FROM THE CHAIRMAN OF THE BOARD, ELLIOT LEGOW

FROM THE CHAIRMAN OF THE BOARD, ELLIOT LEGOW In 2004 David Vosburgh and Patricia Kavic decided to take a risk and start an opera company in Youngstown. Pat had been involved with the Pittsburgh Opera as a board member. David had a long career in theater, musicals and opera production. Would Youngstown be able to sustain an opera company? Was there sufficient local talent? Financial support? Audience interest? All unknowns, but they decided to give it a try. Well, their dreams – bolstered by lots of hard work - came true. And now 15 years later, David Vosburgh is producing the opera of his dreams, Giuseppe Verdi’s Macbeth. After more than 50 years in the theater world, this might be David’s last production. Officially, his tenure as Opera Western Reserve’s production director, stage director and scenic designer ends next spring. Scott Skiba has been engaged to direct La Traviata for OWR in 2020. Scott sang with OWR in its early years and has since ventured successfully into opera direction. He is currently the Artistic Director with Lyric Opera Cleveland and on the music faculty at Baldwin Wallace College. Scott worked with David in 2016 as the stage director of OWR’s lively production of Carmen. We anticipate another long and fulfilling relationship with Scott. Meanwhile, David’s enthusiasm and creativity are undiminished, and he might just be back at OWR working with Scott in the not so distant future. Equal in longevity with OWR, and in her dedication and professional talent, Susan Davenny Wyner continues to serve as our music director, and recently celebrated 20 years as conductor of the Warren Philharmonic. All of our soloists this year have performed in previous Opera Western Reserve productions. We are happy to continue to develop young musical talent. OWR also continues to serve its mission to bring musical experiences and music education to schoolchildren in our area through the Young Artists Program. Opera Western Reserve depends on local individuals, corporations and foundations for our financial support. As we move through this significant artistic transition, we need to enhance that support. Please consider a gift to our Endowment Campaign, described further in the program, to help underwrite our present and our future.

presents MACBETH Music by Giuseppe Verdi Libretto by Francesco Maria Piave and Andrea Maffei Adapted from the play by William Shakespeare Conductor SUSAN DAVENNY WYNER Director/Scenic Designer DAVID VOSBURGH CAST in order of appearance 1ST WITCH (Mezzo-Soprano)………………….Erika Walker Duderstadt* 2nd WITCH (Soprano)……………………………..……..……Sierra McCorvey* 3RD WITCH (Soprano)………………………………….……...Rebecca Enlow* MACBETH, Thane of Glamis (Baritone)……….….………..Michael Young BANQUO, A General (Bass)………………………….……...Jonathan Stuckey MESSENGERS ………………..…….Emilio Santiago*, Alexander Kluchar* SEYTON, Macbeth’s Steward (Tenor)...... Dean La Salandra* LADY MACBETH (Soprano)………………….………….………..Diana Farrell DUNCAN, King of Scotland (Actor)………….…………Thomas O’Donnell MACDUFF, Thane of Fife (Tenor)……….…….. Jesus Daniel Hernández MALCOLM, The King’s Son and Heir (Tenor)………..…….Xuyue Qing* FLEANCE, Banquo’s Son…………………………….….…….…..Allegra Lewis MURDERERS…...... David Pratt, Alexander Kluchar* Emilio Santiago* A PYHSICIAN (Baritone)…………………………………………….David Pratt GENTLEWOMAN (Soprano)…..………………Lauren Corcoran Emrich* Witches, Soldiers, Noblemen and Noblewomen, Cutthroats, Apparitions, English Army

A Thane is a Lord of an area of Scotland and a general in King Duncan’s Army

*OPERA Western Reserve Young Artist

PLACE: Scotland TIME: 11th Century

PART ONE Scene 1, The heath Scene 2, Macbeth’s Castle at Dunsinane Scene 3, The same, some months later Scene 4, A forest near the castle Scene 5, The banquet hall

INTERMISSION 20 minutes

PART TWO Scene 1, The Witches’ meeting place Scene 2, A chapel Scene 3, A hall in the castle Scene 4, The hall, the next day

CREDITS Orchestral reduction by Tony Burke@Pocket Publications Youngstown State University Dana School of Music Youngstown State University Department of Theater and Dance Shelly Stevens, General Manager, Comfort Inn - Austintown Top Hat Productions, St. John’s Episcopal Church, Gasser Chair Company Stambaugh Auditorium, Cynthia Foust, Pat Kavic OPERA WESTERN RESERVE STAFF

Music Director/Conductor...... Susan Davenny Wyner Production Director...... David Vosburgh Board Chair...... Elliot P. Legow Business Manager...... Christine Legow Administrative Assistant...... Lynn Sabeh Accountant...... James Diffley, CPA Grant Developer...... Linda Mohn Graphic Design/Marketing...... Jamie Marshall Box Office, Front of House Staff...... Stambaugh Auditorium Stage Crew, Videography...... Stambaugh Auditorium Printing and Mailing...... Duncan Press City Printing Youngstown Letter Shop Minute Man Press

PRODUCTION STAFF

Music Director/Conductor...... Susan Davenny Wyner Stage Director/Scenic Designer...... David Vosburgh Chorus Master...... Benjamin Malkevitch Fight Choreographer...... Dr. Dennis Henneman Scenic Designer...... David Vosburgh Costume Designer...... Barbara Luce, Brian Palumbo Production Stage Manager...... Robert Pierce Stage Manager...... Joyce Jones Assistant Stage Manager...... Dean LaSalandra Master Carpenter...... Frank Bongen Scene Shop Crew...... James Jones, James A. Lancaster Hair Design...... Leah Altiero Super Title Operator...... Lynn Sabeh

STAMBAUGH AUDITORIUM STAGE STAFF

Production Manager...... Eric Shelhart Production Coordinator...... Courtney Greene Lighting Design...... Terri Norling & Brandon Ritchie Sound...... Jancarlos Lebrón Production Staff...... Mark Ocheltree, Andrew Morro, Sam Perez Video...... Stambaugh Auditorium ORCHESTRA FOR MACBETH Susan Davenny Wyner, Music Director and Conductor

FLUTE TIMPANI/PERCUSSION Kathryn Thomas Umble* Don Yallech*

OBOE VIOLIN I Martin Neubert* Joseph Kromholz, concertmaster CLARINET Mary Ellen Price Alice Wang* Barton Samuel Rotberg John Stumpff Katherine O'Neill

VIOLIN II BASSOON Brendan Considine* Janice Pylinski* Natalie Sahyoun**

Abigail McLaughlin HORNS Brittany Baglia Heather Johnson* Rob Cole VIOLA Caitlin Hedge* TRUMPET Jay Koziorynsky Christopher Krummel* CELLO TROMBONE Michael Gelfand* Sebastian Bell* Scott Burns

BASS Jeff Bremer*

*Principal Player **Librarian and Assistant Orchestra reduction by Tony Burke, Pocket Publications

OPERA WESTERN RESERVE CHORUS Jon Simsic, Chorus Master SOPRANOS ALTOS Elizabeth Crowll LaNae' Fergusson Rachel Lewis Emily Adgate Lewis Diane Pack Letizia Lowman Donna Wynn BARITONES/BASSES TENORS Patrick Bascom Michael Fawcett Alexander Kluchar* Dean LaSalandra* David Pratt Emilio Santiago* James Tereba ACTORS James E. Ferguson Chris Hartman James Lancaster Zack Lewis

PRODUCTIONS

2004 I PAGLIACCI Ruggiero Leoncavallo

2005 LA BOHÈME Giacomo Puccini

2006 LE NOZZE DI FIGARO Wolfgang Amadeus Mozart

2007 RIGOLETTO Giuseppe Verdi

2008 MADAMA BUTTERFLY Giacomo Puccini

2009 CARMEN Georges Bizet

2010 LA TRAVIATA Giuseppe Verdi

2011 TOSCA Giacomo Puccini

2012 BARBIERE DI SIVIGLIA Gioacchino Rossini

2013 LA BOHÈME Giacomo Puccini

2014 DON GIOVANNI Wolfgang Amadeus Mozart

2015 THE ELIXIR OF LOVE Gaetano Donizetti

2016 CARMEN Georges Bizet

2017 LUCIA DI LAMMERMOOR Gaetano Donizetti

2018 MADAMA BUTTERFLY Giacomo Puccini

2019 MACBETH Giuseppe Verdi

FUTURE PRODUCTIONS

2020 LA TRAVIATA Giuseppe Verdi FROM THE MUSIC DIRECTOR & CONDUCTOR

Giuseppe Verdi was born in Italy in Roncole, near Busseto, on October 9th or 10th, 1813, and died on January 27, 1901, in Milan. Following the era of Vincenzo Bellini, Gaetano Donizetti, and Gioachino Rossini, Verdi dominated the Italian opera scene, and already when he was in his thirties had become one of the pre-eminent opera composers in history. Macbeth, premiered in 1847 at the Teatro della Pergola in Florence, was his tenth opera, and marked something very different in his writing. He had long been obsessed and fascinated by Shakespeare. "He is one of my favorite poets. I have had him in my hands [in Italian translations] from my earliest youth."

As he began working on Macbeth, he wrote to his librettist: "This tragedy is one of the greatest creations of man... If we can't make something great out of it, let us at least try to do something out of the ordinary." Verdi certainly was inspired to write an opera that is as gripping as it is original and, in many ways, independent of tradition. He was fiercely invested in its performance. We know from the singers that he rehearsed them endlessly -- even between acts during its premiere. The work had success and Verdi was called back for no fewer than 38 curtain calls, but almost twenty years later he returned to it and revised and expanded it for a French version given in Paris on 19 April 1865. A melding of the two versions was subsequently created and is what is used tonight.

What is most striking about Verdi's opera is the atmosphere, the psychological dimensions, the strange and unstoppable momentum he succeeds in creating. Yes, there are isolated scenes and arias that have become famous over time: Lady Macbeth's sleep walking aria where she compulsively washes imaginary blood from her hands; the celebratory banquet scene in which Macbeth addresses a ghost that only he sees; the tenor lament as Macduff mourns his slain wife and children; the monumental exchanges between chorus and soloists after Macbeth and his Lady have murdered the King. But the power of the opera is really not in the "stand alone" moments, but in how one event flows from another. We hear from the very opening overture that we are in for something strange and gripping. With the appearance of the witches we are transported into a fickle universe of shifting moods and bizarre actions. Verdi wrote much of the text himself because he didn't want the stylized stopping and starting of poetic verse forms. “I’ve got the general character and the color of the opera into my head just as if the libretto were already written,” he wrote before he even sent his thoughts to his librettist. His music reveals the blurring of inner and outer worlds, the psychological phantoms and visions as Macbeth disintegrates. Lady Macbeth embraces an extraordinary vocal range, top to bottom, a reflection of her lust for power and her connection to the evils of an underworld. We hear her ambition uncoil and unfurl in her duets with Macbeth and her private moments of queenly lust. Though she is never in direct contact with the witches, there is an extraordinary way through harmonies and orchestral colorations that Verdi allows us to feel a febrile, witch-like connection. Years later Verdi wrote that this early opera remained a favorite because it was his own first attempt at a Wagnerian "fusing of music and drama." We are the fortunate recipients of his stirring result.

FROM THE STAGE DIRECTOR & SCENIC DESIGNER

In 1573, a group of Italian intellectuals called The Florentine Camerata, decided to recreate Greek theatre. They knew that some of it was sung accompanied by a few instruments. When they were through, what they had created was Grand Opera. Composers of the day turned to Greek mythology as the inspiration of their librettos beginning with the legend of Orpheus. That practice has continued to the present day with operatic treatments of The Great Gatsby, A Streetcar Named Desire and Dead Man Walking. No playwright has been the source of more opera plots than Shakespeare, with a possible total of more than 250 adaptations.

Giuseppe Verdi also was a life-long admirer of Shakespeare’s plays. He considered setting King Lear to music but never got down to writing it. However he did create two of his masterpieces from the bard’s works, Otello in 1887 and his last opera, Falstaff in 1893. However one of his first successes was Macbeth in 1847, at the age of 37.

Staging Macbeth presents the problem of melding a 1607 Elizabethan play, which was written to be performed on an open-air stage with few props, with a permanent background of Tudor architecture lit by the sun and a Victorian Era opera house with multiple sets of two-dimensional painted scenery with rudimentary gas or electric lighting. Shakespeare’s company had only 17 or 18 actors, including its “star” Richard Burbage, who created the title role and, as women were not allowed on the stage, the teenaged John Rice as both Lady Macbeth and Lady Macduff. The Witches were played by three character men.

Three witches were enough for Shakespeare. Verdi called for a small chorus of 16. In today’s larger opera houses, such as the Met with its 4,000 seats, that chorus has grown to 36 or more, rather overwhelming the production. We have compromised with three solo witches and a small “back up group” creating an authentic coven. Verdi considered the Witches to be the third leading character of the opera. We have also created a single unit set which mirrors the geography of the Tudor stage. Shakespeare had dialogue which described the location of the various scenes. Verdi used his skills as a composer to paint them with the orchestra. We are able to add lighting which enhances both the look and sound of the various settings and moods. The role of Lady Macbeth has attracted some of the leading sopranos of modern times including Maria Callas, Birgit Nilsson and Anna Netrebko, who stars in the current Metropolitan Opera production. Verdi created his own scenario for the opera, paring it down to a tightly plotted story of that infamous couple, Macbeth and Lady Macbeth, and wrote parts of the libretto himself. He instructed his original cast to honor the poet over the composer. We hope to honor both.

David Vosburgh Production Director

11.13.20

Young Artists

Opera Western Reserve's Young Artists, under the direction of Robert Pierce and Jon Simsic, started off another year by bringing opera to the young audiences of the Youngstown area. Last spring, the YA troupe took the show on the road, performing their rendition of Goldie B. Locks and the Three Singing Bears and other musical programming for 2100 local students in 13 different schools, and just this morning, they presented a "Mini Mainstage" version of Macbeth at Stambaugh Auditorium as a field trip destination for several school groups totaling over 600 students. Next spring, look out for information about the next touring children's opera, The Three Little Pigs. Contact OWR on Facebook for year-round information on our FREE educational outreach programs!

Robert Pierce, Program Director

2019-2020 YOUNG ARTISTS

Sopranos: Tenors: Erika Walker Duderstadt Dean La Salandra Rebecca Enlow Emilio Santiago Sierra McCorvey Katy Howells Bass/ Baritone: Brianna Crawford Alexander Kluchar

Educational Outreach Staff Program Director: Robert Pierce Musical Preparation/Accompanist: Jon Simsic Program Coordinator: Lynn Sabeh

MUSIC DIRECTOR & CONDUCTOR

Susan Davenny Wyner

Susan Davenny Wyner has received international acclaim for her conducting. The Library of Congress featured her in its 2003 “Women Who Dare” Engagement Calendar, and the MacNeil- Lehrer Newshour and WGBH Television have presented documentary features on her life and work. Her conducting credits include the Czech Philharmonic Chamber Orchestra, Odense Danish Symphony, Los Angeles Philharmonic, Boston Lyric Opera, Cleveland Orchestra members in benefit concerts, concerts at the Hollywood Bowl, and recordings for Bridge and Albany Records. Yo-Yo Ma, André Previn, Lynn Harrell, Claude Frank, Peter Serkin, and Emanuel Ax, have been among her guest soloists.

She has conducted repertoire from the 15th through 21st century —premiering over 40 new works, working with period instruments, and conducting 29 operas. The New York Times called her conducting “rapturous, richly textured and emotionally compelling.” Opera News Online praised the “terrific lyrical moments under Susan Davenny Wyner’s baton,” The Los Angeles Times praised her “sensitive and thoughtful leadership,” The Boston Globe wrote, “Under her baton the music breathes, lilts, romps, sighs, and sparkles,” and four times selected her conducted performances among the “Best Musical Events of the Year.”

She has been Music Director and Conductor of Boston Midsummer Opera since 2007, the Warren Philharmonic Orchestra since 1999, and Opera Western Reserve since its creation in 2004. From 1999- 2005, she was Music Director and Conductor of The New England String Ensemble in Boston, which she brought to national prominence. Initially trained as a violinist and violist, Susan Davenny Wyner went on to an international career as a Lyric Soprano— singing with the Metropolitan Opera, New York City Opera, London Symphony, Cleveland Orchestra, Boston Symphony, and other major orchestras. She often premiered works written especially for her and recorded for Columbia Masterworks, Angel/EMI, Naxos, New World, CRI and Musical Heritage, winning both a Grammy and a Grand Prix du Disc. After a hit and run accident destroyed her singing voice, she began her career as a conductor.

She has held conducting positions at New England Conservatory, the Cleveland Institute of Music, Wellesley College, Brandeis and Cornell Universities, and has conducted numerous lecture demonstrations and master-classes for the National Conductors Guild, the Shanghai Conservatory, and Harvard and Yale Universities among many others.

Susan Davenny Wyner graduated summa cum laude from Cornell University with degrees in both comparative literature and music, then continued her studies at Yale and Columbia Universities, at the Tanglewood and Aspen Music Festivals, and at the Los Angeles Philharmonic Institute. In 1998, The American Orchestra League named her a Catherine Filene Shouse Conductor – a first-time award given by a national panel of conductors and orchestral managers to a conductor poised for major career.

PRODUCTION DIRECTOR & SCENIC DESIGNER

DAVID VOSBURGH

David Vosburgh has taught at New York University, The New York Academy of Theatrical Arts, The American Musical and Dramatic Academy, Austin Peay University and Youngstown State University. David Vosburgh Cont. He has directed and/or designed over 100 productions for opera companies, summer stock, and national tours. He has performed more than 30 operatic roles including creating the role of Tiny Duffy in the Houston Grand Opera premiere of Carlisle Floyd’s Willy Stark which was shown on PBS-TV’s Great Performances. He was in the original Broadway productions of Maggie Flynn, 1776, A Little Night Music, Evita and A Doll’s Life and in the revivals or national companies of Sweeney Todd, Take Me Along, Cabaret, Guys and Dolls and Parade. Locally, he has been seen in Brigadoon and Big River at Porthouse Theater and Jekyll and Hyde, Carousel and The Sound of Music at Carousel Dinner Theater. He has served as Assistant Artistic Director for the New York Lyric Opera Company and the Youngstown Playhouse and has been the Production Director for Opera Western Reserve since its creation in 2004.

CAST BIOGRAPHIES

MACDUFF - Jesus Daniel Hernández Jesús Daniel Hernández was born and raised in Juarez Mexico, and moved to the United States as a teenager. In 2003, Jesus chose to enlist in the US Army, and soon after, volunteered to serve in a Chemical Unit being deployed to Iraq. In 2007, a chance encounter with Plácido Domingo in San Antonio, TX changed his life. After a concert given by Maestro Domingo, Jesus Daniel asked if he could sing for the great tenor to see what the Maestro thought of his voice. Upon hearing the young soldier sing, Maestro Domingo invited the tenor to join the prestigious Plácido Domingo-Cafritz Young Artist Program with the Washington National Opera. After an honorable discharge in 2008, Jesus Daniel moved to Washington, DC to pursue his boyhood dream of being a professional singer.

While a participant in the Domingo-Cafritz Young Artist Program, Jesus Daniel performed with The Washington National Opera in the productions of Lucrezia Borgia - G. Donizetti, La Traviata - G. Verdi (YA), Falstaff - G. Verdi (WNO Look-In), and in Hamlet - A. Thomas. Jesus Daniel’s other roles have included performances il Duka di Mantua in Rigoletto - G. Verdi, Rodolfo in La Bohème - G. Puccini, Camille in The Merry Widow - F. Lehar, Alfredo in La Traviata - Verdi, Andrea Chenier in Andrea Chenier - Giordano, Rinuccio in Gianni Schicchi , Cavaradossi in Tosca, Turiddu in Cavalleria Rusticana, Pinkerton in Madama Butterfly and numerous Zarzuelas. His experience includes concert performances for NEA Opera Honors ceremonies, the Horatio Awards at the United States Supreme Court, and numerous concerts in Europe. His upcoming album “L'Orologio” will be coming soon in iTunes and Spotify.

1st WITCH - Erika Walker Duderstadt Erika Walker Duderstadt (mezzo-soprano) is a 2018 graduate of Youngstown State University with a Bachelors of Arts in vocal performance. Erika is also an OWR Young Artist. She has been in roles such as Despina in Mozart’s Cosi fan tutte, Madame Flora CAST BIOGRAPHIES

Erika Walker Cont. (Baba) in Menotti’s The Medium, and Madame de la Haltiere in Massenet’s Cendrillion. Erika was a winner of the Dana Young Artist Competition in 2017 and performed as a featured soloist with the Dana Symphony Orchestra in selections from Gustav Mahler’s Kindertotenlieder. Last summer, she participated in the Opera Works Advanced Artist Program in Los Angeles, CA. This is her main stage debut doing a role with Opera Western Reserve.

DAMA - Lauren Corcoran Emrich Soprano, Lauren Corcoran Emrich, a native of Pittsburgh, is known for her magnetism on stage. Recent performances include Ivy Smith in On the Town, Laetitia in The Old Maid and the Thief, Madame Goldentrill in The Impresario, Mendelssohn Choir of Pittsburgh, Voces Solis Summer Singers, and Resonance Works professional vocal octet. Previous performances include Rosalinda in Die Fledermaus, Gretel in Hansel and Gretel, Musetta in La Bohème, and Rosina in Il Barbiere di Siviglia. An active soloist and recitalist, Lauren has performed Beethoven’s Ninth Symphony, Orff’s Carmina Burana, Poulenc’s Gloria and various recitals of arias, arts song, and musical theatre. Lauren was a semi-finalist at the National Association of Teachers of Singing National Competition in 2016 and 2017. www.LaurenCorcoranEmrich.com

3rd WITCH - Rebecca Enlow Rebecca Enlow (soprano) is an adjunct faculty member at Youngstown State University in the Music Theory Department. She received a Master of Music in music theory at YSU in 2019, and a Bachelor of Music in vocal music education in 2016. During her time at YSU, Rebecca performed in many operas, including the roles of Ms. Silverpeal in The Impresario and Adele in Die Fledermaus. She has been a featured soloist with the Youngstown Symphony Orchestra, the Mercer County Community Band, the Dana Symphony Orchestra and the Warren Philharmonic Orchestra. She has been a part of Opera Western Reserve’s Young

Rebecca Enlow Cont. Artist Program since 2014, where she has played the main stage role of Kate Pinkterton in Madame Butterfly. She has also performed in mini-main stage roles, such as Cio-Cio San in Madame Butterfly, Lucia in Lucia di Lammermoor, Adina in L’elisir d’amore, and Zerlina in Don Giovanni.

LADY MACBETH - Diana Farrell Diana Farrell, soprano, is known for her “golden voice,” “soaring soprano,” and “lovely and impeccable” sound. In October of 2018 she appeared as Tosca in Pacific Lyric Association‘s Escondido, CA production. She has recently performed with Nightingale Opera Theatre as Magda Sorel in The Consul, Miriam in The Scarf, and Anna Maurrant in Street Scene. She has appeared as Berta in Il barbiere di Siviglia, starring tenor Lawrence Brownlee at Opera Western Reserve, where she was a Young Artist performing the title roles of both Tosca and Madama Butterfly for their Educational Outreach productions, as well as Micaëla in Carmen. Other role highlights include Contessa Almaviva with Crested Butte Music Festival’s Le nozze di Figaro, and Rosalinda in Simsbury Light Opera Company’s production of Die Fledermaus.

Past concert engagements include a performance of Berlioz’s Les Nuits d’été with the Dana Symphony Orchestra, an appearance with the Miami Valley Symphony Orchestra, and the Messiah soprano soloist with the Westfield Festival Choir and Orchestra. She finished first place in the 5 Towns Music and Arts Vocal Competition and the Clark J. Haines Memorial Concerto Competition. A past winner of the Dana Concerto Competition and the Tri-States NATS Regional Student Auditions in the Advanced Women’s category, Ms. Farrell has performed in master classes with world-renowned artists such as Dawn Upshaw, Keith Miller, Laurent Phillipe, Michael Chioldi, Jeanie Darnell, composer Lori Laitman, and pedagogue Shirley Emmons. She has been honored to work with directors David Vosburgh, Laura Portune, and Sarah Meyers, and conductors such as Susan Davenny Wyner, and David Syrus.

Diana Farrell Cont. A former student of the celebrated soprano,Ms. Jane Eaglen, Diana holds an Artist Diploma from the Cleveland Institute of Music where she studied with Mary Schiller. She earned her M.M. in Vocal Performance from Youngstown State University where she sang in the studio of Misook Yun, and served as the Graduate Assistant for the Musicology and Opera Departments. Ms. Farrell began her studies in the studio of Mary Brown at Bonacciat Westfield State College, where she graduated with a B.A. in Music concentrating in Vocal Performance and received the Department Performance Award. Currently, Ms. Farrell is the President and Artistic Director of Lyric Opera of Orange County in Southern California.

MUDERER & MESSENGER - Alexander Kluchar Alexander Kluchar, baritone, is a third-year student persuing his Bachelor of Music in Vocal Performance, at Youngstown State University. He is a young artist in Opera Western Reserve’s Young Artist Program. He was last seen in the recent collaborated production between the YSU Department of Theatre & Dance and the Dana School of Music, as Cinderella’s Prince in Into the Woods. Some of his other roles include Renfield (Dracula), Imperial Commissario (Madame Butterfly) and Robertson Aye (Mary Poppins). He has also performed many roles over multiple scenes including Jamie (The Last Five Years), Figaro (Le Nozze di Figaro), and Igor (Young Frankenstein). After he obtains his Bachelor degree, he plans to enter higher education and obtain his Masters of Music, while developing his performance career. He then plains to obtain his Doctorate of Music.

STEWARD - Dean La Salandra Dean made his main stage debut in 2018 with Opera Western Reserve as Goro in Madama Butterfly, but has performed with us for more than a decade. He has performed in several mini productions with the company, as well as roles at Youngstown State University including Don Alfonso in Cosi Fan Tutte, and Eisenstein in Die Fledermaus. He would like to dedicate this performance to his number one fan, his recently passed mother. "Thanks for always listening, mom."

BLOODY CHILD/FLEANCE - Allegra Lewis Allegra Lewis is a fourth grader at Champion Central Elementary. She is an honor roll student who loves music class. Allegra has performed in St. John's Boar's Head Festival for the past three years in the roles of Lantern Sprite and Shepherd. Outside of school she is a talented athlete and competes in tennis, swim, and Tae Kwon Do. Allegra is very excited to make her stage debut with Opera Western Reserve.

2nd WITCH - Sierra McCorvey Soprano Sierra McCorvey has been featured with the Youngstown Symphony Orchestra, Cleveland Orchestra, Packard Band, and Mahoning Valley Chorale. McCorvey has sung several roles including: Iris in Marc Blitzstein’s The Harpies (Kent State University), Fiordiligi in Mozart’s Cosi fan tutte (Youngstown State University), The Fairy in Massenet’s Cendrillon, (Youngstown State University) and Lily/Strawberry Woman in Gershwin’s Porgy and Bess (Cleveland Opera and Opera Western Reserve).

Sierra holds a bachelor’s degree from Youngstown State University and is currently pursuing a master’s degree in voice performance with Dr. Misook Yun. When not performing on stage, Sierra enjoys singing with her church choir at Holy Family Parish in Poland, Ohio.

DUNCAN/PRIEST - Thomas O’Donnell Tom has been seen in local theater for 30 plus years, playing everything from drama to comedy to musicals. Tom works as a therapist and is often seen on stage at Selah, and he continues to perform the one-man show, Mr. Lincoln. Tom has been involved in Opera Western Reserve for several seasons, from Carmen to La Traviata. Tom played the role of Ambrosia in Lawrence Brownlee's Barber of Seville. PHYSICIAN - David Pratt A graduate of Youngstown State University with a BA in Vocal Music Performance, David has been a professional singer since 1992. He has appeared with various companies across the country in numerous opera and musical theater productions, including Turandot, Norma, La Traviata, Salome, Simón Bolívar (World Premier), La Bohéme, Tosca, Die Meistersinger von Nuremberg, Carousel, The Merry Widow, Katharina von Bora (World Premier), and West Side Story, to name but a few. Most recently, he was seen in OWR’s production of Madama Butterfly.

MALCOLM - Xuyue Qing Xuyue Qing is a tenor from China. He obtained his Bachelor’s degree from Shanghai Conservatory of Music where he learned with Prof. Yi Ge and performed many operatic concerts and recitals. He is pursuing his master’s degree at Kent State University where he is studying with Tim Culver. In the 2017 music season, he came to Opera Western Reserve from China for his American operatic debut as Normanno in Lucia di Lammermoor. In the 2018 summer, he was invited to a “Vocal Lecture” as a guest artist at Henan University, China. In the 2019 spring, he performed the role of Mr. Splinter in The Tender Land with Kent State Opera. He was a semi-finalist in the 66th Washington International Competition for Voice. In the fall, he was invited to sing at the Golden Fall Moon Festival Concert 2019 by DongFang Chinese Performing Arts Association in Wentz Concert Hall. He won First Place in the graduate category, and awards for “Fine Singing Honoring Richard Miller” in 2019 Ohio NATS Competition. In October 2019, he won the Albert Rees Davis award in S. Livingston Mather Scholarship Competition. For 2019-2020 seasons, he will be singing the role of Malcolm in Verdi’s Macbeth for Opera Western Reserve.

MURDERER & MESSENGER - Emilio Santiago Emilio Santiago (tenor) is a senior vocal performance major at Youngstown State University. He has performed in various operas, such as Cendrillon where he played the role of Prince Charming, and Hansel and Gretal, where he played the Sandman. He has also Emilio Santiago Cont. performed in the mute role of Toby in The Medium. He has been a Young Artist for Opera Western Reserve since 2017, where he has performed in various mini-main stage roles, such as Goro in Madama Butterfly and Arturo in Lucia Di Lammermoor. He will also be playing the role of Malcolm in the Mini-Main stage of Macbeth.

BANQUO - Jonathan Stuckey Jonathan Stuckey has been praised for his “smooth, deep voice” (Thomas Dyer, Berkshire Fine Arts) and “refined vocal timbre and understated movements” (Robert Rollin, Cleveland Classical). His repertoire includes roles in Gershwin’s Porgy and Bess, Verdi’s Macbeth, Donizetti’s Lucia di Lammermoor, and more. He has performed with Resonance Works | Pittsburgh, Opera Western Reserve, and Cleveland Opera Theater, among others.

Jonathan holds a Master’s Degree in Vocal Performance from The Peabody Conservatory of Music, where he studied with John Shirley-Quirk.

MACBETH - Michael Young Mike Young, baritone, is a Cortland, OH native currently residing in Cincinnati, OH, where he is on voice faculty at Xavier University, Walnut Hills High School, and the Cincinnati Academy of Performing Arts. Mike is a member of Collegium Cincinnati, Coro Volante, The Cincinnati Opera Chorus, The Bach Ensemble of St. Thomas, and The Cincinnati Fusion Ensemble. Recent solo roles include Don Giovanni, Don Giovanni; Enrico, Lucia di Lammermoor; Alberich, Siegfried; Marcello, La Boheme; Belcore, L’elisir d’amore; Scarpia, Tosca; and The Prosecutor in the US premiere of Another Brick in the Wall. Recent concert engagements include baritone solos in Beethoven’s Symphony no. 9, Orff’s Carmina Burana, Handel’s Messiah and Israel in Egypt, and the titular role of Mendelssohn’s Elijah. 2019 engagements include Verdi’s Requiem, Mozart’s Mass in C minor, Bach’s B minor Mass, and the title role of Verdi’s Macbeth.

STAFF BIOGRAPHIES

CHORUS MASTER Ben Malkevitch is a choir director, organist, pianist, and composer who does a wide range of work in the Northeast Ohio area. Some of his specialties include opera and musical theatre, as well as both secular and sacred choral repertoire. Highlights of recent engagements include preparing CityMusic Cleveland’s chorus for its performance of Verdi’s Requiem. Previous projects with Opera Western Reserve include Carmen, Lucia di Lammermoor, and Porgy and Bess.

Ben is a staff pianist at Baldwin Wallace University and is the collaborative pianist at Temple Emanu El, as well as teaching private piano lessons. He has a Master’s of Music in Collaborative Piano from the Cleveland Institute of Music where he studied with Virginia Weckstrom, and he continues his studies as an organist with Lloyd Max Bunker.

PRODUCTION STAGE MANAGER Robert Pierce is entering his tenth year of working with Opera Western Reserve and his sixth year as the company’s Educational Outreach Director. In addition to directing and performing in annual "mini-mainstage" and children's operas with the Young Artist Program, he has also sung roles in past mainstage productions of La Bohème, The Barber of Seville, Tosca, and La Traviata and served as stage management for Porgy and Bess, Lucia di Lammermoor, Carmen, The Elixir of Love, and Don Giovanni. A native of the Cleveland area, Robert is an experienced performer of opera and musical theater on other local stages, such as Cleveland Opera Theater, Valley Lyric Opera, Great Lakes Light Opera, Nightingale Opera Theater, Lakeland Civic Theater, Blank Canvas Theater, and Beck Center for the Arts. Opera credits include: Tosca, Street Scene, La Vida Breve, and The Pirates of Penzance. Musical theater credits include The Little Mermaid, Floyd Collins, Billy Elliot, Violet, Sunday in the Park with George, and Jerry Springer: The Opera. He was also the production stage manager for recent productions of The Barber of Seville, Madama Butterfly, and Robert Pierce Cont. The Marriage of Figaro at Cleveland Opera Theater, as well as the Midwest premiere of Tom Cipullo’s Glory Denied at Baldwin Wallace Conservatory. Robert holds degrees in vocal performance from Otterbein University and Cleveland Institute of Music.

STAGE MANAGER & PROPERTIES Joyce Jones has been involved in community theater for over 40 years and is still going strong. This is Joyce’s ninth season with Opera Western Reserve, sharing a “love affair” with David Vosburgh since meeting him in 1995. She has been delighted to work with him ever since. Joyce’s most recent shows include stage managing Little Shop of Horrors, Smokey Joe’s Café, Mangia, and Driving Miss Daisy at Top Hat Productions. Joyce was the resident Light Board Operator at The Youngstown Playhouse for 9 seasons, which included Spamalot, Sweeney Todd, Arsenic and Old Lace, Dracula, Laughter on the 23rd Floor, and Gypsy and recently stage managed Fences at the Hopewell Theater.

Joyce's Onstage credits include, Ragtime at Top Hat Productions, How the Drag Queen Stole Christmas, Family Reunion, and Mrs. Witherspoon at the Rust Belt Theater Company, In the Spirit of Christmas at the Hopewell, Oliver, The Odd Couple (female version) and Finians Rainbow at the Youngstown Playhouse and most recently played Mrs. Which in A Wrinkle in Time at The Hopewell. Joyce's next project will be Stage Managing for Good: A Play with Music at Top Hat Productions opening November 30 and A Raisin in the Sun at the Hopewell Theater in February. When Joyce isn’t on a show, she is an Ohio Certified Dialysis Tech at Fresenius Kidney Care in Austintown and busy grandmother to 6 grandchildren.

COSTUME DESIGNER Barbara Luce learned to sew in 4-H growing up in Ashtabula County. She always found herself helping with costumes whenever possible. Her lifelong interest in personal history – what people wore, how they lived, who they were – grew naturally into a love of costume history. Ms. Luce has a Bachelor’s Degree from Marietta

Barbara Luce Cont. College with a double major in Music and Home Economics, and a Masters in Liberal Studies in Costume History from Kent State University. She custom-made clothing, managed a costume store and in 1995 opened her own business, The Costume Kingdom, specializing in historical, period costumes. She designs and makes costumes for theater and opera, having costumed approximately ten Shakespeare productions and over 100 operas in the north- eastern Ohio area, including all those for OPERA Western Reserve.

MASTER CARPENTER Frank Bongen, a native of Indiana, is a professional photographer and mathematics instructor. He has been Master Carpenter for OPERA Western Reserve for the past 13 seasons and has constructed sets for the YSU Spring operas for the past 11 productions. He has also worked on sets for Driving Miss Daisy, at the Oakland Center for the Arts, Archangel Dance Theater and Karen Clark Green’s The Color of Love.

The Youngstown Connection: Dr. Carol Baird The Youngstown Connection serves as goodwill ambassadors for Youngstown and the Mahoning Valley. Now in its 28th year, the Connection has performed in thirteen Macy’s Thanksgiving Day Parades, at the Kennedy Center, the Lincoln Center and the Washington National Cathedral. They performed for the U.S. at the 70th Anniversary of Pearl Harbor, and the Gettysburg Civil War commemoration. Internationally, they have performed in eight European countries, for the WWII Anniversary in Normandy and in three music conservatories in China. They perform with the Youngstown Symphony, Cleveland Opera Circle, and Opera Western Reserve. The Connection was invited to the Vatican to sing in the mass at St. Peter’s Basilica in the spring of 2016. Dr. Carol Baird is the founder and director of The Youngstown Connection.

Affiliates

Stambaugh Auditorium www.stambaughauditorium.com | (330)259-0555

Ballet Western Reserve

(330)744-1934

Stambaugh Chorus

www.stambaughchorus.org | (330)727-4502

Youngstown State University

Dana School of Music

(330)941-3105

The Donald P. Pipino Performing Arts Series

(330)744-0264

The Warren Philharmonic

(330)399-3606

SYNOPSIS

Victorious generals, Macbeth and Banquo, stumble upon a group of witches gathering in a wood. The witches hail Macbeth as Thane of Glamis (a title he already holds by inheritance), Thane of Cawdor, and king "hereafter." Banquo is greeted as "lesser than Macbeth, but greater,” never a king himself, but the progenitor of future kings. The witches vanish, and messengers from the king appear naming Macbeth Thane of Cawdor. Macbeth protests that the holder of that title is still alive, but the messengers reply that the former Thane has been executed as a traitor. The first of the witches' prophecies has been fulfilled.

At the castle, Lady Macbeth reads a letter from her husband telling of the encounter with the witches. In her determination to propel Macbeth to the throne, she encourages Macbeth to kill the king. The King arrives and Macbeth is emboldened to carry out the murder but afterwards is filled with horror. Disgusted at his cowardice, Lady Macbeth completes the crime, incriminating the sleeping guards. Macduff arrives for an appointment with the King, only to discover the murder.

King Duncan’s death signifies Macbeth’s coronation, but Macbeth is disturbed by the prophecy that Banquo, not he, will found a great royal line. Macbeth orders the murder of Banquo and his son, but the son escapes. Banquo’s ghost appears to Macbeth, causing him to rave at the ghost while horrified guests question his sanity... Synopsis Cont. Macbeth consults the witches again, and they advise him to beware of Macduff. They also prophesy that Macbeth cannot be harmed by a man 'born of woman,’ and that he cannot be conquered until Birnam Wood marches against him. Armed with the new foretelling, Macbeth loses himself to delusion and paranoia. Macduff, Malcolm – the son of the former King Duncan – and the English army advance, vowing to liberate Scotland of tyranny. Lady Macbeth loses her grasp of realty and begins madly raving about the crimes she helped to commit before collapsing in death.

Macbeth learns that an army of Scottish rebels backed by England is advancing against him, and he receives the news of Lady Macbeth’s death with indifference. Rallying his troops he learns that Birnam Wood has indeed come to his castle. Macduff pursues and fights Macbeth who falls wounded. He tells Macbeth that he was not "born of woman" but "untimely ripped" from his mother's womb. Macbeth dies, and Malcolm becomes King. Together with Macduff, they swear to restore the realm to greatness. OWR BOARD OF TRUSTEES

EXECUTIVE COMMITTEE Elliot P. Legow, Chair Denise Glinatsis Bayer, Vice-Chair Dr. Clyde Morris, Secretary Scott Schulick, Treasurer Patricia Fleck Kavic, Immediate Past Chair Gary Sexton, Community Representative Rodney Lamberson, Community Representative COMMITTEE CHAIRS Development – Rodney Lamberson, Scott Schulick Governance – Denise Glinatsis Bayer Finance – Scott Schulick Marketing & Public Relations – Susan McGrew Educational & Outreach – Dr. Carol Baird Friends of OWR – Cynthia Foust LIFETIME EMERITUS MEMBERS Jacqueline Bibo † Dr. Albert Cinelli † Dolores Iannucci Paul Ricciuti Mary Ann Senediak † Deceased COMMUNITY REPRESENTATIVES

Christopher Anderson Dr. Misook Yun Terrence F. Cloonan Anna Brocker Joseph DeSalvo Claudia Corbé Nick Giancola Gloria Detesco Corlis Green Dr. Randall E. Goldberg Christine Blair Legow Gary Lehman Hunter Morrison Nancy Meacham Dr. Phyllis Paul Dr. Stanley Palumbo Tricia Perry

FOUNDATION UNDERWRITERS Frank & Pearl Gelbman Charitable Foundation $10,000.00 The Aimee and Lulu Seidel Foundation $8,500.00 The Monday Musical Club Fund of The Youngstown Foundation $7,000.00 Sen. Maurice & Florence Lipscher Charitable Trust $5,000.00 Ohio Arts Council $4,868.50 The Kennedy Family Fund of the Community Foundation of the Mahoning Valley $3,000.00 Howard & Jeanne Karr Charitable Foundation $3,000.00 Ruth Beecher Charitable Trust $2,500.00 Elliot P. & Christine B. Legow Fund of the Community Foundation of the Mahoning Valley $2,500.00 Warren P. Williamson Jr. Fund of the Youngstown Foundation $2,000.00 Walter E. & Caroline H. Watson Foundation $3,000.00 Dr. Dominic & Helen Bitonte Family Foundation $1,000.00 The Youngstown Foundation Promotion and Goodwill Fund $1,000.00 Dominion Energy Charitable Foundation $1,000.00 Frances Schermer Charitable Trust $500.00 Home Savings Charitable Foundation $1,400.00 Thomases Family Endowment of the Youngstown Area Jewish Federation $100.00 FOUNDING ANGELS - IN PERPETUITY In recognition of becoming underwriters of the Opera Western Reserve’s Inaugural Production in 2004, we would like to acknowledge the following as our Founding Angels:

BENEFACTOR ($15,000) The Italian Scholarship League

DONOR ($1,000) James Boyd & Dr. Misook Yun Youngstown Opera Guild Dr. Michael & Patricia Fleck Kavic

CONTRIBUTER ($500) Dr. Dominic† & Mrs. Helen Bitonte† William B. Clayman† Dr. Norton I. German John & Kathy Zuppo SUPPORTER ($250) Jacqueline Abrams† Dr. Albert† & Mrs. Suzanne Cinelli

FRIEND Dr. & Mrs. Chester Amedia Ms. Jacqueline Bibo† PHilip & Marline J. Chuey Jean & Peter Dougherty Dr. & Mrs. Ronald L. Gould Kevin & Arlene Hicks Ms. Carla L. Infante Dr. J.J. Lee Dr, & Mrs. Allan Mosher †Deceased

FOUNDING MEMBERS OF THE STEERING COMMITTEE James Boyd Jacqueline Bibo† Carla L. Infante Patricia Fleck Kavic David Vosburgh Susan Davenny Wyner

CORPORATE UNDERWRITERS

CONTRIBUTER ($500-$999) SUPPORTER ($250-$499) Harrington, Hoppe & Mitchell, Ltd. Alex Downie & Sons Co. Akron Children's Hospital PNC Dr. Bruce D. Willner, D.O,Stifel Nicolaus INDIVIDUAL UNDERWRITERS

DONORS ($1,000+) FRIENDS ($100+) Robert Hagan and Denise DeBartolo York Michele Lepore-Hagan Elliot and Christine Legow J. David and Madelon M. Sabine Barbara Tinkham Armin and Charlotte Nancy Meacham Guggenheim Dr. Michael and Patricia Kavic Sandra Kady DiMargio Richard Machuga CONTRIBUTERS ($500+) Dr. and Mrs. Roberto Bacani Rodney J. Lamberson Patricia and Anthony De Rosa Barbara Brothers Antonia and Stephen Schildcrout Ronald and Marsha Gould Frank Rulli Carol Baird William R. Lamberson Linda June Cooper SUPPORTERS ($250+) Gloria Detesco Dr. Alan and Dr. Margaret Gittis Susan and Ted Perkins Alfred and Suzanne Fleming Gary and Susan Sexton Michele Lepore-Hagan James L. Blair for State Rep Allan and Jennifer Mosher Hunter Morrison Sandford Kessler Dr. Steven and Renee Scharf Elizabeth Blair Kauffman Kathy Richards Pierce Herve and Claudia Corbé Natalie Lariccia and

Dr. Gregory Huang Robert and Kirsten Burkey OTHER SUPPORTERS Booker, Suzanne Scott Schulick and Henry Kessler Stanley and Linda Palumbo Olivia and Josh Hiznay Loran and Joyce Brooks Beverly J. Mike-Nard Sharon A. Hrina Elena Rossi Somers and Donald Somers Youngstown Foundation JoAnn Stock Angela Manginelli

Compliments of Compliments of

Berkshire Simco Hathaway Management Bett Clebone

Endowment Campaign

Opera Western Reserve announces the establishment of an Agency Endowment Fund Agreement through the Community Foundation of the Mahoning Valley. The purpose of this endowment is to secure Opera Western Reserve’s financial future so we can continue to present liver operas, provide performance opportunities for young singers and bring music education into the schools

PLEDGE AGREEMENT

YES! You can count on my support for with a commitment to the Opera Western Reserve Agency Endowment with a pledge of: $100 $250 $500 $1,000 $2,000 $3,000 Other $______I will make equal payments over the next: 1 Year 2 Years 3 Years Name: ______Address: ______City/State/Zip: ______Phone: ______E-Mail: ______PAYMENT OPTIONS

Enclosed Check (payable to Opera Western Reserve) Credit Card: MasterCard Visa Discover

Card # ______Exp. Date______

Return to: Opera Western Reserve, 1000 Fifth Avenue, Youngstown, OH 44504 Questions? Call the OWR office: 330-480-0693 In Memoriam

Barbara Krauss Ms. Krauss was born in Youngstown, Ohio on January 2, 1951. She was the longtime host of Classical Music with Barbara Krauss on WYSU after launching her career there while a student at the Dana School of Music. She was a 1969 graduate of Ursuline High School and a 1974 graduate of Youngstown State University.

Along with her announcer/producer duties at WYSU, for many years Barbara also organized and led numerous popular station-sponsored international tours. Some of those experiences were the inspiration for her scholarly interests in Western European history, pasta making and bread baking. She worked tirelessly toward the perfect baguette. Along the way, she became a Francophile and had acquired a substantial library of French literature. But those activities were all secondary to the love she had for her children, Erik (Angela) and Philip. Preparing and sharing Sunday family dinner was the highlight of her week. She was excited about welcoming her first grandchild into the family.

Lotis Cooper Lotis June Cooper was born September 2, 1922 on the family ranch in Phoenix, Nebraska, where she rode her horse to a one-room schoolhouse through the eighth grade. She attended the University of Nebraska in Lincoln, Nebraska, where she graduated with a Bachelor in Commercial Arts in 1945. She moved to Omaha and met her husband Frank William Cooper, who employed her as his secretary. They made their home in Omaha, where their three children were born.

The Cooper family moved all over the country before settling in Canfield, OH, in 1993. Lotis quickly became involved in numerous clubs and organizations including the Youngstown Symphony Guild, the Welsh Club, the Canfield Presbyterian Church, several bridge clubs, and the Canfield Republican Women’s Club. She and Frank were charter members of Opera Western Reserve.

Lotis loved her grandchildren and great-grandchildren and looked forward to their visits. She said that some of the happiest days were when her grandchildren were born. The grandchildren loved spending time with Lotis, and especially enjoyed the sleep-overs. She loved to play the piano, and particularly enjoyed when her grandchildren played piano for her.