JANUARY 2020 JANUARY

tchaikovsky EUGENE ONEGIN

Onegin_FullProgram_Final-fixed.indd 1 1/2/20 11:45 AM

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425 646 7600 • buildbeyond.com January 2020 | Volume 44, No. 3

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SION OF JOAN OF ARC ConsortTHE PAS FEBRUARY 4

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 VAN BRONKHORST Production Artists and Graphic Designers Carl Theodor Dreyer’s silent filmLa Passion de Jeanne d’Arc (1928) Sales accompanied by Britain’s celebrated early music vocal ensemble. MARILYN KALLINS, TERRI REED San Francisco/Bay Area Account Executives BRIEANNA HANSEN, SHERRI JARVEY, TICKETS ANN MANNING Seattle Area MEANYCENTER.ORG Account Executives 206-543-4880 CAROL YIP Sales Coordinator Marketing SHAUN SWICK Brand & Creative Manager CIARA CAYA Marketing Coordinator

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4 Seattle Opera 2019/20 Season EUGENE ONEGIN

VOLUME 44 ISSUE 3

20 REJECTION LETTER Production Essentials By Jonathan Dean 10 Production Sponsor 11 The Cast

12 The Story

22 LITERATURE AND LEGACY OF ALEXANDER PUSHKIN 14 Artists By Alena Gray Aniskiewicz 18 Actors

18 Supernumeraries 31 MEET KENZIE 18 Chorus By Glenn Hare 18 Orchestra 24 In the Lobby

Departments

7 From the General Director

8 Service Directory

8 Board of Directors

9 From the President

26 Seattle Opera Staff

27 Staff Chat

28 Institutional Donors

28 In-Kind Partners

29 Donor Impact

30 Programs and Partnerships Sponsors

32 Encore Society

35 Leadership and Producer’s Circles

Seattle Opera 37 Amusements

Editor 37 Seattle Opera Podcast Glenn Hare Graphic Design 38 Upcoming Events 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.

Eugene Onegin 5 5,000 Years of Civilization reborn

“It’s like being in heaven!” —Paul Behrends, consultant

“Superb! eaturing one of the world’s oldest art forms— Every performance was stunning.” classical Chinese dance—along with patented scenographic effects and all-original orchestral —WNYC F works, Shen Yun opens a portal to a civilization of enchanting beauty and enlightening wisdom. “I was overwhelmed. My entire body was trembling—but in VOCAL SOLOISTS a very loving way. I felt very joyful. It was beautiful, it was healing.” THE RESOUNDING VOICES of bel canto soloists are an integral part —Elisa Brown, renowned soprano of the Shen Yun experience. Each program is heightened by several “Her voice was so ethereal... moving selections from our singers. Powerful, marvelous soprano.” Their impassioned songs give voice to hopes that have shaped Chinese —Lee Meriwether & Marshall Borden culture for centuries.

Shen Yun Returns All-New Production with Live Orchestra ShenYun.com/WA McCaw Hall at Seattle Center | March 27–April 5 888.633.6999 FROM THE GENERAL

DIRECTOR Thank you for joining us for Tchaikovsky’s lushly orchestrated story of unanswered love. Based on Alexander Pushkin’s verse novel of the same name (still frequently assigned in Russian schools), Eugene Onegin is the quintessential Russian lyric opera. Pushkin’s plot—much like Shakespeare’s Romeo and Juliet in English-speaking countries—is familiar to nearly every Russian. The story follows Eugene Onegin, a worldly aristocrat bored by his new life in the country, and Tatyana, a teenager from a nearby estate infatuated by the handsome newcomer. Musically, Eugene Onegin is an operatic masterpiece that perfectly surrounds the story and appeals to the romantic in all of us. It’s an exquisite example of why we adore Tchaikovsky.

© PHILIP NEWTON Under the baton of Maestro Aleksandar Marković, expect to be swept away to imperial Russia.

Our just-announced 2020/21 season will be a stellar showcase of artistic talent, and it’s my pleasure to give you a brief glimpse of artists scheduled to perform at McCaw Hall in the coming months. Vanessa Goikoetxea, the soprano who captured our hearts as Micaëla in Carmen, returns in the season opener, appearing in a new production of Pagliacci & Cavalleria rusticana. We’ll also have the distinction of two visionary women at the helm of Mozart’s masterpiece Don Giovanni: Stage director Brenna Corner and conductor Lidiya Yankovskaya will spearhead a dynamic new co-production.

We’ll welcome back two impressive tenors who gave memorable performances in Rigoletto and Cinderella. Liparit Avetisyan (Duke of Mantua) and Matthew Grills (Don Ramiro) will charm Seattle once again in The Elixir of Love, alternating in the endearing lead role Nemorino. Next winter we will present the Seattle premiere of Flight, a very successful contemporary opera based on a true story and set in an airport terminal. Korean Canadian countertenor David DQ Lee will make his Seattle Opera debut in this entertaining “slice-of-life” ensemble dramedy. To close out the season, two globally praised sopranos will ignite the stage as opera’s ultimate diva. Spanish artist Saioa Hernández and Armenian Karine Babajanyan headline a gorgeous period revival of Puccini’s classic Tosca.

As you think about the wonderful artists appearing next season, I invite you to reflect on the many ways this art form has transformed your life by offering you emotions and experiences that only music and the human voice can give. Thank you for playing a part in this lifelong journey of discovery and celebration.

With gratitude,

Christina Scheppelmann

Eugene Onegin 7 SEATTLE OPERA DIRECTORY BOARD OF Unless otherwise indicated, the following numbers are in the 206 area code. DIRECTORS Seattle Opera Audience Services 2019/20 Season Phone: 389.7676 Outside Seattle: 800.426.1619 For TTY Service: 800.833.6388 Group Sales: 676.5588 Ticket Donations (day of show): 676.5544 Website: www.seattleopera.org Chairman Immediate Past Representatives to the Board John F. Nesholm Seattle Opera Donor Services President Gayle Charlesworth, Seattle Opera Guild Phone: 389.7669 Maryanne Tagney President Carissa Castaldo, Seattle Opera Chorus Email: [email protected] Norcliffe Room reservations: 389.7669 or Brian Marks Treasurer Evan Bennett, BRAVO! Brendan Murphy [email protected] President-Elect Eric Jacobs, The Seattle Symphony and Opera Players’ Organization Seattle Opera Administrative Offices Lesley Chapin Secretary Phone: 389.7600 Wyckoff Milkana Brace 363 Mercer Street Seattle Opera Foundation Seattle, WA 98109-4600 Vice Presidents Steven C. Phelps, Jay Lapin Website: www.seattleopera.org President Susan MacGregor Jonathan Rosoff Anne M. Redman Charles B. Cossé Marion Oliver McCaw Hall Coughlin Martha Sherman Joshua Rodriguez Location: 321 Mercer Street James D. Cullen James D. Cullen Stephen A. Sprenger John Sullivan Phone: 733.9725 Ellen Evans Adam J. Fountain Moya Vazquez Moya Vazquez www.mccawhall.com Jeffrey Hanna Head Usher: 733.9722 A. Richard Gemperle William T. Security Office: 733.9735 Bruce E. H. Johnson Weyerhaeuser Restaurant—Prelude: 615.0404 Brian LaMacchia Advisory Board Lost and Found: 684.7200 Connie Bloxom Victoria Ivarsson Louise Miller Parking: 684.7340 John M. Bloxom, Jr. Linda Nordstrom Monorail: 905.2620 Beverly Brazeau Eulalie Schneider Hall Rental: 684.7103 Directors Seattle Center Information: 684.7200 Willie C. Aikens Gary Houlahan Norma B. Croco Judy Schuchart David R. Davis Virginia B. Wright Amusements: Gifts of Artistic Expression Barry Bolding Michael Hyman Hours: 5:00 p.m. for evening performances and Toby Bright Tom McQuaid Betty Hedreen 11:30 a.m. for matinee performances; during Brenda Bruns, MD Steven C. Phelps intermissions Susan Buske Tom Puentes Honorary Life Members Phone: 774.4990 Beverly Brazeau Duff Kennedy Email: [email protected] Stella Choi-Ray James David Raisbeck Donald L. Johnson Michael M. Scott Gift Shop Manager: Kate Farwell Charles B. Cossé Joshua Rodriguez Amusements is operated jointly by Susan Detweiler, MD Jean Stark Seattle Opera and Pacific Northwest Ballet. Past Presidents Carolyn Eagan Russell F. Tousley Norma B. Croco Sheffield Phelps† BRAVO! Robert Fries Judy Tsou Albert O. Foster† Steven C. Phelps Phone: 389.7676 Leslie Giblett James Uhlir Email: [email protected] Max E. Gellert† Maryanne Tagney Paul Goodrich Susanne Wakefield, Harold H. Heath† Russell F. Tousley Seattle Opera Guild Jeffrey Hanna PhD Email: [email protected] H. Dewayne Kreager† Richard S. Twiss Kennan Joan S. Watjen Seattle Opera Guild is an organization † Hollingsworth, MD Scott Wyatt Francis A. LeSourd William T. independent of Seattle Opera. † Weyerhaeuser Ron Hosogi James M. McDonald Jr. † Stanley N. Minor Howard S. Wright John F. Nesholm

† Deceased

8 Seattle Opera 2019/20 Season FROM THE PRESIDENT

Welcome to a memorable night of music at Seattle Opera! Whether you’re an opera subscriber or an occasional attendee drawn to McCaw Hall by Tchaikovsky’s lush music and Pushkin’s tale of unrequited love, we’re glad you’re here.

The beginning of the year is always exciting—filled with the anticipation of new opportunities, adventures, and challenges. At Seattle Opera, the announcement of our new season makes this time of year especially thrilling. For the 2020/21 season, we’ve assembled an outstanding array of productions, from classics like Pagliacci & Cavalleria rusticana, Don Giovanni, and Tosca to an accessible new work, Flight, based on actual events of a refugee stranded in the Charles de Gaulle Airport for 18 years. Next season also marks the return of The Elixir of Love, which has not been performed here in more than two decades. I’m eager to see this topsy-turvy love story. © JONATHAN VANDERWEIT © JONATHAN There is so much to look forward to and this is the best time to subscribe—to secure your favorite seats for all of next season. As a full-season subscriber, you’ll enjoy free parking, hassle-free ticket exchanges, significant savings, and much more. Subscriptions are convenient, flexible, and provide a financial base to launch the wonderful productions we’ve lined up.

A new year also creates an opportunity to reflect: Seattle Opera just celebrated the one-year anniversary of moving into our new home next door! You, our generous supporters, made the building possible and over the last year, I hope you’ve had the chance to experience the programs that have brought it to life. Your support through Seattle Opera’s Annual Fund is what makes all the recitals, talks, and programs possible. The Opera Center makes the music and beauty of opera available to you beyond the five times a year we present productions in McCaw Hall. You can now be part of important community initiatives like The Falling and the Rising, a new chamber opera we presented in November. The Falling and the Rising is a story of honor, courage, and strength seen through the eyes of wounded warriors. The production embodied our commitment to telling stories relevant to our region and our involvement in issues that shape our world.

The Falling and the Rising was an opportunity to collaborate with several local organizations that work every day to improve the lives and well-being of veterans and their families. One of the most inspiring scenes of the production happened when the chorus—composed entirely of veterans—joined the principal singers to perform the finale at the end of the opera. The choir rehearsed in the Opera Center for eight weeks prior to the performance—a valued collaboration with Path with Art, a nonprofit dedicated to using art as an aid to recovering from trauma.

I extend heartfelt appreciation to the Education and Community Engagement Committee and Programs and Partnerships staff for their dedication to the project. There are two board directors who invested an extraordinary amount of energy into making this project a success that I want to celebrate: Susan MacGregor Coughlin, who diligently shepherded the initiative from the beginning through advocacy work and fundraising—she participated in so many meetings that she purchased a parking pass to the Mercer Garage—and Joshua Rodriguez, an Army veteran who spearheaded important components of the production and connected Seattle Opera to the veteran community and organizations that support them. Both Susan and Josh are exemplary volunteers who represent the extraordinary passion, generosity, and dedication of the Seattle Opera Board of Directors.

Thank you for attending our presentation of Eugene Onegin. Revel in the knowledge that thousands of people made this production possible (artists, crew, staff, subscribers, donors) and it’s only complete with you in the seat—let the music transport you! I look forward to seeing you here through the remainder of this season, and I encourage you to join us for all the singing and performances Seattle Opera has planned for you in the next one.

Thank you,

Brian Marks President, Seattle Opera Board of Directors

Eugene Onegin 9 2019/20 SEASON SPONSOR IN MEMORY OF KARYL WYNN PRODUCTION SPONSOR SEATTLE OPERA FOUNDATION ARTIST SPONSORS EULALIE SCHNEIDER MARJUKKA TEPPONEN MS. LESLEY CHAPIN WYCKOFF AND MR. PAUL WYCKOFF ERHARD ROM

We are deeply grateful to you, Seattle Opera’s 4,798 Annual Fund donors. Your passion for opera and contributions at every dollar amount inspire great performances in McCaw Hall and support engaging activities at the Opera Center and throughout Washington State all season long.

Thank You!

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Onegin_FullProgram_Final-fixed.indd 2 1/2/20 11:45 AM EUGENE ONEGIN Music by Peter Ilych Tchaikovsky Libretto by Peter Ilych Tchaikovsky and Konstantin S. Shilovsky Based on Alexander Pushkin’s verse novelEugene Onegin

Premiere: Maly Theatre, Moscow, 1879 Seattle Opera Premiere: 1975 CONDUCTOR LIGHTING DESIGNER Aleksandar Marković † Robert Wierzel Performances at Marion Oliver McCaw PRODUCTION STAGE DIRECTOR CHORUSMASTER Hall: January 11, 12m, 15, 18, 19m, 22, 24, Tomer Zvulun John Keene & 25, 2020 Evening Performances 7:30 p.m. ASSOCIATE DIRECTOR CHOREOGRAPHER Matinees 2:00 p.m. Stephanie Havey † Logan Pachciarz † SCENIC DESIGNER ENGLISH CAPTIONS In Russian with English captions. Erhard Rom Jeremy Sortore †

COSTUME DESIGNER Act I: 70 minutes Isabella Bywater Intermission Act II: 40 minutes Intermission Act III: 30 minutes CAST (in order of vocal appearance)

TATYANA LENSKY Marjukka Tepponen (Jan. 11, 15, 19, 25) Colin Ainsworth Marina Costa-Jackson (Jan. 12, 18, 22, 24) MONSIEUR TRIQUET OLGA Martin Bakari Melody Wilson † ZARETSKY / A CAPTAIN MADAME LARINA Misha Myznikov Margaret Gawrysiak PRINCE GREMIN FILIPEVNA David Leigh † Meredith Arwady †

EUGENE ONEGIN John Moore (Jan. 11, 15, 19, 25) Michael Adams (Jan. 12, 18, 22, 24) Scenery for this production was constructed at the Lyric Opera of Kansas City Shops. This production is jointly owned by Lyric Opera of Kansas City, Hawaii Opera Theatre, Michigan Opera Theatre, The Atlanta ASSISTANT STAGE DIRECTOR MUSICAL PREPRATION Opera, and Seattle Opera. Michael Janney Philip A. Kelsey, David McDade, Jay Rozendaal Principal Costumes from Santa Fe Opera. LANGUAGE COACH Misha Myznikov STAGE MANAGER † Seattle Opera mainstage debut Yasmine Kiss ASSISTANT CONDUCTOR

English captions © Jeremy Sortore 2020. Opera Philip A. Kelsey presentation and production © Seattle Opera 2020. Copying of any performance by camera, audio, or video recording equipment, and by any other copying device, and any other use of such copying devices during the performances is prohibited.

Eugene Onegin 11 THE STORY

ACT I

The Larina Family Home A Barren Field At her country estate, Madame Larina and nurse Filipevna can Lensky and his second, Zaretsky, wait for Onegin. Lensky reflects hear Larina’s two daughters, Tatyana and Olga, sing a song about on his life, his poetry, his fear of death, and his love for Olga. Onegin love. Larina begins to reminisce about her own marriage to a man arrives with his servant, Guillot. Both Onegin and Lensky are reluctant she did not love; “The good Lord sends us habit as a substitute for to go forward with the duel, but neither has the courage to stop it. happiness,” she concludes. The workers on the estate sing and dance Zaretsky gives the signal. Onegin shoots and kills Lensky. to celebrate the harvest. Tatyana is lost in the romantic literature she loves, while her younger, more carefree sister Olga wants to join the celebration. Larina warns Tatyana that real life is different from her INTERMISSION stories. Filipevna announces that two young men have arrived: Olga’s fiancé Lensky, a poet, and his new friend Eugene Onegin. Tatyana is immediately attracted to Onegin, who tells her he has inherited ACT III a nearby estate and how dull he finds life in the country. Filipevna recognizes the effect Onegin has on Tatyana. Prince Gremin’s Palace in St. Petersburg Five years later, Onegin, who fled Russia after the duel, returns to Tatyana’s Room the imperial capital and attends a ball. He reflects on the emptiness Tatyana is dressed for bed, but she is restless and unable to of his life and his remorse for killing Lensky. Prince Gremin, Onegin’s sleep. She asks Filipevna to tell her stories about her youth wealthy older relative, enters and introduces his wife. Onegin is and marriage. Tatyana confesses that she has fallen for astonished to see that the Prince has married Tatyana. Tatyana is also Onegin. Once alone, she pours her heart out into a letter to surprised to see Onegin, but tries to suppress her emotion. Dazzled by Onegin. Filipevna enters to wake Tatyana. Tatyana convinces Tatyana’s beauty and nobility, Onegin realizes that he is now in love Filipevna to have her grandson deliver the letter to Onegin. with her. He decides to write to her to arrange a meeting.

Another Part of the Estate A Few Weeks Later Servant girls sing songs while they pick fruit. Meanwhile, Onegin’s letter has disturbed Tatyana by stirring up the emotions she Tatyana anxiously awaits Onegin’s response to her letter. once felt for him. Onegin arrives; Tatyana asks why he is pursuing Onegin enters and explains that he is not a man who falls in her now. Is it because she is no longer a simple girl from the country, love easily. He tells her that he is unworthy of her love and can but a lady of high and fashionable society? Onegin tells her his love only offer her friendship. He warns Tatyana to stay in control is genuine and begs her to run away with him. Brought to tears by his of her emotions. The servant girls are heard singing again. plea, Tatyana admits that she still loves him, but explains that their Devastated, Tatyana is unable to respond to his rejection. union will never be. Onegin implores her. Tatyana is determined to remain faithful to her husband. Tatyana bids Onegin farewell forever. Alone, ashamed, and despairing, Onegin rails against his fate. INTERMISSION

ACT II The Ballroom of the Larina Estate Against his better judgment, Onegin accompanies Lensky to a party celebrating Tatyana’s name day. Onegin dances with Tatyana but becomes increasingly irritated by the gossipy old neighbors, whom he overhears maliciously discussing him and Tatyana. An elderly French fop, Monsieur Triquet, sings a song he has composed honoring Tatyana. Onegin decides to punish Lensky for dragging him to this miserable party by flirting with Olga. Enraged, Lensky challenges Onegin to a duel. Onegin reluctantly accepts the challenge.

12 Seattle Opera 2019/20 Season EraGem ESTATE - RETRO - ANTIQUE

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MICHAEL ADAMS MARTIN BAKARI MARGARET GAWRYSIAK Eugene Onegin Monsieur Triquet Madame Larina Baritone Tenor Mezzo-Soprano (Fort Worth, TX) (Yellow Springs, OH) (Geneseo, IL) Seattle Opera Debut: Seattle Opera Debut: Seattle Opera Debut: Guglielmo, Così fan Peter the Honeyman, Vera Boronel, tutte (’18) Porgy and Bess (’18) The Consul (’14) Recently: Zurga, Recently: Charlie Previously at Seattle The Pearl Fishers Parker, Charlie Parker’s Opera: Berta, The (Gran Teatre del Liceu); Yardbird (Atlanta Opera Barber of Seville (’17); Papageno, The Magic Flute (Washington and Arizona Opera); The Visitor, In the Penal Marcellina, The Marriage of Figaro (’16) National Opera); Masetto, Don Giovanni Colony (Portland Opera); Ferrando, Così fan Recently: Marcellina, The Marriage of (Grand Théâtre de Genève) tutte (Syracuse Opera) Figaro (Opera Colorado); Old Lady, Candide Upcoming: Kuligin, Katya Kabanova (The Upcoming: Mingo, Porgy and Bess (Atlanta (Tanglewood/Ravinia Festival); Madame Metropolitan Opera); Don Giovanni, Don Opera); Soloist, Carmina Burana (Carnegie Larina, Eugene Onegin (Atlanta Opera) Giovanni (The Glimmerglass Festival); Hall); Dr. Blind, Die Fledermaus (Fort Worth Upcoming: Berta, The Barber of Seville Belcore, The Elixir of Love (Seattle Opera) Opera) (Dallas Opera)

COLIN AINSWORTH ISABELLA BYWATER STEPHANIE HAVEY Lensky Costume Designer (London, UK) Associate Director (Knoxville, TN) Tenor Seattle Opera Debut: Seattle Opera Debut (Brooklin, Ontario) Eugene Onegin (’02) Recently: Director, Seattle Opera Debut: Recently: Director and La bohème (Pittsburgh Steersman, The Flying Designer, Suor Angelica, Opera); Director, Dutchman (’16) Il tabarro, and Gianni La traviata (Arizona Recently: Don Ottavio, Schicchi (Den Norske Opera and Hawaii Don Giovanni (Opera Opera); La bohème (San Opera Theatre); Atelier); Alfredo, La Diego Opera); Faust Associate Director, traviata (Pacific Opera Victoria) Soloist, (Mariinsky Theatre); Rigoletto (Houston Grand Opera) Berlioz’s Romeo and Juliet (Oregon Bach Lucia di Lammermoor (Den Jyske Opera) Upcoming: Director, Norma (Boston Lyric Festival) Opera and Pittsburg Opera); Director, Carmen Upcoming: Tamino, The Magic Flute (Opera (Arizona Opera) Atelier); Soloist, Bach’s St. John and St. MARINA COSTA-JACKSON Matthew Passions (Oregon Bach Festival) Tatyana JOHN KEENE Soprano Chorusmaster (Lancaster, PA) (Las Vegas, NV) MEREDITH ARWADY Seattle Opera Debut: Seattle Opera Debut: Filipevna Fiordiligi, Così fan tutte Chorusmaster, Fidelio Contralto (’18) (’12) (Kalamazoo, MI) Previously at Seattle Previously at Seattle Seattle Opera Debut Opera: Three Singing Opera: Chorusmaster, Recently: Madame Sisters Concert (’19) Rigoletto (’19), Flora, The Medium Recently: Desdemona, Otello (Savonlinna Cinderella (’19); Pianist, (Oper Frankfurt); Opera Festival); Elisabetta, Don Carlo (Grange Three Singing Sisters Filipevna, Eugene Park Opera); Mimì, La bohème (LA Opera) (’19) Onegin (Atlanta Opera); Upcoming: Amelia, Simon Boccanegra Upcoming: Pianist, concerts with Melody Third Lady, The Magic Flute (Washington (Washington Concert Opera); Giulietta, Tales Wilson and Angela Brown (Seattle Opera); National Opera) of Hoffman (Covent Garden); Mimì, La bohème Chorusmaster, La bohème (Seattle Opera); Upcoming: Kathy Hagen, Champion (Michigan (Opéra National de Paris) Judge, Metropolitan Opera National Council Opera Theatre) Auditions

14 Seattle Opera 2019/20 Season MUSIC AT ARTISTS Bischofberger ST. JAMES est. 1955 Violins CATHEDRAL 2020 Vierne Complete Organ Works DAVID LEIGH Professional Celebrating the 150th anniversary of the birth of Prince Gremin Repairs Louis Vierne, organist of Notre-Dame Cathedral. Bass (New York, NY) Appraisals Johann Vexo Sat. 1/25, 7:30pm Seattle Opera Debut Organiste de Choeur, Notre-Dame de Paris & Sales Current Notre-Dame Cathedral organist plays Recently: Timur, Vierne’s Symphony No. 1 + other composers. Turandot (Canadian 1314 E. John St. Joseph Adam Fri. 2/21, 7:30pm Opera Company); Seattle, WA The majestic Symphony No. 2 and the Colline, La bohème 206-324-3119 fourth book of Pièces de Fantaisie. (Bolshoi Theatre); More info at 206-382-4874 Zuniga, Carmen (San www.bviolins.combviolinsltd.com www.stjames–cathedral.org/music Francisco Opera) Upcoming: King Marke, Tristan und Isolde (Santa Fe Opera); The Monk, Don Carlo (Dallas BV 071811 repair 1_12.pdf Opera); Timur, Turandot (Austin Lyric Opera)

ALEKSANDAR MARKOVIĆ Conductor (Vienna, Austria) Seattle Opera Debut Recently: Der Rosenkavalier and Conductor Director Jenůfa (Opera North); ERIN HELYARD CHAS RADER-SHIEBER Rienzi (Philharmonie im Gasteig, Munich) Upcoming: Elektra (Cankarjev Dom, Ljubljana)

JOHN MOORE Eugene Onegin Baritone (Milford (Okoboji), IA) Seattle Opera Debut: Count Almaviva, The Marriage of Figaro (’16) Previously at Seattle Opera: Steve Jobs, The MARCH 20, 22m, 24, 26, 28 (R)evolution of Steve NEWMARK THEATRE Jobs (’19); Figaro, The Barber of Seville (’17); Papageno, The Magic Flute (’17) Recently: Frank Lloyd Wright, Shining Brow (Arizona Opera); Achilla, Giulio Cesare (Glyndebourne Festival); Figaro, The Barber of A collaboration with Portland Baroque Orchestra, Seville (Portland Opera) featuring contralto Avery Amereau Upcoming: Count Almaviva, The Marriage of and countertenor Aryeh Nussbaum Cohen. Figaro (New Zealand Opera)

For tickets, special lodging offers, and dining recommendations, contact [email protected].

PORTLANDOPERA.ORG 503.241.1802

Eugene Onegin 15 ARTISTS CONT.

MISHA MYZNIKOV Zaretsky/A Captain Bass (Russkie-Borisy, Azerbaijan) Seattle Opera Debut: Guillot, Eugene Onegin (’02) Previously at Seattle Opera: Hermann, The Tales of Hoffmann (’14) Seattle Opera Chorus Member since 1993 Recently: Junius, The Rape of Lucretia; Eugene Onegin, Eugene Onegin; Figaro, The Marriage of Figaro (Tacoma Opera) Upcoming: Silvio, Pagliacci (Northwest Lyric Opera); Soloist, Handel’s Messiah (Federal Way Performing Arts and Event Center); Rachmaninoff’s Songs (Northwest Edvard Grieg Society)

LOGAN PACHCIARZ Choreographer (Kansas City, MO) Seattle Opera Debut Recently: Choreographer, Eugene Onegin (Atlanta Opera); Director, Moving Arts Kansas City (Moving Arts); Director, Moving Arts Cincinnati (Moving Arts) Upcoming: Choreographer, Eugene Onegin (Palm Beach Opera); Choreographer, The Shining (Lyric Opera of Kansas City); Director, Moving Arts Kansas City (Moving Arts)

ERHARD ROM Scenic Designer (Seattle, WA)

In Italian with English subtitles. Seattle Opera Debut: OPERA’S QUINTESSETIAL LOVE STORY Evenings 7:30 PM La bohème (’13) An audience favorite for over a century, this tale of Sundays 2:00 PM Previously at Seattle four young Parisians who dedicate their lives to Tuesday 11:00 AM Opera: Semele (’15) art and love is guaranteed to touch your heart. Puccini’s lush score—performed by a 60-piece Featuring the Seattle Opera Recently: The Marriage orchestra—perfectly captures their simple joys Chorus and members of Seattle of Figaro (San Francisco and heartbreaking sorrows. The “full-bore, Symphony Orchestra. Opera); Rigoletto traditional production” (DC Metro Week) fills the (Houston Grand Opera); stage with nearly 100 performers and plenty of MCCAW HALL La bohème (Dallas Opera) period detail, resulting in “genuine theatrical 206.389.7676 Upcoming: Salome (Atlanta Opera); magic” (The Washington Post) SEATTLEOPERA.ORG Don Giovanni and Samson and Delilah (Washington National Opera)

16 Seattle Opera 2019/20 Season MARJUKKA TEPPONEN TOMER ZVULUN Tatyana Production Stage Director (Tel Aviv, Israel) Soprano (Helsinki, Seattle Opera Debut: Finland) Lucia di Lammermoor Seattle Opera Debut: (’10) Fiordiligi, Così fan tutte Previously at Seattle (’18) Opera: Semele (’15); Recently: Mona, Ice La bohème (’13) IN SEATTLE and Woglinde, Das Recently: Silent Night Rheingold (Finnish (Washington National at McCaw Hall National Opera); Mimì, La bohème (Rijeka Opera); Dinner at Eight (Wexford Festival February 10 National Opera) Opera); The Flying Dutchman and Rigoletto 5:30-8:00pm Upcoming: Mimì, La bohème (Jyväskylä (Houston Grand Opera) Opera); Micaëla, Carmen (Tampere Opera); Upcoming: Silent Night (Utah Opera); Violetta, La traviata (Savonlinna Opera Dead Man Walking (New Israeli Opera); TICKETS WallaWallaWine.com/Events The (R)evolution of Steve Jobs (Atlanta Opera, Festival) $55 Austin Opera, and Lyric Opera of Kansas City)

ROBERT WIERZEL Sample wines Lighting Designer (Branford, CT) from over 45 Walla Walla Valley Seattle Opera Debut: WINERIES. The Turn of the Screw - Must be 21 to Attend - (’94) Previously at Seattle Opera: Semele (’15); The Tales of Hoffmann (’14); Don Giovanni (’14) Recently: Rigoletto Hiplet Ballerinas (Houston Grand Opera); The Ghosts of Thursday, Feb. 20 Versailles (Opera Royal du Château de 7:30 pm | $19–$39 Versailles); Shout Sister Shout! (Seattle fusion of classical pointe Repertory Theatre) technique, hip-hop, and other urban dance styles Upcoming: Salome (Atlanta Opera); Samson and Delilah, Don Giovanni, Blue (Washington 6:00 pm | FREE Pre-Show Artist Talk National Opera); Deep Blue Sea (Park Avenue Armory) Meow Meow Thursday, Apr. 2 7:30 pm | $24–$59 subversive & sublime — MELODY WILSON an unforgettable evening Olga of exquisite music & mayhem Mezzo-Soprano Jacob Jonas The Company’s (Newark, DE) Seattle Opera Debut CRASH ft. Okaidja Afroso Recently: Fenena, Nabucco (Union Avenue Thursday, May 21 Opera); Flower Maiden, 7:30 pm | $29–$54 Mondparsifal Alpha 6:00 pm | FREE Pre-Show Artist Talk (Wiener Festwochen inspired by the formation and patterns of waves; original score performed and Berliner Festspiele); Addie, Regina (Opera live by Okaidja Afroso Theatre of Saint Louis) ; Maddalena, Rigoletto (Hungarian State Opera) Upcoming: Sanctuary Road (Oakland Symphony and Chautauqua Symphony)

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Eugene Onegin 17 ARTISTS CONT.

ACTORS ORCHESTRA

Cristopher Alan Berns Violin I Oboe Rosetta Greek Eduardo Rios, Concertmaster Mary Lynch, Principal Jennifer Bai Chengwen Winnie Lai SUPERNUMERARIES Mariel Bailey Blayne Barnes Clarinet Tina Asavaphanlert Kelly Farris Benjamin Lulich, Principal Jimmy Harrop Timothy Garland Laura DeLuca David Lee Leonid Keylin Shana Moffat Mae Lin Bassoon Mikhail Shmidt, Assistant Concertmaster Seth Krimsky, Principal Sarah Staples Paul Rafanelli CHORUS John Weller Soprano Arthur Zadinsky Horn Jennifer Cross Mark Robbins, Principal Violin II Jenna Breen Karen Early Evans Elisa Barston, Principal John Turman Dana Johnson Robbins Kathleen Boyer, Assistant Principal Danielle Kuhlmann Ellaina Lewis Gennady Filimonov Linda Mattos Sydney Adedamola Trumpet Ibidunni Ojikutu Evan Anderson David Gordon, Principal Eleanor Stallcop-Horrox Natasha Bazhanov Michael Myers Shelly Traverse Linda Cole Amy Van Mechelen Xiao-po Fei Trombone Lyndee White Artur Girsky Ko-ichiro Yamamoto, Principal Andrew Yeung David Lawrence Ritt Stephen Fissel Mezzo Viola Lorraine Burdick Arie Schachter, Principal Timpani Laura Eichelberger Timothy Hale, Assistant Principal Matthew Decker, Principal YeonSoo Lee Amber Archibald-Sesek Gail Neil Wesley Dyring Harp Elizabeth Peterson Allison Farkas Valerie Muzzolini, Principal Melissa Plagemann Joseph Gottesman Susan Salas Sayaka Kokubo Personnel Manager Lucy Weber Daniel Stone Scott Wilson

Cello Assistant Personnel Manager Tenor Nathan Chan, Principal Keith Higgins Nathan Barnes Eric Han, Assistant Principal Benjamin Cleveland Bruce Bailey Rotating members of the string sections are Joel Cummings Vivian Gu listed alphabetically. Andrew Etherington Emily Hu Jon Farmer Charles Jacot The Orchestra is composed of members of Anthony James Joy Payton-Stevens the Seattle Symphony Orchestra. Tim Janecke David Sabee Karl Reyes Stephen Wall Bass Jordan Anderson, Principal Jonathan Burnstein, Assistant Principal Bass/Baritone Jennifer Godfrey Ryan Bede Travis Gore Michael Dunlap William Langlie-Miletich Craig Grayson Todd Larsen Glenn Guhr Ben Kramer Flute Dierre Lopez Jeffrey Barker, Principal Zachary Martin Robin Peery Julian Reisenthel Piccolo Revere Taylor Zartouhi Dombourian-Eby

18 Seattle Opera 2019/20 Season Wholesale and Retail Sales ¿ Roasting fine coffees since 1993

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400 N 43rd St. ¿ Seattle, WA. 98103 ¿ 206-633-4775 LIGHTHOUSEROASTERS.COM “I have not yet said a tenth part of what Tchaikovsky needed letters the way he I want to say,” Tchaikovsky once wrote needed air and water. When he began work his patron. “My heart is full. It thirsts to on Eugene Onegin, he started with the pour itself out in music.” Music was one scene in which Tatyana writes her letter. way he expressed himself; he also wrote One of the most intense declarations of countless letters, and there’s even a love in all opera, its music burned its way wax cylinder recording of Tchaikovsky through Tchaikovsky’s soul just as it does speaking. It’s fun, if pointless, to speculate that of his heroine. Our title character about what communication channels then breaks Tatyana’s heart, rejecting her Tchaikovsky would favor were he living in person with his “Let’s just be friends” among us now. Would he keep a blog? aria—and no matter how beautifully the Would he tweet? Would he keep in touch baritone sings, winning the audience’s with his brothers by video call, or would he sympathy here is a tall order. How can text them incessantly? Perhaps he would he be so cold? So chill? In fact, it requires still write letters. considerable delicacy and tact to do what Onegin does. An in-person response is Anybody remember letters? You appropriate; if he responded with another youngsters who grew up in an all-digital letter, it might fall into the wrong hands world may not be as familiar with the and Tatyana would be further humiliated. emotional dynamics of letter writing as Moreover, in his aria, he goes out of his way those of us who remember those bygone to say, “It isn’t you, it’s me.” Tatyana could days (I’m Gen X). Letters are curiously both have had it much worse. He could have intimate and distant: intimate because it’s taken advantage of her without requiting actually a thing, an old-fashioned, analog her passion. piece of reality, a sheet of paper your correspondent physically touched, maybe Unfortunately, that’s what Tchaikovsky wept over or kissed—and distant because himself did in the same situation. The the person is absent. No matter how 37-year-old bachelor had decided he fraught, how intense the message, nobody needed to get married. In those days, is breathing down your neck expecting people weren’t gay, activities were. He may a response right then and there. You’ve have thought a wife and kids would help got a little space. Even if you’re reading him avoid “bad habits.” (Scholars continue a declaration of love, or a coming-out to debate the extent of Tchaikovsky’s letter, or a marriage proposal, or great internalized homophobia.) When a former news (“Mom and baby are both healthy!”), student he barely knew wrote him a or terrible (“Your loved one is missing, passionate love letter, instead of telling presumed dead”), the very mechanism her, as Onegin does Tatyana, “I’m not the of the letter offers its recipient a little marrying kind,” Tchaikovsky married her privacy. You respond within days, not almost sight unseen. Nadezhda von Meck was Tchaikovsky’s patron. Over fifteen years, they exchanged more than 1,200 letters. minutes.

20 Seattle Opera 2019/20 Season

Onegin_FullProgram_Final-fixed.indd 6 1/2/20 11:45 AM Photo © Chris Bennion Photo

Seattle Opera's 2002 production of Eugene Onegin featured Nuccia Focile as Tatyana and Peter Edelmann as Eugene Onegin.

It was the biggest mistake of her love. And so they reverse roles: this invested me. And you are quite right.” Tchaikovsky's life. He had grossly time he writes the passionate, pleading Harsh reality would never be allowed to underestimated how incompatible they love letters, and she rejects him. If Onegin correct the fanciful images they loved were. It wasn’t just a question of his learned his lesson, it was too late. of each other. Perhaps it involved an not being interested in women—this element of delusion, but this relationship particular woman repelled him more Tchaikovsky learned, the hard way, that worked. Von Meck’s patronage enabled and more by the hour. He quickly started an intimate relationship with a woman Tchaikovsky to give the world such coming up with excuses to avoid her, was not for him. But a relationship at a masterpieces as his Fifth Symphony, and after a few months (and something distance, the separation mitigated by Sleeping Beauty, and The Queen of resembling a nervous breakdown), they letters? Much more successful. Spades. separated. This “marriage” caused intense personal misery, public humiliation, The same year as his disastrous marriage, If you’ve ever heard Tchaikovsky’s music, and wasted energy and investment on Nadezhda von Meck, Tchaikovsky’s patron, you’ve met the man. He’s one of the most both sides. Onegin, in comparison, was a wrote him the first of more than 1,200 popular composers who ever lived, not gentleman. letters that passed between them over because he wrote great tunes, not because the next dozen years. Early on they agreed of how he used harmony or orchestral At least, he was in Act One. In Act Two, never to meet; this love affair was entirely color or musical form, but because he Onegin’s petty spitefulness, stubborn platonic, their relationship fundamentally speaks to us as an individual in everything pride, and ennui get the better of him, a financial one. Tchaikovsky understood he wrote—eloquent, passionate, and leading to Lensky’s death and Onegin’s her reasons for never interacting with recognizably idiosyncratic. His music own exile. He returns from abroad in him in person: “You fear that you will not speaks to us as intimately as a letter. Act Three a changed man, finally able to find in me those qualities with which your recognize Tatyana’s beauty and return imagination, inclined to idealization, has

Eugene Onegin 21

Onegin_FullProgram_Final-fixed.indd 7 1/2/20 11:45 AM LITERATURE AND LEGACY OF ALEXANDER PUSHKIN By Alena Gray Aniskiewicz, PhD

The wild story of Alexander Pushkin’s life resembles characters from dramas written by the author himself. Pushkin was born in Moscow Located in central Moscow, this famous statue of Alexander Pushkin was dedicated in 1880 by Fyodor Dostoyevsky. in 1799 to a family with a long and complicated history in Russia. His father descended from an ancient aristocratic line who had fallen on hard times. On the other side, Pushkin’s maternal great-grandfather was the nobleman and military leader Abram Petrovich Gannibal. Kidnapped as a child from present-day Cameroon, Gannibal was brought to Russia as a gift for Peter the Great, who ended up adopting him as a godson. When Peter’s daughter Elizabeth assumed power, HIS LEGEND LIVES ON Gannibal served as a member of her court. Pushkin celebrated his Though the duel ended Pushkin’s life, it ignited his legend. Ukrainian- storied lineage, even as his African heritage at times alienated him born humorist, dramatist, and novelist Nikolai Gogol had already from Russian society. deemed Pushkin “the Russian national poet,” and the dramatic circumstances of his death only deepened the allure. Celebrating the Largely neglected by his parents, young Pushkin divided his time anniversary of the poet’s birth, novelist Fyodor Dostoevsky stood in between the family’s extensive library of French literature and front of a monument to Pushkin in Moscow in 1880 and declared him conversations with the household serfs. This early education in a prophet and the “embodiment of Russia’s national ideals.” Pushkin Western literature and colloquial Russian speech would serve him remained a favorite across generations. Vladimir Lenin defended well, as his later works were prized for their introduction of everyday his work against critics, Joseph Stalin celebrated him as a hero, and Russian into literary forms. Shortly after the successful publication Soviet propaganda highlighted Pushkin’s African heritage as evidence of his mock epic poem Ruslan and Lyudmila in 1820, Pushkin was of a tradition of ethnic diversity. Today, Pushkin remains known arrested for his liberal writings and exiled from the centers of Russian as “Russia’s Shakespeare,” schoolchildren continue to memorize culture. Though pardoned and allowed to return to Moscow in 1826, passages of his verse, and contemporary Russian rappers point to the Pushkin continued to face censorship and a tense relationship with poet as a forefather of hip-hop. Repeatedly cast as an embodiment of the court for the rest of his life. Nevertheless, the following years Russianness, Pushkin is both timeless and ever-changing. In this, he is were productive and in 1831 Pushkin completed Eugene Onegin, a as enigmatic as Russia itself. verse novel on which he had been working for almost eight years. That same year, Pushkin married Natalya Goncharova and the pair UNIQUELY RUSSIAN moved to St. Petersburg. It was there Pushkin would challenge Much like its creator, Pushkin’s Eugene Onegin has captivated Baron Georges d’Antès to a duel after suspecting the Frenchman generations of Russians. Built around a plot that mirrors the life of was wooing Goncharova. Mortally wounded in the duel, Pushkin died its author—complete with disaffected poets, romantic ideals, and February 27, 1837. tragic duels—Eugene Onegin not only helped create a new Russian

22 Seattle Opera 2019/20 Season

Onegin_FullProgram_Final-fixed.indd 8 1/2/20 11:45 AM Duel Between Onegin and Lensky, an illustration by Ilya Yefimovich Repin, 1899.

literary language, but also introduced character types that became Joseph Stalin celebrated Pushkin as a hero, fixtures in Russian culture. Dostoevsky described Eugene Onegin as and Soviet propaganda highlighted his “tangible and realistic,” and insisted that in the novel’s verse “real Russian life is embodied with creative power and perfection.” African heritage as evidence of a tradition of ethnic diversity. What, we might ask, makes Eugene Onegin “realistic” and so very Russian? Part of this sense of realism is born of Pushkin’s innovative to shape Russians’ understandings of themselves. Tatyana typified a incorporation of contemporary Russian speech and recognizable strong, idealistic, and self-sacrificing vision of the Russian woman that characters into his work. Prior to Pushkin, Russian literature was would echo through Russian literature for the next century. She was, largely beholden to models from Western Europe. In embracing the Dostoevsky claimed, the “apotheosis of the Russian woman.” Onegin language and legends of Russia, Pushkin created a new, native form. became a prototype of the “superfluous man.” Talented, but unable Whether drawing on medieval history and folklore in Ruslan and to fit into social norms, the alienated and ineffectual superfluous Lyudmila or pioneering a unique verse form that came to be known man reflected the social conditions of the time and populated many as the “Onegin stanza” in Eugene Onegin, Pushkin made the Russian 19th-century Russian novels, including those of Ivan Turgenev, Mikhail language literary. Lermontov, and Ivan Goncharov.

From this new Russian verse emerged Eugene Onegin’s iconic FROM PAGE TO STAGE characters—particularly, Tatyana and Onegin. The characters Pushkin’s influence on Russian culture was not only literary. Almost understand each other through the lens of the books they have immediately, the beauty of his verse and the power of his stories inspired read. Tatyana sees Onegin as a hero from her favorite novels. As performers and composers to adapt Pushkin for the stage. Passages much as the novel offered a reflection on the role of stories and from Eugene Onegin were performed by Russian actors not long after culture in shaping identity, it also became a story that continues its publication, Mikhail Glinka premiered his version of Ruslan and

Eugene Onegin 23

Onegin_FullProgram_Final-fixed.indd 9 1/2/20 11:45 AM Lyudmila in 1842, and Modest Mussorgsky's Lyudmila in 1842, and Modest Mussorgsky's masterpiecev, Boris Godunov, derives from masterpiecev, Boris Godunov, derives from a play by Pushkin. Even before composing a play by Pushkin. Even before composing Eugene Onegin, Peter Ilych Tchaikovsky IN Eugene Onegin, Peter Ilych Tchaikovsky IN himself had turned to Pushkin’s works for himself had turned to Pushkin’s works for inspiration, using passages from Pushkin’s inspiration, using passages from Pushkin’s 1824 poem The Gypsies in his Zemfira’s Song. THE 1824 poem The Gypsies in his Zemfira’s Song. THE Tchaikovsky also would return to Pushkin Tchaikovsky also would return to Pushkin later in his career, drawing from the author’s later in his career, drawing from the author’s texts as the basis for both 1884’s Mazeppa LOBBY texts as the basis for both 1884’s Mazeppa LOBBY and 1890’s The Queen of Spades. It doesn't take a love of Russian literature or classical music to be completely fascinated and 1890’s The Queen of Spades. It doesn't take a love of Russian literature or classical music to be completely fascinated by the two men who created Eugene Onegin. Descended from a freed slave from Central by the two men who created Eugene Onegin. Descended from a freed slave from Central Despite Tchaikovsky’s experience setting Africa, Alexander Pushkin is regarded as Russia’s greatest poet and a symbol of Russian Despite Tchaikovsky’s experience setting Africa, Alexander Pushkin is regarded as Russia’s greatest poet and a symbol of Russian Pushkin’s verse to music and the precedent culture itself. Pushkin wrote the original novel in verse Eugene Onegin, a story about a Pushkin’s verse to music and the precedent culture itself. Pushkin wrote the original novel in verse Eugene Onegin, a story about a set by Glinka and Mussorgsky, the decision to young man who kills his best friend and wastes his one shot at true love. set by Glinka and Mussorgsky, the decision to young man who kills his best friend and wastes his one shot at true love. create an opera based on the novel initially create an opera based on the novel initially seemed a “wild idea” to the composer when Later, Onegin was adapted into an opera by Peter Ilyich Tchaikovsky—the most popular seemed a “wild idea” to the composer when Later, Onegin was adapted into an opera by Peter Ilyich Tchaikovsky—the most popular the singer Yelizaveta Lavrovskaya suggested Russian composer of all time, known for The Nutcracker and Swan Lake. In the late 1870s, the singer Yelizaveta Lavrovskaya suggested Russian composer of all time, known for The Nutcracker and Swan Lake. In the late 1870s, it in 1877. Not only was the text sacred to the Tchaikovsky was fed up with grand opera. Rather than an epic Ring or Aida, he wanted it in 1877. Not only was the text sacred to the Tchaikovsky was fed up with grand opera. Rather than an epic Ring or Aida, he wanted Russian reading public, it also lacked the high to create something that felt familiar to audiences’ everyday lives. Thus, he turned to Russian reading public, it also lacked the high to create something that felt familiar to audiences’ everyday lives. Thus, he turned to dynamic drama so often characteristic of the Pushkin’s famous piece—one of the ubiquitous works of Russian literature. Like Pushkin, dynamic drama so often characteristic of the Pushkin’s famous piece—one of the ubiquitous works of Russian literature. Like Pushkin, operatic stage. Despite his initial reluctance, who had mixed-race ancestry, Tchaikovsky also clashed with societal norms as a gay man operatic stage. Despite his initial reluctance, who had mixed-race ancestry, Tchaikovsky also clashed with societal norms as a gay man Tchaikovsky purchased a copy of Pushkin’s in a repressed society. Tchaikovsky purchased a copy of Pushkin’s in a repressed society. text later that night, and by the following text later that night, and by the following day had begun work on the scenario for the Visit the Seattle Opera lobby displays to learn more. day had begun work on the scenario for the Visit the Seattle Opera lobby displays to learn more. opera. In Eugene Onegin, he found an “infinity opera. In Eugene Onegin, he found an “infinity of poetry” and characters who felt “real” and of poetry” and characters who felt “real” and “whose feeling are like [his] own.” Rather “whose feeling are like [his] own.” Rather than dealing with “Ethiopian princesses” than dealing with “Ethiopian princesses” and “Pharaohs” who were “so remote,” and “Pharaohs” who were “so remote,” Tchaikovsky was happy to tell a story that Tchaikovsky was happy to tell a story that resonated with his own experience. Like so resonated with his own experience. Like so many before and after him, Tchaikovsky found many before and after him, Tchaikovsky found himself in Pushkin’s characters, not only as himself in Pushkin’s characters, not only as a Russian, but also as someone who deeply a Russian, but also as someone who deeply understood the experience of loneliness and understood the experience of loneliness and frustrated romantic desires. frustrated romantic desires.

Almost two hundred years and an ocean Almost two hundred years and an ocean away from Pushkin’s Russia, Tchaikovsky’s away from Pushkin’s Russia, Tchaikovsky’s magnificent Eugene Onegin brings the poetry, magnificent Eugene Onegin brings the poetry, beauty, and humanity of the Russian classic beauty, and humanity of the Russian classic to Seattle. to Seattle.

Alena Gray Aniskiewicz is a postdoctoral Pictured: Alexander Pushkin, author of the verse novel Pictured: Composer Peter Ilych Tchaikovsky. Alena Gray Aniskiewicz is a postdoctoral Pictured: Alexander Pushkin, author of the verse novel Pictured: Composer Peter Ilych Tchaikovsky. research fellow at the Institute for the Eugene Onegin, on which the opera is based. research fellow at the Institute for the Eugene Onegin, on which the opera is based. Humanities at the University of Michigan. Humanities at the University of Michigan. Her research and teaching explore Her research and teaching explore the maintenance and manufacture of the maintenance and manufacture of literary history and cultural heritage in literary history and cultural heritage in contemporary popular culture. She is contemporary popular culture. She is currently completing a book on Polish currently completing a book on Polish hip-hop and the nation's poetic tradition. hip-hop and the nation's poetic tradition.

24 Seattle Opera 2019/20 Season

Onegin_FullProgram_Final-fixed.indd 10 1/2/20Onegin_FullProgram_Final-fixed.indd 11:45 AM 10 1/2/20 11:45 AM YB_ResizeforAna 1 1/2/20 1:38 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 Anna Nolan Debra McKinney Ivy Ash, Ron Erickson, Scott Gray, PROGRAMS AND Institutional Giving Associate Group Sales Coordinator Lesley McDaniel, Mary Seasly, Charlie Dominica Myers Trowbridge, Keri Young PARTNERSHIPS Associate Director of Ahana Sen Katrina Finder, Alexander Hawker Stewardship and Events Associate Audience Services Lead Wardrobe Attendants Rachelle Adams Administration Operations Manager Isabel Thomas Erin Buck, Yoojeong Cho, Leonie HAIR AND MAKEUP Naomi André Research and Database Manager Fogle, Shelly Traverse, Emma Wahl, Liesl Alice Gatcheco ARTISTIC Scholar in Residence Caroline Webb Cassie Willock Hair and Makeup Manager Mary Brazeau Audience Services Representatives T.J. Callahan Stewardship and Events Manager Ashlee Naegle Artistic Administration Manager Programs Communications DIRECT SALES Wig Master Jonathan Dean Coordinator Ed Boyd Julia Wing Krafft Dramaturg FINANCE Courtney Clark Direct Sales Manager Wig Assistant Paula Podemski Marissa Betz-Zall School Programs Manager Associate Director of Finance Megan Bailey Ashlee Naegle Company Manager Sara Litchfield Direct Sales Assistant Lead Principal Hair and Emmy Ulmer Randee Byrd Youth & Family Programs Manager Payroll Manager Mary Hobbs Makeup Artist Titlist Lokela Alexander Minami Senior Account Representative Calli Dey, Trisha Partida, Shelby MUSIC Victoria Campbell Community Engagement Manager Accounts Payable/Receivable Angie Bolivar, Virginia Jackson, Rogers Britney Schroeder John Keene Associate Dorothea Kopta, Cheryl Nance, Principal Makeup Artists Head of Music Staff and Production Manager, Community Lindsey O’Connor Claudio Remirez, Gail Sage, Albert Luce Cosineau, Julia Wing Krafft, Chorusmaster Projects Senior Accountant Sanders, Toni Zeigler Fiona Kraus, Anne McGowan, Allegra Philip A. Kelsey Account Representatives Rege, Anne Timms Stephanie Sintef Trevor Torres Assistant Conductor Hair and Makeup Artists Tour & Productions Coordinator Payroll Assistant David McDade PRODUCTION Cheryl del Rosario Lavarias, Miriam Anderson, Courtney-Savali Head of Coach-Accompanists FACILITIES Rosetta Greek Andrews, Jessica Andrews, Andrew R. Russell Crosbie Coopman, Liz Frazer, Li-Cheng Hung, Jay Rozendaal Todd Clark Hair and Makeup Assistant Facilities Manager Technical Director Kayla Johnson, Chelsea LeValley, Coach-Accompanist/Orchestra STAGE CREW Steven Luksan, Debra McKinney, Librarian Mark Nebel Alicia Moriarty Assistant Production Director Charles T. Buck Christine Menschner, Kathryn Van Emily Cabaniss Facilities Coordinator Master Stage Carpenter Meter, Rachel Nofziger, Melissa Connie Yun Company Librarian/Archivist and INFORMATION SYSTEMS Jason Balter, Bruce Warshaw Plagemann, Tasha Smith, Kristen Music Associate Assistant Lighting Designer Swenson, Ta Wei Tsai, Lyndee White, Iain Quigley Assistant Master Stage Carpenters Mare Sasse Cassandra Willock Stephen Wall Desktop User Support Technician Justin Loyd Chorus Personnel Coordinator Assistant Production Manager Teaching Artists Stuart McLeod Head Flyman COSTUMES Beth Kirchhoff SQL Developer and Adam Lantz, Matthew Lint, Chorusmaster Emeritus CRM Administrator Susan I. Davis Robert Millard, Tommy Price, Principals, stage directors, choristers, STAGE MANAGEMENT Costume Director Jason Wagoner stage managers, assistant stage Heidi Zamora Assistant Stage Carpenters managers, and assistant directors Yasmine Kiss MARKETING AND employed in this production are Production Stage Manager Costume Show Manager, Design Jim Nash COMMUNICATIONS Coordinator members of the American Guild of Master Electrician Musical Artists AFL-CIO. Catherine Costanzo, Brittany Rall Julianna Brei-Crawley Ieva Ohaks Martin Cunningham Associate Director of Marketing Costume Rental-Stock Coordinator The musicians are represented by Assistant Stage Managers Assistant Master Electrician the Seattle Symphony and Opera Kianna Carter Hannah Tyo Players’ Organization, a Chapter of Teresa Micheletti Marketing Assistant and Audience Molly Brindley, Chris Dimoff, Costume Assistant the International Guild of Symphony, Production Assistant Services Representative Jim Gable Denise Barry Assistant Electricians Opera, and Ballet Musicians. Arryn Davis Lead Cutter Scenery construction and stage crew Marketing Coordinator Chris Reay DEVELOPMENT Miriam Goodman-Miller A/V Supervisor work is performed by employees Hong Chhuor Gabrielle Nomura Gainor Crafts Supervisor Hannah Fenske represented by I.A.T.S.E., Local #15. Associate Director of Development Communications and Public Christina Hobbs, Shanna Sincell Properties Master Costume and wardrobe work is Chris Burkett Engagement Manager Cutters Sandy Burke performed by employees represented Individual Giving Officer Glenn Hare Cynthia Abbott, Kim Dancy, Assistant Properties Master by I.A.T.S.E., Local #887. Julia Curns-Welch Senior Communications Manager Julia Trimarco Petrude W. Olds Jr. Scenic artists and hair/makeup Institutional Giving Officer Ed Hawkins First Hands Assistant Properties work is performed by employees Caitlyn Davis Marketing Manager/Copywriter represented by I.A.T.S.E., Local #488. Caton Hamrick, Kate Hartman, Candy Solie Stewardship and Events Associate Larisa Melkumova Rose Hope, Amara Madeo, Shellie Lightboard Operator Matt Lider Graphic Designer Moomey, Yoko Niendorf, Abby Oster, Jack Burke Individual Giving Officer Erika Norris Christina Rosendaul, Anji Wetherill Master Sound Technician Stephanie Matsunaga Web Producer Stitchers Development Operations Meg Stoltz Kellie Dunn, Cheyenne Smith Coordinator Digital Marketing Manager Craftsperson Tosha Mayo SALES AND SERVICES Carrie Steficek Development Coordinator Wardrobe Head Michelle M. Carrasquillo Erica McIntyre Associate Director of Marketing, Christy Kazimour Development Operations Manager Sales and Services Assistant Wardrobe Head Catherine Merlo Gregory Schell Scott Arend Sr. Individual Giving Officer Ticket Operations Manager 2nd Assistant Wardrobe Head Kristin McCarthy Audience Services Manager Corrie Yadon Patron Experience Manager

26 Seattle Opera 2019/20 Season Ashlee is our Wigmaster. She creates about 200 different wig looks every season. About 40 of these are built from the ground up with each hair individually tied by hand, which can take 40 hours or more to complete. While attending college, Ashlee was an intern in our Hair and Makeup Department and returned to work as a Hair and Makeup Artist in 2008. In her spare time, she enjoys spending time with her two boys and husband. Photo © Philip Newton Photo

HOW DO YOU MAKE A WIG? each knot without getting distracted. conditioners designed for color-treated I start by measuring and taking detailed Sometimes we stream movies and just hair. To prevent split ends, I treat the hair pictures of the singer’s head. Then I make a listen to dialogue. I can play the entire Lord with oil to keep the ends from drying and mold using plastic wrap around the singer’s of the Rings trilogy over just one day of then seal them in Ziploc bags and store entire head almost like a helmet. I mark work. That also helps me keep track of them. the hairline, ears, and eyebrows with a time. marker. When it is removed, I place the WHAT’S THE MOST ELABORATE WIG mold on a wig block. This allows me to WHAT IS THE MOST DIFFICULT PART YOU’VE MADE? create the wig without the artist present. OF WIGMAKING? The wig I made for Lester Lynch for Il It’s similar to a costume maker using a Making sure everyone's vision is met, trovatore is the most challenging wig dress form. The mold has to be a perfect fit from the director to the costume designer I’ve made in recent years. He’s African- so that the wig fits perfectly. and singers. American and the wig is made entirely of textured hair. We make an effort to be Once I have the “singer’s head” on the HOW MUCH HAIR DOES IT TAKE TO mindful of each singer's ethnic background block, I add the lace, a nylon-like webbing MAKE A WIG? and how they feel being transformed. It specific to wigs. I hand-tie the hair to the Each wig is different, but approximately was hand-tied and braided into cornrows lace by forming a slipknot with the hair 12 to 16 ounces of hair. The hairstyle and to get him into character. It took me more root, looping the strand through the lace the size of the singer’s head also can than 40 hours to create. then pulling it through the net to secure it determine how much hair is needed. in place. I repeat the process thousands of Sometimes I use less, because I will times. re-front the hairline of an existing wig.

HOW DO YOU STAY FOCUSED ON HOW DO YOU MAINTAIN THE WIGS? REPEATING THE SAME TASK FOR It’s real hair, so I wash and condition each SO LONG? wig after every performance. I sanitize the It’s as if I go into a Zen-like type of lace caps with alcohol. I use shampoos and meditation; I’m able to concentrate on

Eugene Onegin 27

Onegin_FullProgram_Final-fixed.indd 12 1/2/20 11:45 AM 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 Washington State— 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 D.V. and Ida J. McEachern Anonymous Glen Kerry Trimble Fund 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 $1,500–$2,999 The Boeing Company • Cossé International ArtsLEAF • Trilogy Musical Notes Club MATCHING GIFTS Aetna • Alaska Airlines • Apple Inc. • AT&T • Bank Securities, Inc. • Heartland • Tucker Family of America • Bill & Melinda Gates Foundation • Foundation • Wagner and More $1,000–$1,499 Colymbus Foundation • Leathercare, Inc. • The BlackRock, Inc. • BECU • Cambia Health Foundation $10,000–$14,999 Reed McClure Firm • The Seattle Foundation: • Chevron • Costco Wholesale • Expedia Inc. • Anonymous • DAV Charitable Service Trust • Poncho Legacy Fund • Talking Rain ExxonMobil • Frontstream • General Electric • Janet Wright Ketcham Foundation • Seattle Google, Inc. • IBM • Intel Corporation • Johnson & Opera Guild • Union Bank Johnson • King County Employee Giving Program DONOR ADVISED FUNDS • Microsoft • Morgan Stanley • Network for Good • $5,000–$9,999 Ayco Charitable Foundation • BNY Mellon Northern Trust • Oracle Corporation • Quaker Hill ArtsWA | Washington State Arts Commission Charitable Gift Fund • The Boston Foundation Foundation • Royal Dutch Shell • City of Seattle, • Badgley Phelps • Creelman Foundation • The • Community Foundation of Utah • The Dallas Seattle Shares • Starbucks • Texas Instruments • Dabney Point Fund • La Biosthétique • M.A.C. Foundation • Edward Jones • Fidelity Charitable The Boeing Company • The Coca-Cola Company Cosmetics • Richard B. and Barbara B. Odlin Gift Fund • Fiduciary Charitable Foundation • The Polyclinic • T-Mobile USA, Inc. • Thrivent Foundation • The Performing Arts Readiness • MyICON Foundation • Inland Northwest Financial • UnitedHealth Group • Verity Solutions • Project • Wyman Youth Trust Community Foundation • Innovia Foundation Washington State Combined Fund Drive $3,000–$4,999 • Jewish Federation of Greater Seattle • Davis Wright Tremaine • Peter F. Donnelly Merit Oklahoma City Community Foundation • Saint Fund • Fales Foundation Trust • Garvey, Schubert, Paul Foundation • Schwab Charitable Fund • OFFICIAL IN-KIND PARTNERS & Barer • Parker, Smith, & Feek, Inc. • Charles The Saratoga Charitable Foundation • Seattle Maxfield and Gloria F. Parrish Foundation • Foundation • TIAA Charitable • U.S. Charitable Perkins Coie • Ryan, Swanson & Cleveland, PLLC Gift Trust • United Way of King County • Vanguard Charitable

28 Seattle Opera 2019/20 Season Onegin_FullProgram_Final-fixed.indd 13 —Loraine G. “As partofthe who serve.” Eugene Onegin The work itself responder andpublic is agreat gesture of Seattle Opera for thankless. Iapplaud the rushticketsoffer first responders’ that recognizes those Seattle Municipal Employee creating aprogram can sometimes be community, Ithink sector communities. gratitude to thefirst

SEATTLEOPERA.ORG/DONATE Your donationhelpsto supportticket access programs inourcommunity. Thankyou! Washington, Path withArt,Seattle Children’s Hospital,andmany more. opera through partnerships withBoys &GirlsClub of King County, Make-a-Wish ofAlaska and tickets to community memberswhowould nototherwisebeable to afford to attend the Access programs last seasonwithanaverage price of just $35. Additionally, we provide free More than6,000 tickets were sold to teens, students, seniors,andmore through Community Through your generosity, more people can enjoy theartform you cherish! educators, nonprofit workers, publicservants, membersofthemilitary, andfirst responders. tickets to thosewhowork incritical publicandemergency service sectors, including Your contribution supportsournewest community access initiative to provide low-cost to theAnnualFund, you share thisgreat musicanddrama withothers inourcommunity. You often share your joy for opera withfamily membersandfriends.Andthrough your gift Loraine G.andherdaughter enjoy aperformance ofCinderella. 29 1/2/20 11:45 AM Photo © Glenn Hare © Philip Newton PROGRAMS AND PARTNERSHIPS SPONSORS

Your support fuels the programs and community partnerships that enrich the lives of individuals 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 October 31, 2019. © Philip Newton The Youth Opera Project is a comprehensive opera training program designed to guide youth through the journey of rehearsing and performing a fully staged, fully produced youth opera. * denotes Youth Program support † denotes In-School Program support $25,000 AND MORE ArtsWA | Washington State Arts ◊ denotes Chamber Opera support Commission ◊ † Classical KING FM 98.1 Dow Constantine and Shirley Carlson Grousemont Foundation Russell Elliott Seattle Opera Foundation *† Maritta Ko True-Brown Foundation National Endowment for the Arts The Wallace Foundation ◊ D.V. and Ida J. McEachern Charitable Trust * Ann H. Milam $5,000–$24,999 Cornelius and Penny Rosse Anonymous Marguerite Russell Anonymous, in honor of Adina Meyer Trilogy Musical Notes Club * The Boeing Company ◊ Marshall and Jane Brown ENDOWED FUND SUPPORT Costco Wholesale * C. Keith Birkenfeld Memorial Trust Susan M. Coughlin and John K Lauber *◊ for Education DAV Charitable Service Trust ◊ The Clowes Fund In-School Education The Foster Foundation † Programs Endowment The Hot Chocolate Fund Carmen Elizabeth Delo Endowed Fund for The Seattle Foundation: Poncho Legacy Education Fund William Randolph Hearst Endowed Fund Seattle Opera Guild for Educational Outreach at Seattle Union Bank † Opera The Peg and Rick Young Foundation Perry Lorenzo Fund for In-School Education $1,000–$4,999 Dr. Stanley M. Pier Endowed Fund Mr. and Mrs. Willie C. Aikens for In-School Education Elena Aleksandrova-Perelman Cecilia Schultz Music Foundation Fund for ArtsLEAF Educational Scholarships Gertrude E. Sprenger Education Endowment

30 Seattle Opera 2019/20 Season By Glenn Hare

Earth to Kenzie will tour Washington State this spring. Seattle Opera’s School Opera Tour introduces K–6 students to musical storytelling, encourages creativity, and inspires meaningful conversations.

Kenzie is a typical 5th-grader—she lives with to school. She has a homework assignment— Your investment in Seattle Opera spreads her working mom, has homework to do, and an essay about what she did during the opera experiences like Earth to Kenzie suffers from asthma. She’s really into video holiday break—but doesn’t want anyone to across our state and sparks our engagement games, often daydreams, and has a daily know that she and her mom spent Christmas with elementary school students. Thank routine. When her family is forced to leave living in their car. you for supporting our 2020 School Opera their home, her world is turned upside down. Tour and other Programs and Partnerships How she faces this is told in Earth to Kenzie, When Kenzie returns to school, her teacher programs. Seattle Opera’s newest school opera. Earth to collects the essays from the class. Kenzie, Kenzie will tour the state this spring. embarrassed that she didn’t turn hers in, runs To learn more and to see Earth to Kenzie, out of the classroom before the teacher can visit seattleopera.org/kenzie “The production offers a child’s point of introduce her new classmate, Eddie. Back at view on a very important topic,” says School the family shelter, she discovers that Eddie Bring Earth to Kenzie to your local Programs Manager Courtney Clark. “It reflects lives there too. Together they team up to do elementary school by contacting what many youth are experiencing here in their homework. The opera ends with Kenzie [email protected]. Seattle and across the nation.” and her new friend sharing their essay with the class. Just days before Christmas, Kenzie and her mother are evicted. Their home is being Although it's a serious story, Earth to Kenzie Earth to Kenzie is supported, in part, demolished to build luxury condominiums. has its happy moments, explains Moo. “We by a grant from the Washington State And they have no place to go. Rather than wanted to balance the tough stuff with Arts Commission in partnership with the packing her things, Kenzie plays her favorite some fun and adventure. The story contains National Endowment for the Arts. video game, imagining a new space adventure laughter and love, friendship, dancing, and with her avatar, Edwin. space kitties.”

“It’s a tough story,” adds Jessica Murphy Moo, Musically, the opera offers themes derived the librettist, “but if children are experiencing from video games and contains waltzes, housing insecurity, then we should ‘go there’ duets, and propulsive ensemble pieces. “I had with them.” two goals while composing,” says Frances Pollock. “I wanted the kids to recognize They find temporary housing in a family themselves in the music and I wanted to give shelter, but Kenzie worries about going back them the music of opera at its best.”

Eugene Onegin 31

Onegin_FullProgram_Final-fixed.indd 14 1/2/20 11:46 AM Seattle Opera is honored to recognize members of the Encore Society—patrons who have named Seattle © Philip Newton Opera or the Endowment for Last spring,Soprano Shelley Traverse performed during the Encore Society’s spring event. She will appear in our production of Charlie Parker’s Yardbird in February and March. Seattle Opera as a charitable beneficiary through a Will or and Rosario Hanna • Larry Hanna • Christine R. Han- W. Dyanne Stepanek • Mrs. Jane and the late Dr. Al- sen and Peter T. Hurd • Karen Hansen • Gini Harmon exander R. Stevens • Matthew Stewart and Marshall Trust. Their legacy donations • Mr. Derik Harper • Jenny Hartley • Roger Henderson Bilderback • Duane and Barbara Swank • Maureen are helping to secure the • Sylvia H. Hobbs • Drs. Mary and Marvin Hoffert • Mr. Swanson • Donald and Gloria Swisher • Christine Paul Hoglund • Frank and Katie Holland • Dr. Kennan A. Szabadi • Delma Tayer • Beryl A. Thompson • future of opera. Hollingsworth and the late Dr. Phyllis Bagdi • Ian L. Thompson, M.D. • Russell F. and Sarah M. Marilyn Holstad • Barbara Howell • Michael R. Huber Tousley • Mr. and Mrs. Roland M. Trafton • Evelyn M. and Danielle E. LaVilla • Erik Jacobsen • Jan Jarvis • Troughton • Rae Tufts • James and Karen Unkefer • Robert C. Jenkins • Speight Jenkins • Julia G. Johan- Muriel A. Van Housen • Sharon F. Van Valin • Moya ENCORE SOCIETY MEMBERS sen • Ginger R. Johnson • Paul and Janell Johnson • Vazquez • Jean B. Viereck and Robert S. Leventhal • Anonymous (36) • Charles and Barbara Ackerman • Braiden Rex-Johnson and Spencer A. Johnson • Vin- Betty L. Wagner • Jay S. Wakefield and Susanne M. Gary N. Ackerman and Robin Dearling • John Aka- cent M. Jolivet • H. David Kaplan • Frances J. Kwapil Wakefield, Ph.D. • Nicholas A. Walls • Bill and Carol matsu • Reverend and Mrs. John M. Allen • Linda and • Sandra and John Labadie • Jan Lamers and the late Warren • Judith Warshal and Wade Sowers • Karola Tom Allen • Margaret Almen • Ernesto Alorda and Eric Lamers • Consuelo F. Larrabee • Gary M. Law • Watson • Raleigh Watts • Scott Webster • Douglas Jonathan David Gerson • Robert L. and Rosemarie Rosemary Leong-Miller and Robert Miller • Marjorie Weisfield • Robert D. Welden and Jeffrey A. Watts • Anderson • Ms. Laura Arpiainen • David W. Barker • J. Levar • Lady M. Boswell Lindal • Geraldine Lindsey Dorothy Wendler • Drs. William and Gail Weyerhae- Mary L. Bass • Marla Beck • Dr. Janet Beckmann and and Don Froomer • Thomas D. Loftus • Mr. Everil user • Judith A. Whetzel • Julie Wieringa • James and the late Dr. George Beckmann • In honor of Minnie E. Loyd, Jr. and the late Mrs. Vesta Loyd • Cheryl L. Felicity Wornast • Carolynne and Phil Wright • Jim Bergman • Janice B. Berlin • Jean Berry • Rachael Lundgren • Edith J. Maffeo • William B. Maschmeier Yancy • Shirley Zaic and Eric Johnson • Charles A. Black and the late Ronald Barensten • Jack and and Patricia Haggerty • Kim and Stephen Mats Mats Zaragoza Connie Bloxom • Patricia L. Bostrom • Sandra Boyd • • David Mattson • James C. Mattson • Dr. David W. Joseph Brancucci and William Carley • F. H. Braymer McClure and Dr. Cheryl L. Maslen • Sarah McCoy and • Toby Bright • Marshall and Jane Brown • Lynn Buell James Buchanan • Elisabeth McKee • Greg Meldahl • • Sarah H. Burdell • William B. and Ann S. Burstiner James and Lora Melhorn • Prof. Ann H. Milam • Caro- • Lisa Bury • Susan Buske • Betty R. Carter • Drs. lyn and Roger N. Miller • Robert C. Milnor • Rosalie B. ENCORE SOCIETY Gregory and Darlene Chan • Carolyn Chawla • Jean Minier • Randa Minkarah and Scott Mullins • Richard Cho and David Mankoff • Mrs. Heinke Clark • Mr. and Munsen, MD • Lin Murphy • Nadine and John Murray SPRING EVENT Mrs. Lawrence W. Clarkson • Janice C. Condit • Carol • Nancy P. Narraway • John W. Nemanich, M.D. and Veatch Corbin • Norma B. Croco • Tavia Crowder • Ellendee Pepper, M.D. • Bruce W. Novark M.D., D.D.S. JUNE 9 James and Wendy Cullen • William and Laurie Daniel • Wanda and Ralph Nuxoll • Peggy O’Brien-Murphy • Nancy Davies • Agi Day • Lorraine del Prado and • Pamela A. Okano • Richard Q. Opler • Sarah M. Thomas Donohue • John Delo and the late Carmen Ovens • Dolores J. Palomo • Patricia S. Parrent • Delo • Sharon Demuth • Dr. Susan E. Detweiler and William and Carol Parsons • Marty and Sue Peterson WATCH YOUR the late Dr. Alexander Clowes • Marjorie Dougherty • • Steve C. Phelps • Mr. and Mrs. W. H. Purdy • Megan Fred and Adele Drummond • Michael G. Dryfoos and Pursell • Dennis and Margaret Purvine • Rabbitt MAILBOX FOR AN Ilga Jansons • Pat Dubrow • Ann R. Eddy • Patricia Dorman Family • James and Sherry Raisbeck • Erica Edwards • Karl and Carol Ege • Anna F. Egidy • In Rayner-Horn • Anne M. Redman • Eloise and Glen INVITATION THIS memory of H. Wendell Endicott • William Etnyre and Rice • Paula A. Rimmer • Joyce C. and Saul Rivkin • David Claus • Jane and Thomas Fadden • Lyn and John and Charlotte Robins • Mr. and Mrs. N. Stewart SPRING. Paul Fenton • Jack and Dorothy Fidler • Susan and Rogers • Michael and Cheryl Rolland • Sharon Thomas Fife • Jack and Marsha Firestone • Ernest Romm • Florence Rose-Thompson • Cornelius and and Elizabeth Frankenberg • David F. Freedman Penny Rosse • Martha Lou Allan Sampson • Irwin • Carole Fuller and Evan Schwab • Gloria Gagne • and the late Barbara Sarason • Dr. Carolyn Scheve Diana H. Gale • Donna Gathany • Gail J. Gazda • Rich- • Christopher Myers and Judith Schoenecker • Mrs. ard and Mary Beth Gemperle • Dr. and Mrs. Robert Lucia Schubert and the late Mr. Kenneth L. Schubert, P. Gibbons • Leslie Giblett • Rebecca C. Gillette • Dr. Jr. • Virginia Senear and the late Allen Senear • Ulf G. and Inger A. Goranson • Claire and Michael Barbara Sherer • Evelyn E. Simpson • Joan Snelson • Gordon • Mark J. Gralia • Dr. Martin L. Greene and Rose Southall and the late John Southall • Stephen Kathleen Wright • John Andrew Hackley • Jeffrey A. Sprenger • Margaret T. Stanley • John Starbard •

32 Seattle Opera 2019/20 Season

2020/21 SEASON

FREE PARKING WHEN YOU SUBSCRIBE BY FEBRUARY 19 Join us as we embark on a new era. Subscribing is the best way to see it all, save big, and enjoy exclusive benefits including flexible exchanges, interest-free payment plans, and more. SUBSCRIPTION SERIES PAGLIACCI & CAVALLERIA RUSTICANA | Aug. 2020 Experience twice the drama and twice the thrill with an exciting new production of opera’s classic double bill. THE ELIXIR OF LOVE | Oct. 2020 Utterly enjoyable from first sip to last, the fizzy bel canto favorite returns with a colorful new production. DON GIOVANNI | Jan. 2021 What goes around comes around on Mozart’s carousel of karma in an elegant new production from a female creative team. FLIGHT | Feb.–Mar. 2021 This “highly entertaining” (OPERA NEWS) ensemble dramedy “soars high” (Opera Today). Seattle premiere! TOSCA | May 2021 LEARN MORE She lives for art. She dies for love. Saioa Hernández and Karine AND BUY TICKETS: Babajanyan portray Puccini’s fiery diva in the return of a Visit the subscription desk today! In the lobby “beautiful painterly” (The Seattle Times) production. pre-show and during intermission. OPTIONAL ADD-ON Call 206.389.7676 ANGELA MEADE & JAMIE BARTON IN CONCERT Go online at seattleopera.org/subscribe JOHN KEENE, PIANIST 2020/21 SEASON SPONSOR: BARBARA STEPHANUS

Friday, Oct. 23, 2020 Photo © Philip Newton

Onegin_FullProgram_Final-fixed.indd 16 1/2/20 11:46 AM 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! © Philip Newton

Leadership Circle members James and Sherry Raisbeck (sixth and tenth from the left) seen here after the Three Singing Sisters concert with (left to right) general director Christina Scheppelmann and pianist John Keene. Also pictured are Emilia Costa, Marina Costa-Jackson, Miriam Costa-Jackson, Ginger Costa-Jackson, Eric Valpey, and Rachel Valpey.

Customized sponsorship benefits make for a truly unforgettable experience. Contact LEADERSHIP CIRCLE PRODUCER’S CIRCLE Through a multi-year Annual Fund Donor Services for more information at The Producer’s Circle recognizes donors commitment of $100,000 or more, Seattle [email protected] or who have made a three-year Annual Fund Opera’s most visionary supporters help 206.389.7669. commitment of $60,000–$99,999. This realize an unbounded vision for Seattle tier of customized giving brings more possi- Opera’s future. Leadership Circle member- bilities than ever before to ensure ship gives you premium recognition, provides the present and future of your opera personalized access to your opera company, company. Make your pledge today and enjoy and allows you to create a lasting impact on memorable behind-the-scenes experiences the art you love. with Seattle Opera!

We give profound thanks to the following We are grateful for the following Producer’s Leadership Circle members Circle members (as of October 31, 2019): (as of October 31, 2019): Marshall and Jane Brown Anonymous Christopher and Carolyn Eagan Toby Bright and Nancy Ward Dr. Kennan H. Hollingsworth Eric Hawley and Gwen Lowery John Sullivan and Paula Stokes Gary and Parul Houlahan Sally Anne West Carol Maione and Brian Marks Brendan Murphy 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

Eugene Onegin 35

Onegin_FullProgram_Final-fixed.indd 15 1/2/20 11:46 AM AMUSEMENTS Gifts of Artistic Expression Located on the Kreielsheimer Promenade SEATTLE Level of McCaw Hall. Open two and a half hours prior to curtain and during intermission. OPERA EUGENE ONEGIN CD Bring home the beautiful music of Tchaikovsky’s poignant Russian romance with this 1994 Philips complete PODCAST opera recording, re-released by Decca Classics in 2005. Featuring Nuccia Focile (seen in Seattle as Tatyana in How have the stories, 2002), Dmitri Hvorostovsky as Onegin, and Neil Shicoff as Lensky. Semyon Bychkov conducts the St. Petersburg plays, and poems of Chamber Choir and Orchestre de Paris. 2-CD set includes Alexander Pushkin complete opera recording and libretto. $32.95. inspired Russian composers ever since?

EUGENE ONEGIN BOOK Explore the literary masterpiece that inspired Tchaikovsky’s opera. Alexander Pushkin’s landmark verse novel receives a translation by James E. Falen for Oxford World’s Classics that showcases Pushkin’s wit and intelligence while remaining engaging, full of suspense, and varied in tone. $10.95.

SEATTLE OPERA LIMITED EDITION EUGENE ONEGIN LONG SLEEVE SHIRTS Designer Kitty Kough has created this wistful illustration for the McCaw Hall debut of Tchaikovsky’s melancholy masterpiece. The winds of winter scatter the last leaves of spring as the tree of memory’s trunk morphs into a fountain pen, recalling Tatyana’s famous “letter scene.” The composer’s full name grounds the overall layout. Learn more about the wild and wonderful White, black, and goldenrod design on dark grey heather world of opera with Seattle Opera background. Available in men’s and women’s long sleeve. Podcasts, a co-production with Classical Prices vary. KING-FM 98.1 hosted by our resident dramaturg Jonathan Dean. Short, 15-minute introductions to every opera in our 2020/21 season are now available. NEW YEAR CLOSEOUT Additional podcasts will be released by Out with the old…savings for you! Check out markdowns opening night which explore additional up to 50% off on t-shirts, scarves, and books. Prices vary. topics. Check iTunes or your favorite podcast provider and subscribe today!

SHOP AMUSEMENTS ONLINE AT SEATTLEOPERA.ORG/SHOP

36 Seattle Opera 2019/20 Season

Onegin_FullProgram_Final-fixed.indd 19 1/2/20 11:46 AM AMUSEMENTS Gifts of Artistic Expression Located on the Kreielsheimer Promenade SEATTLE Level of McCaw Hall. Open two and a half hours prior to curtain and during intermission. OPERA SEATTLE OPERA’S EUGENE ONEGIN CD Bring home the beautiful music of Tchaikovsky’s poignant Russian romance with this 1994 Philips complete PODCAST opera recording, re-released by Decca Classics in 2005. Featuring Nuccia Focile (seen in Seattle as Tatyana in How have the stories, 2002), Dmitri Hvorostovsky as Onegin, and Neil Shicoff as Lensky. Semyon Bychkov conducts the St. Petersburg plays, and poems of Chamber Choir and Orchestre de Paris. 2-CD set includes Alexander Pushkin complete opera recording and libretto. $32.95. inspired Russian composers ever since? big EUGENE ONEGIN BOOK Explore the literary masterpiece that inspired Tchaikovsky’s opera. Alexander Pushkin’s landmark verse novel receives a translation by James E. Falen for Oxford World’s Classics that showcases Pushkin’s opera wit and intelligence while remaining engaging, full of suspense, and varied in tone. $10.95.

SEATTLE OPERA LIMITED EDITION partyFEATURING FREDERICK BALLENTINE EUGENE ONEGIN LONG SLEEVE SHIRTS FRIDAY, FEBRUARY 28, 2020 Designer Kitty Kough has created this wistful illustration for the McCaw Hall debut of Tchaikovsky’s melancholy masterpiece. The winds of winter scatter the last leaves of spring as the tree of memory’s trunk morphs into a fountain pen, recalling Tatyana’s famous “letter scene.” The composer’s full name grounds the overall layout. Learn more about the wild and wonderful White, black, and goldenrod design on dark grey heather world of opera with Seattle Opera background. Available in men’s and women’s long sleeve. Podcasts, a co-production with Classical Prices vary. KING-FM 98.1 hosted by our resident CALLING ALL COOL CATS TO THE HIPPEST JOINT IN TOWN: dramaturg Jonathan Dean. Short, 15-minute introductions to every opera THE “BIG OPERA PARTY” IS BACK! in our 2020/21 season are now available. Enjoy one-night-only musical experiences by JazzED, Thomas Marriott, Gail Pettis, and more in Seattle NEW YEAR CLOSEOUT Additional podcasts will be released by Opera's state-of-the-art Opera Center, and dine on stage at McCaw Hall surrounded by the scenery of Out with the old…savings for you! Check out markdowns opening night which explore additional Charlie Parker’s Yardbird. up to 50% off on t-shirts, scarves, and books. Prices vary. topics. Check iTunes or your favorite podcast provider and subscribe today! 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 SHOP AMUSEMENTS [email protected] ONLINE AT SEATTLEOPERA.ORG/SHOP RSVP now: seattleopera.org/bigoperaparty

Onegin_FullProgram_Final-fixed.indd 19 1/2/20 11:46 AM Onegin_FullProgram_Final-fixed.indd 17 1/2/20 11:46 AM 38 SEATTLEOPERA.ORG/OPERATALKS representation oflove, romance, andsexinoperas thenandnow. Opera dramaturg JonathanDeanfor alively discussion aboutthe words are lies,” singsatenor ina1958American opera. JoinSeattle “I cannot offer you eternal love, for we have learned today such decades, as“modernlove” makes itsway onto theopera stage. between tenor andsoprano hasbecome less standard inrecent No love duetinEugene Onegin!?Thestandard opera romance THE OPERACENTER FREE, OPENTO THEPUBLIC TUESDAY, JANUARY 21AT 7:00PM OPERA TALKS WITH JONATHAN DEAN SEATTLEOPERA.ORG/RECITALS Xavier Montsalvatge’s Cinco canciones negras (Five Black Songs). Nights), risingopera star Wilsonwillshowcase Catalan composer Alongside Berlioz’s iconic, shimmeringcycle Les nuitsd’été (Summer with aneclectic program ofartsongs,joined by pianist JohnKeene. performances inEugene Oneginto show offhercreative range Mezzo-soprano Melody Wilsontakes abreak from debut THE OPERACENTER FRIDAY, JANUARY 17AT 7:30PM JOHN KEENE, PIANO MELODY WILSON, MEZZO-SOPRANO ARTIST RECITAL: EVENTSUPCOMING SEATTLEOPERA.ORG/WILDETALES Opera Project isperformed by youth ages 7–18. empathy. Thiscolorful andheartwarming presentation oftheYouth reminding thetownspeople oftheimportance ofgenerosity and new friendtheSwallow, thePrince delivers giftsto people inneed, of abeautifulPrince suddenly comes to life. Withthehelpofhis In thisparable based ontheworks ofOscar Wilde, agilded statue CORNISH PLAYHOUSE AT SEATTLE CENTER FEBRUARY 7, 8, AND9 WILDE TALES SEATTLEOPERA.ORG/RECITALS legends Toni Morrison, Maya Angelou, andMariEvans. featuring musical settingsofpoetryandprose by American literary Angela Brown andpianist JohnKeene present auniquerecital Before takingthestage as Addie inCharlieParker’s Yardbird, soprano THE OPERACENTER TUESDAY, FEBRUARY 4AT 7:30PM JOHN KEENE, PIANO ANGELA BROWN, SOPRANO ARTIST RECITAL: SEATTLEOPERA.ORG/LASEROPERA influenced him,andopera inspired by his legacy. a lightshow to asoundtrack ofParker’s bebopmusic,pieces that anticipation ofCharlieParker’s Yardbird , live laserartists choreograph Opera takes over thePacific Science LaserDome for onenightonly! In PACIFIC SCIENCE CENTER 6:30 PM FAMILY SHOW, 21+ SHOW 8:30PM SATURDAY, FEBRUARY 1 LASER OPERA Seattle Season Opera 2019/20

© Genevieve Hathaway Sunny Martini Sunny ©

A BIRD’S-EYE VIEW: TELLING THE STORY OPERA TIME AT THE OPERA CENTER SIX WEEK SESSION OF CHARLIE PARKER THROUGH OPERA FEBRUARY 25–APRIL 4 TUESDAY, FEBRUARY 11 AT 7:00 PM Read together and sing together! Opera Time at the Opera Center FREE, OPEN TO THE PUBLIC is an interactive musical story time for children ages 2–5. Each THE OPERA CENTER week, children and their parent/guardian will explore opera and the How did the story of one of jazz’s greatest innovators become an performing arts through songs, stories, and creative play. Join us opera? The genre once called “America’s past and its potential” is a Tuesday or Saturday mornings as we sing and move our way through vital contributor to the American classical landscape. Join Charlie story books. Parker’s Yardbird composer Daniel Schnyder and librettist Bridgette Wimberly as they discuss their work and the unique task of blending FREE SECOND SATURDAYS jazz and opera. Co-moderated by Seattle Opera dramaturg Jonathan On the second Saturday of every month, Seattle Opera hosts drop-in Dean and KNKX’s Abe Beeson. sessions of Opera time at the Opera Center. These sessions are an SEATTLEOPERA.ORG/OPERATALKS exciting and free way to start off the weekend! COMMUNITY CONVERSATION: SEATTLEOPERA.ORG/EARLYLEARNING BLACK REPRESENTATION LA BOHÈME FAMILY DAY IN OPERA AND BALLET SUNDAY, MAY 10 AT 2:00 PM MCCAW HALL THURSDAY, FEBUARY 13 AT 7:00 PM For this special designated performance, students age 18 and under THE OPERA CENTER pay only $20 for almost any seat. Family Days also feature special What happens when audiences see a Black ballerina dance Clara in student-oriented activities during intermission. The Nutcracker or a Black opera singer sing Mimì in La bohème? How SEATTLEOPERA.ORG/FAMILYDAY does the storytelling change when Black creators and artistic leaders are the ones making decisions behind the scenes? How can companies help to undo harm, create a more diverse pipeline of talent, and ultimately, enable the decolonization of these historically white- dominated art forms? Join Seattle Opera for a discussion on Black representation in the arts led by Seattle Opera Scholar in Residence Naomi André, author of Black Opera: History, Power and Engagement. Speakers include Theresa Ruth Howard, formerly of Dance Theatre of Harlem and founder and curator of the Memoirs of Blacks in Ballet, and Bridgette Wimberly, playwright and librettist of Charlie Parker’s Yardbird—which plays at Seattle Opera Feb. 22–March 7, 2020. SEATTLEOPERA.ORG/COMMUNITYCONVERSATIONS

Eugene Onegin 39 Untitled-3 1 12/5/19 3:34 PM