University of Houston Kathrine G. McGovern College of the Arts Moores School of Music presents The Edythe Bates Old Moores Opera Center’s production of
LA FINTA SEMPLICE
April 9, 2021 at 7:30 p.m. April 11, 2021 at 2:00 p.m. Moores Opera House
An opera in two acts Music by Wolfgang Amadeus Mozart Libretto by Carlo Goldoni adapted by Marco Coltellini Sung in the original Italian with translations projected over the stage
Cast List
University of Houston Kathrine G. McGovern College of the Arts Moores School of Music
Friday Sunday
presents
Don Cassandro
Aidan Smerud
Aidan Smerud
The Edythe Bates Old Moores Opera Center’s
Don Polidoro
Emmanuel Cruz
Thomas O’Neill
production of
Giacinta
Christine Boddicker
Christine Boddicker
Stephen Ash
Jesus Bravo
Evan Cooper
Brady Spell
Siwei Zhang
Isabella Pallavicini
Alicia Gianni
Alexandra Gorman
a wealthy landowner, foolish and miserly his younger, slow-witted brother
LA FINTA SEMPLICE April 9, 2021 at 7:30 p.m. April 11, 2021 at 2:00 p.m. Moores Opera House
sister of Cassandro and Polidoro; in love with Fracasso
Fracasso hot-headed captain of the Hungarian troops and brother of Rosina quartered at Cassandro’s house; in love with Giacinta
Simone Fracasso’s sergeant; in love with Ninetta
Ninetta Giacinta’s chambermaid
Rosina a Hungarian baroness, sister of Fracasso, a vivacious, intelligent woman pretending to be naïve
Orchestra
An opera in two acts Music by Wolfgang Amadeus Mozart Libretto by Carlo Goldoni adapted by Marco Coltellini Sung in the original Italian with translations projected over the stage
Edited for der Neuen Mozart-Ausgabe by Rudolph Angermüller and Wolfgang Rehm. Used by arrangement with European American Music Distributors Company, U.S. and Canadian agent for BaerenreiterVerlag, publisher and copyright owner. This production is partially funded by a generous grant from the Cullen Trust for the Performing Arts and members of the Moores Society Opera Production Council.
Flute Oboe Bassoon Horn First Violin Second Violin Viola Cello Bass Harpsichord
Any taping, filming, recording, or broadcasting of this opera is strictly prohibited. Please turn off all cell phones and other electronic devices as a courtesy to other patrons and to the performers.
Moores Opera Center
Tabytha Donnelly Delainie Hendershot Benji Bowman Matthew Glattfelder Alex Easley Monica Cavazos Adam Harrington David Holtgrewe Iwona Augustyn Holly Knoch Jason Chaviers José Aponte-Trujillo Ricardo Jimenez Ming-Wei Hsieh Heather Leal Melissa Escobar Miles Bi Henna Mohamed Alex Barraza Mackenzie Gibbons Maggie Bishop Andreea Mut
Production Staff
Synopsis The opera takes place in and around the estate of Cassandro, a wealthy Italian landowner during the mid-eighteenth century.
Producer and Stage Director
Buck Ross *
Conductor
Alejandro Basulto
Music Director
Raymond Harvey *
Production Manager
Nicole Kenley-Miller
Set and Lighting Designer
Thom Guthrie
Costume Designer
Richard Walsh +
Projections and Surtitles
Buck Ross *
Technical Director
Jason Burton #
Musical Preparation
Andreea Mut +, Catherine Schaefer +, Laura Bleakley
Italian Language Coach
Buck Ross *
Stage Manager
Miriam Green
Assistant Stage Managers
Jadon Campos, Phillip Velarde
Props Master
Christine Cummins
Makeup Supervisor
Krista Pape
Wardrobe
Carlos Cantu +, Julissa Davila +
IATSE Shop Steward
Genesis Bustos
IATSE Stagehands
Tyler Evans
Sound
Afshin Farzadfar #
Assistant to Mr. Ross
Christine Cummins
Scene Shop Assistant
Jennifer Barker
* Moores School of Music faculty
#
Act One #
Fracasso, a Hungarian captain, is in love with Giacinta. His sergeant, Simone, is in love with Giacinta’s maid, Ninetta. The four delight in the pleasures of love, youth, and freedom.
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Giacinta is afraid of being found out by her two brothers, Cassandro and Polidoro. Fracasso and Simone have been quartered in Cassandro’s house for two months. Ninetta has no respect for either of the brothers. Cunning is needed to get around her misogynistic masters so they will allow them all to get married. She wants to make them fall in love with Fracasso’s sister, Rosina, a Hungarian countess who is coming soon for a visit. Ninetta asks to speak with her as soon as she arrives to put a plot in motion. Simone complains and warns Fracasso: wives are too much trouble and too expensive, especially for a soldier who likes things simple. Fracasso is impatient to get married. He offers to carry Giacinta off by force. Giacinta will have none of it, though she does love him. She wants a husband who won’t cause her too much trouble and whom she can control. Cassandro fumes against all women. He confronts Fracasso. His sister cannot stay. Cassandro has heard that the sister is not very smart, perhaps even a lunatic. Fracasso bets that Cassandro will fall in love. If he were to just look the lady in the face, he will love her. Even when women are faithless and ungrateful, you still have to forgive them. Cassandro resolves to impress Fracasso’s sister.
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Inside the house, Rosina asserts that anyone can declare love with his lips, but not always with his heart. It is possible, without shame, to flirt with everyone, yet love only one.
Moores School of Music staff
Ninetta has already instructed Rosina to make both the foolish brothers fall in love with her by pretending to be much more naïve than she is. Polidoro nervously arrives first. Rosina is aggressive with him. Polidoro compliments Rosina and her attire and immediately proposes marriage. Rosina lays out rules for courtship: first a visit, then a gift, then a love note. But Polidoro can’t write. Ninetta volunteers to do it for him.
Guest artist
+
Polidoro rejoices in his prospects for marriage. Cassandro is not impressed with Rosina nor with his brother. Polidoro realizes what makes women so pleasing. He wants a sweet little wife.
Moores Opera Center Faculty and Staff Director, Moores Opera Center
Buck Ross
Music Director, Moores Opera Center
Raymond Harvey
Production Manager
Nicole Kenley-Miller
Assistant Conductors
Alejandro Basulto, Myles Nardinger
Rosina encounters Cassandro. She professes to be in love with both brothers. Cassandro is taken in by her seeming naiveté. She unsuccessfully tries to extort a ring from him. Cassandro won’t give up the ring, but he’s tempted by her. Rosina reports on her progress. She plans to make them both fall in love with her to the point of marrying her. She’ll then choose which one. She muses that the echo gives back only the sounds you make. Women should do the same with lovers. Love the one who adores you and give nothing to the one who offers nothing.
Musical Staff Katherine Ciscon, Stephen Jones, Andreea Mut, Catherine Schaefer Principal Scenic and Lighting Designer
Thom Guthrie
Technical Director
Jason Burton
Principal Costume Designer
Richard Walsh
Voice Faculty Cynthia Clayton, Joseph Evans, Timothy Jones, Melanie Sonnenberg, Hector Vasquez, Zach Averyt, Dominique McCormick
Special Thanks
Ninetta has the love note prepared. Polidoro plans to give it to Rosina himself. Ninetta has no time for all these games. A man who loves her should come out and say so. Polidoro is thrilled to find Rosina alone. She feigns being insulted by him. He offers the note. Fracasso and Rosina pretend to be insulted by that too. Polidoro is confused. Rosina asked for a note! Ninetta suggests that Polidoro kneel and ask forgiveness. Rosina and Fracasso decide to accept the note. Just as the note is handed to Rosina, Cassandro sees it and confronts her. She declares that she wrote the note for him. He falls for her lie and takes the note aside to read it. While Cassandro reads, Polidoro slips a purse to Rosina. She then offers to give Cassandro the money in exchange for his ring. He’s reluctant but agrees on account of her love note. Simone bursts in. There’s someone outside that wants to see Rosina. Rosina starts to leave with the ring. Cassandro tries to hold her back. Simone returns, insisting that the man outside wishes to dine with her. Cassandro decides to invite everyone to dinner so Rosina won’t leave the house with his ring.
Costume Connection of Houston
Intermission
Stages Repertory Theatre
LA FINTA SEMPLICE
Moores Opera Center
Synopsis
Director’s Notes
Act Two Ninetta and Simone wait for the dinner to be over. Simone is hungry. She insists that a little time together is better than food. Simone disagrees. Ninetta complains about his lack of gallantry. She addresses the ladies in the audience: women want to find husbands who will do as they say. Giacinta rushes in. Fracasso and Cassandro are drunk and having an argument and are coming to blows! Simone doesn’t care. In fact, he’d like to help beat up Cassandro. He advises Giacinta: certain people need a stick to control them. Women need to learn to use it to keep their men in line. Giacinta fears she won’t have a husband if there’s a duel. Polidoro reports that the argument is about the ring. She scoffs at Polidoro’s plans to marry Rosina and advises against it, but asks his help to make Cassandro let her marry Fracasso. Polidoro doesn’t care and agrees. Giacinta vows that when she marries, she’ll be in complete control of her husband. Ninetta bursts in. Rosina is urgently looking for Polidoro. She wants to say goodbye before she moves to other lodging. Polidoro is riled up. He’s ready for action and enlists Ninetta’s help. Rosina begs love to not strike her. Cassandro is drunk. He’s come to get his ring back. Polidoro stands up to him and demands his share of the inheritance. He’s going off to Hungary with his bride Rosina. Cassandro is astounded. Rosina is content to have two husbands. Cassandro calls her stupid, making her cry. Polidoro stands up for her. Because Cassandro is drunk and stinks of wine, Rosina makes him sit at a great distance from her. Now they can’t hear each other, so they attempt to communicate through mime. Cassandro dozes off. While he’s asleep she puts the ring back on his finger. She wakes him up. Cassandro was dreaming of the ring. Cassandro asks which of the brothers she loves more. She replies that she loves them both equally, declaring that a generous heart should not confine itself to one lover. Fracasso picks a fight with Cassandro. Cassandro announces that he will marry Fracasso’s sister and let her keep the ring that she stole from him. Fracasso points out the ring on Cassandro’s finger. Cassandro is dumbfounded. Fracasso challenges him to a duel. Cassandro uses every trick to delay the duel from happening and runs away. Rosina is delighted with the plot’s progress. Fracasso wants to elope with Giacinta and enlists Simone’s help. Ninetta doubts that Giacinta would go, even though she adores Fracasso. Fracasso advises the women in the audience that playing hard to get is a good tactic to use with men. Polidoro insists on his share of the inheritance. Cassandro threatens Polidoro with a stick. Rosina is horrified and pretends to faint. The others attempt to revive her. She calls for her husband. Both Polidoro and Cassandro answer. Fracasso announces that Giacinta has run off with all their money. Ninetta goes off to find her. The brothers lament the loss of their money. Fracasso gets them to agree to give Giacinta as wife to whomever finds her and throw in the money as dowry to boot. Simone announces that Ninetta has also gone and taken everything she could from the house as well. Rosina suggests that Ninetta also be given to the first one who finds her. Rosina knows which brother she has chosen but won’t reveal it. All look forward to the day when all this is straightened out. Simone begs Ninetta to marry him. There’s no time to waste. Ninetta really wants a husband, but woe to him who crosses her. Giacinta is worried to death about her brother’s wrath. If her brother doesn’t take a wife first, he’ll never agree to her getting married. Fracasso suggests that Giacinta go talk to Rosina. He doesn’t know the ways of women. The wars of love are different than normal battles. Sometimes some trickery is useful to wear your opponent down. Cassandro presses Rosina on her promise to marry him. Rosina declares that she’d like to marry both of them. She makes Cassandro hide. Polidoro is also ready to get married, but despairs of getting his brother’s permission. Their father’s will is clear. All the inheritance goes to the eldest brother, Cassandro. Polidoro will have to find a job. But a countess can’t marry a carpenter. Rosina keeps them guessing which one she will choose.
The history of music is understandably composer-centric, but when looking at the history of opera it’s important to remember how significant the contribution of the librettist is to the form of the work. Such was the case with Carlo Goldoni, the original librettist for La finta semplice. Goldoni is remembered today as the most significant and prolific playwright in eighteenth-century Italian theatre, especially in comedy. His house is still a tourist stop in Venice today. But in addition, he is responsible for the codification of the Italian comic opera form. Goldoni created what is known as the ensemble finale and its prominence is particularly clear in La finta semplice. Operas in the first half of the eighteenth century generally consisted of a string of arias separated by secco recitatives. In order to achieve maximum comic energy, Goldoni added an ensemble that would end each act with the characters interacting in a series of duets, trios, etc. usually ending with the entire cast on stage in a state of mayhem. The first examples of this were fairly primitive, but, as they continued to develop, the ensemble finales became longer and more complicated like the ones seen here this season in Don Giovanni and La Cenerentola. The title of the opera is rather difficult to translate into English. The word “finta” indicates that a woman is pretending to be someone else. A “semplice” is a simpleton. Unfortunately, “The Woman Pretending to be a Simpleton” doesn’t really have much of a ring to it. Operas with “finta” in the title were actually quite common during this time period. Indeed, Mozart himself wrote another “finta” comedy a few years later, La finta giardiniera, (or The Woman Pretending to be a Gardener) an opera whose Houston premiere was also presented by the Moores Opera Center. Mozart was all of twelve years old when he wrote this piece in 1768. Most twelve-year-olds have never even seen an opera much less written one. It was not a ground-breaking piece, rather it conformed very much to the conventions of its time. It also used a ready-made libretto that had already served for several other composers in the past. This libretto was adapted from the original Goldoni libretto by the future Viennese court poet Marco Coltellini. This was a position historically taken by Italians in the cosmopolitan Austrian emperor’s court and the position often required supplying librettos for new operas. It was not the last time Mozart wrote an opera with a Viennese court poet. His later three masterworks, The Marriage of Figaro, Don Giovanni and Così fan tutte all had librettos by court poet Lorenzo Da Ponte. Grace and charm are qualities that seem to have vanished in our contemporary society, but they were highly prized in the eighteenth century. La finta semplice is filled with both. The notion of realism on the stage was still a century away, and in this opera, characters frequently break the fourth wall and speak directly to the audience, commenting on the state of affairs in the story. The plot of the opera relies on the time’s fondness for plots involving servants smarter than their masters, and women who are always, always smarter than the men. Perhaps realism WAS the order of the day. The opera would have been performed in the eighteenth century with only painted backdrops for scenery. Our projections provide a modern equivalent for those drops. One of our COVID compromises would have also been familiar to Mozart. The development of the orchestra pit was many years in the future, so having the orchestra on the same level as the audience, while intended by us as a COVID precaution, gives a taste of the eighteenth-century theatrical layout as well. We are producing two operas in repertory this weekend. You can binge-watch opera this weekend by also attending our production of Benjamin Britten’s Albert Herring, a comedy about small-town life in England. Despite the pandemic, we have still managed to present a full season of opera, albeit with socially-distanced stagings, and, when we are performing indoors, with masks as well. But it has salvaged what could have been a disastrous year for our singers and kept live opera going in Houston. May you and your loved ones stay safe, and hopefully we’ll all reconvene in the fall with a back to normal season and back to normal lives.
Buck Ross Director, Moores Opera Center
Polidoro insists that only her hand will cure love’s affliction, but she gives her hand to Cassandro. Ninetta and Simone, Fracasso and Giacinta announce their weddings. Cassandro is furious. What’s done can’t be undone. Rosina reveals her deception. Polidoro is relieved. All is forgiven and all rejoice.
LA FINTA SEMPLICE
Moores Opera Center
LA FINTA SEMPLICE 2020 – 2021 SEASON
About the Moores School of Music Moores Opera Center
Music by W.A. Mozart | Libretto by Carlo Goldoni, adapted by Marco Coltellini
The Edythe Bates Old Moores Opera Center, founded in 1986 at the University of Houston, gives young voices a chance to develop through practical training and performance opportunities. Every year, the program produces four major operatic productions in the Moores Opera House, UH’s distinctive performance hall designed to blend the acoustics of a traditional European opera house with the modern equipment and technology of today.
April 9, 2021 at 7:30 p.m. April 11, 2021 at 2 p.m.
Moores School of Music
DON GIOVANNI ALBERT HERRING
The University of Houston’s Moores School of Music (MSM) is one of the leading comprehensive music schools in the nation. Its remarkable faculty — of internationally recognized performers, composers, and scholars — outstanding student body, modern facilities, and broad range of programs make MSM the natural choice for nearly 600 students annually. The school’s commitment to academic excellence and the highest performance standards has ensured its role as a vital resource in the educational and cultural life of Houston and beyond.
Music by W.A. Mozart | Libretto by Lorenzo Da Ponte
Music by Benjamin Britten | Libretto by Eric Crozier
Nov 6 and 7, 2020 at 7:30 p.m.
Moores Society The Moores Society is the philanthropic volunteer organization for the Moores School of Music. Moores Society members and donors promote community awareness and provide funding for scholarships and special projects. Moores Society members receive invitations to concerts and special events held throughout the year.
April 10 and 12, 2021 at 7:30 p.m.
Please visit uh.edu/kgmca/music/moores-society.
LA CENERENTOLA
For more information, please contact Shannon Langman, Patron Relations Coordinator, at msociety@uh.edu or 713.743.8036.
Music by Gioacchino Rossini | Libretto by Jacopo Ferretti
Join the Moores Society
Join the Moores Society
…Your gift provides Moores Opera Center students with: January 30 and 31, 2021 at 2 p.m.
…and support the rising stars of opera!
like…
alumna Jessica Jones (BM ’09, MM ’11), who won a Grammy for her performance on the cast recording of The (R)evolution of Steve Jobs.
• Stage experience in four full-scale, professional-level productions per year • Opportunities to perform regional and world premieres of new operas • Ability to train and work alongside leading professionals in their field • Opportunities to prepare and perform roles to build their resumes • Hands-on knowledge of how the theatre works from painting sets to curtain calls
LA FINTA SEMPLICE YOUR GIFT MATTERS!
Music by W.A. Mozart | Libretto by Carlo Goldoni, adapted by Marco Coltellini
or…
Other ways to give…
a lumna Katherine DeYoung (MM ’18), who has signed on with one of the largest classical music management firms and has joined Lyric Opera of Chicago’s Ryan Center Ensemble this season.
9, 2021• atOnline April 7:30 p.m.donations can be made at http://igfn.us/vf/MOC or by texting MOC to April atFor 2 p.m. 11, 2021• large and estate gifts, contact Shannon Langman, Patron Relations Coordinator,
71777
at msociety@uh.edu or 713.743.8036
ALBERT HERRING Music by Benjamin Britten | Libretto by Eric Crozier
April 10 and 12, 2021 at 7:30 p.m.
LA FINTA SEMPLICE
Moores Opera Center
Special Thanks To MOORES OPERA CENTER 2020-2021 SUPPORTERS
The Moores Society is the philanthropic volunteer organization for the Moores School of Music. Moores Society members and donors promote community awareness and provide funding for scholarships and special projects. Moores Society members receive invitations to concerts and special events held throughout the year.
IMPRESARIO ($25,000+)
2020-2021 MOORES SOCIETY
Cullen Trust for the Performing Arts Edythe Bates Old Endowment
Board of Trustees Executive Committee Jackie and Malcolm Mazow, Presidents Jo Dee Wright, Immediate Past President Helen Shaffer, Vice President, Membership Rita Aron, Assistant Secretary, Corresponding Carla Burns, Secretary, Recording Debbie Feuer, Audience Development Chair Robin Angly, Opera Production Council Chair
DIRECTOR ($5,000+) Robin Angly and Miles Smith Drs. Cheryl and Carl Carlucci Jo Dee and Cliff Wright
LEADING ROLE ($1,000+)
Christopher Velle Bacon Scott Chase (BA ’68, JD ’71) Endowment Fund Ann Faget Ellen and Alan Holzberg Rhonda Sweeney
COMPRIMARIO ($500+) Gwyneth Campbell Richard Drapeau Helen Mann Shannon Langman (MM ’09) Buck Ross
SUPERNUMERARY ($250+) Tim Doyle Warren Ellsworth Malcolm and Jackie Mazow
CHORUS ($100+)
Mr. and Mrs. John Goode Dr. Nicole Kenley-Miller (DMA ’18) & Dr. Andy Miller
IN TEMPORE OPERA LEGACY GIFTS
Buck Ross Opera Center Production Funds Endowment Juan R. Morales Endowment to Support Opera at the Moores School of Music Kathleen Childress Guthrie Harrison Endowment Thomas H. Guthrie Endowment to Support the Moores Opera House
Ann Ayre Margaret Boulware Terry Ann Brown Darlene Clark Beth Del Pico Mariglyn Glenn Stephen Glenn
Marita Glodt Sean Gorman Gary Hollingsworth and Ken Hyde Ellen and Alan Holzberg Linda Katz Marc S. Levine Shirley E. Rose
Christopher Bacon Tom Becker Anne Boss Nancy Bowden Cheryl Byington Zarine Boyce Julie Cogan Vicky Dominguez Cathy Coers Frank Joyce Frassanito Diane and Harry Gendel Donna Scott and Mitch Glassman Beatrice and Gregory Graham
Advisory Board Donna and Gene Hammons Gladys Hooker Mady Kades Janis Landry Shannon Langman Cora Sue and Harry Mach Cathy McNamara Celia Morgan Jo and Joseph Nogee Kitten and Ron Page Kusum Patel Carroll R. Ray Carol Lee Robertson
Robin Angly – Chair Chris Bacon Gwyneth Campbell Tim Doyle Warren Ellsworth
Opera Production Council Ann Faget Ellen and Alan Holzberg Helen Mann Jackie and Malcolm Mazow Terrylin Neale
Moores Opera Center
Kathi Rovere Richard J. Schmitt Donna Shen Rhonda Sweeney Betty Tutor Bob Wilkins Mary Ann Wilkins Lillie Robertson Minette Robinson Satoko and Anthony Shou Susan Thompson Ann and Karl Tornyos Virginia and Gage Van Horn Carol and Carl Vartian Nancy Willerson Beth Wolff Cyvia Wolff Gay Yellen
Rhonda Sweeney Beth Wolff Jo Dee Wright
MOORES SCHOOL OF MUSIC SOCIETY As of 3/24/2021
Director Level ($1,000) Rita Aron Ann Ayre Thomas S. Becker and Jim Rosenfield Elizabeth Del Pico Margaret Boulware and Hartley Hampton Terry Ann Brown Carla Adele Burns Darlene Clark Julie Dokell Cogan Victoria Dominguez Ann L. Faget
Debbie L. Feuer Mariglyn Stephen W. Glenn Marita Glodt Sean Gorman Dr. Gary L. Hollingsworth and Ken Hyde Ellen and Alan Holzberg Gladys Hooker Linda Katz Stephen Y. Leatherwood Barbara and Ulyesse J. LeGrange Sharon and Robert Lietzow Tod Lindholm and Rex Adams Jackie and Malcolm Mazow
Helen B. Davis Dr. Timothy Doyle Douglas Koch and Marcia Murphey
Mary Ann and David McKeithan Dr. Gary W. Patterson Minnette Robinson Nancy R. Schissler
Lillie T. Robertson Shirley E. Rose Jane and Richard J. Schmitt Helen Shaffer Donna Shen Nancy and Michael Shoup Rhonda and Donald Sweeney Ann and Karl Tornyos Betty Tutor Mary Ann and Bob Wilkins Jo Dee and Cliff Wright Edith and Robert L. Zinn
Partner Level ($500) Donna S. Scott Anthony Shou Virginia and Gage Van Horn Cyvia Wolff
Patron Level ($250) Christopher Bacon Nancy Bowden Katherine and Trey Brady Pam and Steve Bertone Barbara and Ronald Cuenod Drucilla and Richard Davis Joyce Frassanito Rachel Frazier Diane Gendel Dr. Gregory D. Graham Thomas Grimmett Eugene Hammons Sandra Harris Timothy Hester and Jasmine Hatem
Nancy and Carter Hixon Sophia James Mady and Kenneth Kades Janis Landry Marc S. Levine Cathy and Bill McNamara Dr. Celia A. Morgan Jo and Joseph Nogee Kitten and Ron Page Kusum Patel Carol Lee Robertson Kathi and Bill Rovere Honorable Frank Rynd Betty and Robert L. Schwarz Doris and William Sing
Julie Anderson-Smith and Ron Smith Christine Stevens and Richard Crishock Susan Thompson Jon Totz Carol and Carl Vartian David Ashley White Nancy B. Willerson Beth Wolff Gay Yellen and Don Reiser
Friend Level ($120) Ginger and David Blomstrom Judy and Harry Bristol Cheryl Byington Gwyneth Campbell Debra Witter and Scott Chase Cynthia Clayton and Hector Vasquez Vicie Lee Coleman Courtney Crappell Kathryn J. Crowder Matthew Dirst Dr. Kenneth L. Euler
John R. Gealy Walter Hecht Ann T. Hendrix Barbara and Raymond Kalmans Dr. Nicole Kenley-Miller and Dr. Andy Miller Richard Kummins Connie Lewis Crista and Gary Miller Teska Moreau Susan Snider Osterberg Anni Pati
Kate and Gregory Robertson Nancy Strohmer Jon Totz Shelton M. Vaughan Eleanor and Richard Viebig Dr. Betsy and Mr. Rick Weber Sharon and Tim Whipple Tobin Wright VIP Pediatrics Anonymous
LA FINTA SEMPLICE