2013 Castleton Festival Program by Justin Kulovsek

LORIN MAAZEL, ARTISTIC DIRECTOR

Cov er p h oto : ( Joyce El - Kh o u r y, D i etl i n de Tu rban M aazel an d D enyce Grav es i n Castleton ) cred it Lesl ie M aazel

A legend reborn 1938-2013

This summer we celebrate our Fifth Anniversary Season. We, who have been integrated into the planning and actualization of the plans right from the start, can hardly grasp how these years have seen the Festival evolve into a major international happening. The credit goes for the most part to the enthusiasm and devotion of the participants... the young orchestral virtuosi, the impassioned young singer-stars of tomorrow, the devoted administrators and young interns, all pulling on that oar and imbued with what has come to be known as the Castleton Spirit. Our program is more spectacular than ever:

To see our complete list of programming visit www.culpepertheatre.org

For ticket information contact the Box Office at 540-829-0292 or tix@culpepertheatre.org The Box Office is open Tues-Sat 10am-2pm and one hour prior to shows. 305 S Main St. | Culpeper, VA 22701

Inquire About Membership!

540-829-0293 2 THE PIEDMONT VIRGINIAN

 www.culpepertheatre.org 

www.facebook.com/StateTheatreFoundation

summer 2013

LORIN MAAZEL Dear Friends-of-Castleton,

75th Anniversary Grand Re-Opening

Choose the State Theatre for your next event rental!

A MESSAGE FROM

Two opera productions....Puccini’s stunning “Fanciulla del West” (The Girl of the Golden West) staged MAESTRO LETTER anew by Italy’s master director Giandomenico Vaccari, Verdi’s ultimate masterpiece “Otello” in an historic Sir Peter Hall production from Glyndebourne, a mostly-Mahler pairing of concerts with the winner of the Malko Competition for Young Conductors, Rafael Payare (and myself), Andrew Lloyd Webber’s Requiem, Benjamin Britten’s “Les Illuminations” in celebration of the composer’s centenary, and an even stronger emphasis on the Young: a composition by an under-25 American composer and a program of Young Audience Development in which scores of youngsters from Washington DC, Richmond and places in-between will be bussed in to hear the operas, operas sung by casts second to none anywhere in the world today. Chamber music programs to die...and a first-time-ever pairing of a play and the opera it subsequently inspired: “The Human Voice” of Cocteau (the play, in English translation, with Dietlinde Turban), “La voix humaine” of Poulenc (the opera, with Jennifer Black) conducted by another Malko competition winner, Antonio Mendez. Join us!

Lorin Maazel

OPERA FOR THE YOUNG

Exclusively for Young Professionals under 35 Members receive: Discounted Tickets to Castleton Festival Performances Social Events throughout the Year Opportunities to meet World Class Artists and Maestro Lorin Maazel Ready to get involved? Join at: www.castletonfestival.org/ about/crescendo

A brilliant prelude to Castleton Festival 2014! Stunning performances from September to May in the intimacy of Castleton’s exquisite Theatre House Experience the Castleton Spirit year round! Join our Email List at: www.castletonfestival.org/contact For Performance and Ticket Information for you and your family

OPERAAlive!

NEW Opportunites for Students to engage in the educationally-enriched experience of Live Opera, performed by tomorrow’s most talented Stars, conducted by Maestro Lorin Maazel For students, grades 4 – 12 Study Guides and Video Clips available at www.castletonfestival.org Class/group attendance at Festival dress rehearsals and performances For more information, email edoutreach@castletonfestival.org

LORIN MAAZEL,

FOUNDER AND ARTISTIC DIRECTOR For over five decades, Lorin Maazel has been one of the worlds most esteemed and sought-after conductors. Maestro Maazel completed his seventh and final season as Music Director of the New York Philharmonic in 2009-10, and continued through 2011-12 as Music Director of the Palau de les Arts “Reina Sofia,” in Valencia, Spain. He became Music Director of the Munich Philharmonic in 2012 and pursues a broad range of guest conducting activity with the world’s leading orchestras, enjoying particularly close associations with the Philharmonic Orchestra and the Vienna Philharmonic. Maestro Maazel is also a highly regarded composer, with a wide-ranging catalog of works written primarily over the last 15 years. His first opera, 1984, based on George Orwell’s literary masterpiece, had its world premiere at the Royal Opera House, Convent Garden and a sold-out revival at La Scala, Milan. A second-generation American born in Paris, Lorin Maazel began violin lessons at age five, and conducting lessons at age seven. Alongside his prodigious performing activity, Maestro Maazel has found time to work with and nurture young artists, based on his strong belief in the value of sharing his experience with the next generation(s) of musicians.

DIETLINDE TURBAN MAAZEL,

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4 THE PIEDMONT VIRGINIAN

summer 2013

Rick & Kaye Kohler Jan Hackley Makela

FOUNDER AND ASSOCIATE ARTISTIC DIRECTOR Dietlinde Turban’s first stage appearance at the age of 19 as Gretchen in Goethe’s Faust in the Residenz-Theatre in Munich brought her national fame. She has received great accolades for her acting. Thanks to scores of films and plays filmed for television, Ms. Turban won Germany’s coveted Bambi Award by popular vote as Best Actress of the Year (1983). Her film credits include the American thriller Bloodline, Monteverdi’s Orfeo, and Mussolini and I, in which she starred opposite Anthony Hopkins. In 2005 Ms. Turban made her New York debut in a One-Women-Play at the Cherry Lane Theatre. Ms. Turban has recorded a number of audio books and for seven years hosted an annual television program in Germany. She also performs dramatic readings of literary masterpieces both in the United States and in Europe. She regularly tours with recitals based on great literary writers and has appeared as the narrator with major orchestras such as the New York Philharmonic and the National Symphony. In 1986 Ms. Turban married Lorin Maazel and devoted much of her time to raising their three home-schooled children while traveling throughout the world. Ms. Turban coaches young opera singers in performance skills, song interpretation, German and French, and holds Acting Master Classes and Workshops. She will join the faculty of the opera division at Rutgers University this fall as Performance and Acting Teacher.

FESTIVAL SCHEDULE S U N D AY, J UN E 30

W ED NES D AY, J ULY 3

7 PM

Castleton Festival at the Hylton: An Italian Extravaganza Jonathon Burton, tenor Corey Crider, baritone Lorin Maazel, conductor

T H U R S D A Y , J U LY 1 8

8 PM

FR ID A Y , J U LY 1 9

8 PM

Otello

S A T U R D A Y , J U LY 2 0

11 AM

C.A.T.S. Spectacular - Opera Scenes I

3 PM

La Voix Humaine (Double bill: Cocteau and Poulenc)

7 PM

Andrew Lloyd Webber Requiem Joyce El-Khoury, soprano Tyler Nelson, tenor Tommy Richman, treble

Castleton Festival at the Hylton: Mostly Mahler Jennifer Black, soprano Lorin Maazel, conductor

FAMILY DAY AND FIREWORKS

starring

Robin and Linda Williams

Barber Violin Concerto, op. 13 Dmitry Berlinsky, violin

and

Their Fine Group

Barber Overture to The School for Scandal, op. 5 S A TURDAY, J ULY 6

4 PM

Chamber Music of Mahler including Mahler’s Piano Quartet featuring the Castleton Chamber Players

7 PM

The Girl of the Golden West (La Fanciulla del West)

P RE-PERFORM ANCE

Gala Dinner

Mahler Symphony No. 4 Jennifer Black, soprano

S UN D AY, J ULY 7

2 PM

Mendelssohn Symphony No. 5 The Reformation Symphony Lorin Maazel, conductor F RID AY, J UL Y 12

8 PM

The Girl of the Golden West (La Fanciulla del West)

S A TURDAY, J UL Y 13

3 PM

La Voix Humaine (Double bill: Cocteau and Poulenc)

7 PM

Otello

11 AM

2 PM

Chamber Music 2 G.F. Handel/ Johan Halvorsen: Passacaglia Zoltán Kodály: Duo for violin and cello, Opus 7 Ludwig van Beethoven: Septet in E Flat Major, Opus 20

S UN DAY, J UL Y 14

S U N D A Y , J U LY 2 1

11 AM

Chamber Music 3 Gabriel Fauré :Élégie for Cello and Harp, Opus 24 Sergei Prokofiev :Quintet in G minor, Opus 39 Ernest Chausson Concert for Violin, Piano, and String Quartet in D Major, Opus 21

2 PM

The Girl of the Golden West (La Fanciulla del West)

FR ID A Y , J U LY 2 6

8 PM

Otello

S A T U R D A Y , J U LY 2 7

11 AM

C.A.T.S. Spectacular - Opera Scenes II

3 PM

La Voix Humaine (Double bill: Cocteau and Poulenc)

7 PM

Salute to Britten and Tchaikovsky Benjamin Britten - Les Illuminations, op. 18 Andy McCullouch, tenor Benjamin Britten - The Young Persons Guide to the Orchestra, op. 34 Benjamin Britten - Peter’s Final Aria from Peter Grimes Neil Shicoff, tenor Pyotr Tchaikovsky - “Kuda, kuda, kuda vi udalilis” Lensky’s Aria from Eugene Onegin, Opus 24 Neil Shicoff, tenor Pyotr Tchaikovsky - 1812 Overture, op 49.

11 AM

Mahler Lieder - a C.A.T.S. Song Recital

2 PM

Otello

Mahler Symphony No. 5 Rafael Payare, conductor Young Composer’s Forum : Charles Peck, Metropolitan Lorin Maazel, conductor S U N D A Y , J U LY 2 8

*FT = Festival Theatre *TH = Theatre House 6 THE PIEDMONT VIRGINIAN

summer 2013

THE MASK AND THE FACE

GIACOMO PUCCINI

Conductor: Lorin Maazel Stage Director: Giandomenico Vaccari Assistant Director: Davide Gilioli Set/Costume Design: Davide Gilioli

Six years between the flop of Madama Butterfly and the triumph of La Fanciulla del West are a long time span for Giacomo Puccini and his inner life as a composer. Unexpectedly for the lazy European eyes, the world begins to change, subtly and imperceptibly at first, then more rapidly and finally in a nearly incomprehensible burst, creating a form of irrational chaos. This “end-of-the-world” atmosphere culminates with the first world-wide conflict and the October Revolution in Russia but most importantly, with the disintegration of the Austro-Hungarian Empire, the bastion of culture and music.

Associate Costume Designer: Asa Benally Lighting Designer: Tláloc López-Watermann Stage Managers: Stephanie Boyd, Karen Oberthal Assistant Stage Managers: Joan Ilanza, Carrington Konow

Photo by Davide Gilioli

OPERA IN THREE ACTS

Music by Giacomo Puccini, Libretto by Guelfo Civinini and Carlo Zangarini, based on the play The Girl of the Golden West by David Belasco. World premiere: December 10, 1910, Metropolitan Opera, conducted by Arturo Toscanini

THE CAST Minnie Ekaterina Metlova Jack Rance, Sheriff Paul LaRosa Dick Johnson (Ramirez) Jonathan Burton Nick, bartender Kirk Dougherty Ashby, agent of Wells Fargo Christopher Besch Minnie Jack Rance Dick Johnson Sonora Andrew Stuckey Ekaterina Paul Jonathan Trin Humberto Rivera Metlova LaRosa Burton Sid Ryan Bradford Harry Andy McCullough Joe Chris Bozeka Happy Jesse Malgieri Larkens Davone Tines Billy Jackrabbit, an Indian Davone Tines Wowkle, Billy’s squaw Megan Gillespie Jake Wallace, a traveling minstrel Andrew Manea Castro Nathan Milholin At the foot of the Cloudy Mountains in California. A Mining Camp in the days of the gold fever. 8 THE PIEDMONT VIRGINIAN

summer 2013

When Puccini wrote La Fanciulla del West and it was first performed under the baton of Toscanini at the Met, it was only four years prior to the outbreak of the World War I, at the terminus of the old nineteenth-century Europe. Everything changes – the world, music, theatre. The Tuscan composer clearly warns us that his demimonde, filled with flower vendors, broke artists, jealous singers, avant-garde painters, and satirical police officers… this “small” and closed world in spaces as small as Italy at the time, is vanishing. It will be no longer. That is why he sets to music a Japanese tragedy, Madama Butterfly, almost a long lyrical symphonic poem, but it is misunderstood. Puccini needs different spaces, different personalities and a different musical architecture. Now he has to compete with incredible works like Salome and Elektra by Richard Strauss, which appeared exactly during those long six years. And once again his extraordinary talent is not mistaken, when he chooses another drama by David Belasco, an American story, a story of the frontier, a hard and sincere story: The Girl of the Golden West. Puccini, now bereft of the dramaturgical-poetic couple, i.e. Illica and Giacosa, due to the death of the latter, entrusts the couple Zangarini-Civinini with the writing of the libretto and the construction of the dramatic framework. With a huge orchestral apparatus and innovative harmonic choices by the composer, the result is an extraordinary example of great theater of the early twentieth century. The “mask” is represented on the surface by the story of Minnie and Dick - a rather simple dramaturgical concept with a certain naiveté, a storyline focused on a savage society in need of ethical and spiritual rules: a set of minors in search of gold, hovering between the established law and the law of the strongest, a community of men around the only female figure, Minnie, the owner of the Polka Saloon, which is their only place of recreation. However, the true face of la Fanciulla, Minnie, is different. Highwayman Dick redeemed by Minnie and her loneliness, Sheriff Rance, paralyzed by his hatred of their happiness, and Minnie’s discovery of love – these stories are complex and sophisticated. Puccini depicts what could be called a “transition.” A time of change, in particular that of the protagonist, from a woman with a certain masculinity, fearful of men and sexual relationships, grows through a path of pain and risk into a strong woman, winning, loving, more powerful than the law so that she can take the man of her life with her into the unknown; metaphor for moments of life experienced by Puccini.

Sonora Andrew Stuckey

Represented by America and its myth of men and women, who having lost their secure way of life were seeking new horizons, as was Europe at the time, a futile yearning, for the new world was running towards something worse. But Puccini could not know that. What the composer understands and reiterates later, especially in Trittico, is the fate of Europe, which was in the process of turning into an exterminated, closed up universe, devoid of freedom and peace. The simple and crude language of the dialogues in La Fanciulla is a window into a humanity in search of liberation from misery and unhappiness through the race for its symbol: gold. Through this game of masks, faces, metaphors and fiction we rediscover the importance of a masterpiece unique in the history of opera. Notes by Giandomenico Vaccari

giuseppe verdi

Otello, opera in four acts by Giuseppe Verdi , libretto by Arrigo Boito, based on Shakespeare’s play Othello. Verdi’s penultimate opera, first performed at the Teatro alla Scala, Milan, on February 5, 1887. Domestic violence. It’s older than the Bible and as fresh as the morning news. No wonder composer Giuseppe Verdi was coaxed out of his firmly declared retirement by Boito’s libretto for an opera based on Shakespeare’s Othello. The story has all the ingredients of high drama – passionate love, raging jealousy, revenge, murder and suicide.

Conductor: Lorin Maazel Production: Sir Peter Hall Stage Director: Lynne Hockney Assistant Director: Sarah Fraser Fight Choreographer: Casey Kaleba

Set/Costume Design: John Gunter Costume Coordinator: Asa Benally Lighting Designer: Tláloc López-Watermann Stage Manager: Kathleen Stakenas Assistant Stage Managers: Jaime Hahn, Danielle Ranno

Otello is often considered Verdi’s towering achievement. The composer’s profound musical insights into Shakespeare’s tragedy illuminate the hero’s tragic journey to self-destruction. Set in the late 15th century, Otello begins with a roiling storm pummeling the shores of Cyprus. A decorated Venetian general and governor of the island, Otello returns with his triumphant fleet. The Romans have defeated the hated Turks. Otello’s position at this time is that of a general in the service of Venice. He is denied the social acceptance he so covets because of his color. He is not Venetian, and some consider him to be a soldier of fortune. Otello is used to living in the military. In society, the rules are different. Soldiers always play by the rules - socialites do not. Even when Otello had “arrived” as Governor, he still found that people sometimes only tolerated his position, or pretended to. They plotted to dishonor him, but that was to be expected. His wife Desdemona was the one person Otello thought he could count on--the one person whose honesty was unquestionable. Production by Sir Peter Hall

OPERA IN FOUR ACTS

Opera in four acts by Giuseppe Verdi , libretto by Arrigo Boito, based on Shakespeare’s play Othello. Verdi’s penultimate opera, first performed at the Teatro alla Scala, Milan, on February 5, 1887.

THE CAST Otello, a Moor, Iago, his ensign Cassio, his lieutenant Roderigo, a Venetian gentleman Lodovico, ambassaor of Venic Montano Un Heraldo Desdemona, wife of Otello Emilia, wife of Iago

Rafael Rojas Javier Arrey Kirk Dougherty Humberto Rivera Davone Tines Joseph Flaxman Andrew Manea Joyce El-Khoury Megan Gillespie

Otello*

Rafael Rojas

Iago*

Javier Arrey

Desdemona Joyce El-Khoury

Place: a seaport in Cyprus. Time: the end of the 15th century. summer 2013

Throughout, we see Iago’s mind at work. He has honed his talents into sharp instruments of destruction, practiced control over his body, expressions, emotions, actions and thoughts. He is evil incarnate and takes perverse pride and pleasure in acting upon his urges. His motivation: “I am evil because I am a man.” He reveals his plot against Cassio and, ultimately, Otello. First Iago instigates a fight between Roderigo and Cassio, a young man who happens to secretly love Otello’s beautiful wife, Desdemona. It doesn’t end well, and Otello retracts Cassio’s advancement. But Act I ends sweetly as husband and wife sing a love duet. Iago concocts more mischief in Act II. He insinuates infidelity between Desdemona and Cassio with a simple ruse. Desdemona’s handkerchief, a gift from Otello, falls into the wrong hands. By the end of Act II, Otello believes Iago’s lies, and the great general turns on his wife. Act III belongs to Otello and the handkerchief. He is alternately consumed by anger, disbelief and self-pity as Desdemona’s betrayal seems true.

*Otello: Rafael Rojas ( July 13, 19, 28) Kirk Dougherty ( July 26) *Cassio: Kirk Dougherty ( July 13, 19, 28) Christopher Bozeka ( July 26) *Iago: Javier Arrey ( July 13, 19, 28) Andrew Stuckey ( July 26)

10 THE PIEDMONT VIRGINIAN

Things turn sour quickly as Iago, Otello’s ensign, plots the general’s demise. One of the most thoroughly crafted villains in literature and opera, Iago seethes with hatred. Expecting advancement, he has been passed over for a younger, less intelligent man. Cassio, whom Iago disdains, will be promoted instead.

Cassio* Kirk Dougherty

Venetian ambassadors arrive and call Otello back to the mainland and appoint Cassio governor. Musically complex and psychologically brilliant, the scene explodes when Otello loses control, hurls insults at everyone, shoves Desdemona to the floor and clears the room. Only Iago stands by with a conspiratorial smirk as the general collapses. Act IV finds Desdemona in her bedchamber. She sings an aria about a forsaken woman then a prayer, the famous “Ave Maria,” and falls asleep. Otello enters and wakes her with a kiss, a prelude to one of the most horrific scenes in opera. With news of Cassio killing Roderigo, Emilia, Desdemona’s maid, desperately enters and Iago’s plot is finally revealed. Otello recognizes Desdemona’s innocence – too late – and kills himself.

POULENC/COCTEAU of

RAPPAHANNOCK

is proud to be a media sponsor for Conductor: Antonio Mendez Stage Director: Maria Tucci Assistant Director: Tara Maazel COCTEAU

Stage Manager/Assistant to PSM: Amy Soll Lighting Designer: Tláloc López-Watermann Scene & Costume Designer: François-Pierre Couture POULENC

ninTH ANNuAL Studio & Gallery Tour

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A woman alone in her bedroom. Awaiting, then receiving a phone call from her lover of five years who has recently left her and is to marry another woman the following day. This is the last time they will speak to each other. During the conversation, we learn that the woman has attempted suicide.

THE CAST COCTEAU

Elle

Dietlinde

POULENC

Elle Jennifer Black

With the use of the telephone as a replacement for the physical presence Turban of the woman’s lover, Cocteau draws attention to mediated acts of Maazel communication and the inexorable gaps between human beings. Wires are crossed, lines brake down, truths are twisted and words misinterpreted in a desperate effort to connect -strangely poignant in our contemporary world of pervasive cell phones, e-mail and Facebook.

“…we talk, we talk, it never occurs to us that we’ll have to stop talking, hang up and return to the emptiness, the darkness…” “Why delude ourselves? When people could see each other, they could win over those they loved by a kiss, with a caress, an embrace. A look could change everything. But with this machine, what’s finished is finished.”

piedmontvirginian.com

Autumnsongs Kat Reagan,, Decorative Artist

Hand painted treasures, custom detailed, for all the special events in your life.

summer 2013

23 Open Studios 8 Galleries Over 50 participating artists

Gallery

Tour Headquarters & Fire Hall Gallery Washington, VA Directions

From I-495 VA take I-66W to RT 17S to Warrenton. Follow RT 17 to Business 29 Warrenton. Turn right on RT 29 and right on RT 211W. Go 22 miles and turn right on Warren Avenue (Business 211) into Washington, VA. Turn right on Firehouse Lane to the Fire Hall.

“ when ordinary just isn’t enough” Member of Culpeper Arts Council, Society of Decorative Painters, & Artisan Trail of Virginia

703-581-8683 • www.autumnsongs.com 12 THE PIEDMONT VIRGINIAN

of Rappahannock County

Saturday, November 2 & Sunday, November 3 10 AM - 5 PM Rain or shine $10 admission

John Jonas Gruen/Getty Images

La Voix Humaine (The Human Voice) – the first time ever presented as a double-bill of Jean Cocteau’s play and Francis Poulenc’s opera.

AUBURN

Tour the Studios & Galleries

The Rappahannock Association for the Arts and the Community 122 East Davis Street, Culpeper, VA 22701 saraschneidman.com • (540) 825-0034

For more info, visit www.raac.org

SPECIAL THANKS

Christopher R. and Barbara Wall

THE CASTLETON FESTIVAL, SUPPORTED BY THE CHÂTEAVILLE FOUNDATION, EXTENDS SPECIAL RECOGNITION TO THE KEYBOARD TRUST, LONDON AND THE ZVI & OFRA MEITAR FUND. CASTLETON FESTIVAL BOARD OF DIRECTORS Judith Richards Hope, Chair Hugh Smith, Treasurer Christopher R. Wall, Secretary Maestro Lorin Maazel,

Executive and Artistic Director, ex officio

Dietlinde Turban Maazel, Associate Artistic Director, ex-officio Nancy Gustafson, ADVISORY BOARD Maestro Lorin Maazel Dietlinde Turban Maazel Christiane Amanpour Emanuel Ax Col. John Bourgeois Yefim Bronfman Roger Custer, Chair, Crescendo, ex-officio

William M. Dietel

General Manager, ex-officio R. Augustus Edwards, III Spencer H. Kim Jennifer M. Manly Nina O. May J. Clifford Miller, III Alexia Morrison Catherine Porter

Jack Porter Nedra G. Smith The Hon. John Fox Sullivan, Susan Strittmatter Mayor, Washington, Virginia, ex-officio C. Scott Willis Cheri Woodard

Linda R. Dietel Maestro Christoph Eschenbach Denyce Graves Sir James Galway Sir Ronald Grierson Jeremy Irons Contessa Sabine Lovatelli Charles B. Ortner John W. McCarthy,

County Administrator, Rappahannock County, ex-officio

Maestro Krzysztof Penderecki Paloma O’Shea Samuel Ramey Daisy Soros Margaret Warner David Whelton Sir James and Elaine Wolfensohn

CASTLETON FESTIVAL HISTORY The Châteauville Foundation was established in 1997 by Lorin and Dietlinde Maazel. Its founding mission was to nurture children and the arts, not only through the sponsorship of performance events but also through primary school education at a cooperative school, which the Maazels had established on the property, based on a holistic curriculum of the school. The principles that inspired its creation, continue to animate the Foundation’s activities and mission: to nurture young artists, foster collaborative artistic enterprise and create opportunities within the community for shared cultural experience. In 2009 the Castleton Festival was launched emulating the winning business model of the historic Glyndebourne, Santa Fe and Caramoor opera festivals. Castleton has touched over 3,000 young people through open dress rehearsals, master classes and through its superb CATS (Castleton Artists Training Seminar) program for advanced vocal students which runs parallel to the Festival. Castleton is committed to engaging CATS alumni to return in future seasons to perform leading and supporting roles. Each summer over 250 young participants from more than 20 countries are invited to the inspiring atmosphere of Castleton Farms to rehearse and perform according to the highest professional standards. To date, nearly 200 different performances have been offered at both theatre spaces. The Foundation takes pride in presenting many of today’s most eminent artists. Supported by the National Endowment for the Arts and the Virginia Commission for the Arts, awarding the Festival its first General Operating Support funding in 2012, the Castleton Festival is the largest non-government employer in central Virginia’s Rappahannock County. OUR HEARTFELT GRATITUDE TO OUR SUPPORTERS FUNDERS FOR THE FUTURE LEVEL Ambassadors Carleton S. and Jane A. Coon (donation in kind) National Endowment for the Arts Spencer and Mia Kim/ CBOL Corporation Zvi and Ofra Meitar Virginia Commission for the Arts WETA, Lead Media Partner (donation in kind) 14 THE PIEDMONT VIRGINIAN

MAESTRO’S CIRCLE LEVEL Airlie Center, Lead Hospitality Partner (donation in kind) Linda and Bill Dietel Anne and Gus Edwards James Fuller and Catherine Porter Judith Richards Hope Jennifer M. Manly Liz and Frank Newman

summer 2013

Pillsbury Winthrop Shaw Pittman LLP (donation in kind) Rahr Corporation Rappahannock Media (donation in kind) Rutgers-Mason Gross School of the Arts Hugh H. and Nedra G. Smith Paul and Daisy Soros sounding images Julia D. Thieriot / Cedar Hill Foundation Virginia Tourism Corporation

BENEFACTOR LEVEL Barclays Elizabeth F. Cheney Foundation/ Dr. Allan R. Drebin David and Suzy Dominik Richard and Peggy Gelfond Barbara and Mark Heller Hal and Beverly Hunter Mary Ann King Rappahannock County The Inn on Thistle Hill (donation in kind) Vicki and Roger Sant John Fox and Beverly Knight Sullivan William Anthony and Jean C. Vernon Weissberg Foundation William and Sarah Walton PATRON LEVEL BAND Foundation-Nicholas and Gardiner Lapham Ellen and Howard Bender Digital Tech Services (in-kind) Dielle Fleischmann L. Richard Fischer and Anne Lavigne Casey Smith and John Harris John and Tracie Jacquemin THE HENRY VON EICHEL MEMORIAL FUND Beer Institute Lori Bolton Bell’s Brewery, Inc. Berger and Montague, P.C. Robert W. and Michele C. Fisher Tom Gasseling Carlos Fernandez Gonzalez John Gorman Sir Ronald Grierson John Haffenreffer Edra Harrison David and Sharon Hysert Tom Mack Lillian D. Matt/F.X. Matt II Memorial Fund of The Community Foundation of Herkimer and Oneida Counties

Nash Whitney and Aniko Gaal Schott Cheri and Martin Woodard David Weisman & Jacqui Michel S. Enders Wimbush and Juli A. Macdonald-Wimbush Gregory and Liz Yates

Miller Nash, LLP Malcolm Milne Olsen Brothers Leslie Roy Elaine A. Smith Andres A. Soriano David Thurston Joan Tobin FRIEND LEVEL Jocelyn Alexander/ The Marjorie Sale Arundel Fund for the Earth Elizabeth Ballantine and Paul Leavitt Harold and Mary Frances Beebout Ambassador Mohamed Bin Abdullah Al-Rumaihi Jeff and Paula Christie Alexander D. Crary Karen and Robert Darby Betsy Dietel / Dietel Children Linda and John Donovan Eric R. Fox Monte and Darby Gingery Douglas Ginsburg and Deecy Gray Stephen M. and Deborah Harnik William R. Hatcher Kent B. Hickman David and Evelyn Kerr Kuo-Ying Lee Marsh Marshall Mike and Toni Massie Randall L. and Catherine D. Mayes Susan Strittmatter W. McIlwaine and Elsie Thompson Stephanie Mendlow and Leighton Brown Cliff Miller, III Family Endowment of The Community Foundation Serving Richmond and Central Virginia The Mountain Laurel Foundation Jack and Laura Overstreet Anne Pallie and Jack Schore Sadhna Nicky Singh Jack and Cyndy Porter Benita Rauda and Geoffrey Gowen William and Candace Reeder Jeff Riley Keith and Barbara Severin Ryall Smith and Douglas Barton

CONTRIBUTING LEVEL Charlotte Abel Ronald Alcott David and Marilyn Armor Allan S. Bozorth Carol and Landon Butler Leslie and Andrew Cockburn Jane and Luke DiIorio Susan Ginsburg / The Whitehead Foundation Lynne and Joseph Horning, Jr. Michael Horst Joe Lovell Hector and Claire Luisi Katherine McLeod/ Oak Grove Meadows LLC Evan Miller and Nancy Hedin Thomas Pellikaan Mr. and Mrs. Charles H. Seilheimer, Jr. Richard A. and Elaine Viguerie Ellis Wisner SUPPORTING LEVEL Richard Arentz Rand Beers Berger & Montague, P.C. Dr. Chester Berschling Robert and Sheila Inglis Ben Lovell (donation in kind) Justin Kulovsek Charles G. Mackall, Jr. Ilann Maazel Mike and Bette Mahoney Katherine McLeod/ Oak Groves Meadows, LLC Paul Phillips Paul Reisler Selwa Roosevelt Sharon Scullin and Jim Rothstein Jefferson Strider Alexander and Francine ter Weele

Contributions as of May 15, 2013

LEAD MEDIA PARTNER

LEAD HOSPITALITY PARTNER

SOLOIST BIOGRAPHIES Javier Arrey, baritone Chilean baritone Javier Arrey recently made his debut at the Palau de les Arts Reina Sofia in Valencia, Spain, in Menotti’s Amelia al ballo and The Telephone, and recently performed Silvio in I Pagliacci in Mumbai, India. In WNO’s 2010-11 season he appeared as Yamadori in Madama Butterfly, and as A Scythian in Iphigénie en Tauride. In 2008, Mr. Arrey was selected as one of Chile’s representatives for the Competizione dell Opera in Dresden, finishing as one of 10 finalists. Dmitri Berlinsky, violin Dmitri Berlinsky is an international solo violinist, chamber musician and a teacher who arrived on the International scene as the youngest winner in the history of the Paganini International Violin Competition in Genoa, Italy. This victory led to his performance on Nicolo Paganini’s own Guarneri del Gesú instrument, a

privilege shared by only a handful of artists in history. Subsequent triumphs at the Montreal International Violin Competition (Grand Prize), the International Tchaikovsky Competition and the Queen Elizabeth Competition in Brussels, led to appearances with major orchestras in Europe, Russia, the Far East, North and South America. Chris Besch, bass-baritone Bass-baritone Christopher Besch’s performances have been described as “strong, upstanding” (Washington Times) as well as “daring and vital.” (Louisville Courier Journal) He is a native of Woodbury, Minnesota and currently resides in Houston, Texas. At the Castleton Festival in 2012 he sang Fiorello in Il barbiere di Siviglia and Zuniga in Carmen under the baton of Lorin Maazel, as well as Fredrik in Sondheim’s A Little Night Music with Levi Hammer. As a member of the festival, he recently made his

international debut with Maestro Maazel at The Royal Opera House Muscat in Oman as Doganiere in Puccini’s La Bohème. Jennifer Black, soprano American lyric soprano Jennifer Black is making exceptional debuts in her very young career. With the Metropolitan Opera, she performed Lisa in a new production of La Sonnambula in 2009, and returned in 2010 as Micäela in Carmen. With the Santa Fe Opera, she made her debut as Micäela in Carmen during the 2006 summer season, and has since returned for role debuts as Mimi in La Bohème summer 2007 and Adina in The Elixir of Love during the summer 2009. With the New York City Opera, she made her company debut as Musetta in La Bohème in April 2006, and recently returned as Micäela in Carmen. Additional noted engagements from the past two seasons included her Los Angeles

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Jonathan Burton, tenor Young American tenor Jonathan Burton has been praised for having “thrilling power and beauty” (Baltimore Sun) and for being “the real find in this production...an engaging all-around singer with a powerful, full-bodied sound.” (Opera News) During the 2012-2013 season Mr. Burton can be heard as Cavaradossi in Tosca with Kentucky Opera, Calaf in Turandot with Sarasota Opera and Rodolfo in La Bohème with the Royal Opera House Muscat in Oman where he “was charming as Rodolfo. His voice was strong and passionate, and as Rodolfo he was smitten and sweet.” (Times of Oman)

Violetta in Verdi’s La Traviata with the Welsh National Opera, Mimi in La Bohème with Lorin Maazel at the Castleton Festival and Münchner Philharmoniker, and the Tanglewood Music Festival for Beethoven’s Ninth Symphony. Ms. El-Khoury recently had a tremendous triumph when she performed the role of Antonina in Donizetti’s rarely performed opera Belisario with the BBC Symphony Orchestra (Sir Mark Elder), at London’s Barbican Hall. This opera was recorded in studio prior to the performance and is scheduled to be released by Opera RARA in 2013. Ms. El-Khoury reprised Violetta in La Traviata with Palm Beach Opera, with forthcoming performances with L’Opéra Théâtre de Saint-Étienne, and De Nederlandse Opera. Paul LaRosa, baritone A graduate of The Juilliard Opera Center, baritone Paul LaRosa recently finished his third year as a member of the Ryan Opera Center at the Lyric Opera of Chicago. Engagements for the

2012-13 season include a role debut as Jack Rance in La fanciulla del West at the Castleton Festival under the baton of Lorin Maazel, a Cleveland Orchestra debut in a program of Copland Old American Songs led by David Alen Miller both in Cleveland and as a part of the Orchestra’s Miami Residency at the Arsht Center for the Performing Arts, and a return to Lyric Opera of Chicago covering Jud Fry in Oklahoma! Andy McCullough, tenor American tenor John Andy McCullough is praised for his ability to unite firstrate musicianship with a beautiful, yet powerful, voice, and a deep connection to text. In recent seasons, Mr. McCullough has performed throughout the United States, with notable engagements including performances at Carnegie Hall, Alice Tully Hall, The Juilliard School, Aspen Opera Theatre, The Chautauqua Institute, Pittsburgh’s Benedum Theatre, The Kimmel Theatre, and The Riverside Church. Equally at home in opera

Kirk Dougherty, tenor

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Opera debut as Lauretta in Gianni Schicchi and Suor Genovieffa in Suor Angelica in a new production of Il Trittico, her Minnesota Opera debut as Mimi in La Bohème, her Théâtre du Capitole de Toulouse debut as 5th Magd in Elektra, Mlle. Jouvenot in Adriana Lecouvreur at the MET, her role debut as Juliette in Romeo et Juliette with PORT Opera (Maine).

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Tenor Kirk Dougherty has a vibrant career in concert and opera in the United States. From Mozart’s most sublime lovers to Verdi’s grandest heroes, his performances are acclaimed for their versatility, strength, and elegance. Opera Magazine (UK), Operapulse.com, and Opera News describe his voice as ‘a tenor on the rise’, ‘an exceptionally beautiful tenor’, and ‘a limitless, iridescent instrument’. This season in March at Opera Naples, he appears as Obadiah in a staged production of Mendelssohn’s Elijah. Earlier this season, Kirk Dougherty appeared as a principal character in Victoria Bond’s opera Mrs. President at Anchorage Opera. Joyce El-Khoury, soprano Her attention to musical style, combined with a striking stage presence and warm, rich voice have taken Joyce El-Khoury to debuts as

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and art song, Mr. McCullough has found a true home for himself in the music of Benjamin Britten, recently adding the role of Male Chorus in The Rape of Lucretia to his vast repertoire in performances for Aspen Opera Theatre and Juilliard Opera Theatre. Ekaterina Metlova, soprano Russian Ekaterina Metlova caught the interest of numerous opera houses and concert promoters. She has performed in Italy, France, Spain the USA, Canada, China and Korea. She has already sung under the baton of Mo. Lorin Maazel on several occasions. She entered the Academy for Young Opera Singers at the Arena di Verona, where she studied with Raina Kabaiwanska. In 2009 she entered the Centre de Perfeccionamiento Placido Domingo in Valencia. She has also performed Beethoven 9 with London Symphony Orchestra and will sing the part again with Santa Cecilia, Rome. Tyler Nelson, tenor Tyler S. Nelson is one of America’s

most promising young tenors. Already enjoying success in a wide variety of concert repertoire, his recent engagements have included Beethoven’s 9th Symphony with the Saginaw Bay Symphony, the Mozart Requiem with Utah Chamber Artists, The Creation with Thomasville singers, and Orff’s Carmina Burana with the California and Reno Symphonies. During successive seasons with Ohio Light Opera he sang Sancho in Man of La Mancha, Matthew in Maytime, Dr. Blind in Die Fledermaus, Pietro in The Firefly, Philipe in New Moon, and Mr. Collins in the world premier of Pride and Prejudice. Arts blog CoolCleveland.com commented: “Tyler Nelson, as that erstwhile clergyman, could steal the show if he tried. As it was, he nearly brought down the house with I Aim to Please.” Opera News, reviewing the same performances, called his singing “mellifluous”. Last year, Mr. Nelson debuted in the role of Count Almaviva in Rossini’s Il Barbiere di Siviglia, with the national

Center for the Performing Arts in Beijing China and continued the role at the Castleton Festival and at the Royal Opera House, Muscat, Oman, under the baton of Maestro Lorin Maazel. Rafael Payare, conductor Rafael Payare recently gained worldwide recognition as a result of winning the 2012 Malko Competition in Copenhagen. Since he began his formal conducting studies in 2004 with José Antonio Abreu, Rafael has developed a flourishing career, having conducted all the major orchestras in Venezuela including the Simón Bolívar Orchestra both in Caracas and in Toronto as part of their 2009 Canadian tour. Maestro Abreu remains Rafael’s principal conducting mentor. In the coming seasons, Rafael will debut with the Munich Philharmonic, Orchestre National du Capitole de Toulouse, City of Birmingham Symphony Orchestra, Gothenburg Symphony Orchestra, Oslo Philharmonic Orchestra, Hamburger Symphoniker

and will make his North American subscription debut with the Cincinnati Symphony Orchestra. Rafael Rojas, tenor Born and educated in Mexico‚ Rafael Rojas studied at the University of Guadalajara and subsequently joined the post-graduate opera course at the Royal Scottish Academy of Music and Drama‚ completing his studies at the Royal Northern College of Music. Future plans include the title role Otello for the Castleton Festival in the USA under Lorin Maazel‚ Dick Johnson in La Fanciulla del West‚ Pinkerton and Cavaradossi in Tosca (Opera North) Canio in Pagliacci and Duke in Rigoletto for New Zealand Opera. As a student‚ Rafael was invited to sing Rodolfo in the British Youth Opera’s production of La Bohème‚ as well as taking the title roles in two college productions of Roberto Devereux and Ernani‚ to widespread critical acclaim. He has appeared extensively in the UK‚ including concerts with the Halle Orchestra and Kent Nagano‚ and has sung under the batons of Mariss Jansons with the Pittsburgh Symphony‚ and David Shallon with the Jerusalem Symphony Orchestra. Neil Shicoff

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Brooklyn native, Neil Shicoff studied at the Juilliard School of Music with his father, the celebrated cantor Sidney Shicoff. He made his professional debut as the title hero in Verdi’s Ernani conducted by James Levine in Cincinnati in 1975. As early as 1976, he made his debut at the Metropolitan Opera as Rinuccio in Gianni Schicchi conducted by James Levine. His awards and honors include, Chevalier de L’Ordre des Arts et des Lettres, Austrian Ehrenkreuz fuer Wissenschaft und Kunst 1 Klasse, Goldene Ehrenzeichen fuer Verdienste um das Land Wien, Kammersaenger and Ehrenmitglied of the Vienna State Opera and Russia’s 2011 Golden Mask Award for Best Male Performer in an Opera for La Juive. Internationally recognized as the pre-eminent American tenor

of his generation, Neil Shicoff has appeared at all of the world’s most important opera houses including the Metropolitan Opera, Vienna State Opera, La Scala, Paris Opera, Royal Opera Covent Garden, Berlin’s Deutsche Oper, Bavarian State Opera, Lyric Opera Of Chicago, San Francisco Opera, Hamburg State Opera, Grand Theatre De Geneva, Arena Di Verona, Netherlands Opera, Opernhaus Zürich, Welsh National Opera, Scottish Opera, Santa Fe Opera, Barcelona’s Liceu, and Buenos Aires Teatro Colon.

en-mer in France, debuting with great success the title role in the comic opera Falstaff, following up with Germont in La Traviata, a role he has perfected with several opera companies, including Santa Fe Opera, Opera Delaware and Opera New Jersey. His “vocal prowess,” noted one respected reviewer, supported a strong ensemble cast that brought audiences to their feet. With Sarasota Opera, he had a strong run as Conte di Luna in Il Trovatore.

Andrew Stuckey, baritone

Davone Tines, deemed a “charismatic, full-voiced bass-baritone” by The New York Times, commands a broad spectrum of opera and concert performance from early music: recently performing Bach’s Magnificat with The Clarion Music Society and a concert of French baroque arias both in Alice Tully hall; to adventurous new music including the U. S. premiere of Menachem Zur’s Cartoons and performances with the New York

Mr. Stuckey is a seasoned baritone whose many and varied roles speak to his accomplished voice and broad appeal. In particular, he is fast becoming a respected interpreter of the Verdi baritone roles. Most recently, Mr. Stuckey sang the black-hearted Iago in Opera Roanoke’s stellar production, which the Roanoke Times deemed “not to be missed.” In recent years, he has sung Verdi with the Festival Lyrique-

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Festival of Song. Recent opera credits include The ‘Abbot’ in Benjamin Britten’s Curlew River, covering the role of Willi in the American premiere of Sir Peter Maxwell Davies’ Kommilitonen!, and singing the role of Norton in Rossini’s La Cambiale di Mattrimonio at Juiliard. This past summer Mr. Tines was in residence at the Castleton Festival under the direction of Maestro Lorin Maazel and recently sang with the festival’s production of La Bohème at the Royal Opera House Muscat, Oman.

(Heather Kurzbauer, The Strad), “astonishing virtuosity” (Nuvo), and “so electrifying” (DC Theatre Scene). Eric has performed as soloist, recitalist and chamber musician throughout the US and around the world, including solo performances with the St. Petersburg Philharmonia, Chamber Orchestra of the Mariinsky Theatre, Munich Chamber Orchestra, Indianapolis Symphony Orchestra and the Cincinnati Symphony Orchestra, among others.

CASTLETON CHAMBER PLAYERS

Daniel Lelchuk

Eric Silberger

Cellist Daniel Lelchuk is a recipient of an award from the Angela Prokopp Foundation of the Vienna Philharmonic Orchestra, and has performed in many of the great halls of the world, including Symphony Hall (Boston), Carnegie Hall (New York), the Konzerthaus (Berlin), the Felsenreitschule and Große Universitätsaula (Salzburg), and the Oriental Arts Center (Shanghai). He has appeared as principal cellist at various festivals such as Moritzburg,

Virtuoso violinist Eric Silberger is a prize winner of the XIV International Tchaikovsky Competition and the Michael Hill International Violin Competition in 2011. His performances have been described by critics as “spine-tingling...astonishing confidence” (The Guardian), “bold, technically solid, charismatic” (Indianapolis Star), “impeccable level of playing, a wonderful musician”

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20 THE PIEDMONT VIRGINIAN

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Aspen, and the International Orchestra Institute Attergau. In 2012 he was invited as visiting cellist with the Qatar Philharmonic Orchestra in Doha, and also performed as principal cello at the Royal Opera House Muscat (Oman) with the Castleton Opera. At the invitation of Prince Nicolò Boncompagni Ludovisi, Lelchuk gave a series of solo cello recitals at the famed Villa Aurora, Rome.

PRODUCTION BIOGRAPHIES Asa Benally (Associate Costume Designer/Costume Coordinator) Design Credits include Off-Broadway’s Tricks the Devil Taught Me. Off-Off Broadway: A Midsummers Night Dream at the West End Theater. Regional credits include Chicago; Beauty and the Beast; Anything Goes and Cinderella, Crazy for You and Guys and Dolls, As well as Zapata! The Musical at the New York Musical Festival. Opera credits include The Marriage of Figaro and La Bohème. François-Pierre Couture (Scenic and Lighting Design) François-Pierre completed a Masters’ degree at UCLA in Scenic and Lighting design. I believe in simplicity and imagination: raw materials, unconventional lighting sources and mix media juxtaposed with traditional theatrical devices are at the source of my inspiration. My goal is to create innovative but, mostly, effective designs. In each new production, questions are asked, obstacles raised and answers sought. Sarah Fraser (Assistant Director) Sarah Fraser is a NYC-based stage director specializing in opera. Most recently, Sarah directed a double bill of Poulenc’s La Voix Humaine and Puccini’s Suor Angelica for Opera Manhattan. Sarah graduated with a M.M. in Opera Stage Directing from Florida State University, where she directed The Mikado, The Magic Flute, and the regional premiere of John Musto’s Later

the Same Evening. Future engagements include La Traviata with the North Shore Music Festival. Davide Gilioli (Set and Costume Designer, Assistant Director) Davide Gilioli started his career in the Opera world in Paris, after he completed his studies at university. He worked with Ezio Frigerio and Franca Squarciapino, Academy Award winning set and costume designers. He then started collaborating with the Sormani historical set workshop in Milan, where he learned the fundamentals of traditional set designing. He is also working as assistant director in numerous productions at renown Opera Houses in Italy and abroad. Lynn Hockney (Otello Director) Lynne Hockney trained at the Royal Ballet School. Her choreographic career has encompassed opera‚ theatre‚ film and television‚ largely in the UK and USA‚ working with directors as diverse as James Cameron‚ Arnold

Schwarzenegger and Sir Peter Hall. Her work has been seen at repertory theatres throughout the UK and USA and her extensive list of film credits include The Village‚ Titanic‚ True Lies‚ Town & Country‚ Wild‚ Wild West‚ and Rocky & Bullwinkle. Tlaloc López-Watermann (Lighting Designer) Tláloc is the founder of a lighting and projections design company called Light Conversations LLC. His lighting designs have been seen at North Carolina Opera, Opera Louisiane, North Carolina Opera Toledo Opera, Utah Festival Opera, Todi Music Fest (Portsmouth, VA), Opera Roanoke, and Shreveport Opera, the University of Memphis, Guerilla Opera (Boston, MA), Crested Butte Music Festival, DiCapo Opera (NYC). Some of these include: Giver of Light (world premier), Bovinus Rex (world premier), Heart Of a Dog, Man of La Mancha, Salome, La Bohème, The Marriage Of Figaro, Madama Butterfly, The Crucible, Eugene

Onegin, The Daughter of the Regiment, Il Trovatore, La Traviata, Falstaff, and Hairspray, among others. Tara Maazel (Assistant Director) Tara Maazel, born in Monaco and raised in Munich, New York, and Virginia, is currently pursuing her bachelor’s degree in clinical psychology at Tufts University. She is a passionate flutist, writer, jewelry maker, enjoys learning as many languages as possible (currently she speaks German, French, Spanish, Italian and Swahili). Tara has also become an advocate for a rare autoimmune disease, trying to encourage awareness and tolerance through fundraiser performance events in NYC. Anne Nesmith (Wig Designer) Anne’s recent work includes Opera Philadelphia’s Powder Her Face, Other Desert Cities at Arena Stage, Washington Ballet’s Dangerous Liaisons and Our Town with Ford’s Theatre. Her designs have been seen in the DC

area at Shakespeare Theatre Company, Woolly Mammoth Theatre Company, Folger Shakespeare Theatre, Lyric Opera of Baltimore and Signature Theatre.

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Maria Tucci (Stage Director) Maria Tucci has worked extensively as an actress on Broadway in such plays as: Mary Stuart,Tennesee Williams’ The Night of The Iguana, Sweet Bird Of Youth, The Rose Tattoo, Athol Fugard’s A Lesson From Aloes (Tony nomination) and many others. At Lincoln Center: Substance of Fire, Mrs Warren’s Profession, Collected Stories, and Little Foxes. In other theaters: The Seagull, The Heiress, Major Barbara, The Royal Family and countless Shakespeare plays. She has translated four plays by the Neapolitan playwright Eduardo de Filippo and performed in two of them: Filumena Martunrano and Christmas in Naples. This summer she will also be directing Scott and Zelda by Kay Cattarula, in Williamstown, Mass.

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After completing classical studies Fauquier Ad_Castleton Program 201 Giandomenico Vaccari began as stage director at the Petruzzelli Theatre in Bari, collaborated with renowned directors such as Luca Ronconi, Mauro Bolognini, Maurizio Scaparro. He worked for several years as theater director before joining the administration at theatres/opera houses in Bologna (Artistic Secretary), Genova and Rome (Artistic Consultant), Trieste and Naples (Artistic Director). He returned to Bari, as Chief Director and later Artistic Director of the Petruzzelli Foundation where he built a new orchestra with Alberto Veronesi as Chief Conductor and Lorin Maazel as Artistic Consultant. In addition to his work as opera director Mr. Vaccari gives Master Classes and lectures on the integration of melodrama and classical music around the globe.

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summer 2013

There are ample performance opportunities throughout the festival including chamber music concerts, musical theatre performances, song recitals, and Opera Workshop Scene Recitals. Seminar participants perform in the productions conducted by Maestro Maazel either in the chorus or in comprimario roles and be responsible for covering leading roles. Castleton is committed to engaging CATS alumni in future seasons as soloists in its productions.

On weekends, try our speciallyprepared small-plate food and wine pairings.

Giandomenico Vaccari (Stage Director)

22 THE PIEDMONT VIRGINIAN

The Castleton Artists Training Seminar (CATS) is a program for advanced voice students. Taught by a prestigious international faculty, students in the Seminar are offered a range of classes and coachings encompassing opera and song literature, vocal technique and interpretation, acting and movement for the stage, Alexander Technique, languages (German and Italian) and career preparation. College credit is available for participation in the CATS seminar.

CATS BIOGRAPHIES SOPRANOS

Die Zauberflöte, as the First Spirit.

Zarah Brock

Melissa Chavez

Zarah Brock is a Vocal Performance major in her junior year at Virginia Commonwealth University from Fredericksburg, Virginia. While at VCU and the Castleton festival, she has performed in various opera scenes from Il Matrimonio Segreto, Don Giovanni, and Cosi Fan Tutte. Most recently, she performed in VCU Opera’s spring production,

Melissa Chávez has been acclaimed by the The Washington Post for her “voluptuous voice” and “cooly exemplary production.” Recent and upcoming roles include Donna Elivira in Don Giovanni, Desdemona in Otello, Giorgetta in Il Tabarro, Rosalinda in Die Fledermaus, Hannah in The Merry Widow, Geraldine in The American Maid, Adina in L’Elisir d’amore, Giulietta in Les contes d’Hoffmann, Countess in Le

nozze di Figaro, Anna Maurrant in Street Scene, Tebaldo in Don Carlos, and Helena in A Midsummer Night’s Dream. Haley Condie Haley Condie is from Utah where she graduated with a Bachelor of Arts in Music From Utah Valley University. She plans to continue with her studies to receive her Master’s degree in Vocal Performance. She has performed in several Opera scenes programs with Utah Valley University and with The San Francisco Conservatory of Music.

Natalie Fagan Natalie Fagan is a graduate of Oklahoma City University (BA, Musical Theater) and Interlochen Arts Academy. Recent credits include appearing in the independent film “The House That Jack Broke,” released in February 2013 and Countess Maritza by Kalman with Liederkranz Opera Theatre in NYC. Her previous highlights include the autobiographical cabaret, Life Is A Song at the Riverside Center in Midland, MI, a masterclass with Kelli O’Hara and recognition as a winner in the Oklahoma NATS competition, 2010. Cara Gabrielson Cara Gabrielson is currently pursuing her Bachelor of Music Degree at the San Francisco Conservatory of Music where she performed the roles of Nerone (Agrippina), Echo (La Calisto), Héro (Guettel’s Myths and Hymns), and covered the roles of Susanna (Le Nozze di Figaro) and Adele (Die Fledermaus). Cara is currently studying with Pamela Fry. Alana Grossman Alana Grossman’s credits include Damigella, L’incoronazione di Poppea, Northwestern University; Maria, Sound of Music, NPHS; Maria, West Side Story, YAE; Cigarette Girl, Carmen, Opera Santa Barbara; Servants Chorus, My Fair Lady, Northwestern University; Imogen, Cymbeline, Northwestern University; Kim, Bye Bye Birdie, NPHS. Alexandra Kassouf Alexandra Kassouf recently covered Galatea (Acis and Galatea) with the Cincinnati Chamber Opera, sang the role of Barbarina (Le nozze di Figaro) for the CCM “Making Mozart” program, and participated in the first OperaWorks Winter Intensive. She has performed the roles of Polly Peachum (The Threepenny Opera) and Drusilla (L’incoronazione di Poppea) and has been a soloist in Handel’s Messiah and Mendelssohn’s Elijah. Helaine Liebman Helaine Liebman is currently studying 24 THE PIEDMONT VIRGINIAN

Lacie Liu

tutelage of Catherine Malfitano. As an active concert artist. Ms. Park has performed Gala concerts at San leo, Rimini, Cervia, Cesena, Montegridolfo, Novafeltria in Italy, Kassel in Germany, Dusznik in Poland and Seoul in Korea. Also, Ms.Park has performed with the National Music Opera Theater ensemble in Kassel, Germany and Salon Opera festival in Seoul, Korea.

Lacie Liu recently completed her undergraduate degree with a Bachelor of Music from Utah Valley University. Some of Ms. Liu’s roles include: Adina in L’elisir d’amore, and Poppea in L’incoronazione di Poppea in opera scenes for Utah Valley Opera. She also has had roles as Cosette in Les Misérables, Ethel in Footloose, and she was a member of the ensemble in Seussical the Musical.

Sarah Philippa Sarah Philippa’s roles include Dido (Dido and Aeneas), Lucienne (Die tote Stadt), Witch and Mother (Hansel and Gretel), Clara (Signor Deluso), Second Lady (Magic Flute), Countess Ceprano (Rigoletto), and Mother (The Women). Ms. Philippa debuted and originated the roles of Constanza in Mozart and the Grey Steward, and Jezebel in Name on theDoor.

Dana McGarr

Sara Schabas

Dana McGarr received her Bachelor’s Degree in Music from Western Washington University, where she studied with Kathryn Weld. At Western she performed the role of Donna Anna in Mozart’s Don Giovanni.. Last summer, Dana performed the role of Second Lady from Mozart’s Die Zauberflöte with the Astoria Music Festival as an Apprentice Artist.

Sara Schabas is pursuing a Master of Music at the Chicago College of Performing Arts at Roosevelt University with Judith Haddon. Recent credits include Laurie in the Suite from The Tender Land (Mendelssohn Chamber Orchestra), Lauretta in Gianni Schicchi (CCPA), Sopranino/A Lover in Il Tabarro (CCPA), Suor Genovieffa in Suor Angelica (Opera on the Avalon) and Cupid in Venus and Adonis (Summer Opera Lyric Theatre).

vocal performance under the direction of Pamela Hinchman. She has recently been in the ensemble of the Chicago premier of Ricky Ian Gordon’s Grapes of Wrath at Northwestern University. Her other credits at Northwestern have been Emmie in Britten’s Albert Herring and ensemble in Die Fledermaus and Mozart’s Die Zauberflöte.

Agostina Migoni Agostina Migoni studied under Mary Schiller and Vinson Cole and graduated from the Cleveland Institute of Music with a BM in performance. At CIM, Ms. Migoni has appeared as Prioress Lidoine in Dialogues of the Carmelites, Violetta in La Traviata, Musetta in La Bohème, Gianetta in L’elisir d’amore, and Mařenka in The Bartered Bride. In 2009, she performed Humperdinck’s Gretel and made her solo concert debut with the Irving (Texas) Philharmonic Orchestra. Jung Hwa Park Junghwa Park is a Doctor of Musical Arts degree candidate at Rutgers University. She graduated from Manhattan School of Music under the

summer 2013

choral repertoire at Carnegie Hall on numerous occasions and has been a soprano soloist for choral tours in England, Montréal, Québec and Boston. Yemonja Stanley Yemonja Stanley recently received a Master’s degree from the San Francisco Conservatory of Music under the instruction of Leroy Kromm. She graduated magna cum laude from Temple University in 2011 with a Bachelor’s degree in vocal performance where she performed scenes from Le Nozze di Figaro and Ned Rorem’s Miss Julie. Jessica Vadney Jessica Vadney performed this past summer as La Suora Infermiera and Suora Dolcina in Sour Angelica with Opera Siena in Italy, and in scenes as Violetta in La Traviata and Fiordiligi in Così fan tutte with Druid City Opera, and with OperaWorks in Los Angeles. Most recently she was seen at Avery Fisher Hall as a soloist with

Distinguished Concerts International NY, and in Die Zauberflöte as First Woman.

Suor Angelica as La Maestra delle Novizie.

Katherine Werbiansky

Brynn Johnson is a student at Northwestern University, where she is pursuing a dual Bachelor of Science and Bachelor of Music degree in Economics and Voice Performance. She was a member of the Cornell Schola Cantorum and the lead in Gilbert and Sullivan’s Trial by Jury. She transferred to Northwestern University and began her music studies in the Bienen School of Music.

Katherine Werbiansky received her Bachelors of Fine and Applied Arts degree from The University of Illinois at Urbana-Champaign where she starred as Juliette in Gounod’s Roméo et Juliette, then participated in Sarasota Opera’s Young Artist Program where she starred as Papagena in Mozart’s The Magic Flute. MEZZOS

Brynn Johnson

Elizabeth Kerstein

Kimberly Hann Kimberly Hann is currently a senior studying vocal performance at Northwestern University with Karen Brunssen. Kimberly has appeared in numerous opera productions at Northwestern, including the Chicago premiere of Ricky Ian Gordon’s The Grapes of Wrath, Fledermaus, Street Scene and The Magic Flute. Her most recent appearance was in

Elizabeth. Kerstein most recently performed the role of Nada in the American premiere of Svadba, an a capella Serbian opera by Ana Sokolovic, with Peabody Opera Theatre. During 2012, she sang PittiSing in The Mikado with Baltimore’s Young Victorian Theatre Company, The Lady with the Hatbox in Postcard from Morocco, and premiered the role of Ferdinand in Ariel’s Tempest,

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Karen Schriescheim Karen Schriescheim has appeared in Northwestern’s 2013 production of The Grapes of Wrath as an ensemble member; in a student adaptation of Mozart’s Le Nozze di Figaro as the Countess,” and in Northwestern’s 2009 production of Bernstein’s “MASS” as a member of the Liturgical Choir. Erin Schwab Erin Schwab is a student at Mason Gross School of the Arts majoring in vocal performance. Her past operatic performances include Lucy Lockitt in Benjamin Britten’s The Beggar’s Opera and Noémie in Jules Massenet’s Cendrillon. She has performed

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both with Peabody Opera Theatre. Kristina Moore

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Kristina Moore has already performed leading roles such as Rosina in Il barbiere di Siviglia, Dorabella in Così fan tutte and Orlovsky in Die Fledermaus with companies all over the US, including Bronx Opera, Lancaster Opera and Philadelphia’s Center City Opera. In addition, Ms. Moore is featured on the recordings ‘All Hail the Power’ and ‘A Westminster Christmas. Caitlin Redding Caitlin Redding has participated in multiple music festivals in the US and Italy, the most recent being the 2012 Scuola Italia program in Le Marche, Italy, as well as the 2011 Fairbanks Summer Arts Festival in Fairbanks, Alaska. She was also recently seen in Hub Opera Ensemble’s Ariadne auf Naxos, singing the role of Dryad. Reyna Sawtell Reyna Sawtell studied at the University of Minnesota’s School of Music, where she sang in Falstaff (Dame Quickly) and Elmer Gantry (Sharon Falconer). This summer she will be covering the role of Wowlke in La Fancuilla del West at the Castleton Music Festival. TENORS Alan Briones Alan Briones’s 2012-1013 season included the role of Parpignol in La Bohème with Livermore Opera as well as Dr Blind in Die Fledermous at the San Francisco Conservatory of Music, where he is going into his senior year and is studying with Cesar Ulloa. Other roles performed include Roderigo in Otello, Toby in The Medium, and Malcolm in Macbeth, all with Taconic Opera. Chris Bozeka Chris Bozeka made his professional debut last summer as “Sam Polk” in Undercroft Opera’s (Pittsburgh, PA) production of Susannah. Bozeka has also appeared as the tenor soloist in both Worthington Presbyterian’s

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I N T E R N A T I O N A L

Production of Mozart’s Missa Brevis in F major, and Linworth United Methodist’s Production of the Saint-Saens Christmas Oratorio. Ryan Brock Ryan Brock received his BFA from Carnegie Mellon University where he sang Father Confessor in Dialogues of the Carmelites. Mr. Brock’s concert appearances have included Haydn’s Die Schöpfung, Bach’s Johannes Passion, Barber’s The Lovers, and selections from Rossini’s Stabat Mater. Nicholas Carratura Nicholas Carratura is a sophomore at Rutgers University’s Mason Gross School of the Arts where he currently studies voice with Mr. Eduardo Chama. Nicholas Falgiano Nicholas Falgiano is a first year participant of the CATS program and is a student at Rutgers University’s Mason Gross School of the Arts. Alexander Frankel Alexander Frankel made his New York Lyric Opera Theatre debut as well as his New York City debut in the role of Monostatos in The Magic Flute. He made his professional debut in the summer of 2010 as Nanki-Poo in The Mikado with Lyric Theatre of San Jose. Additional credits include Don Ottavio in Don Giovanni with Livermore Valley Opera, Beppe in I Pagliacci with Sonoma City Opera. Chris Georgetti Chris Georgetti has performed in some of the world’s prestigious venues, including Alice Tully Hall, Carnegie Hall, the New Jersey Performing Arts Center, Papermill Playhouse, St. Mark’s Cathedral in Venice, The Vatican, and Yankee Stadium. His opera credits include, Fenton in Falstaff, Sam Polk in Susannah, Cochenille in Les contes d’Hoffmann, Il Campanello in Suor Angelica, and Purcell’s The Fairy Queen. Drew Ladd Drew Ladd is the recipient of the 2013 Eleanor Pearce Sherwin Award from the

American Opera Society of Chicago. Recent operatic credits include performing the First Armed Man in Mozart’s Die Zauberflöte with Chicago Opera Theater and Gherardo in Puccini’s Gianni Schicchi with the Sugar Creek Symphony & Song Festival. Addison Marlor With roots in musical theatre, some of Addison Marlor’s favorite roles include ‘Armand’ in The Scarlet Pimpernel, ‘Beast’ in Beauty and the Beast, ‘Curly’ in Oklahoma!, and ‘Pirate King’ in Pirates of Penzance. Addison currently studies at Utah Valley University as a Junior in Vocal Performance. Michael Martin Michael Martin was most recently seen on stage in a production of Strauss’ Ariadne auf Naxos as Scaramuccio. Michael completed his undergraduate studies at the University of Michigan, where he performed the role of Artémidore in Gluck’s Armide. Drew Ochoa Drew Ochoa’s past performances have included Robert in Hindemith’s Hin und zurück, the Commanding Officer in the Chicago premiere of Amelia by Daren Hagen, Tony in West Side Story, Count Carl-Magnus in A Little Night Music, Basilio in Don Quichotte, and Riccardo in I quattro rusteghi. Humberto Rivera Puerto Rican tenor Humberto Carlo Rivera earned a second Master’s Degree in Vocal Performance and Literature at the University of Illinois during which he had the opportunity to work with Cynthia Haymon, Yvonne Gonzalez, Dennis Helmrich, and Julie Gunn. Humberto studies under the tutelage of renowned American baritone, Nathan Gunn. Dustin Scott Dustin Scott has performed with such companies as Virginia Opera, Opera New Jersey, Sarasota Opera, Ash Lawn Opera, Toledo Opera, and the Green Mountain Opera Festival. His roles have

included Nemorino (L’elisir d’amore), Don Ottavio (Don Giovanni), Tamino (Die Zauberflöte), Eisenstein (Die Fledermaus), and Frederic (The Pirates of Penzance)

production of Le nozze di Figaro, and several chorus appearances. He also played ‘Joseph’ in St. Norbert College’s 2010 production of Joseph and the Amazing Technicolor Dreamcoat.

Isaac Yager

Shane Brown

At Boston University Isaac Yager was seen as Aeneas in Dido & Aeneas, Bill in A Hand of Bridge, Maestro Spinelloccio in Gianni Schicchi, and as Elder Hayes in Susannah. Isaac has performed the roles of Laurie in Adamo’s Little Women and Dr. Caius in Falstaff, both with Boston Opera Collaborative, as well as being the tenor soloist for the Newburyport Choral Society’s Mozart Requiem.

Shane Brown has studied with such teachers as Nancy Fox, Frederic Urrey and Eduardo Chama of Rutgers University, where he is currently enrolled. His previous performances have included operas such as Die Zauberflote, La Bohème and Cendrillon.

BARITONES Michael Brand Michael Brand most recently played the part of ‘Noah’ in the Chicago premiere of Ricky Ian Gordon’s The Grapes of Wrath. Other roles at Northwestern include Sarastro in The Magic Flute, Count Almaviva in a student

Samuel Cotton Samuel Cotton’s past engagements include Count Almaviva in Le Nozze di Figaro, The Sacristan and Sciarrone in Tosca, Ignacio in Lucrezia, Pandolfe in Cendrillon, and Don Alfonso in Così fan tutte. Mr. Cotten has also appeared in Il Barbiere di Siviglia with Winter Opera in St. Louis and scenes from Trouble in Tahiti, Gianni Schicchi, and Rigoletto. Rolfe Dauz Rolfe Dauz’s recent engagements

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include the role of Betto (Gianni Schicchi) with Opera San Jose, Figaro (The Marriage of Figaro) with Notre Dame de Namur University, San Francisco Pocket Opera and the San Francisco Conservatory of Music, Claudio (Agrippina) at the San Francisco Conservatory of Music, Leporello (Don Giovanni) with San Francisco Parlor Opera and at the San Francisco Conservatory of Music.

summers as a Young Artist at the Seagle Music Colony where he performed Paris in Romeo et Juliette, Hermann in Tales of Hoffmann, and Guglielmo in Cosi fan Tutte. He also performed Colas in Bastien und Bastienne, the Mayor in Bizet’s Le Docteur Miracle, the Poor Soldier in William Shield’s The Poor Soldier, and Tobias in Thomas Pasatieri’s The Hotel Casablanca.

Reid Delahunt

Stephen Saharic performed in Falstaff at Rutgers this past winter. Stephen has also appeared in several musicals such as Les Misérables, Into the Woods, and most recently The Phantom of the Opera.

Reid Delahunt most recently performed in productions of Johann Strauss’ Die Fledermaus (Frank, Dr. Falk) and Mark Adamo’s Little Women (Gideon March) this past spring. Reid is an alumnus of OperaWorks’ 2012 Emerging Artist summer session. Jesse Malgieri Jesse Malgieri will return to Sarasota Opera, for which he was a young artist this past winter, to appear as Clem in Benjamin Britten’s opera The Little Sweep. Malgieri previously performed with Sarasota Opera as Luke in Carlyle Floyd’s Of Mice and Men. This past year, he debuted with Amore Opera in NYC as Dr. Malatesta in Don Pasquale and Valentin in Faust.

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Juan Zapata Juan Zapata’s roles have included Amantio di Nicolao (Gianni Schicchi), Hippolytus (La délivrance de Thésée), Dionysus (L’abandon d’Ariane) and the cover of Huy/the Doctor in the Chicago premiere of Amelia by Daren Hagen. A graduate of Louisiana State University, Juan has also performed Perückenmacher (Ariadne auf Naxos), the Customs Sergeant (La Bohème), Robin (Ruddigore) and La rainette (L’enfant et les sortilèges).

Andrew Manea Andrew Manea’s complete roles include the Lackey in Strauss’s Ariadne auf Naxos, Ariodate in Handel’s Xerxes, the Usher in Gilbert and Sullivan’s Trial by Jury, Pandolfe in Massenet’s Cendrillon, and the Marquis in Poulenc’s The Dialogues of the Carmelites. Last summer he was a member of the CATS program at the Castleton Festival. Elliot Matheny

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Elliot Matheny recently performed as a soloist in Five Mystical Songs by Vaughan Williams. Other credits include N.A.T.S. and Musicfest NW awards, and appearances in Spokane Opera’s Hot August Night and Gonzaga’s Amahl and the Night Visitors as King Balthazar. Nathan Milholin Nathan Milholin has spent two

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CASTLETON FESTIVAL ORCHESTRA VIOLIN Pacalin Pavaci, concertmaster Louisa Blood Sara Chazin Tudor Dornescu Raluca Dumitrache Jaime Gorgojo Marina Han Otis Harriel Hyewon Kim Katie Klocke Aleksandra Labinska Alix Lagasse Eva Liebhaber Shuran Liu Cristina Madruga Merce Mora Fedor Ouspensky Elan Sapir Snow Shen Eric Silberger Joachim Stepniewski Jung Tsai Jennifer Yarbrough Tom Yaron VIOLA Tia Allen Christine Beamer Michael Drobycki William McLellan Alfonso Noriega Elliott Perks Samuel Sauter CELLO Rachel Hsieh Domitille Jordan Sarah Joyce Daniel Lelchuk Robert Mayes Saul Richmond-Rakerd Betty Wu BASS Dominic Azkoul Alexander Bickard Harrison Joyce James Kenny Michael Van Ryn

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FLUTE Scott Kemsley Andrea Amat Martinez Emily Olsen Anna Urrey OBOE Lindsay Flowers Molly Jo Scott John Winstead Abby Yeakle CLARINET Melissa Bowles Vinnie Camuglia Robyn Cho Tyler Zey BASSOON Pearson Altizer Catherine Chen Kevin Judge David Nagy FRENCH HORN Jon Croy Natalie Douglass Zach Glavan Joe Hughes David Thompson

Asistant Conductors: Otello Assistant Stage David Hanlon, Bradley Moore Managers: Jaime Hahn, Danielle Ranno Chorus Master: Miloš Repický

PRODUCTION Directors: Otello: Lynne Hockney Fanciulla: Giandomenico Vaccari La Voix Humane: Maria Tucci

La Voix Humane Stage Manager/ Assistant to PSM: Amy Soll Lighting Director: Tristan Roberson Master Electrician: Jennifer Bertha Electricians: David Winnyk, James Davis, Kelsey Mayer, Lindsey Norman, Jamie Hargreaves

Assistant Directors: Otello: Sarah Fraser Fanciulla: Davide Gilioli Costume Shop Supervisor: La Voix Humaine: Tara Maazel Jorge Alberto Pires Otello Fight Choreographer: Casey Kaleba

Costume Staff: Aaron Chvatal, Emmie Phelps, Alexandra Nattrass

Set/Costume Designers: Fanciulla: Davide Gilioli La Voix Humane: François Pierre Couture Otello: John Gunter Associate Costume Designer (Fanciulla)/ Costume Coordinator (Otello): Asa Benally

Makeup Staff: Heidi Mallett, Kathleen Keller Props Master: Teddy Moore

KEYBOARD Jason Carlson Reese Revak

Props Staff: Amanda Spangler Crew Chief: Paul Romeo Assistant Crew Chief: Brian Soloweyko, Albert Carlson Lighting Designer: Tláloc López-Watermann Crew: Wigs and Makeup Master: Will Diefenderfer, John DiCarlo, Vinnie Demafeliz, Anne Nesmith Sarah Davidson, Craig Harlow, Technical Director: Margaret Knecht, David Latham Joshua Legate, Brian Marshall, James Paul Pratt Production Assistant: Audio: Jaime McWilliams Michael J. Mauntel Production Stage Manager: ADMINISTRATION Sherrie Dee Brewer Maestro Lorin Maazel Fanciulla Stage Managers: Artistic Director/Conductor Stephanie Boyd, Karen Dietlinde Turban Maazel Oberthal Director of Administration & Associate Artistic Director Fanciulla Assistant Stage Nancy Gustafson Managers: Joan Ilanza, Carrington Konow General Manager Jack Porter CFO Otello Stage Manager: John Harris Kathleen Stakenas Director of Operations

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TRUMPET Samantha Glazier Alexandria Smith Toby Street TROMBONE Thomas Barton Callan Milani Stephen Omelsky Jan-Philipp Walter Matthew White TUBA Kevin Bock PRECUSSION Peter Dodds Derek Dreier Isaac Fernández-Hernández Theo Kalaitzis Brian Maloney HARP Ashley Jackson Dana Schneider

Howard Bender Director of Institutional Advancement & External Relations Laura Overstreet Marketing & Outreach Manager Bradley Vernatter Company Manager Casey Smith Production Manager Justin Kulovsek Director of Digital & Online Content Maggie Ness Producer, Online & Digital Content Bayard Johnson Office Manager/ Box Office Manager Ben Lovell Development and Patron Management Associate Emily Becker CATS Coordinator /Assistant to the General Manager Jenny Lawhorn PR Paul Payne Farm Manager Shirlee Ground Staff / House keeping ADMINISTRATIVE INTERNS: Erin Carney Education/ Outreach Sarah Cohn PR/ Marketing Katherine Curatolo Orchestra Charlotte Gulliver Box Office/ Programming Jessica Johnson Company Management Justin Pressman Orchestra Suri Xia Company Management Kyle Masson Education/ Outreach/ Fanciulla chorus

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