges were received between July 1, 2017 and July 1, 2018

INDIVIDUAL DONORS $20,000 and above

Anonymous (2) Bernice Lindstrom Amy Roth and Bob Epstein Judith and Joseph Workman $10,000-$19,999 Gertrude E. Allen Paul and Ellen McKaskle Michael Walsh and Martha Soukup $5000-$9999 Anonymous (2) Sylvia Ahern and Patrick Twomey David Beery and Norman Abramson Anne Corcos Peggy and Reid Dennis Richard Fabian Hilary Honore Terry McKelvey and Heli Roiha D.G. (Mitch) Mitchell Robert Ripps and Steven Spector Heidi Munzinger and John Shott Paul Wyman $1500-$4999 Anonymous Helen Berggruen/Five Arts Foundation Michael Colbruno Claudia Conrad Blair Dean and Robert Cooter Drs. John and Lois Crowe Jayne and Peter Davis Barbara Barker Friede Mary-Kay Gamel and Thomas Vogler Bernice Greene 24

Elizabeth Green-Sah Rosalie Holtz Susan Hone Russ Irwin Harvey Jones Anne and Timothy Kahn Carole Klein and Michael Crozier Paul and Sylvia Lorton Patrick McCabe James Meehan Shinya M. and James Parr Marlene Pitkow and Mark Kalow Rick Richetta Brian Rosen Bob and Terri Ryan Daniel Shiplacoff and Roger Bourland Maria Streshinsky Theresa Stuart Claudine Torfs $750-$1499 Anonymous Norman Bookstein and Gillian Kuehner Rick Ehrgott Jean-Louis Forcina Robert Goodman Philip Goward Alan Harper and Carol Baird Steve and Laurie Holland Donna and Arlon Hunt Marian Kohlstedt Adam Blum and Gary Lang John Lee Margarita Long Jason Marks and Pepi Ross Robert Mison

West Edge Opera Supporters Alice Morison William and Jane Neilson David and Judith Niver Andrea Plesnarski Thomas Reynolds William Roberts David Roe Sondra Schlesinger Sheldon Sloan Bradford Wade John Wagner Dr. George and Bay Westlake Ann Williamson

Jerry Cooper Hugh Coughlin Tom and Jane Coulter Elena and Ron Danielson Erik Davis Mary Dolven Josh Dougherty Susan and Jeff Dunn Philip Egan Joshua Feldman Peter Felleman Cheryl Fippen Brenda Fitzpatrick Steve Fletcher and Carl Croft Christine Ford Richard Ford Kate and David Funk Steven Goldberg Michael Gonzalez $200 - $749 William Gorjance Anonymous Bronwyn H Hall Henry Abrons and Li-hsia Hunter Harris Wang Pamela and Ron Harrison Claire Allphin Stefan Hastrup Kay and Gary Anderson Christina and Kenneth Hecht Ann Gabor Arancio Catherine Atcheson and Chris- Jake Heggie Donna Heinle tian Fritze Frederick Hertz Todd and Diane Baker Mary-Lawrence Hicks Tarick Bedeir Trish Benedict and Jerry Lindelef Sally Houston Sandra Innes Roy Bergstrom Franklin Johnson Peter and Carol Berkenkotter Kurt and Gail Kamph David Besley Sylvia Sorrell and Daniel F. Kane John Bierbusse Sara Katz William Boyd Frank Kelly Ida Braun Theda Haber and Kathy Khuner Peter Bronk Nelda Kilguss Thomas Brougham and Barry Lynda Korsan Warren Barbara Lanier and John Wilson Katherine H. Buckelew James Leak Helen King Burke Nancy and Tom Lehrkind Gaylord Burke Julius Leiman-Carbia Jerry Cain Kathleen Callahan and Andreas Alan Lessik Sally Lewis Neyer Lynn MacDonald Ching Chang Daniel and Virginia Mardesich Marna Clark Michael Melewicz David Clover Laura Narron Robert Cook

Marilyn and David Nasatir Bari and Stephen Ness Kathleen Calahan and Andreas Neyer Miriam Noiseux Ken Odom Pamela Peniston Wendy Polivka and Evan Painter Katalin Rader Marc A. Rieffel Ellen A. Robey James Robson Stephanie R Rogers Karen Rosenak Margaret Sands Michael and Gini Savage Linda and William Schieber Helen Schulak Ingrid Schultheis George Sensabaugh Jack Silveira Patricia Simpson Gail Simpson and David Roberts Frederic Smith Emily Sparks and Vincent Fogle Nicole Paiement and Brian Staufenbiel Blanche Streeter Shirley Streshinsky Stephen Suzman Lily Toney Elsa and Revan Tranter Wilbert and Mary Ann Urry Peter Lloyd Washburn Ann & Tom Watrous Michael Weber and Frances Spivyweber Faye Wilson Deborah Winnett William Wisniewski Erling Wold Jennifer Wood Kent Wright Matthew Yang Elizabeth Yost

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West Edge Opera Supporters

FOUNDATION, GOVERNMENT AND BUSINESS GRANTS

Amazon Smile Amphion Foundation Bank Of America Charitable Gift Fund Carol Franc Buck Foundation The Copland Foundation Fidelity Charitable Ann and Gordon Getty Foundation Goldman Sachs Philanthropy Fund Marin Community Foundation National Endowment for the Arts Sam Mazza Foundation Mechanics Bank Bernard Osher Foundation Pacific Harmony Foundation San Francisco Foundation Silicon Valley Community Foundation USAA Giving Fund Vanguard Charitable Vendini

IN KIND DONORS Sylvia Ahern & Patrick Twomey David Beery & Norman Abramson Claudia Conrad Carol Berkenkotter Elinor Blake Janice Dost Christine (Chris) Ford Barbara Fritz Bernice Greene Marian Kohlstedt

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Terry McKelvey & Heli Roiha Meyer Sound Shinya M. and James Parr Hiram Simon Jacqui Smalley Shirley Streshinsky Terri Stuart Michael Savage Claudine Torfs Frederica Von Stade Judith & Joseph Workman

West Edge Opera Supporters

CORPORATE MATCHING GIFTS Apple Inc. TRIBUTARY GIFTS In memory of Mark Mulligan Jeanette Larsen In honor of Gertrude Khuner Margo Leslie In honor of Michael Colbruno David and Yoni Mayeri In honor of Mark Streshinsky and Jonathan Khuner Martin B Friedman In memory of John Lindstrom Robert Mison We do our best to list your name accurately. If you were omitted or listed incorrectly, we sincerely apologize and ask that you let us know by emailing info@westedgeopera.org or calling (510) 841-1903. Thank you for your support.

evening at the craneway On August 15th at 7:00 pm we invite you to join us at the Craneway Conference Center to celebrate our festival, support our company and learn more about this year’s historical venue from Rosie the Riveter herself, who will recount memories of the work women did in the building during World War II. Rosie will welcome you with the night’s signature cocktail: Rosé the Riveter!

Wine and light refreshments will also be served.

Allegra Chapman and Sara LeMesh will perform some of the wildest music we have heard, high flying anti-melodies from Gyorgi Ligeti and George Crumb.

We will share memories of former productions with a video retrospective of our past productions by our own Jeremy Knight. If you are able to support us at a higher level, we will conclude the evening with an opportunity for you to do so. Come join us for food, drink, laughter and music.

Reserve online at westedgeopera.org or call 510-841-1903

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Proud supporters of the West Edge Opera Festival!

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