Reaching New Heights 2018 ANNUAL 2018 ANNUAL REPORT REPORT1 LA TRAVIATA GIUSEPPE VERDI “With its new take on Verdi’s La traviata … the company got it right. … Judging by [Patricia Racette’s] work here in her directorial debut, she has a solid future ahead of her as a director if she chooses. Soprano Sydney Mancasola ... [has] a true and well-produced instrument. Sympathetic as the doomed courtesan, she brought out Violetta’s strength as well as her vulnerabilities in a well- rounded performance.” – The St. Louis Post-Dispatch (2018). Photo © Ken Howard (2018). Photo © Ken La traviata Sydney Mancasola in Mancasola Sydney Major production sponsorship was provided by the William T. Kemper Foundation - Commerce Bank, Trustee, and The Commerce Trust Company, with production underwriting from the Engelhardt Family Foundation. Patricia2 Racette’s engagement was made possible with the generosity2018 ANNUAL of the Shepard REPORT Family Foundation. World Premiere AN AMERICAN SOLDIER HUANG RUO & DAVID HENRY HWANG “Powerful … haunting music … evocative … CONNECTING OUR COMMUNITY & both beautiful and full SHAPING THE FUTURE OF OPERA of raw feeling.” – The Wall Opera Theatre’s mission is to shape the future Street Journal of opera and to connect diverse audiences through its power and beauty. (2018). Photo © Ken Howard (2018). Photo © Ken To accomplish our mission, we produce a world-class opera festival, we champion new works, we build new audiences, we educate and engage our An American Soldier community, and we nurture the finest opera artists, artisans, and administrators of each generation. By doing so, we strengthen the cultural and economic vitality of the St. Louis community. Opera Theatre of Saint Louis is funded in part by the Regional Arts Commission, Arts and Education Council, National Endowment Andrew Stenson and Mika Shigematsu in Andrew for the Arts, and the Missouri Arts Council, with audience building programs supported by The Wallace Foundation. Opera Theatre gratefully acknowledges Webster University for its sustaining partnership. Made possible in part by the Fred M. Saigh Endowment at Opera Theatre and by the Sally S. Levy Family Fund for New Works, which provides support for contemporary opera and related community engagement activities. Leadership support came from the Whitaker Foundation, The Andrew W. Mellon Foundation, the Berges Family Foundation, and the Ferring Family Foundation, and with an award from the National Endowment for the Arts. The production was made possible with generous support from Emily Rauh Pulitzer and with production underwriting from Clayco, Inc. and Agnes Hsu-Tang & Oscar L. Tang. Generous leadership support for the services of the St. Louis Symphony Orchestra THE ANDREW W. was provided by the Taylor Family and the late Jack C. Taylor. MELLON BERGES FAMILY Opera Theatre affirms its ADA compliance and is proud to promote diversity and inclusion in all activities. FOUNDATION FOUNDATION A Message from the A Message from the General Director Chairman of the Board As I reflect upon my first months in St. Louis, I feel an overwhelming sense of Ever since the beginning of my term as Board Chairman, each Opera Theatre gratitude to you, the Opera Theatre family, for welcoming me so warmly. season has given me a great sense of satisfaction and personal fulfillment. However, this year was an especially poignant one as we bid farewell to our The 2018 Festival Season was one of beauty, discovery, emotion, and connection. beloved former General Director Timothy O’Leary, who served the St. Louis The season began with a lush new production of Verdi’s La traviata, led by Patricia community tirelessly and faithfully for eleven years. But now, we welcome to our Racette in her directorial debut. Under the brilliant leadership of Artistic Director midst a new and exciting leader in Andrew Jorgensen. His arrival heralds a new James Robinson and Music Director Emeritus Stephen Lord, Blitzstein’s Regina chapter in Opera Theatre’s history. The Board is confident that in Andrew we presented one of the starriest casts ever assembled at Opera Theatre, including the have found Tim’s perfect successor. Andrew’s stellar background, coupled with his return of mezzo-soprano Susan Graham. We presented our 27th world premiere fresh ideas, vision, enthusiasm, and passion for the art form, will surely enhance with Huang Ruo and David Henry Hwang’s powerful two-act version of An our great company. American Soldier, and ended the season with Gluck’s uplifting Orfeo & Euridice, which celebrates the victory of love over death. The festivities surrounding the 2018 Festival Season were heightened by the excitement of hosting the 2018 OPERA America Conference. In the final week of the season, Opera Theatre welcomed 730 I am humbled to begin my tenure at Opera Theatre following three extraordinary general directors: Richard attendees from across the world. During the day, the brightest minds in this field met to discuss the future Gaddes, Charles MacKay, and Timothy O’Leary. As my immediate predecessor, Tim served Opera Theatre of the operatic art form. At night, they convened in the Loretto-Hilton Center to watch four stunning tirelessly since 2008. He became known for his ability to unite a community, regardless of any differences in productions. It was humbling and thrilling in equal measure to hear attendees speak with awe about the the room, and for the genuine warmth and connection he brought to every conversation. It is a fitting tribute OTSL experience, from the creativity and boldness found on stage to the warmth and camaraderie found to his leadership and service that his final season was marked by one of Opera Theatre’s most successful under our garden tents. There is no question in my mind that Opera Theatre continues to be seen as an Spring Galas, which celebrated his tenure. Thanks to the establishment of the Next Generation Fund, the important leader for the American opera field. proceeds from this gala will continue to support Opera Theatre through 2020, in large part thanks to the generous Berges-Neidorff Challenge, which raised more than $700,000 in just a few months. The artistic, financial, and critical success of the 2018 Festival Season would not have been possible without the support of thousands: from my extraordinary fellow Board members and our wonderful Guild members I could not be more grateful in this first year for the guidance and leadership of Opera Theatre’s dedicated to countless individual donors, foundations, corporations, and state and federal entities. Nor would this Board of Directors, and in particular for Noémi Neidorff, our wonderful Board Chairman. I owe them all a work be successful without the truly endless dedication of energy and expertise from Opera Theatre’s deep debt of gratitude for the opportunity to become a part of the OTSL team. annual and seasonal staff. I offer my own personal thanks to each and every person who contributed time, knowledge, resources, and talent to serve Opera Theatre’s mission. I am honored to join the Opera Theatre family and look forward to many years in St. Louis. On behalf of Opera Theatre’s artists and staff, thank you for your commitment and support! None of our work would be Noémi K. Neidorff possible without you. Chairman of the Board of Directors Andrew Jorgensen General Director About Andrew Jorgensen Andrew comes to St. Louis from the Washington National Opera (WNO) at the Kennedy Center, where he served as acting Interim Executive Director and Director of Artistic Planning and Operations. Prior to his time at WNO, Andrew’s career included positions at such prestigious institutions as the Metropolitan Opera and Columbia Artists Management. He received his undergraduate degree in history from Harvard University and his MBA from New York University’s Stern School of Business. Andrew now lives in St. Louis with his husband Mark and their Tibetan terrier Aria. 2018 ANNUAL REPORT 3 Opera Theatre's entire company shared a bow on closing night of the 2018 Festival Season. Photo © J. David Levy The Season SUPPORTING ARTISTS AT ALL STAGES at a Glance The 2018 Festival Season featured exciting appearances by some of opera’s leading voices, "Arresting... including Susan Graham, Kathleen Kim, Susanna Phillips, Jennifer Johnson Cano, Andriana Chuchman, and James Morris. Susan Graham and Jennifer Johnson Cano both received remarkable... early career opportunities at Opera Theatre; their eagerly anticipated returns to St. Louis In 2018, Opera Theatre of performed by an exceptional cast." ARTISTS HIRED demonstrate that Opera Theatre’s mission to Saint Louis celebrated its 43rd – The New York Times IN 2018 identify and nurture the most promising young season, which featured four 340 artists continues to thrive. beautiful new productions, The training and development that Opera Theatre along with the annual Center Stage concert. The world premiere of Huang Ruo and David offers young singers is mirrored backstage, where Henry Hwang’s two-act expansion of An American Soldier brought a powerful, wrenching true aspiring designers, directors, and stage artisans story to light. Marc Blitzstein's seldom-produced Regina brought a star-studded cast to St. receive mentorship and training to advance their Louis, featuring Susan Graham, Susanna Phillips, Ron Raines, and James Morris under the careers while becoming better acquainted with direction of OTSL Artistic Director James Robinson and the baton of OTSL Music Director the logistical challenges of operating a rotating Emeritus Stephen Lord. World-renowned soprano Patricia Racette made a stunning directorial repertory season. debut with Verdi's La traviata, and Gluck's poignant Orfeo & Euridice forged new artistic alliances through a collaboration with St. Louis' own The Big Muddy Dance Company. In 2018, your generosity supported the careers of 340 artists — both onstage and offstage — from The festival was marked by significant milestones across several National artists (60%) Local artists (40%) within the St.