Toi Toi Toi - Portland Opera 2018/19

A MAGAZINE FOR PORTLAND OPERA / 2019 ISSUE

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SECTION NAME

CONTENTS PORTLAND OPERA 11

13 15 17 74 76 86 88 90 92 120 122

Message from Portland Opera & Artslandia Message from the General Director Message from the Board President Meet Portland Opera Resident Artists Season Artist Biographies Orchestra Chorus Production & Stage Crew Staff & Board Production History General Audience Information & Resources

COMMUNITY

2018/19 SEASON 22 24 42 46 54 62

La Traviata As One Big Night The Barber of Seville La Finta Giardiniera In the Penal Colony

96 104 105 107 108 110 114 116 118 121

Contributors Partners Corporate Award Season Sponsors Opera a la Cart Portland Opera To Go Volunteers Legacy Society Young Patron Society Restaurant & Hotel Picks, Wine Partners

FEATURED 32 41 45 68 94 106 112 115

Always in Transition Orchestra Spotlight Backstage Spotlight Through a Glass, Darkly Chorus Spotlight Donor Spotlight Sponsor Spotlight Volunteer Spotlight

211 SE Caruthers St., Portland, OR 97214 PORTLANDOPERA.ORG

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ARTSLANDIA.COM

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The Hampton Opera Center

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Toi, Toi, Toi!

/ toy toy toy / an operatic good luck We are delighted to release our second edition of Toi, Toi, Toi! Last season, we created this new magazine in celebration of the community that produces, builds, supports, performs, and enjoys the magic of opera.

But what does “toi, toi, toi” mean?

Theater has historically been steeped in superstition, and you may know it is considered bad luck to say “good luck” backstage. Actors say “break a leg!” Dancers say “merde!” In opera, we say “toi, toi, toi!”

We don’t know exactly where it came from, but most people believe the phrase is adapted from the tradition of spitting to ward off evil spirits. The old practice has developed a modern edge, and it is now common to see the phrase as a signoff on an email or attached to a hashtag on social media (#toix3!).

There is an inherent joy in this operatic wellwishing that we hope this magazine embodies.

We’ve filled these pages with stories—stories that show the wide range of people who come together to bring the magic of the opera experience to life. This magazine is about you, our community, and we hope you’ll find yourself reflected in the pages ahead.

Cheers!

Portland Opera + Artslandia

PORTL AND OPERA MAGAZINE CONTRIBUTORS SUE DIXON Director of External Affairs ANDREA TICHY Associate Director of Marketing & Audience Development SIL JA TOBIN Marketing & Communications Manager GARRICK ANTIK A JIAN Graphic Designer

ASSOCIATE PUBLISHER + MEMBERSHIP MANAGER Katrina Ketchum MANAGING EDITOR Kristen Seidman MEDIA DIRECTOR Chris Porras SALES DIRECTOR Lindsey Ferguson DESIGNERS Lisa Johnston-Smith Dan Le Jackie Tran ARTSL ANDIA BOX MANAGER Bella Showerman PUBLISHER’S REPRESENTATIVE Nicole Lane PUBLISHING COORDINATOR Sara Chavis NEW BUSINESS ASSOCIATE Ashley Coates PHOTOGRAPHERS Christine Dong Max McDermott PODCAST HOST Susannah Mars CONTRIBUTING WRITER Brett Campbell Toi Toi Toi is a magazine for Portland Opera.

Published by Rampant Creative, Inc. ©2019 Rampant Creative, Inc. All rights reserved. This magazine or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher.

Rampant Creative, Inc./Artslandia Magazine 6637 SE Milwaukie Ave., Suite 206, Portland, OR 97202

ALEXIS HAMILTON Manager of Education & Outreach A R T S L A NDI A .COM

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JEN WECHSLER Marketing & Communications Coordinator

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CELESTE MILLER Grants & Advocacy Manager

PUBLISHER + FOUNDER Misty Tompoles

PORTL AND OPER A

MESSAGE FROM PORTL AND OPER A & ARTSL ANDIA

Portland Opera presents

SEPTEMBER 14, 2019 | 6PM at The Portland Art Museum

Featuring two-time Tony Award-winning actress, singer, and star of TV Land’s “Younger”

SUTTON FOSTER To learn more, please contact Angela Glabach-Vu, Donor Relations Manager 503.417.0601 | aglabach@portlandopera.org

PortlandOpera.org/gala

PORTL AND OPER A

MESSAGE FROM THE GENER AL DIRECTOR

Christopher Mattaliano Welcome to Portland Opera! Thank you for being here.

The 2018/19 season is one of the most well-balanced and varied seasons we have programmed here at Portland Opera, with works spanning 239 years. From Mozart’s rarely performed La Finta Giardiniera, which premiered in 1775, to Laura Kaminsky’s As One, which premiered in 2014, this season exemplifies our mission of celebrating the breadth of opera. Together with Verdi’s powerhouse La Traviata, which launched as our new fall classic opera in November, Rossini’s fun-filled comedy The Barber of Seville, and Philip Glass’ imagining of Kafka’s short story In the Penal Colony, this season has something for all opera lovers.

We couldn’t be where we are today without the work of a multitude of people. I extend my heartfelt thanks to all of the sponsors and donors whose funding makes it possible to bring these works to the stage; to the designers, directors, artisans, craftspeople, and stagehands who create the beautiful worlds for these pieces to live in; to the orchestra musicians, chorus members, Resident Artists, and soloists whose talent and hard work bring the composers’ music to life; and to the staff, volunteers, and Board of Directors whose tireless work makes what we do possible.

And most of all, thank YOU.

Our audiences are at the core of our mission, and we are grateful that you choose to spend your time with us.

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Christopher Mattaliano General Director, Portland Opera

Photo: Max McDermott, Artslandia.

Each opera in this season brings us on a journey— whether that journey is across land, into the arms of love, or an internal journey into self-acceptance and belonging.

These stories inspire us time and time again. We can’t wait to continue sharing these moments with all of you.

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EIGHT NORTHWEST ARTISTS EXPLORE PLACE AND BOUNDARIES

THROUGH MAY 5

PORTL AND OPER A

MESSAGE FROM THE BOARD PRESIDENT

Curtis T. Thompson, md Dear Friends, Welcome to Portland Opera!

Our 2018/19 season began with grand opera in every sense, from Verdi’s lush tones rising from our expert orchestra, to the signature chorus numbers of La Traviata’s party scenes, to Violetta’s vivacious and captivating nature. And those ball gowns! What a stunning way to welcome opera back to the fall.

Now, we celebrate the rest of our season. I am particularly proud that this company is staging Laura Kaminsky’s As One in its Oregon debut. As a business owner and community member, I am a strong supporter of our local LGBTQ+ organizations.

I understand the challenges faced by the trans community on a day-to-day basis, and I am honored that two causes in which I am personally invested are aligned with this special piece.

Our season continues with the balanced repertoire and artistic variety that has defined Portland Opera’s work since the very beginning—from the classic comedy The Barber of Seville, to the undiscovered Mozart gem La Finta Giardiniera, and an exploration of the nature of justice and mercy in Philip Glass’ In the Penal Colony.

We face many uncertainties in our current political climate.

Between the new tax code, civil liberties at stake, and threats to local and national funding for the arts, there are myriad important issues and conversations happening at the local and national level. I hope you will continue to be proud of the work we are doing as your opera company, and that we can be a respite from everyday worries in your life while presenting stories and characters that are relevant and relatable.

We are actively working to be a better partner, listener, and stakeholder in our community.

We recognize that opera is more than simply entertainment for you. That’s what makes us uniquely Portland. Your support as a volunteer, a ticket purchaser for you or a group of underserved high school students, or a contribution to any part of Portland Opera’s education and engagement initiatives mean so much to us.

Thank you for being a part of the Portland Opera family.

I look forward to seeing you at the opera soon!

Warmest regards,

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Photo: Loma Smith.

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Curtis T. Thompson, MD Board President, Portland Opera

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Big Night Concert. Photo: Cory Weaver.

Photo: Cory Weaver.

Laura Beckel Thoreson as Tisbe and Helen Huang as Clorinda in Rossini's La Cenerentola. Photo: Cory Weaver.

Live simulcast of La Cenerentola. Photo: Garrick Antikajian.

Barry Banks as the Duke in Verdi's Rigoletto.

Photo: Cory Weaver.

Meet Portland Opera

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Portland Opera exists to inspire, challenge, and uplift our audiences by creating productions of high artistic quality that celebrate the beauty and breadth of opera.

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Sandra Piques Eddy as Orfeo in Gluck’s Orfeo ed Euridice. Photo: Cory Weaver.

Audience members attend opening night of La Traviata.

Portland Opera’s 2018 Big Night Concert.

Photo: Trace Downen.

Photo by Cory Weaver/Portland Opera.

A scene from Gounod’s Faust. Photo: Cory Weaver.

Cinderella Sing-a-long. Photo: Garrick Antikajian.

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Alfred Walker as Méphistophélès in Gounod’s Faust. Photo: Cory Weaver.

Over the last half century, Portland Opera has staged nearly 250 opera productions in seven languages—including world, American, North American, and West Coast premieres. Over the last decade, the company has brought opera to over 230,000 students through its Portland Opera To Go program and continues to share programming through the mobile music venue, Opera a la Cart, and an annual live simulcast outside of the Newmark Theatre.

David Adam Moore stars in Schubert’s Winterreise. Photo: Cory Weaver.

P

ortland Opera produces both classic and contemporary works, which are performed in the Keller Auditorium, Newmark Theatre, and The Gregory K. and Mary Chomenko Hinckley Studio Theatre at the Hampton Opera Center.

All performances are sung in the original language with projected English captions.

Angel Blue as Marguerite in Gounod’s Faust. Photo: Cory Weaver.

Rossini’s La Cenerentola. Photo: Cory Weaver.

Aurelia Florian as Violetta in Verdi’s La Traviata. Photo: Cory Weaver.

A scene from Gluck's Orfeo ed Euridice. Photo: Cory Weaver.

Guests attend the opening night of Rigoletto. Photo: Trace Downen.

Touring opera companies filled Portland theaters as far back as the 1860s, but Portland Opera as we know it today was born on the stage of Madison High School on November 7, 1964, with a production of Johann Strauss II’s Die Fledermaus. This first season also included Puccini’s beloved masterpiece, La Bohème, which has been the most performed opera in the company’s history.

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As the years went on, Portland Opera continued to grow and expanded to new venues throughout the city. From Madison High School, the company moved to the Keller Auditorium in 1968, then called the Portland Civic Auditorium, just four years after its inaugural season.

The company also had deep roots in Washington Park, giving performances in the Rose Garden Amphitheater for several years. In July 2003, the company moved into its new Eastside facility—the Hampton Opera Center —where music and staging studios, coaching facilities, costume shop, and administrative offices are all housed under one roof. In 2009, the company staged its first opera in the 850-seat Newmark Theatre. The Gregory K. and Mary Chomenko Hinckley Studio Theatre at the Hampton Opera Center was dedicated in 2017. The use of multiple venues gives Portland Opera great versatility in fulfilling the breadth of its mission with grand works, intimate chamber pieces, new operas, and the great classics.

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Opera a la Cart. Photo: Jonathan Ley. Opening night of Rigoletto. Photo: Trace Downen.

Students attend a performance of Portland Opera To Go’s The Barber of Seville.

Photo: Garrick Antikajian.

Jorge-Phillipe Belonni Rosario as Figaro in Portland Opera to Go’s The Barber of Seville. Photo: Garrick Antikajian.

Carolyn Kuan conducting Rossini's La Cenerentola.

Photo: Cory Weaver.

Sandra Piques Eddy as Orfeo and Lindsay Ohse as Euridice in Gluck’s Orfeo ed Euridice. Photo: Cory Weaver.

Former Portland Opera Board Member, Ruth Poindexter.

Photo: Trace Downen.

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In addition to sharing the beauty and breadth of opera with the community, the company has also served as a pioneer in the field:

1984

1994

1997

2005

2016

Portland Opera became the second American opera company to utilize projected English translations above the stage. Known as “surtitles,” these projections allow audiences to understand the opera without requiring them to know the language in which it is being sung.

Portland Opera became the first American opera company to present a subscription series of nationally touring Broadway shows. The Broadway in Portland series continues today, bringing the best of Broadway to the Portland community.

Portland Opera played a role in the founding of Portland’s celebrated dance company, BodyVox, which developed out of the dance troupe assembled for the double bill of Pagliacci and Carmina Burana.

The company established the Portland Opera Resident Artist program, providing a bridge from the conservatory to the professional opera world for promising young singers. More than 400 singers audition each year for the four two-year residencies. Program alumni have won opera’s most prestigious competitions and are performing on some of opera’s largest stages.

Portland Opera staff members worked with architecture students from Portland State University to design and build Opera a la Cart, a mobile music venue that brings live opera performance directly into community spaces where people gather.

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Inspired by Family Your home is where life happens. Rosy-cheeked babies are born.

Children grow into adulthood. Beloved grandparents age. We are inspired to meet these ever-changing needs with creative design, skillful restoration and historically appropriate remodeling.

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Giuseppe Verdi

Libretto by Francesco Maria Piave

Conductor CHRISTOPHER LARKIN Choreographer & Assistant Director SETH HOFF Chorus Master NICHOLAS FOX

Stage Director ELISE SANDELL

Costume Designer CHRISTINE A. RICHARDSON Production Stage Manager JON WANGSGARD

THE CAST

Lighting Designer MARK STANLEY * Principal Accompanist JOEL AYAU

in order of vocal appearance

Violetta Valery, a courtesan AURELIA FLORIAN * Flora Bervoix, friend of Violetta CAMILLE SHERMAN * +

Giuseppe, a gardener JOSEPH M. MUIR

Marquis D’Obigny GEOFFREY SCHELLENBERG *+

A Messenger ANDRÉ FLYNN

Baron Douphol, rival of Alfredo DANIEL MOBBS

Giorgio Germont, father of Alfredo WESTON HURT

Doctor Grenvil DAMIEN GETER

Flora’s Servant ERIK HUNDTOFT

Gastone, Count of Letorières DAVID WARNER Alfredo Germont, lover of Violetta JONATHAN BOYD

Annina, Violetta’s maid HELEN HUANG +

* Portland Opera Debut + Member of the Portland Opera Resident Artist Program

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PORTLAND OPERA APPRECIATES THE CONTINUING SUPPORT OF MEYER MEMORIAL TRUST, THE JAMES F. AND MARION L. MILLER FOUNDATION, THE OREGON ARTS COMMISSION, AND THE REGIONAL ARTS AND CULTURE COUNCIL. PORTLAND OPERA IS A MEMBER OF OPERA AMERICA. LA TRAVIATA WAS SPONSORED BY:

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BARRAN LIEBMAN LLP AND ET FILLE WINES.

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Sterling singing and strong direction distinguish Portland Opera's latest production of Verdi's tragic perennial.”

NOV EMBER 2 018 2

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Keller Auditorium

Starts at 2 PM

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Starts at 7:30 PM

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Aurelia Florian as Violetta in La Traviata. Photo: Cory Weaver.

—Bruce Browne, Oregon Arts Watch.

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Laura Kaminsky

A chamber opera for two voices and String Quartet Music & Concept by Laura Kaminsky Libretto by Mark Campbell & Kimberly Reed Film by Kimberly Reed By arrangement with Bill Holab Music As One was commissioned and developed by American Opera Projects (AOP)

Conductor & Stage Director ANDREAS MITISEK * Set & Costume Designer ANDREAS MITISEK *

Lighting Designer CONNIE YUN

Film Designer KIMBERLY REED *

Assistant Conductor NICHOLAS FOX

Principal Accompanist JESSICA HALL

Production Stage Manager JON WANGSGARD

Assistant Director CAMBRIA HERRERA *

* Portland Opera Debut

Scenery, costumes, and props created by Portland Opera.

English captions written and produced by Mark Campbell.

Late seating is not available for Portland Opera performances, and re-entry during the performance is not permitted. Recording equipment, cameras, and personal phones are prohibited.

PORTLAND OPERA APPRECIATES THE CONTINUING SUPPORT OF MEYER MEMORIAL TRUST, THE JAMES F. AND MARION L. MILLER FOUNDATION, THE OREGON ARTS COMMISSION, AND THE REGIONAL ARTS AND CULTURE COUNCIL. PORTLAND OPERA IS A MEMBER OF OPERA AMERICA.

CURTIS T. THOMPSON, M.D., & ASSOCIATES, LLC

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THIS PRODUCTION WAS MADE POSSIBLE BY GENEROUS GIFTS FROM:

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Performed in English with projected English captions

1 hour 15 minutes one act no intermission

M ARCH 2 019 Premiere

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Newmark Theatre

Portland Opera Premiere Starts at 7:30 PM

Starts at 2 PM

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March 22, 2019

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September 4, 2014 Brooklyn Academy of Music Fisher Center, New York

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

www.cta-lab.com

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THE CAST

in order of vocal appearance

Hannah Before LEE GREGORY * Hannah After ​H ANNAH S. PENN ^ LEE GREGORY.

* Portland Opera Debut ^ Alumna of the Portland Opera Resident Artist Program Biographies of artists begin on page 74.

WITH THE PORTLAND OPERA ORCHESTRA Violin I ​M ARGARET BICHTELER Violin II ​N ELLY KOVALEV Viola ​H ILLARY OSEAS

HANNAH S. PENN.

Cello ​DYLAN RIECK

As One film direction and film by Kimberly Reed, commissioned by AOP. As One premiere was made possible in part with funding from BAM/DeVos Institute of Arts Management at Kennedy Center Professional Development Program, OPERA America’s Opera Discovery Grants for Female Composers Program, supported by Virginia B. Toulmin Foundation, New York State Council on the Arts, National Endowment for the Arts (NEA) Art Works, The Andrew W. Mellon Foundation, Bronx Council on the Arts, Purchase College Development Fund, Tanner Fund at Utah State University, Jeremy T. Smith Fund, Dr. Coco Lazaroff, Lynn Loacker, Judith O. Rubin, and many generous individuals.

PART I: In “Paper route,”

Hannah rides around her suburban neighborhood delivering newspapers and revels in her more feminine impulses. Her youthful challenges in conforming to gender norms are related in “Cursive,” “Sex ed,” “Entire of itself,” and “Perfect boy”—in such disparate subjects as handwriting, sex, a John Donne poem, and exemplary male behavior. However, in “To know,” she discovers that she is not alone in the world and seeks understanding about herself at a local library.

PART II: During her college years, Hannah struggles with her bifurcated existence in “Two cities” but also encounters the joy of being perceived as she wishes in “Three words.” In “Close,” she has made the decision to undergo hormone therapy and briefly suffers its vertiginous effects before feeling at one with her own body.

“Home for the holidays,” “A Christmas story,” and “Dear son” all occur around the Christmas season and relate Hannah’s growing distance to her family and her past, which is countered by an immediate connection with a stranger in a local café. In “Out of nowhere,” Hannah escapes a harrowing assault that prompts her to find a link to the larger trans community and end her self-imposed alienation. Reacting to the conflicting voices in her head, she finally resolves to escape in the fragment, “I go on to…”

PART III: “Norway.” In this extended aria, Hannah finds, in nature, solitude, and self-reflection, the simple yet surprising equation that will help her achieve happiness.

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ANDREAS MITISEK.

Special thanks to Trans Affirming Spaces, communications and community consultant for As One:

SYNOPSIS

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MAKING AS ONE

by Alexis Hamilton

E

very once in a while, a piece is written that strips away all of our preconceived notions about what opera is supposed to be and presents us with the essence of an opera—a play that is sung. As One, by composer Laura Kaminsky and her collaborators, filmmaker Kimberly Reed and librettist Mark Campbell, is such an opera. As One is not only an opera set in our time, but it addresses pressing and urgent contemporary themes, specifically one transgender person’s story of self-actualization. The vehicle for this story is an utterly relatable score, the elements of which reflect the emotional state of its singular character. Though two singers portray her, Hannah is one person. The success of the production as a work of art rests both in its specificity and its universality. The universal question at its center is, as Kaminsky puts it, “What is the core of one’s self?”

Trying to be what you really are is the challenge.

For many of us, the story of a transgender person may be unfamiliar territory—even in the liberal bastion of Portland.

It is important for us as an audience to remember that Hannah’s is one transgender person’s story. There are myriad others. As One tells us one unique person’s experience and reminds us that opera is an art form as unique and adaptable as the human beings whose stories it tells. We humans thrive on stories—we learn empathy, compassion, and truth through them. Opera is a wonderful medium for reflecting the core of who and what we are as we vicariously experience the story of another. As One succeeds as an opera because it tells one person’s story while showing us our shared humanity.

—Laura Kaminsky, composer of As One in an interview with Keith Powers.

The origin of Kaminsky’s opera was complicated and serendipitous. Prior to her experience with As One, Kaminsky was primarily a composer of instrumental works.

It wasn’t until she met Charles Jarden, general director of American Opera Projects, that she found herself drawn more toward opera as a genre. Even so, she didn’t have an outlet for her interest.

In 2005, Kaminsky married her partner, Rebecca Allen.

They had to travel to Canada to do so, since same sex marriage was illegal in the U.S. at that time. Marriage equality was, therefore, foremost in Kaminsky’s mind when she by chance read an article in The New York Times about a married heterosexual couple with two children in New Jersey.

What had this to do with marriage equality? As Kaminsky recalled in an interview with Christopher Henley, “The husband was beginning to transition to the woman she really was. If, in fact, ‘he’ became a woman, and the couple stayed together [which they planned to do], would they lose all the rights and protections they had had for 20 years? And I thought, ‘Oh, my God. This is such an opera.’”

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Kathleen Behnke, Anchorage Opera.

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The questions brought into focus by the article began to swirl around in Kaminsky’s head.

What is the nature of “self?”

How does becoming one’s true self affect both the self and those around them? How do people renegotiate their relationships?

In 2008, Kimberly Reed’s film Prodigal Sons opened. The movie is a documentary telling Reed’s personal story of transitioning from the overachieving son of Carol and Loren McKarrow and Montana high school football hero to the confident, successful woman and filmmaker Kimberly Reed. The story is told via Reed’s 20th high school reunion, which she attended after her transition. When Kaminsky saw the film, she was so moved that she knew she had to track Reed down and talk to her about the opera project that was struggling to germinate.

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The questions were the seed of an operatic idea, but there was no pot to plant it in yet. Kaminsky got the glimmer of a path forward when she developed the concept of one character performed by two singers.

The singers were baritone Kelly Markgraf and mezzo-soprano Sasha Cooke, both of whom Kaminsky had worked with before. The character was “transitioning from the young boy to the adult woman she becomes.” It was a good idea as far as it went. It lay dormant for a year while Kaminsky continued to think about it but remained unsure where to begin.

And then, she went to the movies.

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Kaminsky wrote to Reed and described her idea. Reed shared her enthusiasm for the project, and the two clicked.

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By this time, Kaminsky knew that her opera would involve limited forces— an intimate story demands an intimate telling—two voices, one character, and a string quartet. Now that she had met Reed and heard her story, Kaminsky knew that film would be another element of the piece. Film would be an integral part of the storytelling, becoming the scenery and providing psychological insight by expanding and commenting on the internal landscape of the protagonist’s character. But they still needed words from which to hang the music.

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<<< CONTINUED FROM PAGE 29

Soon after Reed and Kaminsky were well underway with the project, Kaminsky sat on a panel with Mark Campbell, one of the most celebrated librettists in the United States. When Kaminsky shared her opera idea with him, Campbell was intrigued and offered to join the collaborative team. Knowing that synergy between the three artists would be key to the success of the project, Kaminsky arranged a meeting, which she later described as “electric.”

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After that meeting, things went pretty quickly. The libretto was completed in 2013, and the opera opened in September 2014 at the Brooklyn Academy of Music. The reviews were universally positive, and in the last four years, the opera has enjoyed 20 productions in houses from Opera in the Avalon in Newfoundland, to Seattle Opera, to Hawaii Opera Theatre. It is not hard to understand why.

The Chicago Tribune summarized it well. “As One makes the character’s coming to terms with her identity a poignant coming-of-age story just about every audience member can relate to. Its universality is key to As One’s becoming the hottest new American opera of recent years. It challenges us to ponder questions of authenticity, identity, compassion, and self-love.”

Alexis Hamilton is the Manager of Education and Outreach for Portland Opera.

"AS I AM" EXHIBITION

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To celebrate the Portland premiere of As One, we have teamed up with award-winning photographer Gia Goodrich to commission a series of portraits and interviews featuring transgender members of our community. This project was created to help celebrate their stories and voices. The gallery of portraits is available for public viewing in the Antoinette Hatfield Hall through March 30, 2019 (as well as during performances of As One).

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Portraits sponsored by:

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F E AT U R E D

F E AT U R E D

The synergistic evolution of Kimberly Reed’s storytelling from autobiographical filmmaker to co-librettist and film designer of a videoenhanced, fictional opera.

®

BY BRETT CAMPBELL

W

hen k imberly reed was growing up in Helena, Montana, “it was hard to be an opera fan,” she remembers. There were no major opera companies around, but she did have one portal to opera.

“My father listened to the Metropolitan Opera every Saturday on Montana NPR, and I was right there with him,” Reed recalls. “My dad loved Turandot. He was a farm boy who went to school in St. Louis and saw a couple of operas that changed his life, and that got passed down to me.

[Opera] was always there—it was part of me growing up.”

Reed, who’s co-librettist and video projection designer for As One, didn’t grow up to be an opera singer. Instead, she gravitated to filmmaking—which “just seems like the same discipline as opera—the roots are apparent if you go back in history. Film grew out of theatrical presentation.”

Now, with her chamber opera As One (which is partly autobiographical) and other projects, Reed is making the transition from filmmaker to opera maker — the latest in a lifetime of transitions that inspired As One, which the Chicago Tribune called “the hottest new American opera of recent years.”

Reed’s acclaim as a filmmaker emerged after her award-winning 2008 autobiographical film Prodigal Sons, which told the story of Reed’s return to Montana, where her great-grandparents had homesteaded the family farm. It shows Reed attending her 20-year class reunion at the high school where she’d starred as a quarterback—as a trans woman. It also depicted family drama like her turbulent relationship with her troubled brother, the surprising discovery of a family connection to Orson Welles, and much more.

Composer Laura Kaminsky approached Reed with the idea of creating a film based on her life that Kaminsky would score. But Reed wanted As One to be different. “Prodigal Sons was autobiographical, and I was tired of talking about myself,” she explains. “I was wanting to move in different directions, thinking of creative ways to abstract my personal experience out of the foundation of what became As One.” As the project evolved into an opera, they brought on renowned librettist Mark Campbell to co-create the text with Reed, who’d never before written an opera libretto. Kaminsky then composed musical settings for the 15 scenes.

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Kathleen Behnke, Anchorage Opera.

Named one of Filmmaker magazine's “25 New Faces of Independent Film,” Reed has used her position as the first commercially released transgender filmmaker to tell compelling stories onscreen rather than onstage. After college at the University of California, Berkeley and earning a master’s degree in cinema at San Francisco State University, she worked as a film and video editor in San Francisco and an editor at Digital Film magazine, before moving to New York to make her own films. Her work has been

featured in national outlets such as The Oprah Winfrey Show, CNN, NPR, and The Moth Radio Hour, leading to fellowships with New York Foundation for the Arts, Community of Writers at Squaw Valley, and Yaddo artists’ community. Her recent documentary Dark Money earned wide accolades for its portrait of how corporations corrupted her home state’s democratic elections.

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The story traces the journey of its fictional protagonist, Hannah, from her small-town origins to college to various encounters (some dangerous) and, finally, to a new country, where she arrives at crucial realizations about her own life.

Two singers, a mezzo-soprano and a baritone, share the role of Hannah. Her transitions in space and time are depicted in Reed’s films, projected across five screens that transport the character to different settings.

VISUAL STORYTELLING

Kimberly Reed (left in both photos), Laura Kaminsky, and Mark Campbell.

Telling such an intimate, single character story posed a dramatic challenge in a genre known for melodrama, political and military conflict, and other splashy subjects. The team wanted to avoid making a “message opera”—the word “transgender” never appears.

“In some ways, the subject matter is not operatic,” Reed acknowledges. “There aren’t these characters that are larger than life, emblematic, working out these huge battles with enormous stakes. We both had a sensibility grounded in the real, accessible, modern day, quiet dramas we all go through in our lives. The challenge of finding the drama in these quieter

scenes was what we were up against in this piece. It breaks some rules in that so much of the drama is internal.”

Over a year of discussions, Reed and Campbell ultimately developed 15 scenes “that felt like arias” to comprise Hannah’s character arc. Reed’s stylistically varied projections—sometimes realistically depicting a place, sometimes surreal, sometimes abstract—serve different functions. “Sometimes they underline a time and place realistically,” she says, “other times they operate in more surreal fashion, and in others, the role of the video is to provide commentary—other ways of elucidating the music and text you’re experiencing. The artistic design of the visual elements of the production has a shifting and transitioning role from scene to scene.” Reed strove to ensure that the visuals did not distract from the onstage action.

One scene, “Cursive,” depicts abstract representations of handwriting that becomes increasingly free throughout the opera. “In ‘Paper route,’ the idea is for people to feel like they’re riding a bike,” Reed explains, “in that innocent frame >>> CONTINUED ON PAGE 36

DIRECTOR’S CHOICE

April 11-14, 2019 | Newmark Theatre

PERFORMANCE INCLUDES: BringingOutsideIn

Jardí Tancat

Gioconda Barbuto / Owen Belton, Sarah Neufeld, Gabriel Prokofiev & Peter Gregson

Nacho Duato / Maria del Mar Bonet

Presto

Nicolo Fonte / Franz Liszt & Franz Schubert Featuring pianist Hunter Noack

Nicolo Fonte / Ezio Bosso

Giants Before Us

Four works, one incredible performance, plus a poignant farewell

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Four of our most loved contemporary works, curated by Artistic Director Kevin Irving, in an ambitious and intimate program. Join us in celebrating the career of principal dancer Chauncey Parsons, who retires after eleven seasons with the company.

Tickets start at $29 503.222.5538 | OBT.ORG

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Chauncey Parsons | Photo by Blaine Truitt Covert

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F E AT U R E D

Now I live in two cities Adjacent to each other. To one I bring The outward trappings of femininity In a small bag And drive across The bridge that connects them.

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Kathleen Behnke, Anchorage Opera.

â&#x20AC;&#x201D;An excerpt from the aria "Two cities" in Part II of As One.

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of mind,” while “Sex ed” spoofs the educational films of the 1950s. The visual and musical freneticism of “Perfect boy” reflects how “the perfection that Hannah is trying to attain in the aria is unattainable, for good reason,” Reed says.

“It’s designed to be almost impossible to sing right.”

Reed traveled to Norway to film the sequence of that name and shot “Two cities,” in which a drive between two metro areas becomes a metaphor for the experience of gender, on San Francisco’s Golden Gate Bridge.

Now I live in two cities Adjacent to each other. To one I bring The outward trappings of femininity In a small bag And drive across The bridge that connects them.

Using video rather than props to set the scenes is “much more flexible creatively,” than fabricating sets and employing standard props, she says. “If you were building sets, you’d find yourself more constrained because of the practicalities of production.” They also make As One portable and affordable to smaller

Kathleen Behnke, Anchorage Opera.

F E AT U R E D

<<< CONTINUED FROM PAGE 34

companies—one reason why, since its 2014 premiere, it’s become the most produced new opera in North America.

in song and text. That’s almost always self-reflective—and that’s what Hannah’s journey is all about.”

SELF-REFLECTIONS

Nature doesn’t always comply With our wishes.

Nature just is. …

And here, On my self-imposed island, I connect with the universe.

And the universe tells me: “You are an idiot.

It’s a very simple equation: You are not happy.

You can be happy.”

Despite As One’s intimate storyline and 21st-century projection tech, Reed believes it’s ideally suited for opera.

“I think that opera lends itself to selfreflection,” she muses. “Think of almost any aria where the scene clears out, and the world drops away, and we have one character expressing their emotions

spring awakens at lan su TOI TOI TOI

Shake the cold, gray days with fragrant colorful blooms, beautiful scenery and more at Lan Su Chinese Garden — Portland’s most stunning garden located in the heart of the city.

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www.lansugarden.org/lansuinbloom POR TL ANDOPER A .ORG

Looking back on my life and how I dealt with my journey, it just made it easier to forgive myself for not understanding some stuff right away—to give myself a break.

As One has inspired audience members to similar insights. The opera has earned critical raves from The New York Times, Los Angeles Times, San Francisco Classical Voice, The Washington Post, The Seattle Times, and more. Reed has seen its effect on audiences in previous productions.

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“My favorite part of this whole process is seeing that people are affected by this art,” she says. “This story about growing and changing is a fundamentally human story that so many people relate to. Some people relate to it on the plane of gender; sometimes they don’t, but we all go through that process. In the processing of As One, hopefully, what happens is that audiences replicate the transformation that Hannah undergoes. To watch that happen, to see it in people’s eyes after they experience it is a tremendous joy.

That’s why we all made the piece.”

F E AT U R E D

Creating As One and Prodigal Sons has certainly provided Reed herself with important self-reflection. “Each of us has our own experience, and it’s the only one we know so it feels like your world must be the world,” she says.

“The process of going through this a couple of times—one nonfictional, one fictional—I think I learned how to take it a little bit easier on myself during those bumpy years, to have a little compassion for myself and for other folks going through a transgender transition. Just to go through it can throw you for a loop. I don’t want to make it sound like it’s always this harrowing thing. But it is, at a certain level, something all of us go through: the transition from being young to being old and going through stuff—and then laying the complicated prism of gender on top—it gets pretty complicated pretty quick.”

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F E AT U R E D

<<< CONTINUED FROM PAGE 37

Reed’s transitions continue as she moves into other roles—as producer, writer, director, librettist—in productions with Houston Grand Opera, Brooklyn Academy of Music, San Francisco Opera, and Santa Fe Opera. Her next project, with San Francisco’s Opera Parallele, has a title that seems perfect for Portland: Today It Rains.

Maybe one day, some kid growing up outside of America’s major metropolitan communities will hear one of Reed’s operas on the radio, and another life will be transformed.

PORTLAND COMMUNITY RESOURCES PORTLAND Q CENTER

Q Center serves as Portland’s LGBTQ2SIA+ (Lesbian, Gay, Bisexual, Transgender, Queer, Two Spirit, Intersex, Asexual) community center. For the last 15 years, they *Portland Opera patron offer: 15% off Best Available Rate and room upgrade, subject to have proudly served as a resource code PORTOPER. Save 10% off food and beverages at The Palm Court. Mention this off for community resilience and equality. Their mission is to provide safe spaces, community building, and empowerment for the positive transformation of LGBTQ2SIA+ communities and allies in the PNW.

PROVIDING LEGENDARY SERVICE SINCE 1913

Over 20,000 people visit Q Center each year for visibility, connection, and support. They are a unique hub for action within the LGBTQ2SIA+ community, providing a daily dropin space, over 40 peer support groups, monthly rotating art exhibits, LGBTQ2SIA+ markets, programs for elders, multi-purpose event space rentals, a LGBTQ2SIA+ specific information and referral system, and more.

LGBTQ2SIA+ rights and visibility have been expanded since the first gay and lesbian community centers opened their doors in 1971, and yet the promise of lived equality still remains out of reach for many LGBTQ2SIA+ community members.

With the national rise in hate crimes and divisive language, LGBTQ2SIA+ Oregonians continue to face the threat of violence and discrimination every day.

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.

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PROUD SPONSOR OF THE PORTLAND OPERA

Our communities deserve a place that offers safety, healing, and justice. And Q Center is committed to being that place.

POR TL ANDOPER A .ORG

For more information: pdxqcenter.org

F E AT U R E D

PLANNED PARENTHOOD COLUMBIA WILLAMETTE Founded in 1963, PPCW is a provider of expert and compassionate sexual and reproductive health care throughout Oregon and southwest Washington. PPCW believes that everyone, regardless of gender identity, ethnicity, size, or the ability to pay, deserves access to sexual and reproductive health care, and that it is a basic human right.

PPCW serves over 73,000 patient visits annually at their health centers in Beaverton, Bend, Milwaukie-Oak Grove, NE Portland, SE Portland, and Salem, OR, and Vancouver, WA. • 80% of their patients are low-income (below 200% of the Federal Poverty Level) and 41% of their patients report being uninsured.

• 63% of their patients are between the ages of 18 and 29.

• 91% of all patient visits to PPCW are for preventive sexual health care.

• Less than 8% of PPCW services are for Abortion care.

PPCW Education: PPCW provides age-appropriate, inclusive, and comprehensive sex education to students in middle school, high school, and college.

They also work with community organizations, families, and youthserving agencies.

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With a trauma-informed approach, we teach subjects like healthy relationships, consent, puberty, how to prevent STIs and unplanned pregnancies, LGBTQ & Gender, and how to be an askable adult.

Festival Highlights EROICA TRIO

• More than 10,000 youth and families participate in PPCW Education programs each year.

BRAHMS, REQUIEM Portland Symphonic Choir Oregon Festival Orchestra

• Additionally, we reach over 32,000 people through community resource events and outreach.

MIVOS QUARTET Music of Our Time

PPCW Advocacy: PPCW partners with Planned Parenthood Advocates of Oregon and Planned Parenthood Votes Northwest and Hawaii, which are visible and powerful political organizations advocating for reproductive rights wherever public policy is deliberated and formed.

PPAO has a grassroots network of community-based Leadership and Advocacy Teams and thousands of supporters across the state.

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SCHUMANN, SYMPHONY NO. 4 Oregon Festival Orchestra BRAHMS, DOUBLE CONCERTO Jon Eun Lee/Meehae Ryo Oregon Festival Orchestra SCHUBERT, TRAGIC SYMPHONY Orpheus Academy Orchestra

Three Faces of Romanticism

OREGON MUSIC FESTIVAL

Summer Edition: June 19-July 14

GUBAIDULINA, FACHWERK Franko Bozac, accordion Oregon Festival Orchestra MOZART, PIANO CONCERTO No. 13 Charlene Farrugia Orpheus Academy Orchestra WINNER, KLEIN COMPETITION Bruch Violin Concerto Orpheus Academy Orchestra Tickets & more information www.oregonmusicfest.org

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For more information: ppcw.org

Simply Great Lawyers

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Tickets Available May 2

OregonBachFestival.org

As a child, what did you want to be when you grew up?

I knew I wanted to play drums and percussion at age 6. By age 16, I knew it was a career, although at that point, I wanted to be a jazz drummer.

What’s currently playing on your iPhone/iPod/ Spotify/CD Player/Radio?

Queen, Rush, and Wait Wait...Don’t Tell Me!—something entirely different from the work I do or have done.

What do you want our audiences to know?

I also often play percussion for Broadway in Portland.

I’ve played Wicked 112 times.

Gordon Rencher

What is the best piece of advice that you ever received?

Percussion

Best piece of musical advice: Never play a note without a musical reason.

From Boise, Idaho With Portland Opera since 1997

What is the best part of your job?

I love the variety. No two days of work are the same.

What is your favorite Portland Opera memory or production?

While I would say Nixon in China is my favorite opera to have played, I will always have great memories of the 2009 production of La Bohème. It’s when I started dating my wife—third flute/piccolo Rachel Rencher (also in the Opera Orchestra).

Gordon lives in Hillsdale with his wife, Rachel. In addition to Portland Opera, he performs regularly with the Oregon Symphony and Oregon Ballet Theatre, and maintains an active private teaching studio. He is a proud member of the American Federation of Musicians.

F E AT U R E D

Eat out and, occasionally, ski.

ORCHESTRA SPOTLIGHT

What are your favorite things to do in Portland?

What inspires you?

My colleagues. The level of musicianship in Portland just continues to rise. I’m grateful to be part of it.

Together

we transform generosity into exponential impact.

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O R E G O N C F.O R G 1 2 2 1 S W YA M H I L L S T. S U I T E 10 0

ART TRANSFORMS US.

P O R T L A N D, O R 9 7 2 0 5

Y O U HAVE THE POWER TO PROTECT AND GROW CREATIVITY IN OREGON.

5 03 . 2 2 7 .6 8 4 6

B E G I N AT O R E G O N C F.O R G

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2 0 18 /19 S E A S O N

A Special Concert

Featuring the Portland Opera Orchestra & Chorus

Principal Artists VANESSA ISIGUEN MATTHEW GRILLS ^

ALEKSANDRA ROMANO JOHN MOORE

Portland Opera Resident Artists HELEN HUANG ​ THOMAS CILLUFFO

CAMILLE SHERMAN​ GEOFFREY SCHELLENBERG

Conductor GEORGE MANAHAN

Host CHRISTOPHER MATTALIANO

Chorus Master NICHOLAS FOX Lighting Designer DANIEL MEEKER

Principal Accompanist JESSICA HALL

Production Stage Manager JON WANGSGARD

^ Alumnus of the Portland Opera Resident Artist Program

English captions written and produced by Portland Opera.

Late seating is not available for Portland Opera performances, and re-entry during the performance is not permitted. Recording equipment, cameras, and personal phones are prohibited.

PORTLAND OPERA APPRECIATES THE CONTINUING SUPPORT OF MEYER MEMORIAL TRUST, THE JAMES F. AND MARION L. MILLER FOUNDATION, NATIONAL ENDOWMENT FOR THE ARTS, THE OREGON ARTS COMMISSION, AND THE REGIONAL ARTS AND CULTURE COUNCIL. PORTLAND OPERA IS A MEMBER OF OPERA AMERICA.

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THIS PRODUCTION WAS MADE POSSIBLE BY GENEROUS GIFTS FROM:

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®

POR TL ANDOPER A .ORG

2 0 18 /19 S E A S O N

Performed in various languages with projected English captions

1 hour 30 minutes no intermission

M AY 2 019 11

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Starts at 7:30 PM

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Keller Auditorium

2 0 18 /19 S E A S O N

ADDITIONAL ORCHESTRAL MUSICIANS FOR BIG NIGHT

18_Portland_Opera_Ad.indd 1

2/27/18

Sophie Baird-Daniel, principal harp Heather Blackburn, cello Lars Campbell, principal trombone Jae Choi, cello Mitchell Drury, violin Bruce B. Dunn, principal trumpet Janet George, violin Steve Hayworth, horn Justin Kagan, cello Marya Kazmierski, violin John Ohnstad, trombone Jeffrey Peyton, percussion Holland Phillips, viola Nic Price, violin Joseph Ready, principal tuba Sarah Roth, violin Karen Schulz-Harmon, cello Steve Vacchi, principal bassoon Miriam English Ward, viola 2:34 PM Lucie Zalesakova, violin Larry K. Zgonc, bass Nicholas Fox, piano

www.pdx.net 503.972.7272 hello@pdx.net

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For a full orchestra listing, see page 86.

POR TL ANDOPER A .ORG

What do you want our audiences to know?

The production staff, stagehands, choristers, and supers take great care in their individual parts to make up the backbone of the company—to make the directors’, designers’, and singers’ visions come to life. The dedication of the local staff in this organization is steadfast.

What are your favorite things to do in Portland?

Radio Room, Luc Lac, Macleay Trail in Forest Park, Peninsula Park, and I love to play with my kids.

What's currently playing on your iPhone/iPod/ Spotify/CD Player/Radio?

The Last Five Years by Jason Robert Brown on my iPhone and NPR on the radio.

What is your favorite backstage moment?

When I run the lighting console, there is that moment when the stage manager calls for the house lights to dim and then go out. The orchestra tunes; the maestro bows; and the curtain goes out. There is an electricity to that sequence. It’s as if we are holding our breath together, and as soon as the main curtain is out and the first light cue is running, we take a collective sigh.

Kerris Elisabeth Cockrell Stagehand

From Oneida, New York With Portland Opera since 2005 Kerris lives in North Portland in her multigenerational home including her parents, kids, husband, and more.

She is a current member of IATSE Local 28.

F E AT U R E D

Running the spotlight for Sweeney Todd, working with Ken Billington, the lighting designer of the original production, standing on the set where Angela Lansbury had stood, and watching Susannah Mars knock it out of the park, while standing in my light, felt like magic.

BACKSTAGE SPOTLIGHT

What is your favorite Portland Opera memory or production?

As a child, what did you want to be when you grew up?

A psychologist for artists.

Describe Portland in 5 words.

Embracing, Challenged, Juvenile, Hopeful, Green

Be part of a community with heart, in the heart of the city.

Terwilliger Plaza opens up a wide world of conveniences—and where choices are made by you.

. TerwilligerPlaza.com . 503.808.7870

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A Community for People 62+

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More possibilities, More heart AR TSL ANDIA .COM

2 0 18 /19 S E A S O N

Gioachino Rossini

Libretto by Cesare Sterbini From the play by Pierre-Augustin Beaumarchais

Conductor GEORGE MANAHAN Costume Designer JAMES SCOTT Chorus Master NICHOLAS FOX

Stage Director CHRISTOPHER MATTALIANO

Scenic Designer ALLEN MOYER

Principal Accompanist JESSICA HALL

Lighting Designer PAUL PALAZZO

Production Stage Manager JON WANGSGARD

Assistant Director SETH HOFF

Scenery and properties for this production are owned by The Minnesota Opera and were constructed by The Minnesota Opera Shops.

Costumes provided by Washington National Opera.

English captions written and produced by Portland Opera.

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. Recording equipment, cameras, and personal phones are prohibited.

PORTLAND OPERA APPRECIATES THE CONTINUING SUPPORT OF MEYER MEMORIAL TRUST, THE JAMES F. AND MARION L. MILLER FOUNDATION, THE OREGON ARTS COMMISSION, AND THE REGIONAL ARTS AND CULTURE COUNCIL. PORTLAND OPERA IS A MEMBER OF OPERA AMERICA.

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THIS PRODUCTION WAS MADE POSSIBLE BY GENEROUS GIFTS FROM:

POR TL ANDOPER A .ORG

2 0 18 /19 S E A S O N

Performed in Italian with projected English captions

2 hours 45 minutes two acts one intermission

J UNE 2 019

February 20, 1816 Teatro Argentina, Rome

9

13

15

Keller Auditorium

Portland Opera Premiere Starts at 7:30 PM

Starts at 2 PM

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March 1966

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Premiere

7

2 0 18 /19 S E A S O N

THE CAST

Fiorello, servant to Count Almaviva GEOFFREY SCHELLENBERG + JACK SWANSON.

GEOFFREY SCHELLENBERG.

in order of vocal appearance

Count Almaviva, Grandee of Spain JACK SWANSON * Figaro, a barber ​J OHN MOORE

+ Member of the Portland Opera Resident Artist Program

undergoes an interrogation, then listens to his boast that he is far too clever to be tricked. Berta, the housekeeper, answers violent knocking at the door, returning with Almaviva disguised as a drunken soldier in search of lodging. While arguing with Bartolo, Almaviva manages to slip a love letter to Rosina. But when Bartolo demands to see the letter, she substitutes a laundry list. Figaro dashes in to warn that their hubbub has attracted a crowd. Police arrive to silence the disturbance. As an officer is about to arrest him, Almaviva whispers his identity and is released. Rosina, Berta, Bartolo, and Basilio are stupefied by everything that is happening.

^ Alumna of the Portland Opera Resident Artist Program

— intermission —

Rosina, a young woman and ward of Doctor Bartolo ALEKSANDRA ROMANO Doctor Bartolo, guardian of Rosina ​E DUARDO CHAMA

ALEKSANDRA ROMANO.

JOHN MOORE.

Berta, Bartolo’s maid ANTONIA TAMER ^ Don Basilio, the music teacher ​A DAM LAU * An officer THOMAS CILLUFFO + * Portland Opera Debut

Biographies of artists begin on page 74.

WITH THE PORTLAND OPERA ORCHESTRA & CHORUS

ANTONIA TAMER. THOMAS CILLUFFO.

Almaviva brings a band of musicians to serenade Rosina, ward of Dr. Bartolo, who keeps her confined in his house. When Rosina fails to answer his song, the Count pays the players, and they leave. At the sound of Figaro’s voice, Almaviva steps away as the barber bounds in, boasting of his busy life as the neighborhood factotum. Figaro, though currently in Bartolo’s employ, encounters Almaviva and promises to help him win Rosina—for a suitable reward. No sooner has Bartolo left the house to arrange his own marriage with Rosina than Almaviva launches into a second serenade, calling himself “Lindoro,” a poor creature who can offer only love.

Figaro suggests Almaviva disguise himself as a drunken soldier billeted to Bartolo’s house. Alone in the house, Rosina muses on the voice that has touched her heart and resolves to outwit Bartolo. Figaro joins her, but they leave on hearing footsteps.

Bartolo is visited by the music master, Don Basilio, who tells him Almaviva is a rival for Rosina’s hand and advises slandering the nobleman’s reputation. Bartolo agrees, but Figaro overhears them.

Warning Rosina that Bartolo plans to marry her himself the very next day, the barber promises to deliver a note she has written to “Lindoro.” Rosina, alone with Bartolo,

—Courtesy of Opera News.

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CHRISTOPHER MATTALIANO.

EDUARDO CHAMA.

ACT I: Seville, 1830s. Before dawn, Count

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GEORGE MANAHAN.

ADAM LAU.

SYNOPSIS

ACT II: Bartolo receives a young music teacher, “Don Alonso” (again Almaviva in disguise), who claims to be a substitute for the ailing Basilio. Rosina enters, recognizes her suitor, and begins her singing lesson as Bartolo dozes in his chair. Figaro arrives to shave the doctor and manages to steal the key to the balcony window. Basilio now comes in, looking the picture of health. Bribed by Almaviva, he feigns illness and departs.

Figaro shaves Bartolo while Almaviva and Rosina plan their elopement that night. They are overheard by the doctor, who drives Figaro and Almaviva from the house and Rosina to her room, then sends again for Basilio. Berta, unnerved by all the confusion, complains she is going mad. Bartolo dispatches Basilio for a notary, then tricks Rosina into believing “Lindoro” is really a flunky of Almaviva.

After a thunderstorm, Almaviva arrives with Figaro and climbs through a balcony window to abduct Rosina. At first she rebuffs “Lindoro,” but when he explains that he and Almaviva are one and the same, she falls into his arms. Figaro urges haste, but before they can leave, their ladder is taken away. Basilio enters with the notary. Though summoned to wed Rosina and Bartolo, the official marries her instead to Almaviva, who bribes Basilio. Rushing in too late, Bartolo finds the lovers already wed. Realizing that he’s been outwitted and “what’s done is done,” Bartolo gives his blessing to the young lovers. All congratulate the happy couple and celebrate the power of true love!

2 0 18 /19 S E A S O N

A HISTORY

by Alexis Hamilton

C

omedy is hard. Comedy in music can be even harder.

As Rossini proved in his rollicking comedy The Barber of Seville, it is difficult to tell whether music is innately “funny”—or not—without context. Much of Barber was cobbled together with selections from Rossini’s tragic operas—which shows how context is everything.

Music from six other Rossini operas appears in The Barber of Seville. One might forgive the composer for this, since according to legend, he actually wrote the score in 13 days. Self-pilfering was necessary for the busy composer. Rossini’s audiences would never have noticed, having not seen operas written and performed for theaters in other cities. In Barber, one can hear the overture written for Aureliano in Palmira (1813), re-used as the overture for Elisabetta, Regina d’Inghilterra (1815), and then made immortal as the overture for Barber. Rossini lifted Count Almaviva’s winsome love song, Ecco ridente in cielo, from a Lenten cantata that he wrote in 1812. La calunnia, that tour de force aria for Don Basilio, is adapted from a chorus opening his tragedy Sigusmondo. There are other imports throughout the opera, all from Rossini operas that have melted into obscurity. Rossini was clever about finding an appropriate vehicle for some of his best music!

Thou knowest, O Lord, as well as I, that really, I am only a composer of opera buffa.

It wasn’t just the score that was recycled. Rossini’s classic comedy is based on a French play of the same name by PierreAugustin Beaumarchais. The Barber of Seville was the first in a trilogy of plays about the ingenious character Figaro. Nor was it an original idea to set the comedy as an opera. German, English, and Spanish operatic adaptations appeared shortly after Beaumarchais’ work debuted.

— Gioachino Rossini.

Musical adaptations of Beaumarchais’ play make good sense.

Among his myriad talents, Beaumarchais was a competent composer, who always included a score with his plays.

Beaumarchais’ Barber was first conceived as an opera comique (a genre of French opera), written in 1772 with the ComédieItalienne in mind. Sadly, that theater rejected it. Evidently, their primo uomo (principal male singer) had once been a barber, and he did not want the public reminded of that fact. Undaunted, Beaumarchais presented The Barber of Seville to the Théâtre Français as a comedy the following year. He’d left nine of his original songs and orchestration for the storm scene intact, but the amount of music left in the play wasn’t acceptable to management. Beaumarchais was obliged to cut his score. The work that had been intended as an opera comique became a play.

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Photo: Cory Weaver.

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After Beaumarchais’ play was eventually seen by the public (after a three-year delay), the tremendously popular composer Giovanni Paisiello adapted it into an opera. His version of Barber opened in 1782, and soon made its way around Europe.

Paisiello’s opera had been admired in Italy for a generation before Rossini found inspiration in it.

Rossini was no fool and knew that there would be those who’d take umbrage with a new version—especially one written by an upstart innovator like Rossini. He, therefore, took great precautions not to offend Paisiello or his fans. Rossini publicly announced his great admiration for Paisiello, assuring all that his was to be an entirely new treatment of Beaumarchais’ play.

He even titled his opera Almaviva to avoid infringing on the older composer’s rights. It wasn’t until after Paisiello’s death that Rossini’s work bore the title The Barber of Seville. All of Rossini’s

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careful politics were to no avail, however.

Paisiello’s fans were ready to rumble with Rossini for having the audacity to think he could write something to rival their maestro.

They planted themselves throughout the theater for the debut. Opening night for Rossini’s opera was stacked against him.

Rossini biographer Stendahl delighted in telling the story of Barber’s opening night fiasco. To begin with, Rossini, in keeping with the Spanish setting of the opera, arrived at the theater in a vicuña suit in a startling hazel color, adorned with gigantic gold buttons. The rowdy audience mocked the composer mercilessly. They were only distracted by the entrance of the tenor.

Rather than singing the aria the composer prepared, he strode onstage with an out of tune guitar on which he accompanied himself in a song of his choosing.

Unfortunately, as he began to play, all of the strings snapped—to the derisive howls of the audience. Increasing the audience’s hilarity, Figaro arrived onstage with a mandolin only to have all of its strings snap on the first strum as well. Don Basilio tripped and bloodied his nose, forcing him to sing while dabbing gingerly at his face.

In a final disastrous moment, a cat appeared onstage. The cast, in an attempt to encourage it to leave the platform, chased it under Rosina’s skirts.

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The ensuing howls and whistles made it impossible to hear the opera. Rossini slunk from the theater and went to bed.

According to Stendahl, the ill-behaved audience that night was full of priests!

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Humiliated, Rossini did not venture to the theater the next evening but stayed at home and went to bed early. He was woken by what sounded to him like a braying mob, and he hid in his room, sure that “those abbés had come looking for [him] to give [him] a trouncing.” It was not so. Rossini’s Barber fared better the second night and was a success after all. It seemed that all of Rome had sought him out to carry him to triumph. Eventually, it became celebrated as one of the three greatest operatic comedies ever written. Of all Rossini’s many operas, it is The Barber of Seville that has never left the opera house. It remains fixed as the definitive telling of Beaumarchais’ play.

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TIMELINE

The Barber of Seville in Portland One of Portland’s early opera companies, the Theatre Arts Opera Association, brought Rossini’s The Barber of Seville to Portland as part of their 1959–60 season. They also performed the second act of the opera, along with Carmen and Manon, in the August 1960 “Music by Moonlight” series in Washington Park. The Barber of Seville was one of the first pieces performed by Portland Opera Association after its founding in 1964. The company performed this comedic gem at the Oriental Theatre in 1966 and has since performed the opera at the Keller Auditorium (previously named the Civic Auditorium).

1966 2010

2004

1966

1970

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1984

Opening: March 28

Opening: January 22

Opening: March 4

Opening: September 29

Venue: Oriental Theatre

Venue: Civic Auditorium

Venue: Civic Auditorium

Venue: Civic Auditorium

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TIMELINE OF BARBER AT PORTLAND OPERA

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1970

BARBER ON THE ROAD Set in Alta, California, in the 1830s, Portland Opera To Go’s (POGO) adaptation of The Barber of Seville retained Rossini’s humor while adding a fresh twist for audiences of all ages. Traveling through Oregon and southwest Washington in 2015 and 2018, POGO’s bilingual English/ Spanish production brought these beloved characters into schools and community venues throughout the region.

2015

2018

1976

1984 1995

Did you attend one of these performances?

We’d love to hear about it. Share you stories on social media. #PDXOBarber

Photos courtesy of the Portland Opera archives.

2004

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2019

Opening: May 13

Opening: May 15

Opening: May 7

Opening: June 7

Venue: Civic Auditorium

Venue: Keller Auditorium

Venue: Keller Auditorium

Venue: Keller Auditorium

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1995

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Wolfgang Amadeus Mozart

Libretto by Giuseppe Petrosellini & Marco Coltellini Based on a libretto by Ranieri de Calzabigi

Conductor GEORGE MANAHAN

Stage Director CHAS RADER-SHIEBER

Set & Costume Designer MICHAEL OLICH

Lighting Designer CONNIE YUN

Production Stage Manager JON WANGSGARD

Assistant Director REBECCA HERMAN *

Principal Accompanist JESSICA HALL

* Portland Opera Debut

Scenery constructed by Oregon Ballet Theatre for Portland Opera.

Props and costumes by Portland Opera.

English captions written and produced by Cori Ellison.

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. Recording equipment, cameras, and personal phones are prohibited.

PORTLAND OPERA APPRECIATES THE CONTINUING SUPPORT OF MEYER MEMORIAL TRUST, THE JAMES F. AND MARION L. MILLER FOUNDATION, THE OREGON ARTS COMMISSION, AND THE REGIONAL ARTS AND CULTURE COUNCIL. PORTLAND OPERA IS A MEMBER OF OPERA AMERICA.

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THIS PRODUCTION WAS MADE POSSIBLE BY GENEROUS GIFTS FROM:

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Performed in Italian with projected English captions

3 hours 15 minutes three acts one intermission

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January 13, 1775 Salvatortheater, Munich

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Newmark Theatre

Portland Opera Premiere Starts at 7:30 PM

Starts at 2 PM

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Premiere

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M&T Bank 2019 La Finta Gardiniera Ad.indd 1

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THE CAST MARK A. THOMSEN.

CAMILLE SHERMAN.

in order of vocal appearance

Ramiro CAMILLE SHERMAN + Podesta / The Mayor MARK A. THOMSEN Sandrina / Marchioness Violante Onesti ​L INDSAY OHSE ^ Nardo / Roberto ​G EOFFREY SCHELLENBERG +

GEOFFREY SCHELLENBERG.

LINDSAY OHSE.

Serpetta ​H ELEN HUANG + Arminda ANTONIA TAMER ^ Count Belfiore THOMAS CILLUFFO + + Member of the Portland Opera Resident Artist Program ^ Alumna of the Portland Opera Resident Artist Program

ANTONIA TAMER.

HELEN HUANG.

Biographies of artists begin on page 74.

Mozart’s La Finta Giardiniera is used by arrangement with European American Music Distributors Company, U.S. and Canadian agent for Baerenreiter Verlag, publisher and copyright owner.

WITH THE PORTLAND OPERA ORCHESTRA

SYNOPSIS GEORGE MANAHAN.

Arminda (the Mayor’s niece) and Count Belfiore are to meet in anticipation of their arranged wedding. Meanwhile, the Mayor has fallen in love with Sandrina (actually the disguised Violante, whose lover Belfiore stabbed her a year ago in a fit of jealousy and fled believing her dead). The Mayor’s maid Serpetta, who has designs on him herself, spurns the overtures of Nardo (Violante’s manservant Roberto, also in disguise as her assistant). Cavalier Ramiro (Arminda’s spurned lover) complains about her treatment of him but to no avail; when Arminda and Belfiore meet, the arranged

— intermission — ACT II: Belfiore is distraught after seeing

Sandrina, but Arminda has nothing but contempt for her “betrothed.” Ramiro unsuccessfully attempts to reconcile with the willful Arminda. Nardo continues to pursue Serpetta, but like the other ladies, she will have none of it. Ramiro arrives with a dispatch from Milan, charging the Mayor to arrest Belfiore for the murder of the Countess. The Mayor runs off to cancel the wedding plans. Sandrina and Belfiore quarrel after she denies her true identity, but when the Mayor arrives to confront Belfiore, Sandrina publicly declares herself to be the Countess, only to reverse her position when alone with Belfiore again.

Enraged, Arminda plans her revenge, Sandrina runs off in dismay, and Belfiore begins to lose his mind. Nardo brings the confused Belfiore to search for Sandrina.

The Mayor, Arminda, and Serpetta follow them, and they all wander about in the dark until Ramiro arrives with a lantern, whereupon the search party devolves into utter disarray while Sandrina and Belfiore take total leave of their senses.

ACT III: Ramiro refuses to give up his

pursuit of Arminda while Nardo reaffirms his desire for Serpetta. Only Belfiore and Sandrina, recovering from their madness, are able to reconcile, unable to resist their mutual affection against their better judgement. Bittersweet couplings and uncouplings are the order of the day, as everyone sings the praises of the “pretend” gardener, whose fidelity and strength prove the power of love.

— Adapted from a synopsis by Opera Theatre of Saint Louis.

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CHAS RADER-SHIEBER.

THOMAS CILLUFFO.

ACT I: The action begins on the day that

marriage seems certain. However, at this point, Belfiore encounters Sandrina. He takes her to be his late beloved Violante, but she is determined to punish him, and she denies the truth. Confusion reigns, and everyone —especially Arminda—is cross with or jealous of (or both) someone else.

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A HISTORY

by Alexis Hamilton

M

ozart was only 18 years old when he wrote La Finta Giardiniera in 1775. It was his 10th opera but only his second comedy. The first comedy, La Finta Simplice, was also his first opera, composed when he was 12 years old. At 18, young Mozart had already achieved great success as an operatic composer in Milan, Italy. He had returned to Salzburg in 1773, where he worked as the court musician for Archbishop Colloredo. He had a famously fraught relationship with his patron, who seemed to view the ambitious young genius as a burden.

Despite this position in Salzburg, the young Mozart’s reputation was strong throughout Europe. This fame led the Elector of Munich to commission him to write an opera buffa (comic opera) for the 1775 Carnival Season. Mozart and his father, Leopold, managed to secure a leave from the Archbishop and traveled to Munich to begin work on what would become La Finta Giardiniera.

I pay no attention whatever to anybody's praise or blame.

I simply follow my own feelings.”

Munich delighted the youth—the musical forces in the city seemed a wonder to him after Salzburg. The city felt like a refuge of sophistication. While writing his opera, Mozart found himself busy with an extensive social calendar. Once he arrived, Mozart was presented with a libretto supposedly by Ranieri de Calzabigi, whose work you may remember from Portland Opera’s 2018 production of Orfeo ed Euridice. The true source of the libretto is cloudy, however. No published libretto of La Finta Giardiniera named a librettist at the time.

At the first rehearsal, it was the general consensus that the opera was so good (and so difficult) that it justified the delay of the opening to afford the singers and orchestra additional time to be adequately rehearsed. This was no doubt much appreciated by both the composer and the cast, none of whom were veteran performers. Despite the delay, the opera opened to happy acclaim on January 13, 1775. Accolades rained down upon the composer’s head, and he was immediately commissioned to write an opera seria for the following season.

—Wolfgang Amadeus Mozart.

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Costume designs by Michael Olich.

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A modern audience experiencing La Finta Giardiniera may find it easy to dismiss the convoluted plot and unfamiliar comic style as a result of Mozart’s youth, but this is unfair.

We find the first bloom of Mozart’s great comedies in this work. While the characters still resemble the archetypes that populate commedia dell’arte, Mozart did a great deal to humanize and deepen them. No character is exactly as they seem to be—even setting aside the obvious devices of a disguised lover and operatic madness. According to musicologist William Mann, Mozart was beginning to evince the combination of “comic and serious [that] was to become essential to the mature Mozart’s style.”

Part of the problem we might have grappling with La Finta Giardiniera is that we are attempting to understand it through our own experience as contemporary people. Music critic

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Charles Osbourne sums up the general consensus when he said that the libretto Mozart set was a “clumsily written, confused and confusing potboiler.”

It is true that the only way to truly comprehend what is going on in this opera is to see it.

No summary can adequately capture the comic absurdity fueling this plot. It seems strangely antiquated, and the motivations of the heroine appear inexplicable. However, viewed through an 18th-century eye, this is a fashionable, modern, and “hip” story.

When Mozart wrote La Finta Giardiniera, audiences were gobbling up sentimental novels like Samuel Richardson’s Pamela, which enthusiastically embraced the “Cult of Sensibility.” Literary scholar Megan Earles explains it this way, Sensibility refers to the late 18thcentury social conventions of genteel society that relied heavily on the exaggerated expression of emotions.

Highly genderized, the mannerisms of sensibility came from the supposed delicacy of woman that was related to the female nervous system. This drove the feminine propensity for showing sensitivity through crying, blushing, and fainting in reaction to situations.

Feminine weakness was highly sexualized but approved of because it was thought to improve the manners of men and at the same time it rationalized subordination of women.

>>> CONTINUED ON PAGE 60

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In this context, much that is incomprehensible in the plot becomes more clear. Violante’s love and patience will tame Belfiore’s violence (true, he stabbed her in a rage and thought her dead, but he is heartily sorry for it and feels really guilty). Violante seeks out her former lover (who despite still loving her is tepidly pursuing another) in disguise. When they rediscover each other, an excess of emotion (sensibility) causes them to lose their minds. Of course, this is a sentimental opera, so all will eventually be sorted out in a mutually satisfactory way.

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<<< CONTINUED FROM PAGE 59

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In this opera, Violante has disguised herself as a beautiful, pure servant girl—that most popular of 18th-century literary tropes.

The most popular opera buffa of its day, La buona figliuola focuses on just such a character, torn from the pages of the 1740 novel Pamela by Sammuel Richardson.

Not only would audiences know this, but Violante would know this. She has taken on the mantle of the garden girl so that the logical rules of sensibility will apply to her.

She will become the celebrated, suffering woman whose lover has “abandoned and abused” her, and therefore, her “goodness” will be rewarded by her marriage to her reformed abusive lover.

An individual’s high moral standard was made evident through his or her intense and appropriate responses as virtuous. This helps to explain the madness of both Violante and Belfiore as they were overwhelmed by their suffering. The intensity and appropriateness of response differed for men and women and fell more heavily to the latter. In men, appropriate sensibility always exposed their innate morality and resulted in acquired knowledge. Sensibility in women manifested as good behavior measured in displays of piety, modesty, and obedience. A woman must learn to curb her excess sensitivity and feeling (absolutely necessary to demonstrating one’s compassion and depth) with proper, ladylike behavior. Weeping or fainting might be appropriate. Anger, however righteous, was not. The echoes of these expectations reverberate today.

The plot of this piece may be a difficult pill for 21st-century people to swallow.

However, consider this: Mozart’s Violante has more self-awareness than other sentimental opera heroines of the period and acts decisively of her own volition throughout the entire opera. It is she who seeks out Belfiore, she who decides to disguise herself, and she who ultimately ends the ruse and reclaims her fiancé. Even as a young man of his time, Mozart, as in all of his operas, has created female characters who have more autonomy and depth of character than other characters of the time.

*mention Portland Opera & receive 1st month free* Alexis Hamilton is the Manager of Education and Outreach for Portland Opera.

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Understanding this opera means appreciating the sentimentality of its original audience and its characters and letting go of how we expect characters of later times to behave.

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Philip Glass Libretto by Rudolph Wurlitzer Based on the story by Franz Kafka © 2000 Dunvagen Music Publishers, Inc.; used with permission

Conductor NICHOLAS FOX Set Designer JERRY MOUAWAD

Costume Designer CHRISTINE A. RICHARDSON Stage Manager JAMIE LYNN SIMONS

Stage Director JERRY MOUAWAD Sound Designer KYLE DELAMARTER *

Lighting Designer CARL FABER *

Principal Accompanist MICHAEL LEWIS *

* Portland Opera Debut

Scenery by Portland Opera and Alchemy Arts Collective.

Props and costumes by Portland Opera.

English captions written and produced by Portland Opera.

Late seating is not available for Portland Opera performances, and re-entry during the performance is not permitted. Recording equipment, cameras, and personal phones are prohibited.

PORTLAND OPERA APPRECIATES THE CONTINUING SUPPORT OF MEYER MEMORIAL TRUST, THE JAMES F. AND MARION L. MILLER FOUNDATION, THE OREGON ARTS COMMISSION, AND THE REGIONAL ARTS AND CULTURE COUNCIL. PORTLAND OPERA IS A MEMBER OF OPERA AMERICA.

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SPONSORED BY:

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Performed in English with projected English captions

1 hour 20 minutes one act no intermission

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Gregory K. and Mary Chomenko Hinckley Studio Theatre at the Hampton Opera Center

Portland Opera Premiere Starts at 7:30 PM

Starts at 2 PM

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August 31, 2000 A Contemporary Theatre (ACT), Seattle, Washington

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We are proud to support Portland Operaâ&#x20AC;&#x2122;s production of

IN THE PENAL COLONY and their mission of inspiring, challenging and uplifting audiences by creating productions of high artistic quality that celebrate the beauty and breadth of opera.

Bravo!

MARTIN BAKARI.

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THE CAST

in order of vocal appearance

The Visitor MARTIN BAKARI The Officer ​R YAN THORN ^ The Soldier ​N ATHAN H.G. The Condemned Man SEAN DORAN * RYAN THORN.

* Portland Opera Debut ^ Alumnus of the Portland Opera Resident Artist Program Biographies of artists begin on page 74.

WITH THE PORTLAND OPERA ORCHESTRA Violin I ​M ARGARET BICHTELER

NICHOLAS FOX.

Violin II ​N ELLY KOVALEV Viola ​H ILLARY OSEAS Cello ​DYLAN RIECK Bass DAVID PARMETER

SYNOPSIS A high-ranking visitor arrives in the penal colony. He was invited there to witness the public execution of a prisoner by a strange machine invented by the former commandant of the colony. The machine slowly carves a description of the condemned man’s crimes into his flesh, and after hours of excruciating torture, kills him. The device is operated by The Officer in charge of the prison who is utterly devoted to the machine and to the memory of the deceased commandant who invented it. The Officer is disturbed by the machine’s state of disrepair and the growing criticism of its use, including criticism from the island’s current commandant.

He hopes that The Visitor will be impressed by the machine and will speak in favor of its “redemptive powers” to the commandant. When The Officer realizes that The Visitor will not actively support him, he frees the condemned prisoner from the machine and climbs onto it himself, seeking the redemption of a slow and painful death. The machine, however, goes haywire and instead of killing him slowly, kills him almost instantly.

It then self-destructs. The Visitor boards a boat and leaves the island.

—Synopsis by Andreas Mitisek, Long Beach Opera.

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A HISTORY

by Alexis Hamilton

I

n the penal colony has no heroes. There are no answers. There is no redemption. What there is, is suffering. Questions. Moral ambiguity. Tragedy.

Allegory. These were already baked into the DNA of Franz Kafka’s short story, In the Penal Colony, when Philip Glass chose to set the work as an opera in the late 1990s. “I’m drawn to Kafka’s darkness,” the composer said by way of explanation.

Guilt is never to be doubted.

—The Officer from Franz Kafka’s In the Penal Colony.

This particular story is certainly grim. So grim, in fact, that Kafka’s publisher would not publish it for a full five years after it was written. He only published it after the war that inspired Kafka to write it was over. World War I was full of such mechanized horrors that Kafka found himself unable to purge the awfulness of mankind’s inhumanity from his mind. He put it down in words. No, Kafka does not describe the devastation of the trenches, or the cataclysm of artillery fire, or the chaos following a mustard gas attack. Instead, he offers us the sanitized version of justice practiced by a dying society—a machine designed to execute a prisoner by carving the law he is accused of violating into his skin over the 12 hours preceding his death. What an apt metaphor for the mix of crude and advanced weapons that characterized World War I! World War I was the beginning of “modern” warfare—a horrendous juxtaposition of past and present: horses and tanks, bayonets and biplanes, bullets and gas. Modern technology was mowing down human beings much more efficiently but did nothing to mitigate the brutality of the soldiers’ deaths. The machine at the center of Kafka’s story is also an efficient killer, but it is calibrated to cause the most pain and exact its price in blood. Yet Kafka’s machine is far from a simple metaphor. In the mind of The Officer who operates and venerates the machine, there is redemption for the prisoner in this form of execution. To him, there is a form of mercy lying at the heart of it. As with all of Kafka’s stories, things are not simple. What seems to be objectively evil displays an ambiguity that creates the drama that attracted Glass to Kafka in the first place.

Glass’ score works much the same way, with pieces of musical thought arranged together to create a substantive operatic narrative.

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Initially, this particular plot may not seem innately operatic.

There are only four characters, and there is not a traditional arc.

Yet psychologically, the story teems with life: philosophy, ethical dilemmas, and cultural conundrums weave themselves together like fibers on a loom to form a coherent whole.

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Glass went on to say, “I want to articulate the structure of the drama and amplify the point of view of the author as far as I can discern it… Kafka, I think, is suggesting that the mere fact of our human incarnation is enough to make us guilty.”

When Glass lit upon Kafka’s story for an opera, he already had a creative team in mind: old friend Rudy Wurlitzer as the librettist, John Conklin for set designer, and his ex-wife and longtime collaborator Joanne Akalaitis as director. He even had a cast in mind: tenor John Duykers as The Visitor and baritone Herbert Perry as The Officer. The only other roles are non-singing parts: The Condemned Man and The Soldier. So the concept and personnel were in place from the start. Unfortunately, there was no commission to get the work in motion, so the project languished for three years. Eventually, A Contemporary Theatre in Seattle and Court Theatre in Chicago partnered to bring the concept to fruition.

Glass’ score highlights different aspects of the characters—and leads us to relate to points of view that on the surface we might find repugnant. For instance, of all of the music in the opera, The Officer has the most lyrical moment as he describes how the executions of the past would draw crowds that filled the entire valley and how children were allowed up front to watch the death in all of its gruesome glory. Conversely, the dryness of The Visitor’s music tells us what we need to know about the character that came to observe the execution, only to turn away in distaste.

In the Penal Colony demands the same choice of its audience. The questions it poses are relevant to our lives today— almost frighteningly so.

NOW OPEN

AT 4PM FRIDAY, SATURDAY AND SUNDAY

What is the nature of justice? How do we respond to the dismantling of societal systems?

What is the best way forward for our criminal justice system and incarceration? Will we grapple with these questions and take responsibility for our thoughts, opinions, and actions, or shy away from such unpleasantness?

RingSideSteakhouse.com 2165 W. BURNSIDE 503.223.1513 Alexis Hamilton is the Manager of Education and Outreach for Portland Opera.

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Since its opening in Seattle in 2000, the opera has been performed numerous times. At first, the piece was seen almost exclusively in theaters, but eventually, it found its way into opera houses all over the world. Works like In the Penal Colony continue to expand the operatic repertoire and challenge audience expectations about what opera is and can be. Bereft of spectacle, a large cast, or a full-sized orchestra, the story and characters are central. The common language of such works is still music, but the audience is left without the comfortable buffer of a 3000seat house or a parade of elephants to distract them from the visceral impact of the piece. In the Penal Colony is a

harrowing story that can challenge the reader’s moral compass. The opera can intensify that discomfort by making the philosophical puzzle a dramatic reality.

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Glass sought out such a story on purpose. After making an operatic name for himself with such mammoth pieces as Einstein on the Beach, Akhnaten, and Satyagraha, he needed to do something more intimate—and not just for artistic reasons. “I wanted to write more musical theater, and for some reason, the big opera companies weren’t calling me. So I thought, I’ll do pocket operas— pieces for just a few singers and players, with sets you could put in a couple of suitcases,” Glass explained in a 2010 interview with The Telegraph.

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Glass’ misgivings are understandable. Even for the world’s most famous living composer, In the Penal Colony doesn’t exactly scream “crowd-pleaser.” Written at the outset of World War I and published in 1919, Franz Kafka’s brief, bleak tale is set in a penal colony, where The Visitor has been invited to witness an execution. The Officer in charge wants him to endorse to the colony’s new commander the continuation of the peculiar—and horrific—execution method devised by the now deceased Old Commander. The killing machine, called The Apparatus, tortures condemned prisoners to death by excruciatingly inscribing, over up to 12 hours, a description of their crimes directly on their flesh. The prisoners are never told the nature of their crimes, but readers discover that this one was condemned for failing to salute his superior’s door each hour. The Officer believes the tormented prisoners achieve ecstatic enlightenment at the moment of death.

Philip Glass, Composer.

Philip Glass’ setting of Franz Kafka’s allegorical tale remains as relevant as ever.

hilip glass never expected In the Penal Colony to be a success.

“When I wrote it, I thought, it’ll get done once, and then no one will ever do it again,” Glass said. “Why would you want to watch a suicide?

Basically, that’s what you’re doing. And it turns out, I couldn’t have been more wrong. I would say it’s the most performed opera that I’ve written.”

ALLEGORICAL APPARATUS

In the Penal Colony seems to predict so much of the terrible human history that followed, from the mechanization of malevolence to the failure of good people to stop evil, and much more. An obvious comparison is to the bureaucrats and soldiers who carried industrial level atrocities like murdering millions in gas chambers or with weapons of mass destruction during World War II and the mass slaughters that followed in the 20th century. If Kafka, a Czech Jew, had lived a few more decades, he might have fallen victim to a real-life successor to his imagined apparatus.

The genius of Kafka is that he evokes so much, the mechanized corporate world sanctifying and saluting itself; how one accounts for atrocity; the tedium and ritual of bureaucracy; the pain and pathology of memory; how our most clever institutions and devices and betray us.”

—The opera’s original stage director and Glass’ longtime collaborator, JoAnne Akalaitis.

NIGHTMARE MUSIC Half a century and half a world away from its origins, In the Penal Colony nevertheless touched the young Philip Glass. “I’ve been reading Kafka seriously since I was 15” and already in college at the University of Chicago. “For a young person, the sense of strangeness and the bizarre is very attractive,” he says. “There’s a sort of authenticity about it. He’s a doorway into the world of the imagination.”

“The theme of enlightenment or transfiguration is what motivated me” to write In the Penal Colony, Glass told The New York Times. “There’s a crucial moment when we find out that the Old Commander used to want children to have priority during the executions, to be right down in front. He says that, at this moment, knowledge and understanding flood their faces. If you listen to the music, it’s hard to miss that.”

Glass was especially fascinated by “the moral inversion that takes place” at the transformative moment when The Officer, “having started as all-powerful, becomes the victim, and he takes on

Franz Kafka, Novelist.

Kafka’s grim allegory sent shudders through an Industrial Revolution society besotted with emergent technology’s promise. When science was sundered from morality, modern inventions could have a dark side, distancing humans from the consequences of their actions, numbing us to the dangers of our ingenuity.

Those issues persist, which may account for the opera’s popularity. The year after Glass’ version premiered in Seattle, the United States began imprisoning people captured during its attack on Afghanistan and torturing them for information without due process of law or, in many cases, compelling evidence of threat or hostility to Americans. Today, we’re encountering the consequences of similar irrational exuberance. Digital “apparati”— from social media to facial recognition— that promised more connection, wealth, and access to information is used to undermine democracy, influence election results, enable stalkers and trollers, spread dangerous and even deadly lies, and facilitate oppression by governments and exploitation by greedy private interests.

Kafka’s tale of the dark side of scientific idealism feels as ominous now as it did a century ago.

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The apparently more enlightened, new regime recoils at the Apparatus’ barbarity, and so does The Visitor. And yet, “it’s always risky interfering in other peoples’ business,” he sings in Glass’ opera. “I oppose this procedure, but I will not intervene.”

the role with a kind of joy. Readers find themselves sympathizing with a man willing to die for his beliefs more than The Visitor, who’s unwilling to take a moral stand against something he knows to be repugnant. Instead, he merely retreats.

That insight into the dark side of humanity appealed to the composer. “One of the attractive things about the story for me as a composer is its formality,” he said.

“The Visitor gets away, but by avoiding judgment, actually fails. The Officer, in a strange way, redeems himself. It’s a perfectly calibrated outcome, like a trap for a hummingbird.”

What makes Kafka’s original especially chilling is the narrator’s almost calm, detached tone in describing events and ideas that are so horrific. With no narrator onstage, Glass’ gripping music takes that role, finding the same ominous calm before the storm—then slowly ratcheting the dramatic tension to the breaking point.

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Like the story itself, Glass’ score achieves its power not by doing obvious horror-film scares and shrieks but instead through urgent, increasingly unsettling intimacy that contrasts vividly with the actions being described. With only a string quartet plus a string bass for added gravitas, the music’s characteristic repetitions evoke the grinding inexorability of the infernal machine, almost numbing listeners into acceptance of the unacceptable. Above those heartbeat rhythms float hauntingly poignant tenor and baritone melodies.

Listening to Glass’ score “softened” the horror a bit and provided major inspiration for Mouawad’s staging.

“I was listening to the opera probably for 20–30 hours, taking notes on my phone,” he recalls. “I need to know what story the opera is conveying, and [extensive listening] gives me an emotional quality.”

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In some of his early 1990s works, Mouawad had been drawn to and influenced by Glass’ famous collaborations with Robert Wilson and their repetitive, radical temporal concepts of stretched out time. “In this one, though, he’s not doing that as much as propelling the story forward fast,” Mouawad says. “I love the way he’s both sustaining a moment and Music. building to the next.”

Dramatic Theater. Dance.

Thematic ideas were bouncing around in his head too. In the Penal Colony Findscore, news andthereviews of the most It was Glass’ more than story is “kind of the opposite of Frankenstein,” itself, that attracted Imago Theatre thrilling performances to come out Mouawad says.

“He’s creating death founder Jerry Mouawad to the project. instead of life.

It’s also a courtroom where of Portland’s performing arts scene.

With his gift for conjuring historical The Officer is trying to make his case to images—as in his triumphant 2016 The Visitor but also the audience. production La Belle—and for using MAKING DARKNESS VISIBLE

Fridays & Sundays in a&E.

Jerry Mouawad, Stage Director.

movement to express deeper feelings “Kafka seems to ask us poignant Every day on OrEGONLiVE. than words alone can convey—as in questions,” Mouawad says. “Is the long-running, world-famous Frogz humankind in a tailspin, an endless cycle? and many other Imago productions— Does darkness reign until light emerges, Mouawad would seem an ideal director/ only long enough until we deem it OREGONLIVE.COM/performance designer for Kafka’s tale. necessary that darkness return again?”

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Yet at first, he wasn’t sure. “When I first read the Kafka story, it really sent chills down my spine,” Mouawad remembers. “It’s most disturbing and graphic—capital punishment and extreme torture that spits out a highly questionable redemption.” Did he want to spend so much time in Kafka’s dark world?

Now Mouawad had to decide how to turn those ideas into stage action.

Surprisingly, for a director who made his reputation through movement, going back to his studies with mime theater master Jacques Le Coq in the 1970s, he didn’t start with action. >>> CONTINUED ON PAGE 73

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“It’s a puzzle in every theater piece,” he explains. “I’m looking for an opening: it could be the character, a line, a feeling— that piece that starts to tell you what’s going on. Having a design always gives me a place to start. The most difficult thing for me is always a bare stage. I need to know what the space is; then things open up. From there, you’re working instinctually.”

Here, that space is in the setting of a Kafka’s story: a pit. Mouawad designed a scenic element in sand and dirt and rocks, with The Officer in the middle.

“In my design, he’s pulling out parts from the dirt and describing each one, kind of exposing the machine slowly as the opera progresses.”

The turn-of-the-20th-century setting also sparked ideas. As of midwinter, Mouawad hadn't yet finalized his ideas, but he was leaning toward early 20th-century garb appropriate to the story and somehow involving the advent of electrical power happening around that time.

I want to give the director—me— options. I’m looking for all the different possibilities of staging and designing, giving myself an open space for action.”

As these ideas germinate, Mouawad makes them as tangible and visual as possible. “I’m living in that world,” he says. “It’s ongoing in my head. I’ll grab anything and sketch on it, write on it, physically make a miniature of the set.

I don’t design on a computer. I’ll give [Portland Opera’s crew] a scale model, and they build it from there.”

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After he’s created the world, Mouawad then has to populate it. Once he chooses his cast, based on the way they move and present themselves in auditions and rehearsals, he’ll devise the final crucial element: how they move through that eerie space in the Hampton Opera Center, where he and Portland Opera singers and musicians will conjure Franz Kafka’s century-old nightmare vision again, for a 21st-century audience for whom it remains as regrettably relevant as ever.

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RESIDENT ARTISTS

Resident Artist Recitals 7 p.m. at Whitsell Auditorium

Helen Huang Tuesday, February 19, 2019

Thomas Cilluffo Tuesday, April 9, 2019

Geoffrey Schellenberg Tuesday, May 14, 2019

Resident Artists Portland Opera established the Resident Artist Program in 2005, providing a bridge from the conservatory world to the professional stage for talented emerging singers who join the company for a rigorous residency and training program. Each Resident Artist appears in featured roles in main stage productions and gives an art song recital at the Portland Art Museum during the season. As a group, they perform at season preview events and other communitybased performances. Selected through a competitive national search process, each of Portland Opera’s Resident Artists reflects a bright future for the art of opera.

HELEN HUANG Soprano

Pronouns: She/Her/Hers Hometown: Beijing, China Role: Resident Artist Soloist, Big Night; Serpetta, La Finta Giardiniera Portland Opera Debut: Countess Ceprano, Rigoletto (2018) Recently: Annina, La Traviata; Clorinda, La Cenerentola; Amor, Orfeo ed Euridice, Portland Opera; Marie Antoinette, The Memoirs of Antonina, Central Square; Baby Doe, The Ballad of Baby Doe, Central City Opera Upcoming: Singa Loh, I Am a Dreamer Who No Longer Dreams, White Snake Projects

CAMILLE SHERMAN Mezzo-soprano

Pronouns: She/Her/Hers Hometown: Petaluma, CA Role: Resident Artist Soloist, Big Night; Ramiro, La Finta Giardiniera Portland Opera Debut: Flora Bervoix, La Traviata (2018) Recently: Housekeeper, Man of La Mancha, Cugine, Madama Butterfly, María, María de Buenos Aires, Pensacola Opera; Komponist, Ariadne auf Naxos, Berlin Opera Academy; Jean, Le Portrait de Manon, The Neighbor, Mavra, San Francisco Conservatory of Music, Stéphano, Roméo et Juliette, Pensacola Opera

THOMAS CILLUFFO Tenor

​C amille Sherman Tuesday, June 25, 2019

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SPONSORS: Burns Family Fund of The Oregon Community Foundation, George and Lee Anne Carter, Drs. Dolores and Fernando Leon, the Eleanor Lieber Auditions Fund of The Oregon Community Foundation, Portland Opera Resident Artist Storage Fund, The Monday Musical Club of Portland, and George Rowbottom and Marilyn Crilley

Pronouns: He/Him/His Hometown: Traverse City, MI Role: Resident Artist Soloist, Big Night; Officer, The Barber of Seville; Belfiore, La Finta Giardiniera Portland Opera Debut: Borsa, Rigoletto (2018) Recently: Adolfo Pirelli, Sweeney Todd, Pittsburgh Festival Opera; Tamino, The Magic Flute, Almaviva, The Barber of Seville, Portland Opera To Go; Don Ottavio, Don Giovanni, Prague Summer Nights; Romeo, Roméo et Juliette, Rinuccio, Gianni Schicchi, Almaviva, The Barber of Seville, Ralph Rackstraw, HMS Pinafore, University of Michigan

GEOFFREY SCHELLENBERG Baritone

Pronouns: He/Him/His Hometown: Saint Paul, MN Role: Resident Artist Soloist, Big Night; Fiorello, The Barber of Seville; Nardo, La Finta Giardiniera Portland Opera Debut: Marchese D’Obigny, La Traviata (2018) Recently: Schaunard, La Bohème, Vancouver Opera; Morales, Carmen, Opera Kelowna; Sergeant, The Barber of Seville, Captain, Eugene Onegin, Sciarrone, Tosca, Calgary Opera; Belcore, The Elixir of Love, Music Academy of the West Upcoming: Baritone soloist, A Sea Symphony, Vancouver Bach Choir/West Coast Symphony

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From left to right: Helen Huang, Geoffrey Schellenberg, Camille Sherman, TOI TOI TOI

and Thomas Cilluffo.

Photography: Will Corwin.

Makeup: Kiana Doe. Hair: Avery Lemons.

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MARTIN BAKARI Tenor

EDUARDO CHAMA Bass-baritone

CARL FABER

Pronouns: He/Him/His Hometown: Yellow Springs, OH Role: The Visitor, In the Penal Colony Portland Opera Debut: Boy Sam/Tenor Soloist, The Difficulty of Crossing a Field & The Little Match Girl Passion (2017) Recently: Castleman, The Long Walk, Scribe & Trash-Talker, The Summer King, Pittsburgh Opera; Prince, Morning Star, On Site Opera Upcoming: Don Curzio, The Marriage of Figaro, Cincinnati Opera; Peter the Honeyman, Porgy & Bess, Fort Worth Opera; Triquet, Eugene Onegin, Seattle Opera

Pronouns: He/Him/His Hometown: Philadelphia, PA Role: Bartolo, The Barber of Seville Portland Opera Debut: Antonio/Prince de Maroc, Merchant of Venice (1996) Recently: Don Magnifico, La Cenerentola, Title Role, Falstaff, Portland Opera; Sancho Panza, Don Quixote, San Diego Opera and Teatro Real; Mustafà, The Italian Girl in Algiers, Calgary Opera and Palm Beach Opera; Leporello, Don Giovanni, Atlanta Opera and Florentine Opera; Bartolo, The Barber of Seville, Grand Theatre de Geneve

Pronouns: He/Him/His Hometown: Portland, OR Role: Lighting Designer, In the Penal Colony Portland Opera Debut Recently: Lighting Designer, Magellanica, Between Riverside and Crazy, Artists Repertory Theatre; Mary Poppins, Chitra: The Girl Prince, Northwest Children’s Theater; Postnation: Chicago, Goodman Theatre; The Happiest Song Plays Last, Water by the Spoonful, Orlando, Profile Theatre; Ordinary Days, Trails, Beehive, Broadway Rose Theatre; John, Third Rail Repertory Theatre; Assistant Lighting Designer, Seasons 2017-2019, Portland Opera; The Book of Mormon, Broadway & National Tours, Member United Scenic Artists USA-829

MARK CAMPBELL

KYLE DELAMARTER

Pronouns: He/Him/His Hometown: New York, NY Role: Co-Librettist, As One Portland Opera Debut Recently: Librettist, Elizabeth Cree, Sanctuary Road, The (R)evolution of Steve Jobs, Dinner at Eight, The Nefarious, Immoral but Highly Profitable Enterprise of Mr. Burke & Mr. Hare, The Manchurian Candidate, Silent Night, Approaching Ali, The Inspector, Bastianello/Lucrezia, Rappahannock County, The Shining, Later The Same Evening, Volpone; Lyricist, Songs From An Unmade Bed Upcoming: Today It Rains, Stonewall, Edward Tulane, I Lift My Lamp, Frida Kahlo and the Bravest Girl in the World, Les Girls, Again and Again. And Again

Pronouns: He/Him/His Hometown: Sandpoint, ID Role: Sound Designer, In the Penal Colony Portland Opera Debut Recently: Sound Designer, La Belle: Lost in the World of the Automaton, To Fly Again, Assistant Director, ZooZoo, Actor, Fallout

by Carol Triffle, Imago Theatre; Dancer, Civilized - HAPPY HOUR, Alembic

NICHOLAS FOX

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Edward Parks as Valentin and Jonathan Boyd as Faust in Gounod’s Faust. Photo: Cory Weaver.

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Portland Opera Chorus Master & Assistant Conductor

Pronouns: He/Him/His Hometown: Los Angeles, CA Role: Conductor, In the Penal Colony Portland Opera Debut: Conductor, The Elixir of Love (2015) Recently: Conductor, Orfeo ed Euridice, Winterreise, Così fan tutte, Songs of Love and War, Eugene Onegin, Portland Opera

MATTHEW GRILLS Tenor

LAURA KAMINSKY

Pronouns: He/Him/His Hometown: Baltimore, MD Role: Composer, In the Penal Colony Portland Opera Debut: Composer, Orphée (2009) Recently: Composer, The Tri; Spuren der Verirrten; Jungk; The Perfect American; Kepler; Appomattox; Waiting for the Barbarians; The Sound of a Voice; Galileo Galilei; Monsters of Grace; The Marriage Between Zones Three, Four and Five; White Raven; The Witches of Venice; Les Enfants Terribles; La Belle et la Bête; The Voyage; Hydrogen Jukebox; The Fall of the House of Usher; and more; composed chamber music, concertos, symphonies, and award-winning music for film

Pronouns: He/Him/His Hometown: Sandy Hook, CT Role: Tenor Soloist, Big Night Portland Opera Debut: Spoletta, Tosca (2013) Recently: Tobias Ragg, Sweeney Todd, San Francisco Opera; Almaviva, The Barber of Seville, Seattle Opera; Belmonte, Die Entführung aus dem Serail, Opera San Jose; Pedrillo, Die Entführung aus dem Serail, New Orleans Opera, Atlanta Opera; Nemorino, The Elixir of Love, Portland Opera Upcoming: Ernesto, Don Pasquale, Berkshire Opera Festival; Ramiro, La Cenerentola, Seattle Opera

Pronouns: She/Her/Hers Hometown: New York, NY Role: Composer, As One Portland Opera Debut Recently: Composer, Today It Rains, Opera Parallèle, American Opera Projects; Some Light Emerges, Houston Grand Opera; As One, Brooklyn Academy of Music; Piano Quintet for Ursula Oppens and Cassatt String Quartet, Merkin Concert Hall; Duo for Cello and Piano, The Great Unconformity, Triftmusik, North of History Gallery/Performance Space; Rising Tide, Moab Music Festival Upcoming: Marriage Equality, 10,000 gogo Boots, New York Festival of Song/Five Boroughs Music Festival; Hometown to the World, San Francisco/Santa Fe Opera

LEE GREGORY Baritone

VANESSA ISIGUEN Soprano

ADAM LAU Bass

Camille Sherman as Flora in Verdi’s La Traviata.

Photo: Cory Weaver.

PHILIP GLASS

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As One Big Night Concert The Barber of Seville La Finta Giardiniera In the Penal Colony

Pronouns: She/Her/Hers Hometown: Charlotte, NC Role: Featured Artist, Soprano, Big Night Portland Opera Debut: Featured Artist, Big Night Concert (2017) Recently: Cio-cio-san, Madama Butterfly, Florida Grand Opera; Featured Soloist, Insights Program, Royal Opera House; Cio-cio-san, Madama Butterfly, Opera Idaho; Mimì, La Bohème, Vashon Opera; Mimì, La Bohème, Marzelline, Fidelio, Sarasota Opera; Mimì, La Bohème, Portland Opera; Roberta Alden, An American Tragedy, Glimmerglass Opera Festival; Spirit, The Sorrows of Frederick workshop, Metropolitan Opera

Pronouns: He/Him/His Hometown: San Francisco, CA Role: Basilio, The Barber of Seville Portland Opera Debut Recently: Kobun Chino Otogawa, The (R)evolution of Steve Jobs, Ferrando, Il Trovatore, Speaker, The Magic Flute, Seattle Opera; Frère Laurent, Roméo et Juliette, Utah Opera; Sarastro, The Magic Flute, Basilio, The Barber of Seville, Kentucky Opera; Old Hebrew, Samson et Dalila, Donner, Das Rheingold, Leporello, Don Giovanni, North Carolina Opera Upcoming: Oroveso, Norma, Utah Opera

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Pronouns: He/Him/His Hometown: Houston, TX Role: Hannah before, As One Portland Opera Debut Recently: Narrator, The Invention of Morel, Captain, The Death of Klinghoffer, Hannah Before, As One, Rehearsal Director, Marilyn Forever, William, The Fall of the House of Usher, Long Beach Opera; Baritone Soloist, “Loving Clara Schumann,” Mercury Houston; Leporello, Don Giovanni, Lyric Opera of the North; Silvio, Pagliacci, Baritone Soloist, The Seven Deadly Sins, Virginia Opera; Count Carl-Magnus Malcolm, A Little Night Music, Des Moines Metro Opera

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SEASON ARTIST BIOGRAPHIES GEORGE MANAHAN Portland Opera Music Director

Pronouns: He/Him/His Hometown: Atlanta, GA Role: Conductor, Big Night; The Barber of Seville; La Finta Giardiniera Portland Opera Debut: Conductor, Macbeth (2006) Recently: The Tales of Hoffmann, La Traviata, Aspen Music Festival; Champion, Opéra de Montréal and New Orleans Opera; Fellow Travelers, Prototype Festival/American Composers Orchestra; Faust, Rigoletto, La Bohème, Man of La Mancha, The Italian Girl in Algiers, Sweeney Todd, The Magic Flute, Carmen, Die Fledermaus, Portland Opera Upcoming: 2019 Merola Grand Finale Concert

CHRISTOPHER MATTALIANO Portland Opera General Director

Kate Farrar as Cenerentola in Rossini’s La Cenerentola. Photo: Cory Weaver.

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Pronouns: He/Him/His Hometown: Somerset, NJ Role: Stage Director, The Barber of Seville Portland Opera Debut: Director, Manon (1991) Recently: The Barber of Seville, Michigan Opera Theatre; La Cenerentola, Rigoletto, Songs of Love and War, The Magic Flute, Falstaff, L’heure espagnole & L’enfant et les sortilèges, The Barber of Seville, Albert Herring, Macbeth, The Rape of Lucretia, The Journey To Reims, Portland Opera; Candide, Arizona Opera Upcoming: The Magic Flute, Washington National Opera

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DANIEL MEEKER Pronouns: He/Him/His Hometown: Portland, OR Role: Lighting Designer, Big Night Portland Opera Debut: Scenery Designer, Eugene Onegin (2016) Recently: Twist Your Dickens, A Christmas Memory & Winter Song, Portland Center Stage; La Cenerentola, Portland Opera; Wakey Wakey, Fences, Scarlett, Portland Playhouse; In The Wake, Profile Theatre; Ella the Enchanted, Oregon Children’s Theatre; Oslo, Pioneer Theater Company; Pickathon Festival Upcoming: Crowns, Portland Playhouse; Well, Let Me Down Easy, Profile Theatre; Diary of a Worm, Spider & Fly, Oregon Children’s Theatre; Crazy Enough, Portland Center Stage

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As One Big Night Concert The Barber of Seville La Finta Giardiniera In the Penal Colony

ANDREAS MITISEK Pronouns: He/Him/His Hometown: Long Beach, CA Role: Conductor, Stage Director, Set & Costume Designer, As One Portland Opera Debut Recently: As One, Anchorage Opera; Hoppers Wife, Fallujah, New York City Opera; Three Tales, The Invention of Morel, Long Beach Opera; The Perfect American, The Clever One, The Emperor of Atlantis, The Fall of the House of Usher, María de Buenos Aires, Chicago Opera Theater Upcoming: In the Penal Colony, Central Park Five, Long Beach Opera

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JOHN MOORE Baritone Pronouns: He/Him/His Hometown: Milford, IA Role: Baritone Soloist, Big Night; Figaro, The Barber of Seville Portland Opera Debut: Papageno, The Magic Flute (2016) Recently: Steve Jobs, The (R)evolution of Steve Jobs, Figaro, The Barber of Seville, Seattle Opera; Johannes “Pa” Zegner, Proving Up, Opera Omaha; Count Almaviva, Le Nozze di Figaro, San Diego Opera; Hannah Before, As One, Des Moines Metro Opera Upcoming: Zurga, The Pearl Fishers, Lyric Opera of Kansas City

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Pronouns: He/Him/His Hometown: Portland, OR Role: Stage Director & Set Designer, In the Penal Colony Portland Opera Debut: Shadow Play Design, Pagliacci/Carmina Burana (1997) Recently: Evening at the Talk House, To Fly Again, Hotel Gone, Human Noise, Medea, Savage/Love, The Black Lizard (U.S. Premiere), Co-directed FROGZ, ZooZoo, La Belle, Lost in the World of the Automaton, Imago Theatre; The Difficulty of Crossing a Field & The Little Match Girl Passion, Portland Opera; No Exit, American Repertory Theatre and Hartford Stage Company

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SEASON ARTIST BIOGRAPHIES

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As One Big Night Concert The Barber of Seville La Finta Giardiniera In the Penal Colony

ALLEN MOYER Pronouns: He/Him/His Hometown: Schuylkill Haven, PA Role: Set Designer, The Barber of Seville Portland Opera Debut: Scenic Designer, Pagliacci/Carmina Burana (1997) Recently: Set Designer, Lucia di Lammermoor, Teatro del Giglio, Teatro di Pisa; Paradise Square, The Berkeley Rep; Champion, Opéra de Montréal; The Flying Dutchman, Dallas Opera; Regina, The Grapes of Wrath, Opera Theatre of Saint Louis; Dead Man Walking, Champion, Washington National Opera Upcoming: Fire Shut Up In My Bones, Opera Theatre of Saint Louis; Madama Butterfly, Santa Fe Opera

LINDSAY OHSE Soprano Pronouns: She/Her/Hers Hometown: Topeka, KS Role: Sandrina, La Finta Giardiniera Portland Opera Debut: Barbarina, The Marriage of Figaro (2011) Recently: Pamina, The Magic Flute in Concert, El Paso Opera; Shadow 2 (cover), Marnie, Metropolitan Opera; Norina, Don Pasquale, Anchorage Opera; Euridice, Orfeo ed Euridice, Soprano Soloist, Songs of Love and War, Portland Opera; Alice Ford, Falstaff, Intermountain Opera Bozeman; Title Role, Norma, Opera Southwest Upcoming: Musetta, La Bohème, Anchorage Opera

MICHAEL OLICH

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Helen Huang as Amore in Gluck’s Orfeo ed Euridice. Photo: Cory Weaver.

Pronouns: He/Him/His Hometown: Portland, OR Role: Set & Costume Designer, La Finta Giardiniera Portland Opera Debut: Set Designer, The Marriage of Figaro (2003) Recently: Scenic Designer, The Mandrake Root, Long Wharf Theatre, San Jose Repertory Theatre; The Goat, or Who is Sylvia?, A Contemporary Theatre, Mark Taper Forum; Hedwig and the Angry Inch, Pittsburgh’s City Theatre, Hartford Stage Company; The Last Night of Ballyhoo, The Importance of Being Earnest, South Coast Repertory; The Chosen, Clybourne Park, Portland Center Stage; The Tales of Hoffmann, Wolf Trap Opera

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SEASON ARTIST BIOGRAPHIES PAUL PALAZZO Hometown: Brooklyn, NY Role: Lighting Designer, The Barber of Seville Portland Opera Debut: Lighting Designer, Pagliacci/Carmina Burana (1997) Recently: Lighting Designer, The Elixir of Love, Nixon in China, Canadian Opera Company; L’enfant et les sortilèges, Manhattan School of Music; Die Entführung aus dem Serail, LA Opera; Eugene Onegin, Rigoletto, Boston Lyric Opera Upcoming: Lighting Designer, Dubai Expo 2020 Sustainability Pavilion; SAP SAPPHIRE NOW & ASUG Annual Conference; Phillip and Patricia Frost Museum of Science, Willis Tower Experience

HANNAH S. PENN Mezzo-soprano Pronouns: She/Her/Hers Hometown: Washington, IN Role: Hannah After, As One Portland Opera Debut: Mercédès, Carmen (2007) Recently: Mezzo-soprano Soloist, Pops Concert, Sunriver Music Festival; The Fox, The Little Prince, Opera Theater Oregon; Dorabella, Così fan tutte, Siletz Bay Music Festival; Maddalena, Rigoletto, Mrs. Williamson/Mezzo-Soprano Soloist, The Difficulty of Crossing a Field & The Little Match Girl Passion, Portland Opera; Jo, Little Women, Eugene Opera; Upcoming: Hannah After, As One, Eugene Opera; Bach cantatas, Leipzig Bach Festival

Stephen Powell in the title role of Verdi’s Rigoletto. Photo: Cory Weaver.

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CHAS RADER-SHIEBER

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Pronouns: He/Him/His Hometown: St. Louis, MO Role: Stage Director, La Finta Giardiniera Portland Opera Debut: Stage Director, Rinaldo (2013) Recently: Ariadne auf Naxos, Kentucky Opera; Rusalka, Orfeo ed Euridice, Die Entführung aus dem Serail, Des Moines Metro Opera; Orfeo ed Euridice, Die Fledermaus, Portland Opera; La Traviata, Pittsburgh Opera; Capriccio, Ariadne auf Naxos, Curtis Institute of Music; Faust, Macau Festival; L’amant jaloux, Giasone, Pinchgut Opera Upcoming: Il ritorno d’Ulisse in patria, Pinchgut Opera

PORTL AND OPER A

As One Big Night Concert The Barber of Seville La Finta Giardiniera In the Penal Colony

KIMBERLY REED

JAMES SCOTT

Pronouns: She/Her/Hers Hometown: Helena, MT Role: Co-librettist, Video Designer, As One Portland Opera Debut Recently: Writer/Producer/Director, Dark Money; Some Light Emerges, Houston Grand Opera; Producer, The Death and Life of Marsha P. Johnson; Co-librettist/ Video Designer, As One, American Opera Projects, Brooklyn Academy of Music; Consulting Producer, Before You Know It; Producer/Editor, Paul Goodman Changed My Life; Filmmaker, Prodigal Sons Upcoming: Librettist/Video Designer, Today It Rains, Opera Parallèle; Librettist/ Video Designer, Postville: Hometown to the World, San Francisco Opera, Santa Fe Opera

Hometown: Catonsville, MD Role: Costume Designer, The Barber of Seville Portland Opera Debut: Costume Designer, Sweeney Todd (1996) Recently: Costume Designer, Tosca, Il Trovatore, Candide, The Barber of Seville, Austin Lyric Opera; The Barber of Seville, Washington National Opera; A Christmas Carol, Great Lakes Theater Festival; The Miracle Worker, Ten Little Indians, Anything Goes, The Royal Family, Who’s Afraid of Virgina Wolf, Side Man, The Repertory Theatre of St. Louis; The Barber of Seville, The Journey To Reims, Candide, Pagliacci/Carmina Burana, Sweeney Todd, Portland Opera

CHRISTINE A. RICHARDSON

JACK SWANSON Tenor

Pronouns: She/Her/Hers Hometown: Vancouver, WA Role: Costume Designer, In the Penal Colony Portland Opera Debut: Hansel & Gretel, Portland Opera To Go (2016) Recently: La Traviata, Songs of Love and War, Portland Opera; 30 years of costume design work for many companies including: Guthrie Theater, TigerLion Arts, Stages Theatre, Mixed Blood Theater, Cantus, Theatre Latte Da, Mu Daiko, Mu Performing Arts, History Theater, Commonweal Theatre, Dark and Stormy Productions, 59E59 Theaters, BodyVox, and others

ALEKSANDRA ROMANO Mezzo-soprano

ANTONIA TAMER Soprano Pronouns: She/Her/Hers Hometown: Frankfurt, Germany Role: Berta, The Barber of Seville; Arminda, La Finta Giardiniera Portland Opera Debut: Soloist, Songs of Love and War (2017) Recently: Fiordiligi, Così fan tutte, Resident Artist Soloist, Big Night Concert, Portland Opera; Madge Doherty, The Nefarious, Immoral but Highly Profitable Enterprise of Mr. Burke & Mr. Hare, Boston Lyric Opera; Cio-Cio-San, Madama Butterfly, Natchez Music Festival Upcoming: Female Chorus, The Rape of Lucretia, Boston Lyric Opera

CONNECTING ART, NATURE AND PLAY THROUGH A PORTLAND LENS Proud Supporter of the Arts and the Creative Mind.

HOTEL MODERA PORTLAND 515 SW Clay Street | Portland, OR 97201 503.308.1637 | www.hotelmodera.com

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Pronouns: She/Her/Hers Hometown: Hamden, CT Role: Mezzo Soloist, Big Night; Rosina, The Barber of Seville Portland Opera Debut: Isabella, The Italian Girl in Algiers (2016) Recently: Carmen, Carmen, North Carolina Opera and Madison Opera; Paquette, Candide, Utah Opera and Sejong Center for the Performing Arts; Title Role, Tancredi Rifatto, Performing Arts Center Purchase College Upcoming: Rosina, The Barber of Seville, Samira, The Ghosts of Versailles, Chautauqua Opera Company

Pronouns: He/Him/His Hometown: Stillwater, MN Role: Almaviva, The Barber of Seville Portland Opera Debut Recently: Almaviva, The Barber of Seville, Glyndebourne Tour; Nemorino, The Elixir of Love, Den Norske Opera; Sam Kaplan, Street Scene, Oper Köln; Title Role, Candide, LA Opera; Lindoro, The Italian Girl in Algiers, Santa Fe Opera; Fenton, Falstaff, Tonio, La Fille du Regiment, Count Belfiore, La Finta Giardiniera, Des Moines Metro Opera

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SEASON ARTIST BIOGRAPHIES MARK A. THOMSEN Tenor Pronouns: He/Him/His Hometown: Minneapolis, MN Role: Podesta, La Finta Giardiniera Portland Opera Debut: Don Ottavio, Don Giovanni (1989) Recently: Pirelli, Sweeney Todd, Governor/Vanderdendur/Ragotski, Candide, Portland Opera; Nicias, Thais, Boston Lyric Opera; Don Ottavio, Don Giovanni, Spoleto Festival; Don Jose, Carmen, Dallas Opera; Title Role, The Tales of Hoffmann, Opera Lyra Ottawa Upcoming: Stage Director, The Magic Flute, Imperial Symphony Orchestra; Stage Director, “Orlofsky’s Soirée,” Florida Southern College

RYAN THORN Baritone Pronouns: He/Him/His Hometown: Kenosha, WI Role: The Officer, In the Penal Colony Portland Opera Debut: First Priest, The Magic Flute (2016)

Recently: Dandini, La Cenerentola; Guglielmo, Così fan tutte, Duke/Dr. Carrasco, Man of La Mancha, Schaunard, La Bohème, Baritone Soloist, Songs of Love and War, Taddeo, The Italian Girl in Algiers, Portland Opera; Donna Agata Scannagalli, Viva la Mamma, Musiklehrer, Ariadne auf Naxos, Marcello, La Bohème, Pacific Opera Project

CONNIE YUN Pronouns: She/Her/Hers Hometown: East Lansing, MI Role: Lighting Designer, As One, La Finta Giardiniera Portland Opera Debut: Lighting Designer, The Return of Ulysses (2006) Recently: The Magic Flute, Kentucky Opera; Cavalleria Rusticana & I Pagliacci, Madison Opera; The Miraculous Journey of Edward Tulane, Seattle Children’s Theatre; Turn of the Screw, Beatrice and Benedict, An American Dream, As One, Tosca, Seattle Opera; Orfeo ed Euridice, La Cenerentola, Portland Opera Upcoming: Black Beauty, Snow White, Seattle Children’s Theatre

RUDY WURLITZER

Hometown: Cincinnati, OH Role: Librettist, In the Penal Colony Portland Opera Debut Recently: Librettist, The Perfect American; Script Writer, 100 Centre Street, Spirit of Tibet; Filmmaker, Energy and How to Get It; Screenplays, Little Buddha, Shadow of the Wolf, Wild, Voyager, Candy Mountain, Walker, Pat Garrett and Billy the Kid; Novels, The Drop Edge of Yonder, Hard Travel to Sacred Places, Walker, Slow Fade, Quake, Flats, Nog PRONOUNS IN OUR BIOGRAPHIES: This season, we have offered our artists and creative teams the option to include gender pronouns with their biographies. We make this change as a way of letting people know how our community members refer to themselves and hope that this can be a reminder about the assumptions that we make regarding gender identity. Portland Opera is dedicated to creating a diverse and inclusive environment for everyone involved in creating and enjoying our beautiful art form.

Classical 2019/20 From Beethoven’s Fifth to Joshua Bell, you won’t want to miss a single note!

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Classical Series packages start at just 6 concerts – subscribe today for best seats and prices.

orsymphony.org 503-228-1353 your official source for symphony tickets

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Artslandia: 7.3125 x 4.875 Runs: March - August Artist: Season Launch

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ORCHESTRA

Photo: Cory Weaver.

VIOLIN

Margaret Bichteler, concertmaster James M. McLennan, assistant concertmaster Linda Vasey, principal second violin Nelly Kovalev, principal second violin (As One, In the Penal Colony) Lucia Atkinson Robin E. Baldino Casey Bozell Janet Groh Dubay Jennifer Estrin Barbara George Hae-Jin Kim Hannah Leland Heather Mastel-Lipson Peter Miliczky Elizabeth Peyton Peter V. Piazza Eva Richey

VIOLA

Hillary Oseas, principal Pamela Burovac Angelika Furtwangler Shauna Keyes Michelle Mathewson Marissa Winship TBD, principal Dylan Rieck, substitute principal Trevor Fitzpatrick Katherine Schultz

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CELLO

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BASS

Michelle Lindberg, principal David Parmeter, substitute principal Dave Anderson Chang Min Lee

FLUTE

TRUMPET

Charles Butler, principal Robert Rutherford Craig Gibson

TROMBONE

GeorgeAnne Ries, principal Sydney Carlson

John Church, principal David Bryan TBD

PICCOLO

TUBA

OBOE

HARP

ENGLISH HORN

TIMPANI

CLARINET

PERCUSSION

Rachel Rencher Kelly M. Gronli, principal Alan Juza Karen Strand

Louis DeMartino, principal Theresa Schumacher

TBD, principal Matthew Tutsky, principal Denise Fujikawa Will Reno, principal Gordon Rencher, principal Brian Gardiner, principal (Big Night)

BASS CLARINET Carol Robe

BASSOON

TBD, principal Janice Richardson

CONTRABASSOON Jennifer Bleth

HORN

Michael Hettwer, principal Jen Harrison Jonathan Kuhns-Obana Leander Star

ADDITIONAL ORCHESTRA MUSICIANS FOR THE 2019 SEASON The Barber of Seville: Irene Gadeholt, violin Paloma Griffin Hébert, violin Bryan Johanson, guitar Carin Miller Packwood, principal bassoon Additional Big Night musicians are listed on page 44.

GOOD { TIMES } COME TO THOSE WHO:  WAIT  WATCH  TAKE THE LEAD THE {FULL} LIFE AWAITS

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TOUCHMARK IN THE WEST HILLS

FULL-SERVICE RETIREMENT COMMUNITY PORTLAND, OR • 503-946-5427 • TOUCHMARKPORTLAND.COM 1919730 © Touchmark, LLC, all rights reserved

PORTL AND OPER A

CHORUS

SOPRANO

TENOR

Gina Adorno

John Boelling

Aline Bahamondez *

Juan Castañeda

Kari Burgess

Jody Chastain *

Aimee Chalfant *

Scot Crandal *

Hannah Consenz

Robert S. Gardner *

Lindsey Johnson

Ernest C. Jackson Jr. *

Cristina Marino *

Jim Jeppesen *

Rachael Marsh *

Joseph M. Muir *

Dru Rutledge *

Bryan Ross

Audrey Sackett

David Warner *

Jocelyn Thomas *

Jeremie Wilkie

Eva Wolff *

Paul Wright *

MEZZO-SOPRANO

BASS-BARITONE

Sarah Burns

Gregory Brumfield *

Carisa Simpson

AnDee Compton *

Wesley Clerge

Maeve Stier

Sadie Gregg

André Flynn *

Ryan Thorn

Anna Jablonski *

Deac Guidi *

Bryce Tomlin

Allison Knotts

Erik Hundtoft *

Madeleine Tran

Beth Madsen Bradford

Mitchell Jones

Alex Trull

Sarah Maines

Timothy Lafolette *

Valery Saul *

Brian Langford *

Kate Strohecker *

Paul Sadilek

Olga Melendez Valdes

Patrick Scofield *

Sherrie Van Hine *

Stefan Simanton

Jena Viemeister

Anders J. Tobiason *

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Photo: Cory Weaver.

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ADDITIONAL ADULT CHORISTERS Chris Cheek Alishia Garcia Emmanuel Henreid Aaron Lange Sergio Manzo Patrick Murray Lisa Neher Kurleen Nowickas Adrian Rosales Rebecca Sacks Marianne Sadée Daisy Margaret Schön

* 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.

“A COMPANY OF SLICK, SKILLED DANCERS” – THE NEW YORKER

A TRIO OF OUR BEST LOVED WORKS YIDAM

IHSAN RUSTEM

CASUAL ACT SARAH SLIPPER

PATRICK DELCROIX

TICKETS

nwdanceproject.org 503.828.8285 NEWMARK THEATRE

PHOTO / MICHAEL SLOBODIAN DANCER / FRANCO NIETO

APRIL 25 - 27 / 2019

ENCORES

DRIFTING THOUGHTS

PORTL AND OPER A

PRODUCTION & STAGE CREW

Photo: Trace Downen.

PRODUCTION STAFF PRODUCTION

Jon Wangsgard, Production Stage Manager Jamie Lynne Simons, Stage Manager (In the Penal Colony) Whitney Schmerber, Jamie Lynne Simons, Ann Moore, Karen Hill, Sarah Stark, Assistant Stage Managers Carla E. Jimenez, Production Assistant/ Scheduling Specialist John Armour, Fight Coach

ARTISTIC ADMINISTRATION Erika Richter, Music Librarian/ Surtitle Coordinator Lindsey Johnson, Surtitle Operator (As One) Anders J. Tobiason, Sherrie Van Hine, AGMA Delegates Eva Wolff, Chorus Secretary Michael Hettwer, Orchestra Manager Jessica Hall, Charles A. Dillard, Michael Lewis, Susan McDaniel, Pianists Jonathan “Bearclaw” Hart, Technical Director Cindy Felice, Props Director Jaison Stagg, Production Carpenter Carl Faber, Staff Assistant/ Lighting Designer Mark James, Production Electrician Jona Stagg, Warehouse Supervisor

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TECHNICAL

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Alex Meyer, Associate Set Designer, In the Penal Colony TBD, Properties Liaison Sean Casey, Rachel Schmerge, Elizabeth Spottswood, Daniel Wilson, Properties Assistants Gina Fagnani, Megan Streight, Pre-Production Electricians

COSTUMES

Christine A. Richardson, Costume Director Debra Bruneaux, Head Cutter/Draper Jane Pivovarnik, Draper Jeffery Wilson, First Hand Emmaly Chin, Tevis Hockenbury, Stitchers Bonnie Henderson-Winnie, Wardrobe Supervisor

WIGS/MAKEUP

Sara Beukers, Supervisor Kellen Eason, Assistant Supervisor Leighann Barrie, Foreman Helen Hart, Kay Hoover, Lisa Jubera, Artists Patricia N. Arnold, Patricia J. Chard, Melinda McQueen, Nadine Nakagawa, Miranda Nolten, Technicians

Orchestra Musicians represented by the American Federation of Musicians Local 99 Principals; Chorus, Dancers, and Staging Staff represented by the American Guild of Musical Artists STAGE CREW PROVIDED BY IATSE LOCAL #28 For the Keller Auditorium: ​Jim Burbach, Head Carpenter​ ​Marty Rugger, Head Flyman ​Scott Bartel, Head Propertyman​ ​TBD, Head Electrician​ Brandon Hoguet, Head Soundman​ For the Newmark Theatre: John Rourke, Head Carpenter Danny Cook, Head Flyman Kerris E. Cockrell, Head Propertyman Lorin Sly, Head Electrician Duanne Rodakowski, Head Soundman ADMISSION STAFF PROVIDED

BY IATSE LOCAL #B20

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 STAFF

PORTL AND OPER A

STAFF & BOARD

★ Christopher Mattaliano, General Director George Manahan, Music Director

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

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

EXTERNAL AFFAIRS

Sue Dixon, Director of 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

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 BROADWAY IN PORTLAND

★Tracy Wenckus, General Manager

Morgan Jones, Group & Corporate Sales Manager Roberta McNary Rosso, Marketing Coordinator Jess Morgan, Group Sales Coordinator ★Michael Brumage, Customer Service Supervisor Katie Clope, Customer Service Supervisor Stephanie Calinski, Customer Service Representative Lily Copeland, Customer Service Representative Jacqueline Harpole, Customer Service Representative Chris Olson, Customer Service Representative

PRODUCTION

★Laura Hassell, Director of Production

Jonathan “Bearclaw” Hart, Technical Director 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

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

COSTUME SHOP

OFFICERS

MEMBERS

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

Sona Andrews, Professor and Provost Emerita, Portland State University Kregg Arntson, Director of Corporate Social Responsibility & Executive Director, Portland General Electric & PGE Foundation Nelson D. Atkin II, Partner, Barran Liebman LLP Matthew Baines, Retired Attorney & Community Volunteer Linda Brown, Owner, Brown’s Blueberries Marilyn Crilley, Community Volunteer Matthew Essieh, CEO, EAI Information Systems Connie Gougler, Senior Director of Marketing, Iovation, A TransUnion Company Robert K. Haley, Founder and President, Advanced Wealth Management Jamey Hampton, Co-founder and Artistic Director, BodyVox Diana Harris, Retired Intel Executive & Community Volunteer Carole Morse, Board Member, Oregon Cultural Trust Patricia Norris, Owner, Norris Dermatology & Lasers NW Greg Tibbles, Retired Executive Kathryn Wheeler, New Relationships Manager, Atlas Curriculum Management

Kay Abramowitz, Past President Retired Attorney, Miller, Nash, Graham & Dunn, LLP Gregory K. Hinckley, Vice President Past President, Mentor Graphics Corp.

Callie Pappas, Vice President VP & Chief Compliance Officer, Schnitzer Steel Industries, Inc. William Lockwood, Treasurer Senior Vice President-Investments, Wells Fargo Advisors Chris Hermann, Secretary Partner, Stoel Rives LLP William Sweat, At Large Owner, Winderlea Vineyard and Winery

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BOARD OF DIRECTORS

MARKETING & COMMUNICATIONS

PATRON SERVICES

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Christine A. Richardson, Costume Director Debra Bruneaux, Cutter/Draper Jeffery Wilson, First Hand/Stitcher ★ Ten-year-plus employees

Portland Center Stage at

IN THE HEIGHTS Lin-Manuel Miranda’s (Hamilton) sizzling, awardwinning musical takes us to Washington Heights in NYC, where a community on the brink of change struggles to achieve their dreams.

MACBETH Three women tackle all the roles in this piercing, stripped-down adaptation of Shakespeare’s infamous tale of the notorious royal assassin.

REDWOOD Humorous and biting! After a (Black) family explores their ancestry online, they must learn how to live in a present that’s overpopulated with ghosts.

MISS BENNET: CHRISTMAS AT PEMBERLEY 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.

HEDWIG AND THE ANGRY INCH Part rock concert, part cabaret, part stand-up comedy routine, this one-of-a-kind musical proves time and again that an indomitable spirit can’t ever be tied down.

ANNOUNCING THE 2019-2020 SEASON! SCHOOL GIRLS; OR, THE AFRICAN ME AN GIRLS PL AY A beauty pageant at a Ghanian boarding school sets teenage girls against each other and cautions that while beauty may be only skin deep, its pursuit can cut much deeper.

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME This Broadway smash hit takes us inside the mind of an extraordinary boy trying to solve the murder of his neighbor’s dog.

9 PARTS OF DESIRE An intimate and complex portrait of nine Iraqi women, this remarkable solo work offers a meditation on what it means to be a woman in a country overshadowed by war.

HOWARDS END Four actors play 20 characters in E.M Forster’s tale of two sisters struggling to align their values with England’s early 20th century social strictures.

CAMBODIAN ROCK BAND Fierce and funny, a woman explores her roots 30 years after her father fled the Khmer Rouge’s brutal regime. Featuring a cast performing Dengue Fever hits and Cambodian oldies!

SEASON TICKETS ON SALE NOW!

503.445.3700 • PCS.ORG All titles, artists and dates subject to change. Left: Felicia Boswell in The Color Purple. Photo by Patrick Weishampel/blankeye.tv.

I have been blessed to be part of so many incredible productions; it’s hard to choose just one! Some of my favorite productions have been the Pagliacci/Carmina Burana double bill in 1997, Dialogues of the Carmelites in 2001, The Rake’s Progress in 2015, Eugene Onegin in 2016, Man of La Mancha in 2017, and most recently, Orfeo ed Euridice in 2018. A favorite memory was sharing the stage with Tiki the Elephant in Aida.

What is your “opera story”?

AnDee Compton Mezzo-soprano

From McMinnville, Oregon With Portland Opera since 1992 AnDee lives in Sellwood with her fiancé, Scott, and is looking forward to joining his wonderful son and family with hers by getting married in 2019. She's a proud member of the American Guild of Musical Artists.

What is the best part of your job?

Oregon Symphony

Cinderella

Oregon Ballet Theatre

What’s currently playing on your iPhone/iPod/Spotify/ CD Player/Radio?

I created a Spotify playlist titled “Fun to Sing,” which includes artists such as Luciano Pavarotti, Marc Broussard, Sara Bareilles, Ella Fitzgerald, Eva Cassidy, and David Phelps, to name a few.

Photo by Jeremy Dunham, Polara Studio.

BodyVox

TO W I N T I C K E T S T O P E R F O R M A N C E S A L L O V E R T H E C I T Y.

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I’ve always wanted to be a singer.

Pearl Dive Project

VISIT ARTSLANDIA.COM/CONTESTS

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Leslie Odom Jr.

As a child, what did you want to be when you grew up?

Photo by Tatiana Wills.

Photo courtesy of Oregon Symphony.

Dressing up in beautiful costumes and wigs of all shapes, sizes, and styles, learning how to sing in different languages (German, Italian, French, English, Russian, and Czech, so far), being in close proximity to amazing singers, and working with the incredible members of this company.

I fell in love with listening to opera the first time I heard a recording of Pavarotti singing “Nessun Dorma.” When I went to college, my intention was to be a high school music teacher. Part of the curriculum included voice lessons, and that’s when I fell in love with singing opera. As I quickly learned that my passion and talents were in performing opera rather than becoming a teacher, I changed my major to performance. After graduation, I auditioned for the Portland Opera chorus and was ultimately offered a tenured position in the mezzo section.

Photo by Patrick Weishampel/blankeye.tv

CHORUS SPOTLIGHT

F E AT U R E D

What is your favorite Portland Opera memory or production?

The Color Purple

Portland Center Stage at The Armory

COMMUNIT Y

CONTRIBUTORS

Guests enjoy the Rigoletto cast party. Photo: Trace Downen.

$25,000+

Carol Franc Buck Foundation Ellyn Bye and Dream Envision Foundation Bill and Karen Early The Carol and John Hampton Family Fund of The Oregon Community Foundation Gregory K. and Mary Chomenko Hinckley Joanne M. Lilley McGeady Family Foundation Laura S. Meier Dorothy Piacentini Pat and Trudy Ritz and The Ritz Family Foundation Harold and Arlene Schnitzer CARE Foundation Arlene Schnitzer Jordan D. Schnitzer Ben and Elaine Whiteley ♥ ♥ Anonymous

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$10,000 – $24,999

Sona Karentz Andrews George and Lee Anne Carter Leo Conkle Marilyn Crilley and George Rowbottom Pamela and Paul De Boni George and Barbara Dechet Matthew and Emmanuella Essieh John S. Ettelson Fund The Flowerree Foundation Jamey Hampton and Ashley Roland The Hampton Family Fund Diana Harris and Gary Piercy Chris and Kathryn Hermann Richard and Delight Leonard Eleanor Lieber Auditions Fund of The Oregon Community Foundation Elizabeth Lilley Joy McNichols

POR TL ANDOPER A .ORG

William and Mary Lou Mullin David and Valerie O’Brien The Outlander Foundation Loni and Scott Parrish Marcia H. Randall William D. Rutherford and Joan Lamb John and Carol Steele Donna Morris and Bill Sweat Dr. Curtis T. Thompson Greg and Cathy Tibbles Charles R. Watkins Anonymous

$5,000 – $9,999

Kay and Roy Abramowitz Tremaine and Gail Arkley Matthew R. Baines* The Breunsbach Family William and Suzanne Dolan Paul and Kristina Elseth Jeffrey A. and Diane M. Evershed Connie Gougler Robert and Dorothy Haley Susan and Richard Helzer Sue Horn-Caskey and Rick Caskey Andrew and Carol Kay Judith and Martin♥ Kelley Robert L. Ladehoff Walter E. Lander and Kit Tong Ng Drs. Dolores and Fernando Leon Nancy Locke and Donald Harris Bill and Kate Lockwood Jerome Magill Carole Morse Patricia Norris and Mark Schlesinger Callie Pappas and John Winner Kay Parr Dr. Charles and Ruth Poindexter Michael and Alice Powell Wallace and Elizabeth Preble Fred Ramsey N. Robert and Barre Stoll Jeffrey and Jan Thede

David and Carol Turner Eduardo Vides, MD and Bruce Guenther Dean and Patricia Werth Anonymous

$2,500 – $4,999

Kirby and Amy Allen* Kregg Arntson and Ted Fettig Brent Barton and Liz Fuller Marianne Buchwalter Bruce and Brenda Burns Deborah A. Coleman Paul and Kathleen Cosgrove* Thomas H. Denney Richard and Carol Dickey Richard B. Dobrow, M.D. Sterling Dorman Ray and Yasuko Fields Robert and Dana Fischer Michael J. Gentry Ed Gronke* David and Brette Hampton Betsy and Gregory Hatton Marsh Hieronimus Dr. Robert H. and Barbara Jones Randy and Leslie Labbe Dorothy Lemelson Carol Schnitzer Lewis Fund of The Oregon Community Foundation Dr. and Mrs. John Lindgren Marco Lopez Carol Mangan Fritz and Peter Fritz The M. and L. Marks Family Fund of The Oregon Community Foundation Christopher Mattaliano Dr. and Mrs. Louis McCraw Nancie S. McGraw Brad and Nancy Miller Susan D. Morgan, VMD Nathan Family Charitable Fund of The Oregon Community Foundation Yooy and Joey Nelson

John and Ginger Niemeyer Mrs. Elizabeth Noyes Jane S. Partridge Mary and Russell Reid Julie and William Reiersgaard Karen and Wayne Rembold Robert and Marilyn Ridgley Janet Roberts and Edgar Clark Bob and Barbara Schuppe Sue and Drew Snyder David Staehely Albert and Victoria Starr Claudia Taylor, M.D. Su Tunney and James DePew Susan and James Winkler Anonymous (2)

$1,000 – $2,499

Don and Jennifer Arancibia Margaret and Scott Arighi Sidney and Barbara Bass Marc and Maureen Beaudry Eric Bell Alan and Sherry Bennett Robin Best Alene and Bruce Bikle Frances Britt* Linda and Marcia Brown Megan Brown William Buettner Dr. Carlos Castro-Pareja and Lori Dunkin* Edwin Clarke Frederic and Nancy Delbrueck Carol Dillin Sue Dixon and Bob Candeloro Timothy Dunn Bart and Jill Eberwein Lynne Eramo Tom and Dawn Flookes Michael Alan Fox and Deborah D. Garman* Eric and Rebecca Friedenwald-Fishman Jim and Karen Halliday Susan Halton

$500 – $999

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$100 – $499

Andrew Ackman* Jack Wussow and Kyle Adams* Dr. George Adlhoch Joseph Alexander and Janine Clayton Abby Alford Farouk Al-Hadi and Elaine C. Al-Hadi Jutta Allen Kathleen and John Allen Robert Amundson and Sully Taylor Kris Anderson and Michael O’Brien Thomas Anderson and Joan Montague Christopher Andrews Ruby Apsler Jacque Arellano Brandon Arends and Anne Sires

COZY ITALIAN TAVERN nonnapdx.com

THREE DISTINCTIVE EXPERIENCES. THREE EXTRAORDINARY MENUS. ONE CULINARY DESTINATION. NE 30th & KILLINGSWORTH

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Mr. and Mrs. Peter Pope William Pressly and Carole Douglass Russell Ramsey Dell Rhodes Dr. Robert H. and Anne A. Richardson* Stephen and Leslie Robinson Richard and Mary Rosenberg Weston Roth and Lisa Shaw Lacey and Bjorn Rowberg Seth Row Kenneth Schriver Dr. Therese M. Scott and Earl E. Heberlein Richard and Michaelyn Seals Ruth A. Short Steve Slotemaker Michael Smira William and Cornelia Stevens Eric and Cyndi Strid L. Susan Sullivan Von and Barbara Summers Julie Tripp Frances and William Tucker Peter and Ann van Bever Peter Vennewitz* Geoff Verderosa Julie and Ted Vigeland Jon Vorderstrasse Drs. R Bastian and Barbara Wagner Wendy Ware and Dan Gleason Sharon L. Weil Weiss Fund of The Oregon Community Foundation Michael and Lisa Wenzlick DJ Wilson Dr. and Mrs. David S. Wisdom Linda M. Wood John and Nancy Zernel Diane Zhitlovsky Anonymous (8)

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Donald Andersen Sam and Rebecca Angelos Mr. and Mrs. Calvin Arnason Nancy Babka and Michael Morgan Charles G. Barany Tom Bard James and Kathryn Bash David and Jeanne Beck Peter J. Bilotta and Shannon M. Bromenschenkel John H. Block William Bloom Margaret Branson

Gilbert and Mary Ann Brokaw Matt and Marian Brouns Robert Bucci Virginia V. Burgess Greg Burpee Charles Richard Clarkson Elaine and Arnold Cogan Pamela Crane Tracy Curtis Dr. Duane Denney Sally Drinkward James and Kelley Dulcich Randall and Laurie Dunn* Donna Elsasser Ron and Ann Emmerson Keiko Amakawa and Dr. Harvey Fishman Stephen and Susan Ford Anne Francis Morris Galen Rolf Glerum John and Jackie Goldrick Pam Gordon and Betty Goddard Susan Greer Ron Gustafson Molly and Howard Harris Richard L. Hay John L. Hedrick Fred and Harriet Hegge Karen R. Henell Paula Holm-Jensen* Maryanne and David Holman Joseph and Jo Won Homann Kimberly Howard John Hren and Pam Aneshansley Hren Trond and Catherine Ingvaldsen Arthur and Virginia Kayser Douglas and Dena Keszler Angela Kilman Tina Kinateder Jeffrey C. King and Jessie K. King Lucy Kivel and Scott Howard Timothy Lafolette Mrs. Stanley A. Landeen Rebecca Langdon Drs. Fred and Catherine Lauritsen Clif and Cheryl Leonard* Heidi Lindner Michael Lockwood Robert E. Lowe Katherine Martin Heli Roiha and Terry McKelvey Andrew and Heather McStay* Victoria Meadows J. Michael Morrison Martha Havens Moyer Mike and Susan Mueller J. Neuwelt* Richard and Beverly North Erika and Jack Orchard Milo and Beverly Ormseth Rev Dr. Rodney and Sandra Page

COMMUNIT Y

Pamela Henderson Hoffman Corporation Dennis and Jacqueline Isiguen Drs. William and Nathalie Johnson Helen and Paul E. Johnson MD H. Alexander Krob, M.D.* Kathleen Lewis Craig and Anne Lindsay Keith Martin Christopher and Michael Mele-Wagner Paula and Bert Morgan George and Reba O’Leary Marianne Ott Corinne and Duane Paulson Frank Piacentini and Sara Weinstein Art Dodd◆ and Diane Plumridge Harold and Jane Pollin Zela and Elsa Pollock Ben and Lillian Pubols Augustina Ragwitz* J. Chris Rasmussen Lynne Diane Roe, M.D. John A. and Charlene Rogers Don V. Romanaggi, MD Celeste Rose Robyn and Kemp Shuey William Space and Allen Brady Bob Speltz and Dwight Adkins Randy Squires Garry and Ardith Stensland Kathleen Strohecker Bill Supak and Linda Kozlowski Hank Swigert and Marlene Koch Rick and Carol Terrell Charitable Fund of The Oregon Community Foundation Justine Thede Dr. Claudine Torfs Russell Turner and Urszula Iwaniec Dr. Greg Zarelli and Mr. John Bush* Anonymous (3)

COMMUNIT Y

CONTRIBUTORS

Dr. and Mrs. James W. Asaph Raymond and Nancy Asbury Ruth Aschkenasy Dr. Martha B. Atkinson Roberta August Fran Aversa and Tom Johnston* John T. Bagg Arlene Baker Kathleen Baker Jane Tait Baldwin Dr. Natalie and Mr. Anthony Ballas Lajos Balogh Dr. Jaime Barnard Barbara and David Barnes* Julia and Mark Barnes Tom and Molly Bartlett Karen Barton Paul Bascom Kathleen Beaufait Bryan and Vicki Beazley Phyllis L. Beemsterboer Clarissa Benfield Richard H. Berkey Karen Berkowitz and Robert Rutenberg Aase Maja Besson* Hella Betts Maryka Biaggio and Deb Zita* Rick and Sydney Blaine Alice P. Blatt

Karen and Bob Blomquist Brittany Blumberg Donovan Bonner Richard R. Bosch William Boyd and Marna Tisdel Art and Diane Brandenburg Lindsay Bregante Myers Verlea Briggs Peggy A. Bryant* Nick Bulder Rex Bull and Judith Widen Jim and Linda Burch, and Ryan Thorn Karie Burch Carol J. Burns Robert Burovac Kate Bushman Judy Ann Butler Andrew Butts and Abby Kirchem-Butts Truddy Cable Barbara and Worth Caldwell Elizabeth Caldwell Amy Drake Campbell* Maurine and Paul Canarsky Geoffrey Carr Kendall Carr Dr. and Mrs. Rob Cavasher Richard Cave Ron and Jane Cease

Doug Beckman and Joanna Ceciliani Christine Chen Susan Church Sarah L. Claiborne Ann and Andrew Clark* Alicia Coakley Kathryn Coffel Christine Colasurdo Joseph and Vonnie Condon* Bryant Conger Victor Congleton Joan Conley Ralph and Barbara Cook Rick Cooley Tim Cooper Gretchen Coppedge Dave and Char Corkran Mr. and Mrs. Thomas S. Councell Barbara Courts* Susan and Tim Cowles Mr. James Cox and Mrs. Brenda Nuckton Georgia Ronan Crampton Dr. Richard Crisera Dan Jaynes and Ellen Crivella Dr. Marvin and Lauri Noell Crocker W. Ron Crosier Janet Cruz Tim and Suzanne Cusick

Nancy Lee Cutler Dr. and Mrs. Aloys J. Daack Paul Dantas Erin Dawson Hoyt A. Day Mariah de Forest Amy Dechet Jan Dellibovi Janis L. Cantrell Richard G. Denman Megha Desai and Greg Lockwood Diane and Bill Diamond Mr. and Mrs. Eugene P. DiLoreto Allen and Mary Lou Dobbins Mandy Doherty Christopher Domschke Dejan and Vida Dordevich Merrilee Dowty Margaret and Richard Drake Patricia Dresler Imelda Dulcich Dr. David Dunning Maryann Dutton Sandra and Rodger Dwight Jane Edwards Roger Edwards and Carol La Brie Douglas Egan Dr. Maura and Ray Egan Mrs. Bill Eklund Amy Elliott Kevin and Cinda Embree

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Dennis Langston Grethe Larson and James Mullins Marina Laurette and Gerald Cosby A.M. LaVey Barbara Coombs Lee Carling Leon Leonheart Photography Judith K. Leppert Joan Levers and David Manhart* Caroline Lewis Christine E. Lewis Jordan and and Anna Lewis* Monelle Lewis Amy Light Jane and Robert Lightell Michael and Jeanette Lilly Nicholas Lim Ashley Lindsay Jeffrey W. Littman Carolyn and James Loch* Joyce and Stanley Loeb Sharon Loomis-Malin* Henry C. Louderbough, MD Patricia and Walter Loveland* Jack and Kathy Lucier Rob and Theresa Lusardi Susa Lynne Donna and Joseph MacKenzie* William Mahan James and Midge Main Bill and Mary Mainwaring Barbara Manildi Linda L. Mann Gerald Marcyk John Martin Don Mason and Kathy Hinson Agneta and Mike Massa Julie Mathews Thomas J. Mathews and Lois L. Heinlein William F. Mayclin Oscar and Mary Mayer Colleen and Alex Mazzia Nancy E. McCall John M. McClelland Dr. and Dr. McClure Maria McCormick Walter and Barbara McDonald Carole and William McDonald Ed and Judith McKenney John and Candace McMunn Karen McNamee* Tim McNichol and Anne Egan Bill McRae Edward and Nancy Meece Charles Meshul and Maureen Ober Marion Meyer Susan Mikota Tom and Pamela Miles Jen Milius and John Eisemann Kenneth and Sandra Miller

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Kira Higgs Amiko Hiraiwa Riley Carol and Herb Hoefer* Mary Holdman and Lawrence J. Evers Kenneth L. Holford Avon and Fred Holmes Kathryn J. Holt* David Horowitz Carolyn Howard Rebecca and Zach Howell Carol and Tom Hull Zach Hyder Romeo Ilie-Nicolof James and Sara Ingle Robina Ingram-Rich and Tim Rich Jean Inzerillo Martha Ireland Punya Jain Team Jam Bernadette and Jeffrey Janisch Mr. and Mrs. Richard Janzig Paulette S. Jarvey Barbara Jeddeloh Doug Jenkins and Mike Boyles Richard and Linda Jenkins Kathy and Nils Jensen Nancy Jerrick* Karen Johnson* Norton Johnson and Ella Opdal Barbara A. Johnston Annette Jolin and Richard Uâ&#x20AC;&#x2122;Ren Becky and Jarrett Jones Shelley L. Jones Jodi Jordan The Jorgensons Carrie Juergens Robert Kavanaugh and Dale Robards Galen Kawamoto Carole S. Keefer Arthur and Kristine Keil Brenda Kell Mark and Pam Keller Esther Kelley Felice D. Kelly Alberto Kelso Meagen Kincaid Rev. Lawrence R. King Louis and Patricia Kingman Mary and Bruce Kinsch* Frederick Kirchhoff and Ronald Simonis* Nico Galoppo and Allison Knowles Judy and Fritz Kokesh Paul Kondrath Rachel Kopf Allen Koshewa Norman P. Krasne* Sophia Kremidas Louise J. Kurzet Kathleen Kusudo Damianos Kyriakopoulos Ryan and Stephanie La Pier

COMMUNIT Y

James A. Endler Joseph Erceg Michelle Erickson Wes Evans and Lou Scorca Laurie Fay Robin Feidelson Edward and Jeanette Feldhousen Jean Feller* Ron and Kathleen Fial Debra Finkelnburg Nicole Forbes Heather Fossity Patricia France Andrea Frank Dick Frey* Richard Frey Jacob L. Friesen Theresa Fritchle Albert Furtwangler Oksana Fusselman Elizabeth Gamino Lyn Garcia Michael Butts and Lily Gardner-Butts Michael and Nancy Gaston Mrs. Lora Giles Larry and Marlis Gilman J.A. Godshall Josh Goldberg Jennifer Goldsmith Rosalie Goodman Nihal Gooneratne Corbett Gordon Barbara and Marvin Gordon-Lickey Martha Graner and William DeBolt Cindel Green Mark Greenfield Kelsey Gregory Anne Grummel Marsha Gulick Paul Gunderson Anton Haas Jr. Colleen Hageman Patrick G. Hager and Alessandra Capperdoni Mia Hall Miller Eric Hallquist Rosemary Hamerton-Kelly Jo Lynne Hamilton Peter Hammond and Frank Johnson Anne Hanchek Francis Hanchek Frances Hanckel Irvin Handelman Barbara S. Hansen Amy Lynne Harrison Amelia Haynes Chris and Alicia Heaton Andrea and Ted Heid* Stanley O. Heinemann Mr. and Mrs. David A. Hendersen Sudee and Clayton Hering Joanne Hermens Jean Herrera James S. Heuer

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COMMUNIT Y

CONTRIBUTORS

Pamela Gesme Miller and Fred B. Miller Kay Mitchell Katie Kinsley John and Shanna Molitor Monique’s Boutique Kathleen Anne Moon David Adam Moore Melissa Moore Chris Morgan Jean S. Morrison Ilse Moser Patricia G. Moss Daniel Mueller and JoAnn Pari-Mueller Matthew Mueller Richard and Midge Mueller Alfred W. and Susan Mukatis Nancy Murray Prabu Muruganantham Samantha Arlene Nash Bee and Quentin Neufeld Shirley and Mike Newcomb Anne Nguyen and Eli Krueger Roger G. Nibler David Nijhawan Elaine Noonan Mary Jo and Robert Nye Nancy H. Oberschmidt Alison N. O’Brien Dan Occhipinti

Leslie Odegard Kris Oliveira Olive and John Orr* Patricia O’Shea Karen and Abby Oxendine* Pam and Ken Palke Dr. Laetitia Pascal Lanetta Paul Carole J. Peggar* Rebecca Phillips* Sue Piazza Susan and Walter Piepke Matthew Plavcan Laura Polich Guy and Sally Pope Richard Poppino and Tina Bull Richard A. Potestio Marjorie Powell* John and Debbie Purcell Nancy Pyburn Carole Quick Kasia Quillinan Suzanne Rague Sohyon Rahe Michael and Julia Ratoza Julie Rawson Emperor Doug Reckmann III Denise Reed Russell and Jolae Reed Steven R. Reinisch* Kevin Reynolds

Schuback Schuback:Class_Millenium NEW.qxd Violin Shop

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Over Over 47 40 years years of of 1255 NW 9th Avenue #11 Portland, Oregon 97209 Sales Supporting Repairs Portland’s Appraisals Fine Musicians

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Michelle Reynolds Shannon Reynolds Mrs. Charles Rhyne M. Burke Rice Forrest and Rae Richen Judge R. William Riggs Lisa Ripps and Michael Hynes Mr. and Mrs. Richard Roberts Brian Rogers and Cassandra Scholte Mary B. Rose Rosalind M. Roseman Rosemarie F. Rosenfeld Charles W. Rosenthal Pavel and Alena Rott Mr. and Mrs. Mark Rowlette* Laurens and Judith Ruben Dr. Elizabeth Rudy Barry and Penny Russman Elaine C. Ruys Dan Ryan Charles Ryberg Sam Sadler* Andrew and Jamie Sakshaug Laura and David Salerno Owens Jeannie and Leonard Santos Kevin and Gabe Sasse Rochelle Satter Steve and Chris Satterlee Fred and Maralee Sautter James and Julianne Sawyer

Karol and B.R. Scheminske Charles Schneider Eric and Elizabeth Schneider John Schoon Dick Schouten John Schulte Art Schwartz and Myrna Glenn Dr. and Mrs. J. D. Schweinfurth Bill Scott and Kate Thompson Paul and Ketta Sedler* Diana Shenk Kim Shirts Krista and Rick Siler Kathryn B. Everts and Mark Smallwood Caren Smeltzer and Herman Migliore Ashleigh Smith Carole Smith Cathleen L. Smith* Lindsey Smith Kathi Snouffer 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 Kristin Stathis

COMMUNIT Y

Kristin Sterling and Lorin Wilkerson Kristin Stevens Mike and Judy Stoner Milan and Jean Stoyanov George Chung Su Drs. Donald and Roslyn Sutherland Richard Swart* Kay Sweeney Jane Thanner and Tim Smith Bruce and Suzanne Thiel William Thierfelder Frederick and Jean Thompson Susan and Richard Thompson Jan Elizabeth Thorpe Alex and Courtney Thurber* Rebecca and Robert Todd Misty Tompoles Dr. Matti and Najla Totonchy Jo Ann and Ric Tower Stanley and Marie Townsend Brandon Triglia Lyle M. Tucker Gerry Uba Ingeborg Vaden Sarah Vallese Allen and Muriel van Veen Jerry and Thuy Vanderlinde* Les Vuylsteke Kara Walton Shu-Ju Wang Mark Ward Katherine and Jason Wax Marion T. Weatherford Grace Weaver Andrew Wilson and Ronnie-Gail Emden Julie Wilson Peter Wilson Margaret Wiltschko Patricia Winn Nancy and Larry Wissbaum Tom and Mariol Wogaman Dee Wolfe Ruth and Peter Wolff* Marjorie L. Wolford Richard and Leslie Wong Deborah Woodcock Andrew Woodle and Anne Kluesner David Demoss and Geoffrey Wren Lindsay Yousey* Charlie Zhang Anonymous (37)

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Visit us at SW Broadway & Clay – before or after the show.

AS OF JANUARY 7, 2019

We

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

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♥ In Memoriam.

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* Sustaining Donors have opted 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.

this music.

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COMMUNIT Y

CONTRIBUTORS

TR I BU TE In Honor of Kay Abramowitz ​Sue Horn-Caskey and Rick Caskey

In Memory of Maria Conkle ​L eo Conkle

In Memory of Tami G. Martin ​John Martin

In Memory of Gerry Allen ​Stephen and Leslie Robinson

In Memory of Herbert Crane Pamela Crane Nancy Locke and Donald Harris

In Honor of Christopher Mattaliano ​Robert Burovac

In Honor of Dandrea ​B ernadette and Jeffrey Janisch

In Honor of Carole Morse Jim and Linda Burch, and Ryan Thorn Barbara Coombs Lee

In Honor of Diane Bickford ​S arah Vallese In Memory of Marge Browning ​Nancy and Larry Wissbaum

In Honor of Sue Dixon ​Jean Inzerillo

In Honor of Michael Brumage ​A my Elliott

In Memory of Manuel Garcia ​L es Vuylsteke

In Memory of Steve Carpenter ​R ichard Cave

In Memory of Nancy Glerum ​Rolf Glerum

In Honor of Henri Champagne ​W illiam Mahan

In Honor of Monte and Peggy Greer ​Susan Greer

In Memory of Sue Ross Clark ​G uy and Sally Pope In Memory of Francesca Bishop Clifford ​I melda Dulcich

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In Honor of Marie Colasurdo ​Christine Colasurdo

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In Honor of Zita F. Kondrath ​Paul Kondrath In Memory of Jenny Ruth Lindner ​Heidi Lindner

In Memory of Michael James O’Neill ​K athleen Baker In Memory of Michael O’Neill ​K im Shirts In Memory of Shirley Pari Dallas ​D aniel Mueller and JoAnn Pari-Mueller In Memory of Greg Parsons ​Roberta August In Memory of Tillie Rea ​Rev. Lawrence R. King

In Memory of Luwayne Engwall Sammons ​John M. McClelland In Honor of Donald Sandau ​M ichael and Lisa Wenzlick In Memory of Mayer D. Schwartz ​A nonymous In Honor of Curtis Thompson MD ​K ristin Stevens In Honor of Andrea Tichy ​A nonymous In Memory of Jacqueline Varga ​Pamela Crane In Honor of Karen Vernier ​A lberto Kelso Allen Koshewa In Recognition of Laura Watkins ​D ouglas Watkins In Memory of Elaine Whiteley ​D rs. Dolores and Fernando Leon

COMMUNIT Y

ANTHROPOLOGIE

PARTNERS

These are a few of our favorite things!

STEVEN SMITH TEAMAKER

Portland Opera’s 2018/19 season is made possible, in part, by the support and partnership of corporations, foundations, organizations, and business allies. There are many unique ways to support Portland Opera. We’re proud to have these local businesses as part of our community and hope you will visit our partners and shop local. Plus, check out our amazing restaurant and wine partners on page 121!

PORTLAND PIANO COMPANY

BOTANICA FLORAL DESIGN

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PORTLAND WINE STORAGE

ARIA PORTLAND DRY GIN

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WILDWOOD & COMPANY

WATER AVENUE COFFEE COMPANY

PORTLAND INTERNET WORKS

Photo by Will Corwin.

COMMUNIT Y

CORPORATE AWARD

Loretta Mabinton, Jardon Jaramillo, Michele Keever, Kregg Arntson, Kimberly Howard, Dave Robertson, Maria Pope, and Christopher Mattaliano.

Portland Opera was honored to recognize the PGE Foundation for their outstanding leadership and contribution to the arts at our annual Corporate Breakfast.

Portland General Electric and the PGE Foundation have supported Portland Opera for more than 35 years and is a role model for corporate arts leadership in Portland.

Thank you to the PGE Foundation for all that they do to strengthen the Portland community!

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DONOR SPOTLIGHT

F E AT U R E D

How long have you been involved with Portland Opera?

We moved to Portland in 1969. That year, we attended the operas without a subscription and tried out seats throughout the theater. In 1970, we bought season tickets and have sat in the same seats in row 2 ever since.

How did you get involved with opera?

George & Barbara Dechet and family Vancouver, Washington With Portland Opera since 1969 George and Barbara Dechet live in Vancouver, where George practiced medicine, and Barbara taught German in the Battle Ground School District. They now attend Portland Opera with their daughter and grandchildren.

What do you want our audiences to know?

It feels good to give to things that give joy. Portland Opera has so many wonderful activities that are fun and welcoming. Being part of Portland Opera really makes you feel like part of a family. Also, the Portland Opera To Go program is incredible, and the Resident Artist recitals are so wonderful—a best-kept secret that more people should experience!

We both spent our junior year of college studying abroad in Germany. He (George) invited me to visit him in Munich. During that visit, we saw Così fan tutte, and we loved it so much. That was our first opera experience.

Now, we’re season subscribers, and we always try to see an opera when we’re traveling on vacation.

What is your favorite Portland Opera memory or production?

We really loved John Frame’s Faust that was produced last year. Also, our granddaughter was in the Children’s Chorus for La Bohème in 2017, so that show has special memories for us.

Why do you believe in philanthropy and supporting Portland Opera?

It’s the right thing to do because we get so much out of involvement with Portland Opera. Many of the wonderful art organizations would not exist without the assistance of the people who enjoy them.

What inspires you?

Opera. When you totally immerse yourself and forget about everything else that is out there. The arts in general are very inspiring. The outdoors. Beauty.

STAGED! CONSERVATORY

Serious training for young actors.

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MOCKS CREST LIGHT OPERA 30 TH YEAR & THE UNIVERSIT Y OF PORTL AND PRESENT

stagedpdx.org 971.803.7713

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Auditions/Interview required

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JUNE 8–23, 2019

Mago Hunt Center Theater

By Gilbert & Sullivan

Tickets after May 7 at Mago Hunt Box Office 503-943-7287 or magohuntboxoffice.up.edu

SEASON SPONSORS

COMMUNIT Y

Portland Opera is proud to collaborate with corporate and community allies to create impactful relationships 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: The Carol Franc Buck Foundation The Collins Foundation The James F. & Marion L. Miller Foundation The Harold & Arlene Schnitzer CARE Foundation The McGeady Family Foundation Meyer Memorial Trust The National Endowment for the Arts

OPERA America | The National Opera Center Oregon Arts Commission The Oregon Community Foundation The Standard The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County, and the Arts Education & Access Fund

ADDITIONAL SUPPORT IS PROVIDED BY: Advanced Wealth Management NW Natural Broadway Across America Opus Bank Foundation Burlington Northern Santa Fe Foundation Oregon Cultural Trust The Carpenter Foundation The Oregonian/Oregon Live!

Curtis T. Thompson MD & Associates The Outlander Private Foundation EAI Information Systems Pacific Power Foundation Elmer’s Restaurants PGE Foundation Fidelity Charitable Gift Fund Richard and Mary Rosenberg The Flowerree Foundation Charitable Foundation Ann and Gordon Getty Foundation Ritz Family Foundation The Hampton Family Fund Rockwell Collins Matching Gift Program The Hearst Foundation Rose E. Tucker Charitable Trust Hoffman Corporation Rutherford Investment Management Intel Volunteer Grant Program Schnitzer Steel Industries, Inc. The Jackson Foundation The Standard JEZ Foundation Stoel Rives Kerr Pacific Corporation Umpqua Bank Kinder Morgan Foundation Union Bank Lamb Family Foundation Union Pacific Foundation The Monday Musical Club of Portland U.S. Bank Foundation M&T Bank Wave Form Systems Miller, Nash, Graham & Dunn, LLP The Wheeler Foundation Norris Dermatology & Lasers NW Wells Fargo Winderlea Vineyard and Winery We would also like to recognize our corporate partners who encourage matching gifts or volunteerism though their employee programs, including: Bank of America KeyBank The Boeing Company Microsoft Chevron Corporation Nike General Mills NW Natural Hanna Andersson PGE HP Rockwell Collins IBM Tektronix Intel The Standard Iovation, A TransUnion Company US Bank Portland Piano Company | The Official Piano Sponsor of Portland Opera Portland Wine Storage Radisson RED Portland Downtown Raven & Rose Remy Wines RingSide Steakhouse Steven Smith Teamaker Utopia Vineyard Water Avenue Coffee Wildwood & Company Winderlea Vineyard and Winery

CITY OF PORTLAND Ted Wheeler, Mayor

METROPOLITAN EXPOSITIONRECREATION COMMISSION Karis Stoudamire-Phillips, Chair Ray Leary, Vice-Chair Deidra Krys-Rusoff, Secretary-Treasurer John Erickson Damien Hall Dañel Malán Deanna Palm Scott Cruickshank, Visitor Venues General Manager

PORTLAND’5 CENTERS FOR THE ARTS Robyn Williams, CVE, Executive Director Julie Bunker, Director of Operations Joe Durr, Director of Event Services Stephanie Viegas Dias, Director of Ticket Services Alison Alfano, Director of Marketing Heather Wilton, Director of Programming Riley Hartman, pacificwild General Manager

PORTLAND’5 CENTERS FOR THE ARTS ADVISORY COMMITTEE Greg Brown Jim Brunberg Gus Castaneda, Chair Elisa Dozono Susan Hartnett Greg Heinze Antonio Lara Gary Maffei Adrienne Nelson Susan Nielsen Brian Sanders Daniel A. Sullivan George Taylor Richard Wattenberg

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Please contact giving@portlandopera.org or 503-417-0601 for more information about corporate partnerships

METRO Lynn Peterson, Metro Council President

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IN-KIND PARTNERS INCLUDE: 200 Market Anthropologie & Co. Argyle | The Official Sparkling Wine of Portland Opera Aria Portland Dry Gin Barran Liebman LLP Botanica Floral Design The Benson Hotel Cana's Feast Elephants Catering Elk Cove Vineyards Et Fille Wines Hotel Modera The Mark Spencer Hotel Nel Centro Ponzi Vineyards Portland Internetworks

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.

COMMUNIT Y

OPERA A LA CART

Opera a la Cart

I

nspired by Portland’s food cart culture, Opera a la Cart is a mobile music venue that brings live opera performance directly into the community spaces where people gather.

Photo: Jonathan Ley.

Opera a la Cart reaches more than 30,000 people throughout the summer months, through pop-up performances at farmers markets, city parks, neighborhood festivals, street fairs, and other public events and places throughout the Portland metro area and region.

Designed and built in collaboration with architecture students from Portland State University, the cart features a fold-out stage and a “menu” of operatic specials of the day. Opera singers share some of the most beloved and recognizable songs from opera and classic musical theater—including arias, duets, and ensemble pieces— in a refreshing and approachable way.

Fancy an “O Sole Mio” with a side order of “Figaro”? There is, this being Portland, a cart for that.”

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Photo: Garrick Antikajian.

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—Portland Monthly.

For more information and to find our upcoming performances, visit: portlandopera.org/alacart

COMMUNIT Y

PORTLAND OPERA TO GO

Portland Opera

TO GO F

or almost 20 years, Portland Opera To Go (or POGO) has brought inclusive arts experiences to schools around the region.

POGO presents 50-minute, English-language versions of classic operas, including The Magic Flute, Hansel and Gretel, The Elixir of Love, La Bohème, and more. Our 2018 production was a bilingual English/Spanish version of Rossini’s The Barber of Seville.

Each year, POGO travels over 5,000 miles throughout Oregon and southern Washington, reaching between 14,000 and 17,000 K-12 students annually. So far, the program has reached more than 230,000 children living in Oregon, southwest Washington, northern California, western Idaho, and northern Nevada. POGO presents more than 60 performances annually, in venues including school gyms, libraries, cafeterias, classrooms, and community centers.

POGO focuses on schools with economic and geographic barriers to accessing fine arts experiences. Over 50% of schools visited are in rural communities and Title I schools.

POGO provides engaging and accessible artistic educational programming in elementary and middle schools. The operas are presented in full costume, with a portable set, by singers who are adept at engaging with young audiences. To integrate the experience, we also provide in-class workshops and a teacher's guide of 100-plus pages, including curriculum connections that highlight clear learning goals and creative activities for students, aligned to the Common Core and Oregon Academic Content Standards.

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Photos: Garrick Antikajian.

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Portland Opera To Go is generously supported by BNSF Foundation, Carpenter Foundation, EAI Information Systems, Elmer's Restaurants, Kinder Morgan Foundation, NW Natural, PGE Foundation, Rose E. Tucker Charitable Trust, Rutherford Investment Management & Lamb Family Foundation, Schnitzer Steel Industries, The Standard, John and Carol Steele, U.S. Bancorp Foundation, Wells Fargo, The Wheeler Foundation, Winderlea Vineyard and Winery, and Union Bank Foundation.

Once again Portland Opera was extraordinary. 1,300 children saw the show! And the children loved it. It never ceases to amaze me how well the children engage… And it does my heart good to see the children enjoy it so much.

By allowing the children to interact, you give them a voice.”

—An educator from Ontario, Oregon.

REPLACE

2019/20 SEASON YEAR-ROUND INSPIRATION WHEN YOU SUBSCRIBE! 3- AND 4-OPERA PACKAGES NOW AVAILABLE Subscribing is a great way to see it all, save big, and enjoy exclusive benefits including flexible exchanges, interest free payment plans, and more.

SUBSCRIPTION SERIES RIGOLETTO | Aug. 2019 Verdi’s brutal tale of corruption, betrayal, and revenge runs the emotional gamut.

CINDERELLA | Oct. 2019 Rossini’s bright adaptation of the classic rags-to-riches story mixes tenderness with frivolity.

CHARLIE PARKER’S YARDBIRD Feb.–Mar. 2020 Bel canto meets jazz in this opera about the legendary saxophonist who created bebop.

LA BOHÈME | May 2020 Puccini's beloved classic returns with a traditional production full of "magical, intoxicatingly beautiful" music (The Seattle Times).

LEARN MORE AND CREATE A CUSTOMIZED SUBSCRIPTION Call 206.389.7676 Go online at seattleopera.org/subscribe 2019/20 SEASON SPONSOR: In memory of Karyl Winn

© Philip Newton

EUGENE ONEGIN | Jan. 2020 Tchaikovsky’s elegant romantic drama, set in 19th-century Russia, features sumptuous costumes and lyrical music.

SPONSOR SPOTLIGHT

F E AT U R E D

What is your favorite Portland Opera memory or production?

In 1989, Helle attended the production Aida that wowed her. She fondly recalls the live elephant that was a part of the performance.

How did you get involved with the Opera?

Herbert Crane, Opera fanatic and long-time Board Member, was the one who initially got the Nathan family involved with the organization.

Describe Portland in 5 words.

Vibrant, Creative, Growing, Curious, Welcoming What are your favorite things to do in Portland?

Helle & Alix Nathan Owners, Mark Spencer Hotel With Portland Opera since 1987

How long have you been working with Portland Opera?

The Mark Spencer Hotel and the Nathan family have been working with and supporting Portland Opera since 1987 through numerous sponsorships and by welcoming its guests and artists to their hotel.

Enjoy all that Portland has to offer including the arts, dining, and exploring the city.

What's currently playing on your iPhone/iPod/Spotify/ CD Player/Radio?

Classical music and Saturday Opera productions from New York City.

What do you want our audiences to know?

Not everyone dies in the opera. Some shows are actually quite hilarious! Also, the arts have something for everyone of all ages.

What is the best piece of advice you have ever received?

What inspires you?

Making Portland a healthy and attractive place to visit.

Give a little; get a lot.

PORTLAND ARTS

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at your fingertips.

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FAST BECOMING THE NUMBER ONE CHOICE OF WORLD COMPETITION WINNERS

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COMMUNIT Y

VOLUNTEERS

Some of Portland Opera's volunteers. Photos: Garrett Downen.

Portland Opera is endlessly grateful for our volunteers! Over the past two seasons, weâ&#x20AC;&#x2122;ve had 150 active volunteers, working over 5,000 hours, doing a variety of jobs from selling raffle tickets at our gala, to making coffee and tea for the orchestra, to welcoming our guests and patrons for Opera performances and assisting with administrative projects.

INTERESTED IN JOINING OUR VOLUNTEER TEAM? Visit PortlandOpera.org/volunteer or contact Brita Enflo, Volunteer Coordinator, at 503-417-0581 or benflo@portlandopera.org

IN MEMORIAM Portland Opera volunteer and dear friend Craig Allen passed away on July 31, 2018. He was named Volunteer of the Year in 2017, in recognition of his threeyear immersion in virtually every volunteer opportunity available â&#x20AC;&#x201D;including light walking, greeting, beverage service, and mailings.

Â? Â? Â?  ­ ­ May 10 â&#x20AC;&#x201C; November 12, 2019

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Describe Portland in 5 words.

Friendly, Green, Courteous Drivers, Weird (in a good way) What are your favorite things to do in Portland?

Marilyn Crilley

There are so many good places to eat. It’s fun to try new places and also take advantage of the wonderful happy hours! I enjoy being outdoors, and Portland has numerous places for walking, hiking, and just enjoying the beautiful views, such as the many parks, the river walkways, and the Columbia River Gorge. We are so lucky here in Portland!

From Los Angeles, California With Portland Opera since 2008

What is your favorite Portland Opera memory or production?

What is the best part of volunteering?

Through volunteering, I’ve met a lot of interesting people, plus it gives me satisfaction to help the Opera.

I also enjoy the feeling of being part of the Opera family.

The Opera staff is energetic, caring, and friendly, and always shows appreciation for what we volunteers do.

I have fond memories of many of Portland Opera productions, but my favorite is when I attended an Opera a la Cart show in Gresham. A little boy about 4 years old and his mother were sitting near me on the curb. They left—or at least the mother tried to—and during the next aria, I almost stepped on the little boy and apologized. The mother said, “He wouldn’t leave!” These moments, when a child is transfixed by opera, demonstrate how important this art form is to the world.

F E AT U R E D

Before we moved to Portland, I became aware that Chris Mattaliano was the General Director of Portland Opera.

I’ve known Chris for over 30 years from when I lived in Northern Virginia and hosted him when he was stage directing at Wolf Trap Opera. Chris invited George and me to a Portland Opera pre-show gathering in his office where we met several people who have since become friends. This experience made us feel welcome at Portland Opera and motivated us to get more involved, both as donors and volunteers.

VOLUNTEER SPOTLIGHT

How did you get involved with the opera?

What is your “opera story”?

BREAKFAST & BRUNCH

WEEKDAYS 7AM-11AM & WEEKENDS 7AM-3PM

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COMMUNIT Y

LEGACY SOCIETY

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.

LEGACY SOCIETY MEMBERS

Legacy Society

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Photo: Cory Weaver.

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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 educational programs.

Kay and Roy Abramowitz Randa Cleaves Abramson and Jonathan Abramson Douglas and Kerry Aden Marylou W. Alberdt Kirby and Amy Allen Margaret and Scott Arighi Tremaine and Gail Arkley Stephen S. Babson♥ Matthew R. Baines Kaaren Bedi Gilbert T. Benson♥ Blue Bickford Laura Bieber Peter J. Bilotta and Shannon M. Bromenschenkel Mrs. Robert Bitar ♥ David E. Wedge♥ Marianne Buchwalter Diane Burns and Doug Foster Ellen E. Bussing George and Lee Anne Carter Tim and Marianne Chapman Alyce R. Cheatham♥ Mary A. Clancy ♥ Mrs. Maurie D. Clark♥ Richard M. and Tracey A. Clark Craig L. Clark♥ Debi Coleman Unitrust Mr. James Cox and Mrs. Brenda Nuckton Marilyn Crilley and George Rowbottom Pamela and Paul De Boni

Violet B. Lang ♥ Ghislaine Le Jeune♥ Drs. Dolores and Fernando Leon Kathleen Lewis Joanne M. Lilley Bill and Kate Lockwood Mr.♥ and Mrs. William W. Lyons Maybelle Clark Macdonald♥ Lorna MacLeod Anne Catriona MacLeod♥ Joanne♥ and Jerome Magill Sherrilyn S. Maltby ♥ Susan Maltby ♥ Drs. Ruth and Joseph Matarazzo Christopher Mattaliano Gail and Bill McCormick Dr. and Mrs. Louis McCraw Sir James and Lady Anne McDonald♥ Nancie S. McGraw Mrs. Philip H. Miller ♥ Pamela Gesme Miller and Fred B. Miller Jackie B. Miller Max ♥ and Suzanne Millis Susan D. Morgan, VMD Mr.♥ and Mrs. Robert H. Noyes, Jr. David and Valerie O’Brien Mrs. Janice Orloff ♥ Marianne (Gerke) Ott Callie Pappas and John Winner Jane S. Partridge Dorothy and Franklin♥ Piacentini R. Ronald Roy Bruce Ramseyer

Richard A. and Mary W. Raub Herbert and Helen Retzlaff ♥ Claire and George Rives♥ Catherine and Ottomar ♥ Rudolf Luwayne E. Sammons♥ Harold♥ and Arlene Schnitzer Mr. and Mrs. Gilbert Schnitzer ♥ Lois Schnitzer Zella C. Schwartzenhauer ♥ David and Karen Sly Grace Spacht♥ Eric Steinhauser and Gregg Macy Mr. and Mrs. W. T. C. Stevens Diane Syrcle Jeffrey and Jan Thede Peter and Ann van Bever Esther D. Vetterlein♥ Jean and Howard Vollum♥ Les Vuylsteke William and Patricia Wessinger ♥ Ben and Elaine Whiteley ♥ Virginia Willard and Jack Olson Margaret T. Winch♥ Susan Yamanaka Jay and Diane Zidell Anonymous (4)

COMMUNIT Y

Gay Hamilton Dielschneider ♥ William and Suzanne Dolan Bill and Karen Early Edna L. Holmes♥ Spencer and Jane Ehrman♥ Ruth P. Elliot♥ Jeffrey A. and Diane M. Evershed William Finlay ♥ William Michael Foster ♥ Family Don C. Frisbee♥ William A. and Joyce♥ Furman Gwyneth Gamble Booth Edith V. Gautschi♥ Richard♥ and Janet Geary Michael J. Gentry Robert and Dorothy Haley Jamey Hampton and Ashley Roland Carol and John Hampton♥ Diana Harris and Gary Piercy Arland Hatfield♥ Orpha H. Hedrick♥ Susan and Richard Helzer Bill Hetzelson and Robert Trotman Douglas and Candace Higgins E. Roxie Howlett♥ Nancy Jerrick Monroe A. and Frances Jubitz♥ Lora L. and Martin N. Kelley ♥ Judy C. Kelley Randy and Leslie Labbe Mark LaMalfa

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AS OF JANUARY 7, 2019

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CREATE YOUR OWN LEGACY

Organization Legal Name: Portland Opera Association, Inc. Mailing Address: 211 SE Caruthers St., Portland, OR 97214 Tax ID Number: 93-6034321

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Contact Lacey Rowberg at 503-417-0572 or lrowberg@portlandopera.org

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COMMUNIT Y

YOUNG PATRON SOCIETY

YOUNG PATRON SOCIETY MEMBERS Abby Alford Kris Anderson and Michael O’Brien Brandon Arends and Anne Sires Dr. Natalie and Mr. Anthony Ballas Clarissa Benfield Brittany Blumberg Donovan Bonner Lindsay Bregante Myers Kate Bushman Andrew and Abby Butts Christine Chen Alicia Coakley Bryant Conger Dan Jaynes and Ellen Crivella Erin Dawson Megha Desai* and Greg Lockwood Mandy Doherty Christopher Domschke Imelda Dulcich Nicole Forbes Heather Fossity Andrea Frank Elizabeth Gamino Josh Goldberg Nihal Gooneratne Cindel Green Kelsey Gregory Amelia Haynes Amiko Hiraiwa Riley Punya Jain Carrie Juergens Meagen Kincaid* Ryan and Stephanie La Pier A.M. LaVey Carling Leon

Young Patron Society The Young Patron Society is Portland Opera’s program for young art lovers and theatergoers between the ages of 21–40.

Caroline Lewis Christine E. Lewis* Monelle Lewis Nicholas Lim Ashley Lindsay Susa Lynne Victoria Meadows Jen Milius and John Eisemann Katie Kinsley Chris Morgan Ilse Moser Prabu Muruganantham Anne K. Nguyen and Eli Krueger David Nijhawan Dr. Laetitia Pascal Alyssa Petroff* Augustina Ragwitz* Jamie and Andrew Sakshaug Laura and David Salerno Owens* Kevin* and Gabe Sasse John Schulte Ashleigh Smith Justine Thede* and Dan Occhipinti Brandon Triglia Geoff Verderosa Kara Walton Katherine and Jason Wax Grace Weaver Andrew Woodle and Anne Kluesner Lindsay Yousey

* Denotes members of the Portland Opera Ambassador Board.

AS OF JANUARY 7, 2019

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Photo: Trace Downen.

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JOIN THE SOCIETY!

With a donation of $100 per year, members receive discounted tickets to opera performances, plus invites to great behind-the-scene events

portlandopera.org/youngpatronsociety

Youâ&#x20AC;&#x2122;re beautiful, PDX Keep wearing your joy to the opera!

Some people attend Portland Opera in full gowns or tuxedos, and others in jeans and hoodies. We love being Portlandâ&#x20AC;&#x2122;s opera, and that means that we hope that you will attend wearing whatever makes you feel ready to be inspired.

Concierge@portlandopera.org | 503-241-1802 Stop by the concierge booth in the main lobby to say hello.

PORTLANDOPERA.ORG

Photos by Trace Downen, Garrett Downen, and Garrick Antikajian

PORTL AND OPER A

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

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

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

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2011–12

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2009–10 La Bohème, Puccini Orphée, Glass Così fan tutte, Mozart The Barber of Seville, Rossini Trouble in Tahiti, Bernstein, Il Ballo Delle Ingrate and Il Combattimento di Tancredi e Clorinda, Monteverdi

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

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

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, Janàcek The Marriage of Figaro, Mozart

1994–95 La Bohème, Puccini The Flying Dutchman, Wagner The Tales of Hoffmann, Offenbach The Barber of Seville, Rossini Porgy and Bess, Gershwin

1989–90 Aida, 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 The Barber of Seville, Rossini Carmen, Bizet A Masked Ball, Verdi Martha, von Flotow

1980–81 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 von Nürnberg, Wagner

1971–72 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 Aida, 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

1975–76

1965–66

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

The Bartered Bride, Smetana The Barber of Seville, Rossini

1974–75 Rigoletto, Verdi Der Freischütz, von Weber The Elixir of Love, Donizetti Salome, R. Strauss

1964–65 Die Fledermaus, J. Strauss, II La Bohème, Puccini

COMMUNIT Y

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PORTL AND OPER A

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 contemporary or 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, hate, harassment, or intolerance 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

In order to ensure patron safety, the venue is providing increased security. Bags are subject to search. Oversized bags will not be permitted in the theater. All attendees must have tickets. Outside food and beverages are not permitted inside the theater.

Late Seating Policy

Accessibility & Interpreted Performances

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 if there is an intermission and are welcome to join us until that time in the viewing lounge.

Photography & Cell Phone Use

The use of cameras, phones, and other recording devices is strictly prohibited during performances.

We welcome you to take photos before and during intermission. Share photos using the hashtag #pdxopera and tagging @portlandopera.

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Continue the Conversation

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Security, Food & Beverage

Stop by our concierge booth in the lobby to meet our concierge of patron services, who is available for transit information, dining and lodging options, or general questions. Our concierge can also be reached at 503-241-1407 or concierge@portlandopera.org

One hour before each performance, join us for an informal and enlightening introduction to the opera you’re about to enjoy.

After each performance, in the front of the orchestra level, General Director Christopher Mattaliano host “Back Talk,” a Q&A session with the audience and fresh-from-thedressing room guest performers.

POR TL ANDOPER A .ORG

The performances on March 24, June 9, July 14, and July 28 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 if you 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 theater is an excellent one.

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

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

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

Administrative Offices: 503-241-1407 Patron Services: 503-241-1802 Website: portlandopera.org Box Office Hours: Monday–Friday, 10am–5pm The theater box office opens two hours prior to the performance.

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