OPERAVolume 55 Number 05 | Spring 2015 CUES Internet at the speed of whoa.

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sweeneY todd APRIL 24, 26, 29 MAY 2, 8, 9

PATRICK SUMMERS PERRYN LEECH artiStic & muSic director managing director Margaret Alkek Williams Chair Advertise in OPERA CUES Opera Cues is published by Houston Grand Opera Association; all rights reserved. Opera Cues is produced by Houston Grand Opera’s Communications Department, Judith Kurnick, director.

Director of Publications Laura Chandler Art Direction / Production Pattima Singhalaka Contributors Kim Anderson Paul Hopper Perryn Leech Elizabeth Lyons Patrick Summers

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LOYAL: 51 percent of readers have been reading Opera Cues for more than three years. dediCAted: 42 percent of readers read the magazine from cover to cover. edUCAted: More than 90 percent are college-educated, and 57 percent hold graduate degrees. sOCiAL: 44 percent patronize downtown restaurants when they go to a performance at Houston Grand Opera.

For more information on advertising in Opera Cues, call Matt ross at 713-956-0908.

2 | Opera Cues Spring 2015 www.HGO.org SM

IAH

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Job Number 4UA022 Headline IAH-friendly Publication HGO 2014 English Event Language 8.375 x 10.875 Vertical/Portrait [email protected] Client United Trim Horizontal/Landscape Art Director DC Bleed 8.625 x 11.125 16858 Royal Crest CMYK RGB B&W SPOT (PMS) Houston Texas 77058 Copywriter UA Safety/Live 7.875 x 10.275 281-480-3660 Traffic BG Ad Style SMILE Full page bleed 1/23/2014 contents tHe ProGram dePartments 38 waGner: 6 Welcome from diE WAlKÜrE Patrick Summers and Perryn Leech wHo’s wHo: 43 News and Notes diE WAlKÜrE 14 64 HGO Studio 52 stePHen sondHeim and HuGH wHeeLer: 66 HGOco sWEENEy todd 68 Spotlight 57 wHo’s wHo: 69 Special Events sWEENEy todd 74 Inspiring Performance Donors features 93 Calendar 16 “GaminG” tHe riNg 95 Your HGO HGOco and Cristo Rey Jesuit create 96 Out of Character: cross-curricular learning Christine Goerke through video games, all inspired by the themes of Cover photo for Die Walküre by Tato Baeza/Palau de Les Arts Reina Sofía. Wagner’s Ring. Cover for Sweeney Todd designed by Pattima Singhalaka. This page, a scene 18 we aPPLaud You! from Sweeney Todd, photo by Marie- Find out what your Noëlle Robert. exceptional generosity to the Inspiring Performances campaign has made possible. 22 unsunG Heroes Stage manager Kristen Burke keeps the many moving parts of an opera performance in sync. 28 fire starter Go inside Richard Wagner’s mind for insight about Die Walküre. 32 monster or madman Who—and what— is Sweeney Todd?

A Message from the Artistic & Music Director and the Managing Director

Welcome to the Wortham Theater Center and to Houston Grand Opera’s spring repertory: Wagner’s Die Walküre and Stephen Sondheim’s Sweeney Todd. Die Walküre, the second work in Wagner’s Ring cycle, is nothing less than epic, with gods and mortals vying for the powerful gold ring we encountered in last season’s Das Rheingold. It’s a fantasy world, but one whose characters seem very recognizable today. We are thrilled to welcome back the creators of this dazzling production, the Catalan theater group La Fura dels Baus, and soprano Christine Goerke in her first staged U.S. performances of the title role, the Valkyrie Brünnhilde. We at HGO have been privileged to participate in her evolution from a rising young singer (she made her HGO debut in 2001 as Fiordiligi in Così fan tutte) to a full-fledged star around whom opera companies Patrick Summers build their seasons. She is surrounded by other exceptional Wagnerians, several of whom continue their portrayals from Das Rheingold. Sharing the spring repertory with Die Walküre is Sweeney Todd, whose impact on musical theater is indisputable, and on opera as well—HGO was only the first (in 1984) of many companies that recognized its operatic potential and put it on their stages. In the title role, we welcome back baritone Nathan Gunn, who made his HGO debut as Guglielmo in the same Così fan tutte as Christine Goerke and most recently delighted us as Figaro in The Barber of Seville (2011). We also welcome back conductor James Lowe, an HGO Studio alumnus and former associate conductor who has been pursuing a wonderful career as a conductor of opera and musical theater. Likewise, director Lee Blakeley regularly works in both opera and musical theater, and we are delighted to have him back. Perryn Leech Please take a moment to look at the listing on pp. 74–92, which contains the names of every person who supported Inspiring Performance—the Campaign for Houston Grand Opera. We were amazed and grateful to every single donor—all 6,648 individuals who made the commitment to invest in great art. Learn more about what these generous contributions are making possible in our article “You Did It!” Please enjoy the performance.

Patrick Summers Perryn Leech Artistic and Music Director Managing Director Margaret Alkek Williams Chair

6 | Opera Cues Spring 2015 www.HGO.org RETROGRADE DAY-DATE

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OperaCues_VC14016_PatrimonyRetroDd.indd 1 3/13/15 3:50 PM Houston Grand Opera Gratefully acknowledges the following supporters

DIE WALKÜRE Premier Guarantors Underwriters Houston Grand Opera Endowment, Inc. Dr. and Mrs. Michael Cochran Mr. John G. Turner and Houston Saengerbund Mr. Jerry G. Fischer Mr. and Mrs. Richard Husseini Mr. and Mrs. Alexander K. McLanahan Grand Guarantor Dr. and Mrs. John Mendelsohn Medistar Corporation Miss Catherine Jane Merchant Norton Rose Fulbright Guarantors Elizabeth Phillips Robin Angly and Miles Smith Donald and Rhonda Sweeney Mrs. Janice Barrow John and Sheila Tweed BBVA Compass Birgitt van Wijk The Vaughn Foundation Grand Underwriters The Brown Foundation, Inc. SPONSORS Dr. Jack A. Roth and Dr. Elizabeth Grimm William E. Colburn Carol Franc Buck Foundation Chuck and Michelle Ritter Chevron William V. Walker Houston First Corporation The Stedman West Foundation Donna Kaplan and Richard A. Lydecker Nancy and Sid Williams Beth Madison Sharon and J. Landis Martin Will L. McLendon

SWEENEY TODD Guarantor Anne and Albert Chao/Ting Tsung and Wei Fong Chao Foundation

Grand Underwriter Brucie and Andrew Moore

Underwriters Bracewell & Giuliani LLP Boulware & Valoir/Meg Boulware and Hartley Hampton

Weeknight Series is supported in part by Schlumberger. Mostly Friday Series is supported in part by Fayez Sarofim & Co.

8 | Opera Cues Spring 2015 www.HGO.org From left standing: Judy Bozeman, Donnie Roberts, Allen Lewis and Michael Ringger From left seated: Bill Cunningham, Maureen Phillips, Rick Morales and Tom Williams Generating Success for Generations of Texas Families

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Welcome to Houston Grand Opera for the exciting continuation of Wagner’s epic four-opera Ring cycle. As a Guarantor of HGO’s 2014–15 season, BBVA Compass proudly supports these performances of Die Walküre, the second opera in HGO’s Ring series, as well as HGO’s NEXUS Initiative for affordability.

Headquartered in Birmingham, Alabama, with more than 1,500 employees based in Houston, BBVA Compass provides financial services in over 31 countries and to 50 million customers throughout the world. To celebrate the bank’s Spanish heritage, BBVA Compass proudly supports Spanish arts and culture all over the world. We are especially pleased to support HGO’s visually stunning Ring cycle, directed by Carlus Padrissa of the legendary Catalan stage collective La Fura dels Baus.

In addition to promoting Spanish arts and culture, BBVA Compass’s community philanthropy focuses on access, diversity, and financial inclusion. We are thrilled to be longtime supporters of the NEXUS Initiative, HGO’s affordability program that provides free performances and deeply underwritten tickets to ensure that everyone in Houston can experience world-class art without the barrier of price.

Thank you for attending this performance of Die Walküre and we hope you enjoy the opera.

Sincerely, Manuel “Manolo” Sánchez BBVA Chairman and CEO BBVA U.S. Country Manager

10 | Opera Cues Spring 2015 www.HGO.org Martha Turner | Founder & Co-President Tom Anderson | Co-President

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Welcome to Houston Grand Opera’s production of Stephen Sondheim’s wickedly clever musical thriller, Sweeney Todd: The Demon Barber of Fleet Street.

Bracewell & Giuliani LLP is a proud supporter of HGO’s American Musical Series, a multi-year celebration of our nation’s rich musical theater heritage. Brilliant works like Sweeney Todd deserve the full performing forces of the HGO Orchestra and the world’s finest vocal talents, including American baritone Nathan Gunn in the title role and British soprano Susan Bullock as Mrs. Lovett.

Bracewell & Giuliani LLP is an international law firm with 485 lawyers in Texas; New York; Washington, D.C.; Connecticut; Seattle; Dubai; and London. The firm serves Fortune 500 companies, major financial institutions, leading private investment funds, governmental entities and individuals concentrated in the energy, technology, and financial services sectors worldwide.

The firm and our employees offer time, resources, and professional services to many civic, charitable, and cultural endeavors. It is our pleasure to partner with HGO in order to make Houston a culturally vibrant urban destination. Please enjoy Sweeney Todd and thank you for supporting HGO.

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12 | Opera Cues Spring 2015 www.HGO.org

NEWS & NOTES

Mariachi Vargas Returns in El Pasado Nunca Se Termina

Following the success of Cruzar la Cara Rivera, and boy tenor Sebastien E. de la Luna, the world’s first mariachi De La Cruz, all in their HGO debuts. opera and an HGO commission, we bring Returning artists are mariachi singer a new mariachi opera to HGO in May Vanessa Alonzo, who created the role from the same creators, José “Pepe” of Lupita in Cruzar la Cara de la Luna, Martínez and Leonard Foglia. baritone Luis Ledesma (Escamillo in HGO Studio Artist Wins Two El Pasado Nunca Se Termina/The Carmen, 1998), and baritone Octavio Major Awards Past Is Never Finished—is set on a Moreno, an alumnus of the HGO Studio On March 15, second-year HGO Mexican hacienda in 1910, just as who created the leading role of Laurentino Studio artist Reginald Smith Jr. the Mexican Revolution is about to in Cruzar la Cara de la Luna. was selected as one of five winners in erupt. The story traces how the conflict El Pasado Nunca Se Termina, a the Grand Finals of the Metropolitan shapes one family across multiple co-creation of Lyric Opera of Chicago Opera National Council Auditions. The generations through the present day. and Houston Grand Opera, premiered honor comes with a $15,000 The opera will be sung in Spanish and in March at Lyric Opera and two other cash prize; previous winners include English with projected translations. locations in the Chicago area. It travels to Renée Fleming, Susan Graham, Eric San Diego Opera in April before coming Mariachi Vargas de Tecalitlán— Owens, Samuel Ramey, and Frederica to Houston for three performances considered the finest and most von Stade. influential mariachi ensemble in the in May. It is not part of our 2014–15 But that’s not all! Only two weeks world—takes the place of a conventional subscription series; tickets must be earlier, on February 27, Smith was orchestra for El Pasado Nunca Se purchased separately. one of six top prize winners in Termina, as it did for Cruzar. El Pasado Nunca Se Termina, May 13, the George London Foundation 16, and 17m, in the Brown Theater of the The cast features soprano Abigail Santos Awards Competition. Like the Wortham Theater Center. Call Villalobos, tenor Daniel Montenegro, National Council Auditions, it is 713-228-OPERA (6737) for tickets or baritone Paul La Rosa, baritone Ricardo one of the most prestigious opera purchase online at HGO.org. competitions in the world and comes with an equally impressive roster of former winners. The award comes with a $10,000 cash prize. Congratulations to Reggie! Smith is the Mr. and Mrs. Harlan C. Stai, Terrell Tone Owen Memorial Endowed Fund at the Community Foundation of Abilene Endowed Fellow. HGO’s A Christmas Carol Up for international Award A Christmas Carol, an HGO commission and the first in a series of holiday-themed operas, is one of six finalists in the World Premieres category of the International Opera Awards. The winners will be announced at a ceremony in London on April 26. British composer Iain Bell wrote the score to a libretto by actor, director, and author Simon Callow; the retelling of the familiar story is based on Dickens’s own one-man

Photo by Marie-No ë lle Robert performance adaptation of his most popular work. A Christmas Carol Mariachi Vargas de Tecalitlán premiered at HGO last December, in Cruzar la Cara de la Luna starring tenor Jay Hunter Morris.

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15AC_902_Houston Grand Opera AD_8.375x10.875.indd 1 2/27/15 1:18 PM Cristo Rey Jesuit and HGOco Partners in Creative Learning

By Kim Anderson As HGO celebrates Wagner’s epic Ring cycle over a four-year period, a unique collaboration with local high school Cristo Rey Jesuit encourages students to explore the archetypal themes of each opera, one year and one theme at a time.

GOco and Cristo Rey Jesuit year, students create a culminating College Preparatory High project that gives a verbal and nonverbal School are working to develop a representation to their understanding Typically, my students have Hcurriculum for each of the four works in of the archetypal themes studied. little to no exposure to the Wagner’s Ring cycle focused on the central Through the HGOco collaboration, arts. Through our project with themes of power, creativity, discovery, the students are also learning and destiny. The school’s existing programming skills in order to create HGO, my students’ thinking and learning objectives are retained while digital interpretations of Wagner’s Ring writing skills were noticeably specifically noting where these topics exist operas and their meaning. improved. The impact of in literature, ethics, and theology. The The freshman class is learning to adding performing arts into the curriculum will evolve across grade levels organize multiple plot lines into a leveled as each opera is presented. game system. This instruction requires core curriculum enriched my Evaluating the mythology of the students to design problems and instruction and planning. the Ring has an intense writing solutions through programming. The end —From a letter written by Kim component that requires students to result is individually created games that Anderson to the Texas Commission synthesize their understanding of the use music and avatars from the operas on the Arts evaluation panel operas’ metaphors with their existing to solve power struggles in the student- knowledge. The Houston-based generated virtual world. This set of lessons organization Writers in the Schools, a requires students to use linear thinking longtime partner of HGOco, supports and creative problem-solving to create a The sophomores are using a gaming the creative writing instruction. Each viable game. program designed for classroom use that presents them with a set landscape. Each college-readiness course begins with the same map, and is presented with multiple Above: Instructor Kim problems and decisions that each class Anderson and a Cristo must resolve through consensus. The Rey Jesuit student make a presentation. issues presented are parallel to the conflicts found in the operas. As each Left: Students “storyboard” their class progresses through the lessons, their original one-minute landscapes begin to differ depending on documentary film their solutions. At the end of the 10-week projects. unit, the classes will see each other’s virtual worlds. A series of activities using Microsoft’s Office Suite will compare and contrast the various results. The sophomores will also reflect on their experience of the democratic process and the consequences of decision making.

Kim Anderson teaches English composition at Cristo Rey Jesuit High School.

16 | Opera Cues Spring 2015 www.HGO.org Roots That Trace Back to the Origins of Texas.

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AN INSPIRING PERFORMANCE HGo’s Historic fundraising campaign raises $172.9 million

et’s go back to August 1955, for Houston Grand Opera, HGO’s fi rst when 16 ambitious arts-loving comprehensive fundraising campaign and By eLiZABeTH LyOns Houstonians met in the home of the largest fundraising eff ort in the history HGO DEVELOPMENT LMrs. Louis G. Lobit to launch what would of Houston’s performing arts, closed with COMMUNICATIONS soon become Houston Grand Opera. For a fl ourish. HGO raised an unprecedented MANAGER its inaugural season, HGO planned only $172.9 million, exceeding our goal of $165 two productions—Strauss’s Salome and million by nearly eight million dollars. Puccini’s Madame Butterfl y. However, A record-setting 6,648 donors since there were not yet any ticket buyers contributed to HGO during the seven or underwriters to provide funding, years of Inspiring Performance—that’s the $40,000 needed to fully support the three Brown Th eaters full of people! In season was proving an early challenge. By the meeting’s end, Walter Herbert, the newly appointed conductor and director of HGO, announced that an anonymous donor had made a gift so large that the fi rst season was guaranteed. A short six months later, on a frigid January night, the curtain went up on Salome at the Music Hall. An enthusiastic audience was on hand. Th e anonymous donor who helped realize HGO’s inaugural season was later revealed to be Gus S. Wortham. His generous spirit and passion to make our city a leader in arts and culture is clearly alive and well here in Houston. Fast-forward to December 31, 2014. Inspiring Performance—Th e Campaign

18 | Opera Cues Spring 2015 www.HGO.org addition to HGO’s dedicated base of and the Cynthia Woods Mitchell Pavilion, artistic observation, participation, and individual, corporate, government, and our dramatically discounted Student creation for Houstonians of all ages foundation supporters, an incredible Performance Series, reduced-price and backgrounds. HGOco’s programs 4,558 new donors joined the campaign NEXUS subscriptions, and single NEXUS include new commissions of community- and became part of the HGO family. tickets. Now everyone can experience the focused chamber operas through Song Thanks to you, we were able to transformative magic of live opera. of Houston, collaborative musical fund all six priority areas of Inspiring Relevance: HGOco—$11 million workshops with local organizations, and Performance. Each of these priorities helps A national model for how an arts robust curriculum-aligned arts education HGO to achieve its vision: to be the most organization serves its community, programs for students, like Opera to Go! innovative, inclusive, and transformative HGOco provides opportunities for and Storybook Opera. opera company in America. ARTISTIC EXCELLENCE—$94.2 MILLION Artistic excellence is the core of HGO’s Ring cycle everything we do. HGO brings began last season internationally renowned singers to with Das Rheingold Houston and works with the most HGO at Miller creative, artistic minds in the world to Outdoor Theatre, craft some of the most innovative works clockwise from upper in opera today. Thanks to the success of left: The cast of Madame Butterfly Inspiring Performance, during the course at curtain call; of the campaign Houston audiences Craig Kier conducts; operagoers pack the experienced 17 new productions, seven hill. world premieres, and 25 co-productions with top companies around the world. Now, with your support, we continue our first-ever Ring cycle, one of the most important artistic projects in the company’s history, marking HGO’s full maturation as a world-class opera company. Affordability: NEXUS Initiative— $13 million At HGO, we believe that great art should be available to everyone. The number one reason more people do not experience top-tier performing arts is cost—it is simply too expensive. With your generous support of the NEXUS Initiative through Inspiring Photos by Lynn Lane, John Lewis and Felix Sanchez Performance, we have been able to remove the price barrier of opera for Houstonians. Since its inception in 2007, the NEXUS Initiative has provided deeply discounted and free tickets to over 175,000 families, students, young professionals, senior citizens, and underserved community members. The NEXUS Initiative makes our inspiring art form as accessible as possible, including free performances at venues such as Miller Outdoor Theatre

19 Formally launched in 2007, HGOco HGO Studio: $6 million the HGO Endowment from 28.7 million has already reached an incredible 1.25 Inspiring Performance helped further in 2007 to an astounding 53 million by million people, working with 150 schools, strengthen the HGO Studio, one of the the campaign’s end. The importance of one hundred organizations, and over world’s most prestigious young artist building the HGO Endowment cannot be 100,000 Houstonians each season. programs. HGO Studio alumni are overstated and was a major focus area of One of HGOco’s many initiatives is among the top echelon of international our campaign. the prestigious High School Voice Studio, singers—Joyce DiDonato, Rachel Willis- Legacy Gifts: $31.6 million which provides year-long scholarships to Sørensen, Jamie Barton, Denyce Graves, Another vital component of Inspiring high school seniors who wish to pursue Eric Owens, and Ana María Martínez all Performance was legacy giving and a professional singing career. Catherine trained in the HGO Studio. we encouraged HGO’s most devoted Goode, a HSVS alumna and now a college The HGO Studio has grown in supporters to consider remembering senior, writes “As part of the HSVS, I had essential ways, and in 2011, HGO added HGO in their estate plans. During the opportunity to sing in master classes the Young Artists Vocal Academy the span of Inspiring Performance, with world-class performers, teachers (YAVA), a new program that provides HGO’s Laureate Society, a group of and coaches…HSVS shaped the way I serious training for young artists at the dedicated donors who have made view performing and collegiate-level undergraduate level. Undergraduate commitments to HGO in their estate singers plans, increased its membership from nationwide 130 members to an incredible 235 audition for members. The foresight of Laureate placement in Society members creates the legacy for YAVA, which fills future generations of the HGO family. a critical gap in the training of Our Thrilling Future th young vocalists. This year, we celebrate our 60 The testament anniversary season and continue our to YAVA’s commitment to serve the cultural needs of success can be our young, diverse, ever-expanding city. found in their An opera company can never stand still. alumni—three of HGO must expand—to allow more people whom were 2015 than ever before to experience our art, to Concert of Arias impact more people, and to ensure that finalists! we continue to transform and inspire lives HGO is in the decades to come. Members of HGO’s 2014–15 High School now the only Inspiring Performance proved Voice Studio, now in its 15th year. company in the that Houstonians truly believe in the United States that importance of arts and culture to our city. education.” Since the program’s inception nurtures young voices from childhood Thanks to you, HGO is now operating in 1999, 100 percent of all HSVS (Children’s Chorus and Opera Camp), at an all-time high, in both the artistic participants have been accepted to an through high school (High School Voice quality and quantity of our programs, institution of higher learning. Studio), undergraduate studies (YAVA), performances, and collaborations. And Thanks to Inspiring Performance, and post-graduate level and beyond from Gus S. Wortham’s first major gift in HGOco continues to break down barriers (HGO Studio). Thanks to Inspiring 1955 to each and every one of the 6,648 to the arts by creating innovative new Performance, HGO is doing its part to donors to Inspiring Performance— we ways to collaborate with the community develop and support the next generation could not have done it without you. and tell the stories of Houston through of great opera singers. If all of us here at Houston Grand Opera said “thank you” 24 hours a day, words and music. For example, HGOco HGO Endowment: $17.1 million seven days a week, it would take almost has forged an exciting new partnership The HGO Endowment ensures that the with NASA and Houston’s space seven years to say it 173 million times. company is a permanent part of the life We start now. Thank you for showing that exploration community, resulting in of our city—a transformative force in the O Columbia, a new chamber opera great art matters to Houston. You are truly lives of future generations of Houstonians. inspiring. that explores the American spirit of During Inspiring Performance, gifts exploration that will premiere in fall 2015. and pledges helped to grow the value of

20 | Opera Cues Spring 2015 www.HGO.org for the million nearly youth Since texas $375 1932 of commitment to the total Show organizations, bring and civic community, funds to cultural, and universities, prizes, grants to judging contest auction money, awards, school art calf scramble and prizes, show premiums livestock andhorse auction money, junior market combined with Scholarships, $24 millionin2014! more than

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and Rodeo all possible! rodeohouston.com We're the Houston and universities, Texas colleges nearly nearly with awards worth scholarships! college onShow are attending 2,100 students more than year,Just this more than currently attending arerecipients Scholarship madeit $40 million! 100 TM , UNSUNG HEROES: KRISTEN BURKE SUPERWOMAN OR A MIDDLE-AGED ASIAN MAN? HGO Managing Director Perryn Leech continues his season-long profile series on Houston Grand Opera’s “unsung heroes”—the men and women whose work is vital to HGO’s success but who often go unrecognized. ne of the wonderful things about being a theater stage manager is that it is rarely a straight, Ochosen path. It’s a career that often evolves through twists and turns and exploring many different interests before the penny drops and one finally realizes that being a stage manager is a “real job.” Stage managers must have great organizational skills (think wedding planner), the ability to prioritize a thousand things that are constantly moving on their command (think quarterback), unending patience (think nun), and a sixth sense about things the University of Minnesota. Pretty soon away. The people were incredible to work that will happen in the future (think after I started I realized that it wasn’t with and my experience in events created clairvoyant!). what I wanted to do. I had a background a very good fit for me. At HGO, we are lucky to have one of working with athletes and thought it So how did that progress into a full-time the finest stage managers in the field of would be a fun career. Suddenly, I was job? doing a lot of workers’ comp cases and opera—Kristen Burke. I spoke to Kristen Not easily! For over two years, I worked paperwork. I just realized that it wasn’t about the incredible journey that led her for the Development Department at the what I wanted. to Texas and the difficulties she overcame Guthrie Theater in Minnesota planning My counselor asked me what I that made HGO home. events. It was a long way from the stage. enjoyed and I mentioned I had done some Perryn Leech: So was this your calling? An opportunity arose for me to be work on events. She suggested I create A bright light that begged to you to walk the assistant company manager for Sesame my own major and work with the theater towards it? I MUST be an opera stage Street Live’s nine-month tour. It was very manager? department to learn more about lighting large scale and different from many of and sound. I was then persuaded to study Kristen Burke: Not at all—I wanted to the shows at the Guthrie. After the tour, I stage management and I loved it straight major in physical therapy while I was at knew I wanted to gain experience in other Photo by Dave Rossman

Kristen Burke and daughter Shelby

theater projects. At times, I had three or getting used to. I was very happy at four overlapping jobs. Minnesota Opera but the company hit Minnesota Opera had heard a hard time and reduced its season. I about my work and offered me the had the opportunity to take a contract at position of assistant stage manager. Atlanta Opera and made the decision to It was my introduction to opera. The head south. The artistic standard and scale fact that I could read music was a were very different in Atlanta. I found I huge asset. The position was for a wasn’t enjoying myself and it wasn’t as one-season contract but I ended up interesting as my work in Minnesota. staying for four and a half years. And so what did you think when you got How different did you find opera from the call from HGO? theater and events? I was so excited to get the chance to work I would describe it as the same but at a top-level company that had such different. There are so many more moving a wonderful reputation and did such parts to an opera and it does take some amazing work. Also, the season tied in

23 UNSUNG HEROES

perfectly with my work at Glimmerglass Opera in the summer. Suddenly, I was almost a full-time worker! In Houston, I started as an assistant stage manager under a production stage manager and did not get to “call” shows. She left unexpectedly after only one season and you asked me to step up. I shared the management of the department and called every other show. That was a good opportunity for me and we had built a really good team. In my second year in my new position, I became pregnant and was very sick. HGO was amazing, especially considering that I was on a freelance contract, and allowed me time off when I needed to concentrate on getting well. What made it even harder was that my partner was not in Houston at the time. I was essentially becoming a single mother. My team here and others in the company were like a giant family to me. I Kristen Burke backstage dur- was living in your garage apartment, and ing The Magic Flute. Photo by Dave Rossman. just having someone to look out for me— and then Shelby when she was born—was a huge help, and still is. Those were certainly tough times. The following year turned out even more proceeded to miss most of that season work and parenting. You have to work traumatically, didn’t it? as I underwent the treatment. I decided around school hours and make choices That is an understatement! I was having to start my blog, “Call me Mr. Chang,” about what she can do after that. Shelby great difficulty breathing easily after to document what was going on. It also loved ballet and gymnastics and used to Shelby was born. After a while, I knew allowed me a creative outlet to assist with go to classes, but that is almost impossible that I needed to go and find out if there my recovery. now during the school year. On the was anything that could be done to help. Undergoing chemotherapy while positive side, it has certainly made Shelby When I went to see the doctor, she raising a child less than 12 months old a confident and assured child! This examined me and really wasn’t happy was very trying at times. Everyone rallied summer, I have decided to go back to with what she saw. She decided to take around me and gave me strength. I truly Glimmerglass Opera. My partner can stay a sample and run some tests. When she could not have done it without all their through the opening of the show so it will called me with the results, she actually love and support. be a great place to have some family time. told me to sit down. She had some I remember those dark times very well So why do you still do it? It is clearly surprising news. indeed. You were able to miraculously difficult to plan consistently. I had a very rare cancer come back as a cancer survivor and resume your career. I still get a huge kick out of the work! New (nasopharyngeal carcinoma) that is productions and new challenges on every normally only found in middle-aged, Yes, but since Shawn, my partner, was show coupled with amazing colleagues Asian men living in China. I was going still working all over the country, I had and friends make it worth it. Juggling to need to start aggressive chemotherapy to find day care for Shelby around what multiple things at work is something that and radiation treatment straight away. It most people would consider a totally I have become very used to, and now was a real body blow. Once reality sank in, ridiculous schedule. Having to drop it’s normal in my family life as well. It is I knew that I was going to be able to fight off your child at 2:00 p.m. and then certainly never dull! it with support from my family and my wanting to pick them up at midnight HGO family. can give people the wrong idea! My parents moved down to Houston As the years pass, it actually gets almost immediately to help out. I more difficult in some ways to balance

24 | Opera Cues Spring 2015 www.HGO.org 25 2015 – 16

SEE SEVEN PUCCINI DVORÁK TOSCA RUSALKA OPERAS FOR Oct. 23–Nov. 14, 2015 JAN. 29–FEB. 12, 2016 UNDER $20 TCHAIKOVSKY Non-Subscription world premiere EUGENE ONEGIN CARLISLE FLOYD PER SHOW! Oct. 30–Nov. 13, 2015 PRINCE OF PLAYERS MAR. 5–13, 2016 Subscribe RACHEL PORTMAN/ NICHOLAS WRIGHT WAGNER and Save up THE LITTLE PRINCE sIEGFRIED to 60%. Dec. 4–20, 2015 Apr. 16–May 1, 2016 MOZART RICHARD RODGERS/ THE MARRIAGE OSCAR HAMMERSTEIN II CAROUSEL OF FIGARO APR. 22–MAY 7, 2016 Jan. 22–Feb. 7, 2016

Call 713-228-OPERA (6737) or visit HGO.org.

Photo by Tato Baeza / Palau de les Arts Reina Sofía Subscription packages for HGO’s 2015–16 season are now available. Call 713-228-OPERA (6737) or 800-62-OPERA The 2015–16 season (800-626-7372), or order online at HGO.org.

Puccini Dvorákˇ tosca RUSALKA Oct. 23, 25m, 31, Nov. 3, 6, 14 ¤ Jan. 29. 31m, Feb. 6, 9, 12 Guarantor—Margaret Alkek Williams Guarantor—Vinson & Elkins LLP Grand Underwriter—ConocoPhillips Grand Underwriter—Edward and Frances Bing Fund

Floria Tosca Houston Grand Director Chorus Master Rusalka Ježibaba, a witch Production Movement Director Liudmyla Opera Orchestra John Caird Richard Bado ‡ Ana María Jill Grove ‡ Melly Still * Rick Nodine * Monastyrska and Chorus Set and Costume The Sarah and Ernest Butler Martínez ‡ Foreign Princess Revival Director Chorus Master Kelly Kaduce ¤ Conductor Designer Chorus Master Chair Prince Maida Hundeling * Donna Stirrup * Richard Bado ‡ Children’s Chorus Mario Cavaradossi Patrick Summers Bunny Christie Brian Jagde * Set and Costume The Sarah and Ernest Butler Chorus Master Margaret Alkek Williams Director Alexey Dolgov Lighting Designer Vodník, Houston Grand Designer Chair Chair Karen Reeves Chad Shelton ‡ ¤ Duane Schuler a water sprite Opera Orchestra Rae Smith * Bradley Moore ± Richard Paul Fink ‡ and Chorus Original Lighting Baron Scarpia Mr. and Mrs. Albert B. Alkek Andrzej Dobber * Chair Conductor Designer Reginald Smith Harry Bicket Paule Constable Jr. ‡ ¤ Tchaikovsky Non-subscription WORLD PREMIERE Eugene Onegin Carlisle Floyd Oct. 30, Nov. 1m, 7, 10, 13 Prince of Players Premier Guarantor—The General and Mrs. Maurice Hirsch Mar. 5, 11, 13m Opera Fund Grand Guarantors—Houston Grand Opera Endowment, Inc.; The Andrew W. Mellon Foundation; Mr. and Mrs. David B. Duthu. Guarantor—Mr. and Mrs. Anthony G. Petrello. Grand Underwriter—Lynn Wyatt Eugene Onegin Olga Houston Grand Set and Costume Edward Kynaston Sir Charles Sedley Houston Grand Composer Carlisle Floyd Ben Edquist † Joseph Evans Opera Orchestra is the Lynn Wyatt Great Scott Hendricks ‡ Megan Samarin † Opera Orchestra Designer Artist 2015–16. Tatyana Prince Gremin and Chorus Michael Levine Margaret Hughes Villiers, Duke of and Chorus Ekaterina Dmitry Belosselskiy Conductor Lighting Designer Mane Galoyan † Buckingham Conductor Scherbachenko * Michael Hofstetter Christine Binder Charles II Scott Quinn ‡ Patrick Summers Lensky Production Choreographer Chad Shelton ‡ Margaret Alkek Williams Norman Reinhardt ‡ Robert Carsen Serge Bennathan * Chair Revival Director Chorus Master Director Paula Suozzi * Richard Bado ‡ Michael Gieleta * The Sarah and Ernest Butler Chorus Master Chair

Rachel Portman/Nicholas Wright Wagner The Little Prince Siegfried Dec. 4, 6m, 9±, 11±, 13m ±, 16, 18, 19¤, 20 Apr. 16, 20, 23, 28, May 1m

Grand Guarantor—The Robert and Janice McNair Premier Guarantors—Houston Grand Opera Endowment, Inc.; Mr. John G. Turner Foundation and Mr. Jerry G. Fischer. Grand Guarantor—Medistar. Guarantors—Robin Angly and Guarantor—The Cullen Trust for the Performing Arts Miles Smith; Mrs. Janice Barrow; BBVA Compass. Grand Underwriters—Carol Franc Buck Foundation; Chevron; Dr. Elizabeth Grimm and Dr. Jack A. Roth; Grand Underwriter—The Cullen Foundation Mr. Richard A. Lydecker Jr.; Beth Madison; Mr. and Mrs. J. Landis Martin; Will L. McLendon The Pilot Houston Grand Production Original Lighting Siegfried Alberich Houston Grand Set Designer Joshua Hopkins ‡ Opera Orchestra Francesca Zambello Designer Jay Hunter Morris Christopher Purves Opera Orchestra Roland Olbeter Ben Edquist † ¤ and Children’s Revival Director Rick Fisher Wanderer Erda Conductor Costume Designer The Fox Chorus Ellen Douglas Children’s Chorus Iain Paterson Meredith Arwady Patrick Summers Chu Uroz Sofia Selowsky † Conductor Schlaefer Director Brünnhilde Fafner Margaret Alkek Williams Lighting Designer Bradley Moore Set and Costume Karen Reeves Christine Goerke Andrea Silvestrelli Chair Peter van Praet Mr. and Mrs. Albert B. Alkek Production Designer Mime Projection Designer Chair La Fura dels Baus Maria Bjørnson Rodell Rosel Franc Aleu Emily Senturia † ± Director Carlus Padrissa

Mozart Rogers and Hammerstein The Marriage of Figaro carousel Jan. 22, 24m, 30, Feb. 3, 5, 7m Apr. 22, 24m, 27, 29, 30, May 6, 7

Grand Underwriter—PwC Grand Underwriter—Mr. and Mrs. D. Bradley McWilliams

Figaro Marcellina Production Movement Director Billy Bigelow Enoch Snow Houston Grand Set Designer Adam Plachetka * Catherine Cook Michael Grandage Ben Wright * Duncan Rock * Norman Reinhardt ‡ Opera Orchestra Paolo Ventura * Susanna Dr. Bartolo Revival Director Chorus Master Julie Jordan Nettie Fowler and Chorus Costume Designer Heidi Stober ‡ Peixin Chen ‡ Ian Rutherford Richard Bado ‡ Andrea Carroll ‡ Stephanie Blythe* Conductor Catherine Zuber Count Almaviva Set and Costume The Sarah and Ernest Butler Carrie Pipperidge Jigger Craigin Richard Bado ‡ Lighting Designer Chorus Master Chair Joshua Hopkins ‡ Houston Grand Designer Lauren Snouffer ‡ Ben Edquist † The Sarah and Ernest Butler Neil Austin Countess Almaviva Opera Orchestra Christopher Oram Chorus Master Chair Chorus Master Director/ Ailyn Pérez and Chorus Original Lighting Richard Bado ‡ Cherubino Conductor Designer Choreographer The Sarah and Ernest Butler Lauren Snouffer ‡ Harry Bicket * Paule Constable Rob Ashford Chorus Master Chair

* Houston Grand Opera debut † Houston Grand Opera Studio artist ‡ Former Houston Grand Opera Studio artist ¤ Alternate cast/date ± Alternate conductor 27 Fire Starter Inside the Mind of Richard Wagner ichard Wagner was an igniter. imagination and spirituality of Aeschylus’s He set fi re to language, harmony, trilogy Oresteia where Wagner found the “The word ‘genius’ in and the cultural experience of synthesis of a wide range of divergent German has a special Rgathering for live theater, and the blaze ideas and styles he had been seeking, overtone, even a tinge of is still burning. Over the four centuries and it became his obsession to achieve the demonic, a mysterious of its existence, opera has undergone the same thing in opera. He called the power and energy; a countless cultural and historical shift s that concept gesamtkunstwerk, a total work have aff ected it by varying degrees, but of art. Describing his fi rst reading of genius—whether artist or there was a time before and aft er Richard the Oresteia, Wagner wrote in his 1870 scientist—is considered to Wagner. Culturally speaking, he cleaved autobiography Mein Leben (My Life): have a special vulnerability, the world in two. Th ere was nothing to equal the a precariousness, a life of Th e mania for his “music dramas” exalted emotion evoked in me by constant risk and often close (a term he preferred over “opera”) has Agamemnon; and to the close of to troubled turmoil.” never waned in the century-and-a-third Eumenides, I remained in a state of since his death. Indeed, it is perhaps as transport from which I have never —Fritz stern strong today as it has ever been. Fans of really returned to become fully Einstein’s German World Wagner know every symbol enfolded reconciled with modern literature. within the name of each of Brünnhilde’s My ideas about the signifi cance of Valkyrie sisters and every profession of drama, and especially of the theater every Meistersinger, and they endlessly itself, were decisively molded by these debate the references from various world impressions. religions hidden within Parsifal. Th ere are Wagner tourists who travel the world Th e ancient Greek theater choruses solely to see his operas. Last season’s commented, foretold, and warned both Das Rheingold at HGO was attended by characters and audience, as they were patrons from 41 U.S. states and 14 foreign both within and outside the main action. countries, representing a 309 percent Th ey were the opposite of the actors increase in our “out of town” attendance. themselves, who remained wholly inside the action. Th is magnetism of opposites waGner’s art signifi cantly fi red Wagner’s musical Wagner’s theatrical ideal and chief muse imagination, and he moved this idea was a playwright who shared his own into the dense, large orchestral texture of taste for revolution, the ancient Greek his operas, writing grandly symphonic Aeschylus (525–456 bce). It was in the music with its own philosophical

By PATriCK sUMMers ARTISTIC AND MUSIC DIRECTOR HOUSTON GRAND OPERA

A scene from Die Walküre. Photo by Tato Baeza/Palau de les Arts Reina Sofía.

29 This page: A scene from Die Walküre.

Opposite: Wotan prepares to mete out Brünnhilde’s punishment, Die Walküre.

Photos by Tato Baeza/ Palau de les Arts Reina Sofía.

narrative. As so beautifully stated by time has elapsed for Wotan to sire nine and Brünnhilde). Much of the action of Father M. Owen Lee, The Ring of the daughters with the earth goddess, Erda, Die Walküre is recognizably universal: Nibelung is “the vastest piece of music including the title character, the Valkyrie though the characters are gods, these ever conceived by the mind of man.” Brünnhilde. With a different mother, a deities behave shockingly like the rest of And so it is. Much is discussed about the she-wolf, he fathers the twins Siegmund us. Wotan, whose actions set in motion length of Wagner’s operas, when what is and Sieglinde. In order to maximize their all of the events of Die Walküre, from the actually so remarkable, given the scope chances of recovering the ring, Wotan opening storm to the final foreboding of their ambitious ideas, is their brevity. separates them at birth; that is why, when fire, is left completely heartbroken in they meet as adults, they do not recognize the remarkable scene with his favorite WHAT’S IT ALL ABOUT? each other and fall in love. Wotan has no daughter, Brünnhilde, that ends the opera. Das Rheingold unfolds like a fairy tale children with his lawful wife, Fricka. Also The opera’s most famous music, The that contains within it a symbolic history between the action of Das Rheingold and Ride of the Valkyries, is relatively brief. of sentient life: in the beginning there is Die Walküre, Wotan has been living near It opens the third act and is the music of nothing but hazily undulating water. The the giant Fafner’s cave, hoping to recover war: the Valkyrie sisters are gathering the opera concludes with an overwhelming the stolen gold, the curse of which has bodies of heroes from the battlefield. The blaze of orchestral majesty, a great slow become temporarily dormant because war symbolism was famously extended march across a bridge of rainbows. the giant has used the gold’s power to in Francis Ford Coppola’s use of this Between the outer scenes, the entire transform himself into a dragon now music in his 1979 Vietnam War drama, machine of the Ring’s plot is set in guarding the gold beneath his slumbering Apocalypse Now. motion: the dwarf Alberich has stolen the mass. We will meet Fafner again in the eponymous gold from the Rhinemaidens second act of Siegfried. FINDING WAGNER’S VISUAL “VOICE” and forged it into a ring that has made Die Walküre is an opera about Physical manifestations of Wagner’s him seemingly invincible. In turn, the familial strife and love relationships, and operas have been so wildly diverse that chief of the gods, Wotan, steals Alberich’s thus is heavily weighted with duet scenes it is pointless to even attempt a survey treasure for himself but then must use and soaringly lyrical and longing music: of them, for a brief overview would it to pay the giants Fafner and Fasolt for brother and sister/husband and wife generalize and an analysis of any depth constructing the gods’ fortress, Valhalla. (Siegmund and Sieglinde), competing would take decades of research and At the conclusion of Das Rheingold we lovers of Sieglinde (Hunding and dozens of eventual volumes. Houston are left with a world only intermittently at Siegmund), husband and wife (Wotan Grand Opera’s production, which peace and significantly in danger. and Fricka), cousins (Siegmund and originated at the Palau des Artes in The action of Die Walküre takes place Brünnhilde), and most poignantly, in Valencia, Spain, is by the Barcelona-based many years after Das Rheingold. Enough two scenes, father and daughter (Wotan theatrical troupe La Fura dels Baus,

30 | Opera Cues Spring 2015 www.HGO.org FIRE STARTER

founded by some brilliant nonconformists imagined that Loge, god of fire, would be did not live to see and are fanciful and in the late 1970s to develop various types capable of going anywhere, just like fire beautiful, infused with a rare visual of street theater and to integrate audiences itself. But Loge is only a demi-god and imagination. In the final moments of Die with performers. Blurring the lines does not have the power of flight; hence, Walküre, Wagner’s written instructions between theater and life has been at the the Segway. These are but two examples— for Wotan and his daughter Brünnhilde forefront of their artistic mission. this Ring production is filled with such fill his moving music with even more On the surface, the Ring doesn’t inventiveness, and it is difficult to imagine poignancy: seem a natural fit for this daring and that the provocateur Richard Wagner Wotan lingeringly kisses both her innovative group, which specializes in would not have delighted in it. eyes. She sinks back, with eyes closed, integrating modern technology with old Wagner loved the symbiosis of into his arms, as consciousness slips and traditional theatrical forms. Carlus imagery and music, and a great part of the away…he gazes at her, then closes Padrissa, the director and theatrical appeal of this production is that it can be her helmet; his eye then rests on the force behind this production, had never followed without prior knowledge of the form of the sleeping woman, which seen a production of the Ring cycle Ring cycle and even without glancing at he now covers completely with before creating this one and claims still the supertitles. But surely the profoundest her warrior’s great steel shield…he to have never experienced any other consistent imagery of this production is directs the point of his spear towards Ring. Instead of immersing himself in the centrality of human life, and in this it a large rock…a stream of fire springs the interpretations of others, he chose a aligns most closely with Wagner’s lifelong from the rock, gradually increasing in much riskier but more creative course: to inspirations. The thrilling exoskeleton of intensity until it becomes a brilliant immerse himself in the source literature Valhalla conjures the human toil it would fiery glow…he stretches out his spear that inspired Wagner, seeking to draw an have taken to build it. Even the gold itself as though casting a spell. He then interpretive parallel. is a living entity, not just an extraction gazes sorrowfully back at Brünnhilde, Most importantly, Padrissa traveled from the earth, and Alberich’s terrible turns slowly to leave and looks back to the ancient Greek amphitheater at corruption is depicted not merely as the once more before disappearing Epidaurus, the type of performing space marketing of a commodity, but as the through the flames. The curtain falls. that Wagner aspired to recreate in the devaluation of human life. theater he designed and built exclusively Wagner’s extensive stage directions And his most valiant and radiant for his own works at Bayreuth, Germany. for the Ring make for wonderful reading. daughter, asleep upon a rock, peacefully It was at Epidaurus that Padrissa They anticipate a cinematic era Wagner awaits the arrival of a hero not yet born. discovered the origin of the term deus ex machina (machine of the gods): there, cranes affixed to the top of the stage were used to raise and lower actors portraying gods. This became one of Padrissa’s most important concepts for his Ring. All of the imagery of the Fura Ring production comes from ancient literature. There isn’t a single symbol from the 20th or 21st centuries; if the production resembles science fiction it is only because science fiction shares some of the same sources as the Ring mythology. The technological conveyances are modern, like video or Loge’s Segway, but their symbolism is not: Wagner’s visual imagination was generations ahead of what was physically possible in his era, his frustration about that fact constantly on display in his letters and particularly in Cosima Wagner’s copious diaries. The images displayed by the video are sometimes literal but often carry their own visual leitmotifs, as Wagner’s words and music often convey multiple sets of interlocking images and ideas. Wagner

31 32 | Opera Cues Spring 2015 www.HGO.org C DIfyING By PAUL HOPPer HGO DRAMATURG A KILLER WHO—And WHAT—is SWEENEY TODD?

he human brain craves swept off their feet by dashing leading categorization. Developing minds men, choruses remaining subordinate seek out patterns, repetition, and to the individualism of the principals, Tordered structures in order to organize, and plots wrapped up comfortably and identify, and classify day-to-day behavior. succinctly. Th is framework of standard situations, Opera, of course, comes with its own known as schemas, allows the brain to litany of expectations. We envision the extract common elements to categorize formality of a darkened hall, dazzling events. Th ese structures help us identify costumes and grand scenery, tragic divas and diff erentiate between a birthday party in complex love triangles, and the human and a funeral, a Mozart sonata and a voice reigning as the highest priority. Photo by Marie-No ë lle Robert Madonna album, a domesticated dog and Sweeney Todd does not give either a wild beast. audience exactly what it expects. But what happens when reality In many ways, Sweeney Todd’s falls outside the realm of expectation? mosaic construction, rapidly shift ing Herein lies the allure of Sweeney Todd. moods, recurrent leitmotifs, and complex Stephen Sondheim’s chilling and yet vocal ensembles defi ne it as an opera. comedic take on the story of a demon Spoken dialogue, gut-busting comedy, barber bent on revenge has baffl ed and a premiere on Broadway shift our A scene from Sweeney Todd, Théâtre du Châtelet and intrigued audiences since its 1979 expectations much closer to musical premiere. Refusing to fall politely into theater. Aft er the Broadway premiere any one category, the piece challenges the on March 1, 1979, a successful run in audience to question what we anticipate London’s West End and a U.S. national they were done in opera houses, they were from a serial killer, and eventually asks tour followed. Houston Grand Opera and operas.” By this measure, Sweeney can that we sympathize with this man who New York City Opera were the fi rst opera undoubtedly be considered an opera. may be teetering on the edge of sanity. companies to produce the work, in 1984, Nomenclature aside, the greatness of Sweeney Todd lives in this tense land of which may have added to the confusion of Sweeney Todd is palpable from the fi rst shattered expectations. how to categorize the piece. crash of the organ. Sondheim, who had musicaL or oPera? Sondheim himself thinks that been mentored by his surrogate father Th e perennial question when approaching one defi ning characteristic may be the Oscar Hammerstein II from a very early Sweeney Todd remains “Is it a musical, context of the performance. Speaking of age, learned how Hammerstein penned or is it an opera?” Th e answer lies in the Gian-Carlo Menotti’s works, Sondheim the now-iconic lyrics to Oklahoma!, expectations of an audience. A century of once said, “I truly believe that when Th e Show Boat, and South Pacifi c—and then great American musicals has instructed Medium and Th e Telephone were done on promptly rejected the style. Beginning the audience to anticipate ingénues being Broadway, they were shows…And when with West Side Story, Sondheim craft ed

33 Pirelli takes up Sweeney Todd's challenge to a shav- ing contest; Mrs. Lovett, the piemaker, in Sweeney Todd, Théâtre du Châtelet Photos by Marie-No ë lle Robert

lyrics that operated on a deeper level, Much like his fellow eminent with great effectiveness. As Todd himself setting rhymes to illuminate characters, American composers Charles Ives, Aaron says, “there are two types of men and not simply to fit the melody. Copland, George Gershwin, and Leonard only two” and his razor-fast shifts from Sondheim’s superior lyrics are Bernstein, Sondheim does not fit into melodrama to farce provoke both comedy apparent from the first vocal entrance either category of popular or classical. and uncertainty. when the chorus describes the mysterious Instead (to use his own words to describe In the grand sequence that closes Todd. Sondheim takes his single-syllable Rodgers and Hammerstein’s Carousel) the first act, Todd laments his missed last name and rhymes it with odd, trod, he exists in the twilight zone—the space opportunity at getting the revenge he nod, and God. Unexpected turns in the between musicals and opera that is full of has so longed for. Through the course lyrics, rhythm, and melody paint a vivid possibility, free of restrictions, and open of “Epiphany”—which undoubtedly picture of our title character as the piece for exploration. constitutes an aria—we watch Todd explodes into action. Joanne Gordon, author of Art Isn’t change from wanting to kill only one Tension… Easy: The Theater of Stephen Sondheim, man to proclaiming that all should die: Sondheim says that in Sweeney Todd, he variously calls him an avant-garde artist “Because the lives of the wicked should be set out to write a score for a horror film. working in the populist art form; an made brief/For the rest of us, death will “All those chords, and that whole kind of acerbic cynic who manages to capture be a relief/We all deserve to die!” In this harmonic structure…the use of electronic the ambivalent pain of passion; a moment we see our title character shift sounds and the loud crashing organ had brilliant intellectual who excels in bawdy, from a vengeful husband and father to a a wonderful Gothic feeling. It had to be lascivious comedic wit. cold-blooded serial killer. unsettling, scary, and very romantic.” …and Release The melodrama then modifies to Inspiration was found in the music When Sondheim attended a farce as Mrs. Lovett, an unsuccessful of Bernard Hermann, Alfred Hitchcock’s performance of Christopher Bond’s piemaker, suggests a mutually beneficial preferred composer of film soundtracks. play Sweeney Todd: The Demon Barber solution to their current problems. The Hermann penned the iconic scores for of Fleet Street, he was delighted that hilarious “Have a Little Priest” juxtaposes Psycho, Vertigo, and North by Northwest, it was not a naturalistic horror show Todd’s smooth waltz rhythms with Lovett’s and Sondheim was fascinated by his à la Grand-Guignol, the Parisian incessant chattering in excruciating use of dissonance to sustain tension theater that specialized in the genre. counterpoint as they contemplate the over time—which he effectively uses Sondheim found himself enraptured by various kinds of human flesh they will throughout the entirety of the score, a compelling melodrama that splintered use in their pies, leaving the audience particularly in scenes with spoken his expectations. “Melodrama and farce cackling their way into the intermission. dialogue over orchestral underscoring. are my two favorite forms of theater Didn’t expect to be laughing Sondheim says, “I figured the only way because…they are obverse sides of the at a thriller musical drama about a to tell a horror story is to keep musical same coin,” he says. vengeful serial killer? Don’t expect texture going, because in most horror In adapting the century-old story that to despise our title character by films what really scares you, apart from was the source material for Bond’s play, the end of the show either. the lighting and makeup, is the music.” Sondheim balanced tension and release

34 | Opera Cues Spring 2015 www.HGO.org CODIFYING A KILLER

Mad Man—or Bad Man? Sweeney is much more than a fantasy villain, victim or perpetrator? When he In the more romantic days of world. It is an intense and slippery finally snaps under the weight of his own psychiatry, there was a mental disorder universe where tension and release are obsession, are we to pity his madness or called folie à deux— craziness for two. manipulated to keep us off guard. An condemn his evil? And how do we feel Lovett and Todd are bound by mutual off-balance audience is more vulnerable about our reactions to him? It’s relatively madness, sharing a skewed view of the to artistic vision, and Sondheim uses easy to assign the label of “insane” to a universe and bolstering each other’s plot twists to engage our higher thinking serial killer who is not in control of his distortions while warbling happily about levels, while sustained dissonance own actions; the alternative is to believe pies made out of people. This shared creates visceral tension deep beneath the that Todd, a character we have come to madness also happens on a larger scale surface. Comedy sweeps in at the last see as fully human, is also fully lucid. between the artists and the audience. moment to release the tension, only to In the final scenes of the piece, while The theater beckons us to enter another slowly start building it back again. As our serial killer’s hands drip with blood, world, and to follow and believe this beliefs are redefined and juxtaposed with our expected schema is washed away and other domain. Ventures to the theater can cacophonous aural landscapes and wry we’re left with feelings of compassion be seen as our own desire to experience humor, the audience must be attentive, instead of loathing toward the titular madness; we enter a darkened room and contemplative, and hyper-aware. source of terror. Simply attending Sweeney surrender to an alternate reality created Sondheim has created the perfect Todd is no small feat, but surrendering by other minds using only sound, shapes, comic villain in the sociopath Mrs. Lovett. to the brilliance of Stephen Sondheim’s movement, and light. The more clever the Her crimes are subtler than Todd’s, and storytelling leaves us breathless, minds, the easier it is to submit to this while she claims to love him, her first bewildered, and wondering if the next other world. reaction to his unraveling is to try to Sweeney is already watching and waiting. make a profit. Todd, on the other hand, is much more complex. Is he hero or

35 COMPANY NEWS

Houston 2014 – 2017

das rHeinGoLd sieGfried aPriL 11 – 26, 2014 aPriL 16 – maY 1, 2016 die waLKÜre GÖtterdÄmmerunG aPriL 18 – maY 3, 2015 aPriL 22 – maY 7, 2017

36 | Opera Cues Spring 2015 www.HGO.org COMPANY NEWS

rinG Leaders

Premier Guarantors Grand underwriters Mr. John G. Turner and Mr. Jerry G. Fischer The Brown Foundation Houston Grand Opera Endowment, Inc. Houston First Corporation Medistar Corporation Mr. and Mrs. Richard Husseini Muffy and Mike McLanahan GRAND GUARANTORS The Vaughn Foundation Robin Angly and Miles Smith William V. Walker Mrs. Janice Barrow BBVA Compass underwriters Carol Franc Buck Foundation William E. Colburn Dr. Jack A. Roth and Dr. Elizabeth Grimm Frances Marzio Norton Rose Fulbright Guarantors Chuck and Michelle Ritter Chevron The Stedman West Foundation Dr. and Mrs. Michael Cochran Nancy and Sid Williams Houston Saengerbund Donna Kaplan and Richard A. Lydecker Beth Madison Sharon and J. Landis Martin Will L. McLendon Dr. and Mrs. John Mendelsohn Miss Catherine Jane Merchant Elizabeth Phillips Donald and Rhonda Sweeney John and Sheila Tweed Birgitt van Wijk

For information on providing leadership support for the Ring, please contact Greg Robertson at 713-546-0274.

37 Houston Grand oPera Presents Die WalkÜre

A Music Drama in Three Acts Music and Libretto by Richard Wagner Brown Theater, Wortham Theater Center Sung in German with Projected English Translation

cast (in order of VocaL aPPearance) Siegmund Simon O’Neill Lynn Wyatt Great Artist 2014–15 Sieglinde Karita Mattila Hunding Ain Anger Wotan Iain Paterson Brünnhilde Christine Goerke Fricka Jamie Barton ‡ Sponsored by Dr. and Mrs. Michael Cochran Gerhilde Julie Makerov * Helmwige Kelly Kaduce Waltraute Catherine Martin ‡ Schwertleite Meredith Arwady Ortlinde Natalya Romaniw ‡ Siegrune Eve Gigliotti * Grimgerde Renée Tatum Rossweisse Faith Sherman ‡

A co-production of Palau de les Arts Reina Sofía, Valencia, and Maggio Musicale, Florence. Houston Methodist is the offi cial health care provider for Houston Grand Opera. United Airlines is the offi cial airline of Houston Grand Opera. The activities of Houston Grand Opera are supported in part by funds provided by the City of Houston and Theater District Improvement, Inc., and by a grant from the Texas Commission on the Arts.

38 | Opera Cues Spring 2015 www.HGO.org APRIL 18 22 25 30 MAY 3 m 2015

creatiVe team Conductor Patrick Summers Margaret Alkek Williams Chair Production La Fura dels Baus Director Carlus Padrissa Associate Director Esteban Muñoz Set Designer Roland Olbeter D Costume Designer Chu Uroz I Lighting Designer Peter van Praet E Video Designer Franc Aleu Lighting Realizer Antonio Castro * W Musical Preparation Peter Pasztor ‡ A Bradley Moore L Mr. and Mrs. Albert B. Alkek Chair K Christopher Turbessi † Ms. Marianne Kah/Joan Hacken Bitar, M.D., Fellow Ü German Diction Coach Irene Spiegelman R Stage Manager Christopher Staub E Assistant Director Katrina Bachus Surtitles by Paul Hopper

Production credits Surtitles cued by Emily Senturia † Beth Madison Fellow Catherine Schaefer (April 25)

Performing artists, stage directors, and choreographers are represented by the American Guild of Musical Artists, the union for opera professionals in the United States. Scenic, costume, and lighting designers and assistant designers are represented by United Scenic Artists, I.A.T.S.E., Local USA-829. Orchestral musicians are represented by The Houston Professional Musicians Association, Local #65-699, American Federation of Musicians. Stage crew personnel provided by I.A.T.S.E., Local #51. Wardrobe personnel provided by Theatrical Wardrobe Union, Local #896. This production is being recorded for archival purposes.

* Houston Grand Opera debut † Houston Grand Opera Studio artist ‡ Former Houston Grand Opera Studio artist

39 Synopsis Die WalkÜre DIE WALKÜRE lasts approximately 4 hours and 50 minutes, including TWO intermissions.

Act I fight. He doesn’t explain that Siegmund escape. Brünnhilde bravely remains to is the hero he has been grooming to do face Wotan’s wrath: he strips her of her On a stormy night, exhausted from what his treaties forbid him to do: regain divinity, making her a mortal woman, and fighting, Siegmund stumbles upon a the ring. But Fricka, Wotan’s wife and decrees that she be left asleep until a house where he seeks shelter. It is the the goddess of marriage, is outraged by man awakens her and claims her as his home of Sieglinde and her ill-tempered the incestuous relationship of Sieglinde wife. She implores Wotan to surround her husband, Hunding. As Sieglinde tends and Siegmund and insists that Hunding’s with a wall of fire so that only the bravest to her unexpected visitor; they are marital rights should prevail. Wotan of men would ever attempt to penetrate instantly and deeply attracted to one realizes that if he doesn’t enforce the law, it. Wotan then invokes Loge, the god of another—which does not go unnoticed he will lose his power, so he reverses his fire, and leaves her alone on the mountain by Hunding when he arrives. He asks the instructions to Brünnhilde: she is now to surrounded by flames. stranger who he is: Siegmund explains fight for Hunding. that his mother was killed and his sister HGO Performance History abducted. He wandered for some time Brünnhilde appears to Siegmund telling Die Walküre is the only Ring opera staged with his father, who later abandoned him. him that he will die in the duel and at HGO prior to the current cycle. The In trying to save a young woman from a instructs him to follow her to Valhalla. company’s sole staging of the opera forced marriage, he killed her brothers When he learns that Sieglinde cannot took place during the 1959–60 season. and was pursued by relatives seeking accompany him there, however, he Margaret Harshaw, one of the most vengeance. Hunding replies that he was tells Brünnhilde he will not go. Moved important Wagnerian heroines of her day, among the kinsmen searching for him and by his love for Sieglinde, Brünnhilde was the Brünnhilde, and the great Jerome warns Siegmund to be ready to fight the decides to disobey Wotan and help Hines sang Wotan. next day. Siegmund. A furious Wotan appears and shatters Siegmund’s sword, But Siegmund has no weapon—his sword allowing Hunding to kill him. With a was wrenched away from him during his Performances beginning at 6 p.m. will wave of his hand, Wotan kills Hunding, last battle. Alone, he calls on his father end at approximately 10:50 p.m. and then sets out to find Brünnhilde, for the sword he once promised him. who has escaped with Sieglinde and The performance beginning at 2 p.m. will Sieglinde returns, having given Hunding a the shards of the broken sword. end at approximately 6:50 p.m. sleeping potion so that the stranger can flee. She shows him a sword imbedded Intermission in an ash tree, having been thrust into Act III At HGO performances, the excellent it by a mysterious visitor. She explains natural acoustics of the theaters that many have tried to pull it out, but all On their way to Valhalla with the slain in the Wortham Theater Center are failed. Siegmund realizes the sword is the heroes they have gathered, the Valkyries relied upon to convey sound from one promised by his father, and Sieglinde are assembling on a mountaintop when the stage and pit. Electronic sound recognizes Siegmund as her own twin Brünnhilde arrives with Sieglinde. When enhancement is used only with spoken brother. Siegmund pulls the sword from they learn Brünnhilde has disobeyed dialogue (as in The Merry Widow), in the tree and claims Sieglinde as his bride. Wotan and that he is pursuing her, they musicals (as in A Little Night Music), are afraid to help her and Sieglinde to Intermission in sound effects (thunder), and at the hide. In despair, Sieglinde wishes she had composer’s direction (as in Nixon in Act II died with her lover, but when Brünnhilde China and The Little Prince). Visible tells her she is carrying Siegmund’s As Siegmund and Hunding prepare for microphones are positioned to record child, she is eager to survive. Brünnhilde their duel, Wotan, leader of the gods, tells performances for archival purposes. gives her the pieces of the sword, saying his daughter, the Valkyrie Brünnhilde, that the child will grow up to forge the that she must defend Siegmund in the pieces anew, and Sieglinde makes her

40 | Opera Cues Spring 2015 www.HGO.org Houston Grand Opera Orchestra Patrick Summers, Artistic and Music Director Margaret Alkek Williams Chair

VIOLIN DOUBLE BASS BASS TRUMPET Denise Tarrant *, Concertmaster Dennis Whittaker *, Principal Brent Phillips The Sarah and Ernest Butler Concertmaster Chair Erik Gronfor *, Assistant Principal Jonathan Godfrey *, Assistant Concertmaster Carla Clark * TROMBONE Erica Robinson *, Principal Second Violin Hunter Capoccioni Thomas Hultén *, Principal Carrie Kauk *, Assistant Principal Second Violin Paul Ellison Mark Holley * Deborah Dunham Miriam Belyatsky * BASS TROMBONE Rasa Kalesnykaite * PICCOLO Ilan Morgenstern * Hae-a Lee * Izumi Miyahara Jeremiah Stones Sarah Ludwig * Chavdar Parashkevov * FLUTE Anabel Ramirez * TUBA Seth Allyn Morris *, Principal Mark Barton *, Principal Mary Reed * Christina Medawar * Linda Sanders * Melissa Suhr Oleg Sulyga * HARP Sylvia VerMeulen * Joan Eidman *, Principal Melissa Wilmot * OBOE Laurie Meister D Elizabeth Priestly Siffert *, Principal Matthew Detrick I Robin Hough * Aloysia Friedmann TIMPANI E Spring Hill Andrés González Nancy Nelson *, Principal Emily Herdeman Kelly W Kana Kimura ENGLISH HORN PERCUSSION A Robert Atherholt Fiona Lofthouse Richard Brown *, Principal L Christina Carroll Mila Neal K Sylvia Ouellette CLARINET Karen Slotter Ü Rachel Shepard Sean Krissman *, Principal Trung Trinh Eric Chi * ORCHESTRA PERSONNEL MANAGER R Hannah Watson James P. Johnson Richard Brown * E

VIOLA BASS CLARINET * HGO Orchestra core musician Molly Mayfield † HGO Orchestra core musician on leave this Eliseo Rene Salazar *, Principal production Lorento Golofeev *, Assistant Principal Mary Fulgham † BASSOON Gayle Garcia-Shepard * Amanda Swain *, Principal Erika C. Lawson * Joseph Grimmer † Suzanne LeFevre † Conrad Cornelison Kostadin Dylgurski Nathan Koch Elizabeth Golofeev Meredith Harris FRENCH HORN Jarita Ng Sarah Cranston *, Principal John Ward Kimberly Penrod Minson * Dawson White Scott Strong † Scott Höhn CELLO Alex Kovling Barrett Sills *, Principal Kevin McIntyre Louis-Marie Fardet *, Assistant Principal Emily Nagel Erika Johnson * Spencer Park Wendy Smith-Butler * Gavin Reed Steven Wiggs * James Wilson Max Dyer Steve Estes TRUMPET Shino Hyashi Jim Vassallo *, Principal Randal Adams * George Chase

41 Supernumeraries

claire anderson crane operators kaleb babb domingo Fos Ferrandis brandon balque lucas Fedell melanie bell lorenzo gabaldón ortiz danielle bunch Ferrán garrigues insa laura estrada Joel grothe Samuel Flash brock hatton amanda gamel kendrick lattimore Storey hinojosa andrew love emily Jesse darnea Steven olson lydia lara enrique Jose Sanmartin paya Stephanie marzuola lenvi tennessee nicole mcneil aki ohinata diana a. perez christian Quiroga dustin Salinas ori Shalev cicily Smith mika Stepankiw taelon Stonecipher Vicki Wood

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42 | Opera Cues Spring 2015 www.HGO.org Who’s Who Die WalkÜre

Patrick Summers (United States) ojo, which opened the Valencia Biennial, attracted an audience Margaret Alkek Williams Chair of more than 20,000. A number of courses and workshops Conductor have trained actors in Furan language. La Fura’s work in opera HGO Appearances: HGO Artistic and Music includes productions of Atlántida, The Martyrdom of Saint Director Patrick Summers has conducted Sebastian, The Damnation of Faust, The Magic Flute, Le grand more than fifty operas at HGO since macabre, Aida, and A Masked Ball (Australia’s Helpmann joining the company in 1998. Award for best opera direction). In 2010, for the first time in About the Artist: Patrick Summers was named artistic and its history, La Fura dels Baus visited five continents, with two music director of HGO in 2011 after having served as the macroshows in South America, an opera and a macroshow in company’s music director since 1998. He has been responsible Australia, a macroshow in Africa, more than 500 performances for many of HGO’s important artistic advances, including in the Spanish pavilion of the Universal Exhibition in Shanghai, the development of the Houston Grand Opera Orchestra. and numerous performances in Europe, including premieres At HGO, he has conducted the world premieres of André at La Scala, Teatro Real de Madrid, and the Mariinsky Theater. Previn’s Brief Encounter, Christopher Theofanidis’s The Refuge, In December 2013 and 2014, La Fura organized the city of Jake Heggie’s The End of the Affair and Three Decembers, and Barcelona’s New Year’s Eve celebration, which brought an Carlisle Floyd’s Cold Sassy Tree; Verdi’s Don Carlos, La traviata, audience of 70,000 each time. Nabucco, Rigoletto, Il trovatore, Simon Boccanegra, Falstaff, and Carlus Padrissa (Spain) A Masked Ball; Puccini’s La bohème, Madame Butterfly, Manon D Lescaut, and Tosca; Mozart’s Così fan tutte, The Marriage of Director HGO Appearances: Das Rheingold (2014). I Figaro, Don Giovanni, The Abduction from the Seraglio, and E Idomeneo; Donizetti’s Mary Stuart, The Elixir of Love, Lucia di About the Artist: Carlus Padrissa is one of Lammermoor, and Don Pasquale; Lehár’s The Merry Widow; the six artistic directors of the innovative W Spanish theater company La Fura dels Handel’s Julius Caesar; Rossini’s The Barber of Seville; Strauss’s A Baus, founded in 1979. Padrissa was the Ariadne auf Naxos; Britten’s Billy Budd, A Midsummer Night’s L Dream, The Turn of the Screw, and Peter Grimes; and Wagner’s driving force behind the group’s participation in the opening ceremony of the 1992 Barcelona Olympic Games, which he and K Das Rheingold, Tristan and Isolde, and Lohengrin. He has also led Ü HGO’s Show Boat and the American premiere of Weinberg’s The Àlex Ollé directed in collaboration with Hansel Cereza, Jordi R Passenger (at HGO and on tour to the Lincoln Center Festival). Arús, Miquel Badosa, and Pera Tantiñá. Padrissa’s early work E He conducts regularly at the Metropolitan Opera and is principal in opera and in collaboration with Àlex Ollé and the plastic guest conductor for San Francisco Opera. Earlier this season at artist Jaume Plensa began with Falla’s La Atlántida (1996) and HGO, he conducted Otello and Così fan tutte; he also conducted Debussy’s Le martyre de Saint Sébastien (1997). These were Anna Bolena at Lyric Opera of Chicago and will lead The followed by La damnation de Faust (Salzburg Festival); The Marriage of Figaro at San Francisco Opera this summer. Magic Flute (Ruhr Biennale); and Bartók’s Bluebeard’s Castle and Janáček’s song cycle Diary of a Missing Person (Paris Opera LA FURA DELS BAUS (Spain) and Gran Teatre del Liceu). One of La Fura’s most ambitious Production projects was converting the ship Naumon, a barge 60 meters long HGO Appearances: Das Rheingold (2014). and weighing 1,100 tons, into a modern floating performance La Fura dels Baus is the innovative Barcelona-based theater center that has logged more than 40,000 miles from the Atlantic group behind this production of Wagner’s Die Walküre. Ocean via the Mediterranean all the way to the China Seas. The Established in 1979, La Fura began as a street theater group and company describes it as “a series of shows brought together by a over the years has developed its own “Furan language,” style, and journey.” Padrissa has also directed Turandot (2011) at Bavarian aesthetics based on collective creation. Since the early 1990s, State Opera, Stockhausen’s Michaels Reise um die Erde in its La Fura dels Baus has diversified its creative efforts, moving Austrian premiere and on an international tour that included into plays, digital theater, film, opera, and major corporate the Lincoln Center, Tannhäuser (2010) at La Scala, Les Troyens events. La Fura produced the opening ceremony for the 1992 (2010) at the Palau de les Arts of Valencia and the Mariinsky Barcelona Olympics, which was broadcast and watched live by in St. Petersburg, Parsifal (2013) at the Cologne Opera, Elektra more than 500 million viewers. Since then, such companies as (2014) in Sweden, and many others. Pepsi, Mercedes-Benz, Peugeot, Volkswagen, Swatch, Airtel, Microsoft, Absolut Vodka, Columbia Pictures, Warner Bros., the Port of Barcelona, Telecom Italia, and Sun Microsystems have commissioned the group to produce large-scale “macro” shows for them around the world. La Fura’s production L’home del mil·leni, celebrating the new millennium, drew an audience of more than 20,000 in Barcelona; Divine Comedy was performed in Florence for more than 35,000 spectators; La navaja en el

43 Who’s Who Die WalkÜre

Esteban Muñoz (Chile) composer Elena Kats Chernin to be played by instruments he Associate Director created, to premiere in summer 2016. HGO Appearances: Das Rheingold (2014). About the Artist: Esteban Muñoz studied Chu Uroz (Spain) performance, musicology, and art history Costume Designer HGO Appearances: at the Ludwig Maximilian University in Das Rheingold (2014). About the Artist: Munich, completing a master’s degree in Chu Uroz studied at dramaturgy at the Bavarian Theater Academy. He began his the Barcelona and Vallès Schools of career as stage manager at the Teatro Municipal in Santiago de Architecture before specializing in Chile, where he later acted at assistant director and production industrial design at the Elisava School of manager. He has worked as assistant to directors including Design. In 1985, he began working with Basi S.A.–Lacoste and Calixto Bieito, Michael Hampe, Emilio Sagi, Christian Boesch, joined the firm of the Barcelona menswear designer Armand Balázs Kovalik, and Hugo de Ana in productions of the Teatro Basi. In 1992, Uroz participated in the artistic direction of the Municipal de Santiago de Chile, Teatro del Lago (Chile), Opéra ceremonies of the Olympic Games in Barcelona, receiving the de Lausanne, and at the Prince Regent Theater in Munich and Gold Award for his conceptual work in designing the official numerous open-air opera productions. Since 2011, he has Barcelona Olympic coins. For ASICS, the official shoe supplier of worked closely with Carlus Padrissa and La Fura dels Baus. He the 1992 Olympics, he designed a Tiger Onitsuka shoe that was has frequently been invited to the Bavarian State Opera, where worn by all the Olympics staff and torchbearers and became an he principally works as an assistant director. Muñoz won the emblem of the games. Uroz’s work in cinema includes films of 2013 ProArte Prize (Chile) for Young Artist of the Year. His the late director Bigas Luna including Jamón, jamón (production most recent engagements include the dramaturgy of Vivier’s designer and art director), Huevos de oro (curator and film Kopernikus for the Munich Biennale and Martín y Soler’s L’a r b o r e production), Yo soy la Juani and Di Di Hollywood (production di Diana at the Prince Regent Theater in Munich. Upcoming designer), Comedias bárbaras and Gaudir nouvelle (artistic productions include Jephtha’s Daughter with choreographer Saar director), and Second Origin, to be released this year. With the Magal for the Munich Opera Festival and a new production band U2, Uroz has worked as a stage and wardrobe consultant. of Berlioz’s Benvenuto Cellini as associate director with Carlus He began to work as costume designer and art director with La Padrissa for the Cologne Opera. Fura dels Baus in 2000; he won the Abbiati Prize for his work on La Fura’s Das Rheingold and Die Walküre. Other collaborations Roland Olbeter (Germany) with La Fura dels Baus include the opening ceremony of Set Designer the Valencia Biennale (2001) and the operas Les Troyens, HGO Appearances: Das Rheingold (2014). Tannhäuser, the world premiere of Babylon, Aida for the Verdi About the Artist: Roland Olbeter has bicentenary at the Arena di Verona, and many others. lived and worked in Barcelona since 1986. Formally trained as a concert Peter van Praet (Belgium) violinist, and a member for two years of Lighting Designer HGO Appearances: the Junge Deutsche Philharmonie, he has worked extensively Das Rheingold (2014). About the Artist: for the theater, opera, and cinema, as well as for sound and Peter van Praet began his kinetic installations. In his work for opera, he has collaborated career managing the technical lighting intensively with Carlos Padrissa of La Fura dels Baus for many department of the Flemish Opera. He has years. He won the Franco Abbiatti award for the design of this designed lighting for many productions ů production of the Ring. His work has been seen at the Gran by Robert Carsen, including Jen fa, The Cunning Little Vixen, Teatre del Liceu, ​​La Scala, Suntory Hall in Tokyo, the Maggio Katya Kabanova, and Richard III at the Flemish Opera; Rusalka Musicale, Vienna Pocket Opera, Cologne Opera, the Mariinsky and Capriccio in Paris; Fidelio in Amsterdam and Florence; Les in St. Petersburg, the Bavarian State Opera, the Arena di Verona, Boréades in Paris and New York; Tosca at Gran Teatre del Liceu; and New York’s Lincoln Center, among others. He has worked Der Rosenkavalier in Salzburg; La traviata at La Fenice; Elektra with some of the most prestigious conductors in the world, such in Tokyo; A Midsummer Night’s Dream in Barcelona; Iphigénie as Eliahu Inbal, Zubin Mehta, Valery Gergiev, Lorin Maazel, en Tauride at Lyric Opera of Chicago, the Royal Opera, Covent Kent Nagano, Peter Rundel, and Howard Arman. For the past Garden, and in Madrid and Toronto; Candide at La Scala, 15 years, Olbeter has worked on developing electro-acoustic English National Opera, and in Japan; The Makropulos Case instruments to perform music in festivals and museums with the and The Cunning Little Vixenin Strasbourg; Don Giovanni at support of the German high-tech company Festo. He realized the La Scala; Falstaff at the Royal Opera, Covent Garden, La Scala, opera Orlando furioso for five robotic instruments and soprano and the Metropolitan Opera; and the creation of JJR (Citoyen with music by German composer Michael Gross. He is working de Genève) in Geneva. With director Pierre Audi, Van Praet on a full-scale automatic puppet opera with music by Russian has lit productions of Les Troyens (Amsterdam) and Alcina and Zoroastre (Drottningholm and Amsterdam). His work with La Fura dels Baus also includes Les Troyens, Le grand macabre, and

44 | Opera Cues Spring 2015 www.HGO.org Oedipe (Brussels, Buenos Aires). With La Fura director Valentina Carrasco, he lit the Colón-Ring (an abridged version of Wagner’s Ring for Teatro Colón) and Th e Turn of the Screw (Lyon). Future projects with Robert Carsen include the world premiere of CO2 at La Scala, A Midsummer Night’s Dream in Aix-en-Provence, and Les fêtes vénitiennes in Toulouse and at the Brooklyn Academy of Music.

Antonio Castro (Spain) Lighting Realizer Houston Grand Opera debut About the Artist: Antonio Castro began his career in lighting as a result of his training in electrical engineering combined with his work as a lighting technician with Cánovas Th eater in Málaga (Spain). Aft er graduating with honors, he joined several theater companies as a technician on tours, and later as a lighting designer for theater, dance, and live music. He has cooperated with the D School of Dramatic Arts and the Conservatory of Dance of I Málaga, and with Escénica (Andalusian Center for Performance E Studies). Since 2006 he has been working at the Palau de les W Arts Reina Sofía (Valencia Opera House), currently as the A resident lighting designer, where he has collaborated with such lighting designers as Guido Levi, Albert Faura, Peter L van Praet, Bruno Poet, Felice Ross, and Eduardo Bravo and K stage directors such as Pierluigi Pier’Alli, Henning Brockhaus, Ü Carlos Saura, Jonathan Miller, and Davide Livermore. Some R of his recent work includes designing lighting for Mefi stofele, E Th e Telephone, Amelia al ballo, Th e Marriage of Figaro, Dido and Aeneas, Tristan und Isolde, Così fan tutte, L’incoronazione di Dario, Juditha Triumphans, and La forza del destino, among many others. La forza del destino was recognized with a 2014 Campoamor Award in the category of Best Opera Production.

Franc Aleu (Spain) Video Designer HGO Appearances: Das Rheingold (2014) About the Artist: Visual artist Franc Aleu is a recent winner of the Catalonian government’s prestigious National Culture Award in the audiovisual category. He has created scenic and visual eff ects for theater, dance, and opera, and his work has been seen in the major theaters and opera houses of the world, including Gran Teatre del Liceu, La Scala, La Monnaie, Teatro Colón, Maggio Musicale, and Vienna Pocket Opera, among others. He has worked with such noted conductors as Zubin Mehta, Valery Gergiev, the late Lorin Maazel, and Kirill Petrenko. He also works in creative disciplines outside the performing arts: he has created visual projections on facades of landmark buildings such as Barcelona’s City Hall and the Catalan Parliament and he works in advertising, design, conceptualization, and direction of all kinds of events. He has created architectural designs for exhibition pavilions such as the Expo Zaragoza 2008, for which he designed the building for the Extreme Water exhibition and conceptualized all the content for

45 Who’s Who Die WalkÜre the exhibition. Besides his own work as an artist, he gives master Wotan in a concert performance of Das Rheingold conducted by classes and lectures about his work in major European cultural Daniel Barenboim as part of the Berlin State Opera’s production centers such as Milan, Cologne, Madrid, and Barcelona. of the Ring cycle at the BBC Proms; the Ring cycle revival at the Royal Opera, Covent Garden; Don Giovanni at ENO; Christine Goerke (United States) Götterdämmerung in Munich and at the Metropolitan Opera; Soprano—Brünnhilde Das Rheingold in Berlin and debut at La Scala; Forester in The HGO Appearances: Princess Eboli in Don Cunning Little Vixen for Bergen National Opera; and Beethoven’s Carlos (2012), Prima Donna/Ariadne Symphony No. 9 with the City of Birmingham Symphony in Ariadne auf Naxos (2011), Ortrud in Orchestra conducted by Andris Nelsons. He will again portray Lohengrin (2009), Fiordiligi in Così fan Wotan/Wanderer at HGO next season as Wagner’s Ring cycle tutte (2001). continues with Siegfried. About the Artist: Christine Goerke has sung much of the great soprano repertoire, beginning with the Mozart and Handel Karita Mattila (Finland) heroines and now moving into the dramatic Strauss and Wagner Soprano—Sieglinde roles. She has received acclaim for her portrayals of the title roles HGO Appearances: Leonore/Fidelio in in Elektra, Ariadne auf Naxos, Norma and Iphigénie en Tauride; Fidelio (2011), title role in Manon Lescaut Kundry in Parsifal; Ortrud in Lohengrin; Leonora in Fidelio; (2006), Donna Anna in Don Giovanni Eboli in Don Carlos; Dyer’s Wife in Die Frau ohne Schatten; (1991), Fiordiligi in Così fan tutte (1990, Rosalinde in Die Fledermaus; Ellen Orford in Peter Grimes; 1988). Female Chorus in The Rape of Lucretia; Alice in Falstaff; and About the Artist: This season, Karita Mattila sings Janáček’s Jenůfa Madame Lidoine in Dialogues des Carmélites. Her recording of at the Hamburg State Opera, the title role of Ariadne auf Naxos Vaughan Williams’s A Sea Symphony with Robert Spano and the at the Paris Opera, and concerts with Lisbon’s Gulbenkian Atlanta Symphony Orchestra won the 2003 Grammy Award for Orchestra, the San Francisco Symphony, and on many stages Best Classical Recording and Best Choral Performance. Her close of her native Finland. She has collaborated with such directors association with the late Robert Shaw yielded several recordings as Luc Bondy in Don Carlos, which she performed in Paris including the Brahms Liebeslieder Waltzes, Poulenc’s Stabat and London and at the Edinburgh Festival; Lev Dodin in his Mater, Szymanowski’s Stabat Mater, and the Grammy-nominated productions of Elektra for the Salzburg Easter Festival, and recording of Dvořák’s Stabat Mater. Earlier this season, she made The Queen of Spades and Salome at the Opéra National de her first fully staged performances as Brünnhilde in Die Walküre Paris; Peter Stein for his Simon Boccanegra in Salzburg and with Canadian Opera Company, performed the title role in Don Giovanni in Chicago; and Jürgen Flimm for his Fidelio Florencia en el Amazonas at the Washington National Opera, at the Metropolitan Opera. She regularly collaborates with and the title role of Elektra at the Michigan Opera Theatre. eminent contemporary composers to premiere new works, Other future plans include the full Ring cycle at the Lyric Opera recently performing in the world premiere of Émilie by Kaija of Chicago and the Metropolitan Opera. She will continue her Saariaho at the Opéra National de Lyon. Her numerous portrayal of Brünnhilde at HGO next season in Siegfried, the honors include Musical America’s Musician of the Year third work in Wagner’s Ring cycle. and Opera News awards. She was also named a Chevalier des Arts et des Lettres, one of the highest honors given by Iain Paterson (United Kingdom) the French government. Recent highlights include Emilia Bass-baritone—Wotan Marty in The Makropoulos Case at the Metropolitan Opera HGO Appearances: Wotan in Das Rheingold and at San Francisco Opera; the title role of Janáček’s Katya (2014). Kabanova at the Lyric Opera of Chicago; Lisa in The Queen About the Artist: Since his debut at the 2007 of Spades at the Metropolitan Opera; Marie in Wozzeck at Salzburg Easter Festival in Das Rheingold the Royal Opera, Covent Garden; and concert performances under Sir Simon Rattle, Iain Paterson’s of Erwartung with the Saint Louis Symphony Orchestra. operatic engagements have taken him to the most prestigious theaters in the world. Recent operatic highlights include Oreste Simon O’Neill (New Zealand) in Elektra at the Royal Opera, Covent Garden; Captain Balstrode Lynn Wyatt Great Artist 2014–15 in Peter Grimes at the Vienna State Opera and at English Tenor—Siegmund National Opera (ENO); Amfortas in Parsifal at the Beijing HGO Appearances: Title role in Otello Festival; and the title role of Don Giovanni for Vlaamse Opera. (2014), Florestan in Fidelio (2011), title role Highlights this season include his role debut as Kurwenal in in Lohengrin (2009). Tristan and Isolde at the Royal Opera, Covent Garden; Peneois About the Artist: Simon O’Neill is a principal in Daphne for La Monnaie; Hans Sachs in Die Meistersinger von artist with the Metropolitan Opera; the Royal Opera, Covent Nürnberg for English National Opera, a role debut; Wotan in Die Garden; La Scala; and the Bayreuth and Salzburg Festivals. He Walküre with Leipzig Opera; and a debut at the Bayreuth Festival has performed the role of Siegmund in Die Walküre all over as Kurwenal in Tristan and Isolde. Past highlights also include the world to critical acclaim, including for the opening of La

46 | Opera Cues Spring 2015 www.HGO.org Scala’s season with Daniel Barenboim, in the celebrated Keith Ain Anger (Estonia) Warner Ring cycle at the Royal Opera with Antonio Pappano; Bass—Hunding in the Otto Schenk production and in the Robert Lepage Ring HGO Appearances: Ramfis in Aida (2013). cycle at the Metropolitan Opera; at the Bavarian State Opera About the Artist: Ain Anger made his with Kent Nagano; Vienna State Opera with Franz Welser-Möst; Bayreuth Festival debut in 2009 under and at the Berlin and Hamburg State opera companies. Other Christian Thielemann as Fafner in both career highlights include Parsifal with Christian Thielemann at Das Rheingold and Siegfried before the Vienna State Opera; the title role of Lohengrin, Florestan in singing Hunding in new Ring cycles at Bavarian State Opera Fidelio, and Stolzing in Die Meistersinger von Nürnberg at the (Kent Nagano), Vienna State Opera (Franz Welser-Möst) and Royal Opera, Covent Garden; Jeník in The Bartered Bride with Frankfurt Opera (Sebastian Weigle). He made an acclaimed Charles Mackerras for his house debut at Covent Garden; The debut at La Scala as Daland (The Flying Dutchman) under Magic Flute with Riccardo Muti at the Salzburg Festival; Gran Hartmut Haenchen and appeared at the BBC Proms with Sacerdote in Idomeneo with James Levine for his Metropolitan Deutsche Oper Berlin in Tannhäuser under Donald Runnicles. A Opera debut; Lohengrin with Andris Nelsons and Parsifal with mainstay of the Vienna State Opera stage since his house debut Daniele Gatti at the Bayreuth Festival; Chairman Mao in Nixon as Monterone (Rigoletto) in 2004, Anger has now sung more than in China at San Francisco Opera; and Cavaradossi in Tosca in 40 roles there ranging from Sarastro (The Magic Flute), King Tokyo, Berlin, and Hamburg. In the 2014–15 season and beyond, Heinrich (Lohengrin), and Philippe II (Don Carlos), to Pogner he performs Verdi’s Requiem and gala concerts in Mumbai; Erik (Die Meistersinger von Nürnberg), Zaccaria (Nabucco) and Fiesco D in The Flying Dutchman at the Ravinia Festival, and Fidelio at (Simon Boccanegra). Opera commitments in the current season I the Hamburg State Opera; and returns to the Berlin State Opera, include a role debut as Dosifej in the Vienna State Opera’s new E New National Theatre, and Opera Australia. production of Khovanshchina conducted by Semyon Bychkov, a return to Deutsche Oper Berlin as both Hermann (Tannhäuser) W Jamie Barton (United States) and King Heinrich (Lohengrin) under Donald Runnicles, and A Sponsored by Dr. and Mrs. Michael Cochran L Mezzo-soprano—Fricka HGO Appearances: Fricka in Das Rheingold K (2014); Giovanna in Rigoletto and Mary Ü Norton in Brief Encounter (2009); Ursula R in Beatrice and Benedict and Third Lady in E The Magic Flute (2008); The Refuge (2007). Third prize winner in HGO’s 2007 Eleanor McCollum Competition Concert of Arias. HGO Studio artist (2007–09). About the Artist: Jamie Barton is the winner of both the Main and the Song Prizes at the 2013 BBC Cardiff Singer of the World Competition, a winner of the 2007 Metropolitan Opera National Council Auditions, and a Grammy nominee. Her 2014–15 season began with her San Francisco Opera debut as Adalgisa in Norma, followed by Beethoven’s Symphony No. 9 with Donald Runnicles in Atlanta, the world premiere of Jake Heggie’s The Work at Hand with the Pittsburgh Symphony at Carnegie Hall, the Verdi Requiem with the Toronto Symphony and Sir Andrew Davis, and Giovanna Seymour in Anna Bolena with Lyric Opera of Chicago. As the latest recipient of the Marian Anderson Award, she also appeared in recital at the Kennedy Center. Later this season, she will sing her first Azucena in Il trovatore with the Cincinnati Opera and Fenena in Nabucco with the Seattle Opera. Recent engagements include a return to the Metropolitan Opera as Adalgisa in Norma, Katisha in The Mikado with Opera Memphis, and her Japanese debut as Meg Page in a new production of Falstaff at the Saito Kinen Festival. Future projects include returns to the Metropolitan Opera and debuts at the Royal Opera, Covent Garden; the Frankfurt Opera; the Deutsche Oper Berlin; Los Angeles Opera; and Washington National Opera, all in leading roles.

47 Who’s Who Die WalkÜre a house debut at Washington National Opera as Daland under Madame Butterfly with Palm Beach Opera, Sarasota Opera, and Philippe Auguin. Among concert projects are Peneios (Daphne) Opera San Jose; and Leonora in Il trovatore and Alice Ford in with The Cleveland Orchestra at home and at New York’s Lincoln Falstaff with Opera San Jose. Upcoming engagements include a Center under Franz Welser-Möst, and the title role in Tobias’s return to Opera Theatre of Saint Louis in a leading role. Des Jona Sendung with the MDR Leipzig Symphony Orchestra in Leipzig and Tallin under Neeme Järvi. Natalya Romaniw (United Kingdom) Soprano—Ortlinde Kelly Kaduce (United States) HGO Appearances: Micaela in Carmen, Soprano—Helmwige Mrs. Anderssen in A Little Night Music, HGO Appearances: Katya in The Passenger and Krystyna in The Passenger (2014); (2014). performances of Rosalinde in Die About the Artist: Kelly Kaduce’s 2014–15 Fledermaus (2014, 2013); Priestess in Aida engagements include her debut with and Ines in Il trovatore (2013); Mimì in performances of La Canadian Opera Company as Cio-Cio-San boheme (2013, 2012). Second prize in HGO’s Eleanor McCollum in Madame Butterfly, her debut with Lyric Opera of Chicago as Competition Concert of Arias (2012). HGO Studio artist Katya in The Passenger, and a return to Florida Grand Opera (2012–14). as Cio-Cio-San. Last season, she returned to Opera Theatre About the Artist: Welsh soprano Natalya Romaniw studied at of Saint Louis as Blanche in Dialogues of the Carmelites, to the Guildhall School of Music and Drama, where she was Minnesota Opera in the title role of Manon Lescaut, and to awarded the prestigious Gold Medal in her final year. This Lyric Opera of Kansas City as Rosalinde in Die Fledermaus and season’s engagements include the Governess in The Turn of the made her house debut with Utah Opera as Liù in Turandot. Screw for Glyndebourne on Tour, Beethoven’s Symphony No. 9 Other recent successes include the title role in Rusalka with for Garsington Opera, a series of Viennese gala concerts with Montreal Opera, Minnesota Opera, and Opera Colorado; the the Royal Scottish National Orchestra, Woglinde in a concert title role in Thaïs with Minnesota Opera; Cio-Cio-San with the performance of excerpts from Das Rheingold with the London Santa Fe, Minnesota, and Portland operas; title roles in David Philharmonic Orchestra at the Royal Festival Hall, and an Carlson’s Anna Karenina and Michael Berkeley’s Jane Eyre, both Opera Gala for the City of Birmingham Symphony Orchestra. with Opera Theatre of Saint Louis; Violetta in La traviata and Previous operatic engagements include La rondine and Giulia in Marguerite in Faust with Malmö Opera (Sweden); Mimì in La La scala di seta with British Youth Opera, the title role in Lucia bohème with Michigan Opera Theatre and Portland Opera; di Lammermoor for Clonter Opera and Giunia in Lucio Silla the title role in Suor Angelica with Opera Theatre of Saint for Classical Opera Company, and an acclaimed portrayal of Louis; Princess Lan in Tan Dun’s Tea with Opera Philadelphia; Maliella in I gioielli della Madonna at Opera Holland Park. Next Desdemona in Verdi’s Otello with Kentucky Opera; and the title season, she will sing Fiora in L’amore dei tre re for Opera Holland role of Salome with Opera Theatre of Saint Louis. Next season, Park, Suzel in L’amico Fritz for Den Jyske Opera, and a major role she will return to HGO for performances of the title role of Tosca with Garsington Opera. and to Boston Lyric Opera for Mimì in La bohème. Catherine Martin (United States) Julie Makerov (United States) Mezzo-soprano—Waltraute Soprano—Gerhilde HGO Appearances: Wellgunde in Houston Grand Opera Debut Das Rheingold (2014), Amneris in a About the Artist: Julie Makerov was the performance of Aida (2013), Anne in Mary 2010 winner of the Dora Award, Canada’s Stuart and Flora Bervoix in La traviata highest honor for live theater, for her (2012), performances of Suzuki in Madame portrayal of Senta in Wagner’s The Flying Butterfly (2011, 2010), Dryad in Ariadne auf Naxos (2011), Dutchman. Recent engagements include Sieglinde in Die Governess in The Queen of Spades (2010), and Giannetta in Walküre with the American Symphony Orchestra under the The Elixir of Love (2009). Second place in HGO’s 2009 Eleanor baton of Leon Botstein, Chrysothemis in Elektra with Des McCollum Competition Concert of Arias. HGO Studio artist Moines Metro Opera, and the Queen of Hearts in Unsuk Chin’s (2009–12). Alice in Wonderland with Opera Theatre of Saint Louis. Other About the Artist: Catherine Martin’s engagements for this notable engagements include her debuts with the Lyric Opera season and beyond include a return to Opera Santa Barbara as of Chicago and Los Angeles Opera, singing the roles of the Maddalena in Rigoletto, her debut with Dayton Opera as Sister Mother in Hansel and Gretel and Senta in The Flying Dutchman, Helen Prejean in Dead Man Walking, joining the American respectively; the title role of Tosca with Canadian Opera Symphony Orchestra for Hindemith’s The Long Christmas Company; Senta in Salzburg under Sir Ivor Bolton; Gerhilde in Dinner, a debut with Opera Colorado as Amneris in Aida, and Die Walküre and Freia in Das Rheingold with Canadian Opera a return to Washington National Opera. She recently sang Company; Rosalinde in Die Fledermaus with Seattle Opera and Amneris with Opera Santa Barbara, the Composer in Ariadne Sarasota Opera; Tosca with Sarasota Opera; Cio-Cio-San in auf Naxos with the Glimmerglass Festival, Mary in the premiere

48 | Opera Cues Spring 2015 www.HGO.org of Th e Lion, the Unicorn and Me in her Washington National and as Siegrune in Die Walküre, led by James Levine, broadcast Opera debut, and Annina (cover: Octavian) in Der Rosenkavalier worldwide in HD. She was also recently seen as Nazimova in with the National Symphony Orchestra. She also performed Th e Dream of Valentino with Minnesota Opera, Cornelia in Schubert’s Mirjams Siegesgesang with the San Antonio Symphony, Julius Caesar with Florentine Opera, Ruth in the world premiere and Amadora/Stelladora in John Musto’s Bastianello and Lucrezia of Nico Muhly’s Dark Sisters, the title role of Mascagni’s rarely in William Bolcom’s Lucrezia in a double bill with Urban Arias. performed Zanetto with Boston’s Odyssey Opera, and the title Recent concert performances include Elgar’s Th e Dream of role in an updated version of Th e Italian Girl in Algiers with Gerontius with New Haven Symphony and Alan Louis Smith’s Wendy Taucher Dance Th eater Opera Project in Martha’s Covered Wagon Woman with West Coast Chamber Players. Vineyard. Th e recently released Opera America Songbook features Gigliotti performing “Archaeology,” a song written Eve Gigliotti (United States) exclusively for her by the composer/librettist team of David Little Mezzo-soprano—Siegrune and Royce Vavrek. HGO Appearances: Mrs. Parvin in Th e Bricklayer (2012). Renée Tatum (United States) About the Artist: Th is season, Eve Gigliotti Mezzo-soprano—Grimgerde reprised the title role in Th e Italian Girl HGO Appearances: Flosshilde in Das in Algiers with Opera Santa Barbara and Rheingold (2014). made her role debut as Bradamante in director R. B. Schlather’s About the Artist: Renée Tatum opened gallery installation of Alcina in association with Whitebox the 2014–15 season with a return to the D Art Center. Future seasons include a debut with Washington Metropolitan Opera as the Second Lady I National Opera and returns to Opera Philadelphia and Gotham in Julie Taymor’s production of Th e Magic Flute led by Ádám E Chamber Opera. Aft er her debut with the Metropolitan Opera as Fischer. Last season, the California native made her role debuts W Mercedes in Carmen, she made return appearances as Mercedes as Suzuki in Madame Butterfl y with Chautauqua Opera and as A L K Ü R E

Alma Nungarrayi Granites, “Seven Sisters Dreaming” , 48” x 42” Brian Waka, “Amonga Kutjupurra” , 59” x 54”

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49 Who’s Who Die WalkÜre

Rosina in The Barber of Seville with Opera Las Vegas. Concert Meredith Arwady (United States) appearances included Salome with Andris Nelsons and the Contralto—Schwertleite Boston Symphony Orchestra, Mozart’s Requiem with Music HGO Appearances: Erda in Das Rheingold Director Daniel Stewart and the Santa Cruz Symphony, and (2014); Auntie in Peter Grimes (2010); Beethoven’s Ninth Symphony with conductor Daniel Wachs and Myrtle Bagot in Brief Encounter (2009). the Orange County Philharmonic Society. An alumna of the About the Artist: Meredith Arwady’s Metropolitan Opera’s Lindemann Young Artist Development engagements this season include a return Program, Tatum has performed at the Met in The Magic Flute to Frankfurt Opera as Mistress Quickly in Falstaff, her English conducted by Jane Glover, Rusalka led by Yannick Nézet-Séguin, National Opera debut as Martha in John Adams’s The Gospel Die Frau ohne Schatten with Vladimir Jurowski, Otello with According to the Other Mary in a production by Peter Sellars, Semyon Bychkov, and in Francesca da Rimini conducted by a return to the Opera Theatre of Saint Louis as Hannah in Marco Armiliato. Also at the Met, she sang Fenena in Nabucco Tobias Picker’s Emmeline, and debuts at Madison Opera as and Flosshilde in Robert Lepage’s production of Der Ring des Mrs. Lovett in Sweeney Todd. Appearances last season include Nibelungen. Other highlights include performing Háta in The Mistress Quickly under Nicola Luisotti at San Francisco Opera Bartered Bride in a new production by Stephen Wadsworth and also in a new production at Frankfurt Opera, and Mme. and conducted by James Levine in a collaboration between the Croissy in Dialogues of the Carmelites at Opera Theatre of Saint Metropolitan Opera and The Juilliard School, and Flosshilde and Louis. She also performed in a Santa Fe Opera double bill of Grimgerde in San Francisco Opera’s Ring cycle conducted by The Impresario (Fräulein Krone) and Le rossignol (Death) and Donald Runnicles. sang Prokofiev’s Alexander Nevsky with the Spokane Symphony and Mahler’s Symphony No. 3 with the North Netherlands Faith Sherman (United States) Orchestra. She has also sung Erda in the Ring at the Metropolitan Mezzo-soprano—Rossweisse Opera with Fabio Luisi and at Frankfurt Opera under Sebastian HGO Appearances: Countess Ceprano/Page Weigle; Dvořák’s Biblical Songs and Prokofiev’s Ivan the Terrible in Rigoletto and Mrs. Rolandson in Brief in concerts with Orquesta Sinfónica de Galicia in Spain, and Encounter (2009), Beatrice in performances Gertrude in Romeo and Juliet with Arizona Opera. She garnered of Beatrice and Benedict (2008), soloist in critical acclaim for her Kathy Hagen in the world premiere of The Refuge (2008, 2007). First prize winner Terence Blanchard’s Champion at Opera Theatre of Saint Louis in the 2007 Eleanor McCollum Competition Concert of Arias. and for Auntie in Peter Grimes with the Aspen Music Festival. HGO Studio artist (2007–09). She returns to HGO next season as Erda in Siegfried, the next About the Artist: Faith Sherman returns to HGO fresh from work in the Ring cycle. the inaugural season of the Philharmonie de Paris, where she sang the role of Catherine alongside Marion Cotillard in Honegger’s Jeanne d’Arc au bûcher with l’Orchestre de Paris led by Kazuki Yamada. Having reprised the role with Monte-Carlo Philharmonic Orchestra, Orchestre National du Capitole de Toulouse, and the Saito Kinen Festival, she will sing it with Alan Gilbert and the New York Philharmonic at Lincoln Center in June. She recently earned acclaim for her Smeaton in Anna Bolena with Welsh National Opera; other highlights include her European debut at English National Opera as the Pilgrim in Saariaho’s L’amour de loin; Concepcion in L’heure espagnole at Oper Frankfurt, and Verdi’s Requiem at the Ludwig Palace Festival and Opéra de Vichy under Michael Hofstetter. She premiered the mezzo-soprano lead in Ricky Ian Gordon’s Rappahannock County at Virginia Opera, appeared at the Lincoln Center Festival in Auerbach’s The Blind, and performed Berlioz’s La captive and Bernstein’s Jeremiah Symphony with the Colorado Springs Philharmonic. She will appear in recital on May 15 at Salem Lutheran Church, Houston.

50 | Opera Cues Spring 2015 www.HGO.org Help HGO and You’ll See Stars Join the HGO Guild at our Volunteer Gathering

Thursday, June 4, 2015 Wine, Food, Friends, Prize Give-aways and New Opportunities 6:30 p.m. Greetings and Registration 7:30 p.m. Program United Way of Greater Houston, 50 Waugh Dr. at Feagan, off Memorial

Join us for complimentary wine and a light supper as you meet Guild committee chairs and hear how your special skills and talents can make the Guild more successful in helping Houston Grand Opera.

Our speaker this year will be Paul Hopper, new dramaturg at Houston Grand Opera. The event is designed to inform members and prospective members about the options for contributing to HGO as a volunteer: hospitality, special events, boutique, membership, docents, marketing, development, and other areas.

As a member of the Guild, you can enjoy learning more about opera, meet many of the art’s outstanding performers as well as other opera lovers, have fun, and help HGO. And if you are not a member of the Guild, you can join during the Volunteer Gathering! “HGO Guild volunteers are unique among the international opera community. They are ever-welcoming, displaying the RSVP: 713-546-0269 or [email protected] by May 31. singular hospitality for which Houston is distinctly known and providing countless valuable services for HGO. As a long Not a Guild Member? Join today. recipient of their generosity, I can say they truly make HGO a HOME for those of us lucky enough to grace your stage. Visit [email protected] to register online. They are truly to be treasured!”

Joyce DiDonato Mezzo-soprano Houston Grand Opera Studio alum newsHouston & Grand notes oPera Presents Sweeney Todd/The Demon Barber of Fleet Street

A Musical Thriller Music and Lyrics by Stephen Sondheim Book by Hugh Wheeler From an Adaptation by Christopher Bond Originally Directed on Broadway by Harold Prince Orchestrations by Jonathan Tunick Originally produced on Broadway by Richard Barr, Charles Woodward, Robert Fryer, Mary Lea Johnson, and Martin Richards in Association with Dean and Judy Manos Brown Theater, Wortham Theater Center Sung in English with Projected English Titles

cast (in order of VocaL aPPearance) Anthony Hope Morgan Pearse † Dr. Ellen R. Gritz and Mr. Milton D. Rosenau Jr. Fellow Sweeney Todd Nathan Gunn Beggar Woman Cynthia Clayton Mrs. Lovett Susan Bullock Judge Turpin Jake Gardner The Beadle Kevin Ray ‡ Johanna Megan Samarin † Michelle Beale and Dick Anderson Fellow Tobias Ragg Nicholas Phan ‡ Adolfo Pirelli Scott Quinn ‡ Jonas Fogg Adam Gibbs *

A co-production of Houston Grand Opera and San Francisco Opera. This production premiered at the Théâtre du Châtelet in Paris on April 22, 2011, General Director Jean-Luc Choplin. Houston Methodist is the offi cial health care provider for Houston Grand Opera. United Airlines is the offi cial airline of Houston Grand Opera. The activities of Houston Grand Opera are supported in part by funds provided by the City of Houston and Theater District Improvement, Inc., and by a grant from the Texas Commission on the Arts.

52 | Opera Cues Spring 2015 www.HGO.org Houston Grand oPera Presents Sweeney Todd/The Demon Barber of Fleet Street

APRIL 24 26m 29 MAY 2 8 9 2015

creatiVe team Conductor James Lowe ‡ Director Lee Blakeley Set and Costume Designer Tanya McCallin Lighting Designer Rick Fisher Sound Designer Andrew Harper Choreographer Lorena Randi * S Chorus Master Richard Bado ‡ W The Sarah and Ernest Butler Chorus Master Chair E Musical Preparation Patrick Harvey ‡ E Mr. and Mrs. James A. Elkins Endowed Chair N Emily Senturia † E Beth Madison Fellow Y Sahar Nouri † Audrey Jones Beck Endowed Fund/John M. O’Quinn Endowed Fund Fellow T English Dialect/Dialogue Coach Catherine Baxter * O Stage Manager Kristen E. Burke D Assistant Director Shawna Lucey D Surtitles by Paul Hopper

* Houston Grand Opera debut † Houston Grand Opera Studio artist ‡ Former Houston Grand Opera Studio artist

Production credits Surtitles cued by Logan Walsh

SWEENEY TODD is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI, 421 West 54th Street, New York, NY 10019. Phone: 212-541-4684. Fax: 212-397-4684. www.MTISHows.com. The videotaping or other video or audio recording of this production is strictly prohibited. Performing artists, stage directors, and choreographers are represented by the American Guild of Musical Artists, the union for opera professionals in the United States. Scenic, costume, and lighting designers and assistant designers are represented by United Scenic Artists, I.A.T.S.E., Local USA-829. Orchestral musicians are represented by The Houston Professional Musicians Association, Local #65-699, American Federation of Musicians. Stage crew personnel provided by I.A.T.S.E., Local #51. Wardrobe personnel provided by Theatrical Wardrobe Union, Local #896. This production is being recorded for archival purposes.

53 Synopsis Sweeney Todd Sweeney todd lasts approximately 3 hours, including one intermission.

Act I Back at the pie shop, Anthony finds asylum posing as a wigmaker wishing to Todd and excitedly tells him about purchase hair. After rescuing Johanna, The young sailor Anthony Hope and lovely young Johanna, with whom he Anthony will bring her to the barbershop. Sweeney Todd have just returned to has fallen in love. He tells Todd he is To lure the Judge back to his premises, London from Australia. Anthony saved planning to free her from her prison. Todd writes an urgent letter telling him Todd from drowning while at sea; Todd is Without revealing he is Johanna’s he can find Johanna and Anthony at the thanking him when they are approached father, Todd tells Anthony he may bring barbershop that evening. by a Beggar Woman. Todd orders her her to the shop for safekeeping. away, and he and Anthony part company. Tobias has grown fond of Mrs. Lovett and Stung by his public humiliation, Pirelli promises to protect her. When Mrs. Lovett On Fleet Street, Todd wanders into Mrs. arrives with Tobias, who chats with Mrs. pulls out Pirelli’s purse, he recognizes Lovett’s Pie Shop hoping to find out what Lovett while Pirelli reveals himself to Todd it. She says Todd gave it to her, which has happened to his wife, Lucy, and as his former apprentice. Pirelli threatens feeds Tobias’s growing suspicions about daughter, Johanna, while he has been to reveal Todd’s true identity, and Todd Sweeney. She distracts Tobias by letting gone. Mrs. Lovett recognizes him as panics and kills him. him grind the meat for pies. The Beadle Benjamin Barker, a barber she knew who comes by to investigate complaints about was sent away to prison in Australia on a On his way home from court, the Judge the odors coming from her chimney. trumped-up charge by Judge Turpin, an tells the Beadle he intends to marry She makes him wait until Todd returns, evil man who desired Lucy. With Barker Johanna; at that very moment, Anthony at which time the barber offers him a out of the way, the Judge raped Lucy and Johanna are making plans to free shave before he inspects the ovens. and abandoned her. Mrs. Lovett tells elope. The Beadle hints that the Judge When the Beadle’s body comes down Todd that Lucy poisoned herself and that should spruce up and suggests a visit to the chute, Tobias realizes what has been Judge Turpin adopted Johanna. Todd Sweeney Todd for a shave. going on. Mrs. Lovett urges Todd to get swears to take revenge on the Judge and In Todd’s barber chair, the Judge rid of the boy. his henchman, Beadle Bamford. Mrs. fantasizes about his future with Johanna. Anthony succeeds in freeing Johanna Lovett brings Todd his razors, which she Just as Todd is about to kill him, Anthony and they arrive at the shop, Johanna has kept in hopes he would return. rushes in to tell about his impending disguised as a sailor. While Anthony goes Anthony is passing by Judge Turpin’s elopement. The Judge recognizes to hire a coach for their escape, she mansion when he catches sight of Anthony and leaves in a fury, threatening remains in the shop, hiding to avoid the Johanna, whom the Judge keeps to lock Johanna up. Beside himself with Beggar Woman, who has come in to look virtually imprisoned. The Beggar Woman rage, Sweeney throws Anthony out and for the Beadle. When Todd returns and reappears and warns Anthony not to decides to take his revenge on all men, discovers the Beggar Woman, he kills her trespass on Judge Turpin’s property. not just those who have wronged him. and releases her down the chute. When Anthony and Johanna are so taken with Mrs. Lovett is suddenly inspired—they the Judge enters, Sweeney suggests each other that they don’t notice the can recycle Todd’s victims into meat pies. a shave before reuniting with Johanna. approach of Judge Turpin and the Beadle. Intermission Todd reveals his true identify and slits the The Judge orders Johanna to go inside. Judge’s throat. Act II In the marketplace, Signor Adolfo Pirelli Johanna emerges from the trunk. hawks his “miracle elixir” with the help Mrs. Lovett’s pies are so improved that Mistaking her for a sailor, Todd tries to of Tobias, his simple-minded assistant. the shop is mobbed with customers; attack her, but she escapes. He runs to Todd and Mrs. Lovett are among them. Tobias has been enlisted to help out and the bake house and finds Mrs. Lovett Todd incites the crowd against Pirelli and to keep the Beggar Woman away. Todd dragging the Beggar Woman to the oven. challenges him to a shaving contest with rigs his barber chair so that he can send When Todd sees the woman in the light, the Beadle serving as judge. Todd wins his victims down a chute directly to the he realizes she is his wife, Lucy, and that easily, and the Beadle is so impressed by bake house and into a meat grinder. Mrs. Lovett has deceived him. He shoves Todd’s skill that he promises to come in In the lunatic asylum where the Judge her into the oven and cradles Lucy. for a shave. has placed her, Johanna dreams of the moment when Anthony will free her. Tobias appears, his hair now Judge Turpin is in his quarters spying on completely white from shock. He Johanna in an adjoining room. Mad with Searching the streets for Johanna, kills Sweeney just as Anthony, desire, he finally visits Johanna, telling Anthony hears her voice coming from Johanna, and the police enter. her he plans to marry her to keep her safe Fogg’s Asylum. He brings Todd news of from immoral young men. her whereabouts, and Todd and Anthony form a plan: Anthony will go to the

54 | Opera Cues Spring 2015 www.HGO.org Houston Grand Opera Orchestra Patrick Summers, Artistic and Music Director Margaret Alkek Williams Chair

VioLin doubLe bass bass trombone denise tarrant *, concertmaster dennis Whittaker *, principal ilan morgenstern * The Sarah and Ernest Butler Concertmaster Chair erik gronfor *, assistant principal Jonathan godfrey *, assistant concertmaster carla clark † tuba mark barton †, principal erica robinson *, principal Second Violin fLute carrie kauk *, assistant principal Second Violin Seth allyn morris *, principal HarP christina medawar * Joan eidman *, principal miriam belyatsky † rasa kalesnykaite † oboe timPani hae-a lee † elizabeth priestly Siffert *, principal nancy nelson *, principal Sarah ludwig * robin hough † chavdar parashkevov † Percussion anabel ramirez * cLarinet richard brown *, principal mary reed * Sean krissman †, principal linda Sanders * eric chi *, acting principal KeYboards oleg Sulyga * James Johnson patrick harvey ‡ S Sylvia Vermeulen † Mr. and Mrs. James A. Elkins Endowed Chair W melissa Wilmot * bassoon Sahar nouri ** E Audrey Jones Beck Endowed Fund/ amanda Swain *, principal E VioLa Joseph grimmer † John M. O’Quinn Foundation Endowed Fund Fellow eliseo rene Salazar *, principal N E lorento golofeev *, assistant principal frencH Horn orcHestra PersonneL manaGer Y mary Fulgham † Sarah cranston *, principal richard brown gayle garcia-Shepard * kimberly penrod minson † T erika c. lawson * * HGO Orchestra core musician Scott Strong † O Suzanne leFevre † † HGO Orchestra core musician on leave this production D ** HGO Studio artist trumPet D ceLLo Jim Vassallo *, principal ‡ Former HGO Studio artist barrett Sills *, principal randal adams * louis-marie Fardet *, assistant principal erika Johnson * trombone Wendy Smith-butler † thomas hultén *, principal Steven Wiggs † mark holley *

HGo Performance HistorY Performances beginning at 7:30 p.m. At HGO performances, the excellent will last until approximately 10:30 p.m. natural acoustics of the theaters in the HGO was the fi rst opera company to Wortham Theater Center are relied upon stage Sweeney Todd, in June 1984. Performances beginning at 2 p.m. to convey sound from the stage and pit. Within the past fi ve years, there have will last until approximately 5 p.m. Electronic sound enhancement is used been 163 performances of Sweeney Todd only with spoken dialogue (as in The by opera companies, representing 27 Merry Widow), in musicals (as in A Little productions in 23 cities. Night Music and Sweeney Todd), in sound effects (thunder), and at the composer’s direction (as in Nixon in China and The Little Prince). Visible microphones are positioned to record performances for archival purposes.

55 Houston Grand Opera Chorus Richard Bado, Chorus Master—The Sarah and Ernest Butler Chorus Master Chair Patrick Harvey, Assistant Chorus Master—Mr. and Mrs. James A. Elkins Endowed Chair

Geordie Alexander Miles Robert Lutterbie Alyssa Barnes Andrew C. Midkiff Megan Berti Jason Milam Robert Boldin Natasha Monette Laurelle Brown Jeff Monette Robert Dingman Jr. Mary Beth Nelson Cecilia Duarte Ardeen Pierre Ashly Evans Martin Lowen Poock Joshua Green Saïd Henry Pressley Megan Gryga Emily Louise Robinson Esther M. Kelly Elisabeth Rosenberg Wesley Landry John Weinel

Supernumeraries

Marty Blair Eric Domuret Dave Harris Brian Mitchell

Child Supernumeraries Alexandria McGhee Morgan McGhee Austin Roush

56 | Opera Cues Spring 2015 www.HGO.org Who’s Who Sweeney Todd

STEPHEN SONDHEIM James Lowe (United States) Composer and Lyricist Conductor Stephen Sondheim is the winner of an Academy Award, HGO Appearances: Performances of The eight Tony Awards (including Best Musical and Best Score for Marriage of Figaro (2006); the world Sweeney Todd), eight Grammy Awards, a Pulitzer Prize, and premiere and revival of The Little Prince the Laurence Olivier Award. He wrote the music and lyrics for (2003, 2004); the world premiere of The Saturday Night (1954), A Funny Thing Happened on the Way to End of the Affair (2004); The Abduction the Forum (1962), Anyone Can Whistle (1964), Company (1970), from the Seraglio (2002); and The Tender Land (2000). Appeared Follies (1971), A Little Night Music (1973), The Frogs (1974), with Elton John in HGO’s Golden Jubilee Gala (2005), Pacific Overtures (1976), Sweeney Todd (1979), Merrily We Roll conducting his own orchestrations and choral arrangements Along (1981), Sunday in the Park with George (1984), Into the of John’s songs. HGO Studio artist (1998–2000). Assistant Woods (1987), Assassins (1991), Passion (1994), and Road Show conductor (2000–02); associate conductor (2002–05). (2008) as well as lyrics for West Side Story (1957), Gypsy (1959), About the Artist: James Lowe is the music director and conductor and Do I Hear a Waltz? (1965), and additional lyrics for Candide of the Broadway production of Les Misérables playing now (1973). Anthologies of his work include Side by Side by Sondheim at the Imperial Theater. He recently made his Lyric Opera (1976), Marry Me a Little (1981), You’re Gonna Love Tomorrow of Chicago debut leading a new production of Oklahoma! (1983), Putting it Together (1993/99), and Sondheim on Sondheim and his Glimmerglass Festival debut leading Camelot, and (2010). He composed the scores of the films Stavisky (1974) and returned to Utah Opera to conduct Florencia en el Amazonas S Reds (1981) and songs for Dick Tracy (1990) and the television after making his company debut leading Of Mice and Men. W production Evening Primrose (1966). His collected lyrics with He also appeared with the Jacksonville Symphony, Memphis E attendant essays have been published in two volumes: Finishing Symphony, and the Modesto Symphony. He served as the music E the Hat (2010) and Look, I Made a Hat (2011). In 2010, the director and conductor of the Tony Award–winning Broadway N Broadway theater formerly known as Henry Miller’s Theatre was revival of Anything Goes, starring Sutton Foster and Joel Grey, E renamed in Sondheim’s honor. and was music supervisor for the first national tour of this Y production. He recently made his conducting debut with the HUGH WHEELER T Jacksonville Symphony and returned to the Houston Ballet for Book O The Nutcracker. He made his Pittsburgh Opera Center debut Hugh Wheeler was a novelist, playwright, and screen writer. D with Jonathan Dove’s Flight and has led Sweeney Todd at Wolf He wrote more than 30 mystery novels under the pseudonyms D Trap Opera. He conducted Mark Adamo’s Little Women at Lyric Q. Patrick and Patrick Quentin, and four of his novels were Opera Cleveland in a production directed by the composer transformed into films: Black Widow, Man in the Net, The and has led the Houston Symphony, American Composers Green-Eyed Monster, and The Man with Two Wives. For films Orchestra, and Dayton Opera. He was nominated for a Grammy he wrote the screenplays for Travels with My Aunt, Something Award for his work on the Anything Goes cast album, which he for Everyone, A Little Night Music, and Nijinsky. His plays conducted and co-produced. include Big Fish, Little Fish (1961), Look: We’ve Come Through (1961), and We Have Always Lived in the Castle (1966, adapted Lee Blakeley (United Kingdom) from the Shirley Jackson novel). He co-authored with Joseph Director Stein the book for a new production of the 1919 musical Irene HGO Appearances: Manon (2003). (1973), wrote the books for A Little Night Music (1973), a About the Artist: Lee Blakeley, born in new production of Candide (1973), Sweeney Todd, the Demon Yorkshire, England, studied at the Royal Barber of Fleet Street (1979, based on a version of the play by Scottish Academy of Music and Drama and Christopher Bond), and Meet Me in St. Louis (adapted from the at Glasgow University. In 2007, he received 1949 MGM musical), contributed additional material for the a prestigious Churchill Traveling Fellowship. Blakeley’s highly musical Pacific Overtures (1976), and wrote a new adaptation of acclaimed 2010 production of A Little Night Music, with Leslie the Kurt Weill opera Silverlake, which was directed by Harold Caron, Greta Scacchi, and Lambert Wilson for the Théâtre du Prince at the New York City Opera. He received Tony and Drama Châtelet, Paris, was followed by the French premiere of Sweeney Desk Awards for A Little Night Music, Candide, and Sweeney Todd, Sunday in the Park with George, Into the Woods, and The Todd. Prior to his death in 1987, Wheeler was working on two King and I, all at the Châtelet. In North America, he recently new musicals, Bodo and Fu Manchu, and a new adaptation of The directed La Grande-Duchesse de Gérolstein, The Pearl Fishers, Merry Widow. and Madame Butterflyat Santa Fe Opera; Falstaff for Los Angeles Opera; Orpheus and Euridice for Minnesota Opera; and The Tales of Hoffmann for Canadian Opera Company. Other productions include Il turco in Italia for Angers-Nantes Opéra; Così fan tutte at London’s Royal College of Music; Into the Woods for the Royal Conservatoire of Scotland; A Love for Three Oranges,

57 Who’s Who Sweeney Todd

A Night at the Chinese Opera (nominated for the 2008 TMA Angeles Opera); The Abduction from the Seraglio and Maometto Achievement in Opera Award), and Die Fledermaus for Scottish (Garsington Opera); Radamisto (English National Opera); The Opera. He also directed a new musical, Pat Kirkwood Is Angry, Tsarina’s Slippers and Wozzeck (Royal Opera, Covent Garden); at the Manchester Royal Exchange, which was also performed the premiere of Oscar, La Grande-Duchesse du Gérolstein, The at the Brits Off Broadway Festival in New York and the St. James Pearl Fishers, La bohème, The Last Savage, Wozzeck, Albert Theatre in London. Blakeley has been an associate director for Herring, Billy Budd, Madame Butterfly, and Peter Grimes the Royal Opera, Covent Garden; the Glyndebourne Festival (Santa Fe Opera); Turandot (ENO); Betrothal in a Monastery Opera; and English National Opera. Future engagements include (Glyndebourne and Valencia); The Fiery Angel and Turandot Riccardo Primo (Richard the Lionheart) for Opera Theatre of (Bolshoi); Gloriana and La bohème (Opera North); and The Little Saint Louis, Rigoletto for Santa Fe Opera, and Madame Butterfly Prince (Houston, New York, San Francisco). In his three seasons for Los Angeles Opera. at the Batignano Opera Festival, he lit The Audience (Broadway and London); Merchant of Venice (Almeida); Billy Elliot the Tanya McCallin (United Kingdom) Musical (the Netherlands, London, Australia, Broadway); Set and Costume Designer Sunny Afternoon (Hampstead and West End, London); The HGO Appearances: Manon (2003). King and I (Théâtre du Châtelet); The Merchant of Venice and About the Artist: Theater and opera designer Othello (Singapore); Galileo (Royal Shakespeare Company/ Tanya McCallin works in Europe, the Birmingham); Great Expectations (Bristol); Othello (Singapore); United States, and Australia. She has Judas Kiss and Chariots of Fire (Hampstead and West End); An been associated with many important Inspector Calls (London, Broadway); The Sound of Music (Buenos London theater productions, including premieres of works Aires); Jerry Springer the Opera (London’s National Theatre and by Arthur Miller, Pam Gems, and Mike Leigh, and classics West End); and Matthew Bourne’s Swan Lake. by Chekhov, Sheridan, and Shakespeare. Her extensive opera work includes The Barber of Seville for the English National Andrew Harper (United States) Opera (ENO), which was her first major opera design and Sound Designer is still in the repertoire (also seen in Barcelona); La traviata HGO Appearances: World premiere of A Coffin in Egypt, A Little (Scottish Opera/Welsh National Opera, Geneva, Barcelona, Night Music (2014). Madrid); and Francesca Zambello’s production of Carmen for About the Artist: Andrew Harper is an independent sound the Royal Opera, Covent Garden (also seen in Oslo, Australia, designer for theater and opera. He served as sound designer for and China). She collaborated with David McVicar on The the Beverly Hills performances of A Coffin in Egypt staged by Marriage of Figaro for the Royal Opera, Covent Garden (also the Wallis Annenberg Center. Regional theater credits include seen in Valencia and on DVD), and The Turn of the Screw LMNOP, Waiting for Johnny Depp, Reefer Madness, The Best and Macbeth for the Mariinsky in St. Petersburg. The Turn Little Whorehouse in Texas, Hands on a Hardbody, Murder of the Screw was also seen at ENO and Macbeth in London Ballad, and Lizzie for Theatre Under the Stars and Sweeney Todd, and Washington, D.C., and at the Metropolitan Opera. Her Bloody Bloody Andrew Jackson, and Spring Awakening (regional Manon, another McVicar collaboration, has been seen at ENO premiere) for Generations. Additionally, he has designed and in Dallas, New Zealand, Chicago, and Barcelona. She for Main Street Theater, Stages Repertory Theatre, HITS at also designed The Tales of Hoffmann for the Salzburg Festival Miller Outdoor Theatre, Catastrophic Theatre, Unity Theatre (and TV); the sets for Semele (Théâtre des Champs-Élysées); (Brenham), Actors Theatre of Houston, Rice University, Sam the costumes for Così fan tutte (Strasbourg); Rigoletto (Royal Houston State University, Episcopal High School, High School Opera, Covent Garden, BBC TV, and DVD); costumes for the Visual and Performing Arts, and Stratford Playhouse, for La traviata (Bolshoi); and Der Rosenkavalier (Scottish among others. Opera). This Sweeney Todd has been seen at Théâtre du Châtelet and will travel to San Francisco Opera this fall. Lorena Randi (United Kingdom) Choreographer Rick Fisher (United States) Houston Grand Opera Debut Lighting Designer About the Artist: Lorena Randi worked HGO Appearances: The world premiere extensively as a dancer before establishing (2003) and revival (2004) of The Little herself as a choreographer. After classical Prince. ballet training, she graduated from the About the Artist: Rick Fisher, born in London Contemporary Dance School. She has danced with Philadelphia, Pennsylvania, is the winner the Michael Clark Company (1998–2006), with Mark Morris, of two Olivier Awards for Best Lighting Design and two Tony Fabulous Beast Dance Theatre, Aletta Collins, Arthur Pita, and Awards, for An Inspector Calls and Billy Elliot the Musical. His Charles Linehan, as well as in many productions for theater, work in opera includes Theodore Morrison’s Oscar (Opera opera, performance art, fashion, and film. In addition to Sweeney Philadelphia); Falstaff and Salome (Japan); Porgy and Bess Todd, she choreographed Sondheim’s Into the Woods and Sunday (Regent’s Park, London); Falstaff and Albert Herring (Los in the Park with George directed by Lee Blakeley at the Théâtre

58 | Opera Cues Spring 2015 www.HGO.org du Châtelet, Paris, and for Candide and Th e Importance of Being Earnest directed by Sam Brown for Opéra National de Lorraine. With the artist Martin Creed, she researched and developed Work No. 1020, which was performed at the Edinburgh Festival, Sadler’s Wells, and the Museum of Modern Art, Chicago. She has worked in a variety of genres: she collaborated in 2008 with photographer Nick Knight and Maison Martin Margiela on a fi lm for the fashion website SHOWstudio. She has choreographed live performances by singer Will Young for television and concerts as well as his latest music video. She has also choreographed commercials for Adidas and EDF Energy, and she oft en performs commissioned solo shows and improvised installations, most recently for International Women’s Day at the Royal Academy of Art, London. Future engagements include Th e Queen of Spades for English National Opera and Sweeney Todd for San Francisco Opera.

Richard Bado (United States) S Th e Sarah and Ernest Butler W Chorus Master Chair E Chorus Master E HGO Appearances: Received HGO’s Silver N Rose Award (2013) in honor of his 25th E anniversary as chorus master. Head of Y music staff (1991–2005). Conducted Show Boat at the Cairo Opera House in Egypt (1989) and Robert Wilson’s production T of Four Saints in Th ree Acts on tour at the Edinburgh Festival O (1996). HGO Studio artist (1984–85). D About the Artist: A native of Pittsburgh, Pennsylvania, Richard INTERNATIONALENERGY DEVELOPMENT D Bado has conducted at La Scala, Opéra National de Paris, New

As economic progress marches forward, the York City Opera, the Aspen Music Festival, the Tulsanatural Opera, resources in our backyards are being depleted, forcing companies to search for the Russian National Orchestra, the Florida Philharmonic,HQHUJ\LQIDUÁXQJFRUQHUVRIWKHZRUOG6FRWW the Gaille has traversed the nations of Africa, South America and Asia in the quest for global energy. Montreal Symphony, Wolf Trap Opera, and HoustonHe isBallet. now teaching the next generation of energy leaders at Rice University’s Graduate School An accomplished pianist, he appeared last season inof a Business recital how to navigate these challenging environs. International Energy Development is based on his teachings and seeks to convey a tour with Renée Fleming. He has also played for Ceciliadeeper understanding Bartoli, of where our energy future lies and what it takes to succeed around Frederica von Stade, Susan Graham, Denyce Graves,the Marcelloglobe. Giordani, Ramón Vargas, Samuel Ramey, and Nathan Gunn and has appeared on A Prairie Home Companion with Garrison INTERNATIONAL Keillor. He holds music degrees from the Eastman SchoolScott Gaille is an ofattorney and executive whose career has ranged from giving oral argument before the United States Court of Music, where he received the 2000 Alumni AchievementAppeals to acquiring Award, petroleum concessions around the world. He has travelled to more than one hundred nations searching and West Virginia University; he also studied advancedfor international choral petroleum on behalf of Occidental Petroleum Corporation and other companies. Scott holds a Doctor of Law ENERGY conducting with Robert Shaw. He is the director of thewith High opera Honors from the University of Chicago and a Bachelor of Arts with High Honors from the University of Texas at Austin, studies program at Rice University’s Shepherd Schoolwhere of he graduated Music. Phi Beta Kappa. He is Founder and Managing DEVELOPMENT Director of The Gaille Group and teaches at Rice University’s Graduate School of Business.

He has served on the faculty of the Aspen Music Festival and SCOTT GAILLE School, the Dolora Zajick Institute for Young Dramatic Voices, ISBN 978-1466439474 and the International Vocal School in Moscow and has served on the music staff s of the Metropolitan Opera, Seattle Opera, the Bolshoi Opera Young Artist Program, Opera Australia, Opera 9 781466 439474 SCOTT GAILLE Th eatre of Saint Louis, Chautauqua Opera, and Wolf Trap Opera. Based on Mr. Gaille’s course at Rice University’s Graduate School of Business, “the book on how energy companies grow by acquiring international concessions.” - BISNOW Magazine

59 Who’s Who Sweeney Todd

Nathan Gunn (United States) portrayal of Elektra at the Royal Opera, Covent Garden. She Baritone—Sweeney Todd has also sung Emilia Marty in The Makropulos Case for Oper HGO Appearances: Figaro in The Barber of Frankfurt and, in 2013, she achieved further success at the Royal Seville (2011), Alec Harvey in the world Opera in its production of Britten’s Gloriana, celebrating the premiere of Brief Encounter, Ottone in centennial of the composer’s birth. Her diverse concert work The Coronation of Poppea (2006), and includes the Prelude and Liebestod from Tristan und Isolde Guglielmo in Così fan tutte (2001). with Esa-Pekka Salonen and the Philharmonia Orchestra, and About the Artist: Nathan Gunn’s international career has taken also with Zubin Mehta and the Orchestra of the Bavarian State him to the Metropolitan Opera; San Francisco Opera; Lyric Opera. Current season highlights include her first Minnie in The Opera of Chicago; Royal Opera, Covent Garden; Paris Opera; Girl of the Golden West in a new production for English National Bavarian State Opera; Glyndebourne Opera Festival; Theater Opera. Her HGO performances as Mrs. Lovett in Sweeney Todd an der Wien; Teatro Real in Madrid; and the Théâtre Royal represent her first foray into musical theater. de la Monnaie. His broad repertoire includes the title roles in Billy Budd, Eugene Onegin, The Barber of Seville, and Hamlet; Morgan Pearse (Australia) Guglielmo in Così fan tutte; the Count in The Marriage of Figaro; Dr. Ellen R. Gritz and Malatesta in Don Pasquale; Belcore in The Elixir of Love; Ottone Mr. Milton D. Rosenau Jr. Fellow in The Coronation of Poppea; Tarquinius in The Rape of Lucretia; Baritone—Anthony Hope HGO Appearances: and The Lodger in The Aspern Papers.A noted supporter of new Papageno in works, Gunn most recently created the roles of James Dalton performances of The Magic Flute and in Iain Bell’s The Harlot’s Progress at the Theater an der Wien Prince Yamadori in Madame Butterfly and Yeshua in Mark Adamo’s The Gospel of Mary Magdalene (2015). Finalist in HGO’s 2014 Eleanor McCollum Competition at the San Francisco Opera. He has recently ventured outside Concert of Arias. HGO Studio artist (2014–15). About the Artist: the standard opera repertoire with appearances in Camelot and Morgan Pearse studied at the University of Carousel with the New York Philharmonic (both broadcast on Sydney and its Sydney Conservatorium, as well as the Royal PBS) and Show Boat at Carnegie Hall and the Lyric Opera of College of Music (RCM) in London. In 2013, he won the gold Chicago. His recording of the title role in Billy Budd with Daniel medal at the Royal Over-Seas League Competition. Roles Harding and the London Symphony Orchestra won the 2010 include Lord Ellington in La vie parisienne at the RCM and Grammy Award. This season, he returned to the Metropolitan the title role in Owen Wingrave with Sydney Chamber Opera. Opera for a new production of The Merry Widow and the Theater Last season at English National Opera (ENO), he performed an der Wien for The Pearl Fishers and also appeared in recital Pompeo in Benvenuto Cellini directed by Terry Gilliam and at the Schubert Club. He is an alumnus of the University of Minos in Arianna in Creta at the RCM. He also sang the title Illinois at Champaign-Urbana where he is currently a professor role of Imeneo for London Handel Festival and the Count in of voice and the general director of the Lyric Theatre @ Illinois. The Marriage of Figaro, Garibaldo in Rodelinda, and James in the world premiere of Jude Obermüller’s I Remember the Ship at Susan Bullock (United Kingdom) the RCM. Concerts and recitals include Schubert’s Winterreise, Soprano—Mrs. Lovett Fauré’s Requiem at the Sydney Opera House, performances HGO Appearances: Performances of Cio- of Britten’s War Requiem throughout Poland, and Handel’s Cio-San in Madame Butterfly (1998). Messiah with the Sydney Philharmonia Choirs at Sydney Opera About the Artist: In recognition for her House. He will reprise Papageno in Miller Outdoor Theatre contributions to opera, British dramatic performances of The Magic Flute in May; this summer he will soprano Susan Bullock was named a sing Figaro in The Ghosts of Versailles at Wolf Trap Opera and Commander of the Order of the British Empire last year in this fall he will return to ENO as Figaro in The Barber of Seville. the Queen’s Birthday Honors. She has received particular acclaim for her portrayals of Brünnhilde in Wagner’s Ring cycle Megan Samarin (United States) and was the first soprano to sing four consecutive cycles of Michelle Beale and Dick Anderson Fellow Der Ring des Nibelungen at the Royal Opera, Covent Garden, Mezzo-soprano—Johanna HGO Appearances: under Antonio Pappano. She has sung this role at a range of Second Lady in The international venues including Vienna State Opera; Deutsche Magic Flute (2015). Finalist in HGO’s 2014 Oper Berlin; Oper Frankfurt; Opera Australia; the New National Eleanor McCollum Competition Concert Theatre, Tokyo; and Canadian Opera Company. Appearances of Arias. HGO Studio artist 2014–15. as Strauss’s Elektra have brought her equal international praise Alumna of HGO’s Young Artists Vocal Academy (2013). About the Artist: and have led to collaborations with some of the world’s leading Last summer, Megan Samarin was a Wolf Trap conductors, including Fabio Luisi, Semyon Bychkov, Seiji Ozawa, Opera Studio Artist, singing La Marchande in Les mamelles Sir Mark Elder, and Edo de Waart. In 2009, she received the de Tirésias. She earned her bachelor’s degree in classical vocal Royal Philharmonic Society’s Singer of the Year Award for her performance at the Manhattan School of Music, where she sang Farnace in La Doriclea, Anne in The Mother of Us All,

60 | Opera Cues Spring 2015 www.HGO.org and Vénus in Orphée aux enfers. As a member of the Seagle Jake Gardner (United States) Music Colony Young Artist Program in summer 2013, she sang Bass-baritone—Judge Turpin Madame Larina in Eugene Onegin, Cherubino in John Davies’s HGO Appearances: Valentin in Faust (1975). The Three Little Pigs, Cis in Albert Herring, Third Graduate About the Artist: This season, Jake Gardner in Street Scene, and Ethel in 42nd Street. She was featured at returned to Virginia Opera and Eugene the Brevard Music Center Janiec Opera Company as Soeur Opera as Judge Turpin in Sweeney Todd Mathilde in Dialogues of the Carmelites and Cousin Hebe in and did a turn as Joseph Porter in HMS Gilbert and Sullivan’s HMS Pinafore. With the New York Lyric Pinafore at Virginia Opera; he also performed in a Holiday Opera Theater, she performed Hansel in Hansel and Gretel, Pops concert with Binghamton Philharmonic. North American and with Opera on the Avalon she sang the Flower Girl in highlights include Geronte de Ravoir in Manon Lescaut with The Marriage of Figaro. She is a 2014 District Encouragement Washington National Opera; Monsieur de Brétigny in Manon for Award winner of the Metropolitan Opera National Council Lyric Opera of Chicago; Betto in Gianni Schicchi and Hortensio Auditions. She will sing Second Lady in The Magic Flute at in The Daughter of the Regiment with San Francisco Opera; Miller Outdoor Theatre in May; this summer, she will sing Baron Zeta in The Merry Widow with Los Angeles Opera; Doc Marzia in Vivaldi’s Cato in Utica with Glimmerglass Opera. in Bernstein’s A Quiet Place with New York City Opera; Gideon March in Little Women on tour in Japan and also with New Nicholas Phan (United States) York City Opera; his signature role of Sharpless in Madame Tenor—Tobias Ragg Butterfly with New York City Opera, Florida Grand Opera, S HGO Appearances: Pedrillo in The Arizona Opera, Opera Cleveland, New Orleans Opera, and in W Abduction from the Seraglio (2008); Renata Scotto’s production with Palm Beach Opera; Germont E Goro in Madame Butterfly(2005, 2004); in La traviata with Opera Grand Rapids and Opera Omaha; E Bardolf in Falstaff and Maron/Ares in the title role in The Flying Dutchmanwith Piedmont Opera; N Lysistrata (2005); The Vain Man/The Alfonso in Così fan tutte with North Carolina Opera; Horace E Snake in The Little Prince, El Chino in Salsipuedes, and Pong in Y Turandot (2004), among others. Third prize in the 2002 Eleanor McCollum Competition Concert of Arias. HGO Studio artist T (2002–05). O About the Artist: Nicholas Phan’s engagements this season D include concerts with the Cleveland Orchestra, San Francisco D Symphony, Dallas Symphony, National Symphony Orchestra, Cincinnati Symphony, Baltimore Symphony, Boston Baroque, and the Vancouver Symphony. He also appears in recital at Carnegie Hall and in Istanbul. He has appeared with many of the leading orchestras in North America and Europe and has toured extensively in Europe with Il Complesso Barocco; he has appeared with the Oregon Bach, Tanglewood, Ravinia, Marlboro, Edinburgh, Rheingau, and Saint-Denis festivals, and at the BBC Proms. He is a founder and the artistic director of Collaborative Arts Institute of Chicago, an organization devoted to promoting the art song and vocal chamber music repertoire. Recent opera appearances include Fenton in Falstaff with the Portland Opera, Don Ottavio in Don Giovanni with the Atlanta Opera, and Almaviva in The Barber of Sevillewith the Seattle Opera. Other opera performances have included his debuts at the Glyndebourne Opera and the Maggio Musicale in Florence, as well as appearances with Los Angeles Opera, Glimmerglass Opera, Chicago Opera Theater, Deutsche Oper am Rhein, and Frankfurt Opera.

61 Who’s Who Sweeney Todd

Pinkerton in Madame Butterfly with Chautauqua Opera. He is a former Artist in Residence of The Dallas Opera, where his performances included Tybalt in Romeo and Juliet, Roderigo in Otello, Lord Cecil in Roberto Devereaux, Normanno in Lucia di Lammermoor, and Greenhorn (cover) in the world premiere run of Jake Heggie’s Moby-Dick. He joined Shreveport Opera for Anthony Hope in Sweeney Todd and The Living Opera in Photo by Marie-No ë lle Robert Richardson, Texas, for Martin in The Tender Land and Frederic in The Pirates of Penzance.

Cynthia Clayton (United States) Soprano—Beggar Woman HGO Appearances: Performances of: Cio- Cio-San in Madame Butterfly (2010), the title role of Tosca (2010), and Mimì in La bohème (2008). About the Artist: Cynthia Clayton recently won accolades in the title role of Florencia en el Amazonas with Utah Opera, where she previously performed the title role of Tosca, Mimì in La bohème, and the title role in Jenůfa. Other credits include Musetta in La bohème with New York City Opera; Donna Anna in Don Giovanni with Dallas Opera A scene from Sweeney Todd and Lyric Opera of Kansas City; and Penelope in the North American premiere of Britten’s Gloriana at Central City Opera. Tabor in Central City Opera’s The Ballad of Baby Doe; and Her New York City Opera credits also include appearances as Bartolo in The Barber of Seville as well as Scarpia in Tosca with Cio-Cio-San in Madame Butterfly, Mimì, and the Countess in Mill City Summer Opera. A favorite with Boston Lyric Opera, The Marriage of Figaro. She appeared with San Diego Opera as he performed there as Music Master in Ariadne auf Naxos, the Mary Willis in Carlisle Floyd’s Cold Sassy Tree, as well as Musetta Mayor in John Musto’s The Inspector, and Scarpia in a concert and Micaela in conductor Richard Bonynge’s first performances version of Tosca. With Hawaii Opera Theatre, he was seen as of La bohème and Carmen; with Festival Opera in the title role of Bartolo, Fredrik in A Little Night Music, Germont, Scarpia, Floyd’s Susannah and Desdemona in Otello; and with Cleveland Michele and Gianni Schicchi in Il trittico, and in his role debut as Opera as Micaela and as Marguerite in Faust. In addition, she Wotan in Die Walküre. has sung Violetta in La traviata in Belgium; Madama Butterfly with Anchorage Opera, Intermountain Opera, and Fort Worth Scott Quinn (United States) Opera; Liù in Turandot with Knoxville Opera; Nedda in Pagliacci Tenor—Pirelli with Opera Delaware and Festival Opera; Massenet’s Manon HGO Appearances: Performances of Alfredo with Arizona Opera; Alice Ford in Falstaff with Utah Opera; in Die Fledermaus (2014, 2013); Borsa in Susannah with Cedar Rapids Opera Theatre; and Manon Lescaut Rigoletto and Mr. Erlanson in A Little Night with Intermountain Opera. She is an associate professor of voice Music (2014); Ruiz in Il trovatore and Sailor at the University of Houston Moores School of Music. in Tristan and Isolde (2013); performances of Rodolfo in La bohème (2013, 2012); Royal Herald in Don Kevin Ray (United States) Carlos and Gastone in La traviata (2012). HGO Studio artist Tenor—Beadle Bamford (2011–14). HGO Appearances: Priest/Armed Man About the Artist: Scott Quinn’s 2014–15 season is filled with role in The Magic Flute (2015); the Narrator debuts: Alfredo in La traviata with Lyric Opera of Kansas City, in performances of A Christmas Carol the Duke in Rigoletto with Atlanta Opera, these performances as and Roderigo in Otello (2014); Gabriel Pirelli in Sweeney Todd, Tamino in The Magic Flute with HGO at Eisenstein in performances of Die Miller Outdoor Theatre in May, and Narraboth in Salome with Fledermaus (2014, 2013); Third SS Officer in The Passenger The Dallas Opera. This summer, he sings his first performances (2014); Messenger in Aida, Messenger in Il trovatore, Melot in of Fernand in La favorite at the Caramoor International Music Tristan and Isolde, and the Defendant in Trial by Jury (2013); Festival. In coming seasons, he makes debuts with San Francisco Parpignol in La bohème (2013, 2012). HGO Studio Artist Opera, Den Jyske Opera, and Arizona Opera, among others, (2012–14). all in leading roles. Last season, he sang his first performances About the Artist: In March, Kevin Ray joined his alma mater, of Ferrando in Così fan tutte with Fort Worth Opera and the Curtis Institute of Music, as a guest artist in his first performances of Bacchus in Ariadne auf Naxos in association

62 | Opera Cues Spring 2015 www.HGO.org with Opera Philadelphia and the Kimmel Center for the title character in My Name is Asher Lev with Theater LaB. Other Performing Arts. Recent engagements include his first credits include the world premiere of Ether Dome at the Alley performances of the title role of Peter Grimes with Chautauqua Theatre, where he was also seen in Our Town, The Man Who Opera as well as Don José in Carmen with Wolf Trap Opera Came to Dinner, and A Christmas Carol. He has also performed and the Lyrique-en-Mer/Festival de Belle-Île. While a Santa Fe at Stages Repertory Theatre as Denny in Life Could Be a Dream, apprentice artist, he created the role of the Second Clubman Adam in Yankee Tavern, and Toby in Amy’s View. Some of his in the world premiere of Paul Moravec’s The Letter. Also with other favorites are Hello, Dolly! with Leslie Uggams at Theatre the company, he sang the role of the Poet in Menotti’s The Last Under the Stars, Sparky in Forever Plaid at Unity Theatre in Savage, covered the Drum Major in Wozzeck, and performed Brenham, and Jimmy in Thoroughly Modern Millie and Laurie in scenes of the title role of Idomeneo. On the concert stage, he Little Women at Hits Theatre. Voiceover credits include Grave of has joined the Philadelphia Orchestra, Fort Worth Symphony the Fireflies and Un-Go, among others. He is a proud member of Orchestra, and the Sunriver Music Festival for Beethoven’s Actor’s Equity Association. Symphony No. 9. Music Theatre International (MTI) is one of the world’s Adam Gibbs (United States) leading theatrical licensing agencies, granting schools as well as Actor—Jonas Fogg amateur and professional theatres from around the world the Houston Grand Opera Debut rights to perform the largest selection of great musicals from About the Artist: Although Adam Gibbs Broadway and beyond. MTI works directly with the composers, S is making his HGO debut in a named lyricists, and book writers of these shows to provide official W role, he has appeared previously as a scripts, musical materials and dynamic theatrical resources to E supernumerary, most recently in Lucia di over 60,000 theatrical organizations in the United States and in E Lammermoor (2011). Most recently has was seen in Houston as over 60 countries worldwide. Dr. Faustus with the Classical Theatre Company followed by the N E Y T O D D

Houston Grand Opera Santa Fe Patron Trip July 29–August 3, 2015

Be a part of the Houston Grand Opera patrons who set out to explore the historic city of Santa Fe, New Mexico. Enjoy art, spectacular dinners at private Santa Fe homes, and three Santa Fe Opera performances including La finta giardiniera, Salome, and Cold Mountain.

For more information, contact Rudy Avelar at 713-546-0271 or visit HGO.org/SantaFe.

63 Houston Grand Opera Studio

Mane Galoyan Chris Bozeka Federico De Michelis Yongzhao Yu

Ben Edquist Kirill Kuzmin Geoff Loff

inter is always a busy time for Geoff Loff. The roster is completed by If you’ll be traveling this summer, be the HGO Studio! Concert of second-year Studio artists Pureum Jo, sure to catch these performances! We’re WArias was held on February D’Ana Lombard, Sahar Nouri, Sofia very proud of the accomplishments of 5, the culmination of the 27th Annual Selowsky, and Megan Samarin. our Studio artists and look forward to Eleanor McCollum Competition. Top watching their success. This summer, Studio artists will be busy honors were awarded to Armenian singing and studying all over the world! In just a few weeks, HGO Studio artists soprano Mane Galoyan. American Peixin Chen will make his Santa Fe will complete the season by taking on tenor Chris Bozeka took second, while Opera debut as Sparafucile (Rigoletto) major roles for performances of The Argentinian bass-baritone Federico De and 1st Nazarene (Salome). Five Studio Magic Flute at the Cynthia Woods Michelis won third prize. The annual artists have been engaged by Wolf Mitchell Pavilion and Miller Outdoor Audience Choice Award went to Chinese Trap Opera: D’Ana Lombard and Theatre, conducted by HGO Studio Music tenor Yongzhao Yu. Morgan Pearse will sing roles in The Director Bradley Moore (see “Save the We are delighted that internationally Ghosts of Versailles (Rosina and Figaro, Dates” on the facing page). I hope you’ll renowned soprano (and HGO Studio respectively); Emily Senturia will serve join us at the park! alum) Ana María Martínez has as pianist/coach for that production; Brian Speck, Director established a new annual award. The Ana and Thomas Richards will take on the María Martínez Encouragement Award is title role in The Marriage of Figaro with intended to provide career support to one Reginald Smith Jr. as Count Almaviva Concert of Arias singer who shows great in the same cast. Pureum Jo and Sofia promise. This year, Ms. Martínez awarded Selowsky will attend the Aspen Music the prize to Yongzhao Yu. Festival, where Pureum will sing Juliet (Romeo and Juliet) and Sofia will sing Now that the audition process is Despina (Così fan tutte). Finally, Megan complete, I’m pleased to announce the Samarin will perform the role of Marzia in HGO Studio roster for our upcoming Vivaldi’s Cato in Utica at the Glimmerglass 2015–16 season. All four Concert of Festival in New York, along with incoming Arias prize winners will join the Studio, Studio artist Ben Edquist, who will sing along with baritone Ben Edquist and Papageno in Glimmerglass’s Magic Flute. pianist/coaches Kirill Kuzmin and

64 | Opera Cues Spring 2015 www.HGO.org HGO Studio Faculty & Staff

Brian Speck, Director Enrica Vagliani Gray, Italian Instructor Hotel accommodations for YAVA generously Bradley Moore, Music Director Sponsored by Marsha L. Montemayor provided by the Lancaster Hotel. Mr. and Mrs. Albert B. Alkek Chair Jonathan Ludwig, Russian Instructor United Airlines is the official airline of Houston Amra Catovic, Studio Administrator Julie Muller, English Instructor Grand Opera and Concert of Arias. Catherine Baxter, English Dialect/ Carlisle Floyd, Artistic Advisor Dialogue Coach Additional support for Houston Grand Opera Stephen King, Director of Vocal Instruction Nicole Uhlig, French Instructor The Harold Block and Janet Sims/ Sponsored by Jennifer Sickler Studio is provided by the following funds within Jill and Allyn Risley Chair Deborah Birnbaum, Guest Coach the Houston Grand Opera Endowment, Inc.: Patrick Summers, Conducting Instructor John Fisher, Guest Coach The Gordon and Mary Cain Foundation and Coach James J. Drach Endowed Chair Endowment Fund Margaret Alkek Williams Chair Myra Huang, Guest Coach Thomas Capshaw Endowment Fund Patrick Harvey, Resident Coach Laura Lee Blanton Studio Award through Carol Lynn Lay Fletcher Endowment Fund Mr. and Mrs. James A. Elkins Endowed Chair the Scurlock Foundation William Randolph Hearst Endowed Peter Pasztor, Resident Coach Eric Melear, Guest Coach Scholarship Fund Tara Faircloth, Drama Coach Kevin Murphy, Guest Coach Charlotte Howe Memorial Scholarship Fund Brian Connelly, Piano Instructor James Robinson, Showcase Director Elva Lobit Opera Endowment Fund Sponsored by Ursula and Saúl Balagura Pierre Vallet, Guest Coach Marian and Speros Martel Foundation Timothy Hester, Piano Instructor Evans Family Endowed Chair Sponsored by Joan Hacken Bitar, M.D. Endowment Fund Erin Gregory Neale Endowment Fund Melissa Marse, Piano Instructor The HGO Studio is grateful for the in-kind Shell Lubricants (formerly Pennzoil-Quaker Jordan de Souza, Vocal Coach support of McGladrey, LLP. Gerardo Felisatti, Vocal Coach State Company) Fund The Young Artists Vocal Academy (YAVA) is David Hanlon, Vocal Coach Mary C. Gayler Snook Endowment Fund generously underwritten by Mr. and Mrs. Laurie Rogers, Vocal Coach Tenneco, Inc. Endowment Fund Robert N. Wakefield and the HGO Guild. Dr. Irene Spiegelman, German Diction Coach Additional support for YAVA is provided by Mr. Christa Gaug, German Instructor Sponsored by Robert L. Turner in honor of Patrick Carfizzi, Dr. David and Mrs. Norine Gill, John G. Turner and Jerry G. Fischer and Gwyneth Campbell.

HGO Studio Artists 2014–15 THE SAVE DATES Peixin Chen, bass Megan Samarin, mezzo-soprano Don't miss these opportunities The Evans Family/Jill and Allyn Risley Michelle Beale and Dick Anderson to see HGO artists in action! Fellow Fellow RecitalS at Rienzi Pureum Jo, soprano Sofia Selowsky, mezzo-soprano May 7 and 10, 2015 Mr. Joseph Matulevich and Mr. and Mrs. James W. Crownover Recitals are held at Rienzi, the decorative arts wing of the Ms. Sasha Davis/Nancy and Fellow Museum of Fine Arts, Houston, at 1406 Kirby Drive. Tickets Ted Haywood Fellow Emily Senturia, conductor/pianist are available through HGO.org or 713-228-OPERA (6737). D’Ana Lombard, soprano Beth Madison Fellow Call 713-639-7800 for information. Lynne Murray Sr. Educational Reginald Smith Jr., baritone The Magic Flute Foundation Fellow Mr. and Mrs. Harlan C. Stai, May 15, 2015 Sahar Nouri, pianist/coach Terrell Tone Owen Memorial Endowed Cynthia Woods Mitchell Pavilion, The Woodlands Audrey Jones Beck Endowed Fund/ Fund at the Community Foundation of HGO Studio artists are featured in outdoor John M. O’Quinn Foundation Endowed Abilene Endowed Fellow performances of The Magic Flute. 8 p.m. $20 Fund Fellow Christopher Turbessi, orchestra seating; FREE mezzanine and lawn seating courtesy of The Wortham Foundation. Visit Morgan Pearse, baritone pianist/coach woodlandscenter.org for information and tickets. Dr. Ellen R. Gritz and Ms. Marianne Kah/ Mr. Milton D. Rosenau Jr. Fellow Joan Hacken Bitar, M.D., Fellow The Magic Flute May 22 and 23, 2015 Thomas Richards, bass-baritone Miller Outdoor Theatre, Hermann Park Mr. and Mrs. Philip A. Bahr Fellow HGO Studio artists are featured in FREE outdoor performances of The Magic Flute. 8 p.m. Tickets for covered seating may be picked up the day of the performance from 10:30 a.m. until 1 p.m. at the Miller Outdoor Theatre box office. For information, visit milleroutdoortheatre.com. 65 HGOco COMPANY, COMMUNITY, COLLABORATION

HGOco is HGO’s broad initiative for connecting the company with the community in which we live. Among HGOco’s many projects, the touring group Opera to Go! performs family-friendly works in schools, churches, and community venues. Each year, HGOco also offers student performances (for school groups only) of a popular opera.

Enchanted Adventure: The Magic Flute

This February, more than 6,000 students Photo by Michael Duke from 120 schools experienced live opera at the Wortham Theater Center. An ideal introduction to opera, Mozart’s The Magic Flute enchanted students from Houston, Katy, and Spring, alongside school groups from as far as Victoria, Texas, and even Lake Charles, Louisiana! Elementary and middle school students attended two-hour Student Matinees on February 10 and 13 while high schoolers saw the full-length version at High School Night on February 11. During intermission, students got a behind-the-scenes look at making an opera come to life: HGO Studio artist Reginald Smith Jr., who sang the role of the Speaker, spoke about his hours of practice while supernumerary Luke Fedell gave a firsthand account of what it’s like to dance onstage in a bear suit. Bus transportation for the Children from all over Student Matinee performances was Houston and beyond generously supported through HGO’s found the magic in The Magic Flute. Bus Reimbursement Program.

Taking a (Spring) Break with HGOco HSVS Sings for Scholarships HGOco’s Storybook artists spent three Teaching artists led First Songs sessions, HGO’s High School Voice Studio days during spring break with youngsters helping adult participants use music as (HSVS) will showcase the results of a and their families at Discovery Green. The a tool to interact with their young ones year of musical growth and study with spring break outing is so popular that it during reading time, and Storybook a graduation recital on Sunday, May has become a regular part of the HGOco Opera artists shared music-themed 17, at 6 p.m. The recital will be held in calendar. The fun includes stories, picture books in English and bilingually in Duncan Recital Hall at Rice University’s singing, and interactive programs at the English-Spanish. Shepherd School of Music and is Anheuser-Busch Stage. free and open to the public. Through their recital performances, the seven talented high school seniors who make up the 2014–15 HSVS will compete for Youngsters at Discovery Green scholarships to further their music study, discover music which will be awarded by guest judges with HGOco. at the conclusion of the recital. A small reception follows, and all recital attendees are welcome.

66 | Opera Cues Spring 2015 www.HGO.org HGOco comPanY, communitY, coLLaboration

musical adventures and a playground for your child’s imagination await at indoor camPinG at its best hgoco’s 2015 Summer opera camps. Visit hgo.org/operacamp to sign up!

June 8–12 June 15–19 June 15–26 OPERA EXPERIENCE CREATE AN OPERA ART Of OPERA For students entering For students entering For students entering grades 4–9 this fall grades 3–6 this fall grades 7–12 this fall Develop a better Write words, compose Enhance vocal and understanding of healthy music, design and dramatic skills by singing and improve music build sets, props, and performing The Tinker of reading and theory skills costumes—and perform a Tivoli based on music by by performing songs from musical version of The Day Rossini. A recommendation Broadway-style repertoire. the Crayons Quit. letter from a choir director or voice teacher is Fee: $200 Fee: $200 required. Fee: $350

From top: Last year’s Create an Art of Opera 2014 campers Opera campers conceived, built, and performed a student version of The performed their own musical version Pirates of Penzance.

Photo by Lynn Lane Photo by Lynn of The Quiltmaker’s Gift.

HGOco Funders

Guarantors houston grand opera guild aku and meena patel, the brown Foundation, inc. marathon oil corporation karat 22 Jewelers tHe neXus initiatiVe city of houston through the phillips 66 the powell Foundation miller advisory board union pacific Foundation mr. and mrs. irving pozmantier hgoco programs, including conocophillips Wells Fargo the Schissler Foundation Student performances and hgo’s Strake Foundation kinder Foundation suPPorters performances at miller outdoor the andrew W. mellon Foundation target mr. and mrs. Samuel abraham theatre, are supported through the bill and Sara morgan dr. roger F. trandell ms. adrienne bond neXuS initiative, which is made Franci neely Vethan law Firm, pc donna and robert bruni possible by: mr. and mrs. anthony g. petrello Will e. and natoma pyle harvey burlington northern Santa Fe Shell oil company charitable trust Lead Supporters Foundation 1 anonymous anadarko petroleum corporation lawrence e. carlton, m.d. Grand underwriters the activities of houston grand anchorage Foundation anchorage Foundation of texas endowment Fund opera are supported in part by the brown Foundation, inc. bank of america centerpoint energy funds provided by the city of the Wortham Foundation, inc. mr. and mrs. albert chao James J. drach endowment Fund houston and by a grant from the nabors industries houston livestock Show and anna and brad eastman texas commission on the arts. Shell oil company rodeo george and mary Josephine bbVa compass lynne murray Sr. educational hamman Foundation md anderson cancer center Foundation ms. brenda harvey-traylor m.d. anderson Foundation albert and ethel herzstein underwriters charitable Foundation Judy and richard agee hess corporation andrews kurth llp kinder morgan Foundation ruth and ted bauer robert r. Sr. and pearl Wallis knox Family Foundation charitable Foundation cameron lillian kaiser lewis Foundation the cockrell Family Fund lyondellbasell exxonmobil marsha l. montemayor h-e-b

67 Institutional Spotlight

Thomas R. Ajamie

Houston Grand Opera is thrilled that Ajamie LLP has joined as a new corporate partner for the 2014–15 season. Th is season, the fi rm generously supported HGO’s season-opening production of Otello and the 2015 Concert of Arias. With offi ces in Houston and New York, Ajamie LLP is one of the nation’s premier law fi rms with a national and international practice in complex commercial litigation and arbitration. Th e fi rm’s lawyers are all seasoned litigators with trial courtroom experience. Among the fi rm’s landmark victories are two of the largest awards ever handed down by arbitration panels for investors, including a record $429.5 million award, as well as a record $112 million jury award on a civil RICO Act claim. Th omas R. Ajamie, founder and managing partner of Ajamie LLP, was recently named one of the National Law Journal’s “Top 50 Litigation Trailblazers,” and has been recognized as a leading lawyer by numerous legal publications, including Chambers USA, Euromoney’s Benchmark Litigation, Lawdragon, and Best Lawyers, among others. A longtime supporter of the Opera, an HGO trustee, and a Patron Circle member of the Sundance Institute, Tom is also founder of Th e Ajamie Foundation, which promotes tolerance and equality among youth. Th e foundation off ers university scholarships to students who display respect and support diversity initiatives in our society.

68 | Opera Cues Spring 2015 www.HGO.org El PAsAdo PreView at HuGo’s Guests were treated to a special preview of HGO’s second mariachi opera, El Pasado Nunca Se Termina/Th e Past Photos by Priscilla Dickson is Never Finished on January 26. Graciously hosted by Hugo’s, the evening included tequila cocktails and featured a special musical presentation by mezzo-soprano Vanessa Alonzo and pianist Joseph Li.

Joseph li, Vanessa alonzo, and david ruiz meg boulware, patrick Summers and lee huber

diana and roman martinez anna dean and perryn leech alfredo Vilas and ursula balagura martin and kathleen beirne

concert of arias weLcome recePtion Concert of Arias honoree Mariquita Masterson generously hosted the semifi nalists of the 2015 Eleanor McCollum Competition in her home on January 31, along with HGO Studio members and Concert of Arias underwriters. Guests enjoyed tamales, margaritas,

and true Texas hospitality. miles Smith, robin angly, ellen gritz, and mickey rosenau raehann bryce-davis and todd barnhill

Önay köse, rhonda Sweeney, and natalie erskine Sahar nouri, mane galoyan, and pureum Jo Jana and Scotty arnoldy with mariquita masterson Photos by Priscilla Dickson

69 Federico De Michelis, Chris Bozeka, Scotty and Jana Arnoldy, Mane Galoyan, and Yongzhao Yu Jerry and Bobbie-Vee Cooney concert of arias On February 5, eight young opera performers competed in Concert of Arias, the final round of the annual Eleanor McCollum Competition for Young Singers. This year’s event, chaired by Jana and John Scott Arnoldy, honored Mariquita Masterson and celebrated the 27th year of the competition. Following the performance, more than 450 guests attended a special black-tie dinner held in the Wortham Theater Center Grand Foyer.

Diane Lokey Farb, Donna Josey Chapman, and Linda Barrett

Barbara McCelvey and Jan Barrow Sverre and Carrie Brandsberg-Dahl

Drs. Sri and Raj Yalamanchili Janet Kelly and John Carrig Patrick Summers, Mariquita Masterson, and Jackson Hicks

70 | Opera Cues Spring 2015 www.HGO.org Judy and Richard Agee Aaron and Sarah Stai with Dian and Harlan Stai

Anthony and Cynthia Petrello Jerry G. Fischer, Beth Madison, John G. Turner, and Glen Rosenbaum

Kevin Black and Tony Bradfield Marianne and David Duthu Drs. Rachel and Warren Ellsworth Photos by Priscilla Dickson, Wilson Parish

71 MADAME BUTTERFLY Photos by Jacob Power CAST PARTY HGO Patrons gathered to celebrate the opening of Madame Butterfly on January 23 at the new Montrose showroom of David Peck USA. Hosted by Michelle Beale and Dick Anderson, Anna Dean, and David Peck, the late-night reception provided the perfect venue for guests to mingle with the cast and creative team and admire Peck’s creations. Michelle Beale and Dick Anderson Eileen and George Hricik Ana María Martínez

Anna Dean, Mary Lou Swift, and Barbara Van Postman Alex and Astley Blair Rebecca Kolker, David Peck, and Katelynn Hoss

trustee transformation On January 29, HGO trustees met for their annual winter meeting and were amazed by the work of Dotti Staker, head of HGO’s Wig and Makeup Department, and Norma Cortez, head of the Costume Department. The two of them transformed trustees Gwyneth Campbell and Stephen Kaufman into the Queen of the Night from The Magic Flute and Judge Turpin from Sweeney Todd, respectively.

72 | Opera Cues Spring 2015 www.HGO.org The Journey Continues As a follow-up to last season’s Ring 101, HGO Dramaturg Paul Hopper presented Ring 201, a one-hour discussion Photos by Wilson Parish on Wagner’s Ring cycle, on January 7. More than 500 subscribers, patrons, trustees, and board members packed the Orchestra level of the Cullen Theater for the presentation and Q&A session about Wagner’s epic work. Paul Hopper

Mike Wilson and Jackie Ford Marilyn Turboff and Jeanné Cox Mariglyn and Stephen Glenn Leila and Robert Little

Shannon Traylor and Brenda Harvey-Traylor Ed and Susan Osterberg Kathryn Lewek Joe Matulevich and Sasha Davis Photos by Jacob Power The Magic Flute Cast Party Following the opening performance of The Magic Flute, HGO Patrons celebrated at Vinson & Elkins LLP with event hosts Glen Rosenbaum, Jackson Hicks, and Brenda Harvey-Traylor. HGO Artistic and Music Director Patrick Summers introduced the cast and creative team to great applause, and guests enjoyed a delectable late-night buffet by Jackson and Company. Scott and Lori Wulfe with Glen Rosenbaum David Portillo and Michael Sumuel

73 Inspiring Performance— The Campaign for Houston Grand Opera

Our profoundest thanks go to each of the 6,648 generous and visionary donors to Inspiring Performance—The Campaign for Houston Grand Opera.

$5,000,000 and above H-E-B John and Becca Cason Thrash Mr. R. Davis Maxey and Margaret Alkek Williams Houston Livestock Show and Birgitt van Wijk Ms. AnnMarie Johnson The Brown Foundation, Inc. Rodeo Vinson & Elkins LLP Mr. and Mrs. D. Bradley McWilliams Houston Endowment Inc. Mrs. Eugene M. Isenberg Wells Fargo Dr. and Mrs. John Mendelsohn Houston Grand Opera Nancy and Rich Kinder William Randolph Hearst Miss Catherine Jane Merchant Endowment, Inc. City of Houston through the Miller Foundation Dr. and Mrs. Wayne Miller The Wortham Foundation, Inc. Theatre Advisory Board Mindshare Nabors Industries $100,000 to $249,999 Momentum Jaguar Southwest $2,000,000 to $4,999,999 Anne Schlumberger/ Albert and Ethel Herzstein Houston/Jaguar Cars Anadarko Petroleum Corporation Anchorage Foundation of Texas Charitable Foundation North America The Andrew W. Mellon Foundation Shell Oil Company Andrews Kurth LLP National Oilwell Varco Dr. and Mrs. Ernest C. Butler The Honorable and Terrylin G. Neale Houston Downtown Alliance $250,000 to $499,999 Mrs. Hushang Ansary Mr. and Mrs. Charles G. Nickson Beth Madison Judy and Richard Agee AT&T Foundation Norton Rose Fulbright Sara and Bill Morgan Ann and Gordon Getty Foundation Dr. and Mrs. Saúl Balagura Beverly and Staman Ogilvie Mr. and Mrs. Harlan C. Stai, ArtPlace Bank of America Phillips 66 Terrell Tone Owen Endowed Fund Baker Botts L.L.P. Mr. and Mrs. Frank N. Barnes Ms. Elizabeth Phillips Anne and Albert Chao, Ting Tsung BBVA Compass Ruth and Ted Bauer Mr. and Mrs. Harry C. Pinson and Wei Fong Chao Foundation Jennifer and Doug Bosch/ Family Foundation Kitty King Powell Mr. John G. Turner and Inn at Dos Brisas Michelle Beale and Dick Anderson Republic National Distributing Mr. Jerry G. Fischer Mr. and Mrs. Daniel Breen Alex and Astley Blair Company 2 Anonymous Fayez Sarofim & Co. Dr. Michael and Susan Bloome Jill and Allyn Risley Amanda and Morris Gelb Meg Boulware and Mrs. Craig M. Rowley $1,000,000 to $1,999,999 Dr. Ellen R. Gritz and Hartley Hampton Mr. Andrew Schirrmeister III Janice Barrow Mr. Milton D. Rosenau Jr. Bracewell & Patterson, LLP The Schissler Foundation ConocoPhillips Halliburton Mr. and Mrs. Tucker Bridwell Hinda Simon Jerry and Bobbie-Vee Cooney Mr. and Mrs. Frank J. Hevrdejs Dr. and Mrs. William T. Butler Dr. and Mrs. C. Richard Stasney The Cullen Foundation John P. McGovern Foundation Buzbee Law Firm Sterling-Turner Foundation The Cullen Trust for KPMG LLP Mr. and Mrs. Robert L. Cavnar Stewart & Stevenson the Performing Arts Alfred W. Lasher III Donna Chapman/ Texas Commission on the Arts The General and M. David Lowe and Nana Booker/ Josey Oil Company Ignacio and Isabel Torras Mrs. Maurice Hirsch Opera Fund Booker Lowe Gallery The Robert and Jane Cizik Phoebe and Bobby Tudor Houston Methodist Donna Kaplan and Foundation Mr. and Mrs. Jess B. Tutor The Humphreys Foundation Richard A. Lydecker Coca-Cola North America John C. and Sheila R. Tweed The Robert and Lynne Murray, Sr. Mathilda and Michael Cochran Union Pacific Foundation Janice McNair Foundation Educational Foundation Connie and Byron Dyer Mr. and Mrs. James M. Vaughn Jr. M.D. Anderson Foundation The Margaret and Diane Lokey Farb Joseph Waiter and Irene Bourke Medistar Corporation James A. Elkins, Jr. Foundation The Fondren Foundation Mr. William V. Walker Franci Neely Mr. and Mrs. J. Landis Martin Frost Bank Mike and Kim Weill Mr. and Mrs. Anthony G. Petrello Frances Marzio Sandy and Lee Godfrey Westlake Management Services Schlumberger Will L. McLendon Mrs. William H. Guggolz, Jr. Mr. and Mrs. Roger Winter Lynn Wyatt Brucie and Andrew Moore Maureen and Jim Hackett Mr. and Mrs. David S. Wolff National Endowment for the Arts Mrs. Brenda Harvey-Traylor $500,000 to $999,999 Gloria M. Portela and Hildebrand Fund $50,000 to $99,999 Robin Angly and Miles Smith Richard E. Evans Dr. Gary L. Hollingsworth Mr. Thomas R. Ajamie Mr. and Mrs. J. Scott Arnoldy/ The Powell Foundation Houston Saengerbund American Express Company Triten Corporation PwC Robert and Kitty Hunter American Express Travel Related Mr. and Mrs. Philip A. Bahr Glen A. Rosenbaum Huron Consulting Group Services Company, Inc. Mr. and Mrs. Robert J. Bruni Dr. Elizabeth Grimm and Mr. and Mrs. Richard Husseini Paul and Maida Asofsky Carol Franc Buck Foundation Dr. Jack A. Roth JPMorgan Chase & Co. Mr. and Mrs. William C. Baker Chevron Stedman West Foundation Ann and Stephen Kaufman Marcheta Leighton-Beasley Mr. and Mrs. James W. Crownover Mr. and Mrs. Donald G. Sweeney Hon. Annette Kuntz Mr. Karl-Heinz Becker and Mr. and Mrs. David B. Duthu Target Locke Liddell & Sapp PLLC Dr. Gudrun H. Becker Exxon Mobil Corporation Lexus Marathon Oil Corporation Beirne, Maynard & Parsons LLP

74 | Opera Cues Spring 2015 www.HGO.org Kathryn and David Berg Dr. and Mrs. William E. Mitch Ben and Margaret Love Foundation Godwin Lewis PC Joan Hacken Bitar, MD Marsha L. Montemayor Mr. Harless Benthul Leonard A. Goldstein and Dr. and Mrs. W. E. Bosarge Jr. Nightingale Code Foundation Drs. Henry and Louise Bethea Helen B. Wils Walt and Nancy Bratic NORDSTROM Mr. and Mrs. Stanley C. Beyer Dr. and Mrs. David Y. Graham Britten-Pears Foundation Northern Trust Bank Drs. Gloria and E. Wiley Biles Greater Houston Convention and Ira and Myra Brown Susan and Ward Pennebaker William and Darlene Bisso Visitors Bureau Bill and Melinda Brunger Mr. and Mrs. Charles A. Ritter Mrs. Thomas W. Blake Greater Houston Partnership The C.N. and Maria Papadopoulos Mr. and Mrs. Gregory S. Robertson Mr. Harold Block and Claire Liu and Joseph Greenberg Charitable Foundation Mr. and Mrs. James L. Robertson Ms. Janet Sims Gulf Coast Cancer & Cameron Corporation Rockwell Fund, Inc. Boardwalk Pipeline Partners, LP Diagnostic Center Capgemini Consulting Mrs. Henry K. Roos Dr. Jerry L. Bohannon Mr. and Mrs. A. John Harper III Marjorie H. Capshaw Mr. and Mrs. Thomas V. Rushing Dr. and Mrs. Jules H. Bohnn HCC Insurance Holdings Dr. Peter Chang and Scurlock Foundation Boulware & Valoir Headworks Hon. Theresa Chang Mrs. Helen A. Shaffer Dr. John Bradshaw and Brian Hencey and Charles Ross Jr. Mr. William E. Colburn The Shen Family Foundation Mrs. Karen Mabray Bradshaw Mr. Jackson D. Hicks Mr. and Mrs. Joshua Davidson Ms. Jennifer Sickler Branch Banking and Trust Hobby Family Foundation Ms. Anna M. Dean Sidley Austin LLP Bridgeway Foundation The Hope Initiative for a Better Life Devon Energy Corporation Mr. and Mrs. John H. Speer Catherine Brock I W Marks Jewelers Mr. Ugo DiPortanova Mr. and Mrs. Lester H. Smith Mr. Ralph Burch Jackson D. Hicks Endowment Fund Mr. and Mrs. Tracy L. Dieterich Surdna Foundation Burlington Northern Jackson Walker L.L.P. Dr. and Mrs. William F. Donovan Mrs. John Ben Taub Santa Fe Foundation Mr. and Mrs. James K. Jennings, Jr. Mr. and Mrs. David Dorenfeld Mr. and Mrs. Jerry L. Metcalf Drs. Stanislaw and Josey Oil Company, Inc. Ms. Patricia B. Freeman and Mrs. P.H.G. Thompson Barbara Burzynski The Julia and Albert Smith Mr. Bruce Patterson Mrs. Ann Gordon Trammell Roxi Cargill and Peter Weston, M.D. Foundation Mr. and Mrs. William C. Fulton Bruce Stein Mr. and Mrs. Mark S. Carnes Sultana Kaldis S. Scott and Gina Gaille Upstream Insurance Brokers Brady and Zane Carruth The Honorable and Mr. George B. Geary Ms. Barbara Van Postman Mr. and Mrs. Joseph Carvelli Mrs. Stuart S. Kay Jr. Dr. Layne O. Gentry Marietta Voglis Mrs. John R. Castano Mr. and Mrs. Hugh Rice Kelly Joyce Z. Greenberg Vorys, Sater, Seymour and Clarence and Ann Cazalot Kinder Morgan Foundation Mr. Sten L. Gustafson and Pease LLP Mr. Robert N. Chanon Ms. Michele La Noue and Ms. Sofia Adrogué Mr. and Mrs. K.C. Weiner Louise Chapman Mr. Gerald Seidl Ms. Zahava Haenosh Mrs. Andrew Wilkomirski Neil and Elizabeth Chapman Perryn and Caroline Leech Don and Joanie Haley William E. and Natoma Pyle Harvey Mr. Chris Cheever Robert and Joyce Levine The Harris K. and Lois G. Charitable Trust Citi Investment Banking Division Lillian Kaiser Lewis Foundation Oppenheimer Foundation The William Stamps Farish Fund Mr. and Mrs. Robert L. Clarke Michael and Carol Linn Dr. and Mrs. Theodore J. Haywood Margarida and Penn Williamson Mr. and Mrs. James M. Clepper Sara and Gabriel Loperena Mr. and Mrs. Robert C. Hewell Mr. and Mrs. Edward Ziegler Cockrell Family Fund Lopez Negrete Communications Rosalie and William M. Hitchcock 3 Anonymous Julie and Bert Cornelison Mrs. Marilyn Lummis Houston First Corporation Mr. E H Corrigan Joan H. Lyons Mr. and Mrs. George M. Hricik $25,000 to $49,999 Mr. and Mrs. Randy Crath Mr. and Mrs. Michael D. Malbin Lee M. Huber Abe and Rae Weingarten Fund Dr. and Mrs. Mark D’Andrea Ms. Michele Malloy Mrs. Olive Jenney Samuel and Omana Abraham Isabel and Danny David Mr. and Mrs. Jeff M. Manley Joan Blaffer Johnson Accenture Mrs. Leslie Barry Davidson and Mr. and Mrs. Stan Marek Jones Day Mr. and Mrs. W. Kendall Adam Mr. W. Robins Brice Mr. and Mrs. J. Stephen Marks Ms. Marianne Kah Barbara Hoffman Johnson Ronada R. Davis, DDS and Ms. B. Lynn Mathre Ms. Janet Langford Kelly American General Eric S. Johnson Ms. Ginger Maughs Mr. and Mrs. William H. Knull III Ajamie LLP Gislar and Victoria Donnenberg Mrs. Mollie E. McBride Jeff and Gail Kodosky Akin Gump Strauss Hauer & Mr. and Mrs. Daniel Dubrowski Mr. and Mrs. D. Patrick McCelvey Ms. Susan D. Krohn Feld LLP Anna and Brad Eastman Dr. Alice R. McPherson Lily Kobayashi Landress Stanford and Joan Alexander Eaton Industries Memorial Hermann Foundation Dr. Mike Lemanski Dr. and Mrs. Glenn B. Anderson Energy XXI Services, LLC Ginger and Hugh Menown Rochelle and Max Levit Dr. and Mrs. Stanley H. Appel Mr. and Mrs. Kenneth G. Engerrand Merrill Lynch & Co. Lyondell Chemical Company Mrs. Henry K. Arnold Era Group Inc. Jerry and Sharyn Metcalf Mr. and Mrs. Harry Mach Mr. Paul R. Aruffo and Martin and Kelli Cohen Fein Mr. and Mrs. Bruce Misamore Margaret Mellon Hitchcock Dr. Eva Salmeron Mr. and Mrs. Jerry E. Finger Glenna and Joe F. Moore Foundation Mr. and Mrs. A. L. Ballard Dr. Alice Gates and Kathleen Moore and Steven Homer Mr. Joseph Matulevich and Dr. and Mrs. George A. Bannayan Dr. Wayne Wilner Mr. and Mrs. Sidney S. Moran Ms. Sasha Davis James M. Trimble and GE Foundation Mr. Wiley L. Mossy Jr. Mr. and Mrs. Alexander K. Sylvia Barnes George and Mary Josephine Mr. Jonathan J. Nash McLanahan Mr. Shahzad Bashir and Hamman Foundation The Nathan J. Klein Fund Mr. and Mrs. J. Douglas Ms. Shaista Khan Dr. Wm. David George Mrs. Bobbie Newman McMurrey Jr. Mr. Allen J. Becker Gordon and Ann Getty Mrs. Tassie Nicandros Allen D. McReynolds Dr. James A. Belli and Allen and A. Gilbert Ms. Dorothy Nicholson Mr. and Mrs. Mark Metts Dr. Patricia Eifel Marion and Gary Glober Novum Energy Services, LLC

75 OPERA America Kenneth Bloom and Ms. Thu Nhi Barrus Deutsche Bank Americas Mr. and Mrs. Irving Pozmantier Sheila Swartzman Mr. William Bartlett Foundation Suzanne Page-Pryde and Dr. and Mrs. Demetrio Tagaropulos Dr. Barbara Lee Bass and Mr. and Mrs. Stewart Easterby Arthur Pryde Brian Teichman and Andrew Cordes Mr. Richard S. Marshall Carolyn and David G. Edgar Bunny and Perry Radoff Mr. and Mrs. Stephen Trauber Mr. and Mrs. Stephen D. Bickel Mrs. Jane H. Egner Ms. Judith Raines Mr. and Mrs. Eliot P. Tucker Evan Black and Susan Ross Black Mr. Roger Eichhorn Mrs. Gerald Rauch Mr. and Mrs. Alfredo Vilas Bowne of Houston, Inc. Mrs. James A. Elkins III Ray C. Fish Foundation Mr. and Mrs. Robert N. Wakefield BP Parrish N. Erwin Jr. Mr. and Mrs. Smith Ray Mr. and Mrs. M. C. “Bill” Walker III Carrie and Sverre Brandsberg-Dahl Finkelstein Partners, Ltd. Tom and Camille Reiser/ Benjamin and Joy Warren Mr. Al Brende and Mrs. Ann Bayless Mr. and Mrs. J. Thomas Eubank Upstream Insurance Brokers Ms. Fabené Welch Mr. Stephen R. Brenner Mary Ann and Larry Faulkner The Robert E. Hansen Family Ms. Bryony Jane Welsh Bulgari Corporation of America Mr. and Mrs. Don Faust Foundation Mr. and Mrs. Charles A. Williams Burberry Mr. and Mrs. Kenneth M. Fisher Mr. Joseph P. Ruddell Ms. Jane L. Williams Mr. and Mrs. Ronald L. Butcher Carol Lay Fletcher Samuels Foundation Sheridan and John Eddie Williams C. Howard Pieper Foundation Mr. Jeff Fort Wolfgang Schmidt and Nancy and Sid Williams Mr. Patrick Carfizzi Mr. and Mrs. Michael S. Francisco Angelika Schmidt-Lange Winston & Strawn LLP Jess and Patricia Carnes Mr. Ronald Franklin Mr. and Mrs. Roger Schuler Jr. John L. Wortham & Son, L.P. Mr. and Mrs. Thierry Caruso Michael Freeburger and Mr. and Mrs. John M. Seidl Dr. Fabian Worthing CAZ Investments Matilda Perkins Mr. and Mrs. Donald W. Short Mr. and Mrs. Mark Yzaguirre Ms. Nada Chandler Anthony Freud and Colin Ure Siemens Energy, Inc. Mr. Stephen A. Zeff Alain and Maryline Chepda Mr. and Mrs. Ford Frost Ms. Alice Simkins 2 Anonymous Mr. and Mrs. F. H. Cloudman III Mr. and Mrs. Steve Fulgham Gwen Simms Dr. Sharon S. Crandell Drs. Polly and Jerry Gauthier Kristina and Paul Somerville $15,000 to $24,999 Mr. and Mrs. Markley Crosswell III Gerard and Christine Gaynor Duke Energy A. Link/George Walton Crown Castle International Corp. Dr. Eugenia C. George Mr. and Mrs. Mark R. Spradling Ms. Joan Allison Mr. and Mrs. Claude J. Mr. and Mrs. Robin C. Gibbs St. Lukes Episcopal Health System Aminocare Products, L.P. Davenport III Mrs. Geraldine C. Gill Mr. and Mrs. John M. Sullivan Dr. and Mrs. Roy Aruffo Dr. Ronald De Pinho and Mr. and Mrs. Bill Gilliland Suncor Energy Inc Ms. Catherine Baen and Dr. Lynda Chin Mr. William E. Gipson Sutherland Asbill & Brennan LLP Mr. Matt Hennessey Dr. and Mrs. Roupen Dekmezian Nancy Glass, M.D. and Niki DeMaio John Belmont, M.D.

76 | Opera Cues Spring 2015 www.HGO.org Mr. and Mrs. Bert H. Golding Terry Pruden Ms. Barbara Radnofsky Mr. Robert Hunziker Gordon A. and Lou and Joan Pucher Dr. Alan E. Bentz and Edward and Patricia Hymson Mary H. Cain Foundation The Ralph H. and Ruth J. Mrs. Sallymoon Benz Imperial Sugar Company Adelma S. Graham McCullough Foundation James and Marie Bogues Mr. and Ms. Rich Janssen Ms. M. A. Graiff Mr. and Mrs. T. R. Reckling Ms. Adrienne Bond Mr. and Mrs. Marvin Kaplan Nancy C. Allen Margaret and Todd Reppert Mr. Jeffery Bosworth and Mr. Anthony K. William F. Guest David and Rebecca Roberts Mr. Timothy Bammel Thomas Kimbrough and Mr. and Mrs. Dewuse Guyton Regina Rogers Mr. Chester Brooke and Elizabeth Scribner Dr. and Mrs. Douglas B. Hansen Mr. and Mrs. Avi Ron Dr. Nancy Poindexter Mr. and Mrs. Melvyn N. Klein Mr. Frank Harmon III and Drs. Alejandro and Lynn Rosas Mr. Larry Brookshire Dr. Milton and Gail Klein The Honorable Melinda Harmon Kelly and David Rose Mrs. Toba Buxbaum Laredo Construction, Inc. Dr. Linda L. Hart Mr. and Mrs. Donald M. Rose Ms. Kiana K. Caleb and Mr. and Mrs. Doug Lawler Bob and Liza Heintz Dr. and Mrs. Franklin Rose Mr. Troy L. Sullivan Mr. Richard Leibman Mrs. J. W. Hershey Sharon Ruhly Mr. and Mrs. James T. Callier Dr. and Mrs. Morton Leonard Jr. Dr. and Mrs. C. Stratton Hill Jr. Dr. and Mrs. C. Dan Sauls Ms. Gwyneth Campbell and Mrs. Sharon G. Ley and Deborah and Michael Hirsch Mrs. Richard P. Schissler Jr. Mr. Joseph L. Campbell Mr. Robert F. Lietzow Mr. and Mrs. Michael H. Holthouse Ms. Sue Schwartz Mr. John A. Carrig Mr. and Mrs. Joe R. Long Dr. and Mrs. Gabriel N. Hortobagyi John Serpe and Tracy Maddox Mrs. Lily G. Carrigan Mr. and Mrs. Paul A. Lynn Houston Independent School Silver Eagle Distributors CenterPoint Energy Dr. and Mrs. Herbert E. 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Alan York and Ms. Lila Gene George Dr. Ron Pototsky and Memorial Hermann Healthcare Mr. Michael Rutledge Dr. and Mrs. David P. Gill Mr. Barry Narlines System Mr. and Mrs. Marc S. Young Mr. and Mrs. W. A. Grieves Mr. and Mrs. Robert C. Quirk Mexican Cultural Institute 4 Anonymous Gulf Coast Oncology Associates, PA Mrs. Stewart Reuter Mrs. Denise Monteleone Mr. Jas A. Gundry Mr. and Mrs. Harley Rex Linda C. Murray $10,000 to $14,999 Mr. and Mrs. Michael Hafner Ms. Wanda A. Reynolds Mrs. Sharin S. and Ms. Jacqueline S. Akins Dr. and Mrs. Thomas C. Halsey Mr. Bill Richmond and Mr. Larry N. Norman Mr. William Altenloh and Hess Corporation Mr. Dennis Courtney Maureen O’Driscoll-Levy, M.D. Mrs. Susan Saurage-Altenloh Sarah Lou Hill Mr. and Ms. Walter Ritchie Drs. John and Karen Oldham Mr. and Mrs. Stuart A. Zarrow Dr. Victor S. Ho and Drs. 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77 Mr. and Mrs. Aaron J. Stai Mrs. Anne H. Bushman Goldman, Sachs & Co. Mr. and Mrs. W. L. Littlejohn Mrs. Kristy Stein Sam and Cheryl Byington Mary Frances Gonzalez Ms. Claire Lober Dr. and Mrs. Robert Stobaugh CA Technologies Mr. and Mrs. John Graf Mr. and Mrs. Meredith J. Long Barbara and Neil Stovall Dr. and Mrs. Raul Caffesse Ms. Lauren Granello Cathleen C. and Jerome M. Loving TAS Commercial Concrete Janet Caldwell Grant Thornton LLP Drs. Raymond and Nancy Lutz Construction, LLC Capital Technologies, Inc. Mr. Edward H. Green Mr. and Mrs. Steven P. Mach Techtrans International Dorothy E. F. Caram, Ed.D. Mr. and Mrs. John S. Griffin Mr. Allan MacKinnon Dr. and Mrs. Clark D. Terrell Mr. John Carloss Jr. Ms. Janet Gurwitch Mr. Beau Mann Mr. and Mrs. Robert B. Trainer Jr. Mr. and Mrs. Juan M. Carreon Ms. Nell Gutierrez Mr. and Mrs. Rodney H. Margolis Mr. and Mrs. Max Tribble Sylvia J. 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78 | Opera Cues Spring 2015 www.HGO.org Stephen W. Schueler Dr. Courtney Williams Mr. and Mrs. Raymond Brochstein Mr. and Mrs. Jonathan B. Fairbanks Christopher B. Schulze, M.D. Mr. and Mrs. Scott Wise Dr. and Mrs. Baruch A. Brody Ms. Carolyn Farb Ms. Shamay Scimeca Mr. and Mrs. Melvyn Wolff Mrs. Anny M. Brooks Mr. and Mrs. Nijad Fares Robin and Richard Brooks Ms. Judith Feigin Mr. James R. Seitz Jr. Dr. and Mrs. Thomas Woodell II Nora and Richard Brooks Mr. and Mrs. Michael Feldman The Sequent Group The Honorable Eugenia Wright and Mr. and Mrs. Chris Brown Ms. Ursula Felmet Trey and Adrienne Shepherd Dr. Francis Wright Ms. Elizabeth Bryson Mr. and Mrs. Richard H. Fielder Jan Simpson Mr. and Mrs. David Wuthrich Mr. and Mrs. Richard Burleson Dr. and Mrs. Marvin A. Fishman Mr. and Mrs. Arnold M. Singer Mr. Richard M. Yates Mr. and Mrs. Fred C. Burns Ms. Laurel B. Flores Mr. Calvin Slater Drs. Edward Yeh and Drs. Terry and Elvira Burns Mr. and Mrs. Nicholas A. 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79 Mr. and Mrs. Arthur Hollins III Dr. and Mrs. R. A. MacLean Capt. and Mrs. Kim Parker Mr. Thomas D. Simmons Jr. and Dr. Holly Holmes Mr. and Mrs. Louis E. Magne Mr. James Parkman Mrs. Sharon Wilkes Mr. Bruce Hotze Mr. Anthony Makridis Mr. Scott F. Partridge The Simons Family Foundation The Houston Seminar Dr. Rolando R. Maldonado Dr. and Mrs. Richard B. Pesikoff Mr. Herbert Simons Mrs. Robert C. Howe Mr. David S. Malev Mr. and Mrs. Christopher Peters Mr. Joseph Sims and Ms. Janis Doty Mr. John Hrncir John T. Manning Jr. Mrs. Frank D. Peto Mr. James P. Sivco Mr. and Mrs. Ford Hubbard, III Dr. and Mrs. Moshe H. Maor Paul and Cathy Pierson Len Slussler Mr. and Mrs. Ronald E. Huebsch Mr. Bradley H. Marks Mr. and Mrs. Scott Pignolet Ms. Sandra Smith Mr. and Mrs. David G. Hughes Mrs. Susan Marriner Mary Ellen and Donald Podoloff Mr. and Mrs. Thomas Smith Ms. Lois K. Hull Mr. and Mrs. Wallis Marsh Mr. John Poindexter Dr. and Mrs. Edgar J. 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80 | Opera Cues Spring 2015 www.HGO.org Mr. James Weaver Dr. and Mrs. Dale Bennett Ms. Elizabeth DeLeon Ms. Leslie Goldman Mr. Jared M. Kearney and Mr. Tori A. Bergersen Mr. and Mrs. James H. DeNike Ms. Karla Gonzalez Ms. Ashley Wehrly-Kearney Joseph Blackburn Mr. Stephen Derry Dr. and Mrs. Alfred S. Goodman Margaret and Alan Weinblatt Blackridge Dr. and Mrs. R. L. Deter Mr. W. Clarke Gormley Weingarten Falik Investment Co. Ms. Coco Blaffer Ms. Elisabeth DeWitts Mrs. Florence S. Graving Weingarten Realty Investors Mr. Robert T. Blakely Mr. Alex di Bagno and Mr. and Mrs. Michael Griffin Mr. Jesse Weir and Mr. Roberto Ayala Mr. Tim Blando Mrs. Andrea di Bagno Guidi Mr. West Griffin and Ms. Juliet Ellis Mr. Ricardo Weitz Mrs. Jack S. Blanton Sr. Mr. and Mrs. Carson Dickie Ms. Gabriella M. Guerra Drs. Angel and Anita Werch The Boeing Company Mr. and Mrs. Jack Dinerstein Mr. Guillermo Guerrero Mr. and Mrs. Paul West Mr. and Mrs. Richard P. 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Goetz Kelsey-Seybold Clinic

81 Harris and Eliza Kempner Fund Ms. Bettie Miller Kathryn A. Ritcheske Mr. and Mrs. Ralph B. Thomas Ms. Neale Kempner Mr. Gene Minnich and Ms. Wilhelmina E. Robertson Mr. Brian Thorp Mr. Victor Kendall Ms. Pamela Griffin Minnich Ms. Mallory Robinson Mrs. Ann Tomatz Vanessa and Edward Kennard Dr. Lopa Mishra Dr. and Mrs. Steve Rosenbaum Mr. John J. Toomey Mr. and Mrs. Robert Kimball Carolyn E. Mitchell Mr. Christopher Ross Mr. and Mrs. Vernon D. Torgerson Mr. Jeff Knauss and Dr. Angela Knauss Dr. Eleanor D. Montague Ms. Jean P. Ross Ms. Patricia Totten Mr. and Mrs. Jules Knoulton Mr. and Mrs. Alan Moore Dr. Lucho Rossman Mr. and Mrs. Edmunds Travis Jr. Ms. Claudia A. Kozinetz Dr. and Mrs. Robert B. Moore Mr. and Mrs. David Rowan Dr. and Mrs. Douglas Tsuchida Mr. David Krohn Mr. Gregory Morey Mr. Daniel Rowe Ms. Anne Tucker Mr. F. P. Kronberger Morgan, Lewis & Bockius Mr. and Mrs. Gregory M. Ruffing Dr. Ulrike Turner Mr. Steve Kubenka Mr. and Mrs. Stephen J. 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82 | Opera Cues Spring 2015 www.HGO.org $500 to $999 mr. rustin buck mrs. Florence abercia mrs. andrew buechele mr. and mrs. mickey ables mr. richard h. buffett mr. anthony J. adam dr. and mrs. l. max buja mr. and mrs. grant F. adamson ms. Shoko kadowaki bullock mr. Stephen a. adger James r. burke mr. and mrs. John ahearn mr. darryl burns mrs. geraldine aitken drs. ian and patricia butler mr. and mrs. neil ken alexander mr. and mrs. William byers Laureate Society mr. harold allen michael a. caddell and mr. and mrs. Voy althaus cynthia b. chapman ms. maria alvarado mr. Justin cade mr. luis alvarez ms. may cahil dr. marinel m. ammenheuser mr. and mrs. bart calcote mrs. Joan amoroso mr. mark caldwell dr. laura aquino ms. maria calzado mr. robert k. arnett Jr. mr. paul d. camp mr. and mrs. Jason arnoldy ms. toni capra mr. and mrs. Stewart ater mr. l. J. cardenas rudolph avelar Jr. ms. lauren carlson mr. and mrs. John averett mr. david carrizales baker hughes incorporated mrs. anne Salls carsey mr. clark baker dr. and mrs. arch carson mr. dudley baker ms. Susan carvel Sesh and prabha bala mr. Watt m. casey Jr. mr. mike ballases mr. and mrs. John caskey bar boheme ms. natalia castro yvonne barkate ms. helen caudle ms. constance odoherty barnes ms. beth chambers mr. and mrs. greg barra mr. and mrs. gary l. chandler ms. anne barrett mrs. mary l. chapman professor andrew r. barron ms. donna J. charleson mr. and mrs. robert b. bates mr. michael chilen mr. and mrs. ed bayliss citgo petroleum corporation dr. earl and lovie beard mr. and mrs. bobby t. clark ms. dee bentley ms. Judy clark dr. and mrs. norman l. berkman the coca-cola Foundation dr. and mrs. Joel m. berman ms. cheryll a. cody mr. robert d. bernstein dr. and mrs. arthur cole dr. dennis berthold and mr. tulio r. colmenares dr. pamela matthews dr. and mrs. J. michael condit ms. maryana bilenka mr. and mrs. daniel cook mrs. dorothy b. black mr. and mrs. david W. cook ms. deana blackburn mrs. katherine cook LET THERE BE OPERA, ms. ana t. black-celis mr. and mrs. leighton b. cooke dr. zach blailock Jr. mr. brendan t. corkery mr. and mrs. myron blalock iii dr. lorraine cornwell and ALWAYS mr. Jack S. blanton Jr. mr. matthew antonelli blazek & Vetterling ms. barbara cowart dr. and mrs. thomas a. blocher mr. michael d. cox mr. John l. bobbitt monie cox Join the Laureate Society! dr. and dr. John W. boddie mr. robert m. craft ms. tuppen h. bourianoff ms. peggy k. cramer mr. and mrs. robert bowen ms. roxy cramer Including HGO in your will or as a beneficiary mr. bob F. boydston ms. lynda crist of your retirement plan or insurance policy, you mr. douglas boyer ann crosser mr. and mrs. buddy braddock dr. marshall cunningham become a partner with HGO in perpetuating ms. beverly branch mr. brian dailey the art form we love, ensuring its vibrant good dr. and mrs. Sheldon braverman mary Joe danquard health for future generations. As a member of the ms. Sarah bray ms. emily dart mr. alexander brewer dr. and mrs. Jay davis Laureate Society, your legacy gift helps ensure mrs. pamela brien mr. and mrs. Jeremy S. davis opera forever in Houston. mrs. Jan brodhead mr. and mrs. Jim r. davis ms. maxi brooks dr. and mrs. richard day mr. richard brown mr. and mrs. Stefano de asarta mrs. Sylvia r. brown ms. tina degeorgio mr. and mrs. logan d. browning ms. pauline delaney For more information, please contact mrs. carol k. brownstein ms. nina delano Richard Buffett at 713.546.0216 or dr. Joan k. bruchas and dr. and mrs. richard denne [email protected]. h. philip cowdin ms. tonja deSloover mrs. nancy p. brumback mrs. mary dix Also visit HGO.org/LaureateSociety. mr. n W. bryant anne and neil donaldson mr. and mrs. James l. buaas mr. tom doneker

83 Mrs. Nancy F. Doss Mr. Christopher Gurr Mr. Dan A. King Mrs. Gretchen Mazziotti Ms. Elaine S. Dotsey Ms. Laurie Gutierrez Dr. Henry B. Kirby Mr. and Mrs. Murray McAndrew Mrs. James L. Dougherty Dr. Robert W. Guynn Mr. Lannis E. Kirkland Mr. Patrick McCabe Mrs. Joan Down Mr. and Mrs. William Haase Mr. Brett Kirkpatrick Ms. Jessica McCallister Mr. Donn Dubois Mr. Hugh O. Haggerty Ms. Susanna Kise Dr. and Mrs. Robert G. McCandless Elizabeth H. Duerr Barbara and Samuel Hagopian Mr. and Mrs. Michael Klaveness Ms. Teresa J. McCanlies Mr. Frederick S. Dueser Mr. Worthington Hale Ms. Martha Kleymeyer Ms. Anne L. McClanahan Mr. David Dyer Mr. and Mrs. Uzi Halevy Mr. Lee Kness Mr. Greg McConeghy Mr. Roy T. Eby Ms. Elizabeth A. Hampton Mr. and Mrs. Brad Knickel James and Barbara McCormick Mr. and Mrs. Alvin Edelstein Mr. Donald Hang Dr. and Mrs. Michael F. Koehl Dr. Laurence B. McCullough Dr. and Mrs. David Edelstein Mr. and Mrs. Gregory Happe Mr. and Mrs. Frederick Kolb Mr. and Mrs. H. J. 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91 Ms. Cecily Sherbel Ms. Heidi Stober Mr. Russel Turbeville Ms. Erin Williams Miss Eileen Shieber Mr. and Mrs. Glenn Burkhart Mr. and Mrs. Michael Tyson Mrs. John L. Williams Ms. Marlene Shields Ms. Jean Stokes Ms. Pamela Ulmer Mrs. Margaret Williams Retha A. Shirkey Mr. Richard G. Stout Mr. Hywel Upshall Mr. Paul Williams Ms. Ruth Short Mr. and Mrs. George E. Stovall Ms. Susan Vacek Col. and Dr. Robert M. Williams Ms. Karen Shouse Ms. Carol E. Strawn Mr. Allan Van Fleet Mr. and Mrs. Stuart C. Williams Mr. and Mrs. James Sibbald Dr. Eric Strom Mr. James Van Kley Dr. Temple W. Williams Jr. Mr. Karl Siebeneicher Mrs. Crystal Sturm Mrs. Dannie Van Loggerenberg Mr. Paul Williamson Mr. Greggory J Sieffert Ms. Mary A. Summers Ms. Zelda Van Loggerenberg Ms. Danna Willis Mr. and Mrs. Adam Siegel Ms. Vera Sun Ms. Veronique Van Tho Mr. Stephen Willson Dr. and Mrs. Robert L. Siegle Dr. Jasmine Sung and Mr. David Aldrich Mr. Alexander Van Veldhoven Dr. Glenn Wilson Ms. Debora Simmons Ms. Danielle Supkis Mr. Greg Vardilos Mrs. Michael T. Wilson Mr. Reagan Simpson Dr. Reid Sutton Ms. Maria Vargas Mr. R. T. Wilson Mrs. Ann Sims Mr. Satomi Suzuki Mr. Quentin Vassel Mr. Robert C. Wilson III Mr. Todd H. Sittler Mr. Clive R. Swansbourne Mr. and Mrs. John Vaughan Mr. Wallace S. Wilson Mr. Gunnar Skarbovik Mr. and Mr. Charles Sydnor Mr. Marcelo Vela Mr. Jeff Wimsatt Ms. Caroline Skipp Ms. Julianna Szabo Mr. Luis Velez Ms. Barbara B. Winn Mr. Douglas Skopp Mr. and Mrs. Scott Taliaferro Ms. Claremarie Verheyen Ms. Linda W. Winters Ms. Christina Slade Mr. Jose M. Tamayo Mr. Larry Veselka Mr. Jonathan Witt Mr. Lawrence Slaski Neal Tannahill, Ph.D. Mr. Johnny Veselka/ Ms. Alice K. Witterman Ms. Bernadette C. Sloat Mr. Charles R. Tanner Briggs & Veselka Company PC Ms. Jo Ann Wolf Ms. Alessandra Smit Dr. Helene Tanous Mr. and Mrs. Arnold A. Vickery Mr. Marvin Wolff Dr. Christopher Smith Dr. and Mrs. Bruce Tapper Mr. Jerome Vielman Mr. John Wood Mr. Dennis C. Smith Mrs. Sanaa H. Taylor Mr. and Mrs. Glen Wagner Mr. and Mrs. Gary L. Wooddell Mr. Jason Smith Ms. Dian Teinert Ms. Maureen Wakeland Ms. Catherine Wright Mr. John Smith Mr. Michael L. Tenzer Ms. Jamesene T. Wallace Mr. John Wright Ms. Marybeth Smith Ms. Karen L. Terrell Mrs. Carla Walters Mrs. Susan Wright Mr. Phillip Smith Mrs. Jerry Thagard Mr. Charles Walters Ms. Susan Wright Mr. William Smith Ms. Carol Arnold Thaxton Mr. Thomas Warden Mrs. Maxine Wulfe Yale Smith Ms. Ashlie Thomas Mr. Jerry Wasicek Ms. Linda A. Wyland Mr. and Mrs. Jim Smittle Ms. Linda Thomas Mr. Brian Watson Ms. Julia Xenakis Ms. Dena Sokolow Mr. and Mrs. Michael Thompson Ms. Diane Wattenbarger Mrs. Jessica Xu Ms. Kathleen Sommers Mr. Ben Thompson Mr. George Webb Ms. Lynne M. Yarsa Ms. Shell Koontz Somoza Billie V. Thompson Mr. and Mrs. Charles Weber Mr. Don Yates Ms. Linda Sonier Mrs. Carey C. Thompson Ms. Rebecca Weber Mr. Bob R. Yeager and Karen Sotallaro Mrs. Isabelle Thomson Mr. and Mrs. Michael A. Weberpal Ms. Margo Pearson Ms. Julia Soto and Ms. Georgina Soto Mr. Fletcher Thorne-Thomsen Mr. Michael Webster Mr. and Mrs. Jerry Yellen Dr. and Mrs. Eduardo Souchon Mr. Charles Tiar Ms. Willeva C. Weems Mrs. Sibylle Yetmen Ms. Susan Soussan Mr. William Tilley Ms. Kristin H. Weikel Ms. Nancy You Mr. Charles South TIRR Foundation Bernard Weingarten Ms. Patti Young Mr. Brian Speck Ms. Vera Titov Mrs. Blake I. Weisser Mr. Randel Young Mr. William C. Spence Mr. Stathis Tompaidis Mrs. Beatriz M. Wellings Dr. and Mrs. Ronald L. Young Ms. Marie Spencer Mr. Walter Topp Mr. Marvin Wells Ms. Lisa Younhee Ms. Olga Spirina Mr. and Mrs. Hector Torres Ms. Toni W. Welsh Ms. Jessica Zachary Ms. Tippawan Spratt Mr. Jeffrey Toschlog Mr. Peter Westervelt Mr. Betsalel Zeltser Ms. Pamella Spruiell Mr. Lawrence Townley Mr. Herbert Whalley Mr. Jan Ziobro Mr. and Mrs. Cordell St. Cyr Mr. and Mrs. David C. Townsend Ms. Camille White Zuber Insurance Agency, Inc. Mr. James Stafford Ms. Joyce Townsley Dr. Lenae White Dr. Stewart Zuckerbrod Mr. Robert Stanberry Ms. June Trammell Ms. Linda White Mr. Eric Zumdieck Ms. Darla Y. Stange Mr. Khanh Tran Ms. Lisa White Mr. and Mrs. Alfred Zustovich Mr. Robert Stawicki Mr. Laurent Tran Mr. William Wibker 3 Anonymous Mr. Roland Steele Mr. Quy Tran Mr. Ronald Wier Mr. and Mrs. David Stegall Ms. Leslie Treanor Ms. Elizabeth E. Wigginton Mr. Chaim Steinberg Mr. and Mrs. Michael Trevino David and Catherine Wildermuth Ms. Tanya Stephens Ms. JoAnn Trial Mrs. Leslie L. Wildrick Mrs. Dorothea Stern Mrs. Mavis Triebel Ms. Ann Wilkinson Dr. Gene Stevenson Mr. and Mrs. Fisher Trigg Dr. and Mrs. Harry Wilkinson Mr. Robert Stewart Mr. Matteo Trucco Mr. and Mrs. Thomas H. Wilkinson Ms. Sue Stewart Ms. Laurel Tsang Mr. Thomas B. Wilkinson IV Mr. Jonathan Stigant John and Deborah Tsoukalas Mr. and Mrs. Bob Willcott Mr. Nicholas Stinson Ms. Diana Tully Dr. and Mrs. Robert Willcott

92 | Opera Cues Spring 2015 www.HGO.org for information on aLL Houston Grand oPera eVents, caLL tHe customer caLendar care center at 713-228-oPera (6737) or 800-626-7372 unLess otHerwise noted. for information on HGoco eVents, PLease caLL 713-546-0230, emaiL [email protected], or Visit HGo.orG/HGoco.

aPriL june oPera camPs

18, 22, 25, 30, may 3m 17 For information, visit HGO.org/ • Performances of Wagner’s Die Walküre. • HGOco High school Voice studio operacamp. All camps held at Wortham Theater Center’s Brown Theater. Graduation recital, Duncan Recital Hall, the Wortham Theater Center. Special intermission reception for members Rice University Shepherd School of Music. of Opening night for young Professionals 6 p.m. Free. 8–12 in the April 18 performance only. • HGOco’s Opera experience camp 22, 23 for students entering grades 4–9 24, 26m, 29, may 2, 8, 9 • Performances of Mozart’s The Magic this fall. Learn and perform songs • Performances of Stephen Sondheim and Flute at Miller Outdoor Theatre. 8 p.m. from Broadway-style repertoire while Hugh Wheeler’s Sweeney Todd. Wortham free tickets for covered seating may be developing healthy singing technique. Theater Center’s Brown Theater. Special picked up the day of the performance Fee: $250. intermission reception for members of from 10:30 a.m. until 1 p.m. at the Opening night for young Professionals in Miller Outdoor Theatre box offi ce. Visit 15–19 the April 24 performance only. milleroutdoortheatre.com. • HGOco’s Create an Opera camp for students entering grades 3–6 this fall. 26 Write words, compose music, design and • Behind the Music: An intimate june build sets, props, and costumes—and conversation about Sweeney Todd perform an original musical version of immediately following the performance. 2 The Day the Crayons Quit. Fee: $200. Masterson Green Room. Free. • HGO Association Annual Meeting. Wortham Theater Center, 5–7 p.m. Open to 15–26 maY board, trustees, and donors. Call • HGOco’s Art of Opera camp for students 713-546-0217 for information. entering grades 7–12 this fall. Enhance vocal and dramatic skills by performing 3 The Tinker of Tivoli, based on music by • Behind the Music: An intimate Rossini. Recommendation from choir conversation about Die Walküre director or voice teacher required. immediately following the performance. Fee: $350. Masterson Green Room. Free. 6–8 • Opera to Go! presents free public performances of The Pastry Prince at Miller Outdoor Theatre, 6000 Hermann Park Dr. 11 a.m. daily. 7, 10 • HGO studio recital at rienzi. Hear HGO Studio artists in the intimate and elegant salon at Rienzi, MFAH’s decorative arts wing, 1406 Kirby Drive. May 7 at 7:30 p.m., May 10 at 5 p.m. José “Pepe” Martínez/Leonard Foglia

Photo by Kevin G. Roznowski EL PASADO NUNCA SE TERMINA 13, 16, 17m THE PAST IS NEVER FINISHED • Performances of José “Pepe” Martínez May 13, 16, 17m and Leonard Foglia’s El Pasado Nunca Se Termina/The Past Is Never Finished. Amorita Augustino Mariachi Vargas Guarantor Abigail Santos Villalobos Luis Ledesma de Tecalitán Mr. and Mrs. Anthony G. Wortham Theater Center’s Brown Theater. Luis Miguel/Hotel Manager Carlos Martínez Petrello Daniel Montenegro Miguel Nuñez Director Grand Underwriters Enrique 15 Music National Endowment for Paul La Rosa José “Pepe” Martínez Please note: El Pasado the Humanities; • Performance of Mozart’s The Magic Acalán Lyrics Nunca Se Termina Mr. and Mrs. Harlan C. Stai Flute at Cynthia Woods Mitchell Pavilion, Ricardo Rivera Leonard foglia is not part of our The Woodlands. 8 p.m. $20 orchestra Daniel Underwriters Director 2014–15 subscription Sebastien E. De La Cruz Bank of America; seating. free mezzanine and lawn seating Leonard foglia series; tickets must be Juana The Humphreys courtesy of The Wortham Foundation. Visit Projections/Set Designer purchased separately. Vanessa Alonzo Foundation; Novum Elaine McCarthy woodlandscenter.org for information. Isabel/Dolores Energy Services, LLC; Costume Designer Cassandra Zoe Velasco Beirne, Maynard & Scott Marr Xihuitl Parsons LLP Lighting Designer Octavio Moreno Christopher Maravich

93 Houston Grand Opera Management and Staff

PATRICK SUMMERS, Artistic and Music Director * PERRYN LEECH Margaret Alkek Williams Chair Managing Director

GREGORY S. ROBERTSON Chief Advancement Officer SANDRA BERNHARD MOLLY DILL DAVID FEHELEY DEBORAH HIRSCH Director of HGOco General Manager * Technical and Production Director Senior Director of Development

JUDITH KURNICK BRADLEY MOORE BRIAN SPECK DIANE ZOLA Director of Communications Head of Music Staff Director of HGO Studio Director of Artistic Administration * Music Director, HGO Studio Mr. and Mrs. Albert B. Alkek Chair

Office of the General Director Advancement Services Technical/Production Dawn Gillespie, Governance and Ashley Coffey, Development Administrative Philip Alfano, Lighting Associate Business Manager Assistant Katrina Bachus, Assistant Director Robert Lilly, Executive Assistant Robin Lewis, Development Data Manager Bobby Baker, Assistant Carpenter M. Jane Orosco, Marketing Data Manager * Gregory Banfield, Assistant Electrician * Finance and Administration Joanna Torok, Director of Advancement Kristen E. Burke, Production Stage Manager Maria J. Blake, Systems Manager * Operations Michael Clark, Lighting Supervisor Henry Cantu, Staff Accountant Andrew Cloud, Properties Associate * Luis Franco, Office Services Coordinator * Communications Norma Cortez, Head of Costumes * Denise Fruge, Accounts Payable Administrator * Laura Chandler, Director of Publications * Kyle Coyer, Assistant Technical Director Matt Gonzales, Database Administrator Amy Garcia, Creative Services Associate Esmeralda De Leon, Costume Coordinator Debbie Loper, Payroll Administrator * Christine Lee, Communications Manager Brandon Dismukes, Production Master Tanya Lovetro, Director of Finance Ashley Seals, Communications Coordinator Carpenter * Ken Vaughn, Director of Information Systems * Pattima Singhalaka, Art Director Meg Edwards, Assistant Stage Manager Lee Whatley, Director of Business Analytics * The Genevieve P. Demme Archives Mary Elsey, Assistant Stage Manager Melissa Williford, Director of Human Resources * and ­Resource Center Zoltan Fabry, Master Propertyman * Development Brian Mitchell, Archivist * Megan, Properties Design Director * Rudy Avelar, Director of Patron Services * Mario Gutierrez, Chief of Security Richard Buffett, Director of Major Gifts and HGOco Ed Hamala, Assistant Carpenter/Head Flyman Legacy Planning Dennis Arrowsmith, Interim Touring and Debbie Harrington, Costume Shop Supervisor * Kelly Finn, Director of Development, Ensembles Manager Eduardo Hawkins, Head Soundman * Institutional Giving Brittany Duncan, Programs Director Sonia Henao, Technical Assistant Clare Greene, Associate Director of Julie Hurley, Office Administrator and Julie Hurley, Assistant Stage Manager Special Events HGOco Stage Manager Susan Li, Assistant Director Scott Ipsen, Director of Special Events Joy Hutton, Operations Manager Marcie Lou, Technical/Production Administrator Veronica Kannan, Development Officer Artistic/Music Shawna Lucey, Assistant Director Eva Kanouse, Special Events Coordinator Richard Bado, Chorus Master * Jessica L. Mullins, Stage Manager/ David Krohn, Associate Director of Development Robert Boldin, Music Administrator Assistant Stage Manager Elizabeth Lyons, Development Communications Richard S. Brown, Orchestra Personnel Michael Mullins, Assistant Technical Director/ Manager Manager * HGOco Technical Director Paige Myrick, Development Officer Jamie Gelfand, Artistic and Rehearsal Liz Petley, Assistant Stage Manager Emily Schreiber, Development Officer Coordinator Albert Pike, Master Electrician * Denise Simon, Special Events Carolyne Hall, Associate Company Manager Mercedes Ramirez, Draper * Operations Manager Patrick Harvey, Assistant Chorus Master, Maria Luisa Salinas, Costume Technician Jennifer Wijangco, Director of Development, Assistant Conductor Omer Ben Seadia, Assistant Director Individual Giving Paul Hopper, Dramaturg Dotti Staker, Wig and Makeup Sarah Williams, Prospect and Danielle Kimball, Artistic and Rehearsal Department Head * Research Manager Coordinator Christopher Staub, Stage Manager/ Assistant Stage Manager Marketing Mark C. Lear, Associate Artistic Administrator * Paully Lea Tran, Costume Technician Kelly Laning, Director of Marketing Lisa Oswald, Company Manager Myrna Vallejo, Costume Coordinator * Cynthia Lewis, Team Lead Peter Pasztor, Assistant Conductor * Annie Wheeler, Stage Manager/ Raquel Meyer, Marketing Manager Karen Reeves, Children’s Chorus Director * Assistant Stage Manager Jacob Millwee, Team Lead Tim Tull, Music Librarian * Richard Wong, Director of Sales and Services * * denotes 10 or more years of service Houston Grand Opera Studio Amra Catovic, Administrator

94 | Opera Cues Spring 2015 www.HGO.org YOUR HOUSTON GRAND OPERA

ouston Grand Opera offers a LOST OR MISPLACED TICKETS wealth of services to enhance your There is no charge for replacing lost opera experience. H ­tickets. More than 24 hours prior to Want to brush up on the opera before the performance: call the Customer you attend? Need directions to the Care Center at 713-228-OPERA (6737) theater? This information and much more or 800-62-OPERA (800-626-7372) to is available on our website where you request replacement tickets. They will can also purchase tickets and make a be reprinted and held at the Will Call donation: www.HGO.org window for your performance. Within 24 HGO’s Customer Care Center is another hours of the performance: go to the Box great resource. For performance Office Manager’s window. The Box Office information, to purchase or exchange Manager will access your account and tickets, or to make a donation to HGO, reprint your tickets free of charge. contact the Customer Care Center at PATRONS WITH DISABILITIES 713-228-OPERA (6737) or 800-62-OPERA (800-626-7372). You The Wortham Theater Center features can also e-mail [email protected]. wheelchair access to both theaters with During HGO’s active repertory periods, a choice of seating locations and the Center will be staffed Monday ticket prices. An FM assistive listening through Friday from 10 a.m. to 6 p.m. (or device, generously provided by the until curtain time on performance days). Houston First Corporation, is available The Center will be open on Saturdays for use free of charge at all performances. and Sundays only when there is a Please call the ­Customer Care Center at performance, from noon until curtain. 713-228-OPERA (6737) or Hours are subject to change. 800-62-OPERA (800-626-7372) for full details. You can purchase tickets and make exchanges in person at the HGO Box Descriptive services for persons with Office, located in the Wortham Theater vision loss are available with 48-hour Center at 550 Prairie. Hours are Monday advance reservations. Please call through Friday, 10 a.m. to 5 p.m. If there 713-546-0203 for details. is a performance on Saturday or Sunday, FOOD AND BEVERAGE ­SERVICES the Box Office will be open from noon To pre-order food and beverages at the until curtain. Hours are subject to change. Encore Café prior to the performance, BROWN AND CULLEN ALCOVES call at 713-250-3650. Pre-order The Wortham Theater Center’s newly beverages for intermission at any of the renovated alcoves were designed with lobby bars when you arrive at the theater. your comfort in mind. Step inside one of When you return at intermission, your these golden-hued spaces in the Grand beverages will be waiting for you. Foyer, and you’ll find a calm place to Full-season subscribers in the ­Founders reflect on the evening’s performance over Boxes, Premium Orchestra, and Loge dinner or drinks. Boxes may dine in the Founders Salon. EXCHANGING YOUR TICKETS Reservations are required, and meals must be ordered in advance. To take Full-season subscribers may exchange advantage of this subscriber-only benefit, their tickets for a different performance Call Elegant Events and Catering by of the same opera without fee, subject Michael at 713-533-9318. to availability. Exchanges can be made by phone until 24 hours before the PARKING performance begins; for exchanges within Valet parking is a benefit of membership 24 hours of curtain time, please visit the for Patrons Circle and National Patron Box Office in person. Non-subscription donors; the valet station is located single tickets may be exchanged with on Prairie Street. If you would like a service fee of $10 per ticket. When information about membership at this exchanged for tickets of greater value, level, please contact a member of HGO’s the customer will be responsible Development staff at for the difference; no refunds will be 713-546-0704, or e-mail us at made. No exchanges are permitted [email protected]. after the performance has begun.

95 Out of Character: christine goerke Christine Goerke as Fiordiligi in her 2001 HGO debut in Così fan tutte and as Ortrud Christine Goerke made her She feels very much at home in Lohengrin, HGO, 2009. HGO debut in 2001 as a at HGO and in Houston—so wonderfully flirtatious, tender, much so that she is planning and brave Fiordiligi in Mozart’s to do some house-hunting Così fan tutte. When she next while she’s here: her husband, appeared at HGO, it was in James, who is in high-rise 2009 as a take-no-prisoners construction, is receiving Ortrud in Wagner’s Lohengrin. job offers here and she is The difference between those excited at the prospect of two roles illustrates what was moving from New Jersey to going on with her voice: it was Houston with him and their changing, and her technique two daughters, Charlotte and her repertoire had to (“Charlie”), who will turn change with it. This spring at six on May 1, and Margaret HGO, she sings her first fully (“Maggie”), eight. She spoke staged U.S. performances of with Opera Cues editor Laura Brünnhilde, the titular Valkyrie Chandler on Day Two of in Wagner’s Die Walküre. rehearsals for Die Walkure.

How does it feel to be thought of as the roles that way. When it was time for me always see [in other interpretations], so Wagner‑Strauss soprano that we’ve to show that I could sing this repertoire, I that’s what I hope to be able to portray. been waiting for, as Heidi Waleson put it was ready. Critics have often noted your nuanced in Musical America? Brünnhilde is such a pinnacle role. Why? character portrayals. Where does that acting ability come from? Well, there’s hardly any pressure behind It’s one of the most in‑depth characters that sort of thing! You know, when I listen that a female can play in opera. She’s a When you’re dealing with music that to myself, I’m so critical of every note that headstrong teen, but then things change is through-composed, it’s as if you’re I don’t hear anything I like. So I’m thrilled so quickly. And we see every emotion, all having a chat with somebody. So for that people are happy. I am so lucky and the grief, anger, joy, resignation, bravery, me, it always just has to do with really I love the music so much—I just hope I’m fear—everything. This all happens over paying attention to the person that you’re doing a modicum of service to it. the course of three operas, but it’s so interacting with. And Wagner was brilliant. Tell me a little more about your transition rare to find a character with such a He gave you everything in the text and in to your current repertoire. You sang your broad spectrum of feelings, emotions, the music. Even if you don’t know quite first Ortrud at HGO? colors. People have said, and I agree, what you’re thinking, there’s a leitmotif that the relationship between Wotan and that tells you what you are thinking. Yes. I didn’t actually think that it was that Brünnhilde is the central love story of the Is it true you found out that you could big of a leap at that point—but people entire Ring cycle. So the final scene is, sing by chance? were very surprised that I was cast as for me, one of the most heartbreaking Ortrud. But [HGO Artistic and Music scenes in all of opera. Completely by accident. I was going to Director] Patrick Summers knew it was a And Brünnhilde is the hero Wotan has be a high school band teacher, and I was great fit. Patrick always has stood by me; been looking for— a clarinet major. The instrumental majors he has always understood what’s been had to take sight singing placement going on with my instrument. He’s always She is the hero. He just misses the whole exams. They liked my singing better understood my psyche. I really don’t thing. than my clarinet playing, which was a know what I would have done without giant blow. But then I realized I could him, to be perfectly honest. He’s also had What do you feel like will be different wear lipstick, which totally makes me a some ideas that I thought were absolutely about your Brünnhilde? soprano. bananas. When I got the offer from HGO to sing Eboli in Don Carlos, I said, “Eboli? I don’t see her as a super‑strong warrior A mezzo part?” But it fit me perfectly—he maiden. She’s a kid. She has a huge was right. capacity for love, and when she and Siegmund meet, she sees that there are I’m also very grateful to the Metropolitan other beings who have this same kind Opera because I did a lot of of passion and it makes her all the more understudying there and I learned a lot of fragile. There’s a fragility to her that I don’t KEEPING ELITE PERFORMERS IN THE SPOTLIGHT. THAT’S THE DIFFERENCE BETWEEN PRACTICING MEDICINE AND LEADING IT.

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