2 MISSISSIPPI OPERA

4 MISSISSIPPI OPERA FROM THE BOARD PRESIDENT

elcome to the fall production of Mississippi Opera’s 73rd season. Thank you for investing Win Mississippi’s only professional opera company, the 9th oldest in the United States. Our productions would not be possible without the commitment of our supporters, performers, Guild volunteers, individual and corporate contributions. I encourage you to be part of something truly magical by renewing or purchasing your season tickets as soon as possible, I can assure you, that the best seats will go quickly.

Nothing touches my soul like opera—music, theatre and dance all rolled into one glorious art form. Opera provides avenues for music lovers of all ages. Whether you know opera from years of study or a casual passing, the outstanding national and local voices, together with members of the Mississippi Opera Orchestra and Chorus are dedicated to sharing their talents with you—our valued patron.

The season has something for every music lover, the fun series at Duling Hall; which runs the gambit from Frank Sinatra to Nat King Cole to Carole King. Coming in April, 2019 be ready for one of the world’s favorite operas, Puccini’s beautiful La bohème at Thalia Mara Hall. There are opera stars, leads and divas, but no one plays a more important part than you. Please consider making a tax-deductible charitable contribution or ponder the possibility of a legacy gift of a life insurance policy or estate gift.

Elbert Bivins Board President

Mississippi Arts Commission 2017 Governor’s Arts Awards Recipients The Mississippi Opera Association–Artistic Excellence

MISSISSIPPI OPERA 5 FROM THE GENERAL DIRECTOR Dear Friends of Mississippi Opera, It is my pleasure to welcome you to our 73rd season of the Mississippi Opera. Over the course of this season we will present a wide variety of musical events ranging from My Way, a Frank Sinatra Tribute, Unforgettable, a Nat King Cole Centennial Celebration and Feel the Earth Move, an evening of Carole King to stage productions of The Hilarious World of , Amahl and the Night Visitors, and our season finale, the most popular opera in the world, Puccini’s La bohème. There is truly something for everyone.

I am very honored to be the General and Artistic Director of the Mississippi Opera. It continues to be a pleasure to be a part of this organization’s growth and to work with our outstanding performers, board members, staff and the Mississippi Opera Guild.

The growth of the Mississippi Opera is reflected in our significant increase in our various activities, variety of performances, board members, sponsors, and donors, and educational audiences, as well as our increase in ticket sales and grants.

If you are new to the Missisippi Opera we hope that you will enjoy our many wonderful performances. If you are an opera regular, welcome back and we’re glad you’re here. We hope you enjoy each of our very special events.

Sincerely,

Jay Dean General and Artistic Director

6 MISSISSIPPI OPERA 2018-2019 BOARD OF DIRECTORS

Elbert Bivins, President Hogan Allen, Treasurer Anthony Cloy, Secretary Matt Allen Sharon Pratt Wendy Thompson Megan West Sid Davis Scott Newton David Trigiani Jane Woosley Mark Henry Bob Soukup Shannon Warnock Jon Weiner John Hooks Barbara Travis Lynn Wentworth Mary Acthley, Mississippi Opera Guild President

PAST PRESIDENTS Founder Mrs. John T. Caldwell, Jr. Chairman in Perpetuity Dr. Samuel B. Johnson H. M. Addkinson, Jr. A. Spencer Gilbert, III Earle F. Jones Mrs. Alexander S. J. Michael Ainsworth Dr. Guy Gillespie, Jr. Mrs. H. K. Kent Payne Mrs. William F. Mrs. Edward J. Don Potts Hogan Allen Goodman, Jr. Killelea James L. Robertson Elbert Bivins P. N. Harkins, III Mrs. Dorothy H. W. Albert Simmons Kim Breese Robert E. Hauberg, Jr. Kitchings Mrs. Heber Simmons George Bria Mrs. Robert Hearin Mrs. Wilbur H. Patsy Tolleson Carroll Brinson Ralph Hester, Jr. Knight Mrs. T. Arnold Sandra Person Burns John R. Hutcherson Gus Leep Turner, Jr. Mrs. Frank Cabell Mrs. Peggy B. J. Jasper Lowe O. Edward Wall Mrs. John T. Johnson Lee Ann Mayo Mrs. Cecile Wardlaw Caldwell, Jr. A. Charles Jackson, Charles J. McCool Louis H. Watson M. L. Cashion, Jr. M.D. Jack W. McDaniel Joshua J. Wiener Chandler Clover Mrs. Samuel B. Mrs. E. B. McGehee Jonell B. Williamson Mrs. Armand Coullet Johnson Charles L. Mortimer Richard B. Wilson, Jr. Eric Eaton Dr. Samuel B. Lamar Nesbit James W. Woolridge Richard M. Fountain Johnson W. L. Norton Monroe M. Wright

MISSISSIPPI OPERA 7 T h e H i l a r i o u s W o r l d o f G i l b e rt & S u l l i va n

Saturday, November 10, 2018 Duling Hall Jackson, Mississippi

Paul Houghtaling, Director Richard Nechamkin, Music Director/Conductor Jay Dean, Producer

Susan Williams, soprano Alexis Davis-Hazell, mezzo-soprano David Tayloe, James Bobick, Paul Houghtaling, -baritone

8 MISSISSIPPI OPERA MUSICAL NUMBERS

ACT I

Quintet: If Saphir I Choose to Marry, from – Susan, Alexis, David, Jim, and Paul

Aria: Alone and Yet Alive, from – Alexis

Aria: Tit Willow – Paul

Duet: There is Beauty in the Bellow of the Blast – Alexis and Paul

Aria: Take a Pair of Sparking Eyes, from – David

Duet: We’re Called Gondolieri – Jim and David

Trio: When You Had Left Our Pirate Fold (“Paradox Trio”) from – Alexis, Jim, David Solo and ensemble, “I Am the Very Model of a Modern Major General” and Act I Finale, Paul, the Company, with the Mississippi Opera Chorus

ACT II

Quintet: Woman of the Wisest Wit, from Princess Ida – Susan, Alexis, David, Jim, and Paul

Duet: Were You Not to Ko-Ko Plighted, from The Mikado – Susan and David

Aria: The Suns Whose Rays Are All Ablaze – Susan

Quartet: When a Wooer Goes A-Wooing from – Susan, Alexis, David, Paul

Duet: Hereupon We’re Both Agreed (“Cock and Bull” duet) – Jim, Paul

ACT II Entr’acte, from H.M.S. Pinafore – Richard and the Orchestra

Aria: Fair Moon to Thee I Sing – Jim

Trio: Never Mind the Why and Wherefore (Bell Trio) – Jim, Susan, Paul Finale, “Let’s Give Three Cheers,” the Company, with the Mississippi Opera Chorus

MISSISSIPPI OPERA 9 MEET THE COMPOSERS

W. S. GILBERT ilbert and Sullivan the Victorian-era musical theatre through the 20th century. Gtheatrical partnership of the librettist The operas have also influenced political W. S. Gilbert (1836–1911) and the discourse, literature, film and television and composer Arthur Sullivan (1842–1900) have been widely parodied and pastiched and to the works they jointly created. The by humorists. Producer Richard D’Oyly two men collaborated on fourteen comic Carte brought Gilbert and Sullivan together operas between 1871 and 1896, of which and nurtured their collaboration. He built H.M.S. Pinafore, The Pirates of Penzance and the Savoy Theatre in 1881 to present their The Mikado are among the best known. joint works (which came to be known as the Savoy Operas) and founded the D’Oyly Gilbert, who wrote the words, created Carte Opera Company, which performed fanciful “topsy-turvy” worlds for these operas and promoted Gilbert and Sullivan’s works where each absurdity is taken to its logical for over a century. conclusion—fairies rub elbows with British lords, flirting is a capital offence, gondoliers Gilbert before Sullivan ascend to the monarchy, and pirates emerge as noblemen who have gone astray. Sullivan, six Gilbert was born in London on 18 November years Gilbert’s junior, composed the music, 1836. His father, William, was a naval surgeon contributing memorable melodies that could who later wrote novels and short stories, convey both humor and pathos. some of which included illustrations by his son. In 1861, to supplement his income, the Their operas have enjoyed broad and younger Gilbert began writing illustrated enduring international success and are stories, poems and articles of his own, many still performed frequently throughout the of which would later be mined as inspiration English-speaking world. Gilbert and Sullivan for his plays and operas, particularly Gilbert’s introduced innovations in content and form series of illustrated poems, the Bab Ballads. that directly influenced the development of

10 MISSISSIPPI OPERA MEET THE COMPOSERS

In the Bab Ballads and his early plays, Gilbert Sullivan before Gilbert developed a unique “topsy-turvy” style in which humor was derived by setting up a Sullivan was born in London on 13 May ridiculous premise and working out its logical 1842. His father was a military bandmaster, consequences, however absurd. Director and by the time Arthur had reached the and playwright Mike Leigh described the age of eight, he was proficient with all the “Gilbertian” style as follows: instruments in the band. In school he began to compose anthems and songs. In 1856, he With great fluidity and freedom, received the first Mendelssohn Scholarship [Gilbert] continually challenges our and studied at the Royal Academy of Music natural expectations. First, within and then at Leipzig, where he also took up the framework of the story, he makes conducting. His graduation piece, completed bizarre things happen, and turns the in 1861, was a suite of incidental music to world on its head. Thus the Learned Shakespeare’s The Tempest. Revised and Judge marries the Plaintiff, the soldiers expanded, it was performed at the Crystal metamorphose into aesthetes, and so Palace in 1862 and was an immediate on, and nearly every opera is resolved sensation. He began building a reputation as by a deft moving of the goalposts... England’s most promising young composer, His genius is to fuse opposites with composing a symphony, a concerto, and an imperceptible sleight of hand, to several overtures, among his early major blend the surreal with the real, and the works for the voice included The Masque caricature with the natural. In other at Kenilworth (1864); an oratorio, The words, to tell a perfectly outrageous Prodigal Son (1869); and a dramatic cantata, story in a completely deadpan way. On Shore and Sea (1871). He composed a ballet, L’Île Enchantée (1864) and incidental Gilbert developed his innovative theories music for a number of Shakespeare plays. on the art of stage direction, following Other early pieces that were praised were theatrical reformer Tom Robertson. At the his Symphony in E, Concerto for Cello and time Gilbert began writing, theatre in Britain Orchestra, and Overture in C (In Memoriam) was in disrepute. Gilbert helped to reform (all three of which premiered in 1866). These and elevate the respectability of the theatre, commissions, however, were not sufficient to especially beginning with his six short family- keep Sullivan afloat. He worked as a church friendly comic operas, or “entertainments”, organist and composed numerous hymns, for Thomas German Reed. popular songs, and parlour ballads.

At a rehearsal for one of these entertainments, Sullivan’s first foray into was (1869), the composer (1866), written with librettist introduced Gilbert to his friend, the young F. C. Burnand for an informal gathering of composer Arthur Sullivan. Two years later, friends. Public performance followed, with Gilbert and Sullivan would write their first W. S. Gilbert (then writing dramatic criticism work together. Those two intervening years for the magazine Fun) saying that Sullivan’s continued to shape Gilbert’s theatrical style. score “is, in many places, of too high a class He continued to write humorous verse, for the grotesquely absurd plot to which it stories and plays, including the comic operas is wedded.” Nonetheless, it proved highly (1870) and A Sensation successful, and is still regularly performed Novel (1871). today. Sullivan and Burnand’s second opera,

MISSISSIPPI OPERA 11 MEET THE COMPOSERS

The Contrabandista (1867) was not as The piece premiered in New York rather successful as the Overture di Ballo, in 1870. than London, in an (unsuccessful) attempt The Princess (1870), The Palace of Truth to secure the American copyright, and was (1870), and Pygmalion and Galatea (1871). another big success with both critics and audiences. Gilbert, Sullivan and Carte tried The Pirates of Penzance (New Year’s Eve, 1879) for many years to control the American pokes fun at grand opera conventions, sense performance copyrights over their operas, of duty, family obligation, the “respectability” without success. Nevertheless, Pirates was of civilization and the peerage, and the a hit both in New York, again spawning relevance of a liberal education. The story also numerous imitators, and then in London, revisits Pinafore’s theme of unqualified people and it became one of the most frequently in positions of authority, in the person of performed, translated and parodied Gilbert the “modern Major-General” who has up-to- and Sullivan works, also enjoying successful date knowledge about everything except the 1981 Broadway and 1982 West End revivals military. The Major-General and his many by Joseph Papp that continue to influence daughters escape from the tender-hearted productions of the opera. Pirates of Penzance, who are all orphans, on the false plea that he is an orphan himself. In 1880, Sullivan’s cantata The Martyr of The pirates learn of the deception and re- Antioch premiered at the Leeds Triennial capture the Major-General, but when it is Music Festival, with a libretto modified by revealed that the pirates are all peers, the Gilbert from an 1822 epic poem by Henry Major-General bids them: “resume your ranks Hart Milman concerning the 3rd century and legislative duties, and take my daughters, martyrdom of St. Margaret of Antioch. all of whom are beauties!” Sullivan became the conductor of the Leeds festival beginning in 1880 and conducted the performance. The Carl Rosa Opera Company staged the cantata as an opera in 1898.

12 MISSISSIPPI OPERA CAST BIOGRAPHIES

Metro Opera. Dr. Houghtaling holds the D.M.A. degree from the City University of New York and is currently Associate Professor of Music and Director of Opera at the University of Alabama. www.paulhoughtaling.com

PAUL HOUGHTALING BASS-BARITONE ass-baritone Paul Houghtaling has sung Ba diverse repertoire throughout the U.S. and abroad. He was Ko-Ko in The Mikado with Mississippi Opera in 2016, a role he has performed with Opera Saratoga, Natchez Opera, DAVID TAYLOE Anchorage Opera, and the National Savoyards, and returned as the Major General in last season’s TENOR native of North Carolina, tenor, David The Pirates of Penzance. Other career highlights Tayloe has been praised for his “lovely tenor include the soundtrack to Reggio’s filmNaqoyqatsi A that sings with Mozartean finesse.” David has for SONY; several Carnegie Hall solo appearances made appearances with the Santa Fe Opera, with Cecelia Chorus of New York, American Opera Louisiane, Opera Birmingham, Naples Composers Orchestra, and others; U.S. tours Philharmonic, Virginia Arts Festival, Piedmont with the Waverly Consort, including Kennedy Opera Company, the A.J. Fletcher Institute, Center appearances; European tours as Papageno LSU Opera, and Frost Opera Theater. His with Teatro Lirico d’Europa; “Opera Buffa: recent roles include Tybalt in Roméo et Juliette, Comedy On Stage” on Lincoln Center’s “Meet Jason in Farbermann’s Medea, Albert in Albert the Artists” series; and all of the major works Herring, Gastone in La Traviata, Student in of Bach with ensembles across the country. He Michael Torke’s Strawberry Fields, Rinucchio in has appeared with Nashville Opera as Sir Joseph Gianni Schicchi, Candide in Bernstein’s Candide, in H.M.S. Pinafore and Cedar Rapids Opera and Mozart in Rimsky-Korsakov’s Mozart and Theatre as stage director for The Gondoliers. Salieri. As a concert singer, he has performed Last season, Houghtaling made an acclaimed as Obadiah in Elijah, the Evangelist in Bach’s debut with Opera Birmingham as Dulcamara St. Matthew Passion as well as the tenor soloist in L’elisir d’Amore and directed Handel’s Alcina in the Magnificat, Finzi’s Dies Natalis, Handel’s for Red River Lyric Opera in Texas, where he Messiah, Haydn’s Creation, Lord Nelson Mass, returned this year to direct H.M.S. Pinafore. He Paukenmesse, and Theresianmesse, Schubert’s A-flat has also appeared with the Baltimore, Boston Mass, and Britten’s Serenade. Lyric, Knoxville, Long Beach, and Santa Fe Operas, and the Guild An avid performer of art song, David has among others, and has created roles in Glass’s presented recitals across the United States The Witches of Venice (recorded for Euphorbia) and Europe, including a tour of Schubert’s and Lee Hoiby’s The Tempest with Des Moines

MISSISSIPPI OPERA 13 CAST BIOGRAPHIES

Winterreise. David was a featured recitalist at the Opera America Center in New York City, with a performance of Winterreise. David has collaborated with composers on their original work including Libby Larsen, Ben Moore, and Jake Runestad, and Thomas Sleeper, including the West Coast premiere of Ben Moore’s Dear Theo, the world premiere of A Page Out of Zen by Ryan Jesperson, and the world premiere of Thomas Sleeper’s Beatrice Bends for her Blue Ball.

Mr. Tayloe has performed with the Grammy nominated ensemble Seraphic Fire and the Santa Fe Desert Chorale, and Voices, among other professional ensembles. He has been a performer at the Magnolia Baroque Festival in North Carolina, the Duffy Composers Institute at the Virginia Arts Festival and was twice awarded the Stern Fellowship at Songfest in Los Angeles where he returned for the summer of 2017. He has ALEXIS DAVIS-HAZELL collaborated with Martin Katz and participated in master classes with Julius Drake, Christoph MEZZO-SOPRANO Pregardien, Graham Johnson, Renee Fleming, lexis Davis-Hazell, mezzo-soprano, has Wolfram Rieger, and Roger Vignoles. Aperformed a wide range of repertoire throughout the U.S. and abroad. From Mme. David holds degrees from University of Miami de Croissy of Poulenc’s Dialogue of the Carmelites and Louisiana State University, and the Eastman and Dritte Dame of Mozart’s Die Zauberflöte, School of Music. Additional studies at the to Frugola of Puccini’s Il Tabarro and the High Britten-Pears Institute at Snape Maltings in Priestess of Verdi’s Aida, the Philadelphis native Aldeburg, England. In the fall of 2014, David has earned considerable acclaim for her dramatic joined the faculty of the University of Alabama intensity and musical commitment. She has as Assistant Professor of Voice. participated in more than one hundred and twenty performances of Porgy and Bess since 2008 in a variety of capacities, including both U.S. and European tours. She has sung the roles of Maria, Lily and Strawberry Woman in houses throughout Germany, Russia, Poland, Greece, Latvia, Switzerland and North America. Along with the critically acclaimed production of Porgy and Bess, she also performed in Show Boat at San Francisco Opera, both directed by Francesca Zambello and conducted by John de Main. She has been a frequent guest of the Arizona Opera, and has also appeared with the Southern Arizona Symphony, Symphony of the Southwest, the Arizona Pro Arte Orchestra, The West Valley Symphony and Utah Festival Opera, where she continues to perform a variety of opera roles. Her concert engagements include contributions to the GRAMMY™ award-winning album Gretchaninov: Passion Week with the Phoenix Chorale, the Mark Hayes Te Deum with the Sing Phoenix! Festival, and Prokofiev’sAlexander Nevsky with the Arizona State Symphony.

14 MISSISSIPPI OPERA CAST BIOGRAPHIES

JAMES BOBICK RICHARD NECHAMKIN BARITONE MUSIC DIRECTOR/CONDUCTOR ames Bobick has enjoyed a versatile career, from ichard Nechamkin is a conductor, pianist and Jleading operatic roles in the works of Donizetti, R vocal coach with 40 years of experience and a Verdi, Bizet, and Mozart to those of contemporary repertoire of over 75 operas. He is the founder, composers including Jake Heggie, Mark Adamo, artistic director and conductor of New York John Eaton, and David T. Little. Mr. Bobick has Opera Forum. Richard’s extensive experience been seen in over twenty roles at New York City includes musical direction and conducting for Opera including a Primetime Emmy-winning the Atlantic Chamber Orchestra (comprised broadcast of La Bohème. Mr. Bobick has also of members from the Philadelphia Orchestra), appeared with companies including Los Angeles Opera Institute, Opera-On-The- Opera, , Portland Opera, Opera Go, New York Lyric Opera, New York Opera Colorado, Connecticut Opera, Opera Omaha, Theatre and Ottocento Opera Company. He has Opera Pacific, Opera Delaware, Virginia Opera, held staff positions at , Baltimore Opera, Wichita Grand Opera, Dayton Mississippi Opera, New York Grand Opera, Opera, Central City Opera, Fort Worth Opera, Amato Opera and Hudson Valley Opera. In the and the Bard Festival. 1980s, he was Principal Conductor and Artistic Director of the Y Sinfonietta, an orchestra based Also a frequent concert soloist, James Bobick has in Flushing, NY. been heard in New York City at venues including Carnegie, Avery Fisher, and Alice Tully Halls; at Richard was associate musical director (2002- NYU’s Skirball Center and the National Opera 2008), and assistant conductor (2014-present) Center; and in The Cathedral Church of St. John Natchez Festival of Music(2014-present) and the Divine’s New Year’s Eve Concert for Peace. Mississippi Opera (since 2012). Internationally, Mr. Bobick’s performances have included concerts with the Prague Symphony; the Richard has accompanied many singers, San José Symphony, Costa Rica; the Orchestre including Montserrat Caballe, Susanne Marsee Pasdeloup in Paris, Chartres, and Reims; and and Gabriella Tucci, and has played for the voice during mass at Notre-Dame Cathedral, Paris. studios of Tucci, Marsee, Joshua Hecht, Johanna James Bobick can be heard on the original cast Meier, , Carol & Nico Castel, Betty recording of David T. Little’s Dog Days. Allen, Michael Warren and Gary Glaze among others. In addition he arranged and conducted several film scores, and has served as music director for two off- off- Broadway productions.

MISSISSIPPI OPERA 15 CAST BIOGRAPHIES

Richard is a graduate of the Manhattan School of Music, and studied conducting with Pierre Boulez, Sixten Ehrling and Anton Coppola.

ANDREW HEAD CHORUSMASTER r. Head has appeared in operatic roles in SUSAN WILLIAMS MThe Crucible, , , Les Troyens, Abu Hassan, , Unballo in SOPRANO maschera, Carmen, Werther, and others. He has usan Williams, soprano, has performed performed in New York, Texas, Georgia, Arkansas, Snationally and internationally in a wide range Alabama, Tennessee, and Mississippi. Since 2016, of leading opera roles and as a vocal soloist. In he has served as the Director of Choral Activities December 2016, she made her second trip to at the Raymond Campus of Hinds Community Calcutta, India to tour with Kolkata Classics. In College, where he also maintains a voice studio. March 2015 and 2016 she performed for and During his tenure at Hinds, the choral program worked with students at the Instituto Superior has experienced rapid growth and performed in de Arte, Havana, Cuba. With the Tuscaloosa venues across the State of Mississippi. Symphony she performed Bach’s Cantata No. 51 “Jauchzett Gott in Allen Landen.” In Florida, she was soprano soloist in Mozart’s Requiem with the Master Chorale of South Florida, Mahler’s Fourth Symphony with the Frost Symphony Orchestra, and Brahms’s Liebeslieder Waltzes for Miami’s Mainly Mozart Festival. She has been a soloist with the Akron Symphony, the Cleveland Pops Orchestra, the Cleveland Bach Consort, the Duke Symphony Orchestra, the Huxford Symphony, and the Johnson City Symphony. This past summer she was a faculty artist with the Bassi Brugnatelli Symposium for Conductors and Singers in Robbiate, Italy. She serves as Assistant Professor of Voice at the University of Alabama.

16 MISSISSIPPI OPERA MISSISSIPPI OPERA CHORUS

Andrew Head – Chorus Master Curt Ayers III Michaela H. Lambert Grace Smith Sherry Boyer Ta’Mari S. Lloyd Suzanne Starkey Kenneth Carter Michael McClary Derrick J. Truss, Jr. Faith Dixon Jerry Morgan Aaron Walker Jake Everly Shawn Morgan Randy Walker Vee Govan Charles Runyan Catherina Watson Margaret Grantham Fred D. Shirley Merina Hansen – Chorus Manager Anthony Cloy – Asst. Manager

MISSISSIPPI OPERA ORCHESTRA Vince Massimino, Violin Milena Rusanova, Violin Ausra Jasineviciute, Viola Veronica Parrales, Violoncello

SPECIAL THANKS

Christ Lutheran Church Jackson, Mississippi Mississippi Opera Guild

ARTISTS HOSPITALITY

Mary Atchley – Guild President Laura Magee Ellen McLean Jane Woosley and Patrick McAllister

STAFF

General/Artistic Director – Jay Dean Executive Director – Tippy Garner Preston Kennedy – Office Manager

MISSISSIPPI OPERA 17 CONTRIBUTORS

ississippi Opera wishes to express gratitude for the thoughtful and generous support from the following patrons who have contributed to the company. Without these contributors, we could not exist. Please consider adding your name to this list. MWe greatly appreciate the generosity of our donors and apologize for any omission due to deadlines or oversight.

PLATINUM CIRCLE BENEFACTOR Mrs. Peggy B. Johnson $10,000+ $1,000 – 1,499 Ellen Harvey McLean Meyer and Genevieve Falk Butler, Snow, O’Mara, Richard Nechamkin Endowment Fund for Culture Stevens & Cannada Don and Becky Potts and Arts of the Community Chem First Jim and Ward Sumner Foundation of Greater Jackson Michael E. and Mary G. Jabaley Summer Ward Robert M. Hearin Support Betty L. Jue Bill and Cecile Wardlaw Foundation Mississippi Opera Greer Whitacre Foundation for the MidSouth Endowment Fund Margaret Wodetzki & H. F. McCarty, Jr. Family Don and Becky Potts Richard Johnson Foundation Mississippi Arts Commission PATRON FRIEND $500 – 999 $25 – 99 GOLDEN CIRCLE Dr. and Mrs. Ching J. Chen John & Barbara Collier $5,000 – 9,999 Bobbye and Bill Henley Kathryn and Steve Edwards BlueCross BlueShield Ellen Harvey McLean Kathleen Henry of Mississippi David Trigiani Connie Jones Feild Co-Operative Association Tzedakah Charitable Fund Alexa Ketchum Gertrude C. Ford Foundation of the Community Laura Magee St. Dominic Health Foundation of Carol Matheny Services, Inc. Greater Jackson Nicholas Morisani The Walker Foundation Collins and Margee Wohner Glen Murphy Ethel Rose SILVER CIRCLE SPONSOR Alec & Kay King Valentine $2,500 – 4,999 $250 – 499 Charity D. Hohm-Whaley H. M. Addkinson, Jr. Dr. Anthony Cloy Kathryn White Sid and Kathy Davis Merina Hansen Jay Dean Edwin King SPECIAL THANKS Tippy and Bob Garner Mary Francis O’Neal Sid and Kathy Davis – Greater Jackson Arts Council Mr. and Mrs. Uriel Pineda Artists Hospitality Hinds County Board Jane Woosley & Ellen Harvey McLean of Supervisors Patrick McAlister Mississippi Opera Guild Sanderson Farms Nola Reddoch Mr. and Mrs. Jerry Sullivan CONTRIBUTOR $100 – 249 GRAND BENEFACTOR Hogan Allen $1,500 – 2,499 Elizabeth and Greg Buyan Elbert and Betty Bivins Jean M. Bush Lynda Ann Costas James K. Child, Jr. Lefoldt & Company, P.A. Tim and Cheryl Cocker Mrs. Sharon S. Pratt Vladimir and Galina Eliseev Turner Family Fund The T. H. Etheridge Trust William Fortenberry Merina Hansen

Give a voice to opera! Consider leaving a legacy to Mississippi Opera. The gift of a life insurance policy, IRA, other retirement plan or an estate gift will help insure Mississippi Opera in the future.

18 MISSISSIPPI OPERA Mississippi Opera Association Diamond Jubilee Society In 2005, Mississippi Opera celebrated its Diamond Jubilee—60 consecutive seasons of great performances. It was an incredible opportunity to demonstrate, for generations to come, patrons’ commitment to the beauty, the art, the music, the laughter, the drama and the splendor of the Mississippi Opera. Because of their special contributions to the Diamond Jubilee Society, the following donors will be recognized in all future programs printed for performances of the Mississippi Opera—not just for the special anniversary year, for the life of the Mississippi Opera.

We thank them for their generous support of Mississippi Opera.

H. Muller Addkison, Jr. Feild Co-Operative Association Linda and Jimmy Robertson Bancorp South Gertrude C. Ford Foundation In memory of Martha Royalty BankPlus Mr. and Mrs. Richard M. St. Dominic Hospital Mr. and Mrs. Elton G. Beebe Fountain Sanderson Farms, Inc. BellSouth Mr. and Mrs. A. Spencer Gilbert Greg and Jennifer Schulmeier Mr. and Mrs. Robert L. Berman Mrs. William F. Goodman Mrs. Jane W. Seward Blue Cross and Blue Shield Mr. and Mrs. Robert E. Mr. and Mrs. John L. Sewell of Mississippi Hauberg, Jr. Dr. and Mrs. McKamy Smith Kim and Katie Breese Mrs. William J. Herm Mr. and Mrs. Leland Speed Mr. and Mrs. William J. Herman Hines Mr. and Mrs. Howard Stover Chester Brewer Mr. Alvis Hunt Mr. and Mrs. Jerry M. Troy and Robin Browning Herb and Becky Ivison Sullivan, Jr. Mr. and Mrs. Warren Mike and Mary Jabaley Mr. and Mrs. Douglas A. Trimble Burns Dr. and Mrs. A. Charles Jackson Swayze Jean B. Butler Jackson Iron and Metal Time Warner Cable Butler, Snow, O’Mara, Stevens Company Foundation Trustmark Bank & Cannada, PLLC Irene and Earle Jones Paul and Susan Tsimortos Mildred S. Caccamise Charitable Fund University of Southern Dr. and Mrs. Ching J. Chen Phil and Dana Lang Mississippi Symphony City of Jackson Alan Mann and Kate Ford Orchestra The Clarion-Ledger Mrs. H. F. McCarty, Jr. Bill and Cecile Wardlaw The Chandler Clover Family Mr. Michael McRee Nell L. Weiss Community Foundation of Dr. and Mrs. Henry Mills Marsha and Terry Wells Greater Jackson Mississippi Arts Commission Dr. and Mrs. Ralph P. Wells Lynda Ann Costas Mississippi Health Partners Dr. and Mrs. Greer Whitacre Mike Cronin Mrs. Ellis Moffitt The Julian and Kathryn Scott and Karen Davis Mr. and Mrs. W. D. Mounger Wiener Foundation Richard Minta Dunn The Opera Fund/Opera Kathryn L. Wiener East Group/Parkway America Mrs. Earl Wilson Foundation Cullam and Mandy Pope Dr. and Mrs. William B. Wilson The Edison Walthall Hotel Don and Becky Potts Mr. and Mrs. J. Collins Mac and Lyla Elliott Rainbow Signs and Services Wohner, Jr. Mrs. James P. Evans River Oaks Health System

MISSISSIPPI OPERA 19 MISSISSIPPI OPERA GUILD PAST PRESIDENTS

1945-54 Mrs. John T. Caldwell, Jr. 1984-85 Mrs. A. Spencer Gilbert, III 1955 Mrs. James W. Wooldridge 1985-86 Mrs. Raymond Thompson, Jr. 1956 Mrs. E. C. McGehee 1986-87 Mrs. Donald Clark, Jr. 1957 Mrs. Wilburn H. Knight 1987-88 Mrs. Vaughan McRae 1958 Mrs. Robert Hearin 1988-89 Mrs. Glen Bush 1959 Mrs. Edward J. Killelea 1989-90 Judith M. Wiener 1960 Dr. Samuel B. Johnson 1990-91 Jonell B. Williamson 1961 Mrs. Frank Cabell 1991-92 Mrs. James Holland 1962 Mrs. T. Arnold Turner, Jr. 1992-93 Mrs. Robert Muller 1963 Mrs. Alexander S. Payne 1993-94 Mrs. J. Collins Wohner, Jr. 1964 Mrs. Peggy Johnson 1994-95 Scot and Lee Ann Slay 1965-66 Mrs. Armand Coullet 1995-96 Kim and Trey Porter 1967 Mrs. Dorothy H. Kitchings 1996-97 Rick Fountain 1968-69 Mrs. Samuel B. Johnson 1997-98 Mrs. F. Scott Bauer 1969-70 Mrs. H. K. Kent 1999-00 Mrs. David Dunbar 1970-71 Mrs. W. F. Goodman, Jr. 2000-01 Mrs. William Daryle Heath 1971-72 Mrs. Arthur St. Clair 2001-02 Mrs. Merina Dillard 1972-73 Mrs. Douglas A. Swayze 2003-03 Mrs. Cecile Wardlaw 1973-74 Mrs. Chandler Clover 2003 Jane Alexander 1974-75 Patsy Jones 2003-05 Missie Broyles 1975-76 Mrs. Robert W. King 2005-07 Mrs. Patti Sullivan 1976-77 Mrs. Carolyn Clements 2007-09 Nancy Riser 1977-78 Mrs. Robert L. Berman 2009-11 Mrs. Merina Dillard 1978-79 Mrs. T. Wade H. McKoy 2012 Marlane Dove and Betty Bivins 1979-80 Mrs. Doyle Smith 2013 Ouida Holland 1980-81 Mrs. O. Edward Wall 2014-16 Betty Bivins 1981-82 Mrs. William J. Herm 2016-17 Arne Greaves 1982-83 Mrs. James K. Child, Jr. 2017-18 Mary Atchley 1983-84 Mrs. Clifford Ammons

20 MISSISSIPPI OPERA Plant Trees!

MISSISSIPPI OPERA 21 22 MISSISSIPPI OPERA Did You Know? Young people who participate in the arts for at least three hours on three days each week through at least one full year are: • 4 times more likely to be recognized for academic achievement • 3 times more likely to be elected to class office within their schools • 4 times more likely to participate in a math and science fair • 3 times more likely to win an award for school attendance • 4 times more likely to win an award for writing an essay or poem

MISSISSIPPI OPERA 23 PROTECTING THE WILDEST JUNGLES ON THE PLANET.

MAIN STREET. PRESCHOOL. THE PLAYGROUND. The environment isn’t just some far off place. It’s the lawn beneath our feet, the food on our plate, and the air we breathe. And it’s why the Natural Resources Defense Council is working to protect the most important places on Earth. Whether it’s the rainforest, the arctic, or your living room. To learn more, go to NRDC.org. And help protect the jungle creatures in your backyard.

Because the environment is everywhere.

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