Fall 2017 Program Book | TOSCA and BURKE & HARE | 2017/18 Season

OCT 13 – 22 | EMERSON CUTLER MAJESTIC THEATRE A CO-PRODUCTION OF BOSTON LYRIC OPERA AND OPERA OMAHA

LOVE. MURDER. POLITICAL CORRUPTION.

GIACOMO PUCCINI LIBRETTO BY LUIGI ILLICA & GIUSEPPE GIACOSA MUSIC BY

A WORLD PREMIERE

THE NEFARIOUS, IMMORAL BUT HIGHLY PROFITABLE ENTERPRISE OF

JULIAN GRANT LIBRETTO BY MARK CAMPBELL MUSIC BY

NOV 8 – 12 | THE CYCLORAMA AT THE BOSTON CENTER FOR THE ARTS COMMISSIONED BY MUSIC-THEATRE GROUP WITH THE SUPPORT OF BOSTON LYRIC OPERA

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

The Opera Gala 2016

on and off the stage

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PIERCE HARMON

GET INVOLVED WITH BLO Bring opera into your life—

WELCOME THIS FALL AT BOSTON LYRIC OPERA, WE ARE BRINGING YOU TWO QUITE DIFFERENT OPERAS. Puccini’s masterwork Tosca, and the World Premiere of Julian Grant and Mark Campbell’s The Nefarious, Immoral but Highly Profitable Enterprise of Mr. Burke and Mr. Hare (a.k.a. Burke & Hare) couldn’t be more different in tone, structure or content. But they are indicative of the vibrancy and lasting nature of our art form.

Tosca remains one of the most popular operas of the classical canon. Of the nearly 23,000 global opera performances in the 2015/2016 Season, Tosca was the fifth most-performed… and for good reason. Whether you are new to the opera, or a seasoned veteran who’s seen a fair share of Puccini, it’s impossible not to be captivated by Puccini’s natural lyricism and his flair for theater and drama. Director Crystal Manich focuses on the resolute inner strength that a seemingly powerless young woman and artist can muster against a political backdrop of corruption. Crystal, returning to BLO after several years earning acclaim around the world, even brings the orchestra onstage to blur the lines between Tosca the performer and Tosca the lover.

We welcome Russian soprano Elena Stikhina as Tosca in her American debut, and Maestro David Stern to his first performances with BLO. Elena has already garnered acclaim and awards around the world, including the CulturArte and Audience Favorite prizes at Plácido Domingo’s 2016 Operalia Competition. She recently made her debut as Tosca in Germany and her next Season includes Leonora in La Forza del Destino at Opéra National de Paris.

David Stern is Chief Conductor of Palm Beach Opera, past Music Director of the St. Gallen Symphony and Opera in Switzerland, and founder of the Paris-based Opera Fuoco ensemble.

David is the son of the late violinist Isaac Stern. Together, this artistic team and our roster of wonderful singers and Emerging Artists honor the classical heart of Tosca while proving its ongoing power.

The Nefarious, Immoral but Highly Profitable Enterprise of Mr. Burke and Mr. Hare upends opera traditions, and breaks some new ground in doing so. Composer Julian Grant and librettist Mark Campbell are masters of contemporary classical and opera composition.

It has been a delight to watch them and stage director David Schweizer create this new work together, with their infectious chemistry and bursting energy.

The opera started its life at the venerable Music-Theatre Group in New York City. The tale of William Burke and William Hare and their ruthless greed is well-known in the U.K., and its gruesome Georgian true-crime narrative has since inspired plays and movies alike.

But Julian Grant and Mark Campbell took a different view of the story. This version tells it through the victims: the often unseen people in society’s shadows—vagrants, the elderly, the infirm—whom the perpetrators thought unlikely to be missed. It’s a spunky and touching libretto, scored with a witty and often deeply moving mix of styles that make up Julian’s entirely unique musical language.

PROGRAM CONTENTS Welcome

1

Board of Directors

3

Tosca | Cast & Synopsis

4

The Complexity and Humanity of Floria Tosca

6

Opera Annex Initiative

8

Emerging Artists

9

Burke & Hare | Cast & Synopsis 10 The Historical Core 12 of Burke & Hare Meet the Artists 14 Tosca | BLO Orchestra, Chorus, 20 Production/Artistic Staff Burke & Hare | BLO Orchestra, 21 Production/Artistic Staff Acknowledgments 22

Burke & Hare balances a fine line brilliantly, telling a dark story through even darker comedy with a social conscience. We are left to ask a timeless question: to what lengths will we, society and our leaders, allow morally questionable actions in the name of scientific and medical advances?

BLO Staff/Volunteers/About 23

The stories of Tosca (in 1800s Rome) and Burke & Hare (in 1820s Edinburgh) existed relatively close in time, surprisingly. But these strikingly different operas and productions underscore the arts form’s endlessly pliable ability to bring stories to life through music and theater. I hope you enjoy today’s performance.

Information on Venues 28

Esther Nelson Stanford Calderwood General & Artistic Director

Become a Donor 24 Donors 25 Join PRIMA 29 Fall Calendar 32

Above, Nicole Heaston as the Countess in The Marriage of Figaro.

T. CHARLES ERICKSON

BOSTON IS AN OPERA TOWN 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.

bostonoperacalendar.org

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 Boston Baroque Boston Conservatory at Berklee Boston Early Music Festival

Handel and Haydn Society Longy School of Music of Bard College MetroWest Opera

Boston Landmarks Orchestra

NEMPAC Opera Project

Boston Lyric Opera

New England Conservatory of Music

Boston Midsummer Opera Boston Opera Collaborative Guerilla Opera

Odyssey Opera Opera on Tap OperaHub

A MESSAGE FROM THE BOARD CHAIR As we look forward to a new Season of opera in Boston, it would seem almost impossible for this year's productions to top those of our 40TH Anniversary Season, which ended last June. Still, the extraordinary promise of this fall’s offerings, including a new production of Tosca and a highly-anticipated World Premiere in Burke & Hare—both of which have already proven to be hot tickets—is what’s stoking my enthusiasm for the new Season. That said, I do want to take a moment to look back and reflect with you on the great Season we just finished. It demonstrates so clearly why the Board and I are so very bullish on BLO and its future right now.

Celebrating 40 years old in the 2016/17 Season, Boston Lyric Opera was already the longest-tenured opera company in Boston's history. While we’re still young compared to our colleagues over at Symphony Hall, this milestone dispels the antiquated notion that Boston can’t support an opera company. We are very grateful to you, and all our patrons past and present, for four decades of love and support.

We kicked off last Season by raising the high-water mark for opera in our town—bursting out of the gate with “40 Days of Opera” to highlight the depth and diversity of the art form for nearly six weeks, and launching BostonOperaCalendar.org to bring together all the opera-centric action in one place for the first time.

Our 2016/17 Season became BLO’s most successful in a decade. We had our strongest sales and giving year since 2007/08, and the modest surplus with which we ended the year was the seventh such success in a row.

Calixto Bieito’s Carmen was the biggest-selling production in all of BLO’s history. And the momentum carried us all through the celebratory year. Later in the Season, Greek, The Rake’s Progress and The Marriage of Figaro all proved not just popular, but artistically and critically successful, as well.

We successfully transitioned to a different model of production—four shows in four different venues. The very thing that vexes performing arts groups across the city and in many places across the country proved to be what energized us, our artists, and our audiences in our 40TH year. Plus, by owning our ability to sell tickets directly, we increased individual ticket sales by more than 30 percent.

That’s a year-over-year sales increase any 40-year-old corporation would envy. And a direct result of the changes BLO made when we left our former home—right before we embarked on our milestone year.

This year and next hold significant momentum for Boston Lyric Opera. As I said earlier, our 41ST Season is already shaping up to be another winner. We are excited by the potential of a new home, although it’s a few years in the future. If we can keep doing what we’ve done last year, and use the momentum to our strategic advantage, there’s nothing we can’t do for opera in Boston and across the country.

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

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 JoAnne Dickinson Nicholas J. DiMauro Jessica Donohue Catherine Dunn Joseph Glenmullen

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 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 September 28, 2017

BOSTON LYRIC OPERA TOSCA / BURKE & HARE FALL 2017 | 3

PUCCINI

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

Music by Giacomo Puccini

CONDUCTOR

Libretto by Luigi Illica and Giuseppe Giacosa

STAGE DIRECTOR

CRYSTAL MANICH

Adapted from the play La Tosca

by Victorien Sardou

SET DESIGNER

JULIA NOULIN-MÉRAT

COSTUME DESIGNER

DEBORAH NEWHALL

Sung in Italian with English surtitles

LIGHTING DESIGNER

PAUL HACKENMUELLER

A co-production of Boston Lyric Opera and Opera Omaha

SOUND DESIGNER

JOEL T. MORAIN

FIGHT DIRECTOR

J.T. TURNER*

WIG AND MAKEUP DESIGNER

JASON ALLEN

SURTITLE DESIGNER

ALLISON VOTH

BOSTON LYRIC OPERA ORCHESTRA

SANDRA KOTT Concertmaster

BOSTON LYRIC OPERA CHORUS

MICHELLE ALEXANDER Chorusmaster

VOICES BOSTON

STEVEN LIPSITT Artistic Director

REHEARSAL COACH/ACCOMPANIST

BRETT HODGDON‡

ASSISTANT STAGE DIRECTORS

KIRSTEN Z. CAIRNS* MATTHEW HANEY*

STAGE MANAGER

HESTER WARREN-STEIJN

PERFORMANCES:

DAVID STERN* Sponsored by William & Helen Pounds

FRIDAY, OCTOBER 13 AT 7:30PM SUNDAY, OCTOBER 15 AT 3:00PM WEDNESDAY, OCTOBER 18 AT 7:30PM FRIDAY, OCTOBER 20 AT 7:30PM SUNDAY, OCTOBER 22 AT 3:00PM Performance running time is approximately 2 hours and 15 minutes with one intermission, after Act I.

EMERSON CUTLER MAJESTIC THEATRE 219 TREMONT STREET BOSTON, MA 02116

*Boston Lyric Opera Debut † Boston Lyric Opera Jane and Steven Akin

Emerging Artist ‡ Boston Lyric Opera Jane and Steven Akin

Emerging Artist Alumnus

CAST & SYNOPSIS CAST in order of vocal appearance ANGELOTTI

DAVID CUSHING‡

SACRISTAN

JAMES MADDALENA

SCARPIA

DANIEL SUTIN Sponsored by Susan W. Jacobs

CAVARADOSSI

Sponsored by Wayne Davis & Ann Merrifield

SPOLETTA

JON JURGENS‡

JONATHAN BURTON*

SCIARRONE

VINCENT TURREGANO†

SHEPHERDESS

SARA WOMBLE†

Sponsored by Katie & Paul Buttenwieser

TOSCA

ELENA STIKHINA*

Sponsored by Susan A. Babson Opera Fund for Emerging Artists

Sponsored by David & Marie Louise Scudder

SYNOPSIS Rome, June, 1800, after the fall of the short-lived Roman Republic. Angelotti, an escaped political prisoner, seeks refuge in a church, where he finds the painter Cavaradossi, who vows to help. Tosca, an opera singer and Cavaradossi’s lover, arrives; Angelotti hides while Cavaradossi and Tosca affirm their love before she departs. A cannon announces the arrival of Scarpia, Chief of Police; the two men flee.

Scarpia enters with his men, hunting Angelotti. Tosca returns, and Scarpia probes her for information. He implies that Cavaradossi is unfaithful to her, and she furiously departs to confront him. Scarpia’s agents follow her.

Later that evening, Scarpia fantasizes about Tosca, whom he has summoned. She arrives in time to see his agents drag in the captured Cavaradossi. Scarpia questions Tosca about Angelotti while Cavaradossi is tortured. Finally, she relents. Scarpia tells Tosca he will spare her lover’s life if she gives herself to him that evening. She refuses, but eventually agrees in despair. Scarpia gives orders for a mock execution then turns to embrace her.

Later, the imprisoned Cavaradossi thinks of Tosca. She suddenly arrives, and they imagine starting a new life after his mock execution.

Police agents escort Cavaradossi away; Tosca watches in hiding. The men fire and Cavaradossi falls. She rushes to him....

WE DEDICATE THIS PRODUCTION OF TOSCA TO THE MEMORY OF: 3 TED CUTLER, For whom the Emerson Cutler Majestic Theatre is named and who heartily supported Boston Lyric Opera, along with countless other arts organizations across the city of Boston. 3 SUSAN EASTMAN, Longtime BLO Board Member, volunteer pillar of Boston Lyric Opera’s artistic team, and champion of artists everywhere. 3 RUSTY ROLLAND, BLO Board Member and supporter of Emerging Artists, both in Boston and San Francisco. 3 FAITH TIBERIO, A longtime Boston Lyric Opera supporter, Gala stalwart, and great philanthropist for the arts both here and in St. Augustine, Florida.

We miss you all and know that you’ve inspired countless others to follow in your footsteps.

BOSTON LYRIC OPERA TOSCA / BURKE & HARE FALL 2017 | 5

THE COMPLEXITY AND HUMANITY OF FLORIA TOSCA

BY LUCY CAPLAN

F

lung into a world of revolutionary conviction and maddening corruption, horrifying violence and passionate devotion, the title character of Tosca finds herself ensnared in a tightening web of tragic events. The opera, taut and melodramatic, unfolds over the course of a single day in Rome, in June of 1800. Throughout, the celebrated diva Floria Tosca is at the center of the action. She flirts with her beloved, the painter Mario Cavaradossi, prays, and sings; then, after crisis strikes, she resists the advances of the villainous Scarpia, kills him, escapes, rushes to save Mario, fails to do so, and, finally, seizes her own destiny from the parapets of the Castel Sant’Angelo. As she endures these trials, Tosca emerges as a deeply complex character. Her complexity flows from many sources: the artistic vision of the opera’s creators, the perspectives of her fellow characters, and the interpretive choices of the singer performing the role.

Tosca has rich historical roots. Puccini based his work on La Tosca, an 1887 play by the prolific French dramatist Victorien Sardou. La Tosca, like many of his 70-plus plays, features a sensational plot, meticulous attention to historical detail, and overtly political themes.

Puccini and Sardou worked together on the adaptation, meeting several times in Paris to discuss the project. The collaborative process was largely harmonious, but on one vital point, Sardou’s wishes overrode Puccini’s: while Puccini initially envisioned a drawn-out final scene, Sardou insisted upon the abrupt, explosive conclusion that now stands as a hallmark of the opera. Puccini also embraced Sardou’s commitment to historical accuracy as he composed, even climbing to the ramparts of the Castel Sant’Angelo at sunrise so that he could listen to the church bells resounding across the landscape.

Sardou created the part of Tosca with a particular performer in mind, the illustrious French actress Sarah Bernhardt. Among the most famous women of her day, Bernhardt was an internationally-known celebrity, acclaimed for her emotionally charged acting as well as her gossip-column-worthy offstage life. Her fans flocked to her performances not just to see her play a role, but also simply to witness the fabulous spectacle of Bernhardt herself. (Puccini saw her perform the role of Tosca twice, in 1890 and 1895.)

In Sardou’s play, the character of Tosca is equipped with a substantial backstory. Born to modest circumstances as a goatherd, she spent her teenage years in a convent, where her extraordinary voice was discovered, catalyzing her rise to fame. In contrast, Puccini’s Tosca is more of an unknown quantity. She appears onstage in Act I of the opera in the prime of her life, a gloriously successful singer and a woman in love. Audiences learn nothing of her past, of what she was like before this fateful day. What they do learn is that that she does not fit easily into any single archetype, but rather seems to evoke several. At various moments throughout the opera, she embodies the innocent victim and the jealous lover and the transcendent artist and the angry murderess and the pious believer—all of which converge to make her a multifaceted, potentially ambiguous character.

6 | BOSTON LYRIC OPERA TOSCA / BURKE & HARE FALL 2017

EVEN AS SHE FACES IMMENSE PERSONAL DANGER...

SHE IMAGINES THE WORLD BEYOND HER IMMEDIATE CIRCUMSTANCES AND MAKES CLEAR THAT SHE IS A PERSON OF DEPTH AND SUBSTANCE. The men in Tosca’s life do not necessarily comprehend the fullness of her character. In his early aria “Recondita armonia,” Cavaradossi praises her stunning beauty, musing that Tosca’s dark hair and eyes make her just as lovely as the blonde woman he is painting.

“Oh hidden harmony of contrasting beauties!” he sings. Later, in far more sinister tones, Scarpia describes his wish to force himself upon Tosca: “God made diverse beauties as he made diverse wines, and of these God-like works I mean to taste my fill.” Cavaradossi’s words reflect his love for Tosca and Scarpia’s are a threat, but there is a revealing similarity in the way that they both imagine her as a specimen of female beauty and an object of their desire.

Yet Tosca herself resists this sort of oversimplification. As her terrible predicament intensifies, she wrestles with difficult choices, racing the clock and trying desperately to save her beloved Mario.

Even as she faces immense personal danger, though, she imagines the world beyond her immediate circumstances and makes clear that she is a person of depth and substance. Perhaps most telling is her famous aria “Vissi d’arte,” in which she declares her sincere belief in art, love, and piety—at the very moment that she struggles to escape Scarpia’s lechery. Is Tosca a victim of her circumstances, or a hero in spite of them? Is she strong or vulnerable? What is she capable of? The point is not so much that her actions answer these questions definitively, but rather that her character invites them.

The contrast between how men perceive Tosca and how she perceives herself raises more expansive questions about how women are portrayed in opera writ large. Because the art form historically has been dominated by male composers, female operatic characters are typically the products of men’s imaginations.

Yet it’s undeniably true that women, as performers, are essential to opera; it relies on their voices, their bodies, the power of their presence. Indeed, it is no exaggeration to say that without women, opera could not exist. So a paradox emerges: while male composers dictate the representation of women in opera, female performers bring their own interpretations and artistic decisions to those characters as they are presented onstage.

Tosca brings these issues to the fore in especially dramatic fashion.

After all, Floria Tosca herself is none other than an opera singer, ideally suited to represent the many facets of being a woman on the operatic stage. Moreover, the complexities of her character mean that the singer playing the role enjoys a great deal of

latitude in choosing how to portray her. It is no wonder, then, that singers often call Tosca a favorite role—not only because of the lushness and beauty of Puccini’s music, but also for the sense of identification they feel with the character, both as an artist and as a woman. Tosca is, ultimately, rich with possibility: she is flawed, vulnerable, heroic, strong, ambiguous, impetuous, defiant, talented, reviled, and admired. In short, she is human.

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.

Left, Tosca costume design sketch by Deborah Newhall; above, Tosca poster, 1899 by Adolfo Hohenstein.

BOSTON LYRIC OPERA TOSCA / BURKE & HARE FALL 2017 | 7

NEW WORKS: SHAPING OPERA IN THE 21ST CENTURY

“COMMISSIONING NEW WORKS AND BRINGING THEM TO BOSTON AUDIENCES FIRST IS ONE OF MY HIGHEST PRIORITIES FOR BOSTON LYRIC OPERA’S NEXT DECADE”– STANFORD CALDERWOOD GENERAL & ARTISTIC DIRECTOR ESTHER NELSON In the 2009/10 Season, BLO launched Opera Annex, a series that explores rarelyperformed repertoire and builds curiosity for the art form through immersive, unique opera-going experiences. Opera Annex has quickly become an essential part of the Company’s identity and has given BLO opportunities to build relationships with leading composers and writers of today’s stages.

Today, BLO’s New Works Initiative has grown out of Opera Annex, and is dedicated to the development and support of new and burgeoning pieces of opera-theatre from today’s leading composers, librettists, and artists.

These BLO initiatives push the boundaries of the operatic art form forward, challenging audiences to listen to and experience opera anew.

WORLD PREMIERES NOVEMBER 2017:

The Nefarious, Immoral but Highly Profitable Enterprise of Mr. Burke & Mr. Hare Music by Julian Grant Libretto by Mark Campbell Commissioned by Music-Theatre Group with the support of Boston Lyric Opera COMING IN THE 2018/19 SEASON:

Schoenberg in Hollywood An Opera by Tod Machover Music by Tod Machover Libretto by Simon Robson Based on a Scenario by Braham Murray Commissioned by Boston Lyric Opera David Angus conducts an NYC run-through of Burke & Hare.

8 | BOSTON LYRIC OPERA TOSCA / BURKE & HARE FALL 2017

ERIC ANTONIOU

Christine Abraham and David Kravitz in Clemency.

“BEING AN EMERGING ARTIST AND BEING AT BLO IS LIKE BEING IN A BIG POND WITHOUT BEING THROWN INTO THE DEEP END.” – SIMON DYER, EMERGING ARTIST ALUMNUS

BOSTON LYRIC OPERA JANE AND STEVEN AKIN EMERGING ARTISTS

THE 2017 STEPHEN SHRESTINIAN AWARD FOR EXCELLENCE

• Public auditions allow hundreds of singers to be heard • Role and audition preparation in one-on-one sessions with both BLO’s Music Director, David Angus, and BLO coaches • Understudy key leading roles, serve on stage management staff and directing staff, to broaden their résumés • Perform principal and comprimario roles in BLO productions • Additional paid performance opportunities at BLO events • Stanford Calderwood General & Artistic Director, Esther Nelson, and other leaders in the field provide career guidance and support • Feedback auditions with Director of Artistic Operations Nicholas Russell provide invaluable advice on repertoire choices • Introduction of Jane and Steven Akin Emerging Artists to key artists’ managers

Jon Jurgens and Chelsea Basler in The Love Potion.

ERIC ANTONIOU

The pursuit of a successful career in opera is a challenging—and expensive—undertaking. Singers must continually hone their talent with regular coaching, expand their repertoire by learning new roles, and find opportunities to make themselves heard. BLO recognizes that the next generation of opera stars needs to be nurtured in order to flourish, and that the future of the art form depends on their success. To that end, BLO has proudly expanded the opportunities we provide to Emerging Artists:

JON JURGENS This cash award was created to help an exceptional young artist in the BLO chorus further his or her career by supporting advancement activities such as coaching a new role; taking a movement, dance or acting class; or paying a portion of graduate school tuition or travel expenses. It is awarded annually in memory of one of BLO’s beloved chorus members who passed away suddenly at the age of 29. See Jon's bio on page 17.

Jane and Steven Akin Emerging Artists are identified during the casting process of each Season’s repertoire. The Artists have, in most cases, already established themselves professionally and are drawn primarily from the post-graduate and post-young artist fields. In certain exceptional cases, younger candidates who are appropriate for specific repertoire with the Company are considered.

2017/18 EMERGING ARTISTS

Antonia Tamer Soprano

Sara Womble Soprano

Emma Sorenson Mezzo-Soprano

Jesse Darden Tenor

Vincent Turregano Baritone

Anderson Nunnelley Director

BOSTON LYRIC OPERA TOSCA / BURKE & HARE FALL 2017 | 9

THE NEFARIOUS, IMMORAL BUT HIGHLY PROFITABLE ENTERPRISE OF

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

Music by Julian Grant Libretto by Mark Campbell Sung in English with English Surtitles A World Premiere commissioned by Music-Theatre Group with the support of Boston Lyric Opera

PERFORMANCES: WEDNESDAY, NOVEMBER 8 AT 7:30PM THURSDAY, NOVEMBER 9 AT 7:30PM SUNDAY, NOVEMBER 12 AT 12:00PM

CONDUCTOR

DAVID ANGUS Sponsored by Linda Cabot Black

STAGE DIRECTOR

DAVID SCHWEIZER

SET DESIGNER

CALEB WERTENBAKER

COSTUME DESIGNER

NANCY LEARY

LIGHTING DESIGNER

ROBERT WIERZEL

MOVEMENT DIRECTOR

MELINDA SULLIVAN*

WIG AND MAKEUP DESIGNER

JASON ALLEN

SURTITLE DESIGNER

ALLISON VOTH

SUNDAY, NOVEMBER 12 AT 4:00PM FRIDAY, NOVEMBER 10 AT 7:00PM— A SPECIAL BENEFIT PERFORMANCE IN HONOR OF THE OPERA GALA Performance running time is approximately 95 minutes

THE CYCLORAMA AT THE BOSTON CENTER FOR THE ARTS 539 TREMONT STREET BOSTON, MA 02116

*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 Sponsored by a consortium of: Anonymous, Mrs. Edmund Cabot, D. Cosmo & Jane P. Papa, Allison K. Ryder & David B. Jones, and Peter Wender

REHEARSAL COACH/ACCOMPANIST

BRETT HODGDON‡

ASSISTANT DIRECTOR

KATHERINE CARTER*

STAGE MANAGER

CYNTHIA HENNON MARINO*

MADE POSSIBLE THROUGH THE GENEROUS SUPPORT OF JANE & JEFFREY MARSHALL

CAST & SYNOPSIS CAST in order of vocal appearance DR. ROBERT KNOX

WILLIAM BURDEN* Sponsored by Wayne Davis & Ann Merrifield

DR. FERGUSON

CRAIG COLCLOUGH* Sponsored by Mr. & Mrs. Michael Puzo

HELEN MCDOUGAL MARGARET HARE

ABIGAIL SIMPSON

HEATHER GALLAGHER‡

MARIE MCLAUGHLIN* Sponsored by Mr. & Mrs. E. Lee Perry

JAMES WILSON ("DAFT JAMIE")

MICHAEL SLATTERY*

MARY PATERSON

EMMA SORENSON†

MICHELLE TRAINOR‡ Sponsored by Maria Krokidas & Bruce Bullen

DAVID CUSHING‡ Sponsored by Janet & Irv Plotkin

JESSE BLUMBERG Sponsored by Willa & Taylor Bodman

WILLIAM HARE

DONALD

DAVID MCFERRIN‡ Sponsored by Mr. & Mrs. Ray Stata

WILLIAM BURKE

THE VICTIMS

Sponsored by Wendy Shattuck & Sam Plimpton

Sponsored by Gregory E. Moore & Wynne W. Szeto

MADGE DOCHERTY

ANTONIA TAMER† Sponsored by Mimi Hewlett

Sponsored by Dr. Joseph & Mrs. Anita Loscalzo

SYNOPSIS Edinburgh, Scotland; 1828. The city’s world-renowned schools of surgery suffer from a shortage of cadavers for use in dissection lessons.

Two men—William Hare and William Burke—find the corpse of Donald, a lodger in the boardinghouse they help manage and after a short debate, decide to sell it to Dr. Knox’s surgery school. As Knox delivers a lecture defending the pursuit of knowledge at all costs, Donald’s body is delivered to his assistant, Dr. Ferguson.

Burke and Hare celebrate their profits with Helen and Margaret—their significant others—at a local pub. After an argument, Hare convinces Burke to take their business to the next level by murdering Abigail Simpson, a drunk at the pub. Meanwhile, in another corner of the pub, Dr. Ferguson discreetly engages in a romantic exchange with Mary Paterson, a young prostitute he has been seeing. After Burke and Hare ply Abigail with whiskey, she is choked to death and her corpse sold to Knox’s school.

In the next months, the killings escalate, bringing prosperity to Burke, Hare, Helen and Margaret and increased enrollment at Knox’s surgery school.

The corpse of James Wilson ("Daft Jamie"), a well-known street character, is delivered to the school. Ferguson reveals his suspicions about Burke and Hare to Knox, who quickly dismisses them. Some time later, when the body of his beloved Mary Paterson arrives at the school, Ferguson more directly denounces the men, but is coerced into complicity by Knox.

As tensions grow between Burke and Hare, they murder their final victim, Madge Docherty. Prospective lodgers at the boardinghouse report the sight of the corpse to a constable who arrests Burke, Hare, Helen and Margaret. When Knox and Ferguson are questioned, they claim that they had no knowledge of the crimes. Only Burke is found guilty of murder and is publicly executed.

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EDINBURGH, 1828:

THE HISTORICAL CORE OF BURKE & HARE

BY LACEY UPTON

I

n 1828, Edinburgh was a bustling, prosperous city. It swelled during the harvest, with scores of immigrants and laborers arriving in search of seasonal employment and housing. The Old Town section, which dated back to the city’s Medieval roots, was densely populated, with winding cobblestone streets, thickly lined with markets and bustling with industrial activity. The working class and poor clustered into tenement buildings and rented out any extra space for cash to travelers and itinerant workers.

Meanwhile, the New Town, designed and built in the 18th century, boasted gleaming, ordered streets, stately Georgian homes, and lives of comfort and wealth for the city’s well-to-do.

Edinburgh also boasted a relatively new industry that was experiencing a boom of success, money and renown—its schools of anatomy were thriving. Hundreds of would-be doctors, surgeons, and anatomists flocked to the University of Edinburgh as well as the numerous private anatomy courses available in nearby Surgeons’ Square. One such school was run by Dr. Robert Knox, a brash and ambitious anatomist who had begun his career in the military hospitals of the Napoleonic Wars and in South Africa. Knox returned to Edinburgh in 1822 and, by 1826, was the charismatic and ambitious leader of a thriving school that took on more students than all of his competitors combined and boasted three assistants.

Knox, like the other anatomists and lecturers of his day, needed a constant supply of cadavers for purposes of demonstration and practice for his students. Carefully preserved and methodically dissected throughout the course of a three-month class, one cadaver could serve as the subject of a full week of study.

Dissecting theatres were circular precursors to modern operating theatres, with steeply-raked seating all around, enabling viewers to see the central subject—the cadaver, brought back to life (so to speak) in vivid detail by the flamboyant Dr. Knox.

Demand for fresh bodies was intense. There were few legal avenues for obtaining subjects; Scots law permitted only the bodies of those who had died in prison, committed suicide, or orphans be

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used for medical research, a limited supply. The practice of graverobbing arose in response, aided by a complicated legal situation: as corpses were not considered anyone’s property, it was technically not illegal to sell a corpse. It was, however, illegal to disturb a gravesite or to steal property from the deceased. Grave-robbers, also known as resurrectionists, most often found success by targeting the graves of the poor, as they were less likely to be guarded or protected. The medical profession, in its quest for knowledge and success, found itself complicit—and sometimes an eager partner— in these illicit activities.

In this atmosphere of mounting greed and increasing oversight of graveyards, in November of 1827, two men named William Burke and William Hare discovered the body of Hare’s lodger, Donald.

Donald was a retired soldier who had been ill and apparently died of natural causes. As corpses were no one’s property, selling his body to the school of Dr. Knox was not a crime. But what happened next undoubtedly was.

Burke and Hare were poor laborers who lived near one another in the tenements of Tanner’s Close, a section of the Old Town, and had struck up a friendship. After netting £7.10s for Donald’s body, the pair graduated next to murder. While their own accounts of the crimes differ in sequence and the historical record is unclear, Burke and Hare murdered no fewer than sixteen people over the course of about ten months—three men, twelve women, and one child— before they were apprehended in November of 1828. The details of their crimes are dark and grim; they targeted mainly transient, poorer members of the lower class with whom Burke and Hare interacted and considered less likely to be missed. They suffocated their victims and sold the bodies to Dr. Knox’s anatomy school.

After they were apprehended, the story of Burke and Hare quickly caught on in the popular press, and Knox was vilified for his role in the murders. There were many who believed that the doctor was, at best, negligent, and at worst, the mastermind behind the crimes.

Editorials demanded that he be tried; a crowd burned him in effigy outside his home.

Above: Burke and Hare by George Andrew Lutenor, a portrait painter and juror at Hare’s trial. Right: Surgical instruments used for amputations and operations, 1841.

...IT WAS TECHNICALLY NOT ILLEGAL TO SELL A CORPSE. IT WAS, HOWEVER, ILLEGAL TO DISTURB A GRAVESITE OR TO STEAL PROPERTY FROM THE DECEASED. Campbell tease out questions of morality and meaning in their opera that extend to the present day. Knox is the embodiment of a medical establishment singularly focused on the pursuit of knowledge—at any human cost—while for Burke and Hare, working-class and struggling to get by, right and wrong have little bearing on the practicalities of life. Ultimately, the audience is forced to confront the opera’s central questions: How much is a life worth? And who is empowered to decide?

Much like in life, justice remained elusive and incomplete.

Hare turned on his associate, receiving immunity for a full confession; his wife, Margaret, also avoided prosecution as part of the deal. He left Edinburgh for the city of Dumfries, but was recognized on the journey; when he arrived, an angry mob had gathered and he was driven from town and not seen again.

Burke and his lover, Helen McDougal, were tried for the murder of Madge Docherty, the final victim. Burke was sentenced to hang, but McDougal’s verdict came back not proven. Burke made a full confession after his sentence, placing much of the blame for the murders on Hare, and was hanged in early 1829 before a crowd

WELLCOME LIBRARY, LONDON

But while the case of Burke and Hare is a product of this specific historical moment—the quirks of the legal situation in early 19th-century United Kingdom, the transient urban population of Edinburgh and small police force, the unusual demand for cadavers brought about by a boom in medical research and potential profits—composer Julian Grant and librettist Mark

of 25,000. In a dark twist of justice, his body was dissected at the University of Edinburgh; his skeleton remains on display at the Anatomical Museum of the Edinburgh Medical School, while his death mask and a book bound of his skin are on view at Surgeons’ Hall Museum. Knox, disgraced and excluded from University life, left Edinburgh in 1842; his notoriety never completely faded, though he maintained a medical practice in London until his death in 1862.

Public outcry helped lead to the passing of the Anatomy Act of 1832, which regulated the practice of anatomy, and allowed doctors and anatomists greater ability to access unclaimed bodies. With a greater supply and increased scrutiny, cases of anatomy murders and the practice of grave-robbing faded away. Meanwhile, their crimes were immortalized in a cautionary, dark nursery rhyme well-known to Edinburgh children through the remainder of the 19th century: Up the close and doon the stair, But and ben’ wi’ Burke and Hare.

Burke’s the butcher, Hare’s the thief, Knox the boy that buys the beef.

In the end, Hare paid with his freedom; Knox with his career; Burke with his life. The victims netted about ten pounds each.

Lacey Upton is the BLO Director of Community Engagement.

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ARTISTS JASON ALLEN Wig-Makeup Designer | Tosca, Burke & Hare 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 | Burke & Hare 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 Italy, Ireland and Portugal, as well as returning to his former orchestra in Belgium. He has recorded many CDs and broadcasts regularly on classical radio channels.

MARK CAMPBELL Librettist | Burke & Hare Mark Campbell’s work as a librettist is at the forefront of the current contemporary opera scene in this country.

He has written more than 16 opera librettos, the bestknown being Silent Night, which received the 2012 Pulitzer Prize in Music. Other successful operas include As One, Later the Same Evening, Volpone, The Inspector, Bastianello/ Lucrezia, The Manchurian Candidate, and The Shining. Mr. Campbell’s other awards include a Grammy nomination, the first Kleban Foundation Award for Lyricist, two Richard Rodgers Awards, a Larson Foundation Award, a NYFA Playwriting Fellowship, two NYSCA grants and the first Dominic J. Pelliciotti Award. He premiered six new operas in 2017, including Some Light Emerges (Houston Grand Opera), Dinner At Eight (Minnesota Opera) The (R)evolution of Steve Jobs (Santa Fe Opera) and Elizabeth Cree (Opera Philadelphia).

JULIAN GRANT Composer | Burke & Hare Julian Grant was born in London, and has lived in Hong Kong, Beijing and Tokyo before settling in the USA in 2010. He has written many operas of all shapes and sizes, which have been performed by English National Opera, The Royal Opera, Almeida Opera, Mecklenburgh Opera, and Tête-à-Tête. The Skin Drum (1988) won the National Opera Association of America’s New Opera prize, and Out of Season (1991) was nominated for a London Theatreland Olivier Award.

His dance-opera Hot House (2012) was commissioned for the London Olympics and premiered at the Royal Opera House. Recent works include Dances in the Dark (2013) and Is It Enough? Perhaps It Is (2016) for the Princeton Symphony Orchestra, Wu Dai Tong Tang (2013) for Manitoba Chamber Orchestra and Sancho’s Dance-Mix (2014) for Buskaid, Soweto.

He is active as a writer, educator, music journalist and broadcaster. He makes his Boston Lyric Opera debut with Burke & Hare, his 20th opera.

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PAUL HACKENMUELLER Lighting Designer | Tosca Paul Hackenmeuller returns to Boston Lyric Opera having previously worked on several BLO productions, including, Werther, I Puritani and Tosca in 2010. His broad range of work includes lighting musical artists such as Katy Perry, Beyoncé, Bruno Mars, Tony Bennett, and Justin Timberlake as well as consulting to corporate clients including Target, Carlson Companies, and Wells Fargo. In addition to work with many regional theaters and more than ten Broadway productions, Mr. Hackenmueller’s recent and upcoming opera work includes work with The Santa Fe Opera, The Dallas Opera, Opera Philadelphia, Opera Omaha, Bucharest National, Minnesota Opera, and Pittsburgh Opera.

NANCY LEARY Costume Designer | Burke & Hare 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, Boston Conservatory and Boston Musica Viva. Theater credits include Weston Playhouse, Commonwealth Shakespeare Company, Shakespeare Theatre of New Jersey, Actor’s 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.

CRYSTAL MANICH Stage Director | Tosca Crystal Manich returns to Boston Lyric Opera having directed recent productions of Werther and I Puritani.

Other recent credits include a triple bill of Rameau and Vinci in Australia (Pinchgut Opera), Riccardo Primo (Pittsburgh Opera), Carmen (Opera Columbus), The Cunning Little Vixen (Opera Santa Barbara), and Macbeth (Opera San Antonio). As a practitioner of presenting Baroque works in non-traditional performance spaces, she has directed productions of The Coronation of Poppea, Giasone, and The Return of Ulysses (Opera Omnia) with a New York City-based company she co-founded. Her past credits include more than 40 productions at Buenos Aires Lírica in Argentina, Pinchgut Opera, Pittsburgh Opera, Opera Columbus, American Opera Projects, Opera San Antonio, New England Conservatory, Boston University, Center for Contemporary Opera, Utah Opera, North Carolina Opera, Opera Roanoke, Ash Lawn Opera, Bay View Festival, St. Petersburg Opera, and Lyric Opera Baltimore. She also served as Assistant Artistic Director of Cirque du Soleil’s Quidam in Brazil. Ms. Manich is a graduate of Carnegie Mellon University.

ARTISTS DEBORAH NEWHALL Costume Designer | Tosca Deborah Newhall has designed costumes for feature films, television, Broadway, off-Broadway, regional theater, opera, commercials, industrials and the Rockettes, creating wardrobe for Richard Gere, Joan Allen, Richard Jenkins, Allison Janney, Dustin Hoffman, Bruce Dern, Rip Torn, Denis Leary, and many others. A graduate of The Rhode Island School of Design (BFA) and University of North Carolina Chapel Hill (MFA), her film and television credits include Hachiko, American Buffalo, Monument Avenue, The Golden Boys, Annabelle Hooper and The Ghosts of Nantucket, About Sunny, Liberal Arts, the Showtime series Brotherhood, and the WGBH productions God in America, the Emmy-nominated miniseries The Abolitionists and ZOOM (for which she received two Emmy nominations). Recent credits include Slender Man, Proud Mary, and Cadaver, all soon to be released by Screen Gems/Sony Pictures. For the theater, Ms. Newhall’s designs have graced such stages as Boston Lyric Opera (productions of La Bohème, Werther, Lost in the Stars, Regina), Opera Omaha (Tosca), The Public Theatre (her work for Oskar Eustis’ production of The Ruby Sunrise by Rinne Groff received nominations for Lucille Lortel and Hewes awards), The 59e59 Theater in Manhattan, Boston Ballet (Carmen and Below Down Under), and Radio City Music Hall (for the Rockettes). Ms. Newhall has also taught at Brandeis University and Brown University.

JULIA NOULIN-MÉRAT Set Designer | Tosca 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 300 opera, theater, immersive shows and television productions, including: The Rake’s Progress, Clemency, In the Penal Colony and La Traviata (Boston Lyric Opera); Così Fan Tutte and Bluebeard’s Castle (Opera Omaha); 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, Say it Ain’t So, Joe, Gallo, 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’Orphée aux Enfers (Gotham Chamber Opera). Most recent credits include Romeo and Juliet (Commonwealth Shakespeare Company) and an immersive experience of Peter Pan’s Neverland in Beijing, China. Ms. Noulin-Mérat is an adjunct professor at Pace University.

DAVID SCHWEIZER Stage Directr | Burke & Hare David Schweizer returns to Boston Lyric Opera, having directed several productions for the Company including 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 OffBroadway: 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, Motezuma (Long Beach Opera); among others. He has directed new plays and revivals at most prominent regional and international theaters. His most recent work is the world premiere of Elizabeth Cree at Opera Philadelphia this fall. He returns to BLO in spring 2018 to direct the Company’s pairing of Trouble in Tahiti and Arias & Barcarolles.

DAVID STERN Conductor | Tosca David Stern is the founder and director of the Parisbased opera studio and period-instrument ensemble Opera Fuoco, as well as Chief Conductor of Palm Beach Opera, Artistic Advisor of the Shanghai Baroque Festival, and Director of Opera at the Crested Butte Music Festival in Colorado. Mr. Stern is regularly invited to the Shanghai and Guangzhou Symphony Orchestras, the Hong Kong Philharmonic, the China Philharmonic and the New Russian Symphony in Moscow; most recently, he appeared with the National Orchestra of Mexico, the NDR Radiophilharmonie Hannover, the Royal Danish Orchestra, the Swedish Chamber Orchestra, the Vienna Chamber Orchestra and the Vienna Symphony. He has often performed at the Concertgebouw in Amsterdam, at the Drottningholms Slottsteater, the Lucerne Festival, the Philharmonie Paris and at the Vienna Konzerthaus. Before creating his own period instrument ensemble, Mr. Stern was regular guest with Concerto Köln and the Basel Chamber Orchestra. Highlights of the 2017/18 Season include various projects with Opera Fuoco (at the Beethoven Fest Bonn, the Philharmonie Paris, the Telemann Festival Magdeburg) and with Palm Beach Opera (Candide, Tosca). Return engagements with symphonic repertoire will include Shanghai Symphony and China Philharmonic. This is his Boston Lyric Opera debut.

MELINDA SULLIVAN Movement Director | Burke & Hare Melinda Sullivan is a choreographer, movement coach, and teacher with more than 25 years of experience working with singers and dancers. 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. This is her Boston Lyric Opera debut.

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ARTISTS J.T. TURNER Fight Director | Tosca J.T. Turner is a member of the Society of American Fight Directors, and the British Academy of Stage and Screen Combat, J.T. Turner has designed violence for The Lyric Stage Company, Speakeasy Stage, Reagle Music Theater, The Actors Company, as well as many colleges and universities. He also creates fights for films, and recently was the fight consultant for the virtual reality film, Maren’s Rock. This is his Boston Lyric Opera debut.

CALEB WERTENBAKER Set Designer | Burke & Hare Caleb Wertenbaker previously designed the set for The Emperor of Atlantis at Boston Lyric Opera.

He has also designed scenery for Chautauqua Opera, Long Beach Opera, Central City Opera, Boston Early Music Festival, Opera Boston, Spoleto Festival USA, the Juilliard School, New England Conservatory, Boston Conservatory, NYU Experimental Theater Wing, Concord Academy, Under the Radar Festival, BAM Next Wave Festival, Against the Grain Festival, New York Musical Theater Festival, Dixon Place, Two River Theater, Beckett Theater, GEVA Theater Center, Center Stage, the West Side Theater, Weston Playhouse, National Sawdust, La MaMa, The Kitchen, the Institute of Contemporary Art, and Actors’ Shakespeare Project.

ROBERT WIERZEL Lighting Designer | Burke & Hare Robert Wierzel returns to Boston Lyric Opera where his most recent productions with the Company were Carmen and The Merry Widow. He has worked with artists from diverse disciplines and backgrounds in art, opera, theater, and dance on stages throughout the country and abroad. His opera credits include productions with the companies of Paris Palais-Garnier, Tokyo, Toronto, New York City Opera, Glimmerglass, Chicago Lyric, Washington DC, and Seattle, among many others. His theater work has been seen at many major companies throughout the country, as well as on and off Broadway, including Lady Day At Emerson’s Bar & Grill, starring Audra McDonald, and the Broadway musical Fela! (Tony Award nomination). Mr. Wierzel has a 32-year history with the director/ choreographer Bill T. Jones and the BTJ/AZ Company. He is a faculty member of New York University’s Tisch School of the Arts. In addition, Robert is a creative partner at Spark Design Collaborative.

JESSE BLUMBERG Baritone WILLIAM BURKE | Burke & Hare Jesse Blumberg returns to Boston Lyric Opera after being last seen in BLO’s 2016 production of The Merry Widow. His performances include the world premiere of The Grapes of Wrath (Minnesota Opera); Bernstein's Mass (Royal Festival Hall); various productions with Boston Early Music Festival; and featured roles with Atlanta Opera, Pittsburgh Opera, and Utah Opera. Recital highlights include appearances with the Marilyn Horne Foundation, New York Festival of Song, and Mirror Visions Ensemble. He has performed major concert works with American Bach Soloists, Los Angeles Master Chorale, Boston Baroque, Oratorio Society of New York, Apollo’s Fire, and on Lincoln Center’s American Songbook series. He has been recognized in several competitions, and was awarded Third Prize at the 2008 International Robert Schumann Competition in Zwickau, becoming its first American prizewinner in over thirty years. Mr. Blumberg holds degrees from the University of Michigan and the University of Cincinnati College-Conservatory of Music, and is also the founder of Five Boroughs Music Festival in New York City.

WILLIAM BURDEN Tenor DR. ROBERT KNOX | Burke & Hare William Burden has appeared at The Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Seattle Opera, Opera Philadelphia, Santa Fe Opera, La Scala, Glyndebourne Opera Festival, Paris Opera, Munich State Opera, Netherlands Opera, Canadian Opera, and the Saito Kinen Festival. His many roles include the title roles of Les Contes d’Hoffmann, Pelléas et Mélisande, The Rake’s Progress, and Béatrice et Bénédict; Loge in Das Rheingold, Laca in Jenůfa, Captain Vere in Billy Budd, Aschenbach in Death in Venice, Don José in Carmen, Edgardo in Lucia di Lammermoor, and Lensky in Eugene Onegin. He has also appeared with the Chicago Symphony Orchestra, San Francisco Symphony, Atlanta Symphony Orchestra, Philadelphia Orchestra, Minnesota Orchestra, St. Louis Symphony, Berlin Philharmonic, BBC Symphony Orchestra, and with Les Arts Florissants on tour throughout Europe. He also appeared in The Metropolitan Opera’s live HD broadcast of Thomas Adès’ The Tempest. Raised in Florida, Mr. Burden received his master’s degree in Vocal Performance at Indiana University.

Mr. Burden is also member of the faculty at the Mannes School of Music and in the fall of 2017 joins the faculty of the Voice Department of the Peabody Conservatory. This is his Boston Lyric Opera debut.

JONATHAN BURTON Tenor CAVARADOSSI | Tosca Jonathan Burton’s recent engagements include Riccardo in Un Ballo in Maschera (Florida Grand Opera); Pinkerton in Madama Butterfly (Welsh National Opera); Cavaradossi in Tosca (Central City Opera); and Dick Johnson in La Fanciulla del West (New York City Opera). Future Seasons include leading roles with Central City Opera, Austin Lyric Opera, Tulsa Opera, and Opera Colorado, among many other opera companies, as well as symphony orchestras. This is his Boston Lyric Opera debut.

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ARTISTS CRAIG COLCLOUGH Bass-Baritone WILLIAM HARE | Burke & Hare Craig Colclough’s 2017 Season includes several return engagements, including the title role in Don Pasquale (Minnesota Opera); Donner in Das Rheingold (Arizona Opera); and Monterone in Rigoletto (Los Angeles Opera). He also makes significant debuts as Pistola in Falstaff (Royal Opera House, Covent Garden) and Peter Vogel in Der Ring des Polykrates (Dallas Opera). Past leading roles include Scarpia in Tosca (English National Opera and Canadian Opera Company), Doristo in L’Arbore di Diana (Minnesota Opera), Figaro in Le Nozze di Figaro (Atlanta Opera), Jack Rance in La Fanciulla del West (English National Opera), and the title role in Falstaff (Arizona Opera and Opera Saratoga). Additional credits include the role of Timur in Turandot with the Simon Bolivar Symphony Orchestra, led by Gustavo Dudamel, the Israeli Symphony Orchestra, Capitol Records, Abbey Road Studios and the soundtrack of the film Rolled. This is his Boston Lyric Opera debut.

DAVID CUSHING Baritone ANGELOTTI | Tosca DONALD | Burke & Hare 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. Last Season, Mr. Cushing performed the roles of Trulove and Bartolo in BLO’s productions of The Rake’s Progress and The Marriage of Figaro; 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 as a soloist in Philip Glass’ Symphony No. 5 (The Washington Chorus, also with Trinity Wall Street). This Season, Mr. Cushing sings the pops concert and title role in Don Pasquale with Bar Harbor Music Festival, returns to Opera Tampa to sing both Basilio in The Barber of Seville and Banquo in Macbeth, Tiresias in Stravinsky’s Oedipus Rex with Emmanuel Music, and sings Sun-Tze in Julian Wachner’s REV. 23 with White Snake Projects. He is a BLO Jane and Steven Akin Emerging Artist alumnus.

HEATHER GALLAGHER Mezzo-Soprano MARGARET HARE | Burke & Hare Heather Gallagher’s recent Boston Lyric Opera credits include Mercédès in Carmen and Sylviane in The Merry Widow. Other roles include Lady Saphir in Patience (Odyssey Opera); Isolt’s Mother in The Love Potion (BLO), the title role in Carmen (MetroWest Opera); Dinah in Trouble in Tahiti (MetroWest Opera); Asakir in the Boston premiere of Sumeida’s Song and Charlotte in Les Lettres de Werther (Boston Opera Collaborative); and Cherubino in Le Nozze di Figaro (Vero Beach Opera). Ms. Gallagher is a recipient of numerous awards including BLO’s 2016 Stephen Shrestinian Award for Excellence, First Place in the 2015 Peter Elvins Vocal Competition, First Place in Metrowest Opera’s 2014 Competition, and a Two-Year Fellowship from the Atlantic Music Festival. She is a BLO Jane and Steven Akin Emerging Artist alumna.

JON JURGENS Tenor SPOLETTA | Tosca Jon Jurgens returns to Boston Lyric Opera, having been most recently seen as Sellem in BLO’s production of The Rake’s Progress. He recently made his debut with Odyssey Opera in the title role of The Picture of Dorian Gray. Previous roles include Pinkerton in Madama Butterfly (Hubbard Hall Opera Theater); the title role in The Picture of Dorian Gray (Opera Fayetteville); Rodolfo in La Bohème (Opera Raw) and Don José in Carmen (Opera NEO, Opera Columbus).

As a studio artist with Sarasota Opera, he has performed many roles including Curley in Of Mice and Men, Steuermann in Der Fliegende Höllander, and Don Basilio in Le Nozze di Figaro. There, he has also covered Edoardo in Un Giorno di Regno and the Duke in Rigoletto.

Mr. Jurgens is a BLO Jane and Steven Akin Emerging Artist alumnus who was highly acclaimed as Tristan in BLO’s production of The Love Potion, and earlier that year he made his BLO debut as Gastone, while covering Alfredo in La Traviata.

JAMES MADDALENA Baritone SACRISTAN | Tosca 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 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 made his Lyric Opera of Chicago debut in the premiere of Marhulet’s The Property.

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ARTISTS DAVID MCFERRIN Baritone DR. FERGUSON | Burke & Hare David McFerrin’s opera credits include Santa Fe Opera, Seattle Opera, Florida Grand Opera, the Rossini Festival in Germany, and numerous roles with Boston Lyric Opera. As a concert soloist, he has sung with the Cleveland Orchestra, Israel Philharmonic, Boston Pops, A Far Cry, and the Handel and Haydn Society. He was also a runnerup in the Oratorio Society of New York’s 2016 Lyndon Woodside Solo Competition, the premier contest for this repertoire. Recital and chamber music performances have included the Caramoor, Ravinia, and Marlboro Festivals. Mr. McFerrin recently sang the role of Achilla in Handel’s Giulio Cesare (Boston Baroque); was a soloist in Bach cantatas and the Monteverdi Vespers (Handel and Haydn Society); and performed various programs around the U.S. and U.K. with the Renaissance group Blue Heron. Upcoming engagements include Handel and Haydn Society, the Cape Symphony, and Montreal’s Arion Baroque Orchestra.

MARIE MCLAUGHLIN Soprano ABIGAIL SIMPSON | Burke & Hare Marie McLaughlin has enjoyed more than three decades of international performance, collaborating with the late Leonard Bernstein and Giuseppe Sinopoli, Daniel Barenboim, Bernard Haitink and Sir Antonio Pappano. Ms. McLaughlin has sung with The Metropolitan Opera, Royal Opera House, Opéra National de Paris, and the Salzburg and Glyndebourne Festivals. Key roles in the present repertory include Marcellina in Le Nozze di Figaro (Gran Teatre del Liceu, Opera National de Paris, Staatsoper Unter den Linden, the Salzburg and Ravinia Festivals and The Metropolitan Opera); La Ciesca in Gianni Schicchi (Royal Opera House, Covent Garden and Glyndebourne Festival); Madam Larina in Eugene Onegin (Teatro Regio di Torino, Glyndebourne Festival and Opéra National de Lille); Despina in Così Fan Tutte (Scottish Opera and the Spoleto Festival); Alisa in Lucia di Lammermoor (Bayerische Staatsoper); Mrs. Grose in The Turn of the Screw (Teatro Real) and Miss Jessel (Aix-en-Provence Festival, Théâtre Royal de la Monnaie and Berlin’s Staatsoper Unter den Linden). This is her Boston Lyric Opera debut.

MICHAEL SLATTERY Tenor JAMES WILSON ("DAFT JAMIE") | Burke & Hare Michael Slattery has performed with the New York Philharmonic, the Philadelphia Orchestra, the Los Angeles Philharmonic, Lincoln Center's Mostly Mozart Festival, the French National Orchestra in Paris, the Akademie für Alte Musik in Berlin, and the Orchestra of St. Luke’s at Carnegie Hall. Career highlights include Tristan Project (Lincoln Center), the title roles in Candide (Royal Festival Hall) and L’Orfeo (Théâtre du Châtelet, Glimmerglass), and leading roles at the Berlin Staatsoper, Opéra de Lyon, and the Festival d’Aix-en-Provence, among others. Mr. Slattery debuted with the New York Philharmonic in the Britten Serenade, returning the following season for Handel’s

18 | BOSTON LYRIC OPERA TOSCA / BURKE & HARE FALL 2017

Messiah. Other notable appearances include the BBC Symphony Orchestra, Minnesota Orchestra, Seattle Symphony, Houston Symphony, New World Symphony, National Symphony Orchestra, and the Edinburgh and Spoleto Festivals. Mr. Slattery’s new, English translation of Bach’s St. John Passion (commissioned by MasterVoices) was performed this Season at Carnegie Hall. Mr. Slattery’s solo recordings include The Irish Heart and a collaboration with Montreal chamber ensemble La Nef entitled Dowland in Dublin, chosen by Opera News as a Best of the Year for 2012. Their next album, The People’s Purcell, will be released later this year. This is his Boston Lyric Opera debut.

EMMA SORENSON Mezzo-soprano MARY PATERSON | Burke & Hare Emma Sorenson returns as a BLO Jane and Steven Akin Emerging Artist for the 2017/18 Season, having made her Company debut as Frou Frou in The Merry Widow and recently performed as the 2nd Bridesmaid in The Marriage of Figaro. She recently debuted as Isabelle Eberhardt in Song from the Uproar: The Lives and Deaths of Isabelle Eberhardt (Chicago Fringe Opera). As an Apprentice Artist with Des Moines Metro Opera, Ms. Sorenson sang the role of Javotte in Manon and Flower in Rappaccini’s Daughter. She has also performed several mainstage roles with The Boston Conservatory including Lucretia in The Rape of Lucretia, Dritte Dame in Die Zauberflöte, and Zulma in L’Italiana in Algeri. Ms. Sorenson is the recipient of the 2016 Encouragement Award at The Metropolitan Opera National Council auditions in the St. Louis district, and previously won the Ileana Ingraham Encouragement Award at the auditions in the Kansas City district.

ELENA STIKHINA Soprano TOSCA | Tosca Elena Stikhina is a Mariinsky Theater ensemble member in St. Petersburg where her roles have included Mimì (La Bohème), Tatjana (Eugene Onegin), Nedda (Pagliacci), Tosca, Leonora (La Forza del Destino and Il Trovatore). Highlights of this Season include Leonora in Il Trovatore (Finnish National Opera and in Bastille/Paris); last Season’s roles included Leonora (La Forza del Destino, Opera Basel), Tosca (Theater Erfurt), and Tatjana (Finnish National Opera).

In the 2015/16 Season, Ms. Stikhina made her debut in Germany as Tosca (Gut Immling Opera Festival) and in Austria as Micäela in Carmen (Salzburg Opera). She is the winner of the renowned Competizione dell’Opera in Linz, 2014, and was awarded the “Culturarte” prize at Plácido Domingo’s Operalia in 2016. This BLO production marks Ms. Stikhina’s American debut.

ARTISTS DANIEL SUTIN Baritone SCARPIA | Tosca Daniel Sutin returns to Boston Lyric Opera, having sung the title role of Macbeth in BLO’s 2011/12 Season. Most recently, Mr. Sutin returned to The Metropolitan Opera in the title role of Wozzeck and the role of The One-Eyed Brother in Die Frau ohne Schatten, as well as performed Germont in La Traviata (Savonlinna Opera Festival); the title role of Rigoletto (Hong Kong); Biterolf in Tannhauser (Lyric Opera of Chicago); and Sharpless in Madame Butterfly (Hawaii Opera Theatre). Recent credits also include Salome (Detroit Symphony); Fidelio (Cincinnati Opera); Wozzeck (Chicago Lyric Opera); Simon Boccanegra (L’Opera de Montreal); Iago (Palm Beach Opera); Sharpless in Madama Butterfly (Michigan Opera Theater) and Alberich in Washington National Opera’s production of Wagner’s Ring Cycle (cover). Mr. Sutin also made his debut at the Royal Opera House, Covent Garden as Sonora in La Fanciulla del West and returned to the Canadian Opera Company as Paolo in Simon Boccanegra, where he also sang Conte di Luna in Il Trovatore and Orest in Elektra. Future engagements include a return to Chicago as Alberich in Das Rheingold, Siegfried, and Götterdämmerung (cover). He will also join the San Francisco Opera for its production of Wagner’s Ring covering Alberich, and sing the role of Enrico in Lucia di Lammermoor (Bohème Opera).

ANTONIA TAMER Soprano MADGE DOCHERTY | Burke & Hare Returning for her second Season as a BLO Jane and Steven Akin Emerging Artist in 2017/18, soprano Antonia Tamer recently completed a Master’s degree in Voice at the San Francisco Conservatory of Music. She made her professional debut in the spring of 2013 with Opera San José as Sister Dolcina in Puccini’s Suor Angelica, followed by the role of the Sandman in Hansel and Gretel. Recent engagements include a debut with Natchez Opera Festival singing the title role in Puccini’s Madama Butterfly. In the summer of 2015, Antonia joined Chautauqua Opera as a Young Artist, where she performed in the ensemble for both Macbeth and Eugene Onegin. Ms. Tamer covered the role of Frasquita in BLO’s 40th Anniversary Season production of Carmen and joined Portland Opera as a resident artist last Season covering roles in La Bohème and The Man of La Mancha, as well as singing Fiordiligi in Così Fan Tutte.

MICHELLE TRAINOR Soprano HELEN MCDOUGAL | Burke & Hare Michelle Trainor is a BLO Jane and Steven Akin Emerging Artist alumna and has sung in Boston Lyric Opera’s productions of 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. She recently joined the Brookline Symphony Orchestra singing Isolde’s Liebestod and was the soloist in Vaughan Williams’ A Sea Symphony (New World Chorale).

Michelle 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.

VINCENT TURREGANO Baritone SCIARRONE | Tosca Vincent Turregano returns for his third Season as a Boston Lyric Opera Jane and Steven Akin Emerging Artist in 2017/18. He was most recently seen in BLO’s productions of Carmen, The Merry Widow and La Bohème. Upcoming engagements include Opera Omaha, Sarasota Opera, and a return to BLO. Mr. Turregano 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. Vincent is an avid recitalist. He returns to Martha’s Vineyard for a third year and can be seen at Jordan Hall celebrating John Heiss this October.

SARA WOMBLE Soprano SHEPHERDESS | Tosca Sara Womble returns in 2017/18 as a BLO Jane and Steven Akin Emerging Artist. Last Season with BLO, she sang the role of Barbarina in BLO’s production of The Marriage of Figaro (and covered Susanna). During the summer of 2017, she sang Lady Ella in Odyssey Opera’s production of Patience and Susanna in Point Loma Opera’s The Marriage of Figaro in San Diego. Upcoming engagements include Countess Ceprano (and Gilda cover) in North Carolina Opera’s Rigoletto, and her North Carolina concert debut as a soprano soloist in Handel’s Messiah with the Winston-Salem Symphony. In the summer of 2016, she was an Apprentice Artist at Opera NEO, where she sang Zerlina in Don Giovanni. Ms. Womble received her Master’s degree from Boston University, where her roles included La Fée in Cendrillon, Rosalba in Florencia en el Amazonas, Ruth Baldwin in Later the Same Evening, and Presendia in Dark Sisters. Before her singing career, Sara graduated Phi Beta Kappa and magna cum laude from Duke University, where she double-majored in English and Vocal Performance.

TOSCA ORCHESTRA VIOLIN I SANDRA KOTT Concertmaster COLIN DAVIS JODI HAGEN PETER HANLY ROKSANA SUDOL PATTISON STORY STACEY ALDEN LENA WONG CYNTHIA CUMMINGS SASHA CALLAHAN VIOLIN II ANNIE RABBAT Principal HEIDI BRAUN-HILL TERA GORSETT ROHAN GREGORY MELANIE AUCLAIR FORTIER ROBERT CURTIS SUSAN CARRAI MAYNARD GOLDMAN VIOLA KENNETH STALBERG Principal DAVID FELTNER ABIGAIL CROSS DONNA JEROME DON KRISHNASWAMI JEAN HAIG CELLO ARON ZELKOWICZ Acting Principal MELANIE DYBALL JAN PFEIFFER-RIOS STEVEN LAVEN BASS ROBERT LYNAM Principal BARRY BOETTGER KEVIN GREEN FLUTE LINDA TOOTE Principal IVA MILCH LISA HENNESSY

CHORUS OBOE NANCY DIMOCK Principal LYNDA JACQUIN MARY CICCONETTI CLARINET JAN HALLORAN Principal STEVEN JACKSON KAREN HENINGER BASSOON ELAH GRANDEL Acting Principal SALLY MERRIMAN MARGARET PHILLIPS FRENCH HORN WHITACRE HILL Acting Principal DIRK HILLYER JOSH MICHAL IRIS ROSENSTEIN TRUMPET BRUCE HALL Principal JESSE LEVINE GREG WHITAKER TROMBONE ROBERT COUTURE Principal HANS BOHN ALEXEI DOOHOVSKOY CIMBASSO DONALD RANKIN Principal TIMPANI JEFFREY FISCHER Principal PERCUSSION RICHARD FLANAGAN Principal JOHN TANZER CELESTE/ORGAN BRETT HODGDON HARP INA ZDOROVETCHI Principal

SUPERNUMERARIES TIM DAUGHTERS KURT HAKANSSON DOMENICO MASTROTOTARO J.T. TURNER JOSEPH YONAITIS

20 | BOSTON LYRIC OPERA TOSCA / BURKE & HARE FALL 2017

MICHELLE ALEXANDER Chorusmaster SOPRANO ALISA CASSOLA MOLLY CROOKEDACRE LAURA ETHINGTON KIRSTEN HART ABIGAIL KRAWCZYNSKA ABIGAIL SMITH ANTONIA TAMER DANA VARGA SARA WOMBLE ALTO BRITT BROWN HEATHER GALLAGHER FELICIA GAVILANES JAIME KORKOS JAZIMINA MACNEIL STEPHANIE SCARCELLA SARA BETH SHELTON EMMA SORENSON

TENOR ETHAN BREMNER KEVIN COURTEMANCHE JESSE DARDEN FRANK LEVAR CHRIS MAHER THOMAS OESTERLING FRED VAN NESS BASS SCOTT BALLANTINE JORGEANDRES CAMARGO RYNE CHERRY JUNHAN CHOI JONATHAN COLE TAYLOR HORNER PATRICK MCNALLY RON WILLIAMS

VOICES BOSTON STEVEN LIPSITT Artistic Director SUVI CARLILE IOLANTHE DEMOS ANTONIA DUFFIELD GEORGINA HARINGTON DAVID HERMANSON MILES LUTHER

TIA PERCHEVA CHARLIE PERDUE LOUISA ROSSANO NOAH SCHLONDORFF NATALIE TULIPANI JOAQUIM VIANA

PRODUCTION/ARTISTIC STAFF 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 Harrison Burke Assistant Lighting Designer Marcella Barbeau Lighting Assistant Liz Perlman Costume Director Gail Astrid Buckley Costume Supervisor Ryan Goodwin Costume Design Assistant David Bradke AV Coordinator Rachel Padula Shufelt and Melinda Abreu Wig-Makeup Artists Maynard Goldman Orchestra Personnel Manager Kate Ellingson Music Librarian

BURKE & HARE ORCHESTRA VIOLA DON KRISHNASWAMI Acting Principal CELLO ARON ZELKOWICZ Acting Principal BASS BARRY BOETTGER Acting Principal FLUTE/PICCOLO ALLISON PARRAMORE Acting Principal CLARINET/BASS CLARINET JAN HALLORAN Principal

SUPERNUMERARIES HORN WHITACRE HILL Acting Principal TRUMPET TERRY EVERSON Acting Principal TROMBONE JOHN FAIETA Acting Principal HARP INA ZDOROVETCHI Principal PIANO BRETT HODGDON PERCUSSION WILLIAM MANLEY Acting Principal

KURT HAKANSSON DOMENICO MASTROTOTARO

PRODUCTION/ARTISTIC STAFF Cynthia Hennon Marino 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 Daisy Long Assistant Lighting Designer Liz Perlman Costume Director/Supervisor Ryan Goodwin Costume Design Assistant Maynard Goldman Orchestra Personnel Manager

BASSOON/ CONTRABASSOON MARGARET PHILLIPS Acting Principal

TOSCA | BURKE & HARE ROAD CREW

UNIONS

Christine Willard Head Production Carpenter Michael Geoghegan First Assistant Production Carpenter Brendan Ritchie Second Assistant Production Carpenter Marco Caceres Head Production Electrician Eric Perlmutter First Assistant Production Electrician Sumner Ellsworth Light Board Programmer Leanne Knight Second Assistant Production Electrician Patrick Glynn Head of Production Properties Emily Picot First Assistant of Production Properties Dianna Reardon Wardrobe Supervisor

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.

BOSTON LYRIC OPERA TOSCA / BURKE & HARE FALL 2017 | 21

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: Abby Lane

IATSE Local #11 JACET | Colleen Glynn

Acentech, Inc. | Carl Rosenberg, Ben Markham

IRN Internet Services | Jay Williston

Advanced Lighting and Production Services | Rui Alvez, Mike Texeira

Jayne’s Flowers Inc.

American Repertory Theater | Stephen Setterlun

JMK PR

Andy's Piano Service | Andrew Nicklas

Leapfrog Arts | Melissa Wagner-O’Malley

Alexander Aronson Finning

Liza Voll Photography

ArtsBoston

Marliave

Backstage Hardware

Massachusetts Bay Transportation Authority

Barcelona Wine Bar

Massachusetts Department of Conservation and Recreation | Nick Connors

Susan Bennett, M.D., Company Physician Consultant, Associate Physician, Massachusetts General Hospital

mindSHIFT Technologies Inc.

BOCA Systems

James Myers

Boston By Foot

Myles Standish Business Condominiums

Boston Center for the Arts | Gregory Ruffer

NEPS Primary Freight

Boston Conservatory

New England Professional Systems | Bill Miller

Boston Public Library

Jaclyn Poeschl

Boston Public Schools Visual & Performing Arts Office

Production Advantage

The Brahmin

Julia Propp

Brighter Boston | Daniel H. Jentzen

Opus Affair | Graham Wright

Caffé Nero

Oregon Shakespeare Festival

Cartage America | Tim Riley

ProPrint Boston

Catherine Truman Architects | Catherine Truman

Quality Graphics, Inc.

Chandler Inn

Raymond Reyes

Charcoalblue LLP | Andy Hayles, Gary Sparkes, John Owens

Robert Silman Associates Structural Engineers | Michael Auren, Ben Rosenberg

Constangy, Brooks, Smith & Prophete, LLP | Andrew Eisenberg, Will Krasnow

Ryder Transportation

Costume Rentals/Guthrie Theatre

Santander

Costume Works, Inc. | Liz Perlman

Priscilla Sanville

C3 Commercial Construction Consulting, Inc. | Doug Anderson

Scalped Productions

Amy Holland Crafton

Sebastians | Maureen Carey

Elderhostel, Inc. | Road Scholar

Seyfarth Shaw LLP | Brian Michaelis

Emerson College | Office of the Arts

Stagesource

Eric Antoniou Photography

Starburst Printing | Jason Grondin

Joel Esher

The Strategy Group

Fessenden & Sykes

TDF Costume Collection

Films Around the World, Inc. | Alexander W. Kogan, Jr.

Tessitura

Goldstar

Toshiba, Corp. | Cheryl Hayford, Todd Tweedie

Goodspeed Theatre

United Staging & Rigging | Eric Frishman

Grand Image Inc. | Tamir Luria, Shane Bandzul

Vantage Technology Consulting Group | Geoffrey Tritsch

High Output Inc. | Jim Hirsch

VOICES Boston

Highball Lounge

WBUR

Mark Howard

WGBH/WCRB

Hubspot, Inc. HUM Properties | Casey Smith Huntington Theatre Company | Joey Riddle, Katie Most The HYM Investment Group

22 | BOSTON LYRIC OPERA TOSCA / BURKE & HARE FALL 2017

Museum of Fine Arts, Boston

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 Audley Fuller Linda George Mencken Graham Linda Granitto James Karg Eva Karger Milling Kinard Esther Lable Daniel Levin Richard Leccese Tiphaine Levesque du Rostu Nancy Lynn Domenico Mastrototaro Terri Mazzuli Patti McGovern Anne McGuire Meg Morton Kameel Nasr Gail Neff Amy O'Connell Cosmo Papa Jane Papa Barbara Papesch Yamel Rizk Nikta Sabouri Elizabeth Sarafian Alexandra Sherman Barbara Trachtenberg Amy Walba Gerry Weisenberg 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 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 Lizabeth Malanga Executive Assistant to the Stanford Calderwoord General & Artistic Director David J. Cullen Accounting Manager Reingard Heller Finance Manager Caitlin Hayes Finance & Office Coordinator Angela Rowland Senior Accountant EXTERNAL RELATIONS Eileen Nugent Williston Director of External Relations Sarah B. Blume Director of Major Gifts Erin Coffey Associate 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 September 15, 2017

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 It doesn’t take much to make a difference!

Half of all donors last year gave $150 or less.

When patrons join together, they make a tangible impact.

Your contribution goes a long way—BLO donors support much more than the work seen on stage.

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, we have something for everyone to enjoy.

Your friends in Development, Eileen, Sarah, Cathy, Erin, Robin, and Narcissa

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 production team members, while providing direct support to bring opera to our stages and communities.

TO LEARN MORE about joining our community of supporters, we encourage you to visit BLO.org/patrons or call 617.702.8984—2017/18 Season Donor Benefits have just been updated!

PIERCE HARMON

BLO Board Member Willa Bodman (center) with friends and family at the 40th Anniversary Opera Gala, September, 2016.

24 | BOSTON LYRIC OPERA TOSCA / BURKE & HARE FALL 2017

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 Boston Lyric Opera between July 1, 2016 - September 1, 2017.

CRESCENDO ($100,000+) Anonymous (3) Jane & Steven Akin Barr Foundation Linda Cabot Black*†§ Willa & Taylor Bodman* Constangy, Brooks, Smith & Prophete, LLP Jody & Tom Gill*† Horace H. Irvine II*§ The Klarman Family Foundation 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* Virginia Wellington Cabot Foundation Miss Wallace Minot Leonard Foundation VIVACE ($50,000 - $99,999) Timothy Blodgett† Estate of Fay M. Chandler‡ Gerard & Sherryl Cohen Alicia Cooney*§ Wayne Davis & Ann Merrifield* Miguel & Suki de Bragança*† Alan & Lisa Dynner*§ Susan W. Jacobs*† Pamela S. Kunkemueller*§ Ms. Abigail Mason*†§ Mr. & Mrs. Neil Pappalardo* Mr. & Mrs. Michael Puzo*† Wendy Shattuck & Sam Plimpton* PRESTO ($25,000 - $49,999) Anonymous (2) Nonnie & Rick Burnes*§ Katie & Paul Buttenwieser Mr. & Mrs. Timothy & Jessica Donohue* Robert & Susan‡ 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*† Susan & Dennis Shapiro* State Street Foundation Dr. Robert Walsh & Lydia Kenton Walsh* Lynn Dale & Frank Wisneski

The Orfeo Society and Friends of BLO make up BLO’s core community of supporters. Members share a passion for opera and receive exclusive access to a range of benefits that enriches the operatic experience. BLO gratefully acknowledges their generous support.

This list includes gifts and pledges made to the Annual Fund, restricted funds, and event sponsorships through September 1, 2017.

For more information or to become a member of the Orfeo Society or Friends of BLO, please call Sarah Blume at 617.542.4912 x2280.

ALLEGRO ($10,000 - $24,999) Anonymous (2) Ms. Ann Beha & Mr. Robert A. Radloff Mr. & Mrs. Thomas Blumenthal Boston Private Dr. & Mrs. Eric & Elaine Bucher† Mrs. Edmund Cabot Ms. Ellen Cabot*† Corning Incorporated Foundation Fidelity Charitable Gift Fund 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 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*§

ADAGIO ($5,000 - $9,999) Anonymous (2) Sam & Nancy Altschuler Ann & Gordon Getty Foundation Sarah E. Ashby* Edward Bell* Mr. & Mrs. Hugh Bennett*† 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*† Mr. Eijmberts & Mr. Tinga William C. & Joyce K. Fletcher 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 A. Hunter* Ms. Louise Johnson* Stephen & Lois Kunian*† Mr. Edward J. Leary Karen Levy Andrew Sherman & Russ Lopez*†§ Ms. M. Lynne Markus*§ 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§ Mr. & Mrs. John Remondi Stephen & Geraldine Ricci Mr. Carl Rosenberg* Donald & Abby Rosenfeld 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 Mr. & Mrs. Ron Feinstein Kathryn G. Freed§, in memory of Dean & Patti Freed Fuller Foundation Mr. & Mrs. Dozier Gardner Dr. Alfred Goldberg & Dr. Joan Goldberg Mr. Joseph Hammer Mr. & Mrs. Morton Hoffman Dr. Maydee G. Lande, in memory of her father

BOSTON LYRIC OPERA TOSCA / BURKE & HARE FALL 2017 | 25

Drs. Lynne & Sidney Levitsky Judith K. Marquis & Keith F. Nelson Dr. Harold Michlewitz Mr. & Mrs. Gerard Moufflet Shari & Christopher Noe OPERA America 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 PRODUCER ($1,500 - $2,999) Anonymous (2) Alliance Bernstein Matching Gift Program Mr. & Mrs. David Bakalar Beard Family Charitable Trust John & Molly Beard Bessie Pappas Charitable Foundation, Inc. Boston Cultural Council Dorothy & Hale Bradt Mr. & Mrs. John Cabot David J. Chavolla, in honor of Pamela Kunkemueller Eli Lilly & Company Foundation, Inc. Catherine & Frederick Grein§ Arthur & Eloise Hodges Mrs. Charles Hood 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 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. Daniel Berkenblit Mr. Martin S. Berman, in memory of Lila Gross Leonard & Jane Bernstein Luis & Anita Berrizbeitia Ms. Petrina Biondo Dr. Paul Bleicher & Dr. Julia Greenstein Dr. Rudolph & Prof. Suzanne Blier Mr. Peter Blume, in honor of Sarah Blume Ms. Kathleen Boyce Mrs. Jane Bradley Ms. Diane K. Braun Veronika & Bert Breer John & Irene Briedis Pam & Lee Bromberg Thomas Burger & Andree Robert Harold Carroll Susan Cavalieri, in memory of Eurydice Cavalieri Mr. Howard Chadwick Ms. Mei Po Cheung Rachel & Thomas Claflin Marjorie B. & Martin Cohn 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 GE Foundation Mr. Mark Gebhardt Ms. Martha Gentry Dr. David Golan & Dr. Laura Green Ms. Elizabeth Goodfellow Ms. Sandra Steele & Mr. Paul Greenfield Mr. Stephen Grubaugh & Ms. Carol McGeehan Anne & Neil Harper Ms. Jasjit Heckathorn Pauline Ho Bynum

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Ms. Stephanie Hood Mr. Ted & the Rev. Canon Cynthia P. Hubbard Mr. Craig S. Hughes 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. Anthony S. Lucas Professor Deidre Lynch Mr. & Mrs. Brian Lyson Tod Machover & June Kinoshita Peter & Betsy Madsen Ms. Kathleen Malley Mr. Andrew Marconi Mr. Domenico Mastrototaro§ Kate Meany Ms. Jo Frances Meyer, in honor of Linda Cabot Black Dr. & Mrs. Douglas Moore Ms. Sandra Moose Mr. Stephen Mormoris & Mr. Robert L. Cornell Mr. Carl R. Nold Melissa & David Norton Paul & Elaine O'Connell Suzanne Ogden & Peter Rogers Jack Osgood§ Mr. Lee Pelton The Honorable & Mrs. Lawrence Perera Finley & Patricia Perry Mr. John W. Pershall Mr. & Mrs. Frank Porcelli Mr. & Mrs. Francois Poulet Robert & Elizabeth Pozen Ms. Patricia Pratt Mr. & Mrs. Patrick & Ute Prevost Mr. & Mrs. E. Ricardo Quiñones Mrs. Adrienne Rabkin Peter & Sheila Rawson Sally Reid & John Sigel Ms. Patricia Rosenblatt Donald & Nancy Rosenfield Ms. Diana Rowan Rockefeller Nicholas G. Russell, in memory of Susan D. Eastman John & Ruth Schey Lisa G. Shaw

Sayre Sheldon Ms. Roberta Sydney & Mr. Jordan Rich Mr. Andrew Szentgyorgyi Edward H. Tate II Diane C. Tillotson Michael Tomich Mr. Scott Utzinger Brad 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 (4) Mr. Peter Ambler & Ms. Lindsay Miller Mr. Bernard Aserkoff Joseph & Janet Aucoin Marc & Carol Bard John Belchers Ms. Andrea Benoit & Mr. Michael Parsons Ms. Deborah Davis Berman Mr. Peter A. Biagetti Mr. Morris Birnbaum Ms. Elizabeth Bjorkman Ms. Holly Bodman Dr. Roger Boshes Ms. Christine Bradt Mr. & Mrs. Samuel Cabot 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. Francoise Delaforcade Mr. Mark Donohoe Dr. 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 Mr. Clayton Geiger Ruth Golden Dr. Philip L. Goldsmith & Melissa Boshco Pamela & Alan Goodman 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 Mr. Michael Jacoff & Ms. Jeanne Vanecko Mr. Sam Jones Mr. Stanley Keller Mr. Richard Kimball

Ms. Susan Lamb Ms. Joy Lucas Mr. Joseph Mari 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. Amy Merrill Ms. Karen Metcalf Mr. Frederick Meyer Mr. Scott Minick Ms. Gwendalyn Moore Mr. & Mrs. Philip & Patricia Morehead Claudia J. Morner & Leonard S. Jones Ms. Anne Morris Mr. Kameel Nasr Mr. Maury Newburger

Suzanne Ogden & Peter Rogers 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 Mr. Allan Rodgers Mr. Paul Ryan Ms. Diane Savarese 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. & Mrs. Lionel Spiro Ms. Joan Suit Mr. Michael Szeto Marcos & Faith Szydlo Mr. Thaemert & Mr. Gokey 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 Dr. Ioannis Yannas Ms. Linda Zaitlin Mr. & Mrs. Andy Zelleke

Board Member Lyric Circle Member Goldovsky Society Member Deceased

* † § ‡

INSTITUTIONAL PARTNERS Opera Annex receives generous support from the National Endowment for the Arts.

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

BOSTON LYRIC OPERA TOSCA / BURKE & HARE FALL 2017 | 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.

EMERSON CUTLER MAJESTIC THEATRE ACCESSIBILITY: The Emerson Cutler Majestic Theatre can accommodate both wheelchair and companion seating. Accessible restrooms are located in the lower lobby, accessible by elevator.

VENUE INFORMATION: The Emerson Cutler Majestic Theatre, 219 Tremont Street, Boston, MA 02116 | 617-824-8000 | artsemerson.org

FIRE EXIT PLANS: For your own safety, please take a moment to view the exits for each floor.

THE CYCLORAMA AT THE BOSTON CENTER FOR THE ARTS ACCESSIBILITY: The Cyclorama performance venue can accommodate both wheelchair and companion seating. Patrons unable to use the stairs should enter the venue using the elevator on Tremont Street, to the right of the stair entrance.

For special requests or assistance, please contact Boston Lyric Opera’s Audience Services department.

VENUE INFORMATION: The Cyclorama at the Boston Center for the Arts, 539 Tremont Street, Boston, MA 02116 | 617.426.5000 | bcaonline.org

FIRE EXIT PLANS: For your own safety, please take a moment to view the exits nearest your seating area.

28 | BOSTON LYRIC OPERA TOSCA / BURKE & HARE FALL 2017

JOIN PRIMA FOR THE 2017/18 SEASON!

PIERCE HARMON

BLO’S SOCIAL GROUP FOR YOUNG ARTS LOVERS PRIMA is BLO’s social group for young arts lovers.

From opera and theatre enthusiasts to musicians and music lovers of all kinds, PRIMA is the best place for young professionals who are interested in supporting the arts community and who want to explore it with others.

BECOME A PRIMA PREMIER MEMBER! Memberships begin at $20 and include these benefits: • Priority Seating: Early access to tickets and exclusive seating in the PRIMA section • Free drinks at PRIMA Socials • PRIMA Lounges: Pre-show performance lounges • Deconstructing Opera Salons: learn how an opera is created from start to finish, featuring artistic and production staff • Discounted After Party tickets

GET CONNECTED WITH PRIMA EVENTS! The Opera Gala After Party | Friday, November 10 Benjamin Franklin Institute of Technology Join us for an Insta-worthy affair following the World Premiere of The Nefarious, Immoral But Highly Profitable Enterprise of Mr. Burke & Mr. Hare.

NEW! The PRIMA Subscription—lock in seats for the rest of the season with packages starting at $126 and include a PRIMA Membership Visit BLO.ORG/PRIMA to sign up for our newsletter and get information on upcoming happenings.

For more information about The Opera Gala After Party, please contact prima@blo.org BOSTON LYRIC OPERA TOSCA / BURKE & HARE FALL 2017 | 29

OPERA BEYOND THE STAGE FALL 2017

Julian Grant

Mark Campbell

MAKING A KILLING: THE CREATORS OF BURKE & HARE TALK NEW OPERA Sunday, November 5, 2017 | 2:00 – 3:00pm Museum of Fine Arts, Boston | Remis Auditorium Tickets: $16 for MFA members | $20 for general public BLO subscribers may access the member price through BLO.org!

WBUR Arts Reporter Andrea Shea sits down with composer Julian Grant and librettist Mark Campbell to discuss their inspirations, writing process, and the vibrancy and urgency of opera in the 21st century. Their new opera, The Nefarious, Immoral but Highly Profitable Enterprise of Mr. Burke & Mr. Hare, is a highly theatrical and often brutally funny exploration of greed, morality and medicine. Based on an historical event, the opera depicts the infamous ten-month killing spree of William Burke and William Hare in 1828. Boston Lyric Opera gives the work its World Premiere on November 8.

Andrea Shea

To purchase tickets to the event: visit mfa.org/tickets For additional event information: call 617.542.6772 or email education@blo.org

PRE-PERFORMANCE TALKS: TOSCA | OCT 13 – 22 | One hour before curtain TALKBACKS: BURKE & HARE | NOV 8 – 12 | Immediately after each performance DETAILS, TICKETS, AND MORE AT BLO.ORG/CALENDAR 617.542.6772 (M - F, 10 - 5) | EVENTS@BLO.ORG | BLO.ORG

32 | BOSTON LYRIC OPERA TOSCA / BURKE & HARE FALL 2017

BOSTON LYRIC OPERA TOSCA / BURKE & HARE FALL 2017 | 33

THE THREEPENNY OPERA MUSIC BY KURT WEILL | LIBRETTO BY BERTOLT BRECHT

MAR 16 – 25

TROUBLE IN TAHITI AND ARIAS & BARCAROLLES MUSIC & LIBRETTO BY LEONARD BERNSTEIN

MAY 11 – 20 GET THE BEST SEATS NOW! TICKETS START AT $25 SAVE UP TO 38% AS A BLO SUBSCRIBER—PACKAGES START AT $76.

617.542.6772 | BOXOFFICE@BLO.ORG | BLO.ORG