UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN

SCHOOL OF MUSIC

OPERA DIVISION

2012-2013

W.A. Mozart. Die Zauberflöte. Tryon Festival Theatre, KCPA. November 2011. Photo: © Laurent Gasquet

August 2012

Dear New and Returning Students:

Welcome to another year in the UI Opera Division! Although I am truly thrilled that we are off on another exciting annual adventure through the marvelous world of Opera, this season marks a sad milestone in the life of the Opera Division, the School of Music, and the Community at large. Our dear friend, Professor Thomas H. Schleis, simply and affectionately "Tom" for many of us, passed away on July 18, 2012 at his home in Urbana. For 33 years and for generations of University of Illinois students, Tom's keen mind made him a devoted Lecturer and Instructor, General Manager and Principal Coach for the Opera Division. As my friend and close collaborator for the last eight years, I came to refer to Tom as the Opera Division's Soul.

The many students who knew Tom were touched by his passion, kindness, gentleness, and vast knowledge of opera and musical theatre as well as his quick wit, shrewd intellect, and sharp sense of humor. Above all, we admired his selfless drive, his resilience, his sincere dedication to and infinite passion for teaching, and his willingness to mentor and offer advice to anyone and everyone, anywhere, anytime.

Tom touched our whole community and became an "institution" unto himself through his pre-concert lectures at Krannert Center and the courses he taught through the University's Office of Continuing Education, Elderhostels and Senior Scholars programs. How fitting that Tom was awarded an Excellence in Teaching and Faculty Service award from the University Continuing Education Association for his contributions. I think it is still too soon to fully realize the magnitude and scope of his legacy, but I am absolutely convinced that it will continue to touch, amaze and amuse several generations to come.

Professor Schleis began his career at the University of Illinois School of Music in 1981, becoming the vocal coach for the School of Music Opera Division in 1987. He was also affiliated with the Department of Theatre, serving as a musical consultant and teaching classes in musical theatre. Tom’s activities took him to Europe as well as the Lake George Opera Festival and Opera Augusta.

This year would have been Tom's 25th season as General Manager and Principal Coach of the Opera Division. I had planned to celebrate the occasion throughout the year. Instead, we are now dedicating this 2012-2013 season to the memory of Thomas H. Schleis. He was looking forward to this year's repertoire and I know that you will join me in making him proud of each production. His spirit will be with us... may he rest in peace.

Eduardo Diazmuñoz Artistic and Music Director of UI Opera Division

- 1 -

May 5, 2006, at the Champaign Country Club

Thomas Henry Edward Schleis December 13, 1949 – July 18, 2012

- 2 -

In this Handbook, you will find information that should make life easier for you. Please take a few minutes to read it.

• School of Music Dr. Jeffrey Magee is the Interim Director of the School of Music. His assistant is Heather Kay Blair. Dr. Joyce Griggs is the School of Music Associate Director. James Gortner is the Assistant Director for Operations & Finance of the School. Jennifer Phillips and Sandy Horne, are the personnel in the graduate and undergraduate office who can answer most academic questions.

• Opera Division I, Eduardo Diazmuñoz, am the Artistic Director and Principal Conductor (Head and/or Chair) of the Opera Division, also known as Illinois Opera Theatre and Opera at Illinois. Professor Cara Chowning is our valued and experienced Principal Coach, Assistant Conductor, and Chorus Master. Bridget Benton is our dynamic Interim General Manager. Professors Ricardo Herrera and Dawn Harris are our energetic and imaginative Opera Studio Directors. Nathan Gunn brilliantly provides Voice and Acting counseling. All three Professors are part of the Voice Division as well. Phone calls and questions can be directed to my office or to Prof. Chowning, Bridget Benton, Prof. Herrera, Prof. Harris, or to Prof. Gunn. Po-Chuan Chiang (Po), Meng-Chun Chien (Mickey), and Miyeon Choi, will be our coaches this year.

• Phone numbers and E-Mails: Diazmuñoz, Eduardo [Phone] 333-8773 [email protected] [Fax] 244-3069 Chowning, Cara 244-6255 [email protected] Benton, Bridget (859) 912-0909 [email protected] Herrera, Ricardo (Opera Studio) 244-3339 [email protected] Harris, Dawn (Opera Studio) 333-8555 [email protected] Gunn, Nathan 244-9130 [email protected] Stone, Sylvia (Voice Chair) 244-3338 [email protected] Helmrich, Dennis (Accompanying Chair) 333-1252 [email protected] Jordan Gunn, Julie (Accompanying) 244-9122 [email protected] Syer, Katherine (Opera Related Courses) 244-6485 [email protected] Quisenberry, Karen (Production Director) 244-4618 [email protected] De Velder, Anne (Costume Shop Director) 333-9717 [email protected] Korder, Tom (Tech Dir.) 333-3718 [email protected] Lillig, Lisa (Hair/Wigs/Make-up) 244-6298 [email protected] Chiang, Po-Chuan (Po) 550-2326 [email protected] Chien, Meng-Chun (Mickey) (561) 451-5344 [email protected] Choi, Miyeon (225) 223-9813 [email protected] Cline, Phyllis (IOTE) 344-4806 [email protected]

- 3 - • Phone numbers and Locations of Shops and other Offices: Stage Management (2-123) 333-8295 Interim General Manager (2-501) (859) 912-0909 Costume Shop (2-312) 244-4086 Scene Shop (2-119) 333-3718 Prop Shop (2-121) 333-9720 & 300-3779 Hair/Wigs/Make-up (4-105) 244-6298

• Abbreviations: CPH Colwell Playhouse EnsA Ensemble Room A (4-506) EnsB Ensemble B Room (4-503) FGH Foellinger Great Hall GRm Tryon Festival Theatre Green Room IOTE Illinois Opera Theatre Enthusiasts KCPA Krannert Center for the Performing Arts MB Music Building OpRR Opera Rehearsal Room (2-418) OpS Opera Suite (4-501) Maestro Diazmuñoz (4-501C) Prof. Herrera, Harris, and Coaches (4-501B) Prof. Chowning (4-501A) OrRR Orchestra Rehearsal Room (2-310) SH Smith Hall SOM School of Music SRH Smith Recital Hall TFT Tryon Festival Theatre

Krannert Center is open from 7:00am – 12:00 midnight each day. But on holiday weekends, such as Labor Day, it is completely closed from 7:00pm the Friday before until 6:00am on the following Tuesday. MAKE SURE you do not leave precious items that you might need during those times.

Be sure to check the Bulletin Boards outside the Opera Office (Opera Suite) on Level 4, and on Level 2 in the South East Hall, as well as across the Production Office also on Level 2 at KCPA, as often as you can.

If you have further questions, do not hesitate to ask! Once more, welcome and my very best wishes for the school year!

Sincerely,

Maestro Eduardo Diazmuñoz Artistic and Music Director of UI Opera Division

- 4 - THE OPERA CLASS OF 2012-2013

WELCOME to the Opera Division of the School of Music at the University of Illinois at Urbana-Champaign!!!

If you have an assistantship within the Opera Division you will be assigned to spend 180 hours per semester (12 hours per week approx.) working in two different areas of our production departments: the Scene Shop and the Costume Shop. There are other assistantships which are managed by the Opera Division as well, and these are for our three Pianists/Coaches and for two Administrative Assistants.

Assignments are made by me in consultation with the Director of the School of Music according to needs. You will be asked to adhere to an agreed schedule. If you have to be absent, you may discuss this matter in advance with your supervisor AND with me.

If you are cast in one of the operas, you may enroll in class 450B (Graduate students) or 265A (Undergraduates) to get proper credit.

You can also register for Opera Chorus (450 B1) and/or Proseminar in Music which is Opera Studio (468) provided you pass the required audition.

Being an Opera Assistant means that you are also available for special projects within the Division. You may be called upon to sing assigned roles and/or chorus if needed, or to participate in other performing opportunities as they come up.

The main idea behind all this is that you gain as much experience as possible in the field of opera as we can provide for your advancement and growth. Because of that, you should make me and/or Prof. Chowning, as well as Bridget Benton, aware of all your other artistic activities such as recitals, concerts, on and off campus, competitions, auditions and so forth. You can always put a note in Prof. Chowning’s box, in Bridget Benton’s box, or mine.

If you are cast in a major role, the Opera must be given priority.

All of us will do our very best to enable you to take advantage of all other performing opportunities which might arise for you during your time at the University. We have done so in the past with the professional orchestra of the region, the Champaign-Urbana Symphony, and with the Krannert Center Resident Orchestra, Sinfonia da Camera, among others.

We are committed to helping YOU excel in every aspect of the activities within the Division. Everyone here, myself, Professors Chowning, Herrera and Harris, Bridget Benton, coaches, stage directors, choreographers, shop directors, etc., are focused in offering you a professional experience with all the exigencies that you will face once you - 5 - leave the University. The big difference is that you will be in a training environment in which you will learn from your successes as well as from your mistakes. We all are here to help you realize what went well and what went wrong, and why and how you can improve on this or that matter. The MAIN difference with the professional world, is that here, at the UI Opera Division, you won’t get fired. You are here to learn, to be taught, to get professional training in a positive and encouraging environment.

All singers enrolled in Opera Production (450B, 450B1 and 265A) are actively involved in all facets of performing, back stage and ON stage. It is your enthusiastic cooperation in this matter, that will enable us to continue producing the high quality productions we have been able to achieve year after year. This involvement in all levels of the physical performance will provide you with the proper insight into a production and interaction with the technical staff and crew, giving you an overall view of what it takes to produce that “magic” in the theatre called opera.

You can also sign up for coachings with any of our staff coaches during posted scheduled times. You can also coach with our Principal Coach/Assistant Conductor/Chorus Master, Professor Chowning, and myself as regularly as you wish, provided you make the specific arrangements to do so with her and/or with me.

I sincerely hope that this will be an exciting year, and that you will learn a great deal.

PIANISTS / COACHES

All three pianists/coaches will be assigned on a weekly basis to coach singers and to play for music and staging rehearsals. We are very careful in scheduling 10 hours per week out of your assigned 12, since we know the remaining 2 must be used to prepare the scores you are given, so that you always come well prepared and in top shape to each rehearsal. However, once rehearsals have began and during the two weeks prior to opening night (Tech Rehearsals, Piano Dresses, etc.) you may be called more than the “usual” 10 hours but never more than your assigned 12, for other matters pertaining to the production in course, including but not limited to, “reach-out” performances, running supertitles, take notes, etc. Since you are not called for each music/staging rehearsal, you should follow these simple rules for the benefit of the entire Division:

1. Right after a rehearsal has finished, e-mail all pertinent notes to your two peers, Stage Manager, Stage Director, General Manager, Principal Coach and myself in regards to markings, breaths, rallentandi, accelerandi, pronunciation, changes, cuts, beating patterns and so forth, all of which will be instructed by the Music Director (myself for this entire season) to the entire company during that particular rehearsal. By doing so, we are all on the same page, and save valuable rehearsal time when we rehearse that very same excerpt with any other pianist. In other words; if you don’t take the time to do this, valuable time of the next rehearsal will be used to REPEAT the same instructions.

2. You will be trained by Prof. Dennis Helmrich to run supertitles for each production. We usually begin running them at the second Piano Dress Rehearsal.

- 6 - 3. Being an Opera Pianist/Coach means that you are also available for the Division’s special projects within your assigned weekly hours.

4. You all have a mailbox in the Opera Suite (KCPA 4-501) for your convenience. Besides checking your e-mail account(s), please check this mailbox regularly, you may receive important information there.

5. After the General Opera Meeting (8/27/12) the new Opera Staff will meet with all three coaches to have a brief meeting where you will be given a Coaches Handbook with specifics pertaining to your role within the Division.

CASTING AUDITIONS Auditions are a crucial aspect of every musician’s life. Therefore, we treat them as professionally as possible.

- Have your material well learned. - Present yourself in the best possible light by preparing your music and rehearsing it in advance with the person who will be accompanying/collaborating with you. - Show up on time or even earlier than signed-up, if you are on time, you are late. - Show up looking your best.

Auditions serve many purposes but mainly the following two: - They give us an idea of your capabilities and progress. - Based on the above, we classify you for consideration in Opera and Opera Studio roles.

After cast lists are completed, you may want to make an appointment with me or with Professor Chowning to discuss the outcome (in addition to going over it with your own Voice Professor) if you wish to do so.

CASTING POLICY The Division’s casting policy is based on vocal and physical suitability of the singers who auditioned at the beginning of the fall semester. If you audition for the Opera Season, you are expected to sing whatever role you are assigned to sing, independently from your preferences, which will definitively be taken into consideration, but the final decision is my responsibility.

The casting is done foremost with the student’s progress and with his/her vocal well being in mind. Naturally, concerns about matching and balancing ensembles are part of the decision making.

Our Spring Opera is usually single cast however, some roles for this year’s The Threepenny Opera, will be double cast just as the other two productions. We will probably have covers assigned in some roles. If we designate students as covers, these covers will receive coaching, rehearsal and stage time to fully prepare their roles in case they must go on stage during a performance however, performing is not guaranteed. - 7 - This “cover program” got started four years ago and it has worked beautifully. You may also want to understudy a role. There are various differences between being a cover and being an understudy. You may choose to understudy any role if it meets the approval of your Voice Professor and myself. The main differences between being a cover and an understudy, aside from the fact that you are not designated as an understudy, but instead you ask to understudy a role, are: As an understudy you do not get coaching time yet, you may attend all or as many coaching sessions of the singers that have been cast in the role you chose. You don’t get stage time, you don’t get a costume, you don’t get to perform. Basically, if you decide to understudy a role, is because you want to do it for your own sake and growth, with no strings attached to the Division and/or the Production. Covers need to be fully prepared to jump on stage on a last minute notice, they are a third cast, if needed, and, as such, they do get coachings, stage time, costumes, and so forth, but performing is not guaranteed. Covers are precisely to “cover” the singer who, for any given reason, is not able to perform a specific show.

Cast lists and credits in the Opera programs ALWAYS appear in alphabetical order, and do not, therefore, indicate performing casts. That decision will be made approximately three weeks before opening night, though the time frame is subject to change.

There is a policy regarding the order in which singers may be chosen in case the Audition Committee and its Director feel that no suitable singers are found for the required roles. The priority in casting roles is as follows: .- Regular students .- Alumni .- Faculty .- Outside singers including professionals (when absolutely needed)

REHEARSALS

Rehearsal times are posted on a weekly basis on the bulletin board outside the Opera Office. Successful participation in the rehearsals enhances the student’s crafts and tools.

If you are enrolled in MUS 450B/MUS 265A, you are excused from attending a class or a coaching ONLY if you are called for a rehearsal at the very same time. A conflict sheet will be distributed at the first company meeting of each production, fill it in.

Since all the work done in this program is ensemble work, it is IMPERATIVE that all participants observe a few simple (yet important) matters of working together:

- Always be on time! This means you must learn the following worldwide rule: - If you are on time, you are late hence, arrive before the scheduled time, to be on time. - Learn your parts thoroughly and NOT at the last moment! - Make sure you can do what you agreed to do! - Think of yourself as a team player first, since you cannot even sing a duet without the help of other people. - Respect all colleagues and every member of the production, from your fellow singers to the staff, from the stage management and the crew, to the orchestra musicians, etc. - 8 –

You will realize that in every production, we build a temporary family; as such, relationships tighten and emotions can be on edge at specific times, so think twice or count to ten, or even ask to be excused from the rehearsal room for a couple of minutes before you say or do anything you will regret! - Respect everyone’s time and effort!

COACHING As members of Class 450B and 265A you are entitled to sign up for coachings with any of our coaches (Principal Coach included) as mentioned before. See the weekly schedule for details. To coach with me, please make an appointment.

OPERA STUDIO AND PERFORMING OPPORTUNITIES Professors Herrera and Harris explore different composers and their styles to offer you opportunities to perform scenes and/or short operas from a diverse array of the operatic repertoire from different epochs in their Opera Studio Class (MUS 468). At the end of each semester, two performances of these works will take place applying in practice the crafts you’ve learned in this course; from acting to good diction; from breathing to singing convincingly in character and so forth. In addition to these activities, the Opera Studio Class brings performances to selected K-12 schools, as part of the Opera Outreach Program.

We highly encourage you to enroll in this class, not only for the credit hours (2 hours) but mainly, for the training you will receive in all areas of opera performance as mentioned above. Once you take this class for at least two semesters, your opportunities to be cast in major opera roles will undoubtedly increase.

OPERA CHORUS For each production we join forces with different choral groups in the SOM. However, if you are not enrolled in that particular group and wish to participate as a member of the chorus, you must first sing an audition for the Chorus Master of the specific production as well as for me. If you are accepted, then you must register immediately for course MUS 450 B1 or the Music Course of the assigned Chorus for that particular production, to get proper credit.

COSTUMES Stage Managers or their assistants and/or representatives, will set times for your costume/wig/fittings. If you do not show, or arrive late for the agreed time, a fine from $35 to $50 will be collected to recover costs for additional time. (Remember to respect other people’s time and effort!)

GRADING Grading will be affected by attendance, participation, actual comprehension of the assigned material, and performance. It is our goal to give each participant an opportunity to work at his/her highest level.

- 9 - STRIKE Following the last performance of every production, cast (MUS 450B and MUS 265A), chorus members (MUS 450 B1), and all those enrolled in Opera Studio (MUS 468), are required to participate in STRIKE. The strike takes place after the Sunday performance of each production, and it is posted on the annual calendar (pages 13-16). If you need to be excused from strike you must direct your petition to the Principal Coach/Assistant Conductor/Chorus Master, the General Manager and myself ONLY. Again, if you have questions, please, never hesitate to ask!

PERFORMING

For this Season, we will only provide scores for each participant in our Spring Production of The Threepenny Opera since it is only available on rental. Florencia en el Amazonas and My Fair Lady vocal scores should be purchased by each student. Please check page 12 of this Handbook to purchase the requested Edition of each work.

If you wish to understudy a role you are not listed for, please ask to do so. Between your Voice Professor and myself, arrangements will be made to make it happen. You will be asked to be present at every coaching and rehearsal you can possibly attend, with no stage time guaranteed though. (See pages 7 and 8). Be sure to let us know if this interests you, after cast lists are posted.

In agreeing to perform a role, you have to be available for ALL rehearsals, which take place as follows: • Mondays / From 3pm to 6pm and from 7pm to 10pm [*10:30pm] • Wednesdays and Fridays / From 3pm to 6 pm • Tuesdays and Thursdays / From 6pm to 10pm [*10:30pm] • Sitzprobes have been changed this year, taking place the previous Tuesday & Thursday of Production Week, from 1-4 pm. Please make a note of this IMPORTANT change. * Tech rehearsals will usually run until 10:30pm. There are two or three per production. Shift rehearsals run until 11:00 pm, there is only one for each production. You MAY BE needed for these latter ones. Please check the calendar for these announcements, as well as the weekly schedule and the daily.

There may be additional rehearsals in the two weeks prior to the first performance for which you have to be available. Refer to the included calendar and to the weekly updated Opera Bulletin Boards as well as the Production Bulletin Board.

In case of conflict only I can release you from rehearsals. No release from performances can be granted, even if you are not singing that very night. Once more, IT IS UNDERSTOOD THAT NO REHEARSAL –musical or staging- CAN BE MISSED WITHOUT PRIOR CONSENT BY ME.

Opera Studio Class meets on: • Tuesdays and Thursdays / From 3pm to 5pm in OpRR unless indicated otherwise. Evidently, on the afternoons of Sitzprobes for all three main stage productions, you will be excused, but will be expected to attend Opera Studio class afterward if you are called. - 10 - • IMPORTANT NOTE: Since the 2009-2010 Season, we have been printing head-shots along with the resumes of all selected singers in the opera productions therefore, once you know in which opera you have been cast, you MUST SUBMIT a head shot in black and white, along with your resume, to the Stage Manager assigned to that particular production following the guidelines provided at the First Company Meeting of each production for doing so.

All participants have to be in the theatre for ALL performances and dress rehearsals. If you are not performing that night you may be called for back stage assistance. If not, you may still learn a great deal by watching your colleagues on stage.

Please mark in the annual calendar the requested date to be off-book for each production. This deadline, as many others, is to be taken extremely seriously. Failing to comply with it may result in a lowering of your grade.

In accepting participation in the productions listed below, you agree to adhere to the above rules.

• SECOND IMPORTANT NOTE: The favorite sport on and off campus is RUMORING, as you’ll find out. Please do not contribute to it, please do not enforce it or spread it. It is fun –perhaps- but it does not help anybody and only causes confusion and sometimes, unjustifiable fear and infuses insecurity. It also makes you waste valuable time! The best solution to stop it, is precisely to not propagate it, and of course, to ask, to always ASK… the right people though! There will be all sorts of rumors coming your way and if you ask other people, including your peers and even faculty, the rumor only gets bigger and spreads faster. Please help all of us at the Opera Division to stop this terrible sport/illness that only causes anguish, and worries students for no reason in particular. The official information about Opera matters can be easily found out by calling or e- mailing the Principal Coach, the General Manager or myself. Be sure that no one else on campus, not even the Director of the School of Music, will tell you the truth about Opera matters. Only the three persons listed above, period. Thank you for your cooperation to eliminate this dreadful practice/custom/ habit/sport/illness.

• THIRD IMPORTANT NOTE: Singers must be at the Theatre at least one hour before curtain call for all rehearsals and performances during the last two production weeks. This is crucial for you to have enough time to be in costume and make-up as well as for warming up. Remember, if you are on time, you ARE late.

• FOURTH IMPORTANT NOTE: Any student who misses a rehearsal during the two weeks prior to opening night, will be OUT of the production with the consequent “F” grade in the course. All students must attend all Tech Rehearsals, all Sitzprobes, all Piano Dress Rehearsals and both Orchestra Dress Rehearsals. He/she may be excused ONLY under extraordinary circumstances with my approval.

- 11 – University of Illinois School of Music

2012-2013 Opera Season In Memoriam: Thomas H. Schleis

• Fall Production Florencia en El Amazonas Music by Daniel Catán Libretto by Marcela Fuentes-Berain Artistic Director and Conductor: Eduardo Diazmuñoz Stage Director: Stephen Fiol Chorus Master: Cara Chowning Associated Music Publishers, Inc. Vocal Score by Hal Leonard (HL 50484955) Sung in Spanish with English supertitles

• Winter Production My Fair Lady Music by Frederick Loewe Book and Lyrics by Alan Jay Lerner Concert/Semi-staged Version Artistic Director and Conductor: Eduardo Diazmuñoz Stage Director: Ricardo Herrera Chorus Master: Cara Chowning Chappell / Intersong / Revised Edition 1969 Piano Vocal Score by Hal Leonard (SKU #H20188000000000) Sung in English with NO supertitles

• Spring Production The Threepenny Opera Music by Kurt Weill Drama by Bertolt Brecht Artistic Director and Conductor: Eduardo Diazmuñoz Stage Director: Thomas O. Mitchell Chorus Master: Cara Chowning New Music Ensemble ONLY Rental / Opera Division will provide Piano/Vocal Scores Sung in English with NO supertitles

- 12 – 2012-2013 OPERA PRODUCTION CALENDAR

DAY TIME PLACE ACTIVITY CAST 8/27 3:00-5:00 OpRR General Opera Meeting 9/3 Labor Day – Building closed 9/4 3:00-9:35 TFT Auditions 9/5 3:00-9:35 TFT Auditions 9/6 3:00-7:00 TFT CallBacks 9/11 6:00-10:00 OpRR FLORENCIA EN EL AMAZONAS Design Presentation to Cast Followed by First Company Meeting Followed by Libretto Read-Through 10/1 3:00-6:00 OpRR Florencia staging begins 7:00-10:00 10/15 3:00-6:00 OpRR Florencia staging continues * 7:00 * Designer Run 10/22 OFF BOOK Florencia to be fully memorized 10/23 7:00 TFT Florencia’s Dress Parade - - - Followed by OpRR Music Rehearsal @ OpRR 10/25 7:00-11:00 TFT Shift Rehearsal 10/29 3:00-6:00 TFT Florencia staging continues 10/29 7:00-10:30 TFT Florencia Tech 1 Blue 10/30 1:00-4:00 TFT Florencia Orchestra Sitz 1 Blue 10/30 7:00-10:30 TFT Florencia Tech 2 Orange 11/1 1:00-4:00 TFT Florencia Orchestra Sitz 2 Orange 11/1 7:00-10:30 TFT Florencia Piano Dress 1 Blue 11/2 7:00-10:30 TFT Florencia Piano Dress 2 Orange 11/4 2:00-6:00 TFT Florencia Piano Dress 3 Mixed 11/6 7:00 TFT Florencia Orchestra Dress 1 Blue 11/7 7:30 TFT Florencia Orchestra Dress 2 Orange Invited Dress 11/8 7:30 TFT Florencia Performance 1 Blue 11/9 7:30 TFT Florencia Performance 2 Orange 11/10 7:30 TFT Florencia Performance 3 Blue 11/11 3:00 TFT Florencia Performance 4 Orange • STRIKE •

- 13 - DAY TIME PLACE ACTIVITY CAST 11/12 Opera DAY-OFF 11/13 6:00-10:00 OpRR MY FAIR LADY (MFL) Design Presentation to Cast Followed by First Company Meeting Followed by Libretto Read-Through First Music Rehearsal TBA 11/17 THANKSGIVING 11/26 3:00-6:00 OpRR MFL 7:00-10:00 Rehearsals resume 12/9 6:00-11:00 CPH Opera Studio Dress 1 12/10 6:00–11:00 CPH Opera Studio Dress 2 12/11 4:00 CPH Opera Studio Warm-up 12/11 7:30 CPH Opera Studio Performance 1 12/12 4:00 CPH Opera Studio Warm-up 12/12 7:30 CPH Opera Studio Performance 2 12/12 Classes end 12/21 WINTER BREAK 1/14 3:00-6:00 OpRR Classes Resume 7:00-10:00 MFL staging begins 1/31 7:00 OpRR Designer Run 2/11 OFF BOOK MFL to be fully memorized 2/11 3:00-6:00 TFT MFL Staging Rehearsal 2/11 7:00-10:00 TFT MFL Dress Parade - - - Followed by OpRR Music Rehearsal @ OpRR 2/12 7:00-11:00 TFT MFL Shift Rehearsal 2/14 7:00-10:30 TFT MFL Tech 1 Blue 2/18 3:00-6:00 TFT MFL staging continues 2/18 7:00-10:30 TFT MFL Tech 2 Orange 2/19 1:00-4:00 TFT MFL Orchestra Sitz 1 Blue 2/19 7:00-10:30 TFT MFL Tech 3 Mixed 2/21 1:00-4:00 TFT MFL Orchestra Sitz 2 Orange 2/21 7:00-10:30 TFT MFL Piano Dress 1 Blue 2/22 7:00-10:30 TFT MFL Piano Dress 2 Orange 2/24 2:00-6:00 TFT MFL Piano Dress 3 Mixed - 14 -

DAY TIME PLACE ACTIVITY CAST 2/26 7:00 TFT MFL Orchestra Dress 1 Blue 2/27 7:30 TFT MFL Orchestra Dress 2 Orange Invited Dress 2/28 7:30 TFT MFL Performance 1 Blue 3/1 7:30 TFT MFL Performance 2 Orange 3/2 7:30 TFT MFL Performance 3 Blue 3/3 3:00 TFT MFL Performance 4 Orange • STRIKE • 3/4 Opera DAY-OFF 3/5 6:00-10:00 OpRR THE THREEPENNY OPERA (TPO) Design Presentation to Cast Followed by First Company Meeting Libretto Read-Through First Music Rehearsal TBA 3/16 SPRING BREAK 3/25 3:00-6:00 OpRR Classes Resume 7:00-10:00 TPO staging begins 4/4 7:00-10:00 OpRR Designer Run 4/8 OFF BOOK TPO to be fully memorized 4/11 7:00 TFT TPO Dress Parade - - - Followed by OpRR Music Rehearsal @ OpRR 4/15 7:00-11:00 TFT TPO Shift Rehearsal 4/16 1:00-4:00 TFT TPO Orchestra Sitz 1 Blue 4/16 7:00-10:30 TFT TPO Tech 1 Orange 4/18 1:00-4:00 TFT TPO Orchestra Sitz 2 Orange 4/18 7:00-10:30 TFT TPO Tech 2 Blue 4/19 7:00-10:30 TFT TPO Piano Dress 1 Blue 4/21 2:00-6:00 TFT TPO Piano Dress 2 Orange 4/23 7:00 TFT TPO Orchestra Dress 1 Blue 4/24 7:30 TFT TPO Orchestra Dress 2 Orange Invited Dress 4/25 7:30 TFT TPO Performance 1 Blue 4/26 7:30 TFT TPO Performance 2 Orange 4/27 7:30 TFT TPO Performance 3 Blue 4/28 * 3:00 TFT TPO Performance 4 Orange • STRIKE • 4/28 * 7:00-11:00 CPH Opera Studio Dress 1 4/29 6:00-11:00 CPH Opera Studio Dress 2

- 15 –

DAY TIME PLACE ACTIVITY CAST 4/30 4:00 CPH Opera Studio Warm-up 4/30 7:30 CPH Opera Studio Performance 1 5/1 4:00 CPH Opera Studio Warm-up 5/1 7:30 CPH Opera Studio Performance 2 5/1 Classes end 5/12 Commencement

“Blue” and “Orange” refer to one of our two usual casts assigned to that production. When there is reference to a “White” cast, it means that there is one cast only (not this Season) but in a double cast production (Blue-Orange), are usually the roles that have not been double cast.

Please remember that ALL THREE STRIKES on the Sundays following the last performance of each production are MANDATORY for all cast members (MUS 450B, MUS 265A) and those enrolled in Opera Studio (MUS 468) and Opera Chorus (MUS 450 B1) as well.

* Specific arrangements will be worked out for students who are cast in The Threepenny Opera and Spring Opera Studio for the April-May dates on which there may be conflicts. It will be much appreciated if YOU make sure to let the Directorial and the Stage Management Teams know about these specific conflicts.

2012-2013 Opera Handbook elaborated by: Mº Eduardo Diazmuñoz

- 16 - PARTICIPATION FORM Competition-Performance

Please complete this form if you have participated in a competition and/or have won a prize, a recognition, or performed with an organization other than IOTE. Make copies of this form as needed, or get additional copies from either Bridget Benton in the Opera or Production Office, or from one of our Stage Managers.

Name______Undergrad [ ] Grad [ ] DMA [ ]

I have sung in the following:

Work Composer Role Where When

______

______

______

______

______

______

I have participated in the following competitions:

Competition When Where Won/Placed/Took part

______

______

______

PLEASE KEEP THE DIVISION INFORMED ABOUT YOUR ACTIVITIES AS THEY OCCUR!!!

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OPERA DIVISION AUDITION INFORMATION 2012-2013 PLEASE PRINT CLEARLY Audition date:______Time:______

Name (as you would like it to appear in print):______Year in School (Freshman, Sophomore, etc.):______Voice Professor:______Local Address: St.______City______State____ Zip_____ Phone: Home______Work______e-mail______

Voice type: [Soprano] [Mezzo] [Alto] [Tenor] [Baritone] [Bass] Please specify your vocal range:______

Age:____ Height:______Weight:______Clothing size:______Hair color:______

Most recent roles performed: Character Title Where/When 1.______2.______3.______

Will you be enrolled in the University both semesters?______

Do you want to be considered for Opera Studio (MUS 468 Tues & Thurs 3p-5p)? Please circle one: YES NO If YES, what term? FALL SPRING BOTH

What ensembles are you enrolled in during the Fall and Spring semester:______

Do you have training in [Ballet] [Ballroom] [Gymnastics] [Other/Specify: ]

What other theatre related activities have you been part of? [Stagehand] [Lighting] [Props] [Costume] [Other/Explain: ]

Do you have any medical restrictions? (Allergies, etc.) If yes, please explain: ______Are you afraid of heights? ______

Material prepared for this audition: Aria/Song From (Show) By (Composer) 1.______

2.______

3.______

- 18 – STRIKE CONTRACT/AGREEMENT

All singers who are cast as soli or chorus, as well as those enrolled in Opera Studio (MUS 468), are required to help STRIKE productions of the Opera Division, during the 2012- 2013 Opera Season.

Strike dates are:

• November 11, 2012 Florencia en el Amazonas

• March 3, 2013 My Fair Lady

• April 28, 2013 The Threepenny Opera

To “strike” a production means you help clear the stage, pit, and other assigned places to assist the crew in taking every bit of the production down. It is highly recommended that you bring “old”, yet comfortable clothes.

No excuses can be accepted An unexcused absence lowers your grade by one degree

If, for a very special reason, you are unable to participate in an assigned strike, which has been authorized by the Opera Director as stated above, you will have to make it up at a strike for one of the other resident productions. (Theatre or Dance)

Opera strikes take place at the conclusion of the Sunday performance, approximately 6- 6:30 pm and lasts from 3 to 5 hours, depending on the size of the production. The Opera Division provides dinner to everyone before each strike begins.

I have read this contract/agreement and understand the implications.

Name______

Allergies (Dust, etc.?)______Fear of heights?______

Anything else you think we need to be aware of? ______

Signature______

Please hand this page with your audition form.

Thank You.

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