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Home , Ainadamar, Edward Joseph Dent, Jennifer Johnson Cano, Kevin Burdette, Pilar Lorengar, The Libertine (play)

MOZART MAY 1 – 10 | 2015

Esther Nelson, stanford calderwood general & Artistic Director | David Angus, Music Director | John Conklin, Artistic Advisor

blo.org A THANK YOU TO Boston Lyric is proud to announce a $5 million gift from The Calderwood Charitable THE CALDERWOOD Foundation. This, the largest single institutional gift in Boston Lyric Opera’s 39-year history, will endow CHARITABLE FOUNDATION our General & Artistic Director position, currently FROM THE BOARD held by Esther Nelson, and be commemorated by AND STAFF OF its naming as the Stanford Calderwood General & Artistic Director. BOSTON LYRIC OPERA We are honored to be counted among the organizations that have benefitted from the tremendous legacy of Stanford and Norma Jean Calderwood and extremely thankful to Foundation Trustees John Cornish and William Lowell, who have worked tirelessly to realize the Calderwoods’ vision of a strong, collaborative cultural community in Boston.

“I am honored to be the first to hold the title of Stanford Calderwood General & Artistic Director at Boston Lyric Opera and humbled by the challenge of keeping our Company an innovative, driving force in Boston and throughout the opera world. I trust that this gift will inspire others to support our efforts and, at the same time, compel all of BLO’s future leaders to push the art form forward.”

Esther Nelson Stanford Calderwood General & Artistic Director Welcome I open this final letter of the Season with a truly special message. For many years, BLO has counted itself among the organizations supported by the good work of The Calderwood Charitable Foundation. With the leadership of its Trustees, John Cornish and William Lowell, and our own Board Chair Steven Akin, the Foundation gave BLO a challenge to inspire the Company’s donors to help grow the endowment. The resulting grant is a transformative gift to the endowment, building on its foundation and setting the course for a strong future for BLO. I am profoundly grateful to these gentlemen for their vision and dedication, and to The Calderwood Charitable Foundation. Stanford Calderwood and his wife Norma Jean were longtime patrons of the arts in Boston. I believe they would both be proud to see all the benefits that their legacy has created in our community. And going forward, I am honored to bear the title that reflects and perpetuates their good work. I also welcome you to the final opera of our Season, Mozart’s Don Giovanni, which has impassioned audiences and artists alike throughout its history. G.B. Shaw called it “the opera of .” Tchaikovsky, after seeing a performance, wrote, “I could cry out and weep under the overwhelming stress of the emotional impression.” The French novelist Stendhal in The Life of Henry Brulard wrote, “I would walk ten miles through the mud, the thing I hate most in the world, to hear a good performance of Don Giovanni.” What is the lasting allure of this opera? Most of Mozart’s operas have waxed and waned in popularity throughout the centuries, but Don Giovanni has enjoyed constant audience success. Some attribute it to the opera’s easy blend of the comic and serious. Mozart called the opera a dramma giocoso, a comic or jocular drama. Both Mozart and his librettist Da Ponte, with whom he also collaborated on Sketch by Costume Designer Tilly Grimes for Don Giovanni and Così Fan Tutte, were keen observers of human behavior with a sharp sense of humor. The Don Giovanni plot pits men against women, nobles against commoners, individuals against society. I ascribe the opera’s popularity to the charismatic, magnetic, and complex title character: rake, blasphemer, upper class playboy, an irresistibly sexy, destructive narcissist. He holds up a mirror (and promise) to our own unfulfilled PROGRAM fantasies. The 18th-century Giovanni also represented the quintessential old order, demanding absolute privilege, against which the Enlightenment rose. On the other contents hand, he also embodies the autonomous subject, rebelling against the old order, which was the cornerstone of the Enlightenment. He has no doubts of his own irrevocable Welcome 1 damnation and wins our reluctant admiration by his courageous refusal to be anything but his true self. Board of Directors 3 During my conversations with our stage director, Emma Griffin, we discussed how the Don Giovanni Background 5 allure of the idea continues to persist today. But how do we present the idea and Interpretations of divine punishment or fateful intervention for today’s audiences, and diverse cultures? blo's 2015/16 Season 6 Our fear of — or hope for — such retribution and justice is as real as it was in the 18th century, but it is manifested in many different ways. Emma brings Don Giovanni up Meet the Artists 8 close and turns him into a man, and an idea, of our time. His dangerously attractive BLO's Version of 13 qualities are also not, I dare suggest, limited to men. (Maybe we’ll find a new opera, Don Giovanni a female version: Lady Joanna?) Opera tells emotional truths on many levels. Production Staff & 14 I hope that you enjoy Don Giovanni and that you will join us once again next Season for Acknowledgments all-new BLO productions of both popular classics and works not often seen in Boston, all with a distinct French flavor. I look forward to seeing you at intermission. blo Staff & Volunteers 15 Donors 18

Esther Nelson Stanford Calderwood General & Artistic Director Cover: Jennifer Johnson Cano photo by Matthu Placek pera, with its full forces of principal singers, O chorus, orchestra, production and more, requires a tremendous investment. Ticket sales traditionally cover only a small percentage of those costs. We rely on the passion and support of our community to produce truly great opera, to develop this generation’s talented Emerging Artists, and to bring opera to a wider audience through community engagement. At this time of year-end giving, please consider making photography a gift to help us reach new heights next Season. gebo

ben Get Involved with BLO michael

After the curtain comes down, there are blanchard

still lots of ways to get your opera fix! photography

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2 | Boston lyric opera DON GIOVANNI 2015 ABOUT BOSTON A MESSAGE FROM THE BOARD CHAIR LYRIC OPERA Stanford and Norma Jean Calderwood were passionate and generous supporters of both the arts and their community Both locally and beyond, Boston Lyric during their lifetimes through their personal giving and their Opera leads the way in celebrating encouragement of philanthropy in others. In this spirit, the Trustees the art of the voice through innovative of The Calderwood Charitable Foundation have continued their programming and community good work, effecting transformational change for cultural engagement initiatives that redefine organizations across Boston for many years. the opera-going experience. Boston Lyric Opera is pleased and proud to be counted among the beneficiaries of the Calderwoods’ tremendous legacy. Under the vibrant leadership of Stanford During our long partnership, the Foundation has supported BLO with funding, a Calderwood General & Artistic Director readiness to offer guidance, and a willingness to inspire patronage among others. Esther Nelson, BLO’s productions have This historic $5 million gift to BLO’s endowment was made upon the successful been described by the magazine Musical completion of a challenge from the Foundation to our Board and patrons, and it America as “part of reflects our shared commitment to the long-term success of the Company and to “This midsize the national dialogue” a vibrant arts community for Boston. company has a because of their My sincere thanks to Foundation Trustees John Cornish and William Lowell for welcome new role as entry points their vision and commitment, to BLO’s Esther Nelson and Eileen Williston and our tempo, new for new audiences. Trustees Bill Kennedy and Tom Gill for their partnership and dedication, and to all those who helped BLO meet the challenge. ambitions, and observed that BLO Stanford and Norma Jean Calderwood understood the important role we all play new capacities. “clearly intends [its in creating and ensuring a robust and vital cultural landscape in our community. It should be productions] to May their foresight inspire us all to be patrons of Boston’s arts and carry on their fascinating to catch the interest of legacy for future generations. see, as BLO operagoers around the country.” Steven P. Akin approaches its Chair, Board of Directors 40th anniversary This view is shared in 2017, where it by the nearly goes from here.” 40,000 people who experience BLO each BOARD Lois A. Lampson Lynn Dale – , CHAIR Jeffrey Marshall Carol Deane september 20, 2014 year through dynamic Steven P. Akin Abigail B. Mason Jessica Donohue performances, A. Neil Pappalardo Joseph Glenmullen Vice-CHAIr extensive partnerships with leading E. Lee Perry Catherine E. Grein Wayne Davis cultural organizations, and programs Irving H. Plotkin Amy Hunter throughout our vastly diverse and Vice-CHAIR & Treasurer William Pounds William Hunter exuberant community. Frank Wisneski Michael J. Puzo Louise Johnson Clerk David W. Scudder Ellen Kaplan BLO’s programming remains faithful Susan Jacobs Susan R. Shapiro Pamela S. Kunkemueller to tradition while blazing new ground, David Shukis Russell Lopez Stanford Calderwood Anita Loscalzo building audiences, and creating new GENERAL & ARTISTIC Ray Stata M. Lynne Markus ways to enhance the opera-going DIRECTOR Wynne Szeto Shari Noe experience. BLO Emerging Artists hone Esther Nelson, Ex Officio Christopher Tadgell Wat Tyler Jane Pisciottoli Papa their craft and prepare to expand their Jane Akin Tania Zouikin Samuel Parkinson careers to other world-leading stages. Linda Cabot Black Susanne Potts And BLO’s wide-reaching education Miguel de Bragança BOARD OF Carl Rosenberg initiatives introduce opera to new Alicia M. Cooney OVERSEERS Allison Kay Ryder JoAnne Walton Dickinson, Esq. Co-CHAIRs Jonathan Saxton audiences across generations. Alan Dynner Willa Bodman Wendy Shattuck Susan D. Eastman Through your support and attendance, L. Joseph LoDato Sandra A. Urie Andrew Eisenberg BLO employs nearly 500 artists and Lawrence St. Clair Mark Volpe Kenneth L. Freed Lydia Kenton Walsh creative professionals annually—vocalists, Thomas D. Gill Jr. James Ackerman artisans, stagehands, costumers, and Robert Walsh Barbara Winter Glauber Kyla Akin de Asla Peter J. Wender scenic designers—many of whom are Anneliese M. Henderson Elizabeth Barker Bert Zarins members of our own community. Mimi Hewlett Ann Beha Horace H. Irvine II Edward Bell EMERITI The Company is proud to play a Amelia Welt Katzen Debra Taylor Blair David B. Arnold Jr. significant and meaningful role in Maria J. Krokidas Richard M. Burnes Jr. J.P. Barger Boston’s vibrant arts community. Stephen T. Kunian Ellen Cabot Sherif A. Nada

Boston lyric opera DON GIOVANNI 2015 | 3 4 | Boston lyric opera DON GIOVANNI 2015 of Don Giovanni

The Women The Garden of Don Juan, Lajos Gulácsy, 1910 By Magda Romanska, Ph.D., Boston Lyric Opera Dramaturg

y the 18th century, educated women were Of the three women, Zerlina appears to be the most sexually beginning to question male freedoms and dominance liberated. She can be portrayed as either an innocent village girl or of society, and starting to demand similar freedoms a cunning, no-nonsense peasant woman. She most closely parallels for themselves. Many men were also increasingly commedia dell’arte’s Colombina, the clever maid stock character that uneasy about their own social and economic privileges, especially emerged later. Although Zerlina has no qualms about flirting with the moral latitude shown toward male sexuality (as opposed to the Don Giovanni on the day of her wedding to Masetto, we don’t know constraints placed on female sexuality). The women of Don Giovanni if her interest is genuine and she indeed comes under the spell of the Bshowcase the many tensions that dominated gender relations of Don’s charisma, or whether it’s merely her strategy of dealing with the era, each representing different aspects of the cultural and Masetto, making him jealous and by extension more prone to her social landscape. influence. As Singer points out, “[S]he knows that the more she is fickle with Masetto, the more he will dote on her; the more he dotes For critics, the most problematic of the three central female on her, the greater her freedom to deceive him.” We also don’t know characters is Donna Anna. Her character does not appear at all in if Zerlina really believes in Giovanni’s promises of marriage or merely Molière’s play, Don Juan. In Tirso de Molina’s The Trickster of Seville pretends to in order to justify the seduction. She is sensual, but she also and , it is suggested that perhaps Don Giovanni understands the social and moral judgment that women must conform raped her, with the play revolving largely around the issue of her to, and she quickly adjusts her behavior to what Masetto expects, honor. At the end, Giovanni confesses that he had not been begging him to “beat your poor Zerlina.” In the end, Masetto doesn’t successful with her, thus resolving the main dramatic question. beat Zerlina, but Giovanni beats Masetto, which she cleverly blames In Mozart’s opera, she figures not so much as one of Giovanni’s on Masetto’s own jealousy. Zerlina is often compared to Papagena conquests, but foremost as the daughter of the Commendatore from The Magic Flute, a child of nature who treats sensual pleasure whom Giovanni kills, and who in turn enacts his own supernatural with casual joy and without the guilt of dominant Christian morality. revenge on the libertine. Anna’s relentless pursuit of Giovanni and her request to delay the wedding to her fiancé, Don Ottavio, suggest Finally, Donna Elvira’s chase of the Don and her drive to “avenge my that perhaps she may have been violated, though some critics note deceived heart” is one of the most tragic motifs of the opera. Elvira that she may simply have been traumatized by the death of her is as traditional as possible; believing in the institution of marriage, father, who was killed while protecting her honor. In his book on she is unable to come to terms with Giovanni’s false promises and Mozart’s opera, Edward Joseph Dent argues that Anna and Ottavio, betrayal. If she were a character in an opera buffa, her love-hate pursuit “were evidently intended by Da Ponte to be the pair of more or less of her former lover would be farcical, but the music that accompanies serious lovers customary in most Italian comic operas.” If Anna and her is always serious, suggesting something darker and perhaps Ottavio indeed fulfill the function of the Italian innamorati, Irving even pathologically obsessive in her passion. As David Cairns put it, Singer points out that her request to wait the conventional year “[Elvira] is a victim-figure, and her music depicts her obsessiveness, before marrying is rather normal, and there is no reason for us to her continued sexual fascination with Don Giovanni, her lack of believe that her encounter with the Don had anything to do with it. control; but, unlike the Don, it doesn’t deride her. She rises above Singer suggests that Anna, the dutiful and guilt-ridden daughter, the indignities callously heaped on her, and earns our respect.” She is represents Mozart himself and his own strained relationship with his constantly torn between the reality of her predicament and her fantasy father. At the end, Singer notes that “neither the capture of Don world. She desperately wants to believe Giovanni’s assertions because Giovanni nor the comfort of Ottavio’s love can eliminate the sadness not believing means admitting her own gullibility, but the more she she feels” at the loss of her father. trusts him, the more she suffers. He deceives her until the very end.

Magda Romanska, Ph.D., BLO Dramaturg, is an award-winning theatre scholar and writer. She is Associate Professor of Theatre and Dramaturgy at Emerson College, and Research Associate at ’s Minda de Gunzburg Center for European Studies, and Davis Center for Eastern European Studies.

Boston lyric opera DON GIOVANNI 2015 | 5 the story in diverse times and places from 1845 to the AIDS crisis of the 1980s (the choice of the Broadway musical Rent, which used a We'll Always contemporary score by Jonathan Larson to tell the old story again). In 2002, the filmmaker Baz Luhrmann brought his famous 1990 have Paris— Australian Opera production of La Bohème to Broadway, and one of the sopranos rotating in the role of Mimì was Kelly Kaduce, fresh out of Boston University. Now one of America’s leading sopranos, she BLO's 2015/16 Season returns to Boston to recreate the role. Jesus Garcia also appeared in the production as Rudolfo; both he and Kaduce will star in BLO’s new La By Richard Dyer Bohème. The production, by Rosetta Cucchi with set designs by John Conklin, will unfold in Paris at the time of the epoch-defining student protests in 1968, with a visual style derived from the “New Wave” films LO’s 2015/16 Season is another way to fly off to Paris. La of the same time by Jean-Luc Godard, François Truffaut, and others. Bohème and The Merry Widow are set in the city of light and love. And while Goethe’s The Sorrows of Young Werther is It is difficult today to imagine the scope of the success of Goethe’s set in a suburb of Frankfurt, stage director Crystal Manich novel, The Sorrows of Young Werther, which he published in 1774 at the Band designer John Conklin plan to transport Werther to a suburb of age of 24. It was translated into many languages and read around the Paris and to present it in the visual style of the celebrated French film world, defining a whole generation. The protagonist, who reveals his director, Jean Renoir. Three strongly contrasting operas written in three countries within a span of 15 years, but linked in many ways, transport us to Paris, the city on the Seine, in three different historical periods. Notes from BLO Artistic Advisor These operas are the kind that audiences take home with them, and John Conklin on Glass's In the Penal each leaves lifelong impressions. They certainly have for me. My first Bohème was on May 13, 1953, with the Met tour in Oklahoma City. Colony, BLO's 2015/16 Opera Annex I was 11, and I cried my heart out (if I am at a good performance, I In the world of contemporary opera, Philip Glass is one of the still will). My first Merry Widow was at the Kenley Players in Warren, rare composers to have built a highly acclaimed and ongoing Ohio in 1961, when the popular television comedienne Edie Adams body of work ... and all with an impressive variety of style and appeared as the widow, astonishing the audience with her legitimate subject matter. singing voice (she had studied at Juilliard). The effect was as startling as Lady Gaga’s performance of excerpts from The Sound of Music at His opera Satyagraha was a triumph at the , the Academy Awards this year. Who knew? My first Werther was at and one of BLO’s greatest successes was Akhnaten in 2000. the Opéra Comique in Paris when I was a 19-year-old student, not far from Werther’s age. I was so overwhelmed that I went to every other I worked with Philip (and director JoAnne Akalitis) on the world performance that season. First impressions are lasting ones; all three premiere (2000) of his one-act piece based on the well-known operas are the kind you live with. and dramatically disturbing short story by Kafka. I soon realized that this was a very powerful, tense, and concentrated composition La Bohème is Puccini’s most popular work and is currently the most (composed for two singers and a string quintet) neatly (almost popular opera in the world, surpassing even Verdi’s , which held inevitably) fusing the obsessive forward-driving energy of Glass the record for decades. His source was a series of magazine sketches of with the subtle yet unstoppable theatricality of Kafka’s vision. bohemian life that Henri Murger, wrote beginning in 1845; they didn’t find much of an audience, but later Murger and a collaborator adapted them into a stage play which became internationally popular. Still later Murger assembled the sketches into a loose-limbed novel. Murger story and pours out his feelings in a series of impassioned letters, is a knew first-hand the world he was writing about because it was his own— notable figure in the history of outsiders, a descendant of Hamlet and he lived in the company of ambitious, spirited, and penniless young an ancestor of James Dean. He is a passionate romantic who falls in artists and musicians, their loves and quarrels, successes and failures, joys love with Charlotte, a woman he cannot have. and despairs, intense lives and early deaths. The tragic story of Mimì and Jules Massenet responded to the principles and the pain of his two Rodolfo is only one strand in Murger’s narrative collage, but it captured leading characters with music of profound, self-revealing emotion in an the imagination of everyone who read it or saw it on stage. opera that sweeps the public into a maelstrom of feeling. The music, E Anyone who has ever fallen in love can relate to the story, and hearing of course, is quintessentially French (although the influence of Wagner iffel T

Puccini’s music brings back all the turbulence and ecstasy of youthful in the fluidity of the harmony is obvious). There is also a modern ower , Jean-P hilippe L love (Puccini was only 35 years old when he started work on this touch—Massenet introduces the saxophone into the orchestration, opera). This is one reason why older singers can still prove convincing even though it had not been invented at the time of the story. Like in the opera—some readers may remember how affecting Carlo Puccini, he created great roles that continue to attract major singers. Bergonzi and Pilar Lorengar were on the Met tour here in 1977, when BLO’s production features the debut of the charismatic Canadian tenor both of them were old enough to be the grandparents of Mimì and Joseph Kaiser and the return of Company favorite Sandra Piques Eddy etarte Rodolfo—and why other productions of the work have effectively set as Charlotte, most recently seen here in Janáček’s Kátya Kabanová.

6 | Boston lyric opera DON GIOVANNI 2015 Nine years after La Bohème, Franz Lehár’s The Merry Widow had MacDonald, and a dreadful one with Lana Turner and Fernando its premiere and, like La Bohème, it has been performed all over the Lamas. The Turner movie, however, did inspire the legendary world ever since. Lehár’s story, about the attempt of an impoverished undergarment bearing the same name. Pontevedrian government to keep the fortune of the country’s wealthiest new widow from passing into the pocket of a foreign Since the premiere, glamorous sopranos have coveted the role of the suitor, comes from a slightly naughty French play by Henri Meilhac. merry widow and her haunting song “from her native land,” “Vilja.” In (Meilhac is remembered today for the libretto he prepared for Bizet’s recent years, the role has become associated with such late-career Carmen as well as his collaborations with Jacques Offenbach. And divas as Beverly Sills, , and Frederica von Stade, who in another link among the Season’s composers, Meilhac co-wrote the said she couldn’t imagine a nicer way to take leave of the Met than libretto for Massenet’s most popular opera, Manon, another opera to waltz offstage in the arms of Plácido Domingo; just this season, set in Paris.) Renée Fleming and Deborah Voigt have taken on the role. BLO will break with recent tradition by presenting a widow young enough We are in a different Paris from that of La Bohème. On the map, the to be merry—the Metropolitan Opera’s vivacious Susanna Phillips, Café Momus in the Latin Quarter, where the bohemians hang out, whose early career brought her twice to the Company, in Mozart’s isn’t that far from Maxim’s, on the Rue Royale on the other side of the Don Giovanni and in Benjamin Britten’s A Midsummer Night’s Dream. Seine. But the revelers at Maxim’s have money—or pretend they do— Canadian tenor Roger Honeywell will make his debut as the dashing and they come from a frivolous world devoted to the pursuit of both Count Danilo. The production, again designed by Conklin, promises instant pleasure and constant gratification. Indeed, Maxim’s may not lots of sparkle and spectacle while suggesting the fragility of this have acquired its legendary and enduring reputation if it had not been artificial world that would soon be swept away by World War I. for The Merry Widow. The soundtrack for my own student year in Paris—filled with the The plot of The Merry Widow is a contrivance, an intricate framework joyous, youthful discoveries of Café Momus rather than the heady onto which Lehár hung a string of vivacious ensembles and seductive glitz of Maxim’s—was written in part by Puccini, Massenet, and Lehár. melodies in three-quarter time. The operetta has triumphed on stage I have known each of these works by heart for more than 50 years. for more than a century. There have been television productions and There are some operas you can’t remember, but these are operas two movies—a great one with Maurice Chevalier wooing Jeanette you can’t forget.

RICHARD DYER is a distinguished writer and lecturer. He wrote about music for The Boston Globe for over 30 years, serving as chief music critic for most of that time. He has twice won the Deems Taylor/ ASCAP Award for Distinguished Music Criticism.

Boston lyric opera DON GIOVANNI 2015 | 7 Boston lyric opera Presents mozart don giovanni Music Director David Angus 2014/15 Season Sponsor, Linda Cabot Black

Music by Conductor DAVID ANGUS Sponsored by Linda Cabot Black Libretto by Lorenzo Da Ponte A new Boston Lyric Opera production Stage Director EMMA GRIFFIN*

Set Designer LAURA JELLINEK* Sung in Italian with projected English translation This production is made possible through the Costume Designer TILLY GRIMES* generous support of Paul and Sandra Montrone Lighting Designer MARK BARTON*

Performances: Fight Director ANDREW KENNETH MOSS FRIDAY, MAY 1, 2015 AT 7:30 P.M. Wig and Makeup Designer JASON ALLEN SUNDAY, MAY 3, 2015 AT 3:00 P.M. WEDNESDAY, MAY 6, 2015 AT 7:30 P.M. FRIDAY, MAY 8, 2015 AT 7:30 P.M. SUNDAY, MAY 10, 2015 AT 3:00 P.M. Performed in approximately two hours, 50 minutes with one intermission BOSTON LYRIC OPERA Orchestra Sandra Kott Concertmaster

Citi performing arts centerSM BOSTON LYRIC OPERA chorus Michelle Alexander Chorusmaster shubert theatre 265 tremont street, boston Rehearsal Coach/Accompanist BRETT HODGDON‡ Sponsored by Rusty Rolland and The Schick Foundation

Assistant Director ALLEGRA LIBONATI*

Production Stage Manager CHELSEA ANTRIM

* Boston Lyric Opera Debut † Boston Lyric Opera Emerging Artist ‡ B oston Lyric Opera Emerging Artist Alumnus Cast & SYNOPSIS

CAST in order of vocal appearance

Leporello...... KEVIN BURDETTE Sponsored by Susan W. Jacobs

Donna Anna...... MEREDITH HANSEN‡ Sponsored by Wayne Davis & Ann Merrifield

Don Giovanni...... DUNCAN ROCK* Sponsored by Mr. & Mrs. E. Lee Perry

Commendatore...... STEVEN HUMES Sponsored by Mr. & Mrs. Michael Puzo

Don Ottavio...... JOHN BELLEMER Sponsored by Katie & Paul Buttenwieser

Donna Elvira...... JENNIFER JOHNSON CANO* Sponsored by Barbara and Robert Glauber

Zerlina...... CHELSEA BASLER† Sponsored by Willa and Taylor Bodman

Masetto...... DAVID CUSHING‡ Sponsored by Linda Cabot Black

SYNOPSIS

ACT I The masked Don Giovanni pursues Donna Anna, who resists the intruder. Her cries for help arouse her father, the Commendatore, who struggles with Giovanni and is killed. When a former conquest, Donna Elvira, arrives seeking Giovanni, she is fobbed off on his servant, Leporello. Giovanni tries to seduce a young bride, Zerlina, and again Leporello is used to distract the bridegroom, Masetto. Giovanni’s seduction of Zerlina is interrupted by Elvira, who proceeds to warn Anna and her fiancé, Don Ottavio, of Giovanni’s treachery. Anna recognizes Giovanni as the killer of her father and swears vengeance. Joined by Elvira, Anna and Ottavio confront Giovanni and vow that justice is at hand.

ACT II Giovanni and Leporello exchange clothes. Giovanni serenades Elvira’s maid while Leporello (as Giovanni) toys with the deluded Elvira. Masetto, seeking revenge, is tricked and beaten by Giovanni in disguise. Leporello, still dressed as the Don, is confronted by a furious Anna, Ottavio, Zerlina, and Masetto; he reveals his true identity and escapes. Giovanni encounters the figure of the Commendatore and scornfully invites him to dine. The Commendatore accepts, but when he arrives, Giovanni boldly refuses to repent.

Boston lyric opera DON GIOVANNI 2015 | 9 Artists

DAVID ANGUS Conductor Tilly Grimes Costume Designer BLO: Kátya Kabanová, The Love Potion, Lizzie Borden, BLO: Debut I Puritani, The Magic Flute, The Flying Dutchman, Recent Highlights: The Irish Arts Design Award Clemency, Macbeth for Caligua, Twelfth Night, Present Laughter, NYU; Recent Highlights: Concerts: Philharmonic, Oregon Shakespeare Festival; Trinity Repertory Symphony Orchestra of Flanders, Pro Arte Chamber Company; New World Stages; La MaMa; HERE Arts Orchestra of Boston; Salome, Wexford Festival; Centre; guest artist and designer at Juilliard, NYU, Messiah, Huddersfield Choral Society, Opera North (U.K.) Trinity College Dublin; Co-Artistic Director of SavageCharm Upcoming: La Bohème, Werther, BLO; Concerts: London Philharmonic, Orchestra of Opera North (U.K.), Filarmonico Arturo Toscanini Orchestra Mark Barton Lighting Designer BLO: Debut Recent Highlights: The Cunning Little Vixen, Juilliard; EMMA GRIFFIN Stage Director Owen Wingrave, The Magic Flute, , Wozzeck, BLO: Debut The Rake’s Progress, Ainadamar, Postcard from Morocco, La Voix Humaine, L’Ormindo, Albert Herring, Curtis Recent Highlights: Out Cold & Zippo Songs, BAM’s Next Wave Festival; Removable Parts (winner of Opera Theater; Broadway: The Real Thing, Violet, “Outstanding Performance Art Production,” NY The Realistic Joneses; Off-Broadway: Roundabout; Playwrights Horizons; Innovative Theater Awards), The Cunning Little Vixen, Public Theater; Elevator Repair Service; Signature; Soho Rep; Theater for Les Mamelles de Tirésias, Juilliard; Wozzeck, Opera a New Audience; Young Jean Lee; MCC; Target Margin; New Georges; Philadelphia/Curtis Opera Theater; Artistic Director of the OBIE Award- Clubbed Thumb; P.S. 122. Other NYC: Encores! Off-Center. Regional: winning Salt Theater: Stage Door (FringeNYC Excellence Award as Best Guthrie; A.R.T.; Actor’s Theater of Louisville; La Jolla Playhouse; Yale Rep; Director), The Cherry Orchard Perseverance; Long Wharf; South Coast Rep; Berkeley Rep; Syracuse Stage. Obie Award for Sustained Excellence. Upcoming: Three Decembers, Atlanta Opera; Professor of Opera Stage Direction, College Conservatory of Music at the University of Cincinnati Upcoming: Encores! Off-Center 2015, New York City Center; John, Signature Theater; Fondly, Colette Richland, Elevator Repair Service; L’Occasione Fa il Ladro, Gotham Chamber Opera

Laura Jellinek Set Designer BLO: Debut Andrew Kenneth Moss Fight Director Recent Highlights: Dialogues of the Carmelites, BLO: I Puritani Owen Wingrave, Opera Philadelphia; The Cunning Little Vixen, Opera Philadelphia; Romeo et Juliette, Recent Highlights: Armida, Metropolitan Palm Beach Opera; Messiah (staged), Pittsburgh Opera; Dead Man Walking, West Side Story, Carmen, Symphony; The Cunning Little Vixen, Les Mamelles Seven Deadly Sins, Rinaldo, Oklahoma!, Show Boat, de Tirésias, Juilliard; Ghosts, San Francisco Ballet; Buzzer, The Public Central City Opera; Forever Dusty, New World Theater; The Nether, MCC (Lortel Nomination); Small Mouth Sounds, Stages; SAFE, 59E59, The Edinburgh Fringe Ars Nova; multiple projects with Daniel Fish, The Debate Society, and Festival; Porgy and Bess 75th Anniversary International Tour, Dicapo The Mad Ones. Adjunct Faculty at Tisch School of the Arts at NYU, Opera Theatre; West Side Story, Adger Teater Kilden, Norway Graduate Department in Design for Stage and Film; 2013 Obie Award for Sustained Excellence in Design. JASON ALLEN Wig and Makeup Designer Upcoming: Three Decembers, Atlanta Opera; Oklahoma!, Bard Summerscape; Marjorie Prime, Playwrights Horizons BLO: Resident Designer since 2003 Recent Highlights: The Colored Museum, Huntington Theatre Company; The Manchurian Candidate, Minnesota Opera; Sense and Sensibility, The Dallas Theatre Center; La Fancuilla del West, Minnesota Opera; Tosca, Mill City Summer Opera; Swan Lake, Boston Ballet; Awake and Sing!, Huntington Theatre Company Upcoming: The Marriage of Figaro, The Princeton Festival; Carmen, Minnesota Opera; Kiss Me, Kate, Hartford Stage

10 | Boston lyric opera DON GIOVANNI 2015 Artists

KEVIN BURDETTE Bass STEVEN HUMES Bass Leporello Commendatore BLO: Death and The Loudspeaker, The Emperor of BLO: First Soldier, Salomé; Second Man in Armor, Atlantis Die Zauberflöte Recent Highlights: Stefano, The Tempest, Metropolitan Recent Highlights: Alaska-Wolf Joe, double Grammy- Opera (DVD by Deutsche Grammophon won 2014 winning Mahagonny, Los Angeles Opera; Vodník, Grammy Award, “Best Opera Recording”); Beck Rusalka, Teatro Roma; Oroveso, Norma, Ramfis, Aïda, Weathers, (world premiere), Dallas Opera; Herr Puff, The Wurm, Luisa Miller, Bayerische Staatsoper; Rocco, Fidelio, Daland, Flying Impresario, Chamberlain, Le Rossigno, ; Respectable Dutchman, Torino; König Heinrich, Lohengrin, Beijing Opera; Fafner, Lady’s Son, The Nose, Metropolitan Opera; Soloist, Messiah, Seattle Reingold, Siegfried, Bayerishe Staatsoper, Grand Théâtre de Genève; Symphony; Dulcamara, L’Elisir d’Amore, San Diego Opera; Doktor, Commendatore, Don Giovanni, Théatre des Champs Élysées; Teatro Wozzeck, The Philharmonia Orchestra; Henry B. Isaacson, Oscar (world Real, ; The Bolshoi Theatre; premiere), Santa Fe Opera; Leporello, Don Giovanni, Los Angeles Upcoming: König Marke, Tristan, Théatre des Champs Élysées; Banco, Philharmonic Macbeth, St. Gallen Switzerland; König Heinrich, Lohengrin, Royal Upcoming: Sulpice, La Fille du Régiment, Stobrod/Blind Man, Cold Opera of Copenhagen; Soloist, Joan of Arc (Honnegger), New York Mountain (world premiere), Santa Fe Opera; Eric Gold/The Ghost of Philharmonic; Dvořák, , Herrenchimsee Festival, Germany Vittorio Bazzetti, Great Scott (world premiere), Dallas Opera; Pirate King, The Pirates of Penzance, Atlanta Opera JOHN BELLEMER Tenor Don Ottavio MEREDITH HANSEN Soprano BLO: Sandy/Officer,The Lighthouse; Don José, Donna AnnA Carmen and Carmen on the Common BLO: First Lady, The Magic Flute; Beatrice, The Recent Highlights: Toni, Elegy for Young Lovers, Teatro Inspector; Frasquita, Carmen la Fenice, Teatro Arriaga; Gabriele, Cristina, Regina Recent Highlights: Lady Macbeth of Mtsensk (cover), di Svezia, Wexford Festival Opera; Male Chorus, Metropolitan Opera; Soloist, A Child of Our Time, The Rape of Lucretia, Maggio Musicale; Sali, A Village Romeo and Juliet, Choral Society of Durham; Polovtsian Maiden Wexford Festival Opera; Alfredo, La Traviata, Florida Grand Opera; (cover), Prince Igor, Woglinde (cover), Götterdämmerung, , Riccardo, Maria di Rohan, Buxton Festival; Ferrando, Così Fan Tutte, Metropolitan Opera; Musetta, La Bohème, Cedar Rapids Opera; Soloist, Opéra de Rouen, Opéra National de Bordeaux; Don José, Carmen, Beethoven’s Choral Fantasy, Boston Symphony Orchestra Opera Grand Rapids Upcoming: Trainbearer, Elektra, Boston Symphony Orchestra Upcoming: Evangelist, Saint Matthew Passion (James Newton’s world premiere), Turin Jazz Festival; Lysander, A Midsummer Night’s Dream, Hawaii Opera Theater; Carmina Burana, Teatro Regio di Torino DUNCAN ROCK Don Giovanni BLO: Debut Recent Highlights: Tarquinius, The Rape of Lucretia, Deutsche Oper, , Glyndebourne Festival; Marullo, Rigoletto, Royal Opera, Covent Garden; English Clerk and Guide, Death in Venice, Teatro Réal; Don Giovanni, Don Giovanni, Welsh National Opera; Papageno, The Magic Flute, ; Billy Bigelow, Carousel, Théâtre du Châtelet; Soloist, BBC Symphony Orchestra at the BBC Proms with Sir Andrew Davis; Winner of the 2012 Chilcott Award Upcoming: Demetrius, A Midsummer Night’s Dream, Glyndebourne Festival; Marcello, La Bohème, Royal Opera, English National Opera; Mountjoy, Gloriana, Teatro Réal; Billy Bigelow, Carousel, Houston Grand Opera; Billy Budd, Billy Budd, The Bolshoi Theatre

Boston lyric opera DON GIOVANNI 2015 | 11 Boston lyric opera Orchestra VIOLIN I OBOE Sandra Kott, Concertmaster Nancy Dimock, Principal Colin Davis Lynda Jacquin Heidi Braun-Hill Natalie Favaloro CLARINET Artists Gerald Mordis Jan Halloran, Principal Pattison Story Steven Jackson Stacey Alden Cynthia Cummings Bassoon JENNIFER JOHNSON CANO Mezzo-Soprano Donald Bravo, Principal Donna Elvira VIOLIN II Elah Grandel BLO: Debut Annie Rabbat, Principal Horn Recent Highlights: Finalist in 2015 International Jodi Hagen Peter Hanly Kevin Owen, Principal Opera Awards; Mércedès, Carmen, Emilia, , Dirk Hillyer Wellgunde, Waltraute, The Ring Cycle, Hansel, Hansel Robert Curtis Rohan Gregory and Gretel, Nicklausse, Les Contes d’Hoffmann, Meg Trumpet Tera Gorsett Page, Falstaff, Bersi, Andrea Chénier, Metropolitan Opera; The Sharp Paul Perfetti, Acting Principal Eared Fox, The Cunning Little Vixen, Cleveland Orchestra; Diana, La VIOLA Greg Whitaker Calisto, Cincinnati Opera; Soloist, Pittsburgh Symphony, Baltimore Kenneth Stalberg, Principal Symphony, New York and Los Angeles Philharmonics, San Francisco Trombone David Feltner Symphony, Orchestra of St. Luke’s; 2012 Richard Tucker Career Grant Robert Couture, Principal Donna Jerome and George London Winner; member of the Met’s Lindemann Young Hans Bohn Abigail Cross Artist Development Program since 2008 David Hagee Don Krishnaswami Upcoming: Dido, Dido & Aeneas, Opera Saratoga; Emilia, Otello, Timpani CELLO Metropolitan Opera; Donna Elvira, Don Giovanni, Arizona Opera Jeffrey Fischer, Principal Loewi Lin, Principal Jan Pfeiffer-Rios FortePiano CHELSEA BASLER Soprano Melanie Dyball Brett Hodgdon ZERLINA Jolene Kessler Mandolin BLO: Glasha, Kátya Kabanová; Isolt the Fair, The Love BASS Gerald Mordis Potion; Flora Bervoix, La Traviata; Margret Borden, Lizzie Robert Lynam, Principal Borden; Countess Ceprano, Rigoletto; Papagena, The Barry Boettger Magic Flute FLUTE Recent Highlights: Soloist, Exultate Jubilate, Atlantic Linda Toote, Principal Symphony Orchestra; Recital at the National Opera Center, New York; Iva Milch Josephine, HMS Pinafore, Opera Saratoga; Curley’s Wife, Of Mice and Men, Sarasota Opera Upcoming: Valencienne, The Merry Widow, BLO; Sara, (world premiere), Santa Fe Opera Boston lyric opera Chorus Michelle Alexander, Chorusmaster DAVID CUSHING Bass-Baritone Soprano TENOR MASETTO Maggie Finnegan Stefan Barner BLO: Duke Hoël, The Love Potion; Doctor Grenville, Eunhee Kang Frank Levar La Traviata; Count Monterone, Rigoletto; Sarastro, Dana Lynne Varga Chris Maher The Magic Flute; The Bonze, Madama Butterfly; Thomas Oesterling Adolfo, The Inspector; Don Basilio, The Barber of ALTO Brad Raymond Seville Heather Gallagher Lee Sullivan BASS Recent Highlights: Tom, Un Ballo in Maschera, Boston Youth Symphony Vera Savage Ryne Cherry Orchestra; The Speaker, The Magic Flute, Opera Tampa; Dulcamara, Jeremy Collier L’Elisir d’Amore, Opera North; The Great Gatsby, Emmanuel Music; Tom, Carlton Doctor Un Ballo in Maschera, Sparafucile, Rigoletto, Opera Tampa Ian Pomerantz Upcoming: Sir Tristram, Martha, Boston Midsummer Opera; Leporello, Ron Williams Don Giovanni, Opera Tampa

SUPERNUMERARIES Sean Paul Cormier, Kathryn DePaola, Paulo Lapa

12 | Boston lyric opera DON GIOVANNI 2015 BLO’s Version of Mozart’s Don Giovanni by Magda Romanska, Ph.D., Boston Lyric Opera Dramaturg

uring preparations for the Prague premiere of Don Our version of the opera takes place within 24 hours, in Don Giovanni’s Giovanni in October of 1787, Mozart was, as ever, heavily home, following all of the characters in one continuous swoop, part involved with all aspects of the production, from the music cinéma verité and part ensemble piece. Our Don Giovanni is a man of and the staging to writing the libretto. In fact, he continued means, and his house parties, as claustrophobic as they can get, serve Dwriting and rewriting until the opening and even after. The second as a way for high society to interact, entertain, and destroy each other. production, in Vienna, which opened in May of 1788, included many With his wealth and charisma, the Don wields the power of the house changes in the libretto and score. First, Mozart added two new arias; master, moving his guests, both men and women, like chess pieces on second, but more importantly, he made a number of cuts in the Finale, the board. This fishbowl setting emphasizes the divide between the eliminating repetitive lines by the Commendatore and Don Giovanni public world of social and moral rules that govern men and women’s and cutting the final epilogue, in which the couples discuss their post- sexuality and the private world of bedrooms, where official boundaries Don Giovanni plans for the future. Thus, the Viennese version ended are tested and transgressed. Dramatically, the opera follows Thomas with the grand scene of condemnation — Don Giovanni disappearing Hobbes’ vision of the boudoir as a battlefield, with man (the rake, the into the pit of fire, carried away by demons. Mozart believed such an libertine) pursuing woman (the fortress of virtue and temptation) until ending was more powerful because it culminated with the terrifying she’s conquered. vision of Hell and condemnation, leaving the audience in a state of awe and horror. As Don Giovanni’s story concluded, there was no By tightening the libretto (as Mozart intended with his Vienna need to bring back the couples for the epilogue. revisions) and staging the opera within the neo-classical model of the three unities (as was customary in Mozart’s Age of In BLO’s version, we are honoring Mozart’s revisions of the opera Enlightenment), we are able to solve a number of structural problems, by cutting the final epilogue and tightening the libretto for more while heightening the dramatic tensions and emotional impact of the intense dramatic effect. Thanks to these cuts, we are able to execute opera. And by focusing on the ensemble, we create a world of power the classic (and neo-classical) vision of the opera’s dramatic structure, and sexuality that is as alluring and seductive as it is dangerous and ascribing to the Greek rule of the three unities: time, space, and action. destructive.

Boston lyric opera DON GIOVANNI 2015 | 13 Production staff ACKNOWLEDGMENTS

Chelsea Antrim Production Stage Manager Boston Lyric Opera extends its gratitude to the following individuals Rachel S. Arditi Assistant Stage Manager and organizations for their extraordinary courtesy in making our Lauren Wong Assistant Stage Manager productions possible: Anderson Nunnelley Production Assistant Jeremy Smith Head Production Carpenter Acentech, Inc. | Carl Rosenberg Bryan Salmon First Assistant Production Carpenter Advanced Lighting and Production Services | Jim DeVeer Joseph St. Croix Second Assistant Production Carpenter AKA B. Alix Lopes Head Production Electrician Alexander Aronson Finning Jenny Ciaffone First Assistant Production Electrician Susan Bennett, M.D., Company Physician Consultant Mike Condon First Assistant Production Electrician associate Physician, Massachusetts General Hospital Justin Brady Second Assistant Production Electrician Boston Business Printing Patrick Glynn Head of Production Properties Boston Center for Adult Education Emily Picot Second Assistant of Production Properties Beacon Hill Seminars James R. McCartney Head of Production Audio Boston Public Library Dianna Reardon Wardrobe Supervisor Catherine Truman Architects | Catherine Truman SM Gail Astrid Buckley Costume Supervisor Citi Performing Arts Center Lynn Jeffery Costume Supervisor Constangy, Brooks, Smith & Prophete, LLP | Patricia Torpey Properties Supervisor andrew Eisenberg and Will Krasnow Bailey Costa Assistant Lighting Designer Costume Works, Inc. | Liz Perlman Aja Jackson Lighting Intern Denka Trucking | Dick Butler Dane Palmer Technical Assistant Lance A. Douglas Rachel Padula-Shufelt Wig-Makeup Artist Elderhostel, Inc./Road Scholar Susie Moncousky Wig-Makeup Artist Eric Antoniou Photography Kelley Rourke Surtitle Designer Four Seasons, Boston Allison Voth Surtitle Operator Goodman Media International, Inc. Kate Ellingson Music Librarian Mark Howard Maynard Goldman Orchestra Personnel Manager IATSE Local #11 JACET | Colleen Glynn IRN Internet Services | Jay Williston Leapfrog Arts | Melissa Wagner-O’Malley Massachusetts Bay Transportation Authority Museum of Fine Arts, Boston Myles Standish Business Condominiums NEPS The Artists and Stage Managers employed on this production are Primary Freight members of the American Guild of Musical Artists. All musicians are Production Advantage members of the American Federation of Musicians of the United States ProPrint Boston and Canada. Quality Graphics, Inc. The scenic, costume, and lighting designers are members of United The Revere Hotal Scenic Artists, Local USA-829 of the IATSE. Stagehands are represented Ryder Transportation | Scott Berry by Local #11 of the International Alliance of Theatrical Stage Employees. Robert Silman Associates | Robert Silman and Michael Auren Boston Lyric Opera is a member of OPERA America, the national Santander service organization for opera in the U.S. and Canada. Starburst Printing Somerville Theatre Mia Tavan Tessitura United Staging & Rigging | Eric Frishman WGBH/WCRB Wheelock Family Theatre Winston Flowers

Scenery constructed by American Repertory Theatre and BLO Lighting Equipment provided by Advanced Lighting & Production Services, Inc. Costumes supervised by Costume Works, Inc., Somerville, MA

14 | Boston lyric opera DON GIOVANNI 2015 Boston lyric opera Staff PERFORMANCE & VENUE INFORMATION Esther Nelson Stanford Calderwood General PATRON RELATIONS Late Seating & Artistic Director Eileen Nugent Williston Director of Institutional At the request of our patrons, Boston Lyric Opera David Angus Music Director Advancement observes the national opera standard of a no-late seating policy. While we understand that traffic Artistic Advisor Riley Cameron Institutional Advancement John Conklin conditions, public transportation, weather, and other Assistant factors can have unexpected effects on your arrival, Artistic Sarah B. Blume Director of Major Gifts we wish to minimize disruptions for our seated Nicholas G. Russell Director of Artistic Cathy Emmons Director of Institutional Gifts patrons and for our artists on stage. Latecomers will Operations be asked to wait in the lobby until the earliest possible Danielle Schmidt Special Events Manager Jennifer Feldman Artistic Coordinator break in the performance, which in some cases may Annalise Baird Patron Services Coordinator Nancy McDonald Artistic Associate be intermission. Should you arrive late, the Company Erica Leung Audience Services Manager provides a video monitor in the lobby where you may view the performance until you are seated. Production Rebecca Kittredge Audience Services Coordinator Director of Production Bradley Vernatter Goodman Media International, Inc. As a courtesy to the artists and for the comfort of those around you, please turn off all mobile phones, Anna B. Labykina Technical Director Public Relations pagers, watch alarms, and any other device with Jessica Johnson Production Administrator Elizabeth Mullins Manager of Education Programs audible signals prior to the start of the performance. Julia Noulin-Mérat Associate Producer Lacey Upton Manager of Community Programs Patrons who leave the theatre during the perfor- Magda Romanska Dramaturg Brendan Buckley Resident Teaching Artist mance may not be seated again until intermission. Heather Gallagher Resident Teaching Artist FINANCE AND ADMINISTRATION The use of cameras or recording devices in the theatre is strictly prohibited. Karen Frost Director of Finance and Andrew J. Moreau Analytics and Project Manager Administration Robin Schweikart Database Administrator In consideration of Boston Lyric Opera patrons, Kristin Dwyer Executive Assistant to the Vanessa Wheeler Research and Database children under six will not be admitted. General & Artistic Director Coordinator David J. Cullen Accounting Manager Citi Performing Arts Center℠ Shubert Theatre is INTERNS Reingard Heller Finance Manager not entirely wheelchair-accessible. For patrons with Queenie Fang disabilities, wheelchair-accessible and companion Juan Rodriguez Office Associate Océanne Fry seating, as well as removable-arm chairs, are available Paige Revens in a variety of locations and prices on the Orchestra Michael Szeto level. There is no elevator in the Shubert Theatre; staircases are available for access to the Mezzanine and Balcony level seating areas. A wheelchair-acces- sible restroom and concession station are located off the main lobby. A wheelchair-accessible telephone is located in the box office lobby. The Shubert Theatre is equipped with an FM assistive listening device VOLUNTEER CORPS for patrons with hearing impairments; headsets are available free of charge at the Head Usher’s desk. A Sharon Barry Eva Karger Cosmo Papa pay-TTY device for deaf patrons is located in the box office lobby. Patrons requiring assistance should con- Lynn Bregman Milling Kinard Jane Papa tact Citi Performing Arts Center℠ in advance of their Jane Cammack Jo Anna Klein Barbara Papesch visit. Please call 617.482.9393 or (TTY) 617.482.5757. Stephen Chan Nicholas Kopp Elizabeth Sarafian Patrons who are deaf are encouraged to use the Ashley Chang Esther Lable Jutta Scott Massachusetts Relay Service at 800.439.2370 for Jeannie Ackerman Curhan Melissa Lanouette Alexandra Sherman purchasing tickets to BLO productions. Please direct Ann D’Angelo Nancy Lynn Barbara Trachtenberg inquiries and requests for ADA guidelines to: Access Karla De Greef Domenico Mastrototaro Jessica Tybursky Services Administrator, Citi Performing Arts Center℠, Jaclyn Dentino Terri Mazzulli Amy Walba 270 Tremont St., Boston, MA 02116. Marsha de Poo Diane McGary Gerry Weisenberg Mary DePoto Patti McGovern Debbie Wiess TICKET INFORMATION Frances Driscoll Anne McGuire Beverly Wiggins For information on Boston Lyric Opera produc- Marian Ead Amy Molloy Alfred Williams tions, subscriptions and tickets, visit blo.org, call Susan Eastman Meg Morton Joe Williams BLO Audience Services at 617.542.6772, or visit Hugh Fitzgerald Katherine Nash Lynn Williams the Shubert Theatre box office, open Tuesday Audley Fuller Kameel Nasr Sybil Williams through Saturday, noon to 6:00 p.m., also avail- Ralph Gioncardi Gail Neff able by telephone at 866.348.9738 or (TTY) 888.889.8587. Mencken Graham Amy O’Connell Bruce Houston Meghan O’Connor CROSSING A NEW AMERICAN OPERA MAY 26–JUNE 6 SHUBERT THEATRE

IN THE MOOD A 1940S MUSICAL REVUE MAY 12–24 EMERSON COLONIAL THEATRE

ZOLTÁN MÁGA FROM BUDAPEST WITH LOVE OCTOBER 26 SHUBERT THEATRE

ELF THE BROADWAY MUSICAL NOVEMBER 17–DECEMBER 6 WANG THEATRE RUDOLPH THE RED- NOSED REINDEER THE MUSICAL DECEMBER 1–6 SHUBERT THEATRE ONCE DECEMBER 8–27 SHUBERT THEATRE

LOVE LETTERS STARRING ALI MACGRAW AND RYAN O’NEAL

From the creative mind of artistic producer FEBRUARY 2–7 DEKE SHARON ( Pitch Perfect, The Sing-Off ) comes the all-new live concert event that takes SHUBERT THEATRE a cappella to a whole new level! VOCALOSITY THE ACA-PERFECT EMERGENCY EXIT CONCERT EXPERIENCE LOCATIONS FEBRUARY 16 SHUBERT THEATRE For your own safety, please take a moment to view the emergency exit locations on CAN’T DECIDE? each floor. CITI CENTER GIFT CARDS ARE THE Orchestra Wang Theatre • Shubert Theatre • Emerson Colonial Theatre Your gift card. Your choice. PERFECT GIFT FOR ANY OCCASITON

BUY TICKETS AT CITICENTER.ORG WANG & EMERSON COLONIAL: 800.982.2787 / SHUBERT: 866.348.9738 CITI CENTER BOX OFFICE: 270 TREMONT STREET, BOSTON GROUPS OF 10 OR MORE SAVE! CALL 617.532.1116 TO BOOK AN OUTING 16 | Boston lyric opera DON GIOVANNI 2015 Mezzanine Balcony

JOELETTERJERSEYBOYD.indd 1 2/22/2013 8:53:13 AM

JOELETTERJERSEYBOYD.indd 1 2/22/2013 8:53:13 AM You need talent to be good. And passion to be great.

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Boston lyricCiti oPerformingpera ArtsDON Center GIOVANNI is a 501(c) (3) institution. 2015 | 17 Individual donors

We are honored to recognize our donors who generously support the mission of Boston Lyric Opera to build curiosity, enthusiasm, and support for opera by creating musically and theatrically compelling productions, events, and educational resources for our community and beyond. We are deeply grateful for the following contributions made to Boston Lyric Opera between April 1, 2014 and April 1, 2015.

Crescendo ($100,000 and above) Dr. Joseph and Mrs. Anita Loscalzo*† Anonymous (2) Dr. Maura McGrane Jane and Steven Akin*† Esther Nelson and Bernd Ulken Barr Foundation Mr. and Mrs. George Sakellaris Linda Cabot Black*†§ Susan A. Babson Opera Fund for Emerging Artists Willa and Taylor Bodman*† Miguel and Suki de Bragança*† Adagio ($5,000 to $9,999) The Calderwood Charitable Foundation Anonymous (5) Jody and Tom Gill*† The Orfeo Society and Friends of BLO make up Advanced Lighting & Production Services, Inc. Horace H. Irvine II*†§ BLO’s core community of supporters. Members Ann and Gordon Getty Foundation The Klarman Family Foundation share a passion for opera and receive exclusive Bank of New York - Mellon Mr. and Mrs. Jeffrey Marshall*† access to a range of benefits that enrich the Be Our Guest Ms. Abigail Mason*†§ operatic experience. BLO gratefully acknowledges Dr. Peggy and Edward Bell* Paul and Sandra Montrone Bessie Pappas Charitable Foundation, Inc. their generous support. Mr. and Mrs. E. Lee Perry*† Ms. Deb Taylor Blair* David and Marie Louise Scudder*†§ This list includes gifts and pledges made to Mrs. Edmund Cabot Wendy Shattuck and Samuel Plimpton* the Annual Fund, restricted funds, and event Judge and Mrs. Levin H. Campbell Wallace Minot Leonard Foundation sponsorships through April 1, 2015. Citi Performing Arts CenterSM Mr. and Mrs. Ray Stata*† Ms. Elizabeth Coleman Lynn Dale and Frank Wisneski* For more information or to become a member Mr. David Cole-Rous and Ms. Norma Greenberg§ of the Orfeo Society or Friends of BLO, please Corning Incorporated Foundation Fioritura ($66,666 to $99,999) call Sarah Blume at 617.542.4912 x228. Dr. and Mrs. Richard J. de Asla* Fay Chandler†‡ Mr. Edwin Firestone Wayne Davis and Ann Merrifield*† Firestone and Parson Jewelers Alan and Lisa Dynner*†§ Con Brio ($15,000 to $24,999) William C. and Joyce K. Fletcher Mattina R. Proctor Foundation BPS Arts Expansion Fund at EdVestors Mr. and Mrs. Don and Pat Hillman Susan and Dennis Shapiro* Dr. and Mrs. Eric and Elaine Bucher† Mr. and Mrs. Charles Hood Mr. and Mrs. John Cabot Amy Hunter and Steven Maguire*§ Vivace ($33,333 to $66,665) Mr. and Mrs. Timothy and Jessica Donohue* Mr. William Hunter* Anonymous Harold Alfond Foundation, in honor of Steve Akin Ms. Louise Johnson* Ms. Ann Beha and Mr. Robert A. Radloff*† Ms. Christine Letts Tom and Anneliese Henderson* Nonnie and Rick Burnes*§ Andrew Sherman and Russ Lopez* Ms. Amelia Katzen*† Gerard and Sherryl Cohen Ms. M. Lynne Markus*§ MEDITECH Mr. John Conklin Judith K. Marquis and Keith F. Nelson Anne M. Morgan Alicia Cooney*†§ Mr. and Mrs. Tom and Elena Matlack Mr. and Mrs. Richard Olney III† Robert and Susan Eastman*†§ Ms. Faith Moore Janet and Irv Plotkin*† Susan W. Jacobs* Ms. Sandra Moose John and Susanne Potts*† Maria Krokidas and Bruce Bullen*† Mary and Sherif Nada†§ Rona and Arthur Rosenbaum Pamela S. Kunkemueller*§ Shari and Christopher Noe* Allison K. Ryder and David B. Jones*† Massachusetts Cultural Council Mr. and Mrs. John O'Brien Gregory E. Moore and Wynne W. Szeto* National Endowment for the Arts Dr. Kurt D. Gress and Mr. Samuel Y. Parkinson* Mr. and Mrs. Wat Tyler* Mr. and Mrs. Neil Pappalardo* William and Lia Poorvu William and Helen Pounds* Sandra A. Urie and Frank F. Herron* Robert and Elizabeth Pozen Mr. and Mrs. Michael Puzo*† Suzanne and Peter Read Springstep Inc. Allegro ($10,000 to $14,999) Mr. and Mrs. John Remondi Dr. Christopher Tadgell and Lady Juliet Tadgell* Anonymous Rusty Rolland & The Schick Foundation† Faith and Joseph W. Tiberio Foundation Sam and Nancy Altschuler Santander Boston Private Bank & Trust Company Mr. Jonathan F. Saxton* Presto ($25,000 to $33,332) Ms. Ellen Cabot* John H. Deknatel and Carol M. Taylor Anonymous Mr. and Mrs. Thomas D. Cabot, Jr. Dr. Robert Walsh and Lydia Kenton Walsh* Dorothy and David Arnold§ Cabot Family Charitable Trust Peter Wender*§ Timothy and Rebecca Blodgett The Catered Affair Drs. Bertram and Laima Zarins* Mr. and Mrs. Thomas Blumenthal Dr. Charles Dickinson and Ms. JoAnne Dickinson* Katie and Paul Buttenwieser Mr. Len Davenport Grazioso ($3,000 to $4,999) Ted Cutler Esther B. Kahn Charitable Foundation Anonymous Karen Johansen and Gardner Hendrie Frank Reed & Margaret Jane Peters Memorial Fund I, Mr. Frederic Alper and Donna Mager Mimi and Roger Hewlett*§ bank of America, N.A., Trustee Charles and Christina Bascom Mr. and Mrs. Amos B. Hostetter, Jr. Mr. Kenneth Freed* Mr. Martin S. Berman Cerise Lim Jacobs, for Charles Catherine and Frederick Grein*§ Annabelle and Benjamin Bierbaum Ellen and Robert Kaplan*†§ Nick and Marjorie Greville Carolyn Bitetti and Chris Donnelly Butler and Lois Lampson* Emily C. Hood Ronald and Ellen Brown Mr. David Shukis*† Mr. and Mrs. William T. Kennedy Mr. and Mrs. Lewis Cabot Larry and Beverly St. Clair*† Stephen and Lois Kunian* Ms. Jane Carr and Mr. Andrew Hertig Ms. Tania Zouikin* Karen Levy Mr. and Mrs. Linzee Coolidge Joe and Pam LoDato*†§ Dr. Nicholas J. DiMauro 18 | Boston lyric opera DON GIOVANNI 2015 Ms. Winifred F. Ewing Dr. Peter Campisano Ms. Sally T. Brewster Mr. Wheeler Thackston Mr. and Mrs. Ron Feinstein Harold Carroll Pam and Lee Bromberg Mr. and Mrs. Ian Tjornhom Mr. and Mrs. Tim and Lisa Fulham Chris and Lynne Chiodo Mr. Thomas Burger Michael and Helen Tomich Dr. Alfred Goldberg and Rachel and Thomas Claflin John and Kathleen Cabot Mr. Nicholas Tranquillo Dr. Joan Goldberg Mr. John Cornish Timothy and Sara Cabot UBS Financial Services, Inc. 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Goldsmith and Melissa Boshco Mr. John Barstow and Ms. Eugenia Ware Mr. Mark Alcaide Simon Rosenthal and Nouri Newman Mr. Eric Green Michael Barza and Judith Robinson Elizabeth Barker* Dr. and Mrs. Stefan Schatzki Ms. Sandra Steele and Mr. Paul Greenfield Mr. and Mrs. Hugh Bennett Mr. and Mrs. Douglas Benjamin Mr. Robert and Ms. Natalie Schlundt Ms. Ghislaine Grenier Drs. Susan E. Bennett and Gerald B. Pier Leonard and Jane Bernstein Drs. John and Elizabeth Serrage Ms. Joan P. Gulovsen Eric and Trimble Augur Bluman Ms. Sarah Biller Sayre Sheldon and Eldridge Morgan Mr. Kurt Hakansson Dorothy and Hale Bradt Ms. Sophie Cabot Black Gess Donor Fund Mr. and Mrs. James J. Harper Veronika and Bert Breer Ms. Joan Bok Mr. Chip Storey Ms. Sue Harrington John and Irene Briedis Mr. and Mrs. Kenyon C. Bolton III Mr. Andrew Szentgyorgyi Dr. and Mrs. Peyton R. Harris Boston lyric opera DON GIOVANNI 2015 | 19 Mr. Harvey Hayashi Diane C. Tillotson Institutional partners Ms. Jasjit Heckathorn Mr. Konstantin Tyurin and Ms. Kirstin Ilse Dr. and Mrs. Bernhard Heersink Eric Ulken Boston Lyric Opera’s programs are funded, in part, by a grant from the Mr. and Mrs. John Henn Mr. Anton Vrame Massachusetts Cultural Council, a state agency. Richard Hermon-Taylor and Southie Bundy Mr. Joe Weber Pauline Ho Bynum Linda and Harvey Weiner Fred and Caroline Hoppin Ms. Ruth Wells Mr. Thomas Hotaling The Whitley-Singer Family, in memory Ms. Maisie Houghton of Kevin Gustavson Ms. Janet Isenberg Ms. Ashley Wisneski and William Heward Dr. and Mrs. Steven E. 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McCloy Lyric Circle Member † Mary and Michael McConnell Goldovsky Society Member § Mr. and Mrs. Kilmer McCully Deceased ‡ Ms. Carol McKeen and Mr. John Dunton Mr. and Mrs. Don McLagan Kate Meany Ms. Karen Metcalf Dr. and Mrs. Douglas Moore Toni and Jeff Musser Mr. Kameel Nasr Mr. and Mrs. Geoffrey Nunes Mr. Justin O'Connell and Ms. Danielle Sheer Ms. Suzanne Ogden and Mr. Peter Rogers Mr. Richard Ortner Mr. and Mrs. David Parker David and Beth Pendery Ms. Anne Peretz Mr. and Mrs. Jonathan and Lois Pond Gerald Powers Ms. Florence Poy David and Joan Preston Mr. Jack Reynolds Mr. Evan Ricker and Ms. Mara Bonde Mr. Allan Rodgers Donald and Nancy Rosenfield Mark and Lori Roux David and Jocelyn Sand Aviva Sapers and Judith Sydney Ms. Diane Savarese Michael Schwartz, in honor of Amelia Katzen Mr. and Mrs. John Sculley Mr. Javier Segovia Stephen and Peg Senturia Varda and Dr. Israel Shaked Robert V. Sillars and Mildred G. Worthington Mr. Richard W. Smith Mr. Paul Snider Diane Young-Spitzer and Adelbert Spitzer Mr. Harold Stahler Ms. Joan Suit Marcos and Faith Szydlo John and Mary Tarvin Abigail Ostow and Arthur Telegen A SEASON OPENING CELEBRATION Friday, October 2, 2015

Save the Date! Join BLO as we launch our Season of high Boston Lyric Opera recognizes passion with the premiere of an electrifying new production of with gratitude those donors Puccini’s poetic masterpiece, La Bohème, reimagined against the committed to supporting our backdrop of the 1968 Paris student revolution. Inspired by the films of Emerging Artists throughout the French New Wave, particularly those of Jean-Luc Godard, this the Season. theatrically and musically-vivid new production transforms Puccini’s classic characters from bohemians to “The Children of Marx and Willa and Taylor Bodman Coca Cola,” and transports them to an adrenaline-driven Paris, Robert and Susan Eastman fueled by sexual liberation, intense passion, and burning idealism. Rona and Arthur Rosenbaum The performance is preceded by a grand, pre-opera dinner celebration at the Citi Performing Arts CenterSM Wang Theatre and followed by a sparkling after-party with the cast.

The Opera Gala supports Boston Lyric Opera and its work with Emerging Artists.

For additional details visit blo.org/gala or facebook.com/bostonlyricopera or contact Danielle Schmidt, Events Manager, at 617.542.4912 x229 or [email protected] Season ad to come