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Wilde Opera Nights

Wilde Opera Nights

WILDE NIGHTS

W. S. GILBERT AND ’S

OR, BUNTHORNE’S BRIDE

CONDUCTED BY STAGE DIRECTION BY FRANK KELLEY

GILBERT AND SULLIVAN’S PATIENCE 1 DIRECTOR’S WELCOME

Oscar Wilde didn’t spare his fellow literary types his razor- sharp quips. He once said “all art is quite useless” For the final installment of our Wilde Opera Nights season, we turn to a subject near and dear to our hearts: satirizing artists!

And who brings a more Wildean sensibility to the task than the famous duo of Arthur Sullivan and W.S. Gilbert? Their comic , replete with wit, wordplay, and wacky happenings, bring us face-to-face with the ridiculousness of human society, laughing all the way. Patience; or, Bunthorne’s Bride romps through the Victorian circles that Wilde both frequented and mocked— and in fact, the rumor persists that Wilde himself was one of the inspirations behind the characters of Bunthorne and Grosvenor. HAPUT IRENE CREDIT: PHOTO

It’s only natural that we’d come full circle on our voyage, where the master of wit becomes its object! And we return again to the fair isle of Britain, where traditions and social sensibilities are paramount, where culture and decorum are ripe for both admiration and mockery. Flowery verses, reveries, sighing

maidens, infatuation, and marching military boots are the MUSEUM BRITISH THE OF © TRUSTEES IMAGE COVER classic ingredients of high art and of silliness!

So sit back and laugh—but you might want to look over your shoulder. It could easily be you too, lover of art, that finds yourself looking in the mirror of absurdity. In the end, Wilde says, “we are all in the gutter, but some of us are looking at the stars.” No matter what, it’s my pleasure to share the foibles and rewards of art and life with you.

Cheers,

Gil Rose, Artistic & General Director

GILBERT AND SULLIVAN’S PATIENCE 1 DIRECTOR’S NOTE

“Gilbert and Sullivan’s opera, Patience, was performed for the first time in New-York What interests me in this wonderfully textured look at humanity is the struggle at the Standard Theatre, last evening, with such excellence as to leave no room for between conformity or “movements” and non-conformity or “individualism”. doubt that it will become a favorite with the public.” (New York Times September 23, , whom many claim (probably erroneously) is the model for Bunthorne, 1881) was the most memorable and outspoken of the individualists of the 1880s He preached freedom from moral restraint and the limitations of society. He believed Patience; or Bunthorne’s Bride was a huge success in London where it ran for 578 that “man makes the times-the times do not make the man.” “Art is superior to performances (across two theaters in London, the Opera Comique and the Savoy), Nature” and “an artist’s life is his most important body of work.” All of these could the longest save for . The producer Richard d’Oyly Carte, wanting to easily be imagined as Bunthorne’s outlook. replicate that success in America, yet being concerned that audiences there would not appreciate the subject matter of the , recruited Oscar Wilde to pave Save for Patience, everyone is either conforming to a mass hysteria for things the way with a series of lectures on the Aesthetic movement. This proved to be “aesthetical” or belonging to a regiment, the most conformist of life-styles. At another instance of his savvy business acumen. The New York production had 177 the end of the play it is Bunthorne alone who remains true to his vision—all the performances. others have followed Archibald: “if the All-Right chooses to discard , it proves that aesthetics ought to be discarded”. They are followers, Bunthorne is the One of the 94 lectures took place in . “On January 31, Wilde was to speak at individual. One can claim that Patience is also an “individual”, that she is “pure” the Music Hall in Boston. Sixty Harvard students decided to parody Wilde’s clothes and never bought into the craze, and indeed this is what makes her so attractive and manners. When the auditorium was nearly full, the students, each dressed to Bunthorne. But she is pure and individual out of “circumstance” and not out of like Bunthorne, paraded in pairs down the center aisle to their seats in the front “conviction” to use a Gilbert construction. She is a working girl who “earns her rows, swishing sunflowers and lilies as they went. Wilde, who had been tipped off, living” and has not the leisure to even consider joining movements. Bunthorne appeared in conventional evening dress. After welcoming the students and the rest is drawn to an “idea” of purity, an “idea” of non-conformity that is expressed of the audience, he drolly commented, “Caricature is the tribute that mediocrity in Patience. He is objectifying her, and does not love Patience the woman—this pays to genius.” This won loud applause from the entire audience. He then sighed is what Patience sees and cannot accept: “I am quite certain that, under any a quiet prayer, “Save me from my disciples,” which again evoked enthusiastic circumstances I couldn’t possible love you.” applause.” (Wilde’s The Picture of Dorian Gray, Stanley P. Baldwin) With Patience Gilbert and Sullivan struck out on a new musical path, leaving behind Patience is a sophisticated often savage skewering of societal norms. It parodies the string of ‘numbers’ parodying Verdi and Donizetti, and building something fashion, fancy, vanity, poetry, love, dilettantism, and mostly Aestheticism, the that was more thematically unified across the entirety. They did, however, not leave cultural movement that swept Britain in the 1870s and 1880s and that had a sister comedy behind. A reading of the libretto in the quiet of one’s home is guaranteed to movement in France known alternately as Symbolism or Decadence. Prominent make one laugh out loud. It is a humor complete from the outset, the lines are ready artists associated with the movement(s) include: , Algernon Charles for the playing. I have tried to remember the critic’s warning when speaking of the Swinburne, James McNeil Whistler, , Charles Baudelaire, players in a New York revival: “It is better to let Mr. Gilbert make them funny than Stéphane Mallarmé, and Edgar Allen Poe. The paintings of Edward Burne-Jones to try and make Mr. Gilbert funny” (The Times April 5, 1907). and Puvis de Chavannes’ murals in the Boston Public Library were inspirational for this production. I hope you enjoy our show as much I have enjoyed living in Bunthorne’s world.

—Frank Kelley

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Music by Arthur Sullivan Act I – Exterior of Castle Bunthorne Odyssey Opera Orchestra and Chorus Libretto by W. S. Gilbert Intermission Aaron Engebreth Reginald Bunthorne Gil Rose, Conductor Paul Max Tipton Archibald Grosvenor Frank Kelley, Stage director Act II – A Glade Sara Heaton Patience Lady Jane Sung in English Colonel Calverley June 2 & 3, 2017 at 7:30pm Steven Goldstein Lieut. The Duke of Dunstable Huntington Avenue Theatre Run Time: Two hours with Jaime Korkos Lady Angela 264 Huntington Avenue, Boston one 15-minute intermission. Sara Womble Lady Ella Heather Gallagher Lady Saphir Sumner Thompson Major Murgatroyd Jesse Martin Solicitor

Amanda Mujica Costume Designer Dan Daly Scenic Designer Christopher Ostrom Lighting Designer Rachel Padula-Shufelt Hair and Make-up Designer WILDE OPERA NIGHTS SEASON SPONSORED BY RANDOLPH J. FULLER

4 ODYSSEYOPERA.ORG GILBERT AND SULLIVAN’S PATIENCE 5 PROGRAM NOTES AUTHORS BY LAURA STANFIELD PRICHARD In this heady climate, Arthur Sullivan (1842-1900) began a career as a composer of both “serious” music (he had trained in the Chapel Royal, the Royal Academy English ballad opera, Italian opera, and French-style operetta thrived in England of Music, and in Leipzig on a Mendelssohn scholarship) and of “light” music (his before the revolutions of the 1770s-90s, but in 1843, Parliament clamped down father was a theatre musician who became an army bandmaster). Sullivan was the on popular entertainment. The new Theatres Act specified that saloons, gardens, conductor of the Leeds Festival for almost twenty years, a recital accompanist for the and cafés providing music could only be licensed if run as “theatres:” the Lord Royal family (knighted in 1883), and “incomparably the greatest English musician of Chamberlain could vet and prevent any new plays threatening “the preservation of the age” according to his colleague William Schwenck Gilbert (1836-1911). good manners, decorum or of the public peace.” Promoters began to raise funds to establish new venues, and by the end of the century, London boasted several new Sullivan became famous overnight after a successful 1862 performance of his houses dedicated to English . incidental music for The Tempest in the Crystal Palace. Over the next decade, he published his only song cycle (The Window, to texts by Tennyson), a cello concerto Early romantic Parisian composers Hervé (1825-1892) and Adolphe Adam and symphony, several dramatic cantatas, and popular hymn tunes such as St. (composer of Giselle, 1803-1856) created the first with spoken dialogue Gertrude (adopted as Onward, Christian Soldiers by the Salvation Army). Large-scale instead of sung recitative. The French government, which sponsored all grand works of this period include huge commissions for the Crystal Palace (Festival Te opera, limited independent operettas to one act with no more than three Deum, 1872), the Three Choirs Festival (an 1869 three-act oratorio, The Prodigal Son), characters. Jacques Offenbach’s dozens of successes of the 1850s established the and the 1873 Birmingham Festival (The Light of the World). operetta form as a viable financial endeavor, and the “three-singer limit” was lifted in 1858. Sullivan met his longtime collaborator, W. S. Gilbert, in 1870 and was commissioned to write the Victorian burlesque-style comic opera with him High British comedies of the same period required newly composed musical scores for the Gaiety Theatre the following year. Sullivan didn’t write most of his overtures; with recitatives instead of spoken dialogue; they were billed as comedy operas, assistants assembled many of them from the best tunes of the opera, in the manner comic operas, and light operas. Michael Balfe’s wildly popular opera The Bohemian made popular by Offenbach. Eugen D’Albert (1864-1932), who was at the time a Girl (1845) told of nobility raised by gypsies, and its English arias spawned popular pupil of Sullivan’s, assembled the overture for Patience: he would ultimately emigrate hits like “I Dreamt That I Dwelt in Marble Halls,” still heard in recitals today. to Germany, where he studied with Liszt and built a career as a concert pianist and Light-hearted stories were buoyed by melodies that could appeal to popular taste, prolific composer. combining the best of several contrasting types of music theater. Gilbert and Sullivan wrote twelve comic operas together from 1874-1888, mostly for Richard D’Oyly Carte, the manager of the Royalty Theatre. D’Oyly Carte built the first London theater lit by electricity (the Savoy) and commissioned a series of hits (sometimes starring Sullivan’s brother Fred), establishing “Gilbert & Sullivan” as a formidable team.

After careers as a lawyer and government clerk, W. S. Gilbert displayed his mastery of poetic meter and gift for comic lyrics in hundreds of publications. He wrote and illustrated light verse for Fun magazine, Victorian burlesques (think Saturday Night Live skits made into full evenings), and over seventy plays and libretti. For his collaborations with Sullivan, often called the Savoy operas, Gilbert meticulously supervised each new production. Every detail, from facial expressions, hand

6 ODYSSEYOPERA.ORG GILBERT AND SULLIVAN’S PATIENCE 7 gestures, and choreography to style of delivery were notated and protected by a was no chance of a fire. He then left the stage, the gas was extinguished, and the strict and lucrative licensing system. The venture was so successful that it spawned modern age of theatrical electricity was ushered in. Oscar Wilde left for American two touring companies and endured until 1982. on the S.S. Arizona later that week.

Patience was partly inspired by two illustrated comic poems Gilbert had published in PATIENCE the magazine Fun in the 1860s. Gilbert contributed these under the pen name Bab (thus referring to them as his ). They satirized two brothers courting the Patience, or Bunthorne’s Bride, was the sixth collaboration of Gilbert and Sullivan. It same girl (Johnny and Freddy) and parish church life (The Rival Curates). followed the wild, international success of HMS Pinafore (1878) and (1879), both of which satirized the conventions of Verdi operas. The Rival Curates presents an assistant to a parish priest who has purified himself from dancing, “wild croquet,” and other worldly distractions. After restricting his After opening on April 23, 1881 at London’s Opera Comique, it ran for 578 diet to curds and whey and contemplating wildflowers, he is told: “Your mind is not performances, transferring to D’Oyly Carte’s new on October 10 of as blank” as another local curate. “He plays the airy flute/ and looks depressed and the same year. The first two months of the Savoy run were lit by gaslight, but on blighted./ Doves ‘round about him toot, / And lambkins dance delighted.” The December 28th, D’Oyly Carte appeared onstage just before the overture, wrapped first threatens the second with assassination, giving him “one more chance” if he a glowing light bulb in muslin, then dramatically shattered it to prove that there will change to a life of “croquet, smoke, and dance.” The second gladly transforms into an Aesthete, remarking, “For years I’ve longed for some/ Excuse for this revulsion:/ Now that excuse has come —/ I do it on compulsion!!!”

Johnny and Freddy criticized the lengths young aesthetes might go to in order to appeal to a young lady, and it is partly written from the perspective of a curate, who ultimately wins the hand of the lady:

“Oh my,” said he, with solemn frown, “I tremble for each dancing frater [meaning brother, pronounced frayter], Like unregenerated clown And harlequin at some the-ayter.”

When Gilbert first sketched out the plot for Patience, he worried that focusing on a rivalry between two curates would not be in good taste, writing to Sullivan, “I mistrust the clerical element,” and was concerned that a focusing on Aestheticism would make the costuming challenging (and expensive?). Instead of making fun of class distinction (as is typical of the Savoy operas), Gilbert focused his plot on fads, fan culture, and blind devotion to figureheads.

By 1880, the original curates of Gilbert’s Bab Ballads became poets: a “rivalry between two aesthetic fanatics.” The “aesthetic craze” of the 1870s-80s was fine fodder for comedy, as prolific authors and painters such as James Whistler, John Ruskin, and Oscar Wilde attracted fans throughout Europe and America. Gilbert, Oscar Wilde, and James Whistler, who both worked closely with D’Oyly Carte, felt great antipathy toward each other. D’Oyly Carte organized Oscar Wilde’s

8 ODYSSEYOPERA.ORG GILBERT AND SULLIVAN’S PATIENCE 9 American tour during the premiere of Patience, and Patience’s characters satirize MUSIC aesthetic manners of dress, speech, and behavior. The music and language of Patience is typical of its time: in the same year, Brahms premiered his Academic Sullivan supports Festival Overture and Henry James published Portrait of a Lady. Gilbert’s witty rhymes with a rich variety of musical styles. Patience PLOT builds thematic unity across the entirety The story is set on the Surrey-Hampshire border, where people often walk from the of an opera without military base at Aldershot in Hampshire to Castle Guilford (Castle Bunthorne) in making operatic Surrey. Grosvenor walks over from a cottage in Surrey, probably near Jane Austen’s parody a linchpin. home in Chawton. Gilbert’s own parents had made an arranged marriage and From this point on, the he makes several references to Austen’s writings: Patience’s lovesick Dragoons echo Savoy operas would Captain Harville’s speech from Persuasion about continuing to pine for a lost love owe less to Victorian longest. burlesque, striving for tightly constructed All the village ladies, rapturously caught up in Aestheticism, ignore their military commentary on a single suitors in favor of two contrasting aesthetes (hypocrite/“fleshy poet” Reginald theme. The new Gilbert Bunthorne and egoist/“idyllic poet” Archibald Grosvenor). The poets dote on and Sullivan would Patience, the simple village milkmaid, who cares nothing for poetry “True love contain fewer imitations must be completely unselfish – it must wither and sting and burn!” When she sings of other operas and “Am I alone and unobserved?” she is the first character to have the stage to herself. more Duets, Trios, and Patience is courted by a young Duke (self-described as an aesthetic sham) who ambitiously connected composes poetry for her, and by her childhood playmate Archibald Grosvenor, an sequences. There are “Idyllic poet” of great beauty. Bunthorne offers himself up to be raffled off to the fewer discreet numbers ladies, and Patience intervenes. than in the earlier operas, and musical scenes are longer: this is the first to employ the strong musical, dramatic and visual contrast between the male Act II begins with the Lady Jane playing a large instrument (traditionally, a and female choruses. In Act I this culminates in a finely constructed finale featuring cello or tuba) in a bucolic setting. The village ladies now follow Grosvenor, and their best double chorus. the military men have transformed themselves into Aesthetes to win back their attentions. A complex quintet in 6/8 ensues, in which multiple nuptial pairings Sullivan’s elegant “I hear the soft note” is one of his most heart-wrenchingly are proposed. After an extended comic sequence of reversals and twists, the two beautiful songs. Gilbert lampoons contemporary writers in the Colonel’s “Heavy poets meet and Grosvenor cedes the aesthetic field to Bunthorne. Patience deserts Dragoon” song: he mentions the “wit of Macaulay, who wrote of Queen Anne...” Bunthorne for Grosvenor, and the ladies pair off with the Dragoons, reverting to Macaulay, the eminent historian is commonly reputed to have undertaken his “prettily pattering, cheerily chattering, every-day young girls.” Everyone ends up History in order to write of this, his favorite, period; but he never reached it. with a suitable partner except Bunthorne, who is left holding a lily.

10 ODYSSEYOPERA.ORG GILBERT AND SULLIVAN’S PATIENCE 11 MODELS ODYSSEY OPERA ORCHESTRA

In Gilbert’s conception, Bunthorne was made up to represent Whistler (1834- Gil Rose, Conductor 1903), the famous American-English painter and etcher, with his eye glass, lock Anthony D’Amico, Personnel Manager of white hair, moustache and imperial. English contemporaries also saw in him a wild caricature of the poet Swinburne (1837-1909). Ironically, most audiences now associate the “fleshly poet” Reginald Bunthorne with Oscar Wilde, though at the VIOLIN I CELLO BASSOON time of the production, apparently, he was understood to be portrayed by the rival Heidi Braun-Hill David Russell Margaret Phillips poet Archibald Grosvenor (“I’m such a Narcissus.”): in those days Wilde would Omar Guey Rafael Popper Keizer have been about twenty five years old and was not then the portly figure he became Megumi Stohs Lewis FRENCH HORN ten years later. However, within a few years Wilde so resembled Bunthorne that the Katherine Winterstein DOUBLE BASS Kevin Owen British press remarked, “A case of nature imitating art.” Anthony D’Amico Clark Mathews VIOLIN II

Colleen Brannen FLUTE TRUMPET Mrs. Langtry, Lady de Bathe (1852-1929) an actress known as the Jersey Lily, Sasha Callahan Sarah Brady Joseph Foley and possibly the most beautiful woman of her day, always contended that the Amy Sims Rachel Braude Richard Watson famous characterization of Wilde, “If you walk down Piccadilly with a poppy or a Yumi Okada lily in your medieval hand,” was an unjust aspersion on Wilde, for before he had OBOE TROMBONE achieved celebrity he invariably brought her flowers, but as he could not then afford VIOLA Jennifer Slowik Hans Bohn elaborate bouquets he used to buy a single, but beautiful, lily, and would walk down Peter Sulski Peter Cirelli Piccadilly carrying the solitary bloom. Wilde’s remark as a student at Oxford: “I Mark Berger CLARINET find it harder and harder every day to live up to my blue china,” was transformed Nathaniel Farny Jan Halloran PERCUSSION by Gilbert into “such a judge of blue and white and other kinds of pottery.” Since Gary Gorczyca Robert Schulz D’Oyly Carte acted as the main literary agent for Wilde and Whistler, he arranged for them to see the premiere of Patience. Wilde would later comment on Gilbert, “Caricature is the tribute which mediocrity pays to genius.” ODYSSEY OPERA CHORUS

Lina Gonzalez, Chorus Master

ODYSSEY OPERA’SODYSSEY INAUGURAL OPERA’S CD RELEASE! INAUGURAL CD RELEASE Alecia Batson Jason Connell “ movinglyPIETRO acted MASCAGNI’S ZANETTO Chelsea Beatty Lewis Sean Lair and sung... Kathryn McKellar Ted Pales strikingly“movingly enacted acted and sung... and voiced” Kay Patterson Jason Wang strikingly enacted and voiced” JUNE 2014 THE BOSTON GLOBE, JUNE 2014 MEZZO-SOPRANO Jessica Johnson Brock RaShaun Campbell Available from Amazon,Available all major from Amazon, all major digital retailers, Alexandra Dietrich Jacob Cooper digital retailers, and in andthe lobby in atthe this lobby at this performance. Krista Laskowski Seth Grondin performance. Mauri Tetreault Aaron Styles

12 ODYSSEYOPERA.ORG GILBERT AND SULLIVAN’S PATIENCE 13 THE CAST

AARON ENGEBRETH Luke’s, and with the New York Philharmonic as part (REGINALD BUNTHORNE) of their first-ever Bach Festival. He has sung with Bach Collegium Japan, Tenet (NYC), Blue Heron (Boston), Aaron Engebreth enjoys a varied career in opera, the Washington Bach Consort, debuted at Spoleto oratorio and recital, and devotes considerable Festival USA in 2015, and has been presented with Cut energy to the performance of both early music and Circle (Palo Alto) at early music festivals in Maastricht, contemporary premieres, frequently collaborating Antwerp, and Utrecht (2018). He has collaborated with with many of today’s preeminent composers. He has Matthias Pintscher, Ton Koopman, Kenneth Slowik, been featured as a concert soloist in performances from Leonard Slatkin, Simon Carrington, Helmuth Rilling, Carnegie Hall to Sapporo Japan’s Kitara Hall and Rubén Dubrovsky, Nicholas McGegan, Ricky Ian Boston’s Symphony Hall, to Le Theatre de la Ville in Gordon, has soloed for Grant Llewellyn at the Handel Paris, and the AmBul festival of Sofia, Bulgaria. Mr. and Haydn Society, and performed the title role in Engebreth made his debut at Washington’s Kennedy Mozart’s with Martin Katz conducting. Center in 2012, and has been a guest of the Tanglewood, Ravinia, Rockport and This spring he sang a tour of Bach Saint Matthew Passions to Boston, Iowa, Monadnock Music Festivals as well as many fine symphony orchestras, among them Washington, D.C., and Sweden, and recorded Nicolaus Bruhns’ solo cantatas for Portland, Virginia, San Diego, Charlotte and the Buffalo Philharmonic. Recent bass with Masaaki Suzuki for the BIS label. Mr. Tipton trained on full-fellowship appearances include concerts and recordings with the Boston Modern Orchestra at the University of Michigan School of Music in Ann Arbor, being mentored by Project, Lexington, Bangor and Boston Landmarks’ Symphony Orchestras, mezzo-soprano Luretta Bybee and tenor George Shirley. He is a graduate of the Vancouver International Song Institute and the St. Louis Museum of Fine Arts. In Yale University School of Music and Institute of Sacred Music, having studied recent seasons he has performed solo recitals at the Schubert Club of Minnesota, with tenor James Taylor. Based in Boston, he was made a Lorraine Hunt Lieberson Eastman School of Music, SOURCE Song Festival, University of Minnesota and Fellow at Emmanuel Music in 2012. the University of Wisconsin. His current concert season includes performances with Le Cantrel de Lyon (France), Odyssey Opera, the Basel Early Music Festival, le Grand Parc de Puy du Fou and vocal recitals in Lyon, Paris, San Francisco and SARA HEATON (PATIENCE) Portland, Oregon. While on the music faculty at , Aaron was twice awarded faculty development grants to study the music of the French baroque in American soprano Sara Heaton, noted for her Paris. He is currently the Artistic Co-Director of Florestan Recital Project and lives “gleaming lyricism” by Online, is gaining with his family in Lyon, France. He holds degrees in music from Viterbo University recognition as a sensitive performer of both opera and Boston University. standards and new works. Career highlights include singing Strauss’ Four Last Songs with the Xalapa Orchestra in Mexico and guest conductor Donald PAUL MAX TIPTON (ARCHIBALD GROSVENOR) Palma, her role debut as Violetta in La Traviata with Opera in the Heights in and conductor Described by the Atlanta Journal-Constitution as a dignified and beautiful singer, bass- Enrique Carreón-Robledo, a Symphony Hall debut baritone Paul Max Tipton enjoys an active career in opera, oratorio, and chamber as Papagena with the Boston Youth Symphony music throughout North America, Europe, China, and Korea. He has recently Orchestra and Federico Cortese, and singing on a appeared with the symphonies of San Antonio, Grand Rapids, the Orchestra of St. grammy-nominated recording with Martin Pearlman leading in

14 ODYSSEYOPERA.ORG GILBERT AND SULLIVAN’S PATIENCE 15 Monteverdi’s Il ritorno d’Ulisse in patria. Other favorite roles include Despina in Cosí recorded the critically lauded Vali: Folk Songs (sung in Persian); Lukas Foss’ opera fan tutte, Celia in Lucio Silla, Pamina in The Magic Flute, Maria in West Side Story, ; the world-premiere recording of Eric Sawyer’s Civil War-era opera Our Miranda in ’s Death and the Powers, and Leila in The Pearl Fishers. American Cousin; and ’s Mirabai Songs. She has sung a great number Sara took first place prize in the Marie Kraja International Singing Competition of roles under Gil’s baton, her favorites being the Duchess in Powder Her Face; and in Albania, 2nd place prize in the Young Patronesses of the Opera Competition, Yelena Ivanova Popova in The Bear. An alumna of and the Yale received the Richard F. Gold Career Grant from the Shoshana Foundation, and School of Music, she joined the faculty of the Yale School of Music in 2008. was a regional finalist in the competition. This season, Sara joined The Metropolitan Opera Chorus as a full-time member.

JAMES MADDALENA JANNA BATY (LADY JANE) (COLONEL CALVERLEY)

Praised by The Boston Globe for “a rich, viola-like The renowned baritone James Maddalena commands tone and a rapturous, luminous lyricism,” mezzo- a large and varied repertoire ranging from Monteverdi soprano Janna Baty enjoys an exceptionally versatile to contemporary opera. He first gained international career. She has sung with Boston Symphony, Los recognition for his extraordinary portrayal of the title Angeles Philharmonic, Daejeon Philharmonic, role in the world premier of ’ Nixon in Hamburgische Staatsoper, L’Orchestre National du China, directed by with Houston Grand Capitole de Toulouse, Royal Philharmonic Orchestra, Opera followed by performances at Netherland Opera, Tallahassee Symphony, Tuscaloosa Symphony, the Edinburgh Festival, Brooklyn Academy of Music, Longwood Symphony, Hartford Symphony, the Washington Opera, Frankfurt Opera, Australia’s Orquesta Filarmónica de Bogotá, Opera Theatre , the Chatelet in Paris, English of St. Louis, Eugene Opera, Opera North, and National Opera, the Greek National Opera, the Lyric Opera of Kansas City, and Boston Lyric Opera. She has sung under the batons of , , for his debut with the Metropolitan Opera. Michel Plasson, Carl Davis, Robert Spano, Steuart Bedford, Stephen Lord, Stefan Asbury, Gil Rose, David Hoose, and Shinik Hahm, among numerous others. His association with John Adams continued in the roles of the Captain in The As a soloist, chamber musician, and recitalist, she has performed at festivals Death of Klinghoffer, which premiered at the Théâtre de in Brussels and worldwide, including the Aldeburgh and Britten Festivals in England, the Varna received performances at the Opera de Lyon, the Brooklyn Academy of Music, San Festival in Bulgaria, the Semanas Musicales de Frutillar Festival in Chile, and the Francisco Opera, and at the Vienna Festival; and Jack Hubbard in for Tanglewood, Norfolk, Monadnock, and Coastal Carolina festivals in the United . States. Mr. Maddalena has appeared with many other leading opera companies and A noted specialist in contemporary music, Ms. Baty has worked alongside many Symphony orchestras: Lyric Opera of Chicago, , Atlanta Opera, celebrated composers, including John Harbison, , Yehudi Wyner, Opera Theatre of St. Louis, , the Lyric Opera of Kansas City, Sydney Hodkinson, Peter Child, Reza Vali, Paul Salerni, and , on Frankfurt Opera, and Glyndebourne Festival Opera, as well as the Chicago performances of their music. Ms. Baty has enjoyed a long collaboration with Gil Symphony, , Boston Symphony, San Francisco Rose and much as it will embarrass him to see it in print, she considers him to be Symphony, Brooklyn Philharmonic, the Royal Scottish Orchestra, Orchestra of the one of her most cherished mentors and music-making partners. She is especially Accademia di Santa Cecilia in Rome and the London Symphony Orchestra. He is proud of her discography with Boston Modern Orchestra Project: with them has a frequent collaborator with director Peter Sellars and sang major roles in Sellars’

16 ODYSSEYOPERA.ORG GILBERT AND SULLIVAN’S PATIENCE 17 stagings of the Mozart/Da Ponte operas—the Count in Le nozze di Figaro set James Maddalena has recorded for Decca/London, BMG, Classical Catalyst, in Trump Tower, and Guglielmo in Così fan tutte—as well as his productions of Nonesuch, Teldec, Sony Classical, Harmonia Mundi, and EMI. He can be heard operas by Haydn, Handel and John Adams. on the Grammy Award-winning recording of (Nonesuch) and the Emmy Award-winning PBS telecast, now on DVD. His performance of Mark He has collaborated with many contemporary composers, including John Adamo’s was recently in 2011 on Naxos DVD. Harbison, Gunther Schuller, , Robert Moran, Domenic Argento, Marc Blitzstein, and , among others. He sang the world premiere of ’s Harvey Milk with , later heard at San Francisco Opera and recorded by Teldec under STEVEN GOLDSTEIN Donald Runnicles. He sang the premiere of Wallace’s The Bonesetter’s Daughter (LIEUT. THE DUKE OF DUNSTABLE ) at San Francisco Opera. In St. Louis, James Maddalena sang the premiere of David Carlson’s The Midnight Angel. He sang the role of Gideon March in New York born tenor Steven Goldstein enjoys a career ’s Little Women at the Houston Grand Opera, and title role in the on both the opera stage, and as an actor in theater premiere of Kirke Mechem’s John Brown at the Lyric Opera of Kansas City, and films. Last season he joined Odyssey Opera/ where he returned for Nixon In China. He gave the premiere of Elliot Goldenthal’s BMOP as The Fisherman in Gunther Schuller’s Vietnam Oratorio Fire Water Paper with the Pacific Symphony Orchestra, The Fisherman and His Wife. Steven has sung many recorded for Sony Classical and later performed with the Boston Symphony roles with companies including Squeak (Billy Budd), under Seiji Ozawa at Carnegie Hall and the Kennedy Center, and the world Harry (La Fanciulla), Third Jew (Salome), Scaramuccio premiere of Harbison’s Four Psalms with the Chicago Symphony Orchestra. (Ariadne), Bardolfo (Falstaff ) all with the Seattle Opera; Monostatos (Zauberflöte), First Jew (Salome) with LA He made his Santa Fe Opera debut in the premiere of Paul Moravec’s ; Opera; Don Basilio (Nozze) with Vancouver Opera; and returned for the premiere of ’s Life is a Dream. He made his Victorin (Tote Stadt), Don Curzio (Nozze), Borsa (Rigoletto) with Opera de Monte-Carlo debut in the premiere of Tod Machover’s Death and Opera; Pedrillo (Entführung) Israeli Opera; Cleveland Opera, Chicago Opera the Powers, followed by US performances in Boston and Chicago. He sang the Theater, Gotham Chamber Opera, and the Metropolitan Opera where he debuted premiere of Hugo Weisgall’s Esther for and made his in 2011 as one of the Servants in Capriccio. He has also created roles in many new Metropolitan Opera debut in Nixon In China. January 2014 brought the US contemporary pieces, including works by Libby Larson, Gerald Busby, and James premiere of Weinberg’s The Passenger with Houston Grand Opera, which then Sellars. As an actor his performance highlights include Our Town on Broadway with went to the Lincoln Center Festival. In 2015 he sang the premiere of Wlad Spaulding Gray; the premiers of I Was Most Alive With You Huntington Theatre); Marhulets’ The Property for his debut with the Lyric Opera of Chicago. Boys’ Life, Oh Hell, The Lights (Lincoln Center Theatre); Romance, The Vosey Inheritance, Shaker Heights (Atlantic Theater Company, Founding member); Keep Your Pantheon An active concert artist, James Maddalena can be heard in repertoire ranging (LA Theater Center); Intimate Apparel (Center Stage Baltimore); Harmony (La Jolla from Bach to Hindemith. He has performed The with Boston’s Handel Playhouse); and the Boston premiere of Big Fish (SpeakEasy Stage Co.) Steven has and Haydn Society; Hindemith’s Requiem with Wolfgang Sawallisch and the appeared in the TV shows quarterlife, Law & Order and The Guiding Light, and in films Orchestra of the Accademia di Santi Cecilia in Rome; the St. John Passion in including The Untouchables, Signs and Wonders, The Spanish Prisoner, The Night We Never Turin, Italy; Harbison’s Words from Paterson with the San Francisco Symphony; Met, Homicide, House of Games and Things Change. and Carmina Burana in Seville, Spain and Palermo, Italy. He made his Houston Symphony debut in fall 2010, singing Lawrence Siegel’s Kaddish, conducted by Hans Graf. He sang Schubert’s Die Winterreise at the Brooklyn Academy of Music with Robert Spano as accompanist and the complete cycle of Bach cantatas with Boston’s Emmanuel Music.

18 ODYSSEYOPERA.ORG GILBERT AND SULLIVAN’S PATIENCE 19 JAIME KORKOS (LADY ANGELA) BLO’s Tosca. Ms. Womble received her Master’s degree from Boston University, where her roles included La Fée in Cendrillon, Rosalba in Florencia en el Amazonas, Mezzo-soprano Jaime Korkos has been singing in Ruth Baldwin in Later the Same Evening, and Presendia in Dark Sisters. Before her the Boston area for the last 8 years. In that time, she singing career, she graduated Phi Beta Kappa and magna cum laude from Duke sang the title roles in Gluck’s Orfeo ed Euridice and University, where she double-majored in English and Vocal Performance. Hoffman’s La Périchole, and the roles of Doralice (La Gazzetta) and Donna Elvira (Don Giovanni), among others, during her Graduate and Artist Diplomas at the New England Conservatory. She was a Gerdine HEATHER GALLAGHER Young Artist at Opera Theatre of St. Louis for (LADY SAPHIR) two seasons, where she sang the role of Edith in The Pirates of Penzance. 2014 debuts included the roles Recent projects include Carmen (Mercedes; Carmen of Cherubino (Le nozze di Figaro) and La Ciesca (Gianni cover, Calixto Bieito, dir.), The Merry Widow (Sylviane/ Schicchi) with Hubbard Hall Opera Theatre, and Cendrillon (Cendrillon) with Bel Dodo), (Charlotte cover and Käthchen), Katya Cantanti Opera. 2015 appearances included the alto solo in Mahler’s Symphony Kabanova (Feklusha) and The Love Potion (Isolt’s Mother) No. 3 with the Amherst Symphony Orchestra, the alto solo in Pergolesi’s Stabat with Boston Lyric Opera; the title role in Carmen Mater with organist Richard Clark and the St. Cecilia String Quartet, as well as with Metrowest Opera, Song from the Uproar (Alto, the role of Miss Carlisle in the world premiere of Oliver Caplan’s one-act opera The Beth Morrison Projects) The Daughter of the Regiment Cellist is Dead with Maestra Lidiya Yankovskaya and the Juventas New Music (Marquise, Opera North), Trouble in Tahiti (Dinah, Ensemble. Also in 2015, Ms. Korkos sang American composer Charles Fussell’s Metrowest Opera), Les lettres de Werther (Charlotte, song cycle November Leaves at the Monadnock Music Festival with Maestro Gil Rose Boston Opera Collaborative), the New England and the Boston Modern Orchestra Project. Ms. Korkos made her Boston Lyric premiere of Mohammed Fairouz’s Sumeida’s Song (Asakir, Boston Opera Collaborative). Opera debut in their 2016 production of Carmen, and joined them as well for their Other credits include, Le nozze di Figaro (Cherubino, Vero Beach Opera), Dido and 2017 production of Stravinsky’s The Rake’s Progress. Ms. Korkos is very excited to Aeneas (Dido, HEMS), (Nancy, BOC), Cosi fan tutte (Despina, Gusman make her Odyssey Opera debut as Lady Angela in Patience. Center for the Arts) and the much lauded productions of La Boheme, Don Giovanni, La Traviata, I Puritani, The Magic Flute, Die fliegende Hollander and Madama Butterfly with Boston Lyric Opera.

SARA WOMBLE (LADY ELLA) Ms. Gallagher is a recipient of numerous awards and honors. She is a Boston Lyric Opera Emerging Artist Alumna, and a recipient of BLO’s 2016 Stephen Sara Womble is excited to be making her debut Shrestinian Award for Excellence in addition to an Encouragement Award from with Odyssey Opera. She is a Jane and Steven Akin the Licia-Albanese Puccini Foundation (2011), First Place in the 2015 Peter Elvins Emerging Artist at Boston Lyric Opera, where she Vocal Competition, First Place in Metrowest Opera’s 2014 Competition, and a Two recently made her mainstage debut as Barbarina in Le Year Fellowship from the Atlantic Music Festival. For more information please visit nozze di Figaro. In the summer of 2016, she sang Zerlina www.HeatherAGallagher.com in Don Giovanni as an Apprentice Artist at Opera NEO, in San Diego. She returns to San Diego this summer to sing Susanna in Le nozze di Figaro with Point Loma Opera. This fall she will sing the Shepherd Boy in

20 ODYSSEYOPERA.ORG GILBERT AND SULLIVAN’S PATIENCE 21 SUMNER THOMPSON JESSE MARTIN (SOLICITOR) (MAJOR MURGATROYD) Jesse has been performing in Boston since 1990 as a “supernumerary” with such Described as possessing “power and passion,” and companies as Boston Lyric Opera, Boston Youth Symphony, Opera Boston, “stylish elegance,” Sumner Thompson is in high Intermezzo Chamber Opera, and Boston Ballet. This marks his second appearance demand on the concert and opera stage across North with Odyssey Opera. In 2007 he wrote the libretto for Thomas Oboe Lee’s The America and Europe. Inman Diaries and in 2011 they collaborated again on a work based on Oscar Wilde’s De Profundis, both for Intermezzo Chamber Opera. He is a long-time He has appeared as a soloist with many leading member of The Footlight Club, America’s Oldest Community Theater, which ensembles and orchestras including the Britten- is celebrating its 140th anniversary this year. Besides acting, producing, and Pears Orchestra, the National Symphony, the Boston directing he also served on the BOD for seven years. Early Music Festival Orchestra, Apollo’s Fire, Pacific Baroque Orchestra, Portland Baroque Orchestra, Jesse writes adaptations, based on operas, for Plays, the drama magazine for young Les Voix Baroques, The Handel and Haydn Society, Tafelmusik, the Orpheus people. His latest, based on Cimarosa’s The Secret Marriage is due out this year. This Chamber Orchestra, gli angeli genève, and the orchestras of Cedar Rapids, fall he is looking forward to his 46th production with Boston Lyric Opera and is Phoenix, Richmond, Memphis, Indianapolis, Buffalo, and Charlotte. also co-producing The Music Man for the Footlight Club.

Recent engagements included a repeat performance of Handel’s Messiah with Boston’s Handel and Haydn Society, Monteverdi’s 1610 Vespers with the critically GIL ROSE acclaimed Green Mountain Project, Britten’s War Requiem with the Boston (ARTISTIC DIRECTOR, CONDUCTOR) Philharmonic, Bach’s St. John Passion at the National Cathedral, and the title role in Britten’s Saint Nicolas with Philadelphia Choral Arts. On the operatic stage he Gil Rose is a conductor helping to shape the future of performed the role of El Dancaïro in Carmen with the Cincinnati Opera, and the classical music. His dynamic performances and many role of Siegmund in a concert version of Act I of Wagner’s Die Walküre in Boston. recordings have garnered international critical praise. LINDER LIZ CREDIT: PHOTO He will be revisiting the title role in Monteverdi’s L’Orfeo in Juneau, Alaska in the spring of 2016. Over the past decade, Mr. Rose has built a reputation as one of the country’s most inventive and versatile Mr. Thompson can be heard on the Boston Early Music Festival’s Grammy opera conductors. In September 2013 he introduced nominated recording of Lully’s Psyché on the CPO label, with the Handel and Odyssey Opera, a company dedicated to eclectic and Haydn Society on their recording of Handel’s Messiah on the Coro label, and also underperformed operatic repertoire, with a concert with Les Voix Baroques on Canticum Canticorum, Carissimi Oratorios, and Humori, all production of Wagner’s Rienzi. Odyssey Opera has on the ATMA label. continued to unanimous acclaim with annual festivals of fully staged Italian and British operatic works and concert productions of overlooked grand masterpieces In addition to his musical pursuits, Mr. Thompson spends his time restoring such as Korngold’s Die tote Stadt and Massanet’s Le Cid. Formerly, Mr. Rose led his 1885 Stick-style Victorian home, building various types of bass guitars, and Opera Boston as its Music Director starting in 2003, and in 2010 was appointed entertaining his four-year-old daughter. the company’s first Artistic Director. He led Opera Boston in several American and New England premieres including Shostakovich’s The Nose, Weber’s Der Freischütz, and Hindemith’s Cardillac. In 2009, Mr. Rose led the world premiere of ’s Madame White Snake, which won the Pulitzer Prize for Music in 2011.

22 ODYSSEYOPERA.ORG GILBERT AND SULLIVAN’S PATIENCE 23 Mr. Rose also served as the artistic director of Opera Unlimited, a contemporary He has led the longstanding Monadnock Music Festival in historic Peterborough, opera festival associated with Opera Boston. With Opera Unlimited, he led the NH, since his appointment as Artistic Director in 2012, conducting several world premiere of Elena Ruehr’s Toussaint Before the Spirits, the New England premieres and making his opera stage directing debut in two revivals of operas premiere of Thomas Adès’s Powder Her Face, as well as the revival of John Harbison’s by Dominick Argento as well as conducting, directing and producing the world Full Moon in March, and the North American premiere of Peter Eötvös’s Angels in premier recording of Ned Rorem’s opera Our Town. America. As an educator Mr. Rose served five years as director of Orchestral Activities at Mr. Rose maintains a busy schedule as a guest conductor on both the opera and Tufts University. In 2012 he joined the faculty of as Artist- symphonic platforms. He made his Tanglewood debut in 2002 and in 2003 he in-Residence and returned to his alma mater, Carnegie Mellon University, to lead debuted with the Netherlands Radio Symphony at the Holland Festival. He has led the Opera Studio in a revival of Aaron Copland’s The Tender Land. the American Composers Orchestra, Warsaw Philharmonic, National Symphony Orchestra of the Ukraine, Cleveland Chamber Symphony, Orchestra della In 2007, Mr. Rose was awarded ’s prestigious Ditson Award Svizzera Italiana, and National Orchestra of Porto. In 2015, he made his Japanese as well as an ASCAP Concert Music Award for his exemplary commitment to new debut substituting for Seiji Ozawa at the Matsumoto Festival conducting Berlioz’s American music. He is a three-time Grammy Award nominee. Béatrice et Bénédict, and in March 2016 made his debut with New York City Opera at the Appel Room at Jazz at Lincoln Center. In 1996, Mr. Rose founded the Boston Modern Orchestra Project (BMOP), the FRANK KELLEY (STAGE DIRECTOR) foremost professional orchestra dedicated exclusively to performing and recording symphonic music of the twentieth and twenty-first centuries. Under his leadership, This production marks Frank Kelley’s debut as BMOP’s unique programming and high performance standards have attracted director with Odyssey Opera. Prior directing credits critical acclaim and earned the orchestra fourteen ASCAP awards for adventurous include an acclaimed revival of Elmer Gantry with the programming as well as the John S. Edwards Award for Strongest Commitment Florentine Opera of Milwaukee. to New American Music. At the start of its 20th anniversary season, BMOP was selected as Musical America’s 2016 Ensemble of the Year, the first symphony Mr Kelley sings a wide variety of music throughout orchestra in the organization’s history to receive this distinction. North America and Europe. He has performed many roles with the Odyssey Opera, Boston Lyric Opera, Mr. Rose and BMOP recently partnered with the American Repertory Theater, Opera Boston, Florentine Opera, Opera Theater of Chicago Opera Theater, and the MIT Media Lab to create the world premiere of St. Louis, and the San Francisco Opera Company, composer Tod Machover’s Death and the Powers (a runner-up for the 2012 Pulitzer and has appeared at the Gran Teatre del Liceu in Prize in Music). He conducted this seminal multimedia work at its world premiere Barcelona, the Theatre de la Monnaie in Brussels, The Frankfurt Opera, Opera de at the Opera Garnier in Monte Carlo, Monaco, in September 2010, and also led its Monte Carlo, Dallas Opera, Nashville Opera and in the Peter Sellars productions United States premiere in Boston and a subsequent performance at Chicago Opera of Die Sieben Todsünden, Das Kleine Mahagonny, Cosi fan tutte, and Le nozze di Figaro. The Theater. A release on BMOP/sound is impending. Mozart operas were recorded by Decca and Austrian Public Television, and were broadcast on PBS’s “Great Performances”. They are available on London DVD An active recording artist, Gil Rose serves as the executive producer of the as is Weill’s Die Sieben Todsünden. His recording (Elmer Gantry, with the Florentine BMOP/sound recording label. His extensive discography includes world premiere Opera Company and the Milwaukee Symphony for Naxos records) has won two recordings of music by John Cage, Lukas Foss, Charles Fussell, Michael Gandolfi, Grammy awards including best original composition. The most recent recording, Tod Machover, Steven Mackey, Evan Ziporyn, and many others on such labels as Carlisle Floyd’s Wuthering Heights, (Florentine Opera and Milwaukee Symphony) Albany, Arsis, Chandos, ECM , Naxos, New World, and BMOP/sound. has been highly acclaimed. In concert performances Mr. Kelley has sung with the Boston Symphony Orchestra, the Cleveland Orchestra, the Chicago Symphony

24 ODYSSEYOPERA.ORG GILBERT AND SULLIVAN’S PATIENCE 25 Orchestra, the National Symphony, the Dallas Symphony, the St. Paul Chamber Award, multiple IRNE Awards and many others. He is an NAACP Theatre Award Orchestra, and the Orchestra of St. Luke’s. He has performed medieval and and Los Angeles Weekly Theatre Award nominee, and a twotime winner of the renaissance music with Sequentia, the Boston Camerata, and the Waverly Consort, American Dance Awards Choreographer of the Year prize. Larry has performed and he performs baroque music with the Handel and Haydn Society, Boston in numerous Broadway companies, TV sitcoms and commercials. He teaches at Baroque, Emmanuel Music, Music of the Baroque, and Aston Magna. Mr. Kelley The Boston Conservatory, Bridgewater State University, and holds master classes at has participated in the Blossom Festival, the Tanglewood Festival, Ravinia Festival, conventions and studios across the US and Canada. Larry holds a BFA in theatre Marlboro Music Festival, Pepsico Summerfare, the New England Bach Festival, from Ithaca College, and pursued a unique interdisciplinary MFA in theatre at the Next Wave Festival, Wexford Festival Opera, and the Boston Early Music Festival. University of California at Irvine. Learn more about Larry at www.larrysousa.com. He has recorded for Naxos, London, Decca, Erato, Harmonia Mundi France, Teldec, Telarc, Koch International, Deutsche Harmonia Mundi, and Centaur.

A resident of Boston, Mr. Kelley sings there regularly with Emmanuel Music, both LINA GONZALEZ in the ongoing series which presents the complete Bach cantatas and in special (ASSISTANT CONDUCTOR) projects, including the complete piano/vocal works of Beethoven, Schumann and Brahms, Schubert lieder, Don Giovanni, The St. Matthew Passion, Alcina, The Magic Praised for her “geniality” and ability to create Flute, The St. John Passion, The Rake’s Progress, Susanna, Die Schöne Müllerin and “lightning changes in tempo, meter and effect” (Boston Dichterliebe with Russell Sherman, Die Sieben Todsünden, and most recently, The Musical Intelligencer), Lina Gonzalez-Granados has St. Matthew Passion. firmly established herself locally and abroad as a diverse and talented conductor. She is the founder and Artistic Director of Unitas Ensemble, a dynamic LARRY SOUSA (CHOREOGRAPHER) chamber orchestra specializing in Latin-American repertoire, new commissions, and community A nationally recognized Director and Choreographer, engagements. Her dedication to Latin-American Larry Sousa’s work has appeared on the stages of repertoire and the Latino community earned her the Pasadena Playhouse, The Joyce Theatre NYC, recognition as one of the “Latino 30 Under 30” by El Mundo Newspaper in 2016. Garry Marshall’s Falcon Theatre, 5th Avenue She is also the 2017-19 Taki Concordia Conducting Fellow, a position created Theatre, Goodspeed Musicals, The New York Fringe by Maestra Marin Alsop to foster the entrepreneurship and talent of female Festival, Coronet Theatre in Hollywood, Coconut conductors. Grove Playhouse, Speakeasy Stage, Boston Children’s Theatre, and many more. He recently directed a In addition to this season collaboration with Odyssey Opera and Boston workshop of the new musical Anybody Can Do Anything Conservatory at Berklee, Lina will be touring with Carnegie Hall’s National at 5th Avenue Theatre in Seattle, and co-directed Youth Orchestra of the U.S. in Summer 2017. Born and raised in Cali, Colombia, Bernstein’s MASS at The Boston Conservatory, which Gonzalez-Granados made her conducting debut in 2008 with the Youth Orchestra he also choreographed. This summer, Larry directs the new musical Another Roll of Bellas Artes in Cali. She has served as Assistant Conductor of the Philharmonic Of The Dice by 7-time Emmy Award winner Mark Saltzman for Wyoming Theatre Orchestra of the Americas and the Filarmonica Joven de Colombia. festival, and in 2018 he choreographs the Broadway-bound musical Merry Go Round written by the composers of Mary Poppins. Masterclass programs have included the Cabrillo Festival, the Lucerne Festival Masterclass with Bernard Haitink, as well as other appearances with James Ross, Larry is the recipient of the prestigious Los Angeles Drama Critics Circle Award, Ben Zander, Andrés Orozco Estrada, among others. Lina graduated with her the L.A. Ovation Award, the Backstage Garland Award, the OnStage Critics

26 ODYSSEYOPERA.ORG GILBERT AND SULLIVAN’S PATIENCE 27 Master’s degree, as well as a Graduate Diploma, in Conducting from New England RACHEL PADULA-SHUFELT (HAIR AND MAKEUP) Conservatory. She is currently pursuing her Doctorate in Orchestral Conducting at Boston University. Rachel Padula Shufelt is a Boston based hair and make-up designer. Credits include- Broadway: Waitress, The Glass Managerie. Regional: The Colored Museum, Huntington Theatre Company. Arrabal, Transcripts, Fingersmith, In the Body of the World, Crossing, AMANDA MUJICA (COSTUME DESIGNER) Natasha, Pierre & the Great Comet of 1812, Waitress, The Heart of Robin Hood, Pippin, All the Way, Marie Antoinette, Cabaret, Death and the Powers, Best of Both Worlds, Donnie Darko, Amanda returns to Odyssey Opera having previously designed costumes for the Julius Ceasar, Copenhagen, The Blue Flower, The Communist Dracula Pageant, American , The Bear, Powder Her Face, Ms. Havisham’s Wedding Night, A Water Bird Talk, Repertory Theatre. Miss Havasham, Sir John in Love, The Zoo, Bear with Odyssey Opera. Zanetto, il segreto di Susanna and Un giorno di Regno. A Boston-based freelance costume designer and seamstress, Amanda recently designed costumes for Stage Kiss, Intimate Apparel and Mr Burns: A Post Electric Play (Lyric Stage); Really and An Octoroon PRODUCTION STAFF (CompanyOne); and Bootycandy (Speakeasy Stage). In addition to opera and theater, she has designed for dance and film. She earned a B.S. in History from Carnegie Larry Sousa Choreographer Mellon University. amandamujicadesign.com Amanda Otten Production Stage Manager Lina Gonzalez Assitant Conductor/Chorus Master DAN DALY (SCENIC DESIGNER) Justin Williams Répétiteur Jeremy Ayres Fisher Stage Manager Andrew Chandler Technical Director Dan Daly is a Brooklyn based scenic designer. Previous design work includes Lisa Berg Props Master the world premieres of Utopia, Minnesota and Where Have You Gone as part of the Becky Butler Costume Shop Manager Williamstown Theatre Festival’s Director Series, Trojan Women, Mud, The Infernal Tori Sweetser Master Electrician Machine, and The Crazy Locomotive while the Scenic Design Fellow at the Hangar Jill Costello Wardrobe Supervisor Theatre in Ithaca, NY, Dark Sisters, the “emerging artists” production for Nathaniel Jewett Assistant master Electrician Opera’s 75th anniversary season, The Rocky Horror Show, Tilting Ground, Antonio Oliart Audio Recording and Accidental Death of an Anarchist at the Winnipesaukee Playhouse, Spring Awakening Amanda Feeley, Sarah Karten, and Sideshow at the Boston Conservatory, The Glowing Boot as part of the United Natalie Lachall Drapers Solo Festival at Theater Row, and The Good Girl at 59E59 Theaters. Christina Ciofani, Mitzi Eppley, Meaghan Horak, Sam Martin Stichers Javier Cabrera Run Crew CHRISTOPHER OSTROM (LIGHTING DESIGNER) Kathryn Schondek Wardrobe Crew Alisa Hartle House Electrician J. Jumbelic House Sound Opera San Jose, Tulsa Opera, Chautauqua Opera, Mobile Opera, Opera Troy Siegfried House Wardrobe Boston, Odyssey Opera, Syracuse Opera, New England Conservatory, Boston Jesse Washburn House Carpenter Conservatory, The Toronto Symphony, Macau International Music Festival, Curtis Scenery built by BeNT Productions Institute of Music, Asolo Repertory Theater, New Repertory Theatre, Stoneham Theatre, Brandeis University, and Bard College. Upcoming: Le Carnaval de Venise for Boston Early Music Festival and Ariade auf Naxos for Kentucky Opera., In addition, Christopher is the Managing Director and Artistic Associate at Wellfleet Harbor Actors Theater on Cape Cod. www.christopherostrom.com

28 ODYSSEYOPERA.ORG GILBERT AND SULLIVAN’S PATIENCE 29 DONORS ODYSSEY OPERA

We gratefully acknowledge the following individuals for their Odyssey Opera presents adventurous and eclectic works that affirm opera generous support of Odyssey Opera (as of May 2017). as a powerful expression of the human experience. Its world-class artists perform the operatic repertoire from its historic beginnings through lesser- known masterpieces to contemporary new works and commissions in a Julie Rohwein and George and Carla Heaton Paul F Tomkavage and variety of formats and venues. Odyssey Opera sets standards of high musical Jonathan Aibel Robert J Henry Helen Pillsbury Donald Barker Richard M Kagan Enid Ricardo Quinones Jr. and theatrical excellence and innovative programming to advance the Lawrence Bell Miltiades Karamechedis Anita Reiner operatic genre beyond the familiar and into undiscovered territory. Odyssey Anne Benaquist Judith Kidd Donald Robertson Opera takes its audience on a journey to places they’ve never been before. Jerry Bernhard Michael Klein Leo Romero George Brown Elena Kostik George Hein and Emily Piotr Buczek Virginia Kropas Romney Pauline Ho Bynum Jo Hanna Kurth B. Joshua Rosen Katherine Cain Lois and Butler Lampson Ronald Sampson ADMINISTRATIVE STAFF Renata Cathou Susan M. Lewinnek Joanne Sattley Gil Rose Artistic and General Director Mary Chamberlain David Lewis Lynn Schultz Linda O’Brien General Manager Carole Charnow Mark and Carolyn Stephen and Peg Senturia David Chavolla Lichtenstein John C Serrage Linda Osborn Artistic Administrator William Crocker Cynthia Livingston Carole Simon Kathy Wittman, Ball Square Films Videographer Paul Curtis John Loder Diane Sokal Chuck Furlong Box Office Belden and Pamela Keith Nelson and Paul Stiga April Thibeault Publicist Daniels Judith Marquis Ronald Stoia Alecia Batson, eeWee Productions Social Media Manager Timothy Davis Robert and Traute Peter Sulski Opus Affair Graphic Design Larry DeVito Marshall Eva Vanisova Sheila Donahue Wm. Shaw McDermott Robert C. Volante Michael Ellmann Christine and Leo Scott Wheeler Thomas R Engel McKenna Jerry Wheelock Mary Jean F. Farrington David McMurtry John Goldie and Randolph Fuller Marvin and Elsa Miller Joyce P. Wilson Edward Ginsberg William Miniscalco Wendy Woodfield Barbara Glauber Rosalind Mohnsen Paul Monsky and Special Thanks to John Conklin Barrie Gleason Jane Osgatharp Beverly Woodward Carole and Clive Grainger Karen Peirce

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