Madama Butterfly - Portland Opera

OCTOBER 25–NOVEMBER 2, 2019 / KELLER AUDITORIUM

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CONTENTS

A SCENE FROM PORTLAND OPERA’S 2012 PRODUCTION OF PUCCINI’S MADAMA BUTTERFLY. PHOTO BY CORY WEAVER

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Message from the Interim General Director Sue Dixon Message from the Board President Curtis T. Thompson, MD Madama Butterfly

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Cast & Crew / Synopsis

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A Note from the Stage Director E. Loren Meeker

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The Origins of Puccini's Madama Butterfly

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A Complex Legacy: Artistic Appreciation and Social Responsibility

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Production Staff

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Orchestra

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Chorus

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A Timeline

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Staff & Board

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Biographies

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In the Community

MESSAGE FROM THE INTERIM GENERAL DIRECTOR

PHOTO BY GIA GOODRICH

SUE DIXON

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Welcome to the start of Portland Opera's 55th anniversary season!

I’m thrilled to celebrate and experience our fall classic, Giacomo Puccini’s iconic Madama Butterfly, with you.

I think that the act of experiencing a magnificent work of art like this one is more meaningful when we share it live, and together as a community. Your presence makes it possible for this unforgettable story and exquisite music to truly come to life. I am especially honored to be here with you as we welcome Japanese soprano Hiromi Omura to Portland for her U.S. debut. She joins an incredible cast and our celebrated chorus and orchestra, under the baton of our beloved George Manahan, all powered by the direction of E. Loren Meeker and an amazing crew and company—you get the idea—we are so excited to share this masterpiece with you!

Our organization recognizes that Madama Butterfly is one of the world’s most beloved operas, and that it also has a complicated legacy. I hope that you will dig deeper into the community and cultural context of this piece, and explore the articles and lobby displays that our POR TL ANDOPER A .ORG

team has created—based on community discussions and dramaturgical research.

I’d also like to mark this occasion by taking a moment to welcome Daniel Biaggi to Portland Opera, as our Interim Artistic Director. He has a proven commitment to the beauty and breadth of this art form, and I believe that the future of Portland Opera will shine brighter as a result of his collaborations with us. I hope that you’ll stop and say hello to both of us in the lobby at each performance.

Here we go! This marks the start of our 19/20 season: a celebration of the art of opera from four different centuries. Thank you for being here today, and for helping Portland Opera thrive. I hope you are inspired and moved by Puccini’s music!

Cheers,

SUE DIXON Interim General Director, Portland Opera

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MESSAGE FROM THE BOARD PRESIDENT

CURTIS T. THOMPSON, MD Dear Friends,

PHOTO BY LOMA SMITH

Welcome to Portland Opera’s 55th season with our opening production of Giacomo Puccini’s Madama Butterfly!

This season spans nearly 300 years of the opera repertoire and features the compelling variety for which we have become known. We are excited to welcome an international cast of singers making their Portland Opera debuts as well as some familiar faces back to Portland for this production of Madama Butterfly. Acclaimed soprano Hiromi Omura makes her U.S. debut as Cio-Cio-San, having performed the role around the globe. Tenor Luis Chapa also makes his Portland debut as the brash naval officer Pinkerton, a role he sang at the Metropolitan Opera in the 2017-18 season.

We are also thrilled to present the American premiere of Vivaldi’s 1735 opera Bajazet, featuring the Portland Opera debuts of rising stars Kathleen Kim, Aryeh Nussbaum Cohen (2017 Metropolitan Opera National Council Auditions Grand Finals winner), and Avery Amereau. This spring, we look forward to one of the finest examples of opera verismo in Leoncavallo’s Pagliacci. And of course, you’ll find something for every opera lover, both old and new, in our Big Night concert of opera favorites.

This season also highlights American composers from the 20th and 21st centuries, with An American Quartet of four short operas by Samuel Barber, Gian Carlo Menotti, Douglas Moore, and Lee Hoiby, and our production of Jake Heggie’s Three Decembers.

As we look toward the future, we are committed to listening to you, our patrons, stakeholders, and community members. We heard you, and we have made the decision to return to a September–May performance season, starting in Fall 2020. We look forward to announcing the season soon.

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Warmest regards,

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CURTIS T. THOMPSON, MD Board President, Portland Opera

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PHO TO BY CARO LINE LABE RGE , OPÉ RA DE MONTRÉA L

HIROMI OMURA AS C IO-C IO-SAN.

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OCTOBER 25, 27m, 31, NOVEMBER 2, 2019 | KELLER AUDITORIUM

Libretto by Luigi Illica and Giuseppe Giacosa Performed in Italian with projected English translations

Premiere: Teatro alla Scala, Milan, February 17, 1904 | Portland Opera Premiere: March 1967

Conductor GEORGE MANAHAN

Stage Director E. LOREN MEEKER

Set and Costume Designer LLOYD EVANS

Lighting Designer MARK MCCULLOUGH

Japanese Movement and Cultural Advisors MOMO SUZUKI * KEVIN SUZUKI *

Chorus Master and Assistant Conductor NICHOLAS FOX

Principal Accompanist SEQUOIA *

Production Stage Manager JON WANGSGARD *Portland Opera Debut

Scenery and costumes are property of Portland Opera, originally constructed for New York City Opera.

Projected English captions written and produced by Cori Ellison.

PERFORMED IN TWO ACTS WITH ONE INTERMISSION. TOTAL RUNNING TIME IS APPROXIMATELY 2 HOURS AND 40 MINUTES.

Recording equipment, cameras, and personal phones are prohibited.

Portland Opera appreciates the continuing support of the Meyer Memorial Trust, the James F. and Marion L. Miller Foundation, Oregon Arts Commission, Regional Arts and Culture Council, and the National Endowment for the Arts. Portland Opera is a member of OPERA America.

THIS PRODUCTION MADE POSSIBLE BY GENEROUS GIFTS FROM:

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Late seating is not available for Portland Opera productions, and re-entry during the performance is not permitted.

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MADAMA BUTTERFLY THE CAST

in order of vocal appearance

B. F. Pinkerton, U.S. Navy Lieutenant

LUIS CHAPA *

Goro, a marriage broker KARL MARX REYES * Suzuki, Cio-Cio-San’s servant NINA YOSHIDA NELSEN * Sharpless, U.S. Consul at Nagasaki TROY COOK * Cio-Cio-San, Madama Butterfly HIROMI OMURA * Cio-Cio-San’s Cousin CRISTINA MARINO Cio-Cio-San’s Mother AIMEE CHALFANT Yakuside, Cio-Cio-San’s Uncle JIM JEPPESEN Cio-Cio-San’s Aunt KATE STROHECKER Imperial Commissioner/ Prince Yamadori ANDRÉ CHIANG^ Official Registrar BRYAN ROSS The Bonze, Cio-Cio-San’s Uncle PEIXIN CHEN * Sorrow, Cio-Cio-San’s Child VIVIENNE ESMÈ MUIR SURI PARK Kate Pinkerton CAMILLE SHERMAN +

+ Member of the Portland Opera Resident Artist Program ^ Alumnus of the Portland Opera Resident Artist Program Biographies of artists begin on page 34.

Pinkerton inspects the house he has leased from a marriage broker, Goro, who has procured him servants and a wife, Cio-Cio-San, known as Butterfly.

The American consul, Sharpless, arrives, and Pinkerton describes the carefree philosophy of a sailor roaming the world in search of pleasure. At the moment, he is enchanted with Cio-Cio-San, but the 999-year contract Goro has arranged contains a monthly renewal option. When Sharpless warns that the girl may not take her vows so lightly, Pinkerton brushes aside such scruples, saying he will one day marry a “real” American wife.

Cio-Cio-San is heard in the distance joyously singing of her wedding.

Entering surrounded by friends, she tells Pinkerton about her background; she belongs to an honorable family, but when they fell on hard times, she had to earn her living as a geisha*. Her relatives bustle in, noisily expressing their opinions on the marriage. In a quiet moment, Cio-Cio-San shows her bridegroom her few earthly treasures, among them the dagger with which her father committed hara-kiri, and tells Pinkerton she intends to embrace his Christian faith. The Imperial Commissioner performs the wedding ceremony.

The celebration is interrupted by Cio-Cio-San’s uncle, a Buddhist monk, who curses the girl for renouncing her ancestors’ religion. Pinkerton angrily sends the guests away. Alone with Cio-Cio-San in the moonlit garden, he dries her tears, and they consummate their marriage.

—INTERMISSION—

ACT II. Three years later, Cio-Cio-

San awaits her husband’s return.

As her servant, Suzuki, prays to her gods for aid, her mistress stands in the doorway, her eyes fixed on the harbor. When Suzuki shows her how little money is left, Cio-Cio-San urges her to have faith: one fine day, Pinkerton’s ship will appear on the horizon. Sharpless brings a letter from the lieutenant, but before he can read it, Goro presents a wealthy suitor, Prince Yamadori. The girl dismisses both the marriage broker and the prince, insisting that her

American husband has not deserted her. Sharpless tries tactfully to suggest that she might be better off with Yamadori, but Cio-Cio-San proudly carries forth her child, saying that as soon as Pinkerton knows of his child’s existence he surely will come back; if he does not, she would rather die than return to her former life. Moved by her devotion and faith, Sharpless leaves. Cio-Cio-San, on the point of despair, hears a cannon report; seizing a spyglass, she discovers Pinkerton’s ship entering the harbor.

Delirious with joy, she orders Suzuki to help her strew the house with flowers.

As night falls, Cio-Cio-San, Suzuki, and the child begin their vigil.

ACT II, Part II. As dawn breaks,

Suzuki insists that Cio-Cio-San rest.

She carries her child to another room, humming a lullaby. Before long, Sharpless enters with Pinkerton, followed by Kate, his new wife. When Suzuki learns who the American woman is, she is heartbroken, but she agrees for the sake of the child to aid in breaking the news to her mistress.

Pinkerton, overcome with remorse, begs Sharpless to speak to Cio-Cio-San for him, then bids an anguished farewell to the scene of his former happiness and rushes away. When Cio-Cio-San comes forth expecting to find her beloved, she finds Kate instead. Guessing the truth, Cio-Cio-San agrees to give up her child if Pinkerton will return. Then, sending even Suzuki away, she takes out her father’s dagger and bows before a statue of Buddha, preparing to die with honor rather than live in disgrace. Just as she raises the blade, Suzuki pushes the child into the room. Sobbing a last farewell, Cio-Cio-San sends the child into the garden to play, then stabs herself.

As she dies, Pinkerton is heard calling her name.

* Puccini and the librettists writing Madama Butterfly in the early 20th century mischaracterized the role of geisha in Japan.

In reality, geisha are highly specialized entertainers that train rigorously for years to become the artists they are. See page 27 to learn more.

REPRINTED COURTESY OF OPERA NEWS.

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* Portland Opera Debut

ACT I. U.S. Navy lieutenant B. F.

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WITH THE PORTLAND OPERA ORCHESTRA AND CHORUS

SYNOPSIS

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A NOTE FROM THE STAGE DIRECTOR

E. LOREN MEEKER

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n 2015, an article from Stars and Stripes came to my attention. The opening sentence of the article states, “Prosecutors in South Korea have reopened the case of a U.S. soldier who allegedly tricked a local woman into a bigamous marriage and left her $50,000 in debt when he returned to his wife in America, according to South Korean news reports.”

Upon reading this I instantly thought about Puccini’s masterpiece, Madama Butterfly, and realized that this over one-hundred-year-old opera is still, sadly, relevant. In 2015, a man was being accused of actions that were eerily similar to the actions of Pinkerton and Butterfly in the early 1900s. Since then, my brain has been ruminating on Butterfly. For all of its flaws, and there are many, can a modern audience learn lessons from the atrocious arrogance of Pinkerton and the fatal innocence of Butterfly? Equally as important, can a traditional production of this opera be respectful of Japanese culture?

Europe in the early 1900s was fascinated by “the orient” which resulted in enormous misunderstandings of Japanese culture that any production of this opera has to tackle. I also think Puccini created an appropriate cultural villain in Pinkerton, and a successful production

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should point to his very core (and perhaps the core of American culture at the time) as crude and culturally insensitive. Madama Butterfly, like all great works of art, exposes the human condition.

Puccini’s story sets up a clash of worldviews and begs the audience to analyze our past in order to create a better future.

I am thrilled to take on this challenge with a company and team of artists dedicated to creating a sensitive, and dramatically and musically full evening of opera. Japanese Movement and Cultural Advisors Momo and Kevin Suzuki, along with costume director Christine A. Richardson, have worked with me to overhaul the costumes to more accurately reflect the clothing traditions in the 1900s for both the American and Japanese characters. I’m also working with Momo and the cast to create a world where the carefree Pinkerton can mock the traditions of Butterfly, Suzuki, and their community while basing the movements of the Japanese characters in historical tradition—traditions that Pinkerton simply doesn’t have the capacity to understand (or maybe the heart to truly care about).

Our goal is to create a world that respects Japanese culture even as Butterfly tries to drive herself as far away from her roots as possible. She’s a fifteen-year-old girl, desperate to make something of herself which allows her to fall victim to a man and circumstances that she ultimately isn’t equipped to deal with or strong enough to break out of on her own. Our hearts should break with her and our anger should be pointed at Pinkerton.

Producing Madama Butterfly in 2019 provides an opportunity to contemplate how sensitively, or not, Americans have treated Japanese people since the early 1900s. As citizens of the United States, our past is not to be ignored, nor accepted. Instead we should critically self-reflect and let those reflections guide our future.

E . L OR E N M E E K E R IS THE STA GE DIR E C TOR FOR THIS P R ODU C TION OF M A DA M A B U TTE R FLY.

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The Origins of Puccini’s Madama Butterfly B Y A L E X I S H A M I LT O N

“On the hill opposite ours lived a little tea-house girl; her name was Chô-san, Miss Butterfly. She was so sweet and delicate that everyone was in love with her. In time we learned that she had a lover… quite nice, but very temperamental, of a moody, lonely disposition. One evening there was quite a sensation when it was learned that poor little Chô-san and her baby had been deserted. The man had promised to return at a certain time; had even arranged a signal so that Chô-san would know when his ship had come in; but the little girl-wife awaited that signal in vain. Many an hour and many a long night did she peer from her shoji over the lovely harbor, but to no purpose: He never returned.”

—JENNIE CORRELL, AS RELATED IN 1931

F

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or 250 years, the Japanese government forbid shipwrecked Americans, and permission for Americans to contact with foreigners. Shipwrecked sailors from purchase supplies from Japan. other nations who survived the sea and wound The opening of Japan was the first trickle in a flood up on Japanese soil were imprisoned or executed. Japanese of Western fascination for all things Japanese. The West ports were shut tightly to ships seeking to purchase coal nurtured an interest in anything from Japan. Art, craft, music, or otherwise re-supply. As a result, Japan was considered and theater all began to reflect this obsession, spurred on by mysterious and dangerous. But in the 19th century, the the Centennial World’s Fair, to which the Japanese brought United States Navy began to eye Japanese coal as a strategic goods specifically designed for Western audiences. For opportunity. The U.S. had begun stocking their fleet with nearly 50 years, the West continued its preoccupation with steamships—steamships that required fuel. In the Pacific, the mysterious “Orient,” and Puccini was influenced by the Japan was the perfect location for U.S. ships to restock their Japonisme of the 19th century. coal supplies. Additionally, there was the intriguing possibility The opera Madama Butterfly (1904), was based upon a that, if approached with care, Japan might develop into a play of the same title by David Belasco, which, in turn is based profitable new trading partner. upon a short story by John Luther Long. Long contended On July 8, 1853, Commodore Matthew Perry steamed into that his story was based upon actual events as related to him Tokyo Bay on the U.S.S. Powhatan, flanked by three more

by Jennie Correll, his sister who spent years as a missionary ships. He carried a letter of greeting from the President of in Nagasaki. While clearly inspired by his sister’s anecdote, the United States. The Japanese had never seen steamboats, it is understood that Long almost certainly borrowed some nor were they familiar with the vast array of guns these elements from French naval officer and writer Pierre Loti’s “smoking dragons” carried. semi-autobiographical novel, Intimidated by the veiled Madame Chrysanthème, to threat at anchor in their flesh out his version. harbor and realizing that The theme of an East the kingdom could not risk meets West romance gone war with this new power, terribly wrong had flourished the Japanese government in the Western imagination entered into negotiations since the 1885 publication of with Commodore Perry.

Madame Chrysanthème. Loti’s On March 31, 1854 a treaty description of temporary between the United States Japanese marriages (engaged and the kingdom of Japan in by male foreigners in Japan) guaranteed “peace and provides insight into the tragic friendship” between the misunderstanding at the heart two nations, access to of Long’s literary adaptation the ports of Shimoda of his sister’s narrative.

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intense and violent letters Long received from U.S. Navy officers protesting the book (“savage,” as he described them), even if his plot was not factual, the situation described by the story struck a chord.

Chô-san, as so many women of her time and station, has been lost to history. We know no more of her as an actual woman than Correll’s description of her as “sweet and delicate.” Her story has been narrated by Long, Belasco, and Puccini. Pinkerton’s American wife is certainly fictional, as is Pinkerton’s return to collect his son. Correll states that no one returned for Chô-san or her child, and the most likely fate for them is described by Clara Whitney, a young woman living in Japan in 1875:

GIACOMO

Young men here are wicked and depraved and insult the gentle Japanese as often as they can. Merchants—married men—keep native women in their houses as wives without marriage. Sailors are even worse still, and it is pitiful to see the poor little half-caste children running around uncared for, as the Japanese regard them as unclean and their fathers don’t care.

Given this reported state of affairs, the conclusion of Belasco’s play is imaginable. In this version, Chô-san preferred to commit suicide and give up her child rather than face her future.

We know that in 1900, Puccini attended a performance of Belasco’s play in London.

Despite his limited English, Puccini was entranced by the tragic tale of Chô-san and applied to Belasco for the adaptation rights.

During his wait for permission to proceed, Puccini sent a copy of Long’s short story to his customary librettists, Luigi Illica and Giuseppe Giacosa, so that they could begin work at once. Their original structure included a “prelude” of Butterfly’s wedding not in the play and then an additional three acts. The first and third acts were to be set in Butterfly’s “little house on the hill” and the second at the American Consulate in Nagasaki. Illica also favored the ending in Long’s story in which Butterfly survives her suicide attempt and raises her own child. Puccini objected to his librettist’s suggestions. The composer disliked Long's more hopeful ending, favoring the stark tragedy of the play. He also insisted that they remove the consulate act, preferring a ninetyminute second act.

Puccini completed the opera in December 1903, and it premiered in 1904.

It was a complete catastrophe.

Catcalls, boos, and hisses greeted Puccini’s work, flaying the delicate story and making ridiculous the cataclysmic undoing of Cio-Cio-San. How could this have happened? Puccini had had tremendous success with Manon Lescaut, La Bohème and Tosca. The public adored him; the cast was brilliant. What could have prompted such a stupendous shellacking?

Multiple factors likely contributed: excessive length, excessive anti-Western feeling, and excessive audience desire to PUCCINI “put Puccini in his place.” All are plausible and would have been enough to precipitate Butterfly’s failure, though not, perhaps, the intense negativity on opening night. Such vitriol might be explained, however, by the most delightfully tabloid theory: sabotage. Though many biographers decline to name the saboteurs, the logical suspect is Edoardo Sonzogno, whose publishing house was archrival to Casa Ricordi, Puccini’s publisher. Sonzogno’s entire stable (Leoncavallo, Cilea, Mascagni, and Giordano) had done tremendous work, and none had matched Ricordi’s powerhouse, Puccini. In Sonzogno’s eyes, a fourth triumph for Puccini (and consequently, Casa Ricordi) was unacceptable, and hiring rowdy claques could have been a simple solution.

Combined with an already challenging opera, it is little wonder that Madama Butterfly failed on its first night.

This failure was deeply traumatic for Puccini. The experience forced him to withdraw the score and modify what he considered his masterwork.

His adaptability allowed subsequent success for Butterfly in Brescia, Italy, later that year.

Many articles and sources, no doubt for brevity’s sake, lead the reader to believe that this revision was the final version—the spectacular success that catapulted Butterfly into the canon of contemporary operatic performance. Nothing could be further from the truth.

Puccini notoriously tinkered with his own works after their initial opening, and he was a savvy man of the theater.

Whenever he had the opportunity to be at rehearsals of new productions of his operas, he was there, and he often

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Art has a unique opportunity to give a voice to the voiceless.

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changed the score to suit both the producing organization and his own artistic ideas. With Butterfly, the multiple scores have been described by some musicologists as distinct versions of the opera. It may be more accurate to describe these multiple scores as the slow evolution of a Puccini masterpiece.

Perhaps most remarkable is that the majority of the changes were cuts, some of which substantially changed the characters and their motivations.

Of all the character arcs affected by the cuts, Pinkerton’s was the most profound. The callousness and racism of the original character is efficiently excised by Puccini, leaving him looking weak, rather than boorish. Some of this may be due to the objections of the U.S. Navy, and some to Puccini’s desire to create a more romantic love story.

Many operas, including Madama Butterfly can leave contemporary audiences uncomfortable with the content of the story and the perceived insensitivity and carelessness of the creators. There is a lot in Madama Butterfly—especially in common performance practices—that is potentially offensive. From harmful stereotypes about Asian women, to racially inappropriate casting, to cultural appropriation—audiences have every right to question why we continue to produce Madama Butterfly. And Butterfly remains a powerful story with tremendous relevance for us today. For a more in-depth discussion of this, please see page 27.

Art has a unique opportunity to give a voice to the voiceless. At its heart, Madama Butterfly is about a disenfranchised and country-less young woman. She is separated from her child by a foreigner. She is out of options. Her dreams of the promise of America end up breaking her heart.

If we believe in the power of opera to give voice through allegory, then perhaps we can honor Chô-san’s life and the lives of countless other women battered by callousness, cultural indifference, and abuse. 

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HA NK

WI LL IS TH OM AS

OCT. 12 2019 — JAN. 12 2020

portlandartmuseum.org Hank Willis Thomas (American, born 1976), Amandla, 2014. Silicone, fiberglass, metal finish, Courtesy of the artist and Jack Shainman Gallery, New York. © Hank Willis Thomas.

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A COMPLEX LEGACY Artistic Appreciation and Social Responsibility B Y A L E X I S H A M I LT O N

“…Opera cuts to the chase—as death does. So now, contented indifference … coexisted with a craving for an art in which violent, overwhelming, hysterical and destructive emotion was the norm; an art which seeks, more obviously than any other form, to break your heart.”

—JULIAN BARNES, LEVELS OF LIFE

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violence, rape, misogyny, jealousy, hatred, rage, infanticide, matricide, patricide, adultery, blackmail, psychological abuse, domestic abuse—the breathless, sordid list goes on and on—and we haven’t even begun to touch on the bigger questions of representation, appropriation, and interpretation that we face as opera practitioners. The fact is that many operas that audiences adore today are seventy to hundreds of years old, and have a complex legacy; the content of these works can be harmful.

To summarize the story of Madama Butterfly in its baldest terms: an orphaned, penniless, fifteen-year-old Japanese girl is sold into what she thinks is a marriage to a wealthy (in her mind), older American man who impregnates and abandons her for three years before returning with his new, white, American wife and taking her child. Having been abandoned by her erstwhile husband and rejected by her community, the girl commits suicide. Not very pretty, is it?

On one hand, Puccini is clearly sympathetic to Cio-Cio-San’s plight. She is our heroine, and Pinkerton comes off as clueless and callous at best, and cruel and abusive at worst. In the score and libretto that are typically performed today (which was reworked extensively by the composer after its initial failure), Puccini tacitly acknowledges that the U.S. naval officers, including Pinkerton, are racist and don’t think of the Japanese people as equal to themselves. Pinkerton tells Sharpless that he looks forward to going home and finding a “real

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any of the world’s most beloved operas are problematic, and Madama Butterfly is one of the most difficult for audiences to grapple with responsibly—it is a beautiful work that demands context.

The power of Butterfly to move people and elicit empathy means that modern audiences must approach it with eyes wide open to see both its beauties and its horrors. One could argue that really looking, really hearing, and really thinking about the plot, the motivations of the characters, and the power dynamics inherent between them, makes the opera even more moving, affecting, and relevant.

Opera has an intrinsic emotional power. Opera’s raison d’être is to stab into the audience’s viscera, rummage around, and leave them panting for more. The passion of opera—the catharsis of it— is all communicated by something much more compelling than verse alone. The strength of the operatic experience lies in the music, and the voice. The overwhelming psychological undertow of melody, harmony, and rhythm drown reason under a tempest of emotions too forceful to resist. Therein lies opera’s greatest strength—and its greatest weakness.

The sweeping emotion of opera can erase our ability to think critically about the plot and the origins of the piece.

We can be awash in beauty and reluctant to look at what a given opera is actually about. Sometimes we can become defensive when someone less sonically seduced than we are asks uncomfortable questions about what it all means, and how we can responsibly respond to tales of murder, suicide,

M A DA M A B U T T E R F LY 28

American wife” even as he by predominantly white prepares to wed Cio-Cio-San. performers attempting to The original libretto was more signal their Japanese-ness. The explicit—in fact, one of the inherent issues in the opera reasons that Puccini rewrote were augmented by the practice parts of the opera is that the of yellowface, especially in U.S. Navy objected to his casting Madama Butterfly. portrayal of its officers.

In a piece for The Guardian, On the other hand, Carmen Fishwick summarizes Puccini is a Westerner that the practice “…plays looking at the East through into years of unequal power a Western lens. He never dynamics in spaces such as questions the validity of acting, where the dominant his Western view of Asian ethnicity has historically culture. He and his librettists, enforced rules that keep Luigi Illica and Giuseppe minority ethnicities excluded, Giacosa, perpetuate harmful and anything that maintains stereotypes about Japanese this inequality is wrong.” people, about women, and The voice has been at the about Japanese women center of opera casting for specifically. Although Puccini years—if you could sing a was composing in an era role beautifully, you could be before cultural appropriation cast—regardless of race or was widely recognized, it is ethnicity. While there may be important for us, as modern some merits to this concept PUCCINI CAPITALIZES ON THE ELUSIVE MYTH OF THE audiences, to acknowledge (it can be viewed as similar GEISHA IN HIS TRAGIC OPERA MADAMA BUTTERFLY, that these stereotypes would to the practice of colorBUT PROFOUNDLY MISUNDERSTOOD A GEISHA’S have been harmful in that blind casting), the inherent PROFESSION, ROLE, AND HISTORY IN JAPANESE SOCIETY. I M A G E : B E A U T Y , GIO N S E ITO KU (J APANE S E , 1 7 8 1 –CA. time period as well as today. valuation of the voice above all 1 8 2 9 ) ; B R O O KLY N MUS E UM, PUBLIC DO MAIN Madama Butterfly presents an else and the fact that the field exotic vision of Japan filled has been dominated by white with fragile, submissive Asian women. The submissive singers has also tacitly given permission to perpetuate the Asian woman is a pernicious cliché that has fueled use of blackface and yellowface on opera stages.

Western fantasies for generations and contributed to the As the artistic leaders of the American theatre and film fetishization of Asian women. industry grapple with questions of authenticity in casting, Despite Puccini and his librettists’ efforts at authenticity the opera world is not exempt. If color-blind casting is not (Puccini uses more than a few quotes from Japanese acceptable when roles are written to be performed by artists songs in his score, for instance), they were painting with with a specific race or ethnicity, then a solution may be found very broad strokes, and the performance practice of in color conscious casting—which includes casting decisions the last 100 years has helped to perpetuate the painful informed by the implications of discrimination. Add to this misrepresentations in the opera. In addition, Puccini’s lush, complex conversation the long history of valuing the voice deeply emotional score seems to romanticize and minimize above all else in operatic auditions, and you will see one of the true nature of the power imbalance in the relationship the challenges facing artistic leaders of opera today. between Cio-Cio-San and Pinkerton.

It is the opinion of some people that operas like Butterfly also completely mischaracterizes the role Madama Butterfly, with inherent issues and with a legacy of geisha in Japan. In the opera, Cio-Cio-San became a of offensive casting, should no longer be produced. For geisha because her father died, and she is ashamed of being others, it is vital that these types of pieces give us a chance reduced to this role. In the opera, it is hinted that geisha are to reckon with the implications of our history as an art simply prostitutes. In reality, geisha are highly specialized form, in order to move toward the opera of tomorrow. entertainers that train rigorously for years to become the And so, as the beauty of this music and the emotional artists they are. intensity of the characters sweeps over you—keep in For years, these issues have been swaddled in Puccini’s mind that there is no one way to encounter Madama exquisite music, and we have been distracted by a gorgeous, Butterfly. Together, we must measure the impact of how a orientalist vision of shoji screens and kimonos, all worn masterpiece can transform through the decades. 

POR TL ANDOPER A .ORG

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© Philip Newton

Not seen in Seattle since 2002, this poignant lyric opera by the beloved composer of The Nutcracker, Swan Lake, and 1812 Overture chronicles an out-of-sync romance between the idealistic Tatyana and the dashing but jaded title character.

Tchaikovsky’s exquisite and sophisticated masterpiece makes its McCaw Hall debut with “a striking new production” featuring “sumptuous costumes and elegant scenery [that] tastefully convey the opulence of rich gentry in nineteenthcentury Russia” (Opera News).

A TIMELINE

1898 John Luther Long publishes his short story “Madame Butterfly”

Performance practices are impacted by many factors—including pop culture, sociology, political and government acts, and much more. While it is not a comprehensive history, here we look at Madama Butterfly in relation to historical events, people, legislation, and stereotypes in mass media.

Compiled by Alexis Hamilton, based on research and writings from The Oregon Encyclopedia, from The Oregon Historical Society and Portland State University; the Oregon Nikkei Legacy Center, the United States of America’s Office of the Historian, and Resolution Northwest’s “Timeline of Oregon’s Racial and Education History.”

18 0 0 s July 8, 1853 

1873

1880

1882

1890s

U.S. Navy Commodore Matthew Perry seeks to reestablish contact and trade between Japan and the Western world and utilize Japanese ports. He arrives in Tokyo harbor with a squadron of two steamers and two sailing ships and demands a treaty on behalf of the U.S. government.

Baron Matsumura Junzō graduates from the U.S. Naval Academy in Annapolis. He is one of the first Asian graduates of the academy and will go on to a career in the Imperial Japanese Navy.

Miyo Iwakoshi and her family arrive in Oregon, the first documented Japanese immigrants to the state. Miyo Iwakoshi was married to Andrew McKinnon, a Scottish man whom she’d met when he was teaching animal husbandry in Japan. Together they establish a sawmill that McKinnon named Orient, in honor of his wife. Orient exists today as an unincorporated community near Gresham.

President Chester A. Arthur signs the Chinese Exclusion Act into law. It is repealed in 1943.

Relations between Japan and the United States are strained, as both countries advocate for immigration policies and their interests in East Asia and the Pacific.

There is an increase in Japanese immigration to the United States, especially Hawaii and the West Coast; where Asian immigrants are often met with hostility and racism.

1914

1915

Madama Butterfly is performed for the first time in Japan.

It is conducted by Takaori Shūichi, with his wife, Sumiko, in the title role.

Japanese soprano, Miura Tamaki makes her debut as Cio-Cio-San at the London Opera House. She becomes a celebrity in Japan and the first internationally acclaimed Japanese opera singer. She would meet Puccini in 1920.

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M A DA M A B U T T E R F LY

Miura Tamaki

POR TL ANDOPER A .ORG

1915

1922 The Toll of the Sea opens—a film which follows the plot line of Madame Butterfly reset in China. The film stars Anna May Wong, a Chinese American actress whose career was severely curtailed by the practice of yellowface and stereotypes.

Mary Pickford stars as Cio-Cio-San in the first movie version of Madame Butterfly.

1920s

1922

1924

Members of the Ku Klux Klan (a white supremacist hate group) are elected to office in Oregon. Their legislative agenda includes passing laws that had previously been rejected—including the Oregon Alien Land Law, and the Oregon Business Restriction Law. First-generation Japanese Americans (known as Issei) are prohibited from owning land, and the local jurisdictions are empowered to practice discriminatory business licensing.

The Cable Act of 1922 allows American women who marry foreign nationals eligible for naturalization to retain their U.S. citizenship.

That year, the Supreme Court of the United States rules in Ozawa v.

United States that first-generation Japanese people are ineligible for citizenship and cannot apply for naturalization.

President Calvin Coolidge signs the Immigration Act of 1924; imposing immigration limitations based on a national origins quota.

1900

19 0 0 s

1904

David Belasco opens his one-act play Madame Butterfly: A Japanese Tragedy in New York. Blanche Bates, a white actress, plays the title role of Butterfly. She was born in Portland, OR in 1873.

1912 Puccini’s Madama Butterfly premieres in Milan, Italy. Italian soprano Rosina Storchio creates the role. Later that year, after substantial revisions, the Ukranian soprano Solomiya Amvrosiivna Krushelnytska takes over the role.

The Chinese character Dr. Fu Manchu makes his first appearance in the novel, The Zayat Kiss, by Sax Rohmer.

Fu Manchu is depicted as a dangerous, genius villain out to destroy the West. The character is representative of the first iteration of the “Yellow Peril.”

1906–1907 Original 1904 Madama Butterfly poster by Adolfo Hohenstein.

Tensions between the U.S. and Japan continue to rise, and in 1906, the San Francisco Board of Education orders the segregation of Asian children into separate schools. In 1907 the two countries form a “Gentleman’s Agreement:” the U.S. will refrain from passing Japanese exclusion laws and will allow wives and fiancées to join their husbands, and parents to join their children in the U.S.; and Japan will limit the immigration of laborers.

1907 The U.S. passes the Expatriation Act of 1907 which strips citizenship from American women who marry foreigners.

1931

1937

The movie Daughter of the Dragon opens. This may be the origin of the term “Dragon Lady,” a harmful stereotype of East Asian women as strong, deceitful, domineering, or mysterious. Two of the three leading actors are Asian. Warner Oland (a non-Asian actor in yellowface) continued to play Charlie Chan in two dozen films.

Luise Rainer is cast as a Chinese peasant woman in the film The Good Earth. Rainer wins an Academy Award for her performance. Anna May Wong reports being offered the role of Lotus, the concubine, and refused the role, explaining: "you’re asking me—with Chinese blood—to do the only unsympathetic role in the picture, featuring an all-American cast portraying Chinese characters."

1942

Japan’s attack on Pearl Harbor, Hawaii, galvanizes the U.S. war effort to enter World War II. Over 1,000 Japanese American community leaders are incarcerated on the pretext of national security concerns.

President Franklin D. Roosevelt signs Executive Order 9066 authorizing the building of “relocation camps,” a euphemism for prison camps to be populated by Japanese Americans living along the Pacific Coast and forcibly removed from their homes and businesses.

More than 4,000 Japanese Americans from Oregon are removed and sent to prison camps. Two thirds of those incarcerated are American-born citizens.

POR TL ANDOPER A .ORG

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1941

The Japanese American Citizens League is founded “to benefit the progress of Japanese Americans and Asian Americans in combating prejudice and bigotry.”

M A DA M A B U T T E R F LY

1928

Map of World War II Japanese American Internment Camps (1942–1946) 

1944 Public Proclamation No. 21 of December 17, 1944 declares that Japanese Americans who had been removed from their homes by Executive Order 9066 may return, effective January 1945.

1944 Hood River receives national attention when the local American Legion post removes the names of 16 Japanese American members of the U.S. military from a plaque honoring local members of the armed forces. Over 33,000 Japanese Americans served in the U.S. Military during World War II, even when their families were imprisoned.

1946

1961

Miura Tamaki records Madama Butterfly for the last time. This recording is made in Japan during the Allied Occupation.

She dies shortly thereafter of cancer.

The movie Breakfast at Tiffany’s co-stars Mickey Rooney in yellowface as Mr. Yunioshi.

1945

1952

1958

The Oregon House of Representatives passes Joint Memorial No. 9, a failed attempt to prevent Japanese Americans from returning to the state. Japanese Americans returning from incarceration are met by hostility, harassment, vandalism, and violence.

The Immigration and Nationality Act allows individuals of all races to be eligible for naturalization.

The act also affirms a national origins quota system and introduces a system of preference based on skill sets and family reunification. Hundreds of Oregon Issei, those born in Japan, apply for citizenship.

Portland becomes a sister city to Sapporo, Japan.

The Portland-Sapporo Sister City Association’s mission is to foster and promote cross-cultural understanding between the U.S. and Japan.

The Association is instrumental in creating the Portland Japanese Garden, which opens in 1967.

1996

2005

Portland Opera stages Madama Butterfly with Susan Bullock as Cio-Cio San.

Portland Opera stages Madama Butterfly with Shu Ying Li as Cio-Cio-San.

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M A DA M A B U T T E R F LY

Photo by Steve Morgan

1993

1996

2001

An exhibition honoring the first Issei pioneers in Oregon is developed with funding from the Meyer Memorial Trust (also a Portland Opera funder) and support from the Japanese American National Museum in Los Angeles, the Oregon Historical Society and the Portland Nikkei community (Japanese immigrants and their descendents). From this effort, a committee is assembled to begin work on what will become the Oregon Nikkei Legacy Center, a history museum in Portland whose mission is to preserve and honor the history and culture of the Japanese American community.

The city of Portland changes the name of Front Avenue to Naito Parkway to honor Bill Naito, an influential Japanese American businessman, philanthropist, and civic leader.

A memorial honoring Japanese-American veterans and detainees opens in Washington D.C.

POR TL ANDOPER A .ORG

1967

1972

Portland Opera stages its first production of Madama Butterfly, after its founding in 1964. Soprano Elaine Malbin stars as Cio-Cio-San.

Portland Opera stages Madama Butterfly with Azuma Atsuko in the title role.

The 1950s, 60s, and 70s The decades long Civil Rights Movement in the United States includes an Asian American Civil Rights movement in the 60s and 70s. In addition to many Asian Americans participating in the national movement, activists in the specific Asian American Civil Rights movement advocate for pedagogical changes in the U.S. university system, an end to the Vietnam War, and reparations for those incarcerated during World War II.

2009 To celebrate Oregon’s 150th birthday, the Oregon Library Association selects the book, Stubborn Twig, for the Oregon Reads program to encourage statewide conversation through a shared reading experience. The book tells the true story of three generations of a Japanese American family in Hood River.

 1979 Portland Opera stages Madama Butterfly with Maria Pellegrini as Cio-Cio-San.

1984 The film comedy Sixteen Candles includes a character named Long Duk Dong (portrayed by Japanese American actor Gedde Watanabe) in a supporting role as an Asian foreign exchange student. The term “donger” enters popular youth lexicon as a racial slur.

1987 Portland Opera stages Madama Butterfly with Patricia Craig as Cio-Cio-San.

1976

1979

1988

1990

On February 19, President Gerald R. Ford formally rescinds Executive Order 9066 (which granted authority for incarceration camps) by issuing Proclamation 4417. In recognizing this grave national mistake, he resolves that ‘‘this kind of action shall never again be repeated.’’

Oregon, along with the Portland chapter of the Japanese American Citizens League, holds its first Day of Remembrance on February 17, in commemoration of community members who were incarcerated by the U.S. government.

President Ronald Reagan signs the Civil Liberties Act, an act that granted reparations to the Japanese Americans who were incarcerated by the U.S. government during World War II.

The Japanese American Historical Plaza is completed at the north end of the Tom McCall Waterfront Park in Portland to help share the story of Japanese people in Oregon.

2012

2018

The movie Cloud Atlas opens featuring Jim Sturgess and Keith David in yellowface.

Crazy Rich Asians (the first mainstream Hollywood movie with an all Asian and Asian American cast since 1993’s Joy Luck Club) becomes the highest-grossing romantic comedy of the past decade.

2012 Portland Opera stages Madama Butterfly with Kelly Kaduce as Cio-Cio-San.

2016 Tilda Swinton is cast as the Ancient One, originally a Tibetan Monk, in the Marvel movie Doctor Strange.

2019 Portland Opera stages Madama Butterfly featuring the U.S. debut of Japanese soprano Hiromi Omura as Cio-Cio San. 

M A DA M A B U T T E R F LY 33

POR TL ANDOPER A .ORG

BIOGRAPHIES LUIS CHAPA

ANDRÉ CHIANG

GEORGE MANAHAN

Pronouns: He/Him/His

Pronouns: He/Him/His

Pronouns: He/Him/His

Hometown: Monclova, Mexico

Hometown: Mobile, AL

Hometown: Atlanta, GA

Role: Pinkerton

Role: Prince Yamadori/ Imperial Commissioner

Role: Conductor

Tenor

Portland Opera Debut Recently: Pinkerton, Madama Butterfly, Metropolitan Opera; Radamès, Aida, Opera North; Don José, Carmen, The National Theatre, Czech Republic; Title role, Stiffelio, Palacio de Bellas Artes, Mexico; Title Role, Andrea Chénier, Deutsche Oper am Rhein, Germany

Recently: Schaunard, La Bohème, Mississippi Opera; Conte Gil, Il segreto di Susanna, Mobile Opera; Sam, Trouble in Tahiti, Painted Sky Opera

Portland Opera Debut: Conductor, Macbeth (2006) Recently: Merola Grand Finale Concert, San Francisco Opera; Tales of Hoffmann, La Traviata, Aspen Music Festival; Champion, Opéra de Montréal and New Orleans Opera; Fellow Travelers, Prototype Festival/ American Composers Orchestra; The Barber of Seville; La Finta Giardiniera, Faust, Portland Opera

Upcoming: Canio, Pagliacci, Israeli Opera, Israel

PEIXIN CHEN

TROY COOK Baritone

MARK MCCULLOUGH

Pronouns: He/Him/His

Pronouns: He/Him/His

Pronouns: He/Him/His

Hometown: Hulunbeier, Inner Mongolia, China

Hometown: Eminence, KY

Hometown: Charlottesville, VA

Role: Sharpless

Role: Lighting Designer

Portland Opera Debut

Portland Opera Debut: Lighting Designer, Salome (2013)

Role: Bonze Portland Opera Debut

M A DA M A B U T T E R F LY

Portland Opera Debut: Prince Yamadori/Registrar, Madama Butterfly (2012)

Portland Opera Music Director

Upcoming: Dandini, La Cenerentola, Dayton Opera; Rambaldo, La Rondine, Mobile Opera; Mercutio, Roméo et Juliette, Mississippi Opera

Bass

34

Baritone

Recently: Alaska Joe, Aufstieg und Fall der Stadt Mahagonny, Festival d'Aix-en-Provence, France; Colline, La Bohème, Opera Philadelphia; Masetto, Don Giovanni, Metropolitan Opera Upcoming: Bass Soloist, Mozart’s Requiem, Milwaukee Symphony Orchestra; Colline, La Bohème, Opera Naples; Ramfis, Aida, Houston Grand Opera POR TL ANDOPER A .ORG

Recently: Rodrigo, Don Carlo, Washington National Opera; John Cree, Elizabeth Cree, Opera Philadelphia; Father Palmer, Silent Night, Minnesota Opera, Austin Opera Upcoming: Watty Watkins, Lady Be Good, Teatro di San Carlo, Italy; Enrico, Lucia di Lammermoor, Lyric Opera of Kansas City; Athanaël, Thaïs, Utah Opera

Upcoming: Albert Herring, La Clemenza di Tito, Curtis Institute of Music

Recently: Lighting Designer, La Traviata, Show Boat, Glimmerglass Festival; Lighting Designer, Macbeth, Wiener Staatsoper, Austria Upcoming: Lighting Designer, Luisa Miller, Lyric Opera of Chicago; Lighting Designer, Fidelio, Washington National Opera; Lighting Designer, How I Learned to Drive, Manhattan Theatre Club

E. LOREN MEEKER

Local cuisine, inspired by the British Isles

Hometown: Boston, MA Role: Stage Director Portland Opera Debut: Assistant Director, La Bohème (2009) Recently: Director, Tosca, Opera San Antonio; Director, The Pearl Fishers, Houston Grand Opera; Director, Rigoletto, Lyric Opera of Chicago

Join us for dinner before your show or a nightcap in The Rookery Bar after!

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Upcoming: Director, Madama Butterfly, Florida Grand Opera; Director, Don Giovanni, Washington National Opera; Director, Rigoletto, Opera San Antonio

NINA YOSHIDA NELSEN Mezzo Soprano

FAST BECOMING THE NUMBER ONE CHOICE OF WORLD COMPETITION WINNERS 2014 RUBINSTEIN COMPETITION – TEL AVIV, ISRAEL 2015 CHOPIN COMPETITION – MIAMI, FLORIDA 2016 SYDNEY INTERNATIONAL – PIANO COMPETITION 2017 SCOTTISH INTERNATIONAL – PIANO COMPETITION

THE NORTHWEST’S

P REMIER PIANO STORE

Pronouns: She/Her/Hers Hometown: Santa Barbara, CA Role: Suzuki Portland Opera Debut

503.775.2480 portlandpianocompany.com

35

Upcoming: Suzuki (Cover), Madama Butterfly, Lyric Opera of Chicago; Soloist, Beethoven’s Mass in C, Santa Barbara Symphony

M A DA M A B U T T E R F LY

Recently: Mama, An American Dream, Lyric Opera of Chicago; Tituba, The Crucible, Opera Santa Barbara; Suzuki, Madama Butterfly, Manitoba Opera, Atlanta Opera, Utah Opera; Khanh, Bound, Houston Grand Opera

POR TL ANDOPER A .ORG

BIOGRAPHIES

HIROMI OMURA Soprano

po rtland’s ho tel to the arts Pronouns: She/Her/Hers Hometown: Tokyo, Japan Role: Cio-Cio-San Portland Opera Debut

IN THE HEART OF PORTLAND’S

Recently: Cio-Cio-San, Madama Butterfly, Tokyo Bunka Kaikan, Japan, 65° Festival Puccini, Italy; Soloist, Opera Gala 2019, Teater Vanemuine, Estonia

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Upcoming: Soloist, Recital: Hiromi Omura & Alberti Veronesi, Toppan Hall, Japan; Soloist, Beethoven: Mass in C Major, Kujira Chorus, Japan; Violetta, La Traviata, Nikikai Opera, Japan

KARL MARX REYES Tenor

Pronouns: He/Him/His Hometown: Burien, WA Role: Goro

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Recently: NVA Lieutenant Commander, Amelia, Seattle Opera; Le Remendado, Carmen, Tacoma Opera; Orpheus, Orpheus in the Underworld, Eugene Opera Upcoming: The Messenger, Aida, Seattle Opera; Phra Alack/ Lun Tha (cover), The King and I, Civic Light Opera/Seattle Musical Theater; Rodolfo, La Bohème, Vashon Opera

Inside you’ll see increased tenant employee satisfaction and productivity. If you look even closer you’ll see an efficient operation that has achieved an incredible reduction in energy, CO2 emissions and water consumption.

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M A DA M A B U T T E R F LY

Portland Opera Debut

3/22/13 12:57 PM

CTA Lab is proud to support Portland Opera and the Arts in Oregon

www.cta-lab.com

Portland Opera 2019 sponsor size 8-375x10-875 Madama Butterfly.indd 1

10/10/2019 12:49:43 PM

BIOGRAPHIES

CAMILLE SHERMAN Mezzo Soprano

Pronouns: She/Her/Hers Hometown: Petaluma, CA Role: Kate Pinkerton

MOMO SUZUKI

Artistic Director, The Japanese Folk Dance Institute of New York

Pronouns: She/Her/Hers Hometown: Yamagata, Japan

Portland Opera Debut: Flora Bervoix, La Traviata (2018)

Role: Japanese Movement & Cultural Advisor

Recently: Ramiro, La Finta Giardiniera, Portland Opera; Stéphano, Roméo et Juliette, Pensacola Opera; Semi-Finalist, Metropolitan Opera National Council Auditions

Portland Opera Debut

Upcoming: Soloist, Handel’s Messiah, Naples Philharmonic; Sally, A Hand of Bridge/Announcer, Gallantry (An American Quartet); Asteria, Bajazet, Portland Opera

KEVIN SUZUKI

Recently: Japanese Movement Advisor/Choreographer, Team Japan Ice Dance, 2010 Winter Olympics; Dancer/Choreographer, Madama Butterfly, Riyo Saito; Dancer/Choreographer, “Nothing Really Matters” Music Video, Madonna Upcoming: Dancer/Choreographer, Kamioroshi: The Descent of the God, Boston University; Dancer/Choreographer, Manyo no Mori, COBU; Dancer, Sakura Matsuri: Cherry Blossom Festival, Brooklyn Botanic Garden

Pronouns In Our Biographies Pronouns: He/Him/His Hometown: Tokyo, Japan Role: Japanese Movement & Cultural Advisor Portland Opera Debut

M A DA M A B U T T E R F LY

Recently: Dancer/Choreographer, Dojoji: The Man Inside The Bell, Riyo Saito; Dancer/Choreographer, Freedom Isn’t Free, MoustacheCat Dance; Dancer, Japan Day @ Central Park, Japan Day Inc.

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Upcoming: Dancer/Choreographer, Kamioroshi: The Descent of the God, Boston University; Dancer/Choreographer, Manyo no Mori, COBU; Dancer, Shinshun Matsuri, The Japan Commerce Association of Washington, DC POR TL ANDOPER A .ORG

We offer our artists and creative team members the option to include

gender pronouns with

their biographies as a way of letting people know

how our community members refer to themselves, and hope that this can also

be a reminder about the

assumptions that we make

regarding the gender identity of others. Portland Opera is dedicated to creating a diverse and inclusive

environment for everyone involved in creating and

enjoying our beautiful art form.

lan su

rain in the

This project was made possible in part by a grant from Travel Oregon

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POR TL ANDOPER A .ORG

PRODUCTION STAFF PRODUCTION

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Assistant Stage Managers Carla E. Jimenez, Production Assistant/

Scheduling Specialist Cambria Herrera, Directing Intern

ARTISTIC ADMINISTRATION

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Surtitle Coordinator Anders J. Tobiason, Sherrie Van Hine,

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TECHNICAL

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Portland’5 Centers for the Arts Portland’5 Centers for the Arts includes the Keller Auditorium, Arlene Schnitzer Concert Hall, and Antoinette Hatfield Hall, comprising the Newmark Theatre, Dolores Winningstad Theatre, and Brunish Theatre. All are public facilities owned by the City of Portland and managed by Metro through the Metropolitan Exposition-Recreation Commission. Each year approximately one million people attend more than 1,000 performances in these facilities.

Metro: Lynn Peterson, Metro Council President City of Portland: Ted Wheeler, Mayor Metropolitan Exposition-Recreation Commission: Karis Stoudamire-Phillips, Chair; John Erickson, Vice-Chair; Deidra Krys-Rusoff, Secretary-Treasurer; Damien Hall; Ray Leary; Dañel Malán; Deanna Palm; Scott Cruickshank, Visitor Venues General Manager

ET FILLE WINES applauds the PORTLAND OPERA

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M A DA M A B U T T E R F LY

Portland’5 Centers for the Arts: Robyn Williams, CVE, Executive Director; Allison Alfano, Director of Marketing; Julie Bunker, Director of Operations; Nike Greene, Director of Education; Stephanie Viegas Dias, Director of Ticket Services; Brian Wilson, Director of Event Services; Heather Wilton, Director of Programming and Booking; Riley Hartman, pacificwild General Manager

POR TL ANDOPER A .ORG

Portland’5 Centers for the Arts Advisory Committee: Greg Brown; Jim Brunberg; Gus Castaneda, Chair; Elisa Dozono; Greg Heinze; Antonio Lara; Karl Lisle; Gary Maffei; Brian Sanders; Daniel A. Sullivan; Richard Wattenberg; Steve Wenig W W W .E T FI L L E WINES. CO M/ 503. 538. 2900 718 E FI R ST ST REET, NEWBERG , O R 97132

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PORTLAND OPERA ORCHESTRA VIOLIN

Margaret Bichteler, concertmaster James M. McLennan, asst. concertmaster Linda Vasey, principal second violin Lucia Atkinson Jenny Estrin Irene Gadeholt Barbara George Janet George Karen Hilley Marya Kazmierski Hae-Jin Kim Nelly Kovalev Hannah Leland Heather Mastel-Lipson Elizabeth Peyton Peter V. Piazza Nic Price Eva Richey Deborah Singer

VIOLA

Marissa Winship, principal Julie Asparro Pamela Burovac Angelika Furtwangler Adam Hoornstra Shauna Keyes Michelle Mathewson

CELLO

TRUMPET

FLUTE

TROMBONE

OBOE

TUBA

Michelle Lindberg, principal Chris Kim David Parmeter

GeorgeAnne Ries, principal Sydney Carlson Rachel Rencher

Kelly M. Gronli, principal Alan Juza

ENGLISH HORN Karen Strand

CLARINET

Louis DeMartino, principal Theresa Schumacher

BASS CLARINET Carol Robe

Charles Butler, principal Robert Rutherford Craig Gibson

Lars Campbell, principal David Bryan Graham Middleton

Joseph Ready, principal

HARP

Matthew Tutsky, principal

TIMPANI

Will Reno, principal

PERCUSSION

Gordon Rencher, principal Brian Gardiner Jeffrey Peyton

BASSOON

Carin Miller Packwood, principal Janice Richardson

FRENCH HORN

Michael Hettwer, principal Jen Harrison Jonathan Kuhns-Obana Steve Hayworth

M A DA M A B U T T E R F LY

PHOTO S BY GA RR ICK ANTIKAJ IA N

Dylan Rieck, principal Heather Blackburn Jae Choi Katherine Schultz Karen Schulz-Harmon

BASS

ORCHESTRA MUSICIANS REPRESENTED BY THE AMERICAN FEDERATION OF MUSICIANS LOCAL 99.

PRINCIPALS, CHORUS, AND STAGING STAFF REPRESENTED BY THE AMERICAN GUILD OF

42

MUSICAL ARTISTS. PHOTO BY GARRICK ANTIKAJIAN

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PORTLAND OPERA’S BIG NIGHT CONCERT, 2019. PHOTO BY CORY WEAVER

PORTLAND OPERA CHORUS SOPRANO

Aline Bahamondez * Kari Burgess Aimee Chalfant * Lindsey Johnson Cristina Marino * Rachael Marsh * Dru Rutledge * Audrey Sackett Jocelyn Thomas * Eva Wolff *

MEZZO-SOPRANO AnDee Compton * Sadie Gregg Anna Jablonski * Allison Knotts Sarah Maines Kate Strohecker * Jena Viemeister

TENOR

Scot Crandal * Robert S. Gardner * Jim Jeppesen * Joseph M. Muir * Bryan Ross * Jereme Wilkie Paul Wright *

ADDITIONAL ADULT CHORISTERS Celine Clark Alishia Garcia Emmanuel Henreid Aaron Lange Nick Stevens Maeve Stier

* Vested choristers who have been a regular member of the Portland Opera Chorus for more than two years and have sung in five or more productions.

SUPERNUMERARIES Beatriz Abella Will Bailey Laura Christensen Keith Clausen Gigi Little

Robert Nove Stephen O’Donnell James Sherman Tayler Uesato

PHOTO BY GARRICK ANTIKAJIAN

POR TL ANDOPER A .ORG

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PORTLAND OPERA STAFF ★

Sue Dixon, Interim General Director Daniel Biaggi, Interim Artistic Director George Manahan, Music Director Christopher Mattaliano, Artistic Consultant

PATRON SERVICES

James Bartlett, Patron Services Manager Jessie Bodell, Patron Services Representative Emily Estrada, Patron Services Representative Torin Frey, Patron Services Representative Sammuel Murry-Hawkins, Concierge of Patron Services

ADMINISTRATION & OPERATIONS ★ ★

Richard Seals, Director of Finance & Administration Maureen Beaudry, Controller Lynne Creary, Disbursements Specialist Ruth Ellen King, Payroll & Benefit Specialist Tamara Russell, Human Resources Manager Kevin Morris, Facility Manager Ju Park, Executive Assistant

BROADWAY IN PORTLAND ★

★

ARTISTIC OPERATIONS ★ ★

Clare Burovac, Director of Artistic Operations Alexis Hamilton, Manager of Education & Outreach Erika Richter, Music Librarian & Artistic Operations Specialist Nicholas Fox, Chorus Master & Assistant Conductor

PRODUCTION

EXTERNAL AFFAIRS

★

DEVELOPMENT

★

Lacey Rowberg, Associate Director of Development Celeste Miller, Grants & Advocacy Manager Angela Glabach-Vu, Donor Relations Manager Avery Lemons, Special Events Manager Brita Enflo, Development Associate MARKETING & COMMUNICATIONS

Andrea Tichy, Associate Director of Marketing & Audience Development Silja Tobin, Marketing & Communications Manager Garrick Antikajian, Graphic Designer Jen Wechsler, Marketing & Communications Coordinator

Tracy Wenckus, General Manager Morgan Jones, Assistant General Manager Roberta McNary Rosso, Marketing Coordinator Jess Morgan, Group Sales & Customer Service Supervisor Michael Brumage, Customer Service Supervisor Katie Clope, Customer Service Supervisor Stephanie Calinski, Customer Service Representative Klint Keys, Customer Service Representative Jacqueline Harpole, Customer Service Representative Chris Olson, Customer Service Representative

★ ★

Laura Hassell, Director of Production Cindy Felice, Prop Director Carla E. Jimenez, Production Assistant/Scheduling Specialist Jon Wangsgard, Production Stage Manager Zachary Dalton, Broadway Technical Liaison Pascaline Lefèbvre, Production Coordinator COSTUME SHOP

Christine A. Richardson, Costume Director Jeffery Wilson, Tailor/Draper Broadway in Portland is a partnership between Broadway Across America and Portland Opera. ★ Ten-year-plus employees

BOARD OF DIRECTORS OFFICERS

DIRECTORS

Curtis T. Thompson, MD, President President, Curtis T. Thompson & Associates

Sona Andrews, Professor and Provost Emerita, Portland State University

Kay Abramowitz, Past President Retired Attorney Gregory K. Hinckley, Vice President Past President, Mentor Graphics Corp.

Callie Pappas, Vice President VP & Chief Compliance Officer, Schnitzer Steel Industries, Inc.

46

M A DA M A B U T T E R F LY

William Lockwood, Treasurer Senior Vice President-Investments, Wells Fargo Advisors William Sweat, Secretary Owner, Winderlea Winery and Vineyard Kregg Arntson, At Large Director of Corporate Social Responsibility & Executive Director, Portland General Electric & PGE Foundation Linda Brown, At Large Owner, Brown’s Blueberries Carole Morse, At Large Board Member, Oregon Cultural Trust POR TL ANDOPER A .ORG

Nelson D. Atkin II, Partner, Barran Liebman, LLP L. David Ericksen, SVP, Enterprise Banker Commercial Banking, OR, KeyBank Matthew Essieh, CEO, EAI Information Systems Connie Gougler, Senior Director of Marketing, Iovation, A TransUnion Company Diana Harris, Retired Intel Executive Hugh Harris, Co-Founder, East County Rising Chris Hermann, Partner, Stoel Rives LLP Patricia Norris, Owner, Norris Dermatology & Lasers NW Greg Tibbles, Retired Executive Kathryn Wheeler, Senior Sales Consultant, Atlas by Faria Education Group Cyrus Vafi, VP, Commercial Banking, Banner Bank

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In the Community PORTLAND OPERA TO GO Portland Opera To Go (POGO) strengthens the quality of arts education in our communities by providing accessible, live opera performances in schools. We integrate learning goals by providing in-class workshops and teacher resources—including curriculum connections that highlight academic and creative activities for student audiences. For Fall 2019, we are proud to present a POGO production of Giacomo Puccini’s La Bohéme, ideal for students in 7th–12th grades.

PORTLAND OPERA’S RESIDENT ARTISTS Portland Opera’s Resident Artist Program provides a bridge from the music conservatory world to the professional opera stage. Promising young singers join the company for an intensive two-year residency and training program. Each Resident Artist appears in featured roles in main stage opera productions and performs a solo recital at the Portland Art Museum.

As a group they perform at season and opera previews, concerts, and other community-based performances. Enjoy evenings of song featuring the 2019 Resident Artists: Camille Sherman (January 14), Geoffrey Schellenberg (March 31), Ricardo Garcia (April 28), and Emilie Faiella (June 9).

OPERA A LA CART Opera a la Cart is a mobile music venue that brings live opera performance directly into the community spaces where people gather. Opera a la Cart reaches more than 30,000 people during the summer months, through free pop-up performances at farmers markets, city parks, neighborhood festivals, street fairs, and other public events and places throughout the Portland metro area and beyond. Opera singers sing some of the most famous and

COMMUNITY ACCESS Portland Opera provides additional community access through rush ticketing for students and seniors, and for veterans and active military through the Veteran Tickets Foundation. We offer $5 Arts for All tickets to Oregon Trail Card members and participate in the Multnomah County Library’s Discovery Pass program. We also hold free previews and concerts at public

M A DA M A B U T T E R F LY

libraries and community venues. Free Simulcast: Join us outside of the Newmark Theatre for a special performance of Three Decembers, starting at 7:30 pm on July 22.

TO L EA RN MORE , O R T O V IS IT O UR C O M M UNIT Y CALE N D AR , VI SI T PORTL AND O PERA.O RG

49

PHO TOS B Y: WILL COR WIN, JO NATHAN LE Y, AND GARR ICK ANTIKAJ IAN

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CONTRIBUTORS

AS OF SEPTEMBER 16, 2019

Without our generous donors, Portland Opera would not be able to share the art of opera on stage, in schools, and throughout our great state. Thank you to all of you who are philanthropic role models and champions for our non-profit arts and culture community!

$25,000+

$5,000–$9,999

Paul and Kathleen Cosgrove*

Carol Franc Buck Foundation

Kay and Roy Abramowitz

Thomas H. Denney♥

Ellyn Bye and

Tremaine and Gail Arkley

Dr. Claudine Torfs ♥

Dream Envision Foundation

Matthew R. Baines*

Richard and Carol Dickey

Leo Conkle

The Breunsbach Family

Richard B. Dobrow, M.D.

Bill and Karen Early

Linda and Marcia Brown

Paul and Kristina Elseth

Carol and John Hampton Family Fund of

George and Lee Anne Carter

Jeffrey A. and Diane M. Evershed

The Oregon Community Foundation

William and Suzanne Dolan

Robert and Dana Fischer

Gregory K. and Mary Chomenko Hinckley

Emilie F. and Don C. Frisbee Fund of

Michael J. Gentry

Joanne M. Lilley

The Oregon Community Foundation

Ed Gronke*

Laura S. Meier

Connie Gougler

Kirk Hall

Dorothy Piacentini

Robert and Dorothy Haley

David and Brette Hampton

Pat and Trudy Ritz and

Susan and Richard Helzer

Betsy and Gregory Hatton

The Ritz Family Foundation

Sue Horn-Caskey and Rick Caskey

Marsh Hieronimus

Arlene Schnitzer

Andrew and Carol Kay

Dr. Robert H. and Barbara Jones

Jordan D. Schnitzer

Judith and Martin♥ Kelley

Randy and Leslie Labbe

The Harold and Arlene Schnitzer

Robert L. Ladehoff

Dorothy Lemelson

CARE Foundation

Walter E. Lander and Kit Tong Ng

Carol Schnitzer Lewis Fund of

The Stoller Group

Drs. Dolores and Fernando Leon

The Oregon Community Foundation

Greg and Cathy Tibbles

Nancy Locke and Donald Harris

Dr. and Mrs. John Lindgren

Anonymous

Bill and Kate Lockwood

Donn and Carole Lobdell

Jerome Magill

Marco Lopez

The Estate of Hannelore Mitchell-Shicht♥

Carol Mangan Fritz and Peter Fritz

Sona Karentz Andrews

Nathan Family Charitable Fund of

The M. and L. Marks Family Fund of

Marilyn Crilley and George Rowbottom

The Oregon Community Foundation

The Oregon Community Foundation

Pamela and Paul De Boni

Callie Pappas and John Winner

Dr. and Mrs. Louis McCraw

George and Barbara Dechet

Dr. Charles and Ruth Poindexter

Sir James and Lady McDonald

Matthew and Emmanuella Essieh

Michael and Alice Powell

Designated Fund of The Oregon

Jamey Hampton and Ashley Roland

Wallace and Elizabeth Preble

Community Foundation

Diana Harris and Gary Piercy

Fred Ramsey

Nancie S. McGraw

Chris and Kathryn Hermann

Mary and Russell Reid

Brad and Nancy Miller

Richard and Delight Leonard

N. Robert and Barre Stoll

Yooy and Joey Nelson

Elizabeth Lilley

Su Tunney and James DePew

John and Ginger Niemeyer

Joy McNichols

David and Carol Turner

Mrs. Elizabeth Noyes

Carole Morse

Anonymous

Jane S. Partridge

$10,000–$24,999

William and Mary Lou Mullin

David and Heidi Pasqualini

Patricia Norris and Mark Schlesinger

$2,500–$4,999

David and Valerie O'Brien

Kirby and Amy Allen*

Robert and Marilyn Ridgley

Kay Parr

Kregg Arntson and Ted Fettig

Bob and Barbara Schuppe

Marcia H. Randall

Arleen Barnett

Sue and Drew Snyder

William D. Rutherford and Joan Lamb

Brent Barton and Liz Fuller

David Staehely

John and Carol Steele

Eric Bell

Garry and Ardith Stensland

Donna Morris and Bill Sweat

Alan and Sherry Bennett

Zela and Elsa

Dr. Curtis T. Thompson

Megan Brown

Anonymous (2)

Greg and Cathy Tibbles

Marianne Buchwalter

Charles R. Watkins

The Burns Family Fund of

$1,000–$2,499

Dean and Patricia Werth

The Oregon Community Foundation

Margaret and Scott Arighi

Anonymous

Deborah A. Coleman

Marc and Maureen Beaudry

Julie and William Reiersgaard

M A DA M A B U T T E R F LY 55

POR TL ANDOPER A .ORG

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M A DA M A B U T T E R F LY

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POR TL ANDOPER A .ORG

CONTRIBUTORS Alene and Bruce Bikle

Dr. Greg Zarelli and Mr. John Bush*

Jeffrey C. King and Jessie K. King

Frances Britt*

Anonymous (2)

Sara and John Kochavatr

Ellen and Robert Brittan

Sophia Kremidas

William Buettner

$500–$999

Dr. Carlos Castro-Pareja and Lori Dunkin*

Donald Andersen*

Mrs. Stanley A. Landeen

Frederic and Nancy Delbrueck

Christopher Andrews

Daniel Laurence

Susan C. Dixon

Ron Attrell and Michael Oard

Drs. Fred and Catherine Lauritsen

Mardi Epps

Nancy Babka and Michael Morgan

Clif and Cheryl Leonard*

Michael Alan Fox and Deborah D. Garman*

Dr. Natalie and Mr. Anthony Ballas

Robert E. Lowe

Eric and Rebecca Friedenwald-Fishman

Charles G. Barany

Carole and William McDonald

Suzy Gates

Tom Bard

David Millman and Juliette Levy

Susan Halton

James and Kathryn Bash

Stephan Morris

Senator Elizabeth Steiner Hayward

Sidney and Barbara Bass

Martha Havens Moyer

Pamela Henderson

Bryan and Vicki Beazley

J. Neuwelt

Dennis and Jacqueline Isiguen

David and Jeanne Beck

Richard and Beverly North

Helen and Paul E. Johnson MD

Jon Betlinkski

George and Reba O'Leary

Arthur and Virginia Kayser

John H. Block

Rev Dr. Rodney and Sandra Page

Dr. Angela and Matt Kilman

Margaret Branson

Mr. and Mrs. Peter Pope

H. Alexander Krob, M.D.*

Gilbert and Mary Ann Brokaw

Suzanne Rague

Kathleen Lewis

Matt and Marian Brouns

Russell Ramsey

Craig and Anne Lindsay

Ed and Nancy Buckman

Bruce Ramseyer

Linda McGeady

Virginia V. Burgess

Robert Reynolds and Denise Barnes

Steven McGeady

Mark A. Buser

Dell Rhodes

Paula and Bert Morgan

Anne Clark

Dr. Robert H. and Anne A. Richardson*

Virginia S. Mullen

Charles Richard Clarkson

Stephen and Leslie Robinson

Marianne Ott

Elaine and Arnold Cogan

Richard and Mary Rosenberg

Corinne and Duane Paulson

Dee and Vickie Cooper

Weston Roth and Lisa Shaw

Frank Piacentini and Sara Weinstein

Huck and Jennie Cronin

Lacey and Bjorn Rowberg

Robert Piacentini

Dr. Duane Denney

Kenneth Schriver

Art Dodd ♼ and Diane Plumridge

James and Kelley Dulcich

Ruth A. Short

Harold and Jane Pollin

Randall and Laurie Dunn*

Scott Showalter

Heidi Pozzo

Donna Elsasser

Robyn Shuey

William Pressly and Carole Douglass

Ron and Ann Emmerson

Cameron C. Smith

Ben and Lillian Pubols

Edward and Jeanette Feldhousen

Kristin Stathis

Augustina Ragwitz*

Stephen and Susan Ford

William and Cornelia Stevens

J. Chris Rasmussen

Morris Galen

Eric and Cyndi Strid

Lynne Diane Roe, M.D.

Rolf Glerum

L. Susan Sullivan

Charlene Rogers

Pam Gordon and Betty Goddard

Drs. Donald and Roslyn Sutherland

Don V. Romanaggi, MD

Gary and Heidi Grenley

Frances and William Tucker

Izhak Shafran

Jim and Karen Halliday

Drs. Gerry and Angela Uba

William Space and Allen Brady

Richard L. Hay

Cyrus Vafi

Kathleen Strohecker

John L. Hedrick

Peter and Ann van Bever

Bill Supak and Linda Kozlowski

Fred and Harriet Hegge

Peter Vennewitz*

Hank Swigert and Marlene Koch

Maryanne and David Holman

Geoff Verderosa

Rick and Carol Terrell Charitable Fund of

Joseph and Jo Won Homann

Karen and Bob Vineyard

The Oregon Community Foundation

Kimberly Howard

Jon Vorderstrasse

Justine Thede Occhipiniti*

Rebecca and Zach Howell

Drs. R Bastian and Barbara Wagner

Misty and Derek Tompoles

John Hren and Pam Aneshansley Hren

Wendy Ware and Dan Gleason

Russell Turner and Urszula Iwaniec

Nancy Jerrick

Sharon L. Weil

David Urman

Kelvyn Johnson

Weiss Fund of The Oregon

Dave and Christine Vernier

Douglas and Dena Keszler

Community Foundation

Damianos Kyriakopoulos

M A DA M A B U T T E R F LY 57

AS OF SEPTEMBER 16, 2019 POR TL ANDOPER A .ORG

Airs Wednesdays on KATU’s AM Northwest from 9–10 AM & Afternoon Live from 2–3 PM

H.M.S. PINAFORE Gilbert & Sullivan | June 5 – 28 Join us in June 2020 for H.M.S. Pinafore, when Mock’s Crest Productions becomes Opera On The Bluff.

Your host Ashley Coates.

OPENING THIS WEEK

in ®

WEEKLY VIDEO ARTS CALENDAR PRESENTED ON KATU, AT ARTSLANDIA.COM, BY E-MAIL TO ARTSLANDIA SUBSCRIBERS

We

this music.

The Metropolitan Opera | Saturday Matinee Live Weekly Radio Broadcasts Saturdays at 10am

89.9 FM Portland/Vancouver • 88.1 Lincoln City/Newport • 96.3 Columbia Gorge East 88.1 Hood River/ The Dalles • 88.9 Manzanita • 95.7 Corvallis/Flynn • 90.3 HD-2 McMinnville

Listen around the world at allclassical.org

58

M A DA M A B U T T E R F LY

WITH ASHLEY COATES

POR TL ANDOPER A .ORG

CONTRIBUTORS Tracy Wenckus

Donovan Bonner

Barbara Courts*

Dr. and Mrs. David S. Wisdom

Richard R. Bosch

Susan and Tim Cowles

John and Nancy Zernel

William Boyd and Marna Tisdel

Mr. James Cox and Mrs. Brenda Nuckton

Anonymous (7)

Art and Diane Brandenburg

Georgia Ronan Crampton

Larry and Daniela Brandt

Dr. Richard Crisera

$100–$499

Lauri Noell Crocker

Jack Wussow and Kyle Adams*

The Honorable Kate Brown and

W. Ron Crosier

Dr. George Adlhoch

First Gentleman Dan Little

Janet Cruz

Joseph Alexander and Janine Clayton

Donna Brune

Leigh Cummins and Eric Mills

Abby Alford

Peggy A. Bryant*

Tim and Suzanne Cusick

Farouk Al-Hadi

Nick Bulder

Nancy Lee Cutler

Jutta Allen

Rex Bull and Judith Widen

Janice Czerniejewski

Kathleen and John Allen

Jim and Linda Burch

Dr. and Mrs. Aloys J. Daack

Robert Amundson and Sully Taylor

Karie Burch

Paul Dantas

Kris Anderson and Michael O'Brien

Barbara Burns

Erin Dawson

Thomas Anderson and Joan Montague

Carol J. Burns

Hoyt A. Day

Ruby Apsler

Robert Burovac

Mariah de Forest

Jacque Arellano

Kate Bushman

Amy Dechet

Brandon Arends and Anne Sires

Judy Ann Butler

Jan Dellibovi

Annette Arrieta

Andrew Butts and Abby Kirchem-Butts

Janis L. Cantrell

Dr. and Mrs. James W. Asaph

Truddy Cable

Richard G. Denman

Raymond and Nancy Asbury

Barbara and Worth Caldwell

Mr. and Mrs. Eugene P. DiLoreto

Ruth Aschkenasy

Amy Drake Campbell*

Allen and Mary Lou Dobbins

Dr. Martha B. Atkinson

Maurine and Paul Canarsky

Mandy Doherty

Roberta August

Geoffrey Carr

Julia Dolan

Fran Aversa and Tom Johnston*

Kendall Carr

Christopher Domschke

John T. Bagg

Dr. and Mrs. Rob Cavasher

Dejan and Vida Dordevich

Arlene Baker

Richard Cave

Merrilee Dowty

Kathleen Baker

Ron and Jane Cease

Margaret and Richard Drake

Jane Tait Baldwin

Doug Beckman and Joanna Ceciliani

Patricia Dresler

Lajos Balogh

Shelly Chabon

Imelda Dulcich

David Bangsberg and Lynn O'Kelley

Christine Chen

Shari Dunn

Dr. Jaime Barnard

Susan Church

Dr. David Dunning

Barbara and David Barnes*

Sarah L. Claiborne

Maryann Dutton

Tom and Molly Bartlett

Ann and Andrew Clark*

Sandra and Rodger Dwight

Karen Barton

Alicia Coakley

Chris and Elizabeth Eber

Paul Bascom

Ashley Coates

Jane Edwards

Kathleen Beaufait

Kathryn Coffel

Roger Edwards and Carol La Brie

Phyllis L. Beemsterboer

Christine Colasurdo

Douglas Egan

Clarissa Benfield

Joseph and Vonnie Condon*

Dr. Maura and Ray Egan

Richard H. Berkey

Bryant and Michal Conger

Mrs. Bill Eklund

Karen Berkowitz and Robert Rutenberg

Victor Congleton

Amy Elliott

Aase Maja Besson*

Joan Conley

Kevin and Cinda Embree

Hella Betts

Ralph and Barbara Cook

James A. Endler

Maryka Biaggio and Deb Zita*

Rick Cooley

Joseph Erceg

Susan and Larry Black

Tim Cooper

L. David and Heidi Ericksen

Rick and Sydney Blaine

John and Anne Osborn Coopersmith

Michelle Erickson

Alice P. Blatt

Gretchen Coppedge

Wes Evans and Lou Scorca

Karen and Bob Blomquist

Dave and Char Corkran

Laurie Fay

Brittany Blumberg

Mr. and Mrs. Thomas S. Councell

Robin Feidelson

59

Ellen Crivella and Daniel Jaynes

Nick Bremer and Kendra Parkin

M A DA M A B U T T E R F LY

Lindsay Bregante Myers

Andrew Ackman*

AS OF SEPTEMBER 16, 2019 POR TL ANDOPER A .ORG

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60

M A DA M A B U T T E R F LY

music unleashed

POR TL ANDOPER A .ORG

TICKETS AVAILABLE NOW AT OREGONMUSICFEST.ORG

CONTRIBUTORS Jean Feller*

Francis Hanchek

David Horowitz

Cecily Feudo

Frances Hanckel

Carolyn Howard

Ron and Kathleen Fial

Irvin Handelman

Carol and Tom Hull

Debra and Karl Finkelnburg

Barbara S. Hansen

Angela and Nathan Hult

Keiko Amakawa and Dr. Harvey Fishman

Amy Lynne Harrison

Romeo Ilie-Nicolof

Lawson Fite

Judith A. Heath

James and Sara Ingle

Nicole Forbes

Chris and Alicia Heaton

Robina Ingram-Rich and Tim Rich

Heather Fossity

Andrea and Ted Heid*

Jean, Sam, Theresa, Brian, and

Patricia France

Stanley O. Heinemann

Christopher Inzerillo

Anne Francis

Mr. and Mrs. David A. Hendersen

Martha Ireland

Andrea Frank

Kay Sweeney

Punya Jain

Dick Frey*

Sudee and Clayton Hering

Joyce Jakubiak and David Parks

Richard Frey

Joanne Hermens

Bernadette and Jeffrey Janisch

Jacob L. Friesen

Jean Herrera

Mr. and Mrs. Richard Janzig

Theresa Fritchle

James S. Heuer

Paulette S. Jarvey

Cynthia Fuhrman

Amiko Hiraiwa Riley

Barbara Jeddeloh

Albert Furtwangler

Carol and Herb Hoefer*

Doug Jenkins and Mike Boyles

Oksana Fusselman

Catherine Holder

Richard and Linda Jenkins

Elizabeth Gamino

Mary Holdman and Lawrence J. Evers

Kathy and Nils Jensen

Lyn Garcia

Kenneth L. Holford

Gayle Jimenez*

Michael Butts and Lily Gardner-Butts

Avon and Fred Holmes

Carla Jimenez

Michael and Nancy Gaston

Kathryn J. Holt*

Karen Johnson*

Richard and Erika George Mrs. Lora Giles Larry and Marlis Gilman J.A. Godshall Benjamin S. Goff Josh Goldberg Jennifer and Tim Goldsmith Rosalie Goodman Nihal Gooneratne Corbett Gordon Barbara and Marvin Gordon-Lickey Kendall Gourley-Paterson Martha Graner and William DeBolt Emma K. Gray Cindel Green Mark Greenfield Susan Greer Michael Greer Kelsey Gregory Marsha Gulick Paul Gunderson Patrick G. Hager and Alessandra Capperdoni Mia Hall Miller Eric Hallquist Rosemary Hamerton-Kelly Jo Lynne Hamilton Peter Hammond and Frank Johnson

Moving ever forward, the Ponzi sisters continue a half-century legacy of winemaking excellence and innovation.

Enjoy the classic Ponzi experience at our hilltop tasting room.

O P E N D A I LY

Just 40 minutes from Portland P O N Z I V I N E Y A R D S .C O M

61

Anne Hanchek

in its second generation

M A DA M A B U T T E R F LY

Anton Haas Jr.

AN OREGON ORIGINAL

AS OF SEPTEMBER 16, 2019 POR TL ANDOPER A .ORG

May 10 – November 12, 2019

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Curated by the GRAMMY Museum® & Fab Four Exhibits

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M A DA M A B U T T E R F LY

• More than 200 artists • Over 1,000 works of art in various mediums

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RENTAL SALES GALLERY TUES – SAT 10 A.M. – 5 P.M. SUN NOON – 4 P.M. 1237 SW 10th Avenue rentalsales@pam.org

rentalsalesgallery.com

CONTRIBUTORS Barbara A. Johnston

Joyce and Stanley Loeb

William F. Mayclin

Annette Jolin and Richard U'Ren

Sharon Loomis-Malin*

Oscar and Mary Mayer

Becky and Jarrett Jones

Henry C. Louderbough, MD

Nic Mayne

Shelley L. Jones

Patricia and Walter Loveland*

Colleen and Alex Mazzia

The Jorgensons

Jack and Kathy Lucier

Nancy E. McCall

Robert Kavanaugh and Dale Robards

Rob and Theresa Lusardi

John M. McClelland

Galen Kawamoto

Susa Lynne

Dr. and Dr. McClure

Carole S. Keefer

Donna and Joseph MacKenzie*

Maria McCormick

Arthur and Kristine Keil

William Mahan

Walter and Barbara McDonald

Mark and Pam Keller

James and Midge Main

Ed and Judith McKenney

Esther Kelley

Bill and Mary Mainwaring

John and Candace McMunn

Felice D. Kelly

Barbara Manildi

Karen McNamee*

Alberto Kelso

Linda L. Mann

Tim McNichol and Anne Egan

Nino Kilgore-Marchetti

Gerald Marcyk

Bill McRae

Meagen Kincaid

Michelle Marcyk

Victoria Meadows

Rev. Lawrence R. King

John Martin

Christine Meadows

Louis and Patricia Kingman

Don Mason and Kathy Hinson

Ann Medellin

Mary and Bruce Kinsch*

Agneta and Mike Massa

Edward and Nancy Meece

Frederick Kirchhoff and Ronald Simonis*

Drs. Ruth and Joseph Matarazzo

Jan Merrimon

Nico Galoppo and Allison Knowles

Len Mathes

Charles Meshul and Maureen Ober

Judy and Fritz Kokesh

Julie Mathews

Marion Meyer

Paul Kondrath

Thomas J. Mathews and Lois L. Heinlein

Susan Mikota

Rachel Kopf Allen Koshewa Norman P. Krasne* Nicolai Kruger Louise J. Kurzet Kathleen Kusudo Ryan and Stephanie La Pier Monique's Boutique Rebecca Langdon Dennis Langston Grethe Larson and James Mullins Marina Laurette and Gerald Cosby A.M. LaVey Danielle Lee Barbara Coombs Lee Krystal Lee Leonheart Photography Judith K. Leppert Joan Levers and David Manhart* Christine E. Lewis Jordan and and Anna Lewis* M A DA M A B U T T E R F LY

Monelle Lewis Amy Light Jane and Robert Lightell Michael and Jeanette Lilly Nicholas Lim Ashley Lindsay Jeffrey W. Littman

63

Carolyn and James Loch* AS OF SEPTEMBER 16, 2019 POR TL ANDOPER A .ORG

THE REVIEWS ARE IN. Do Something Dramatic

DOWNLOAD THE APP & REVIEW. WE WANT TO HEAR FROM YOU!

Lila Downs Oregon Symphony

Theater. Dance. Music.

Find news and reviews of the most Pure magic! It was an thrilling performances toof come out and evening nostalgia of Portland’s performing scene. hope forarts the future.

—Chris 11/9/2018

Fridays & Sundays in a&E. Every day on OrEGONLiVE. your cultural concierge

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CONTRIBUTORS Tom and Pamela Miles

Guy and Sally Pope

Mary B. Rose

Jen Milius and John Eisemann

Richard Poppino and Tina Bull

Rosalind M. Roseman

Ken and Sandra Miller

Richard A. Potestio

Rosemarie F. Rosenfeld

Pamela Gesme Miller and Fred B. Miller

Marjorie Powell*

Charles W. Rosenthal

Kay Mitchell

John and Debbie Purcell

Pavel and Alena Rott

Daniel Mobbs and Vincent Bresciano

Nancy Pyburn

Mr. and Mrs. Mark Rowlette*

Katie Kinsley

Carole Quick

Laurens and Judith Ruben

John and Shanna Molitor

Kasia Quillinan

Dr. Elizabeth Rudy

Ingeborg Momberg

Sohyon Rahe

Barry and Penny Russman

Kathleen Anne Moon

Michael and Julia Ratoza

Elaine C. Ruys

Chris Morgan

Julie Rawson

Charles Ryberg

Susan D. Morgan, VMD

Denise Reed

Peter and Carolyn Saba

J. Michael Morrison

Russell and Jolae Reed

Sam Sadler*

Jean S. Morrison

Steven R. Reinisch*

Andrew and Jamie Sakshaug

Ilse Moser

Michelle Reynolds

Adam Salazar

Patricia G. Moss

Mrs. Charles Rhyne

Laura and David Salerno Owens

Matthew Mueller

Forrest and Rae Richen

Jeannie and Leonard Santos

Richard and Midge Mueller

Judge R. William Riggs

Kevin and Gabe Sasse

Alfred W. and Susan Mukatis

Judith Rimbey

Rochelle Satter

Nancy Murray

Lisa Ripps and Michael Hynes

Steve and Chris Satterlee

Prabu Muruganantham

Mr. and Mrs. Richard Roberts

Fred and Maralee Sautter

Kathryn Myers and Jonathan Ortiz Myers

Brian Rogers and Cassandra Scholte

James and Julianne Sawyer

Samantha Arlene Nash Bee and Quentin Neufeld Shirley and Mike Newcomb Anne Nguyen and Eli Krueger Roger G. Nibler Angela Niederloh and Matthew Hayward David Nijhawan Mary Jo and Robert Nye Nancy H. Oberschmidt Alison N. O'Brien Leslie Odegard Tavis Oehley Kris Oliveira Olive and John Orr* Patricia O'Shea Karen and Abby Oxendine* Pam and Ken Palke Caroline Lewis Palmer Dr. Laetitia Pascal Lanetta Paul Carole J. Peggar* M A DA M A B U T T E R F LY

Hannah Penn Vince L. Penta Team Jam Rebecca Phillips* Sue Piazza Susan and Walter Piepke Matthew Plavcan

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Laura Polich AS OF SEPTEMBER 16, 2019 POR TL ANDOPER A .ORG

Karol and B.R. Scheminske Eric and Elizabeth Schneider John Schoon Dick Schouten Susan Schubert John Schulte Art Schwartz and Myrna Glenn Sarah Schwarz

Celebrating Over Two Decades of Pro Bono Partnership

Dr. and Mrs. J. D. Schweinfurth Bill Scott and Kate Thompson Paul and Ketta Sedler Kristen Seidman Diana Shenk Kim Shirts Kathryn B. Everts and Mark Smallwood Caren Smeltzer and Herman Migliore Ashleigh Smith Cathleen L. Smith* Lindsey Smith Sarah E. Smith

Employment | Labor | Benefits | Higher Education www.barran.com | 503.228.0500

Neil Soiffer and Carolyn Smith Charles and Melissa Sollitt Martha and Les Soltesz Kyle and Sophia Spencer Alice Spitzer Gabriella Sprenger Charles and Karen Springer

DOWNTOWN

_THE FUN STARTS HERE

Kristin Sterling and Lorin Wilkerson Kristin Stevens

Mike and Judy Stoner Jennifer Stout

Milan and Jean Stoyanov

Stay at the epicenter of the George city’sChung art,Sumusic and fashion Barbara Swails scene with Radisson RED Richard Swart* Portland Downtown. Great Jane Thanner and Tim Smith nightlife, theaters, restaurants Bruce and Suzanne Thiel William andThierfelder attractions are all nearby.

Frederick Jean Thompson Free and WiFi, Starbucks on site Jan Elizabeth Thorpe and OUIBar + KTCHN serving Rebecca and Robert Todd local craft Dr. Matti and Najla brews, Totonchy cocktails and eats.

Joawesome Ann and Ric Tower Meg Stuckey

M A DA M A B U T T E R F LY

DOWNTOWN

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TOWN

BARRAN LIEBMAN IS PROUD TO PLAY A SUPPORTIVE ROLE WITH THE

CONTRIBUTORS

_THE FUN STARTS HERE

Stayatatthe theepicenter epicenter Stay of of thethe city’s art, music city’s art, music and fashion and fashion scene with Radisson RED Portland scene with Radisson RED Downtown.

Great nightlife, theaters, restaurants Portland Downtown. and attractions are Great all nearby. Free WiFi, nightlife, theaters, restaurants Starbucks on site and OUIBar + KTCHN serving and attractions are all nearby. local craft brews, cocktails and awesome eats.

Free WiFi, Starbucks on site and OUIBar + KTCHN serving local craft brews, cocktails and awesome eats.

POR TL ANDOPER A .ORG

BOOK RED AT RADISSONHOTELS.COM/RED OR CALL US AT +1 (503) 334-2167

_THE FUN STARTS HERE Stay at the epicenter of the city’s art, music and fashion scene with Radisson RED Portland Downtown. Great nightlife, theaters, restaurants and attractions are all nearby.

Free WiFi, Starbucks on site and OUIBar + KTCHN serving local craft brews, cocktails and awesome eats.

BOOK RED AT RADISSONHOTELS.COM/RED OR CALL US AT +1 (503) 334-2167

Stanley and Marie Townsend Jackie Tran

BOOK RED AT RADISSONHOTELS.COM/RED Karie Trumbo ORM.CALL Lyle Tucker US AT +1 (503) 334-2167 Brandon Triglia Julie Tripp

Kyle Tushaus

Arlene Tuttle Ingeborg Vaden Sarah Vallese Allen and Muriel van Veen Donald and Linda Van Wart Jerry and Thuy Vanderlinde*

TIMELESS, AFFORDABLE ELEGANCE IN THE HEART OF DOWNTOWN PORTLAND

Justine and Sean Virnig* Les Vuylsteke Carolyn Walker Kara Walton Shu-Ju Wang Mark Ward Katherine and Jason Wax Marion T. Weatherford Grace Weaver Deanna Wiley Andrew Wilson and Ronnie-Gail Emden Julie Wilson Mary Wilson Peter Wilson Margaret Wiltschko Patricia Winn Nancy and Larry Wissbaum

PROUD SPONSOR OF THE PORTLAND OPERA 309 SW BROADWAY - 503.228.2000 - BENSONHOTEL.COM *Portland Opera patron offer: Save 10% off food and beverages at The Palm Court. Mention this offer to your server at the time of order. 15% off Best Available Rate and room upgrade, subject to availability.

Reserve online with promotional code PORTOPER.

Tom and Mariol Wogaman Dee Wolfe Ruth and Peter Wolff* Marjorie L. Wolford Richard and Leslie Wong Linda M. Wood Deborah Woodcock David DeMoss and Geoffrey Wren Lindsay Yousey* Ilya Yusufov Charlie Zhang Anonymous (38)

Visit exotic 110 SE Washington St.

AS OF SEPTEMBER 16, 2019

* Sustaining Donors have opted M A DA M A B U T T E R F LY

to give through automatic monthly contributions. For more information about sustained giving, please contact Angela Glabach-Vu at 503-417-0601 or aglabach@portlandopera.org. ♥ In Memoriam.

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smithtea.com

POR TL ANDOPER A .ORG

The Portland Opera Legacy Society Gorgeous music that captivates your soul. Incredible stories that transport you to new worlds of passion and discovery.

Opera is truly the most potent of all the art forms. By including Portland Opera in your will or estate plan, you will share your love of opera with generations to come through our breathtaking mainstage productions and wide-ranging education programs.

The Portland Opera Legacy Society honors those who have included Portland Opera in their wills or estate plans or who have made a significant gift to the Portland Opera Endowment.

To Learn How to Create Your Own Legacy Call Lacey Rowberg at 503.417.0572 or email at lrowberg@portlandopera.org.

Organization Legal Name: Portland Opera Association, Inc. Mailing Address: 211 SE Caruthers Street, Portland, OR 97214

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M A DA M A B U T T E R F LY

Tax ID Number: 93-6034321 Kay and Roy Abramowitz

Don C. Frisbee♥

Jackie B. Miller

Randa Cleaves Abramson and

William A. and Joyce♥ Furman

Mrs. Philip H. Miller♥

Jonathan Abramson

Gwyneth Gamble Booth

Pamela Gesme Miller and Fred B. Miller

Douglas and Kerry Aden

Edith V. Gautschi♥

Max♥ and Suzanne Millis

Marylou W. Alberdt

Richard♥ and Janet Geary

Susan D. Morgan, VMD

Kirby and Amy Allen

Michael J. Gentry

Mr.♥ and Mrs. Robert H. Noyes, Jr.

Margaret and Scott Arighi

Robert and Dorothy Haley

David and Valerie O'Brien

Tremaine and Gail Arkley

Carol♥ and John Hampton♥

Mrs. Janice Orloff♥

Stephen S. Babson♥

Jamey Hampton and Ashley Roland

Marianne (Gerke) Ott

Matthew R. Baines

Diana Harris and Gary Piercy

Callie Pappas and John Winner

Kaaren Bedi

Arland Hatfield♥

Jane S. Partridge

Gilbert T. Benson ♥

Orpha H. Hedrick♥

Dorothy and Franklin♥ Piacentini

Blue Bickford

Susan and Richard Helzer

R. Ronald Roy

Laura Bieber

Bill Hetzelson and Robert Trotman

Bruce Ramseyer

Peter J. Bilotta and

Douglas and Candace Higgins

Richard A. and Mary W. Raub

Shannon M. Bromenschenkel

E. Roxie Howlett♥

Herbert and Helen Retzlaff♥

Mrs. Robert Bitar ♥

Nancy Jerrick

Esther Riley♥

David E. Wedge ♥

Monroe A. and Frances Jubitz♥

Claire and George Rives♥

Marianne Buchwalter

Judy C. Kelley

Catherine and Ottomar♥ Rudolf

Diane Burns and Doug Foster

Lora L. and Martin N. Kelley♥

Luwayne E. Sammons♥

Ellen E. Bussing

Randy and Leslie Labbe

Lois Schnitzer

George and Lee Anne Carter

Mark LaMalfa

Harold♥ and Arlene Schnitzer

Tim and Marianne Chapman

Violet B. Lang♥

Mr. and Mrs. Gilbert Schnitzer♥

Alyce R. Cheatham♥

Ghislaine Le Jeune♥

Zella C. Schwartzenhauer♥

Mary A. Clancy ♥

Drs. Dolores and Fernando Leon

David and Karen Sly

Richard M. and Tracey A. Clark

Kathleen Lewis

Grace Spacht♥

Mrs. Maurie D. Clark♥

Joanne M. Lilley

Eric Steinhauser and Gregg Macy

Craig L. Clark♥

Bill and Kate Lockwood

Mr. and Mrs. W. T. C. Stevens

Debi Coleman

Mr.♥ and Mrs. William W. Lyons

Diane Syrcle

Mr. James Cox and Mrs. Brenda Nuckton

Maybelle Clark Macdonald♥

Jeffrey and Jan Thede

Marilyn Crilley and George Rowbottom

Lorna MacLeod

Peter and Ann van Bever

Pamela and Paul De Boni

Anne Catriona MacLeod♥

Esther D. Vetterlein♥

Gay Hamilton Dielschneider♥

Joanne♥ and Jerome Magill

Jean and Howard Vollum♥

William and Suzanne Dolan

Susan Maltby♥

Les Vuylsteke

Bill and Karen Early

Sherrilyn S. Maltby♥

William and Patricia Wessinger♥

Edna L. Holmes♥

Drs. Ruth and Joseph Matarazzo

Ben♥ and Elaine Whiteley♥

Spencer and Jane Ehrman♥

Christopher Mattaliano

Virginia Willard and Jack Olson

Ruth P. Elliott♥

Gail and Bill McCormick

Margaret T. Winch♥

Jeffrey A. and Diane M. Evershed

Dr. and Mrs. Louis McCraw

Susan Yamanaka

William Finlay♥

Sir James and Lady Anne McDonald♥

Jay and Diane Zidell

William Michael Foster♥ Family

Nancie S. McGraw

Anonymous (7)

POR TL ANDOPER A .ORG

TRIBUTE IN MEMORY OF

IN HONOR OF

Gerry Allen

Zita F. Kondrath

IN HONOR OF

IN MEMORY OF

Stephen and Leslie Robinson

Paul Kondrath

Diane Bickford

Tami G. Martin

IN MEMORY OF

IN HONOR OF

Sarah Vallese

Marge Browning

John Martin

Donna Morris

Nancy and Larry Wissbaum

David and Jeanne Beck

IN HONOR OF

IN MEMORY OF

Michael Brumage Amy Elliott

Michael James O'Neill

IN MEMORY OF

Kathleen Baker Kim Shirts

Richard Cave

IN MEMORY OF

Steve Carpenter IN HONOR OF

Henri Champagne William Mahan

IN MEMORY OF

Sue Ross Clark

Greg Parsons

IN MEMORY OF

Luwayne Engwall Sammons John M. McClelland IN MEMORY OF

Mayer D. Schwartz Anonymous

IN HONOR OF

Curtis T. Thompson, MD Kristin Stevens IN HONOR OF

Ryan Thorn

Jim and Linda Burch IN HONOR OF

Karen Vernier

Roberta August

Alberto Kelso Allen Koshewa

IN MEMORY OF

IN RECOGNITION OF

Rev. Lawrence R. King

Douglas Watkins

Tillie Rea

Laura Watkins

Guy and Sally Pope IN MEMORY OF

Francesca Bishop Clifford Imelda Dulcich IN HONOR OF

Marie Colasurdo Christine Colasurdo IN HONOR OF

Dandrea

Bernadette and Jeffrey Janisch IN MEMORY OF

Manuel Garcia Les Vuylsteke

IN HONOR OF

Carolyn J. Glass Anonymous

IN MEMORY OF

Nancy Glerum

M A DA M A B U T T E R F LY

Rolf Glerum

IN HONOR OF

Monte and Peggy Greer Susan Greer

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AS OF SEPTEMBER 16, 2019

POR TL ANDOPER A .ORG

YPS is Portland Opera’s under-40 social club for the arts.

www.pdx.net 503.972.7272 hello@pdx.net

Portland’s original wine storage facility

YOUR SUPPORT UNLOCKS ACCESS TO: Two $25 tickets to Thursday evening performances Invitations to the Young Patron lounge at intermission

portlandopera.org/ youngpatronsociety

306 SE Ash St, Portland OR 97214 503 231 1121

info@portlandwine.com

*mention Portland Opera & receive 1st month free*

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M A DA M A B U T T E R F LY

Access to special events

- full range of wine cellar services, including transport, inventory and custom racking - state-of-the-art climate control, security technology, and 24 hour access - hip client lounge & event space

POR TL ANDOPER A .ORG

Season Sponsors Portland Opera is proud to collaborate with community and business allies to create impactful relationships both regionally and nationally. We would like to recognize the generosity, advocacy, and support of the businesses, foundations, and organizations that comprise our list of vibrant sponsors and partners:

Thank you!

MAJOR SUPPORT IS PROVIDED BY: Barran Liebman LLP

The McGeady Family Foundation

Regional Arts & Culture Council,

The Collins Foundation

Meyer Memorial Trust

including support from the City of

Curtis T. Thompson MD & Associates

The National Endowment for the Arts

Portland, Multnomah County, and

The Hampton Family Fund

OPERA America |

the Arts Education & Access Fund

The James F. and Marion L. Miller Foundation

The Standard

The Harold & Arlene Schnitzer

Oregon Arts Commission

The Oregon Community Foundation

CARE Foundation

The National Opera Center

ADDITIONAL SUPPORT IS PROVIDED BY: Advanced Wealth Management

Lamb Family Foundation

Richard & Mary Rosenberg

The Autzen Foundation

M&T Bank

The Boeing Company

Miller Nash Graham & Dunn LLP

Rutherford Investment Management

Broadway Across America

The Monday Musical Club of Portland

Schnitzer Steel Industries, Inc.

EAI Information Systems

Norris Dermatology & Lasers NW

Stoel Rives

Fidelity Charitable Gift Fund

NW Natural

The Stoller Group

The Flowerree Foundation

Oregon Cultural Trust

Rose E. Tucker Charitable Trust

Ann and Gordon Getty Foundation

The Oregonian/OregonLive!

Umpqua Bank

The Hearst Foundation

The Outlander Foundation

Union Bank

Hoffman Corporation

PGE Foundation

U.S. Bank Foundation

Intel Volunteer Grant Program

Pride Foundation

Wave Form Systems

The Jackson Foundation

Pat & Trudy Ritz and

Wells Fargo

JEZ Foundation

Wheeler Foundation

Kerr Pacific Foundation

PSU Foundation

the Ritz Family Foundation

Charitable Foundation

Winderlea Vineyard & Winery

KeyBank

We would also like to recognize our corporate partners who encourage matching gifts or volunteerism through their employee programs, including: Bank of America

IBM

PGE

The Boeing Company

Intel

Rockwell Collins

Chevron Corporation

KeyBank

Tektronix

General Mills

Microsoft

The Standard

Hanna Andersson

Nike

US Bank

HP

NW Natural

IN-KIND PARTNERS INCLUDE: Elk Cove Vineyards

Radisson RED Portland Downtown

Anthropologie

Et Fille Wines

Raven & Rose

Argyle | The Official Sparkling Wine

The Mark Spencer Hotel

Remy Wines

Nel Centro

RingSide Steakhouse

Aria Portland Dry Gin

Ponzi Vineyards

Steven Smith Teamaker

Artslandia

Portland Internetworks

Utopia Vineyard

The Benson Hotel

Portland Piano Company | The Official

Water Avenue Coffee

Botanica Floral Design

Wildwood & Company

Cana’s Feast

Portland Wine Storage

of Portland Opera

Piano Sponsor of Portland Opera

Winderlea Vineyard & Winery

Elephants Catering & Events

M A DA M A B U T T E R F LY

200 Market Building

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POR TL ANDOPER A .ORG

ELISABETH JONES ART CENTER Fine art that actively supports the world you love and the social and environmental issues that concern you

A 4000 sq ft. art space that hosts exhibitions, events, and classes in Portland’s Pearl District.

10% to 50% of sales of all original artwork beneďŹ t an individual or organization working toward protecting the environment or supporting a particular human rights issue.

Wed - Sun 12 Noon - 5 pm and by appointment 503.286.4959 516 NW 14th Ave Portland, OR, 97209 elisabethjones.art

Image: Claire Duncan, Hesitant Attraction, Acrylic on hand-crafted Baltic birch panel

“Electrifying, brilliant theater at its finest!”

Sep. 28 – Nov. 24

Nov. 30 – Dec. 29

Three women tackle all the roles in this piercing, stripped-down adaptation of Shakespeare’s infamous tale of political gluttony.

This clever sequel to Jane Austen’s Pride and Prejudice puts Mary Bennet front and center as she endeavors to find independence and perhaps even love.

Feb. 29 – Apr. 5

Apr. 18 – May 17

This Broadway smash hit takes us inside the mind of an extraordinary boy trying to solve the murder of his neighbor’s dog.

The gorgeous heart of E.M. Forster through a playful 21st century lens!

Follow the Schlegel sisters as their lives are upturned by two very different men.

REDWOOD • HEDWIG AND THE ANGRY INCH • SCHOOL GIRLS; OR, THE AFRIC AN ME AN GIRLS PL AY • 9 PARTS OF DESIRE • C AMBODIAN ROCK BAND Portland Center Stage at

BUY TICKETS TODAY!

503.4 45. 3700

•

PCS.ORG

Photo: Cast members from In the Heights. Photo by Owen Carey.

We appreciate the art of great storytelling.

Cheers to the 2018 Portland Opera season.

THE A RGY LE TASTING HOUSE

What began as a conviction to grow world class Sparkling Wine in the Willamette Valley has grown into so much more.

Come experience Argyle.

Open Daily 11 AM - 5 PM ARGYLE TASTING HOUSE 691 HWY 99W - Dundee OR 97115 503.538.8520 For information about upcoming events visit argylewinery.com

Portland Opera Production History 2018–19

2010–11

2002–03

1993–94

1983–84

1973–74

La Traviata, Verdi As One, Kaminsky Big Night Concert The Barber of Seville, Rossini La Finta Giardiniera, Mozart In The Penal Colony, Glass

Pagliacci, Leoncavallo & Carmina Burana, Orff Hansel and Gretel, Humperdinck Turandot, Puccini L’Heure Espagnole & L’Enfant et les Sortilèges, Ravel

Il Trovatore, Verdi The Elixir of Love, Donizetti The Tales of Hoffmann, Offenbach A View from The Bridge, Bolcom

Carmen, Bizet Lucia di Lammermoor, Donizetti Man of La Mancha, Leigh Don Carlo, Verdi Die Fledermaus, J. Strauss, II

Lohengrin, Wagner Così fan tutte, Mozart Lucia di Lammermoor, Donizetti The Bartered Bride, Smetana

The Tales of Hoffmann, Offenbach La Bohème, Puccini Don Pasquale, Donizetti Ariadne auf Naxos, R. Strauss

2001–02

1992–93

1982–83

1972–73

La Traviata, Verdi The Pearl Fishers, Bizet Così fan tutte, Mozart The Consul, Menotti Candide, Bernstein

Eugene Onegin, Tchaikovsky The Elixir of Love, Donizetti Così fan tutte, Mozart La Traviata, Verdi

La Traviata, Verdi Wuthering Heights, Herrmann Girl of the Golden West, Puccini Die Fledermaus, J. Strauss, II

2000–01

1991–92

1981–82

Carmen, Bizet Madame Butterfly, Puccini Hansel and Gretel, Humperdinck Così fan tutte, Mozart Tristan und Isolde, Wagner

Carmen, Bizet Otello, Verdi La Bohème, Puccini Dialogues of the Carmelites, Poulenc La Belle Hélène, Offenbach

Samson and Delilah, Saint-Saëns Falstaff, Verdi Hansel and Gretel, Humperdinck The Daughter of the Regiment, Donizetti My Fair Lady, Lowe

Rigoletto, Verdi Eugene Onegin, Tchaikovsky The Abduction from the Seraglio, Mozart Manon Lescaut, Puccini

1999–00

1990–91

Aïda, Verdi Werther, Massenet Pagliacci, Leoncavallo & Carmina Burana, Orff The Cunning Little Vixen, Janácek The Mikado, Sullivan

Rigoletto, Verdi Salome, R. Strauss Manon, Massenet La Favorita, Donizetti Carousel, Rogers

2018 Die Winterreise, Schubert Big Night Concert Rigoletto, Verdi Faust, Gounod La Cenerentola, Rossini Orfeo ed Euridice, Gluck

2017 Songs of Love and War, Monteverdi Big Night Concert La Bohème, Puccini Man of La Mancha, Leigh Così fan tutte, Mozart The Difficulty of Crossing a Field and The Little Match Girl Passion, Lang

2016 The Magic Flute, Mozart Sweeney Todd, Sondheim Eugene Onegin, Tchaikovsky The Italian Girl in Algiers, Rossini

2014–15 Die Fledermaus, J. Strauss, II Carmen, Bizet Show Boat, Kern The Rake’s Progress, Stravinsky The Elixir of Love, Donizetti

2013–14 Big Night Concert Salome, R. Strauss Lucia di Lammermoor, Donizetti Postcard from Morocco, Argento The Pirates of Penzance, Gilbert and Sullivan

2012–13

2011–12 Big Night Concert The Marriage of Figaro, Mozart Madame Butterfly, Puccini Galileo Galilei, Glass Candide, Bernstein

La Bohème, Puccini Orphée, Glass Così fan tutte, Mozart Trouble in Tahiti, Bernstein, Il Ballo Delle Ingrate & Il Combattimento di Tancredi e Clorinda, Monteverdi The Barber of Seville, Rossini

2008–09 La Traviata, Verdi Fidelio, Beethoven The Turn of the Screw, Britten La Calisto, Cavalli Rigoletto, Verdi

2007–08 Carmen, Bizet Cinderella, Rossini Rodelinda, Handel Albert Herring, Britten Aida, Verdi

2006–07 Faust, Gounod The Return of Ulysses, Monteverdi Norma, Bellini The Flying Dutchman, Wagner The Magic Flute, Mozart

2005–06 Tosca, Puccini The Rape of Lucretia, Britten Macbeth, Verdi Nixon in China, Adams Don Giovanni, Mozart

2004–05 The Journey to Reims, Rossini Madame Butterfly, Puccini Street Scene, Weill The Abduction from the Seraglio, Mozart

2003–04 The Marriage of Figaro, Mozart Turandot, Puccini Lucia di Lammermoor, Donizetti The Barber of Seville, Rossini

1998–99 Rigoletto, Verdi Don Pasquale, Donizetti Faust, Gounod Julius Caesar, Handel

1997–98 Don Giovanni, Mozart Roméo et Juliette, Gounod Tosca, Puccini The Love for Three Oranges, Prokofiev The Student Prince, Romberg

1996–97 Madame Butterfly, Puccini The Merchant of Venice, Hahn The Magic Flute, Mozart Pagliacci, Leoncavallo & Carmina Burana, Orff

1995–96 Turandot, Puccini Der Rosenkavalier, R. Strauss Sweeney Todd, Sondheim Jenufa, Janàĉek The Marriage of Figaro, Mozart

1994–95

Aïda, Verdi Faust, Gounod Don Pasquale, Donizetti Lucy’s Lapses, Drobny Show Boat, Kern

1988–89 Tosca, Puccini The Pearl Fishers, Bizet Don Giovanni, Mozart The Merry Widow, Lehàr

1987–88 Roméo et Juliette, Gounod Madame Butterfly, Puccini Andrea Chénier, Giordano The Magic Flute, Mozart

1986–87 La Bohème, Puccini Der Rosenkavalier, R. Strauss Macbeth, Verdi Porgy and Bess, Gershwin

1985–86 The Tales of Hoffmann, Offenbach Pagliacci, Leoncavallo & Gianni Schicchi, Puccini The Marriage of Figaro, Mozart Turandot, Puccini

1984–85

Don Giovanni, Mozart Tosca, Puccini Die Walküre, Wagner Don Pasquale, Donizetti

1979–80 Madame Butterfly, Puccini Faust, Gounod Fidelio, Beethoven Il Trovatore, Verdi

1978–79 Norma, Bellini The Flying Dutchman, Wagner The Daughter of the Regiment, Donizetti La Bohème, Puccini

1977–78 Carmen, Bizet Elektra, R. Strauss The Magic Flute, Mozart Falstaff, Verdi

1976–77 The Consul, Menotti Werther, Massenet Cinderella, Rossini Die Meistersinger, Wagner

1975–76

La Rondine, Puccini The Marriage of Figaro, Mozart Tosca, Puccini Der Rosenkavalier, R. Strauss

1970–71 Cavalleria Rusticana, Mascagni, & Pagliacci, Leoncavallo Fidelio, Beethoven A Masked Ball, Verdi Don Giovanni, Mozart

1969–70 Aïda, Verdi The Barber of Seville, Rossini Lucia di Lammermoor, Donizetti The Magic Flute, Mozart

1968–69 Otello, Verdi The Flying Dutchman, Wagner Manon, Massenet Il Trovatore, Verdi

1967–68 La Bohème, Puccini La Traviata, Verdi Carmen, Bizet Rigoletto, Verdi

1966–67 Faust, Gounod Tosca, Puccini Madame Butterfly, Puccini

La Traviata, Verdi Life of Orestes, Krenek The Barber of Seville, Rossini Die Fledermaus, J. Strauss, II

1965–66

1974–75

Die Fledermaus, J. Strauss, II La Bohème, Puccini

Rigoletto, Verdi Der Freischütz, von Weber The Elixir of Love, Donizetti Salome, R. Strauss

The Bartered Bride, Smetana The Barber of Seville, Rossini

1964–65

The Barber of Seville, Rossini Carmen, Bizet A Masked Ball, Verdi Martha, von Flotow

75

La Bohème, Puccini The Flying Dutchman, Wagner The Tales of Hoffmann, Offenbach The Barber of Seville, Rossini Porgy and Bess, Gershwin

1989–90

1980–81

1971–72

M A DA M A B U T T E R F LY

Big Night Concert Don Giovanni, Mozart Tosca, Puccini Rinaldo, Handel Falstaff, Verdi

2009–10

POR TL ANDOPER A .ORG

2019/20 season —OCT/NOV 2019—

PUCCINI

MADAMA BUTTERFLY —FEBRUARY 2020—

FOUR ONE-ACT OPERAS

AN AMERICAN QUARTET —MARCH 2020—

VIVALDI

BAJAZET —MAY 2020—

A SPECIAL CONCERT

BIG NIGHT —JUNE 2020—

LEONCAVALLO

PAGLIACCI —JULY 2020—

HEGGIE

THREE DECEMBERS Single tickets start at $35.

Don’t miss a single moment.

Season subscriptions are still available.

PORTLANDOPERA.ORG | 503. 241.1802

A STATEMENT TO OUR AUDIENCES Since 1964, Portland Opera has contributed to the cultural, artistic, and economic landscape of the city and region that we love. Our commitment to our audiences and community has been, and remains, vital to our work and ability to thrive.

At this moment, we want to reaffirm our responsibility to this community—by presenting work that inspires our humanity and reflects our love for this art form.

It is true that the stories we tell often reflect a time, place, and society of the past. The actions and attitudes of the characters we present onstage do not always represent acceptable worldviews. We believe that revisiting these works of art remains a worthy enterprise, and that they can give us a unique opportunity to face history and the past—through dialogue and collaboration.

Let us be clear: there is no place for bigotry, discrimination, harassment, hate, intolerance, or violence at Portland Opera.

We remain committed to welcoming people of all abilities, ages, ethnicities, gender identities, nationalities, races, religions, sexual orientations, and socioeconomic backgrounds to Portland Opera.

We believe that opera can unlock our hearts, and deepen our understanding of our shared human experience. We invite you to join us.

portlandopera.org/values

GENERAL AUDIENCE INFORMATION & RESOURCES Concierge Services

Stop by the concierge booth in the main lobby to say hello. Our complimentary concierge services are designed to make sure your visit to Portland Opera is an excellent one. We can assist with opera etiquette, history, dining recommendations, directions, and more. Our concierge can also be reached at 503-241-1407 and concierge@portlandopera.org.

Late Seating Policy

Late seating is not available for Portland Opera performances, and re-entry during the performance is not permitted. Patrons arriving late or leaving the theater during the performance will be reseated at intermission.

Photography and Cell Phone Use

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M A DA M A B U T T E R F LY

The use of cameras, phones, and other recording devices is strictly prohibited during performances. We welcome you to take photos at intermission and share photos using the hashtag #pdxopera and tagging @portlandopera.

Continue the Conversation

Before the first act, join us for a free lecture one hour before the performance. Experts and artists provide context and unique insights into the world of the opera.

After the performance, join us for a post-show conversation with company and cast members about our work.

POR TL ANDOPER A .ORG

Security, Food, and Beverage

In order to ensure patron safety, security is present at all performances and all attendees must have tickets. All firearms and weapons are prohibited. Bags are subject to search.

Oversized bags will not be permitted in the theater. You may bring drinks into the theatre—as long as they are covered with lids and purchased at the theatre. Food is not permitted.

Accessibility & Interpreted Performances The performance on October 27 will include a live audio description of the visual and physical events onstage for patrons who are blind or have low-vision.

Call 503-241-1802 for more information.

If you require wheelchair accessible and/or companion seating, or have any other hearing or vision needs, please let us know when you reserve your tickets so that we can make sure your visit to the theatre is an excellent one.

Portland Opera does not typically offer ASL Interpreted performances, as each performance is accompanied by English captions/surtitles.

Please note that dates, times, company, and cast members are subject to change.

The Hampton Opera Center at 211 SE Caruthers St. houses our administrative, production, and rehearsal operations, as well as All Classical Portland Public Media and Friends of Chamber Music.

The Keller Auditorium box office opens two hours prior to the performance.

Administrative Offices: 503-241-1407 Patron Services: 503-241-1802 www.portlandopera.org Monday–Friday, 10am–5pm

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