The Bartered Bride April 8,9,10, and 11, 2022 by UH Kathrine G. McGovern College of the Arts

The

PRESENTS

BARTERED BRIDE April 8, 9, and 11 at 7:30 p.m. April 10 at 2:00 p.m.

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

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

MESSAGE

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 FROM CRAPPELL back at her. If he did so, she would remainCOURTNEY forever in the underworld. Much like Lot’s wife, Orpheus couldn’t Director of the Moores School of Music resist looking back at Eurydice, and she died once again. Gluck, the composer of Orfeo edWelcome Euridice, was worshipped amongHouse! the cognoscenti in France, so to lampoon to the Moores Opera We are proud to present tonight’s this highly serious story of the very symbol of music was simultaneously rather daring, and also a bit ofCenter. a production by the students, faculty, and staff of the Moores Opera If relief to many. Indeed, Gluck’s opera is quoted in the work and would have been immediately recognized by you would like to support our programs, I invite you to become a member most of the audience. The operetta is also a political satire of the rulers of the French Second Empire and so of the Moores Society by visiting uh.edu/music. Also, be sure to regularly its jokes would have landed on check its audience in the same way to that Saturday Live sketches do today. The our concert calendar learn aboutNight upcoming events. original work with numerous ballets, added choruses and arias, and even a brass band to escort the gods to Enjoy the show! 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,

Courtney Crappell 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

MESSAGE

favorite French coloraturas such as Mady Mesplé and, more recently, Natalie Dessay. FROMamong BUCK ROSS

Artistic Director of Moores Opera Center performances all over the US. This season will also see productions of the translation at Michigan State We chooseBall to go to the Moon inthe thisUniversity decade and do the other things,and notMercer because University, State University, of Nevada, Las Vegas, College. I tried to maintain they are easy, but because they are hard; because that goal will serve to organize and its complicated French rhyme scheme while also recapturing the zing of the original.

measure the best of our energies and skills, because that challenge is one that we are

The rest to of accept, our season old unwilling favorites like Mozart’s immortal comedy willing one has we are to postpone, and one we intendThe to Marriage win... 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 words were delivered by John F. Kennedy in a speech at Philadelphia another Houston IThose am most excited about, Elizabeth Cree, which premiered in 2017 in to rapturous reviews. Its university (that shall not be named) in 1962. His words could have described the ago for their opera composer and librettist, Kevin Puts and Mark Campbell, won a Pulitzer Prize a few years future trajectory of the Moores Opera Center as we constantly challenged ourselves to do theLondon, impossible. Silent Night. Elizabeth Cree is a dark mystery about a serial killer during the time of Jack the Ripper’s Opera IS hard. I am, of course, thrilled when our students have success on the world’s stages, but even more leavened with the comedy of a British music hall troupe. It moves very fast, boasting 29 scenes in the space I am proud of their success as human beings. As I face my upcoming retirement after 37 years at UH, I hope of 90 minutes. If you like Sweeney Todd, you won’t want to miss Elizabeth Cree.

that my students have all walked away with a new-found confidence that they can achieve anything.

But for now, let’s all go to hell!

A teacher couldn’t ask for anything more.

Buck Ross Buck Ross Director, Moores Opera Center

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. There are no refunds. Subscriptions Subscriptions are up to 25% off the regular ticket price. Subscribers also enjoy benefits such as free ticket reprinting, no exchange fees and invitations/discounts to special events. Call our Box Office at 713-743-3388 for more information on how you can start saving today! Special 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. 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. Group Discounts Special discounts are available to groups of 10 or more. Call our Box Office at 713-743-3388 for more information. Restrictions Any taping, filming, recording or broadcasting of performances 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.

presents THE

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

JULIUS BARTEREDCAESAR The

BRIDE

in Egypt

An opera in 2 acts Music by Bed ich Smetana Libretto by Karel Sabina English Translation by Kit Hesketh-Harvey Sung in English and Czech with English text projected over the stage April 8, 9, and 11 at 7:30 p.m. April 10 at 2:00 p.m. Moores Opera House English translation used by arrangement with Kit Hesketh-Harvey and the Royal Opera House, Covent Garden. 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. 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.

ABOUT THE MOORES SCHOOL OF MUSIC 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 CENTER Moores OperaOPERA House, UH’s distinctive performance hall designed to blend the acoustics of a traditional European opera house with the modern equipment of today.Center, founded in 1986 at the University of Houston, gives The Edythe Bates and Oldtechnology Moores Opera

young SCHOOL voices aOFchance MOORES MUSIC to develop through practical training and performance opportunities. Every year, the program produces four of major productions the Mooresmusic Opera House, The University of Houston’s Moores School Musicoperatic (MSM) is one of the leadingincomprehensive schools in theUH’s nation. Its remarkable faculty — of internationally recognizedto performers, composers, andof scholars — outstanding student opera body, modern distinctive performance hall designed blend the acoustics a traditional European house facilities, and broad range of programs make MSM the natural choice for nearly 600 students annually. The school’s commitment to with the modern equipment and technology of today. 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 SCHOOL OF MUSIC

MOORES SOCIETY of Houston’s Moores School of Music (MSM) is one of the leading comprehensive The University The Moores Society is organization for — theof Moores School of Music. Moores Society members and music schools inthe thephilanthropic nation. Itsvolunteer remarkable faculty internationally recognized performers, donors promote community awareness and provide funding for scholarships and special projects. Moores Society members receive composers, and scholars — outstanding student body, modern facilities, and broad range invitations to concerts and special events held throughout the year.

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 For information, please contact Courtney Crappell, Director,life Moores School of Music, at ccrappel@uh.edu or 713.743.6118. asmore a vital resource in the educational and cultural of Houston and beyond. Please visit uh.edu/kgmca/music/moores-society.

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 KATHRINE G. MCGOVERN COLLEGE OF THE ARTS scholarships and special projects. Moores Society members receive invitations to concerts and special events held throughout theatyear. The Kathrine G. McGovern College of the Arts the University of Houston is a dynamic home of creativity and collaboration in one

ABOUT THE COLLEGE

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, Please visit uh.edu/kgmca/music/moores-society. 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 For more information, please contact Courtney Crappell, Director, Moores School of Music, students to use their talents to change the world.

at ccrappel@uh.edu or 713-743-6118.

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.

ABOUT THE COLLEGE MOORES OPERA CENTER FACULTY AND STAFF KATHRINE G. MCGOVERN COLLEGE OF THE ARTS

Director Moores Opera House Manager The Kathrine G. McGovern College of the Arts at the University of Houston is a dynamic home Buck Ross Kristin Johnson

of creativity and collaboration in one of America’s most artistically vibrant and culturally diverse

Assistant Conductors Music Director cities. Bringing andTruong, visual arts entities at the University of Houston, the Carlin Carolina Rodriguez Raymond Harvey together the performing college has the ability to harness the power of the arts to ultimately impact our world. Our awardChorus Master Production Manager Jeb Mueller winning, internationally distinguished faculty provides top-quality instruction to the talented, Nicole Kenley-Miller

Musical Staff emerging student artists from more than 30 programs of study. The Kathrine G. McGovern College Principal Scenic and Lighting Designer Laura Bleakley, Jeffery Stephen Andreea Mut, of the Arts seeks to positively impact the community and toGordon, empower our Jones, students to use their Thom Guthrie Catherine Schaefer

talents to change the world.

Technical Director Jason Burton

Voice Faculty Cynthia Clayton, Joseph Evans, Timothy Jones, Melanie Sonnenberg, For information on upcoming KathrineHector G. McGovern of the Arts events, visit Vasquez,College Zach Averyt, Dominique McCormick Principal Costume Designer Richard Walsh

CAST LIST SATURDAY/MONDAY

Krušina, a farmer

Grant Peck

Joeavian Rivera

Ludmila, his wife

Miranda Graham

Samantha Taylor

Ma enka, their daughter

Rachel Shukan

Justine Alexander

Míscha, a wealthy landowner

Aaron Oberlander

Brady Spell

Háta, his second wife

Meghana Krish

Tarryn Ballard

Vašek, their son

Thomas O’Neill

Eric Laine

Jeník, a drifter

Jesús Bravo

Stephen Ash

Kecal, a marriage broker

Mohammad Salman

Nathan Holmes

Esmeralda, a circus dancer

MiaRose Hanberry

Bailey Bower

Ringmaster

Namarea Randolph-Yosea

Jordan Martinez

Sword Swallower

Oliver Hassall

Gage Campos

Juggler

Christopher Kimball

Clowns

Julia Rose Arduino Mariam Mouawad Angie Tovar

Acrobats

Aaron Gonzalez Chloe Owens

Puppet Operators

Jadon Campos Ariadne Lopez

CHORUS Townspeople

Julia Rose Arduino

Christine Boddicker

Aaron Gonzalez

Gage Campos

Valeria Bautista

MiaRose Hanberry

Dušan Grubiši

Jadon Campos

Bailey Bower

Ariadne Lopez

Jordan Martinez

Oliver Hassall

Alana Glover

Mariam Mouawad

Namarea Randolph-Yosea

Aaron Oberlander

Alexandra Gorman

Chloe Owens

Jonatán Reyes

David Oluwo

Amia Langer

Audrey Welsh

Maddie May Angie Tovar

DANCERS Aubrey Scarcella+

Joshua Godfrey+

Courtney Smith+

Aaron Gonzalez

Kendall West+

Carter Neil-Dobbs+

+Guest artist

Brady Spell

T H E B A R T E R E D B R I D E / C A ST LI ST / C H O R U S / DA N C E R S

FRIDAY/SUNDAY

ORCHESTRA FLUTE

FIRST VIOLIN

Rachel Madden, principal

Ming-Wei Hsieh, concertmaster

Taylor Silva

Bernini Chan, assistant concertmaster

PICCOLO Halle Goodman, principal

Ricardo Jimenez Montoya Jason Chaviers

OBOE

Dustin Cunningham

Matthew Glattfelder, principal

Alyssa Pasaol

Daniel Moreira

Daniela Yepes

CLARINET

SECOND VIOLIN

Alexandra Strode, principal

Marcio Martinez, principal second

Brandon Ortega

McKenna Miller, assistant principal second

BASSOON Daniel Westerfield, principal Anya Johnson

T H E B A R T E R E D B R I D E / O R C H E STR A

Luis Osorio

HORN Nicolas Silva, principal Alex Mata Adam Harrington Genny Effler TRUMPET Michael Remish, principal Ryan McArthur

Jordan Efird Alexander Garcia Jessika Albuquerque Javier Castro VIOLA Nathan Smith, principal Haoqin Cheng, assistant principal Miles Bi Benjamin Petree Maggie Lytle CELLO Mitchell Wright, principal

TROMBONE

Hannah Deplazes, assistant principal

Julian Trinidad, principal

Gracie Martinez

Steven Luong

Kayla Nguyen

BASS TROMBONE Katjana Nagel TIMPANI Carissa Ledesma PERCUSSION Cameron Boudousquie Brandon Furman

Joshua Lopez BASS Sharon Montes, principal Reid Ronsonette Mackenzie Gibbons

PRODUCTION STAFF Nicole Kenley-Miller#

Conductor and Music Director

Raymond Harvey*

Producer

Buck Ross*

Chorus Master

Jeb Mueller*

Set and Lighting Designer

Thom Guthrie+

Costume Designer

Macy Lyne+

Projections and Surtitles

Nicole Kenley-Miller#

Stop Motion Design and Photography

Nicole Kenley-Miller#, Andy Miller+

Technical Director

Jason Burton#

Musical Preparation

Stephen Jones+, Catherine Schaefer+, Andreea Mut+, Jeffery Gordon+

Assistant Conductor

Carolina Rodriguez

Assistant Director

Jazmine Olwalia+

Choreographer

Lauren Pastorek+

Stage Manager

Antonio Sanz

Assistant Stage Managers

Abraham Barberi, Sarah Roberts

Prop Designer

Jodi Bobrovsky+

Makeup Designer

Krista Pape+

Wardrobe

Shaun Heath+, Julissa Davila

IATSE Shop Steward

Genesis Bustos+

IATSE Stagehands

Tyler Evans+, Will Folzenlogan+

Audio/Video Technician

David Siegel

Assistant to Buck Ross

Alexandra Gorman

Assistant to Raymond Harvey

Carolina Rodriguez

Orchestra Managers

Aidan Smerud, Myles Nardinger

* Moores School of Music Staff

Moores School of Music Faculty

Guest Artist

TIMINGS

SPECIAL THANKS Costume Connection of Houston

Acts 1: 75 minutes

Emily Small, San Diego State University

Intermission

Stages Repertory Theatre

Act 2: 55 minutes

Techland UH School of Theatre and Dance

T H E B A R T E R E D B R I D E / PR O D U C TI O N STA F F / S PE C I A L T H A N K S / TI M I N G S

Stage Director and Production Manager

SYNOPSIS Act 1 Scene 1 In a small Texas town in the 1950s, the townspeople make preparations for the Settlers Fair. Mařenka laments to her love Jeník that she is worried her parents will make her go through with an arranged marriage. Jeník and the townspeople assure her that with time her parents will grant her wish to marry whom she loves. The townspeople dance in celebration of the upcoming festival. Mařenka explains to Jeník that her father owes a lot of money to Toby Míscha; and if she marries Míscha’s son, the debt will be forgiven. She wants to marry Jeník, and asks him to pledge his eternal love to her so that she can feel secure in her decision to defy her parents. Jeník reveals some of his past to Marenka. His mother died and he’s been wandering the world alone, hesitant to trust. Jeník and Marenka vow their love to each other.

THE BARTERED BRIDE / SYNOPSIS

Kecal, the marriage broker, assures Krušina and Ludmila, Mařenka’s parents, that everything is arranged for her to marry Toby Míscha’s younger son. Ludmila thinks they should ask Ma enka how she feels about the arrangement first, because she has heard that Míscha’s son is peculiar. Kecal assures them that the younger son is sure to inherit Míscha’s fortune, because the elder son disappeared long ago and has forfeited his right to the inheritance. Kecal describes the potential groom’s attributes, glossing over his perceived faults and pointing out how rich he will be! The parents agree to the plan. Mařenka arrives, and Kecal explains the plan to her, highlighting the fact that Míscha’s son is rich. The elders try to persuade Marenka to just meet the boy. If she doesn’t like him, she doesn’t have to marry him. Mařenka refuses to sign the contract, because she has already given her heart to another man and is surprised to find that Míscha has already signed the agreement. The parents urge Mařenka to meet the proposed groom. Maybe she'll like him! Kecal promises the parents that he will take care of the challenging suitor. Some village dancers rehearse the polka for the festival. Scene 2 The men gather at the tavern and drink a toast to beer. Jeník proposes a toast to love instead. Kecal encourages the men not to marry for love. Instead he proposes they drink a toast to money. Vašek worries about marrying a girl that his mother has chosen. He has tried to find a girl on his own, but he’s too shy and awkward. Mařenka comes upon Vašek. Hiding her identity, she convinces him that this girl Mařenka will never be faithful and that he should find someone better. She paints a picture of a beautiful bride who will love him for life, convincing him that he wouldn’t dare disappoint this new bride by following through with the arranged marriage to Mařenka. Vašek swears that he’ll not marry Mařenka, no matter how much the parents pressure him. Kecal tries to convince Jeník not to marry Mařenka. He offers Jeník another girl named Bella who comes with a big dowry. Kecal and Jeník debate whether a marriage can survive without money. Kecal pries into Jeník’s background, questioning why he doesn’t go back where he came from and find a wife there. Jeník explains that there is no one else for him but Mařenka. Kecal offers to pay Jeník a hefty sum if he’ll leave and not marry Mařenka. Jeník agrees, but demands ten thousand dollars and two conditions in the contract: one, that Marenka must marry the true son of Toby Míscha, and two, that upon marrying Míscha’s son, all the debts owed by Mařenka’s family will be cancelled. Kecal agrees, thinking he has the upper hand. Jeník celebrates his triumph over Kecal and pledges his undying love to Mařenka. Kecal solicits the villagers to witness the signing of the contract with Jeník and Krušina. The villagers smell a rat, but Kecal and Jeník, each with their covert reasons, encourage them to sign. Krušina signs. The witnesses pronounce Jeník a snake for selling off his beloved. INTERMISSION

SYNOPSIS Act 2 Vašek mulls over whether he should agree to marry Mařenka when the mystery lady told him that Mařenka would be unfaithful and hurt him. The circus arrives for the festival, and the Ringmaster announces the acts. The townspeople enjoy a preview of the circus acts they'll see inside. Esmeralda notices Vašek and invites him to the show. The Sword Swallower rushes in to report that the guy who plays the Dancing Bear is drunk and can't go on. The Ringmaster and Sword Swallower plot to find a local villager who can stand in. Vasek fits the bill perfectly, and Esmeralda convinces him to give it a try. Kecal and Vašek’s parents, Háta and Míscha, find Vašek to get him to sign the contract. Vašek refuses. They all demand an explanation. Vašek reveals that he has sworn to a mystery lady that he will not marry Mařenka and that he is in love with another woman now. Kecal promises to find this girl and get to the bottom of it. Kecal and Krušina explain to Mařenka the terms of contract that Jenik has signed. Mařenka can’t believe that Jeník has betrayed her. She refuses to sign the contract, vowing to never marry. The elders urge her to submit.

Mařenka laments Jeník’s betrayal. She remembers the night they fell in love and can’t believe how it has all been lost by Jeník’s greed. Jeník tries to calm Mařenka by embracing her. She rejects his advances and questions his motives. Mařenka tells Jeník to leave and never come back, because she is marrying Vašek. Kecal demands that the contract be finalized. Jeník promises Kecal that Mařenka will marry Toby Míscha’s son. Mařenka thinks that Jeník wants her to marry Vašek. Jeník tries to comfort Mařenka and lets her in on his secret plan. The parents are called in to finalize the contract. Marenka, now in on the game, plays along and agrees to marry Míscha's son. She and Jeník say their "final goodbye" in front of Kecal. Háta and Míscha arrive and recognize Jeník as their elder son. Jeník claims what is rightfully his according to the terms of the contract. Kecal and the parents insist that Mařenka is contractually bound to marry Vašek. Jeník explains the wording of the contract, proving that Mařenka is indeed betrothed to him. Mařenka rejoices in Jeník’s plan and that they are now free to marry. Kecal laments the end of his career as a marriage broker. The parents and town turn on Kecal. Vašek, wearing the bear suit, announces that he has joined the circus. Krušina and Ludmila welcome Jeník into the family, and Míscha gives Jeník and Mařenka and Vašek and Esmeralda his blessing on their marriage. Everyone celebrates the happy news that love has won the day!

THE BARTERED BRIDE / SYNOPSIS

Vašek identifies Mařenka as the mystery lady. The elders explain that the mystery lady is his betrothed. Kecal thinks the whole ordeal is solved now, but Mařenka wants some time to think it over before she commits to Vašek. The elders urge her to make the sensible decision.

DIRECTOR’S NOTE

THE BARTERED BRIDE / DIRECTOR'S NOTE

Everybody loves an underdog, and Smetana gives us one of the best in the operatic repertoire. Next to the vibrant overture and dance music that is often excerpted by orchestras, the most well-known piece is the Stuttering Aria sung by our underdog Vašek. Smetana wrote the character’s speech dysfluency into the music itself, and traditional portrayals of Vašek have characterized him as a simpleton, the village idiot. However, since our understanding of speech impediments has evolved significantly from Smetana’s day, in our production we have characterized Vašek as bookish and shy, and transformed him into the unexpected hero of the opera. Who knows, our Vašek may go on to become the second leader of the free world with a speech impediment! We are fortunate to have received permission to use the brilliant English translation written for the Royal Opera House by British television and film writer Kit Hesketh-Harvey, known for his work on The Vicar of Dibley series. His translation is by far the most sparkling and lively one available. Mr. Hesketh-Harvey kindly gave us permission to alter text to accommodate our re-characterizations and the updating of the opera’s setting. Instead of the traditional setting in the borderlands of Moravia, we have borrowed a concept originated by director Audrey Chait at Cincinnati Conservatory in 2019 and moved the action to a 1950s Czech settlement in Fayette County, Texas. The buildings you see in the first act background can actually be found on Main Street in the town of Flatonia, just two hours west of Houston on I-10. While tonight’s performance is predominantly sung in English, you’ll notice a few Czech phrases peppered throughout. We’ve retained some of the original language to highlight the central theme of the opera – tradition vs. progress. You’ll find the elders and the chorus singing in Czech occasionally, representing the continuation of customs brought over from the homeland, customs such as arranged marriage. These traditions collide with the changing times of our 1950s setting and new ideas the younger generation has taken on – that perhaps a woman might have the choice to marry whom she loves. What a concept! You’ll see these generational tensions woven throughout our production, particularly in the war of dance styles we've choreographed into the famous Polka dance in Act 1. To our knowledge, this is the first time that The Bartered Bride has been presented in Houston, and it is long overdue. Smetana only wrote a handful of operas, and this is the only one that has remained in the repertoire, likely because of its accessibility for university performance. The roles are very wellsuited to younger voices. Smetana’s music is joyous and beautiful, and Karel Sabina’s libretto is funny and well-paced. You’ll find yourself whistling the tunes and wishing that more of this vibrant Czech music had found its way into the repertoire. And don’t forget to get your ticket for the Celebration of Buck Ross on May 3rd! You won’t want to miss this grand retrospective of the 35+-year career of the Founder and Artistic Director of Moores Opera Center. Every singer and director who has worked on this opera stage in the past three decades bears the influence of his teaching, including me. This will be our opportunity to celebrate his legacy and say thank you for the nationally-renowned program he has built and the lives he has touched through his art. Tickets for the concert are free but must be reserved, as we anticipate a large crowd for this event. Enjoy tonight’s show!

Nicole Kenley-Miller Stage Director and Production Manager, Moores Opera Center

ABOUT THE TRANSLATOR British musical performer and translator Kit Hesketh-Harvey was born in Nyasaland. He was sent to England to be educated as a cathedral chorister at Canterbury, at Tonbridge, and at Clare College, Cambridge, where he was a Choral Scholar under John Rutter, and a member of the Footlights. After producing arts documentaries at BBC TV Music and Arts, he left to write screenplays for Merchant Ivory, including Maurice. Subsequent screenwriting has included Full Throttle and The Vicar Of Dibley for Tiger-Aspect, Hans Christian Andersen for Hallmark, and The Lost Explorer for Tim Walker. In 1982, he began working at the Comedy Store with Kit and the Widow, a two-man musical satire for which he wrote the songs. They were thrice nominated in the West End for Olivier Awards. Apart from their own series on BBC Radios 3 and 4, and two specials on C4 TV, they were frequently seen on the West End and international circuits as paid escorts to Joan Rivers. In 2011, they co-starred at the Royal Albert Hall in the first ever BBC Comedy Prom: their final appearance on stage together. As a librettist/lyricist, Kit won the Vivian Ellis award with James McConnel for Writing Orlando, and studied at Oxford under Stephen Sondheim, where they wrote Yusupov (Sydmonton Festival and Bridewell Theatre). His opera translations include The Daughter of the Regiment (ETO), The Turk In Italy and La Belle Helene (ENO), The Bartered Bride (ROH), and Die Fledermaus and The Magic Flute (Scottish Opera), The Marriage of Figaro (Armonico Consort), Veronique (Buxton), Le Roi Malgre Lui and Bluebeard (Grange Park), and The Merry Widow for Opera North and Australian Opera (currently in repertoire). Kit has two children with actress, academic, and Bond Girl Kate Rabett, and divides his time between Norfolk and Cornwall, where his hobbies include riding, mushrooming, surfing, and painting almost as badly as he plays the piano.

artist led; artist curated

Concerto Reimagined Sunday May 22, 6pm at MATCH Music by Miklós Rózsa, Felix Mendelssohn & Anthony Brandt

T H E B A R T E R E D B R I D E / A B O U T T H E T R A N S L AT O R

KIT HESKETH-HARVEY

SPOTLIGHT ON OUR STUDENTS Your gift to Moores Opera Center supports students like… Mohammad Salman, Kecal in The Bartered Bride Stage Director Nicole Kenley-Miller sat down with doctoral student Mohammad Salman for an interview about his journey from Iran to Moores Opera Center Nicole: Tell us about where you are from and what it is like there. Mohammad: I am from Iran, so if you know a little about my country, it was a totally different country after 1979. When the so-called Islamic regime came along, it changed everything in every dimension, and music was no exception. They destroyed opera houses. They blocked Western culture, and they started banning music. No one can imagine that it may happen in the world. But the culture is so deep - 12,000 years - so that they cannot destroy it. The regime fought it, because they wanted to keep people under control. They banned people from connecting to their own culture and to Western culture also. They wanted to say everything is Islamic, and that's only a cover, because they are not even Muslims. You know Cyrus the Great, the founder of the Persian empire? More than 2500 years ago, he presented the first human rights declaration, and now in the 21st century, his people don't have their fundamental rights as humans under the Islamic Regime. The regime doesn't want us to be connected to our culture because there are deep things that we can learn and we are not going to tolerate or believe them as a government. So all this started in 1979, and guess what? I was born in 1979. So my generation faced a new country. I have told this to many people in the USA, I said, "You don't know what you have." Just go and live in the Middle East for one hour; there, you will see terrible things that you will never see in the West, even in a century. Imagine I was seven years old sitting on the roof and watching rockets hit my city. The first eight years of my life, Iran was at war with Iraq, and you had to watch without being able to do anything. As a child, I believed war is a typical situation in everyone's life everywhere. Nicole: So how did you get started singing in the midst of that? Mohammad: My generation had no idea about this operatic singing or Western singing at all. There was no Internet, no satellite, nothing like that. Nicole: So what kind of music were you exposed to at that point? Mohammad: Revolutionary music. Brainwashing music, you know? But over time, the regime found out that they could not be so isolated from the world, so they allowed some kinds of traditional Persian music to be performed on TV or radio. But I loved music, so even the revolutionary music was interesting for me, and I started to find a way to learn about music. Everything about Western music was underground at that time. Still, I was fortunate to find some musicians who had lived before the revolution - masters of instrumental music - to learn from them. I started learning to play the flute when I was about 11 years old. When I was 18, I found a video cassette of The Three Tenors – Pavarotti, Domingo, and Carreras. Nicole: And how did you find that video? Mohammad: Having a video player was forbidden, so people would use it underground. They would put it under a blanket and hide it in the car and move it to another house where they would gather together to watch a film or a movie. Then with fear, they would move it to another house, because if the regime caught you with something like that, you would go to prison. So that was the first time I found a videocassette of The Three Tenors, and the first moment I watched Pavarotti singing, I said, "That's what I want. That's what I love." Nicole:That's funny for bass to say! Mohammad: Yes, but I didn't know what kind of voice I had. I had no imagination about the difference between tenor, baritone, or bass. We do not have those classifications in Persian music. Also, there was no teacher at that time to teach me, so the only way I could learn was by imitating those three tenors. I recorded the cassette so that I could walk around and listen to them. I had to do it somewhere that no one could hear me. So I used to practice walking along the highways for hours where the sound of the

SPOTLIGHT ON OUR STUDENTS cars would cover the sound of my singing. Nicole: What kinds of things were you singing along to? Mohammad: “Nessun dorma” and other arias. It was fortunate that I didn't hurt myself, but it caused that my range expands. I imagined that that's what I should be singing, and I didn't know that I could be bass or baritone. I thought that's how people sang opera, and I should do that. Nicole: How did you end up in Houston? Mohammad: I came to the US from Iran in October 2013 as a dependent on my wife's student visa, and I couldn't speak English at all. We came to Houston because she wanted to study here. She had some relatives here, and her background was in music. She had a Bachelor of Arts in Music but in Persian music, not Western. My background was not in music at all. But when I started imagining that I could go to the US, I enrolled in the program in a university that they somehow opened up in Iran for two years only when a more moderate government took power. Then after that, they closed it. And at that period, I could study some Western music. And I was lucky I took it. So I brought that degree with me to the US. But I couldn't speak English. So my wife started studying at the University of St. Thomas, and I asked her to see if there is a music department and a voice teacher. So she went to Dr. Brady Knapp, and he was very interested in my voice. He gave me lessons with my wife interpreting for me. He said, "I don't think you are a tenor - maybe a heldentenor, maybe a baritone." And that continued until I got down to bass. After a while, they put me in opera scenes, so I started memorizing all the texts. The first thing they gave me was a scene from South Pacific with 17 minutes of dialogue! It was glorious to stand on that stage for the first time. I saw that people loved it. I was singing more comfortably because it was not a crazy high tenor aria, and I loved the text. I started using those sentences to communicate with people in my daily conversation, and people would say, "You talk like a poet." [laughter] After the opera scenes, Dr. Knapp said if I could pass an English test, they could offer me a scholarship to study at St. Thomas. I had to learn English from almost zero to pass the IELTS test with a high score in three months. So I started memorizing 200-300 words a day. And after three months, I was able to speak, write, and read, and I passed the test, and they accepted me into the university. Nicole: And then how did you come to UH? Mohammad: I finished two degrees at St. Thomas, and then Dr. Knapp pushed me to get the DMA. He introduced me to Dr. Timothy Jones here at Moores School of Music, who gave me lessons and helped prepare me for the auditions. I was accepted into the DMA program, and they offered me scholarships. I think the program at UH is rich and diverse and offers more opportunities than other schools. Nicole: What do you want to do with your singing and with the DMA? Mohammad: I want to be teaching and performing together because I love teaching and am not a bad teacher. My minor is in pedagogy now, so I am following my plan. But as a performer, I need more experience because I started a lot later than the kids in the school now. They are where I wish I was when I was 18 or 19. But now I am 42 years old and as Kecel says in The Bartered Bride, "I'm not one for giving in, I will find a way to win!". Fortunately, the DMA program at UH is giving me the experience I need. Nicole: What is the situation in Iran now, and what engagement are you able to have with people back there? Mohammad: The situation is not good to go back there, and it's getting more complicated every day, economically and politically. It's not safe for me to go there because I have so much connection to the US, which would be suspicious. I would be a tool for them. Students who have gone back to Iran have been taken as hostages and spies by the regime. They would force you to spy, or otherwise, they would kill you or your family or other terrible things. It's not safe to go there. You cannot even imagine how evil they are. Nicole: And do you still have family there? How long has it been since you've seen them? Mohammad: My mother is there, and two sisters and one brother are there. I haven't seen them in person since 2013. My mother even came to Canada, but I couldn't go see her because she couldn't get

SPOTLIGHT ON OUR STUDENTS a visa to come into the US, and I couldn't go out because if I did, I wouldn't be able to come back. So, fortunately, these days we have the Internet, but the regime tries to block it because they want to have everything under their control. I am teaching some people for free online to do my part. But if I teach someone over there, every few minutes, I lose connection. And when there is a connection, it's not good quality. Nicole: And the students you are teaching online obviously want so desperately to learn, but is it dangerous for them to study voice online? Mohammad: Yes, especially women. Online the authorities cannot find out that I'm teaching them singing, but the women cannot perform outside. Women are forbidden to sing solo in public. Two of my students are in the process of finishing everything to come to the US. They have auditioned and been accepted to a university. It was the best gift of my life to see that I could have helped someone to get out. Nicole: Thank you for sharing your story with us. It is truly inspiring all the barriers you've had to break through to get to where you are today.

YOUR GIFT MATTERS! TO SUPPORT THE EDUCATION OF STUDENTS LIKE MOHAMMAD, YOU CAN GIVE IN ONE OF THE FOLLOWING WAYS: • Online donations can be made at http://igfn.us/vf/MOC • For large and estate gifts, contact Courtney Crappell, Director, Moores School of Music, 713.743.6118, ccrappell@uh.edu

uh.edu/opera

American Legends May 1, 2022 | 2:00pm

@MooresOpera

LONE STAR LYRIC LYRIC THEATER WITHIN REACH

Opera. Cabaret. Intimate. LONESTARLYRIC.ORG

SARAH ROTHENBERG, PIANO IN DARKNESS AND LIGHT

TUE MAY 10 7:30 PM The Menil Collection

Vijay Iyer: For My Father (world premiere) Ludwig van Beethoven: Sonata No. 32 in C Minor, Op. 111 Morton Feldman: Palais de Mari Under Rothenberg’s exquisite touch, each pause in Feldman’s slowly unrolling scroll becomes suspenseful, each note within seems profound.” —Bachtrack

Sarah Rothenberg Artistic Director

DACAMERA.com | 713-524-5050

SUPPORT THE RISING STARS OF OPERA BY GIVING TO MOORES OPERA CENTER 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

uh.edu/opera

@MooresOpera

Saturday, Saturday,7:30 7:30pm pm Sunday, Sunday,2:30 2:30pm pm

ArsLyrica LyricaHouston Houston presents Ars presents HenryPurcell's Purcell'sDido Dido and Aeneas, Henry and Aeneas, featuring dancing, featuringlively lively dancing, memorable and at at itsits memorablechoruses, choruses, and center whose centera anoble nobleheroine heroine whose demise is both tragic and demise is both tragic and transcendent. transcendent.

Zilkha ZilkhaHall, Hall,The TheHobby HobbyCenter Center School for Scandal, 2018. Photo/Pin Lim forforthe thePerforming PerformingArts Arts

Abigail Fischer Abigail Dido Fischer Dido

Mark Diamond MarkAeneas Diamond Aeneas

Alexandra Smither Alexandra Smither Belinda Belinda

Nicholas Garza Nicholas Garza Sorceress Sorceress

The New York The New York Baroque Dance Baroque CompanyDance Company

The Moores School The Moores School Concert Chorale Concert Chorale

d Aeneas,

and at its e whose

he Moores School Concert Chorale

SPECIAL THANKS TO MOORES OPERA CENTER 2021 – 2022 SUPPORTERS IMPRESARIO ($25,000+) Cullen Trust for the Performing Arts Edythe Bates Old Endowment MAESTRO ($10,000+) Robin Angly and Miles Smith Drs. Cheryl and Carl Carlucci DIRECTOR ($5,000+) Rosamund and David Rowan LEADING ROLE ($2,000+) Ellen and Alan Holzberg COMPRIMARIO ($1,000+) Chris Bacon & Craig Miller Margaret Boulware Scott Chase (BA '68, JD '71) Endowment Fund Richard Drapeau Ann Faget Debbie Feuer Lee Huber Rhonda & Donald Sweeney Jo Dee & Cliff Wright SUPERNUMERARY ($500+) Buck Ross CHORUS ($100+) Tim Doyle Catherine Goode (BM '15) Janwin Overstreet-Goode & John Goode Shannon Langman (MM '09) & Gregory Smith Helen Mann Dr. Nicole Kenley-Miller & Dr. Andy Miller The Honorable Frank B. Rynd ______ 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

All-Night Vigil All-Night Vigil All-Night Vigil All-Night Vigil SergeiRachmaninoff Rachmaninoff Sergei

In-PersonConcerts: Concerts:April April23, 23,7:30 7:30pm pm| |April April24, 24,3:30 3:30pm pm In-Person

Edythe Bates Old Recital Hall, Rice University Edythe Bates Old Recital Hall, Rice University 2:00 pm Houston Chamber Choir Digital Stage Virtual Release:May May Virtual Release: 1515| |2:00 pm CTCT| |Houston Chamber Choir Digital Stage

Featuring the ROCO Brass

Featuring the ROCO Brass Featuring the ROCO Brass

Sat, Apr 23, 2022

Sat, Apr 23, 2022 Sat, Apr 23, 2022

Sat, May 7, 2022 Buffalo Bayou Park Cistern Sat, May 7, 2022 10:00 AM, 12:00, 2:00, Buffalo Bayou 4:00, 6:00 PM Park Cistern

10:00 AM,7, 12:00, Sat, May 20222:00, 4:00, 6:00 PM Park Cistern Buffalo Bayou 10:00 AM, 12:00, 2:00, 4:00, 6:00 PM

istern

Cistern

MOORES SOCIETY B ECO ME A MO O R E S S O CIE TY MEM BER 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

2021 – 2022 MOORES SOCIETY Board of Trustees Executive Committee Jackie and Malcolm Mazow, Presidents Darlene Clark, Vice President/President-Elect Diane Gendel, Vice President, Membership Linda Katz, Recording Secretary Nancy Willerson, Corresponding Secretary Rita Aron Ann Ayre Meg Boulware Terry Ann Brown Carla A. Burns Julie Cogan Victoria Dominguez Dr. Timothy K. Doyle Dr. Warren Ellsworth

Jo Dee Wright, Immediate Past President Ann Ayre, Audience Development Chair Robin Angly, Opera Production Council Chair Courtney Crappell, Director, Moores School of Music

Debbie L. Feuer Mariglyn & Stephen Glenn Marita Glodt Sean Gorman Gary Hollingsworth & Ken Hyde Ellen & Alan Holzberg Linda Katz Dr. Gary W. Patterson Shirley E. Rose

Richard J. Schmitt Helen Shaffer Donna Shen Rhonda Sweeney Ann & Karl Tornyos Betty Tutor Mary Ann & Bob Wilkins Beth Wolff Jo Dee Wright

Advisory Board Sheila Aron Christopher V. Bacon Philamena Baird Chris Becker Tom Becker Anne Boss Nancy Bowden Zarine Boyce Cheryl Byington Anna M. Dean Ann L. Faget Kelli Fein Cathy Coers Frank Joyce Frassanito Frank Greider Diane & Harry Gendel Beatrice & Gregory Graham

Maureen Higdon Donna & Gene Hammons Gladys Hooker Mady Kades Janis Landry Cora Sue & Harry Mach Jack Matzer Mary Ann McKeithan Cathy McNamara Jennifer Meyer Celia Morgan Jo & Joseph Nogee Kitten & Ron Page Kusum Patel Fran Fawcett Peterson Carroll R. Ray Carol Lee Robertson

Lillie Robertson Minette Robinson Heidi Rockecharlie Kathi Rovere Donna Scott & Mitch Glassman Satoko & Anthony Shou Nancy Strohmer Susan Thompson Ann & Karl Tornyos Virginia & Gage Van Horn Barbara Van Postman Carol & Carl Vartian Nancy Willerson Phyllis Williams Cyvia Wolff 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

Opera Production Council Buck Ross, Faculty Chair Robin Angly, Chair Christopher V. Bacon Meg Boulware Gwyneth Campbell Anna M. Dean

Dr. Timothy K. Doyle Dr. Warren Ellsworth Ann L. Faget Gerri Gill Ellen & Alan Holzberg Lee Huber

Shannon Langman Helen Mann Jackie & Malcolm Mazow David Rowan Rhonda Sweeney Jo Dee Wright

Moores Society Member Levels $1,000+ Rex Adams & Tod Lindholm Robin Angly & Miles Smith Rita & Jeffrey Aron Alan Austin & David A. White Ann & Jonathan Ayre Christopher Bacon & Craig Miller Viven & Thomas Bartlett Thomas Becker & Jim Rosenfeld Meg Boulware & Hartley Hampton Carla Burns Keith Butcher Cheryl Byington Carrie Clark-Migura Darlene Clark & Edwin Friedrichs Kenneth Coleman Drue & Steve DaSilva Helen Davis Timothy Doyle & Robert Royall, II Richard Drapeau Ann Faget Debbie Feuer

Sandra Burns-Finley & William Finley Jennifer & Todd Frazier Mariglyn & Stephen Glenn Donna & Eugene Hammons Linda Harrison Sheila Heimbinder Maureen Higdon Gary Hollingsworth & Ken Hyde Ellen & Alan Holzberg Lee Huber Sheila Johnstone Marc Levine Sharon & Robert Lietzow Cora Sue & Harry Mach Beth Madison Michelle & Jack Matzer Jackie & Malcolm Mazow Marcia Murphey & Douglas Koch Kusum Patel Lillie Robertson Floyd Robinson

Shirley E. Rose Kathi & William Rovere Rosamund & David Rowan Fayez Sarofim Jane & Richard Schmitt Donna Sue Scott Helen & James Shaffer Donna & Tim Shen Nancy Shoup Sonia Strane Rhonda & Donald Sweeney Susan Thompson Ann & Karl Tornyos Betty & Jesse Tutor, Jr. Virginia & Gage Van Horn Betsy Cook Weber & Fredric Weber Joan & Mike Weltzien Bob & Mary Ann R. Wilkins Jo Dee & Cliff Wright

$500+ Carl Cunningham Anna Dean Elizabeth Del Pico Maria Fiocchi & Eduardo Garcia-Novelli Joyce & John Frassanito Linda Fulton Janwin Overstreet-Goode and John Goode

Morgan Greene Carolyn Keating Therese Kosten JoAnn Levering Helen Mann Annie Pati Gary Patterson

Minnette Robinson Nancy Schissler Satoko & Anthony Shou Nancy Beamer Willerson Irena Witt Gay Yellen & Don Reiser

$250+ Roger Barascout Pamela & Stephen Bertone Thomas Blocher Anne Boss Robert Chanon Kathryn Crowder & Susan Zarate Drucilla & Richard Davis Victoria Dominguez Kenneth Euler Polly Everhart Rachel & Howard Frazier Diane & Harry Gendel

Beatrice & Gregory Graham Constance & Frank Greider Jasmine Hatem & Timothy Hester Nancy & Carter Hixon Gladys Hooker Mady & Kenneth Kades Linda & Arthur Kwok Shannon Langman & Gregory Smith Evan Leslie Catherine & William McNamara Jenny Meyer Rita & Doug Neagli

Janis Parsley & Georges Mirza Polly & Michael Pierson Sally & Norman Reynolds Leslie & Russ Robinson Frank Rynd Hinda Simon Doris & William Sing Eric Sisson Ruby Kless Sondock Nancy Thompson Johanna & Richard Wolfe Janet Yauch

$120+ Richard Acker, III & Scott Harbers Elizabeth & John Anderson Lilly & Thurmon Andress Ursula & Saul Balagura Erika & Robert Barnhart Elad Ben-Menashe Judy & John Bristol Julie & John Cogan, Jr. Donna Cooper John Dujka Diana & William Freeman, Jr. Mary Fusillo David Garrett & Junko Ueno John Gealy Margaret Gissel Marita & David Glodt Catherine Goode Adrienne & Walter Hecht

Ann & Howard Hendrix, Jr. Barbara Hester Barbara & Raymond Kalmans Nicole Kenley-Miller & Andy Miller Richard Kummins Connie Kay Lewis Marilyn & Ronald Luster Franciose Marks & Peter Vanderlofske Joseph Mattingly Crista & Gary Miller Terrylin Neale Robert Nelson David Odle Sue & Paul Ofield Susan & Edward Osterberg Kate & Gregory Robertson Heidi Rockecharlie Stephanie Sawyer

Victoria & Anthony Scelba Diane & Richard Schenke Julie Silverman Nancy & Hans Strohmer Martha Thywissen Maria Tittle Matthew Tomatz Katherine L. Turner Barbara Van Postman Yone & Shelton Vaughan David Voll Sharon & Tim Whipple Dennis Whittaker Laverne & Philip Wiles Barbara Williams Debra Witter & Scott Chase Linda & Richard Zoll

YO U ’ R E I N V I T E D !

Celebrating the Retirement and Legacy of

Buck Ross DIRECTOR, MOORES OPERA CENTER

MO O R E S O P E R A H O U S E MAY 3 , 2 022 AT 7:3 0 PM