Stravinsky's 'The Rake's Progress' at Booth Theatre - Program

February 27 - March 1, 2020

by Igor Stravinsky with a libretto by W. H. Auden and Chester Kallman B

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BOSTON UNIVERSITY JOAN & EDGAR BOOTH THEATRE Opened in December 2017, this bold, state-of-the-art structure encourages innovation, conversation, and collaboration. The flexible design of Booth Theatre allows for the inventive evolution of performances and a deep engagement with audiences. Research is at the core of Boston University, and BU College of Fine Arts practices it every day in the form of creative experimentation. Booth Theatre and the adjacent CFA Production Center are laboratories for such research, and in every detail, they are purposebuilt for discovery. Recent productions include Angels in America, Dolores Claiborne, The Lathe of Heaven, The Exonerated, ...and Jesus Moonwalks the Mississippi, and Antigone. Learn more at bu.edu/booth.

Music by Igor Stravinsky Libretto by W. H. Auden and Chester Kallman Conductor Stage Director Scenic Designer Costume Designer Lighting Designer Stage Manager Production Manager Principal Coach & Chorus Master Coach Repetiteur Producer

William Lumpkin Jim Petosa James F. Rotondo III Ryan C. Goodwin Kat C. Zhou Eric J. Simon Ricky A. Moats Allison Voth Matthew Larson Angela Gooch Oshin Gregorian

Performed in two parts with one intermission A production of BU College of Fine Arts School of Music: Opera Institute and School of Theatre. By arrangement with Boosey & Hawkes, Inc., publisher and copyright owner.

CAST ANNE TRULOVE

* Kaileigh Riess + Caroline Corrales

TOM RAKEWELL

* Eric Finbarr Carey + Dongwhi Baek

TRULOVE

Frank Rosamond Jacob O’Shea, cover

NICK SHADOW

* Blake Jennings + Erik Danielson

MOTHER GOOSE

* Crystal Haynes + Jade Espina

BABA THE TURK

* Rebecca Printz + Myka Murphy

SELLEM

* Joseph Kilen + Brennan Meier

KEEPER OF THE MADHOUSE CHORUS

* Thursday/Saturday Performances + Friday/Sunday Performances

Jacob O’Shea Omar Rodriguez, cover Jillian Agona Caroline Bourg Mary Conley Tara Dougherty Elizabeth Finnen Drew Harter Jack Humphrey Joseph Kilen Madison Mackey Brennan Meier Jacob O’Shea Tara Palazuelos Anna Carolina Pelaes Nadya Rachid Omar Rodriguez

ORCHESTRA VIOLIN I Michael Duffett, concertmaster Hayoung Oh Freya Liu Hexing Ouyang Sean Lee Reyna Flores VIOLIN II Jing Sun, principal Bennett Astrove Kavita Shankar Yi-Cheng Shia Samuel Chung Jacqueline Bensen VIOLA Benjamin Burgdorf, principal Celia Daggy Nien-Tzu Lin Yen-Chi Chen CELLO Yeji Yoo, principal Michael Frontz Michael D’Arrigo Minyung Suh BASS Caroline Samuels, principal Noëlle Marty

FLUTE Courtney Regester, principal Kimberly Steininger PICCOLO Kimberly Steininger OBOE Hannah Staudinger, principal Katrina Kwantes ENGLISH HORN Katrina Kwantes CLARINET Tinghua Wu, principal Yiqiao Chen BASSOON Francesca Panunto, principal Zijie Cai HORN Jessica Young, principal Keianna Wen TRUMPET Kyra Hulligan, principal Douglas Mccurdy HARPSICHORD Shu-Peng Simon Wang TIMPANI Casey Voss MANAGERS Katrina Kwantes, lead Caroline Samuels

DESIGN & PRODUCTION TEAMS Assistant Stage Managers Production Assistant Run Crew

Jordana Roet, Anna Brevetti Isaak Olson Katherine Atkinson Dominic Colangelo Maurie Moore Jameson Murray Samuel Regueros Talia Sulla

Technical Director Assistant Scenic Designer Paint Charge Properties Master Assistant Technical Director Master Carpenter Paint/Scenic Build Crew

Taylor Dobbs Marina Sartori Trish Hawkins Celia LaCava Kendall Khan Emilia Kaczmarkiewicz Boston University Technical Production Department & Scenic Artists

Wig & Makeup Design Assistant Costume Designers Foreman Drapers

Junior Drapers Crafts Head Crafts

Rachel Shufelt Maddy Brown, Danielle Bazan Jesse Azevedo Jesse Azevedo Vinnie Loucks Whitney Vaughan Maria Albutra Eliza Ryus Kat Ibasco, Amanda Caswell Gabe Bagdazian Alison Miranda Maia Soltis

DESIGN & PRODUCTION TEAMS Wardrobe Monitor Wardrobe Crew

Assistant Lighting Designer Moving Light Programmer Master Electrician Light Board Operator Follow Spot Operators Lighting Crew Supertitles Audio Supervisor Assistant Audio Supervisor Sound Board Operator Sound Crew Front of House Manager Front of House Staff

Emily Keebler Eva Bernard Nicole Schneelock Daniel Perkins Andrea Sala Danielle Elegy McKenna Ebert John Holmes Bishop Edwards Sage Gunning Charley Danger Natalia Wendlandt Boston University Lighting Department Allison Voth Sean Doyle Will Tinsley Meredith Fein Boston University Sound Department David Picariello Dylan Avillanoza Katherine Brugger Peter DiMaggio Claire Gardner Shira Goldstein Rachel Harris Zoe Shiman Amy Stapenhorst Isabella Watson

SYNOPSIS Tom Rakewell is insane. The madman recalls the events of his life refracted through his mania. He imagines the idyllic countryside where he and Anne Trulove celebrate their love.

Anne’s father has found a job for Tom in the city, but Tom longs for an easier path to money. Nick Shadow appears with news that Tom has inherited a fortune from an unknown uncle. They must leave for London and Tom need only pay Shadow for his services after a year and a day. In the wicked city, Shadow introduces Tom to Mother Goose’s brothel. Back in the country, Anne fears the worst and decides that she must rescue Tom. Meanwhile, Tom, in his new London house, is already bored with ordinary pleasures, so Shadow suggests visiting the amazing bearded woman, Baba the Turk. When Anne arrives at Tom’s house, she is horrified to find him married to the hideous Baba. When Tom tires of Baba as well, Shadow appears with one last new idea… a machine that turns stones into bread.

Anne again appears to save Tom, but this time his house is for sale and his property for auction. The bankrupt Tom has disappeared with Shadow. Baba urges Anne to follow him.

A year and a day from their first meeting, Shadow brings Tom to a graveyard at night. A terrified Tom discovers he must pay not with money but with his soul. But, as Shadow is about to take hold of him, Tom hears Anne’s voice in the distance and his past love is reawakened.

Shadow, defeated, disappears into the ground. Tom survives, made insane by a final curse from Nick Shadow. Shut up in Bedlam, Anne cares for him and prepares him to meet his end. At his death, he is mourned by the other inmates of the asylum.

- Jim Petosa

MEET THE SINGERS Tenor Dongwhi Baek (Tom Rakewell), originally from South Korea, is a second-year student at the Boston University Opera Institute under the tutelage of Sharon Daniels. He received a Master of Music in Vocal Performance from the University of Cincinnati CollegeConservatory of Music and his Bachelor of Music in Vocal Performance from Chapman University. With the Opera Institute, Dongwhi has performed the role of Jimmy O’Keefe in Later the Same Evening, Schoolmaster in The Cunning Little Vixen, Detective Thibadeu from Dolores Claiborne, and Alfredo in La Traviata. In addition, he was seen as Rodolfo in La bohème with Opera in the Ozarks, Arbace in Idomeneo with CCM, and Rinuccio in Gianni Schicchi with Chapman University. He was also the winner of the Mu Phi and the NATS competitions. This coming April, he will be seen as Tito in La clemenza di Tito with BU Opera Institute.

led by Gil Rose, and at Tanglewood, the American Premiere of The Cricket Recovers led by Thomas Adès and a concert of J.S. Bach Cantatas with John Harbison. Carey also held residencies at the Carnegie Hall Song Studio with Renée Fleming, The Britten-Pears Festival, Aldeburgh, and a second-year fellowship at the Tanglewood Music Center. Awards include 2nd Prize and Liederkranz Foundation grant in the 2019 Gerda Lissner lieder competition, 1st place Bard Concerto Competition, and 1st place Sparks and Wiry Cries art song competition. Upcoming performances include Tenor soloist with Boston Symphony Orchestra chamber players in Doug Balliet’s Beast Fights in Boston and at Tanglewood and the title role in La clemenza di Tito at the Cutler Majestic Theater with the Opera Institute. ericfinbarrcarey.com

Caroline Corrales (Anne Trulove), soprano, from St. Louis, Missouri, is a second-year Master of Music in Eric Finbarr Carey (Tom Rakewell) , Vocal Performance student, under the tenor, is a second-year Opera Institute tutelage of Dr. Lynn Eustis. Caroline artist in the studio of Penelope Bitzas. earned a Bachelor of Music in Vocal Carey holds degrees from The Vocal Performance from Webster University.

Arts Program at Bard College, and With the Boston University Opera The Johns Hopkins University in Vocal Institute, Caroline has performed the Performance/Music Business. Roles at roles of Valentina in Later the Same The Opera Institute include Alfredo in La Evening, Chocholka in The Cunning Traviata, Thibodeau in Dolores Claiborne, Little Vixen, and has covered the role Schoolmaster/Mosquito in The Cunning of Vera in Dolores Claiborne. Other Little Vixen, and Jimmy O’Keefe in Later stage credits include Königin der Nacht the Same Evening. In the 2019/2020 in Die Zauberflöte, Madame Herz season Carey made his debut with the in Der Schauspieldirektor, La Fée in Boston Symphony Orchestra as tenor Cendrillon, and Maria in The Shell of soloist in Beethoven’s Choral Fantasy a Troll (world premiere). She won the led by Andris Nelsons, tenor soloist 2020 Boston District and the Susan in Bach B minor mass with Emmanuel Eastman Encouragement Award in the Music/Ryan Turner, Guildford Dudley New England Region of the Metropolitan in the world premiere of The Chronicle Opera National Council Auditions. She of Nine with Odyssey Opera/BMOP is also a prize winner of the New York

MEET THE SINGERS Lyric Opera Competition, the SouthernIllinois Young Artist Competition, and the NATS Competition. In March, she will be a featured soloist in The Metropolitan Chorale’s “World’s Fair” concert.

Erik Danielson (Nick Shadow), bass-baritone, began his singing career performing with his parents at two years old, and has been consistently performing ever since. He sang with the Rockford Kantorei for 3 years, then was a member of the Texas Boy’s Choir for 9 years. Since then he has obtained bachelor’s degrees in Vocal and Piano Performance from Texas Christian University, along with master’s degrees in Vocal Performance and Conducting from Southwestern Seminary. He is currently a member of the Opera Institute at Boston University where he is pursuing a career in opera under the instruction of Lynn Eustis. He has also performed extensively as a collaborative pianist with both instrumentalists and vocalists, along with teaching private voice and piano, and coaching both voice and clarinet. He has served as the Associate Minister of Music at Northwest Bible Church in Fort Worth and the Minister of Music at Northlake Baptist Church in Dallas. He currently sings with the Choir of the Church of the Advent in Boston. He has performed major roles in both opera and musical theater, including Captain von Trapp in The Sound of Music, both Leporello and Commendatore in Don Giovanni, and an upcoming role as Publio in La clemenza di Tito.

An Arkansas native, mezzo-soprano Jade Espina (Mother Goose) is a second-year Master of Music in Voice Performance student under the instruction of Penelope Bitzas. She holds a Bachelor of Music in Voice

Performance and Bachelor of Music Education-Choral Emphasis from the University of Colorado-Boulder, where she earned her Initial Colorado Teaching Licensure in K-12 Music Education. She has performed with BU Opera Institute in their productions of The Cunning Little Vixen (Lapák) and Later the Same Evening (Estelle Oglethorpe). In spring 2020, Jade will sing the roles of Annio in BU Opera Institute’s production of La clemenza di Tito. This summer, she will sing the title role of Dido in Halifax Summer Opera Festival’s production of Dido and Aeneas. Ms. Espina serves as the Boston University Symphonic Chorus Manager, Vocal and Piano staff member at 77 Arts Academy, teaching fellow with Boston Children’s Chorus, and mezzosoprano soloist at Church on the Hill in Boston.

Crystal Haynes (Mother Goose), mezzo-soprano, from Dallas, Texas, is a second-year Master of Voice student studying with Sharon Daniels. She received her bachelor’s of music degree in Vocal Performance from Lamar University. While at Boston University, Crystal has performed the role of Rose Segal from John Musto’s Later the Same Evening, as well as the partial roles of Donna Elvira from Mozart’s Don Giovanni, the Countess from Mozart’s Le nozze di Figaro, and Agnes from Bedřich Smetana’s The Two Widows. She has also performed the roles of Fatime in Gluck’s Der Betrogene Kadi, and Suor Angelica in Puccini’s Suor Angelica. Crystal will begin her studies of the partial role of Dorabella from Mozart’s Così fan tutte in this spring’s BU graduate opera scenes program.

Blake Jennings (Nick Shadow), bassbaritone, is a native of Longview, Texas.

MEET THE SINGERS Mr. Jennings is currently a second-year member of the Boston University Opera Institute. Recent Engagements include The Badger/Pastor (The Cunning Little Vixen) and Dottore Grenvil (La Traviata) with BU Opera, Don Alfonso (Così fan tutte) the Prophet (Dark Sisters) and Falstaff (Die lustigen Weiber von Windsor) with Boston Conservatory Opera, Luther and cover for Crespel (Tales of Hoffmann) and cover for Don Basilio (Il Barbiere di Siviglia) with Opera North, and Fourth Spirit (L’Orfeo) and cover for Bass (Hydrogen Jukebox) with the Chautauqua Opera Company.

This summer, Mr. Jennings will join Opera Saratoga as a Young Artist. Mr. Jennings earned a Bachelor of Music in Vocal Performance at Texas Christian University (‘16) and a Master of Music in Opera Performance (‘18) from the Boston Conservatory. Mr. Jennings is a student of Penelope Bitzas.

Joseph Kilen (Sellem), tenor, from Miles City, Montana, is a first-year Master of Vocal Performance student under the tutelage of Sharon Daniels.

Kilen has a Bachelor of Music Education from Montana State University. Sellem will be his first role performed while at Boston University. His previous opera experience was with Intermountain Opera, in Bozeman, Montana, as a chorus member in Don Giovanni.

In Musical Theatre, he played Sky in Mamma Mia with the Shane Lalani Center for the Arts in Livingston, MT. Kilen will be a featured soloist this July with the Montana Chamber Music Society, kicking off their concert series.

Brennan Meier (Sellem), tenor, is a first-year M.M. student at Boston University, studying under James Demler. He graduated in 2018 from

Chapman University in Orange, CA with degrees in Voice Performance and English Literature and has been seen in lyric and character tenor roles such as Henrik in A Little Night Music, Sam in Street Scene, Alfred in Die Fledermaus, and Count Boni in Die Csardasfurstin; as well as in concert repertoire as a tenor soloist in Puccini’s Messa di Gloria, Haydn’s Creation, and Handel’s Messiah.

He has also performed as a young artist at Seagle Music Colony, the Hawaii Performing Arts Festival, and Taos Opera Institute, and is a member of the BYSO Opera and Odyssey Opera Chorus in Boston. In Mr. Meier’s free time, he is also a jazz keyboardist and can be heard on recordings with Freedoms Music LLC. and Fwoops Lil’ Big Band.

From Roswell, Georgia, Myka Murphy (Baba the Turk) is a mezzo-soprano in the Opera Institute at Boston University under the tutelage of Professor Penelope Bitzas. She has a master’s of music in Voice from The Juilliard School and bachelor’s of Music in Voice from the University of Southern Mississippi. With the Opera Institute, she most recently performed the role of Thelma Yablonski from Later the Same Evening and is excited to be portraying Baba the Turk in The Rake’s Progress. Past performances include the Sorceress in the Juilliard School’s production of Dido and Aeneas.

This past season, she made her Jackson Symphony debut as the mezzo-soloist for Beethoven’s 9th Symphony and her other recent roles are La Principessa (Suor Angelica), Zita (Gianni Schicchi), and Maman (L’enfant et les sortilèges).

With the Opera Theatre of Saint Louis, Ms. Murphy will perform Mrs. Ott in Susannah and cover Miriam in Awakenings this summer.

MEET THE SINGERS she studied with Elizabeth Hynes and Pamela Hinchman, respectively. At BU, Kaileigh performed Ruth (Later the Same Evening) and performs Servilia (La clemenza di Tito) this spring. Previous credits include Contessa Almaviva (Le nozze di Figaro), Blanche (Dialogues of the Carmelites), Morgana (Alcina), and Laurie (The Tender Land). Last year, Kaileigh made her professional recital debut with pianist Brent McMunn at the Boston Court Theatre as one of their Emerging Artists of 2019. During her Mezzo-soprano Rebecca Printz (Baba two summers with Central City Opera, Kaileigh received the Dorsey Family the Turk) studies at the BU Opera Award and Young Artist Award for Institute under Associate Professor Excellence. This summer, Kaileigh will of Voice Penelope Bitzas. Rebecca be a vocal fellow at Music Academy of recently performed the role “Hannah the West, covering Gretel (Hänsel und After” in BU’s production of Laura Kaminsky’s chamber opera As One. Also Gretel) and singing La pastourelle/La at BU, Rebecca performed the title role chouette (L’enfant e les sortilèges). in Tobias Picker’s Dolores Claiborne Baritone Frank Rosamond (Trulove), and portrayed Gertrude Stein in Tom from Dallas, Texas, is a second-year Cipullo’s After Life. Rebecca earned her singer at the Boston University Opera graduate degree at CCM as a student Institute where he studies under Dr. Lynn of Professor of Voice William McGraw.

Eustis. He received his master’s of music At CCM, Rebecca was seen as Zita in degree from Florida State University Gianni Schicchi, Paquette in Candide, and his Bachelor of Music from and Madame de la Haltière in Cendrillon. Southern Methodist University. He As an undergraduate, Rebecca studied performed the role of Ronaldo both art history and vocal performance, Cabral in Later the Same Evening studying voice with Assistant Professor this past Fall in BU’s Fringe of Voice Kendra Colton. At Oberlin, role Festival. Roles at BU include: highlights include the title role in The Harasta in The Cunning Little Rape of Lucretia. Last summer, Rebecca Vixen, Joe St. George in participated in the Marlboro Music Dolores Claiborne, and Festival’s vocal program and greatly Pablo Picasso in After looks forward to returning to Marlboro Life. Other credits: for a second summer in 2020.

Pandolfe in Cendrillon (UCONN), Dr. Kaileigh Riess (Anne Trulove), soprano (Foxborough, MA) is in her first Grenville in La Traviata (FSU) year at the Opera Institute studying with Penelope Bitzas. She attended the and Alidoro in University of Southern California (MM) La Cenerentola (FSU). and Northwestern (BM, BA) where Jacob O’Shea (Keeper of the Madhouse), bass-baritone, from Clifton Park, NY is a first-year master of voice student under the tutelage of Penelope Bitzas. Jacob received his bachelor’s of music degree in Vocal Performance from Syracuse University. With Boston University, Jacob has performed Joe Harland in the production of Later the Same Evening. Previously, he has performed Figaro in Le Nozze di Figaro, Simone in Gianni Schicchi, Morales in Carmen and Frank in Die Fledermaus.

La Clemenza di tito

April 27 - April 30, 2020 Music by

Wolfgang Amadeus Mozart Libretto by

Caterino MazzolĂ

Cutler Majestic Theatre 219 Tremont St, Boston, MA Tickets bu.edu/cfa/opera

Friday March 20, 2020 7:30 pm Tickets: $15 bu.edu/cfa/bu-at-carnegie-hall 3:13 PM

Boston University Tanglewood Institute

2/19/20

LEARN MORE AND APPLY bu.edu/tanglewood

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Instrumentalists, singers, conductors and composers ages 10–20.

Scholarships available!

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A SUMMER OF MAGIC. A LIFETIME OF MUSIC.

ARTISTIC & DESIGN TEAM William Lumpkin (CONDUCTOR), Associate Professor of Music, is the Artistic Director and Conductor of the Opera Institute at Boston University where he conducts Opera and Chamber Orchestra performances.

He has conducted Boston Lyric Opera productions of Cosí fan tutte and Dove’s Flight and conducted the premiere of Flight and Hansel and Gretel with Opera Theatre of St. Louis. In 2002, Lumpkin led performances of Philip Glass’ Galileo Galilei as part of the Brooklyn Academy of Music’s New Wave Festival. Mr. Lumpkin was Assistant to the Music Director at Opera Theatre of Saint Louis where he made his company debut conducting performances of La bohème, followed by Magic Flute and Lucia di Lammermoor. He has appeared as guest conductor at Indiana University and University of Illinois at Urbana-Champaign.

Other professional credits include Wolf Trap Opera Company, Boston Lyric Opera, Aspen Opera Theatre Center, Chicago Opera Theater, and the Los Angeles Opera. Mr. Lumpkin holds a BM from the Eastman School of Music and a D.M.A. in Collaborative Piano from the University of Southern California.

Jim Petosa (STAGE DIRECTOR) served as the director of the Boston University College of Fine Arts School of Theatre from 2002-2019, and as Artistic Director of New Repertory Theatre in Watertown, Massachusetts from 2012-2019. In August 2012, Petosa completed his tenure as Artistic Director of Maryland’s Olney Theatre Center for the Arts, a position he held since 1994. In 2008, Petosa established the Boston Center for American Performance, the professional extension of the BU School of Theatre and served as BCAP’s Artistic Director. Petosa also serves as one of three artistic directors for PTP/NYC, a company devoted to the

presentation of political works in an annual festival of plays in New York City. He has directed many operas with the Institute, including Picker’s Dolores Claiborne, Emmeline, Therese Raquin, Britten’s Owen Wingrave, A Midsummer Night’s Dream, Dove’s Siren Song, Brooks’ La tragedie de Carmen, Paulus’ The Postman Always Rings Twice, among others. Petosa has served as director for the New York Theatre Studio, Theatre Matrix, and as performing arts coordinator for the Cathedral of St. John the Divine in Manhattan. A member of Actors’ Equity Association, Petosa has served on the board of the Society of Stage Directors and Choreographers, Catalyst Theatre, and Playwrights Forum. He is currently the president of the board of Stage Source, the membership advocacy organization in support of the practice of theatre throughout New England. He serves on the advisory board of New Repertory Theatre and as a member of the board of United First Parish Church in Quincy, Massachusetts.

James F. Rotondo III (SCENIC DESIGNER) is a first-year MFA candidate in scene design at Boston University, where he also earned his BFA in 2017. Recent credits include Willy Wonka (Wheelock Family Theatre), Hansel and Gretel Studio Tour (Atlanta Opera), The Queen of Spades and Noah’s Flood (Glimmerglass Festival).

Rotondo also designed Emmeline and Vinkensport, of the Finch Opera for the BU Opera Institute. Upcoming designs include La Calisto at New England Conservatory, and Jungle Book and Cosí? at the Glimmerglass Festival. jamesfrotondoiii.com Instagram: @jfriii_designs Ryan C. Goodwin (COSTUME DESIGNER) is a second-year graduate student at Boston University studying for his Master of Fine Arts in Costume Design. Some of Ryan’s most recent design credits include: Kamioroshi, The Descent of the Gods (Boston University), After Life

ARTISTIC & DESIGN TEAM (Boston University), Cosí Fan Tutti (Boston Conservatory), Blood & Gifts (Gordon College), and Clybourne Park (Salem State University). Ryan was also the resident assistant costume designer for the Boston Lyric Opera from 2015-2018 working on productions such as La bohème (CD: Nancy Leary), The Merry Widow (CD: Gail Astrid Buckley), Carmen (CD: Mercè Paloma), Tosca (CD: Deborah Newhall), and The Three Penny Opera (CD: Charles Neumann).

Stage Management and moving to N.Y.C. this upcoming September. More Information at ericjsimon.net.

Eric J. Simon (STAGE MANAGER) is thrilled to be stage managing The Rake’s Progress for the BU Opera Institute. His previous work with the Opera Institute includes Later the Same Evening (SM), Albert Herring (ASM), and Le Nozze di Figaro (PA). He has also worked on the BU College of Fine Arts School of Theatre’s productions of Angels in America, Part One (SM) and Ripe Frenzy (ASM). Eric will be returning to the Booth Theatre for the upcoming production of Sondheim’s Anyone Can Whistle (SM). Eric spent last summer working at Williamstown Theatre Festival on the pre-Broadway production of Grand Horizons and their community works production of Summer’s Soldier. Eric will be graduating this May with his BFA in

Opera Institute. A well-known coach with a specialty in diction, she has worked with such companies and festivals as Boston Lyric Opera, Opera Boston, Chautauqua Opera, Opera North, Opera Unlimited, The Florence Voice Seminar, and the Athens Music Festival. Also a recognized supertitlist, her titles have been used nationwide, including at Washington Opera and the Chicago Symphony, and, internationally, at the Barbican Festival in London. As a specialist in the music of Paul Bowles, in 1992, she produced and performed in a multi-media performance piece entitled Paul Bowles: One Man, Two Voices at Merkin Hall in New York, and in 1995, she premiered a set of piano preludes in the EOS Ensemble’s Bowles Festival. Ms. Voth is also

Ricky A. Moats (PRODUCTION MANAGER) is a first-year graduate student at Boston University working on his MFA in production management with a certification in arts management. He holds a BFA in theatre design and technology, with an emphasis in production management and a minor in dance from West Virginia Kat C. Zhou (LIGHTING DESIGNER) is University. Currently, Ricky has been thrilled to return to the Opera Institute, collaborating with TEDxCambridge on their having designed The Cunning Little Vixen Salon Series as the Production Director. In last spring. She is a third-year MFA candidate 2018, he was the Head of Technical Stage in lighting design at the School of Theatre, Staff for Royal Caribbean Cruises on the where previous credits include Runaways, Allure of the Seas. Each week overseeing Our Country’s Good, and Our Town. Other staff for twenty-five to thirty production recent projects around town: Wolf Play shows weekly. Shows ranged from Las Vegas (Company ONE), El Cimarrón (American headliners, musicals such as The Smash Hit Modern Opera Company), With Care Broadway Musical Mamma Mia, and other (AMOC), Marie and Rosetta (Greater Boston Royal created productions like the aqua dive Stage Company), The Book Club Play (BPT), show Oceanaria in the outdoor aqua theatre and The Tragic Ecstasy of Girlhood (BPT). and Ice Games in the fully equipped ice rink She also serves as the artist-in-residence blackbox theatre. rickyamoats.com at the Signet Society of arts and letters Allison Voth (PRINCIPAL COACH) is at Harvard College. More information: an Associate Professor of Music at Boston katzhoudesign.com University and Principal Coach at BU’s

ARTISTIC & DESIGN TEAM the Music Director of the Cantata Singers’ Chamber Series and can be heard on CRI recordings.

and at The Walnut Hill School for the Arts where she served ten years as the Head of the voice program. Ms. Gooch also serves on the voice faculty at Boston Conservatory at Matthew Larson (COACH) received his Berklee and at The Longy School of Music of Doctorate in Collaborative Piano from Arizona State University under the tutelage Bard College. She has been honored by the NFAA and named in the Who’s Who Among of Eckart Sellheim. An accomplished recitalist, Dr. Larson has played over 1,000 American Teachers as one the arts most distinguished teachers. Ms. Gooch serves performances in the US and Europe. He as music director of the Opera Theatre has worked with such varied artists as of Weston in VT where she most recently Metropolitan Opera stars Carol Vaness, Maria Spacagna, Eric Owens, and Lawrence music directed the east coast premiere of Nolan Gasser’s The Secret Garden. Ms. Brownlee; Academy of Ancient Music Gooch has also spent a great deal of her director Christopher Hogwood; vocal career as an operatic soprano. Credits pedagogy pioneer Richard Miller; and the eminent collaborative artist Dalton Baldwin, include Voice of the Fountain in Golijov’s with whom Matthew was invited to study in Grammy-Award-winning Ainadamar, Ward’s New York. Past positions include Assistant opera The Crucible, and Sawyer’s Our American Cousin, in which she created the Conductor for Boston Lyric Opera; Music Director for the University of Connecticut role of Mary Lincoln with the Boston Modern Orchestra Project.

Opera Program; Staff Pianist for Yale University Opera; Vocal Coach at Brown Oshin Gregorian (PRODUCER) is the University; Staff Pianist for The American Managing Director and Producer for the Institute of Musical Studies in Graz, Austria; Boston University Opera Institute. Previous Music Director of Opera Providence; positions include Director of Operations Vocal Coach at Walnut Hill School for the with the ProArte Chamber Orchestra, Arts; Pianist for the Boston Symphony and General Manager for Collage New Orchestra’s Tanglewood Festival Chorus; Music. Mr. Gregorian holds a BM in vocal Music Director of Cape Cod Opera; and performance from Boston University, a Vocal Coach for Tanglewood Institute’s MM in vocal performance from Manhattan Young Artist Vocal Program. Currently, Dr. School of Music, and is a graduate of the Larson is on faculty at Boston University; Opera Institute with honors. With the Opera Music Director of Seaglass Theater Institute, he has been seen as Mercutio Company of New Bedford MA; and Minister in Roméo et Juliette, Malatesta in Don of Music at First Congregational Church Pasquale, Demetrius in A Midsummer Night’s of Milton, Massachusetts. In January 2020 Dream, Il Podesta in La Finta Giardiniera, he earned a Grammy Award as pianist on and Junius in The Rape of Lucretia, among Boston Modern Opera Project’s recording others. He has performed in numerous of Tobias Picker’s Fantastic Mr. Fox. concerts and oratorio works with ensembles such as the Tanglewood Festival Angela Gooch (REPETITEUR) joined Chorus/Boston Symphony Orchestra, The the opera faculty in 2018 as pianist, coach, Newburyport Choral Society, and Boston and music director of Opera Project. She Youth Symphony, among others. Mr. has served on the faculty at Northeastern Gregorian made his Carnegie Hall debut in University, Boston University, the 2005 under the auspices of Music Armenia.

Tanglewood Young Artist Vocal Program

SCHOOL OF THEATRE

SPRING 2020

FEBRUARY 27 - MARCH 1

APRIL 24 - 26

PHOTOGRAPH 51

STEWART F. LANE AND BONNIE COMLEY MUSICAL:

By Anna Ziegler Directed by Avital Shira

STUDIO ONE

FEBRUARY 29 - MARCH 4

OTHELLO

By William Shakespeare Directed by Noah Putterman

COPELAND BLACK BOX STUDIO THEATRE 354

MARCH 1 - 4

A SEAGULL- a workshop presentation

By Anton Chekhov Adapted by Blair Cadden

STUDIO 105

MARCH 9

NEW YORK THEATRE SHOWCASE

HELEN MILLS EVENT SPACE AND THEATER

139 West 26th Street, New York, NY MARCH 16 - 22

NEW WORKS FEST

Kirsten Greenidge, Artistic Director Kristin Leahey, Festival Dramaturg

APRIL 23 - 28

BURN THIS

By Lanford Wilson Directed by Blair Cadden

STUDIO 105

ANYONE CAN WHISTLE

Book by Arthur Laurents Music and Lyrics by Stephen Sondheim Orchestrations by Don Walker Directed by Clay Hopper Music Direction by Matthew Stern Choreography by Larry Sousa

JOAN & EDGAR BOOTH THEATRE

APRIL 24 - 29

THE LITTLE DOG LAUGHED

By Douglas Carter Beane Directed by Kevin Kolton Bradley

COPELAND BLACK BOX STUDIO THEATRE 354

APRIL 27 - 30

LA CLEMENZA DI TITO

By Wolfgang Amadeus Mozart Conducted by William Lumpkin Stage direction by Omer Ben Seadia

CUTLER MAJESTIC THEATRE

APRIL 30 - MAY 3

LITTLE ROW BOAT; OR, CONJECTURE

By Kirsten Greenidge Directed by Adam Kassim (CFA’05)

STUDIO ONE

MAY 2 - 6

THE PENELOPIAD

By Margaret Atwood Directed by Noah Putterman

“JEWELS 2” MILLER STUDIO THEATRE 356

MAY 4

BOSTON THEATRE SHOWCASE

YUO LAN LOBBY JOAN & EDGAR BOOTH THEATRE

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ABOUT THE COMPOSER Igor Feodorovich Stravinsky (Composer) was born near St. Petersburg, on June 17, 1882. Stravinsky’s musical education began with piano lessons at home when he was ten; he later studied law at St. Petersburg University and music theory with Fyodor Akimenko, Vassily Kalafati, and Nikolay Rimsky-Korsakov.

The Firebird, a ballet commissioned by Sergei Diaghilev and premiered by his Ballets Russes in Paris in 1910, followed by Petrushka (1911), brought Stravinsky into sudden international prominence. His next major score – a third ballet commission from Diaghilev – is one of the major landmarks in the history of music: The Rite of Spring marked the coming of modernism in music and was met with a mixture of astonishment and hostility. A rapid succession of works followed – The Nightingale, an opera, in 1914, Renard (1915), The Soldier’s Tale (1918), the Symphonies of Wind Instruments (1920). Stravinsky settled in France in 1920, taking French citizenship in 1934. The explicitly Russian flavour of his music – played out in the Symphonies, Mavra (1922) and Les Noces (1923) – gave way to a more refined neo-classicism, beginning with the ballet Pulcinella (1920). In a mere eight months starting in November 1938, Stravinsky suffered the deaths of his daughter, mother, and wife. Faced with an imminent war in Europe, Stravinsky and his second-wife-to-be emigrated to the United States.

Pulcinella turned out to be only the first of many works in which Stravinsky subsumed the music of the past to his own purposes, among them The Fairy’s Kiss and Apollon Musagète. Two choral-orchestral works – Oedipus Rex (1927) and the Symphony of Psalms (1930) – showed that he could also work on an epic scale; and it was not long before he tackled a purely orchestral Symphony in C (1938), which was followed by the Symphony in Three Movements. With Perséphone (1934), Jeu de Cartes (1936) and Orpheus (1946), his series of ballets continued, generally in collaboration with George Balanchine. Stravinsky’s neo-classical period culminated in 1951 in his three-act opera The Rake’s Progress, to a libretto by W. H. Auden and Chester Kallman. One of the most unexpected stylistic volte-faces in modern music came in 1957, with the appearance of the ballet Agon. Hitherto, he had ignored Schoenbergian serialism, but in 1952 he began to study Webern’s music intensely and Agon was the first work in which he embraced serialism wholeheartedly. The chief works from Stravinsky’s late serial flowering are Threni, (1958), The Flood (1962), Abraham and Isaac (1963), Variations for Orchestra (1964) and Requiem Canticles (1966).

Stravinsky was also active as a performer of his own music, initially as a pianist but increasingly as a conductor. The first among contemporary composers to do so, he left a near-complete legacy of recordings of his own music. His conducting career continued until 1967, when advancing age and illness forced him to retire from the concert platform. Stravinsky died on April 6, 1971, in New York, and his body was flown to Venice for burial on the island of San Michele, near to the grave of Diaghilev.

Excerpted and reprinted by kind permission of Boosey & Hawkes

ABOUT THE LIBRETTISTS Wystan Hugh Auden (W. H. Auden) was born in York on 21 February 1907. His father was a doctor and academic. Auden was educated at Oxford University, graduating in 1928. He went to live in Berlin for a year, returning to England to become a teacher. His early poetry made his reputation as a witty and technically accomplished writer. He collaborated with Christopher Isherwood, who he had met at school, on a number of plays.

In 1935, Auden married Erika Mann, the daughter of the German novelist Thomas Mann. It was a marriage of convenience to enable her to gain British citizenship and escape Nazi Germany - Auden was himself homosexual.

Auden’s political sympathies inspired him to go to Spain in 1937 to observe the Spanish Civil War. In 1939, Auden and Isherwood emigrated to the United States.

This was a controversial move, regarded by some as a flight from danger on the eve of war in Europe. In New York, Auden met poet Chester Kallman who would be his companion for the rest of his life. Auden taught at a number of American universities and, in 1946, took US citizenship.

He continued to publish poetry including ‘The Age of Anxiety’ (1947) for which he was awarded the Pulitzer Prize. He collaborated with Kallman on the libretto for Stravinsky’s opera ‘The Rake’s Progress’ (1951). From 1956 to 1961 he was professor of poetry at Oxford University.

In 1972, with his health declining, Auden left America. He moved to live in Oxford, in a cottage belonging to his old college, Christ Church. In the late 1950s, Auden had bought a house in Austria, where he spent six months of every year. He died in Austria on 29 September 1973.

Excerpted from the British Broadcasting Corporation

PROGRAM NOTE One inspiration for this “moral fable” in “Italian-Mozartian” style (“I will lace each aria into a tight corset”) was Hogarth’s series tracking the downfall of Tom Rakewell, who squanders his inheritance on women, gambling, and drink and dies in a madhouse. In Auden’s much admired libretto, Tom is equipped with a sporadic moral conscience, as well as a satanic alter ego: Nick Shadow. As in Oedipus Rex, man is here a victim of implacable forces that control and crush him. But Anne Trulove, steadfast in devotion, rescues Tom’s soul. The pervasive detachment of Stravinsky’s score doubles the pathos of Anne’s final lullaby.

Reprinted by kind permission of Boosey & Hawkes

TICKETS AVAILABLE NOW WHEELOCKFAMILYTHEATRE.ORG 617.353.3001 180 Riverway, BOSTON, MA

April 24 - 26, 2020 l

omley Musica

C e and Bonnie Stewart F. Lan

aurents L r u h t r A y b Book s by Music & Lyric heim Stephen Sond Directed by Clay Hopper Music Direction by Matthew Stern Choreography by Larry Sousa

bu.edu/cfa/season

College of Fine Arts Harvey Young Dana Clancy Gregory Melchor-Barz Susan Mickey

Dean, College of Fine Arts Director, School of Visual Arts Director, School of Music Director, School of Theatre

School of Theatre McCaela Donovan Beth Barefoot Johnny Kontogiannis Adam Kassim Brian Dudley Olivia Dumaine Allyson Beheler Penney Pinette Todd Burgun Emily Ranii

Assistant Director Business Manager Production Manager 855 Production Manager Undergraduate Academic Advisor Administrative Coordinator, Performance Administrative Coordinator, Design & Production Costume Shop Manager Scene Shop Manager Academic Program Head, BUSTI

Performance Faculty Judy Braha# Yo-EL Cassell Mark Cohen Kirsten Greenidge Christine Hamel# Michael Hammond Clay Hopper Melodie Jeffery-Cassell Michael Kaye# Paula Langton

Kristin Leahey Georgia Lyman Maurice Emmanuel Parent Jim Petosa Betsy Polatin Matthew Stern Micki Taylor-Pinney Elaine Vaan Hogue Ryan Winkles

Design & Production Faculty Jorge Arroyo Joel Brandwine# Diane Fargo Julie Hennrikus Nancy Leary# James McCartney Seรกghan McKay James Noone#

David Remedios# Jon Savage# Mark Stanley# Cristina Todesco Mariann Verheyen# Denise Wallace-Spriggs Renee E. Yancey#

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Program Head

School of Music ADMINISTRATIVE

Oshin Gregorian Jill Pearson Cami Sylvia Lynn Eustis Diana Dansereau ADMISSIONS AND STUDENT SERVICES

Laura Conyers Megan Anthony Barbara Raney Gilberto Cruz Benjamin Court

PRODUCTION AND PERFORMANCE

Christopher Dempsey Meredith Gangler Mary Gerbi Alexander Knutrud Xiaodan Liu Daniel Vozzolo UNIVERSITY ENSEMBLES

Michael Barsano Sharif Mamoun

Managing Director, Opera Institute & Opera Programs Business Manager Staff Assistant Director of Graduate Studies Director of Undergraduate Studies

Director of Admissions Admissions Coordinator Student Services Manager Administrative Coordinator, Composition/Theory, Music Education, Musicology and Ethnomusicology Administrative Coordinator, Performance & Applied Studies, and Ensembles Director, Production and Performance Librarian, Music Curriculum Library Ensembles Manager Stage Manager Senior Piano Technician/Restorer Administrative Coordinator

Director, University Ensembles Assistant Director, Athletic Bands

School of Music Faculty STRINGS Steven Ansell viola* Edwin Barker double bass* Heather Braun violin Lynn Chang violin Hye Min Choi viola Carolyn Davis Fryer double bass Daniel Doña viola, chamber Franziska Huhn harp Mihail Jojatu cello Bayla Keyes violin * Hyun-Ji Kwon cello Michelle LaCourse viola*++ *

Full-time faculty

Warren Levenson guitar Benjamin Levy double bass Lucia Lin violin * Dana Mazurkevich violin Yuri Mazurkevich violin * Richard Nangle guitar Michael Reynolds cello * Rhonda Rider cello Todd Seeber double bass Klaudia Szlachta violin Lawrence Wolfe double bass Peter Zazofsky violin * Jessica Zhou harp

++ Department Chairs

PIANO Victor Cayres Tanya Gabrielian Gila Goldstein * ++ Linda Jiorle-Nagy * Pavel Nersessian * Boaz Sharon * COLLABORATIVE PIANO Javier Arrebola * ++ Shiela Kibbe * Robert Merfeld continued >

School of Music Faculty continued ORGAN Peter Sykes * ++ VOICE Penelope Bitzas * Sharon Daniels * James Demler * ++ Gary Durham Lynn Eustis * Betsy Polatin Douglas Sumi *++ vocal coaching and repertoire WOODWINDS, BRASS & PERCUSSION Kenneth Amis tuba Jennifer Bill saxophone Kyle Brightwell percussion Geralyn Coticone flute Terry Everson trumpet * John Ferrillo oboe Timothy Genis percussion Nancy Goeres bassoon Ronald Haroutunian bassoon John Heiss flute Renee Krimsier flute Gabriel Langfur tenor/bass trombone Kai-Yun Lu clarinet Don Lucas trombone* ++ David Martins clarinet * Mark McEwen oboe Toby Oft trombone Elizabeth Ostling flute Rob Patterson clarinet * Margaret Phillips bassoon Andrew Price oboe Kenneth Radnofsky saxophone Mike Roylance tuba/ euphonium Eric Ruske horn * Robert Sheena English horn Samuel Solomon percussion Richard Stoltzman clarinet Linda Toote flute * HISTORICAL PERFORMANCE Aldo Abreu recorder Sarah Freiberg cello * Full-time faculty

Greg Ingles sackbut Laura Jeppesen viola da gamba Christopher Krueger baroque flute Catherine Liddell lute Robinson Pyle natural trumpet Gonzalo Ruiz baroque oboe Aaron Sheehan voice Jane Starkman baroque violin/viola Peter Sykes harpsichord *++

André de Quadros * John Genovese Andrew Goodrich * Karin Hendricks *++ Fred Kersten David Kjar Ronald Kos * Tavis Linsin * Ulrike Präger Tawnya Smith * Katharine Stuffelbeam Kinh T. Vu * John Wriggle

MUSICOLOGY AND ETHNOMUSICOLOGY Marié Abe * Michael Birenbaum Quintero*++ Victor Coelho * Brita Heimarck * Miki Kaneda * Gregory Melchor-Barz * Director, School of Music Joshua Rifkin * Andrew Shenton * Rachana Vajjhala * Jeremy Yudkin *

ENSEMBLES Jennifer Bill Leland Clarke * Joshua Gersen Aaron Goldberg * William Lumpkin * David Martins * ++ Mark Miller Mariah Wilson

COMPOSITION AND THEORY Vartan Aghababian Martin Amlin *++ Deborah Burton * Justin Casinghino Richard Cornell * Joshua Fineberg * Samuel Headrick * David Kopp * Rodney Lister * Mary Montgomery Koppel Ketty Nez * Andrew Smith John H. Wallace * Steven Weigt * Jason Yust * MUSIC EDUCATION Alexandre Abdoulaev Mark Berger Diana Dansereau * ++ Department Chairs

OPERA INSTITUTE Rita Cote Gary Durham Angela Gooch Melodie Jeffrey-Cassell Matthew Larson * William Lumpkin * Jim Petosa Emily Ranii Nathan Troup Allison Voth * EMERITUS Mark Kroll historical performance Sandra Nicolucci music education STAFF PIANISTS Michelle Beaton voice Anna Carr voice Siu Yan Luk strings Clera Ryu voice Lorena Tecu * strings Chelsea Whitaker voice

Boston University College of Fine Arts

Established in 1954, Boston University College of Fine Arts (CFA) is a community of artist-scholars and scholar-artists who are passionate about the fine and performing arts, committed to diversity and inclusion, and determined to improve the lives of others through art. With programs in music, theatre, and visual arts, CFA prepares students for a meaningful creative life by developing their intellectual capacity to create art, shift perspective, think broadly, and master essential 21st-century skills. CFA offers a wide array of precollege, undergraduate, graduate, and doctoral programs, as well as a range of online degrees and certificates. Learn more at bu.edu/cfa.

Boston University College of Fine Arts School of Music: Opera Institute

The Opera Institute at CFA School of Music is an intensive, highly selective two-year performancebased training program for emerging operatic artists. A professional faculty and renowned guest artists provide personal support and training in all areas pertinent to a career in opera, including voice, acting, languages, and movement styles. Additionally, the Opera Institute also selects undergraduate and graduate singers from the School of Music who demonstrate true operatic potential and have mastered an intermediate integration of acting, vocal, and movement skills for the Opera Theater, Opera Workshop, and Opera Project programs.

Boston University College of Fine Arts School of Theatre

The School of Theatre at the College of Fine Arts at Boston University is a leading conservatory for the study of acting, stage management, design, production, and all aspects of the theatre profession. These programs of study are enriched by the School’s access to the greater liberal arts programs at Boston University. The School of Theatre values the notion of “the new conservatory� and seeks to provide students with opportunities for artistic growth through a rigorous curriculum, professional connections, and an emphasis on collaboration and new work.

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