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2 Berkeley Opera July/August 2010 presents Legend of the Ring by Richard Wagner As adapted by David Seaman in German with English supertitles Legend of the Ring premiered on September 11, 1990 at Pocket Opera, Nuremberg, Germany

Conducted by Jonathan Khuner Stage Direction and Production Design by Mark Streshinsky

Saturday, July 31, 8.00pm Wednesday, August 4, 7.30pm Friday, August 6, 8.00pm Sunday, August 8, 2.00pm

El Cerrito Performing Arts Theater 540 Ashbury Avenue, El Cerrito The performance will last approximately 3 hours, including one intermission.

The appearance by Richard Paul Fink is sponsored by the Wagner Society of Northern California.

This production is supported in part by Patrons of Legend of the Ring: David & Joellen Bream Atcheson, Adam Bier, Sondra Church, Helga & Roy Curry, Margaret & Reid Dennis, Karen Faircloth & Jose Katz, Dr. Scott Gale, Richard & Gretchen Grant, Sue Hone & Jeff Leiter, David Hugel, Marian Huntoon, Sylvia Lindsay, Joan McDonough, Myron Marx, Katy Miottel, D.G. Mitchell & Eiko Kikawada, Bernice & John Lindstrom, Nancy Platford, Dale Robards & Robert Kavanaugh, Richard & Pamela Rigg, Terri & Bob Ryan, Blanche Streeter, Terri Stuart & Martin Schoell, and Anita Weissberg

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4 Berkeley Opera July/August 2010 Berkeley Opera 1700 Shattuck Avenue #312 Berkeley, CA 94709 (510) 841-1903 Mark Streshinsky, Artistic Director Jonathan Khuner, Music Director Board of Directors Paul Sugarman, President Marian Kohlstedt, Vice President Claude Babcock, Secretary Timothy R. Blevins, Treasurer Art and Antiques for Robyn Dondero-Wren all tastes and styles... Michele Molitor Beth Sandefur Sigmund Siegel Luanne Rogers (in memoriam) Advisory Board Richard E. Goodman (Founder and Director Emeritus)

Helen Burke Jeremy Knight Jonathan K. DeYoe Barbara Lanier John Duykers Dale Robards Susan Hone Nancy Snow Thomas Kelly Doug Young Website: www.berkeleyopera.org

Staff Elizabeth Wells, Executive Director Nathan Kondrat, Administrative Manager Alexander Kort, Production Manager Box Office Brown Paper Tickets www.brownpapertickets.com or call 1-800-838-3006 Berkeley Opera is supported by the Civic Astley David Montague Cooper Arts Program of the City of Berkeley. California, 1856 - 1924 “The Three Graces,” 1915 Berkeley Opera is a member of Theatre Bay Sold for $21,060 Area, the Berkeley Chamber of Commerce, the El Cerrito Chamber of Commerce, and Opera NoCal. 2751 Todd Street, Alameda, CA 94501 Find us on (510) 740-0220 • www.michaans.com Twitter (http://twitter.com/BerkeleyOpera) [email protected]

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Berkeley Opera July/August 2010 5 Table of Contents Board of Directors...... 5 Cast List ...... 9 Orchestra List...... 11 Production Staff...... 11 Message from the President...... 13 Synopsis ...... 15 Message from the Artistic Director...... 21 Notes on Legend of the Ring...... 23 Calling All Volunteers...... 26 The Artists...... 27 Next Season...... 33 Introducing the Executive Director...34 Salute! from the Executive Director...... 35 Friends of Berkeley Opera...... 43 About Berkeley Opera...... 42 Berkeley Opera People...... 37

Berkeley Opera’s Mission Berkeley Opera presents opera as lively, compelling musical theater, fusing music and drama to delight, move, and challenge our audiences, while remaining accessible, affordable, and engaging.

Our Objectives include: • providing quality performances that respect the unique spirit of each work while presenting it in a way that is fresh and meaningful to our audiences; • appealing to a wide audience of all ages, ranging from seasoned opera lovers to those experiencing it for the first time; • promoting community involvement through education, outreach, and op- portunities to participate in a variety of ways; • providing the opportunity for emerging talent to gain experience and exposure.

6 Berkeley Opera July/August 2010 Berkeley Opera Thanks Its Long-Time Advertisers

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Berkeley Opera July/August 2010 7 8 Berkeley Opera July/August 2010 Legend of the Ring Cast in order of appearance

Rhine-daughters: Woglinde...... Marie Plette Wellgunde...... Christine Springer Flosshilde...... Valentina Osinski Alberich (Dwarf)...... Bojan Knezevic Gods: Wotan...... Richard Paul Fink Fricka...... Valentina Osinski Freia...... Marie Plette Froh...... Jay Hunter Morris Giants: Fasolt...... Bojan Knezevic Fafner...... Dean Peterson Loge (Demigod of Fire)...... Stephen Rumph Mortals: Siegmund...... Jay Hunter Morris Sieglinde...... Marie Plette Hundig...... Dean Peterson Brünnhilde (A Valkyrie)...... Christine Springer Mime (A Dwarf, brother of Alberich)...... Stephen Rumph Siegfried (Son of Sieglinde and Siegmund)...... Jay Hunter Morris Fafner in the form of a dragon...... Dean Peterson A Forest Bird...... Marie Plette The Gibichung Family: Gunter...... Richard Paul Fink Gutrune...... Marie Plette Hagen (Half-brother of Mime; Son of Alberich)...... Dean Peterson Learn German! New Classes begin August 7-13

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Berkeley Opera July/August 2010 9 10 Berkeley Opera July/August 2010 Berkeley Opera Orchestra

Viola Flute, Horn, Wagner Tuba Michi Aceret Alto Flute, David Sprung Jacob Hansen-Joseph Piccolo William Harrington Betsy London Carol Adee Bryan Higgins Cello Clarinet, Trombone, Bass Trumpet Nancy Bien Souza E-flat Clarinet, Jason Borris Joan Hadeishi Bass Clarinet Percussion Karen Wells Bass Beverly Reese Dorcy Andy McCorkle Trumpet Keyboard Patrick McCarthy (8/4) Carole Klein Bryndon Hassman Mark Culbertson

Staff Investment Conductor...... Jonathan Khuner Advice Stage Director/ Investment Production Designer...... Mark Streshinsky Management Lighting Design...... Lucas Krech Projection Designer...... Jeremy Knight ® Projection Consultant...... Austin Forbord Marshall White, CFP Costume Design...... Romy Douglass Certified Financial Planner Assistant Conductor...... Bruce Olstad Production Manager...... Alex Kort Inflation Protection Technical Director ...... John Morocco Rehearsal Pianists...... Bryndon Hassman, Environmentally Sound Investing Bruce Olstad Retirement Planning Musical Assistant...... Aaron Fiore College Planning Administrative Manager...... Nathan Kondrat House Manager...... Roger McCracken Tax Planning Public Relations/ Estate Planning Marketing...... Marian Kohlstehdt Tickets...... Tom Brougham Gift Programs Supertitle Operator...... Margo Leslie Stocks, Bonds, Mutual Funds Usher Coordinator...... Jon Johnson Photography/Graphic Design...... Ching Chang Orchestra Management...... Mark Culbertson ■ Longtime Kensington resident Ad Sales...... John McMullen ■ No commissions Program Coordinator...... Cynthia Whitehead ■ Fee-only independent advice Program Design/Production...... Ann Higgins Copyeditor/Proofreader...... Heidi Bendorf Free Initial Consultation Printer...... Inkworks 510 528-9484

Berkeley Opera July/August 2010 11 12 Berkeley Opera July/August 2010 A Message from the President Paul Sugarman

erkeley Opera’s production of Legend to change to a different day of the week or Bof the Ring brings the company’s 31st seat location, if we receive your subscription season to a close. And what order by August 22. a season it has been! Under If you have not yet done so, please return the combined leadership your subscription renewal form to the of Artistic Director Mark Berkeley Opera office. Streshinsky and Music We will soon begin processing new Director Jonathan Khuner, subscriptions for next season. Subscribers we presented three masterful enjoy a range of benefits, including productions of operatic discounted ticket prices, the best seats in repertoire drawn – true to our mission – the house, ticket exchange privileges and, from the baroque/classical, romantic, and for our generous donors, a range of donor contemporary eras, respectively. Our roster benefits. Note that the senior discount is of outstanding singers, creative directors and only available to season subscribers. designers, and talented conductors resulted Also on the horizon is a new name for in a season of cutting-edge productions of the company. After considering literally which any opera company would be proud. hundreds of suggestions, we have chosen Our focus is now shifting to next season’s Berkeley West Edge Opera. We hope that you productions, which will again be performed will agree with us that this new name evokes at the El Cerrito Performing Arts Center. who, where, and what we have been and will Our line-up for next season begins with continue to be. one of the greatest of baroque operas, I would like to take this opportunity to Handel’s Xerxes, starring mezzo-soprano thank all of our subscribers, ticket buyers, Paula Rasmussen. We then move forward and donors for helping to make Berkeley nearly 150 years to Bizet’s Carmen … but Opera’s 31st season one of the best in the not your grandfather’s Carmen. Instead, company’s history. The enthusiastic feedback we will present the type of adaptation (in we received from our audiences, our critics, this instance, by Music Director Jonathan and our new community of El Cerrito has Khuner) for which Berkeley Opera is indeed been gratifying. Thank you. renowned, aptly titled The Carmen Fixation. I look forward to seeing you all next With world-famous Buffy Baggott in her season. signature lead role, the production promises to sizzle. We end next season with a world premiere What do Julliard of Caliban Dreams by composer Clark Suprynowicz and librettist Amanda Moody, and the British starring tenor John Duykers. Medical Journal Berkeley Opera is justifiably proud of have in common? our tradition of introducing new works and Both recognize the Alexander Technique as a edgy adaptations of familiar works, such as tonight’s Legend of the Ring, to Bay Area way to move and sit without pain*. For performers and non-performers alike. audiences. We are delighted to be able to continue that tradition with the premiere of Caliban Dreams. Amira Alvarez Subscribers have received an invitation www.amiraalvarez.com 510-528-3109, Certified Teacher to renew their subscription for next season.

If you currently subscribe, you will receive * Taught at Juillard; BMJ published study Aug. 2008 shows 86% priority either to renew your current seat or reduction of days with recurrent or chronic back pain.

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14 Berkeley Opera July/August 2010 Synopsis by Jonathan Khuner

The Legend Of The Ring over the gods. Besides the ring, whose magic he controls since he has renounced love, Part i. The Rhinegold he has had his brother Mime construct The three Rhinemaidens, daughters the tarnhelm, which can make its wearer of the old river, frolic and are careless at invisible, or any shape desired, and transport guarding their Rhinegold. Alberich, the him with magic speed. Loge and Wotan are Nibelung dwarf, comes seeking female impressed, but use Alberich’s pride to trick companionship. They tease him without him into being captured. They drag him back mercy. Angry and frustrated, Alberich listens up to the gods’ mountaintop. as they disclose that the gold holds unlimited Alberich is compelled to have his gold power for someone willing to renounce love. brought as ransom and give up the tarnhelm. He wastes no time making the pledge and He considers this just a momentary setback, steals the gold in order to forge a magical but when Wotan demands the magic ring in ring that will enable him to rule the world. addition, Alberich refuses. Wotan takes the Meanwhile, the gods are admiring ring by force. Alberich is freed, and before their new mountaintop castle, which the departing, utters a bitter curse on the ring giants Fasolt and Fafner built for Wotan, and anyone who possesses it: it shall bring king of the gods. Wotan’s wife Fricka scolds only trouble and death to its wearer and him for thoughtlessly pledging to give her destructive envy to all others. The giants sister Freia, goddess of love and eternal appear with Freia, whom they are willing youth, as payment. The two giants claim to trade for the Nibelung treasure, piled Freia, and only the fire-god Loge’s account high enough to hide the goddess from view. of Alberich’s stolen gold treasure and ring When they dare to demand the ring as well, dissuades them. They leave with Freia as Wotan hesitates. He had planned to use it hostage, while Wotan, intending to procure for his own ambition, but after an ominous the ring himself, descends with Loge to the moment of contemplation, hands it over to subterranean Nibelung realm to acquire the redeem Freia. Immediately, the giants bicker gold from Alberich. over the ring, and Fafner kills his brother Alberich has the other Nibelungs in Fasolt. Shaken by the apparent strength of his power, forcing them to mine a huge the ring’s curse, Wotan silently conceives a hoard of gold. He boasts that he will gain plan for a heroic army to defend the gods absolute power over the world, including

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direct: 510.527.0211 [email protected] Celia Concus 289 Arlington Avenue Certified Residential Specialist Kensington , CA 94707 DRE# 01141519 and regain the ring. He names the castle his daughter, Valkyrie Brünnhilde, to protect “Walhalla” (Hall of the Slain), and leads Siegmund. Brünnhilde objects, but Wotan the gods into their new residence. Loge dismisses her with threats. scornfully keeps his distance, expressing his The escaping couple are exhausted; hope to destroy them all someday. Sieglinde foresees her brother’s destruction and collapses. Brünnhilde announces to The Valkyrie Siegmund that he is to die and join his In the home of the human Hunding, a fellow heroes in Walhalla’s army. Since this fugitive drops with exhaustion. The woman means leaving his sister-wife, Siegmund is of the house offers him drink and the two incensed, threatening to kill her and himself. fall in love at first sight. Hunding returns Brünnhilde, won over by the power of and recognizes the visitor as the enemy he Siegmund’s love, changes her allegiance. She was hunting. Still, he agrees to put him up defends Siegmund in the battle that follows for one night, with reckoning to come in with Hunding. Wotan intervenes and with the morning. Hunding and his wife retire. his spear, splinters the sword Notung, so The man laments his fate, longing for the Siegmund perishes. Brünnhilde escapes with sword his father Walse had promised him in Sieglinde and the sword fragments. time of need. The woman reappears, hoping On a distant mountain summit, Sieglinde to help the fugitive escape. She shows him rejects Brünnhilde’s aid; she wants only to where a sword has been plunged into a tree. die. But when she realizes she is carrying He extricates it with heroic strength, naming Siegmund’s child, her will to live returns. it “Notung” (Needful) and announcing Sieglinde flees with her unborn hero, himself as Siegmund. The woman exultantly “Siegfried”; Brünnhilde stays to delay Wotan reveals that she is his twin sister Sieglinde. and to accept her punishment for disobeying The two sibling Walsungs, reunited as lovers, him. Wotan disowns his beloved daughter, rush out. Wotan has watched in approval – strips her of her godhood, and will leave her all is going according to plan for Siegmund to sleep on the high rock as prey for any man to win back the ring from Fafner. But who passes by. Brünnhilde convinces him to Fricka is outraged at the incest, especially as amend the punishment by surrounding her Siegmund and Sieglinde are really Wotan’s with a shield of fire that will ward off all but own illegitimate children. Fricka persuades the bravest of suitors. Then Wotan kisses her Wotan that Siegmund must die to avenge to sleep for the last time and summons Loge Hunding and propriety. Wotan reluctantly to erect a magic circle of flames. countermands the instruction he had given

16 Berkeley Opera July/August 2010 Part ii. Siegfried to sleep and then kill him. When offered Mime, Nibelung brother of Alberich, the drink, Siegfried hears Mime’s secret is trying to make a sword for Siegfried, thoughts and kills him first, to the delight of whom he has raised since Sieglinde’s death the eavesdropping Alberich. Siegfried asks in childbirth. Siegfried, however, breaks the bird to find him a companion, and she the sword and threatens to beat Mime. tells him of Brünnhilde’s firebound rock. Mime shows him the fragments of Notung. Joyously, he follows the bird’s lead up the Annoyed at Mime’s incompetence, Siegfried mountain path. re-forges his father’s weapon himself. Mime On the way to the summit, Siegfried exults at the possibility of Siegfried’s winning is stopped by Wotan, who impulsively the ring for him. decides to bar the way. This time, Notung Alberich keeps watch at the cave of shatters Wotan’s spear, and Siegfried goes Fafner, who after acquiring the ring, hasn’t on, while Wotan can only brood about his used its magic except to turn himself into lost omnipotence and the gods’ imminent a powerful dragon and guard the treasure. demise. Siegfried passes through the flames Alberich is still resolved to regain the ring to Brünnhilde’s rock and wakes her with a and avenge its loss. Mime leads Siegfried kiss. Her fondest hopes realized, Briinnhilde to the cave, and leaves him there to slay enthusiastically accepts the hero as her mate. the dragon. When Fafner wakes up, a fight ensues and Siegfried kills him. The taste Part iii. Götterdämmerung (Twilight of of the dragon’s blood enables Siegfried to the Gods) understand the singing of the forest bird. After months or maybe years, She tells him about the treasure of gold, the Brünnhilde urges Siegfried to leave on some ring (which he puts on), and the tarnhelm. heroic adventures. She retains the golden Mime returns, hoping to drug Siegfried ring, whose only significance for them is as a

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symbol of their union, which they reaffirm. On Siegfried’s path, on the banks of the Rhine, lies the palace of the Gibichung family; ruled by Gunther together with sister Gutrune and half-brother Hagen (who shares their mother, but whose father is Alberich). Hagen greets Siegfried with distrust, but Gunther befriends him. Hagen has Gutrune drug Siegfried with a potion for amnesia and infatuation. Siegfried immediately forgets Brünnhilde and falls passionately in love with Gutrune. In order to secure the hand of Gutrune, Siegfried pledges to help Gunther win the unattainable Brünnhilde. Gunther and Siegfried swear an oath of blood brotherhood, then set off for the summit. Siegfried, now disguised as Gunther by means of the tarnhelm, once more passes through the fire (since Gunther couldn’t) to reach Brünnhilde. He takes the ring back by force, and spends the night with the mortified ex-Valkyrie, though calling on Notung to keep them separate. Alberich visits Hagen in his sleep, urging his son not to delay winning back the ring. Siegfried returns and happily prepares for his wedding to Gutrune. When Gunther introduces his new bride, Brünnhilde, to the family, Brünnhilde is further outraged. She sees the ring on Siegfried’s finger, deduces that he had impersonated Gunther, and accuses Siegfried of treachery. Siegfried swears his innocence, while Brünnhilde

18 Berkeley Opera July/August 2010 PHOTOGRAPHY MARGARETTAK.MITCHELL ©2004 Margaretta K. Mitchell K. Margaretta ©2004 ❖ 1 655-4920 510 WWW.MARGARETTAMITCHELL.COM swears he is guilty, both upon Hagen’s spear point. As Siegfried continues the wedding preparations, the others vow to take his life. A pre-wedding party commences, without the crazed Brünnhilde, and Siegfried recounts his adventures. Hagen gives Siegfried a memory potion so that he recalls and relates his intimacy with Brünnhilde. Hagen suddenly interrupts and kills Siegfried with his spear. The others are horrified, but Hagen is intent on grabbing the ring. When Gunther protests, he too is killed. Briinnhilde intervenes and calls for a funeral pyre to consume her with her hero. She releases the magic ring from its curse on its possessors, while the entire world is cleansed by flames.

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Berkeley Opera July/August 2010 19 20 Berkeley Opera July/August 2010 A Message from the Artistic Director Mark Streshinsky

s we finish our first season away from and in Los Angeles; I was fortunate enough ABerkeley with a new look and new feel, to hear him sing the Götterdämmerung it is interesting to reflect on where we have Siegfried in Seattle. I believe he is the next been and where we are going. It made sense great interpreter of these roles. I’m proud to program a return of our Legend of the that the connections Jonathan and I have Ring for our first season out. Legend was one made make it possible to present some of the of my early productions with the company best singers around. I am also proud that we and was a great success six years ago. Since live in an area that has a wealth of singers then, I have begun to direct for some of with whom I can surround the stars to round the larger opera companies in the country, out our excellent casts. and am working with some of today’s The new look, feel, and location of the leading singers. Many of them have become company warrants a new name, and we have close friends and are interested in a small decided to call ourselves Berkeley West Edge company that is presenting classical music Opera for the time being. Eventually we will theater with a twist. drop the “Berkeley.” West Edge Opera will be Jonathan Khuner is now one of the a more regional company and will focus on leading prompters in the country - working the unusual: well-known operas performed at San Francisco Opera, Lyric Opera of in unusual ways, new works, neglected Chicago, and the Metropolitan Opera in works, and new adaptations. New York. He is often a lifeline for a singer’s The first season of Berkeley West Edge performance and has made many friends Opera will begin earlier than in the past in the opera world through his work. – in the fall – when Paula Rasmussen will Interesting projects create interest in the perform her signature role, Xerxes, in the opera world and we are certainly doing that. opera by Handel. I have wanted to take I knew that my friend Richard Paul Fink, another stab at baroque and Xerxes is an in the middle of a career that boasts Alberich amazing piece, funny and strange, with as his signature role, was yearning to sing ravishing music. Paula has sung the role all the music of Wotan. Dipping his toes in the over Europe and at New York City Opera, water with us, so to speak, is a labor of love. and is featured on the DVD of Michael Who knows where it will lead? Jay Hunter Hampe’s production (Serse). Xerxes will be Morris is an artist I have known for many conducted by one of the leading Handel years; he and my wife Marie did a Madama experts in the world, Alan Curtis. Butterfly that they still talk about in Seattle. In the spring, we will present an He has covered Siegfried both in Seattle adaptation of Carmen that we are calling

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Berkeley Opera July/August 2010 21 The Carmen Fixation. I love Carmen and The Tempest, the two characters that are the have directed it with enormous numbers of strangest elements of the play, yet never meet people, huge sets, kids, pageantry, etc. I don’t in Shakespeare’s version. believe Carmen belongs on the small stage in We have decided that West Edge Opera its usual form. I do believe, however, in the will be a company that thinks outside the idea of an adaptation, focusing on the lady box. So we will be inaugurating two new herself and the psychology of her mystique. programs next season: “Songs from The Buffy Baggott will be Carmen, a role she has Edge” – an evening of art song, food, and sung at Lyric Opera of Chicago. Buffy last wine; and “Opera Lab” – readings of obscure performed with Berkeley Opera in our world and neglected works. Both promise to be premiere of Chrysalis, by Clark Suprynowicz. interesting and exciting events. Stay tuned Speaking of world premieres by Clark to our website or Facebook page for more Suprynowicz, I’m happy to announce that information about them. we have received an NEA grant to produce We are beginning to plan several years in another of Clark’s projects - Caliban Dreams advance and already have many interesting - that will be our summer show in 2011. projects in view. During a recent meeting Caliban Dreams has been the subject of with David Scott Marley, he said something several workshops around the Bay Area and that really made me happy. He said that he we are very happy to be presenting it fully has always hoped for a West Coast version staged at last. Jonathan Khuner has been of BAM - the Brooklyn Academy of Music. involved in the project from the start. The In New York, you can see good things at the libretto is by Amanda Moody, who has the Met and City Opera, but people who really uncanny ability to write words that sound want to see cutting-edge music theater go to like Shakespeare. John Duykers performs BAM. Scott sees Berkeley Opera moving in Caliban, and it will be directed by Missy that direction. With your help, I believe we Weaver. The piece is a look at the characters can and will make that happen. of Ariel and Caliban from Shakespeare’s

22 Berkeley Opera July/August 2010 Notes on Legend of the Ring Music Director Jonathan Khuner

or many years, I had wondered if Richard and his musical expertise at arranging. FWagner’s uniquely lengthy epic (16 hours First, he made the overall plan: retain the of music over four evenings) could retain story line, and omit everything else as much its strengths if condensed to a single night. as possible. The next decision was to reduce Wagner had deliberately fleshed out his the cast by combining the tasks of just eight Ring of the Nibelung cycle almost to excess singers, one for each vocal type highlighted with extended non-dramatic episodes of by Wagner. This means no massed Nibelungs reflection, repeated narration of events or in Das Rheingold, no Ride of the Walkyries, ideas, and sumptuous orchestral interludes. no chorus in Götterdämmerung. Seaman His style is famous for being long-winded. In dropped some subsidiary scenes completely fact, the very leisure with which the drama when they were not essential to the plot: unfolds is, in the general public’s perception, in Die Walküre, Wotan’s monologue; in its main characteristic. True Wagner lovers Siegfried, Wanderer’s interrogation of (such as myself) don’t mind the original at Mime and the nasty argument between the all, as there are meaning, beauty, and genius Nibelung brothers; in Götterdämmerung, in every corner of the masterpiece. But it does scare away the faint-hearted, and part of Berkeley Opera’s mission is to introduce grand opera to the less deeply initiated (inured?) by re-invention of the traditional. I knew, from having narrated the If it's not play, whole epic on tape for my daughters when they were toddlers (but totally captivated by the legend), that though it takes two hours it's not working. just to tell the story, it is very compelling on the simple narrative level. Even without the sidebars and philosophizing Wagner included, there is deep meaning layered into the text itself, as a moral fable. The Ring text is a highly sophisticated amalgamation of old legends blended with modern cultural resonances. Take that pregnant story together with Wagner’s great music, delete the extra stretches, and maybe one could create a powerful new experience. www.lisakeatingphotography.com This is precisely what I found David Seaman had done at a small company in Nuremberg in 1990. Michèle Voillequé So, in 2004, I seized the opportunity to s o p r a n o present his condensation at Berkeley Opera, with Mark Streshinsky’s stage direction and music teache r Jeremy Knight’s video imagery. Today you will experience a seamless 510 552-816 0 stream of Wagner’s own music-drama, thanks to the intelligent cutting and www.MVMusik.com re-splicing of Mr. Seaman. In order to accomplish this, he drew on a thorough knowledge of the original monumental work

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24 Berkeley Opera July/August 2010 the Norns’ prelude, Waltraute’s visit to Brünnhilde, and Siegfried’s encounter with the Rhinemaidens. Finally, Seaman cleverly found logical “Everyone’s talking about Talavera.” stitching points to begin and end each —San Francisco Chronicle excision. Fortunately, Wagner had already developed his own splicing technique: each section ends with a conclusive harmonic cadence, but at the last second, a new Handmade continuation takes the place of a traditional Sinks, Tile, Garden closed ending. The listener hears musical & Tableware paragraphs and dramatic chapters articulated ... and more clearly but the flow never stops. This was one 1801 University (at Grant), Berkeley of Wagner’s greatest and most influential Open Mon-Sat 10-6, Sun 12-6 opera innovations. 510-665-6038 www.TalaveraCeramics.com When Seaman wants to skip ahead, he joins such a cadence to a matching point later in the score (even bridging from one opera to the next) so the structure is articulated almost exactly as in the original, though much is skipped. Wagner aficionados will be drawn up short by the abridgements as well as the greatly accelerated pace of the action. To less well-initiated listeners, the continuity will be almost as convincing as in the genuine article. Furthermore, Wagner’s recurring musical motives remain to tie the whole musical fabric together in the same manner as in the complete version. Seaman’s highly original chamber re-instrumentation adds another fascinating element to this version while representing the musical material faithfully. The disappearance of the many reminiscences, retellings, and reflections inevitably deprives the epic of some of its grand depth. I am interested to learn how well the gain in dramatic immediacy and having the story complete in one evening can compensate Berkeley Opera listeners for the sacrificed profundity of a true, week- long Wagner pilgrimage. I love Wagner’s length, but I enjoy our presentation mode as well, with its brilliant staging and video projections. I hope you will too, as our audiences did six years ago.

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26 Berkeley Opera July/August 2010 Artists

Romy Douglass (Costume Designer) returns Jonathan Khuner (Conductor, Music to Berkeley Opera after recently designing Director) has been Berkeley Opera’s costumes for the company’s Music Director since Don Giovanni and The Ten- 1985 and was Artistic der Land. She has coordinat- Director from 1994 to ed costumes for numerous 2009. He has also been local theater productions. Assistant Conductor at the She received a Bachelor of San Francisco Opera for 28 Arts degree in Fashion De- years, at the Metropolitan sign from Florida State University. This is her Opera for 13 years, and at Lyric Opera of first season with Berkeley Opera. Chicago. The Ballad of Baby Doe was the second Berkeley Opera production for Baritone Richard Paul Fink (Wotan, Gunter) which Khuner did double duty as both appeared in the premieres of John Harbison’s The Great Gatsby at the Met- music and stage director, the first being ropolitan Opera and in John Puccini’s complete Trittico in 2005. This Adams’s Dr. Atomic at San summer he is also conducting Open Opera’s Francisco Opera. He made production of Don Giovanni at John Hinkel his debut in San Francisco Park in Berkeley. Mr. Khuner has conducted as Escamillo. Next year, he performances of the New Israeli Opera, San will appear in the Metro- Francisco Opera Center, West Bay Opera, politan Opera’s premiere of John Adams’s Pacific Repertory Opera, Livermore Valley Nixon in China. He made his Los Angeles Opera, San Francisco Lyric Opera, California Opera debut as Alberich in Götterdämmer- Opera Association (Fresno), and the Tel ung this year and will return to the Company Aviv Symphony. He has also appeared as Alberich in Das Rheingold, Siegfried, and with Santa Fe Opera, Miami Opera, Opera Götterdämmerung. He has performed with Barga, Italy, and the Israel Philharmonic. the Metropolitan Opera, Deutsche Oper In 1992-93, Mr. Khuner was resident Berlin, Berlin State Opera, Opera National conductor at the New Israeli Opera in Tel de Paris, Teatro Regio in Trieste, Italy, Teatro Aviv, and in 1996 he prompted Wagner’s Municipal in Santiago, Chile, San Francisco Ring cycle in Bayreuth, Germany. He is on Opera, Houston Grand Opera, Washington the faculty of the Bay Area Summer Opera National Opera, San Diego Opera, Hamburg Theater Institute (BASOTI), and in 2005 State Opera, Welsh National Opera, Scottish was music director for the SummerSong Opera, Theatre du Capitole in Toulouse, and Workshop in Lafayette. For several years, Mr. Sydney Opera, as well as at the Bregenz and Ravinia Festivals. His repertoire includes the Khuner taught the Opera Workshop at the title role in Wagner’s Der Fliegende Hol- University of California, Berkeley, where he länder, Telramund in Lohengrin, Pizarro re-inaugurated this course at the invitation in Fidelio, the title roles in Nabucco and of the Music Department. Rigoletto, as well as Iago in Otello, Scarpia Mr. Khuner’s tenure with Berkeley Opera in Tosca, and Gerard in Giordano’s Andrea has seen not only a rise in production and Chenier. Concert appearances include his performance standards, but also the creation debut with the San Francisco Symphony in of original versions of operatic repertoire. Fidelio, Stravinsky’s Oedipus Rex with the With such works as the compressed Die Seattle Symphony, Orff’s Carmina Burana Meistersinger with Yuval Sharon in 2005, at the Cincinnati May Festival, and Verdi’s Vivian Fine’s Women in the Garden in Requiem in Houston. 2002, and David Scott Marley’s brilliant

Berkeley Opera July/August 2010 27 Bass-baritone Bojan Knezevic (Alberich, Fasolt) - a former Adler Fellow - made his San Francisco Opera debut in La Traviata in 1995, and has since appeared with the company in a number of roles, including Harasta in The Cunning Little Vixen, Doctor Dulcamara in L’Elisir d’Amore, Don Magnifico in La Cenerentola, and Hali in East Bay Express Best of East Bay! L’Italiana in Algeri. Most recently, Mr. El Cerrito Small Business of the Year! Knezevic performed the title role in Wozzeck Angie’s List Super Service Award! with Ensemble Parallèle. Career highlights include the four Villains in The Tales of Hoffman, Escamillo in Carmen, Scarpia in • Free estimates / Free loaner cars Tosca, and Frosch in Die Fledermaus with • Free rides to home / work Lyric Opera of Chicago. He has sung Emile • Warranty 3 years / 36,000 miles de Becque in South Pacific, Leporello in Don Giovanni, Don Alfonso and Guglielmo in Cosi Fan Tutte, the title roles in Don 10929 San Pablo, El Cerrito Pasquale and Gianni Schicchi, and Figaro in (X from Fire House) Le Nozze di Figaro with the New National www.martysmotors.com Theatre in Tokyo. Upcoming engagements (510) 235-6000 include Sharpless in Madama Butterfly.

Berkeley Opera Special! Jeremy Knight (Projection Designer) is $14.99 oil change (most cars) happy to have the opportunity to take – OR -- another crack at Legend of 10% off any service or repair the Ring, his first theatrical project in 2004. His work appeared in Berkeley Opera’s adaptation of several older works, Mr. productions this season Khuner has helped put this small company of Don Giovanni and The in the larger limelight. In 2004, he and Mark Tender Land, as well as Streshinsky, Berkeley Opera’s new Artistic last season’s The Ballad of Director, created for Berkeley Opera Baby Doe and many other Berkeley Opera the highly acclaimed North American shows. Jeremy’s work has also been seen premiere of Legend of the Ring which we are in productions by Dallas Opera, Michigan reprising now. He has conducted Berkeley Opera Theatre, Oakland Opera Theater, The Opera in the presentation of the new works Crucible, and Lamplighters Music Theatre. Serpentina by the late John Thow in 1999, and Chrysalis by Clark Suprynowicz in 2006. Lucas Benjaminh Krech (Lighting He conducted the workshop of Caliban Designer) is a designer for opera, dance, theater, installation, and Dreams by the same composer, which performance. Previous will be featured in Berkeley Opera’s next collaborations with Mark season. In 2008, Mr. Khuner also became a Streshinsky include Berkeley San Francisco Guild lecturer, and gives pre- Opera’s Don Giovanni and curtain talks for some of SFO productions. the Crucible’s Dracul: Prince

28 Berkeley Opera July/August 2010 of Fire. Previously at Berkeley Opera, he San Diego Opera, Cavaradossi in Tosca, designed The Tender Land and Aida. Lucas Lykov in Rimsky-Korsakov’s The Tsar’s Bride, has worked as a lighting assistant at San Dimitri in Boris Godunov, and Erik in Der Francisco Opera, Chicago Opera Theater, Fliegende Holländer. Mr. Morris also created Virginia Opera, Glimmerglass, and more. the role of Unferth in the world premiere Off-Broadway credits include Perry Street of Elliott Goldenthal’s and Julie Taymor’s Theater, St. Clements, The Clurman, Players Grendel. Theatre, and more. Regional credits include The Magic, Marin Theatre Company, The Bruce Olstad (Assistant Conductor) Barter, and Thick Description. He has returns to Berkeley Opera after making designed in Rumania, Puerto Rico, and his company debut as the UK. He has collaborated on dance Assistant Conductor in Don with Nicolo Fonte, Matthew Neenan, Sean Giovanni and The Tender Curran, Johannes Weiland, Gemze De Land earlier this year. Other Lappe, Donald Mahler, Sallie Wilson, Paul recent engagements have Sutherland, Viktor Kabaniaev, Trebien included assistant conductor Pollard, Anandha Ray, David Brick, and Ben for Livermore Opera’s Die Levy. He received an M.F.A. from New York Fledermaus and chorusmaster for West Bay University. www.lucaskrech.com Private Wine Tasting Parties Jay Hunter Morris (Froh, Siegmund, Throw a Siegfried) has been a principal artist with companies including the custom-designed wine

Metropolitan Opera, Los tasting party in your Taste First Angeles Opera, Houston home or office Private Wine Tasting Parties & Events Grand Opera, San Francisco with Taste First. Opera and Seattle Opera, and maintains an inter- national career through- out Europe, as well as Asia and Australia. With San Francisco Opera, he sang Father Grenville in the world premiere of Jake Heggie’s Dead Man Walking, Mitch in A Streetcar Named Desire, and in the American premiere of Messiaen’s St. François d’Assise. He also sang the Duke of Parma in Busoni’s Doktor Faust at San Francisco Opera, and Anatol in Samuel Barber’s Vanessa at Seattle Opera. Mr. Morris performed Captain James Nolan in the world premiere of John Adams’s Doctor Atomic at San Francisco Opera. He created the role of Marky in The Fly in its world premiere at Théâtre du Châtelet in Paris. He has performed Florestan in Fidelio at Portland Opera, Siegfried in Siegfried and Götterdämmerung at Seattle Opera, Steva in Jenufa at Opera Monte Carlo, Walther tastefirst.com in Tannhäuser with Tokyo Opera Nomori, Pinkerton in Madama Butterfly at Opera 510-778-8255 Australia, the Drum Major in Wozzeck with [email protected]

Berkeley Opera July/August 2010 29 Opera’s Der Freischütz and La Traviata. Curandera. Her signature role is The Witch He recently conducted a production in Hansel and Gretel. She is a winner of of Suor Angelica for the California Opera the MacAllister Awards for Opera Singers Association in Fresno, was co-conductor and Marin Symphony’s Wishard A. Brown for Opera San Jose’s production of Die award. After receiving a B.S. from Temple Zauberflöte, and has served as assistant University in mechanical engineering, she conductor for the West Coast premier of studied vocal performance at San Francisco Ned Rorem’s Our Town with Festival Opera State University. She performed on the CD and The Rake’s Progress with West Bay Maelstrom: Songs of Storm and Exile, by the Opera. Upcoming engagements include New Orleans Klezmer All-Stars; the songs assistant conductor for Don Giovanni with were set to Andrei Codrescu’s poems about both Open Opera in Berkeley and Livermore Hurricane Katrina, Jealous Witness: New Valley Opera. Mr. Olstad is vocal coach and Poems. She has performed on The Tonight pianist for the opera workshop at San Jose Show and MTV. Upcoming performances State University. He has played for the master include the role of the opera vocalist for the classes of baritone Thomas Hampson and new score performed live to the silent film dramatic soprano Luana DeVol. He holds a of The Hunchback of Notre Dame, with the masters degree in keyboard collaborative arts Petaluma Film Alliance for The Petaluma from the University of Southern California Summer Music Festival, and a reprise of and a Bachelor of Arts degree in music from La Curandera with Contemporary Opera University of California, Los Angeles. Marin. See www.valentinaosinski.com.

Mezzosoprano Valentina Osinski Dean Peterson (Fafner, Hundig, Hagen) has (Flosshilde, Fricka) has performed with performed the four Villains in Tales of Hoff- New York City Opera, man, the Devil in Boito’s San Francisco Opera, Mephistopheles, and Mus- San Francisco Symphony, tafa in L’Italiana in Algeri Midsummer Mozart, at the Metropolitan Opera Opera Theatre St. Louis, and in his San Francisco Opera San Jose, Berkeley Opera debut. In Chicago, Opera, and others across he sang the role of Frank the continental United Maurant in Street Scene. In States. She is a specialist in modern works, Houston, he created the role of the protago- with recent West Coast premieres as Maria nist Rucker Latimore in Carlisle Floyd’s Cold Callas in Jackie O! and the title role in La Sassy Tree. He has performed principal roles the Branson school Academic Excellence since 1920 Grades 9-12

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at opera houses in San Diego, Dallas, and Opera debut as the First Lady in Mozart’s Minneapolis, and was the first place win- Die Zauberflöte, and returned to perform ner in the Palm Beach Vocal Competition. Kristina in Janácek’s Makropoulos Case, In Palm Beach, he has portrayed Blitch in Donna Elvira,and Gutrune. Other roles Carlisle Floyd’s Susannah, Lepporello, King include Sieglinde in Die Walküre for Scottish Phillip in Don Carlos, and Ramphis in Aida. Opera, Vitellia in La Clemenza di Tito and He sang the title role in Le Nozze di Figaro the Countess in Le Nozze di Figaro for New in a Live from Lincoln Center broadcast of York City Opera, Love Simpson in Carlisle the New York City Opera. Mr. Peterson has Floyd’s Cold Sassy Tree for Austin Lyric performed extensively overseas, includ- Opera, Desdemona in Otello and the title ing the title role in Boito’s Mephistofeles, role in Kata Kabanova for Opera Theatre Mephisto in Faust, Bide the Bent in Lucia di of Saint Louis, Elisabetta in Don Carlos Lammermoor, Colline in La Bohème, Hydrot for Arizona Opera, and Cio Cio San in in Armide, and the Messenger in Fidelio. In Madama Butterfly for San Francisco Opera. Vienna, he has sung the title role in Le Nozze Ms. Plette is a recipient of awards from the di Figaro. He has performed in Berlin, at the Richard Tucker Foundation, George London Royal Concert Hall in London, and in opera Competition, Opera Co. of Philadelphia/ houses in Genoa, Palermo, Bologna, Bilbao, Luciano Pavarotti International Voice Palma di Mahorc, and Nice, in concerts with Competition, William Matheus Sullivan the Israeli Philharmonic, and in São Paolo, Foundation, and Il Cenacolo Award from the Brazil. He can be heard on the Albany and San Francisco Opera’s Merola Program. the Bachman CD labels. Stephen Rumph (Loge, Mime) has sung Marie Plette (Woglinde, Freia, Sieglinde, leading tenor roles in numerous Berkeley Forest Bird, Gutrune) performed Freia, Opera productions, including Benedick (Be- Ortlinde and Gutrune in Wagner’s Ring atrice and Benedick), Alfred cycle with Seattle Opera in (Bat Out of Hell), Mosquito 2005, 2001, and 2000. A (Riot Grrl on Mars), and Seattle Opera favorite, she David (Die Meistersinger also performed the title von Nurnberg). Mr. Rumph roles of Dvorák’s Rusalka, recently made his debut Gluck’s Iphigenia in Tauris, with the Seattle Symphony and Madama Butterfly, in Bach’s Cantata 171, Micaëla in Carmen, and returned to sing Elsa in Lohengrin, Antonia in Les Contes Beethoven’s Symphony No. 9 and Uematsu’s d’Hoffmann, and Donna Elvira in Don Distant Worlds. Recent operatic credits Giovanni. Ms. Plette made her Metropolitan include Rodolfo (La Bohème) and Orpheus

Berkeley Opera July/August 2010 31 (Orpheus in the Underworld) with Tacoma Opera, and Pinkerton (Madama Butterfly), Don José (Carmen), and Tamino (The Magic Flute) with Skagit Valley Opera. He appears regularly as a concert soloist with Tacoma Symphony, Spokane Symphony, Northwest Sinfonietta, and other orchestras through- out the Puget Sound area. Bay Area credits include Rodolfo (La Bohème), Tamino (The Magic Flute), and Lenski (Eugene Onegin) with Pocket Opera, Hoffmann (The Tales of Hoffmann) with Livermore Valley Opera, and Ramiro (La Cenerentola) with West Bay Opera. He is professor of music history at the University of Washington.

Dramatic soprano Christine Springer (Wellgunde, Brünnhilde) has sung extensively throughout the United States and Europe. Originally from Washington State, she received much of her early training in New MARVIN York, where she performed a variety of dramatic coloratura roles, including GARDENS Marguerite in Faust, Lucia in Lucia di Lammermoor, REAL ESTATE Olympia in Les Contes d’Hoffmann, and the Queen of the Night in The Magic Flute. After studying in Munich, Germany, she moved into the dramatic soprano repertoire, and sang the title role in North Bay Opera’s Tosca, Kostelnicka in City Opera Theatre’s Jenůfa, Brünnhilde in Golden Gate Opera’s Die Walküre, and Ortrud in a working production of Lohengrin under the baton of Kent Nagano. She sang all three Brünnhildes The art of real estate in Berkeley Opera’s Legend of the Ring in 2004. She has been soprano soloist in without the Wesendonck Lieder with the AIMS Festival drama of opera. Orchestra in Graz, Austria, Aïda with the Oakland Youth Symphony, Die Fledermaus and Schubert’s Mass in E flat with the Solano Symphony, and Beethoven’s Symphony No. 9 with the Redwood Symphony. Ms. Springer marvingardens.com is the winner of numerous competitions Hopkins St - Berkeley and awards, among them the Meistersinger Competition in Graz, Austria, and The Fairmount Ave - El Cerrito Wagner Society of Northern California’s Arlington Ave - Kensington Career Encouragement Grant.

32 Berkeley Opera July/August 2010 Berkeley Opera’s Next Season Begins in November 2010

Handel’s Xerxes with Paula Rasmussen as Xerxes Conducted by Alan Curtis Directed by Mark Streshinsky Performances on 13, 19, 21 November 2010

A new adaptation by Mark Streshinsky and Jonathan Khuner of Bizet’s Carmen with Buffy Baggott as Carmen Performances on 5, 11, 13 March 2011

World Premiere of Clark Suprynowicz’s and Amanda Moody’s new opera: Caliban Dreams with John Duykers as Caliban Performances on 30 July, 5, 7 August 2011

Berkeley Opera July/August 2010 33 Mark Streshinsky (Artistic directed productions for The Seattle Opera, Director, Stage Director) The Dallas Opera, Michigan Opera Theater became Artistic Director in Detroit, Boston Lyric Opera, Lyric Opera of Berkeley Opera this of Kansas City, Florida Grand Opera, and season, and directed Don Opera Theater of St. Louis. In academia, he Giovanni in February 2010, has worked with students of The San Fran- as well as this production. cisco Conservatory of Music and the Yale Mr. Streshinsky previously University department of opera. He is cur- staged four productions rently working with a composer on his first for Berkeley Opera: Eugene Onegin, Acis and libretto for the fire opera Machine, which he Galatea, Chrysalis, and the original Legend of will direct for The Crucible in Oakland. This the Ring in 2004. As an opera stage director, fall, he will direct his Berkeley Opera pro- he is in demand at large opera companies duction of Don Giovanni for Livermore Val- around the country. He has directed three ley Opera, and Handel’s Xerxes for Berkeley operas for Cincinnati Opera and in 2011 Opera. In spring, 2011 he will direct a new will transform his Eugene Onegin into a production of Le Nozze di Figaro for Kansas large-scale production for them. He recently City Opera.

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n keeping with the spirit of Berkeley acclaimed Taproot Foundation in San Fran- Opera’s new spirit, we would like to cisco and has acquired a great deal of ex- introduceI Elizabeth Wells as our company’s perience in the areas of finance and human first Executive Director. Originally from resources. Through her devotion to the arts, Arizona, Elizabeth comes to us following she has demonstrated a real commitment to her tenure as founder and general director music and specifically to the world of opera. of Willamette Concert Opera, where she An experienced professional opera singer produced and presented over 20 operas in with an M.M.A. from Northwestern Univer- over 50 performances throughout Oregon. sity, Ms. Wells brings a unique and potent Prior to her time in Oregon, she was also skill set to Berkeley Opera and we eagerly the Executive director of Intimate Opera anticipate her contributions as we grow. She in Los Angeles as well as having served in has said that “opera is my life’s passion, and an administrative role with several other nonprofit is my life’s work.” As our vision southern California opera companies. continues to grow, we are excited to bring Having spent most of her professional her enthusiastic and level-headed approach career in the nonprofit sector, Ms. Wells to our team. Please join us in welcoming her is also closely involved with the nationally and wishing her every success! 34 Berkeley Opera July/August 2010 Salute! Elizabeth Wells, Executive Director

he 2010 season for Berkeley Opera has your time where we are short of hands. Your Tbeen so momentous that it is hard to support defines us and we’re going to do our know where to even begin. A new home, new best to reward you for your efforts. leadership, soon a new name, When you see improvements in the a new look, many new and quality of our productions, you have made wonderful relationships are them. When you see a higher level of only the things that top the customer service, you have enabled it. When list. Initially, after deciding you see more and more people around you to move to El Cerrito, there enjoying the performances, you have invited were some concerns that we them. You, not the foundations, not the might lose many of you who corporations, not the government are the had supported us for so long by changing underwriters of the songs we sing. locations. And so, upon the verge of a new season We were, it seems, of little faith, for not and a new era, we lift our voices to you in only do we see that all of our old friends are thanks, wishing nothing so deeply as that still with us, but that there are lots of new you enjoy the performance. faces as well. In an economy of ongoing loss, our audience has grown more than forty percent this year and we count ourselves incredibly blessed. There is little that is more rewarding than to see a house full of people who have chosen to spend time with us. One of the things we look forward to the most is getting to know and better serve you, our audience. You’ve shown your enthusiasm for Berkeley Opera and we want to let you know that the feeling is mutual. We know that the growth of Berkeley Opera is entirely due to you. You choose to come dronkers pete photo: to our productions, you choose to support us with donations, and you choose to volunteer

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36 Berkeley Opera July/August 2010 Berkeley Opera People ­— Jeremy Knight Mark Streshinsky

n the program for The Tender Land, I into a projection of an animated carriage. Ibegan a series spotlighting the people Jeremy also created video projections who have made and continue to make for many subsequent Berkeley Opera Berkeley Opera a success. Our video productions. He is most often talked about master, Jeremy Knight, began with Berkeley in conjunction with the incredible animation Opera many years ago by singing in the sequences that he created for L’enfant et les chorus. When we worked together on Don sortilèges. He has recently created video for Giovanni earlier this season, he mentioned The Lamplighters, Oakland Opera Theater, that he had been in charge of the ominous and The Crucible in Oakland. backstage knocks when Berkeley Opera last This season, he worked on both Don presented Don Giovanni. Jeremy served as Giovanni and The Tender Land for Berkeley a member of the board for several seasons Opera and was the creator of the famous and took on the job of official videographer, “Catalogue Aria” Google Maps showpiece, creating professional-quality videos of all which brought down the house and can be our productions under the umbrella of seen on YouTube. his company, Echidna Media. Jeremy has This past spring, his videos were seen also been a frequent donor to the company. at Yale University in my production of After our last Gala, to which he made a very Stravinsky’s Le Rossignol and were a huge generous donation, I thanked him for all of success. The audience gasped when the his support over the years. His reply was that opera began and they were faced with a huge Berkeley Opera has been a very important rolling seascape projected on the walls of the part of his life and given him great pleasure performance space. For this year’s Legend and it makes perfect sense to him to give of the Ring, Jeremy has updated the original something back. videos to reflect changing technology and Jeremy was a pioneer in the computer the vast new knowledge of the art form that industry and was part of the team that he has gained over these past six years. developed character recognition, the ability Throughout all these years, Jeremy of computers to read and process the has worked tirelessly for the company. I printed word. When I started work on our consider him one of the great assets of original production of Legend of the Ring, I Berkeley Opera and plan on continuing began talking to Jonathan about the idea of our groundbreaking use of video in opera doing projections of video and still images. production. Thank you, Jeremy, for your Jonathan thought that Jeremy might know incredible work. someone who could do that sort of thing. I Passion and Purpose For Your Next Stage met with Jeremy and outlined what I wanted to do, and he became more and more Today, as we enter our interested, finally telling me that this was 5th, 6th or 7th decade of life, we have the something he would like to take on himself. opportunity to create a Little did he know that this would “3rd Act” of our lives. become a major part of his life. He had to Life Planning for (510) 287-8765 train himself in new software and made a the Mature Generations www.The3rdAct.com major investment in equipment to use for 3rd Act Coaching and Berkeley Opera. After bowing with me on Worshops provide the opening night of Legend and getting a supportive huge applause, Jeremy couldn’t wipe the grin opportunity for off his face. exploration and design of that next stage— I quickly tapped him for a project for my to give it meaning, La Cenerentola production, which played in purpose, fulfillment Dallas and Detroit, integrating performers and fun.

Berkeley Opera July/August 2010 37 Dining Guide

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Berkeley Opera July/August 2010 41 About Berkeley Opera

erkeley Opera was founded in 1979 by Immortal Hour, E.T.A. Hoffmann’s Undine, Bbaritone Richard E. Goodman, who was Vivian Fine’s The Women in the Garden. an Engineering Professor at the University Among the most popular works have of California at Berkeley and who is now been the recent Don Giovanni, a series Artistic Director Emeritus. Jonathan Khuner of critically acclaimed new translation/ became Artistic Director in 1994, and during adaptations by David Scott Marley, including 2007-2009 also held the position of Music Berlioz’ Beatrice and Benedick, Bat Out of Director. This year, Mark Streshinsky joined Hell (Strauss’s Die Fledermaus), The Riot Berkeley Opera as Artistic Director while Grrrl on Mars (Rossini’s The Italian Girl Jonathan continues as Music Director. in Algiers), Offenbach’s Tales of Hoffmann, The company has a history of looking at and Puccini’s The Girl of the Golden West. opera in a fresh and innovative way, which In addition, Berkeley Opera has presented the West Coast premiere of Leonore (the enhances the experience for both performers original version of Beethoven’s Fidelio), and audience. and Fauré’s Pénélope, as well as the world In its 31-year history, Berkeley Opera premieres of John Thow’s Serpentina and has presented 63 operas by 40 different Clark Suprynowicz’s Chrysalis, with a composers. The company offers a wide libretto by playwright John O’Keefe. In 2004, range of repertoire, including both the new Berkeley Opera presented the American and unusual as well as favorite and lesser- premiere of David Seaman’s reduction of known works by well-known composers. Wagner’s Ring cycle, Legend of the Ring, and, Productions have ranged from the most in 2005, Jonathan Khuner and Yuval Sharon’s familiar – Madama Butterfly, Carmen, La three-hour adaptation of Wagner’s Die bohème – to the unfamiliar – Boughton’s The Meistersinger von Nürnberg.

42 Berkeley Opera July/August 2010 Friends of Berkeley Opera Berkeley Opera wishes to acknowledge and thank the following individuals, businesses, foundations and government agencies whose generous donations help make our productions possible. Listed below are those whose gifts and pledges were received by June 25, 2010. FOUNDATION AND INDIVIDUAL DONORS Claude Babcock David & Christine Balabanian GOVERNMENT GRANTS Producers Civic Arts Program of the City Gifts of $5000 and above Elena Burgess & of Berkeley The Estate of Luanne Rogers Martin Friedman Ann & Gordon Getty Thomas & Jane Coulter Angels Foundation Ann O’Connor & Gifts of $2500 - $4999 Edward Cullen The Goodman Family Jeremy Knight & Robyn Dondero-Wren Supporting Foundation Barbara Adair Robert Epstein & Amy Roth National Endowment Sustaining Patrons Michael Fischer & for the Arts Gifts of $1250 - $2499 Irene Kiebert Bernard Osher Foundation Marian Kohlstedt & Douglas & Wagner Society of Northern Gary Smith Margaret Fuerstenau California Margo Leslie Donald & Rebecca Grether Walter Rex Steve & Laurie Holland BUSINESS COUNCIL Paul & Susan Sugarman Sue Hone Arlon & Donna Hunt Platinum Members Sponsors Jane & Thomas Kelly Creative Mint Gifts of $650 - $1249 Ellen Robey & Joel Lutzker East Bay Express Timothy Blevins Joan McDonough Mechanics Bank Helen King Burke D.G. Mitchell Margaret E. & Reid Dennis Dale Robards & Gold Members Karen Faircloth Robert Kavanaugh D’Jour Floral & Antiques Rita D. Haberlin & William & Judith Roberts Fidelity Insurance Patricia A. Kulda Michael & Gini Savage Panoramic Interests Daniel Heartz Sigmund Seigel John & Bernice Lindstrom Terri Stuart Silver Members Robert & Theresa Ryan Theresa Valcalda Berkeley Daily Planet Beth Sandefur Barry Warren Judith L. Bloom, CPA Claudine Torfs Barbara West Fairmount Electric R. Kassman, Purveyor Patrons Donors of Fine Pianos Gifts of $250 - $649 Gifts of $100 - $249 Henry C. Levy, CPA Janet Abelson Anonymous Nectar Consulting Inc. David & Joellen Brean Ron Abileah & Atcheson Marlene Winograd

Berkeley Opera July/August 2010 43 An oasis of unique and distinctive gifts and cards for all ages

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Bring in this ad for a FREE COFFEE or $3 off a house beverage! 6925 Stockton Ave. El Cerrito. (510)528-4709 www.well-grounded.com Expires - Feb 28, 2010

44 Berkeley Opera July/August 2010 Facing Cancer and Chronic Disease

Individualized therapy and effective strategies for prevention, management & improved quality of life. Debra Sue Kelvin, L. Ac., Dipl. Ac. 743 Addison Street Berkeley, CA 94710 Holistic Integrative Oncology www.healthychi.com Acupuncture Botanical Medicine 510.334.2472 Nutrition

Esther & Joseph Adler Martin & Virginia Davis Arlon & Donna Hunt Ronald & E’lynne Allen Luana DeVol Carl & Wilma Jordan Norby Anderson Gordon & Jeannette Dey Michael Kalkstein & S. Anderson Robyn Dondero-Wren Susan English Amii Barnard-Bahn Anita C. Eble Gertrude Khuner Richard & Linda Beidleman Philip Egan Carol & Howard Kirk Nancy & Peter Bickel Solomon Fisher Ernest & Julianne Knell Adam Bier Jonathan & Sally Francis Dr. Bob & Christine Kradjian Richard & Joanne Bogart Dr. Scott Gale Gillian Kuehner & Fraser A. Bonnell Elsa Glines Norman Bookstein Ida Braun Avilee & Daniel Goodwin Patricia Kuhi Norman & Virginia Brown Robert Greene Barbara Lanier & John Wilson Sara & Ronald Brown Herbert & Lenore Griffin Almon Larsh, Jr. Melody Burns & Marian Hafter Raymond Lifchez Michael Passwaiter Frank & Susan Hartdegen Sylvia Lindsay Helen D. Calhoun James Heagy Paul Lorton Jr. Vance Carney Jeanne Herbert Arthur Manzi Sondra Church Rosalie Holtz Helen Marcus Mendel F. Cohen Sally Houston Mervyn & Karen Mark Peter Cook David Hugel Myron Marx Helga & Roy Curry Nona Hungate William McCoy

Berkeley Opera July/August 2010 45 Katy Miottel Phyllis Calechman David & Marilyn Nasatir Regina Moreno Dewey W. Camp, Jr. Pat Nottingham Richard & Sylvia Morgan Robert Cook Mark Posner Anthony Nero June Curtis Karl Reeh Nancy Platford John & Janette Dang Arno Schniewind Wilma & Steve Rader Neil Elliott Charles & Patricia Schwarz Mona Radice Lee Feinstein Michael Senturia Pamela & Richard Rigg Joan Finton Carolyn Serrao Lilie Robertson Kate Frankel Lee & Mary Shilman Steve & Francisca Schneider Richard Friedman Carl & Grace Smith Martin Schoell Karen Gabrielson Norman Spellberg John & Dagmar Searle Phyllis Gaines Jean K. Stenmark Barbara Sedano Rosemary George Douglas & Anne Stewart Brenda Shank Jim Gilman Virginia Summerer Carolyn Sonfield Gerald & Jean Thomas Erich Wolf Stratmann Kathryn Glendenning Jane Thompson Blanche Streeter David & Diane Gould Jane Weidman Marion Taylor John S. Gravell Fred Wilt Sally Thomas Ruth Guthartz Arthur & Margaret Yamada Karen Topp Sidney Guthrie Arthur G. Tressler Christopher Hadley & CORPORATIONS AND Arthur & Susan Walenta Helen Bersie FOUNDATIONS MAKING Anita Weissberg Bronwyn Hall GIFTS THROUGH Dr. George & Bay Westlake Lee Hastings MATCHING PROGRAMS Ann L. Williamson Miriam & Robert Hawley AT&T Foundation Matching Eldon Wolf Joanne Hively Gifts Program Sheldon & Nancy Wolfe Mary & McClaren Jordan Chevron Matching Gift Kiyoko & Thomas Woodhouse Vera Kahn Program Ronald & Susan Yourd Mel & June Kani Fidelity Charitable Gift Fund Ellen & Irving Zucker Karl Kasten Schwab Charitable Fund Carole E. King Friends Joanne Lafler IN-KIND DONATIONS Gifts up to $100 Michael Lengyel Ann Higgins, Hot Damn! Anonymous Trudy Lesem Graphics Carmen & Jim Aiken Regina Lackner Panoramic Interests Jody Ames Philip Lewis Doug Young Remo & Ann Gabor Arancio Doris Lopez Benedict Archer Sylvia McLaughlin We do our best to list your Mark Aaronson & Lester Marks name accurately. If it is Marjorie Gelb Irene Martens incorrect or you would prefer Ben & Marlene Bagdikian Tommie Mayfield Emily Benner to have it listed another way, Emory & J. Menefee Steven Binder please call (510) 841-1903 and Elizabeth & Ralph Morrison George & Ruth Brunn leave a message to that effect.

46 Berkeley Opera July/August 2010 2010/11 Another extrAordinAry seAson

Compulsion the Great Game: Afghanistan the Composer is dead the Agony and the ecstasy of steve Jobs in repertory with the Last Cargo Cult ruined the three sisters A new show for rita Moreno

tickets from $23, plus pre-show talks, late-night parties, post-show chats with artists, gourmet tastings with local artisans, and more—all free Call 510 647-2949 Click berkeleyrep.org

Berkeley Opera July/August 2010 47 Special Thanks to:

The City of El Cerrito, in particular A Symphony Janet Abelson, Mayor; Dyana Bhandari, Chair of the Arts and Culture Commission; of Printing Scott Hanin, City Manager; Suzanne Iarla, Community Outreach Specialist; and Karen Pinkos, Assistant City Manager. El Cerrito High School, in particular Jason Reimann, Principal. Ami Barnard-Bahn, Dyana Bhandari and Village Arts in El Cerrito, Mark Canepa, Kip Cranna, Mathew Croft, Tre Curran and Michael Waxman, Tracy Davis, Pam Drake, Richard and Gretchen Grant, Sue Hone, Cathy Hood, Carol Kirk, Marilyn Nasatir, Radovan Nikolic, Bruce Olstad, Supporting the Berkeley Open Opera, Jonathan Rider, Dale Robards, Symphony since 1984 San Francisco Opera, Seattle Opera, Diane Sericati, Tom and Rachelle Sherris-Watt, Shirley Streshinsky, Ellen St. Thomas, and The Crucible.

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ASergei world-class opportunity The Grammy-winning Pacific Boychoir is auditioning boys in grades K-5 - no experience necessary - Call us at 510-652-4722 Pacific Boychoir Academy www.pacificboychoir.org

48 Berkeley Opera July/August 2010 10 | 11 season: The adventure continues as Joana and Berkeley Symphony explore the cutting edge Joana Carneiro Music Director of classical music!

Subscriptions on Sale Now Single tickets available Aug.1

Thursday, September 23, 2010, 7pm* Beethoven Violin Concerto in D major; Op. 61 John Adams Violin Concerto; Jennifer Koh, violin

Thursday, December 2, 2010, 8pm Enrico Chapela New Work (World Premiere) Peter Lieberson Neruda Songs Manuel de Falla El amore brujo; Rachel Calloway, mezzo soprano

Thursday, January 20, 2011, 8pm Du Yun New Work for Strings (World Premiere) Olivier Messiaen Oiseaux exotiques (Exotic Birds) Beethoven Symphony No. 6 in F major, Op. 68, Pastoral Natasha Paremski, piano

Thursday, March 10, 2011, 8pm Stravinsky Concerto in E-flat, Dumbarton Oaks Shostakovich Chamber Symphony, Op. 110a James MacMillan Last Seven Words from the Cross; with chorus *Note early start time All concerts at UC Berkeley Zellerbach Hall Subscriptions available for as low as $40! Tickets: $20, $40, and $60. photo by Duarte Mexia Duarte by photo For complete season program, visit www.berkeleysymphony.org or call 510.841.2800

Berkeley Opera July/August 2010 49 Index of Advertisers

The Academy 21 Margaretta K. Mitchell Photography 19 Amira Alvarez 13 Marshall White, CFP 11 Albert Nahman Plumbing 26 Marty’s Motors 28 Arlington Catering & Deli 38 Marvin Gardens/Celia Concus 16 The Arlington Wine & Spirits Co. 31 Marvin Gardens 32 Berkeley City Club 41 Maybeck High School 7 Berkeley Hearing Center 18 Mechanic’s Bank 17 Berkeley Rep 47 Michaan’s Auctions 5 Berkeley Symphony 49 Michèle Voillequé 23 Bill’s Men’s Shop 32 Minuteman Printing 48 Bistro Liaison 38 Mountain View Cemetery Back Cover Branson School 30 Musical Offering 39 Bubi’s Catering 41 O Chame 40 Builders Booksource 7 Oceanworks 6 Casa Vino 38 Pacific Boychoir Academy 48 Claremont Resort and Spa 4 Pacific Union 34 D’ Jour Floral & Antiques 36 Pavé 51 D.A. Flowers Financial Planning 25 PBG Real Estate 2 Debra Sue Kelvin 45 Poulet 40 Dubois Gardening 15 R. Kassman Piano 19 Edelweiss Jewelers 7 Skates 40 Fidelity Insurance 20 Talavera Ceramics 25 Focal Point 18 Taste First 29 Forrest’s Music 7 The Third Act 37 Gem Gallery 12 Thornwall Properties 14 Goethe-Institut 9 Venezia 41 Going Places 6 Weatherford BMW 10 The Grubb Co. 8 Well Grounded Tea & Coffee Bar 44 Henry C. Levy, CPA 22 Hiersoux Gallery 7 Jenny K. Gifts & Cards 44 John F. Mello, Luthier 7 Judith L. Bloom CPA 45 to advertise in the Julia Morgan School for Girls 43 Berkeley Opera Katharina Stuart Floral Art 19 Program Kensington Roofing 24 Kroll Realty 24 please call La Mediteranée 39 John McMullen La Note Restaurant 39 510.652.3879 Larry Marietta, Singing Teacher & Coach 24 Lunettes du Monde 42 Maddiva Singing Teacher 35 Maloney Fine Building, Inc. 26 50 Berkeley Opera July/August 2010 Berkeley Opera July/August 2010 51 52 Berkeley Opera July/August 2010