The Impresario

Background Fun Fact

Mozart wrote The Impresario in 1786 (the same year as The Marriage Modern audiences may be surprised to learn that Mozart lost the of Figaro) to enter into a musical competition against Antonio Salieri palace battle to Salieri, whose entry in the competition mocked at the Schönbrunn Palace in Vienna. A German Singspiel containing Mozart and his favorite librettist, Lorenzo Da Ponte. Unbothered, music and spoken dialogue, the work is traditionally sung in the Mozart declared himself the superior composer. vernacular of the audience. Houston Grand Opera has commissioned a new story, script, and translation from playwright Jim Luigs, who also conceived and wrote the musical Das Barbecü, a hilarious take Cast on Wagner’s Ring. Edna Mendenhall, Impresario Nova Thomas * Bowie Krebs, Edna’s Assistant William Guanbo Su † The Story Rona Richards, Returning Diva Raven McMillon *† Yolanda Cantrell, New Diva Nicole Heaston ‡ Due to a pandemic and working from home, Edna Mendenhall, Wiley Stonecrop, Agent Frederick Ballentine * the impresario of Texas Opera Grande, holds a Zoom audition for Yolanda Cantrell, a singer new to her company. Rona Richards, Texas * Houston Grand Opera debut Opera Grande’s long-time star, sits in on the call, unannounced. † Houston Grand Opera Studio artist Yolanda is late for her audition, so Rona obliges Edna with an aria. ‡ Former Houston Grand Opera Studio artist

Yolanda finally appears on camera and apologizes for her tardiness. She proceeds to sing a superb aria, which shows off her extraordi- Creative Team nary range. Edna is delighted, but Rona feels threatened and makes her presence known. Suddenly, Rona’s agent Wiley Stonecrop speaks Conductor Eun Sun Kim up. He, too, has been lurking on the Zoom meeting; it soon becomes Director E. Loren Meeker clear that he is the agent for both women. The two sopranos and their Projection Designer S. Katy Tucker agent sing a trio in English, during which he presses for contracts for Musical Preparation Kirill Kuzmin ‡, both of his singers. Edna consents, and everyone is elated. Bin Yu Sanford † Stage Manager Annie Wheeler English Titles Jeremy Johnson

† Houston Grand Opera Studio artist ‡ Former Houston Grand Opera Studio artist

Credits

Molly Dill Producing Director Performing artists, stage directors, and choreographers are represented Daniel James Producer by the American Guild of Musical Artists, the union for opera profes- Michael James Clark Lighting Designer sionals in the United States. Dotti Staker Hair & Makeup Esmeralda DeLeón Costume Realizer Orchestral musicians are represented by the Houston Professional Musicians Association, Local #65-699, American Federation of Musicians. The entire staff of HGO contributed to the success of this production. For a full listing of the company’s staff, please visit Stage crew personnel provided by IATSE, Local #51. HGO.org/about-us/people. Wardrobe personnel provided by Theatrical Wardrobe Union, Local #896.

Guarantor Streaming Partner Produced in association with Austin Opera and OPERA San Antonio Audio Production Video Production Ryan Edwards and Shannon Smith The Impresario

HGO Orchestra

Patrick Summers CLARINET Artistic and Music Director Sean Krissman*, Principal Margaret Alkek Williams Chair Eric Chi*

VIOLIN BASSOON Denise Tarrant*, Concertmaster Amanda Swain*, Principal Chloe Kim†, Assistant Concertmaster Michael Allard* Natalie Gaynor†, Principal, Second Violin Carrie Kauk*, Acting Principal Second Violin FRENCH HORN Hae-a Lee-Barnes† Sarah Cranston*, Principal Miriam Belyatsky† Kimberly Penrod Minson*, Second Horn Anabel Detrick† Spencer Park† Rasa Kalesnykaite† Chavdar Parashkevov† TRUMPET Mary Reed† Tetsuya Lawson*, Principal Erica Robinson† Randal Adams* Linda Sanders*, Acting Assistant Principal Second Violin Oleg Sulyga† TROMBONE Sylvia VerMeulen† Thomas Hulten†, Principal Melissa Williams† Mark Holley†

VIOLA BASS TROMBONE Eliseo Rene Salazar*, Principal Vacant Lorento Golofeev*, Assistant Principal Gayle Garcia-Shepard† TUBA Erika Lawson† Mark Barton†, Principal Suzanne LeFevre† Dawson White† HARP Joan Eidman†, Principal CELLO Barrett Sills*, Principal TIMPANI Erika Johnson†, Assistant Principal Alison Chang†, Principal Ariana Nelson† Richard Brown*, Acting Principal Timpani Wendy Smith-Butler† Steven Wiggs† PERCUSSION Richard Brown†, Principal DOUBLE BASS Dennis Whittaker†, Principal ORCHESTRA PERSONNEL MANAGER Erik Gronfor*, Acting Principal Richard Brown Carla Clark† * = Core Member FLUTE † = Core Member on leave for this production Henry Williford*, Acting Principal Izumi Miyahara

OBOE Elizabeth Priestly Siffert*, Principal Mayu Isom* The Impresario

Who’s Who

JIM LUIGS Opera, Den Norske Opera, Volksoper Wien, Opernhaus Zurich, (UNITED STATES) and Oper Frankfurt. Major upcoming debuts include subscription STORY, SCRIPT, AND TRANSLATION concerts with the New York Philharmonic and productions with the Metropolitan Opera. Jim Luigs has written and directed plays and musicals for regional theaters throughout the E. LOREN MEEKER U.S. He is currently adapting the libretto of The (UNITED STATES) Merry Widow for a new production commissioned by HGO. He was DIRECTOR commissioned by Seattle Opera to write the book and lyrics for Das Barbecü, a musical, which has since received more than 150 produc- Last month E. Loren Meeker co-directed tions worldwide. His first full-length play, Second Wind, won first place Vinkensport for the HGO Digital series. She in The Texas Playwrights’ Festival and received staged readings at made her HGO mainstage directorial debut STAGES in Houston and the Geffen Playhouse in Los Angeles. He with The Pearl Fishers in 2019. Also for HGO, she served as asso- enjoyed a decades-long collaboration with singer Barbara Cook, ciate director of Florencia en el Amazonas (2019), The Marriage with whom he developed cabaret as well as concert appearances of Figaro (2011), and Show Boat (2013); assistant director of The at the Metropolitan Opera, Carnegie Hall, Avery Fisher Hall, on Queen of Spades (2010); and choreographer and assistant director Broadway, and in the West End. As a script consultant to Music for The Marriage of Figaro (2005) and Don Giovanni (2006). Other Theater International, he adapted more than a dozen classic stage HGO projects as director include a special production of Trial by musicals for performance by students. For Walt Disney Theatrical Jury at the 1910 Harris County Courthouse (2013), HGO Studio Productions, he created the first stage adaption of the animated Showcase 2013–14, and HGOco world premieres of A Way Home feature film, Aladdin. In addition to his work in the theater, Jim owns (2010), From My Mother’s Mother (2012), Past the Checkpoints and manages an interior-design business, which serves clients (2013), and River of Light (2014). She recently directed four produc- throughout the United States and abroad. His work as a designer tions with New Orleans Opera Association—Lucia di Lammermoor, has been published internationally in Architectural Digest, Interior Die Fledermaus, Faust, and Turandot—and won the Gambit Best Design, British House and Garden, and ELLE Decor, among others. of Opera Award for Die Fledermaus and Faust. She has received He is a graduate of Duke University and a member of the faculty at critical acclaim for productions of The Cunning Little Vixen (The NYU/Tisch, where he teaches MFA candidates in the Department of Glimmerglass Festival), Daughter of the Regiment (Atlanta Opera), Design for Stage and Film. Rigoletto and Die Fledermaus (Lyric Opera of Chicago), Carmen (Washington National Opera and Madison Opera), Die Fledermaus EUN SUN KIM (San Francisco Opera), La pietra del paragone (Wolf Trap Opera), La (SOUTH KOREA) bohème (The Glimmerglass Festival and OPERA San Antonio), The CONDUCTOR Barber of Seville (OPERA San Antonio), Manon Lescaut (Singapore Lyric Opera), and Manon (Teatro Colon). Most recent directorial Eun Sun Kim made her North American engagements include Susannah (Rice University), Lohengrin (Opera operatic debut with La traviata at Houston Southwest), Show Boat (Glimmerglass Festival), Madame Butterfly Grand Opera, earning an appointment as the (Portland Opera), and Tosca for OPERA San Antonio, where she was company’s first Principal Guest Conductor in 25 years. Following her appointed General & Artistic Director in 2019. critically acclaimed San Francisco Opera debut in Rusalka, she was named that company’s Music Director Designate. Kim opened the S. KATY TUCKER 2020–21 season leading the famed Concert de Paris, featuring the (UNITED STATES) Orchestre National de France and Chœur de Radio France at the foot PROJECTION DESIGNER of the Eiffel Tower. This season, she conducts symphony orchestras around the globe, including concerts in Atlanta, Baltimore, Madrid, S. Katy Tucker last worked at HGO designing Montreal, and Vancouver. She continues a series of important oper- the projections for Florencia en el Amazonas atic debuts with L’elisir d’amore at Lyric Opera of Chicago and La (2019) and The Flying Dutchman (2018). bohème at Wiener Staatsoper, and returns to Bayerische Staatsoper Tucker began her career as a painter and video installation artist, for La bohème before conducting La traviata at Staatsoper Berlin. exhibiting her work at a variety of galleries including the Corcoran Kim is a regular guest conductor at opera houses across Europe, Museum, Dupont Underground, The Dillon Gallery, and Artist’s Space including Staatsoper Berlin, Bayerische Staatsoper, Semperoper in New York City. She has collaborated with renowned musicians Dresden, Staatsoper Stuttgart, Royal Swedish Opera, Royal Danish such as Paul McCartney, Paola Prestini, Helga Davis, Amanda The Impresario

Gookin, and Jeffrey Ziegler. Her work in live performance has been RAVEN MCMILLON seen around the world, at Broadway and Off-Broadway theaters, the (UNITED STATES) Metropolitan Opera, the Sydney Opera House, Dutch National Opera, Brenda Harvey-Traylor Fellow Carnegie Hall, the New York City Ballet, the Kennedy Center, BAM, SOPRANO—RONA RICHARDS, and The Metropolitan Museum of Art, among others. Recent produc- RETURNING DIVA tions include Samson and Delilah and Don Giovanni at the Kennedy Center, Hansel and Gretel at the Canadian Opera Company, and For HGO Digital, first-year HGO Studio artist Parsifal at the IU Jacobs School of Music. Upcoming engagements Raven McMillon also will perform the roles of Peter in The Snowy include the world premiere of Castor and Patience at Cincinnati Day Project and Gretel in Hansel and Gretel. She also had been cast Opera, a new production of The (R)evolution of Steve Jobs with as Sister Margaretta in HGO’s canceled mainstage production of Tomer Zvulun, and Eurydice at the Metropolitan Opera with Mary The Sound of Music. McMillon received her bachelor of fine arts in Zimmerman. vocal performance at Carnegie Mellon University and completed her graduate degree at the University of Cincinnati College-Conservatory NOVA THOMAS of Music (CCM). Her opera credits include Adele in Die Fledermaus; (UNITED STATES) the title role in Goldie B. Locks and the Three Singing Bears; Linfea ACTRESS—EDNA MENDENHALL, in La Calisto; and Barbarina in Le nozze di Figaro. McMillon also has IMPRESARIO workshopped new roles such as Mary in Chiao’s The Secret Codes of Mary Bowser and Lucy in Tobias Picker’s Awakenings. Her recent roles Nova Thomas makes her HGO debut in the included La Princesse in L’enfant et les sortilèges with the Cincinnati title role of The Impresario for HGO Digital. Symphony Orchestra and Papagena in Die Zauberflöte at CCM in the International appearances as an acclaimed soprano have taken her summer of 2020, which were canceled due to COVID-19. to the houses of Köln, Hamburg, Stuttgart, Paris, London, Dublin, Belfast, Mexico City, and Hong Kong. She has performed with U.S. NICOLE HEASTON opera companies in New York City, Philadelphia, Santa Fe, Seattle, (UNITED STATES) Baltimore, Detroit, San Diego, Indianapolis, St. Louis, Louisville, SOPRANO—YOLANDA CANTRELL, NEW DIVA Knoxville, Memphis, Grand Rapids, Nashville, Costa Mesa, and New Jersey, among many others. Early in her career she performed HGO Studio alumna Nicole Heaston also the title role in Madame Butterfly with Texas Opera Theater, HGO’s performed in the HGO Digital production former touring wing. She also enjoyed a close collaboration with Vinkensport, and will appear in the upcoming Dame Joan Sutherland and Maestro Richard Bonynge; with Bonynge, HGO Digital concert Giving Voice. Heaston has performed with she recorded the title role in the Bohemian Girl for Decca Records. opera companies throughout the world, including the Metropolitan Thomas recently has been appointed as Professor of Voice at the Opera, San Francisco Opera, Dallas Opera, Washington National renowned Shepherd School of Music at Rice University. She previ- Opera, Los Angeles Opera, Semperoper Dresden, Deutsche Oper ously served as an Associate Professor of Voice and Opera Studies am Rhein in Dusseldorf, and the Glyndebourne Festival in England. at Westminster Choir College of Rider University and a Professor Praised for her “warm supple soprano” (Houston Chronicle) and of Professional Practice at the New School for Drama (formerly for her “radiant” and “handsomely resonant voice” (The New York the Actors Studio Drama School). Thomas is a highly sought-after Times), Heaston regularly appears in her hometown, Houston. masterclass artist, with recent engagements and residencies in Salt She was most recently seen at HGO singing in the first Giving Lake City, Palm Beach, San Francisco, Cleveland, Atlanta, Houston, Voice (2020) recital, making her role debut as Mimì in La bohème Los Angeles, New York City, Indiana, Italy, and Scotland. She is (2018); and performing Adina in The Elixir of Love (2016). Other a teaching artist for several respected summer training programs HGO roles include Pamina in The Magic Flute (2015, 1997); Gilda including Santa Fe Opera, the Opera Theatre of Saint Louis, the in performances of Rigoletto (2001); Zerlina in Don Giovanni Institute of Bel Canto Studies (a program with the International Texas (1999); Susanna in The Marriage of Figaro (1998); the title role in Music Festival), and the CoOPERAtive. the world premiere of Jackie O (1997); Mrs. Hayes in Susannah and St. Settlement in Four Saints in Three Acts (1996); and perfor- mances of Juliet in Romeo and Juliet (1995). Equally active as a concert and recital soloist, Heaston has performed with orches- tras throughout the United States, including the Detroit Symphony Orchestra, Indianapolis Symphony Orchestra, and National Symphony Orchestra for the Kennedy Center’s 11th annual gala. The Impresario

FREDERICK BALLENTINE (UNITED STATES) TENOR—WILEY STONECROP, AGENT

Frederick Ballentine will also appear in the HGO Digital concert Giving Voice. His originally scheduled engagements for the 2020–21 season include his first performances of Rodolfo in La bohème with Opera Memphis and Florentine Opera, Dr. Richardson in Breaking the Waves with Los Angeles Opera, Miles Zegner in Proving Up with Lyric Opera of Chicago’s Lyric Unlimited program, and Don José in HGO’s Carmen. Recent engagements include the tenor’s debut with the English National Opera, De Nederlandse Opera, and Metropolitan Opera as Sportin’ Life in Porgy and Bess, a return to Los Angeles Opera as Monostatos in The Magic Flute, and his debut with the New Jersey Symphony for Handel’s Messiah. He made his role debut as Don José in Carmen with Annapolis Opera and reprised the same with Seattle Opera, where he also performed the title role in Charlie Parker’s Yardbird.

WILLIAM GUANBO SU (CHINA) Anne and Albert Chao Fellow BASS—BOWIE KREBS, EDNA’S ASSISTANT

Second-year HGO Studio artist William Guanbo Su was cast as Sadistic Sailor in the HGO mainstage production Breaking the Waves (canceled). His previous HGO roles include Usher in Rigoletto; Fifth Jew in Salome (canceled); and Second Armored Man in The Magic Flute (canceled). He was the second-place winner in HGO’s 2019 Eleanor McCollum Competition Concert of Arias and a Grand Finals Winner of the 2019 Metropolitan Opera National Council Auditions. He has been a Gerdine Young Artist at Opera Theatre of Saint Louis and a voice fellow at the Aspen Music Festival. He has studied German lieder at the Franz Schubert Institute in Vienna, and in 2017 won first prize in the Gerda Lissner Lieder Competition. During summer 2019 he sang Count Ceprano in Verdi’s Rigoletto with Opera Theatre of Saint Louis as a Gerdine Young Artist. He was scheduled to return to Aspen in summer 2020 to perform the role of Sarastro in The Magic Flute until it was canceled due to COVID-19.