AN AMERICAN DREAM MUSIC BY JACK PERLA LIBRETTO BY JESSICA MURPHY MOO

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2 | MARCH 1517, 2019

LYRIC OPERA OF CHICAGO

Board of Directors

OFFICERS LIFE DIRECTORS Anthony Freud*+ William A. Osborn* e Honorable Rahm Emanuel Edgar Foster Daniels Mary Patricia Gannon Matthew J. Parr Honorary Chairman of the Board Richard J. Franke Ruth Ann M. Gillis*°+ Jane DiRenzo Pigott* Edgar D. Jannotta Edgar D. Jannotta Brent W. Gledhill*+ Richard Pomeroy Co-Chairman Emeritus George E. Johnson Ethel C. Gofen Jose Luis Prado Allan B. Muchin James J. O’Connor Howard L. Gottlieb* Don M. Randel Co-Chairman Emeritus Gordon Segal Melvin Gray Elke Rehbock David T. Ormesher Robert E. Wood II Maria C. Green+ Anne N. Reyes* Chairman of the Board Dietrich M. Gross* William C. Richardson, Ph.D. ° Lester Crown DIRECTORS Dan Grossman Brenda Robinson Chairman of the Executive Katherine A. Abelson Elliot E. Hirsch Collin E. Roche Committee Whitney W. Addington, M.D.* Eric L. Hirschfield Joseph O. Rubinelli, Jr.* Anthony Freud James L. Alexander* J. omas Hurvis* Shirley Welsh Ryan* General Director, President & John P. Amboian Gregory K. Jones E. Scott Santi* CEO Paul F. Anderson Stephen A. Kaplan° Claudia M. Saran Sir Andrew Davis Larry A. Barden Kip Kelley II Rodd M. Schreiber Vice Chair Julie Baskes* Susan Kiphart Marsha Serlin Renée Fleming James N. Bay° Sanfred Koltun Brenda M. Shapiro* Vice Chair Melvin R. Berlin Lori Ann Komisar Richard W. Shepro+ James L. Alexander Gilda R. Buchbinder Fred A. Krehbiel° Eric S. Smith* Vice Chair Allan E. Bulley, III Josef Lakonishok* Pam F. Szokol Shirley Welsh Ryan John E. Butler Robert W. Lane° Franco Tedeschi Vice Chair Marion A. Cameron* James W. Mabie* Mark A. ierer William C. Vance Paul J. Carbone* Daniel T. Manoogian Cherryl T. omas Vice Chair David W. Carpenter Craig C. Martin* Olivia Tyrrell Donna Van Eekeren Richard W. Colburn+ Robert J. McCullen Donna Van Eekeren* Secretary Michael P. Cole Blythe J. McGarvie William C. Vance* Ruth Ann M. Gillis Vinay Couto Andrew J. McKenna Roberta L. Washlow Treasurer Lester Crown* Mimi Mitchell Miles D. White Elizabeth Hurley Marsha Cruzan Frank B. Modruson+ Assistant Secretary Sir Andrew Davis* Robert S. Morrison Roberta Lane William Mason Gerald Dorros, M.D.° Allan B. Muchin* Assistant Treasurer General Director Emeritus Ann M. Drake Linda K. Myers* Dan Draper+ Jeffrey C. Neal Allan Drebin+ Amélie Négrier-Oyarzabal Charles Droege+ Sylvia Neil* Chaz Ebert John D. Nichols° Stefan T. Edlis Kenneth R. Norgan * Executive Committee Lois Eisen Gregory J. O’Leary + Audit Committee James Fellowes Sharon F. Oberlander ° National Member Matthew A. Fisher John W. Oleniczak*+ Renée Fleming* Olufunmilayo I. Olopade, M.D. Sonia Florian* David T. Ormesher*+

4 | MARCH 1517, 2019

LYRIC OPERA OF CHICAGO

Women’s Board Guild Board of Directors Members Members at Large † Nancy S. Searle † James A. Staples Ms. Judith A. Akers Vindya Dayananda Mrs. Geraldine Bellanca Phil DeBoer President President Lena Dickinson † Mrs. James C. Pritchard † Minka Bosco Mr. Michael J. Brahill Dr. Gerald Budzik Katherine "Fritzi" Getz Vice President Board Activities Vice President – Benefit Marian Klaus † Caroline T. Huebner † Sarah Demet Mrs. Robert C. Debolt Joe Michalak Vice President Education Vice President – Benefit Mrs. Ingrid Dubburke Natalie Pace Mrs. Barbara M. Eckel Marne Smiley † Mrs. Julian W. Harvey † Michael Tirpak * Mr. Jonathan Eklund Vice President Fundraising Vice President – Family Day J.J. Williams Mrs. Gwen Faust Lauren Wood † Mrs. Anne M. Edwards † Fay M. Shong Mr. Peter B. Faust Vice President Special Events Vice President – Fundraising Mrs. Nancy R. Fifield † Maggie Rock Ms. Sharon L. Gibson e Patrick G. and Shirley W. Margot Stone Bowen Vice President – Membership Mr. Denny C. Hayes Ryan Opera Center Suzette Bulley † Nathaniel W. Pusey Ms. Virginia A. Jach Board of Directors Marie Campbell Vice President – Mrs. Jackie Knight Patrick G. and Shirley Welsh Ryan Mamie Biggs Case Membership Engagement * Ms. Kate Letarte Honorary Co-Chairs Mrs. Alger B. Chapman, Jr. † Dorothy Kuechl Mrs. Carole A. Luczak John Nitschke President † Elizabeth O’Connor Cole Secretary Mrs. Judith M. Marshall *^ Julie Baskes Vice President – At Large Mrs. Gary C. Comer † David Marshall Vee Minarich Janet Burch Vice President – At Large Mrs. Nancy Carrington Crown Treasurer Mrs. Harolyn Pappadis Karen W. Porter ^ Philip G. Lumpkin Vice President – * Mrs. Lester Crown † Marc Lacher Fundraising * Mrs. W. James Farrell Vice President at Large Mrs. Maria Rigolin Ms. Sherie Shapiro ^ Sally Feder Vice President – Mrs. Matthew A. Fisher Fundraising Co-Chair § Renée Fleming Allison Alexander Ms. Laura Shimkus Leslie Bertholdt Mrs. Carla orpe ^ Jane DiRenzo Pigott Vice President – Regan Rohde Friedmann Nominating Mrs. Robert W. Galvin *† Patrick J. Bitterman Henry Clark Sustaining Members * Susan Kiphart Vice President – Ms. Lili Gaubin * Ms. Julie Anne Benson Nominating Co-Chair Mrs. Ronald J. Gidwitz Mrs. Suzy Cobin Eben Dorros Mrs. Ron Beata ^ Joan Zajtchuk Vice President – Keith Kiley Goldstein Ms. Marlene R. Boncosky Strategic Planning Mrs. Annemarie H. Gramm Stephen Dunbar Mrs. Jeanne Hamilton † Timothy R. Farrell Juliana Chyu Vice President – Karen Z. Gray-Krehbiel Mrs. Beatriz E. Iorgulescu Strategic Planning Co-Chair Mrs. King Harris Robert Gienko, Jr. * Dorothy Kuechl Camille Gifford Debbie K. Wright Treasurer Mrs. Philip E. Kelley Mr. Lester Marriner Roberta Lane Assistant Treasurer Rebecca Walker Knight Olivier C. Junod * Ms. Jennie M. Righeimer Mark Kozloff, M.D. Chester T. Kamin Secretary Mrs. Frederick A. Krehbiel Mrs. Karen H. Tiersky Dan Novak Assistant Secretary Silvia Beltrametti Krehbiel Daria M. Lewicky Mr. Myron Tiersky Louis Margaglione * Mrs. Richard P. Mayer Nicole M. Arnold Florence D. McMillan Robert S. Marjan Life Members Heidi Heutel Bohn Alison Wehman McNally * Ms. Martina M. Mead * Mrs. J. William Cuncannan Tanja Chevalier Mrs. Susan H. Mesrobian Craig R. Milkint * Mrs. Donald Grauer Tamara Conway *† Mimi Mitchell † Melissa Mounce Mithal * Mrs. Patrick R. Grogan Lawrence O. Corry Tim Pontarelli * Mrs. Merwyn Kind Nancy Dehmlow Mrs. Robert S. Morrison * Mrs. Jonathan R. Laing * Allan Drebin Suzanne W. Mulshine Ms. Christina M. Rashid Mary Lynne Shafer * Mrs. Frank M. Lieber Erika E. Erich † Mrs. Eileen Murphy Ilene Simmons * Mrs. Howard S. Smith Jack Forsythe Mrs. Susan B. Noyes Ms. Joan M. Solbeck * Mrs. William C. Tippens David S. Fox * Mrs. James J. O’Connor * Mrs. Eugene E. White Anthony Freud Claudine Tambuatco Mira J. Frohnmayer Mrs. William A. Osborn * Oscar Tatosian Mrs. Jerry K. Pearlman Chapter Presidents Mary Patricia Gannon Cathy Wloch Melvin Gray Mrs. Frederick H. Prince Ms. Anne Zenzer Barrington Mrs. omas D. Heath * Mrs. J. Christopher Reyes Mary Rafetto-Robins Mary Ellen Hennessy Mrs. Ronald A. Rolighed Sustaining Members Evanston Martha A. Hesse Trisha Rooney Mrs. Barbara M. Eckel Loretta Julian Mrs. John H. Andersen Far West Betsy Bergman Rosenfield * Mrs. Gustavo A. Bermudez Jeanne Randall Malkin * Mrs. Patrick G. Ryan Mrs. Judith M. Marshall Robert C. Marks Mrs. Avrum H. Dannen Flossmoor Area Erma S. Medgyesy † Erica L. Sandner * Robert F. Finke Mrs. E. Scott Santi Ms. Sharon L. Gibson Helen Melchior Mrs. Amanda C. Fox Glencoe Frank B. Modruson † Mrs. Alejandro Silva Mrs. William R. Jentes Phyllis Neiman Mrs. John R. Siragusa Anne Ruzicka Chester T. Kamin Hinsdale Susan Noel Mrs. Lisbeth Stiffel John M. Kohlmeier Karen W. Porter Gregory J. O’Leary Mrs. James P. Stirling Mrs. Robert E. Largay Michael A. Oberman Lake Geneva ^ Ted Reichardt Marilynn oma * Ms. Britt M. Miller Mr. Peter D. Connolly * Mrs. eodore D. Tieken Richard O. Ryan * John H. Nelson Near North Richard W. Shepro Mrs. Richard H. Wehman Mrs. Lisbeth Stiffel David E. Miller Salme Harju Steinberg Mrs. Robert G. Weiss R. Todd Vieregg Northfield Nasrin ierer Hon. Corinne Wood Mrs. Margareta Brown Cynthia Vahlkamp Mrs. Patrick Wood-Prince † Executive Committee Riverside Donna Van Eekeren * Former President Mrs. Mary Kitzberger Mrs. Richard H. Wehman Life Members Wilmette Jack Weiss Paula Hannaway Crown Chapters’ Executive Board Mrs. Nancy R. Fifield Winnetka Life Members * Mrs. Richard W. Durkes † Richard Greenman * Jane Duboise Gargiulo Mrs. Julie McDowell * Katherine A. Abelson President Mrs. James W. Cozad * Mrs. Paul W. Oliver, Jr. † Ms. Erika E. Erich Bernard J. Dobroski Mrs. Jay A. Pritzker † Executive Committee Vice President – Fundraising * Former President Anne Gross Mrs. Gordon Segal † Mary Rafetto-Robins * Keith A. Reed Vice President – Community Relations Orli Staley * Former President Lyric Young Professionals * William C. Vance † Mrs. Linda Budzik Lisa DeAngelis, President * Mrs. J. W. Van Gorkom † Executive Committee Vice President – Membership § Honorary Member Martha Grant, Co-Vice President Howard A. Vaughan, Jr. † Mrs. Margie Franklin Shannon Shin, Co-Vice President Vice President – Programs Christopher Hanig, Secretary * Former President † Claudia Winkler Tania Tawil, Events Chair ^ Team Chair Treasurer Jonathon ierer, Fundraising Chair † Mrs. Mary Lunz Houston Secretary 6 | MARCH 1517, 2019

LYRIC OPERA OF CHICAGO Anthony Freud, OBE General Director, President & CEO e Women’s Board Endowed Chair

Sir Andrew Davis Renée Fleming Drew Landmesser Music Director Creative Consultant Deputy General Director and Chief Operating Officer e John D. and Alexandra C. Nichols Endowed Chair Elizabeth Hurley Roberta Lane Chief Development Officer Chief Financial and Administrative Officer

Cayenne Harris Elizabeth Landon Nicholas Ivor Martin Vice President, Lyric Unlimited Vice President, Human Resources Vice President, Artistic Operations and Labor Strategy e Chapters’ Endowed Chair for Education Andreas Melinat Lisa Middleton Dan Novak Vice President, Artistic Planning Vice President, Marketing and Communications Vice President and Director, Ryan Opera Center e Ryan Opera Center Board Endowed Chair Will Raj Rich Regan Michael Smallwood Vice President, Information Technology Vice President and General Manager, Vice President and Technical Director Presentations and Events e Allan and Elaine Muchin Endowed Chair

OFFICE OF THE GENERAL Daniel Moss Dan Seekman MARKETING AND DIRECTOR Senior Director of Institutional Senior Staff Accountant COMMUNICATIONS Anthony Freud Partnerships Rosemary Ryan Lisa Middleton General Director, President & CEO Adriane Fink Accounts Payable Associate Vice President, Marketing e Women’s Board Endowed Chair Director of Institutional Partnerships Gwenetta Almon and Communications Linda Nguyen Angela DeStefano Payroll Coordinator Shelby Homiston Manager, Office of the General Director Philanthropy Officer Megan Walker Marketing and Public Relations Kathleen Butera Sarah Sapperstein Payroll Coordinator Coordinator Assistant, Office of the General Director Associate Director of Institutional Partnerships HUMAN RESOURCES OFFICE OF THE DEPUTY Elizabeth Landon Laura E. Burgos GENERAL DIRECTOR Pavitra Ramachandran Senior Director, Digital and Analytics Institutional Partnerships Associate Vice President, Human Resources Drew Landmesser Stephanie Strong Valerie Bromann Deputy General Director and Director of Compensation, Benefits, Manager of Digital Content Amber Cullen Chief Operating Officer and HR Operations and Analysis Director of Philanthropy Michael Musick ARTISTIC Charity Franco Libby Rosenfeld E-Commerce Manager Andreas Melinat Human Resources Associate Philanthropy Officer Vice President, Artistic Planning Sharai Bohannon Cory Lippiello Office Coordinator Holly H. Gilson Artistic Administrator Angela Larson Mosadi Goodman Senior Director, Communications Evamaria Wieser Director of Annual Giving Human Resources Coordinator Magda Krance Casting Consultant Scott Podraza Director of Media Relations Associate Director of Annual Giving INFORMATION TECHNOLOGY Roger Pines DEVELOPMENT Karoline Reynolds Will Raj Dramaturg Elizabeth Hurley Digital Fundraising Associate Vice President, Information Technology Nathaniel Hamilton Chief Development Officer Sarah Geocaris Eric Hayes Public Relations Manager Zachary Vanderburg Chapters Coordinator Director of IT Operations Andrew Cioffi Executive Assistant to the Chief Anna VanDeKerchove Rita Parida Digital Content Producer Development Officer Donor Engagement and Stewardship Director of Data Services Amanda Reitenbach Marisa Lerman Coordinator Jessica Keener Social Media Associate Development Assistant Systems Analyst Amy Tinucci Sean Lennon Tracy Galligher Young Lawrence DelPilar Director of Development Operations Systems Administrator Senior Director, Marketing and Senior Director, Development Hanna Pristave Bob Helmuth Audience Development Mike Biver Technology Support Associate Director of Gift Planning Manager of Operations and Data Jennifer Colgan Analytics Jazmin Segura Director of Sales and Advertising Jonathan P. Siner Technology Support Specialist Senior Director of Gift Planning Stephanie Lillie Brittany Gonzalez Meaghan Stainback Donor Records and Reporting Associate LYRIC UNLIMITED Director of Group Sales Philanthropy Officer Erin Johnson Cayenne Harris Daniel Crespo Kristen Bigham Donor Records Coordinator Vice President, Lyric Unlimited Graphic Designer Gift Planning Associate e Chapters' Endowed Chair for Margaret Kellas Andrea Rubens FINANCE Education Lyric Unlimited Marketing Associate Individual Giving and Lyric Young Roberta Lane Crystal Coats Stefany Phillips Professionals Coordinator Chief Financial and Administrative Director of Community Programs Creative Project Associate Officer Todd Snead Lindsey Raker Kate Later Whitney Bercek Director of Learning Programs Marketing Associate, Advertising and Senior Director of Special Events and Controller Will Biby Promotions Women’s Board Vincente F. Milianti Manager of Audience Programs Sarah Sabet Deborah Hare Senior Director, Financial Planning Drew Smith Marketing Associate, Special Programs Director of Special Events and Analysis Learning Programs Manager LeiLynn Farmer Leah Bobbey Nicky Chaybasarskaya Cameron Murdock Group Sales Coordinator Women’s Board Manager Senior Accountant Backstage Tours Coordinator Rachel Peterson Ana Joyce LaRob Payton Special Events Associate Senior Accountant Lyric Unlimited Coordinator Paul D. Sprecher Nancy Ko Special Events Associate Accounting Manager Devin Bopp Lee Stevens Women's Board Assistant Payroll Director Teresa Fleming Tom Pels Women’s Board Assistant Payroll Supervisor 8 | MARCH 1517, 2019 LYRIC OPERA OF CHICAGO TICKET DEPARTMENT/ Bernard McNeela Richard “Doc” Wren Scott Marr AUDIENCE SERVICES Engineer Warehouse Coordinator Wardrobe, Wigs, and Makeup Director Susan Harrison Niemi Briette Madrid Dan DiBennardi Director of Audience Services Stage Door Supervisor Assistant Warehouse Coordinator Maureen Reilly Nathan Tuttle Costume Director Alex Chatziapostolou-Demas e Richard P. and Susan Kiphart Sales Manager Facilities Porter Dan Donahue Justin Hull Endowed Chair John Renfroe PRODUCTION Lucy Lindquist Tessitura Manager Ryan McGovern Cameron Arens Assistant Carpenters Wardrobe Mistress Laura Waters Senior Director, Production Call Center Manager Anthony Bernardy Meriem Bahri Kelly E. Cronin Katrina Bachus Adam Gorsky Louie Barrios VIP Ticketing Associate Jordan Lee Braun Brian Hobbs Jenah Hensel Daniel Quinn David Carl Toulson Robert Hull, Jr. Molly Herman VIP Ticketing Coordinator Mo Zhou Connor Ingersoll James Herrity Assistant Stage Directors John Ingersoll Robert Hilliard Julia Acquistapace Dan Lang Kate Keefe Sebastian Armendariz John W. Coleman Johnny Rivers Cecylia Kinder Marnie Baylouny Rachel C. Henneberry Chase Torringa Krystina Lowe Abigail Brown Rachel A. Tobias Carpenters Talia Newton Edmond Burkhart Stage Managers Kathy Rubel Benjamin Burney Toni Rubino Alex Carey Kristen Barrett Chris Maravich Joanna Rzepka Emily Crisp Rachel C. Henneberry Lighting Director Marguerite Scott Erik Dohner Anderson Nunnelley e Mary-Louise and James S. Aagaard Rebecca Shouse Jerry Downey Daniel Sokalski Endowed Chair Ewa Szylak Ashlyn Elliot Peggy Stenger Sarah Riffle Barbara Szyllo Leigh Folta Amy C. ompson Heather Sparling Carolina Tuazon Claire French Rachel A. Tobias Assistant Lighting Designers Isaac Turner Michaela Gleason Bill Walters Maggie Zabierowski Sandra Zamora Michael C. Reynolds Wardrobe Staff Andrew Groble Assistant Stage Managers Master Electrician Amy Gruttadauria Soren Ersbak Samantha Holmes Alex Hinand Ben Bell Bern Board Operator Wardrobe Crew Head Bailey Howard Rehearsal Department Manager Karen Hunt Kevin Krasinski John Clarke, Jr. Kristine Anderson Zach Hutchinson Artist Services Manager Anthony Coia Scott Barker Caitlyn Johnson Marina Vecci Gary Grenda Breena Cope Ebony Johnson Rehearsal Associate Robert Reynolds Lauren Crotty Assistant Electricians Tracy Curran Kerri Killeen Michael Calderone Dawn Marie Hamilton Eve Krueger Christine Wagner Jason Combs David Hough Steve Landsman Rehearsal Assistants omas Fernandez Charlie Junke Madison Lawry THE PATRICK G. AND SHIRLEY W. omas Hull Kim Kostera Ian Maryfield Daniel Kuh Wendy McCay Stephen Reineccius RYAN OPERA CENTER Dan Novak Asiel Simpson Moira O'Neil Jessica Reinhart Jeremy omas John Salyers Alexander Rocha Vice President and Director, Ryan Opera Center Jose Villalpando Dulce Santillan Ben Ross Electricians Lynn Sparber Erin Sheets e Ryan Opera Center Board Endowed Chair Chris Valente Destiny Strothers Joe Schofield Roger Weir Adam Stubitsch Craig Terry Music Director Head Audio Technician Samantha Yonan Marisa von Drasek e Jannotta Family Endowed Chair Dressers Ryan Wood Nick Charlan Julia Faulkner Matt Eble Ticket Staff Director of Vocal Studies Sarah Hatten Kelvin Ingram Wigmaster and Makeup Designer Elizabeth F. Cheney Foundation Audio Technicians Emily Crisp Emma Scherer e Marlys Beider Endowed Chair Michaela Gleason Associate Allison Burkholder Ben Ross Maria DeFabo Akin Department Coordinator Lyric Concierge Representatives TECHNICAL Props and Scenic Art Director Michael Smallwood Chantelle Marie Johnson OPERATIONS Vice President and Technical Director Charles Reilly Lynn Koroulis Nicholas Ivor Martin e Allan and Elaine Muchin Property Master Robert Kuper Lana McKinnon Vice President, Artistic Operations and Endowed Chair Michael McPartlin Labor Strategy Properties Crew Head Claire Moores April Busch Staff Stephanie Karr Technical Operations Director Senior Director of Music Administration Phil Marcotte Michael Schoenig Prop Carpenter Bridget Rzymski Wendy Skoczen Technical Finance Director Wig Crew Head Chief Librarian Bob Ladd Madeleine Borg Armorer Tabitha Boorsma Production Manager – Lyric Unlimited John Bivins III Operations Associate Rachel Boultinghouse DeShawn Bowman and Ryan Opera Center Upholsterer Gretchen Meyerhoefer Martha Contreras Music Administration Associate Robert Hartge Brittany Crinson Scott Wolfson Toywa Curington Claire Potter Associate Technical Director Michael O’Donnell, Jr. Music Administration Coordinator Eric Daniels Stephen Snyder Richard Tyriver Assistant Properties June Gearon PRESENTATIONS AND EVENTS Technical Coordinator David Grant Rich Regan Joe Dockweiler Michael Buerger Carla Hubbs Vice President and General Manager, Master Carpenter Joseph Collins Alicja Klosek Presentations and Events Mike Reilly Gordon Granger Briette Madrid Sharon Lomasney Head Flyman/Automation Nick Malloy Patrick Munoz Director of Presentations and Events Jeffrey Streichhirsch Joe Mathesius Nelson Posada Nora O’Malley Automation Assistant Kevin McPartlin Sunni Powell Director of Facility Operations Chris Barker Properties Monique Rhue Leslie MacLean Matt Reilly Jada Richardson Facilities Coordinator Rigging/Automation Assistants Brian Traynor Lela Rosenberg Megan St. John Mark Shanabrough Charge Artist Rick Salazar Rebecca Scott Presentations and Events Coordinator Head Shop Carpenter Tim Morrison Stephen Dunford Brian Grenda Kacy Tatus Michael Murtaugh Pat Tomlinson Chief Engineer Layout Carpenter Scenic Artists Gregg Brody Drew Trusk Emily Young Box Office Manager Head Shop Welder Wig and Makeup Crew Bruce Woodruff Layout Welder MARCH 1517, 2019 | 9 PHILIP NEWTON/SEATTLE OPERA

Lyric Unlimited Premiere An American Dream Music by Jack Perla Libretto by Jessica Murphy Moo

LEAD SPONSOR

COSPONSORS LESTER S. ABELSON NIX LAURIDSEN AND VIRGINIA FOUNDATION / CROSKERY LAURIDSEN KATHERINE A. ABELSON

LAUTER McDOUGAL SEYMOUR H. PERSKY MARY CHARITABLE FUND CHARITABLE TRUST STOWELL

ERIC AND DEB MARY PATRICIA KENNETH R. HIRSCHFIELD GANNON NORGAN

Additional Support Eisen Family Foundation James R. Grimes

10 | MARCH 1517, 2019 Explore Lyric with a BACKSTAGE TOUR

Wonder at the Art-Deco beauty of the Ardis Krainik Theatre, enjoy an up-close-and-personal view of the orchestra pit, and see where the magic happens backstage.

Visit lyricopera.org/backstagetours for dates throughout the season and to learn more about our many tour options!

BERNSTEIN  SONDHEIM JOIN US FOR ONE OF THE MOST THRILLING BROADWAY MUSICALS OF ALL TIME

MAY  JUNE , 

A coproduction of Lyric Opera of Chicago, Houston Grand Opera, and Glimmerglass Festival. Lyric premiere of Bernstein’s West Side Story generously made possible by Lead Sponsor The Negaunee Foundation and cosponsors an Anonymous Donor, Randy L. and Melvin R. Berlin, Robert S. and Susan E. Morrison, Mrs. Herbert A. Vance and Mr. and Mrs. William C. Vance, and Northern Trust. Major in-kind audio support provided by Shure Incorporated. .
. WESTSIDESTORYCHICAGO.COM SAVINGS FOR GROUPS OF †‡ OR MORE ‰†Š.‹ŠŒ.Ž‘†‰

Lyric Unlimited Premiere AN AMERICAN DREAM • Scenery built by McGuire Scenic. Music by JACK PERLA Libretto by JESSICA MURPHY MOO Commissioned by Seattle Opera Sung in English • Publisher: Music Without Walls First performed by Seattle Opera at McCaw Hall, August 21, 2015 Performed by Lyric Unlimited at Harris  eater for Music and Dance, March 15 and 17, 2019 Characters in order of vocal appearance: • Lyric Opera gratefully Jim Crowley CHRISTOPHER MAGIERA* acknowledges the support of the Eva Crowley CATHERINE MARTIN* Robert and Ellen Marks Mama (Hiroko Kobayashi) NINA YOSHIDA NELSEN* Setsuko Kobayashi SO YOUNG PARK* American Opera Endowed Chair. Papa (Makoto Kobayashi) AO LI* FBI Agent #1 JEFF DIEBOLD

Conductor DANIELA CANDILLARI Director MATTHEW OZAWA • Lyric Opera of Chicago wishes Set Designer ANDREW BOYCE* to thank its Offi cial Airline, Costume Designer IZUMI INABA Lighting Designer LEE FISKNESS American Airlines. Properties Designer AMANDA RELAFORD* Wigmaster and Makeup Designer SARAH HATTEN Assistant Director JORDAN LEE BRAUN Costume Supervisor LYNN SPARBER Stage Manager KRISTEN BARRETT Assistant Stage Managers JOHN W. COLEMAN DONALD CLAXON PEGGY STENGER  e American Guild of Musical Musical Preparation WILLIAM C. BILLINGHAM Artists, AFL-CIO (AGMA), is YASUKO OURA the union that represents the singers, Projected English Texts ROGER PINES dancers, actors, and staging personnel at Lyric Opera of Chicago. * Lyric debut Orchestra: Michèle Lekas, Violin I Rika Seko, Violin II Rebecca Swan, Viola William H. Cernota, Cello Jeremy Attanaseo, Bass Eliza Bangert, Flute Jennet Ingle, Oboe Susan Warner, Clarinet John Gaudette, Bassoon Robert E. Johnson, Principal Horn Ben Wulfman, Horn Dave Inmon, Trumpet Eric Millstein, Timpani/Percussion Marguerite Lynn Williams, Harp Yasuko Oura, Piano

MARCH 1517, 2019 | 13 LYRIC UNLIMITED

An American Dream – Synopsis

some old dynamite in the shed out back, and they say this contraband makes him a threat. Makoto has no choice but to sell the land to Jim. As the FBI agents take Makoto away, he promises to return for his teenage daughter, Setsuko. Spring, 1942 Setsuko and her mother, Hiroko, have packed up the house. Setsuko

PHILIP NEWTON/SEATTLE OPERA NEWTON/SEATTLE PHILIP holds her suitcase, ready to leave, when a postman delivers a letter. Setsuko sees that it is from Germany, for a woman named Eva. Angry that she is being forced to leave her home, the girl steals the letter. A few weeks later Jim and Eva move into their new home; they designate a room for Eva’s parents. Jim tries to keep Eva’s hopes up. Eva notices that small items have been left behind in the home: a piece of a record and a photograph. When she finds a beautiful Hinamatsuri doll hidden beneath a floorboard, Eva asks Jim about the previous owners. Jim tells her that they were “Japs,” sent to the “camps.” He tells her to throw away the doll, that it doesn’t belong in a room for her parents. Eva defies Jim’s wishes and hides the doll, promising to find its owner and return it at the war’s end. May 1945 Jim and Eva hear an announcement on the radio of Germany’s surrender. Eva writes to Setsuko, telling Setsuko she has something that belongs to her. Later that month While still incarcerated, Setsuko receives the letter. When her mother, who is gravely ill, inquires about the letter, Setsuko lies and explains that the letter is from her father, telling them to keep hope because the war is nearly done. August, 1945 When Eva reads Setsuko’s response, Jim tells Eva that Setsuko is not allowed in their home. President Truman announces the dropping of the atomic bomb. September, 1945 Yeonji Lee (Setsuko) and Nina Yoshida Nelsen (Hiroko) at ere is a knock on the door. It is Setsuko, who confronts Jim, Seattle Opera, 2017. reminding him that he coerced her family to sell their home for next to nothing. Eva asks Jim if this is true. AMERICA Jim tries to explain his actions to Eva. She leaves the room to retrieve the doll she has promised to return to Setsuko. While she is Winter, 1942 gone, Jim confronts Setsuko, and Setsuko admits to another reason for A farmhouse on a Puget Sound island. American veteran Jim Crowley coming. She is here to return Eva’s letter. Eva returns to the room, and and Eva, his new wife, have come to buy a home. A German Jew, Eva Setsuko gives her the letter. From the stolen letter, Eva learns of her desperately wants her parents to leave Germany, where their lives are parents’ fate, and she collapses. Setsuko must finish reading the letter in danger. She hopes her family will find peace and sanctuary in this for her. Jim tries to comfort Eva as Setsuko faces her future. place so far from the war. Meanwhile, inside the home, a Japanese American family, the Kobayashis, has heard that the FBI has been searching homes and taking away people of Japanese descent. e Approximately 60 minutes. family burns their precious Japanese belongings and photographs of ere will be no intermission. their family members in the hopes of avoiding arrest. Eva waits outside as Jim, knowing he has the upper hand, tries to get the father, Makoto Please stay for a discussion in the theater Kobayashi, to sell the land for a fraction of what it is worth. e FBI following the performance. arrives at the home and tells Makoto he is under arrest; the FBI found

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JACK PERLA Poets & Writers magazine, ParentMap, e CHRISTOPHER (Composer) is active in Tablet, Boston College magazine, and e MAGIERA (Jim opera, jazz, chamber, Atlantic Online, among other publications. Crowley) began the and symphonic music. Murphy Moo was a 2016 fellow at Tapestry season at Chicago With his New York- Opera’s Librettist Composer Laboratory Opera eater based group Music Workshop and is currently working on a new portraying Robert/ Without Walls and libretto for an opera for young audiences. She Iolanta and returns subsequently in San is an alumna of the College of the Holy Cross there later in the season Francisco, he has (B. A.) and Emerson College (M. F. A.). as Gardiner/Moby Dick. steadily forged a reputation for cross- Murphy Moo has held teaching positions at e baritone will also be heard in Carmina fertilization of jazz and classical music. Among Emerson College, Harvard University, Boston Burana with the Evanston Symphony. Recent his operatic commissions have been Shalimar University, Seattle Pacific University, highlights include Sharpless/Madama Butterfly the Clown, based on Salman Rushdie’s novel University of Washington, and Seattle Opera. (Opera Naples, Opera eatre of Saint Louis (Opera eatre of Saint Louis, 2016); An – he has starred with the latter company as American Dream (Seattle Opera, 2015); Jonah CATHERINE Tchaikovsky’s Onegin); Marcello/La and the Whale (LA Opera, 2014); Mich and MARTIN (Eva bohème (Charleston Opera), John Adams’s the Moon (Opera Memphis, 2014); Love/Hate Crowley) has previously The Wound Dresser (McLean Orchestra), and (San Francisco Opera Center and ODC appeared at Lyric as Dvořák’s Requiem (Berkshire Choral Festival). eater, 2012, reprised by the Manhattan Waltraute/Die Walküre Other major achievements include School of Music, the Philadelphia Fringe (2017/18) and Hécube/ performances with English National Opera Festival, and Maryland Opera eater); River Les Troyens (2016/17). (Captain/e Death of Klinghoffer, also heard of Light (Houston Grand Opera, 2014); and e San Antonio native in St. Louis), e Santa Fe Opera (Valentin/ Courtside (Houston Grand Opera, 2011). began the 2018/19 Faust, Zurga/e Pearl Fishers), Dresden’s Perla is a recipient of the prestigious season as Wowkle/La fanciulla del West at Semperoper (Danilo/e Merry Widow, elonious Monk Institute Jazz Composers Maryland Lyric Opera, before portraying Licinius/La vestale, Figaro/e Barber of Award and has performed as a pianist at the Tamara/Enemies, A Love Story at Kentucky Seville, Count/e Marriage of Figaro, Texaco New York Jazz Festival, Knitting Opera. Later this season she will sing Papageno/e Magic Flute), Opera Colorado, Factory, Tampere Jazz Festival, Big Sur, Herodias/Salome at Dayton Opera, where she Vancouver Opera, and the Teatro Massimo Monterey and Pacifica Jazz Festivals, and the previously starred as Sister Helen Prejean/ Palermo. Concert engagements include the Millennium Festival in London. His third jazz Dead Man Walking. e latter role has also Montreal Symphony Orchestra, the Bilkent recording, Poet’s Cabaret, was released in brought her to Dresden’s Semperoper Symphony Orchestra of Ankara, Turkey, the 2015. Perla was artist-in-residence at ODC (international debut) and e Minnesota Shanghai Symphony, and the Richard Tucker eater from 2006 to 2009, and during the Opera. Other recent successes include Gala at Lincoln Center. An alumnus of the same period participated in American Opera appearances at Tanglewood (Wellgunde/Das Opernstudio of Munich’s Bavarian State Projects’ Composers and the Voice and Rheingold), Washington National Opera Opera, Magiera is also a former National Tapestry New Opera’s LibLab. (Wellgunde/Das Rheingold and Grand Finalist in the Metropolitan Opera’s Götterdämmerung, Grimgerde/Die Walküre), National Council Auditions and a winner of JESSICA MURPHY Florida Grand Opera (Adalgisa/Norma), and top awards in many other major MOO (Librettist) Opera Colorado (Amneris/Aida). She has also competitions. earned great acclaim for portrayed Strauss’s Composer and Verdi’s her collaboration with Amneris (Glimmerglass Festival), Nicklausse/ SO YOUNG PARK Jack Perla, An American e Tales of Hoffmann, Hermia/A Midsummer (Setsuko Kobayashi) Dream, at its Seattle Night’s Dream, and Zaida/Il turco in Italia (all debuted at the Opera world premiere at Wolf Trap Opera). Martin’s close Metropolitan Opera in in 2015 and its reprise relationship with Houston Grand Opera January as Mozart’s there two years later. began with her tenure at the company’s Queen of the Night Murphy Moo was recently appointed editor renowned Opera Studio and continued with after winning acclaim in of Portland magazine, the award-winning return engagements as Amneris/Aida, that role with ten other publication of the University of Portland. She Flosshilde/Das Rheingold, and Waltraute/Die companies, among is former senior communications manager for Walküre. e mezzo-soprano’s world them those of Houston, Los Angeles, Detroit, Seattle Opera, as well as an adjunct instructor premieres include the roles of Sara Miller/D.J. and Boston. Park appeared in February with teaching nonfiction writing for the University Sparr’s Approaching Ali and Mary/Jeanine the New York Philharmonic for the Lunar of Washington’s Professional and Continuing Tesori’s e Lion, the Unicorn, and Me, both Year Concert, and later this season she stars at Education division. Murphy Moo was at Washington National Opera. Opera eatre of Saint Louis as Gilda/ formerly a staff editor at e Atlantic and Rigoletto. Park recently debuted with the LA fiction editor at Memorious, an online literary Master Chorale in Carmina Burana, returned magazine. Her fiction has appeared in e to the Los Angeles Philharmonic for Esa- Atlantic, Image, Memorious, and Signs of Life, Pekka Salonen’s Wing on Wing (with the an anthology for Seattle-based writers. Her composer conducting), and portrayed Gilda nonfiction has appeared in Portland magazine, at Michigan Opera eater. She has also been

16 | MARCH 1517, 2019 PROFILES | LYRIC UNLIMITED featured with LA Opera in e Abduction from AO LI (Makoto DANIELA the Seraglio and Akhnaten, and with Opera Kobayashi) first attracted CANDILLARI eatre of Saint Louis in Ariadne auf Naxos. attention as 2013 winner (Conductor), who led Concerts have included appearances with of Plácido Domingo’s Fellow Travelers at the Gustavo Dudamel and the Los Angeles Operalia competition and Athenaeum eatre for Philharmonic and with Plácido Domingo at a 2014 national winner in Lyric Unlimited and e the Seoul Olympic Gymnasium. e South the Metropolitan Opera Minnesota Opera last Korean soprano trained as a Domingo- National Council season, recently made her Colburn-Stein Young Artist at LA Opera, and Auditions. Li is an debut with NOVUS NY she can be heard on CD in that company’s alumnus of Shandong Normal University of Trinity Wall Street (Leonard Bernstein Grammy-winning recording of e Ghosts of (where he is currently a faculty member), centenary celebration concert) and her Versailles. Domingo featured Park as a soloist the University of Cincinnati College- PROTOTYPE Festival debut conducting on his recent album, My Christmas. Conservatory of Music, the Canada Vocal Arts Acquanetta. Highlighting the current season are Institute, San Francisco Opera’s Merola Opera Candillari’s Boston conducting debut with the NINA YOSHIDA Program and Adler Fellowship program, and world premiere of Dan Visconti and Cerise NELSEN (Hiroko Washington National Opera’s Domingo-Cafritz Jacobs's PermaDeath; her Asian debut in Hong Kobayashi) is reprising a Young Artist Program. He made his Kong conducting Du Yun’s Pulitzer Prize- role she created at Seattle professional opera debut in 2011 at San winning opera Angel’s Bone; and her Opera Opera in 2015 and Francisco Opera as Dancaïre/Carmen, appearing Philadelphia debut conducting Rene Orth’s reprised there in 2017. subsequently with the SFO as Petrucci/Lucrezia Empty the House. is summer she leads the e mezzo-soprano has Borgia, Lorenzo/I Capuleti e i Montecchi, West Coast premiere of Jennifer Higdon’s Cold been featured as Suzuki/ Uberto/La serva padrona, Don Basilio/e Mountain at the Music Academy of the West. Madama Butterfly at Barber of Seville, and the Indian Gardener and Other recent projects include conducting the London’s Royal Albert Hall (European debut), Ben Weatherstaff/Nolan Gasser’s e Secret world premiere of Stefania de Kenessey’s opera New York City Opera, the Phoenicia Garden (world premiere). In the fall of 2018 the Bonfire of the Vanities at Museo del Barrio, International Festival of the Voice and the Chinese bass-baritone sang Oroveso/Norma New York. At the Center for Contemporary major companies of Atlanta, Salt Lake City, with North Carolina Opera. He has also Opera Candillari workshopped the Rachel Manitoba, Santa Barbara, and Sarasota. Other portrayed Colline/La bohème at Utah Opera Peters/Royce Vavrek opera Wild Beast of the operatic credits include performances at Utah and earned great acclaim at the Seoul Arts Bungalow and gave the first public presentation Opera (Cherubino/e Marriage of Figaro), Centre as Gremin/Eugene Onegin. In 2015 he of Hannah Lash’s opera Beowulf. Candillari’s Houston Grand Opera (world premieres of created the role of Male Soloist No. 4 in the own compositions – commissioned by Huang Ruo’s Bound and Marty Regan’s world premiere of Huang Ruo’s Paradise outstanding instrumentalists and most recently e Memory Stone), Opera Santa Barbara Interrupted at Spoleto Festival USA, by the University of Pittsburgh – have now (Secretary/e Consul), Concerts include the subsequently reprising it at the Lincoln Center been performed by musicians from the Verdi Requiem (Guelph Symphony Orchestra, Festival and, in December 2018, in China. symphony orchestras of Boston, Cleveland, Bakersfield Symphony Orchestra), Detroit, and Pittsburgh, and by those of the Mahler’s Songs of a Wayfarer (Grand JEFF DIEBOLD (FBI Metropolitan Opera Orchestra, New York Junction and Flagstaff symphony orchestras), Agent #1) has been Philharmonic, and New York City Ballet. Beethoven’s Ninth Symphony (Southwest featured in many leading Florida Symphony), the Mozart Requiem roles throughout the MATTHEW OZAWA (Carnegie Hall, Santa Barbara Symphony, Chicagoland area. Most (Director) made his Lyric Southwest Florida Symphony), and Handel’s recently he portrayed directorial debut with Messiah (Nashville Symphony). She has sung Sam Carmichael/Mamma Nabucco (2015/16) and the Mother/Amahl and the Night Visitors at Mia! at the Paramount returned for Don Lincoln Center. Nelsen is a former recipient of eatre, a role repeated Quichotte and Celebrating an Encouragement Award from the Gerda on the U.S. tour of the Broadway production. Domingo (both 2016/17). Lissner Vocal Competition and a former Other notable appearances include Lurch/e He has an international Metropolitan Opera National Council Addams Family (Mercury eatre), Cornelius career spanning all Auditions National Semi-finalist. She is an Hackl/Hello Dolly! (Drury Lane eatre), and artistic disciplines and has worked for alumna of Philadelphia’s Academy of Vocal Joe Hardy/Damn Yankees (Metropolis companies worldwide, including Oregon Arts, where she sang many major roles. Performing Arts Centre in Arlington Heights), Shakespeare Festival, Canadian Opera as well as productions with Chicago Company, San Francisco Opera, Houston Shakespeare eater, Court eatre, eatre at Grand Opera, Santa Fe Opera, the Macau the Center, and Noble Fool eater. Diebold International Festival, and Opera Siam. Ozawa received his master’s degree in acting from is the founder and artistic director of Mozawa, Roosevelt University’s Chicago College of a Chicago-based incubator advancing Performing Arts. collaborative art and artists. Additionally, Ozawa serves as assistant professor and opera director at e University of Michigan. Acclaimed productions include Madama

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Butterfly (e Santa Fe Opera), An American IZUMI INABA AMANDA Soldier (Opera eatre of Saint Louis), Hand (Costume Designer) RELAFORD Eye (world premiere, Eighth Blackbird – returns to Lyric (Properties Designer) Carnegie Hall, Kennedy Center), Romeo & Unlimited after earned a M.F.A Juliet (e Minnesota Opera, Cincinnati designing e degree in properties Opera), L’Opera Seria and Les mamelles de Property in 2015. design and Tirésias / Le Pauvre Matelot (Wolf Trap She is a freelance management from Opera), A Little Night Music and David costume designer in the University of Hanlon’s After the Storm (world premiere, Chicago whose Illinois at Urbana- Houston Grand Opera), Madama Butterfly and recent work includes A Doll’s House, Part Champaign. Her professional credits Arizona Lady (American premiere, Arizona 2 (Steppenwolf eatre), Twilight Bowl include assistant properties coordinator Opera), Matt Aucoin’s Second Nature (world (Goodman eatre), Mansfield Park for e Ring of the Nibelung, produced by premiere, Lyric Unlimited), Sweeney Todd and (Northlight eatre), and Smart People e Washington National Opera at e Snow Dragon (world premiere, Skylight Music (Writers eatre). Regionally her work Kennedy Center for Performing Arts in eater, subsequently Opera Siam), A Dream has been seen onstage at the Milwaukee 2016. She has had the pleasure of Play (Mozawa), and Tsuru (world premiere, Repertory eatre, the Repertory eatre working as a props artisan at e Aspen Houston Ballet, subsequently Asia Society). of St. Louis, Center Stage in Baltimore, Music Festival and Creede Repertory and the Kirk Douglas eatre in Culver eatre. Amanda also served as properties ANDREW BOYCE (Set City, California. Izumi Inaba is supported manager for the Paramount eatre in Designer), an alumnus of by the Richard P. and Susan Kiphart Aurora, Illinois, from 2016 to 2018. Middlebury College and Costume Designer Endowed Chair. Before moving to the Midwest, Amanda the Yale School of earned her undergraduate degree in Drama, is a former LEE FISKNESS theater from Georgia State University in participant in the (Lighting Designer) 2010. During her time in Atlanta she Lincoln Center Directors received an M. F. A. worked at eatrical Outfit in a variety of Lab. He is currently a degree in lighting design roles, including production assistant and member of the from Northwestern wardrobe supervisor. While at eatrical Wingspace Design Collective and assistant University, where he Outfit she was given the opportunity to professor of set design at Northwestern designed Sweeney Todd, work with Kenny Leon’s True Colors University. Among the world premieres for Peter Pan, Amadeus, e eatre Company on multiple occasions. which he has created sets and/or costumes are Boys from Syracuse, e She also had the pleasure to work as a Clarkston (Dallas Theater Center); Another Ghosts of Versailles, and e Consul. In Chicago puppet builder at e Center for Word For Beauty (Goodman eatre), Ode to he has received Jeff nominations for Chicago Puppetry Arts. Joy and Buyer & Cellar (Rattlestick), Dreams of e Musical and Camelot at Drury Lane (where Flying, Dreams of Falling (Atlantic eatre other credits include Hazel, White Christmas, SARAH HATTEN Company), e Consultant (Long Wharf Billy Elliot, and Young Frankenstein); End Days (Wigmaster and Makeup eatre), Marco Ramirez’s e Royale (Kirk (Next eatre); and Sucker Punch (Victory Designer) has served Lyric Douglas eatre), Bike America (Alliance Gardens, where he also designed A Wonder in in this capacity since the eatre), LETTIE (Victory Gardens), and Soul, Gospel of Loving Kindness, and L-Vis). 2011/12 season. She has Evocation To Visible Appearance and Marginal Other Chicago productions include Spring worked in a wide Loss (both for the Humana Festival at Actors Awakening (Marriott eatre); Yellow Moon repertoire at Des Moines eater of Louisville). Opera credits include (Writers eatre); e Miraculous Journey of Metro Opera and e Barber of Seville (Kentucky Opera), Edward Tulane and Frederick (Chicago Michigan Opera eater, FLORIDA (Urban Arias, world premiere), Children’s eatre); Into America, Balm in as well as Columbus Opera, Toledo Opera, the and An American Soldier (Opera eatre of Gilead, Burnt Part Boys, and Port (Griffin Cabrillo Music Festival, and the University of Saint Louis). New York credits include eatre); e Hammer Trinity –Part 3 (House Cincinnati College-Conservatory of Music. productions for Lincoln Center eater, eatre of Chicago); You Never Can Tell and She has also worked at the Glimmerglass Roundabout eater Company, Atlantic Changes of Hearts (Remy Bumppo eatre); Festival and the major opera companies of Los eatre Company, and Cherry Lane eatre, Souvenir (Northlight eatre); Peter Pan Angeles, Omaha, Cleveland, Sarasota, and among many other companies. Boyce’s work (Lookinglass eatre); Woyzeck (Hypocrites Central City, as well as Wisconsin’s American has also been seen regionally at the American eatre); and Pony and Flowers (About Face Players eatre and, in Los Angeles, the Conservatory eatre, American Players eatre). Regional credits include productions Pantages eatre and the Geffen Playhouse. eater, Long Wharf eatre, Mark Taper for the Manhattan School of Music, Indiana Hatten earned a B. A. in music at Simpson Forum, Milwaukee Repertory eater, University, Minneapolis Music eatre, College. Sarah Hatten is the Marlys Beider Williamstown eatre Festival, and Yale Milwaukee Repertory eater, and Two River Wigmaster and Makeup Designer Endowed Repertory eater, among others. eatre. Fiskness is lighting director at e Chair. Santa Fe Opera, where he will be returning this summer for his 17th season. Lee Fiskness is supported by the Mary-Louise and James S. Aagard Lighting Director Endowed Chair.

18 | MARCH 1517, 2019 Opera is... Contemporary.

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Notes from the Composer and Librettist NATIONAL ARCHIVES PHILIP NEWTON/SEATTLE OPERA NEWTON/SEATTLE PHILIP

D’Ana Lombard as Eva Crowley in the 2015 world premiere of Japanese Americans waiting for relocation to incarceration camps. An American Dream at Seattle Opera.

COMPOSER’S NOTE How does an Italian American composer After both productions in Seattle, attendees Bringing a new opera to life takes a village. write an opera about a Japanese American girl of Japanese ancestry greeted us warmly and Counting revisions, it sometimes takes two or and her family during World War II? Setsuko thanked us for the opera.  ey were moved to three. In 2011 Sue Elliott had just taken over is a young woman standing up to a middle- see their families’ experiences brought to life – community engagement and educational pro- aged war veteran – not exactly something I’ve several said the event respected and honored grams at Seattle Opera when she contacted me experienced. On the other hand, my brother their experience. In addition, Marianne about a commission. She’d begun an oral his- suff ered from epilepsy and developmental Weltmann and Mary Matsuda Grunewald tory collaboration between Seattle Opera and delays, and was bullied relentlessly as a boy. attended the premiere – an unforgettable the Museum of History and Industry. About He was two years older than me, and though I honor. My wife and my daughter – eight at 170 participants were fi lmed answering the was the second-smallest boy in my class, I the time – were in the audience. My daughter question, “If you had to leave your home with often squared off against his classmates in an had no trouble understanding that this play, no warning, what one item would you take attempt to defend him.  e powerlessness we as she called it, centered upon a young girl with you?” Sue, librettist Jessica Murphy Moo, struggled with is something I’ll never forget; it standing up to a frightening older man, while and I agreed that several videos called naturally informed how I approached Setsuko’s journey. a woman helps her.  ough she hadn’t yet for dramatization and singing. Marianne Does working from such raw emotional learned the historical details, the story felt real Weltmann had escaped Nazi Germany and lines mean glossing cultural and historical to her. chose a book about her home town. Mary details? I don’t believe so. In most operas, After the premiere, Norm Mineta, Matsuda Grunewald, a Japanese American everything from the profoundly personal to Secretary of Transportation under President who was incarcerated during World War II, “I’ll answer the door” is sung.  is precludes George W. Bush, joined us for a post-show chose a bottle of shells she’d collected as a girl. the kind of realism fi lm can achieve. But set, Q&A. It was the summer of 2015, and he  ough from diff erent cultures and coun- lighting and costume design, and a skilled forcefully pointed up the parallels between his tries, both women became refugees from the tides director, can clarify the emotional arc and his- story and an ugly new version of it taking of war. Jessica based the characters of Eva and torical detail of a piece. Merging these ele- shape. It’s been sad and frightening to see Setsuko upon their stories – a strong starting ments with the urgency of music and voices is, those parallels persist and magnify. I hope this point for our work.  ere were many steps to the to me, the unique power of opera. piece helps in some way. I’ve felt blessed premiere, and Jessica was my constant compan- When the piece was in place, the village throughout the process of creating and per- ion. She’s one of the most thoughtful and idealis- mobilized. Sue organized a workshop that forming An American Dream.  ere were too tic writers I’ve worked with, and I learned a tre- allowed us to run the work in its entirety with many kind and generous people who helped mendous amount as we collaborated. She deep- orchestra for a small, thoughtful audience. Aidan along the way to name individually, but I’m ened Setsuko and Eva, developed Jim from sev- Lang, who’d just started as Seattle Opera’s gen- grateful to each of them. eral stories (including one told by a pilot), and eral director, attended and decided to premiere wove details from the remaining tales and from the opera as part of the 2015 subscription series. — Jack Perla historical research, into a moving libretto. Further performances were presented in 2017.

20 | MARCH 1517, 2019 PHILIP NEWTON/SEATTLE OPERA (Left and right) Hae Ji Chang as Setsuko in the 2015 world premiere of An American Dream at Seattle Opera. PHILIP NEWTON/SEATTLE OPERA NEWTON/SEATTLE PHILIP

Left: Items belonging to deported German Jews, Würzburg, 1943.

 e story may have started In addition to the women who inspired both “local” and “historical,” the story, this piece has connected me to per- but there are resonances in the formers and artists who have a direct connec- here and now. As we studied tion to this particular time in history.  ey are Executive Order 9066, which the interpreters of these characters. Nina President Franklin Delano Yoshida Nelsen created the role of the mother Roosevelt signed, I had to character and has performed the role in every

YAD VASHEM reevaluate the narrative I’d subsequent production. When Nina is per- grown up with about this par- forming, she is portraying her great-grand- LIBRETTIST’S NOTE ticular president. During the mother. Nina has told me that the opera gave An American Dream started as a community Depression, FDR helped my grandfather fi nd her an opportunity to talk with her grand- storytelling project in Seattle; it was about a a job. My grandfather was struggling: he was mother, who was a teenager in the detention particular time and place, though we soon an only child, his father had died, and he centers, about things that had always been left learned the story had a lot to tell us today. needed to support his mother. To my grandfa- unsaid. Nina’s grandmother got to see Nina We started the project with a question to ther FDR was a hero. But heroes are people. perform the role before she passed away. the public: What is your most precious FDR did help my grandfather fi nd work, and  ese performers bring these characters to life belonging and why?  is question led us to FDR also signed an executive order that took for all of you, and I am in awe of their abili- many amazing stories. Two held an unsettling rights away from American citizens and put ties. It is because of them that I had the fol- resonance. Marianne Weltmann shared a children into detention centers. Working on lowing exchange after opening weekend of book about her hometown in Stettin, the story of An American Dream complicated this show. Germany, which her family fl ed because of many narratives, and it has also made me more After the last performance a woman the Nazi threat. Mary Matsuda Gruenewald attentive to what is happening today. We hear approached me in the lobby. She said her kept a jar of shells she had collected as a child a lot about Executive Orders, and we know family had been incarcerated during World while incarcerated in California during World that bigotry, hate crimes, and anti-Semitism War II, she had heard the stories her whole War II. have not gone away. It has been a mere 25 life, she knew all the facts, but seeing the story  ese women inspired the Eva and weeks since the devastating murders at the unfold onstage along with Jack’s stirring Setsuko characters, though both the charac- Tree of Life synagogue in Pittsburgh. music had made her feel it for the fi rst time. ters and the specifi cs of the situation are fi c- Working on this story connected me to She began to cry, and we embraced. I do tional. In real life, Marianne is a retired opera organizations doing important and inspiring believe that art can connect us and make the singer and vocal coach. Mary is a retired nurse work.  e Japanese American Citizens League, fabric of our society stronger. Working on this and author. Mary’s high school recently in particular, galvanizes the voices of Japanese piece has challenged me to take a more active awarded her the diploma she missed out on Americans to stand up for social justice causes. role as a citizen. I have hope. because she had been in prison.  ey both  e Holocaust Museum in Washington, attended the premiere, and that means more D.C., brought me to my knees.  at organiza- — Jessica Murphy Moo to me than I can say. tion continues to educate and fi ght against anti-Semitism and genocide around the world.

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“If you had to leave your home today and couldn’t return, what would you Yeonji Lee as Setsuko take with you, and why would those connections to your past be so important?” in the 2017 revival of – Jack Perla, composer of An American Dream An American Dream at Seattle Opera. Jack Perla and Jessica Murphy Moo’s poetic and gripping opera, An American Dream, links directly to my family heritage. I am one of this

PHILIP NEWTON/SEATTLE OPERA NEWTON/SEATTLE PHILIP country’s few Asian American directors, and the process of preparing for this project has been an unusual one for me: digging up family photos, long chats with my father, looking at objects passed down from genera- tion to generation. Like 120,000 other Japanese Americans, allowed to take only what they could carry, my family was forcibly removed from their home in Los Angeles and sent to an incarceration camp in Heart Mountain, Wyoming. It was in this prison – compounds of barracks patrolled by armed guards and surrounded by barbed wire fences – that my father was born. His siblings, sadly, died in the camp, and by the time I was born, much of my family’s Japanese culture, language and religion had been silenced in the hope that I would be a truly assimilated “American.” For much of my upbringing I knew very little about my Japanese American heritage. I saw very few Japanese objects and pictures, and was told very little about the loss, the pain, and the struggles my family endured. Wiping the dust off my family history in order to investigate the opera’s themes of home and heritage was akin to unearthing a hidden secret. As for Setsuko and Eva in the opera, there was a haunting quality in realizing the magnetic pull of my family as found in their pictures, letters, and objects. is subtle internal feeling, I found, was so poi- gnantly mirrored in Perla’s score. I’ve realized that if I were forced to leave my home today, I would take as much of my family heritage with me as possible, because that history and culture cannot be silenced. What is so shocking is that what my family and so many others during World War II endured still occurs today. My connections to my past where those who were defined as “other” were “removed,” become contemporary reminders, so that we hopefully learn from our past and present to shape a new future. — Matthew Ozawa

Partner Organizations

Lyric Unlimited is proud to partner with the following organizations on this presentation of An American Dream:

Alphawood Foundation Lyric Young Professionals Council on Global Affairs Young Professionals Network University of Chicago Civic Leadership Academy Harris eater for Music and Dance University of Chicago School of Social Service Administration Japanese American Service Committee

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Japanese Americans During World War II

Even before World War II, the Japanese On February 19, 1942, President Franklin around 400 Japanese Americans called Chicago American community had already existed in the D. Roosevelt signed Executive Order 9066, home, but after the war, this population had United States as a marginalized and precarious which allowed for the designation of a military bloomed to over 20,000 Japanese Americans. As community, desired for their labor, but alienated exclusion zone on the west coast encompassing they worked to rebuild their lives, they continued due to their race, and attacked by opportunistic all of the state of California, and parts of to face barriers and difficulties, especially in politicians, labor unions, and muckraking Washington, Oregon, and Arizona. Under this regards to prejudice in housing and employment, journalists under the “yellow peril” sentiments of order, the government authorized the wholesale and even had to deal with local cemeteries and the prewar years. Barred from naturalizing by a incarceration of over 120,000 Japanese hospitals that refused to provide them service. 1922 Supreme Court decision, unable to Americans in ten Japanese American concentra- More than 40 years later, the Japanese immigrate due to a 1924 Immigration Act that tion camps managed by the War Relocation American community organized around a essentially barred Asian immigration to the U. S., Authority. Of the total number of those incar- redress and reparations movement that and often unable to own land or intermarry due cerated, roughly two-thirds were U.S. citizens, culminated in the 1988 Civil Liberties Act, to Alien Land Laws and anti-miscegenation laws, who, along with their immigrant parents, would which provided for an apology and compensation the Japanese American community struggled in be systematically stripped of their civil and to living survivors of the camps, and which the face of institutional racism and widespread human rights and imprisoned for the duration of recognized the role that racism, war hysteria, and prejudice. the war. a lack of political leadership had played in the Following the Japanese military attack on Often placed in marginal areas in the usurpation of their rights. Today, the community Pearl Harbor on December 7, 1941, more than interior of the U.S., these desolate camps would continues to work towards the preservation and 5,500 Japanese immigrant community leaders, who serve as the places of confinement for the promotion of this story as a lesson to all were primarily the male breadwinners for their Japanese American community until judicial Americans about the precariousness of our civil families, were immediately rounded up by the U. S. challenges eventually forced the government to and human rights, particularly in times of crisis. government and incarcerated in Department of allow for the release and resettlement of the Justice - operated prisons, along with a small Japanese American community outside of the — Ryan Masaaki Yokota, Ph.D. number of German and Italian nationals. Separated camps. Development and Legacy Center Director, Japanese American Service Committee; by vast distances from their families, the men's Resettlement outside of the camps into Lecturer, History Department, DePaul University wives and children had to fend for themselves in the places like Chicago dramatically changed the absence of their husbands and fathers. face of the community. Prior to the war, only

About Lyric Unlimited

A crucial component of Lyric's mission, Lyric Each season, Lyric Unlimited programming LYRIC UNLIMITED Unlimited expands the company’s civic footprint by includes a broad range of learning initiatives in BOARD COMMITTEE collaborating with organizations throughout the Chicago-area schools as well as collaborative Eric S. Smith, Chair Chicago area, creating opportunities for children and community activities that explore new ways for Vinay Couto adults to learn about opera, and exploring the people to develop and perform their stories through Chaz Ebert development of opera through the creation and music. Across all programs during the 2017/18 Lois Eisen presentation of new works. season, Lyric Unlimited reached over 95,000 Mary Pat Gannon Lyric Unlimited is committed to serving the individuals. Ethel C. Gofen broadest possible audience within and beyond the Lyric Unlimited is dedicated to producing Eric L. Hirschfield Lyric Opera House. is includes communities for small-scale, contemporary operas, sung in English J. omas Hurvis whom opera has had little to no relevance in the past. that have a socially impactful theme. In addition to Susan Kiphart To make meaningful connections, Lyric Unlimited An American Dream, past productions include Fellow Sylvia Neil collaborates with community organizations to develop Travelers (2018) and Charlie Parker’s YARDBIRD Kenneth R. Norgan innovative approaches, partnerships, programs and (2017). In 2020, Lyric Unlimited will present Blue, a Funmi Olopade performances that highlight cultural heritage and new opera from composer Jeanine Tesori and librettist Anne N. Reyes create a renewed resonance for opera. Tazewell ompson. Brenda Shapiro Franco Tedeschi Carlos Tortolero Roberta Washlow

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Board of Trustees TRUSTEES Shannon L. Schuyler Pamela Baker** John Q Smith HARRIS THEATER FOR Patricia Barretto** David Snyder Paul S. Boulis Susan Stark MUSIC AND DANCE Elizabeth Hartigan Connelly Mary Kay Sullivan Peter M. Ellis Sunitha omas OFFICERS Louise Frank Marilyn Fatt Vitale Mary Kay Sullivan, Chairman Robert J. Gauch, Jr. Dori Wilson Elizabeth Hartigan Connelly, Vice Chair Sandra P. Guthman* Maria Zec Peter M. Ellis, Vice Chair Caryn Harris Caryn Harris, Vice Chair Joan W. Harris* LIFE TRUSTEES Ricardo T. Rosenkranz, MD, Vice Chair Christine N. Evans Kelly Peter M. Ascoli Marilyn Fatt Vitale, Secretary Deborah A. Korompilas Cameron S. Avery Merrillyn J. Kosier, Treasurer Jeffrey Korzenik John W. Ballantine Patricia Barretto, Alexandra C. and Merrillyn J. Kosier Marshall Field V John D. Nichols President Michael McStraw** James J. Glasser and Chief Executive Officer Endowed Chair Zarin Mehta Sarah Solotaroff Mirkin Alexandra C. Nichols* Judith Neisser^ Kenneth R. Norgan Harrison I. Steans Claire O’Grady Robin S. Tryloff Gregory J. O’Leary Abby McCormick O’Neil* * Past Chairman **ex-officio ^In Memoriam Ricardo T. Rosenkranz, MD (Listing as of September 20, 2018)

Harris eater Staff Mary Larkin, Anthony Montuori, EXECUTIVE STAFF Marketing and Communications Manager Head Flyman Patricia Barretto, Lauren Ranson, Kevin Sullivan, Alexandra C. and John D. Nichols Development Manager Head Electrician President and CEO Endowed Chair Samantha Allinson, Lori Dimun, Digital Production Designer FRONT OF HOUSE Chief Operating Officer Kay Harlow, Melanie Humphrey, Laura Hanssel, Marketing and Partnerships Coordinator House Manager Chief Financial Officer Emma Palermo, Jamelle Robinson, Special Events Coordinator Concessions & Events Manager OFFICE OF THE PRESIDENT Rob Onorato, Melaney Reed, Kristen Bernier, Development Assistant Saints Coordinator Programming Manager e Saints, Laura Stellwagon, TICKETING SERVICES Volunteer Usher Corps Executive Assistant and Board Liaison Allan Waite, Box Office Treasurer FACILITIES FINANCE & ADMINISTRATION Leticia Cisneros, Mary Jo Rudney, OPERATIONS Lead Day Porter Director of Finance Emily Macaluso, Ed Mlakar, Gena Lavery, Director of Operations Facilities Engineer Finance Manager Hillary Pearson, Berto Rivera, Manager of Operations and Accessibility Assistant Facilities Engineer EXTERNAL AFFAIRS Services Elizabeth Halajian, Director of Development PRODUCTION Meghan McNamara, Donna Bachman, Director of Marketing and Director of Production Audience Development Jeff Rollinson, Oliver Camacho, Head Carpenter and IATSE Steward Audience Engagement Manager Don Dome Jr., Josh Fox, Head of Audio Manager of Corporate and Jeffrey Kolack, Foundation Relations Head of Props

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About Harris eater Today, the Harris eater’s original group of 12 Resident Companies has grown to include 30 diverse arts and culture organizations, including Chicago Gay Men’s Chorus, Chicago Humanities Festival, Chicago Opera eater, Chicago Philharmonic, Chicago Symphony Orchestra’s MusicNow, Giordano Dance Chicago, Hubbard Street Dance Chicago, and Music of the Baroque. e eater supports Resident Companies with subsidized rental, tech- nical expertise, marketing support, and professional development opportunities, allowing the organizations to focus on what they do best—bringing the finest in music and dance performances to the public.

e Harris eater is also dedicated to presenting the highest quality artistic programming, bringing celebrated artists and ensembles from throughout the world to Chicago through the

HEDRICH BLESSING Harris eater Presents series. e eater has achieved widespread recognition as a vital cultural anchor in Chicago, bringing artists e Joan W. and Irving B. Harris eater for Music and Dance such as Mikhail Baryshnikov, Batsheva Dance Company, Joshua is Chicago’s primary residence for music and dance, connecting Bell, Renée Fleming, Angélique Kidjo, Hamburg Ballet, Sir John diverse audiences with outstanding artists from across the city, the Eliot Gardiner, Paris Opéra Ballet, and Stephen Sondheim to the nation, and the world. Elizabeth Morse Genius Stage.

Opened in November 2003 in Chicago’s Millennium Park, the e Harris eater’s community engagement initiatives take 1,499-seat state-of-the art performance venue was the first mul- advantage of access to the world’s leading musicians and dancers, ti-use performance venue built in downtown Chicago since 1929. building bridges to people from throughout the Chicago region and Now in its 15th anniversary season, the eater features the most nurturing the next generation of artists and audiences. Ongoing diverse offerings of any venue in Chicago, and has earned national programs include Arts Education Partnerships, which offers master recognition as a distinctive model for collaboration, performance, classes and artist talks, and Access Tickets, which has provided over and artistic advancement. 13,000 free tickets to youth and families from more than 35 partner organizations. e eater’s activities fall under three central strategies: support for local music and dance companies, presentation of national and To learn more about the Harris eater, please visit international artists, and community engagement and educational harristheaterchicago.org. Call the Box Office at 312.334.7777 programs. to request a brochure or additional information.

Harris eater Information Rental information: If you have any questions about the Harris eater, Accessibility: Wheelchair accessible seating locations, swing arm aisle including rental of the facility, group tours, or volunteer opportunities, seating, and inclusive/wheelchair accessible restrooms are available on all please email [email protected]. auditorium seating levels. e Harris is also equipped with an Infrared Ticket purchases: To purchase tickets, visit harristheaterchicago.org, call Assistive Listening Device system. Headsets are available for check out or visit the Box Office at 312.334.7777 Monday through Friday, 12–5 p.m. at the Harris Security Desk located on Level 1. Large print programs or until curtain on performance days. are available for all Harris eater Presents engagements, located at the Level 1 coat check. Please call the Box Office in advance at 312.334.7777 In consideration of other patrons and the performers: Please turn regarding ticketing and accessible seating questions. If inquiring on off all cell phones. Photography is not permitted in the eater at any any additional accommodation requests to enhance your performance time and texting during performance is strictly prohibited. Film or experience, please reach out to [email protected] or call digital images will be confiscated or deleted by the Harris eater house 312.334.2486 at least two weeks in advance of the performance. staff; violators will be subject to a fine. Latecomers will be seated at the Parking: discretion of the house management. Smoking is prohibited within Discounted parking validation is available for all ticket holders the Harris eater. Allowance of personal items and baggage into the using the Millennium Park Garage. A validation machine is located next auditorium space is at the sole discretion of house management. to the Box Office on the Orchestra Level, as you enter the eater lobby. Lost and found: For your safety: Please take a moment and note the nearest exit. In the Retrieved items will be held for 30 days with the Harris event of an emergency, follow the directions of the Harris eater house eater house staff at 312.334.2403. staff. In the event of an illness or injury, inform the Harris eater House Manager.

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