Orpheus in the Underworld Program by UH Kathrine G. McGovern College of the Arts

presents

ORPHEUS IN THE UNDERWORLD

October 18, 19, 21 at 7:30 p.m. October 20 at 2 p.m.

2019-2020 â&#x20AC;&#x201C; UP CLOSE AND PERSONAL | LONESTARLYRIC.ORG | 917.414.9577 | LONESTARLYRIC@GMAIL.COM

OPERA. CABARET. INTIMATE. BOX OFFICE INFO Tickets Tickets can be purchased online at uh.edu/artstickets, by calling the Box Office at 713-743-3388 or by emailing kgmcaboxoffice@uh.edu. You may pay by cash, check, Visa, Mastercard, Discover or American Express. All sales are final. No exchanges or refunds once a performance begins. Subscriptions Subscriptions are up to 25% off the regular ticket price. Call our Box Office for more information about how you can start saving today! Late Seating Late admittance is only permitted during the intermission for performances in Lyndall Finley Wortham Theatre, Moores Opera House, and Dudley Recital Hall. If you arrive after the performance has begun, you will be asked to wait in the lobby until intermission. There is no late seating or re-entry to the Quintero Theatre or Studio 208. Accessibility Seating If you require assistance or are in need of wheelchair seating, please call to notify our Box Office at least 24 hours before the performance. Our venues are accessible to all. Group Discounts Special discounts are available to groups of 10 or more. Call our Box Office for more information. Restrictions Children under the age of 6 are not permitted into the theaters. Any taping, filming, recording, or broadcasting of this production is strictly prohibited. Please turn off all phones and other electronic devices as a courtesy to other patrons and to the performers. Food and beverages are not permitted in the theaters. Cover Design/Tracy Ngo

MOORES OPERA CENTER FACULTY AND STAFF Director Buck Ross

Assistant Conductors

Alejandro Basulto, Myles Nardinger

Musical Staff

Andreea MutĚ§, Catherine Schaefer, Jessica Myers

Music Director Raymond Harvey

Principal Scenic and Lighting Designer

Thom Guthrie

Technical Director

Jason Burton

Production Manager Nicole Kenley-Miller

Principal Costume Designer

Richard Walsh

Voice Faculty

Cynthia Clayton, Joseph Evans, Timothy Jones, Melanie Sonnenberg, Hector Vasquez, Zach Averyt, Dominique McCormick

Moores Opera House Manager

Kristin Johnson

Principal Musical Coach Kevin J. Miller

presents

THE

MO O R E S O PE R A C E N T E R’S production of

An opera in four acts ⋅ Music by Jacques Offenbach Original French libretto by Ludovic Halévy and Hector Crémieux English version by Buck Ross Sung in English with projected text over the stage October 18, 19, 21 at 7:30 p.m. October 20 at 2 p.m. Moores Opera House University of Houston

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.

O R PH E U S I N T H E U N D E RWO R LD / C A ST / C H O R U S

CAST LIST FRIDAY/SUNDAY

SATURDAY/MONDAY

Public Opinion, a scold

Christine Oakes

Cecilia Duarte

Eurydice, a desperate housewife

Krista Renée Pape

Michelle Girardot

Orpheus, a violinist

David Ferguson

Emmanuel Cruz

Pluto, god of the Underworld, disguised as Aristeus, a shepherd

Marcus V. Lee

Brian Yeakley

Venus, goddess of love

Sarah Neal

Erin Shafranek

Cupid, Venus’ son

Patty Holley

Christine Cummins

Mars, god of war

Evan Cooper

James Siarris

Jupiter, king of the gods

Aidan Smerud

Bernardo Medeiros

Juno, queen of the gods

Rebecca Marie Tann

Kristine Overman

Diana, goddess of the hunt and chastity

Siwei Zhang

Katherine A. Jones

Mercury, messenger of the gods

Timothy Kirby

Thomas O’Neill

John Styx, the late King of Boetia

JP Williams

Juan Garza

Love Police and Orpheus’ Students

Elena Klein Eliza Masewicz Shannon Murray Jade Panares

Dancers

Jessica Figueroa Veronica Ordoñez Mia Pham Noella Tannous

Nanaphilia, goddess of grandmothers

Ann Faget+

Angitia, goddess of poisonous snakes

Erika Erwin

Apollo, god of music and light

James Siarris

Evan Cooper

Ceres, goddess of the harvest

Jade Panares

Bacchus, god of wine

Jorge Martinez

Bellona, goddess of war

Gabrielle Gonzalez

Flora, goddess of flowers

Sarah Dyer

Fortuna, goddess of fortune

Annie Brown

Fulgora, goddess of lightning

Allison Jones

The Three Graces: Euphrosyne, goddess of mirth Aglaia, goddess of beauty Thalia, goddess of comedy

Elena Klein Eliza Masewicz Rebecca Darby

Hercules, god of strength

Noah Boldt

Hermaphroditus, god of androgyny

Jonathan Moody

Hygea, goddess of health

Meghan Krish

Hymen, god of the wedding feast

Jordan Martinez

Iris, goddess of the rainbow

Victoria Santana

Juventus, god of youth

Thomas O’Neill

Timothy Kirby

Luna, goddess of the moon

Sarah Cox

CHORUS

GODS AND TEXANS

CHORUS Shannon Murray

Shannon Murray

Morpheus, god of dreams

Aaron Oberlander

Pan, god of sheep

Juan Garza

Pecunia, goddess of money

Audrey Welsh

Pomona, goddess of orchards

Kiley Rovegno

Priapus, god of fertility

Brady Spell

Somnus, god of sleep

Christian Brooks

Trivia, goddess of magic and the Dark Side of the Moon

Abby Gerstle

Verminus, god of disease

J.P. Williams

Vesta, goddess of the hearth

Kendall Banasiak

Virtus, god of courage

Cam Michalak

Voluptas, goddess of pleasure

MiaRose Hanberry

Vulcan, god of fire and the forge

Oliver Hassall

ORCHESTRA FLUTE / PICCOLO

BASS TROMBONE

VIOLA

Lilly Arnold

Antonio Morales

Merit Rogge

Spencer Vandigriff OBOE Sara McGee

Melissa Escobar

TIMPANI Roland Hernandez

Rosa Alicia Cole Lilyan Foulois

PERCUSSION

Ko Eun Cho

Jordan Avila

Nadia Sanchez

CLARINET

Mario Leal

Mason Finnen

Mauricio Franco

Jose Sandoval

Daniel Millan

Adrienne Anaya

BASSOON

FIRST VIOLIN

Mitchell Wright

Pavlo Savitski

Julia Tondera

Henna Mohamed

Laura Fickel

Thien Truc Nguyen

Samuel Linzan

Miranda Hollingsworth

Adriana Black

Gilyoung Kang

Gracie Martinez

Haley Hoffman

HORN F Claude Lumley Zachary Scruggs

Heather Leal

Ricardo Jimenez

TRUMPET

Holly Knoch

George Solis

Vu Pham

Garrett Shuping

CELLO Hernan Campa

Adrian Ponce BASS Reid Ronsonette Andrew Adams-Whitehead

SECOND VIOLIN

TROMBONE

Mackenzie Gibbons

Abigail Bracewell

Joseph Stephen Brown

CÃ©sar Flores

Chris Nguyen

Eduardo Fernandez

Sarah Smythe Nayeli Sanchez Alexys Gonzalez Zhe Jin

O R PH E U S I N T H E U N D E RWO R LD / C H O R U S / O R C H E ST R A

Minerva, goddess of wisdom

O R PH E U S I N T H E U N D E RWO R LD / PR O D U C I N G T E A M / S Y N O P S I S

PRODUCING TEAM Producer and Stage Director

Buck Ross*

Conductor and Music Director

Raymond Harvey*

Set and Lighting Designer

Thom Guthrie+

Costume Designer

Richard Walsh+

Projections and Surtitles

Buck Ross*

Production Manager

Nicole Kenley-Miller#

Technical Director

Jason Burton#

Musical Preparation

Kevin Miller*, Andreea Muţ+, Catherine Schaefer+, Raymond Harvey*

Assistant Conductor

Alejandro Basulto

Assistant Stage Director

Lee Gregory

Stage Manager

Miriam Green

Assistant Stage Managers

David Oluwo, Antonio Sanz

Props Master

Cameron Regan+

Makeup Supervisor

Tisha Cruse-Hughes+

Wardrobe

Kristie Shackelford, Lena Jones

IATSE Stagehands

William Folzenlogen, Garrett Johnson, Connor Morrow, J.D. Phillips

Sound

Afshin Farzadfar#

Assistant to Buck Ross

Krista Renée Pape

Moores School of Music Staff

* Moores School of Music Faculty

Guest Artist

SYNOPSIS Act One Public Opinion vows to bring an edifying entertainment to the audience. Out in the country, Eurydice scatters flowers in tribute outside the house of her lover, the shepherd Aristeus. She is unapologetic for her adultery. Orpheus, her husband, catches her in the act, and they quarrel. Despite her protests to the contrary, Eurydice is still enraptured by her husband’s violin playing. They agree to a divorce, but not before Orpheus warns her that he has left a poisonous snake for her lover in the cornfields. Aristeus arrives, extolling the virtues of clean country living. He hints at his true nature. Eurydice warns him of the poisonous snake her husband has left in the field. Aristeus is defiant and Eurydice romantically joins him in the corn. Immediately bitten, she swoons in his arms and dies. Aristeus reveals his true self: he is actually Pluto, god of the underworld. The now dead Eurydice writes a farewell note to her husband and Pluto whisks her away to hell. Orpheus finds the note and rejoices. He’s rid of his wife! But Public Opinion intervenes. She and the whole town condemn Orpheus for his actions. He must go to Mount Olympus and beg the gods to help him get Eurydice back. Before he sets off on his journey, Orpheus insists on bidding farewell to his students. Public Opinion agrees, but is somewhat mystified by their appearance. She points Orpheus to his destiny, and they set off for Mount Olympus.

SYNOPSIS Act Two The gods are sleeping because life on Mount Olympus is boring. Venus, Cupid, and Mars each sneak in after a sojourn down to earth and report on their trips. The sound of a hunting horn announces the arrival of Diana, goddess of the hunt and of chastity. She recounts her disastrous affair with Acteon. Jupiter has turned him into a stag. Juno accuses Jupiter of having abducted Eurydice. To prove her wrong, he has sent Mercury on a mission to find out who really did it. Mercury returns with news that it was Pluto who did the deed and announces his imminent arrival. Pluto tries to distract Jupiter with flattery, but it doesn’t work. The gods and goddesses revolt against their steady diet of nectar and ambrosia. They want some real food. Jupiter insists that they behave and keep up appearances. To demonstrate his hypocrisy, the other gods recount Jupiter’s notorious affairs, when he transformed himself into various animals to seduce women.

INTERMISSION

Act Three Locked away in her boudoir in a hotel in hell, Eurydice laments her fate. A peculiar bellhop, John Styx, brings room service, then tries to seduce her, but fails. Before Jupiter and Pluto arrive, John Styx locks Eurydice in her room. Jupiter barges in demanding to know where she is. Pluto and John Styx deny any knowledge of her, but Jupiter is not convinced. He peers through a keyhole in her locked door but can’t see anything. Cupid arrives and laughs at him for not using some assistance to find her. He offers his Love Police to help him. Cupid suggests an interesting way to locate her, which actually works. But the door is still locked, so there must be a way through the keyhole! Cupid has an idea. He transforms Jupiter into a fly so that he is small enough to go through the keyhole. Jupiter, now a rather large insect, seduces Eurydice, who is charmed by him. They agree to meet later at a party that Pluto is throwing. Act Four A wild bacchanal is in progress. Eurydice is introduced as the evening’s entertainment. She sings a song in praise of Bacchus, the god of wine and lust. Jupiter suggests a refined dance, but it is interrupted instead with a raucous can-can. Orpheus and Public Opinion appear. The situation is getting tense. Jupiter pronounces the trial. Orpheus is to march back to earth and Eurydice must follow him. Orpheus is never to look back at her or he will lose her forever. Public Opinion pressures Orpheus to never turn around. As they walk to earth, Orpheus doesn’t seem at all tempted to turn around. Worried that she won’t get to stay with him, Jupiter hurls a thunderbolt at Orpheus who turns to look where it came from. He sees Eurydice and now she must stay in the underworld forever. But Jupiter insists that now neither he nor Pluto will have her, and that he is putting her on the pedestal she deserves.

O R PH E U S I N T H E U N D E RWO R LD / S Y N O P S I S

Mercury announces the arrival of Orpheus and Public Opinion. Against his will, she makes Orpheus grovel and beg for the return of Eurydice. Jupiter passes judgment. To Orpheus’s dismay, Jupiter insists on helping him get Eurydice back. He announces that he will go to hell himself to insure her safe return. The bored gods beg to be taken along with him. Jupiter agrees, and all the residents of Mount Olympus travel to the underworld with Orpheus and Public Opinion.

DIRECTOR’S NOTE

O R PH E U S I N T H E U N D E RWO R LD / D I R E C T O R’ S N O T E

The year 1819 marked the birth of tonight’s composer, Jacques Offenbach, so it’s fitting that we present this production for the 200th anniversary of his birth. The wild Parisian popularity of his operetta Orpheus in the Underworld earned Offenbach the nickname “The Mozart of the Champs-Elysées” from none other than Rossini. It was a well-deserved title. Previously known for a series of short small-scale operettas, Orpheus marked the beginning of a string of international popular hits that also included La Périchole, La Belle Hélène, La Vie Parisienne, and Les Contes d’Hoffmann. His style greatly influenced the writing of many composers of light theatre music from Johann Strauss, to Gilbert and Sullivan, to Leonard Bernstein of Candide. Any person of even modest education in the 19th century would have been reared on a steady diet of classical mythology, so the creators of Orpheus could count on their audience not only understanding the references, but also delighting in poking fun at the sacred cow of Greek and Roman myth. Orpheus, according to those myths, was the legendary virtuoso of the lyre. His wife, Eurydice, was bitten by snakes while fleeing from Aristeus. Orpheus, through the power of his music, journeyed to the underworld to save her. Pluto was so moved by Orpheus’s music that he agreed to let Eurydice return to earth under one condition. On their journey back to earth she was to walk behind Orpheus, and at no time was he to look back at her. If he did so, she would remain forever in the underworld. Much like Lot’s wife, Orpheus couldn’t resist looking back at Eurydice, and she died once again. Gluck, the composer of Orfeo ed Euridice, was worshipped among the cognoscenti in France, so to lampoon this highly serious story of the very symbol of music was simultaneously rather daring, and also a bit of a relief to many. Indeed, Gluck’s opera is quoted in the work and would have been immediately recognized by most of the audience. The operetta is also a political satire of the rulers of the French Second Empire and so its jokes would have landed on its audience in the same way that Saturday Night Live sketches do today. The work proved so popular that many years later Offenbach wrote a second version that greatly expanded the original work with numerous ballets, added choruses and arias, and even a brass band to escort the gods to hell. The version we are doing is a combination of the original version from 1858 and the later 1874 version. The underworld in classical mythology is, of course, not the exact equivalent to the modern concept of hell as a place of damnation. It was simply where everyone went when they died. In Orpheus in the Underworld, hell becomes a place of fun to escape the boredom of constant bliss on Mount Olympus. You would not find the operetta’s unusual character named Public Opinion agreeing with that assessment. But she’s a delightful feature of the work and she indeed exploits the need of politicians to please her. The most famous number in the show is its “Galop Infernal” which the rest of the world knows as the “Can-Can.” Though it was not originally written to accompany that raucous dance, it has become permanently associated with it. While the star of this piece is undoubtedly Offenbach’s endless supply of tunes, the role of Eurydice has been a favorite among French coloraturas such as Mady Mesplé and, more recently, Natalie Dessay. I wrote this English version for our first production of this piece in the early 1990s. It has since had many performances all over the US. This season will also see productions of the translation at Michigan State University, Ball State University, University of Nevada, Las Vegas, and Mercer College. I tried to maintain its complicated French rhyme scheme while also recapturing the zing of the original. The rest of our season has old favorites like Mozart’s immortal comedy The Marriage of Figaro, a rare double bill of two tuneful Menotti comedies, The Old Maid and the Thief and Amelia Goes to the Ball, and the one I am most excited about, Elizabeth Cree, which premiered in 2017 in Philadelphia to rapturous reviews. Its composer and librettist, Kevin Puts and Mark Campbell, won a Pulitzer Prize a few years ago for their opera Silent Night. Elizabeth Cree is a dark mystery about a serial killer during the time of Jack the Ripper’s London, leavened with the comedy of a British music hall troupe. It moves very fast, boasting 29 scenes in the space of 90 minutes. If you like Sweeney Todd, you won’t want to miss Elizabeth Cree. But for now, let’s all go to hell!

Buck Ross Director, Moores Opera Center

SPECIAL THANKS

TIMINGS

Costume Connection Stages Repertory Theatre UH School of Theatre & Dance John Cokins First Presbyterian Church, Houston

Act One: 45 minutes Act Two: 35 minutes Intermission: 15 minutes Act Three: 25 minutes Act Four: 20 minutes

ABOUT THE MOORES SCHOOL OF MUSIC Moores Opera Center 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. Moores School of Music 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. 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. Please visit uh.edu/kgmca/music/moores-society. For more information, please contact Julie Anderson-Smith, Senior Director of Philanthropy, at jdanderson-smith@uh.edu or 713-743-6878.

ABOUT THE COLLEGE Kathrine G. McGovern College of the Arts The Kathrine G. McGovern College of the Arts at the University of Houston is a dynamic home of creativity and collaboration in one of America’s most artistically vibrant and culturally diverse cities. Bringing together the performing and visual arts entities at the University of Houston, the college has the ability to harness the power of the arts to ultimately impact our world. Our award-winning, internationally distinguished faculty provides top-quality instruction to the talented, emerging student artists from more than 30 programs of study. The Kathrine G. McGovern College of the Arts seeks to positively impact the community and to empower our students to use their talents to change the world. For information on upcoming Kathrine G. McGovern College of the Arts events, visit uh.edu/artstickets or contact the KGMCA Box Office at 713-743-3388.

SUPPORT MOORES OPERA CENTER AND ADVERTISE FOR YOUR BUSINESS! Ad space in the Moores Opera Center program is now available for purchase at reasonable prices. For more information, contact Nicole Kenley-Miller at bnkenley@uh.edu or 713-303-3633.

Celebrating the carefree days of Rock’n Roll. FREE at Miller Outdoor Theatre! Saturday, Oct. 26, 2019 7:30 pm

Showcasing the creativity of Houston composers. Saturday, Nov. 16, 2019 • 7:30 pm

SUPPORT THE RISING STARS OF OPERA BY GIVING TO THE MOORES SOCIETY The Moores Society’s mission is to support the Moores School of Music through programs and events that benefit scholarships, special projects, and educational opportunities for music students at the University of Houston.

Jessica Jones (BM ’09, MM ’11)

Katherine DeYoung (MM ’18)

Grammy Award winner, “Best Opera

Lyric Opera of Chicago’s Ryan Center

Recording” for The (R)evolution of Steve Jobs

2019 – 2020 Season

YOUR GIFT PROVIDES MOORES OPERA CENTER STUDENTS WITH Stage experience in four full-scale, professional-level productions per academic year Opportunities to perform regional and world premieres of new operas Ability to train with 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 Speak with a Moores Society representative or a current MOC student at the table in the lobby during intermission or following the performance to learn more about how your gift matters! Ways to Give [ 1 ] Give online at app.mobilecause.com/vf/MOC [ 2 ] Text MOC to 71777 [ 3 ] For large and estate gifts, contact Julie Anderson-Smith, Senior Director of Philanthropy, at jdanderson-smith@uh.edu or 713-743-6878. School for Scandal, 2018. Photo/Pin Lim

uh.edu/opera

@MooresOpera

SPECIAL THANKS TO MOORES OPERA CENTER 2019 – 2020 SUPPORTERS IMPRESARIO ($25,000+) Cullen Trust for the Performing Arts Edythe Bates Old Endowment MAESTRO ($10,000+) Dr. Cheryl and Dr. Carl Carlucci DIRECTOR ($5,000+) Jo Dee and Cliff Wright LEADING ROLE ($1,000+) McGonigel’s Mucky Duck Scott Chase (BA ’68, JD ’71) Endowment Fund COMPRIMARIO ($500+) Richard Drapeau Shannon Langman (MM ’09) Buck Ross SUPERNUMERARY ($250+) Lucy Gebhart CHORUS ($100+) Ulli Budelmann Dr. Nicole Kenley-Miller (DMA ’18) and 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 DONOR SPOTLIGHT Debbie Feuer for advertising Moores School of Music performances on Houston Public Media News, KUHF 88.7FM Current annual donor list as of September 27, 2019

O R PH E U S I N T H E U N D E RWO R LD / C A ST / C H O R U S

MOORES SOCIETY B E C O ME A MO O RE S S O CIE TY M E M B E R TODAY The Moores Society is dedicated to assisting the Moores School of Music with essential fundraising goals and development efforts. In addition to helping elevate student success through these endeavors, you will also enjoy opportunities for education, exclusive access to behind-the-scenes experiences, and music camaraderie throughout the year. Join today to be a part of the Moores School of Music’s premiere philanthropic community.

Annual Dues-Paying Membership

Benefits valid September 1 – August 31. Subject to change.

FRIEND

PATRON

PARTNER

DIRECTOR

FMV $0

$120

$250

Program listing Notifications about upcoming masterclasses and guest lecturers Invitation to Coffee with Courtney A meet and greet with the director of the Moores School of Music and reception Invitation to Moores School of Music “Thank You” events Invitation to International Piano Festival reception Invitations to rehearsal tours led by the director’s Student Advisory Council Invitation to open dress rehearsals for select programs Invitations to other special events throughout the year

bit.ly/MSMmembership

$500

$1,000

2019 – 2020 MOORES SOCIETY Board of Trustees Executive Committee Jo Dee Wright, President Jackie and Malcolm Mazow, Vice Presidents/Presidents-Elect Helen Shaffer, Vice President/Membership Chair Carla Burns, Recording Secretary Rita Aron, Corresponding Secretary

Terry Ann Brown Darlene Clark Joyce Frassanito Mariglyn and Stephen Glenn Marita Glodt Sean Gorman

Susan Osterberg, Immediate Past President Debbie Feuer, Audience Development Chair Ann Faget, Opera Chair Courtney Crappell, Director, Moores School of Music

Ellen and Alan Holzberg Marie LeNotre Jay Marks Mary Ann McKeithan Cathy McNamara Shirley Rose

Kathi Rovere Nancy Strohmer Rhonda Sweeney Betty Tutor Mary Ann and Bob Wilkins

Advisory Board Julie Anderson-Smith and Ron Smith Ann Ayre Christopher Bacon Tom Becker Anne Boss Nancy Bowden Cheryl Byington Lori Blasser and Oscar Salcedo Zarine Boyce Katherine and Trey Brady Julie Dokell Cogan Cathy Coers Frank Diane and Harry Gendel Beatrice and Gregory Graham John Grimmett Joann Crassas

Vicky Dominguez Thom Guthrie Donna and Gene Hammons Gladys Hooker Barbara Johnson Mady Kades Joan and Marvin Kaplan Janis Landry Shannon Langman Geraldine and Kenneth Lehrer Cora Sue and Harry Mach Celia Morgan Jo and Joseph Nogee Kitten and Ron Page Carroll R. Ray Sally and Norman Reynolds

Carol Robertson Lillie Robertson Minnette Robinson Evie Ronald Donna Scott and Mitch Glassman Donna Shen Satoko and Anthony Shou Susan Thompson Ann and Karl Tornyos Virginia and Gage Van Horn Barbara Van Postman Carol and Carl Vartian Beth Wolff Cyvia Wolff Louis Wu Gay Yellen

Founding Trustees Charlene and Phillip J* Carroll Barbara and Gerald D. Hines Diana* and Bill Hobby Belle Johnson* Betty C. and Gene* McDavid

George P. Mitchell* John J. Moores Anne and Barry Munitz Marilyn and Gene Reamer Wilhelmina “Beth” Robertson

Shirley and Donald* Rose Louisa Stude Sarofim Nan and Richard* Schissler, Jr. Goldye Marian Spain* Margaret Alkek Williams

Honorary Trustees Philip Berquist Marie Bosarge Renee Danziger* Marian Yeagar Enete* Carlisle Floyd

Ulyesse J. LeGrange Sharon and Bob Lietzow Beth Madison Sybil Roos Ann Sakowitz*

Charles Saunders* Ann and David* Tomatz David Ashley White Philip Winston Elsa Wolf*

2019 â&#x20AC;&#x201C; 2020 MOORES SOCIETY Opera Production Council Buck Ross, Faculty Chair Ann Faget, Opera Committee Chair Robin Angly Chris Bacon Cheryl Byington Tim Doyle Alan Holzberg

Ellen Holzberg Mary Ann McKeithan Susan Osterberg Rhonda Sweeney Beth Wolff Jo Dee Wright, Ex-Officio Members Jackie and Malcolm Mazow, Ex-Officio Members

Moores Society Member Levels Director $1,000 Carla Burns Victoria Dominguez Debbie L. Feuer Mariglyn and Stephen Glenn Helen Shaffer Ellen and Alan Holzberg

Barbara and Ulyesse LeGrange Sharon and Bob Lietzow Tod Lindholm and Rex Adams Cathy and Bill McNamara Lillie T. Robertson Shirley E. Rose

Nancy and Michael Shoup Doris and William Sing Rhonda and Donald Sweeney Rick and Betsy Weber Joan and Mike Weltzien Jo Dee and Cliff Wright

Partner $500 Helen B. Davis Gladys Hooker Carroll R. Ray

Donna S. Scott Susan Thompson Ann and Karl Tornyos

Virginia and Gage Van Horn

Patron $250 Julie Anderson-Smith and Ron Smith Alan Austin Ann Ayre Christopher Bacon Davis Betty Anne Boss Nancy Bowden Julie Dokell Cogan Donna M. Cooper Rachel Frazier

John R. Gealy Beatrice and Gregory Graham Donna and Gene Hammons Shannon Langman Tommy and Sherry Lott Mady and Kenneth Kades Mary Ann and David McKeithan Celia Morgan Jo and Joseph Nogee Minnette Robinson

Frank Rynd Nancy Schissler Betty and Robert Schwarz Donna Shen Christine Stevens and Richard Crishock Susan Osterberg Carol and Carl Vartian David Ashley White Cyvia Wolff Gay Yellen

Friend $120 Ginger and David Blomstrom Judy and Harry Bristol Courtney Crappell Ann T. Hendrix Barbara Hester Timothy Hester

Barbara and Raymond Kalmans Mireille and Harvey Katz Nicole Kenley-Miller and Andy Miller Richard Kummins Connie Lewis Crista and Gary Miller

* In Memoriam Donor Listing as of September 20, 2019

Gregory and Kate Robertson Felicia and Allan Snyder Eleanor and Richard Viebig Debra Witter and Scott Chase Barry P. Wood

GIVING TO THE ARTS ENRICHING OUR STUDENTS, OUR COMMUNITY, AND THE WORLD Thank you to the following donors for giving through endowments that transform the lives of students, faculty, and audiences in perpetuity.

2 01 9 – 2 02 0 E N D O W M E N T S Abram I. Lack Music Master’s Endowment Fund

Edythe Bates Old Choral Endowment

Albert and Margaret Alkek Scholarship Endowment Albert Hirsh Endowed Scholarship Fund

Edythe Bates Old College Professorship Endowment in the Moores School of Music

Alkek Williams Endowment in the Moores School of Music

Edythe Bates Old Opera Endowment

Amelia Ann Alexander Scholarship Endowment for Organ Studies in the Moores School of Music

Edythe Bates Old Orchestra Endowment in Moores School of Music

Anthony P. Apollo Memorial Scholarship Endowment for the Moores School of Music Jazz Program

Eleanor Searle Whitney McCollum Scholarship Endowment in Music

Betti and Charles Saunders Music Endowment

Elena Nikolaidi Scholarship Endowment Fund for the Moores School of Music

Betty and Harry Czarnek and Betty and Eugene Patalik Music Scholarship Endowment Betty C. and Harry T. Jukes Music Scholarship Endowment Betty Cannata Music Excellence Endowment Betty Shaw Scholarship Endowment Fund Bill and Ann Stokes Endowment in the Theatre Program Blaffer High Ceiling Gallery Endowment C. W. Moores, Jr. Endowed Professorship in Music C. W. Moores, Jr. Fellowship Endowment for the Moores School of Music Cecil J. Pickett Scholarship Endowment Fund Charlene and Philip J. Carroll Endowment in Music Charles F. and Dorothy B. Riesen Scholarship Endowment Fund

Frank L. Berry, Jr. Endowment in the School of Art Frederic A. and Betsy Cook Weber Endowed Scholarship for Vocal Music Education Galveston Musical Club Scholarship Endowment Fund Gary Choate Memorial and Marc L. Palmer Endowment George Leroy and Myrajane Ereckson Hall Endowment in the Moores School of Music Houston Delphian Endowment for Support of the Shakespeare Festival Howard Pollack Scholarship Endowment in the Moores School of Music, in Memory of Darryl Wexler J. Scott Chase Endowment in Opera in the Moores School of Music Jane Dale Owen Endowment in the Blaffer Art Museum

Cheryl M. Carlucci Fellowship Endowment in Opera in the Moores School of Music

Jean Preston Lack Music Scholarship Fund

Claire North Patterson Scholarship Endowment in the Moores School of Music

Jo and Jim Furr Exhibition Endowment in the Blaffer Art Museum

Cullen Foundation Endowed Dean’s Chair for the Kathrine G. McGovern College of the Arts

Joanna Friesen Scholarship Endowment

Cynthia Woods Mitchell Center for the Arts Endowment David and Ann Tomatz Music Endowment Delphian Theatre Endowment Fund Diabolus Endowed Scholarship for the Moores School of Music Dorothy A. and Charles E. Bishop Scholarship Fund in the Moores School of Music Eddie Green / Chad Collins Family Band Program Endowment

Jeremy Head Scholarship Endowment Fund

John M. Druary Scholarship Endowment in the Moores School of Music John S. and Elena M. Zaccaria Scholarship Endowment in the Moores School of Music and the School of Theatre & Dance Judith Kathleen Morris Memorial Endowment June Duhar Smith Scholarship Endowment in the Moores School of Music Kathrine G. McGovern College of the Arts Endowment La Ruth Blain Scholarship Endowment in the School of Art La Verne McClellan Endowment Fund in Fine Arts

Lack Music Endowment Fund

Patsy Swayze Endowed Scholarship for Dance

Larry W. Gatlin Endowment in Music Laura Eliska Swails Fine Arts Scholarship Endowment

Peter W. Guenther Art History Scholarship Endowment Fund

Linda and Ken Lay Family Endowment in Music

Richard Y. Grant Music Scholarship Endowment Fund

Linda Dorff Scholarship Endowment in the School of Theatre & Dance

Robert Bullard Memorial Scholarship Endowment

Louisa Stude Sarofim New Music Endowment Fund

Ronald C. Borschow Endowment for Student and Faculty Travel

Lucile Birmingham Melcher Endowment in the Moores School of Music

Robert J. Jones Endowment in Music

Ruth G. Burr Endowed Scholarship Fund

Lucile Birmingham Melcher Violin Endowment in the Moores School of Music

Ruth M. Claridge Endowed Scholarship in Honor of Mr. Byron Hester

Lyndall Finley Wortham Chair in the Performing Arts

Ruth M. Claridge Memorial Endowment

Madison Endowed Professorship in Music

Sarah C. Morian Endowment

Margaret Alkek and Margaret Alkek Williams Chair for the Director of the Moores School of Music

Sarah Campbell Blaffer Scholarship Endowment

Margaret W. and James A. Elkins, Jr. Endowment in Music

Schissler Foundation Fellowship Endowment Fund in Music

Marian and Samuel W. Spain Endowment for Graduate or Undergraduate Students in Music Education in the Moores School of Music

Moores School of Music Endowment Fund

Marilyn and R.E. “Gene” Reamer Endowment in Music Martha Suit Hallman Lecture in Music Endowment Martin Antonio “Marty” Flores Scholarship Endowment for Composition and Music Theory Studies Matthew Bartkowiak Memorial Scholarship Endowment May R. Litowsky Endowed Scholarship for the Moores School of Music

Sarah J. Cooper Memorial Scholarship Endowment Fund

Steinway Initiative Maintenance Endowment in the Moores School of Music Stephen Harbachick Endowment in Music Sue H. Van Horn Music Scholarship Fund The Chris Wilson and Jim Jeter Endowment for Excellence in Theatre Thelma Hearn Scholarship Endowment Thomas Flaxman Endowed Art Scholarship Fund

Michael Wilkomirski Endowed Violin Scholarship Fund

Tommy Tune Endowed Dance Scholarship

Milton Katims Endowed Scholarship Fund in Music

Trey Wilson Endowed Scholarship Fund

Minnette and Jerome Robinson Scholarship Endowment

Val Link Endowed Scholarship in Art

Miriam Strane Memorial Piano Scholarship Endowment

Wilhelmina R. “Beth” Robertson Endowment in Music

Nancy and Rob Martin Endowed Scholarship

William C. Moffit Endowed Scholarship in Band

Nancy Chertok Scholarship Endowment Fund in Music

William Douglas Allums Band Endowment

Nancy Luton Scholarship Endowment for Innovation in Printmaking

William G. Henry, Jr. Scholarship Endowment

Neva and Wesley West Scholarship Endowment for the Moores School of Music

Winifred and Maurice Hirsch Memorial Scholarship Endowment

William Lee Pryor Voice Scholarship Endowment

E N D O W M E N T S I N P RO G R E S S Adeeb and Adeeba Hourani Endowed Professorship in Music

Rhonda and Donald Sweeney Endowed Scholarship for Opera

Darrin Davis and Mario Gudmundsson Voice and Opera Scholarship Endowment

Robert J. Jones Endowment in Music

Jay and Shirley Marks Scholarship Endowment in the Moores School of Music Joan Hohlt and Roger Wich Scholarship Endowment in Art

Robin L. Tooms Endowment for Excellence in Graphic Design Sharon Kopriva Endowed Scholarship in Art Young Artist Endowed Scholarship in Piano

Marie Taylor Bosarge Endowed Affiliated Fellowship at the American Academy in Rome

For more information, contact Julie Anderson-Smith, Senior Director of Philanthropy, at jdanderson-smith@uh.edu or 713-743-6878.

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