The Pearl Fishers by Georges Bizet

Opera in Williamsburg presents:

September 4, 6, and 8, 2019 Kimball Theatre, Williamsburg, Virginia

Opera in Williamsburg Naama Zahavi-Ely Founder and Artistic Director Jorge Parodi, Music 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, with a special focus on younger audiences and school-age students. Opera in Williamsburg, Inc is a nonprofit tax-exempt organization with 501(c)3 letter of recognition from the IRS (EIN 47-5511655). 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 our advisory board chair Oliver Portmann at 757-903-1140 or by email at [email protected].

Opera in Williamsburg is supported in part by generous grants of the Williamsburg Area Arts Commission (WAAC), the York County Arts Commission (YCAC), 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! Puccini’s La Boheme

Friday May 8 at 8 PM Sunday May 10 at 2 PM Wednesday May 13 at 7 PM NEW>>> Friday May 15 at 2 PM

Conductor: Jorge Parodi

Our heartfelt thanks to Opera in Williamsburg Advisory Board

Oliver Portmann (chair)

Susan Baime Clyde Haulman Jayne Barnard Linda Kligman-Try Catherine Barron Robert Landon Gulay Berryman Paul Maramaldi Dot Bryant Brenda Mitchell Michael Bryant Jorge Parodi Carolyn Campbell Linda Collins Reilly Branch Fields Thomas Taormina Ivana Genov Naama Zahavi-Ely

Les pêcheurs de perles by Georges Bizet

Libretto: Eugène Cormon and Michel Carré World premiere: Paris, Théâtre Lyrique, 1863 September 4, 6, and 8, 2019 at the Kimball Theatre, Williamsburg, Virginia Conductor: Jorge Parodi Stage director: Eve Summer Orchestra reduction by Kenneth Roberts Cast in order of appearance Zurga, a leader of the pearl fishers, ...... Luis Alejandro Orozco, Baritone Nadir, a hunter ...... Robert McPherson, Tenor Leïla, a priestess ...... Heather Buck, Soprano Nourabad, a priest ...... Eric Lindsey, Bass-Baritone Ensemble Soprano ...... Jenny Lindsey, Laura Leon, Kinneret Ely Ensemble Mezzo-Soprano ...... Kirsten Scott, Agueda Fernandez-Abad Ensemble Tenor ...... Pavel Suliandziga, Patrick Shelton Ensemble Baritone ...... Suchan Kim, Jesus Vicente Murillo Assistant Conductor ...... Alexandra Naumenko Costumes Design ...... Eric Lamp Wardrobe Associate ...... Mary-Jo Damon O’Shaughnessy Supertitles adaptation and projected backgrounds ...... Naama Zahavi-Ely Production / Stage Manager ...... Deborah Jo Knopik-Barrett Assistant Director/Assistant Stage Managers ...... Hailli Risdale Producer ...... Naama Zahavi-Ely

Many thanks to Patricia Wesp and the costume collection of the College of William & Mary for their invaluable assistance in this production.

LES PÊCHEURS DE PERLES (THE PEARL FISHERS) — SYNOPSIS

In a camp of pearl fishers, the men elect Zurga as their chief. Nadir, an old friend of his, shows up. Zurga and Nadir remember their eventful visit to the great temple when both men fell in love with a beautiful priestess. Knowing this woman might come between them, they renounced her and pledged their eter- nal friendship. A canoe arrives carrying a veiled young woman whose ritual songs will protect the pearl fishers from danger. Her name is Leila, and she is accompanied by the old priest Nourabad. Leila makes her oath of chastity. Zurga promises her the most beautiful pearl if she keeps her oath— and death if she does not. When Leila begins to sing, Nadir recognizes her — she's the woman he and Zurga both fell in love with years ago. Leila also recognizes Nadir. At the shrine, when the ritual songs are over, Nourabad tells Leila she can get some rest. She tells a story from her childhood: she risked her life to save a fugitive, who gave her a precious necklace in gratitude. She has worn the necklace ever since. When Nourabad leaves, Leila senses that Nadir is nearby. When he approaches her, she tries to turn him away, but eventually she gives in. Nourabad returns and finds the lovers together, and calls for the villagers to seize them. The guilty pair are forced to appear before Zurga to receive their punishment. His first inclination is to let them go. But when Nourabad tears the veil from Leila's face, and Zurga recognizes her, he is enraged and condemns both lovers to death. Later that night Zurga has gotten over his jealous anger, and now regrets the death sentence he handed down. Leila enters and pleads for Nadir's life. Her plea infuriates Zurga. He tells Leila that he, too, has always loved her, and her love to Nadir condemns him. Leila removes her precious necklace and hands it to one of the guards to give to her mother. As dawn approaches, people gather at the holy temple to prepare for the execu- tions. But someone sees a strange light, and the people realize that their camp is on fire. As everyone rushes off to save their homes, Zurga releases the two lovers. It was Zurga who set the fire, as a distraction. He has recognized Leila's necklace, and knows that he was the fugitive she rescued years ago. He forgives Nadir and Leila, and helps them escape. The villagers return and punish Zurga for his ac- tions. As the opera ends, the lovers are heard singing in the distance, while Zur- ga bids them farewell with his last breath.

PEARL FISHING — A LIFE OF DANGER

Before the beginning of the 20th century, the only means of obtaining pearls was by manually gathering very large numbers of pearl oysters or mussels from the ocean floor or lake or river bottom. The bivalves were then brought to the surface, opened, and the tissues searched. A large quantity had to be searched in order to find any pearls, and the resulting harvest varied sharply from year to year. The natural pearls found from harvested oysters were a rare bonus for the divers. Many fabulous speci- mens were found over the years. In Asia, some pearl oysters could be found on shoals at a depth of 5–7 feet (1.325–2 meters) from the surface, but more often divers had to go 40 feet deep to find enough pearl oysters, and these deep dives were extremely hazardous to the divers, particular- ly in rapidly-moving tidal water. In the 19th century, divers in Asia had only very basic forms of technology to aid their survival at such depths. For example, in some areas they greased their bodies to conserve heat, put greased cotton in their ears, wore a tortoise-shell clip to close their nostrils, gripped a large object like a rock to descend without the wasteful effort of swimming down, and had a wide-mouthed basket or net to hold the oysters. For thousands of years, most seawater pearls were retrieved by

divers working in the Indian Ocean. Adapted from Wikipedia, Pearl hunting (last visited Aug. 28, 2019).

JORGE PARODI (MUSIC DIRECTOR)

Internationally acclaimed conductor Jorge Parodi has worked extensively in North America, Latin America, Europe, and Asia. Recent credits include Rossini’s Il barbiere di Siviglia and Mozart’s Le nozze di Figaro for Opera Tampa; Piaz- zolla’s María de Buenos Aires for New York City Opera, The Atlanta Opera and Opera Grand Rap- ids; Donizetti’s Lucrezia Borgia and Bellini’s I Cap- uleti e i Montecchi for Buenos Aires Lírica (Argentina); Britten’s The Turn of the Screw for the Castleton Festival in Virginia and The Banff Centre (Canada); Offenbach’s Les contes d’Hoff- mann for Opera Orlando; Ravel’s L’enfant et les sortilèges for The Juilliard School at Lincoln Center; and the World Premiere of Rhoda and the Fossil Hunt, the latest opera by John Musto – a coproduction of On Site Opera, Lyric Opera of Chicago Lyric’s Unlimited and Pittsburg Opera.

Reviewed as having “the most expressive conducting hands since Stokowski” by the New York Daily News, Argentinean born Jorge Parodi has also worked with such companies as the Teatro Colón in Argentina, the Volgograd Opera in Russia, the Encuentros Internacionales de Opera in Mexico, the Tokyo Interna- tional Vocal Arts Academy in Japan, and the International Vocal Arts Institute in Israel. He has collaborated with such artists as Isabel Leonard, Eglise Gutierrez, Tito Capobianco, Sherrill Milnes, Aprile Millo, and Rufus Wainwright, and has assisted conductors Lorin Maazel and Julius Rudel, among others.

Maestro Parodi is the Music Director of Opera in Williamsburg, where he has conducted Rigoletto, Il trovatore, L’elisir d’amore, Lucia di Lammermoor, La cenerentola, Die Zauberflöte, and Le nozze di Figaro. He is also the Music Di- rector of the Senior Opera Theatre at the Manhattan School of Music, where he has led its productions to critical acclaim, including Schubert’s Die Versch- worenen, praised by the New York Times as being “superbly performed,” and the American premieres of Le Roi l’a dit by Délibes and Nina by Paisiello. A featured interview by editor-in chief F. Paul Driscoll with Maestro Parodi about his work with MSM Senior Opera Theater appeared in the March 2018 edition of Opera News.

Other highlights of the 2018-2019 season include Maria de Buenos Aires (New York City Opera), Les Contes d’Hoffmann (Opera Orlando), Wagner Gala (Tokyo

Kioi Hall), Lady Swanwhite (Anton Coppola, World Première, Opera Tam- pa), Les Pêcheurs de Perles (Opera Tampa), Maria de Buenos Aires (The At- lanta Opera), Albert Herring (Manhattan School of Music), ¡Figaro! (90210) (Chautauqua Opera), and Pagliacci/The Birthday Clown (Michael Ching, World Première, Savannah Opera).

EVE SUMMER (STAGE DIRECTOR) Hailed “a rising star [whose] approach to directing refreshes hope for the future of opera,” Eve Summer is a director and choreographer who has been described as having “a gift for translating classic symbolism into familiar detail with just enough flippancy to bring out the fun of the opera without skew- ing the emotional equation." This season Ms. Summer also directs Albert Herring at Curtis Opera Theatre, The Mikado at Opera Grand Rapids, The Flood at Boston University Opera Institute, a world premiere Let’s Make a Sandwich: an experiment in opera production at Guerilla Opera, and The Pirates of Penzance at Opera Saratoga. Selected recent directing credits include Trouble in Tahiti at the Glimmerglass Festival, The Little Prince at Tulsa Opera, The Pearl Fishers at Opera Tampa, The Tales of Hoffmann at Opera Orlando, Xerxes at Connecticut Early Music Festival, Aida and Lucia di Lammermoor at Boheme Opera New Jersey, The Magic Flute at Opera in Williamsburg, Così fan tutte at Connecticut Lyric Opera, the world premiere of Larry Bell’s opera Holy Ghosts at the Berklee Performance Center, and Suor Angelica at the Boston Symphony Orchestra. A former professional ballet dancer and choreographer, Ms. Summer’s choreography credits include a commission to choreograph a new ballet, Jeanne’s Fantasy, by composer Mark Warhol for the premiere with Contrapose Dance and Fort Point Theatre Channel, Elektra at Des Moines Metro Opera, Falstaff at Opera Colorado, and Don Giovanni for Boston Opera Collaborative.

HEATHER BUCK (LEÏLA)

Soprano Heather Buck’s operatic adventures range widely, from creating such roles as Alma in Wuo- rinen’s Brokeback Mountain at Ma- drid’s Teatro Real, Ku in Prestini’s Gilgamesh, and Haroun in Wuourinen’s Haroun and the Sea of Stories; to singing U.S. stage premiers of Lachenmann’s Little Matchgirl, Rihm’s Proserpina (title role), and Dusapin’s Faustus, the Last Night (Angel); to enjoying standard repertoire such as Glass’s Or- phée (Princesse), L’Elisir d’Amore (Anina), Barbiere di Siviglia (Rosina), Pearl Fishers (Leïla), Magic Flute (Queen of the Night), A Midsummer Night’s Dream (Tytania), and La Bohème (Musetta). She appeared as the Marquise de Merteuil in Francesconi’s Quartett, Joan of Arc in Dello Joio’s Trial at Rouen, the title role in Argento’s Miss Havisham’s Wed- ding Night, and the Maid in Adès’ Powder Her Face, which she performed in Boston, Aspen, Brooklyn, Metz, Bilbao, and London, and filmed for a televised performance. Heather appeared both at the Kennedy Center and Trinity Wall Street in Glass’ Symphony No. 5, Marinsky Theater in Tan Dun’s Water Pas- sion after St. Matthew, the Concertgebouw in Dusapin’s Faustus, the Last Night, Boston’s Symphony Hall in Handel’s Messiah, Ottawa’s Na- tional Arts Centre with the NAC Orchestra in Mozart’s Mass in C Minor, and Avery Fisher Hall and Carnegie Hall with the American Symphony Orchestra. Other concert performances include Bernstein’s Songfest (Trinity Time’s Arrow Festival), Salonen’s Five Images After Sappho (Utah Symphony Orchestra), Druckman’s Counterpoise (Los Angeles Symphony New Music Group), Orff’s Carmina Burana (San Antonio Symphony, North Carolina Symphony), and the U.S. premier of Saari- aho’s Leino Laulut (American Composers Orchestra).

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ROBERT McPHERSON (NADIR)

Hailed by the New York Times for his “robust voice, agility and confidence,” tenor Robert McPherson recently returned to the Israeli Opera for his first performance of Narraboth in Salome. Last season he was with the Metropolitan Opera as Basilio in Le Nozze di Figaro and stepped in as Idreno for its production of Semiramide. Additionally, McPherson’s performance as Andres in Alban Berg’s Wozzeck cul- minated in the Houston Symphony’s 2018 Grammy Award for Best Opera Recording in the classical category. Other recent performances include Nadir in Les Pêcheurs de Perles with English National Opera and Israeli Opera, and Leopold in La Juive with Opéra national du Rhin.

McPherson’s discography includes work as the Angel Gabriel and Shepard in Andrew T. Miller’s The Birth of Christ recorded on Sony BMG Masterworks as well as shown on Public Broadcasting Service and reprised in Rome at the Vati- can’s invitation. On Hampton Roads Music, McPherson sang the tenor solo in Berlioz’s Requiem with the Virginia Symphony Orchestra, of which Gramo- phone said, “[he] sings the challenging tenor lines… with tender urgency.” His Rossini recordings and videos include Idreno in Semiramide, Iago in Otello, Gernando/Ubaldo in Armida on Dynamic, and Arbace in Ciro in Babilonia on Opus Arte.

A Seattle native, McPherson wrote and produced The Drunken Tenor, a comic show that debuted at special request of Seattle Opera BRAVO! After multiple performances with the Seattle Fringe Festival, he won Best of Fringe. The show has also appeared at Seattle’s annual Bumbershoot Festival, Café Nordo’s Knife Room, and other popular venues throughout the Northwest.

LUIS ALEJANDRO OROZCO (ZURGA)

An El Paso Texas/Juarez Mexico, native, baritone Luis Alejandro Orozco has been praised for his “voluminous baritone and beautiful legato.” During the summer of 2019 Luis appeared as Harlekin in Ariadne auf Naxos with Cincinnati Opera. His 2019- 2020 season also includes Sharpless in Madama Butterflywith Opera Santa Barba- ra, Silvio in I Pagliacci with Opera Roa- noke, Escamillo in La tragédie de Carmen 14 with Florentine Opera, and the baritone soloist in Orff’s Carmina Burana with Wichita Symphony Orchestra.

Luis began the 2018-2019 season with Mill City Summer Opera as Escamillo in Carmen, Payador in Maria de Buenos Aires with Arizona Opera, and Mar- cello in La bohème with Opera Santa Barbara and Anchorage Opera. Previ- ous season highlights have included Riolobo in Florencia en el Amazonas with San Diego Opera and Arizona Opera, Hannah before in As One with New Orleans Opera and Urban Arias, Figaro in Il barbiere di Siviglia with Florentine Opera, Escamillo in Carmen with Michigan Opera Theater and Des Moines Metro Opera, Mercutio inRoméo et Juliettewith Austin Lyric Opera and Baltimore Lyric Opera, Belcore in L’elisir d’amore and Taddeo in L’Italiana in Algeri with Opera Santa Barbara, and Marcello in La bohéme with Kentucky Opera.

J. ERIC LINDSEY (NOURABAD)

Celebrated by Opera News for his "fat, resonant bass" and proclaimed as "a singer to watch" by The Virginia Gazette, bass-baritone Eric Lindsey has sung under the direction of conductors Victor DeRenzi, Marcello Cormio, Brent McMunn, Dr. Raymond Har- vey, Ward Holmquist, Pacien Mazzagatti, Chris Fec- teau, and Jorge Parodi. He recently collaborated with composers Jeffrey Leiser and Andres Soto for a semi- premiere of Far Travellers, an opera about Viking settlers. He debuted the title role in Don Giovanni for Opera dell’Arte in August 2018 and sang King Marke in a concert version of Tristan und Isolde in November for NY Opera Collaborative. He recently made his Spoleto Festival debut as the 5th Jew in Salome. Mr. Lindsey also recently premiered the role of King Hjalmar in Opera dell’Arte Ensemble’s world premiere production of Princess Maleine.

Other recent roles include Sacristan in Tosca, Calchas in La Belle Hellene, and the Bonze in Madama Butterfly with Opera North; Basilio in Il Barbiere di Siviglia and Figaro in Le Nozze di Figaro for Opera in Williamsburg; Benoit and Alcindoro in La Bohème for Shreveport Opera; and Don Alfosno in Così fan tutte with Sarasota Opera. He’s also filled in for the illustrious Samuel Ramey as Rucker Lattimore in Wichita State University’s production of Car- lisle Floyd’s Cold Sassy Tree. His vocal training has come under the tutelage of Barbara Zellner, Dr. Edwin “Sandy” Calloway, Jana Young, Joseph Evans, and Andrea DelGiudice. 15

LAURA LEÓN (ENSEMBLE SOPRANO, LEÏLA COVER) Cuban soprano Laura León is quickly becoming a rising star on the operatic stages with a voice that “sparkles, seduces and languishes.” Last season Laura made her debut as Queen of the Night in Die Zauberflöte with Orchestra Miami under the baton of Elaine Rinaldi as well as a Florida Grand Opera debut as Frasquita in Carmen and Mother of Peasant in Before Night Falls. This season Laura performs the role of Four Heroines in Les contes d‘Hoffmann with Opera Orlando, Norina in Don Pasquale with Gulf Shore Opera, Queen of the Night in Die Zauberflöte with Opera in Wil- liamsburg, Calavera 1 in Frida with Florida Grand Opera, and Susanna in ¡Figaro! (90210) with Chautauqua Opera. Laura is a 2019 second-place winner of the Deborah Voigh Competition Rising Stars, a 2018 and 2019 Jensen Foundation finalist, a 2018 winner of the Metropolitan Opera National Coun- cil competition for the district of Florida, a second-place consecutively 2018 and 2019 winner in the St. Petersburg Opera Competition, and took first place in the NSAL 2018 Florida District Competition. León is also a first-place winner of the Pili de la Rosa Award of the Zarzuela de las Americas Competi- tion in 2015.

JENNY LINDSEY (ENSEMBLE SOPRANO) Hailed by The New York Times for her "bright-hued soprano and apt comic timing," Jenny Lindsey is sought after in houses throughout the country. With repertoire ranging from Mozart to Verdi to Strauss operetta, her singing has been described by critics as "the vocal highlight of the evening" (The Classical Review), "impressive" (Ticket Sarasota), and "aptly radiant" (The South Florida Classical Review).

In a prolific career spanning from concert work to opera, she has sung under the batons of Victor DeRenzi (Sarasota Opera), Riccardo Muti (Chicago Symphony Chorus), Bernard Haitink (Chicago Sym- phony Chorus), Christopher Fecteau (dell'Arte Opera Ensemble), Keith Chambers (Opera New Jersey), Christine Flasch (Music By the Lake), and Alessandro Sicilliani (Columbus Symphony). Though her main pursuits lie in opera solo performance, she shares Grammy honors from her early singing days with the Chicago Symphony and Chicago Symphony Chorus for

16 their 2011 recording of Verdi's Requiem, conducted by Riccardo Muti. In 2018, Jenny debuted Donna Anna in dell'Arte Opera Ensemble's production of Don Giovanni, completing her debut cycle of Mozart's three DaPonte heroines (she debuted La Contessa in Le nozze di Figaro in 2015 and Fiordiligi in Così fan tutte in 2016). Other favorite roles include Rosalinda (Die Fledermaus), Pami- na (Die Zauberflöte), Leïla (Les Pêcheurs de Perles), Élisabeth de Valois (Don Carlos), and Magda (La Rondine).

When she is not traveling the country singing opera, Jenny makes her home in Manhattan with her husband, Bass-Baritone Eric Lindsey. There they happily cook for and feed large groups of NYC-transplant opera singers and Bohemians of all types.

KINNERET ELY (ENSEMBLE SOPRANO)

Soprano Kinneret Ely will cover the roles of Anna in Catalani’s Loreley and the Fata Az- zurra in Respighi’s La Bella Dormente nel Bosco in Teatro Grattacielo’s 25th Anniversary Concert in September 2019. She sang Vio- letta in La Traviata in July 2018 at the Jerusa- lem International Opera Masterclass and at their gala concert under Maestro Tiberiu Soare. She competed in the Bolshoi Young Artists Opera Program Auditions in 2019 and the Montserrat Caballé Interna- tional Competition in Zaragoza in 2014. She sang Rosina in Il Barbiere di Siv- iglia with Opera NOVA in 2015. Her concert at the Felicja Blumental Music Center in Tel Aviv, with pianist Dan Deutsch and flutist Anna Kondrashina, was broadcast on Kol HaMusica in November 2015. In 2016 she performed Rami Bar-Niv's songs with the composer at the piano. She sang the role of Gilda in Rigoletto and Madame Cortese in Il Viaggio a Reims, both at the Con- servatory of Music of Brooklyn College. She studied Italian at the Società Dante Alighieri in Siena, French at the Alliance Française in Paris, German at the Goethe Institut in Berlin, and Russian at the Derzhavin Institute in St. Pe- tersburg. She participated in the Martina Arroyo Foundation's Role Prepara- tion program; the International Vocal Arts Institutes in Tel Aviv, Israel, and Montréal, Canada; and Si Parla, Si Canta in Urbania, Italy. She graduated cum laude from the interdisciplinary Thomas Hunter Honors Program at Hunter College. Born in New Haven, Connecticut, Kinneret was raised in Williams- burg, Virginia, and Jerusalem, Israel.

KIRSTEN SCOTT (ENSEMBLE MEZZO) Kirsten Scott has been described as a “creamy toned mezzo-soprano with charm to burn.” She has sung throughout the U.S. as well as abroad. After earning a BA at Wellesley College in Mas- sachusetts followed by a Master of Music from Mannes College in New York City, she was a district winner of the Metropolitan Opera Eastern Region National Council Auditions in New York City. She was selected by Florida Grand Opera for its young artist program and by Portland Opera for its Resident Artist Program. She made her professional debut with Florida Grand Opera as Vera Boronel in Menotti’s The Consul. She made her Opera in Williamsburg debut in La Traviata as Flora and her Carnegie Hall debut in the iconic Stern Hall as a soloist with Choirs of America last season. She has performed other roles such as Rosina in Il Barbiere di Siviglia, Cheru- bino in Le Nozze di Figaro, Nicklausse in Les contes d’Hoffmann, Zweite Dame in Die Zauberflöte, Zerlina in Don Giovanni, and Stephano in Romeo et Juliette, to name a few. She is thrilled to return to beautiful Williamsburg, Virginia, to perform in Bizet’s beautifulThe Pearl Fishers. Kirsten enjoys wearing many hats; she is a co-founder and the General Director of Bare Opera in New York City.

AGUEDA FERNÁNDEZ-ABAD (ENSEMBLE MEZZO) Argentinian mezzo-soprano Agueda Fernández-Abad has performed operas and oratorios with the leading orchestras of Argentina, United States and Europe. The recipient of numerous awards, she has worked with the Florida Grand Opera, offered recitals in Germany, Italy and Spain in venues such as the Palau de la Musica Va- lenciana, Radio Nacional de España, International Festi- val of Sacred Music, Chamber Opera Company of Mon- cloa, RTVE orchestra, and Orquesta del Mediterráneo. She also performed in several productions in the iconic Spanish style operetta known as zarzuela. In collaboration with the Emmy Award winner Clau- dia Montero, Argentinean composer Juan Solare and the composer’s platform Vox Novus, she performed a series of concerts dedicated to the Swiss/Argentinean poetess Alfosina Storni in Bremen, Germany, Valencia, Spain, and Manhattan, New York. Since her return to U.S., Ms. Fernández- Abad has participated in several concerts and opera productions with such as Opera in Williamsburg, Carnegie Hall, and Bard College’s Summerscape. She is a co-founder and member of the female acapella quartet Lady Parts. 19

PAVEL SULIANDZIGA (ENSEMBLE TENOR, NADIR COVER)

Tenor Pavel Suliandziga enjoys great acclaim de- spite his young age. A master’s graduate of the Russian Academy of Music in 2015, he has studied with Arthur Levy and just completed his professional studies diploma at the Mannes College of Music. He has been featured in lead operatic roles such as Lensky (Eugene Onegin), Tamino (The Magic Flute), Ferrando (Così fan tutte), Nemorino (L’elisir d’amore), and Peter Quint (The Turn of The Screw) and was the tenor soloist in the RAM Orchestra’s presentation of Beethoven’s Symphony No. 9. Suliandziga has performed in many renowned venues, including Carnegie Hall, The Great Hall of Moscow Conservatory, and Stanislavski and Nemirovich-Danchenko Moscow Academic Music Theatre. He has also participated in the Vianden Festival in Luxembourg, the IVAI summer program in New York, and the CVAI summer program in Montreal in 2016.

Suliandziga is the recipient of many musical competition awards. He was the first-place winner in 2013 and 2014 with AADGT in New York, performing in Carnegie Hall; third-prize winner in the Bella Voce competition in Moscow; third-prize winner in the Talents of the World International Competition; and a finalist in the Licia-Albenese competition and Giulio Gari competition. Re- cently, he was invited to judge the 41st Annual Great Lakes Regional Contest in Michigan, which was held by American Guild of Music.

PATRICK DEAN SHELTON (ENSEMBLE TENOR)

Tenor Patrick Dean Shelton is a recent graduate of the young artist program with Chicago Opera Theater. Re- cent engagements include Monostatos in Die Zauberflö- te with Opera in Williamsburg, and Basel in ¡Figaro! (90210) and Bégearss in The Ghosts of Versailles with Chautauqua Opera. In 2018 he sang the role of the Judge in Candide, appeared as Albert Herring in scenes of that opera, and was featured as a teaching artist and performer in the Chautauqua Family Entertainment and Community Engagement Program as Eddie Peniser in The Bremen Town Mu- sicians.

Patrick is an alumnus of the Music Academy of the West, the Song Continues at Carnegie Hall, Chautauqua Opera, SongFest, Brevard Music Center, Opera Theater of Pittsburgh, and The New England Conservatory. He was the recipient of the Jay Lessenger Award in 2018 from Chautauqua Opera. Other recent roles include Dr. Caius in Falstaff, Lola in a “gender-bent” production of Damn Yankees, Beadle in Sweeney Todd, Mayor Upfold in Albert Herring, Don Curzio in Le nozze di Figaro, and L’Aumonier in Dialogues of the Carmel- ites.

SUCHAN KIM (ENSEMBLE BARITONE, ZURGA COVER)

Baritone Suchan Kim, a native of Busan, South Korea, recently sang the role of Giorgio Ger- mont in New Rochelle Opera’s production of Verdi’s La Traviata. He has performed as a resident in San Francisco Opera’s Merola Opera Program as well as with The Metropolitan Opera Guild, Carnegie Hall, Mannes Opera, Dallas Opera’s The Hart Institute for Women Conductors, Sarasota Opera, Opera in Williamsburg, Bare Opera, New Ro- chelle Opera, New Amsterdam Opera, Opera Ithaca, Sinfonietta of Riverdale, Fairfield County Chorale, Lyric Chamber Music Society of New York, NYU IMPACT Conference, MidAmerica Productions, National Theater of Korea, and Seoul Arts Center.

His role credits include Don Giovanni in Mozart’s Don Giovanni, Count in Mozart’s Le Nozze di Figaro, Guglielmo in Mozart’s Così fan tutte, Papageno in Mozart’s Die Zauberflöte, Enrico in Donizetti’s Lucia di Lammermoor, Marcello/Schaunard in Puccini’s La Bohème, Ford in Verdi’s Falstaff, Silvio in Leoncavallo’s I Pagliacci, Barone Douphol in Verdi’s La Traviata, Tarquini- us in Britten’s The Rape of Lucretia, Dandini in Rossini’s La Cenerentola, Yamadori in Puccini’s Madama Butter- fly, Dancaïre in Bizet’s Carmen, Le Mar- quis de la Force/Jailer in Poulenc’s Dia- logues of the Carmelites, Salieri in Rim- sky-Korsakov’s Mozart and Salieri, and Simeon from Debussy’s L’Enfant Prodigue. He was an Eastern District Winner in the Metropolitan Opera Na- tional Council Auditions, and he received the Opera Award from Mannes Opera. Mr. Kim holds a Bachelor of Mu- sic from Korea National University of Arts and a Master of Music and a Pro- fessional Studies Diploma from Mannes College, The New School for Music.

JESUS VINCENTE MURILLO (BARITONE ENSEMBLE, NOURABAD COVER) Baritone Jesus Vicente Murillo is hon- ored to mark his first appearance in The Pearl Fishers in a performance with Opera in Williamsburg. Since making his debut with Michigan Opera Theater at the age of 18, Jesus has performed opera, musical theater, and art song across the U.S. and abroad. He recently completed a residency in Salt Lake City with Utah Opera, where he performed roles in Romeo & Juliette, The Little Prince, The Magic Flute, Candide, Moby Dick, Gianni Schicchi, The Elixir of Love, and Messiah. This past summer he performed Figaro in ¡Figaro! (90210) with Chautauqua Opera as well as covering Dr. Bartolo in Il Barbiere di Siv- igilia and Louis VIX/Pasha in The Ghosts of Versailles. Additionally, he has recently been seen in engagements with Michigan Opera Theater, Opera Louisiane, Charlottesville Opera, Salt Lake Choral Artists, Fargo-Moorhead Opera, Opera Saratoga, Seagle Music Colony, Arbor Opera Theaters, Thomp- son Street Opera, and Main Street Opera, among others. He received a Bach- elor of Music in Vocal Performance from the University of Michigan and a Master of Music in Opera and Voice Performance from McGill University in Montreal, Quebec.

ALEXANDRA NAUMENKO (ASSISTANT CONDUCTOR) Pianist Alexandra Naumenko is a highly sought-after artist and opera collaborator who enjoys an exciting career as a pianist and vocal coach. Widely acclaimed as a recitalist, she has performed in numerous recitals and concerts throughout the U.S., Europe, Russia, Isra- el, and Japan. She has served on the music staffs of the Bolshoi Thea- tre of Russia, Florida Grand Opera, and Palm Beach Opera; and has taught at festivals and summer programs that include the International Vocal Arts Institute, Miami Summer Mu- sic Festival, and Opera Naples Academy. From 2014 until 2017, Ms. Naumen- ko was a faculty member of the University of Miami Frost School of Music. As a 2013 Metropolitan Opera Lindemann Young Artist Development Pro-

24 gram graduate, Ms. Naumenko worked under the baton of Maestro James Levine and also accompanied for master classes and workshops led by artists such 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, Matthew Polenzani, John Fisher, and Stephen Wadsworth. 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. Ms. Naumenko's students have been finalists and winners of major vocal competitions, such as Metropolitan Opera National Finals, Belvedere Sing- ing Competition, and Queen Sonja International Music Competition; they have also been members of young artist programs, including Santa Fe, Mer- ola, Washington National Opera's Domingo-Cafritz Young Artist Program, and Chicago Lyric's Ryan Opera Center. Ms. Naumenko holds degrees from the Moscow Tchaikovsky Conservatory in Collaborative Piano and Piano Performance.

ERIC LAMP (COSTUME DESIGNER) Eric Lamp is thrilled to return to Opera in Williamsburg as Costume Designer for The Pearl Fishers, his work having been seen previously in Rigoletto, The Marriage of Figaro, Barber of Seville, Carmen, La Travi- ata, and The Magic Flute. In New York City his designs have graced the stages of Bronx Opera (Mikado), Vi- tal Opera (Four Hands of Bridge), Middle Church (Amahl and the Night Visitors), and, as Vice Presi- dent and Resident Designer of Utopia Opera, 22 productions including Musical Theater (Assassins, Passion), Operetta Iolanthe( , Prin- cess Ida, Patience, Grand Duke), and Opera (Cendrillon, L’enfant, Der Freischütz, Don Quichotte, Dido, Martha, Baby Doe) as well as the work of modern composers (Harriet Tubman, Some Light Emerges). Mr. Lamp also has a busy career as a tenor, having made his Opera in Williamsburg debut in Lucia di Lammermoor, with sub- sequent vocal appearances in Figaro, Barber, Carmen, and Traviata as well as Bronx Opera (Sir John in Love), the world tour of Glass/ Wilson’s Einstein on the Beach, his Broadway debut in La Cage aux Folles, and 11 operas with the Bard Summerscape Festival.

DEBORAH JO KNOPICK-BARRETT (PRODUCTION/STAGE MANAGER) A Cleveland native, Deborah Jo is currently the Director of Production for Amarillo Opera, where she also stage-managed recent productions of Evita, The Marriage of Figaro, The Ballad of Baby Doe and Les Miserables as well as directing Music Man for Amarillo Opera’s Summer Youth Musical program. She is also currently the Director of Production for Hawaii Performing Arts Festival and the Production Stage Manager for Dayton Opera. Previously, she worked as Production Manager of the New Orleans Opera Association, Opera Saratoga and Savannah Voice Festival, and Di- rector of Production and Production Stage Manager for Indianapolis Opera. While there, she stage-managed such productions asThe Flying Dutchman, The Threepenny Opera, Faust, La Traviata, Madama Butterfly, La Boheme, The Tragedy of Carmen, Hansel and Gretel, Tosca, Rigoletto, The Crucible, Lucia Di Lammermoor and Roméo and Juliet. Deborah Jo holds a BFA and MFA in Theatre from Ohio University and has worked at Nashville Opera, Ken- tucky Opera, Savannah Music and Voice Festival, Imperial Symphony Orchestra, Pensacola Opera, Shreveport Opera, Syracuse Opera, Great Lakes Theatre Festival, PCPA Theatrefest, The Little Theatre on the Square, Ohio Valley Summer Theatre, Indiana University Opera Theatre, Butler University and Lyric Opera Cleveland. Deborah Jo is the proud mother of two wonderful daughters, and her permanent resi- dence is in Indianapolis.

TDF COSTUME COLLECTION Where do clothes go after closing night? To the TDF Costume Collection, which houses more than 80,000 costumes and accessories from Broadway and Off-Broadway productions, opera companies and touring companies. This huge inventory is primarily available for rent at low cost to not-for-profit performing arts companies, educational institutions and other charitable groups nationwide. The TDF Costume Collection provides professionally designed costumes at affordable prices. The reasonable prices not only allow fledgling companies to mount more professional-looking shows; they also help theatres to pro- duce a greater number of new works by keeping production costs down. Performing arts companies, colleges and universities; middle and high schools; and community and charitable groups are among those eligible to take advantage of all the TDF Costume Collection has to offer. For an addi- tional fee, you can use the mail-order service, in which the Collection's ex- pert design team chooses costumes for you based on the information you provide. For more information, please visit us on the web at: https://www.tdf.org/nyc/30/TDF-Costume-Collection-Overview

Orchestra Violin 1 ··············································································· Simon Lapointe ······························································································· Anna Bishop ··························································································· Violaine Michel Violin 2 ············································································ Heejin Weisbrod ································································································ Treesa Gold Viola ····················································································· Jocelyn Smith Cello ················································································ Peter Greydanus ·······················································································Stephanie Barrett Double Bass ············································································ Ayça Katari Flute ····················································································· Joanne White Clarinet ··················································································· Shawn Buck Oboe and English horn ························································· David Garcia Bassoon ····················································································· Matt Lano Trumpet ······································································ Benjamin Lostocco Horn ··························································································· Valerie Sly Timpani ········································································· Raymond Breakall Percussion ········································································· Cory Woessner Harp ·························································· Alexandra (Sasha) Naumenko

Supporters of Opera in Williamsburg in 2018 and 2019

Season Sponsors ($10,000 and up) Linda and David Graham Dorothy, Karen and Vince Norako Brenda Snow and Oliver Portman Williamsburg Area Arts Commission

Production Sponsors ($5,000-$9,999) Linda Baker Danny and Leigh Mcdaniel Linda Collins Reilly

Foundation Builders ($2,000-$4,999) Susan and David Baime The Caterpillar Foundation Frank and Marie Knuettel Charles Melton Robert and Kathleen Pacek Robert and Diane Petterson Paul Try and Linda Kligman Patricia Volp Williamsburg Community Foundation

Major Benefactors ($1,000-$1,999) Lynn and Francis Bagli Gulay and Clyde Berryman Nanci Bond Bonefish Grill Diane Carr Lynn Clark Patricia and Stan Ecton Richard and Miriam Edwards Ellen Jaronczyk

Bonita Krochmal Paul and Carolyn Maramaldi Brenda and Ken Mitchell Lois Shevlin Ron and Aviva Snow Kendra and Corbin Wood York County Arts Commission

Steadfast Supporters ($500-$999) Bertram Aaron Lucille Cassidy Pat Eden Cornelius Griffin Robert and Mary Haas Clyde Haulman Ruth and Ed Jones Janet G. Kosidlak Meche Kroop Ronald and Barb Landa W Taylor Reveley III Sylvia and Robert Scholnick Wilma and Marc Sharp Melinda Snow Thomas Taormina

Sustaining Friends ($200-$499) Carol Ball Jayne Barnard Ann Boehm Lianne and Douglas Boller Howard Browne Cheryl Connors

Allen Cooke Carol and Burton Deakins Archibald and Jean Fripp Deborah Horner Pat Hubbard Kenneth Krantz Jesse Lanehart Maurice Lynch Stephen and Marie Mamikonian Daniel Mateescu ene Joanna Mathews-Kocur Ann Maurici Mary Anne Miller Scott Orr Maureen and Denis Orton Michael Pedretti and Nancy Hill Thomas Phelps Rosanne Reddin Joan Ruszkowski Harley Stewart Kendra and Gene Swann Barbara Watkinson and Hans von Baeyer Katherine Webster Tim Weidman Don and Betty Williams Jonah Yesowitz

Significant Donors ($100-$199)

Judith and James Adams Robin and Robert Bledsoe Anthony and Karen Annoni Ingrid Brown Anonymous Laura Brown Christine and Jim Baron Carolyn Campbell

Cary Carson David Nicholas Frank and Mary Lou Cole Frank Ober Kinneret Ely Marion Reef Nuala C. Galbari Elizabeth Saenz Helen Hamilton Roger Saunders Linda and Bill Hansell Mary and Donald Schilling Barbara Haynes Valerie Scura Trovato Martha Jones and Bill Hutton Clyde Spence Thomas Lappas Barbara Starkweather Pamela Lee Smith Suzanne Stern Robert Leek and Deanna Rote Logan Thompson Wolfgang Leesch Eric Van Chantf Joseph Leinenbach Peter Webster Jean Lien Allen Whitaker Ronald and Carolyn Munro

Allies (to $99) Anonymous Deborah Corkey-Corber Robert Austin Gloria Cropp Teryl Backus Elaine Cummings James Barringer Simone Daniek Douglas and Catherine Barron Jack Dotterer David Bass Joan Emerson Karen Berquist Maria Frid Frederick Blackmon Danielle Gammon Nancy Bolash Phyllis George Bradford Brown Randa Globerman Dot Bryant Patricia Greedan Virginia Carrington Suzanne Hagedorn Edith Chutkow Kathleen Henderson Alice Clay Gwendolyn Henderson

Dorothy Higbee Nancy Rehbein Lee Hougen Philip Richardson Eleanore and Ronald Jacobson David Ross Kathi Keating Pamela Rudder-Eastman Sandra Lee-Bilski Patricia Sager Janice Leslie Diana Scott Laurie Lorig Bonnie and Marvin Shelton Stephanie Lupo Harriet Simmons Bob McCarthy Judy Snell Richard Mccluney Kenneth Stacey Ann McGrath David Stanford Beverly Monroe Janice Svendsen Beth Mueller M Eve Turner Rebecca Myers Heidi Vargas Jill Nagel Barbara and Pete Vollmer Roberta Neves Deborah Wells Robert Osmon William Wemple Georgeann Paddock Janis Wood Katherine Preston Sheila Zubkoff

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

Carolyn Austin for hosting a member of our team

Susan Baime for her support and help in networking with other arts or- ganizations, acquiring local advertisements, and setting up the free events with our singers at the Stryker Center

Linda Baker for editorial help and support of Opera in Williamsburg

Christine and Jim Baron for gracious and repeated hospitality.

Cathy Barron for hospitality for team members.

Cathy Barron, Judi Emanuel, Patricia Sager, Stephanie Lupo, and Susan Baime for monitoring the silent auction tables at the dinner concert

Gulay and Clyde Berryman for tremendous generosity, graciousness and support through the years by hosting events for us and for other help

William Blanton, Steven Quinones, Bobby Gassman, and Robin Brans- come from Snow Companies for technical meeting support

Bonefish Grill Restaurant for hosting Opera in Williamsburg Benefit Nights

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, and for help with the program

Carolyn and Russell Campbell for hosting team members

Carolyn Campbell and Linda Kligman, co-chairs of the Donor Reception seup committee

Carolyn Campbell for superb organizational skills, multi-tasking and outreach to schools

Diane Carr for hosting performers and loaning props, and for connection with the Williamsburg Arts Council

Robin Curtis for hosting a member of our team.

Dayton Opera for lending props for The Magic Flute

Kathy Devanny for hospitality, for help at the Kimball, and with local connections in finding props and hospitality

Pat Eden for hospitality for team members for Carmen

Judi Emanuel for her help at the Colonial Heritage concerts

Beth Fugate for hospitality.

Ivana Genov for distributing posters at the College and for volunteering at events, and for her help with social media.

David Gussman for volunteering to play music at the Bonefish Benefit Nights.

Dick Hartman & Joyce Moore for generous hospitality

Clyde Haulman for crucial and lasting support through the years

Debra Hill and Camilla Buchanan for hosting team members and team dinners.

Nancy Hill for assistance with costumes for Carmen

Joy Hoffmann for hospitality to team members for Carmen

Martha Jones and Bill Hutton for hosting, loaning their car, and for continued strong support

Ruth and Ed Jones for repeated hospitality.

Jane Kim, Michael Bryant and Dot Bryant for greeting and checking in dinner concert guests and taking payments for the auction

Linda Kligman & Brenda Mitchell, co-chairs of the fundraising volunteer team: Susan Baime, Carolyn Campbell, Joanna Mathews-Kocur, Stepha- nie Lupo, Wilma Sharp, Tom Taormina

Linda Kligman for her enthusiasm and professionalism in finding advertis- ers, recruiting new volunteers and coordinating the donor event, and Co- lonial Heritage dinner concerts, and Bonefish Dinners.

Robert Landon for social media and technical help.

Joanna Mathews-Kocur, coordinator of our publicity volunteer team: Gu- lay Berryman, Joe Kocur, Brenda Mitchell, Doreen Conoscenti, Patricia Sager, Pam and Joe Leinenbach

Lucile Kossodo for hosting team members for The Marriage of Figaro and for Carmen

Paula and Gabe Koz for hosting team members for La Cenerentola and The Marriage of Figaro

Bob Leek and Deanna Rote for hosting team members and for generous donations of art

Susan Lemerise from the William & Mary Barnes & Noble bookstore for hosting an Opera flash mob

Stephanie Lupo for selling raffle tickets at the dinner concert.

Paul Maramaldi for his work in educational outreach and superb organizational skills

Paul Maramaldi and Paul Try for bartending at the Donor Reception

Elizabeth Milne for setting up collaboration with the School of the Arts in York County

Mirella Minichiello and Sal’s by Victor for hosting an Opera flash mob and for a very generous discount at our cast dinner that followed it

Brenda Mitchell for chairing superb silent and live auction fundraisers and for writing the descriptions of items for the online auction.

Ken Mitchell for proofreading and other behind-the-scenes help with auctions

Sharon Mueller for repeated and gracious hospitality

Our Savior church at Norge and Georgianna Paddock for rehearsal and costuming work space and gracious welcome

Robert Osmon for hosting singers time after time

Maureen and Denis Orton for hosting and loaning their car to team members repeatedly.

Oliver Portmann for committed and insightful leadership and outreach and for excellent running of meetings, for commissioning a beautiful Mag- ic Flute poster and for posting many Pearl Fishers posters around town.

Linda Collins Reilly for unceasing support and excellent perspective

Pauline and John Riofrio for gracious hosting.

Patricia Sager for publicizing Opera in Williamsburg and fundraisers at Colonial Heritage events

Brenda Snow for tremendous support, and for hospitality

Brenda Snow and Snow Companies for hosting Opera in Williamsburg‘s board meetings and encouraging cultural engagement in the community

The Stack family for repeated hospitality.

Tom Taormina, for serving as auctioneer for live auction and paddle raise, and for organizing volunteers for the front of the house for La Traviata

Temple Beth El for providing rehearsal space

Paul Try for enthusiasm, assistance and expertise on many fronts and for photography at many events

Paul Try for photographing items to be placed in the online auction and for creating posters of the live auction items, and for tracking advertisements and designing new program advertisements. 45

The University of Hartford for lending us the dragon for The Magic Flute

Shirley Vermillion for hosting us at 2nd Sundays Williamsburg Art and Mu- sic Festival

Christian Vieweg for hospitality for team members for Carmen

Virginia Gazette, Daily Press, Williamsburg Families and The Williamsburg Magazine for publicity

Trish Volp for hospitality to team members for Carmen

Hans von Baeyer and Barbara Watkinson for repeated hosting

Wallace and Sons General Store for the loan of valuable props

Susan Wiedmaier for hosting team members for Carmen

Williamsburg Players for lending props for The Magic Flute

Turit Willroy for hospitality to team members

The many who helped Brenda Mitchell with the extremely successful silent and live auctions at the Dinner/Concert/Auction in February: Naama Zaha- vi-Ely, Linda Kligman Try, Oliver Portmann, Brenda Snow, Susan Baime, Patti Sager, Doreen Conoscenti, Cathy Barron, Dot Bryant, Michael Bryant, Carolyn Campbell, Judi Emanuel, Gail Johnson, Joanna Kocur, Wilma Sharp, Tom Taormina, Annalise Tilton, Elizabeth Tilton, Ken Krantz, Sandra Lee- Bilski, Elizabeth Saenz, Nanci Bond, Tim & Linda Caviness, Gulay Berryman, Dick & Eva Turner, Blue Talon Bistro, Colonial Heritage Golf, Linda & Allan Finger, Trellis Bar & Grill, DoG Street Pub, Carmen Alves, Cochon on 2nd, Bonefish Grill, Lynda Miller, Blanton McLean, Hugh Davis, Bob Leek, David Gussman, Susan Baer, Denis Orton, Ann Young, Ken Mitchell and Paul Try.

To the community of Williamsburg for welcoming our artists with open arms, with warmth and generosity.

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

Own a limited-edition giclee reproduction of Gulay Berryman’s beautiful poster for Opera in Williamsburg’s Magic Flute in May 2019, commissioned by Oliver Portmann!

See the full color version on the websites of the Williams- burg Art Gallery and of Opera in Williamsburg Income will support Opera in Williamsburg

Two versions are available: - Artwork only - Poster (combining artwork and text) Each will be available in a limited edition of 100 only.

16 x 20 $299 (stretched but unframed) $379 (framed and ready to hang)

11 x 14 in. $139 (stretched but unframed) $239 (framed and ready to hang)

Turn-around time is 4-5 weeks The reproduction will be delivered or shipped directly to the buyer’s home. The artist, Gulay Berryman, will be happy to sign and person- ally dedicate copies.

Please see a sign-up table in the lobby or contact www.wmbgartgallery.com

NAAMA ZAHAVI-ELY (FOUNDER , ARTISTIC AND GENERAL DIRECTOR) Naama Zahavi-Ely is a music-lover who founded Opera in Williamsburg in 2012 as one more place where excellent opera productions could be performed and enjoyed. The company’s policy is to put people first, and to search for and engage outstanding performers and creative team without compromise. Naama 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, are uniquely positioned for creating intimate opera classics of the kind that Opera in Williamsburg spe- cializes in. Naama may be contacted at [email protected]