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Home , Come Go with Me, Dead Man Walking (opera), Flight (opera), Giovanni Paisiello, John Ardoin, Leslie Bassett

2020-2021 SEASON SPRING FESTIVAL

Dear Friends: Estimados amigos:

Welcome to this performance of Bienvenidos a esta función del Festival de Auto-Ópera ’s Spring Drive-in de Primavera de . Festival. Basándonos en el éxito de la producción de la Auto- Building on the successes of our Ópera La Bohème, una vez más hemos encontrado October drive-in production of una solución innovadora, que les permita reunirse de La Bohème, we’ve once again forma segura con otros amantes de la ópera en una DAVID BENNETT an innovative solution presentación en vivo. General Director that allows you to safely gather San Diego Opera with other opera lovers for live En este festival, les traemos cuatro funciones llenas de performances. diversión de la muy apreciada y vibrante comedia El Barbero de Sevilla de Rossini y Una Noche Extraordinaria: In this festival, we bring together four fun-filled Cuando te vuelva a ver, con la participación de los performances of Rossini’s beloved sparkling comedy The magníficos miembros del Coro de San Diego Ópera y Barber of Seville and One Amazing Night: When I See talentosos artistas invitados de la región. Your Face Again, featuring the wonderful members of the San Diego Opera Chorus and talented local guest artists. En cada función, los invitamos a que visiten nuestros camiones de comida o a disfrutar su propia comida y At each performance, we invite you to visit our food bebida, reclinen sus asientos hacia atrás y pónganse trucks or enjoy your own food and drink, move your seats cómodos, suban el volumen de su radio de FM y gocen back and get comfortable, turn up the volume on your lo que tanto hemos estado extrañando – puestas en FM radio, and enjoy what we all have been missing so escena de ópera en vivo. much - live performances of opera. Le estamos muy agradecidos a nuestros Patrocinadores We are very grateful for the generosity of our Season de esta Temporada de Ópera, por su generosidad; La Sponsor, The Conrad Prebys Foundation, and the Lead Fundacion Conrad Prebys, y el Principal Patrocinador de Production Sponsor for , Darlene esta Producción del Barbero de Sevilla, Darlene Marcos Marcos Shiley, whose support makes these performances Shiley, quien con su generoso patrocinio hace esta possible. presentación posible.

Thank you for your patience and support as we’ve Gracias por su paciencia y por su apoyo mientras travailed through the past year together. We look forward atravesábamos juntos por el año pasado. Esperamos to being in theaters together very soon. estar reunidos en teatros muy pronto.

Sincerely, Atentamente,

David Bennett David Bennett

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SAN DIEGO OPERA 233 A Street, Suite 500 | San Diego, CA 92101 T: (619) 232-7636 | F: (619) 231-6915 | E: [email protected] | Patron Services: (619) 533-7000 | Web: sdopera.org

2 HOW TO ENJOY SAN DIEGO OPERA’S ONE AMAZING NIGHT AND THE BARBER OF SEVILLE

• Please check the screens around your car for the FM Frequency to listen to the performance. This is the only way to hear the opera in your car.

• In most keyless and EV cars, you can press the power button once without your foot on the pedal to enable accessory mode which allows you to listen to the radio with your engine off. Please consult your owner’s manual for specific instructions on your make and model to engage your vehicle’s accessory mode.

• Read the text and translations for One Amazing Night in this program starting at Page 17.

• Consult the screens for the website address to access supertitles on your phone.

• All food truck vendors have filed a Safety Reopening Plan with SD County. Food trucks are available for concessions until the start of the performance.

• Remain in your vehicle for the duration of the performance except to use the restroom or visit one of the food trucks prior to the start of the performance.

• If you need to leave your vehicle, face coverings are required.

• If you need to leave your vehicle take extra care to note where you are parked.

• Please turn your headlights and daytime running lights off as a courtesy to others. Consult your owner’s manual for specific instructions on your make and model on how to do this.

• Please take extra care to keep your feet off your brake pedal, as it will be distracting to those behind you.

• Enjoy your food and drink inside your vehicle.

• Have a question for our box office staff? Call us at (619) 533-7000

• Need help starting your car? Leave your hood up and someone will come to assist you.

• Follow directions of the Ace Parking Attendants at the end of the performance to ensure a safe and efficient exit for all.

• Please save your applause and honking until the end of the performance.

• When leaving make sure your lights are turned back on and you are wearing your seatbelt. Drive safely.

• For further tips visit sdopera.org/spring-faq

About COVID-19 We have taken enhanced health and safety measures for you, our artists, and employees. You must follow all posted instructions while attending our Drive-In performances of One Amazing Night and The Barber of Seville. An inherent risk of exposure to COVID-19 exists in any public place where people are present. COVID-19 is an extremely contagious disease that can lead to severe illness and death. According to the Centers for Disease Control and Prevention, senior citizens and guests with underlying medical conditions are especially vulnerable. By attending these performances, you freely assume all risks, harm, injury or illness related to exposure to COVID-19.

3 SEASON SPONSOR

Conrad Prebys and Renée Fleming at SDO’s Renée Fleming in Concert, March 2012

San Diego Opera is proud to have The Conrad Prebys Foundation as our Season Sponsor. Mr. Prebys was a dear friend, ardent supporter, and distinguished guest at many of our performances over the years.

During his lifetime, Conrad Prebys experienced incredible joy through the act of giving to causes he was passionate about. In its inaugural grant cycle since Mr. Prebys’ passing in 2016, the foundation’s commitment to the visual and performing arts encompasses 41 grants totaling more than $28 million, and an additional $50 million in grants to support animal conservation, health care, higher education, medical research, and youth development. “A lifelong enthusiast of visual and performing arts, Conrad often found inspiration during a visit to the theatre, concert hall or museum,” said Tony Cortes, Board Chair of The Conrad Prebys Foundation. “This has been an extraordinarily difficult year for the arts and culture community, and Conrad would be deeply pleased to see the impact these grants will have in encouraging this community to do what it does best – inspire.”

San Diego Opera’s Spring Festival aims to honor the spirit of inspiration that Mr. Prebys sought from the performing arts. We are excited for our partnership as The Conrad Prebys Foundation embarks on its journey of transformational philanthropy for the San Diego region.

4 LEAD PRODUCTION SPONSOR DARLENE MARCOS SHILEY

San Diego Opera celebrates DARLENE MARCOS SHILEY Lead Production Sponsor of this production of Rossini's THE BARBER OF SEVILLE

San Diego Opera’s Board of Directors, staff, and artists are grateful for the generous support of Darlene Marcos Shiley as Lead Production Sponsor for The Barber of Seville.

Darlene’s support brings to life some of the greatest ever written, from new works like ’s to timeless classics like Mozart’s . Her dedication and belief in our also allows us to take bold risks and achieve new successes, from her sponsorship of the inaugural season of our popular dētour series, to her Lead Production Sponsorship of our historic drive-in La bohème last fall.

Darlene’s love of the arts stems from her early years acting in Northern California, where she met the love of her life, the late Donald P. Shiley. The Shileys’ deep generosity continues to have a great impact on organizations throughout San Diego. We are grateful for their devotion to San Diego Opera.

5 6 Season Sponsor ONE AMAZING NIGHT: When I See Your Face Again: Unmasking the of notorious pandemics Conceived by Bruce Stasyna and Alan E. Hicks Bruce Stasyna, Conductor and Musical Supervisor | Alan E. Hicks, Script and Visual Supervisor

Saturday, April 24, 2021 | Pechanga Sports Arena San Diego Parking Lot Angelina Reaux, Special Guest Artist Allison Spratt Pearce, James Newcomb, Guest Artists San Diego Opera Chorus & Soloists Accompanied by the San Diego Symphony This project is supported in part by the National Endowment for the Arts.

Prelude Act III San Diego Symphony Es is nicht gesundes an meinem liebe Cantata No. 25 J.S. Bach Shelby Condray Stella Celi John Cooke San Diego Opera Chorus San Diego Symphony O welche lust featuring David Marshman Bernardo Bermudez, Libiamo La Traviata Tasha Koontz, San Diego Opera Chorus Dieu quel frisson cour dans mes veines Romeo et Juliette Tasha Koontz Tarantella La Boutique Fantasque p.120 Ottorino Resphighi San Diego Symphony The 1919 Influenza Blues Essie Jenkins Victor Morris Laynee Dell Woodward Eine Kleine Sehnsucht Friedrich Hollaender Angelina Réaux Ich weiss nicht, zu wem gehore Stürme der Liedenschaft Friedrich Hollaender Angelina Réaux Michael Sokol and the Mein Sehenen, mein Wähnen Die tote stadt, op. 12 Erich Korngold San Diego Opera Chorus Abigail Grace Allwein, Laura Bueno, Allison Spratt Pearce, Raise the Roof Wild Party Andrew Lippa and the San Diego Opera Chorus Secret Garden Suite - Abigail Grace Allwein, Elle Hold On, The Girl I Mean to Be, The Secret Garden Lucy Simon Marie Laikind, Suzy Leff, Allison How Could I Ever Know Spratt Pearce, and Victor Morris Humming Chorus Giacomo Puccini Ensemble Tainted Love Ed Cobb Ensemble Seasons of Love Rent Jonathan Larson Ensemble

Program subject to change.

Orchestral Arrangements by Bruce Stasyna and Joseph G. Lawson Chris Rynne, Lighting Designer Ross Goldman, Sound Designer

Please visit page 17 in this program for texts and translations of the above selections Please visit page 9 in this program for biographies of tonight’s featured artists

7 Season Sponsor

Lead Production Sponsor DARLENE MARCOS SHILEY THE BARBER OF SEVILLE

April 25, 27, 30, and May 1, 2021 | Pechanga Sports Arena San Diego Parking Lot

This project is supported in part by the National Endowment for the Arts.

CAST: SETTING: (in order of vocal appearance) Seville, Spain

Fiorello Arky SCENE I Count Almaviva Carlos Enrique Santelli* Outside Dr. Bartolo’s house, very early morning Figaro David Pershall* Rosina Emily Fons SCENE II Dr. Bartolo Patrick Carfizzi Inside Dr. Bartolo’s house, that same morning Don Basilio Peixin Chen* Berta Alexandra Rodrick* SCENE III Sergeant Michael Sokol Later, that same evening

Conductor Bruce Stasyna Director Keturah Stickann Assistant Director Alan E. Hicks Chorus Master Bruce Stasyna Scenic Designer Tim Wallace Lighting Designer Chris Rynne Audio Designer Ross Goldman Wig and Makeup Designers Alberto ‘Albee’ Alvarado* and Peter Herman* Costume Designer Ingrid Helton Original Costume Design Amanda Seymour* Dialect Coach Emanuela Patroncini Music Preparation Catherine Miller Stage Manager Michael Janney Supertitle Coordinator Oxana Bulgakova Orchestral Reduction Bruce Stasyna

*San Diego Opera Debut

Conductor Sponsor STACY AND DON ROSENBERG Costume Sponsor KARL AND GREET HOSTETLER Set Sponsors DRS. ROGER AND LINDA MILLS

Costumes provided by Utah Opera. Classic cars provided by Terry and Tim Wallace. This performance is approximately 90 minutes, with no intermission. by Cesare Sterbini. PARKING SPONSOR ADDITIONAL SUPPORT PROVIDED BY

8 ONE AMAZING NIGHT ARTISTS

ABIGAIL GRACE ALLWEIN SHELBY CONDRAY () ()

Company appearance: Company appearance: Count Ceprano, Chorus, (2017) Notable (2019). Notable appearances: Ben appearances: Ex-Girlfriend, ONCE (Lambs Benny, (Central City Opera); Players Theatre) *Craig Noel Award Winner ; Colline, La bohème (Lyrique en mer, Belle Ile, Composer/Actor, Winters Tale, (Old Globe Theatre); Music Director/ France, Boston University); Don Alfonso, Cosí fan tutte (Holders Actor, Much Ado About Nothing (The Old Globe); Swing, Sister House Opera, Barbados. Act (Walnut Street Theatre); Louisa Musgrove, Persuasion (Lambs Players Theatre); Marian Paroo, Music Man, (Fine Arts Association); Turkey Rep, November (Lakeland Theatre Ensemble); Mary TASHA KOONTZ Jane, Big River (True North Theatre); Dierdre, I Hate (The (Soprano) Montgomery Theatre). abigailgraceallwein.com Company appearances: Mimì (cover), La Bohème (2020); High Priestess, (2019); BERNARDO BERMUDEZ Frasquita, (2019); Edith, Pirates of () Penzance (2017); Annina, La traviata (2017) Notable appearances: High Priestess, Aida (Chicago Symphony Company appearances: The Messenger, Orchestra); Erste Dame, (Central City Opera); Aida (2020), Dancairo, Carmen (2019), Soloist/ Woman #1, The Grapes of Wrath (Sugar Creek Opera); Alice Ensemble, All Is Calm (2018 and 2020), Ford, Falstaff (/kor/ productions); Mimì, La bohème (Opera on the Soloist/Ensemble, Maria de Avalon); Violetta. La traviata (Opera on the Avalon); Donna Anna, (2018), Crippled Sailor, (2018), Prince (Bayview Music Festival). Other notable appearances Yamadori, Madama Butterfly (2016) Notable appearances: Diego include performances with San Diego Symphony, California Rivera, Frida (Portland Opera, Anchorage Opera, Long Beach Chamber Orchestra, La Jolla Symphony & Chorus, Newfoundland Opera); Figaro, The Barber of Seville (The Music Academy of Orchestra, Coeur d’Alene Symphony, Spokane Symphony, and the The West, Pacific Opera Project, Center Stage Opera, Livermore Chicago Arts Orchestra. tashakoontz.com Valley Opera); Stanley Kowalski, A Streetcar Named Desire (); King Mark, The Love Potion (Long Beach Opera); Don Giovanni, Don Giovanni (Opera Neo); Count Almaviva, ELLE MARIE LAIKIND The Marriage of Figaro (Opera Neo, Livermore Valley Opera); (Mezzo-Soprano) Escamillo, Carmen (Opera Buffs, Pacific Lyric Association, Heartland Opera Theatre, The Broad Stage); Belcore, The Elixir of Love Company appearances: Carmen (Children’s (, Center Stage Opera); Vidal, Luisa Fernanda (Pacific Chorus 2019), Hansel & Gretel (Children’s Lyric Association,The Broad Stage). bernardobermudez.com | Chorus 2020). Notable appearances: Title Role, opera4kids.com Winnifred in Once Upon a Mattress (Pacific Ridge Middle School San Diego), Soloist (One World Children’s San Diego), Soloist (USO SD Tree Lighting Event), Soloist LAURA BUENO (Coast Guard/USO Donor Reception) Chief, Peter Pan Jr. (Pacific (Mezzo-Soprano) Ridge Middle School SD), Lafayette, Hamilton (Emerald City Theater, Chicago), Mrs. Potts, Beauty and the Beast (Sycamore Company appearances: Holiday Concert for Ridge Elementary SD), Seraphina, Lion King (Sycamore Ridge All is Calm (2020), Bridesmaid, The Marriage Elementary SD). of Figaro (2018), Dancer/Ensemble, Maria de Buenos Aires (2018), core chorister since 2016. Notable appearances: Sophie de Palma in (Ion SUZY LEFF Theatre), Anna 1 in Seven Deadly Sins (Bodhi Tree Concerts). (Mezzo-Soprano) San Diego Musical Theatre credits include Damn Yankees, The Producers!, Singin’ in the Rain and The Sound of Music. Lyric Opera Company appearance: Children’s San Diego credits include Tessa (The Gondoliers), Gigi (Gigi), Chorus, Hansel & Gretel (2020). Suzy is currently Petra (A Little Night Music), (Anything Goes), a 10th grader at La Jolla Country Day School Iolanthe (Iolanthe), Peep Bo (), and Molly Brazen (The (LJCDS) where she plays cello in the Upper Beggar’s Opera), Regional credits: Wendy (Peter Pan), The School Honors Orchestra and sings Alto with the Concert Choir. Secretary (), Dorothy (The Wizard of Oz), Zaneeta (The She was the recipient of the Keith Heldman Music Award and Music Man), Chava (Fiddler on the Roof), Margy (State Fair), and is currently a member of the Tri-M Music Honors Society. She is Nanette (No, No, Nanette). President of Musicians With a Purpose, a non-profit organization playgroundplayersproductions.com/director.html that brings music education and performances to the San Diego community. Favorite roles include: Annie, Annie Jr. (Scripps Performing Arts Center/LJCDS); Ariel, The Little Mermaid, Jr. (SPAA); Kira/Clio, Xanadu, Jr. (LJCDS). Suzy has enjoyed performing in Karyn Overstreet Vocal Studio›s Backyard Cabarets during the pandemic.

9 ONE AMAZING NIGHT ARTISTS

DAVID MARSHMAN Old Globe); Emily, Disgraced (SDREP); Suzanna, Black Pearl () Sings (SDREP); , Gypsy (Cygnet -2017 Craig Noel Award Winner); Eliza, My Fair Lady (Cygnet); Katherine Parr, The Last Wife (Cygnet); Victor/ia, Victor/Victoria (Moonlight); Amalia, She Company appearances: Friar John, Romeo and Juliet (1998); Third Loves Me (SDMT); Anita Bryant, The Loneliest Girl in the World Noble, (2000); Second (Diversionary). allisonsprattpearce.com Trojan Man, Idomemeo (2001); Notary, Don Pasquale (2002, 2012); Herald, (2003); Guard, Rigoletto (2009); Customs Guard, La Bohème (2010); ’s ANGELINA RÉAUX Servant, La Traviata (2017). (Soprano) Special Guest Artist

Company debut. Notable appearances: Mimì, VICTOR MORRIS La bohème (Orchestra di Santa Cecilia, Roma); (Tenor) Frida Kahlo, Frida (Houston Grand Opera); False Angele,Der Zar lässt sich photografieren (Santa Fe Opera); Pamina, The Magic Flute (Boston Opera); Zerlina, Company appearances: All is Calm: The Truce of 1914 (2018); Notable Don Giovanni (Omaha Opera), Franzi, Wiener Blut (Washington Company Choral appearances: The Barber Opera); Musetta, La bohème (Boston Lyric Opera); Nedda, of Seville (2020), Aida, Rigoletto, Carmen ( Opera); Périchole, La Périchole (San Antonio Opera, (2019), Turandot (2011). Notable Theatre: title role, (Artists LOFNY ); Hélène, La belle Hélène, Boulotte, Barbe- Repertory Theatre, Portland, OR), The Ruby in Us (Old Globe bleue (LOFNY); Gabrielle, La vie parisienne, Dido/Sorceress, Dido Theatre), Trouble In Mind (Moxie Theatre), His Girl Friday (La Jolla and Aeneas, Diana, La Calisto (Opera At the Academy); One- Playhouse), Twelfth Night as Curio/Assistant Music Director/Flutist woman show, Stranger Here Myself (New York Public Theatre, (Oregon Shakespeare Festival), Nana the Dog/Pirate in Peter Pan Opera Omaha, Almeida Festival); In Concert: Angelina Réaux (Pioneer Theatre, ), Preacher/Mrs. Taylor in Batboy Sings the Music of (Berlin Konzerthaus, the Musical (Portland Center Stage). Notable films: Nora Ephron’s Festival); Dancing On A Volcano—Ein Berliner Kabarett (New York Sleepless in Seattle, Gus Van Sant’s Restless, Stephen King’s Gray Philharmonic, Royal George Theatre Chicago, Studio Theatre Matter. Notable television: American Vandal, Grimm, Leverage and Washington D.C., St. Louis Symphony, Orchestra at Criminal Minds. Proficient in , Lakota and Japanese bass Saratoga); Phyllis, Iolanthe (Glimmerglass Opera); Aldonza, Man flutes. of La Mancha (Portland Opera); Baby Snowflake, Where’s Dick? (Houston Grand Opera); Anna 1 & 2, Die Sieben Todsünden (NY Philharmonic, Lincoln Center, Ojai Festival, Wiener Musikverein); Dinah, There Is A Garden: The Musical Genius of JAMES NEWCOMB (Chicago Opera Theatre). Discography: Die Sieben Todsünden, Lulu Guest Artist Suite, September Song, NY Philharmonic (Teldec); La bohème— Grammy Nominated, Mad About Puccini, West Side Story Company appearances: The Conquistador, (Deutsche Grammaphon); Street Scene, Regina, Scottish National Don Giovani, Moby-Dick, (Fight Director), Opera (Decca); Stranger Here Myself—The Music of Kurt Weill Lohengrin (Assistant Director). Notable: Twelfth (Koch Classics); Frida Suite (CRI). Night (The Old Globe Theatre); Coriolanus (Cygnet Theatre); Roy Cohn, Angels In America (San Diego Rep); Honky, Zoot Suit, Brooklyn Boy (North Coast Rep); How The Other MICHAEL SOKOL Half Loves, A Christmas Carol (Oregon Shakespeare Festival); 14 (Baritone) Seasons, and resident Fight Director (Denver Center Theatre); 10 Seasons (The Public Theatre, B.A.M.); founding member Sergeant of Police, (Utah Shakespeare Theatre, Shakespeare & Company); The Company appearances: The Pirates of Penzance (2017), Ensemble, All Goodman; Chicago Shakespeare; Berkeley Rep.; South Coast Rep; is Calm: The Christmas Truce of 1914 (2018). Shakespeare Santa Cruz; Portland Center Stage; Geva Theatre; Notable appearances: ; Craig Noel Award, Angels In America (Cygnet Theatre); Oxford ; Steppenwolf Theatre in Chicago; Frank Society Award, Richard III (O.S.F.); Drama Log Award, Touchstone , Shining Brow (Madison Opera); director, San Diego (S.S.C.); Denver Critics Award, Orphans (D.C.T.C.). T.V.: Honky Summer Gilbert and Sullivan Workshop. (P.B.S.); I Want To Keep My Baby (CBS); The Cradle Will Fall (CBS)

Fight Direction: (La Jolla Playhouse) The Squirrels, Jayne Eyre, Loot;

(San Diego Rep) The Illusion, Zoot Suit, Water and Power; UCSD Graduate Theatre Program. LAYNEE DELL WOODWARD (Soprano)

ALLISON SPRATT PEARCE Company appearances: Gretel Cover, (Soprano) Guest Artist Hansel and Gretel (2020) Chorus, Aida (2019) Chorus, Carmen (2018). Notable appearances: Chlorinda, (Salt Company debut. Broadway & Off Bway credits: Curtains, , Cry Baby, Marsh Opera) Olympia, (Harrower Opera), Enter Laughing, and Cabaret (National Tour). Zerlina, Don Giovanni (Maryland Opera Studio) Queen of the San Diego Highlights: Jane, Emma (The Old Night, The Magic Flute (Maryland Opera Studio) Birdie, Regina Globe); Janice, Come From Away (La Jolla Playhouse); Victoria, (Maryland Opera Studio) Lakmé, Lakmé (Nebraska Wesleyan Sideways (La Jolla Playhouse); Phoebe, As You Like It (The University) Sofia, Il Signor Bruschino,(Nebraska Wesleyan University).

10 THE BARBER OF SEVILLE ARTISTS

JOSHUA ARKY EMILY FONS (Bass-Baritone) Fiorello (Mezzo-Soprano) Rosina

Company appearance: Ensemble, All is Calm: Company appearances: Zerlina, Don Giovanni The Christmas Truce of 1914 (2018). Notable (2015); Cherubino, The Marriage of Figaro appearances: Vincent Jones, Street Scene, (2018). Notable appearances: Ruby Thewes, Jake Wallace La fanciulla del West ( Cold Mountain (Santa Fe Opera, Opera North Opera); Don Alfonso, Così fan tutte (Opera San José); Don Basilio, Carolina); Sister , (Kentucky The Barber of Seville (Sugar Creek Opera); soloist, La cena è Opera); the title role, L’enfant et les Sortilèges, (Berlin Philharmonic, pronta (San Diego); Figaro, The Marriage of Figaro (Point Loma Seiji Ozawa Music Academy); title role, Cinderella (Opéra de Opera Theatre); Hidraot, Armide (OperaNEO); Alidoro, Cinderella, Lille); Stéphano, Roméo et Juliette (Santa Fe Opera); Cherubino Sergeant of Police, The Pirates of Penzance (Opéra Louisiane); (, The ); Dorabella, Così Colline, La bohème ( School of Music); the Captain of the Fan Tutte (Opera Omaha); Donna Elvira, Don Giovanni (Florentine Inquisition, Man of La Mancha, Dr. Grenvil, La traviata (Central City Opera); title roles, , (International Händel Opera); Collatinus, (Green Mountain Opera Festspiele); Sièbel, (Atlanta Opera); Prince Orlowsky, Die Festival); Zuniga, Carmen (Aspen Opera Theater Center); soloist, Fledermaus, Nicklausse, The Tales of Hoffmann (Chicago Opera Beethoven’s Symphony No. 9 (Binghamton Philharmonic); Mozart’s Theatre); Megacle, LʼOlimpiade (Garsington Opera); Sesto, Julius (Hunter College); Händel’s (Columbia University); Caesar ( Opera Theatre). emilyfons.com Puccini’s Messa di Requiem (Greenwich Choral Society). joshuaarky.com DAVID PERSHALL (Baritone) Figaro PATRICK CARFIZZI (Bass-Baritone) Doctor Bartolo Company debut. Notable appeareances: Schaunard, La bohème, Figaro, The Marriage Company appearances: Henry Kissinger, Nixon of Figaro, Loed Cecil, in China (2014); Major-General Stanley, The (Metropolitan Opera); Lescaut, , Pirates of Penzance (2017). Notable appearances: Silvio, Pagliacci, Rocher, Andrea Chénier (); Mandarin, Turandot, Cecil, Maria Stuarda Eisenstein, Die Fledermaus (Des Moines Metro Opera Festival); (Metropolitan Opera), Zeta, The Merry Widow (Lyric Opera of Sharpless, Madama Butterfly (Greensboro Opera); Figaro, Chicago), Dulcamara, The Elixir of Love (Lyric Opera of Kansas City, The Barber of Seville, Belcore, The Elixir of Love, Sharpless, Hessisches Staatstheater in Wiesbaden), Dr. Bartolo, The Barber of Lescaut, , Sebastian, The Tempest (Vienna State Seville (Austin Lyric Opera), Mustafa, The Italian Girl in Algiers (Lyric Opera); Lord Nottingham, (Carnegie Hall); Opera of Kansas City), Music Master and Truffaldino, Ariadne auf Marcello, La bohème (Salzburger Landestheater); Schaunard Naxos (), the Speaker, The Magic Flute (Houston Grand (Norwegian National Opera); , (Opera Opera), Don Pasquale, Don Pasquale (Hessisches Staatstheater), Burg Gras); Orestes, Iphigénie en Tauride, Manfredo, L’Amore Henry Kissinger, Paolo, (San Francisco Opera), dei Tre Re (Beethoven Easter Festival); Papageno, The Magic Belcore, The Elixir of Love (Santa Fe Opera), Don Magnifico, Flute (Washington National Opera); Count Almaviva, The Marriage Cinderella (Seattle Opera, Houston Grand Opera), Dr. Bartolo, The of Figaro (Boston Lyric Opera); Belcore (Minnesota Opera); Barber of Seville (Seattle Opera, Houston Grand Opera, Opera Figaro (Florida Grand Opera). davidpershall.com Theatre of St. Louis, Central City Opera, Canadian Opera Company), Papageno, The Magic Flute (Houston Grand Opera, The Dallas Opera), Dulcamara, The Elixir of Love (Opera Theatre of St. Louis), ALEXANDRA RODRICK Leporello, Don Giovanni, Fra Melitone, (Oper (Mezzo-Soprano) Berta Köln), Schaunard, La bohème, the Jailer, Dialogues des Carmélites, Masetto, Don Giovanni, Haly, The Italian Girl in Algiers, Brander, La Company debut. Recent: Donna Elvira, Don damnation de Faust, Peter Quince, A Midsummer Night’s Dream, Giovanni (Chautauqua Opera, Baltimore Frank, Die Fledermaus (Metropolitan Opera). patrickcarfizzi.com Concert Opera); soloist, (Vero Beach Opera); Mercédès, Carmen (Veroza Japan); Angelina, Cinderella (The Atlanta Opera, Opéra Louisiane); Tisbe, PEIXIN CHEN Cinderella (Opera Delaware); Cherubino, The Marriage of Figaro (Bass) Don Basilio (Point Loma Opera Theater); Roggiero, Tancredi (Baltimore Concert Opera); La Ciesca, Gianni Schicchi/Buoso’s Ghost (Opera Delaware); Company debut. Notable: graduate, Houston Hermia, A Midsummer Night’s Dream, Dorabella, Cosi fan Grand Opera Studio; Sarastro (Metropolitan tutte, Anna I, Seven Deadly Sins, Le Prince Charmant, Cendrillon, Opera, Opera Philadelphia); Colline, La Carmen, The Tragedy of Carmen (Opera Institute at Boston bohème (Opera Philadelphia); Alaska Joe, Rise University); Wife, Naga (Beth Morrison Projects/Boston University); and Fall of the City of Mahagonny (Festival d’Aix en Provence); Rosina, The Barber of Seville (Opera Tijuana); Mercédès, Carmen Sparafucile, Rigoletto (Santa Fe Opera, Lyric Opera of Kansas City); (Aspen Opera Theatre); Bianca, The Rape of Lucretia (Green Dr. Dulcamara, The Elixir of Love (Washington National Opera); Mountain Opera Festival); Flora, La traviata (National Symphony Don Bartolo, The Barber of Seville, Oroveso, , Ferrando, Il Orchestra). alexandrarodrick.com trovatore, Sarastro, Hunding, Die Walküre, (Houston Grand Opera); Basilio, The Barber of Seville (San Francisco Opera); Bartolo, The Marriage of Figaro (Houston Grand Opera, Beijing National Center for the Performing Arts, Milwaukee Symphony Orchestra). peixinchen.com 11 THE BARBER OF SEVILLE ARTISTS

CARLOS ENRIQUE SANTELLI INGRID HELTON (Tenor) Count Almaviva Costume Designer

Company debut. Notable appearances: Company appearances: As One (2017), Maria Count Almaviva, The Barber of Seville (Dayton de Bueno Aires (2018). Notable: Master Harold Opera); Nemorino, The Elixir of Love (Virginia and the boys, Fool for Love, The Club, In the Opera); tenor soloist, Mendelssohn’s Die Erste Matter of J. Robert Oppenheimer, Children of Walpurgisnacht (Sacramento Choral Society); , Wonderful a Lesser God, True West, Rap Master Ronnie, Home, Baby with the Town ( Opera); Arturo, (Santa Bathwater (San Diego Repertory Theatre); The Norman Conquests Fe Opera); soloist, Handel’s Messiah (Binghamton Philharmonic trilogies, Man on the Moon Marigolds, Gaslight, Father’s Day, the Orchestra); Mozart’s Coronation Mass (Rochester Symphony Kramer, The Wager, When You Comin’ Back Red Ryder, Laundry Orchestra); Mozart’s Requiem (/Yale Alumni & Bourbon/Lone Star (The Bowery Theatre); Recipe for Disaster, Glee Club). carlosenriquesantelli.com (La Jolla Playhouse Pop Tour); Intimate Exchanges, , , A Piece of My Heart, (Center Repertory Theatre); Yellow face, (Mo’olelo); additional design for Gaslamp Quarter Theatre, MICHAEL SOKOL Actor’s Theatre San Diego, USD MFA acting program. (Baritone) Sergeant

Company appearances: Sergeant of Police, ALAN E. HICKS The Pirates of Penzance (2017), Ensemble, All Assistant Director is Calm: The Christmas Truce of 1914 (2018). Notable appearances: Metropolitan Opera; Philadelphia Orchestra; Steppenwolf Theatre in Chicago; Frank Company appearances: Aida (2019), All Lloyd Wright, Shining Brow (Madison Opera); director, San Diego is Calm (2018), Resident Stage Director (in Summer Gilbert and Sullivan Workshop. partnership with SDSU, since 2018). Directorial work: (Minnesota Opera), The Elixir of Love (Opera Santa Barbara), , The Magic Flute (Shenandoah University), Albert Herring, The Turn of the Screw (Miami Music Festival), (Music BRUCE STASYNA Academy International), additional work at Minnesota Opera, Palm Conductor Beach Opera, Tulsa Opera, Opera Santa Barbara, Miami Music Festival, Green Mountain Opera Festival, Saint Paul Chamber Company appearances: One Amazing Night Orchestra, Franco-American Vocal Academy Salzburg, Shenandoah with Stephen Costello and Stephen Powell Conservatory, the University of Texas at Austin, and University of (2019), Maria de Buenos Aires (2018), As One Iowa. Directing/Production staff at: Central City Opera, Chautauqua (2017). Notable work: Conductor: , Florida Grand Opera, , Michigan Opera, Boston Lyric Opera, Amalfi Coast Festival; Chorus Master: Opera Theatre, New York City Opera, Seattle Opera, Tulsa Opera, San Diego Opera, New York City Opera, Washington Concert Green Mountain Opera Festival. Opera, Minnesota Opera, Wolf Trap Opera and Des Moines Opera; Artistic Director: Green Mountain Opera Festival; Music Director, Vero Beach Opera; Head of Music, Director of the Young Artist ROSS GOLDMAN Program & Palm Beach Opera; Minnesota Opera; Premieres: Anna Sound Design Nicole, The Handmaid’s Tale, Orazi e Curiazi, Joseph Merrick dit Elephant Man. Company appearances: Soldier Songs (2016), Maria de Buenos Aires (2018), and La KETURAH STICKANN bohème (2020). Notable: Company, Man of Director La Mancha, Parade (Cygnet Theatre); I’m Sorry (FringeNYC); Geffen Playhouse; La Jolla Playhouse; Old Globe; Company appearances: Pagliacci Rubicon Theater; Reprise! Theater Company; Cabrillo Music Theatre. (2008, choreographer); Rigoletto (2009, choreographer); (2009, choreographer); Romeo and Juliet (2010, CHRIS RYNNE choreographer); Moby-Dick (2012, choreographer); Cruzar la Cara Lighting Designer de la Luna (2013, choreographer); Don Quixote (2014, Stage Director); Turandot (2018, Stage Director), La Bohème (2020, Stage Company appearances: La traviata (2004); La Director). Notable: If I Were You (World Premiere, Merola Opera bohème (2005); Aida (2008), Madama Butterfly Program); As One (Eugene Opera); Candide (Michigan Opera (2016), As One (2017), Carmen (2019), La Theatre); La clemenza di Tito (Opera in the Heights); Dialogues of bohème (2020). Assistant lighting designer the Carmelites (Rutgers University); Don Giovanni (Janiec Opera (2000-2008). Notable designs: Madison Opera, Michigan Opera Company); Don Pasquale (Opera in the Heights); The Elixir of Love Theatre, Houston Grand Opera (Opera); The Pianist of Willesden (Opera Birmingham); L’enfant et les sortileges (Opera Steamboat); Lane (Off-Broadway); The Old Globe, San Diego Rep., Berkeley (Opera Fayetteville); Macbeth (Kentucky Opera); Norma Rep, Pasadena Playhouse, South Coast Rep, Laguna Playhouse, (Opera Southwest); L’Orfeo (Chautauqua Opera); Pelléas et Geffen Playhouse, Cygnet Theatre, North Coast Rep, Diversionary Mélisande (West Edge Opera); (Madison Opera); The Seven Playhouse, Starlight Theatre, San Diego Musical Theatre (Regional). Deadly Sins/Pagliacci (Virginia Opera); (Knoxville Opera); The Tragedy of Carmen (Janiec Opera Company); La traviata (Knoxville Opera, Chautauqua Opera). 12 THE BARBER OF SEVILLE ARTISTS

AMANDA SEYMOUR TIM WALLACE Costume Design Scenic Designer

Company debut. Notable: Candide Company Appearance: All Is Calm (2018) (Tanglewood Music Festival); Romeo and Juliet, Notable appearances: San Diego Zoo, Safari : King of Crete, Les Mamelles de Park, ComicCon, Glenner Town Square, Drake- Tiresias, La Pauvre Matelot (Wolf Trap Opera); Jungle Tour, KidVentures, New Village Arts and La Finita Giardiniera, Don Pasquale, Armide (The Julliard School); Scripps Ranch Theatre. Tim is a member of the IATSE Local 800 Art Julius Caesar (Boston Opera); The Barber of Seville Directors Guild. (Virginia Opera, Opera Omaha, Opera Philadelphia, Opera Theatre of St. Louis); Ariadne auf Naxos (Opera Theatre of Saint Louis); Rusalka (San Antonio Opera); Paul’s Case (UrbanArias); Diner the Musical (Delaware Theatre Company); Macbeth, Ping Pong (The Public Theatre); The Ragged Claws, Exile, Lawnpeople (Cherry Lane Theatre); Oliver!, The Sound of Music (Papermill Playhouse). amandaseymourdesign.com

13 SAN DIEGO SYMPHONY

Musicians performing One Amazing Night, April 2021 The full roster of San Diego Symphony Musicians can be viewed at www.sandiegosymphony.org.

VIOLIN BASS HORN Wesley Precourt Susan Wulff Darby Hinshaw Associate Concertmaster Associate Principal Assistant Principal & Utility Jisun Yang Margaret Johnston+ Assistant Concertmaster TRUMPET Julia Pautz FLUTE John MacFerran Wilds Edmund Stein Sarah Tuck Hanah Stuart Jing Yan Bowcott Kyle R. Covington Andrea Overturf Principal DR. WILLIAM AND EVELYN Chi-Yuan Chen LAMDEN ENGLISH HORN CHAIR PERCUSSION/TIMPANI Principal Gregory Cohen KAREN AND WARREN KESSLER Principal Percussion CHAIR Theresa Tunnicliff Abraham Martin Frank Renk KEYBOARD TBD* CELLO Chia-Ling Chien Valentin Martchev PRINCIPAL LIBRARIAN Associate Principal Principal Courtney Secoy Cohen Nathan Walhout LIBRARIAN Rachel Fields

Musicians performing The Barber of Seville, April/May 2021

VIOLIN BASS HORN Wesley Precourt Susan Wulff Darby Hinshaw Associate Concertmaster Associate Principal Assistant Principal & Utility Jisun Yang Margaret Johnston+ Elyse Lauzon Assistant Concertmaster Ai Nihira Awata FLUTE CONTINUO Julia Pautz Sarah Tuck Catherine Miller* Edmund Stein Hanah Stuart OBOE PRINCIPAL LIBRARIAN Pei-Chun Tsai Andrea Overturf Courtney Secoy Cohen Jing Yan Bowcott DR. WILLIAM AND EVELYN LAMDEN ENGLISH HORN CHAIR LIBRARIAN VIOLA Rachel Fields Chi-Yuan Chen CLARINET Principal Theresa Tunnicliff + Staff Opera Musician KAREN AND WARREN KESSLER Frank Renk * Substitute Musician CHAIR Qing Liang BASSOON The musicians of the San Diego Abraham Martin Valentin Martchev Symphony are members of San Principal Diego County, Local 325, American CELLO Ryan Simmons Federation of Musicians, AFL-CIO. Chia-Ling Chien Associate Principal Nathan Walhout

14 SAN DIEGO OPERA CHORUS AND GUEST ARTISTS

One Amazing Night Roster of Artists, April 2021

Abigail Allwein Suzy Leff Bernardo Bermudez David Marshman Laura Bueno Victor Morris Sandra Camarena James Newcomb, Guest Artist Adam Caughey Benjamin Plaché Shelby Condray Angelina Réaux, Special Guest Artist Laynee Dell Woodward Sarah Nicole Ruddy Maria Janus Michael Sokol Tasha Koontz Allison Spratt Pearce, Guest Artist Elle Laikind

San Diego Opera Chorus Roster for The Barber of Seville, April 2021

TENOR BASS Alexis Alfaro Shelby Condray Ernest Alvarez Andrew Konopak Andrew Bennett David Marshman Bernardo Bermudez James Schindler Adam Caughey Michael Sokol Victor Morris Benjamin Plaché

15 MUSIC DIRECTOR’S NOTE/NOTA DEL DIRECTOR MUSICA

When I was invited to create a concert program for Cuando me invitaron a crear un concierto para el the One Amazing Night series, the performance programa de la serie Una Noche Extraordinaria, date had a significant impact on the direction of la fecha de la presentación tuvo una influencia what to present. As we move into the middle of significativa en la dirección de lo que se iba a spring 2021 - warmer weather, an available supply presentar. Y mientras nos adentramos a mediados of vaccine, a renewed sense of hope and possibility de la primavera de 2021 –,un clima más cálido, - the promise of collectively experiencing live disponibilidad de la vacuna, un sentido renovado performance again becomes palpable. de esperanza y posibilidad, la promesa de que podamos experimentar conjuntamente otra vez The prisoner’s chorus from Fidelio seems to funciones en vivo se hace palpable. personify a collective sense of emergence from solitary confinement, and the ability to experience El coro de los prisioneros de Fidelio parece its first sensations – sunshine, fresh air, and a new personificar un sentido colectivo de resurgimiento found sense of freedom. While we are not yet después del confinamiento solitario, y la habilidad ready to place forty male choristers on stage, nor de poder experimentar sus primeras sensaciones sixty musicians in an opera pit, the sentiment and – el sol, el aire, y una nueva sensación de libertad the beauty of the composition was inspiration recuperada. Aún cuando no estemos listos para enough to program an evening I have been craving poner un coro de cuarenta hombres en el escenario, since my arrival here – deploying some of the ni sesenta músicos en el foso de la ópera, el brilliant members of the San Diego Opera chorus sentimiento y la belleza de la composición fue and featuring them alongside exceptionally talented suficiente inspiración para programar una noche artists living the city. que he estado deseando intensamente desde que llegué aquí – aprovechando a algunos de I turned to my friend, colleague and frequent los brillantes miembros del coro la Ópera de collaborator Alan E. Hicks to co-conceive an San Diego y presentándolos al lado de artistas evening that would fulfill this mission, and provide a excepcionalmente talentosos que viven en la context for where we are in our return to performing ciudad. live. Me dirigí a mi amigo, colega y frecuente When I See Your Face Again: unmasking the music colaborador Alan E. Hicks para juntos concebir una of notorious pandemics is the result of an inordinate noche que pueda cumplir esta misión, y proveer un amount of discussion, research, re-orchestration for contexto de donde nos encontramos al regresar a Covid-sized ensembles and collaboration within presentaciones en vivo. multiple artistic sectors. The goal is to illustrate historic musical reactions to despair, and the Cuando te vuelva a ver – desenmascarando la ensuing hope and sense of possibility that comes música de las infames pandemias es el resultado out of crisis. I hope the sheer variety of musical de una desorbitada cantidad de discusiones, styles presented this evening will leave you with investigación, re-orquestación para ensambles a smile behind that mask which, I hope, someday musicales tamaño- Covid dentro de múltiples soon, we may all be able to remove. sectores artísticos. La meta es la de ilustrar las reacciones musicales históricas ante la – Bruce Stasyna desesperación, y el consiguiente sentido de esperanza y posibilidad que surge de las crisis. Espero la autentica variedad de estilos musicales que presentamos esta noche los deje con una sonrisa detrás de la máscara la cual, deseo, algún día pronto, podamos todos quitarnos.

– Bruce Stasyna

16 ONE AMAZING NIGHT TEXT AND TRANSLATIONS

BWV 25 – “Es ist nichts ALLE ANDEREN ALL THE OTHERS Gesundes an meinem O Himmel! Rettung! Welch Oh Heaven! Salvation! Leibe” – J.S. Bach ein Glück! Happiness! O Freiheit! Kehrst du Oh Freedom! Will you be 1. Chor (mit instr. Choral) 1. Chorus zurück? given us? (with instr. Chorale) ZWEITER GEFANGENER SECOND PRISONER Ach, wo hol ich armer rat Ah, from where shall I, Sprecht leise! Haltet euch Speak softly! Be on your Meinen Aus satz, mein wretch, receive counsel? zurück! guard! Beulen My leprosy, my plague Wir sind belauscht mit Ohr We are watched with eye kann kein Kraut noch cannot be healed by any und Blick. - and ear. Pflaster herb heilen als die Salb aus or ointment other than the ALLE ALL Gilead, balm of Gilead. Sprecht leise! Haltet euch Speak softly! Be on your zurück! guard! Du, mein Arzt, Herr Jesu, You, my doctor, Lord , Wir sind belauscht mit Ohr We are watched with eye nur alone know the best cure und Blick. - and ear. weisst die beste Seelenkur. for the soul. O welche Lust, in freier Luft Oh what joy, in the open air Den Atem leicht zu heben! Freely to breathe again! Nur hier, nur hier ist Leben. Up only here is life. Stella celi – John Cooke Sprecht leise! Haltet euch Speak softly! Be on your zurück! guard! Stella celi extirpavit Star of Heaven, Wir sind belauscht mit Ohr We are watched with eye que lactavit Dominum who nourished the Lord und Blick. – and ear. mortis pestem, quam and rooted up the plague plantavit of death primus parens hominum. which our first parents Libiamo – LA TRAVIATA – planted; Puccini

Ipsa stella nunc dignetur may that star now deign [Alfredo] [Alfredo] sydera compescere; to hold in check the con- Libiamo, libiamo ne’lieti Let's drink, drink from the quorum bella plebem stellations calici joyful chalices cedunt whose strife grants the che la bellezza infiora. since the beautiness is dire mortis ulcere. people blossoming. the ulcers of a terrible E la fuggevol ora s’inebrii a And might the fleeting hour death. voluttà get inebriated at will Libiam ne’dolci fremiti Let's drink among (those) sweet quivers O welche Lust im che suscita l’amore, that Love makes arise, freier Luft – FIDELIO – poiché quell’ochio al core since that eye goes to (his) Beethoven onnipotente va. almighty heart. Libiamo, amore, amor fra i Let's drink, (my) love, CHOR DER GEFANGENEN PRISONERS’ CHORUS calici (so that) love among the O welche Lust, in freier Luft Oh what joy, in the open air chalices Den Atem leicht zu heben! Freely to breathe again! più caldi baci avrà will get hotter kisses Nur hier, nur hier ist Leben! Up only here is life! Der Kerker eine Gruft. The dungeon is a grave. [Coro] Ah! Libiam, amor, [Chorus] Ah! Let's drink, ERSTER GEFANGENER FIRST PRISONER fra’ calici più caldi baci avrà (so that) love, among the Wir wollen mit Vertrauen We shall with all our faith chalices, will get hotter Auf Gottes Hilfe bauen! Trust in the help of God! kisses Die Hoffnung flüstert sanft Hope whispers softly in my mir zu: ears! [Violetta] [Violetta] Wir werden frei, wir finden We shall be free, we shall Tra voi tra voi saprò With you, with you, I'll be Ruh. find peace. dividere able to share il tempo mio giocondo; my cheerful time; Tutto è follia, follia nel Everything is crazy, crazy in mondo the world 17 ONE AMAZING NIGHT TEXT AND TRANSLATIONS ciò che non è piacer what is not pleasure Amour, ranime mon Love, revive my courage, Godiam, fugace e rapido Let's enjoy (the pleasures), courage, fleeting and fast Et de mon cœur chasse And from my heart chase e’il gaudio dell’amore, is the joy in love, l’effroi! fright! e’un fior che nasce e it's a flower that blossoms Hésiter, c’est te faire To hesitate, is to insult you, muore, and dies, outrage, Trembling is a lack of faith! ne più si può goder neither it can be enjoyed Trembler est un manque longer de foi! Godiamo, c’invita, c’invita Let's enjoy, it's calling us, Verse! verse! Verse toi- Verse! pays! Pour this un fervido it's calling us an ardent même ce breuvage! beverage yourself! accento lusinghier. flattering accent. Ah! Verse ce breuvage! Ah! Pour this beverage! Ô Roméo! je bois à toi! O Romeo! I drink to you! [Coro] [Chorus] Mais si demain pourtant But if tomorrow, however, Godiamo, la tazza, la tazza Let's enjoy, the cup* and dans ces caveaux funèbres in these funereal vaults e il cantico, the canticle, Je m’éveillais avant son I woke up before his la notte abbella e il riso; the lovely night and the retour? Dieu puissant! return? Powerful God! smiles; Cette pensée horrible a This horrible thought froze in questo paradiso ne might the new day find glacé tout mon sang! all my blood! scopra il nuovo dì them (still) in this paradise Que deviendrai-je en cas What will become of me in ténèbres darkness? [Violetta] La vita è nel [Violetta] Life is in (its) Dans ce séjour de mort et In this stay of death and tripudio jubilation de gémissements, moans, Que les siècles passés ont What past centuries have [Alfredo] Quando non s’ami [Alfredo] When (people) rempli d’ossements? filled with bones? ancora... aren't in love yet... Où Tybalt, tout saignant Where Tybalt, still bleeding encor de sa blessure, from his wound, [Violetta] Nol dite a chi [Violetta] Don't say it to Près de moi, dans la nuit Near me, in the night l’ignora, those who don't know it, oscure obscure Dormira! Dieu!!! ma main Sleep! God!!! my hand will [Alfredo] E’il mio destin [Alfredo] So it's my destiny rencontrera sa main! meet his hand! così... Quelle est cette ombre à la What is this shadow of mort échappée? escaped death? [Tutti] [Tutti] C’est Tybalt! il m’appelle! il It's Tybalt! His name is! he Godiamo, la tazza, la tazza Let's enjoy, the cup* and veut de mon chemin wants my way e il cantico, the canticle, Écarter mon époux! et sa Spread my husband! and la notte abbella e il riso; the lovely night and the fatale épée his fatal sword smiles; Non! fantômes! No! ghosts! disapraissez! in questo paradiso ne might the new day find disapraissez! scopra il nuovo dì. them (still) in this paradise. Dissipe-toi, funeste rêve! Dissipate yourself, fatal dream! Que l’aube du bonheur se May the dawn of happiness Dieu quel frisson cour lève rise dans mes veines – Sur l’ombre des tourments On the shadow of past ROMEO ET JULIETTE – passés! torments! Gounod Viens! Amour! ranime mon Come! Love! revive my courage, etc. courage, etc. JULIETTE JULIETTE Dieu! quel frisson court God! what shiver runs in my dans mes veines? veins? 1919 Influenza Blues – Si ce breuvage était sans If this drink was without Essie Jenkins pouvoir! power!

Craintes vaines! Fears are vain! It was in nineteen hundred People dyin’ everywhere, Je n’apparetiendrai pas au I will not appear to the and nineteen; Death was creepin’ through Comte malgré moi! Count in spite of myself! yes, men and women were the air, Non! non! ce poignard sera No! no! this dagger will be dying, And the groans of the rich le gardien de ma foi! the guardian of my faith! With the stuff, which the sure was sad. Viens! viens! Come! come! doctors called the flu. 18 ONE AMAZING NIGHT TEXT AND TRANSLATIONS

(CHORUS:) In a few days: influenza Bang ist der Weg Bang is the way But it was God’s almighty would be controlled. Sicher wird man belohnt Surely you will be rewarded plan, God as’sure man he was Wir woll’n recht fest an We really wanted to think He was judging this old had, etwas Schönes denken of something nice land, He sent the doctors all to Und an ein Schloss im And a castle in the moon North and south, east and bed, Mond west, And the nurses, they broke can be seen, down with the same. Eine kleine Sehnsucht A little longing (Well) He killed (the) rich Braucht jeder zum Everyone needs to be and poor, (CHORUS) Glücklichsein happy And he’s goin’ to, kill some Eine kleine Sehnsucht A little longing more, Influenza is a kind of Ein Stückchen Sonnenschein A bit of sunshine If you don’t turn away from disease, Eine Sehnsucht für den A longing for the gray day your shame. Make you weak down in grauen Tag your knees, Eine Sehnsucht, ganz egal A longing, no matter what Down in Memphis, Carries a fever, everybody wonach Tennessee, surely dreads, Eine kleine Sehnsucht A little longing Doctor said, soon would Puts a pain in every bone, Ein flüchtiges Traumgebild A fleeting dream structure be, In a few days, you are Eine Sehnsucht, die sich A longing that never comes gone. niemals erfüllt true To that place in the ground called your grave. Lügen wir uns Let's lie to each other Let's Trügen wir uns carry on In eine Welt hinein Into a world O mio babbino caro Und lass uns dann in dieser And then let's go in this – GIANNI SHCICCHI – Welt world Puccini Ganz verzaubert Prinz und Be completely enchanted Prinzessin sein prince and princess O mio babbino caro Oh my dear papa Du bist aus Gold You are made of gold Mi piace, è bello, bello I like him, he is so Ich bin aus Gold I am made of gold And our handsome. Und unser Tag ist froh day is happy Vo’ andare in Porta Rossa I want to go to Porta Rossa Vergessen der Student im Forget the student in the A comperar l’anello! To buy the ring! Dachstübchen attic room Sì, sì, ci voglio andare! Yes, yes, I want to go there! Und das Mädelchen vom And the girl from the office E se l’amassi indarno, And if my love were in vain, Büro Andrei sul Ponte Vecchio, I would go to the Ponte Vecchio Eine kleine Sehnsucht A little longing Ma per buttarmi in Arno! And throw myself in the Braucht jeder zum Everyone needs to be Arno! Glücklichsein happy Mi struggo e mi tormento! I am pining, I am tormented! Eine kleine Sehnsucht A little longing O Dio, vorrei morir! Oh God, I would want to die! Ein Stückchen Sonnenschein A bit of sunshine Babbo, pietà, pietà! Father, have pity, have pity! Eine Sehnsucht für den A longing for the gray day Babbo, pietà, pietà! Father, have pity, have pity! grauen Tag Eine Sehnsucht, ganz egal A longing, no matter what wonach Eine Kleine Sehnsucht – Eine kleine Sehnsucht A little longing Friederich Hollaender Ein flüchtiges Traumgebild A fleeting dream structure Eine Sehnsucht, die sich A longing that never comes Mein Tag ist grau My day is gray niemals erfüllt true Dein Tag ist grau Your day is gray Lass uns zusammen geh’n Let's go together We both Wir wollen beide an den want to take our hands Ich weiß nicht, zu wem Händen uns fassen ich gehöre – Friedrich Und uns so recht versteh’n And understand us really Hollaender Lang ist der Weg well The way is long Ich weiß nicht, zu wem ich I don’t know to whom I gehöre belong 19 ONE AMAZING NIGHT TEXT AND TRANSLATIONS

Ich bin doch zu schade für I am too bad for one alone still blühendes Glück. peaceful, flourishing einen allein. happiness. Wenn ich jetzt grad hier If now I swear loyalty here Treue schwöre Someone else will be Mein Sehnen, mein My yearning, my obsession, Wird wieder ein anderer unhappy again Wähnen, they take me back in ganz unglücklich sein. es träumt sich zurück. dreams. Zauber der Ferne The magic of things far Ja, soll denn etwas so Yes, something so beautiful warf in die Seele den away Schönes nur einem should only in one fallen Brand, brings a burning to my soul gefallen? Zauber des Tanzes lockte, The magic of the dance Die Sonne, die Sterne But the sun, the stars ward Komödiant. lured me, gehören doch auch allen. belong to everyone and I was then Pierrot. Ich weiß nicht, zu wem ich I don’t know to whom I Folgt ihr, der I followed her, my gehöre belong Wundersüssen, wonderful sweetheart, Ich glaub, ich gehöre nur I believe I only belong to lernt unter Tränen küssen. and learned from tears to mir ganz allein. myself kiss. Rausch und Not, Intoxication and misery, Ich weiß nicht, zu wem ich I don’t know to whom I Wahn und Glück: Illusion and happiness: gehöre belong Ach, das ist Gauklers Ah, this is a clown's destiny. Ich bin doch zu schade für I am too bad for one alone Geschick. einen allein. Wenn ich jetzt grad hier If now I swear loyalty here Mein Sehnen, mein My yearning, my obsession, Treue schwöre Someone else will be Wähnen, they take me back in Wird wieder ein anderer unhappy again es träumt sich zurück. dreams. ganz unglücklich sein. Ja, soll denn etwas so Yes, something so beautiful Schönes nur einem should only in one fallen Raise the Roof – WILD gefallen? PARTY – Andrew Lippa Die Sonne, die Sterne But the sun, the stars gehören doch auch allen. belong to everyone QUEENIE We’re not here to eat. Ich weiß nicht, zu wem ich I don’t know to whom I Ya ya ya ya ya ya ya We came for the heat! gehöre belong Ich glaub, ich gehöre nur I believe I only belong to ENSEMBLE Let’s raise the roof mir ganz allein. myself Ya ya ya ya ya ya ya Let’s make a scene Let’s hop the gods of love QUEENIE Will shine above Mein Sehenen, mein Ya ya! And show the way. Wähnen – DIE TOTE STADT, Let’s call the shots op. 12 – Erich Korngold ENSEMBLE Let’s roll the dice Ya ya! Take my advice Mein Sehnen, mein My yearning, my obsession, It always pays to Wähnen, QUEENIE Raise the roof! es träumt sich zurück. they take my back in Brrrrrrrrrrr! Ooh! dreams. Lock the door and stop Crush the ice and shake Im Tanze gewann ich, In the dance I once complaining forever verlor ich mein Glück. obtained it, Gather ‘round and listen Tell the evening where to go Now I've lost my well If you need a new endeavor happiness. From now on we’re I can teach you what I know Im Tanze am Rhein, While dancing on the Rhein entertaining bei Mondenschein, in the moonlight, How to hotten up this hell. Grab your partner by the gestand mirs aus Blau-aug she confessed to me with a collar ein inniger Blick, loving Hold your mood and hold Bribe the barman with a Gestand mirs ihr bittend look in her blue eyes, your bladder dollar Wort: Confessed to me with her Skip the food and stop the Just ignite a mighty holler pleading words: chatter Lead me to the trough o bleib, o geh mir nicht O stay, don't go far away, Can’t you hear the pitter- Till the clock goes off! fort, preserve the memory of patter? bewahre der Heimat your homeland's 20 ONE AMAZING NIGHT TEXT AND TRANSLATIONS

QUEENIE ENSEMBLE Will shine above Ooohhh... Hold on. The Girl I Mean to Be – Let’s raise the roof And show the way. Don’t even ask how long THE SECRET GARDEN – Let’s raise the roof Let’s raise the roof! or why! Lucy Simon Let’s make a scene Let’s call the shots Child, hold on to what you Let’s make a scene Let’s call the shots know is true, MARY: Let’s hop the gods of love Let’s roll the dice Hold on ‘til you get I need a place where I can Will shine above Ooohhh... Let’s roll the dice through. go, And show the way. Child, oh child! Where I can whisper what Let’s raise the roof! QUEENIE Hold on! I know, Let’s call the shots The time for playing nice is Where I can whisper who Let’s call the shots done When you feel your heart is I like Let’s roll the dice Before the big hand hits poundin’, And where I go to see Let’s roll the dice the one Fear a devil’s at your door. them. We’ve got to do what must There’s no place to hide- QUEENIE be done You’re frozen to the floor! I need a place where I can Take my advice So put away that smoking What you do then is you hide, It always pays to gun force yourself Where no one sees my life Raise the roof! To wake up, and you say: inside, QUEENIE ENSEMBLE “It’s this dream, not me, Where I can make my Let the neighbors scream And raise the roof! that’s bound to go away.” plans, and write them down and shout Time to have some fun! So I can read them. Who cares if they do? Go raise the roof! Hold on, Time to beat the sun! Hold on, the night will soon A place where I can bid my If they can’t see the light Let’s raise the roof! be by. heart be still We’ll keep them up all Hold on, And it will mind me. night QUEENIE Until there’s nothing left to A place where I can go Raise the roof. try. when I am lost, ENSEMBLE Child, hold on, There’s And there I’ll find me. All right! angels on their way! All right! Hold On – THE SECRET Hold on and hear them say, I need a place to spend the GARDEN – Lucy Simon “Child, oh child!” day, QUEENIE Where no one says to go Sooooo:. MARTHA: And it doesn’t even matter or stay, Cut the strings and set the What you’ve got to do is If the danger and the doom Where I can take my pen table Finish what you have Come from up above or and draw Gather roses on your way begun, down below, The girl I mean to be. Welcome to our Tower of I don’t know just how, Or just come flying Babel But it’s not over ‘til you’ve At you from across the Learn the language, come won! room! How Could I Ever Know what may. – THE SECRET GARDEN – When you see the storm is When you see a man who’s Lucy Simon Spare me how the wind is coming, raging, blowing See the lightning part the And he’s jealous and he LILY: When you keep the skies, fears How could I know I would whiskey flowing It’s too late to run- That you’ve walked through have to leave you? You can reap what you’ve There’s terror in your eyes! walls How could I know I would been sowing What you do then is He’s hid behind for years. hurt you so? If you walk the plank remember What you do then is you You were the one I was You’ve got me to thank This old thing you heard tell yourself to wait it out born to love! me say: And say it’s this day, not Oh, how could I ever QUEENIE ENSEMBLE “It’s the storm, not you, me, know? Let’s raise the roof That’s bound to blow That’s bound to go away. How could I ever know? Let’s raise the roof away.” How can I say to go on Let’s make a scene Child, oh hold on. without me? Let’s make a scene Hold on, It’s this day, not you, How, when I know you still Let’s hop the gods of love Hold on to someone That’s bound to go away! need me so? standing by. 21 ONE AMAZING NIGHT TEXT AND TRANSLATIONS

How can I say not to dream ARCHIBALD and LILY: Tainted love (oh) Seasons of love, about me? There we will go. Tainted love Seasons of love. How could I ever know? Oh! How could I know? How could I ever know? Tell me how could I know? Don’t touch me, please Five hundred twenty five Never to know you would I cannot stand the way you thousand six hundred Forgive me. ever leave me! tease minutes, Can you forgive me How could we know? I love you though you hurt Five hundred twenty five And hold me in your heart, me so thousand journeys to plan, And find some new way to LILY: Now I’m gonna pack my Five hundred twenty five love me How could I ever know? things and go thousand six hundred Now that we’re apart? minutes, How could I know I would Tainted love (oh) How do you measure the never hold you? Tainted Love – Ed Cobb Tainted love (oh) life of a woman or a man? Never again in this world, Sometimes I feel I’ve got to Tainted love (oh) but oh, Run away, I’ve got to Tainted love (oh) In truth that she learned, Sure as you breathe, I am Get away from the pain you Or in times that he cried? there inside you, drive into the heart of me Touch me, baby, tainted In the bridges he burned, How could I ever know? The love we share love Or the way that she died? How could I ever know? Seems to go nowhere Touch me, baby, tainted And I’ve lost my light love It’s time now, to sing out, ARCHIBALD: For I toss and turn, I can’t Tainted love (oh) Though the story never How can I hope to go on sleep at night Tainted love (oh) ends. without you? Let’s celebrate, remember How can I know where Once I ran to you (I ran) Tainted love a year, you’d have me go? Now I’ll run from you Tainted love In the life of friends. How can I bear not to This tainted love you’ve dream about you? given Remember the love, Oh, how can I let you go? I give you all a boy could Seasons of Love – RENT – (Oh you got to, you got to give you Jonathan Larson remember the love) LILY: Take my tears and that’s not Remember the love, How could I ever know? nearly all Five hundred twenty five (You know that love is a gift Tainted love (oh) thousand six hundred from up above) ARCHIBALD: Tainted love minutes Remember the love, All I need... Five hundred twenty five (Share love, give love, Now I know I’ve got to thousand moments so dear spread love) LILY: Run away, I’ve got to Five hundred twenty five Measure in love, Is there in the garden! Get away, you don’t really thousand six hundred (Measure, measure your life want any more from me minutes in love) ARCHIBALD: To make things right How do you measure, Seasons of love, All I would ask... You need someone to hold measure a year? Seasons of love you tight LILY: And you think love is to In daylights, in sunsets, Is care for the child of our pray In midnights, in cups of love! But I’m sorry, I don’t pray coffee? Come, go with me, safe I that way In inches, in miles, will keep you. In laughter, in strife? Once I ran to you (I ran) ARCHIBALD: Now I’ll run from you In five hundred twenty Where you would lead me, This tainted love you’ve five thousand six hundred There I would, given minutes, I give you all a boy could How do you measure a LILY: give you year in the life? There I would, there we Take my tears and that’s not How about love? would, nearly all How about love? How about love? Measure in love.

22 23 THE BARBER OF SEVILLE SYNOPSIS

SCENE I – Outside of Bartolo’s House, Very early morning Count Almaviva comes in disguise to the house of Doctor Bartolo and serenades Rosina, whom Bartolo keeps confined to the house. Figaro the barber, who knows all the town’s secrets and scandals, explains to Almaviva that Rosina is Bartolo’s ward, not his daughter, and that the doctor intends to marry her. Figaro devises a plan: the count will disguise himself as a drunken soldier with orders to be quartered at Bartolo’s house so that he may gain access to Rosina. Almaviva is excited and Figaro looks forward to a nice cash pay-off.

SCENE II – Inside of Bartolo’s House, that same morning Rosina reflects on the voice that has enchanted her and resolves to use her considerable wiles to meet the man it belongs to—as Almaviva has led her to believe, a poor student named Lindoro. Bartolo appears with Rosina’s music master, Don Basilio. Basilio warns Bartolo that Count Almaviva, who has made known his admiration for Rosina, has been seen in Seville. Bartolo decides to marry Rosina immediately. Basilio suggests slander as the most effective means of getting rid of Almaviva. Figaro, who has overheard the plot, warns Rosina and promises to deliver a note from her to Lindoro. Bartolo suspects that Rosina has indeed written a letter, but she outwits him at every turn. Bartolo warns her not to trifle with him.

Count Almaviva arrives, creating a ruckus in his disguise as a drunken soldier, and secretly passes Rosina his own note. Bartolo is infuriated by the stranger’s behavior and noisily claims that he has an official exemption from billeting soldiers. Figaro announces that a crowd has gathered in the street, curious about the argument they hear coming from inside the house. The civil guard bursts in to arrest Almaviva, but when he secretly reveals his true identity to the captain he is instantly released. Everyone except Figaro is amazed by this turn of events.

The count immediately returns, this time disguised as Don Alonso, a music teacher and student of Don Basilio, to give Rosina her singing lesson in place of Basilio, who, he says, is ill at home. “Don Alonso” then tells Bartolo that when visiting Almaviva at his inn, he found a letter from Rosina. He offers to tell her that it was given to him by another woman, seemingly to prove that Lindoro is toying with Rosina on Almaviva’s behalf. This convinces Bartolo that “Don Alonso” is indeed a student of the scheming Basilio, and he allows him to give Rosina her lesson.

Figaro arrives to give Bartolo his shave and manages to snatch the key that opens to the back gate. While Bartolo gets his shave, Almaviva plots with Rosina to meet at the back balcony that night so that they can elope. But the doctor overhears them and, realizing he has been tricked again, flies into a rage. Everyone disperses.

SCENE III – Later that same evening As a raging thunderstorm passes, Bartolo shows Rosina her letter to Lindoro, as proof that he is in league with Almaviva. Heartbroken and convinced that she has been deceived, Rosina agrees to marry Bartolo. Figaro and the count, having let themselves in the back gate, climb a ladder to the back balcony. Rosina appears and confronts Lindoro, who finally reveals his true identity as Almaviva. Basilio shows up. Bribed and threatened, he agrees to be a witness to the marriage of Rosina and Almaviva. Bartolo arrives with an officer, but it is too late. He accepts that he has been beaten, and Figaro, Rosina, and the count celebrate their good fortune.

24 EL BARBERO DE SEVILLA SINOPSIS

Primera Escena – Afuera de la casa de Bartolo, muy temprano en la mañana El conde Almaviva llega disfrazado a la casa del Doctor Bartolo y le da una serenata a Rosina, a quien Bartolo tiene encerrada en la casa. Fígaro el barbero, quien conoce todos los secretos y escándalos del pueblo, le explica a Almaviva que Rosina es la pupila de Bartolo y no su hija, y que el doctor intenta casarse con ella. Fígaro crea un plan: el conde se va a disfrazar como un soldado borracho con órdenes de ser alojado en casa de Bartolo, así él podrá conseguir acercase a Rosina. Almaviva se emociona y Fígaro espera recibir un buen pago en efectivo como compensación.

Segunda Escena – Dentro de la casa de Bartolo, esa misma mañana Rosina reflexiona sobre la voz que la ha encantado y resuelve utilizar sus cuantiosas artimañas para conocer al hombre de la voz encantadora – mientras que Almaviva le ha hecho creer, que es un pobre estudiante llamado Lindoro. Bartolo aparece en la escena con el maestro de música de Rosina, Don Basilio. Basilio le advierte a Bartolo que al Conde Almaviva, quien ya ha expresado su admiración por Rosina, se le ha visto en Sevilla. Bartolo decide casarse con Rosina inmediatamente. Basilio le sugiere difamarlo como el método más eficiente para deshacerse de Almaviva. Figaro quien ha escuchado la trama le avisa a Rosina y le promete llevarle un mensaje de ella a Lindoro. Bartolo sospecha que en verdad Rosina ha escrito una carta, pero ella lo engaña todo el tiempo. Bartolo le advierte que no juegue con él.

El Conde Almaviva llega disfrazado como un soldado borracho creando un enredo y en secreto le pasa su propia carta a Rosina. Bartolo se enfurece por el comportamiento del intruso y a gritos asegura que él oficialmente está exento de alojar solados. Fígaro les notifica que una multitud de curiosos se ha reunido en la calle al escuchar la discusión que proviene de la casa. El guardia civil entra precipitadamente para arrestar a Almaviva, pero cuando en secreto él le revela su verdadera identidad al capitán lo suelta inmediatamente. Todos se encuentran sorprendidos por este giro en los acontecimientos menos Fígaro.

El conde regresa inmediatamente, esta vez disfrazado de Don Alonso, un maestro de música y estudiante de Don Basilio, para darle a Rosina su clase de canto en vez de Basilio, quien, según él dice, se encuentra enfermo en casa. “Don Alonso” entonces le dice a Bartolo que cuando visitaba a Almaviva en su albergue, encontró una carta de Rosina. Él ofrece decirle a ella que la carta se la dio otra mujer, aparentemente para probar que, a nombre de Almaviva, Lindoro está jugando con Rosina. Esto convence a Bartolo de que “Don Alonso” es en verdad un estudiante del tramposo Basilio, y permite que le dé a Rosina su clase. Fígaro llega a rasurar a Bartolo y se las arregla para tomar la llave que abre las puertas del portón trasero. Mientras rasuran a Bartol, Almaviva planea encontrarse con Rosina esa noche en el balcón para que puedan escaparse. Pero el doctor los escucha y dándose cuenta que lo han vuelto timar se pone furioso. Todos se dispersan.

Tercera Escena – Más tarde esa misma noche Mientras una intensa tormenta pasa. Bartolo le enseña a Rosina la carta que le envió a Lindoro como prueba de que está aliado a Almaviva. Con el corazón roto y convencida de que la han engañado, Rosina acepta casarse con Bartolo. Figaro y el conde habiendo entrado por la puerta trasera se suben por una escalera al balcón. Rosina aparece y confronta a Lindoro quien finalmente le revela su verdadera identidad como Almaviva. Basilio llega y sobornado y amenazado accede a ser testigo de la boda de Rosina y Almaviva. Bartolo llega con un oficial, pero es muy tarde. Acepta que ha sido derrotado y Figaro, Rosina y el conde celebran su buena suerte.

25 DIRECTOR’S NOTE/NOTA DEL DIRECTOR

The Barber of Seville is absurd comedy in its original El Barbero de Sevilla es una comedia absurda en form. Made famous by the Beaumarchais play, it’s been su forma original. Se hizo famosa por la obra de adapted into opera a number of times, with Rossini Beaumarchais, y se ha adaptado como ópera muchas and Sterbini’s version certainly emerging as the most veces, ciertamente la versión que aflora como la más well-known. It’s a classic tale of two goofy kids using conocida es la de Rossini y Sterbini. Es una historia subterfuge to help a plucky teen escape the clutches of clásica de dos ingenuos jóvenes que utilizan tretas para her overbearing guardian, and being rewarded in the ayudar a una valiente joven a escapar de las garras end with true love and recognition of their undeniable de su autoritario tutor, al final son recompensados quick wit. Youth prevails, and the aged guardian and his con un reconocimiento y un amor sincero por su dim-witted henchman are left in their dust, with noth- innegable y ágil ingenio. La juventud prevalece y el ing to do but throw their hands in the air and submit. viejo tutor y su torpe secuaz se quedan atrás, sin tener Musically youthful as well, the piece has been called a nada que hacer más que levantar las manos al aire y “nervous outburst of vitality,” and its quick tempi and rendirse. Musicalmente es una obra juvenil también, rapid patter now evoke images of cartoon tip-toeing, and se le ha llamado a esta pieza “una explosión nerviosa Bugs Bunny with shaving cream. A pairing of absurdity in de vitalidad”, y su ritmo precipitado y su movimiento perfect form. rápido evocan ahora personajes de caricaturas de puntitas, y Bugs Bunny con crema para rasurar. Una Like La bohème in October, Bruce Stasyna, myself, and unión del absurdo en perfecta forma. our creative team had our work cut out for us in terms of adapting this intricate score to the protocols that Como en La bohème que presentamos en octubre, the Covid era demands. How do we turn this opera Bruce Stasyna, yo y mi equipo creativo tuvimos que into a 90-minute show straight through and keep the trabajar arduamente en relación a la adaptación de story intact? How do we socially distance a piece that esta complicada obra a los protocolos que la era del is entirely based on prat falls, shoves, and juvenile note COVID demanda. ¿Cómo cambiamos esta ópera a una passing? What I found as we cut out chunks of the score, presentación de 90 minutos sin cortes y la dejamos and conflated scenes, was that the changes kept getting con su historia intacta? ¿Cómo seguir el protocolo del faster, and the jokes flew by with an increased urgency. distanciamiento social en una obra que está basada I was reminded of another time in our history when this completamente en caídas intencionales, empujones rapid-fire absurdity was commonplace: the late 1960’s y cartitas que se pasan entre adolescentes? Lo que and early 1970’s. encontré mientras reducíamos parte de la obra y fusionábamos escenas, fue que los cambios se hacían Amanda Seymour’s costumes, which we are borrowing más rápidos y las bromas volaban con un apremio from Utah, helped enhance the connection between that acelerado. Me recordó otro momento en nuestra historia crazed psychedelic moment in time, and the opera itself. cuando este trepidante disparate era común y corriente; I started looking at episodes of Laugh-In, The Monkees, al final de los años sesentas y a principios de los The Partridge Family, and Yellow Submarine. This story setentas. fits happily into this persona, into its mugging, its one-lin- ers, and its frustrated youth acting out in order to find El vestuario de Amanda Seymour, el cual nos prestaron the way through. Besides some editing for time, the story en Utah, nos ayudo a acentuar la conexión entre ese remains intact and true to its origins, but the package momento loco psicodélico y la ópera misma. Empecé it’s wrapped in evokes a period in our history where the a ver episodios de, Laugh-In, The Monkees, The news cycle left us all looking for a little escapism, and Partridge Family y Yellow Submarine. Esta historia encaja going to the drive-in was as much a part of life as tuning felizmente con estos personajes en su exageración, en into Laugh-In on Monday nights. sus comentarios ingeniosos y su juventud frustrada que se comporta mal para salirse con la suya. Además de la So sit back, adjust your radio dial, and let our little jewel edición por razones de tiempo, la historia permanece of absurdity sock it to you. intacta y fiel a su origen, pero el paquete en el que se encuentra envuelta evoca un periodo en nuestra historia – Keturah Stickann, Director donde las noticias nos dejaban a todos buscando un pequeño escape e ir a los auto-cinemas era parte de la vida tanto como ver Laugh-In los lunes en la noche.

Así que siéntense, sintonicen su radio, y dejen que nuestra pequeña joya del absurdo se los muestre.

– Keturah Stickann, Director

26 ABOUT THE OPERA THE BARBER OF PESARO BY

“Give me a laundry list and I will set it to music,” Rossini was born into a musical world in transition from Gioachino Rossini once boasted, only partly in jest. He Classicism to Romanticism. We most often think of him was paying himself a left-handed compliment, the self- today as an incomparable composer of comic operas, acknowledgement of a prodigiously facile gift to pour all of which owe a deeply and frequently acknowledged out music with effortless speed. Remember, it was Rossini debt to Mozart, a god-like figure to Rossini. “The angel who—when told Donizetti had finished a new opera in of music,” he called him. three weeks—remarked, “Well, he always was a lazy fellow.” After all, it had taken Rossini only thirteen days It goes without saying that Rossini, in turn, would have to produce his comic masterpiece, The Barber of Seville. been enormously pleased could he have lived to hear himself described as “the Italian Mozart.” There is Rossini, born in the Adriatic town of Pesaro in 1792, ample reason for so extravagant a claim, for like Mozart, had learned to write in haste in his youth because of Rossini was a melodist of the highest order and had an financial responsibilities towards family members who unerring feeling for the voice and its possibilities. In their were dependent on his ability to make money quickly. comedies, there is laughter of a tickling, sly, mocking sort In the beginning of his career he seemed, in his own rather than the belly-shaking type. mind at least, to be more of an artisan than an artist. He apparently lacked any loftier ideas about the writing of There are marvelous human insights in his works as music; it was a matter of doing what he knew best and well, though in Rossini’s operas these never penetrate did best. as deeply and revealingly as in Mozart’s The Marriage of Figaro, for example. Rossini was too often caught As a carpenter fashions an exquisite piece of cabinetry, on the treadmill of contemporary operatic conventions, so Rossini fashioned an attractive piece of music. That a becoming prey to the need to borrow from himself and Chippendale emerged from a mass of woodworkers and developing stylistic tricks that enabled him to grind out a Rossini loomed over such now-forgotten composers as lengths of music to meet a deadline. He paid a price Simone Mayr, Niccolò Zingarelli, and for his facility, but still he soared above the crowd. And was of little concern to either man at the time. It was a again, as in Mozart, there is in Rossini’s music at its best a question they left to posterity, and they probably never craft, an elegance, and a well-formed sense of character thought about it at all. delineation.

Of all the characters he fashioned, Rossini was closer in But I said earlier he was a bridge, and there is another attitude and temperament to his ebullient Figaro than to crucial side to the man, for Rossini not only looked any other. It is hardly a coincidence that Figaro’s bravura backward to Classic values, but also forward to Romantic “Largo al factotum” was one of Rossini’s favorite concepts. The Rossini of such giant-stepping operas as party turns; he loved to sing it to his own accompaniment , Otello, and helped shape the at a glittering gathering. He could well have been heroics of his age though his vocal writing and in the describing himself: “Make way for the factotum of the way that he gave the opera orchestra a bigger and more city. Rushing to his shop, for dawn is here . . . what complex role than ever before. If we over-emphasized pleasure . . . you are indeed the most fortunate of men. his Classic side and talent for comedy, his more serious Ready for everything by night or by day, always bustling, nature suffers. The true wonder of Rossini is that he stood always in motion. I go like lightning . . . Good fortune astride two cultures and was a master of both. always smiles.” In all, he wrote thirty-nine operas, two large-scale choral Evviva Rossini, the Barber of Pesaro. works, and dozens of songs, piano pieces, and ensemble works. Those compositions on which his fame rests were It is better to think of him as a resourceful wheeler-dealer written between the ages of sixteen and thirty-seven, than as the Father Goose of his time, as many have seen although he lived to be seventy-six. That fact is an him. But to truly appreciate him we have to remember important part of his story as well. Rossini spent more that, along with surface wit and brilliance, he was a than half of his life in a self-imposed exile from the arena bridge from the culture of one century to that of another. that had brought him greater rewards and acclaim during

27 ABOUT THE OPERA his lifetime than to virtually any other composer of the challenging the elder Paisiello and be offended by a new day—apart from Beethoven. Barber.

Many reasons have been advanced for Rossini’s To avoid such a confrontation, Rossini wrote to the then abdication of his throne as king of opera after producing seventy-year-old Paisiello asking his permission to retrace so important a score as William Tell. During Richard the same dramatic ground. Much later, Rossini gave his Wagner’s first visit to Paris, where Rossini lived the reasons: “I had not wanted to enter into a contest with second half of his life, he had complained to Wagner of a him, being aware of my inferiority, but had wanted only decline in singing. Certainly what he saw as a slackening to treat a subject that delighted me while avoiding as in the art he so passionately loved was part of the reason much as possible to exact situations in his libretto.” he stopped writing for the stage so abruptly. But there were other pressing reasons as well. Supposedly, Paisiello responded by wishing his younger colleague well. Still, Rossini thought it better to give Rossini had labored long and hard ever since his teens, the first performance of his new work at Rome’s Teatro and by the time of William Tell he was tired, having Argentina as Almaviva, attaching to it the Beaumarchais packed a lifetime’s work into the space of twenty-odd subtitle “The Useless Precaution.” There was even a sort years. Also, during the writing of William Tell, he had of apologia printed in the libretto that first night of The developed a nervous condition that gradually became Barber, February 20, 1816. Rossini’s fears were justified. chronic and could well have been venereal. It drained When he entered the orchestra pit to take his place at his energy and he found that writing had become the harpsichord, catcalls and whistles broke out from a increasingly difficult, especially as he had gradually group of Paisiello partisans, who were determined to begun to demand more of himself. create a debacle. Things went from bad to worse.

Even after his health improved, the joy in working was The Almaviva was Manuel García, father of the legendary gone—along with the need to work. By 1855, when prima donnas and Pauline Viardot. He Rossini settled for good in Paris, he was a wealthy and chose not to perform the first aria Rossini wrote for respected figure who could afford the luxury of writing him, but substituted instead his own arrangement of a music for himself alone. Only one full-scale work came Spanish melody, sung to his own accompaniment. As he from this later period—the Petite Messe Solennelle—his was tuning his guitar, a string broke, provoking laughter sole masterpiece written during the years away from the and more catcalls. When Figaro entered, also carrying a stage. Apart from this amazing and impassioned score, guitar, the laughter doubled and barely a note of “Largo there were only whimsical salon pieces he called Sins of al factotum” was heard. My Old Age, created to amuse and divert his friends and guests. The comedy soon became a comedy of errors when the Basilio stumbled over a trap door, fell, and bruised To the outside world, however, his fame rested on one his face badly. He had to sing “La calunnia” with a composition: The Barber of Seville. It was an opera handkerchief held to a bleeding nose. Next, a cat drawn from the same source as Mozart’s The Marriage wandered onstage during the first act finale. Figaro of Figaro—a trilogy of plays by another real-life Figaro chased it in one direction, Bartolo in another. It would up character, Pierre Augustin Caron de Beaumarchais. The under Rosina’s skirts, producing total confusion onstage. plays dealt with the intrigues and love affairs in the As the curtain fell, Rossini turned to the audience household of a Spanish nobleman, the Count Almaviva. and shrugged his shoulders. The public thought it a The Beaumarchais Barber, however, is permeated by contemptuous gesture and began booing. Hardly a social criticism, with the working classes pitted against note of music was heard during the noise that continued the aristocracy, while Rossini’s Barber is little more than during the second act. a favorite commedia dell’arte ploy: a foolish old man attempting to marry his beautiful and young ward who is Oddly enough, Rossini seemed not to have been entirely in love with a handsome young man. upset by all the furor. When a group of singers went to his house after the performance to console him, they The Barber was the first play in the Beaumarchais trilogy found the composer sound asleep. Still, Rossini thought and had been previously set to music by Giovanni it was best to stay away from the theater for the second Paisiello, an accomplished and popular composer of performance, which seems to have gone without mishap. the generation prior to Rossini’s. Though immediately Later that evening, as Rossini later remembered, “I was attracted to the idea of setting The Barber to music, sleeping peacefully when I was awakened suddenly by Rossini and his librettist Cesare Sterbini worried that a deafening uproar out in the street, accompanied by a the critics and public would think they were openly brilliant glow of torches.

28 ABOUT THE OPERA

“As soon as I got up, I saw that they were coming in my from himself. Rossini was famous, or infamous if you direction. Still half asleep, and remembering the scene prefer, in this regard. But in the case of The Barber, of the preceding night, I thought that they were coming even he reached new heights in robbing the graves to set fire to the building, and I saved myself by going to of earlier works that had not achieved notable fame. a stable at the back of the courtyard. But lo, after a few The Barber’s was originally written in 1813 for minutes I heard García calling me at the top of his voice. Aureliano in Palmira and reused in 1815 for Elisabetta, He finally located me. ‘Get a move on, you. Come on, Regina d’Inghilterra. Aureliano also provided material now, listen to those shouts of “Bravo, bravissimo Figaro.” for Almaviva’s first-act aria “Ecco ridente in cielo” and An unprecedented success. The street is full of people. Basilio’s “La calunnia,” while Elisabetta contributed the They want to see you.’ second half of Rosina’s “Una voce poco fa” (an allegro idea, which was likewise derived from Aureliano). The “But still heartbroken . . . I answered, ‘Tell them to go to point, however, is not in what he used, but how he used hell, their bravos and all the rest. I’m not coming out of it, and The Barber’s irresistible spontaneity and musical here.’ I don’t know how poor García phrased my refusal sense of rightness reduces all of its background sources to that turbulent throng. In fact, he was hit in the eye by to insignificance. an orange, which gave him a black eye for several days. Meanwhile, the uproar in the street increased more and One final thought before leaving Rossini. He died in more.” There were only seven performances during that 1868 and was given a grand funeral in Paris befitting first run of The Barber in February and March of 1816, his enormous fame and the void created by his death. and it did not return to Rome for five years. But by the He was laid to rest in the cemetery of Père Lachaise, time it did, The Barber had been joyfully embraced by where Bellini and Chopin had been buried before him. the major cities of Europe, and Rossini’s had become one Like Bellini, Rossini’s remains were eventually returned to of the prominent names in the world of opera. . In the case of Rossini, however, his body was taken to the church of Santa Croce in Florence, where Italy’s The success of The Barber is doubly remarkable when greatest men are interred. The fact that Rossini today one remembers that it is in many instances a pastiche. rests alongside Galileo and Michelangelo gives a more It was not unusual, of course, during the eighteenth and accurate idea of how his countrymen and the world came early nineteenth centuries for a composer to borrow to regard him that words ever could.

The late John Ardoin, longtime music critic of the Dallas Morning News, is the author of several books and documentaries on , also Furtwängler Record (1994) and and the Kirov (2001). This essay was published in a previous edition of San Francisco Opera Magazine.

29 SOBRE LA ÓPERA

EL BARBERO DE PESARO BY JOHN ARDOIN

“Dénme una lista de quehaceres cotidianos y yo Es mejor pensar que él era un hábil negociador más le pongo música”. Gioachino Rossini alguna vez que un Papá la Oca de su época, como muchos lo han presumió, en parte bromeando. Se estaba elogiando visto. Pero para poder realmente apreciarlo, tenemos sarcásticamente, un reconocimiento del prodigioso y fácil que recordar que junto con su aparente inteligencia y talento de escribir música sin esfuerzo y a gran velocidad. genialidad, él fue el puente de la cultura de un siglo a Recuerden – que fue Rossini quien- cuando le dijeron la de otro siglo. Rossini nació en un mudo musical en que Donizetti había terminado una ópera nueva en tres transición del Clasicismo al Romanticismo. semanas --comentó, - “bueno él siempre fue una persona floja”. Después de todo solamente le había tomado a Frecuentemente ahora pensamos en él como un Rossini trece días en producir su obra maestra cómica, El incomparable compositor de óperas cómicas, las cuales Barbero de Servilla. le deben un reconocimiento profundo y constante y están en deuda con Mozart, una figura que era como un Rossini nació en el pueblo Adriático de Pesaro en 1792, dios para Rossini. “El Ángel de la música”, así lo llamaba. habiendo aprendido a escribir música apresuradamente en su juventud, por responsabilidades financieras que Está por demás decirlo que hubiera sido, en su tenia con su familia que dependían de su habilidad de momento, un enorme placer para Rossini, si hubiera ganar dinero rápidamente. Al principio de su carrera, él vivido para escuchar que ahora lo describen como parecía, estar de acuerdo con la idea de que era más “el Mozart italiano”. Existen muchas razones para tan un artesano que un artista. Aparentemente le faltaban exorbitante afirmación, ya que como Mozart, Rossini era algunas ideas más excelsas de cómo escribir música; se un compositor de melodía del más alto nivel y tenía una trataba de hacer lo que sabía y lo que hacía mejor. infalible sensibilidad para la voz y sus posibilidades. En sus comedias, hay sonrisas de tipo pícaro, y burlón más Así como un carpintero realiza una exquisita pieza de que de risa conmocionada. gabinete, así Rossini creaba una fascinante pieza musical. Que Chippendale haya surgido de una multitud de Hay maravillosas perspectivas humanas en sus obras carpinteros y un Rossini surgiera de tales compositores también, pero las óperas de Rossini nunca penetran ahora olvidados como Simone Mayr, Niccolò Zingarelli tan profundo y reveladoramente como por ejemplo en y Saverio Mercadante tenía poca importancia para Las Bodas de Fígaro de Mozart. Rossini frecuentemente cualquiera de ellos en aquellos tiempos. Era un asunto estaba atrapado en el círculo de las tradiciones que dejaron a la posteridad y probablemente ni siquiera operísticas contemporáneas, tornándose presa de la lo pensaron. necesidad de inspirarse y desarrollar trucos estilísticos que le permitieran de manera dinámica crear obras para De todos los personajes que creó, Rossini era más cumplir con la fecha límite. Ese era el precio que pagaba parecido a su exuberante Fígaro en su actitud y por su habilidad, pero aún así sobresalía por encima temperamento que a ningún otro. Es difícilmente una de los demás. Y otra vez, así como en Mozart, hay en coincidencia que el aria virtuosa – bravura aria-- de la mejor música de Rossini, arte, elegancia y un sentido Fígaro, “Largo al factotum”, era una de las favoritas bien desarrollado de las caracteristicas del personaje. de Rossini en sus fiestas; le encantaba cantarla acompañándose el mismo en sus deslumbrantes Pero mencione antes que él fue un puente, y existe otro reuniones. El podría muy bien estarse describiendo así lado crucial del hombre, ya que Rossini no sólo vio hacía mismo: “Habrán paso para el factótum de la ciudad”. el pasado los valores Clásicos, sino que también hacia el Corriendo a su negocio, que ya amaneció… que placer… futuro los conceptos Románticos. El Rossini de las óperas en verdad que eres el hombre más afortunado. Listo para monumentales como Semiramide, Otello and William todo de noche y de día, siempre rebosante, siempre en Tell ayudó a formar a los grandiosos de su época, si movimiento. Voy como un relámpago… La buena suerte bien su manejo de la voz y en la forma en que le dio a siempre me sonríe”. la orquesta operística un rol más grande y más complejo que nunca antes. Si sobre enfatizáramos su lado Clásico y Evviva Rossini,-Viva Rossini -El Barbero de Pesaro. talento para la comedia, su naturaleza más formal sufriría.

30 SOBRE LA ÓPERA

La verdadera maravilla de Rossini es que él se estableció personaje de la vida real. Pierre Agustin Caron de dividido por dos culturas y las domino a ambas. Beaumarchains. Las obras tratan de las intrigas y amoríos en la casa de un hombre de la nobleza de España, En general escribió treinta y nueve óperas, dos obras el Conde Almaviva. El Barbero de Beaumarchais, sin corales de gran escala, y docenas de canciones, piezas embargo está rodeado de críticas sociales en donde para piano, y obras para música de cámara. Aquellas la clase trabajadora se enfrenta contra la aristocracia, composiciones que lo hicieron famoso las escribió cuanto mientras que el Barbero de Rossini es un poco más que tenía entre dieciséis y treinta y siete años, aún cuando un favorito de la estrategia de la commedia dell”art; llego a vivir setenta y seis años. Estos hechos son parte un viejo tonto que intenta casarse con su bella y joven importante de su historia también. Rossini se pasó más pupila quien está enamorada de un apuesto joven. de la mitad de su vida en un exilio auto impuesto de la escena que le había traído grandes gratificaciones y El Barbero fue la primera obra en la trilogía de reconocimiento durante su vida más que prácticamente Beaumarchais y había sido previamente musicalizado ningún otro compositor de su época fuera de Beethoven. por Giovanni Paisiello, un compositor consumado y Existen muchas razones que han sido fomentadas por popular de la generación anterior a Rossini. Aunque las cuales Rossini abdicó al trono como rey de la ópera inmediatamente les atrajo la idea de ponerle música al después de haber producido música como William Tell. Barbero de Servilla, Rossini y su libretista Cesare Sterbini se preocuparon de que los críticos y el público pensaran Durante la primera visita de Richard Wagner a Paris, que estaban abiertamente desafiando al célebre Paisiello donde Rossini vivió la segunda mitad de su vida, él y se ofendieran con un nuevo Barbero. se había quejado con Wagner de que el canto iba en declive. Ciertamente lo que vio como una disminución Para evitar semejante confrontación Rossini le escribió en el arte que él tan apasionadamente amó, fue en parte a Paisello quien tenía en aquel entonces setenta la razón por la cual dejo de escribir para el escenario tan años, pidiéndole permiso para retomar la misma obra repentinamente. Pero existían otras razones apremiantes dramática. Mucho después Rossini explicó sus razones: también. “No hubiera querido entrar en una competencia con él, estando consciente de mi inferioridad, solamente Rossini había trabajado arduamente y por mucho tiempo quería trabajar en un tema que me encantaba y al mismo desde que era joven, y para cuando apareció William tiempo evitar lo más que pudiera copiar situaciones de Tell ya estaba cansado, habiendo hecho el trabajo de su libreto”. toda una vida en un lapso de veintitantos años. También mientras escribía William Tell se le había desarrollado un Supuestamente Paisiello respondió deseándole a su problema nervioso que con el tiempo se hizo crónico y joven colega que le fuera bien. Aún así Rossini pensó pudo haber sido también una enfermedad venérea. Le que sería mejor dar la primera función de su nueva obra robo la energía y descubrió que escribir se había vuelto en el Teatro Argentina de Roma, como Almaviva dándole más difícil, especialmente conforme iba poco a poco el subtitulo de Beaumarchais, “La Precaución Inutil”. siendo más exigente consigo mismo. Había algo así como una disculpa en el libreto impreso en el estreno del Barbero la primera noche, en febrero Aún cuando su salud mejoró, el encanto del trabajo se 20 de 1816. Y los temores de Rossini eran justificados. había ido – junto con la necesidad de trabajar. Para 1855 Cuando entró al foso de la orquesta para sentarse al cuando Rossini se estableció definitivamente en Paris, era clavecín, abucheos y silbidos irrumpieron de un grupo una persona adinerada y respetada quien podía darse que apoyaba a Paisiello, quienes estaban resueltos a el lujo de escribir música para sí mismo. Solamente una crear un desastre. Las cosas fueron de mal en peor. obra de gran escala se produjo durante este periodo posterior – la Petite Messe Solennelle –la única obra El Almaviva era Manuel García, papá de las famosas maestra escrita durante los años fuera del escenario. Prima Donnas Maria Malibran y Pauline Viardot. Él Fuera de esta extraordinaria y apasionada pieza, solo decidió no cantar la primera área como Rossini la existieron extravagantes piezas de salón las cuales llamó había escrito para él y la substituyó en vez con su Sins of My Old Age,(Pecados de mis Vejez) creadas paras propio arreglo de una melodía española la cual cantó divertir y entretener a sus amigos e invitados. acompañándose a sí mismo. Mientras afinaba su guitarra, una cuerda se rompió, provocando carcajadas y más Para el mundo, sin embargo, su fama se la debe a una abucheos. Cuando entró a escena Fígaro también composición: El Barbero de Sevilla. Fue una ópera cargando una guitarra, las carcajadas se duplicaron y derivada de la misma fuente que Las Bodas de Figaro difícilmente se podían escuchar una sola nota de “Largo de Mozart – una trilogía de obras de otro Fígaro, un al factótum”.

31 SOBRE LA ÓPERA

La comedia pronto se tornó una comedia de alboroto en la calle crecía más y más. Hubo solamente equivocaciones cuando Basilio se tropezó con un portillo, 7 representaciones en el estreno de El Barbero en se cayó y golpeó la cara fuertemente. Tuvo que cantar febrero y marzo de 1816, y no regresó a Roma en cinco “la calunnia” con un pañuelo que sostenía sobre la años. Pero cuando se volvió a presentar, El Barbero nariz sangrante. A continuación un gato saltó sobre el había sido recibido jubilosamente en las ciudades más escenario al final del primer acto. Fígaro lo correteó en importantes de Europa y Rossini se había convertido en una dirección, Bartolo en la otra. Terminó debajo de la una celebridad en el mundo de la ópera. falda de Rosina produciendo una total confusión en el escenario. Cuando se cerró el telón, Rossini volteó a ver El éxito de El Barbero es doblemente extraordinario al público y se encogió de hombros. El público pensó cuando recordamos que es de alguna manera una que era un gesto despectivo y empezaron a abuchearlo. parodia. No era inusual, por supuesto, durante el siglo Difícilmente se pudo escuchar la música durante el XVIII y a principios del XIX que un compositor tomará segundo acto por el ruido que continuaba. música de sus propias obras. Rossini era famoso o infame, si prefieren, a este respecto. Pero en el caso de Curiosamente, Rossini parecía no estar del todo molesto El Barbero incluso él llegó lejos robando las tumbas de con todo el escándalo. Cuando un grupo de cantantes obras anteriores que no habían alcanzado ninguna fama. fueron a su casa después de la función a consolarlo, La obertura de El Barbero fue originalmente escrita en encontraron al compositor profundamente dormido. Sin 1813 para Aureliano in Palmira y se volvió a utilizar en embargo Rossini pensó que sería mejor que no fuera al 1815 para Elisabetta, Regina d”Inghilterra. Aureliano teatro para la segunda presentación, la cual parece no también aportó material para el área del primer acto de haber tenido contratiempos. Poco después esa tarde, tal Almaviva “Ecco ridente in cielo” y para“La calunnia” como lo recordó Rossini después, “yo estaba durmiendo de Basilio, mientras que Elisabetta contribuyó con la tranquilamente cuando me despertó de repente un segunda mitad de “Una voce poco fa” de Rosina (una ensordecedor alboroto en la calle, acompañado por un idea – allegro-, que a su vez venía también de Aureliano). brillante resplandor de antorchas”. El punto no es, sin embargo, lo que él utilizó, si no cómo lo usó y la irresistible espontaneidad de El Barbero “Tan pronto como me paré, me di cuenta que venían y el sentido musical de precisión reduce todos los en mi dirección Aún medio dormido y recordando la antecedentes y los hace insignificantes. escena de la noche anterior, pensé que venían a quemar la casa y me puse a salvo yéndome a un caballeriza en Una última reflexión antes de dejar a Rossini. Él murió en la parte trasera del patio. Pero he aquí que después de 1868 y se le realizó un gran funeral en Paris apropiado a unos minutos escuché a García llamándome a gritos. su gran fama y el vacio que dejaba su muerte. Sus restos Finalmente me localizó. “Date prisa. Ven ya y escucha fueron enterrados en el cementerio de Père Lachaise, esos gritos que dicen “Bravo Bravísimo Fígaro”. Un éxito donde habían enterrado antes que a él a Bellini y a sin precedente. La calle está llena de gente. Te quieren Chopin. Así como Bellini, los restos de Rossini fueron ver”. devueltos eventualmente a Italia. En el caso de Rossini sin embargo, su cuerpo fue llevado a la iglesia de Santa Pero todavía desconsolado… le respondí, “Diles que Croce en Florencia, donde se encuentras los grandes se vayan al diablo con sus bravos y todo. No voy a salir genios de Italia enterrados. El hecho de que Rossini de aquí”. No sé cómo les dijo el pobre García a esa ahora se encuentre al lado de Galileo y Miguel Ángel agitada muchedumbre que me negaba a salir. De hecho nos da una mejor idea que las palabras, de cómo sus le golpearon un ojo con una naranja, la cual lo dejo compatriotas y el mundo lo valoran. con el ojo morado por varios días. Mientras tanto el

El finado John Ardoin quien fue un crítico de música por mucho tiempo del periódico Dallas Morning News, es el autor de varios libros y documentales acerca de Maria Callas, también de Furtwängles Record (1994) y Valery Gergiev y el Kirov (2001). Este ensayo fue publicado en una edición previa de la revista de la Ópera de San Francisco.

32 FUND-A-NEED HELP SUPPORT THE ARTS & OUR COMMUNITY $2,500 | Artist Housing

$1,000 | Artist Travel

$500 | The Barber of Seville Costumes

$500 (and above) | Receive as a Recognition Gift No. 13 Quintet from The Barber of Seville

(Recorded by Emily Fons as Rosina, David Pershall as Figaro, Carlos Santelli as Count Almaviva, Patrick Carfizzi as Dr. Bartolo, Peixin Chen as Don Basilio, and Conductor and Pianist Bruce Stasyna)

$200 | Provide Tickets to San Diego Essential Workers

$100 | Orchestral Scores

Text OPERA DONATION-AMOUNT YOUR-NAME to 56512 Example: OPERA 2,500 John Smith

33 San Diego Opera’s 2021 Midsummer Gala Musical Mosaics Saturday, June 26, 2021 The Gardens of the Estancia La Jolla Hotel and Spa

Join us for a wonderful evening of celebration and exquisite singing by international opera star soprano Michelle Bradley. We will also honor Stacy Kellner Rosenberg, a dear friend of the opera. The seated dinner and performance will take place outdoors on the hotel’s beautiful lawn. Guests will be physically distanced at the dinner. For the first time we will also offer a professionally-produced virtual program for guests not able to join in person.

INDIVIDUAL TICKETS: 2ND & 3RD FLOOR BALCONY BOX SEATING: $1,000 Preferred Seating Tables for Two or Four Guests each $500 Open Seating Placement $1,000 per person Limited Availability HOST TABLE SEATING EIGHT TO TEN GUESTS: HOTEL BALCONY ROOMS AND SUITES: $10,000 Preferred Seating These include dine-in options from a private $5,000 Open Seating Placement balcony overlooking the event space.

Please contact Darin Dietz, Director of Special Events, directly at (619) 533-7033 to learn more about hotel stay options. Visit sdopera.org/midsummer-gala for more information.

(*FMV $250 per person)

34 Join San Diego Opera’s Membership and share the experience with our new lineup of virtual events:

APERITIVO WITH ARTISTS A San Diego Opera Happy Hour, hosted by David Bennett, General Director, and featuring an interview with a special artist guest, it’s always a good and informative time! Previously featured artists include renowned opera stars and , cutting-edge producer Beth Morrison, and pre-eminent Mexican conductor Enrique Patrón de Rueda.

ÓPERA EN TU SOFÁ: BUILDING AND SHARING OPERA & HISPANIC MUSICAL HERITAGE A series of recitals and interviews that brings Opera, Zarzuela, song selections, and Hispanic culture to your living room. Previous programs have featured talented local artists and outstanding young singers from Mexico. Future programs will explore SDO’s work with students in San Diego schools, and more.

SPECIAL MONTHLY SERIES Members of the San Diego Opera family come together to discuss some of the most interesting and intriguing elements of opera. You’ll have the opportunity to ask questions, listen to some terrific music, and perhaps even get a little creative yourself. Recent programs have been hosted by SDO’s Principal Speaker and former Director of Education and Community Engagement Dr. Nic Reveles and Conductor, Chorus Master, and Music Administrator Bruce Stasyna.

RETURNING FAVORITES Join us for new online versions of classic San Diego Opera member events such as Bruce’s Box Lunch, Stars in the Salon and Celebrating the Voice. We are bringing these to you virtually when we are able and until we can return to in person events.

To view recent events, please visit sdopera.org/engage/videos 35 INSTITUTIONAL SUPPORT

San Diego Opera is grateful for our major corporate, foundation, and government sponsors.

IN-KIND SUPPORT PROVIDED BY:

GOVERNMENT SUPPORTERS FOUNDATION SPONSORS

Carol Franc Buck Foundation The Conrad Prebys Foundation Fundación Coppel Ann and Gordon Getty Foundation The Hervey Family Fund at The San Diego Foundation Mandell Weiss Charitable Trust Pratt Memorial Fund Price Philanthropies Ramona Community Foundation Samuel I. and John Henry Fox Foundation The San Diego Foundation

36 DONOR RECOGNITION

With deepest gratitude, San Diego Opera acknowledges the following donors for their exemplary support of the 2020-21 season. Listing as of April 2, 2021.

GENERAL DIRECTOR’S CIRCLE Fidelity Charitable Joyce Glazer Teresa and Dr. Merle Fischlowitz Hallie Guiltinan

$100,000 and above Julianne J. Larsen and James Forbes, Ph.D.* T. George and Jeannie Harris Candace Carroll Esq. and Len Simon Esq. Leon Lachman Harry and Teresa Hixson Eleanor Hutchinson Parker Foundation Sigrid Pate Dr. Steve and Nancy Howard Lee and Frank Goldberg Swanna and Alan Saltiel from Jim and Carmen Hughes Carol Anne Lazier the Dan Cameron Family Foundation James Idell and Streett-Idell Haydee and Carlos A. Mollura Drs. and Joseph Shurman David S. Johnson Allison and Robert Price Family Foundation Sylvia M. Smith David K. Jordan Darlene Marcos Shiley Linda P. Spuck Matthew and Angela Kilman Karen Valentino Aline and Gert Koppel $50,000 to $99,999 Sara Zaknoen, M.D. Gale Jensen Krause Anonymous Linda Levy and Edward McGrath Sherry and Kevin Ahern Eli and Diana Lombrozo Fundación Coppel $10,000 to $14,999 In Memory of Dave Schubert David Duthu Anonymous (3) Robert and Elizabeth Mallon The Joan and Irwin Jacobs Fund Jim Algert and Maurine Beinbrink Family Foundation of the Jewish Community Foundation Robin L. Allgren Steven and Yvonne Maloney Paula Landale Bobbie Ball-Bradley Jeannette and Warren Martin Sarah B. Marsh-Rebelo, G.G. and Leslie Bassett Joseph Martinez John G. Rebelo Ingrid Benirschke and Gordon Perkins Mrs. Judy McDonald James A. Merritt Mary-Kay Butler Jerome J. Morrow Stacy and Don Rosenberg Gertrude Fletcher in memory of Ethel Morrow Maureen and Thomas Shiftan, M.D. Ingrid Hibben James and Melanie Nickel Robin Angly and Miles Smith Leonard Hirsch Michael Novak Investment Group Ann and Andy Irwin John and Diane W. Parks Tom and Cathy Staver Barbara Kjos Maria and Dr. Philippe Prokocimer Ruth I. Ledermann Steve and Sylvia Ré Elizabeth Wohlford MacLeod James Robbins

$25,000 to $49,999 Anne and Andy McCammon Erich Schoessler and Lou Alpinieri Peter and Jane Polgar in memory Mike Rabin in loving memory of Brenda Alpinieri Peter and Peggy Preuss Jeannette R. Stevens Dr. and Mrs. Richard Claytor Dr. Benjamin Ramirez and Ross Russell Annalisa Storchi James and Kathryn Colachis Fund Sue Sesnon Salt Robert and Tamara Thibodeau at The San Diego Foundation Susan and Fred Smith Mera and Gianangelo Vergani Harry and Valerie Cooper William D. Smith and Carol A. Harter Mr. Frank Visco Anna M. Curren Stainrook Foundation G.E. and R.D. Wallace Foundation Antonio and Karla Espinosa Susan and Richard Ulevitch Mary L. Walshok, Ph.D. Joan Henkelmann Robert and Jean Will in memory of Dr. Charles Henkelmann Armi and Al Williams Karl and Greet Hostetler GOLD PATRONS Ms. Mona Wolpe Robert H. Kaplan, Ph. D. and Marina Baroff $5,000 to $9,999 Leo and Emma Zuckerman Veronica and Miguel Leff Patrick Abbott Dr. and Mrs. Ronald G. Leonardi Patrick Anderson and Lester Olson Jacqueline B. Mars Warren and Eloise Batts SILVER PATRONS Drs. Roger and Linda Mills David Bennett $3,500 to $4,999 William and Clarice Perkins Paul L. Black and Evelyn Truitt Mrs. Marlin W. Brossart Claire Reiss James M. and Lynn B. Caughey Bill Carrick Cynthia Walk Linda Chester and Kenneth Rind Keith Chen Janet and Jonathan White Susan H. and Stephen Childs Richard and Stephanie Coutts Sally Cuff Drs. Milton & Susan Erman Martha and Edward Dennis Donald and Mary Ellen Fleischli $15,000 to $24,999 Mrs. Phyllis Epstein Joyce M. Gattas, Ph.D. Drs. David Brenner and Tatiana Kisseleva Alberta Feurzeig Lee and Linda Gillard Judith V. Brucker Socorro Fimbres Gary Jacobson and Martha Blakejacobson Charles Schwab Charitable Sally and Einar Gall Lynn Kirkhofer Joann Clark Peter C. Gernold and Brian J. McGoldrick Nancy E. Kossan, Ph.D. and Elisabeth H. Crouch Ginger E. & Robert D. Wallace Foundation Deborah Macdonald Dan Cameron Family Foundation 37 *deceased DONOR RECOGNITION

Grace E. Larsen Dr. Mary L. Strobbe Russell and Mary Johnson Juan and Alexis Lasheras Capt. and Mrs. Anderson W. Wacaser, USN Gina and Charles Kakos William and Jensine Nolan (Ret.) Kirby Kendrick and Robert McLeod Dr. Rebecca Papendick and Jay Savage Captain & Mrs. Don Watkins, USN (Ret.) Amy B. Kronick Carolyn and Ed Parrish Ann L. Zahner Irene Kuster McCann Carol and Jack Sanders Xinhua Zheng and Richard Studer Dennis C. and Kathleen Lees Susan and Dr. Gary Spoto Anthony W. Leonard and Jin-Soo Kim William and Suzanne Sutton PARTNER Rosemary and Scott Leonard Margaret C. Tessier and Robert J. Griffin Ae Soo Lerche John M. Tiso $1,000 to $1,999 Gabriel and Donna Luna de la Fuente Anonymous Neil Malmquist and Scott Crispell K. Andrew Achterkirchen BRONZE PATRONS Susan Marberry Elizabeth Andersen Dr. Stuart and Anne Marshall $2,000 to $3,499 Mr. Gregory Argendeli Joan McAfee Anonymous (3) Aurora Elsa Arnaiz Tina L. McArthur Richard R. Abello Carolyn Balkwell Laurel McCrink Irene Abraham and Gabriel Vogeli Mr. and Mrs. Michael Bardin Douglas and Paula McGraime Jane and Bob Bell Scott Warren Barnard Edward and Elizabeth McIntyre Jack and Sue Ellen Benson Doug Bekkedahl Mark Mead Linda S. and Robert Bernstein Mary Berend Beate Menzel Carolyn and Giovanni Bertussi Joan and Jeremy Berg Sandra Miner Dr. and Mrs. Dick Bridy Dr. Fred and Mrs. Donna Berger Rena Minisi and Rich Paul Wallace Brithinee and Bernadette Belleci David Bevilaqua and Craig P. Caldwell Mauricio Monroy Cindy Bruecks Rocky and Alicia Booth Judith Morgan Jui-Yuan Chang Drs. Craig and Joan Heller Brown Ms. Sheila Moss Karen DeLaurier and Oliver McElroy Sally and Andrew Buffington Chandra Mukerji Dr. Leroy M. Dorman Stephen Burgdorf Chuck and Ann Nickel RayMonda Duvall Mary Ellen Clark Teresa A. Norton Drs. Brent and Sarita Eastman David L. and Diane Canedo Dennis Penn Stephen and Roberta Edelstein Carol Randolph & Robert Caplan Michael Perkins and Anne Turhollow John and Barbara Edgington R. Park and Louise F. Carmon Foundation Dr. Sandra Petersen and Jim M. Carr and Marian N. Ferguson Constance Carroll, Ph.D. Lee Polk and Robert Betzer Steven Hadfield Janet Caulk William R. Pond Zandra Rhodes Lynne M. Champagne and Wilfred S. Kearse Jeannie Posner Dr. and Mrs. Charles Mittman Neal Chazin Dr. and Mrs. Charles J. Rabiner Herbert B. Hoffman Gordon and Judy Churchill Taffin Ray Mrs. Shirley F. Hoggatt Tracy Cooke Michael J. Rensink Osborn and Dea Hurston Ann Craig Lois J. Richmond Fund of Joanne C. Hutchinson and David Cooper Mike and Anne Dessert the Jewish Community Foundation Mrs. Phyllis Ingram Wally and Linda Dieckmann William and Joyce Ritz Dr. Natasha Josefowitz In memory of Joseph and Vivian Doering Reed and Maureen Roadman Mr. and Mrs. John Kesser Richard G. Dooley Eberhard and Jessica Röhm Ellen Lehman and Charles Kennel John C. and Deborah Dunbar Mary B. Rose and Len Pellettiri Carl B. and Janet Lind Roswitha Enright Bruce S. Ross and Eileen F. Gallo-Ross Thomas Jroski in memory of Godiva Liu Dr. Connie J. Evashwick Dr. Ross and Nancy T. Rudolph Kathleen Loftman Dr. Barbara Favorito and Ms. Judith Hairston Patricia A. Rutledge Edward and Nancy Lyon Elsa Feher Alan J. Schuyler Luis and Sally Maizel Elissa and Richard Finerman Barbara Bry and Neil Senturia Elaine B. Marteeny Richard Forsyth and Katherine Leonard Sette Beverly and Harold Martyn Jean Fort The Richard L. Shapiro Charitable Fund Eugene and Rebecca Mitchell Ronald Franzese Portia Shumaker Rev. Raymond G. O’Donnell and Dr. William Fraser Anne and Ronald Simon Arman Oruc Paul and Gayle Ganster Drs. Eleanor Smith and John Malone Philip* and Pamela Palisoul Colette O. Gerard-Kitnovski William Snyder Bernard Paul Richard Ghalie Paul and Maria Rosa Stanley Keith I. Polakoff Alison and George Gildred Ms. Elizabeth G. Taft Dev Purkayastha and Wendy A. McGuire Michael and Brenda Goldbaum Gail and John Tauscher William Purves and Donald Schmidt Beth A. Goodman Justin and Leslie Tipp-Rebelo Nicolas Reveles Charles Gyselbrecht Dr. Fred and Erika Torri Mr. and Mrs. Gerald Reynolds Maxine* and James Hall Helen Wagner Ms. Kathleen Roche-Tansey Suzanne and Lawrence Hess Lori and Bill Walton Doreen and Myron Schonbrun Patrick J. Hurley Shirli, Damien, and Justin Weiss Debra Shannon Adrian Jaffer and Ann Laddon Barry Wellins Carol Jean Spicer James M. Jaranson Carole Wilson and Robert Brandt Robert J. Stall, Jr. & Katherine Nutting Mr. Jay Jeffcoat Megan and Zach Wilson Elizabeth and Lester Stiel Jeannette S. and R. Douglas Johnson

38 *deceased DONOR RECOGNITION

Joseph and Mary Witztum June and Daniel T. Allen Edward S. Hand and Stanley C. Harazim The Helene and Allan Ziman Fund Mr. Ronald G. Allen and Mr. Lindsay R. Fong Charlotte Hartley of the Jewish Community Foundation Sandra and Earl Altshuler Mary Hazzard Philip and Phyllis Ziring Mireille Anderson Joanna and Brooks Herman Joseph Annese David and Nancy Herrington ENTHUSIAST Thomas Arcadi Anne Hoiberg J. David Archibald and Gloria E. Bader Fred and Kim Howard $600 to $999 Nancy C. Assaf Frederick Howden Anonymous (3) Barbara and Ernest Badgett Sshannon Huang Kathleen and Charles Ables Laurenn Barker Valentin Isacescu, MD Robert and Meredith Alcock Sharon Barton Rob Jackson Sibille Alexander and Gisela Seidensticker Leland Beck and Marla J. English Elisabeth Jensen Jackie Allen Drs. John and Karen Berger Bruce Johnson Jane K. Armbruster Dr. Liliana Binner Knut Johnson Gaylyn N. Boone and James R. Dorcy Laurie J. Black Gilbert and Mary Lou Kammerer Corey J. Braun Murray and Lois Bloom Mr. and Mrs. Insung Kang Donna Bullock Joan Bockman Linda Kass Michael and Jane Burke Nancy Laturno Mr. Maurice Kawashima Barbara Campbell Peter Bonavich Jo Kiernan and Bjorn Bjerede Leslie Chase John and Rebecca Borg John R. Kim Karl and Joanna Cikste Bob and Denise Borntrager Mitchell Kronenberg and Hilde Cheroutre Steve and Cathy Constable Katie M. Boyer Roberto and Elena Kucinski Edward Jones David Bramzon Frances and Jack Kyte Christopher Elser Elisa Brandes Marilyn A. Lamb David J. Erikson Justin Brent and Gordon L. Myers Dr. William & Evelyn Lamden and The Etess Family Fund of Mary Buchanan Randolph & Dr. Carol Lamden Corby the Jewish Community Foundation Ruth Bush Kathy Lazzaro Naomi Fortner Dr. Mary Ann Calcott Elizabeth B. Leech Dr. William and Judith Friedel Ricardo and Ruxandra Calderon Felipe and Susana Leff Catherine R. Friedman Jeffrey & Katherine Calkins Kathleen LeMieux Marcia and David M. Gill Barbara Carlton Judy and Jack Leshefka Bar Giora Goldberg Ellen Casey Zita and Morris Liebermensch John Hermann Chuck Cattran Vicki Lindblade Bonifacio G. and Suzanne M. Hernandez R. Champagne Mr. and Mrs. Alejandro Lombrozo Norma Hidalgo Del Rio Anne Colburn David Lucero Christiane J. Hoffman and Greg W. Frank Ronald Cole and Brian Marsh Helga Lupu Lulu Hsu Rilla and Denis M. Crane Nicolae Lupu Dee-Hua Huang and Swu-Jane Lin Robert Croke Said and Roswitha Marouf Ms. Jordanna Rose, Ms. Nancy Hurwitz and Richard Crosland Michael Wayne Mattingly Mr. Ken Rose, Esq. Patricia A. Crowley Patricia S. McAfee Helen and Webster Kinnaird Diane and Norman Cullen Caroline and William R. McCullagh Regina Kurtz Mr. and Mrs. Yolanda Curet Gloria McMillan Charles S.* and Robin Luby Linda Dawson Michael McMillan Rev. Christopher Moore Derek Derdivanis Christa McReynolds Gregory and Jennylee Nesbitt Michael Dessert Michael and Kimberly McSherry Max and Freeda Opalsky Douglas P. Doucette Paul E. and Shelley Michelson Jim and Cynthia Park Dr. and Mrs. Edward J. Doyle Michael S. and Jessica Middleton Bruce Ramet Barry Edelstein Grant J. Miller Bruce E. Shirer, M.D. Patricia and Jack Eldon Mr. Gregg H. Miller Rebecca Smith and Tom Tseng Ofelia Elf Kenneth Miller Dr. Stanley Sollie F. and Karin Esser Lynn and Trudy Mitchell Scott and Jan Steele Daryl E. Ferguson Cheryl Morabito Gretchen Vik and Larry Clapper Walker and Margaret Fillius Karen and Joseph Morse Rava Villon and David Duke Carol Ann Flanagan Prof. Bruce Stephen Naschak Nathan and Evette Weiss Dr. Robert J. Fox Martin Nass Suhaila White Richard and Sharon Gabriel Marybeth Norgren Elaine Galinson & Herbert Ken Oleno CONTRIBUTOR Yesenia Gallegos Virginia S. Oliver $300 to $599 Dr. Alberto and Monica Gedissman Jeanette A. Ollivier Anonymous Claire L. Gilbert Jean M. Oswalt Dean and Nancy Abelon Martha Gilmer Rebecca O’Toole Sarah Agler Michael and Cauleen Glass Kristen Overman Alana Albertson Carrie and Jim Greenstein Barbara Parker Dixie Albright and David Wells Diana R. Hagerty Barbara and Harry Peacock Ofelia Alksne Robert H. Halleck Richard and Patricia* Perlman Gary Allard Mrs. William F. Halsey Mr. Armando A. Pesqueira

39 *deceased DONOR RECOGNITION

Mary Yankee Peters and Barbara G. Anderson William and Deirdre Colburn John David Peters Erich & Catherine Aragon Donald Coleman Drs. Jenny Price and Tony Hunter Alfonso V. Bruce and Jeanne Conyne Eve Pritchard Sandra and David Arkin Barbara Corcega Dennis Ragen and Christine Hickman Howard Armstrong Ms. Marcia R. Corenman Susan A. Ranft Ms. Kristen Arrivee Nicole Coufal and Lauge Farnaes Laura Ravine Arroyo Michael Cullen Mr. and Mrs. Don Reckles Andrew Asaro Paul and Sarah Culver Dr. and Mrs. H. Kent Reed Lori Asaro Dorothy Curry Jane Renninger Susan Astarita Kay Curtis Donna Repp Martin Astl Thuc Dam Ms. Sharon A. Reynolds Joyce Awramik Carolyn Davidson Mark Richter Corliss Baca Mary and Jim Dawe Dr. Raquel Rissman Drs. Varda and George Backus Edmund Deaton and Melanie Branca Pierre G. Rivet Barbara Bank Gerald J Desjarlais Lynn Rockwell Peter Barakos Michael and Elena Deutsch Ruth Rollins Mr. Philip D. Barham Irene Devine & Hal Schneider Phillip Roullard Capt. Joseph Bartel, USN Joan and Robert DeYoung Norman M. and Barbara Rozansky Arthur J. and Darlene Bauer Matthew and Carolyn Dharm Mr. and Mrs. John E. Rush Craig Baumann Ruth Jeanne Dickey Ellie Samadani and Bin Chada Dr. Thomas R. Beattie William and Maxine Donlon Leland and Debbie Sandler Jane and Michael Benton Tim Downs Henry S. Sauls Phyllis Bettelheim and Forest Melton Claudia H Drake Hermeen Scharaga Dr. Josette Bevirt Dorothy Draper Evan Schumacher Ron Bierman Christian and Lara Duininck Maria and Dominick Scigliano Ms. Inge Bisconer Ms. Jill Edwards Syd and Denise Selati Paul L. Bishop Stephen Egbert Georgina Bien and Lu Sham Ann and Barry Block Jerome E. Eggers Michael & Sheila Sharpe Jim and Joanne Bodien Alicia I. Elliott Mrs. Linda Silverman Dallas Boggs and Susan Fellows Judith and Ron Endeman Ronald L. Smith Nada Borsa Kristine Entwistle Maida Soghikian Karen and Robert Bowden Jeffrey Esko Roger G. Spragg Kate Boyd Hans Esquivel Ross Stensrud Helen Boyden Andrea Factor Stephanie Stolarz-Fantino Margaret and James Brasch Nancy Fahien Shirley A Stowers Robert M. Braude Jessica Fairchild Pat Stromberg Edwin Breitenbach Annette Farrior Peg Sweesy Dr. and Mrs. Adam Breslow Inge Feinswog Lynn H. and Elliot H. Tarson Christine Bristol Linda Feldman Jennifer Thomas Jeanne Brown and Crandallyn Graham Marilyn K. Felfe Kathleen Thuner Keith Brown Christopher Ferreria Stephen and Patricia Tomlin Mrs. Clifford W. Brown Philip Fickling Judith Trento and Michael Drummy Edwin and Bea Buchman Diane Finch-Payne Tony Turner-Mercado Kenneth and Deanna Buhr Elvira Finkelstein Frederique Vernhes Jo Anne Burdick Arline M. Fisch Kathleen C. and Thomas N. Volle Laurance Burgess Elizabeth Hubert Nancy Ward David Burrell Nancy Fletcher Mr. Jeffrey Webdell Eva Cahen Shary Folkamnn Mr. Eliot Weitz Mr. Frank A Campbell Brent Foster Joyce Williams Gerald Capozzelli Carla and John Fox Jason Wilson Margarita I Carmona Lillie Michalel Fox Adam Winter Patricia Carrion Billie Frances Wood & Eric Mustonen Michelle Cass Deborah Frank Peggy Yamamoto Chip and Kay Certain David Freeman Joseph A Zechman Danielle Cervantes and Michelle Gilchrist Roy Funk Lucile Cheng Cynthia Furlong SUPPORTER Jean Christopher Francis Gabbai Lily Chu Arnold Gallardo $100 to $299 Alexander Chuholowski Mrs. Felice Gardner Anonymous (4) Audrey Clark Ferdinand Gasang Diana Adam Randy Clark and Tom Maddox Chris and Simone Gay Howard Adams Brendan and Royce Clifford Marilyn Gehrke-Young and Richard Young Dianne Aker and Bill Smith William W. Cobbs Alex Genin Laurie Aker Patricia Coffey Paul and Sandra Gerard Judith Allday Chad & Stacy Cohen Partho Ghosh and Stephanie Mel R.C. Allen Renee Cokin Elizabeth Giammona Marcelo Amuchastequi 40 *deceased DONOR RECOGNITION

Malinda and Gordon Gilbreath Charles Johnson Judith McConnell and Randall Collins Jane Gilman Jennifer Johnson and Wendy Worcester Brian P. and Ann McDonald Denise Godfrey Pamela Kaires Mary H. McKee Loretta Godfrey Dalia Kalabat Perry McLelland Douglas and Ellen Goepfert Miriam Kastner Mr. Richard Mellien Louis Goldich Michael Kaye Robert Melton and Victor Cardell Sharon Goldschneider Peter and Santina Keipert Lois B. Meyer Dan and Julie Goldzband Caroline Kelner and Michael Kelner Dr. Alan Meyers Michael Gonzales David and Martha King Gilbert E. Meza Gary L. Good Dr. Warren Klam Janet Michaels Sonya and Robert Googins Ms. Helen Klein Dr. Dimaris and Art Michalek Roger Gordon and Michelle White Hans-Dieter and Ayse Koch Dr. A-Lisa S Miles and Mr. Richard W Jodie L. Graber Micahel Kohn and Cynthia Kohn Contreras Ann and Roger Graham Nancy Kollisch, M.D. & Jeff Pressman, M.D. Evan Miller Dr.and Mrs. Schuyler Grant Mrs. Constance Komin Marjorie Milstein William Green Jay Kopelman Denise Mirabile Kit-Bacon Gressitt Daniel Kopti David Milroy Mr. and Mrs. C.D. Griffin, Jr. Barbara Kozikowski Daphne Mitchell Dr. Kurt Grimm Eugene Kozuma Michael Molansky Barbara Gross Loretta Kramer Steven Moreen Robert Q Gutzler Roland Kramer Leslie and Robin Mukau Patricia Halderson Laurie and Kenneth Kreutz Linda Mulcahy Christopher Hall Kathleen French and William Kristan Colleen Mullen Martha Hall Elizabeth Kruidenier Peter Navarra John and Kaye Hambleton Dr. Faith Kung James W. Neel Ako Haneda Rod and Phyllis Kunishige Nancy J. Neigus Monika M. and John Hardy Drs. Stuart and Nora Laiken Catharine and Trevor Nelson Reno and Leslie Harnish Paul Laikind Ellen V. Nelson Anne Charlotte Harvey Ruth Landaal and Charles Simmons Manfred Nenn Mr. and Mrs. Robert Harvey Lloyd LaPlant Dobrina Nicolova-Russell Thomas Hase Kirstin Lasto Viola Ninchak Alborz Hassankhani Jose A. Lau Kathleen O’Classen Robert and Christine Hatch Laurie Lehmann-Gray Dr. and Mrs. John O’Neal Kathleen Haverkamp Elizabeth Leighton Brita Millard-Pilot Program Karen and John Hayes Elizabeth and James Leighton Arianna Opsvig Brig General R.G. Head and Margaret Leinen Sally Orr Dr. Carole J. Hoover Ellen Lenz Rodolfo and Adriana Ortiz James P. Healy Ana Ma Del Rosario Leon V Bob Palmer Jerome L. and Lucille Heard Frans Leppanen Catherine and Bob Palmer Mr. Friedreich* and Dr. Brigitte Heimers David Lewis and Scott Sexton Patricia C. Parent Charles T. Hendrix Drs. G.N. Lawrence and Y. Lin David Parker Barbara Henry Donna Lindsey Barbara L. Parry, M.D. Ms. Maria G. Hernandez Gary A. Link Fereshteh Parviz Sarah Herr Virginia Lloyd Thomas C. Passios Mr. Allyn Hertzbach Frances Lobman Norma Perea Beatrice Heaveran and Robert D’Alessandri Kathy Lockridge Flavia Pernasetti Mandel and Judith Himelstein John J. and Inge Lopez Virginia Perrin Marilyn Hirshleifer Mark Lorenzo Maryl G. Petreccia Kay Hobson and Wayne Raffesberger Robert Lott Marlene and Tom Petrie Terry & Peter Holt Linda and Robert Lowry Coreen Petti Michael Homan Michael Lowry Tracy and David Petti Judith and Jon Hon Mary M. and Thomas Lytle Aghdas Pezeshki Stephen and Katherine Hon Ella MacArthur Marianne Pfister Susan Hooker Dominique Maciejewski-Lenoir Maryanne and Irwin Pfister Gurdon Hornor Steven and Margaret MacPherson + B. Noel and Patricia Phelan Charles and Jo-An Howe Lisa Madlensky Carol and Richard Phipps Annette and Bryan D. Hubble Marie Mahon Linda Piatt Borden Hughes Pamela Mallory Mrs. Viviana Polinsky Kim K. Hunt Carol B. Mann David and Sandra Polster Camilla Ingram Joseph Marshall Ann C. Posthill Gabrielle M. Ivany David Marshman Joy and Stan Prowse Christie Iverson Betty and Jim Martin Richard and Rosalinda Puetter Edward and Linda Janon Sergio Martinzel Lt. Col. (Ret) and Mrs. Joseph Puzo Geraldine Jenkins Maryann Martone Peter Quinlan John Jenkins Lisa McCann David Rabin, in honor of Mike Rabin* Dr. Calvin Johnson and Donna Perdue Elizabeth McClellan Geraldine Racik

41 *deceased DONOR RECOGNITION

Eleanor Ramm Tali Schwartz Sharon S. Turner Kathryn Rangus Debbie Sigal Peter Y. Umekubo David Rappley Linda H. Simpson Wendy Uncles Patricia M. Rashid Cathie Skinner Ms. Lilian Vachovsky Audrey S. Ratner Rhea Skolnik Virgilio C Valdes Ronald C. Reinsch Ms. Bridget Slatten Al Van Slyke Jane Reldan MD Catherine Smith Mrs. Barbara Knott Vezzetti Deborah Renick Harvey and Gail Smith Mr. Mark E. Villalobos Shari Ressel Joseph D. Smith Aveline Von Ehrenberg Michael Reynolds Kathryn Smith Judith Vorreyer Ruth Reznikoff Rachael C. Smith Sandra Voyce Patricia L. Richardson CDR Ruth Helen Smith, USN (Ret.) Stefani Walens Colin and Monica Ripley Ms. Suzanne Smith Carren Walker Hans G. and Sandra Ritter Rosalyn C. Smith Carol Wallace Ronald and Susan Robboy Olga Solovyeva Brandon Wander Robert and Cristina Rogers Rewa Colette Soltan Dr. Ken Ware Ms. Cecilia Romero Steven and Kathleen Sorensen Carol and Tom Warschauer Louis P. and Carolyn W. Rosse Anne Speraw A.R. Wasem Ms. Sally Rovner Marsha Spitzer and Michael Nelson Jack Wasserman William Rowland Beverly and James Spring Marie T. Watson-Ching Jasmine Rubel Jaime A. Stallings Sandra Wawrytko Don and Ruth Rudesill Joann Stang Peter Weady Ruth Rudesill Janis and David Steller F. Albert Weaver and Christopher J. Norman Dr. Zaverio and Mrs. Rosamaria Reggeri Karen L. and David Stephens Robert and Ivonne Webb Vanya Russell Carroll Stewart Barbara Weeks Kris Ryan Janice B. Stewart George and Susan Weinberg-Harter Mr. and Mrs. Nello Sabato Edward Stickgold and Steven Cande Beatrice Weiss Bruce Sachs Jennifer O’Brien Stickney Thomas E. Welch and Donald Lamar Rosalia Salinas Harold and Lambertha Stier Ms. Dolores Welty Lynn Sampson Mark Stiffler Sharon L. Weremiuk John F. Sanborn Alamanita Ellis Stjerne and James Stjerne Irene West Beverly Sanchez John Stover Donn White Mary Ann Saponara Tom Streeter Mary Ann White and Lee Margot Jukka Saukkonen and Velva Wood Elise Streicher and David Huffman Steven and Marsi White Kathleen Savino Elizabeth & William Struve Vernon White Ms. Angie Savvas James Stuhlbarg and Christine Berger Constance Wickens Dr. Barbara Sawrey Ida Rigby and John Sturla Harry Wilbur Ms. Lana Schaffer Tony Su John Wildridge Scott Schmid Christine Sumpter Rochelle L. Williams Ignatius Schmidt Lisa Swaiman Annasue M. Wilson Betty Schulman Joan E. Sweet Sheila E. Wilson James E. Schwartz Wanda Tarpey Nancy E. Wineberg John Seal Nancy J. Taylor Tanya Wolfson Bret and Sarah Sealey Ryan Taylor Shelley Wong Cynthia Seeberg Susan P. Taylor David Wood Linus A. Senhen Karrie Tenenbaum Shirley L. Woodson Odile J. Serpanos Elisabeth Terlouw Olga and Tom Workman Peter Seymour Kathryn A. Thickstun Bonnie Wright Peter Shapiro Michell Thitathan Paul Wright Peter Shavitz Lawrence C. and Martha R. Thum Ms. Karen Wullich Robert Sheaffer Jeff and Cathy Tipton Ms. Elsie Yip Elizabeth Lancaster and Eli Shefter Naomi Title Hilda Yoder Mr. and Mrs. William S. Sherrard Marilyn Todd Phil and Janet Young Alexander and Galina Shikhman Hon. Victor M. Torres Ms. Emel Yuceturk Aspen Shirley-Dancoff Doris A. Trauner, M.D. Sandra and Peter Zarcades Alisa Shorago Joyce and Jim Trent Nina Zavala Susan Shuchter Hannelore Tucker LeAnna S. Zevely Ben Shwachman and Karen Wren Natalie Tuomi Carole L. Ziegler

42 *deceased 43 EDUCATION

It’s been a busy year so far for the SDO Education Department. As education moved online, so did our partnership with La Maestra and Izcalli. Together we connected with students and families from Logan Heights, Lincoln Park, and City Heights to create and share a personal artistic artifact from this historical time. A music education scholar and consultant joined this project as well, and you can read the report he wrote about it titled Equity, Creativity, and Artifacts: Building Community Online During COVID-19 here.

Inocente Joey Molina Everything we do with youth is focused on their health and development, with the arts as the entry point. Since last September, San Diego Opera Teaching Artists Inocente and Joey Molina have met virtually every Wednesday with youth to teach music, theater, and visual art. They also were a consistent presence in a time full of inconsistency. Here is what the students had to share about the program: MIYUKI: Thank you Ms. Inocente and Mr. Joey for teaching us art. It’s as if you’ve helped us grow. To teach is to touch a life forever!

MANSOOR: Thank you for everything you have done for me. Since the beginning of everything we started you have helped me with my presentation in front of everyone and I can’t thank you enough from the bottom of my heart.

VANNORA: Thank you for being so kind while teaching us art and not rushing to complete it. Thank you for teaching us new things and bringing us out of our comfort zones.

ESME: I would like to say thank you for still doing art with us during these tough times.

LESLIE: I want to thank Mr. Joey and Ms. Inocente for teaching us art and theater. You guys helped us a lot! I really want to go back to the program to do art and theater in person.

EMILY: I would like to say that I appreciate Mr. Joey’s and Ms. Inocente’s hard work for us every Wednesday and making the classroom have a good vibe.

JAIRO: Thank you guys for your help during these difficult times.

ISAAC: I would like to thank them by saying thank you for all of your hard work and for taking time out of your day to help us grow.

SANDRA: The classes have helped me a lot. It feels like a second family. I feel comfortable with speaking and asking for help even though it’s on Zoom. It feels like we are really close. This class also helped me release stress and I would always look forward to Wednesday’s class.

ISIS AND OSIRIS: Ms. Inocente and Mr. Joey are the best art teachers. We’ve learned so much for example for we learned how to make art with tape and learned the art of shading. They make art fun and no one can change that.

GISSELLE: Can I say, thank you so much for spending time every week with us. I really enjoy the art. IN MEMORY OF MARIANNE FLETTNER

Marianne Flettner (August At SDO Flettner served initially under general director Tito 9, 1933 – December 6, Capobianco, and then under his successor, Ian D. Campbell. 2020) was a legend. Her “She loved opera and all the people who worked so hard phenomenal abilities as an opera to bring its magic to life,” recalls Campbell. “She was administrator were equaled friend, confidant, cheerleader, and den mother to singers, only by her devotion to opera conductors, and stage directors, doing everything she could itself. Many of the world’s most to help them deliver the best performances, regardless of celebrated artists were Flettner’s the stresses they experienced. As artistic administrator she devoted friends in the opera worked closely with me for 30 years. She understood my business, which was her world artistic goals and taste very well, giving me valuable advice for more than half a century. when needed. No artistic director could have asked for a more supportive, yet appropriately critical eye, on artistic Born and raised in Frankfurt, Germany, during the war she planning.” lived with other children in a forest outside the city, to avoid being bombed. After the war, American soldiers lived in her Flettner always knew the right way around an artist. family’s home. Her friend Susan Jay, former SDO education chairman, remembers that “I once asked Marianne what she said to Flettner earned a diploma from the Hessen Business College singers whose performance had been less than stellar. ‘I and worked for several years in Germany as a secretary look at them soulfully and say, ‘You did it again!’ I’ve for several companies until 1961, when she relocated to borrowed that many times.” America, serving in the same capacity for the Pontiac Motor Division in Burlingame, California, from 1961 to 1963. Nicolas Reveles, SDO’s former director of education and outreach, adds, “She was such a dear, dear person, always Then came a move to New York, where Flettner was able to honest about her point of view, but she always delivered it make her greatest leisure enthusiasm – opera – the focus of with understanding, compassion and love. I will miss her.” her professional life. She worked at the Metropolitan Opera as a secretary (with then-general manager as Flettner, who became a naturalized American citizen in one of her bosses) from 1963 until 1974. She was then 2004, retired from San Diego Opera at the end of the promoted to assistant company manager in the rehearsal 2014 season and died peacefully, of complications from and touring division, working alongside assistant general Parkinson’s Disease, in an assisted-living facility in Aptos, manager Reginald Allen. In 1979, after thinking long and California, on December 6, 2020. She will be mourned hard, she chose to move back to California, this time to take throughout the operatic community, having earned the love on the vital position of artistic administrator at San Diego and respect of two generations of celebrated artists. All of Opera. them were grateful for her knowledge, her extraordinary professionalism, her sunny nature, and her profound The job came about by chance. Flettner was in California devotion to opera. After her retirement, she was a frequent visiting her brother and sister-in-law when SDO general guest at rehearsals and performances, visiting old friends director received word that she was in and artists whose careers she had followed and supported town. He got hold of her by phone, asked her to come to for decades. interview, and offered her the job. “Although Marianne stopped working at San Diego Opera “I was sick for three months, from the time I said yes to the before I arrived, she remained a frequent presence with the time I left the Met,” said Flettner in a 2003 interview for the Company. Until recently, she attended performances and San Diego Union-Tribune. “I even went to Salzburg to visit many rehearsals, always sharing her big heart and affection Jimmy Levine [Met music director at the time] to ask him if I for opera. Seeing returning artists engage with her was a was doing the right thing. He said, ‘Maybe it’s better to be a testament to how universally loved she was,” shared San big fish in a small pond than a small fish in a big pond.’ He Diego Opera General Director David Bennett. turned out to be right.” Always active, she enjoyed traveling, hiking, and cooking, In addition to significant input in artistic planning for every and was especially passionate about boogie-boarding in season, SDO Flettner’s multifaceted role at SDO included Mission Beach, which she continued to do well into her negotiating artist contracts (it was immeasurably helpful seventies. that she was trilingual, working easily in English, German, and Italian); dealing with visa applications; handling the Flettner, who never married, always referred to singers as general director’s overall schedule; attending all rehearsals her children. Flettner is survived by her sister, Charlotte and performances; working with the company’s publications Rordan; her sister-in-law, Sandie Flettner; her nephew, staff; and – at every performance – distributing paychecks to Guillaume Visot-Nolder; three other nephews and three principal artists. nieces.

45 IN MEMORY OF JAMES FORBES

James Forbes, born October while a member of the San Diego chapter of the Association 9, 1948, in Bronxville, NY, died of Fundraising Professionals. While living in Boston, he and December 10, 2020, at Scripps Juli began attending and supporting the Marlboro Music Memorial Hospital, La Jolla, CA, Festival in Vermont each summer, a practice they continued of Idiopathic Pulmonary Fibrosis. after returning to live and work in California. He was the son of the late Dr. James Forbes and Matilda Frank Jim’s passion for travel and learning about other cultures was Forbes and grew up in Merrick, given full rein when he and Juli retired in 2016. They were NY. His father was a Professor privileged to make several extended trips to South Asia, of Biology and Entomology including India, Myanmar, Laos, Cambodia and Thailand. at Fordham University and Trips to Europe were often planned around attending opera, his mother taught advanced ballet, and orchestra performances in Belgium, Denmark, mathematics at Mepham High School on Long Island. Jim France, Germany, Italy, the Netherlands, and the United received an A.B. With Honors in English Literature from Kingdom. Jim was indefatigable, whether exploring remote Lafayette College, Easton, PA, and a Ph.D. in Musicology Indian temple complexes or European museums. from the University of North Carolina, Chapel Hill. Jim is survived by his wife of 45 years, Julianne Joy Larsen, of Del Jim began studying the piano as a child and continued Mar, CA, several cousins, as well as many friends from coast throughout his life as a serious avocational pianist. One of to coast. his great joys in retirement was practicing two hours daily in order to prepare for weekly lessons. At the time of his death, Over a 40-year career, Jim provided leadership for he was working on challenging repertoire from Brahms and the growth of some of this country’s important cultural Debussy to Messiaen and Stockhausen. organizations, including the Nelson-Atkins Museum of Art (Kansas City, MO), The Fine Arts Museums of San Jim had the training for, and love of, serious scholarship. Francisco, the Peabody Essex Museum (Salem, MA), Books on art, architectural history, as well as music history and La Jolla Playhouse. As chief philanthropy officer in and criticism constituted his favorite “airplane reading.” each organization, he led volunteers and staff to build Although friends often described him as “a gentleman endowment, support special projects, provide for facilities and a scholar,” he had a wonderful sense of humor and an enhancement, and develop education programs. He infectious laugh. He loved walking on the beach and, later successfully directed five capital campaigns. in life, began studying ballroom dancing with Juli as his partner. He enjoyed gathering with friends to talk about art, Jim maintained a life-long interest in the performing and music, current events, and distant places. For many years visual arts. Although he enjoyed musical, theatre, and he was the “convener” of a Book Club that met monthly to dance performances, and was also a regular museum discuss different genres, from current nonfiction to literary patron, he was most passionate about opera, having classics. True to his Forbes heritage, he often enjoyed “a attended performances from early childhood at New York’s wee dram” of single malt Scotch. Metropolitan Opera. In 2007, he was recruited to San Diego Opera as Director of Individual Giving, a position he held Many who knew Jim were not aware that he was diagnosed until the Company’s Board of Directors voted to shut down with Type I Diabetes when he was only 9 years old. For 63 the organization in the spring of 2014. Although he then years, he managed a chronic, incurable disease that required joined the National Conflict Resolution Center as Director constant vigilance in order to successfully monitor and of Development for the final two years of his professional manage his blood glucose level. He did so with neither fuss career, he maintained contact with the philanthropists and nor complaint. For those who did know of the challenges volunteers who made an extraordinary commitment to posed by this disease, he was an inspiration. He often rescue and revive San Diego Opera for the benefit of the declared his zest for life with the expression “the best is yet community. Within a month of his retirement, he was truly to come!” honored by an invitation to join San Diego Opera’s Board of Directors, where he served with dedication until June of A celebration of Jim’s life will be scheduled at a future date. 2020. San Diego Opera is also pleased to announce During Jim’s career, he was selected for volunteer leadership of the “The Forbes Prize” in gratitude for Jim’s years of roles in national professional organizations, including the dedication to San Diego Opera. The Forbes Prize is an American Association of Museums, the Western Museums annual award to a promising young opera singer who lives Association, and the Art Museum Development Association. or studies in the San Diego region. A competition will be After moving to San Diego in 2002, Jim contributed his held each Fall with the recipient announced in December. experience and philanthropic support as a member of the The Forbes Prize includes a cash award and a role in a future Boards of the San Diego Museum of Man and the Scripps opera season. Whittier Diabetes Institute. He volunteered as a mentor

46 IN MEMORY OF TARA BACH RICHARDS

Tara Bach Richards (August 29, held the position of both Draper and Shop Manager. Her 1956 – March 18, 2020) loved expertise as a draper was beyond what most could do. life and the Opera. Her passion to create beautiful costumes Ingrid Helton, the SD Opera Costume Director, started with Opera was in her words working with Tara in college and continued collaborating “bliss”. This love of costumes at La Jolla Playhouse and of course San Diego Opera. and theatre spanned 45 years. Ingrid shares how artistic, fast, meticulous, and well versed in all periods and styles Tara was. “Her costumes were Born Tara Alice Johnson in beautifully made. She was our encyclopedia of all our Volga, South Dakota. After living operas and costumes. We had a wonderful connection in Minnesota and Wisconsin her and communication; we collaborated at every level in the family moved to California when process of building a show. I miss her every day.” Tara was in high school. Her love of theatre began while attending Chula Vista High School and later Bonita Vista As she worked for the opera for 30 plus years, Tara where she played her first roll as Annie in Annie Get Your continued her costume design and production work for Gun. other theatres. She worked on productions at The La Jolla Playhouse, her favorite of these being Yoshimi Battles the She attended Southwestern College where her passion for Pink Robots. Side Show was another project she enjoyed at costume design and the theatre continued. She designed The La Jolla Playhouse. and built costumes and taught in Southwestern’s theatre department for nearly two decades. She was recognized for Tara loved creating beautiful things no matter what the her productions of A Street Car Named Desire and Camelot. project was. Her creative passion and perfection was seen in Her designs for the production of Pippin were honored everything she did. When not working at the Opera or other by nomination at the Kennedy Center American College productions she was always busy. She loved to share her Theater Festival Awards. talents with younger generations, teaching us to sew, draw, cook and garden. She also loved to travel and read and Tara later became a costume designer for the San Diego entertain friends and family. She was a fantastic cook and Civic Light Opera. She designed and built costumes for baker. She was so talented in so many areas. their Starlight Bowl productions as well as their holiday and indoor productions for several seasons. Tara was preceded in death by her father, Darwyn Jim Johnson and mother-in-law, Paula Ann Richards. She is Tara later moved to New York. After returning to San Diego survived and missed by her husband, John T. Richards; she returned to costume design. She traveled to Texas mother, Alice Bach Johnson; sister, Trina Bach Johnson and to design and build the costumes for the national stage her partner Michael Rumore; sister-in-law, Julia Richards and production and musical documentary of Quintanilla’s her partner Charles Darwin and their children Monica and life, Selena Forever. Bradley; many family members and friends.

Tara began working for the San Diego Opera in the late Tara was generous to all and gave to so many, her time, love 1980s. She was the Draper/Patternmaker and continued and care. working for the opera until March, 2020. At that time she

47 BOARD AND LEADERSHIP

2020–21 BOARD OF DIRECTORS HONORARY OFFICERS DIRECTORS Joseph Martinez LIFE DIRECTORS Robert H. Kaplan, Ph.D., Kevin Ahern Roger G. Mills, M.D. Teresa Fischlowitz President David Brenner, M.D. Eugene “Mitch” Mitchell Lee Goldberg Sarah B. Marsh-Rebelo, G.G., Candace Carroll, Esq. Mike Novak Harry F. Hixson, Jr., Ph.D. Chair of the Board Joann Clark Dame Zandra Rhodes Sarah B. Marsh-Rebelo, G.G. Janet White, David Duthu Thomas Shiftan, M.D. Executive Vice President Teresa Fischlowitz Gloria M. Shurman, Ph.D. Stacy Kellner Rosenberg, Joan Henkelmann Linda Spuck Vice President, Finance Karl Hostetler, M.D. Mary Lindenstein Walshok, Veronica Leff, M.A.M., Carol Lazier Ph.D. Secretary/Parliamentarian Ronald Leonardi, Ph.D. Barry Wellins Sara Zaknoen, M.D. STAFF

DAVID BENNETT COSTUME General Director Ingrid Helton, Costume Director ABOUT SDO Brooke Kesler, Costume Assistant Raven Winter, ADMINISTRATION/FINANCE Fitting and Stock Room Coordinator Jeannie Posner, CPA, MISSION STATEMENT Sharon Granieri, Susan Sachs, The mission of San Diego Opera Chief Operations & Financial Officer, Safety Officer First Hands/Stitchers is to deliver exceptional vocal Ginny McClure, Steward performances and exciting, accessible FINANCE Mary Harris, Head of Wardrobe programs to diverse audiences, Mario Adame, Accounting Manager Peggy Harrison, focusing on community engagement Patrick McCarthy, Financial Analyst Assistant to the Head of Wardrobe and the transformative power of live Pam Medhurst, Sue Noll, William performance. ADMINISTRATIVE SERVICES Gonzales, Donna Couchman, Debby Lori McClure, Administrative Director Stephens, Dressers Joseph Huitzil, Front Office Manager VISION STATEMENT Del Hanson, Safety Screener, COVID19 Certified San Diego Opera will be recognized SCENIC STUDIO internationally as a leading example of Curtis Carlsteen, Anthony Chambers, adaptability, innovation and sustainability AUDIENCE & FUND DEVELOPMENT Jack Hernandez, Michael Moglia, in the operatic arts, promoting diversified AUDIENCE DEVELOPMENT Carpenters programming and unique performance Risë Walter, Chief Marketing Officer Darin Hibi, Charge Artist venues with world-class and emerging Dinning, Group Sales Jessica Baxter, Scenic Artist, Office Manager talent. Greg Watkins, Marketing & Development Operations Director TECHNICAL Edward K. Wilensky, Media Relations Director CORE VALUES STATEMENT Through excellence in innovative John Gabriel, Education Director SDO CREW Anthony Chambers, Master Carpenter programming and education, San Michael Moglia, Assistant Carpenter Diego Opera provides a lasting cultural PATRON SERVICES Mike Lowe, Master Electrician service to the community. Cliff Thrasher, Director of Patron Services Joanne Stewart, Light Board Operator Erin Oleno, Box Office Manager Franklin Gray, Titles • Our tradition of excellence in fully Matt Kissel, Patron Services Associate Antonia Hogue, Property Master staged opera is augmented with new Justino Kulberg, Assistant Props models of opera and venues. FUND DEVELOPMENT Mike Gustafson, Audio/Visual Head Peter Shavitz, Interim Chief Development Officer Jason Chaney, Audio Operator • Our unique and deep commitment to Kevin Boudoin, Development Operations Manager the community propels us to explore Justin Dake, Director of Institutional Giving ways of increasing affordability and ARENA CREW Darin Dietz, Director of Special Events accessibility. Rafael Gonzalez, Head Carpenter Andrea Puente-Catán, Director of Major Gifts and Vaughn Franklin, Head Electrician Hispanic Initiatives • Through fiscal responsibility and Teressa Teuscher, Head Props nimble adaptation to the changing William Kreth, Head Audio PRODUCTION & ARTISTIC marketplace, we protect the future of Joan T. Foster, Production Director San Diego Opera. Tim Wallace, Technical Director SHOWTEC CREW Linda S. Cooper, Tony Arellano, Lead • Our educational and community Darin Basile, Video Switcher Associate Production Director involvement coupled with relevant Paul Ferreira, Video Director Jordanna Rose, Artistic Administrator programming will build the audience of Bruce Stasyna, Mark Merrill, Video Shader the future. Chorus Master and Music Administrator Alan E. Hicks, Resident Stage Director WIGS/MAKE-UP Dominic Domingo, Artistic Advisor Alberto Alvarado, Department Head Michael Janney, Stage Manager Peter Herman, Steward Anna Reetz, Assistant Stage Manager Kathleen Kenna, Vickey Martinez, Jakey Hannah Blaile, Assistant Stage Manager Hicks, Wigs/Make-up