SUMMER 2014 ROSTER
THE PEOPLE OF WTO Eric Owens returns to Wolf Trap as Artist in Residence...... page 11
Matthew Ozawa discusses his two leading ladies....page 8
Maya Layhani explores her relationship with Carmen...... page 4 iOPERA
We live in an age of customization. It’s been 15 years since iTunes launched us on the current trend of tailoring our music, our devices, and our experiences to our own tastes. You’ll be happy to know that Wolf Trap Opera was (not surprisingly, of course!) ahead of this curve, for we’ve been customizing our seasons to showcase the unique strengths of our singers for decades. The singers we heard in last fall’s audition tour inspired us to program an iconic Baroque work, a searingly sexy grand opera, and an evening of French one-acts in which the dramatic meets the absurd—a INSIDE THE ROSTER fascinating recipe for Summer 2014. Summer Calendar...... 17 Carmen features three returning artists: Maya Lahyani in the title role,
GRAND OPERA Norman Garrett as Escamillo, and Ryan Speedo Green as Zuniga. The Carmen: Operascape...... 3 abundance of Baroque sensibility and countertenor/mezzo-soprano She and I...... 4 representation from our audition tour led to Handel’s Giulio Cesare, featuring returning artists Ying Fang and Carolyn Sproule. Poulenc’s Les OPERA AT THE BARNS mamelles de Tirésias has been on our wish list for a quite a few years, and Finding Julius Caesar...... 5 the return of Mireille Asselin gives us a rare chance to give this one-act Dramatic & Absurd...... 7 opera its Wolf Trap premiere. We pair it with another opera new to The Tales of Two Women...... 8 From Page to Pit...... 8 Barns—Milhaud’s Le pauvre matelot, featuring another returning soprano, Tracy Cox. SONG & CONCERT Ten new singers complete the Filene Young Artist roster, and 16 talented Tuning into Les Six...... 9 conservatory and university students form the Studio Artist group (featured Houseful of Song...... 9 in its own scenes program and in Tirésias). Steven Blier crafts another Vocal Colors...... 9 Aria Jukebox...... 11 debut recital (Houseful of Song) for The Barns, our artists explore the Beethoven’s 9th...... 17 relationship between music and visual art in Vocal Colors concerts at The Phillips Collection in Washington, D.C., and a quartet of singers bring their OUR SINGERS own interpretations to Beethoven’s 9th symphony with The Philadelphia Alumni Updates...... 10 Orchestra. Homecoming: Eric Owens...... 11 Filene Young Artists...... 12 And, as has become our custom, the audience will also personalize its Studio Artists...... 15 own program in Aria Jukebox. This year, the choose-your-own concert Studio Spotlight...... 15 features a special appearance by bass-baritone Eric Owens, our 2014 Artist in Residence. A Wolf Trap Opera alumnus who has starred at the Met and BEHIND THE SCENES other internationally recognized houses, Eric is thrilled for the chance to Language of L’amour...... 16 return to WTO to mentor, encourage, and inspire a new generation of young Backstage Left...... 16 artists. LEARN MORE! Visit wolftrap.org/opera to create your own vocal music heaven. Summer Instant Opera!...... 6 has never sounded better! Master Class & Artist Panel...... Back Cover
OUR EXTENDED FAMILY Kim Pensinger Witman Senior Director Housing Hosts...... 18 Wolf Trap Opera & Classical Programming A Lasting Legacy...... 18 Introductions Are in Order!...... 18 Donor Appreciation...... 19
wolftrap.org/opera • wolftrapopera.org/blog
2 GRAND OPERA at the Filene Center
CARMEN Georges Bizet
Friday, July 25 at 8:15 pm CAST National Symphony Orchestra Carmen...... Maya Lahyani New Operascape production Don José...... Kevin Ray Filene Center at Wolf Trap National Park for the Performing Arts Escamillo...... Norman Garrett In French with supertitles in house Micaëla ...... Melinda Whittington Approximate running time 2 hours 30 minutes Zuniga...... Ryan Speedo Green Pre-Performance Discussion on the Old Farmhouse Lawn at 7:15 pm Moralès...... Joo Won Kang Frasquita...... Mireille Asselin Mercédès...... Virginie Verrez OPERASCAPE: Le Remendado ...... Robert Watson Le Dancaïre ...... Tobias A LANDSCAPE FOR OPERA Greenhalgh The Washington Chorus This summer’s Carmen marks our fourth outing with the Julian Wachner, Music Director Filene Center production model we call Operascape. Alexandria Choral Society Read on for a bit of history and some context! Children’s Chorus Kevin Carr, Music Director Components of Operascape National Symphony Orchestra: The Video Projections: The biggest PRODUCTION Filene Center is the second largest component of the visual production Conductor...... Grant Gershon theatrical stage in the country, and comes from a 60-foot-wide projection Director ...... Tara Faircloth that means that we can share it with screen built for the Filene Center. A Video Projection the amazing NSO. Our singers revel video projections designer (a relatively Design...... S. Katy Tucker in a collaboration that’s a high point recent and fascinating career track) Costume Design...... Rooth Varland of their careers to date, and the works with the director and design Lighting Design...... Mark Stanley audience hears the score played by team to knit together still and video Hair/Makeup the best musicians in the area. images that help tell the story in our Design...... Elsen Associates large venue. Continued on following page Language Consultant...... Full Staging: Cast members Marie-France Lefebvre spend a full-length rehearsal period (about 4 weeks) preparing a completely Special thanks to Carmen staged treatment of the Production Underwriters opera. Daniel and Gayle D’Aniello, and Costumes: A designer creates Performance Sponsors Ed and a new look just for our Andy Smith. Additional support production, and costumes are provided by Virginia M. Friend. built in our shop. 2013 Operascape: La traviata 3 GRAND OPERA at the Filene Center (continued)
Continued from previous page SHE AND I Microphones: This may be the deal breaker for some, for the naked Carmen and I have spent quite some unassisted human voice is one time together, on and off, in the last of the salient features of opera. few years. It’s been a roller coaster. Nevertheless, amplification is a Quite appropriate, since she never reality in large outdoor venues, stays in one relationship too long. and our colleagues across the I first sang a few scenes at school, country (Hollywood Bowl, Ravinia, the quintet and the card trio. Then I Tanglewood, Met in the Parks) join performed the final duet in a concert us in accepting the presence of in Israel with a fantastic tenor who microphones as an essential tool for later became known for his wonderful being able to bring opera outdoors. Don José. The seguidilla duet came Maya Lahyani, mezzo-soprano afterward at the Merola program, and and off tables, and lay down; I was later the finale again in concert as tied, grabbed, thrown, shoved down The Birth of Operascape an Adler Fellow at the San Francisco the stairs, and stabbed—all while singing! This summer there will be a This approach was born from Opera. It’s interesting that the most new challenge: performing outdoors! several years of brainstorming famous aria, the “Habanera,” came It’s going to be hot and steamy— and problem-solving in the wake very last, only when I finally prepared quite perfect for this opera. of difficulties with the previous the complete role as a cover at San process of renting large sets for Francisco Opera. Here I was, an Israeli, Wolf Trap was an incredible the Filene Center stage. Many may playing a Spanish Gypsy, in a French experience for me last summer; one fondly remember the Hockney opera, sung in English. Confused? I of my most beautiful, memorable, and Magic Flute and the Sendak Love for was, too! fulfilling summers of music making. Three Oranges, among many others. After only a few days of rehearsals, Carmen is challenging and, like any Sadly, by the early 2000s, the as I was examining the multiple title role, it’s a big responsibility. number of rental productions that bruises on my body, it was clear to However, it’s going to be a joy being could fill our stage; remain in good me that we are a very good match! surrounded by the wonderful Wolf condition, not compromised by So who is she? Trap family, and an honor and great pleasure to share the stage with so decades in a warehouse: and rent, “A Gypsy child who has no law, many of my friends who also happen ship, load in, and run affordably and who must be forever free as to be the most talented group of at the Filene Center had dwindled air…” She is wild, passionate, smart, young singers out there. Add to the away to almost nothing. A new uncompromising, strong, proud, mix a fantastic conductor, a brilliant model was in order—one that would honest, confident, physical, playful, director, and the National Symphony allow us to bring popular operas to tough, and yet very feminine. She Orchestra! What else can I ask for? the Filene Center audience and give knows who she is, what she wants, our singers a chance to experience and how to get it! So, I have a few months to check where we stand, she and I; we meet the large stage—and Operascape However, I realized there is again after we’ve grown a little, and was born. something very exhausting in we’ve definitely experienced more in —Kim Witman constantly trying to break free from life. I know everyone has their own anything that might bind you. Isn’t ideas of who she is, and how she she actually trapped in her own idea should be. However, she’s a free bird of freedom? who can’t be tamed, so I’m just going She is also one of the most to let her be. It’s going to be a wild physically demanding roles I’ve ride, and I’m inviting you to join me. played. I had to run, dance, jump on 4
HANDEL at The Barns GIULIO CESARE George Frideric Handel
Friday, June 27 at 7:30 pm Sunday, June 29 at 3 pm CAST Tuesday, July 1 at 7:30 pm Giulio Cesare...... John Holiday New production at The Barns at Wolf Trap Cleopatra...... Ying Fang In Italian with supertitles Tolomeo...... Eric Jurenas Approximate running time 3 hours 15 minutes Cornelia...... Renée Rapier Inside the Opera preshow talk begins one hour before curtain at Sesto...... Carolyn Sproule the Center for Education Achilla...... Jeongcheol Cha Nireno...... Kara Sainz* FINDING JULIUS CAESAR Curio...... Alex Rosen* Ensemble...... Members of the Producing Baroque opera is not for the faint of heart, and Wolf Trap Opera Studio shepherding a Handel opera from the page to the stage requires *Studio Artists serving many masters. But it’s a rewarding process for those of us who are thrilled by the particular beauty that results from the PRODUCTION collision of formal structure and unbridled passion. Conductor...... Antony Walker Director...... Chas Rader-Shieber Vocal Variety Judicious Trimming Scenic Design...... Judy Gailen Baroque operas were written for Casting is only the beginning. The Costume Design...... Paul Carey specific singers, and our method of issue of musical cuts is never far Lighting Design...... Robert H. customizing the repertoire according behind, as Cesare in its entirety Grimes to the available talent is a wonderfully runs over four hours without any Hair & Makeup Design...... Anne Nesmith parallel process. Of Giulio Cesare’s intermissions. Even though we Language Consultant...... Franca six featured roles, four are written for know that some opera fans relish Gorraz voices in the mezzo-soprano range. the opportunity to experience every At the 1724 premiere, two of these note that Handel wrote, there are were sung by male castrati, and two places—both in the live theatre and were sung by women. Part of casting Continued on following page this opera is finding variety within the abundance of music in that vocal range. This year, we solved that problem with our discovery of two compelling new countertenors and a rare contralto combined perfectly with the return of a lyric mezzo- soprano. In our production, those four roles will be inhabited by four very different personalities with unique and varied vocal timbres.
Set design model by Judy Gailen. 5 HANDEL at The Barns (continued)
Continued from previous page on recording—where one can still find an uncut performance INSTANT OPERA! of a Baroque opera. Our goal for this production at The Barns is to craft an evening of theatre and music that feels right to Sketch Comedy Meets Great Singing 21st-century audiences, while retaining the original shape and July 1 & 2 at 10:30 am proportion of the opera. Children’s Theatre-in-the-Woods The composer’s original intentions are the starting point, but they are often muddied by the many revisions made over the Opera is too long, too loud, and too expensive course of the first few performances or productions. The initial for kids, right? We beg to differ! trajectory of Giulio Cesare was no exception. There is evidence Imagine: you’ve stepped out of your car, and that Handel and his librettist Haym originally conceived of you and your child or grandchild follow a stream Tolomeo as a tenor and Cornelia as a soprano. Within the first of youngsters down a winding path. You cross year after the premiere, Sesto was rewritten for a tenor. And over a footbridge and marvel at the fish in the over the first few years, more than a dozen arias were dropped, stream. You follow the sounds of music and replaced, and inserted. In his exhaustive Handel’s Operas books, laughter until you reach a small, rustic theatre. musicologist Winton Dean allots over 20 pages to listing the As you find your seats, a pianist onstage pleads various ambiguities and alterations found in the manuscript for the audience’s help in first finding his cast of sources! opera singers, and subsequently in assembling Wielding the scissors and trimming Cesare down to three an original opera on the spot. The characters, hours involves a delicate calculus of architecture, proportion, the plot, and the musical choices are all made by and storytelling. The architecture of Baroque opera has at your youngster and the other children. Within its foundation the da capo aria—an “ABA” form that makes a a short time, there’s a story about Bugs Bunny musical statement, progresses to a new section (kind of like and George Washington sailing the Potomac; a bridge in popular music), then returns to the first theme or maybe the story is about a princess saving and allows the performers to ornament and vary the original Darth Vader and going dancing. Maybe Harry material. One of the ways to reduce performance time is to Potter will make an appearance! keep the original, main musical statement (the “A” section) and Instant Opera! has been introducing children cut the rest. It’s a satisfying way to retain some of the most and adults to opera in a fun, interactive way compelling tunes, but too much of this approach can wreak for almost 10 years. Members of the Wolf Trap havoc with one of the genre’s defining characteristics. Opera Studio (soprano Evan Kardon, mezzo- Other benchmarks are the number, type, and order of soprano Anna Engländer, tenor Joshua Sanders, arias given to each character. When eliminating entire baritone Michael Adams, and bass Alex Rosen), pieces, it’s critical not to allow any particular singer to bear a along with fellowship pianist Michael Sherman, disproportionate burden of what falls on the cutting room floor. will improvise storylines and recitative on the This is especially critical for a resident ensemble company like spot, and craft an unforgettable, one-of-a-kind WTO. story. Join us at the Children’s Theatre-in-the- Finally, if the tweaking of the storyline isn’t done with care, Woods to make some musical memories with the process can backfire. You could end up with an opera that your little ones! is shorter when measured in minutes, but actually seems longer because it feels fragmented. Conductor Antony Walker and director Chas Rader-Shieber, both veterans of many a Baroque opera, will fine-tune our version in the rehearsal room in early June. We have worked diligently to create the best version of Cesare for our Summer 2014 artists and audience, and we look forward to sharing it with you! —Kim Witman 6 FRENCH ONE-ACTS at The Barns
LE PAUVRE MATELOT CAST Darius Milhaud Le pauvre matelot Le matelot...... Robert Watson LES MAMELLES DE TIRÉSIAS Sa femme ...... Tracy Cox Francis Poulenc Son ami ...... Norman Garrett Son Friday, August 8 at 7:30 pm beau-père ...... Ryan Speedo Green Sunday, August 10 at 3 pm Les mamelles de Tirésias Saturday, August 16 at 7:30 pm Thérèse...... Mireille Asselin Mari ...... Tobias Greenhalgh New production at The Barns at Wolf Trap Directeur/ In French with supertitles Gendarme ...... Joo Won Kang Approximate running time 2 hours 15 minutes Lacouf...... Eric Ferring* Inside the Opera preshow talk begins one hour before curtain at Presto...... Michael Adams* the Center for Education Le Fils...... Martin Clark* La Marchande...... Megan Samarin* FROM THE DRAMATIC Journaliste...... Michael Anderson* Une Dame...... Evan Kardon* TO THE ABSURD Un Monsieur Le pauvre matelot Les mamelles de Tirésias Barbu...... Matthew Turner* (The Poor Sailor) (Terry’s Breasts*) Une Grosse Dame...... G. Thomas Allen* Are you the kind of person who does Although we’re sure you would enjoy *Studio Artist his or her opera homework? Do you Tirésias even if you were to approach search for the synopsis, skim the it “cold,” we won’t extend that advice PRODUCTION libretto, and try to memorize the for this second half of our double Conductor ...... Timothy Myers characters? Normally we would not bill. Poulenc’s 55-minute opera can Stage Director...... Matthew Ozawa dissuade you from doing your due be enjoyed on a superficial level, but Scenic Design...... William Boles diligence, but in this case we might there is also much to be gained from Costume encourage a different approach. coming to the theatre with some prior Design ...... Amanda Seymour In our well-intentioned attempts information. Lighting to drink in all that opera has to offer, The title character is a feminist who Design...... Robert H. Grimes we are too often robbed of one of changes her sex (freeing herself of Hair/Makeup Design...... Elsen Associates the essential assets of the theatre: her breasts—hence the title) in order Language enjoying the pleasure of seeing a to escape the oppression of men. Her Consultant...... Marie-France Lefebvre story unfold. The characters in this husband then takes on the burden of 35-minute opera are few and easy childbearing (40,049 of them). There gendarme, and a mysterious fortune- to sort out. There’s the sailor (the are drunken gamblers, an easily duped teller. It’s free-wheeling, non-linear, and matelot), his wife, his friend, wonderfully entertaining! and his father-in-law. It’s a gripping short story with *In a fit of creative translation (and in colorful and dramatic music. a departure from the typical Tirésias’s Consider coming to Le Breasts translation), we have tried to pauvre matelot uninitiated, reflect the fact that the Tirésias of the and let us know what you title was a man who was transformed think! into a woman. Set design model by William Boles. 7 FRENCH ONE-ACTS at The Barns (continued)
TALES OF TWO WOMEN I was over the onstage—what’s real, what’s not real? so different that she doesn’t recognize moon when But I find a lot of my own work being him. Her one constant is the fantasy of Kim Witman influenced by duality, and in digging waiting for him and dreaming of what approached in, I found that each opera has a he’s doing where he is. me about strong center on which I can hang the There’s a huge physical contrast these operas! story: the women. between Milhaud’s Femme and I’m obsessed In Le pauvre matelot, the Femme is Poulenc’s Thérèse; the latter has an Stage Director Matthew Ozawa with Poulenc that central character. She has been intense desire for self-liberation and and love waiting 15 years for her husband isn’t waiting around for anything. Milhaud’s orchestral writing. Modern to return home. She’s poor and her In her world, traditional roles are music is my sweet spot; my parents business is slowly failing, yet she clean-cut, and she decides that she’s took me to a performance of remains chaste and faithful. The desire not buying into those gender roles. Stravinsky’s Rite of Spring when I was for her husband’s return has put her She takes complete authority and 8 years old, and I was rapt—didn’t into a no-man’s-land where reality frees herself; she changes her role move a muscle. and illusion are blurred. The more she and takes on a new name—Tirésias. In I’ll be honest: initially, I was dreams of his return, the more she Greek mythology, Tirésias is the blind terrified of exploring the surrealism creates a construct of her husband man who sees everything, including of Les mamelles de Tirésias. There’s that hasn’t changed; and in fact, when the future. Having freedom as men a strong duality between reality and he does return, that mental image is have, she’s going to lead, control, and illusion, which is difficult to portray dominate.
FROM THE PAGE TO THE PIT Thus far in my had to better my knowledge of the playing? How do you encapsulate career, I have composers’ entire output. Early in my stylistic use of texture and harmonic conducted a career I was Julius Rudel’s assistant movement? Excellent players like large range for a production of Dialogues des those who make up the WTO orchestra of repertoire Carmélites, a piece that couldn’t be respond beautifully to these ideas. in both the more opposite than Tirésias! The most Both pieces are quite accessible opera and important thing is to get inside the melodically. Milhaud became Conductor Timothy Myers symphonic head of the composer and librettist, intoxicated with jazz music during a genres. My innate sense of curiosity has understanding the world in which they visit to America in 1922, and this, in served me well in responding to these were writing. addition to his existing love of Brazilian opportunities, so learning something Orchestra rehearsals are one of my popular music, is an undeniable like the Milhaud/Poulenc double bill is favorite parts of the process. In working influence. Poulenc’s music has a very exciting. with the orchestra, I am prepared to sassy and irreverent quality that can’t When conducting something by give very specific technical information help but engage the listener, often Mozart, Verdi, or Puccini, I have an in order to quickly get us “in the reminding one of the Parisian music existing framework by which to ingest groove” stylistically. For example, how halls. It’s hard for me to imagine that the piece. Preparing something from does one accomplish the French style after hearing the entr’acte of Les the “fringe” of the repertoire is a of string playing? How is the use of mamelles des Tirésias, one couldn’t be different experience. This pair of pieces the bow different? What is the style excited to hear more! presents a particular challenge, so I’ve of vibrato in both string and wind
8 SONG
TUNING INTO LES SIX VOCAL COLORS— Fine Tuning with Jeremy Frank DOUBLED! Sunday, July 27 at 3 pm The Center for Education at Wolf Trap The Phillips Collection Free concert, no tickets required 1600 21st Street NW Washington, D.C. One aspect of true fine dining is that small scoop of sorbet or sip of liqueur Tickets available at phillipscollection.org after the main course; it cleanses the palate, allowing the diner to approach the next course without old tastes lingering on the tongue. This year, WTO Thursday, June 19 at 6:30 pm is offering a musical palate cleanser! Strategically positioned after the feast Tracy Cox, soprano of Carmen, this Les Six concert will focus on a salon of French composers: Robert Watson, tenor Milhaud, Poulenc, Honegger, Durey, Auric, and Tailleferre. Representing six Stephanie Rhodes, piano varied viewpoints on life, art, and music, these composers nevertheless have complementary aural worlds and have influenced idioms from art song Thursday, July 31 at 6:30 pm to film soundtrack. Pianist Jeremy Frank leads this journey and is capably (if Melinda Whittington, soprano not coincidentally) assisted by six Studio Artists. Admission is free. Carolyn Sproule, mezzo-soprano Joseph Li, piano
Wolf Trap Opera returns to The Phillips Collection in Washington, D.C. for HOUSEFUL OF SONG two evenings of artistic synergy! This Songs for Every Room of Your Home year, the singers will draw exclusively Steven Blier, pianist and host from Made in the USA, which is the most comprehensive presentation of Saturday, July 19 at 3 pm the museum’s American art collection Sunday, July 20 at 3 pm undertaken in nearly 40 years. The Barns at Wolf Trap On June 19, soprano Tracy Cox and Limited capacity, in an intimate in-the-round setting tenor Robert Watson will perform with Approximate running time 90 minutes pianist Stephanie Rhodes. A wholly different program will be offered on Ying Fang, soprano Robert Watson, tenor July 31 by soprano Melinda Whittington, Renée Rapier, mezzo-soprano Tobias Greenhalgh, baritone mezzo-soprano Carolyne Sproule, and Eric Jurenas, counter-tenor pianist Joseph Li. Tickets for these events Steven Blier’s brainstorming process must be something to behold. The are quite limited, and are only available combustion resulting from his artistic sensibility, robust personal library, for purchase through the museum’s and encyclopedic knowledge has brought dozens of satisfying recitals to website. The Barns. As an additional bonus, if you visit The cast of Houseful of Song will deliver songs for (almost) every room The Phillips Collection this spring, of your home! The program will likely include elegant French music for your you’ll be able to hear Wolf Trap Opera salon (you do have one, right?); music for the kitchen (perhaps Bernstein’s alumna (2012, 2013) Andrea Carroll’s “Tavouk Guenksis” and Brourman’s “Love and Takeout”); and bedroom interpretation of Ricky Ian Gordon’s songs encompassing both romance (Chausson’s “La nuit”) and wry humor “Troubled Woman” from his cycle Genius (Bacewicz’s “I Have a Headache”). And possibly, because we may not be able Child as part of the audio tour. The to resist it, “Singin’ in the Bathtub.” recording is paired with “Panel 11” from There will be two performances in the new intimate setup inaugurated The Migration Series by Jacob Lawrence. during last summer’s Wonders To Wander To. phillipscollection.org 9 FOLLOWING FORMER TRAPPERS
FIRST, WOLF TRAP; NEXT, THE WORLD!
WTO Artists make a huge and distinctive contribution to the opera world. More than 200 of them sang at opera companies all over the world last season—67 were on the 2013–2014 Metropolitan Opera roster and 82 of them sang abroad.
Prize Winners Coming Back to the D.C. Area • The 2013 Cardiff Singer of the World is our If you were lucky, you heard Christine Goerke in this spring’s own Jamie Barton (2009)! She was only the Celebrating Richard Strauss at 150 anniversary concert third singer in their history to be awarded with the National Symphony Orchestra. Christine is quickly both the Song Prize and the Main Prize. becoming the go-to Strauss soprano of this generation; she Jamie will be featured in recital this fall at received rave reviews for her portrayal of the Dyer’s Wife in The Barns. this season’s Metropolitan Opera’s production of Die Frau Plácido Domingo’s 2013 Operalia • ohne Schatten. You’ll be able to see her with Washington Competition was stormed by recent Filene National Opera this September singing the title role in Daniel Young Artists Ben Bliss (2013) and Tracy Catan’s Florencia en el Amazonas. Joining her in that cast are Cox (2013, 2014), who were respectively two recent Filene Young Artists (soprano Andrea Carroll and awarded the Zarzuela Prize and the Birgit baritone Norman Garrett)—and one veteran performer (bass Nilsson Prize. David Pittsinger, WTO 1987). Former Studio Artist Rafael Moras was a • Washington National Opera’s 2014–2015 roster contains 2014 National Finalist of the Metropolitan eight more WTO graduates! La bohème will feature Alyson Opera National Council Auditions. Cambridge, Corinne Winters, and Steven Labrie and will be • The 2014 George London Foundation conducted by Timothy Myers of this summer’s French double winners included Tracy Cox, Ryan Speedo bill conductors at The Barns. Eric Owens and Alan Held share Green, and Norman Garrett. performances of the title role in The Flying Dutchman, joined • The 2014 Sullivan Foundation Competition by Peter Volpe as Daland. Alan also appears in Poulenc’s awarded one of its top prizes to Ying Fang. Dialogues of the Carmelites, David Portillo is the Prince in Rossini’s La cenerentola, and Ailyn Peréz (of WNO’s 2013 Elixir of Love) returns for a recital. In addition to those former FYAs on the mainstage, WNO will welcome former Studio Artist Aleksandra Romano into the Domingo-Cafritz Young Artist Program.
Summer Festivals 2014 Many of you make trips to some of the country’s finest summer Jamie Barton opera festivals. If you’re on the road this summer, you can see WTO alums at Santa Fe (Erin Morley, Kevin Burdette, Corinne Winters), Opera Theatre of Saint Louis (Stephanie Blythe), Central City On Disc (Robert Orth, Anna Christy, Michael Sumuel) and Glimmerglass If you’re looking for a new CD, consider Lawrence (Andrea Carroll, Ryan McKinny, Christine Goerke, Catherine Brownlee’s Spiritual Sketches, his second release Martin). Chicago’s Ravinia Festival features Tamara Wilson and in as many years—a real accomplishment in the Ailyn Pérez in Le nozze di Figaro, Alexandra Deshorties appears in current recording environment! concert, and Dawn Upshaw sings with The Knights.
10 FOLLOWING FORMER TRAPPERS
HOMECOMING: ERIC OWENS
My time at Wolf Trap Opera, to this day, continues to be two of the ARIA “best summers of my life, if not the very best! Wolf Trap’s Filene Young JUKEBOX Artist residency was then, as it is now, the most coveted summer program into which any aspiring young singer can be accepted. I am honored and thrilled to be part of the 2014 Filene Young Artists’ Choose Your experience by being the first Wolf Trap Opera Artist in Residence. Own Operatic —Eric Owens, WTO 1994,” 1995 Adventure! About a year ago, we began discussing the Wolf Trap Opera Soloists possibility of creating an Artist in Residence with special guest program featuring the alumni of Wolf Eric Owens and Trap Opera. To that end, I had a series of Kim Pensinger Witman, conversations with six different former Filene pianist Young Artists, one of whom was bass- Sunday, July 13 baritone Eric Owens. When we realized that at 3 pm an Artist in Residence was a real possibility The Barns at Wolf Trap for the 2014 season, we also learned that Eric was free for a large portion of this summer (not a common thing!) and had a keen desire Come one hour before to help us inaugurate the program. Eric will work formally with our young the show starts and Eric’s singing career is the strongest it’s artists in both group and individual sessions, bring your quarters (and ever been, with recent triumphs at the Met and he will spend six weeks on campus. His bills…we won’t complain) as Sarastro in The Magic Flute (a role he sang desire is to become a familiar part of our to stuff the jukeboxes at Wolf Trap in 1994) and Alberich in Das company’s fabric so that our artists feel free while you enjoy a Rheingold (for which The New York Times to ask him anything and to take advantage complimentary wine- proclaimed, “Mr. Owens proved an Alberich of his experience and expertise in many and-cheese reception. for the ages”). His 2013–2014 season also different ways. Each singer offers four included performances with the Lyric Opera Our patrons will also have several chances of his/her favorite arias, of Chicago, Canadian Opera Company, the to participate in the excitement! Eric will and the pieces that net Chicago Symphony Orchestra, and the Berlin appear with the Filene Young Artists as a the highest $$ total Philharmonic. special guest, singing arias of your choice are the ones that get It’s astonishing that within the fabric of a in the July 13 Aria Jukebox concert. Come sung onstage! Artist in thriving international career, Eric seeks out for the aria-choosing fun one hour before Residence Eric Owens opportunities to mentor the next generation curtain, and participate in a silent auction joins the fun and offers of artists. His Wolf Trap residency is preceded that will choose Eric’s selections. He will also his arias for auction. by last winter’s participation in Renée present a public master class with several Fleming’s American Singers’ Opera Project of this summer’s singers and preside over Special thanks to the a panel discussion (see page 20 for more at the Kennedy Center and an appointment Lincoln and Therese information). as a Community Ambassador for Lyric Opera —Kim Witman Filene Foundation, 2014 of Chicago’s Lyric Unlimited program. This is Artist in Residence “Artistry of such gentility is rare, a man with a strong commitment to helping Program Underwriter. the more so from a voice whose young artists find their way and unflagging nature wants to be big and burly, enthusiasm for making sure that the magic of but whose owner has other plans.” live music is available to everyone. —Opera News
11 FILENE YOUNG ARTISTS
Don Pasquale (Don Pasquale, Ford (Falstaff, Wolf Trap The Juilliard School) WTO Opera) WTO 2014: Escamillo 2014: Achilla (Giulio Cesare) (Carmen), Ami (Le pauvre matelot) I like to cook fusion Korean food—and then eat it! I love I was born in Chicago, but to observe people, and I enjoy raised in Lubbock, Texas. I love Mireille Asselin, soprano studying movie characters and Ying Fang, soprano watching movies to unwind Hometown: Ottawa, Ontario, getting inspiration for operatic Hometown: Ningbo, China and taking long drives in my Canada Training: Canadian characters from them. I used to Training: Metropolitan Opera 20-year-old red BMW wagon! Opera Company, Glimmerglass want to be an actor, but since Lindemann Young Artist I started college with lifelong Festival, Yale University, Royal I realized how much I love Development Program, The dreams of being an aerospace Conservatory of Music, Britten- music, I decided to become an Juilliard School, Shanghai engineer and working for Pears Young Artist Programme opera singer. Conservatory Recent Roles: NASA, Boeing, or Lockheed Recent Roles: Persée Madame Podtochina’s Martin. I fold origami at a very (Princesse Andromede, Opera Daughter (The Nose, advanced level, and was the Atelier), Nannetta (Falstaff, Metropolitan Opera), Contessa slam-dunk champion at Texas Wolf Trap Opera), Servilia (La di Folleville (The Journey to Tech until I graduated. clemenza di Tito, Canadian Reims, Wolf Trap Opera), Opera Company) WTO 2014: Pamina (Die Zauberflöte, Frasquita (Carmen), Thérèse Aspen Opera Theater Center) (Les mamelles de Tirésias) WTO 2014: Cleopatra (Giulio Cesare), Houseful of Song I’m a 50–50 kind of gal. I’m Tracy Cox, soprano half-Canadian, half-American. Hometown: Dallas, Texas I love cooking, eating, and I grew up in a household Training: Los Angeles Opera everything about food. I cook where we spent half our time Domingo-Thornton Young a lot at home, and I enjoy it Ryan Speedo Green, speaking French and the other Artist Program, Music Academy very much. I love cats, dogs, bass-baritone half speaking English. I feel 50 of the West, Wolf Trap Opera, and flowers. I’ve recently Hometown: Suffolk, Virginia percent urban and 50 percent UCLA Recent Roles: Alice Ford gotten into beading and have Training: Metropolitan Opera rural; I thrive in the bustle of (Falstaff, Wolf Trap Opera), found it’s fun to make my own Lindemann Young Artist a big city, but I find my center Female Chorus (The Rape of jewelry! Development Program, Opera by camping or by joining my Lucretia, LA Opera), Pisana (I Colorado Young Artist, Florida partner for the harvest on his due Foscari, LA Opera) WTO State University, University of family farm on the Canadian 2014: Femme (Le pauvre Hartford Recent Roles: Second prairie. matelot), Beethoven’s 9th, Vocal Soldier (Salome, Boston Colors Symphony), Bonze (Madama Butterfly, Metropolitan Opera), Originally from Dallas, I’ve Don Profondo (The Journey spent the last 10 years in Los to Reims, Wolf Trap Opera) Angeles. I’m a visual artist of Norman Garrett, baritone WTO 2014: Zuniga (Carmen), several different mediums, Hometown: Lubbock, Texas Beau-père (Le pauvre matelot), including paint/mixed media, Training: Washington National Beethoven’s 9th drawing, and graphic design. I Opera Domingo-Cafritz Young also dabble in jewelry design Jeongcheol Cha, Artists Program, Glimmerglass Speedo is my actual middle and millinery, so if I’m wearing bass-baritone Festival, Academy of Vocal name. I grew up in a trailer something weird, chances are I Hometown: Seoul, Korea Arts, Philadelphia Center City park in Virginia, which is quite made it. I can spot Richard Kerr Training: The Juilliard School, Opera, Kentucky Opera Brown- different from my apartment earrings and Bakelite bangles Bard College Conservatory, Forman Artist, Cincinnati in New York City. I love to lift from 50 feet away, but I strive Seoul National University College-Conservatory heavy objects at the gym, and to use that power for good and Recent Roles: Yamadori of Music Recent Roles: my favorite actor is Arnold not evil. (Madama Butterfly, Papageno (Die Zauberflöte, Schwarzenegger. I am afraid of Metropolitan Opera), Washington National Opera), heights, even though I tower Watchman (Die Frau ohne Captain Gardiner (Moby Dick, over most people. I love to Schatten, Metropolitan Opera), Washington National Opera), cook BBQ, but my favorite
12 FILENE YOUNG ARTISTS
food is cheese. I know I love American Bach Soloists) WTO it because I am lactose- 2014: Tolomeo (Giulio Cesare), intolerant, and I can’t live Houseful of Song without it. I have a healthy obsession with bacon. BBQ is my kryptonite. I don’t enjoy cooking, but John Holiday, countertenor anybody who serves me food Maya Lahyani, Hometown: Houston, Texas is my friend. When I’m not mezzo-soprano Training: The Juilliard School, eating, I am usually playing Hometown: Hod-HaSharon, University of Cincinnati my near-vintage N64 game Israel Training: San Francisco College-Conservatory of Music, console with my like-minded Opera Adler Fellowship Tobias Greenhalgh, Santa Fe Opera Apprentice buddies. My idea of a romantic Program, San Francisco Opera Program, Southern Methodist evening is a good zombie baritone Merola Program, Seattle Opera University Recent Roles: Sposo movie. I enjoy traveling, Hometown: Rochester, New Young Artist Program, Mannes (La sposa dei cantici, Ars crossword puzzles, playing York Training: Palm Beach College of Music Recent Roles: Lyrica Houston), Radamisto poker, and listening to Bach Opera Young Artist Program, Kate Pinkerton (Madama (Radamisto, Juilliard Opera), (my other healthy obsession). The Juilliard School, Opera Butterfly, Metropolitan Opera), First Cardinal & First Oracle Theatre of St Louis Young Marchesa Melibea (The Journey (Galileo Galilei, Cincinnati Artist Program Recent Roles: to Reims, Wolf Trap Opera), Opera) WTO 2014: Cesare Leo Stein (27, Opera Theatre Page (Salome, Canadian Opera (Giulio Cesare) of Saint Louis), Samuel (Pirates Company) WTO 2014: Carmen of Penzance, Opera Theatre of (Carmen) Saint Louis), Dr. Malatesta (Don As a young child, I was a member of a boys choir, and Pasquale, The Juilliard School) I was born and raised in I love to sing gospel and WTO 2014: Dancaïre (Carmen), Israel, with a childhood full of jazz music and have done so Joo Won Kang, baritone Mari (Les mamelles de Tirésias) summer days by the beach, professionally. In my spare Hometown: Seoul, Korea hiking, cats and dogs, bike time I am a flight-simulator I love traveling and Training: San Francisco Opera rides, soccer games, ballet enthusiast, and I fly the 777- experiencing different cultures. Center Adler Fellowship classes, and singing, of course. 200 or CRJ2. Often, you’ll see I grew up playing soccer Program, Florida Grand Opera, I love art, and I’ve started me flying on pilotedge.net and basketball in Rochester, Manhattan School of Music, my own little collection. under the call sign N763BR. New York, and I have trained Yon-sei University Recent The perfect day will include I’m a proud native Houstonian, in distance running and Roles: Hermann (Les contes avocado for breakfast, good and my husband and I are bodybuilding. I cowrote an d’Hoffmann, San Francisco coffee, sun, sea, a good book, moving back to Texas with our opera for kids called Operation Opera), Germont (La traviata, and a great soundtrack. I give beautiful cockapoo, Grace! Superpower. It’s a superhero- Florida Grand Opera), Marullo my best concerts in the car. themed motivational show (Rigoletto, San Francisco I love showers. And I believe where my Juilliard buddies Opera) WTO 2014: Moralès that beauty is everywhere. and I go into schools to (Carmen), Directeur/Gendarme sing and to teach kids how (Les mamelles de Tirésias) to discover their very own “superpowers”—their talents I have a beautiful family, and and passions. my son and daughter look just like me. Spending time Eric Jurenas, countertenor with them is the most fun Hometown: Annandale, and important part of my life. Virginia Training: The Juilliard Photography is a hobby of School, University of Cincinnati mine, and I also love to cook. College-Conservatory of I am not a professional chef, Music Recent Roles: Nireno but I am trying! I am looking (Giulio Cesare, Michigan forward to cooking for friends Opera Theatre), Serse (Serse, and taking a lot of beautiful University of Cincinnati photos while I have a fantastic College-Conservatory of time at Wolf Trap. Music), Polinesso (Ariodante, 13 FILENE YOUNG ARTISTS
Chautauqua Opera) WTO 2014: Le Matelot (Le pauvre matelot), Don José (Carmen) Beethoven’s 9th, Vocal Colors
I’m from West Point, New If I wasn’t a musician, I would York, where my folks were definitely want to produce both military musicians. I public radio. I love shows like originally thought I would be Radiolab and 99% Invisible. Renée Rapier, a saxophonist like my dad, but Virginie Verrez, I’m also a huge history buff mezzo-soprano ended up studying singing mezzo-soprano and have a specific love for art Hometown: Marion, Iowa at school. I’m marrying the Hometown: Saint Denis de history. I got into opera after Training: San Francisco Opera love of my life just two weeks la Réunion, France Training: switching majors from musical Adler Fellowship Program, before arriving at Wolf Trap The Juilliard School Recent theatre the second week of my Los Angeles Opera Domingo- this summer! I’m also a massive Roles: Lola (Cavalleria freshman year at my teacher’s Thornton Young Artist Program, football (that’s soccer here in Rusticana, Opera d’Avignon), persuasion. I also enjoy classic University of Northern Iowa the States) fan and am looking Zenobia (Radamisto, The cinema and foreign films, Recent Roles: Meg Page forward to watching nearly Juilliard School), Beatrice, (Le literature, and a good cup of (Falstaff, San Francisco Opera), every match of the World Cup! donne curiose, The Juilliard coffee. Pantalis (Mephistopheles, San School) WTO 2014: Mércèdes Francisco Opera), Lucretia (The (Carmen), Beethoven’s 9th Rape of Lucretia, LA Opera) WTO 2014: Cornelia (Giulio When I was little I wanted Cesare), Houseful of Song to be a doctor, but I soon realized I was scared of blood! I grew up in the beautiful Then I tried to be a literature cornfields of Iowa, but was teacher, but I could not read always craving the city life. Carolyn Sproule, fast enough! All that time I Melinda Whittington, When I was 17, I went to London mezzo-soprano kept singing opera arias in my soprano shower, never thinking it could to audition for an acting school Hometown: Montreal, Quebec, Hometown: Knoxville, be more than a distraction. I and was rejected; a turn of Canada Training: Houston Tennessee Training: Academy love the life of an opera singer: events for which I am still very Grand Opera Studio, San of Vocal Arts, San Francisco discovering new places, new grateful. I am an animal lover Francisco Opera Center Opera Center Merola Program, people, new costumes, new and served a brief stint as a vet Merola Program, Aspen Music University of North Carolina food, and making people assistant. When I’m not in opera Festival, Rice University, The Recent Roles: Lauretta (Gianni dream. mode, I love trying new recipes Juilliard School Recent Roles: Schicchi, Opera Carolina), in the kitchen, editing photos, Countess Charlotte (A Little Fiordiligi (Così fan tutte, and devouring podcasts as fast Night Music, Houston Grand Academy of Vocal Arts), Donna as I can get them. Opera), Maddalena (Rigoletto, Elvira (Don Giovanni, Green Houston Grand Opera), Meg Mountain Opera) WTO 2014: Page (Falstaff, Wolf Trap Opera) Micaëla (Carmen), Vocal Colors WTO 2014: Sesto (Giulio Cesare), Vocal Colors I love performing jazz, musical theatre, and pop music. I love food—both cooking it Robert Watson, tenor I grew up playing guitar and eating it! I spent a summer Hometown: Kansas City, and drumset, but didn’t as a kid at a culinary academy Kansas Training: San Francisco experience symphony or opera Kevin Ray, tenor learning to cook French food Opera Center Merola Program, until college. I enjoy yoga, Hometown: Cornwall, New and have had a passion for Opera Santa Barbara, San photography, cooking, and York Training: Houston Grand cooking ever since. In my spare Francisco Conservatory, planning my next adventure. Opera Studio, Curtis Institute time I practice yoga, learn Oklahoma City University I’ve taken a zydeco tour of of Music, Oberlin College languages, and watch foreign Recent Roles: Cavaradossi the Bayou, driven across the Conservatory Recent Roles: films. My absolute favorite (Tosca, Opera Santa Barbara), country, backpacked and Eisenstein (Die Fledermaus, activity is hiking and generally Henry Cox (Dolores Claiborne, camped in national parks. Next Houston Grand Opera), Don being in nature. On most of San Francisco Opera), Male on my list is a brewery tour of José (Carmen, Festival de Belle- my free days, I can be found Chorus (The Rape of Lucretia, Oregon and Washington! Île), Peter Grimes (Peter Grimes, exploring whichever state park Merola Opera Program) WTO is nearest to me. 2014: Remendado (Carmen), 14 FILENE YOUNG ARTISTS STUDIO ARTISTS
Michael Adams, Annalise Dzwonczyk, Liv Redpath, baritone soprano soprano Academy of Vocal Arts University of Cincinnati Harvard College, B.A. Texas Christian College-Conservatory of 2014 University, B.M. 2013 Music, B.M. 2014
Alex Rosen, G. Thomas Allen, Anna Engländer, bass-baritone countertenor mezzo-soprano Peabody Conservatory, University of California, Rice University, M.M. B.M. 2014 Irvine University of Colorado Morgan State University, at Boulder, B.M. 2012 Kara Sainz, B.A. 2013 mezzo-soprano Eric Ferring, The Juilliard School, B.M. Michael Anderson, tenor 2014 tenor Drake University, B.M. Manhattan School of 2014 Megan Samarin, Music, B.M. 2014 mezzo-soprano Harry Greenleaf, Houston Grand Opera Nicolette Book, baritone Studio soprano University of Cincinnati Manhattan School of Oakland University, B.M. College-Conservatory Music, B.M. 2014 2014 of Music, M.M. Michigan State University, B.M. 2014 Joshua Sanders, Martin Clark, tenor tenor University of Wisconsin- University of North Evan Kardon, Madison, B.M. 2015 Texas, B.A. 2015 soprano San Francisco Conservatory, M.M. Matthew Turner, bass Rice University, B.M. 2013 University of Kentucky, B.M. 2014 STUDIO SPOTLIGHT Thursday, August 14 at 7:30 pm The Barns at Wolf Trap By invitation
This year’s Studio Artists were selected from a group and to give them a first taste. It also allows us to tailor the of 369 applicants representing the strongest collegiate repertoire to pieces that are both in the standard operatic singers in the country. While they’ll get quite a bit of stage canon and well outside it. Imagine yourself with a group time this summer—singing chorus in our mainstage shows of able and willing young talents and the majority of the and making cameos as comprimario roles—it is our great operatic canon to choose from—pretty heady stuff! This pleasure to be able to feature them this summer in an season you’ll hear a vast range of repertoire, from Gluck’s evening all their own. Studio Spotlight is a night of scene Orfeo ed Euridice to Dove’s Flight, with Mozart, Debussy, work: we assign smaller bites of large operatic works to Tchaikovsky and Rossini in between. The evening will be the singers, which allows them the opportunity to explore directed by Alison Moritz and conducted by Stephanie characters, musical styles, and ensemble work that they Rhodes. otherwise wouldn’t until they have the opportunity to Wolf Trap members at the Soloist level and above will perform the role for the first time. receive invitations to this special performance. Write I’ll let you in on a secret: this is one of our favorite [email protected] with questions. evenings to plan. It allows us, in casting and programming, Lee Anne Myslewski to imagine where these promising talents might end up, Director, Wolf Trap Opera Studio 15 BEHIND THE SCENES
THE LANGUAGE BACKSTAGE LEFT
OF L’AMOUR Ever since I was a child, I was irresistibly drawn to the theatre, I was born in the middle to the inner workings backstage. of the woods, in a very In the theatre, creative, brilliant, small town northwest of talented risk-takers surround me. the province of Québec, I live vicariously through them. I called Ville-Marie, in am inspired by them. Témiscamingue. My mother It wasn’t until I graduated played some piano and my college with a degree in theatre sisters also played. I wanted that I was dragged kicking and Valerie Wheeler, to start lessons when I was Stage Manager Marie-France Lefebvre, screaming into opera. I believed I five, but the nuns said I French coach already knew everything I needed to know about theatre. was too small. I tried again At the “sing-through” of my first opera, my blinders came until they took me at seven. I was a bit of a nerd, I off. I was, quite literally, blown away by the cast of La guess, always practicing before going to school and bohème; I had to scoot my chair back because the voices immediately after school until dinner. were so big, so pure. I had no idea that real people could I played solo piano for a long time. Then I got lonely, do what those singers were doing. I immediately felt and since I could not play solo like Martha Argerich, I exposed for a fraud. I didn’t have that talent—the skills that thought I could try chamber music. People sought my only come from years of immersion in music. help with French. Italian was my next area of passion— I do, however, have other skills to offer. I’m hyper- for the language and the repertoire. I love German, organized, confident under pressure, and a clichéd multi- but I don’t speak it: I work on it a lot and play a good tasker. I get excited about well-prepared paperwork, and I amount of German repertoire. have an affinity for neon-colored office supplies, as stage When I learn a new work, there is fascination at managers do. every corner, getting familiar with the text and the Stage management is trickier and more delicate orchestration (if it’s an opera), and discovering the than most might think. As cheesy as this might sound, fun harmonic surprises. When I rework an opera or caring is really at the heart of stage management. I care any other musical work, I often use a different score about the quality and integrity of the show. I care about in order to to look at it with new eyes. It is so different the artists involved in the production. I care about the when returning: all the acquired experience, repertoire, audience getting the experience it deserves. I want to and accumulated knowledge influences the return to inspire confidence, security, and trust in the performers, old territory. And of course all that is theoretical until and support the production team in achieving the artistic there are live, breathing singers! Then other ideas are vision of the designers and director. triggered by their singing and their personalities. Every show has its challenges. Some are technically The most gratifying part of the job is seeing people difficult with multiple scenic elements to manage, while evolve and gain expertise with the language. For others are musically challenging with intricate scores to instance, after working on a complete role with young follow. I’m thrilled to be working on a Baroque opera in singers, it is gratifying to hear them start to use the The Barns. While the score will be something to conquer, text to communicate the subtleties of their character, I know that the people at Wolf Trap will be a group of mold it with their personality, and feel they can express brilliant, talented risk-takers I can consider myself lucky to themselves artistically. be a member of, if only for the duration of the production.
16 SAVE THE DATE
VOCAL 15 16 17 18 COLORS 20 21
THE JUNE 6:30 PM PHILADELPHIA
GIULIO BEETHOVEN’S ORCHESTRA 22 23 24 25 26 CESARE 9TH 7:30 PM 8:15 PM
th INSTANT Beethoven’s 9 OPERA! GIULIO 10:30 AM INSTANT CESARE OPERA! Saturday, June 28 at 8:15 pm 30 GIULIO 3 4 5 3 PM CESARE 10:30 AM Bramwell Rovey, Conductor 7:30 PM Filene Center ARTIST 6 7 8 9 10 11 PANEL
Touring orchestras and opera JULY 3 PM companies used to be a perennial feature of the summer music festival scene, but over the ARIA HOUSEFUL JUKEBOX 14 15 16 17 18 OF SONG last decade or two, that dynamic 3 PM 3 PM has changed. In light of this trend, Wolf Trap is particularly HOUSEFUL thrilled to welcome The CARMEN OF SONG 21 22 23 24 8:15 PM 26 Philadelphia Orchestra back for 3 PM their first concert at the Filene Center since 1999. The June 28 VOCAL LES SIX performance of Beethoven’s COLORS 3 PM 28 29 30 1 2 9th Symphony will have special 6:30 PM significance for Wolf Trap Opera: it will feature four Filene Young MASTER MILHAUD Artists as soloists. Speedo, Tracy, CLASS 4 5 6 7 POULENC 9 Virginie, and Robert will also 3 PM 7:30 PM
have the privilege of traveling AUGUST to Philadelphia on June 27 and MILHAUD STUDIO MILHAUD appearing with The Philadelphia POULENC 11 12 13 SPOTLIGHT 15 POULENC 3 PM 7:30 PM 7:30 PM Orchestra at the Mann Center. (On the same day that we open Giulio Cesare at The Barns…It’ll be a busy weekend!)
Special thanks to INSIDE THE OPERA CARMEN PRE-PERFORMANCE The Philadelphia Orchestra PRESHOW TALKS DISCUSSION Performance Sponsors Center for Education at Wolf Wolf Trap National Park for the Deborah F. and David A. Winston Trap, next door to The Barns Performing Arts on the Old Free, one hour before operas Farmhouse Lawn at The Barns Free, Friday, July 25 at 7:15 pm
Tickets and more information at wolftrap.org/opera
17 OUR EXTENDED FAMILY
HOUSING HOSTS A LASTING LEGACY
We first hosted Heidi Wolf Trap Opera mourns Lauren Duke, a stage the loss of two great management intern, in friends, Keith and Barbara 2001. We had attended Severin. some performances and We have grown so saw a story in a local accustomed to seeing paper about Housing Keith and Barbara, Switzerland 1957 them at performances Hosts. We had both done and dress rehearsals. We’ll Housing Hosts summer stock in college struggle this summer, looking for them in the audience or in the Andy and Ed Smith and remembered the lobby, waiting for a story from Keith or a warm greeting from annual scramble to find Barbara. They had been annual supporters of Wolf Trap since its local housing. A neighbor of one of the summer beginnings and generously gave to the Capital campaign, were group houses, Henry, would drop by the theatre underwriters for the commission and premiere of The Inspector, to perform random acts of kindness during the were charter members of the Legacy Circle, and religiously season. This seemed like a fun way we could attended classical music programming at Wolf Trap, including help out and pay it forward. The Discovery Series, the National Symphony Orchestra We try to make the visiting artists feel at performances, and the Opera. Many of our patrons were friends home. With each new guest, we provide a written of Keith and Barbara, and speak highly of them because of the welcome note with information about various value and love the Severins had for our organization. Perhaps things in the house (Wi-Fi password, what goes more than anything, Keith and Barbara loved the people in the dishwasher and what doesn’t, etc.), how involved with Wolf Trap, made time to talk, and always had to find local stores and services, and how to encouraging words for artists and staff. operate the burglar alarm. One evening, however, We considered Keith and Barbara an integral part of our Wolf we came home late and found a police car in the Trap Opera family, and we will forever miss their kindness, their driveway. Our singer had forgotten how to disarm care, and their unwavering support. the burglar alarm. When the police showed up, he presented a Wolf Trap program with his picture to prove his identity. The officers chuckled as they told us this happens from time to time. We were surprised about how little we saw the INTRODUCTIONS artists. They live and work in another time zone— ARE IN ORDER! opera time, where you need to be at your peak at 8 pm. Post–Wolf Trap, we follow their careers There is a new face around the Opera and catch their performances when we can. this summer. We are pleased to We’ve also enjoyed many fun times around the welcome Morgan Brophy to Wolf Trap kitchen table: exotic meals, competitive Scrabble Opera! Morgan joins us as the Manager (in multiple languages), barbershop quartet tag, Morgan Brophy, of Artistic Operations and is part of learning about a singer’s father’s collection of Manager of Artistic our full-time staff. Morgan comes to us Paleolithic stone tools recovered from his farm Operations from Ash Lawn Opera in Charlottesville, fields after plowing—a wealth of surprising and Virginia. She’s also worked with Chicago Lyric Opera and fun experiences! If you’re considering becoming a Washington National Opera. She is a former stage manager Housing Host, our advice is to just do it—you will who now lives in Arlington with her husband and two cats. have a blast. When you see her, please introduce yourself and say hello!
18 OUR EXTENDED FAMILY WTO DONORS
Wolf Trap Opera would like to thank the following contributors for their support of the 2014 season with a gift of $1,250 or more: 2014 Housing Hosts Anonymous (4) Virginia McGehee Friend Jason M. Nicholson Karen Albert & Shawn Kelley Anonymous Foundation Mr. and Mrs. James N. Alan and Marsha Paller Mary Astley Glerum The Theodore H. Barth Lola C. Reinsch and J. John & Caren Backus Foundation Glenda and Stephen Harvey Almont Pierce Patty Beneke The Honorable and Mrs. Shelly and Jack Hazel Alan J. Savada and Will David & Cathy Bobzien James M. Beggs Mr. and Mrs. Raymond J. Stevenson Jerry G Bridges & Sally Ms. Diane S. Bronfman Husson Susan Sawyer Turner Mark and Nancy Burnette Ann Jones and John Keith and Barbara Severin Lee Corey Doris M. Carter Family Dawson Joel Atlas Skirble: Equipo John Dawson & Ann Jones Foundation Anne R. Kline and Geoffrey Atlas Ellen Dykes & Alan McAdam Donald T. Cyr Pohanka Ed and Andy Smith Barbara Gardner Dallas Morse Coors Dave and Tammy Kramer Theresa Thompson Grace Jones Foundation for the Nancy Peery Marriott Rick R. Treviño and Larz Performing Arts Foundation Pearson Linda Kauss & Clark Hoyt John and Linda Daniel Mars Foundation Alton P. and Alice W. Tripp Anna Lueje & Bill Wagner Daniel and Gayle D’Aniello Judith and Glenn Marshall The Honorable Hans N. William Malone Dimick Foundation Maud Mater Tuch and Mrs. Tuch Carlos & Maureen Marino Eddie Eitches/American Ann McPherson McKee, Gift Wendell and Karen Merle Mulvaney Federation of in Remembrance of Burtt Van Lare Ruth & Eugene Overton Government Employees & Rebecca Gray McKee Darcy Lynn Walker Ellen Peebles Local 476 (U.S. and Douglas & Ann Mary B. White, Esq. Laura Peebles & Ellen Department of Housing McKee Seeley Dick and Maiju Wilson Fingerman and Urban Development) Barbara and Ward Morris Deborah F. and David A. Ed & Andy Smith Kevin and Maureen Feeney National Endowment for Winston Karen Sorenson & Peter Gaus Lincoln and Therese Filene the Arts Sarah Spicer Foundation Judith Stehling & Edgar Support for Wolf Trap Opera is also provided by the following Ariza-Niño Endowed Funds: Donna & Edward Stoker Barbara & Howard Stowe Robert M. Coffelt, Jr. in The Paula A. Jameson Fund Ann McKee Fund for Opera Nora Super & Len Nichols honor of Annetta J. for the Wolf Trap Opera David and Lucile Packard Theresa Thompson and Robert M. Coffelt, Company Foundation, Packard The Coffelt Fund for Fund for Artistic Excellence Fund Wendell & Karen Van Lare Wolf Trap Opera and in Honor of Audrey M. Catherine Filene Shouse Stephanie & Fernando van Education Mars Foundation, Kay Shouse Reigersberg Estate of Carol V. Harford, John and Adrienne Mars/ Great Performance Fund Paul & Pat Ward Carol V. Harford Fund Jacqueline Badger Mars/ Estate of Arthur Tracy, “The Ron & Judy Wilgenbusch for the Wolf Trap Opera Mars Foundation, Mars Street Singer,” Arthur William & Sheila Woessner Company in Memory of Fellowship Fund for Tracy Fund for the Wolf Catherine Filene Shouse the Wolf Trap Opera Trap Opera Company Company 2014 Volunteers Your support makes a difference! To learn more about how you can John Feather Fred Mushinski support Wolf Trap Opera and its young artists, please contact the Sandra Saydah Wolf Trap Foundation Development Office at703.255.1927, [email protected], or visit us at wolftrap.org/give.
As of April 15, 2014 19 ERIC OWENS MODERATES ARTIST PANEL AND OFFERS MASTER CLASS!
This summer, Artist in Residence Eric Owens will be your host for two exciting public events. Admission is free, and the location is the Center for Education at Wolf Trap, located near The Barns. Don’t miss this chance to learn about the artistic and business sides of opera from the perspective of an internationally renowned singer!
Recitative: Plain Talk about the Future of Opera Saturday, July 12 at 3 pm Several industry colleagues will join Eric for a panel discussion focusing on issues of concern to young artists. He’ll moderate an afternoon seminar on topics including artist management, new media, career development, competitions, and surviving life on the road.
Master Class with Eric Owens Sunday, August 3 at 3 pm Eric will work with several young artists on style, performance enhancement, language, stagecraft, and more!
Updates on these opportunities and more at wolftrap.org/opera.
Go Green with Wolf Trap! Printed on recycled paper. Wolf Trap Foundation is a 501(c)(3) nonprofit organization.