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Porgy and Bess at Seattle Opera

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Porgy and Bess at Seattle Opera britten THE TURNverdi OF THE SCREWAIDA SOP018 Turn of the Screw_v1.indd 1 10/3/18 11:44 AM You've Earned It No matter how successful you are, time will always be the most scarce asset you will own. At Cornerstone, we can help you structure your wealth in a way that lets you pursue your passions and enjoy the fruits of your labor. From strategic wealth and cash flow planning, to more abstract ideas like planning vacations, we simplify time-consuming tasks so you can live the life you’ve earned. Start your tomorrow today with a call to Cornerstone Advisors. LA Giuseppe Verdi TRAVIATA NOVEMBER 2–10 | KELLER AUDITORIUM CONDUCTED BY Christopher Larkin DIRECTED BY Elise Sandell Photo by Cory Weaver / San Francisco Opera / Photo by Cory Weaver Rossini Mozart Glass Kaminsky A Special Concert IL BARBIERE LA FINTA IN THE Up AS ONE BIG NIGHT Next MARCH 2019 MAY 2019 DI SIVIGLIA GIARDINIERA PENAL COLONY JUNE 2019 JULY 2019 JULY / AUG 2019 BuildBeyond.com l [email protected] l (888) 762-1442 l Bellevue, WA Contact our Opera Concierge for tickets, special lodging offers, and dining recommendations: [email protected] | 503.241.1802 TICKETS START AT $35 | PORTLANDOPERA.ORG Untitled-1 1 7/27/18 4:07 PM LA Giuseppe Verdi TRAVIATA NOVEMBER 2–10 | KELLER AUDITORIUM CONDUCTED BY Christopher Larkin DIRECTED BY Elise Sandell Photo by Cory Weaver / San Francisco Opera / Photo by Cory Weaver Rossini Mozart Glass Kaminsky A Special Concert IL BARBIERE LA FINTA IN THE Up AS ONE BIG NIGHT Next MARCH 2019 MAY 2019 DI SIVIGLIA GIARDINIERA PENAL COLONY JUNE 2019 JULY 2019 JULY / AUG 2019 Contact our Opera Concierge for tickets, special lodging offers, and dining recommendations: [email protected] | 503.241.1802 TICKETS START AT $35 | PORTLANDOPERA.ORG LUDOVIC MORLOT, MUSIC DIRECTOR Ludovic Morlot NOVEMBER 1 - 3 FEBRUARY 6 SHOSTAKOVICH VIOLIN SILKROAD ENSEMBLE CONCERTO NO. 2 Ludovic Morlot, conductor Kinan Azmeh, clarinet Ludovic Morlot, conductor Silkroad Ensemble Alina Ibragimova, violin CHEN YI: New Work (World Premiere) BARTÓK: The Miraculous Mandarin Suite KINAN AZMEH: Clarinet Concerto (World Premiere) SHOSTAKOVICH: Violin Concerto No. 2 KINAN AZMEH: The Wedding BRAHMS: Symphony No. 1 VIJAY IYER: City of Sand Russian violinist Alina Ibragimova brings total EDWARD PEREZ: Latina 6/8 Suite commitment to the music she plays, and she directs Following an unforgettable performance at Music Beyond Borders, Kinan Azmeh that awareness toward the clean, shimmering beauty of returns to perform the world premiere of his clarinet concerto with the Seattle Shostakovich’s Second Violin Concerto. Symphony. He is joined by the musicians of the Silkroad Ensemble in a concert celebrating the exchange of musical traditions, from Vijay Iyer’s ruminative City of Sand to Edward Perez’s thrilling Latina 6/8 Suite to a world premiere by Chen Yi. Kinan Azmeh’s performance is generously underwritten by Nader and Oraib Kabbani. Kinan Azmeh’s Clarinet Concerto Alina is commissioned by Classical Movements for the Seattle Symphony as part of the Eric Daniel Helms New Music Program. Ibragimova Sponsored by: Jocelyn B. Smith APRIL 25 & 27 SURROGATE CITIES NOVEMBER 6 JORDI SAVALL ROUTES OF SLAVERY Ludovic Morlot, conductor PRESENTED BY THE SEATTLE SYMPHONY AND Jocelyn B. Smith, vocals EARLY MUSIC SEATTLE David Moss, vocals Early music interpreter Jordi Savall and artists HEINER GOEBBELS: Surrogate Cities representing Europe, Africa and the Americas explore the From its sultry intimacy of cabaret to hallucinogenic sound effects and striking music through which enslaved peoples forged a sense visual effects, Surrogate Cities by Heiner Goebbels studies the essence of a of community, preserved their own humanity and found modern metropolis — its people, its power structures and its place in a changing a way to endure in the face of unspeakable bondage. world — with the world premiere of a new piece woven into Surrogate Cities. Surrogate Cities is generously underwritten by the Judith A. Fong Music Directors Fund. FOR TICKETS: SEATTLESYMPHONY.ORG THE TURN OF THE SCREW VOLUME 43 ISSUE 2 18 THE MILES FILES Production Essentials 12 Production Sponsors By Samantha Newland 13 The Cast of The Turn of the Screw 14 The Story of The Turn of the Screw 22 PETER KAZARAS TURNS BRITTEN’S SCREW 16 Artists By Jonathan Dean 17 Supernumeraries and Orchestra 26 OPERA GOES BACK TO SCHOOL Departments 7 From the General Director 8 Board of Directors 10 From the President 10 Service Directory 25 Programs and Partnerships Sponsors 27 Leadership and Producer’s Circle 28 Staff Chat 29 Seattle Opera Staff 30 Individual Donors 33 Amusements 34 Seattle Opera at the Center 36 Institutional Donors 36 In-Kind Sponsors 37 Encore Society 39 Upcoming Events Seattle Opera Editor Contributing Editors Glenn Hare Jonathan Dean Graphic Design Kristina Murti Kelly Hamilton Colglazier Gabrielle Nomura Gainor Samantha Newland Cover Image: © Philip Newton Seattle Opera is now offering large-print and Braille versions of this program. Please see coat check for details. The Turn of the Screw 5 October 2018 Volume 43 No. 2 TIME TO STRUT OUR Paul Heppner President STUFF. Mike Hathaway Vice President Kajsa Puckett WE’RE SO PROUD OF OUR BEAUTIFUL Vice President, $57 MILLION RENOVATION, WE Marketing & Business Development Genay Genereux CAN’T WAIT TO SHOW IT OFF. Accounting & Office Manager Production Susan Peterson LIFE PLAN CONTRACTS CLASS: Design & Production Director Tuesday, October 23 • 10am–noon Jennifer Sugden Assistant Production Manager Call us to reserve your seat at our Ana Alvira, Stevie VanBronkhorst next Lunch-n-Learn, (206) 701-9687. Production Artists and Graphic Designers 11 West Aloha St • Seattle, WA 98119 Sales Amelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Joey Chapman, Brieanna Hansen, RSVP at (206) 701-1514 or visit BayviewEvents.org Ann Manning, Wendy Pedersen Seattle Area Account Executives Carol Yip Sales Coordinator Marketing Shaun Swick Senior Designer & Digital Lead Ciara Caya Marketing Coordinator Encore Media Group Corporate Office 425 North 85th Street Seattle, WA 98103 p 800.308.2898 | 206.443.0445 f 206.443.1246 [email protected] www.encoremediagroup.com Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. ©2018 Encore Media Group. All rights reserved. Reproduction without written consent of Seattle Opera and Encore Media Group is prohibited. 6 Seattle Opera 2018/19 Season FROM THE GENERAL DIRECTOR We humans tend to spend our lives dealing in certainties, and this quality applies equally to the way that we view a live perfor- mance. Regardless of how disturbing the events of a play, film or opera might be, we like to know how things start and how they end. With that as a basis, we can then reflect on the events we have just witnessed, assign a significance or meaning to them, perhaps apply that meaning to our own lives, and hopefully to be richer for the overall experience. One of the most fascinating and defining aspects of The Turn of the Screw, however, is its complete lack of certainty. Ever since 1898 when Henry James first published his novella on which the opera is based, readers and critics have argued over what exactly happens in the story, © RICK DAHMS and therefore the work’s true meaning. Are the ghosts real or are they a figment of the fevered imagination of the work’s central character, the Governess? Literary critics and psychoanalysts have had a field day debating the Governess’s sanity, and more than a century later there is no sign of the debate waning. Turned into an opera, inevitably some aspects become more concrete—on the whole, ghosts are not known for their singing!—but crucially, Britten still maintains the ambiguity that is inherent in the work, and it is precisely this ambiguity that makes The Turn of the Screw so unsettling. In this opera there are no certainties, only doubts. By remaining open and never offering an answer to the mystery, Britten opens up the minds of the audience to all possibilities. The horror that the Governess feels for the events of the past is shared by the audience, even though these events are never specified. Our imaginations are left free to run wild. For those of you planning to attend a post-performance talkback, I am especially looking forward to hearing your interpretations of what you will have seen! Steering us through such difficult territory requires an experienced hand, and so it is a particular pleasure to welcome back our director, Peter Kazaras. He has a long association with the work. Not only has he previously directed it, he has also sung the role of Peter Quint in five different productions, including here at Seattle Opera. It is also my great pleasure to introduce our con- ductor Constantin Trinks who will be making his US opera debut with this production. Maestro Trinks is one of the most sought-after young conductors in the world today, and we are very proud that he will be debuting with us here in Seattle. On a slightly different note, many of you may have heard that this season will be my last at the helm of Seattle Opera, as I will be heading back to the UK at the end of June. But that is still some way off, and there are many wonderful nights of opera between now and then, and, of course, the opening of our new Opera Center next door. I hope to see you there! The Turn of the Screw 7 BOARD OF DIRECTORS 2018/19 Season Chairman Treasurer Representatives to the Board John F. Nesholm John Starbard Gayle Charlesworth, Seattle Opera Guild President Secretary Carissa Castaldo, Seattle Opera Chorus Brian Marks Milkana Brace Eoin Hudson, BRAVO! Immediate Past Eric Jacobs, The Seattle Symphony and Opera President Players’ Organization Maryanne Tagney Seattle Opera Foundation Vice Presidents Jeffrey Hanna, Brian Marks, President ex officio Susan MacGregor Matthew Segal Charles B.
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