OPERA 2024 Season Program

JUNE 21-JULY 19

Commemorative Program

Lunch Tuesday Through Saturday 11-3

Dinner Tuesday Through Thursday 5-9

Dinner 5-10 on Friday And Saturday

Sunday Brunch 10-2

Must-See Tradition

Photo by Harrison Sutcliffe

An Iconic Mountaintop

Spa Resort in the Ozark Mountains

At the Crescent Hotel, we have been creating lifetime memories since 1886. Steeped in rich history and nestled amidst the breathtaking natural beauty of the Ozarks, our iconic mountaintop spa resort is the Showplace of the Midwest and a Symbol of Hospitality for the State of Arkansas. Guests can choose from a variety of accommodations including standard rooms, luxurious suites, and private cottages, all designed to make your stay comfortable and enjoyable.

Food And Drink

Experience unique dining at the Crescent Hotel in Eureka Springs. Opt for a relaxed meal at Skybar Gourmet Pizza, offering stunning views of the Ozark Mountains, or relish breakfast in the timeless ambiance of the Crystal Dining Room. For a special treat on weekends, join us for La Cena in the Crystal Dining Room, featuring a curated menu that adds an extra touch of elegance to your evenings. Alternatively, visit the Frisco Food Truck for a variety of delicious food options and a full bar. End your evening with delightful drinks and desserts while enjoying a sunset spectacle at Top of the Crest.

New Moon Spa & Salon

Discover a haven of tranquility at New Moon Spa & Salon. Immerse yourself in a world of relaxation with our extensive range of services, including soothing massages, revitalizing facials, expert manicures, pedicures, and precision hair salon treatments. Unwind in our state-of-the-art infrared sauna and hot tub, or get your heart pumping on a Peloton bike or Woodway treadmill. Enhance your experience with our New Moon Spa Membership, offering exclusive benefits and special rates to help you maintain your wellness routine all year round.

Ghost Tours

Set out on a spine-tingling journey through America’s Most Haunted Hotel. Join our Ghost Tour and encounter unforgettable spirits, from Michael and Theodora to “the ghost in the morgue.” Prepare for a captivating tour filled with ghostly tales. Additionally, we offer a special kids’ tour, tailored to be engaging and just spooky enough for our younger guests. For the truly adventurous, don’t miss our exclusive Midnight Investigation, where you can delve deeper into the mysteries of the Crescent Hotel.

Things To Do

From hatchet throwing and hiking to live music and more, there’s always something exciting happening at the resort. Our swimming pool is open year-round, complemented by relaxing hot tubs for a soothing dip regardless of the season. In the winter, lace up your skates for some ice skating fun. Plus, the hotel is petfriendly and conveniently located within walking distance to a dog park and playground, making it a perfect spot for both two-legged and fourlegged guests. All resort activities are included in your stay at the Crescent, ensuring a memorable experience every time you visit.

WELCOME TO OUR 73RD SE ASON

FROM THE GENERAL DIRECTOR

Welcome to the start of what promises to be an extraordinary 75th year! In this milestone year, we will have a number of events that celebrate the artists who have honed their craft at Opera in the Ozarks.

We begin with this summer’s lineup of great operas: two by American composers, one Italian and one French. We continue our practice of performing operas in the language they were written in, but we will provide supertitles for all shows. The 34 singers who have assembled on our mountaintop are joined by 25 professional instrumentalists and 30 distinguished faculty and theatrical technicians. Our brand-new faculty housing went into service in May — Thank you, Walton Family Foundation! — and the reactions of the occupants are all complimentary. Yes, it’s not easy to live and work in a construction site, but we are all making do and anticipating the excitement of the new theater.

We opened an exhibit at the Eureka Spring Historical Museum on June 3 which celebrates our history. It is full of artifacts and information – stop in and see it as it remains open until

FROM THE BOARD PRESIDENT

This is an exciting year for Opera in the Ozarks, and we are delighted that you have decided to join us!

We have three terrific performances for your enjoyment. La traviata is one of the great classics of the operatic repertoire with a famous female title character, and it has brought joy and tears to audiences now for over 150 years.

The Crucible is an operatic version of the famous play by Arthur Miller which tells the frightening story of the horrors that intolerance can bring to society, set during the Salem witch trials of the 1600s.

Our double bill offers an imaginative take on the world. Giannini’s Beauty and the Beast is based on the original fairy tale — don’t expect the Disneyfied version — and is both sad and uplifting. Ravel’s delightful L’enfant et les

September. In May of 2025, we will have a gala anniversary celebration and an opportunity for our alumni to initiate the new stage. Watch your email for dates and details, for it promises to be an extra-special event filled with good food, music, and opera stars who studied at Opera in the Ozarks.

In June 2025, we will celebrate the opening of the new theater with a season of exciting operas that will show off the features of our new stage. We will have many things to celebrate: the end of removing all the lighting from the theater at the end of each season, no more flooding of the costume shop, adequate electrical power to hook up more lighting, the replacement of the hard chairs and the absence of support poles that block your view. And that’s just the start of all the great new things in our new space. You will certainly want to come and check it all out.

Watch your email for additional events – this is just the start of what is to come in the next 75 years.

Nancy Preis General Director

sortiligès (variously translated as something like The Child and the Enchantments), tells of a little rascal who receives his comeuppance from furniture and toys that have come alive.

These will be the final three evenings of opera at our existing theater, for just over the hillside our contractors are putting the finishing touches on our brand-new, state-of-the-art performance space. This is being constructed due to the marvelous generosity of the Walton Family Foundation, for which we are and will be forever appreciative. Next spring we will hold an opening gala where you can be among the first to experience the new theater. The summer of 2025 will see our first opera performances in the new space.

This is all very exciting, and we hope that you enjoy being a part of these historic changes. Enjoy the opera!

Don Dagenais President, Board of Directors Opera in the Ozarks Governing Board

GOVERNING BOARD OF DIRECTORS

OFFICERS

Carole Langley, Chairman

Don Dagenais, President

Alice Conway, Vice President

J. Edwin Henson, Treasurer

Brenda Ford, Recording Secretary

Lynn McNew, Corresponding Secretary

BOARD MEMBERS

Gary Ardes

Lois Armor

Connie Craig

Tim Danielson

Richard Drapeau

Maggie Garrett

Carla Johnson

Raquel King

Duane Langley

Janet Parsch

Judy Rownak

Debra Rue

Janis Saket

Judy Shaw

Steve Shogren

Jim Swiggart

Joan Wells

Kathie White

Bill Yick

EX OFFICIO

Jean Moffatt

Nancy Preis

Opera in the Ozarks at Inspiration Point

16311 Hwy. 62 West

Eureka Springs, AR 72632

(479) 253-8595

ADMINISTRATION

Nancy Preis, General Director

Christopher Cathcart, Operations Director

Christine Santimore, Administrative Assistant-Development

Yvonne Creanga, Administrative Assistant

Monica Williams, Housekeeper

Mark Williams, Maintenance

Alice Martinson, Medical Director

ARTISTIC STAFF

Thomas Cockrell, Artistic Director & Conductor

Kristin Roach, Music Director & Conductor

Benjamin Wayne Smith, Stage Director

Linda Ade Brand, Stage Director

Lisa Tricomi, Stage Director

Emily Ulibarri, Choreographer

Raymond Ulibarri, Choreographer

Lorraine Ernest, Voice Instructor

W. Stephen Smith, Voice Instructor

Stephen Karr, Senior Coach & Chorus Master

Louis Menendez, Senior Vocal Coach & Accompanist

Darrin Newhardt, Musical Theater Coach

María Fátima Corona del Toro, Music Director & Assistant Conductor

Siying He, Coach Accompanist Apprentice

Zachary Kierstead, Coach Accompanist Apprentice

Matthew Ishee, Lighting Director

Eli Davis, Assistant Lighting Director

Spencer Musser, Scenic Designer & Technical Director

Powell Brumm, Assistant Technical Director

Poppy Garner, Production Assistant Apprentice

Greg Helseth, Production Assistant

Kim Welborn, Costume Designer

Loren Smither, Shop Manager - Draper

Victoria Gonzalez, Assistant Costumer

Margaret Wells, Assistant Costumer

Alice Crist, Assistant Costumer

Carol Brian, Production Stage Manager

Lia Bernhardi, Stage Manager

Brianna Wallace, Stage Manager

Alice Martinson, Props

WELCOME TO

Eu reka Spr i ngs

WELCOME to the 73rd 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

jo.a.clark.b2wo@statefarm.com

OPER A in the OZARKS THE HISTORY OF

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

In 1928 a German-born architectural engineer, Charles Mowers, purchased the land overlooking the White River valley outside Eureka Springs, Arkansas, and began construction of a castle patterned after those along the Rhine River valley in Germany. In 1932, the unfinished castle and grounds were bought by Rev. Charles Scoville, who completed the castle and gave it its name, Inspiration Point.

When Scoville died in 1938, his wife gave the property to Phillips University (Enid, Oklahoma) but for years it was little used. Then, in 1950, Dr. Henry Hobart of the Phillips University faculty 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, the organization then

known as Inspiration Point Fine Arts Colony (IPFAC) came into being in the summer of 1950. The first summer camp was held that year, over four weeks, with a small number of students, all from Oklahoma. The camp offered a little bit of everything in vocal and instrumental music and dramatic art.

Constance (“Connie”) Eberhart was the opera workshop director for eight years beginning in 1951. In 1957, Dr. Isaac Van Grove began directing the program.

A few years later Dr. Hobart decided to focus on an opera workshop for talented college and high school students. All opera roles were performed entirely by the students. No lead singers would be brought in to sing the principal roles. The theme of IPFAC became “the students are the stars.”

IPFAC was incorporated in Oklahoma as a nonprofit corporation in 1954. Beginning in 1974, the organization became affiliated with the National Federation of Music Clubs (NFMC), where it eventually became a project of the South Central Region of NFMC. In 1977 IPFAC received a 501(c)(3) nonprofit organization status with the Internal Revenue Service.

Slowly but surely new facilities were added. In 1955 the building which serves as the offices was constructed. The Red Barn, the oldest building on the campus, served as housing for many years. During the 1950s practice cabins were added and in the 1960s the stage area of the present theater, then called the Tabernacle, was enlarged. Until that time, performances had been held in the Eureka Springs Auditorium downtown and in other locations, including on tour to destinations as far away as Memphis and Chicago.

Dr. Isaac Van Grove, who directed the program for 21 years, was an internationally known director and composer. During his years he wrote many operas which were premiered at The Point.

In the 1970s, the objective of IPFAC changed so that the organization became a career preparation center for opera singers. Presently, all artists are either college or graduate students who consider themselves pre-professionals.

The effectiveness of training at IPFAC is demonstrated by the success of its alumni. Many have performed with the Metropolitan Opera and opera companies in Chicago, New York City, San Francisco, and Houston, as well as with major international companies. Singers who have not gone on to become professional performers have enjoyed substantial careers as teachers, church musicians, private and university teachers, opera directors, and in other ways.

In addition to Drs. Hobart and Van Grove, IPFAC has enjoyed the leadership of several other talented individuals. These include Wenonah Williams, Carroll Freeman, Dr. Vernon Sutton and our current Artistic Director, Dr. Thomas Cockrell. Among the people who have served in business or General Director positions are Jim Swiggart, who held that role for 25 years of service, and our current General Director, Dr. Nancy Preis.

An enthusiastic group of Northwest Arkansas volunteers, the Eureka Springs Opera Guild, has provided much-needed volunteer support for Opera in the Ozarks since the Guild was founded in 1982 with Gloria Chrychel serving as its first president.

The EFFECTIVE N ESS OF TRAINING RECEIVED

AT INSPIRATION POINT IS DEMONSTRATED BY THE SUCCESS OF ITS ALUMNI.

For several decades Pam Jones, a dedicated fan and volunteer, was the driving force behind the Guild.

In 2017, General Director Nancy Preis began exploring the possibility of a new theater for the Inspiration Point campus with representatives of the Walton Family Foundation based in Bentonville, Arkansas. In 2023, the Foundation announced a generous donation of over $34 million to fund

the construction of a new theater. This new theater is, as of 2024, under construction and is planned to open in the summer of 2025. We deeply appreciate the extraordinary kindness and generosity of the Walton Family Foundation for making this possible.

The donation also includes support for new faculty housing, opening in the summer of 2024, and other improvements.

In 2022 the corporation was re-incorporated as a nonprofit corporation in Arkansas, and changed its name to Opera in the Ozarks, Inc., since that is the name by which it is generally known.

The 2024-25 year of Opera in the Ozarks is the 75th anniversary of the organization’s founding by Dr. Henry Hobart in 1950. Luckily, the end of the 75th anniversary celebration year will culminate in the exciting opening of our new theater in 2025.

These are heady times for Opera in the Ozarks, and we appreciate your sharing them with us.

OPENING IN 2025 INSPIRATION POINT CENTER FOR THE ARTS

The 200 ft. tower crane is gone, a sure sign that we are moving into the final stages of the construction of our new theater. While you can’t tour the new space yet (it is still a construction zone and not safe for casual visits), you can see what a beacon it is going to be. The view from the new lobby is nothing short of spectacular. You will know you are in the beautiful Ozarks from many places in the structure.

There is so much to be excited about in this new space as it will allow us to produce stage effects never before seen at Opera in the Ozarks, and will enhance your experience. You have always been able to enjoy good music and great singing – that won’t change. When the new theater opens, you can stay in the air-conditioned space or wander out into landscaped grounds to enjoy the lovely sunsets and evening breezes, and at the end of the performance, return to your car on paved paths. Many features of our new space were designed with the audience’s comfort in mind without forgetting our primary mission to provide a rewarding experience for our artists.

The extraordinary generosity of the Walton Family Foundation has kickstarted 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.

We 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. Please contact Nancy Preis for more information on naming opportunities. We have options from modest dollar amounts up to major gifts.

Because the new facilities will also be available to use in the cooler months, we have created a new organization to manage the campus facilities.

Inspiration Point Center for the Arts (IPCA) will take ownership of the campus and grant a perpetual lease

at a nominal amount to Opera in the Ozarks to continue its programs. The other nine months of the year will be programmed by IPCA and may include additional opera offerings but will also include musical events that are not opera. IPCA’s mission is to be a regional center for lifelong learning of music and allied arts. Some of the things we may offer include instrumental instruction, adult education, continuing education for music teachers, musical theater camps, and a host of other ideas. We launched our first new program in May with a one-day retreat for veterans that introduced therapeutic exercises in music, art, and drama. We hope to develop this program to serve a variety of specialneeds groups. We will also make our facilities available for rental to outside organizations and wedding parties. IPCA has already obtained its taxexempt status from the IRS, so gifts are tax deductible.

NATIONAL FEDERATION OF MUSIC CLUBS

SOUTH CENTRAL REGION STATE BOARDS 2024

ARKANSAS

Kathie White, President

Dr. Thomas Bolton

Frank Ferguson

Dr. Maggie Garrett

Christine Graham

Gloria Grilk

Nancy Griffin

Dr. George Keck

Dr. Ouida Keck

Carol Moore

Betty Pierce

Jimmie Stephens

Dr. Chris Thompson

KANSAS

Janis Saket, President

Phillis Scorse

Delores Wishart

Linda Mannering

Evelyn Falen

Lynn Basow

Beth Harrison

Dee Blaser

Linda Vollen

Linda Lind

Linda Lucas

Marilynn Bahr

Melba Maechtlen

Shirley Lemmons

MISSOURI

Judith Shaw, President

Oksana Shpringman

Marlana Strasburg

Anne Gassel

Donna Kinslow

Yukiyo Lake

Connie Craig

Annette Mayhew

OKLAHOMA

Debra Rue, President

Allison Yates

Amanda Welch

Ann Sheldon

Donna Caldwell

Esther Fellows

Eva Strickland Phipps

Jane Bass

Janice Semrad

Jessica Huddleston

Johnna Isaacs

Jonetta Hinkle

Joseph Kingma

Kathryn Hickman

Kathy Bayers

Lavonna Whitesell

Leon Whitesell

Lesa Steele

Lisa Whitesell

Madysen Powell

Malinda Durbin

Marilyn Bruce

Mary Ann Craige

Mary Ann Wunder

Mary Runyan

Melanie Bayles

Mike Seals

Moriah Schmidt

Nancy Pipkins

Nancy Thelen

Natlynn Hayes

Rachel Hay

Raegan Thomas

Rozzie Purdy

Rudy Lupinski

Skye Garcia

Susan Gates

Suzanne Gregory

Suzi Lenhart

Tom Lisk

Wade Daniel

TEXAS

Lynn McNew, President

Lora Lynn Christensen

Annette Griesbach

Mary Ann Brids

Dawn Humphrey

Lois Armor

Marilyn Bettes

Jean Moffatt

Pam Price

Stephen Geor

Claudia Mornhinweg

Debra Hastings

Diann Henson

Melissa Shipley

Virginia Kneisler

Jennifer Key

BUILDING FOR THE FUTURE

OPPORTUNITIES FOR GIVING

Inspiration Point Center for the Arts and Opera in the Ozarks are 501(c)(3) corporations supported by memberships, gifts from friends, student tuitions and ticket sales. Gifts can be made to either corporation.

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.

CASH FOR CLUNKERS

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

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 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.

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 2003-2005 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 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 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 CATHCART

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 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.

CALEN DAR OF EVENTS

SUMMER 2 0 2 4 PERF O RMAN C E C ALENDAR

Curtain 7:30PM at Inspiration Point Theater unless otherwise noted

All seats reserved / (479) 253-8595 or visit opera.org

The Crucible 3:00PM Ice Cream Sunday

La traviata 3:00PM Ice Cream Sunday

Beauty and the Beast / L’Enfant et les sortilèges 3:00PM Ice Cream Sunday

Beauty and the Beast / L’Enfant et les sortilèges The Crucible

Chamber Music

Beauty and the Beast / L’Enfant et les sortilèges

La traviata

The Crucible La traviata

La traviata feat. Gotahold Brewing's Brindisi The Crucible

Beauty and the Beast / L’Enfant et les sortilèges La traviata

The Crucible

Beauty and the Beast / L’Enfant et les sortilèges

Broadway Cabaret 6:00PM

Crescent Hotel Eureka Springs

Beauty and the Beast / L’Enfant et les sortilèges La traviata The Crucible

Broadway Cabaret 7:00PM Mt. Sequoyah Fayetteville The Crucible La traviata

Beauty and the Beast / L’Enfant et les sortilèges La traviata

Special pricing available for children and students under 18. Pre-opera talks with artists at 7:00PM EXCEPT on Sundays. Extended talks begin at 1:30PM on Sundays.

encouraging quality music throughout NWA

Join the Andante Music Club of Bella Vista today!

Spring music festival, award winning preformers, & personal musical development

Affiliated with the National Federation of Music Clubs

Meetings held the first Tuesday of each month fall - spring in Bella Vista, AR

1500 Forest

AR

Hills Blvd. Bella Vista,

PROGRAM

June 21, 27, 29 | July 2, 7, 10, 13, 19

SYNOPSIS

ACT I

Violetta Valéry knows that she will die soon, exhausted by her restless life as a courtesan. At a party she is introduced to Alfredo Germont, who has been fascinated by her for a long time. Rumor has it that he has been enquiring after her health every day. The guests are amused by this seemingly naïve and emotional attitude, and they ask Alfredo to propose a toast. He celebrates true love, and Violetta responds in praise of free love (Ensemble: “Libiamo ne’ lieti calici”). She is touched by his candid manner and honesty. Suddenly she feels faint, and the guests withdraw. Only Alfredo remains behind and declares his love (Duet: “Un dì felice”). There is no place for such feelings in her life, Violetta replies. But she gives him a camellia, asking him to

return when the flower has faded. He realizes this means he will see her again the following day. Alone, Violetta is torn by conflicting emotions – she doesn’t want to give up her way of life, but at the same time she feels that Alfredo has awakened her desire to be truly loved (“Ah, fors’è lui… Sempre libera”).

ACT II

Violetta has chosen a life with Alfredo, and they enjoy their love in the country, far from society (“De’ miei bollenti spiriti”). When Alfredo discovers that this is only possible because Violetta has been selling her property,

Music by Giuseppe Verdi

Libretto by Francesco Maria Piave

Music Director and Conductor: Thomas Cockrell

Stage Director: Benjamin Wayne Smith

Scenic Designer: William Spencer Musser

Lighting Designer: Matthew Ishee

Costume Designer: Kim Welborn

CAST IN ORDER OF

APPEARANCE

Violetta Valéry

Flora Bervoix

Stage Manager: Lia Bernhardi

Chorus Master: Stephen Karr

Accompanist: Zachary Kierstead

Assistant Conductor: María Fátima Corona del Toro

Choreographer: Raymond Ulibarri

Samantha Jones, Louisa Wimmer

Maisah Outlaw, Annabelle Sweet

Marchese d’Obigny Wallace Brown, Jack Cozad

Barone Douphol

Dottor Grenvil

William Dopp, Jacob Soulliere

Anthony Anderson, Colt Hoselton

Gastone Jeffrey Kerst, Evan McMahon

Alfredo Germont

Annina

Marcos Ochoa, René Vazquez

Anna Mans, Julia Pace

Giuseppe Asher Ramaly

Giorgio Germont Henry Griffin, Nathan Schludecker

Commissionario

Boone Elledge

Flora’s Servant Boone Elledge Chorus

Artists of the 2024 Company

he immediately leaves for Paris to procure money. Violetta has received an invitation to a masked ball, but she no longer cares for such distractions. In Alfredo’s absence, his father, Giorgio Germont, pays her a visit. He demands that she separate from his son, as their relationship threatens his daughter’s impending marriage (Duet: “Pura siccome un angelo”). But over the course of their conversation, Germont comes to realize that Violetta is not after his son’s money – she is a woman who loves unselfishly. He appeals to Violetta’s generosity of spirit and explains that, from a bourgeois point of view, her liaison with Alfredo has no future. Violetta’s resistance dwindles and she finally agrees to leave Alfredo forever. Only after her death shall he learn the truth about why she returned to her old life. She accepts

the invitation to the ball and writes a goodbye letter to her lover. Alfredo returns, and while he is reading the letter, his father appears to console him (“Di Provenza”). But all the memories of home and a happy family can’t prevent the furious and jealous Alfredo from seeking revenge for Violetta’s apparent betrayal.

At the masked ball, news has spread of Violetta and Alfredo’s separation. There are grotesque dance entertainments, ridiculing the duped lover. Meanwhile, Violetta and her new lover, Baron Douphol, have arrived. Alfredo and the baron battle at the gaming table and Alfredo wins a fortune: lucky at cards, unlucky in love. When everybody has withdrawn, Alfredo confronts Violetta, who

This Production Generously Underwritten by Alice Martinson and Carole Sturgis

claims to be truly in love with the Baron. In his rage Alfredo calls the guests as witnesses and declares that he doesn’t owe Violetta anything. He throws his winnings at her. Giorgio Germont, who has witnessed the scene, rebukes his son for his behavior. The baron challenges his rival to a duel.

ACT III

Violetta is dying. Her last remaining friend, Doctor Grenvil, knows that she has only a few more hours to live. Alfredo’s father has written to Violetta, informing her that his son

PROGRAM NOTES

The Girl Who Loved Camellias

The story of Violetta, the sparkling courtesan of 19th century France who finally finds true love only to die young, has brought tears to the eyes of sympathetic opera audiences ever since the work’s premiere in 1853. Few realize, however, that it is based upon a true story.

was not injured in the duel. Full of remorse, he has told him about Violetta’s sacrifice. Alfredo wants to rejoin her as soon as possible. Violetta is afraid that he might be too late (“Addio, del passato”). The sounds of rampant celebrations are heard from outside while Violetta is in mortal agony. But Alfredo does arrive, and the reunion fills Violetta with a final euphoria (Duet: “Parigi, o cara”). Her energy and exuberant joy of life return. All sorrow and suffering seem to have left her – a final illusion, before death claims her.

The tale begins in 1824 with the birth of Alphonsine Rose Plessis. Born in Normandy, dirt poor, her mother died when she was seven. Her alcoholic and violent father eventually “lost” her in Paris, where, at age 14 she was abandoned to fend for herself. She got work in a laundry, and then in a dressmaker’s shop before being noticed by men of means who were happy to be seen with her both socially and in private and paid for her time and attention. A quick study, Alphonsine learned to read and write so that she could make better conversations with her lovers; She gave herself a very good classical education. Her erudition brought her to the attention of Nester Rouqeplan, a former editor of the popular magazine Figaro and director of the Theatre des Varietes. He introduced her into Parisian society and within months she ascended into higher social circles. Shedding her past, she changed her name to Marie Duplessis, and proceeded to become the lover of the rich and famous,

Her career became a whirlwind of high-profile affairs. She climbed the social ladders of Paris and became highly prized for her education, conversational brilliance, charm and, of course, her beauty. The apex of her career came with Count Stackelberg, an enormously wealthy and influential Parisian. In 1844 and 1845, she was the mistress of Alexandre Dumas fils, the son of the prominent French novelist Alexander Dumas. Other conquests included Franz Liszt and her eventual husband, the Comte Edouard de Perregaux. Married in 1846, she was dead less than a year later.

She died of tuberculosis, a then-common and incurable disease, in 1847 at the age of 23. Her funeral was attended by hundreds, including many of the poor working girls of Paris to whom she was a heroine, and to whom she had given charitable gifts.

Her name would probably be little remembered today but for the fact that Alexandre Dumas fils wrote a novel about her, La Dame aux Camélias (The Lady of the Camellias). The story was taken, with just minor adjustments, from the actual life of Marie.

Later that year Dumas adopted the book into a stage play. It became immensely popular and really launched a career in which his plays virtually dominated the French stage from 1853 to 1887. Dumas’ play is regarded today as a minor classic of the French theater but was made far more famous in 1853 by another great artist, Giuseppe Verdi.

Giuseppe Verdi

Verdi had established a notable career as a successful opera composer in Italy, but in the early 1850s he launched his international career into the stratosphere with three pathbreaking works which changed the nature of the art form: Rigoletto, Il Trovatore and La traviata. In these works, he created a brilliant fusion between music and drama, insisting that the music, instead of being of a standalone nature, must first and foremost serve the story. These three operas, along with a long list that followed, almost totally dominated the opera stages of Italy and France for decades to come. Verdi attended the Dumas fils play in 1852 and immediately began to compose music for what would become La traviata. Verdi’s frequent collaborator, Francesco

Maria Piave, was engaged to write the libretto.

Marie Deplessis is buried in the Montmartre Cemetery in Paris. Shortly before she died she is said to have stated, “I always think I’ll come back to life.” And come back to life, she surely has, achieving a kind of immortality. We empathize with Violetta's plight and admire her for first giving in to true love and then doing her best to walk away from it. We love her for trying to do the right thing, even as it comes at a terrible personal cost. Whether her actions were fictional or not, we want them to be true. Her love inspires us, and in that way Marie Duplessis in all her guises will always live on.

– Don Dagenais

Marie Duplessis

Fanny Salvini-Donatelli – the first Violetta

Symphony of Northwest Arkansas

Paul Haas, Music Director

PROGRAM

Produced by permission of ECS Publishing Group, St. Louis, MO Sole Agent for E. C. Schirmer Music Company, Publisher and Copyright Owner

June 22, 26, 30 | July 5, 8, 12, 17

SYNOPSIS

Arthur Miller’s unsettling, canonical play The Crucible hasn’t lost its relevance. Based on the Salem witch trials, the 1953 work was written as an allegory for McCarthyism and the ostracism of accused communists. (Miller was hauled before the House Un-American Activities Committee in 1956.) There are political “witch hunts” in every era, so The Crucible resonates today as deeply as ever.

The story is a parable of good and evil, in which bigoted men and women in 17th century Salem, MA used the cry of “witch” to destroy those they hated or envied. The town of Salem has been seized by a wave of hysteria. The slave, Tituba, is accused by the wily and pretty Abigail, who

uses the situation to attempt to destroy the community. When the witch trial begins under the administration of the terrifying zealot, Judge Danforth, Abigail accuses Elizabeth, the wife of John Proctor, of witchcraft. Abigail hopes thereby to get Elizabeth out of the way and regain John’s affection. John remains loyal to his wife, however, even admitting in court to his adultery with Abigail in order to expose her fraud. He is not believed and is arrested. John Proctor along with Tituba and other innocents are condemned to the gallows. In a blaze of courage at the opera’s end, John refuses to sign the false confession that would free him.

Music by Robert Ward

Libretto by Bernard Stambler

Based on the play by Arthur Miller

Music Director and Conductor: Kristin Roach

Stage Director: Benjamin Wayne Smith

Scenic Designer: William Spencer Musser

Lighting Designer: Matthew Ishee

CAST IN ORDER OF APPEARANCE

Reverend Samuel Parris - Minister of Salem Village

Betty Parris - Parris’ Daughter

Tituba - Parris’ Carib-Indian Enslaved Person

Abigail Williams - Parris’ Niece

Costume Designer: Kim Welborn

Stage Manager: Carol Brian

Accompanist: Siying He

Supertitles: Buck Ross

Jeffrey Kerst, Reece Ruhl

Ava Kuntz

Maisah Outlaw

Julia Pace, Kate Snowden

Thomas Putnam - A Wealthy Landowner William Dopp, Jacob Soulliere

Ann Putnam – Putnam’s Wife

Ruth Putnam - The Putnams’ Daughter

John Proctor - A Respected Villager

Elizabeth Proctor - Proctor’s Wife

Mary Warren - The Proctors’ Servant Girl

Rebecca Nurse - A Respected Elderly Citizen

Francis Nurse - Rebecca Nurses’ Husband

Giles Corey - An Elderly Farmer

Reverend John Hale - A Visiting Minister

Ezekiel Cheever - Clerk of the Court

Deputy Governor Danforth - A Judge

Sarah Good - A Woman Accused of Witchcraft

Samantha Jones, Louisa Wimmer

Sydney Siler

Anthony Anderson, Nathan Schludecker

Lindsey Weissman, Meagan Wozny

Taylor Hendricks, Heidi Shea

Alanna Perrin, Lindsey Weissman

Colt Hoselton, Jacob Soulliere

Jeffrey Kerst, Evan McMahon

William Dopp, Henry Griffin

Bradley Boatright, Asher Ramaly

Reece Ruhl, René Vazquez

Julia Pace, Kate Snowden

Martha Sheldon - A Young Girl of the Village Gabrielle Salomon

Bridget Booth - A Young Girl of the Village

Jamie Lockhart

Susanna Walcott - A Young Girl of the Village Spencer Bailen

Mercy Lewis - A Young Girl of the Village

This Production Generously Underwritten by CS Bank

PROGRAM NOTES

Arthur Miller’s award-winning drama, The Crucible, (premiere, January 22, 1953) is perhaps the author’s best known and certainly most often-produced play, and it has helped assure his place in the pantheon of great American playwrights. Miller also immediately recognized The Crucible’s inherent operatic possibilities and actually considered learning how to compose so that he could set the play to music, but abandoned the idea after a brief conversation with composer Marc Blitzstein who told him it would take 20 years to learn how to compose an opera. In 1959, Robert Ward first saw Miller’s play and felt the

Paige Bush

possibilities for operatic adaptation were boundless: strong characters, powerful drama, a stirring message, and an ambience ripe for musical setting. Ward then set about exploring what he needed to do to obtain the performance rights. He arranged for Miller to see a performance of his first opera, He Who Gets Slapped, with which Miller was favorably impressed. Miller then told Ward the rights were available but he wanted to hear a sample of how Ward and his librettist, Bernard Stambler, would musically treat The Crucible. Ward and Stambler set two contrasting scenes and had them performed for Miller who approved and

stated he would grant the performance rights but only after assent by Miller’s theatrical agent, Kay Brown. After protracted negotiations Brown finally agreed to grant the rights and, with funding from the Ford Foundation, the New York City Opera commissioned Ward and Stambler to begin work on adapting the play for the operatic stage.

Ward and Stambler created the opera’s libretto by following the latter’s beliefs about the basic elements of good libretto construction. According to Stambler, the greatest need was to compress the drama into a form best suited for musical expression. As he stated: “The long interchange of short lines and speeches for each character in The Crucible would not allow for any sense of musical structure, so we had to digest the sense of these into one long aria for each character.” The aria met all the requirements: melodic, structural, and the obligation to characterize. Following this philosophy, Ward and Stambler worked closely with Miller throughout the writing process, although submitting the work directly to Miller could sometimes be nerve racking. During one visit to Miller’s apartment, Stambler gave him a

draft of some new material to read. Miller read it carefully while Stambler nervously awaited his comments. Miller finally looked at him with a smile and said, “Bernie, you obviously know how to put a libretto together, and I see no point in questioning your ability to do that.” Encouraged by this, Stambler’s work progressed quickly.

In addition to cutting and compressing about two-thirds of Miller’s text, Ward and Stambler made other changes, the most significant of which occur in Act III of the opera. In this regard, it was purely serendipitous that Ward saw the Manhattan Theatre Club’s revival of the play in 1959 that included a scene in Act II with Abigail and John Proctor that Miller deleted after the first production. But Ward felt strongly about this scene’s dramaturgical possibilities and wished to include it in the opera. Miller told Ward he deleted the scene because it was “no good,” and wrote it only because the director of the first production wanted it. However, Ward felt this scene would enhance character development by revealing important nuances of Proctor’s and Abigail’s relationship. Miller thought about it momentarily and replied, “Hmmm, that’s better than the play.” Ward and Stambler then reduced Miller’s original text and placed their new scene at the beginning of the opera’s third act. Also, when Ward asked Miller why he had deleted this scene from the play, Miller hesitated briefly, got a “faraway” look in his eyes and said cryptically, “I’ve learned a lot about women since then.”

Arthur Miller in 1962

In this scene, as created by Ward and Stambler, Abigail is portrayed in a manner different from the way she is in other parts of the drama. Here she is overtly provocative, openly suggestive, and erotic in her attempts to lure Proctor away from his wife, Elizabeth. Ward provided music to emphasize these qualities, music which he described as “lush and sensual.”

Julius Rudel, Artistic Director of the New York City Opera, was excited about the The Crucible and set the première for the autumn operatic season of 1961, less than a year away. The composition proceeded rapidly until Ward reached the trial scene in Act III. Difficulties with rapid tempo and speech declamation brought the work to a sudden halt. At this very time, Rudel called and informed Ward that he was preparing a press release about the opening, set to occur three months hence. When Ward explained the problems to him, Rudel replied that the cast was already under contract and pre-production activities were ongoing. A few days later Rudel called again, and this time Ward informed him that it was just not possible to make the deadline. But Rudel was unperturbed and told Ward that the press release had gone out that morning and he had a strong feeling “it would all work out.” Although speechless and feeling trapped by

Rudel’s apparent act of madness, Ward soon realized it was an act of faith and confidence. He returned to his work and, by reference to the compositional techniques of Giuseppe Verdi and Giacomo Puccini, managed to complete the score only 11 days before the premiere which occurred on October 26, 1961.

The extent to which Bernard Stambler successfully achieved compression of Arthur Miller’s play is a testament to the fact that the libretto is a work of art in its own right. In turn, the longevity of the opera in the repertoire attests to the fact that Robert Ward’s musical treatment of Stambler’s libretto was undoubtedly the reason it was awarded the New York Music Critics Circle Citation Award and the Pulitzer Prize for Music in 1962.

–Dr. Robert Paul Kolt Author of “Robert Ward’s The Crucible: Creating an American Musical Nationalism”

Robert Ward in 2011

Robert Ward (composer) and Bernard Stambler (librettist) in 1961

PROGRAM

DOUBLE BILL

June 25, 28 | July 1, 6, 9, 14, 18

SYNOPSIS

A merchant has three daughters, the youngest named Beauty. He was once a rich merchant but has fallen on hard times. His two older daughters are bitter about their misfortune, but young Beauty is a dreamer and dreams of love and better days. The merchant receives word that “his ship has come in” and tells his daughters they are rich again. The two eldest ask him to ride to the city to buy them expensive dresses and jewels, but when he asks Beauty what she would like, she asks for a single rose, for she has dreamt that a rose will lead her to her true love.

The merchant heads for the city, but a terrible storm waylays him. He sees a castle, and there is a gardener in the yard. He asks the gardener who lives in the castle and the gardener says that a lonely man with a terrible face lives there – a face so terrible they call him The Beast. The merchant sees that there are beautiful roses in the garden and asks if he can pick one for his daughter. “Yes”, says

the gardener, “but hurry for my master is coming.” The merchant picks a rose but is confronted by The Beast. The merchant explains he just wanted a rose for his daughter, Beauty. The Beast is furious and turns his gardener to stone and tells the merchant that he must return with Beauty so she can be his bride. The merchant refuses and The Beast says that if he kills the merchant his other daughters will suffer. The merchant runs off to fetch Beauty.

He returns with her but says he would rather die than let her marry The Beast, but she says she could never live knowing he died for her. She says she is not afraid and goes to the castle door alone.

When she knocks, she hears the servants scurrying to let her in and with a command from The Beast, the door opens. She meets him at the threshold, and he falls instantly in love with her. He tells her that she will not be his slave, but his

Music by Vittorio Giannini

Libretto by Robert A. Simon

DOUBLE BILL / BEAUTY AND THE BEAST

Music Director and Conductor: Thomas Cockrell

Stage Director: Lisa Tricomi

Scenic Designer: William Spencer Musser

Lighting Designer: Matthew Ishee

CAST IN ORDER OF APPEARANCE

The Storyteller . .

The Father .

The First Daughter

. Alanna Perrin, Meagan Wozny

Wallace Brown, Jack Cozad

Heidi Shea, Kate Snowden

The Second Daughter . . . Alanna Perrin, Annabelle Sweet

Costume Designer: Kim Welborn

Stage Manager: Carol Brian

Accompanist: Louis Menendez

Assistant Conductor: María Fátima Corona del Toro

The Gardener

Beauty . .

The Beast

Wallace Brown, Evan McMahon

. Taylor Hendricks, Anna Mans

Marcos Ochoa, Reece Ruhl

Voices . . Bradley Boatright, Boone Elledge, Asher Ramaly

This Production Generously Underwritten by Don Dagenais and by Ann Marie and Gary Ardes

master! That she will have servants to take care of her and the beautiful castle and grounds to live in if she will be his bride. Beauty sees his kind heart but cannot marry him. He tells her he will wait for her, and that maybe one day she will love him, and not be so fearful in her eyes. He wishes her goodnight and enchanted sleep.

Beauty wants to return home because she had a dream her father was grieving for her. When she tells The Beast this, he gives her a magic ring to return her home. Her father is so happy, and she stays the night. The merchant hears Beauty crying in her sleep and wakes her. Beauty says that she sees The Beast crying and dying by the river by the castle… dying of a broken heart. The merchant tells Beauty that The Beast does not love her, he covets her for her beauty. But she knows he is kind and gave her the ring to return to her family and she needs to return to save him.

Beauty uses her rose and magically finds The Beast in the garden by the river. He thanks her for returning and tells her that he loves her. She declares her love for him, because of his kindness. He tells her that it makes him happy to know he is loved, but he is dying. He gives the castle and all the grounds to her, but he knows that the roses have not grown since he turned the gardener to stone. He tells Beauty that the roses will grow again, as a symbol of his undying love if she will go and touch the statue with her magic ring.

When she does the gardener comes to life. The gardener goes to thank The Beast, but cannot see him by the river… he sees a young man instead. The young man is The Beast transformed, now handsome. He tells Beauty that he was cursed to look like a beast, until someone truly loved him. And now, they can live happily ever after.

PROGRAM NOTES

When you hear the words, “Beauty and the Beast”, you probably think of the 1991 animated film, the 1994 Broadway musical or the 2017 film. Disney’s offerings are, in fact, only among the most recent adaptations of the fairytale. Films by Jean Cocteau (1946), Edward L Cahn (1962), Juraj Herz (1978), and Eugene Marner (1987) predate Disney’s take on the story, and there was even a short-lived American TV series which ran on CBS from 1987-1990.

1965, becoming its first president and hiring notable faculty to quickly build the school’s reputation as a serious institution for music education.

Given Giannini’s upbringing and education, it is not surprising that much of his compositional output featured the operatic voice. In total, he produced six operas, several choral works, and a few art songs for voice and piano. Many of his early compositions were produced by European opera houses. His most successful opera was his adaptation of Shakespeare’s The Taming of the Shrew, which premiered in Cincinnati in 1953 and was a finalist for that year’s Pulitzer Prize.

The earliest appearance of the tale can be traced to 1740, when French novelist by Gabrielle-Suzanne de Villeneuve published La Belle et la Bête. Sixteen years later, another French novelist, Jeanne-Marie Leprince de Beaumont, shortened the story for a children’s book and it is this concise telling we know today. It did not take long for the story to make its way to the opera stage. In 1771, Belgian composer André Grétry composed the opera Zémire et Azor, inspired by De Beaumont’s version of the story. While the tale continued to captivate generations for generations to come, it wasn’t until the 20th century when the tale found its way back into opera houses, with Vittorio Giannini’s Beauty and the Beast (1938), and more recently, Philip Glass’s La Belle et la Bête (1994). Of the three operas, Giannini’s is the most produced today.

Vittorio Giannini (1903-1966) grew up in a musical family. His father, Ferruccio Giannini, emigrated from Italy to Boston in 1885 at age 17, before ultimately settling in Philadelphia. A professional operatic tenor, he founded an opera company in Philadelphia dedicated to producing the operas of Giuseppe Verdi. Vittorio’s mother, Antonietta Brigilia, was a professional violinist. While Vittorio’s two sisters had successful opera careers, Vittorio became an accomplished violinist. Exploring his Italian roots, he enrolled at the Milan Conservatory where he studied both violin and composition, before doing graduate work at The Juilliard School in New York City. He would return to Juilliard several years later as a faculty member, and many of his students enjoyed successful careers of their own, most notably John Corigliano and Thomas Pasatieri. He also taught at Manhattan School of Music and at Curtis Institute. Wishing to create a “Juilliard of the South”, Giannini founded the North Carolina School of the Arts in

Giannini’s Beauty and the Beast was not originally written for the operatic stage, but rather for the air waves. In the 1920-30’s, radio was the dominant medium for communication and an important player in the entertainment field. Several broadcasting companies began commissioning their own original musical dramas. In 1938, CBS commissioned a “radio opera” from Giannini and librettist Robert A. Simon, and in May of that year, they decided on the story of beauty and the beast Giannini acknowledged the challenge of writing an opera that was never meant to be ‘seen’, telling The New York Times, “The radio opera…must hold the listener’s attention throughout continuously … The first touch of boredom and the listener is off on a new aerial adventure … For in a broadcast opera all one has is the music and the story whereas in the opera house there is the glamour of the footlights, the color and pageantry of the action … the radio writer is dealing purely in terms of sound.”

The Columbia Workshop radio series broadcast the opera live on air on November 24, 1938, only three weeks after Orson Welles’ infamous broadcast of “The War of the Worlds”. Its success led CBS to commission a second radio opera from Giannini, Blennerhassett (1939). That same year, NBC commissioned Gian Carlo Menotti to write The Old Maid and the Thief (1939). By the 1950s, television had replaced the radio as the primary medium for home entertainment and radio operas declined. Several composers have stuck with the genre through the end of the 20th century and into the 21st, with the BBC commissioning a radio opera from composer Robert Saxton in 2010.

Vittorio Giannini

DOUBLE BILL / BEAUTY AND THE

BEAST

Giannini’s compositional style is reflective of his Italian heritage and education at Milan Conservatory. While many composers of his generation were experimenting with new tonalities, sparse textures, and angular melodies, Giannini remained grounded in the ideals of 19th century Italian bel canto style, allowing the voice and orchestra to soar into a luscious romanticism reminiscent of Giacomo Puccini’s verismo style. By today’s standards, he would be labeled a Neo-

Romantic composer for his rejection of the avant-garde that swept through compositional circles in the 1930-40s. But as with fellow Italian American opera composer Gian Carlo Menotti, the romanticism within his scores should not be viewed as a resistance to where music was headed, but a celebration of his Italian heritage and the operatic traditional he inherited from the great Italian opera masters before him.

– Jonathan Stinson

DIRECTOR’S NOTES

It is difficult to imagine this classic fairy tale before Disney: before singing clocks, teapots, candlesticks, Gaston, and animation. But Beauty and the Beast was originally written in 1740 by French writer Gabrielle Suzanne Barlot de Villeneuve. In her version there is no actual description of Beast other than saying he is ugly, fierce, furry, and frightful! The Beast we have become accustomed to today is the creation of illustrators, animators, and special effects artists.

Giannini’s adaptation was written in 1938, between WWI and WWII. CBS Radio commissioned Giannini to write the first-ever radio opera, to be broadcast into living rooms across the country. Our production of this classic fairy tale of love, acceptance, and the power of looking beyond appearances is as relevant today as it was in 1740, and 1938. OIO brings this well-known story to life in a unique and captivating way. We hope our listeners will be spellbound by the enchanting journey of Belle and the Beast.

– Lisa Tricomi, Stage Director

Poster from the 1946 Cocteau film

PROGRAM

DOUBLE BILL

June 25, 28 | July 1, 6, 9, 14, 18

SYNOPSIS

Ravel’s L’enfant et les sortilèges is a fantastical story where a naughty child (L’enfant) is punished for his bad behavior when the items in his room come to life to take their revenge. The armchairs (La Bergère and Le Fauteuil) dance together to escape the child, and they take the bench (Le Banc), couch (Le Canapé), stool (Le Pouf), and the wicker chair (La Chaise de Paille) with them. The Grandfather Clock (L’Horologe Comtoise) starts toppling around the room after the child, upset at being made to strike out of time, and the Wedgwood Teapot (La Théière) boxes and dances with the Chinese teacup (La Tasse Chinoise). The fire (Le Feu) jumps out of the grate, the torn shepherds from the wallpaper (Les Pastoures and Les Pâtres) rise from the floor and dance a ballet, and the Princess (La Princesse) from the book the child destroyed appears then leaves him, forever. Even his math book becomes a little old man (Le Petit Vieillard) and the numbers (Les Chiffres) jump about the room, all in the wrong order.

Following the cats outside, the child seeks refuge in the garden, but here the trees (Les Arbres) have come alive, and he is plagued by all the animals he has hurt or captured, and by the partners of the animals he has killed. The squirrel (L’Ecureuil) he has kept in a cage warns the tree frog (La Rainette) to stay away, as he might be captured, and asks the child to set him free. The animals and trees finally gang together and attack the child, but when the squirrel is hurt and screams out everything stops. The child bandages the squirrel’s paw, and the animals are shocked at his kindness. The child cries out one word ‘Maman’ and the animals echo it until Maman appears at the door, and the child goes back into the house.

Music by Maurice Ravel

Libretto by Colette

DOUBLE BILL / L'ENFANT ET LES SORTILÉGES

Music Director and Conductor: Thomas Cockrell

Stage Director: Linda Ade Brand

Assistant Stage Director: Anna Mans

Scenic Designer: William Spencer Musser

Lighting Designer: Matthew Ishee

Costume Designer: Kim Welborn

Stage Manager: Carol Brian

CAST

IN ORDER OF APPEARANCE

The Child Annabelle Sweet, Lindsey Weissman

Mother Alanna Perrin, Meagan Wozny

The Male Cat .

The Armchair

Chorus Master: Stephen Karr

Accompanist: Louis Menendez

Assistant Conductor: María Fátima Corona del Toro

Choreographer: Raymond Ulibarri

Supertitles: Marc Callahan

Orchestral Reduction: Caleb Yanez Glickman

Arithmetic

Jack Cozad

Colt Hoselton

The Bergère Ava Kuntz

The Grandfather Clock

The Teapot . .

. . Marcos Ochoa, Reece Ruhl

The Female Cat Kate Snowden

The Tree . .

The Dragonfly

Wallace Brown

Evan McMahon

The Teacup Alanna Perrin, Meagan Wozny

The Fire

A Shepherd

Colt Hoselton

Alanna Perrin, Meagan Wozny

The Nightingale Anna Mans, Heidi Shea

The Bat .

The Squirrel

Taylor Hendricks, Heidi Shea

Spencer Bailen

A Shepherdess Jamie Lockhart

The Princess

Taylor Hendricks, Anna Mans

Sydney Siler

Kate Snowden

The Frog Evan McMahon

An Owl Ava Kuntz Furniture, Shepherds & Shepherdesses, Numbers, Frogs, Animals & Trees .............. Artists of the 2024 Ensemble

This Production Generously Underwritten by Don Dagenais and by Ann Marie and Gary Ardes

PROGRAM NOTES

When L'enfant et les sortilèges premiered in Monte Carlo in 1925, audiences and critics alike weren’t quite sure what to make of it. Opera singers meowing a cat duet? A Chinese cup singing a foxtrot? An 18th century Spanish dance performed by two chairs? As the surrealist movement swept across France after World War I, the opera stage was not immune to its influence. L’enfant is not merely a surrealist work of absurd theatre (albeit one with an important moral). But under further scrutiny, it is a culmination of Ravel’s musical influences – a musical memoir of his wildest fascinations.

Maurice Ravel was born in 1875 in the Basque town of Ciboure. His parents were not musicians by trade – his father was an engineer and inventor, while his mother

was largely uneducated. Ravel was given piano lessons as a young child, and his musical abilities were immediately apparent. At age 14, he auditioned successfully for the Paris Conservatoire, winning First Prize in the Conservatoire’s piano competition only two years later. However, after quickly falling out of favor with the piano faculty, and with his interest in composition growing, he was expelled from the school in 1895. In 1897, he was readmitted to the Conservatoire, this time as a composition student of the great composer and master teacher, Gabriel Fauré.

Along with Claude Debussy, Ravel is considered one of the great Impressionist composers, although his stylistic and musical influences evolved throughout his career, separating his style from that of Debussy. Like many French composers of the early 20th century, Ravel was drawn to “exoticism,” defined here as musical styles from other cultures. Perhaps the most famous example is his

Maurice Ravel (c. 1925)

DOUBLE BILL / L'ENFANT ET LES SORTILÉGES

Boléro (1928), which highlighted both his fascination with Spanish modality (not surprising considering his Basque upbringing) and a move toward Minimalism late in his career. Ravel’s interest in exoticism was not just a phase within his larger musical life. Examples of exoticism can be found in every decade of his career, as evidenced by his song cycles Shéhérazade (1904), Deux mélodies hébraïques (1914), Chansons madécasses (1926), and Don Quichotte à Dulcinée (1933). What really separated Ravel from his peers was his gift for orchestration. His 1922 orchestration of Mussorgsky’s piano suite Pictures at an Exhibition has been a staple of symphonic programming throughout the world for over 100 years.

Despite devoting a significant portion of his career to writing for the voice, Ravel only produced two operas. He sketched ideas for three full-length grand operas, but a combination of his declining health and his work on other projects prevented him from completing them. His first opera, L'heure espagnole (1911) was a one-act comédie musicale and was favorably received by Parisian audiences. Many years later, Ravel was approached by the opera house in Monte Carlo to write another one-act, which

ABOUT THE LIBRETTIST:

Sidonie-Gabrielle Colette (b. 1873, d. 1954), known as Colette, was a French author and woman of letters. She was also a mime, actress, and journalist. Colette is best known in the English-speaking world for her 1944 novella Gigi, which was the basis for the 1958 film and the 1973 stage production. Her first four novels — the four Claudine stories: Claudine à l'école (1900), Claudine à Paris (1901), Claudine en ménage (1902), and Claudine s'en va (1903) — appeared under her husband’s name, Willy. Fourteen years older than his wife and one of the most notorious libertines in Paris, Willy introduced his wife into avant-garde intellectual and artistic circles and encouraged her lesbian dalliances. Colette and Willy separated in 1906.

could be paired with L'heure espagnole. Ravel composed L'enfant et les sortilèges between 1920-25. The premiere was generally well-received, though some of the absurdist moments baffled audiences and the Parisian premiere the following year was considerably more contentious. Just as Stravinsky challenged the societal constructs of ballet, Ravel challenged the operatic tradition by including sounds, rhythms, and plot elements that were considered out of place within the art form.

Though Ravel would live another 12 years and go on to write some of his most celebrated works after the premiere of L’enfant, the opera served as a sketchpad of sorts, where Ravel’s musical influences and interests collided to create a unique work of musical theatre. The term “musical theatre” is used deliberately here, as Ravel’s primary inspiration for L’enfant was the emerging genre of American musical theatre, particularly the work of George Gershwin. Later in his career, Ravel even began incorporating the musical elements of American Jazz, ragtime, and foxtrot into his scores.

– Jonathan Stinson

Colette (c. 1910)

Colette had no access to the sizable earnings of the Claudine books — the copyright belonged to Willy — and until 1912 she pursued a stage career in music halls across France, earning barely enough to survive and often hungry and ill. In 1912, Colette married Henry de Jouvenel, the editor of Le Matin Colette's marriage to Jouvenel ended in divorce in 1924, due partly to his infidelities and partly to her affair with her 16-year-old stepson. In 1925, she met Maurice Goudeket, who became her final husband; the couple stayed together until her death.

DIRECTOR’S NOTES

What does that title even mean?

Roughly translated as The Child and the Magics, this magical piece will celebrate its 100th birthday in 2025. The history of this piece begins before the beginning of World War I in Paris. Ravel spent his life immersed in the artistic world of Pari, where Jacques Rouché, the director of the Paris Opéra, wished to produce a “fairy ballet” and asked the author Colette for a libretto. She completed her work in a week, but Ravel, chosen as the composer, did not complete the composition for another five years. He did have excuses for this tardiness. His father died, the 1919 flu epidemic decimated the artistic community in Paris, and his mother was ill. He was also immersed in other compositions such as Le Tombeau de Couperin. He’d hoped to join the French Air Force, but instead served as a supply truck driver. However, not serving on the front lines did not save him from another common threat of war, that of dysentery. His illness grew so bad that a portion of his bowel had to be removed, and his recovery was slow. Then, his mother died. Retreating to a cottage all his own, Ravel secluded himself and began again.

But when the Theatre of Monte Carlo wished to produce the still incomplete work, Ravel had to hurry. He’d been occupied with such projects as La Valse, the orchestration of Prokofiev’s Pictures at an Exhibition, and his violin concerto, but now the pressure was on. Using his extraordinary gifts of both composition and orchestration, he produced this fairy tale/ cautionary tale in time for the 1925 premiere, with a young George Balanchine as choreographer.

Wickedness and freedom. I think we can relate. We, like the Child, don’t always want to “do our homework,” nor do we always appreciate what we have or try to empathize with those around us. Tired and willful, the Child gives in to the impulse to destroy. He wrecks the room, jabs at the caged squirrel, tears the wallpaper, pulls the cat’s tail and tears both his math textbook and his beloved book of fairy tales. But his satisfaction is short lived. The room comes to life, terrifying the child with a dizzying display of animated furniture pieces, a teacup and tea pot, the fire, and a demanding math instructor. His beloved Princess is now trapped because of his thoughtlessness. Led outside, the garden that he had once taken for granted has even harder truths for him. Creatures that he’d killed had families of their own, and there’s nothing he can do to bring their loved ones back. But there is hope. He can change. He bandages the foot of the injured squirrel. He has the power to heal, and at the end is welcomed back home by his mother. May we heed the lessons in this beautiful tale as well.

– Linda Ade Brand

L ITT L E R ED’S

MOST UNUSUAL DAY

Music by Jacques Offenbach and Gioacchino Rossini

Music Director: María Fátima Corona del Toro

Stage Director: Lisa Tricomi

Scenic Designer: William Spencer Musser

Words and story adaptation by John Davies

Costume Designer: Kim Welborn

Stage Manager: Brianna Wallace

Accompanists: Siying He and Zachary Kierstead

CAST IN ORDER OF APPEARANCE

Little Red Ava Kuntz, Jamie Lockhart

Mom Spencer Bailen, Gabrielle Salomon

Dudley

Granny

Mr. Bigbad

Lumbering Jack

Bradley Boatright, Asher Ramaly

Paige Bush, Sydney Siler

Jack Cozad, Boone Elledge

This Production Generously Underwritten by Richard Hill Endowment

SYNOPSIS

An operatic version of the story of Little Red Riding Hood based on scenes from operas by J. Offenbach and G. Rossini.

Forest Ranger Dudley is too shy to ask Little Red’s mom, the widow Hood, to the Forest Ranger Ball. For that reason, he leaves a written invitation in a basket of flowers outside

Little Red’s house. Unfortunately for Dudley, the basket is delivered to Granny. Granny simply loves men, especially men in uniform. In the resulting confusion Dudley loses his pants, Granny kisses the Wolf, Mom gets impatient and Little Red gets in trouble. In fact, everyone experiences, in one way or another, a very, very unusual day.

Brianna Wallace

2024 OPERA UNDERWRITERS

La traviata

Alice Martinson and Carole Sturgis

The

Don Dagenais and Ann Marie and Gary Ardes

NIGHT OF OPERA SPONSORS

Ann Marie and Gary Ardes

Arkansas Federation of Music Clubs

Cynthia and Terrence Augspurger

Frances Christman Endowment

Illinois Federation of Music Clubs

Carla and Phil Johnson

Alice Martinson and Carole Sturgis

Lynn McNew in memory of Tom McNew

Morning Etude Music Club

Luke and Janet Parsch

Buz and Sara Peine

Nancy Preis in memory of Richard Cockrell

Nancy Preis in memory of Pam Jones

Nancy Preis in memory of Catherine Coke

Becky Seidl

Steve and Colleen Shogren in honor of Chris Cathcart

Texas Federaton of Music Clubs

Joan Wells in memory of Vivian Menees Nelson

Joan Wells in memory of her mother

NELSONS

Anza, Bed Stü, Blue Gem, Blue Planet, Børn, Case, Chaco, Deejo, Dorfman Pacific, Duke Cannon, Flag & Anthem, Head N Home, Hey Dude, Hot Sox, Joy Susan, KAVU, Keen, Kershaw, Life is Good, Lucky, Makeshift, Mauritius, Myra, Nylon Rope Sandals, Olivina, Osgoode-Marley, Park Hill, Pro Tech, Ray Troll, RVCA, Silver, Smartwool, Sog, Sorel, Stance Thread & Supply, Trixie & Milo, William

Yellow

Z Supply, and more

L’enfant et

Don Dagenais and Ann Marie and Gary Ardes

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.

Annie An

Gary & Ann-Marie Ardes

Marty Benson

Arlene & Jerry

Biebesheimer

Vicki Brooks

Ken & Judy Brown

Ann Carter

Mary Diehl

Richard Drapeau

Fred & Terry Eilskov

Kevin Graham & Jess Wade

Linda Harris

Ronn & Danna Hearn

Terri Hegna

Ed & Catherine Henson

Cynthia Kresse

Alice Martinson & Carole Sturgis

Anna Mathews

Bill Mills

Betty Pierce

William Poe

Chris Ritthaler

Roxanne Royster

Suzanne Ryan

Colleen & Steve Shogren

Jim & Janice Swiggart

Jeff & Karen Timm

Kent Turner & Shane Gasser

Nancy Werbitzky

Diana Wilson

Special thanks to:

Alice Martinson and Janet Parsch for countless hours organizing the exhibit at the Eureka Springs Historical Museum

Jeff Danos and the Eureka Springs Historical Museum for hosting our 75th Anniversary exhibit

Robert Kolt for writing program notes and hosting the Opera Talk on June 30

Don Dagenais for preparing the Opera Talk for July 7

Phyllis Moraga of Wonderland Antiques for providing props

Eureka Springs Coffee House for providing the ice cream for Ice Cream Sundays

Hartmann Brewing for providing the Brindisi brew on Opening Night and for hosting us at Gotahold Brewing in May

Catering Unlimited for keeping us well fed all summer Monica Williams for keeping our buildings clean and Mark Williams for keeping everything working

Crossland Construction and especially Scott Brogan, construction superintendent, for building us a fabulous new theater and keeping us safe while doing it!

The Walton Family Foundation and Walton Enterprises Inc. for providing an enormous amount of financial and construction support

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!

PERKS:

Early bird ticketing access for members AND MORE!

How can YOU join?

Printable membership forms available online at opera.org

Send your $15 membership fee along with your contact information to:

Eureka Springs Opera Guild | PO Box 3234 Holiday Island, AR 72631

2024 OFFICERS

President: Stephen Shogren

Vice President: Ann-Marie Ardes

Secretary: Colleen Shogren

Treasurer: Gary Ardes

Members At-Large: Jim Swiggart, Ken Brown, Richard Drapeau, Vicki Brooks (ex-officio)

EUREKA SPRINGS OPERA GUILD

PROVIDED OVER $3200 IN SCHOLARSHIPS IN 2023.

OPERA IN THE OZARKS

ALUMNI SPOTLIGHT

Clay Hilley (2004) has received the Richard Tucker Prize, one of opera’s most prestigious prizes.

Justin Burgess (2017, 2018) has finished his second year as a Cafritz Young Artist with Washington National Opera and has been cast in The Revolution of Steve Jobs at WNO next season.

Susanne Burgess (2015, 2016) sang Frasquita at the Metropolitan Opera this spring as well as Helena in Midsummer Night’s Dream for Atlanta Opera.

Berenice Carrera (2021) has received her DMA from LSU.

Sarah Catherine Curtis (2018) received her DMA from Univ. of Kansas and has been traveling the state of Iowa with Des Moines Metro Opera.

Kathryn DeYoung (2015) was a semifinalist in the Laffont Competition. Kate and Joel Burcham (1998, 1999) were soloists in Beethoven’s Ninth Symphony with Symphony of Northwest Arkansas.

Darren Drone (2012, 2013) will sing Falstaff with Portland Opera next spring.

Devin Eatman (2015) will sing Flavio in Palm Beach Opera’s production of Norma.

Kanisha Marie Feliciano (2019) has sung an extended run of Masterclass in Tucson.

Veronique Filloux (2015) has been busy singing Adina for Annapolis Opera and Rosina for Opera Arizona. She returns to Central City Opera this summer.

Keely Futterer (2009, 2012, 2013) is a resident artist at Minnesota Opera where her most recent role has been Musetta.

Lwazi Hlati (2021) has sung multiple roles with Dallas Opera and Fort Worth Opera, as well as Don Jose in Carmen with Opera North.

Sara Kennedy (2019) has been a resident artist with Florida Grand Opera where she sang Musetta. She also participated in the World Premiere of Beyond the Horizon with Teatro Grattacielo.

Elizabeth Langley (2019) is now the Director of Vocal Activities at Covington High School (LA).

Latonia Moore (1999) won her third consecutive soloist Grammy for her recording of Champion with the Metropolitan Opera. She is looking forward to a role debut of Jenufa with the Cleveland Orchestra next season.

Krista Pape (2019) was a repeat winner of the Palm Springs Voice Competition. She is also the National Young Vocal Artist of the National Federation of Music Clubs.

Jonathan Patton (2019) returns to Glimmerglass for its summer festival this summer and will return to Washington National Opera for a third year as a Cafritz young artist.

Dawn Pierce (2002, 2004) has joined the Vocal Music faculty at Penn State.

Claire Pegram (2017) is singing the role of the Foreign Princess in Pacific Opera Project’s production of Rusalka. Pacific Opera Project’s artistic director and CEO is Josh Shaw (2006-2007).

Christina Casey Ray (2015, 2018) is a member of the Vocal Music faculty at Univ. of Missouri and the Artistic Director of Landlocked Opera.

Jonathan Ray (20112, 2013, 2015) is Asst. Prof of Music at Central Methodist Univ.

Ohio Light Opera has been taken over by OIO alums: Vince Gover (2018), Kolby Kendrick (2022), Jordan Knapick (2019, 2022), Sara Nealley (2022), Jack Murphy (2021), and Will Volmar (2023) will all appear in multiple roles this summer.

Clay Hilley

Lwazi Hlati

Susanne Burgess

Kathryn DeYoung Jonathan Patton

Veronique Filloux Dawn Pierce

Krista Pape

ENJOY A BIRD’S EYE VIEW OF OPERA AT INSPIRATION POINT

The Nest overlooks the beautiful Ozark Mountains and a breathtaking view of the new Opera at Inspiration Point. Convenient to town, trails, and lake access our lodging is perfect for your family and friends visiting Opera in the Ozarks in Eureka Springs.

Perfect for small groups • family reunions • retreats & meetings, getaways • weddings & honeymoons

Pack your bag and join us for the perfect bird’s eye view. View our amenities and availability at AirBnb and VRBO at The Nest at 188.

Proud Sponsor of Opera in the Ozarks 73rd

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LIA BERNHARDI

Stage Manager

Born in Branson, Missouri, Lia spent her childhood performing. She received a BS in Dance Management from Oklahoma City University where she held roles such as Director’s Assistant, Moving Light Board Head, and ASM. Lia recently graduated from University College Dublin with an MA in Cultural Policy and Arts Management and worked as a Festival Administrator for Irish Modern Dance Theatre and a Venue Officer for Dance Ireland. This is Lia’s second season with OIO.

LINDA ADE BRAND

Stage Director – L’enfant et les sortilѐges

Linda Ade Brand returns for her seventh season at Opera in the Ozarks. Previous productions at OIO include The Tender Land (2023), Suor Angelica, Gianni Schicchi and Into the Woods (2014), A Little Night Music (2012), Little Women and Die Fledermaus (2011), Carmen (2004) and Don Giovanni (2003).

A Kansas farm girl, Linda received a BA in Music and Theatre from Bethany College in Lindsborg, KS before moving to Kansas City for an MFA in Directing from the University of Missouri-Kansas City and becoming part of the KC arts community. She has directed for the Lyric Opera of Kansas City and served as LOKC’s Director of Education and Community Engagement for five years. Other directing credits include work with KC Rep, Des Moines Metro Opera, Nashville Opera, MTH Crown Center, Shreveport Opera, Metropolitan Ensemble Theatre, American Heartland Theatre and Civic Opera Theatre of Kansas City and Opera Theatre of the Rockies. She treasures work with composers Carlisle Floyd, Conrad Susa and Mark Adamo. She’s taught or directed for Avila University, Kansas University and Stephens College, and is currently the Interim Director of Opera at her alma mater, UMKC.

Recent productions include Die Zauberflöte, The Pirates of Penzance and Gianni Schicchi at UMKC, The Littlest Mermaid for Des Moines Metro Opera’s Opera 2022 Iowa Tour, The House Without a Christmas Tree for William Jewell College / KC Chamber Orchestra, Proving Up at UMKC, and the workshop premiere of Susan Kander and Roberta Gumbel’s new opera, Carry My Own Suitcase.

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 for Carol Brian. She has been busy stage managing from as far north as New Hampshire, as far south as Florida, from Boston to Kansas City. Most recently she finished her 7th year as Production Stage Manager at Opera Tampa and her 3rd year with Shreveport Opera. This is her 9th season with Opera in the Ozarks. Carol 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.

POWELL BRUMM

Assistant Technical Director

Powell Brumm returns to Inspiration Point for his third summer. He has appeared both on and off stage at OIO, including as a studio artist in 2018 where he sang Frank in Die Fledermaus, Fiorello in Il barbiere di Siviglia, and King/Dandini in the studio production. Recent years have seen him in an alumni recital with Katrina Thurman and Hyun Kim, and as the assistant technical director for the 2023 season.

Powell has been actively singing and working in the Kansas City area. Praised for his for his “lovely timbre and good presence” (Parterre Box) for his presentation of Lionel in Tchaikovsky's Maid of Orleans with the Russian Opera Workshop, he has also sung Conte di Ceprano in Rigoletto with Resonance Works in Pittsburgh, and as Belcore in L’elisir d’amore with Festival Napa Valley. Powell can also be heard as Horace Derwent on the premiere recording of the 2016 opera The Shining by Paul Moravec and Mark Campbell with the Lyric Opera of Kansas City, released on CD and to streaming platforms this year.

Powell studied music at the University of Arizona (BM), University of Southern California (MM) and most recently the University of Missouri Kansas City for an Artist’s Certificate.

Powell has recently taken on a full-time position with the Kansas City Repertory Theater as their scene shop materials coordinator, while also singing with the Lyric Opera of Kansas City chorus, alongside a regular schedule of operas, recitals, and various other projects

MARÍA FÁTIMA CORONA DEL TORO

Music Director – Little Red's Most Unusual Day

Assistant Conductor & Section Violin

Currently based in Tucson, AZ, Fátima Corona is a doctoral student in orchestral conducting and violin at the University of Arizona School of Music and a recipient of a 2022-23 University Fellow award. She is originally from Nayarit, Mexico. Fátima holds degrees from the Autonomous University of Baja California, Mexico (BM), the Catholic University of America (AD), and Michigan State University (MM). She has participated in festivals across the United State, Mexico, Canada, and Ecuador. This is her second season at Opera in the Ozarks.

ALICE CRIST

Assistant Costumer

Alice Crist is currently living in Shawnee KS. She has been sewing for 8 years. Alice recently graduated with a BFA in Costume Design from Stephens College Conservatory in Columbia, MO. She plans to move forward with her career in theatrical costumes as a Designer and Draper. This is her first season working with Opera in the Ozarks.

ELI DAVIS

Assistant Lighting Designer

Eli Davis is based out of Champaign, IL, and is currently working towards becoming an International Alliance of Theatre and Stage Employees union member. Eli holds a certificate in Technical Design from North Texas Performing Arts Academy, and a certificate in Grip & Electric from the 2024 Illinois film and TV production training program. This is her second season with OIO.

LORRAINE ERNEST

Voice Instructor

Acclaimed by critics for her portrayal as Queen of the Night in Die Zauberflöte in opera houses throughout the United States and Europe, Lori Ernest has performed this signature role with New York City Opera, Metropolitan Opera Company, Pittsburgh Opera, Washington National Opera, and the Denver Symphony Orchestra under the distinguished baton of Marin Alsop, Opera Grand Rapids, Palm Beach Opera, Central City Operea and the Volksoper of Vienna. Other roles in her repertoire included a debut with The Opera Company of Philadelphia as Elvira in L’Italiana in Algieri This production could be seen nationwide on PBS with a cast that included Stephanie Blythe, Juan Diego Florez and Arthur Woodley. She made her Carnegie Hall debut performing the role of Mademoiselle Jouvenot in the Opera Orchestra of New York’s concert-version of Adriana Lecouvreur, and a debut with Los Angeles Opera as Princess Tatishchev alongside Placido Domingo in Nicholas and Alexandra. Other roles include the title roles in Lucia di Lammermoor, Violetta in La traviata, the title role of Lakme in Lakme, Zerbinetta in Adriane auf Naxos, Susanna in Le nozze di Figaro, Olympia in Les Contes d’Hoffmann, Cleopatra in Giulio Cesare, Musetta in La bohѐme and Adele in Die Fledermaus

Along with her solo career, Lorraine was on faculty at Montclair State University, Seton Hall University and is now at The University of Oklahoma. Her students are performing on and off Broadway and with Utah Opera, Lyric Opera of Chicago, the Washington National Opera Young Artist Program, the San Francisco Opera Company, and throughout Asia, Europe and the United States.

POPPY GARNER

Production Assistant Apprentice

Poppy Garner returns for her second season at Opera in the Ozarks. She recently graduated from Central Methodist University with a double major in Theatre Arts and Communication Studies.

During her time at Central Methodist, Poppy has done sound design, stage management, scenic painting, assistant lighting design and scenic design. Recently, she designed Stupid ... Bird at Central Methodist, which was her first show as a scenic designer. Poppy has received Certificates of Merit from KCACTF Region 5 in her sound design for Boy and assistant lighting design in Merrily We Roll Along. She has also received

recognition from Central Methodist University for outstanding work in scenic painting for The Hobbit.

VICTORIA GONZALEZ

Assistant Costumer

Victoria Gonzalez is in her first summer season in the Costume Shop at Opera in the Ozarks. For the past two years, Victoria has been doing assistant design, construction and free-lance work at the University of Texas at Arlington and Dallas Circus Center. She is currently studying at the University of Texas at Arlington and is working towards a BFA in Theatre Design and Technology with a focus in Costume Design. Her construction and assistant work has been shown in UTA’s productions of The Crucible, Head Over Heels, Sweeney Todd, Bonnets and many other productions. She is looking forward to graduating in May 2025 and hopes to go on to graduate school.

SIYING HE

Coach Accompanist Apprentice

Chinese collaborative pianist Siying He completed her DMA degree in Collaborative Piano at Louisiana State University. She earned a bachelor’s degree in Music Education (major in Piano Performance) from the Shanghai Conservatory of Music in 2016, and then earned her master's degree in Collaborative Piano from the Manhattan School of Music in 2019. After graduating from MSM, she served as a staff pianist there.

As a passionate collaborative pianist, Siying has served as a rehearsal pianist for the opera production of Suor Angelica at Louisiana State University, and Pirates of Penzance at Xavier University. She was awarded a fellowship at the Aspen Music Festival in the summer of 2023. Additionally, she served as the staff pianist at the Vocal Immersion Program at Castleton Festival in both 2021 and 2022. Her participation in summer music programs also includes engagements at The Collaborative Piano Institute and Manhattan in the Mountains.

Throughout her academic and professional endeavors, Siying has had the privilege of studying with renowned musicians and mentors, including Ana Maria Otamendi, Heassok Rhee, Kenneth Merrill, Cameron Stowe, Elena Lacheva, Soyeon Kim and Weicong Zhang. These experiences have contributed significantly to shaping her performance skills and musical artistry.

MATTHEW ISHEE

Lighting Designer

Matthew Ishee is a lighting, sound and media designer, and will soon serve as Visiting Assistant Professor at Illinois Wesleyan University. Previous credits include: Into the Woods, Lift Every Voice, The Insanity of Mary Gerard, and The Miser (CSU Theatre); The Prom, Judy Moody and Stink; The Mad, Mad, Mad, Mad Treasure Hunt, and Leading Ladies (Georgia Repertory Theatre); Hansel and Gretel (Schwob School of Music); Ghost Orchid Fever Dream (currently in the permanent collection of the New Orleans Museum of Modern Art); The Revolutionists (Red Magnolia Theatre Company); and

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Cendrillon (Southeastern Louisiana University Department of Music). He received his MFA in Lighting Design from the University of Virginia and a BA in Music from The College of William and Mary. This is his first season at Opera in the Ozarks.

STEPHEN KARR

Senior Coach & Chorus Master

Born in Greenville, SC, Stephen Karr is in his second season as Opera Music Director at the University of Memphis Rudi E. Scheidt School of Music, where he has led productions of Trouble in Tahiti, Dr. Miracle, La bohème, Der Vetter aus Dingsda and Don Giovanni. He made his debut last May with Opera Memphis and the Memphis Symphony Orchestra, conducting The Falling and the Rising, and has continued his association with the MSO as outreach and cover conductor. In fall 2024, he will lead the world premiere of Kamran Ince’s oratorio Jus Soli at the University of Memphis.

In recent seasons, he has appeared with Anchorage Opera, the Sacramento Philharmonic and Opera, and the Parnassus Chamber Orchestra. As Associate Conductor for Long Beach Opera, he was cover conductor and prompter for 2019’s world premiere production of The Central Park Five, winner of the 2020 Pulitzer Prize. He is a co-editor for the only modern edition of Joseph Bologne’s L’Amant anonyme in print.

He was founding music director for Pacific Opera Project, with which he led productions of Trouble in Tahiti, Così fan tutte, The Turn of the Screw, La Calisto, Ariadne auf Naxos and The Rake’s Progress, among many other titles. He has also been on staff with the OPERA Iowa tour, the Glimmerglass Festival, Opera New Jersey and Palm Beach Opera. He lives in Memphis, TN.

ZACHARY KIERSTEAD

Coach Accompanist Apprentice

Zachary Kierstead is a collaborative pianist based in Columbia, MO. He is an adjunct instructor in collaborative piano at Central Methodist University, choral accompanist at Columbia College, and a contract pianist with students of University of Missouri – Columbia. Outside of collegiate institutions, he accompanies several ensembles within Choral Arts Alliance of Missouri (CAAM), is a young artist coach/accompanist with Landlocked Opera, and frequently performs with area schools for competitions and choir concerts. In addition, Mr. Kierstead is an active musician at two churches, Sacred Heart Catholic Church and Missouri United Methodist Church, works with local instrumental and vocal studios, and performs for various visiting guest artist recitals.

Mr. Kierstead holds his Bachelor of Music in Piano Performance from Central Methodist University and Master of Music in Piano Performance from the University of Missouri –Columbia. He studied with: Helen Hendry, Gwendolyn Peiper, Dr. Rene Lecuona, Dr. Melissa Loehnig-Simons (CMU), Dr. Janice Wenger (MU), and Dr. Rachel AuBuchon.

ALICE MARTINSON

Medical Adviser & 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.

LOUIS MENENDEZ

Senior Vocal Coach & Accompanist

Louis Menendez has been active in the world of opera for 38 years as a vocal coach, conductor, pianist and educator. His first faculty appointment was at the Curtis Institute of Music in Philadelphia in 1988. In 1989, Academy of Vocal Arts appointed him Vocal Coach and Assistant Conductor. Over the last three decades he has assisted over 150 opera productions and conducted nearly 40 productions with companies throughout the U.S. and Europe. Menendez has assisted in master classes and private sessions for such artists as Sherrill Milnes, Birgit Nilsson, Renata Scotto, Regina Resnick, Régine Crespin, Alfredo Kraus, Mignon Dunn, Luciano Pavarotti, Evelyn Lear, Jennifer Larmore, Carol Vaness, Fabrizio Melano, Martina Arroyo, Joan Dorneman, Tito Capobianco, Nico Castel and Bruno Rigacci. He counts among his most memorable experiences recitals with singers Louis Quilico, Jerome Hines, Stephanie Blythe, Nico Castel, Elizabeth Futral, Suzanne Mentzer and Allan Glassman. Summer programs where he has taught, conducted or coached include: the Israel Vocal Arts Institute, Tel Aviv; the International Institute of Vocal Arts, Chiari, Italy; Spoleto Festival, Spoleto, Italy; Sarasota Opera; Opera in the Ozarks; California Music Festival, San Francisco; University of Minnesota Duluth Opera Training Program; Martina Arroyo’s Prelude to Performance, New York City; Sherill Milnes VOICE Experience, Tampa; Lingua e Canto, Sant Angelo, Vado, Italy; and The New York Opera Studio, Vassar College. He conducted Così fan tutte for Opera in the Ozarks in 2022. This will be his sixth season at The Point. Louis also serves as the music director at Holiday Island Presbyterian Church.

WILLIAM SPENCER MUSSER

Set Designer & Technical Director

William Spencer Musser is pleased to return for his seventh summer working at Inspiration Point. Previous set designs at Opera in the Ozarks could be seen in the 2011-2016 and 2023 seasons. He received his BFA in Sculpture from the Kansas City Art Institute and his MFA in Theatre Design from the University of Missouri in Kansas City. He works as the Assistant Professor of Scene Design and Technical Direction at the University of Central Missouri.

DARRIN NEWHARDT

Musical Theater Coach

This is Darrin’s first season with Opera in the Ozarks. Darrin has been living in San Antonio, TX, and is well known as a vocal coach for all ages. Darrin music directed the Texas Premieres of Hunchback of Notre Dame and The Bridges of Madison County. He also works as a pianist / performer for various cabaret shows.

KRISTIN ROACH

Conductor & Music Director – The Crucible

Making her Opera in the Ozarks debut, Kristin Roach is a Grammy-nominated pianist and international conductor with 40+ new operas and 20+ world premieres under her baton. Winner of the American Prize in Opera Conducting 2023, Kristin is committed to the ongoing evolution of opera in the 21st century by leading newly composed works, championing underrepresented artists and creators, and training the next generation of performers.

Recently completed projects include the world premiere of Alice in Wonderland by Amy Scurria at Red River Lyric Opera; Thumbprint for Chautauqua Opera Company and for University of Arizona; Two Remain for Lyric Opera of Orange County; Tosca for Texas Concert Opera Collective; Cendrillon, Alice Tierney, Alcina, Suor Angelica, Curlew River and BurkeHare for Lawrence Opera Theater; and La Cenerentola for Pacific Opera Project.

Kristin is Assistant Professor of Music at Lawrence University, serving as opera conductor, vocal coach, and instructor of conducting and recitative courses. Ms. Roach served previously as Music Director of Alamo City Opera, Spotlight on Opera, and St. Mark’s Episcopal Church. She has prepared productions for the San Francisco Opera, San Diego Opera, Tulsa Opera, Utah Opera, San Antonio Opera, San Antonio Symphony, Brevard Music Institute, Aspen Music Festival, Breckenridge Music Institute, Taos Opera Institute, and many others.

Kristin is a graduate of the Eastman School of Music, where she earned a Bachelor of Music in Applied Music (Piano), the Performer’s Certificate in Piano, and a Master of Music in Piano Performance / Literature and Piano Accompanying / Chamber Music.

CHRISTINE SANTIMORE

Development Assistant

Before joining the OIO team in May 2024, Christine Santimore worked for 12 years for civil rights icon Ruby Bridges, both as her speech agent and for her foundation. Prior to that, her career crossed all sections of arts management: Executive Director of the Greater New Orleans Youth Orchestras, Executive Director of the Greater Twin Cities Youth Symphonies, and Executive Director of the Minneapolis-based dance company Ballet of the Dolls. She was also Director of

Marketing and Communication at the Minneapolis Institute of Art, and she held the same position at the Downtown Council of Minneapolis.

BENJAMIN WAYNE SMITH

Stage Director – La traviata & The Crucible

Benjamin Wayne Smith has made a career leading new productions ranging from Pergolesi’s La serva padrona to Conrad Susa’s The Dangerous Liaisons. He brings a balance of practical experience and innovative storytelling to his projects, which have been hailed by Opera News as “full of comic inventiveness."

Ben has directed for Opera Memphis, Mobile Opera, Indianapolis Opera, Seattle Opera's Young Artist Program, Tacoma Opera, Asheville Lyric Opera, Opera Theatre of Pittsburgh, The Intermountain Opera Association, the Young Artist Program at Pittsburgh Opera, the University of Cincinnati/CCM, Baldwin Wallace University and The Opera Theater of Lucca, Italy.

In 2013 Ben was appointed Artistic Director of the Accademia Vocale Lorenzo Malfatti, a summer training program for young singers in Lucca, Italy. Ben joined the faculty at Baldwin Wallace University in 2010 as their first full time Director of Opera. In 2015, he joined the faculty at the University of Memphis.

He began his career in opera as a singer, performing twentyone leading roles in opera, operetta and musical theater. He has logged over 250 performances in the U.S. and Italy.

W. STEPHEN SMITH Voice Instructor

W. Stephen Smith was appointed Professor of Voice and Opera at Northwestern University Bienen School of Music in 2011 after teaching voice for 13 years at The Juilliard School. He was a member of the Voice Faculty of the Aspen Music Festival and School from 1996 to 2018. His book, The Naked Voice: A Wholistic Approach to Singing, was published by Oxford University Press in 2007. His voice students have performed leading roles in most of the major opera houses and concert halls throughout the world. Mr. Smith was on the staff of Houston Grand Opera as Voice Instructor for the HGO Studio from 1990 to 2003. He has taught at Santa Fe Opera, Opera on the Avalon, Curtis Institute of Music, University of Southern California, LA Opera Young Artist Program, and the Met's Lindemann Young Artist Program. He has given master classes and clinics throughout the United States and has been a guest lecturer at the Universidade Federal do Rio Grande do Sul in Porto Alegre, Brazil, at Yonsei University in Seoul, Republic of Korea, at the Music Academies of Poznan, Krakow, and Wroclaw in Poland, and at St Andrews University in Scotland. Mr. Smith, a baritone, has performed over 40 opera and musical theater roles, including eight title roles. He holds degrees in Voice from Harding University (BA), University of Arkansas (MM), Oklahoma City University (MPA in Opera), and an honorary degree from the U of A (Doctor of Arts and Humane Letters). He has stage-directed twenty-one different

productions and served as musical director/conductor for several. Also an accomplished pianist and clarinetist, Smith is married to the former Carol Christine Mannen, a pianist and vocal coach.

LOREN SMITHER

Assistant Costume Shop Manager & Cutter

Loren joins Opera in The Ozarks for her first season. Loren received her bachelor's degree in Theatrical Design and Production with an emphasis in costuming from Harding University in 2022. Upon graduating she worked as a costume designer at Stagedoor Manor in Loch Sheldrake, NY. Shortly after, she completed the costume apprenticeship program at Walnut Street Theatre in Philadelphia, PA.

LISA TRICOMI

Stage Director – Beauty and the Beast & Little Red’s Most Unusual Day

Lisa Tricomi is very happy to be returning to Opera in the Ozarks after a wonderful experience directing Orpheus in the Underworld for the 2023 season.

Lisa earned her B.A. in Theatre and her M.A. in Drama Therapy at New York University. She served as Artistic Director at American Stage Theatre Co., in St. Petersburg FL from 19951997, 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 of 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 & Movement Instructors

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.

BRIANNA WALLACE

Stage Manager

Bri Wallace is going into her senior year of undergrad at the University of Central Arkansas with an expected graduation of May 2025. Production credits include 365 Days/Plays directed by Forrest Breshears and LaDiamond Maker and The Mystery at Twicknam Vicarage, a one-act directed by Crystal Delgado-

A RTISTIC STA FF

Velez at the University of Central Arkansas. She has assistant stage-managed Margo Gifford in the tour production of The Complete Works of William Shakespeare (Abridged) and Joe Millet in the production of Much Ado About Nothing at Arkansas Shakespeare Theatre.

KIM WELBORN

Costume Designer

Kim is a freelance costume designer and in her fifth season as resident designer for Opera in the Ozarks. Her costume career spans the gamut from historically accurate productions, including clothing for Florida’s Quincentennial and the world premiere of My Dearest Friend for the National Park Service Centennial, to Opera in the Ozark’s production of The Magic Flute, re-envisioned as an environmental fable and built entirely from trash and recyclables. Her primary focus is opera, including The Marriage of Figaro, All is Calm, Tales of Hoffman, Don Pasquale, La bohѐme, Amahl & the Night Visitors, Hansel & Gretel, and youth company productions for Opera Orlando; Così fan tutte, Cendrillon, Lucia de Lammermoor and Little Women (Opera in the Ozarks); Pagliacci and The Birthday Clown (Savannah Opera Company); Die Fledermaus (First Coast Opera); Pirates of Penzance (International Opera Center); and Dido and Aeneas (Guest Designer, University of Northern Iowa). She has also designed more than 30 musicals and plays – favorites include A Little Night Music; Hello, Dolly; Evita; The Producers; Paint Your Wagon; South Pacific; Spamalot; The Diary of Anne Frank and Blithe Spirit. Other recent projects include a 1960’s Best Christmas Pageant Ever and All is Calm, the beautiful story of the World War I Christmas Eve truce. Kim is a world native who divides her time between New York, Maryland, and Florida.

MARGARET WELLS

Assistant Costumer

Margaret Wells joins Opera in the Ozarks for her first season. She is from Philadelphia and has been living in NYC for the last five years. Margaret has designed costumes for student productions of A Midsummer Night's Dream, Urinetown, and Failure: A Love Story. She has managed wardrobe for various other student productions as well. Margaret worked in bridal alterations, and at Mood Designer Fabrics in Manhattan.

OPERA IN THE OZARKS ARTISTS

ANTHONY D. ANDERSON

Baritone

Washington, D.C.

Education: MM Opera Performance, Maryland Opera Studio at the University of Maryland; BM Vocal Performance, Oberlin Conservatory

Roles Performed: Alvaro (Florencia en el Amazones); Sid (Albert Herring); Todd Duncan (Dear Mr. Duncan); Jim (Porgy & Bess); Joe (The Puppy Episode); Emperor Norton (Emperor Norton); Guglielmo (Così fan tutte); Starveling (A Midsummer Night’s Dream)

Awards: 1st Place (Midwest Regional), 3rd Place (National) (2023), WUSA9 Feature Segment (2023), NBC National Coverage (2021), Horatio Alger Scholarship (2018)

Previous Experience: Musiktheater Bavaria, Des Moines Metro Opera

Scholarship Benefactors: Pat Walden - Benjamin Lundy Scholarship; Allice Martinson and Carole Sturgis

SPENCER BAILEN

Mezzo-soprano

Palm Beach Gardens, FL

Education: BM Vocal Performance, University of Miami. Studied with Frank Ragsdale.

Role Performed: Marcellina (Le nozze di Figaro)

Previous Experience: Frost Opera Theater, Miami Beach Classical Music Festival

Scholarship Benefactors: Moberly Music Club; Justice Phil and Carla Johnson Endowment

BRADLEY BOATRIGHT

Tenor

Smithville, TX

Education: Pursuing BM Vocal Performance, Oberlin Conservatory of Music. Studied with Timothy LeFebvre, Michelle Haché.

Roles Performed: The Mayor (Albert Herring); Don Eusebio (L’occasione fa il ladro); Guillot (Le mariage aux lanternes); 1st Spirit/Pastore (L’Orfeo); Chorus (Candide)

Awards: NATS Nationals 3rd Place (2021), Hal Leonard Vocal Competition 2nd Place (2021), YoungArts Honorable Mention (2021)

Previous Experience: Oberlin Opera Theater

Scholarship Benefactor: Beulah Walwer - Frances Bloss Endowment

WALLACE BROWN

Baritone

Vienna, VA

Education: Pursuing MM Opera Performance, University of Maryland; BM Vocal Performance, Appalachian State University. Studied with Joseph Amaya, John Holiday.

Roles Performed: Top (The Tender Land); The Sorcerer (Dido and Aeneas); Perichaud (La Rondine); Speaker/Second Armored Man (Die Zauberflöte); John O’Riley (Orgullo); Alvaro (Florencia en el Amazonas)

Awards: Julia Pedigo Voice Scholarship (2019-2023) Sue Goetz Ross Student Competition For Voice, 2nd Place (2024)

Previous Experience: Harrower Summer Opera Workshop, Opera in the Ozarks, Appalachian Opera Theatre, Maryland Opera Studio

Scholarship Benefactor: Helen S. Boylan Foundation

PAIGE BUSH

Mezzo-soprano

Chattanooga, TN

Education: Pursuing BM Vocal Performance, The University of Tennessee at Chattanooga. Studied with Rebecca St Goar, Mary Lee Gilliland.

Roles Performed: Rosina (Il barbiere di Siviglia), Dritte Dame (Die Zauberflöte)

Awards: Nancy Dryden Scholarship recipient (2023-2025), NATS national quarterfinals (2023 & 2024), Sharon Gilley Memorial Scholarship recipient (2023-2025), Barbara Kelley scholarship recipient (2023), UTC concerto competition winner (2022)

Previous Experience: Harrower Summer Opera Workshop

Scholarship Benefactor: John Babbs

JACK COZAD

Baritone Keller, TX

Education: Pursuing BM Vocal Performance, Texas Tech University. Studied with Dr. Alice Anne Light, Dr. Jared Tehse.

Roles Performed: Masetto (Don Giovanni), Papageno (Die Zauberflöte), Belcore (L’elisir d’amore), The Vicar (Albert Herring)

Awards: TTU Caddel, Hollins, and E&J Voice Scholarships (2021-Current), TTU Excellence in Voice Award (2024)

Previous Experience: TTU Opera Theater

Scholarship Benefactor: Bill Yick Endowment; Jerome and Elizabeth Phelan

WILLIAM DOPP

Bass-baritone

New Orleans, LA

Education: Pursuing MM Vocal performance Shepherd School of Music at Rice University, BM Vocal performance, Southeastern Louisiana University. Studied with Robin Rice, Nova Thomas, Steven Rushing, Johnnie Bankens.

Roles performed: Collatinus (The Rape of Lucretia); Zaretsky (Eugene Onegin); Vodník (Rusalka); Littore (L’incoronazione di Poppea); Carl Olsen (Street Scene); Figaro (Le nozze di Figaro); Don Magnifico (La Cenerentola)

Awards: J.D. Bucky and Cynthia V. Allshouse endowed scholarship recipient (2022-2025), NATS 1st place second year college men (2020), Marjorie Stricklin Concerto Competition 1st place winner (2019), NATS region 1st place first year college men (2018), Donald Wood opera competition 1st place male division (2017)

Previous experience: LAH-SOW, FIO Italia, AIMS

Scholarship Benefactors: Eureka Springs Opera Guild Art in Opera; Adah Hesselgrave Endowment

BOONE ELLEDGE

Baritone Pana, IL

Education: Pursuing BM Music Performance, Northern Illinois University. Studied with Robert Sims, Jeff Mattsey, Sam Handley.

Roles Performed: The Husband (Amelia al ballo); Mr. Jenks (The Tender Land); Dr.Falke (Die Fledermaus); Mars (Orphée aux Enfers); Valentine White (Babes in Arms); The Mayor (The Happy Prince)

Previous Experience: NIU Opera Theatre, Opera in the Ozarks

Scholarship Benefactors: Maria deWaal Putter Endowment; Wilma Wilcox; Lynn Boise

OPERA IN THE OZARKS ARTISTS

HENRY GRIFFIN

Baritone Oak Park, IL

Education: BM Vocal Performance, Manhattan School of Music. Studied with Marlena Malas, Jonathan Beyer.

Roles Performed: Count Almaviva (Le nozze di Figaro); The Forester (The Cunning Little Vixen); Ottone (L’incoronazione di Poppea); Keeper of the Madhouse (The Rake’s Progress)

Awards: President’s Scholarship (Manhattan School of Music), Hugh Ross Award (Manhattan School of Music)

Previous Experience: Chautauqua Opera Conservatory & Company; Alexandria Summer Nights; CLA France; Mostly Modern Festival; Verbier Festival Atelier Lyrique; Opera on the James Tyler Young Artist Program

Scholarship Benefactors: Marcia Molter; Jim and Janice Swiggart Endowment

TAYLOR HENDRICKS

Soprano Fairbanks, AK

Education: Pursuing MM Voice Performance Sam Houston State University; BM Voice Performance, University of Alaska Fairbanks. Studied with Jaunelle Celaire, Rebecca Renfro.

Roles Performed: Queen of the Night (Die Zauberflöte); Nina (Twenty-Four, or The Cure for Love); Pierrete (Une Ruse de Pierette); Le feu (L’enfant et les sortilѐges)

Awards: Fairbanks Symphony Concerto Competition Winner 2020 and 2022, 2023 SHSU Annual Art Song Competition 2nd place prize, Graduate Assistantship recipient 2022-2024 from SHSU

Previous Experience: Fairbanks Summer Arts Festival, Texas Tech University Matador Opera Workshop, OPERA San Antonio/Classical Music Institute Summer Voice Program

Scholarship Benefactor: Martha Mack Award, National Federation of Music Clubs

COLT HOSELTON

Bass-Baritone

Kansas City, MO

Education: Pursuing Artist’s Certificate in Vocal Performance, University of Missouri, Kansas City; MM Voice Performance, UMKC; BM Voice Performance, Hastings College. Studied with Dr. Hillary Watter, Dr. Maria Kanyova.

Roles Performed: The Count (Cherubin); Sarastro (Die Zauberflöte); Chief of Police (The Pirates of Penzance); Simone (Gianni Schicchi)

Scholarship Benefactor: Eureka Springs Opera Guild

SAMANTHA GEORGIANA JONES

Soprano Randolph, KS

Education: BM Vocal Performance, Kansas State University. Studied with Joanna Ruszala, Bryan Pinkall, Alisa Belflower, Elizabeth Hagedorn.

Roles Performed: Susannah (Susannah); Lieschen (Kaffeekantate); Fox (The Cunning Little Vixen); Mabel (The Pirates of Penzance); Dater No. 17 and Dater No. 27 (Speed Dating Tonight!); First Lady (The Magic Flute); Rapunzel (Into the Woods)

Awards: 2019 First Place in West Central NATS Voice Competition, Second Place in West Central NATS Voice Competition (2016 and 2020), 2019 Semifinalist in the American Prize for Women in Art Song and Oratorio

Previous Experiences: K-State University Opera Theatre, UNL Opera, Graz AIMS Opera Studio (Graz, Austria)

Scholarship Benefactor: Ann Marie and Gary Ardes

JEFFREY KERST

Tenor

Conway, AR

Education: Pursuing BME, Choral Music Education, The University of Arkansas. Studied with Dr. Jonathan Stinson, Donna Rollene, Dr. Chris MacRae.

Roles Performed: Sorceress; Second Witch (Dido and Aeneas); Kaspar (Amahl and the Night Visitors); Gerardo (Gianni Schicchi); Leon (Signor Deluso)

Awards: Southern Region NATS Finalist (2022)

Previous Experience: UArk Opera Theatre

Scholarship Benefactors: Richard Arthur Drapeau Endowment; Tim Danielson Endowment

AVA KUNTZ

Soprano

Santa Ana, CA

Education: Pursuing BM Vocal Performance, Vanderbilt University. Studied with Tyler Nelson, Kathleen Martin, William Vendice, Vera Calabria.

Roles Performed: Papagena (The Magic Flute); Una Conversa (Suor Angelica); Judy (This is the Rill Speaking); Miss Dorothy Brown (Thoroughly Modern Millie), Louise (Gypsy); The China Cup (The Enchanted Child)

Awards: Young Arts Merit Winner Classical Voice (2022), 1st place NATS Nationals High Schoo Musical Theater (2021), Music Center Spotlight Grand Prize Finalist (2021), Schmidt Voca Competition Winner - Tennessee (2021)

Previous experience: Vanderbilt Opera Theater; FIO Italia (Urbania, Italy), Orange County School of the Arts (Santa Ana)

Scholarship Benefactor: Aleeta Mae Riney Endowment

JAMIE LOCKHART

Soprano

St. Louis MO

Education: Pursuing a BM Vocal Performance, New York University. Studied with Jamilyn Manning-White, Manny Perez, Johanna Nordhorn.

Roles Performed: Dodo/4th policewoman (Orpheus in the Underworld)

Awards: National Jazz Festival (2021) - Second place nationally, vocal division, District Thespian Competitionstate qualifier (Solo & Duet Musical, Student Choreography)

Previous Experience: Hawaii Performing Arts Festival, Miami Music Festival

ANNA MANS

Soprano Jacksonville, FL

Education: DMA Vocal Performance, University of Missouri Kansas City; MM Vocal Performance, University of Missouri Kansas City; BM Vocal Performance, University of North Florida. Studied with Maria Kanyova, James Hall.

Roles Performed: Taller (Proving Up); Fiordiligi (Così fan tutte); Clarina (La cambiale di matrimonio); Papagena (Die Zauberflöte); Sally (Die Fledermaus); Cherubino (Le nozze di Figaro)

Awards: Chancellor Competition Winner UMKC (2020)

Previous Experience: UMKC Opera, Lawrence Opera Theatre, Landlocked Opera, Utah Vocal Arts Academy, SongFest, OperaWorks, UNF Opera

Scholarship Benefactors: Roger and Jennifer Viola; Richard Hill Endowment

OPERA IN THE OZARKS ARTISTS

EVAN MCMAHON

Tenor

New York, NY

Education: Pursuing BM Vocal Performance, Eastman School of Music

Studied with Robert Swensen, Dr. Sherry Overholt, Kyle Gonyea

Roles Performed: Tanzmeister (Ariadne auf Naxos); Tenor (We’ve got our Eye on you); Monostatos/Tamino (Die Zauberflöte); Oronte (Alcina); Frederic (Pirates of Penzance); Caliph (Kismet)

Awards: Herbert Plimpton Long GEC Scholarship, Schmidt Competition Encouragement Award, Cynthia Lewin Vocal Study Award

Previous Experience: Eastman Opera Theatre, Queens Summer Vocal Institute

Scholarship Benefactors: Ann Marie and Gary Ardes; South Central Region, National Federation of Music Clubs

MARCOS OCHOA

Tenor

Dallas, TX

Education: Pursuing MM Opera Performance, University of Oklahoma; BME University of North Texas. Studied with Lorraine Ernest, Richard Croft.

Roles Performed: Eddie Pensier (Bremen Town Musicians); Camille (The Merry Widow); Ernesto (The Billy Goats Gruff); Ricardo (Un Camino de Fe); Tamino (Die Zauberflőte); Ferrando (COVID fan tutte); Jimmy O’Keefe (Later the Same Evening); Arturo (Lucia di Lammermoor); Gherardo (Gianni Schicchi)

Awards: Benton Schmidt Vocal Scholarship, J. Charles Groom Memorial Voice Scholarship; Sally Maxwell Sharples Memorial Scholarship

Previous Experience: OU Opera, Spoleto Festival USA

The Dallas Opera Education and Outreach, Portland Opera To Go, Music on Site, Southern Illinois Music Festival, UNT Opera

Scholarship Benefactors: Texas Federation of Music Clubs; Dorothy Ellis Endowment

MAISAH OUTLAW

Mezzo-soprano

Orange, NJ

Education: MM Voice, Jacobs School of Music, Indiana University; MA. Education, St. Catherine University; BA Journalism, Rutgers University. Studied with Michelle DeYoung, Patricia Stiles, Laura Brooks Rice.

Roles Performed: Filipyevna (Eugene Onegin); Old Lady (Candide); Zia Principes sa (Suor Angelica); Ottavia (L’incoronazione di Poppea); Aunt Lou (Highway 1, U.S.A)

Previous Experience: IU Opera & Ballet Theater, Utah Festival Opera & Musical Theatre, Saluzzo Opera Academy

Scholarship Benefactors: Helen S. Boylan Foundation; Elsie Wright Endowment; Janet and Luke Parsch Endowment

JULIA PACE

Soprano

Fort Worth, TX

Education: MM Opera Performance, University of Oklahoma; BM Vocal Performance, Tarleton State University. Studied with Lorraine Ernest, Heather Hawk, Denise Johnson, Allison Stanford.

Roles Performed: Hanna Glawari (The Merry Widow); Dorabella (The Bremen Town Musicians); Mrs. Gleaton (Susannah); La Conversa II (Suor Angelica)

Awards: OU Opera Guild Outstanding Opera Student (2023-2024), First Place Oklahoma NATS (2024), Joseph Horace Benton Scholarship Recipient (2023-2024), Featured Artist with Music On Site, Inc. (2022)

Previous Experience: OU Opera Theatre, Music On Site, Inc., Opera Seme, Tarleton State University Opera Theatre

Scholarship Benefactors: Eureka Springs Opera Guild; Carole and Duane Langley Endowment

ALANNA PERRIN

Mezzo-soprano

Raleigh, NC

Education: Pursuing MM Vocal Performance, University of Alabama; BM Vocal Performance, East Carolina University. Studied with Jami Rhodes, David Tayloe.

Roles Performed: The Mother (Amahl and the Night Visitors), Carmen (Opera Scenes), Mama McCourt (The Ballad of Baby Doe), The Mistress of the Novices (Suor Angelica), and Kate (The Pirates of Penzance)

Previous Experience: East Carolina University Opera Theatre, The University of Alabama Opera Theatre

Scholarship Benefactors: Sigma Alpha Iota; Colleen and Steve Shogren

ASHER RAMALY

Tenor

Skokie, IL

Education: Pursuing a BM Voice Performance and BMOF Musical Theater, Jacobs School of Music at Indiana University. Studied with Russell Thomas, Ray Fellman, Ronald Watkins, Philip Kraus.

Roles Performed: Tobias (Sweeney Todd); Antonio (Figaros Hochzeit); First Armored Man (The Magic Flute); Sailor and Second Officer (Candide); Indiana University Opera Choruses (The Merry Widow, Candide, L’étoile, H.M.S. Pinafore, The Magic Flute)

Awards: Jacobs School of Music Susan Sukman McCray Scholarship (2023), Premier Young Artist Award Scholarship (2021-2024), Music Faculty Award (2021-2024), Indiana University Founders Scholar (2022-2024), Indiana University Hutton Honors College (2021-2024), Illinois High School Musical Theater Outstanding Actor Award (2020), Walgreen’s National Concerto Competition MYAC Junior Division Winner in Voice (2016)

Previous Experience: Indiana University Jacobs School of Music Opera and Ballet Theater, Harrower Summer Opera Workshop, Middlebury College German for Singers

REECE RUHL

Tenor

Paragould, AR

Education: Pursuing MM Voice Performance, Arkansas State University; BMA Vocal Performance, Henderson State University. Studied with Marika Kyriakos, Michael Sylvester, Bill Higgins.

Roles Performed: Martin (The Tender Land); Pluton/Aristée (Orphée aux Enfers); Elder Gleaton (Susannah)

Previous Experience: Opera in the Ozarks, Arkansas State University Opera, Wichita Grand Opera, Wichita State University Opera

Scholarship Benefactors: Alice Martinson and Carole Sturgis; Jonesboro Treble Clef Club in memory of Shirley Joust

GABRIELLE SALOMON

Soprano

Lemont, IL

Education: Education: Pursuing BM Vocal Performance and Music Learning and Teaching, Arizona State University. Studied with Amanda DeMaris, Joe Martorano.

Roles Performed: Mabel (The Pirates of Penzance); Barbarina (Le nozze di Figaro); Alexandra (600 Square Feet)

Awards: (2024) Second Prize NSAL AZ Voice Competition, (2024) Finalist ASU Concerto Competition, (2022) Semifinalist Classical Singer Competition, (2022) First Prize Cal-Western Regional Auditions, (2020) First Prize NATS AZ District Student Auditions

Previous Experience: Taos Opera Institute, AIMS in Graz German Lieder Studio

Scholarship Benefactor: Pamela Murphy Jones Endowment

OPERA IN THE OZARKS ARTISTS

NATHAN SCHLUDECKER

Baritone

Terre Haute, IN

Education: Pursuing MM. Opera Performance, The Curtis Institute of Music; BM Voice Performance, Cincinnati College-Conservatory of Music. Studied with Mark Schnaible, Carol Vaness, Kenneth Shaw.

Roles Performed: Forester (The Cunning Little Vixen); Le Directeur (Les Mamelles de Tiresias); Gianni Schicchi (Gianni Schicchi); Jailor (Dialogues des Carmelites); Mr. Lindquist (A Little Night Music); Dulcamara (Pinocchio); Pluto (Orpheus in the Underworld); Papageno (Die Zauberflöte)

Previous Experience: Curtis Opera Theatre, CCM Opera D’arte, Opera in the Ozarks, Chautauqua Summer Institute, International Summer Opera Festival of Morelia

Scholarship Benefactors: National Federation of Music Clubs; Alice Martinson and Carole Sturgis

HEIDI SHEA

Soprano

Kansas City, MO

Education: Pursuing DMA Vocal Performance, University of Missouri-Kansas City; MM Vocal Performance, UMKC; BM Vocal Performance, Wheaton College. Studied with Maria Kanyova, Sarah Holman.

Roles Performed: L’Ensoleillad (Chérubin); Despina (Cosí fan tutte)

Scholarship Benefactors: Mary A. Chop Trust; Ponca City Music Club

SYDNEY SILER

Soprano

Maumelle, AR

Education: BM Vocal Performance, BA French, University of Central Arkansas. Studied with Robert Holden, Marisan Corsino.

Roles Performed: Just Jeanette (Too Many Sopranos); First Witch (Dido and Aeneas); Bridesmaid (Trial by Jury)

Previous Experience: UCA Opera Theatre

Scholarship Benefactors: Kenneth and Maxine Burkhard Endowment; Theresa and Fred Eilskov

JACOB SOULLIERE

Baritone

Varna, Bulgaria

Education: Pursuing BM Vocal Performance, Manhattan School of Music. Studied with Mary Sue Hyatt, Christòpheren Nomura.

Roles Performed: Le Baron de Pictordu (Cendrillon)

Previous Experience: Arizona Opera Chorus, Cincinnati Opera Chorus, Oratorio Society of New York

Scholarship Benefactors: Rowland Davis Endowment; Alpha Corinne Mayfield Endowment; Hobart Family Trust

KATE SNOWDEN

Soprano

Norman, OK

Education: Pursuing MM Opera Performance, University of Oklahoma; BMA Vocal Performance, University of Oklahoma. Studied with Lorraine Ernest.

Roles Performed: Orfeo (Orfeo ed Euridice); Olga (The Merry Widow); Mrs. Ott (Susannah)

Scholarship Benefactor: Colleen and Steve Shogren

ANNABELLE SWEET

Soprano

Kansas City, MO

Education: BM Vocal Performance, Northwestern University. Studied with Patrice Michaels.

Roles Performed: The Drummer (understudy)/Ensemble (The Emperor of Atlantis); Angel/Gingerbread Girl (Hansel and Gretel); Ensemble (Così fan tutte)

Awards: NATS Midwest Regional Low-Division 1st place (2023), Schmidt Vocal Arts Lower-Division Winner (2024), Girl Scout Gold Award (2022)

Previous Experience: Boston Conservatory Vocal Intensive

Scholarship Benefactor: Colleen and Steve Shogren

RENÉ VAZQUEZ

Tenor Spring, TX

Education: MM Vocal Performance, The University of Alabama; BA Music, Lamar University. Studied with David Tayloe, Jammieca D. Mott, Morris Robinson, and Carlos Montané.

Roles Performed: Mozart (Charlie and the Wolf); Eddie Pensier (The Bremen Town Musicians); Hoffmann (Les Contes d’Hoffmann); Arturo (Lucia di Lammermoor); Rinuccio (Gianni Schicchi); Le Remendado (Carmen); Marco (The Gondoliers); Camille Raquin (Thérèse Raquin); Oronte (Alcina); Nuradin (Der Betrogene Kadi); Roberto (Le Villi); Donald (Gallantry); Tree Frog (L’enfant et les sortilèges); and Pluto & John Styx (Orpheus in the Underworld)

Previous Experience: Mobile Opera, Cedar Rapids Opera, Ars Nova School of the Arts – Huntsville, Druid City Opera, The University of Alabama Opera Theatre, Music on Site, Inc., Lamar University Opera Theatre, Chicago Summer Opera, Sam Houston State University.

Scholarship Benefactors: Mary A. Chop Trust; Don and Lora Lynn Christensen Endowment

LINDSEY WEISSMAN

Mezzo-soprano

Latham, NY

Education: Pursuing MM Vocal Performance and Pedagogy, University of Houston; BM Voice, Ithaca College. Studied with Melanie Sonnenberg, Dawn Pierce.

Roles performed: Dorabella (Così fan tutte); Maman/La tasse chinoise (L’enfant et les Sortilèges); Missus Hepworth (Hobson’s Choice); Sylviane (The Merry Widow); Ježibaba (Rusalka); Baba (The Medium); Woman with the Broom/Lory cover (The Golden Cage); La Zia Principessa (Suor Angelica); Sorceress (Dido and Aeneas)

Awards: Finalist - Edward M. Murray International Competition of Voice, Opera Ithaca (2020)

Previous Experience: Moores Opera Center at the University of Houston, Opera Company of Middlebury, Oswego Opera Theatre, Ithaca College Opera Studio, Utah Vocal Arts Academy, Operafestival di Roma

Scholarship Benefactor: Martha Mack Award, National Federation of Music Clubs

LOUISA WIMMER

Soprano St. Louis, MO

Education: MM Vocal Performance, University of Louisville; BM Vocal Performance, Webster University. Studied with Emily Albrink, Karen Kanakis, and Jacob Lassetter.

Roles Performed: Leontine (L’amant Anonyme); Adina (L’elisir d’amore); Stella (La fille du tambour major)

Awards: NATS Mid-South region, 1st place (2022 & 2023); Advanced Study Scholarship; OTSL (2014–2021); Emerson Technical Young Artist Scholarship; OTSL (2019); Webster University School of Music Departmental Honors (2018); Sister Jarvis Scholarship (2017-2018); Fossett Endowed Music Scholarship (2016–2018); Winner, Webster University Aria Competition (2017); NATS Central region, honorable mention (2017; Ladies’ Friday Musical Club (2016); NATS Central region, 2nd place (2015)

Previous Experience: Kentucky Opera, University of Louisville Opera Theatre, Opera Theatre St. Louis, Union Avenue Opera, Winter Opera St. Louis, Webster University Opera Theatre, Insight Theatre Company, and FrancoAmerican Vocal Academy.

MEAGAN WOZNY

Mezzo-soprano

Grosse Ile, MI

Education: Pursuing MM Voice Performance, Michigan State University; BM Music Education, Michigan State University. Studied with Jane Bunnell, Elden Little.

Roles Performed: Juno (Orpheus in the Underworld), Sally (A Hand of Bridge); Florence Pike (Albert Herring); Madame Armfeldt (A Little Night Music)

Awards: Carl and Alleah Armeling Graduate Voice Fellowship (2023, 2024)

Previous Experience: Michigan State University Opera Theater, Detroit Opera

Scholarship Benefactor: Suzanne Brown Endowment in memory of Mary Prudie Brown

THANK YOU

TO ALL OUR SCHOLARSHIP DONORS!

Ann Marie and Gary Ardes

John Babbs

Lynn Boise

Helen Boylan Foundation

Suzanne Brown Endowment in memory of Mary Prudie Brown

Kenneth and Maxine Burkhard Endowment

Theobell Campbell Endowment

Fran Carlin

Mary A. Chop Trust

Don and Lora Lynn - Christensen Endowment

Tim Danielson Endowment

Rowland Davis Endowment

Brandon Dow

Richard Arthur Drapeau Endowment

Theresa and Fred Eilskov

Dorothy Ellis Endowment

Eureka Springs Opera Guild

Eureka Springs Opera Guild Art in Opera

Marvin and Lois Hall Endowment

Adah Hesselgrave Endowment

Richard Hill Endowment

Hobart Family Trust

Holiday Island Assn of the Arts

Justice Phil and Carla Johnson Endowment

Pamela Murphy Jones Endowed Scholarship

Jonesboro Treble Clef Club in memory of Shirley Joust

Cynthia Kresse

Duane and Carole Langley

Duane and Carole Langley Endowment

Carolann Martin Endowment

Alice Martinson and Carole Sturgis

Alpha Corinne Mayfield Endowment

Missouri Federation of Music Clubs

Moberly Music Club Endowment

Marcia Molter in memory of Dan Molter

National Federation of Music Clubs -

National Scholarship

National Federation of Music Clubs -

Martha M. Mack Awards

Luke and Janet Parsch

Luke and Janet Parsch Endowment

Jerome and Elizabeth Phelan

William Poe

Ponca City Music Club

Nancy J. Preis

Maria deWaal Putter Endowment

Aleeta Mae Riney Endowment

Judy Rownak

Stephen and Colleen Shogren

Sigma Alpha Iota

South Central Region - National Federation of Music Clubs

Bradley Swiger

James and Janice Swiggart

James and Janice Swiggart Endowed Scholarship

Texas Federation of Music Clubs

Jeffrey and Karen Timm

Roger and Jennifer Viola

Pat Walden - Benjamin Lundy Scholarship

Beulah Walwer - Frances Bloss Endowment

Karen and Charles Welch

Kathie White

Wilma Wilcox

Elsie Wright Endowment

Bill Yick Endowment

TAXES ARE MUSIC TO OUR EARS

ORCHESTRA

ANDREA C. BAKER

Principal Bassoon

Back for her fourth season, Andrea C. Baker currently serves as the Assistant Professor of Bassoon at Western Illinois University where she is also the bassoonist of the longstanding Camerata Wind Quintet. She also holds the position of second bassoon with the Richmond Symphony in Indiana. She earned her DMA from the University of Cincinnati College - Conservatory of Music, and her MM from New England Conservatory. In her free time, she enjoys floating on the lake and spending time with her two cats.

NICHOLAS BLACKBURN

Principal Double Bass

Currently based in Cincinnati, Nick Blackburn regularly performs with the Columbus Indiana Philharmonic and the Kentucky Symphony Orchestra. He is also an active chamber musician and soloist performing with the Cincinnati New Music Ensemble and Early Music Now among others. He holds a BM degree from University of Cincinnati and graduate degrees from Indiana University and UC. He is currently in a DMA program at UC and this is his third season at Opera in the Ozarks.

MARÍA FÁTIMA CORONA DEL TORO

Section Violin

Fátima’s bio appears on page 44

YVONNE CREANGA

Section Viola

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 in 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

JUSTIN CROUSHORE

Principal Trombone

Justin is Assistant Professor of Music - Trombone at Morehead State University in Kentucky. An active performer, Justin is the principal trombone of the Asheville Symphony and has held positions with the Belgrade Philharmonic Orchestra, Sarajevo Philharmonic Orchestra, and Cape Ann Symphony. He is a founding member of Some Assembly Required, a mixed chamber ensemble that was a 2019 Finalist for the American Prize Ernst Bacon Award for the Performance of American Music. Justin is returning for his second season at Inspiration Point.

WILLIAM DANHEIM

Principal Cello

William’s passion for opera began in 2017 when performing Die Zauberflöte in Prague. Seeking opportunities to perform opera ever since, William is returning to Opera in the Ozarks for his second season. William is also a founding member of the Stellata String Quartet, who recently presented works by Beethoven, Ravel, and Prokofiev in Destin, FL. William is currently studying with Mr. Anthony Kitai at the University of Houston while working towards a DMA in Violoncello Performance. He also holds a MM in Cello Performance from Baylor University and is a native of Houston.

JULIANNA EIDLE

Second Flute/Piccolo

Julianna Eidle is a Cincinnati-based performer, organizer, and educator. A passionate collaborator, Julianna is Artistic Director of Cincinnati New Music, a resident Performing Artist with the Contemporary Art Music Project in Tampa, FL, and Co-Director of New Downbeat, a Cincinnati chamber ensemble rooted in intersectional feminism. Julianna holds degrees from Indiana University (BM and Performer Diploma) and the University of Cincinnati (MM,) where she is currently pursuing her DMA. This is her third season at Opera in the Ozarks.

ASAKO FURUOYA

Principal Oboe

Asako Furuoya, a native of Japan, holds positions as Principal Oboe of the West Michigan Symphony, Second Oboe of the Battle Creek Symphony, and Second Oboe/English Horn of the Midland and the Southwest Michigan Symphonies. She has also served as Principal Oboe of the Castleton Festival Orchestra by Lorin Maazel’s invitation. As a soloist, she has performed Mozart’s Oboe Concerto in C Major, KV. 314 with the Alma Chamber Orchestra. Her awards include prizes at Yokohama International Music Competition and Japan Oboe Association Competition. She holds degrees from New England Conservatory of Music (BM) and Lynn University (MM.) and is pursuing her doctoral degree at Michigan State University. This is her second season with Opera in the Ozarks.

LUKE GUISE

Section Cello

Luke Guise, of Brownsburg, IN, has been playing cello since he was 12. He received his BM and a Certificate in Entrepreneurial Studies in Music from Ball State University and is currently pursuing a MM in Cello Performance at the Chicago College of the Performing Arts/Roosevelt University. Guise was awarded the Hilary Hahn Scholarship during his junior year at BSU. This is his first season playing at Opera in the Ozarks.

GREGORY HELSETH

Principal Horn

Gregory Helseth, returning for a fourth 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.

DASOM JEON

Section Violin

Dasom Jeon is currently pursuing DMA at Arizona State University under the tutelage of Dr. Katherine McLin and received a Performance Diploma at Indiana University under the guidance of Mark Kaplan. She is currently a member of the West Valley Symphony Orchestra and the Civic Orchestra of Chicago. Last year, she was invited as a guest artist at the Saarburg Music Festival and sectional coach at the Fresno Orchestra Summer Academy.

CHANIN JUNG

Assistant Principal Second Violin

Chanin Jung is a South Korean violinist currently based in the Philadelphia area. She holds a BM from Sungshin Women's University in Korea and an MM from Wells School of Music at West Chester University. She also studied at the Franz Liszt Music Academy in Hungary, an experience that greatly influenced her. In the U.S., she has performed at prestigious festivals, including Foosa Music Camp, Trentino Music Festival, and Dali Quartet Festival.

MASON HASKETT

Section Viola

Hailing from Chandler, Arizona, Mason Haskett is pursuing his BM in Viola Performance at Arizona State University. He plays in several local orchestras, including the Arizona Philharmonic in Prescott, and serves as Principal Viola for the West Valley Symphony in Surprise. This is his first season at Opera in the Ozarks.

JANA KAMINSKY

Section Violin

Jana Kaminsky, German-American violinist, holds a BM, MM, and recent Diploma in Violin Performance from McGill University and Indiana University. Her orchestral career has led her to most notably sub with the Quebec Symphony and Opera, and she also held positions with the Terre Haute Symphony Orchestra and the Columbus Indiana Philharmonic. Notable engagements include the Vehrder Trio Scholarship Project, Paris based IRCAM forum, and being invited to perform at MusikFest 2024. Kaminsky will be

playing with the Florida based Venice Symphony next fall, and is spending her summer auditioning and teaching full time.

NOEL MEDFORD

Principal Second Violin

Currently based in Memphis, TN, Noel Medford has performed across the United States and in Europe. He is currently pursuing a master’s degree in viola performance at the University of Memphis. Medford enjoys performing regularly in several symphony orchestras across the midsouth including Jackson, North Mississippi, and Arkansas Symphonies. He recently won the principal viola position with the Jackson Symphony in May of 2023. He currently holds a BM and an artist diploma in violin performance (AD) from the University of Memphis.

LISA MEYERHOFER

Principal Flute

Lisa Meyerhofer has been serving as Assistant Principal Flute & Piccolo of the Omaha Symphony and is Principal Flute of the Des Moines Symphony. She has also held positions as Third Flute/Piccolo with the Omaha Symphony and Second Flute/Piccolo with the Chattanooga Symphony and Opera, and has played with the Buffalo Philharmonic Orchestra, Tulsa Symphony, Lexington Philharmonic, and Canton 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 celebrates a full decade at Opera in the Ozarks this season.

GRIS MORENO

Principal Viola

Gris joined the viola section at the Tucson Symphony Orchestra. Highlights from the 2023-2024 season include performances of Bach’s Brandenburg Concerto No. 3, a string quartet recital, and performances as Assistant Principal Viola. Previous engagements include: Prague Summer Nights, PRISMA Festival, the American Viola Society Festival, and Texas Music Festival. Gris’ primary teachers are Dr. Molly Gebrian, Rita Porfiris, and Dennis R. Bourret. This is Moreno’s second year at OIO.

BRYCE NEWCOMER

Second Clarinet

Returning for his third season, Bryce Newcomer is an established clarinetist, music theorist, and educator. Bryce is Assistant Professor of Woodwinds at Northeastern State University in Tahlequah, Oklahoma, and freelances with orchestras in Oklahoma and Arkansas. Bryce is a member of Some Light Reeding, a duo with bassoonist Andrea Baker. 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).

ORCHESTRA

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, holding positions in both the Symphony of Northwest Arkansas and the Fort Smith Symphony. Currently the Associate Principal Clarinet of the South Dakota Symphony, Orlando travels throughout the country playing with orchestras such as the Houston, Omaha, and Wichita Symphonies, as well as Opera Naples, Boca Symphonia, and Orchestra Miami. He holds degrees from the Universities of Miami and Cincinnati. Scalia believes that age is just a number so he will not tell you how many times he has been at Opera in the Ozarks, but it is more than a decade.

MARIE SMITH

Second Horn

Marie currently teaches horn and music history at Pittsburg State University in Pittsburg, KS. She regularly freelances in the 4-state region, appearing with the Wichita Grand Opera, Symphony of Northwest Arkansas, and Tulsa Symphony Orchestra. She holds degrees from the Eastman School of Music (DMA), University of North Carolina School of the Arts (MM), and Utah State University (BM). This is her first season at OIO.

SAM SUN

Section Viola

Sam Sun, of Cupertino, CA, is pursuing a MM. in Viola Performance at Northwestern University. He has served as Principal Violist of the Northwestern University Symphony Orchestra, and is a member of the Civic Orchestra of Chicago. Sam graduated summa cum laude from Pepperdine University, where he was a Chloe Ross Endowed Scholar. Recent summer engagements include the Colorado College Summer Music Festival and the Green Mountain Chamber Music Festival, where he was an inaugural fellow in 2023.

CHASE TEAGUE

Principal Trumpet

Chase Teague, from Frisco TX, is an active performer and teacher in the DFW Metroplex. He has earned his BME from Texas Christian University along with his MM and Graduate Performance Certificate from the University of Arkansas. Chase currently performs as Co-Principal Trumpet for the Las Colinas Symphony Orchestra and with the Lone Star Wind Orchestra. Chase has also performed with the Arkansas Philharmonic Orchestra, Symphony of Northwest Arkansas, Texarkana Symphony Orchestra, Fort Smith Symphony, Ozark Family Opera Company, and the Arkansas Brassworks. Chase made his soloist debut with

the Las Colinas Symphony Orchestra this past fall. This will be Chase’s seventh summer as principal trumpet with the Opera in the Ozarks. In his free time Chase enjoys fishing, basketball, BBQ and being with his wife, son, and two dogs.

DWIGHT VAN DE VATE

Principal Percussion

Dwight Van de Vate is a Memphis, TN based percussionist and music educator. Highlights of his career include being a soloist with the University of Memphis Percussion Group, a featured performance at the NorthStar Music Festival, and two performances at PASIC. Currently, he is the Principal Timpanist with Sinfonietta Memphis. He holds music degrees from the University of Tennessee - Knoxville and Truman State University, and is ABD at the University of Memphis where he is studying music performance.

BAYLEE WOMACK

Second Trumpet

Baylee Womack is originally from Perryville, AR, and is currently a Colorado based freelance performer. She received a BM from the University of Central Arkansas, and graduated this spring from the University of Colorado Boulder with a MM in Trumpet Performance. Baylee has competed in national and international competitions, including the International Trumpet Guild Competition. Her recent performances include a ballet tour with the Boulder Symphony Orchestra and performing in the solo as well as ensemble division of the National Trumpet Competition.

YU XIN

Concertmaster

Yu Xin currently serves as associate principal violin in the Battle Creek Symphony Orchestra, Illinois Symphony Orchestra and Southwest Michigan Symphony Orchestra. Yu has received masterclasses from Midori Goto, Vadim Glanzmann and others. She has been guided by Shanghai String Quartet and Takać String Quartet as a chamber musician. In 2022, Ms. Xin's Clover Trio won third place in the MTNA Chamber Music Competition and the gold prize of the World Classical Music Awards.

ARKANSAS

Ardes, Ann-Marie

Ardes, Gary

Benson, ML

Bond, Marjorie*

Bonner, Bill*

Bonner, Louise*

Cabe, Lucy*

Caviness, Mrs. Eric*

Davis, Rowland*

Davis, Virginia*

Dixon, Bruce

Drum, John & Lois*

Fantz, Wanda

Fite, Gilbert C.

Fite, June

Flanagan, Patrick

Gemaelich, Herta

Graham, Margaret

Grilk, Ernst*

Grilk, Gloria Febro

Henson, Catherine M.

Henson, J. Edwin

Hobart, Mrs. Henry M.*

Jones, Pamela*

Jordan, Ruth*

King, Jill and Thomas

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

FLORIDA

Nancy J. Preis

ILLINOIS

Balluff, Marie M.

KANSAS

Burkhard, Dr. Kenneth*

Burkhard, Maxine*

Campbell, Bob*

Dagenais, Don

Fields, Dr. Galen* and Evelyn*

Graber, Mrs. Clarence J.

Gum, Brian

Gum, Deborah Burkhard*

Harrison, Beth

Hentzen, Katherine L.*

Janson, Ruth E.*

Kraus, Linda Burkhard*

Lansdowne, Kathy Burkhard Martin, Carolann*

Nagel, Elwyn H.* and Jacqueline

Nurre, Vicki Burkhard

Saket, Janis

Sorrell, Bruce* and 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.*

Cathcart, Christopher

Cockman III, James

Conway, Alice E.

Craig, Connie

Craig, Larry

Cranfill, Doris Jean*

French, Caroline*

Garcia, Rita P.

Garrett, Michael and 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* Rue, Debra 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 and Shannon

Hobart, David*

Hobart, Jeanice*

Johnson, Carla Jean

Johnson, Phil

Jones, Peggy C.

McKay, Mary

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

PATRONS 1950-2024

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*

Herta Gemaelich

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

J. Richard Caldwell & Gloria Matyszyk

Marilyn Caldwell

Charles Christmann

Nita Herrick Colpitts

Emil Cross, Jr.

John & Lois* Drum

Ellen Thomas Trust

June & Gilbert Fite

Dr. Jess Green

Ben & Rebecca Bird Haley

Mrs. Robert Ingram

Wilmot Irish

Hattie Janek

Fritz & Lavinia Jensen Foundation

Peggy Jones

Beulah Hale McHaney*

Lynn McNew

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

Martha Boden

Cottage Inn

Crescent Hotel

Gene & Patricia Flesher

King Gladden*

Golden Lyre Foundation

Mary Guemple*

Betty Hall*

Mark & Sharon Hobart

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

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

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

MEMBERS 2024

ANGEL

Louisiana

Rebecca Bird Haley

Missouri

Wednesday Music Club

PATRON

Missouri

Alice Conway

Texas

Etude Music Club

SUSTAINING

Arkansas

Deborah and David Malone

Luke and Janet Parsch

Carolyn Walker

Kathie White

California

Dana Freeman

Kansas

Thomas and Darlene Beller

Federated Teachers MC

Oklahoma

Donald and Patti Karner

Texas

James Robertson

Alice Witterman

Dan Wright

CONTRIBUTING

Arkansas

Sherry Bryan

Marcia Edwards

Mark and Margaret Garrett

Fort Smith Coterie

Kansas

Melba Maechtlen

Missouri

Bill and Joan Johnson

Connie Craig

Don Dagenais

Missouri FMC

Elizabeth Mobley

Alan Orr

Oklahoma

Catherine* and Mark Coke*

Texas

Ruth Dyar

Harmony Club

Mark D. and Sharon Hobart

John Seeligson

Waco Euterpean Music Club

Janette Wittman

ACTIVE

Arkansas

Phillip and Oteeka Baker

Tom and Dana Dykman

Frank and Laura Ferguson

Cynthia Kresse

Michael and Eileen Lieber

Northwest District, Arkansas Federation of Music Clubs

Byron and Audrey Reeves

Elise Roenigk

Carol Saari

Ellen F. Stephenson

Ralph Weber

Nancy Werbitzky

Kathy Williams

Illinois

Karen Noorani

Kansas

Orville and Elizabeth Brill

Goodland Music Club

Ellen Roach

Missouri

Classical Kids Music Club

Evening Etude Music Club

Festival Music Club

Steven and Janet Houser

Marcia Jones

Doug and Donna KInslow

Melody Makers Music Club

Morning Etude Music Club

Perry Musique Club

Helen Reed

Rubinstein Music Club

James and Jennifer Smith

Springfield Music Club

Marianne Szydlowski

Virtuoso Junior Music Club

Pat Walden

North Dakota

North Dakota Federation of Music Clubs

Oklahoma Natlynn Hayes

Hyechka Music Club

Debra Rue

Texas

Virginia Babb

Carthage Music Club

Laverne Love

New Braunfels Music Study Club

Virginia

Richard Dunham

This list includes memberships received from June 1, 2023, through May 31, 2024. 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.

2024 CORPORATE & FOUNDATION CONTRIBUTORS

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

Theobell Campbell Endowment

Kenneth and Maxine Burkhard Endowment

Mary Anna Chop Trust

Don and Lora Lynn Christensen Endowment

Francis Christmann Endowment

CS Bank

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

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

Duane and Carole Langley Endowment

Carolann Martin Endowment

Alpha Corrine Mayfield Endowment

Missouri Federation of Music Clubs

Moberly Music Club Endowment

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

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 2024

PATRONS

$10,000 & ABOVE Glenn and Lorie

Duane and Carole Langley

Alice Martinson and Carole Sturgis

Marcia Molter, in memory of Dan Molter

Luke and Janet Parsch

Nancy J. Preis FOUNDERS

$5,000 TO $9,999

Ann Marie and Gary Ardes

J. Richard Caldwell and Gloria Matyszyk

Richard Drapeau

Mary Lou and Richard Harp, in honor of

Hobart Family Trust

Stephen and Colleen Shogren

Walton Family Foundatdion COMPOSERS

$2,500 TO $4,999

Arkansas Federation of Music Clubs

CS Bank

and Cathy Henson

FELLOWS

$1,000 TO $2,499

SOLOISTS

$500 TO $999

Jill and Thomas King

Sharon Lawlor, in memory of William Lawlor III Lynn McNew

Robert and Terry McRae

Sara and Buzz Peine

South Central Region NFMC

Gay and Gary Strakshus

PERFORMERS

$150 TO $499

and Eileen

OPERA IN THE OZARKS REPERTOIRE

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

Shanewis

The Willow Tree

A Witch of Salem

The Tender Land

Burnand and Solomon

Cadman, Charles Wakefield

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

Beauty and the Beast

The Gondoliers

The Mikado

The Pirates of Penzance

Trial by Jury

Giannini, Vittorio

Gilbert and Sullivan

Faust Gounod, Charles

The Frantic Physician

Robin and Marion de la Halle, Adam

Sunday Costs 5 Pesos

The Proposal

Hansel and Gretel

Haubiel, Charles

Humel, Gerald

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

L’enfant et les sortilèges Ravel, Maurice

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