2022 Wolf Trap Opera Insider Guide by Wolf Trap Foundation

WELCOME

DER FREISCHÜTZ (THE MARKSMAN)

LA TRAVIATA

KATE LINDSEY: 2022 FILENE ARTIST IN RESIDENCE

MUSICAL MEDITERRANEAN WITH STEVEN BLIER

ARIA JUKEBOX

EXPLORE MORE MUSIC

CALENDAR

ARTISTIC FACULTY & STAFF

18 SUSANNAH

25 UNTRAPPED

32 WITH APPRECIATION

SPECIAL THANKS TO DAN AND GAYLE D’ANIELLO, WOLF TRAP 2022 SEASON UNDERWRITERS Look for links, videos, and more throughout this interactive guide to Wolf Trap Opera’s season.

WELCOME Dear friends, It feels like a luxury to welcome you back to Wolf Trap for the return of fully-produced opera! And yet that’s just what I am delighted to do. When we ventured out on the audition tour last fall, we were amazed there were so many young people who were interested in joining the program and starting (or re-starting) their careers: the talent pool was profound. We found, however, that the most skilled artists—some of whom were already known to our audiences—were professionally ready to launch prior to March 2020, but were stopped in their tracks. Important house and role debuts were postponed to future seasons or cancelled outright, and the precious momentum they had built over the years as young artists had evaporated. And they returned to the audition room, to show us what they were able to do. They were extremely impressive. We made the decision to support this small yet prodigiously talented group, and to do so with works that carried significant responsibility for each—giving them unique opportunities to shine. This season’s titles, Der Freischütz (The Marksman), La Traviata, and Susannah, have all held a pride of place on these artists’ wish lists. This summer our company members have the chance to step into these defining roles, and to do so in productions created expressly for them. I do hope you’ll join us this summer, whether at The Barns, the Filene Center, or at one of our partner organizations around DC, for a return to visceral and exciting live opera. I can’t wait to see you there!

LEE ANNE MYSLEWSKI Wolf Trap Vice President of Opera and Classical Programming

AUDITIONS WERE HELD IN

NEW YORK CITY, LOS ANGELES, ATLANTA, HOUSTON, CHICAGO, CINCINNATI, VIENNA (VA) WITH 9,081 MILES TRAVELED

WOLF TRAP OPERA

RECEIVED 1,114 APPLICATIONS HEARD 402 LIVE + 24 VIRTUAL AUDITIONS ACCEPTED 35 ARTISTS OR 3%

2022 ARTISTS WERE BORN IN

14 U.S. STATES 3 FOREIGN COUNTRIES

Romance and tragedy are deeply intertwined in the greatest of operas. This season, I am delighted that Wolf Trap Opera has chosen to produce one of opera’s most iconic and beloved tragedies of all time: La Traviata. Verdi’s masterful opera features incomparable music, glorious arias, and a love story for the ages. With this summer’s exceptional roster of Wolf Trap Opera artists bringing their talents to the Filene Center stage, it’s sure to be an unforgettable portrayal of this timeless tale. Two no less iconic operas will be brought to life at The Barns this summer for their Wolf Trap premieres. Carl Weber’s Der Freischütz (The Marksman) is widely considered the first great German Romantic opera, with an irresistible mix of folklore, romance, and the ageless struggle between good and evil. Bringing opera a little closer to home is American composer Carlisle Floyd’s Susannah, a biblical retelling of “Susannah and the Elders” about rural religion, innocence lost, and repentance. Opera has been an important part of my life since I was a young child, and I appreciate that it takes a community of opera lovers to keep it alive and thriving. On behalf of the entire Wolf Trap Foundation Board of Directors, I am especially grateful for the unwavering support and generosity of our members, patrons, and community partners. Your shared commitment to Wolf Trap Opera helps artists grow from premier training opportunities, while bringing to life the finest in artistic productions for the benefit of the entire community. Thank you!

DAN D’ANIELLO Chairman, Board of Directors, Wolf Trap Foundation for the Performing Arts

Welcome to Wolf Trap Opera’s 2022 season. After a challenging few years of hybrid performances, cancelled shows, and shortened seasons, we are thrilled to present a full slate of live and in-person opera productions this summer. While Wolf Trap Opera’s mainstage productions remain pillars of the performance season, partnerships are a major component of this summer’s opera season. This year we renew our community commitment with new UNTRAPPED performances, including a collaboration with the National Orchestral Institute + Festival of Take the Reins, featuring Barber’s Knoxville: Summer 1915; a world premiere of Lineage: Poems of Margaret Walker at Martin Luther King Jr. Memorial Library; and Musique et Cuisine at L’Auberge Chez François. Our longtime artistic partner, the National Symphony Orchestra, returns to accompany Wolf Trap Opera’s rising stars in Verdi’s incomparable La Traviata, in addition to offering a series of dazzling concerts. This year I am excited to welcome alumna and acclaimed mezzo-soprano, Kate Lindsey, as the 2022 Filene Artist in Residence. Kate will work closely with Wolf Trap Opera’s singers on artistic and career preparation, and will perform a special recital at The Barns on July 8 in which she will explore themes of life, death, and rebirth in two monumental song cycles. Thank you to our many donors, patrons, and partners who have continued to stand by Wolf Trap and contribute to our arts and education programs. We are forever grateful for your dedication and support.

ARVIND MANOCHA President and CEO, Wolf Trap Foundation for the Performing Arts

MUSIC BY CARL MARIA VON WEBER LIBRETTO BY FRIEDRICH KIND WOLF TRAP OPERA PREMIERE NEW PRODUCTION

CAST

CREATIVE TEAM

Agathe: Alexandria Shiner Ännchen: Sunwoo Park Max: Robert Stahley Caspar: Cory McGee Killian and The Hermit: David Weigel Ottokar: Tshegofatso Clement Baloyi* Cuno: Dylan Gregg* Bridesmaid: Tessa Fackelmann* Chorus: Wolf Trap Opera Studio

Conductor: Lidiya Yankovskaya Director: R.B. Schlather Scenic Design: Jian Jung Costume Design: Mattie Ullrich Lighting Design: Masha Tsimring Hair & Makeup Design: Anne Nesmith Choreographer: Nicole von Arx Gun Safety: Casey Kaleba Wolf Trap Orchestra

*Studio Artist

ED AND ANDY SMITH, PERFORMANCE SPONSORS

THE BARNS AT WOLF TRAP SAT, JUN 18 | 7:30 PM FRI, JUN 24 | 7:30 PM SUN, JUN 26 | 3 PM

MUSIC & PRODUCTION STAFF Principal Coach: Justina Lee German Diction Coach/Chorus Master: Nate Raskin German Diction Coach (Dialogue): Nils Neubert Assistant Chorus Master/Coach: William Woodard Supertitles: Alex Munger Assistant Director (Fellow): Sarah Jane Pelzer Production Stage Manager: Savannah Valigura Assistant Stage Manager: Alycia Martin

FILENE ARTISTS

Alexandria Shiner, soprano

Sunwoo Park, soprano

Robert Stahley, tenor

ACT I

Max, the region’s finest marksman, has lost a shooting contest to the peasant, Killian. Max loves Agathe, and upon marrying her will become her father Cuno’s successor as head forester. To win Agathe’s hand, Max must win a marksmanship trial held before Prince Ottokar. After a run of bad luck, Max is convinced by Caspar to go to the Wolf’s Glen at midnight to mold magic bullets that will bring victory and win him Agathe. But Caspar has his own agenda—he seeks to send Max into hell for eternity, freeing Caspar from his contract with the devil Samiel to pursue Agathe himself.

ACT II

At home, Agathe is worried, having been warned by a hermit that she is in danger but is protected by her bridal wreath. Ännchen, Agathe’s cousin, tries to cheer her up. Max arrives with the news of the day’s defeat, explaining that he’s killed a deer which he intends to bring to the dangerous Wolf’s Glen. The women implore him not to go, but he will not be deterred. In the Wolf’s Glen, Caspar summons Samiel and prepares for the casting of magic bullets. Samiel appears as demonic visions of Agathe drowning herself in despair at Max’s failure. Max plunges into the Glen where he can hear the satanic sound of the bullets.

ACT III

Agathe prays, tormented by a dream in which she was a white dove and Max shoots her. Agathe’s worry is appeased by her memory of the hermit’s promise that her bridal wreath will protect her. At the marksmanship contest, the goal is set: Max is to shoot a white dove. He readies the shot as Samiel appears, guiding the bullet towards Agathe. She falls, but her nuptial wreath has diverted the bullet which hits Caspar. Samiel grabs Caspar who dies cursing the devil, his soul consigned to damnation. Prince Ottokar orders Caspar’s body to be thrown into the Wolf’s Glen and demands Max explain what has occurred. The gathered crowd all plead for Max, but the Prince pronounces a sentence: banishment. The hermit explains that love caused Max to stray from his otherwise faultless life, suggesting a year-long probationary period as punishment. The Prince extols the hermit’s wisdom and promises, in a year’s time, to perform the wedding of Agathe and Max himself.

PRODUCTION INFO PERFORMED IN GERMAN WITH PROJECTED ENGLISH TRANSLATIONS RUNNING TIME: 2 HOURS, 20 MIN INCLUDING ONE INTERMISSION FIRST PERFORMED: JUNE 18, 1821 AT THE KONZERTHAUS BERLIN Watch an excerpt of “Und ob die Wolke,” performed by 2022 Filene Artist Alexandria Shiner.

FILENE ARTISTS

Cory McGee, bass

David Weigel, bass-baritone

Tiffany Townsend, soprano

A NOTE FROM THE DIRECTOR Weber’s Der Freischütz is a folksy, supernatural, surreal, and nightmarish horror story about a shooting contest, magic bullets, the Devil, and hope. This glorious opera is full of dynamism, mystery, illusion, superstition, and chaos, ending with the triumph of good over evil. The music swerves from turbulence to peace, then on to exuberance. It is set in a patriarchal community where men deal with ancestry and expectations, and women are prizes and entertainers. In the midst of this conformity, we meet a group of young people navigating the existential crises that come in the flux between adolescence and adulthood. The second part of the show takes us into something more sinister and macabre, going into the woods. It explores the powerful darkness of human nature, and also its light. For in the finale, after a surreal deus ex machina, we experience the wisdom of human forgiveness: a morally powerful and healing message for our times. We wanted to create a theatrical space that expresses the dynamism of this piece—its anxiety, fluidity, surprise, and delight—and has an unstable atmosphere where anything is possible. We are so lucky to have such fantastic material for the stage, by which I mean that the things that happen only make sense within the unreality of the theater. Opera has always hooked me as a place to explore the boundaries between reality and fantasy. After the void of the last few years, returning to the theater and encountering such a piece should be a welcome and thrilling ride. —R.B. Schlather THE POEM BELOW CAPTURED THE EXISTENTIAL TONE OF DER FREISCHÜTZ FOR ME, AND I’M GLAD TO SHARE IT WITH YOU. – R.B. Schlather

EXCERP T FROM A RI ANA REI N ES’ A SAND BO OK A bullet’s like a planet Orbiting the brain No heart will go unpunished Tho it never enter in For tho it didn’t enter Yet it did and does and shall For tho we only saw it It is moving thru us still

FILENE ARTISTS

Chanáe Curtis, soprano

Richard Trey Smagur, tenor

Kidon Choi, baritone

A MESSAGE FROM THE CONDUCTOR

LIDIYA YANKOVSKAYA, CONDUCTOR

LEARN MORE Discover Der Freischütz’s impact on German operas in Bachtrack’s “Weber’s Der Freischütz: the magic bullet that fired German Romantic Opera.” Hear about Carl Maria von Weber’s influence on the Romantic Movement and German operas in NPR’s Classical Timeline podcast. Watch a clip of soprano Chen Reiss perform “Kommt ein schlanker Bursch gegangen” as Ännchen at the Vienna State Opera.

FILENE ARTISTS

Ann Toomey, soprano

Christian Pursell, bass-baritone

Joseph Leppek, tenor

MUSIC BY GIUSEPPE VERDI LIBRETTO BY FRANCESCO MARIA PIAVE

FILENE CENTER FRI, JUL 15 | 8 PM

NEW PRODUCTION

CAST

CREATIVE TEAM

Violetta Valery: Chanáe Curtis Flora Bervoix: Ruby Dibble* Marquis D’Obigny: Patrick Wilhelm* Baron Douphol: Jin Yung David Kahng* Doctor Grenvil: Dylan Gregg* Gaston: Matthew Goodheart* Alfredo Germont: Richard Trey Smagur Annina: Saane Halaholo* Joseph: Hayden Smith* Giorgio Germont: Kidon Choi Messenger/Servant: Thomas Petrushka* Wolf Trap Chorus

Conductor: Roberto Kalb Director: Emma Griffin Scenic Design: dots, Scenic Design Costume Design: Terese Wadden Lighting Design: Mark Barton Wigs & Makeup Design: Anne Nesmith Assistant Conductor: David Hanlon Assistant Scenic Design: Yi-Hsuan Ma National Symphony Orchestra

MUSIC & PRODUCTION STAFF Principal Coach: Nate Raskin Italian Coach: Nicolò Sbuelz Coach: Bin Yu Sanford Chorus Master: William Woodard Supertitles: Alex Munger Assistant Diction Coach: Jocelyn Dueck Assistant Director (Fellow): Rose Kruger Production Stage Manager: Rachel Henneberry Assistant Stage Manager: Laura Krause, Luke Woods

*Studio Artist

VIRGINIA McGEHEE FRIEND AND ANNE R. KLINE AND GEOFFREY POHANKA, PERFORMANCE SPONSORS

STUDIO ARTISTS

Ruby Dibble, mezzo-soprano

Patrick Wilhelm, baritone

Jin Yung David Kahng, bass-baritone

ACT I

Violetta, a beautiful Parisian courtesan under the protection of Baron Douphol, entertains guests at a party including Alfredo Germont, a young man secretly in love with her. Violetta maintains a busy social life, but is quite sick; during the party, her illness overtakes her. She withdraws, and Alfredo finds and confesses his love for her. Violetta initially discourages him, but his candid outpouring touches her and she promises to meet him the next day. After the party, Violetta wonders if she could truly love Alfredo, but decides her only option is a life of complete freedom and abandon. Violetta leaves her former life, living contentedly with Alfredo in the country for three months until he learns that she has been selling her belongings to pay their debts. He leaves for the city to settle the accounts himself. In Alfredo’s absence, Violetta receives an unexpected visit from his father Giorgio Germont, demanding she end her relationship with Alfredo. She refuses at first, but ultimately agrees to sacrifice her future to save the reputation of Alfredo’s family. She begins to write a farewell note, but is surprised by Alfredo and rushes out. He reads the note and realizes that she has left him, but doesn’t know why. Germont tries to comfort his son, but Alfredo rushes off to Paris to confront Violetta.

ACT II

That same night in Paris, Alfredo arrives at a party at the home of Violetta’s friend Flora, angrily in search of Violetta, whom he believes has left him for another man. Seemingly confirming his suspicions, Violetta arrives with Baron Douphol, who challenges Alfredo to a card game and loses. Violetta and Alfredo are left alone, and she begs him to leave. He demands to know if she loves the Baron, and she falsely proclaims that she does. Alfredo denounces Violetta amongst the guests, when Germont arrives to witness his son’s disgraceful behavior. The guests reproach Alfredo and the Baron challenges him to a duel. Six months later, Violetta is quickly succumbing to her illness. In a letter, she learns that Alfredo has survived the duel and is on his way to her, having learned of her sacrifice—the true reason she left him. The lovers are reunited, with Germont’s blessing. Violetta experiences a final resurgence of strength but dies in Alfredo’s arms.

PRODUCTION INFO PERFORMED IN ITALIAN WITH PROJECTED ENGLISH TRANSLATIONS RUNNING TIME: 2 HOURS, 35 MIN INCLUDING ONE INTERMISSION FIRST PERFORMED: MARCH 6, 1853 AT TEATRO LA FENICE IN VENICE, ITALY

STUDIO ARTISTS

Dylan Gregg, bass-baritone

Matthew Goodheart, tenor

Saane Halaholo, soprano

A MESSAGE FROM THE CONDUCTOR Action-packed and stressful creative processes were the norm in the mid-19th century for Giuseppe Verdi. Even for a composer of Verdi’s stature, considerations not only around government control, but also the politics of theaters themselves, were an issue. In a last-minute change of subjectmatter, Francesco Maria Piave (Verdi’s librettist) had to switch gears and hurriedly begin sketches for La Traviata. Piave wrote, “The [other] libretto was already completely done, and I was on the point of returning, when another plot set Verdi on fire… I believe Verdi will certainly make of it a beautiful opera because I find him very excited.” Luckily, the censors allowed the piece to move forward with minimal edits. Verdi was indeed very excited to compose La Traviata (originally titled Amore e morte), and began sketching ideas during the end of 1852. He was incredibly concerned about the casting of the opera, and went as far as to say that he would not “sign a contract without knowing the company [cast].” Once the casting was decided, with Fanny Salvini Donatelli as the lead, Verdi had the premonition of a negative opening night. He wrote to Piave that he had received a letter from Teatro la Fenice stating, “if I don’t have the [prima] donna and the bass changed I will have a complete fiasco.” Surely enough, the opening night of La Traviata was, what Verdi called numerous times, a “fiasco.” Critics were split on praise and criticism of the music, but overwhelmingly critical of the vocal performances that evening. In particular, the tenor Lodovico Graziani and the baritone Felice Varesi had a rough evening, and were slaughtered by the critics. Verdi attributed the lackluster reception of his opera more to poor vocal performances than musical matters. “I believe that the last word on La Traviata will not be that of yesterday evening. They will see it again… and we shall see!” Regardless, after the opening run in Venice, Verdi insisted that before the opera could be played again, he needed to make some edits. The opera was performed again in May 1854, with some tessitura adjustments for the baritone role, amongst others. It was a resounding success. Verdi attributed this success mainly to the excellence of the interpreters, saying, “One must not forget that an opera performed not only badly, but nonsensically, has the effect of a painting seen at evensong: the figures can be made out, barely, but one sees nothing of the color, the design, the perspective, and above all the expressions of the figures. Everything seems dark and monotonous.” Our performance of La Traviata features the National Symphony Orchestra, one of the best in the world, and an incredibly talented cast. One can only imagine that Verdi would have been over the moon to have his music performed by such fine musicians, bringing out all the color, design, perspective, and expressions that he put on the page for La Traviata. —Roberto Kalb, conductor

STUDIO ARTISTS

Hayden Smith, tenor

Thomas Petrushka, bass

Tshegofatso Clement Baloyi, baritone

A NOTE ABOUT LA TRAVIATA FROM LEE ANNE MYSLEWSKI

LEARN MORE Discover the genesis of Verdi’s La Traviata in Opera Wire’s “Page to Opera Stage” and learn why Verdi created a masterful opera about the sacrifices of a courtesan. Find out why Violetta is one of the most moving characters in the opera repertoire in The Royal Opera’s An Introduction to La Traviata. Learn how Verdi’s La Traviata serves as inspiration for pop culture and movies. Looking for even more? Explore La Traviata through the ages with performances of “Sempre libera” by Licia Albanese, Maria Callas, Kiri Te Kanawa, Lisette Oropesa, and Renée Fleming.

STUDIO ARTISTS

Travon Walker, tenor

Winona Martin, mezzo-soprano

Sophia Hunt, soprano

VERDI WITH A VENGEANCE: LA TRAVIATA BY WILLIAM BERGER La Traviata might well be the world’s most popular opera. After hitting its stride about a year after its less-than-successful premiere, it has grown in popularity and never stopped growing. It’s said (although I’m not sure how this can be known) that for the last 100 years there has been at least one live performance of Traviata somewhere in the world every single night. Its music pops up in movies, on television, and on radio in the most unlikely places. It has become part of the communal unconscious. Much of Traviata’s popularity is due to the heroine. The tragic, beautiful, noble, young, and doomed woman has also become a figure in popular iconography. And Verdi was clearly in love with his heroine. In no other Verdi opera does the soprano carry the whole work so squarely on her own shoulders as Violetta. Vocally, the demands are incredible. The soprano must have brilliant coloratura, the ability to sing long legato passages in a faint pianissimo, and, at two points in the score, to give out a Wagnerian Niagara of sound. She must even speak convincingly at one point. No one woman has ever exhausted the vocal possibilities of the role. In fact, it has often been suggested (and only partly in jest) that four separate sopranos should be engaged for the part, one for each act, since an entirely different voice is required in each. All sopranos want to sing it at some point in their careers, whether they should or not. The opera always succeeds, no matter what approach is used or what vocal shortcomings are highlighted. Vocal technique is only the tip of the iceberg. Violetta is the most desirable woman in a huge city famed for its feminine treasures. She is also a fully drawn, real woman. She must portray, in roughly the following order, frivolity, charm, reflectiveness, nervous hysteria, dignity, thoughtfulness, nobility, and the capacity for sacrifice, raw love, confusion, vulnerability, despair, death, and redemption, often combining several of these at once. In order to better understand this work, which continues to fascinate the whole world, it is worth taking a look at the remarkable woman who inspired it. Alphonsine Plessis was born in a village in Normandy in 1824. Her mother left home when she was six, and it appears that her alcoholic father started pimping his daughter at the age of 12. So much for romantic idealizations of country life. Arriving in Paris at the age of 15, Alphonsine spent some time as a dance hall girl, but quickly rose through the ranks of prostitutes. By the time she was 16 she had changed her name to Marie Duplessis, established a salon, and began attracting attention. Everyone agreed she was beautiful, but Marie also had natural grace and refinement. Somewhere along the way she learned to read and write; she kept a private library of over 200 books and discussed literature with the leading writers of her era. She not only had style, she set the styles for

STUDIO ARTISTS

Hayley Maloney, soprano

Cecelia McKinley, contralto

Sam Dhobhany, bass-baritone

all of Paris. One admirer wrote, “She neither flaunts nor hides her vices.” This is an important aspect of Marie’s personality, crucial also to her literary and operatic incarnations. In a world of deceit, she was unequivocally honest. She required huge sums of money to live. A quick sexual encounter with her cost 500 francs in a time when a schoolteacher earned 300 francs a years. If one wished to be seen with her beyond the bedroom, the price skyrocketed, and jewels, horses, and even houses were expected as payment. Her partiality for camellias was based on their expense. Each one cost three francs (the average daily salary for a laborer), and she packed as many as she could fit onto her dresses, hair, and even fan. Nor were those camellias always white. On the five appropriate days each month, Marie wore red camellias, announcing, in effect, that shop was closed. This is the Parisian genius for being utterly refined and totally gross at the same time. (When Violetta gives Alfredo the flower in Act I of the opera, telling him to return when the color “fades,” it seems like a grand gesture of the chivalric era. In the novel, it is a very earthy and practical device.) Marie had simultaneous arrangements with several different rich men for the next few years. In 1844 she met the serious young Alexandre Dumas fils and began a relationship that lasted a little under a year. At no time was her arrangement with Dumas monogamous. No one could afford Marie on his own, least of all the penniless Dumas. They parted ways in 1845. Far from languishing and dying, Marie then met the man she loved most, Franz Liszt, the ubiquitous stud of Romantic Europe. Meanwhile, there were other men: the eighty-year-old Count Stackelberg, a fabulously wealthy Russian who paid for her house on the Boulevard de la Madeleine; the Count Perregaux, whom she actually married on a quick jaunt to London and then promptly dismissed on her return to Paris; and several others. Marie’s spectacular rise, such as it was, was destined to be brief. An indeterminate illness made her thin and pale, which only added to her allure. It became apparent that she had consumption, which was the most fashionable terminal illness one could get in those days, giving the victim a frail beauty and an aura of irresistible doom. It was the 19th century’s version of “heroin chic.” Dumas, traveling in Spain with his father when he heard of Marie’s illness, wrote her a long letter asking forgiveness for past wrongs. No reply to this letter is known. He learned of Marie’s death on his return to France in February 1847. In July of that year he wrote (quickly, by his admission) La Dame aux camélias, an account of their relationship that falls somewhere between a novel and a memoir. It is preachy, whiny, and selfserving, with many of the facts changed. Dumas also personified his own ambiguities by inventing the figure of the bourgeois father who insists on the breakup. However, La Dame aux camélias also has a certain amount of honesty, if not accuracy. It gives insights into many of the questions of the opera. For example, in Act III, a great ensemble is built around the moment when Alfredo, as the hero is called, insults Violetta (Marie) publicly by flinging money at her, saying that she is now repaid for all the money he had disgracefully allowed her to spend on him. Throwing money at someone is rather crass, but what is so insulting about repaying money actually owed? In the novel,

STUDIO ARTISTS

Tessa Fackelmann, mezzo-soprano

Emma Marhefka, soprano

Tayte Mitchell, tenor

the situation is quite different. Marguerite, as she is called, is living with a count but takes pity on Armand, as he is named in this incarnation. She goes to his small flat and assures him that she still has feelings for him, then makes the ex-lover’s mistake of spending the night with him to prove it, and then returns to the bill-paying count. When she leaves, he is disgusted with himself for having slept with her, and sends her her “fee” for the night. This, apparently, was the insult that ended the relationship. Of course for the stage, the payment of a prostitute had to be changed to the repayment of expenses incurred. The stage, it would appear, was where this story was heading from the time it began. Dumas morphed the novel into a play of the same name, telescoping a few characters and moving events around a bit to fit the theater. Verdi saw the play in Paris and immediately sent it off to Piave as an opera subject. Both composer and librettist were struck by the directness of the story and by its modernity. It was an opera waiting to happen. The management at La Fenice was also struck by the story’s modernity, and insisted on resetting it in the remote and operatically conventional past. Who would want to pay money to see people on stage who look like people in the audience? Verdi acquiesced, although he sensed this would make the opera more difficult to understand. Marguerite’s world is firmly in the Europe of the industrial era. There are complicated systems of credit and loans, there is a bumbling aristocracy that had lost its power base, there is a powerful middle class nervous about morals and appearances, and there is a new rich class of arrivistes ready to throw money around for such status symbols as rentable women. No matter. The censors and the management of La Fenice pushed the opera back to around the year 1700, with everyone running around in the (then) usual wigs and knee breeches. The new setting didn’t help. Traviata failed at its Fenice premiere, although it was not the fiasco Verdi’s letters claimed it was. A year later, it was produced at the Teatro San Benedetto in Venice, with a few tinkerings in the score, after which it began its triumph around the world, a triumph that continues to this day. It has become fashionable to see an analogy between Violetta and Giuseppina Strepponi. An article in the Metropolitan Opera’s program a few years ago went so far as to call Traviata a love letter from Verdi to Strepponi. I would caution against taking this point of view too directly, since it smacks of rethinking history as it should have been in light of our contemporary sensibilities. Certainly Strepponi, as Verdi’s live-in mistress with a gaggle of bastards scattered around Italy, had her conflicts with social expectations, but there was a difference between a woman of the theater and the card-carrying belles horizontales of Paris. Verdi, who was a prig despite his own irregular liaison, would have preferred to maintain that distinction.

William Berger is an author and lecturer for a wide variety of topics within and beyond music. He is a commentator for the Metropolitan Opera broadcasts and is responsible for the Met’s “Opera Quiz.” Berger has also been a frequent contributor to NPR music and arts programming, and was formerly the host of WNYC’s Overnight Music.

Portrait of Giuseppe Verdi, Giovanni Boldini, 1886

MUSIC AND LIBRETTO BY CARLISLE FLOYD WOLF TRAP OPERA PREMIERE

CAST

NEW PRODUCTION

Susannah Polk: Ann Toomey Rev. Olin Blitch: Christian Pursell Sam Polk: Robert Stahley Little Bat McLean: Joseph Leppek Elder McLean: Tshegofatso Clement Baloyi* Elder Gleaton: Travon Walker* Elder Hayes: Hayden Smith* Elder Ott: Dylan Gregg* Mrs. McLean: Winona Martin* Mrs. Gleaton: Sophia Hunt* Mrs. Hayes: Hayley Maloney* Mrs. Ott: Cecelia McKinley* People of New Hope Valley: Members of the Wolf Trap Opera Studio

CREATIVE TEAM Conductor: Stephanie Rhodes Russell Director: Dan Wallace Miller Scenic Design: Christopher Mumaw Costume Design: Candace Frank Lighting Design: Marnie Cummings Wig & Makeup Design: Anne Nesmith Choreographer: Kathryn Van Meter Wolf Trap Orchestra

THE BARNS AT WOLF TRAP FRI, AUG 12 | 7:30 PM SUN, AUG 14 | 3 PM SAT, AUG 20 | 7:30 PM

MUSIC & PRODUCTION STAFF Principal Coach: Madeline Slettedahl Dialect Coach: Jocelyn Dueck Chorus Master: David Hanlon Coach/Assistant Conductor: Alex Munger Supertitles: Bin Yu Sanford Fight/Intimacy Coordinator: Casey Kaleba Assistant Director (Fellow): Rose Kruger Production Stage Manager: Savannah Valigura Assistant Stage Manager: Alycia Martin

ED AND ANDY SMITH, PERFORMANCE SPONSORS

*Studio Artist

FELLOWS

Alex Munger, coaching

Bin Yu Sanford, coaching

William Woodard, coaching

ACT I

At a square dance held at the church in New Hope Valley, TN, the church elders’ wives gossip about the lovely, young Susannah Polk, jealous of her and disdainful of her brother Sam. The visiting preacher Reverend Olin Blitch arrives at the dance, meets the elders, and dances with Susannah. Later, Susannah and her friend Little Bat talk and laugh about the dance, and Susannah imagines what life would be like outside the valley. The next morning, the elders, looking for a creek for a baptism ceremony, spy on Susannah bathing. They feel ashamed of their lust at watching the naked Susannah and proclaim their outrage that Susannah has exposed herself for all to see. Susannah, unaware that she has been seen, is hurt when she is turned away by the elders and their wives at a church dinner that evening. Little Bat timidly explains that she was shunned because she they had seen her bathing naked. He confesses also being coerced into falsely claiming that she seduced him.

ACT II

Sam tells Susannah that the others expect her to confess and publicly repent. Susannah refuses, firm in her innocence. At a meeting, Blitch calls for church members to step forward in public displays of penitence, singling Susannah out from the congregation. Susannah rejects the reverend’s call and flees to her home where she collapses, exhausted. Blitch follows her to hear her confession. She refuses again, and Blitch, recognizing his own weakness and Susannah’s vulnerability, forces himself on her. A repentant Blitch, realizing Susannah’s innocence, tries in vain to tell the elders that they are wrong about her. That evening, the congregation gathers for the baptism ceremony. When Sam finds out that Blitch assaulted Susannah, he heads for the creek to shoot the preacher. A shot rings out. Little Bat tells Susannah that the townsfolk are saying that she incited Sam to commit murder. The mob approaches Susannah’s house, where Susannah stands brandishing a rifle and holding off the crowd. Her accusers disperse, leaving Susannah alone, exiled from the community, her life in ruins.

PRODUCTION INFO PERFORMED IN ENGLISH WITH PROJECTED TEXT RUNNING TIME: 2 HOURS INCLUDING ONE INTERMISSION LIBRETTO BASED ON A STORY FROM THE APOCRYPHA ALL AUTHORIZED PERFORMANCE MATERIALS WERE SUPPLIED BY BOOSEY & HAWKES FIRST PERFORMED FEBRUARY 24, 1956 AT FLORIDA STATE UNIVERSITY, TALLAHASSEE, FL Watch an excerpt of “Ain’t it a pretty night” performed by 2022 Filene Artist Ann Toomey.

FELLOWS

Rose Freeman, directing

Sarah Jane Pelzer, directing

Alison Pogorelc directing

A MESSAGE FROM THE CONDUCTOR

STEPHANIE RHODES RUSSELL, CONDUCTOR

A NOTE FROM THE DIRECTOR Carlisle Floyd, the late master of American Opera, based his most popular and successful work, Susannah, on a parable found in the apocrypha of the Book of Daniel. It’s about a woman who was spied upon while bathing by a pair of lecherous elders, who framed their uncontrollable lust as her moral failing. Floyd updated the setting to the fictional Appalachian town of New Hope Valley, Tennessee. Some have speculated that Floyd intended the narrative to be a commentary on McCarthyism, but I believe that misses the point. Floyd’s adaptation of this tale isn’t so particular. Its lessons and morals apply as evenly to the Bronze Age as they did in 1955 and as they do in the current day. But Floyd’s telling has one major difference from the biblical tale: whereas the parable ends with righteous justice against the elders and the societal vindication of Susannah, Susannah ends with the elders firm in their slanderous convictions, and Susannah ostracized. Floyd saw Susannah at the end of his opera as “inexorably lonely and embittered,” voluntarily “sever[ing] forever her last tie with her community and her world.” A tragic figure and not a triumphant one. Susannah is the story of a young woman who embraces her small and impoverished community with boundless love, friendship, and enthusiasm—and it is the story of a young woman who is failed and abused by every single member of that community. If Susannah is Greek tragedy, then our hero’s only tragic flaw is altruism. Susannah’s ultimate rejection of her neighbors, family, and faith is an embrace of her own good nature. When surrounded by those who choose to subsume the burning of their desires into the comfort of prejudice, what recourse does one have other than to utterly reject hate and embrace one’s own sense of self? If only we all had the courage of Susannah’s convictions. —Dan Wallace Miller, director

LEARN MORE Hear Rhiannon Giddens and soprano Renée Fleming discuss Susannah’s haunting folk aria “The Trees on the Mountains” and the devastating loss of innocence at the heart of the opera on Aria Code. Explore Carlisle Floyd’s life as a celebrated composer and influence on American opera repertoire. Learn about the creation of Susannah and its impact on the opera world in San Francisco Opera’s “Innocence and Experience in Floyd’s Susannah.”

KATE LINDSEY IN RECITAL

JUSTINA LEE, piano

FRI, JULY 8 | 7:30 PM THE BARNS AT WOLF TRAP 2022 Filene Artist in Residence Kate Lindsey explores the cycle of life, death, and rebirth through two monumental, yet intimate song cycles: Schumann’s Frauenliebe und Leben and Fauré’s La Chanson d’Ève.

Mezzo-soprano Kate Lindsey is one of the most promising voices of her generation and appears regularly in the world’s most prestigious opera houses and festivals, including the Metropolitan Opera, Royal Opera House in Covent Garden, Vienna State Opera, Salzburg Festival, Glyndebourne Opera Festival, Aix-en-Provence Festival, Théâtre des Champs– Élysées, and Bavarian State Opera. Learn more about Kate Lindsey here.

PUBLIC MASTER CLASS THU, JULY 14 | 7:30 PM CENTER FOR EDUCATION ADMISSION IS FREE, NO RESERVATION REQUIRED Each year, Wolf Trap Opera chooses one of its highly successful alumni to return as the Filene Artist in Residence. This year’s Filene Artist in Residence, Kate Lindsey, will work with Wolf Trap Opera’s singers on both artistic and practical preparation for their careers.

LINCOLN AND THERESE FILENE FOUNDATION, 2022 PROGRAM UNDERWRITER

A CHAT WITH KATE LINDSEY Before the start of the 2022 season, Wolf Trap Opera (WTO) sat down with Filene Artist in Residence Kate Lindsey as she reflected on her past Wolf Trap summers, what she’s looking forward to in working with this year’s artists, and how the pandemic has impacted her outlook on live performance. WOLF TRAP OPERA: As you look back on your time with Wolf Trap Opera in 2005 and 2007, what stands out the most? KATE LINDSEY: Looking back on my seasons at Wolf Trap, I’d say some of the most important elements that emerged were the relationships built between the artists. We were all working in a close-knit environment, away from the various bubbles of our young artist or masters programs, and we were at a really interesting moment in our careers when we were just beginning to take on some professional work. We were crossing this bridge all together, while still working in the nurturing artistic arms of Wolf Trap, which gave us the opportunity to take on the bigger roles and artistic responsibilities for the professional years ahead. The relationships that emerged from that time were really important because we knew that we’d cross paths again and again with these fellow artists in the years ahead. WTO: How do you think your experience with Wolf Trap Opera prepared you for your future career? KL: Getting into WTO and being assigned roles and singing opportunities in which I had to truly challenge myself was a huge step towards my professional career. There, of course, are other summer opera programs out there associated with big summer festivals, but when I was accepted into WTO, which in my mind was the most difficult to get into, it was a massive vote of confidence in my hopes of being able to make a career for myself. We were treated as professionals, and were given the full responsibilities as to what that entailed. WTO: What are you excited about when it comes to working with the summer 2022 artists, and particularly with the Master Class? KL: Honestly, I learn just as much from working with them as they learn from me. It’s fascinating to see each singer’s approach to their instrument: What’s happening in the body that affects the voice? Where are they emotionally on that particular day? How are they connecting with the text, the character? How are they working through the pressurized moment of performance? How do we handle both the physical AND mental demands of the moments when it really matters?

Those are fascinating things to be able to explore with them, and they’re at the perfect point in their development to be able to explore these things further. My own goal for myself is that I can be a wise guide in that process for them. WTO: How has dealing with the pandemic affected your view on the importance of live performance? KL: There’s just nothing to replace live performance. It’s a communion of souls in a shared experience, and there is nothing about streaming that offers nearly that level of connection. As great as the technology is, and as grateful we are to have it, the ability to gather and share a musical experience in a room together is irreplaceable. Personally, it’s what brings me back to stage time and time again, even when I’m overwhelmed by the project or the inherent expectations that come with it. WTO: Can you talk a little about your upcoming recital at The Barns and what you’re hoping to share with the audience? KL: This past year, I lost a couple of incredibly special and important people in my life—far too young, far too fast, and far too soon. So as I was planning a recital program, I’ve really been thinking about cycles of life— the bigger circular cycles of our lives, birth to death vs. the smaller cycles of beginning and end, which we experience repeatedly throughout our lives through moments of change. I thought it might be interesting to make something on this theme, exploring two bigger song cycles—the widely known Frauenliebe und Leben juxtaposed against Fauré’s lesser performed La Chanson d’Ève, with both exploring their own beginnings and ends in very individual ways.

Catch Kate Lindsey this summer as Wolf Trap Opera welcomes her back for a public Master Class on July 14 and in Recital at The Barns on July 8!

MUSICAL MEDITERRANEAN

with Steven Blier SUN, JUN 5 | 3 PM

Recitalist and raconteur Steven Blier and a trio of Filene Artists spirit us away to the Mediterranean for an auditory adventure featuring the music of Verdi, Schubert, Wolf, and more. Tiffany Townsend, soprano Richard Trey Smagur, tenor Kidon Choi, baritone

ARIA JUKEBOX

The audience gets to choose! SAT, JULY 9 | 7:30 PM THE BARNS AT WOLF TRAP An evening of opera highlights curated by the audience and sung by Wolf Trap Opera soloists. Come to the preshow reception to vote for the arias of your choice. Singers won’t know what they are singing until they get onstage!

DAN AND GLORIA LOGAN, 2022 YOUNG ARTIST SHOWCASE SPONSORS

Alexandria Shiner, soprano Ann Toomey, soprano Tiffany Townsend, soprano Sunwoo Park, soprano Joey Leppek, tenor Christian Pursell, bass-baritone David Weigel, bass-baritone Cory McGee, bass Members of the Wolf Trap Opera Studio

The work that Wolf Trap Opera does on its home stages reflects its core mission: to discover and promote the finest emerging talent in the opera field. Whether inside at The Barns at Wolf Trap or on the big amphitheater stage of the Filene Center, the company relies on the venue’s resources to mount the quality productions that have become a hallmark of its training and reputation. Although the center of Wolf Trap Opera’s programming remains on Wolf Trap’s campus, the company is increasingly fortunate to be able to reach beyond these boundaries to touch new audiences and share fresh perspectives. These exciting additional performance opportunities and the partnerships that encompass them are the essence of UNTRAPPED. UNTRAPPED performances take artists into various communities in the larger DC area, bringing the thrill of live vocal music to new places and unexpected spaces. DAN AND GLORIA LOGAN, 2022 UNTRAPPED SERIES SPONSORS

UNTRAPPED: NATIONAL ORCHESTRAL INSTITUTE + FESTIVAL TAKE THE REINS

National Orchestral Institute + Festival

Tiffany Townsend, soprano

FRI, JUN 3 | 7:30 PM THE CLARICE SMITH PERFORMING ARTS CENTER This concert for leaderless chamber ensemble features Knoxville: Summer 1915, Samuel Barber’s ethereal setting of James Agee’s ode to warmth, togetherness, and gratitude.

TOWNSEND

McGEE

MUNGER

TOOMEY

PURSELL

WEIGEL

UNTRAPPED: MARTIN LUTHER MUSIQUE ET CUISINE AT KING JR. MEMORIAL LIBRARY L’AUBERGE CHEZ FRANÇOIS LINEAGE: POEMS OF MARGARET WALKER Composed By Edward W. Hardy Tiffany Townsend, soprano Cory McGee, bass Alex Munger, piano

WORLD PREMIERE FRI, JUL 1 | 7 PM MARTIN LUTHER KING JR. MEMORIAL LIBRARY Filene Artists Tiffany Townsend, Cory McGee, and coaching fellow Alex Munger explore themes of family, home, and self, centered around excerpts from H. Leslie Adams’ Nightsongs and Home, a world-premiere commission by composer/ violinist Edward W. Hardy on poems of Margaret Walker.

WED, JUL 6 | 6 PM LA GRANDE TENTE AT L’AUBERGE CHEZ FRANCOIS Ann Toomey, soprano Christian Pursell, bass-baritone David Weigel, bass-baritone David Hanlon, piano

A summer evening filled with fine wine, extraordinary food, and beautiful singing; what could be better? We are thrilled to continue a decades-long partnership with L’Auberge Chez François begun by Wolf Trap’s founder, Catherine Filene Shouse, who was a frequent guest. You’ll enjoy Chef Jacques’ awardwinning cuisine in a gorgeous natural setting, while you are serenaded by incredible artists from Wolf Trap Opera. They will perform excerpts from operas, musical theater, jazz, and French chanson. Capacity is limited; register today and bon appétit!

Password is: bass-baritone

EXPLORE MORE MUSIC

A JUNETEENTH CELEBRATION WITH

THEE PHANTOM AND THE ILLHARMONIC ORCHESTRA SUN, JUN 19 | 6 PM

PINK MARTINI

NATIONAL SYMPHONY ORCHESTRA STEVEN REINEKE, CONDUCTOR

FRI, JUL 8 | 8 PM

DVOŘÁK’S SILKROAD “NEW WORLD” ENSEMBLE WITH RHIANNON GIDDENS SYMPHONY PHOENIX RISING

SUN, JUL 24 | 8 PM

NATIONAL SYMPHONY ORCHESTRA RUTH REINHARDT, CONDUCTOR GIL SHAHAM, VIOLIN

FRI, AUG 5 | 8 PM DEBORAH F. AND DAVID A. WINSTON, PERFORMANCE SPONSORS

YO -YO MA AND PAQUITO D’RIVERA NATIONAL SYMPHONY ORCHESTRA

JOSÉ LUIS GOMEZ, CONDUCTOR YO-YO MA, CELLO PAQUITO D’RIVERA, CLARINET

THU, SEP 8 | 8 PM

AN EVENING WITH

THE WASHINGTON BALLET

WITH WOLF TRAP ORCHESTRA

WED, SEP 14 | 8 PM

THE WASHINGTON CHORUS AND WOLF TRAP PRESENT:

JOYFULLY TOGETHER A COMMUNITY-POWERED SINGING CELEBRATION

SUN, SEP 18 | 5 PM

VIRGINIA McGEHEE FRIEND, PERFORMANCE SPONSOR

WOLF TRAP OPERA CALENDAR JUN 3

JUN 5

JUN 18

TAKE THE REINS

MUSICAL MEDITERRANEAN

WEBER

7:30 PM

WITH STEVEN BLIER

DER FREISCHÜTZ (THE MARKSMAN)

JUN 24

JUN 26

JUL 1

WEBER

DER FREISCHÜTZ (THE MARKSMAN)

WEBER

DER FREISCHÜTZ (THE MARKSMAN)

LINEAGE: POEMS OF MARGARET WALKER

JUL 6

JUL 8

JUL 9

MUSIQUE ET CUISINE AT L’AUBERGE CHEZ FRANÇOIS

KATE LINDSEY IN RECITAL

ARIA JUKEBOX

JUL 14

JUL 15

AUG 12

MASTER CLASS WITH KATE LINDSEY

VERDI

LA TRAVIATA

SUSANNAH

AUG 14

AUG 18

AUG 20

FLOYD

STUDIO SPOTLIGHT

NATIONAL ORCHESTRAL INSTITUTE + FESTIVAL

7:30 PM

6 PM

7:30 PM

3 PM

SUSANNAH

3 PM

7:30 PM

8 PM

7:30 PM

7 PM

7:30 PM

7:30 PM FLOYD

SUSANNAH

ARTISTIC FACULTY & STAFF Every summer, industry-leading conductors, directors, designers, production managers, artistic directors, coaches, and guest faculty gather at Wolf Trap to make great opera and mentor up-and-coming singers. MUSIC STAFF David Hanlon, Head of Music Staff Jocelyn Dueck, Coach Justina Lee, Coach Nate Raskin, Coach Nicolò Sbuelz, Coach Madeline Slettedahl, Coach Joseph Li, Coach GUEST FACULTY Casey Kaleba, Fight/Intimacy Choreography Jason Ferrante, Voice Lessons Elizabeth Bishop, Cover Workshop Cory Lippiello, Casting Workshop COSTUME SHOP Susan Chiang, Costume Supervisor Cody Con Ruden, Design Assistant Vee Delgado, Design Assistnat Denise Aitchison, Draper Katie Stomps, Draper Margaret Caster, First Hand Sarah Korn, First Hand Sam Eisenstein Bond, Stitcher/Wardrobe Lauren Bretl, Stitcher/Wardrobe Rebecca Korn, Wardrobe Head/Stitcher SCENE SHOP Elliot Mahoney, Technical Director Matthew Brehm, Master Electrician George Burgtorf, Props Master Jennifer Shillinburg, Charge Artist Meghan Zattell, Scenic Artist Nicholas Partonen, Master Carpenter Samantha Dickerson, Carpenter Anson Stevie, Carpenter WIG & MAKEUP Anne Nesmith, Wigs/Makeup Melissa Thiede, Hair and Makeup Assistant APPRENTICES Christian Bashi, Artistic Admin Olivia Palmer, Admin Communications Ryann Elise, Rachel Kilgore, Zo McGlynn, Stage Management Zoe Tompkins, Technical Apprentice

Katherine Gonzales, Technical Apprentice Christina Smith, Lighting Apprentice Alison Spangenberg, Props Hope Blahusch, Scene Painting Melissa Mader, Costuming Viola Costen, Wigs & Makeup WOLF TRAP OPERA ARTISTIC & ADMINISTRATIVE STAFF Lee Anne Myslewski, Vice President Ronald Lee Newman, Director, Artistic Operations Arianna Zukerman, Manager, Artistic Administration Zoe Jansen, Coordinator, Company Management Timothy McCormick, Director of Production, The Barns

WOLF TRAP FOUNDATION LEADERSHIP ARVIND MANOCHA President and CEO BETH BRUMMEL Chief Operating Officer SARA BEESLEY Vice President, Program and Production BERNARD BERRY, III Senior Director, Ticket Services CHRISTOPHER J. ECKERT Vice President, Operations JOHN GIAMBALVO Vice President, Finance ELIZABETH SCHILL HUGHES Senior Director, Human Resources SARA P. JAFFE Vice President, Development SHANNON KELLY Senior Director, Government Affairs AKUA KOUYATE-TATE Vice President, Education JO LaBRECQUE Vice President, Communications and Marketing LEE ANNE MYSLEWSKI Vice President, Opera and Classical Programming

ORCHESTRA DER FREISCHÜTZ ORCHESTRA VIOLIN 1 Claudia Chudacoff, concertmaster Jennifer Himes Sarah Sherry Patty Hurd Paula McCarthy Jennifer Rickard Joanna Owen Leslie Silverfine VIOLIN 2 Laura Miller, principal Elise Blake Laura Knutson Rachel Stockton Heather Haughn Erica Sato

VIOLA Stephanie Knutsen, principal Cathy Amoury Tiffany Richardson Dan Zang CELLO Lori Barnet, principal Todd Thiel Philip Andrew Rammon BASS Ed Malaga, principal Marta Bradley FLUTES David Lonkevich, principal Beth Plunk (+piccolo)

VIOLIN 2 Laura Miller, principal Joan Cataldo Sasha Mikhlin Laura Knutson Rachel Stockton Sandy Choi VIOLA Jennifer Rende, principal Tiffany Richardson Cathy Amoury Jim Kelly

CLARINET Kathy Mulcahy, principal Jeremy Eig BASSOON Eric Dircksen, principal HORNS Evan Geiger, principal Chandra Cervantes TRUMPET Amy McCabe, principal TROMBONE Bryan Bourne, principal PERCUSSION Bill Richards, principal

SUSANNAH ORCHESTRA VIOLIN 1 Claudia Chudacoff, concertmaster Sue Midkiff Jennifer Himes Patty Hurd Paula McCarthy Cristina Constantinescu Jennifer Rickard Allison Bailey

OBOE Fatma Daglar, principal

CELLO Lori Barnet, principal Kerry van Laanen Todd Thiel BASS Ed Malaga, principal Marta Bradley FLUTES David Lonkevich, principal Beverly Crawford OBOE Fatma Daglar, principal

TRUMPET Tim White, principal Phil Snedecor TROMBONE Bryan Bourne, principal Jeff Gaylord TIMPANI Bill Richards, principal PERCUSSION Joe Connell HARP Becky Smith, principal

CLARINET Kathy Mulcahy, principal Jeremy Eig (+ Bass Clarinet) BASSOON Chris Jewell, principal HORNS Geoff Pilkington, principal Chandra Cervantes

Members of AGMA appear through the courtesy of the American Guild of Musical Artists, AFL-CIO.

Steinway and Boston are the preferred pianos for Wolf Trap performances and education facilities.

The musicians employed in this production are members of and represented by D.C. Federation of Musicians, AFM Local 161-710.

WOLF TRAP FOUNDATION OFFICERS AND DIRECTORS Dr. Jill Biden, Honorary Chair Mr. Daniel A. D’Aniello, Chairman Mr. Arvind Manocha, President and CEO Mr. John E. King, Vice Chairman and Secretary Mr. Matthew R. Korn, Treasurer Mr. Raj Ananthanpillai Mr. C.E. Andrews Mrs. Hillary D. Baltimore Mr. Jeremy Blank Mr. Kevin T. Boyle Ms. Jan Brandt Ms. Patrice K. Brickman Mr. Richard K. Bynum Ms. Teresa Carlson Mr. Bruce L. Caswell Mr. Steven Day Ms. Lynn R. Dillon

Mrs. Jean Edelman Ms. Virginia McGehee Friend Mrs. Margaret Gupta Mr. Kenneth R. Hayduk Mrs. Janet Hill Mr. Richard Jeanneret Mr. Broderick D. Johnson Ms. Lesley A. Kalan Mrs. Leana Katz Ms. Tracy K. Kenny Ms. Alka M. Kesavan Ms. Anne R. Kline Ms. Nancy J. Laben Mr. David H. Langstaff Ms. Jennifer M. Lowe Mr. Robert S. Lutz Dr. Gary D. Mather Ms. Janet M. Osborn Mr. Patrick S. Pacious Mr. James C. Reagan Mr. Kevin Robbins Mr. Dion Rudnicki Mr. David Samuels

Mr. Srikant Sastry Ms. Anu Saxena Mr. Fredrick Schaufeld Mr. Julian M. Setian Mr. Kevin P. Smithson Mr. Todd Stottlemyer Mrs. Alison Tanner Mr. Clarence Taylor Mr. Robert G. Van Hoecke Mr. John B. Wood O T H E R O FFI C E RS Ms. Beth Brummel, Chief Operating Officer Mr. Stephen D. Kahn, General Counsel PR E S I D E N T E M E R I T US Mr. Terrence D. Jones D I R E C T O R E M E R I T US The Hon. Dirk Kempthorne FO UN D E R Mrs. Jouett Shouse (1896-1994)

WOLF TRAP ASSOCIATES BOARD Mrs. Suzanne Youngkin, Honorary Chair

Mr. Jon D. Craver

Ms. Katherine Newland

Mr. Leo F. Fox III

Mr. Steven Day, Chair

Ms. Bonnie Haukness

Mr. Michael Polmar Mr. Daniel W. Quirk

Mr. Jeffrey R. Houle

Mrs. Chelsea Rao

Ms. Christina Gadrinab, Vice Chair and Secretary

Mrs. Carolyn E. Howell

Mrs. Amy Rossi

Mr. Steven C. Job

Mr. Jiten “Jay” Shah

Mr. George Lowden

Mr. Jonathan Shames

Mrs. Linda Moses

Mrs. Joan Stansfield

Mrs. Pat Menster Neuman

Ms. S. Whitney Zatzkin

Mrs. Jennie Bishof Mrs. Sarah Choi

INDIVIDUAL LEADERSHIP DONORS THANK YOU TO THE FOLLOWING INDIVIDUALS FOR THEIR EXTRAORDINARY COMMITMENTS TO SUPPORT WOLF TRAP FOUNDATION’S 2022 PROGRAMS AT THE $25K+ LEADERSHIP LEVEL AS WELL AS THE CAMPAIGN FOR WOLF TRAP: OUR NEXT CHAPTER.

SEASON UNDERWRITERS Dan and Gayle D’Aniello*

$2,500,000 Hillary and Tom Baltimore*

Shashikant and Margaret Gupta*

Gary D. Mather and Christina Co Mather* Karen and Fred Schaufeld*

$1,000,000 TO $2,499,999 John and Susie King*

Jean and Ric Edelman*

Anne R. Kline and Geoffrey Pohanka* Matt Korn and Cindy Miller*

$500,000 TO $999,999 The Setian Family*

Janet and Calvin Hill* Ed and Andy Smith*

F. Chapman and Grace Taylor* Robert and Lisa Van Hoecke*

$250,000 TO $499,999 C.E. and Jean Andrews*

Brickman Family Foundation*

Bruce Caswell and Lauren Deichman*

Dr. Melissa Delgado and Tony Colangelo* The ElSawy Family Foundation* Virginia McGehee Friend*

Alka and Sudhakar Kesavan*

Janet and Jerry Kohlenberger* Donna and Jim Reagan*

Kevin and Kate Robbins* John and Jessica Wood

$100,000 TO $249,999 Anonymous (2) The Ananthanpillai Family*

General Lester and Mina Lyles and Family*

The Bedrock Community Fund*

Arvind Manocha and Gideon Malone*

Kevin and Cynthia Boyle*

Reed and Pat Menster Neuman*

Denise Chen and Tim Maas*

Edward and Susan O'Connell*

Lynn and John Dillon*

Dr. James Roth*

Ken and Vickie Hayduk*

Srikant Sastry and Manjula Pindiprolu*

Shelly and Jack Hazel* Sue J. Henry and Carter G. Phillips* The Ithaka Foundation* Eric and Heather Kadel* Nancy Laben and Jon Feiger* Dr. Denise Riedel Lewis and Kenneth J. Lewis* Dan and Gloria Logan The Revada Foundation

Michael Saylor Todd and Elaine Stottlemyer* Theresa Thompson* Victoria Trumbower and David Ralston* Lynn and Carl Verboncoeur* Deborah F. and David A. Winston* Governor and Mrs. Glenn Youngkin

Bob and Lisa Lutz*

$50,000 TO $99,999 David C. Frederick and Sophia Lynn Broderick Johnson and Michele Norris* Robert M. and Joyce A. Johnson* Jacqueline B. Mars Nanette and Charles Mees The Webber Family

$25,000 TO $49,999 Anonymous

Samuel Meisner

Christopher M. and Andrita J. Andreas

Stephen and Betsy Mundt

Michael and Ana Beckley

Gerry and Lynn Rubin

Jan Brandt

Tenley Carp and David Samuels*

Craig and Valerie Dykstra

Danielle and John Saunders

Vincent Ferraro and Laura Forte*

Craig and Christina Sharon*

Mason Hirst Foundation

Paul and Tracy Tartaglione

Leana and Marc Katz

Ann Ziff

Boofie and Joe O'Gorman

Ashok and Stuti Kaveeshwar

*Also donors to The Campaign for Wolf Trap: Our Next Chapter

INDIVIDUAL DONORS THANK YOU TO THE FOLLOWING INDIVIDUALS FOR SUPPORTING WOLF TRAP FOUNDATION’S ARTS AND EDUCATION PROGRAMS WITH GIFTS BETWEEN MARCH 20, 2021 AND APRIL 30, 2022. $15,000 TO $24,999 Anonymous (2) Beth B. Buehlmann Richard and Evelyn Bynum* The Byrnes Family in Memory of Gregory S. Byrnes Shawn and Gail Cali Jeff and Jacqueline Copeland* James N. Glerum+ and Diane Morales Glerum Clark Hoyt and Linda Kauss Dana and David Martin Ann McPherson McKee, Gift in Remembrance of Burtt & Rebecca Gray McKee and Douglas & Ann McKee Seeley Janet M. Osborn* JoAn D. Tolley

$10,000 TO $14,999

Anonymous (5) Ernie and Cathy Abbott Satya and Suneetha Akula Jay and Terry Bachmann Jennie and Mark Bishof* Jeremy and Stephanie Blank* Dr. and Dr. Farid Boughanem Kavita and Jay Challa Michael and Deborah Chusmir/ The Victor & Gussie Baxt Fund Enrico and Linda Della Corna Bonnie Feld In Honor of Jim and Mary Beggs, Allen and Maureen Fox Chris and Jennifer Greenlee Gil and Janice Guarino Mark Hoplamazian, CEO Hyatt Hotels Corp Lisa and Richard Jeanneret Governor and Mrs. Dirk Kempthorne Ross and Kaye Kory Priya and Anirudh Kulkarni Sachiko Kuno Foundation Matt Lerner/Frederick Coin Exchange Tim and Bernadette Manning Wendy and Dario Marquez Mary Rose McCaffrey Ray and Colleen McDuffie Dr. Anuj Narang

Patsy and Howard Norton Philip and Marjorie Odeen Michael and Cynthia O'Kane H. Mac and Michele-Anne Riley Patti and John Robertson Brenda and William Romenius Peri and William Ross Karl and Susan Salnoske Stan and Ruth Seemann Jiten (Jay) and Sujani (Jen) Shah Jay Siegel and Mona Sarfaty Jon and Pat Simons* Ashley Stow Alison and Jim Tanner Tori Thomas Ranvir and Adarsh Trehan Caroline Morris Van Kirk Theresa and John B. Wood* Greg and Janne Young

$6,000 TO $9,999 Anonymous (7) Ramon and Marissa Alcala John R. and Kathy Allen Erin and Derek Arrison Mrs. Benjamin P. Astley Russel and Ann Bantham Richard and Julie Barcus Thomas A. Belles and Carla Minosh Paul Blakely Cheryl A. Wooden and Dr. Deb Bobbitt David M. Borowski and Kerry Cadden Harlan W. and Mary M. Bowers Rick and Debbie Bress Beth Brummel and Michael Beresik Alice and Terry Burns Dan and Leslie Burpee John and Susan Byrne Madison and Victoria Calvert Drew and Therese Caplan Jim and Mary Anne Carlson Marcia and Frank C.+ Carlucci III Christopher and Carol Casto James and Karen Chamberlain Allayne and Brian Chappelle The Chaskin Family Jay W. and Heidi A. Chesky Sarah and James Choi

Brian J. Christianson Karen and Jim Cleveland* Kenneth W. Coan/ Sevila Coan Financial Group of Wells Fargo Advisors, LLC Kathy and Jim Connor Crest Advanced Dry Cleaners John and Mary Davis Jeff and Natalie Davis Tami and Jeff Dierman Coolie Doolie Jerry Drye Raymond A. and Roslyn M. Duda Juliana Dunlap and James Corrigan Diana and Douglas Dykstra Mr. and Mrs. Dean S. Edmonds/ Dean S. Edmonds Foundation Mr. and Mrs. Erwin Sara and Samuel Feder Mary and Leo Fox Michael P. and Marilyn H. Fitzgerald Susan Fox/ The Walt Disney Company Dennis and Malinda Garris Cathy A. German Bonnie L. Goldschmidt and Michele Shimek William and Jacqueline A. Gravell Marge and Joe Grills Atul Grover Marlene and William Haffner Dr. Dabney G. Hart / Mr. & Mrs. T. Michael Louden Robert H. and Brenda Hawthorne Ashley Iddings Ricki and Joel Kanter Sean M. Kelley Tracy K. Kenny* Laura, Jess, Mike, and Tim Kennedy Gayle and Jonathan Kosarin Sherry Rutherford and Bill Krokowski Jenna and Wyatt Korff David F. La Mar and Terri L. Crowl David and Mary Beth Lane John and Cindy Langan Sheri A. Layton George Lowden* Chip and Katie Lowry Mr. and Mrs. James F. MacGuidwin

Barbara and Marcus Malloy Canzoneri Clark and Kathleen Manning and Family Philip and Sandy+ Marcum Kenneth and Kathleen Marshall Cynthia and John Martin Linda Mazawey Terri and Michael McClements* Patrick and Sheryl McCurnin Susie and Josh Metz Buzz and Donna Miller James and Audrey Miller Mr. and Mrs. Charles T. Moses III* John Murray and Jill Hansen Dawn and Stephen Orr Kimberly Parks Renata and Spence Patterson Nora and Glen Petitt Carol S. Popowsky Harish R. Rao & Chelsea R. Rao

Dion and Michelle Rudnicki* Rebecca and William Sanders Jeff and Dawn Sanok Bernadette and Ed Saperstein John and Darcy Sekas Jonathan and Virginia Shames* Joan Sheppard Paul D. Shively and Claire L. Orth Steven and Donna Shriver Ronald and Deborah Sindler Tina and Albert Small, Jr. Joel K. and Martha L. Smith Duncan and Patricia Sparrell Peter and Jennie Stathis David L. Straus, Gift in Remembrance of Betty B. Straus Virginia and Alan Strauss Pam and Greg Sullivan Derrick Tam Peter and Ann Tanous

Clarence and Anne Taylor Mark and Jeanette Testoni Ray and Stacey Thal Rob Timmins and Jeff Kaplan Rosetta and Martin Virgilio Richard and Mary Wall John and Gina Wasson Marc and Cortney Weber Dr. Brooke Weddle and Mr. Miguel Payan Sue Irish and Kenn Weir Linda Whittington Lisa and Eric Wieman Bill and Terry Witowsky James Y. S. Yap Jake and Whitney Zatzkin*

CORPORATE, FOUNDATION, AND GOVERNMENT DONORS THANK YOU TO THE FOLLOWING INSTITUTIONS FOR SUPPORTING WOLF TRAP FOUNDATION’S PROGRAMS WITH GIFTS BETWEEN MARCH 20, 2021 AND APRIL 15, 2022. $1,000,000+ Lincoln and Therese Filene Foundation*

$500,000 TO $999,999 Department of the Interior, National Park Service The PNC Foundation*

$250,000 TO $499,999

The Boeing Company* National Park Foundation*

$100,000 to $249,999 Anonymous Foundation Capital One County of Fairfax, Virginia KPMG Northrop Grumman Tickets.com

$50,000 to $99,999 American Airlines Booz Allen Hamilton

Choice Hotels International Cox Business General Dynamics McLean Mortgage Corporation MicroStrategy National Endowment for the Arts PwC SOSi Virginia Commission for the Arts The Volgenau Foundation

$25,000 to $49,999 Amazon Web Services Aon Corporation Battelle The Morris and Gwendolyn Cafritz Foundation Cherry Bekaert CNSI Danaher Corporation Deloitte Ernst & Young Ann and Gordon Getty Foundation

Hilton Karin’s Florist Leidos Lockheed Martin M&T Bank Maximus Noblis Ohio Hometown Heroes OPERA America: Innovation Grants Park Hotels & Resorts The Price-Taylor Group of Truist Telos Corporation Vectrus

$15,000 TO $24,999 The Theodore H. Barth Foundation, Inc. Covington & Burling LLP DLA Piper US LLP FEVO Kearney & Company Laird Norton Family Foundation Mars Foundation Nauticon Office Solutions

Netskope Starr Hill Brewery Stratos Solutions WHITE64 Wilmer Cutler Pickering Hale and Dorr LLP

$10,000 TO $14,999 Alston & Bird LLP Arent Fox Baker Tilly Bender Foundation, Inc. Brown Advisory Cathell & Associates Clear Channel Outdoor The Richard Eaton Foundation Enterprise Knowledge Expedition Technology, Inc. HHMI Janelia Research Campus Hilton McLean Tysons Corner

Host Hotels & Resorts LMI Nancy Peery Marriott Foundation, Inc. Merrifield Garden Center MorganFranklin Consulting Newmark RRD Select Event Group TTR Sotheby’s International Realty United Bank Venable Foundation Virginia Tourism Corporation

$5,000 TO $9,999 ApexCoVantage Avalon Consulting The Arnold F. Baggins Foundation BDO Bloomingdale’s Blue Delta Capital Partners

Dallas Morse Coors Foundation for the Performing Arts Devils Backbone Brewing Company CrossCountry Consulting District Fray Magazine Dominion Energy The Max and Victoria Dreyfus Foundation, Inc. E. & J. Gallo Winery Holland & Knight LLP Infinite Maximus Foundation NFP The Nora Roberts Foundation Senior Helpers Fairfax Service Distributing, Inc. Sport&Health Unison Software Van Ness Feldman, LLP

*Also donors to The Campaign for Wolf Trap: Our Next Chapter

WOLF TRAP FOUNDATION NAMED ENDOWMENT FUNDS THANK YOU TO THE FOLLOWING INDIVIDUALS AND ORGANIZATIONS FOR SUPPORTING WOLF TRAP FOUNDATION’S PROGRAMS WITH COMMITMENTS OF $100,000 OR MORE TO ENDOWMENT. Hillary and Tom Baltimore Baltimore Family Fund Mary H. Beggs President’s Fund

Cox Communications, The Cox Communications Fund for Education Initiatives in the Performing Arts

The William H. Geiger Family Foundation, The Lee Anne F. Geiger Fund for Early Learning Through the Arts

Bender Foundation, Inc. The Howard and Sondra Bender Family Fund for Education

Melissa Delgado and Tony Colangelo The Colangelo Family Fun For the Arts

General Dynamics, General Dynamics Fund for Early Learning Through the Arts

Brickman Family Foundation, Patrice King Brickman Family Fund

Lynn and John Dillon Endowment Fund

Shashikant and Margaret Gupta, Gupta Fund for Early Learning Through the Arts

Bruce Caswell and Lauren Deichman, Caswell/Deichman Family Fund for Wolf Trap Denise Chen and Tim Maas, Denise Chen and Tim Maas Fund for Wolf Trap

Robert M. Coffelt, Jr. in honor of Annetta J. and Robert M. Coffelt, The Coffelt Fund for Wolf Trap Opera and Education

Nancy K. Eberhardt, Howard and Dorothy Kahn Education Fund The ElSawy Family Foundation, The ElSawy Endowment for Education The Freed Foundation, The Freed Fund for Early Childhood Education in the Performing Arts

Estate of Carol V. Harford, Carol V. Harford Fund for Wolf Trap Opera in Memory of Catherine Filene Shouse Shelly and Jack Hazel, Family Fund for Wolf Trap Hearst Foundation, Inc. Sue Henry and Carter Phillips Fund for Wolf Trap

Janet and Calvin Hill, Janet and Calvin Hill Fund for Wolf Trap

Suzann Wilson Matthews, The Suzann Wilson Matthews Internship Fund

The Jacquemin Family Foundation, The Jacquemin Family Fund for Master Teaching Artists

Gary D. Mather and Christina Co Mather Fund for Wolf Trap

The Paula A. Jameson Fund for Wolf Trap Opera Mr. and Mrs. Stuart C. Johnson, Stuart C. and Nancy M. Johnson Fund for Wolf Trap Terre and Polly Jones Endowed Fund for Artistic Initiatives Eric and Heather Kadel, Kadel Family Fund for Wolf Trap Alan and Carol Kelly, Alan and Carol Kelly Fund for Education The King Family Fund for Early Learning Through the Arts Janet and Jerry Kohlenberger, The Trojanger Fund for Wolf Trap Nancy Laben and Jonathan Feiger, Nancy Laben and Jonathan Feiger Fund for Wolf Trap General Lester and Mina Lyles and Family, General Lester L. Lyles and Family Fund for Education Fund for Wolf Trap in Honor of Arvind Manocha and Gideon Malone Philip C. Marcum, The Sandy “Tanta” Marcum Fund for Early Learning Through the Arts Fund for Artistic Excellence in Honor of Audrey M. Mars John and Adrienne Mars/Jacqueline Badger Mars/Mars Foundation, Mars Fellowship Fund for Wolf Trap Opera

Ann McKee Fund for Opera Linda B. and Tobia G. Mercuro, The Linda and Tobia Mercuro Fund for Early Learning Through the Arts The Mullaney Family, The Mullaney Family Fund for Education National Endowment for the Arts National Endowment for the Arts/ Packard Foundation, NEA Packard Challenge Fund The Terry Noack Master Teaching Artists in Dance Fund Edward and Susan O’Connell, Edward and Susan O’Connell Family Fund for Wolf Trap David and Lucile Packard Foundation, Packard Fund PNC Foundation, PNC Fund for Early Childhood Education Geoffrey P. Pohanka and Anne R. Kline, Geoffrey P. Pohanka and Anne R. Kline Fund for Wolf Trap Opera Carol S. Popowsky, Carol S. Popowsky Parrot Fund for Education

Catherine Filene Shouse Education Fund Catherine Filene Shouse Foundation, Kay Shouse Great Performance Fund Jon and Pat Simons Fund for Wolf Trap Ed and Andy Smith Ed and Andy Smith Fund for Wolf Trap Opera Peter and Jennie Stathis, Peter and Jennie Stathis Fund for Early Learning Through the Arts Estate of Arthur Tracy, “The Street Singer,” Arthur Tracy Fund for Wolf Trap Opera Hans and Mimi Tuch, Hans and Mimi Tuch Fund for Wolf Trap Opera Conductors Robert and Lisa Van Hoecke, Van Hoecke Family Fund for Technology in Education RADM Ronald C. and Mrs. Judith A. Wilgenbusch, RADM Ronald C. and Judith A. Wilgenbusch Fund for Wolf Trap Opera and Classical Programs Earle C. and June A. Williams Fund for Wolf Trap Deborah F. and David A. Winston, Deborah and David Winston Fund for Classical Music Kim Witman Fund for Opera Coaching

Dr. James Roth Srikant Sastry and Manjula Pindiprolu, Sastry-Pindiprolu Family Fund for Wolf Trap Julian Setian Family Fund for the Arts

CATHERINE FILENE SHOUSE LEGACY CIRCLE THANK YOU TO THE FOLLOWING INDIVIDUALS FOR GENEROUSLY SUPPORTING WOLF TRAP FOUNDATION’S FUTURE THROUGH THEIR ESTATE PLANS. Anonymous (39) Dr.+ and Mrs. Duane A. Adams Jeanne Oates Angulo and Albert W. Angulo+ Jean W. Arnold Jeannie P. Baliles* Nancy A. Bartholomaei Sharon and Gary Batie The Honorable+ and Mrs.+ James M. Beggs* Ashley Benes David and Joan Berenson* Eleanor K. H. Blayney Thomas W. Bliss and Debra Harkins Bliss Dr.+ and Mrs.+ George P. Bogumill* Barbara A. Boinest Barbara A. and Peter P. Bonora David M. Borowski and Kerry Cadden K. David Boyer, Jr. and Family Mary W. Brady Mrs. Joel T. Broyhill+*

Nancy Broyhill Dennis and Julie Bruns Beth B. Buehlmann Edward A.+ and Karen A. Burka Allyson Butler Mr.+ and Mrs.+ John K. Butler Gregory S. Byrnes+ Marcia and Frank C.+ Carlucci III* James and Karen Chamberlain Denise Chen and Tim Maas Deborah M. and Michael Jay Chusmir Roy Cleland Mark Richard Clem* Mr. and Mrs. Philip M. Collins Suzanne Conrad* Jim and Kaye Cook Phyllis and Wes Corley Stephen T. Cramolini and John R. Feather II Robert D. Davis, Jr.+ and Henry J. Schalizki+ Lawrence and Sharon Deibel Laurie Parks DeLand Ronald and Linda DeRamus L. William Derrow

John and Lynn Dillon Kristen and Christopher Eckert* Eddie and Rachel Eitches Mary Elizabeth Ewing+ Suzanne Anastos Feigert Gary T. Festerman+*

Marilyn Hicks Fitzgerald Michael P. Fitzgerald Mark and Lynn Freemantle Daryl and Marcia Friedman* Virginia McGehee Friend Hermione Fthenakis James N. Glerum+ and Diane Morales Glerum Stephen and Barbara Goetting* Bette S. Gorman Sandra Goshgarian Mark William and Jodie Monger Gray Robert H. and Linda C. Grimes* John and Dawn Grinstead Barbara Groshans Marcia Hackett Allen Raphael Halper and Kim Kunzig Halper Carol V. Harford+* Mr.+ and Mrs. Marion Edwyn Harrison* Robert H. and Brenda Hawthorne Holidae H. Hayes Robin Crawford Heller Kaye Ann Hellmich The Honorable Sophocles A.+ and Mrs. Aphrodite S.+ Hero* Jo and Larry Hodgin* William M. Holmes, Jr.* Clark Hoyt and Linda Kauss Alexine Clement Jackson Stuart C. and Nancy M. Johnson* Terrence and Polly Jones* Ms. Terry Lynn Jones* Barbara (Grabon) and Robert Juszczyk Ashok and Stuti Kaveeshwar* Shawn Kelley and Karen Albert Janet and Jerry Kohlenberger Sue Leonard Mr.+ and Mrs. Robert D. G. Lewis

Sally D. Liff+ Dr. Diana Locke and Mr. Robert Toense Mr. and Mrs.+ William J. Long Dennis and Pam Lucey Karyl Charna Lynn Philip and Sandy+ Marcum Mr.+ and Mrs. William H. Marumoto* Dr. R. Barbara Mattas* Mr.+ and Mrs. R. Dennis McArver* Ann McPherson McKee* Robert and Anita+ McKinley Ingrid B. Meyer Joshua, Benjamin, and Micah Miller* RoseMarie M. Mirabella* Frances Edmonds (Mohr) and Michael D. Mohr* Ward+ and Barbara Morris Mr. and Mrs. Charles T. Moses III Jim and Karen Murray Dr.+ and Mrs. J. Frederic Mushinski Richard and Stella Guerra Nelson* Darrell L. Netherton Dr. Norine E. Noonan* Gerson Nordlinger, Jr.+ Nicholas Nylec II and Sharon J. Nylec Edward and Susan O’Connell Philip and Marjorie Odeen* Beatriz M. Oliveira Stephen D. Parks, Jr. and Amy Domagala-Parks Susan J. and Stephen D. Parks James B. Pearson, Jr.* Dr.+ and Mrs.+ Jed W. Pearson, Jr.* Julia Perry Carol S. Popowsky Dr. Kazuko K. Price+* Jim+ and Rosemary+ Prosser R. J.+ and Nancy+ Purdy* Charlene and Richard Raphael Don and Paige Rhodes Dr. Robin Rinearson Kevin and Kate Robbins Julie Carter Roberts and The Honorable James Montgomery Roberts* Lisa and Bud+ Roeder

Dr. James Roth Kevin L. Rusnak and Donald R. Dechow Jr. Rosanne Russo Bernadette Saperstein Danielle O. and John H. Saunders Alan J. Savada* Susan Sawyer+ David Lawrence Scally Amy E. Schaffer Ruth and Stan Seemann Ronald Segal+ and Beverly Dickerson Keith and Michelle Senglaub Keith+ and Barbara+ Severin* Mary Shedlock and Jim Mizner Wayne+ and Mary Kay+ Shelton* Joan Sheppard Dr. George Siemering and Vickie Watson Siemering Mr. and Mrs. Daniel Silien Mr.+ and Mrs. Murray Simpson Sandra and Eoin Stafford

Robert E. Stovall and Deborah D. Ralston Pam and Greg Sullivan Robert A. Timmins, Jr. Ina and Ed+ Tornberg Rick R. Treviño and W. Larz Pearson The Honorable Hans N. Tuch+ and Mrs. Tuch+ Lesley D. Turner and Curtis L. Schehr Mr. and Mrs. James M. Underhill Mr. and Mrs.+ J. Robert Vakiener Stephanie and Fernando+ van Reigersberg Charlie and Terry Walters* Patricia Shea Ward and Paul B. Ward W. Jay and Camille Warren* Donald W. Weber, Sr. Mrs. Robert M. Weidenhammer+*

RADM Ronald C.+ and Mrs. Judith A. Wilgenbusch Earle C.+ and June A.+ Williams* Miriam C. Flaherty Willis and MG Simon V. L. Willis* William L. Wingert, Jr.* Deborah F. and David A. Winston Donna Wolverton Mr.+ and Mrs.+ Harry E. Wood* Andrew Woodcock and Mary Ewell Cheryl A. Wooden and Dr. Deb Bobbitt Thomas J. Zaug * Charter Member + Deceased

Margaret Miller and Richard D. Welch, Jr.+* Sue Ann Westlund and James B. Zahrt

ADDITIONAL GUIDE CON TRIBUTORS JO LaBRECQUE Vice President, Communications & Marketing

EMILY HUNT Manager, Publications

SARA SHAFFER Art Director

CHERLYN REBULTAN Graphic Designer