CCM's Mainstage Series Presents 'Britten's The Turn of the Screw'

2018-19 MAINSTAGE PERFORMANCES

BRITTEN’S Music by Benjamin Britten Libretto by Myfanwy Piper, after a story by Henry James

CCM OPERA

Nov. 15-18, 2018 Patricia Corbett Theater

CCM Mainstage Season Production Sponsor

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DIVISION OF THEATRE ARTS, PRODUCTION AND ARTS ADMINISTRATION PRESENTS

BRITTEN’S THE TURN

OF THE SCREW

Music by Benjamin Britten Libretto by Myfanwy Piper, after a story by Henry James Conductor Aik Khai Pung Director Vincent DeGeorge Scenic Designer Mark Halpin

Lighting Designer Michael Ekema-Nardella*

Costume Designer Brandon Thompson*

Production Stage Manager Mikaela “Mickey” Acton* Wig Designer Marnee Porter*

Musical Preparation Marie-France Lefebvre Dialect Coach D’Arcy Smith * CCM Student

Nov. 15-18, 2018 Patricia Corbett Theater Mainstage Season Production Sponsor

Macy’s

Opera Department Sponsor Mr. & Mrs. Edward S. Rosenthal

Opera Production Sponsor Genevieve Smith

BRITTEN’S THE TURN OF THE SCREW is presented by arrangement with Boosey & Hawkes, Inc. publisher and copyright owner.

The video or audio recording of this production is prohibited.

The University of Cincinnati does not discriminate on the basis of disability, race, color, religion, national origin, ancestry, medical condition, genetic information, marital status, sex, age, sexual orientation, veteran status or gender identity and expression in its programs and activities. The complete Notice of Nondiscrimination can be found at uc.edu/about/policies/ non-discrimination.

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NOTES

DIRECTOR’S NOTE I don’t usually spend a lot of time thinking about ghosts. Even as a young boy I never enjoyed ghost stories or tales of the supernatural. However, the story that is about to unravel before you, originally penned by Henry James in 1898 and brilliantly reimagined by Benjamin Britten in 1954, has provided me with the unique opportunity to reconsider my relationship with the spirit world.

The characters in this story, ghosts or not, are haunted. Haunted by hasty decisions made for all the wrong reasons, by deeds regretfully done and by secrets left untold. Haunted by love and loss and by situations seemingly out of their control. Looking at my life, which this opera compels me to do, I realize that I too have, at times, been haunted by my past. And I wonder, am I being haunted right now? Maybe the reason I’ve never been drawn to ghost stories is because they hit too close to home. And you… ?

- Vincent DeGeorge, Director

DRAMATURG’S NOTE In Henry James’s novella, The Turn of the Screw (1898), a Governess becomes convinced that the two children in her care, Miles and Flora, are under the evil and corrupt influences of the ghosts of the former family servants, Peter Quint and Miss Jessel. Since the evil remains ambiguous and unresolved, the quiet power and transcendence of the story results from generations of readers’ ongoing confusion and suspense.

British composer Benjamin Britten (1913-76) first became fascinated with the story after hearing a radio broadcast of the novella when he was 18 years old. He talked about the story’s potential as an opera with librettist Myfanwy Piper (1911-97) years before they started setting it for the English Opera Group, the chamber opera company Britten had helped to found. As Piper prepared the libretto, Britten suggested changes. Main concerns were how much to impose an interpretation on James’ story, how to make singing ghosts ambiguous.

Britten wrote the opera at great speed, completing it in four months in 1954. Across the work’s two acts, construction is incredibly tight. The viewer experiences the story unwinding through a prologue and 16 compact scenes, separated by 15 instrumental variations. The musical construction is equally tight. A 12-note “Theme,” first heard in the prologue, underlies the unfolding variations and becomes evident at vital musical moments, spiraling through ever-wider spans as the Governess’ uneasiness mounts within her labyrinth.

To the cast of six characters, the orchestral variations serve as a seventh, observing, commenting and shifting between Bly’s world of the living (A major) and the domain of the ghosts (A-flat major).

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Malo: I would rather be Malo: in an apple-tree Malo: than a naughty boy Malo: in adversity.

The theme of innocence challenged by corrupting influences of evil — more specifically, the innocence of children threatened by potential corrupting power of adults — is one to which Britten returned frequently in his works.

The cryptic malo rhyme was originally formulated to help Latin masters teach boys to distinguish the verb malo (I wish) from the nouns malus (apple tree), malum (evil, adversity), and the adjective malus (bad, wicked). In the opera, this rhyme, with its clear allusion to Eden and what loss of innocence meant there, is first sung hauntingly by Miles.

As the malo theme re-emerges through subsequent scenes, it continually questions what is happening at Bly: which meaning of malo applies? Who is innocent and who corrupt? Are the children haunted by the ghosts, as James told it? Or are we haunted by a young, devoted woman who lost her sexual innocence and her life because of a corrupting, careless man who later spurned her? Or could we possibly be witnessing a growing boy’s natural search for male role models, for an environment in which to develop his sexuality, which seems haunting and corrupt to a young, inexperienced governess, used to female society and unprepared to cope with a developing boys’ needs? For which of the interwoven stories that converge at Bly is there no return? For which may Britten and Piper claim Yeats’ profound edict: “the ceremony of innocence is drowned”? Such ambiguities unravel from Britten’s tightly wound musical landscape.

- Jenny Doctor, Head of Albino Gorno Memorial (CCM) Library/Associate Professor of Musicology, Dramaturg

ACKNOWLEDGEMENTS Robin Guarino, Wendy Hill, Madeline Jentsch, Kathleen Kelly, MarieFrance Lefebvre, Amy Luce, Karen Lykes and the entire CCM Voice Faculty, Dean Mogle, Marcus Shields, Alan Yaffe, Denton Yockey and Kelly Yurko.

A special thanks to Christopher Eanes, Artistic Director and CEO of the Cincinnati Boychoir. The Cincinnati Boychoir provides exceptional concert opportunities and music education in a safe, diverse and respectful environment.

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COMPANY THE COMPANY

The Prologue..............................................................................................TYLER JOHNSON The Governess.................................AMBER R. MONROE^, HANNAH CONSENZ* Miles......................................... MISCHA SELLA^, NICHOLAS ASAFIEV-HOLMES* Flora............................................................. ALLISON ANDERSON^, AMANDA OLEA* Mrs. Grose, the housekeeper..........................................CHELSEA DUVAL-MAJOR^, KARIS TUCKER* Peter Quint, a former man-servant.....................................................SALVATORE ATTI Miss Jessel, a former governess.................. SHANNON COCHRAN^, YUJI BAE* Covers Miles....................................................................................................... MADELINE JENTSCH Peter Quint..................................................................................................TYLER JOHNSON Supernumeraries......................................ANYEA FARRAR, GEORGIA JACOBSON Mischa Sella and Nicholas Asafiev-Holmes appear courtesy of the Cincinnati Boychoir.

^ Thursday, Nov. 15 and Saturday, Nov. 17 * Friday, Nov. 16 and Sunday, Nov. 18

The Turn of the Screw will last two hours, including a 15-minute intermission.

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SCENES

SCENE BREAKDOWN ACT I The Prologue: Our story begins…

Theme

The Journey: The Governess travels to Bly. Variation I

The Welcome: Mrs. Gross, Miles and Flora welcome The Governess to

her new home in Bly. Variation II

The Letter: The Governess receives a letter from Miles’ boarding school.

Variation III

The Tower: The Governess walks through the gardens of the estate.

Variation IV

The Window: Back inside the house The Governess makes a

disturbing discovery.

Variation V

The Lesson: Miles and Flora at their lessons.

Variation VI

The Lake: The Governess and Flora spend an afternoon by the lake.

Variation VII

At Night: The children are drawn from their beds.

ACT II Variation VIII

Colloquy and Soliloquy: The Governess’ restless night continues.

Variation IX

The Bells: Early the next morning, on their way to church.

Variation X

Miss Jessel: Miss Jessel visits The Governess in the schoolroom.

Variation XI

The Bedroom: Miles cannot sleep.

Variation XII Quint: Quint talks to Miles.

Variation XIII

The Piano: Miles plays for The Governess and Mrs. Gross.

Variation XIV Flora: Flora flees to the lake.

Variation XV Miles: The Governess fights for Miles.

The action takes place in and around Bly, a country-house in the east of England, in the middle of the 19th century.

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THE VILLAGE NEWS ALUMNI APPLAUSE Audrey Luna (MM Voice and AD Opera, 2005) set the record for singing the highest written note ever sung on the stage of the Metropolitan Opera last year during the American premiere of Thomas Adès’ The Exterminating Angel. In 2014, she won a Grammy Award for Best Opera Recording for Thomas Adès’ The Tempest. In the 2018-19 season, Luna returns to the Vienna State Opera as Hermione in Manfred Trojahn’s Orest and debuts with Elphilharmonie Hamburg as Gepopo in Le Grand Macabre.

Isaac Selya (DMA Orchestral Conducting, 2014), winner of the 2017-18 American Prize in Conducting, is the founder and Artistic Director of Queen City Opera. Selya recently made his German conducting debut with the Deutsche Kammerphilharmonie Bremen, whose artistic director is Paavo Järvi. Local audiences may have seen him on the podium with the Cincinnati Opera, Cincinnati Chamber Orchestra or Dayton Philharmonic.

Selya also serves as a cello teacher and conductor at the MYCincinnati Youth Orchestra, an El Sistema-inspired program in Cincinnati’s Price Hill.

Helene Schneiderman (MM Voice, 1979; AD Opera, 1981), mezzo-soprano, made her Metropolitan Opera debut last year in the role of Annina in Strauss’ Der Rosenkavalier. She has been a company member in Germany’s Stuttgart State Theatre since 1984, and she made her Royal Opera House debut in 1995 as Cherubino in The Marriage of Figaro. In April, she performed in CCM’s Sesquicentennial Alumni Showcase concert. Earlier this month, she played the role of Madame Larina in the Canadian Opera Company’s production of Eugene Onegin.

Tavi Wolf (BFA E-Media, 1999) launched a fundrasier last year to encourage people to “give one day” to CCM in order to keep Electronic Media students supplied with industry-level production equipment. Wolf, who owns Denver’s Spotlight Media video production company, says he wants to help E-Media stay current with state-of-the-art equipment for students to work with, including cameras, lights, lenses and tripods. One donation helps students get one step closer to becoming future directors, cinematographers or film-makers. For more information on the campaign, visit ccm.weshareonline.org/WS/Opportunities/E-Media.

For more alumni, student & faculty profiles, visit: ccm.uc.edu/villagenews CCM 6

ORCHESTRA CCM CHAMBER ORCHESTRA Aik Khai Pung, Conductor Fernando Gaggini, Assistant Conductor (conducts Sunday, Nov. 18) Flute Donghyo Kim

Percussion Kyle Lamb

Cello Carolyn Regula

Oboe Sara Renner

Piano/Celesta Ahyoung Jung^ Bin Yu*

Bass Jessica Kovach

Clarinet Andrew Compton Bassoon Adriel Gonzales Horn Eleni Georgiadis Harp Alethea Grant

Rehearsal Pianists Bin Yu Jimin Seo Ahyoung Jung

Violin I Dan Qiao Violin II Jacob Duber

^ Thursday, Nov. 15 and Saturday, Nov. 17 * Friday, Nov. 16 and Sunday, Nov. 18

Viola Carmen Granger

ALL AGES. ALL ABILITIES. ccm.uc.edu/prep • 513-556-2595 MUSIC

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CAST

CAST PROFILES ALLISON ANDERSON, Flora Graduate student from Houston, Texas At CCM: Suor Genovieffa in Suor Angelica. Elsewhere: Adele in Die Fledermaus, Calisto in La Calisto with Carnegie Mellon Opera (Pittsburgh).

NICHOLAS ASAFIEV-HOLMES, Miles Middle schooler from Cincinnati, Ohio At CCM: Son in Owen Wingrave. Elsewhere: Boy soloist in Bernstein’s Mass with Cincinnati May Festival and the Cincinnati Symphony Orchestra.

SALVATORE ATTI, Peter Quint Artist Diploma student from Buffalo, New York Elsewhere: Don Jose in Carmen with West Bay Opera (Paolo Alto, California), Rodolfo in Luisa Miller with Berkeley Chamber Opera (Berkeley, California), Faust in Faust with Boston Opera Collaborative (Boston).

YUJI BAE, Miss Jessel Graduate student from Seoul, South Korea At CCM: Liu in Turandot. Elsewhere: Mimi in La bohème with Pittsburgh Festival Opera (Pittsburgh), Pamina in Weimar, Donna Anna from Don Giovanni, Micaëla in Carmen, Pamina in The Magic Flute with Indiana University Opera Theater (Bloomington, Indiana).

SHANNON COCHRAN, Miss Jessel Artist Diploma student from Fairfield, Iowa At CCM: Cunegonde in Candide, First Spirit in Cendrillon, Chorus in Idomeneo. Elsewhere: Susanna in The Marriage of Figaro at Northern Arizona University Opera, Lili/Kate Vanessi in Kiss Me, Kate at Northern Arizona University Lyric Opera (Flagstaff, Arizona).

HANNAH CONSENZ, Governess Graduate student from Portland, Oregon At CCM: Suor Osmina in Suor Angelica. Elsewhere: Meredith in The Place Where You Started with Portland State University and Art Share LA (Portland, Oregon), Susanna in The Marriage of Figaro, Adele in Die Fledermaus, Titania in A Midsummer Night’s Dream, Lisette in La Rondine, Soeur Constance in Dialogues of the Carmelites at Portland State University (Portland, Oregon).

CHELSEA DUVAL-MAJOR, Mrs. Grose Artist Diploma student from New York, New York At CCM: Mezzo in Bolcom Cabaret Songs, Mrs. Paskova in The Cunning Little Vixen, Idamante in Idomeneo, the Old Lady in Candide, Ariodante in Ariodante. Elsewhere: Roggiero and Tancredi (cover) in Tancredi with Opera Southwest (Albuquerque, New Mexico).

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MADELINE JENTSCH, Miles Cover Graduate student from Gaithersburg, Maryland At CCM: Oberto in Alcina, Maria Stuarda in Maria Stuarda, Sister Dolcina in Suor Angelica, Soprano Soloist in Schubert’s Mass in A-flat Major. Elsewhere: Susanna in The Marriage of Figaro with the Astoria Music Festival (Astoria, Oregon), Little Red Riding Hood in Little Red Riding Hood, the Diva/Director in Trip Jones with ROKcincy (Cincinnati).

TYLER JOHNSON, Prologue/Peter Quint Cover Graduate student from Maple Valley, Washington At CCM: Gherardo in Gianni Schicchi, Odoardo in Ariodante. Elsewhere: Apprentice Artist with Des Moines Metro Opera (Indianola, Iowa), Young Artist at SongFest (Los Angeles), Rinuccio in Gianni Schicchi with Opera Chapman (Orange, California).

AMBER R. MONROE, Governess Graduate student from Youngstown, Ohio At CCM: Alma Sister No. 2 in Suor Angelica. Elsewhere: Rooster/Jay in The Cunning Little Vixen, Anna Sørenson (cover) in Silent Night with the Glimmerglass Festival (Cooperstown, New York), Clara in Porgy and Bess with Opera Western Reserve (Youngstown, Ohio), Suor Angelica in Suor Angelica with Oberlin in Italy (Arezzo, Italy).

AMANDA OLEA, Flora Graduate student from San Diego, California At CCM: Novizia in Suor Angelica. Elsehwere: Despina in Cosi fan tutte at Teatro Nuovo (Purchase, New York), Pamina in The Magic Flute at Manhattan Opera Studio (New York), Susanna in The Marriage of Figaro at Utah Lyric Opera (Provo, Utah).

MISCHA SELLA, Miles Seventh grader from Cincinnati, Ohio Elsewhere: Boy soloist in Bernstein’s Mass with Cincinnati May Festival and the Cincinnati Symphony Orchestra, La bohème with Cincinnati Opera (Cincinnati), Chichester Psalms with Ohio Northern Symphony (Ada, Ohio) KARIS TUCKER, Mrs. Grose Artist Diploma student from Cluj-Napoca, Romania At CCM: Madame de la Haltière in Cendrillon, the Old Lady in Candide, La Zia Principessa in Suor Angelica, Le Directeur in Les Mamelles de Tiresias and La Zia Principessa with CCM Opera Bootcamp. Elsewhere: The Mother in Hansel and Gretel, Carmen in Carmen with the University of Southern Mississippi (Hattiesburg, Mississippi).

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STAFF

PRODUCTION STAFF PROFILES MIKAELA “MICKEY” ACTON, Production Stage Manager Senior from Columbia, Missouri At CCM: Stage Manager for Ariodante, Assistant Stage Manager for Seussical, Romeo and Juliet, Albert Herring and Dance Student Choreographers Showcase. Elsewhere: Stage Manager for I Love A Piano and Pinocchio at Maine State Music Theatre (Brunswick, Maine), Assistant Stage Manager for Million Dollar Quartet, Drowsy Chaperone, Forever Plaid and A Funny Thing Happened on the Way to the Forum at Totem Pole Playhouse (Fayetteville, Pennsylvania).

BRYCE EDMONSTON, Technical Director Senior from Hamilton, Ohio At CCM: Master Carpenter for They Were You and Her Naked Skin, Assistant Technical Director for Candide. Elsewhere: Carpenter for Trollwood Center of the Arts (Moorhead, Minnesota), Utah Festival Opera (Logan, Utah), Carpenter for Ensemble Theatre Cincinnati.

MICHAEL EKEMA-NARDELLA, Lighting Designer Graduate student from Redlands, California At CCM: Assistant Lighting Designer for Hamlet, Lighting Designer for Dance Student Choreographers Showcase 2018, Spring Dance 2018 and H2O: A Play About Water. Elsewhere: Lighting Designer for Tenderly at the Carnegie Theater (Covington), Ragtime and As You Like It at Redlands Unified School District, (Redlands, California), Create 2012-2014 by Dancing Images (Moreno Valley, California).

ELLIE FANGMAN, Props Master Junior from Fort Thomas, Kentucky At CCM: Props Artisan for American Idiot, Very Dumb Kids, The Merry Widow and Carousel, Props Master for Seussical, Idomeneo and A Chorus Line. Elsewhere: Props Artisan for Shakespeare in Love, The Merry Wives of Windsor and Henry V at Illinois Shakespeare Festival (Bloomington, Illinois), The Marriage of Figaro, Il Postino and The Witches of Venice with Opera Saratoga (Saratoga Springs, New York).

FERNANDO GAGGINI, Assistant Conductor Graduate student from Buenos Aires, Argentina At CCM: Conducter for La Bayadère (Legends of Dance), Don Pasquale in CCM Opera Bootcamp. Elsewhere: Conducted the Academic Orchestra of Teatro Colón and the Universidad Catolica Argentina Orchestra (Buenos Aires).

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MARNEÈ PORTER, Wig Designer Graduate student from Provo, Utah At CCM: Assistant Wig and Make-Up Designer for Seussical, Ariodante and The Government Inspector. Elsewhere: Wig and Make-Up Apprentice for the Utah Festival Opera and Musical Theatre (Logan, Utah).

BRANDON THOMPSON, Costume Designer Graduate student from Gray, Georgia At CCM: Costume Designer for Love and Information, Patternmaker for Seussical. Elsewhere: Stitcher for Opera Theatre St. Louis (St. Louis), Patternmaker for McLeod Summer Playhouse (Carbondale, Illinois).

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2019 SEASON

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STAFF

PRODUCTION STAFF

Technical Director............................................................................Bryce Edmondston Assistant Director.......................................................................................Gabriella Sam Dramaturg.......................................................................................................Jenny Doctor Intimacy Director...................................................................................... k. Jenny Jones Assistant Stage Managers....................................... Abby Sauer, Yue (Jenny) Shi Production Assistant...........................................................................Madelyn Hawver Assistant Costume Designers....................... Emily Murdock, Blaine Shepherd Assistant Lighting Designers....................Elanor Eberhardt, Andrew Stewart Assistant Scenic Designers.........................................Seth Howard, Sarah Nowak Assistant Wig and Make-Up Designers................................ Cheyenne Holbert, Meredith Keister, Sam Kittle Props Master.................................................................................................Ellie Fangman Assistant Props Master..............................................................................Myrrh Sewell Costume Shop Graduate Assistants..............................................Kendall Dayton, Rachel Kaempen, Brandon Thompson, Ashley Trujillo, Joanne West Season Wardrobe Supervisor............................................................. Emily Eckhardt Wardrobe Crew Head.....................................................................................Sarah Mills Costume Running Crew...............Madison Frazier, Eli Lucas, Ian MacIntosh, Jacob Mallory, Dustin Parsons Master Electrician............................................................................................. Amy Melia Assistant Master Electrician/Light Board Operator..................Vishal Sharma Deck Electricians.............................................................Sedona Isch, Carson Trego Electrics/Spotlight Operators....................... Jason Bowden, Taylor Durantini, Monica Walker Lighting Crew...........................William Baker, Akash Bartlett, Bransen Black, Bekah Degnan, Elanor Eberhardt, Ethan Fleek, Hannah Gruneisen, Milton Holloway, Amanda Kenner, Zachary Lipo Zovic, Christopher Lipstreu, Ian Macintosh, Amy Melia, Jennifer Pallas, Alyssa Pankey, Anna Rohobec, Vishal Sharma, Erika Shi, Zayne Stepleton, Andrew Stewart, Frank Viskup Electrics Shop Assistants/Lighting Graduate Assistants...........Nina Agelvis, Evan Carlson, Jeremy Mayo, Michael E. Nardella, Nicholas Smith, Oliver Tidwell Littleton Assistant Technical Director.................................................................. Aaron Palmer

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Set Construction Crew...........................................William Baker, Paige Baumann, Benjamin Beardon, Leah Berry, Aiden Bezark, Jacob Blumberg, Jason Bowden, Noah Buyak, Anna Campisano, AJ Civello, Austin Cleri, Neuma Cohen-Denson, Hanna Collins, Shakoria Davis, Noam Denenberg, Taylor Duranti, Maya Eberhardt, Emma Fitzgerald, Madisen Frazier, Charles Gidney, Iris Harmon, Madelyn Hawver, Emma Heath, Rachel Jones, Liza Lagerstrom, Eli Lucas, Ian MacIntosh, Jacob Mallory, Jack McElroy, Geoffrey Mintz, Gabriel Nasato, Stephanie O’Rear, Lily Olsen, Dustin Parsons, Abby Sauer, Yue (Jenny) Shi, Sara Sonnier, Kristina Steinmetz, Madison Storie, Kaylin Story, Gabby Ullman, Megan Vaughn, Isabella Wagner, Julianna Weis-Palacios, Griffin Whitaker, Avery Woodruff Scenic Charge Artist.................................................................................Josh Gallegher Scenic Artist’s Assistants............................................ Julie Lasonczyk, Jenn Pallas Paint Crew...............................Payton Epperson, Karissa Hodge, Seth Howard, Sarah Nowak, Jacquelyn Reis, Myrrh Sewell Scene Shop Assistants................Jacob Bober, Zach Buscher, Sawyer Clifton, Sedona Isch, Cari Kamper, Andrew Leone, Andrew Martin, Cole Nevins, Aaron Palmer, Sam Petersen, Lynae Smith, Chris Wade, Monica Walker, Ben Woida, Cole Wright Set/Props Running Crew...............................….Anna Campisano, Hanna Collins, Noam Denenberg, Gabby Ullman, Griffin Whitaker, Avery Woodruff Production Sound Engineer...................................................................Lindsey Cohen Board Operator.......................................................................................... Geoffrey Mintz Sound Shop Graduate Assistants........................ Hankyu Lee, Edward Mineishi Wig and Make-Up Running Crew............... Aiden Bezark, Cheyenne Holbert, Meredith Keister, Samantha Kittle, Lily Olsen Wig Shop Graduate Assistants.................Meredith Keister, Samantha Kittle, Oran Wongpandid Props Graduate Assistants................................. Ashley Crockett, Sidney Martin Props Construction Crew........ Matt Barnett, Zach Buscher, Sawyer Clifton, Olivia Darling, Elanor Eberhardt, Meghan Emanuel, Payton Epperson, Ellie Fangman, Alys Faye, Lucy Guillemette, Karissa Hodge, Seth Howard, Sedona Isch, Kylie Kanter, Maddie Kevelson, Chris Lipstreu, Sarah Nowak, Marissa Picciuto, Jacquelyn Reis, Myrrh Sewell, Lynae Smith, Carson Trego, Monica Walker, Josh Windes, Andrew Wright Stage Management Office Assistants.................................................Jeff Harwood, Carmen R. Lawrence

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SPONSORS 2018-19 SPONSORS & PARTNERS CCM recognizes and thanks the following corporations, foundations and individuals for their generous support:

Louise Dieterle Nippert Trust Scholarship and Resident Artist Sponsor

The Andrew W. Mellon Foundation CSO/CCM Diversity Fellowship and Opera Fusion: New Works Sponsor

The Corbett Endowment at CCM Dance Department Supporter & All-Steinway School Sponsor

ArtsWave H. Wayne Ferguson Family Foundation Community Partners

Macy’s Mainstage Season Production Sponsor

Mr. & Mrs. Edward S. Rosenthal Opera Department Sponsor

Elizabeth C. B. & Paul G. Sittenfeld Musical Theatre Senior Showcase Sponsor

Dr. & Mrs. Carl G. Fischer Musical Theatre Production Sponsor

Genevieve Smith Opera Production Sponsor

The Joseph and Frances Jones Poetker Fund of the Cambridge Charitable Foundation, Ritter & Randolph, LLC, Corporate Counsel Visiting Artists Sponsor

Jan Rogers Willard and Jean Mulford Charitable Fund of the Cambridge Charitable Foundation Choral Studies Sponsors

Ms. Margaret L. Straub & Mr. Neil R. Artman Studio Drama Series Sponsor

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The Estate of Mr. William A. Friedlander Mrs. William A. Friedlander Dr. Randolph L. Wadsworth Mr. & Mrs. Frank Bloom Mr. & Mrs. J. David Rosenberg Mr. & Mrs. Harry H. Santen Mr. & Mrs. Thomas E. Stegman Elizabeth C. B. and Paul G. Sittenfeld Mr. & Mrs. Theodore W. Striker Mrs. Harry M. Hoffheimer Ariel Quartet Sponsors

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The Otto M. Budig Family Foundation CCMpower The CCM Harmony Fund: Challenging Hate and Prejudice through Performing Arts The Carol Ann and Ralph V. Haile, Jr./U.S. Bank Foundation Jeff Thomas Catering Event Sponsors

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Mail to College-Conservatory of Music University of Cincinnati P.O. Box 210003 Cincinnati, OH 45221-0003 CCM 21

STAFF

FACULTY AND STAFF Division of Theatre Arts, Production and Arts Administration (TAPAA) Denton Yockey, Division Head, TAPAA/Executive Producer Aubrey Berg, Chair of Musical Theatre Department Michael Blankenship, Resident Scenic Artist Rebecca Bromels, Arts Administration Angelika Bonyhatti-Kovacs, Dance Accompanist Deirdre Carberry, Resident Dance Choreographer/Ballet Michael Carr, Musical Theatre Instructor/Movement Rebecca Childs, Musical Theatre Instructor/Music Theory Colleen Condit, Program Manager, Dance Tracy Connor, Acting Instructor/Improv Anne Cushing-Reid, Arts Administration Instructor Denise Dal Vera, Business Skills for the Actor Instructor Vincent DeGeorge, Weinberger Chair, Musical Theatre/Opera Performance Gema Diaz, Dance Instructor Wendy Dorn, Theatre Design and Production Instructor Isabele Elefson, Dance Instructor Gregory S. Falcione, Resident Master Electrician Susan Felder, Acting/Movement James H. Gage, Resident Lighting Designer Jeri Gatch, Dance Instructor Stephen Goers, Musical Theatre Instructor/Music Director Roger Grodsky, Musical Theatre Vocal Coach/Conductor Robin Guarino, Chair of Opera Department Patti Hall, Program Manager, TAPAA Mark Halpin, Resident Scenic Designer Jean Hamilton, Arts Administration Department Director Richard E. Hess, Chair of Acting Department Jonnie Lynn Jacobs-Percer, Dance Instructor/Ballet Qi Jiang, Chair of Dance Department Katie Johannigman, Musical Theatre, Choreographer and Director k. Jenny Jones, Acting/Movement, Stage Combat Michele Kay, Chair of Theatre Design and Production Department/Stage Management Diane Lala, Resident Musical Theatre Director/Choreographer/Jazz/Pilates Wendy LeBorgne, Voice Pathologist

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Marie-France Lefebvre, Opera Coach Patricia Linhart, Voice/Musical Theatre D. Lynn Meyers, Drama Instructor/Audition Techniques Judith Mikita, Interim Dance/Modern Kathryn Miller, Resident Properties Artisan Steve Miller, Associate Director of Theater Ops Dean Mogle, Resident Costume Designer Laura Molander, Theatre Costume Draper Susan Morrison, Costume Shop Manager Susan Moser, Acting and Opera Instructor/Theatre Movement Robert G. Pavlovich, Acting for the Camera/Theatre History David Ralphs, Dance Accompanist Katelyn Groh Reid, Instructor/Dialects Brant Russell, Acting/Script Analysis/Artist in Society/Director Ted Seaman, Dance Accompanist Rebecca Senske, Associate Costume Designer Stirling Shelton, Technical Director Marcus Shields, Interim Opera Director D’Arcy Smith, Voice Production/Vocal Coach Julie Spangler, Musical Theatre Instructor/Music Director Sharon Stith, Financial Administrator, TAPAA Kristin Suess, Arts Administration Instructor/Career Management Tricia Sundbeck, Dance Instructor Douglas Sutton, Dance Accompanist Michael Tevlin, Resident Dance Choreographer/Ballet Matthew Tibbs, Resident Sound Designer Regina Truhart, Costume Technology Thomas C. Umfrid, Resident Scenic Designer Kathryn Webster, Acting Instructor, Voice Production Kyle Wichman, Scene Shop Foreman Mark C. Williams, Lighting Technology and Design Karen Wissel, Dance Instructor/Modern Scot Wooley, Theatre Design and Production Sound Instructor Kelly A. Yurko, Resident Make-Up and Wigs Designer

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CCM ADMINISTRATIVE STAFF Stanley E. Romanstein, Dean & Thomas James Kelly Professor of Music Stephanie Schlagel, Interim Associate Dean and Director of Graduate Studies John Martin, Assistant Dean, Preparatory and Community Engagement Anne Cushing-Reid, Director of Engagement, Special Programs and Partnerships Andrea M. Fitzgerald, Assistant Dean, Enrollment Services Kathryn Zajac Albertson, Senior Admissions Officer Kandice Odister, Admissions Program Manager Diane White, Director of Business Affairs Steve McConnell, Business Manager TJ Hizer, Human Resources Consultant Karen Tully, Senior Director of Development and External Relations Sarah Mizelle, Director of Development and External Relations Jamie Muenzer, Associate Director of Alumni Relations Curt Whitacre, Director of Marketing and Communications Mikki Graff, Graphic Designer Rebecca Butts, Assistant Public Information Officer Jonathan Dellinger, Alexandra Doyle, Public Information Assistants Mark Lyons, Photographer Rayburn Dobson, Jr., Senior Director of Performance Operations John McDonagh, Director of Facilities and Performance Services Eric Wolfley, Director of Piano Services Rebekah Whitacre, Piano Technician Simรณn Sotelo, Director of Recording Services Eric Louie, Scheduling Manager Jeanne Rose, Box Office Manager Emily Bauer, Albert Carter, Hannah Hoffman, Box Office Assistant Managers Gracie Ankenbauer, Lilly Bedell, Emma Brueneman, Nia Burns, Ashley Centers, Jack Clayton, Claire Davis, Rory Hefner-Templar, Sarah Huesman, Christopher Jacobs, Brent Levy, Shannon Lock, Jerome McCray, Trey Peterson, Tony Smith, Box Office Staff Ilona Eke, Eric Morin, Corey Wickline, House Managers Kate Alexandra, Faroq al-Rajoub, Andrew Baker, Taiga Benito, Lily Couch, Olivia Darling, Christina Emery, Rebecca Flank, Carmen Granger, Aryel Hawkins, Jennelle John-Lewis, Hannah Lohr-Pearson, Emily Mays, Acacia McCray, Michele Mensah, Sarah Minneman, Geoffrey Mintz, Nolan Monigold, Danny Mylott, Anurag Neti, Madison Nuss, Vraj Patel, Erin Rowland, Haleigh Sano, Sarah Sheerajin, Max Schaefer, Laura Sink, Micah Tawney, Carson Trego, Gabby Ullman, House and Operations Staff Jos. Berning Printing Company, Printing House Industries, Neutra Text Font Design

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INFO

GENERAL INFORMATION CCM BOX OFFICE: Located in the CCM Atrium, the Box Office is open Monday through Friday, 12:30-6 p.m.; Saturday, noon-4 p.m.; and one hour prior to curtain for Mainstage performances. MasterCard, Visa and Discover cards are accepted. CCM Box Office, P.O. Box 210003, Cincinnati, OH 45221-0003; 513-556-4183.

PARKING: Convenient parking is available in the CCM Garage at the base of Corry Boulevard off of Jefferson Avenue. Additional parking is available in garages throughout the UC campus. Any questions concerning on-campus parking should be directed to UC Parking Services at 513-556-2283.

TAX CREDIT: If you find that you cannot attend your performance, your tickets may be donated for tax credit as a charitable contribution. Simply notify the Box Office prior to the performance to release your seats, and give your name and address. A tax donation receipt will be mailed to you.

EMERGENCY CALLS: If you are likely to receive an emergency call during a performance, please leave your name and seat location with the House Manager. If you have a beeper, we also request that you leave it with the House Manager along with your seat number so as not to disturb the audience and performers. In case of emergencies, this will help us locate you as quickly as possible.

LOST AND FOUND: 513-556-9413 HOUSE POLICIES: The House Manager has been instructed
to minimize the disturbance to patrons already seated when accommodating latecomers. The director and producer of each production select times that are least likely to interrupt the performance, and latecomers will be seated only during these times.

Latecomers who miss these opportunities will not be admitted until intermission. Children under the age of six will not be admitted.

CAMERAS, PHONES AND RECORDING DEVICES: The use of cameras, with or without flashes, recording devices, cellular phones and other electronic devices inside the theater is prohibited. Please leave them with the House Manager.

SMOKING AND REFRESHMENTS: Smoking and refreshments are not permitted in the theater. Effective May 1, 2017, smoking and

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tobacco use (including chewing tobacco and electronic cigarettes) shall be prohibited by students, staff, faculty, visitors, vendors and contractors at all times in or on University of Cincinnati properties, including events on university property during non-school hours.

This includes all shelters, indoor and outdoor theaters and athletic facilities, bridges, walkways, sidewalks, residence halls, parking lots, and street parking and garages owned by the university.

HEARING ENHANCEMENT: Telex listening devices are available for checkout during performances in both Patricia Corbett Theater and Corbett Auditorium. Please inquire at the Box Office.

WHEELCHAIR SEATING: Wheelchair seating is available in both Corbett Auditorium and Patricia Corbett Theater. Seating is limited, so reservations should be made with the Box Office when ordering tickets. These seats are subject to availability.

GROUP SALES: The Box Office can accommodate groups for major productions and concerts. Preview and benefit performances are also available for some productions. For more information, call the CCM Box Office at 513-556-4183.

CCM ONLINE: ccm.uc.edu JOIN THE CCM FACEBOOK COMMUNITY: www.facebook.com/ UCCollegeConservatoryofMusic FOLLOW CCM ON TWITTER: twitter.com/uc_ccm VIEW CCM ON INSTAGRAM: instagram.com/uc_ccm READ THE CCM VILLAGE NEWS BLOG: ccmpr.wordpress.com The purpose of these performances is educational, and they are part of a University of Cincinnati academic program.

KNOW YOUR EXIT

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cincinnati song initiative Greater Cincinnati’s source for art song performed at the highest levels of artistry and innovation.

Recipient of Ovation TV and Spectrum’s 2018 Stand for the Arts Award.

2018-2019 Season Alma de España: España I Season Opening Benefit 09.22.2018 The Age of Wagner 11.11.2018 Spotlight: Jesse Blumberg & Jocelyn Dueck 03.03.2019 Americana: Then and Now Featuring a commissioned world premiere by Matthew Recio 04.28.2019 For tickets and more information, visit cincinnatisonginitiative.org.

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JOIN US FOR THE REST OF THE UC COLLEGE-CONSERVATORY OF MUSIC’S

2018-19 MAINSTAGE SERIES

CCM’S PRODUCTION OF

SEUSSICAL VOTED TM

BEST PLAY

(COMMUNITY/STUDENT)

BY CITYBEAT READERS

Mainstage Season Production Sponsor

BIRTHDAY VARIATIONS DANCE

Dec. 6-9, 2018

OUR COUNTRY’S GOOD* ACTING

Feb. 13-17, 2019

THE HUNCHBACK OF NOTRE DAME MUSICAL THEATRE

March 7-10, 2019

LA CLEMENZA DI TITO (THE CLEMENCY OF TITUS) OPERA

April 12-14, 2019

CINDERELLA DANCE

April 26-28, 2019 Photo by Mark Lyons

Titles and dates subject to change. * For mature audiences.

SINGLE TICKETS AND SUBSCRIPTIONS ON SALE NOW.

513-556-4183 • boxoff@uc.edu • ccm.uc.edu CCM 30