ESTHER NELSON, STANFORD CALDERWOOD GENERAL & ARTISTIC DIRECTOR DAVID ANGUS, MUSIC DIRECTOR | JOHN CONKLIN, ARTISTIC ADVISOR Rodolfo (Jesus Garcia) and Mimi (Kelly Kaduce) in Boston Lyric Opera’s 2015 production of La Bohème.

This holiday season, share your love of opera with the ones you love. BLO off ers packages and gift certifi cates T. CHARLES ERICKSON to make your holiday shopping simple! T. CHARLES ERICKSON

WELCOME TO THE SEVENTH IN OUR OPERA ANNEX SERIES, which is increasingly attracting national and international attention. Installing opera in non-conventional spaces has sparked a curiosity in the art. The challenges of these spaces are many and due to opera’s inherent demands: natural acoustics (since we do not amplify), adequate performance and production space, audience comfort and social space, location accessibility, parking, safety, and especially important in New England, adequate heat. Our In the Penal Colony comes amid questions and debate on the performance spaces and theatrical environment in Boston. For us, the questions include … why is Boston the only one of the top ten U.S. cities without a home suitable for opera? What are sustainable models to support new performance venues and/or preserve historic theaters?

As you may have heard, BLO decided not to renew its agreement with the JesusJJesus GarciaGGarcia as RRoRodolfodldolffo Shubert Theatre after this Season. The reasons are many and complex, but suffi ce in La Bohème it to say that we made an important business and artistic decision. BLO is dedicated to spending signifi cantly more of our budget on direct artistic and production expenses and providing our patrons with a new level of service and comfort. The Company has a history of making sound business decisions, and we are PROGRAM currently in the strongest fi nancial position of our almost 40 years. We bring world- class talent to Boston and return most of our resources back into this community CONTENTS by off ering more than 350 employment opportunities each year to musicians, chorus members, emerging artists, and production professionals. We are active in Welcome 1 education and the community. About BLO 2 While I’m not yet able to share with you where we will be next fall, we are working on several exciting options. I can assure you we will continue to provide you with Board of Directors 3 world-class opera, and your enjoyment, comfort and cost value is our priority. BLO's Opera Annex 4 That commitment will never change. Our 40th Anniversary Season is planned, featuring another impressive roster of artists. Director's Cut: We maintain our commitment to rising opera stars as well. BLO’s Jane and In the Penal Colony 6 Steven Akin Emerging Artists initiative supports a wide variety of artists. Tonight’s Cast & Synopsis 8 cast includes three former Emerging Artists: Neal Ferreira and David McFerrin on stage, and stage director R. B. Schlather. Together with Yury Yanowsky, our quintet Meet the Artists 10 of musicians, and the entire production staff , these BLO “alumni” bring to us one Production Staff & 12 of Philip Glass’ most thought-provoking operas, inspired by Franz Kafka’s story Acknowledgments that poses questions as relevant today as they were more than 100 years ago, when Kafka wrote the original story. BLO Staff & Volunteers 13 From the entire BLO team, I wish you a joyful holiday season ahead, and I look Art in the Round: forward to seeing you again in March for our next opera, Massenet's Werther. The Cyclorama 14 Donors 16 Fall/Winter Nelson Events Calendar 21 Stanford Calderwood General & Artistic Director “This midsize company has a welcome new tempo, new ambitions, and new capacities. It should be T. CHARLES ERICKSON T. fascinating to see, as BLO approaches its 40th anniversary in 2017, where it goes from here.”

– , “BOSTON LYRIC OPERA RENEWS ITS VISION,” SEPTEMBER 20, 2014

Rodolfo (Jesus Garcia) and Marcello (Jonathan Beyer) lament the life of talented young artists in 1960s Paris in Boston Lyric Opera’s production of La Bohème.

ABOUT BOSTON LYRIC OPERA Both locally and beyond, Boston Lyric Opera leads the way in celebrating the art of the voice through innovative programming and community engagement initiatives that redefi ne the opera-going experience.

Under the vibrant leadership of Stanford Calderwood BLO’s programming remains faithful to tradition General & Artistic Director Esther Nelson, BLO’s while blazing new ground, building audiences, and productions have been described by the magazine creating new ways to enhance the opera-going Musical America as “part of the national dialogue” experience. Artists in our Jane & Steven Akin Emerging because of their role as entry points for new audiences. Artists initiative work to hone their craft, and prepare observed that BLO “clearly themselves for other world-leading stages. BLO’s wide- intends [its productions] to catch the interest of reaching education initiatives introduce opera to new operagoers around the country.” audiences across generations.

This view is shared by the nearly 25,000 people Through your support and attendance, BLO employs who experience BLO each year through dynamic nearly 350 artists and creative professionals annually— performances, extensive partnerships with leading vocalists, artisans, stagehands, costumers, and scenic cultural organizations, like the Museum of Fine Arts, designers—many of whom are members of our own Boston and Boston Public Library, and programs community. The Company is proud to play a signifi cant throughout our vastly diverse and exuberant community. and meaningful role in Boston’s vibrant arts community.

STAYING CONNECTED WITH US PAYS OFF — RECEIVE EARLY ANNOUNCEMENTS, SPECIAL OFFERS, AND MORE VIA OUR EMAIL LIST AND BLOG! Buy tickets, learn more about these events and others, check out our restaurant partners, and peek behind the scenes — at our new website blo.org launching soon! AS BLO’S NEW BOARD CHAIR, I AM PLEASED TO WELCOME YOU TO TODAY’S PERFORMANCE OF IN THE PENAL COLONY BY PHILIP GLASS. In presenting this riveting tale, BLO is again bringing to Boston the kind of creative work for which our Opera Annex productions are rightly renowned. We do so today in a new space, as we chart a new course for Boston’s premier opera company. This is a transformational time for Boston Lyric Opera and the Company’s future. This past month, we announced that the current Season would be our last at the Shubert Theatre. The reason is a combined business and artistic decision—the fi nancial realities of continuing in our home of 18 years would no longer allow us to produce world- class opera as effi ciently and eff ectively as we do now. That is not the fault of the Shubert Theatre or the Citi Performing Arts Center. We had a great run at the Shubert and look forward to our spring Season there, but we must continue to refi ne our business model to keep BLO vital and give our Company the fl exibility to do what we do best—present compelling art. With our 40th Season just over the horizon, it was the right time to make the move, and I am proud that we had the courage and the resolve to do so. Today’s Boston Lyric Opera is in the best shape of our four-decade history, both fi nancially and artistically, and we have a vital role to play regionally and nationally. That reality was a driving factor in my readiness to accept this leadership role and the responsibilities that come with it—that, and the fact that I love this unique art form. My task is to work with all of you to see that BLO maintains its upward trajectory and that Boston and all of New England have the fi rst-class opera company and, one day, the facilities that the region deserves. With gratitude,

Michael J. Puzo Chair, Board of Directors

BOARD OF Linda Cabot Black Alicia Cooney Quigley Edward Bell Barabara Goodwin TRUSTEES Miguel de Bragança David W. Scudder Debra Taylor Blair Papesch CHAIR Alan Dynner Susan R. Shapiro Richard M. Burnes, Jr. Susanne Potts Michael J. Puzo Susan D. Eastman David Shukis Ellen Cabot Carl Rosenberg Andrew Eisenberg, Esq. Ray Stata Carol Deane Allison Ryder VICE-CHAIR Thomas D. Gill, Jr. Wynne Szeto Jessica Donohue Jonathan Saxton Wayne Davis Barbara Winter Glauber Christopher Tadgell Catherine E. Grein Wendy Shattuck VICE-CHAIR & Mimi Hewlett Wat Tyler Joseph Glenmullen Sandra A. Urie TREASURER Horace H. Irvine II Amy Hunter Mark Volpe Frank Wisneski Amelia Welt Katzen BOARD OF William Hunter Robert Walsh OVERSEERS CLERK Maria J. Krokidas Louise Johnson Lydia Walsh Susan W. Jacobs Stephen T. Kunian CO-CHAIRS Ellen Kaplan Peter J. Wender Lois A. Lampson Pam Kunkemueller STANFORD Willa Bodman Bert Zarins Jeff rey Marshall Russell Lopez CALDERWOOD L. Joseph LoDato Tania Zouikin GENERAL & ARTISTIC Abigail B. Mason Lawrence St. Clair Anita Loscalzo DIRECTOR A. Neil Pappalardo James Ackerman M. Lynne Markus EMERITI Esther Nelson, Ex Offi cio E. Lee Perry Sarah Ashby Shari Noe Steven P. Akin Irving H. Plotkin Elizabeth Barker Samuel Parkinson J.P. Barger William Pounds Ann Beha Jane Pisciottoli Papa Sherif A. Nada

BOSTON LYRIC OPERA IN THE PENAL COLONY 2015 | 3 ; , 2013 The Emperor The Emperor ; Lizzie Borden The New York York The New , 2012 The Boston Globe The Boston . On the eve of BLO’s . On the eve of BLO’s . and a reduction of the and a reduction , 2014 ; The Lighthouse prediction that Opera Annex that Opera prediction 2011 BLO's Opera Annex productions of Annex productions Opera BLO's

From top: From Atlantis, of BLO’S BLO’S OPERA ANNEX early 2013, In Annex “increasingly called Opera initiative the BLO Today, essential.” and is that potential, has realized part of a successfulboth an integral to achieve theSeason and crucial mission of building Company’s curiosity and support for opera theatrically compellingthrough Opera and programs. productions to reach Annex has allowed BLO rst with our fi beyond Boston, far and to make recording, commercial an enduring contribution to the canon with commissionsoperatic MacMillan’s such as James Clemency American classic, Beeson’s Jack Lizzie Borden 40th Anniversary Season, we look work that will to creating forward ll continue to fulfi Times of opera- the interest will “catch the country.” goers around The Love Potion The Love

JEFFREY DUNN ERIK JACOBS ERIC ANTONIOU ERIC ANTONIOU

In the Penal Colony set model and rendering by Julia Noulin-Mérat, set designer.

DIRECTOR’S CUT

In hindsight, Kafka’s “Strafkolonie,” written in 1914 but not published until 1919, prophesied the human rights violations that would follow in the 20th and 21st centuries. I read that he wrote the story because of an existential fear that governments would abuse new technologies by turning them against the bodies of their citizens. Violations of privacy therefore became central to my reading of the opera.

The costume designer, Terese Wadden, suggested Dan Flavin and Richard Serra, the show has developed the fascinating and haunting documentary Citizenfour for me more as minimalist art installation than traditional as a contemporary equivalent. In it, Edward Snowden opera performance. Conceptually, here the experience is secreted in a hotel room in his pajamas while his becomes an exchange between audience and space, revelations go public. a dynamism that is the sum of all parts—sculpture, form, shape, architecture, time, music, text, performer— Snowden thus became our image for Kafka’s Visitor. as opera should be! A contemporary “everyman,” 30-something and ordinary enough in a white cotton t-shirt to have stepped from Kafka famously defi es explanation. This story’s emotional the streets of “our fair city” into the fantastic, nightmarish power comes from its ability to get under the skin of the landscape of the penal colony, uniquely circular in this reader, to stoke their ideas of what’s possible, and horrify cyclorama, like the valley in Kafka’s narrative. with what’s imaginable. A ghoulish, gruesome, ironic tale for autumn in New England. I thank all my colleagues at I decided early not to portray the much-mentioned BLO for their support and expertise in realizing my vision Machine, and soon followed through stripping down for this piece in this unique setting. I hope the result, for the rest of the production so as to not focus on illusory, opera production in the 21st century, will be prophetic. fi ctive elements. Inspired by the Cyclorama’s origins as an art gallery and Glass’ fi ne art contemporaries R. B. SCHLATHER | STAGE DIRECTOR

6 | BOSTON LYRIC OPERA IN THE PENAL COLONY 2015 CONSTRUCTING THE COLONY: HOW DID BLO TURN THE CYCLORAMA INTO A THEATRE? What is always challenging as a set designer, since possible; in addition to the BLO team, we have the opera singers are typically not amplifi ed, is to make sure help of an architect, a building consultant, and an the design approach does not ruin the sound balance. acoustical architect. What gets trickier in a site-specifi c venue is not only that With our stage director R. B. Schlather, the creative you have to worry about the set, but also about creating team strove to create an environment that embraces a performance experience that is both aesthetically and the space, takes advantage of the brick walls, the air acoustically pleasing. ducts, the audience seating confi guration, and brings This venue has been particularly challenging because a new focus and meaning to the Buckminster Fuller of the giant dome and its vastness. Instead of ignoring it, sculpture hanging overhead. we embraced our acoustical adjustments, incorporating But a performance is not a performance until we actually sound-absorbent paneling into the scenography and have an audience. I am looking forward to seeing how even into the audience experience—did you know that the public reacts to our art-installation approach and your seat cushion is currently helping our acoustical being active participants in this immersive experience. balance? It takes a big team to make site-specifi c shows happen and to give our audience the best sound quality JULIA NOULIN-MÉRAT | SET DESIGNER

Opera Annex projects challenge our team and the audience in ways we do not expect, and for me that is part of the excitement of the work. These productions go into a new environment, respond to the space and the piece, and create a unique experience. The behind-the-scenes eff orts to achieve that impact are diff erent than our work in a traditional proscenium theater; unknowns are presented with each new venue. The Cyclorama was chosen for this project because of the raw, vast setting it off ers, allowing the opportunity to imagine and play with the space. To achieve the aesthetic and immersive experience that R. B. Schlather and the designers have imagined, BLO assembled a robust team including an architect, an acoustician, and a code and construction consultant to supplement the great work of the Boston Center for the Arts staff and the BLO production and technical departments. Over the past year, this group has enjoyed discovering the unknowns and solving the challenges of this Opera Annex. The experience, and challenge, are now yours.

BRADLEY VERNATTER | DIRECTOR OF PRODUCTION

BOSTON LYRIC OPERA IN THE PENAL COLONY 2015 | 7 BOSTON LYRIC OPERA PRESENTS

AN OPERA BY PHILIP GLASS

LIBRETTO BY CONDUCTOR RYAN TURNER RUDOLPH WURLITZER BASED ON THE STORY BY STAGE DIRECTOR R. B. SCHLATHER‡ FRANZ KAFKA Sponsored by Maria Krokidas and Bruce Bullen

MUSIC DIRECTOR, DAVID ANGUS SET DESIGNER JULIA NOULIN-MÉRAT 2015/16 Season Sponsor, Linda Cabot Black

Sung in English, with projected text COSTUME DESIGNER TERESE WADDEN

LIGHTING DESIGNER JAX MESSENGER* PERFORMANCES: WEDNESDAY, NOVEMBER 11 WIG AND MAKEUP DESIGNER JASON ALLEN AT 7:30 PM SUPERTITLE ADAPTATION JOHN CONKLIN & ALLISON VOTH THURSDAY, NOVEMBER 12 AT 7:30 PM SATURDAY, NOVEMBER 14 AT 7:30 PM SUNDAY, NOVEMBER 15 AT 3 PM ENSEMBLE FROM THE BOSTON LYRIC OPERA Performed in one act. Performance ORCHESTRA ANNIE RABBAT Acting Concertmaster running time approximately 1 hour and 20 minutes. REHEARSAL COACH/ ACCOMPANIST JAMES MYERS THE CYCLORAMA AT BOSTON CENTER FOR THE ARTS ASSISTANT DIRECTOR ANDERSON NUNNELLEY 539 TREMONT STREET, BOSTON STAGE MANAGER RACHEL S. ARDITI

* Boston Lyric Opera Debut † BLO Jane and Steven Akin Emerging Artist ‡ BLO Jane and Steven Akin Emerging Artist Alumnus A NEW BLO OPERA ANNEX PRODUCTION CAST & MADE POSSIBLE BY THE GENEROUS SUPPORT OF JANE AND JEFFREY MARSHALL AND SYNOPSIS THE NATIONAL ENDOWMENT FOR THE ARTS.

CAST in order of vocal appearance

VISITOR ...... NEAL FERREIRA‡ Sponsored by Ms. Abigail Mason

OFFICER ...... DAVID MCFERRIN‡ Sponsored by Alison K. Ryder and David B. Jones

MAN ...... YURY YANOWSKY* Sponsored by Lynn Dale and Frank Wisneski

SYNOPSIS A Visitor arrives, on the invitation of the new Commander, at a remote penal colony to witness the execution of a prisoner. The Offi cer in charge describes a machine, invented by the former Commander. It slowly carves a description of his crime into the fl esh of the condemned, who has heretofore not been informed of the exact nature of his transgression, and, after hours of torture, kills him. Devoted to the memory and ideals of the old Commander, the Offi cer is obsessed with the machine and what he calls the transfi guring moment of redemption that is given to the victim as he gradually comes to understand the nature of his crime. The Visitor is appalled by this description but feels he has no right to interfere. The Offi cer deplores the fact that the machine has not been properly maintained due to the negative attitude of the new Commander. But when he realizes that the Visitor will not support him in his report, he frees the prisoner and climbs into the machine himself, which begins to horribly malfunction and break apart. The Visitor looks at the mutilated face of the dead Offi cer: “He never found what he sought and what all the others found ... no sign of redemption ... none at all.”

BOSTON LYRIC OPERA IN THE PENAL COLONY 2015 | 9 ARTISTS

RYAN TURNER Conductor JULIA NOULIN-MÉRAT Set Designer Ryan Turner was appointed Artistic Director In addition to her work as Associate Producer of Emmanuel Music in 2010. During his tenure for BLO, Julia Noulin-Mérat is Director of he has conducted more than 150 Bach cantatas, Design and Production for Guerilla Opera B Minor Mass, St. John Passion, and Christmas and resident set designer for Attic Theater in Oratorio . In addition, he has led major works by New York. She has designed over 300 opera, Handel, Mozart, Mendelssohn, Stravinksy, and Harbison. Opera theatre and television productions, including: Clemency and La highlights include Rake's Progress, La Clemenza di Tito, Abduction Traviata at Boston Lyric Opera; Bluebeard's Castle at Opera from the Seraglio, Candide and Harbison’s The Great Gatsby. Mr. Omaha; Madama Butterfl y at Opera New Jersey and El Paso Turner teaches voice and early music at the Longy School of Opera; Lucia di Lammermoor and Così Fan Tutte at Commonwealth Music of Bard College. He was the Director of Choral Activities Opera; Giver of Light, Loose Wet Perforated, Heart of a Dog, Say at Phillips Exeter Academy from 2006 to 2012. He lives north of It Ain't So, Joe, Gallo, Troubled Water, Pedr Solis and No Exit at Boston with his wife, soprano Susan Consoli, and their two children, Guerilla Opera; The Barber of Seville at Opera Institute; L'Heure Aidan and Caroline. Espagnole and Scalia/Ginsburg at Castleton Festival; Rake's Progress and Transformations at Boston Conservatory; Little Red R. B. SCHLATHER Stage Director Riding Hood and The Telephone at Opera Boston; The Barber of Rising American opera director R. B. Schlather Seville at LoftOpera; and La Descente d'Orphée aux Enfers at returns to BLO as Stage Director, having Gotham Chamber Opera. Last season, Ms. Noulin-Mérat earned assisted directors David Schweizer on The ArtsImpulse's Theatre Award Best Boston Set Design for her Love Potion and Christopher Alden on Lizzie production of The Rape of Lucretia and Best Opera for Gallo. Borden. A BLO Jane & Steven Akin Emerging JAX MESSENGER Lighting Designer Artist alumnus, his recent directing credits include Norma at the Gran Teatre del Liceu and and as open process JAX Messenger’s successful career as a lighting art exhibitions in New York City, called by The New York Times “a professional includes lighting productions gift given to the New York cultural scene.” In the 2015/16 season, such as Oresteia and The Wreckers at Bard Mr. Schlather returns to his alma mater, Ithaca College, to direct SummerScape; R. B. Schlather’s exhibitions of for the Dillingham Center for Performing Arts, directs Alcina and Orlando; Princess Butterfl y at Wanda The Little Match Girl Passion with Illumin Arts as an installation at Culture Industry Group; Requiem and The Elixir of Love for Families the Perez Art Museum, Miami, and prepares for an exhibition of at ; The Barber of Seville at the Merola Opera in New York City. He has had professional affi liations with Program; Laurencia, Walpurgisnacht and Majisimas at Les Ballets the , , Canadian Trockadero de Monte Carlo; and Sleeping Beauty, Fluctuating Opera Company, Chicago Opera Theater, Bard SummerScape, Hemlines, WAM2, Shostokovich Concerto, WAM!, Don Quixote Tanglewood Music Festival, Glimmerglass Opera, Portland Opera, at The Washington Ballet. As an assistant lighting director, he Gotham Chamber Opera, Ash Lawn Opera, and (le) Poisson managed the creation of four operas for New York City Opera Rouge. His work has been presented by CATCH! and Prelude, and 48 operas for San Francisco Opera. As a lighting supervisor, and published in Emergency INDEX 2011. he has produced tours for The Washington Ballet and Les Ballets Trockadero de Monte Carlo in hundreds of venues around the world including the John F. Kennedy Center in Washington, D.C., Théâtre du Chatelet in Paris, Teatro degli Arcimboldi in Milan and Australia’s Arts Centre Melbourne.

10 | BOSTON LYRIC OPERA IN THE PENAL COLONY 2015 TERESE WADDEN Costume Designer DAVID MCFERRIN Baritone Terese Wadden made her BLO debut in 2013 OFFICER | David McFerrin is a BLO Jane & with the Company’s Opera Annex production, Steven Akin Emerging Artist alumnus who has Lizzie Borden. She recently designed Pyramus appeared in numerous Company productions, and Thisbe at the Canadian Opera Company, including Opera Annex productions The Love Oklahoma at Bard Summerscape, Orlando at Potion, Lizzie Borden, and Clemency, and White Box Art Center, Arthur Miller’s The Price at Mark Taper at the Shubert Theatre in Madama Butterfl y, Kátya Kabanová Forum, and Kat’a Kabanova at Spoleto Festival USA. She has and . His other opera credits include , designed costumes for As You Like It at The Acting Company, Seattle Opera, Florida Grand Opera, and the Rossini Festival in A Florentine Tragedy and Gianni Schicchi at the Canadian Opera Wildbad, Germany. As a concert soloist, Mr. McFerrin has sung Company, Così Fan Tutte at New York City Opera, Don Giovanni with and the Israel Philharmonic at Carnegie at New York City Opera and Portland Opera, La Clemenza di Tito Hall, with the early music ensemble TENET at the Casals Festival at the Canadian Opera Company and Chicago Opera Theatre, in Puerto Rico, and with the Boston Pops. This season he debuts and Elliot Carter’s only opera, What Next?, at the Miller Theatre. with the Vermont Symphony and is a featured soloist with the She has also collaborated with the architectural fi rm Diller Scofi dio Handel and Haydn Society during its bicentennial season. Later + Renfro on the exhibit How Wine Became Modern at the San this Season, he will appear with BLO as Johann in Massenet’s Francisco MoMA. Ms. Wadden is a graduate of the Motley Theatre Werther and as Cascada in Lehár’sThe Merry Widow. Design Course in London and Vassar College. NEAL FERREIRA Tenor JASON ALLEN Wig and Makeup Designer VISITOR | Neal Ferreira is a BLO Jane & Jason Allen has been BLO’s Resident Wig and Makeup Designer Steven Akin Emerging Artist alumnus. His since 2003. A fi xture of the Boston performing arts community, he most recent appearance with BLO was as also works with Huntington Theatre Company, Boston Ballet and Monostatos in the 2013/14 Season-opening many other organizations in Boston and throughout the country. production of Mozart’s The Magic Flute. Other BLO productions include Clemency, The Inspector, A Midsummer Night’s Dream, To s c a , Ariadne auf Naxos, Idomeneo, and The Tales of Hoff man. He works regularly with the Boston Youth Symphony Orchestra, singing in their productions of Rigoletto, To s c a , Un Ballo in Maschera, and the upcoming Otello. Recent highlights include Syracuse Opera, Virginia Opera, Opera Colorado, Anchorage Opera and Ferdinand in the world premiere of Joseph Summer’s The Tempest with The Shakespeare Concerts. ENSEMBLE FROM THE He has also performed as an oratorio soloist throughout New BOSTON LYRIC OPERA England. Mr. Ferreira will return to BLO in the spring as Pritschtisch ORCHESTRA in the new production of Lehár’s The Merry Widow. VIOLIN I YURY YANOWSKY Actor Annie Rabbat Acting Concertmaster MAN | Former Boston Ballet principal dancer Yury Yanowsky makes his BLO debut with In VIOLIN II the Penal Colony. Mr. Yanowsky retired last Colin Davis Acting Principal spring after 22 years as soloist, principal and VIOLA principal guest artist at Boston Ballet, where he Kenneth Stalberg Principal danced many of the most iconic leading male roles in the canon. He has been a guest artist at companies around the globe and CELLO worked with the world’s leading choreographers. Since retiring, Loewi Lin Principal he has concentrated on a full-time choreography career. He has been on the faculty at Centro Choreografi co de Las Palmas de BASS Gran Canaria’s annual summer program for the past 14 years, as Robert Lynam Principal well as teaching, coaching, and choreographing for Boston Ballet School and Boston Ballet 2.

BOSTON LYRIC OPERA IN THE PENAL COLONY 2015 | 11 PRODUCTION / ARTISTIC STAFF

Bailey Costa Lighting Director/Assistant Lighting Designer Joseph Miller Supertitle Technician David Bradke Technical Supervisor Liz Sherrier Assistant Set Designer Anthony Schiavo Assistant Stage Manager Bruno Baker Scenic Studio Intern Jeremy Smith Production Carpenter Austin Boyle Lighting Intern Graham Edmondson Production Electrician Kate Ellingson Music Librarian Julie Streeter Assistant Production Electrician Maynard Goldman Orchestra Personnel Manager Dianna Reardon Wardrobe Supervisor Ryan Goodwin Assistant Wardrobe Supervisor Allison Voth Supertitle Operator

ACKNOWLEDGMENTS

Boston Lyric Opera extends its Eric Antoniou Photography Ryder Transportation gratitude to the following individuals T. Charles Erickson Santander and organizations for their extraordinary Films Around the World, Inc. | Sebastians courtesy in making our productions Alexander W. Kogan, Jr. Starburst Printing | Jason Grondin possible: Four Seasons Hotel Boston Tessitura Goodman Media International, Inc. United Staging & Rigging | Acentech, Inc. | Carl Rosenberg and Mark Howard Eric Frishman Ben Markham HUM Properties | Casey Smith WBUR Advanced Lighting and Production IATSE Local #11 JACET | WGBH/WCRB Services | Jim DeVeer Colleen Glynn Wheelock Family Theatre AKA IRN Internet Services | Jay Williston Alexander Aronson Finning Leapfrog Arts | Susan Bennett, M.D., Company Melissa Wagner-O’Malley Physician Consultant, Associate In the Penal Colony is performed by Massachusetts Bay Transportation Physician, Massachusetts General arrangement with Dunvagen Music Authority Hospital Publishers Inc. and with materials from mindSHIFT Technologies Inc. G. Schirmer Inc. Boston Center for the Arts Museum of Fine Arts, Boston Boston Public Library Scenery constructed by BeNT Myles Standish Business Condominiums Caff é Nero Productions and BLO NEPS Primary Freight Catherine Truman Architects | Lighting Equipment provided by New England Professional Systems | Catherine Truman Advanced Lighting & Production Bill Miller Chandler Inn Services, Inc. Production Advantage Constangy, Brooks, Smith & Prophete, Costumes supervised by Costume LLP | Andrew Eisenberg and ProPrint Boston Works, Inc., Somerville, MA Will Krasnow Quality Graphics, Inc. Costume Works, Inc. | Liz Perlman The Revere Hotel Amy Holland Crafton The Ritz-Carlton, Boston Common Denka Trucking | Dick Butler Robert Silman Associates Structural Elderhostel, Inc./Road Scholar Engineers | Michael Auren

12 | BOSTON LYRIC OPERA IN THE PENAL COLONY 2015 BOSTON LYRIC OPERA STAFF VOLUNTEER CORPS

Esther Nelson Stanford Calderwood General & Artistic Director Sharon Barry Terri Mazzulli David Angus Music Director Lynn Bregman Diane McGary John Conklin Artistic Advisor Jane Cammack Patti McGovern Stephen Chan Anne McGuire ARTISTIC Ashley Chang Amy Molloy Nicholas G. Russell Director of Artistic Operations Jeannie Ackerman Curhan Meg Morton Nancy McDonald Artistic Manager Ann D’Angelo Katherine Nash Zachary Calhoun Artistic Associate Karla De Greef Kameel Nasr Jaclyn Dentino Gail Neff PRODUCTION Marsha de Poo Amy O’Connell Bradley Vernatter Director of Production Mary DePoto Meghan O’Connor Anna B. Labykina Technical Director Frances Driscoll Cosmo Papa Jessica Johnson Brock Production Operations Manager Marian Ead Jane Papa Julia Noulin-Mérat Associate Producer Susan Eastman Barbara Papesch Lily Kaufman Properties Master & Technical Assistant Hugh Fitzgerald Elizabeth Sarafi an Lindsay Conrad Production Administration Assistant Audley Fuller Jutta Scott Ralph Gioncardi Alexandra Sherman FINANCE AND ADMINISTRATION Mencken Graham Barbara Trachtenberg Karen T. Frost Director of Finance and Administration Bruce Houston Jessica Tybursky Kristin Dwyer Assistant to the General & Artistic Director Eva Karger Amy Walba David J. Cullen Accounting Manager Milling Kinard Gerry Weisenberg Reingard Heller Finance Manager Jo Anna Klein Debbie Wiess Nicholas Kopp Beverly Wiggins EXTERNAL RELATIONS Esther Lable Alfred Williams Eileen Nugent Williston Director of External Relations Melissa Lanouette Joe Williams Riley Cameron External Relations Assistant Nancy Lynn Lynn Williams Sarah B. Blume Director of Major Gifts Domenico Mastrototaro Sybil Williams Erin Coff ey Associate Director of Major Gifts Cathy Emmons Director of Institutional Gifts Kate Parsons Annual Fund Manager Carrie Phillips Marketing & Communications Manager Danielle Schmidt Special Events Manager Derrick A. Martin Audience Services Manager Rebecca Kittredge Audience Services Coordinator Lacey Upton Director of Community Engagement The Artists and Stage Managers employed on this production Brendan Buckley Resident Teaching Artist are members of the American Guild of Musical Artists. All musicians are members of the American Federation of Heather Gallagher Resident Teaching Artist Musicians of the United States and Canada. Andrew J. Moreau Analytics and Projects Manager The scenic, costume, and lighting designers are members Robin Schweikart Database Administrator of United Scenic Artists, Local USA-829 of the IATSE. Stagehands are represented by Local #11 of the International Goodman Media International, Inc. Public Relations Alliance of Theatrical Stage Employees. IRN Internet Services Website Boston Lyric Opera is a member of OPERA America, the Leapfrog Arts Graphic Design national service organization for opera in the U.S. and Canada.

BOSTON LYRIC OPERA IN THE PENAL COLONY 2015 | 13 From left: French artist Paul Dominique Philippoteaux at work on his Gettysburg Cyclorama. Philippoteaux’s Gettysburg Cyclorama. The interior of the Boston Cyclorama at Boston Center for the Arts, 2008. The Cyclorama Building, as seen in the late 19th century, with its original turrets and entryway and thronged by visitors. ART IN THE ROUND: THE CYCLORAMA AT BOSTON CENTER FOR THE ARTS BY LACEY UPTON | DIRECTOR OF COMMUNITY ENGAGEMENT

With the premiere of In the Penal Colony here in the Dominique Philippoteaux to create a cyclorama Cyclorama at Boston Center for the Arts, Boston Lyric based on the Battle of Gettysburg. Philippoteaux Opera joins a legacy of arresting, triumphant, eclectic spent weeks at the Gettysburg site, photographing events and happenings in one of Boston’s historic and sketching the landscape, as well as months landmarks. Since its opening in 1884, the Cyclorama has researching the subject and interviewing veterans of been an anchor of the vibrant neighborhood of Boston’s the battle. The resulting cyclorama opened in Chicago South End. But its history is not merely that of high- to great success, and within a few years, there were brow, refi ned culture; on the contrary, it has transformed four versions of Philippoteaux’s Battle of Gettysburg time and again with new tenants and new imaginations, on display in Chicago, Boston, Baltimore, and from the spectacle of its original installation to a public New York. gathering place, from the hum and throb of an industrial Commissioned by Charles Willoughby, a Chicago space to the blood, sweat, and tears of the boxing ring, businessman with Boston roots, Philippoteaux expanded and back again. on his Chicago piece to create Boston’s Gettysburg Cycloramas—giant, 360-degree murals in painstakingly Cyclorama, which eventually measured 400x50 feet lifelike detail—were immensely popular in the latter and weighed in at 2.9 tons. The canvas used four to fi ve part of the 19th century, drawing crowds to marvel at tons of oil paints to render the detailed battle scene in their grandeur and illusions. In 1879, a group of Chicago vibrant color that photography of the time simply could businessmen commissioned the French artist Paul not match.

14 | BOSTON LYRIC OPERA IN THE PENAL COLONY 2015 The Boston Center for the Arts’ mission of supporting artistic exploration and process has melded well with the BLO’s visionary undertaking of this important production. We hope to continue creative partnerships like this in the Cyclorama well into the future. VERONIQUE LE MELLE | PRESIDENT & CEO, BOSTON CENTER FOR THE ARTS

It was not only the scale of the artwork that made the building was transformed into a venue for mass experience so immersive for the public. The Cyclorama entertainment. Over the next decade, it played home building, designed by the fi rm Cummings and Sears, to a carousel, roller-skating, bicycle riding, roller polo dominated the block with a martial façade. Visitors paid championships, horseback riding, a gun drill show, admission, then proceeded down a long underground and a series of boxing matches. hallway, eventually emerging onto a viewing platform At the turn of the 20th century, the Cyclorama became in the center of the round hall, and were immediately an industrial space, used by several automobile transported to another world. The enormous, realistic companies; it is said that Albert Champion invented the painting wrapped around them completely; a screen spark plug here. The Boston Flower Exchange took over hung in front of the windows above, so that visitors on in 1923, staying for nearly 50 years as a neighborhood the platform stood in semi-shadows while daylight shone anchor and cooperative market. directly on the canvas, making the faux sky sparkle. On the canvas, 20,000 men and horses fought bravely. In 1970, the Boston Redevelopment Authority From the edge of the platform to the painting, 45 feet designated the Cyclorama and several surrounding away, hundreds of cartloads of earth had been deposited buildings as the site of the Boston Center for the and covered with vegetation. Battlefi eld props were Arts, and the Cyclorama was reborn as an artistic and strategically placed throughout: artillery, shoes, canteens, community venue. One of its early off erings was Sarah uniform-clad “corpses,” a stretcher. A dirt road on the Caldwell’s production of Charpentier’s Louise, which Cyclorama fl oor blended seamlessly into the painting as (after several delays in permitting) opened in March of it disappeared into the “horizon.” 1971; professional opera has not been performed again in the space until now. Newspaper stories and reviews abound with quotes from credulous audience members. The Zion’s Herald Since its inception, the Cyclorama has been a site for illusion and transformation, but also, paradoxically, noted in 1885 that, “…it is diffi cult to realize that you are for truth—the greater truths that art, inquiry, and not standing under the open skies, looking upon the community-building can bring. In the Penal Colony is scene itself … you instinctively listen for the cannon’s roar a work that unfl inchingly contemplates questions of and the ominous shriek of the fl ying shell.” “No person justice, of punishment, of humanity itself. Just as the should die without seeing this cyclorama,” intoned one Gettysburg Cyclorama provided a lens for the public attendee in the Boston Daily Globe, “It’s a duty they owe to fi nd meaning in the battle’s trauma, so too did Kafka’s their country.” Veterans gave talks daily, school groups short story, published amidst the First World War, toured, and even music thrived, as a concert program of seek to jar the reader into consideration of the war’s war songs became a popular attraction on Wednesday industrial-scale horrors. At the turn of the 21st century, and Saturday afternoons. Philip Glass crafted the work into an opera that explores But within a few years, the public appetite for cycloramas these same questions for an age of digitalization and waned. The Boston Gettysburg Cyclorama was human alienation. As the music of In the Penal Colony packed into boxes and spent years rotting before being fi lls the Cyclorama dome, it again becomes the site of painstakingly restored and installed in a new permanent a collective wrestling with issues of war and violence, home at Gettysburg in 2008. In 1890, the Cyclorama reverberating with signifi cance 131 years in the making.

BOSTON LYRIC OPERA IN THE PENAL COLONY 2015 | 15 INDIVIDUAL DONORS through October 13, 2015

We are honored to recognize our donors who generously support the mission of Boston Lyric Opera to build curiosity, enthusiasm, and support for opera by creating musically and theatrically compelling productions, events, and educational resources for our community and beyond. We are deeply grateful for the following contributions made to Boston Lyric Opera.

CRESCENDO ($100,000 & ABOVE) Anonymous The Orfeo Jane and Steven Akin† Society and Barr Foundation Friends of BLO Linda Cabot Black*†§ Willa and Taylor Bodman*† make up BLO’s Miguel and Suki de Bragança*† core community The Calderwood Charitable of supporters. Foundation Members share a passion for opera and receive exclusive access Constangy, Brooks, Smith & to a range of benefi ts that enriches the operatic experience. BLO Prophete, LLP gratefully acknowledges their generous support. This list includes Jody and Tom Gill*† gifts and pledges made to the Annual Fund, restricted funds, and Horace H. Irvine II*§ event sponsorships. The Klarman Family Foundation Miss Wallace Minot Leonard For more information or to become a member of the Orfeo Foundation Society or Friends of BLO, please call Sarah Blume at Mr. and Mrs. Jeff rey Marshall*† 617.542.4912 x228. Ms. Abigail Mason*†§ Paul and Sandra Montrone Mr. and Mrs. E. Lee Perry*† David and Marie Louise Scudder*†§ National Endowment for the Arts CON BRIO MEMBERS Wendy Shattuck and Mr. and Mrs. Neil Pappalardo* ($15,000 TO $24,999) Sam Plimpton* William and Helen Pounds* Dr. and Mrs. Eric and Elaine Bucher† Mr. and Mrs. Ray Stata* Mr. and Mrs. Michael Puzo*† Mr. and Mrs. John Cabot Lynn Dale and Frank Wisneski* Susan and Dennis Shapiro* Catherine and Frederick Grein*§ Dr. Christopher Tadgell and Cerise Lim Jacobs, for Charles FIORITURA Lady Juliet Tadgell* Ellen and Robert Kaplan*†§ ($66,666 TO $99,999) Ms. Amelia Katzen*† Timothy and Rebecca Blodgett† PRESTO Dr. Joseph and Mrs. Anita Loscalzo*† Estate of Fay M. Chandler†‡ ($25,000 TO $33,332) MEDITECH Wayne Davis and Ann Merrifi eld*† Anonymous Esther Nelson and Bernd Ulken Alan and Lisa Dynner*†§ Dorothy and David Arnold§‡ Janet and Irv Plotkin*† Mr. and Mrs. Thomas Blumenthal John and Susanne Potts* VIVACE Nonnie and Rick Burnes*§ Larry and Beverly St. Clair*† ($33,333 TO $66,665) Katie and Paul Buttenwieser Gregory E. Moore and Anonymous Citibank Wynne W. Szeto* Ms. Ann Beha and Mr. John Conklin Sandra A. Urie and Frank F. Herron* Mr. Robert A. Radloff * Ted Cutler Dr. Robert Walsh and Gerard and Sherryl Cohen Karen Johansen and Lydia Kenton Walsh* Alicia Cooney*§ Gardner Hendrie Robert and Susan Eastman*†§ Mr. and Mrs. Amos B. ALLEGRO MEMBERS Mimi and Roger Hewlett*§ Hostetter, Jr. ($10,000 TO $14,999) Susan W. Jacobs* Butler and Lois Lampson* Anonymous Maria Krokidas and Bruce Bullen*† Allison K. Ryder and Advanced Lighting & Pamela S. Kunkemueller*§ David B. Jones*† Production Services, Inc. Massachusetts Cultural Council Mr. David Shukis*† Sam and Nancy Altschuler Mattina R. Proctor Foundation Ms. Tania Zouikin* Boston Private 16 | BOSTON LYRIC OPERA IN THE PENAL COLONY 2015 BPS Arts Expansion Fund at EdVestors Ms. Ellen Cabot*† William A. Hunter*† Stephen and Geraldine Ricci Mr. and Mrs. Thomas D. Cabot, Jr. Mr. and Mrs. William T. Kennedy Elizabeth Ross and William O'Reilly Cabot Family Charitable Trust Karen Levy Dr. Jordan S. Ruboy Charitable Fund§‡ The Catered Aff air Joe and Pam LoDato*†§ Mr. Max Russell Dr. Charles Dickinson and Andrew Sherman and Russ Lopez*† State Street Foundation Ms. JoAnne Dickinson Ms. M. Lynne Markus*§ Tee Taggart and Jack Turner Mr. and Mrs. Timothy and Judith K. Marquis and Keith F. Nelson Mr. Richard Trant Jessica Donohue* Mr. and Mrs. Tom and Elena Matlack Jeannie Ackerman Curhan and Esther B. Kahn Charitable Foundation Mintz, Levin, Cohn, Ferris, Glovsky Joseph C. Williams† Frank Reed & Margaret Jane Peters & Popeo, P.C. Winston Flowers Inc. Memorial Fund I, Bank of America, Ms. Faith Moore N.A., Trustee Ms. Sandra Moose BRAVISSIMO Mr. Kenneth Freed Anne M. Morgan ($2,000 TO $2,999) Harold Alfond Foundation, in honor Shari and Christopher Noe* Anonymous of Steven Akin Mr. and Mrs. John O'Brien A.V. Presentations, Inc. Ms. Louise Johnson* Dr. Kurt D. Gress and Boston Cultural Council Stephen and Lois Kunian* Mr. Samuel Y. Parkinson*† Mr. and Mrs. John Bradley‡ Dr. Maura McGrane Suzanne and Peter Read David J. Chavolla, in honor of Morgan Stanley Mr. and Mrs. John Remondi Pamela Kunkemueller Mr. and Mrs. George Sakellaris Rusty Rolland & The Schick Fund Chris and Lynne Chiodo Mr. Jonathan F. Saxton* Rona and Arthur Rosenbaum John F. Cogan, Jr. and State Street Corporation Mr. Carl Rosenberg*† Mary L. Cornille Susan A. Babson Opera Fund for Santander Marjorie B. and Martin Cohn Emerging Artists Takeda Employee Giving Program Ms. Elizabeth Coleman John H. Deknatel and Peter Wender*§ Nancy and Laury Coolidge Carol M. Taylor Western Carriers, Inc. Mr. and Mrs. Linzee Coolidge Faith and Joseph W. Tiberio Eli Lilly and Company Foundation, Inc. Foundation GRAZIOSO Fish & Richardson P.C. Mr. and Mrs. Wat Tyler* ($3,000 TO $4,999) Kathryn G. Freed, in memory of Drs. Bertram and Laima Zarins* Anonymous (2) Dean and Patti Freed§ Anchor Capital Advisors Nathaniel and Nancy Gardiner, in honor ADAGIO MEMBERS Sarah E. Ashby* of Michael and Christine Puzo ($5,000 TO $9,999) Charles and Christina Bascom Ms. Elizabeth Gorman and Anonymous (6) Mr. and Mrs. Hugh Bennett Mr. Mark Kritzman Ann and Gordon Getty Foundation Mr. Martin S. Berman Graham and Ann Gund Be Our Guest, Inc. Annabelle and Benjamin Bierbaum Jamie and Ashley Harmon, in honor Dr. Peggy and Edward Bell* Ronald and Ellen Brown of Steven Akin Bessie Pappas Charitable Mr. and Mrs. Lewis Cabot Mr. Edward J. Leary† Foundation, Inc. Dr. Nicholas J. DiMauro Richard and Mary Jane Lewontin Carolyn Bitetti and Chris Donnelly Draper Laboratory Mr. Winfi eld Perry, in memory of Ms. Deb Taylor Blair* Ms. Winifred F. Ewing Shirley and Kenneth Perry Mrs. Edmund Cabot Mr. and Mrs. Ron Feinstein William and Lia Poorvu Judge and Mrs. Levin H. Campbell Mr. and Mrs. Tim and Lisa Fulham Robert and Elizabeth Pozen Citi Performing Arts Center Fuller Foundation Mr. Rod Rohda Arthur D. Clarke and Susan Sloan, Dr. Alfred Goldberg and in honor of Barbara Glauber Dr. Joan Goldberg ENCORE Corning Incorporated Foundation Nick and Marjorie Greville ($1,000 TO $1,999) Dr. and Mrs. Richard J. de Asla Ron and Kathy Groves Anonymous (2) Christian Courtney Draz Mr. Joseph Hammer The Acorn Foundation Fiduciary Trust Company Mr. and Mrs. Morton Hoff man Ms. Nancy W. Adams and Mr. Edwin Firestone Dr. Maydee G. Lande, in memory Mr. Scott A. Schoen, in honor Firestone and Parson Jewelers of her father of Lynn Dale William C. and Joyce K. Fletcher Dr. Harold Michlewitz & Mr. Mark Alcaide Mr. Joseph Glenmullen*† Ms. Dina Celeste Marshall John and Rosemary Ashby Mr. and Mrs. Don and Pat Hillman Mr. and Mrs. Richard Olney III† Mr. and Mrs. David Bakalar Mr. and Mrs. Charles Hood OPERA America Michael Barza and Judith Robinson Emily C. Hood D. Cosmo and Jane P. Papa* Drs. Susan E. Bennett and Amy Hunter and Steven Maguire*†§ Dr. and Mrs. John WilliamBOSTON Poduska, Sr.LYRIC OPERA IN Gerald THE PENALB. Pier COLONY 2015 | 17 Dorothy and Hale Bradt Mr. and Mrs. Andrew Brunnock Mr. Robert and Ms. Natalie Schlundt Veronika and Bert Breer Thomas Burger and Andree Robert Rumena and Alex Senchak John and Irene Briedis Mr. and Mrs. Philip Cantillon Drs. John and Elizabeth Serrage Dr. Peter Campisano Rachel and Thomas Clafl in Mr. Chip Storey Mr. John Cornish Mr. Eugene Cox Mr. Andrew Szentgyorgyi Mr. and Mrs. William Crozier Jr. Paul Cravedi Mr. and Mrs. Frank Tempesta Andrew L. Eisenberg* Rita and George Cuker Ms. Toinette Ter Haar Elizabeth and Stephen Fantone The Pannell Family Charitable Fund Mr. Wheeler Thackston Dolores R. and S. David Frost Gene and Lloyd Dahmen Mr. and Mrs. Ian Tjornhom Mr. and Mrs. Dozier Gardner Dr. Amos Deinard UBS Financial Services, Inc. Mr. Thatcher Lane Gearhart Mr. Frazor Edmondson United Staging and Rigging Mr. Bruce Gurall Soren and Carlyn Marcus Ekstrom Mr. Scott Utzinger Mr. and Mrs. Richard Hamilton Mr. David Firestone Linda and Harvey Weiner, in honor Arthur and Eloise Hodges Mr. Daniel Ford of Ellen Cabot Holly and Bruce Johnstone Mr. Lee Forker Eva R. Karger§ GE Foundation ARIA Mr. Stephen Kidder Mr. Edward N. Gadsby ($250 TO $499) Milling Kinard Ruth Golden Anonymous (2) Mr. Dan Kramer Dr. Philip L. Goldsmith and Susan Alexander and Jim Gammill, William B. Lawrence III† Melissa Boshco in honor of Susan Howe Ms. Trish Marinilli Ms. Sandra Steele and Mr. Peter Ambler and Ms. Lindsay Miller Ms. Amy Merrill Mr. Paul Greenfi eld Mr. Bernard Aserkoff Mr. Clint Moon Mr. Stephen Grubaugh and Ms. Ann Bajart Mary and Sherif Nada†§ Ms. Carol McGeehan Ms. Kim Barba Mr. Harvey Nosowitz Ms. Kathryn Heifetz Marc and Carol Bard Barbara Goodwin Papesch*, in honor Mr. Joseph M. Herlihy Mr. and Mrs. Paul Barringer of Sarah Blume Mr. and Mrs. Thomas High Ms. Enid Beal Mr. and Mrs. Richard S. Perkins, Jr. Mr. Roger Hinman John and Molly Beard Finley and Patricia Perry E.R. Horowitz Dr. and Mrs. Martin Becker James Edward Reulbach Doris and Howard Hunter John Belchers Dr. and Mrs. Edward Roberts Miss Sally Hurlbut Ms. Davis Berman Donald and Abby Rosenfeld Elizabeth V. Foote and Howell E. Jackson Mr. Clark Bernard Robert and Dianne Rottenberg Mr. and Mrs. Edward C. Johnson Mr. Peter A. Biagetti Dr. and Mrs. R. Michael Scott Ms. Elizabeth Kastner Mr. Andrew Binns Mr. and Mrs. Jeremiah Shafi r Yuriko Kuwabara and Sunny Dzik Ms. Elizabeth Bjorkman Sayre Sheldon and C. E. Morgan Pam Lassiter Dr. Paul Bleicher and Edward H. Tate II Mr. and Mrs. Eric Lerner Dr. Julia Greenstein Ms. Antra Thrasher Drs. Lynne and Sidney Levitsky Dr. Rudolph and Prof. Suzanne Blier Leonce Welt and Michele Buchbauer Ms. Kristine Maultsby and Dr. Roger Boshes Mr. Mark White Mr. Keith Long Ms. Christine Bradt Mr. and Mrs. Jonathan Winthrop Mr. Anthony S. Lucas Ms. Judy Cabot Temple Gill and Mr. Tod Machover Mr. Rich Calame Christopher Yens Margaret McDormand, in memory of Peter Laytin and Paula Callanan Anna Elizabeth McDormand Mr. Jay Cantor ENSEMBLE Ms. Kathleen McGirr and Ms. Mary Chamberlain ($500 TO $999) Mr. Keith Carlson Ms. Mei Po Cheung Anonymous (2) Tim and Dell Mitchell Dr. Brian J. Clifton Shoma Aditya and Melissa and David Norton John Adams and Patricia Comeau Constantin von Wentzel Mr. and Mrs. Martin O'Donnell The Commonwealth Fund Bank of America Mr. Richard Ortner James F. Crowley, Jr. Elizabeth Barker* Jack Osgood Mr. Paul Curtis Mr. and Mrs. Dana Bartholomew Thomas Peters and Susan Sargent Deborah L. Cushing Mr. and Mrs. Douglas Benjamin Peterson Family Fund at the Mr. Terry O. Decima Leonard and Jane Bernstein Boston Foundation Ms. Margaret DePopolo Ms. Sarah Biller Jim and Jeannette Post Ms. Pauline Dessertine Ms. Sophie Cabot Black Mrs. Adrienne Rabkin Mr. Mark Donohoe Mr. and Mrs. Kenyon C. Bolton III Peter and Sheila Rawson eBay Inc. Foundation Pam18 | and BOSTON Lee Bromberg LYRIC OPERA IN THE PENALMs. COLONY Diana Rowan 2015 Rockefeller Marie-Pierre and Michael Ellmann INSTITUTIONAL PARTNERS

Opera Annex receives generous support from the National Endowment for the Arts. Boston Lyric Opera’s programs are funded, in part, by a grant from the Massachusetts Cultural Council, a state agency.

Bill and Susan Elsbree Mr. Jackson Madnick Mr. Michael Schaefer Andrew and Karen Epstein Mr. and Mrs. Stuart E. Madnick John and Ruth Schey Louis Esposito Mr. Joseph Mari Michael Schwartz, in honor of Mr. Fabien Fieschi Mr. Tony Martin Amelia Katzen Michael S. Flier and David E. Trueblood Dr. Nicholas and Mr. and Mrs. John Sculley Katherine and Richard Floyd Mrs. Charlotte Mastroianni Mr. Javier Segovia Mr. Valery Freland Mr. Domenico Mastrototaro§ Stephen and Peg Senturia Mr. Julio Frenk Mr. James M. McCloy Varda and Dr. Israel Shaked Mr. Clayton Geiger Mr. and Mrs. Kilmer McCully Dr. George L. Sigalos‡ Paul Golden Ms. Carol McKeen and Mr. Paul Snider Laurie Gould and Mr. John Dunton Diane Young-Spitzer and Stephen Ansolabehere Kate Meany Adelbert Spitzer Mr. Kurt Hakansson Ms. Karen Metcalf Mr. Harold Stahler Mr. and Mrs. James J. Harper Mrs. Judith Mir Ms. Joan Suit Ms. Sue Harrington Dr. and Mrs. Douglas Moore Mr. Michael Szeto Mr. Harvey Hayashi Ms. Gwendalyn Moore Marcos and Faith Szydlo Ms. Jasjit Heckathorn Sean and Stacy Mullaney John and Mary Tarvin Abigail Ostow and Arthur Telegen Mr. and Mrs. John Henn Toni and Jeff Musser Diane C. Tillotson Richard Hermon-Taylor and Ms. Rose Ng Michael and Helen Tomich‡ Southie Bundy Ms. D'Anne Nosowitz Mr. Joe Weber Pauline Ho Bynum Mr. and Mrs. Geoff rey Nunes The Whitley-Singer Family, in memory Dr. Susan Hockfi eld and Oakleaf Cakes of Kevin Gustavson Dr. Thomas Byrne Ms. Suzanne Ogden and Mr. Throop Wilder Fred and Caroline Hoppin Mr. Peter Rogers Ms. Ashley Wisneski Mr. Thomas Hotaling Mr. William Pananos Mr. Stephen Wohler Ms. Maisie Houghton Mr. David M. Paul and Mr. Davin T. Wedel Larry and Pamela Wolf Mr. Cliff Hurley David and Beth Pendery Mr. and Mrs. Robert Wulff Ms. Ann Johnson Mr. and Mrs. Jonathan and Lois Pond Mr. Evan Xenakis James and Ellen Kaplan Gerald Powers Albert and Judith Zabin Ms. Elizabeth Karpati Ms. Florence Poy Mr. and Mrs. Jeff rey Katz Ms. Patricia Pratt Jonathan and Deborah A. Kay Mr. Evan Ricker and Ms. Mara Bonde Khaled Khalil Mr. Allan Rodgers Mr. Richard Kimball Donald and Nancy Rosenfi eld Board Member * Michael and Dora Lewin Simon Rosenthal and Nouri Newman Lyric Circle Member † Mr. John Lo Nicholas G. Russell Goldovsky Society Member § Mr. and Mrs. Brian Lyson Ms. Diane Savarese BOSTON LYRIC OPERADeceased IN THE PENAL COLONY 2015 ‡ | 19 PERFORMANCE & VENUE INFORMATION LATE SEATING: All performances begin on time. At the request of our patrons, Boston Lyric Opera observes the national opera standard of a no late seating policy. Additionally, if you must leave during the performance, reentry may be prohibited. While we understand that traffi c conditions, public transportation, weather and other factors can have unexpected eff ects on your arrival, we wish to minimize disruptions for our seated patrons and for our artists on stage. As a courtesy to the artists and for the comfort of those around you, please turn off all mobile phones, pagers, watch alarms, and any other device with audible signals prior to the start of the performance. The use of cameras or recording devices in the theatre is strictly prohibited.

ACCESSIBILITY: The performance venue can accommodate both wheelchair and companion seating. Patrons unable to use the stairs should enter the venue using the elevator on Tremont Street, to the right of the stair entrance. For special requests or assistance, please contact Boston Lyric Opera’s Audience Services department. TICKET INFORMATION: For information on Boston Lyric Opera productions, subscriptions and tickets, visit blo.org or call BLO Audience Services at 617.542.6772. VENUE INFORMATION: The Cyclorama at the Boston Center for the Arts, 539 Tremont Street, Boston, MA 02116 | 617.426.5000 | bcaonline.org

WHEN THE PERFORMANCE IS OVER, PLEASE LEAVE YOUR CUSHION ON YOUR SEAT OR RETURN IT TO THE USHERS.

20 | BOSTON LYRIC OPERA IN THE PENAL COLONY 2015 CALENDAR OF EVENTS | FALL & WINTER 2015/16

ERIC ANTONIOU

OPERA NIGHT AT CONQUERING THE BPL | OPERA AUDITIONS: IN AN HOUR BUILDING SKILLS THU. NOV. 19 AT 6PM FOR SUCCESS FREE TWO-DAY WORKSHOP FOR YOUTH AGES 11-14 Boston Lyric Opera tackles SAT. & SUN. DEC. 5 & 6, this 400-year-old art form 11 AM – 5:30 PM T. CHARLES ERICKSON T. with an engaging, thought- BEN GEBO Tuition: $200 provoking discussion of opera’s evolution and musical Some scholarships available | Register at highlights, with performances by BLO artists from some wheelockfamilytheatre.org or call 617.879.2252 of opera’s greatest works. Presented by Wheelock Family Theatre and BLO Boston Public Library, Central Branch in the Abbey Wheelock Family Theatre and Boston Lyric Opera Room, Copley Square, 700 Boylston Street team up to show students the keys to a fun and positive audition experience. With WFT’s expertise in acting, SIGNATURE SERIES | presentational and movement skills, and BLO’s strength BRINDISI! ITALIAN AND in musicality and larger-than-life performances, this FRENCH DRINKING workshop combines all the important pieces of a SONGS great audition. FRI. DEC. 4 AT 7PM Wheelock Family Theatre, 200 The Riverway $132 members, $165 non-members OPERA NIGHT AT PHOTOGRAPH © PHOTOGRAPH BOSTON MUSEUM OF FINE ARTS, Purchase online at mfa.org THE BPL | WERTHER Presented by BLO in partnership with Museum of WITH DAVID ANGUS Fine Arts, Boston THU. FEB. 25 AT 6 PM Indulge in the songs and musical toasts of the operatic FREE repertoire and the café and bar culture of Italy and Boston Lyric Opera Music France. Start your evening with performances by BLO Director and Conductor DAVID ANGUS artists amidst the art of the MFA collection, then raise ERIC ANTONIOU David Angus explores the lush a glass with small bites and a discussion of the songs. and lyrical Werther, an opera beloved for its emotionally Finally, sing along as BLO artists raise a fi nal toast and wrenching and melodically rich score, providing listening invite you to join the music! insights and context, illuminated by live selections from MFA Boston, European Galleries and Riley Seminar the opera by BLO artists. Room, 465 Huntington Avenue Boston Public Library, Central Branch in the Abbey Room, Copley Square, 700 Boylston Street

Top: Neal Ferreira, David McFerrin, and Christine Abraham in BLO's 2013 Opera Annex production of BOSTONClemency. Insets: LYRIC Kevin Burdette OPERA and DuncanIN THE Rock PENAL in BLO’s DonCOLONY Giovanni; Dance 2015 hall, | 21 Théophile-Alexandre Steinlen (French, born in Switzerland, 1859–1923), colored lithograph on card stock, gift of Leonard A. Lauder ADD ONE OR MORE OPERAS THIS SEASON AND SAVE! We’ll count your In the Penal Colony ticket toward a package deal so that you get the best seats with no fees! Package holders receive: Savings of up to 30% | Free, fl exible payment plans | Easy exchanges and ticket insurance Subscription to BLO’s new magazine, Coda Exclusive invitations to go inside the passion and process of our 2015/16 Season

March 11, 13, 16, 18, 20 | 2016 April 29, May 1, 4, 6, 8 | 2016 Citi Performing Arts CenterSM Citi Performing Arts CenterSM Shubert Theatre Shubert Theatre Sung in French with projected Sung mainly in English, English translation. with projected translations.

CALL 617.542.6772 OR EMAIL [email protected] TO GET YOUR OPERA PACKAGE TODAY!