Fort Worth Opera | La Boheme

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FORT WORTH OPERA presents

GIACOMO PUCCINI’S

Directed by CHUCK HUDSON

ELIZABETH CABALLERO Mimi

MEIGUI ZHANG Musetta

Conducted by MIGUEL HARTH-BEDOYA

ALOK KUMAR Rodolfo

MICHAEL COLMAN Schaunard

KEVIN GLAVIN

Alcindoro/Benoit

Lighting Design by JAMIE MILLIGAN

DANIEL SCOFIELD Marcello

KOFI HAYFORD Colline

Sound Design by RA BYN TAYLOR

Wig and Makeup Design by MARY MCGREW-PONTO

Costumes Provided by ARIZONA OPERA

Original Costume Design by KATHLEEN TROTT

ORIGINAL STAGE DIRECTOR DAVID PAUL

La Bohème is 3 hours with 1 intermission.

Welcome to Bass Performance Hall for the highly-anticipated return of La Bohème, Fort Worth’s inaugural opera in this magnificent venue and now back to enchant us once more. This reunion celebrates not just an opera, but a milestone in our collective journey, blending the past with our vibrant present.

Your unwavering support has been pivotal, enabling us to honor our legacy while boldly stepping into the future with innovation and

excellence. La Bohème, with its universal themes and emotional depth, exemplifies the enduring power of opera to connect us all in a shared, transformative experience.

We are profoundly thankful for your continued encouragement, which fuels our commitment to both our foundational mission and the thrilling prospects ahead. As we unveil the 2024/2025 season, we invite you to journey with us into a future where tradition and innovation converge, showcasing our dedication to the art of opera.

Thank you for playing a key role in our narrative. Together, let’s look forward to creating more remarkable moments with the Fort Worth Opera, starting now with La Bohème’s return to Bass Performance Hall. Bravi tutti!

With deepest appreciation, Angela Turner Wilson, General and Artistic Director

In Memoriam: Rosalyn “Roz” Rosenthal (1924-2024)

We honor Rosalyn “Roz” Rosenthal, a pivotal figure in the Fort Worth Opera family and a dedicated advocate for the arts, who passed away recently. Roz’s passion for opera enriched our lives and our community, leaving a legacy of inspiration. Joe Illick, Music Director Emeritus, shared his memories, saying, “Roz was incredibly generous and optimistic, with a deep love for her family, friends, and the opera. She radiated warmth, never without a kind word. Truly an incredible woman.”

Roz’s spirit and contributions will forever resonate with us and continue to inspire future generations. Our thoughts are with her family and friends. Thank you, Roz, for your enduring impact. You will be dearly missed.

From the Stage Director Chuck Hudson

When I was a young actor in my 20s, I lived in Paris for almost a decade working with my mentor, Marcel Marceau. Walking around the City of Light, I would stumble across a café or restaurant once haunted by groups of now famous artists: Isadora Duncan, Gordon Craig and Jacques Copeau in St Germain; Hemmingway and his expatriate literary set near L’Etoile; Gertrude Stein and Alice B Toklas in the Latin Quarter. I would look around my cold little rooms whose windows did not shut fully in winter but which provided a view of the Eiffel Tower—busy rehearsing a scene for my next day’s rehearsal, I would duck as one of us practiced a knife throwing act while another was composing music on a piano or guitar behind the two others rehearsing a fencing scene from a Shakespearean play. Two more juggled clubs across the room, all while listening to the saxophonist sitting out on the tin roof-top. This was my Garrett.

The first time I listened to La Bohème, I knew these people intimately. They are constantly playing word games, story telling games, role playing games in order to keep their creativity alive. They are often starving and cold, but they are also young and in love and filled with the energy of living life. They have a great love and respect for each other’s work, and they see things in similar ways. They disagree and argue over things as passionately as they agree with them.

We are “updating” the show to the Paris of the 1890s Belle Epoque: Auguste Rodin and Camille Claudel are sculpting, her brother Paul Claudel is writing, Isadora Duncan is dancing, Gordon Craig is revolutionizing Theatre, and Gustav Eiffel is constructing his famous Tower for the Paris World’s Fair. The Industrial Revolution is in full swing with electric lighting starting to replace gas, and the corseted mid-nineteenth century morality of “the older generation” is colliding with the avant-garde younger generation already fully expressing itself in Art Nouveau. New technologies permit the manufacture of the acid colors made famous by painter Ernst Ludwig Kirchner, and the Vienna Secession Movement is about to replace the Post-Impressionists at the turn of the new century.

Like Verdi’s Violetta, “Mimi is a hot house flower” and Love is the green house whose glass panes concentrate the Light in such a way that the flower blossoms more rapidly. Shakespeare warns us of the consequences of this rapid growth in 12th Night as Orsino says the “Women are like roses” speech. Viola responds, “Alas that they are so. To die only when they to perfection grow.”

Setting: Paris in the mid 1890s

ACT I—Rodolfo and Marcello’s rooftop garret, Christmas Eve.

The Bohemian poet Rodolfo and his painter friend Marcello are cold, hungry and penniless, and they are desperately trying to work. Their philosopher friend

Colline returns after failing to pawn some old books when suddenly the musician Schaunard arrives with money, provisions and an invitation to dine out. After a brief skirmish over the rent with their landlord, Benoit, the Bohemians set out for Café Momus, leaving Rodolfo behind to finish an article. Mimi, a neighbor, knocks at the door. Her candle has blown out and Rodolfo lights it for her, but it goes out again. In the confusion she loses her key. As they search for it, their hands touch, leading to an exchange of confidences and declarations of love. They leave together to join his friends at Café Momus.

ACT II—Café Momus, The Latin Quarter, later that night.

The Latin Quarter is alive with Christmas Eve celebrations. At Café Momus, the friends order an extravagant supper with much wine. Marcello’s fickle ex-girlfriend Musetta enters with Alcindoro, a wealthy older gentleman. Seeing Marcello, Musetta contrives to get rid of her escort and to reunite with Marcello. The friends leave the hapless Alcindoro to cope with the bill.

ACT III—Hell’s Gate entry into Paris, February.

At daybreak, Mimi appears and asks for Marcello, who is working in a tavern where Musetta is singing. Mimi tells how Rodolfo walked out earlier that night, and how his insane jealousy is tearing them apart. Rodolfo appears from the tavern and Mimi hides to eavesdrop on the men. Marcello pushes his friend to tell the truth, and Rodolfo reveals that not only is Mimi very ill but that he is too poor to take care of her. In fact, he believes her to be close to death. Mimi is discovered and she bids Rodolfo goodbye. While Musetta and Marcello quarrel and finally separate, Mimi and Rodolfo agree to stay together until spring returns.

ACT IV—Rodolfo and Marcello’s roof-top garret, April.

Although slightly more successful now, the bachelors Rodolfo and Marcello cannot seem to focus on their work. Each is distracted by the memory of his lost love. Schaunard and Colline arrive with food and the Bohemians make light of their continued poverty. Musetta appears with the news that Mimi is on the stairs, too weak to climb any further. Rodolfo helps her into the room and settles her in a chair. Musetta decides to sell her earrings and Colline his coat to buy medicine and a muff to warm the dying girl’s hands. Marcello goes for a doctor, leaving Mimi and Rodolfo to reconcile the past and pledge their love for each other. The others soon return, but Mimi is too ill to be helped.

CAST

Mimi (cover) ........................................................................................................... Su Hyeon Park Head Waiter.................................................................................................... Thomas Bache-Wiig

Waiter ......................................................................................................................... Sergio Manzo

Il Doganiere ................................................................................................ Christopher Harrison

Il Sergente ....................................................................................................................Fred Craven

Elizabeth Caballero (Mimi) recently made a series of house debuts, including Staatsoper Stuttgart as Mimi in La bohème, The Palacio de Bellas Artes in Mexico City as Desdemona in Otello, Teatro de la Zarzuela in Madrid singing the title role of the European premiere of Cecilia Valdés based on the Cuban novel of the same name. 2020 engagements were to include a return to Staatsoper Stuttgart for Boito’s Mefistofele, Mahler’s 8th Symphony for Pacific Symphony, Verdi’s Requiem for Portland Symphony, the Metropolitan Opera for their production of La Traviata, and her role début as Tosca. Alok Kumar (Rodolfo) This past season, he made his Scottish Opera début as Don Jose in Carmen, joined Portland Opera for Kamala Sankaram’s Thumbprint, ap-

peared as a soloist in Mozart’s Requiem for the New Choral Society, Verdi’s Requiem for San Diego Symphony, and returned to The Metropolitan Opera for their productions of The Hours and Don Carlo. Prior to this, Mr. Kumar appeared with The Metropolitan Opera for productions of Ariadne auf Naxos, Lucia di Lammermoor, and The Rake’s Progress. Upcoming, Kumar will join Vancouver Opera as Don Jose in Carmen. Daniel Scofield (Marcello) begins the 23/24 season with a return to the Prague State Opera for Pagliacci/Cavalleria Rusticana in a revival of last season’s production by Ondrej Havelka. Further engagements include returns to Opera Orlando for Tosca, Opera Baltimore for Eugene Onegin and debuts with Fort Worth Opera and the Teatro Municipal

Elizabeth Caballero Mimi Alok Kumar Rodolfo

Daniel Scofield Marcello Meigui Zhang Musetta

Michael Colman Schaunard

Kofi Hayford Colline

Kevin Glavin Alcindoro/Benoit

Miguel Harth-Bedoya Conductor

de Santiago in La Bohème and Tosca. Future seasons include role and company debuts at Teatro Municipal de Santiago, Staatsoper Hannover and the Prague State Opera. Meigui Zhang (Musetta) 22/23 season features an exciting role debut as Euridice in San Francisco Opera’s Orfeo ed Euridice, her Atlanta Opera debut as Zerlina in Don Giovanni, and a return to the Metropolitan Opera covering Ilia in Idomeneo. She also featured as the soprano soloist in Mozart’s Requiem with the North Carolina Symphony, Beethoven Missa solemnis with Bard College’s The Orchestra Now, and Bruckner’s Te Deum with New Jersey Symphony. Michael Colman (Schaunard) lyric bass, praised by Opera News for “fielding a fine, dark bass-baritone”, recently returned to Chautauqua Opera as Judge Turpin (and Sweeney cover) in Sweeney Todd with additional recent and upcoming roles including the title role in Le nozze di Figaro with Vashon Opera, Vodnik in Rusalka with Opera Ithaca, Étienne Grandet in Naughty Marietta with Winter Opera St. Louis, and covering Howard Bard in The Listeners with Opera Philadelphia. Kofi Hayford (Colline) is a prize-winning Ghanaian-American bass, described as possessing an “impressive” “sonorous”, and “stentorian bass voice” also produces a distinct sound – easily identified for its unique timbre. He has over 40 operatic roles under his belt and has performed with The Metropolitan Opera Guild, Indianapolis Opera, Buffalo Philharmonic Orchestra, and more. He received his Bachelor’s from SUNY Buffalo and founded the DictionBuddy mobile app. Kevin Glavin (Alcindoro/Benoit) World-renowned, international basso-buffo Kevin Glavin is critically acclaimed for his robust vocal and acting skills. Having specialized in Italian opera for over 40 years, Kevin has performed with such stars as Luciano Pavarotti, Marvin Hamlish, and others. Career highlights include his appearances on the world’s famous stages, including The Metropolitan Opera, New York City Opera, San Francisco Opera, Miami Op-

era, Opera Philadelphia, and several “live” from Lincoln and Kennedy Center concerts. Su Hyeon Park (Mimi cover) Young Korean soprano Su Hyeon studied with soprano Eun-Kyung Oh at Sejong University for her bachelor’s degree. After coming to America in 2021, she studied with soprano Amy Johnson and tenor Thomas Baresel at CCM for her master’s degree. She performed Barbarina in Le Nozze di Figaro and Poppea in Agrippina at CCM, and participated in a masterclass with soprano Nicole Cabell. She also sang as an ensemble member at Cincinnati Opera and Korea National Opera. Chuck Hudson (Director) has directed opera productions at major international companies including Cape Town Opera (South Africa), Cincinnati Opera, Florida Grand Opera, Minnesota Opera, Atlanta Opera, Pittsburgh Opera, Austin Lyric Opera, Hawaii Opera Theatre, Seattle Opera, Wolf Trap Opera, Opera Santa Barbara, and San Francisco Opera Center among others. The 2019-2020 and 2020-2021 seasons include stage directing of Don Pasquale for Pittsburgh Opera, Pagliacci/Pulcinella for Pittsburgh Festival Opera, Ariadne auf Naxos with Arizona Opera, La Bohème for Florentine Opera and a tour of Antipodes in Australia. Miguel Harth-Bedoya (Conductor) Emmy award-winning and Grammy-nominated conductor, currently the Director of Orchestral Studies at Baylor University, director of The Conducting Institute, and Music Director Laurate of the Fort Worth Symphony Orchestra. Previous music directorships include the Norwegian Radio Orchestra, Auckland Philharmonia (New Zealand), and Eugene Symphony in Oregon. He has recently guest conducted the Philadelphia Orchestra, San Francisco Symphony, Taiwan National Symphony, Orchestre National de Lyon (France), and Sydney Symphony, among others. He has also led productions at the Canadian Opera Company, Santa Fe Opera, English National Opera, and next season he will make his Metropolitan Opera debut. www.miguelharth-bedoya.com.

FORT WORTH SYMPHONY ORCHESTRA

FORT WORTH SYMPHONY ORCHESTRA

Robert Spano, Music Director, Nancy Lee and Perry R. Bass Chair

Kevin John Edusei, Principal Guest Conductor

Miguel Harth-Bedoya, Music Director Laureate

Taichi Fukumura, Assistant Conductor, Rae and Ed Schollmaier+ Foundation Chair

John Giordano, Conductor Emeritus

VIOLIN I

Michael Shih, Concertmaster

Mrs. Mercedes T. Bass Chair

Mr. Sid R. Bass Chair

Swang Lin, Associate Concertmaster

Ann Koonsman+ Chair

Eugene Cherkasov, Assistant Concertmaster

Mollie & Garland Lasater Chair

Jennifer Y. Betz

Ordabek Duissen

Qiong Hulsey

Ivo Ivanov

Nikayla Kim

Izumi Lund

Ke Mai

Kimberly Torgul

Albert Yamamoto

VIOLIN II

Adriana Voirin DeCosta, Principal

Steven Li, Associate Principal

Janine Geisel, Assistant Principal Symphony League of Fort Worth Chair

Molly Baer

Suzanne Jacobson°

Matt Milewski

Kathryn Perry

Tatyana Smith

Rosalyn Story

Andrea Tullis

Camilla Wojciechowska

VIOLA

DJ Cheek, Principal

Anna Kolotylina, Associate Principal

HeeSun Yang, Assistant Principal

Joni Baczewski

Sorin Guttman

Aleksandra Holowka

Dmitry Kustanovich

Daniel Sigale

CELLO

Allan Steele, Principal

Mrs. Mercedes T. Bass Chair

Mr. Sid R. Bass Chair

Emileigh Vandiver, Associate Principal

Keira Fullerton, Assistant Principal

Burlington Northern Santa Fe Foundation Chair

John Belk

Deborah Brooks

Shelley Jessup

Jenny Kwak

BASS

William Clay, Principal

Mr. & Mrs. Edward P. Bass Chair

Paul Unger, Assistant Principal

Jeffery Hall

Sean P. O’Hara

Julie Vinsant

The seating positions of all string section musicians listed alphabetically change on a regular basis.

FLUTE

Jake Fridkis, Principal

Shirley F. Garvey Chair

Gabriel Fridkis, Assistant Principal

Edna Jeon°

PICCOLO

Edna Jeon°

OBOE

Jennifer Corning Lucio, Principal

Nancy L. & William P. Hallman, Jr., Chair

Tamer Edlebi, Assistant Principal

Tim Daniels

ENGLISH HORN

Tim Daniels

CLARINET

Stanislav Chernyshev, Principal

Rosalyn G. Rosenthal Chair*

Ivan Petruzziello, Assistant Principal

Gary Whitman

E-FLAT CLARINET

Ivan Petruzziello

BASS CLARINET

Gary Whitman

BASSOON

Joshua Elmore, Principal

Mr. & Mrs. Lee M. Bass Chair

Cara Owens, Assistant Principal

Nicole Haywood°

CONTRABASSOON

Nicole Haywood°

HORN

Gerald Wood, Principal

Elizabeth H. Ledyard Chair

Alton F. Adkins, Associate Principal

Drs. Jeff and Rosemary Detweiler Chair

Kelly Cornell, Associate Principal

Aaron Pino

TRUMPET

Kyle Sherman, Principal

Cody McClarty, Assistant Principal

Dorothy Rhea Chair

Oscar Garcia

TROMBONE

Joseph Dubas, Principal

Mr. & Mrs. John Kleinheinz Chair

John Michael Hayes, Assistant Principal

Dennis Bubert

BASS TROMBONE

Dennis Bubert

Mr. & Mrs. Lee M. Bass Chair

TUBA

Edward Jones, Principal

TIMPANI

Seth McConnell, Principal

Madilyn Bass Chair

Nicholas Sakakeeny, Assistant Principal

PERCUSSION

Keith Williams, Principal

Shirley F. Garvey Chair

Nicholas Sakakeeny, Assistant Principal

Adele Hart Chair

Deborah Mashburn

Brad Wagner

HARP

vacant

Bayard H. Friedman Chair

KEYBOARD

Shields-Collins Bray, Principal

Rildia Bee O'Bryan Cliburn & Van Cliburn Chair

STAGE MANAGER

Wilson Armstrong

ORCHESTRA PERSONNEL MANAGER

Megan Brook

ORCHESTRA LIBRARIANS

Christopher Hawn

David Sterrett

*In Memory of Manny Rosenthal

°2023/2024 Season Only

+Denotes Deceased

The Concertmaster performs on the 1710 Davis Stradivarius violin.

The Associate Concertmaster performs on the 1685 Eugenie Stradivarius violin.

Soprano

Amanda Davis

Anna Morgan

Carelle Flores

Catherine DiGrazia

Katherine Watson

Klark Johnson

Alicia Cruz

Anna Borges

Isabella Lopez

Jen Appleman

Jordana Garcia

Olivia Garza Alto

Autumn Capocci

Avanti Dey

CHORUS

Jordan Riek

Madilynn Gomez

Ruby Warren

Rachel Moon

Jayme Vaughn-

Linebarger

Lauren Salazar

Rita Mudibu-Nsumbu

Brooke Waters

Tenor

Austin (Luke) Hannah

Bo Wang

Brian Mengler

Doug Brunker

John Dubois

Scott Sutton

PRODUCTION

Ben Bassett

Joshua (JT) Hauser

Rick Rainey

Wonjin Choi

Nate Krieger

Bass

Christopher Harrison

Jae Medlin

Steven Singleton

Vincent Fleo

Donald Jones

Fred Craven

Kai Diamond

Bryce Smith

Uram Park

Sean (Andy) Stellar

Assistant Conductor I ........................................................................ Mitchell Manlapig

Costumes provided by .............................................................................. Arizona Opera

Original Costume Designer .................................................................... Kathleen Trott

Original Stage Director ................................................................................. David Paul

Costume Coordinator .................................................................. Colleen Power Griffin

Props Designer .......................................................................................... Kaitlin Hatton

Lighting Designer .................................................................................... Jamie Milligan

Wig and Makeup Design .............................................................. Mary McGrew-Ponto

Sound Designer......................................................................................... Ra Byn Taylor

Chorus Master................................................................................................ Julian Reed

Stage Manager .................................................................................... Avery James Evans

Assistant Stage Manager .......................................................................... Ashley Castillo

Assistant Stage Manager ............................................................ Mary Ruth Knackstedt

Supertitles Operator ........................................................................... Madeleine Broseh

Rehearsal Pianist ................................................................................ Dr. Charlene Lotz

Chorus Rehearsal Pianist ............................................................................Igor Parshin

Video Recording.......................................................................................... Charles Bush

Spanish Supertitles provided by Florida Grand Opera

Special thanks to Texas Christian University, Texas Wesleyan University, The Dallas Opera, & Arts Fort Worth

Stagehand services Provided by IATSE local 126

Wardrobe services provided by IATSE local 803

Angela Turner Wilson ................................................... General and Artistic Director

Joe Illick .................................................................................. Music Director Emeritus

Mary Goosens ............................................................................. Chief Financial Officer

Sheran Goodspeed Keyton .................. Director of COT Production & Civic Impact

Gordon Kelly ............................................. Director of Marketing & Communications

Jennifer Chung Quintard ..................................... Director of Artistic Administration

Courtney Kennebeck ................................Director of Development & Special Events

Justin A. Miller........................................................................... Director of Production

Collins Osei ..................................................................... IT & Systems Administration

Dr. Charlene Lotz............. Music Director for Children’s Opera Theatre and Civic Impact, Company Pianist

Nikki Washington .......................... Sr. Manager of COT Production & Civic Impact

Meredith Browning .................................. COT Production & Civic Impact Assistant

Faye Falconnier ...................................................... Accountant & Business Operations

Jacob Hope ..................................................................... Assistant Production Manager

Emily Dear .................................................... Box Office Lead & Marketing Associate

Lynen Heilmann ................................................................................. Marketing Intern

Kwedar & Co. ..................................................................................... PR Representation

2024 FORT WORTH O PERA 79th SEASON 2025

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