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THREE SINGING SISTERS NOV. 2

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12000 NE 8TH ST SUITE 101, BELLEVUE WA (425) 454-1802 October/November 2019 | Volume 44, No. 2

PAUL HEPPNER President MIKE HATHAWAY Senior Vice President KAJSA PUCKETT Vice President, Sales & Marketing GENAY GENEREUX Accounting & Office Manager Production SUSAN PETERSON Vice President, Production JENNIFER SUGDEN Assistant Production Manager ANA ALVIRA, STEVIE VANBRONKHORST Production Artists and Graphic Designers Sales MARILYN KALLINS, TERRI REED San Francisco/Bay Area Account Executives BRIEANNA HANSEN, AMELIA HEPPNER, SHERRI JARVEY, ANN MANNING Seattle Area Account Executives CAROL YIP Sales Coordinator Marketing SHAUN SWICK Brand & Creative Manager CIARA CAYA Marketing Coordinator

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Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve performing arts events in the San Francisco Bay Area and Greater Seattle Area. All rights reserved. ©2019 Encore Media Group. Reproduction without written permission is prohibited.

4 Seattle Opera 2019/20 Season CINDERELLA

VOLUME 44 ISSUE 2

22 CINDERELLA: ANCIENT STORY, GLOBAL TALE Production Essentials By Michelle H. Martin 12 Production Sponsor 13 The Cast

14 The Story

24 DANDINI, WHO ARE YOU? 16 Artists By Jonathan Dean 20 Orchestra

21 Chorus 26 THREE SINGING SISTERS CONCERT 44 In the Lobby

36 THE MUSIC OF RESILIENCE Departments By Glenn Hare 6 From the General Director 8 Board of Directors

11 From the President

11 Service Directory

30 Seattle Opera Staff

31 Staff Chat

32 Individual Donors

38 Programs and Partnerships Sponsors

39 Donor Impact

40 Institutional Donors

40 In-Kind Partners

41 Seattle Opera Foundation

42 Leadership and Producer’s Circles

45 Amusements

Seattle Opera 45 Seattle Opera Poscast

Editor 46 Upcoming Events Glenn Hare Graphic Design Larisa Melkumova Cover Image Philip Newton

Seattle Opera offers large print and Braille versions of this program. Please see coat check for details.

Seattle Opera acknowledges that McCaw Hall and the Opera Center are located on the ancestral homeland of the Coast Salish people. As Seattle Opera strives to create respectful partnerships throughout the Pacific Northwest, we hope to contribute to collective healing and true reconciliation.

Cinderella 5 FROM THE GENERAL

DIRECTOR It was wonderful meeting so many of you at last month’s Opera Center Open House. It was an ideal occasion to establish new friendships and showcase our new home. It’s also been a pleasure meeting many of you at various community events and performances throughout the city and here in McCaw Hall. I deeply appreciate the warm welcomes and words of encouragement.

In the many conversations I have had since arriving in August, I’ve received a few questions very frequently, including what changes I will implement at Seattle Opera. The short answer: As a leader, I believe that when it’s not broken, don’t fix it. When

© PHILIP NEWTON I worked in Oman, a local journalist asked—“So what are you going to teach people here?” I responded, “I’m not here to teach. I am here to learn first, and then apply my experience to work within this particular company. If that includes some change, we’ll figure out what is suitable and necessary.”

Many of you want to know my thoughts about producing Wagner and the Ring. I am a great fan of both Wagner and the Ring. Wagner, in some form or another, will be a part of Seattle Opera’s future. To do any Ring cycle at the level to which Seattle audiences are accustomed requires a great deal of philanthropy from our community in advance. I would only offer a Ring cycle if I felt confident that it could be world-class and financially feasible.

You’ve also asked if I plan to continue our five-production season. This is an interesting question and I will reiterate: I am not here to disrupt Seattle Opera. I am here to make the company grow—to engage our community, increase our audiences, and make supporting Seattle Opera irresistible and necessary. I’m here to advocate for not only Seattle Opera, but also the arts in general. My role is raising the profile of Seattle as a world-class city because of its location, diversity, sports teams, global corporations, and, of course, its arts and cultural institutions.

Many of you have asked what areas of Seattle Opera I would like to enhance. I’d like to more fully utilize Tagney Jones Hall, the glass-box performance space in the Opera Center next door to McCaw Hall. Because the public can literally see inside, Tagney Jones Hall is a link between Seattle Opera and the community. I’d like to have regular—or let’s say, frequent—offerings here: commissions of chamber works, recitals, master classes, lectures, community panel discussions, and more, designed to attract the curiosity of diverse audiences.

With that in mind, I’d like to invite you to The Falling and the Rising, a new chamber opera about service and sacrifice. This is our first fully staged theatrical event to take place at the Opera Center. Seattle Opera is privileged to present this work based on conversations with soldiers and veterans. The story traces a wounded service woman’s inner journey to healing. The Puget Sound region is home to many active duty service personnel, veterans, and their families, and I am proud that we are honoring their experiences with this production. Performances are November 15–24 in Tagney Jones Hall. I look forward to seeing you there.

Christina Scheppelmann

6 Seattle Opera 2019/20 Season Untitled-3 1 9/6/19 4:46 PM BOARD OF Wholesale and DIRECTORS Retail Sales 2019/20 Season ¿ Roasting fine coffees since 1993

Chairman Treasurer Representatives to the Board John F. Nesholm Brendan Murphy Gayle Charlesworth, Seattle Opera Guild President Secretary Carissa Castaldo, Seattle Opera Chorus Brian Marks Milkana Brace Evan Bennett, BRAVO! Immediate Past Eric Jacobs, The Seattle Symphony and Opera President Players’ Organization Maryanne Tagney Seattle Opera Foundation Vice Presidents Jeffrey Hanna, Brian Marks, President ex officio Susan MacGregor Jonathan Rosoff Charles B. Cossé Steven C. Phelps Coughlin Martha Sherman James D. Cullen Anne M. Redman James D. Cullen Stephen A. Sprenger Jay Lapin Michael Tobiason Adam J. Fountain Moya Vazquez Moya Vazquez A. Richard Gemperle William T. Bruce E. H. Johnson Weyerhaeuser Brian LaMacchia Advisory Board Connie Bloxom Victoria Ivarsson Louise Miller John M. Bloxom, Jr. Linda Nordstrom Directors Beverly Brazeau Eulalie Schneider Willie C. Aikens Michael Hyman Norma B. Croco Judy Schuchart Barry Bolding Tom McQuaid David R. Davis Virginia B. Wright Toby Bright Brendan Murphy Betty Hedreen One of Seattle’s original Brenda Bruns, MD Steven C. Phelps Susan Buske Tom Puentes Honorary Life Members roaster cafes, Lighthouse Beverly Brazeau Duff Kennedy Stella Choi-Ray James David Raisbeck Donald L. Johnson Michael M. Scott has spent more than Charles B. Cossé Joshua Rodriguez Natalie de Maar Jean Stark twenty years creating Past Presidents Susan Detweiler, MD Russell F. Tousley Norma B. Croco Sheffield Phelps† a loyal following of Carolyn Eagan Judy Tsou Albert O. Foster† Steven C. Phelps coffee lovers. Lighthouse Robert Fries James Uhlir Max E. Gellert† Maryanne Tagney Leslie Giblett Susanne Wakefield, roasts consistently great Harold H. Heath† Russell F. Tousley Paul Goodrich PhD H. Dewayne Kreager† Richard S. Twiss coffee in small batches Jeffrey Hanna Joan S. Watjen Francis A. LeSourd† William T. Kennan Scott Wyatt of the freshest premium † Weyerhaeuser Hollingsworth, MD Lesley Chapin James M. McDonald Jr. Howard S. Wright† beans, hand roasted in a Ron Hosogi Wyckoff Stanley N. Minor John F. Nesholm vintage cast-iron roaster Gary Houlahan each day.

† Deceased

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8 Seattle Opera 2019/20 Season My legacy. My partner.

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Untitled-3 1 4/30/19 12:11 PM Private Client & Luxury Real Estate

JAVILA CREER ERICA CLIBBORN AMY SAJER SHAWNA ADER DEIRDRE DOYLE MICHAEL DOYLE Premier Associate | Executive Premier Premier Director | Executive Premier Executive Premier Premier Director | Managing Broker Director | Broker Broker Director | Broker Director | Broker Managing Broker

206 794 5284 206 251 1869 206 550 8903 206 251 2337 206 234 3386 206 669 0203 javila.withwre.com ericaclibborn.com amysajer.withwre.com aderberger.com deirdre-doyle.com MichaelDoyleProperties.com

MIDTOWN COLLECTIVE IS A GROUP OF TOP-TIER LUXURY REAL ESTATE BROKERS WHO DELIVER SUPERIOR SERVICE TO THEIR CLIENTS.

Untitled-3 1 10/9/19 10:15 AM SEATTLE OPERA FROM THE DIRECTORY Unless otherwise indicated, the following PRESIDENT numbers are in the 206 area code. Seattle Opera Audience Services Phone: 389.7676 Welcome to Seattle Opera! Thank you for joining Outside Seattle: 800.426.1619 us for our presentation of Rossini’s rollicking For TTY Service: 800.833.6388 Group Sales: 676.5588 rendition of Cinderella. This beloved folk tale can Website: www.seattleopera.org be told many different ways; if you’ve never before Seattle Opera Donor Services encountered Rossini’s spin on it, you’re in for a Phone: 389.7669 treat. In this version, the evil stepmother has been Email: [email protected] replaced by a vile stepfather and the glass slippers Norcliffe Room reservations: 389.7669 or have been exchanged with a pair of bracelets. In [email protected] addition, our stage director Lindy Hume is inspired Seattle Opera Administrative Offices by Charles Dickens. She sets this production in Phone: 389.7600 363 Mercer Street Victorian era London, complete with the opulence Seattle, WA 98109-4600 and grit associated with the period. Website: www.seattleopera.org © JONATHAN VANDERWEIT © JONATHAN Seattle Opera relies on your support and that of Marion Oliver McCaw Hall Location: 321 Mercer Street benefactors like Karyl Winn to bring Cinderella to McCaw Hall. Karyl, our 2019/20 Phone: 733.9725 season sponsor, was an avid traveler, a dedicated librarian, and a generous Seattle www.mccawhall.com Opera patron for 49 years. Karyl included Seattle Opera in her will and her estate Head Usher: 733.9722 Security Office: 733.9735 gift supports every mainstage performance you’ll experience this season. We Restaurant—Prelude: 615.0404 count on the many loyal opera fans just like her to provide the funding needed to Ticket Donations (day of show): 676.5544 ensure we continue to have world-class opera in the Pacific Northwest. We are so Lost and Found: 684.7200 grateful for their investment. Last season, 9% of contributed revenue was from Parking: 684.7340 Monorail: 905.2620 legacy gifts. Hall Rental: 684.7103 Seattle Center Information: 684.7200 Gifts to the Seattle Opera Foundation are essential to the financial sustainability Amusements: Gifts of Artistic Expression of our company. Take the legacy gift of Jim and Gretchen Faulstich as an example. Private Client & Luxury Real Estate Hours: 5:00 p.m. for evening performances and Their thoughtful contribution supports our mission to create life-enhancing 11:30 a.m. for matinee performances; during experiences that speak to your heart and mind. You can see a complete list of intermissions named endowed funds from the Seattle Opera Foundation in this program. Phone: 774.4990 Email: [email protected] Gift Shop Manager: Kate Farwell You and I benefit from Karyl’s and the Faulstichs’ gifts and we are incredibly Amusements is operated jointly by grateful for their forward-thinking philanthropy. Will you think about an estate Seattle Opera and Pacific Northwest Ballet. gift that will support Seattle Opera for years to come? BRAVO! Phone: 389.7676 Whether you are here for the first time or seeing Cinderella for the third time, there Email: [email protected] are hundreds of people who come together to make this production possible. As Seattle Opera Guild we approach the holiday season, please make a personally meaningful gift to Email: [email protected] Seattle Opera if you value music, joy, and beauty in your life. Your contribution Seattle Opera Guild is an organization makes opera possible and every gift is valued. independent of Seattle Opera.

Thank you for joining us tonight for this wonderful presentation of Cinderella and for your continuing support of Seattle Opera.

JAVILA CREER ERICA CLIBBORN AMY SAJER SHAWNA ADER DEIRDRE DOYLE MICHAEL DOYLE Premier Associate | Executive Premier Premier Director | Executive Premier Executive Premier Premier Director | Managing Broker Director | Broker Broker Director | Broker Director | Broker Managing Broker

206 794 5284 206 251 1869 206 550 8903 206 251 2337 206 234 3386 206 669 0203 javila.withwre.com ericaclibborn.com amysajer.withwre.com aderberger.com deirdre-doyle.com MichaelDoyleProperties.com Brian Marks President, Seattle Opera Board of Directors

MIDTOWN COLLECTIVE IS A GROUP OF TOP-TIER LUXURY REAL ESTATE BROKERS WHO DELIVER SUPERIOR SERVICE TO THEIR CLIENTS.

Cinderella 11

Untitled-3 1 10/9/19 10:15 AM 2019/20 SEASON SPONSOR IN MEMORY OF KARYL WYNN PRODUCTION SPONSOR MARKS FAMILY FOUNDATION

Thank you to the caring Seattle Opera donor family —your enduring Annual Fund support fuels this mainstage production and so much more throughout the season.

EXCLUSIVE MAKEUP AND SKINCARE PROVIDER OF SEATTLE OPERA

Photo © Philip Newton

Cinderella_FullProgram_100919-fixed.indd 12 10/10/19 4:36 PM 2019/20 SEASON SPONSOR IN MEMORY OF KARYL WYNN PRODUCTION SPONSOR CINDERELLA MARKS FAMILY FOUNDATION Music by Gioachino Rossini Libretto by Jacopo Ferretti

Premiere: Teatro Valle, Rome, 1817 Seattle Opera Premiere: 1977 CONDUCTOR ASSOCIATE STAGE DIRECTOR & CHOREOGRAPHER Gary Thor Wedow Daniel Pelzig Performances at Marion Oliver McCaw STAGE DIRECTOR ENGLISH CAPTIONS Hall: Oct. 19, 20, 23, 25, 26, 27, 30 & Nov. 1 Lindy Hume Jonathan Dean

Evening Performances 7:30 p.m. PRODUCTION DESIGNER CHORUSMASTER Matinees 2:00 p.m. Dan Potra John Keene LIGHTING DESIGNER Thank you to the caring In Italian with English captions. Matthew Marshall Seattle Opera donor family Act I: 1 hour 30 minutes —your enduring Annual Intermission Fund support fuels this Act II: 54 minutes CAST mainstage production and (in order of vocal appearance) so much more throughout CLORINDA DON MAGNIFICO the season. Miriam Costa-Jackson † Péter Kálmán† TISBE PRINCE RAMIRO Maya Gour † Michele Angelini † (Oct. 19, 25, 27, & Nov. 1) Matthew Grills (Oct. 20, 23, 26, & 30) CINDERELLA Ginger Costa-Jackson (Oct. 19, 25, 27, & DANDINI Nov. 1) Joo Won Kang (Oct. 19, 25, 27, & Nov. 1) Wallis Giunta† (Oct. 20, 23, 26, & 30) Jonathan Michie † (Oct. 20, 23, 26, & 30)

ALIDORO Adam Lau

† Seattle Opera mainstage debut ASSISTANT CONDUCTOR Philip A. Kelsey A production of New Zealand Opera and Opera MUSICAL PREPRATION Queensland in Co-production with Oper Leipzig. Philip A. Kelsey, David McDade, English captions © Jonathan Dean 2019 Jay Rozendaal

STAGE MANAGER The fortepiano is a replica of an Anton Walter instrument (Vienna, 1795) built by Rodney Regier Yasmine Kiss of Freeport, Maine. It is kindly loaned from the keyboard instrument collection of Tamara Friedman EXCLUSIVE MAKEUP AND SKINCARE and George Bozarth in Seattle. PROVIDER OF SEATTLE OPERA Opera presentation and production © Seattle Opera 2019. Copying of any performance by camera, audio, or video recording equipment, and by any other copying device, and any other use of such copying Photo © Philip Newton devices during the performances is prohibited.

Cinderella 13

Cinderella_FullProgram_100919-fixed.indd 12 10/10/19 4:36 PM THE STORY

CINDERELLA, OR GOODNESS TRIUMPHANT

ACT 1 ACT 2 Don Magnifico’s vain daughters, Clorinda and Tisbe, are primping. Ramiro is smitten with the newly arrived guest. He overhears Their stepsister Cinderella (whose real name is Angelina) sings a Cinderella refusing Dandini’s attentions because she loves his “valet” song about a long-ago king who chose a good and innocent bride. and delightedly steps forth to declare himself. Cinderella gives him When a beggar (actually Prince Ramiro’s tutor, Alidoro) appears, the one of a pair of matching bracelets, saying he will find her wearing its stepsisters chase him away, but Cinderella makes him welcome. twin. Then she rushes away. After she leaves, Ramiro relinquishes his There is an announcement that Prince Ramiro, in search of the most false identity and vows to find her. Dandini, now reduced to his former beautiful girl in the land to be his bride, will soon pay a visit. The servant status, smashes Magnifico’s dreams of grandeur and orders sisters order Cinderella to get them ready to receive him, and their him out of the palace. squabbling wakes Don Magnifico. In so doing, they have interrupted a Returning home, Magnifico and the sisters resume their cruel dream, which he interprets to mean that good fortune will soon visit treatment of Cinderella as a storm hits. Dandini appears at the the family. His premonition seems vindicated when he learns of the door telling them that the Prince’s carriage has overturned outside. Prince’s visit. Magnifico exhorts the girls to capture the Prince’s heart Cinderella realizes her “valet” is Prince Ramiro; he in turn recognizes to save the family fortunes. her bracelet. Don Magnifico, Clorinda, and Tisbe can hardly believe Disguised as his own valet, the Prince arrives alone so that he can their ears when Ramiro announces that Cinderella is to be his bride. observe the women of the household incognito. He meets Cinderella Cinderella intercedes to protect her stepfather and stepsisters in the and is enchanted. Dandini (the real valet) arrives disguised as the face of Ramiro’s anger. Prince, enjoying his new status, and invites the fawning sisters to After the wedding, Cinderella persuades the Prince to pardon her a ball. Cinderella begs her stepfather to take her too but Magnifico family. As the people welcome their new Princess, Cinderella reflects brutally orders her to stay at home, to Ramiro’s shock. Alidoro, on her dramatic change in fortune and rejoices. now in his true identity, questions Don Magnifico about his third daughter. Magnifico tells Alidoro that she is dead. After everyone except Cinderella has left, Alidoro informs her that the pauper from earlier was really him and transforms her for the ball. At the palace, Magnifico discovers the wine cellar. Clorinda and Tisbe continue chasing Dandini, but scornfully reject Ramiro. All are enchanted by the arrival of a mysterious, veiled lady. When she unmasks they are struck by her uncanny resemblance to Cinderella.

INTERMISSION

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Untitled-1 1 2/27/19 1:39 PM ARTISTS

MICHELE ANGELINI WALLIS GIUNTA Prince Ramiro Cinderella Tenor (New York, NY) Mezzo-Soprano Seattle Opera Debut (Ottawa, Canada) Recently: Idreno, Seattle Opera Debut Semiramide (Bayerische Recently: Carmen, Staatsoper); Don Carmen (Oper Leipzig); Ramiro, Cinderella Angelina, Cinderella (Teatro dell’Opera di (Royal Swedish Roma); Count Almaviva, Opera); Cherubino, The The Barber of Seville (Théâtre des Champs- Marriage of Figaro (The Grange Festival) Élysées) Upcoming: Bradamante, Alcina (Deutsche Upcoming: Count Libenskof, Il viaggio a Reims Oper am Rhein); Sesto, Giulio Cesare (Boston (Oper Köln); Riccardo Percy, Anna Bolena Lyric Opera); Dodo, Breaking the Waves (Lithuanian National Opera Theatre); Idreno, (Metropolitan Opera Orchestra/BAM) Semiramide (Netherlands Radio Philharmonic Orchestra)

MAYA GOUR Tisbe GINGER COSTA-JACKSON Mezzo-Soprano (Tel Cinderella Aviv, Israel) Mezzo-Soprano Seattle Opera Debut (Palermo, Sicily) Recently: Lucretia, Seattle Opera Debut: The Rape of Lucretia Dorabella, Così fan (Norwegian National tutte (’18) Opera and Ballet); The Previously at Seattle Stewardess, Flight Opera: Carmen, Carmen (Opera Parallèle); Pippo, La gazza ladra (’19) (Teatro Nuovo) Recently: Donna Elvira, Don Giovanni (Ópera de A Coruña); Carmen, Carmen (San Diego Opera); Rosina, The Barber of Seville (Opéra MATTHEW GRILLS de Toulon) Prince Ramiro Upcoming: Cherubino, The Marriage of Figaro (La Monnaie); Despina, Così fan tutte (Opéra Tenor (Newtown, CT) National de Paris); Musetta, La bohème Seattle Opera Debut: (Seattle Opera) Count Almaviva, The Barber of Seville (’17) Recently: Ernesto, Don Pasquale MIRIAM COSTA-JACKSON (Berkshire Opera Clorinda Festival); Belmonte, Soprano (Salt Lake City, The Abduction from the Seraglio (Opera San UT) Jose); Kedril, From the House of the Dead Seattle Opera Debut (Bayerische Staatsoper) Recently: Micaëla, Upcoming: Count Almaviva, The Barber of Carmen (Phoenicia Seville (Utah Opera); Loud Stone, Matthew Festival of the Voice); Aucoin’s Eurydice (World Premiere, LA Opera); Queen of the Night, First Waiter, Der Rosenkavalier (Metropolitan The Magic Flute Opera) (Brigham Young University)

16 Seattle Opera 2019/20 Season LINDY HUME Stage Director (Sydney, Australia) Seattle Opera Debut: Count Ory (’16) Previously at Seattle Opera: Rigoletto (’19); The Barber of Seville (’17) Recently: The Barber of Seville (New Zealand Opera); Carmen (Oper Leipzig); Don Giovanni (Opera Queensland) Upcoming: The Barber of Seville (State Opera EVERY TABLE South Australia) A STORY Explore artistically inspired dishes crafted from local PETER KÁLMÁN ingredients, and see the personal story of Dale Don Magnifico Chihuly through his collections set within your table. Bass-Baritone (Budapest, Hungary) Seattle Opera Debut COLLECTIONSCAFE.COM LOCATED AT CHIHULY GARDEN AND GLASS Recently: Bartolo, 206.753.4935 The Barber of Seville (Théâtre des Champs- Élysées); Mustafà, The Italian Girl in Algiers (Salzburg Whitsun Festival); Alberich, Der Ring des Nibelungen (Müpa Budapest) Upcoming: Mustafà, The Italian Girl in Algiers (Théâtre des Champs-Élysées); Don Pasquale, Don Pasquale (Salzburger Festspiele); Alberich, Der Ring des Nibelungen (Müpa Budapest) Step into Magic. The perfect place to make your dreams come true. JOO WON KANG Dandini Baritone (Gunsan City, South Korea) Seattle Opera Debut: Nourabad, The Pearl Fishers (’15) Recently: Figaro, The Barber of Seville (Fort Worth Opera); Ping, Turandot (San Francisco Opera); Germont, La traviata (Opera Theatre of Saint Louis) Upcoming: Marcello, La bohème (Arizona You’re invited to events fi t for a prince or princess. Opera); Washington National Opera debut Consider waving your magic wand and making room for transformation in your life. Join us at Bayview’s 62+ community for a series of delightful fall activities.

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Cinderella 17 ARTISTS CONT.

JOHN KEENE JONATHAN MICHIE Chorusmaster (Lancaster, PA) Dandini Seattle Opera Debut: Baritone (Rochester, Chorusmaster, Fidelio NY) (’12) Seattle Opera Debut Previously at Seattle Recently: Figaro, Opera: Chorusmaster, The Barber of Seville Rigoletto (’19), Carmen (Oper Leipzig); Count (’19), The (R)evolution of Almaviva, The Marriage Steve Jobs (’19) of Figaro (Florida Grand Upcoming: Chorusmaster, Eugene Onegin, La Opera); Donald, Billy Budd (Teatro dell’Opera bohème (Seattle Opera); Judge, Metropolitan di Roma) Opera National Council Auditions Upcoming: Figaro, The Barber of Seville (Israeli Opera); Graf Rochester, Zum Grossadmiral (Münchner Rundfunkorchester); Marcello, La bohème (Oper Leipzig) ADAM LAU Alidoro Bass (San Francisco, CA) DANIEL PELZIG Seattle Opera Debut: Choreographer and Associate Director Makoto Kobayashi, An (New York, NY) American Dream (’15) Seattle Opera Debut: Previously at Seattle Salome (’01) Opera: Kōbun Chino Previously at Seattle Otogawa, The Opera: Rigoletto (’19); (R)evolution of Steve Jobs (’19); Ferrando, The Barber of Seville Il trovatore (’19); The Speaker, The Magic (’17); County Ory (’16) Flute (’17) Recently: Director, Recently: Oroveso, Norma (Utah Opera); Le médecin malgré Basilio, The Barber of Seville (Portland Opera); lui (Odyssey Opera); Director, The Mikado Soloist, Verdi Requiem (Carnegie Hall) (Kentucky Opera); Choreographer, Romeo and Upcoming: Raimondo, Lucia di Lammermoor Juliet (Huntington Theatre) (Lyric Opera of Kansas City); Basilio, The Upcoming: Professor of Theatre and Dance Barber of Seville (Dallas Opera); Soloist, (Boston Conservatory at Berklee); Director, Handel’s Messiah (Carnegie Hall) Holiday Inn (Musical Theatre West); Stage Director, Merrie England (Odyssey Opera)

MATTHEW MARSHALL Lighting Designer (Sydney, Australia) DAN POTRA

Seattle Opera Debut: Production Designer (Sydney, Australia) The Barber of Seville (’17) Seattle Opera Debut: Recently: Athalia, Count Ory (’16) La bohème (Opera Recently: The Australia, Sydney); Misanthrope (Bell Cinderella (Oper Shakespeare); The Leipzig) Adventures of Peter Upcoming: The Turn of the Screw (New Pan, Scrooge the Zealand Opera) Musical (Music Hall Belgium) Upcoming: Beauty and the Beast (Malmö Opera); Brett Whitely (Opera Australia)

18 Seattle Opera 2019/20 Season GARY THOR WEDOW Conductor (LaPorte, IN) Seattle Opera Debut: Giulio Cesare (’07) Previously at Seattle Opera: The Marriage of Figaro (’16); Semele (’15); Don Giovanni (’14) Recently: Semele (Opera Philadelphia); Don Pasquale (Pittsburgh Opera); The Coronation of Poppea (Cincinnati Opera) Upcoming: The Abduction from the Seraglio (Opera Omaha); The Barber of Seville (Utah Opera); Giulio Cesare (Boston Lyric Opera)

Cinderella 19 ARTISTS CONT.

ORCHESTRA

Violin I Eduardo Rios, GIACOMO PUCCINI Concertmaster Mariel Bailey Blayne Barnes Cecilia Poellein Buss MADAMA Timothy Garland, Asst. Concermaster Elizabeth Phelps Clark Story BUTTERFLY Jeannie Wells Yablonsky Violin II OCT 25, 27m, 31, NOV 2, 2019 Kathleen Boyer, Principal KELLER AUDITORIUM Sydney Adedamola Brittany Breeden Artur Girsky, Internationally Asst. Principal acclaimed soprano Caitlin Kelley Hiromi Omura makes her Victoria Parker U.S. debut as Cio-Cio-San. Viola Susan Gulkis Assadi, Principal Timothy Hale, Asst. Principal Aaron Conitz Kayleigh Miller Laura Renz Plan your next opera adventure: Rachel Swerdlow

—MARCH— —MAY— —JUNE— —JULY— ANTONIO A SPECIAL RUGGERO JAKE HEGGIE Cello VIVALDI CONCERT LEONCAVALLO THREE Meeka Quan DiLorenzo, BAJAZET BIG NIGHT PAGLIACCI DECEMBERS Principal Bruce Bailey For tickets, special lodging offers, and dining recommendations, contact [email protected]. Roberta Hansen Downey, Asst. Principal Walter Gray

PORTLANDOPERA.ORG 503.241.1802 Bass Jordan Anderson, Principal Sam Casseday William Langlie-Miletich, Asst. Principal

Flute/Piccolo Jeffrey Barker, Principal Robin Peery

Oboe Ben Hausmann, Principal Stefan Farkas

Clarinet Emil Khudyev, Principal Laura DeLuca

20 Seattle Opera 2019/20 Season Fall Highlights at ORCHESTRA Bassoon MEANY CENTER Luke Fieweger, Principal Dana Jackson Bliss THE PACO DE LUCÍA PROJECT October 29 Horn Mark Robbins, Principal Jonathan Karschney JONATHAN BISS CELEBRATING BEETHOVEN, PART 1 Trumpet November 5 Alexander White, Principal Michael Myers DANISH STRING QUARTET Trombone November 7 Ko-ichiro Yamamoto, Principal PILOBOLUS Fortepiano November 14–16 Philip A. Kelsey JONATHAN BISS Personnel Manager Scott Wilson CELEBRATING BEETHOVEN, PART 2 December 11 Assistant Personnel Manager Keith Higgins JOMAMA JONES Rotating members of the string sections are December 12–14 listed alphabetically.

The Orchestra is composed of members of the Seattle Symphony Orchestra.

CHORUS

Tenor Nathan Barnes Benjamin Cleveland Joel Cummings Andrew Etherington Jon Farmer William Gardner Anthony James Tim Janecke Stephen Wall

Bass/Baritone Michael Dunlap Craig Garretson Craig Grayson Ben Kramer Dierre Lopez Zachary Martin Julian Reisenthel Jonah Spool Revere Taylor TICKETS MEANYCENTER.ORG 206-543-4880

Cinderella 21 CINDERELLA: ANCIENT STORY, GLOBAL TALE By Michelle H. Martin, PhD

When you hear the name Cinderella, do the lyrics “Bibbidi-bobbidi-boo” come to mind, along with doting mice and a kindly fairy godmother? For many viewers the Disneyfication of this folktale has eclipsed its rich global variations, leaving only a weak and toothless residue of these fascinating age-old stories, some of which would make Disney’s fairy godmother blush.

Cinderella tales, according to folklorist and children’s book writer Judy Sierra, “can be found in more parts of the world, told in more languages and in more different ways than any other folktale.” Estimates range from 350 to over 3,000 variants. The Aarne-Thompson index of tale types identifies two main Cinderella structures: one with a jealous and destructive stepmother, which is most familiar to contemporary audiences; and another featuring a father whose incestuous desire for his daughter after the death of her mother motivates the child to flee.

AN ANCIENT CHINESE TALE Folktales emerged from oral tradition, which makes it difficult to identify “the original version” of any tale, but some scholars consider Greece or China the origination point for Cinderella.

Yeh-Hsien (also spelled “Yeh-Shen”), an ancient Chinese Cinderella first published in the Tang dynasty (618–907 CE), exemplifies the first type of Cinderella tale. The protagonist’s mother dies and her father remarries two wives, one of whom also dies and returns as a fish that comforts Yeh-Hsien. Through deceit, the remaining stepmother kills and eats the fish. But a magical being tells Yeh-Hsien to pray to the bones, which grant her riches, such as gold shoes, that enable her to attend the ball—in this story, a cave festival. In the end, Yeh-Hsien marries the prince, and her stepmother and stepsister are “struck by flying stones” and die. As with many folktales, justice for the wicked characters is swift, unforgiving, and final. Yeh-Hsien, an ancient Chinese Cinderella, was first published in the Tang dynasty. THE DONKEY THAT POOPS GOLD COINS Donkeyskin, an example of the alternate Cinderella tale type, was written by the 17th century French aristocrat Charles Perrault (1628– 1703), best known for Tales of Mother Goose (1697). A king obtains his wealth from a donkey that poops gold coins. On her deathbed, the queen makes the king promise to remarry only if he can find a woman more appealing than she… and their daughter is the only one he can find. After attempting to dissuade her father she flees, wearing the skin of her father’s slaughtered magic donkey (hence her nickname). She becomes a scullery maid elsewhere and makes a cake into which she bakes her tiny ring for the prince to find. When other women attempt to fit the ring, one scrapes her finger “as if it were a radish,” another slices off a piece of her finger, and a third uses skin-melting liquid. When only Donkeyskin’s delicate finger fits the ring, she wins the prince. Unlike Yeh-Hsien’s evil stepmother, this lustful, incestuous father avoids death by flying stones. Instead, he sees the error of his ways and attends the wedding. Donkeyskin was written by the 17th century French aristocrat Charles Perrault, who was best known for his Tales of Mother Goose stories.

22 Seattle Opera 2019/20 Season

Cinderella_FullProgram_100919-fixed.indd 22 10/10/19 4:36 PM Robert D. San Souci’s Cendrillon is a Caribbean Cinderella tale which includes many French Creole words and traditions of Martinique.

A GRIMM FABLE German folklorists Jacob (1785–1863) and Wilhelm Grimm (1786–1863) Folktales belong to the public domain and therefore require no collected their own well-known Cinderella variant, Aschenputtel. permissions for reproducing. Widely known, they are perfect for This protagonist gets her nickname from so often being dirtied by spoofing and fracturing. Prince Cinders (1987), for instance, features ashes while tending the fire. Her father gives her a branch from a a scruffy male Cinderella whose big, hairy brothers torment and hazel tree which, when it grows, holds a magic white dove. Cinderella abuse him but get punished by being turned into house fairies. In plants the tree on her mother’s grave and waters it with her tears. Her “Cinderumpelstiltskin” or “The Girl Who Really Blew it,” from John stepmother dumps lentils into the fire’s ashes and says that only once Scieszka and Lane Smith’s The Stinky Cheese Man and Other Fairly they’ve all been picked out can Cinderella attend the ball. Birds help Stupid Tales (1992), Rumplestiltskin shows up while Cinderella is her find the lentils, the white dove provides the dress, and off to the crying about not being able to attend the ball and taunts her to ball she goes—until midnight, when she leaves her gold-covered shoe guess his name. Cinderella can’t be bothered. But when she tells her behind. When the stepdaughters try on the shoe, their mother advises stepmother and stepsisters about the little man, they change her one to cut off her toe and the other a piece of her heel, for, “Once name to Cinderumpelstiltskin. These amusing retellings of Cinderella you’re queen you won’t need to go on foot anymore.” Each time, the comment on popular culture and keep the tales relevant to their doves reveal the fraud. Cinderella’s foot fits perfectly, and, while the audiences. stepsisters attend her wedding, the doves peck out their eyes “so they were punished for their wickedness and malice with blindness for the Nearly every culture in the world has a Cinderella story. In all her rest of their lives.” We tend to think of folktales ending with “happily variations, Cinderella emphasizes the importance of remaining good- ever after,” but that happiness is generally reserved for the good- hearted and patient even in the face of unfair adversity, and, when a hearted. The wicked get their proper comeuppance. magic bird or a fairy godmother fails to intervene, taking the initiative to make the life you seek. As you will see in tonight’s production, GLOBAL INTERPRETATIONS Gioachino Rossini and Jacopo Ferretti remain true to these same Contemporary renditions offer a kinder, gentler sense of justice motifs. and, like their predecessors, comment on their time and culture. For instance, in John Steptoe’s Mufaro’s Beautiful Daughters (1987), a South African version, the prince appears as a little green garden snake before transforming into a handsome brown-skinned young man; and this story emphasizes the importance of respecting elders and sharing what one has with the less fortunate. In Jouanah, a Hmong Cinderella (1996), Jouanah’s mother asks to be turned into a cow because the family cannot survive without one to plow the fields. When the husband remarries, his cow-wife dies of a broken heart. Culturally-specific items like hot rice soup, a bamboo flute, and embroidered clothing give this story a stronger sense of place than many other Cinderella tales have. This is also true of Robert D. San Souci’s Cendrillon (1998), illustrated by Brian Pinkney, a Caribbean Michelle H. Martin is the Beverly Cleary Endowed Professor for Children and Youth Services and Chair of the Master of Library and Information Science version which includes many French Creole words and traditions of Program in the Information School at the University of Washington, where Martinique. she teaches current and future Children’s Services librarians.

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Cinderella_FullProgram_100919-fixed.indd 23 10/10/19 4:36 PM By Jonathan Dean DANDINI, WHO ARE YOU?

LA CENERENTOLA IS CINDERELLA...ALMOST. Rossini’s opera differs from most of the world’s many Cinderella stories because of a few key features: there is no magic, the traditional evil stepmother and fairy godmother are replaced with male counterparts, and the prince identifies Cinderella thanks to a bracelet, not a slipper. And then, of course, there’s Dandini, the prince’s clever and mischievous servant. He isn’t part of the standard Cinderella-story cast list. What is he doing in this opera? He provides a much-needed reality check; while in real life there are people as virtuous as Cenerentola, or as awful as Magnifico, mostly there are people like Dandini.

Dandini owes his inclusion neither to Rossini nor to his credited librettist, Jacopo Ferretti. These two collaborators threw this opera together in a last-minute rush. Rossini owed Rome’s Teatro Valle an opera, which was supposed to premiere on December 26, 1816. Delayed by a new opera for Naples, unpredictable travel, and the ever-interfering censors, Rossini and Ferretti finally chose the Cinderella story as a subject on December 23 and, miraculously, the opera did in fact open on January 25, 1817. Rossini saved time by recycling some music he had composed for other operas and farming out the recitatives (and a couple little arias) to another composer, Luco Agolini. Ferretti saved time by stealing the cast list and scene structure created by French playwright and librettist Charles Guillaume Étienne for Maltese composer Nicolò Isouard, whose French opéra-comique about Cinderella had been a hit in Paris in 1810. (Rossini had enjoyed an Italian

adaptation given in Milan in 1814.) Dandini appears as a servant in this costume drawing by Production Designer Dan Potra.

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Cinderella_FullProgram_100919-fixed.indd 26 10/10/19 4:36 PM Rossini wrote himself into this Cinderella story as the character Dandini.

Dandini’s name and plot function thus opera’s highlights, a welcome bit of Barber of mezzo-soprano in the title role to steal this originate with Étienne. But Étienne’s Dandini Seville-style zaniness sandwiched between opera back from him. It’s up to the singer is little more than a decoy for the prince; more sentimental numbers sung by the playing Cenerentola to remind us that the he’s a costume, not a character, and has no lovers. opera’s subtitle is “Goodness Triumphant.” personality to speak of. In Nicolò Isouard’s She provides the idealism, Dandini the reality. 1810 opera, Dandini barely sings. With Dandini, Rossini wrote himself into this And as for Rossini, I think the gourmand/ beloved old story. Dandini’s sparkle and wit, composer just hopes we’ll savor the delicious DANDINI, ROSSINI’S ALTER EGO his irrepressible élan (enthusiastic verve), feast he has cooked up for us. The Dandini you’ll meet in this show, on his infectious joie de vivre, are the essence the other hand, has personality in excess. of Rossini. (Why does the French language This outrageous character all but stops the have more words for this spirit than either show with his over-the-top entrance aria— English or Italian? If there's an answer, it may a ludicrous parody of "noble" poise, diction, also explain why Rossini eventually left Italy carriage, and elaborate coloratura—enacted and lived the rest of his life in Paris!) Like by a cheeky underling who can’t resist this Dandini, Rossini came from humble origins once-in-a-lifetime opportunity to mock the but had to behave as though he belonged WHY NO FEMALE upper crust. As in Étienne, he’s there as a among the rich and powerful. Like Dandini,

decoy, to prove that Clorinda and Tisbe are Rossini was no saint. Whereas Giuseppe Verdi CHORUS MEMBERS? attracted only by the trappings of nobility, stuck it out in Italy through the chaotic wars There was no female chorus at the while Cenerentola/Cinderella recognizes its of Italian unification, helping forge a nation Teatro Valle for the opera season essence in the disguised Ramiro. and becoming a national hero for his efforts, of 1816/17, so Rossini wrote only for Rossini was enjoying life up in Paris, “living tenor and bass. Director Lindy Hume But Dandini is so charming and delightful, large,” as they say. In retirement, Rossini has chosen to add female characters, Rossini and Ferretti kept him around for became well-known as a gourmand (that’s played by the male chorus, to this later scenes where, honestly, he doesn’t like a glutton, only wealthier). Dandini speaks production as part of her interpretation. have all that much to do. Instead, he ends up for Rossini in the Act One finale when, first “In Victorian England, women and addressing the audience directly, sometimes catching a glimpse of all the food at the feast, men played important roles in the making sarcastic comments about the show; he sings, "Since I’m playing the Prince today, aristocracy households, as well as, he becomes a cross between a fourth-wall- I’ll eat enough for four!” obviously, in the population as a breaking Harlequin and The Muppet Show’s whole. It doesn't make sense that they Statler & Waldorf. The story doesn’t really Rossini’s first biographer, the French novelist wouldn't be represented here,” Hume need the scene in which Dandini torments the Stendhal, complained that La Cenerentola says. As a result, some of the female foolish, wicked Don Magnifico by stringing lacked idealism. But another way of saying characters in this production are sung him along and then bursting his bubble; that might be, the character of Dandini by men. but their ridiculous buffo duet is one of the rings so true, it requires a truly spectacular

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Cinderella_FullProgram_100919-fixed.indd 27 10/10/19 4:36 PM Photo © Amy Fae Photography

THREE SINGING SISTERS sibling revelry SATURDAY, NOVEMBER 2 7:30 PM MCCAW HALL

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Cinderella_FullProgram_100919-fixed.indd 28 10/10/19 4:36 PM THREE SINGING SISTERS

FEATURING Ginger Costa-Jackson, Mezzo-Soprano Marina Costa-Jackson, Soprano Miriam Costa-Jackson, Soprano John Keene, Piano

Program to include selections from: OPERA La bohème Carmen The Tales of Hoffmann Lakmé Samson et Dalila La traviata

MUSICAL THEATER Les Misérables West Side Story Carousel My Fair Lady

NEAPOLITAN AND FAVORITE ITALIAN SONGS “Mamma son tanto felice” “Non ti scordar di me” “Santa Lucia” “Funiculi Funicula” “O sole mio”

Tickets are still available for this concert. SEATTLEOPERA.ORG/SINGINGSISTERS

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Cinderella_FullProgram_100919-fixed.indd 29 10/10/19 4:36 PM CONCERT ARTISTS GINGER COSTA-JACKSON MEZZO-SOPRANO (PALERMO, SICILY)

Seattle Opera Debut: Dorabella, Così fan tutte (’18) Previously at Seattle Opera: Carmen, Carmen (‘19) , Cinderella, Cinderella ('19) Recently: Rosina, The Barber of Seville (Opévra de Toulon); Carmen, Carmen (New National Theatre Tokyo); Maddalena, Rigoletto (LA Opera) Upcoming: Cherubino, The Marriage of Figaro (La Monnaie); Despina, Così fan tutte (Opéra National de Paris); Musetta, La bohème (Seattle Opera)

MARINA COSTA-JACKSON SOPRANO (LAS VEGAS, NV)

Seattle Opera Debut: Fiordiligi, Così fan tutte (’18) Recently: Desdemona, Otello (Savonlinna Opera Festival); Elisabetta, Don Carlo (Grange Park Opera); Mimì, La bohème (LA Opera) Upcoming: Amelia, Simon Boccanegra (Washington Concert Opera); Nedda, Pagliacci (Michigan Opera Theater); Mimì, La bohème (Opéra National de Paris)

MIRIAM COSTA-JACKSON SOPRANO (LAS VEGAS, NV)

Seattle Opera Debut: Cinderella (’19) Recently: Micaëla, Carmen (Phoenicia Festival of the Voice); Queen of the Night, The Magic Flute (Brigham Young University)

JOHN KEENE PIANO (LANCASTER, PA)

Seattle Opera Debut: Chorusmaster, Fidelio (’12) Previously at Seattle: Chorusmaster, Rigoletto (’19), Carmen (’19), The (R)evolution of Steve Jobs (’19) Upcoming: Chorusmaster, Eugene Onegin, La bohème (Seattle Opera); Judge, Metropolitan Opera National Council Auditions

DAN WALLACE MILLER STAGE DIRECTOR (SEATTLE, WA)

Seattle Opera Debut: The Combat (’17) Previously at Seattle: Opera: Stage Director, Il trovatore (’19); Assistant Director, The (R)evolution of Steve Jobs (’19), Carmen (’19) Recently: Director, Carmen (Kentucky Opera); Director, Apprentice Artists Scenes Program (Central City Opera); Director, Il Trovatore (Seattle Opera) Upcoming: Director, Don Giovanni (Opera Naples)

3028 Seattle Opera 2019/20 Season

Cinderella_FullProgram_100919-fixed.indd 30 10/10/19 4:36 PM Tonight, enjoy art on the stage. Tomorrow come find art for your floor!

EAP full-page template.indd 1 9/26/18 2:18 PM SEATTLE OPERA STAFF CHRISTINA SCHEPPELMANN, GENERAL DIRECTOR

Alejandra Valarino Boyer Kristina Murti Jane Repensek Director of Programs Director of Marketing and Chief Financial Officer/ and Partnerships Communications Chief Operations Officer Aren Der Hacopian Doug Provost Nancy Del Villar Vivé Director of Artistic Director of Production Director of Human Resources Administration and Planning Allison Rabbitt Director of Development

ADMINISTRATION Matt Lider SALES AND SERVICES Laura Girardot, Caton Hamrick, PROGRAMS AND Individual Giving Officer Kate Hartman, Rose Hope, Becky Michelle M. Carrasquillo Dominica Myers Kaufman, Emma Lodgard, Amara PARTNERSHIPS Stephanie Matsunaga Associate Director of Marketing, Associate Director of Madeo, Yoko Niendorf, Abby Oster Rachelle Adams Administration Development Operations Sales and Services Coordinator Stitchers Operations Manager Gregory Schell Cheyenne Smith Naomi André Tosha Mayo Ticket Operations Manager ARTISTIC Development Coordinator Craftsperson Scholar in Residence Kristin McCarthy Mary Brazeau Carrie Steficek T.J. Callahan Artistic Administration Manager Erica McIntyre Audience Services Manager Development Operations Manager Wardrobe Head Programs Communications Corrie Yadon Meggie Watson Christy Kazimour Coordinator Associate Director of Artistic Catherine Merlo Patron Experience Manager Sr. Individual Giving Officer Assistant Wardrobe Head Courtney Clark Planning Debra McKinney Scott Arend, Scott Gray, Mark School Programs Manager Jonathan Dean Anna Nolan Group Sales Coordinator Institutional Giving Associate Sanchez, Charley Trowbridge, Sara Litchfield Dramaturg Katrina Finder, Alexander Hawker Jenn Oaster, Keri Young Youth & Family Programs Manager Paula Podemski Ahana Sen Audience Services Lead Wardrobe Attendants Stewardship and Events Associate Lokela Alexander Minami Company Manager Erin Buck, Yoojeong Cho, Katrina HAIR AND MAKEUP Community Engagement Manager Emmy Ulmer Isabel Thomas Fasulo, Leonie Fogle, Shelly Traverse, Research and Database Manager Liesl Alice Gatcheco Britney Schroeder Titlist Emma Wahl, Cassie Willock Production Manager, Community Audience Services Representatives Hair and Makeup Manager MUSIC Caroline Webb Projects Stewardship and Events Manager DIRECT SALES Ashlee Naegle John Keene Wig Master Stephanie Sintef Ed Boyd Tour & Productions Coordinator Head of Music Staff and Julia Wing-Krafft FINANCE Direct Sales Manager Chorusmaster Wig Assistant Miriam Anderson, Courtney-Savali Marissa Betz-Zall Megan Bailey Andrews, Jessica Andrews, Andrew Philip A. Kelsey Ashlee Naegle Associate Director of Finance Direct Sales Assistant R. Coopman, Li-Cheng Hung, Kayla Assistant Conductor Lead Principal Hair and Randee Byrd Johnson, Chelsea LeValley, Debra David McDade Mary Hobbs Makeup Artist Payroll Manager Senior Account Representative McKinney, Christine Menschner, Head of Coach-Accompanists Calli Dey, Trisha Partida, Julia Wing- Kathryn Van Meter, Erin Murphy, Victoria Campbell Jay Rozendaal Angie Bolivar, Virginia Jackson, Krafft Rachel Nofziger, Melissa Plagemann, Accounts Payable/Receivable Coach-Accompanist/Orchestra Dorothea Kopta, Cheryl Nance, Principal Makeup Artists Tasha Smith, Kristen Swenson, Ta Wei Associate Claudio Remirez, Gail Sage, Albert Librarian Anne McGowan, Allegra Rege, Tsai, James Walters, Lyndee White, Lindsey O’Connor Sanders, Toni Zeigler Emily Cabaniss Terry Wright Cassandra Willock Senior Accountant Account Representatives Company Librarian/Archivist and Hair and Makeup Artists Teaching Artists Music Associate Trevor Torres Cheryl del Rosario Lavarias Payroll Assistant Stephen Wall PRODUCTION Hair and Makeup Assistant Principals, stage directors, choristers, Chorus Personnel Coordinator FACILITIES Russell Crosbie STAGE CREW stage managers, assistant stage Beth Kirchhoff Todd Clark Technical Director managers, and assistant directors Charles T. Buck employed in this production are Chorusmaster Emeritus Facilities Manager Alicia Moriarty Master Stage Carpenter Assistant Production Director members of the American Guild of STAGE MANAGEMENT Mark Nebel Jason Balter, Bruce Warshaw Musical Artists AFL-CIO. Facilities Coordinator Yasmine Kiss Connie Yun Assistant Master Stage Carpenters Assistant Lighting Designer The musicians are represented by Production Stage Manager INFORMATION SYSTEMS Justin Loyd the Seattle Symphony and Opera Catherine Costanzo, Iain Quigley Maria Sasse Head Flyman Players’ Organization, a Chapter of Assistant Production Manager Julianna Brei-Crawley Desktop User Support Technician Adam Lantz, Matthew Lint, the International Guild of Symphony, Opera, and Ballet Musicians. Assistant Stage Managers Stuart McLeod Chris Reay Robert Millard, Jason Wagoner Teresa Micheletti SQL Developer and Projection Coordinator Assistant Stage Carpenters Scenery construction and stage crew Production Assistant CRM Administrator COSTUMES Jim Nash work is performed by employees represented by I.A.T.S.E., Local #15. Susan I. Davis Master Electrician Costume Director Martin Cunningham Costume and wardrobe work is DEVELOPMENT MARKETING AND performed by employees represented Heidi Zamora Assistant Master Electrician Hong Chhuor COMMUNICATIONS by I.A.T.S.E., Local #887. Costume Show Manager, Design Associate Director of Development Brittany Rall Molly Brindley, Chris Dimoff, Coordinator Jim Gable Scenic artists and hair/makeup Chris Burkett Associate Director of Marketing work is performed by employees Ieva Ohaks Assistant Electricians Individual Giving Officer Arryn Davis represented by I.A.T.S.E., Local #488. Costume Rental-Stock Coordinator Chris Reay Julia Curns-Welch Marketing Coordinator Hannah Tyo A/V Supervisor Institutional Giving Officer Gabrielle Nomura Gainor Costume Assistant Hannah Fenske Caitlyn Davis Communications and Public Properties Master Stewardship and Events Associate Engagement Manager Denise Barry Lead Cutter Glenn Hare Sandy Burke Senior Communications Manager Miriam Goodman-Miller Assistant Properties Master Crafts Supervisor Ed Hawkins Petrude W. Olds Jr. Marketing Manager/Copywriter Shanna Sincell Assistant Properties Cutter Larisa Melkumova Candy Solie Graphic Designer Cynthia Abbott, Kim Dancy Lightboard Operator First Hands Erika Norris Jack Burke Web Producer Master Sound Technician Meg Stoltz Digital Marketing Manager

30 Seattle Opera 2019/20 Season STAFF CHAT: TIM BUCK

DO YOU REMEMBER YOUR FIRST WHAT ARE SOME OF THE HIGH POINTS THEATER EXPERIENCES? OF YOUR CAREER AT SEATTLE OPERA? I acted in high school. I was a male lead in The Ring cycle that launched in 2000 was Feiffer’s People, one of the brothers in the Super Bowl of opera for me. From Arsenic and Old Lace, and the Stage concept to execution, it was definitely a Manager (Narrator) in Our Town. I did five high point. There were numerous special shows probably, all in the 11th and 12th effects, likes the flying of the Rhine grades. I’m not sure if I was any good. daughters, Brünnhilde’s cliff fire, and the Honestly, I didn’t like memorizing lines. big elevator at the end when they travel to Valhalla. IS THAT THE REASON YOU FOCUSED ON WORKING BACKSTAGE? Parsifal (2003) was another high point. The 62-foot tower practically disappeared I sort of fell into it, really. After I got out from the stage; it collapsed into the of the army, I was adrift like many people stage floor in less than two seconds. when they get out of the army. I went to It was amazing—a triumph, especially Eastern Washington University to study considering that most of the effects hadn’t chemistry. One day, I was walking through been done before. © Philip Newton the Theatre and Film Department when a guy asked if I was interested in theater. I told him that I’d done a little bit of acting in WHAT FILMS DID YOU WORK ON? I was a member of the special effects team Tim Buck has worked high school, but it was no big deal. He said and gaffer on Always, a film by Steven I could get a stipend if I studied theater. It at Seattle Opera since Spielberg, and the second Die Hard film wasn’t much money, I think $30 a month. starring Bruce Willis—Die Harder. I had 1990. As our Master Eventually, I changed majors and studied good time on that film. In one shot, we technical theater. I worked at several large Stage Carpenter, he leads were simulating a fight scene on the wing theaters after graduating. I did a few films of a 747 jet. We were filming at night, and our set construction, for Warner Brothers Studios and I worked the special effects supervisor asked me at Seattle Rep for a short time. I also went stage operations, and to make the wing vibrate. I walked out to back to school and earned a master’s in the edge of the wing and start jumping set maintenance teams. technical theater. Tim’s passion for theater up and down on it to make it move as the HOW WOULD YOU DESCRIBE YOUR plane rolled down the runway. In another started as a teenager JOB? shot, I had to remove a door from the jet fuselage. A guy from the Federal Aviation I like to put it this way: Building sets is kind in Idaho and Eastern Administration got really upset. He said of like putting together jigsaw puzzles. I wasn’t certified to do that. After we Washington State. Since The difference is that the pieces come in finished the shot, we had to get a certified 53-foot trailers, and some of the pieces then his career has taken mechanic from Boeing to put the door weigh thousands of pounds. him to theaters all over back on. the country, to major WHAT ARE KEYS TO YOUR SUCCESS film locations, and to the AND LONGEVITY AT SEATTLE OPERA? One of the big reasons this company has backstage of McCaw Hall. been so successful over the years—at least from a technical aspect—is that we have the best stage crew that I’ve ever seen anywhere. I’m always amazed at what they can do. I’ve been to a lot of theaters— Chicago, LA, Miami, Calgary, Melbourne, Tel Aviv. There is more talent here than any place in the world.

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Cinderella_FullProgram_100919-fixed.indd 33 10/10/19 4:36 PM SEATTLE OPERA INDIVIDUAL DONORS Seattle Opera is incredibly grateful for your donor support—as an investor in our season of programs, you make our community a better place to live, work, learn, and enjoy. Thank you!

The list below reflects Annual Fund donors at the Jade level and higher ($1,500 and more) beginning July 1, 2018 through August 16, 2019.

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$500,000 + In Memory of Karyl Winn

$250,000–$499,999 Lenore Hanauer • Brian Marks and Carol Maione • Barbara Stephanus • Ann P. Wyckoff

$100,000–$249,999 Anonymous ^ • Tagney Jones Family Fund at Seattle Foundation • James and Sherry Raisbeck ^

PLATINUM CIRCLE

GOLD $50,000–$99,999 Anonymous (2) • Chap and Eve Alvord • Toby Bright and Nancy Ward ^ • Estate of I. Sharon Bunnell ^ • Estate of Natalie Gendler ^ • Gary and Parul Houlahan • Gene and Jean Stark • John Sullivan and Paula Stokes • Jay and Susanne Wakefield ^

SILVER $25,000–$49,999 Anonymous (3) • Warren and Anne Anderson • Marshall and Jane Brown † ^ • Susan Buske • David and Linda Cornfield • Susan M. Coughlin and John K Lauber † • Christopher and Carolyn Eagan † • Richard and Mary Beth Gemperle ^ • Eric Hawley and Gwen Lowery • Adrian and Jane “Seattle Opera has been there for me since the Hobden • Dr. Kennan Hollingsworth ^ • Geraldine Lindsey and Don Froomer • Mr. Everil Loyd, Jr. ^ • beginning of my professional career. As I was Bruce R. McCaw Family Foundation • Tom McQuaid ^ • Brendan Murphy • Erika Nesholm • John F. and transitioning out of the young artist world, Seattle Laurel Nesholm ^ • Kirsten Nesholm • Bill and Sally Neukom • Jeff and Martha Sherman • Estate of Opera reached out and took a chance on me. We Marion G. Stamper ^ started small and grew from there. Each role helped BRONZE $15,000–$24,999 Anonymous (2) ^ • John Bates and Carolyn Corvi • to expand my vocal and dramatic skills. I’m so The late Eileen M. Birge • Jack and Connie Bloxom ^ grateful for the opportunities the company has • Dr. Susan E. Detweiler and the late Dr. Alexander Clowes ^ • Janice C. Condit ^ • James and Wendy given me.” —Adam Lau, Bass Cullen ^ • Sandra B. Dunn • Paul Goodrich and Shannon Sperry • Jeffrey and Rosario Hanna ^ • Mr. and Mrs. Richard C. Hedreen • Victoria Ivarsson Kreager ^ • Frances J. Kwapil ^ • Winnie and Ven T. Swisher ^ • Beryl A. Thompson ^ • Hans van der • Dr. Brian A. LaMacchia • Gavin Lambie • Anne M. Lee • Laura Lundgren • Marcella McCaffray • Sarah Velden • Raleigh Watts ^ Redman ^ • Dr. Lupe Salazar and Barry Bolding • Navarre ^ • Steven C. Phelps ^ • Warren Bakken Dr. Jay D. Sprenger with Stephen A. Sprenger • Judy and Jocelyn Phillips • Stella and Christopher Ray EMERALD $5,000–$7,499 Tsou and David Carlson • Sally Anne West • Jonathan Rosoff and Kristin Winkel  • Eric and Anonymous (7) ^ • Pamela and the late Dr. Harold Margaret Rothchild • Matthew Segal and Corrie Amoss  • Kim A. Anderson • Kathy Andeway • CROWN DONOR SOCIETY Greene • John Starbard ^ • Russell F. and Sarah M. Martha K. Bargren • Joshua and Megan Barnard • Tousley ^ • Jim and Camille Uhlir • Moya Vazquez ^ • Ralph and Catherine Bauman • Lynly Beard • Sheryl DIAMOND $10,000–$14,999 Joan and the late Craig Watjen • Susan Winokur and and Ross Beirne • John and Joyce Bozeat • Gary Anonymous ^ • Mr. and Mrs. Willie C. Aikens † • Paul Leach • Virginia and the late Bagley Wright • Bromberg  • Bonnie Daniels and the late Brian Richard R. and Constance Albrecht • Linda and Tom Scott and Jenny Wyatt Bross • Melanie A. Burton • Cy and Kathleen Butler Allen ^ • Paula Begoun • Milkana and Colin Brace • Joe and Dorothy Canavan • Jonathan Caves and • William B. and Ann S. Burstiner ^ • Drs. Darlene SAPPHIRE $7,500–$9,999 Patricia Blaise-Caves • Gerry & Fran Conley • Dow and Gregory Chan ^ • Susan and Alfred Chandler • Anonymous (2) • James and Carol Bowditch • Brenda Constantine and Shirley Carlson † • Sandra and Theodore and Patricia Collins • Charles and Sandra Bruns, M.D. • Marc D. and Maria Erlitz • Dr. Martin L. Richard Counts • Collett Cox and William Arraj • The Cossé ^ • John Delo and Elizabeth Stokes ^ • Tim Greene and Kathleen Wright ^ • Drs. Mary and late Norma Cugini • Marc and Maud Daudon • The Dreyling • Robert Fries and Debra Dahlen • Leslie Marvin Hoffert • John and Pamela Jolley • Rebecca late Jane and David R. Davis • Suzanne DeWitt and Giblett ^ • John Goodfellow • Dave and Cheryl and Laird Malamed • Dale and Shirley Martin • David Ari Steinberg • David and Helén Dichek • Michael G. Hadley • Hylton and Lawrence Hard • Ann and Glen Mattson ^ • Karen Rose Mitchell • Mary and D. Pat Dryfoos and Ilga Jansons ^ • Kenneth Duncan and Hiner • J. Marilyn Holstad ^ • Michael and Zhenya Patterson • Mary Pigott • Judy and Lellius Rose Tanya Parish • Lois Gamble Duncan and the late Hyman • Bruce E.H. Johnson and Sandra E. Davis • • Janet and Thomas Seery • Mr. and Mrs. James George Rolfe • Kristina M. Erickson • Bernard Evans Marshall and Kelly Johnson • The late Betty Jane Solimano • Rose M. Southall ^ • Donald and Gloria and the late Martha Himber • Adam and Emily

32 Seattle Opera 2019/20 Season Fountain • Diana Gale and Jerry Hillis ^ • Phyllis Golden • Paul and Becky Haley • In honor of Adina Meyer † • Jenny Hartley ^ • Peter D. Hiatt • Connie and Dan Hungate • Jeanne Kanach • Gilla Kaplan • H. David Kaplan ^ • Jon and Eva LaFollette • Aidan Lang and Linda Kitchen • Jay and Linda Lapin • Carla and Don Lewis • Anamaria Lloyd • Kathleen Lofstedt and Susan Lofstedt • Kerry Lowery • Jon Magnussen • Paul and Yaffa Maritz • William B. Maschmeier and Patricia Haggerty ^ • Peter A. Mathisen • Terry McCarthy • Sarah McCoy and Jim Buchanan  ^ • Mr. and Mrs. Dean A. McManus • Dolly and Dave Milkowski • Stafford and Louise Miller • Richard Mills and Karen Covington • Egon and the late Laina Molbak • Sue Montgomery • Christopher L. Myers and Judith Schoenecker ^ • John W. Nemanich, M.D. and Ellendee Pepper, M.D. ^ • Ralph and Wanda Nuxoll ^ • Diana C. and Angela C. Oberti • Drs. Lester and Keiko Permut • Barbara B. Peterson • Carolyn J. Purnell and Wes C. Uhlman • Alice and Dick Rapasky • Dana Rasmussen ^ • Braiden Rex-Johnson and Spencer A. Johnson ^ • Nicholas Roberts and Yvonne Chang • Joy Rogers and Bob Parker • Cornelius and Penny Rosse † ^ • Paul L. Rowe and R. Michael Sereno • Peggy Savlov • Mr. and Mrs. Frederick B. Scheetz • Jean E. Schweitzer • Carolann and Gary Steinhoff • Jane Stevens ^ • Charles and Delphine Stevens • Howard and Vivienne Strickler • R. Patton Swaim • Pamela and Ronald Taylor • Jennifer Thill • Thomas and Lisa Tocher • Terrence Turner • Vilma Vojta • Dr. and Mrs. Mike Waring • Bill and Carol Warren ^ • Ruth and Todd Warren • David and Romayne Watt • Norman Weeks • Julie Wieringa ^ • Kathryn Williams • Mary A. and David L. Williams • Jeff Wood and Diane Summerhays • Jerry and Nancy Worsham

FRIENDS OF SEATTLE OPERA

RUBY $3,000–$4,999 Anonymous (7) • Ignacio Alvarado  • Jere L. Bacharach and Barbara Fudge • Dr. Aaron Barnes • Peter Barrett • Peter and Jane Barrett • Jillian Barron and Jonas Simonis • Barbara G. Bedell • Mr. Arnold and Mrs. Judith Bendich • Rebecca Black • Molly Bostic and Mark Reiners • Rebecca Boyd  • Beverly and the late Phillip Brazeau • Thomas and Virginia Brewer • Alec and Maddy Brindle • Dr. Boyce Burdick • Betty R. Carter ^ • Leslie Chihuly • Heinke Clark ^ • Carol and Carl Corbin ^ • James Crouse and Lee Oatey-Crouse • Rachel Crum • Laurie and William Daniel ^ • Pearline Davis • Peter DeLuca • Steve and Sandy Driscoll • Michael Emanuel & Heather Danso • Laura and Robert Emmerichs • Judith Z. Feigin and Colin Faulkner • Jack and Marsha Firestone ^ • Steve and Susan Ford • Jim Fox • Alan and Linda Freyd • Donald and Ann Frothingham • Cheryl Gagne • Ruth Gerberding • Brian and Lynn Grant • Richard H. Haase • Catherine NOV 7 – DEC 29 and Samuel Hardy • Dr. and Mrs. Fred I. Hasegawa • Catherine Hayes • Terrill and Jennifer Hendrickson Issaquah (425) 392-2202 • Eileen Hershberg • B. Lane Hill • Michael R. Huber 2019-2020 SEASON and Danielle E. LaVilla ^ • Dr. Gary and Janice Hudak • T Jeffrey Keane and Martha J Noerr • Daniel Kerlee JAN 3 – FEB 2 and Carol Wollenberg • Ed Kim • Michael Klein and 4 SHOW Catherine Melfi • Alyssa Kreider • Eric and Janice Everett (425) 257-8600 Lamers ^ • Don and Kristi Larson • Frank Lawley • SUBSCRIPTIONS Jeanne Marie and the late Rhoady Lee • Andrea C. NOW AVAILABLE Lewis • Lex Lindsey and Lynn Manley • Stephen VillageTheatre.org Lordon • Robert & Tammie Mack • Fowler Martin GUYS & DOLLS and Barbara Warren • Steve and Estela Martinez SHE LOVES ME HANSEL & GRETL & HEIDI & GÜNTER † = Donor to Programs and Partnerships = Opera Star Monthly Donor THE WEDDING SINGER SPONSORED IN PART BY ^ = Encore Society Member

Cinderella 33 INDIVIDUAL DONORS CONT.

• BarbaraENC J. Mauer INDIVIDUAL • Dorothy E. McBride • Steven McCarty • Diane McDade • Gunda and Uwe Meissner • Greg Meldahl ^DONORS • Susan and Furman LIST Moseley • Beth Naczkowski • Diana Neely • Sharon L. Nelson • Susan and Gary Neumann • Lev and Isabella Novik • Gordon H. Orians • Joan Ostendorff • Estate of Helen A. Overton ^ • Tomas Perez • Dr. Mary Lee Peters • Shane and Janet Peterson • Megan and Greg Pursell  ^ • Catherine Ramsey and Thomas Ball • Chris Randall • Buddy Ratner and Cheryl Cromer-Ratner • Dennis Reichenbach • Christopher and Jennifer Roberts • Koryn Rolstad • Ivan and Helen Rouzanov • Ronald and Susan Runyon • Marguerite Russell † • Irwin Sarason, in memory of Barbara Sarason ^ • Eckhard Schipull • Dr. Anita Shaffer • Christopher and Cameron Snow • Yana Solovyeva and Igor Zverev • Ronald and Dawnelle Spaulding • Cindy and Peter Sprenger  • Anne Steele • Joan Underwood • Manijeh Vail • George and Jean Wagner • Barbara and John Ward • Katherine and Rob Watson • Christian and Joyce Zobel

JADE $1,500–$2,999 Anonymous (16) ^ • Alberda Family • Elena Aleksandrova-Perelman † • Robert and Ali Alexander • Paul and Karin Allen • Hemda Arad • In Memory of Robert L. Autrey  • Phillip Baldwin and Layne Goldsmith • Redmond J. and Suzanne Wilson Barnett • Michael Barras • Evelyn and Richard Bateman • Barbara Beatty • Cheryle Beighle and Stephen Schroeder • Alan and Sherry Bennett • Jason Bergevin and Kelly Abner • Lisa E. Bergman and David L. Fluharty • Ellen Bierman • Joseph Borden and Sara Marks • J. Cleve and Judith Borth • Anitra Breit • Stephen Brenner • Bonita and David Brewer • Marilyn Brockman • Lindsay Brown and David Zapolsky • Julia Buck and BJ Last • Lydia Budak and Bruce Kincy • Carl Bunje and Patricia Costello • R K Burk and Meg Murch • Kent R. Burnham  • Irene Campbell • Jeanne and Jon Cantalini • Elizabeth and Spark Corwin • Greg and Regina Crumbaker • Robert Cumbow • Bob and Wendy Darby • Corey Darlington • Mary Dickinson • Clint Diener and Diane Lasko • Blair and Laura Dillaway • Corinne Dixon • Johanna and Bill Dock  • Aileen Dong • Nicholas Dorman and Allison Rabbitt ^ • Patricia Dubrow † ^ • Glenn and MUSIC BY ZACH REDLER | LIBRETTO BY JERRE DYE Bertha Eades  • Joan Eklof • Russell Elliott †  • K. Carole and the late William Ellison • John Erickson • Harlan Falkin • Charles and Rose Ann Finkel • Robert Fisher • Gerald B. Folland • Ernest and Elizabeth Scott Frankenberg ^ • Jim Fridley and A CHAMBER OPERA Elaine Scott • Sonia Gabrielson • Dr. and Mrs. Robert Tracing the inner journey of a comatose Performed in English Gibbons ^ • Dr. Charles Simrell and Deborah soldier after she suffers a roadside attack, Evenings 7:30 PM Giles • Adam Goldin • Kristopher K. Gould • Allen and Carol Gown • Janet Graeber • Lyn and Jerry The Falling and the Rising is an operatic story Sundays 2:00 PM Grinstein • Karlie and Christopher Gross • Richard of service and sacrifice. As the soldier moves and K. Diane Haelsig • Kristina Haight  • Catherine through her unconscious dreamscape, the Haley • Dr. M. Elizabeth Halloran • Steven T. Haney • The Falling and the Rising audience will serve as both companion and Wolfram and Linda Hansis • William Harleston and is a new American opera witness, sharing powerful encounters with Coral Hanevold • Gini Harmon ^ • Dr. H. Hasche- conceived by the U.S. Army Kluender and H. Shahri • Janice Hayes  • Roger fellow service members along the way. Field Band and Soldiers’ Hensley • Ms. Jean Large and Mr. Fred Herzberg •

Chorus. Drs. Raquel and Russell Hicks • Andrew & Delney Originally created from interviews with Hilen • Jana C. Hollingsworth • Dr. and Mrs. William active-duty soldiers and veterans, the opera B. Hood, Jr. • William Hoppin ^ • Rick and Carole serves as an ode to American soldiers, shining TAGNEY JONES HALL Horwitz • Gerald and Gladys Hoshijo • Mr. and Mrs. Robert L. Houston III • Lembhard G. Howell • a light on their often untold stories. The AT THE OPERA CENTER intimate production will be the first presented 206.389.7676 in the new 200-seat glass box space at the SEATTLEOPERA.ORG/RISING Opera Center. † = Donor to Programs and Partnerships = Opera Star Monthly Donor ^ = Encore Society Member

3436 Seattle Opera 2019/20 Season

Cinderella_FullProgram_100919-fixed.indd 36 10/10/19 4:36 PM Kathleen Huckabay • Pamela Hughes and Robert Munoz • Bruce and Judy Hutchison • Donald Immerwahr • John and Annick Impert • Darrell and the late Ruth Jackson • Renan Jeffereis and Gail Kaminishi • Warren and Mary Jane Jessop • Mark J. Johnson • Allan and Miriam Johnston • Ken and Karen Jones • Paul and Pat Kaald • Michael and Nancy Kappelman • Donna G. Kaufman • Travis and Suzanne Keeler • Margaret Keenan • Nancy J. King • Dan and Pat Kinney • Maritta Ko † • Albert and Elizabeth Kobayashi • Christopher Kodama • Karen Koon • Laura and Scott Kosinski • Kathy Kreps • Melissa Lattimore • Barbara Laughlin • M. Adler and M. Lebas • Margaret Leiberton and Dr. R. Venkatesan • Nancy K. Lennstrom • Mr. & Mrs. Alan Levy • Henry Li • Thomas Edwin Long • Mark P. Lutz • Jim Lyle • Duncan Maclean • Edith Maffeo ^ • Todd Martin • Jim Martinek • Kathryn McAuley • Judy McBroom • D. P. M. McCann • David McClure ^ • Dr. John and Susie McFatridge • Mr. and Mrs. James P. McGough • James and Karen Mhyre • Ann H. Milam † ^ • Barbara and Jim Miller • Ronald E. Miller and Murl G. Barker • Connie Missimer Carlson • Paul and Elizabeth Mitchell • David Monteith • Meg and David Mourning • Don and Lynn Murphy • James and Pamela Murray • Eunice Nakao and Roy Tribelhorn ^ • Linda and J. Patrick Naughton • Lois H. North • Pamela A. Okano ^ • Mark and Leslie Olson • John W. O’Meara • Elmer Pacardo • Soo Park and Jeff Rosenfeld • Nancy Peacock • Kathryn Pearson • Martha Pendergast • Donald Pogoloff  • Lynda and Dan Porter  • Jack and Carolynn Prelutsky • Tom and Gretchen Puentes • Jeffery and Paula Pyatt • K. Carolyn Ramamurti • Judith Ramey • Russell and Julia Reid • Steven and Fredrica Rice • Lucy Richard • Dr. Alex and Mr. Bruce A. Ritzen • Bonnie and the late Richard Robbins • Richard and Nancy Monet, Renoir, Degas, Robblee • Paul and Mary Ann Roberts • Robert and Eleanor Roemer • Darcy Roennfeldt • Joanna Ryan and Rebecca Ross • Jesse S.  • Carl Sanders and Their Circle • Ruth and Garry Schneider • Judith and Joseph Schocken • Nancy Scurlock and Tracey Yonick • Janet Sears  ^ • Virginia Senear and the late Allen Senear ^ • Christine Seyfried and William Catterall French Impressionism • Kathlyn Shaw • Suzanne Sheppard • Alison Shuler • Bernard and Susan Silbernagel • Don and Goldie and the Northwest Silverman • Susan Simons • Novae Simper • Chuck Sitkin • Douglas Smith and Stephanie Ellis-Smith • Evelyn and Leroy Smith • Sarah Soutter • David and Jannie Spain • Alan and Bonnie Steele • Sheila and Craig Sternberg • Lisa and John Stewart • Paula Stewart • Charles and Susan Stillman • Philip R. Stoller • Bert Sullam  • Kristina Susser • Herschel Tabiando • Marvin Theimer • Theresa T. Thoman • Tamlyn P. Thomas  • Ian L. Thompson, M.D. ^ • Mary Anne Thorbeck • Patricia Thorpe • Patricia Torode • Nanette Toyoshima • John and Anne Trench  • Evelyn M. Troughton ^ • Harold and Tish Tukey • Dave and Stephanie Twigg • Marjorie and Thomas Tyler • Mr. and Mrs. Stanley W. Vail • Alice and Bill Van Pelt  • Betty L. Wagner ^ • Cynthia Walk • Mary and Findlay Wallace • John G. Wallace • Estate of Herbert Warrick ^ • Judith Warshal and Wade Sowers ^ • Richard Wetmore • John Wiley • Kevin Wilson and Emily Evans • Pat Wilson • Carolyn and Vincent Wirkman • Steven and Gail Wish • Mark and Judy Wittlinger  • Albert and Angelina Yen • Charles A. Zaragoza ^

We are grateful for your support and every effort was made for accuracy but sometimes we make a mistake. Please let us know if we missed your EXHIBITION OPENS name or your recognition was not as you expected. Contact Donor Services at donor.services@ September 28, 2019 seattleopera.org or 206.389.7669. www.TacomaArtMuseum.org

Cinderella 35 By Glenn Hare Photo © Philip Newton Photo

Since early September, Joseph Riley has been among a small group meeting regularly at the Opera Center. This newly formed chorus is preparing for its debut in The Falling and the Rising, a new American opera conceived by the U.S. Army Field Band and Soldiers’ Chorus. A story of service, sacrifice, and resilience, the opera features five professional singers and a small orchestra. It will open November 15 at the Opera Center.

The chorus members have very little performance experience, and many will be in front of an audience for the first time in their lives. This group of Seattle veterans will make its Seattle Opera debut in The Falling and the Rising November 15. However, all have served in the US military. And all have experienced trauma. With only a few weeks until opening night, Joseph is eager to get this rehearsal started. The scene is different from the choir practices at Joseph, a Seattle native, was briefly in the U.S. Air Force. Based in Path with Art, where he’s been singing for a few years, he said. Texas, he dreamed of becoming a pilot. A diagnosis of bipolar disorder “There’s a lot less chatter at this rehearsal. And, of course, there’s our ended his military aspirations. “The air force discharged me,” he said. shared past of being in the military. There’s a level of acceptance here.”

His mental illness also made it hard to keep a steady job. “I worked Jacques echoes this feeling. He attends each practice to support construction from time to time. But when I wasn’t working I would fall the chorus members and to be a liaison between the opera staff into being homeless.” and the singers. “The fact that we’ve all worn the uniform and have committed to the common defense of our nation is one thing that Mental illness, unemployment, drug addiction, domestic abuse— veterans will recognize in each other.” these experiences are familiar to all the members of the chorus and many veterans as well. Resilience is also part of their story, a Starting with a brief check in, the rehearsal begins. After vocal warm similarity they share with characters in The Falling and the Rising. The ups, practicing pitch control, diction, and other vocal techniques, the chorus members have come to this production through a partnership singers get down to the business of learning the finale chorus—their with Path with Art, a local non-profit that transforms the lives of moment to shine in The Falling and the Rising. “I think we sound people recovering from trauma by harnessing the power of creative pretty good,” Joseph said. engagement. When asked if he’s nervous about opening night. Joseph doesn’t Research shows that engagement with the arts significantly improves hesitate. “No, I don’t think so,” he replied. “All of us will be together, the quality of life for people recovering from trauma, said Jacques instead of one person standing in front of an audience alone.” Pugh, a Path with Art board member and an army veteran who has experienced post-traumatic stress. “The arts provide a bridge And that’s the point of The Falling and the Rising. No veteran stands for us to reconnect with ourselves in a positive way. They also help alone. to reconnect us with the community and society. I’ve had several episodes of suicidal ideation. Through filmmaking, I’ve experienced Tickets are available for The Falling and Rising. the power of art making.” SEATTLEOPERA.ORG/RISING

4036 Seattle Opera 2019/20 Season

Cinderella_FullProgram_100919-fixed.indd 40 10/10/19 4:36 PM 2020 SPRING SEASON tchaikovsky EUGENE ONEGIN schnyder | wimberly CHARLIE PARKER’S YARDBIRD puccini LA BOHÈME

LEARN MORE AND BUY TICKETS! Our spring season features an elegant Russian romance from the Nutcracker composer, the West Coast premiere of an innovative American bebop opera, and a passionate production of a beloved classic. Become a subscriber to experience it all and enjoy savings of up to 40% over the cost CALL: of single tickets—as well as many other exclusive benefits. Visit the subscription 206.389.7676 desk in the Grand Lobby today! TICKET OFFICE: SEATTLEOPERA.ORG/SUBSCRIBE 363 MERCER ST. MON–FRI 10 AM–6 PM

2019/20 SEASON SPONSOR: IN MEMORY OF KARYL WINN Photo © Philip Newton PROGRAMS AND PARTNERSHIPS SPONSORS

Your support fuels the programs and community partnerships that enrich the lives of opera lovers across the Pacific Northwest!

Gifts toward Programs and Partnerships at Seattle Opera make it possible to connect with classrooms and neighborhood centers all across Washington State, sharing opera with 70,000 people each year outside of our mainstage programming. We are grateful for the following donors who have made a commitment of $1,000 or more between

July 1, 2018 and August 16, 2019. © Philip Newton This summer, nearly 50 kids and teenagers created and performed their own original opera stories and presented excerpts from Mozart’s The Magic Flute during Seattle Opera’s Summer Camp at the Opera Center. * denotes Youth Program support † denotes In-School Program support ◊ denotes Chamber Opera support $25,000 AND MORE ArtsWA | Washington State Arts Commission ◊ † Classical KING FM 98.1 Dow Constantine and Shirley Carlson Grousemont Foundation Russell Elliott Seattle Opera Foundation *† Maritto Ko True-Brown Foundation D.V. and Ida J. McEachern Charitable Trust * The Wallace Foundation ◊ Ann H. Milam Cornelius and Penny Rosse $5,000–$24,999 Marguerite Russell Anonymous Trilogy Musical Notes Club * Anonymous, in honor of Adina Meyer The Boeing Company ENDOWED FUND SUPPORT Marshall and Jane Brown C. Keith Birkenfeld Memorial Trust Costco Wholesale * for Education Susan MacGregor Coughlin and The Clowes Fund In-School Education John Lauber *◊ Programs Endowment The Foster Foundation † Carmen Elizabeth Delo Endowed Fund for The Hot Chocolate Fund Education The Seattle Foundation: William Randolph Hearst Endowed Fund Poncho Legacy Fund for Educational Outreach at Seattle Seattle Opera Guild Opera Union Bank † Perry Lorenzo Fund for In-School The Peg and Rick Young Foundation Education Dr. Stanley M. Pier Endowed Fund $1,000–$4,999 for In-School Education Mr. and Mrs. Willie C. Aikens Cecilia Schultz Music Foundation Fund for Elena Aleksandrova-Perelman Educational Scholarships ArtsLEAF Gertrude E. Sprenger Education Endowment

38 Seattle Opera 2019/20 Season YOUR INVESTMENTS SUPPORTS GREAT SINGING When you invest in Seattle Opera, you launch the careers of great singers of the opera world. Two years ago, Frederick Ballentine—the impressive tenor who wowed us with his performance in last season’s Carmen—got his professional start in Seattle. “The Magic Flute performance was my first professional contract,” he recalls. “That opportunity really lifted my spirits.” The role was just what Ballentine needed to build his confidence and to move his career forward. Since then his career has catapulted to leading roles at the Metropolitan Opera, English National Opera, Washington National Opera, and LA Opera. He will perform the title role in our production of Charlie Parker’s Yardbird in February.

“Seattle Opera gave me the first ego boost that I needed to continue in this business.”

—Frederick Ballentine, tenor

Frederick Ballentine performs as Don Jose in Seattle Opera's 2019 production of Carmen.

This season, Meredith Arwady makes her Seattle Opera debut in Eugene Onegin and Jonathan Tetelman makes his debut in La bohème.

Your support of Seattle Opera means we can advance the careers of singers like Frederick Ballentine to the next level. This season, more than 30 performers will make their Seattle Opera debut. Please share your appreciation for Seattle Opera by making an end of year gift by December 31.

SEATTLEOPERA.ORG/DONATE

Cinderella38 Seattle Opera 2019/20 Season 39

Cinderella_FullProgram_100919-fixed.indd 38 10/10/19 4:36 PM INSTITUTIONAL DONORS Seattle Opera is exceedingly grateful for the following cumulative contributions in support of Seattle Opera at the Center and the Annual Fund. The impact of these organizations keeps opera and the arts thriving in our community.

$1,000,000 AND MORE

Anonymous Bruce R. McCaw Norcliffe Seattle Opera State of Washington– Tagney Jones Family Fund Family Foundation Foundation Foundation Building for the Arts at Seattle Foundation

$500,000–$999,999 Nesholm Family True-Brown Foundation Foundation

$250,000–$499,999 C.E. Stuart The Chisholm Joshua Green Charitable Trust Foundation Foundation

$100,000–$249,999

Anonymous The Foster Grousemont The Hot John Graham Peach Sunderland Foundation Foundation Chocolate Fund Foundation Foundation Foundation

$50,000–$99,999

Anonymous D.V. and Ida J. McEachern Charitable Trust

$25,000–$49,999

BNSF Railway Costco Ned and Kayla Skinner Arts Nuckols-Keefe Pacifica The Peg and Rick Foundation Wholesale Enrichment Fund Family Foundation Law Group Young Foundation

$15,000–$24,999 $1,000–$1,499 The Boeing Company • Cossé International Colymbus Foundation • Leathercare, Inc. • The MATCHING GIFTS Aetna • Alaska Airlines • Apple Inc. • AT&T • Bank Securities, Inc. • Heartland • Tucker Family Reed McClure Firm • The Seattle Foundation: of America • Bill & Melinda Gates Foundation • Foundation • Wagner and More Poncho Legacy Fund • Talking Rain BlackRock, Inc. • BECU • Cambia Health Foundation $10,000–$14,999 • Chevron • Costco Wholesale • Expedia Inc. • Anonymous • Janet Wright Ketcham Foundation • DONOR ADVISED FUNDS ExxonMobil • Frontstream • General Electric • Seattle Opera Guild • Union Bank Google, Inc. • IBM • Intel Corporation • Johnson & Ayco Charitable Foundation • BNY Mellon Johnson • King County Employee Giving Program Charitable Gift Fund • The Boston Foundation $5,000–$9,999 • Microsoft • Morgan Stanley • Network for Good • • Community Foundation of Utah • The Dallas ArtsWA | Washington State Arts Commission Northern Trust • Oracle Corporation • Quaker Hill Foundation • Edward Jones • Fidelity Charitable • Badgley Phelps • Creelman Foundation • The Foundation • Royal Dutch Shell • City of Seattle, Gift Fund • Fiduciary Charitable Foundation Dabney Point Fund • La Biosthétique • M.A.C. Seattle Shares • Starbucks • Texas Instruments • • MyICON Foundation • Inland Northwest Cosmetics • Richard B. and Barbara B. Odlin The Boeing Company • The Coca-Cola Company Community Foundation • Innovia Foundation Foundation • The Performing Arts Readiness • The Polyclinic • T-Mobile USA, Inc. • Thrivent • Jewish Federation of Greater Seattle • Project • Wyman Youth Trust Financial • UnitedHealth Group • Verity Solutions • Oklahoma City Community Foundation • Saint Washington State Combined Fund Drive $3,000–$4,999 Paul Foundation • Schwab Charitable Fund • Davis Wright Tremaine • Peter F. Donnelly Merit The Saratoga Charitable Foundation • Seattle Fund • Fales Foundation Trust • Garvey, Schubert, Foundation • TIAA Charitable • U.S. Charitable & Barer • Parker, Smith, & Feek, Inc. • Charles Gift Trust • United Way of King County • Vanguard OFFICIAL IN-KIND PARTNERS Maxfield and Gloria F. Parrish Foundation • Charitable Perkins Coie • Ryan, Swanson & Cleveland, PLLC $1,500–$2,999 ArtsLEAF • Trilogy Musical Notes Club

40 Seattle Opera 2019/20 Season Seattle Opera’s strong foundation of support is thanks to donors like you who create a lasting legacy gift with an endowed fund.

We salute Jim and Gretchen Faulstich for their legacy gift to ENDOWMENT FOR SEATTLE OPERA AT SEATTLE OPERA FOUNDATION Seattle Opera. The Seattle Opera Foundation manages donations directed to the Endowment for Seattl Opera. A permanent investment fund, the endowment creates a perpetual source of support for Seattle Opera and its mission to create and its mission to create life-enhancing experiences that speak deeply to people’s hearts and minds. While gifts of all sizes to our general fund are helpful and appreciated, named funds are particularly special in that they provide donors with an opportunity to designate their gifts for a particular cause that is most meaningful, allowing us to honor family legacies in a more personal way. With a minimum gift of $100,000, we would be honored to recognize your fund along with the special donors listed on this page. To learn more about Seattle Opera Foundation and the Endowment for Seattle Opera, visit seattleopera.org/legacy or contact Donor Services at 206.389.7669 or [email protected].

PROGRAMS & PARTNERSHIPS GENERAL ENDOWMENT C. Keith Birkenfeld Memorial Trust for Education Max E. Gellert Memorial Fund To support Kitsap County education and opera programs. To support Seattle Opera’s general endowment. The Clowes Fund In-School Education Programs Endowment Speight Jenkins Endowed Fund To support Seattle Opera’s educational programs. Permanent endowment to be used as the Seattle Opera Board of Carmen Elizabeth Delo Endowed Fund for Education Directors deems most useful to the company. To support Seattle Opera’s current and future education Dr. Phyllis Badgi and Dr. Kennan Hollingsworth Endowed Fund and community engagement school-based programs. To support the General Director’s Discretionary Fund at Seattle Opera. Paul and Susan Flack Endowment Fund Jim and Gretchen Faulstich Endowed Fund To provide tickets to Seattle Opera performances for To support Seattle Opera’s general endowment. low-income individuals. Mary F. Stowe Endowed Fund William Randolph Hearst Endowed Fund for Educational Outreach Permanent fund to be used as the Seattle Opera Board of Directors at Seattle Opera deems most useful to the Opera. To support educational outreach programs and scholarships. Perry Lorenzo Fund for In-School Education To support in-school education programs. ARTISTIC & PRODUCTION Dr. Stanley M. Pier Endowed Fund for In-School Education Kreielsheimer Endowment Fund for Mainstage To support current and future education and community engagement To support at least one production in each Seattle Opera season. school-based programs. Eulalie Schneider Fund for Artistic Excellence Cecelia Schultz Music Foundation Fund for Educational Scholarships To support Seattle Opera’s artistic excellence on an annual basis.. To support educational scholarships. Lundgren Endowment for New Works Gertrude E. Sprenger Education Endowment To support the creation of new opera by paying for composer and To support the Director of Programs & Partnerships librettist fees. position at the Seattle Opera. Diana Blackmore Endowed Fund To support the Artistic Development Endowment at the Seattle Opera Foundation. SEATTLE OPERA AT THE CENTER Braiden Rex-Johnson and Spencer A. Johnson Endowed Artist Fund To support compensation for artists performing on the mainstage. Marian Lackovich Fund To support Seattle Opera at the Center through 2020, and to support Hartmut B. Gottschau Endowed Fund supporting German Operas To support Seattle Opera’s production of German operas. education programming.

42 Seattle Opera 2019/20 Season Cinderella 41

Cinderella_FullProgram_100919-fixed.indd 42 10/10/19 4:36 PM YOUR SUPPORT: LIVE ON THE MAINSTAGE!

Express your passion for Seattle Opera by sponsoring a production, artist, event, or program that resonates with you. Get to know the artists and the behind-the- scenes work that bring your favorite opera productions to life!

Leadership Circle members Nancy Ward and Toby Bright (center) backstage with Marina Costa-Jackson (left) and Ginger Costa-Jackson (right).

Customized sponsorship benefits make for a truly unforgettable experience. Contact LEADERSHIP CIRCLE PRODUCER'S CIRCLE Donor Services for more information at Through a multi-year Annual Fund commit- The Producer’s Circle recognizes donors who [email protected] or ment of $100,000 or more, Seattle Opera’s have made a three-year Annual Fund com- 206.389.7669. most visionary supporters help realize an mitment of $60,000–$99,999. This new tier unbounded vision for Seattle Opera’s future. of customized giving brings more possibilities Leadership Circle membership gives you than ever before to ensure the present and premium recognition, provides personalized future of your opera company. Make your access to your opera company, and allows pledge today and enjoy memorable behind- you to create a lasting impact on the art you the-scenes experiences with Seattle Opera! love. We are so grateful for the following Produc- We give profound thanks to the following er’s Circle members (as of August 16, 2019): Leadership Circle members (as of August 16, 2019): Marshall and Jane Brown Christopher and Carolyn Eagan Anonymous Dr. Kennan H. Hollingsworth Toby Bright and Nancy Ward John Sullivan and Paula Stokes Eric Hawley and Gwen Lowery Sally Anne West Gary and Parul Houlahan Carol Maione and Brian Marks John and Laurel Nesholm James and Sherry Raisbeck Jeff and Martha Sherman Eugene and Jean Stark Maryanne Tagney and David Jones True-Brown Foundation Jay and Susanne Wakefield Gail and William T. Weyerhaeuser Ann P. Wyckoff

42Cinderella Seattle Opera 2019/20 Season43

Cinderella_FullProgram_100919-fixed.indd 43 10/10/19 4:36 PM Cinderella_FullProgram_100919-fixed.indd 31 PRODUCTION SPONSOR: WINN KARYL OF MEMORY IN SPONSOR: SEASON 2019/20 Swan Lake, 1812 Overture) andastory based onAlexander suffer crushingheartbreak thenextday. Whenhefinally stage for thefirst timein thisachingly beautifultale of costumes bring1800sRussia to life ontheMcCaw Hall elegant ballroom dances, grand sets,andelaborate period A DECADENT RUSSIAN ROMANCE With breathtaking musicby Tchaikovsky (TheNutcracker, For Tatyana, it’s love atfirst sight.She stays upallnight Pushkin’s masterful verse novel, Eugene Oneginis returns heraffections,it’s too late—a rival hasappeared. baring hersoulinapassionate letter to Onegin,only to longing, remorse, and love unfulfilled. poignant Russian romance at its finest. Lush orchestrations, tchaikovsky JANUARY 11–25 ONEGIN EUGENE SEATTLE OPERA FOUNDATION OPERA SEATTLE SEATTLEOPERA.ORG/ONEGIN 206.389.7676 MCCAW HALL Symphony Orchestra. Chorus andmembersofSeattle Featuring theSeattle Opera Sundays 2:00 PM Evenings 7:30 PM In Russian with Englishsubtitles.

10/10/19 4:36 PM

© Philip Newton ENC - SYMPHONYTHOMAS DAUSGAARD, MUSIC DIRECTOR IN APRIL 30 & MAY 2 THE Haydn LOBBY A folktale doesn't end; it just takes new The Creation forms. The name "Cinderella" may conjure images of Disney princesses riding in magical pumpkins, but similar parables of Thomas Dausgaard conductor graceful deliverance from hardship can be Julia Lezhneva soprano found in nearly every corner of the globe. Kenneth Tarver tenor There's Rossini's tale focusing on love and Benjamin Appl baritone forgiveness, the brutal Brothers Grimm Seattle Symphony Chorale version of the story, and many others— check out our lobby displays to learn more!

Kenneth Tarver’s performances are supported by the Melvyn Poll Tenor Fund. Thomas Dausgaard’s performances sponsored by the Scan|Design Foundation by Inger and Jens Bruun.

Julia lezhneva BenJamin appl

Kenneth tarver

Illustration from The Sleeping Beauty and Other Tales From the Old French drawn by Edmund Dulac, 1910.

Seattle Symphony Chorale thomaS DauSgaarD

For Tickets: seattlesymphony.org

44 Seattle Opera 2019/20 Season

Cinderella_FullProgram_100919-fixed.indd 44 10/10/19 4:36 PM AMUSEMENTSENC - AMUSEMENTS Gifts of Artistic Expression SEATTLE Located on the Kreielsheimer Promenade Level of McCaw Hall. Open for two and a half hours prior to curtain and during intermission. OPERA LIMITED EDITION CINDERELLA T-SHIRTS Designer Kitty Kough has created this exclusive illustration for our uplifting new production of PODCAST Rossini’s heartfelt fairytale adaptation. A high-flying sky blue butterfly recalls Angelina’s rags-to-riches transformation, doubling as her identity-concealing mask Can you hear the worn to the Prince’s masquerade party. Delicate letters difference between spell out the opera’s title as if embroidered in silken Rossini, Bellini, and thread, all against a royal blue background. Available in men’s and women’s long sleeve. Prices vary. Donizetti? How does jazz (not to mention bebop) become opera? LA CENERENTOLA CD Bring home the music of Rossini’s enchanting version of the Cinderella story with this specially priced 1972 Deutsche Grammophon release. Featuring Teresa Berganza as Cenerentola and Luigi Alva as Don Ramino. Claudio Abbado conducts the London Symphony Orchestra and Scottish Opera Chorus. 2-CD set includes complete opera recording and track-by-track synopsis booklet. $19.95.

LA CENERENTOLA DVD Paolo Montarsolo, Frederica Von Stade, Francisco Araiza, and Claudio Desderi star in this widely heralded La Scala production staged, directed, and designed by Jean-Pierre Ponnelle. Claudio Abbado conducting the Orchestra E Coro Del Teatro Alla Scala. $39.95.

CINDERELLA STORIES AROUND THE WORLD Once upon a time, in Mexico…in Ireland…in Zimbabwe…there lived a girl who worked all day then spent the night by the Learn more about the wild and wonderful hearth, sleeping among the cinders. Her name is Ashpet, world of opera with Seattle Opera Sootface, Cendrillon…Cinderella. Her story has been passed Podcasts, a co-production with KING down the centuries and across continents. The quintessential FM hosted by our resident dramaturg rags-to-riches story exists in many cultures. Discover Jonathan Dean. Short, 15-minute the many versions in a special collection of storybooks introductions to every opera in our recounting Italian, Chinese, Irish, and African takes on the 2019/20 season are now available. familiar tale. Assorted prices. Additional podcasts will be released by opening night which explore additional ADORNMENTS AND ACCESSORIES topics. Check iTunes or your favorite Going to the Prince’s Ball? In search of the perfect podcast provider and subscribe today! Halloween accent? Browse our fanciful and fabulous collection of seasonal costumes, jewelry, scarves, and masks to add to the festivities. Prices Vary.

SHOP AMUSEMENTS ONLINE AT SEATTLEOPERA.ORG/SHOP

CinderellaCinderella 45

Cinderella_FullProgram_100919-fixed.indd 45 10/10/19 4:36 PM UPCOMING EVENTS HALLOWEEN BACKSTAGE PARTY WILDE TALES HOSTED BY BRAVO! FEBRUARY 7, 8, AND 9, 2020 SATURDAY, OCTOBER 26 CORNISH PLAYHOUSE AT SEATTLE CENTER FESTIVITIES START AFTER THE PERFORMANCE In this parable based on the works of Oscar Wilde, a gilded statue Join us for a one of a kind backstage party after Cinderella, complete of a beautiful Prince suddenly comes to life. The Prince, realizing with food drinks, dancing, and more. Costume encouraged! Age 21+ the destitute state of the home he once ruled, enlists the help of SEATTLEOPERA.ORG/HALLOWEEN an unassuming Swallow to deliver gifts to those in need. Observing the charity of the Prince and his new feathered friend, the townsfolk THE FALLING AND THE RISING newly realize the importance of generosity and empathy. This colorful and heartwarming presentation of the Youth Opera Project A SOLDIER’S OPERATIC ODYSSEY is performed by youth ages 7–18. NOVEMBER 15—24 SEATTLEOPERA.ORG/WILDETALES OPERA CENTER The Falling and the Rising is a new American chamber opera that tells a story of service, sacrifice, and connection inside uncertainty. SEATTLE OPERA’S BIG OPERA PARTY FRIDAY, FEBRUARY 28, 2020 Based on interviews with active duty soldiers and veterans, the opera OPERA CENTER & MCCAW HALL traces the inner journey of a comatose soldier after she suffers a Calling all cool cats to the hippest joint in town! The “Big Opera roadside attack. Tickets on sale now. Party” is back! Guests will be transported back in time to Manhattan’s SEATTLEOPERA.ORG/RISING legendary jazz club, Birdland, to experience the life and times of jazz great and bebop innovator, Charlie Parker. Enjoy musical experiences OPERA TALKS WITH JONATHAN DEAN in the Opera Center, and dine on stage at McCaw Hall amid the set NOVEMBER 19 AT 7:00 PM of Charlie Parker’s Yardbird. Bid on special opera experiences in our OPERA CENTER Live Auction or pick your favorite when you win the Golden Raffle. FREE, OPEN TO THE PUBLIC Cap off the night on the dance floor. Make a difference by supporting Deepen your knowledge of opera with our free Opera Talk series. Seattle Opera’s programs while having fun! The Big Opera Party is Each month, join Seattle Opera Dramaturg Jonathan Dean for an Seattle’s most exciting arts event of the year and a night you do not entertaining look at this unique art form, with topics ranging from want to miss. opera’s rich literature and history to behind-the-scenes insights SEATTLEOPERA.ORG/BIGOPERAPARTY into how we put these grand productions on stage. SEATTLEOPERA.ORG/OPERATALKS LA BOHÈME FAMILY DAY SUNDAY, MAY 10, 2020 AT 2:00 PM OPERA TIME AT THE CENTER MCCAW HALL SECOND SATURDAY OF EACH MONTH AT 10:30 AM For this special designated performance, students age 18 and under FREE, OPEN TO AGES 7 AND UNDER WITH PARENT/GUARDIAN pay only $20 for almost any seat. Family Days also feature special On the second Saturday of every month, Seattle Opera hosts ­ student-oriented activities during intermission. drop-in sessions of Opera Time at the Opera Center, our early SEATTLEOPERA.ORG/FAMILYDAY learning program that introduces young ones to opera through interactive songs and stories. These sessions are an exciting and free way to start off the weekend! SEATTLEOPERA.ORG/EARLYLEARNING LASER OPERA FEBRUARY 1, 2020 PACIFIC SCIENCE CENTER FAMILY SHOW, 6:30 PM 21+ SHOW, 8:30 PM Opera takes over the Pacific Science Center Laser Dome for one night only! This annual BRAVO! tradition features a live laser show choreographed to a soundtrack of operatic favorites.

46 Seattle Opera 2019/20 Season SEATTLE OPERA’S big opera party FRIDAY, FEBRUARY 28, 2020

CALLING ALL COOL CATS TO THE HIPPEST JOINT IN TOWN: THE “BIG OPERA PARTY” IS BACK! Enjoy one-night-only musical experiences in Seattle Opera’s state-of-the-art Opera Center, and dine on stage at McCaw Hall surrounded by the scenery of Charlie Parker’s Yardbird.

February 28 will be a night you won’t want to miss. Make a difference and support all of Seattle Opera’s programs—while having fun!

More information: 206.389.7669 [email protected]

RSVP now: seattleopera.org/bigoperaparty

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