Streaming Premiere – Thursday, April 1, 2021, 7pm

Christine Goerke, soprano Craig Terry, piano

Filmed exclusively for Cal Performances at Art Factory Studios in Paterson, New Jersey on February 18, 2021.

PROGRAM

George Frideric HANDEL (1685–1759) “Furie terribili” from Rinaldo Paolo TOSTI (1846–1916) L’ultima canzone Ottorino RESPIGHI (1879–1936) Nebbie Pietro CIMARA (1887–1967) Stornello Riccardo ZANDONAI (1883–1944) Sotto il ciel Federico (Franco) RICCI (1809–1877) Il carrettiere del Vomero Pietro MASCAGNI (1863–1945) “Voi lo sapete, o mamma” from Cavalleria rusticana Richard STRAUSS (1864–1949) “Zueignung,” Op. 10, No. 1 “Nichts,” Op. 10, No. 2 “Die Georgine,” Op. 10, No. 4 Johannes BRAHMS (1833–1897) “Nicht mehr zu dir zu gehen,” Op. 32, No. 2 “Botschaft,” Op. 47, No. 1 Robert OWENS (1925–2017) Drei Lieder, Op. 19 Die Nacht Morgendämmerung Der verliebte Reisende Carrie JACOBS-BOND (1862–1946) Half-Minute Songs Making the Best of It First Ask Yourself To Understand Don’t You Listen How to Find Success The Pleasure of Giving Answer the First Rap A Good Exercise A Present from Yourself Now and Then When They Say the Unkind Things Keep Awake

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Leonard BERNSTEIN (1918–1990) “One Hundred Easy Ways to Lose a Man” from Wonderful Town Walter KENT (1911–1994) “The Last Mile Home” Cole PORTER (1891–1964) “Why Can’t You Behave?” from Kiss Me, Kate

The Cal Performances at Home Spring 2021 season is dedicated to Gail and Dan Rubinfeld, leading supporters of Cal Performances and the well-being of our artists for almost 30 years. Major support provided by The Bernard Osher Foundation. This performance is made possible, in part, by Patron Sponsor Bernice Greene. Note: following its premiere, the video recording of this concert will be available on demand through June 30, 2021.

ABOUT THE ARTISTS

Christine Goerke (soprano) has appeared in Grammy Awards for Best Classical Recording many of the most prestigious opera houses of and Best Choral Performance. Her close asso- the world, including the Metropolitan Opera, ciation with Robert Shaw yielded several record- Lyric Opera of Chicago, San Francisco Opera, ings, including the Brahms’ Liebeslieder Waltzes, Royal Opera House, Paris Opera, Teatro alla Poulenc’s Stabat Mater, Szymanowski’s Stabat Scala, Deutsche Oper Berlin, and Teatro Real in Mater, and a Grammy-nominated recording Madrid, and at the Saito Kinen Festival in of Dvořák’s Stabat Mater. Other recordings in- Japan. She has sung much of the great soprano clude the title role in Iphigenie en Tauride for repertoire, beginning with the Mozart and Telarc and Britten’s War Requiem, which re- Handel heroines and now moving into dra- ceived the 1999 Grammy Award for Best Choral matic Strauss and Wagner roles. Performance. Goerke has also appeared with a number of Goerke was the recipient of the 2001 Richard leading orchestras, including the New York Tucker Award, the 2015 Musical America Vocal - Phil harmonic, Boston Symphony Orchestra, ist of the Year Award, and the 2017 Opera News Chicago Symphony Orchestra, Cleveland Or- Award. In March 2021, Michigan Opera Theatre ches tra, Los Angeles Philharmonic, Radio Vara, named Goerke as its associate artistic director. the BBC Symphony Orchestra at the BBC Proms, and both the Hallè Orchestra and the Grammy Award-winning pianist and arranger Royal Scottish National Symphony at the Edin- Craig Terry (piano) enjoys an international burgh International Festival. She has worked career regularly performing with the world’s with some of the world’s foremost conductors, leading singers and instrumentalists. Currently including James Conlon, Sir Andrew Davies, Terry serves as music director of the Patrick Sir Mark Elder, Christoph Eschenbach, Claus G. and Shirley W. Ryan Opera Center at Lyric Peter Flor, James Levine, Sir Charles Mackerras, Opera of Chicago after having served for 11 Kurt Masur, Zubin Mehta, Andris Nelsons, Seiji seasons at the Lyric as assistant conductor. Ozawa, David Robertson, Donald Runnicles, Previously, he was assistant conductor at the Esa-Pekka Salonen, the late Robert Shaw, Metropolitan Opera after joining its Linde - Patrick Summers, Jeffery Tate, Christian mann Young Artist Development Program. Thiele mann, Michael Tilson Thomas, and Edo Terry has performed with such esteemed vo- de Waart. calists as Jamie Barton, Stephanie Blythe, Chris - Goerke’s recording of Vaughan Williams’ tine Brewer, Janai Brug ger, Lawrence Brownlee, A Sea Symphony with Robert Spano and the Nicole Cabell, Sasha Cooke, Eric Cutler, Atlanta Symphony Orchestra won the 2003 Danielle de Niese, Joyce DiDonato, Giuseppe

Opposite: Christine Goerke 3

ABOUT THE ARTISTS

Filianoti, Renée Fleming, Christine Goerke, Harris Theater in collaboration with the Ryan Susan Graham, Denyce Graves, Bryan Hymel, Opera Center and Lyric Opera of Chicago. Brian Jagde, Joseph Kaiser, Quinn Kelsey, Kate His discography includes four recently released Lindsey, Amanda Majeski, Ana María Martí - recordings, including Diva on Detour with nez, Eric Owens, Ailyn Perez, Nicholas Phan, Patricia Racette, As Long As There Are Songs Susanna Phillips, Luca Pisaroni, Patricia with Stephanie Blythe, and Chanson d’Avril with Racette, Hugh Russell, Bo Skovhus, Garrett Nicole Cabell; his latest recording project, Song- Sorenson, Heidi Stober, Christian Van Horn, play with Joyce DiDonato, was released by War- Amber Wagner, Laura Wilde, and Catherine ner Classics and won the 2020 Grammy Award Wyn-Rogers. He has collaborated as a chamber for Best Classical Solo Vocal Album. musician with members of the Metropolitan Terry hails from Tullahoma, Tennessee, re- Opera Orchestra, the Lyric Opera of Chicago ceived his bachelor’s degree in music education Orchestra, the Gewandhaus Orches ter, and the from Tennessee Technological University, con- Pro Arte String Quartet. tinued his studies at Florida State University, Terry is the artistic director of “Beyond the and earned his master’s degree in collaborative Aria,” a highly acclaimed recital series now in piano from the Manhattan School of Music, it's seventh sold-out season, presented by the where he was a student of pianist Warren Jones.

TEXTS & TRANSLATIONS

GEORGE FRIDERIC HANDEL “Furie terribili” from Rinaldo “Terrible furies” [Giacomo Rossi] Furie terribili! Terrible furies! Circondatemi, Encircle me, Seguitatemi, follow me, Con faci orribili! with your horrible countenances!

PAOLO TOSTI “L’ultima canzone” “The Last Song” [Francesco Cimmino] M’han detto che domani They told me that tomorrow, Nina vi fate sposa, Nina, you will be a bride. Ed io vi canto ancor la serenata. Yet to you I will still sing my serenade! Là nei deserti piani Up on the deserted plateau, Là,ne la valle ombrosa, down in the shady valley, Oh quante volte a voi l’ho ricantata! Oh, how many times I have sung it to you!

Foglia di rosa Rose-petal O fiore d’amaranto O flower of amaranth, Se ti fai sposa Even though you will marry, Io ti sto sempre accanto, I always will be near, Foglia di rosa Rose-petal

Opposite: Craig Terry 5 TEXTS & TRANSLATIONS

Domani avrete intorno Tomorrow you’ll be surrounded Feste sorrisi e fiori by celebration, smiles, and flowers, Nè penserete ai nostri vecchi amori. and you will not think on our past love; Ma sempre notte e giorno yet always, night and day, Piena di passione full of passion, Verrà gemendo a voi la mia canzone. my song will moan to you.

Foglia di menta Mint-flower, O fiore di granato, O flower of pomegranate, Nina, rammenta Nina, remember I baci che t’ho dato, the kisses that I gave to you, Foglia di menta! Mint-flower!

OTTORINO RESPIGHI “Nebbie” “Mists” [Ada Negri] Soffro, lontan lontano I suffer. Far, far away, Le nebbie sonnolente the sleeping mists Salgono dal tacente rise from the silent Piano. plain.

Alto gracchiando, i corvi, Shrilly cawing, the crows, Fidati all’ali nere, trusting their black wings, Traversan le brughiere traverse the moors, Torvi. grimly.

Dell’aere ai morsi crudi To the raw bites of air Gli addolorati tronchi the sorrowful tree trunks Offron, pregando, i bronchi nudi. offer, praying, their bare branches. Come ho freddo! How cold I am!

Son sola; I am alone; Pel grigio ciel sospinto driven through the gray sky Un gemito destinto a wail of the dead Vola; soars;

E mi ripete: Vieni; And repeats to me: come, È buia la vallata. the valley is dark. O triste, o disamata Oh sad, oh unloved one… Vieni! Vieni! Come! Come!

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PIETRO CIMARA “Stornello” Folk Song [Arnaldo Fratelli] Son come chicchi della melograna Your red velvety lips are like the grains Vellutati e vermigli i labbri tuoi of the pomegranate. Gareggiar colla fragola montana The perfume of your breath could compete Pel profumo dell’alito tu puoi with that of a mountain strawberry.

Come le piante che gemme odorate Like the fragrant burgeoning plant distills Distillano dal tronco e dalla chioma from its trunk and its foliage, Tu stilli dale tue labbra rosate Your rosy lips drip kisses that are the Baci che sono del tuo cor l’aroma. fragrance of your heart.

Fammi nutrir di baci si soavi That I may feed from your sweet kisses Come si nutre di rugiada il fiore as the flower feeds from the dew. Baciami sempre come mi baciavi Always kiss me as you kissed me the first La prima volta che ti strinsi al core! time I pressed against your heart.

Se tu fossi rugiada le tue stille If you were dew, would you deny your Di vita altrici negheresti al fior? life-giving droplets to the flower? Baciami dunque e fa nove scintilla So kiss me and make nine sparks burn life Arder di vita in quest’arido cor! into this desiccated heart.

—translated by Nathalie Doucet

RICCARDO ZANDONAI “Sotto il ciel” “Under the sky” [Victoria Aganoor] Sotto il ciel, Under the sky che d’un vago that colors the evening pallor tinge la sera, with a vague pallor, cinto dalla brughiera surrounded by the moor, dorme tra l’alghe il lago; the lake sleeps among the algae.

E sul lidoleggiera, And on the shore, lightly, sottile come un ago, and as thin as a needle, – nido forse d’un mago – perhaps a sorcerer’s nest, s’alza una guglia nera. rises a black spire.

Vieni! il paese arcano Come! This is the mysterious dei sogni è questo: Vieni! land of dreams. Come! Laggiù l’ignoto invita. The unknown is waiting.

Andiam, stretti per mano, Let us go, holding hands, ai vesperi sereni to the serene evensong per la landa infinita. for the infinite moor.

—translated by Nathalie Doucet

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FEDERICO (FRANCO) RICCI “Il carrettiere del Vomero” “The Carter of Vomero” Ahu! Mannaggia! Come on! Dammit! Ahu! Mannaggia! Come on! Dammit! Li cavall’e la carretta! The horse and the cart! Justo mò che vaco i fretta Just when I’m in a hurry, Non se fida n’i tirà! He becomes skittish and refuses to budge!

Votta mannaggia iza! Go on, damn you! Tira ca vene iza! Get on with it, pull! Go! Votta! Ohè! Ahrriah! Come on! Giddyap!

Ahu! Mannaggia! Come on! Dammit! Ahu! Mannaggia! Come on! Dammit! La sagliuta d’a Nfrascata, It’s uphill to Nfrascata, Se fa sera, e Fortunata It’s getting dark, and Fortunata A Antiguan st’a aspettà. is waiting at Antignano.

Votta mannaggia iza! Go on, damn you! Tira ca vene iza! Get on with it, pull! Go! Votta! Ohè! Ahrriah! Come on, go! Giddyap!

PIETRO MASCAGNI “Voi lo sapete, o mamma” “You know, O mama” from Cavalleria rusticana [Giovanni Targioni-Tozzetti/Guido Menasci] Voi lo sapete, o mamma, You know, O mama, Prima d’andar soldato, before leaving to become a soldier, Turiddu aveva a Lola Turiddu swore to Lola Eterna fè giurato. his eternal faithfulness. Tornò, la seppe sposa; He returned and found her married to another; E con un nuovo amore and so with a new love Volle spegner la fiamma he tried to extinguish the flame Che gli bruciava il core: that consumed his broken heart. M’amò, l’amai. He loved me, I loved him. Quell’invidia d’ogni delizia mia, Soon, she envied all my joy. Del suo sposo dimentica, Forgotten by her husband, Arse di gelosia… she burned with jealousy. Me l’ha rapito… She stole him from me. Priva dell’onor mio rimango: I am ashamed and left without honor: Lola e Turiddu s’amano, Lola and Turiddu love each other, Io piango, io piango! and so I cry! I cry!

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RICHARD STRAUSS

“Zueignung,” Op. 10, No. 1 “Dedication” [Hermann von Gilm] Ja, du weißt es, teure Seele, Yes, dear soul, you know Daß ich fern von dir mich quäle, that far from you, I am in torment. Liebe macht die Herzen krank, Love makes hearts sick— Habe Dank. Thank you.

Einst hielt ich, der Freiheit Zecher, Once, relishing freedom, Hoch den Amethysten-Becher, I held high the amethyst cup Und du segnetest den Trank, And you blessed that drink— Habe Dank. Thank you.

Und beschworst darin die Bösen, And you banished the evil spirits, Bis ich, was ich nie gewesen, Till I, as never before, Heilig, heilig an’s Herz dir sank, Sank holy upon your heart— Habe Dank! Thank you.

“Nichts,” Op. 10, No. 2 “Nothing” [Hermann von Gilm] Nennen soll ich, sagt ihr, meine You say I should name Königin im Liederreich! my queen in the realm of song! Toren, die ihr seid, Fools that you are, ich kenne sie am wenigsten von euch. I know her least of all of you. Fragt mich nach der Augen Farbe, Ask me the color of her eye. Fragt mich nach der Stimme Ton, Ask me of her voice’s tone. Fragt nach Gang und Tanz und Haltung, Ask me of her walk, her dance, her poise. Ach, und was weiß ich davon. Ah! what do I know of all that? Ist die Sonne nicht die Quelle Is the sun not the source Alles Lebens, alles Licht’s of all life, all light? Und was wissen von derselben And what do we know about it? Ich, und ihr, und alle? – nichts! I, and you, and all?—nothing!

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“Die Georgine,” Op. 10, No. 4 “The Dahlia” [Hermann von Gilm] Warum so spät erst, Georgine? Why, dahlia, do you appear so late? Das Rosenmärchen ist erzählt, The rose’s tale is told, Und honigsatt hat sich die Biene and the bee, full of honey, Ihr Bett zum Schlummer ausgewählt. has found its bed for slumber.

Sind nicht zu kalt dir diese Nächte? Are these nights not too cold for you? Wie lebst du diese Tage hin? How do you live through these days? Wenn ich dir jetzt den Frühling brächte, What if I brought you springtime now, Du feuergelbe Träumerin, you fiery yellow dreamer?

Wenn ich mit Maitau dich benetzte, What if I watered you with May dew, Begöße dich mit Junilicht, showered you in June’s light? Doch ach! dann wärst du nicht die Letzte, but ah… then you would not be the last… Die stolze Einzige auch nicht. nor proud to be the only one.

Wie, Träumerin, lock’ ich vergebens? How, O dreamer, do I tempt you in vain? So reich’ mir schwesterlich die Hand, Then give me your sisterly hand. Ich hab’ den Maitag dieses Lebens I’ve not known May-time in this life, Wie du den Frühling nicht gekannt; just as you’ve not known the spring.

Und spät wie dir, du Feuergelbe, And as with you, fiery yellow flower, Stahl sich die Liebe mir ins Herz; love stole late into my heart. Ob spät, ob früh, es ist dasselbe Entzücken Late or early, it is the same delight und derselbe Schmerz. and the same pain.

JOHANNES BRAHMS

“Nicht mehr zu dir zu gehen,” Op. 32, No. 2 “Nevermore to go to you” [Georg Friedrich Daumer] Nicht mehr zu dir zu gehen, Nevermore to go to you, Beschloß ich und beschwor ich, I decided and swore, Und gehe jeden Abend, and yet I go each evening Denn jede Kraft und jeden Halt verlor ich. for I’ve lost all strength and my resolve.

Ich möchte nicht mehr leben, I wish to live no longer, Möcht’ augenblicks verderben, I wish to die in an instant, Und möchte doch auch leben And yet would sooner live Für dich, mit dir, und nimmer, nimmer sterben. For you, with you, and never, never die.

Ach, rede, sprich ein Wort nur, Oh, speak, say just a word, Ein einziges, ein klares; One, clear; Gib Leben oder Tod mir, Give me life or death, Nur dein Gefühl enthülle mir, dein wahres! Reveal to me your true feeling!

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“Botschaft,” Op. 47, No. 1 “Message” [Georg Friedrich Daumer] Wehe, Lüftchen, lind und lieblich Blow, breeze, gentle and lovely Um die Wange der Geliebten, about the cheek of my beloved, Spiele zart in ihrer Locke, play softly in her locks, Eile nicht, hinwegzufliehn! do not hurry to fly away! Tut sie dann vielleicht die Frage, Then if she should question Wie es um mich Armen stehe, how things are with poor me, Sprich: “Unendlich war sein Wehe, say: “His woe is unending, Höchst bedenklich seine Lage; his situation so grave; Aber jetzo kann er hoffen but now he can hope Wieder herrlich aufzuleben, to rejoice in life once more, Denn du, Holde, denkst an ihn.” because you, fairest, think of him.”

ROBERT OWENS Drei Lieder, Op. 19 [Joseph von Eichendorff]

“Die Nacht” “Night” Nacht ist wie ein stilles Meer, Night is like a calm sea; Lust und Leid und Liebesklagen desire, and sorrow, and lament of love Kommen so verworren her join, confused, In dem linden Wellenschlagen. in the gentle waves.

Wünsche wie die Wolken sind, Wishes, like clouds, Gleiten durch die stillen Räume, slide through quiet space; Wer erkennt im lauen Wind, who knows in the warm breeze Ob’s Gedanken sind oder Träume? if they are thoughts or dreams?

Schliess’ ich nun auch Herz und Mund, I now close my heart and mouth, Die so gern den Sternen klagen, who love lamenting to the stars: Leise doch im Herzensgrund quietly in the depths of my heart, Bleibt das linde Wellenschlagen. the waves move gently on.

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“Morgendämmerung” “Daybreak” Gedenk ich noch der Frühlingsnächte I still remember the spring night Vor manchem, manchem Jahr, many a year ago; Wie wir zusammen im Garten standen how we stood together in the garden Und unten über den Landen and down over the country Alles so still noch war. everything was still so quiet.

Wie wir standen in Gedanken, How we stood in our thoughts Bis eine Morgenglocke erwacht’. until a morning bell woke— Das ist alles lange vergangen; it was all a long time ago; Aber die Glocken, die da klangen, but the bells that rang Hör ich noch oft bei Nacht. I still often hear at night.

“Der verliebte Reisende” “The traveler in love” Da fahr’ ich still im Wagen, I travel silently in the coach – Du bist so weit von mir, You are so far from me Wohin er mich mag tragen, but wherever it may take me, Ich bleibe doch bei dir. I stay with you, still.

Da fliegen Wälder, Klüfte Forests fly by, ravines, Und schöne Täler tief and lovely deep valleys, Und Lerchen hoch in Lüften, and larks high in the air, Als ob dein’ Stimme rief. as if your voice calls.

Die Sonne lustig scheinet The sun shines merrily Weit über das Revier, all across the grounds; Ich bin so froh verweinet, I am weeping so happily, Und singe still in mir. and I sing silently inside.

Vom Berge geht’s hinunter, Down from the mountains, Das Posthorn schallt im Grund, the posthorn resounds; Mein’ Seel’ wird mir so munter, my soul grows so bright, Grüß dich aus Herzensgrund. and I greet you from the bottom of my heart.

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CARRIE JACOBS-BOND LEONARD BERNSTEIN Half-Minute Songs “One Hundred Easy Ways to Lose a Man” from Wonderful Town “Making the Best of It” [Betty Comden and Adolph Green] What you can’t help, forget! The first way to lose a man… You've met a charming fellow and you're out “First Ask Yourself” for a spin Before you have said it about them, The motor fails and he just wears a helpless grin ask yourself if you’d like them Don't bat your eyes and say, "What a romantic to know you said it. spot we're in!" “To Understand” To understand a sorrow, Just leap out, crawl under the car, you must have one all your own. tell him it’s the gasket and fix it in two seconds flat with a bobby pin. “Don’t You Listen” That’s a good way to lose a man. No matter what they say, keep a-walking straight ahead… He takes you to a baseball game, why they’ll praise you when you’re dead, you sit knee to knee. but don’t you listen. He says, “The next guy up at bat will bunt, you’ll see.” “How to Find Success” Don’t say, “Ooh, what’s a bunt? This game’s The man who finds success, too hard for little old me.” looks sometimes when he’s tired. “The Pleasure of Giving” Just say, “Bunt? What are you nuts? I’d rather say “You’re Welcome” once, With no outs, two men on base, than “Thank You” a thousand times. and a left-handed batter coming up, he’ll walk right into a triple play, just like it happened in the fifth game of the “Answer the First Rap” World Series in 1923.” Opportunity may knock often, That’s a sure way to lose a man. but it’s better to answer the first rap. A sure, sure, sure, sure way to lose a man, “A Good Exercise” a splendid way to lose a man, With evil things you’ll always find just throw your knowledge in his face, it’s best to be deaf dumb and blind. he’ll never try for second base… “A Present from Yourself” ninety-eight ways to go. A friend is a present you give yourself. The third way to lose a man, the life-guard “Now and Then” at the beach The “lucky” fellow gets up at 5am, that all the girlies adore, swims bravely out and generally works till 10pm; to save you through the ocean’s roar, But the other fellow not quite so “lucky,” don’t say, “Gee, thanks. I would have drowned works hard just now and then! in just one second more.” Just push his head under and yell, “When They Say the Unkind Things” “Last one in is a rotten egg”, Ain’t it gay that what “they say” and race him back to shore. can’t hurt you unless it’s true? That’s a swell way to lose a man. “Keep Awake” Success never comes to the sleeping. 13

TEXTS

You’ve found your perfect mate and it’s been WALTER KENT love from the start. “The Last Mile Home” He whispers, ”You’re the one to who I give [Walton Farrar] my heart.” You can travel ‘round the globe, Don’t say, “I love you too, my dear, let’s never, and see a lot of things, never part…” from Mandalay to old Pompeii, to Paris in the spring. Just say, “I’m afraid you’ve made a grammatical error. But you’ll only find one thing. It’s not ‘to who I give my heart,’ Yes, just one thing. it’s ‘to whom I give my heart.’ You see, with the preposition ‘to,’ The longest mile is the last mile home, ‘who’ becomes the indirect object, when you’ve been away. making the use of ‘whom’ imperative, The dearest dreams are the dreams of home, which I can prove to you when you’ve been away. with this very simple chart.” That’s a fine way to lose a man. You travel far over land and sea, then one day it’s as clear as can be— A fine, fine, fine, fine way to lose a man. the sweetest mile you’ll ever roam, A dandy way to lose a man. is the last mile home! Just be more well-informed than he. You’ll never hear “Oh, Promise Me.” Just show him where his grammar errs COLE PORTER then mark your towels “hers” and “hers.” “Why Can’t You Behave?” from Kiss Me, Kate Yes, girls, you too can lose your man Why can’t you behave? if you will use Ruth Sherwood’s plan… Oh, why can’t you behave? One hundred easy ways to lose a man! After all the things you told me, and the promises that you gave oh, why can’t you behave?

Why can’t you be good? And do just as you should? Won’t you turn that new leaf over, so your baby can be your slave… Oh, why can’t you behave?

There’s a farm I know near my old hometown where we two can go and try settlin’ down. There I’ll care for you forever, ‘cause you’re all in the world I crave, but why can’t you behave?

—all English translations by Christine Goerke, unless otherwise noted

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All English lyric translations by Christine ARTISTIC PLANNING Goerke, except for Pietro Cimara’s “Stornello” Katy Tucker, Director of Artistic Planning and Riccardo Zandonai’s “Sotto il ciel” (transla- Robin Pomerance, Artistic Administrator tions by Nathalie Doucet). DEVELOPMENT General Management: Taun Miller Wright, Chief Development Officer Opus 3 Artists Elizabeth Meyer, Director of Institutional Giving 348 West 57th Street, Suite 282 Jennifer Sime, Associate Director of New York, NY 10019 Development, Individual Giving Jamie McClave, Individual Giving www.opus3artists.com and Special Events Officer Jocelyn Aptowitz, Major Gifts Associate www.christinegoerke.com EDUCATION AND COMMUNITY PROGRAMS Rica Anderson, Interim Director, Artistic Literacy For Cal Performances at Home Tiffani Snow, Producer HUMAN RESOURCES Jeremy Little, Technical Director Judy Hatch, Human Resources Director Jeremy Robins, Executive Video Producer Shan Whitney, Human Resources Generalist Ras Dia, Operations Coordinator MARKETING AND COMMUNICATIONS For Ibis Productions, Inc. Jenny Reik, Director of Marketing and Jeremy Robins, Director Communications Zach Herchen, Audio Engineer Ron Foster-Smith, Associate Director Nara Garber, Camera Operator of Marketing Hugo Faraco, Camera Operator Mark Van Oss, Communications Editor Kharon Benson, Camera Operator Louisa Spier, Public Relations Manager Francis Adjei, Camera Operator Cheryl Games, Web and Digital Marketing Khyber Jones, Camera Operator Manager Colin Gee, Editor Jeanette Peach, Public Relations Senior Associate Elise Chen, Email Production Associate For Future Tense Media Lynn Zummo, New Technology Coordinator Jesse Yang, Creative Director Terri Washington, Social Media and Digital Content Specialist For Cal Performances EXECUTIVE OFFICE OPERATIONS Jeremy Geffen, Executive and Artistic Director Jeremy Little, Production Manager Kelly Brown, Executive Assistant to the Director Alan Herro, Production Admin Manager Kevin Riggall, Head Carpenter ADMINISTRATION Matt Norman, Head Electrician Andy Kraus, Director of Strategy and Tom Craft, Audio/Video Department Head Administration Jo Parks, Video Engineer Calvin Eng, Chief Financial Officer Tiffani Snow, Event Manager Rafael Soto, Finance Specialist Ginarose Perino, Rental Business Manager Marilyn Stanley, Finance Specialist Rob Bean, Event Operations Manager Gawain Lavers, Applications Programmer Ingrid Williams, IT Support Analyst Sean Nittner, Systems Administrator

15 CREDITS

STAGE CREW TICKET OFFICE Charles Clear, Senior Scene Technician Liz Baqir, Ticket Services Manager David Ambrose, Senior Scene Technician Gordon Young, Assistant Ticket Office Manager Jacob Heule, Senior Scene Technician Sherice Jones, Assistant Ticket Office Manager Jorg Peter “Winter” Sichelschmidt, Jeffrey Mason, Patron Services Associate Senior Scene Technician Joseph Swails, Senior Scene Technician Mark Mensch, Senior Scene Technician Opening fanfare used by permission from Jordi Mathison Ott, Senior Scene Technician Savall from his 2015 recording of Monteverdi's Mike Bragg, Senior Scene Technician L'Orfeo on Alia Vox. Ricky Artis, Senior Scene Technician Robert Haycock, Senior Scene Technician Major support for the Cal Performances Digital Classroom is provided by Wells Fargo. STUDENT MUSICAL ACTIVITIES Mark Sumner, Director, UC Choral Ensembles Major support for Beyond the Stage is provided Bill Ganz, Associate Director, by Bank of America. UC Choral Ensembles calperformances.org Matthew Sadowski, Director of Bands/ Interim Department Manager © 2021 Regents of the University of California Ted Moore, Director, UC Jazz Ensembles Brittney Nguyen, SMA Coordinator

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