DONIZETTI'S SEPTEMBER 10 – 25, 2016 CONDUCTOR Ming Luke What's Next Dana Sadava 9/23, 9/25 Welcome to San José’s 33rd Season! We are STAGE DIRECTOR Benjamin Spierman all very enthusiastic about launching what prom- ises to be a memorable year of masterpieces, and FIGHT CHOREOGRAPHER it gives me real pleasure to introduce to you our PRESENTS Kit Wilder resident company of principal artists. SET DESIGN Steven Kemp Sylvia Lee makes her company debut as Lucia, after singing the role for the Korean National COSTUME DESIGNER Opera and Hong Kong‘s Musica Viva. She recently Lucia di B. Modern Larry Hancock sang Gilda (Rigoletto) for Opera, and has LIGHTING DESIGN GENERAL DIRECTOR many other national and international credits. Kirk Lammermoor Sean A. Russell Dougherty returns for his third season in our resi- WIG AND MAKEUP DESIGN dent company. He debuted as Edgardo for Tri-Cities Opera in Binghamton four years ago, and is eager to sing it for San José; he is an ideal for Opera in three acts Jessica Carter PROPERTIES MASTER this notoriously challenging role. He will follow with his debut as Count Music by Lori Scheper-Kesel Almaviva in our production of The Barber of Seville this November. With by this production, Matthew Hanscom is singing his first Enrico, a brilliant TECHNICAL DIRECTOR choice for this imposing , and Colin Ramsey makes his Opera First performed September 26, 1835 at the John Draginoff San José debut singing his first Raimondo. Our Associate Artist, soprano Teatro San Carlo in Naples, Italy. ASSISTANT STAGE DIRECTOR Ksenia Popova, will not appear in Lucia di Lammermoor, but many were Sung in Italian with English supertitles. Hannah Hudgins thrilled by her appearances in three concert performances for Opera San PRODUCTION STAGE MANAGER José over the summer. Supported, in part, by a grant from the Allie Bailey San José Office of Cultural Affairs and the During summer we inaugurated our first Training Program for Singers. estate of David Valenta. PRINCIPAL COACH Because of the generous support of seven individuals, we were able to Peter Grunberg bring 14 clinicians from across the nation and 18 young and gifted singers Opening Night Performance Sponsor: CHORUS MASTER to our Paragon Drive rehearsal studios for ten nine-hour days of unre- Profs. John M. Heineke & Catherine R. Montfort Andrew Whitfield lenting training in period movement in 17th- and 19th-century costumes, movement and alignment, modern dance, period dance, acting, voice September 11 Performance Sponsor: MUSIC STAFF master classes, song (Schubert, Brahms, Mozart and the like) interpreta- George & Susan Crow Veronika Agranov-Dafoe Victoria Lington tion, performance anxiety, and much more. It was a very busy two weeks September 25 Performance Sponsor: that culminated with a performance of opera scenes presented to Opera SUPERTITLE CUEING San José donors and the friends and family of the singers. It was remark- Elizabeth Horiguchi in memory of Victoria Lington Rev. Justin J. Herbst ably successful, so much so that our board of trustees have asked us to continue this as a regular part of our work. You may not be aware that each season Opera San José invites students to eight free performances, two for each opera. There is an 11:30am matinee for elementary school students and a Thursday evening preview performance for older students and their families. If you have a child in school (public or private) and you think that school to would like to participate in our free student perfor- mances, please let us know by contacting our box office between 9am The performance will run approximately 3 hours, and 6pm, M-F. including one 20-minute and one 15-minute intermission. The this season are all proven masterpieces, and I’m sure many of you are looking forward to The Barber of Seville and La bohème; however, I feel sure that Kevin Puts and Mark Campbell’s Pulitzer Prize-winning 2016–2017 Thirty-Third Season opera, Silent Night is destined to become one of the cherished operas. Set Donizetti's LUCIA DI LAMMERMOOR September 10-25, 2016 on the battlefields of The Great War on Christmas Eve of 1914,Silent Night Rossini's THE BARBER OF SEVILLE November 12-27, 2016 is one of the most moving evenings of theatre I have ever experienced, and sell-out crowds in companies across America and in Europe are in full Puts and Campbell's SILENT NIGHT February 11-26, 2017 agreement. You won’t want to miss this one in its West Coast premiere Puccini's LA BOHÈME April 15-30, 2017 here in the California Theatre in an all-new Opera San José production. It’s brilliant.

2 Lucia di Lammermoor operasj.org 3 Cast IN ORDER OF APPEARANCE Orchestra

Edgardo Kirk Dougherty 1ST Normanno Yungbae Yang Cynthia Baehr, Concertmaster Patricia Emerson Mitchell, Principal Enrico Matthew Hanscom Valerie Tisdel, Asst. Concertmaster Pamela Hakl Ricardo Rivera 9/25 Chinh Le Raimondo Colin Ramsey Virginia Smedberg Mark Brandenburg, Principal Lucia Sylvia Lee Wangchen Long Ann Lavin Alisa Anna Yelizarova Caitlin McSherry Emanuela Nikiforova Arturo Michael Mendelsohn Deborah Kramer, Principal 2ND VIOLIN Carolyn Lockhart Chorus Claudia Bloom, Principal Sally Dalke, Assistant Principal Deborah McCracken, Principal SOPRANO Susan Stein Meredith Brown Kat Austin, Nicole Cooper, Jennifer Hartshsorn, Farah Kidwai, Shannon Sue-Mi Shin Eric Achen McBane, Congcong Wang Sergi Goldman-Hull Alex Camphouse ALTO Betty Corner Veronica Jensen, Fallon Nunes, Christina Pezzarossi, Katherine Trimble, William B. Harvey, Principal Catherine Williams, Jessica Winn Chad Kaltinger, Principal Owen Miyoshi TENOR Janet Doughty, Assistant Principal Jackson Beaman, Josh Bongers, Tony Ciliberto, Ken Cioffi, Nicolas Gerst, Melinda Rayne Dan Leal, Woojeong Lee, Sidney Ragland, Gregory Spear Robert Seitz Kathryn Curran, Principal Bruce Chrisp BASS Wayne Solomon Clark Brown, Reid Delahunt, Noah DeMoss, Kian Freitas, Malcolm Jones, Lucinda Breed Lenicheck, Principal Michael Kuo, Jose Mendiola, Nicholas Molle, Brandan Sanchez Paul Hale, Assistant Principal Kelley Maulbetsch Mark Veregge, Principal Supernumery Michael Graham ORCHESTRA MANAGER Mark Veregge Ira Dearing BASS Andrew Butler, Principal William Everett, Assistant Principal

FLUTE/PICCOLO 2016-17 ARTIST FELLOWSHIP SPONSORS Isabelle Chapuis, Principal Amici di Musica Bella Brian James Myer Mary Hargrove Mary and Clinton Gilliland exclusively Kirk Dougherty Profs. John Heineke & Catherine Montfort Sylvia Lee Linda Lee Lester Brian James Myer Izzy Lewis and Phil Park Colin Ramsey San Jose Opera Guild Benjamin Spierman Don and Jan Schmidek Matthew Hanscom Gibson Walters Memorial Fund Ksenia Popova

4 Lucia di Lammermoor operasj.org 5 Synopsis

Act I her with nightmares of his own death by execution. Crushed, exhausted at Edgardo’s alleged infidelity, and under pressure from Raimondo, she agrees. SCENE 1: THE GROUNDS OF RAVENSWOOD CASTLE As the curtain rises, we see Edgardo Ravenswood, the only remaining mem- SCENE II: IN THE GREAT HALL, IMMEDIATELY AFTERWARDS ber of his clan, place a rose on the place of his father’s death at the hands The wedding guests have gathered and Arturo extends his hand in friend- of the Ashtons, his family’s hereditary enemy. He sees the forces of Lord ship and loyalty to Enrico. Enrico explains to Arturo that Lucia seems list- Enrico Ashton, (led by Normanno, Enrico’s captain of the guard) approach- less because she is mourning the death of her mother. Arturo asks about ing, and flees. Normanno sends his men to discover the identity of the man a rumored romance between Lucia and Edgardo, but Lucia enters with that Enrico’s sister, Lucia, has been meeting in secret. Enrico reveals that his Raimondo before Enrico has to answer. Lucia unwillingly signs the marriage family’s power has weakened due to political changes, and he needs Lucia contract. Edgardo forces his way in, demanding an explanation. All draw to marry a rich and connected nobleman, Arturo Bucklaw, in order to save swords when suddenly their sympathy for Lucia overwhelms them and for a and protect his clan. Lucia has refused. Raimondo, the family chaplain, says moment their anger subsides. But when Edgardo sees Lucia’s signature on it is because Lucia and Enrico’s mother has recently died. But Normanno the contract he curses her and her family. tells Enrico that Lucia is madly in love with a man he suspects is Edgardo. This infuriates Enrico, and when Normanno’s men return with the news that Lucia’s mysterious lover is indeed Edgardo, Enrico swears revenge on the Intermission (15 minutes) lovers. Act III SCENE II: THE WOODS NEAR RAVENSWOOD CASTLE, DAYS LATER SCENE I: IN THE GREAT HALL, A FEW MINUTES LATER Lucia and her companion, Alisa, wait for Edgardo near an ancient fountain The assembled guests, relatives and supporters of Enrico, wait with Enrico in the woods. Lucia tells Alisa that this is where she once saw the ghost of a and Arturo for confirmation that Lucia is in the bedchamber. Upon Alisa's young woman who was slain long ago by her jealous lover, a Ravenswood, confirmation, Arturo goes to his new bride. The guests exit to drink as a and was left forever submerged in the waters. The ghost beckoned to Lucia storm suddenly arises outside. Normanno informs Enrico that Edgardo has from the waters of the fountain. Alisa fears it is an evil omen and begs Lucia returned to speak with him. Edgardo tells Enrico that he has sworn revenge to forget Edgardo. At the thought of Edgardo, Lucia’s attitude changes to upon Enrico for the wrongs done by the Ashtons to the Ravenswoods. one of elation. Edgardo arrives and tells Lucia he must go to France in the Enrico replies that he also has grievances, saying that the storm outside interests of Scotland. Before leaving, he wishes to reconcile himself with matches his own anger. The two men agree to meet for a final confronta- Enrico and ask him for Lucia’s hand in marriage. Terrified of her brother, tion the next morning, at the graveyard of Edgardo’s family. she begs him to keep their love secret. Edgardo is reminded of his injuries at the hands of Lucia’s family—but his love for her calms his fury. They say SCENE II: IN THE GREAT HALL, IMMEDIATELY AFTERWARDS Celtic marriage vows and promise to write during their separation. The wedding festivities are in progress when the Raimondo stops the pro- ceedings and tells the guests that Lucia has gone mad and has murdered Intermission (20 minutes) Arturo in their nuptial bedroom. Lucia appears, carrying Arturo’s dagger. Delirious, she imagines herself being in a wedding ceremony with Edgar- Act II do—and how heavenly it is! Enrico enters and Lucia, in her insanity, mistakes him for Edgardo, declaring herself to be his once more. Enrico is remorse- SCENE I: THE GREAT HALL AT LAMMERMOOR CASTLE, MONTHS LATER ful. Lucia, still believing Enrico to be Edgardo, tells him that she will pray for Because the Ashtons were supporters of Richard III who has been killed him from heaven and will not be happy until he joins her there. by Henry Tudor, Enrico's very life is threatened. To forge a political alliance with the new government, and without her knowledge, Enrico has arranged SCENE III: THE RAVENSWOOD GRAVEYARD, LATER THAT NIGHT the wedding between Lord Bucklaw and Lucia; the guests have begun to Edgardo, his mood calmed, has chosen to die by Enrico’s sword. Believing arrive. Normanno and Enrico have been intercepting Edgardo’s letters to Lucia is married to another, he no longer wishes to live. Enrico’s guardsmen Lucia. Normanno gives Enrico a letter he has forged, which tells Lucia that pass by and tell him that Lucia is mortally ill and that she calls for him. A Edgardo loves another. Enrico again tells Lucia to marry Arturo. Lucia chas- death knell sounds. As Edgardo rushes towards the castle, he is stopped by tises Enrico for his harsh treatment of her; she is adamant in her love for Raimondo. Lucia is dead. Edgardo imagines Lucia in heaven—a sweet, lov- Edgardo, saying that she is already married. Enrico shows her the forged ing presence looking down serenely. Drawing a dagger, he goes to be with letter. Lucia is devastated, believing Edgardo no longer loves her. Enrico her. As Raimondo calls to God to forgive him, the dying Edgardo thinks comforts her, begs her to save him by marrying Arturo, and finally threatens only of Lucia.

6 Lucia di Lammermoor operasj.org 7 Program Notes

operas were in demand across Europe, he was grateful to compose continually Scotland and under great pressure in order to forget the pain of losing all three of his chil- By Larry Hancock dren and his young wife. Though Italians are likely to think of all Italian singing as bel canto (beauti- Sir , born on August 14, 1771, was the best-selling author of the 19th ful singing), opera history has awarded that name to a period that is fairly well century, and is the first novelist to have a truly international career during his own contained between 1810, the first public performance of a Rossini opera, and lifetime. An internationally hailed poet (today, his most easily recalled poem is 1848, the death of Gaetano Donizetti. These years also contain the short lifetime The Lady of the Lake, a portion of which was set by Schubert and is commonly of , as well as work from a great many other composers, Italian known as Schubert’s Ave Maria, with a new text), when Scott took up writing and otherwise, who upheld the values of bel canto style, dictated by the public’s novels, purely for pleasure, he published anonymously, because novels were per- love of Rossini. During these years, three Italian composers, Rossini, Bellini, and ceived as inferior to poetry. After Waverly, Ivanhoe, Guy Manering, The Antiquary, Donizetti, dominated opera, and their bel canto tradition would be taken up and Rob Roy, The Heart of Midlothian, The Bride of Lammermoor, and many others, then pushed beyond its limits by Giuseppe Verdi. both Scott and the historical novel had a solid reputation and many imitators. The goal in this period was to create a means for the most accomplished vocal- However, Scott’s work began to lose favor by the end of the 19th century, and af- ists to display, in dramatic extremes, their astonishing vocal training and the ter WWI his reputation took a serious decline while the reputation of Jane Austin, beauty of their God-given voices, but mastery and display are not ends in them- whom Scott greatly lauded, began to rise. It should be remembered that Scott selves. Bel canto opera is not only about perfectly produced tone utilized in the wrote in his off hours, while retaining his position as Clerk of Sessions and the execution of all but impossible acrobatics; it is about doing this at the service of Sheriff-Depute of Selkirkshire, responsible, full-time work. emotions, both exalted and pitiful. Though brilliant are some of the The Bride of Lammermoor, published in 1819 as part of a series of seven novels most memorable moments in all of opera, bel canto opera also requires mastery titled Tales of My Landlord, provided the Romantic basis for Donizetti’s most suc- of very modest, meltingly beautiful passages of utter despair. Lucia di Lammer- cessful opera to that date, which premiered in 1835 (earlier Donizetti successes moor is a quintessentially bel canto opera, and the archetype of Italian Romantic still performed today include and L’elisir d’amore). The novel sold opera; every scene is built on passion conveyed through virtuosity. out in only two weeks and was immediately reissued in a second edition, in which Gaetano Donizetti was among the most internationally admired and highest the action was moved from the 17th to the 18th century; Opera San José has tak- paid composers of his time. After Rossini’s retirement in 1829 and the untimely en a further liberty with the date. In the libretto Enrico warns, “Spento è Gugliel- death of Bellini in 1835, no composer challenged Donizetti’s supremacy until he mo, ascendere vedremo il trono Maria.” (William is dead; we will see Maria mount collapsed from illness and overwork in 1845. This Italian peasant from Bergamo the throne.) This never happened in English history, and there are British subjects so dominated the art form that Hector Berlioz wrote of him, “One can no longer and anglophiles in our audience who know it didn’t. As it is essential to the plot speak of the opera houses of Paris, but only of the opera houses of M. Donizetti.” that there be a major reversal in national leadership, I began looking through This, because Donizetti had operas in performance in all of the major theatres, English history and instantly found an event that Americans would recognize as with Les martyers at the Opéra, Lucia di Lammermoor at the Théâtre de la Re- decisive: the Battle of Bosworth Field. On that day in 1485, Henry Tudor defeated naissance, at the Théâtre Italien, and La fille du régiment at the and killed King Richard III and claimed the throne of England. Thus, we have set Opéra-Comique. Berlioz could not have said this of Verdi, Bellini, or Rossini. In his the opera immediately after the Battle of Bosworth Field, when English, Scottish, productive years, from his professional debut in 1818 to the premiere of Caterina and Welsh politics were thrown into panicked realignment with the new king. In Cornaro in 1844, Donizetti premiered an astonishing number of operas. While, this version of events, Enrico will instead proclaim, “Spento è Riccardo, ascendere roughly, Puccini gave us twelve, Verdi twenty-six, and Rossini forty, Donizetti left vedremo il trono Enrico.” And with two words, we have jumped back 300 years us more than sixty operas, and some biographies state more than seventy! to an actual event, but when men wear chainmail and leather instead of lace and ribbons, and there are swords and daggers in easy reach. Donizetti composed with the speed and facility of Rossini, who was astonish- ingly fast, having composed The Barber of Seville in less than a month. This rapid There are other things you should know about Scotland that will clear up some facility was made possible principally by excellent teaching. When he was eleven surprising moments in the libretto. A change from cattle ranching to sheep years old Rossini began study at Bologna, the finest conservatory in the nation, herding for the wool industry caused whole herds of cattle to become feral. but Donizetti received an even better education. He was instructed, one-on- For centuries, wild bulls menaced the forests of Scotland. Thus it would not be one, from the age of eight by Simon Mayr, one of the most accomplished opera surprising to learn that Edgardo rescued Lucia from an enraged bull. Also, in the composers in Italy. After ten years of personal training, when Mayr decided he middle ages a couple could exchange vows, pledge their troth, and be married had imparted all he could to Donizetti, he made certain that his nineteen-year- in the eyes of the church and state without priest, justice of the peace, parental old prize student also attended the Bologna conservatory, where he studied with permission, or witnesses. Such a consensual betrothal was considered binding in Rossini’s teachers. Thus, Donizetti was the most carefully taught of the most heaven and on earth. Enrico is forcing Lucia into mortal sin by this marriage, and important bel canto composers, including the young Verdi. she dooms herself to eternal damnation by marrying Arturo, which she states in desolation on signing the wedding agreement. Alliances between Scotland and Donizetti composed prolifically for many reasons, first to develop a professional France against England put the ruling houses in all three of these countries, and reputation, and then to make a living for himself and his wife. As young compos- especially Scotland, into constant upheavals for hundreds of years, which seem- ers were paid so little, he worked as efficiently as possible, and later, when his ingly continues today while Scotland wishes to be part of the European Union and England has declared itself independent.

8 Lucia di Lammermoor operasj.org 9 Cast and Artistic Team

Kirk Dougherty Michael Mendelsohn TENOR (NEW YORK) TENOR (NEW YORK) Edgardo. In his third season as a member of Opera San Arturo. Michael Mendelsohn returns during the 2016-17 José’s resident company, Kirk Dougherty appears as season, appearing as Arturo in Lucia di Lammermoor. Mr. Edgardo in Donizetti’s Lucia di Lammermoor, Almaviva Mendelsohn has performed several roles with Opera San in Rossini’s The Barber of Seville, Nikolaus Sprink in Puts José, including Goro in Madama Butterfly, Dr. Blind in Die and Campbell’s Silent Night and Rodolfo in Puccini’s Fledermaus, Spinelloccio and Amantio di Nicolao in Gi- La bohème. Last season, Mr. Dougherty performed the anni Schicchi, Stiva Oblonsky in Anna Karenina, Spoletta roles of Mario Cavaradossi in Puccini’s Tosca, Don José in in Tosca, Guillot in Manon, Don Curzio in The Marriage of Bizet’s Carmen, and Mitch in Previn’s A Streetcar Named Figaro, Triquet in Eugene Onegin, Arturo in Lucia di Lam- Desire. He made his first appearance as a member of the mermoor, and Benvolio in Romèo et Juliette. resident company during the 2014-15 season as the Duke in Verdi’s Rigoletto, Tamino in Mozart’s The Magic , Colin Ramsey and the leading role of Philip in the world premiere of BASS (CALIFORNIA) Mark Weiser’s Where Angels Fear to Tread. Raimondo. Bass-baritone Colin Ramsey joins Opera San José’s resident company as a principal artist in the Matthew Hanscom 2016-17 season, appearing as Raimondo in Donizetti’s BARITONE (MINNESOTA) Lucia di Lammermoor, Basilio in Rossini’s The Barber Enrico. During the 2016-17 season, resident company of Seville, Father Palmer in Puts and Campbell’s Silent member Matthew Hanscom performs the roles of Enrico Night, and Colline in Puccini’s La bohème. Mr. Ramsey in Donizetti’s Lucia di Lammermoor, Figaro in Rossini’s has performed with , Austin Lyric Opera, The Barber of Seville, Lt. Gordon in Puts and Campbell’s Sarasota Opera, Wolf Trap Opera, Opera Santa Barbara, Silent Night, and Marcello in Puccini’s La bohème. Roles Des Moines Metro Opera, The Green Mountain Opera performed in 2015-16 included Scarpia in Puccini’s Tosca, Festival, Pacific Music Works, and The St. Paul Chamber Figaro in Mozart’s The Marriage of Figaro, Escamillo in Orchestra. Bizet’s Carmen and Stanley in Andre Previn’s A Streetcar Named Desire. In his debut season as a member of Op- Ricardo Rivera era San José’s resident company 2014-15, Mr. Hanscom BARITONE (NEW YORK) was featured in the title role of Verdi’s Rigoletto, Taddeo Enrico 9/25. Ricardo Rivera makes his company debut in Rossini’s The Italian Girl in Algiers, Gino Carella in Mark in the company’s 2016-17 season, appearing as Enrico Weiser’s Where Angels Fear to Tread, and Papageno in in and Lt. Audebert in Puts and Mozart’s The Magic Flute. Lucia di Lammermoor Campbell’s Silent Night. Recent performances include debuts at Lyric Opera of Chicago, Houston Grand Opera, Sylvia Lee and San Diego Opera’s world premiere of El pasado SOPRANO (SOUTH KOREA) nunca se termina in the leading role of Acalán. In addi- Lucia. Sylvia Lee joins Opera San José’s resident compa- tion, Mr. Rivera has performed with El Paso Opera, Santa ny during the 2016-17 season, appearing in the title role Fe Opera, Opera Philadelphia, Castleton Festival, Opera of Donizetti’s Lucia di Lammermoor, Madeleine Audebert Orchestra of New York, Chautauqua Opera, Opera North, in Puts and Campbell’s Silent Night, and Mimi in Puccini’s eighth blackbird, and Pacifica Quartet. La bohème. Recent engagements for Ms. Lee include joining the roster of the in a new production of Alban Berg’s Lulu. She also recently per- formed Gilda in Verdi’s Rigoletto with the Virginia Opera and Lucia in Lucia di Lammermoor with Musica Viva in Hong Kong. She was Ilia in Mozart’s Idomeneo with Mo. Myung-Whun Chung and the Korean National Opera, and sang the roles of Pamina in Mozart’s The Magic Flute and Lucia with the Korean National Opera.

10 Lucia di Lammermoor operasj.org 11 Cast and Artistic Team CONTINUED

Yungbae Yang Ming Luke TENOR (PENNSYLVANIA) CONDUCTOR (CALIFORNIA) Normanno. Yungbae Yang makes his Opera San José de- Ming Luke serves as principal conductor for Lucia di but during the 2016-17 season, appearing as Normanno Lammermoor. Last season, Mr. Luke served as conductor in Lucia di Lammermoor. Recent engagements for Mr. for the company premiere of A Streetcar Named Desire Yang include Riccardo in Un ballo in maschera and the and conducted Opera San José’s recent productions of title role in Faust. As a concert artist, Mr. Yang has per- The Italian Girl in Algiers, Falstaff, La voix humaine and formed Mozart’s with Distinguished Concerts Pagliacci, The Barber of Seville and Eugene Onegin. Re- International New York at Carnegie Hall and Handel’s cent engagements include performances with the Houston Symphony, Nash- Messiah at Lincoln Center. Mr. Yang’s early career was ville Ballet/Symphony, Billings Symphony, Merced Symphony, the Berkeley marked by winning awards in several of the major Ameri- Symphony, and Britten’s War Requiem with the Berkeley Community Cho- can vocal competitions, including the Licia Albanese / rus. Mr. Luke has worked with ensembles across the US, UK, China, France, Puccini Foundation Competition, Marian Anderson Prize Russia, Czech Republic, Hungary, and Austria, conducting orchestras such for Emerging Classical Artists, Opera Index Competition, as Kennedy Center Opera Orchestra, Birmingham Royal, Bolshoi Orchestra, Loren L. Zachary Society Competition, the Liederkranz San Francisco Ballet, Gödöllö Symphony Orchestra (Hungary), Sacramento Foundation Vocal Competition, and the Metropolitan Opera, Napa Regional Dance Company, Sacramento Philharmonic, Komorni Opera National Council auditions. Orchestr Akademie of Prague, the Napa Valley Symphony, and others.

Anna Yelizarova Dana Sadava MEZZO SOPRANO (CALIFORNIA) ASSISTANT CONDUCTOR (CALIFORNIA) Alisa. Anna Yelizarova returns during the 2016-17 season Dana Sadava joins Opera San José for the 2016-17 to perform the role of Alisa in Lucia Di Lammermoor. season, sharing conducting duties for Donizetti’s Lucia Previously, Ms. Yelizarova appeared as Marcellina in di Lammermoor and Rossini’s The Barber of Seville. At Mozart’s The Marriage of Figaro and Giovanna in Verdi’s home in both the opera house and the symphony hall, Rigoletto. Recent engagements include the title role her recent engagements include Floyd’s Susannah with in Bizet’s Carmen, Angelina and Tisbe in Rossini’s La Pasadena Opera (where she is also Artistic Director), Cenerentola, Dorabella in Mozart’s Così fan tutte, Dido in the premiere of Noon at Dusk at UCSD, and performing as half of the piano Purcell’s Dido and Aeneas, Prince Orlofsky in Strauss’ Die duo Robot Owl. She has worked with Wexford Festival Opera, the Boulder Fledermaus, Olga in Tchaikovsky’s Eugene Onegin, Ma- Chamber Orchestra, Pensacola Opera, Indianapolis Opera, the new music rina in Mussorgsky’s Boris Godunov, Maddalena in Rigo- ensemble Zero Blue, and Banff Opera as Theatre, where she was a faculty letto, Ulrica in Verdi’s Un ballo in maschera, and Mistress member of the opera training program. She has been featured in master- Quickly in Verdi’s Falstaff. Additionally, Ms. Yelizarova classes with Marin Alsop, Michael Tilson Thomas, and Gustav Meier. has performed at Opera in the Heights, Dicapo Opera Theatre, Livermore Valley Opera, Natchez Music Festival, One World Symphony, dell’Arte Opera Ensemble, Center City Opera, Opera Company of Brooklyn, Opera Manhat- tan, Long Island Opera, Bay Area Summer Opera, Golden Gate Opera, New York Lyric Opera Theater, Queens Opera, and Intermezzo Opera Festival.

12 Lucia di Lammermoor operasj.org 13 Cast and Artistic Team CONTINUED

Benjamin Spierman Kit Wilder STAGE DIRECTOR (NEW YORK) FIGHT MASTER (CALIFORNIA) Benjamin Spierman makes his Opera San José and Kit Wilder has trained with the Royal Academy of Dra- California debuts directing Donzietti’s Lucia di Lammer- matic Arts and with members of the Royal Shakespeare moor. Other directional assignments include critically Company, and he has been a member of the Society acclaimed productions including Puccini’s Madama But- of American Fight Directors and the Academy of the terfly, Lehar’s The Merry Widow, Mozart’s The Marriage Sword. He has staged fights and other mayhem for of Figaro, and Donizetti’s La fille du regiment. He is also countless schools and theatres throughout Bay Area, in- Resident Stage Director of Long Island’s North Shore Music Festival, and has cluding San Jose Stage Company, Opera San Jose, Shakespeare Santa Cruz, directed productions there of Verdi’s Rigoletto, Donizetti’s , Santa Clara University, Foothill College, TheatreWorks, and of course City Leoncavallo’s Pagliacci, Rossini’s The Barber of Seville, and Puccini’s Gianni Lights Theater Company of San José where he is Associate Artistic Director. Schicchi/Il tabarro. He began his professional life working for the Bronx Kit is also an acclaimed Bay Area actor and director. Council on the Arts as their Grants Coordinator and as the Founding Direc- tor of their Business Center for the Arts. He has worked as a Stage Manager B. Modern or Assistant Director for Central City Opera, Indianapolis Opera, Light Opera COSTUME DESIGNER (CALIFORNIA) Oklahoma, Mississippi Opera, Mobile Opera, Opera Theater of Saint Louis, Palm Beach Opera, Rogue Valley (OR) Opera and Virginia Opera. Most B. Modern created the original costumes for Opera notably, Mr. Spierman assisted on Saint Louis’s Lewis and Clark Bicenten- San José's production of Lucia di Lammermoor. She nial premiere production of Elkhanah Pulitzer’s Dream of the Pacific and on has worked as a freelance costume designer at Denver Central City Opera’s American premiere production of Britten’s Gloriana. As Center Theater Company, Oregon Shakespeare Festival, a director, his work The Globe Theatres, American Players Theatre, Asolo Repertory Theatre, Geva Theatre Center, Indiana Reper- tory Theatre, San Jose Repertory Theatre, Repertory Theatre of Saint Louis, Steven Kemp Opera Theatre of Saint Louis, Shakespeare Santa Cruz, TheatreWorks, The SET DESIGNER (NEW YORK) Magic Theater, Georgia Shakespeare Festival, Center Repertory Theatre, Steven C. Kemp has designed at Opera San José for five Opera San José. seasons starting with the West Coast premiere of Anna Karenina for the 2010 season and including Idomeneo, Alyssa Oania , Faust and Falstaff. Other design credits COSTUME COORDINATOR (CALIFORNIA) include A Streetcar Named Desire for Opera Grand Rapids. His work in New York includes productions Off- Opera San José Costume Director Alyssa Oania is cos- Broadway for Keen Company, Mint Theatre Company, Second Stage, The tume coordinator for Lucia di Lammermoor. Alyssa's Playwrights Realm, Cherry Lane Theatre, and Red Dog Squadron. In Europe, costumes have been seen in productions of Tosca, La Mr. Kemp’s designs include the current tour of Ain’t Misbehavin’ and produc- Cenerentola, Manon, La boheme, The Barber of Seville, tions at The Hungarian Theatre in Cluj. As an associate designer his credits La voix humaine, Pearl Fishers, and Madama Butterfly. on Broadway include First Date, Jesus Christ Superstar, High, Long Story Other costume credits include work for Ballet San José, Short, Reasons To Be Pretty and the 2010 Tony Award-winning Best Musical, Theatreworks, San José Repertory Theatre and American Musical Theatre of Memphis. His other associate design credits include Faust for The Metropoli- San José. tan Opera, Disney Theatricals, Dreamworks, Norwegian Cruise Lines, , Minnesota Opera, San Diego Opera, Stratford Shakespeare Festival and The Old Globe Theatre.

14 Lucia di Lammermoor operasj.org 15 Cast and Artistic Team CONTINUED OPERA HAS BEEN Sean A. Russell LIGHTING DESIGNER (CALIFORNIA) PART OF YOUR LIFE. Sean A. Russell returns to Opera San José as Lighting MAKE IT PART OF YOUR LEGACY. Designer for Donizetti’s Lucia di Lammermoor, having designed lighting for Puccini’s Tosca and Mozart’s The Marriage of Figaro last season. Other lighting design In addition to the satisfaction that THE IRENE DALIS LEGACY SOCIETY credits include Puccini’s La bohème, Verdi’s La traviata, comes from knowing you have (as of July 31, 2016) Bizet’s Carmen, Rossini’s Cinderella, Verdi’s Rigoletto, made a difference in the lives of Lucia di Lammermoor, Puccini’s Madame Butterfly, and Rossini’s L’Italiana in CHERYL ADAMS others, the best gift plans combine TRICIA & TIM ANDERSON Algeri, all with Livermore Valley Opera and Lucia di Lammermoor for West your philanthropic giving with your BARBARA BARRETT Bay Opera. He is a freelance lighting designer and live-event technician financal needs and tax-planning MARTHA BEST who has designed lights and worked for Children’s Musical Theatre, Cabrillo ROBERT & DIANE CLAYPOOL Stage, San Jose Stage Company, San Jose State University, Theatreworks, strategies. Through creative gift planning, you can secure your own WERNER COHN Google, Cisco and YouTube. He is also a proud Union Stagehand with IATSE ROSE CRIMI future, as well as ours. Local 134 in San Jose/Santa Clara County and a Certified Entertainment GEORGE & SUSAN CROW Electrician in the Entertainment Technician Certification Program. There are many ways to remember WENDY DEWELL Opera San José in your estate plans. DOROTHY & RICHARD DORSAY Jessica Carter You can name Opera San José as a CAROLYN MARIE DOWNEY WIG AND MAKEUP DESIGNER (CALIFORNIA) beneficiary in your will or trust, or JAMES & SUSAN DYER HOWARD GOLUB Jessica Carter makes her company debut with the 2016- bequeth an insurance policy or an FRED & PEGGY HEIMAN 17 season as Opera San José's wig/make-up designer IRA/401(k) account. You can even JAMES JACKSON for Donizetti’s Lucia di Lammermoor. Ms. Carter has establish a charitable gift annu- JEANNE MCCANN been practicing in the theatrical vanities since 1996. She ity, which will provide you with a KEVIN MCGIBONEY & NANCY LUTZOW received her education both at Cabrillo College, and monthly payment and immediate D.G. MITCHELL San Francisco State University. She began a professional tax deduction, with the remainder HEIDI MUNZINGER career as a costume technician at her home theatre, Shakespeare Santa DR. H. ANDREA NEVES of the trust becoming a gift to the Cruz, in 2000. After foraying into hair and makeup primarily, she has worked NANCY NIELSEN at several different companies on an array of productions. These theatres in- company after your passing. Nam- W. D. PERKINS clude Oregon Shakespeare Festival, Marin Theatre Company, Jewel Theatre ing Opera San José in your estate ELIZABETH POINDEXTER Company, Alley Theatre, San Francisco Opera, Cal Shakes, and Santa Cruz plan also qualifies you to become a LEE & SHIRLEY ROSEN Shakespeare. At the latter two, she remains as the primary hair and makeup member of the Irene Dalis Legacy MARTHA SANFORD designer. Society. JAN & DON SCHMIDEK JOHN SHOTT For more information about VICKI SLICHTER planned giving and the Irene Dalis DR. LARRY STERN Legacy Society, please contact Nori ROGER & ISOBEL STURGEON Okada, Individual Giving Manager at MARILYN EVE TAGHON 408-437-4460, or Opera San José LAWRENCE A. & GENEVIEVE H. TARTAGLINO JAN TELESKY Trustee Jeanne McCann at 408- MELITA WADE THORPE 268-6681. MARGARET & DICKSON TITUS To ensure that your gift accom- JULIAN H. UNGER plishes your goals according to your ALBERT J. VIZINHO wishes, we recommend that you BRADFORD WADE & LINDA RIEBEL SHERYL WALTERS obtain the professional counsel of MICHAEL & LAURIE WARNER an attorney who specializes in MR. & MRS. C. WHITBY-STREVENS estate planning. RICHARD & PHYLLIS WHITNEY ONE ANONYMOUS

16 Lucia di Lammermoor operasj.org 17 Staff

Larry Hancock GENERAL DIRECTOR Joseph Marcheso MUSIC DIRECTOR AND PRINCIPAL CONDUCTOR

Artistic/Music Production/Technical Resident Company Development ARTISTIC PLANNING TECHNICAL DIRECTOR SCENE SHOP SUPERVISOR CUTTER/DRAPER Kirk Dougherty WEBMASTER, EDUCATION, DIRECTOR, COURTESY OF John Draginoff Ariel Lacey Emma Vossbrink Matthew Hanscom GRANTS THE PACKARD HUMANITIES Sylvia Lee Lettie Smith INSTITUTE COSTUME DIRECTOR CARPENTERS FIRST HAND Khori Dastoor Alyssa Oania Christopher Kesel Larisa Zaiko Ksenia Popova INDIVIDUAL GIVING Ariel Lacey Colin Ramsey MANAGER ARTISTIC ADMINISTRATOR PRODUCTION MANAGER STITCHER Noritaka Okada Elliot Yates Kelly Mack Kyle Langdon Neliy Davood Pireh Guest Artists/Covers Charles McKeithan DEVELOPMENT MANAGER Anhar Ira Dearing RESIDENT CONDUCTOR STAGE DIRECTOR Chris Tucker Michelle D’Alo Andrew Whitfield Benjamin Spierman WARDROBE CREW Kian Freitas SCENIC CHARGE ARTIST Heidi Kobara Michael Mendelsohn DEVELOPMENT PLANNING GUEST CONDUCTORS SET DESIGNER Renee Jankowski CONSULTANT Ming Luke Steven Kemp David Radosevich Christina Pezzarossi Greg Parry Dana Sadava SCENIC ARTISTS Emma Vossbrink Ksenia Popova LIGHTING DESIGNER Sidney Ragland Migi Oey WIG AND MAKEUP Marketing HEAD OF MUSIC STAFF Sean A. Russell Ricardo Rivera Alexis Snyder SUPERVISOR MARKETING DIRECTOR Veronika Agranov- WIG AND MAKEUP Gregory Spear PROPERTIES MASTER IATSE LOCAL 706 Dafoe DESIGNER Scott Gripenstraw Lori Scheper-Kesel Christina Martin Yungbae Yang COACHING/ACCOMPANYING Jessica Carter Anna Yelizarova COMMUNICATIONS STAFF PROPERTIES ARTISAN WIG AND MAKEUP MANAGER PRODUCTION ASSISTANT Peter Grunberg Christopher Kesel ASSISTANTS Bryan Ferraro Gilda Herrera Sharon Peng Administration Victoria Lington IATSE LOCAL 134 CREW DIRECTOR OF FINANCE ART DIRECTOR Ihang Lin PRODUCTION STAGE IATSE LOCAL 706 MANAGER Scott Crandall Donna Lara Kevin Herman Steven Fetter Lisa Poe ORCHESTRA LIBRARIAN Allie Bailey ACCOUNTANT PHOTOGRAPHERS Tim Spears Bob Moreno Sophia Smith ASSISTANT STAGE James Wei Pat Kirk DIRECTOR Cindy Parker Robert Shomler SUPERTITLE CUEING HR ADMINISTRATION Victoria Lington Hannah Hudgins Bob Smay Lesley Willgohs Gilda Herrera Box Office ASSISTANT STAGE MANAGERS Patrick Wollard MANAGER Karyn Morton PROPERTIES RUNNER Michael Cheatwood Matthew Vandercook Alison Froke BOX OFFICE ASSISTANTS MASTER ELECTRICIAN STAGE HANDS Yumiko Harada Nick Kumamoto David Chambers Judi Rizzuto ELECTRICIANS Raymond Garcia- Joseph Hidde Welch Alyssa Glenn Christopher Graham Harris Meyers Michelle Shuen

18 Lucia di Lammermoor operasj.org 19 Board of Trustees Donors

OFFICERS TRUSTEES PAST PRESIDENTS Laurie Warner Richard Dorsay, M.D. Maxwell Bloom President & Co-Chair of 1983–1984 Development Committee Frank Fiscalini Frank Fiscalini N. Eric Jorgensen Glen Gould 1984–1987 Sr. Vice President & Chair of CENTURY CLUB Governance Committee Fred Heiman Gordon Brooks 1987–1989 Jan Telesky Peggy Heiman Thank You, Opera San José Century Club Members! Interim Chair of ex officio Kitty Spaulding 1989–1992 Opera San José Century Club celebrates our loyal donors who have Finance Committee; Rita Elizabeth Treasurer surpassed $100,000 in cumulative giving to Opera San José. Horiguchi Michael Kalkstein Glen Gould 1992–1994 We applaud your remarkable generosity and loyalty. We thank you for your Board Secretary N. Eric Jorgensen outstanding investment preserving the culture of our community Mary Reber and the continued health of Opera San José. Fred Heiman Jeanne L. McCann 1994–1995 Vice President & Chair of We are deeply grateful to you. Long Range Planning Gillian Moran Martha Sanford 1995–1998 Bravissimo! Committee; Chair of Dr. H. Andrea Neves Nominating Sub-Committee Richard O. Whitney Linda Riebel 1998–2001 Tricia & Tim Mary & Clinton Mrs. Averill Q. Mix Dave & Carol Jeanne L. McCann ex officio Vice President & Chair of Frank M. Veloz Anderson Gilliland Pamela & David W. Thompson Planned Giving and Events Gerard L. Seelig 2001–2004 Jean Brandt Howard W. Golub Packard Michael & Laurie Warner Dr. H. Andrea Neves Jan Telesky Joe Pon Catherine Bullock Doreen James Martha Sanford & Vice President & Co-Chair of Gary Hong Richard & Phyllis 2004–2007 Werner Cohn Mary Louise Development Committee Whitney Vijay Vaidyanathan George & Susan Johnson Jan & Don Schmidek Gerard L. Seelig George Crow Crow Robert S. Kieve Roger & Isobel Five anonymous Dr. Brian Ward 2007–2010 gifts Vice President & Chair of Jeanne L. McCann Sturgeon Auditing Committee Laurie Warner

Bravo! To our donors, the lifeblood of Opera San José! This listing reflects cumulative cash donations, pledges and matching gifts recorded July 15, 2015 to July 31, 2016. Mission Statement EXCLUSIVE $500 to $999 $10,000 and eBay UNDERWRITING above Harris Bank PARTNERS MWT Associates, Inc. GE Foundation The William and Flora $50,000 and CORPORATE Hewlett Foundation Opera San José is dedicated to maintaining a resident company of opera MATCHING IBM Corporation above Johnson & Johnson singers with whom we present compelling, professional opera performances, Many corporations $1,000 to $9,999 while creating and providing cultural and educational programs that both Applied Materials match charitable Microsoft Foundation Google enrich the opera-going experience and encourage future generations of contributions made Netflix artists and audiences. Opera San José also provides technical assistance to CORPORATE by their employees. Hewlett Packard Nvidia PARTNERS Please check with Under $999 Oracle other organizations. your employer and $10,000 to inform Opera San Applied Materials SAP Software & Founded in 1984, Opera San José is unique in that it is the only year-long Solutions resident opera company in the nation. Members of the resident company $49,999 José of the process Brocade Communica- required by your tions Systems, Inc. Synopsys form the core of the artistic staff for main-stage productions as well as Empire Broadcasting company for this Chevron Texas Instruments educational programs. meaningful support, if Cisco Volkswagen available.

20 Lucia di Lammermoor operasj.org 21 Donors CONTINUED

FOUNDATIONS San José Opera Guild Fred & Peggy Heiman Dr. & Mrs. C. Whitby- Phil & Judy Livengood SHOWCASE CIRCLE Geoffrey & Norma Barbara Molony & $50,000 and $1,000 to $4,999 Prof. John M. Heineke Strevens Sylvia & Paul $1,000 to $1,999 Egan Thomas Turley above & Prof. Catherine R. Richard & Phyllis Lorton, Jr. Donald & Janice Elliott David Muhlitner & Silicon Valley Gives Montfort Whitney Cheryl Adams Peggy Kilduff The William and Flora Mr. & Mrs. Denis Lynch Mr. & Mrs. John P. Jane Alejandro Hewlett Foundation Under $999 Rita Elizabeth One anonymous gift Joan Mansour Eurich Tom Myers & Hartono Horiguchi Joyce Allegro & Sutanto The David and Lucile Friends of Opera William McCraw & Mary Mary Feldman PARAGON CIRCLE Gerald Sheridan Packard Foundation San José Norman Lariviere & Janet Muscio Bob & Alice Fenton Olga & Tony Nespole Carolyn Lund $2,000 to Daniel & Priscilla Nova Vista symphony Barry & Rosemarie Georgiana & John Cynthia & Ken Newton $10,000 to Amend Association Inc. Linda Lee Lester $4,999 Mirkin Flaherty Paul & Jo O'Neil $49,999 Richard J. Andrews Opera Bridge Tom & Gillian Moran Jeanne & Michael Mr. & Mrs. Thomas G. Mehdi Gasmi & Marshall & Jeanne The Ann and Gordon Althouse Adu Bagley Getty Foundation San José Woman’s Jan & Don Schmidek Moore Gregory Parry O'Neill Club Dave & Carol Drs. Charlene Heidi Munzinger & Dr. Alfonso Banuelos & Michael & Judith Bob & Bonnie The Kieve Foundation Archibeque & Suzanne Wittrig Second Church of Thompson John Shott Gaulke Peterson Hugh Stuart Center Robert Melnikoff A. Bayman & M. Arlock Charitable Trust Christ, Scientist One anonymous gift Drs. Henry & Cynthia Mr. & Mrs. Eduardo Joe Pon & George Nevenka & Nebojsa Nattrass Didier Benoit Grisetti Duran The Packard INDIVIDUAL GIVING THEATRE CIRCLE Avdalovic Diane K. Nelson & Elfi Berkowitz & Lindy Hayes Nancy Pyeatt Humanities Institute Nancy C. Bean PRODUCERS CIRCLE $5,000 to Marshall Marlowe Thomas Geisler Mitzi G. Henderson Alice Ramsauer $1,000 to $9,999 Andrew & Brenda $50,000 and $9,999 Kent Owen Emily & Stephen Cheryl Holt Stephen & Denise Birrell Berman Farrington Historical above Elizabeth F. Adler Lisa M. Pereira David G. Hough Rawlinson Foundation, Inc. Barbara F. Borthwick Bill & Ginny Berner Barbara G. Akin Randy Presuhn & Mary Idso Marian Rees Jean Brandt Roger Bourland & The Greenside Anna M. Bagniewska & Timothy Nguyen Donna & William Carol Richardson Cole Mary & Clinton Daniel Shiplacoff Linda Izquierdo Foundation Denis St. Jean Jean Reiner Biretta Gilliland Pat Janes Joy Sakai Italian American Nina Boyd Josef & Phyllis Mandy Behe Mr. & Mrs. Joseph J. Jack & Judy Schneider Heritage Foundation David Valenta Mary Esther Candee Bismanovsky Ray & Laurel Kaleda Prudence Brown Rizzuto One anonymous gift Rina Katzen MaryLou Schoone Larson Family Fund Carolle J. Carter & Richard & Barbara Marlene Bollhoffer Doris & Alan Burgess Connie & David Sealer The Leeson GENERAL Jess Kitchens Roof Leon Bonner & Ms. Bonnie Lee Mimi & Eric Carlson Kellogg Mort & Alba Sherin Foundation DIRECTOR'S CIRCLE John & Agnes Lucinda Sanchagrin & Redge Meixner Marilyn & Frank Dorsa The Markkula $25,000 to Caulfield Dennis McLean Michele Bonnett Anders Kugler Mr. & Mrs. R.W. Glen Gould & Bunny Shomler Foundation $49,999 Paul & Marijane Patricia & James Ken Borelli Doug & Rasha La Laden Chestnut Porte Darby Siempelkamp & Rotary Club of San Schaaf James & Margaret Thelma Dry Mr. & Mrs. William H. Michael Kresser Jose Foundation Richard & Doris Davis J.H. Silveira M.D. Brady Cathy & Steve Lazarus Harmon, Jr. Ms. Laura Sternberg Lorraine and Gerard CONDUCTORS Kathy & Al Alice & Robert Skurko Robert & Mara Barbara & David Frank & Marjorie Seelig Foundation CIRCLE DiFrancesco Bronstone Leeson Jim Stuhlbarg Johnson Richard & Jo Anna Simon Strauss $15,000 to Tom & Clara DiStefano Strawbridge Rick Callison & Shauna Rob Lenicheck Louise Tighe Foundation Eric Jorgensen $24,999 Dorothy & Richard Melita Wade Thorpe Mika Morton & Elaine Sheryl Walters Cathy & Dick Lamp- The William H. Cilker Dorsay Pamela & Craig Carper Levine Channell Wasson Family Foundation Tricia & Tim Anderson man Dr. May Loo & Dr. Maureen Ellenberg William Thurston Judy Chamberlain Sophia Liu Chip & Bonnie Doreen James Dr. Jakob Nielsen & One anonymous gift Frank Fiscalini Sally & Tom Logothetti Williams Izzy Lewis & Phil Park Hannah Kain Janice Toyoshima Park & Joan Under $999 Mr. & Mrs. Argo Chamberlain Scott Lurndal Susan & Jonathan Jeanne L. McCann Don & Gretchen Marcia & Gordon Vosti Gherardi Isabel Chiu, CPA Jeanne Lyons Wittwer Amazon Smile Mrs. Averill Q. Mix Nymoen Alice Weigel Janice & Mel Goertz Helen Conway Philip & Margaret Ma Susan Yost Metro C2SV Dr. H. Andrea Neves Ahmad & Ruth Orandi Mariquita West, MD Community Fund The Guth Family Alfio & Gerry Crema Tom MacRostie Five anonymous gifts Richard & Hannelore Jackie Pighini Nancy & Kenneth Andrea & Volker PUBLIC SECTOR Romney Alma Taylor Wiener Rose Crimi Kevin McGiboney & SUPPORTERS CIRCLE Hampel Nancy Lutzow City of San José One anonymous gift Jan Telesky Dennis & Marianne Adnan & Patricia $500 to $999 Dr. & Mrs. Pearce Wilcox Daoud A. Kirk McKenzie Bradford Wade & Hurley Matthew & Marcia ORGANIZATIONS/ DESIGNERS CIRCLE Neil Wilhelm & Jane Decker Mr. & Mrs. McKnight CLUBS Linda Riebel Jim & Pat Jackson Laura Hill Allen $10,000 to Dr. Brian Ward Robert Dennis Chris & Katie Metzger $5,000 and $14,999 Dr. William R. Lambert Two anonymous gifts Joseph & Frankie Michael & Laurie Dr. James & Stephen & Janet Miller Armstead above Mr. & Mrs. Robert Jim Beatty Warner Susan Dyer Leeper Amici di Musica Bella George & Susan Crow

22 Lucia di Lammermoor operasj.org 23 Donors CONTINUED

Shirley E. Bailey Joe & Carolyn Jonathan Lynam Norma & Charles Ray & Lynda Barbieri Dickinson Pamela & Steve Lyons Schlossman DEDICATED DONATIONS Mr. Robert Applebaum in memory of Rosalyn Applebaum Martha Beattie Meredith & Carl Anne & Dave Mack Joyce & Campbell Ditmore Scott Sonia DeHazes in memory of Ruth Laine Bauer Mario & Rose Belotti Karen & David Peter Bloom in honor of Maxwell H. Bloom Ellen Donnelly MacQueen Ursula Shultz Donald H. Bentsen Jean Brandt in memory of F.A. Brandt Deborah Edginton Peter Marra Robert & Carmen Walter Bentson Prudence Brown in memory of David A. Brown John Ehrman & Sigler Gene Bernardini Steve Martin Tineke Graafland Regina Sleater & Jim & Lucia Calve in memory of Dr. Michael Bullock Ms. Jane Bernasconi Patrick & Darle Virginia A. Carpio in memory of Willa & Ignacio Carpio Shirley J. Foreman & Dean Dunsmore Maveety Nancy Boitano, Gizella O'Neil, Louise Tighe, Julian H. Unger, Nancy & Kenneth Wiener Mr. Theodore J. Biagini Alberta Brierly Sandra M. Sobie Richard & Junetta Dr. Arthur & Susan in memory of Irene Dalis-Loinaz Barbara Frank McKewan Betty Soennichsen Biedermann Nina Boyd, Stan & Elaine Gould, Mike & Jane Guerra in honor of Frank Fiscalini Carolyn & Brian Howard McKinney Jim Stauffer Matthew W. Bien & Phil & Judy Livengood, Richard L. Sogg, M.D., Four anonymous gifts in memory of Lea Frey George Beth Kay Taylor Grace T. Lee David & Erika Cheryl & Steve Kole in honor of Peggy Heiman Lucia & Jack Gilbert Meinhardt H. James Tellefson Rob & Letty Block Joan Stucker in memory of Frank Johnson David & Janice Gilman George Menzoian Jeff & Catherine Dennise & JoAnne Nelson in memory of Gretchen Nymoen Nadia & Christophe Roger K. Gould Thermond K. Haydel & S. Jackson, Robert & Carmen Sigler in memory of Ray Pimentel Bodin D.G. Mitchell Christopher Greene Mary Alice & David One anonymous gift in memory of Mary Reber Judith Borlase Mr. & Mrs. Dennis Gryphon Financial Nelson Thornton E. Kletter in memory of Helene Rock David & Hildegard Group, Inc. Anne &Peter Thorp Mr. Lawrence Tartaglino in memory of Nello Santacroce Borror Mr. Patrick O'Connor Mike & Jane Guerra Mr & Mrs. Robert Dr. James & Susan Dyer, Atsuko Ito in memory of Hajime Seki Patti Bossert & Ken Odom Torrano Gerry & Marita Trobough in honor of Terrence Trobough Charles Chew Jim & Linda Hagan Dr. & Mrs. Hans Orup Sonia DeHazes, Second Church of Christ, Scientist in memory of Doug Weber Kathryn Hall & Richard Jeanne Torre Ms. Kathleen Bowden Denise Owen Marsha & David Pollak, Susan Yost in memory of Phil Yost Neilson Nancy Valencia Edward & Nancy Donald & Lona Bowen Charles F. Hanes Packwood Mr. & Mrs. John S. Vineyard IN MEMORY OF OLGA NESPOLE Jim & Carolyn Bowen Helen Helson Joseph Palmer & Karlette Warner & Mrs. Elvira Aloia Rhonda Dern Dr. Tony Lie Cheri Strempel Larry & Sally Brandt Kali & Narada Hess Nikki Kim Ward Hoffman Ms. Marlene Avel Mr. Michael Destro Ms. Janis A. McGibbon Howard & Marcia Ann Brown Fred & Leelane Hines Janice Paull Dr. Herbert Weil & Janet Bastovan & Wendy Dewell Dr. Elizabeth Menkin Summers Ron & Jennifer Joyce E Peloian & Virginia L. Brown Dr. Anabel Anderson David Davies Dr. James & Susan Mrs. Averill Q. Mix Mrs. Davin P. Torre Howard Gary McCrea Steve & Vicky Imbert Ms. Janis Black Dyer Dr. H. Andrea Neves Paul Traynor Ilene & Ken Imboden Marilyn Perry Brozovich Mr. Leigh Weimers Nina Boyd Mr. & Mrs. John Mrs. Anne Pollard Carl Voss Maria & Klaus Jaeger Dr. Lorna Pierce P. Eurich Penny & Preston Mr. & Mrs. Lawrence Dr. & Mrs. Donald Richard & Hannelore Michael & Laurie Brunst Bill & Danielle James Jeffrey & Hazel Powell Williams Joseph Cariani Deborah Gould Romney Warner Dr. James Chang Fred & Peggy Heiman Alex Gelber & Catherine Bullock Jeraldine Johnson Stephen Powell Penelope Williams & Ms. Tina Santucci Mr. Edward M. Cheng Howarth Family Linda Wolf David Burke & Victoria Dale & Jane Jordan Tom Ranweiler Richard Bruner Norma & Charles Joan R. Chisholm Dr. Clara Lasala Schlossman Dr. Lorna Yamaguchi Burton Burke David Kaun Marjorie Rauch Brian & Linda Winter Mrs. Gladene Clarke Mary Pat & Jerry Lass Dr. Vincent K. Seid Hanley & Mary-Anne Dick & Pat Calfee Paul & Darina Pamela & Jim Robson Chien-Gsueb Wu James & Anne Cook Judy & Allan Lavetter J.H. Silveira M.D. Yoffee Virginia A. Carpio Kavanagh Bryan Rodriguez & Ellen C. Wynn Ms. Lorraine Lourdes Lazatin Nancie Sowin Two anonymous gifts Erie Carruthers Mary M. & Harry Kelly Jean-Marie White Lari Yamaguchi Daigneault Corinne Elliott Carter Sheryl Kelly Mr. & Mrs. Richard June C. Yamamoto Rolla Deal & Nancy Victoria Knox Bassam Zahra Christensen Mr. & Mrs. Lee Rosen Paul & Jackie Kuckein William & Patricia Elena & Ron Danielson Ms. Sue Larson Mr. & Mrs. Laurence L. Zahrt Rosier Ed Dantzig Shirley Leisses & Mr. William Zschaler Doron & Miriam Dr. & Mrs. J.H. Davies Hicks Williams Ieva Zvargulis & Rotman Robert A. Davies III & M. Lewis & William Robertson Fred Sanders & Diane Church-Davies Kristin Fryklund Five anonymous gifts Lynn Evans Mr. Marvin Del Chiaro Russell Lindgren Robert Savoie Victor & Suzanne Don Lowry & DeMattei Lynore Tillim

24 Lucia di Lammermoor operasj.org 25 Special Thanks

Friends of Opera San José! Opera San José thanks Friends of Opera San José for their service to the company. To become a member of our volunteer auxiliary, Friends of Opera San José, and experience its many benefits, please send an email to [email protected] or sign up at operasj.org/sup- port/volunteering. Linda Riebel Brad Wade Laura Hill Suzanne Sarro President Opera at your Rita Horiguchi Lee Scoville Jeanne Lyons doorstep Amelia Jackson Shirley Shoup- Vice President Bonnie Williams Joann Johnson Howard Membership Pat Daoud Sheryl A. Kelly Frank & Diane Snow Secretary Anna Bagniewska Lee Lederer Denis St. Jean Janice Toyoshima Bill Bartz Olive Leeper Mike & Laurie Warner Treasurer Didier Benoit Lucy Logan Diane Werp Renee Anderson Walter Bentson Dennis & Marianne Newsletter Michael Mastre Carolyln Bowen Wilcox Barbara Brosh Ann Mayers James D. Bowen Fern Jaffe Wollrich Events Kathleen McCabe- Pamela Carper Bobbi Wolner Nancy R. Divine Martin Corinne Carter Hospitality Table Jeanne McCann Adnan & Pat Daoud Jim Stauffer Tom Miller Cultural Outings Wendy Dewell Sally Pyle Nancy Valencia Richard Dorsay Joy Sakai Communication Shirley Foreman Volunteers Opera San José thanks the following volunteers for their service to the company. To offer your assistance as a volunteer, please visit operasj.org/ support. Didier Benoit Fred & Peggy Heiman Lorraine Mazzeo Jim Stauffer Dick & Pat Calfee Rita Horiguchi Pat Miller Kathryn Veregge Carolle Carter Olive Leeper Heidi Munzinger Sheryl Walters Barry Cohen Judy Livengood Judi Rizzuto Bobbi Wolner A REQUEST TO OUR DONORS: If we have made a mistake or omission, LaVonne Fraboni Phil Livengood Joy Sakai kindly bring it to our attention so that we may correct it. Please call Individual Giving Manager Noritaka Okada at (408) 437-4460. In Kind Opera San José would also like to thank the following donors for their generous in-kind goods and services: Services: Chris Ayers, Diane Claypool, Citti’s Florist, San Jose Convention Center, N. Eric Jorgensen, Ms. Bonnie Lee Kellogg, Phil Park, Betty Poin- dexter, Linda Riebel, R.W. Shomler, Telesky Financial Services, one anony- Supported, in part, by a mous gift. CulturalAffairs grant from the City of San José. Supplies & Equipment: Barbara Barrett, Nance C. Bean, Elfi Berkowitz, Joseph George Wines, Diane K. Nelson & Marshall Marlowe, Nancy Nielsen,

Robert & Lois Rew, one anonymous gift. The official piano of Opera San José. Opera San José’s pianos are supplied by Yamaha Peninsula Music, San José.

26 Lucia di Lammermoor operasj.org 27