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2020/2021 COMMEMORATIVE PROGRAM 2020/2021 A YEAR IN REVIEW

2 OPERA OMAHA 2020/2021 THANK YOU

FOUNDATION Tilly's Foundation Simon Charitable The Fred and Eve and Fred The Foundation The Hawks Pacific Life Foundation Adah and Leon Rose BlumkinRose Millard Foundation Foundation Inc. Foundation William R. Patrick Giger Foundation EARS Y 100 ING ADDITIONAL SEASON SUPPORT: ADDITIONAL T Foundation Heider Family Heider GENEROUS PUBLIC SUPPORT PROVIDED BY: PROVIDED PUBLIC SUPPORT GENEROUS Trust CELEBRA Whitmore Charitable generous support has ensured Opera Omaha continues to serve our region. our serve to continues Omaha Opera has ensured support generous on how the Nebraska Arts Council can assist your organization, or how you can support the Nebraska Cultural Endowment. Cultural Nebraska you can support the how or organization, your can assist Council Arts the Nebraska on how Anonymous The Nebraska Arts Council, a state agency, has supported this program through its matching grants program funded by the Nebraska the Nebraska funded by program grants its matching through has supported this program agency, a state Council, Arts Nebraska The Legislature, the National Endowment for the Arts and the Nebraska Cultural Endowment. Visit www.nebraskaartscouncil.org for information information for www.nebraskaartscouncil.org Visit Endowment. Cultural Nebraska Arts and the the for Endowment the National Legislature, Opera Omaha is exceedingly grateful to those corporations, foundations and government organizations whose whose organizations government and foundations corporations, to those grateful is exceedingly Omaha Opera David E. Gardels, Partner E. Gardels, David of Directors Omaha Board Opera | 402.964.5027 [email protected] Making a difference. Making support to is proud Husch Blackwell to mission Omaha and its ongoing Opera and programming quality opera provide talent operatic promising for a showcase season! the new Cheers to in our region. The choice of a lawyer is an important decision and should not be based solely upon advertisements. of a lawyer choice The Arizona | California | Colorado | Illinois | Missouri | Nebraska | Tennessee | Texas | Utah | Washington, DC | Wisconsin | Utah | Washington, | Texas | Tennessee | Nebraska | Illinois | Missouri | Colorado | California Arizona huschblackwell.com TABLE OF CONTENTS

Miranda | 14 Opera To Go | 18

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402.341.6000 OmahaMagazine.com/SubscribeOmahaMagazine.com/pages/subscribe A.BL.E. | 24 MODULATION | 26

Opera Under the Stars | 32 Community Engagement Programs | 37

Poetry & Music Project ��46 Opera Omaha Donors ��70 2021/2022 Season �� 48 Corporate & Foundation Donors ��73 Omaha Steaks �� 62 Fortissimo Society & Special Funds ��74 Opera Omaha Board �� 66 Artists First Sponsorships ��76 Opera Omaha Staff �� 67 Memorials & Tributes ��77 Craftsman's Guild �� 68 Ticket Donations �� 78 Opera Omaha Guild �� 69 Repertoire History �� 80 Get Involved �� 82

6 OPERA OMAHA 2020/2021 WELCOME

DEAR FRIENDS,

I am profoundly grateful to greet you after one Fellowship has garnered the attention of major James Scurlock, and many others. The A.BL.E. series, spearheaded by Opera Omaha, provides original of the most difficult years imaginable. It’s been a institutions supporting creative placemaking across an interactive blend of performance and conversation, content for life-long learners on an ongoing basis. period of isolation, turmoil, and loss. Through it the country. The National Endowment for the Arts will develop further this summer and into the future. Video conferencing technology enabled us to check all, Opera Omaha strove to be a source of comfort (NEA), OPERA America, Hearst Foundation, and, Opera Omaha’s efforts to commission, create, and in on friends and patrons, as well as colleagues across and celebration; to share joy to the greatest extent locally, the Peter Kiewit Foundation, the Fred and Eve present new work this year were welcomed by our the country and those right here in Omaha. Frequent possible and to the best of our ability. Now, with the Simon Charitable Foundation, and the Suzanne and audience and opera artists alike. Artists across the “Zoom Soirees” with artists and members of Opera return to large-scale live performances this spring, Walter Scott Foundation, are currently underwriting world are still reeling from more than a year of Omaha’s family of patrons have been true bright we offer this publication as a commemoration of the Opera Omaha’s Fellowship. Our national funders canceled performances and an uncertain future. spots in such a dark time. While we welcome the many ways Opera Omaha has endeavored to serve, have commissioned a formal case study about the Opera Omaha became an industry leader in honoring return of live performances this spring, we value the create, and connect in the face of so many challenges Fellowship that will be disseminated nationwide. We canceled contracts and striving to keep artists new and deeper connections from the past year and – and to thank the many people and institutions who are exceedingly grateful to these funders as well as employed through the creation of new projects plan to further these initiatives to build new alliances made it possible. the Holland Foundation who made this program, and during the pandemic. Our ability to do this was only and relationships well in to the future. With ingenuity and innovation, Opera Omaha found so much of Opera Omaha’s work, possible. For more through the generosity of our ticket holders, donors, In the meantime, we can’t wait to connect with you in new ways to serve the community. Not surprisingly information about the Holland Fellowship, please see corporate sponsors like Omaha Steaks, First National person. I hope to see you at a performance of Opera during a pandemic, much of this work took place the article by Leo Biga on page 42. Bank and Valmont, local and national foundations, Under the Stars. Maybe our paths will cross in one of online. Through a generous act of the Douglas The ban on gathering in person didn’t prevent Opera as well as Opera Omaha’s Board of Directors and the parks, neighborhoods, or other sites for Opera To County Commissioners and the Omaha Community Omaha from creating new opera in the last year. Advisors. A multitude of artists join me in thanking Go, our mobile stage coming to a location near you Foundation, funds from the Federal CARES Act We partnered with Tri-Cities Opera on Miranda, the you for this sustaining support. throughout May and June. We only have a short time supported the creation of a new Opera Omaha digital world’s first live Virtual Reality Opera. We joined With as many of us as possible following health to wait for Opera Omaha’s return to the Orpheum production studio. This new equipment enabled us to Baruch Performing Arts Center in streaming a new directives to shelter in place, feelings of isolation last Theater this fall for a spectacular 2021-2022 produce and share high-quality digital content for our digital production of dwb (driving while black). Last year were common. For that reason, Opera Omaha season featuring three brand-new “made in Omaha” patrons, community partners, and even opera fans January, Opera Omaha became the Midwest online tried to stay connected to you, our subscribers, productions of beloved classics. Whether on-line or around the country. It also helped us transform our presenter for the internationally acclaimed New York- supporters, associates and community. Within one in person, Opera Omaha looks forward to serving, free annual summer concert, Opera Outdoors, into a based PROTOTYPE Festival, sharing MODULATION, week of closing down our March 2020 ONE Festival, creating, and connecting with you for years to come. live radio broadcast last August in partnership with a compilation of new works by a diverse group of we launched “Virtual Opera Omaha,” an online source In gratitude, our wonderful colleagues at KVNO. 13 composers. With the leadership of co-curators of new programming to engage individuals of all ages Opera Omaha’s primary conduit to the community Melanie Bacaling and Chabrelle Williams (a Holland in creative activities. This series by Opera Omaha ran throughout the past year remained the Holland Community Opera Fellowship alumna), Opera Omaha for 10 weeks as the nationwide shutdown extended Community Opera Fellowship. The hard-working launched a new series, Amplifying the Black Experience into the summer of 2020. The success of our online Holland Fellows stayed in touch with, and in service (A.BL.E.), recognizing that the last year not only programming and coalition building blossomed into to, countless others throughout the pandemic. We brought a global pandemic, but a long overdue racial SALON: the Shared Adult Learning Opera Network. ROGER WEITZ reckoning triggered by the murders of George Floyd, are so proud that the Holland Community Opera This national consortium of opera companies, GENERAL DIRECTOR

8 OPERA OMAHA 2020/2021 9 OUR COMMITMENT TO ANTI-OPPRESSION

OUR COMMITMENT TO ANTI-OPPRESSION

In May 2020, our nation faced an overdue awakening to systemic racism. At the time of the • Ongoing attention to racial diversification of the Board of Directors. Opera Omaha’s demonstrations and protests, Opera Omaha issued a statement that has been included in Nominating and Governance Committee is committed to recruiting Board prospects the signature block of every staff email message: We will listen more than we will speak, but that contribute to ongoing diversification of Board membership in race, ethnicity will not be silent in the face of injustice. and gender. This is amplified further on our website: • Representation on stage and backstage. Opera Omaha has presented a number We join in mourning the murders of James Scurlock, George Floyd, Breonna Taylor, Ahmaud of recent productions with multi-racial casts, but we can do better to reflect the Arbery, Tony McDade and all those whose lives were taken by anti-Black violence and police demographics of Omaha. In coming concerts and fully-staged productions, audiences brutality. We know that each transgression re-injures wounds that have never healed. will see and hear incredible artists in a variety of roles, up to and including title characters. Specifically, Black singers have been underrepresented on our stages, and To our Black community, we know that you are exhausted and recognize we will never fully Opera Omaha is committed to increasing that representation. In addition, we have a understand the depth of your suffering. We know that part of your exhaustion comes from the history of engaging gender and racially diverse teams of conductors, stage directors, heartbreak of our silence, inaction, and half measures. Please know that we stand ready to set/lighting/costume/makeup designers. Informed by performers, we are engaging support you. We reject systemic racism, brutality, and white supremacy, and we will take your lighting, hair and makeup designers who design for a spectrum of skin tones. lead on how to use our power as culture-makers to end it. • Amplifying voices of creators of color. Opera Omaha has presented primarily works At Opera Omaha, we will listen more than we speak, but will not be silent in the face composed by white men in its long history, with few exceptions. The shift into a digital of injustice. platform in response to COVID-19 restrictions has allowed an opportunity to bring Opera Omaha has a long history of engaging singers, directors, production staff, crew and a great diversity of voices to our audiences through the productions of MIRANDA, administrative staff of color, led and informed by an increasingly ethnically diverse board. MODULATION and our recently launched Black-curated Amplifying the Black Experience In 2017, our company launched the Holland Community Opera Fellowship informed by a series of performances and conversations. We commit to continuing to bring diverse panel of community representatives, moving service to the Omaha community more central voices of creators as future projects are devised. to the organization. • Building strong relationships with historically oppressed communities. In addition to However, we know we can and must do better to create equity and inclusion that reflects the organizations we partner with through the Holland Community Fellowship on a the greater Omaha community around us. We recognize the impact we make is more critical daily basis, Opera Omaha is building long-term partnerships to bring awareness of than our intent. Omaha organizations such as the Great Plains Black History Museum and the Malcolm To that end, Opera Omaha has committed to a number of intentional practices: X Foundation to our audiences in preparation for our co-production of Anthony Davis’ opera X: The Life and Times of Malcolm X with Michigan Opera Theater. • Increased attention to attracting administrative staff of color. Informed by best practices in the opera field and our Holland Community Opera Panel, position postings and Opera Omaha staff and board have begun a two-year diversity and equity capacity building applications have been reworded to remove barriers for administrators of color in program, funded by the Peter Kiewit Foundation, with people of color, woman, and LGBTQ+ considering opportunities with Opera Omaha. Since May 2020, people of color have owned firm Team Dynamics, LLC. Through this work, we commit to development of a race filled all open staffing positions. As new opportunities become available, Opera Omaha and gender focused culture that is representative, inclusive and anti-oppressive. is committed to continue to bring staff racial diversity across all levels in-line with Omaha demographics with equitable wages and promotion opportunities.

10 OPERA OMAHA 2020/2021 11 Put your financial goals From small at center stage. steps to Tonight’s show didn’t happen overnight. The cast and crew have worked for months to ensure the performance goes off without a hitch – not to big goals. mention the years spent honing their craft. At Weitz Investment Management, we know that Big or small your goals are just that – yours. So the financial plan to help achieve your goals should be as equally unique. meeting your financial goals doesn’t happen Wealth begins with a step-by-step plan. Take the first step with us. overnight. That’s why we’re committed to being your long-term, trusted partner – from overture to dénouement. Small steps lead to big goals. Start with FNBO.

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12 OPERA OMAHA 2020/2021 weitzinvestments.com Only deposit products are FDIC insured. Investment Products: Not FDIC Insured | Not a Deposit or Other Obligation of the Bank | Not Insured by any Federal Government Agency | Not Guaranteed by the Bank | May Lose Value PAGEMIRANDA: HEADER A STEAM PUNK VR EXPERIENCE 1515 | Tahanee Aluwihare Tahanee |

| Leela Subramaniam | Leela | Timothy Stoddard Timothy | | Trevor Martin Trevor | | Quinn Bernegger | Quinn Miranda Wright Stand-In | Erin Alcorn | Erin Stand-In Wright Miranda Mngxati | Langelihle Stand-In Prater Cor Staub Amanda | Stand-In Wright Challapattee Anjana CAST Wright Miranda Prater Cor D.A.V.E. Wright Challapattee Anjana Wright Izzy MIRANDA Music by Kamala Sankaram Kamala by Music A STEAMPUNK VR EXPERIENCE STEAMPUNK A Libretto by Kamala Sankaram and Rob Reese Rob and Sankaram Kamala by Libretto September 24, 25 & 26, 2020 24, 25 September | David Bloom | David Presented through a collaboration by Tri-Cities Opera, Opera, Tri-Cities by a collaboration through Presented Originally Commissioned, Developed, and Produced at at and Produced Developed, Commissioned, Originally Adaptation for VR by Kamala Sankaram and Alison Moritz Alison and Sankaram Kamala by VR for Adaptation HERE through the HERE Artist Residency Program (HARP) Program Residency Artist the HERE HERE through | Kamala Sankaram | Kamala LUMA Projection Arts Festival, Enhance VR and Opera Omaha. Opera VR and Enhance Festival, Arts Projection LUMA | Rob Reese | Rob | Alison Moritz Alison | CREATIVE Director Director & Music Conductor Co-librettist Composer, Co-librettist 16 MIRANDA ARTISTIC & PRODUCTIONPAGE HEADER STAFF 2D Matte Painter, Quarantine Interactive Studio | Virginia Palomeque 2D Character Artist, Quarantine Interactive Studio | Santiago R.Villa 3D Character Artist, Quarantine Interactive Studio | Alvaro Arias 3D Character Artist, Quarantine Interactive Studio | Juan Caratino 3D Environmental Artist, VFX Artist, Quarantine Interactive Studio | Diego M. Martinez Sound Engineer |Christian Lee Sound Designer |Cricket S.Myer VR Developer, Visuals Assistant, EnhanceVR |Keith Avery Lead VR Developer, EnhanceVR |Matthew Gill Stage Manager, Tri-Cities Opera | Danielle Ranno Production Stage Manager, Tri-Cities Opera | Cynthia Hennon Marino Production Director, LUMA Projection Arts Festival | Anna Warfield Associate Producer, Opera Omaha |Kurt Howard Executive Producer, Tri-Cities Opera | John Rozzoni Executive Producer, LUMA Projection Arts Festival | Tice Lerner Executive Producer, LUMA Projection Arts Festival | Joshua Bernard live in virtual reality atOmaha VR lastfall. Opera Omaha patrons experienced MIRANDA what muddy. tripped things uphere butIfound this some writing suspects jointogether inatrio. Technology may have Sankaram cranks thingsupfurther when thethree Miranda andthrows herself into thedifficult score. died. Soprano Leela Subramanian fulfillsthe voice of a mysterious cluethat have 1in10people unsettles: in atango to re-enactMiranda’s search andfinding of For Scene 2,aninterior (study),Sankaram uses strings ensemble of clarinets, saxophones, violins andcellos. guitars. Sankaram mostly writes for asmallclassic sings inarock stylebacked by squealingelectric Sankaram’s musicalpalette iseclectic. Host D.A.V.E. must determine themurderer. Itforces our attention. whether we will participate andabide by therules: we suspects have beenrounded up. We have to choose Case No. 112278.Mirandamurdered. has been Three We become partof thisaudience summonedto hear leader partjudge. “Ladies andgentlemen,” callsoutthisfigure, partring curious “audience” that looklike rows of nautilusshells. court chamber, banked by of rings seats with themost “game” we are playing in what now lookslike around barker, thecomputer-generated figure introduces the er-suited hostenters. Part actionfigure, partcircus As if to charge the up visual dystopia, D.A.V.E., aleath mains of askyscraper civilization, now half-submerged. of dark waters, andour “submarine” passes what re Under the Sea classic science-fiction tale walls are reminiscent of asubmarinein Jules Verne’s for us to become immersed. The curved bullet-shaped pipes andstrangely shaped windows. He allows time around” anempty room, woodfloors, bulbous steam first few audience minutesthe as “enters” and“walks tween “futuristic”“nostalgic” and environments the in Artist Diego M. Martinez has created the tensionbe answer our needsinthetime of Covid. and it’s oneof thefreshest, mostinventive pieces to nology to delivershort opera a by Kamala Sankaram, setting through animation and virtual reality tech Punk VR Experience cally to a simpler, more elegant world. tic universe whileitcastsaglance backwards nostalgi Steam Punk asastylelaunches viewers into afuturis . Outside thishullonecanespyglimpses A STEAMPUNK VR EXPERIENCE,LUMA’S BOLDEXPERIMENT Published September 26,2020| Article by Susan Galbraith for dctheatrescene.com creates thealternative-futuristic Twenty Thousand Leagues Miranda: A Steam MIRANDA: ------this new world. offers richopportunities of how to audience reach in boldly set acoursethat canbeexplored more and experiences. periment with how to delivercontent andperformance As creative artistsintheater andopera continue to ex up inthis world? kangaroo court. Whatother secrets have beenbottled makes usallculpableof participating in what may be a headlong rushto assume guiltandfindamurderer But thisis what gives ititseerielingering power: this It doesfeelas if thecourtroom drama isover too soon. explored fully. worry about.” How I this scenewish could have been kept you safe? There are things you don’t needto in itspaternalism thancomforting,” Haven’t Ialways want to tell me?” His shesings. reply ismore chilling as aghostconfrontsCor. “Isn’t there something you The bestdramatically written scene is when Miranda to jettison complexity andbuild of characters. duce themesandmusicalcolors, andmostcertainly has less thanone-half hour, Sankaram’s work canonly intro classic operas canendure. Coming inat considerably as our singleperformance medium,two- or three-act wonder if, for aslong we are living with smallscreen span of today’s audience takingin virtual art.Icertainly experiment and, somewhat sadly, fittingthe attention The lengthof thepiece seemsboth justright for this disturbing experience to thisnon-gamer. to floatthrough thespace create at timesasomewhat I’ll admitthat thesegenerated figures that seem ever he might know and whymight he know it. separate figure mostinteresting butdoesseem in what origins. Miranda’s father istheleastdeveloped asa that suggestsa sari,nice nodto Sankaram’s cultural The Mother isdressed elegantly inafloor-length dress he theslipperiestof characters? as hesays, only doingeverything for hisfiancée or is about quite abitandisthehardestdown. topin Is he, emoji. Cor, thefiancé, dressed ina white suit,leaps conceive Miranda asmostly headintheshots, like an ters, realized by JuanCaratino and Alvaro Arias. They I loved the variety of thedepiction of charac 3-D the Miranda: A Steam Punk VR Experience

has

- - 17 EXPERIMENT BOLD LUMA’S EXPERIENCE, VR PUNK STEAM A MIRANDA: OPERA TOGO OPERA TO GO Delivering snackable opera bites to neighborhoods and community partners, Opera To Go debuted with a pop-up concert on September 27, 2020 at Turner Park. Each concert featured Head of Music Sean Kelly and local singers including our Holland Community Opera Fellows. Concerts will continue through Summer. These free outdoor concerts feature live performances in multiple locations. No fees, no fuss and no tickets required.

FALL 2020 CONCERTS Turner Park | September 27, 2020 Featuring Holland Community Opera Fellows Gotta Be Me | October 10, 2020 Featuring Holland Community Opera Fellows Lincoln, NE | October 11, 2020 Hosted by Tony Goins and Capital Cigar Lounge

SPRING AND SUMMER 2021 CONCERTS Elmwood Park Saturday, May 8 | 1pm Lake Zorinsky Saturday, May 15 | 1pm Countryside Village Shopping Center Saturday, May 22 | 3:30pm Papillion Farmers’ Market Wednesday, June 2 | 6pm Tom Hanafan River's Edge Park, Council Bluffs Saturday, June 5 | 1pm Highlander Community Lawn Saturday, June 12 | 1pm Brown Park Wednesday, June 26 | 1pm

Brought to you by

With additional support from

The Fred and Eve Simon Charitable Foundation CELEBRATING 100 YEARS

19 OPERA TO GO PHOTOS SINGERS Karina Brazas

Mary Carrick

Ryan Daly

Nicholas Davis

Gwenna Fairchild-Taylor

Jared Hiscock

Michelle Sarkesian

Matthew Sommer

Sara Warner

Fernando Antonio Montejano, Emcee OPERA TO GO ARTISTIC & PRODUCTION STAFF & PRODUCTION ARTISTIC GO TO OPERA PRODUCTION STAFF Director of Production | Katherine Clanton

Head of Music | Sean Kelly

Stage Manager | Angela Turner

Assistant Technical Director | Michael McElroy

Technical Supervisor | Chad Curran

Technical Director | Mark Blice

From left to right, top to bottom: Gotta Be Me concert; Turner Park at Midtown Crossing; Katherine Clanton, Sean Kelly and Nicholas Davis; Gotta Be Me audience; Turner Park at Midtown Crossing; Katherine Clanton, Sean Kelly and Gwenna Fairchild-Taylor; Turner Park at Midtown Crossing audience; Jared Hiscock performing for Gotta Be Me.

20 21 Where we have tracks, we have ties.

Union Pacific is proud to support Opera Omaha. What’s Your Dream? Insuring life’s possibilities.

601281

601281 Opera Omaha Ad.indd 1 3/19/21 8:59 AM A.BL.E A.BL.E. - AMPLIFYING THE BLACK EXPERIENCE Amplifying the Black Experience In solidarity with the Black Lives Matter movement, Opera Omaha curators Melanie Bacaling and Chabrelle Williams introduced a new series, A.BL.E. (Amplifying the Black Experience) in 2020. The series seeks to honor, celebrate, and bring awareness to the multifaceted stories of the Black community. A.BL.E. launched last October with the digital premiere of dwb (driving while black), co-presented by Opera Omaha and Baruch Performing Arts. The screening was enhanced with a community panel discussion, “Black American Truths,” facilitated by Chabrelle Williams. The series continued with new digital offerings in the new year, including the premiere of the music video “Hold Fast to Dreams” in partnership with You Go Girl, and “Joy as a Form of Resistance”, featuring soprano Lauren Michelle. Co-Curator and Line Producer | Melanie Bacaling Co-Curator | Chabrelle Williams

"BLACK AMERICAN TRUTHS" PANEL MEMBERS HOLD FAST TO DREAMS Moderator | Chabrelle Williams Soprano | Chabrelle Williams

Bobby Brumfield, Founding member of Men Pianist | Grant Loehnig Against Domestic Violence Action Coalition and Board Member of Inclusive Communities Video Editor | Jack Edinger

Dillard W. Delts, Deaf and Hard of Hearing Video Director & Producer | Melanie Bacaling Association Featuring members of You Go Girl Rachel D. Fox, You Go Girl You Go Girl Omaha is an Omaha non-profit committed to encouraging, empowering and inspiring girls and young Amariyon Green, Community Advocate, High women. Our mission is to end the cycle of self-doubt and low School Senior, and President of the Black Student self-esteem by creating unique experiences that amplify our Alliance at Creighton Preparatory School founding pillars: self-love, self-awareness, wellness, education, and leadership. Nancy Williams, Co-Founder and CEO of No More Empty Pots Stay tuned for more details on our next installment. ASL signer | Dr. Julie Delkamiller JOY AS A FORM OF RESISTANCE Soprano | Lauren Michelle DWB (DRIVING WHILE BLACK) Presented with Baruch Performing Arts Center Librettist/Soprano | Roberta Gumbel

Composer | Susan Kander

Director | Chip Miller

New Morse Code (Accompaniment)

Cello | Hannah Collins

Percussion | Michael Compitello

Made possible with support from The Fred and Eve Simon Charitable

CELEBRATING 100 YEARS Foundation 25 MODULATION

MODULATION A digital, self-guided exploration of these distanced times created by thirteen of the most provocative and diverse voices in the contemporary music idiom; MODULATION leads you through the themes of ISOLATION, IDENTITY, and FEAR, with the connection of BREATH.

January 8 – February 28, 2021

COMPOSERS JoJo Abot Sahba Aminikia Juhi Bansal Raven Chacon Carmina Escobar Yvette Janine Jackson Molly Joyce Jimmy López Bellido Angélica Negrón Paul Pinto Daniel Bernard Roumain Joel Thompson Bora Yoon

MODULATION is PRODUCED, COMMISSIONED, AND DEVELOPED by PROTOTYPE Co-Presented in a digital presentation with PROTOTYPE, Opera Omaha, Carolina Performing Arts at the University of North Carolina at Chapel Hill, and LA Opera. SITE AND CONCEPT DESIGN by Imaginary Places

27 OPERA NEWS "BREATH" "WHITENESS: BLANC" COMPOSED by Carmina Escobar CREATED AND PERFORMED by Paul Pinto MODULATION DIRECTED by Kameron Neal NEW YORK CITY, PROTOTYPE FESTIVAL "ASTRAL GOLD" CINEMATOGRAPHY by Jon Burklund/Zanni Productions PERFORMED by Carmina Escobar SOUND DESIGN by Philip White Published January 01, 2021 | Article by Joshua Rosenblum for operanews.com SOUND ENGINEER Justin Asher "ISOLATION" "FEAR" COMPOSED by Sahba Aminikia, Raven Chacon, Jimmy López, THE FEARLESS DIRECTORS of New York’s reliably edgy are you really from?” “I can’t be from Queens?” His image is COMPOSED by Yvette Janine Jackson, Molly Joyce, and Joel Daniel Bernard Roumain, and Bora Yoon Prototype Festival weren’t about to let a mere pandemic periodically obliterated by a white screen with large black Thompson stand in their way. Instead, for the opening presentation letters and loud voices (“Watch out!”). Pinto continues to "AYENE [MIRROR]" of this year’s annual mid-winter series, they commissioned deconstruct the identity question, often at a dazzlingly "FEAR IS THEIR ALIBI" MUSIC AND SOUND DESIGN by Sahba Aminikia

ARTIST INFORMATION ARTIST thirteen composers (and nearly one hundred affiliated rapid pace, with surreal, stream-of-consciousness bursts in COMPOSED by Yvette Janine Jackson LYRICS AND VOCALS by Mina Momeni collaborators) to create short works centered around their close harmony. Toward the end, about a hundred iterations POETRY by Jarita Davis INSTRUMENTALS by David Coulter PERFORMED by Malesha Jessie Taylor, Clifton Joey Guidry VIDEO by Arya Ghavamian personal responses to 2020. The result was MODULA- of Pinto’s face zip into the screen, forming a chorus of INSTRUMENTALS by Clifton Joey Guidry, III TION, a “digitally native, user-led adventure” that was dancing heads which launch into an extended riff on the ANIMATION by Zekkereya El-magharbel "LA INDITA CAUTIVA" startlingly imaginative and frequently quite moving. surprisingly numerous ways he has self-identified racially COMPOSED, CONCEIVED, AND DIRECTED by Raven Chacon over the years. It’s really too good. "OUT OF A THOUGHT" LYRICS AND VOCALS by Nacha Mendez MODULATION, which debuted on January 8 and was COMPOSED AND PERFORMED by Molly Joyce GUITAR AND DRUM by Raven Chacon available for streaming on demand through the 16, divides Juhi Bansal’s beautiful “Waves of Change” is inspired by WRITTEN by Marco Grosse VIOLIN by Heather Trost its video components into three categories of response: the true story of a group of poor Bangladeshi girls, most DIRECTED by Austin Regan ACTORS Paloma Gallup Rodriguez, Nacha Mendez Fear, Isolation, and Identity. The online viewer, greeted forced to work from early girlhood and to get married in VIDEO PRODUCTION by Four/Ten Media CAMERA AND LIGHTING by Raven Chacon and D.E. Hyde with a magenta-tinted mountain landscape and three their early teens, who have found liberation through the AUDIO ENGINEER Michael Hammond EDITED by Raven Chacon glowing doors, is invited to navigate the categories and the Bangladesh Girls Surf Club. It features overlapping vocals AUDIO RECORDED by Jeremy Barnes, Nacha Mendez, Raven individual videos contained within—each between four and in both English and Bengali, with virtuoso cello accompani- "CLAIRVOYANCE" Chacon six minutes in length—in any order. I started with “Fear.” ment by Timothy Loo. The inspiring visuals include footage COMPOSED by Joel Thompson MASTERED by John Dieterich of ocean, waves, and beachfront. “I dream of choices,” sings LIBRETTO by Samiya Bashir In this category, Joel Thompson’s “Clairvoyance” is a soprano Kathryn Shuman, whose vocalizations peak on a VIDEO DESIGN by Camilla Tassi "WHERE ONCE WE SANG" standout. It features imaginative three-part vocal har- VOCALISTS Rhianna Cockrell, Deborah Stephens, Andréa COMPOSED by Jimmy López Bellido high D. The piece ends with an exhilarating overhead shot mony, splendidly rendered by Rhianna Cockrell, Deborah Walker LYRICS by Mark Campbell of a lone surfer. Stephens, and Andréa Walker. “I am trying to breathe, but ACTORS Alexandra Maurice, Maal West DIRECTED by Kevin Newbury CONDUCTED by Maura Tuffy PERFORMED by Sasha Cooke, Kirill Kuzmin I freeze,” they sing. Samiya Bashir’s libretto is grippingly One-woman sensation Jojo Abot wrote, produced, com- AUDIO ENGINEER Chris Talbot RECORDED by Brad Sayles relevant, calling to mind both the coronavirus and George posed, directed, edited, and stars in “The Divine I Am” VIDEO CONCEIVED by Brandon Kazen-Maddox, Kevin Floyd’s death by asphyxiation. However, the text keeps (although there is a memorable cameo from singer/bassist "IDENTITY" Newbury, Marcus Shields, and Jecca Barry coming back to the word “love,” and the piece ends on a Esperanza Spalding). Abot cuts a striking figure against COMPOSED by JoJo Abot, Juhi Bansal, Paul Pinto and Angélica DIRECTOR OF PHOTOGRAPHY & EDITING by Marcus Shields note of decided optimism. In purely musical terms, this is a desert backdrop, her lithe form wrapped sparingly in Negrón PRODUCTION DESIGN by Bushwick Public Street Artists the most strikingly beautiful entry of the whole collection. colored ribbons and capped with an elaborate headdress. She dances sinuously with a folding fan to the sound of "THE DIVINE I AM" "I HAVE NOTHING TO DO EXCEPT LOVE" Yvette Janine Jackson’s “Fear is Their Alibi” evolved when her own layered, wailing (but harmonious) vocals. Other PRODUCED, PERFORMED, AND COMPOSED by JoJo Abot COMPOSED by Daniel Bernard Roumain poet Jarita Davis heard a man describe his work training striking imagery includes a small red cross with bulls-eye FEATURING Esperanza Spalding LIBRETTO, VOCALS, AND PIANO by Minna Choi law enforcement officers how to develop alibis to avoid rings drawn around it in the dirt, and Abot crouched down, VIDEO DIRECTED, EDITED, AND PRODUCED by JoJo Abot DIRECTED, EDITED, AND LIBRETTO by Dana Greenfield prosecution after the shooting of unarmed Black men. The creating patterns of symbols in the sand with coffee grinds. WITH WORDS by Simone Roumain piece starts with solo bassoon, and a small Rorschach-type "WAVES OF CHANGE" CINEMATOGRAPHY by Sam Woolf It’s ambiguous but compelling. black squiggle that slowly expands outward. “That fear is a COMPOSED AND ENGLISH TEXT by Juhi Bansal DANCE AND CHOREOGRAPHY by Sarah Bolander fraud, their fear is a weapon,” sings Malesha Jessie Taylor, In the Isolation category, Daniel Bernard Roumain’s lyrical, GUEST ARTIST AND BENGALI VOCALS by Ranjana Ghatak COSTUME CONSULTANT Matsy Stinson PERFORMED by Kathryn Shuman and Timothy Loo PROJECT MANAGEMENT by Sozo Artists with her soulfully inflected soprano. As the drawing con- haunting “I Have Nothing to Do Except Love” was inspired SOUND DESIGN, MIXING, AND MASTERING by Laura M. tinues to morph vividly, Clifton Joey Guidry, III’s bassoon by his mother’s dementia. A woman performs a graceful Kramer "THE LIFE OF THE WORLD TO COME" spews out blistering, late Coltrane-style licks. solo dance—in a room, in the street, alongside a clothes- CINEMATOGRAPHY AND EDITING by Miguel Galindo CONCEIVED AND PERFORMED by Bora Yoon line—to the sound of a gentle, poignant ballad, sensitively BENGALI TEXT by Ranjan Bandhopadhyay, Sunit Ghatak, Indira DIRECTED by Brock Labrenz The most consistently compelling category turns out rendered (both vocals and piano) by Minna Choi. “I cry into Ghatak MUSIC by Henry Purcell (‘Gaia’s Lament’ based on 'Dido's to be Identity. Composer Angélica Négron and librettist the night/I can hear them in my heart/In another world Lament' from Dido and Aeneas), Bora Yoon, and solo shamanic Mariela Pabón’s “Otra Cosa” features deliberately prim- we live together,” Choi sings, as she observes the balletic, "OTRA COSA" drumming in ‘Throwdown’ by Sandra Ingerman, Sounds True, itive, hand-drawn animation and exchanges wherein liberated movements of her silent counterpart, the elegant COMPOSED by Angélica Negrón Inc. Used with permission. Americans repeatedly get the pronunciation of Spanish dancer Sarah Bolander. LIBRETTO, ILLUSTRATIONS, AND ANIMATION by Mariela ADDITIONAL LYRICS by Bora Yoon, Emily Dickinson from names wrong. (“Mariela.” “Maniana?” “Mariela.” “Mariah?”) Pabón poem ‘Forever – is composed of Nows’ The alienation, conveyed over a pulsing synth beat, is Regrettably, space limitations prevent me from describ- PERFORMED by Lido Pimienta, Patti Kilroy CINEMATOGRAPHY by Brock Labrenz, Bora Yoon, Allison Spann palpable. “When they call you intense, speak even louder,” ing every entry, but there’s not a weak link in the bunch. INSTRUMENTALS by Patti Kilroy AUDIO MIXED by R. Luke DuBois at Ozone G Studios urge the Spanish lyrics. Each personal, gem-like piece merits one’s full attention, ANIMATION by Juan Roberto WITH QUOTES by Greta Thunberg, George Floyd, Autumn and collectively they constitute a landmark achievement SOUND ENGINEER Alessandra Roubini Peltier, Breanna Fruean, and Xiuhtezcatl of Earth Guardians Paul Pinto’s wild “Whiteness: Blanc” begins with this ex- in the burgeoning contemporary genre of digital opera/ change: “Where are you from?” “Um, Queens.” “No, where music-theater. 28 29 BIZET, MAHLER AND CHAUSSON

BIZET, MAHLER AND CHAUSSON Bizet, Mahler, & Chausson Collaboration with Opera Omaha presented by Omaha Symphony Two voices melded with the orchestra for a night of opera favorites with iconic works by Mozart and Bizet, coupled with song cycles by Mahler and Chausson - this collaboration was for opera and symphony lovers alike.

April 23 & 24, 2021

CREATIVE PROGRAM Conductor | Conner Gray Covington MOZART: Overture to Così fan tutte

Soprano | Karen Slack CHAUSSON: Poème de l'amour et de la mer

Baritone | Craig Irvin MAHLER: Songs of a Wayfarer (Lieder eines fahrenden Gesellen)

BIZET: Selections from Carmen Suites 1 and 2

CRAIG IRVIN Baritone Craig Irvin last appeared with Opera Omaha as Valentin in Faust. Most recently he appeared with the Minnesota Opera as Orest in Elektra, and reprised his role of Lt. Horstmayer in Silent Night with Utah Opera, a role he created for the World Premiere at Minnesota Op- era and has since sung with Austin Opera, Opera Philadelphia, Fort Worth Opera, Cincinnati Opera, Lyric Opera of Kansas City, and Atlanta Opera. Additional opera highlights include Dominik in Arabella with Canadian Opera Company, Stubb in Moby Dick, Count Almaviva in Mozart’s Le nozze di Figaro and Zurga in Les pêcheurs de perles with Utah Opera, Dandini in La Cenerentola with Opera Orlando, Frank in Die Fledermaus with Des Moines Metro Opera, Dan Packard in Dinner at Eight with the Wexford Festival and Minnesota Opera, and his role debut as Macbeth with LoftOpera in New York City. Concert appearances include Rachmaninoff’s The Bells with the Portland Symphony, Handel’s Messiah with the Jacksonville Symphony, Britten’s War Requiem with Music Worchester, and Orff’s Carmina Burana with the Phoenix Symphony.

KAREN SLACK American soprano Karen Slack has appeared with the Metropolitan Opera where she made her debut in the title role of Verdi’s Luisa Miller, Lyric Opera of Chicago, Washington National Opera, and San Francisco Opera. Ms. Slack’s 2019-2020 season included a return to The Metropolitan Opera as Serena in Porgy and Bess, a recital with Opera Philadelphia, and guest soloist for Madison Opera’s virtual Opera in the Park. The 2020 - 2021 season brought digital performances with Opera Philadelphia, Houston Grand Opera, Madison Opera, Minnesota Opera, and driving while black with Urban Arias. Additional highlights include Alice Ford in Falstaff, Leonora in Il trovatore and Tosca with Arizona Opera, Aïda at Austin Opera, Emelda Griffith in Champion with New Orleans Opera, Donna Anna in Don Giovanni with Nashville Opera, Sister Rose in Dead Man Walking with Minnesota Opera and Vancouver Opera, and her Scottish Opera debut as Anna in Puccini’s Le villi. Ms. Slack portrayed a featured role in Tyler Perry’s movie and soundtrack “For Colored Girls” and serves as Artistic Advisor for Portland Opera, Co-Director for the 2020-21 Opera Program at the Banff Centre for the Performing Arts, and Co-Chair of the Women's Opera Network with OPERA America.

30 OPERA OMAHA 2020/2021 31 OPERA UNDER THE STARS

OPERA UNDER THE STARS Opera Omaha returns to the stage this May in a new dazzling outdoor concert, Opera Under the Stars, featuring beloved opera classics performed by some of opera’s favorite stars at the new Holland Center Outdoors.

May 28 & 29, 2021

CREATIVE SOLOISTS Conductor | Steven White Michael Adams*

Stage Director | Dean Anthony Barry Banks*

Lighting Designer | John Hansen Kristen Choi

Wig & Makeup Designer | Ronell Oliveri Mary Feminear

Lauren Michelle*

Featuring musicians from Omaha Symphony

Production Sponsors:

Major Sponsors: Fred and Eve Simon Charitable Foundation

*Opera Omaha Debut 33 KRISTEN CHOI OPERA UNDER THE STARS Mezzo-soprano Kristen Choi returns to Opera Omaha after her debut as Suzuki, her signature role, MICHAEL ADAMS in the 2019 production of Madama Butterfly. Her 2019-2020 bookings included another house de- but in this signature role at Opera Philadelphia (COVID postponed until spring 2022) and her com- Baritone Michael Adams makes his Opera Omaha debut in Opera Under the Stars. Mr. Adams’ pany debut at Piedmont Opera reprising the role of Lady Thiang in The King and I. Recent engage- 2020-21 season included returns to Seattle Opera as Belcore in L’elisir d’amore, the Grand Théâtre ments included a role and house debut with Opera Maine as the Third Lady in Mozart's The Magic de Genève as Maximilan in Candide, and the Count in Le nozze di Figaro with Madison Opera. Last Flute, as well as creating the title role in a brand new production of Murasaki's Moon, a new work in season, he debuted Eugene Onegin (Seattle Opera), Papageno in Die Zauberflöte (Washington Na- partnership with Onsite Opera and the Metropolitan Museum of Art. In the 2021-2022 season, Ms. tional Opera), and Edwin Cheney in Shining Brow (Arizona Opera). The following engagements were Choi will make her Michigan Opera Theater and Dallas Opera debuts, reprising Suzuki. postponed or cancelled due to COVID-19: Figaro in Il barbiere di Siviglia (Utah Opera), Kuligin in Kát’a Kabanová (Metropolitan Opera debut), Don Giovanni (Glimmerglass Festival), Beethoven’s Symphony Additional highlights include a tour with the Lincoln Center Broadway Production of Rodgers and Hammerstein's The King No. 9 (Fort Worth Symphony), and Orff’s Carmina Burana (New Choral Society). and I, consecutive Suzukis with the Lyric Opera of Kansas City and Virginia Opera, and a role debut as Hiroko Kobayashi in Jack Perla’s An American Dream. Other recent engagements include Zurga in Les pêcheurs de perles (Grand Teatre del Liceu); OPERA UNDER THE STARS UNDER OPERA Melisso in Alcina, Marcello in La bohème, Masetto in Don Giovanni (Grand Théâtre de Genève); Guglielmo in Così fan MARY FEMINEAR tutte (Seattle Opera); Gaylord Ravenal in Showboat (Glimmerglass Festival); Silvio in Pagliacci, Marcello in La bohème (Utah Opera); Ping in Turandot, Harašta in The Cunning Little Vixen (Deutsche Oper Berlin); and Lescaut in Manon, Ping in Soprano Mary Feminear returns to Opera Omaha after last appearing in Ariodante and The Wreck Turandot (Des Moines Metro Opera). At Washington National Opera, he sang Lieutenant Audebert in Silent Night, Pilot during the inaugural ONE Festival in 2018. During the 19/20 season, Ms. Feminear was scheduled to in The Little Prince, Melisso in Alcina, and Don Giovanni. sing Damigella, Pallade, and Venere in The Coronation of Poppea with Opera Delaware, the Countess in Le Nozze di Figaro with Maryland Lyric Opera, and in Beethoven’s Mass in C Major with Grant Park Music Festival. In the 2018-19 season, she sang Micaëla in Carmen with the Grand Théâtre de Genève and DEAN ANTHONY Donna Elvira and Susanna in concert with Maryland Lyric Opera. During the 17/18 season, she sang Dean Anthony makes his Opera Omaha directorial debut with Opera Under the Stars. In addition Zerlina in Don Giovanni in Geneva and Amore in Cavalli’s Il Giasone at the Château de Versailles. to directing, Mr. Anthony also has had numerous roles as a performer, educator, and producer. As a member of the Troupe des Jeunes Solistes in Geneva, roles included Musetta in La Bohème, Mr. Anthony’s 2019-2020 season included Cavalleria Rusticana with Knoxville Opera, Glory Amore in Il Giasone, Mimì in the Scènes de la vie de Bohème, Nanetta in Verdi’s Falstaff, and Helena in Britten’s A Midsummer Denied with Union Avenue Opera, Die Fledermaus with Amarillo Opera, Man of La Mancha with Night’s Dream. Other credits include the title role in Handel’s Semele at Opera Omaha and Seattle Opera, Pamina in Die Zau- Shreveport Opera, Carmen with Opera Tampa, Tales of Hoffmann and Speed Dating Tonight! with berflöte with Pacific MusicWorks, and Polissena in Handel’s Radamisto at Juilliard. Opera Delaware, Barber of Seville with Opera on the James, La Rondine with Peabody Opera Theater, and Carmen and Man of La Mancha at the Brevard Music Center. A major producer and promoter LAUREN MICHELLE of new opera works, Mr. Anthony has helped facilitate the development of numerous projects including Tom Cipullo’s Glory Denied and Mayo, J. Mark Searce’s Falling Angel, a workshop of Robert Soprano Lauren Michelle makes her Opera Omaha debut in Opera Under the Stars and returns Aldridge’s Sister Carrie, and Change the World, It Needs It! a new cabaret with the Kurt Weill Foundation. As a character next season for Eugene Onegin. Highlights from recent seasons include Natasha in War and tenor, Mr. Anthony performed over 100 roles on the operatic stage and garnered acclaim for his keen vocal, dramatic, Peace and Jessica in Merchant of Venice at the Welsh National Opera, Susanna in Le Nozze di physical, and acrobatic abilities. Mr. Anthony is currently the Director of Opera with the Janiec Opera Company of Figaro at the Palm Beach Opera, Musetta in La Boheme with Opera Theatre of St. Louis and the Brevard Music Center and has served on the faculty since 2008. Dorset Opera, Irina in Kurt Weill's Lost in the Stars with the Washington National Opera and Los Angeles Chamber Orchestra and the Fourth Maid in Elektra at the Vienna State Opera and BARRY BANKS in concert with the Orchestre Philharmonique de Radio France. On the concert stage, she has appeared with the Berlin Philharmonic under Marc Minkowski in Rossini's Petite Messe Solon- Tenor Barry Banks makes his Opera Omaha debut in Opera Under the Stars and will nelle, with the Cincinnati Symphony Orchestra in Poulenc's Gloria, with members of the Orchestre Philharmonique de return next season for Sweeney Todd. Mr. Banks’ performances of the leading bel Strasbourg in Schoenberg's Pierrot Lunaire and Kurt Weill's Seven Deadly Sins, at Carnegie Hall in Mozart's Coronation Mass canto roles by Bellini, Rossini and Donizetti have taken him to the world’s lead- and with the Fairfield Chorale in Handel's Messiah. Ms. Michelle has been a prizewinner of more than fifteen competi- ing opera houses including The Metropolitan Opera, Royal Opera House, Covent tions, including the BBC Cardiff Singer of the World Competition, the Francisco Viñas Competition, the George London Garden, Gran Teatre del Liceu and the Salzburg Festival. He will make his debut at Foundation Vocal Competition, and the Santa Gianna Beretta International Competition, Milan Italy. the 2021 Rossini Opera Festival in Pesaro in a revival of Elisabetta regina d’Inghil- terra. Notable operatic roles have included Banks’ debut as Arnold (Guillaume Tell) STEVEN WHITE at Welsh National Opera, the title role in Mitridate, re di Ponto and Don Narciso (Il turco in Italia) at the Bayerische Staatsoper, Ernesto (Don Pasquale) at the Royal Opera House, Covent Garden, Idreno Maestro Steven White returns to Opera Omaha after most recently conducting the 2018 produc- (Semiramide) at the Teatro di San Carlo in Naples and Nemorino (L’elisir d’amore) at the Metropolitan Opera. He has tion of Faust. Original engagements during Maestro White’s COVID-19 shortened 2019-2020 sea- appeared as Iago in Rossini’s Otello at both Théâtre des Champs-Elysées and Salzburg Festival. The role of Don son were La traviata with Utah Opera, Pagliacci with Greensboro Opera, La clemenza di Tito with the Ramiro (La cenerentola) saw his debut at the Gran Teatre del Liceu, and Oreste (Ermione) marked his debut at the A.J. Fletcher Institute, Ariadne au Naxos with Arizona Opera, and a Masterworks Concert with the Santa Fe Festival. In concert Barry Banks has performed Berlioz’ Grand Messe des Morts under Sir Colin Davis and Williamsburg Symphony Orchestra. Other recent engagements include Otello with Austin Opera, the London Symphony Orchestra. Rigoletto with San Diego Opera, Tosca with Arizona Opera, Romeo et Juliette with Opera Birmingham, and a return to the Metropolitan Opera to participate in their productions of The Merry Widow and Le nozze di Figaro. As former Artistic Director of Opera Roanoke, Maestro White conducted nearly all of that company’s productions from 1999 through 2010, including performances of Das Lied von der Erde, Der flieg- ende Holländer, Fidelio, Falstaff, Otello, Macbeth, Aida, Hänsel und Gretel and many others. He has also served as Principal Conductor for Opera Birmingham and as Associate Conductor and Chorus Master for Florida Grand Opera. In May 2013 34 Maestro White received an Honorary Doctorate of Fine Arts from Roanoke College. 35 COMMUNITY ENGAGEMENT PROGRAMS

ANNUAL FUND

COMMUNITY PROGRAMS

Opera Omaha’s Community Programs offer a wide variety of opportunities that go beyond the main stage productions. Each year, our engagement programs reach thousands of individuals across the metropolitan area. Whether diving

OPERA UNDER THE STARS UNDER OPERA deeper into the opera, opening a door to view opera from a new perspective, or introducing opera to new audiences, our engagement programs strive to make opera accessible to everyone.

Elevate Your Opera Experience. OPERA OMAHA COMMUNITY PROGRAMS BY THE NUMBERS Your support delivers exceptional, innovative opera productions, unlocks invitations to behind- AUGUST 2020-APRIL 2021 the-scenes events with artists and patrons, and creates a culturally vibrant community. Questions about donating to Opera Omaha's Annual Fund? 101 124 Call (402) 346-7372 or email [email protected] EVENTS HOURS DIGITAL PROGRAMMING 4,015 30 PEOPLE REACHED PIECES RECORDED FOR HEALING ARTS

THE NEBRASKA CULTURAL ENDOWMENT PROUDLY SUPPORTS OPERA OMAHA 8,862 30,000 SOCIAL MEDIA SOCIAL MEDIA

To learn more about how the Nebraska Cultural Endowment ENGAGEMENT VIRAL IMPRESSIONS promotes the livelihood of arts and humanities in our state, visit NebraskaCulturalEndowment.org

NUMBERS AS OF APRIL 30, 2021

37 HOLLAND COMMUNITY OPERA FELLOWSHIP

The Holland Community Opera Fellowship is the centerpiece of HCOF COMMUNITY PANEL Opera Omaha’s strategic vision for the future. The Holland Cam Bexten, NU Foundation Community Opera Fellowship (HCOF) is transformational, and as a result supports the creation of an inventive, creative, empathetic, Colleen Heavican Cass, UNMC/Nebraska and inclusive community that inspires joy, self-discovery, kinder Medicine Healing Arts discourse, and opportunity for all. Rachel Morgan, Nebraska Arts Council Launched in 2017, HCOF leads the opera field in civic practice - building deep relationships outside of the performance venues. Rita Paskowitz, Storyteller These relationships and the programs co-created with our partners Alysia Radicia, RDG Design have proven to be our strengths in these unprecedented times. In today's world, the arts play a pivotal role in shaping our Paula Wallace, Artist/Hot Shops communities and the quality of life of our citizens. In service to the community, we are bringing opera into new environments, Cammy Watkins, Inclusive Communities illustrating and promoting the value of creativity in both the arts Roberta Wilhelm, Girls, Inc. and non-arts sectors. The HCOF panel represents a cross-section of the community Gwyn Williams, Independent Leadership including organizations, businesses, neighborhoods, and Coach community groups. Those serving on the panel develop a Nancy Williams, No More Empty Pots partnership with Opera Omaha to engage in meaningful conversations around community issues, program development, potential partners and opportunities across different neighborhoods and sectors. The panel considers high level strategic decisions and priorities, helping set the direction of the The Holland Community Opera Fellowship Fellowship and is a critical part of the Fellow selection process. is generously supported by: With the panel, residents from neighborhoods across the greater Omaha metro area have a voice in choosing who and how artists Anonymous interact with their diverse districts and constituent groups. HCOF works collaboratively with community partners to co-create Fred and Eve Simon programming that helps individuals, organizations, and communities Charitable Foundation reach their goals. We know we can’t solve the most pressing issues in our community, like homelessness, income disparity, immigration, The Hearst Foundation or segregation, but by working with partners who are the experts working in those areas we can bring our unique artistic resources to the table to help meet their goals together. While we haven’t been able to offer in-person programming since March 2020, we have adapted to new methods of program delivery to meet partner needs and found for some of our partners and Weitz Family Foundation programming there are real opportunities and advantages. Some of these projects include virtual music masterclasses with individuals from Ollie Webb Center, hybrid creativity workshops for residents at MICAH House, St. Joseph Tower, and QLI, Healing Arts recordings for UNMC Patient TV, and a take-home artistic prompt for seniors at Intercultural Senior Center, just to name a few.

38 OPERA OMAHA 2020/2021 39 MEET THE FELLOWSMEET THE

NICHOLAS DAVIS JARED HISCOCK First-year Holland Community Opera Fellow Baritone Nicholas Davis is a Baritone Jared Hiscock is a second-year Holland Community Opera versatile artist equally at home on the operatic, theater, and concert stages. Fellow. In December 2020, he completed his D.M.A. in vocal Acknowledged for his “rolling mellifluous baritone” (Opera Today), Nicholas has performance at the University of Nebraska-Lincoln. During the enjoyed engagements with companies such as: The Santa Fe Opera, Seattle 2019 summer season Jared performed Guglielmo in Così fan tutte Opera, Minnesota Opera, The Glimmerglass Festival, Chicago Opera Theater, with Opera Orvieto in Città della Pieve, Italy, and Marquis de la Chicago Sinfonietta, and Theater Latté Da to name a few. Force in Dialogues of the Carmelites with Saltworks Opera in Cape In addition to his performing experience, Mr. Davis has had the honor to work in Charles, VA. Jared spent two seasons doing educational outreach the Detroit Metro school system with the Motor City Lyric Opera anti-bullying with the professional opera touring company Opera for the Young, campaign, teach vocal workshops with the Our Own Thing Chorale youth performing Power House in the world premiere of Super Storm! and program, and serve as Peer Counselor for the University of Michigan School of the Sea-King in Rusalka. Recent engagements include performances Music, Theatre, and Dance Minority Student Office. of Dr. Malatesta in Don Pasquale, Don Alfonso in Così fan tutte, William Jennings Bryan in The Ballad of Baby Doe, Friedrich Bhaer in Little Women, Figaro in Le nozze di Figaro, and Melchior in Amahl and the Night Visitors all with UNL Opera; Leporello in Don Giovanni as a guest artist with the University of Kansas; and as the baritone soloist in Orff’s Carmina Burana, Vaughan Williams’s Five Mystical Songs, and Adams’s The Wound-Dresser.

GWENNA FAIRCHILD-TAYLOR FERNANDO ANTONIO MONTEJANO Canadian soprano Gwenna Fairchild-Taylor holds an M.M. in Opera (University Fernando Antonio Montejano is a first-year Holland Community of Toronto) and a B.M. in Voice Performance (Western University) and is a Opera Fellow. As a local Omaha writer, Fernando has used his second-year Holland Community Opera Fellow. This past season, Gwenna was voice through various works, whether for the page or stage, to a recipient of an Encouragement Award at the Nebraska District Metropolitan bring awareness to the many struggles of those dealing with Opera National Council Auditions. Recent performance highlights include mental illness and disability in all shapes and forms. He is especially originating the role of Nature in Cries of the Earth (Artsong Collaborative focused on the way mental illness is communicated and addressed Project), Berta in The Barber of Seville (Indian River Festival, Stratford Summer in Hispanic and Latinx communities. Music), Fiordiligi in Così fan tutte (Toronto Lyric Opera Centre / Toronto Fernando has been invited to perform his work by organizations Mozart Players), and Soprano Soloist in Beethoven’s Symphony No. 9 (London such as NAMI (National Alliance for Mental Illness) and The Boys Symphonia). Ms. Fairchild-Taylor has spent time as a Musician In Residence and Girls Clubs of the Midlands, and to read alongside Nebraska at the Banff Centre for Arts and Creativity, and is a four-time recipient State Poet Matt Mason. For the last decade, Fernando has had of Government of Nunavut Culture & Heritage Grants in support of her the honor of being a Teaching Artist for the Nebraska Writers music and drama programs in communities in the Arctic. She also wrote the Collective, instructing poetry and writing in schools throughout curriculum and continues to consult for “Learn English Through Song,” a Nebraska and leading writing workshops in Omaha with community program in Toronto that facilitates language learning and community building members of all ages. Additionally, he has performed at numerous for newcomer women through singing. She has worked as a teaching artist Omaha events including Random Acts of Poetry, Writers Resist: and consulted on curriculum development for education programming at the Omaha, The Joslyn Art Museum’s “Framing The Flame”, and The Canadian Opera Company. Metro Area Teen Health Summit held at Creighton University.

40 OPERA OMAHA 2020/2021 41 MAKING COMMUNITY WHERE IT COUNTS

MAKING COMMUNITY WHERE IT COUNTS HOLLAND FELLOWS BRING OPERA OMAHA ENGAGEMENT TO A NEW LEVEL THROUGH DEDICATED CIVIC PRACTICE by Leo Adam Biga

In this woke era, organizations are that follow, Opera Omaha staff actively putting on operas at the Orpheum. As have all the answers, you don't know have GBM crew members looking at “With engagement programming called to be mindful about engaging all listen to what partners need or hope an organization we decided our mission what the community really needs how to work in the industry.” we’ve found there’s a lot of things different sectors of their communities. to achieve. Then, together, Fellows is to significantly, legitimately contribute until you meet with the community that work better in a virtual space, Matters of identity are more problematic and partners co-create interactive to our community to improve the quality and get trained in what each partner The pandemic’s caused the such as our Poetry & Music project,” for some entities than others. In programming that aims to uplift and of life of residents. That process was the organization does and who they company to pivot from in-person said Lauren Medici. “We were the performing arts world, mainline inspire. Personal creative expression beginning seed of this whole program. serve. That training is a big part of to virtual programming, including able to do writing workshops for presenting and producing groups flowers, barriers and stereotypes fall what prepares our Fellows to work in moving Fellowship activities online. students across the state. Instead of have historically done a poor job of away, and participants are empowered THE BUSINESS OF BEING A FELLOW community.” offering this to just under a hundred representation. In particular, Opera to be the best version of themselves MEANS INTERSECTING WITH “If we are to be resilient and students as before, we had over 500 has operated in a bubble of exclusion they can be. Relationships are made that DIFFERENT COMMUNITIES AND Opera Omaha has cultivated some relevant amid a pandemic that students experience workshops from and privilege. In its traditional surface transform the lives of individuals and ADAPTING TO NEW REALITIES 40 community partners its Fellows prevents in-person gatherings, then Omaha to Scottsbluff. Some of our outreach, opera has dictated the terms organizations. It is about opera artists engage with at various times. we are called upon to be an active partners are really digging online of engagement, rather than letting the showing up as neighbors and guests In their work as civic practitioners, Partners inhabit a variety of locations part of our community in other programming. They can be more community lead. Even with heightened in their own community in a spirit of Fellows make a two-year commitment and service missions, in keeping with ways,” Medici said. themselves in those spaces.” awareness and appreciation around collaboration and service. to the company and the community. the program’s tenet to meet people equity, opera companies have been Experienced Fellows mentor newcomers. where they are, diversity in all its In their role as creative and artistic Second-year Fellow Gwenna slow to make deeper, more authentic This paradigm shift has made Opera Presently, Opera Omaha has four active forms is embraced. resources, Fellows facilitated an Fairchild-Taylor, a singer, community connections and embrace Omaha a leader in civic practice among Fellows. Two are in their second and Intercultural Senior Center (ISC) acknowledged, “Initially I wasn’t sold inclusive spaces. An exception to this American opera companies and a final year of the program. The other “Diversity doesn’t just mean having music and art project to help on virtual workshops. It shocked me rule is Opera Omaha, which has adopted model held up by OPERA America pair are in their first year. The selection more people of color around, it foster a sense of connection when we started programming over dedicated civic practice into the fabric for others to follow. Opera Omaha process recently concluded for the means accepting everyone has during this time of isolation. Zoom and we were able to make the of its mission. The cornerstone of this general director Roger Weitz traces next Fellowship class. Lauren Medici, differences and those differences Each of the 60 participants, connections we usually make. All the focused engagement is the Holland the program’s genesis to a 2014- Director of Engagement Programs said should be celebrated,” said first year representing a diverse range of things I value about the work we do Community Opera Fellowship, whose 2015 strategic planning process that the program draws ever greater interest Fellow Fernando Antonio Montejano. cultural heritages, drew on his/ can continue in this time even over cohort of civic-minded Fellows serve identified civic practice as the means nationally and internationally and attracts “We do workshops for many different her personal experience to choose Zoom and that’s sort of amazing. As the expressed needs of diverse partner to truly connect with and make a a strong candidate field. communities. Sometimes that means a song that brings them joy and a teaching artist it stretches me in organizations, most of whom operate in positive difference with community. differently abled communities, too.” to create an artwork symbolizing how I read the room in what people the human services arena. Fellows bring their individual and what the song means to them. are feeling and what they need. ‘If we’re going to not just survive in collective expertise to work alongside Gotta Be Me, a nonprofit promoting Opera Omaha graphic designer That’s been good for me to grow in The artists who work as Fellows – the future but thrive in the future it’s experts and residents in the community. the inclusion of adults with Rachel Austin contributed to the this time.” singers, writers, educators – are the imperative that we are relevant and disabilities in community, worked resulting Great ISC Songbook. community ambassadors for Opera accessible to more people than just “We select those artists who have with Fellows to write, produce and The power of collaboration has never Omaha’s strategic vision moving those who choose to come to staged expertise in their craft and passion to serve perform their very own rock opera. “This switch to teaching virtually is been so evident. forward. It’s a simple yet profound opera productions on the weekend,” others,” Weitz said. “They understand ”During this process,” GBM founder opening a lot of doors,” Montejano belief that opera and the arts add Weitz said. “Part of the underpinning they're coming here to learn and to make and executive director Tiffiny Clifton said “It’s reminding us there’s a value to a community’s quality of life of that is how do we thank our this a truly collaborative co-creation, rather said, “our all-abilities and disabilities bunch of technology we can use in direct proportion to the intentional community; how do we show them than them just coming in to present what crew learned how to sing from real to try and reach people that we To continue reading the full article, engagement they make. Through the that we appreciate and make use of they do. There’s nothing wrong with an professional opera singers, what it hadn’t thought about before. The please visit operaomaha.org/blog program, which launched in 2017, Opera the philanthropic support we get to be artist wanting the attention and adulation meant to block on stage, how to possibilities are endless for the Omaha offers Fellows as resources to worthy of their support. If we want to that come with performing on stage, but create sets, costumes, choreography, kinds of ways we can reach people meet specific partner needs geared to really earn it, then we need to contribute that’s not what this program is about. It’s lighting set-ups, and so many more and still make it meaningful.” the clients they serve. In the exchanges to the community by more than just a recognition of the fact that you don't vocational-based tasks. We now

42 OPERA OMAHA 2020/2021 43 FELLOWSHIP PARTNERS

2020/2021 FELLOWSHIP PROGRAMMING PARTNERS

Introducing Music Director ANKUSH KUMAR BAHL A DYNAMIC NEW ERA Bold Artistic Vision

2021 / 2022 ON SALE NOW SEASON SEASON omahasymphony.org 45

Introducing Music Director ANKUSH KUMAR BAHL A DYNAMIC NEW ERA Bold Artistic Vision

2021 / 2022 ON SALE NOW

SEASON omahasymphony.org POETRY & MUSIC PROJECT POEMS SELECTED TO BE SET TO MUSIC

“Untold History” Lily Barry, Lincoln Southwest High School Music Composed by Frances Pollock, Performed by Gwenna Fairchild-Taylor

“Mom :)” Harper Burgert, Whitetail Elementary School Music Composed by Frances Pollock, Performed by Nicholas Davis

“To: Happiness” Connor Callen, Hayward Elementary School Music Composed by Matt Browne, Performed by Gwenna Fairchild-Taylor

“Dear Grandpa” Heidi Donegan, Callaway Public School MusicPOETRY Composed by Frances Pollock, Performed MUSIC by Nicholas Davis PROJECT

“Ode to 2020” Brooklyn Grandgenett,& Lyons-Decatur Northeast Now Music in its fourthComposed year, theby FrancesPoetry & Pollock, Music Project Performed connects by Gwennastudent poets Fairchild-Taylor and their words with composers to create original music and explore the connections between poetry and music. “On the Inside” Kyson Lammers, Holy Trinity Elementary School In Fall Music 2020, Composed Opera Omaha by Matt and theBrowne, Nebraska Performed Writers Collectiveby Jared Hiscock invited students in grades K-12 from Nebraska and Iowa to submit works of poetry on themes of Emotion, Connection, Uncovering History, “The Lovers of Modena” Ava Larson, Brownell Talbot Stuck in Place/Getting Un-Stuck. Over 500 elementary, middle and high school students across the state Music Composed by Matt Browne, Performed by Jared Hiscock took part in Poetry & Music writing workshops facilitated by NWC teaching artists and project composer Now in its fourth year, the Poetry & Music Project connects student poets and their words with Frances Pollock. “Emotion” Zane Maltas, Lincoln Southwest High School composers to create original music and explore the connections between poetry and music. Music Composed by Matt Browne, Performed by Jared Hiscock Opera Omaha received 69 submissions from 59 poets in grades 2 through 12, across 9 Nebraska counties: In Fall 2020, Opera Omaha and the Nebraska Writers Collective invited students in grades K-12 Burt,“Human Cedar, Connection” Cuming, Custer, MacKenzie Douglas, Painter, Hall, Lancaster, Lincoln Otoe,Southwest Sarpy plusHigh Anita School County, Iowa. All poems from Nebraska and Iowa to submit works of poetry on themes of Emotion, Connection, Uncovering submitted Music Composedto the project by areFrances featured Pollock, in this Performedbook. by Nicholas Davis History, Stuck in Place/Getting Un-Stuck. Over 500 elementary, middle and high school students across the state took part in Poetry & Music writing workshops facilitated by NWC teaching artists There“The Seed”were many Beckett outstanding Pinder, poemsWhitetail submitted Elementary to the School project, and after a blind review project composers and project composer Frances Pollock. Frances Music Pollock Composed and Matt by MattBrowne, Browne, alumni Performed of the American by Nicholas Opera ProjectDavis Composers & the Voice program, selected 11 poems to set to music based on what inspired them. Opera Omaha received 69 submissions from 59 poets in grades 2 through 12, across 9 Nebraska “Un-Stuck” Brooklyn Westlund, Lincoln Southwest High School counties: Burt, Cedar, Cuming, Custer, Douglas, Hall, Lancaster, Otoe, Sarpy plus Anita County, Iowa. In Spring Music 2021, Composed poets and by Mattcomposers Browne, gathered Performed virtually by for Gwenna music workshops. Fairchild-Taylor These workshops were a time for poets and composers to collaborate on the original pieces of music with Head of Music Sean Kelly There were many outstanding poems submitted to the project, and after a blind review project The Poetry & Music Project pieces premiered with a virtual concert on May 16, 2021. The concert composers Frances Pollock and Matt Browne, alumni of the American Opera Project Composers & and Opera Omaha’s Holland Community Opera Fellows. featured the 11 original pieces performed by HCOF Fellows Jared Hiscock, Gwenna Fairchild-Taylor, and the Voice program, selected 11 poems to set to music based on what inspired them. TheNicholas Poetry Davis, & Music hosted Project by Fellow pieces Fernando will premiere Antonio with Montejanoa virtual concert and Nebraska on May 16, State 2021. Poet The Matt concert Mason. will In Spring 2021, poets and composers gathered virtually for music workshops. These workshops were feature the 11 original pieces performed by HCOF Fellows Jared Hiscock, Gwenna Fairchild-Taylor, and The Poetry & Music Project Book including all poems submitted to the project, and recordings of the a time for poets and composers to collaborate on the original pieces of music with Head of Music Nicholas Davis, hosted by Fellow Fernando Antonio Montejano and Nebraska State Poet Matt Mason. pieces are now available on Opera Omaha’s website. Sean Kelly and Opera Omaha’s Holland Community Opera Fellows. After the concert, recordings of the pieces are available on Opera Omaha’s website.

The Poetry & Music Project is produced in partnership with Nebraska Writers Collective and The America Opera Project.

The Poetry & Music Project is funded in part by Humanities Nebraska.

46 OPERA OMAHA 2020/2021 47 2021/2022 SEASON 21–22 SEASON WELCOME TO A NEW SEASON OF OPERA

THREE STORIES For its long-anticipated return to live theater, Opera Omaha calls on some of the world’s most beloved characters to tell their unforgettable stories. Romeo and Juliet are the heart of The Capulets and the Montagues in a dramatic depiction by the celebrated Italian composer Vincenzo Bellini. Sweeney Todd, a legendary villain of Victorian England’s “penny dreadfuls,” is the sinister force driving Stephen Sondheim’s Tony Award-winning masterpiece. Love, loss, and remorse are the hallmarks of Tchaikovsky’s Eugene Onegin, a triumph of classic Russian literature written by that country’s most famous poet, Alexander Pushkin. SHARED ANEW To mark a truly monumental season, Opera Omaha will create three brand new productions for the Orpheum Theater; each opening night is a world premiere! These new theatrical interpretations are the joyful outpouring of phenomenal creatives unleashing their artistry on stage after too long of a pause. Directors James Darrah (Opera Omaha ONE Festival Artistic Director), Rosetta Cucchi (Artistic Director of Ireland’s Wexford Festival), and Susan Clement-Toberer (Producing Artistic Director of Omaha’s BLUEBARN Theater) are the visionary leaders behind these exciting premieres. TOGETHER There is nothing like the thrill of live theater! The excitement and anticipation of the crowd as it fills the auditorium; the hush as the lights go down and the curtain goes up; the palpable connection between performer and audience as the story unfolds. All of these captivating experiences, felt by patrons and artists alike, are sure to rise to new heights in Opera Omaha’s momentous return to the Orpheum Theater in the 2021/2022 Season.

Three stories, shared anew, together; we can’t wait to celebrate with you.

The Capulets and the Montagues Sweeney Todd Eugene Onegin Star-Crossed Lovers, Boldly Retold The Demon Barber of Fleet Street A Novel Romance, Achingly Poetic Vincenzo Bellini Stephen Sondheim Pyotr Ilyich Tchaikovsky October 15 & 17, 2021 February 25 & 27, 2022 April 22 & 24, 2022

RETURNING TO THE ORPHEUM THEATER SUBSCRIBE AND SAVE OPERAOMAHA.ORG/SUBSCRIBE 402.346.7372 49

21-OPERA-3763 2021_OperaAmericaMagazine_FullPageAd.indd 1 2/26/21 12:47 PM STAR-CROSSED LOVERS, BOLDLY RETOLD Previously slated to debut in our 2020 ONE Festival, Bellini’s bel canto THE CAPULETS masterpiece is a seldom-seen telling of Romeo and Juliet, the infamous “star-crossed lovers” engulfed by rival political factions on the brink of war. Most commonly known through Shakespeare but inspired here from AND THE writings of the Italian Renaissance, I Capuleti e I Montecchi gives thrilling voice to one of the world’s most overwhelming and vital love stories. This new production by ONE Festival Artistic Director James Darrah MONTAGUES is a dark and visually rich exploration of love and loss illuminated by I Capuleti e I Montecchi a powerful ensemble of world-class artists, designers and dancers, including the return of soprano Andriana Chuchman (2015 A Flowering Tree, 2017 Flight) as Juliet. True to Bellini’s original score, Romeo is performed by a mezzo soprano, the acclaimed Cecelia Hall, in her Opera Omaha debut. New Production and Company Premiere. Music by Vincenzo Bellini. Libretto by Felice Romani. Performed in Italian with English supertitles.

OCTOBER Conductor Director Giulietta Romeo Tebaldo Capellio Lorenzo Dancers Christopher Allen* James Darrah Andriana Chuchman Cecelia Hall* Jesus Garcia Jeffrey Beruan* Daniel Mobbs* Lindsey Matheis & Sam Shapiro 15 & 17

50 OPERA OMAHA 2020/2021 51 WAIT, WHY IS ROMEO PLAYED BY A WOMAN?

Interestingly, and true to Handel’s and our overall production’s final san, divisive politics. It’s an ugly WAIT, WHY IS ROMEO PLAYED BY A WOMAN? source material, this female knight message. We have, in our two mess—both sides unwilling to disguises herself as “male”—both leads, some formidable actors who broker peace on any other terms SOME THOUGHTS ABOUT OPERATIC REPERTOIRE, GENDER AND EXPECTATION as a protection of her identity, will certainly imbue these roles than their own, spilled blood con- Article by James Darrah but also in order to protect her with a powerful sense of love and stantly threatened both literally life and power in a world in which loss as we begin to work and, even and metaphorically. While I’ve women often have less power and if I want to focus on this doomed intentionally avoided any blatant are more at risk. This gave us an couple’s love, humanity and their political statements in the produc- In choosing I Capuleti e I Montecchi, the There is some artistic and historical gender. It seems borderline ignorant interesting solution. In an opera attraction, we will work to also tion beyond the gender freedom most pressing question on everyone’s precedence for this too: if you’ve ever to assume Romeo MUST be male in dominated by men and politicians earn their tragic end regardless of of Romeo, I am instead focused mind was: what are we going to seen The Marriage of Figaro, Mozart of this opera. Yes, the story was written and warring ideologies driven by gender identity. We’ve similarly more on a shared human folly: do with the fact that Romeo, the course intentionally wrote the male teen that way, but to keep opera a living, men—could Romeo disguise herself tried to strip away a lot of the regardless of who we are and our romantic “male” lead, was originally Cherubino as a mezzo soprano voice breathing form—I’ve decided to take as male less from personal desire excess 19th century formality in own sense of identity, sometimes and intentionally written for a female type and the role is almost exclusively into account the reality of our casting or an adherence to traditional the physical production: the design we encounter people who are ig- mezzo-soprano voice type? While sung by women. Omaha audiences have in 2020. We have a fantastic mezzo dramaturgy, but more in order to is both a world foreign to our own norant, headstrong or unwilling to I don’t have any hard data to back seen a woman, playing a young boy, soprano, Cecelia Hall, as our Romeo. It achieve some level of equality with and steeped in decorum, but also accept those personal truths. The up this claim, I would argue that dressed as a young boy, who then in was written for her voice type. Can this the powerful men? simultaneously mysterious and tragedy in the tale is in realizing this basic fact in casting has even the plot of the opera also dresses as production be about two human beings contemporary. Characters emerge that ignorance too late. Some- resulted in Capuleti also having far a woman in disguise. It’s complicated rather than a male and female hetero- Can we explore the feminine and disappear into an unknown times the people with the most fewer performances in this country gender wise for poor Cherubino, yes, normative love story? Many of us know and masculine sides of a famed vast space—only colliding amidst vulnerable voices lose…and may than some of Bellini’s other works, but most often the singer just presents the tale of Romeo and Juliet through character? Can we transcend a focus the tombs and graves of those they we all be aware of that fragility… let alone other bel canto repertoire. as male for the entire time and the Shakespeare, but I think Bellini’s opera on gender identity and speak more have mutually lost. Are other opera companies or board audience buys in as a sort of cheeky offers us a wonderful opportunity to to ideological differences, a shared James Darrah, members scared of a woman assuming formality that explores teenage lust and explore the piece today. Romeo is one and common desire to express As a director, I’m far more inter- ONE Festival Artistic Director and singing such a classically and a performance practice in line with the of the only Montagues in the cast—the ourselves freely, love who we want ested in what one might get out universally known male role? Does 18th century. It's fun and works and role spends a large amount of time to love and be treated equally? of the universality and enduring Director James Darrah is Artistic Director it take a superstar singer to get the often produces laughs. infiltrating the Capulet stronghold. power of a Romeo and Juliet of the ONE Festival and will direct The piece programmed? How will audiences This program note is going to print story for today’s world. Bellini’s Capulets and the Montagues, previously react? How will they ever cope? Capuleti, as a tragedy, doesn’t seem to As I started to dwell on this element of far in advance of day one in the tale is based more directly on scheduled to debut at ONE Festival 2020. Traditionally, an opera company would have the same luxury of tone and style gender, and then the plot of the opera, rehearsal room, so while I could the Italian Renaissance tales of cast a mezzo soprano and then design afforded to Mozart. As we (thankfully) I was actually inspired by thinking explain some of the past year Romeo and Juliet (here the Italian: a production where that singer goes increasingly move toward a society that earlier than Mozart to composer G.F. and a half of design preparation Giulietta)—and one of the most into hair, makeup and costume out of encourages, allows and even embraces Handel. His great baroque opera-seria and delve into endless thoughts noticeable differences is that the your sight, before the show, to then a freedom of gender identity and Alcina features a female warrior and with the creative team, I’m also Capulets and the Montagues exist eternally present as “male” for the expression, I actually find I have little knight who ventures to a dangerous happily unsure of what the as intense political factions. The duration of the opera. interest in adhering to an expectation enchanted isle to rescue her husband rehearsal room will actually yield city of Verona within this opera about the role of Romeo in terms of from the clutches of an evil sorceress. just in terms of chemistry, mood is at war with polarized, parti-

52 OPERA OMAHA 2020/2021 53 A MUSICAL THRILLER This dark, Tony Award winner for Best Musical by Stephen Sondheim SWEENEY has thrilled opera audiences across the nation. Leading an all-star cast are two of Omaha’s most dynamic and acclaimed artists, Conductor Hal France (Opera Omaha’s Artistic Director from 1995-2005) and Director TODD Susan Clement-Toberer (Producing Artistic Director, BLUEBARN Theatre), The Demon Barber of Fleet Street making her Opera Omaha debut. Sweeney Todd, whose real name is Benjamin Barker, uses his new alias to resume work in his barber shop above Mrs. Lovett’s struggling pie shop after being wrongfully sentenced to life imprisonment by the corrupt Judge Turpin. After swearing vengeance against the judge that tore his family apart, Todd and Lovett plot a unique plan that helps them both and leads them down a dangerous, thrilling path with deadly consequences. This all-star cast features Zachary James in the title role of Sweeney Todd and Emily Pulley (2019 Faust, 2002 Carmen, 2000 Falstaff), returning to Opera Omaha in the role of Nellie Lovett. Music and lyrics by Stephen Sondheim. Book by Hugh Wheeler. From an Adaptation by Christopher Bond.

Originally Directed on Broadway by Harold Prince. Orchestrations by Jonathan Tunick. Originally Produced on Broadway by Richard Barr, Charles Woodward, Robert Fryer, Mary Lea Johnson, Martin Richards in Association with Dean and Judy Manos. Sweeney Todd is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTIshows.com FEBRUARY Conductor Director Sweeney Todd Nellie Lovett Johanna Barker Anthony Hope Judge Turpin Hal France Susan Clement-Toberer* Zachary James* Emily Pulley Ashley Emerson Jonathan Johnson* Rodney Nelman* 25 & 27

54 OPERA OMAHA 2020/2021 55 OPERA OR MUSICAL?

in works by Gian Carlo Menotti young composers in a program at As to the eternal question of OPERA OR MUSICAL? produced in both opera houses and the National Theatre in London. whether the show is musical theater Broadway theaters. “They come from a different way or perhaps an opera, Sondheim said SONDHEIM MADE SWEENEY TO SCARE AN AUDIENCE of making music,” he said. “They flat out: “Sweeney is a musical.” Published August 04, 2016 | Article by Diane Nottle for everythingsondheim.org When New York City Opera think in terms of theatricality — presented Sweeney Todd in rock concerts are theatrical — but “When I was writing it,” he added, “I 2004, he recalled, some in the not storytelling. The story is what was writing a movie.” He compared audience were shocked that the counts.” (“Oh, I see,” he quoted it to the kind of movie melodramas Beggar Woman turned out to be one young songwriter as saying. that once starred Bette Davis. “It’s Jamie Bernstein, daughter of Leonard known Bernstein — daughter of Leonard to West Side Story and Candide Sweeney’s wife, presumed long “It’s an art, not a hobby.”) still melodrama and still kitsch,” Bernstein, interviewed Stephen Bernstein, his collaborator on West Side (to whose 1974 Broadway revival dead after taking poison. “They Sondheim said, “but when you dig Sondheim onstage on July 30, 2016, at Story — since “just after she was born.” Sondheim contributed additional had never been 10 blocks south to “Can it be done?” Jamie Bernstein into it, you ennoble them.” And the Glimmerglass Festival. lyrics, and which Glimmerglass Broadway,” he said. Still, audiences asked, referring to creating musicals after all, isn’t that a big part of what In the conversation, they spoke of produced in 2015), it includes the from one genre find their way to successfully in a pop idiom. opera is all about? The big revelation instantly splashed “building bridges or knocking down musicals On the Town and Wonderful understanding the other, primarily across the media was that Stephen walls” between genres. While Sondheim Town, and the operas Trouble in Tahiti through the proportion of speech “It has been done,” Sondheim Diane Nottle is a New York-based writer Sondheim’s new musical is to have its placed himself firmly on the musical (at Glimmerglass in 2015) and A Quiet to singing. “They recognize what’s answered, citing Jonathan Larson’s on the arts, language and travel. She was premiere Off Broadway at the Public theater side, he acknowledged the Place (which incorporated the smaller going on,” Sondheim said, “and Rent and Lin-Manuel Miranda’s an editor at The New York Times for 20 Theater in late 2017 — “if I can finish connections to opera in his own work. Trouble in Tahiti). “But he also knew they adjust.” Hamilton. Such composers, he said, years, specializing in cultural news. the score in time.” But in an onstage the differences,” Sondheim said. “understand what theater is about.” conversation at Glimmerglass Opera on “The closest I came was Sweeney In the case of West Side Story, he July 30, Sondheim made what may be Todd,” he said. “But they’re not the “He had ambition,” Sondheim said, an said, the connection to opera is Storytelling was certainly what an even more revealing admission: “I’m same thing.” understatement that drew laughter “not through the singing, but the mattered to Sondheim when he was not an opera fan.” from the audience. Bernstein wanted orchestral scoring.” writing Sweeney Todd, which was Second-closest was A Little Night his work to be performed on opera being performed at Glimmerglass “I’m a musical theater fan,” he said. Music, which he categorized as stages. “The rest of us were writing a “It doesn’t feel like an opera to twice the day of his conversation When opera and theater come together, operetta or “opera-esque” rather than musical.” me,” he said. “It’s a musical with with Bernstein, sandwiched “as in Carmen, I’m a fan.” opera. “It uses operatic techniques,” these monumental pieces of music, between performances. The he said, among them leitmotif. “I’ve Bernstein, he said, “was always but it’s not through-composed.” Demon Barber tale goes back The sometimes-blurry relationship always been attracted to leitmotif,” complaining about how we were Later, he added, “Thematic ideas at least as far as an 1846 penny between the two genres emerged as the he said. “Movie music is nothing but.” tamping down” his operatic ambitions are there, but it’s not composed as dreadful, The String of Pearls, but theme in Sondheim’s conversation with What makes Night Music an operetta, for the show. He thought, for example, an opera.” the Christopher Bond play of the Jamie Bernstein at Glimmerglass, the he said, is “primarily the attitude — the that Maria should have a suicide aria, 1970s that inspired the musical summer opera festival in Cooperstown, lightness.” a case in which “we may have tamped Most important, though, is added elements of the Jacobean N.Y., a remote upstate town otherwise down where it didn’t belong.” storytelling. “Fear of storytelling,” Revenger’s Tragedy and The Count of known for the Baseball Hall of Fame. West Side Story might be considered as Sondheim put it, is in fact one Monte Cristo. Introduced by Francesca Zambello, the a close third, or perhaps a close call, “What really counts is, does a piece of the greatest weaknesses he noted opera and theater director who chiefly because of Leonard Bernstein’s work in an opera house in front finds in musical theater composers “I made Sweeney to scare an heads Glimmerglass, the two entered vision for the show. Bernstein loved of an opera audience? Because who are inexperienced or trying to audience,” he said in response to a to a standing ovation from a full house. both forms, Sondheim said, as his it’s something else on Broadway,” cross over from other genres, such question from the audience. “That Sondheim pointed out that he had body of work makes clear: in addition Sondheim said, citing differences as pop. He recalled working with was my entire purpose.”

56 OPERA OMAHA 2020/2021 57 A NOVEL ROMANCE, ACHINGLY POETIC When sensitive Tatyana bares her soul in a love letter to the dashing EUGENE Eugene Onegin, he coldly rejects her and flirts with her sister, resulting in a deadly duel with his trusted friend, Lensky. Years later, Onegin returns to Russia, tortured by guilt and remorse. Opera Omaha favorites Steven ONEGIN White and Rosetta Cucchi will transport literary Russian romance to life in this achingly beautiful tale of longing, remorse, and love unfulfilled—with breathtaking music by Tchaikovsky (“The Nutcracker,” “Swan Lake”). Alexander Elliott (2018 Pagliacci, 2017 Così fan tutte) returns to Opera Omaha in the title role of Eugene Onegin with Lauren Michelle making her Orpheum Theater debut as Tatyana. Music and libretto by Pyotr Ilyich Tchaikovsky. Based on the novel by Alexander Pushkin.

APRIL Conductor Director Eugene Onegin Tatyana Vladimir Lensky Olga Filippyevna Steven White Rosetta Cucchi Alexander Elliott Lauren Michelle* Arseny Yakovlev* Hilary Ginther* Victoria Livengood 22 & 24

58 OPERA OMAHA 2020/2021 59 OPERAtion: What’s My Why? that way before. I always considered their friendship. I find it fascinating this opera, to Lensky and his ability OPERAtion: What’s My Why? - Eugene Onegin her to be still wrapped up in that that we get to see a man who is full to express himself emotionally and youthful imagination of romance, being heartedly in love with his beloved Olga that power coming from him being FEATURING SIMON DYER (SD), VINCENT TURREGANO (VT) AND MELANIE BACALING (MB) like, of course, I love you. But then her and expresses that and is incredibly a poet. I don't know what Pushkin Excerpt from podcast OPERAtion: What’s My Why? on Instagram and Twitter @operationwmw adultness and her commitment to her passionate in that way. And I find it intended. And daren't say I know own dignity, in the position that she interesting that he is also a poet as his what Tchaikovsky intended but for has as the Princess Gremin, is what occupation. It makes me wonder like, me, the tragedy of Lensky is similar she caves into. She decides to commit would we be able to believe that kind to the tragedy of Onegin. Lensky SD: So what are we talking about today, music, particularly with Tatyana. And one of MB: Where he kind of mansplains her to her action and that thoughtful of sincerity if he wasn't given poet is an is so self-obsessed with his idea of Melanie? the main scenes that is most popular and feelings to her by saying you'll probably be way that you mentioned earlier. So occupation? I don't know. And I don't how this romance is going to go. His well known is the famous letter scene in better off leaving these feelings to yourself. that's really interesting that maybe know if that actually matters. jealousy and his own sense of pride MB: Today we bring you to the land of which Tatyana writes out all of her feelings And in the future you'll learn more that this Eugene Onegin . . . let's address this from the she is not only committing to that, having been slightly wounded at towards Onegin. And it's a rather lengthy isn't really what you should do. Like express but she's doing so because she sees SD: I'm curious about another thing one party by his girlfriend choosing two main pairs that we have. Onegin and scene. It's a tour de force for the soprano yourself in this way ... here as well is that the tenor in a show Tatyana. Tatyana is a young girl intelligent, that advantageousness ... if that's a to dance with Onegin. Yeah, just to singing it and she goes on this journey of word, that advantage. And if she, if she is often the romantic lead. And the tease Lensky brought him to the point really intense, she meets Onegin who "Should I write it? Should I not write it? SD: Okay. Do you think that that really is a baritone is often the bad guy, or the has a neighbor, she falls in love with him, manifestation of his fear of commitment? actually does love Gremin, in a way… I where he "needed" in quotes to duel What do I say? How do I say it?" and you think that the story is centered around kind of other man in the love triangle. Onegin. And then neither of them writes him a letter to tell him so and then can just hear the anxiety and excitement MB: Yes. Well, because he's also the actions that Eugene Onegin takes And it seems to me that Tchaikovsky's having the gumption to say this isn't he friend zones her. Some years later, she build up in the orchestration? It's just someone who is ... to me he seems to in the way it affects others. And in done that or through Pushkin has done actually what we want, we are not finds herself married to a prince, Onegin brilliant in my opinion. that here in a slightly more subtle way, sees her and decides he is in fact in love enjoy being out and about in society, not that way, the story is about him. But going to go through with this idiotic being tied down. in many ways, it's not about him. It's but I wonder if we are signaled through duel, and Lensky dies for it. And with her, and then she shuts it down. And SD: How young is Tatyana? the voice types into believing Onegin just to be clear, she stays with her prince really about Lensky and Tatyana. And Eugene loses maybe his only friend. I SD: I don't know how much of the libretto is not the good guy and Lensky is the and leaves Onegin. And then we have MB: Tatyana is, like coming of age? I don't that's interesting. don't know if that's true, but I mean, is verbatim text. But it's an extremely good guy. Olga and Lensky. Olga is Tatyana's younger know specifically in a Pushkin novel. Exactly it seems ... short novella. And it's basically the exact SD: I wonder if the real story is that sister, Lensky is a poet and Onegin's friend how old she is. But in my brain. She's like, same story. of the different types of love we MB: I think there's definitely some SD: What I'm hearing you say is and they are in love and then at a ball 17 years old-ish. Like still young, but a little psychological validity to that ... the bit on the older side. experience in our lives and the way that the moral of the story is, Onegin gets mad but he's there because VT: Oh, cool. in which we experience love because fact that our ears have been trained "impulsive, jealous, insecure, fragile Lensky convinced him to go there. And SD: Okay, and she's quite strong from what she does love Gremin. Right? She is in just by the standards of opera to think: men cause problems." then Onegin spitefully flirts and dances SD: There's very little or no deviation from I remember. She's quite a strong character. my vague memory of like pretending romantic lead, male equals tenor, with Olga just to make Lensky jealous and that story. She's got a lot of chutzpah to her, even in to clink a champagne glass in the final romantic lead female equals soprano, VT: For themselves. he does indeed get very jealous because how much she falls in love with him. scene. I feel like she does talk about more often than not, villain equals then he loses it, challenges Onegin to a MB: I think there's something really lower voice. MB: Ding ding ding! intriguing about the themes of love, how her love for Gremin. Gremin duel ... and then unfortunately, Lensky loses MB: She, to me, she is such a complex unrequited love, drama that we like to feed certainly loves her. And I think it's a SD: So I think with this one, it's been his life. And in a very short nutshell that is character in that we get to know her really Which is interesting, because Lensky is into those kinds of stories that are sort of comfortable love. It's a slightly less pretty easy to figure out why you love Eugene Onegin well through the letter scene, but also just betrothed to Olga and Olga is a mezzo like “Gossip Girl”. What I would want to romanticized love. Which is not to say it. And as someone who did not love in the way she expresses herself to her slash contralto. SD: Well done! So it's a love story, I guess? really highlight and what my focus would it's less romantic, but it is very different it ... didn't hate it. I just have no real sister, to her mother, to Onegin later on be, is the journey of Tatyana, because to that love she feels for Onegin, and SD: But she's Tatyana's younger sister, recollection of being in it, which means that she is the opposite of fickle where Melanie Bacalling: It is ... for any of our I think it's incredibly refreshing for an correct me if I'm wrong, but Onegin right? it didn't make a huge impact. Although everything she does and says and thinks is listeners who might be friends of something opera to show the complexity of a female rejects love throughout the whole the singers were wonderful if you're incredibly intentional. like ... Bridgerton ... very much the same character, from her text, from her music, opera, and then finally at the end wants MB: Younger sister indeed. And the listening. So I've been convinced, I flavor of storyline. that love and has a bit of a breakdown one who is depicted to be more ... I think that (Onegin) is just as intense as from her melodies that she sings, and then see it a different way. Definitely. And to end up in, ultimately a position of power when he is rejected, is that true? I'm really curious to watch it again, SD: Okay, I wonder if it's one of those Tatyana and just as considered … And in SD: Impulsive, flirtatious? I see. Because in the end, when Onegin actually, with that mindset going on. situations where an opera is a classic kind the way that he's so incredibly pragmatic MB: Yeah, I see Onegin, as we said, comes back and says, actually, no, I was a But just for our audience sum up for of tale where we have these archetypal and practical. So, let's break down what as somebody who potentially fears MB: Yeah. fool, I love you. And she's like, "Listen, I'll us quickly Mel. You know, like, why do storytelling plot devices, you know, love happens specifically after Tatyana writes commitment, but also has this pride always have these feelings for you. But I'm SD: Yea, Young. we love it? Why is it relevant and why triangles, jealous friend and ... this letter to him, where she full out about his own intelligence about his confesses all of her feelings to him. He good. I also really love Prince Gremin." And should we perform it? opinions of the world that he makes MB: Yeah, just younger . . . more love, unrequited love, that later is replies by showing up in person to her and I think she realizes for herself in society MB: very apparent to Tatyana. And I think vibrant, effervescent. MB: Simply, the music is absolutely not unrequited. says more or less, "Thank you for this letter. that she's in a really advantageous place. that once he realizes that he is in fact in And her power is in saying "no" to him. And stunning. The storyline is one that And it's really sweet that you express all love, which I think is kind of debatable, VT: What I think is interesting SD: Confusing love ... I appreciate having a complex, powerful will resonate with audiences, I think, these emotions. However . . .” no, the way like, does he actually love Tatyana? Or about what you've said, it's always for a long time ... stories of love and he says it is like "I would choose you but female lead. And I'm personally of the MB: Confusing love, indeed. But that's not is it just him seeing her with Gremin fascinating to talk to you both. I heartbreak and the complexities honestly it would be boring. The second we opinion that the opera should be called what makes me love it. I mean, that is a that sparks any sort of emotion, that always hear things of are perspectives of relationships within society and got married once things become habitual. Tatyana and not Eugene Onegin. I don't portion of why I love it. To me, musically, he's finally acknowledging? Because that I just never considered. And I societal pressures. And it's just really It's not for me, I love you but as a brother." know how you guys feel about that. it is one of the most delicious operas out Heaven forbid he have emotions? And don't think I've ever thought about beautiful music storytelling. It's the ultimate friendzone line ... there. I just think that the orchestration is VT: I'm really fascinated by what you just that's what sparks him to confront her the psychological use of voice type and be like, "No, I do love you." But for this kind of characterization. I so luscious, that Tchaikovsky does a really SD: Right! said, Mel, I had never considered the final fantastic job of storytelling through the scene and what you just talked about, in also in talking about Lensky, and the mean, I know it exists. But I haven't relationship of Onegin and Lensky as thought about it in the context of

60 OPERA OMAHA 2020/2021 61 OMAHA STEAKS - NURTURING PEOPLE'S BODIES AND SPIRITS

SPONSOR HIGHLIGHT

Center for Contemporary Arts. They gave to and “The arts are good for our souls, good for our NURTURING PEOPLE’S BODIES AND SPIRITS volunteered with the Nebraska Cultural Endowment. business, good for our community. It’s a triple THE SIMONS USE THEIR OMAHA STEAKS EMPIRE His personal digital catalog of all the operas he attended whammy in terms of benefits.” TO SUPPORT CIVIC AND ARTS ENDEAVORS THAT IMPROVE QUALITY OF LIFE around the nation and world comprise a unique archive on the Opera Omaha website. Those benefits include the commerce the by Leo Adam Biga arts generate. Meanwhile, Alan’s love of symphonic music led to his personal involvement on the Omaha Symphony “A 2007 study on the economic impact of the board. He also served on the board of directors for performing arts in Omaha became a really the Boy Scouts of America, Goodwill Industries, the great rallying cry for arts organizations, for the Salvation Army and Omaha Children’s Hospital. He was Chamber of Commerce, for arts supporters,” the Information Technology Chair for the Creighton Todd noted, “because it actually gave a dollars University Board of Trustees. and cents understanding of how the arts impact the economy.” Steve devoted his own stewardship in service of SUPPORTING THE ARTS AS A CONVENER OF the Jewish Federation of Omaha and Temple Israel FAMILY AND COMMUNITY Synagogue, on whose boards he was active. Besides the tangible infusion of capital that The fifth generation of Simons has continued the spending by artists and arts patrons generates, For the founding family of international food By the time the brothers joined the company’s tradition of good corporate citizenship. Senior vice there’s the intangible value of the arts as a manufacturer Omaha Steaks, giving back is a executive ranks as fourth generation leaders, the president Todd Simon and his late cousin Bruce Simon, convener in communal spaces. Just as Omaha multigenerational legacy rooted in community, family’s philanthropy extended to a wide range of who was president and chief executive officer, carried Steaks food products provide a focal point for aesthetics, conscience and practicality. organizations. Because the brothers appreciated the on the love for the arts and community that their late gatherings, whether at the dinner table, a tailgate arts as cultural and community assets, it naturally fathers, Fred and Alan, respectively, and their uncle party or a backyard barbecue, the arts promote Since the company’s 1917 start as Table Meat Supply, followed that Omaha Steaks became a primary Steve modeled. community, too, whether at a theater, a concert its family owners, the Simons, have recognized supporter of these linchpins. Indeed, the maturation of hall or a park. During the pandemic, the arts have an obligation to the city they call home. It only Omaha’s arts scene could not have happened without “I got a love for culture from my dad. He and my uncles embraced virtual platforms to connect artists makes sense that the stronger the community you the nurturing of major donors such as the Simons and made it a priority to support the arts. As a result, as a with each other and with audiences. Funding do business in, the better off your employees and Dick Holland. company we are well beyond having to be sold on the from Omaha Steaks and other friends of area company will be. Philanthropy as a family civic practice arts,” said Todd. “We know their value. We’ve accepted arts organizations has helped sustain these high began under third generation company leader Lester Fred’s well known passion for music, musical theater the arts are part of that vibrant culture that allows tech connectivity and programming efforts that Simon. He and his wife Trudy instilled in their three and particularly opera led Omaha Steaks to be a major you to attract and retain people. They also provide a maintain and create a sense of community, sons, Alan, Fred and Steve, the belief that sustaining Opera Omaha donor. He aided its evolution into a full- great environment for our employee team and for the the Jewish and broader community was part of being time professional company, serving as board president community. That’s why our support extends beyond “What it really comes down to is our brand is a good corporate neighbor. The elders made sure to in the late 1970s. He financially supported and attended sponsorship. We feel like we need to be good stewards about family, it’s about quality, and it’s about expose the boys to classical music, fine art and other the opera for four decades. He and his wife Eve also of the arts community, which helps strengthen the bringing people together,” Todd said. “The arts, like creative expressions in addition to grounding them in supported the Omaha Symphony, Film Streams, Joslyn local economy because a vibrant arts scene attracts food, is about this togetherness experience, so it’s social and business responsibilities. Art Museum, Omaha Performing Arts and the Bemis people that can spark creativity and innovation. kind of natural for us to promote that.”

62 OPERA OMAHA 2020/2021 63 OMAHA STEAKS - NURTURING PEOPL'S BODIES AND SPIRITS

Omaha Steaks also leverages its resources to give appreciate innovation and risk-taking and are willing “Our community and national support goes employees access to cultural and community activities. to support that." beyond the arts. Eve Simon at Opera Omaha’s 2018 Gala

“We make a point to engage our employees in the arts “I think Opera Omaha is a really good example. Particularly during the pandemic we’re by hosting employee days at many organizations we Something all arts organizations struggle with is involved in both disaster relief efforts and support like the Joslyn, El Museo Latino, the Omaha making sure they’re relevant and reaching their core hunger relief efforts on a national scale. We Children’s Museum and Jazz on the Green. We offer audience but also reaching new audiences. General did disaster relief with the Salvation Army tickets to events and performances so our employees director Roger Weitz and his team have done a really for the hurricanes in Texas and Louisiana. can share in these experiences with their families. We good job of thinking through what a contemporary We did hunger relief with Feeding America also run an annual membership drive for employees that opera company in the Midwest look likes in this time, both by donating food and by raising money allows them to join various organizations at a discount.” even before COVID, and how to innovate and create through promotions with our customers and super interesting programming. He’s able to articulate our employees. That was millions of meals. So Employees are further encouraged to volunteer at a vision for the company and then sell that vision to his not only are we interested in lifting peoples community nonprofits, including arts, cultural and civic funders, Omaha Steaks among them.” spirits but making sure we can help fill their organizations. stomachs as well.” KEEPING PEOPLE FED Art as inspiration is as near as the walls of the Omaha The family’s nuanced understanding of the arts – The Simons’ intentionality around philanthropy Steaks headquarters, which display an impressive what they contribute and what they need to thrive is their guide star. Fred Simon, one of Opera Omaha’s Founders workplace collection. Some pieces in the collection are – explains why Omaha Steaks support has remained in and greatest champions loaned out for public exhibition. force throughout the pandemic. “Even though different individuals in the family have different interests and different profiles When it comes to how the Simons intersect with “At this moment it’s really important for us and for out front on these matters, I think this whole the arts groups they support, they take a hands-off other sponsors and supporters to stick with these thing happens because our family works approach when it comes to programming. arts organizations through this disruptive period,” together to make it happen.” “One of the things characteristic of our support.” Todd said. “Even though they haven’t been able to Todd said, “is that we let the professionals set the present in-person, the organizations need to be direction within their own organizations. If the vision sustained so that when we come out of this we have is coherent and compelling, we support it. We don’t as strong or stronger of an arts culture than when have a predisposed idea of what an organization the pandemic began." has to be or do in order for it to get funding. We

Todd and Betiana Simon at Opera Omaha’s 2018 Gala

64 OPERA OMAHA 2020/2021 65 OPERA OMAHA STAFF BOARD OF DIRECTORS ADVISORS ROGER WEITZ | GENERAL DIRECTOR Elisa B. Davies | Chair Linda Andersen ADMINISTRATION Maria Carlson | Treasurer Dr. A. Barron Breland JENNY DAGGETT | DIRECTOR OF FINANCE & HUMAN RESOURCES Carol E. Domina | Secretary Sandra Bruns Erica Helgerud | Weitz Fellow

Dr. Washington Garcia | Advisors Chair Dr. Viv L. Ewing Rebecca Ihnen | Office Manager David G. Brown Dr. Michael L. Hilt

OPERA OMAHA BOARD BOARD OMAHA OPERA DEVELOPMENT, MARKETING & Linda Burt Rebrovic Mark Hinrichs PUBLIC RELATIONS Kevin Corwin Carter Jones SHANNON WALENTA | MANAGING DIRECTOR

David E. Gardels Vernie Jones Rachel Austin | Graphic and Digital Media Manager

Anthony Goins Mark Allen Maser Rebecca Brown | Director of Marketing and Public Relations

Dr. Cheryl Logan Dr. Debra Ann Reilly-Culver Howard Coffin | Audience Development & Sales Manager

Jerry O’Flanagan Mary Ann Strasheim Karen Flayhart | Director of Development

Jerry Syslo Laura Jaros | Annual Fund Manager EMERITUS BOARD Dr. James Tracy Terrence J. Ferguson OPERATIONS Jim Winner KURT HOWARD | PRODUCING DIRECTOR Robert E. Owen Kelly Sanford | Opera Omaha Guild President Melanie Bacaling | Associate Producing Director Anne Thorne Weaver* Chris Tombrello | Craftsman’s Guild President Mark Blice | Technical Director

Katherine Clanton | Director of Production

Nicholas Davis | Holland Community Opera Fellow

Gwenna Fairchild-Taylor | Holland Community Opera Fellow

Jared Hiscock | Holland Community Opera Fellow

Sean Kelly | Head of Music

Lauren Medici | Director of Engagement Programs

Fernando Antonio Montejano | Holland Community Opera Fellow

Diego Plata | Community Opera Fellowship Manager

Stephanie Shattuck | Operations Manager

*Deceased

66 67 OPERA OMAHA GUILD CRAFTSMAN'S GUILD MEMBERS 2020-21 GUILD EXECUTIVE COMMITTEE AT LARGE BOARD Samantha Antes Mark Kalal President | Kelly Sanford MEMBERS Betty Foster Mark & Cindy Baumer Christine Lund President Elect | Deb Peterson Cindy Hanley Betty Beach Julie Mead Past President | April Nebel Sheila McNeill Harriet Backenhauer Christine & Patrick Peters VP Education | Pauline Quinn Mary Ellen Mulcahy Jenny Bruce Hilarie Price VP Fundraising | Jon Nebel Gwen Olney Ian Bugeja Sharon Renshaw VP Membership | Connie Kinnear Erin Sample Tom Burton Cheryl Sanwick VP Social | Josie Wadman Dorene Sherman Gina Carusi Dick Serpan Corresponding Secretary | Vivian Davis Sherry Taxman OPERA OMAHA CRAFTSMAN'S GUILD CRAFTSMAN'S OMAHA OPERA Kristen Drescher Margret Sexton Recording Secretary | Mark Maser Sara Young Mary Fieber Pamela & David Skidmore Treasurer | Heike Langdon

Melissa Fritz Cathy Schaefer

Kate Gannon Rebecca Schaefer

Bill Gaus Mary Starr Smith

Nora Mae & John Gibson Shelby Snell

Julie Harmon Chris Tombrello

Leslie Vann

Annika Weber

68 69 OPERA OMAHA DONORS It is our honor to recognize community members who, through their generosity to Opera Omaha’s Annual Fund, have Carole and B. Herbert Dewey II Rebecca and Jason Stromquist Edward Chaperon demonstrated an inspiring commitment to ensuring the cultural vibrancy of our region. The combined generosity of these donors Gloria and Roy Dinsdale Susan Swindells Nora and Daniel Chesire Pamela and Michael Draemel Sue and Tom Tallman Lynne Chesire has enabled Opera Omaha to uplift the spirits of thousands of people at a time when our work has never been more vital. Helga and Clark Fensterman Ekapon Tanthana Christine and Bob Chilcoat Maria Fernandez Donald Thayer Megan Christensen This listing reflects gifts received between July 1, 2019- March 1, 2021. Dr. Jon Flanagin Suzanne Titus Angela Chrystal Hon. Marcena Hendrix and Sheila Christ and Fred Vakili Joan and Don Cimpl Dr. Howard Fox Ann Van Hoff Mikel Claborn CHAIRMAN’S CIRCLE Nancy and Michael McCarthy Murray Joseph Casey Sharon and Mark Frey Ann Stephens and John Vasiliades Kay and Bernie Clark Sharee and Murray Newman Melanie and Jeffrey Chapman Judith and Craig Fuller Sarah Watson Dinah and Tim Clark $100,000+ Connie and H. Don* Osborne Janet and Samuel Cohen Elizabeth and John Fullerton Laura Wilwerding Jessica Cockrell Anonymous (1) Lisa and Tyler Owen Joan Desens and Simon Carr-Ellison Kate Gannon and Chris Tombrello Timothy Held and Jay Worden Mary Jo and Richard Coffey Richard D. Holland* Linda Burt Rebrovic and John Rebrovic Diana and Robert Foster Bill L. Gaus Melanie and John Wright Diane and Howard Coffin Eve and Fred* Simon Janet and Jerry Syslo Valeria Aguilar and Washington Garcia Mary and Barry Gerken Sarah and Adam Yale Deborah Cooper Monte and Duane Thompson Jeffrey Grinnell and Daniel Gallagher James Harper Geoffrey Yeomans and Bruce McKeefry Mary Virginia Corkle Phyllis and Delmer Toebben Judy and George Haecker, Jr. Dr. Gerald Christensen and Mary and Anthony Yonkers Jill and Terry Cosier

OPERA OMAHA DONORS OMAHA OPERA PRESIDENT’S CIRCLE Terry Tomcsik Caroline and Mark Hinrichs Ms. Mary Clare Haven John A. Yost Denise Cotton $50,000-$99,999 Clara and Harold Hoover Carol and James Healy Sara and John Young Maribel Covarrubias Anda Howe Constance Heiden Susan and John Zeilinger Martha and Jon Crane Vernie and Carter Jones GUARDIAN Teresa and Fred Hunzeker Helen A. Pearson Charitable Trust Eileen Crinklaw Anne and Alan Simon $3,500 TO $4,999 Sally and Gary Kaplan Stanton Hoppe Michele J. Curran Betiana and Todd Simon Ann and Don Hosford FRIEND Patricia Currans-Sheehan Jerry C. Gose Sandra and Jon Kayne Stacy and Bruce* Simon Dr. Linda Matson and $1 TO $299 Jenny and Wade Daggett Annette and Steven Huff Wende and John Kotouc Mr. Michael Howland Susan Schonlau and David Danielson Vicki and David Krecek Heike and Adam Langdon Anonymous (8) Susan and Craig Ihnen Janice and Kevin Dart PRODUCER Ann and Paul O'Hara Cheryl Logan Sheri and Michael Abramson Bonnie and David Jaros Bradley M. Davis Pauline Quinn Cheryl and Luke Matranga Laureen Ackermann $25,000 TO $49,999 Vibeke Jensen Deanna and Keith Davis Silvia Greene Roffman Kristine and Craig McVea Megan Addison Jeffrey Johnston Vivian and Spencer Davis Anonymous (1) Ginger Talbot Angenette and Bob Meaney Victoria Alapo Mark Johnston Marda Deane Cindy and Mogens Bay Dr. and Mrs. James Tracy Polly and Frank Partsch Hesham Ali Joan and Richard O'Brien Deb and Eric Peterson Sylvia Jones Barbara and Dennis Anderson Carole DeBuse Mary and Richard Parrish Denise and Hobson Powell Donna and James Kalar Jon Anderson Deborah Denenberg Julie M. Schroeder SUSTAINER Casimiro Rangel and Erik Henningsen Sally and Kenneth Kampfe Lauren T. Anderson Hillary Nather-Detisch and Annette and Paul Smith $1,500 TO $3,499 Zach Rawling Ruth Ann Keene Nancy and Richard Babcock John R. Detisch Meredith and Drew Weitz Jane Renner Hood Kari and Dan Kinsella Ronald Bailey Gail A. Dolan Anonymous (1) Katie Weitz, PhD and Tim Wilson Tom Richter Marilyn and Mark Kirchhoff JoAnne and Randy Baldwin Judy Doran Linda Matson Andersen Joan Gibson and Donald Wurster Greta Vaught and John Ritland Lynette and Paul Krieger Shelli Bandemer Keturah and Mathieu Doucet Backer Family Charitable Trust Gail and Michael Yanney Susan and Craig Seamands Barbara and Marshall Kushner Nancy W. Barbour Mark Draper Roger Blauwet Donna and Coyner Smith Diny and James Landen Lacey Barron Jennifer Dreibelbis Jo Bartikoski and Don Westling Margaret and Donald Spielman Jack Larsen Katie and Chad Bauerly Viseslav Drincic BACKER Dr. Betty L. Beach Janet Strauss Shan Lawton Marti Baumert and Richard Jeffrey Sean Duffy Jan Buckingham and Lauren Ronald $10,000 TO $24,999 Sherry and Jeff Taxman Julie and Joseph Lecci Susan Baumert Siobhan Duffy Maria Carlson Lourdes Secola and Sheldon Lerner Patricia and Robert Ecklund Anonymous (1) Susan Thomas and Steven Hutchinson Erna Beach Roberta and Philip Christensen Meredith Fuller and James Luyten Michael Egel Maggie and David Brown Patricia Victor Debra Bell Elisa and Drew Davies Elizabeth and Rodney Markin Carol and George Engelmann Linda and Tim* Daugherty Jaymi and William Victor Denise and Robert Bennett Betty Foster Dorothy and Daniel McKinney Karla Ermel Carol E. and David A. Domina Verne Weber Mayrene Bentley Devin J. Fox, MD Tulani Grundy Meadows and Karen and Richard Everett Catherine and Terry Ferguson Ann and John Williamson Laila Berre Dana and Stephen Gehring Othello Meadows Viv and John Ewing Kyoko and Jonathan Fuller Samuel Bertino Dr. James and Dawn Hammel Jane and Philip Meyer Susan Feder Linda and Jerome Gordman Dr. Robert T. Binhammer Kurt Howard ADVOCATE Donald Moran Mary and Ronald Ferdig Joanne and David Kolenda Jesse Black Ruth and James* Keene Sandra Morar Kim and Adrian Ferguson Geraldine and Bruce Lauritzen $300 TO $749 Amy Blanchard Dr. and Mrs. Rudy Lackner Karen and Paul Mullen Liz Ferguson Ann Mactier Anonymous (2) Barbara and Frank Blank Deana and Michael Liddy Shawn and John Newman Sarah Marie Ferneding Robert E. Owen Laura and Bryan Alexander Patricia Boettger Paul Ledwon and Mark Allen Maser Gwendolyn Olney and Scott Peters Mary Fieber Thompson H. Rogers Cheryl Arends Amy Bones Sharon McGill Mary and Jay Palu Christine and Mauro Fiore Ellen and Richard Slosburg Eileen and Timothy Arkebauer Joshua Borgmann Sheila McNeill Jennifer and Thomas Pansing Cassandra Fish Martha and David Slosburg Margaret Bates Donna Thomas and Gerry Bowman Joan and Robert Miller Janet and Louis Pol James Fitzgerald Kate and Roger Weitz Cindy and Michael Baumer Matthew Bross and Chad Eacker Katherine and Jerry O'Flanagan Elizabeth and Jerry Powell Sheila Fitzgerald Susan Grant and Rex Beck Robert Brow Barbara Person and Scott Burger Linda and Bill Pratt Karen Flayhart Bob Benzel and Gerry Sullivan Elijah Brown Constance Ryan Emily Pulley Elizabeth and John Fluehr BENEFACTOR Samuel M. Bierner Joel Brown Shirley and Michael Sorrell Patricia and Robert Ranney Shirley Flynn $5,000 TO $9,999 Franz Blaha Sharon A Brown Kara and Joe Spitzenberger Lee Reavis Terry and Mollie Foster Judith A. Boelts Jenny Bruce Sharon and Randy Blackburn Mary Ann and Jerrold* Strasheim Victoria and Edward Roche Hal France Susan and Ethan Bondelid Jill Bruckner Anne and Stephen Bruckner Mary and George Surber Noyes W. Rogers Laura Franz Jennifer Boomgaarden Timothy Bryant Sandi and Bill Bruns Gail and Irving Veitzer Carol and Richard Russell Andrew Frost Beth and Steve Borgmann Janice and Mario Buda Alice Corning Liza and George Wehbe Rachel Rutar Steven E. Gardels Lyn and Stephen Bouma Judeen Bursovsky Debra Reilly-Culver and Robert Culver, Jr. Anne and Arnold Weitz Susan Scherl Cathy Gellinger Kathleen Joan Bradley Clare and Tom Burton Linda and David Gardels Mary Beth and James Winner Barbara Schlott Kristine and Jared Gerber MaryLou and Mark Brasee Jason Cain Kimberly and Anthony Goins The Phillip and Terri Schrager Foundation Sarah Gilbert Katie and Corey Broman Karen and David Campbell Vivian and Allen Hager Lindsey and Scott Semrad Jacqueline Gill Janet and Donald Bumgarner Karin Campbell Ramona and Deryl Hamann PATRON Kay M. Shilling, M.D. D. Scott Glasser Holly and John Cimino Jacqueline and Jeremy Caniglia Mary Jetton $750 TO $1,499 Sissy Katelman Silber Ann and Donald Goldstein Edward Cohn Joseph Carnazzo Stephanie and Jack Koraleski Donald Slaughter Susan Grande Marian Andersen Sylvia Cohn Thomas Carr Janet and H. Frederick Kuehl Patricia and Sanford Smith Sonya and Christian Gray Jack Becker and Lester Katz Cora and Maurice Conner Alexander Cayetano Dr. Alan Langnas Joan H. Squires John K. Green Teri and David Black Maureen and Daniel Crouchley Amy Cerra Jane and Michael Levin Glenda and George Steinsberger Michael L. Gregory Ann and David Burkholder Melissa and John Dahir Tom Chandler and Bill Schaffer

70 *Deceased 71 CORPORATE, FOUNDATION & GOVERNMENT DONORS Jan Grimes Carole and Wayne Lainof Sandra and Jeffrey Passer Amanda Stevenson CHAIRMAN’S CIRCLE ADVOCATE M. Kathlyn and R. Michael Gross Jon Lammers Jessica and Dennis Pate Jeff Stormberg Taylor Gunnels Alison Larsen Robert Patterson Mary A. Sturek $100,000+ $1 TO $4,999 Mary Beth Gust Connie Leaders Diane and Robert Peabody Anna and Rock Sumner Anonymous (2) Backer Family Charitable Trust Carol and Peter Gwilt Katie LeDoux Catherine and Richard Pedersen Elaine Sundberg Douglas County Board of Commissioners Barnhart Press Marilyn and Robert Hansen Shirley and Gary Lee Brian Penly Katherine and John Sutula Fred and Eve Simon Charitable Foundation The Fred and Sally Bekins Foundation Belle and Ryan Hansen Della and Jack Lee Rev. Roland Peschel Jennifer and Darin Taylor Holland Foundation Benevity Community Impact Fund Nancy and Randall Hanson Elaine Leise Susan Petersen Jonie and Paul Ternes National Endowment for the Arts Edward and Lida Robinson Jack Edward Hardwick Patricia Leuschen Jeannine and Mike Phelan Jann and Lawrence Thomas Omaha Steaks Charitable Trust Stephanie and Tom Hartig Mr. Fred Levins Sr and Mrs. Levins Brian C Phillips Anne Thorne Weaver* Ann and Gordon Getty Foundation Film Streams Matthew Harvey Ryan P. Lewis Pamela Pierce Michele Tilley OPERA America: Innovation Grants Fraser Stryker William and Gretchen Harvey Stan Lewis Travis Plummer Lindsey Tomaso Peter Kiewit Foundation Humanities Nebraska Jeremy Hatch Sherryl and Hiram Lilley Frances Pollock Judy Torrens Weitz Family Foundation Lincoln Financial Foundation, Inc. Mary Jo Havlicek Lady M. Lindal Kelly Pook Kristine and Marv Treu Network for Good Jane and Edward Hawks Joseph Lindsay Joan Powell Anne and Charles* Trimble Omaha Community Foundation Diane Hayes Patrice and James Lippert Amie and Carlos Prendes Jerry Tyrrell PRESIDENT’S CIRCLE Opera Omaha Craftsman’s Guild

OPERA OMAHA DONORS OMAHA OPERA Cheryl and Joe Hazel Emily and Tom Lischer H. Margo Prentiss Deborah Vacek $50,000 TO $99,999 The Rea Charitable Trust Colleen Heavican Cass Daphne Lison Neva Pruess Carol Gutchewsky and Leslie Valentine First National Bank of Omaha Security National Bank Melanie and David Hecker Billie D. Logan KC Pullen Dragana and Louis Veneziano Nebraska Arts Council Mary Helms and Kenneth Olson Casey Logan Mary and David Pumphrey Mary Lee and John Vitton Nebraska Cultural Endowment Ann and Gary Henningsen Kathleen and John Lohr James Pyrzynski Raymond W. Vondrak Omaha Magazine Kasey Hesse Jeffrey B. Loomis Mary Ellen and Charles Quinby Shannon and Michael Walenta Opera Omaha Guild Marshall R. Hill Jan and Blake Lund Alysia Radicia Paula Wallace Tilly's Diana and Milton Hill Christine Lund Benjamin Rasmussen Patricia and John Waters Shari Hofschire Susan and Stanley Mandler Jenene and Herman Rauth Diane Watson Andrea Hoig Mary Manhart Cynthia and David Rector Carolyn B. Weber PRODUCER Sandra Hollenbeck Karla and John Marburger Maryle Reimers Erin C. Wetzel $25,000 TO $49,999 Lynn and Sam Holley Mary Mattingly Matthew Reinarz Annette and Tim White Elizabeth Holub James May Paige Reitz Merica Whitehall Bailey Lauerman Rose Homan Catherine and Marcus Maydew Matthew Reznicek Sierra Whitfield Heider Family Foundation Terrilyn Quick and Rick Horn Joan and Ed McCarthy Tara Richardson Jeff Wiemiller Iowa West Foundation Cindy Horvath Carol and Mike McClellan Holly Richmond Stanley A. Wileman Jr. Nebraska Cultural Endowment Margaret Horvath Deborah and John McCollister Laurance Ring Ann and John Will Valmont Industries, Inc. Tonya House Leslie McCuiston Carla and Joseph Risko Patricia P. Will Sarah Howard Elizabeth McDaniel Patricia and William Ritchie Nancy Williams BACKER Ken Hunt Kenneth McGill Sara Robbins Sara Williams Rebecca Ihnen Ilana Mcnamara Robert Weinacht Bettia Williamson $10,000 TO $24,999 Laura Jaros Aviva Segall and Patrick McNamara Dr. Debra J. Romberger Alice Wilson Anonymous Beth Jensen John McWilliams Molly Romero Nancy Wilson Conagra Brands Foundation Robert Johansen Lauren Medici Susan and Clark Rosenlof Shelli Wingett Mutual of Omaha Amanda Johnson Beth Merritt John Rosman and Rod Carlson James Wink Pacific Life Foundation Hon. Douglas and Mary Johnson Ann Jansen Michelson and Brent Michelson Jane Ross Heinz D. Woehlk RSM US LLP Nancy Johnson James Miller Taylor Roth Rita Wolfe State of Nebraska Patricia and Elden Jonas Peter Miller Jan Rowley Vance Wolverton Union Pacific Corporation William Josephson Robert Miller Katie Blesener and John Royster Casey Wood Wayne Kallstrom Jeanne and Steven Miller Ralph Roza Maggie Wood Robin and Henry Kammandel Joe Mlnarik Courtney Rudick Deborah and Douglas Woodworth BENEFACTOR Kathryn Kasher Betty Morar Rev. David Rykwalder Joe Woracek $5,000 TO $9,999 Joseph Kavan Marcia Morell Sawsan Saeed Judy and Frederic Youngscap Catherine Keefe Susan and David Morris Judy* and Larry Sampier Joe Zaborowski Burlington Northern Santa Fe Foundation Anne Marie Kenny Richard Morris Mark Sanford Group Barbara Zach Fiserv Jeffrey Kent Matthew Morse Anonymous Edith and Robert Zahniser Giger Foundation Ken Kester Lisa Mueller Kathryn Riesz Schapper and Andrea Zardetto-Smith The Hawks Foundation Patricia and Christopher Kircher Matthew Munderloh Aaron Schapper Pamela and Doug Zbylut HDR, Inc. Gary Kiser Anne Nagosky Rita and Dean Schechinger Michael Zimmerman Husch Blackwell LLP Thomas Klein Sandra and Michael Nathan Mary Jo Schiro Sylvia and Nathan Zingg Kinghorn Gardens Julia Kleinschmit Matthew Navarrete Laura Schoenrock Adah and Leon Millard Foundation Paula and Ralph Knepper April and Jonathan Nebel Eric Schomaker Mutual of Omaha Foundation Dr. Merlyn Knudson and Karen and Larry Nelsen Mark Schreiner Peter Kiewit Sons', Inc. Mr. James F. Davis Ann Nelson Karen and Philip Schultz Tenaska Maria Knudtson Laura and Brad Nielsen Margaret Semin Nebraska Tourism Commission Paul Koenig Roxanne Nielsen and Greg Norton Margaret Sexton Rose Blumkin Foundation Inc. Lorie and Gregory Koll Anna Nolan James Shade U.S. Bank Robert Kreiser Rodney Nordeng Rose Shaffer Whitmore Charitable Trust Ron Kroenke Julia Noulin-Mérat Joan and Charles Shapiro William R. Patrick Foundation Elaine Kruse David O. Oakland Joseph W. Shea John Kubat Brenda and Randy Oathout Dorene Sherman Mary and Thomas Kulhman Michele Okon Jonathan Shiff Barbara Kuhn Kristina Olson MacKenzie Shinbara Anonymous Rachel Jacobson and Stephen Osberg Craig Singletary Leslie Kuhnel Tye Osburn Jean and Thomas Sitzman Robert Kuzelka Kim Kalkowski and Robert Ottemann Magan and Timothy Smith Mary Alice and David Laferla Carmen and Toma Ovici Kim Sosin Dr. Timothy J. Crowley and Jeanie and Donald Owen Connie and Richard Spellman Ms. Celann LaGreca Catherine Pakiz Eileen Stark

72 *Deceased 73 FORTISSIMO SOCIETY Fortissimo Society Member Spotlight: A legacy that brings beauty, art RICHARD AND MARY PARRISH Richard Parrish was just ten years old when he fell in and opera to future generations. love with opera. “I was an army brat,” explained Richard. “My family was living in Germany for two years. One of my schoolteachers talked about opera and suggested that FORTISSIMO SOCIETY I attend one. I thought to myself: why not? I went We are honored by the selfless generosity of our Fortissimo Society home and asked my parents to take me - and I have been hooked on opera ever since. It’s just the perfect members who, through their estate plans, will continue to support Opera form of entertainment.” Omaha’s productions, education and engagement efforts, past their Although opera may be the first love Richard found own lifetimes. We invite you to join this esteemed group of individuals in Germany, it was not his last. As a young solider, who have demonstrated their deep commitment to the future cultural Richard was stationed in Germany where he met the greatest love of his life: his wife, Mary. vibrancy of our region. Mary and Richard Parrish with the grand Baldwin piano Mary - having completed her bachelor’s degree in they donated to Opera Omaha’s Leavenworth Studio. We proudly recognize the following Fortissimo Society Members music at Wayne State University - was in Germany on a two-year contract with the U.S. Army Service Club support the art that is so close to their hearts. Their Peppy* and Norman* Bahr Ephraim L. Marks* and David M. Rice* in Stuttgart and Hanau. After just three months since generosity has helped enrich the lives of thousands Jo Bartikoski and Don Westling Mark Allen Maser their first meeting, having completed her contract, of people. “We are very fortunate to be able to Betty L. Beach, PhD Joan F. and Richard L. O’Brien Mary returned home to Detroit, Michigan. What could give back—we contribute to many diverse arts Kathleen Joan Bradley Ann and Paul O'Hara have been the end of their romance turned out to be organizations in Omaha as well as the Metropolitan Sandra L.E. and William C. Bruns Mr. and Mrs. Robert E. Owen just the beginning. Opera and Broadway Cares. Opera Omaha has earned Ike and Roz Friedman Foundation Mary and Richard Parrish an incredible national reputation for its work. We are Linda and David Gardels Thompson H. Rogers “My friends in Germany told me that Richard was especially supportive of the efforts to promote new, Connie and Geof* Heiden Ruth and William Scott pining away for me,” recalled Mary. “Somehow he diverse artists, and are so pleased that the company Mary and Charles* Heider Eve and Fred* Simon managed to get a leave during the holidays to come is focusing on these aspects and bringing them to Mary* and Richard* D. Holland Dr. and Mrs. Michael Sorrell visit me in Detroit. He proposed on that trip!” the public with virtual programming. It has been Aline Hosman* Dr. Judith Stoewe* wonderful to see and participate in these events Sally and Gary* Kaplan Mary Ann and Jerrold* Strasheim Newlyweds, Richard and Mary returned overseas for two during our isolation at home and we are looking Joanne and David Kolenda Janet and Jerry Syslo more years and traveled as much as they could. After forward to live events in the future,” said Mary. Graham Lusk* Bruni and Roy* Thylin Richard was discharged from the service, the couple Ann and Allan* Mactier Mary Beth and James Winner settled in Detroit and Richard earned his bachelor’s and One of the best things in life that happened was Sharee and Murray Newman master’s degrees at Wayne State University. donating a Baldwin grand piano to Opera Omaha. Mary’s father was one of 11 children of a second- We are grateful to the following individuals “That’s really when our opera appreciation began,” generation German family that was very musically explained Mary. “The Metropolitan Opera toured in inclined. Her grandparents had very little money but who designated a portion of their estate to those days and we were so fortunate to see some owned a Steinway spinet. Whenever the family would support Opera Omaha, upon their passing. really spectacular operas—Pavarotti and Sutherland gather, they would sing around the piano. in Daughter of the Regiment, Elizabeth Schwarzkopf in Rabbi Myer S. and Dorothy Kripke Rosenkavalier, for example. My first opera was Salome “I began piano lessons when I was 8, practicing on my Pauline D. Nelson with Leonie Rysanek.” grandparents’ piano, and my first piano was a Baldwin Howard Silberg upright. I loved that piano. It was such a proud Margaret Wiltse In 1978, Richard and Mary relocated to Omaha when moment to be able to give Opera Omaha a gift that Annie F. Zinn Richard accepted the position of Corporate Economist meant so much to us.” at Northern Natural Gas. Mary’s professional career also thrived in Omaha. In 1979, she joined Valmont By joining Opera Omaha’s planned giving society, the SPECIAL FUNDS Industries and eventually became the International Fortissimo Society, Richard and Mary have created Logistics Manager of the company’s Irrigation Division. a legacy that will help ensure future generations are We thank the donors who have established “It was not easy to find a job,” recalled Mary. “I faced able to experience the art they love. restricted funds to honor a family, friend and loved a lot of discrimination [as a woman]. I remember with “Communities need to have their own opera one. These named funds provide important ongoing my friend, Bob Armstrong, who as a Black man faced more discrimination than I, having long discussions. companies,’ stated Richard. “There is nothing more support through Opera Omaha’s endowment. He always told me to stay strong - that I would find perfect than seeing opera in person - it fulfills your the right job. And I did. I absolutely loved my role at life and should be shared. There is nothing like it – its breathtaking visuals, the drama, the music - it’s magic. The Barbara Willson Fund Valmont. I was one of the first women promoted to It is our hope that our gift to Opera Omaha will enable The Jane Hill Education Fund management. It was a wonderful job and a wonderful more people to experience all of the beauty of opera The William Randolph Hearst Fund company – I was there for 31 years. in person for years to come.” “Success isn’t only the result of hard work-people have to be given chances. I can’t emphasize that For more information about Opera Omaha’s Fortissimo For more information, please contact Opera Omaha at enough. Richard and I were lucky to have been Society, please contact Karen Flayhart, Director 402.661.8435 or email [email protected]. given opportunities.” of Development, at [email protected] or 402.661.8435. Richard and Mary are incredibly grateful for their *Deceased professional success that has enabled them to 74 OPERA OMAHA 2020/2021 75 MEMORIALS AND TRIBUTES AND MEMORIALS

ARTISTS FIRST SPONSORSHIP PROGRAM MEMORIALS & TRIBUTES 2020 ONE FESTIVAL TICKET DONATIONS Honoring the artists who make great opera possible IN MEMORY OF: IN HONOR OF: Laura and Bryan Alexander EDWARD CARUSI MARY AND CRAIG BIRCHER Linda Matson Andersen Omaha values excellence and artistry. Opera Omaha embodies this community value by bringing Gina Carusi Shirley Flynn Carolyn Owen Anderson world-class singers and artists to the stage each season. In honor of these talented individuals, Barbara and Dennis Anderson AARON CASS KAREN FLAYHART AND RABBI Lauren T. Anderson Opera Omaha was pleased to introduce this season the Company’s Artists First sponsorship program, Tammy Arp Colleen Heavican Cass comprised of a committed group of individuals, corporations and foundations whose financial BRIAN STOLLER Marti and John Atherton Lourdes Secola and Sheldon Lerner Nancy and Richard Babcock ARTIST FIRST SPONSORSHIPS FIRST ARTIST investment directly underwrites the company’s operatic singers and artistic personnel. LYNNE DREIBELBIS Shelli Bandemer Jennifer Dreibelbis RUTH KEENE Amy Barrett Supporting artists has long been an essential tenet of Opera Omaha. During what has been an Ruth Ann Keene Jo Bartikoski and Don Westling HUGH AND CORINNE LEVIN Margaret Bates exceptionally difficult time for the industry, Opera Omaha has been a beacon of hope for artists – Jane and Michael Levin SEAN KELLY Susan Grant and Rex Beck Linda and Dennis Bernadt many who have lost their livelihoods due to the spread of Covid-19. We wish to recognize and thank Tara Richardson JIM KEENE Dr. Robert T. Binhammer Jesse Black this season’s Artist First contributors for their great generosity that has enabled Opera Omaha to Ruth Ann Keene MARK MASER Sharon and Randy Blackburn Ann and John Williamson deepen its relationships with the talented artists, deliver breath-taking digital works and bring the art Kristine and Jared Gerber Barbara and Robert Blair we love safely back to the live stage this spring. Amy Blanchard SALLY LUSK GWEN OLNEY Robert Brow Tom Chandler and Bill Schaffer Karin Campbell Maggie and David Brown Sheila McNeil Sharon A. Brown Mary Ellen Mulcahy Anonymous OPERA OMAHA STAFF Anne and Stephen Bruckner Kate and Roger Weitz Timothy Bryant Jo Bartikoski and Don Westling Janice and Mario Buda Liz Ferguson Mogens and Cynthia Bay MASAKO AND BILLIE F. LOGAN Chelsea Burdic Billie D. Logan Gertrude L. and Donald Burge DENISE BLAYA POWELL Ann and David Burkholder Terrence and Catherine Ferguson Joan Powell HELEN A. PEARSON Joseph Carnazzo Murray Joseph Casey Helen A. Pearson Charitable Trust First National Bank of Omaha KELLY AND MARK SANFORD Alexander Cayetano Anonymous Edward Chaperon JOEL REVZEN Taylor Gunnels Megan Christensen Deryl and Ramona Hamann Pamela and Michael Draemel Angela Chrystal EVE SIMON Jessica Cockrell Cora and Maurice Conner Kiewit Corporation CYNTHIA SCHNEIDER Carmen and Toma Ovici Betty Morar Deborah Cooper Jessica Corman CHUCK TRIMBLE H. Frederick and Janet Kuehl JERRY SYSLO'S MOTHER Jill and Terry Cosier Hal France Denise Cotton Mary Beth and James Winner Maribel Covarrubias Richard and Mary Parrish ROGER WEITZ AND THE OPERA Daniel Cox ANNE THORNE WEAVER OMAHA TEAM Kathleen J. Crawford-Rose Tom Chandler and Bill Schaffer Michele J. Curran Maggie Wood M. Kathlyn and R. Michael Gross Patricia Currans-Sheehan Kate and Roger Weitz Melissa and John Dahir For more information about the Artists First sponsorship program including associated benefits that JOHN AND SARA YOUNG Janice and Kevin Dart Vernie and Carter Jones bring you closer to the art and the artists, please contact Karen Flayhart, Director of Development, at DAPHNE WINNER Deanna and Keith Davis Sheri and Michael Abramson Vivian and Spencer Davis 402.661.8435 or email [email protected]. JoAnne and Randy Baldwin Sara Dean Anne and Stephen Bruckner Jerry Deichert Cindy Horvath Hillary Nather-Detisch and John R. Detisch Mary Alice and David Laferla Gail A. Dolan Shawn and John Newman Stephen Dolezal Jeannine and Mike Phelan Carol E. and David A. Domina Jenene and Herman Rauth Judy Doran Donald Thayer Mark Draper Silas Blake Duncan Carol and George Engelmann Karla Ermel Susan Feder Mary and Ronald Ferdig Catherine and Terry Ferguson

76 77 Cedric Fichepain and Joseph Lindsay Jane Ross Desarae Mueller-Fichepain Patrice and James Lippert Taylor Roth Mary Fieber Nano and Douglas Little Ralph Roza Cassandra Fish Kathleen and John Lohr Courtney Rudick Sheila Fitzgerald Mary Lomax Mark Sanford Group Betty Foster Susan and Stanley Mandler Rita and Dean Schechinger Terry and Mollie Foster Mary Manhart Mary Jo Schiro Bonnie and Joseph Fowler Charles Mason Laura Schoenrock Sandra Franklin Cathy Matlack Eric Schomaker Elizabeth and John Fullerton Denise Matthews Christine Lund Margaret Sexton Linda and David Gardels Sue and Bruce Mattson James Shade Mary and Barry Gerken Joan and Ed McCarthy Rose Shaffer Jacqueline Gill Carol and Mike McClellan Jonathan Shiff Morgan and Ben Goethel Deborah and John McCollister Sissy Katelman Silber Susan Grande Leslie McCuiston Barbara and William Simmons Mary Beth Gust Kenneth McGill Eve and Fred Simon Carol and Peter Gwilt Sheila McNeill Danielle Simpson Patricia and Richard Hannan Lacey Merica Craig Singletary Matthew Harvey Jane and Philip Meyer Donald Slaughter William and Gretchen Harvey Ann Jansen Michelson and Brent Michelson Martha and David Slosburg Melanie and David Hecker Robert Miller Magan and Timothy Smith

2020 ONE FESTIVAL TICKET DONATIONS TICKET 2020 ONE FESTIVAL Scott Hegenbart Jeanne and Steven Miller Shirley and Michael Sorrell Ann and Gary Henningsen Donald Moran John Stavropoulos Conal Hession Marcia Morell Carol and Steven Stoppkotte Doug Hildebrand Susan and David Morris Rebecca and Jason Stromquist Marshall R. Hill Richard Morris Suzanne Sughroue

Diana and Milton Hill Anwar Nasir Michael Suing C

Shari Hofschire Matthew Navarrete Janet and Jerry Syslo C Sandra Hollenbeck Dr. Paul J. Nelson Ginger Talbot M Lynn and Sam Holley Roxanne Nielsen and Greg Norton Mary K. Thomsen M Rose Homan Anna Nolan Anne Thorne Weaver* Y Y Terrilyn Quick and Rick Horn Rodney Nordeng Jeri Thurber CM

Ann and Don Hosford David O. Oakland Michele Tilley CM Emily Hough Brenda and Randy Oathout Suzanne Titus MY Ken Hunt Ann and Paul O'Hara Mike Tjepkes MY Robert Johansen Michele Okon Dorothy and Allan Tubach CY CY Mark Johnston Kristina Olson Deborah Vacek CMY

Patricia and Elden Jonas Tye Osburn Sheila Christ and Fred Vakili CMY Vernie and Carter Jones Kim Kalkowski and Robert Ottemann Kate Valaer K Brian Jorde Jeanie and Donald Owen Carol Gutchewsky and Leslie Valentine K Wayne Kallstrom Catherine Pakiz Ann Van Hoff Robin and Henry Kammandel Christos Papachristos Gail and Irving Veitzer Sally and Gary Kaplan Mary and Richard Parrish Dragana and Louis Veneziano Kathryn Kasher Jessica and Dennis Pate Mary Lee and John Vitton Audrey and Richard Kauders Catherine and Richard Pedersen Raymond W. Vondrak Joseph Kavan Brian Penly Patricia and John Waters Catherine Keefe Scott Peters Diane Watson Mr. and Mrs. James* H. Keene III Susan Petersen Carolyn B. Weber Jeffrey Kent Deb and Eric Peterson Liza and George Wehbe Ken Kester Brian C Phillips Barbara and Wallace Weitz Thomas Klein Travis Plummer Jeff Wiemiller Julia Kleinschmit Kelly Pook Ann and John Will Joanne and David Kolenda Elizabeth and Jerry Powell Patricia P. Will Vicki and David Krecek Jane Precella Sara Williams Brad Krieger Mary and David Pumphrey Bettia Williamson Elaine Kruse Mary Ellen and Charles Quinby Nancy Williamson John Kubat Pauline Quinn Nancy Wilson Janet and H. Frederick Kuehl Brandon Randolph Shelli Wingett Barbara and Marshall Kushner Toni Reese Mary Beth and James Winner Robert Kuzelka Maryle Reimers Rita Wolfe Carole and Wayne Lainof Tom Richter Deborah and Douglas Woodworth Jon Lammers Alison Rider Joe Woracek Julie Langholdt Laurance Ring Barbara Yarber Alison Larsen Carla and Joseph Risko Geoffrey Yeomans and Bruce McKeefry Julie and Joseph Lecci Jacqueline Sorrels and Alex Ritter David Yllanes Katie LeDoux Sara Robbins Mary and Anthony Yonkers Lourdes Secola and Sheldon Lerner Robert Weinacht Sylvia and Nathan Zingg Deana and Michael Liddy Victoria and Edward Roche Lady M. Lindal Molly Romero

78 OPERA OMAHA 2020/2021 79 OPERA OMAHA REPERTOIRE HISTORY 1958-59 1970-71 1980-81 1989-90 1997-98 2005-06 2014-15 Madama Butterfly Aida Così fan tutte Plácido Domingo in Concert Don Pasquale Paul Bunyan Opera Outdoors* Tosca Die Fledermaus Susannah Show Boat Madama Butterfly Madama Butterfly* Rigoletto* Oklahoma! Rigoletto Madama Butterfly La Cenerentola The Abduction from the Seraglio* A Flowering Tree* Hansel and Gretel 1971-72 Romeo and Juliet* Opera Omaha 40 Fidelio Rigoletto 1981-82 2006-07 1959-60 The Tales of Hoffmann The Daughter of the Regiment 1990-91 1998-99 Tosca 2015-16 Carousel Carmen Carousel Eric Hermannson’s Soul***† Wakonda’s Dream***† Opera Outdoors* Pagliacci/Quivera 1972-73 The Magic Flute Angelina Reaux in “Stranger Aida The Barber of Seville The Barber of Seville Here Myself” The Marriage of Figaro La fanciulla del West Madama Butterfly 1960-61 1982-83 Maria Padilla+ 2007-08 Semele* Romeo and Juliet The Golem+ Die Fledermaus Un Ballo in Maschera Don Pasquale 1999-00 All The King’s Men* Il Trovatore* 2016-17 La Traviata Faust The Magic Flute Samuel Ramey in “A Date with the The Tragedy of Carmen* 1973-74 Madama Butterfly Devil” Aida* Opera Outdoors* Samson et Dalila La bohème 1961-62 Tosca 1991-92 1983-84 Tosca* 2008-09 Così fan tutte* The Merry Widow The Marriage of Figaro My Fair Lady Flight* La bohème The Elixir of Love Aida* The Blizzard Voices***† Tosca 2000-01 Stranger from Paradise***† The Tales of Hoffmann Don Giovanni* The Pirates of Penzance 1962-63 1974-75 Don Giovanni Amahl & the Night Visitors* La bohème Carmina Burana/Pagliacci 2017-18 Carmen La bohème 1992-93 1984-85 Falstaff 2009-10 Opera Outdoors* La Périchole Lucia di Lammermoor Ermione+ Man of La Mancha Tosca* La Périchole Tosca The Gardens of Adonis*** Night for American Song Falstaff* Falstaff Pagliacci 1963-64 Autumn Valentine*** 2001-02 Medea* 1975-76 Gianni Schicchi/Pagliacci Eugene Onegin* Brundibár Proving Up*† Aida All-American! Concert The Marriage of Figaro The Barber of Seville La traviata The Flying Dutchman ONE Festival*** 1985-86 Amahl & the Night Visitors So in Love with Broadway* Manon Otello 1964-65 Bilby’s Doll Turandot 1993-94 Little Women 2018-19 The Barber of Seville Lucia di Lammermoor 2010-11 Lucia di Lammermoor Vive Toulouse! Don Giovanni Opera Outdoors* The Marriage of Figaro Requiem Variations*** Opera for the Cure* Pagliacci The Marriage of Figaro Don Giovanni 1976-77 Fidelio 2002-03 The Elixir of Love (L’elisir 1986-87 The Pirates of Penzance Madama Butterfly d’amore) 1965-66 Aida Richard Rodgers’ America Concert The Merry Widow La Traviata Les Enfants Terribles* Carmen + Rigoletto Don Pasquale The Barber of Seville 1994-95 2011-12 Faust* Madama Butterfly The Turn of the Screw* ONE Festival*** Don Giovanni Porgy and Bess The Merry Widow H.M.S. Pinafore This is Opera!* La Traviata Bloodlines***† Hansel and Gretel* 1966-67 1977-78 1987-88 Carmen The Marriage Contract* 2019-20 The Mikado Il Trovatore Madama Butterfly The Turn of the Screw* 2003-04 Opera Outdoors* The Ballad of Baby Doe Madama Butterfly The Abduction from The Juniper Tree* 1995-96 La bohème the Seraglio* Where’s Dick? 2012-13 The Abduction from the The Daughter of the Regiment* Lucia di Lammermoor Seraglio* 1967-68 The Bartered Bride Amahl & the Night Visitors* Turandot Cold Sassy Tree* La Traviata Tosca Carmen The Barber of Seville The Magic Flute* La bohème Bluebeard’s Castle* 2020-21 La bohème 1978-79 2004-05 Opera Outdoors Broadcast The Barber of Seville 1996-97 1988-89 The Threepenny Opera* 2013-14 MIRANDA*** 1968-69 Werther Così fan tutte* The Tender Land* MODULATION*** La Traviata La bohème Oklahoma! La bohème Dream of the Pacific***† Opera Outdoors* Bizet, Mahler and Chausson Opera Under the Stars* Carmen Partenope+ Faust Turandot Carmen 1979-80 The Diary of One Who Vanished La Traviata Agrippina* White Rose La cenerentola * New production 1969-70 Die Fledermaus* A Celebration of Bel Canto + American Premiere Faust La Traviata* Rigoletto *** World Premiere Cavalleria Rusticana/Pagliacci The Pirates of Penzance Manon † Commissioned Work

80 OPERA OMAHA 2020/2021 81 Without the dedication and perseverance of outstanding volunteers and support groups, our productions would not be as beautiful, our bottom line would not be as sound, and our sense of community would not be as strong. For these, and many other reasons, we extend a heartfelt thank you to the following organizations. We invite you to get involved and become a volunteer or member of one of our support groups. For more information about the following opportunities, please visit: www.operaomaha.org/get-involved or GET INVOLVED GET email [email protected].

OPERA OMAHA GUILD VOLUNTEERS OPERA OMAHA CHORUS The Opera Omaha Guild is a Volunteers help Opera Omaha The Opera Omaha Chorus dedicated group of men and complete essential tasks like is comprised of professional women who actively support assisting with community singers from Omaha, Lincoln and Opera Omaha’s fundraising and events, ushering at concerts, surrounding communities. Please community engagement and or providing additional office contact the Company for the education activities. Members support. It is clear without their next audition date. You must be plan and promote events such help, Opera Omaha would not be at least 18 years old to audition. as Cotillion (etiquette classes able to bring world class opera Prospective candidates will be for area sixth graders), social to Omaha stages or into the assigned a time slot and asked to luncheons, educational activities, community. Students can also present two selections: one in a opera study groups and pre- fulfill required community service foreign language, one in English, performance parties. If you are hours for groups like National and neither selection can exceed interested in joining the Opera Honor Society by volunteering five minutes in total. Arias, art Omaha Guild please call us at with Opera Omaha. For more songs, or church solos are all (402) 346-7372 or visit our information, please fill out the acceptable as audition pieces. website for additional information. inquiry form at operaomaha.org. Please provide printed music for the accompanist, who will be CRAFTSMAN’S GUILD SUPERNUMERARIES available at no cost. Integral to Opera Omaha’s Supernumeraries appear on success since 1962, the stage in non-speaking, non- TWEET SEATS Craftsman’s Guild members singing roles, much like being an Social media savvy people donate stagecraft skills in the extra in a movie. Being a “super” with great knowledge of the areas of wardrobe, makeup/ takes some time and patience, Twitterverse attend the final wigs, concessions, and parties. but is a lot of fun and a great dress rehearsal of each opera and Focused on meeting the learning experience. Super roles tweet throughout the production backstage needs of guest artists are varied but might include offering real-time reviews of the and the production, members servants, soldiers, peasants, productions before opening night. enjoy the camaraderie and priests and priestesses, dancers, reward of helping to create top bartenders, waiters, ragamuffins, notch performances for the pickpockets, and sometimes Omaha community. even animals! All ages, including children, are needed.

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