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Home , Albert Herring, Arianna Zukerman, English Opera Group, Gloriana, Jonathan Kent (director), Jonathan Miller

CAL PERFORMANCES PRESENTS

Thursday, March 24, 2011, 8pm Friday, March 25, 2011, 8pm Zellerbach Hall Castleton Festival The Britten Project: The Rape of

Composed by Conducted by Stage Direction by William Kerley Berkeley Symphony

production Set & Costume Designer Nicholas Vaughan Lighting Designer Rie Ono Production Stage Manager Laine Goerner Assistant Director Amanda Consol Assistant Lighting Designer Marnie Cumings Associate Lighting Designer Brandon Mitchell Assistant Costume Designer Sarah Swafford

cast (in order of vocal appearance) Male Chorus Vale Rideout Female Chorus Collatinus Michael Rice Junius Michael Weyandt Tarquinius Matthew Worth Lucretia Ekaterina Metlova Bianca Alison Tupay Lucia Marnie Breckenridge

music staff Assistant Conductor Blake Richardson Rehearsal Pianist/Coach Wilson Southerland

By arrangement with Boosey & Hawkes, Inc., publisher and copyright holder.

These performances are funded, in part, by the Britten-Pears Foundation and by Patron Sponsors Susan Graham Harrison and Michael A. Harrison.

Cal Performances’ 2010–2011 season is sponsored by Wells Fargo.

CAL PERFORMANCES 5 SYNOPSIS PROGRAM NOTES

Scene 2 The Female Chorus takes us into the world of Lucretia at home with her nurse, Bianca, and maid, Lucia. They work, spinning yarn, embroi- dering, and folding linen, while Lucretia frets over Collatinus’s prolonged absence. Just as they are preparing to go to bed, Tarquinius arrives and demands to be put up for the night. With some trepidation, she invites him in and shows him to his room. Giuseppe DiLiberto Giuseppe act two (1946; rev. 1947) Scene 1 Civil unrest grows in Rome, and the discontent- he events of the opera, which take ed wait for the moment to revolt. As Lucretia place in ancient Rome (c. 500 BCE), are re- T sleeps, Tarquinius steals through the silent house lated by a Male and a Female Chorus, who view

to her room. Seeing her asleep, he becomes en- DiLiberto Giuseppe the story through their Christian faith. flamed with desire and kisses her. Dreaming of Collatinus, she pulls him closer and then wakes n the traditional and highly mytholo- few opportunities there were to produce new act one in horror, realizing who he is. He tries to seduce Igized history of early Rome, Lucretia’s rape English , decided to found the English Scene 1 her and, rebuffed, loses control and rapes her. by Tarquinius, the son of Rome’s Etruscan king, Opera Group to produce work themselves. They Rome, which is under Etruscan rule, grows is considered the pivotal event leading to the chose to work in both for finan- increasingly unstable as the excesses of the Scene 2 overthrow of the monarchy and establishment cial reasons and because Britten was “keen to Etruscans worsen. Tarquinius, son of the The next morning is extraordinarily beautiful, of the Roman republic. Her rape and subsequent develop a new art form (the chamber‐opera, or Etruscan king, and his Roman generals and Bianca and Lucia cheerfully gather flowers. suicide epitomized the abuses the Romans had what you will) which will stand beside the grand Collatinus and Junius, are drinking in their Lucretia enters in shock, and sends a messenger been subjected to by the Etruscans, and trig- opera as the quartet stands beside the .” camp on the eve of a battle. They have made for Collatinus. When he arrives with Junius, gered the rebellion. According to Livy and other Britten and Duncan had been planning to a bet about which of the generals’ wives have he is horrified by the sight of his broken wife. Roman historians (all writing several centuries collaborate for many years when the English stayed faithful in their absence, and discover She tells him what Tarquinius has done. As after the event), two of Rome’s three last kings Opera Group was formed in 1945. They had that only Collatinus’s wife, Lucretia, has re- Collatinus tries desperately to comfort her, she were Etruscan, and although they were respon- been hoping to write a piece about the bombing mained chaste. Junius, upset by his wife’s adul- seizes Junius’s sword and kills herself. While he sible for several major public works, there was of Hiroshima earlier in the year, which had fall- tery and provoked by Tarquinius, storms out of and the women, grief-stricken, begin to mourn, growing resentment of their repression of the en through, and there are resonances of World the tent in a jealous rage. Collatinus leaves the Junius seizes his sword and calls on his fellow Roman aristocracy and middle classes. Whether War II in the way the Male and Female Chorus, two men complaining about women. Tarquinius Romans to avenge her death and overthrow the the rape was the catalyst for the founding of the who narrate the opera, contextualize the story. has become consumed by Lucretia’s beauty and Tarquins. The Male and Female Chorus struggle republic or not, Ronald Duncan (who wrote the As they bridge the time between the story (hap- virtue and eventually, dared by the embittered to understand the tragedy in light of their faith libretto for The Rape of Lucretia) saw value in the pening in 509 BCE) and the contemporary au- Junius, decides to ride to Rome—and Lucretia. in Christ. epic nature of the story. He wrote later “It is, dience, they emphasize the universality of war, of course, quite irrelevant whether the story of tyranny, and human suffering. Being Christian, Lucretia has any basis in history. What is im- they also filter Lucretia’s story through the lens portant is that it has become a European legend. of their beliefs. When the opera was first per- A legend contains an universal truth, whereas formed in 1946, they were telling the story in a history at its best is often only accurate in fact.” postwar context. Staging the opera now, we’ve During the production of Benjamin Britten’s worked to find who these deeply committed first opera, (at Sadler’s Wells in Christians are in our own world, what the story 1945), Britten, and director means for them, and why they need to tell it , who were concerned about how to us.

6 CAL PERFORMANCES CAL PERFORMANCES 7 CAL PERFORMANCES PRESENTS SYNOPSIS

Saturday, March 26, 2011, 8pm Day committee appears to inform Albert and Sunday, March 27, 2011, 3pm his mother that Albert has been chosen as May Zellerbach Hall King. Despite Albert’s reluctance, Mrs. Herring greedily anticipates the prize of 25 gold sover- Castleton Festival Opera eigns and will not allow him to refuse.

The Britten Project: act two Composed by Benjamin Britten Scene 1 Conducted by Lorin Maazel Nancy and Sid finish last-minute preparations Stage Direction by William Kerley for the May Day Feast. With the rest of the town Berkeley Symphony at the Parish Church, Sid convinces Nancy to let him play a joke on Albert, spiking his lemon- production ade with rum. All arrive for the crowning of the Set & Costume Designer Nicholas Vaughan May King, complete with the presentation of Lighting Designer Rie Ono gifts and tributes from the town leaders. Albert Production Stage Manager Laine Goerner attempts a brief and awkward thank you, and Assistant Director Amanda Consol after a glass of the lemonade has an attack of Assistant Lighting Designer Marnie Cumings the hiccups. More lemonade is brought, which Associate Lighting Designer Brandon Mitchell F & E Schmidt Albert downs in one go, curing his hiccups and allowing the party to continue. Assistant Costume Designer Sarah Swafford Albert Herring (1946–1947) Scene 2 cast Loxford, a small town in East Suffolk, England Albert stumbles back to the shop, drunk on the (in order of vocal appearance) rum-laced lemonade, and tries to sort out the Lady Billows Nancy Gustafson act one new sensations he experienced at the celebra- Florence Pike Kristin Patterson tion. He is interrupted by the sounds of Sid Scene 1 Miss Wordsworth Ashleigh Semkiw and Nancy’s rendezvous. As the couple runs off, Lady Billows is reviving the town’s May Day Mr. Gedge, the vicar Alexander Tall Albert is left with an increased desire to escape Festival and has chosen a committee to help her Mr. Upfold, the mayor Tyler S. Nelson his humdrum life. Remembering the 25 pounds select the May Queen, who must be of impec- Superintendent Budd Benjamin Bloomfield in his pocket, he makes the decision to set out cable virtue. Lady Billows has set her house- Sid Adrian Kramer for a night on the town. Albert Herring Brian Porter keeper, Florence, on the task of investigating all of the eligible girls in town. The committee Nancy Tammy Coil act three Mrs. Herring Rachel Calloway arrives at Lady Billow’s sitting room for its fi- Emmie Daphne Williams nal meeting, but none of the girls suggested The next morning the townsfolk are shocked at Cis Emma Thvedt are deemed worthy of the title. Mr. Budd, the the disappearance of their May King. Albert’s Harry Andres Beck-Ruiz Superintendent of Police, proposes a solution: a Mum is certain that he has come to harm. May King. Lady Billows reluctantly endorses the Albert’s crown is found crushed by a cart and it music staff nomination of Albert Herring, a simple but pure is presumed that he is dead. A threnody is sung, Assistant Conductor Blake Richardson greengrocer’s boy. only to be interrupted by Albert’s sudden return. He appalls Lady Billows and the Loxford elders Rehearsal Pianist/Coach Wilson Southerland Scene 2 with tales of his drunken adventures and then Recitatives played by Wilson Southerland. Sid, the butcher’s assistant, chases the village celebrates his newfound independence with children out of Mrs. Herring’s grocery and By arrangement with Boosey & Hawkes, Inc., publisher and copyright holder. Nancy, Sid and the village children. then prods Albert to break free of his mother’s suffocating influence. Sid’s girl, Nancy, arrives These performances are funded, in part, by the Britten-Pears Foundation and by and the two make plans for a romantic evening. Please note that there will be two intermissions Patron Sponsors Susan Graham Harrison and Michael A. Harrison. Albert is left alone and wonders what it would of 15 minutes each between Acts I and II Cal Performances’ 2010–2011 season is sponsored by Wells Fargo. be like to live more like his friend Sid. The May and between Acts II and III.

8 CAL PERFORMANCES CAL PERFORMANCES 9 PROGRAM NOTES ABOUT THE ARTISTS

lbert herring, Britten’s second chamber he castleton festival, launched Aopera, was composed just a year after its Tin summer 2009, has quickly become predecessor, The Rape of Lucretia, in 1947. Yet the centerpiece program of the Châteauville the contrast in style and subject matter could not Foundation, established in 1997 by Lorin and be greater: Instead of a tragedy based on a tale Dietlinde Maazel. The Foundation’s mission is from Roman antiquity, Albert Herring is a comic to nurture young artists, foster collaborative ar- opera set in the imaginary East Suffolk market tistic enterprise and create opportunities within town of Loxford at the turn of the 20th century. the community for shared cultural experience. The score contains some of Britten’s wittiest mu- An intimate and acoustically superb Theatre sical invention, and his gifts for parody and cari- House, sitting on the foundations of what was cature, already evident in Peter Grimes, are given once a large-scale chicken coop, serves as the fo- full reign. However, the work is far from being cal point of the Foundation’s year round activi- mere farce: Albert is a sympathetic and credible ties. Its stage has welcomed world-renowned art- figure who, tied to his mother’s apron-strings ists such as Mstislav Rostropovich, José Carreras, and frustrated by small-town pieties, embarks Emanuel Ax and , alongside ris- on a debauched “rake’s progress,” a theme fully ing stars and figures from world For over five decades, Lorin Maazel (Artistic in keeping with the composer’s favorite subject: music, jazz, dance and theater. The Foundation Director) has been one of the world’s most es- the loss of innocence. continues to present artists and ensembles of teemed and sought-after conductors. Maestro Moreover, such poignant touches as the the highest caliber through a regular season of a Maazel recently completed his seventh and third-act threnody, in which Albert, presumed dozen or more presentations each year. final season as Music Director of the New dead, is solemnly mourned by the gathered In addition to its performances activities, the York Philharmonic, and continues as Music townsfolk, makes writer Donald Mitchell’s de- Foundation regularly welcomes students to its fa- Director of the Palau de les Arts “Reina Sofia,” scription of the opera as “a serious comedy” seem cilities and offers outreach opportunities and in- in Valencia, Spain. Maestro Maazel is also a entirely apt. school activities within Rappahannock County, highly regarded composer, with a wide-ranging The libretto, written by Eric Crozier, Virginia. The Foundation is deeply rooted in its catalogue of works written primarily over the Britten’s partner in the community and has partnered regularly with last dozen years. His first opera,1984 , based and director of The Rape of Lucretia the previ- area organizations to integrate the performing on ’s literary masterpiece, had ous year, is based on Guy de Maupassant’s 1887 arts into the lives of underserved populations. its world premiere at House, comic novella Le Rosier de Madame Husson. In recent years, the Foundation’s work has Covent Garden, in May 2005. Maestro Maazel’s Albert Herring premiered at Glyndebourne focused most prominently on the growth of compositional catalogue also includes a tril- on June 20, 1947, conducted by the composer, young artists; advanced students and emerg- ogy of concertos—Opp. 10, 11 and 12, Music with Peter Pears singing the title role. The opera ing professionals on the cusp of major careers. for Cello and Orchestra (written for Mstislav was given its American premiere at Tanglewood Starting with the Castleton Residency, a pro- Rostropovich), Music for and Orchestra on August 8, 1949. gram launched in 2006, such artists have come (written for James Galway) and Music for annually to Castleton Farms to live and work and Orchestra—and a symphonic movement Adapted from the Britten-Pears Foundation together intensively under the inspiring guid- (Farewells, Op. 14), premiered in 2000 by the ance of Maestro Maazel, producing a series of Vienna Philharmonic. A second-generation chamber opera productions in the intimate American born in Paris, Lorin Maazel began Theatre House. violin lessons at age five and lessons The enormously successful program blos- at age seven. Alongside his prodigious perform- somed into the first Castleton Festival in 2009, ing activity, Maestro Maazel has found time to creating expanded opportunities for the par- work with and nurture young artists, based on ticipants through the inclusion of symphonic his strong belief in the value of sharing his expe- concerts, master classes (most notably the Lorin rience with the next generation(s) of musicians. Maazel Master Class for conductors with Rolex as the Founding Partner), recitals and a range William Kerley (Director) is a freelance direc- of formal and informal performances and tor of theater and opera. In 2009, Maestro Lorin training activities. Maazel appointed him Resident Stage Director

10 CAL PERFORMANCES CAL PERFORMANCES 11 ABOUT THE ARTISTS ABOUT THE ARTISTS at the Castleton Festival, where he has direct- Taylor Mac), POOM2 and POONARC (Yoshiko Acclaimed by the Washington Times as “most im- McNally’s Tony-winning play Master Class. ed Britten’s The Rape of Lucretia, The Beggar’s Chuma); Le Nozze di Figaro and L’Ormindo (Curtis pressive…highly professional…and satisfying,” Mr. Southerland holds a master’s degree from Opera, Albert Herring and The Turn of the Screw, Institute); HALT, Weddings and Beheadings, Blind Blake Richardson (Assistant Conductor) has the . Puccini’s Trittico and a double bill of Stravinsky’s Spot and Le Petit Mort (Palissimo). He received quickly emerged as a confident, dynamic leader Soldier’s Tale and de Falla’s Master Peter’s Puppet the 2005 NYC Fringe Award for outstanding set on the podium. Highlights of his 2010–2011 sea- Brandon Mitchell (Associate Lighting Designer) Show. He also directed his Castleton production design, the 2005 USITT Oren Parker Award for son include work with the San Diego Symphony, received his M.F.A. in lighting design from of The Rape of Lucretia at the Opera Company set design and the Lloyd Weninger Award for Berkeley Symphony, Cincinnati’s concert:nova Carnegie Mellon University this past year. of , starring world famous , stage design, and he was selected for the U.S. and the Cincinnati Modern Music Ensemble. Recent design credits include How to Succeed . exhibit in the 2007 Prague Quadrennial. He is Mr. Richardson has conducted in in Business Without Really Trying (CMU) and He has worked as assistant and associate a TEAM company member and maintains an Germany, Spain, Italy and Denmark, and was My Fair Lady (Seven Angels Theatre). Assistant director in theater at the Royal Shakespeare ongoing performance/installation art collabora- assistant conductor of the Barcelona Symphony design credits include: The Turn of the Screw Company, the National Theatre and the Almeida tion with his husband, Jake Margolin, currently during 2009–2010. A Fulbright Scholar, he at- and Albert Herring (Castleton Festival, 2009); Theatre, and in opera at Glyndebourne Festival, working on A Marriage: 1 through a residency at tended the 2010 Salzburg Festival on invitation (Pittsburgh Opera); the , , Scottish HERE Arts Center in New York. of the Vienna Philharmonic, and will return to Sweeney Todd (Barrington Stage Co.); Fiddler Opera and . Directors he the 2011 Castleton Festival as associate conduc- on the Roof (2010–2011 National Tour); [title of has assisted include Tim Albery, Jonathan Kent, Rie Ono (Lighting Designer) designed The Turn tor in his ongoing work with Maestro Maazel. show] (George St. Playhouse); and Cactus Flower , Jonathan Miller, Graham Vick of the Screw, Albert Herring, The Beggar’s Opera (off-Broadway). and . and The Rape of Lucretia for the Châteauville Amanda Consol’s (Assistant Director) direct- A renowned Britten specialist, among his Foundation. She has worked on various dance, ing credits include The Turn of the Screw and Sarah Swafford (Assistant Costume Designer) is many opera productions he directed the 50th theater and opera productions in the United for the Cincinnati Conservatory currently enrolled in her final semester, earn- anniversary production of at the opera States, Japan, Romania and Jordan, and also of Music, L’Enfant et les Sortilèges for DePaul ing her BFA at the Conservatory of Theatre house founded by Benjamin Britten himself, the served as lighting director for international fes- University’s Student Productions and Amahl and Arts, Webster University in St. Louis, major- Snape Maltings. He also directed a new produc- tivals and productions, including the Lincoln the Night Visitors for the Clermont Philharmonic ing in costume design and construction. Her tion of Britten’s children’s opera, Let’s Make an Center Festival. Ms. Ono has received the Orchestra. With support from the Brooklyn recent credits include: Costume Designer for Opera at the Aldeburgh Jubilee Hall, where the Ettinger Award for Excellent Designers, Freddy Arts Council, she staged The Songs and Proverbs Almost, Maine (2011), Costume Designer for piece had its premiere in 1949. Award Nominee for Best Lighting Design, and of William Blake for the Red House Collective, (2010), Assistant Costume He directed the world premiere of Battistelli’s in 2003 was the Japanese Representative of a company she co-founded. She has directed Designer to Nicholas Vaughan for the Castleton The Embalmer at Almeida Opera. In 2008, he Prague Quadrennial. She holds an M.F.A. in scenes and worked as an assistant director for Festival (2010), Assistant Costume Designer for directed Donizetti’s La Fille du Regiment at lighting design from NYU. Glimmerglass Opera, and The Lily’s Revengeat HERE Arts Center (2009) Opera Holland Park. In 2011, he will direct a Wolf Trap Opera, among others. and Assistant Costume Designer for the film new production of Rossini’s Laine Goerner (Stage Manager) is based in Romeo and Juliet, directed by Eve Annenberg for the National Centre for the Performing Arts the New York City area. Previous shows in- Wilson Southerland (Rehearsal Pianist/Coach) (2011). Ms. Swafford is thrilled to be working in Beijing, China. In theater, he has directed clude Il Trittico at the Castleton Festival, has performed on some of the world’s most pres- with Nick Vaughan once again and grateful for award-winning world premieres of new plays by La Grand Macabre with the New York tigious stages. He recently made his Kennedy the opportunity to travel to Berkeley. Gill Adams and Richard Bean at the Philharmonic, Pirates of Penzance, The Consul, Center debut accompanying Maestro Lorin Festival and the Bush Theatre. Cunning Little Vixen and Street Scene with Maazel on the violin. His New York debut at Chautauqua Opera, Penelope and Street Scene Merkin Hall led to subsequent appearances at The Rape of Lucretia Nicholas Vaughan (Set & Costume Designer) at Manhattan School of Music; Bartered Bride, Alice Tully Hall, Steinway Hall and the Apollo Nick is a New York-based artist and scenogra- Dialogue of the Carmelites, Transformations, Theater. In Europe, Mr. Southerland’s en- Tenor Vale Rideout’s (Male pher. He is the resident costume/set designer , , The Marriage, Schwergewicht, gagements have included concerts at London’s Chorus) engagements in 2011– for the Castleton Festival, where he has cre- Rothschild’s Violin, Die Zauberflöte, Le Comte Wigmore Hall and the Villa d’Ephrussi Palace 2012 include Igneo in Davis’s ated sets and costumes for Il Trittico, Soldier’s Ory, Il Combattimeno di Tancredi e Clorinda, near Nice, France. He was also invited to per- Rio de Sangre (Florentine Tale, Master Peter’s Puppet Show, The Turn of Idomeneo, Iphigenie en Aulide and La Finta form at Spoleto USA and has worked with Opera); Don Ottavio in Don the Screw, Albert Herring, The Beggar’s Opera Giardiniera with the Juilliard School; and choreographer Mark Morris. He has been a Giovanni (Tulsa Opera); Tancredi in Musto’s and The Rape of Lucretia. Other recent designs , and Romeo et vocal coach at Seattle Opera, Chautauqua The Inspector (Wolf Trap Opera); and Stucky’s include Architecting and Particularly in the Juliette with Dicapo Opera Theatre. Institution, Gotham Chamber Opera and August 4, 1964 (Dallas Symphony at Carnegie Heartland (the TEAM); Sounding (HERE); the Eastman School of Music. He made his the- Hall). His performances with Lorin Maazel -winning Lily’s Revenge (HERE/ atrical debut as the Accompanist in Terrence have included Britten’s War with the

12 CAL PERFORMANCES CAL PERFORMANCES 13 ABOUT THE ARTISTS ABOUT THE ARTISTS

New York and Los Angeles philharmonics, Male del West and Count Rodolfo in La Sonnambula. Theater (Charlie in Heggie’s Three Decembers Caruso’s Final Broadcast (Naxos). Ms. Tupay is a Chorus in The Rape of Lucretia, and Beethoven’s He is also the host and producer of a podcast and the title role in Britten’s ), graduate of Boston University and the Symphony No. 9 in Rome and Brussels. Recent called OperaNow! (operanowpodcast.com and Atlanta Symphony (Carmina Burana with Juilliard School. engagements include Peter Quint in The Turn of OperaNow! on iTunes), a weekly roundtable Robert Spano), Brahms Requiem (with Donald the Screw (Boston Lyric Opera), Frank Shallard discussion about the goings-on in the opera Runnicles), Tanglewood (Guglielmo in Così fan Marnie Breckenridge (Lucia), in Elmer Gantry (Florentine Opera), Roderick in world. The show has achieved great popularity, tutte, conducted by ), Gordon’s lauded for her “pure and supple Glass’s The Fall of the House of Usher (Nashville been named “Podcast of the Week” in The Times The Grapes of Wrath (Carnegie Hall), and per- voice,” “note-perfect musician- Opera Association) and Egeo in Cavalli’s of London and was nominated for a Podcast formances with Lorin Maazel of The Rape ship” and “major-league act- Giasone (Chicago Opera Theater). Award in the Cultural/Arts category. of Lucretia. ing” recently made her European and Asian debuts as Arianna Zukerman’s Michael Weyandt (Junius) was Mezzo-soprano Ekaterina Metlova (Lucretia) Cunegonde in with (Female Chorus) 2010–2011 sea- recently seen as Lockit in studied in Moscow at the Children’s School of , son includes several return en- Britten’s arrangement of The Music and the High Academy of Music of the Prague State Opera and on tour in Japan. Her gagements, including Verdi’s Beggar’s Opera and Marco Tchaikovsky Conservatory, singing Mozart’s versatility of roles range from highly acclaimed Requiem with the National in Gianni Schicchi at the Requiem, Bach’s St. Matthew Passion and performances of Lucia di Lammermoor to Emily Philharmonic, with Castleton Festival, under the Cherubino in Le Nozze di Figaro. In 2001, in Rorem’s Our Town. A champion of contem- and baton of Lorin Maazel. He has Ms. Metlova moved to Italy and continued her porary music, she sang Sierva Maria in Peter Mozart’s Requiem with the also been seen as Guglielmo and vocal studies with Giovanni Bergamo and Raina Eötvös’s Love and Other Demons at Glydebourne New Choral Society. She also sings Beethoven’s Masetto at the Tanglewood Music Center, un- Kabaiwanska. As the 2004 winner of the Aslico Festival Opera and La Princesse in Philip Glass’s Symphony No. 9 with Toledo Symphony der the direction of James Levine. Other roles Prize, she performed the role of Charlotte in Orpheé with Ensemble Parallele, and made her Orchestra and in a return to the National Arts include Belcore, Mercutio and Lescaut. An ad- Werther throughout Italy. In 2010, she sang Flora Ravinia Festival debut in Jake Heggie’s To Hell Centre Orchestra, appears in recital with the vocate of contemporary music, he has previously in under the baton of Lorin Maazel and Back with Philharmonia Baroque, co- Miami String Quartet at Rice University, appeared at the Miller Theatre in New York as and was awarded first prize at the International starring Patti LuPone. through Houston Friends of Music, and with Pete Dayton in the U.S. premiere of Olga Singing Competition of Bilbao, Spain. Other pianist Navah Perlman at Bridgewater College. Neuwirth’s opera Lost Highway, based on the roles include Javotte in Manon and Dulcinee She has previously performed the role of Female David Lynch film, and at Merkin Hall as the in Don Quichotte. In 2011, Ms. Metlova per- Albert Herring Chorus in The Rape of Lucretia under Lorin soloist in a staged performance of Davies’s Eight forms in concerts in Seoul and at the Teatro Maazel at the conductor’s estate in Virginia. Songs for a Mad King. He was a New England Monumental in Madrid. Soprano Nancy Gustafson Ms. Zukerman has also appeared as soloist with Regional Finalist in the 2010 Metropolitan (Lady Billows) has delighted the orchestras of Boston, Philadelphia and Opera National Council Auditions, the First Mezzo-soprano Alison Tupay’s opera lovers worldwide with Minnesota, and has performed opera and con- Place winner in the New York Singing Teachers (Bianca) operatic credits in- one brilliant performance af- cert repertoire internationally. Association David Adams Art Song Competition, clude: Sesto, La clemenza di ter another. Credits include and a prizewinner in the Liederkranz Competition Tito; Annio, La clemenza di the , San -baritone Michael Rice (General Opera division). During a leave of ab- Tito; Jocasta, Oedipus Rex; Der Francisco Opera, Teatro alla (Collatinus) worked with a vari- sence from his master’s degree studies, he spent Trommler in Der Kaiser von Scala, Royal Opera, Covent ety of companies including sev- two years living and teaching in rural China, Atlantis; Rosina, Il barbiere di Garden, and the Chicago Lyric Opera. She has eral previous appearances with Shanxi province. Siviglia; Modestina, Il viaggio a Reims, New been acclaimed in the leading opera houses of Lorin Maazel at his Castleton York City Opera; Pitti-Sing, , Opera the world for her captivating stage presence, ab- Festival, as well as New York Baritone Matthew Worth (Tarquinius) makes Theatre of St. Louis. Her orchestral credits in- solute command and stunning vocal quality. City Opera, Operá de Nice, his debut this summer as clude: Mahler’s Symphony No. 2, Fort Worth She enjoys an especially close relationship with Utah Symphony and Opera, the Ravinia Valentin in Faust. His engagements in the Symphony; Mahler’s Symphony No. 3, Ashland the , where she was honored Festival, Central City, Glimmerglass, Sarasota 2010–2011 season include Figaro in Il barbiere Symphony; Bernstein’s Kaddish Symphony, with the title of Kammersängerin in 2001. In re- and , in such roles as Collatinus di Siviglia with Pittsburgh Opera, Demetrius Avery Fisher Hall; Alfred Schnittke’s Nunc cent seasons, Ms. Gustafson performed the title in The Rape of Lucretia, Peachum in The Beggar’s in A Midsummer Night’s Dream with Boston Dimittis, Avery Fisher Hall; Mozart’s Requiem role of Strauss’s Salome at the Teatro alla Scala in Opera, Mustafa and Haly in L’Italiana In Algieri, Lyric Opera, Papageno in Die Zauberflöte with and Coronation Mass, Mainly Mozart Festival; Milan and later repeated the role with the Los Buonafede in Il Mondo Della Luna, Don New Orleans Opera Association, and a return Mozart’s Requiem and Duruflé’s Requiem, Angeles Philharmonic in a performance of the Pasquale in , Theseus in A engagement with New York Festival of Song. Carnegie Hall; and Verdi’s Requiem, Ashland final scene from Salome and at the Koel Midsummer Night’s Dream, Billy in La Fanciulla His recent engagements include Chicago Opera Symphony. Her recording credits include Tony Philharmonic in Cologne, Germany. Highlights

14 CAL PERFORMANCES CAL PERFORMANCES 15 ABOUT THE ARTISTS ABOUT THE ARTISTS of her 2010–2011 season include performances Herring with Lorin Maazel and the Châteauville L’Elisir d’Amore in Hong Kong, a return to the Mezzo-soprano Tammy Coil as soprano soloist in the 100th anniversary of Foundation. Last season, he returned to New Castleton Festival to perform roles in six operas, (Nancy) spent this past sum- Mahler’s Eighth Symphony under the baton of York City Opera for Hugo Weisgall’s Esther. followed by a concert tour of Mozart’s Requiem mer as an apprentice artist Lorin Maazel in Duisburg, Germany, and re- Past highlights include Dolabella in Antony with the Munich Symphony. Mr. Bloomfield with Santa Fe Opera, where prising her role of Julia in 1984 in Valencia, Spain. and Cleopatra, Silvio in I pagliacci and Second has performed at such esteemed concert venues she will be returning this sum- Baritone in King Arthur (all with New York as Carnegie Hall, Avery Fisher Hall, Alice Tully mer. Ms. Coil participated in Kristin Patterson (Florence Pike) has been de- City Opera); John Brooke in Little Women Hall and the Kennedy Center. the inaugural Châteauville scribed by critics as a singer with a charismatic (Syracuse Opera); Schaunard in La bohème Festival singing the role of presence and startlingly rich mezzo, and is re- (Opera Company of Philadelphia and Opera Canadian Baritone Adrian Nancy in Albert Herring under nowned for her brilliant portrayals. She has Birmingham); Mercutio in Roméo et Juliette Kramer (Sid) is currently a the baton of Lorin Maazel. She recently debuted received rave reviews for her powerful Ulrica (Opera Grand Rapids); Fiorello in Il barbiere di young artist at the Canadian as L’Ecureuil, La Bergère and La Chatte in (Un Ballo in Maschera) and her Florence Pike Siviglia (Opera Omaha); as soloist in Beethoven’s Opera Company, where he has L’Enfant et les Sortilèges, as well as Zulma in (Albert Herring). A concert tour of Italy was so Symphony No. 9 (Berkshire Choral Festival); appeared as Papageno in the L’Italiana in Algeri with the Opera Company of successful that she was called back to perform in Carmina Burana (Sioux City Symphony); in Die Zauberflöte and the Hotel Philadelphia. Past roles include Margaret in Pergolesi’s Stabat Mater to sold-out perfor- Mahler’s Das Knaben Wunderhorn (Princeton Waiter in . He Wozzeck and Lorca in Golijov’s Ainadamar in col- mances, returning in triumph for an additional Symphony); and in Britten’s Noye’s Fludde holds degrees from the Juilliard School and the laboration with the Opera Company of tour. Other recent roles include the title role of (Ashlawn Music Festival). Curtis Institute of Music, where he was heard in Philadelphia and the Kimmel Center. Other roles , Alisa (Lucia di Lammermoor), Suzuki numerous operatic roles. Mr. Kramer has per- include Cherubino in Le Nozze di Figaro, Lady (Madama Butterfly), Dorabella (Così fan tutte), Tyler S. Nelson (Mr. Upfold, formed with the Châteauville Festival, with a Hatbox in The Postcard from Morrocco, Mother (Amahl and the Night Visitors) and Berta the mayor) is one of America’s Glimmerglass Opera, the Chautauqua Sicle in L’Ormindo and Zwei Dame in Die (Il barbiere di Siviglia). most promising young . Institution and the Ravinia Festival. Concert Zauberflöte. Upcoming engagements include Already enjoying success in a credits throughout Europe and North America Mercedes in Carmen with the Opera Company of Soprano Ashleigh Semkiw wide variety of repertoire, his include performances in Carnegie Hall, the Philadelphia and covering the role of Margaret in (Miss Wordsworth) is very recent engagements have in- Kennedy Center, the Kimmel Center and Alice Wozzeck at Santa Fe Opera. pleased to be singing Miss cluded debuts as Delfa in Tully Hall. This season, he also appears as the Wordsworth again. She Chicago Opera Theater’s pro- Wig Maker in the COC production of Ariadne Rachel Calloway (Mrs. performed the role in the duction of Giasone , Venditore di Canzonetta in auf Naxos. Herring) is quickly establish- summer of 2009 at the Puccini’s Il Tabarro, Maese Pedro in De Falla’s ing herself as one of the fore- Castleton Festival, originally El retablo del maese Pedro and Rinuccio in Tenor Brian Porter (Albert Herring) graduated most mezzo- of her staged in October 2008. There, Gianni Schicchi at the Châteauville Foundation from the Curtis Institute in 2008, where he per- generation. In the 2010–2011 she also covered the role of Lucia (The Rape of under the baton of Lorin Maazel. This year formed eleven leading roles, including the title season, she debuts with the Lucretia). In summer 2010, she sang the role of brings a debut with Saginaw Bay Symphony in role in Albert Herring, Ferrando in Così fan tutte, Berkeley Symphony under Polly Peachum (The Threepenny Opera) with the Michigan performing Beethoven’s Symphony Male Chorus in The Rape of Lucretia, Ormindo in Joana Carneiro and with the Metropolitan Princeton festival. In January 2010��������������, she partici- No. 9, Mozart’s Requiem with the Utah L’Ormindo and Prunier in La Rondine. In 2006, Opera in workshops of Nico Muhly’s Two Boys pated in a collaborative performance art piece Chamber Artists, and a return to both Chicago Mr. Porter appeared at the Rossini Festival in and Michael Torke’s Senna. She returns to with Canadian artist Mitchell F. Chan in part- Opera Theater for their production of Médée and Pesaro, Italy, as Cavaliere Belfiore in Il Viaggio Glimmerglass Opera for the summer season and nership with the Art Institute of Chicago. Ms. to the Châteauville Foundation this summer. a Reims. Mr. Porter is honored to return to the appears in concert at Cornell University, Yale Semkiw was also chosen to perform in November role of Albert with the Castleton Festival. The University, Depauw University, Le Poisson 2009 at the Harman Center for the Arts Annual Benjamin Bloomfield’s (Supt. March 27 performance marks his 30th birthday Rouge, Merkin Hall with the Continuum Gala honoring Sir Ian McKellan. In spring Bud) powerful baritone voice and his hiatus from opera to pursue a degree at Ensemble and the Strathmore Mansion in 2009, she was a young artist with Chicago has been heard around the Columbia University in New York. Maryland. Ms. Calloway is a founding member Opera Theater covering the role of Mrs. Julian world. Last season, he covered of Shir Ami, an ensemble dedicated to the pres- (Owen Wingrave). Ms. Semkiw holds degrees Lavitsky in Boris Godunov at ervation and performance of Jewish art music from both the University of Toronto (B.Mus.) the Metropolitan Opera and suppressed by the Nazis and Soviets. and (M.Mus.). sang Superintendent Budd in Ms. Calloway holds degrees from both the Albert Herring with Lorin Juilliard School and Manhattan School of Music Baritone Alexander Tall (Mr. Gedge, the vic- Maazel at the Castleton Festival. Plans for 2011 and maintains an active teaching studio. ar) has previously sung Mr. Gedge in Albert include his international debut as Belcore in

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Daphne Williams (Emmie), Emma Thvedt Orchestra in a concert version in 1997 before it was fully (Cis) and Andres Beck-Ruiz (Harry) are mem- staged in New York, London and Chicago. bers of the internationally acclaimed Piedmont Known as “the Bay Area’s most adventur- Berkeley Symphony entered a new era in East Bay Children’s Choir, which offers chil- ous orchestra” (Contra Costa Times), Berkeley January 2009 as Joana Carneiro became the or- dren from throughout San Francisco’s East Bay Symphony has been recognized with the chestra’s third music director in its 40-year his- an outstanding program of choral training and ASCAP Award for Adventurous Programming tory. Staying true to the orchestra’s tradition of performance. Founded in 1982 by Suzie Rahl, in seven out of the last ten years. The orches- presenting the cutting edge of classical music, the Choir has established itself as a leading tra supports local composers through its Under her inaugural season featured works by several force in international choral activities and new Construction New Music Reading Series. It also prominent contemporary Bay Area composers, music under the dynamic leadership of Artistic runs a year-long, award-winning Music in the including John Adams, Gabriela Lena Frank Director Robert Geary. International tours Schools program, providing 4,000 local students and Paul Dresher. Under Maestra Carneiro, the every summer and a keen desire to meet, col- with the experience of becoming a performer orchestra has begun to forge new relationships laborate and compete with choruses and sing- each year. with living composers. The 2010–2011 season ers of other cultures have led to high marks at Berkeley Symphony was founded in 1969 as featured two orchestra-commissioned works, a prestigious festivals across the world, and to the the Berkeley Promenade Orchestra by Thomas return appearance by Adams, along with lesser- sponsorship of the Golden Gate International Rarick, a protégé of English conductor Sir known works by composers old and new. Choral Festival. Recognizing that the creation Adrian Boult. Reflecting the spirit of the times, orchestra roster of art is a forward-looking and forward-think- the orchestra performed in street dress and ing endeavor, the Choir has commissioned and at unusual locations, such as the University Violin I Franklyn D’Antonio premiered dozens of new works by living com- Art Museum. Violin II Daniel Flanagan posers, including Kui Dong, Mark Winges, When Kent Nagano became music direc- Pekka Kostiainen, Kirke Mechem and many tor of the orchestra in 1978, he charted a new Viola Victor De Almeida others. They regularly collaborates with major course by offering innovative programming that Cello Tamara Bohlin Bay Area arts organizations such as the Oakland included a number of rarely performed 20th- East Bay Symphony, the Mark Morris Dance century scores. In 1981, French composer Bass Jon Keigwin Group, Berkeley West Edge Opera and Volti. Olivier Messiaen journeyed to Berkeley to as- Flute, Piccolo, The Choir’s comprehensive music curriculum sist with the preparations for his imposing Emma Moon offers boys and girls age 4–18 the chance to oratorio, The Transfiguration of Our Lord Jesus progress through a series of training choirs to Christ. Maestro Nagano and the orchestra, , English Horn Deborah Shidler professional-level performing groups. joined by the composer’s wife, pianist Yvonne , Roman Fukshansky Loriod, gave a sold-out performance in Davies Symphony Hall. In 1984, the orchestra collabo- Carla Wilson rated with Frank Zappa in a critically acclaimed Horn Stuart Gronningen production featuring life-size puppets and mov- ing stage sets, catapulting Berkeley Symphony , Percussion Kevin Neuhoff onto the world stage. Under Maestro Nagano, the orchestra reg- ularly performed works by upcoming young composers who have since achieved interna- tional prominence. Celebrated British composer George Benjamin, who subsequently became Composer-in-Residence at the San Francisco Symphony, was first introduced to the Bay Area in 1987 when Berkeley Symphony performed his compositions Jubilation and Ringed by the Flat Horizon; as was Thomas Adés, whose opera Powder Her Face was debuted by the orchestra

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