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Home , Approaching Ali, James Conlon, Los Angeles Opera, Marta Domingo, Nino Machaidze, Operalia

September 13 – 28, 2014 Production made possible by generous gifts from The Panic Family and Barbara Augusta Teichert. Special underwriting support from Joyce and Aubrey Chernick.

HENRY PURCELL / Dido and Aeneas / Bluebeard’s Castle BÉLA BARTÓK October 25 – November 15, 2014 Production made possible by the generous support of the Tarasenka Pankiv Fund (Tara Colburn). Support for the guest conductor provided by the Beatrix F. Padway and Nathaniel W. Finston Conductors Fund.

Sondra Radvanovsky in Recital November 8, 2014

DANIEL CATÁN / MARCELA FUENTES-BERAIN November 22 – December 20, 2014 Underwriting support from the Jane and Peter Hemmings Production Fund, a gift from the Flora L. Thornton Trust. Original production supported by Edward E. and Alicia Garcia Clark, an Anonymous Donor, AT&T, and Drs. Dennis and Susan Carlyle.

THE FIGARO TRILOGY / WILLIAM M. HOFFMAN February 7 – March 1, 2015 Production made possible in part by a generous gift from the Ann and Gordon Getty Foundation.

T H E F I G A R O T R I L O G Y The Barber of February 28 – March 22, 2015 Production made possible by generous funding from The Seaver Endowment and from The Alfred and Claude Mann Fund, in honor of Plácido Domingo.

Noah’s Flood March 6 – 7, 2015, at the Cathedral of Our Lady of the Angels Production made possible with generous underwriting support from the Dan Murphy Foundation.

T H E F I G A R O T R I L O G Y WOLFGANG AMADEUS MOZART March 21 – April 12, 2015 Production made possible by a generous gift from The Carol and Warner Henry Production Fund for Mozart .

Hercules vs Vampires PATRICK MORGANELLI April 23 – 26, 2015 Presented in association with American Cinematheque and the Italian Cultural Institute of .

Dog Days DAVID T. LITTLE / ROYCE VAVREK June 11 – 15, 2015, at REDCAT Based on the short story by Judy Budnitz. LA ’s presentation of Dog Days is made possible by a generous grant from The Andrew W. Mellon Foundation. Produced by Peak Performances in association with Beth Morrison Projects. Dog Days was commissioned by Peak Performances at Montclair State (NJ). OFFICIAL TIMEPIECE OF LA OPERA

PERFORMANCES MAGAZINE P1 DONOR RECOGNITION 25th Anniversary Angels LA Opera wishes to recognize and thank those who made extraordinary leadership commitments in honor of the Company’s 25th Anniversary Season, a milestone achievement. Following the tradition established by previous Angel campaigns (listed on page P14), the support of the 25th Anniversary Angels ensures LA Opera’s continued artistic excellence and prominence in the worldwide cultural community.

Sebastian Paul and Marybelle Musco The Seaver Family Marc and Eva Stern Foundation

The Eli and Edythe Broad Foundation Colburn Foundation County of Los Angeles Ann and Gordon Getty Foundation Carol and Warner Henry Alfred and Claude Mann Flora L. Thornton Marilyn Ziering

Mr. Harold Alden and Dr. Geraldine Alden The Annenberg Foundation Ambassador Frank and Kathy Baxter The Blue Ribbon Alex Bouzari Robert Day Dunard Fund USA Malsi Doyle and Michael Forman Brindell Roberts Gottlieb The Green Foundation Bernard and Lenore Greenberg, in honor of Leonard Green LGHG Foundation Rosemary and Milton Okun The Milan Panic Family Ceil and Michael E. Pulitzer Lloyd E. Rigler - Lawrence E. Deutsch Foundation Ronus Foundation Eugene and Marilyn Stein Christopher V. Walker Lenore and Richard Wayne Ziering Family Foundation Selim K. Zilkha and Mary Hayley / Selim K. Zilkha Foundation

P2 PERFORMANCES MAGAZINE PROGRAM

PLÁCIDO DOMINGO, ELI AND EDYTHE BROAD GENERAL DIRECTOR , RICHARD SEAVER MUSIC DIRECTOR CHRISTOPHER KOELSCH, PRESIDENT AND CHIEF EXECUTIVE OFFICER

PRESENTS laGIUSEPPE traviata VERDI by Francesco Maria Piave, based on the play La Dame aux Camélias by Alexandre Dumas, fils

CREATIVE TEAM CAST PRODUCTION NOTES

CONDUCTOR VIOLETTA VALÉRY The running time is approximately James Conlon two hours and 55 minutes, ALFREDO GERMONT Arturo Chacón-Cruz including two intermissions. DIRECTOR AND PRODUCTION DESIGNER GIORGIO GERMONT Plácido Domingo This production features smoke effects. FLORA BERVOIX Peabody Southwell LIGHTING DESIGNER Supertitles written by Alan Burrett David Anglin. GASTONE, VICOMTE DE LETORIÈRES Brenton Ryan*† CHORUS DIRECTOR Pre-performance lectures by BARON DOUPHOL Daniel Mobbs* James Conlon. (There are no pre-performance lectures on MARQUIS D’OBIGNY Daniel Armstrong‡ CHOREOGRAPHER September 13 or 19.) Pre- Kitty McNamee performance lectures are DOCTOR GRENVIL Soloman Howard* generously sponsored by the ASSOCIATE CONDUCTOR Christopher Allen‡ ANNINA Becerra*† Flora L. Thornton Foundation and the Opera League of Los Angeles. GIUSEPPE, VIOLETTA’S SERVANT Omar Crook ASSISTANT DIRECTOR An LA Opera original production. Trevore Ross A MESSENGER James Martin Schaefer Set constructed by San Diego STAGE MANAGER Opera Scenic Studio. Costumes Lisa Kable-Blanchard FLORA’S SERVANT Mark Kelley constructed by the Costume Shop. Wigs MUSICAL PREPARATION SOLO DANCER Louis A. Williams, Jr.* constructed by the Los Angeles Jeremy Frank (SEP. 13, 21, 26) Opera Wig & Make-Up Joel Harder Evan Swenson* Department. Nino Sanikidze (SEP. 17, 19, 23, 28) Peter Walsh† * LA Opera debut † Member of the SUPPORT Domingo-Colburn-Stein Young Artist Program Production made possible by generous gifts from ‡ Alumnus of the The Milan Panic Family Domingo-Colburn-Stein and Young Artist Program Barbara Augusta Teichert. ARTISTS SUBJECT TO CHANGE. Special underwriting support from Joyce and Aubrey Chernick.

Please refrain from talking during the performance, and turn off all cell phones, electronic devices and watch alarms. If you are using an assistive hearing device, or are attending with someone who is, please make sure that it is set to an appropriate level to avoid distracting audio feedback. Latecomers will be seated at the discretion of the house management. Members of the audience who leave during the performance will not be shown back into the theater until the next intermission. The use of cameras and recording equipment is strictly prohibited. Your use of a ticket acknowledges your willingness to appear in photographs taken in public areas of the Music Center and releases the Center and its lessees and others from liability resulting from use of such photographs. Any microphones onstage are used for recording or broadcast purposes only; onstage voices are not amplified.

PERFORMANCES MAGAZINE P3 SYNOPSIS MUSICAL NOTES

Act I would be the most generous, selfless Violetta throws a party attended by thing she could do for him. Violetta What to Listen For her “protector” Baron Douphol and by knows that because she is mortally ill, Throughout La Traviata, recurring her friends, including Flora, a fellow any future happiness is unlikely without musical themes are associated with courtesan, and Gastone, a young Alfredo. She writes two letters: the first specific characters and moods. In the aristocrat. Gastone introduces Violetta is an acceptance of Flora’s invitation; prelude, the ethereal opening chords to his friend Alfredo Germont, one the second is addressed to Alfredo. played by the high strings evoke of Violetta’s greatest When Alfredo returns, Violetta’s frailty; this theme returns in admirers. Gastone invites Violetta attempts to dis- the last act as she nears death. A Alfredo to offer a drink- guise her agitation. She subsequent melody played expansively ing song, and Alfredo desperately assures him by unison strings suggests her deep sings the praises of wine of her love, then rushes passion; Violetta will sing this melody and the love it inspires. out of the room. Alone, in Act Two when she desperately Violetta joins him, urging Alfredo reads Violetta’s assures Alfredo of her love. When the everyone to enjoy the letter, which informs him cellos repeat this melody near the end fleeting pleasures of love that she is returning to of the prelude, it’s now decorated with and life. As the guests Baron Douphol. Germont gracefully flitting violins, suggesting move into the ballroom, returns to console his Violetta’s carefree life. In four short Violetta has an attack of Composer Giuseppe Verdi son, but Alfredo sees minutes, the prelude musically outlines faintness, an unwelcome reminder of Flora’s invitation and, unaware of the entire plot in reverse: Violetta’s her quickly declining health. Alfredo Violetta’s sacrifice, vows revenge for death, her relationship with Alfredo, urges her to abandon her exhausting her apparent faithlessness. and her dedication to pleasure. way of life. He tells her that he has That evening, Flora’s guests are Verdi wrote vocal showpieces for all loved her since the moment he first entertained by masqueraders dressed three major characters; Germont’s Di saw her. Violetta tactfully suggests as gypsies and matadors. Alfredo Provenza il mar, il suol in Act Two is that she is not the kind of woman he arrives, alone; Violetta enters shortly particularly famous. But Violetta’s long should fall deeply in love with; none- afterward with Baron Douphol. Alfredo scene that serves as the Act One finale theless, she invites Alfredo to visit her goes to the card table, where he is soon is truly an emotional rollercoaster in again. When her guests have left, joined by the Baron, but Alfredo’s good three parts: the accompanied recitative Violetta muses over his declarations of luck at gambling is unmatched. When E strano (It’s strange) in which she love. Disturbed to discover that her own the guests sit down to supper, Violetta ponders whether she’s capable of love; emotions have been deeply stirred, she privately begs Alfredo to leave. Furious, the pensive aria Ah, fors’ è lui (Perhaps resolves to forget Alfredo and devote he insults her in front of everyone, he’s the one); and the brilliant herself to the shallow pleasures of the throwing his winnings at her as “pay- conclusion Sempre libera (Always free), courtesan’s world. ment” for their time together. The elder rejecting what Alfredo has to offer. Germont comes in, joining the assem- (Near the end, Alfredo interrupts with Act II bled crowd in expressing their outrage. another recurring theme, reprising a Alfredo has been living for three melody from their earlier love duet.) months with Violetta in her country Act III This enormously challenging tour de house. He is ashamed to discover that Violetta is near death, alone and force starts slowly and builds to a she has been secretly selling her pos- impoverished. She reads a letter from dramatic finish of vocal fireworks. sessions to meet their expenses. Giorgio Germont: Alfredo had fled In Act Two, Violetta’s duet with Violetta receives an invitation from abroad after wounding Baron Douphol Germont is another extended scene in Flora to a party in the city, a reminder in a duel, but now that he knows the several parts. He describes his family of the life Violetta has left behind for true circumstances of Violetta’s dilemma; she refuses to leave Alfredo, Alfredo. An unexpected visitor arrives: sacrifice, he is on his way back to her. but capitulates when Germont won’t Giorgio Germont, Alfredo’s father. When he returns, the lovers are reunited yield; together, they resolve to let her Germont asks her for a great sacrifice: with tender words. Giorgio Germont end the relationship in her own way. his daughter’s marriage prospects have also arrives, filled with remorse, but Both characters make significant been threatened by Alfredo’s scandal- there is nothing to be done. Violetta emotional journeys, Germont’s initial ous association with Violetta. Germont feels a sudden rush of exhilaration as superiority giving way to genuine convinces her that leaving Alfredo her pain disappears, and she dies. respect for Violetta. This is quintessential Verdi: emotionally devastating and deeply human. In fond memory of Tara Colburn, supertitles are underwritten by Dunard Fund USA.

P4 PERFORMANCES MAGAZINE A NOTE FROM MUSIC DIRECTOR JAMES CONLON

From obscene Trivialità to Traviata The third of Giuseppe Verdi’s so-called them to point an accusatory finger at rigidity of provincial bourgeois values. “middle-period trilogy” of masterpieces, their societies, blaming their own The well meaning guardian of La Traviata is arguably not only Verdi’s wickedness on their surroundings. conventional morals, the father, Giorgio most popular opera, but one of a handful Violetta accuses no one, admirably Germont, opposes the union of his son of the world’s most beloved operas. assuming total responsibility for her life. with a (now former) courtesan, and Several years after the trilogy was She turns her society’s hypocrisy on its would expel Violetta from the “Garden completed, when he was asked what his head, proving that a woman of “fallen of Eden” of committed love and banish best opera was thus far, he answered: virtue” can be far more capable of her to return to the world of prostitution. “Speaking as a professional, ; genuine love than the proponents of He breaks her heart and will, and speaking as an amateur, La Traviata.” bourgeois morality. Verdi, by portraying destroys the quality of life for what little La Traviata (the title can be translated as a consumptive courtesan as a heroine, a time is left to her. Only in the moment “a woman led astray” or “corrupted”) symbol and incarnation of generous and of her death does he recognize his own has always spoken directly to the hearts culpability in Violetta’s fate. of opera lovers. Its wealth of melodic There can be no doubt that Verdi invention and expressive vocalism, so No stranger to the knew, first hand, the world that he was perfectly wed to the touching and tragic describing in La Traviata. His daring to love story, reverberated on a personal conflicts of love bring such matters to the Italian stage level with its self-critical creator. and duty, Verdi was remarkable in the context of his This middle-period trilogy consists of time. The degree of Verdi’s courage and Rigoletto (premiered on March 11, 1851), understood the boldness can be measured by the (January 19, 1853) and La world of Traviata. reaction of the authorities. Two years Traviata (March 6, 1853). I cite the dates earlier, when Verdi submitted the libretto of the premieres lest anyone overlook to what would become Rigoletto, the the fact that Verdi wrote them in an boundless love, struck an unexpected Venetian censors deplored that the astonishingly short time, two of them chord in the history of . composer and his librettist Francesco virtually simultaneously. That Trovatore As Verdi dashed off Il Trovatore and Maria Piave were not able to find a better and Traviata, written so closely together, La Traviata for their premieres, Richard vehicle for their talents than a libretto of are so different is remarkable. Wagner was finishing the text of The “repulsive immorality and obscene I would like to isolate one common Ring of the Nibelung. Verdi’s Teutonic triviality.” They could well have repeated characteristic of these three master- contemporary posited that myths were that accusation against La Traviata but pieces which is sometimes overlooked. the strongest subjects for music dramas. didn’t. Accustomed by now to the In the context of Italian theater of the Verdi’s brand of Italian melodrama was composer’s intransigence and mindful of 1850s, they are not just daring, bold and rooted in realism. Yet while choosing a his increasing prestige, they settled for shocking, but in their way, revolutionary. contemporary subject (the only time he changing its title from Amore e morte The common thread that weaves did so in his 26 operas), he in fact (Love and Death) to La Traviata—a through these works is the presentation evoked the ancient theme of a fallen subtle but tempered bit of moralizing. of protagonists who are society’s cast- woman and her redemption. Verdi ele- Could it be that they tacitly offs. Verdi saw potential for explosive vated her to the level of myth, as Mozart recognized not only the repulsive dramatic material in the lives of a and Da Ponte had done for Don Juan. immorality of the Parisian drawing misanthropic hunchbacked jester, a The tragedy of La Traviata is rooms, complete with carousing and tragically crazed gypsy woman (her race essentially that of premature death, gambling, but also that of Father still despised and marginalized through- whose omnipresence is established in Germont’s worldview? Might it be that out Europe) and a Parisian courtesan. the first bar of the prelude. Violetta they had recognized the moral triumph The genius is not only in the choice (violet is the traditional color of death of the heroine, the woman “led astray,” but also in the rendering. We empathize in the Roman Catholic Church), who passed through a world of obscene with Rigoletto despite his physical and condemned by incurable tuberculosis, triviality to become a symbol of selfless moral ugliness, because of his tender has risen from a childhood of misery to love? Did they realize that Verdi had love for his daughter. Azucena’s plight become a cultivated young woman with exalted a woman who transformed (however farfetched the plot of Il depth and a genuine capacity for love. herself from a life of “obscene triviality” Trovatore) wins our hearts, despite her It is also the tragedy of the collision to “The Woman” who conquered the degraded origin. Verdi allows both of of the values of authentic love with the world’s heart as “La Traviata”?

PERFORMANCES MAGAZINE P5 BACKSTAGE AT LA OPERA

Inspiration for an Art Deco Traviata— an interview with director/designer Marta Domingo

What inspired you to set La Traviata in the Art Deco era? Art Deco and the Roaring Twenties have always fascinated me. Both of these— one an artistic movement, the other a social phenomenon—flourished at the same time. Art Deco represented elegance and glamour—think of Hollywood's sophisticated women and mysterious vamps—but also modernism and industrial progress. The era of speed had begun.

What had changed during this period? A brutal war had left the nation in mourning for a lost generation of men, so young people took up the motto “Enjoy today to the fullest, for tomorrow may never arrive.” No moral or social barriers could stop them. They indulged in scandalous behavior—drinking in Prohibition-era speakeasies, sometimes drinking absinthe, the “Green Curse” of ; smoking cigarettes in public through long holders; and dancing wildly in dark clubs to the shocking rhythms of the Charleston played by jazz bands. And then there were cars, still relatively new at the time, perfect and comfortable for practicing the new sexual sport: petting.

What influenced your designs for the production? In the third act, Flora’s party takes place in a private nightclub decorated with the characteristic geometric lines and pre- dominant colors of Art Deco: black and gold. When I started thinking about the The bronze and ivory sculptures of Demétre Chiparus (1886-1947) embody the spirit of the costumes and choreography for this part Art Deco epoch. When the art of ancient Egypt came into fashion during the 1920s, Chiparus created numerous decorative figures that represented Egyptian dancers, like this one. of the opera, Josephine Baker with her famous skirt of bananas first came to my exquisite as any of his dancers. A fascina- were abolished, and with lighter mind. But I suddenly realized that I had tion with exotic cultures was a defining undergarments such as the “step-ins,” my inspiration right in front of me: a little characteristic of Art Deco, after the dis- a new woman emerged: slim, stylish, statuette of an oriental dancer, whose covery of Tutankhamen’s tomb in 1921. refined and reckless. On one side the delicate body is made of ivory and her The new fashions of the 1920s were new fashion called “the Garçon Look” brief costume made of bronze. It’s one of fascinating to me. Wild and frenetic made women look very girlish; on the my most precious belongings, and even popular dances—such as the Charleston, other hand, the pale skin and black-lined if it is not signed by the great Romanian Black Bottom and Shimmy—demanded eyes created the fascinating American Art Deco sculptor Chiparus, it is as total freedom of movement. Corsets “vamp” and the French “femme fatale.”

P6 PERFORMANCES MAGAZINE ARTISTS

James Conlon Marta Domingo CONDUCTOR DIRECTOR / PRODUCTION DESIGNER

From: New York. From: Veracruz, . LA Opera: debut LA Opera: Rigoletto (1993, La Traviata (2006); 38 different debut); La Traviata (1999, mainstage operas and over 250 2001, Sept. 2006, 2009); total performances to date. (2000, 2008); Later this season, he will con- (2002). duct The Ghosts of Versailles, In June 2006, she directed and The and designed a second Marriage of Figaro. He has production of La Traviata, been Richard Seaver Music currently onstage. Director since 2006. Career highlights: A former Career highlights: He has led leading , she retired to virtually every major North raise the Plácido Domingo American and European orchestra, and over 270 performances family. Once their sons were grown, she turned her attention at the . He is music director of the Ravinia to stagecraft, which had always fascinated her. She made her Festival (since 2005) and May Festival (since 1979). He debut in 1991 with Samson et Dalila in . She has was principal conductor of the National Opera (1995-2004), directed for the opening of Seville’s La Maestranza; The general music director of the City of Cologne (1989-2002) and Barber of Seville in Puerto Rico; La Rondine in Bonn, Warsaw music director of the Rotterdam Philharmonic (1983-91). He has and Washington; Rigoletto in Washington; La Traviata in San two Grammy Awards and was awarded France’s Légion Francisco, Liège, Washington, St. Etienne and the Far East; d’Honneur. Upcoming operatic engagements include Lady The Tales of Hoffmann in St. Petersburg and Washington; and Macbeth of Mtsensk at the Metropolitan Opera and The Queen Wolf-Ferrari’s in Washington (U.S. premiere), , Rome of Spades at the Rome Opera. (www.JamesConlon.com) and at the Metropolitan Opera.

Alan Burrett Grant Gershon LIGHTING DESIGNER CHORUS DIRECTOR

From: , UK. From: Alhambra, California. LA Opera: 37 productions to LA Opera: debut conducting date including L’Italiana in La Traviata (2009), followed Algeri (1996, debut), by (2010), L’Allegro, (1996, 2005), La Bohème il Penseroso ed il Moderato (1997, 2004), (1998, (2011), Madame Butterfly 2004), La Traviata (1999, (2012), Dulce Rosa and 2001), The Queen of Spades Carmen (2013). He was named (2001), (2001), Der Resident Conductor in 2012, Rosenkavalier (2005), Billy and will conduct Florencia en Budd (2000, 2014). el Amazonas later this season. Career highlights: His lighting Career highlights: La Traviata career in the UK and Europe and Carmen at Wolf Trap includes productions at the Royal Shakespeare Company, Opera, John Adams’ The Gospel According to the Other Mary Royal National Theatre, Covent Garden, at the , Vivaldi’s Griselda at the Santa Fe Opera, , Bavarian State Opera and the Opera of Rome. He multiple appearances with the . He is lit large-scale arena productions of Carmen and Tosca in Artistic Director of the Los Angeles Master Chorale, where he is England, , Australia and . He also lit the now in his 14th season, with over 100 performances at Walt complete works of Beckett for the Gate Theatre in Dublin, Disney Concert Hall. His discography includes two Grammy- New York and London. Now based in San Diego, he works as nominated recordings, Sweeney Todd and Ligeti’s Grand a freelance lighting designer for companies in the U.S. and Macabre, as well as five CDs with the Master Chorale. He is a abroad, and he heads the lighting design program at UC–San member of the Board of Councilors for the Thornton School Diego. (www.Burrett.com) and the Board of Directors of Chorus America.

PERFORMANCES MAGAZINE P7 ARTISTS

Kitty McNamee Nino Machaidze CHOREOGRAPHER VIOLETTA VALÉRY

From: Ashland, Ohio. From: Tblisi, . LA Opera: Roméo et Juliette LA Opera: Adina in The Elixir (2005, debut; 2011), La Traviata of Love (2009, debut), Fiorilla (2006, 2009), Don Carlo in The Turk in (2011), (2006), La Rondine (2008), Juliette in Roméo et Juliette (2014). (2011), title role in Thaïs (2014). Career highlights: She is a highly Career highlights: The regarded choreographer, soprano’s 2007 appearances earning distinction from Dance as Marie in The Daughter of Magazine as an artist with “an the Regiment at and outsize talent for that most elu- in Rome launched her sive gift, originality.” Recent international career. She made work includes choreography for a sensational debut at the Lifetime’s Petals on the Wind and Beautiful and Twisted, Secret in 2008 as Juliette, followed by important Cinema’s ground-breaking live performances with Laura international debuts at the Metropolitan Opera, Bavarian Marling in London, and Wet Design. Her work includes original State Opera in Munich, Berlin State Opera, Gran Teatre del productions for National Choreographer’s Initiative, LA Ballet, in , La Monnaie in Brussels, Opéra National , Lyric Opera of and LA de Paris and House, Covent Garden. This Philharmonic. She was recently nominated for best choreography season’s engagements include the leading roles of Luisa by the UK Video Music Awards for her work with Fred and Nick Miller and La Traviata at the State Opera, the on Laura Marling’s “Master Hunter.” She is the artistic director of Contessa di Folleville in in Amsterdam and Hysterica Dance Co., a consistently prolific and invigorating force Micaëla in Carmen at La Scala. (www.NinoMachaidze.com) in the LA dance community. (www.KittyMcNamee.com)

Arturo Chacón-Cruz STAY CONNECTED! ALFREDO GERMONT #LAOTraviata From: Sonora, Mexico. LA Opera: Verdi (2007), Rodolfo in La Bohème (2007, mainstage debut). The will return later this facebook.com/LAOpera season as Arcadio in Florencia en el Amazonas. Career highlights: Last season, he performed Alfredo in La Traviata in Munich and at twitter.com/LAOpera Vienna’s , where he also performed Jacopo Foscari in The Two Foscari opposite Plácido Domingo, the title role in The Tales of Hoffmann in Tokyo, the Duke of Mantua in Rigoletto in instagram.com/LAOpera Strasbourg and Brussels, and Des Grieux in in . Other recent highlights include Alfredo at the Bolshoi in , the Duke of Mantua in Aix-en-Provence and San Francisco, Hoffmann at La Scala and in Vienna, and numerous leading roles with the Munich State Opera. youtube.com/losangelesopera Upcoming performances include Don José in Carmen in Hamburg and Lyon. He was a 2005 winner of . (www.ArturoChaconCruz.com)

P8 PERFORMANCES MAGAZINE ARTISTS

Plácido Domingo Daniel Mobbs GIORGIO GERMONT BARON DOUPHOL

From: , . From: Louisville, Kentucky. LA Opera: debut as LA Opera: debut. (1986); 26 roles to date includ- Career highlights: This season, ing, most recently, Athanaël in the - returns to the Thaïs, Francesco Foscari in Metropolitan Opera as Kromow The Two Foscari and the title in The Merry Widow and to the role in . He Caramoor International Music has conducted 21 different LA Festival as Emilio in Rossini’s Opera productions, including Otello and Marquis de la Force last season’s Carmen, and has in Dialogues of the Carmelites. been Eli and Edythe Broad Recent highlights include General Director of LA Opera Andrew Borden in Lizzie since 2003. Borden with Boston Lyric Career highlights: He has been at home on the world’s stages Opera, Dandini in with Pittsburgh Opera and for over half a century, with over 800 performances at the Washington Concert Opera, Figaro in The Marriage of Figaro Metropolitan Opera. He has sung 145 roles in addition to con- with Portland Opera, Don Alfonso in Così fan tutte and Alidoro ducting more than 500 operatic and symphonic performances, in La Cenerentola with Minnesota Opera, the title role in William and he is the recipient of 12 Grammy Awards. By the end Tell and Oroveso in with Caramoor, and many roles in 20 of 2014, he will have celebrated the 47th anniversary of his seasons with Opera. He has also appeared with debut, his 46th anniversary at the Washington National Opera (Papageno in , Ping Metropolitan Opera and his 45th at La Scala. He is founder of in Turandot), Santa Fe Opera (Dominik in Arabella) and Polish the international vocal competition Operalia, which returned National Opera (title role in ). (www.DanielMobbs.com) to Los Angeles in August. (www.PlacidoDomingo.com)

Soloman Howard Brenton Ryan DOCTOR GRENVIL GASTONE

From: Washington, DC. From: Sedalia, Missouri. LA Opera: debut. LA Opera: debut. The tenor Career highlights: An alumnus will return later this season as of the Domingo-Cafritz Young the Sailor/Spirit in Dido and Artist Program at Washington Aeneas and as Léon in The National Opera, the bass most Ghosts of Versailles. He is a recently appeared there as member of the Domingo- Sarastro in The Magic Flute Colburn-Stein Young Artist and as Joe in Show Boat. As a Program. part of that company’s Career highlights: Earlier this American Opera Initiative, he year, he made his Houston also created the role of Grand Opera debut as Henrik Muhammad Ali in the world in A Little Night Music. Recent premiere of D.J. Sparr’s Approaching Ali. Other recent engagements include Cavaliere Belfiore in Il Viaggio a appearances include his Carnegie Hall debut as a soloist in Reims and Bardolfo in Falstaff as a Filene Young Artist with Mendelssohn’s Die erste Walpurgisnacht with the Oratorio the Wolf Trap Opera Company, Count Almaviva in The Society of New York, Moser in Verdi’s I Masnadieri with Barber of Seville with Wichita Grand Opera and in an Washington Concert Opera, and a role debut as Colline in La outreach tour for and Gastone in La Bohème with North Carolina Opera. He also sang the Traviata with Des Moines Metro Opera. He starred as Tony Commendatore in and the High Priest of Baal in in West Side Story at the Aspen Music Festival, where he Nabucco at Washington National Opera. He will make his also performed Léon in The Ghosts of Versailles and Count Metropolitan Opera debut this season as the King in . Almaviva in The Barber of Seville.

PERFORMANCES MAGAZINE P9 A R T I S T S

Peabody Southwell Daniel Armstrong FLORA BERVOIX MARQUIS D’OBIGNY

From: Los Angeles. From: Houston, Texas. LA Opera: Inez in Dulce Rosa LA Opera: Captain in Luisa (2013, debut), Third Lady in Fernanda (debut, 2007), 13 The Magic Flute (2014). She mainstage appearances to date will return in The Ghosts of including Fiorello in The Barber Versailles. of Seville (2009), Count Paris Career highlights: Last season in Roméo et Juliette (2011), the mezzo-soprano performed Sciarrone in Tosca (2013), the title role in Agrippina with Moralès in Carmen (2013) and Opera Omaha, Omar in The the Second Mate in Death of Klinghoffer at Long (2014). He is an alumnus of the Beach Opera, Juno/Ino in Domingo-Colburn-Stein Young Semele with Seattle’s Pacific Artist Program. Musicworks and the title role in La tragédie de Carmen with Career highlights: In 2012, he performed the leading role of the Des Moines Metro Opera. Recent highlights include The Rape Jester in the west coast premiere of Ernst Krenek’s The Secret of Lucretia with James Conlon at Colburn, the title role in Kingdom with the Colburn Orchestra, conducted by James María de Buenos Aires for Chicago Opera Theater and Long Conlon. He was also the baritone soloist for Bach’s Magnificat Beach Opera, where she made her professional debut as the with the Los Angeles Chamber Orchestra, under the baton of Fox in The Cunning Little Vixen. Later this season, she returns music director Jeffrey Kahane. In 2013, he performed the lead- to San Francisco Symphony, debuts with Seattle Symphony ing role of Tarquinius in Benjamin Britten’s The Rape of Lucretia and makes her east coast debut at Carnegie Hall. She is with the Colburn Orchestra under the baton of James Conlon. creating the title role in Thomas Morse’s Frau Schindler, to premiere in Germany in 2016. (PeabodySouthwell.com) Louis A. Williams, Jr. SOLO DANCER Vanessa Becerra From: St. Louis, Missouri. ANNINA LA Opera: debut. Career highlights: Theater credits include From: Fort Worth, Texas. several productions at MUNY in St. Louis, LA Opera: debut. She will A Chorus Line, Oklahoma! and Hairspray return later this season in The at Musical Theatre West, and Aladdin and his Winter Wish at Ghosts of Versailles. The the Pasadena Playhouse. He has been a solo dancer in Aida soprano is a member of the and Rinaldo for Lyric Opera of Chicago and Don Giovanni Domingo-Colburn-Stein Young and Salome for Opera Theatre of St. Louis. Film: Last of the Artist Program. Showmen, starring Ben Vereen. Music video: Fergie’s “A Career highlights: Earlier this Little Party Never Killed Nobody (All We Got).” year, she debuted with the Fort Worth Opera in Daniel Crozier’s With Blood, With Ink, Evan Swenson then joined the Apprentice SOLO DANCER Artist roster at Des Moines Metro Opera. In 2013, she was a Studio Artist with the Wolf From: Kingsburg, California. Trap Opera Company where she covered Nannetta in LA Opera: debut. Falstaff. She was also featured as Meg in the workshop of Career highlights: He trained at the Libby Larsen’s A Wrinkle in Time. In 2012 she portrayed Houston Ballet Academy and has danced Zerlina in Don Giovanni and Johanna in Sweeney Todd at the with Houston Ballet, Atlanta Ballet and New Seagle Music Colony. She recently received her master’s York Theatre Ballet, among others, and has worked with Ben degree from The Boston Conservatory where she performed Stevenson, Stanton Welch, Trey McIntyre, Christopher Hampson Musetta in La Bohème, Pamina in The Magic Flute and the and Lila York. In 2011 and 2013, he taught and toured with the title role in The Cunning Little Vixen. Long Beach Ballet with their Ambassadors to China program.

P10 PERFORMANCES MAGAZINE ARTISTIC PERSONNEL

LA OPERA CHORUS LA OPERA ORCHESTRA

SOPRANO FIRST VIOLIN BASS TRUMPET

Samela Beasom** Terri Hill* Roberto Cani David Young David Washburn Christina Borgioli Virenia Lind** STUART CANIN PRINCIPAL PRINCIPAL CONCERTMASTER Christina Bristow Renee Sousa* Ann Atkinson Marissa Benedict Lisa Crave* Courtney Taylor Jessica Guideri ASSOCIATE PRINCIPAL Nicole Fernandes Rebecca Tomlinson* ASSOCIATE CONCERTMASTER Frances Liu Wu Lisa Sutton TROMBONE ALTO Don Ferrone ASSISTANT CONCERTMASTER Tim Eckert William Booth Natalie Beck** Veronica Christenson* Margaret Wooten PRINCIPAL Sarah Bloxham* Michelle Fournier** Olivia Tsui Danielle Marcelle Bond Helene Quintana* Tamsen Beseke FLUTE Alvin Veeh Aleta Braxton** Adrien Raynier** Armen Anassian Terry Cravens, Beverly Brulé* Jennifer Wallace** Loránd Lokuszta Heather Clark bass trombone PRINCIPAL Tina Chang Qu TENOR Radu Pieptea Angela Wiegand Aroussiak Baltaian TUBA Stephen Arel** Charles Lane* Marina Manukian James Self Omar Crook Francis Lucaric* OBOE Arnold Geis Mark ** PRINCIPAL James Guthrie George Sterne** SECOND VIOLIN Leslie Reed John Kimberling* Todd Strange PRINCIPAL HARP Ana Landauer Jennifer Johnson BASS PRINCIPAL JoAnn Turovsky PRINCIPAL Mark Beasom** Robert Hovencamp* Steve Scharf ASSOCIATE PRINCIPAL Reid Bruton* Mark Kelley* CLARINET TIMPANI Julian Fielder* James Martin Schaefer Florence Titmus Stuart Clark Michael Geiger* Tim Smith** Leslie Katz PRINCIPAL Gregory Goodall Abdiel Gonzalez Arthur Wand* Michele Kikuchi PRINCIPAL Cynthia Moussas Donald Foster Jayme Miller *Has appeared in 50 or more productions Marisa Sorajja PERCUSSION **Has appeared in 100 or more productions Irina Voloshina BASSOON Susan Rishik Theresa Dimond William May PRINCIPAL PRINCIPAL Timm Boatman VIOLA Judith Farmer

DANCERS Yi Zhou BANDA PRINCIPAL HORN Andrew Picken Sarah Weisz, flute, piccolo ASSOCIATE PRINCIPAL Steven Becknell Sandra Kipp, piccolo Anne Elisabeth (swing) Stacey Pirozzi PRINCIPAL Steve Piazza, clarinet Alissa M. Halpin Deanna Beasom Reeves Karie Prescott Daniel Kelley Phil O’Connor, clarinet Ashley Frances Hoffman Emily Williams Matt Funes Bill Wood, bassoon Kate Vincent Jenny Kim Stephanie Kim (dance captain) ASSOCIATE PRINCIPAL Nathan Campbell, horn Alma Fernandez Kristy Morrell, horn Carolyn Riley James Atkinson Timm Boatman, percussion Aaron Oltman James Stark, first violin Radu Poponiu, first violin Alyssa Park, first violin SUPERNUMERARIES CELLO Kathleen Sloan, second violin John Walz PRINCIPAL Kevin Connolly, second violin Themba Alleyne Nathaniel Meek Dane Little Shawn Mann, viola Maryland Bolds Denim Richards ASSOCIATE PRINCIPAL Kazi Pitelka, viola Robert Clements Ryan Shervington Kim Scholes Roger Lebow, cello Anne Elisabeth Xiao-Dan Zheng James Bergman, bass Nadine Hall Trevor Handy

Stuart Canin Concertmaster Chair made possible by a deeply appreciated gift from Dunard Fund USA.

PERFORMANCES MAGAZINE P11 PRODUCTION STAFF

ASSISTANT LIGHTING DESIGNER WARDROBE Robert Devis Azra King-Abadi Demetra Willis HEAD USHERS ASSOCIATE CHORUS MASTER Lee Smilek Jeremy Frank Charlyn Trenier Carolyn Van Brunt WARDROBE ASSISTANTS VICE PRESIDENT OF GUEST SERVICES MUSICAL ASSISTANT TO JAMES CONLON Ignazio Terrasi Pamela Bullock Shelley Graves-Jimenez VARI*LITE AUTOMATED ASSISTANT STAGE MANAGERS Mary Lehman Meredith Greenburg Kathleen Melcher LIGHTING PROVIDED BY Erin Thompson-Janszen Marcie Olivi Laura Oswald Vari-Lite Inc. SUPERTITLE PREPARATION / CUER SEASONAL DRESSERS Linda Zoolalian THE DOMINGO-COLBURN-STEIN WIGS AND MAKE-UP YOUNG ARTIST PROGRAM COSTUME SHOP

Darren K. Jinks Identifying and encouraging talented young artists Laina Babb WIGMASTER with enormous potential is essential to the future Heather Bair of opera. Since the Company’s inception, LA Opera Maria de la Mora Samantha Wooten CUTTER/DRAPERS ASSOCIATE WIGMASTER has been committed to nurturing a resident ensemble of young singers who would benefit from long-term Pamela Walt Brandi Strona professional development. The Domingo-Colburn- ASSISTANT CUTTER/DRAPER CREW FOREMAN Stein Young Artist Program, which builds on the success of the Company’s earlier, highly respected Renee Horner Florencia Carrizo Resident Artist Program, has the goal of developing FIRST HAND Lisa Reitano the talents of exceptionally gifted young artists to Nicole Rodrigues become performers of potentially international J. Christina Huh SENIOR WIG & MAKE-UP ARTISTS Ademir Serrano stature, whose first loyalty would be to LA Opera. SECOND HANDS Linda Cardenas LEAD STYLIST The Domingo-Colburn-Stein Young Artist Program is Randy Hozian generously underwritten by the Colburn Foundation Yuan Anne Hua and Eugene and Marilyn Stein. Special support for Blanca Miranda STAGE CREW young artist stipends is graciously provided by Lenore Hortencia Santos and Richard Wayne. The program was created with Loren Schaller funding from the Flora L. Thornton Foundation. Benjamin Walsh Harold E. Conroy OPERA CARPENTER Emily West 2014/5 PARTICIPANTS Anna Wong Thomas Laurence Conroy SEAMSTERS ASSISTANT OPERA CARPENTER Frederick Ballentine Sharon McGunigle Steve Williams TENOR HEAD TAILOR OPERA ELECTRICIAN Vanessa Becerra Wing Cheung Stan Williams SOPRANO ASSISTANT TO THE HEAD TAILOR OPERA ASSISTANT ELECTRICIAN Lacey Jo Benter MEZZO-SOPRANO Rafael Avila Allen Tate Wesley Jenkins OPERA PROPERTY MASTER Nicholas Brownlee Manuel Medina BASS-BARITONE Sheldon Ross Rene Santos ASSISTANT OPERA PROPERTY MASTER Joshua Guerrero TAILORS TENOR Todd Reynolds Corrine Zachry OPERA AUDIO ENGINEER CRAFTSPERSON Summer Hassan SOPRANO

Misty Ayres Paul Jarski Jeannique Prospere DOROTHY CHANDLER PAVILION ASSISTANT CONDUCTOR SENIOR PRODUCTION SUPERVISORS HOUSE STAFF Rafael Moras Julian Arrington, III TENOR Timothy L. Conroy Kaitlyn Aylward MASTER CARPENTER COSTUME ASSISTANTS So Young Park SOPRANO Gary Earl Melinda Brown HOUSE HEAD ELECTRICIAN Brenton Ryan Manuel Garcia TENOR SENIOR STOCK ASSISTANTS James Draper MASTER OF PROPERTIES Peter Walsh Michaela Petrovich ASSISTANT CONDUCTOR PRODUCTION ASSISTANT- BUYER Jeff Des Enfants MASTER AUDIO Kihun Yoon BARITONE Jim Payne HOUSE MANAGER

Special thanks to the staff of the Music Center. Directors, singers, choreographers, stage managers, ensemble members and assistant directors in this production are represented by the American Guild of Musical Artists. Orchestra musicians are represented by the American Federation of Musicians, Local 47. The following employees are represented by the International Alliance of Theatrical Stage Employees, Moving Picture Machine Technicians, Artists and Allied Crafts of the United States and Canada, AFL-CIO, CLC,: Stage Crew, Local 33; Treasurers and Ticket Sellers, Local 857; Wardrobe Crew, Local 768 ; Makeup Artists and Hair Stylists, Local 706. Interns in the Technical Department are students at California Institute of the Arts (, California). All editorial materials copyright Los Angeles Opera, 2014. The opinions expressed in this program do not necessarily represent those of Los Angeles Opera. Recorded welcome announcements voiced by Jamieson K. Price.

P12 PERFORMANCES MAGAZINE COMPANY STAFF

Plácido Domingo Lisa Coto Meredith Martin-Almy Keith Rainville ELI AND EDYTHE BROAD PROPERTIES COORDINATOR MAJOR GIFTS OFFICER BRAND MANAGER GENERAL DIRECTOR Michelle Magaldi Matthew J. Miles Jolane Weist James Conlon TECHNICAL MANAGER MAJOR GIFTS OFFICER MARKETING DATA AND PRICING ANALYST RICHARD SEAVER MUSIC DIRECTOR Melissa Ficociello Colleen Moore Garrett Collins Christopher Koelsch Damon Schindler INDIVIDUAL GIVING ASSISTANT COMMUNICATIONS COORDINATOR PRESIDENT AND RESIDENT LEAD SCENIC ARTISTS CHIEF EXECUTIVE OFFICER Terri Bobadilla Luz Rodriguez Chris Carey RESEARCH MANAGER MARKETING AND COMMUNICATIONS John P. Nuckols TECHNICAL PAYROLL OFFICER COORDINATOR VICE PRESIDENT, ADVANCEMENT Katelan Braymer INSTITUTIONAL GIVING Mari Sullivan Faith Raiguel LIGHTING ASSISTANT MARKETING INTERN VICE PRESIDENT, CHIEF FINANCIAL OFFICER Erica Blumenson-Cook INSTITUTIONAL GIVING OFFICER / Diane Rhodes Bergman, APR GRANT WRITER VICE PRESIDENT, MARKETING AND COSTUMES FINANCE COMMUNICATIONS Nicole Michela INSTITUTIONAL GIVING COORDINATOR Jennifer Green Carl Ries COSTUME DIRECTOR Tess Weinberg CONTROLLER INSTITUTIONAL GIVING ASSISTANT Sarah Al-Atrakchi Jeannie Jones SENIOR DIRECTOR, FINANCE Gregory White ACCOUNTS PAYABLE MANAGER COSTUME DEPARTMENT MANAGER SPECIAL EVENTS Stacy C. Brightman, Ph.D. Mary Schultz SENIOR DIRECTOR, EDUCATION & John Bishop Juliet Brown SPECIAL PROJECTS MANAGER COMMUNITY ENGAGEMENT SENIOR CUTTER / DRAPER ASSISTANT DIRECTOR, SPECIAL EVENTS Darrell L. Winfrey, Jr. Grant Gershon Hallie Dufresne Emily Lawyer STAFF ACCOUNTANT RESIDENT CONDUCTOR MASTER CRAFTSPERSON SPECIAL EVENTS COORDINATOR Lisa Robertsen Rupert Hemmings Gloriana Siman ACCOUNTING CLERK SENIOR DIRECTOR, PRODUCTION PRODUCTION & STOCK COORDINATOR EDUCATION & COMMUNITY Gerrie Maloof John Musselman SENIOR DIRECTOR, LABOR RELATIONS AND ADMINISTRATIVE ASSISTANT ENGAGEMENT INFORMATION HUMAN RESOURCES TECHNOLOGY Neal Anderson Patricia McLeod MAINTENANCE ASSISTANT Jennifer Babcock SENIOR DIRECTOR, DEVELOPMENT ASSOCIATE DIRECTOR OF EDUCATION & Richard Comito COMMUNITY ENGAGEMENT Janine Allen DIRECTOR OF INFORMATION TECHNOLOGY Joshua Winograde HEAD OF WARDROBE SENIOR DIRECTOR, ARTISTIC PLANNING Jill Burnham Michael Masuda EDUCATION MANAGER NETWORK MANAGER

PRODUCTION Tony Roman Janelle Cabrera Torres TECHNICAL MANAGER, EDUCATION & ARTISTIC ADMINISTRATION DATABASE SUPPORT TECHNICIAN COMMUNITY ENGAGEMENT Lyla Forlani Susan Lang PRODUCTION STAGE MANAGER Jacob H. Shideler ARTIST SERVICES MANAGER TOUR MANAGER, EDUCATION & BOX OFFICE Nicki Harper COMMUNITY ENGAGEMENT Jessie Kim REHEARSAL ADMINISTRATOR ARTISTIC AND OPERATIONS ASSOCIATE Mariana Silva James M. Bell EDUCATION & COMMUNITY ENGAGEMENT Gretchen Meyerhoefer BOX OFFICE TREASURER MANAGER OF CHORUS, DANCERS COORDINATOR AND SUPERS Tom Bucher Carmen Recker MUSIC ADMINISTRATION FIRST ASSISTANT TREASURER SPECIAL PROJECTS MANAGER Dale Bridges Johannsen DEVELOPMENT Victoria Fox Mark Fabulich Shane K. Morton MUSIC LIBRARIAN RESEARCH AND ADMINISTRATIVE ASSISTANT Michael Meyer Brady Steel Marlinda Menashe Shawnet Sweets ORCHESTRA PERSONNEL MANAGER DIRECTOR, INSTITUTIONAL GIVING AND Lisa Reilly Marlow Wyatt COMMUNICATIONS ASSOCIATE GOVERNMENT RELATIONS SECOND ASSISTANT TREASURERS William Gorin PERSONAL ASSISTANT TO JAMES CONLON Jill Michnick Eva Sobolevski Susan Wong COMMUNITY ENGAGEMENT ASSOCIATE DIRECTOR OF BOARD RELATIONS AND Bruce Hall Ignazio Terrasi SPECIAL EVENTS THIRD ASSISTANT TREASURERS MUSICAL ASSISTANT TO JAMES CONLON Eli Villanueva RESIDENT STAGE DIRECTOR Robert Harrington Nino Sanikidze Howard Moss HEAD COACH, DOMINGO-THORNTON SENIOR PLANNED GIVING OFFICER Joseph Howells YOUNG ARTIST PROGRAM Brenda Roman PUBLIC RELATIONS Nicole Debbini Joseph Selway DEVELOPMENT OPERATIONS TICKET SELLERS ADMINISTRATION COORDINATOR Gary W. Murphy DIRECTOR OF COMMUNICATIONS Robin Green AND PUBLIC RELATIONS CONSULTANTS Michael de la Peña EXECUTIVE ASSISTANT FINANCE ADMINISTRATOR Mark Lyons ANNUAL FUND ASSOCIATE DIRECTOR OF BLT Communications COMMUNICATIONS, PUBLICATIONS AD DESIGN Margo McAdams TECHNICAL Matchbox Studio ASSOCIATE DIRECTOR OF DEVELOPMENT, Shannita Williams GRAPHIC DESIGN ANNUAL FUND ASSOCIATE DIRECTOR OF Jeff Kleeman COMMUNICATIONS, SOCIAL MEDIA Melanie Underhill Studio Fuse TECHNICAL DIRECTOR GRAPHIC DESIGN ANNUAL FUND COORDINATOR Craig Mathew Carolina Angulo SALES AND MARKETING PHOTOGRAPHY DESIGN MANAGER INDIVIDUAL GIVING

Margie Schnibbe Janey K. Campbell Julia Graham Rivera DIRECTOR OF MARKETING TECHNICAL PRODUCTION COORDINATOR SENIOR MAJOR GIFTS OFFICER Alisa Lapidus Peter W. Indall Mark A. Rice PRODUCTION MEDIA MANAGER MAJOR GIFTS OFFICER ASSOCIATE DIRECTOR OF MARKETING

PERFORMANCES MAGAZINE P13 DONOR RECOGNITION

20th Anniversary Angels MARC I. STERN, CHAIR LA Opera wishes to honor those individuals who have made an extraordinary leadership commitment to the Company. Building upon the remarkable foundation created by the Founding and Domingo’s Angels, the outstanding support of the 20th Anniversary Angels has helped ensure an artistically vibrant and financially secure future for LA Opera. Please see page P2 for a listing of the 25th Anniversary Angels.

The Eli and Edythe Broad Foundation Carol and Warner Henry Marc and Eva Stern Foundation Colburn Foundation Alfred and Claude Mann Flora L. Thornton County of Los Angeles Sebastian Paul and Marybelle Musco Marilyn Ziering Richard Seaver and Sara Jayne Kimm

Mr. Harold Alden and Dr. Geraldine Alden Brindell Roberts Gottlieb Ceil and Michael E. Pulitzer The Annenberg Foundation The Green Foundation Tarasenka Pankiv Fund (Tara Colburn) Ambassador Frank and Kathy Baxter Bernard and Lenore Greenberg, Barbara Augusta Teichert Yuki and Alex Bouzari in honor of Leonard Green The Joop van den Ende Foundation Nancy Daly Lauren B. Leichtman and Arthur E. Levine Christopher V. Walker Family Foundation Edgar Foster Daniels Lenore and Richard Wayne LGHG Foundation Kelly and Robert Day Ziering Family Foundation Beatrix F. Padway, in honor of Leslie and John Dorman Nathaniel W. Finston Selim K. Zilkha and Mary Hayley / Selim K. Zilkha Foundation Malsi Doyle and Michael Forman Mr. and Mrs. Milan Panic

MARC I. STERN, CHAIR MARY HAYLEY, CO-CHAIR Domingo’s Angels WARNER HENRY, CO-CHAIR Domingo’s Angels are individuals who made a leadership commitment to fulfilling the artistic initiatives of the Domingo Seasons, 2001-2005. Their remarkable generosity provided a new threshold from which the artistic professionals associated with LA Opera created and produced opera that thrilled and inspired Los Angeles audiences and the world.

Robert V. Adams and Barbara The Green Foundation Richard Seaver and Sara Jayne Kimm Abercrombie Lenore and Bernard Greenberg Marc and Eva Stern Foundation Ambassador Frank and Kathy Baxter Carol and Warner Henry The Skirball Foundation Colburn Foundation Walter Lantz Foundation / Flora L. Thornton Foundation Kelly and Robert Day Edward A. Landry, Trustee Selim K. Zilkha and Mary Hayley / Marta and Plácido Domingo Rosemary and Milton Okun Selim K. Zilkha Foundation Leslie and John Dorman Mr. and Mrs. Milan Panic

Founding Angels WARNER HENRY, CHAIR LA Opera is grateful for the vision, boldness and extraordinary generosity of the Founding Angels, whose commitment to the Company in its early years helped ensure the future of opera in Los Angeles.

Mr. and Mrs. Roy L. Ash Ann and Gordon Getty Foundation Richard Seaver Dorothy Collins Brown The Emese and Leonard Green The Skirball Foundation Mr. Richard D. Colburn Foundation Mr. and Mrs. Leonard H. Straus The Edgar Foster Daniels Foundation Carol and Warner Henry Flora L. Thornton Foundation Forman Family Foundation Opera League of Los Angeles

P14 PERFORMANCES MAGAZINE DONOR RECOGNITION

Artistic Excellence Circle MILENA KITIC, CHAIR LA Opera is pleased to recognize the Artistic Excellence Circle, a dedicated group of individuals whose annual support ensures that its productions continue to feature today’s leading singers, conductors, directors and designers—all of the elements that make each season memorable. To learn more about the Artistic Excellence Circle, please call John Nuckols at 213.972.7256.

PREMIER DIAMOND PATRON ($500,000 & ABOVE) Annenberg Foundation Alfred and Claude Mann The Eli and Edythe Broad Foundation Sebastian Paul and Marybelle Musco Colburn Foundation Music Center Foundation County of Los Angeles Rosemary and Milton Okun Los Angeles County Board of Supervisors/ The Tarasenka Pankiv Fund (Tara Colburn) Lloyd E. Rigler - Lawrence E. Deutsch Foundation Robert Day Ronus Foundation Malsi Doyle and Michael Forman The Richard Seaver Trust for the Opera Dunard Fund USA Eugene and Marilyn Stein Gemini Industries, Inc. Marc and Eva Stern Foundation Ann and Gordon Getty Foundation Marilyn Ziering Brindell Roberts Gottlieb Selim K. Zilkha and Mary Hayley/ Carol and Warner Henry Selim K. Zilkha Foundation The James Irvine Foundation

DIAMOND PATRON ($250,000 & ABOVE) Anonymous The Andrew W. Mellon Foundation Mr. Harold Alden and Dr. Geraldine Alden The Opera League of Los Angeles Ambassador Frank and Kathy Baxter The Milan Panic Family The Blue Ribbon Ceil and Michael E. Pulitzer The Fund for the Performing Arts Rolex LGHG Foundation Herbert Simon Family Foundation The Green Foundation Ms. Barbara Augusta Teichert Lenore and Bernard Greenberg Christopher V. Walker Joyce and Joelle Grinker Estate Ziering Family Foundation Max H. Gluck Foundation

PLATINUM PATRON ($150,000 & ABOVE) Margaret and David Barry The Norman and Sadie Lee Foundation Alex Bouzari Dan Murphy Foundation Joyce and Aubrey Chernick The Ralph M. Parsons Foundation Mark Houston Dalzell Barry and Nancy Sanders Leslie and John Dorman Laura and Carlton Seaver Allen B. Freitag Trust Thurmond Smithgall and the Lanie & Ethel Foundation Mr. and Mrs. Alex Furlotti

PLATINUM PATRON ($100,000 & ABOVE) Anonymous The Eleanor Hutchinson Parker Foundation Moshe Barkat and Evelina Haroutunian The Rauch Family Foundation, The Capital Group Companies Charitable Foundation in recognition of Dudley Rauch Ana and Robert Cook Rx for Reading Edgar Foster Daniels and Maxime Ohayon Marie H. Song Hispanics for Los Angeles Opera James and Ellen Strauss Los Angeles County Arts Commission Alyce and Warren Williamson Stephen and Lianne Zimmerman

PERFORMANCES MAGAZINE P15 DONOR RECOGNITION

THE OPERA COUNCIL Chaired by Paul and Catherine Tosetti The dedicated support of the Opera Council enables LA Opera to achieve its artistic goals. This program offers exclusive privileges and behind-the-scenes opportunities to those individuals, foundations and corporations who make annual gifts of $25,000 or more. For information, please call 213.972.3160.

GRAND GOLD PATRON ($75,000 & ABOVE) Adele Haggarty Binder Mr. and Mrs. Carlos Mollura, Sr. Louis Colen Wells Fargo

GRAND GOLD PATRON ($50,000 & ABOVE) Anonymous (2) Peter and Diane Gray OPERA America’s Ahmanson Foundation Judge Judith O. Hollinger Getty Audience Building Program Mr. Marvin Antonowsky Mr. and Mrs. John F. Hotchkis Linda and Alvaro Pascotto Mr. James Asperger and Ms. Christine Adams Mr. and Mrs. David K. Ingalls Penny and Harold B. Ray Mr. Haig S. Bagerdjian Dr. and Mrs. Harold Karpman Dr. Armin and Barbara Sadoff Beatrice and Paul F. Bennett Mr. K. Gregory Keever The SahanDaywi Foundation Joyce and Stanley Black Richard Kendall and Lisa See Mr. and Mrs. Fred C. Sands Paul and Marie-France Bloch Fund at Lawrence A. Kern Yoriko Saneyoshi The Miami Foundation Travis and Thomas Kranz Pamela and E. Randol Schoenberg David Bohnett and Tom Gregory Mr. and Mrs. Robert B. Kuppenheimer Mr. and Mrs. Arnold Seidel Edward E. and Alicia Garcia Clark Edward and Madeleine Landry Chester James Semel Donna and Walter Conn Walter Lantz Foundation / Mr. and Mrs. L. Dennis Shapiro In memory of Nancy M. Daly for her Edward A. Landry, Trustee Eric L. Small / Flora L. Thornton Foundation extraordinary legacy of support Lauren B. Leichtman and Arthur E. Levine William and Helen Smollen Mari L. Danihel Family Foundation Mrs. Leonard Straus Michael and Jane Eisner Susan Lord and Scott Richard Lord Jacob and Sandra Terner Geoff Emery Catherine Marcus Paul and Catherine Tosetti Natalya and Craig Garner National Endowment for the Arts Lenore and Richard Wayne Good Works Foundation Ellen and Arnold Zetcher

PREMIER GOLD PATRON ($35,000 & ABOVE) Los Angeles County Board of Supervisors / Brigitta B. Troy US Bank Don Knabe

GOLD PATRON ($25,000 & ABOVE) Anonymous (4) Em Green Dr. Leslie A. Pam and Dr. Ann Christie Petersen / Mr. and Mrs. Arnon Adar In memory of Morrie Hazan Esper A. Petersen Foundation Maria Altmann, in memory of Fritz Altmann Dr. Louise Horvitz and Carrie Fishman Linda Pierce Jill C. Baldauf and Steven L. Grossman Tim Johnson and Jean Cunningham The John J. and Elisabeth N. Pollon Family Trust Bank of America Foundation In memory of H. Kirkland Jones The Louis and Harold Price Foundation Shallom and Jilla Berkman Mr. and Mrs. Richard B. Jones The Rose Hills Foundation The Otis Booth Foundation Mr. and Mrs. Jerry M. Kohl Mr. and Mrs. Joseph A. Saunders Dr. Robert N. Braun and Dr. Joan Friedman Mrs. Trudy Lampert Ariane and Lionel Sauvage Maynard and Linda Brittan Sherry Lansing and William Friedkin The David and Linda Shaheen Foundation Janet and Nicholas Ciriello Drs. Anu and Ali Leemann Robert and Carol Shahin Mr. and Mrs. Joseph Hardin Coulombe Renee and Meyer Luskin Natalie K. and Marvin S. Shapiro Katherine and Arpad Domyan Diane Hickingbotham McNabb Shirley and Ralph Shapiro Dwight Stuart Youth Fund Merrill Lynch Carol and James Sterling Ms. Leslie Einstein Moss Foundation Avo Tavitian Adell Fink Anthony and Olivia Neece Donna Wagner Mr. Robert Finnerty and Mr. Richard Cullen Nesbitt Foundation Esther and Abe Zarem Gerri Lee Frye Mr. and Mrs. Peter O’Malley Susan Zolla, in memory of Edward M. Zolla Mrs. Charles I. Gold Mr. and Mrs. Ted Orden

P16 PERFORMANCES MAGAZINE