Aaron

Saturday, March 12, 2016, 7:30 PM Sunday, March 13, 2016, 2:30 PM Macomb Center for the Performing Arts

Saturday, March 19, 2016, 7:30 PM Sunday, March 20, 2016, 2:30 PM Heinz C. Prechter Educational and Performing Arts Center Message from Wayne S. Brown Message from David DiChiera

n 1978 the City of Midland, launched a celebration of the elcome to Michigan Theatre’s production of The Tender Iarts and sciences called Matrix under the honorary chairmanship WLand by (1900-1990), fondly referred to as the of Michigan’s first lady Helen Milliken. I was asked if Michigan Opera Dean of American Composers. This also marks the second year Theatre could produce a work which would provide the festival with of MOT’s Michigan Regional Initiative — a key component of our national recognition. It seemed to me that perhaps the participation strategic plan. Building on a highly successful presentation of of Aaron Copland, the Dean of American composers, could be the by American composer Robert Xavier Rodriquez — an opera about answer. His opera, The Tender Land, which had its world premiere the Mexican-American iconic figure Frida Kahlo, we are pleased by Opera in 1954, had not been revived. If we could to return to the Macomb Center for the Performing Arts, and to produce a beautiful production with a wonderful cast, he might be inaugurate a new relationship with the Heinz C. Prechter Educational persuaded not only to attend but also to conduct. The artistic team AMEEN HOWRANI and Performing Arts Center on the Campus of Wayne included broadway director Michael Montel, famous dancer-choreographer Eugene Loring, and County Community College District. designers Robert Joel Schwartz and Thomas Munn. The role of Laurie was sung by Karen Today’s production is an anchor work for members of MOT’s newly established Hunt, an alumna of University of Michigan and Juilliard Opera, whose significant career included Studio Artists Program. Our organization is fortunate to benefit from these highly , Boston, and the Spoleto Festival in Italy. The Mezzo Frances Bible who created a number talented musicians who will help MOT increase its presence among our growing of major roles at City Opera, appeared in the role of Ma Moss and and George Gaynes sang the regional audience. With a combination of local opera clubs (informal gatherings role of Grandpa Moss went on to be a well known actor in both film and television. So, after a series where guests can learn about upcoming productions), open rehearsals, pre- of phone calls in which I described the cast and artistic team Copeland agreed that this was going performance talks, and full productions, MOT is committed to engaging audiences to be a significant revival and he would be happy to conduct. The experience of working with him through multiple forums. was both amazing and challenging but I will leave that for the book which I must one day write. In We are delighted to acknowledge the generosity of foundation, corporate, and 1984, The Tender Land became the centerpiece of our Michigan Opera Theatre In Residence program, individual supporters who have joined us in our quest to share the excitement in which we would spend a week in a Public School or outside community, rehearsing and and satisfaction of this multidimensional art form called opera. They include the integrating the school or community chorus into the second act. We held residencies at Cass William Davidson Foundation, the Community Foundation for , Technical High School and Northwestern High School in Detroit, Seaholm High School in Birmingham, the Andrew W. Mellon Foundation, and the National Endowment for the Arts. High School in New Baltimore, and in the communities of Calumet and Escanaba. In addition, we wish to acknowledge the Macomb Center for the Performing And now, 32 years later we revisit The Tender Land as a vehicle for our newly established Arts, our co-producer of the opera The Tender Land, with special appreciation Studio Artists Program. It’s a perfect work for these talented young artists who spend an entire to Dr. James Jacobs, President of Macomb Community College, and Casandra season with us working under the direction of famous and supported by E. Ulbrich, Vice President for College Advancement and Community Relations. resident coach accompanist Gordon Schermer. This opera is ideal because it has a wonderful Finally, special thanks to Anthony T. Arminiak, President of Wayne County role for each of our Studio Artists- soprano Angela Theis as Laurie, mezzo Raehann Bryce-Davis Community College District Downriver Campus, and the Heinz C. Prechter as Ma Moss, tenor Joseph Michael Brent as Martin, and bass Brent Michael Smith as Grandpa Educational and Performing Arts Center for hosting our inaugural presence in Moss, assistant music direction by Gordon Schermer. This program is designed to give these Taylor, Michigan. young singers significant coaching not only with Richard Leech, but master classes with some of We appreciate your support and invite you to join us in the the opera world’s most famous teachers such as , Diana Soviero, Martin Katz, and for performances of opera, dance, and Broadway presentations. Kathleen Kelly. In addition to being featured in their own production of The Tender Land, they are also performing in the spring season at the Detroit Opera House in both and The Magic Flute. These artists are being prepared to make their mark in the opera world and we are very proud of them. Wayne S. Brown President and CEO Michigan Opera Theatre Dr. David DiChiera Founder and Artistic Director, Michigan Opera Theatre

2 THE TENDER LAND • MARCH 2016 michiganopera.org Michigan Opera Theatre MARCH 2016 • THE TENDER LAND 3 Message from James Jacobs, PhD Message from Dr. Curtis L. Ivery

Dear Patrons, Dear Patrons,

Welcome to the Macomb Center for the Performing It is my pleasure to welcome you to the Arts at Macomb Community College. We’re pleased Wayne County Community College District’s you’ve joined us for this special cultural experience, Heinz C. Prechter Educational and Performing Arts made possible through partnership with one of the Center (EPAC). Our goal is to provide a variety of region’s cultural treasures, the Michigan Opera cultural experiences to support the discovery and Theatre (MOT). richness of the arts for all of our constituents and community members. Collaboration is a driving philosophy for Macomb Community College and an essential ingredient We are very excited to provide you with the in realizing our mission of education, enrichment opportunity to experience the rarely performed and economic development. We embrace partnership to create meaningful new classic American opera, The Tender Land by Aaron Copland, one of the most experiences and resources for the residents of Macomb County. But, perhaps respected American classical composers of the twentieth century. as importantly, partnership is a key tool in fostering a regional perspective that builds on our strengths, leverages the assets of our neighbors and benefits metro In an effort to bring our patrons world-class programing, the EPAC is thrilled to be Detroit as a whole. working with Michigan’s premier opera company, Michigan Opera Theatre (MOT), to present this production. We are grateful for the opportunity to bring MOT to Today, on our stage, you’ll be enjoying a world-class production of The Tender our community, further strengthening the performing arts offerings throughout Land, an archetypal American opera composed by Aaron Copland, the son of our region. immigrants whose music has often been described as encapsulating the American spirit. Macomb Community College provides a breadth of cultural opportunities We thank you for joining us for a performance and hope this will be one of that span generations, supplement educational objectives and enrich community many visits to Wayne County Community College District’s EPAC, your life. We thank the MOT for embracing our partnership and working with us to community showplace! connect our community members with unique, new experiences.

We appreciate your support of the Macomb Center and Macomb Community College, and hope you enjoy the opera. Dr. Curtis L. Ivery Chancellor, Wayne County Community College District James Jacobs, PhD President, Macomb Community College

4 THE TENDER LAND • MARCH 2016 michiganopera.org Michigan Opera Theatre MARCH 2016 • THE TENDER LAND 5 Contents BOARD OF DIRECTORS 2015-2016 BOARD OF TRUSTEES 2015-2016 July 1, 2015 – June 30, 2016 July 1, 2015 – June 30, 2016

Kenn and Liz Allen Marianne Endicott Florence McBrien Ronald F. Switzer and Jim F. R. Jamison Williams Robert and Margaret Allesee Alex Erdeljan Eugene and Lois Miller McClure 2-5 Chairman Sarah Allison Fern R. Espino and Thomas Phillip D. Minch Lorna Thomas Welcome Daniel and Pernilla Short Monica Moffat C. Thomas and Bernie Wayne S. Brown Ammann Paul and Mary Sue Ewing Ali Moiin and William Toppin President and CEO Lourdes V. Andaya Margo Cohen Feinberg and Kupsky James G. Vella Joseph Angileri and Julie Robert Feinberg Demetra Monolidis Jesse and Yesenia Venegas 6 Enrico Digirolamo Douse-Angileri Oscar and Dede Feldman Manuel and Nora Moroun Marilyn Victor Boards of Directors Chair, Finance Committee Harold Mitchell Arrington David and Jennifer Fischer Stephen and Barbara Munk Inge Vincent Jonathan and Paula Autry Marjorie M. Fisher E. Michael and Dolores Christopher and Susan and Trustees Cameron B. Duncan Beverly Avadenka Carl and Mary Anne Mutchler Wilhelm Treasurer Lee and Floy Barthel Fontana Allan and Joy Nachman Barbara Williams Mark and Caprice Baun Elaine Fontana Irving Barbara Nusbaum R. Jamison and Karen Williams C. Thomas Toppin Ginny Berberian Barbara Frankel and Ron Juliette Okotie-Eboh 8 Michalak Joan Young and Thomas L. Secretary Mandell and Madge Berman Linda Orlans The Tender Land Debra Bernstein-Siegel Herman and Sharon Frankel Graham and Sally Orley Schellenberg Joseph and Barbra Bloch Dean and Aviva Friedman Richard and Debra Partrich Mary Lou Zieve Margaret Allesee Harry Lomason II John and Marlene Boll Barbara Garavaglia Spencer and Myrna Partrich Pernilla Ammann Alphonse S. Lucarelli Gene P. Bowen Yousif and Mara Ghafari Daniel and Margaret TRUSTEES EMERITI Eugene and Marcia 11 Joseph Angileri Donald Manvel Richard and Gwen Bowlby Richard and Aurora Goetz Pehrson Betty J. Bright Arnold and Carolyn Gordon Robert E. L. Perkins Applebaum MOT Orchestra Lee Barthel Ali Moiin Richard and Joanne Brodie Reva Grace Brock and Katherine Plumb Agustin Arbulu Richard A. Brodie Nora Moroun William and Elizabeth Samuel and Toby Haberman Charles and Charlotte Donald and Dale Austin Elizabeth Brooks Stephen Munk Brooks Alice Berberian Haidostian Podowski Marvin A. Frenkel John and Kristan Hale Waltraud Prechter Preston and Mary Happel Robert Brown Charlotte Podowski Robert and Geraldine 11 Brown David and Rose Handleman Paul and Amy Ragheb E. Jan and Pat Hartmann James Ciroli Paul Ragheb Wayne S. Brown and Eugene and Donna Hartwig John and Terry Rakolta Robert and Wally Klein Supporters Joanne Danto Ruth Rattner Brenda Kee Doreen Hermelin Ruth F. Rattner Julius and Mary Pollone & Community Partners Julia Donovan Darlow Roy S. Roberts Thomas and Vicki Celani Derek and Karen Hodgson James and Marguerite Rigby William and Marjorie Sandy Michael and Mary Chirco Alan and Eleanor Israel Roy and Maureen Roberts Roberta Starkweather Ethan Davidson Bernard Rubin James and Elizabeth Ciroli Una Jackman Patricia H. Rodzik Paul and Janet Victor David DiChiera Ankur Rungta Frederick and Gloria Clark Don Jensen and Leo Dovelle David and Jacqueline Amelia H. Wilhelm 12 Shauna Ryder Diggs Elham Shayota Avern and Lois Cohn Kent and Amy Jidov Roessler Barbara K. Wrigley Sonal Dubey Terry Shea Thomas Cohn Gary and Gwenn Johnson Audrey Rose America’s Copland William and Kelly Connell Ellen Kahn Dulcie Rosenfeld FOUNDING MEMBERS Michael Einheuser Matthew Simoncini Peter and Shelly Cooper Peter and Danialle Carolyn L. Ross Mr.† & Mrs.† Lynn A. Marianne Endicott Richard Sonenklar Joanne Danto and Arnold Karmanos Bernard and Donna Rubin Townsend, Founding Paul E. Ewing Lorna Thomas Weingarden Chris and Beth Kaufman Anthony and Sabrina Chairman Helen Daoud Rugiero Mr. & Mrs.† Avern L. Cohn 14 Jennifer Fischer Jesse Venegas Patrick J. Kerzic and Julia D. Darlow and John C. Stephanie Germack Ankur Rungta and Dr. & Mrs. John H. DeCarlo The Artists of Michigan Barbara Frankel Directors Emeritus O’Meara Kerzic Mayssoun Bydon Dr. & Mrs. David DiChiera Herman Frankel Dale Austin Jerry and Maureen Michael and Barbara Hershel and Dorothy Mr.† & Mrs.† Aaron H. Opera Theatre Studio Gershenson Dean Friedman J. Addison Bartush D’Avanzo Kratchman Sandberg Lawrence and Dodie David Thomas and Deborah Donald and Kim Schmidt Mr. & Mrs. Donald C. Richard G. Goetz Shelly Cooper Ethan and Gretchen Krikorian Alan and Marianne Graves 16 John P. Hale Marjorie M. Fisher Davidson Melvin A. Lester Schwartz Mr.† & Mrs.† John C. Griffin David Handleman Jennifer Nasser Kevin Dennis and Jeremy Linda Dresner Levy and Mark and Lois Shaevsky Mr. & Mrs. Harry L. Jones Zeltzer Edward Levy Arlene Shaler The Hon.†& Mrs.†Wade H. Artist Profiles Danialle Karmanos Audrey Rose David DiChiera Kim and Mado Lie Elham Shayota McCree, Jr. Barbara Kratchman William Sandy Karen VanderKloot Arthur and Nancy Liebler Terry Shea Mr. Harry J. Nederlander Thomas M. Krikorian Richard Webb DiChiera Harry and Mary Alice Matthew and Mona Mr. E. Harwood Rydholm† 22 Douglas Diggs and Shauna Lomason II Simoncini Mr. & Mrs. Neil Snow Ryder Diggs James and Marion LoPrete William H. Smith Mr. & Mrs. Richard Venues of The Tender Land Enrico and Kathleen Alphonse S. Lucarelli Phyllis F. Snow Strichartz Digirolamo Denise Lutz David and Cyvia Snyder Mr.† & Mrs.† Robert C. John and Debbie Dingell Donald Manvel Anthony L. Soave VanderKloot Mary Jane Doerr Florine Mark Richard A. Sonenklar and Dr.† & Mrs. Sam B. Williams 23 Macomb Community College Dilip and Sonal Dubey Ronald and Zvezdana Gregory Haynes Mr.† & Mrs.† Theodore O. Administration and Staff Cameron B. Duncan Martella Mary Ann Stella Yntema Board of Trustees Michael Einheuser Jack Martin and Bettye Christine Strumbos Kenneth and Frances Arrington-Martin Jonathan Swift James F. Kelly, Vincent Viviano, Eisenberg Jennifer Haase, Rosanne DiMaria, Frank Cusumano, Joseph DeSantis, Elizabeth Lucido

6 THE TENDER LAND • MARCH 2016 michiganopera.org Michigan Opera Theatre MARCH 2016 • THE TENDER LAND 7 Aaron Copland THE TENDER LAND Cast

Music: Aaron Copland Conductor: Suzanne Mallare Acton Laurie...... Angela Theis† : Horace Everett Stage Director: Kristine McIntyre* Ma Moss...... Raehann Bryce-Davis†* World Premiere: Assistant Director: Kelsey A. Ross April 1, 1954, Top...... Harry Greenleaf* Chorus Master: Suzanne Mallare Acton Martin...... Joseph Michael Brent† Choreographer: Jeff Michael Rebudal Grandpa Moss...... Brent Michael Smith† Production Design: Monika Essen Mr. Splinters...... Brian Leduc Lighting Design: Marcus Dilliard Mrs. Splinters...... Ashley Dixon* Wig & Makeup Design: Elizabeth Geck Beth, a child...... Elliana Michaels (March 12, 19)+ Stage Manager: Ken Saltzman Lacey Cooper (March 13, 20)+ Supertitles: Dee Dorsey Mrs. Jenks...... Clodagh Earls Scenery constructed by West End Studios, Detroit, MI. Mr. Jenks...... Branden C. S. Hood Costumes constructed by Michigan Dancer...... Angela Cavazos Opera Theatre Costume Shop Dancer...... Scott Clark* By arrangement with Boosey and Hawkes, Inc., publisher and copyright owner. * Michigan Opera Theatre debut † Michigan Opera Theatre Studio Artist + Michigan Opera Theatre Children’s Chorus

8 THE TENDER LAND • MARCH 2016 michiganopera.org Michigan Opera Theatre MARCH 2016 • THE TENDER LAND 9 MICHIGAN OPERA THEATRE ORCHESTRA The Tender Land VIOLIN I CELLO BASSOON Andrew Wu+ Nadine Deleury+ Pawel Wnuk+ Acting Concertmaster Principal Principal Charlotte Merkerson+ Miriam Eckelhoefer PIANO Aaron Copland VIOLIN II BASS Gordon Schermer Victoria Haltom+ Clark Suttle+ Principal Principal * Principal Daniel Stachyra+ + Michigan Opera THE TENDER LAND FLUTE Theatre Core Orchestra VIOLA Laura Larson+ Scott Stefanko+ Principal Detroit Federation of Principal Musicians Local #5 Synopsis James Greer CLARINET American Federation of Brian Bowman+ Musicians Act I Principal Beth, a young girl, is playing with her doll, Daniel, in front of her family’s farmhouse. The mailman, Mr. Splinters, brings a package for her mother. It is Beth’s older sister Laurie’s MICHIGAN OPERA THEATRE CHORUS graduation dress; the next day she will become the first in their family to graduate from high school. Ma Moss invites Splinters to the graduation party that night; Splinters tells her that two The Tender Land strange men have been seen in the neighborhood, and that they have raped two of the local Gregory Ashe Helen Hass Paolo Pacheco girls. Laurie comes in; she wonders that her childhood has passed so fast; she feels like she has Alaina Brown Julia Hoffert Tamara Whitty outgrown her home town. She is angry that her mother, and especially her grandfather, tries to Claire Chardon Richard Jackson control her life. Darren DeWitt David Moan Two drifters, Martin and Top, enter; they meet Laurie, and convince her grandfather, against his better judgement, to hire them to help with the harvest. Laurie invites them to her party, and The American Guild of Musical Artists is the official union of the Michigan Opera Theatre Chorus. Top asks Martin to get Grandpa drunk there so he can get acquainted with Laurie.

Act II The Tender Land sponsors At the party, Grandpa makes a toast to Laurie; while the guests dance, Top begins to get Grandpa drunk. Ma Moss, still suspicious, sends Mr. Splinters for the sherriff. Martin dances with Laurie; the two of them, smitten with each other, go off alone to the porch; their kiss is interrupted by Grandpa, and Ma Moss accuses the boys of being the men who attacked the other local girls; just as she does, though, Splinters returns, saying the sherriff has already caught those men, who have confessed. Grandpa tells Martin and Top to leave by morning. 2016 SPRING OPERA SEASON SPONSOR

Act III With generous support from: That night, Martin and Laurie meet secretly outside. They agree that Laurie will come with Martin when he leaves, but after she leaves Martin begins to have second thoughts; when Top arrives, he convinces Martin that Laurie couldn’t come with them; they depart. Laurie, coming out and finding them gone, decides to leave anyway rather than staying for her graduation. Ma Moss, left alone with Beth, turns her attention to her younger daughter; as the curtain falls, she goes back into the house and Beth is left playing in the road as at the beginning of the opera.

10 THE TENDER LAND • MARCH 2016 michiganopera.org Michigan Opera Theatre MARCH 2016 • THE TENDER LAND 11 America’s Copland By Austin Stewart — two men from an outside world “invading” Copland’s own familiarity with similar the inside world of a provincial family. I care- climates and verdicts cannot be overstated, aron Copland (1900–1990) clarity over intellectual, structural logic. In the fully examined the photographs and kept and Johns’ question, “What effect do strangers possessed an intrinsic talent for era of the New Deal, he was well recognized for coming back to the faces of the mother and have on our daily lives?,” was particularly creating music that is both serious a growing legacy of symphonic, chamber, and young daughter: one, still a mother but passive unsettling at that moment in our history. and popular, cerebral and acces- vocal music, proclaiming that “greatness and and stony; the other not yet hardened by the In 1953, while working on The Tender Land, sible, formal and progressive. accessibility need not be mutually exclusive.” grim life. What effect would the entrance of his beloved orchestral work AThe future “Dean of American Composers” His music portrayed rural landscapes as well strangers have upon these lives? The answer to was pulled on a day’s notice from Dwight D. stormed onto this country’s music scene as great metropolises, and celebrated both this question came to be my plot. Eisenhower’s inaugural program, for reasons when he premiered his own the past and present simultaneously; music In The Tender Land, Copland and Johns as yet unknown to the public. Later in May in 1926 with the Boston Symphony. Copland expressed within and formed by the seismic envision a close and nurturing community, one of that year, the composer was called before suffused his new variegated genre of the “Jazz cultural shifts of the Great Depression and in which all its citizens prop up the happiness the Senate Permanent Subcommittee on Concerto” with touches of urban blues tunes World War II. and security of a single individual: Laurie. Investigations, chaired at the time by Joseph and dance-band rhythms. But he, along with Copland’s most expressive and enduring This community McCarthy, to testify the rest of the country, had inevitably to admit compositions, The Tender Land among them, that has raised her on “un-American that the energy and prosperity of the Jazz Age were fashioned through an alchemic colli- looks on Laurie as activities.” Copland was quickly coming to a halt, crashing head- sion of genius, inspiration, and opportunity. its future, while was polite during first into the bust of the Great Depression. After the war, American composers took a she looks toward questioning, though “Where do we go from here?” seemed to be new interest in opera, especially in creating the promise of reserved and not the question on everyone’s lips. Copland’s own under the auspices of the newly estab- a wider world, particularly helpful response came in his writings on music, and lished NBC Opera Theatre, a subsidiary of the which crosses her as a witness, and in he concluded that the music of his generation National Broadcasting Corporation that tele- threshold in the the end they could “should no longer be confined to the sphere of vised operas nationwide in English. Copland form of two do little more than the special society” but should “interest the had successfully resisted writing a full-length drifters: Martin scrutinize question- general public.” During the 1930s and 40s, opera until he was over fifty; yet even he and Top. At the able affiliations. he created “sketches” of life in America with could hardly ignore a letter received in the height of Act Eugene Loring, Dr. David DiChiera and Aaron Copland during the Copland’s music orchestral works broadcast nationally, wrote spring of 1952 from Richard Rogers and Oscar I, friends and Michigan Opera Theatre’s 1978 production of The Tender Land. was never touched music to heighten Hollywood screenplays by no Hammerstein commissioning an opera for NBC. strangers proclaim in the hearing, less a luminary than John Steinbeck, worked Since Copland’s enthusiasm for various kinds together their solidarity in “The Promise however; how could they begin to question alongside Benny Goodman to create the finest of musical composition had led him to write for of Living,” a congregational song in which music that was so singularly “American?” clarinet concerto after Mozart’s, composed his radio, theater, ballet, and film, it follows that Copland employs the nineteenth-century And what’s more, since the Depression and one-act opera for perfor- he would be intrigued by the idea of composing revivalist hymn “Zion’s Walls” so that the especially World War II, Copland’s music had mance by high school students, and expressed for the exciting new medium of television. The concord of the moment could not be lost: become entertainment for all audiences, the along with the dancer Graham the creative process was swift, as his collaborator “The promise of growing / with faith and with everyman had been replaced by the common impossible effects of war on small communi- and paramour Erik Johns, who wrote the text knowing / is born of our sharing / our love man, and the rural community that had once ties in . of The Tender Land under the penname Horace with our neighbor.” But when gossips begin protected Laurie was now one and the same Copland turned to creating music for Everett, recollected: to unjustly accuse Martin and Top of a crime, as the American heartland. “Musicians make living-room audiences, those who experienced One day [Copland] played me several songs this fanciful egalitarianism withers under the music out of feelings aroused from public music wherever they lived in the country, from his notebook and showed me a book he anxiety of suspicion. Yet despite the fact that events,” Copland boldly told his inquisitors in gathered around radios and phonographs. admired, Let Us Now Praise Famous Men by they are declared innocent, they are “guilty all 1953. Perhaps nowhere else are those feelings His newfound tuneful language borrowed or James Agee and Walker Evans… From this the same;” the blessings of harvest cannot be more raw and bared as in this story of a land imitated folk songs, and he favored accessible setting, I derived the basic idea of the libretto reaped in a climate of fear and distrust. still tender from its growing pains.

12 THE TENDER LAND • MARCH 2016 michiganopera.org Michigan Opera Theatre MARCH 2016 • THE TENDER LAND 13 THE ARTISTS OF “Michigan Opera Theatre Studio serves as a central component of MOT’s enhanced presence in the community. The Studio Artists benefit from the vision and guidance of Dr. David DiChiera and some of the leading coaches in the opera industry.” STUDIO — Wayne S. Brown, President and CEO of Michigan Opera Theatre

Left to right: Gordon Schermer, Coach/Accompanist Raehann Bryce-Davis, Mezzo-soprano Joseph Michael Brent, Tenor Angela Theis, Soprano Brent Michael Smith, Bass Jeff Byrnes,

Studio Overview he six resident artists of Michigan Opera Theatre Studio represent some of the most Texciting emerging talent in opera today. Coming to Detroit from all different areas of the country, these early career opera professionals gain valuable experience through myriad performance opportunities in main stage and community productions, and hone their skills through master classes and training with an array of world-class professionals, guest artists, and coaches. Throughout their residency, Studio Artists receive advanced individual training from MOT’s Director of Resident Artist Programs Richard Leech, Dr. David DiChiera, and MOT’s Assistant Music Director, Suzanne Mallare Acton. Supported by a major grant from the William Davidson Foundation, the program serves as a central component of MOT’s enhanced presence in the community through productions in the Detroit Opera House, community venues, recitals and special events. MOT’s community initiative productions are now selected and mounted specifically for the Studio Program. Following last season’s Frida, The Tender Land fulfills MOT’s community initiative to produce a full-scale opera annually in venues throughout .

14 THE TENDER LAND • MARCH 2016 michiganopera.org Michigan Opera Theatre MARCH 2016 • THE TENDER LAND 15 Artist Profiles

Suzanne Mallare Acton Joseph Michael Brent Ms. Bryce-Davis is the 2015 winner of the Clark is a BFA Dance Major at Wayne State Conductor, Chorus Master Martin International Hilde Zadek Competition at the University, and a recipient of the Maggie Conductor Joseph Michael Brent is an artist of Musikverein in Vienna and the Sedat Gürel – Allessee Scholarship. He is currently in his Suzanne Mallare Acton Michigan Opera Theatre Studio. Other Güzin Gürel International Voice Competition sophomore year at Wayne State. Mr. Clark has continues to earn roles in Michigan Opera Theatre’s 2015-16 in Istanbul. Young Artist engagements have attended the Blue Lake Dance Intensive and respect and admiration season include 3rd SS Officer in Mieczyslaw included Merola Opera Program, Florida Complexions Contemporary Ballet Summer for her performances Weinberg’s The Grand Opera (2 seasons), Opera Theatre of Intensive. in both the concert hall Passenger, Malcolm St. Louis, and Chautauqua Opera. She holds a and the opera house. in Verdi’s Macbeth, Professional Studies Certificate and Master of Lacey Cooper From Handel’s Messiah and first armored Music from the Manhattan School of Music. Beth, a child to contemporary jazz, she is recognized for her man in Mozart’s The Lacey Cooper has versatility and dynamic style. For Michigan Magic Flute. In 2015, Angela Cavazos been a member of Opera Theatre, Ms. Acton’s conducting credits Mr. Brent made both Dancer the Michigan Opera include Frida, A View from the Bridge, West Side role and company Angela Cavazos Theatre Children’s Story, Il Barbiere di Siviglia, The Music Man, The debuts as Mayor Upfold in the Bronx Opera’s made her debut Chorus since 2011. Pirates of Penzance, The Mikado, La Bohème, production of Albert Herring and Edgardo in with Michigan Opera Previous performances Die Fledermaus, , A Little Night the New York Opera Exchange production of Theatre as a dancer include Arbor Opera Music, The Medium, and Carmina Burana. Lucia di Lamermoor. He earned his Doctor of in last season’s Theater’s production Additional opera credits include My Fair Musical Arts degree from the University of production of Frida. of The Sound of Music (Marta) and Emerson Lady and La Traviata for Dayton Opera, The Georgia in the fall of 2014 with a dissertation Hailing from Southfield, MI, Ms. Cavazos is Troupe Players’s production of The Seussical Merry Widow and for Artpark, on selected vocal works of Giovanni Paolo a proud graduate of Point Park University (Mazey). She is a 7th grader at Emerson La Traviata, Gianni Schicchi, and L’Elisir Bottesini. He is a native New Yorker, a proud holding a BA in Musical Theatre with a dance School and enjoys singing, dancing, and D’Amore for Verdi Opera Theatre, Il Barbiere graduate of the Frank Sinatra School of the minor. Favorite past credits include dance playing with her cat “Pumpkin.” di Siviglia, La Traviata, The Magic Flute, and Arts, and holds an undergraduate degree from captain and aerialist for Royal Caribbean at the Wharton Center, and for the conservatory of music at Purchase College Cruise Lines, Contact, Sweet Charity, and Marcus Dilliard Augusta Opera. Symphonic concerts include S.U.N.Y. in double bass performance. He was performances with Pillow Project. Marcus has the Detroit Chamber Winds and Strings, the a student of veteran, designed for opera and Birmingham-Bloomfield Symphony Orchestra, baritone, . Scott Clark theater across North The Lexington Bach Festival, and the Saginaw Dancer America, including Bay Symphony Orchestra. Ms. Acton is also Raehann Bryce-Davis Scott Clark was numerous productions Artistic and Music Director of Rackham Ma Moss born in Mt. Clemens, for The Minnesota Choir. Under her leadership, Rackham was Raehann Bryce- Michigan. He started Opera, Lyric Opera awarded the 2008 Governor’s Award for Arts Davis, Mezzo- dance at 16 years Kansas City, Madison & Culture. Ms. Acton has been recognized by soprano, has been old at Arts Academy Opera, and the Portland Opera. Recent Corp! Magazine as one of Michigan’s 85 Most hailed by the New York in the Woods, a designs include Don Giovanni for Lyric Opera Powerful Women. In 2014, she was selected as Times as a “striking performing arts Kansas City, for Madison an honoree of WJR’s 2014 Class of Women Who mezzo soprano” that high school, studying under DeWarne Long, Opera, Gypsy and All Is Calm for Theatre Lead. “sang and spoke Nicole Hopkins, and Jennifer Meeks. In 2012 Latte Da, To Kill a Mockingbird for the Guthrie potently and moved he started dancing at Ann Parsley School of Theater, Carmina Burana for Minnesota vivaciously.” In MOT’s spring opera season, Dance and performing as an apprentice with Dance Theater, and Silent Night for L’Opera de she will sing the role of the Lady-in-waiting the Macomb Ballet Company under directors Montreal. in Macbeth and Third Lady in The Magic Flute. Amber Megna-Michalik and Sarah Boik. Mr. Upcoming projects include Tales of

16 THE TENDER LAND • MARCH 2016 michiganopera.org Michigan Opera Theatre MARCH 2016 • THE TENDER LAND 17 Hoffmann and Roméo et Juliette for Madison Opera Theatre debut as an apprentice artist, Elizabeth Geck Branden C. S. Hood Opera, Silent Night for Michigan Opera performing in the company premiere of Wig and Makeup Designer Mr. Jenks Theater and Dead Man Walking for Lyric Opera Robert Xavier Rodriguez’s Frida, Lehar’s The Elizabeth Geck Branden C.S. Hood Kansas City. Merry Widow, and has been coordinating performed Il Conte in Training: B.A., Lehigh University; M.F.A., Gounod’s . the Michigan Opera Le nozze di Figaro, and Boston University School for the Arts Ms. Earls is Theatre wig and make- in Die lustigen routinely engaged up crew for the last weiber von Windsor Ashley Dixon by the Oakville seven years, as well during 2015, and Mrs. Splinters Symphony Orchestra, as assisting the Wig the title role of Don Mezzo-soprano, Masterworks of and Make-up designer Giovanni in 2013 with the Lyric Opera Studio Ashley Dixon is from Oakville Chorus & for main stage opera productions. Ms. Geck of Weimar. In 2014, he was granted the Angel Peachtree City, Ga and Symphony, Oakville Chamber Orchestra, the has assisted with several new productions Scholarship from Michigan Opera Theatre to is in her second year Newfoundland Symphony Orchestra, and the including , Cyrano, , and attend AIMS in Austria. He also performs with of her Master’s degree Stratford Symphony Orchestra. Ms. Earls Pearl Fisher. Elizabeth designed wigs and MOT’s Community Programs department as at Michigan. She holds a Master of Music: Voice Performance make-up for Motor City Lyric’s production of Count Formaggio in Pizza con funghi and the received a bachelor from the University of Toronto’s Faculty of Amahl and the Night Visitors as well as Grosse Mayor in How Nanita Learned to Make Flan. He in Vocal Performance Music, and a Bachelor of Music: Honours Pointe Theater’s production of . received his Specialist Degree of Music from from Louisiana State Voice Performance from the University of The University of Michigan in 2009. In 2010 he University in Baton Rouge. While at LSU, Western Ontario. Harry Greenleaf was also awarded an Encouragement Award Ms. Dixon Prince Orlofsky in Die Feldermaus, Top the Michigan District of The Metropolitan Carmen in La tragédie de Carmen, and the Monika Essen Baritone Harry Opera National Auditions. title role in Rossini’s . In 2012, Production Designer Greenleaf is a native Ms. Dixon made her European debut as Rosina Monika Essen is of Wixom, Michigan Brian Leduc in Il barbiere di Siviglia at La Musica Lirica. an award-winning, and alumnus of Mr. Splinters This past summer she sang Flora in Verdi’s La nationally recognized Michigan State Brian Leduc is Traviata with DMMO. During her time at the artist and designer. University College of a Detroit native University of Michigan, she sang the roles of The recipient of the Music. He is pursuing who completed his Rosina in Il barbiere di Siviglia, Second Lady prestigious Detroit a Master’s of Music undergraduate studies at in Die Zauberflöte, Sister Helen Prejean in Free Press Lawrence at the University of Cincinnati College- , Heggie’s Dead Man Walking and the title role DeVine Award for Outstanding Contribution Conservatory of Music. This fall Mr. Greenleaf where he received in . to Theatre, she studied interior architecture performed as Danilo in CCM Opera’s The Merry acclaim in operatic and musical theatre Last summer she sang La Ciesca in Gianni and environmental design at Parsons Widow, and will be seen at CCM in April as productions. He has also received recognition Schicchi and Mrs. Nolan in The Medium at the School of Design and received her MFA in The Forester in The Cunning Little Vixen. In for his work with early music and oratorio. Merola Opera Program in San Francisco. scenography from the renowned Hilberry 2013 and 2014 he was a Studio Artist with the He appears as a tenor soloist regularly in the Repertory Company. Ms. Essen has designed Trap Opera Company, where he sang the Detroit area and internationally for works such Clodagh Earls countless productions in theatre, opera, and role of Baron Douphol in La traviata with the as Handel’s Messiah, Verdi’s Requiem, and Mrs. Jenks film; recently designing MOT’s acclaimed National Symphony Orchestra, and Monsieur others, including a long list of relatively new Canadian Soprano Clodagh Earls is an productions of Frida, and Carmina Burana Barbu in Les mamelles de Tirésias. This past works. Opera News describes Mr. Leduc as exceptional young artist, quickly gaining and The Medium. Additionally, she creates summer he was an Apprentice Artist with having a “ringing tenor” and being “especially recognition for her soaring coloratura, vocal furniture, museum exhibits, interiors, and Des Moines Metro Opera, covering the role of impressive…with firm tonal impact.” His warmth, and charming stage presence on full sensory, multi-media environments for Sonora in La fanciulla del West. This summer recent MOT credits include various roles in the North American operatic and concert residential and commercial clients, including he will appear with Glimmerglass Opera as Frida, Tony in A View from the Bridge, Spoletta stage. Ms. Earls recently made her Michigan the Detroit . Anthony Hope in Sweeney Todd. in Tosca, Monostatos in The Magic Flute, and Don Basilio in Marriage of Figaro.

18 THE TENDER LAND • MARCH 2016 michiganopera.org Michigan Opera Theatre MARCH 2016 • THE TENDER LAND 19 Kristine McIntyre Jeff Michael Rebudal Bourgie in Montréal. This year, Mr. Smith sang Harry Hopkins Stage Director Choreographer In Montréal, he helped in the world premiere of Daron Hagen’s A Kristine McIntyre Jeff Michael recreate a unique two Woman in Morocco, as a part of Kentucky has directed more than Rebudal is the Artistic piano transcription Opera’s American Opera Initiative, and was an 70 operas across the Director of New York- of Poulenc’s Les Apprentice Artist with Sarasota Opera where U.S. with a focus on and Detroit-based Mamelles de Tirésias he covered Charles V/The Monk in new, contemporary Rebudal Dance and is originally arranged as well as sang in scenes from Fidelio, L’italia and American works. an original founding by in Algeri and I Lombardi. Productions include Jake Heggie’sDead Man member of the critically for the Aldeburgh Festival. He has been a He received his Master of Music degree Walking (Des Moines Metro Opera, Madison acclaimed Seán Curran fellowship coach at the Aspen Music Festival under the tutelage of John Hines. He received Opera), Jonathan Dove’s Flight (Pittsburgh Company. Mr. Rebudal’s opera and theatre and School where he served as the children’s his Bachelor’s in music in piano performance Opera, Austin Lyric Opera), the world premier choreography credits include L’Etoile (New York chorus master for Puccini’s La Bohème and from Hope College (Holland, MI). Mr. Smith of Kirke Mechem’sJohn Brown (Lyric Opera City Opera, Opéra de Montréal, Glimmerglass rehearsal pianist/coach for Britten’s The Rape is a first-place winner in the Grand Rapids of Kansas City), Robert Aldridge’s Elmer Opera, Bergen National Opera, Cincinnati of Lucretia. In addition, he was also chosen Opera Competition (2012). Gantry (), Carlisle Floyd’s Of Opera, Austin Lyric Opera), Romeo et Juliette, to play the Verdi Requiem for renowned Mice and Men (Utah Opera, Austin Opera, La Traviata, La Rondine, and conductor . He has served Angela Theis Tulsa Opera), new productions of Street The Merry Widow (Michigan Opera Theatre), as an adjunct professor at Montclair State Laurie Scene, The Tender Land and Lee Hoiby’s Bon and Carmen () in which the University, vocal coach at Manhattan School Soprano Angela Appétit and the world premier of The Canticle Metropolitan Opera News described the dances of Music and staff pianist at the Bard College Theis has performed of the Black Madonna (Newmark Theater, as “…delightful choreography…. a bright Conservatory of Music. He holds a Bachelor’s several roles this year Portland). Upcoming projects include a new moment.” Mr. Rebudal recently choreographed Degree in Piano Performance from the at Michigan Opera production of , , Two Gentlemen of Verona for The Old Globe. University of Illinois at Urbana-Champaign Theatre through Madama Butterfly, the world premiere of Louis His choreography has also been presented at and a Master’s Degree in Accompanying from her engagement Karchin’s Jane Eyre, a revival of her film-noir Joyce SoHo, Danspace Project, Lincoln Center, Manhattan School of Music. as a Studio Artist, Don Giovanni, and the exciting new production NYC Downtown Dance Festival, Cunningham including Laurie in The of Jake Heggie’s Moby Dick designed by Erhard Studio, and DUMBO Dance Festival, among Brent Michael Smith Tender Land, 2nd Apparition in Macbeth, and Rom. other venues such as the Cultural Center of Grandpa Moss Papagena in The Magic Flute. Previously, she the Philippines in Manila and Anargyrios & As a Studio Artist has appeared with the company as Marzelline Elliana Michaels Korgialenios Theatre of Helioupolis in Greece. with Michigan Opera in Fidelio, Barbarina in of Figaro, Beth, a child Mr. Rebudal is an Associate Professor and Head Theatre this season, and the High Priestess in Aida. A highlight Elliana Michaels, of Dance at Wayne State University and has an Brent sang Colline of her career was when Dr. David DiChiera a fifth grader at Keith M.F.A. from the American University and a B.A. in La Bohème, and chose her to sing his compositions at his 2013 Elementary in West from the University of Hawai’i at Mãnoa. Second S.S. Officer in Kresge Eminent Artist award presentation and Bloomfield, is thrilled The Passenger. This his 2015 tribute concert at the Detroit Opera to be making her MOT Gordon Schermer spring he will sing the House. The Boston Globe praised her for “a role debut as Beth in Coach/Accompanist role of the Doctor in Macbeth and the Speaker bright, bold, and beguilingly sung Zerlina” The Tender Land. This Gordon Schermer is an extremely versatile in The Magic Flute. in Mozart’s Don Giovanni. In 2013, Ms. Theis is Elliana’s first year as a member of the musician equally at home in opera, art song, He was an Apprentice Artist with Des won the Audience Choice Award at the 2013 Michigan Opera Theatre Children’s Chorus, musical theater, and chamber music. His Moines Metro Opera this summer, where his Meistersinger Competition in Austria. Ms. which has been the highlight of her young performances have taken him across the performance as Billy Jackrabbit in La fanciulla Theis completed a postgraduate fellowship career and given her the joy of performing in and abroad to Canada, Italy, del West received critical acclaim by Opera in Salzburg, Austria, and holds degrees from this season’s La Bohème. Austria and Israel. He has performed in News as a “standout.” Colorado Music Buzz New England Conservatory and University of venues such as Weill Hall at praised him for “making the most of his brief Notre Dame. and Steinway Hall in New York, and the Salle appearances.”

20 THE TENDER LAND • MARCH 2016 michiganopera.org Michigan Opera Theatre MARCH 2016 • THE TENDER LAND 21 COMMUNITY PARTNERSHIPS ADMINISTRATION & STAFF

Wayne S. Brown DETROIT OPERA HOUSE HOUSE MANAGEMENT Venues of The Tender Land President & Chief Executive Officer Randy Elliott, House Manager

David DiChiera FACILITIES MANAGEMENT Tim McCloud, Facilities Electrician Founder & Artistic Director Johnny Benavides, Building Engineer Dennis Wells, Facilities Manager DEPARTMENT DIRECTORS Jesse Carter, Senior Building Engineer Margarite Fourcroy, Chief Patron Officer Bernard Williams, Building Maintenance Richard Leech, Director of Resident Artist Programs Dewan Mitchell, Director of Bookings & Events Management CATERING & SPECIAL EVENTS Rock Monroe, Director of Safety & Security, DOH & DOHPC Angela Donaldson, Catering & Special Events Manager David W. Osborne, Director of Production Edna Robinson, Culinary Manager Shawn Taffinder,Director of Catering & Special Events Demetrius Skeens, Catering and Special Events Coordinator Macomb Center for the Performing Arts Jason Warzecha, Director of Theatre & Parking Center Operations SAFETY & SECURITY The Macomb Center for the Performing Arts (www.MacombCenter. ADMINISTRATION Lt. Lorraine Monroe, Supervisor com) is a community enrichment program of Macomb Community College William Austin, Executive Assistant Darrin Cato, Eric Strickland, Richard Jones, Base Officers Timothy Lentz, Archivist & Director, Allesee Dance & Opera Resource Library Demetrius Newbold, Tracy Kirby, Andre Hightower, dedicated to providing a diverse range of cultural enrichment experiences, Dodie David, Human Resources Volunteer Consultant Anthony Dorsey (Medic/Officer),Parking Center Control Officers Bryce Rudder, Senior Librarian, Allesee Dance & Opera Resource Library Shannon Fergerson (Medic/Officer), Jerome Bedgood,Crowd Managers Shannon Ferguson, Medic and to inspire and encourage artistic expression through education, PATRON SERVICES performance and volunteer opportunities. Hosting more than 100,000 Ashley Bonner, Tunisia Brown, Mary Martin, Patron & Ticket Services DETROIT OPERA HOUSE PARKING CENTER Associates Robert Neil, Manager visitors annually, the Macomb Center presents high-quality professional Mitchell Carter, Website Coordinator Paul Bolden, Event Supervisor for Parking Crystal Ceo, Account Executive, Real Integrated Advertising performances, offers educational outreach in the arts, provides a Leo Dovelle, Boutique Manager Christy Gray, Patron Services Associate, Development PRODUCTION performance venue for community-based arts organizations, and, in Kimberly Gray, Patron Services Manager, Ticket Office partnership with the adjacent Lorenzo Cultural Center, creates unique John Grigaitis, Photographer ADMINISTRATION Michael Hauser, Marketing Manager Elizabeth Anderson, Production Coordinator and Artistic Administrator opportunities for multifaceted cultural programming. Jessica Keener, Data Resources Coordinator Kathleen Bennett, Production Administrator Kathi Kucharski, Corporate, Foundation & Government Grants Manager Ken Saltzman, Stage Manager WCCCD Sean Martinez, Patron Services Associate, Development Michael Peters, Hailli Ridsdale, Assistant Stage Managers Board of Laura R. Nealssohn, Communications Consultant Nancy Krolikowski, Production Volunteer trustees Christina Wagner, Patron Services Manager, Individual Giving Cathy Talifer, Deputy Director of Development MUSIC Jillian Zylinski, Communications Manager Suzanne Mallare Acton, Assistant Music Director & Chorus Master Charles Paddock Jean Schneider, Repetiteur COMMUNITY PROGRAMS Molly Hughes, Orchestra Personnel Manager Chairperson Andrea Scobie, Manager of Education and Community Programs District 8 Mark Vondrak, Associate Director of Community Programs TECHNICAL & DESIGN STAFF Larry K. Lewis Colin Knapp, Audience Engagement Associate Daniel T. Brinker, Technical Director Vice-Chairperson Pette Moore, Program Coordinator Monika Essen, Property Master & Scenic Artist District 6 Austin Stewart, Audience Engagement Coordinator Heather DeFauw, Assistant Lighting Designer & Assistant Technical Director Downriver Campus • 21000 Northline Road • Taylor,MI 48180 Heinz C. Prechter Educational and Allan Kimmett, Technical Coordinator Denise Wellons-Glover MICHIGAN OPERA THEATRE STUDIO Secretary Lisa Berg, Technical Assistant Performing Arts Center Angela Theis, Soprano Dee Dorsey, Supertitle Operator District 5 Raehann Bryce-Davis, Mezzo-soprano Joseph Michael Brent, Tenor The 78,000 square foot Heinz C. Prechter EducationalMary Ellen Stempfle and Performing COSTUMES Treasurer Jeff Byrnes, Baritone Suzanne M. Hanna, Costume Director Arts Center features an 812 seat theatre, state Districtof the 1 art technical Brent Michael Smith, Bass Katherine Nelson, Wardrobe Mistress Gordon Schermer, Pianist/Assistant Music Director Craig P. Wickham, Fitting Assistant/Wardrobe Master amenities, studio/rehearsal space, a gallery for Juanitathe C.visual Ford arts and up Susan A. Fox, First Hand Member TOURING ARTISTS OF COMMUNITY PROGRAMS District 2 Jessica M. Herron, Stitcher/Crafts to 14 classroom/seminar rooms, all on the beautiful, wooded, 97-acre Betsy Bronson, Maria Cimarelli, Dan Greig, Joseph Jackson, Patricia Pratt, Maureen Abele, Mary Ellen Shuffett, Stitchers Brad Lieto, Annie Klark, Betty Lane, Dianne Lord, Pette Moore, Vernon C.Allen, Jr. Madelyn Porter, Amanda Rodriguez Sabelhaus, Karl Schmidt, Downriver Campus. Member STAGE CREW Emery Stephens, Brittania Talori, Mark Vondrak, Alvin Waddles District 3 John Kinsora, Head Carpenter WCCCD’s mission is to empower individuals, businesses and Frederick Graham, Jr., Head Electrician Myron Wahls COMPUTER SERVICES Pat McGee, Head Propertyman communities to achieve theirEXIT 37 goals through excellent accessible services, Member John Grigaitis, Information Technology Manager Henry Ruiz, Head Sound culturally diverse experiences and globally competitiveDistrict 4 higher education Chris Farr, LAN Administrator Robert Martin, Head Flyman Alan L.Anderson Gary Gilmore, Production Electrician and career advancement programs. DANCE Mary Ellen Shuffett, Head of Wardrobe Member Kim Smith, Dance Coordinator District 7 IATSE Local #38, Stage Crew Sharon P.Scott FINANCE IATSE Local #786, Wardrobe Member Derrick Lewis, Controller Contact Information: District 9 Kimberly Burgess-Rivers, Rita Winters, Accountants

Phone: 734-374-3200 Dr.Curtis L. Ivery Chancellor 22 THEE-mail: [email protected] LAND • MARCH 2016 michiganopera.org Michigan Opera Theatre MARCH 2016 • THE TENDER LAND 23 www.wcccd.edu/about/PerformingArtsCenter.htm Aaron Copland THE TENDER LAND

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