From the Mississippi Board of Directors President | 4 From the General/Artistic Director | 5 Mississippi Opera Board of Directors 2018-2019 | 7 Past Presidents Board of Directors | 7 Title Page/ Cast of Characters | 8 Creative/Production Staff | 9 La Bohème Synopsis | 10 Meet the Composer | 12 Cast Biographies | 15 Chorus | 21 Orchestra | 22 Contributors | 23 Mississippi Opera Association Diamond Jubilee Society | 24 Mississippi Opera Guild Past Presidents | 25

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This program is published in association with Onstage Publications, 1612 Prosser Avenue, Kettering, OH 45409. This program may not be reproduced in whole or in part without written permission from the publisher. JBI Publishing is a division of OnStage Publications, Inc. Contents © 2019. All rights reserved. Printed in the U.S.A. FROM THE BOARD PRESIDENT

e are concluding our 73rd Mississippi WOpera season with one of the five most frequently performed opera in the U.S. and internationally, ’s La Bohème. We last performed this opera in 2007. Take time to appreciate what is going on, all at the same time—the vocals, the orchestra, the chorus, the choreography, costumes and props, and the tale being told—this is what makes opera the most inclusive of the musical arts.

This has been a busy season. We started our season with our sixth National Vocal Competition, and the Winners’ Concert in September. Our Cabaret at Duling Hall series consisted of four musical theater productions scattered throughout the season. We also had a performance of The Hilarious World of Gilbert & Sullivan in November and Amahl and the Night Visitors in December. And, here we are with tonight’s major spring production. That’s seven performances in all for this season. We can thank our artistic director Jay Dean and Tippy Garner for pulling all this together for us.

We also thank our donors who are mentioned in this program for enabling us to have opera here in Mississippi. Like all opera companies, our ticket sales only cover a fraction of the operating and production costs. Culturally cognizant, community minded individuals, businesses and other entities do their part to fill the gap with their donations. Do yourself a favor that has a double-barreled benefit—give money in support of your opera company, and (1) that will make you feel good about yourself, and, (2) the resulting tax deduction will lessen your 2019 taxes. Your opera company is part of what makes life good in Jackson and Mississippi, and we owe a debt of gratitude to you who support us. Please join with our supporters and help us keep going strong. Thank you again for coming and supporting Mississippi Opera.

Elbert Bivins Board President

Mississippi Arts Commission 2017 Governor’s Arts Awards Recipients The Mississippi Opera Association–Artistic Excellence

4 MISSISSIPPI OPERA ARTISTIC/GENERAL DIRECTOR Dear Opera Friends, Welcome to our performance of the world’s most famous opera, La Bohème! This evening you will see and hear some of the best opera singers that our country has to offer. We are so glad that you are with us tonight.

Beginning in 1945, as the Jackson Opera Guild, Mississippi Opera enjoys a long and distinguished history. Mississippi Opera is different from most major American opera companies because it was founded by local residents who had a common cultural interest, opera. These culturally minded citizens wanted to create an arts organization for the city, but Mississippi Opera has now become more than that; we are a true regional opera company. Also, one of our rare qualities as an organization is our multi-generational connection: some of our audience members, chorus members, board and Guild members have Mississippi Opera ties that go back several generations.

Our mission is to enhance Mississippi’s cultural and economic development by presenting high quality opera performances in an accessible manner; to identify and develop regional operatic artists; and to promote the understanding and appreciation of Opera through education, outreach, and audience development. Thus, we are committed to the professional presentation of traditional as well as advancing the art form by embracing new venues and programming. We also place a great deal of value on education and community outreach, and it is our goal to expose every citizen in Mississippi, young and old, to this great art form called opera.

As we collectively shape the future of Mississippi Opera, we should keep in mind that great things do not happen by themselves; they happen because of dedicated people. No great work of art was ever created by accident; it was the vision and work of a talented, dedicated human being whose time and effort created that work. Just like the individual, no great organization will ever be successful by accident, its success will be because of the collective work of the people who create, execute, and support the vision of that organization. We want you to be part of our vision.

Thank you for being here, and thank you for being our ambassadors. We are proud to have you as a part of the Mississippi Opera family.

Sincerely,

Jay Dean General and Artistic Director MISSISSIPPI OPERA 5

2018-2019 BOARD OF DIRECTORS

Elbert Bivins, President Hogan Allen, Treasurer Anthony Cloy, Secretary Matt Allen Scott Newton Wendy Thompson Lynn Wentworth Sid Davis Bob Soukup David Trigiani Megan West Mark Henry Barbara Travis Shannon Warnock Jane Woosley Sharon Pratt Mary Acthley, Mississippi Opera Guild President

PAST PRESIDENTS

Founder Mrs. John T. Caldwell, Jr. Chairman in Perpetuity Dr. Samuel B. Johnson H. M. Addkison, Jr. Richard M. Fountain Earle F. Jones Mrs. Alexander S. J. Michael Ainsworth A. Spencer Gilbert, III Mrs. H. K. Kent Payne John Alexander Dr. Guy Gillespie, Jr. Mrs. Edward J. Don Potts Hogan Allen Mrs. William F. Killelea James L. Robertson Elbert Bivins Goodman, Jr. Mrs. Dorothy H. W. Albert Simmons Kitchings Kim Breese P. N. Harkins, III Mrs. Heber Simmons Mrs. Wilbur H. Robert E. Hauberg, Jr. Patsy Tolleson George Bria Knight Mrs. Robert Hearin Mrs. T. Arnold Carroll Brinson Gus Leep Ralph Hester, Jr. Turner, Jr. Sandra Person Burns J. Jasper Lowe John R. Hutcherson O. Edward Wall Mrs. Frank Cabell Lee Ann Mayo Mrs. Peggy B. Mrs. Cecile Wardlaw Mrs. John T. Charles J. McCool Caldwell, Jr. Johnson Louis H. Watson Jack W. McDaniel M. L. Cashion, Jr. A. Charles Jackson, Joshua J. Wiener M.D. Mrs. E. B. McGehee Chandler Clover Jonell B. Williamson Mrs. Samuel B. Charles L. Mortimer Richard B. Wilson, Jr. Mrs. Armand Coullet Johnson Lamar Nesbit James W. Woolridge Eric Eaton Dr. Samuel B. W. L. Norton Johnson Monroe M. Wright

MISSISSIPPI OPERA 7 G i a c o m o P u c c i n i

L a B o h è m e

Saturday, April 27, 2019 Thalia Mara Hall Jackson, Mississippi

Opera in four acts

Italian by Luigi Illica and Giuseppe Giacosa Based on Henri Murger’s novel Scènces de la Vie de Boheme Sung in Italian with projected English translations

First performed at the Teatro Regio in Turin, Italy February 1, 1896

Marcello, a painter TRAVIS SHERWOOD Rodolpho, a poet MICHAEL BOLEY Colline, a philosopher STEFANOS KORONEOS Schaunard, a musician ANDRÈ CHIANG Benoit, a landlord ALEX ADAMS-LEYTES Mimi, a seamstress ASHLEY BELL Parpignol, a vendor of toys ADAM MESHEJIAN Musetta, a girl of the Latin Quarter MICHELLE LANGE Alcindoro, an admirer of Musette ALEX ADAMS-LEYTES

Customs guards, & habitants of the Latin Quarter, merchants, shopgirls, students, vendors, soldiers, waiters.

Latin Quarter of Paris About 1830

8 MISSISSIPPI OPERA CREATIVE PRODUCTION STAFF

Conductor/General Director...... Jay Dean Stage Director...... JJ Hudson Assistant Conductor...... Richard Nechamkin Executive Director...... Tippy Garner Mississippi Opera Office Staff...... Susan Perkins Chorusmaster, Mississippi Opera...... Andrew Head Costume Coordinators...... Grace Denton Tabitha Mississippi Opera Chorus Manager...... Merina Hansen Assistant Chorus Manager...... Anthony Cloy Pianist Mississippi Opera Chorus...... Tim Moak Stage Manager...... Maggie Saunders Scenic Designer...... Wes Hansen Production Manager/Props...... Harlan Mapp Marketing/PR...... Vidal Blakenstein

Scott Sexton with the St. Andrews Episcopal School Chorus Student Artists from the University of Mobile Opera & program.

ST. ANDREWS EPISCOPAL SCHOOL CHORUS

Tai Harris Kate Morrison Abby Ireland Joscelyn Scott Isaac Kelly Sameer Tipnis Millie Kerr Kayla Trammell Poppy Kerr Lindsey Ward Julia Moore Maya Worsley Austin Morgan

MISSISSIPPI OPERA 9 SYNOPSIS

ollowing the success of his opera ACT ONE takes place in the garret. It is FLescaut in 1893, Puccini was eager to Christmas Eve, and the high-spirited boys continue with another work for the stage. are about to depart for a night on the town. But Puccini’s taste in literature was, he Their hijinks are momentarily deflated by knew, uncertain; and he batted about for a the appearance of the landlord, Benoit, suitable subject. Tentatively he settled upon demanding the rent. The artists get the old the loosely woven plot of a mid-century man drunk and hasten his departure before novel Scènes de la Vie de Bohème (Scenes their own. Only Rodolfo remains behind to from Student Life) by Henri Murger, but complete a newspaper story. As he writes, the composer remained uncertain, dithering there is a quiet knock on the door. It is his for several months. Then in March he neighbor, Mimì, asking for his assistance discovered that his friend and composer in finding her lost key. One thing leads to of the trend-setting I , Ruggiero another and a love affair is kindled between Leoncavallo, had embarked on his own them. Holding her hand gently (aria: “Che opera based on Murger’s novel. Incensed at gelida manina”) Rodolfo introduces himself. the story being taken by another, Puccini She responds (aria: “Mi chiamano Mimì”) embarked upon a fury of composition, recounting her quiet life as a maker of silk stating impetuously, “Let him compose, I flowers. Prompted by the voices of his will compose, the public will judge.” And so friends outside, Rodolfo leads Mimì from the public did. La Bohème remains Puccini’s the room (duet: “”). most popular opera, debuting to immediate success in 1895, leaving Leoncavallo’s work In ACT TWO we find ourselves outside of two years later to bite the dust. in a busy Paris street with the bustling Café Momus on the corner. Rodolfo The libretto was by the faithful duo Luigi introduces Mimì to his friends, and a good Illica (story) and Giuseppe Giacosa (verses). time is enjoyed by all—until the entrance They produced a touchstone of tight plot, of Marcello’s old flame, Musetta, on the dramatic effectiveness, and tender sentiment. arm of an elderly but wealthy gentleman, As Murger’s novel was not a sustained Alcindoro. She flirts outrageously, story but rather a series of vignettes, much attempting to make Marcello jealous. of the opera is in fact original with the Everyone, she says, falls in love with her librettists. Puccini was justly delighted and on first sight (waltz: “Quando m’en vo’”). inspired by their work. It tells of a quartet A powerful ensemble builds, contrasting of student-artists (“bohemians” or, roughly, the pairs of lovers: one happy, the other rapscallions) rooming together in a garret miserable; one at the beginning of love, in the Paris Latin Quarter: Rodolfo, a poet; the other at the end of it. Eager to get rid Marcello, a painter; Colline, a philosopher; of the old man, Musetta pretends that her and Schaunard, a musician. Inspired by new shoe pinches her foot, and Alcindoro the new text, Puccini produced a work of dutifully departs to have it repaired. In his rhythmic variety, orchestral color, and lush absence the café’s substantial bill arrives, and lyricism. It has never been absent from the the bohemians laughingly leave it behind for stage. Countless newcomers to opera have Alcindoro to pay. The scene ends with the been won over by this extraordinary work jolly appearance of a toy seller and a gaggle (this author is one of them). of noisy children, followed by a brass band which brings on the curtain to the act.

10 MISSISSIPPI OPERA SYNOPSIS

ACT THREE introduces a change in tone the door with a clearly ill Mimì. The boys and a somber note duly reflected in the place her on the bed, where she is tended snowy scene of a city gate. To one side is a gently by Rodolfo. The bohemians lament brightly lit tavern. Mimì enters, coughing that their poverty prevents any help for her from a tubercular illness. She meets condition. Colline even offers to sell his coat Marcello, and they discuss the sad course to buy medicine (aria: “Vecchia zimarra”). of their romantic lives. Rodolfo has proven Mimì awakens and sees her lover bending a diffident lover and Musetta remains her over her with concern. They reminisce inconstant self. Mimì hides as Rodolfo leaves over their happy times together, picking the tavern. He narrates to Marcello the slow up flecks of tunes associated with those decline of Mimì from illness. Love alone is sweet moments. Mimì asks to hold a little not enough to bring her back, he laments. bonnet that Rodolfo had bought her on Overcome by emotion Mimì shows herself. the memorable Christmas Eve seemingly so To the raucous laughter of Musetta indoors, long ago. For a time she seems to rally, but Mimì and Rodolfo, now united, promise overcome with coughing she sinks back onto that they will stay together until spring. the pillow. Schaunard whispers, “Marcello, “Addio, senza rancor,” goodbye without she is dead!” Rodolfo sees the strained looks regrets, they sing. And on this gentle note, on the faces of his friends and realizes the the act ends. truth. Grief-stricken, he falls on Mimì’s lifeless body, exclaiming her name. In ACT FOUR we are back in the bohemians’ garret. Rodolfo and Marcello An unkind wag once mocked this touching are trying to work, but both are distracted final scene with a pun: Why is Rodolfo’s by the sad state of their love lives (duet: final line every tenor’s favorite? Because he “O Mimì, tu più non torni”). Colline and gets to sing “Mimì, Mimì”—“Me, Me! ”— Schaunard bound in with a skimpy repast get it? But the rest of us simply dissolve which the four turn into a mock banquet, in tears. followed by boisterous dancing. This horse- play is at its height when Musetta appears at —Synopsis by Stanley Hauer

MISSISSIPPI OPERA 11 MEET THE COMPOSER

five generations of organists and composers to the Cathedral of San Martino, ’s religious heart. It was therefore taken for granted that Giacomo would carry on this legacy, succeeding his father, Michele, in the role first held by his great-great grandfather. However, in 1864 Michele passed away when Giacomo was just 5 years old, and so the position was held for him by the church in anticipation of his eventual coming of age.

But the young Giacomo was disinterested in music and was a generally poor student, and for a time it seemed that the Puccini musical dynasty would end with Michele. Giacomo’s mother, Albina, believed otherwise and found GIACOMO PUCCINI him a tutor at the local music school. His “Art is a kind of illness.” education was also subsidized by the city, and —Giacomo Puccini over time, Giacomo started to show progress. Giacomo Puccini Biography By the age of 14 he had become the church Composer (1858–1924) organist and was beginning to write his first musical compositions as well. But Puccini talian composer Giacomo Puccini started discovered his true calling in 1876, when I the operatic trend toward realism he and one of his brothers walked nearly 20 with his popular works La Bohème and miles to the nearby city of Pisa to attend a Madame Butterfly. production of Giuseppe Verdi’s . The experience planted in Puccini the seeds of Synopsis what would become a long and lucrative career in opera. Italian composer Giacomo Puccini, born on December 22, 1858, started the operatic From Milan to Manon trend toward realism with his popular works, which are among the most often Motivated by his newfound passion, Puccini performed in opera history. But the fame threw himself into his studies and in 1880 and fortune that came with such successes gained admission to the Milan Conservatory, as La Bohème, and where he received instruction from noted were complicated by an often-troubled composers. He graduated from the school personal life. Puccini died of post-operative in 1883, submitting the instrumental shock on November 29, 1924. composition Capriccio sinfonico as his exit piece. His first attempt at opera came later A Musical Inheritance that year, when he composed the one-act La villi for a local competition. Although Giacomo Puccini was born on December it was snubbed by the judges, the work 22, 1858, in Lucca, Italy, where since the won itself a small group of admirers, who 1730s his family had been tightly interwoven ultimately funded its production. with the musical life of the city, providing

12 MISSISSIPPI OPERA MEET THE COMPOSER

Premiering at the Teatro dal Verme in Milan novel of the opera’s same name) would draw in May 1884, La villi was well received by the the public’s ire. Later that year, Puccini audience. But more importantly, it caught attended a production of the David Belasco the attention of the music publisher Giulio play Madam Butterfly in New York City and Ricordi, who acquired the rights to the piece decided that it would be the basis of his and commissioned Puccini to compose a new next opera. Several years later, on February opera for , one of the most important 17, 1904, Madama Butterfly premiered at opera houses in the country. Performed there La Scala. Though initially criticized for being in 1889, was an utter failure. But too long and too similar to Puccini’s other Ricordi’s faith in Puccini’s talents remained work, Butterfly was later split up into three unshakable, and he continued to support the shorter acts and became more popular in composer financially as he set to work on his subsequent performances. next composition. His fame widespread, Puccini spent the Blaming the failure of Edgar on its weak next few years traveling the world to attend libretto (the lyrical portion of an opera), productions of his operas to ensure that they Puccini set out to find a strong story on met his high standards. He would continue which to base his new work. He decided to work on new compositions as well, but on an 18th-century French novel about a his often-complicated personal life would tragic love affair and collaborated with the see to it that one would not be immediately librettists Guiseppe Giacosa and Luigi Illica forthcoming for some time. on its adaption. premiered in Turin on February 2, 1893, to great acclaim. Personal Scandals Before the year was out, it was performed The period between 1903 and 1910 proved at opera houses in Germany, Russia, Brazil to be one of the most difficult in Puccini’s and Argentina as well, and the resulting life. After recovering from a near-fatal royalties paid the 35-year-old Puccini quite auto accident, on January 3, 1904, Puccini handsomely. Despite this overwhelming married a woman named Elvira Gemignani, success, however, his best was still to come. with whom he had been having an illicit The Big Three affair since 1884. (Gemignani had been married when she and Puccini started their With their accessible melodies, exotic subject liaisons.) The couple had been living in the matter and realistic action, Puccini’s next small, quiet fishing village of Torre del Lago three compositions are considered to be since 1891, but over the years, Elvira had his most important; over time they would grown increasingly unhappy, due to the become the most widely performed in opera numerous other women that Puccini became history. The result of another collaboration involved with. between Puccini, Giacosa and Illica, the four-act opera La Bohème was premiered in Matters reached a dramatic apex worthy Turin on February 1, 1896, again to great of one of Puccini’s operas when Elvira’s public (if not critical) acclaim. In January jealousy led her to accuse a servant girl 1900, Puccini’s next opera, Tosca, premiered named Doria Manfredi of having an affair in and was also enthusiastically with her husband, publicly threatening her received by the audience, despite fears that and harassing her in the village. In 1909, the its controversial subject matter (from the distraught Doria killed herself by ingesting

MISSISSIPPI OPERA 13 MEET THE COMPOSER poison. After a medical examination proved countries’ alliances during World War I, that she had been a virgin, her family and for a time the compositions foundered. brought charges of slander and persecution When was finally performed against Elvira. in Monaco in 1918, it was moderately successful, but like its predecessor, it failed Mortified by what Elvira had done, Puccini to make a lasting impact. The following year, separated from her and sent her away to live debuted in New York City, but it in Milan. She was eventually tried, found too was quickly forgotten. guilty and sentenced to five months in prison. Ultimately though, Puccini intervened in Seeking to achieve his former glory in the the matter, taking Elvira back and paying a face of fading popularity, Puccini set out to substantial sum to Doria’s family to convince write his masterwork in 1920, throwing all them to drop the charges. of his hopes and energies into the project, which he titled . But his ambitions Fading Success, Failing Health would never be fully realized.

While dealing with the ongoing crises Coda in his personal life, Puccini continued composing. On December 10, 1910, six In 1923, Puccini complained of a recurring years after his last opera, The Girl of the sore throat and sought medical advice. Golden West premiered at the Metropolitan Though an initial consultation turned Opera House in New York City. Though up nothing serious, during a subsequent the initial production—which featured examination he was diagnosed with throat world-renowned tenor Enrico Caruso in cancer. As the cancer had by that point the cast—was a success, the opera failed to progressed beyond where it could be operated achieve any lasting popularity, and over the upon, Puccini traveled to Brussels in 1924 course of the next decade, a string of relative for an experimental radiation treatment. Too disappointments followed. weak to endure the procedure, he died in the hospital seven days later, on November 29, In 1912, Puccini’s faithful supporter and 1924. At the time of his death, Puccini had business partner Guilio Ricordi passed become the most commercially successful away, and shortly thereafter, Puccini began opera composer of all time, worth the work on a three-part opera (realistic, tragic equivalent of an estimated $200 million. and comedic) that Ricordi had always been against titled Il Trittico. Puccini then After an initial burial in Milan, in 1926 his refocused his efforts when representatives body was moved to his Torre del Lago estate, from an Austrian opera house offered him where a small chapel was constructed to hold a large sum to compose 10 pieces for an his remains. An opera celebration called operetta. However, work on the project “Festival Puccini” is held in the town every was soon complicated by their respective year in honor of its most famous resident.

14 MISSISSIPPI OPERA CAST BIOGRAPHIES

Dean’s skills as a producer and artistic manager enable him to work music in a much broader context. He is the Founding Artistic Director of Festival South, a multi-week, multi-genre music festival and General Director of the Hattiesburg Concert Association. He has been the executive director of the Vicksburg International Chamber Music Festival, the artistic director of the Southern Arts Festival as well as the music coordinator for four international art exhibitions presented by the Mississippi Commission for International Cultural Exchange.

In 2009, Jay Dean and the University of Southern Mississippi Symphony Orchestra received the Governor’s Award for Leadership in the Arts, a reward for his intense and clear vision for bringing the world to Mississippi. This vision includes performances, produced by Dean, with internationally known classical icons such as Itzhak JAY DEAN Perlman, Yo-Yo Ma, Sir James Galway, Joshua Bell, Nadja Salerno-Sonnenberg, Manuel Barrueco, John ARTISTIC/GENERAL DIRECTOR Browning, Christopher Parkening, Edgar Meyer, pera has always been part of Jay Dean’s career. and many more. This special world into music has given him Othe opportunity to perform with such eminent Dean’s commitment to education has caused him to artists as Plácido Domingo, Renée Fleming, Denyce be involved in many institutions and activities. He Graves and Roberta Peters. His serving as assistant has been the executive director of the Professional conductor for the Austin Lyric Opera shows his Resource Institute of Musical Excellence, president engagement to this music’s field. And now, after of the Mississippi Orchestra Teachers Association performing with the Mississippi Opera as guest and president of the Mississippi Music Educators conductor in several concerts, Dean became its new Association Orchestra Division. He served as the artistic director. representative from the Mississippi Institutions of Higher Learning on the advisory board for the Considered a musical ambassador for Mississippi, formation of the Mississippi School of the Arts and Dean was state president of the National Opera he has been the regional membership chair for the Association and served on the board of the International Conductors Guild. Mississippi Opera Education Committee in which opera joins together with one of the greatest passions Since 1988, Jay Dean has been the music director of Dean, education. of The Southern Mississippi Symphony Orchestra. During his tenure, the orchestra has risen to enjoy Dean received his DMA in orchestral conducting an international reputation that enhances not only from The University of Texas at Austin. Before the university, but also the state and region. His coming to The University of Southern Mississippi— recruiting efforts have turned that organization into whose orchestra he has been conducting for more a multinational conglomerate that includes students than twenty years—he was music director of the from over fifteen countries. Dean’s skilled leadership Dekalb Youth Symphony Orchestra in Atlanta, the created unique partnerships that allow members of Mercer University/Atlanta Chamber Orchestra, the the orchestra to provide musical performances in Columbus State University Orchestra, the Atlanta every school and senior center in Hattiesburg. Festival Orchestra and Chorus, the Austin Civic Orchestra and the Southwest Chamber Orchestra. Jay Dean affirms that his central mission “is to provide life-changing experiences for his students His work as a conductor has reached many and raise the quality of life in the community and orchestras in Europe, the United States and Latin state of which he is a part.” America. In addition, he has directed performances with major popular artists such as Doc Severinsen, The Pointer Sisters, Patti La Belle, Dionne Warwick, Patti Austin, Ricky Skaggs and Sandy Patty.

MISSISSIPPI OPERA 15 CAST BIOGRAPHIES

JJ HUDSON TRAVIS SHERWOOD STAGE DIRECTOR BARITONE J Hudson (Stage Director) is well known merican Baritone, Travis Sherwood, has Jfor his dynamic productions. This season, Areceived praise for his powerful voice and Mr. Hudson is making company debuts with emotionally poignant performances around the Sarasota Opera (Rita / Il segreto di Susanna), world as an opera singer, concert artist, recitalist, Opera in the Heights (La fille du régiment), and actor, performing a wide range of musical and Mississippi Opera (La bohème). Other genres and styles. productions this season include and (Red River Lyric Opera), Die On the operatic stage, Sherwood has performed Zauberflöte (Lakes Area Music Festival), and leading roles in , Gianni Schicchi, Le pauvre matelot and Suor Angelica (Temple The Tempest, Hänsel und Gretel, Die Zauberflöte, University). His recent productions include: Cosi Das Liebesverbot, Albert Herring, Don Giovanni, fan tutte (Opera Tampa); Lucio Silla, Werther, and The Rape of Lucretia, and Die Fledermaus. Così fan tutte (Temple University); Bastianello Sherwood has sung for Aspen Opera Theater, (Rochester Lyric Opera); Le nozze di Figaro and “The Martina Arroyo Foundation, Prelude to / I Pagliacci (Opera in the Ozarks); A Performance®”, USC Thornton Opera, Princeton Midsummer Night’s Dream and (Lakes Festival, Bohème Opera, Westminster Opera Area Music Festival); Il barbiere di Siviglia and Theater, Spoleto Festival USA; and was an La bohème (Tri-Cities Opera); The Medium / Associate Artist with Opera New Jersey, and a The Impresario (University of Kansas); South Marc and Eva Stern Fellow at SongFest. Pacific and (Opera Roanoke), West Side Story (Asheville Lyric Opera), and La On the concert stage Sherwood has performed finta giardiniera (Columbus State University). with the Southwest Symphony, Chatter Mr. Hudson has served on the directing staff of Orchestra, Hunterdon Symphony, Symphony the Aspen Opera Theater, Opera Breve Vocal of the Vines, Canto Bello Chamber Orchestra, Intensive, Opera in the Ozarks, Oberlin in Italy, Monroe Symphony Orchestra, and La Sierra and is a frequent guest director in university Symphony Orchestra, performing such works programs. Mr. Hudson holds a master’s degree in as Handel’s Messiah, Mozart’s , Fauré’s Stage Direction and a D.M.A in Performance and Requiem, Gounod’s Messe Solennelle de Sainte Literature from the Eastman School of Music. Cécile, Schubert’s Mass in G, Bach’s Cantata 140, He also holds degrees from Stetson University Haydn’s Die Schöpfung, William Grant Still’s and the University of Iowa. PlainChant for America, Brahms’s Ein Deutsches Requiem, Weill’s Berliner Requiem, and creating the role of Jesus in Kata Markon by Mark Lanz

16 MISSISSIPPI OPERA CAST BIOGRAPHIES

Weiser. Sherwood has enjoyed many collaborative recitals with distinguished pianists throughout the world.

Sherwood is currently an Assistant Professor of Voice and Vocal Area Coordinator at Eastern New Mexico University. He holds a Doctor of Musical Arts and a Master of Music degree from the University of Southern California, Thornton School of Music and a Bachelor of Music Degree from Westminster Choir College. Additional studies include a certificate from the “Académie Internationale d’Eté de Nice” in “Interprétation chant & piano” under the instruction of Dalton Baldwin.

STEFANOS KORONEOS BASS-BARITONE tefanos Koroneos continues to build a Sreputation as a world-class performer. Recent performances have included Captain Michael (baritone solo) with the Berlin Philharmonic, The Godson with Greek National Opera, La Cenerentola (Dandini and Don Magnifico) with , Il Barbiere di Siviglia (Don Bartolo) with New York City Opera in the Park Series, Fledermaus and Il Barbiere di Siviglia with Boheme Opera, Il Barbiere di Siviglia (Don Bartolo) with Opera New Hampshire and Opera in the Williamsburg, Tosca (Il Sagristano) with Palm Beach Opera, Loft Opera, Opera New Hampshire and Connecticut Opera,El Gato con Botas (the King) with Gotham Chamber MICHAEL BOLEY Opera Sacco e Vanzetti with Opera Tampa TENOR and Cassandra with Teatro Grattacielo, Gluck’s enor Michael Boley, an exponent of the Orfee (title role) with National Municipal Tromantic Italian and French repertoire, recent Theater Patras in Greece and Leporello with performance highlights include, Cavaradossi Opera Williamsburg. in Tosca, Rodolfo in La Bohème, Pinkerton in Madama Butterfly, and Hoffmann in Les Stefanos has performed throughout Italy in Il Contes d’Hoffmann. Popular with audiences Viaggio a Reims (Don Alvaro), Madama Butterfly and critics alike, Michael has been praised for (Sharpless), Isabeau (the King), his “meaty tenor” and “vibrant, dramatically (Monterone), La Traviata (Barone), Le Nozze di alert performances” (Mercury News), “firm- Figaro (The Count), and voiced” characterizations (Opera Today), and his (Sam) in Theaters like Teatro Alla Scala, Rossini “fine contributions” Opera( News). Mr. Boley Opera Festival and Teatro Reggio di Parma. has performed principal assignments for Opera Additionally, he has performed internationally San Jose, Opera Company of Middlebury, Little in La Traviata (Barone) with the Bolshoi Opera Opera Company of New York, Opera Charleston, and at the Athens Concert Hall, Le Nozze di Opera Columbus, among others. Figaro (the Count) with Seoul Opera, La Bohème

MISSISSIPPI OPERA 17 CAST BIOGRAPHIES

(Alcindoro and Benoit) at Oslo’s Den Nye Opera, La Bohème (Schaunard) at Staatstheater Freiburg, and (Fra Melitone) at Theater Osnabrück and Verdi Festival in Bussetto.

ANDRÉ CHIANG BARITONE aritone André Chiang brings repertoire spans Bfrom Handel to Glass. Mr. Chiang’s recent ASHLEY BELL engagements include Charlie (Three Decembers) with Painted Sky Opera and Opera Birmingham SOPRANO as Belcore (L’elisir d’amore). Previous credits ailed by Opera News as “delightful”, soprano include Falke (Die Fledermaus) and Ford HAshley Bell has performed as a soloist in the ( ) with Portland Opera; Anthony Hope United States, Italy, Spain, France and Russia. (Sweeney Todd) with Virginia Opera; El Gallo In 2018, she made her Carnegie Hall debut as (The Fantasticks) with Shreveport Opera; and soprano soloist in Hadyn’s Nelson Mass and Lancelot in the Young Artist Matinee of Camelot Schubert’s Mass in C, debuted as Madama at the Glimmerglass Festival. Competition Butterfly with Townsend Opera (California), honors include winner of the 59th NFMC performed Elle in a critically acclaimed 2017 Biennial Young Artist Award and winner performance of La Voix Humaine at Rioja of the 45th NATS Artist Awards Competition. Forum in Spain, sang Donna Anna in a sold-out Upcoming engagements include Count Gil performance at Bay Street Theatre, and debuted in Il segreto di Susanna with Mobile Opera with New York City Opera singing Giovanetta and Baritone Soloist in Carmina Burana with and covering Fiora in L’Amore Tre Re. Other the Canterbury Voices in Oklahoma City. recent performances include Gilda with New www.andrechiangbaritone.com Jersey Opera, Violetta in La Traviata with Mid-Atlantic Opera, Fioridligi & Donna Anna at the Narni Festival in Italy and Norina at Spain’s Rioja Forum where La Rioja called her “unstoppable in her brilliant singing and a true stage animal with her hilarious interpretation of Norina/Sofronia”. Ms. Bell is a Phi Beta Kappa graduate of Yale University and speaks five languages fluently. Upcoming performances include Mary Warren in the Crucible with New York City Opera, Desdemona in at Bay Street Theatre and Violetta in Logroño, Spain. www.ashleygalvanibell.com.

18 MISSISSIPPI OPERA CAST BIOGRAPHIES

MICHELLE LANGE ALEXANDER ADAMS-LEYTES SOPRANO BUFFO BASS-BARITONE ichelle Lange has been featured in Europe and uffo bass-baritone Alexander Adams-Leytes, Mthe United States, appearing in companies Bin making his professional debut in March ranging from Vienna, Austria’s “The Sound of of 2013 with Pacific Opera Project, in Los Austria,” where she performed over one hundred Angeles, CA, was described as “transcendental” performances of Contessa in Mozart’s Le nozze di and “never missing a syllable or pitch...always Figaro, to the title role in the matinee performance creating a plausible motive for his insane vocal of Puccini’s Turandot with Mississippi Opera. and physical acrobatics” in his specialty area of Ms. Lange has also been featured as the leading comic patter singing as Dr. Bartolo in a modern- soprano in Cosi fan tutte, The Magic Flute, day Hollywood version of Il barbiere di Siviglia. La Bohème, Rigoletto, and Die Fledermaus. She Originally educated at St. John’s University, also brought Carlotta to life in Southern Opera For several summers, he trained in Lyric Opera and Musical Theatre’s production of The Phantom Studio of Weimar, Germany under the direction of the Opera. of European buffo star Damon Nestor Ploumis, performing Papageno, Count Almaviva, Bartolo, Ms. Lange is the first place winner of the 2016 Leporello and Masetto. Voices of Mississippi Competition as well as the William T. Gower Concerto Competition In December of 2014, he performed in the at the University of Southern Mississippi, and inaugural production for Gulfshore Opera in placed second in the 2017 Madame Rose Palmai- Naples, FL in the dual roles of Father and Witch Tenser Competition with Mobile Opera. Other in Hansel and Gretel. companies she has worked with include San Antonio Opera, Arizona Opera, San Antonio In March of 2015, he made his European house Mozart Festival, Incarnate Word Orchestra, debut with Theater Rudolstadt, in Thuringia, Starlight Symphony Orchestra and the San Germany, alternating between the roles of Dr. Antonio Municipal Band. Ms. Lange holds Cajus and Herr Reich in Nicolai’s Die Lustigen a Master of Music degree from Arizona State Weiber von Windsor and in June sang his first University and a Bachelor of Music degree from Don Alfonso in Cosi fan Tutte with Passion the University of Texas at San Antonio, and is Artists of Vienna. In 2016, he debuted with ABD for her Doctorate of Musical Arts at the Miami Lyric Opera, performing Dulcamara and University of Southern Mississippi. the Sacristan, sang three Benoit/Alcindoros in La Bohème productions in the past eighteen months, with Opera St. Petersburg, Martina

MISSISSIPPI OPERA 19 CAST BIOGRAPHIES

Arroyo’s Prelude to Performance, and The includes musical direction and conducting for Charleston Opera, and most recently in the Atlantic Chamber Orchestra (comprised 2017 debuted the roles of Don Magnifico in of members from the Philadelphia Orchestra), “Cenerentola” with Theater Rudolstadt in Opera Institute, Opera-On-The- Germany and Gianni Schicchi with the Narnia Go, New York Lyric Opera, New York Opera Festival in Italy. He reprised his Mozart Bartolo Theatre and Ottocento Opera Company. He has at Theater Arnstadt in Germany in February of held staff positions at New York City Opera, 2018. He then sang two more Benoit/Alcindoros, Mississippi Opera, New York Grand Opera, in Arkansas and New Rochelle, NY in the Amato Opera and Hudson Valley Opera. In the spring and summer of 2018, followed by his 1980s, he was Principal Conductor and Artistic debut with the Nahant Music Festival singing Director of the Y Sinfonietta, an orchestra based the role of Papageno this June and his debut as in Flushing, NY. Falke in Fledermaus in July at the KurTheater in Bad Liebenstein, Germany. He made his Richard was associate musical director (2002- Canadian debut in November, 2018 as Don 2008), and assistant conductor (2014-present) Alfonso with Opera Mariposa in Vancouver. He Natchez Festival of Music (2014-present) and will do another Fledermaus, this time as Frank, Mississippi Opera (since 2012). in February back in Germany, two more Benoit/ Alcindoros spring 2019 in Mississippi, as well Richard has accompanied many singers, as his musical theater debut as Pseudolus in including Montserrat Caballe, Susanne Marsee “A Funny Thing Happened on the way to the and Gabriella Tucci, and has played for the Forum” with the Natchez Festival of Music. voice studios of Tucci, Marsee, Joshua Hecht, Johanna Meier, , Carol & Nico Castel, Betty Allen, Michael Warren and Gary Glaze among others. In addition he arranged and conducted several film scores, and has served as music director for two off- off- Broadway productions.

Richard is a graduate of the Manhattan School of Music, and studied conducting with Pierre Boulez, Sixten Ehrling and Anton Coppola.

RICHARD NECHAMKIN CONDUCTOR ichard Nechamkin is a conductor, pianist and R vocal coach with 40 years of experience and a repertoire of over 75 operas. He is the founder, artistic director and conductor of New York Opera Forum. Richard’s extensive experience

20 MISSISSIPPI OPERA MISSISSIPPI OPERA CHORUS

Lauren Bell Temperance Jones Eric Botto Sherry Boyer Brian Kehler Haley Cox Kyle Conn Jerry Morgan Grace Denton Faith Dixon Shawn Morgan Isbel Dondero Meryl Franck Anastasia Osborne Julian Jones Vee Govan Chuck Runyan Olivia Russel Margaret Grantham Fred Shirley Josh Sewell Carolina Hall Grace Smith Demi Vanderwerff Mary Hauck Suzanne Starkey Olivia Vaughn Walt Herrington Randy Walker Tiffany Johnson Valencia Williams

SPECIAL THANKS

Christ Lutheran Church Jackson, Mississippi Mississippi Opera Guild

ARTISTS HOSPITALITY Elbert and Betty Bivins Anthony Cloy Kathy and Sid Davis Merina Hansen Laura Magee Ellen Harvey McLean Sharon Pratt Jane Woosley and Patrick McAllister

STAFF

General/Artistic Director – Jay Dean Executive Director – Tippy Garner Susan Perkins – Office Manager

MISSISSIPPI OPERA 21 MISSISSIPPI OPERA ORCHESTRA

VIOLIN I BASS TRUMPET Marta Szlubowska Glenn Hale Wayne Linehan Concertmistress Vince Massimino FLUTE OFFSTAGE TRUMPET Milena Rusanova Gayle Entrekin David Rorick Ty Maisel OBOE TROMBONE VIOLIN II Julie Hudik Adam Almeter Ann McNally Zakary Joyner CLARINET TIMPANI Alejandro Encinas Ken Graves Bud Berthold

VIOLA BASSOON PERCUSSION Ausra Jasineviciute Jon Wenberg Jason Mathena Hristo Hristov HORN CELLO Mimi Linehan Veronica Parrales Richard Hudson Nancy Bateman

22 MISSISSIPPI OPERA CONTRIBUTORS

ississippi Opera wishes to express gratitude for the thoughtful and generous support from the following patrons who have contributed to the company. Without these contributors, we could not exist. Please consider adding your name to this list. MWe greatly appreciate the generosity of our donors and apologize for any omission due to deadlines or oversight.

PLATINUM CIRCLE BENEFACTOR Mrs. Peggy B. Johnson $10,000+ $1,000 – 1,499 Lee Ann Mayo Sid and Kathy Davis Chisholm Foundation Ellen Harvey McLean Meyer and Genevieve Falk Michael E. and Mary G. Jabaley Charlotte McNeel Endowment Fund for Mary & Gary Atchley Melanie Middleton Culture and Arts of Mississippi Opera Mary Frances O’Neal the Community Endowment Fund Carole and Steve Peterson Foundation of Greater Jackson Don and Becky Potts Robin and Connie Roberts Robert M. Hearin Support Leland Speed, Jr. Robert Soukup Foundation Collins and Margee Wohner James Sumner Foundation for the MidSouth Jane Woosley and Barbara Travis H. F. McCarty, Jr. Family Patrick McAllister David Trigiani Foundation Jeanette Waits Mississippi Arts Commission PATRON Summer Ward $500 – 999 Shannon Warnock GOLDEN CIRCLE Jean T. Brewer Ralph Wells $5,000 – 9,999 Family Properties Greer Whitacre BlueCross BlueShield Dr. and Mrs. Ching J. Chen Lynn Wentworth of Mississippi Jay Dean Josh & Judy Wiener Dr. and Mrs. A. Charles Jackson Bobbye and Bill Henley Margaret Wodetzki & Feild Co-Operative Association Ellen Harvey McLean Richard Johnson St. Dominic Health Tzedakah Charitable Fund of Betty Wong Services, Inc. the Community The Walker Foundation Foundation for Mississippi FRIEND $25 – 99 SILVER CIRCLE SPONSOR Amazon Smile $2,500 – 4,999 $250 – 499 Sue Burkhalter H. M. Addkison, Jr. Sophia Anzordegan John & Barbara Collier Tippy and Bob Garner Network for Good Quinton Dickerson Greater Jackson Arts Council Mr. and Mrs. Robert Hauberg Danelle Garraway Merina Hansen Gloria Walker Kathleen Leitner Hinds County Board Robin Smith of Supervisors CONTRIBUTOR Mimi Speyerer Sanderson Farms $100 – 249 Alec & Kay King Valentine Mr. and Mrs. Jerry Sullivan Hogan Allen William Watkins Mr. and Mrs. Royce Boyer GRAND BENEFACTOR Mrs. Glenn Bush MEMORIAM $1,500 – 2,499 Dr. and Mrs. Ching J. Chen Mildred Caccamise Elbert and Betty Bivins Mr. and Mrs. James K. Child, Jr. By H. M. Addkison, Dr. Anthony Cloy Mr. and Mrs. Kane Ditto Jean T. Brewer, Sharon Dalla Lynda Ann Costas Vladimir and Galina Eliseev Costa, William Goodman, Entergy The T. H. Etheridge Trust Lefoldt & Company, P.A., Lefoldt & Company, P.A. Maxime Freeman Larry & Mary Anne Lefoldt Mrs. Sharon S. Pratt William Fortenberry Mr. and Mrs. Henry Giles IN HONOR OF: Martha Hammock Elbert Bivins Mr. and Mrs. Tom Harmon By Steve & Kathryn Edwards, Mark Henry Cecile & Bill Wardlaw

Give a voice to opera! Consider leaving a legacy to Mississippi Opera. The gift of a life insurance policy, IRA, other retirement plan or an estate gift will help insure Mississippi Opera in the future.

MISSISSIPPI OPERA 23 Mississippi Opera Association Diamond Jubilee Society In 2005, Mississippi Opera celebrated its Diamond Jubilee—60 consecutive seasons of great performances. It was an incredible opportunity to demonstrate, for generations to come, patrons’ commitment to the beauty, the art, the music, the laughter, the drama and the splendor of the Mississippi Opera. Because of their special contributions to the Diamond Jubilee Society, the following donors will be recognized in all future programs printed for performances of the Mississippi Opera—not just for the special university, but for the life of Mississippi Opera.

We thank them for their generous support of Mississippi Opera.

H. Muller Addkison, Jr. Gertrude C. Ford Foundation Linda and Jimmy Robertson Bancorp South Mr. and Mrs. Richard M. In memory of Martha Royalty BankPlus Fountain St. Dominic Hospital Mr. and Mrs. Elton G. Beebe Mr. and Mrs. A. Sanderson Farms, Inc. BellSouth Spencer Gilbert Greg and Jennifer Schulmeier Mr. and Mrs. Robert L. Berman Mrs. William F. Goodman Mrs. Jane W. Seward Blue Cross and Blue Shield Mr. and Mrs. Robert E. Mr. and Mrs. John L. Sewell of Mississippi Hauberg, Jr. Dr. and Mrs. McKamy Smith Kim and Katie Breese Mrs. William J. Herm Mr. and Mrs. Leland Speed Mr. and Mrs. William J. Herman Hines Mr. and Mrs. Howard Stover Chester Brewer Mr. Alvis Hunt Mr. and Mrs. Jerry M. Troy and Robin Browning Herb and Becky Ivison Sullivan, Jr. Mr. and Mrs. Warren Mike and Mary Jabaley Mr. and Mrs. Douglas A. Trimble Burns Dr. and Mrs. A. Swayze Jean B. Butler Charles Jackson Time Warner Cable Butler, Snow, O’Mara, Stevens Jackson Iron and Metal Trustmark Bank & Cannada, PLLC Company Foundation Paul and Susan Tsimortos Mildred S. Caccamise Irene and Earle Jones University of Southern Dr. and Mrs. Ching J. Chen Charitable Fund Mississippi Symphony City of Jackson Phil and Dana Lang Orchestra The Clarion-Ledger Alan Mann and Kate Ford Bill and Cecile Wardlaw The Chandler Clover Family Mrs. H. F. McCarty, Jr. Nell L. Weiss Community Foundation of Mr. Michael McRee Marsha and Terry Wells Greater Jackson Dr. and Mrs. Henry Mills Dr. and Mrs. Ralph P. Wells Lynda Ann Costas Mississippi Arts Commission Dr. and Mrs. Greer Whitacre Mike Cronin Mississippi Health Partners The Julian and Kathryn Scott and Karen Davis Mrs. Ellis Moffitt Wiener Foundation Richard Minta Dunn Mr. and Mrs. W. D. Mounger Kathryn L. Wiener East Group/ The Opera Fund/ Mrs. Earl Wilson Parkway Foundation Opera America Dr. and Mrs. William B. Wilson The Edison Walthall Hotel Cullam and Mandy Pope Mr. and Mrs. J. Collins Mac and Lyla Elliott Don and Becky Potts Wohner, Jr. Mrs. James P. Evans Rainbow Signs and Services Feild Co-Operative Association River Oaks Health System

24 MISSISSIPPI OPERA MISSISSIPPI OPERA GUILD PAST PRESIDENTS

1945-54 Mrs. John T. Caldwell, Jr. 1984-85 Mrs. A. Spencer Gilbert, III 1955 Mrs. James W. Wooldridge 1985-86 Mrs. Raymond Thompson, Jr. 1956 Mrs. E. C. McGehee 1986-87 Mrs. Donald Clark, Jr. 1957 Mrs. Wilburn H. Knight 1987-88 Mrs. Vaughan McRae 1958 Mrs. Robert Hearin 1988-89 Mrs. Glen Bush 1959 Mrs. Edward J. Killelea 1989-90 Judith M. Wiener 1960 Dr. Samuel B. Johnson 1990-91 Jonell B. Williamson 1961 Mrs. Frank Cabell 1991-92 Mrs. James Holland 1962 Mrs. T. Arnold Turner, Jr. 1992-93 Mrs. Robert Muller 1963 Mrs. Alexander S. Payne 1993-94 Mrs. J. Collins Wohner, Jr. 1964 Mrs. Peggy Johnson 1994-95 Scot and Lee Ann Slay 1965-66 Mrs. Armand Coullet 1995-96 Kim and Trey Porter 1967 Mrs. Dorothy H. Kitchings 1996-97 Rick Fountain 1968-69 Mrs. Samuel B. Johnson 1997-98 Mrs. F. Scott Bauer 1969-70 Mrs. H. K. Kent 1999-00 Mrs. David Dunbar 1970-71 Mrs. W. F. Goodman, Jr. 2000-01 Mrs. William Daryle Heath 1971-72 Mrs. Arthur St. Clair 2001-02 Mrs. Merina Dillard 1972-73 Mrs. Douglas A. Swayze 2003-03 Mrs. Cecile Wardlaw 1973-74 Mrs. Chandler Clover 2003 Jane Alexander 1974-75 Patsy Jones 2003-05 Missie Broyles 1975-76 Mrs. Robert W. King 2005-07 Mrs. Patti Sullivan 1976-77 Mrs. Carolyn Clements 2007-09 Nancy Riser 1977-78 Mrs. Robert L. Berman 2009-11 Mrs. Merina Dillard 1978-79 Mrs. T. Wade H. McKoy 2012 Marlane Dove and Betty Bivins 1979-80 Mrs. Doyle Smith 2013 Ouida Holland 1980-81 Mrs. O. Edward Wall 2014-16 Betty Bivins 1981-82 Mrs. William J. Herm 2016-17 Arne Greaves 1982-83 Mrs. James K. Child, Jr. 2017-18 Mary Atchley 1983-84 Mrs. Clifford Ammons

MISSISSIPPI OPERA 25 26 MISSISSIPPI OPERA MISSISSIPPI OPERA 27