Opera in the Ozarks 2023 Season Program

Lunch Tuesday Through Saturday 11-3

Dinner Tuesday Through Thursday 5-9

Dinner 5-10 on Friday And Saturday

Sunday Brunch 10-2

Reservations suggested for our Opera Fans.

Owned and operated by Eureka Springs native, Chef Britt Evans. A tradition since 1991.

Photo by Harrison Sutcliffe

W.3elcome To Our S.3eason

FROM THE GENERAL DIRECTOR

Welcome to our rapidly evolving campus and programs! You can’t drive down Highway 62 without noticing the 200 ft. tower crane on our property. And what are all those huge machines doing? Nearly a thousand truckloads of dirt have left our mountain, along with dozens of trees and all our faculty housing. Machines have sculpted the earth to fit multi story buildings onto our slopes. Every day, we inch closer to the dream of having a purpose-built jewel box of a theater, tucked into our beautiful woods.

These new buildings are part of our strategic plan to develop year-round learning opportunities involving music and allied arts. Opera in the Ozarks will remain the signature program on our campus, but we will also develop non-opera events. Toward this goal, we are adding a weekend creative arts retreat for military veterans this summer. It will include elements of drama therapy, music therapy, and art therapy. We have plans for additional programs that will come online as the facilities are ready. Our campus will also be available for

FROM THE BOARD PRESIDENT

Good evening, we’re so glad you’re here! Welcome to Opera in the Ozarks. Once again it is my pleasure to share my enthusiasm with you about OIO. We think you'll be amazed by each of the exciting 2023 operas as well as other special performances here at "The Point."

As I think about this summer, I think we’ll all find everything more exciting than usual! Not only will we experience great new opera performances and wonderful young singers accompanied by our amazing orchestra, but we can see the changes that are happening all around us — right in front of our eyes — as work progresses on our new opera theater!

Our amazing young singing artists have arrived from across the country ready to experience a summer of beautiful music. Our brilliant faculty and staff have begun their work crafting exciting new productions and

use by other organizations whose programming is compatible with our goals and values.

Since our beginnings more than 70 years ago, we have always chosen our artists according to their ability to learn and perform, not by their skin color, religious affiliation, ethnic heritage, or sexual identification. We are training not only singers but also technical theater people who build costumes and sets, and design lighting effects. Apprentice stage managers learn skills from professionals. This season, we have artists from four continents and faculty and staff drawn from all over the U.S. We continue to emphasize collegiality, working together to achieve big goals. And we strive to give our participants a wonderful experience, both on the stage and off.

We hope you will enjoy our pre-opera talks, our program notes, and our professional approach to some of the world’s most beautiful music and drama. We are having fun learning and we hope you are too!

Nancy Preis General Director

the orchestra pit is filled with talented musicians – and this year, everyone realizes that soon there will be a new theater here at Inspiration Point. How exciting is that for all of us!

This season’s operas, Donizetti’s Elixir of Love, Offenbach’s Orpheus in the Underworld and Copland’s The Tender Land will bring us a season of delightful music. So please, sit back and enjoy. Thank you again for your continued support and presence, we’re really glad you’re here!

Carole Langley President Opera in the Ozarks Governing Board

IPFAC GOVERNING BOARD OF

DIRECTORS

OFFICERS

Carole Langley, President

Janet Parsch, Vice President

Duane Langley, Treasurer

Jean Moffatt, Recording Secretary

Lynn McNew, Corresponding Secretary

Alice Conway, Parliamentarian

Don Dagenais, Newsletter Editor

BOARD MEMBERS

Lois Armor, Catherine Coke, Tim Danielson, Mary Dixon, Richard Drapeau, Brenda Ford, Ed Henson, Raquel King, Chris Lawson, Melba Maechtlen, Janis Saket, Dr. John Schmidt, Steve Shogren, Linda Vollen, Joan Wells, Bill Yick

BOARD OF TRUSTEES

Judy Rownak, Arkansas

Dr. Gene Vollen, Kansas

Alice Conway, Missouri

Catherine Coke, Oklahoma

Carla Johnson, Texas

ADMINISTRATION

Nancy Preis, General Director

Chris Cathcart, Operations Director

Dr. Alice Martinson, Medical Director

Yvonne Creangă, Office Assistant

Mark Williams, Maintenance Manager

Monica Williams, Housekeeping Manager

James Merritt, Head Chef

Kody Shelnutt, Cook

ARTISTIC STAFF

Thomas Cockrell, Artistic Director, Conductor

Anthony Barrese, Conductor

Ian Axness, Conductor and Senior Coach

Robert Swedberg, Stage Director

Linda Ade Brand, Stage Director

Lisa Tricomi, Stage Director

Joel Ayau, Senior Coach, Chorus Master

Valerie Trujillo, Senior Coach, Music Director

Daniel Weber, Coach Accompanist

Ga-Young Park, Coach Accompanist

Catherine Cook, Vocal Instructor

Lorraine Ernest, Vocal Instructor

Caleb Yanez Glickman, Assistant Conductor

Baron Leon, Lighting Director

Eli Davis, Assistant Lighting Director

William Spencer Musser, Scenic Designer, Technical Director

Powell Brumm, Assistant Technical Director

Poppy Garner, Production Assistant

Greg Helseth, Production Assistant

Kim Welborn, Costume Designer, Shop Manager

Newton Harvey, Assistant Costumer

Hanah Glimpse, Assistant Costumer

Carol Brian, Production Stage Manager

Nadya Eldurubi, Stage Manager

Ellie Brown, Stage Manager

16311 Hwy. 62 West

Eureka Springs, AR 72632

(479) 253-8595

Emily Ulibarri and Raymond Ulibarri, Choreographers

Dr. Alice Martinson, Props

Opera in the Ozarks at Inspiration Point

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W.3elcome to EUREKA SPRINGS

WELCOME to the 72nd season of Opera in the Ozarks at Inspiration Point in historic Eureka Springs –a mountainside arts community with Victorian-style architecture, spas and lodging, natural beauty and a vibrant downtown.

In addition to being home to Opera in the Ozarks, Eureka Springs has been named one of the “Coolest Towns in America,” and its entire downtown is on the National Register of Historic Places.

From locally owned shops and galleries to nationally recognized mountain bike trails, there is a plethora of things to enjoy. With fine art around every corner, a variety of music, exceptional dining, festivals and events, night spots and tons of outdoor activities, you’ll never have a dull moment during your visit to Eureka Springs.

For more information please visit eurekasprings.org or drop by the Visitors Center located at the Eureka Springs Community Center, 44 Kingshighway, Eureka Springs, AR 72632. Additional visitor information can be found at NorthwestArkansas.org

The History of INSPIRATION POINT FINE ARTS COLONY

INSPIRATION POINT, POETICALLY DESCRIBED AS “A MOUNTAINOUS PLACE NOT TOO MANY MILES FROM HEAVEN,” IS LOCATED NORTHWEST OF EUREKA SPRINGS, ARKANSAS, AND OVERLOOKS THE WHITE RIVER VALLEY SOME 600 FEET BELOW. TO CREATE AN IDYLLIC SCENE, THE LOWLANDS MERGE INTO THE INCOMPARABLY BEAUTIFUL OZARK MOUNTAINS.

In 1950, Dr. Henry Hobart, Dean of Fine Arts at Phillips University, was asked to start a summer music camp at Inspiration Point. With the support of Gertrude Stockard, Director of Music at Eureka Springs High School, Inspiration Point Fine Arts Colony (IPFAC) came into being in the summer of 1950, with a little of everything in vocal and instrumental music and dramatic art. A few years later, Dr. Hobart decided to focus on an opera workshop for talented college, high school, and junior high school students. All opera roles would be performed entirely by the students; no lead singers would be brought in to sing the principal roles. For the first two years or so, a major portion of the funds needed for operating expenses and capital expenditures were provided by Dr. and Mrs. Hobart personally or

by loans obtained from Phillips University. The financial needs were greater than the Hobarts and a handful of loyal supporters could continue to meet.

THE FEDERATION OF MUSIC CLUBS JOINS THE TEAM

Dr. Hobart had been an officer of the Oklahoma State Federation of Music Clubs. He proposed that the state federation sponsor the youth opera workshop. The state federations of Arkansas, Kansas, and Missouri were invited to become co-sponsors of the project. The Illinois State Federation became a cosponsor in 1974, the Texas State Federation joined in 1989, and Iowa State Federation in 1993. While, Inspiration Point Fine Arts Colony originally had a 99-year lease

from Phillips University, in the early 1970s, Dr. Vernon Baker purchased the Inspiration Point property from Phillips University, subject to the lease. Dr. Baker donated all the land south of the highway, about 66 acres to the Fine Arts Colony. In return, the Fine Arts Colony gave up its lease on all the property north of the highway.

GROWTH

From the ramshackle buildings that Dr. Hobart began with, the campus has required continual improvements to adapt to changing standards. Indoor plumbing, hot water, and air conditioning were not part of the original campus but are necessary to the comfort of modernday students and audiences. An enclosed stage pavilion with stage lighting was not built at Inspiration Point until the late 1960s. Prior to its completion, night opera performances on the IPFAC campus were not possible. Air conditioning was added in 2014. IPFAC remains committed to improving its facilities and recognizes that this will continue to require a substantial investment.

ONLY THE BEST

Many eminent artists at the top of their professions have been associated with Inspiration Point. One of these was Dr. Isaac Van Grove. His accomplishments as an opera composer, conductor of leading opera companies, vocal coach, and accompanist for several world-famous singers qualified him as an opera director of the highest order. Dr. Van Grove was the artistic director at Inspiration Point for 25 years, up to his death in 1979 at the age of 86. His wife, Joan Woodruff, an internationally known choreographer and ballet instructor, taught advanced ballet, stage action, and stylized dance forms at Inspiration Point.

Dr. Hobart and Dr. Van Grove’s legacies have been upheld throughout the years by other distinguished faculty. Musical and theatrical staff are drawn from the nation’s best music and theater schools and from professional opera companies and theaters.

Until 1986, orchestra training was an important facet of IPFAC. In addition to accompanying the operas, the orchestra presented concerts featuring symphonic music. The opera students gained invaluable training and experience in performing with a full orchestra, feature not provided at many opera programs. Orchestral training was

discontinued in 1986, but in 1990 a small professional level orchestra was hired to accompany the opera performances, a practice which continues.

Point is demonstrated by the success of its alumni. Many have performed with the Metropolitan Opera and companies in Chicago, New York City, San Francisco, Houston, and internationally. Students who do not go on to become professional performers are successful academics, church musicians, private music teachers, or are thriving in non-musical careers. The friendships that develop at “The Point” last a lifetime.

The five states of the South Central region (Arkansas, Kansas, Missouri, Oklahoma, and Texas) of the National Federation of Music Clubs continue to support Opera in the Ozarks.

As the level of opera training in universities has risen, so have the ages of IPFAC students. The objective in recent years has been to become a career preparation center. Accordingly, the artist ages have risen from college age to pre-professionals. The nature of the repertoire has also gradually changed. In earlier years the operas generally were light and relatively easy to learn. All were in the English language. In recent years the trend has been to perform major operas in the original language. Thus, the challenge to learn and perform has grown with the artists’ increasing abilities. The length of the summer session has been increased to eight weeks. The effectiveness of training received at Inspiration

The governing board of Opera in the Ozarks adopted a strategic plan in 2018 which provided for the creation of a new not-for-profit corporation which would own the land and buildings. This came to fruition in 2023 with the creation of Inspiration Point Center for the Arts. In exchange for the ownership of the land and buildings, Opera in the Ozarks obtained a perpetual lease at a nominal rate and was released from the responsibility of maintaining the existing buildings and raising money to build new structures. The new corporation also took on the responsibility of programming in the weeks not allocated to Opera in the Ozarks. At the same time, Inspiration Point Fine Arts Colony changed its name to Opera in the Ozarks.

THE Effectiveness OF TRAINING RECEIVED AT INSPIRATION POINT IS DEMONSTRATED BY THE Success OF ITS ALUMNI.

NEW OPERA IN THE OZARKS THEATER COMING SOON!

At long last, we are building a new theater and new faculty housing! The extraordinary generosity of the Walton Family Foundation has kick-started our campus renewal project with a $34 million grant. We still need to raise tens of millions of dollars to replace other aging facilities such as the artist housing, offices, scenic shop, and dining hall. Details on that campaign will be coming later, but the Walton grant is a huge step forward.

The new theater will retain the best feature of our existing theater: its intimacy. The new house will seat 300 (slightly larger than our present capacity) and have excellent sight lines from all seats. We have used

the best theater and acoustic consultants in the industry, along with exceptionally skilled architects and engineers. The theater will have an orchestra pit in front of the stage and the stage itself will have many features lacking in the old building. Public restrooms will be inside the theater, just behind the lobby, where concessions and tickets will be sold. The dressing rooms are also on the stage level, eliminating the last-minute dash up the stairs. Underneath the theater, we will have a large rehearsal hall and a new larger costume shop. New faculty housing will provide space for 24 rooms, each with a private bath. And as part of the project, we will have a much larger paved parking lot. Since

the new theater will be farther away from the highway, we will be losing the roar of motorcycles and semitrailers as the heroine is taking her last breath.

We will have plenty of opportunities for you to put your name on a piece of the new construction in exchange for a donation. Money raised from naming opportunities will go toward furnishing the new buildings and toward the second phase, focused on artist housing and other needed facilities.

The dreams of Henry Hobart and a host of others continue to come true, thanks to hard work and helping hands. We can’t wait to see what the future brings!

NATIONAL FEDERATION OF MUSIC CLUBS

SOUTH CENTRAL REGION STATE BOARDS 2023

ARKANSAS

Kathie White, President

Vickie Carr

Mary Dixon

John Drum

Gloria Grilk

Helen Hammond

Dr. George Keck

Dr. Ouida Keck

Dr. Alice Martinson

Betty Pierce

Audrey Reeves

Byron Reeves

Martha Rosenbaum

Judy Rownak

Chris Thompson

KANSAS

Janis Saket, President

Dee Blaser

Anne Haflich

Beth Harrison

Gwen Hotchkiss

Shirley Lemmons

Betty Meyer

Gene Vollen

Linda Vollen

Kathleen Wilson

MISSOURI

Judy Shaw, President

Anita Blackmon

Starla Blair

Terry Blair

Barb Carlisle

Alice Conway

Connie Craig

Don Dagenais

Dr. Mia Kim

Donna Kinslow

Doug Kinslow

Carole Langley

Duane D. Langley

Ida Ruth Locarni

Lorraine Long

Annette Mayhew

Elaine Minden

Betty Jane Ruckman

Marianne Szydlowski

Betty Watson

Julie Watson

OKLAHOMA

Catherine Coke, President

Natlynn Hayes

Kathryn Hickman

Lynn Hardesty

Dr. Ann Lacy

Chris Lawson

Kent Ryals

Ellen Jayne Wheeler

Doris Whinery

Lavonna Whitesell

Leon Whitesell

Lisa Whitesell

TEXAS

Connie Randall, President

Lois Armor

Virginia Babb

Ronald Bennett

Lora Lynn Christensen

Carolyn Copeland

Tim Danielson

Richard Drapeau

Marcia Edwards

Brenda Ford

Carol Gessner

Annette Griesbach

Nancy Herring

Carla Johnson

Phil Johnson

Peggy Jones

Mary Cox McKay

Lynn McNew

Lee Clements Meyer

Jean Moffatt

Carolyn Reid

Patricia Retzlaff

Glenda Reynolds

Linda Royals

Dr. John Schmidt

Cletis Williamson

Bill Yick

BUILDING FOR THE FUTURE

OPPORTUNITIES FOR GIVING

Opera in the Ozarks (OIO) is a not-for-profit 501(c)(3) corporation, supported by memberships, gifts from friends, and student tuitions.

ENDOWMENT FUND

The Endowment Fund provides a continuing income source as we spend only the earnings from this fund. Each $1,000 life membership goes into the Endowment Fund. You can play a role in increasing this fund – it is one of the best investments you can possibly make to ensure an excellent experience and fine training for young and aspiring opera singers, musicians, directors, designers, and technicians.

BEQUESTS, TRUSTS, LIFE INSURANCE, IRA DISTRIBUTIONS

Opera in the Ozarks welcomes bequests from charitable trusts or estates. You can make OIO the beneficiary of life insurance, IRAs or 401k plans. And, the U.S. Congress has finally made permanent the tax break for donations of required minimum distributions from IRAs.

SECURITIES

Opera in the Ozarks welcomes gifts of securities. Consult your tax advisor about the tax advantages of donating appreciated securities. Information about how to donate securities can be obtained by calling the General Director.

MATCHING GIFTS

We encourage you to consult your employer for matching gift programs. We receive matchings gifts from a number of corporations, which are very much appreciated.

CAMPUS RENEWAL PROJECTS

While we are thrilled to be building a new theater and new faculty housing with the assistance of a major grant from the Walton Family Foundation, we have many other capital needs which are not covered by the Foundation’s grant. There are opportunities to name portions of the theater and faculty housing as well as other facilities. We are planning on replacing and/or renovating our artist housing, the dining hall, offices, and constructing a scenic shop. Additionally, we have a need for on-campus storage of equipment, scenic elements, and costumes.

We rely on our many generous and caring friends. Our work is important, and your gifts make it possible. For more information, please write or call:

Nancy Preis, General Director

Opera

in

the Ozarks

P.O. Box 127

Eureka Springs, Arkansas 72632 (479) 253-8595

donations of cars, trucks, RVs, boats, and other vehicles.

GENERAL DIRECTOR NANCY PREIS

Nancy Preis joined the staff of Opera in the Ozarks in 2015 after a varied career encompassing academics, investment banking, manufacturing management and opera management. She was an associate professor of accounting at Columbia University Graduate School of Business for 11 years. She left academia and became a vice president of Kleinwort Benson N.A., a British merchant bank, where she led a team of financial analysts and worked on leveraged buyouts and commercial banking. A late night phone call led to a move to Florida to take over a small research and development company that made

ARTISTIC DIRECTOR THOMAS COCKRELL

Conductor Thomas Cockrell was appointed artistic director of Opera in the Ozarks in October 2010 after having previously served as the company’s music director for the 20032005 seasons. Under his leadership the company mounts bold productions and is committed to performing works by American composers. Performed for the first time at Inspiration Point in recent seasons were Il tabarro, Cendrillon, Die Entführung aus dem Serail, The Ballad of Baby Doe, La rondine, and in 2023, The Tender Land

Cockrell has conducted numerous opera productions for Opera Theatre of the Rockies; Dayton Opera, Opera Colorado Artist Center and Washington, D.C.’s Summer Opera Theatre. For the Spoleto Festivals in Italy and South Carolina he conducted symphonic, chamber and contemporary music concerts, assisted for productions of Parsifal, Elektra and Salome and conducted Gian Carlo Menotti’s Maria Golovin at the composer’s invitation.

Cockrell has served as associate conductor for Cincinnati

high efficiency electric motors. Through a combination of internal growth and five acquisitions, she grew the company substantially and worked primarily in the military and aviation markets.

At the same time, she began working with St. Petersburg Opera Co. as chief financial officer and marketing manager. She helped that company grow from one donor to a diverse base of support that kept the company “in the black” for over ten years and consistently drew critical praise for its artistic excellence. Her work for Opera in the Ozarks includes upgrading the physical facilities at Inspiration Point and at the same time, increasing the company’s visibility through collaboration with other organizations. She holds a BA and an MBA from the University of Toledo and a PhD from the University of Michigan.

Opera, Opera Colorado, and the Colorado Symphony. Equally versed in the symphonic repertoire, he has conducted the symphony orchestras of Dallas, Cincinnati, Phoenix, Tucson, Louisville and Boulder, as well as several in Italy, Romania, Mexico and South Korea. A dedicated educator and mentor, he has served as conductor of the Phoenix Youth Symphony and Denver Young Artists Orchestra and was on the conducting faculty of the Interlochen Arts Camp.

Since 2000, Cockrell has been a professor of music and director of orchestral activities at the University of Arizona Fred Fox School of Music in Tucson. He holds the Nelson Riddle Endowed Chair in Music. With the University of Arizona Opera Theater, he has conducted productions of The Crucible, Postcard from Morocco, L’Enfant et les sortilèges, Dialogues of the Carmelites, and The Rape of Lucretia, as well as works from the traditional repertoire.

Cockrell is a graduate of Yale University and the State University of New York at Stony Brook, from where he received his DMA. He was one of the last students of the legendary Franco Ferrara and holds diplomas from L’Accademia Chigiana in Siena, Italy, and the Conservatoire Américain in Fontainebleau, France. He subsequently pursued further studies at Aspen and Tanglewood.

OPERATIONS DIRECTOR CHRIS

Chris Cathcart was born in Los Angeles, CA and grew up in an entertainment family. He started performing at age 3 and spent most of his childhood as an actor and singer. He attended Pasadena City College and began working in recording studios as a singer and audio engineer assistant. He managed student films, theatrical productions, commercial projects and live concerts, most notably the 1992 Malibu Earth Day Celebration, an outdoor concert on the beach attracting

CALENDAR OF EVENTS

25,000 attendees. Asked to come to Branson, MO, he helped open the 2,200-seat Welk Resort Theatre where he was production/stage manager for over 25 years. Cathcart worked with some of the biggest names in entertainment, such as the Beach Boys, B.B. King, Chuck Berry, Huey Lewis and the News, Lynyrd Skynyrd, Three Dog Night, Pat Benatar, Mel Tillis, Glen Campbell, Lee Greenwood, Tanya Tucker, Pam Tillis, the Gatlin Brothers, Louise Mandrell, Ray Stevens, among others.

Cathcart has written, produced and directed several productions in Branson, including The Philip Welford Show, BransonFest, the Branson ABA Show, and the Rankin Brothers Classic Music Revue, and produced the Broadway musicals, Shrek and The Million Dollar Quartet

Special pricing available for children and students under 18.

ACT I

Northwest Arkansas, 1904

Townsfolk, farmers, spring bottlers, and hunters all gather as school lets out and Adina, the schoolmarm, tells the story of Tristan and Isolde, and how Tristan won Isolde’s affection with a love potion. Nemorino watches Adina from a distance, sad about being too poor to offer her anything but his love and too shy to approach her. A regiment of the US Cavalry arrives, led by Sergeant Belcore. He flirts with the girls and then declares his passion for Adina, asking her to marry him. She is flattered but refuses the offer. The townsfolk return to work, and Nemorino finds the courage to declare his love for Adina. She laughs at him, telling him she

is too capricious to settle down. She suggests that he do as she does and change affections every single day. Nemorino reminds her that one can never forget one’s first love. Dr. Dulcamara arrives with a supply of patent medicine for sale. Nemorino asks him if he knows of the magic elixir of love with which Tristan won Isolde. Dulcamara replies that it was he who created it and sells a bottle of it to Nemorino, who drinks it at once, (not realizing that it is simply Bordeaux wine). The effect of the alcohol is immediate. Certain that he will win Adina’s love, Nemorino begins to treat her indifferently. To get even, Adina begins to flirt with Belcore and finally agrees to marry him. When orders arrive calling for Belcore to report to duty at once, he and Adina decide to wed that very evening.

Music by Gaetano Donizetti

Libretto by Felice Romani

Music Director and Conductor: Anthony Barrese

Stage Director: Robert Swedberg

Scenic Designer: William Spencer Musser

Lighting Designer: Baron Leon

Costume Designer: Kim Welborn

CAST IN ORDER OF APPEARANCE

Nemorino

ACT II

D’AMORE / THE ELIXIR OF LOVE

Stage Manager: Carol Brian

Chorus Master: Joel Ayau

Accompanist: Ga-Young Park

Assistant Conductor: Caleb Yanez Glickman

Choreographers: Emily and Raymond Ulibarri

Bravo, Ilhee Lee

Adina Helena Losada, Laura Romero

Giannetta Emilia Perrotta, Guo Wu

Belcore Joseph Canter, Matthew McKinnon

Dr. Dulcamara

Andrew Hallam, Tyler Middleton

Peasants and soldiers Artists of the 2023 Company

Annoyed because Nemorino has not attended the pre-wedding feast, Adina delays signing the marriage contract. Meanwhile, Nemorino asks the doctor for help. Dulcamara says Nemorino must double the amount of potion. Since he doesn’t have any money left, the doctor agrees to wait so Nemorino can borrow the cash. Belcore is bewildered that Adina has postponed the wedding; when Nemorino tells him that he needs money right away, the sergeant persuades him to join the army and receive a volunteer bonus. Nemorino buys (and consumes) more elixir and suddenly finds himself besieged by a group of women. They have just heard the news that Nemorino’s uncle has died and left him a fortune. Since he has not yet heard this news, he believes the elixir is finally taking effect. Adina feels responsible for

Nemorino’s enlistment, but her concern turns to jealousy when she sees him with the other women. Dulcamara boasts about the power of his elixir and offers to sell Adina some, but she is determined to win Nemorino all on her own. Nemorino now feels sure that Adina cares for him: He noticed a tear on her cheek when she saw him with the other women. Adina joins him and tells him that she has bought back his enlistment papers so that they can be married. Dulcamara brags to the crowd that his miraculous potion can make people fall in love and even turn poor peasants into millionaires.

This Production Generously Underwritten by Don and Patricia Dagenais

PROGRAM NOTES

Gaetano Donizetti’s wonderful comic opera L’elisir d’amore (The Elixir of Love) is one of the treasures of the comic opera repertoire, but in a way its story began in Germany.

In the early 1800s a fine composer, Johannes Simon Mayr, relocated from Germany to the small northern Italian town of Bergamo, where he became the director of music at the local cathedral. He also started a small music school.

In 1806 he ran across a nine-yearold boy, the son of an impoverished family living in a windowless basement apartment. The boy’s name was Gaetano. He had a fine voice and showed surprising music abilities.

Mayr took Gaetano under his wing. The family had no money to send the young boy to school, so Mayr arranged for Gaetano to be appointed to a minor job at the cathedral, running errands and such, and continued the young boy’s music education.

DIRECTOR’S NOTES

Originally, this story was set in a quaint Italian village, but it could work just about anywhere, and in any time when one could believe in the power of a substance that might incite romance.

I have enjoyed learning a bit about the history of the Northwest Arkansas area, and since there have been some interesting “doctors” and other such medicine men around these parts in the past, I thought it would be fun to change the setting of the opera to Eureka Springs during the early 20th century. All of the townsfolk (bottlers, shopkeepers, farmers, hunters, schoolteacher, students, and soldiers) could be found in this area during that time, when the population grew to about twice what it is now (not counting tourists) and when there certainly were more than a few charlatans who peddled their cures. The old Crescent Hotel was a school for girls for a time, and if our heroine Adina had been a teacher there, and if Nemorino had been a local

When Gaetano outgrew the musical resources of Bergamo, Mayr went to some of the wealthy citizens in town and asked if they could contribute to a scholarship fund to send Gaetano to the Conservatory of Music in Bologna.

They responded warmly, and thus was launched the later education and career of Gaetano Donizetti, one of the major Italian composers of the 19th century.

Before leaving Mayr, let’s pause for a moment to reflect upon the remarkable results that sometimes result when patrons help sponsor and educate young musicians. Does that ring a bell? It’s exactly what Opera in the Ozarks is all about. So Gaetano’s story should resonate with special importance to those involved in this wonderful summertime program, Opera in the Ozarks.

If we fast forward a few years, to 1832, when Gaetano Donizetti was 35, we find the origin of The Elixir of Love The composer already had a few hits under his belt when he found himself in Milan for the premiere of one of his many operas, a work which is now forgotten.

boy earning an honest living, and if Gianetta had been a saloon entertainer, all of this could have taken place right here before our eyes. Of course, they would not have been speaking (or singing) in Italian, but with opera we need to allow for that "suspension of disbelief" and imagine an Arkansan lilt in the accent of the supertitles. I want to thank local artist Larry Mansker for providing several of his paintings that reflect Eureka Springs from this era for our projected scenery, and I hope you enjoy this interpretation of The Elixir of Love

Robert Swedberg, Stage Director

Gaetano Donizetti

Crescent Hotel, circa 1886

L’ELISIR D’AMORE / THE ELIXIR OF LOVE

The impresario (manager) of another opera house in town had just received some bad news. A composer who had promised to deliver a new opera for performance that season had failed to deliver the score in time. Only two weeks remained before the first rehearsals. The manager was desperate. What was he to do?

Knowing that Donizetti was in town, the manager approached Donizetti and asked if the composer might possibly take some existing opera, rework it a bit, change the title and allow the impresario to present it at his own theater.

Donizetti’s reply is famous in opera history: “Who is making fun of me?” he wrote. “I am not in the habit of patching up an opera of my own – and never that of other composers. You’ll see, rather, that I have enough energy to make you a brand-new opera in fourteen days. I give you my word. Now, send Felice Romani to me here.”

Romani was a librettist (the author of the words) who was a frequent collaborator with Donizetti.

With the composer understandably anxious to start work on the music, Romani needed to produce a libretto in record time. Not having Donizetti’s scruples, he borrowed the text of an existing opera, Le Philtre (The Potion) by the French composer Daniel Auber, which had been written just the previous year. He translated it into Italian,

EUREKA SPRINGS’ OWN DR. DULCAMARA

In the early years of the 20th century, Norman Baker figured prominently in the history of Eureka Springs. Baker was an inventor, a radio broadcaster (he built the largest radio station of its time in Muscatine, Iowa) and a radical (if unsuccessful) politician. He put his background as a carnival barker to use on his radio station, ranting against other broadcasters, corporations and political groups. He was almost constantly involved in litigation and claimed he was the victim of conspiracies. On his radio station, he denounced fluoridated water, TB tests, vaccinations, and aluminum cookware.

In 1930, Baker learned of an alleged cancer “cure” and established a clinic to administer his cure, which was an expensive series of injections of corn silk, watermelon seeds, clover, water, and carbolic acid. He simultaneously denounced licensed physicians as educated fools and cutters who didn’t help patients. Run out of Muscatine in 1931, Baker fled to Mexico where he built an even

made a few changes, added a new name and – presto! – the libretto for The Elixir of Love was born. This still left Donizetti just two weeks to compose over 300 pages of music. But Donizetti was known as a fast worker, and, amazingly, he delivered the completed score to the theater in time for the opening rehearsals.

The rest, as they say, is history. The Elixir of Love became an almost immediate hit. It is a delightful work with a charming plot and bubbly music to match. It has never left the standard operatic repertoire.

Don Dagenais, Opera in the Ozarks Governing Board Member

more powerful radio station, a “border blaster” whose main purpose was to promote Baker’s cancer cure. He returned to the US in 1937 and found Eureka Springs and the Crescent Hotel. Built as one of the finest resorts in the Ozarks, by 1937, the hotel was in disrepair and empty. Baker bought it, converted it into a cancer hospital, and was soon clearing over half a million dollars a year.

Baker mailed out brochures touting “Where Sick Folks Get Well,” and revitalized the economy of Eureka Springs. Baker didn’t hide his wealth: he bragged about it and was the epitome of vulgar excess. Eventually, the federal government brought charges of mail fraud against Baker and he was sentenced to four years in Leavenworth. He died in 1958 in Miami, while living ostentatiously on a large yacht.

Norman Baker

Felice Romani

SYNOPSIS

ACT I

Beth, a young girl, is playing with her doll, Daniel, in front of her family’s farmhouse. The mailman, Mr. Splinters, brings a package for her mother. It is Beth’s older sister Laurie’s graduation dress; the next day she will become the first in their family to graduate from high school. Ma Moss invites Splinters to the graduation party that night; Splinters tells her that two strange men have been seen in the neighborhood, and that they have accosted two of the local girls. Laurie comes in; she wonders that her childhood has passed so fast; she feels like she has outgrown her hometown. She is angry that her mother,

and especially her grandfather, try to control her life. Two drifters, Martin and Top, enter; they meet Laurie, and convince her grandfather, against his better judgement, to hire them to help with the harvest. Laurie invites them to her party, and Top asks Martin to get Grandpa drunk there so he can get acquainted with Laurie.

ACT II

At the party, Grandpa makes a toast to Laurie; while the guests dance, Top begins to get Grandpa drunk. Ma Moss, still suspicious, sends Mr. Splinters for the sheriff. Martin dances with Laurie; the two of them, smitten

Music by Aaron Copland

Libretto by Horace Everett

Music Director and Conductor: Thomas Cockrell

Stage Director: Linda Ade Brand

Scenic Designer: William Spencer Musser

Lighting Designer: Baron Leon

Costume Designer: Kim Welborn

Stage Manager: Nadya Eldurubi

Chorus Master: Joel Ayau

Accompanist: Ian Axness

Assistant Conductor: Caleb Yanez Glickman

Choreographers: Emily and Raymond Ulibarri

CAST IN ORDER OF APPEARANCE

Beth Moss, the younger sister Klark Johnson, Emily Pope

Ma Moss

Margaret Branyon-Goodman, Rebecca Gardner

Mr. Splinters, the postman Truman Grant, Ilhee Lee

Laurie Moss, the older sister Megan Cumming, Jenna Weitman

Top, a drifter Matthew McKinnon, Tyler Middleton

Martin, a drifter

Grandpa Moss

Reece Ruhl, Nicholas Schneider

Andrew Hallam, William Volmar

Mrs. Jenks Yeonjae Cho, Jenna Weitman

Mr. Jenks Boone Elledge, William Volmar

Mrs. Splinters Tarryn Ballard, Emily Cotten

with each other, go off alone; their kiss is interrupted by Grandpa, and Ma Moss accuses the boys of being the men who attacked the other local girls; just as she does, though, Splinters returns, saying the sheriff has already caught those men, who have confessed. Grandpa tells Martin and Top to leave by morning.

ACT III

That night, Martin and Laurie meet secretly outside. They agree that Laurie will come with Martin when he leaves, but after she leaves Martin begins to have second thoughts; when Top arrives, he convinces Martin that

Laurie couldn’t come with them; they depart. Laurie, coming out and finding them gone, decides to leave anyway rather than staying for her graduation. Ma Moss, left alone with Beth, turns her attention to her younger daughter; as the curtain falls, she goes back into the house and Beth is left playing in the yard as at the beginning of the opera.

This Production Generously Underwritten by Alice Martinson and Carole Sturgis in memory of Mary Ann Greenwood

PROGRAM NOTES

Born in 1900, Aaron Copland was the youngest of five children of middle-class Jewish immigrants from Lithuania who had settled in Brooklyn, NY. His mother made sure he had piano lessons and his older sister, who often attended the Metropolitan Opera, encouraged his musical interests. Copland had begun to write songs at age 8 and by age 15 had decided to become a composer. He took music lessons from Rubin Goldmark, who had also given George Gershwin three lessons. Goldmark taught Copland the basics in the Germanic tradition but in Goldmark’s view nothing after Richard Strauss was worth listening to. Copland developed a fascination with the Russian revolution, socialism, and modern European music. Despite his father’s wish that he attend college, young Copland took off for Paris where he studied for three years with the noted pedagogue, Nadia Boulanger and took French classes at the Sorbonne. Copland also enjoyed being part of the Parisian cultural scene that included Ernest Hemingway, Sinclair Lewis, Ezra Pound and Gertrude Stein along with visual artists Picasso, Modigliani, and Chagall. The French intellectuals Proust, Sartre, and Gide had a strong influence on new musical developments as well.

DIRECTOR’S NOTES

1933. It’s a hopeful yet uncomfortable time when change is in the air - and under the skin.

It’s spring on the farm, and Laurie is about to graduate. She’s the first in her family to get a high school diploma. She’s smart as they come, but now what? Her grandfather has every intention of keeping this prize heifer inside the fence. He shut down a possible romance with a local shopkeeper’s son, leaving Laurie embarrassed and angry. It seems she’s destined to stay in a sort of limbo, working on the farm until Grandpa — possibly? — approves of some young man. But who would that be? And is Grandpa...jealous? Does he want to keep his granddaughter here for himself? I don’t know that it’s a conscious desire, but it might be there just under the skin, too.

Ma worries. Laurie seems distant these days. What can she be thinking? But she’s got a party to get ready for,

Copland returned to the US in 1925 and settled in an apartment near Carnegie Hall where he lived frugally. The noted conductor Serge Koussevitsky (Boston Symphony), both a mentor and financial supporter, programmed Copland’s music and offered commissions in the height of the Depression. Copland met the photographer Alfred Stieglitz and took to heart the idea that American artists should reflect "the ideas of American Democracy,” ideals that influenced an entire generation of artists and photographers including Walker Evans. In his desire to adopt the Stieglitz slogan of “Affirm America”, Copland drew on jazz and popular music and sought out contemporary composers Roger Session, Virgil Thomson, Roy Harris, and Walter Piston, forming a group referred to as the Commando Unit. They attempted to make music which would be easy to learn and would appeal to a wider audience and be usable for plays, radio, and movies.

By 1950, Copland had become a skilled composer with five ballets and seven film scores to his credit along with three symphonies. His most famous ballets, Billy the Kid, Rodeo and Appalachian Spring had cemented his fame, along with Fanfare for the Common Man. Although it did not seriously damage his career, Copland was investigated by the McCarthy commission in the early 1950s because of Copland’s interest in communism. In 1952, he received a commission from the League of Composers (funded by Richard Rodgers and Oscar Hammerstein) to write an opera for television. This came on the heels of Menotti’s Amahl and the Night Visitors which had been a success on NBC. Copland wanted an original story

and Laurie’s lovely graduation dress — all in pure ivory — has just been delivered. With it the postman brings news. There’s trouble in the neighborhood. A neighbor girl was raped by a couple of drifters. Mom knows it’s her job to keep her girls safe. Beth, the younger daughter, is still carefree. She has her doll, Daniel, and dreams of a wide swing and a house with a pond and “carrot fish”. She roams freely within their home place, happy and at ease. (She’s a young “heifer”, too, but doesn’t grasp the ramifications of that yet.)

Change is in the era as well. The Great Depression has been weathered — just — on this fruit and vegetable farm in... maybe Ohio? We don’t know, so we get to make it up. “Hobos” still catch rides on trains, hitchhike or simply walk, looking for work. Two such young men show up asking to be taken on as field labor. Martin seems more idealistic and honorable, while Top is more worldly, charming on the outside but rapacious on the inside. He’d love to get Grandpa drunk, then have some private time with Laurie.

Aaron Copland

Nadia Boulanger

and asked his friend, secretary and probable lover, Erik Johns (born Horace Johnston) who had never written a libretto and was a dancer by trade. Copland is said to have given him only a list of the voices he wanted (bass, baritone, tenor, mezzo soprano and soprano). Copland was moved by the work of James Agee and Walker Evans in their book “Let Us Now Praise Famous Men,” which included Evans’ photographs of sharecropper families in Depression era rural Alabama. Johns, writing under the name Horace Everett, devised a story about a rural Midwestern community forever changed by the arrival of two drifters. To Copland’s dismay, NBC rejected the opera and reneged on the television deal. New York City Opera came to the rescue in 1954 with a performance which was panned by critics who found the libretto to be weak. Undeterred, Johns convinced Copland to revise the work and a two-act opera blossomed into a threeact piece with better character development. Oberlin College performed the revised version in 1955. Copland himself wrote the piano reduction and published three of the songs independently in order to give his work more possibilities for performance.

LET US NOW PRAISE FAMOUS MEN

In 1936, Fortune magazine assigned James Agee to document the lives of sharecroppers in the rural South. Walker Evans, on leave from the Farm Security Administration, was also hired to make photographs to augment the document. The pair traveled for a month before landing in Hale County, Alabama where they found subjects that interested them. They spent three

weeks with three families and then returned to New York to finish the article and present it to the editors. Fortune declined to publish the article. Agee spent the next five years searching for a publisher, finally securing one in 1941. It sold poorly and it was not until after Agee’s death in 1955 that the book became popular.

Agee was best known as a film critic for Time magazine and The Nation. He was also a screenwriter and is credited with The African Queen and The Night of the Hunter. His career was cut short by alcoholism, and he died of a heart attack at age 45. Evans had already become known for documenting the Depression when he joined Agee on the trip South. His goal as a photographer was to make pictures that are "literate, authoritative, transcendent". Evans didn’t take up photography until he was 25, but by 30, he was hired to take photographs in Cuba, where he became a drinking buddy of Ernest Hemingway. Returning to the US, he took a job taking photos of a resettlement camp for unemployed coal miners. He worked for the Farm Security Administration until 1938, when he had a solo exhibit at the Museum of Modern Art, the first exhibit devoted to a single photographer. He continued to work until his death in 1975, after which his entire estate was given to the Metropolitan Museum of Art.

In the meantime, the neighbors gather to celebrate Laurie’s graduation and “the promise of living.” Grandpa hires on the young men to help bring in the harvest. Mom worries more. Could these young men whom her father so rashly hired be the ones who assaulted the neighbor girl? She must find out. She sends the mailman to get the sheriff and look them over.

Laurie and Martin fall in love. Of course, they do. Two similar spirits are drawn to each other. But they are then torn apart with embarrassment when the sheriff shows up. No, these aren’t the same men who hurt the neighbor girl. They were caught and are in custody. Still, Grandpa sees. Through the haze of his berry wine, he knows exactly what’s going on. Both these young bulls need to move on. First thing in the morning they hit the road. But Laurie and Martin meet in the moonlight and make plans. She’ll run away with him. She’ll be a good wife. Martin is thrilled and hopeful – and blind.

Top talks sense into him. What on earth does he have to offer a girl like Laurie? Torn, but convinced, they both slip

away before Laurie knocks on the shed door at dawn, suitcase in hand. No one is there. But Laurie knows now. The only way for her to truly graduate is to leave.

Whether she finds Martin or not, she’s not staying even long enough to get her to get her diploma at that longed for graduation ceremony only hours away. She bids her mother and sister goodbye, opens that gate and heads down the road. To what? We don’t know. But it will be a future of her own making. (I think she’d better write for that diploma once she gets settled.)

This is a terrible blow to her family. They’d put all their hopes and energy into giving Laurie that prized education, and now, how does she thank them? By leaving them. The “stock” is sadly depleted. But Ma and Grandpa cast an appraising eye on young Beth. She’ll be grown up soon. The farm will go on. The bloodline will continue. Let’s hope Beth likes life inside the fence. Because she isn’t going to have an easy time getting out.

Linda Ade Brand, Stage Director

Photos by Walker Evans

June 27, 30 | July 2, 6, 8, 14, 19

SYNOPSIS

After the brief overture, we find ourselves in 1960’s Eureka Springs, Arkansas. It’s a typically bustling afternoon in Basin Spring Park, filled with towns folk, artists, buskers, and hippies selling their wares. Eurydice, a flower child selling daisy chains and head wreaths, enters and sings of the long-haired boy, Aristaeus, with whom she is having an affair. Suddenly her husband, Orpheus, a bluegrass fiddler and teacher, appears. Eurydice and Orpheus confront each other, and confess their hapless marriage is over. She tells him that she loves Aristaeus and, adding insult to injury, she cannot stand Orpheus’s fiddle-scraping. Deeply offended and in revenge, Orpheus starts to play his latest 75-minute concerto while Eurydice begs for him to stop.

Orpheus would love to relinquish Eurydice to Aristaeus, but Public Opinion will not allow it. Instead, Orpheus decides to get rid of Aristaeus, and warns Eurydice of a nasty surprise (a bow with poisoned rosin!) which he has left in the park. When Aristaeus appears, Eurydice tries to stop him entering the park, but he ignores her. Eurydice

follows him, but suffers the fate meant for Aristaeus. Aristaeus suddenly turns into his real self: Pluto, Lord of Hades, as Eurydice falls, dying, into his arms. Pluto brings her briefly back to life so she can leave a farewell note for Orpheus. That done, Pluto takes her down to live with him in his underworld realm.

Orpheus finds Eurydice’s note and, after his initial surprise, realizes how pleased he is to be rid of his wife. His joy is short-lived, as Public Opinion enters and demands that Orpheus go down to Hades to get Eurydice back, as she disapproves of the separation and reminds him of the sanctity of marriage and shame of divorce. Orpheus protests but, mindful of his professional reputation, he grudgingly agrees.

The scene changes to New Olympus, a swampy backwoods Louisiana bayou, where the gods have been partying at the gin mill and are passed out. Venus, Cupid and Mars, however, have been up gallivanting all night. They return home, decidedly worn out. Soon afterwards,

Music by Jacques Offenbach

English translation by Vern Sutton; adapted by Lisa Tricomi

Libretto by Hector Crémieux and Ludovic Halévy

Music Director and Conductor: Thomas Cockrell

Conductor: Ian Axness

Stage Director: Lisa Powers Tricomi

Scenic Designer: William Spencer Musser

Lighting Designer: Baron Leon

CAST IN ORDER OF APPEARANCE

Mayor of Basin Park

William Volmar

Opinion Publique Tarryn Ballard, Emily Cotten

Eurydice Yeonjae Cho, Anne Elise Teeling

Orphée

Jesús Bravo, Truman Grant

Aristée/Pluton Reece Ruhl, Nicholas Schneider

Venus Laura Romero, Diana Nalyvaiko

Cupidon

. Emilia Perrotta, Guo Wu

Mars Nicolas Càntu, Boone Elledge

Jupiter Joseph Canter, Tyler Middleton

Diane

. Megan Cumming, Helena Losada

ORPHEUS IN THE UNDERWORLD

Costume Designer: Kim Welborn

Stage Manager: Carol Brian

Chorus Master: Joel Ayau

Accompanist: Daniel Weber

Choreographers: Emily and Raymond Ulibarri

Juno Margaret Branyon-Goodman, Rebecca Gardner

Minerve Even Johnson, Anne Elise Teeling

Mercure Truman Grant, Jabari Lewis

Cybѐle Emily Pope

Pomone Isabella Ramirez

Flore Klark Johnson

Ceres Aoife Schenz

John Styx

. Nicolas Càntu, Patrick Silk

Bacchus William Volmar

Chorus Artists of the 2023 Company

This Production Generously Underwritten by Ann Marie and Gary Ardes

Mercury, messenger of the gods, arrives. The young, swaggering god, ordered by Jupiter to investigate the disappearance of Eurydice, comes breezing into New Olympus to tell of his findings.

Orpheus enters together with Public Opinion, who wants to ensure that Orpheus does the honorable thing, that is, ask Jupiter to restore his wife to him. Pluto, of course, has lied to Jupiter about the location of Eurydice, whom he is keeping in his underground boudoir in Hades. She is guarded by John Styx, former King of Boeotia. Now reduced to being Pluto’s jailer, he tries to entertain Eurydice with an account of his royal past.

When Orpheus and the gods arrive in the Underworld, Styx hides Eurydice. When they cannot locate her, Jupiter becomes obsessed with finding her. What he really wants, though, is to have Eurydice for himself, and to that end he enlists the help of one of his children, Cupid. Cupid employs the Love Detectives, who are also unable to find the much sought after Eurydice. Jupiter

is reminded he has powers of transformation, and turns himself into a bee, drawn to the flower Eurydice, and is able to fly thru the keyhole of the locked door. Eurydice is enamored with the bee. After an intense wooing, Jupiter reveals himself and invites Eurydice to accompany him to an annual parade on New Olympus.

Eurydice attends disguised as a bacchante, a follower of Bacchus, god of wine, but Pluto realizes who she is and blocks Jupiter’s path when Jupiter tries to make off with her. Jupiter again accuses Pluto of abducting Eurydice. When Orpheus and Public Opinion appear, Jupiter tells Orpheus he can take his wife away, but under one condition: he must not look back at her as they go, or he loses her forever. When Orpheus fails this test, Eurydice is a free woman, and gets to go with whomever she pleases. Public Opinion is disappointed with the low morals of the crowd, but everyone else is delighted and the operetta climaxes with the energetic Can-Can, danced by all the gods and goddesses.

PROGRAM NOTES

Born in 1819 in Cologne, the son of a synagogue cantor, Jakob Offenbach showed early musical talent, learning violin at age 6 and cello at age 9. At the age of 14, both he and his older brother Julius were accepted as students at the Paris Conservatoire, despite being German, Jewish, and young. Both took French versions of their names, becoming Jules and Jacques. While Jules excelled at the conservatory, Jacques found academics boring and left after a year. Jules graduated and became a successful violin teacher and later conducted orchestras for his brother’s operas. From 1835 to 1855 Jacques earned his living as a cellist, achieving international fame, and as a conductor. He was unable to get work in the theater but performed at many fashionable Parisian salons. His ambition, however, was to be a composer who played the cello, not a cellist who composed.

After tours of France, Germany, and England, he returned to Paris with enough money to propose to the 17-yearold Herminie d’Alcain. The last remaining obstacle to his marriage was his religion, so Offenbach converted to Roman Catholicism. The marriage was happy and lifelong. He began to write, perform and produce musical burlesques as part of his salon presentations. Although Offenbach worked as a conductor and cellist at the Opera Comique, the management was uninterested in staging his works, and in 1855 he leased a small theatre in the Champs-Élysées. There he presented a series of his

A BRIEF GUIDE TO THE GODS & GODDESSES

Greek God Roman Counterpart Domain

Aphrodite Venus

Goddess of Love

Ares Mars God of War

Artemis Diana

own small-scale pieces, many of which became popular. At the time, French licensing laws limited the number of characters on stage to three, making a full-length piece nearly impossible. When Offenbach asked Rossini's permission to revive his comedy Il signor Bruschino, Rossini replied that he was pleased to be able to do anything for "the Mozart of the Champs-Élysées." Offenbach revered Mozart above all other composers. He wanted to present Mozart's neglected one-act comic opera Der Schauspieldirektor and presented it during the Mozart centenary celebrations in May 1856 as L’impresario to popular acclaim.

In a long article in Le Figaro in July 1856, Offenbach traced the history of comic opera, noting the gradual divergence of Italian and French notions of comic opera, with verve, imagination and gaiety from Italian composers, and cleverness, common sense, good taste and wit from the French composers. He concluded that comic opera had become too grand and inflated.

While Offenbach’s 300 seat theater was successful, it did not generate enough money to balance his profligate spending and was always on the brink of financial ruin. In 1858, the French government lifted the licensing restrictions that limited the number of characters on stage and Offenbach set to work on a full-length opera, Orphée aux enfers (Orpheus in the Underworld ), which opened in October of that year. The opera was a modest success until a critic savaged it for its irreverence and profanity. Offenbach and his librettist, Hector Cremieux, engaged in a lively debate in the pages of the newspaper and people flocked to the box office.

Virgin Goddess of the Hunt, Wilderness, Wild Animals, Childbirth and Plague (also associated with the moon)

Athena Minerva Goddess of Wisdom

Demeter Ceres

Goddess of Grain / Crops

Dionysus Bacchus God of Wine

Eros Cupid God of Love

Hades Pluto God of the Underworld

Chloris Flora

Hera Juno

Goddess of Flowers

Queen of the Gods

Hermes Mercury Messenger of the Gods

Demeter Pomona

Goddess of Fruit Trees, Gardens and Orchards

Rhea Cybele Mother of the Gods (associated with motherhood, fertility and agriculture)

Zeus Jupiter King of the Gods

At the beginning of 1860, he was granted French citizenship by the personal command of Napoleon III, and the following year he was appointed a Chevalier of the Légion d’Honneur – this appointment scandalized the musical establishment who resented such an honor for a composer of popular light opera. Between 1864 and 1868, Offenbach wrote four of the operettas for which he is chiefly remembered: La belle Hélène (1864), La Vie parisienne (1866), La Grande-Duchesse de Gérolstein (1867), and La Périchole (1868).

In 1876 a successful tour of the United States in connection with its Centennial Exhibition began with a concert at Gilmore's Garden before a crowd of 8,000 people. He gave a series of more than 40 concerts in New York and Philadelphia.

Jacques Offenbach

Offenbach died in Paris in 1880 at the age of 61. His cause of death was certified as heart failure brought on by acute gout. He was given a state funeral.

THE ORPHEUS MYTH

So, what was Offenbach making fun of in Orpheus in the Underworld ? The story of Orpheus and Eurydice has appeared in dozens of literary and musical works.

The ancient legend of Orpheus and Eurydice concerns the fateful love of Orpheus of Thrace for the beautiful Eurydice. Orpheus was the son of Apollo and the muse Calliope. Apollo gave his son Orpheus a lyre and taught him how to play. Orpheus fell in love with Eurydice, a woman of beauty and grace, whom he married and lived with happily for a short time.

Eurydice was wandering in the forest with the Nymphs. In some versions of the story, the shepherd Aristaeus saw her, and beguiled by her beauty, began to chase her. Other versions of the story relate that Eurydice was merely dancing with the Nymphs. While fleeing or dancing, she was bitten by a snake and died instantly. Playing his lyre, Orpheus managed to move both humans and gods with his grief.

At some point, Orpheus decided to descend to Hades to see his wife. Any other mortal would have died, but Orpheus, being protected by the gods, went to Hades, and arrived at the Stygian realm. He presented himself in front of the god of the Greek underworld, Hades and his wife, Persephone.

Orpheus played a song so heartbreaking that even Hades was moved to compassion. The god told Orpheus that he could take Eurydice back with him, but under one

DIRECTOR’S NOTES

Fun Fact: Did you know the fiddle is designated as the official musical instrument of the State of Arkansas?

Sometimes a director gets to work on a project that requires them to choose a setting – the where, when, and what, if you will. This is almost exclusively done with classics like Shakespeare, the Greeks, or…Opera. When pondering the choices for Orpheus, I found an article from the New York Times dated July 24, 1972. The headline read, “Hippies and Gerald L.K. Smith Make Ozark Resort Town a Model of Coexistence” and a direct

condition: she would have to follow behind him while walking out from the caves of the underworld, and he could not turn to look at her as they walked.

Thinking it a simple task for a patient man like himself, Orpheus was delighted; he thanked Hades and left to ascend back into the living world. Unable to hear Eurydice's footsteps, however, he began to fear the gods had fooled him. Only a few feet away from the exit, Orpheus lost his faith and turned to see if Eurydice was behind him, sending her back to be trapped in Hades' reign forever.

Orpheus tried to return to the underworld but was unable to, possibly because a person cannot enter the realm of Hades twice while alive. According to various versions of the myth, he played a mourning song with his lyre, calling for death so that he could be united with Eurydice forever.

Both Virgil (29 BC) and Ovid (8 AD) told this story, along with more than 20 other writers, including Rainer Maria Rilke, Salman Rushdie, John Ashbery and Seamus Heaney. Film and stage renditions include a play by Tennessee Williams, films by Jean Cocteau, and a Broadway folk opera Hadestown. More than a dozen operas, including Monteverdi’s first opera and Matthew Aucoin’s 2020 opera, Eurydice, are based on the myth along with several ballets, popular songs and art songs. There are paintings by Titian, Corot, and sculpture by Rodin, along with countless others. Even videogame developers have latched onto the story, with at least six versions.

Even though the Orpheus story goes back to Greek mythology, Offenbach and his librettists Crémieux and Halévy used Roman gods and goddesses.

quote: “If municipal corporations were eligible for the Nobel Peace Prize, this town with its 2,000 oddly matched residents, would probably win it for achieving a model of coexistence.” In my eyes, this sums up the fact that Eureka Springs is a town that welcomes and respects people from all walks of life, even to this day. And so, Orpheus found its perfect where, when, and what. Eureka Springs in the 1960’s with its wide array of characters, from longhairs to right-wing crusaders. I hope you have as much fun watching it, as we had putting it together.

Lisa Tricomi, Stage Director

Nathan Berg as the Father and Erin Morley as Eurydice in Matthew Aucoin’s “Eurydice.”

Photo by Marty Sohl / Met Opera

Rossini

Music Director: Valerie Trujillo

Stage Director: Robert Swedberg

Scenic Designer: William Spencer Musser

Audio Design: Chris Cathcart

CAST IN ORDER OF APPEARANCE

Costume Designer: Kim Welborn

Stage Manager: Ellie Brown

Accompanists: Ga-Young Park and Daniel Weber

Nicolas Càntu, William Volmar

Clorinda Klark Johnson, Emily Pope

Tisbe Diana Nalyvaiko, Aoife Schenz

Cinderella Even Johnson, Isabella Ramirez

Boone Elledge, William Volmar

SYNOPSIS

In this 45-minute-long adaptation of Rossini’s opera, Cinderella is bullied by her mean stepfather and ungrateful stepsisters. Alidoro, tutor to Prince Ramiro, disguises himself as a beggar to help the Prince find someone worthy to be his wife. He is taken with Cinderella’s kindness and recommends that the Prince see for himself. Everyone is invited to the Prince’s ball, but her stepfather makes Cinderella stay home to do chores.

At the ball, Prince Ramiro is charmed by the sincerity and inner beauty of an unknown lady, masked to hide

her identity (it is Cinderella, magically transformed). She disappears at midnight, but in her haste, she loses a slipper. The next day the Prince orders his courtiers to find the mysterious lady who will fit the slipper. She is finally discovered back at home in servant’s clothes. The slipper fits! She leaves with the Prince and becomes the new Princess. Even though her family has bullied her, she forgives them and together with her new husband, they build a bright future filled with kindness and love.

Music by Gioachino

Libretto adapted by Robert Swedberg

Jabari Lewis, Patrick Silk Ensemble Studio Artists of the 2023 Company

This Production Generously Underwritten by Richard Hill Endowment

2023 OPERA UNDERWRITERS

L’elisir d’amore

Don and Patricia Dagenais

The Tender Land

Alice Martinson and Carole Sturgis in memory of Mary Ann Greenwood

NIGHT OF OPERA SPONSORS

Francis Christmann Endowment

Connie Gordon

Hartmann Brewing

Kansas Federation of Music Clubs

Keels Creek Winery

Missouri Federation of Music Clubs

Morning Etude Music Club, St. Louis, MO

Oklahoma Federation of Music Clubs

Luke and Janet Parsch

Nancy Preis

Judy Rownak

Texas Federation of Music Clubs Endowment

Wednesday Morning Music Club, Austin, TX

Joan Wells

Orpheus in the Underworld

Ann Marie and Gary Ardes

Cinderella

Richard Hill Endowment

VOLUNTEER THANK YOU

OPERA IN THE OZARKS is grateful for these volunteers who give of their time and talents to help with artist transportation, ushering, costume inventory and wardrobe tasks, properties, gardening, and many other tasks. We thank you and are glad that you are part of our team! We couldn’t do without these wonderful helpers.

Ann-Marie & Gary Ardes

Arlene & Jerry Biebesheimer

Vicki Brooks

Ken Brown

Ann Carter

Delain & Randall Cavanaugh

Richard Drapeau

Fred & Terry Eilskov

Shane Gasser

Angelic Grier

Linda Harris

Danna & Ronn Hearn

Catherine & Ed Henson

Mary Hill

Alice Martinson

Anna Mathews

Bill Mills

Dirk Nadeau

Robyn Pence

Roxanne Royster

Suzanne Ryan

Colleen & Steve Shogren

Carole Sturgis

Janice & Jim Swiggart

Karen & Jeff Timm

Suzanne Tucker

Kent Turner

Jeri Voerman

Nancy Werbitzky

Marcia Yearsley

Special thanks to:

Larry Mansker for his beautiful artworks used in the Elixir projections

Eureka Springs Coffee House for providing ice cream for our Sunday matinees

Gotahold Brewing for creating their very own Elixir of Love, sold at our Elixir performances

Keels Creek Winery for the custom wine bottles for our stage

For the loan of props:

May Allen, OARS Second Chance Thrift Store

Romi’s Vintage on Van Buren

Peggy and Roger Kjelgaard

OUR ACTIVITIES:

Supporting

Opera In The Ozarks through memberships, donations and other fund raising, all of which provide scholarships to aspiring artists

Ushering for the performances

Transporting singers and staff to and from the airport

Beautifying the theatre area with our time and talents

Showcasing

ART IN OPERA; a stunning art show at every performance

AND MORE!!

How can YOU join?

Membership Forms available at ticket Gazebo at Inspiration Point Send your $15 membership fee along with your contact information to:

Bill Mills 28 Holiday Island Drive Holiday Island, AR 72631

2023 OFFICERS

President: Vicki Brooks

Vice President: Jeri Voerman

Secretary: Colleen Shogren

Co-Treasurers: Richard Drapeau and Bill Mills

Members At-Large: Ann-Marie Ardes, Louis Menendez, Jim Swiggart

EUREKA SPRINGS OPERA GUILD PROVIDED OVER $3,000 IN SCHOLARSHIPS IN 2022

OPERA IN THE OZARKS

ALUMNI SPOTLIGHT

Sgt. First Class Benjamin Hilgert (2004) of the Soldiers Chorus of the U.S. Army Field Band, conceived the new opera The Falling and the Rising and convinced the U.S. Army to commission it. The opera is being performed this summer at Des Moines Metro Opera.

Lindsay Ammann (2005) is currently performing with Bayerisches Staatsoper in Munich.

Bille Bruley (2012-13) returns to Santa Fe Opera, after two seasons as an Apprentice Artist, for Erik in The Flying Dutchman. He recently sang Bacchus in Ariadne auf Naxos for Arizona Opera.

Justin Burgess (2017-18) is a Cafritz Apprentice Artist at Washington National Opera, where he recently made his role debut as Schaunard at the Kennedy Center. He sings this summer at Glimmerglass, along with Jonathan Patton (2019), Schyler Vargas (2016), and Keely Futterer (2013).

Darren Drone (2012-13) in the past year has sung Falstaff with San Jose Opera, as well as featured roles in Porgy and Bess at the Met and Carmen at Santa Fe Opera. This summer, he sings Marcello in La bohѐme at Glimmerglass.

Janine Dworin (2021) has spent the past year as a resident artist at Tri-Cities Opera, where she recently made her role debut as Marcellina in The Marriage of Figaro. Three of the four resident artists at Tri-Cities are alumni of Opera in the Ozarks.

Kanisha Marie Feliciano (2019) performed the role of Christine in Phantom on Broadway and recently was featured, along with Krista Pape (2019) in Sondheim on Sondheim with Lyric Opera of Kansas City. She next travels to Chicago and St. Louis to sing the role of Maria in West Side Story

Vѐronique Filloux (2015) made her role debut as Zerbinetta in Ariadne auf Naxos with Arizona Opera and is appearing as a Filene Artist at Wolf Trap this summer.

Annie Gill (2008-09) is featured in a soon-to-be-released movie, Wild Fire

Vince Gover (2018) sang multiple roles with Bronx Opera this season and returns to Ohio Light Opera this summer.

Yazid Gray (2015-16) sings Luddud in Treemonisha with Opera Theater of St. Louis this summer. Rachel Barg (2015) will join him as a Gerdine Young Artist, singing the role of Mrs. Ott in Susannah.

Ben Gulley (2007) will sing Edgardo in Lucia di Lammermoor with Opera Orlando this season. In April 2023, Gulley enjoyed a triumph with Portland Opera, jumping into the role of the Prince in Rusalka on two days’ notice and traveling directly to a dress rehearsal with no prior musical or stage rehearsals.

Sara Kennedy (2019) recently sang Fiordiligi in the inaugural production of Opera Arlington.

Bernardo Medeiros (2017) will be an apprentice artist at Santa Fe Opera this summer after spending the past season as a resident artist at Tri-Cities Opera. Joining him at Santa Fe will be Spencer Reichman (2014).

Felix Aguilar Tomlinson (2017) and Louis Tiemann (2021) will be at Chautauqua this summer. Felix will sing Tobias Ragg in Sweeney Todd. Louis will sing Anthony Hope is the same production and Don Jose in La Tragédie de Carmen. Louis was a resident artist at Lyric Opera of Kansas City this past year.

Latonia Moore (1999) premiered key roles in both Champion and Fire Shut Up in My Bones at the Met, and recently sang her role debut as Musetta at the Met as well. This year she has also sung multiple roles around the world and received her second Grammy for the cast recording of Fire

Sgt. First Class Benjamin Hilgert Janine Dworin

Bille Bruley Ben Gulley

Rachel Barg Bernardo Medeiros

Yazid Gray Felix Aguilar Tomlinson

ARTISTIC STAFF

IAN AXNESS

Conductor, Coach/Accompanist

Ian Axness returns for his second season at Opera in the Ozarks. Last season, he served as pianist/coach for A Little Night Music and music director of the OIO Broadway Cabaret.

Ian is the Resident Music Director for Musical Theatre at the University of Cincinnati College-Conservatory of Music (CCM), where he earned his MM in Orchestral Conducting. Before returning to graduate school, he spent over a decade in New York City helping to bring works new and old to the stage, including Sweeney Todd (Barrow Street), Rodgers & Hart’s I Married An Angel (City Center Encores), Pericles (Rinde Eckert/Two River Theater), and the New York premiere of Beardo by Dave Malloy and Jason Craig (Pipeline Theatre, Drama Desk nomination for Outstanding Music). His career highlights include Lyrics & Lyricists: W.S. Gilbert with Sheldon Harnick and Rob Fisher (92nd Street Y), Carousel with Kelli O’Hara and Nathan Gunn (New York Philharmonic), and a new production of Flora the Red Menace with composer John Kander (Oberlin College-Conservatory).

Most recently Ian conducted performances of Cinderella and She Loves Me at CCM, and led the Seven Hills Symphony in a program of film music. He previously served on the faculty of Playwrights Horizons Theater School and has helmed productions at Juilliard, Oberlin, Mannes School of Music, and New York University Abu Dhabi. Ian earned his BA from Oberlin and his teachers have included Roger Grodsky, Aik Khai Pung, Mark Gibson, and Rob Fisher.

JOEL AYAU

Senior Vocal Coach

Vocal coach, pianist, and conductor Joel Ayau enjoys a broad musical career spanning a wide range of genres, venues, and musical styles. A graduate of the Cafritz Young Artist Program of the Washington National Opera, Ayau has assisted on eleven productions at WNO, including Samson et Dalila, Aida, and Eugene Onegin. He has also worked on the music staffs of North Carolina Opera, Portland, Opera Omaha, Wolf Trap, and Aspen Opera Theatre and VocalARTS. During his three seasons on the music staff of the Castleton Festival, he also prepared the chorus for Lorin Maazel’s productions of Don Giovanni and Madama Butterfly. Joel holds the title of Senior Vocal Coach at New England Conservatory.

From 2018-2020, Ayau assisted in the preparation of operas, musicals, and oratorio for the National Symphony Orchestra, and has served as cover conductor for over 30 NSO concerts. Ayau’s concert appearances include recitals at Stern Auditorium in Carnegie Hall, the Bolshoi Theatre in Moscow, and National Concert Hall in Taipei, in collaboration with vocalists Renée Fleming, Andrea Bocelli, Frederica von Stade, David Portillo, Kathryn Lewek, and Zach Borichevsky. An esteemed coach of Russian, French, German, and Italian, Ayau also speaks Mandarin Chinese

and has taught masterclasses widely throughout Taiwan and China. He holds a Masters in Collaborative Piano from the Juilliard School, and a DMA in Collaborative Piano from the University of Michigan, studying under renowned pedagogue Martin Katz.

ANTHONY BARRESE

Conductor - L’elisir d’amore

Anthony Barrese has earned accolades as both a composer and a conductor in North America and Italy. Mr. Barrese is the recipient of numerous composition awards including a N.E.C. Contemporary Ensemble Composition Competition Award for his Madrigale a 3 voci femminili, and two B.M.I. Student Composers Awards. As a musicologist, Mr. Barrese rediscovered, prepared, and edited the critical edition of Franco Faccio’s opera Amleto, in conjunction with Casa Ricordi. As Artistic Director and Principal conductor of Opera Southwest he has performed Rossini’s Otello with the American staged premiere of the finale lieto, and in 2014 he led the new World Premiere of Amleto, not heard anywhere since 1871. He also notably led productions of Wagner’s Lohengrin (2019), a new world premiere of Bottesini’s Alì Babà (2019), and a company premiere of Debussy’s Pelléas et Mélisande (2021) As Music Director of Opera Delaware he conducted the east coast premiere of Amleto in 2016, and the company premiere of Rossini’s Semiramide in 2017. In the 2022 season he conducted new productions of Il barbiere di Siviglia and Le nozze di Figaro. In the 2023-24 season he will conduct new productions of Il barbiere di Siviglia (Florida Grand Opera) L’occasione fa il ladro and Bluebeard’s Castle (OSW), Haydn’s L’infedeltà delusa (Sarasota), Turandot (Opera Delaware), and make a company debut with Opera Santa Barbara (Armienta’s Zorro).

LINDA ADE BRAND

Stage Director - The Tender Land

Linda Ade Brand is delighted to return to Opera in the Ozarks for her sixth season. Previous OIO credits include Suor Angelica, Gianni Schicchi and Into the Woods (2014), A Little Night Music (2012), Little Women and Die Fledermaus (2011), Carmen (2004), Don Giovanni (2003).

Currently the Interim Director of Opera at the University of Missouri-Kansas City, recent projects include The House Without a Christmas Tree with the KC Chamber Orchestra and the William Jewell Artist Diploma Program, Proving Up (UMKC) and the workshop of Susan Kander and Roberta Gumbel’s newest collaboration, Carry My Own Suitcase. Other recent favorite University Productions include work at the University of Kansas – La bohѐme, Giulio Cesare, Suor Angelica and Gianni Schicchi

A Kansas farm girl, Linda studied music (voice and trumpet) and theatre at Bethany College, in Lindsborg, Kansas, then received her MFA in Directing at the University of Missouri-Kansas City, with Will Graham and Francis Culinan as her primary directing mentors. After graduating, she studied with the innovative director Wesley Balk at his Music Theatre Institute in St. Paul.

An active director in Kansas City, her Lyric Opera of Kansas City credits include Elixir of Love, HMS Pinafore, Hanse land Gretel, Amahl and the Night Visitors, Don Giovanni, Don Pasquale, plus many productions with the Lyric’s education department, where Linda was the Director of Education and Community Engagement from 2014-2019. KC Rep credits include Master Class and All I Need To Know I Learned In Kindergarten, along with nine seasons of A Christmas Carol. She has also directed at the Metropolitan Ensemble Theatre, the Coterie Theatre, the American Heartland Theatre, Theatre League’s New Music Theatre Festival, the Quality Hill Playhouse, the Nashville Opera, Stephens College, Okoboji Summer Theatre, the Light Opera of Oklahoma, and Opera Theatre of the Rockies. Des Moines Metro Opera is also an artistic home, where she spent 14 summer seasons.

CAROL BRIAN

Production Stage Manager

After graduating from Wright State University in Dayton, OH and serving an Internship at The Juilliard School, life has never been boring. Mrs. Brian has been busy stage managing from as far north as New Hampshire and as far south as Florida, from Boston to Kansas City. Most recently, she finished seven years as Production Stage Manager at Opera Tampa and her second year with Shreveport Opera. She is enjoying her eighth season with Opera in the Ozarks this summer. Mrs. Brian has done shows of all sizes including Disney World, Norwegian Cruise Line and national tour shows and has worked at all four Tennessee opera companies. She lives in middle Tennessee with her husband, Gene.

ELLIE BROWN

Stage Manager/Assistant Stage Manager

Ellie is thrilled to be Stage Managing Cinderella this summer as well as Assistant Stage Managing Elixir of Love and The Tender Land. Ellie Brown received her BA in Vocal Performance from Westminster College in Salt Lake City, UT where she had a variety of different jobs from production work to singing. She is most remembered for her performance as Desiree Armfelt in A Little Night Music as well as lighting and cueing with several recitals. After her time in Salt Lake City, she received her Artist Diploma at William Jewell College where she sang Dorabella in Così fan Tutte and Cherubino in Le nozze di Figaro. It was also at this time she began Assistant Directing shows such as Elizabeth Cree, Le nozze di Figaro and most recently Werther. Ellie interned at Cincinnati Opera helping with the world premiere of Fierce, and with Lyric Opera of Kansas City’s world premiere of Sketchbooks for Ollie

POWELL BRUMM Assistant Technical Director

Powell Brumm, a native of Tucson, Arizona, is thrilled to be making his back-stage return to Inspiration Point as the assistant technical director. Powell first came to Opera in the Ozarks as a performer in 2018, where he sang Frank in Die Fledermaus, Fiorello in Il barbiere di Siviglia, and in the traveling production of Cinderella, and returned recently for an alumni recital with Katrina Thurman and Hyun Kim. A classical singer by training, Powell received his BM from the Fred Fox School of Music in Tucson, Arizona, and his MM from the University of Southern California where he studied with the legendary baritone Rod Gilfry. Most recently Powell graduated with his Artist Certificate from the University of Missouri Kansas City under the tutelage of Maria Kanyova. While pursuing performance, Powell has been working in technical theater and direction, including backstage work with the University of Arizona, directing student productions with USC and assistant directing with Lawrence Opera Theatre. During his time at UMKC, Powell studied technical theater under the guidance of Adam Terry and John Owen, in sound design and recording technique. In a confluence of his love of classical piano and the technical arts, Powell recently started as a piano technician, and is currently studying for professional certification. Currently based in Kansas City, Powell recently made his Lyric Opera of Kansas City debut as Horace Derwent in Paul Moravec’s adaptation of Stephen King’s The Shining

CATHERINE COOK Vocal Instructor

Catherine Cook, an OIO Alumnus, is thrilled to return to OIO as Vocal Instructor. Catherine has been a Professor of Voice for 17 years at the San Francisco Conservatory of Music, where she holds the Frederica von Stade Distinguished Chair in Voice. Her students have been featured in major Young Artist Programs across the country, including Santa Fe Opera, Wolf Trap, Central City, Des Moines Opera, Florida Grand Opera, Arizona Opera, and Portland Opera. Catherine has degrees in Voice Performance from Millikin University (BM) Wichita State University (MM) and earned her Artist Diploma in Opera from the Cincinnati College-Conservatory of Music. She was a Metropolitan Opera National Council Grand Prize winner and was an Adler Fellow with the San Francisco Opera, where she has sung over 350 performances to date in more than 50 productions. Cook was featured in San Francisco Opera’s Centennial Season as Mere Jeanne in Dialogues of the Carmelites, and sang Mamma Lucia in Opera Colorado’s 40th Anniversary Season last Fall in Cavelleria Rusticana. Ms. Cook has sung on the stages of the Metropolitan Opera, Santa Fe Opera, Lyric Opera of Chicago, Los Angeles Opera, San Francisco Symphony, and Opera Philadelphia among others. She resides in Daly City, California with her husband and daughter.

ARTISTIC STAFF

ELI DAVIS

Assistant Lighting Designer

Eli is happy to join Opera in the Ozarks for her first season. Eli studied technical theatre at North Texas Performing Arts Academy, and graduated with a certificate in Theatrical Design in 2020. She is now pursuing an Associates in Theatre design at Parkland College. Eli has been a technician for the past three years, focusing on light design but also as a gaffer, stage manager, sound designer, and projections designer.

NADYA ELDURUBI Stage Manager

Nadya Eldurubi is thrilled to join Opera in the Ozarks at Inspiration Point this 2023 Season. Nadya is a freelancing stage manager currently based in Phoenix, Arizona. She graduated this year from the University of Arizona and has earned a BFA in Theatre Production with an emphasis in Stage Management. Nadya has stage managed productions such as Fred Fox School of Music’s Le nozze di Figaro, Arizona Repertory Theatre’s Head Over Heels, Living Dead in Denmark, and the University of Arizona’s I Dream in Widescreen awards. Nadya has assistant stage managed for Arizona Repertory Theatre’s Into the Woods, and worked at the Aspen Music Festival 2022 Season on their production crew. For more details, visit Nadya’s website www.nadyaeldurubi.com

LORRAINE ERNEST

Vocal Instructor

Acclaimed by critics for her portrayal as Queen of the Night in Die Zauberflöte in opera houses throughout the United States and Europe, Peter G. Davis of The New York Magazine writes,” Lorraine Ernest brought down the house with her spectacular arias.” She has performed this signature role with New York City Opera, Metropolitan Opera Company, Pittsburgh Opera, Washington National Opera, Los Angeles Opera and the Denver Symphony Orchestra under the distinguished baton of Marin Alsop, Volksoper of Vienna and many others. Her repertoire also includes a debut with The Opera Company of Philadelphia as Elvira in L’Italiana in Algeri which was also broadcast nationwide on PBS, a Carnegie Hall debut singing the role of Mademoiselle Jouvenot in the Opera Orchestra of Orchestra of New York’s concert-version of Adriana Lecouvreur, and a debut with Los Angeles Opera as Princess Tatishchev with Placido Domingo in Nicholas and Alexandra. Other roles include the title roles in Lucia di Lammermoor and Lakmé; Violetta in La traviata, Zerbinetta in Ariane auf Naxos, Susanna in Le nozze di Figaro, Olympia in Les contes d’Hoffmann, Cleopatra in Giulio Cesare, Musetta in La bohème and Adele in Die Fledermaus. Lorraine has also been on the voice faculties at Montclair State University, Seton Hall University and is now an Assistant Professor at The University of Oklahoma. Her students are performing on and off Broadway, with Utah Opera, Lyric Opera of Chicago, Washington National Opera Young Artist Program, and companies throughout Asia, Europe, and the United States.

POPPY GARNER

Production Assistant Intern

Poppy Garner is excited for her first season at Opera in the Ozarks! Throughout her undergrad, her designs have been seen in plays such as A Gentleman’s Guide to Love and Murder, Carousel, Merrily We Roll Along, and many others. Poppy is earning a BA in Theatre and Communications next spring at Central Methodist University. Over the years she has spent at Central Methodist, she has served as a sound and assistant lighting designer, stage manager, and director. Over the many shows she has worked on at the Little Theater, her sound design for Boy and lighting design for Merrily We Roll Along have received commendation from the Kennedy Center American College Theater Festival.

CALEB YANEZ GLICKMAN Assistant Conductor

Caleb Yanez Glickman is joining Opera in the Ozarks for the first time this season. He is the music director of the Harmony Project’s Hollywood Youth Orchestra, where he leads several ensembles in programming dedicated to cultivating community interest in classical music. He was the music director of the recent production of Pacific Opera Project’s The Pirates of Penzance. He is also the assistant conductor of Artes Vocales, a Pasadena-based adult choir. He has worked as assistant conductor with Opera Southwest, Opera Saratoga, and the Savannah Voice Festival. Caleb received his BFA from Carnegie Mellon University in Vocal Performance. At Carnegie Mellon, he was the assistant conductor of the All University Orchestra for several years as well as music director of the orchestra’s chamber ensembles. In addition to being an accomplished opera singer and pianist, Caleb is a violinist and flutist. He is a zealous advocate of both new music and new approaches to bringing music to communities. He composed and produced a work for the micro-opera festival Opera Harmony, broadcast by OperaVision in 2020. While an undergrad in 2018, Caleb had the idea of organizing a production of Handel’s seldom-performed Judas Maccabeus in a Pittsburgh synagogue. He was artistic director and conductor, leading an ensemble of Carnegie Mellon students. Following the massacre at the Tree of Life synagogue, Caleb presented the performance as a remembrance of the victims. Caleb holds a Master’s in Orchestral Conducting from the University of Cincinnati College-Conservatory of Music, and he was a member of the Artist Diploma program in Opera Coaching in 2021-22.

HANAH GLIMPSE Assistant Costumer

This is Hanah’s first summer with Opera in the Ozarks. Hanah graduated with a BFA in Theatre Design focused on Costume Design with Minors in Visual Arts and Art History, as well as a Certificate in Global Awareness from the University of Kansas in Spring 2021. She has spent the last few years on crews, assisting, and designing for various productions. She was previously the assistant costume designer for KU Opera’s production of A Midsummer

Night’s Dream by Benjamin Britten and costume designer for various Lawrence Art Center productions including Madagascar Jr and A Kansas Nutcracker. Hanah has also worked as a local sewing teacher, youth costume teacher, and a competitive cosplayer. Her previous awards include the Rusty Leffel Concerned Student award, Stagecraft Institute of Las Vegas Internship, and an Undergraduate Research Award for her independent study on costumes focused on The Insect Play by the Capek Brothers.

NEWTON HARVEY

Assistant Costumer

Newton Harvey is a self-described “Jack of all trades” whose theatrical work encompasses acting, movement, stage management, and costume maintenance. In the last two years, they finished an AA in Theatre at Columbus State Community College and a BA in Theatre at the Ohio State University focused on costume and scenic design. This is their first season with Opera in the Ozarks. Previous wardrobe work includes Sweat, Violet (OSU), and Something Rotten! (Gallery Players) in their current hometown: Columbus, OH.

BARON LEON

Lighting Designer

Baron Leon is a lighting designer currently in their third year of graduate school at the University of Cincinnati CCM. With a passion for creating immersive and captivating experiences for audiences, Baron has designed lighting for a wide range of productions, from opera to theatre to special events. Favorite designs include Miami University's production of Dido and Aeneas, the Disney Contemporary Resort’s New Years’ Eve Pixar Party, The University of Mobile’s The Secret Garden, Emerald Coast Theatre Company’s Constellations, and most recently, Fellow Travelers at the University of Cincinnati. Baron is excited to join Opera in the Ozarks for the first time this summer and is looking forward to adding another show to that favored list.

ALICE MARTINSON Medical Adviser and Properties Procurement

Dr. Alice Martinson is a retired orthopedic surgeon who practiced in Berryville, AR for nearly 30 years. She is a graduate of George Washington University School of Medicine, a retired captain in the U.S. Navy, and the first woman to have had a command position in the Navy Medical Department. She was also the Carroll County health officer for over 20 years and has kept up to date on Covid-related health matters in the Eureka Springs area. A supporter of Opera in the Ozarks for more than 30 years and a member of the governing board for 20, Dr. Martinson is extremely happy to be able to participate in creating this marvelous art form. Dr. Martinson also serves as a trustee of the Inspiration Point Center for the Arts.

WILLIAM SPENCER MUSSER Set Designer/Technical Director

After being away for seven years, Spencer Musser is pleased to return for his sixth year at Opera in the Ozarks. From 2011-2016, Spencer’s OIO designs included Die Fledermaus, Little Women, La bohѐme, Die Zauberflöte, and many others. Spencer earned a BFA in Sculpture from the Kansas City Art Institute and completed his MFA in Theatre at the University of Missouri in Kansas City. After graduating he stayed in Kansas City designing sets at local theatres while he worked as the Technical Director at Rockhurst University and teaching part-time at UMKC. In 2011 he left Kansas City and began working summers at OIO. The rest of the year he taught at Western Illinois University. In 2016 he moved to the Capital Region of New York and began working and teaching at Russell Sage College. In 2018 he moved to Colorado to work at Western Colorado University. Through all these years he has continued working as a set designer and technical director for productions including Into the Woods, Noises Off, Anything Goes, Freckleface Strawberry, Radiance, Cabaret, Romeo and Juliet, I Never Saw Another Butterfly, Rocky Horror Musical, As You Like It, A Christmas Carol, Much Ado About Nothing. In the fall of 2022, he returned to the Midwest as professor of set design and technical theatre at the University of Central Missouri where he teaches courses on stagecraft, advanced technical theatre, set design and art/theatre design history. Most recently at UCMO his designs could be seen in The Prom, Eurydice and Little Women on the Highlander stage in Warrensburg, MO.

GA-YOUNG PARK Coach/Accompanist Apprentice

Ga-Young Park is currently pursuing a doctoral program in Collaborative Piano at New England Conservatory, studying with Cameron Stowe and Jonathan Feldman. She spent three summers as a vocal piano fellow at the Music Academy of the West from 2020-2022. For the summer 2022 Music Academy of the West, she played Eugene Onegin by Tchaikovsky as a rehearsal pianist with conductor Daniela Candillari. In the winter of 2022, she served as the pianist-coach for Carmen at the Music on Site festival with conductor Casey Robards. In Spring 2022, Park played Henry Purcell’s Dido and Aeneas on the harpsichord with conductor Robert Tweten, in addition to being the rehearsal pianist. In Fall 2022, she served as the pianist and coach for Hansel and Gretel by Engelbert Humperdinck for the Touring Children's Opera, led by the NEC Community Performances and Partnerships and Opera Departments. In Spring 2023, she served as a coach for the Perkin Opera Scenes at NEC. She has received her Master’s and Graduate Diploma degrees in Collaborative Piano at the New England Conservatory and her Master’s in Piano Solo Performance at the Jacobs School of Music, Indiana University.

ROBERT SWEDBERG

Stage Director – L’elisir d’amore and Cinderella

Robert Swedberg is Associate Professor of Music, Emeritus, and former opera director at the University of Michigan, where he also taught The Business of Music and Yoga for Performers. For the past several years at U-M he also produced ‘Green Opera’ productions on campus, making U-M the first in the U.S. to create eco-friendly opera. From 1990 through 2007 Robert Swedberg was the general director of Orlando Opera. Prior to that, he was general director of Syracuse Opera; manager/artistic director of Opera Carolina; and director of educational projects and assistant stage director of the Seattle Opera and Pacific Northwest Wagner Festival. Previous productions directed at OIO: Susannah (1981) Die Zauberflöte, La bohѐme, (2012); Madama Butterfly, L’elisir d’amore (2013); La traviata, Les Contes d’Hoffmann (2015); Don Giovanni, Albert Herring (2016) Carmen, Susannah (2017) Die Fledermaus, Ballad of Baby Doe (2018). Abduction from the Seraglio, Little Women (2019). Lucia di Lammermoor, Mini-Magic Flute (2021) La rondine, Così fan tutte (2022). On the international stage, Swedberg has directed productions in Macau and Beijing, China; Mallorca, Spain; Ischia, and Mercatello, Italy; Hof, Bamberg, Pforzheim, and Bayreuth, Germany. Swedberg has degrees in music and theatre from California State University Northridge where he was a student of Elisabeth Parham and Dr. David Scott, and he also earned a MBA from the University of Central Florida. He was on the Board of Directors of OPERA America from 2002-2007. He is also a certified yoga instructor and is author of the book Yoga for Performers

VALERIE TRUJILLO

Senior Vocal Coach

Pianist Valerie M. Trujillo has served on the staffs at Santa Fe Opera, Glimmerglass Opera, Wexford Festival Opera (Ireland), Chautauqua Opera, Ohio Light Opera and others. She was artist faculty at the Tanglewood Music Center, Ars Vocalis México (Mexico), Taos Opera Institute, Si parla, si canta (Italy). A NATS Master Teacher for the 2020 and 2021 NATS Intern Program, she can be heard on the Chandos, Mark Records, Albany and Azica labels. Ms. Trujillo received her training from Eastern New Mexico University and the University of Illinois. She teaches at Florida State University as Professor of Accompanying.

LISA TRICOMI

Stage Director – Orpheus in the Underworld

As a new resident of Eureka Springs, Lisa Tricomi is thrilled to be directing in her first season at Opera in the Ozarks at Inspiration Point. Lisa earned a BA. in Theatre, and an MA. in Drama Therapy at New York University. She served as Artistic Director at American Stage Theatre Co., in St. Petersburg FL from 1995-1997, where she honed her skills for producing and directing. She was an Associate Professor in the School of Theatre and Dance at the University of South Florida, Tampa, from 2010 -2013, where she was awarded a certificate in Excellence in Directing from the Kennedy Center for Lisa Loomer’s play The Waiting Room. In 2018 she won Best Director from Tampa Bay Theatre Awards, for direction of her production of The Royale at American Stage. In collaboration with Florida

Humanities and The Telling Project, she directed veterans in performances of Telling: Tampa Bay, Telling: Orlando and Telling: Pensacola Telling: Tampa Bay was made into a PBS documentary and won a local Emmy. Other favorite producing and directing experiences include MacBeth: A Rock Musical, The Vibrator Play, A Perfect Ganesh, ‘Night Mother, Anne, and Sylvia

EMILY AND RAYMOND ULIBARRI Choreographers

Emily and Raymond Ulibarri fell in love on the dance floor 20 years ago. They’ve been teaching, performing, and producing original shows together ever since. With a specialty in storytelling, a passion for suspense, and a unique vision for the stage, they continue to leave their students and audiences in awe and inspiration. They are the owners of Melonlight Ballroom in Eureka Springs, AR.

DANIEL WEBER Coach/Accompanist Apprentice

Daniel Weber is excited for his first season with Opera in the Ozarks, where he will serve as the apprentice coach and accompanist for Offenbach’s Orphée aux enfers and the music director for the preseason tour. Originally from Chicago Illinois, Daniel is currently pursuing a MM in collaborative piano under the tutelage of Martin Katz at the University of Michigan. His recent activities include performing a personally curated recital highlighting famous composer-poet friendships and serving as the apprentice coach and accompanist for La bohème in Novafeltria, Italy. Daniel’s deep passion for elevating contemporary music alongside standard repertoire has led to collaborations with several living composers including Roberto Sierra, Jake Runestad, and Andrea Clearfield. He has frequently worked with the University of Michigan Contemporary Directions Ensemble, Symphony and Philharmonia Orchestras, as well as the Florida State University Singers to present new works and underperformed masterpieces. Daniel earned a BM in piano performance from Florida State University and is an alumnus of the Collaborative Piano Institute and La Musica Lirica.

KIM WELBORN Costume

Designer

Kim is delighted to return to Inspiration Point! Previous Opera in the Ozarks productions include A Little Night Music, Pinocchio, La rondine, Così fan tutte, Cendrilllon, Magic Flute, Lucia di Lammermoor, Little Women, La bohѐme, Abduction from the Seraglio and Monkey See, Monkey Do. Other credits include Marriage of Figaro, Pagliacci/Pulcinella, All is Calm, Tales of Hoffman, Don Pasquale, La bohѐme, Amahl and the Night Visitors, Hansel and Gretel, and youth company productions Brundibar and Noye’s Fludde (Opera Orlando); Pagliacci and The Birthday Clown (Savannah Opera Company); Pirates of Penzance (International Opera Center); and My Dearest Friend for the National Park Service centennial. Kim has also designed more than 30 musicals and plays; favorites include Hello, Dolly; Evita; The Producers; Paint Your Wagon; South Pacific; Spamalot; the Diary of Anne Frank and Blithe Spirit. Special projects include Florida’s Quincentennial and performance gowns for clients including Wendy Bryn Harmer of the Metropolitan Opera. Kim is a world native who divides her time between New York, Maryland, and Florida.

OPERA IN THE OZARKS ARTISTS

LAURA ROMERO ARIAS

Soprano

Bogotá, Colombia

Education: MM Opera Performance, University of Oklahoma; BM Vocal Performance, Florida Atlantic University. Studied with Lorraine Ernest, Patricia Fleitas, Craig Wich

Roles Performed: Giulia (La scala di seta), Hester Prynne (The Scarlet Letter), Adele (Die Fledermaus), Madame Herz (Der Schauspieldirektor), Rebecca (The Shower), Elizabeth (The School for Martial Happiness)

Awards: 2022 The Grady Harlan Award - Most Professional Voice; 2022 1st place iTexoma Chapter National Association for Teachers of Singing (NATS) Advanced Treble Division; 1st place 2022 Oklahoma NATS Advanced Treble Division; 2nd place in The Benton Schmidt Voice Competition, 2020; Winner of Florida Atlantic University’s 13th Annual Concerto and Aria Competition

Previous Experience: OU Opera Theatre, Vienna Music Festival, Fundacion de Jaime Manzur (Bogotá)

Scholarship Benefactor: Oklahoma Federation of Music Clubs Endowment

TARRYN BALLARD

Mezzo-soprano

Houston, TX

Education: MM Vocal Performance and Pedagogy, University of Houston; BM Vocal Performance, University of Georgia. Studied with Melanie Sonnenberg, Katherine T. Wright, Dr. Stephanie Tingler

Roles Performed: Mezzo Niña Soloist ( Ainadamar), Prince Orlovsky (Die Fledermaus), Háta (The Bartered Bride), Cornelia (Giulio Cesare in Egitto), Madame Armfeldt ( A Little Night Music), Berta (Il Barbiere di Siviglia), Alisa (Lucia di Lammermoor), Sally ( A Hand of Bridge)

Awards: Hirsch Endowment & Jukes Music Endowment (2021-2023); 2018 Holder Scholarship recipient; 2017 GMTA Lower College Women’s-Voice; 2017 American Protégé Gala Competition

Previous Experience: Moores Opera Center, UGA Opera Theater, Harrower Summer Opera, Saarburg Summer Music Festival (Germany)

Scholarship Benefactor: Bill Yick Endowment, Janet and Luke Parsch

MARGARET BRANYONGOODMAN

Mezzo-soprano

Mountain View, CA

Education: MM Vocal Performance. Loyola University New Orleans, BM Vocal Performance, Baylor University. Studied with Luretta Bybee, Kathy McNeil, Kathleen Branyon and David Goodman

Roles Performed: Zita (Gianni Schicchi ), La Badessa (Suor Angelica), The Sorceress (Dido & Aeneas), Alma March (Little Women), La Ciesca (Gianni Schicchi ), Suor Osmina/ Lay Sister 2, (Suor Angelica)

Awards: Finalist, 3rd Place DFW NATS (2018); SemiFinalist TEXOMA NATS (2014, 2017, 2018)

Previous Experience: New Orleans Opera, Loyola Opera Theater, Baylor Opera Theater

Scholarship Benefactor: Texas Federation of Music Clubs

JESÚS GUILLERMO BRAVO

Tenor

Maracaibo, Venezuela

Education: MM Vocal Performance and Pedagogy, University of Houston; BM Vocal Performance, University of North Texas. Studied with Molly Fillmore, Melanie Sonnenberg, Richard Croft

Roles Performed: Jeník (The Bartered Bride), Mr. Erlanson (Little Night Music), Fracasso (La Finta Semplice), Don Ottavio (Don Giovanni ), Daniel Buchanan (Street Scenes), First Man in Armor (The Magic Flute)

Awards: University of North Texas Early Music Scholarship; Festival Canta Claro (Venezuela)

Scholarship Benefactor: Mary Chop Trust

JOSEPH ORION CANTER

Baritone

Tallahassee, FL

Education: MM Vocal Performance, Indiana University Jacobs School of Music; BM Vocal Performance with Italian Minor, Florida State University. Studied with Carol Vaness, Jeffrey Springer, Carla Connors

Roles Performed: Rambaldo (La rondine), Schaunard (La bohème), Count Almaviva (Le nozze di Figaro), Don Giovanni (Don Giovanni )

Previous Experience: IU Opera Theater, Lyric Opera Studio Weimar, FSU Opera Theater

Scholarship Benefactor: Helen S. Boylan Foundation, Beulah Walwerk Foundation (Missouri Federation of Music Clubs)

NICOLAS CÀNTU

Baritone

Houston, TX

Education: Pursuing BM Music Education, Stephen F. Austin State University. Studying with Nita Hudson, Tyler Surratt

Roles Performed: Papageno (Die Zauberflöte), Don Alfonso (Cosi fan tutte), Marco (Gianni Schicchi ), Escamillo (Carmen)

Previous Experience: Stephen F. Austin State University, Galena Park Opera Academy

Scholarship Benefactor: Duane and Carole Langley Endowment, Del Rio Music Club Endowment

YEONJAE CHO

Soprano

Seoul, South Korea

Education: Pursuing Artist Diploma in Vocal and Opera, New England Conservatory, Graduate Diploma in Voice and Opera, New England Conservatory, MM, BM Vocal Performance, Seoul National University. Studied with Bradley Williams, Attila Jun, Hyunjoo Yun, Hyesook Hwang

Roles Performed: Queen of the Night (Die Zauberflöte), Norina (Don Pasquale), Aminta (Il re pastore), Diana (L’arbore di Diana), Setsuko ( An American Dream), Erste Dame (Die Zauberflöte)

Awards: Boston District Winner in the Metropolitan Opera Laffont Competition (2023); Wendy Shattuck Presidential Scholarship (2022-24); Tan Family Education Grant (2021-22)

Previous Experience: Boston Symphony Hall, Jordan Hall, SNU Concert Hall (Seoul), Mapo Art Center (Seoul)

Scholarship Benefactor: Martha M. Mack Award from National Federation of Music Clubs, Eureka Springs Opera Guild Art in Opera

EMILY COTTEN

Mezzo-soprano

Durham, NC

Education: MM Vocal Performance, Loyola University New Orleans; BM Vocal Performance, University of Michigan. Studied with Luretta Bybee, Carmen Pelton

Roles Performed: Despina (Così fan tutte), La Ciesca (Gianni Schicchi ), Desiree Armfeldt ( A Little Night Music), Mistress of the Novices (Suor Angelica), Belinda (Dido and Aeneas), Miss Copeland (Dinner at Eight)

Previous Experience: Opera in the Ozarks, Collaborative Piano Institute Vocal Academy, Loyola University New Orleans Opera, University of Michigan Opera Theater

Scholarship Benefactor: Helen S. Boylan Foundation, Hobart Family Endowment

OPERA IN THE OZARKS ARTISTS

MEGAN CUMMING

Soprano Princeton, MA

Education: MM Vocal Performance, Carnegie Mellon University; BM Vocal Performance, Schulich School of Music, McGill University. Studied with Maria Spacagna, Joanne Kolomyjec, Jane Shivick

Roles Performed: Fiordiligi (Così fan tutte), Cendrillon (Viardot’s Cendrillon), Laetitia (The Old Maid & the Thief ), Mrs. Fiorentino (Street Scene), First Spirit (Die Zauberflöte), Margot (Les Troqueurs)

Awards: Major Artist Winner, Pittsburgh Concert Society (2022); 1st Place, Music Worcester Competition (2019)

Previous Experience: Leslie Fleischner Young Artist, Pittsburgh Festival Opera; Neil Semer Vocal Institute, Germany; Opera Nuova Young Artist Development; Savannah Opera Festival

Scholarship Benefactor: Carolann Martin Endowment, Dr. Alice Martinson and Carole Sturgis

BOONE ELLEDGE

Baritone

Pana, Illinois

Education: Pursuing BM in Music Performance, Northern Illinois University. Studying with Robert Sims and Jeff Mattsey

Roles Performed: The Husband ( Amelia al Ballo), Valentine White (Babes in Arms), The Mayor (The Happy Prince), Judas (Godspell )

Awards: ILMEA District Choir (2018-2021) and the National School Choral Award (2019)

Previous Experience: NIU Opera Theatre and Theatre in the Park

Scholarship Benefactor: Rowland Davis Endowment, Maria de Waal Putter Endowment

REBECCA GARDNER

Mezzo-soprano South Hero, VT

Education: Pursuing MM Voice Performance, Florida State University; BM Voice Performance, Florida State University. Studying with Dr. Sahoko Sato Timpone

Roles Performed: Eunice Hubbell ( A Streetcar Named Desire), Cherubino (Le nozze di Figaro), Hänsel (Hänsel und Gretel ), Jane (Patience)

Awards: 1st Prize Charleston Contemporary Music Competition (2022)

Previous Experience: Florida State Opera, Opera Maine, Luingiana International Music Festival

Scholarship Benefactor: Stephen and Colleen Shogren

TRUMAN GRANT

Tenor Kansas City, MO

Education: Pursuing Artist Diploma, William Jewell College; BM Vocal Performance from the University of Missouri, Columbia. Studied with Daniel Belcher, Steven Tharp, Dr. Rika Heruth

Roles Performed: Sailor (Dido and Aeneas), Billy (The House without a Christmas Tree), Fenton (Falstaff ), Frederic (The Pirates of Penzance), El Remendado (Carmen)

Previous Experience: Boston Camerata, William Jewell College, Show-Me Opera, Missouri Symphony

Scholarship Benefactor: Richard Hill Endowment, Kansas Federation of Music Clubs, Eureka Springs Opera Guild

ANDREW HALLAM

Bass-Baritone

Detroit, MI

Education: Pursuing MM Vocal Performance, University of Cincinnati College-Conservatory of Music; BM Vocal Performance, University of Michigan. Studied with Kenneth Shaw, George I. Shirley, Stephen Lusmann

Roles Performed: Leporello (Don Giovanni ), Papageno (Die Zauberflöte), Primo Giudice (La Susanna), David ( A Hand of Bridge), Le Premier Ministre (Cendrillon), Ripley Constable (Rise for Freedom: The John P. Parker Story), Doctor (Highway 1, U.S.A)

Awards: 2023 CCM Opera Scholarship Competition: Seybold-Russell Award and University of Michigan Jean Fairfax Scholarship (2018-22)

Previous Experience: Motor City Lyric Opera, Detroit Opera, Vienna Summer Music Festival Opera Institute, University of Michigan Opera Theatre, Opera MODO

Scholarship Benefactor: Dr. Alice Martinson and Carole Sturgis

EVEN JOHNSON

Mezzo-soprano Orange, CA

Education: BM Vocal Performance, Chapman University. Studied with Rebecca Sherburn, Melissa LyonsCaldretti, Paul Floyd

Roles Performed: Paula (Florencia en el Amazonas), Second Lady (The Magic Flute), Prince Orlofsky (Die Fledermaus), Gossip (Noye’s Fludde)

Awards: Musco Scholar (2017-2022); Spotlight Awards Semifinalist (2017); 3rd Place in the Stars of Tomorrow Vocal Competition (2017); Winner of the Young Stars of the Future Competition: Classical Category (2017); 1st Place in Center Stage Opera Vocal Competition (2015); 1st Place in SCVA’s Solo Vocal Competition (2014-2016)

Previous Experience: Opera Chapman: Chapman University; Orange County School of the Arts: Classical Voice Conservatory; LA Opera; LA Opera: Opera Camp

Scholarship Benefactor: Mary Chop Trust, Janet and Luke Parsch, Eureka Springs Opera Guild Art in Opera

KLARK JOHNSON

Soprano

Dallas, TX

Education: Pursuing BM Vocal Performance, Texas Christian University. Studying with Angela Turner Wilson, Alicia Gianni

Roles Performed: Little Red Riding Hood (Seymour Barab’s Little Red Riding Hood ), Priest and Chorus (Die Zauberflöte), Ensemble (Dido and Aeneas), Gingerbread Child (Hansel and Gretel ), Triathlon Ann (Speed Dating Tonight!), and Ensemble (Il cappello di paglia di Firenze)

Awards: 2023-2024 Clark Society Scholar Finalist; 1st Place African American Spirituals at Texoma National Association of Teachers of Singing (2022); Classical SemiFinalist at Texoma National Association of Teachers of Singing (2021, 2022); Music Conservatory Director Award BTWHSPVA (2020); Local Gold Medalist “Classical Voice” NAACP ACTSO Competition (2019)

Previous Experience: Six Flags Over Texas, Wish For A Princess, Meyerson Symphony Center

Scholarship Benefactor: South Central Region, NFMC, Tim Danielson Endowment, Dorothy Ellis Endowment

ILHEE LEE

Tenor

Seoul, South Korea

Education: Pursuing Graduate Diploma Vocal Performance, New England Conservatory; MM, BM Seoul National University, South Korea; Boston University Opera Institute. Studied with Bradley Williams, Attila Jun

Roles Performed: Tamino (Die Zauberflöte), Don Ottavio (Don Giovanni ), Quint (The Turn of the Screw), Aeneas (Dido and Aeneas), Luigi (Il tabarro), Endimione (L’arbore di Diana)

Awards: Joan and Henry Wheeler Presidential fullride Scholarship (2021-2023); Tan Family Foundation scholarship (2022-2023)

Scholarship Benefactor: Ann Marie and Gary Ardes, Luke and Janet Parsch Endowment

OPERA IN THE OZARKS ARTISTS

JABARI LEWIS

Tenor

Kissimmee, FL

Education: Pursuing MM Voice Performance, University of Michigan; BM Voice Performance, Florida State University. Studying with Dr. Evan T. Jones, Kathryn Hartgrove

Roles Performed: Don Curzio (Le nozze di Figaro), Steve Hubbel ( A Streetcar Named Desire), Fenton (Falstaff ), Tamino (The Magic Flute), The Witch (Hansel and Gretel )

Awards: Florida Federation of Music Clubs 1st Place, 2023

Previous Experience: Florida State University Opera, Festival of International Opera Italia

Scholarship Benefactor: Pat Walden, Corrinne Mayfield Endowment (Missouri Federation of Music Clubs), Richard Arthur Drapeau Endowment

HELENA LOSADA

Soprano

Fortaleza, Brazil

Education: MM Vocal Performance, Boston University; BM Vocal Performance, Universidade Federal do Rio Grande do Sul. Studied with Matthew DiBattista, Sharon Daniels, Carlos Rodriguez

Roles Performed: Alcina ( Alcina), Pamina (Die Zauberflöte), Despina (Cosi fan tutte), Lauretta (Il maestro di musica), 1st flower (La hija de Rappaccini )

Awards: Colburn Fellow at SongFest (2022); Merit-based Scholarship from Boston University’s College of Fine Arts (2021-2023); Finalist and granted a Performance Award in the International Singing Competition Linus Lerner (2020); Second Prize in the International Singing Competition Maria Callas (2019)

Previous Experience: BU Opera Institute, Berlin Opera Academy, SongFest, Porto Alegre Symphony Orchestra, Theatro São Pedro Chamber Orchestra, Festival de Música de Santa Catarina, Gramado in Concert

Scholarship Benefactor: Martha M. Mack Award (NFMC)

MATTHEW MCKINNON

Baritone

Temple, TX

Education: Pursuing DMA Vocal Performance, University of Oklahoma; MM Opera Performance, University of Oklahoma; BM Music Education, University of Mary Hardin-Baylor. Studied with Dr. Joel Burcham, Kim Josephson, Guy Wilson

Roles Performed: Elder Mclean (Susannah), Argante (Rinaldo), Roger Chillingworth (The Scarlet Letter), Zurga (Les pêcheurs de perles), Leader/Preacher (Down in the Valley) Bartender (Speed Dating Tonight!)

Awards: 3rd place, Benton-Schmidt competition; 1st place Texoma NATS; National NATS semifinalist

Previous Experience: Oklahoma State University Opera Theatre, University of Oklahoma Opera Theatre, Red River Lyric Opera

Scholarship Benefactor: Oklahoma Federation of Music Clubs Endowment, Aleeta Mae Riney Endowment (Missouri Federation of Music Clubs), Ponca City Music Club

TYLER MIDDLETON

Baritone

Maryville, TN

Education: Pursuing MM Vocal Performance, University of Michigan; BM Vocal Performance, Middle Tennessee State University. Studied with Stephen Lusmann, Dina Cancryn, Treena Moore

Roles Performed: Leporello (Don Giovanni ), Fredrik Egerman ( A Little Night Music), Danilo Danilovich (Die lustige Witwe), Judge Turpin (Sweeney Todd ), Lord Chancellor (Iolanthe)

Awards: Martha Mack Award, NFMC; Handel Award, Orpheus Vocal Competition; Semifinalist, NATS National Student Auditions

Previous experience: University of Michigan SMTD, Opera in the Ozarks, Middle Tennessee State University Opera Theater

Scholarship Benefactor: National Federation of Music Clubs, Sigma Alpha Iota International Music Fraternity

DIANA NALYVAIKO

Soprano

Chernihiv, Ukraine

Education: Pursuing BM Performance, minor in German Studies, Vanderbilt University. Studying with Amy Jarman, Zoia Rozhok

Roles Performed: Blanche Noyes (Staggerwing), Yvette (La rondine), Ino (Semele)

Awards: The Michelson Collaborative Arts Award (2023); Margaret Brandscomb Award (2022)

Previous Experience: Vanderbilt Opera Theatre, Opera in the Ozarks

Scholarship Benefactor: Vanderbilt University, Amy Jarman, James and Janice Swiggart Endowment, Adah Hesselgrave Endowment (Missouri Federation of Music Clubs), Eureka Springs Opera Guild

EMILIA PERROTTA

Soprano  Orlando, FL

Education: Pursuing BM Vocal Performance, San Francisco Conservatory of Music. Studying with Catherine Cook

Roles Performed: Damon ( Acis & Galatea), Edith (Pirates of Penzance), Mrs. Kirk (Little Women)

Awards: Presser Foundation Undergraduate Scholar Award (2023)

EMILY POPE

Soprano

McKinney, TX

Education: Pursuing BM Voice Performance, The University of Oklahoma; studying with Lorraine Ernest

Roles Performed: Mabel (Pirates of Penzance), Papagena (The Magic Flute), Opera chorus (Susannah)

Awards: 2023 OU Opera Guild Scholarship Recipient; 2022 Jane Fenner Hengst Memorial Scholarship Recipient; 2023 Oklahoma NATS (3rd place); 2022 Texoma Regional NATS (Finalist); 2022 Oklahoma NATS (Finalist); 2021 NATS National Semifinalist; 2021 Oklahoma NATS (1st place)

Previous Experience: Weizenhoffer Family College of Fine Arts, The Garvin County Choral Society & Sinfonietta

Scholarship Benefactor: Oklahoma Federation of Music Clubs Endowment

ISABELLA RAMIREZ

Mezzo-soprano

El Paso, TX

Education: Pursuing BM Music Education University of Texas at El Paso. Studying with Brian Downen

Roles Performed: The Goat (The Fox and the Cookie), Iolanthe (Iolanthe) Mariana (Luisa Fernanda), Kate (Pirates of Penzance)

Awards: George Shirley Vocal Competition finalist (2023); University of Texas at El Paso Concerto and Aria competition, 2nd Place; National Association of Teachers of Singing: 1st place Third year Classical Treble Rio Grande district and 1st place Third year Musical Theater Treble Rio Grande district (2023); 2nd place Third year Classical Treble Texoma Regional (2022); 1st place Second year Classical Treble Rio Grande district (2022); 1st place First year Classical Treble Rio Grande District (2021)

Previous Experience: Gilbert and Sullivan Company of El Paso, Opera UTEP, El Paso Opera Junior Artist

Scholarship Benefactor: Justice Phil and Carla Johnson Endowment, Suzanna Brown Endowment, Eureka Springs Opera Guild

OPERA IN THE OZARKS ARTISTS

REECE RUHL

Tenor

Paragould, AR

Education: Pursuing MM Opera Performance, Wichita State University; BMA Vocal Performance, Henderson State University. Studied with Bill Higgins, Michael Sylvester

Roles Performed: Elder Gleaton (Susannah)

Previous Experience: Wichita Grand Opera

Scholarship Benefactor: Arkansas Federation of Music Clubs, Mary Chop Trust

AOIFE SCHENZ

Mezzo-soprano

Santa Monica, CA

Education: Pursuing BM in Vocal Performance, Boston Conservatory at Berklee. Study with Dr. Kerry Deal, Dr. Pamela Blackstone

Roles Performed: Sister (Moses), Gossip (Noye’s Fludde)

Awards: Choir Member, Grammy Award-Winning Best Choral Performance Recording “Mahler: Symphony No. 8, ‘Symphony of A Thousand’” Los Angeles Philharmonic, Gustavo Dudamel; Spotlight Arts Competition - Classical Voice Preliminary Round 2 Finalist (2019-2020); Kiwanis Vocal Solo Competition - 2nd Place Winner (2020) and Finalist (2017-2019)

Previous Experience: International Vocal Arts Academy of Payerbach, Songfest (San Francisco), Youth Principal with LA Opera’s Community Operas

NICHOLAS SCHNEIDER

Tenor

Kansas City, MO

Education: Professional Studies in Voice, Cleveland Institute of Music; MM Vocal Performance, University of Missouri –Kansas City, BM Vocal Performance, University of Central Missouri. Studied with Dale Morehouse, Stella Dayrit Roden, Luke Williams

Roles Performed: le Duc (Chérubin), Ruggero (La rondine), Henrik ( A Little Night Music), Damon ( Acis and Galatea), Fabrizio Naccarelli (The Light in the Piazza)

Previous Experience: UMKC Opera, Opera In the Ozarks, UCM Opera Theatre, UCM Theatre and Dance

Scholarship Benefactor: Missouri Federation of Music Clubs, Moberly Music Club Endowment

PATRICK SILK

Tenor

Hauppauge, NY

Education: BA Music Education, Crane School of Music at SUNY Potsdam. Studied with Kristjan Johansson, Kathleen Miller, Steven Tompkins

Roles Performed: Elton John and Gnome ( Amelie), Parpignol (La bohѐme), Bobby (Mahagonny ein Songspiel )

Previous Experience: Crane School of Music Opera Ensemble, La Musica Lirica (Novafeltria, Italy)

ANNE ELISE TEELING

Soprano

Des Moines, IA

Education: Pursuing MM Voice Performance, Florida State University; BM Voice Performance, minor in Cross-genre Creative Writing, Northwestern University; Studying with David Okerlund, Theresa Brancaccio, Gloria Olson

Roles Performed: Stella ( A Streetcar Named Desire), Barbarina (Le nozze di Figaro), Poppea (L'incoronazione di Poppea), Flora (The Turn of the Screw), First Cercatrice (Suor Angelica)

Awards: Hannah J. Beaulieu Scholarship Recipient, Florida State University (2022); Semi-Finalist National NATS (2022); Semi-Finalist Classical Singer (2022); Second Place, Chicago Chapter NATS (2022); Casa Italia Vocal Competition Winner (2021)

Previous Experience: Florida State Opera, Chicago Summer Opera, Northwestern University Opera Theatre, CoOPERAtive, Milnes VOICE Studio, IES Abroad Vienna

Scholarship Benefactor: Steve and Colleen Shogren

WILLIAM VOLMAR

Baritone Madison, WI

Education: Pursuing BM Vocal Performance, University of Wisconsin-Madison (Mead Witter School of Music). Studying with Paul Rowe, Sebastian Vittucci

Roles Performed: Count Almaviva (Le nozze di Figaro) Sir Ruthven Murgatroyd/Robin Oakapple (Ruddigore), Sid ( Albert Herring)

Previous Experience: UW-Madison University Opera, Madison Savoyards

Scholarship Benefactor: Pamela Jones Endowment, Don and Lora Lynn Christensen Endowment

JENNA WEITMAN

Soprano

Manhasset, NY

Education: MM Voice Performance, Roosevelt University Chicago College of Performing Arts; BM Vocal Performance, Temple University Boyer College of Music & Dance. Studied with Judith Haddon, Kathryn Leemhuis, Alisa Jordheim, Elizabeth Hagedorn, Jeanie O’Malley

Roles Performed: Suor Genovieffa (Suor Angelica), Mirette in Bluebeard’s Waiting Room (Granger) Tytania & Peaseblossom ( A Midsummer Night’s Dream), Christina (The George Washington Suite), Belial (Demon)

Awards: Ester M. Schultz Temple University Concert Choir, Temple University (2021); First Place, Morgan Summer Music Festival (2017)

Previous Experience: Miami Music Festival Apprentice, Chicago College of Performing Arts Opera Theater, AIMS in Graz Lieder Studio, Songfest

GUO WU

Soprano

Chong Qing, China

Education: Pursuing MM Vocal Performance and Literature, Eastman School of Music; BM Vocal Performance, Eastman School of Music. Studies with Robert Swensen, Qianru Li

Roles Performed: Morgana ( Alcina), Nora’s Mind (Lear on The Second Floor), Kate (Pirates of Penzance), Cinderella (Into The Woods), Peitho (Here Be Sirens)

Previous Experience: Rochester Summer Opera

Scholarship Benefactor: Burkhard Endowment, Elsie Wright Endowment

THANK YOU

Ann Marie and Gary Ardes

Arkansas Federation of Music Clubs

ML Benson

Ken Brown

Suzanna Brown Endowment

Dr. Kenneth and Maxine Burkhard Endowment

Don and Lora Lynn Christensen Endowment

Catherine and Mark Coke

Tim Danielson Endowment

Rowland Davis Endowment

Del Rio Music Club

Richard Arthur Drapeau Endowment

Dorothy Ellis Endowment

Eureka Springs Opera Guild

Eureka Springs Opera Guild Art in Opera

Lucilla Garrett

Rebecca Bird Haley

Marvin and Lois Hall Orchestra Endowment

Terry Hegna

Adah Hesselgrave Endowment

Richard Hill Endowment

Hobart Family Endowment

Pamela Jones Endowment

Justice Phil and Carla Johnson Endowment

Kansas Federation of Music Clubs

Duane and Carole Langley Endowment

Martha M. Mack Award (NFMC)

Carolann Martin Endowment

Dr. Alice Martinson and Carole Sturgis

Corrine Mayfield Endowment

Missouri Federation of Music Clubs

Moberly Music Club Endowment

Mu Phi Epsilon

National Federation of Music Clubs

Oklahoma Federation of Music Clubs

Luke and Janet Parsch Endowment

Ponca City Music Club

Nancy J. Preis

Maria de Waal Putter Endowment

Aleeta Mae Riney Endowment

Steve and Colleen Shogren

Sigma Alpha Iota Music Fraternity

James and Janice Swiggart Endowment

Texas Federation of Music Clubs

Al and Pat Walden

Karen and Charles Welch

Joan and Jim Wells

Nancy Werbitzky

Elsie Wright Endowment

Marcia Yearsley

Bill Yick Endowment

ANDREA BAKER

Principal Bassoon

Thrilled to return for her third season, Andrea is an indemand orchestral and chamber performer. She is the second bassoon with the Richmond Symphony in Indiana; additionally, she is the incoming Assistant Professor of Bassoon at Western Illinois University. She holds a DMA from Cincinnati College-Conservatory of Music, a MM from New England Conservatory, and a BM from Penn State. In her free time, she loves to bake and spend time with her two cats.

NICHOLAS BLACKBURN Principal Double

Bass

Originally from Lexington, KY, Nicholas holds an undergraduate degree from University of Cincinnati and graduate degrees from Indiana University and the University of Cincinnati where he is currently pursuing a DMA. As a performer, Nicholas plays with a variety of groups including the Dayton Philharmonic, the Kentucky Symphony Orchestra, Cincinnati New Music Ensemble, Musica Nova, among others. This is his second season with Opera in the Ozarks.

YVONNE CREANGĂ

Section Violin

Romanian-born violin/violist Yvonne Creanga enjoys a varied career as a chamber musician, orchestral player, and teacher. She has performed at the Festival dei Due Mondi in Charleston, South Carolina and Spoleto, Italy, the Settimane Musicale Senese, Siena, Italy and the Norfolk Chamber Music Festival. Her ensembles have won prizes at the Coleman Chamber Music Competition, the Accademia Chigiana, the Conservatoire Américain, and in Bydgoszcz, Poland. She is currently a member of the Tucson Symphony Orchestra.

WILL DANHEIM

Principal Cello

William is a native of Houston, TX and holds a MM in Cello Performance from Baylor University. He won the Semper Pro Musica Chamber Music Competition in 2017, and also has a BM from Southwestern University. William is currently studying with Mr. Anthony Kitai at the University of Houston while working towards a DMA in Cello Performance.

SPENCER DAY

Section Violin

A native of Utah, Spencer Day is currently pursuing a doctorate in violin performance at Indiana University, studying with Simin Ganatra from the Pacifica Quartet. Other mentors include Almita Vamos, Naoko Tanaka, and Monte Belknap. Currently, Spencer enjoys a varied career performing with the Carmel and Columbus, IN orchestras, teaching his violin students, and playing with his quartet. When not practicing, Spencer loves reading nonfiction, cooking with heirloom beans, and aspires to get through Bartok’s Mikrokosmos.

RYAN DRESEN

Section Horn

Horn player Ryan Dresen originally comes from the beautiful state of Montana. He is based in New York City and is a member of Carnegie Hall’s Ensemble Connect. This is Ryan’s second season playing for Opera in the Ozarks. Additionally, he is the Assistant Principal Horn in the Columbus (GA) Symphony and Principal Horn in the Albany (GA) Symphony. He holds an MM. from the Schwob School of Music and a BA from Whitworth University.

JULIANNA EIDLE Second Flute/Piccolo

Julianna Eidle is a Cincinnati-based performer, organizer, and educator. She frequently appears with projects throughout the Midwest, including Concert:Nova, Linton Chamber Music, and Opera Project Columbus. Julianna is Artistic Director of the Cincinnati New Music Ensemble and a resident Performing Artist with the Contemporary Art Music Project in Tampa, FL. Julianna holds degrees from Indiana University (BM and Performer Diploma) and the University of Cincinnati (MM,) where she will begin DMA studies this fall.

ASAKO FURUOYA Principal

Oboe

Asako Furuoya, a native of Japan, holds the position of Second Oboe/English horn of Southwest Michigan Symphony. She served as a principal oboe of the Castleton Festival Orchestra by Lorin Maazel’s invitation in 2014. She holds degrees from New England Conservatory of Music (BM) and Lynn University (MM) and is pursuing her DMA at Michigan State University. Her awards include prizes at Yokohama International Music Competition and Japan Oboe Association Competition.

GREGORY HELSETH Principal Horn

Gregory Helseth, returning for a third season with Opera in the Ozarks, has played in ensembles across the United States, Europe and Latin America. Having held seats from Assistant Horn to Fourth, he settled on Principal, with 13 seasons with the Omaha Symphony (1989 – 2002), two seasons with the legendary Allentown Band, and in 2007 was appointed Principal Horn with Lincoln's Symphony Orchestra, Lincoln, NE. He remains a freelance Hornist at large.

KORCAN KÖSTÜK

Section Violin

Korcan Köstük was born in 1995 in Turkey. He started violin at Dokuz Eylül University State Conservatory. After finishing high school in Izmir, he started his undergraduate program at Ankara University State Conservatory with Orhan Ahiskal. He completed his undergraduate program in the capital of Turkey, Ankara. He graduated from the Master's program at the University of South Carolina, and he will continue his studies at the University of South Carolina in a graduate certificate program with Ari Streisfeld.

JANINE (CHENG-YIN) LIN Principal Second Violin

Janine (Cheng-Yin) Lin earned a DMA in Violin from Louisiana State University in 2013, as a full-scholarship student of Espen Lilleslåtten. She has served as concertmaster of the LSU Symphony Orchestra and Associate Concertmaster of the Baton Rouge Symphony Orchestra. Ms. Lin has performed under the batons of maestros David Zinman, Donald Runnicles, Fabio Luisi, Leonard Slatkin, Carlos Riazuelo, Timothy Muffitt and James Ross.

LISA MEYERHOFER Principal Flute

Lisa Meyerhofer holds positions as Assistant Principal Flute & Piccolo of the Omaha Symphony, Principal Flute of the Des Moines Symphony, and Second Flute/ Piccolo with the Chattanooga Symphony and Opera. She has also served as Third Flute/Piccolo with the Omaha Symphony, and has played with the Buffalo Philharmonic Orchestra, Tulsa Symphony, Lexington Philharmonic, Canton Symphony, and Southern Tier Symphony. Lisa was an award winner in the 2017 Walfrid Kujala International Piccolo Competition, and has twice been a quarterfinalist in the National Flute Association Young Artist Competition. She received her BM from Ithaca College and MM from Northwestern University. Lisa lives in Omaha, Nebraska and is happy to return for her 9th summer with Opera in the Ozarks.

GRIS MORENO

Principal Viola

Gris Moreno is based in Tucson, AZ, and is pursuing a BM under Dr. Molly Gebrian. Previously, Gris studied with Rita Porfiris and Lila Brown at the Hartt School. Gris has participated in music festivals in Europe, Canada, and across the US. Last summer, Gris played at the opening ceremony of the 47th International Viola Congress and performed as a section violist of the Texas Music Festival Orchestral Institute.

BRYCE NEWCOMER

Second Clarinet

Returning for a second season, Bryce Newcomer is an established clarinetist, music theorist, teacher, and music librarian. Bryce is on the faculty in clarinet and music theory at Xavier University, is a librarian for the Cincinnati Symphony Orchestra, and regularly performs with several orchestras in Ohio and Kentucky. Bryce holds degrees in clarinet performance and music theory from the Cincinnati College-Conservatory of Music (DMA and MM) and the University of North Texas (BM).

MARIA ORTEGA

Section Cello

Maria Ortega is a Venezuelan cellist coming from El Sistema. After getting a BA in Modern Languages, she moved to northern Chile to play in orchestras and to teach. Maria Ortega has also performed in music festivals in Chile such as Dispotraining, Chamber Music Festivals in Iquique, Teach to Teach Masterclasses, and Antofagasta International Music Festival. Maria Ortega is currently pursuing an MM in cello performance at Louisiana State University with Dennis Parker.

RACHEL PETERS

Concertmaster

Rachel Peters is a member of Orchestra Iowa and the Quad City Symphony Orchestra. Peters completed her tenure as Assistant Concertmaster in the Civic Orchestra of Chicago. She has performed across the United States, United Kingdom, and China. Her degrees are from University of Cincinnati’s College-Conservatory of Music (BM) and Northwestern University’s Bienen School of Music (MM). This is her fifth season at Opera in the Ozarks.

ORCHESTRA

JACKSON RIFFLE

Principal Percussion/Timpani

Jackson Riffle is a performer, educator, composer, and arranger, originally from Pleasant Hill, OH. He received his BM with concentrations in Piano and Percussion Performance from Wright State University, under the mentorship of Mr. Gerald Noble and Dr. Jackson Leung, and his MM from the University of Georgia under the guidance of Mr. Tim Adams. As an orchestral musician, Jackson has performed with many groups including the Charleston Symphony (SC), Huntsville Symphony (AL), Augusta Symphony (GA), Springfield Symphony (OH), Richmond Symphony (IN), and Carmel Symphony (IN).

ORLANDO SCALIA

Principal Clarinet

Orlando Scalia is one of the few select Argentines living in Omaha, NE. He is a fixture in the musical life of Northwest Arkansas, having held the Bass Clarinet position in Symphony of Northwest Arkansas for the better part of a decade. Orlando has been recently appointed Associate Principal Clarinet of the South Dakota Symphony and regularly performs with the Omaha and Wichita Symphonies, as well as Opera Naples, Boca Symphonia, and Orchestra Miami. His playing will be heard in the upcoming Fort Smith Symphony recording of the music of Louis Ballard. He holds degrees from the Universities of Miami and Cincinnati. This summer marks his tenth appearance as Principal Clarinetist.

ANNA KRISTINA STANLEY

Section Violin

Anna Stanley is pursuing a master’s in music performance at Louisiana State University and holds a Bachelor's in Violin Performance with minors in Piano and Philosophy from the same university. She is a faculty member at the Kids Orchestra program and has previously taught at "Music Tree" preparatory school and Dance Center and School of Performing Arts. Anna performs with various local orchestras, including Baton Rouge Symphony Orchestra, Acadiana Symphony Orchestra, and Rapides Symphony Orchestra.

JORDAN STUBBLEFIELD

Section Viola

Jordan received her bachelor’s degree from Texas Tech University and just graduated with her master’s degree from the University of South Carolina. She will continue to work towards her dream of joining an opera orchestra and starting her own private studio while studying at Roosevelt University this fall. Jordan has played in many professional orchestras such as Lubbock Symphony Orchestra and Augusta Symphony. This is her second season playing at Opera in the Ozarks.

CHASE TEAGUE

Principal Trumpet

Chase Teague, from Frisco Texas, is an active performer and teacher in the Dallas Fort Worth Metroplex. He has earned his BME from Texas Christian University along with his MM and Graduate Performance Certificate from the University of Arkansas. Chase has had the pleasure of currently performing as Co-Principal Trumpet for the Las Colinas Symphony Orchestra, Principal Trumpet for Opera in the Ozarks, with the Lone Star Wind Orchestra, Arkansas Philharmonic Orchestra, Symphony of Northwest Arkansas, Texarkana Symphony Orchestra, Fort Smith Symphony, Ozark Family Opera Company, and the Arkansas Brassworks. This will be Chase’s sixth summer as principal trumpet with Opera in the Ozarks. In his free time Chase enjoys fishing, basketball, and being with his wife, son, and two dogs.

CONNOR TIPTON

Second Trumpet

Currently based in Nebraska, Connor Tipton received his BM in Trumpet Performance at Oklahoma City University this year, and will be attending The Jacobs School of Music at Indiana University for a MM in Trumpet Performance. He recently performed in a Masterclass taught by Esteban Batallán, Principal Trumpet of the Chicago Symphony Orchestra. This is Connor's first year performing at Opera in the Ozarks.

FRANK TIRADO-FONTAINES Section Violin

Frank Tirado-Fontaines is a product of El Sistema in his home country of Venezuela. He played in youth orchestras before teaching other students and playing in a professional orchestra in his hometown and later in Chile. He has participated in several festivals, chamber music courses, and masterclasses including New England Conservatory and FESNOJIV Seminar (2010), String Quartets Latin American Academy Seminar (2010), Dispotraining for musicians and Teach2Teach (2014, 2015, 2016), and Internacional Music Festival FIMA (2020). He is pursuing a MM in violin performance at Louisiana State University with Professor Espen Lilleslatten.

CARTER WOOSLEY Principal Trombone

LaGrange, KY native Carter Woosley is a trombonist and educator currently located in Chicago, IL. Carter is Associate Bass Trombone in the Civic Orchestra of Chicago and holds degrees from DePaul University (MM) and the University of Louisville (BM). He is the Principal Bass Trombone of the Bourbon & Brass Company, has appeared with the Des Moines Symphony, the Forecastle Symphony, and has done recording sessions at the Chicago Recording Company.

IPFAC LIFE MEMBERS 1950-2023

ARKANSAS

Ardes, Ann-Marie

Ardes, Gary

Bond, Marjorie*

Bonner, Bill*

Bonner, Louise*

Cabe, Lucy*

Caviness, Mrs. Eric*

Davis, Rowland*

Davis, Virginia*

Drum, John & Lois*

Fantz, Wanda

Fite, Gilbert C.

Fite, June

Graham, Margaret

Grilk, Ernst*

Grilk, Gloria Febro

Henson, Catherine M.

Henson, J. Edwin

Hobart, Mrs. Henry M.*

Jones, Pamela*

Jordan, Ruth*

Martinson, M.D., Alice M.

Milberger, Esther*

Parsch, Luke and Janet

Pierce, Betty

Rownak, Judy

Shambarger, Mary J.*

Shogren, Colleen

Shogren, Stephen

Smith, Mrs. George*

Stamps, Jerry E.*

Strakshus, Gay

Sturgis, Carole

Swiggart, James

Taylor, Dan

Walton, Helen Robson*

Welter, Mr. & Mrs. Willliam G.

Wicks, Frank*

Wright, Elsie Braginton*

Yick, Bill

Yick, Laresa

CALIFORNIA

Cook, Catherine

COLORADO

Wheeler, Juline

ILLINOIS

Balluff, Marie M

KANSAS

Burkhard, Dr. Kenneth*

Burkhard, Maxine*

Campbell, Bob*

Fields, Dr. Galen* and Evelyn*

Graber, Mrs. Clarence J.

Gum, Brian

Gum, Deborah Burkhard*

Harrison, Beth

Hentzen, Katherine L.*

Janson, Ruth E.*

Kraus, Lynda Burkhard

Lansdowne, Kathy Burkhard Martin, Carolann*

Nagel, Elwyn H.* & Jacqueline

Nurre, Vicki Burkhard

Saket, Janis

Sorrell, Bruce* & Judith*

Steele, Flora*

Stewart, Dr. Carol Stewart, Rose*

Vollen, Gene

Vollen, Linda H. Whitmer, Kathleen Wilcox, Wilma B. Wilkens, Ruby H.*

KENTUCKY

Paris, Elizabeth*

MASSACHUSETTS

Merry, Virginia*

MISSOURI

Blair, Starla Blair, Terry Boyd, Mrs. Frances E.* Cockman III, James Conway, Alice E.

Cranfill, Doris Jean*

French, Caroline*

Garcia, Rita P. Garrett, Michael & Phyllis

Hesselgrave, Adah*

Ingram, Mrs. Beth Langley, Carole S. Langley, Duane D. McHaney, Beulah Hale*

Nelson, Dr. Edward P.*

Nelson, Vivian Menees*

O'Hara, Thomas Riney, Aleeta Mae*

Ryan, Evelyn*

Shelton, Ruth Wells, Joan B. Wetterau, Edna*

NEW MEXICO

Hinson, Nina*

NEW YORK

Rowan, Anne*

OKLAHOMA

Abbott, Jane*

Abbott, Mae Ruth "Red"

Alexander, Dr. James*

Alspaugh, Ann Ballew, Edythe M. Burruss, Zelma*

Byrum, Thelma*

Cole, Wilma

Cullen, Lois*

Ernest, Lorraine

Hardesty, Lynne

Hickman, Kathryn

Hudson, Mrs. Charles*

Lacy, Dr. Ann

Linn, James Paul

Murphy, John M.*

Quan, Alice*

Replogle, Margaret K.*

Ringham, C. Russell*

Ringham, LaTrice*

Smith, Leta Mae*

Weaver, Virginia

Wheeler, Dr. Ellen Jayne

Whitesell, Leon and Lavonna

Whitesell, Lisa

TENNESSEE

Harsson, Mildred Zimmerman*

TEXAS

Armor, Lois

Athens Music Study Club

Bear, Glenn

Bear, Lorie Langley

Breuer, Sue M.*

Brown, Brenda

Brown, Guy S.*

Brown, Mary Prudie*

Brown, Suzanna

Christensen, Lora Lynn

Christmann, Francis*

Copeland, Carolyn

Danielson, Tim

Del Rio Music Club

Drapeau, Richard A.

Ford, Brenda

Guemple, Mary*

Hall, Betty*

Harrison, William

Hayes, D T & Shannon

Hobart, David*

Hobart, Jeanice*

Johnson, Carla Jean

Johnson, Phil

Jones, Peggy C.

McNew, Lynn

Meyer, Lee Clements

Moffatt, Jean

Putter, Maria de Waal*

Reid, Carolyn S.

Scheel, Marie U.*

Scheel, Weldon B.*

Schmidt, John C.

Thrasher, Gloria*

Whitworth, Louise M.*

VIRGINIA

Sidway, Lois Hobart

IPFAC PATRONS

DIAMOND BENEFACTORS

(More than $50,000)

Ann Lacy Foundation

Arkansas Arts Council

Arkansas Federation of Music Clubs

Glenn & Lorie Langley Bear

Best Western Eureka Inn

Helen S. Boylan Foundation

Mary Prudie Brown*

Dr. Kenneth* & Maxine* Burkhard

Bob* & Theobell* Campbell

Alice Conway

Don Dagenais

Richard Arthur Drapeau

Richard Hill* Estate

David C.* & Jeanice* Hobart

Dr. Ann Lacy

Carole & Duane Langley

Dr. Carolann Martin*

Dr. Alice M. Martinson

Missouri Federation of Music Clubs

National Federation of Music Clubs

Dr. Edward P. Nelson*

Vivian Menees Nelson*

Maria de Waal Putter*

Texas Federation of Music Clubs

Walton Family Foundation

Elsie Wright*

PLATINUM BENEFACTORS

($10,000 - $49,999)

Gary & Ann-Marie Ardes

Lois Armor

Sue Breuer*

Suzanna Brown

Zelma Burress Estate (Triad Energy)

Don & Lora Lynn Christensen

Francis Christmann*

Mary A. Chop Trust

Doris Jean Cranfill*

Tim J. Danielson

Virginia Davis*

John* & Mary Dolce

Dorothy L. Ellis Trust

Eureka Springs Opera Guild

Jay & Patricia Fitzsimmons

Caroline French*

Marjorie Gammill*

Gloria & Ernest* Grilk

Marvin H. Hall

Ed & Catherine Henson

Dr. Barbara Irish*

Phil & Carla Jean Johnson

Pamela Jones*

Marquis & Diane Jones

Kansas Federation of Music Clubs

Martha McCurdy Estate

Moberly Music Club

Jean Moffatt

John M. Murphy*

Elwyn* & Jacqueline Nagel

Oklahoma Federation of Music Clubs

Dr.* & Mrs.* Charles Olson

Luke & Janet Parsch

Nancy Preis

Mr.* & Mrs.* C. R. Ringham

Aleeta Mae Riney*

Martin* & Elise Roenigk

John Schmidt

Sigma Alpha Iota International

Philanthropy

Stephen & Colleen Shogren

South Central Region NFMC

Gene & Linda Vollen

Al* & Pat Walden

Helen Robson Walton*

Joan B. Wells

Frank Wicks*

Bill & Laresa Yick

GOLD BENEFACTORS

($5,000 - $9,999)

Arkansas Community Foundation

Marilyn Caldwell

Charles Christmann

Nita Herrick Colpitts

Emil Cross, Jr.

John & Lois* Drum

Ellen Thomas Trust

Herta Gemaelich

June & Gilbert Fite

Dr. Jess Green

Ben & Rebecca Bird Haley

Mrs. Robert Ingram

Wilmot Irish

Hattie Janek

Fritz and Lavinia Jensen Foundation

Peggy Jones

Beulah Hale McHaney*

Frank* and Lee Clements Meyer

Ruth Michaels

Minnesota Federation of Music Clubs

William & Etta Moore Trust

Morning Etude Music Club, St. Louis, MO

National Endowment for the Arts

Elizabeth Paris*

Marie Scheel*

Mary J. Shambarger*

Gloria Thrasher*

Leo* and Doris Whinery

BENEFACTORS

($2,500 - $4,999)

Frances L. Abendroth*

Andante Music Club, Bella Vista, AR

Suzanne & Earl Babbie

Doug & Michelle Hobart Barnes

Dick Caldwell

Cottage Inn

Crescent Hotel

Gene & Patricia Flesher

King Gladden*

Golden Lyre Foundation

Mary Guemple*

Betty Hall*

Mark & Sharon Hobart

Gloria Matyszyk

Lynn McNew

Robert and Terry McRae

Dr. John Mizell*

Meredith Mizell *

Missouri Federation of Music ClubsDistrict 2

Music Club Friends, Austin, TX

Ponca City Music Club, OK

Z Reeder

Evelyn Ryan*

Weldon Scheel*

Schubert Music Club, Lawton, OK

Southwest Oklahoma Opera Guild

Dr. Eline Stene

Dr. Vern Sutton

James & Janet Swiggart

University of Arkansas

War Eagle Mills

Jessie Weichert

A. Max Weitzenhoffer

Wednesday Morning Music Club, Austin, TX

Wednesday Music Club, Kennett, MO

Herbert West

Leon & Lavonna Whitesell

The Woman’s City Club, Kansas City

ANGELS

($1,000 - $2,499)

Dr. James Alexander*

Lenora Allen*

Arkansas FMC, NW District

Arkansas FMC, SW District

Athens Music Study Club, TX

Martha Boden

Judge Clifton* & Marjorie Bond*

Helen Boylan*

Janet Burgess

Zelma Burress*

Arsene Burton*

Carroll County Community Foundation

Carroll County Community Foundation, Youth Advisory Council

Central Region Federation Days

Mary Ella Clark*

Wayne Clark

Richard Conkings

Cooper Communities, Inc.

Carolyn Copeland

Connie Craig

Muriel Cross

Sheryl Crow

Kay Deaton

Mary Dixon

Enterprise Rent-a-Car

Etude Music Club, San Antonio, TX

Foreman Thursday Music Club, AR

Maxine Fortenberry

Rita P. Garcia

Beth Harrison

Lynn Hardesty

Mildred Z. Harsson

Galen & Debi Havner

David & Shannon Hayes

Adah Hesselgrave*

Kansas City Lyric Opera Guild

Kathryn Hickman

Nina Hinson*

Merilyn Jax*

Lena Johnson Estate

Fred & Phyllis* Knox

Elaine Knight

Jacqueline & William Lockwood

Susan and Dick Luehrs

Melba Maechtlen

Deborah & David Malone

Renate Melinat

Melodie Club, Dallas, TX

William & Dixie* Mills

Dr. John T. Minor

Mu Phi Epsilon

Musical Research Society, Bartlesville, OK

Ann Nicholson*

Alan Orr

Will Paine

Lillian Bell Parnell

Barbara Rondelli Perry

Mr. & Mrs. William Pfieffer

Sara and Buzz Peine

Betty Pierce

Carolyn U. Poe

Nirupama Raghavan

Carolyn S. Reid

Judy Rownak

Lois Hobart Sidway

Ed & Judy Simpson

Jeremy A. Slavin

Terrance and Patti Smith

Bruce* & Judith* Sorrell

Helen Spradling*

Robert Swedberg

Karen Swogger

Daniel Taylor

Texas FMC, District 6

Ralph N. Turner

Elna Valine

Madge Webster*

William & Jean Welter

Juline Wheeler

Kathleen Whitmer

Louise Whitworth*

Wichita Music Club

Wilma Wilcox

Alise Wilkinson

Cletis Williamson

Janette S. Wittmann

Ruth Wood

SPONSORS

($500 - $999)

Jane* & Mae Ruth* Abbott

Virginia Allison*

Peter & Maureen Anderson

Leon J. Bechet

Ann Shull Bell

Dortha* & Ron Bennett

Thomas Cockrell & Yvonne Creangă

Carroll County Music Group

Yvonne Creanga

Lois Dasher

Connecticut Federation of Music & Dance Clubs

Dr. Rodney & Gay Dill

Terrance and Carolyn Engholm

First National Bank of Berryville

Kathleen Fitzgerald

Ruth Fleishman

Shirley Foust

Nancy Haines

Katherine Hentzen*

Mary P. Hirsch

Illinois Federation of Music Clubs

Beulah Johnson*

JoAnne Justus

Warren and Irene* Kester

Virginia Knieser

Lucille Leisy

Dr. & Mrs. Revis Lewis

David M. Luce

Marilynn Mann

Mary Cox McKay

Craig Milam

Nebraska Federation of Music Clubs

Herta & Willi* Nikolai

Phyllis Noonan

Orpheus Music Club, Blytheville, AR

John Reeve

Byron & Audrey Reeves

Lucile Roberts

Kent Ryals

Schubert Music Club, Lawton, OK

Robert & Leona Snyder

Springfield Music Club, MO

Dr. John Spurlin

Jack & Mary Stark

Charles & Sandra Templeton

Dr. Oliver Wallace

Laura Lee Wilcox

Dr. & Mrs. Elmer W. Williams

Zenda Music Club, KS

IFPAC MEMBERS 2023

PATRON

Arkansas

Babbie, Suzanne & Earl

King, Tom & Jill

Shogren, Steve & Colleen

Louisiana

Haley, Ben & Rebecca Bird

Missouri

Conway, Alice

Wednesday Music Club, Kennett

SUSTAINING

Arkansas

Benson, ML

Binienda, Zbigniew & Renata

Bryan, Charles & Sherry

Garner, Georgette J.

Holifield, Steve D.

Janzen, Charles & Marilyn

Lee, Garry & Marilyn

Little Rock Musical Coterie

Malone, Deborah & David

Mills, William L.

Riemer, Herbert & Sandra

Walker, Carolyn

White, Kathie Ann

California

Freeman, Dana

Florida

Turner, Ralph V.

Hawaii

Sanders, Moana K.

Kansas

Hix, Judith A.

Maechtlen, Melba

Minden, Elaine

Saket, Janis

Missouri

Craig, Connie

Dagenais, Don F.

Missouri FMC

North, Frank & Sara Anton

Orr, Alan

Texas

Dyar, Ruth M.

Etude Music Club, San Antonio

McKay, Mary Cox

Owen, Lisa

Robertson, James

Texas FMC District 6

Wittmann, Janette S.

CONTRIBUTING

Alabama

Green, Carolyn H.

Arkansas

Arkadelphia Philharmonic Club

Baker, Oteeka

Carter, Ann

Hearn, Danna

Hearn, Ronn

Johnson, Bill & Joan

Lieber, Michael & Eileen

Thomas, David & Joanna

Weber, Ralph & Carla

Williams, Kathy

Zientek, Carol

Kansas

Beller, Thomas & Darlene

Brill, Elizabeth

Kansas FMC

Long, Lorraine

Wishart, Delores

Missouri

Blackmon, Anita

Festival Music Club, St. Louis

Kansas City Music Club

Kinslow, Doug & Donna

Morning Etude Music Club, St. Louis

Rubinstein Music Club, St. Louis

Smith, Jennifer

Springfield Music Club

Szydlowski, Marianne

Virtuosos Jr Music Club, Lake St. Louis

Texas

Hoffman, Susan

Rex, Lloyd

Williamson, Cletis

Witterman, Alice K.

ACTIVE

Arkansas

Arkansas FMC, NW District

AR-TX Music Connection, Texarkana

Bella Vista Andante Music Club

Dykman, Tom & Dana

Farah, Mounir & E. Montez

Fort Smith Musical Coterie

Griffith, Charles & Jerry Ruth

Hinkle, Lewis

Hot Springs Music Club

Jones, Marquis & Diane

Jonesboro Treble Clef Club

Keck, Dr. George

Keck, Dr. Ouida

Mena Mountain Musicale

Mironoff, Alexander & Hana

Monticello Music Club

NWA Music & Poetry Students

Parker, Sharon K.

Pine Bluff Musical Coterie

Roenigk, Elise

Russellville Music Club

Stover, Carolyn

Strakshus, Gay & Gary

Walnut Ridge Schubert Club

Werbitzky, Nancy

Illinois

Noorani, Karen Grilk

Kansas

Arkansas City Music & Dramatic

Atwood Music & Drama Club

Goodland Federated Music Club

Lawrence Music Club

Roach, Ellen L.

Treble Clef Club, Pittsburg

Kentucky

Oxyer, Jim

2023 CORPORATE & FOUNDATION CONTRIBUTORS

Missouri

Capital City Music Club

Carthage Musical Devotees

Classical Kids Junior Music Club

Evening Etude Music Club

Federated Teachers of Music, Kansas City

Houser, Steven & Janet

Interstate Virtuosos Music Club, St. Peters

Johnson, Bill & Joan

Jones, Marcia

Juhala, Roland & Shirley

Melody Makers, St. Louis

Mobley, Mrs. Libby

Perry Musique Club

Thomas, Andrew

Walden, Patsy K.

North Dakota

North Dakota FMC, Kris Brugamyer

Oklahoma

Coke, Catherine & Mark

Hayes, Natlynn

Hyechka Music Club, Wetumka

Ponca City Music Club

Oregon

Brown, Martine

Texas

Allen, Dorene

Carthage Music Club

Eck, Mary E.

Edwards, George`

Edwards, Marcia

Ferguson, Vicki

Hobart, Mark & Sharon

Hoffman, Susan B.

Lemmon, Jo Ann

Loce, Laverne

New Braunfels Music Study Club

Randall, Connie

Retzlaff, Patricia

Waco European Music Club

Virginia

Dunham, Rich

This list includes memberships received from June 1, 2022, through May 31, 2023. If we have omitted your name, please accept our apologies, and let us know so that we can correct our records. We are grateful for your support.

Amazon Smile

Arkansas Arts Council

Arkansas Community Foundation, Ron and Ruth Morrison Endowment

Arkansas Federation of Music Clubs

Arvest Bank

Helen S. Boylan Foundation

Suzanna Brown Endowment

Bob Campbell Endowment

Kenneth and Maxine Burkhard Endowment

Mary Anna Chop Trust

Don and Lora Lynn Christensen Endowment

Francis Christmann Endowment

Tim Danielson Endowment

Rowland Davis Endowment

DOXA / VANTAGE

Richard Arthur Drapeau Endowment

Dorothy L. Ellis Endowment

Eureka Springs City A&P Commission

Eureka Springs Coffee House

Golden Lyre Foundation

Hartmann Brewing

Marvin and Lois Hall Endowment

Richard Hill Endowment

Adah Hesselgrave Endowment

Hobart Family Endowment

Justice Phil and Carla Johnson Endowment

Pamela Jones Endowment

Kansas Federation of Music Clubs

Duane and Carole Langley Endowment

Carolann Martin Endowment

Alpha Corrine Mayfield Endowment

Missouri Federation of Music Clubs

Moberly Music Club Endowment

Mu Phi Epsilon International Music Fraternity

National Federation of Music Clubs

Polk Stanley Wilcox

Maria de Waal Putter Endowment

Aleeta Mae Riney Endowment

Sigma Alpha Iota

South Central Region Endowment

James and Janice Swiggart Endowment

Target

Texas Federation of Music Clubs

Texas Federation of Music Clubs Endowment

Tyson

Beulah Walwark-Frances Bloss Endowment

Walmart

Walton Family Foundation

Willard and Pat Walker Foundation

Elsie Wright Endowment

Bill Yick Endowment

ANNUAL FUND DONORS 2023

PATRONS

$10,000 & ABOVE

Glenn & Lorie Bear

Alice Conway

Duane & Carole Langley

Alice Martinson

Nancy J. Preis

Gene & Linda Vollen

FOUNDERS

$5,000 TO $9,999

J. Richard Caldwell & Gloria Matyszyk

Don Dagenais

Hobart Family Trust

Luke & Janet Parsch

Walton Family Foundation

COMPOSERS

$2,500 TO $4,999

Gary & Ann Marie Ardes

Arkansas Federation of Music Clubs

Richard Drapeau

Marvin Hall

Ed & Cathy Henson

Polk Stanley Wilcox

Lee Reycraft

Stephen & Colleen Shogren

South Central Region NFMC

Cliff & Carol Wright

FELLOWS

$1,000 TO $2,499

Lois Armor

John Babbs

Sue Breuer

Ed Garrison

Chuck & Marilyn Janzen

Charles Kimberlin

Jill & Thomas King

Lynn McNew

Sara & Buzz Peine

John Schmidt

Gay & Gary Strakshus

Tracie Sutcliffe

Texas FMC

Kathleen Whitmer

SOLOISTS

$500 TO $999

Anonymous

Martha Boden

Carnegie Cottage –Annie An

Wayne Clark

Thomas R. Cockrell & Yvonne Creanga

Howard Gordon & Roberta Saxon

Melba Maechtlen

Missouri FMC

Oklahoma FMC

Barbara Rondelli Perry

Kent Ryals

PERFORMERS

$150 TO $499

TL Augspurger

Nela Beetem

Arlene & Jerry Biebesheimer

Lynn Boice

Aaron Bleidt & John Clayborn

Ann Carter

Vicki Ferguson

Reinhard Gahbauer

Rita Garcia

Connie Gordon

Danna & Ronn Hearn

Nancy Herring

Marilyn Hoyt

Amy Jarman

Phillip & Carla Johnson

Kansas FMC

Caitlin Kelley

Patricia Marx

Lee Meyer

Midland Musicians Club

Ozark Mountains Basket

Weavers, in memory of Al Walden

David & Charlotte Paul

Paul Provost

Joe Randel

Sheila Rice

Wells Richards

James Robertson

Judy Rownak

Becky Seidl

Ralph V. Turner

Wednesday Morning MC, Austin

Harry Wells

Joan Wells

Wallace Wood

James Works

FRIENDS

$25 TO $149

James Anderson

Bethy Bell

Butch & Lynn Berry

Maureen Bettman

Dollie Blevins, in memory of Al Walden

Carol Brown

Jay Brown

Jeffrey Brown

Ken Brown

LC Bubba

Charles Burns & Lenora Thompson

Catherine & Mark Coke

Laurie Crammon

Kathleen DeGrave

John DiPippa

Nancy & Paul Dobbs

Deborah Doerr

R. Eugene Earsom

European Club

Tricia Evans

Joel Ewing

Norma Farthing

Jim F. Fliss

Celeste & Thomas Foste

John & Georgette Garner

Lucilla Garrett

Maryellen Griffith

Katherine Guendling

Rae S. Hahn

John Hale

Reta Hamilton

Tom Harris

Katheryn Hughes

Bill & Joan Johnson

Marcia Jones

Donald & Patti Karner

John & Mary Ann King

Les & Christeen Kline

Cynthia Kresse

Geary Leason

Ken Luebbering

Lowell F. Lynde Jr.

Jill & Joe March

Matinee Musical Club

John Matthews

Stephen Mattia

Christine Mayo

Joseph McCarty

Kathy McClure

Mary McKay

Elizabeth Mobley

Gregory & Jan Morrell

Jo Anne Norton

Charles Olson

Thomas O'Neal

James Oxyer

Mary Pablo

Barbara Pemberton

Debbie Perry

Betty Pierce

Stanley Post

Shirley Rash

Dick Risk

Cecelia Rogers

Evelyn Rogers

Debra Rue

Ann Rye

Susan Santos

Clifford Schneider

Berta Seitz

Bob Shaw

Sue Shepard

Mary Smith

Jimmie & Bill Stephens

Susan Storch

Robert Swedberg

Bradley Swiger

James & Janice Swiggart

Bev Teagle

Texas FMC Dist. 6

Lynda Thompson

Brooke & Linda West

Krista Whipple

Kathie White

Leon & Lavonna Whitesell

Lisa Whitesell

Patricia Wiken

Ann Williams

Phyllis Winn

Michael & Dee Woodrum

Sheryl Wright

Terrie Wurzbacher

Katie Young

This list includes memberships received from June 1, 2022, through May 31, 2023. If we have omitted your name, please accept our apologies, & let us know so that we can correct our records. We are grateful for your support.

OPERA IN THE OZARKS REPERTOIRE 1950-2023

Opera Composer

Little Women Adamo, Mark

Postcard from Morocco Argento, Dominick

A Hand of Bridge Barber, Samuel

The Old Man Who Loved Cheese Barnes, Edward

Carmen Bizet, Georges

Albert Herring Britten, Benjamin

A Midsummer Night’s Dream

The Turn of the Screw

Pickwick

Burnand and Solomon

Shanewis Cadman, Charles Wakefield

The Willow Tree A Witch of Salem

The Tender Land Copland, Aaron

Pinocchio, The Opera Davies, John Jack and the Beanstalk

The Prodigal Son Debussy, Claude

Lakmé Delibes, Léo

Laundry Romance Dittersdorf, Carl Ditters von Don Pasquale Donizetti, Gaetano

L’elisir d’amore

Lucia di Lammermoor

Captain Lovelock Duke, John

Martha Flotow, Frederich von

Bluebeard Floyd, Carlisle

Susannah

The Gondoliers Gilbert and Sullivan

The Mikado

The Pirates of Penzance Trial by Jury

Faust Gounod, Charles

The Frantic Physician

Robin and Marion de la Halle, Adam

Sunday Costs 5 Pesos Haubiel, Charles

The Proposal Humel, Gerald

Hansel and Gretel Humperdinck, Engelbert

Smoky Mountain Hunkins, Eusebia

Green Eggs and Ham Kapilow, Robert

Draagenfut Girl Kupferman, Meyer

Pagliacci Leoncavallo, Ruggero

The Merry Widow Lehár, Franz

What Men Live By Martinü, Bohuslav

Cavalleria Rusticana Mascagni, Pietro

Don Quichotte Massenet, Jules

The Juggler of Notre Dame

Cendrillon

Manon

Werther

Amahl and the Night Visitors Menotti, Gian Carlo

The Medium

The Old Maid and the Thief

The Telephone

The Ballad of Baby Doe Moore, Douglas

The Face on the Barroom Floor Mollicone, Henry

Opera Composer

Die Entführung as dem Serail Mozart, Wolfgang Amadeus

Bastien and Bastienne

Così fan tutte

Don Giovanni

The Impresario

Le nozze di Figaro

Die Zauberflöte

The Merry Wives of Windsor Nicolai, Otto

Marriage by Lantern Light Offenbach, Jacques

Orpheus in the Underworld

La Périchole

Les contes d’Hoffman

Signor Deluso Pasatieri, Thomas

The Village Singer Paulus, Stephen

The Music Master Pergolesi, Giovanni

La serva padrona

The Game of Love Petit, Pierre

Dialogues des Carmélites Poulenc, Francis

La bohème Puccini, Giacomo

Gianni Schicchi

Madama Butterfly

La rondine

Suor Angelica

Il Tabarro

Tosca

Dido and Aeneas Purcell, Henry

The House of the Sun (Auringon talo) Rautavaara, Einojuhani

Cindy Reiners, Anne

Il barbiere di Siviglia Rossini, Gioacchino

La Cenerentola

The Bartered Bride Smetana, Bedrich

The Gooseherd and the Goblin Smith, Julia

Into the Woods Sondheim, Stephen

A Little Night Music

Die Fledermaus Strauss, Johann, Jr.

The Gypsy Baron

Ariadne auf Naxos Strauss, Richard

The Beautiful Galathea Von Suppé, Franz von Ten Girls and No Man

Mignon Thomas, Ambroise

Solomon and Balkis Thompson, Randall

Miracles of Our Lady Van Grove, Isaac

Noe’s Fludde

The Other Wise Man

The Prodigal – His Wandering Years

Ruth

The Shining Chalice

Riders to the Sea Vaughan Williams, Ralph

Falstaff Verdi, Giuseppe

Un ballo in maschera

Rigoletto

La traviata

The Crucible Ward, Robert

Down in the Valley Weill, Kurt Street Scene

Sunday Excursion Wilder, Al

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