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By Gaetano Donizetti by

Director and Designer Josh Shaw Conductor Isaac Selya Company Manager Mari Sullivan Stage Manager Carson Gilmore Costumes by Maggie Green Assistant Costumer Vanessa Stewart Fight Director & Choreographer Aubrey- Trujillo Scarr Fight Captain & Choreographer Elias Scarr Lighting Technician Mason Axelson Sound Technician Wade Novin Rehearsal Pianist Dylan Gentile Orchestra Manager Eve Bañuelos

Starring

Jamie Chamberlin as Lucia Bevin Hill as Lucia Nathan Granner as Edgardo Daniel Scofield as Enrico Nicholas Boragno as Raimondo Danielle Bond as Alisa William Grundler as Arturo Robert Norman as Normanno

After Lucia the 2017 season continues with: The Medium and The Monkey’s Paw by G. Menotti by Brooke deRosa

Oct. 27, 28, 31 in Highland Park Nov. 3, 4, 5 in Santa Monica Two ghostly just in time for Halloween. Table seating available opening weekend at the Ebell Club and then POP returns to one of our old haunts on the Westside, The Miles Memorial Playhouse. Doug Sumi leads two talented casts featuring Maria Lopez, Chelsea Friedlander, Ariel Pisturino, Marina Harris, Ben Lowe, David Childs, Phil Meyer, and William Grundler. Don’t miss your chance to see a world premiere at POP! La bohème: AKA “The Hipsters” by G. Puccini Hipsters... Yeah, I invited that shit. --G. Puccini Dec. 8. 9, 14, 15, 16 in Highland Park

POP’s most POPular production of all time is back with a great mix of new and returning hipsters. Daria Somers, Katherine Giaquinto, Scott Levin, and Keith Colclough are joined by Dane Suarez, Alex DeSocio, and William Grundler. Parisa Zaeri music directs. Here’s what’s going on in Act I in case the beautiful CA sun precludes your ability to read the supertitles…

ACT 1: Grounds near the Castle of Ravenswood

Normanno: Search up and down the beaches! Chorus: Search the ruins of the old tower! Normanno & Chorus: Solve this mystery. Our honor demands it! Let the awful truth be revealed like lightning through horrific clouds. Solve this mystery. Our honor demands it! Normanno: You look troubled. Enrico: With good reason. My doom is written in the stars. Meanwhile, Edgardo, the mortal enemy of our clan, sits in his crumbling castle, boasting and laughing at me. There is only one person who can save us now and restore the family’s power. And Lucia dares to reject him and refuses marriage. She is no longer my sister. Raimondo: The sweet girl is still mourning her dear mother. How can she think of marriage now? Respect her grief. Her heart is too heavy, to shy, for love. Normanno: Too shy for love? Lucia’s heart is burning with it! Enrico: What? Normanno: Listen. She was walking alone in the valley. There, where her mother is buried. Suddenly, a mad bull charged at her. Then a shot rang out and echoed through the air. And the beast fell to the ground. Enrico: Who fired the shot? Normanno: I dare not say whom I suspect. Enrico: Lucia perhaps... Normanno: She fell in love with him. Enrico: And she saw him again? Normanno: Every morning since. Enrico: Where? Normanno: On that same path. Enrico: I tremble! Did you not recognize who it was? Normanno: It is only a suspicion. Enrico: Speak up man! Normanno: He is your enemy. Raimondo & Chorus: God help us. Normanno: You detest him. Enrico: Could it be Edgardo? Normanno & Chorus: You are correct. Enrico: What a cruel blow to my heart. It is too horrible to believe, this terrible suspicion. It turns my blood to ice and makes my skin crawl. How could my own sister be such a traitor? Normanno: Out of respect, I had to tell you Raimondo: I beg you to forgive her. God help her. Enrico: If my sister is guilty of such a treacherous alliance, may lightning strike her from the face of the Earth! Chorus: Your worst fears are true! Normanno: Do you hear? Enrico: Tell me. Normanno: As you wish. Chorus: After searching for a long time we sat near the entrance to the old tower. There in silence, a rider appeared. As he came closer we recognized him. Then he galloped out of sight. Nearby we met a falconer who told us his name. Enrico: Well? Chorus: Edgardo. Enrico: It was him! I’m furious! I can’t control the rage in me! Don’t believe it! Stop! She wouldn’t... Raimondo: Listen to me! Enrico: I don’t want to hear anymore. Don’t tell me to treat her with pity. Your words are useless. If you speak of vengeance I will listen. Curse them both. My anger already rages over them like a storm. I’ll extinguish the flames of their passion with blood! Several days later at dawn in a park near the Lammermoor Castle

Lucia: He still hasn’t arrived... Alisa: Silly girl! What have you dragged me into? We shouldn’t be here. Your brother knows too much. Lucia: You are right. But I have to warn Edgardo that we are in even more danger now. Alisa: Why do you look so terrified? What’s the matter? Lucia: That fountain... Whenever I see it, I tremble. You know the story. Once, long ago, a Ravenswood was consumed by jealousy. He stabbed the woman he loved right on this spot. The poor girl fell into the water. And she lies buried there. I’ve seen her ghost. Alisa: What are you saying? Lucia: Listen... The deep, dark night brooded in silence. A pale ray of moonlight struck the edge of the fountain. Suddenly I heard a low moan floating on the air. And there, on that edge, the specter showed itself to me. I saw her lips moving as if speaking. And she tried to call me with her lifeless hand. She stood there motionless for a moment. Then quickly vanished. And the water, which had been so clear turned red with blood. Alisa: Clearly, oh God, very clearly in your words I hear dire omens! Ah! Lucia, you must end this disastrous love affair! Lucia: He is the light of my life. He is the only comfort for my suffering. When rapt in the ecstasy of desire, he swears, with his whole heart, to be true to me forever. All my troubles are forgotten. And my tears turn to joy. When he is near me, it’s as if heaven has opened to me. Alisa: Ah, what bitter days lie ahead for you. Ah Lucia! Please stop this before it is too late! Lucia: Repeats sentiments from above (When rapt in the ecstasy of desire, etc…) Edgardo: Lucia, forgive me, for asking to see you at this strange hour. It is important. Before this day is over, I will be leaving my native shores for a place far away. Lucia: What do you mean? Edgardo: I am sailing to France to represent Scotland’s interests there. Lucia: And me? You will abandon me in tears? Edgardo: Before I leave, I must see your brother... I will offer my hand in truce and ask for your hand in marriage, as a pledge between our families. Lucia: What are saying? No! We must keep our love secret for now. Edgardo: I see. He is not satisfied with all the pain he has already caused my family. He wishes to persecute me more. He caused my father’s death and stole my inheritance. Is that not enough? What more can he take? Does he want to ruin me completely? Does he want bloodshed? He hates me. Lucia: Calm yourself, please God! Edgardo: A fire burns in me! Listen to me! Listen to me and tremble at my words! Over the tomb of my beloved father, with anger in my heart, on your people I swore an eternal war. But then I saw you and my heart was reborn. Passion filled my heart, replacing the anger. But my vow is not broken. I could, yes, I could still fulfill that vow. Lucia: Please! Calm yourself, restrain yourself. One wrong word could be our undoing. Am I not suffering enough? Would you have me die from fright now? Remove every other feeling, and let only love be in your heart. A pure love is nobler and more sacred than any vow of vengeance. Give in to me, please. Edgardo: Here, before heaven, swear to be my faithful wife. Lucia & Edgardo: God hears us, God sees us. A loving heart is both a church and alter. To your fate, I tie my own. Edgardo: I am your husband. Lucia: And I am your wife. Lucia & Edgardo: Ah, only the chill of death could extinguish our fire. I say these vows before God in heaven. Edgardo: We must go our separate ways now. Lucia: The saddest words ever spoken! My heart goes with you. Edgardo: My heart stays here with you. We must part now. Lucia: From time to time, send me a letter with all your thoughts, and they will nourish my miserable life with hope. I will always keep your memory alive my darling. My passionate sighs will float to you on the breeze. You will hear in the sea, murmurs of my echoing laments. When you hear them, remember that tears and sorrows are all that sustain me here. And shed a bitter tear over this ring, the token of our love. Edgardo: Your letters will keep your memory alive in me. Dearest! I must leave! Lucia: Farewell! Remember that we are bound under heaven!

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For questions about joining the POP family or changes to your donor listing, please contact: [email protected] is supported, in part, by the Los This project is supported, in part, by a grant Angeles County Board of Supervisors through the Los from the Department of Cultural Affairs, City Angeles County Arts Commission. of Los Angeles. board of directors Phil Meyer, Chairman Juliet Brown, Secretary Kelsey Shaw, Treasurer Kathy Crandall Matthew Miles Susan Heard Josh Shaw William Kennedy Robert Webb Bruce Merritt advisory committee Rebecca Bowne Simon Holt W. Allan Edmiston, M.D. David Kasunic Paul Gurian Brigitta Troy Hettie Lynne Hurties Ian White-Thomson hats off to our POP family List reflects gifts from 9/1/2016—8/14/17 $5000 Smoking Jacket Mr. Paul O. Davis & Ms. Michal Spitzer Davis Bill Kennedy Rob & Amanda Webb $2500 Monocle Phil Meyer & Kenneth Robins, Robert & Ann Ronus, and The Metropolitan Associates $1000 Ascot Amanda Boesche, Stuart & Rebecca Bowne, Kathy Crandall, Don & Carol Donlan. W. Allan Edmiston, M.D., Sharon & Rick Ellingsen, Eric Fütterer, Craig Gilmore, Susan Heard, Judith Hopkins, Bruce & Valerie Merritt, William Mosby, Robert Robinson, Mimi Rotter, Peter Rutenberg, Josh & Kelsey Shaw, Adelaide Sinclair, Douglass Stewart, Mike Tomasulo, Mary Irene Ujda, Ian White-Thomson $500 Wingtips Carol & Michael Deck, Anne Flett, Daniel Majoros, Morency Maxwell, Annette Ostergaard, Kyle Patterson, Donald & Carole Roback, Laura Scott Sellers, Daniel Shapiro, Cathy Shin Rosenberg, James Standish, Monika Whitaker $250 Bowler Hat Gil Adam, Sasha & Bill Anawalt, Bruce Anderson, Luvi Avendano, Colin Barnes, Andrea Corcoran, Frederick Dear, Jennifer & Michael Frain, William Grundler, Tom & Sarah Hensley, Kathryn Lane, Jessica Mamey, Thomas Metzler, Margaret Mostue, Brendan O’Donnell, Patricia Patterson, Arthur Rieman, Myra Rosen, Barbara & Charles Schufreider, Jain Sekuler, Christina Teodorescu, Louise Wattrus, Frances Wells, Joanie Zajac $100 Tweed Vest Robert & Jona Bailey, Diane Bedford, Alice Bennett, Susan Bienkowski, Sarah Bloxham, Bettyna Bluwal, Charles Bohlen, Mary Bosak, Robert Braun, Juliet Brown, John Coudures, Sabine Dherbecourt, Kurt Eggert, Mary Gale, Nurit Glass, Frieda Gockel, Braeden & Brenda Harris, Heather Hoggan, William Ireland, Catherine Jurca, Dorothy Kelley, Robert Khoury, Robert Kieft, Lucille Kohn, Rosalie Kornblau, Candida League, Penelope Low, Kevin Maguire, Mirjana Mahnovski, Fred Manaster, Tani Mathias, Myron Meisel, Barbara Merkle, Patrick & Felicia Michell, Brita Millard, Amy Miller, Louis Moret, Emily & Finn Murray, Michael & Marianne Newman, Suzanne O'Connell, John G. Paton, Dace Pavlovskis, Steven Popko, Jerry Ramirez, Joseph Rand, Christopher Reed, Roger Rindge, Marilyn Robertson, Gregory Ross, Lawrence Rubinstein, Steven Sailer, Suzanne Siegel, Patty Silversher, Dennis Simanaitis, Ruth Simon, George M. Sonneborn, Charlotte Spiegelman, Rhoads Stephenson, Clarissa Troop, Brigitta Troy, Irene Turtle, Marie Vester, Jacquelyne Wallace, Melissa Weinberger, Joshua Wentz, Jennifer Werndorf,Robert Woods, Bruce Wright, Yoko Yamaguchi $50 Handlebar Mustache Joan Apel, Albert Baca, Danilo Bach, Henry Bloomstein, David Bower, Rubino Bustamante, Diana Cantrelle, Mark Carlson, Mona Cedar, Dana Chin, Russell Cinque, Jr., Jason Coleman, Ralph Ellis, Steven Finnk, Stephen Fischer, Gary Freeman, Philip Hawkey, Diane Holguin, Janet Jack, Youssif Kamal, Susan Kane, Arnold Karr, Linda Bridges Karr, Clare Kiklowicz, Tom Knechtel, Dr. E.J. LaGesse, Jefferson Lanz, Heather Littell, Kelly McCune, Alvin Miller, Martha Jo Morehouse, Ashley Postlewaite, Alice Rochlin, Patti Sanchez, Gloria Sierra, Rich Silverman, Rebecca & Marcus Sjowall, Halina Sliverman, Susanne Spangler, Rose & Michael Sullivan, Julia Swanwick, Mary & Karl Vogeley, Jennifer Weiss, Matthew Welch, Sally White, Timothy Wright, Martin Zimmerman, Linda Zoolalian

Special Thanks Ebell Club of Highland Park | Forest Lawn Memorial Parks | Yazmin Salas Dr. Harry Lieberman for housing Ms. Hill and Mr. Scofield | Jenny & Alex Mikolevine for housing maestro Selya. Jessica Mamey & Jose Tapia, Kristen Rosiar, and Rob & Amanda Webb for providing artist transportation. Jamie Chamberlin Lucia (9/ 9, 15, 17) Jamie Chamberlain has been called “spellbinding” by the San Francisco Chronicle, and has been recognized for her abilities as a singing! actress. Recently, ArtsInLA hailed her Cunegonde in Long Beach ’s Candide as “jaw-dropping.” She returns to LBO in 2017 as Hazel George in the US Premeire of Glass’s The Perfect American and subsequently makes her Chicago Opera Theater debut with the same production. In 2015, Jamie starred as Marilyn Monroe in the US Premiere of Gavin Bryars’ Marilyn Forever at LBO, for which Opera News praised her “shimmering tones” and “star-struck vulnerability.” Other roles include Soprano II in Glass/Ginsberg’s Hydrogen Jukebox, and Anne Sexton in Susa’s Transformations with SFO’s Merola Opera Program. A champion of new music, Chamberlin’s world-premiere performances include the Soprano solo in Salonen’s Wing on Wing, Elyn Saks in The Center Cannot Hold with Pacific Opera Project/ UCLA, and Lisa in the Delos Recording of Mark Abel’s Home is a Harbor. Chamberlin’s distinctive voice can also be heard in the Coen Brother’s 2016 film, Hail Caesar!, singing Offenbach’s Barcarolle during the epic water ballet scene. Lucia is Jamie’s POP debut.

Bevin Hill Lucia (9/ 10, 16) Bevin Hill is gaining attention as a performer of great charm and charisma in a variety of leading roles. The 2016–2017 season held two company debuts for her: Missouri's Heartland Opera Theatre, with whom Ms. Hill performed Adina in L'elisir d'amore, and Florida's First Coast Opera, with whom she performs a double bill of Gilbert & Sullivan's Trial by Jury and Tucker & Sheeley's The Trial of B. B. Wolf. Additional recent engagements include Hannah Gladberry in Pacific Opera Project's production of The Merry Widow and Yum Yum in Capitol City Opera's production of The Mikado. Ms. Hill received her Masters degree in Vocal Performance at Manhattan School of Music under the tutelage of acclaimed soprano and director and her Bachelor of Fine Arts degree from Carnegie Mellon University. During her time at Manhattan School of Music, she performed the roles of Mélantho in Fauré's Pénélope and Gismonda in Steffani's Tassilone, as well as writing and performing in the children's opera The Cricket in Times Square. Ms. Hill was a 2012 District Winner of the Metropolitan Opera National Council Auditions in her home state of Georgia and Regional Semifinalist for the Southeast Region.

Nathan Granner Edgardo Nathan Granner has performed as Nemorino in L’elisir d’amore, Ferrando in Cosí fan tutte, and Rodolfo in La bohème in performances with Lyric Opera Kansas City, Opera Theater of St. Louis, Tulsa Opera, Wolf Trap and Glimmerglass Opera. An avid supporter of new music, he has also created six new opera roles in three years, including portraying the title character in (Police cofounder) Stewart Copeland's world premiere Invention of Morel at Chicago Opera Theater. He is a founding member of The American , whose Sony Masterworks album reached the top five in the classical crossover charts. His varied touring schedule includes engagements with classical guitarist Beau Bledsoe, with composers Jeffrey Rukaman and Bradley Cox constructing Post- Modern classical and jazz shows for avant-garde audiences, and with producer David Foster and Verve Recording artist Brenna Whitaker. Comfortable across many genres, opera and classical music is the theme throughout all of his performances. He believes his commitment to learning different musical styles is what helps to open the door for new audiences to enjoy classical music.

Daniel Scofield Enrico Daniel Scofield is "Robust and handsome with booming voice in full range.” The two time regional Metropolitan Opera Council! audition finalist is quickly gaining recognition for the drama of his performances. This season he returns to Los Angeles to perform Enrico in Lucia di Lammermoor with Pacific Opera Project, after having been seen by audiences as Count Almaviva and Ford in seasons past. Last season Daniel was Der Wanderer/Wotan in the third act of Siegfried, following up last year’s performances of Act 2. Later that season, he made his debuts with the South Dakota Symphony and Cedar Rapids Opera as Masetto and Silvio before returning to St Petersburg Opera for The Tales of Hoffmann. Recent seasons saw Daniel performing Simon in Judas Maccabaeus, Schaunard, Tonio, Count Almaviva and Danilo, Valentin and with Opera Santa Barbara in both The Telephone and , as well as the eponymous role of Rigoletto with Opera in the Heights, which garnered him the praise, “He’s the finest court jester I've seen in years” (D.L. Groover: Houston Press). Daniel made his Carnegie Hall debut with the American Symphony Orchestra in ’ Feuersnot and has with the Santa Fe Opera, Southern Illinois Music Festival, Pacific Opera Project, Opera Idaho, Knoxville Opera.

Nicholas Boragno Raimondo ! Nicholas Boragno, lyric -, is a native of Southern California. Nicholas graduated from Manhattan School of Music with a degree in vocal performance. He has been a professional young artist with companies such as Opera Saratoga, The Chautauqua Opera Company, Virginia Opera and most recently the Merola Opera Program at San Francisco Opera in the summer of 2016. His recent full roles and opera scenes include Leporello in Don Giovanni, Schaunard and Colline in La bohème, Nick Shadow in The Rake’s Progress, Figaro in Le nozze di Figaro, Don Magnifico in La cenerentola, Captain Petrovic in Eugene Onegin and The Hermit in Der Freischütz. For the last several years, Nicholas has been a regular performer with the LA Opera Outreach and Education Tour. Mr. Boragno is a recipient of the LA Opera Buffs Endowment and is the first place winner of the Henry and Maria Holt Competition at West Bay Opera.

Danielle Bond Alisa Danielle Bond was recently seen as Mother Goose in POP’s The Rake’s Progress. She has been hailed by the LA Times !with a “Brava!” for her performance as Swiss Grandmother/Austrian Woman/British Dancing Girl in Long Beach Opera’s production of John Adams’ Death of Klinghoffer. As Marilyn Monroe in the US premiere of Marilyn Forever, Opera News says “Bond played the more private Monroe in a recognizable way, sensuous, nervous, making love to the camera. She sang sumptuously, expressively.” She has charmed audiences in roles such as Carmen, for which Singerpreneur praised her “luscious voice that filled the theater, her intense middle voice ringing with the freedom of her technique.” A special honor for Ms. Bond was when she premiered the role of Lady of the Charts in Kenneth Wells’ opera The Center Cannot Hold, dramatizing the intensely profound memoir of Dr. Elyn Saks’s journey with schizophrenia. Ms. Bond also uses her vocal & musical skills for film, TV and video game scores, as a voice over artist, as well as being a film/commercial actress, performing with the improv troupe Not Friends.

William Grundler Arturo William Grundler is thrilled to return to Pacific Opera Project to perform as Arturo (Edgardo cover) in Lucia di Lammermoor! . An alumnus of Cal State Northridge and a Los Angeles resident, William has performed with numerous companies throughout Southern California including Pasadena Opera, Center Stage Opera, Independent Opera Company and Vineyard Touring Opera. Roles William has performed include Don Ottavio in Don Giovanni, Don José in Carmen, Nerone in L'incoronazione di Poppea, and the title role in Werther. This year William will also perform as Hermann in The Queen of Spades, Rodolfo in La bohème, and as the tenor soloist in Mozart's . William has composed works for CSUN Studio Ensemble, Vineyard Touring Opera, and churches through Los Angeles. William is the music director of Grace Lutheran Church of Ventura.

Robert Norman Normanno Tenor Robert Norman is thrilled to be returning to Pacific Opera Project for his 13th production. Having been praised for his comedic! skills with “impeccable timing to match an equally admirable tenor,” Mr. Norman is making a name for himself as a character tenor on the rise. In the 2016 season, he placed fifth in the Loren L. Zachary National Vocal Competition, making him the first character tenor to make the finals since 2009. He made role debuts as Little Bat in Susannah with Pasadena Opera, Howard Boucher in Dead Man Walking with Fresno and Townsend Opera, and Sellem in The Rake’s Progress with Pacific Opera Project. Other recent performances for Mr. Norman include Goro in Madama Butterfly with Opera San José, Dayton Opera, Salt Marsh Opera; Pedrillo in Abduction from the Seraglio with Dayton Opera, Festival Opera, Salt Marsh Opera, Pacific Opera Project, Southern Illinois Music Festival; Beppe in I Pagliacci with Dayton Opera; Caius in Falstaff with Opera San Jose; Steve Hubbell in A Streetcar Named Desire with Opera Santa Barbara, , Fresno Grand Opera, and Townsend Opera.

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Chorus

Soprano Mezzo-Soprano Tenor Bass-Baritone Joy Axelrod Aubry Hawkinson Bruce Anderson Elias Berezin Charlotte Bash Jenna Jacobson Richard Castillo Joel Castro Jessica Berns Jennifer Miller Steven Cornett David Conley Devi Bhatti Nancy Morgan Raymond Lawson Dominic Delzompo Rachel Freed Laura Zahn Will Lyons David Fetterman Jennifer Gold Grappone Kyle Patterson Colin Gibson Tyler Graves Todd Szabo Kyril Kasimoff Shannon Grey Tyler Wolsten Tiffany Ho Maggie King Kelsey Kwong Jill Redding Jamie Tarpo Jenn Weiss

Orchestra

Flute Oboe Clarinet Bassoon Eve Bañuelos April Cap Virginia Figueiredo Sumner Arano Michelle Huang Phil Popham Jonathan Sacdalan Sean Barela

Horn Trumpet Harp Percussion Rachel Hockenberry Erick Jovel Jacqueline Marshall Ryan Knudsen Brian Shetland Andrew Rodman Lisa McCormick Adam Wolf

Violin Viola Cello Bass Boryana Popova Allison Spieth Joo Lee Stewart Rosen Leila Nassar Sean Lyons Benton Preciado Ellie Bunker Alex Regalado Kari Kraft Rachel Iba

Josh Shaw, Director and Designer One of Musical America’s Top 30 Innovators in Classical Music in 2016, Josh Shaw is the co-founder and Artistic Director of POP. Over the past six seasons, he has directed 24 productions at POP including The Rake’s Progress, Ariadne auf Naxos, La calisto, Tosca: A Moving Production, and La boheme: AKA “The Hipsters”. Mr. Shaw’s reimagining of Die Entführung aus dem Serail as an episode of Star Trek has gained national attention and has been produced by seven companies selling out houses with record-breaking numbers.

Josh is the resident director of The Southern Illinois Music Festival where he has directed productions of Carmen, Lucia di Lammermoor, Abduction from the Seraglio,and one of the few fully-staged productions of Rossini’s grand opera Guillaume Tell. He is the Head of Stage Direction at Opera Neo in San Diego and has directed multiple productions over the past four seasons including Cosi fan tutte, The , and Carmen.

2017 is apparently the year for Don Giovanni with productions at Queen City Opera, The Southern Illinois Music Festival, and Salt Marsh Opera. Other recent directorial projects include The Turn of the Screw, Il barbiere di Siviglia, Le nozze di Figaro, The Mikado, Trouble in Tahiti, Sweeney Todd, Falstaff, Viva la mamma! and Don Giovanni and with POP; The Medium for Redlands Opera Theatre; Cavalleria rusticana and I pagliacci with the Celestial Opera Company; and Gianni Schicchi and Madama Butterfly with Salt Marsh Opera.

In 2018 Josh will make his directing debut at New Orleans Opera with Tabasco: A Opera by George W. Chadwick, which has not been seen since 1894. He will also write a new book and additional lyrics for the production. In March he will direct Il barbiere di Siviglia at Opera Santa Barbara. In June he returns to The Southern Illinois Music Festival for a double dose of Figaro with Il barbiere di Siviglia and Le nozze di Figaro. More details at www.joshshaw.org

Isaac Selya, Conductor Isaac Selya is a musician of remarkable versatility including extensive experience as a conductor, pianist, vocal coach, cellist and administrator. As the founder and Artistic Director of Queen City Opera, he has coached and conducted acclaimed performances of works by Wagner, Weber, Handel, Montemezzi, and Mozart. He is one of the few conductors in the world who has conducted all of Mozart’s German-language operas. In recognition of his talent and entrepreneurialism, Musical America featured him as a Spotlight Artist. He has served as Assistant Conductor for both Cincinnati Opera and the Glimmerglass Festival, where he coached and conducted the first-ever reading of the revised version of Philip Glass’s Appomattox, with the composer present.

As an operatic guest conductor, Isaac’s engagements include The Ghosts of Crosstown at Opera Memphis, and excerpts from Tristan und Isolde with Victory Hall Opera. Equally at home in the symphonic repertoire, Isaac’s guest conducting engagements include the Xiamen Philharmonic in China, the Dayton Philharmonic, the National Symphony of Guatemala, the Shippensburg Symphony, the Chelsea Symphony, the Yale Symphony Orchestra, the Mannes Symphony, and the Jonathan Edwards College Philharmonic, where he served as music director for three years. Isaac started his professional music career at the age of 18 singing in the chorus of the Great Synagogue in Jerusalem. He holds a BA from Yale College, where he studied conducting with Toshiyuki Shimada. He completed an MM in conducting at Mannes College, where he won a competitive grant from the New School Green Fund to present a concert dealing with environmental advocacy. He holds a doctorate from the University of Cincinnati-College Conservatory of Music, where he studied with Maestro Mark Gibson.

Carson Gilmore is a professional operatic baritone and theatrical director. Hailing from a lengthy career in both film and theater in many venues throughout the Southwestern U.S, last year he appeared as Pinellino in Opera Santa Barbara’s production of Puccini’s Gianni Schicchi. He has sung for Celestial, Vineyard, Independent and Casa Italiana Opera Companies, as well as at CalArts Redcat, the California Vedanta Society, the San Fernando Choral Society, among other organizations. Recent among his directorial accomplishments are Tchaikovsky’s Queen of Spades, Mozart’s Le nozze di Figaro and Die Zauberflöte, Massanet’s Werther, Verdi’s Aida, and Donizetti’s Lucia di Lammermoor and L’elisir d’amore, and Bellini’s . He will be directing Verdi’s Otello this year for Vineyard Opera Company, and joins Lucia di Lammermoor as his first show with Pacific Opera Project.

Aubrey Trujillo-Scarr, Fight Director & Choreographer, is a professional soprano with an exciting secret; she’s also a professional Fight Choreographer! Aubrey has studied combat and choreography for over a decade having trained with some of the best in the business at Swordplay LA, and The Academy of Theatre Combat. She is also a 1st degree Black Belt in Taekwondo. Aubrey assisted in choreographing for both Opera Santa Barbara and Opera San Jose’s 2016 productions of Carmen. This year, she choreographed and directed fights for Pasadena Opera’s Cosi fan tutté and Center Stage Opera’s Roméo and Juliette. Aubrey is excited to be returning to POP for Lucia di Lammermoor after having coordinated for POP’s Star Trek Abduction from the Seraglio with her husband and fight partner Elias Scarr. Learn more at www.aubreyscarr.com

Elias Scarr, Fight Captain & Choreographer, started like every other young fighter, running around the house with a “towel cape” tired around his neck and broomstick “sword” down the back of his shirt. Since then, Elias has studied various martial arts from stand up fighting to grappling and weapons training. He holds a 3rd Degree Black Belt in Taekwondo and is a certified Tactical Combat Instructor. He’s studied theatrical combat with Hollywood Swordmaster Roberta Brown and Fight Choreographer Anthony De Longis. Elias coordinated POP’s Production of Carmen and teamed up with his wife Aubrey Scarr for POP’s Abduction form the Seraglio. Elias is excited to return to POP for Lucia!

Maggie Green came late to professional costume design, though she has been making costumes for family and friends since she was a teenager. It was only after coming to Los Angeles a decade ago that she realized it could be a career. Maggie has a certificate in costume design from Los Angeles City College Theatre Academy, but finds that motherhood was also great training for dressing performers. By far, her favorite work has been with Pacific Opera Project, for whom she's been doing costumes since 2012 with their first big production, Sweeney Todd. She has costumed every show since, making Lucia di Lammermoor her nineteenth show! PACIFIC OPERA PROJECT STAFF Executive and Artistic Director Josh Shaw Company Manager Mari Sullivan Director of Development Jennifer Frain Public Relations Katlyn Morahan

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! TROUBLE IN TAHITI JULY 2011 & MARCH 2012 LA BOHEME AKA "THE HIPSTERS" POP opens with this little known Bernstein gem. 5 cast NOVEMBER 2012 & DECEMBER 2014 members and a piano. Four sold-out shows in Santa Likely the most important production in POP history, La Monica and Studio City. The revival was at The Miles boheme was almost an after-thought during Sweeney. The Memorial Playhouse. production was rehearsed for 4 days and opened the week after Sweeney with three sold out shows. Boheme gave us our brand (and mascot) and was the first show with table seating. This revival was nearly sold-out a month ahead of time. The hipsters returned to the Ebell Club for five performances with 43 tables.

BARBER OF MARCH 2013 A perfect follow up for Boheme, Barber was back at the Ebell Club of Highland Park for 5 sold-out performances. Once again set in current day LA, this production expanded on the "POP-Up" model with more tables and a small chorus (that tripled in size for one scene

DON GIOVANNI OCTOBER 2011 when every guy was equipped with a dummy on each POP's first show with orchestra. Two casts sang five side). Barber also had our first "official" children's performances total at The Miles Memorial Playhouse in performance with 250 school kids cramming into the Club Santa Monica. for a matinee.

COSI FAN TUTTE MAY 2012 POP was gone with the wind in this antibellum take on Cosi. Two casts opened the brand new Porticoes Art Space for 4 packed (and un-airconditioned) performances. POP's first take on setting opera to classic film and television, a convention which has served us well since.

SWEENEY TODD OCTOBER 2012 In a move of genius stupidity POP, barely a year old, decided to produce one of the most complicated shows in all of music theater history. An unqualified success with two casts, a large chorus, orchestra and 7 sold-out performances, Sweeney proved to be a risk well worth taking. The production opened at Porticoes and moved to The Miles. LE NOZZE DI FIGARO MAY 2013 POP concluded the DaPonte Trilogy and continued the Figaro story with this Scarface inspired production. Two casts, a large chorus, and small orchestra opened in dPasadena an moved to The Miles in Santa Monica.

THE MIKADO SEPT 2013 The Mikado was an enormous hit with POP audiences selling out 9 performances between Pasadena and Santa Monica. Two casts, an amazing chorus, and an expanded orchestra wowed audiences in crazy harajuku inspired

costumes designed by Maggie Green. The updated lyrics in several songs continued POP's idea of not taking ourselves too seriously. This is one production that will definitely be back before too long! CARMEN MARCH 2014 TOSCA: A Moving Production SEPTEMBER 2014 Everybody loves Carmen and it showed in this POP took over the entire campus of St. James Methodist production. We pushed the limits of "POP-Up" Productions for a month recreating the original locations of the story. A in this show with an enormous cast and chorus. The stage 22 piece orchestra, cast of 50, and the entire 200 person was built out on all sides at the Ebell Club and surrounded audience moved each act starting in the sanctuary of St. the audiences for five sold-out nights. Carmen was a party James, moving to Porticoes Theater, and finishing outside for sure! in the courtyard where the audience watched the action up

THE TURN OF THE SCREW JANUARY 2014 on the roof. Tosca actually jumped off! All 6 shows sold- TTOTS was another risk that paid off for POP. The most out and many were turned away. Tosca was a new level of expensive production to date, Screw proved that POP could production value for POP do more than comedy. An all-star cast and an expanded orchestra frightened audiences right out of their seats for 5 performances at the Rosenthal Theatre at Inner-city Arts. This was the first to attract the LA Times and was part of LA Opera's Britten 100 Celebration

ABDUCTION FROM THE SERAGLIO MARCH 2015 & SEPTEMBER 2016 POP went to a whole new level with this Sci-fi hit. The production sold out a week before opening at the beautiful 360 seat El Portal Theatre in North Hollywood. A full

LA CALISTO MAY 2014 orchestra and cast of over 40 launched this production that No one was more surprised than us when an opera from swept the nation. The production made its return to a sold- 1653 became POP's biggest success to date. Six out audience at the newly renovated Ford Amphitheater for performances sold-out with standing room only and added one night only in September 2016. Quite simply, tables. A small period orchestral ensemble was added to Abduction at the Ford was the biggest night in POP history the POP-Up format for the Ebell Club. A Los Angeles with a cast of 40+ singing and dancing Klingons, Alien premiere, this bawdy show was a riot and captured the Slave Girls, and a full orchestra. original Carnival atmosphere. w The sho included running water, special effects, a merry go round, slides, a see-saw, and many, many furry satyr penises. People liked it...

ARIADNE AUF NAXOS MAY 2015 Ariadne was another smashing success. The talented cast was a combination of POP regulars as well as some talented new-comers we hope to keep around for shows to come. Featuring beautiful handmade costumes a la the

early 1900's, power-wielding gods, actual moving waves and magical mermaids this show was a new level of technical and artistic prowess for POP at the Ebell Club. FALSTAFF SEPTEMBER 2015 THE RAKE'S PROGRESS SEPTEMBER 2016 POP presented our first fully-staged outdoor performance, POP joined forces with the Occidental College Glee Club for complete with orchestra and a chorus of fairy adults and a massive production at Oxy’s Thorne Hall. children, atop Forest Lawn Cemetary in Glendale. Just as Falstaff does in the show, the set survived a storm and went on to entertain four sold-out audiences.

VIVA LA MAMMA! NOVEMBER 2015 Viva la mamma! transported the Ebell Club to the 1980's, complete with a Moonwalk, teased hair, skateboarding, a Walkman, you name it! The story was much closer to present day POP as it focuses on a small opera company trying to put on a show and running into every hurdle possible. Also featuring a baritone in a dress as the nominal Mamma, this show was a hit for sure.

BARBER OF SEVILLE NOVEMBER 2016 Figaro returned to Highland Park for five performances at the Ebell Club. The current day Hollywood setting featured characters right out of the tabloids including pop princess Rosina, her overbearing producer “Dr.” Bartolo, the aging rocker Don Basilio, LAPDs finest, and of course celebrity stylist Figaro!

L’ELISIR D’AMORE FEBRUARY 2017 Happy Days met Grease met Donizetti in this 1950s setting of Elixir of Love. Set in a soda shop, supertitles were heavy on 50s song lyrics and everyone was doing the twist through seven performances at the Ebell Club. Elixir will always be known at POP for the night the lights went out,

THE MERRY WIDDER MARCH 2016 but the show went on. On a particularly rainy Friday, the A new English Book and libretto updated this beloved power to the entire block went out at 7pm. By 8:15 a operetta to 1860s Gold Country, CA. The Ebell Club of generator was running just two lights and the supertitles, Highland Park was flipped on end when a double decker but the show went on giving us one of the most trying, but set was built at the back of the house. An 18 piece orchestra most rewarding performances in all of POP history. During was positioned behind the set, which led to a fantastic Act 2 the generator was cut and the cast illuminated balance between singers and the orchestra. The Widder Nemorino with flashlights for . It was sold out seven per performances over three weekends! magic.

THE IMPRESARIO & PRIMA LA MUSICA, E POI LE PAROLE APRIL 2016 POP hosted the ultimate duel: Mozart vs. Salieri at the South Pasadena Library