The Barber of Seville by Gioachino Rossini

Opera in Williamsburg presents:

October 20, 22, and 24, 2017

in partnership with The America-Israel Cultural foundation (AICF) Kimball Theatre, Williamsburg, Virginia

Opera in Williamsburg Naama Zahavi-Ely Founder and Artistic Director

Opera in Williamsburg is an innovative opera company, founded in 2012, that creates productions of fully-staged opera classics with world-class casts in an intimate setting in Williamsburg, Virginia. Funded by ticket sales, individual contributions, and grants, Opera in Williamsburg is committed to the highest artistic standards and maintains a relationship with the International Vocal Arts Institute (IVAI), founded and run by Joan Dornemann and Paul Nadler.

Opera in Williamsburg’s objectives are:

 Create effective, attractive, engaging and elegant mainstream opera productions with outstanding singers, committed acting and directing, and meticulous ensemble work.  Provide opportunities for exceptional singers, musicians, and other artists to earn a living by their art.  Attract new audiences to live, mainstream opera. Opera in Williamsburg, Inc is a non-profit tax-exempt organization with 501(c)3 letter of recognition from the IRS (EIN 47-5511655). We can receive tax-exempt donations and apply for grants. We are very thankful indeed for the support of members of the community, which has allowed us to reach this point. Volunteers are welcome to join the group of loyal friends whose contributions of advice, assistance, hospitality and funding are essential to our work. If you are interested, please contact Naama Zahavi-Ely at [email protected]; or contact our advisory board chair, Frank Knuettel, at 757-259-2313.

Opera in Williamsburg is supported in part by generous grants of the Williamsburg Area Arts Commission (WAAC), the York County Arts Commission, the Virginia Commission for the Arts (VCA) and the National Endowment for the Arts (NEA). It works in partnership with the America-Israel Cultural Foundation (AICF).

Don’t miss our next opera!

Opera in Williamsburg presents:

Bizet’s Carmen

April 20, 22, and 24, 2018 Conductor: Jorge Parodi

Our heartfelt thanks to Opera in Williamsburg Advisory Board

Frank Knuettel, Advisory Board Chair, phone 757-259-2313

Jayne Barnard Clyde Haulman Gulay and Clyde Berryman Linda Kligman Dot Bryant Paul Maramaldi Michael Bryant Jorge Parodi Carolyn Campbell Linda Collins Reilly Branch Fields Don Williams

New board members are welcome!

The Barber of Seville by Gioachino Rossini

Libretto: Cesare Sterbini Premiered in Rome on February 20, 1816

October 20, 22, and 24, 2017 at the Kimball Theatre, Williamsburg, Virginia

Conductor: Jorge Parodi Stage director: Octavio Cardenas Figaro ...... Jose Adan Perez, Baritone Count Almaviva ...... Pavel Suliandziga, Tenor Doctor Bartolo ...... Stefanos Koroneos, Bass-Baritone Rosina ...... Emily Righter, Mezzo-Soprano Don Basilio ...... Eric Lindsey, Bass-Baritone Berta...... Michelle Trovato, Soprano Fiorello/L’Uficiale ...... Suchan Kim, Baritone Notary ...... Eric Lamp Costumes ...... Eric Lamp Supertitles ...... Michaella Cipriani Projected backgrounds ...... Naama Zahavi-Ely Assistant to the Music Director ...... Alexandra Naumenko Assistant Director / Stage Manager ...... Jerry Pedroza Stage crew ...... Rose Paddock Construction assistant ...... Dakota Newcombe Orchestration for reduced ensemble ...... Orchestralparts.com Producer ...... Naama Zahavi-Ely

THE BARBER OF SEVILLE— SYNOPSIS

Act 1 Outside Dr. Bartolo's house in Seville (Spain) Count Almaviva sere- nades the lovely Rosina. He introduces himself as the student Lindoro, hoping Rosina could love him for himself. Figaro, a barber and town factotum, runs into Almaviva, who asks him for help in meeting Rosina, offering him a generous reward. Figaro explains to Almaviva that Rosi- na is Bartolo’s ward, rather than his daughter. They soon discover that the doctor intends to marry her. Figaro advises the Count to disguise himself as a drunken soldier ordered to be billeted with Bartolo, so as to gain entrance to the house. In her room Rosina, quite impressed by Lindoro’s voice and song, writes a letter to him and resolves to use her wits to get her way. Figaro brings her good news but they are interrupted by Dr. Bartolo in the company of Basilio, her music teacher, who tells him that Count Almaviva has come to Seville to woo Rosina. Basilio advises him to slander the Count, but Bartolo prefers to move ahead with his nuptial plans and marry her that very night. Figaro, who has overheard this conversation, warns Rosina and asks her to write a note to Lindoro. Bartolo suspects that Rosina has indeed written a letter and warns her not to try to outwit him. Almaviva enters the house in disguise and demands to be quartered there. The housemaid Berta rushes to call Dr. Bartolo. While the doctor searches for the official document which would prove his exemption from the requirement to quarter soldiers in his home, Almaviva whispers to Rosina that he is, in fact, Lindoro. When she tries to pass a love-letter to him, the suspicious Bartolo demands to see it. However, she fools him by handing over the laundry list instead. Bartolo and the Count argue loudly, while Basilio and Berta try to calm things down. Figaro enters to warn them that the noise of the argument is rousing the whole neighbor- hood. Soon the police knock on the door, and Bartolo asks the police

officer to arrest the "drunken soldier." The Count secretly reveals his true identity to the officer, who backs off. Everyone is astonished by the turn of events, except Figaro who laughs quietly at them.

Act 2 Almaviva appears again, this time disguised as Don Alonso, substituting for the supposedly ailing Basilio as Rosina’s voice teacher. Bartolo al- lows him in when “Don Alonso” describes his plan to discredit “Lindoro,” who Bartolo now believes is helping the Count's pursuit of women. During the lesson Rosina and Almaviva secretly declare their love. Figaro arrives to shave Bartolo, and then Basilio suddenly appears. Basilio is bribed by Almaviva and persuaded to leave again, with much discussion of how “ill” he looks. Figaro begins to shave Bartolo, but Bartolo overhears the lovers conspiring to elope and furiously drives everybody away, leaving a lamenting Berta to clean up the mess. Dr. Bartolo summons Basilio, telling him to bring a notary so the doctor can marry Rosina that very night. Bartolo persuades her that Lindoro is only acting on behalf of the Count, and she agrees to marry Bartolo out of spite. Almaviva and Figaro brave a thunderstorm to reach Rosina's room through a window, and they remain speechless when Rosina expresses her feelings of betrayal and heartbreak. Almaviva reveals his true identity and declares his intentions, while Figaro keeps urging them to leave. As they are exiting the house, Basilio enters with the notary, to formalize the marriage of Rosina and Bartolo. The Count quickly convinces Basil- io to be a witness to his marriage, and everyone signs the marriage con- tract between the Count and Rosina. Bartolo barges in, but is too late. He accepts the situation; and Figaro, Rosina, and the Count celebrate their good fortune.

JORGE PARODI (MUSIC DIRECTOR)

Internationally acclaimed music director Jorge Parodi has worked in North America, Latin America, Europe and Asia. Recent credits include Lucrezia Borgia and I Capuleti e i Mon- tecchi for Buenos Aires Lirica in Argentina; The Turn of the Screw for the Castleton Festival in Virginia and The Banff Centre in Canada; Maria de Buenos Aires for The Atlanta Opera and Opera Grand Rapids; and L'Enfant et les Sortilèges for the Juilliard School. He recently premiered the latest opera by John Musto in a co -production between On Site Opera, Lyric Opera of Chicago and Pittsburgh Opera. Upcoming engagements include his debut at Opera Tampa in Il Barbiere di Siviglia and La Traviata at the Sa- vannah Voice Festival.

Jorge Parodi is the Music Director of the Senior Opera Theater at the Man- hattan School of Music, where he has conducted its productions to critical acclaim. He is also the Music Director of Opera in Williamsburg (Virginia), where he has conducted several productions, including Rigoletto, La Ceneren- tola, Lucia di Lammermoor, and Le Nozze di Figaro. Maestro Parodi was the Artistic Director of Opera Hispanica, where he performed with such artists as Isabel Leonard and Eglise Gutierrez, and led a highly praised production of Piaz- zolla's María de Buenos Aires.

He has offered master classes at the In- stituto Superior de Arte del Teatro Colón (Buenos Aires); Conservatorio de Puerto Rico; Manhattan School of Music, as co- teacher with opera legend Martina Ar- royo; and at the Escuela Superior de Canto (Madrid). Mr. Parodi was a judge at Aram Khachaturian International Competition in Armenia.

OCTAVIO CARDENAS (STAGE DIRECTOR)

Born in the city of Guadalajara, Mexico, Stage Director Octavio Cardenas has been capti- vating audiences with his visionary, visceral and physical style of directing. Upcoming productions include Maria de Buenos Aires with Pensacola Opera, The Tender Land with Des Moines Metro Opera, Lucinda y las Flores de nochebuena with Opera in the Heights and Tu- randot for Mississippi Opera. Octavio’s recent productions of La Bohème for Minnesota Opera received excellent re- views. The StarTribune comments, “Minnesota Opera's production succeeds, in part, thanks to an emotionally understated new staging.” Silent Night productions for Fort Worth Opera and Kansas City Lyric Opera were described as “a breathtaking realization” with “many brilliant touches.” The Kansas City Star called the Lyric Opera’s production “one of its finest performances in recent memory.” Other recent presentations include Maria de Buenos Aires and Galileo Galilei for Des Moines Metro Opera. As former Director of Opera for Baylor University, Octavio directed productions of L’elisir d’amore, The Turn of the Screw, Dialogues of the Carmelites and Rita. Mr. Cardenas currently serves as the Head of the Directing Staff at Des Moines Metro Opera and has also been on the directing staff at the Chautauqua Opera. He joined the Minnesota Opera Artists Program for four consecutive seasons, working on all main stage productions and directing Andrew Sinclair’s production of The Pearl Fishers. Other directing credits include Susannah for Loyola Opera The- atre, which won the award for “Best College Production 2012” by the Gambit magazine in New Orleans. Mr. Cardenas received his MFA in Theatre from UCLA, a Master’s in Music from the University of South Carolina and a BA in Music from Centenary College in Louisiana.

Parker Piano Outlet 6316 Richmond Road, Williamsburg, VA 23188 1-757-564-9592 County residents receive free delivery of any piano!

JOSÉ ADÁN PÉREZ (FIGARO)

Baritone José Adán Pérez is an alumnus of Los Angeles Opera’s Plácido Domingo Young Artist Program, the AVA of Philadelphia, As- pen Opera Theater, IVAI Israel and SIVAM Opera Program. Following his operatic debut in LA Opera as Marcello in La Bohème under the baton of Maestro Domingo, he has collabo- rated with numerous opera houses and sym- phonies, among them NY City Opera, Teatro Massimo Bellini in Italy, Theater Basel in Switzerland, Bellas Artes Opera, PORTopera of Maine, LoftOpera, Opera North of New Hampshire, LA Philharmonic, Phoenix Sym- phony, LA Opera Orchestra, LA Master Cho- rale, Pasadena Pops, Colburn Chamber Music Society, OFUNAM, Bellas Artes Opera Orchestra, Jalisco Philharmonic and many others.

Mr. Pérez has also participated in recording projects, including the world premiere of Daniel Catán’s Il Postino with the Los Angeles Opera; the American premier of Schreker’s Die Gezeichneten with Los Angeles Opera; Fauré’s Requiem with the UNAM Philharmonic Orchestra; and the recent Latin Grammy nominated album Únicamente la Verdad, a contemporary opera composed by Gabriela Ortiz. He has performed under the batons of such distinguished conductors as Plácido Domingo, James Conlon, Gustavo Dudamel, Michele Mariotti, Grant Gershon, Isra- el Gursky, Angel Romero, Michael Christie, Will Humburg, Nikša Bareza, Marco Balderi, Eduardo Diaz-Munoz, Douglas Kinney Frost, Marco Parisotto, Enrique Patrón, José Areán, Ivan Lopez Reynoso, Juan Carlos Lomónaco and James Demster.

Before beginning his musical pursuits, Mr. Pérez, who earned a Bachelor of Science from Tecnológico de Monterrey, worked in the automobile industry as a quality engineer.

James Jorden, New York Observer: “Among a strong ensemble, the standout was José Adán Pérez as the barber Figaro, with a bright buzzy baritone and an innovative take on the character, here a middle-aged sin- gle dad.”

Zachary Woolfe, New York Times: "As Sergeant Belcore, José Adán Pé- rez had an impressive New York debut, his voice smooth, clear and rich.” 10

PAVEL SULIANDZIGA (COUNT ALMAVIVA)

Tenor Pavel Suliandziga is a 2015 graduate of the Gnessin Russian Academy of Mu- sic and plans to complete his Professional Studies Diploma at Mannes College of Mu- sic in 2017, studying under Arthur Levy. His recent performances include Lensky in Eugene Onegin with the Russian Academy of Music, Tamino in The Magic Flute with R.A.M. in collaboration with ESMUC in Barcelona as well as Peter Quint in The Turn of The Screw, Ferrando in Nemorino in L'elisir d'amore with Mannes under the baton of Joseph Colaneri. Pavel was also a solo performer in Beethoven’s Symphony No. 9 with the R.A.M. Orchestra under the baton of Vladimir Fedoseev. He was the first place prizewinner in 2013 and 2014 with AADGT (American Association for Development of the Gifted and Talented) in New York, performing in Carnegie Hall; third prize winner in Bella Voce competition in Moscow; and finalist in the Licia Albanese-Puccini foundation competition. Pavel Suliandziga was a participant in the Vianden Festival in Luxembourg in 2013 and 2014 and IVAI summer program in New York and Montreal 2016. He resides in New York City.

EMILY RIGHTER (ROSINA)

Accomplished mezzo-soprano Emily Righter has been enchanting audiences “…with her gor- geously controlled mezzo voice and emotive, physically adept presence to match.” (The Star- Ledger). Most recently, Ms. Righter made a successful debut with Martina Arroyo’s Prelude to Performance singing the role of Carmen. Prior to this, she made her debut as Angelina in Opera Tampa’s La Cenerentola and was recently heard at Carnegie Hall and in Philadelphia as the mezzo-soprano soloist in Rossini's Stabat Mater, Verdi's Requiem and John Rutter's Magnificat. Ms. Righter will be singing in the world premiere of Anna Hunter by Michael Ching in Savan- nah, GA this coming November, and Cherubino in Opera Tampa’s Le Nozze di Figaro in March 2018.

Ms. Righter’s European performances include roles at the Salzburger Landestheater in Austria, where she appeared as Jacqueline in La Cage aux Folles; Dardané in Pilgrims from Mecca (performed also in Istanbul); Olga in Eugene Onegin; and Annio in La Clemenza di Tito. At the Landestheater, she also performed the role of Sophia in the German- translated premiere of The Sound of Music, along with roles as Tisbe (whilst covering Angelina) in La Cenerentola, Clomiri in Imeneo, Flora in La Traviata and Margaret in Wozzeck. At the Tyrolean Festspielhaus in Austria under the baton of Maestro Gustav Kuhn, she has been seen as Flo- ra in La Traviata, Ines in Il Trovatore and Maddalena in Rigoletto, and was the alto soloist in Beethoven’s Symphony No. 9. At the Festival dei Due Mondi in Spoleto, Italy, Ms. Righter debuted the role of Miss Jessel in The Turn of the Screw; and in the same season, she made her debut in Tyrol and Trento, Italy, as Cherubino in Le Nozze di Figaro.

Ms. Righter made her NYCO debut in 2013 singing Amenofi in Mosé in Egitto. She has made several professional debuts throughout the U.S., appearing with Boston’s Handel and Haydn Society and the Marcello Giordani Fundraising Gala Concert in New York City as well as benefit concerts supporting victims of homelessness.

STEFANOS KORONEOS (BARTOLO)

Bass-baritone Stefanos Koroneos continues to build a reputation as a world-class performer. Recent appearances include Captain Michael (baritone solo) with the Berlin Philharmonic, The Godson with Greek National Opera, Tosca with LoftOpera (Sagristano), La Cenerentola (Dandini) with New York City Opera, Die Fledermaus and Il Barbiere di Siviglia with Boheme Opera, El Gato con Botas (the King) with Gotham Chamber Opera, Sacco e Vanzetti with Opera Tampa, Cassandra with Teatro Grattacielo, Gluck’s Orfee (title role) with National Municipal Theater Patras in Greece and Leporello with Opera Williamsburg.

Mr. Koroneos has performed throughout Italy in Il Viaggio a Reims (Don Alvaro), Madama Butterfly (Sharpless), Isabeau (the King),

Rigoletto (Monterone), La Traviata (Barone), Le Nozze di Figaro (The Count), and Un Ballo in Maschera (Sam) in venues such as Teatro Alla Scala and Teatro Reggio di Parma. Among other international engagements are La Traviata (Barone) with the Bolshoi Opera and at the Athens Concert Hall, Le Nozze di Figaro (the Count) with Seoul Opera, La Bohème (Alcindoro and Benoit) at Oslo’s Den Nye Opera, La Bohème (Schaunard) at Staatstheater Freiburg and La Forza del Desinto (Fra Melitone) at Theater Osnabrück.

In the U.S. Stefanos has appeared in Tosca (Sagristano) with Palm Beach Opera, Adrianna Lecouvreour (Il Principe) with the Opera Orchestra of New York, Il Pagliacci (Silvio) with Maryland Lyric Opera, Gianni Schicchi (Spinelloccio) and Tosca with Opera Tampa (Sciarrone) and The Merry Widow (Danilo) with St. Petersburg Opera.

ERIC LINDSEY (BASILIO)

Bass-baritone Eric Lindsey has performed with Sarasota Opera, Opera North and Opera Theatre Pittsburgh and sung under the direction of conductors Victor DeRenzi, Marcello Cor- mio, Brent McMunn, Dr. Charles Hausmann, Dr. Raymond Harvey, Ward Holmquist and Dr. Brett Mitchell. His most recent roles include Sacristan in Tosca with Opera North, Don Al- fosno in Così fan tutte with Sarasota Opera, Rucker Lattimore (filling in for the illustrious Samuel Ramey) in Wichita State University’s production of Carlisle Floyd’s Cold Sassy Tree as well as Sciarrone in Tosca and Truffaldino in Ariadne on Naxos. Born in Atlanta, he received his Associate of Fine Arts from Young Harris College, his Bachelor of Music from Kennesaw State University and his Master of Music from the University of Houston. His vocal training came under the tutelage of Barbara Zellner, Dr. Edwin “Sandy” Callo- way, Jana Young and Joseph Evans.

Engagements during the 2016-17 season included performances as Figa- ro in Le Nozze di Figaro in a return to Opera in Williamsburg (Virginia); Benoit/Alcindoro in La Bohème in a debut with Shreveport Opera; and as Ceprano in Rigoletto in his debut with Opera in Williamsburg. During the summer of 2017 Eric Lindsey returned to Opera North to sing the roles of Calchas in Offenbach's La Belle Helene and The Bonze in Madama Butterfly. Concert appearances during the 2016-17 season in-

16 cluded a debut at Carnegie Hall with MidAmerica Productions appearing as bass-baritone soloist in Beethoven’s Choral Fantasy and Handel’s My Heart is Inditing and appearing as bass-baritone soloist with Opera in Wil- liamsburg’s “Evening of Passion and Love” at the Williamsburg Art Gal- lery. MICHELLE TROVATO (BERTA)

Soprano Michelle Trovato has been hailed as “hilarious….with enough vocal virtuosity to cast a shadow” (New York Observer) in the role of Berta in Loft Opera’s Il Barbiere di Siviglia and “vocally outstanding” by The Washington Post. This prize-winning young soprano had a strong start to the 2016-2017 season as the “uproarious cleaning woman” Despina (The New York Times) in Così fan tutte with Brooklyn’s Loft Opera and a successful role debut as Nedda in Pagliacci under the baton of Maestro Gregory Buchalter of the Metropolitan Opera. Subsequently, she sang Miss Frayne in the acclaimed New York Premi- ere of Carlisle Floyd’s Prince of Players with Little Opera Theatre of New York and made an-

17 other role debut as the Italian Singer in Richard Strauss’ Capriccio with Apotheosis Opera.

Other credits include: Seattle Opera, Opera Colorado, Utah Festival Opera, the Caramoor Festival, Brooklyn Philharmonic, Philharmonic of Southern New Jersey, Jackson Symphony, Spokane Symphony, Stamford Sympho- ny, Symphonic Orchestra of Tirana (Albania), the Crimea Philharmonic Orchestra (Ukraine), Opera Les Azuriales (France) and the Kennedy Cen- ter.

Locally, Michelle has appeared with Opera in Williamsburg for their productions of Così fan tutte and La Cenerentola, with the Williamsburg Symphony Orchestra in the World Premiere of Sophia Serghi’s Full Moon Haiku, in recital with the Williamsburg Music Club and at the College of William & Mary, and as soprano soloist in Handel’s Messiah with the Lynchburg Choral Union and with the Williamsburg United Methodist Church (she will return as soloist this December).

SUCHAN KIM (FIORELLO/L’UFICIALE)

Baritone Suchan Kim has recently sung the role of Papageno in Bare Opera’s production of Die Zauberflöte. He has performed as a resident in San Francisco Opera’s Merola Opera Program as well as with The Metropolitan Opera Guild, Mannes Opera, Sarasota Opera, Opera in Williamsburg, Bare Opera, New Amster- dam Opera, Loft Opera, Opera Ithaca, Boardwalk Opera, Sinfonietta of Riverdale, New York Grand Opera, New York Lyric Opera, Fairfield County Chorale, Lyric Chamber Music Society of New York, Sign & Sing, National Theater of Korea, Seoul Arts Center and several opera companies in South Korea.

His role credits include Don Giovanni and Leporello in Don Giovanni, Count and Figaro in Le Nozze di Figaro, Guglielmo in Così Fan Tutte, Enrico in Lucia di Lammermoor, Marcello and Schaunard in La Bohème, Ford in Falstaff, Silvio in I Pagliacci, Marullo in Rigoletto, Tarquinius in The Rape of Lucretia, Dandini in La Cenerentola, Germano in La Scala di Seta, Tobia Mill in La cambiale di matrimonio, Yamadori and Bonzo in Madama Butterfly, Le Marquis de la Force and Jailer in Dialogues of 18 the Carmelites, Salieri in Mozart and Salieri, Paquiro in Goyescas, Fiorello and L’ufficiale in Il Barbiere di Siviglia, Le chat and L’horlage comtoise in L’Enfant et Les Sortilèges, Simeon in L’Enfant Prodigue, Father in Thumbprint, King Solomon in Shulamit and The Critic in Rotation.

A native of Busan, South Korea, he was an Eastern District Winner in the Metropolitan Opera National Council Auditions in 2011 and received the Opera Award from Mannes Opera in 2013. Mr. Kim holds a Bachelor of Music from Korea National University of Arts and a Master’s Degree and a Professional Studies Diploma from Mannes College, the New School for Music. He studies with Arthur Levy.

New York Times: “Suchan Kim commanded each scene he appeared in with a focused, muscular baritone and brought the house down with a vir- tuosic portrayal of the increasingly drunken servant, Germano.”

Opera Today: “Suchan Kim (Tobias Mill) magnetizes the audience to him throughout the evening, with a sumptuous baritone voice and precisely communicative Italian. He is wonderfully funny without ever becoming cartoonish, and sustains a level of energy in both voice and deportment that left me exhausted just watching him.”

ERIC LAMP (NOTARY/COSTUMER)

Tenor Eric Lamp is thrilled to be returning to Opera in Williamsburg, where he was last seen in Lucia di Lammermoor and costumed its recent productions of Rigoletto and Le Nozze di Figaro. As a performer, Eric has appeared in Parade at the Metropolitan Opera, the original cast of La Cage aux Folles on Broadway, two world tours of the Phillip Glass/Robert Wilson Einstein on the Beach, the Verbier Music Festi- val (Switzerland) and nine seasons in the opera chorus at the Bard Summerscape Festival. As costumer, his work has been seen in numerous productions for NYC's Utopia Opera, of which he is Artistic Vice President, and Vital Opera.

JERRY PEDROZA (PRODUCTION STAGE MANAGER/ASSISTANT DIRECTOR)

Jerry Pedroza is excited to be joining Opera in Williamsburg for his fourth production (previous engagements were La Cenerentola, Rigoletto and Marriage of Figaro). Having graduated in 2013 with a BA in Technical The- atre & Design from WV Wesleyan College, Jerry has worked all over the East Coast and is now based out of Brooklyn, New York. He currently serves as the Assistant Production Man- ager of Orchestra for the Brevard Music Center Summer Festival in Brevard, North Carolina. One of his most recent credits of note involves stage managing the Off-Broadway premiere of Madeline’s Christmas (KOTA Productions). Other regional credits include: The Beggar's Opera (Hofstra University Opera) New Year’s Eve in Times Square (Times Square Alliance) and NY Fashion Week (IMCD Lighting).

ALEXANDRA NAUMENKO (ASSISTANT TO THE MUSIC DIRECTOR)

Alexandra Naumenko is a highly sought-after artist and collaborator who enjoys an exciting career as a pianist and vocal coach. During the 2014-2017 seasons Ms. Naumenko was on the faculty of the University of Miami’s Frost School of Music as well as an assistant conductor and YAP vocal coach at the Palm Beach Opera. She served previously as an assistant conductor and staff coach for the Young Artist Program at Florida Grand Opera during their 2013-2014 season.

As a 2013 The Metropolitan Opera Lindemann Young Artist Development Program graduate, Ms. Naumenko was privileged to work with many of today's leading singers and conductors. While at the Lindemann Program Ms. Naumenko worked under the baton of Maestro James Lev- ine and also accompanied for master classes and workshops led by such

artists as Maestro Fabio Luisi, Sir Thomas Allen, Ramon Vargas, Gerald Finley, Carol Vaness, Renata Scotto, Dame Kiri Te Kanawa, Eric Owens, Luca Pisaroni, Dwayne Croft, among others.

In 2012-2013, Ms. Naumenko served as an assistant conductor for the In- ternational Vocal Arts Institute in Tel Aviv, Israel, and for the Met+Juilliard co-production of Così fan tutte, conducted by Maestro Alan Gilbert.

Ms. Naumenko worked for six seasons as an assistant conductor/vocal coach at the Bolshoi Theater of Russia, Moscow, where she worked with Mstislav Rastropovich, Yuri Temirkanov, Francesca Zambello, Graham Vick, David Pountney, Dmitri Tcherniakov, Mariusz Kwiecien, Ekaterina Scherbachenko, Marina Poplavskaya and many others. In 2008 she was the head coach for the Bolshoi’s production of Eugene Onegin that opened the season at the Opera Garnier de Paris. Widely acclaimed as a recitalist, Ms. Naumenko participates in concerts and music events, performs in chamber ensembles and presents solo programs.

Alexandra Naumenko graduated from Moscow Tchaikovsky Conservatory where she studied piano with Lev Naumov and opera coaching with Irina Kirillova. She currently resides in New York City.

Orchestra Violin 1 ····································································· Simon Lapointe Violin 2···································································· Heejin Weisbrod Viola ··················································································· Fitz Gary Cello ······································································· Peter Greydanus Clarinet ··························································· Patti Ferrell Carlson Flute / Piccolo ···························································· Joanne White Oboe ·········································································· Ani Gregorian Bassoon ··········································································· Matt Lano French Horn ······························································· Katy Ambrose

Naama Zahavi-Ely is a music-lover who founded Opera in Williamsburg as one more place where excellent opera productions could be performed and enjoyed. Her policy is to put people first, and to search for and engage outstanding performers and creative team without compromise. She enjoys opera and classical music wherever she travels. She taught Biblical Hebrew at the College of William and Mary for over a decade before retiring to her birth country, Israel. Naama loves sharing opera with her many Williamsburg friends, and sharing the beautiful city of Williamsburg with her many friends in the opera world. She believes that the city, and the Kimball Theatre in particular, is unique- ly positioned for creating intimate opera classics of the kind that Opera in Williamsburg specializes in.

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Allies (to $99) Judith and James Adams Marsha Allen John J. Ancellotti Paul Anderson Anthony and Karen Annoni Anonymous James Barringer Paul Boren

Elaine Cummings Elise Emanuel and David Scherer Nuala C. Galbari Kathleen Henderson Jill T. Hester Pat Hubbard Patricia and Harry Hulings Bernice Kimball John and Rosemarie Kostoff Larry and Linda Kramer Meche Kroop Naomi and George Lake William and Carmen Lancellotti Robert Leek and Deanna Rote Chet and Linda Lucido Patricia and William Baker Lupton Robert Maccubbin Audrey and Don Martin Jacquelyn McLendon Jill Nagel David Nicholas Robert Oppecker and Janet Spring Edward Ramsaur Nancy Rehbein J. Mott Robertson, Jr. David and Donna Stanford M. Eve Turner Lana Wingate

THANKS TO ALL WHO GIVE VITAL HELP TO OPERA IN WILLIAMSBURG !

• Carmen Alves, chef of Elite Cuisine, for donating her bartending skills at our winter event • Susan Baime for her help in finding advertisers • Linda Baker for editorial help and support of Opera in Williams- burg • Jayne Barnard for coordination with the Christopher Wren Associ- ation and for her finding the venue of Port Anne for us • Joe Land for the loan of capes for The Marriage of Figaro • Gulay and Clyde Berryman for tremendous generosity, gracious- ness and support through the years by hosting events for us and for other help • The Brevard Music Center, Janiec Opera Company, Andrea Boc- canfuso and Teila Vochatzer for help for The Marriage of Figaro • Bruton Parish House for hosting rehearsals • Dot Bryant for tireless work on publicity, processing of donations and thank you notes, and banking, plus excellent organizational skills • Michael Bryant for continued technical support and expertise • Michael Bryant and Dakota Newcombe for pitching in on a mo- ment’s notice with construction help • Carolyn and Russell Campbell for hosting team members, help with advertising, educational outreach and coordinating the do- nor event • Diane Carr for hosting performers and loaning props, and for con- nection with the Williamsburg Arts Council • Cary Carson for the loan of his car • Michaella Cipriani and Voicexperience for their assistance with the supertitles. • Kathy Devanny for hospitality, for help at the Kimball, and with local connections in finding props and hospitality

• Judy Emanuel for her help at the Colonial Heritage concerts • Dr. Branch and Jaylene Fields for hosting team members for Don Giovanni and Rigoletto • Clyde Haulman for tremendous and lasting support through the years • Debra Hill and Camilla Buchanan for hosting team members for La Cenerentola, Rigoletto, The Marriage of Figaro and the Barber of Seville • Martha Jones and Bill Hutton for hosting, loaning their car, and for continued strong support • Ruth and Ed Jones for hosting team members for La Cenerentola, The Marriage of Figaro, and The Barber of Seville • Lucile Kossodo for hosting a singer for The Marriage of Figaro • Linda Kligman for her enthusiasm and professionalism in finding advertisers, recruiting new volunteers and coordinating the donor event and Colonial Heritage dinner concerts • Frank Knuettel for his leadership and organizational skills in chair- ing Opera in Williamsburg’s Advisory Board • Joanna Mathews-Kocur, coordinator of our publicity and fundraising volunteer team: Joe Kocur, Brenda Mitchell, Patricia Sager, Doreen Conoscenti, Marie Mamikonian, Nancy Bell, Bunny Majcher, and Barbara Muzzi • Paula and Gabe Koz for hosting team members for La Cenerentola and The Marriage of Figaro • Bob and Deanna Leek for hosting team members for Don Giovan- ni, Rigoletto, The Marriage of Figaro, and The Barber of Seville, and for generous donations of art • Paul Maramaldi for his work in educational outreach and superb organizational skills • Elizabeth Milne for SOA collaboration • Sharon Mueller for hosting singers for The Marriage of Figaro and for car rental for The Barber of Seville

• Alexandra Katelyn Mullins for the loan of her apartment for Rigoletto • Mary Jo O'Shaughnessy for making capes for The Marriage of Figaro • Robert Osmon for hosting singers for The Marriage of Figaro and for The Barber of Seville • Gigi Paddock and Our Savior Church for hosting rehearsals and for the loan of capes • Linda Collins Reilly for unceasing support and excellent perspec- tive • Patricia Sager, Doreen Conoscenti and Judy Emanuel for monitor- ing the silent auction tables at the dinner concert • John and Harriett Seraydarian for hosting team members for Rigoletto • Brenda Snow for hospitality for The Barber of Seville

• Deborah Soderholm for hosting a team member for La Cenerentola and for The Barber of Seville • Barbette and Robert Spaeth for gracious hospitality • Paul Try for enthusiasm, assistance and expertise on many fronts and for photography at many events • Shirley Vermilion for hosting us at 2nd Sundays Williamsburg Art and Music Festival • Virginia Gazette, Daily Press, Williamsburg Families and The Wil- liamsburg Magazine for publicity • Trish Volp for the use of her townhome for hosting team members for Rigoletto • Hans von Baeyer and Barbara Watkinson for hosting performers • Nancy Wade for hosting for Rigoletto and for The Barber of Seville • Valerie Weiner for the use of her townhome for La Cenerentola • Don Williams for development advice and expertise • The Williamsburg Art Gallery for elegant hosting of our receptions and curtain raisers • Williamsburg Choral Guild for reciprocal advertising • Williamsburg Families for reciprocal advertising • The Williamsburg Players for reciprocal advertising • Williamsburg Symphony Orchestra for reciprocal advertising • The many loyal volunteers who help in the front of the house at the Kimball performances

We appreciate the support of all our friends and volunteers and apolo- gize if we have left you off this list. Please know that Opera in Williams- burg values all our volunteers and helpers! Without you, we would not be able to put on these performances. THANK YOU!