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GALA CHAIR Kristin Bender COMMITTEE Lisa Curwen Christina Dinegar Jami Dinsmore Sabina Grusnick Heather Miller Kathleen Ness Denise Sanderson Susan Stiff SPECIAL THANKS Mr. and Mrs. William D. Armstrong Mr. and Mrs. James and Judith Bien Ms. Minka Bosco Ms. Nancy P. Brittain Ms. Merle C. Chambers Mr. and Mrs. Martin J. Erzinger Mr. and Mrs. Robert K. and Virginia E. Fuller II Mr. Jeremy Haefner Mr. and Mrs. A. Barry and Arlene Hirschfeld Mr. and Mrs. Edward C. Hutcheson Jr. Mrs. and Mr. Nancy and Jack Lockwood Ms. Melissa Rick Mr. and Mrs. Jeremy and Susan Shamos Mr. and Mrs. W. Thomas Stephens Ms. Arma Tomsic Mr. and Mrs. Robert A. and Betsey Unger Mr. and Mrs. Arthur Victor II Shira and Marty Zimmerman
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Friday • April 23 • 7:00 pm
Maya Kherani, Soprano | Galeano Salas, Tenor Rebecca Jo Loeb, Mezzo-Soprano | Dean Murphy, Baritone
VIRTUAL PROGRAM EVENTS Opening Remarks by Pelham “Pat” Pearce, Central City Opera General/Artistic Director Performance: In Memory Rebecca Jo Loeb, Mezzo-Soprano Performances: A Little Mozart Maya Kherani, Soprano | Dean Murphy, Baritone Remarks by Kristin Bender, Gala Committee Chair A Special Tribute to Lanny & Sharon Martin Performances: Opera Classics Maya Kherani, Soprano | Galeano Salas, Tenor | Dean Murphy, Baritone Live Auction Performances: Light and Fun! Rebecca Jo Loeb, Mezzo-Soprano | Galeano Salas, Tenor Closing Remarks
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2021
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Praised for her "rich, soaring soprano" and “crystalline tone” (Opera News) in repertoire from the Baroque to the modern, Maya Kherani is currently a Resident Artist at Opera San José for the 2020-21 season. Career highlights include starring in the title role of Handel’s Partenope with Opera NEO; Bea in Three Decembers opposite Susan Graham at Opera San José, and Meera in the premiere of Jack Perla’s The River of Light, commissioned by the Houston Grand Opera. Prior to her singing career, Kherani graduated summa cum laude from Princeton University with a BSE in Mechanical and Aerospace Engineering.
Rebecca Jo Loeb began her 2019/20 season at the Theatro Municipal São Paolo reprising her role as Lumee in the Pulitzer Prize winning Opera p r i s m and then singing various roles in a concert version of Weill’s Der Silbersee and Blitzstein’s No for an Answer. She then debuted with the Oldenbergisches Staatsballett singing as the soloist in VANITAS by Sciarrino. Last season, Rebecca debuted with Los Angeles Opera and Beth Morrison Projects as Lumee in Reid’s p r i s m. She also returned to the Deutsche Oper Berlin for Schönberg’s Pierrot Lunaire with Donald Runnicles conducting, Mercedes in Carmen, Zweite Dame in die Zauberflöte and New York Festival of Song to reprise Bernstein’s Arias and Barcarolles on tour.
Praised for his romantic Italianate sound, Mexican American tenor Galeano Salas is currently in his third season as an ensemble member of the Bayerische Staatsoper. Upcoming engagements at the Staatsoper include Nemorino in L'elisir d'amore, Fenton in Mateja Koležnik's new production of Verdi's Falstaff, Alfredo in Die Fledermaus, the Italian tenor in Barrie Kosky's eagerly anticipated premiere of Der Rosenkavalier and a reprisal of Rinuccio in Il trittico. Salas holds degrees from the University of Houston, Yale University, and the Academy of Vocal Arts, where he was a student of William Stone. He also completed two years as a member of the Bayerische Staatsoper Opernstudio.
American baritone Dean Murphy is currently a member of the ensemble at Deutsche Oper Berlin. Recent successes include being a finalist in the Tenor Viñas Competition, Don Alvaro & Lord Sidney in Il viaggio a Reims at Rossini Opera Festival, Moralès in Carmen at Gstaad Menuhin Festival and numerous roles at Deutsche Oper Berlin (Schaunard in La Bohème, Le Dancaïre in Carmen, Cristiano in Un ballo in maschera, Fiorello in Il barbiere di Siviglia, and Wagner in Faust, for which he was 2017/18 Season Stipendiat. Murphy obtained his Master of Music degree from Yale School of Music and holds a Bachelor of Music degree in Vocal Performance from the Hartt School of Music.
Theatre of Dreams Gala 2021 Texts and Translations IN MEMORY Rebecca Jo Loeb
Mezzo-soprano | Berlin “Kaddisch” Deux mélodies hébraïques (Ravel) Transliteration and Translation: My Jewish Learning
Ravel’s famous setting of the Jewish declaration of faith. An ancient Aramaic prose-poem of mourning, Ravel’s version of the litany omits congregational responses. Yitgadal v’yitkadash sh’mei raba b’alma di-v’ra chirutei, v’yamlich malchutei b’chayeichon uvyomeichon uvchayei d’chol beit yisrael, ba’agala uvizman kariv, v’im’ru: “amen.”
Glorified and sanctified be God’s great name throughout the world which He has created according to His will. May He establish His kingdom in your lifetime and during your days, and within the life of the entire House of Israel, speedily and soon; and say, Amen.
Yitbarach v’yishtabach, v’yitpa’ar v’yitromam v’yitnaseh, v’yithadar v’yit’aleh v’yit’halal sh’mei d’kud’sha, b’rich hu, l’eila min-kol-birchata v’shirata, tushb’chata v’nechemata da’amiran b’alma, v’im’ru: “amen.”
Blessed and praised, glorified and exalted, extolled and honored, adored and lauded be the name of the Holy One, blessed be He, beyond all the blessings and hymns, praises and consolations that are ever spoken in the world; and say, Amen.
A LITTLE MOZART Maya Kherani
Soprano | California “Alla selva, al prato” Il re pastore (Mozart)
The shepherdess Elisa calms the shepherd Aminta, whose nerves are frayed during times of war. Alla selva, al prato, al fonte
L’idol mio con me verrà.
To the woods, to the meadow, to the spring I shall go with my beloved flock And to the woods, to the spring, to the meadow My idol shall come with me.
In quell rozzo angusto tetto Che ricetto a noi darà, Con la gioia e col diletto, L’innocenza albergherà.
Under that rough and cramped roof Which shall give us shelter With the joy and with the delight Innocence shall dwell.
Io n’andrò con gregge amato; E alla selva, al fonte, al prato
Dean Murphy
Baritone | Berlin “Count's Aria” Le Nozze di Figaro (Mozart)
The Count takes a moment alone to process difficult feelings about the marriage of his servants, Figaro and Susanna. Hai già vinta la causa! Cosa sento! In qual laccio cadea? Perfidi! Io voglio di tal modo punirvi… A piacer mio la sentenza sarà… Ma s’ei pagasse la vecchia pretendente? Pagarla! In qual maniera?... E poi v’è Antonio, che a un incognito Figaro ricusa di dare la nipote in matrimonio. Coltivando l’orgoglio di questo mentecatto… Tutto giova a un raggiro…
You’ve already won the case! What’s this I’m hearing!? What trap have I fallen into? Wicked ones! I want to punish you in such a manner… The punishment will be according to my pleasure… But, supposing he paid back the old woman who claims him in marriage? Pay her back?! He has no money! And then there’s Antonio, Who won’t want to give Figaro His niece’s hand in marriage. If I can just play on the pride of this halfwit…. Everything requires some trickery!
Il colpo è fatto!
The die is cast!
Vedrò mentr’io sospiro, Felice un servo mio? E un ben che invan desio ei posseder dovrà? Vedrò per man d’amore Unita a un vile oggetto
While I’m alive, Shall I see my servant so happy With a treasure that I desire, but haven’t possessed? Shall I see, through the hand of love, Her joined in matrimony with a vile servant? She who aroused me to passion, Does she feel nothing for me? Ah, no! I won’t let you Enjoy this happiness in peace! You weren’t born, Figaro, To torment me! And, maybe even, to laugh at my unhappiness. Already, the mere hope Of my vengeance Comforts my soul and makes me rejoice.
Chi in me destò un affetto Che per me poi non ha? Ah, no! Lasciarti in pace Non vo’ questo contento! Tu non nascesti, audace! Per dare a me tormento! E forse ancor per ridere di mia infelicità. Già la speranza sola Delle vendette mie Quest’alma consola e giubilar mi fa.
OPERA CLASSICS Maya Kherani
Soprano | California “Quel guardo il cavaliere…So anch’io la virtù magica” Don Pasquale (Donizetti)
Norina begins by reading a passage from a silly romance novel aloud and then shares her lived experience in matters of love. “Quel guardo, il cavaliere in mezzo al cor trafisse
‘Son Vostro cavalier.’
“That glance— It pierced the knight in the middle of his heart— He folded his body, bent at his knees, and said: ‘I am your knight!’
E tanto era in quell guardo Sapor di paradiso, Che il cavalier Riccardo, Tutto d’amor conquiso, Giurò che ad altra mai, Non volgeria il pensier.” Ah, ah!
And so, it was in that gaze, A taste of paradise, That the knight Riccardo, Being entirely conquered by true love, Swore he would never, ever Have a lusty thought of any other!” Ha! Ha! Ha!
So anch’io virtù magica D’un guardo a tempo e loco, So anch’io come si bruciano I cori a lento foco, D’un breve sorrisetto Conosco anch’io l’effetto, Di menzognera lagrima, D’un subito languor, Conosco i mille modi Dell’amorose frodi, I vezzi e l’arti facili Per adescare un cor.
I too know the magical powers Of a glance at the right time and place, I also know how hearts burn In a slow fire, With a brief hint of a smile. I too know the effect, Of lying tears, On sudden languor, I know a thousand ways Of amorous fraud, The easy charms and arts To seduce a heart.
Ho testa bizzarra, Son pronta vivace, Brillare mi piace scherzar: Se monto in furore Di rado sto al segno, Ma in riso lo sdegno fo presto a cangiar, Ho testa bizzarra, Ma core eccellente, ah!
I have a bizzare mind, I’m a spit-fire, I like to be witty, to joke: If I become furious, I seldom keep calm, But in laughter, my indignation soon changes, I have a bizzare mind, But an excellent heart, ah!
Piegò i lginocchio e disse:
Galeano Salas
Tenor | Munich “Nessun dorma” Turandot (Puccini)
Calaf awaits the dawn when, if the Princess Turandot cannot guess his name, his life will be saved and the two will marry. Nessun dorma! Nessun dorma! Tu pure, o, Principessa, Nella tua fredda stanza, Guardi le stelle Che tremano d’amore E di speranza.
No one shall sleep! No one shall sleep! Even you, o Princess, In your cold room, You watch the stars, That tremble with love And with hope.
Ma il mio mistero è chiuso in me, Il nome mio nessun saprà! No, no, sulla tua bocca lo dirò quando la luce splenderà! Ed il mio bacio scioglierà il silenzio Che ti fa mia!
But my secret is hidden within me, My name, no one shall know it! No! On your mouth I will speak it When the light shines! And my kiss will dissolve the silence That makes you mine!
Dilegua, o notte! Tramontate, stelle! All’alba vincerò!
Vanish, o night! Set, stars! At dawn, I will win!
Dean Murphy
Baritone | Berlin “Questo amor, vergogna mia” Edgar (Puccini)
Frank is hopelessly in love with Tigrana, who has no interest in him. After her rejection, he laments to himself in despair. Questo amor, vergogna mia, Io spezzar, scordar vorrei, Ma d'un'orrida malìa Sono schiavi i sensi miei. Mille volte al ciel giurai Di fuggirla!... E a lei tornai!
This love—my shame— I wish I could break off, and forget it; But under a horrible spell My emotions are enslaved. A thousand times, to heaven I swore To flee from her! And yet, to her I returned!
Ella ride del mio pianto, Del mio sdegno si fa scherno. Ed io, vil, col cuore infranto, Ai suoi piedi mi prosterno... E lei sola io sogno, io bramo! Ah sventura!... Io l'amo!
She laughs at my tears, She mocks my anger, And I, pathetic, with a fractured heart, Prostrate myself at her feet... And it’s of her alone I dream, I desire! Ah, misfortune!... I love her!
LIGHT AND FUN! Rebecca Jo Loeb
Mezzo-soprano | Berlin “Berlin im Licht” (Weill) Translation: Steven Blier
Kurt Weill’s song captures the “Golden ‘20s” in Berlin, its debut as modern metropolis. “Berlin im Licht” premiered as the theme song for Berlin’s 1928 festival of the same name, which employed Hollywood-style spotlights and many other electric innovations. Und zum Spazierengehn Genügt das Sonnenlicht. Doch um die Stadt Berlin zu sehn, Genügt die Sonne nicht. Das ist kein lauschiges Plätzchen, Das ist ’ne ziemliche Stadt. Damit man da alles gut sehen kann, da braucht man schon einige Watt. Na wat denn? Na wat denn? Was ist das für’ne Stadt denn? Komm, mach mal Licht, damit man sehn kann, ob was da ist, Komm, mach mal Licht, und rede nun mal nicht. Komm, mach mal Licht, dann wollen wir doch auch mal sehen. Ob das’ne Sache ist: Berlin im Licht.
If you just want to take a walk all you need is the sunlight. But if you want to see the city of Berlin, the sun just isn’t enough. This is no secluded little outpost, it’s quite a place. To see everything in it properly, you’re going to need a few watts. So what? So what? What kind of city is this anyway? Come on, turn on the lights, so one can see what there is to see— Come on, turn on the lights, And don’t say another word. Come on, turn on the lights, So we can see what the big deal is: Berlin by light!
Galeano Salas
Tenor | Munich “La donna è mobile” Rigoletto (Verdi)
The Duke, a playboy himself, is pursuing Maddelena at a lonely tavern while complaining about the inconstancy of women. La donna è mobile, Qual piuma al vento, Muta d'accento — e di pensier.
The woman is fickle, Like a feather in the wind She changes her voice —and her mind.
Sempre un amabile, Leggiadro viso, In pianto o in riso, — è menzognero.
Always such a loveable, Lovely face, Weeping or laughing —it’s lying.
È sempre misero Chi a lei s’affida, Chi le confida — mal cauto il cuore!
Ever so miserable He who believes in her, He who confides in her —endangers his heart!
Pur mai non sentesi Felice appieno Chi su quel seno — non liba amore!
Yet one who never feels Complete happiness Upon that bosom —toasts not to love!