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Untitled-1 1 7/27/18 4:07 PM THE GERSHWINS’®
PORGY® AND BESS VOLUME 43 ISSUE 1 18 ROOM FOR CHEMISTRY Production Essentials By Jessica Murphy Moo 8 Production Sponsors 9 The Cast of Porgy and Bess
10 The Story of Porgy and Bess
20 BLACK ARTISTS AND ACTIVISTS REFLECT ON 11 Artists
PORGY AND BESS 15 Actors
By Gabrielle Nomura Gainor 15 Supernumeraries
15 Chorus 24 BREAKING GLASS: HYPERLINKING OPERA & ISSUES 15 Orchestra By Gabrielle Nomura Gainor Departments 37 IN MEMORIAM: FRANCES ROGERS 5 From the General Director 6 Board of Directors
7 From the President
7 Service Directory
16 Programs and Partnerships Sponsors
25 Seattle Opera Staff
26 Staff Chat
27 Donor Impact
28 Institutional Donors
28 In-Kind Sponsors
28 Volunteer Fundraising
29 Leadership and Producer’s Circles
31 Planned Giving
32 Seattle Opera at the Center Seattle Opera 36 Online at Seattleopera.org Editor Contributing Editors Kristina Murti Jonathan Dean 38 Amusements Ed Hawkins Graphic Design 39 Upcoming Events Kelly Hamilton Colglazier Jessica Murphy Moo Gabrielle Nomura Gainor Brittany Rall
Cover Image: © Philip Newton
Seattle Opera is now offering large-print and Braille versions of this program. Please see coat check for details.
Porgy and Bess 3 August 2018 Volume 43 No. 1 britten
THE TURN Paul Heppner President
Mike Hathaway OF THE Vice President Kajsa Puckett Vice President, Marketing & Business Development
SCREW Genay Genereux Accounting & Office Manager oct. 13–27 Production Susan Peterson Design & Production Director
Jennifer Sugden Assistant Production Manager
Ana Alvira, Stevie VanBronkhorst Production Artists and Graphic Designers
Sales Amelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives
Joey Chapman, Brieanna Hansen, Ann Manning, Wendy Pedersen Seattle Area Account Executives
Carol Yip Sales Coordinator
Marketing Shaun Swick Senior Designer & Digital Lead
Ciara Caya Marketing Coordinator
Encore Media Group Corporate Office 425 North 85th Street Seattle, WA 98103 p 800.308.2898 | 206.443.0445 f 206.443.1246 SPINE-TINGLING GHOST STORY New Production [email protected] When a young governess travels to an In English with English subtitles. www.encoremediagroup.com Evenings 7:30 PM isolated English manor house to care for Sunday 2:00 PM two orphaned children, a series of Encore Arts Programs and Encore Stages are published monthly ominous encounters with menacing Featuring members of Seattle by Encore Media Group to serve musical and theatrical events Symphony Orchestra. in the Puget Sound and San Francisco Bay Areas. ©2018 Encore specters of the estate’s previous staff Media Group. All rights reserved. Reproduction without written soon follows. Are the spirits supernatural MCCAW HALL consent of Seattle Opera and Encore Media Group is prohibited. in origin, or are they the products of the 206.389.7676 governess’s overactive imagination? SEATTLEOPERA.ORG/TURNSCREW 2018/19 SEASON SPONSOR: Britten’s seductive, luminous, and LENORE M. HANAUER brilliantly structured thriller offers a PRODUCTION SPONSOR: MARKS FAMILY FOUNDATION tantalizingly veiled portrait of PHOTO © PHILIP NEWTON psychological disintegration to usher in the Halloween season. TICKETS START AT JUST $25!
4 TOTSEncoreAd-V2.indd 1 7/25/18 2:39 PM Seattle Opera 2018/19 Season FROM THE GENERAL
DIRECTOR Welcome to Porgy and Bess, which opens our 2018/19 season. Opera comes in all shapes and sizes, and as always, we are offering a program which spans many musical and dramatic styles. But this season, alongside works of a European heritage like Carmen, The Turn of the Screw, and Il trovatore, we are also delighted to present two American works–one from the last century, and one that received its world premiere just a year ago.
An interesting trend in the American opera scene recently is the move towards the creation and presentation of new operas. We are living in a golden age of American opera, and this is very timely; for if opera is to survive as an art form, it is essential that
© RICK DAHMS its core repertoire is continually replenished. But unfortunately, the fate of a new opera can often be uncertain. On so many occasions and through nobody’s particular fault, a new opera is performed once and then laid to rest, as it hasn’t raised sufficient traction to gain further productions. One way to mitigate this is to co-commission with like-minded companies–and Mason Bates and Mark Campbell’s The (R)evolution of Steve Jobs, which we present in March 2019, is a textbook example of this approach. Our West Coast premiere follows a triumphant first showing in Santa Fe last year, with further performances scheduled at Indiana University and San Francisco Opera; and with each presentation, the work will develop and mature. Other works take on a life of their own. It may amaze you to learn that Laura Kaminsky’s As One, which so captivated audiences when we staged it at Washington Hall in 2016, was one of the most performed operas across the US last season, receiving more performances than The Barber of Seville! And especially pleasing to us at Seattle Opera is that Jack Perla and Jessica Murphy Moo’s An American Dream, which we commissioned in 2015, will be presented in three different cities over the coming season.
But such a golden age of American opera must have a beginning. Porgy and Bess is, without doubt, the first great American opera, and it has endured ever since its premiere in 1935. It has certainly not been without controversy throughout its life, and its contents have often polarized audiences. At a purely musical level, with its inclusion of jazz idioms along with spirituals and folksongs, it has also given rise to debate as to what sort of piece it is. Is it an opera or a musical? That it was originally premiered on Broadway only served to muddy the waters. But Porgy and Bess is very much an opera. It was written for classically trained voices and has a deceptively difficult and challenging orchestral and vocal score. Happily, with Maestro John DeMain on the podium, we are in the best possible musical hands. John conducted the landmark Houston Grand Opera production in 1976 which presented Gershwin’s full score in all its glory, and helped turn the tide of opinion about the work. Likewise, director Francesca Zambello has many years’ experience with the piece, culminating in the success of this particular production, which we have co-produced with the Glimmerglass Festival.
Porgy and Bess was premiered on October 10, 1935; by happy coincidence, this coming 10th of October is also the day that we are due to receive the keys to our new opera center next door to McCaw Hall. This building will not only transform the way that Seattle Opera runs its operations; it will also offer opportunities for new programs and enable us to be an opera company that invites all communities of Seattle to experience our work. I would like to thank everyone who has supported our fundraising to date–it has been a huge effort from all concerned. Although the finish line is in sight, our campaign is not yet over. I invite every one of you to join with us and help provide the means for Seattle Opera to remain a vital and vibrant part of this city.
Porgy and Bess 5 BOARD OF DIRECTORS 2018/19 Season
Chairman Treasurer Representatives to the Board John F. Nesholm John Starbard Gayle Charlesworth, Seattle Opera Guild President Secretary Gail Neil, Seattle Opera Chorus Brian Marks Milkana Brace Eoin Hudson, BRAVO! Immediate Past Eric Jacobs, The Seattle Symphony and Opera President Players’ Organization Maryanne Tagney Seattle Opera Foundation Vice Presidents Jeffrey Hanna, Brian Marks, President ex officio Susan MacGregor Matthew Segal Charles B. Cossé Steven C. Phelps Coughlin Martha Sherman James D. Cullen Anne M. Redman James D. Cullen Stephen A. Sprenger Jay Lapin Michael Tobiason Adam Fountain Moya Vazquez Moya Vazquez A. Richard Gemperle William T. Louise Miller Weyerhaeuser Jonathan Rosoff Advisory Board Connie Bloxom Victoria Ivarsson Directors John M. Bloxom, Jr. Linda Nordstrom Willie C. Aikens Gary Houlahan Beverly Brazeau Eulalie Schneider Thomas H. Allen Michael Hyman Norma B. Croco Judy Schuchart Barry Bolding Bruce E. H. Johnson David R. Davis Virginia B. Wright Toby Bright Brian LaMacchia Betty Hedreen Brenda Bruns, M.D. Bruce R. McCaw Susan Buske Tom McQuaid Honorary Life Members Beverly Brazeau Duff Kennedy Stella Choi-Ray Brendan Murphy Donald L. Johnson Michael M. Scott Robert Comfort Steven C. Phelps Janice C. Condit Tom Puentes Past Presidents Charles B. Cossé James David Raisbeck Norma B. Croco Sheffield Phelps† Natalie de Maar Jean Stark Albert O. Foster† Steven C. Phelps Susan Detweiler, M.D. John Sullivan Max E. Gellert† Maryanne Tagney Carolyn Eagan Russell F. Tousley Harold H. Heath† Russell F. Tousley Robert Fries Judy Tsou H. Dewayne Kreager† Richard S. Twiss Diana Gale James Uhlir Francis A. LeSourd† William T. Leslie Giblett Susanne Wakefield, † Weyerhaeuser Ph. D James M. McDonald Jr. Paul Goodrich † Stanley N. Minor Howard S. Wright Jeffrey Hanna Joan S. Watjen John F. Nesholm Kennan Scott Wyatt Hollingsworth, M.D. Lesley Wyckoff Ron Hosogi
† Deceased
6 Seattle Opera 2018/19 Season SEATTLE OPERA FROM THE DIRECTORY Unless otherwise indicated, the following PRESIDENT numbers are in the 206 area code. Seattle Opera Audience Services Phone: 389.7676 Outside Seattle: 800.426.1619 For TTY Service: 800.833.6388 On behalf of the Board of Directors, welcome to 24-Hour Information Line: 676.5800 Seattle Opera! We are so excited to be kicking Tickets Online: www.seattleopera.org off the new season with Porgy and Bess, the Group Sales: 676.5588 quintessential American opera. This work has Website: www.seattleopera.org influenced an amazing catalogue of American music Seattle Opera Donor Services of all genres. It continues to be one of the most Phone: 389.7669 Email: [email protected] popular works in opera. Norcliffe Room reservations: 389.7669 or [email protected] We extend a warm welcome to all of you in the Seattle Opera Administrative Offices audience who are new to opera and hope you’ll also Phone: 389.7600 join us for the other great performances this season. 1020 John Street Beautiful singing awaits you with every curtain rising! Seattle, WA 98109-5319 Two blocks west of Fairview © JONATHAN VANDERWEIT © JONATHAN I want to extend a special ‘thank you’ to Seattle Website: www.seattleopera.org Opera subscribers and donors in the audience: the Marion Oliver McCaw Hall only reason we are able to bring the high production value you see today in Porgy Location: 321 Mercer Street Phone: 733.9725 and Bess is—you. As a ticket buyer, as a supporter of this art form, you care about www.mccawhall.com the art in our community, and we are grateful for your commitment. Head Usher: 733.9722 Security Office: 733.9735 This season we will celebrate a milestone in our company history: we are about to For TTY Service: 684.7100 relocate our administrative headquarters and operations back to Seattle Center Restaurant—Prelude: 615.0404 Ticket Donations (day of show): 676.5544 from our current, leased location in South Lake Union. Take a look on your way out Lost and Found: 684.7200 and 684.7192 to see how close we are to completing this project. The exterior of the building is Parking: 684.7340 nearly finished, and we are working on the final touches of the interior. We expect Traffic and Transportation Hotline: to move in November. 233.3989, ext.1 Monorail: 905.2620 and 396.5009 Hall Rental: 684.7103 With this move, we look forward to working even more closely with the Seattle Seattle Center Information: 684.7200 Center community. Many of you have followed the conversations around racial Amusements: Gifts of Artistic Expression equity and diversity in opera we have had over the past year. As part of this Hours: 5:00 p.m. for evening performances and work, we will be joining with Seattle Center’s Racial Equity Cohort to deepen our 11:30 a.m. for matinee performances; during commitment for opera to all. During the upcoming season, we will also be working intermissions on a company-wide equity plan. Phone: 774.4990 Email: [email protected] Gift Shop Manager: Kate Farwell Our beautiful new facility will provide space and opportunity to continue our work Amusements is operated jointly by in this area and deepen our partnerships with other arts organizations, nonprofits, Seattle Opera and Pacific Northwest Ballet. and community organizations. We look forward to being a good civic host. BRAVO! Phone: 389.7676 We are within two months of making this historic move and are on the cusp of a Email: [email protected] new wave of opera programming. In order to open the building in December, we Seattle Opera Guild need $1.6 million in contributions to complete the private fundraising campaign. Phone: 232.8723 Please help get us across the finish line with your gift today. Email: [email protected] Seattle Opera Guild is an organization Thank you for all you do to make opera possible! independent of Seattle Opera. The SOWING Circle Phone: 676.5516 Email: [email protected]
Wagner and More (WAM) Phone: 389.7669 Brian Marks Email: [email protected] President, Seattle Opera Board of Directors
Porgy and Bess 7 SOP018 Porgy_v1.indd 8 throughout theseason. production andsomuchmore support fuelsthismainstage your enduringAnnualFund Seattle Opera donorfamily— Thank you to thecaring WALKER ALFRED CHARLESONHEIDI ZAMBELLO FRANCESCA EUGENE AND JEAN STARK WILLIAMS ELIZABETH MARY GARY AND PARUL HOULAHAN ARTIST SPONSORS 4CULTURE SUPPORT ADDITIONAL FROM ENDOWMENT FUND KREIELSHEIMER PRODUCTION SPONSOR LENORE M.HANAUER 2018/19 SEASON SPONSOR
8/3/18 10:03 AM
Porgy and Bess, The Glimmerglass Festival, 2017 © Karli Cadel THE GERSHWINS'® PORGY AND BESS® By George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin
Premiere: Alvin Theatre, New York, New York; October 10, 1935 CONDUCTOR ASSOCIATE COSTUME DESIGNER John DeMain Loren Shaw† Seattle Opera Premiere: April 7, 1987 ORIGINAL PRODUCTION BY LIGHTING DESIGNER Francesca Zambello Mark McCullough Last performed at Marion Oliver McCaw Hall: STAGE DIRECTOR CHOREOGRAPHER † † August, 2011 Garnett Bruce Eric Sean Fogel SCENIC DESIGNER ENGLISH CAPTIONS In English with English captions Peter J. Davison† Jonathan Dean
COSTUME DESIGNER Evening performances 7:30 p.m. Paul Tazewell† Matinees 2:00 p.m.
Part I: 86 minutes. Part II: 61 minutes. There will be one 30-minute intermission. CAST (in order of vocal appearance)
CLARA LILY DETECTIVE Brandie Sutton† Marlette Buchanan Brian Simmons
MINGO MARIA UNDERTAKER Bernard Holcomb† Judith Skinner† Damien Geter†
SPORTIN’ LIFE PORGY ANNIE † Seattle Opera debut Jermaine Smith Alfred Walker Cheryse McLeod Lewis† (Aug. 11, 15, 17, 19, 25) The worldwide copyrights in the music of George JAKE NELSON ® Kevin Short and Ira Gershwin for this presentation are licensed Derrick Parker† Ernest C. Jackson Jr.† by the Gershwin Family. Porgy and BessSM is (Aug. 12, 18, 22, 24) presented by arrangement with Tams-Witmark SERENA STRAWBERRY WOMAN CROWN Music Library, Inc., 560 Lexington Avenue, New Mary Elizabeth Williams Ibidunni Ojikutu York, New York 10022. GERSHWIN is a registered Lester Lynch trademark and service mark of Gershwin ROBBINS CRAB MAN BESS Enterprises. PORGY AND BESS is a registered Edward Graves† Ashley Faatoalia trademark and service mark of Porgy and Bess Angel Blue JIM CORONER Enterprises. (Aug. 11, 15, 17, 19, 25) † † Nicholas Davis Elizabeth Llewellyn† Michael Patten Co-production with Glimmerglass Festival. The PETER (Aug. 12, 18, 22, 24) scenery and props for this production of Porgy and † Bess are Co-produced by Glimmerglass Festival Martin Bakari and Seattle Opera. Costumes constructed by Washington National Opera Costume Studio. English captions by Jonathan Dean © Seattle ASSISTANT CONDUCTOR MUSICAL PREPARATION Opera 2018. Makeup provided by M•A•C. Philip A. Kelsey Philip A. Kelsey, David McDade, Jay Rozendaal Opera presentation and production © Seattle ASSISTANT STAGE DIRECTOR Opera 2018. Copying of any performance by Dan Wallace Miller STAGE MANAGER camera, audio, or video recording equipment, and Yasmine Kiss CHORUSMASTER by any other copying device, and any other use of such copying devices during the performances John Keene DIALECT COACH is prohibited. Judith Shahn
Porgy and Bess 9 THE STORY PART ONE In the courtyard of Catfish Row, Clara sings a lullaby to her child while her husband, Jake, and some of the other men are playing craps. Porgy comes in to join the game; he defends Crown’s woman, Bess, whom the others are gossiping about. When Jake accuses him of being soft on her, Porgy says that he isn’t soft on any woman; he believes his disability is God’s way of saying he is meant to be lonely. Crown arrives with Bess. He is drunk, and when he loses at craps, he provokes a fight and kills Robbins with a cotton hook. Crown runs to hide but tells Bess he will be back. Sportin’ Life, the local pimp and drug dealer, offers to take Bess to New York with him, but she refuses. No one will give her shelter before the police arrive except Porgy. Later, Porgy and Bess show up at Robbins’s funeral, where his widow, Serena, is leading the mourners. The police enter and arrest Peter as a “material witness.” Serena convinces the undertaker to bury Robbins for less than his usual fee. As the scene ends, Bess leads the mourners in a spiritual as they reluctantly allow her a place in their community. A few weeks later, Jake and the fishermen are working on their nets as Porgy compares his life to theirs. Maria, the matriarch of Catfish Row, dispatches Sportin’ Life when he tries to sell his “happy dust.” A chance sighting of a bird of ill omen troubles Porgy, who resolves to defy anything that threatens his newfound happiness with Bess. Sportin’ Life asks Bess again to come with him to New York and tries to give her more dope, which she refuses. Porgy chases him away, and he and Bess sing about their newfound happiness. All except Porgy leave for the church picnic on Kittiwah Island. At the picnic, Sportin’ Life sings about his own brand of religion. All are getting ready to leave when Crown, hidden in the bushes, calls out to Bess. She tells him that she is Porgy’s woman now, but Crown forces her to stay with him.
INTERMISSION
PART TWO Back at Catfish Row, some time later, the fishermen are getting ready to go to sea. Bess, who escaped from Crown and walked eighteen miles back to town, is lost in a feverish nightmare. Peter wants to send her to the hospital, but Serena would rather pray over her. The street fills with people. Bess eventually emerges and explains to Porgy that she wants to stay with him but that when Crown comes she will be forced to go with him. Porgy tells her that she does not have to go with Crown. The hurricane bell sounds. Everyone gathers in Serena’s room and prays for shelter from the hurricane. There is a knock at the door. Crown enters and tries to take Bess away. He laughs at the frightened townspeople and sings a bawdy song to mock their prayers. Clara sees Jake’s capsized boat and runs out to find him. Bess calls for a man to go out after her. After taunting Porgy, Crown goes. After the storm, the women are crying for their men; Sportin’ Life teases them and Bess. Crown enters, looking for Bess; he and Porgy fight, and Porgy kills him. The police and the coroner come to Catfish Row the next morning; they want to take Porgy down to identify Crown’s body. Telling Bess that Porgy will be locked up indefinitely, Sportin’ Life forces some dope on her and leaves more outside her door as he departs. She emerges, ready to accompany Sportin’ Life to New York. Porgy returns one week later. While he tries to distribute the gifts he bought with the money he made playing craps in jail, he learns that Bess has gone off with Sportin’ Life to New York. He decides to leave Catfish Row forever and find her.
10 Seattle Opera 2018/19 Season ARTISTS
MARTIN BAKARI NICHOLAS DAVIS Peter the Honeyman Jim Tenor (Yellow Springs, OH) Baritone (Petersburg, TN) Seattle Opera Debut Seattle Opera Debut Recently: Tamino, The Magic Flute (Opéra Recently: Jake Wallace, La fanciulla del Louisiane); Gastone, La traviata (Cincinnati West (Santa Fe Opera); King Marc, Le Vin Opera); Ricky/Castleman, The Long Walk Herbé (Chicago Opera Theater); Senator Potter, (Utah Opera & Pittsburgh Opera) Fellow Travelers (Minnesota Opera) Upcoming: Charlie Parker, Charlie Parker’s YARDBIRD (Arizona Opera); Peter, Porgy & Bess (Fort Worth Opera); The Visitor, In the Penal PETER J. DAVISON Colony (Portland Opera) Set Designer (London, UK) Seattle Opera Debut Recently: Don Camillo und Peppone (Theater St. ANGEL BLUE Gallen); Porgy and Bess (Glimmerglass Festival); Bess La ciociara (Teatro Lirico Di Cagliari) Soprano (Los Angeles, CA) Upcoming: West Side Story (Glimmerglass Seattle Opera Debut: Clara, Porgy and Bess (’11) Festival); La traviata (Washington National Previously at Seattle Opera: Violetta, Opera); Norma (Ópera Nacional de Chile) La traviata (’17) Recently: Mimì, La bohème (Metropolitan Opera); Marguerite, Faust (Portland Opera); JOHN DEMAIN Verdi Requiem (Sydney Symphony Orchestra) Conductor (Youngstown, OH) Upcoming: Musetta, La bohème (Metropolitan Seattle Opera Debut: Porgy and Bess (’87) Opera); Violetta, La traviata (Royal Opera Covent Previously at Seattle Opera: Porgy and Bess Garden); Mimì, La bohème (Canadian Opera Company) (’95 and ’11); L’elisir d’amore (’97) Recently: Porgy and Bess (Glimmerglass Festival); The Abduction from the Seraglio and GARNETT BRUCE Florencia en el Amazonas (Madison Opera); Stage Director (Baltimore, MD) Bernstein Gala (Washington National Opera) Seattle Opera Debut Upcoming: Candide (Teatre del Liceu, Barcelona); Recently: Tosca (Pittsburgh Opera); Turandot 25th Anniversary Season (Madison Symphony Orchestra and Opera); (San Francisco Opera); The Marriage of Figaro Blue and Showboat (Glimmerglass Festival) (Opera Grand Rapids and Opera Carolina) Upcoming: La traviata (Opera San Antonio); Candide (London Symphony Orchestra); Faust ASHLEY FAATOALIA (Washington National Opera) Crab Man Tenor (Torrance, CA) Seattle Opera Debut: Crab Man, Porgy and MARLETTE BUCHANAN Bess (‘11) Lily Recently: Ballad Singer, Galileo (The Industry Soprano (Seattle, WA) Opera); Tenor Soloist, La Sorgente (The Ford Seattle Opera Debut: Lily, Porgy and Bess (’11) Amphitheatre); Albert Hofmann, LSD: Recently: Maria/Housekeeper, Man The Opera (REDCAT at Disney Hall) of La Mancha (5th Avenue Theatre); Upcoming: Lyric Tenor, Europeras (LA Lula, Violet (ArtsWest Theatre); Soprano Philharmonic); Remus, Treemonisha (Volcano Theatre, Toronto) Soloist, Beethoven Symphony No. 9 (Washington Center for the Performing Arts); Mabel, Crowns (Taproot Theatre); Medda Larkin, Newsies (Village Theatre)
Porgy and Bess 11 ARTISTS CONT.
ERIC SEAN FOGEL ERNEST C. JACKSON JR. Choreographer (Charleston, SC) Nelson Seattle Opera Debut Tenor (Philadelphia, PA) Recently: Choreographer, Candide (Los Angeles Seattle Opera Debut Opera); Assistant Director, Norma (Metropolitan Recently: Malcolm, Macbeth (Empire Opera); Choreographer, The Cunning Little Opera); Nelson, Porgy and Bess (Lyric Opera Vixen (Glimmerglass Festival) of Chicago); Dr. Caius, Sir John in Love (Bronx Upcoming: Choreographer, Florencia en el Opera) Amazonas and The Pearl Fishers (Houston Upcoming: Mingo, Porgy and Bess (Fort Worth Grand Opera); Choreographer, The Lion, the Opera) Unicorn, and Me (Washington National Opera); Associate Director, West Side Story (Lyric Opera of Chicago) CHERYSE MCLEOD LEWIS Annie DAMIEN GETER Mezzo-Soprano (Greensboro, NC) Undertaker Seattle Opera Debut Baritone (Portland, OR) Seattle Opera Chorus Member since 2015 Seattle Opera Debut Recently: Bess (select performances in Recently: Four Villains, The Tales of Los Angeles and Seattle) and Ensemble Hoffmann (Pacific Northwest Opera); Swing, The Gershwins’ Porgy and Bess (First Alcindoro, La bohème (Portland Opera); National Broadway Tour, US); Cinderella’s Colline, La bohème (Tacoma Opera) Stepmother, Into the Woods (Village Theatre); Upcoming: Colline, La bohème (Vashon Solo Recital, Then Sings My Soul (Central Opera); Dr. Grenvil, La traviata (Portland Opera); Washington University) King, The Little Prince (Opera Theatre Oregon) Upcoming: Mezzo Soloist, Messiah (Federal Way Symphony); Guest Soloist, Black Voices (Seattle Art Song Society); Solo Recital, Then EDWARD GRAVES Sings My Soul (Saltwater Music Series) Robbins Tenor (Oxon Hill, MD) ELIZABETH LLEWELLYN Seattle Opera Debut Bess Recently: Grimoaldo, Rodelinda (Indiana Soprano (London, UK) University Opera Theater); Peter, Porgy Seattle Opera Debut and Bess (Glimmerglass Festival); St. Recently: Cio-Cio-San, Madame Butterfly Brioche, The Merry Widow (Florentine (Royal Danish Opera); Magda de Civry, La Opera); Shepherd, Venus and Adonis; rondine (Opera Holland Park); Tosca, Tosca Sailor, Dido and Aeneas; and Second Priest/ (Theater Magdeburg) First Armored Man, The Magic Flute (Florentine Upcoming: Manon Lescaut, Manon Lescaut Opera) (Opera Holland Park); Luisa Miller, Luisa Miller (English National Opera) BERNARD HOLCOMB Mingo LESTER LYNCH Tenor (Detroit, MI) Crown Seattle Opera Debut Baritone (New York, NY) Recently: Otello, Otello (Loft Opera NYC); Seattle Opera Debut: Crown, Porgy and Tristan, Le Vin herbé (Long Beach Opera); Bess (‘95) Sportin’ Life (cover), Porgy and Bess (Hamburg Previously at Seattle Opera: Di Luna, Staatsoper) Il trovatore (‘97) Upcoming: Solo Recital Debut, NYC; Captain Recently: Shylock, The Merchant of Leadbetter, The Princess Sophia (Juneau, Venice (Royal Opera Covent Garden); Alaska) Crown, Porgy and Bess (Teatro alla Scala); Iago, Otello (Bergen National Opera) Upcoming: Di Luna, Il trovatore (Seattle Opera); The Prisoner, The Prisoner (Semperoper Dresden); Enrico, Lucia di Lammermoor (English National Opera)
12 Seattle Opera 2018/19 Season MARK MCCULLOUGH LOREN SHAW Lighting Designer (Charlotte, NC) Associate Costume Designer (Tampa, FL) Seattle Opera Debut: The Elixir of Love (’98) Seattle Opera Debut Previously at Seattle Opera: Aida (’18), Recently: A Period of Animate Existence Norma (’03) (Pig Iron Theatre Company); Sojourners and Her Recently: Cyrano de Bergerac (Teatro alla Portmanteau (New York Theater Workshop); Scala); The Queen of Spades (Royal Opera Head Over Heels (Oregon Shakespeare Festival) Covent Garden); Der Ring des Nibelungen (San Upcoming: Last Days Of Summer (Kansas Francisco Opera) City Repertory Theatre); The Tempest (Asolo Upcoming: La traviata (Washington National Rep Theatre); Loch Ness (Adirondack Theater Opera); Norma (Ópera Nacional de Chile); Festival) Macbeth (Vienna Staatsoper) KEVIN SHORT IBIDUNNI OJIKUTU Porgy Strawberry Woman Bass-Baritone (Washington, DC) Soprano (Bellingham, WA) Seattle Opera Debut: The Bonze, Seattle Opera Debut: Strawberry Madame Butterfly (’89) Woman, Porgy and Bess (’11) Previously at Seattle Opera: Orest, Elektra Recently: Sally/Char, Monticello Wakes (’96); Don Fernando, Fidelio (’12) (Loyola Marymount University Murphy Recital Recently: Nick Shadow, The Rake’s Progress Hall); Maude, Finnian’s Rainbow (Benaroya (Grand Théâtre de Luxembourg); Jack Rance, La Hall); Soloist, Songs from the American fanciulla del West (New York City Opera); Duke, Experience (Jansen Art Center) Roméo et Juliette (Metropolitan Opera) Upcoming: Black Voices (Seattle Art Song Upcoming: Tutor, Elektra, and Dr. Grenvil, La traviata (Metropolitan Society); Womxn’s Voices (Seattle Art Song Society) Opera); Speaker, The Magic Flute (Washington National Opera); Porgy, Porgy and Bess (Prague Radio Symphony Orchestra) DERRICK PARKER Jake BRIAN SIMMONS Baritone (Spokane, WA) Detective (Oswego, IL) Seattle Opera Debut Recently: Teddy Roosevelt, Newsies (Village Recently: Raimondo, Lucia di Theater); Harris McClain, On Clover Road Lammermoor (Utah Opera); Porgy, Porgy (Seattle Public Theater); Metellus Cimber, and Bess (Baltimore Symphony Orchestra); Julius Caesar (Seattle Shakespeare Company) Joe, Showboat (Kentucky Opera) Upcoming: Porgy, Porgy and Bess (Detroit Symphony Orchestra)
MICHAEL PATTEN Coroner (Seattle, WA) JUDITH SKINNER Seattle Opera Debut Maria Recently: Chorus/Mr. Ashton, The Picture Contralto (Brooklyn, NY) of Dorian Gray (Book-It Repertory Theatre); Seattle Opera Debut Thomas Putnam, The Crucible (ACT Theatre); Recently: Speaker, To Be Sung (Center for Levison/Westmoreland, All The Way/The Great Contemporary Opera); Maria, Porgy and Bess, Society (Seattle Repertory Theatre) and Aunt Eller, Oklahoma (Glimmerglass Upcoming: Sherlock Holmes, Baskerville Festival); Maria, Porgy and Bess (Royal Danish (Taproot Theatre) Opera)
Porgy and Bess 13 ARTISTS CONT.
JERMAINE SMITH MARY ELIZABETH WILLIAMS Sportin’ Life Serena Tenor (St. Louis, MO) Soprano (Philadelphia, PA) Seattle Opera Debut: Sportin’ Life, Porgy Seattle Opera Debut: Leonora, Il trovatore (’10) and Bess (’11) Previously at Seattle Opera: Elisabetta, Mary Recently: Soloist, Concert (South Florida Stuart (’16); Abigaille, Nabucco (’15); Symphony Orchestra, Broward Center); Sportin’ Tosca, Tosca (’15) Life, Porgy and Bess (Sydney Opera House and Recently: Serena, Porgy and Bess (Teatro alla Oper Köln) Scala); Santuzza, Cavalleria Rusticana Upcoming: Director, Porgy and Bess (South (Teatro Nacional de Sao Cãrlos); Leonora, Florida Symphony Orchestra); Sportin’ La forza del destino (Welsh National Opera) Life, Porgy and Bess (South Florida Symphony Orchestra and Fort Upcoming: Abigaille, Nabucco (Opéra de Lille and Opéra de Dijon); Worth Opera) Amelia, Un ballo in maschera (Welsh National Opera)
BRANDIE SUTTON FRANCESCA ZAMBELLO Clara Original Stage Director and Production Designer (New York, NY) Soprano (Huntsville, AL) Seattle Opera Debut: Faust (’87) Seattle Opera Debut Previously at Seattle Opera: War and Peace Recently: Rautendelien, La Campana (’90); Florencia en el Amazonas (’05, ’98); Tristan Sommersa (New York City Opera); Soloist, und Isolde (’98); Billy Budd (’01); Aida (’18) Mostly Mozart Festival (Lincoln Center); General Director of The Glimmerglass Festival, Bess, Porgy and Bess (Palacio de Bellas Artes, Artistic Director of The Washington National Mexico City) Opera at the Kennedy Center Upcoming: Pamina, The Magic Flute (Kentucky Recently: Der Ring des Nibelungen (San Opera); Lauretta, Gianni Schicchi, and Madame Francisco Opera); Candide (Washington National Silberklang, The Impresario (Knoxville Opera) Opera and LA Opera); West Side Story (Houston Grand Opera); La ciociara (Teatro Lirico di Cagliari) PAUL TAZEWELL Upcoming: The Barber of Seville (Glimmerglass Festival) Costume Designer (Akron, OH) Seattle Opera Debut Recently: Hamilton (Tony Award Winner); The Wiz! Live on NBC (Emmy Award Winner); The Immortal Life of Henrietta Lacks (HBO/ Starring Oprah Winfrey); Summer: The Donna Summer Musical (Broadway) Upcoming: Ain’t Too Proud—The Life and Times of The Temptations (The Kennedy Center); The Sting (Paper Mill Playhouse)
ALFRED WALKER Porgy Bass-Baritone (New Orleans, LA) Seattle Opera Debut: Orest, Elektra (’08) Previously at Seattle Opera: Amonasro, Aida (’18); The Dutchman, The Flying Dutchman (’16); Lindorf/Coppélius/Dr. Miracle/Dapertutto, The Tales of Hoffmann (’14) Recently: Orest, Elektra (San Francisco Opera); Josh Gibson, The Summer King, world premiere (Pittsburgh Opera); Titurel, Parsifal (Metropolitan Opera) Upcoming: Jochanaan, Salome (Oper Köln); Thoas, Iphigénie en Tauride (Oper Stuttgart); Speaker, The Magic Flute (Metropolitan Opera)
14 Seattle Opera 2018/19 Season ACTORS ORCHESTRA, continued Henry Brown C.J. Rhone Shawn Kavon Arlando Smith Bass Horn Ben Leiataua Jordan Anderson, Principal Jeff Fair, Principal Joseph Kaufman, Jenna Breen Asst. Principal John Turman SUPERNUMERARIES Jonathan Burnstein Payton Barnes London Miller Brendan Fitzgerald Trumpet Judah Felix Vivian Moo Alexander White, Principal Isaac Lewis Evangeline OpongParry Flute Tony DiLorenzo Jeffrey Barker, Principal Gabriel Palmer Robin Peery Trombone CHORUS Piccolo Ko-ichiro Yamamoto, Principal Robin Peery David Ritt Soprano Tenor Marlette Buchanan DuWayne Andrews Oboe Tuba Tena DuBerry Martin Bakari Ben Hausmann, Principal John DiCesare, Principal Sarah Edwards Kevin Douglass Chengwen Winnie Lai Nalica Hennings Ashley Faatoalia Timpani Ellaina Lewis Edward Graves English Horn Matt Drumm, Principal Julia Meyering Bernard Holcomb Stefan Farkas Ibidunni Ojikutu Ernest Jackson Percussion Ashanti Proctor Robert Neal Clarinet Michael Clark, Principal Amy Van Mechelen Namarea Randolph-Yosea Emil Khudyev, Principal Rob Tucker Korland Simmons Laura DeLuca Mezzo Sean Osborn Piano Courtney-Savali Andrews Jay Rozendaal, Principal Bass/Baritone Linda Callecod Bass Clarinet Loucas T. Curry Antonia Darlene Jennifer Nelson Banjo Nicholas Davis Claudette Hatcher Michael Partington, Principal Damien Geter Cheryse McLeod Lewis Saxophone Ekello Harrid, Jr. Samantha O’Brochta Michael Brockman Personnel Manager Dierre Lopez Crystal Whitney Sean Osborn Scott Wilson Michael Wansley Bethanie Willis Jennifer Nelson Ty Willis Assistant Personnel Manager Bassoon Keith Higgins ORCHESTRA Seth Krimsky, Principal
Violin I Linda Cole Rotating members of the string sections are listed alphabetically. Jennifer Bai Xiao-po Fei Mariel Bailey Artur Girsky The Orchestra is composed of members of the Seattle Symphony Brittany Boulding Breeden Orchestra. Cecilia Poellein Buss Viola Timothy Garland, Mara Gearman, Principal Concertmaster Timothy Hale, Caitlin Kelley Asst. Principal Mae Lin Wesley Dyring Mikhail Shmidt, Allison Farkas Asst. Concertmaster Sayaka Kokubo Clark Story Laura Renz Arthur Zadinsky Cello Violin II Meeka Quan DiLorenzo, Michael Miropolsky, Principal Principal Nathan Chan Kathleen Boyer, Eric Han, Asst. Principal Asst. Principal Evan Anderson Bruce Bailey Natasha Bazhanov Vivian Gu Stephen Bryant Joy Payton-Stevens
Porgy and Bess 15 PROGRAMS AND PARTNERSHIPS SPONSORS
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Porgy and Bess 17 ROOMBy Jessica Murphy Moo FOR CHEMISTRY
This Porgy and Bess marks a “first” for soprano Mary Elizabeth Williams. Certainly not her first time at Seattle Opera. She has been performing here since 2000 when she was a member of the young artists program.
Not her first time performing the role of Serena. She has been performing this role for more than a decade. (She won the “artist of the year” award for her riveting interpretation of the role here in 2011, pictured right.) And not her first time performing with several of the singers in this cast. She describes Porgy and Bess as something
of a reunion for many Black American © Elise Bakketun 2011 Opera, , Seattle and Bess Porgy opera singers. It is, however, the first time she will be THE PREP THE SPECIFICS returning to a company to reinterpret a That said, she comes to her first rehearsal When she meets her fellow artists, that’s role she has performed there before. prepared, and her preparation doesn’t when her interpretation starts to focus on (Read, lucky us.) change from role to role. She goes back to the details. “My job as an artist is to tell the the original text. In this case, she plans to story through the lens of Serena and to be But we shouldn’t expect a repeat read Heyward’s novel Porgy for the third as specific as possible. I give myself a performance from Mary Elizabeth time. As an English major, language and backstory with the other people on stage Williams. She doesn’t work that way. For context are her starting points. She thinks with me. Something real. This is my way to her, a role, a production, an interpretation it’s important to understand the period of avoid turning into a caricature.” comes from the individuals in the room. a piece and perhaps a librettist and And with a perceptive performer such as She once gave Serena a backstory in which composer’s “cultural limitations.” Williams, that dynamic—that chemistry— she had been an educated woman, a really does change for every production She would approach a modern work in the teacher who had aspirations but who had and every night. same way. “Even in our own time,” she been disappointed for years. Life had not says. “I was born in 1977, I am Mixed Race, gone her way. She once performed with a and I have a limited understanding. Robbins (Serena’s husband) who could Everyone has a limited understanding. soothe her fiery rhetoric by flirting with We all do.” her. This shift in the marital dynamic changed how she portrayed Serena, and it She then immerses herself in that world, also fed into the character’s animosity and schedules a voice lesson via Skype toward Bess. with her beloved voice coach with whom she has been working for 20 years. “I need For Williams, a lot of the dynamic between a voice lesson at least as often as I have a characters is physical. “I’m aware. I’m a tall haircut,” she says. person. I take up a lot of space. From early
18 Seattle Opera 2018/19 Season
SOP018 Porgy_v1.indd 18 7/25/18 2:45 PM on I have been aware of my body and the effect it has on other people. That awareness of a physical connection— positive or negative—helps me onstage to tell stories, whether I’m singing or not singing.” In Porgy and Bess, she usually uses her height as part of her domineering attitude toward Bess, but she and Angel Blue, who are friends offstage, are about the same height, so that’s something they’ll figure out in rehearsal. LANGUAGE In order to make sure she can be in tune with the onstage dynamic, Williams has a rule for herself. She never takes on an opera if she isn’t comfortably fluent in the language. Then she can understand not only her role, but what all the other characters are saying around her. She is fluent in English, Italian, and French, and she is studying German for a role she has coming up in 2020. (She could only tell me it was “a role” in the Ring. Guesses?) Learning other languages was part of what drew her to opera in the first place. She had one year singing in a touring Showboat, but she found she missed learning other languages and she missed some of the rigor of the classical repertoire. She had realized her passion, and Seattle Opera and another emerging artist program at the Opéra National de Paris were next steps on her path to a professional opera career. REALITY CHECK Of course the road to success usually
isn’t easy. Williams had grown up in © Philip Newton Philadelphia singing in a church choir with her parents—her late father’s nickname was “Bass”—and through that experience Elizabeth in Mary Stuart (pictured above), cannot cancel. Just suck it up and go.' she met a lot of professional singers who the title role of Tosca, and Abigaille in My whole life changed.” Nabucco, and she was one of the select were working hard to make ends meet. Why? The Italian tenor Lorenzo Decaro, singers invited to perform at the 2014 She went into a life in the arts with her who had signed on as Radamès, would retirement celebration honoring Seattle eyes open. “I knew it wasn’t for the faint of become her future husband. heart,” she says. Opera's second General Director Speight Jenkins. “I did everything I said I would never do!” For many years she had to follow the work. she says. She told herself she would never “I was tumbleweed. Wherever the job RULES MADE TO BE BROKEN date anyone she was working with. And went, I went. I had no roots. I had inflatable And that philosophy she has about waiting she told herself she would never date a furniture, so I could deflate and move on. “ to see the chemistry of a cast? Of being tenor. “But it worked!” How’s that for metaphor? ready but waiting to see what story she The couple tries to perform together and another cast member might tell? That But it seems that hard work was worth when they can, and they live in Milan, Italy. philosophy seems to have worked in her it because she has firmly established a Her days of inflatable furniture are in the personal life as well. highly successful international career, past. “Now in Milan, I have a home,” says particularly as a Verdi soprano. Of course About four years ago, she almost canceled Williams. Seattle Opera is always happy to see Mary a gig to sing Aida in Palermo, Italy. She Of course she always has a home here at Elizabeth Williams. She has performed had been sick; she was exhausted and felt Seattle Opera, too. here as Leonora in Il trovatore, Queen she needed a break. “My agent said, ‘You
Porgy and Bess 19
SOP018 Porgy_v1.indd 19 7/25/18 2:45 PM BLACK ARTISTS AND ACTIVISTS REFLECT ON PORGY AND BESS It’s a source of pride. It’s a source of stereotypes. The Gershwins’ opera means so many different things to different people. By Gabrielle Kazuko Nomura Gainor
power of our togetherness in an all-Black cast; we don’t have our history, but we have this moment together right now.” Today, Gershwin's lush melodies still conjure Myers’ first Porgy and Bess, where the set of Catfish Row opened up like a magical book to reveal world-class singers of color. It was an experience that proved to her that Blackness and grand opera can go hand-in-hand. But now, 23 years after first seeing the opera, the feeling of home is not as simple. After all, this work about people of the African diaspora (the Gullah community of South Carolina) was created by storytellers of European ancestry. “Having worked with Black writers, Black producers, and Black history, it’s opened my eyes more to question aspects of © Lara Grauer Photography Grauer © Lara Porgy and Bess,” Myers says. “While Above: Dominica Myers appreciating the Gershwins' creation, people must understand that the African Dominica Myers will never forget her first the two of us, but instead, she sacrificed American musical tradition is rooted in our Porgy and Bess. and saved to buy me the best seat she own history of oppression. So now, when I could afford. She wanted her daughter to It was 1995, and she was a 21-year-old hear gospel music in a show like Porgy and be able to see herself onstage.” theatre major. Between being one of few Bess, I think, ‘Wait a minute! That’s stolen!’ Black students on her college campus Porgy and Bess was not the only loving As the Gershwins’ story about Black in central Washington, and having been gift like this from mother to daughter. culture continues to be widely celebrated raised in primarily-white spaces, Myers Myers received tickets to shows where her and produced, actual Black composers was accustomed to not seeing herself Black American heritage was celebrated such as Scott Joplin and Shirley Graham reflected in the world around her. So when onstage, from Sweet Honey in the Du Bois are still not having their works her mom saved up to purchase a single Rock a cappella group, to Alvin Ailey’s presented regularly.” Porgy and Bess ticket for her daughter, it Revelations. These experiences helped was far more than a fancy evening at the crystallize Myers’ own identity as an artist COMPLICATED RELATIONSHIP Seattle Opera House; it was a precious of color. Later, as a professional actor and Myers is not the first, nor the last, in the gift that Myers would never forget. A playwright with Robey Theatre Company, Black community to have a complicated homecoming. Myers got her own experience performing relationship with Porgy and Bess. It’s in an all-Black ensemble, which she a work as celebrated as it is criticized; “My mom had told me that, because she describes as an experience unlike any beloved for iconic melodies such as was white, there were things in life I would other: “For those of us who can trace our “Summertime,” and denounced for cultural experience that she would never be able ancestry to slavery, it’s almost like there is appropriation and stereotypes. Sidney to understand. And vice versa.” Myers said. a longing for home in your DNA. This is the Poitier didn’t initially want to play Porgy in “She could have afforded OK tickets for
20 Seattle Opera 2018/19 Season
SOP018 Porgy_v1.indd 20 8/3/18 10:14 AM a work of art while understanding its limitations. And Porgy and Bess, with its powerful offering of Black representation onstage and its roots in a less-evolved America, represents a perfect example. THEMES TO WRESTLE WITH ChrisTiana ObeySumner, an Afro-Latinx activist and Social Impact Consultant for Seattle Opera (who uses they/ their pronouns), was first introduced to Gerswhin’s opera hearing their grandmother sing “Summertime” growing up. “‘Summertime’ is a hauntingly beautiful song, and the person who sings it holds the archetype of the strong Black woman,” ObeySumner said. “My grandmother did a good job conveying the spirit of the song.” For ObeySumner, watching Porgy, however, is a painful experience “because it’s seeing my community through the eyes of white people.” At the same time, Porgy offers a chance for reflection. It’s an experience that hopefully, will make the viewer think more about race and , 2011 © Elise Bakketun , 2011 and Bess Porgy Opera, Seattle intersectionality in the United States. It’s Above: Jermaine Smith as Sportin' Life a piece bearing many truths that still have meaning today. the 1959 film version because he found it in Porgy and Bess until the National offensive to African Americans. (Later, he Theatre in Washington D.C. removed its “For example, the way the Black told Oprah in an interview that it was the “whites only policy.” Black people, for one community interacts with the police,” one role in his career that he regretted.) At week at least, sat alongside white people ObeySumner says. “The violent the height of the Black Power movement, at the National Theatre, until the touring relationship with Bess and Crown in the social critic Harold Cruse described Porgy production packed up and left, and the context of #MeToo. The way people in and Bess as “the most contradictory house re-segregated once again. the Black community can be ostracized or cultural symbol ever created in the looked down upon, or even the way people What may have been considered as Western world.” It was not simply the with disabilities are sometimes treated, empowering to Black Americans in opera’s minstrel show clichés or white like Porgy.” popular art and entertainment in the past paternalism that Cruse was commenting is different now, more than 80 years later. The music is breathtaking. The cast is on, according to Kathy Peiss in the article In 2018, Beyoncé made history as the first top-notch. But this is not an opera that titled, “The Most Contradictory Cultural Woman of Color to headline Coachella, one should view in order to escape, Symbol Ever.” Rather, Peiss writes, “it Kendrick Lamar became the first rapper ObeySumner said. It’s an opera for those was the way the opera worked to exclude to win the Pulitzer Prize, and the movie in the audience to “embrace their own African Americans as cultural producers Black Panther provided a much-needed discomfort.” and to deny their ability to represent new narrative: the story of an African their own collective identity … Gershwin’s CERTAIN PLACE AND TIME nation that was never colonized and is the work was a museum piece, representing Donald Byrd has never created dances most advanced civilization in the world. a Jim Crow world in the process of being for Porgy and Bess. However, the Artistic Considering American culture and society overthrown.” Director of Spectrum Dance Theater (who today, is Porgy and Bess a work that helps was nominated for a Tony for The Color It’s important to acknowledge Porgy and move Black representation in the arts Purple and won a Bessie for The Minstrel Bess’s historic contributions to equity, forward? Or does this opera perpetuate Show) says he probably would. too. When the show opened in the 1930s, problematic patterns and stereotypes? George Gershwin’s decision to cast Black Depending on the Black artist, activist, “There are certain things I recognize about people was racial progress in a time where scholar, or audience member one might the piece that are problematic, but that white actors still frequently performed ask, the answer may be vastly different. doesn't mean it’s wrong to put onstage in blackface. Before the Civil Rights One thing that remains constant, however, today, it just means there are certain Movement, Todd Duncan and Anne Brown is that Porgy will never fit into a simple challenges,” Byrd says. “It’s a piece from a refused to perform as the title characters box. It’s possible to appreciate, even love, white perspective on a Black community.
Porgy and Bess 21
SOP018 Porgy_v1.indd 21 8/3/18 10:14 AM I would see my job as an opportunity to add authenticity of a certain time and place.” Additionally, at the center of the the opera Make are relationships that Byrd describes as true and heartfelt, the results of Black retirement people being marginalized and trying to find ways to survive. He describes Porgy as delicious. an earnest attempt by white storytellers to paint a sympathetic picture of the Black At Mirabella Seattle, you can community. And even though he doesn't enjoy gourmet meals and find Porgy to be entirely politically correct, incredible fresh-baked goods he says that shouldn't be the goal of art. without ever stepping foot “I’m the type of person who likes to sit in the theater and have a whole internal outside. Sometimes a night in is monologue with myself: What’s working? even better than a night out. What’s pushing my buttons?” he says. “I don’t mind being in a place where the Experience our stylish, worry- problematic nature of a work is staring me in the face—I would welcome that free retirement lifestyle today: because it reminds me that I am alive. I am 206-254-1441 emotionally, physically, and intellectually alive.” mirabellaliving.com/seattle THE IMPORTANCE OF REPRESENTATION Despite who created it, many members Mirabella Seattle is a Pacific Retirement Services community and an equal housing opportunity. of the Black community have taken ownership of Porgy and Bess and made it their own, including American tenor Jermaine Smith (Sportin’ Life). Smith continues to perform his signature role of Sportin’ Life all over the world (in 15 different productions, more than 500 individual performances, and 13 countries, to date) because, in interactions with both cast and audience, he’s observed the transformative power of Gershwin’s opera firsthand. Smith, who’s scheduled to direct Porgy and Bess in January 2019 in Florida, knows that this piece is not the be-all and end-all of Black representation in opera. But right now, it continues to provide opportunities to many Black artists like himself, artists who are inspiring a new generation in this art form. “When I do inspirational talks in schools, I arrive with my locks down,” Smith says. “I arrive with my jeans on, looking very urban, I don’t tell the kids what I do. And I Saw the Face of Hecate 30 " x oil on canvas then suddenly, I break out into song, and I SAW THE FACE OF HECATE (“HEH-ka-tee”) you should see their faces! They don’t JULI ADAMS know how to interpret it! They’re laughing. Aug 1 - Sep 29, 2018 • Open Noon to 5PM, Wed thru Sat and by appointment They’re applauding. They’re seeing Opening Reception Wed Aug 1, 6-8PM; First Thursdays: Aug 2 and Sep 6, 6-8PM someone from their own community singing opera!” BONFIRE Gallery 603 South Main Street, Seattle www.thisisbonfire.com
22 Seattle Opera 2018/19 Season 22 Seattle Opera 2018/19 Season
SOP018 Porgy_v1.indd 22 7/25/18 2:47 PM SOP018 Porgy_v1.indd 30 opera’s ultimate femme fatale. with iconic music,lavish new scenery, and Bizet’s story of deadly obsession seduces CARMEN |May 2019 co-founder. West Coast Premiere! Times) portrait ofthefamous Apple Innovative, “totally user-friendly” (LA February–March 2019 THE (R)EVOLUTION OFSTEVE JOBS Rigoletto). familiar melodies by thegreat Verdi (Aida, Rousing revenge melodrama packed with IL TROVATORE |January2019 Halloween. an Englishmanorhouse. Just intimefor Britten’s tantalizingghost story setin THE TURNOFSCREW |October 2018 REMAINING OPERAS: CHOOSE ANY 3OR ALL 4 previews, andmore. upgrade, costume exchanges, a free seating including flexible enjoy exclusive benefits way to save bigand Subscribing isthebest season hasjustbegun! Our remarkable STILL AVAILABLE 3- AND 4-OPERA PACKAGES SEASON 2018/19 Go onlineatseattleopera.org/subscribe2018 Call 206.389.7676 pre-show andduringintermission. Visit thesubscriptiondesktoday! Inthelobby LEARN MORE ANDTICKETS: BUY
7/27/18 4:30 PM Photo: Philip Newton
© Philip Newton ‘BREAKING GLASS’—AND RACIAL BARRIERS —AT SEATTLE OPERA By Gabrielle Kazuko Nomura Gainor
Every time the opera world presents one production ofPorgy and Bess, the industry should mount at least two productions created by a Black composer or librettist.
This was a key takeaway at the free public forum Breaking Glass: Hyperlinking Opera and Issues on July 28. In addition to exploring representation and casting, the panel (put together and produced by New York’s Glimmerglass Festival) discussed making opera an art where
storytellers of color are supported. © Ariana Buck
Moderator Matthew Morrison of the Librettist Tazewell Thompson and scholar Naomi André at the Breaking Glass forum, July 28 at McCaw Hall. NYU Tisch School of the Arts led the discussion, which included perspectives to Black boys and Black men,” Tazewell to both hip-hop and opera. “I didn’t want from scholar Naomi André, librettists said. “At the beginning of the opera, the this to be a fusion. I really wanted this Tazewell Thompson and Paige Hernandez, mother-to-be is about to have a child, and to look 50/50. We talk so much about and Porgy maestro John DeMain. she’s married to a Black police officer … equity, and I wanted to show that with the We’re hoping that this child is not going to different art forms.” “I see opera as a space of liberation and be a boy, because his life has a shelf-life activism,” said André, author of Black expectancy that sometimes does not go Stomping Grounds came to be after Opera: History, Power, Engagement. “I’m beyond being a teenager.” Hernandez was initially approached by also fine with operas that are essentially Glimmerglass to create an opera about the museum pieces that preserve tradition. Singers Brianna Elyse Hunter and Syrian Refugee crisis. Hernandez declined. I love museums. I want opera to do the Kenneth Kellogg, accompanied by Ta Wei As a Black, Cuban, Chinese American, for classic repertoire, but let’s also have X: The Tsai, shared moving excerpts of Blue, a her to create an opera about Syrian people Life and Times of Malcolm X composed by powerful story that depicts a working- would be dishonest, she said. Anthony Davis and Margaret Garner, the class Black family whose son is shot and story of a runaway slave by librettist Toni killed. Attendees also experienced the “Unfortunately, for [People of Color] our Morrison. There have been and continue to unique harmony of spoken word, rap, and stories are often told that way. Someone be many Black artists creating opera.” opera through a film excerpt of Paige commissions someone who isn’t necessarily (Two Black opera creators were, in fact, Hernandez’s Stomping Grounds, which of that background to write, and to be a fake seated on the panel with André. ) premiered at Glimmerglass in 2017. expert. So yes, I said, I’m not writing a Syrian story … I have to tell a story through my lens Librettist Tazewell Thompson described Hernandez, a self-described “B-girl who and with my perspective.” how his experiences and feelings after personifies hip-hop top-to-bottom” being frisked by police multiple times in through graffiti, dance, performing as To view the entire Breaking Glass Harlem contributed to the opera Blue, a disc jockey, and more, said that when livestream, visit seattleopera.org/ which premieres at Glimmerglass in 2019. she was creating her “hip-hopera,” it was breakingglass. For more Black voices in “I wanted to address what’s happening important to give equal weight and dignity opera, visit our blog.
24 Seattle Opera 2018/19 Season SEATTLE OPERA STAFF AIDAN LANG, GENERAL DIRECTOR
Aren Der Hacopian Doug Provost Jane Repensek Director of Artistic Director of Production Chief Financial Officer/ Administration and Planning Chief Operations Officer Allison Rabbitt Kristina Murti Director of Development Nancy Del Villar Vivé Director of Marketing and Director of Human Resources Communications
ADMINISTRATION Kim Ositis SALES AND SERVICES Christy Kazimour PROGRAMS AND Development Research and Assistant Wardrobe Head Dominica Myers Michelle M. Carrasquillo PARTNERSHIPS Database Manager Scott Arend Associate Director of Associate Director of Marketing, Rachelle Adams Administration Caroline Webb Sales and Services 2nd Assistant Wardrobe Head Stewardship and Events Manager Operations Manager Gregory Schell HAIR AND MAKEUP Stephanie Matsunaga Courtney Clark Ticket Operations Manager Liesl Alice Gatcheco ARTISTIC Development Operations School Programs Manager Kristin McCarthy Hair and Makeup Manager Mary Brazeau Coordinator T.J. Callahan Artistic Administration Manager Audience Services Manager Ashlee Naegle Tosha Mayo Community Programs Coordinator Corrie Yadon Wig Master Meggie Watson Development Coordinator Britney Schroeder Associate Director of Artistic Patron Experience Manager Eva Robins Ahana Sen Production Manager, Community Planning Debra McKinney Lead Principal Hair and Makeup Stewardship and Events Associate Projects Jonathan Dean Group Sales Coordinator Artist David Silverstein Liz Frazer Dramaturg Katrina Deininger, Antonio Portela Calli Dey, Ashlee Naegle, Institutional Giving Associate Teen Vocal Studio Program Manager Paula Podemski Audience Services Leads Trisha Partida, Shelby Rogers June Lindberg Ryan Bede, Julia Benzinger, Jennifer Company Manager Caroline Faflak, Alexander Hawker, Principal Hair and Makeup Artists Development Intern Bromagen, Becca Cantrell, Ben Emmy Ulmer Zeapoe Matalda, Anne Szeliski, Jenn Hill, Faith Matthews, Cleveland, John Coons, Katrina Titlist Emma Wahl Anne McGowan, Kelly Schmidt, Deininger, Serena Eduljee, Andrew FINANCE Audience Services Representatives Julia Wing-Krafft, Terry Wright Etherington, Karen Early Evans, Jon MUSIC Marissa Betz-Zall DIRECT SALES Hair and Makeup Artists Farmer, Alexander Gallo, Glenn Guhr, John Keene Associate Director of Finance Josh Mina Michael Heitmann, Li-Tan Hsu, Tim Head of Music Staff and Mary Hobbs, Albert Sanders Janecke, Nerys Jones, Darrell Jordan, Kate Joyce Assistant Hair and Makeup Manager Chorusmaster Senior Account Representatives Kay Yeh, Kelly Kitchens, Yeonji Senior Financial Analyst Fiona Kraus Philip A. Kelsey Ed Boyd, Erin Hart, Virginia Jackson, Lee, Cheryse McLeod Lewis, John Randee Byrd Hair and Makeup Intern Assistant Conductor Dorothea Kopta, Gail Sage, Noel Marzano, Jessica Milanese, Ibidunni Payroll Manager Walker, Toni Zeigler STAGE CREW Ojikutu, Dawn Padula, Melissa David McDade Trevor Torres Account Representatives Plagemann, Allison Pohl, Marcus Head of Coach-Accompanists Charles T. Buck Payroll Assistant Master Stage Carpenter Shelton, Greg Smith, Meg Stohlmann, Jay Rozendaal Revere Taylor, Shelly Traverse, Ta Wei Lindsey O’Connor Coach-Accompanist/Orchestra PRODUCTION Justin Loyd Tsai, Annie Walters, Lucy Weber, Erin Staff Accountant Librarian Alicia Moriarty Head Flyman White, Lyndee White Hester Qiang Emily Cabaniss Operations Manager Chris Balducci, Jason Balter, Dallas Teaching Artists Finance Intern Music Assistant/Company Librarian Amiya Brown Duell, Ian Gardner, Adam Lantz, FACILITIES Assistant Lighting Designer Jason Wagoner Stephen Wall Assistant Stage Carpenters Principals, stage directors, choristers, Chorus Personnel Coordinator Todd Clark COSTUMES stage managers, assistant stage Facilities Manager Jim Nash managers, and assistant directors Beth Kirchhoff Susan I. Davis Master Electrician employed in this production are Chorusmaster Emeritus Mark Nebel Costume Shop Director Facilities Assistant Martin Cunningham members of the American Guild of STAGE MANAGEMENT Heidi Zamora Assistant Master Electrician Musical Artists AFL-CIO. INFORMATION SYSTEMS Costume Show Manager Yasmine Kiss Molly Brindley, Chris Dimoff, The musicians are represented by Production Stage Manager Iain Quigley Ieva Ohaks Jim Gable the Seattle Symphony and Opera Catherine Costanzo, Madeline Levy Desktop User Support Technician Costume Rental-Stock Coordinator Assistant Electricians Players’ Organization, a Chapter of Assistant Stage Managers Stuart McLeod Hannah Tyo Petrude W. Olds Jr. the International Guild of Symphony, Opera, and Ballet Musicians. Alex Wommack Software Systems Administrator Costume Assistant Properties Master Production Assistant Denise Barry Sandy Burke Scenery construction and stage crew work is performed by employees Amanda Balter Lead Cutter Assistant Properties Master MARKETING AND represented by I.A.T.S.E., Local #15. Stage Management Intern COMMUNICATIONS Miriam Goodman-Miller Candy Solie Crafts Supervisor Lightboard Operator Costume and wardrobe work is Brittany Rall performed by employees represented Christina Hobbs, Shanna Sincell DEVELOPMENT Associate Director of Marketing Jack Burke by I.A.T.S.E., Local #887. Cutters Master Sound Technician/Designer Tracy Reich Hailey Burt Scenic artists and hair/makeup Cynthia Abbott, Laura Mé Smith, Associate Director of Development Digital Marketing Specialist work is performed by employees Julia Trimarco Chris Burkett Kelly Hamilton Colglazier represented by I.A.T.S.E., Local #488. First Hands Individual Giving Officer Graphic Designer Kellie Dunn Julia Curns-Welch Gabrielle Nomura Gainor Craftsperson Institutional Giving Officer Media Relations Manager Patti Emmert, Laura Girardot, Kate Jorge Herrera Ed Hawkins Hartman, Shellie Moomey, Capital Campaign Manager Marketing Manager/Copywriter Yoko Niendorf, Lacee Renhart, Matt Lider Erika Norris Morgana Spake Individual Giving Officer Web Producer Stitchers Erica McIntyre Meg Stoltz Ron Erickson Development Operations Manager Digital Marketing Manager Wardrobe Head Catherine Merlo Samantha Newland Sr. Individual Giving Officer Media Relations Intern
Porgy and Bess 25 STAFF CHAT: ALLISON RABBITT
WHAT WAS YOUR FIRST OPERA YOUR TRAINING AND EARLY FUND- EXPERIENCE? RAISING EXPERIENCE WAS IN THE In college I was studying art history in Italy, VISUAL ARTS. HOW IS OPERA and during a two-week adventure we went DIFFERENT? to Fidelio in Vienna. All my senses were If you miss an exhibition opening, you can ignited, and I remembering thinking, “I go see it on your own time. But with opera, can’t believe this is the first time I’ve ever you have to be there. The shared experi- been to an opera!” Opera wasn’t really on ence of being in an opera house with my family’s radar growing up. I always thousands of other people is so intense. I imagined it as a glamorous occasion, for love that electricity, it thrills and inspires fancy people, and here I was, a travel-worn me. I like to look around at people’s faces, backpacker with cheap standing-room when I’m in my seat, because everyone is tickets. But I didn’t feel like an outsider; listening differently, feeling it differently. instead, I was part of the community and And given that we're all on our phones all the incredible artistic experience. the time, it’s wonderful to have people come together and focus on one thing. WHEN DID YOU FIRST CONNECT WITH
© Jonathan Vanderweit SEATTLE OPERA? WHAT DOES IT TAKE TO BE GOOD AT I met my husband at the grand opening YOUR JOB? night of McCaw Hall. Parsifal was our Being a good listener! When a donor fourth or fifth date. I know: we’re weird! I makes a gift to an organization, they are Passionate, fearless, remember the emotions, that incredible expressing their values. Being a fundraiser and inexhaustible, music washing over me. We became opera is really about being curious and learning subscribers after we got married. Life what inspires people—what they are most Allison Rabbitt carries became very busy after our second child passionate about—and connecting that a big responsibility as was born, so we slimmed down to just one passion with our programming. Most of my Seattle Opera’s Director subscription seat. That way one of us time is spent building relationships and could always go. maintaining trust between donors and the of Development. Each company. Asking for money is just one season she and her WHAT SURPRISES YOU ABOUT THE component of my job. I want people to OPERA-LOVERS OF SEATTLE? understand the impact of their investment team work with over I’m not surprised by their passion and and to feel like the important members of 5,000 donor house- dedication. What surprises me is how open the Seattle Opera family that they are. holds to raise $10.5 their hearts and minds are. They seem to sustain themselves on opera. One really ARE YOU EXCITED TO MOVE INTO THE million annually for great experience stays with them for OPERA’S NEW CIVIC BUILDING? all this wonderful but years. Even if they didn’t enjoy a particular Fundraising for this building has really production, they’re always willing to come shown me how much people believe in the expensive art. She is back because they believe in our mission power of opera. The community is hungry a bridge between the and the importance of the stories, the for more opera; they want to experience music, and the art that’s created. and learn more. The new building will opera company and the transform how we do our work and it will community—the perfect HAVE YOU HAD THAT REALLY GREAT make opera accessible to all, visible 365 role for someone whose OPERA EXPERIENCE, THE ONE THAT FEEDS days a year to the community. This final YOU FOR YEARS? phase of the campaign is exciting and hunger for great artistic A couple years ago, in La traviata, when incredibly challenging at the same time. experiences is matched Angel Blue was telling her Alfredo “You Every dollar donated to this building says have no idea how much love there is for ‘yes!’ to opera as a platform for uniting our only by her delight in you in my heart,” it was so overwhelming I community, for dialogue, for generating sharing art with others. spontaneously erupted in tears. I like to beauty. Imagine how many more people think that I’m in control of my emotions, will be inspired to become opera fans. —Jonathan Dean but this was almost an out-of-body experience.
26 Seattle Opera 2018/19 Season
SOP018 Porgy_v1.indd 26 8/3/18 10:19 AM YOUR INVESTMENT GOES BEYOND THE STAGE
Seattle Opera takes its © Will Liverman Lucas © Jacob 2017 Opera, , Seattle The Barber of Seville
mission to create life- “During last Thursday's dress rehearsal of The Barber of Seville, I was reminded of why I enhancing experiences do this: A lady asked for me after the show was over and was waiting for me with these flowers. I had no idea who she was. She had tears in her eyes as she began to tell me that speak deeply to that this was her first time at the opera in 16 years since her brother was killed in the 9/11 people’s hearts and terrorist attacks. Her brother used to be an opera singer and he had performed the role minds very seriously. of Figaro a number of times. She continued on about how she couldn't bring herself to see anything at the opera after all these years. She ultimately said that she made the decision to come to the dress rehearsal, and that the performance completely warmed Your gifts to our annual her heart. I couldn't help but tear up as she also mentioned having a sense of closure. She thanked me for my performance and I gave her a big hug. We parted ways. When you step fund help directly out on that stage, you may never know the significance and impact you might have on impact people of all someone out there. Then you remember that it's not about you, but the people sitting in ages, both on the those seats. I've never been more honored to be a performer. Long live the arts.” mainstage and in our —Will Liverman, Figaro in Seattle Opera’s 2017 production of The Barber of Seville communities. Here are just a few lives you have touched.
Thank you for making a difference!
“Oh. My. Word. This has been, by far, the most rewarding day I’ve experienced as a teacher. Today, I had the privilege of taking 35 of my students to see their first opera at McCaw Hall. I was honestly a little nervous about how a bus full of teenagers were going to react to tragic opera. However, these kids came with an open mind, and were absolutely enthralled by Verdi’s Aida. Nothing makes a teacher happier than hearing ‘I want to design sets like that!’ Or, ‘I want to learn how to sing like that!’ We are heading home tired, but excited and inspired by music together. A huge thank you to Seattle Opera for providing students the opportunity to be inspired by your art. We had a wonderful time, and are immensely grateful for the education programs you have in place.” —Megan Clark McCormick, teacher at Bethel High School in Spanaway, WA
Porgy and Bess 27
SOP018 Porgy_v1.indd 27 7/25/18 2:47 PM INSTITUTIONAL DONORS VOLUNTEER FUNDRAISING Seattle Opera is exceedingly grateful for the following donations of $500 $25,000 and more and more made between July 1, 2017, and July 10, 2018. The impact of The SOWING Circle these organizations and individuals keeps opera and the arts thriving in Gemperle Holiday Soiree our community. $5,000–$7,499 $1,000,000 and more Seattle Opera Guild—Amici Preview Group Seattle Opera Foundation Seattle Opera Guild—Magnolia/Queen Anne Preview Group Wagner and More—New York City Trip $250,000–$499,999 $3,000–$4,999 Nesholm Family Seattle Opera Guild—Lakeside Preview Foundation Group
$100,000–$249,999 $1,500–$2,999 Seattle Opera Guild—Allegro Preview C.E. Stuart Anonymous Group Charitable Trust Seattle Opera Guild—Bellini Preview Group Seattle Opera Guild—Mercer Island Preview Group
Tagney Jones True-Brown $1,000–$1,499 Family Fund Foundation Seattle Opera Guild—Parties and Previews Seattle Opera Guild—Vivace Preview $50,000–$99,999 Group
John Graham Foundation $500–$999 Opera Plus—Horizon House $25,000–$49,999
Atsuhiko and Ina Goodwin Ned and Kayla Trimble MATCHING GIFTS Tateuchi Foundation Skinner Arts Fund Aetna • Alaska Airlines • Apple Inc. • AT&T • Bank Enrichment Fund of America • Bill & Melinda Gates Foundation • BlackRock, Inc. • Boeing Employee Credit Union (BECU) • Cambria Health Foundation • Costco Wholesale • Expedia Inc. • ExxonMobil • Frontstream • General Electric • Google, Inc. $15,000–$24,999 $1,000–$1,499 • IBM • Intel Corporation • Johnson & Johnson Costco Wholesale NBBJ • The Reed McClure Firm • The • King County Employee Giving Program • Janet Wright Ketcham Foundation Seattle Foundation: Poncho Legacy Fund • Microsoft • Morgan Stanley • Network for Good Seattle Opera Guild Transforming Age Foundation • Northern Trust • Oracle Corporation • Quaker Hill Foundation • Royal Dutch Shell • City of $10,000–$14,999 $500–$999 Seattle: Seattle Shares • Starbucks • Texas Ackerly Excellence Fund • The Dabney Leathercare, Inc. • Pride Foundation • RBC Instruments • The Boeing Company • The Coca- Point Fund • Envestnet | Tamarac • The Wealth Management Cola Company • The Polyclinic • T-Mobile USA, Foster Foundation • Nuckols-Keefe Family Inc. • UnitedHealth Group • Verity Solutions • Foundation Washington State Combined Fund Drive $5,000–$9,999 DONOR ADVISED FUNDS Anonymous • Cornerstone Advisors, Inc. • Lease The following organizations provide funding Crutcher Lewis • Northwest Bank • Tucker through Donor Advised Funds (DAFs) OFFICIAL IN-KIND PARTNERS Family Foundation • U.S. Bank • The Peg and between July 1, 2017 and July 10, 2018: Rick Young Foundation • Wyman Youth Trust Ayco Charitable Foundation • BNY Mellon $3,000–$4,999 Charitable Gift Fund • Community Foundation ArtsWA • Fales Foundation Trust • Ryan of Utah • Edward Jones • Fidelity Charitable Swanson Gift Fund • Fiduciary Charitable Foundation • Inland Northwest Community Foundation • $1,500–$2,999 Jewish Federation of Greater Seattle • Saint ArtsLEAF • Peter F. Donnelly Merit Fund • Paul Foundation • Schwab Charitable Fund
Madden Associates • D.V. and Ida J. McEachern • The Dallas Foundation • The Saratoga Charitable Trust • Richard B. and Barbara B. Charitable Foundation • The Seattle Odlin Foundation • Charles Maxfield and Gloria Foundation • TIAA Charitable • U.S. Charitable IN-KIND DONORS Cossé International Securities • Davis Wright F. Parrish Foundation Gift Trust • United Way of King County • Vanguard Charitable Tremaine • Freestone Capital Management • KUOW 94.9 FM • M.A.C Cosmetics • Perkins Coie • Red Carpet Valet • Talking Rain
28 Seattle Opera 2018/19 Season YOUR SUPPORT: LIVE ON THE MAINSTAGE!
Express your passion for Seattle Opera by sponsoring a production, artist, event, or program that resonates with you. Get to know the artists and the behind-the- scenes work that bring your favorite opera productions to life!
Customized sponsorship benefits make for a truly unforgettable experience. Contact Donor Services for more information at 206.389.7669 or [email protected]. © SHANE WELCH
John and Laurel Nesholm meet on stage with cast of Beatrice and Benedict.
LEADERSHIP CIRCLE PRODUCER’S CIRCLE Through a multi-year Annual Fund (NEW!) commitment of $100,000 or more, Seattle The Producer’s Circle recognizes Opera’s most visionary supporters help realize donors who have made a three- an unbounded vision for Seattle Opera’s future. year Annual Fund commitment of Leadership Circle membership gives you $60,000–$99,999. This new tier premium recognition, provides personalized of customized giving brings more access to your opera company, and allows you possibilities than ever before to to create a lasting impact on the art you love. ensure the present and future of your opera company. Make your pledge We give profound thanks to the following today and enjoy memorable behind- Leadership Circle members (as of July 10, 2018): the-scenes experiences with Seattle Toby Bright and Nancy Ward Opera! Eric Hawley and Gwen Lowery We are so grateful for the following Gary and Parul Houlahan Producer’s Circle members (as of Carol Maione and Brian Marks July 10, 2018): Nesholm Family Foundation James and Sherry Raisbeck Marshall and Jane Brown Eugene and Jean Stark Christopher and Carolyn Eagan Maryanne Tagney and David Jones Jeff and Martha Sherman True-Brown Foundation Sally Anne West Jay and Susanne Wakefield Gail and William Weyerhaeuser Ann P. Wyckoff
Porgy and Bess 29
Seattle Opera’s strong “I’ve been attending opera performances all over the world for more than 65 years. foundation of support Opera is an amalgamation of all the is thanks to donors like arts and continues to bring me pleasure. Seattle Opera has presented superb David, who are helping singing actors in often thought-provoking secure the future of productions. Occasionally, there's been something that didn't sit well with me. But opera by including the that's OK, because at least the event made Endowment for Seattle me think. I have made long-range plans to Opera as a charitable support Seattle Opera in my lifetime and afterwards.” beneficiary through a —H. David Kaplan Will or Trust.
THE ENDOWMENT FOR SEATTLE OPERA Gifts to the endowment for Seattle Opera support our long term vision for sustainability. These gifts also secure your legacy at Seattle Opera and will support our ability to take more artistic risks, create better art, and increase our education and community engagement activities. The endowment is managed by the Seattle Opera Foundation, a separate 501(c)3 organization that holds and invests funds on behalf of Seattle Opera. On an annual basis the Foundation trustees determine an amount to be distributed to Settle Opera for generation operations. The distribution has averaged more than $1 million dollars per year. To learn more about the Endowment for Seattle Opera, please visit seattleopera. org/plannedgiving or contact us at [email protected] or by phone at 206.389.7669.
© Philip Newton Porgy and Bess 31
SOP018 Porgy_v1.indd 31 7/25/18 2:50 PM Seattle Opera at the Center will be our new home for making opera.
Adjacent to our main performing venue Marion Oliver McCaw Hall, this beautiful new space will include rehearsal studios, our costume and props shops, classrooms, administrative offices, and a smaller 200-seat space for performances and community events. We are only weeks away from getting our key and opening the doors in December 2018 with new public programs that bring opera to all. The $60 million facility is over 90% funded and we ask for partnership from the entire Seattle Opera family to get to the last stretch of the campaign. Please make your donation to this important project for the future of opera in Seattle at seattleopera.org/soatc.
IN THE NEXT THREE YEARS, SEATTLE OPERA AT THE CENTER'S ACTIVITIES WILL INCLUDE:
For the Mainstage 50,000 1,700
PROPS STORED AND PREPPED (INCLUD- COSTUMES PREPPED ING DISHES, SWORDS, FLAGS, CHAIRS, AND MORE) 100s
AND 100S OF PERFORMERS ASSEMBLING, PRACTICING, AND COACHING 800 REHEARSALS CONDUCTED
Photo © Genevieve Hathaway
32 Seattle Opera 2018/19 Season
SOP018 Porgy_v1.indd 32 7/25/18 2:50 PM For our Public and Community Programs 600+ 250,000+ YOUTH PARTICIPATING PEOPLE PARTICIPATING IN PROGRAMS AND IN CAMPS AND AFTER- PARTNERSHIPS CONCEIVED, PLANNED, AND SCHOOL VOCAL TRAINING EXECUTED HERE
“WITH THIS BUILDING, THE COMPANY IS NOW GOING TO BE NOTED FOR HOW OPERA 500 IN THE NEXT THREE YEARS, SEATTLE OPERA AT TIES TO THE COMMUNITY—IT WILL BE AN SCHOOL VISITS DEPARTING FROM HERE THE CENTER'S ACTIVITIES WILL INCLUDE: OPEN INVITATION INTO THE ARTS” TO PERFORM OPERA FOR MORE THAN –Board Member Jean Stark 200,000 1,700 STUDENTS ACROSS WASHINGTON STATE
COSTUMES PREPPED
100s
AND 100S OF PERFORMERS ASSEMBLING, PRACTICING, AND COACHING
WE NEED YOUR GIFT TO HELP US OPEN THIS BUILDING BY THE END OF 2018.
CALL 206.389.7669 OR EMAIL [email protected] FOR MORE INFORMATION.
Porgy and Bess Photo © Jacob Lucas 33
SOP018 Porgy_v1.indd 33 7/25/18 2:50 PM A BUILDING FOR OUR TIME
Judy Whetzel recently went on a hard hat tour of Seattle Opera’s new building and came away on cloud nine. The building—the way it will serve as an open door to the arts and art-making right in the heart of our city—is what she has hoped for and worked for all along. © Jonathan Vanderweit “The building is at the center of our city,” she Whetzel has been fighting for the arts in been known to feature music from the Seattle since the 1970s. She was the first Ring. Whetzel has been on the Board says. “It is a symbol of arts lobbyist for Washington State Arts since 1996. what the city stands Advocates, which worked to increase government support of the arts. She was She has seen the invaluable contributions for.” executive director of PONCHO, a nonprofit of all three of the company’s general that raised over $35 million on behalf of directors and how they each navigated arts groups in the Northwest over the the concerns of the times. The building, years. She was also director of annual she feels, is part of the answer for the funds and major gifts at Pilchuck Glass changing landscape today. “The art scene School and served as consultant to other is changing,” she says. “Aidan is addressing Seattle nonprofits. those changes and he is opening the doors to everyone in a very direct way.” But Seattle Opera has always held a special place for her and her family. (She Whetzel is always in attendance on says she had to be very careful not to the second Saturday. She likes to come show preference for Seattle Opera when to a dress rehearsal and see how a she worked for PONCHO.) performance changes over time. When she isn’t soaking in what she calls “the She honored the role Seattle Opera celebration” of opera, she is soaking in has played in her family with her gift— other cultures. She loves to travel. Her from the Jonathan F. Whetzel Family favorite destination is Paris, France— Foundation—to the Seattle Opera at whether she is there to take French the Center campaign. “Seattle Opera classes, bike the countryside, or buy has always been a part of our lives,” she glasses at Traction Optic on Rue de says. She and her late husband, Jonathan, Dragon (yes, we asked where she buys her started subscribing 50 years ago, and they fabulous glasses). have both been supernumeraries onstage. Her sons were cast as Nibelungs in one Seattle Opera is deeply grateful to Judy of Glynn Ross’s Ring cycles. A generation and to her family for their dedication and later one of them programs the music at ongoing support. the Seattle Center Fountain, which has
34 Seattle Opera 2018/19 Season
SOP018 Porgy_v1.indd 34 7/25/18 2:51 PM THANK YOU TO THE FOLLOWING DONORS WHO HAVE GENEROUSLY CONTRIBUTED $1,000 OR MORE TO SEATTLE OPERA AT THE CENTER BETWEEN JULY 1, 2005, AND JULY 10, 2018.
CORNERSTONE CIRCLE James R. Uhlir and Camille M. Uhlir · Moya Vazquez · Wagner IN-KIND ($100,000 AND MORE) and More · Jay and Susanne Wakefield · David and Romayne Cossé International Securities Anonymous (4) · 4Culture and King County, Building For Watt · Sally West · Jennifer and Scott Wyatt · The Peg and Pacifica Law Group Culture · Richard R. and Constance Albrecht · Chap and Eve Rick Young Foundation Collins Group, a division of Campbell & Company Alvord · Apex Foundation · John Bates and Carolyn Corvi · Heartland Jack and Connie Bloxom · John and the late Joyce Bozeat NBBJ · Milkana and Colin Brace · Toby Bright and Nancy Ward COMMUNITY CIRCLE · Marshall and Jane Brown · The Chisholm Foundation · ($1,000–$9,999) Robert and Loretta Comfort · Sandra and the late William Anonymous (6) · John Abrams and Karl Compton · Lena Dunn · Chris and Carolyn Eagan · William S. Etnyre · The Perelman · Virginia Anderson · Kathy Andeway · Irene Foster Foundation · Richard and Mary Beth Gemperle · Aronoff · Kris Barker · Redmond and Suzanne Wilson Barnett Seattle Opera at the Center has made great progress thanks Natalie Gendler · John Goodfellow and Barbara Peterson · · Tim and Tony Barrick · Jillian Barron and Jonas Simonis · to our volunteer leadership and project team: Lenore M. Hanauer · Adrian and Jane Hobden · Dr. Kennan Janice Berlin in honor of Beatrice and Arlene Berlin · Earl H. Hollingsworth · Ron Hosogi and Marla Beck · The Hot and Paula Black · Marilyn J. Braarud · the late Dr. Jerry Chocolate Fund · Gary and Parul Houlahan · John Graham Braunstein · Beverly Brazeau · Thomas and Virginia Brewer Steering Committee Chair Foundation · Joshua Green Foundation · Kreielsheimer · Gary Bromberg · Lydia Budak and Bruce Kincy · Boyce Maryanne Tagney Remainder Foundation · Seattle Opera Guild in Memory of Burdick · Melanie A. Burton · Lisa Bury and John R. Taylor Marian E. Lackovich and Captain Louis J. Lackovich Everil · in honor of Tom and Linda Allen · Ellen Cafferty · Corinne Steering Committee Members Loyd Jr. and Joanne DelBene · Laura Lundgren · M.J. Murdock Campbell Jeanne and Jon Cantalini Joyce Castle Allen · · · Thomas H. Allen Charitable Trust · Marks Family Foundation · Susan and and Janice Clark · Frank and Joan Conlon · Carl and Carol Susan MacGregor Coughlin Furman Moseley · Nesholm Family Foundation · The Neukom Corbin · Barbara and James Crutcher · James and Wendy Janet Sears Family · Norcliffe Foundation · Peach Foundation · James Cullen · Marc and Maud Daudon · Daniel and Carol De Matteis and Sherry Raisbeck · Margaret and Eric Rothchild · Gladys · Mary Dickinson · Clinton Diener and Diane Lasko · John Moya Vazquez Rubinstein · Eulalie Schneider · Judith Schoenecker and Donnelly · Zander and Hilary Doroski · Patricia Dubrow · William T. Weyerhaeuser Christopher L. Myers · Gene and Jean Stark · Paula Stokes Abby, Christine, and Dallas Duell · Charisse Dwyer and Dwyer Scott Wyatt and John Sullivan · Tagney Jones Family Fund at Seattle Family Trust in honor of John and Elizabeth D. · Glenn and Foundation · Thurston Charitable Foundation · True-Brown Bertha Eades · Joan Eklof · Sally and John Endriz · Virginia Community Phase Task Force Foundation · WA State Dept. of Commerce · The Walker Eschbach Judith Z. Feigin and Colin Faulkner Gerry and · · Elana Aleksandrova Family Foundation · The Jonathan F. Whetzel Family Betsy Finkel · Kathleen Fischer and Thomas Hart · Adam Jan Berlin and Emily Fountain · Alan and Linda Freyd · Betty Friedman Carla Lawrence · Maureen Frisch · Bryant Fujimoto · Gail J. Gazda · Ruth CENTER CIRCLE Gerberding · Genevra Gerhart · Dennis Gibb · Deborah Giles Richard Mills ($10,000–$99,999) and Charles Simrell · Dennis and Evette Glouber · Janet M. Anonymous (7) · Abe & Sidney Block Foundation · Mr. and Graeber · Richard and Diane Haelsig · Lawrence and Hylton Project Team Mrs. Willie C. Aikens · Thomas H. and Linda L. Allen · Kim Hard · David and Carole Hardy · Jenny Hartley · Geraldine Architect: NBBJ A. Anderson · Warren and Anne Anderson · Lynly Beard · Hashisaki · Nels and Dannielle Haugen · H. Lee Holcomb · Project Manager: Shiels Obletz Johnsen Paula Begoun Neil M. and Kathleen Bogue Rebecca Boyd Diana Holland Jana C. Hollingsworth Gerald and Gladys · · · · General Contractor: Lease Crutcher Lewis · Chrissie Breedlove · Gary Bromberg · Brenda Bruns, M.D. Hoshijo · Nyssa Houzenga · Barbara Lynne Jamison and Keith and Richard Deininger · Dr. Joseph and Barbara Buchman Logan · Paul and Pat Kaald · Gilla Kaplan · Grace King and · William B. and Ann S. Burstiner · Susan Buske · Betty R. Virginia King · Albert and Elizabeth Kobayashi · Dorothea Carter · Jonathan Caves and Patricia Blaise-Caves · Drs. Kopta · Brian Kreger and Peggy Martin Kreger · Anne Kroeker Gregory and Darlene Chan · Steven and Judith Clifford · and Richard Leeds · Jean Krynicki · Gavin Lambie · Marjorie Patricia and Ted Collins · Janice C. Condit · Charles and Levar · Carla and Don Lewis · Dr. Donald and Alice Jean Lewis Sandra Cossé · Crissa Cugini · Laurie and William Daniel · John · Henry Y. Li · Matthew and Betty Lider · Gerald Lim and Bruce Delo and Elizabeth Stokes · Dr. Susan E. Detweiler and the Gross · Kate Lindsey · Kerry Lowery · Ellen Mack and Edward late Dr. Alexander Clowes · David and Helen Dichek · Jesse Gomez · Edith J. Maffeo · Jon Magnussen · Alice M. Mailloux and Lenora Diller · Michael G. Dryfoos and Ilga Jansons · Ken · Jean Manwaring · Sara Marks · William B. Maschmeier and Duncan and Tanya Parish · Lois Gamble Duncan and George Patricia Haggerty · Leslie and David Mattson · Barbara J. Rolfe · Ellen Ferguson · Jack M. and Marsha S. Firestone Mauer · Louise McAllister · Judith McBroom · Ernest McIntyre · Robert Fries and Debra Dahlen · Diana H. Gale and Jerry · Renate McVittie · Uwe and Gunda Meissner · Catherine G. Hillis · Grousemont Foundation · Paul and Becky Haley · Merlo · Jerry Meyer and Nina Zingale · Prof. Ann H. Milam · M. Elizabeth Halloran · Jeffrey and Rosario Hanna · Eric Dave and Dolly Milkowski · Dr. and Mrs. Donald W. Miller Jr. · Hawley and Gwen Lowery · Ann and Glen Hiner · Michael Jim and Barbara Miller · Ronald Miller and Murl Barker · Mary and Zhenya Hyman · Robert C. Jenkins · Bruce E.H. Johnson E. Montgomery · Lois North · Amy Norton · Carol Nygren and Sandra E. Davis · John and Pamela Jolley · H. David · Kim and Ryan Ositis · Melinne Owen and Paul Giguere · Kaplan · Mr. Dong Kim and Ms. Rebecca Banset · Martha Soo Hyun Park and Jeff Rosenfeld · Parker, Smith & Feek, Kongsgaard and Peter Goldman · Najma and Firoz Lalji · Inc. · D. and Mary Patterson · Gayle Peach and Kevin Ceder Dr. Brian A. LaMacchia · Aidan Lang and Linda Kitchen · Jay · Kathryn Pearson · Ralph Wendelle Peoples · Tomas Perez and Linda Lapin · Lease Crutcher Lewis · Jeanne Marie Lee · Kathleen Pierce · Lori and Bill Price · The Rabbitt Dorman · Ven and Winnie Lee · Andrea C. Lewis · Susan MacGregor Family · Catherine Ramsey and Thomas Ball · Chris Ray and Coughlin and John Lauber · Fowler W. Martin · D.V. and Ida Stella Choi-Ray · Paul and Mary Ann Roberts · Joshua and J. McEachern Charitable Trust · Karen and Rick McMichael Michelle Rodriguez · Joy Rogers and Bob Parker · Judy and · Greg Meldahl · James and Lora Melhorn · Stafford and Lellius Rose · Jonathan Rosoff and Kristin Winkel · Lawrence Louise Miller · Richard Mills and Karen Covington · Heidi R. Ross · Mrs. Faye Sarkowsky · Eric B. Schmidt and Kristin A. Munzinger and John Shott, in honor of Linda and Tom Allen Henderson · Rachel R. Schneider · Thea Seese · Douglas and · Brendan Murphy · Sarah Navarre · Wanda and Ralph Nuxoll Lisa Shaeffer · Lynn Albert and Kathryn Olson Sharp · Joan · Rosemary Peterson to honor the late Richard H. Peterson · Snelson · Alan and Bonnie Steele · Aggie and Chick Sweeney Steven C. Phelps · Jocelyn Phillips and Warren Bakken · Tom · Donald and Gloria Swisher · Christine A. Szabadi · Carla and Gretchen Puentes · Mr. and Mrs. W. H. Purdy · Megan and Tachau Lawrence, in memory of Frank and Paula Tachau Greg Pursell · Anne M. Redman · Janey Repensek · Cornelius · Beryl Thompson · Gertrud Tobiason · Michael Tobiason · and Penny Rosse · Ron and Susan Runyon · Lupe Salazar Terrence Turner · Kelly Tweeddale · Joan M. Underwood · and Barry Bolding · Charles and Maria Schweizer · Janet and James and Karen Unkefer · Hans and Joan van der Velden · Thomas Seery · Matthew Segal and Corrie Greene · Virginia Annie Walters · Dr. and Mrs. William Judith Waring · Bill and Senear and the late Allen Senear · Martha and Jeff Sherman Carol Warren · Joan and the late Craig Watjen · Eugene Webb · Bernard Silbernagel · Rose M. Southall · Shannon Sperry and Marilyn Domoto Webb · Dorothy Wendler · Julie and and Paul Goodrich · Stephen A. Sprenger · John F. Starbard Doug Wieringa · Dr. Antoinette Wills · Carolyn and Vincent · Barbara Stephanus · John and Evelina Stephanus · Charles Wirkman · Jerry and Nancy Worsham · Virginia Wright · Glen and Delphine Stevens · Duane and Barbara Swank · Russell F. and Cathy Wyatt · Albert and Angelina Yen · Joanne Young · and Sarah M. Tousley · Judy Tsou and David Carlson · David Zapolsky and Lynn Hubbard · Kay Zatine
Porgy and Bess 35
SOP018 Porgy_v1.indd 35 8/3/18 10:22 AM SEATTLE OPERA ONLINE Visit seattleopera.org to find trailer videos, photos, audio clips, and interactive guides about Porgy and Bess and all the operas we present, including the rest of the 2018/19 season.
VIDEOS 2018 TRAILER A montage of dress rehearsal footage from Seattle Opera’s current Porgy and SEATTLE THEATRE GROUP® 2018 / 2019 Bess production. PERFORMING ARTS SEASON PORGY ARTIST HIGHLIGHTS FROM SEPT. 11 - 16 JAN. 23 - FEB. 2 APR. 15 THE ARCHIVES WAITRESS DEAR EVAN HANSEN SMM - CITY WITHOUT JEWS/ DIE STADT OHNE JUDEN (1924) Watch and listen to footage of principal OCT. 2 JAN. 26 singers Mary Elizabeth Williams, Alfred MAX RICHTER WITH THE AMERICAN ÓLAFUR ARNALDS APR. 20 CONTEMPORARY MUSIC ENSEMBLE RADIOLAB’S JAD ABUMRAD Walker, Angel Blue, and Jermaine Smith FEB. 4 THE MIRACLE OF INDOOR PLUMBING OCT. 13 SMM - VARIETY/VARIETÉ (1925) in noteworthy past Seattle Opera SNAP JUDGMENT LIVE! APR. 27 & 28 appearances including clips from Tosca, FEB. 8 - 10 DANCE THEATRE OF HARLEM OCT. 19 ROGER GUENVEUR SMITH 50TH ANNIVERSARY CELEBRATION La traviata, The Tales of Hoffmann, and SOWETO GOSPEL CHOIR FREDERICK DOUGLASS NOW SONGS OF THE FREE MAY 11 & 12 2011’s Porgy and Bess. FEB. 11 SEATTLE ROCK ORCHESTRA OCT. 20 SMM - A MAN THERE WAS/ THE BEATLES GORAN BREGOVIĆ TERJE VIGEN (1917) 2018/19 SEASON PREVIEWS THREE LETTERS FROM SARAJEVO MAY 14 - 19 FEB. 16 SCHOOL OF ROCK Check out upcoming operas, including OCT. 23 - 28 SOLILOQUIES OF ROBERTA FLACK footage from the 2017 World Premiere of ON YOUR FEET! AND DONNY HATHAWAY JUN. 12 - JUL. 7 WICKED The (R)evolution of Steve Jobs courtesy of OCT. 29 FEB. 22 SILENT MOVIE MONDAYS (SMM) COMPANY WAYNE MCGREGOR JUL. 12 Santa Fe Opera. THE CAT AND THE CANARY (1927) AUTOBIOGRAPHY DANCE THIS! NOV. 1 - 3 FEB. 25 JUL. 31 - AUG. 11 BARBER SHOP CHRONICLES SMM - LAILA (1929) CHARLIE AND THE CHOCOLATE FACTORY AUDIO PLAYER NOV. 9 MAR. 4 MUSICAL EXCERPTS GLOBAL PARTY SMM - ASPHALT (1929) Sample audio clips and highlights from NOV. 13 MAR. 9 Porgy and Bess and many other Seattle KATE WALLICH + THE YC BATSHEVA DANCE COMPANY VENEZUELA INDUSTRIAL BALLET Opera performances at soundcloud.com/ MAR. 15 NOV. 15 STARBUCKS HOT JAVA COOL JAZZ seattle-opera. BLACK VIOLIN MAR. 21 NOV. 17 FATOUMATA DIAWARA THE HIP HOP NUTCRACKER ALSO ON THE WEB FEATURING KURTIS BLOW MAR. 22 18th ANNUAL NOV. 21 MORE MUSIC @ THE MOORE A MAGICAL CIRQUE CHRISTMAS MAR. 26 - 31 DEC. 1 CATS #SOPorgy MAVIS STAPLES MAR. 29 & 30 DEC. 13 - JAN. 6 A.I.M BY KYLE ABRAHAM DISNEY’S THE LION KING APR. 2 DEC. 22 ZAKIR HUSSAIN SAVION GLOVER’S MASTERS OF PERCUSSION ALL FUNK’D UP, THE CONCERT APR. 7 DEC. 29 MONTEREY JAZZ FESTIVAL ON TOUR SEATTLE ROCK ORCHESTRA STARRING CÉCILE MCLORIN SALVANT DARK SIDE OF THE MOON Photo: Rachel Neville
BUILD YOUR OWN SEASON AT STGPRESENTS.ORG/SEASON OR CALL (206) 812-1114 BARBER SHOP CHRONICLES is presented in association with On the Boards. ROGER GUENVEUR SMITH - FREDERICK DOUGLASS NOW is presented In partnership with LANGSTON.
® A.I.M BY KYLE ABRAHAM is presented in association with On the Boards.
36 Seattle Opera 2018/19 Season Frances passed away on May 3, 2018, at the age of 93. As the owner of the 1020 IN MEMORIAM John Street building, where Seattle Opera has run its administrative business and FRANCES its rehearsals, the Rogers family has served as the company’s landlords since ROGERS the 1990s. They were gracious landlords, extending the company’s lease several times and renting the building for below- market price. “My mother was very proud to have Seattle Opera as tenants,” said her daughter Linda Morgan. “It was a win-win.” Frances was a 52-year Seattle Opera subscriber, and she always sat up front to be close to the action and voices and costumes. “I always looked forward to seeing Frances at the theater. Her enthusiasm for the art form—and for art in general—was inspiring. She was so excited about all the ways we could make community through opera,” said General Director Aidan Lang. Frances and her late husband, Fred, who were honorary co-chairs of the Seattle Opera at the Center campaign, supported and subscribed to every cultural and arts organization in Seattle. She also headed the Stroum Jewish Community Frances Rogers had a Center Cultural Arts Committee and was instrumental in bringing Martin Luther passion for the arts—a King Jr. to speak at the Temple De Hirsch value she handed down Sinai in 1961, Dr. King’s only visit to Seattle. to her children and Frances raised two children, Linda Morgan and Jimmy Rogers, and in the midst of grandchildren—and childrearing and leading cultural and she loved dressing to philanthropic programs, she went to the the nines to attend UW to study drama. She loved the color SEPT 7 purple, and she loved the stage. At her Seattle Opera. She had 90th birthday party, family members – presence, and she had an surprised her with a song and dance routine to “Frances Is a Girl’s Best Friend,” NOV 4 ability to make people and Frances asked her granddaughter, feel special. “Why didn’t you tell me? I’d have been in KING COUNTY’S it!” At her granddaughter’s bat mitzvah in March, Frances had been asked to give a MARYMOOR PARK reading of the “Prayer for Israel.” She read with feeling and flair. “No one claps in the synagogue,” said her daughter, Linda, “but everyone burst into applause.” TICKETS Seattle Opera would like to thank the Rogers family for the many years they ON SALE NOW have kept a roof over our heads. We have cirquedusoleil.com/volta made great art here, and we are grateful to your family. We will miss seeing Frances at McCaw Hall. Our Seattle Opera community is brighter thanks to her vibrant personality and joyful enthusiasm. —Jessica Murphy Moo Porgy and Bess 37 AMUSEMENTS Gifts of Artistic Expression
Located on the Kreielsheimer Promenade Level of McCaw Hall. Open two and a half hours prior to curtain.
WE’VE GOT PLENTY OF GERSHWIN! Whether it’s Glyndebourne’s 3-disc full opera recording ARTS IN NATURE from Warner Classics, the inspired “songbook”-style FESTIVAL 2018 pairing of Ella Fitzgerald and Louis Armstrong for legendary Verve Records, a terrific 2-disc sampler of AUGUST 25-26 George Gershwin’s essential compositions (including Porgy and Bess selections as well as “I’ve Got Rhythm” and Rhapsody In Blue), or Miles Davis’s groundbreaking music, art and instrumental interpretations of the opera’s iconic score, our CD selection has something for everyone. performances Who could ask for anything more? Prices vary.
Pat Wright & Total Experience Gospel Choir $5 T-SHIRT BLOWOUT! Naomi Wachira We’re making room for Nikkita Oliver the new season and these shirts from past The Harmonica Pocket operas must go! Styles and sizes vary but at Degenerate Art Ensemble just $5 each they’re all priced to move! Celeste Cooning Markeith Wiley ilvs strauss EXCLUSIVE ARTWORK PORGY AND BESS T-SHIRTS Designer Kitty Kough created this Anastascia Renee evocative illustration for our presentation of the Great American Opera. Depicting Shin Yu Pai a crescent moon rising in the willows of the Carolina Coast, the shirt features a & more! lunar white and twilight blue design on a navy background. Available in men’s and women’s short sleeve. Prices vary. dnda.org/festival SHOP AMUSEMENTS for tickets and more ONLINE AT SEATTLEOPERA.ORG/SHOP at Camp Long in West Seattle
Presented by
38 Seattle Opera 2018/19 Season UPCOMING EVENTS
THE TURN OF THE SCREW DRESS FOR DONORS REHEARSAL TALKS AND PUBLIC AN EVENING WITH MARY Thursday, October 11 at 7:00 PM PRESENTATIONS ELIZABETH WILLIAMS Watch the final details come together at Tuesday, August 14 at 7:00 PM the rehearsal prior to opening night. Pre-Performance Talks Café Nordo in Pioneer Square (Annual Fund donors of $250 and more) 60 minutes before every Seattle Opera Meet Seattle Opera favorite Mary performance. Free admission with Elizabeth Williams at this Q+A based Questions? Contact Donor Services at performance ticket. reception. $15 per person. [email protected] or 206.389.7669. Nesholm Family Lecture Hall, (Annual Fund donors of $250 and more) SEATTLEOPERA.ORG/DONATE McCaw Hall
WAM WATCHES: “THE INNOCENTS” Opera Talk Backs This 30-minute event is hosted by a AT SIFF CINEMA OPERA ON THE RADIO member of the artistic or education staff Sunday, September 9 at 11:00 AM Tune to 98.1 Classical KING FM every and will feature a special guest from the In anticipation of The Turn of the Screw, Saturday evening for more great opera, cast or creative team. In the Allen Room at come see the 1961 British psychological including live performances from the McCaw Hall after every performance. thriller based on the same Henry James Seattle Opera stage and great recordings Space is limited. Free with performance story. $5 for WAM & BRAVO! Members; $15 hosted by Aidan Lang or Jonathan Dean. ticket. for Non-Members. KING.ORG (Annual Fund donors of $100 and more) EDUCATION & PETER KAZARAS IN CONVERSATION BRAVO! Sunday, September 30 BRAVO! NIGHTS COMMUNITY Director Peter Kazaras gives an exclusive Under 40? Join BRAVO! to enjoy ENGAGEMENT EVENTS behind-the-scenes look at how an opera complimentary wine and coffee in the comes together in this intimate reception. BRAVO! Lounges during intermission. Artful Aging $15 per person. In community centers, retirement homes, New this year: BRAVO! Sunday matinee and memory loss centers, Seattle Opera (Annual Fund donors of $250 and more) performances. offers recitals, guided sing-alongs, WAM READS: JUDITH CABAUD’S BRAVO! NEW MEMBER BACKSTAGE workshops to create original opera MATHILDE WESENDONCK, ISOLDE’S TOUR & RECEPTION scenes, and more. The arts keep our minds DREAM Saturday, October 20 at 2:00 PM engaged and our spirits strong! Monday, October 8 First-year BRAVO! members can get to SEATTLEOPERA.ORG/ARTFULAGING Dick & Mary Beth Gemperle’s Home know fellow opera lovers at an exclusive Enjoy a lively discussion with the author, tour of McCaw Hall’s backstage, followed Youth Events Judith Cabaud! Dive into the biography of by a post-tour reception. STUDENT DRESS REHEARSAL Mathilde Wesendonck and learn the story Up Next: The Turn of the Screw of her inspiring influence on the works of HALLOWEEN BACKSTAGE PARTY Thursday, October 11 at 7:00 PM Richard Wagner. Saturday, October 27 at approximately SEATTLEOPERA.ORG/EXPERIENCE (Annual Fund donors of $100 and more) 10:00 PM OPERA BRAVO! hosts an evening of dancing and THE TURN OF THE SCREW ghostly fun backstage at McCaw Hall after SPOTLIGHT DINNER the performance. Costumes encouraged! Thursday, October 11 at 5:00 PM Enjoy dinner and receive a unique SEATTLEOPERA.ORG/BRAVO perspective on the production from General Director Aidan Lang as he interviews a special artistic guest before the dress rehearsal. $95 per person. (Annual Fund donors of $3,000 and more)
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