Spring 2018 Program Book | THE THREEPENNY OPERA and TROUBLE IN TAHITI | 2017/18 Season

LIBRETTO BY

BERTOLT BRECHT MUSIC BY

KURT WEILL MAR 16 – 25

HUNTINGTON AVENUE THEATRE OPERATED BY THE HUNTINGTON THEATRE COMPANY

MUSIC & LIBRETTO BY

LEONARD BERNSTEIN MAY 11 – 20

DCR STERITI MEMORIAL RINK

ESTHER NELSON, STANFORD CALDERWOOD GENERAL & ARTISTIC DIRECTOR | DAVID ANGUS, MUSIC DIRECTOR | JOHN CONKLIN, ARTISTIC ADVISOR

The 2017 PRIMA After Party Committee.

JOIN PRIMA FOR THE SPRING! GET CONNECTED WITH PRIMA EVENTS! The Threepenny Opera After Party | March 16 The PRIMA Spring Social | April 17 Trouble in Tahiti After Party | May 11 For more information about PRIMA, please contact PRIMA@BLO.ORG.

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BLO’S SOCIAL GROUP FOR YOUNG ARTS LOVERS

WELCOME

The Threepenny Opera (Die Dreigroschenoper) by composer Kurt Weill and librettist Bertolt Brecht was a burr under the saddle for many when it first arrived in pre-World War II Berlin. This satirical take-down of capitalist ideas is an adaptation of John Gay’s 1728 opera, The Beggar’s Opera which, in turn, was a parody of Handel’s operas. The Beggar’s Opera critiqued life of the underclass in 18th-century London. Weill and Brecht’s Threepenny was also nosethumbing established operatic conventions, and is often referred to as a work that brings laughter while the shark bites. At the time, Weill felt that his “music should not further the action of the play or create background, but achieve its proper value when interrupting the action at the right moment.” An opera, to him, was suddenly not just a delivery device…it was an in-your-face confrontation.

Weill was 28 when the work premiered in Berlin 90 years ago; Brecht was 30. Just a few years later, both fled to Los Angeles to escape the Nazi seizure of power. The enthusiasm of their youthful personalities is fully on display in Threepenny. Our Los Angeles-based stage director James Darrah himself brings an energetic, youthful interpretation to this production, with its ambiguous and captivating distinction between entertainment and politics, play and morality.

From our Threepenny Opera in the lovely Huntington Avenue Theatre, we are transporting you to a creative cabaret-style installation in an ice skating facility. There we celebrate Leonard Bernstein’s 100th Anniversary with you, with our unique blending of Trouble in Tahiti and Arias & Barcarolles.

I think Maestro Bernstein might have liked not only this innovative use of space, but also the melding of two of his works that are in many respects mirror images, reflecting on relationships seen from opposite ends of a long and rich life. Tahiti premiered in 1952 at Brandeis University in Waltham, followed by a second performance that year at Tanglewood. Bernstein, a Massachusetts native, wrote both the music and the lyrics of Tahiti, a story about the troubled marriage of Sam and Dinah despite, or perhaps because of, their desired idyllic life in a suburb (often thought to be modeled after Wellesley).

Bernstein began writing Tahiti on his honeymoon in 1951, between the successes of On The Town and West Side Story. Arias is a song cycle Bernstein wrote 30 years later, by then a more mature reflection on marriage. Arias both informs and deepens the cynical, youthful wit of Tahiti.

We hope that you will share with us your reactions and feedback through social media, in person, and at our post-show Talkbacks following performances of Tahiti and Arias. I look forward to seeing you during these performances, and at the many exciting operas and places planned for next Season.

PROGRAM CONTENTS

Get Involved 2

Board of Directors 3

Threepenny | Cast & Synopsis 4 A Gutsy Survivor: Threepenny 6

Thrives on Any Stage

BLO & Castle of our Skins 9

Tahiti | Cast & Synopsis 10

American Dreams & American 12

Realities in Trouble in Tahiti

Meet the Artists 14

Threepenny | BLO Orchestra, 20 Chorus, Production/Artistic Staff

Tahiti | BLO Orchestra, 21 Production/Artistic Staff Acknowledgments 22

BLO Staff/Volunteers/About 23

Become a Donor 24

Esther Nelson Stanford Calderwood General & Artistic Director

Welcome 1

Donors 25 Information on Venues 28

Spring Calendar 31

BLO in Schools 32

Above, Leonard Bernstein at the first Festival of the Creative Arts at Brandeis University, 1952, where both Trouble in Tahiti and the Marc Blitzstein translation of The Threepenny Opera had their World Premieres.

ROBERT D. FARBER UNIVERSITY ARCHIVES & SPECIAL COLLECTIONS DEPARTMENT, BRANDEIS UNIVERSITY.

The Opera Gala 2016

on and off the stage

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PIERCE HARMON

GET INVOLVED WITH BLO Bring opera into your life—

A MESSAGE FROM THE BOARD CHAIR Producing great opera requires collaboration—between the singers onstage, the musicians and conductor, the stagehands and stage manager, the wardrobe, hair and makeup teams, the box office and the ticket-holders, and between the audience and the onstage performers.

For our production of The Threepenny Opera, Boston Lyric Opera has a wonderful collaborator with the perfect home for this work: the Huntington’s once and future venue, the Huntington Avenue Theatre. The building dates from the same time period in which Threepenny first debuted in Berlin, and it has hosted a number of productions of the opera over the years, including the work’s 1955 Boston premiere, staged by Sarah Caldwell.

There is great synergy in being able to partner with The Huntington Theatre Company as our venue for this new production, an organization—like BLO—that prides itself on its relationships and community engagement. We extend our thanks to the entire team at the Huntington and, especially, to longtime Managing Director Michael Maso.

In presenting Bernstein’s Trouble in Tahiti and Arias & Barcarolles, we do so mindful that Leonard Bernstein was himself a stalwart collaborator, as evidenced by the number of works he created with other artists. He was a pioneer and an incredible teacher, working with so many Massachusetts organizations, including the BSO, Tanglewood Music Center, and Brandeis University.

The search for an interesting venue in which to produce our version of Tahiti offered another opportunity to collaborate—this time with the Massachusetts Department of Conservation and Recreation. We had used DCR’s Steriti Memorial Rink in the North End when we needed a large space in which to rehearse Calixto Bieito’s grand production of Carmen. It’s fun to think (now, in warmer weather) about the community and professional skaters (not to mention the hockey players) who typically grace this oval with their artistry. Heartfelt thanks to the many folks at the DCR who made this partnership possible.

Of the many partners who make BLO’s work possible, our audience is our most important collaborator. We rely on you to support BLO, to tell us what you like and what you want improved, and we look to you for inspiration and camaraderie each time we raise a (sometimes metaphorical) curtain. Thank you for being here.

Michael J. Puzo Chair, Board of Directors

BOARD CHAIR Michael J. Puzo VICE-CHAIR & TREASURER Wayne Davis CLERK Susan W. Jacobs STANFORD CALDERWOOD GENERAL & ARTISTIC DIRECTOR Esther Nelson, Ex Officio Linda Cabot Black Willa Bodman Miguel de Bragança Alicia Cooney Alan Dynner

Robert Eastman Andrew L. Eisenberg, Esq. Thomas D. Gill, Jr. Mimi Hewlett Horace H. Irvine II Amelia Welt Katzen Maria J. Krokidas Jeffrey E. Marshall Abigail B. Mason Anne M. Morgan A. Neil Pappalardo E. Lee Perry Irving H. Plotkin William Pounds David W. Scudder Susan R. Shapiro Ray Stata Christopher Tadgell Lady Juliet Tadgell

BOARD OF OVERSEERS CO-CHAIRS L. Joseph LoDato Samuel Y. Parkinson Lawrence St. Clair James Ackerman Sarah E. Ashby Kimberly E. Balfour Elizabeth Barker Edward Bell Richard M. Burnes, Jr. Ellen Cabot Carol Gram Deane Amos Deinard Nicholas J. DiMauro Jessica Donohue Catherine Dunn Amy Hunter William A. Hunter

Louise Johnson Ellen Kaplan Stephen T. Kunian Pamela S. Kunkemueller Russell Lopez Anita Loscalzo M. Lynne Markus Jillian McGrath Jane Pisciottoli Papa Barbara Goodwin Papesch Susanne Potts Carl Rosenberg Carol Rubin Allison K. Ryder Alex Senchak Wendy Shattuck Wynne Szeto Frank Tempesta Richard Trant Amy Tsurumi

Lydia Kenton Walsh Robert Walsh Peter J. Wender Tania Zouikin EMERITI Steven P. Akin J.P. Barger Sherif A. Nada

As of January 15, 2018

BOSTON LYRIC OPERA THE THREEPENNY OPERA / TROUBLE IN TAHITI SPRING 2018 | 3

BERTOLT BRECHT & KURT WEILL

Music Director David Angus

2017/18 Season Sponsor, Linda Cabot Black

THE THREEPENNY OPERA

by Bertolt Brecht and Kurt Weill

CONDUCTOR

DAVID ANGUS

Sponsored by Linda Cabot Black

STAGE DIRECTOR

Sponsored by Gerard & Sherryl Cohen

SET DESIGNER

JULIA NOULIN-MÉRAT

COSTUME DESIGNER

CHARLES NEUMANN*

Sung in English

LIGHTING DESIGNER

PABLO SANTIAGO*

A new BLO production

WIG AND MAKEUP DESIGNER

JASON ALLEN

English translation by Michael Feingold Original German text based on Elisabeth Hauptmann’s German Translation of John Gay’s THE BEGGAR’S OPERA

JAMES DARRAH*

PERFORMANCES: FRIDAY, MARCH 16 AT 7:30PM SUNDAY, MARCH 18 AT 3:00PM

CHAMBER ENSEMBLE FROM THE BOSTON LYRIC OPERA ORCHESTRA

FRIDAY, MARCH 23 AT 7:30PM

BOSTON LYRIC OPERA CHORUS

MICHELLE ALEXANDER Chorusmaster

SATURDAY, MARCH 24 AT 7:30PM

REHEARSAL COACH/ACCOMPANIST

BRETT HODGDON‡

ASSISTANT STAGE DIRECTOR

ANDERSON NUNNELLY†

STAGE MANAGER

BECKI SMITH*

SUNDAY, MARCH 25 AT 3:00PM Performance running time is approximately 2 hours and 55 minutes, including one intermission.

HUNTINGTON AVENUE THEATRE 264 HUNTINGTON AVENUE BOSTON, MA 02115 Operated by the Huntington Theatre Company

*Boston Lyric Opera Debut

† Boston Lyric Opera Jane and Steven Akin

Emerging Artist

‡

Boston Lyric Opera Jane and Steven Akin Emerging Artist Alumnus

The edition of The Threepenny Opera is used by arrangement with European American Music Corporation, agent for The Kurt Weill Foundation for Music, Inc., and agent for the Brecht heirs.

CAST & SYNOPSIS MACHEATH, known as MACK THE KNIFE

CHRISTOPHER BURCHETT

Sponsored by Alan & Lisa Dynner

MR. PEACHUM

JAMES MADDALENA

MRS. PEACHUM

MICHELLE TRAINOR‡

POLLY PEACHUM

Sponsored by Mr. & Mrs. E. Lee Perry

DANIEL BELCHER*

LUCY, his daughter

CHELSEA BASLER‡

VANESSA SCHUKIS

MOLLY

ALISA CASSOLA

MACHEATH’S GANG:

KELLY KADUCE

TIGER BROWN, Chief of Police

OLD WHORE

Sponsored by Mr. & Mrs. Michael Puzo Sponsored by Willa & Taylor Bodman

MATT OF THE MINT

JESSE DARDEN†

CROOK FINGER JACK

DAVID CUSHING‡

WALT DREARY

ANDY PAPAS*

JIMMY JUNIOR

THOMAS OESTERLING

ED

RYNE CHERRY*

BEGGARS: FILCH

RYNE CHERRY JESSE DARDEN, ANDY PAPAS, THOMAS OESTERLING, VERA SAVAGE, RON WILLIAMS, DAVID CUSHING

JENNY DIVER

RENÉE TATUM*

Sponsored by Miguel & Suki de Bragança

WHORE

VERA SAVAGE‡

DOLLY

JAIME KORKOS*

A POLICEMAN

RON WILLIAMS

BETTY

HEATHER GALLAGHER‡

POLICEMAN SMITH

RYNE CHERRY

VIXEN

MARIE MCCARVILLE

REVEREND KIMBALL

VERA SAVAGE

THE WHORES:

SYNOPSIS: Sometime and somewhere in an imagined London, before an important coronation of a new queen.

PART ONE – All assemble for the story of the murderer and gangster Macheath—better known as “Mack the Knife.”

Mr. and Mrs. Peachum’s daughter, Polly, did not return home last night. They conclude that she spent the evening with Macheath, and Peachum—the boss of London’s beggars—vows to destroy him.

Polly and Macheath celebrate their marriage in a stable with his gang. The Chief of Police, Tiger Brown, arrives, and Macheath reveals that Brown is a good friend and has scrubbed his record clean. Polly returns home and announces her marriage to her parents, inadvertently sharing Macheath and Brown’s connection. The Peachums plot to have Macheath hanged.

Macheath and Polly make plans for him to evade arrest and hanging. He visits his favorite brothel to say goodbye to his ex, Jenny— whom Mrs. Peachum has already bribed. The police and Mrs. Peachum arrive to the brothel...

PART TWO – In jail, Macheath reflects on the power of money. Tiger Brown's daughter, Lucy, confronts Macheath. Polly arrives and jealously argues with Lucy.

Lucy helps Macheath escape, but Peachum coerces Brown into arresting him again. Brown tries to cunningly trick Peachum and raids his business of beggars instead. The whores, Jenny and the beggars succeed in blackmailing Brown. Jenny reveals key information. Lucy tries to get even with Polly. Finding himself back in jail, Macheath unsuccessfully appeals to his associates for help. He is led to the gallows as the crowds assemble. Suddenly, a message arrives with startling news and an unexpected twist of fate...

BOSTON LYRIC OPERA THE THREEPENNY OPERA / TROUBLE IN TAHITI SPRING 2018 | 5

A GUTSY SURVIVOR: THREEPENNY THRIVES ON ANY STAGE

ROBERT D. FARBER UNIVERSITY ARCHIVES & SPECIAL COLLECTIONS DEPARTMENT, BRANDEIS UNIVERSITY

BY HARLOW ROBINSON

I

n 1959, when clean-cut teen idol Bobby Darin released his cheerful jazz/pop version of the ballad “Mack the Knife,” punctuated by peppy finger snapping, it quickly shot to number one on the Billboard charts. It stayed there for nine weeks, sold two million copies and even received an august Grammy Hall of Fame Award. Not bad for a sinister ballad written in 1928 by two leftwing Germans as the prelude to a decidedly “bohemian” musical theater entertainment celebrating the exploits of a murderer and rapist (Macheath) and offering a biting critique of capitalism.

The concert performance of Marc Blitzstein’s The Threepenny Opera translation at Brandeis University—Lotte Lenya as Jenny is singing on the left; Blitzstein’s Threepenny at the Theatre de Lys in Greenwich Village; Bobby Darin’s number one single version of “Mack the Knife.”

Nor was Darin the only one to popularize “Mack the Knife.”

Louis Armstrong had paved the way with his idiosyncratic 1955 rendition. In subsequent years, the song was taken up by a whole bevy of famous crooners, including Frank Sinatra, Peggy Lee, Ella Fitzgerald (with Duke Ellington)—not to mention smokyvoiced German cabaret singer Lotte Lenya, who had appeared in the legendary original 1928 Berlin production of the show, The Threepenny Opera, and was married to one of its creators, composer Kurt Weill.

By the time Darin turned “Mack the Knife” into a mega-hit, the creators of the song and of the show (Weill and playwright/lyricist Bertolt Brecht) had already passed on from this world. What they would have made of the journey of this catchy but morbid ballad from the social margins of down-and-out Weimar Germany to

6 | BOSTON LYRIC OPERA THE THREEPENNY OPERA / TROUBLE IN TAHITI SPRING 2018

the American commercial 1950s mainstream is hard to know.

But given their decidedly jaundiced view of capitalism (Brecht was an enthusiastic Communist Party member), it seems unlikely they would have cheered when McDonald’s used the song as the centerpiece of a new advertising campaign for their Big Mac hamburger in the 1980s: “Mac tonight.”

The origins of both the ballad and The Threepenny Opera were humble and chaotic. Weill (1900-1950) and Brecht (1898-1956) had met in Berlin a few years before they began collaborating on Threepenny in the late 1920s. Weill had already finished two one-act operas that had been staged in Germany. Brecht had produced several theater pieces, and was searching for new projects to illustrate his concept of “epic theater.” Influenced by his intensive study of Marxism, this approach stressed the importance of historical events and economic realities while minimizing the role of individuals.

It was Brecht’s lover and collaborator Elisabeth Hauptmann who found the perfect vehicle: an adaptation of John Gay’s 1728 English ballad opera, The Beggar’s Opera. Gay’s portrayal of lowlife gangsters, prostitutes and corrupt cops; his focus on the group rather than on individual character; his irreverence towards “elite” culture (especially the operas of Handel); and his mixing of song and dialogue in an operetta-like format appealed to both Brecht and Weill. They found the conventions of Wagnerian opera stifling and moribund, and sought a new music/theater language more suitable to modern times.

Hauptmann’s 1928 German translation of The Beggar’s Opera served as the starting point, but Brecht made fundamental changes and additions, moving the action forward to the Victorian era and inserting ballad texts by Francois Villon and Rudyard Kipling. Weill used only one of Gay’s 69 popular 17th-century melodies. So Threepenny is essentially an original creation in “open form” that gleefully mixes different genres (opera, songspiel, musical theater, cabaret) and styles (jazz, tango, ballad, parody), making it notoriously difficult to categorize. Since Brecht and Weill also continued to revise the piece, establishing the canonic text and its sources presents challenges. Over the years, directors and producers have rearranged the order of numbers, and reassigned songs to different characters. The BLO production is using the edition prepared by Stephen Hinton and Edward Harsh, with English lyrics by Michael Feingold, published in 2000.

For the most part, Threepenny has found its home not in opera houses but in theaters. In late 1951, noted left-wing American composer Marc Blitzstein completed a new English-language version that was scheduled to be staged at the New York City Opera. But after a public outcry over the work’s outspoken Marxist message, the company’s administration decided to “postpone” the production. (Only 13 years later, in 1965, did Threepenny finally make it to the NYCO stage.) Blitzstein’s friend Leonard Bernstein came to the rescue, however, when he agreed to conduct this new version in concert at the Festival of the Creative Arts at Brandeis

University in Waltham on June 14, 1952. Blitzstein appeared as narrator, along with Lotte Lenya, who brought down the house reprising the bawdy role of Jenny. Blitzstein’s version then moved on to a staged production at the Theatre de Lys in Greenwich Village in 1954 that ran for 2,611 consecutive performances and firmly established Threepenny in the American musical theater repertoire. Lenya appeared here, too, flaunting a decidedly nonoperatic voice she memorably described as “an octave below laryngitis.”

So what explains Threepenny’s enduring popularity and appeal?

Although the more gregarious Brecht usually receives most of the credit, it is Weill’s tart, sexy, accessible music that really sells the show. His instrumentation bears faint resemblance to a standard opera orchestra: heavy on sultry saxophones (soprano, alto, tenor, baritone), some brass, woodwinds, several keyboard instruments (harmonium, piano, celesta, bandoneon), guitar, banjo, Hawaiian guitar, mandolin, cello, double bass, timpani and percussion. Not a violin to be found. From this unusual combination (inspired by Berlin dance hall music of the 1920s) emerges a fresh, uncluttered, urban sound with a strong flavor of the street that enhances Brecht’s cynical, proletarian worldview. In Weill’s score, the high and the low collide in totally unexpected ways, as composer Ernst Bloch noted: “The experiment of The Threepenny Opera put the worst music at the service of today’s most advanced music; and this appears menacing.” Menacing, yes, but also irresistible—just like Mack the Knife.

As we observe the 90th anniversary in 2018 of the original Berlin production, we can appreciate The Threepenny Opera for what it is: a remarkable and gutsy survivor, and arguably (according to most statistics) the most frequently performed work of opera/musical theater composed in the 20th century. In a famous mock interview with himself, Brecht asserted that what mattered most for him was the “critique of society” the show provides—although he admitted that the music and the love story probably accounted for its popular success. In 1928, as the danger of fascism in Germany grew, he and (to a lesser extent) Weill hoped to persuade audiences that capitalism was a terrible evil that needed to be replaced by a communist system. In 2018, communism has largely gone out of fashion. And yet the evils that The Threepenny Opera denounces— economic inequality, racism, sexual exploitation—have not. Even more, Weill’s entertaining, incisive and seductive music sounds just as new and relevant as it did 90 years ago.

Harlow Robinson is an author, lecturer and Matthews Distinguished University Professor of History at Northeastern University. His books include Sergei Prokofiev: A Biography and Russians in Hollywood, Hollywood’s Russians. A frequent annotator and lecturer for The Boston Symphony, Lincoln Center, Metropolitan Opera Guild and Aspen Music Festival, he has written reviews and essays for The Boston Globe, New York Times, Los Angeles Times, Stagebill and other publications.

BOSTON LYRIC OPERA THE THREEPENNY OPERA / TROUBLE IN TAHITI SPRING 2018 | 7

BOSTON IS AN OPERA TOWN

ABOUT THE BOSTON OPERA ALLIANCE The Boston Opera Alliance (BOA) is a consortium of Boston-based opera companies and producers that have come together to enhance and support visibility of opera in the Greater Boston area. BOA is not a producing organization; rather, we are a community-driven group, collectively interested in increasing awareness of the wide variety of opera events happening in the city.

PARTICIPATING ORGANIZATIONS

Whether you’re an opera lover or an opera novice, we invite you to explore and experience the work of this unique and vibrant art form taking place in our city.

Boston Baroque

bostonoperacalendar.org

Boston Midsummer Opera

Boston Conservatory at Berklee Boston Early Music Festival

Longy School of Music of Bard College MetroWest Opera

Boston Landmarks Orchestra

NEMPAC Opera Project

Boston Lyric Opera

New England Conservatory of Music

Boston Opera Collaborative Guerilla Opera

8 | BOSTON LYRIC OPERA THE THREEPENNY OPERA / TROUBLE IN TAHITI SPRING 2018

Handel and Haydn Society

Odyssey Opera Opera on Tap OperaHub

COMING THIS SPRING: NEW COMMUNITY CONCERT SERIES IN PARTNERSHIP WITH CASTLE OF OUR SKINS!

CROSSING

THE LINE TO

FREEDOM: A MUSICAL

NARRATIVE

BOSTON LYRIC OPERA and CASTLE OF OUR SKINS join forces to showcase the lives and stories of Frederick Douglass, Harriet Tubman, Martin Luther King Jr., and Paul Robeson through the music of opera. Paired with spoken word, art song, spirituals and history, their lives—and those of other legendary liberators—take center stage.

Featuring the music of composers such as Nkeiru Okoye, Adolphus Hailstork, Dorothy Rudd Moore, and Undine Smith Moore.

• THURSDAY, MAY 31 AT 6PM | Codman Square BPL branch, Dorchester • FRIDAY, JUNE 1 AT 12:30PM | Central Library, Copley Square | Concerts in the Courtyard series • THURSDAY, JUNE 7 AT 6PM | West End BPL branch, Boston All events are free and open to the community!

LEARN MORE AT BLO.ORG & CASTLESKINS.ORG. About Castle of our Skins: Born out of the desire to foster cultural curiosity, Castle of our Skins is a concert and educational series dedicated to celebrating Black artistry through music.

From classrooms to concert halls, Castle of our Skins invites exploration into Black heritage and culture, spotlighting both unsung and celebrated figures of past and present.

BOSTON LYRIC OPERA THE THREEPENNY OPERA / TROUBLE IN TAHITI SPRING 2018 | 9

BERNSTEIN

Music Director David Angus 2017/18 Season Sponsor, Linda Cabot Black

Music & Libretto by Leonard Bernstein

CONDUCTOR

DAVID ANGUS

STAGE DIRECTOR

DAVID SCHWEIZER

SET DESIGNER

PAUL TATE DEPOO III*

COSTUME DESIGNER

NANCY LEARY

LIGHTING DESIGNER

JEFF ADELBERG*

VIDEO DESIGNER

JOHNNY ROGERS*

SUNDAY, MAY 13 AT 3:00PM

MOVEMENT DIRECTOR

MELINDA SULLIVAN

WEDNESDAY, MAY 16 AT 8:00PM

SURTITLE DESIGNER

ALLISON VOTH

WIG AND MAKEUP DESIGNER

JASON ALLEN

DRAMATURG

JOHN CONKLIN

Sung in English with English surtitles A new BLO production

PERFORMANCES: FRIDAY, MAY 11 AT 8:00PM SATURDAY, MAY 12 AT 8:00PM

FRIDAY, MAY 18 AT 8:00PM SATURDAY, MAY 19 AT 3:00PM SATURDAY, MAY 19 AT 8:00PM

Sponsored by Linda Cabot Black Sponsored by Wayne Davis & Ann Merrifield

SUNDAY, MAY 20 AT 3:00PM Performance running time is approximately one hour and 15 minutes, with no intermission.

Join us after the performance for a post-show Talkback with cast and creative team members.

DCR STERITI MEMORIAL ICE RINK 561 COMMERCIAL STREET BOSTON, MA 02109

*Boston Lyric Opera Debut

† Boston Lyric Opera Jane and Steven Akin

Emerging Artist

‡

Boston Lyric Opera Jane and Steven Akin Emerging Artist Alumnus

CHAMBER ENSEMBLE FROM THE BOSTON LYRIC OPERA ORCHESTRA REHEARSAL COACH/ACCOMPANIST

BRETT HODGDON‡

ASSISTANT DIRECTOR

CARA CONSILVIO*

STAGE MANAGER

HESTER WARREN-STEIJN

CAST & SYNOPSIS SAM

MARCUS DELOACH

DINAH

HEATHER JOHNSON

TRIO

MARA BONDE

NEAL FERREIRA‡

VINCENT TURREGANO†

Sponsored by Abigail B. Mason

PIANO

DAVID ANGUS

BRETT HODGDON

Sponsored by Alicia Cooney

Sponsored by Linda Cabot Black Sponsored by Ms. Amelia Katzen Sponsored by Dr. Robert Walsh & Lydia Kenton Walsh

SYNOPSIS: TROUBLE IN TAHITI A jazz trio sings of the charmed perfection of suburban life in the 1950s. In the house, married couple Sam and Dinah argue over breakfast.

Each privately wishes to restore kindness to their marriage, but their fight continues.

At the office, Sam confidently denies and grants loan requests. In her psychiatrist’s office, Dinah recalls a dream: she was in an overgrown garden, trying to find her way out, when she heard a voice promising to lead her to a quiet place.

At lunch, Dinah and Sam run into one another and each invents an excuse to hurry away. They reflect on the unhappy turn their relationship has taken.

Sam revels in his triumph at a handball game. After seeing a movie called “Trouble in Tahiti,” Dinah recounts how terrible it was, but gets caught up in the fantasy of it all. That evening, Sam returns home and wishes he did not have to go inside.

The trio sings of the idyllic twilight hours in suburbia. Sam and Dinah try to have an honest conversation, but quickly fail to connect. Growing desperate, he suggests they go to a movie. They prepare to leave, each wondering if a happier future lies ahead while the trio croons.

ATTENTION PATRONS: Please be aware that you may hear cannon fire from the nearby USS Constitution at sundown.

Estimated firing times are: MAY 11 – 7:54PM | MAY 12 – 7:55PM | MAY 16 – 7:59PM | MAY 18 – 8:01PM | MAY 19 – 8:02PM

BOSTON LYRIC OPERA THE THREEPENNY OPERA / TROUBLE IN TAHITI SPRING 2018 | 11

W

IN TAHITI

BY LUCY CAPLAN

Above, Bernstein at the piano, making annotations to a musical score; right, Frigidaire advertisment The Ladies’ Home Journal, 1948.

AL RAVENNA/WORLD-TELEGRAM - LIBRARY OF CONGRESS: NEW YORK WORLD-TELEGRAM & SUN COLLECTION.

AMERICAN DREAMS & AMERICAN REALITIES IN TROUBLE

hat lies behind the façade of that little white house in the suburbs?

Are its inhabitants, proud owners of a tidy lawn and a kitchenful of gleaming appliances, as perfect as they appear?

Trouble in Tahiti answers these questions by revealing that the contents of cookiecutter American lives are, it turns out, quite unappetizing. The opera is a cheerful but prickly critique of the conformist lives of white, affluent suburbanites in the postWorld War II United States. Sam and Dinah, a young couple who live with their son on the outskirts of an unnamed city (“out of the hubbub, less than an hour by train,” as the trio chirps) seem to have it all, but they are profoundly unhappy. “How could you say the thing that you did?” seethes Sam, beginning their argumentative opening duet. “What is it this time?” sighs Dinah.

The details of the dispute fade into irrelevancy. In this world of endless sameness, each town, each house, each marriage, and each argument are interchangeable.

Clearly, the recipe for success has gone awry.

There aren’t many operas about unhappy suburban families, and some biographers have suggested that Bernstein’s choice of subject matter was rooted in his own experiences. One intriguing clue is that Bernstein worked on this piece during his honeymoon, at the outset of what would end up being a tumultuous marriage; another is that the characters have familial names (Sam was Bernstein’s father’s name, and Dinah his grandmother’s). In any case, both the story and its larger thematic concerns stuck with him. Three decades after Trouble in Tahiti’s 1952 premiere, Bernstein incorporated it into A Quiet Place, a longer opera that delves into the turbulent lives of Sam and Dinah’s children. A few years after that, in 1988, he explored a similar thematic landscape— familial love, the complexities of identity, the pressures of social expectations—in Arias & Barcarolles.

Uncovering the opera’s autobiographical origins may seem an especially compelling prospect in this centenary year, as organizations and artists the world over are celebrating Bernstein’s monumental life and contributions—including Boston Lyric Opera, with this production. More than 2,000 Bernstein-related events, on six continents, are scheduled. “Leonard Bernstein at 100,” a museum exhibit featuring items including his childhood piano and conducting baton, is touring the country. There is even a Leonard Bernstein Memory Project, in which individuals can preserve their recollections of Bernstein for posterity.

All this activity exemplifies the classical music world’s tendency to exalt the “Great Composer” as a figure of paramount genius, singularly focused on creating his Art. But this myth is Janus-

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faced: while it idealizes its subjects, it also declines to show us their messier, more human side. In this sense, it is not unlike the myth underlying the suburban dystopia that Trouble in Tahiti portrays.

Bernstein has always been a great composer who never quite fit the image of the Great Composer, largely because of his multifaceted career. His talents were extraordinarily wide-ranging.

His conducting brought him acclaim from the time of his 1940 debut, throughout his long tenure as Music Director of the New York Philharmonic, and up until his final appearance, with the Boston Symphony Orchestra at Tanglewood, in the summer of 1990. He was a prodigiously talented educator. His compositions were plentiful in number and emphatically eclectic in style, exploring a musical terrain that stretched from the concert hall to the Broadway stage and everywhere in between: a sonic rejection of the very idea that classical music existed in a separate, transcendent sphere. Bernstein also used his platform to comment upon and contribute to a multitude of political causes, from attending fundraising dinners for the Joint Anti-Fascist Refugee Committee in 1944, to marching for civil rights in Alabama in 1965, to conducting a benefit concert for victims of AIDS in 1987. In short, his public image was not that of a distant, unknowable genius, but rather a multidimensional human being.

Just as Bernstein’s life casts doubt upon an idealized concept of the composer, Trouble in Tahiti encourages skepticism toward the idealized façades of suburban homes and their occupants.

Bernstein’s most illuminating expression of this critique can be found in the character of Dinah. Her husband, Sam, who embraces convention, is a cartoonish mix of anger, casual sexism, and emotional ineptitude. Dinah craves a different life. Far more introspective than her husband, she does not acquiesce entirely to the pressures of conformity. Musical shifts in tone convey her emotional depth as she attempts to break from her routine. In the aria “There Is A Garden,” sung while she visits a psychiatrist’s office, she departs from the opera’s generally sardonic style to sing a hauntingly sincere melody, dreaming of a world where “love will teach us / harmony and grace.” When she goes to the movie theater, her imagination gets a boost from Hollywood, which offers up a South Sea paradise in which stereotypically “exotic” melodies abound. (While Bernstein is clearly engaging in parody here, making fun of popular, facetious representations of island life, his evocation of these stereotypes can still feel a little cringe-worthy.)

Dinah doesn’t fully reject the suburban dystopia in which she lives, but she at least imagines what life might be like otherwise. Yet the places of her dreams remain patently unreal, and the opera’s ambiguous conclusion suggests that her present circumstances are unlikely to change.

Even more so than Dinah, Bernstein himself would not have felt at home in the opera’s aggressively conformist landscape. One of the paradoxes of searching for autobiographical echoes in this opera, in fact, is that Bernstein himself led anything but a conventional American life—not only by virtue of his celebrity, but also as the

JUST AS BERNSTEIN’S LIFE CASTS DOUBT UPON AN IDEALIZED CONCEPT OF THE COMPOSER, TROUBLE IN TAHITI ENCOURAGES SKEPTICISM TOWARD THE IDEALIZED FACADES OF SUBURBAN HOMES AND THEIR OCCUPANTS. child of immigrants, as a person with a complex sexual identity, and as a political leftist. This was never more true than during the period when he wrote Trouble in Tahiti; at the time, he was under a cloud of distrust and even FBI surveillance for being all too unusual, suspiciously deviant from the social and political norm.

Yet those same outsider qualities also locate Bernstein in a broader, deeply paradoxical tradition. One of the great peculiarities of American music history is that composers of the nation’s most iconic music—from Tin Pan Alley to jazz to beloved classical works like those of Bernstein—have often been among its most socially marginalized citizens. Rarely, in other words, have our most perceptive composers been products of the cookie-cutter, conformity-obsessed world that Trouble in Tahiti so caustically critiques. Their lives might not fit within the narrow confines of American success in its most standard definition. But as Bernstein’s towering status and enduring appeal suggest, this vantage point comes with its own advantages; its off-center perspective offers genuine rewards.

Lucy Caplan is a Ph.D. candidate at Yale University, where she is writing a dissertation on African American opera in the early twentieth century. She is the recipient of the 2016 Rubin Prize for Music Criticism.

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ARTISTS JEFF ADELBERG Lighting Designer | Trouble in Tahiti and Arias & Barcarolles Jeff Adelberg is an award-winning, Boston-based designer for theatre, opera, and dance, and has designed over 250 productions. His work has appeared at the American Repertory Theater, SpeakEasy Stage Company, Actors’ Shakespeare Project, The GAMM Theatre, Merrimack Repertory Theatre, Stoneham Theatre, and many others. He is the recipient of two Elliott Norton Awards as well as two Independent Reviewers of New England (IRNE) Awards.

Much of Mr. Adelberg’s recent work centers around director/ designer David R. Gammons, with whom he has collaborated on over 30 productions ranging from Shakespeare to new plays by local playwrights to devised, ensemble-based work. He also designs lighting for Cambridge’s annual Christmas Revels, a local holiday tradition. Mr. Adelberg has taught at Boston College since 2006 and, more recently, Brandeis University and MIT. He has also been a guest lecturer and/or guest artist at The Boston Conservatory at Berklee, Harvard University, Northeastern University, Suffolk University, Tufts University, and others. This is his Boston Lyric Opera debut.

JASON ALLEN Wig-Makeup Designer | The Threepenny Opera | Trouble in Tahiti and Arias & Barcarolles Jason Allen has been Boston Lyric Opera’s resident Wig and Makeup Designer since 2003. A fixture of the Boston performing arts community, he also works with Huntington Theatre Company, Boston Ballet, and many other organizations in Boston and throughout the country.

DAVID ANGUS Conductor | The Threepenny Opera | Trouble in Tahiti and Arias & Barcarolles David Angus is Music Director of Boston Lyric Opera, following a very successful period as Music Director of Glimmerglass Opera. He conducts the London Philharmonic Orchestra every Season and is also Honorary Conductor of the Flanders Symphony Orchestra, where he was Chief Conductor for many years and built the orchestra into one of the most exciting young orchestras in Northern Europe. Mr. Angus now conducts opera all over Europe and North America. He began his career working at Glyndebourne, where he conducted a wide range of operas, and he went on to work in Italy and then across Europe. In the concert hall, he performs particularly in the UK and Scandinavia, and this Season also sees him in Hong Kong and Hawaii, giving the World Premiere of a major new choral work with his former orchestra in Belgium, and recording CDs at Abbey Road Studios with the Royal Philharmonic and with the London Philharmonic.

JOHN CONKLIN Dramaturg | Trouble in Tahiti and Arias & Barcarolles John Conklin has designed sets on and off Broadway, at the Kennedy Center, and for opera companies around the world, including The Metropolitan Opera, Lyric Opera of Chicago, Seattle Opera, San Francisco Opera, Bastille Opera in Paris, The Royal Opera and the opera houses of Munich, Amsterdam, and Bologna, among others. Locally, his work has been seen in Boston Lyric Opera’s recent productions of The Rake’s Progress (2017), The Marriage of Figaro (2017), The Merry Widow (2016), Werther (2016), La Bohème (2015), and I Puritani (2014), as well as at the American Repertory Theater and Boston Ballet. Additionally, Mr. Conklin develops lecture series and community events for BLO that enrich the audience experience and strengthen the presence of opera in Boston’s arts community. He is on the faculty at New York University’s Tisch School of the Arts and was a recipient of the 2011 National Endowment for the Arts Opera Honors.

JAMES DARRAH Stage Director | The Threepenny Opera Los Angeles-based director and designer James Darrah’s recent projects include the World Premiere of Missy Mazzoli’s Breaking the Waves for Opera Philadelphia and the PROTOTYPE Festival; a return to his annual residency with Opera Omaha, where he launched a production of Handel’s Semele in a coproduction with Opera Philadelphia; direction and design for a music video for mezzo-soprano Joyce DiDonato on her new album, In War and Peace; his European directorial debut with Teatro Nacional de São Carlos (Portugal) for a new production of Gluck’s Iphigénie en Tauride; and an installment of San Francisco Symphony’s SOUNDBOX series. In January 2017, he continued his collaboration with conductor Michael Tilson Thomas as director of Mahler’s Das Klagende Lied in a new staged production for San Francisco Symphony. His work this Season includes his debut in Germany with a new production of Handel’s Alcina with Badisches Staatstheater Karlsruhe. Mr. Darrah is the Artistic Director for the new annual spring ONE Festival and artists’ residency as part of his ongoing collaboration with Opera Omaha, where he will direct the professional World Premiere of Proving Up by Mazzoli. This is his Boston Lyric Opera debut.

PAUL TATE DEPOO III Set Designer | Trouble in Tahiti and Arias & Barcarolles Paul Tate dePoo III is an international scenic and production designer and the founder of Tate Design Group, which serves the theatrical industry as well as music, events, film, restaurants, and hospitality. Most recently, Mr. dePoo designed the sets for the Broadway-bound

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ARTISTS productions of Josephine and War of the Roses, as well the design for the world’s largest TEDx Talk event at the Boston Opera House in 2016. Earlier this year, he also designed the set for Young Frankenstein at The Muny in St. Louis. Mr. dePoo is currently designing his first restaurant, Swim Two Birds, in Jackson Heights, Queens. He has taught and lectured at Yale University, Boston University, Penn State, and Rutgers University. This is his Boston Lyric Opera debut.

NANCY LEARY Costume Designer | Trouble in Tahiti and Arias & Barcarolles Nancy Leary is a Costume Designer whose visionary work for opera and theater has spanned several decades and graced various stages in the United States. From 2000 to the present, Ms. Leary has worked on operas including several new pieces for BLO, Virginia Opera, The Pittsburgh Symphony, Opera Saratoga, Utah Opera, Chautauqua Opera, Mobile Opera, Juilliard Opera, LSU Opera, Opera Boston, New England Conservatory, The Boston Conservatory, and Boston Musica Viva. Theater credits include Weston Playhouse, Commonwealth Shakespeare Company, Shakespeare Theatre of New Jersey, Actors’ Shakespeare Project, Orlando Shakespeare Festival, New Repertory Theatre, Merrimack Repertory Theatre, Chamber Repertory Theatre, Boston Children’s Theater, North Shore Music Theatre and Knife Edge Productions, New York. She is also an Assistant Professor of Design and Production for Boston University School of Theatre.

CHARLES NEUMANN Costume Designer | The Threepenny Opera Charles Neumann is a Boston-based fashion and costume designer and has worked with organizations including Edgewood Studios, Central City Opera, MetroWest Opera, and others. He has designed productions of Suor Angelica, Trouble in Tahiti, and Cendrillon, and assisted on productions including Carmen, Amadigi di Gaula, and Les Mamelles de Tirésias. Charles has been featured in Boston Fashion Week and has shown at charity events including Urban Nights, a fundraiser for homeless and at-risk youth sponsored

by Urban Peak, and WE CAN with Mondo Guerra, sponsored by AIDS Connecticut. Charles holds a degree in Fashion Design and Production from Lasell College.

JULIA NOULIN-MÉRAT Set Designer | The Threepenny Opera In addition to her work as Associate Producer for Boston Lyric Opera, Julia Noulin-Mérat is Director of Design and Production for Guerilla Opera and resident set designer for Attic Theater in New York. She has designed over 350 opera, theater, immersive shows and television productions, including: Tosca, The Rake’s Progress,

Clemency, In the Penal Colony and La Traviata (Boston Lyric Opera); Così Fan Tutte, Falstaff and Bluebeard’s Castle (Opera Omaha); Rigoletto (Minnesota Opera); Sumeida’s Song and 27 (Pittsburgh Opera); Madama Butterfly (Opera New Jersey and El Paso Opera); Giver of Light, Loose Wet Perforated, Heart of a Dog, Troubled Water, Pedr Solis, and No Exit (Guerilla Opera); L’Heure Espagnole and Scalia/Ginsburg (Castleton Festival); Transformations and Alcina (Boston Conservatory); The Barber of Seville (LoftOpera); and La Descente d’Orphee aux Enfers (Gotham Chamber Opera).

Most recent credits include Romeo and Juliet (Commonwealth Shakespeare Company) and a touring immersive experience of Peter Pan’s Neverland in China. Ms. Noulin-Mérat is an adjunct professor at Pace University and a graduate of Boston University.

JOHNNY ROGERS Video Designer | Trouble in Tahiti and Arias & Barcarolles Johnny Rogers is a new media artist based in Baltimore and San Francisco. His playful work spans from gallery and museum installations to music videos and projections in Baltimore’s underground. Notable past venues include the SFMOMA, Baltimore Contemporary Museum, Yerba Buena Center for the Arts, and Pacific Design Center. Johnny received a BFA in Digital Media from the San Francisco Art Institute and has worked with Future Farmers, George Kuchar, Abdu Ali, and Matmos. He is renowned online for his dank memes and has underground street cred for his immersive rave projections. Trouble in Tahiti is his first endeavor in video design for opera.

PABLO SANTIAGO Lighting Designer | The Threepenny Opera Pablo Santiago’s lighting design spans theater, opera, dance and gallery work. His work has been seen at Los Angeles Theatre Center and the Latino Theater Co., Arena Stage (Washington, D.C.), the Paramount Center (Boston), Skirball Center (New York City), Su Teatro (Denver), the Getty Museum (Los Angeles), Opera Santa Barbara, and more. Recent highlights include War of the Worlds with the LA Phil, Dementia at Los Angeles Theatre Center, Pélleas et Mélisande at Cincinnati Symphony, Breaking the Waves for Opera Philadelphia and PROTOTYPE Festival, Destiny of Desire at the Goodman Theatre and Oregon Shakespeare Festival, and Flight for Opera Omaha. His upcoming projects include Ted Hearne’s Place co-commissioned by the LA Phil, the Barbican Centre and Beth Morrison Projects, as well as the professional World Premiere of Proving Up at Opera Omaha and the Miller Theatre (New York City), Eugene Onegin at The Boston Conservatory, and Boris Godunov at San Francisco Symphony. This is his Boston Lyric Opera debut.

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ARTISTS DAVID SCHWEIZER Stage Director | Trouble in Tahiti and Arias & Barcarolles David Schweizer returns to Boston Lyric Opera, having directed this fall’s World Premiere of The Nefarious, Immoral but Highly Profitable Enterprise of Mr. Burke & Mr. Hare for the Company, as well as previous productions of The Love Potion, Macbeth and The Emperor of Atlantis. Early career highlights include World Premiere productions by such playwrights as Sam Shepard, Michael Weller, Albert Innaurato, Maria Irene Fornes, Len Jenkin, Ronald Tavel, and Austin Pendleton. More recent work Off-Broadway: Wintertime (Second Stage); White Chocolate (Century Playhouse); Songs from an Unmade Bed (New York Theater Workshop); and his critically-acclaimed collaborations with composer/performer Rinde Eckert, And God Created Great Whales; Horizon; and Pericles.

His extensive work in opera includes The Mines of Sulphur (New York City Opera); Albert Herring (Gotham Chamber Opera); The Greater Good (Glimmerglass Festival); Giovanna d’Arco (Chicago Opera Theater); Candide, Hydrogen Jukebox, Powder Her Face, The Man who Mistook his Wife for a Hat, Montezuma (Long Beach Opera); among others. This fall, he also directed the World Premiere of Kevin Puts and Mark Campbell’s Elizabeth Cree at Opera Philadelphia and re-staged the production at Chicago Opera Theater this winter.

MELINDA SULLIVAN Movement Director | Trouble in Tahiti and Arias & Barcarolles Melinda Sullivan is a choreographer, movement coach, and teacher with more than 25 years of experience working with singers and dancers. Her work was recently seen at BLO in its World Premiere production of Burke & Hare. She established herself as a dynamic performer in Boston’s modern dance scene after graduating from The Boston Conservatory. She then developed a unique movement and dance program for opera singers at New England Conservatory where she taught for 25 years. She is resident choreographer and movement coach at Central City Opera and Boston University Opera Institute. She was recently named Dance Director at Boston Early Music Festival after many years as dancer, ballet mistress, and choreographer. Recent choreographies include Carmen, La Traviata, Cendrillon, Acis and Galatea, and Orfeo. She conducts ongoing masterclasses in breath and body, stage presence, period dance, as well as ballet for singers, dancers, conductors, and instrumentalists.

CHELSEA BASLER Soprano Lucy | The Threepenny Opera Chelsea Basler is a BLO Jane and Steven Akin Emerging Artist alumna. An award-winning soprano, Ms. Basler’s BLO credits include Micaëla in BLO’s mounting of the Calixto Bieito production of Carmen, Valencienne in The Merry Widow, Zerlina in Don Giovanni, Flora Bervoix in La Traviata and Isolt the Fair in The Love Potion. She recently debuted the role of Sara in the World Premiere of Cold Mountain with Santa Fe Opera, appeared as Floyd’s Susannah with Pasadena Opera, and performed Mozart’s Susanna in Le Nozze di Figaro with Opera Saratoga. Other credits include Josephine in HMS Pinafore (Opera Saratoga) and Curley’s Wife in Of Mice and Men (Sarasota Opera). Ms. Basler has appeared in recital at the National Opera Center in New York City, and her concert and recital performances include Mozart’s Exultate Jubilate and Mahler’s Fourth Symphony with the Atlantic Symphony Orchestra as well as performances with the Cape Symphony and Clearlakes Chorale. In 2018, she will debut with the Glen Falls Symphony, rejoin the Cape Symphony as soloist for Mozart’s Requiem, and sing the title role in Susannah with Nashville Opera.

DANIEL BELCHER Baritone Street Singer/Tiger Brown | The Threepenny Opera Daniel Belcher has performed in many of the world’s music capitals, including Paris, London, New York, San Francisco, Berlin, Stuttgart, Amsterdam, Geneva, Toronto, Montreal, Tokyo, Seoul, and Houston, in repertoire ranging from the Baroque to new works. He created the roles of Prior Walter in Peter Eötvös’ Angels in America (Théâtre du Châtelet, Paris), Bellingham in Lori Laitman’s The Scarlet Letter (Opera Colorado), Brian Castner in Jeremy Howard Beck’s The Long Walk (Opera Saratoga), Robert Kennedy in Robin De Raaff’s Waiting for Miss Monroe (Dutch National Opera and Holland Festival), John Brooke in Mark Adamo’s Little Women, Andy Warhol in Michael Daugherty’s Jackie O, and multiple roles in Tod Machover’s Resurrection (all with Houston Grand Opera). This Season, he appeared as Inspector Kildare in Kevin Puts’ Elizabeth Cree (Opera Philadelphia) and as James Addison in Ricky Ian Gordon’s The House Without a Christmas Tree (Houston Grand Opera), both World Premieres. Recently, he debuted at the Royal Opera House, Versailles, in Lully’s Armide after performances of the same work in Toronto with Opera Atelier. Mr. Belcher made his Carnegie Hall debut as a soloist in Vaughan Williams’ Dona Nobis Pacem with the New York Choral Society.

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ARTISTS MARA BONDE Soprano Trio Member | Trouble in Tahiti and Arias & Barcarolles Soprano Mara Bonde’s stage repertoire includes both opera and classic music theater roles; highlights include the title role in The Merry Widow (Imperial Symphony Orchestra), Second Lady in The Magic Flute (Boston Baroque), Adina in L’Elisir d’Amore (Sarasota Opera), Mrs. Page in Sir John in Love (Odyssey Opera), and Lilli Vanessi/ Kate in Kiss Me, Kate (Commonwealth Opera). At home in both classical and popular styles, Ms. Bonde has been the guest artist for “Holiday Pops” concerts with the Boston Pops, the Rochester Philharmonic, the Naples Philharmonic, and with the Baton Rouge, Lansing, New Haven, Syracuse, and Charlotte Symphony Orchestras. Other orchestral engagements have taken her to the South Florida, Utah, San Diego, Stamford, Cape, and Nashua Symphony Orchestras, the Handel & Haydn Society, and Boston Baroque, among others. Ms. Bonde also performs with Boston Musical Theater and has toured with the ensemble to South Korea, Russia and Belgium. Ms. Bonde was a National Semi-Finalist in the Metropolitan Opera National Council Auditions and the first prize winner in the Bel Canto Vocal Scholarship Awards.

CHRISTOPHER BURCHETT Baritone Macheath | The Threepenny Opera Christopher Burchett’s roles include Dad/ Café Manager/Chief of Police in Greek and Blazes in The Lighthouse (BLO); John Cree in Elizabeth Cree (Chicago Opera Theater); Victor in Buried Alive and Father Palmer in Silent Night (Fort Worth Opera); Captain Corcoran in HMS Pinafore (Opera Saratoga and Virginia Opera); Germont in La Traviata (Indianapolis Opera); the title roles of Sweeney Todd (Eugene Opera) and Don Giovanni (Cedar Rapids Opera Theatre); David T. Little’s Soldier Songs (PROTOTYPE Festival, Holland Festival and Beth Morrison Projects); and the European Premiere of Oceanic Verses (BBC Symphony Orchestra). A champion of new music, Christopher has been a part of several World Premiere performances and recordings including Arnold Rosner’s The Parable of the Law (London Symphony Orchestra, Toccata Classics), Mohammed Fairouz’s No Orpheus (Naxos), David Lang’s The Difficulty of Crossing a Field (The Harlem String Quartet, Cantaloupe), the title role in Gilgamesh (Celebrity Series of Boston and Beth Morrison Projects), The Greater Good (Glimmerglass Opera), and Blizzard Voices (Opera Omaha).

RYNE CHERRY Baritone Filch/Ed/Beggar/Police Chief | The Threepenny Opera Boston-based baritone Ryne Cherry is a versatile artist, at home both on the opera stage and in concert. This Season sees him performing with BLO, the Handel & Haydn Society, Boston Baroque, the Chatham Chorale, and Emmanuel Music. In recent Seasons, Mr. Cherry performed with The Boston Pops, Ash Lawn Opera, Opera Tampa, Beth Morrison Projects, Back Bay Chorale, Opera Company of Middlebury, the Boston Symphony Youth Orchestra, and as a vocal fellow at the BSO’s Tanglewood Music Center in 2016 and 2017.

Upcoming appearances include role debuts with Boston Baroque as Second Prisoner in Beethoven’s Fidelio, and at Tanglewood as Sam in Bernstein’s A Quiet Place.

DAVID CUSHING Baritone Crook Finger Jack | The Threepenny Opera David Cushing’s recent opera appearances include the title roles of Don Pasquale and The Marriage of Figaro, Frère Laurent in Roméo et Juliette, and Bottom in A Midsummer Night’s Dream. This Season, Mr. Cushing appeared as Angelotti in Tosca and created the role of Donald in the World Premiere of Burke & Hare with BLO; his other recent performances include the roles of Trulove and Bartolo in BLO’s productions of The Rake’s Progress and The Marriage of Figaro; the title role in Don Pasquale with Bar Harbor Music Festival; Frère Laurent/Duke in Roméo et Juliette (Opera Tampa); Police Officer in Der Rosenkavalier (Boston Symphony Orchestra); Commendatore/ Masetto in Don Giovanni (Bar Harbor Music Festival), and soloist in Philip Glass’ Symphony No. 5 (The Washington Chorus, also with Trinity Wall Street). This Season, Mr. Cushing’s performances include a return to Opera Tampa to sing both Basilio in The Barber of Seville and Banquo in Macbeth, and Tiresias in Stravinsky’s Oedipus Rex with Emmanuel Music. He is a BLO Jane and Steven Akin Emerging Artist alumnus.

JESSE DARDEN Tenor Matt of the Mint | The Threepenny Opera Jesse Darden returns to BLO in the 2017/18 Season for his second year as a Jane and Steven Akin Emerging Artist. Mr. Darden spent his 2017 summer as an Apprentice Artist with the Santa Fe Opera and has completed apprenticeships with Chautauqua Opera and Opera North. Mr. Darden was a New England Regional Finalist with the Metropolitan Opera National Council Auditions, won Third Prize in the Gerda Lissner International Voice Competition, and was a recipient of the Chautauqua Opera Studio Artist Award. He has performed roles and solos with Boston Lyric Opera, Odyssey Opera, Dartmouth College, the Rhode

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ARTISTS Island Civic Chorale and Orchestra, Boston University Opera Institute, Piedmont Opera, and Chautauqua Opera. This Season, Mr. Darden will return to Santa Fe Opera as an Apprentice Artist covering the role of Robert Wilson in Doctor Atomic and will be featured in the upcoming World Premiere of Tod Machover’s Schoenberg in Hollywood, commissioned by BLO. MARCUS DELOACH Baritone Sam | Trouble in Tahiti and Arias & Barcarolles Marcus DeLoach has performed with Opera Philadelphia, Cincinnati Opera, Central City Opera, Des Moines Metro Opera, Nashville Opera, Opera Santa Barbara, Opera Theatre of St. Louis, Utah Opera, American Opera Projects, Seattle Opera, Tulsa Opera, Lyric Opera of Kansas City, Opera Ireland, Teatro Communale di Bolzano, and others. Mr. DeLoach has created principal roles in the World Premieres of Spears’ Fellow Travelers, Mazzoli’s Breaking the Waves, Wiesman’s/Hoiby’s Darkling, Beeferman’s The Rat Land, Drattell’s Lilith and Marina: A Captive Spirit, and Paul Schoenfield’s The Merchant and the Pauper. At the New York City Opera, he sang many roles including Count Almaviva in Le Nozze di Figaro, Slim in Of Mice and Men, Schaunard in La Bohème, and many others. Recent engagements include a role debut as Figaro in Milhaud’s La Mére Coupable with On Site Opera, the workshop of Philadelphia Dance Projects and American Opera Projects’ Wolf-in-Skins, and Handel’s Messiah with the Tucson Symphony. In 2018, he reprises his roles in Fellow Travelers with PROTOTYPE Festival and Chicago Lyric Opera and sings Brahms’ Requiem with Artists Series Concerts of Sarasota.

NEAL FERREIRA Tenor Trio Member | Trouble in Tahiti and Arias & Barcarolles Neal Ferreira is a BLO Jane and Steven Akin Emerging Artist alumnus and recently appeared with BLO as the Visitor in In the Penal Colony.

Other BLO productions include The Magic Flute, Clemency, A Midsummer Night’s Dream, and The Inspector. He debuted with the Boston Symphony Orchestra in Der Rosenkavalier under the baton of Andris Nelsons, and with Odyssey Opera in The Importance of Being Earnest, followed by L’Assedio di Calais. He originated the role of Ferdinand in the World Premiere of Joseph Summer’s The Tempest with the Shakespeare Concerts. Mr. Ferreira has appeared in the Boston Youth Symphony Orchestras productions of Carmen, Otello, Un Ballo in Maschera, Tosca, Rigoletto, and Falstaff, and received the 2013 Artist of the Year Award from Syracuse Opera, where he most recently performed the role of Alfred in Die Fledermaus. He has also appeared with Florida Grand Opera, the Glimmerglass Festival, Opera Colorado, Virginia Opera, Anchorage Opera, American Repertory Theater, Guerilla Opera, and Emmanuel Music.

Upcoming engagements include a concert performance of La Bohème with the Boston Symphony Orchestra at Tanglewood.

HEATHER JOHNSON Mezzo-Soprano Dinah | Trouble in Tahiti and Arias & Barcarolles Heather Johnson returns to Boston Lyric Opera after playing Baba the Turk in The Rake’s Progress; previously with the Company, she sang the title role of Lizzie Borden in Boston and at Tanglewood. She made her Metropolitan Opera debut as a Flower Maiden in Parsifal and returned for their productions of A Midsummer Night’s Dream, Hansel and Gretel and Enchanted Island. In the 2016/17 Season, she sang the title role in Tancredi (Baltimore Concert Opera and Opera Southwest) and appeared as La Messaggera, La Musica and La Speranza in Monteverdi’s L’Orfeo (Chautauqua Opera). Other highlights include Page in Salome (Dallas Opera), Nuits d’Eté (Minnesota Orchestra), Jessie in the World Premiere of The Long Walk (Opera Saratoga), and Jo in Little Women (Madison Opera). She has appeared with Sarasota Opera, Glimmerglass Opera, Opera Orchestra of New York, Virginia Opera, Nashville Opera, Opera Maine, National Art Centre Orchestra, New York Choral Society, Volkstheater Rostock, American Ballet Theatre, Mill City Summer Opera, Napa Festival del Sole and New York City Opera, where she was the 2006 recipient of the prestigious Stanley Tausend Award.

KELLY KADUCE Soprano Polly Peachum | The Threepenny Opera Kelly Kaduce returns to Boston Lyric Opera, after most recently appearing with the Company in 2015 as Mimì in La Bohème. Ms. Kaduce has garnered national acclaim throughout the years, including the top prize in the 1999 Metropolitan Opera National Council Auditions. Her recent engagements include a debut with Des Moines Metro Opera as Alice Ford in Falstaff and her role debut as Desirée Armfeldt in Sondheim’s A Little Night Music, the title role of Tosca at Houston Grand Opera, Wendy in the World Premiere of Moravec’s The Shining with Minnesota Opera, Liù in Turandot with Atlanta Opera, and debuts with Lyric Opera of Chicago as Kátya in The Passenger and with Canadian Opera Company as Cio-Cio San in Madama Butterfly. She made her BLO debut in 2006 as the title role of Massenet’s Thaïs, and appeared the same year with BLO as Cio-Cio San. This Season, Ms. Kaduce also appears as the title role of Thaïs with Minnesota Opera.

JAMES MADDALENA Baritone Mr. Peachum | The Threepenny Opera James Maddalena first gained international recognition for the title role of Nixon in China, which he has sung throughout the world including his Metropolitan Opera debut. He has appeared with many of the world’s leading opera companies and orchestras including the Lyric Opera of Chicago, San Francisco Opera, Frankfurt Opera, Glyndebourne Festival, the Chicago Symphony, Los Angeles Philharmonic, Boston Symphony, Houston Symphony, and the London Symphony Orchestra. He has collaborated

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ARTISTS frequently with director Peter Sellars on operas of Mozart, Haydn, Handel, and John Adams. Opera credits include Death and the Powers (Monte Carlo Opera); Four Psalms (Chicago Symphony); Harvey Milk (Houston Grand Opera); Bonesetter’s Daughter (San Francisco Opera); Life Is A Dream (Santa Fe Opera); John Brown (Lyric Opera of Kansas City); Fire Water Paper (Pacific Symphony); Esther (New York City Opera) and Little Women (Houston Grand Opera). He sang the U.S. Premiere of Weinberg’s The Passenger (Houston Grand Opera) and the World Premiere of Marhulet’s The Property (Lyric Opera of Chicago).

ANDY PAPAS Baritone Walt Dreary/Sawtooth Bob | The Threepenny Opera Native Bostonian Andy Papas returns this summer to Opera Saratoga as Baron Zeta in The Merry Widow, having covered the title role in Verdi’s Falstaff there last Season. Mr. Papas was also featured as the gangster Bugs in Saratoga’s acclaimed production of The Cradle Will Rock, recorded for the first time with Blitzstein’s original orchestration.

Performing frequently on the West Coast, Mr. Papas was most recently seen as Spalanzani in Les Contes d’Hoffmann with Pacific Northwest Opera, and he is back in Seattle next fall as Benoit/ Alcindoro (La Bohème) for Vashon Opera. In 2017, he created the role of Stephano in The Tempest (Albany Records) by Joseph Summer and in 2016 performed the role of Ko-Ko in The Mikado for Union Avenue Opera. He has performed leading and featured roles with The Lyric Stage of Boston, Pacific Opera Project, Odyssey Opera, Opera Company of Middlebury, Winter Opera St. Louis, and Skylight Music Theatre, among others, and sung in the chorus of BLO. RENÉE TATUM Mezzo-Soprano Jenny Diver | The Threepenny Opera Renée Tatum’s engagements this Season include Flosshilde in Das Rheingold (Tanglewood Music Festival); Flosshilde in Das Rheingold and Götterdämmerung and Waltraute in Die Walküre (San Francisco Opera); Flower Maiden in Parsifal (The Metropolitan Opera); soloist in Penderecki’s Credo (Indianapolis Symphony Orchestra); and Ensemble for the Romantic Century’s production of Van Gogh’s Ear. Her recent performances include appearances with Houston Grand Opera, Boston Youth Symphony Orchestra, Pacific Symphony, and Washington National Opera, and her concert performances include Mozart’s Requiem with Omaha Symphony and Rochester Philharmonic and Salome with Andris Nelsons and the Boston Symphony Orchestra, as well as the mezzo-soprano soloist in Beethoven’s Ninth Symphony with the Boston Symphony Orchestra at the Tanglewood Music Festival. Ms. Tatum is an alumna of the Lindemann Young Artist Development Program at The Metropolitan Opera, where she debuted as Inez in Il Trovatore and also appeared in Die Zauberflöte, Rusalka, Otello, and others. This is her Boston Lyric Opera debut.

MICHELLE TRAINOR Soprano Mrs. Peachum | The Threepenny Opera Michelle Trainor is a BLO Jane and Steven Akin Emerging Artist alumna and has sung in the BLO productions of Burke & Hare, The Marriage of Figaro, The Inspector, Macbeth, Clemency, The Magic Flute, The Merry Widow, and The Love Potion. Ms. Trainor has recently made her debut with the Boston Symphony Orchestra in Der Rosenkavalier under the direction of Andris Nelsons. Last Season, she debuted at Odyssey Opera as Ghita in Zemlinsky’s Der Zwerg; other recent highlights include singing Isolde’s Liebestod with the Brookline Symphony Orchestra and Vaughan Williams’ A Sea Symphony with New World Chorale. Ms. Trainor has recorded MacMillan’s Clemency and Schubert’s Hagar’s Lament on the BIS label with Boston Lyric Opera and was the 2011 recipient of the Company’s Stephen Shrestinian Award for Excellence.

As a concert soloist, she has performed at Carnegie Hall and in Boston Ballet’s production of A Midsummer Night’s Dream. Her performances this Season include the role of Jocasta in Stravinsky’s Oedipus Rex with Emmanuel Music as well as the soprano soloist in Beethoven’s Ninth Symphony with Nashua Symphony.

VINCENT TURREGANO Baritone Trio Member | Trouble in Tahiti and Arias & Barcarolles Vincent Turregano returns to Boston Lyric Opera for his third Season as a BLO Jane and Steven Akin Emerging Artist, where he has been seen as Moralès (Carmen) as well as in The Merry Widow and in Puccini’s La Bohème. Most recently, he sang Sciarrone in BLO’s Tosca, a co-production with Opera Omaha (where he reprised the role).

He makes his debut with Sarasota Opera this spring covering Lescaut in Manon Lescaut and Dancaïre in Carmen. He spent two summers with Marilyn Horne at The Music Academy of the West where he performed in Carmen as an ensemble member and La Cenerentola as Dandini. Mr. Turregano is an avid recitalist, delivering recent recitals of varying repertoire in Louisiana, Arizona, and Massachusetts. His love of contemporary classical music is a driving force in his performance career. From Ligeti to Stucky, he enjoys the challenge and nerve that it takes to bring convincing and powerful performances of new music to all audiences.

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THE THREEPENNY OPERA CHAMBER ENSEMBLE

PRODUCTION/ARTISTIC STAFF

SAXOPHONE/FLUTE/CLARINET RODERICK FERLAND

Becki Smith Stage Manager Julie Marie Langevin Assistant Stage Manager Melanie Bacaling Assistant Stage Manager Marisa Brink Production Assistant Bruno Baker Assistant to the Director Liz Sherrier Associate Set Designer Lisa Berg Props Master Alex Brandt Lighting Director Maxx Finn Assistant Lighting Designer Kathleen Zhou Lighting Assistant Liz Perlman Costume Director Lynn Jeffery Costume Supervisor Ryan Goodwin Costume Design Assistant Melinda Abreu Wig-Makeup Artist Rachel Shufelt Wig-Makeup Artist Kevin Thurber AV Coordinator Litsa Vlahos Stage Management Intern Kathleen Zhou Lighting Intern Maynard Goldman Orchestra Personnel Manager

SAXOPHONE/BASSOON/BASS CLARINET GREGORY NEWTON TRUMPET I BRUCE HALL Principal TRUMPET II JESSE LEVINE TROMBONE ROBERT COUTURE Principal CELLO ARON ZELKOWICZ Acting Principal DOUBLE BASS ROBERT LYNAM Principal BANJO/GUITAR/HAWAIIAN GUITAR/MANDOLIN WILLIAM BUONOCORE TIMPANI/PERCUSSION JEFFREY FISCHER Principal HARMONIUM/CELESTA/PIANO BRETT HODGDON ACCORDION KATHERINE MATASY

CHORUS MICHELLE ALEXANDER Chorusmaster LADIES ALISA CASSOLA HEATHER GALLAGHER JAIME KORKOS MARIE MCCARVILLE VERA SAVAGE VANESSA SCHUKIS GENTLEMEN RYNE CHERRY DAVID CUSHING JESSE DARDEN THOMAS OESTERLING ANDY PAPAS RON WILLIAMS

ROAD CREW Jeremy Smith Head Production Carpenter Brendan Ritchie First Assistant Production Carpenter Tyler Kelleher Second Assistant Production Carpenter Marco Caceres Head Production Electrician Leanne Knight First Assistant Production Electrician Eric Perlmutter First Assistant Production Electrician Mike Wellman Light Board Programmer Patrick Glynn Head of Production Properties Emily Picot First Assistant of Production Properties and Hospitality Coordinator Dianna Reardon Wardrobe Supervisor

HUNTINGTON THEATRE HOUSE CREW Jesse Washburn House Carpenter Sean Baird House Electrician J. Jumbelic House Sound Engineer Andrew Deshazo House Props Run Christine Marr House Wardrobe

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TROUBLE IN TAHITI AND ARIAS & BARCAROLLES CHAMBER ENSEMBLE

PRODUCTION/ARTISTIC STAFF

FLUTE LINDA TOOTE Principal

Hester Warren-Steijn Stage Manager Julie Marie Langevin Assistant Stage Manager Melanie Bacaling Assistant Stage Manager Bruno Baker Production Assistant Lisa Berg Props Master Alex Brandt Lighting Director Maxx Finn Assistant Lighting Director Liz Perlman Costume Director Ryan Goodwin Costume Design Assistant Kevin Thurber AV Coordinator Maynard Goldman Orchestra Personnel Manager

CLARINET JAN HALLORAN Principal TRUMPET TERRY EVERSON Acting Principal TROMBONE GREGORY SPIRIDOPOULOS Acting Principal DOUBLE BASS ROBERT LYNAM Principal PERCUSSION WILLIAM MANLEY Acting Principal PIANO BRETT HODGDON DAVID ANGUS

ROAD CREW Mike Wellman Light Board Programmer Dianna Reardon Wardrobe Supervisor Emily Picot Hospitality Coordinator

UNIONS The Artists and Stage Managers employed on these productions are members of the American Guild of Musical Artists. All musicians are members of the American Federation of Musicians of the United States and Canada.

The scenic, costume, and lighting designers are members of United Scenic Artists, Local USA-829 of the International Alliance of Theatrical Stage Employees (IATSE). Stagehands are represented by Local #11 of IATSE. Boston Lyric Opera is a member of OPERA America, the national service organization for opera in the U.S. and Canada.

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ACKNOWLEDGMENTS Boston Lyric Opera extends its gratitude to the following vendors, partners, individuals, community organizations, and school partners for their extraordinary courtesy in making our 2017/18 Season possible: Acentech, Inc. | Carl Rosenberg, Ben Markham Advanced Lighting and Production Services | Rui Alvez, Mike Texeira American Repertory Theater | Stephen Setterlun Alexander Aronson Finning ArtsBoston Backstage Hardware Susan Bennett, M.D., Company Physician Consultant, Associate Physician, Massachusetts General Hospital BG Events & Catering BOCA Systems Boston Arts Academy Boston Athenæum Boston Center for the Arts | Gregory Ruffer The Boston Conservatory at Berklee Boston Public Library Boston Public Schools Visual & Performing Arts Office Brandeis University | Office of the Arts Brighter Boston | Daniel H. Jentzen Benjamin G. Brown Elementary School Captain Samuel Brown Elementary School Caffé Nero Cartage America | Tim Riley Castle of our Skins Catherine Truman Architects | Catherine Truman Chandler Inn Charcoalblue LLP | Andy Hayles, Gary Sparkes, John Owens Constangy, Brooks, Smith & Prophete, LLP | Andrew Eisenberg, Will Krasnow Costume Rentals/Guthrie Theatre Costume Works, Inc. | Liz Perlman C3 Commercial Construction Consulting, Inc. | Doug Anderson Amy Holland Crafton East Cambridge Piano | James Nicoloro

Elderhostel, Inc. | Road Scholar Emerson College | Office of the Arts Eric Antoniou Photography Fessenden & Sykes Films Around the World, Inc. | Alexander W. Kogan, Jr. Furnished Quarters | Annette Clement Louis A. Gentile Piano Service Goldstar Goodspeed Theatre Grand Image Inc. | Tamir Luria, Shane Bandzul High Output Inc. | Jim Hirsch Mark Howard Hubspot, Inc. HUM Properties | Casey Smith Huntington Theatre Company | Kat Alix, Katie Most The HYM Investment Group IATSE Local #11 JACET | Colleen Glynn IRN Internet Services | Jay Williston Isabella Stewart Gardner Museum Jackson Mann K-8 School Jayne’s Flowers Inc. JMK PR John F. Kennedy Presidential Library & Museum Joseph Lee K-8 School Leapfrog Arts | Melissa Wagner-O’Malley Liza Voll Photography MacArthur Elementary School Marliave Massachusetts Bay Transportation Authority Massachusetts Department of Conservation and Recreation | Nick Connors mindSHIFT Technologies Inc. Miles River Middle School Museum of Fine Arts, Boston James Myers

Myles Standish Business Condominiums NEPS Primary Freight New England Professional Systems | Bill Miller North Cambridge Family Opera Production Advantage Opus Affair | Graham Wright Oregon Shakespeare Festival ProPrint Boston Quality Graphics, Inc. Randolph High School Robert Silman Associates Structural Engineers | Michael Auren, Ben Rosenberg Ryder Transportation Santander Saint Brendan Catholic School Saltonstall School Scalped Productions Sebastians | Maureen Carey Seyfarth Shaw LLP | Brian Michaelis Shoretel/Mitel Stagesource Starburst Printing | Jason Grondin Stoddard’s | Jamie Walsh The Strategy Group TDF Costume Collection Tessitura Toshiba, Corp. | Cheryl Hayford, Todd Tweedie United Staging & Rigging | Eric Frishman UNO Pizzeria & Grill Vantage Technology Consulting Group | Geoffrey Tritsch VOICES Boston WBUR Winship Elementary WGBH/WCRB

INSTITUTIONAL PARTNERS Boston Lyric Opera’s programs are funded, in part, by a grant from the Massachusetts Cultural Council, a state agency.

22 | BOSTON LYRIC OPERA THE THREEPENNY OPERA / TROUBLE IN TAHITI SPRING 2018

BOSTON LYRIC OPERA STAFF

VOLUNTEER CORPS

Esther Nelson Stanford Calderwood General & Artistic Director David Angus Music Director John Conklin Artistic Advisor

Jeannie Ackerman Jose Alberto Sharon Barry Katie Bauer Allyson Bennett Laima Bobelis Lynn Bregman Jane Cammack Susan Cavalieri Caroline Cole Michelle Chen Ann D’Angelo Karla De Greef Marsha dePoo Mary DePoto Frances Driscoll Marian Ead Lee Forgosh Erin Frey Audley Fuller Linda George Mencken Graham Linda Granitto Rachel Hahn James Karg Eva Karger Milling Kinard Esther Lable Daniel Levin Richard Leccese Nancy Lynn Domenico Mastrototaro Terri Mazzuli Patti McGovern Anne McGuire Meg Morton Kameel Nasr Gail Neff Amy O’Connell Cosmo and Jane Papa Barbara Papesch Jeffrey Penta Yamel Rizk Nikta Sabouri Elizabeth Sarafian Colin Sherman Sasha Sherman Barbara Trachtenberg Gerry Weisenberg Kenneth Westhassel Beverly Wiggins Debra Wiess Alfred Williams Lynn Williams Sybil Williams

ARTISTIC Nicholas G. Russell Director of Artistic Operations Steven Atwater Artistic Manager Zachary Calhoun Auditions Coordinator Julian Killough-Miller Artistic Associate PRODUCTION Anna B. Labykina Production & Technical Director Amanda Robie Production Operations Manager Andrew M. Trego Production Coordinator Alix Strasnick Associate Technical Director Nathan DeMare Master Carpenter Jessica Pfau Master Carpenter Samantha Layco Production Administrative Assistant Julia Noulin-Mérat Associate Producer FINANCE AND ADMINISTRATION Karen T. Frost Director of Finance and Administration David J. Cullen Accounting Manager Reingard Heller Finance Manager Angela Rowland Senior Accountant Caitlin Hayes Finance & Office Coordinator Lizabeth Malanga Executive Assistant to the Stanford Calderwoord General & Artistic Director EXTERNAL RELATIONS Eileen Nugent Williston Managing Director Sarah B. Blume Director of Major Gifts Cathy Emmons Director of Institutional Gifts Robin Whitney Development and Outreach Manager Narcissa McArthur Development Coordinator Robin Schweikart Database Administrator Jeila Irdmusa Marketing & Communications Manager Todd McNeel Media Coordinator JMK PR Public Relations Andrew J. Moreau Operations Manager & System Administrator Rebecca Kittredge Audience Services Manager Bailey Kerr Patron Services Associate Morgan McKendry Audience Services Associate Lacey Upton Director of Community Engagement Rebecca Kirk Manager of Education Programs Sara O’Brien Events Manager Heather Gallagher Resident Teaching Artist Patricia Au Resident Teaching Artist IRN Internet Services Website Leapfrog Arts Graphic Design As of January 15, 2018

ABOUT BOSTON LYRIC OPERA Both locally and beyond, Boston Lyric Opera leads the way in celebrating the art of the voice through innovative programming and community engagement initiatives that redefine the opera-going experience.

Under the vibrant leadership of Stanford Calderwood General & Artistic Director Esther Nelson, BLO’s productions have been described by the magazine Musical America as “part of the national dialogue” because of their role as entry points for new audiences. The New York Times observed that BLO “clearly intends [its productions] to catch the interest of operagoers around the country.”

This view is shared by the nearly 35,000 people who experience BLO each year through dynamic performances, extensive partnerships with leading cultural organizations, and programs throughout our vastly diverse and exuberant community.

BLO’s programming remains faithful to tradition while blazing new ground, building audiences, and creating new ways to enhance the opera-going experience.

BLO’s Jane and Steven Akin Emerging Artists hone their craft and prepare to expand their careers to other worldleading stages. And BLO’s wide-reaching education initiatives introduce opera to new audiences across generations.

Through your support and attendance, BLO employs nearly 350 artists and creative professionals annually—vocalists, artisans, stagehands, costumers, and scenic designers—many of whom are members of our own community.

The Company is proud to play a significant and meaningful role in Boston’s vibrant arts community.

BECOME A DONOR & GET CLOSER TO THE OPERA YOU LOVE

Support from BLO donors goes far beyond the productions seen on stage.

Donations directly impact the core facets of BLO: Community & Education Programs, Emerging Artists, New Works, and Accessible Opera.

Donors also receive great benefits to enhance their opera experience, from our bi-annual magazine, CODA, that enriches your knowledge, to Orfeo Lounges, that bring you closer to other opera enthusiasts.

To learn more about joining our community of supporters, we encourage you to visit BLO.ORG/PATRONS or call 617.702.8984

Soprano Elena Stikhina, who made her U.S. debut as Tosca in BLO’s fall production, speaks with supporters at the opera’s Opening Night party.

LIZA VOLL PHOTOGRAPHY

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INDIVIDUAL DONORS We are honored to recognize our donors who generously support the mission of Boston Lyric Opera to build curiosity, enthusiasm, and support for opera by creating musically and theatrically compelling productions, events, and educational resources for our community and beyond. We are deeply grateful for the following contributions made to BLO as of January 9, 2018.

• FRIENDS OF BLO is the largest community of supporters of Boston Lyric Opera. Members enjoy exclusive opportunities to explore opera and engage with others who share their passion through benefits such as invitations to Deconstructing Opera Salons, backstage tours, final dress rehearsals and more.

• ORFEO SOCIETY members gain behind-the-scenes access to BLO Artists and Creative Team members, while providing direct support to bring opera to our stages and communities.

• THE GOLDOVSKY SOCIETY membership is given in recognition of those who have made a provision in a will, living trust, deferred gift plan, or retirement plan that will benefit BLO. For more information or to become a member, please call Sarah B. Blume at 617.542.4912 x2280.

CRESCENDO ($100,000+) Anonymous (3) Jane & Steven Akin Linda Cabot Black*†§ Willa & Taylor Bodman* Constangy, Brooks, Smith & Prophete, LLP Wayne Davis & Ann Merrifield* Jody & Tom Gill*† Horace H. Irvine II*§ Jane & Jeffrey Marshall*† Mattina R. Proctor Foundation Paul & Sandra Montrone

Mr. & Mrs. E. Lee Perry*† William & Helen Pounds* David & Marie Louise Scudder*§ Mr. & Mrs. Ray Stata* Miss Wallace Minot Leonard Foundation

ALLEGRO ($10,000 - $24,999) Anonymous (3) Ms. Ann Beha & Mr. Robert A. Radloff Mr. & Mrs. Thomas Blumenthal Boston Foundation Boston Private Dr. & Mrs. Eric & Elaine Bucher† Mrs. Edmund Cabot Ms. Ellen Cabot*† Corning Incorporated Foundation Lawrence & Atsuko Fish Frank Reed & Margaret Jane Peters Memorial Fund I, Bank of America, N.A., Trustee Nick & Marjorie Greville Harold Alfond Foundation Mimi Hewlett*§ Mr. & Mrs. Edward C. Johnson Ellen & Robert Kaplan*§ Ms. Amelia Katzen* Joe & Pam LoDato*†§ Dr. Joseph & Mrs. Anita Loscalzo*† MEDITECH Anne M. Morgan* Esther Nelson & Bernd Ulken OPERA America John & Susanne Potts*†

Allison K. Ryder & David B. Jones* David Shukis & Susan Blair Larry & Beverly St. Clair* State Street Corporation Susan A. Babson Opera Fund for Emerging Artists Gregory E. Moore & Wynne W. Szeto* Lady Juliet & Dr. Christopher Tadgell* John H. Deknatel & Carol M. Taylor Mr. Richard Trant* Peter Wender*§ Ms. Tania Zouikin*§

VIVACE ($50,000 - $99,999) Timothy & Rebecca Blodgett† Nonnie & Rick Burnes*†§ Gerard & Sherryl Cohen† Alicia Cooney*§ Miguel & Suki de Bragança*

ADAGIO ($5,000 - $9,999) Anonymous (2) Sam & Nancy Altschuler Ann & Gordon Getty Foundation Sarah E. Ashby* Ms. Kimberly E. Balfour The Bell Family, in memory of Dr. Peggy Bell‡* BPS Arts Expansion Fund at EdVestors Ms. Jane Carr & Mr. Andrew Hertig Mr. John Conklin Dr. Amos Deinard*† Dr. Nicholas J. DiMauro* Ms. Catherine Dunn*†

Alan & Lisa Dynner*§ Susan W. Jacobs*† Pamela S. Kunkemueller*§ Abigail B. Mason*§ Mr. & Mrs. Neil A. Pappalardo* Mr. & Mrs. Michael Puzo* Wendy Shattuck & Sam Plimpton* PRESTO ($25,000 - $49,999) Anonymous (4) Katie & Paul Buttenwieser Mr. & Mrs. Timothy & Jessica Donohue* Mr. Eijmberts & Mr. Tinga William C. & Joyce K. Fletcher Kathryn G. Freed§, in memory of Dean & Patti Freed Lise Olney & Tim Fulham Mr. Joseph Glenmullen Kathy & Ron Groves Graham & Ann Gund Mr. & Mrs. Don & Pat Hillman Emily C. Hood Amy Hunter & Steven Maguire*†§ William & Barbara Hunter* Ms. Louise Johnson* Stephen & Lois Kunian*† Mr. Edward J. Leary† Karen Levy Andrew Sherman & Russ Lopez*†§ Ms. M. Lynne Markus*§ Judith K. Marquis & Keith F. Nelson Jillian C. McGrath* Ms. Karen McShane Ms. Faith Moore Mr. & Mrs. John O’Brien Mr. & Mrs. Richard Olney III Barbara Goodwin Papesch* Dr. Kurt D. Gress & Mr. Samuel Y. Parkinson* Suzanne & Peter Read§

Robert Eastman*†§ Karen Johansen & Gardner Hendrie Mr. & Mrs. Amos B. Hostetter, Jr. Maria Krokidas & Bruce Bullen*† Massachusetts Cultural Council Massachusetts Cultural Facilities Fund National Endowment for the Arts Janet & Irv Plotkin* Schwab Charitable Fund Susan & Dennis Shapiro* State Street Foundation Dr. Robert Walsh & Lydia Kenton Walsh* Lynn Dale & Frank Wisneski Mr. & Mrs. John Remondi Stephen & Geraldine Ricci Mr. Carl Rosenberg* Donald & Abby Rosenfeld Ms. Carol Rubin* Rumena & Alex Senchak*† Mr. Jan Steenbrugge & Ms. Young-Shin Choi Takeda Employee Giving Program Mr. & Mrs. Frank Tempesta*† Sandra A. Urie & Frank F. Herron Jeannie Ackerman Curhan & Joseph C. Williams† Drs. Bertram & Laima Zarins GRAZIOSO ($3,000 - $4,999) Anonymous Anchor Capital Advisors Michael Barza & Judith Robinson Drs. Susan E. Bennett & Gerald B. Pier Carolyn Bitetti & T. Christopher Donnelly Ronald & Ellen Brown Mr. & Mrs. Lewis Cabot Judge & Mrs. Levin H. Campbell Nancy & Laury Coolidge

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Mr. & Mrs. Ron Feinstein Fuller Foundation Mr. & Mrs. Dozier Gardner Dr. Alfred Goldberg & Dr. Joan Goldberg Mr. Joseph Hammer Mr. & Mrs. Morton Hoffman Dr. Kathleen Hull & Ernest Jacob Dr. Maydee G. Lande, in memory of her father Drs. Lynne & Sidney Levitsky Richard & Nadine Lindzen Dr. Harold Michlewitz Mr. & Mrs. Gerard Moufflet Shari & Christopher Noe D. Cosmo & Jane P. Papa* Mr. Winfield Perry, in memory of Shirley & Kenneth Perry Dr. & Mrs. John William Poduska, Sr. Melinda & James Rabb Deborah Rose & Dr. Noel Rose Dr. Jordan S. Ruboy Charitable Fund‡§ Dr. & Mrs. R. Michael Scott Mr. & Mrs. Jeremiah Shafir Lise & Myles Striar Tee Taggart & Jack Turner Mr. Thaemert & Mr. Gokey Ms. Amy Tsurumi* PRODUCER ($1,500 - $2,999) Anonymous (20) Alliance Bernstein Matching Gift Program Mr. & Mrs. David Bakalar Beard Family Charitable Trust John & Molly Beard Bessie Pappas Charitable Foundation, Inc. Mr. & Mrs. Kenyon C. Bolton III Boston Cultural Council Ms. Kathleen Boyce Dorothy & Hale Bradt Mr. & Mrs. John Cabot David J. Chavolla, in honor of Pamela Kunkemueller Marjorie B. & Martin Cohn Eli Lilly & Company Foundation, Inc. Catherine & Frederick Grein§ Arthur & Eloise Hodges Mrs. Charles Hood Mr. Craig S. Hughes Eva R. Karger§ Milling Kinard, in memory of Susan D. Eastman Mark Kritzman & Elizabeth Gorman Mary & Sherif Nada§ Robert & Carolyn Osteen Mr. & Mrs. Richard S. Perkins, Jr. William & Lia Poorvu Mr. Rod Rohda Rusty Rolland & The Schick Fund‡

Mr. Max Russell Mr. Jonathan F. Saxton & Ms. Barbara Fox Mr. & Mrs. Lionel Spiro Ms. Melissa Tully UBS Financial Services, Inc. Mr. John Whittlesey Mr. Michael Wyzga & Ms. Judy Ozbun PARTNER ($500 - $1,499) Anonymous (2) Donald A. Antonioli & Robert H. Goepfert Mr. & Mrs. Dana Bartholomew Mr. Daniel Berkenblit Mr. Martin S. Berman, in memory of Lila Gross Mr. Clark Bernard Leonard & Jane Bernstein Luis & Anita Berrizbeitia MK Bertelli Ms. Petrina Biondo Ms. Sophie Cabot Black Dr. Paul Bleicher & Dr. Julia Greenstein Dr. Rudolph & Prof. Suzanne Blier Mr. Peter Blume, in honor of Sarah Blume Mr. John Bradley Ed & Amy Brakeman Peter Braun & Diane Katzenberg Braun Veronika & Bert Breer John & Irene Briedis Pam & Lee Bromberg Thomas Burger & Andree Robert Samuel & Claire Cabot Timothy & Sara Cabot Harold Carroll Susan Cavalieri, in memory of Eurydice Cavalieri Mr. Howard Chadwick Ms. Mei Po Cheung Rachel & Thomas Claflin Mr. & Mrs. John Conley Mr. & Mrs. Linzee Coolidge Mr. Eugene Cox Gene & Lloyd Dahmen Mr. Terry O. Decima Janice Mancini Del Sesto§, in memory of Susan D. Eastman Mr. James DeVeer Mr. Lawrence M. Devito Mr. John Douhan Ms. Jennifer Eckert Marie-Pierre & Michael Ellmann Mr. David Firestone Mr. Edward N. Gadsby Nathaniel & Nancy Gardiner Mrs. G. Peabody Gardner, in honor of Mr. & Mrs. E Lee Perry GE Foundation Mr. Mark Gebhardt

Ms. Martha Gentry Lucretia Giese Dr. David Golan & Dr. Laura Green Dr. & Mrs. William E. Goldberg Ms. Elizabeth Goodfellow Mark Goodman & Jennifer Cope Goodman Google, Inc. Ms. Sandra Steele & Mr. Paul Greenfield Mr. Stephen Grubaugh & Ms. Carol McGeehan Anne & Neil Harper Ms. Bette Ann Harris Ms. Jasjit Heckathorn Dr. Robert Henry Mr. Joseph M. Herlihy Pauline Ho Bynum Ms. Stephanie Hood Mr. Henry B. Hoover, Jr. Mr. Ted & the Rev. Canon Cynthia P. Hubbard Doris & Howard Hunter Elizabeth V. Foote & Howell E. Jackson Ms. Karen Jeng Mr. & Mrs. C. Bruce Johnstone, in honor of Steve & Jane Akin Ms. Elizabeth Kastner Mr. Michael King Dr. David Korn & Carol Scheman Ms. Karen Koumjian Pam Lassiter William B. Lawrence III Mr. & Mrs. Boardman Lloyd Mr. Anthony S. Lucas Professor Deidre Lynch Mr. & Mrs. Brian Lyson Tod Machover & June Kinoshita Peter & Betsy Madsen* Ms. Kathleen Malley Mr. Andrew Marconi Mr. Joseph Mari Mr. Domenico Mastrototaro§ Dr. Edward McCall Mary & Michael McConnell Kate Meany Ms. Amy Merrill Ms. Jo Frances Meyer* Dr. & Mrs. Douglas Moore Ms. Sandra Moose Mr. Stephen Mormoris & Mr. Robert L. Cornell Mr. Adam G. Neilly Carol Nold & Vicky Kruckeberg Melissa & David Norton Paul & Elaine O’Connell Suzanne Ogden & Peter Rogers Jack Osgood§ Mr. Lee Pelton The Honorable & Mrs. Lawrence Perera

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Finley & Patricia Perry Mr. John W. Pershall Pamela E. Pinsky Memorial at the Silicon Valley Community Foundation‡ Mr. & Mrs. Frank Porcelli Mr. & Mrs. James Post Mr. & Mrs. Francois Poulet Robert & Elizabeth Pozen Ms. Patricia Pratt Mr. & Mrs. Patrick & Ute Prevost Enid Ricardo Quiñones & Wendy Blackfield Quiñones Mrs. Adrienne Rabkin Peter & Sheila Rawson Sally Reid & John Sigel Dr. & Mrs. Edward Roberts Ms. Patricia Rosenblatt Donald & Nancy Rosenfield Simon Rosenthal & Nouri Newman Ms. Diana Rowan Rockefeller Nicholas G. Russell, in memory of Susan D. Eastman John & Ruth Schey JoAnne & Joel Shapiro Lisa G. Shaw Sayre Sheldon Mr. John Stevens & Ms. Virginia McIntyre Ms. Beth Sullivan Ms. Roberta Sydney & Mr. Jordan Rich Mr. Andrew Szentgyorgyi Edward H. Tate II Diane C. Tillotson Michael Tomich Mrs. Wat Tyler Mr. Scott Utzinger Vanguard Charitable Bradley Vernatter Mr. & Mrs. Walter H. Weld Mr. & Mrs. Jonathan Winthrop Ms. Mary Wolfson Mr. David Wood Mr. & Mrs. Robert Wulff Albert & Judith Zabin Maestro Ben Zander Mr. & Mrs. Hans Ziegler CONTRIBUTOR ($250 - $499) Anonymous (5) Mr. Peter Ambler & Ms. Lindsay Miller Mr. Bernard Aserkoff Joseph & Janet Aucoin Bank of America Marc & Carol Bard Dr. & Mrs. Martin Becker John Belchers Ms. Andrea Benoit & Mr. Michael Parsons Mr. Peter A. Biagetti

Mr. Morris Birnbaum Ms. Elizabeth Bjorkman Ms. Holly Bodman Dr. Roger Boshes Ms. Christine Bradt Mr. Robert G. Briggs Ms. Katherine Cain Mr. Claude Canizares Ms. Mary Chamberlain Cary Coen, in honor of Gerry & Sherri Cohen John F. Cogan, Jr. & Mary L. Cornille Ms. Elizabeth Coleman James F. Crowley, Jr. Rita & George Cuker Mr. Paul Curtis Dr. James Dalsimer Mrs. Elinor Davidson Ms. Deborah Black Davis Ms. Francoise Delaforcade Ms. Laura Dike Mr. Mark Donohoe Dr. & Mrs. David B. Doolittle Mr. Philip E. DuPont Mr. Michael Egholm Bill & Susan Elsbree Mr. Martin Elvis Andrew & Karen Epstein Mr. & Mrs. Glenn L. Fencer Mr. George Flesh Mr. Valéry Freland Sarah Gallivan & Gopal Kadagathur Mr. Clayton Geiger Mr. James Glazier Paul Golden Ruth Golden

Dr. Philip L. Goldsmith & Melissa Boshco Pamela & Alan Goodman Laurie Gould & Stephen Ansolabehere Mr. Kurt Hakansson Sylvia Hammer Mr. & Mrs. James J. Harper Richard Hermon-Taylor & Southie Bundy Ms. Leni Herzog Mr. & Mrs. Thomas High Mr. C. Anthony Broh & Ms. Jennifer Hochschild Dr. Susan Hockfield & Dr. Thomas Byrne Fred Hoppin Mr. Thomas Hotaling Mr. Benn Howard Investment Technology Group Mr. Michael Jacoff & Ms. Jeanne Vanecko Ms. Ann Johnson Mr. Sam Jones Thomas & Cynthia Kazior Mr. Stanley Keller Mr. Richard Kimball Mr. & Mrs. Robert J. Klivans Ms. Susan Lamb Ms. Kristine Maultsby & Mr. Keith Long Ms. Joy Lucas Mr. Holt Massey & Ms. Sandra Ourusoff Ms. Nina Masters Dr. Nicholas & Mrs. Charlotte Mastroianni Mr. Arthur Mattuck

James & Caroline McCloy Mr. & Mrs. Kilmer McCully Margaret McDormand, in memory of Anna Elizabeth McDormand Mr. & Mrs. Russell P. Mead Ms. Virginia Meany Ms. Karen Metcalf Mr. Frederick Meyer Mr. Scott Minick, in honor of Karen Frost Ms. Gwendalyn Moore Mr. & Mrs. Philip & Patricia Morehead Claudia J. Morner & Leonard S. Jones Ms. Anne Morris Mr. Kameel Nasr Mr. Maury Newburger Ms. Clare Nosowitz & Mr. Damien Valentine Mr. Richard Ortner Mr. William Pananos Ms. Anita Patterson Mr. & Mrs. Roy & Jean Perkinson Ms. Elisabeth Peterson Pfizer Foundation Matching Gift Program Eric & Jane Philippi Mr. Allan Ponn Mr. Gerald Powers Qualcomm Matching Grant Program Mr. Jaime Ramos Martin Mr. Jack Reynolds Barbara Robinson, in honor of Horace Irvine, II Mr. Allan Rodgers Mr. Paul Ryan Ms. Diane Savarese Mrs. Richard Schmidt

Mr. Javier Segovia & Rosario Sanchez-Gomez Stephen & Peg Senturia Varda & Dr. Israel Shaked Mr. Jeffrey Shapiro Ms. Deborah Siegal & Mr. Richard E. Payne Ms. Elizabeth Sluder Mr. & Ms. Matthew Stewart Mr. Ronald Stoia Ms. Joan Suit Mr. Michael Szeto Marcos & Faith Szydlo John & Mary Tarvin Ms. Antra Thrasher Amy & Matthew Torrey Mr. Michael Tronic§ Ms. Sonia Turek Mr. Konstantin Tyurin & Ms. Kirstin Ilse Ms. Martha Ulken Leo Waldemar Mr. Brian J. Walker Mr. James Walsh Linda & Harvey Weiner Mr. & Mrs. Jerome Weinstein Ms. Denise Wernikoff Mr. Jerry Wheelock Mr. Stephen Wohler Anne Wooliever Dr. Ioannis Yannas Ms. Linda Zaitlin Mr. & Mrs. Andy Zelleke Board Member * Lyric Circle Member † Goldovsky Society Member § Deceased ‡

GOLDOVSKY SOCIETY By remembering Boston Lyric Opera with a bequest or other planned gift, members of the Goldovsky Society create living legacies that will influence and support the Company and its artists for generations to come. The name of the Society was inspired by Boris Goldovsky, a visionary teacher, stage director, conductor, and impresario with national and Boston ties to opera. His pioneering work profoundly influenced generations of artists and shaped the performance and popularity of opera in America. To ensure that your support continues to benefit Boston Lyric Opera for generations to come, please contact Sarah B. Blume at 617.542.4912 x2280.

Anonymous (2) Ms. Diana Abrashkin Dorothy & David Arnold‡ Linda Cabot Black* Mr. Roger Brightbill‡ Nonnie & Rick Burnes* Mr. David Cole-Rous & Ms. Norma Greenberg Alicia Cooney* Tim Daughters Tamara P. & Charles H. Davis II Janice Mancini Del Sesto Mr. Dan Duro Alan & Lisa Dynner*

Margaret Eagle & Eli Rapaport Robert & Susan Eastman‡* Ms. Anne Ewers Mr. & Mrs. Dean Freed‡ Kathryn G. Freed Catherine & Frederick Grein Gillian Stuart Hamer Mimi Hewlett* Amy Hunter & Steven Maguire* Horace H. Irvine II* Ellen & Robert Kaplan* Eva R. Karger Ms. Mary Kiley Pamela S. Kunkemueller*

Mr. David Latham Joe & Pam LoDato* Andrew Sherman & Russ Lopez* Mr. Stephen Lord Ms. M. Lynne Markus* Christopher Marrion Ms. Abigail Mason* Mr. Domenico Mastrototaro Richard S. Milstein, Esq. Mary & Sherif Nada Ms. Katharine Nash Jack Osgood Shirley Perry‡ Dr. E.C. Pierce‡

Sandy & Herb Pollack Suzanne & Peter Read Dr. Freda Rebelsky‡ Dr. Jordan S. Ruboy Charitable Fund‡ Stephen & Iris Taymore Schnitzer David & Marie Louise Scudder* Mrs. Lois Silverman Mr. Michael Tronic Peter Wender* Mrs. Marillyn Zacharis Ms. Tania Zouikin*

BOSTON LYRIC OPERA THE THREEPENNY OPERA / TROUBLE IN TAHITI SPRING 2018 | 27

PERFORMANCE & VENUE INFORMATION All performances begin on time. At the request of our patrons, Boston Lyric Opera observes the national opera standard of a no late seating policy. Additionally, if you must leave during the performance, reentry may be prohibited. While we understand that traffic conditions, public transportation, weather and other factors can have unexpected effects on your arrival, we wish to minimize disruptions for our seated patrons and for our artists on stage.

As a courtesy to the artists and for the comfort of those around you, please turn off all mobile phones, pagers, watch alarms, and any other device with audible signals prior to the start of the performance. The use of cameras or recording devices in the theatre is strictly prohibited.

TICKET INFORMATION: For information on Boston Lyric Opera productions, subscriptions and tickets, visit blo.org or call BLO Audience Services at 617.542.6772, M - F | 10 - 5.

HUNTINGTON AVENUE THEATRE VENUE INFORMATION: See complete venue information on next page.

Huntington Avenue Theatre, 264 Huntington Avenue, Boston 02115 | 617.266.0800 | huntingtontheatre.org FIRE EXIT PLANS: For your own safety, please take a moment to view the exits for each floor. Additional information about the Huntington Avenue Theatre is included on the next page.

DCR STERITI MEMORIAL RINK RESTROOMS: Steriti Rink is accessible by stairs or a ramp to the main entrance. Restrooms are straight ahead when you enter the lobby and marked by signs.

COAT CHECK: Coat racks and umbrella bags are available in the lobby.

VENUE INFORMATION: DCR Steriti Memorial Ice Rink, 561 Commercial Street, Boston 02109 | 617.523.9327 | mass.gov/ice-skating FIRE EXIT PLANS: For your own safety, please take a moment to view the exits nearest your seating area.

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HUNTINGTON AVENUE THEATRE INFORMATION

HUNTINGTON AVENUE THEATRE Operated by the Huntington Theatre Company STAFF

Director of Theatre Operations .......... Timothy H. OConnell Associate Director of Theatre Operations — Huntington Avenue Theatre....... Katrina Alix Associate Director of Theatre Operations — Patron Services ..................Stephen Reinstein Huntington Avenue Theatre Management Assistant ....................... Kendrick Terrell Evans Stage Carpenter ..................... Jesse Washburn, Joe Fanning Props Run......................................................... Andrew DeShazo Wardrobe Supervisor ..........................................Christine Marr House Electrician ........................................................Sean Baird Sound Engineer ...........................................................J Jumbelic Huntington Avenue Theatre House Manager... Andrew Elk Huntington Avenue Theatre Assistant House Managers................Kendrick Terrell Evans, Annie Walsh Front of House Staff ... J. Sebastian Alberdi, Charlie Carr, Terrence Dowdye, Kristina Dugas, Robin Goldberg, Ariana Goldsworthy, Ruth Killisch, Kat Klein, Patrick Mahoney, Tommy Melvin, Will Morrison, Samantha Myers, Katie O’Connor, Sarah Patterson, Evan Pott, Margot Spanu, Padraig Sullivan, Dan Victor Custodians ...............................Jose Andrade, Nelson DaSilva Security Coordinator .............................................. Greg Haugh Assistant Manager — Patron Services ........Victoria Swindle Huntington Avenue Theatre Ticketing Coordinator...................................Brenton Thurston Subscriptions Coordinator....................................Amy Klesert Ticketing Associate .........................................Michaela Buccini Full-Time Customer Service Reps.................Shana Jackson, Chris Stoddard Customer Service Reps......................Nick Boonstra, Sue Dietlin, Kaylah Dixon, Katelyn Reinert, Brittany Schmitke, Yurika Watanabe

GENERAL INFORMATION Location The Huntington Avenue Theatre is on the Avenue of the Arts (264 Huntington Avenue), diagonally across from Symphony Hall.

Contact Information Box Office: 617 933 8600 • bostontheatrescene.com Box Office email: boxoffice@bostontheatrescene.com Lost and Found: 617 273 1666 Box Office Hours The Box Office is generally open Tuesday-Saturday, noon-curtain (or 6pm); Sunday, noon-curtain (or 4pm). Hours change weekly. For the most up-to-date hours, please visit bostontheatrescene.com or call the Box Office at 617 933 8600 Public Transportation We encourage patrons to use public transport to the Huntington Avenue Theatre whenever possible. The theatre is conveniently located near the MBTA Green Line Hynes or Symphony Stations; Orange Line/ Commuter Rail Mass Ave. Station; the No. 1 HarvardDudley bus via Mass Ave. to Huntington Ave.; and the No. 39 Arborway-Copley bus to Gainsborough Street.

Huntington Avenue Theatre Parking Parking is available at many nearby locations. For details, please visit bostontheatrescene.com or call the Box Office at 617 933 8600 Please note that these parking garages are independently owned and operated and are not affiliated with the Huntington Theatre Company.

Refreshments Snacks, wine, beer, soft drinks, and coffee are available before opening curtain and during intermission in the main lobby. Food is not permitted inside the theatre. Drinks purchased at concessions are permitted inside the theatre, but food is not.

Babes in Arms Children must have their own seats. Babes in arms are not permitted in the theatre. Children under 6 are not permitted.

Cameras The use of all cameras and recording devices, including cell phone cameras in the theatre is strictly prohibited.

Pagers and Cellular Phones Please silence all watches, pagers, and cell phones during the performance.

Accessibility The Huntington Avenue Theatre is accessible by ramp and can accommodate both wheelchair and companion seating in the orchestra section. A power assisted door is located at the far left Box Office entrance. Please notify us when you purchase your tickets if wheelchair accommodations will be required and confirm arrangements with the House Manager at 617 273 1666.

Hearing Enhancement The Huntington Avenue Theatre is equipped with an FM hearing enhancement system. Wireless headphones are available free of charge at the concessions stand in the main lobby for your use during a performance.

Restrooms Located in the lower-level and balcony lobbies. A wheelchair-accessible restroom is located in the main lobby on the first floor.

Coat Check Located in the lower lobby.

If You Arrive Late In consideration of our actors and other audience members, latecomers will be seated at the discretion of the management.

Huntington Avenue Theatre Rental Information All Huntington Avenue Theatre spaces are available for private parties, meetings, and receptions. For more info contact rentals@bostontheatrescene.com or 617 933 8671.

BOSTON LYRIC OPERA THE THREEPENNY OPERA / TROUBLE IN TAHITI SPRING 2018 | 29

T

his spring, BLO brings the vitality and artistry of Leonard Bernstein across Greater Boston as we honor the 100th anniversary of his birth. BLO artists perform a short concert of music from throughout Bernstein’s canon at four partnering institutions, paired with experts and discussions that illuminate various aspects of his rich musical and personal life, as well as the upcoming BLO production of Trouble in Tahiti and Arias & Barcarolles.

BLO MEETS BERNSTEIN: CONCERT AND PANEL DISCUSSION Sunday, April 15 | 12:00 – 1:15 p.m.

Brandeis University | Slosberg Music Center Festival of the Creative Arts

TROUBLE IN TAHITI AND THE AMERICAN DREAM Thursday, May 3 | 6:00 – 7:30 p.m.

The Boston Athenæum BLO Signature Series

LEONARD BERNSTEIN: AMERICA’S MAESTRO Wednesday, April 25 | 6:00 – 7:00 p.m.

BPL Central Branch | Rabb Lecture Hall Opera Night at the Boston Public Library

LEONARD BERNSTEIN & PRESIDENT JOHN F. KENNEDY Thursday, May 10 | 6:00 – 7:30 p.m.

John F. Kennedy Presidential Library & Museum | Columbia Point Kennedy Library Forum Series

LEARN MORE AT BLO.ORG/EVENTS

THIS PROGRAM IS SUPPORTED IN PART BY A GRANT FROM THE BOSTON CULTURAL COUNCIL, A LOCAL AGENCY WHICH IS FUNDED BY THE MASS CULTURAL COUNCIL AND ADMINISTERED BY THE MAYOR’S OFFICE OF ARTS AND CULTURE.

BOSTON LYRIC OPERA THE THREEPENNY OPERA / TROUBLE IN TAHITI SPRING 2018 | 31

PHOTOGRAPHER: FRIEDMAN-ABELES - THE NEW YORK PUBLIC LIBRARY BILLY ROSE THEATRE COLLECTION, 1950-1965

OPERA BEYOND THE STAGE SPRING 2018

“ANYONE CAN DO AN OPERA.”– 2

ND

GRADER

“THE MOST EXCITING PART WAS WHEN EVERYONE CLAPPED BECAUSE IT MADE ME FEEL PROUD.” – 3 GRADER RD

“YOU CAN DO A LOT OF THINGS WITH TEAMWORK.” – 4

TH

GRADER

“THIS WAS MY FIRST OPERA IN MY LIFE AND IT WAS AWESOME.” – 4 GRADER TH

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BLO IN SCHOOLS:

CREATE YOUR OWN OPERA! LIZA VOLL PHOTOGRAPHY

WANT TO BRING BLO’S EDUCATION PROGRAMS TO YOUR SCHOOL OR COMMUNITY? CONTACT US AT EDUCATION@BLO.ORG!

BLO is in the midst of its seventh year of partnerships with schools across Greater Boston, supporting students and teachers as they write, compose, and perform their own original operas. Through BLO’s innovative 10-week residencies, classrooms from Peabody to Dorchester will create their own opera company and work to bring all of the components together to create a final performance, giving them a unique, hands-on learning experience.

This year, BLO Teaching Artists are mentoring students in grades 3-7 to create 16 classroom operas in 10 different schools. We are excited to see their world premieres in June!

Above, left to right: Teaching Artist Dan Jentzen experiments with students on lighting design; Resident Teaching Artist Heather Gallagher prepares students at Joseph Lee K-8 School for performance; students at the Lee School greet audience members; students at St. Brendan School build sets. Left: Resident Teaching Artist Patricia Au composes music with students at the Lee School.

32 | BOSTON LYRIC OPERA THE THREEPENNY OPERA / TROUBLE IN TAHITI SPRING 2018

BOSTON LYRIC OPERA THE THREEPENNY OPERA / TROUBLE IN TAHITI SPRING 2018 | 33

2018/19 ROSSINI THE BARBER OF SEVILLE MACHOVER SCHOENBERG IN HOLLYWOOD BRITTEN THE RAPE OF LUCRETIA RUDERS THE HANDMAID’S TALE

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