2023 Wolf Trap Opera Insider Guide by Wolf Trap Foundation

PLAN YOUR WOLF TRAP OPERA SUMMER NEW MATINEE TIME FOR 2023!

SAT |

JUNE 23 7:30 PM FRI |

SEMELE

7:30 PM NOI + FESTIVAL A NIGHT AT THE OPERA

24 7:30 PM SAT |

NOI + FESTIVAL WALKER LILACS

SUN |

7:30 PM

J U LY

SEMELE

WED |

FRI |

SUN |

2 PM

NIGHT & DAY, USA WITH STEVEN BLIER

25 2 PM

SUN |

SEMELE

SUN |

2 PM

ARIA JUKEBOX

23 2 PM

SUN |

12:30 PM

7:30 PM

7 PM

FAUST

28 7 PM

29 7:30 PM

SALON SERIES

FAUST

LITTLE LUNCH MUSIC SALON SERIES

THU |

2 PM FAUST

FRI |

THU |

AUGUST

FRI |

2 PM

MASTER CLASS WITH RENÉE FLEMING

29 2 PM

THU |

SEMELE

FRI |

7 PM

SALON SERIES

25 7 PM

TUE |

MASTER CLASS WITH RYAN McKINNY

SAT |

FRI |

7:30 PM

STUDIO SPOTLIGHT

DON GIOVANNI

30 8 PM

WED |

RICHMOND BALLET CARMINA BURANA

TABLE OF CONTENTS WOLF TRAP OPERA 2023 WOLF TRAP FOUNDATION FOR THE PERFORMING ARTS

WELCOME..................................................................................2 DON GIOVANNI.......................................................................5 SEMELE..................................................................................... 13 FAUST......................................................................................... 19 STEVEN BLIER...................................................................... 25 SALON SERIES..................................................................... 26 UNTRAPPED.......................................................................... 26 RYAN McKINNY 2023 FILENE ARTIST IN RESIDENCE........................ 28 ARIA JUKEBOX...................................................................... 31 RENÉE FLEMING MASTER CLASS............................... 31 ALUMNI AROUND THE WORLD................................... 32 OVERTURES TO TOMORROW......................................34 FILENE ARTISTS................................................................... 37 STUDIO ARTISTS................................................................. 40 FELLOWS.................................................................................43 GUEST ARTISTS....................................................................44 ORCHESTRA & CHORUS.................................................46 STAFF........................................................................................48 WITH APPRECIATION.......................................................49 THE BARNS POLICIES......................................................56

SPECIAL THANKS TO DAN AND GAYLE D’ANIELLO, WOLF TRAP 2023 SEASON UNDERWRITERS

WELCOME Dear Friends, We’ve referred internally to this season as “Just Deserts”: the summer where each title character behaves badly and (satisfyingly) gets their due. While the operas that comprise this season have been around for several hundred years, the storylines are still fresh and contemporary. Consider Semele, with a title character who often is characterized as vapid and overambitious—the modern analog being any number of television or TikTok influencers. On closer look, we might see a woman who is struggling against the confines of a patriarchal society, and whose wholehearted search for love and pleasure is nothing short of radical. In Faust, a man is at the end of his life, wishing so desperately for the opportunities and thrills of his youth that he sells his soul to the Devil to make those dreams come true. Haven’t we all, from time to time, wished to run the clock backwards to a specific day, person, or constellation sans regret?

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

And then we come to the infamous Don Giovanni, a too-familiar tale of a man with epic power and appetite who lays waste (sometimes inadvertently, sometimes purposefully) to those around him. The story has resonated with audiences for hundreds of years, not only for its archetypal model of male power and prestige with a satisfying come-uppance, but also because it shows us the messiness of relationships. This exploration of amorality highlights the fascinating links between power and attraction or love and anger. There’s a reason we’re drawn to these larger-than-life stories; the characters enshrined within are, in essence, ourselves. Without facing dire consequences, we can vicariously pursue attraction, youth and opportunity, and endless pleasure, all through these extraordinary productions. Is that not just deserts?

2023 SEASON 1,239 APPLICATIONS AUDITIONS 531 LIVE + 32 VIRTUAL AUDITIONS BY THE 88.5 HOURS OF LISTENING NUMBERS FILENE ARTIST ACCEPTANCE RATE: 2.74% STUDIO ARTIST ACCEPTANCE RATE: 3%

Welcome to Wolf Trap Opera’s (WTO) 2023 season. With a long legacy of providing one of the best artist training experiences around, it’s no surprise that WTO returns this year with a remarkable roster of talent who excel in three ambitious full-scale productions and a host of dynamic collaborations. Along with our mainstage productions, this summer brings robust artistic opportunities including public master classes by 2023 Filene Artist in Residence Ryan McKinny and celebrated soprano Renée Fleming; UNTRAPPED community performances with the National Orchestral Institute + Festival; a musical tour across the country in Night and Day, USA with Steven Blier; and cabaret-style evenings that offer an inside look into the musical passions of our artists during the Salon Series. Each of these programs enhance our artist training offerings and amplify WTO’s leadership in the opera world. More than five decades ago, philanthropist Catherine Filene Shouse shared a bold and forward-thinking vision for Wolf Trap. By prioritizing career-building experiences for new artists, while also establishing an endowment through her own philanthropy, she invested in the future. This endowment approach remains essential to Wolf Trap Opera’s success and has an undeniable influence on our artists and the genre. As we continue to be

ARVIND MANOCHA President & CEO Wolf Trap Foundation for the Performing Arts

community stewards, I encourage you to help strengthen WTO’s future through a contribution to the endowment as a part of the Campaign for Wolf Trap: Our Next Chapter. As always, we are grateful for the continued annual generosity of our patrons and donors. Thank you for ensuring that our artists, educators, and audiences have opportunities to explore and enjoy the arts for years to come.

As a lifelong enthusiast and supporter of opera, I revel in the opportunity to experience and contribute to Wolf Trap Opera’s (WTO) excellent productions. WTO’s highly selective residency program is one of the most sought-after experiences for emerging professional singers. With artist-centric programming, new productions, and top-tier music and production teams, WTO has earned a well-deserved reputation for nurturing the best young artists from around the world. WTO’s alumni continue to land coveted roles and shape the future of opera itself, reflecting the program’s profound impact. Though I do not have the adept hands of set and costume designers nor the brilliant vocal abilities of the Filene and Studio Artists, I am grateful that, through philanthropy, we can all play a part in making these incredible performances and training opportunities happen. All of this is only possible thanks to the many supporters of Wolf Trap’s arts and education programs. On behalf of the Board of Directors, I sincerely thank you for your continued support and dedication.

DANIEL A. D'ANIELLO Chairman Board of Directors, Wolf Trap Foundation for the Performing Arts

WOLF TRAP FOUNDATION BOARD OF 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 Mrs. Andrita J. Andreas Mr. C.E. Andrews Mr. Jeremy Blank Mr. Kevin T. Boyle Ms. Jan Brandt Ms. Patrice K. Brickman Mr. Richard K. Bynum Mr. Bruce L. Caswell Mr. Dante D’Egidio Dr. Melissa A. Delgado Ms. Lynn R. Dillon

Mrs. Jean Edelman Ms. Virginia McGehee Friend Ms. Christina Gadrinab (Ex-Officio) Mrs. Margaret Gupta Mr. Kenneth R. Hayduk Mr. Donald “Blue” Jenkins Mr. Broderick D. Johnson Mr. Eric J. Kadel, Jr. 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 Mr. Robert S. Lutz Dr. Gary D. Mather Mr. Prabu Natarajan 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 Mr. Clarence Taylor Mr. Robert G. Van Hoecke Mr. John B. Wood

OTHER OFFICERS MS. BETH BRUMMEL, Chief Operating Officer MR. STEPHEN D. KAHN, General Counsel

PRESIDENT EMERITUS Mr. Terrence D. Jones

DIRECTOR EMERITUS The Hon. Dirk Kempthorne

FOUNDER Mrs. Jouett Shouse (1896–1994)

FORMER CHAIRS OF BOARD OF DIRECTORS Mr. Edward R. Carr (1969)

Mr. Edward B. Crosland (1980–81)

Mr. K. David Boyer, Jr. (1998–99)

Mr. I. Lee Potter (1970)

The Hon. Robert Keith Gray (1982–83)

Mr. Thomas W. Hoog (2000–01)

Dr. Elizabeth May (1971)

Mr. William F. Bolger (1984–85)

Dr. Edward H. Bersoff (2002–03)

Mr. C.R. Smith (1972)

Dr. John L. McLucas (1986–87)

Mr. John C. Backus, Jr. (2004–05)

The Honorable Melvin R. Laird (1973–74)

Mr. Earle C. Williams (1988–89)

Mr. Walter M. Oliver (2006–07)

The Hon. Najeeb E. Halaby (1990–91)

Mr. J. William Middendorf, II (1975–76)

Mrs. James M. Beggs (1992–93)

Mr. Gerald L. Kohlenberger (2008–09)

Mr. David A. Berenson (1994–95)

Mr. Gary H. Tabach (2010–11)

Mr. Stuart C. Johnson (1996–97)

Mr. John C. Lee IV (2012–13)

Miss Barbara M. Watson (1977) Mr. Douglas R. Smith (1978–79)

WOLF TRAP ASSOCIATES BOARD MRS. SUZANNE YOUNGKIN, Honorary Chair MS. CHRISTINA GADRINAB, Chair MRS. AMY ROSSI, Vice Chair and Secretary

Mrs. Jennie Bishof Mrs. Sarah Choi Mr. Jon D. Craver Mr. Leo F. Fox III Ms. Bonnie Haukness Mr. Jeffrey R. Houle Mrs. Carolyn E. Howell Mr. Steven C. Job Mrs. Bambi Landew Mr. George Lowden Mr. James E. P. Miller

Mrs. Linda Moses Mrs. Pat Menster Neuman Ms. Katherine Newland Mr. Michael Polmar Mr. Daniel W. Quirk Mrs. Chelsea Rao Mr. Jiten “Jay” Shah Mr. Jonathan Shames Mr. Dean Souleles Mrs. Joan Stansfield Mr. Jake Zatzkin

MOZART

Don

iovanni G MUSIC BY WOLFGANG AMADEUS MOZART LIBRETTO BY LORENZO DA PONTE FILENE CENTER FRIDAY, AUGUST 11 | 7:30 PM

SPECIAL THANKS TO VIRGINIA M c GEHEE FRIEND AND ANNE R. KLINE AND GEOFFREY POHANKA, PERFORMANCE SPONSORS

CAST Don Giovanni

Cory McGee

Il Commendatore

Eric Lindsey

Donna Anna

Renée Richardson

Don Ottavio

Lunga Eric Hallam

Donna Elvira

Tiffany Townsend

Leporello

Andrew Gilstrap

Masetto

Daniel Rich

Zerlina

Denis Vélez

Chorus

See page 46 Wolf Trap Orchestra

IN ITALIAN WITH PRODUCTION PERFORMED PROJECTED ENGLISH TRANSLATION INFO RUNNING TIME: 2 HOURS AND 30 MINUTES WITH 1 INTERMISSION FIRST PERFORMED: OCTOBER 29, 1787, AT THE NATIONAL THEATRE IN PRAGUE

CREATIVE TEAM Conductor Director & Choreographer Scenic Design

Stephanie Rhodes Russell John de los Santos Kristen Robinson

Costume Design

Oana Botez

Lighting Design

Anshuman Bhatia

Wig & Makeup Design

Anne Nesmith

MUSIC & PRODUCTION STAFF Chorus Master & Pianist Asst. Chorus Master & Rehearsal Pianist Principal Coach & Continuo Italian Coaches Supertitles Fight Coordinator Intimacy Coordinator Asst. Director (Fellow) Production Stage Manager Assistant Stage Manager

William Woodard Marco Rizzello Christopher Turbessi Nicolo Sbuelz Jocelyn Dueck Michelle Papenfuss Casey Kaleba Katherine Carter Margaret Jumonville Rachel Henneberry Alycia Martin Diane Lin

THE STORY in his attempted seduction of Donna Anna, the notorious Don Giovanni ACT I Thwarted is challenged to a duel by her father, the Commendatore. The older man is slain and Giovanni escapes. Finding her father’s body, Anna makes her fiancé, Don Ottavio, swear vengeance on the unknown murderer. Giovanni and his assistant Leporello come upon a young woman in distress. Giovanni approaches her, only to find that it is Donna Elvira, a previously abandoned conquest. She turns on him in a fury, but Leporello distracts her, and Giovanni disappears. Leporello then introduces Elvira to the extensive catalogue of his master’s seductions. They next encounter the wedding party of young Zerlina and Masetto, and Giovanni invites them all to a party at his mansion. While Leporello distracts Masetto, Giovanni exercises his charms on Zerlina, who is ready to succumb to him when Elvira suddenly arrives and takes her away. Anna and Ottavio enter and, not recognizing Giovanni, ask for his assistance in the search for her father’s killer. Elvira returns and arouses their suspicions by denouncing Giovanni. Anna now realizes that Giovanni was the intruder and reminds Ottavio of his oath. At the party, Giovanni continues his pursuit of Zerlina, while the masked Anna, Elvira, and Ottavio are invited in. Zerlina loudly rebuffs Giovanni’s assault, and during the ensuing confusion he again eludes capture. exchanges clothes with the reluctant Leporello in order to pursue his ACT II Giovanni next conquest, resulting in a series of mistaken identities and narrow escapes. While laughing over his adventures, Giovanni is interrupted by the voice of the Commendatore’s statue, warning him of the terrible consequences of his misdeeds. Giovanni’s insouciant response is to order Leporello to invite the statue to supper, and to Leporello’s horror, it seems to accept. Later, Giovanni is at supper when Elvira bursts in with a final appeal to mend his ways, which mockingly, he rejects. The next guest to respond is the statue of the Commendatore. This time, Giovanni’s bravado is useless, and he is compelled to meet his fate. When the others arrive, Leporello tells them what has happened, and all proclaim the moral of the story: sinners ultimately get what they deserve.

EXPLORE MORE WITH SUGGESTED READING Read more about how Don Giovanni plays a role in Killing Commendatore, the 2017 novel by Japanese author Haruki Murakami.

THE DANGEROUS DON GIOVANNI For over two centuries, Mozart and Da Ponte's version of the Don Juan legend has held audiences in its musical thrall while also feeding their innate voyeuristic desires. Only the truly resolute can avoid observing sin, both when committed and when (if) punished. The multitude of offenses in the opera range from mere annoyances and harmless fibs to acts of depraved selfishness that result in unforgivable misery and unrestful death. Just as Leporello’s catalogue of his conquests spills from page to page, so does the list of crimes enacted by the title rogue as he navigates his last hours on earth. But as compelling as the trespasses of our villain (or anti-hero?) are, his are not the only ones enacted for our entertainment. Every character in this dramma giocoso commits some questionable act, whether out of fear, greed, or as a survival tactic. The final difference is that only Giovanni dies for his deeds, while the rest all have to live with them. This ancient dogma of sin and punishment led me to Dante’s Inferno and its nine circles of Hell as a starting point for the conception of Giovanni’s world. We’ve created a cylindrical domain with paths leading upwards, within, and reflecting downwards, indicating the proceeding and subsequent circles of torment. Every individual scurries around the cylinder, witnessing and participating in the atrocities, while only some commiserate. For the final confrontation with the Commendatore’s statue and epilogue, we’ve chosen to transport Giovanni to the ninth circle of Hell, reserved for the most treacherous offenders, including Lucifer. But in concordance with Dante, the deepest circle is not engulfed by flame, but impenetrable cold and ice. Regardless of where the damned wander in this hellish tundra, up or down, they are forever denied the warmth of salvation.

Lord Byron, replica by Thomas Phillips

Before I conceived Giovanni’s punishment however, I needed to align him with a recognizable character prototype. Who can commit such horrors with seductive cunning and incontrovertible charm? Someone we love to hate, and vice versa. Less than three months after Don Giovanni premiered in Prague, George Gordon (Lord) Byron was born in London. The personal life of this esteemed poet gained him more notoriety than his writings. Byron’s 36 years of living were crowded with numerous marriages, affairs, conquests, and copious amounts of food, drugs, gambling, and violence. These addictions led to an endless pursuit of greater sensations, the same as our dastardly Don. Byron even composed his own version of Don Juan, which portrayed him as the victim to an array of voracious women. To me, Mozart’s Don Giovanni is accurately encapsulated as Lord Byron was by his lover, Lady Caroline Lamb. Both are “mad, bad, and dangerous to know.”

—JOHN DE LOS SANTOS DIRECTOR

UNPACKING DON GIOVANNI AD INFINITUM BY WILLIAM BERGER The legend of Don Juan and the statue who shows up for dinner was first staged around 1630 by Tirso de Molina in his play El burlador de Sevilla y el convidado de piedra (The Trickster of Seville and the Stone Guest). Though few of his works exist today, De Molina was a prolific dramatist and his play is frequently performed in the Spanish-speaking world, especially on All Souls Day, the “Day of the Dead.” Several operas drew on this source, and it was particularly popular in Prague. Da Ponte also corresponded with his friend Giacomo Casanova, a fellow exiled Venetian living near the Czech capital, and Casanova even contributed some lines to the libretto, but—frustratingly—we don’t know exactly which (although I have my suspicions).

The literary sources for Don Giovanni give us clues to unpacking this endlessly compelling opera. De Molina was a monk and a priest, and his play is intensely theological—though served up in a witty, box-office-friendly manner. The Don Juan character is the Trickster of the title, i.e. Satan himself. Da Ponte, too, was an ordained priest, even though he was born Jewish and died (somewhat) married. Considering the priestly background of these two greatly opens the possibilities of the story and makes sense of the plot’s curiosities. For starters, Giovanni is a shape-shifter: he appears to Zerlina as an honest man, to Elvira as a husband, to Anna as her fiancé Don Ottavio, and to Elvira’s unseen maid as his own servant Leporello. Sometimes he disappears from sight altogether as if by supernatural means. No human power can catch him. Anna, Ottavio, Elvira, Zerlina, and even slow-witted Masetto quickly figure out who he is, but they can’t do anything about it. This is why they keep saying words to the effect of, “We’re going to get you!” but never do—essentially the opera’s entire synopsis. It is not bad dramaturgy. It is good theology. It is Giovanni who brings out the worst in each of these people: the Devil “makes” them do it, in a sense. He loses—this time, but only because he is brought down by another supernatural power, the Commendatore’s statue (the stone guest of Tirso de Molina’s title who says he only “dines on heavenly food”). Modern people do not speak of cosmic battles in these terms, but we still discuss this exact same conflict. Don Giovanni recalls the language of addiction (“probably no human power could have relieved us of our alcoholism, but God could and would if he were sought”). Like Original Sin, addiction is seen as innate and incurable, but kept in check one day at a time with recourse to a Higher Power. Giovanni is a platonic ideal of addiction itself.

Don Juan and the Statue of the Commander, Alexandre-Évariste Fragonard, circa 1830-1835

DON GIOVANNI MAY BE THE DEVIL WHO BRINGS DON GIOVANNI WHILE OUT THE WORST IN PEOPLE, IT IS ALSO POSSIBLE TO SEE

AND THE

SEVEN DEADLY SINS DONNA ANNA: LUST

THE OTHER SEVEN CHARACTERS AS EMBODIMENTS OF THE DEADLY SINS:

Donna Anna has high spirits, but also wasn’t supposed to let her fiancé Don Ottavio into her bedroom in the middle of the night either.

DON OTTAVIO: SLOTH

Rather than laziness, Don Ottavio has a chronic hesitancy to do what he must for his own salvation.

DONNA ELVIRA: ENVY

Donna Elvira sees others filtered through herself; invidio in Italian, or seeing “in” instead of “out.”

MASETTO: WRATH ZERLINA: GREED

Masetto's reaction to everything is to throw fists. Zerlina says she doesn’t want to run off with Giovanni, but as soon as he says he will “change her lot [sorte] in life,” she practically jumps at the chance.

COMMENDATORE: PRIDE

The Commendatore challenges the much younger Giovanni to defend his haughty honor.

LEPORELLO: GLUTTONY

Leporello is not only addicted to food and wine throughout, but clearly impressed by sensual indulgences.

Such an analysis is not to define “what Mozart meant,” (because defining the vast world vision Mozart had would be as presumptuous as it would be pointless), but the reason to look at possibilities within this amazing work is to encourage people to look beyond the elegant music veneer and to keep going beyond ad infinitum. Don Giovanni bears such eternal unpacking, and the music powers this journey.

cadenza (such as in Donna Anna’s final aria “Non mi dir”) create a dizzying effect, almost like someone on the brink of madness? Listening to this score with a thoroughly engaged ear will reveal treasures that over two centuries of mining have not even begun to exhaust.

Trusting your ears beyond the undeniable loveliness of your first listen to it will yield endless results. Why does that sudden shift to a minor key (such as in Leporello’s Catalogue aria when he mentions Giovanni’s predominant lust for virgins) sound disturbing and vaguely queasy? Why does that long

William Berger is an author and lecturer for a wide variety of topics within and beyond music, as well as a writer of fiction and theater works. He is a commentator for the Metropolitan Opera broadcasts and is responsible for the Met’s “Opera Quiz.”

AN EPILOGUE OF IMPORTANCE As Will Berger mentioned in his beautiful piece on page 9, Don Giovanni is viewed in a very different perspective now than in the days when it was originally written. The force of the modern #MeToo movement translates in a direct way to this particular storyline, and we are really just starting to unpack the nexus of the two. For Wolf Trap Opera’s production of Don Giovanni, our artistic team decided to include the rarely performed epilogue: Giovanni meets his supernatural demise, but the story doesn’t end there! Donna Anna and Don Ottavio, Donna Elvira, Masetto, and Zerlina convene with the intention of exacting revenge on Giovanni, but are told by a cowering Leporello of Giovanni’s supernatural demise. After receiving the news, the ensemble finally imagines a world without the torture Giovanni exacted—what would they do, how would they live, in the absence of his corrupting power and influence? They sing of joy, relief, and their plans for this new, bright future. The show ends with an ensemble in which the words “Questo è il fin di chi fa mal” (“This is the end of all wrongdoers”) are first voiced by Donna Anna, Donna Elvira, and Zerlina—a vehement renunciation of Giovanni’s actions. And so this piece, centered around corruption and power, is redeemed by a trio of women and their shared belief in a new world order that prioritizes peace, hope, and true love.

—LEE ANNE MYSLEWSKI Costume sketches of Donna Anna, Donna Elvira, and Zerlina by Oana Botez

WOLF TRAP’S VICE PRESIDENT OF OPERA AND CLASSICAL PROGRAMMING

HANDEL

emele S MUSIC BY GEORGE FRIDERICK HANDEL WOLF TRAP OPERA PREMIERE

THE BARNS AT WOLF TRAP FRIDAY, JUNE 23 | 7:30 PM SUNDAY, JUNE 25 | 2 PM* THURSDAY, JUNE 29 | 2 PM* SATURDAY, JULY 1 | 7:30 PM *NEW MATINEE TIME FOR 2023

SPECIAL THANKS TO ED AND ANDY SMITH, PERFORMANCE SPONSORS

CAST Semele Iris

Esther Tonea Véronique Filloux

Juno

Emily Treigle

Ino

Emily Treigle

Athamas

Kathleen Felty

Jupiter

Lunga Eric Hallam

Cadmus

Eric Lindsey

Somnus

Eric Lindsey

Apollo

Samuel Krausz*

Chorus

Studio Artists Wolf Trap Orchestra

PRODUCTION PERFORMED IN ENGLISH WITH PROJECTED TEXT INFO RUNNING TIME: 2 HOURS WITH 1 INTERMISSION FIRST PERFORMED: FEBRUARY 10, 1744, AT THE COVENT GARDEN THEATRE IN LONDON LIBRETTO: UNKNOWN, BASED ON A LIBRETTO FOR AN ENGLISH OPERA BY WILLIAM CONGREVE, CIRCA 1706, FROM OVID’S METAMORPHOSES, WITH TEXTS FROM ALEXANDER POPE AND OTHER WORKS BY CONGREVE. BY ARRANGEMENT WITH BOOSEY & HAWKES, INC., O/B/O OXFORD UNIVERSITY PRESS.

CREATIVE TEAM Conductor

Timothy Long

Director

Tara Faircloth

Scenic Design Costume Design

Rooth Varland

Lighting Design

Mark Stanley

Wig & Makeup Design

Anne Nesmith

MUSIC & PRODUCTION STAFF Principal Coach

Kirill Kuzmin

Chorus Master

David Hanlon

Asst. Chorus Master, Rehearsal Pianist, Continuo Supertitles Asst. Director (Fellow) Intimacy Coordinator Fight Coordinator Production Stage Manager Assistant Stage Manager

Cameron Anderson

Alexander Soloway Marco Rizzello Margaret Jumonville Katherine Carter Casey Kaleba Savannah Valigura Diane Lin * Studio Artist

THE STORY King of Thebes, and his family travelled to the Temple of Juno in ACT I Cadmus, Boeotia for the marriage of his mortal daughter Semele to Prince Athamus. The marriage omens appear propitious, but Semele has invented excuses because she is secretly in love with the god Jupiter. She pleads to him for help, and his thunder interrupts the ceremony, extinguishing the sacrificial flames on the altar of Juno, his wife. Everyone flees, but the despairing Athamus and Semele’s sister Ino remain behind. Ino reveals to the astonished Athamus that she loves him. Cadmus interrupts with the shocking news that Semele has been abducted by Jupiter in the form of an eagle. With Jupiter, Semele lives a life of endless pleasure and love. angered at her husband’s adultery, orders her messenger Iris to discover ACT II Juno, where Jupiter and Semele are. Iris reports that Jupiter built an elaborate new palace on Mount Cithaeron, and warns it is guarded by fierce dragons that never sleep. Juno swears vengeance, and hastens to visit Somnus, the God of Sleep, to enlist his aid. Semele yearns for Jupiter. He reassures her of his fidelity, and reminds her that she is mortal and needs time to rest. Semele professes devotion to him, but reveals discontent that she is not immortal. Jupiter, recognizing that Semele has a dangerous ambition, transforms the palace to Arcadia, charms her with its pastoral delights, and magically summons her sister Ino.

EXPLORE MORE WITH SUGGESTED READING Read more about modern takes on mythology in Circe or The Song of Achilles by Madeline Miller.

is rudely disturbed by the arrival of Juno and Iris, but is enlivened ACT III Somnus when Juno promises him the reward of his favorite nymph. Juno orders Somnus to give Jupiter an erotic dream that will make him desperate for Semele at any price. Juno assumes the form of Ino, pretends Semele is immortal, and gives Semele a magical mirror that deceives her into thinking she’s even more beautiful than usual. Juno advises that if Semele wishes to become immortal, she must refuse Jupiter until he promises to grant her any wish. She must then demand that he come to her in his godlike form, true and undisguised. Jupiter is astonished when Semele acts coldly, and he rashly swears an irrevocable vow to grant whatever she desires. Semele demands that he visit her in his natural guise, and Jupiter reacts with horror, knowing that his lightning bolts will certainly kill her. Semele refuses to listen to reason, and she sees Jupiter descend as a fiery cloud of lightning, laments her folly, and dies consumed in flames. Ino announces the tragic news that Semele has perished. However, some good has come of it: the unborn child of Semele and Jupiter, Bacchus (God of Wine), will arise from Semele’s ashes.

THE COMPLEXITY OF HUMAN & GODDESS As a female director working in the post (!) #MeToo era, I am often called upon to find the feminist perspective in operatic works that seem to have no historical basis for such an understanding. Nonetheless, great master composers like Handel have a way of capturing humanity that almost always welcomes—or at least allows—a shift in perception as these operas are re-discovered in subsequent generations. Semele is just such a piece. The story begins with a wealthy young woman on the cusp of a storybook marriage to a prince. However, Semele is infatuated with the king of the gods, Jupiter. When she calls for him, she is whisked away to a pleasure palace designed to fulfill her every desire. Unfortunately, even limitless rapture proves a bit monotonous, and at the devious urging of Jupiter's wildly jealous wife, Juno, Semele extracts one tiny promise: she wants to see Jupiter in his fully god-like state, and achieve immortality herself. This is, sadly, a bridge too far, and Semele is incinerated by the blinding lightning bolts of Jupiter’s untethered love. The opera does not paint a flattering picture of women in general, particularly the two primary female characters. Is Semele a narcissist, determined to have what she wants at any price, a poster-child for frivolous indulgence, and impossible to satisfy? Or is she a charismatic free spirit, trapped in a stifling society, initially offered as a sacrifice to a patriarchal structure that crushes her spirit, and then unable to find meaning in a world where she has no purpose other than pleasure? Is Juno a raving shrew, spewing hatred, and arranging a literal deathtrap for the mortal woman who has caught her husband’s eye? Or is she a deeply neglected and emotionally damaged wife seeking to punish a husband who has pursued yet another in a never-ending stream of beautiful, disposable lovers? This opera is continually fascinating because it explores the complexity of human (and goddess) nature, recognizing that all of these ideas may be true at once. It invites audiences to consider the nuances of desire and power, and the consequences of their actions. Like all great works of art, what we perceive to be the underlying message of the piece may say more about what we the audience are bringing to the table than what is actually presented. It is true that Semele makes a series of questionable life choices, but with her death, she brings an incredible gift to the world: her son! Bacchus, the God of Wine, Theater, and Fertility, brings light and happiness to this oppressive mortal world. His birth is a new beginning for humanity… reminding us that sometimes we simply must pour ourselves a glass of wine, toss aside our civilized ways, and embrace freedom and liberation!

—TARA FAIRCLOTH DIRECTOR

THE BEAUTIFUL ORDER OF SEMELE Early in 1744, Handel announced the premiere of Semele, a new work “after the manner of an oratorio.” It was indeed performed like an oratorio—that is, without sets or costumes and with soloists, chorus, and orchestra placed on the stage as in a concert—but early on, many people recognized that Semele was very much like an opera in disguise. The drama resembled Handel’s earlier Italian operas, focusing as it did on the tragedy played out by its characters more than on the commentary of the chorus. Indeed William Congreve’s libretto, from which Handel’s was adapted, had originally been written decades earlier to be set as an opera by John Eccles (an opera which was never performed until the late 20th century). Although the libretto was in English like the oratorios that Handel was currently writing, it made extensive use of the conventions of Italian opera, conventions such as da capo forms (A-B-A) for the majority of its arias, as well as a good deal of dramatic recitative.

In part, presenting Semele “after the manner of an oratorio” was a business decision for Handel, who infuriated his competitors in the opera world by producing what was essentially an opera without any of the costs of sets or costumes. But the production proved controversial with the London public as well. While it was a success with many listeners, many others, who had become accustomed to biblical subjects in their oratorios, found the story of Semele’s passion for a god to be too licentious for the genre. Dr. Delany, a clergyman, refused to attend—although his wife went to every performance. Charles Jennens, the librettist of the Messiah and of several other Handel oratorios, sneered at the composer’s attempt to pass off Semele as an oratorio, calling it “a bawdy opera.” Later, the Victorian age did its best to tone down what some considered suggestive language in Congreve’s libretto, excising, for example, the word “bed.” The story of Semele is the story of the birth of the god Bacchus, a god perhaps best known today for introducing the pleasures of wine but also associated with ecstasy, frenzy, and madness. Semele, a princess of Thebes, is beloved by Jupiter and, to her ruin, is infatuated by his attentions. Juno, always jealous of her wandering husband, appears to Semele in disguise and convinces her that she deserves to see her lover not only in his human guise but in his true divine form. Jupiter tries to dissuade her, but Semele pressures him to grant her wish. Accordingly, he appears to her in thunder and lightning, and she is consumed. From the flames, Jupiter snatches the baby that Semele is carrying and (though not told in this libretto) sews it up inside his thigh to mature, later to be born as the god Bacchus. Imagine a modern composer—or, for that matter, Wagner or even Monteverdi—being handed such a story: the birth of the orgiastic god Bacchus, Semele as the mother of madness and intoxication, her ecstatic love for Jupiter, her immolation. For all this we might expect a fiery, passionate treatment. But the tone of Handel’s Semele is rather different. The music is extraordinarily beautiful and contains some of Handel’s most famous arias, but it is not music of abandon and madness. Semele’s great aria and chorus, “Endless pleasure, endless love,” for example, is not a bacchanal at the Venusberg but, of all things, a gavotte, a beautiful and joyous dance to be sure, but one that is more courtly than passionate. And her immolation occurs during a relatively brief accompanied recitative.

The drama is well served by such conventions, though, because Semele’s ecstasy and the Dionysian madness that might attract writers of another era are not the focus for Handel and his 18th-century audience. Indeed, the birth of Bacchus is treated here almost as an afterthought. It is announced at the very end of the opera by the serene Apollo, and leads to a happy finale. For Handel, the real focus is on Semele’s inappropriate love. She attempts to rise above her place in the order of things and mix with the gods, and in so doing she brings about her own demise. The myth of Semele is one of many in which mortals go beyond the set boundaries and are consumed by a divine fire. This is a lesson about order, both in nature and society—the very opposite of what we might expect today from a Bacchus myth! It tells us that deceptions and artifice are necessary to maintain an orderly society, that there are dangers in stripping away all illusions. Semele should have been content with Jupiter as she knew him and should not have demanded to see to his innermost being. Like so many dramas of the time, this one offers a reflection of an idealized society. It shows an ordered world from which the real world of the 18th century could draw a lesson. It made for a popular form of theater that is quite different from the more realistic mirror that a modern drama might hold up to society, a mirror in which we might find less certain moral lessons. But this “idealizing” opera has nothing fussy or academic about it. It has glorious, moving, and theatrical music, a broad dramatic sweep, and vividly drawn characters ranging from the comical God of Sleep to jealous Juno to the tragic Semele.

Program note excerpt used by permission of Boston Baroque and Martin Pearlman.

GOUNOD

aust F MUSIC BY CHARLES GOUNOD LIBRETTO BY JULES BARBIER

WOLF TRAP OPERA PREMIERE

THE BARNS AT WOLF TRAP FRIDAY, JULY 21 | 7:30 PM SUNDAY, JULY 23 | 2 PM* THURSDAY, JULY 27 | 2 PM* SATURDAY, JULY 29 | 7:30 PM *NEW MATINEE TIME FOR 2023

SPECIAL THANKS TO ED AND ANDY SMITH, PERFORMANCE SPONSORS

CAST Dr. Faust Marguerite Siébel Valentin Méphistophélès

Eric Taylor Brittany Logan Mary Beth Nelson Kyle White Wm. Clay Thompson

Marthe

Kathleen Felty

Wagner

Mario Manzo*

Chorus

Studio Artists Wolf Trap Orchestra

IN FRENCH WITH PRODUCTION PERFORMED PROJECTED ENGLISH TRANSLATIONS INFO RUNNING TIME: 3 HOURS WITH 1 INTERMISSION FIRST PERFORMED: MARCH 19, 1859 AT THÉÂTRE LYRIQUE IN PARIS REDUCED ORCHESTRATION BY FRANCIS GRIFFIN, USED BY ARRANGEMENT WITH POCKET PUBLICATIONS.

CREATIVE TEAM Conductor Director Scenic Design

Geoffrey McDonald Alison Moritz Lawrence E. Moten III

Costume Design

Lynly Saunders

Lighting Design

Colin K. Bills

Wig & Makeup Design

Priscilla Bruce

MUSIC & PRODUCTION STAFF Principal Coach & French Diction Rehearsal Pianist, Asst. Chorus Master, Organ Chorus Master & Coach Supertitles

Marie-France Lefebvre Michelle Papenfuss William Woodard Alexander Soloway (designed by Sarah Jane Pelzer)

Asst. Director (Fellow)

Matthew Schulz

Production Stage Manager

Savannah Valigura

Assistant Stage Manager

Dashiell Waterbury

EXPLORE MORE WITH SUGGESTED READING Read more about immortality at any cost in The Invisible Life of Addie LaRue by V.E. Schwab, or immerse yourself in 1890s Louisiana in The Awakening by Kate Chopin.

* Studio Artist

THE STORY an aging scholar, is disillusioned with life and contemplates poisoning ACT I Faust, himself. He curses God and calls on the Devil, Méphistophélès, who obligingly appears and offers Faust riches, power, or glory. Faust, however, only wants to recapture the innocence of youth. Méphistophélès agrees, but there are conditions: on earth Faust will be master, but in the world below their roles will be reversed. When Faust hesitates, Méphistophélès conjures up a vision of a beautiful girl, Marguerite. Faust signs the contract and returns to his youth. and Wagner are going off to war, but Valentin is concerned about ACT II Valentin leaving his sister Marguerite. Wagner starts a song to cheer everyone up, but is interrupted by Méphistophélès. Méphistophélès tells fortunes: Wagner will be killed in his first battle, the flowers that Siébel picks will wither, and Valentin will meet his death at the hands of someone close to Méphistophélès. Dissatisfied with the wine on offer, Méphistophélès conjures up a better vintage to toast Marguerite. Valentin strikes out and his sword blade shatters, convincing everyone they are in the presence of the Devil. Méphistophélès leads Faust to see Marguerite, and he is left more entranced than before. gathers flowers for Marguerite outside her house. As Méphistophélès ACT III Siébel predicted, they wither, but holy water restores them. Méphistophélès leaves a box of jewels for Marguerite. Marguerite finds the jewels and puts them on. When she looks in the mirror, she sees a different woman and is further confused by the encouragement of her neighbor, Marthe. Faust and Méphistophélès return, and Méphistophélès flirts with Marthe, giving Faust the opportunity to seduce Marguerite. Marguerite realizes she loves Faust and they consummate their passion. and abandoned, Marguerite is expecting Faust’s child. The soldiers ACT IV Seduced return with Valentin. Siébel tries to stop him from seeing Marguerite but Valentin, suspecting the worst, pushes him aside. Outside her house, Méphistophélès serenades Marguerite on Faust’s behalf. Valentin and Faust fight, leaving Valentin fatally wounded. Marguerite watches her brother die and hears him curse her with his last breath. Distraught, Marguerite goes to church to pray for forgiveness. When she hears the voice of Méphistophélès telling her that she is damned, she collapses in terror. and Méphistophélès are surrounded by a group of demons and Faust ACT V Faust is shown a vision of Marguerite: she has been imprisoned for infanticide and has gone insane. With Méphistophélès’ help, Faust goes to the prison to save Marguerite. She seems to recognize her lover and recalls the night when he first seduced her. Faust is overwhelmed with pity. Marguerite panics at the sight of the Devil and, with a frantic appeal to heaven, she dies. Méphistophélès damns her but angelic voices proclaim she is saved.

A BATTLE OF GOOD AND EVIL The story of this summer’s Faust will be familiar to many—it’s the classic tale of making a deal with the Devil. In fact, several operas have taken inspiration from this plot, including Stravinsky’s The Rake’s Progress, Boito’s Mefistofele, Berlioz’s La damnation de Faust, and even Adler and Ross’ Damn Yankees. Charles Gounod’s 1859 adaptation is loosely based on Part One of Johann Wolfgang von Goethe’s masterpiece play of the same title, but it owes just as much to the tropes and traditions of 19th-century French opera. In fact, Gounod’s opera has often been referred to by the alternative titles Margarethe and Gretchen not only to distinguish this work from Goethe’s Faust, but also to re-center the opera’s narrative around its female protagonist. As fateful as Faust’s dealings may be, the real battle of good and evil takes place between the Devil and the innocent Marguerite. When her family and community betray her, Marguerite’s faith is doubly tested. She fights not only for her belief in God, but also for the potential of humanity’s goodness. American opera audiences have long had a soft spot for this Romantic opera, even though the French public initially had mixed feelings about the work. The celebrated Metropolitan Opera was inaugurated in 1883 with a performance of Gounod’s Faust and, at one point, the company itself was nicknamed the “Faustspielhaus” because the opera was presented so many times. In creating Wolf Trap’s new production of this epic morality story, I wanted to find a way to engage with the topics of faith and family through a uniquely American lens. Our creative team has therefore transposed the action to French-speaking Louisiana at the turn of the 20th century. The tight-knit community surrounding our heroine Marguerite is influenced not only by French Catholicism, but also by cultural and religious traditions of the West African diaspora. The soldiers we see preparing for battle in the first act are part of the Spanish-American War, wherein conflicts surrounding Spain’s colonial rule over Cuba ultimately resulted in America’s increased influence in the Caribbean. Faust himself is a man struggling to find meaning at the turn of the 20th century. He finds himself questioning the central promises of the Industrial Revolution—is “progress” the panacea we made it out to be? As for Marguerite, we took great inspiration from the example of Marie Catherine Laveau—a free woman of color in colonial New Orleans. A renowned practitioner of Voodoo, Laveau was known within her community for her contribution to women’s causes, acts of service to prisoners, and care for the sick.

—ALISON MORITZ DIRECTOR

THE IRRESISTIBLE ALLURE OF FAUST The Faust legend has always provided inspiration in the performing arts. Countless playwrights, choreographers, and filmmakers have been riveted by the aged, disillusioned scholar who offers his soul to the devil in exchange for youth. Composers producing memorable Faust-related works include everyone from Berlioz to Busoni. Among the operas, Charles Gounod’s Faust continues to head the list in terms of international popularity, 165 years after its premiere. Prior to Faust, Gounod had been not a star but simply a working musician. The renowned mezzo-soprano Pauline Viardot’s campaign on his behalf resulted in a commission from the Opéra in Paris for Sapho (1851). Except for the heroine’s magnificent final aria, that work is largely forgotten today, as are Gounod’s next two operas, La nonne sanglante (1854) and Le médecin malgré lui (1858). But then came Faust (1859), with which the 40-year-old composer’s reputation was made.

At that time, grandeur ruled onstage at the Opéra, where the management considered Faust not grand enough. It was eventually taken on by the enterprising impresario Léon Carvalho, director of the Théâtre Lyrique. Among his requirements was that his wife, prima donna Marie Caroline Miolan-Carvalho, would create the role of Marguerite. Fortunately for Gounod, Miolan-Carvalho was a brilliant artist, easily able to attract significant attention for the premiere thanks solely to her participation. Faust’s debut scored a notable success, triumphing thereafter throughout Europe in performances arranged by the influential music publisher Choudens. In 1862 it returned to Paris, where the Opéra produced it at last.

Gounod’s title role belongs to a full-toned, musically graceful lyric tenor. Other than the lovestruck soliloquy’s climatic high C, the greatest challenge for Faust comes in Act I: to what degree should the singer alter his timbre in depicting an old man? Considerable power is also required for the final pages of the duet with Méphistophélès, as well as later in the duel scene with Valentin. Many tenors stake everything on the ardent music of Act III, but Faust can make a profound impression in the opera’s anguished opening scene, as he contemplates suicide. Although the old man’s tortured soul—and his desperate desire to remake his existence—are established early on, it’s difficult for the audience not to despise Faust later when, in his guise as a dashing young man, he abandons Marguerite. As with her tenor partner, Marguerite’s singing needs innate elegance and taste, aligned with detailed connection to the text. Think of her first lines, indicating to Faust with exquisite delicacy that she doesn’t need his arm to lead her home. We find out much more about her in Act III, with the glorious sequence encompassing the “King of Thulé” Ballad, Jewel Song, quartet, love duet, and brief final monologue. That’s quite a distance to travel, vocally and expressively: from daintily virginal sweetness to sparkling coquetry, demure grace, and finally the passion of first love. Marguerite’s music turns weightier beginning in Act IV, with the broken-hearted “spinning aria” and harrowing church scene. Having begun the opera as a light-ish lyric soprano, by the end she’s coping with

near-Verdian vocal demands. Gounod presents Marguerite’s descent with great sensitivity: unsullied innocence leads to disillusion, despair, murder, and madness. In her soaring phrases during the prison-scene trio she reaches the last turn in the road of her life, with her plea to the angels rewarded with a sign from above that allows her to move serenely into the next world. Valentin’s stirring aria “Avant de quitter ces lieux” was, surprisingly, an afterthought, composed by Gounod for English baritone Charles Santley to sing in the opera’s 1863 London premiere. Instantly, Valentin became a much-desired role for baritones everywhere. An eloquent singing actor can make much of Valentin’s religious conviction and his rejection of his sister Marguerite in the moving death scene. The “Golden Calf” song, garden-scene invocation, and harrowing church scene show the power needed for Méphistophélès. Elsewhere, however, his music exudes the air of a debonair man about town. That quality emerges most vividly in his initial appearance before the aged Faust, and in the flirtation with Marthe in Marguerite’s garden. Méphistophélès’ serenade concentrates on spellbinding legato, but it’s punctuated by repeated laughs that the bass must genuinely sing rather than bellow. This devil can be dangerously appealing, almost endearing. How stunning, then, that Gounod makes such a chilling impact with Méphistophélès’ intervention when confronting Marguerite in the church. There’s much more to savor—Siébel’s adorable "flower aria," the quartet (with the trio of principals joined by the colorful, animated Marthe), the captivating choral waltz, the matchlessly stirring Soldiers’ Chorus. It all adds up to an entrancing, incomparably romantic evening in the opera house.

This article was edited by Roger Pines from its original version, which appeared in Lyric Opera of Chicago’s 2018 program book.

NIGHT AND DAY, USA STEVEN BLIER, ARTISTIC DIRECTOR SUNDAY, JUNE 4 | 2 PM THE BARNS AT WOLF TRAP Steven Blier, artistic director, musician, and raconteur, takes audiences through a whirlwind of a day—24 hours—traveling around the United States. There’s no better tour guide than Steven!

Steven Blier, artistic director Véronique Filloux, soprano Mary Beth Nelson, mezzo-soprano Daniel Rich, baritone Wm. Clay Thompson, bass Marco Rizzello, piano Matthew Schulz, director

SALON SERIES SCOTTISH BARN | THE BARNS AT WOLF TRAP FRIDAY, JULY 7 | 7 PM WEDNESDAY, JULY 12 | 7 PM FRIDAY, JULY 28 | 7 PM Don’t miss your chance to hear the stars of tomorrow in the intimate Scottish Barn! These highly exclusive evenings of song, curated by the artists themselves, will be performed with the audience in cabaret-style seating. The casual atmosphere will allow the listeners to get to know these artists, discover their musical passions, and enjoy food and drink throughout the evening. Seating is limited. JULY 7:

JULY 12:

JULY 28:

Véronique Filloux, soprano Emily Treigle, mezzo-soprano Cory McGee, bass Renate Rohlfing, piano

Renée Richardson, soprano Kathleen Felty, mezzo-soprano Renate Rohlfing, piano

Esther Tonea, soprano Daniel Rich, baritone Joseph Li, piano

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 or on the big amphitheater stage of the Filene Center, Wolf Trap Opera relies on the venue’s resources to mount the quality productions that are hallmark to its training and reputation.

SPECIAL THANKS TO DAN AND GLORIA LOGAN, 2023 UNTRAPPED SPONSORS

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 greater DC region, bringing the thrill of live vocal music to new places and unexpected spaces.

LITTLE LUNCH MUSIC WOLF TRAP OPERA STUDIO ARTISTS WEDNESDAY, JULY 12 | 12:30 PM HOLY TRINITY CATHOLIC CHURCH IN GEORGETOWN Wolf Trap Opera Studio presents opera scenes in concert. This season’s Studio Artists will convey all the emotion of grand opera by concentrating on the music and the music-making process.

National Orchestral Institute + Festival

A NIGHT AT THE OPERA

WALKER

WOLF TRAP OPERA STUDIO ARTISTS

TIFFANY TOWNSEND, SOPRANO

SATURDAY, JUNE 3 | 7:30 PM

SATURDAY, JUNE 24 | 7:30 PM

THE CLARICE SMITH PERFORMING ARTS CENTER

Jazmine Saunders, soprano Winona Martin, mezzo-soprano Rosario Hernandez Armas, mezzo-soprano Aaron McKone, tenor Mario Manzo, baritone

Returning Filene Artist and soprano Tiffany Townsend performs George T. Walker’s beautiful and evocative piece Lilacs. This history-making work is a meditation of grief and remembrance as Walker utilizes powerful symbols—a lilac, bird, and star—and stanzas from Walt Whitman’s ode to Abraham Lincoln, “When Lilacs Last in the Dooryard Bloom’d.” Walker, a DC native, became the first African American composer to earn the Pulitzer Prize for Music when Lilacs unanimously won in 1996. This performance will take place at The Clarice in College Park, MD.

NATIONAL ORCHESTRAL INSTITUTE + FESTIVAL

It’s opening night for the National Orchestral Institute + Festival, and Wolf Trap Studio Artists are showcased in this tribute to the opera! This performance will take place at The Clarice in College Park, MD.

LILACS

NATIONAL ORCHESTRAL INSTITUTE + FESTIVAL

2023 FILENE ARTIST IN RESIDENCE

RYAN McKINNY Recognized by Opera News as “one of the finest singers of his generation,” American bass-baritone Ryan McKinny has earned his reputation as an artist with something to say. His relentless curiosity informs riveting character portrayals and beautifully crafted performances, reminding audiences of their shared humanity with characters on stage and screen. In the 2022-23 season, McKinny brings his commanding bass-baritone and incisive characterization to stage dramas spanning three centuries. At LA Opera, he makes his first appearances as one of opera’s most menacing villains, singing Scarpia opposite Angel Blue as Tosca and Michael Fabiano as Cavaradossi. Also in Los Angeles, McKinny re-teams with composer and conductor John Adams, reprising his role as Clarence in Girls of the Golden West at LA Philharmonic. He returns to Seattle Opera as Kurwenal in Wagner’s epic

SPECIAL THANKS TO THE LINCOLN AND THERESE FILENE FOUNDATION, 2023 PROGRAM UNDERWRITER

Tristan und Isolde and to Houston Grand Opera as Jochannan in Salome. McKinny also makes a dual role and house debut as Bluebeard in Bluebeard’s Castle at Boston Lyric Opera, before concluding the season with a three-city tour of Jake Heggie and Gene Scheer’s For a Look or a Touch, commissioned by Music of Remembrance, with performances in Seattle, San Francisco, and Chicago. Just announced: McKinny will star opposite Joyce DiDonato in Jake Heggie’s Dead Man Walking on opening night of the Metropolitan Opera’s 2023-24 season. McKinny’s recent debut as Joseph De Rocher in Dead Man Walking at Lyric Opera of Chicago was hailed by the Chicago Tribune as “an indelible performance...an acting tour de force buttressed by a warmly inviting voice.” He has also appeared as the title character in Don Giovanni (Washington National Opera, Lyric Opera of Chicago, Houston Grand Opera, Boston Symphony Orchestra), Escamillo in Carmen (Semperoper Dresden, Deutsche Oper Berlin, Staatsoper Hamburg, Houston Grand Opera), and Mozart’s Figaro (Washington National Opera, Wolf Trap Opera, Houston Grand Opera, Seattle Opera, Metropolitan Opera).

McKinny made a critically acclaimed Bayreuth Festival debut as Amfortas in Parsifal, a role he has performed around the world, including appearances at Argentina’s Teatro Cólon, Deutsche Oper am Rhein, and Dutch National Opera. Other Wagnerian roles include Kurwenal in Tristan und Isolde (Deutsche Oper Berlin, Houston Grand Opera, Canadian Opera Company), Biterolf in Tannhäuser and Kothner in Die Meistersinger von Nürnberg, both at the Metropolitan Opera, Wotan in Opéra de Montréal’s Das Rheingold, Donner/Gunther in Wagner’s Ring cycle (Washington National Opera, Boston Symphony Orchestra, Houston Grand Opera), and the titular Dutchman in Der fliegende Holländer (Staatsoper Hamburg, Milwaukee Symphony, Glimmerglass Festival, Hawaii Opera Theater). McKinny is a frequent guest artist at LA Opera, where he has sung Count Alamaviva in Le nozze di Figaro; Don Basilio in Il barbiere di Siviglia; and Stanley Kowalski in Previn’s A Streetcar Named Desire, opposite Renée Fleming as Blanche DuBois; and at Santa Fe Opera, where he has appeared as Jochanaan in Salome and Oppenheimer in Doctor Atomic. An alumnus of the Houston Grand Opera Studio, McKinny has made a number of important role debuts on the HGO mainstage, including the iconic title roles of Don Giovanni and Rigoletto.

PUBLIC MASTER CLASS Tuesday, July 25 | 7 PM Center for Education at Wolf Trap Free, reservation required

Each year, Wolf Trap Opera chooses one of its acclaimed alumni to return as the Filene Artist in Residence. This year’s Filene Artist in Residence, Ryan McKinny, will work with WTO’s singers on both artistic and practical preparation for their careers.

A CHAT WITH RYAN M c KINNY Before the start of the 2023 season, Wolf Trap Opera (WTO) sat down with Filene Artist in Residence Ryan McKinny ('06, '08) as he reflected on his past time with Wolf Trap Opera and his love of collaboration. Wolf Trap Opera (WTO): As you look back on your seasons with Wolf Trap Opera, what stands out the most? Ryan McKinny (RM): Being able to perform major roles in a small, but important, venue at that time in my life was huge. The atmosphere was so supportive. I felt like it was safe to take risks and make mistakes, which was huge for my development. WTO: What skills did you carry on from your time with WTO? How has the WTO experience helped your career, especially in the last few years? RM: Learning how to collaborate with interesting conductors and directors is something I really dove into at WTO, and it has become something I am known for. I love the collaborative process, especially with artists who have very strong points of view and I started honing that while I was with WTO. WTO: You’ve been involved with several streaming performances recently—can you share what it’s like to bring opera to life on the screen versus the stage? RM: It's a totally different process! The live performance experience is all about staying in the moment and connecting to an audience in real time. When you are making a film, in a way you are both the performer and the audience in the early stages of the development. You spend a lot of time with the finished product before the audience gets to experience it. With film, you are still connected to the audience, but that connection takes months or years, rather than the immediate connection of live theater. I love both and am so happy that there is room for each in our art form.

Ryan McKinny in WTO’s Le nozze di Figaro in 2006

WTO: Can you speak to what it’s been like to collaborate over the years with fellow WTO alumni and friends on various projects? Have any experiences been particularly special? RM: I sang Figaro in Le nozze di Figaro with Ailyn Pérez as the Countess at WTO, and years later, (once she was an international superstar) I sang as Don Giovanni at HGO and she was my Donna Anna. It was spectacular. WTO: What is your favorite role to take on? RM: The one I am currently working on! In all seriousness, what I love about opera is collaboration, and my favorite experiences in rehearsal and on stage come from having fantastic colleagues. There are directors, conductors, and singers that I want to work with no matter what, even if it's not a "dream role," and there are "dream roles" I wouldn't have any interest in singing if the situation didn't feel collaborative. WTO: What are you excited for when it comes to working with the summer 2023 artists and the Master Class? RM: I love meeting young artists and spending time with them. Often they are the ones teaching me. I am looking forward to seeing how they view the world a little differently from me, and I hope we can learn from each other to become more fully ourselves as artists and as human beings.

ARIA JUKEBOX

THE AUDIENCE GETS TO CHOOSE! SUNDAY, JULY 2 | 2 PM THE BARNS AT WOLF TRAP Performers: Brittany Logan, soprano Esther Tonea, soprano Véronique Filloux, soprano Emily Treigle, mezzo-soprano Kathleen Felty, mezzo-soprano Mary Beth Nelson, mezzo-soprano Lunga Eric Hallam, tenor Eric Taylor, tenor Kyle White, baritone Wm. Clay Thompson, bass Eric Lindsey, bass Members of the Wolf Trap Opera Studio Pianists: Marco Rizzello, Michelle Papenfuss The audience chooses! No really, the AUDIENCE chooses! Vote on your favorite arias sung by your favorite Filene Artists. They find out what they’ll sing when you do—on the stage! Aria voting begins at 12:30 PM at The Barns at Wolf Trap.

Photo Credit: Angelina Namkung

MASTER CLASS WITH RENÉE FLEMING Friday, June 16 | 2 PM Center for Education at Wolf Trap Free, reservation required

One of the most beloved and celebrated singers of our time, superstar soprano Renée Fleming joins Wolf Trap Opera to share her artistry with the 2023 Wolf Trap Opera singers. Ms. Fleming presents a free Master Class focusing on opera arias with four current WTO artists.

WTO ALUMNI:

FROM WOLF TRAP TO THE WORLD STAGE Wolf Trap Opera's alumni perform at top opera houses and in acclaimed productions around the world. Take a look at just a few of the recent achievements and upcoming appearances of these talented stars.

Will Liverman (left) with Angel Blue in the Metropolitan Opera’s Fire Shut Up in My Bones, photo by Ken Howard.

Ryan Speedo Green in the Metropolitan Opera's Champion, photo by Ken Howard.

THE MET’S STAR-STUDDED SEASONS During the 2022-2023 season, Tamara Wilson (’08) and Christine Goerke (’95) starred in the long-awaited restaging of Lohengrin at the Met. Described as one of today’s finest Mozart tenors, Ben Bliss (’13) returned to the Met for Don Giovanni in May 2023 following a family-friendly remake of The Magic Flute. The Metropolitan Opera’s 2023-2024 season will include an impressive 21 WTO alumni featured in principal roles, in addition to many more appearing in comprimario roles. This fall, Filene Artist in Residence Ryan McKinny (’06, ’08) will reprise his role as the death row inmate Joseph De Rocher in the Met’s premiere of Dead Man Walking. Fellow 2006 alum Ailyn Pérez will also play leading roles at the Met in Florencia en el Amazonas and Carmen. X: The Life and Times of Malcolm X will debut at the Met in November with Will Liverman (’15, ’16) in the title role. The production is the second opera by a Black composer in the Met’s history. The first, Terence Blanchard’s Fire Shut Up in My Bones, also starred Liverman and won Best Opera Recording at the 2023 Grammy Awards. The production returned to the Met in April 2023 with Ryan Speedo Green (’13, ’14) as the lead after its historic debut. Green also recently starred in another Blanchard opera at the Met, alongside fellow WTO alum Eric Owens (’94, ’95), and received rave reviews for his performance in Champion.

INTERNATIONAL ACCLAIM Wolf Trap Opera’s artists reach far and wide with remarkable performances across the globe. In 2022-2023, Heidi Stober’s (’06) schedule took her to the opera houses of San Francisco, Berlin (Deutsche Oper), Chicago (Lyric Opera), Hamburg, and Dresden, while Kate Lindsey (’05,’07) starred in four operas in Austria’s Vienna State Opera. In February 2023, Erin Morley (‘07, ‘08) embarked on a European tour of Handel’s Alcina as Morgana, fellow enchantress and sister to the title character. She performed at Philharmonie de Paris, Opéra National de Bordeaux, Elbphilharmonie Hamburg, Auditorio Nacional de Música (Madrid), Gran Teatre del Liceu (Barcelona), and Palau de les Arts Reina Sofìa (Valencia). This summer, tenor and New Zealander Simon O’Neill (’03) sings Mahler in Germany and Spain before heading to San Francisco Opera to perform the title role of Lohengrin. His other upcoming roles include Loge in Das Rheingold in Los Angeles and Froh in Das Rheingold in Sydney, Australia. This season, Diego Torre (’08, ’09) also performs in Australia at the Sydney Opera House and Queensland Performing Arts Center as Radamès in Aida.

I spent two incredible summers at Wolf Trap Opera, and I look back on that time as a huge step in my growth as an artist. I sang my first Zerbinetta at Wolf Trap, an experience that prepared me well for a career singing the role all over the world. –ERIN MORLEY ('07, '08)

OUTSTANDING PASSION PROJECTS In February 2023, Stephanie Blythe (’95, ’96) made history as the first woman to play the baritone title role in Puccini’s Gianni Schicchi as a part of San Diego Opera’s Puccini Duo. Earlier in December 2022, a Lincoln Center performance recording by her alter ego, Blythely Oratonio, aired on PBS.

Stephanie Blythe (right) as Gianni Schicchi in San Diego Opera’s Puccini Duo, photo by Karli Cadel.

J’Nai Bridges (’15, ’16) teamed up with drummer and jazz musician Ulysses Owens Jr. to perform Notes on Hope across California, an exploration of French art songs, jazz, and spirituals. Meanwhile, Lawrence Brownlee (’01) set off on an East Coast tour for Rising, a song cycle that sets texts by Black writers during the Harlem Renaissance to music.

REMARKABLE RECORDINGS On the recording front, Joshua Blue (’19) released his first studio album, Black & Blue, in collaboration with 2023 WTO Recital Artistic Director Steven Blier. The album pays homage to the songs that shaped Blue in his pre-opera days, including covers of Stevie Wonder, Paul Simon, and Gladys Bentley classics. Jamie Barton’s (’09) bluesy and cabaret-like album, Unexpected Shadows (2020), was nominated for Best Classical Solo Vocal Album at the 2022 Grammys. The work features Barton’s luscious voice in a thrilling celebration of American classical song and the music of powerful women.

Jamie Barton, photo by Anne Clowdus.

Filene Artists Chanáe Curtis (left) and Richard Trey Smagur (right) in Verdi’s La Traviata. Photo by Scott Suchman.

OVERTURES TO TOMORROW: ENDOWING THE FUTURE AT WOLF TRAP OPERA BY THOMAS MAY When Mozart was commissioned by his fans in Prague to compose Don Giovanni—Wolf Trap Opera’s (WTO) Filene Center production for the 2023 season—he tailored the title role around the vocal and acting talents of a younger contemporary singer, Luigi Bassi. It was common practice for 18th-century composers to create parts with the voices and personalities of specific singers in mind. (Bassi even persuaded Mozart to write one of the opera’s best-loved numbers for him, the duet “Là ci darem la mano.”) In similar fashion, Wolf Trap Opera regularly “composes” its season by selecting operas that promise to most effectively match and showcase the talents of each summer’s cadre of young professionals. The decision to stage Don Giovanni, for example, was made only after bass Cory McGee (who will take on the part of the dissolute nobleman) and his fellow Filene Artists for 2023 had been identified through WTO’s highly competitive audition process. By choosing repertoire

to fit the singers—a reversal of the standard casting method—WTO places a unique emphasis on the development of artists in their most formative years. The company's signature approach endures today thanks to strong leadership and an intricate weaving of artistic vision, creativity, and the practical realities of operational funding. WTO relies on a blend of diverse funding resources, each playing a critical role. Along with donor contributions, performance sponsors, and ticket sales, the program is supported by a baseline of funding from Wolf Trap Foundation’s endowment—a closely governed pool of funds donated specifically for the purpose of long-term investment and growth. With careful management over time, a portion of that growth can be used year after year to fund opera programs and provide stability. Wolf Trap’s endowment has far-reaching impact ensuring a strong future for WTO and all of Wolf Trap’s programs.

Annie Coppola, the Foundation’s Director of Planned Giving and Endowment, explains, “Endowment support has played an important funding role since Wolf Trap’s earliest years, with Wolf Trap’s founder Catherine Filene Shouse emphasizing the value of building a base of perpetual support. This support helps safeguard the Foundation’s arts and education programs through economic uncertainties and provide creative opportunities for the future. Global events in recent years have reinforced the need to sustain programs, especially during the most challenging times.” Lee Anne Myslewski, Vice President of Opera and Classical Programming at Wolf Trap, describes the endowment as “providing us with the artistic freedom to invest in our very talented emerging artists.” Myslewski further explains, "Sustainable and ongoing endowment funding is essential to WTO’s success. It enables an extensive nation-wide audition process, artist-centric programming, new productions, and top-quality music and production teams, which offer the individualized artist training that our program is best known for.” All of this sets WTO apart from other emerging artist programs and, without exaggeration, WTO has an extraordinary track record of producing industry-defining leaders. Often it takes only a few years for alumni to establish themselves among the most sought-after singers of opera today.

Take bass-baritone Ryan McKinny, who returns this summer to mentor WTO’s current artists as Filene Artist in Residence. McKinny began as a Filene Artist in 2006 and 2008—during which he starred as Figaro to Ailyn Pérez’s (’06) Countess Almaviva in Mozart’s The Marriage of Figaro—before quickly going on to high-profile engagements at leading opera houses in North America and around the world. While McKinny’s career continues to grow, he returns to WTO this summer to re-invest his time and talents in the next generation of stars, much as endowment funds of the past yield returns for future art. Another returning artist paying it forward is 2019 Filene Artist in Residence Lawrence Brownlee. Following a stellar season with WTO in 2001, the superstar tenor also quickly went on to work with the world’s most prestigious companies as “one of the world’s leading bel canto stars” (The Guardian). Reflecting on his experience, Brownlee said, “Everyone at Wolf Trap wanted us to succeed. For a lot of us, it was the first place in our careers where we were exposed to an incredible amount of resources, support, and professional expectations. I was far more prepared for my international career as a result of the experience I had at my residency with Wolf Trap—one that I came away from encouraged, reinvigorated, and inspired.”

Wolf Trap Opera’s programs do more though than just showcase emerging singers. They provide the artists with a platform to take risks and discover new facets of their talent. From the outer reaches of the Baroque and earlier periods of music to new commissions, such as John Musto’s Grammy-nominated opera Volpone (2009), artists gain exposure to a vast range of opera repertoire. High-quality productions of little-known or neglected gems expand the audience’s love of the art and make WTO a beacon for the opera world at large, while a spirit of adventure allows WTO to cast a fresh glance at familiar masterworks like this season’s Faust. Filene Artist Wm. Clay Thompson returns this summer to play the diabolical Méphistophélès in Faust at The Barns, and as a former WTO artist, he will draw on past experiences in WTO’s original productions of The Ghosts of Versailles, Madama Butterfly, The Rape of Lucretia, and La bohème. Thompson shared, “the diverse repertoire I encountered during my time at Wolf Trap helped me to expand my vocal and stylistic range, which has proved invaluable as I’ve continued my career.”

WTO alum and 2019 Filene Artist in Residence, Lawrence Brownlee. Photo by Zakiyah Caldwell.

Mrs. Shouse had a forward-thinking vision for Wolf Trap. By prioritizing career-building opportunities for young artists—while also taking early action to establish an endowment through generous personal philanthropy and inspiring close friends to join her—she invested in the future. Her foundational approach has had an undeniably effective and lasting influence on individual artists and the world of opera. Myslewski notes, “It is exciting to know that gifts made 20, 30, or even 50 years ago are benefiting our artists in 2023, and will have a lasting impact on the company for decades to come.” This enduring influence has survived generations and resonates with supporters today who know that WTO’s alumni become industry leaders that shape the future of opera itself. Longtime donors Ed and Andy Smith share, “We were first inspired to give to Wolf Trap and ultimately created a named endowment fund because of the uniqueness of the Wolf Trap Opera program with its emphasis on emerging artists transitioning to professional careers. Our hope is to see that mission continue and expand.” Coppola adds, “By investing in the future through endowment, donors are enabling WTO to better prepare for what lies ahead and focus its energy on making great art, training young artists, and helping lead the future of opera.” Opera is the ultimate collaborative art form. It’s a joyously messy, multilayered, creative endeavor built on alliances between music and words, singing and acting, tradition and innovation, and performers and audiences. Add to that the collaboration between generations—the mentoring and modeling that refine the fire of each newcomer’s talent—and Wolf Trap Opera is ideally positioned to write the next chapter of this never-ending story. Thomas May is a writer, critic, educator, and translator whose work appears in The New York Times among other publications. The English-language editor for the Lucerne Festival, he also writes program notes for such companies as the Metropolitan Opera.

Filene Artist Ann Toomey ('21, '22) with Ed and Andy Smith. Photo by A.E. Landes.

Strengthen Wolf Trap Opera for years to come through a contribution to the endowment as a part of the Campaign for Wolf Trap: Our Next Chapter. Learn more about the Campaign and endowment support on page 49.

FILENE ARTISTS The 2023 Filene Artists were the catalyst for this season’s repertoire choices and they represent the top 2.74% of singers who applied for the 2023 roster. Wolf Trap Opera’s artist-centric approach makes a Filene Artist residency a coveted engagement for the best of the new generation of classical vocal talent. Filene Artists are emerging professionals who have already finished their

ANDREW GILSTRAP BASS-BARITONE^ Nashville, TN Leporello (Don Giovanni) TRAINING: Bayerische Staatsoper Opernstudio (Munich); Des Moines Metro Opera Ensemble; Minnesota Opera Resident Artist; Des Moines Metro Opera Resident Artist; University of Houston; Wolf Trap Opera HIGHLIGHTS: Antonio (Le Nozze di Figaro), Bayerische Staatsoper; Second Sentinel (Les Troyens), Bayerische Staatsoper; Sixth Man/Sixth Policeman/Seventh Houseservant (The Nose), Bayerische Staatsoper; Sourin (Pique Dame), Des Moines Metro Opera; Immigration Officer (Flight), Minnesota Opera; Gregorio (Roméo et Juliette), Wolf Trap Opera

academic or conservatory study and are on their way to significant careers.

KATHLEEN FELTY

LUNGA ERIC HALLAM

Lubbock, TX

Site-B Khayelitsha, Cape Town, South Africa

MEZZO-SOPRANO

Athamas (Semele) Marthe (Faust) Salon Series Recital (7/12) TRAINING: Santa Fe Opera Apprentice Program; Ryan Opera Center, Lyric Opera of Chicago; University of North Carolina School of the Arts HIGHLIGHTS: Mercédès (Carmen), Santa Fe Opera; Third Lady (The Magic Flute), Des Moines Metro Opera; Paula cover (Florencia en el Amazonas), Lyric Opera of Chicago; Laura (Luisa Miller), Lyric Opera of Chicago; Maddalena (Rigoletto), Dayton Opera

TENOR

Jupiter (Semele) Don Ottavio (Don Giovanni) Aria Jukebox Carmina Burana with the Richmond Ballet TRAINING: Ryan Opera Center, Lyric Opera of Chicago; University of Cape Town College of Music HIGHLIGHTS: Founder, Phenomenal Opera Voices (non-profit); First Courtier (Le Comte Ory), Lyric Opera of Chicago; Passenger 5 (Proximity), world premiere, Lyric Opera of Chicago; Beyond the Aria series with Joyce DiDonato, Harris Theater; Voice of South Africa International Singing Competition; Semifinalist, 2019 Neue Stimmen International Singing Competition; International Festival of the Arts in Zimbabwe

VÉRONIQUE FILLOUX

ERIC LINDSEY

Mountain View, CA

Atlanta, GA

Iris (Semele) Night and Day, USA with Steven Blier Salon Series Recital (7/7)

Cadmus/Somnus (Semele) Il Commendatore (Don Giovanni) Aria Jukebox

TRAINING: Arizona Opera; Des Moines Metro Opera; Pittsburgh Opera; Central City Opera; University of Maryland, Maryland Opera Studio; Northwestern University

TRAINING: Opera North Studio Artist; Sarasota Opera Apprentice and Studio Artist; University of Houston Moores Opera Center; Kennesaw State University; Young Harris College

HIGHLIGHTS: Zerbinetta (Ariadne auf Naxos), Arizona Opera; Martesia (Ercole su’l Termodonte), US Premiere Pacific Opera Project; Liesl (The Sound of Music), Arizona Opera; Pamina (The Magic Flute), Arizona Opera; Musetta (La Bohème), Berkshire Opera Festival

HIGHLIGHTS: Pirate King cover (The Pirates of Penzance), The Atlanta Opera; Don Basilio cover (The Barber of Seville), The Atlanta Opera; Leporello (Don Giovanni), MidAtlantic Opera; Colline (La Bohème), MidAtlantic Opera; Nourabod (The Pearl Fishers), Opera in Williamsburg, VA; Fifth Jew (Salome), Spoleto Festival USA; Sarastro (The Magic Flute), Lakeland Opera; King Hjalamar (Princess Maleine), world premiere, Dell’Arte Opera Ensemble

SOPRANO

BASS

BRITTANY LOGAN

DANIEL RICH

Baton Rouge, LA

Baltimore, MD

Marguerite (Faust) Aria Jukebox

Masetto (Don Giovanni) Night and Day, USA with Steven Blier Salon Series Recital (7/28) Carmina Burana with the Richmond Ballet

SOPRANO^

TRAINING: Lindemann Young Artist Development Program, Metropolitan Opera; Cincinnati Opera Young Artist Program; California State University Long Beach; University of Cincinnati College-Conservatory of Music; Wolf Trap Opera HIGHLIGHTS: High Priestess (Aida), Metropolitan Opera; Clotilde (Norma), Metropolitan Opera

TRAINING: Lindemann Young Artist Development Program, Metropolitan Opera; The Manhattan School of Music; Morgan State University HIGHLIGHTS: Count Lerma cover (Don Carlos), Metropolitan Opera; Waiter (Der Rosenkavalier), Metropolitan Opera; Ben/Suleiman/John (Omar), The Spoleto Festival USA

CORY M c GEE

RENÉE RICHARDSON

Stafford, VA

Springfield, PA

Don Giovanni (Don Giovanni) Salon Series Recital (7/7)

Donna Anna (Don Giovanni) Salon Series Recital (7/12)

TRAINING: Houston Grand Opera; Santa Fe Opera; Rice University; Wolf Trap Opera

TRAINING: Academy of Vocal Arts; Cleveland Institute of Music; University of West Florida

BASS^*

HIGHLIGHTS: Il Dottore (La Traviata), Houston Grand Opera; Caspar (Der Freischütz), Wolf Trap Opera; Colline (La Bohème), Florentine Opera and Michigan Opera Theatre; Billy (A Snowy Day), Houston Grand Opera; Basilio (Il Barbiere di Siviglia), Opera on the James

SOPRANO

HIGHLIGHTS: Annina (La Traviata), Houston Grand Opera; Nedda scene (Pagliacci), Houston Grand Opera; Mimi (La Bohème), Academy of Vocal Arts Opera

MARY BETH NELSON

ERIC TAYLOR

Orange County, CA

Washington, USA

Siébel (Faust) Night and Day, USA with Steven Blier

Dr. Faust (Faust) Aria Jukebox

TRAINING: Glimmerglass Festival; Florida Grand Opera; The Juilliard School; Oklahoma City University

TRAINING: Santa Fe Opera; Central City Opera; Houston Grand Opera Studio; Rice University; Westminster College

MEZZO-SOPRANO

HIGHLIGHTS: Rosina (The Barber of Seville), Opera Delaware; Grace/Fate (L’Orfeo), Juilliard Opera; Justice Ruth Bader Ginsburg (Scalia/Ginsburg), Opera Las Vegas/Glimmerglass Festival; Angelina (La Cenerentola), Opera Las Vegas; Secretary (The Consul), Bronx Opera; Alisa (Lucia di Lammermoor), Florida Grand Opera

BARITONE

TENOR

HIGHLIGHTS: Gastone (La Traviata), Houston Grand Opera; Mark cover (The Wreckers), Houston Grand Opera; Werther cover (Werther), Houston Grand Opera; Narraboth (Salome), Houston Grand Opera; Pinkerton (Madama Butterfly), Detroit Opera

WM. CLAY THOMPSON

EMILY TREIGLE

Lexington, KY

New Orleans, LA

Méphistophélès (Faust) Night and Day, USA with Steven Blier Aria Jukebox

Juno/Ino (Semele) Salon Series Recital (7/7) Aria Jukebox

TRAINING: Ryan Opera Center, Lyric Opera of Chicago; Santa Fe Opera; Glimmerglass Festival; University of North Texas; Wolf Trap Opera

TRAINING: Aspen Fleming Artist; Houston Grand Opera Studio; Wolf Trap Opera; Rice University

BASS^*

HIGHLIGHTS: Jago cover (Ernani), Lyric Opera of Chicago; Le Gouverneur cover (Le Comte Ory), Lyric Opera of Chicago; Le Moine cover (Don Carlos), Lyric Opera of Chicago; Zuniga (Carmen), Lyric Opera of Chicago; Coryphée (Le Comte Ory), Lyric Opera of Chicago

MEZZO-SOPRANO^

HIGHLIGHTS: Winner, 2021 Metropolitan Opera Laffont Competition; Flora (La Traviata), Houston Grand Opera; Marcellina (Le Nozze di Figaro), Houston Grand Opera; Herodias (Salome), Houston Grand Opera

ESTHER TONEA

DENIS VÉLEZ

Hayward, CA

Puebla, Mexico

Semele (Semele) Salon Series Recital (7/28) Carmina Burana with the Richmond Ballet

Zerlina (Don Giovanni)

SOPRANO^

TRAINING: Merola Opera Program, San Francisco Opera; Wolf Trap Opera; Opera Vision; San Francisco Conservatory; University of Georgia HIGHLIGHTS: Winner, 2022 Metropolitan Opera Laffont Competition; Blanche de la Force cover and Sœur Antoine (Dialogues of the Carmelites), San Francisco Opera; Tatiana cover (Eugene Onegin), San Francisco Opera; Flower/Lady in Waiting (Dream of the Red Chamber), San Francisco Opera

SOPRANO

TRAINING: Ryan Opera Center, Lyric Opera of Chicago; Escuela Superior de Musica Cantate Operistica Licenciatura HIGHLIGHTS: Thibault (Don Carlos), Lyric Opera of Chicago; The Sandman and the Dew Fairy (Hänsel und Gretel), Lyric Opera of Chicago; Frasquita (Carmen), Lyric Opera of Chicago; Catrina (El ultima viaje de Diego y Frida), San Francisco Opera; Gianetta (L’elisir d’amore), Lyric Opera of Chicago

TIFFANY TOWNSEND

KYLE WHITE

Jackson, MS

Dallas, TX

Donna Elvira (Don Giovanni) Walker (Lilacs), National Orchestra Institute + Festival

Valentin (Faust) Aria Jukebox

SOPRANO*

TRAINING: Los Angeles Opera; Wolf Trap Opera; Des Moines Metro Opera; Curtis Institute of Music; The Juilliard School HIGHLIGHTS: Ines (Il Trovatore), Los Angeles Opera; Léontyne (The Anonymous Lover), Los Angeles Opera; Princess Ninetta (The Love for Three Oranges), Opera Philadelphia; Donna Anna (Don Giovanni), Curtis Institute of Music

BARITONE

TRAINING: Virginia Opera; Kentucky Opera; Des Moines Metro Opera; Boston Conservatory at Berklee; Michigan State University HIGHLIGHTS: Samuel and Major General cover (The Pirates of Penzance), Virginia Opera; Tommy McIntyre and Hawkins cover (Fellow Travelers), Virginia Opera; Germont (La Traviata), Virginia Opera; Schaunard (La Bohème), Kentucky Opera; Nardo (La Finta Giardiniera), Hungarian State Opera/Opera Neo

* returning Filene Artist ^ former Studio Artist

STUDIO ARTISTS The Wolf Trap Opera Studio facilitates the transition from student to professional. Studio Artists are singers of significant potential who are either currently or recently enrolled in a university or conservatory voice program. They understudy principal roles, perform small roles, and

ISOBEL ANTHONY SOPRANO

Los Angeles, CA TRAINING: Festival Napa Valley; SongFest; Berlin Opera Academy; American Institute of Musical Studies; Aspen Music Festival; Washington National Opera Institute; Northwestern University; Yale University; L’Università di Bologna ROLES: Chorus (Semele), Chorus (Faust), Chorus (Don Giovanni) COVER: Iris (Semele), Donna Elvira (Don Giovanni)

sing in the chorus. They also work with a specially curated group of master teachers to continue their artistic and practical development.

ROSARIO HERNANDEZ ARMAS MEZZO-SOPRANO Tlaxcala, Mexico TRAINING: La Musica Lirica; Manhattan School of Music ROLES: National Orchestral Institute + Festival (6/3), Chorus (Semele), Chorus (Faust)

Wolf Trap Opera helped open the door for me to pursue my dream... I am truly indebted to Wolf Trap for giving me my professional start. DENYCE GRAVES (’89)

COVER: Marthe (Faust)

JOE HACK BASS

Omaha, NE TRAINING: Aspen Music Festival; Stanford University Earth Systems; Northwestern University ROLES: Chorus (Semele), Chorus (Faust), Chorus (Don Giovanni) COVER: Méphistophélès (Faust), Il Commendatore (Don Giovanni)

ANNA KELLY

MEZZO-SOPRANO Decatur, GA TRAINING: Music Academy of the West; Houston Grand Opera Young Artist Vocal Academy; Yale School of Music; Catholic University of America ROLES: Chorus (Semele), Chorus (Faust) COVER: Athamas (Semele)

MAGGIE KINABREW

WINONA MARTIN

West Hartford, CT

Dallas, TX

TRAINING: Merola Opera Program, San Francisco Opera; Indiana University; Oberlin Conservatory

TRAINING: Cafritz Young Artist, Washington National Opera; Resident Artist, Utah Opera; Boston Conservatory at Berklee; Young Artist, Prague Summer Nights; Fellowship Artist, Boulder Bach Festival; Up North Vocal Institute; University of Colorado Boulder

SOPRANO

ROLES: Chorus (Semele), Chorus (Faust) COVER: Semele (Semele)

MEZZO-SOPRANO*

ROLES: National Orchestral Institute + Festival (6/3), Chorus (Semele), Chorus (Faust), Chorus (Don Giovanni) COVER: Siébel (Faust), Zerlina (Don Giovanni)

ALEX KOLYSZKO

AARON M c KONE

Chicago, IL

Rock Hill, SC

TRAINING: Chicago Summer Opera; Chicago College of Performing Arts; Roosevelt University; Hamline University

TRAINING: Fellow, Spoleto USA; Conservatory of Music, University of Cincinnati College; Winthrop University

ROLES: Chorus (Semele), Chorus (Faust), Chorus (Don Giovanni)

ROLES: National Orchestral Institute + Festival (6/3), Chorus (Semele), Chorus (Faust)

BASS-BARITONE

COVER: Leporello (Don Giovanni)

TENOR

COVER: Faust (Faust)

SAMUEL KRAUSZ

TESSA M c QUEEN

St. Louis, MO

Loveland, CO

TRAINING: Northwestern University; Conservatory of Music, University of Cincinnati College

TRAINING: Central City Opera; Opera Saratoga; Shepherd School of Music, Rice University; Oklahoma City University

ROLES: Apollo and Chorus (Semele), Chorus (Faust), Chorus (Don Giovanni)

ROLES: Chorus (Semele), Chorus (Faust)

TENOR

SOPRANO

COVER: Marguerite (Faust)

COVER: Don Ottavio (Don Giovanni)

MARIO MANZO

ADAM PARTRIDGE

Mesa, AZ

Jacksonville, FL

TRAINING: Seagle Music Festival; Shepard School of Music, Rice University; Arizona State University

TRAINING: Seagle Music Festival; Shepherd School of Music, Rice University; Stetson University

ROLES: National Orchestral Institute + Festival (6/3), Wagner (Faust), Chorus (Semele), Chorus (Faust), Chorus (Don Giovanni)

ROLES: Chorus (Semele), Chorus (Faust), Chorus (Don Giovanni)

BARITONE

BASS-BARITONE

COVER: Cadmus/Somnus (Semele), Masetto (Don Giovanni)

COVER: Don Giovanni (Don Giovanni)

MICAH PERRY

KATIE TRIGG

Brookings, SD

Hamilton, New Zealand

TRAINING: Festival Napa Valley, Manetti Shrem Opera Program; Music on Site, Inc.; Austrian American Mozart Academy; Baylor University; South Dakota State University

TRAINING: Studio Artist, New Zealand Opera; Curtis Institute of Music; University of Waikato (New Zealand)

TENOR

ROLES: Chorus (Semele), Chorus (Faust)

MEZZO-SOPRANO

ROLES: Chorus (Semele), Chorus (Faust) COVER: Juno/Ino (Semele)

COVER: Apollo (Semele)

SAMUEL ROSNER

PATRICK WILHELM

Scarsdale, NY

Philadelphia, PA

TRAINING: Teatro Nuovo; Emerging Artist, Saint Petersburg Opera; Winter Apprentice Artist, Sarasota Opera; Opera Neo; The Juilliard School; New England Conservatory dual degree with Harvard University

TRAINING: Curtis Institute of Music; Pre-College Division, The Juilliard School

TENOR

ROLES: Chorus (Semele), Chorus (Faust) COVER: Jupiter (Semele)

JAZMINE SAUNDERS SOPRANO

Rochester, NY TRAINING: Houston Grand Opera Young Artists Vocal Academy; Seagle Music Festival; The Juilliard School; Eastman School of Music ROLES: National Orchestral Institute + Festival (6/3), Chorus (Semele), Chorus (Faust), Chorus (Don Giovanni) COVER: Donna Anna (Don Giovanni)

* returning Studio Artist

BARITONE*

ROLES: Chorus (Semele), Chorus (Faust) COVER: Valentin (Faust)

FELLOWS Coaching and Directing Fellows are emerging professionals at a point in their careers similar to that of Filene Artists, and they make critical contributions to WTO’s music and directing teams. Former Fellows have gone on to positions at leading opera companies and have developed thriving freelance careers as conductors and directors.

MARCO RIZZELLO COACHING FELLOW Rimini, Italy Rehearsal Pianist and Assistant Chorus Master (Don Giovanni) Coach/Pianist (Night and Day, USA with Steven Blier; Aria Jukebox) Coach (National Orchestra Institute Festival + Lilacs) Supertitles Operator (Semele) TRAINING: Conservatorio G. Rossini (Pesaro, Italy); Manhattan School of Music; Aspen Music Festival HIGHLIGHTS: First Prize, Andrea Baldi International Piano Competition (Bologna Amici della Musica, Bologna Alink Argerich Foundation); First Prize, Amigdala International Piano Competition (Catania Amigdal Cultural Association/Alink Argerich Foundation); First Prize, Lamberto Brunelli Piano Competition (Settimane Musicali al Teatro Olimpico, Vicenza)

MARGARET JUMONVILLE

MATTHEW SCHULZ

DIRECTING FELLOW

Waverly, IA

Baton Rouge, LA

Assistant Director (Faust) Director (Night and Day, USA with Steven Blier; Studio Spotlight)

Assistant Director (Semele, Don Giovanni) TRAINING: University of Texas at Austin (DMA and MM); Duquesne University

HIGHLIGHTS: Assistant Director, Minnesota Opera; Director, Chicago Summer Opera; Assistant Director, Charlottesville Opera; Director, Opera Louisiane; Assistant Director, White Snake Opera; Director, Butler Opera Center; Director, Texas Early Music Project; Assistant Director, Opera Steamboat; Assistant Director, Opera Neo

DIRECTING FELLOW

TRAINING: University of Texas at Austin (DMA and MM); Teaching Assistant, University of Texas at Austin; Buena Vista University HIGHLIGHTS: Merola Opera Program, San Francisco Opera; Stage Director, Music Academy of the West; Program Manager, Vocal Institute, Butler Opera Center; Assistant Director, Texas Performing Arts

MICHELLE PAPENFUSS

ALEXANDER SOLOWAY

Salt Lake City, UT

Ottawa, Ontario (Canada)

Coach/Pianist (Aria Jukebox, Studio Spotlight) Rehearsal Pianist, Organ (Faust) Supertitles Operator (Don Giovanni)

Rehearsal Pianist & Continuo (Semele) Supertitles Operator (Faust) Coach/Pianist (Aria Jukebox, Studio Spotlight)

TRAINING: Houston Grand Opera Studio; University of Michigan; Brigham Young University

TRAINING: Lindemann Young Artist Development Program, Metropolitan Opera; University of Toronto; McGill University

COACHING FELLOW

HIGHLIGHTS: Young Artist, Glimmerglass Festival; Young Artist, Washington National Opera Cafritz

COACHING FELLOW

HIGHLIGHTS: Lindemann Young Artist Development Program, Metropolitan Opera; Mostly Mozart Festival; Houston Grand Opera; Canadian Opera Company; Opera Atelier (Toronto)

TARA FAIRCLOTH

GUEST ARTISTS Every summer, industry-leading conductors, directors, designers, production managers, artistic directors,

Director – Semele Lyric Opera of Chicago, Houston Grand Opera, Central City Opera, Dallas Opera, Drama Instructor for the Houston Grand Opera Studio, Des Moines Metro Opera

coaches, and guest faculty gather at Wolf Trap to make great opera and mentor up-and-coming singers.

TIMOTHY LONG

Conductor – Semele Boston Lyric Opera, Wolf Trap Opera, Opera Colorado, Utah Opera, Tulsa Opera, Opera Theatre of Saint Louis, Pacific Opera Victoria, City Opera Vancouver, Yale Opera

CAMERON ANDERSON

GEOFFREY McDONALD

ANSHUMAN BHATIA

LAWRENCE E. MOTEN III

COLIN K. BILLS

ALISON MORITZ

STEVEN BLIER

ANNE NESMITH

OANA BOTEZ

KRISTEN ROBINSON

PRISCILLA BRUCE

STEPHANIE RHODES RUSSELL

Scenic Designer – Semele Glimmerglass Opera, Seattle Opera, Manhattan Theater Club, San Francisco Opera, Gotham Chamber Opera, Opera Theater of St. Louis, Minnesota Opera, Wolf Trap Opera

Lighting Designer – Don Giovanni Palm Beach Opera, Austin Opera, Jazz at Lincoln Center, Opera San Jose, Virginia Opera, Omaha Opera, Opera Columbus, Kentucky Opera, Keen Company, Primary Stages

Lighting Designer – Faust Arena Stage, Chicago’s Second City, Ford’s Theatre, Kennedy Center, Opera Lafayette, Opéra Royal Versailles, The Smithsonian Institution, Signature Theatre, Studio Theatre, Synetic Theatre, Williamstown Theatre Festival

Director, Pianist, and Arranger – Night and Day, USA The Juilliard School, New York Festival of Song, Caramoor, New York City Opera, Steans Music Institute at Ravinia, Santa Fe Opera, San Francisco Opera

Costume Designer – Don Giovanni BAM Next Wave, Lincoln Center, Playwrights Horizons, Soho Rep, Joyce Theater, Public Theater, Bard SummerScape, Hartford Stage Company, Shakespeare Theater, Old Vic, Bucharest National Theater

Hair & Makeup Design – Faust Washington National Opera, Annapolis Opera, Boston Lyric Opera, Minnesota Opera, Wolf Trap

Conductor – Faust Opera Philadelphia, Minnesota Opera, Opera Saratoga, Wolf Trap Opera, Chicago Opera Theatre, Atlanta Opera, National Symphony Orchestra, Chamber Orchestra of Philadelphia, International Contemporary Ensemble

Scenic Designer – Faust Circle in the Square, Ensemble Studio Theatre, Cherry Lane Theatre, Santa Fe Opera, Portland Center Stage, Round House, The Old Globe, Williamstown Theatre Festival

Director – Faust New Orleans Opera Association, Central City Opera, Opera Santa Barbara, Santa Fe Opera, Seattle Opera, Opera Theatre of St. Louis, Minnesota Opera, Atlanta Opera

Wig & Makeup Design – Don Giovanni, Semele Kennedy Center, Opera Philadelphia, Arena Stage, Ford’s Theatre, Opera Boston, Shakespeare Theatre Company, Signature Theatre, Castleton Music Festival, Washington Ballet, Wolf Trap Opera, Metropolitan Opera

Scenic Designer – Don Giovanni Juilliard Opera, Westport Country Playhouse, Idaho Shakespeare Festival, Ars Nova, Goodman Theatre, National Sawdust, Hartford Stage Company, Miller Theater, Two River Theater, Long Wharf Theatre

Conductor – Don Giovanni Bolshoi Theatre of Russia, The Dallas Opera, Houston Grand Opera, LA Opera, San Francisco Opera, Washington National Opera, American Festival Chorus and Orchestra

LYNLY SAUNDERS

Costume Designer – Faust Tailor Point Styling, Washington National Opera, Faction of Fools, National Symphony Orchestra, Chesapeake Shakespeare Company, Longacre Lea, Peabody Opera Theatre, Glimmerglass Festival, Minnesota Opera

JOHN DE LOS SANTOS

Director & Choreographer – Don Giovanni Santa Fe Opera, Washington National Opera, Minnesota Opera, San Diego Opera, Dallas Opera, The Juilliard School, Winner of Arizona Opera SPARK Commission

MARK STANLEY

Lighting Designer – Semele New York City Ballet, New York City Opera, Paris Opera Ballet, Boston Lyric Opera, Alvin Ailey Dance Theater

ROOTH VARLAND

Costume Designer – Semele 7Stages, Blue, Mercury Baroque Ensemble, KruttarnTeater, Michigan Shakespeare Festival, Opera in the Ozarks, Wolf Trap Opera

RENATE ROHLFING

Pianist – Salon Series, 7/7 & 7/12 Cincinnati May Festival, Ravinia Festival, Carnegie Hall, Muziekgebouw, Royal Albert Hall, Lincoln Center

NICOLÒ SBUELZ

Italian Diction Coach – Don Giovanni Sarasota Opera, Merola Opera Program, Aspen Music Festival, Accademia Teatro alla Scala, Opéra de Lyon

WILLIAM WOODARD

Chorus Master – Don Giovanni, Faust Lindemann Young Artist Development Program (Metropolitan Opera), Cafritz Young Artist at Washington National Opera, Wolf Trap Opera, Merola Opera Program, Aspen Music Festival

PRODUCTION STAFF

KATHERINE CARTER

Intimacy Coordinator Metropolitan Opera, Santa Fe Opera, Sarasota Opera, The Rose Theatre, Parallel 45 Theatre, Houston Grand Opera, Westport Country Playhouse, Boston Lyric Opera, The Little Orchestra Society, Playwrights Horizons, On Site Opera, American Academy of Dramatic Art, 54 Below, Boston Opera Collaborative, New York Musical Theatre Festival

RACHEL HENNEBERRY

Production Stage Manager – Don Giovanni Lyric Opera of Chicago, San Francisco Opera, Utah Opera, Boston Lyric Opera, Pittsburgh Opera, Wolf Trap Opera

CASEY KALEBA

MUSIC STAFF JOCELYN DUECK

Italian Diction Coach – Don Giovanni Carnegie Mellon, Metropolitan Opera, The Juilliard School, Manhattan School of Music, Mannes School of Music at The New School, Seattle Opera, Glimmerglass Festival, Tanglewood Festival, Adobe

DAVID HANLON

Head of Music Washington Concert Opera (Chorus Master), Houston Grand Opera, Lyric Opera of Chicago, San Diego Opera, Arizona Opera, New York City Opera, Santa Fe Opera

KIRILL KUZMIN

Principal Coach/Chorus Master – Semele Houston Grand Opera, Glimmerglass Festival, San Francisco Symphony, Bolshoi Theatre of Russia

MARIE-FRANCE LEFEBVRE

Fight Coordinator Guthrie Theatre, Folger Theatre, Round House Theatre, Shakespeare Theatre Company, Spoleto Festival USA, Studio Theatre, Washington National Opera, Castleton Festival

DIANE LIN

Assistant Stage Manager – Semele, Don Giovanni Washington National Opera, Central City Opera, Opera Colorado, San Diego Opera

ALYCIA MARTIN

Assistant Stage Manager – Don Giovanni Opera Theater of St. Louis, Mustard Seed Theater, Repertory Theatre of St. Louis, Wolf Trap Opera

SAVANNAH VALIGURA

Production Stage Manager – Semele, Faust Opera Philadelphia, Florentine Opera, Madison Opera, Wolf Trap Opera, University of Wisconsin-Madison

DASHIELL WATERBURY

Assistant Stage Manager – Faust Opera in the Heights, Queen City Opera, North Star Opera, Spoleto Festival

Principal Coach & French Diction – Faust University of Cincinnati College Conservatory of Music (CCM), Metropolitan Opera, San Francisco Opera, Washington National Opera, Wolf Trap Opera, Santa Fe Opera, Seattle Opera

JOSEPH LI

Pianist – Salon Series, 7/28 Vice President of Artistic at Minnesota Opera, Houston Grand Opera, Arizona Opera, Aspen Music Festival, Rice University, Baylor University

ORCHESTRA & CHORUS DON GIOVANNI First Violin Claudia Chudacoff, concertmaster Susan Midkiff Karen Lowry-Tucker Joan Cataldo Xi Chen Harriette Hurd Doug Dube Jennifer Himes Jennifer Rickard Paula McCarthy Second Violin Laura Miller, principal Laura Knutson Alexandra Mikhlin Leslie Silverfine Erika Sato Rachael Stockton Kristin Bakkegard Leo Sushansky

Viola Jennifer Rende, principal Tiffany Richardson Stephanie Knutsen Kyung Le Blanc James Kelly Cello Lori Barnet, principal Kerry van Laneen Todd Theil Sean Neidlinger Andrew Rammon Bass Ed Malaga, principal T. Alan Stewart Marta Bradley Flute David Lonkevich, principal Beverly Crawford Oboe Fatma Daglar, principal David Garcia

Clarinet Kathleen Mulcahy, principal Jeremy Eig Bassoon Chris Jewel, principal Eric Dircksen Horn Evan Geiger, principal Chandra Cervantes Trumpet James White, principal Phil Snedecor Trombone Bryan Bourne, principal Jeff Gaylord Jeff Cortazzo Percussion William Richards, principal Joseph Connell

CHORUS AGMA: Alex Alburqueque, Emily Buttram, Cosmo Clemens, Alexandra Coburn, Catrin Davies, Jason Gonzalez, Grace Gori, Sammy Huh, Christine Jobson, Marie Marquis, Qian Meng, James Myers, Erin Ridge Jose Sacin, Andrew Sauvageau, James Shaffran Studio Artists: Isobel Anthony, Joe Hack, Alexander Kolyszko, Samuel Krausz, Mario Manzo, Winona Martin, Adam Partridge, Jazmine Saunders

Members of AGMA appear through the courtesy

Steinway and Boston are the preferred pianos for

The musicians employed in this production are members of and

of the American Guild of Musical Artists, AFL-CIO.

Wolf Trap performances and education facilities.

represented by D.C. Federation of Musicians, AFM Local 161-710.

SEMELE First Violin Claudia Chudacoff, concertmaster Karen Lowrey-Tucker Timothy Macek Sarah Sherry Harriette Hurd Jennifer Himes Second Violin Laura Miller, principal Laura Knutson Jennifer Rickard Leslie Silverfine

Viola Jennifer Rende, principal James Kelly Derek Smith Cello Lori Barnet, principal Kerry van Laanen Bass T. Alan Stewart, principal

Oboe Fatma Daglar, principal Joseph DeLuccio Horn Hilary Harding, principal Chandra Cervantes Trumpet Thomas White, principal Kevin Gebo Timpani William Richards, principal

FAUST First Violin David Salness, concertmaster Sally McLain Jennifer Himes Jennifer Rickard Paula McCarthy Harriette Hurd

Viola Jennifer Rende, principal Tiffany Richardson Stephanie Knutsen

Second Violin Laura Miller, principal Laura Knutson Doug Dube Leslie Silverfine

Bass Edgardo Malaga, principal

Cello Lori Barnet, principal Kerry van Laanen

Flute David Lonkevich, principal Oboe Fatma Daglar, principal

Clarinet David Jones, principal Bassoon Eric Dircksen, principal Horn Amy Horn, principal Chandra Cervantes Trumpet Phil Snedecor, principal Percussion William Richards, principal Harp Rebecca Smith, principal

OPERA BEYOND THE BARNS

Extend your Wolf Trap Opera experience to the comfort of your own home! STREAMING VIDEO Stream Wolf Trap Opera’s 2022 production of Floyd’s Susannah Full productions are available at wolftrap.org/streaming

RADIO Wolf Trap Opera can be heard on Classical WETA 90.9 on Saturdays in June 2023 as part of the Opera Matinee broadcast series. Don't miss WTO's 2022 productions of Der Freischütz airing on June 17 and Susannah on June 24!

STAFF 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 TIM MCCORMICK Director of Production, The Barns at Wolf Trap

SCENE SHOP RYAN LAISCH Technical Director JESSICA WINWARD Master Electrician KATHERINE GONZALES Lighting Assistant GEORGE BURGTORF Props Master JENNIFER SHILLINGBURG Charge Artist CAROLINE AUSTIN Scenic Artist ANSON STEVIE Master Carpenter SAMANTHA DICKERSON Carpenter GIBSON CAMERON Carpenter

COSTUME SHOP STEPHANIE HENDERSON Costume Shop Manager CODY VON RUDEN Design Assistant JESSIE BUSHKOFF Design Assistant DENISE AITCHISON Draper SETH GILBERT Draper KATIE STOMPS Draper DENNIS KITMORE First Hand CAILEE BYWATER First Hand AMY VANDER STAAY First Hand LAUREN BRETL Stitcher/Wardrobe CAROLINE MACDONALD Stitcher/Wardrobe ELENA MOURAD Stitcher/Wardrobe

DESIGN ASSISTANTS EMMA GUSTAFSON Wig & Makeup Assistant - Faust MYRA GREAVIS Assistant Scenic Design - Don Giovanni BAILEY HAMMETT Assistant Costume Design - Faust MARY HAMRICK Assistant Scenic Design - Semele CASEY HENNESSY Assistant Costume Design - Semele

SUPERTITLES MICHELLE PAPENFUSS - Don Giovanni MARCO RIZZELLO - Semele ALEXANDER SOLOWAY - Faust Titles used by permission of Sarah Pelzer

APPRENTICES WTO Apprentices are part of Wolf Trap Foundation’s Internship and Apprenticeship program. Having honed their skills through academic training, they now receive hands-on experience in a professional setting as well as mentorship from Wolf Trap Opera staff. MASON ALLEN Tech Apprentice SARAH COLATRIANO Tech Apprentice ASHRI DAWOUD Communications Apprentice JOSHUA DECK Artistic Administration Apprentice SOPHIE DE WAAL Costume Apprentice JORDYN FIELDS Stage Management Apprentice AYA GIARDINA Tech Apprentice ANNA KLEINHANZL Wig & Makeup Apprentice ROBERT PANG Props Apprentice EZRA ROSE Stage Management Apprentice

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 AKUA KOUYATE-TATE Vice President, Education JO LABRECQUE Vice President, Communications & Marketing

GUIDE CONTRIBUTORS LEE ANNE MYSLEWSKI Vice President, Opera and Classical Programming JO LABRECQUE Vice President, Communications and Marketing SARA SHAFFER Art Director ARIANNA ZUKERMAN Manager, Artistic Administration, Opera and Classical Programming EMILY HUNT Manager, Publications CLARISSE GAILLARD Graphic Designer ANNIE COPPOLA Director, Planned Giving and Endowment DANA ARMSTRONG Content Writer/Proofreader

GUIDE PHOTOGRAPHERS RICH KESSLER

ALLISON SCHNEIDER Lighting Apprentice

A.E. LANDES

KARIS SNEED Paint Apprentice

ANGELINA NAMKUNG

KIRA WEAVER Stage Management Apprentice

ERIC MELEAR SCOTT SUCHMAN

CAMPAIGN FOR WOLF TRAP THANK YOU to these Wolf Trap Foundation for the Performing Arts donors for their commitments to the Campaign for Wolf Trap: Our Next Chapter, an initiative to support facility enhancements and programs for future generations. Reflects donations for special long-range initiatives, through March 30, 2023. VISIONARY DONORS

SUSTAINERS

PARTNERS

Dan and Gayle D’Aniello

$100,000-$249,999 Anonymous The Ananthanpillai Family The Bedrock Community Fund Kevin and Cynthia Boyle Jan Brandt Marcia and Frank C.+ Carlucci III Denise Chen and Tim Maas L. William Derrow+

$25,000-$49,999 Jeremy and Stephanie Blank Richard and Evelyn Bynum Tenley Carp and David Samuels Karen and Jim Cleveland Vincent Ferraro and Laura Forte Gil and Janice Guarino Lisa and Richard Jeanneret Donna and Buzz Miller Jodi and Darren Morton Dion and Michele Rudnicki Craig and Christina Sharon

$2,500,000-$9,999,999 Jacqueline B. Mars Hillary and Tom Baltimore Lincoln and Therese Filene Foundation Shashikant and Margaret Gupta Gary D. Mather and Christina Co Mather Karen and Fred Schaufeld $1,000,000-$2,499,999 John and Susie King Jean and Ric Edelman Anne R. Kline and Geoffrey Pohanka Matt Korn and Cindy Miller

BENEFACTORS $500,000-$999,999 The Setian Family Janet+ and Calvin Hill Ed and Andy Smith F. Chapman and Grace Taylor Robert and Lisa Van Hoecke

PATRONS $250,000-$499,999 C.E. and Jean Andrews Brickman Family Foundation Bruce Caswell and Lauren Deichman Melissa Delgado and Anthony Colangelo The ElSawy Family Foundation Virginia McGehee Friend Alka and Sudhakar Kesavan Janet and Jerry Kohlenberger John C. Lee, IV and Cindy Lee Bob and Lisa Lutz Chris and Paige Nassetta National Park Foundation/The Boeing Company Edward and Susan O’Connell Donna and Jim Reagan The Robbins Family Kevin and Beth Smithson John and Jessica Wood

John and Lynn Dillon Ken and Vickie Hayduk Shelly and Jack Hazel Sue J. Henry and Carter G. Phillips Eric and Heather Kadel Leana and Marc Katz Ashok and Stuti Kaveeshwar Nancy Laben and Jonathan Feiger Denise Riedel Lewis and Kenneth J. Lewis General Lester and Mina Lyles and Family Arvind Manocha and Gideon Malone Ann McPherson McKee Reed and Pat Menster Neuman PNC Foundation Norma and Russ Ramsey James Roth Srikant Sastry and Manjula Pindiprolu 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

SUPPORTERS $50,000-$99,999 Jeff and Jacqueline Copeland The Ithaka Foundation Broderick Johnson and Michelle Norris Robert M. and Joyce A. Johnson Janet M. Osborn Jonathan and Virginia Shames

CONTRIBUTORS $10,000-$24,999 Anonymous Sam Barnes Jennie and Mark Bishof Beth Brummel and Michael Beresik Teresa Carlson Janice Z. and H. Lawrence Clark Steve and Christie Day Gerald W. and Marlene K. Fischer Bette S. Gorman Lynda Lonshein Hellman Tracy K. Kenny Patrick and Annie Pacious The Page Family Dennis Peery and Anu Saxena Michael and Brigette Polmar Gerry and Lynn Rubin Lisa Schievelbein Virginia and Alan Strauss Sally A. Turner and Jerry G. Bridges The Janice and Robert Vitale Charitable Fund Marjorie H. Wax and Brian P. Hochheimer Bill and Terry Witowsky Judith and Ronald+ Wilgenbusch Doug and Melanie Wolfe Giving Fund Theresa and John B. Wood Ann Ziff + Deceased

A larger endowment ensures... • Artistic excellence • Arts accessibility • Opera artist development

BE PART OF WOLF TRAP’S NEXT CHAPTER! Join the historic effort to improve facilities, increase Park accessibility, and strengthen Wolf Trap Foundation’s endowment for future generations.

• High quality productions • New and innovative works

Join the Campaign for Wolf Trap: Our Next Chapter today and ensure Wolf Trap is forever!

WOLFTRAP.ORG/CAMPAIGN 49

WITH APPRECIATION Wolf Trap Foundation is deeply grateful to each of the following individuals for their outright membership gifts, event, and other annual program sponsorships made between April 16, 2022 and April 1, 2023. Donations to the Campaign for Wolf Trap: Our Next Chapter are listed separately in this program, at wolftrap.org/campaign, and on dedicated signage throughout Wolf Trap. To donate, please contact Wolf Trap Development at 703.255.1927 or visit wolftrap.org/give.

INDIVIDUAL DONORS SEASON UNDERWRITERS Dan and Gayle D’Aniello

$250,000 TO $499,999 David M. Rubenstein

$100,000 TO $249,999 Anonymous Kimberly Engel Haber and Brett Haber/ The Dennis and Judy Engel Charitable Foundation Alka and Sudhakar Kesavan John and Susie King Gary D. Mather and Christina Co Mather Michael Saylor F. Chapman and Grace Taylor

$50,000 TO $99,999 Jan Brandt Dr. Melissa Delgado and Mr. Tony Colangelo Virginia McGehee Friend Shashikant and Margaret Gupta Anne R. Kline and Geoffrey Pohanka Dan and Gloria Logan | The Revada Foundation Matt Korn and Cindy Miller Jacqueline B. Mars Srikant Sastry and Manjula Pindiprolu Scuba Mike Ed and Andy Smith The Webber Family Deborah F. and David A. Winston

$25,000 TO $49,999 Anonymous Raj Ananthanpillai and Radhika Rajagopalan Christopher M. and Andrita J. Andreas C.E. and Jean Andrews Hillary and Tom Baltimore Michael and Ana Beckley Bruce L. Caswell and Lauren Deichman Craig and Valerie Dykstra Jean and Ric Edelman William Gould Sue J. Henry and Carter G. Phillips The Ithaka Foundation Broderick Johnson and Michele Norris Eric and Heather Kadel Leana and Marc Katz Janet and Jerry Kohlenberger Nancy Laben and Jon Feiger Nanette and Charles Mees Samuel Meisner Stephen and Betsy Mundt Diane and Tim Naughton Patrick and Annie Pacious Donna and Jim Reagan The Robbins Family Karen and Fred Schaufeld Jiten (Jay) and Sujani (Jen) Shah Kevin and Beth Smithson Todd and Elaine Stottlemyer

Paul and Tracy Tartaglione Robert and Lisa Van Hoecke Lynn and Carl Verboncoeur Ann Ziff

$15,000 TO $24,999 Anonymous (3) Cynthia and Kevin Boyle Beth B. Buehlmann Tenley Carp and David Samuels Jeff and Jacqueline Copeland Dr. and Mrs. Gerald W. Fischer Mary and Leo Fox Chris and Jennifer Greenlee Shelly and Jack Hazel Clark Hoyt and Linda Kauss John and Tracie Jacquemin/ The Jacquemin Family Foundation Ashok and Stuti Kaveeshwar Bob and Lisa Lutz Gen. (Ret.) Lester L. and Mina Lyles Ann McPherson McKee, Gift in Remembrance of Burtt & Rebecca Gray McKee and Douglas & Ann McKee Seeley Patsy and Howard Norton Boofie and Joe O'Gorman Michael and Cynthia O'Kane Dr. James Roth Gerry and Lynn Rubin Karl and Susan Salnoske The Setian Family Ashley Stow Caroline Morris Van Kirkr

$10,000 TO $14,999 Anonymous (6) Toni Arnold and Michael Niggel Philanthropic Fund Jay and Terry Bachmann Jennie and Mark Bishof Patrice King Brickman Family Foundation Kavita and Jay Challa Enrico and Linda Della Corna John and Lynn Dillon Bonnie Feld In Honor of Jim and Mary Beggs, Allen and Maureen Fox Gil and Janice Guarino Alexander and Jacqueline Henry Jacqueline Hinman Ronald and Jodie Hunter Suneetha and Pardha Karamsetty Rae Ann and Bill Knopf Ross and Kaye Kory Matt Lerner/Frederick Coin Exchange Mr. and Mrs. James F. MacGuidwin Wendy and Dario Marquez Dana and David Martin Ray and Colleen McDuffie Our Purpose Foundation

Patti and John Robertson Brenda and William Romenius Peri and William Ross Danielle and John Saunders Stan and Ruth Seemann Craig and Christina Sharon Ronald and Deborah Sindler Aruna Subramaniam and Prabu Natarajan Victoria Trumbower and David Ralston John and Gina Wasson Michael Williams Theresa and John B. Wood Greg and Janne Young

$6,000 TO $9,999 Anonymous (5) Ernie and Cathy Abbott Ramon and Marissa Alcala John R. and Kathy Allen Steven and Marjie Alloy Melinda Ampthor The Arner Family Erin and Derek Arrison Mrs. Benjamin P. Astley Russel and Ann Bantham Richard and Julie Barcus Thomas A. Belles and Carla Minosh Paul Blakely Harlan W. and Mary M. Bowers K. David Boyer, Jr. and Family 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 Barbara and Marcus Canzoneri Marcia and Frank C.+ Carlucci III Christopher and Carol Casto Allayne and Brian Chappelle The Chaskin Family Jay W. and Heidi A. Chesky Sarah and James Choi Brian J. Christianson Kenneth W. Coan/Sevila Coan Financial Group of Wells Fargo Advisors, LLC Kathy and Jim Connor Crest Advanced Dry Cleaners Coolie Doolie Mary Cristler Scott and Krista Darnell Jeff and Natalie Davis John and Mary Davis Tami and Jeff Dierman 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 Vincent Ferraro and Laura Forte Michael P. and Marilyn H. Fitzgerald Susan Fox/The Walt Disney Company George and Lien Galloway Gina Garcia Dennis and Malinda Garris Cathy A. German Bonnie L. Goldschmidt and Michele Shimek William and Jacqueline A. Gravell Brian Greenberg Marge and Joe Grills Atul Grover Marlene and William Haffner William Hanlon Dr. Dabney G. Hart/Mr. & Mrs. T. Michael Louden Bonnie and Bob Haukness Robert H. and Brenda Hawthorne Nettie Horne Shannon Houck Ashley Iddings Sue Irish and Kenn Weir Donald and Sherlyn Jenkins Tony Jimenez/MicroTech Steven and Gayle Job Ricki and Joel Kanter Sean M. Kelley Laura, Jess, Mike, and Tim Kennedy Tracy K. Kenny Jenna and Wyatt Korff Gayle and Jonathan Kosarin Leo Kratz Anirudh Kulkarni and Priya Kulkarni David F. La Mar and Terri L. Crowl David and Mary Beth Lane John and Cindy Langan Sheri A. Layton Leviton Family Diane Lewis, Washington Fine Properties Clark and Kathleen Manning and Family Philip and Sandy+ Marcum Cynthia and John Martin Donald McGahn Susan and David McMunn Brenda Mejia Susie and Josh Metz Donna and Buzz Miller James and Audrey Miller Jax, Lilly and Lee Monsein Thomas and Lauren Morreale Mr. and Mrs. Charles T. Moses III Amy and Will Mudge John Murray and Jill Hansen Renata and Spence Patterson Nora and Glen Petitt Carol S. Popowsky Sean and Shirley Prosser, in Memory of Jim and Rosemary Prosser Mrs. Joetta Rauchnot and Mrs. Brenda Heck Chris and Rita Raymond Reinsch Pierce Family Foundation by Lola C. Reinsch H. Mac and Michele-Anne Riley Michael Romano Dion and Michelle Rudnicki Sherry Rutherford and Bill Krokowski 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 Jon and Pat Simons

Tina and Albert Small, Jr. Joel K. and Martha L. Smith Martha Nell Smith and Marilee Lindemann Duncan and Patricia Sparrell Peter and Jennie Stathis Virginia and Alan Strauss David L. Straus, Gift in Remembrance of Betty B. Straus Pam and Greg Sullivan Derrick Tam Peter and Ann Tanous Tori Thomas Theresa Thompson Rob Timmins and Jeff Kaplan Richard J. Underwood Rosetta and Martin Virgilio Catherine and Eric Waldron Richard and Mary Wall Marjorie H. Wax and Brian P. Hochheimer Marc and Cortney Weber Dr. Brooke Weddle and Mr. Miguel Payan Lisa and Eric Wieman Sean and Nancy Willson David and Ellen Winter Bill and Terry Witowsky Cheryl A. Wooden and Dr. Deb Bobbitt James Y. S. Yap

$4,000 TO $5,999 Anonymous (17) Christopher and Kathryn Adams Reggie and Dharini Aggarwal Tricia Antonis Barbara and Bear Ard Susan and Jim Arnold Jeanine Aronowitz Karen Azoff John C. Backus, Jr. Jennifer Barendse Rose Bates Donna and Barry Beach David and Cecilia Beck Amy Beckman and Steven Gaba Susan and Marc Benezra B. Michael and Sandra Berger Kevin and Jane Bise Jeremy and Stephanie Blank Allen and Marca Blocker Sara Nelson Bloom Carol and John Boochever Regina and Bill Bouie Kevin M. Breslin Rex Brouillard and Michelle Henry Nancy Broyhill Dennis and Julie Bruns Sarah Buescher and Peter Cullen Robyn Burdett Nancy and Dennis Burke Gail J. Burkhardt Cali Laina Bush and Michael Zajkowski Donna Callejon and Deborah Whiteside Joseph and Donna Cantara Drew and Therese Caplan Cori and Jared Cardwell Gregory and Jane Castanias James and Karen Chamberlain Denise Chen and Tim Maas Col. (R) Lary and Sabine Chinowsky Joseph and Michelle Chotkowski John Claringbould and Patricia Loughrey Susan R. Clayman and Frank Starks Laura Clements Karen and Jim Cleveland Beth and Michael Coakley Franklin C. Coleman

Christy Cooney Kevin Cooper and Neal Carpenter Phyllis and Wes Corley Jeffrey Couillard Kevin Crabtree and Mary Kelleher-Crabtree Jon and Patty Craver Dan and Bekki Danner Steve and Christie Day Susie and Oscar De Soto Kathleen and Joseph Deal Trevor and Ingrid Dearman Cynthia Decker Meghan and John Deese Dante and Tracy D’Egidio Shawn Degnan David L. Denny and Laurie Scott Denny Mihir Desai Barbara A. DiCicco Cos DiMaggio DiPentima Family Foundation Joseph and Pat Donahue Hank Dorochovich and Julie Johns Kristin and Eric Dubelier Jim and Timoney Dunlap Rear Admiral and Mrs. Thomas J. Eccles, USN (Ret) James and Diane Ecklund Michael J. Eidsness Robert and Alison Eisiminger Eddie and Rachel Eitches Randall Eliason and Cherie Kiser Nancy and Dan Ellis in Honor of John and Joan Ellis Jim Evans and Sam Misleh, The Evans Company/ Sophia's Cafe Jack Fahey Ginny Kogan Feldman Taryn Fielder and Ryan Forsythe Ross Fishkind Rhonda Fleming and Mike Cooley Roger and Nancy Fones Tucker Foreman Lauren E. Freeman Russell Frey and I-Min Chao Dan Frisby and Suzanne Dougherty Gerry and Lynne Gabrys/Guest Services, Inc. Christina and Louis Gadrinab Eddy and Joan Gallahan Glenn and Barbara Gardner Chris Garner Glenn Gaynor Barbara Gernon and Valerie Kimball Gayle and Tom Giblin Don and Mary Goddard Scott and Colleen Gold Ira Gordon Graham Holdings Company Jennifer and Chris Graham Sherry and Todd Gray Teresa and Garson Green Brian and Deb Grosner Fiona Grunwald Norene and Tim Guilford MaryLynn and Greg Haase Allen Haid and Sandra Cummins-Haid Nicole Alfandre Halbreiner Todd and Melinda Hall Jeffrey and Elizabeth Harris Luke Harris Teresa M. Haycraft Ken and Victoria Hayduk Frank and Teresa Hearl Sharon Heinle and Chris DeLashmutt Sharon and Jeff Heinz Lynda Lonshein Hellman

Leigh and Peter Henry James K. Hickel Carrie Hidalgo Lisa and Ron Hodge Avi Hoffer Robert and Linda Horrigan Briglia Hundley, P.C. Kevin and Barbara Hutto Rylan and Carl Hutzler Dr. Renee Iacona Richard and Anna Jackson Robin and Joseph Jackson Lisa and Richard Jeanneret Richard and Laurie Johnson Andrea Jolly Terre and Polly Jones Sharon Karaffa Richard and Barbara Kaufmann Roger and Teresa Keller Patrick and Ellen Kelsay Governor and Mrs. Dirk Kempthorne Stacy King Travis and Sarah Kirspel Stephen and Mary Sue Kitchen Mark and Elena Kleifges Robert and Miryam Knutson Tara T. Kochis Nar Koppula Howard Kravitz Phyllis Krochmal William and Nancy LaForge Vicky and Anurag Lal Barry and Bambi Landew Joni Langevoort John and Nancy Larue Stuart and Brock Lending Sue Leonard Patsy and Marty Lerman Ted and Vivian Lewis Tracey and Dennis Liberson Douglas and Elizabeth Lobel Dr. Diana Locke and Mr. Robert Toense Megan Lockhart Julie Lonardo George Lowden Marcia and Adrian Lund Jennifer Lyons and Derek Morrissette Sam and Bina Malhotra Michael and Jennifer Maloney William Mann Joey and Anna Maranto Catherine L. Marsh and Charles Cox Michael and Lynn Maletick Kevin Martin Susan and Jim Martin Albert and Terri Martinez Don and Shari Maruca Juliana E. May/JLL Jeffrey and Cynthia Mazanec Cristina F. and Michael A. McLaughlin Mr. and Ms. Jay Meadows/ Meadows Farms Nurseries Christopher and Simone Meyer Ryan and Krista MillerJill Minneman Ramona and John W. Mockoviak David and Vanessa Moir Ann and Keith Montgomery Dee Dodson Morris Darren and Jodi Morton Robert and Barbara Moss Anne Motz R. Darrell Mounts+ and Julie H. Mounts Michael Mullen Ray and Patricia Murphy James and Karen Murray

Leanne and James Myers Michael and Carol Nakamura Lisa Namerow Joanne Nanna Sarah and John Nash Reed and Pat Menster Neuman Paul J. Nevins and Sheila LaFalce Katherine Newland Kathleen and Kevin Newmeyer Nancy Nix-Karnakis Lloyd C. Noland Jill Norton Timmy Norton Debra O’Beirne Edward and Susan O'Connell Philip and Marjorie Odeen Laura and Sean O'Keefe Rebecca Onuschak Janet M. Osborn The Page Family Micky and Vinita Pant Charitable Fund Alex Pascarella Laura Peebles and Ellen Fingerman Dennis Peery and Anu Saxena Judy Perry Matt and Kate Phillips Mark and Carol Poblete Christopher Poell Michael and Brigette Polmar Samantha and Troy Poppe Margaret A. Porta and Matthew T. Swayhoover Chris Poteat Jeff and Jill Purdy Daniel and Roberta Quirk James Raba and Maureen Nelson Rabaut Family Foundation Eileen Rader Raj and Kay Ramesh David Rand Harish R. Rao & Chelsea R. Rao Jonathan Remson James and Linda Rettberg Dave and Aimee Richardson Jim Roberts and Julie Carter Roberts Rick and Faith Roberts Ward and Jennifer Roberts Amy and Ben Rossi Michael and Jane Rowny Selwa and David Rutchik Kathryn Tucker Rutkowski Alicia Saffer and Kris Hatlelid Eric Salzberg Michael and Deborah Salzberg Ann Sanfacon Kenneth Samet Drs. Stephen and Mary Sapp Alan J. Savada and Will Stevenson Dave and Eileen Scearse Jennifer and Andy Schenker Cassie Scherer Ned and Elizabeth Scherer Jean Schiro-Zavela and Vance Zavela Monica and Robert Schmude Richard and Susan Seabrook Jim Seeley Harold and Adele Seifried Dr. Steven & Mrs. Gretchen Seiler Amy and Mario Shaffer Sean Sharifi Ritika Sharma Dr. Sandeep Sharma John T. Sheridan, Jr. Samantha and Evan Shinbaum Jay Siegel and Mona Sarfaty Joseph Sifer

Linda B. Singletary Dru and Marie Smith Neil Smith Thomas and Angelique Snyder Dale and Susan Song Ali Sorbi Ruth Sorenson Amy and Patrick Souders Sandra and Dean Souleles Lee Sparkman Joan Stansfield, Stansfield Signature Real Estate Drs. Virginia Steen and Joseph Verbalis Judith M. Stehling and Edgar J. Ariza-Niño Michael L. Stevens and Elizabeth Munno Kathleen and Scott Stewart Kimberly and Gary Stewart James and Geraldine Stockdale Lisa Stransky Khary and Caroline Stringer Thomas and Heather Stroup Gretchen and Christopher Strub Sinclair Szebrat Christopher Tate and Kathleen Sullivan Justin and Jennifer Tate Neeraj Tewari Ray and Stacey Thal Paul and Courtney Thieberger John Thomas Nathan Thomas and Amanda Lin Donald and Gloria Thorson Jennifer Toole Tim and Corina Trainer Ranvir and Adarsh Trehan Rick R. Trevino and W. Larz Pearson John and Mary Tuohy Amy and Jeff Turcotte Stephanie and Fernando+ van Reigersberg Chris and Karen Warack Kathy and C. Eric Warden Roger and Diane Warin Elizabeth A. Way and Dorothy Dougherty Daniel Webster Sandy and Carolyn Weininger John and Marylou Whisler Geoffrey and Tina White Jason and Shannon White Robert Whiteman Kenneth and Gerolyn Whittemore Elizabeth Wickersham Judith and Ronald+ Wilgenbusch David and Joy Willey Janet Wilson Jody and Steve Winter Jeffrey and Mary Lou Withem The Witt Family Dale P. Wurmlinger Alan and Sandra Yamamoto Jake and Whitney Zatzkin S. Zeliff + Deceased

CORPORATE, FOUNDATION & GOVERNMENT PARTNERS Wolf Trap Foundation sincerely appreciates each of the following institutions for supporting the Foundation through grants, corporate partnerships, and fundraisers between April 16, 2022 and April 1, 2023. Donations to the Campaign for Wolf Trap: Our Next Chapter are listed separately in this program, at wolftrap.org/campaign, and on dedicated signage throughout Wolf Trap. $500,000+

$25,000 TO $49,999

$10,000 TO $14,999

Department of the Interior, National Park Service The PNC Foundation

Aon The Theodore H. Barth Foundation, Inc. Battelle Blue Delta Capital Partners The Morris and Gwendolyn Cafritz Foundation Cherry Bekaert CNSI CrossCountry Consulting Ernst & Young Hilton Kearney & Company L.F. Jennings Lockheed Martin Noblis The Price-Taylor Group of Truist Wealth Telos Corporation

Accenture Advance Concepts Alston & Bird LLP American Real Estate Partners Andersen ArentFox Schiff, LLP Bender Foundation, Inc. Cadmus Capgemini Enterprise Knowledge Expedition Technology, Inc. The Ferris Family Foundation FTS International Gensler Hilton McLean Tysons Corner Host Hotels & Resorts Johnson Brothers Service Distributing, Inc. Karin’s Florist Live Oak Bank LMI Nancy Peery Marriott Foundation, Inc. Merrifield Garden Center MorganFranklin Consulting NFP Ohio Hometown Heroes Playa Hotels & Resorts Raymond James Investment Banking Select Event Group Signal Hill Technologies Starr Hill Brewery Stratos Solutions Thos. Somerville Co. United Bank Venable Foundation

$250,000 TO $499,999 The Boeing Company

$100,000 TO $249,999 Anonymous Foundation Capital One County of Fairfax, Virginia Danaher Foundation Deloitte Lincoln and Therese Filene Foundation General Dynamics National Endowment for the Arts Northrop Grumman Tickets.com

$50,000 TO $99,999 American Airlines Booz Allen Hamilton Cathell & Associates Choice Hotels International Cox Business KPMG Maximus PwC SOSi Virginia Commission for the Arts The Volgenau Foundation WHITE64

$15,000 TO $24,999 ArtsFairfax Baird Chevy Chase Trust DLA Piper US LLP The Richard Eaton Foundation Laird Norton Family Foundation M&T Bank Mars Foundation The Mather McKinsey & Company Nauticon Office Solutions Park Hotels & Resorts PenFed Credit Union Pinnacle Financial Partners Reston Limousine South Carolina Arts Commission V2X

WOLF TRAP FOUNDATION NAMED ENDOWMENT FUNDS The following Endowment Funds were established with $100,000 or more to support Wolf Trap Foundation’s programs. Baltimore Family Fund

Fund for Wolf Trap in Honor of Arvind Manocha and Gideon Malone

Mary H. Beggs President’s Fund

The Sandy “Tanta” Marcum Fund for Early Learning Through the Arts

The Howard and Sondra Bender Family Fund for Education

Fund for Artistic Excellence in Honor of Audrey M. Mars

Patrice King Brickman Family Fund

Mars Fellowship Fund for Wolf Trap Opera

Caswell/Deichman Family Fund for Wolf Trap

The Suzann Wilson Matthews Internship Fund

Denise Chen and Tim Maas Fund for Wolf Trap

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

The Coffelt Fund for Wolf Trap Opera and Education

Ann McKee Fund for Opera

The Cox Communications Fund for Education Initiatives in the Performing Arts

The Linda and Tobia Mercuro Fund for Early Learning Through the Arts

The Colangelo Family Fund for the Arts L. William Derrow Fund for Wolf Trap Opera in Honor of Amy E. Schaffer Lynn and John Dillon Endowment Fund Nancy K. Eberhardt | Howard and Dorothy Kahn Education Fund The ElSawy Endowment for Education The Freed Fund for Early Childhood Education in the Performing Arts The Lee Anne F. Geiger Fund for Early Learning Through the Arts General Dynamics Fund for Early Learning Through the Arts Gupta Fund for Early Learning Through the Arts 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 Fund for Wolf Trap The Jacquemin Family Fund for Master Teaching Artists The Paula A. Jameson Fund for Wolf Trap Opera Stuart C. and Nancy M. Johnson Fund for Wolf Trap Terre and Polly Jones Endowed Fund for Artistic Initiatives Kadel Family Fund for Wolf Trap Ashok and Hariastuti Kaveeshwar Fund for Wolf Trap 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 Fund for Wolf Trap Robert and Lisa Lutz Fund for Wolf Trap The General Lester L. Lyles and Family Fund for Education

The Mullaney Family Fund for Education National Endowment for the Arts NEA Packard Challenge Fund Reed and Pat Neuman Fund Celebrating Arts and Education The Terry Noack Master Teaching Artists in Dance Fund Edward and Susan O’Connell Family Fund for Wolf Trap Packard Fund PNC Fund for Early Childhood Education Geoffrey P. Pohanka and Anne R. Kline Fund for Wolf Trap Opera Carol S. Popowsky Parrot Fund for Education James A. Roth Family Fund for Wolf Trap Sastry-Pindiprolu Family Fund for Wolf Trap Julian Setian Family Fund for the Arts Catherine Filene Shouse Education Fund Kay Shouse Great Performance Fund Jon and Pat Simons Fund for Wolf Trap Ed and Andy Smith Fund for Wolf Trap Opera Kevin and Beth Smithson Family Fund for Wolf Trap Education Peter and Jennie Stathis Fund for Early Learning Through the Arts Arthur Tracy Fund for Wolf Trap Opera Hans and Mimi Tuch Fund for Wolf Trap Opera Conductors Van Hoecke Family Fund for Technology in Education 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 and David Winston Fund for Classical Music Kim Witman Fund for Opera Coaching

CATHERINE FILENE SHOUSE LEGACY CIRCLE Wolf Trap Foundation gratefully acknowledges these individuals who have thoughtfully expressed their commitment to preserving the legacy of Wolf Trap for future generations by remembering the Foundation in their estate plans. For information, please contact Wolf Trap Development at 703.255.1930 or visit wolftrap.org/nextchapterlegacy. Anonymous (39) Dr.+ and Mrs. Duane A. Adams Mark and Maris Angolia 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 John H. Briggs 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* 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+* Margaret Miller and Richard D. Welch, Jr.+* Sue Ann Westlund and James B. Zahrt 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

THE BARNS AT WOLF TRAP POLICIES ✪

All patrons agree to abide by The Barns at Wolf Trap health and safety protocols found at wolftrap.org/policies

✪

All patrons, regardless of age, must have a ticket.

✪

Patrons must sit in the seats for which they have tickets.

✪

Outside food or beverages may not be consumed inside the facility.

✪

Beverages are permitted inside the theater. Food is not permitted inside the theater.

✪

The Barns is a smoke-free facility. Smoking, including e-cigarettes, is permitted only in the designated area outside the main entrance.

✪

The use of recording equipment and cameras (with or without flash) during performances is prohibited unless coordinated through management and authorized by the artist(s).

✪

Late arrivals are normally seated between movements, acts, or numbers at the discretion of management and at the request of the artist(s).

✪

With the exception of service animals assisting disabled persons, pets are not permitted.

✪

Patrons may not stand in or block aisles or sightlines at any time during performances.

✪

Disturbing fellow patrons with loud conversation or inappropriate behavior is not permitted and may result in removal from the performance without a refund.

✪

All cell phones and electronic devices must be silenced during the performance.

✪

Firearms are prohibited.

✪

Resale of tickets on Wolf Trap Foundation property is strictly prohibited by Wolf Trap Foundation policy.

✪

Violation of The Barns at Wolf Trap House Rules may result in removal from the performance without refund and/or prosecution.

VIEW WOLF TRAP’S MOST UP-TO-DATE POLICIES AT WOLFTRAP.ORG/POLICIES 56

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Congratulations Nicholas Hersh, conductor are in order for Sasha Cooke (’07) on her July 21 | 8 PM Alexander piano win Malofeev, for Best Opera Recording (The (R)evolution of Steve

Featuring Esther Tonea, soprano Lunga Eric Hallam, tenor Daniel Rich, baritone August 30 | 8 PM

JulyJobs) 7 | 8 PMand Aryeh Nussbaum Cohen (Studio ’17) on his win ™

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for Best Classical Compendium (Fuchs: Piano Concerto

National Symphony Orchestra

‘Spiritualist’; Poems Of Life; Glacier; Rush). Star Wars: Return of the Jedi July 22 | 8 PM in Concert National Symphony Orchestra American Ballet Theatre July 8 | 8 PM Giselle

Joe Hisaishi Symphonic Concert

Music from the Studio Ghibli Films of Hayao Miyazaki

July 27 + 28 | 8:30 PM VIRGINIA McGEHEE FRIEND, PERFORMANCE SPONSOR

National Symphony Orchestra Joe Hisaishi, conductor July 14 + 15 | 8 PM

WOLFTRAP.ORG

Hilary Hahn plays Brahms National Symphony Orchestra Hilary Hahn, violin Alpesh Chauhan, conductor

August 4 | 8 PM GARY D. MATHER AND CHRISTINA CO MATHER AND DEBORAH F. AND DAVID A. WINSTON, PERFORMANCE SPONSORS

Lyle Lovett and his Large Band National Symphony Orchestra August 5 | 8 PM

© 1983 & TM Lucasfilm Ltd.Presentation licensed by Disney Concerts in association with 20th Century Fox Film Corp, Lucasfilm and Warner/Chappell Music. © All rights reserved. © Universal City Studios LLC and Amblin Entertainment, Inc. All Rights Reserved.

Wolf Trap Foundation is a 501(c)(3) nonprofit organization.

WOLFTRAP.ORG

1645 TRAP ROAD / VIENNA, VIRGINIA 22182

What Wolf Trap is best known for is the discovery of the next generation of great singers.

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