JAN 26-29, 2023
Composer Benjamin Britten
Librettist Eric Crozier
Conductor Dame Jane Glover DBE
Director Stephen Sposito
Albert Herring
Lady Billows
Mr. Upfold, The Mayor
Mr. Gedge, The Vicar
Miss Wordsworth
Florence Pike
Superintendent Budd
Mrs. Herring
Sid Nancy
Cis
Emmie Harry
Cover Albert Herring
Cover Lady Billows
Cover Mr. Upfold
Cover Mr. Gedge
Cover Miss Wordsworth
Cover Florence Pike
Cover Superintendent Budd
Cover Mrs. Herring
Cover Sid
Cover Nancy
Cover Cis
Cover Emmie
Cover Harry
MILES MYKKANEN
WHITNEY MORRISON
JUSTIN BERKOWITZ
BILL MCMURRAY
TERESA CASTILLO
ALISSA ANDERSON
WILBUR PAULEY
LEAH DEXTER
VINCE WALLACE
VEENA AKAMA-MAKIA*
BOYA WEI
CORINNE COSTELL*
CASEY LYONS
SAM GROSBY
JAQUELINE PICCOLINO
KARLOS PIÑERO-MERCADO
EVAN BRAVOS
CORINNE COSTELL*
PAULINE TAN*
CRAIG LEMONT WALTERS
REBECCA SACKS
SAMSON MCCRADY
REBECCA SACKS
BRIANNA MURRY
TIANA SORENSON
TIANA SORENSON
*Denotes COT Young Artist
Design Renderings for Albert Herring 2023, Lady Billows Morning RoomStage Director
Asst. Conductor
Rehearsal Pianist
Second Rehearsal Pianist/Supertitle Operator
Dialect Coach
Scenic Designer
Costume Designer
Lighting Designer
Wig & Makeup Designer
Technical Director
Build Technical Director
Costume Director
Lighting Supervisor
Props Coordinator
Asst. Director
Production Stage Manager
Asst. Stage Manager
Asst. Stage Manager
STEPHEN SPOSITO
MICHAEL PECAK
YASUKO OURA
JENNIFER ALLOR*
SUSAN GOSDICK
IRENA HADZI-DORDEVIC
CAROLYN ROSE SULLIVAN
DAPHNE AGOSIN ORELLANA
REBECCA A. SCOTT
THOMAS E. PLUMMER
LOUIE BAXTER
BRENDA WINSTEAD
AARON LICHAMER
BREN COOMBS
HANNAH ZIZZA STANFIELD
RACHEL HENNEBERRY
ADRIENNE BADER
ALYCIA MARTIN
*Denotes COT Young Artist
Violin I
Violin II
Viola
Cello
Bass
Flute/Piccolo/Alto
Oboe
Clarinet/Bass
Basoon
French Horn
Percussion
Harp
Piano Contractor
CLAUDIA
MATTHEW AGNEW
TIM SHAFFER
MARY STOLPER
ANNE BACH
GENE COLLERD
VINCENT DISANTIS
GREG FLINT
MICHAEL FOLKER
LILLIAN LAU
YASUKO OURA
ROSS BEACRAFT
AZUSA TASHIRO LASEREFF-MIRONOFF Gershon Silins and Mary Anne Whitesides as Sid and Nancy, Albert Herring 1979 Richard Rebilas and Julia Parks as Sid and Nancy, Albert Herring 1989 ^ Denotes Concert MasterPresident Secretary
Immediate Past President
Directors
Susan J. Irion
Allen Heinemann
Henry Fogel
Peter Ascoli
Ron Bauer
Paul E. Freeling
Michael G. Hanson
Stephanie Hart
Mary Lunz Houston
Maria Lagios
James G. McCormick
David McNeel
Honorary Trustees
Roger Baskes
Nancy Dehmlow
Joan W. Harris
Administration
Edlis Neeson General Director
Interim General Director
Elizabeth Morse & Genius Music Director
Director of Artistic Operations
Artistic Operations Asst.
Director of Production
Director of Development
Grants Manager
Susan Noel
Dorothy Osborn
Robert E. Shapiro
Virgina Tobiason
Gregory O'Leary
Gael Neeson
ASHLEY MAGNUS
HENRY FOGEL
LIDIYA YANKOVSKAYA
BRITTANY NELSON
ANDREW WOLFFKING
DEBORAH VANDERGRIFT
MEAGHAN SMALLWOOD
Development Manager & Audience Services Manager
Associate Director of Comm. Programming
Managing Director
Marketing Manager
Marketing Consultant
BREA WILLIAMS
ANGELA YU
VERONICA CHAMBERLIN
KELLEY DORHAUER
EMMELLY VILLAGRAN
COLLEEN FLANIGAN
Like the three great operas by Mozart and Lorenzo Da Ponte (Figaro, Don Giovanni, Così fan tutte), Albert Herring is described on its title page as a comic opera. And like those mighty antecedents, it is indeed bursting with scenes of great hilarity, told with the deft and smiling touch of a master craftsman. But, again like those 18th-century giants, there are enormous underlying strains of profound seriousness too: for here we encounter loss, bereavement, bullying, teasing, even physical aggression (corporal punishment), and a fundamental sense of social inequality, with all the unfairnesses that that brings. It is greatly to Britten’s credit that he told Maupassant’s story with all the rich seams of comedy fabulously preserved, but that at the same time he added the dark undertow of his own preoccupations, thus enriching the experience of both performing and receiving this operatic masterpiece.
And the craft is all the more impressive because it is confined to relatively small forces. Without the huge resources available to Britten for his greatest masterpieces, like Peter Grimes, or the War Requiem, he could still pack a punch. He had already succeeded with this formula of just twelve instrumentalists (with himself, the conductor, also playing the piano recitatives) and no chorus at all, in his opera for Glyndebourne (and Kathleen Ferrier), The Rape of Lucretia, in 1946. So enamoured was he then of the scale of these forces that he repeated it instantly with Herring in 1947, and again in The Turn of the Screw in 1954, and indeed the chamber orchestra for his War Requiem in 1961. There is no sense at all in any of these works being small-scale. Britten’s expertise is so exquisite that in fact the textures feel complete, capable of ferocious fortissimos from the full ensemble, as well as the most intimate colours from one or two instruments. (Listen out, for example, to his miraculous use of the alto flute and the bass clarinet in the second act of Herring.)
It is my supreme pleasure to return to COT to perform this great work. In the Brian Dickie era I conducted ten operas for the company, including my first Turn of the Screw, also here at the Athenaeum Theatre; so for me this really feels like a happy homecoming.
is sponsored by Jean Perkins & Leland
British conductor Jane Glover, named mander of the Order of the British he 2021 New Year’s Honours, has been e Baroque’s music director since 2002. er professional debut at the Wexford
Festival in 1975, conducting her own edition of Cavalli’s LʼEritrea. She joined Glyndebourne in 1979 and was music director of Glyndebourne Touring Opera from 1981 until 1985. She was artistic director of the London Mozart Players from 1984 to 1991, and has also held principal conductorships of both the Huddersfield and the London Choral Societies. From 2009 until 2016 she was Director of Opera at the Royal Academy of Music where she is now the Felix Mendelssohn Visiting Professor. She was recently Visiting Professor of Opera at the University of Oxford, her alma mater.
Jane Glover has conducted all the major symphony and chamber orchestras in Britain, as well as orchestras in Europe, the United States, Asia, and Australia. In recent seasons she has appeared with the New York Philharmonic, the Cleveland Orchestra, the Philadelphia Orchestra, the Minnesota Orchestra, the San Francisco, Houston, St. Louis, Sydney, Cincinnati, and Toronto symphony orchestras, the Orchestra of St. Luke’s, and the Bamberg Symphony. She has worked with the period-instrument orchestras Philharmonia Baroque, and the Handel and Haydn Society. And she has made regular appearances at the BBC Proms.
In demand on the international opera stage, Jane Glover has appeared with numerous companies including the Metropolitan Opera, Royal Opera, Covent Garden, English National Opera, Glyndebourne, the Berlin Staatsoper, Glimmerglass Opera, New York City Opera, Opera National de Bordeaux, Opera Australia, Chicago Opera Theater, Opera National du Rhin, Opera Theatre of Saint Louis, Luminato, Teatro Real, Madrid, Royal Danish Opera and Teatro La Fenice. A Mozart specialist, she has conducted all the Mozart operas all over the world regularly since she first performed them at Glyndebourne in the 1980s, and her core operatic
repertoire also includes Monteverdi, Handel, and Britten. Highlights of recent seasons include The Magic Flute with the Metropolitan Opera, Alcina with Washington Opera, L'Elisir d'amore for Houston Grand Opera, Medea for Opera Omaha, Così fan tutte for Lyric Opera of Kansas City, The Turn of the Screw, Jephtha and Lucio Silla in Bordeaux, The Rape of Lucretia, A Midsummer Nightʼs Dream, Cosí fan tutte, Figaro and Don Giovanni at the Aspen Music Festival, Gluck’s Armide and Iphigenie en Aulide with Met Young Artists and Juilliard, Don Giovanni and The Magic Flute at Opera Theatre of Saint Louis, and Eugene Onegin, The Rake’s Progress, The Marriage of Figaro, L’incoronazione di Poppea, and the world premiere of Sir Peter Maxwell Davies’ Kommilitonen! at the Royal Academy of Music. In the 2020/2021 season she debuted with Minnesota Opera (Albert Herring) and in the current season returned to the Metropolitan Opera and Houston Grand Opera conducting The Magic Flute. This season she returns to the Houston Grand Opera to conduct Don Giovanni, the Detroit Opera to conduct Xerxes, and Chicago Opera Theater to conduct Albert Herring.
Future and recent-past engagements include her continuing seasons with Music of the Baroque in Chicago, her returns to the Philadelphia Orchestra, the Cleveland Orchestra—both at Severance Hall as well as the Blossom Music Festival, the Houston Symphony, the Orchestra of St Luke’s (at Carnegie Hall) and the London Mozart Players. In the 2019/2020 season she made debuts with the Bremen Philharmonic and the Malaysia Philharmonic. In the 2021/2022 season she made her debut with the Chicago Symphony and Montreal’s Orchestre Mètropolitain. This season she debuts with the St. Louis Symphony, the Fort Worth Symphony, and Teatro del Maggio Musicale in Florence, Italy; and returns to the Houston and San Francisco Symphonies.
Jane Glover’s discography includes a series of Mozart and Haydn symphonies with the London Mozart Players and recordings of Haydn, Mozart, Schubert, Mendelssohn, Britten, and Walton with the London Philharmonic, the Royal Philharmonic, and the BBC Singers. She is the author of the critically acclaimed books Mozart’s Women and Handel in London. She holds a personal professorship at the University of London, is a Fellow of the Royal College of Music, an Honorary Member of the Royal Academy of Music, and the holder of several honorary degrees. In 2020 she was awarded the Royal Philharmonic Society’s Gamechanger Award for her work in breaking new ground for other female conductors.
Director
Stephen Sposito is a New York City-based director. He most recently served as the associate director for The Book of Mormon, where he oversaw the Broadway, touring, and Australia companies. He previously served as the resident director for the Broadway and touring productions of Wicked. Directing credits include the national and International tours of Shrek the Musical, Pippin at Pittsburgh Playhouse, Crossroads for Regents Seven Seas, Something Rotten at Cape Rep Theatre, The American Theatre Wing Gala, The Obie Awards, NBCUniversal’s upfront at Radio City Music Hall in addition to live events for Target and The Robin Hood Foundation. Associate director credits include the Broadway companies of Cat on a Hot Tin Roof starring Scarlett Johansson, How to Succeed in Business Without Really Trying starring Daniel Radcliffe, Promises, Promises starring Sean Hayes and Kristin Chenoweth, Scandalous, and Shrek the Musical. He was the associate director for Carmen at Houston Grand Opera. He is a graduate of The University of Michigan and recipient of the Emerging Artist Award.
A winner of the 2019 Metropolitan Opera National Council Auditions, Miles Mykkanen has garnered recognition on the world's concert and operatic stages for his "full-voiced tenor" (The New York Times).
Miles Mykkanen's 2022-23 season features three prominent role debuts: he sings Steuermann in Der
ngagement with the Canadian Opera t Herring in his debut at Chicago Opera Falstaff for a company debut at the eratic engagements include the tenor’s ra to cover Tamino in the company’s new y of Die Zauberflöte and the title role of sanne. Concert engagements of the season ah with performances at University Musical Society and with the Atlanta and New Jersey symphonies.
Last season the Finnish-American tenor appeared at the Metropolitan Opera in no less than three productions: Boris Godunov; Die Meistersinger von Nürnberg; and Ariadne auf Naxos. He made his debuts at the Festival d’Aix en Provence in L’incoronazione di Poppea and at Austin Opera in Fidelio. He joined David Danzmayr and the Oregon Symphony for Messiah and presented a Lieder recital program of Beethoven and Schubert under the auspices of the State University of New York at Buffalo.
The tenor’s vibrant concert schedule has included performances of Bruckner’s Te Deum with the Pittsburgh Symphony, the world premiere of Mohammed Fairouz’ Another Time with the Detroit Symphony Orchestra, a New York Philharmonic debut with excerpts from West Side Story, and Handel’s Messiah with the symphonies of Atlanta, Indianapolis, and New Jersey, and the National Symphony Orchestra at The Kennedy Center.
Miles Mykkanen spent numerous summers at the Marlboro Music Festival where his performances have spanned from art songs of Brahms and Britten to chamber music of Brett Dean with distinguished guest artists Mitsuko Uchida, Malcolm Martineau, Roger Vignoles, and many others.
Whitney Morrison is sponsored by Martha A. Hesse
Rising star Whitney Morrison has earned praise for her "big, gleaming soprano" (Chicago Classical Review) and "vocally sumptuous" performances (Chicago Tribune). A Chicago native and recent alum of the Ryan Opera Center, Morrison
erican aesthetic inclassical music, embracing a lends classical singing technique with elements on.
mance in the Lyric Opera of Chicago’s virtual ee and Friends: The Next Chapter,” Opera rison was simply astonishing in everything she ed to hear live.” Morrison received a 2023 y ston Modern Orchestra Project’s recording of The life and Times of Malcolm X, in which she sang the role of Louise/Betty.
In 2022, she made her debut with Michigan Opera Theatre in the same role and reprised it with Opera Omaha and Odyssey Opera, before going on to record it. Her 2022-2023 season also includes performances with Lyric Opera of Chicago as Yasmine Miller in their spring production of Proximity, and with Chicago Opera Theater as Lady Billows in their winter production of Albert Herring.
Morrison also appeared as Leonie Baker in the world premiere of Freedom Ride at Chicago Opera Theater, prompting The Wall Street Journal to declare, “One impassioned aria caught my ear: Leonie Baker (soprano Whitney Morrison)” and Classical Voice America to say, “the production’s big surprise was soprano Whitney Morrison, who nearly stole the show.” Morrison also garnered acclaim for her “richly textured performance and luxurious
Known for his "exacting and animating performances", Chicago-based Tenor Justin Berkowitz’ 2022-23 highlights include Haymarket Opera’s L’incornazione di Poppea where he sang the roles of Arnalta and Nutrice and returns to Chicago Opera Theater as Mayor Upfold in Albert Herring and will premiere the roles of Steve Todd and Arnold Murrary in Justine F. Chen's The Life and
. The spring of 2023 brings him to the Rockford for his noted Tenor Solo in Carmina Burana.
peared with Chicago Opera Theater in Mark nta Claus and performed several roles in the n of Taking up Serpents and premiered the role of Gil in Matthew Recio's The Puppy Episode. The 2019-2020 season brought debut performances of Carmina Burana with the Champaign-Urbana Symphony Orchestra and Brazos Valley Symphony in Texas, among others. His 2018-19 season featured his international debut in Carmina Burana at the Tyroll Hall in Innsbruck.
These performances were followed by debuts with the Mobile Symphony Orchestra and Chippewa Valley Symphony Orchestra for the same work. In 2018, Berkowitz made his debut with the Naples Philharmonic Orchestra as the tenor soloist for their performances of The Messiah and sang the role of Nantucket Sailor in Chicago Opera Theater's 2019 performances of Jake Heggie's Moby Dick.
In recent season's Berkowitz' operatic performances have included productions with Central City Opera, Haymarket Opera, Opera Naples, Opera on the James, DuPage Opera Theater and St. Petersburg Opera, among others. He has appeared onstage with the Chicago Philharmonic, Apollo Chorus of Chicago, Annapolis Symphony Orchestra, Detroit Medical Symphony, Northwestern Indiana Symphony, Osh-Kosh Symphony, and more. A native of Minneapolis, Berkowitz earned his Bachelor's degree from Lawrence University and Conservatory and received a Master’s degree from The University of Michigan.
With more than forty operatic roles to his credit, baritone Bill McMurray has been described as “a baritone with warm, rich tones and superb stage presence” by the Durham Herald Sun. Such roles include “Figaro” in Il Baribiere di Sivigila, “Count Almaviva” in Le nozze di Figaro and “Escamillo” in Carmen. Walter Marini of the New Buffalo Times is quoted as saying his portrayal of "Marcello" in
s “a powerful actor who brings great elegance to the fine as anything being heard in major opera houses
Recent engagements include his debut with Opera San Antonio as “Marullo” in Rigoletto, “Ibn Hakia” in Tchaikovsky’s opera Iolanta, “The Father” in the Midwest premiere of Stefan Weisman’s opera The Scarlet Ibis, both with Chicago Opera Theater, and as the Narrator in The Snowman with the Illinois Philharmonic Orchestra.
For the 22-23 season Bill sings the bass solos in Handel’s Messiah with both the Illinois Philharmonic Orchestra and the Harris Theater for Music and Dance, “Raphael/Adam” in Haydn’s Creation, as well as the baritone soloist in a Porgy and Bess concert with IPO, the Mozart Requiem with the Chicago Bar Association and Beethoven’s Ninth Symphony in his debut with South Bend Symphony Orchestra. He will also be returning to Chicago Opera Theater to perform the role of “Mr Gedge, the Vicar” in their production of Albert Herring.
Equally successful on the concert stage, Bill has sung solos in sacred works such as Handel’s Messiah, which he recorded on CD, Mozart’s Mass in C Minor and Mendelssohn’s Elijah. He has also been the featured soloist in Vaughan Williams’ Five Mystical Songs, Aaron Copland’s Old American Songs and the Faure Requiem. He was the baritone soloist in Michael Tippett’s oratorio A Child of Our Time, conducted by Barbara Schubert with the University of Chicago Symphony Orchestra. Mr McMurray was also a featured soloist in Florence and Rome, Italy with the combined choirs of St John Cantius Church and St Joseph College as a result of an invitation to sing at the Vatican. In 2021 Bill received a Grammy award as a member of the Chicago Symphony Chorus for their work on the recording of Shostakovich’s Symphony No. 13, Babi Yar.
Costa Rican-American Soprano Teresa Castillo, has been hailed by the San Francisco Gate as a “standout, bringing [vocal] power and florid elegance,” and by Opera News for exhibiting “a clean, concentrated sound, and a lovely, intelligent musicianship.” Ms. Castillo’s repertoire includes Juliette (Romeo et Juliette), Madame Mao (Nixon in China), Lucia (Lucia di Lammermoor), Tytania
t’s Dream), Creusa (Medea in Corinto), La Comtesse Adèle (Le Comte Ory) , Rosina (Barber of Seville), Drusilla (L’incoronazione di Poppea), Maria (West Side Story), Amina (La Sonnambula), Ms. Wordsworth (Albert Herring) among others.
She has sung with Teatro Lirico di Cagliari, Lyric Opera of Chicago, Knoxville Opera, The Princeton Festival, Opera Theatre St. Louis, Teatro Nuovo, Opera San Jose, White Snake Projects, Virginia Opera, Central City Opera, Merola Opera Program, Opera Lafayette and is making her debut with Chicago Opera Theater this season.
Recent competition prizes include the George London Competition, the Cooper-Bing Competition, Opera Index Competition, The Jensen Foundation Vocal Competition, and the Altamura/Caruso International Voice Competition, The Anita Cerquetti International Competition, Lois Alba Aria Competition, Metropolitan Opera National Council Auditions and has received grants from Career Bridges, The Allied Arts, The Anna Sosenko Trust, and the Bel Canto Vocal Scholarship Foundation.
Hailed for her “deliciously over the top” and “powerful mezzo” by Opera News, Alissa Anderson wields her comic prowess, striking features, and her “powerful vocalism” to great acclaim. Ms. Anderson achieved a considerable success and was celebrated for being “impeccably prepared” and “splendid in every way” when she stepped in as Florence Pike in Santa Fe Opera’s Albert Herring under the baton of Sir Andrew Davis.
T erson makes her debut at Angers-Nantes Opera as Mother Goose in The Rake s Progress, reprises her Marcellina at Austin Opera, joins the Metropolitan Opera as Nurse (cover) for their production of Boris Gudunov, brings her Dame Quickly to Falstaff with Berkshire Opera Festival, Sings Mama in Why I Live at the Post Office with UrbanArias, and sings Erda in Das Rheingold with Opera Santa Barbara. She also joins Heartbeat Opera as alto soloist in their annual Messy Messiah concert. The recent COVID-impacted seasons saw her debut with Opera Philadelphia as Princess Clarissa in The Love for Three Oranges, Mrs. Lovett in Sweeney Todd with the Royal Danish Opera, and a cancelled return to Opera Birmingham as Madame de la Haltière in Cendrillon.
Other recent performances for Ms. Anderson include The Witch in Into the Woods with Utah Festival Opera, La tragédie de Carmen with Opera Birmingham and Opera Louisiana, Frugola/La Zia Principessa in Il trittico with Opera Delaware, Tisbe in La Cenerentola with San Diego Opera, La Zia Principessa/Ciesca in Il trittico with the Opera Company of Middlebury. Recent concert engagements have included John Adams’ Grand Pianola Music with the Dallas Symphony Orchestra, Haydn’s Lord Nelson Mass with Concordia University Symphony Orchestra, her European debut as mezzo soloist in the Verdi Requiem with performances throughout Germany and France and her Lincoln Center debut as the mezzo soloist in Mahler's 2nd Symphony.
Ms. Anderson received the Kathryn Tyrell Award in the Shreveport Opera Competition, the Agnes M. Canning Award from Santa Fe Opera, and the Stuart R. Silver Award from Sarasota Opera. She holds her Master of Music from The University of Maryland and her Bachelor of Music in Vocal Performance from the University of North Texas. She is currently a student of Stephen King.
Bass Wilbur Pauley (Superintendent Budd) in Albert Herring.
Previously with COT: Rimsky Rebooted, 2020; Akhnaten, 2000.
History: Carnegie Hall debut, Penderecki Magnificat, 1977; NYCity Opera debut, Rigoletto, 1984;
hant of Venice (with Dustin Hoffman), 1989; Met lles, 1991.
Recently: Le Grand Macabre, Elbphilharmonie, Hamburg, 2019; Ives with Jeremy Denk, Tanglewood, 2019; Brahms Requiem, Indianapolis, 2020; Sound And Fury, Anna Clyne, Grant Park Festival, 2021; Seven Deadly Sins, Princeton Festival, 2022; Disenchanted, Disney soundtrack (eleventh Disney film), November 2022.
Currently in 22nd season with Lyric Opera of Chicago since 1992 debut. Graduate of Westminster Choir College; originally from Beaver, PA.
Leah Dexter, mezzo-soprano, is praised for being a performer of “commanding force, both vocally and dramatically” (Chicago Classical Review). A frequent artist with Chicago Opera Theater, she was also seen, for the 2021-22 season, as Mercedes in Carmen, Ib in Becoming Santa Claus. Ms. Dexter also joined Michigan Opera Theatre for
of the critically-acclaimed opera Frida, for which she imas’ Mother and Lupe. ed Lyric Opera of Chicago for Blanchard’s Fire Shut Up in My Bones, singing the role of Bertha.
Additional upcoming performances include alto soloist, with the DePaul Community Chorus, in a program of African-American classical vocal music, a recital presentation with LYNX of Chicago, the Chicago Symphony Chorus for Ravel's Daphnis and Chloe and Verdi's Un Ballo in Maschera and Frida, again as Dimas’ Mother and Lupe, for this summer with El Paso Opera.
A Detroit area native, Leah attended the University of Michigan for her musical degrees and is a past Studio Artist of Sarasota Opera, at which she won the Anne J’ O Donnell Outstanding Artist Award for her work with the company.
Jimmy/Frank (Little Mahagonny), Clayton Thomas (cover)/ Tommie(Freedom Ride), Queequeg (Moby Dick), Jesus (St. Matthew Passion), Commissioner (La Traviata), Bass Soloist (Handel's Messiah)
For her 2022-2023 season, Cameroonian/ UgandanAmerican Mezzo-Soprano Veena Akama-Makia returned for her final season as a Chicago Opera Theater/Chicago College of the Performing Arts at Roosevelt University Professional Diploma Candidate and Young Artist. In the Spring of 2023, she will make her role debut as Nancy in Albert Herring (Britten) and debut the role of Kendra in the world premiere of
hlo/Campbell). At COT, Akama-Makia has covered roles in performances of Carmen (Bizet) and Becoming Santa Claus (Adamo). She made her COT debut as Tawny Betty in the world premiere of Quamino’s Map (Wallen/Brevoort) and the role of Tree Spirit in The BeeKeeper (Lu/Rourke) as part of COT’s Vanguard Initiative.
This summer, Ms. Akama-Makia joined San Francisco Opera’s prestigious Merola Opera Program as a Young Artist, where she performed the role of Dritte Dame in Die Zauberflöte (Mozart) and gained acclaim for her excerpted portrayals of Mother from Blue (Tesori/Thompson) and Alisa from Lucia (Donizetti) in the Merola Grand Finale.
Last summer, she was a Tomita Young Artist with Finger Lakes Opera, where she performed the role of the Cherubino in The Three Little Pigs (Davies) and sang duets and arias in their summer scenes concert. She has recently performed in concerts with Opera On Tap Boston and the NEMPAC Opera Project, notably their concert titled “Juneteenth”: Opera In The Key Of Freedom.
Ms. Akama-Makia has been honored with several awards, most recently being a 2021 Encouragement Award Winner from the 2021 The Metropolitan Opera Eric and Dominique Laffont Competition-Illinois District, Semi-Finalist in the 2022 Irene Dalis Vocal Competition, Tier I Semi-Finalist in the James Toland Vocal Competition, a Finalist in the Jesse Kneisel Lieder Competition, a Finalist in the 2020 Mildred Miller Competition, Semi-Finalist in the 2020 Premiere Opera Foundation, and NYIOP International Competition, Semi-Finalist in the 2020 Rochester International Vocal Competition, Semi-Finalist in the 2021 Annapolis Opera Vocal Competition and received 2nd place in the 2022 Musicians Club of Women Vocal Competition.
Praised by Opera News for her “delicate phrasing and pearly tone,” and The New York Times for her "beautifully rounded soprano and exquisite expression,” Chinese soprano Boya Wei has been heard in Chicago in recent seasons at the Chicago Opera Theatre and the Lyric Opera of Chicago. Passionate about new and contemporary music,
nlimited's productions as Rhoda/Rhoda and the Fossil hunt, and Setsuko/An American Dream, and Littler Daughter/Proving Up. Ms Wei originated the roles of Ilia in chamber opera AfterWARds and Voice of the Orchard in The Beekeeper, and gave the American premiere of The First Fairy in The Witches of Venice.
In performances throughout the United States, her other roles include Frasquita/Carmen, Adina/ L'elisir d’amore, Giulia/La scala di seta, Beatrice/Il Postino, Barbarina and Susanna/Le Nozze di Figaro, Gilda/Rigoletto, Genovieffa/Suor Angelica, Norina/Don Pasquale, Contessa di Folleville/Il Viaggio a Reims, and Lauretta/Gianni Schicchi. Equally fond of concert music, Ms. Wei made her Lincoln Center debut in the David H. Koch Theater singing Liebeslieder Walzer and Neue Liebeslieder.
The soprano has been awarded prizes from the Metropolitan Opera National Council Auditions and the Gerda Lissner Foundation, and was a finalist in the McCammon Biennial Voice Competition. She is an alumna of the Central Conservatory of Music and Mannes College of Music.
Corinne Costell is a soprano from Port Jefferson Station, New York currently entering her second year with the Chicago Opera Theater/Chicago College of the Performing Arts at Roosevelt University Professional Diploma and Young Artist Program. Most recently, Corinne premiered the role as Phoebe in The Beekeeper, composed by Wang Lu and libretto by Kelley Rourke with the
Chicago Opera Theater in March 2022.
She has covered multiple roles so far with the Chicago Opera Theater, such as Micaëla in their September 2021 production of Carmen, and Yan the elf in Mark Adamo’s Becoming Santa Claus in December 2021. Corinne is excited to continue this season as Emmie in Albert Herring as well as cover the role of Miss Wordsworth. She will continue this year with covering Sarah Turing in The Life and Death(s) of Alan Turing in March of this year, as well as Ivy in the Vanguard production of The Cook-Off composed by Shawn Okpebholo and written by Mark Campbell.
untertenor CASEY LYONS (Harry) is thrilled to making his Chicago Opera Theater debut! ailing from Lake Forest, IL, Lyons has been rforming professionally in music theatre since e 11, most notably appearing as Gustave in the st national tour of Andrew Lloyd Webber’s Love ver Dies, sequel to The Phantom of the Opera.
emarked that Lyons’ “angelic vocals and el” and Chicago Tribune called his performance Casey recorded “The Beauty Underneath” from w Lloyd Webber’s 70th birthday retrospective edits include the First Spirit in Lyric Opera of nd Harold Baxter in the world premiere of Hazel: A Musical Maid in America. In addition to performing, Casey is an avid composer. He has written and self-produced two original musicals, Bars of Ivy and Limelight.
Casey is a first-year student at Northwestern University studying under Pamela Hinchman. He is pursuing a dual degree in Voice and Opera Performance & Theatre.
He would like to thank Joachim Schamberger and the Chicago Opera Theater team for this incredible opportunity. He would also like to thank his family, friends, and teachers for their love and support.
@caseylyonsactor www.caselyons.me “Blessed be God in all His designs.”
Partial Support of this provided by The Morse and Genius Reserve Fund
This program is partially supported by a grant from the Illinois Arts Council Agency
Opera is a collaborative effort from the singers and the orchestra, to the conductors, directors, designers, and crews, to the administrators and volunteers. Chicago Opera Theater’s resilience would not be possible without the support of our donor family. Thank you for being an essential member of our creative community.
We appreciate gifts of all sizes! What follows is a list of our generous donors $50+.
Anonymous (9)
Richard Abram & Paul Chandler
John Corigliano & Mark Adamo
Kate Akos & Harry Jacobs
Stephen Alltop
Sheila Amend
The Amphion Foundation
Douglas Anderson
Louise Anderson
Paul M. Angell Family Foundation
Douglas Asbury
Lucy & Peter* Ascoli
Elizabeth Asmis
Chris & John Austin
*Board Member ‡In-kind †Deceased
Avli on the Park‡
Arturo Balderas & Diana Rumney
John & Sharon Baldwin
Julie & Roger Baskes
Robert and Isabelle Bass Foundation, Inc.
Sandra Bass
Judith Bauer
Queta & Ron* Bauer
Ross Beacraft
Peggy & Ron Beata
Dr. C. Bekerman
Donna Bennett
Charles Berglund
List reflects gifts received between 11/1/2021 and 1/19/2023
Roger J. Bialcik
Suzanne & William E. Bible
Kristen Bigham
Mrs. Arthur A. Billings
Brian T. Bird
Judith & Merrill* Blau
Shaun & Andy Block
Mrs. Albert Bloom
John P. Blosser
John & Claudia Boatright
Renee Menegaz-Bock & R. Darrell Bock
Fred & Phoebe Boelter
Sheila Barton Bosron
Ann Box
Norman Boyer
Richard Boyum & Louie Chua
James Brandt
Drs. Charles & Patricia Brauner
David Braverman
Evan Bravos
Michael Brazier
Deborah Brevoort
Ella Britton-Gibson
Kathryn Brown
Ralph & Rona Brown
Archibald Bryant
Jeffrey D. Callison
Robert Calvin
Ray Carter
Joyce Chelberg
Elizabeth F. Cheney Foundation
Cynthia Cheski & Scott Elliott
Jason Cline
Margery C. Coen
Gene Collerd
Howard & Anne Conant
*Board Member ‡In-kind †Deceased
Dale Connelly & Donna Van Eekeren
Muniefa Cooper
Anne Cunningham
Robert & Isabel Curley
David Curry & George Kohler+
Chris Davis
De Priest Family Foundation, Inc.
Nancy Dehmlow
Marijane Deters
Diane Droste
Ingrid & Rich Dubberke
Kent Dymak & Theodore Foss
Kenneth A. East
Barbara & John Eckel
Laurence Edwards & Susan Boone
Anne Egger
Laurie Hammel & Bruce English
Erika Erich
Christine Eschete
Janet Eyler & Edwin Walker
Faegre Drinker Biddle & Reath LLP‡
Kamille Fajardo
Karen & Clinton J. Feil
Marilynne Felderman
Jan Feldman
Megan Fellman & Anthony Rosso
Barry S. Finkel
Linda Fiore
Firestone Family Foundation
Colleen Flanigan
Geoffrey Flick
Nona C. Flores
Frances & Henry* Fogel
Lance & Marcy Fortnow
Eloise C. Foster
Robert Fourer
David Fox
List reflects gifts received between 11/1/2021 and 1/19/2023
Timothy & Janet Fox
Aaron Frame
Julius N. Frankel Foundation
Sue & Paul* Freehling
Raymond Frick
Priscilla & Henry Frisch
Lloyd A. Fry Foundation
Claire Gadbois
Earl Gaines
Stacy Garrop
Stephen & Elizabeth Geer
Elizabeth Morse Genius Charitable
Trust
Elizabeth Gentner
Sarah Geocaris
Eric & Angela Gershenson
Gaylord & William Gieseke
Nordon S. Gilbert & Benjamin
Thomas
Dr. Janice Gilden
Patrice Michaels & Jim Ginsburg
David Gitomer
Joseph Glaser
Prof. James A. Glazier
Ethel & Bill Gofen
Alan Gordon
Gerald & Dr. Colette Gordon
Andrew Gore
David Granato
Bill & Judy Greffin
Dr. Anthony R. & Susan M. Grosch
Robert Grundstad
Barbara Guenther
Mr. & Mrs. Martin A. Halacy
John R. Halligan Charitable Fund
Joseph Hanc
Nancy Randa & Michael Hansen*
*Board Member ‡In-kind †Deceased
Ruth Hansen & Lawrence Plotkin
Stephanie Hart*
Allen Heinemann* & William Borden
Angeline Heisler
Stephen Heller
Barbara & William Herzog
Martha Hesse
HMS Media, Inc. ‡
Judith Hoffman
John Holland
Richard Hoskins
Mary Lunz* & James Houston
Nikolas Huffman
William Hulsker
Elizabeth Hurley
Amy Hutchison
James Huttenhower & Phillip
Tommey Capt. Bernardo Iorgulescu, USMC Memorial Fund of DuPage Foundation
Robert Irion
Susan Irion* & Rob DeLand
Judith Jahant
Nora Jaskowiak & Matthew Hinerfeld
Linda Jenewein
William Jentes
Ronald B. Johnson
Kristin Johnson
Cornelius Johnson
Brenda Ashley & Gary Johnson
Dale Johnson
Mrs. Lori Julian
Kara Kane & James Sullivan
James Karela
Sol R. Kaufman Family Foundation
List reflects gifts received between 11/1/2021 and 1/19/2023
Doug Brandt & Kathy Keegan
Diana & Neil King
Mary Klyasheff
Catherine & Douglas Knuth
Paul Kobasa
Peter Kohn & Judith Sandstrom
James K. Genden+ & Alma
Koppedraijer
Norm Ryan & Brae Korin
Axel Kunzmann & Bruce J. Nelson
Dr. Carol Kyros-Walker
Lawrence Johnson
A. Jeanne LaDuke
Maria* & Peter Lagios
Larry Lapidus
Joan & Gary Laser
Christopher Leake
Moses Lee
Lemont Fund
Michael Leppen
Mr. & Mrs. John G. Levi
Michael & Diane Levy
Elizabeth Amy Liebman
Lawrence Lipking
Barbara Lippi
Arthur & Dale Lipschultz
Chris H. Lonn
Michele Lowrie
Miles & Brittany Mabry
John D. & Catherine T. MacArthur Foundation
Mary Mackay & Edward Wheatley
Catherine Madayag
Ashley & Brandon Magnus
Philip & Ann May
Laura G. & James* G. McCormick
Marilyn McCoy & Charles Thomas
*Board Member ‡In-kind †Deceased
Jeffrey & Cynthia McCreary
William A. McHugh
Jessica McJunkins
Jean McLaren & John Nitschke
Bozena McLees
Patricia McMillen
David E. McNeel*
Martina Mead & Michael Gorey
Mellon Foundation
Joanne Michalski & Mike Weeda
Donna Milanovich
David Miller
Frank Modruson & Lynne Shigley
Robert & Lois Moeller
Dave & Lizz Mook
The Elizabeth Morse Charitable Trust
Amanda & Arthur Moswin
Charles H. Mottier
Catherine Mouly & Ted Carlson
Masahiro Kasai & Bill Myers
Sonia Nahmod
Jennifer & Steve Nahn
National Endowment for the Arts
Negaunee Foundation
Sylvia Neil & Daniel Fischel
John H. Nelson
Donald E. Newsom
Lee Nickelson
Ed & Gayla Nieminen
Susan Noel*
Daniel Novak
Martha Nussbaum
William & Penny Obenshain
Michael & Margo Oberman
Shawn Okpebholo
Patricia A. Kenney & Gregory J. O'Leary
List reflects gifts received between 11/1/2021 and 1/19/2023
Irmgard & Keith Olson
Sarah & Charles Orlove
James Orr
Dorothy F. Osborn* & Bud
Dobbins
Gerald Padbury
Dawn Palmer
Joan L. Pantsios
John Howard Percy
Jean Perkins & Leland Hutchinson
Nick Petros
The Consulate General of the
Republic of Poland in Chicago
Polk Bros. Foundation
Frank C. Pond
Sandra Popik
David Pozorski
Marianne Pyster
Susan Rabe
Pavitra Ramachandran*
Shulamit Ran Lotan
Matthew Recio
Charles & Maureen Reilly
Gerald Rizzer
Casey Robards
Nick Roman
Marsha & Robert Rosner
Heidi Rothenberg
Stephen Roy & Lloyd Kohler
Bobbie Rudnick
Richard O. Ryan
Joan & Frank R. Safford
Sage Foundation
Sahara Enterprises, Inc. Fund at
The Chicago Community Foundation
David Saunders
*Board Member ‡In-kind †Deceased
Esther Schechter
Paul Scherer
Tamara Schiller
Russell Lascelles & Janet Schultz
Arleen & Frederic Schwartz
John N. Schwartz & James A. Mosley
Mark & Sally Schwartz
Susan H. Schwartz
Gerry Sczygiel
Barre Seid & Barbara Landis‡
Dejuan Shadd
Archietta Shannon
Michael Shapiro
Susan & Robert* Shapiro
Ilene and Michael Shaw Charitable Trust
Rita & Jim Sheinin
Elizabeth Shepherd
John H. Shindler
Marcey & Ken Siegel
Roberta & Howard A. Siegel
Constance Simms-Kincaid
Larry Simpson
The Siragusa Family Foundation
Patricia Skigen
Meaghan & Michael Smallwood
Louise K. Smith
Sarah & Michael David Smith
Larry & Marge Sondler
Laraine & David Spector
Estelle Spector
Spectrum Sports Bar & Grill Inc
Paul Sprecher
Nancy Stainback
Grace K. Stanek
Dale Starkes & Stacey Kossman
Ester Stein
List reflects gifts received between 11/1/2021 and 1/19/2023
Marjorie Stinespring
Ariana Strahl
James Strait
Carol Stukey
Lorraine Subra
Vivien Gross & Dan Tarlock
Texas Instruments Foundation
Tazewell Thompson
Myron & Karen Tiersky
Virginia Tobiason*
Rebecca Tung
Judith C. Tuszynski
Frances Vandervoort
Marisela Varela
David J. Varnerin
Laura Vesecky
Todd & Cari Vieregg
John Vinci
Albert Walavich
Dr. Alan J. Ward+
Louella Ward
Peter J. Wender
Drs. Dennis & Anne Wentz
Cathi White
Gerald Wilemski
Betty Winer
Claudia Winkler
Kathleen Arthur & Stephen Wood
Randi Woodworth
Mary & Michael Woolever
Debbie K. Wright
Tatyana & Boris Yamrom
Lidiya Yankovskaya & Daniel
Schwartz
Dean Yannias
Michael & Jessica Young
Miriam L Young
Linda & Owen Youngman
Judith Zeitlin
Rita & Robert Zeitner
Camille Zientek
Cynthia Winter & Nicholas Weingarten
GIFTS IN MEMORY/HONOR OF
Many donors establish gifts to honor and/or remember a respected mentor or friend. These donations pay tribute to influential members of COT’s family who serve as an inspiration to the rest of the community.
In Honor of Peter Ascoli
Roberta and Howard A. Siegel
In Memory of Donna Babonas
Steve Landsman
In Memory of David Lee Bradke
Ruth Hansen & Lawrence Plotkin
In Honor of Justin Berkowitz
Kate Akos & Harry Jacobs
In Memory of Gwendolyn Britten
Jeffrey D. Callison
In Memory of John R. Buckley
Sarah & Michael David Smith
In Memory of Stefan Edlis
Gael Neeson
*Board Member ‡In-kind †Deceased List reflects gifts received between 11/1/2021 and 1/19/2023
In Honor of Henry Fogel
David Chambers
Jamey & Melissa Sage Fadim
Ray Frick
Gaylord & William Gieseke
Negaunee Foundation
In Honor of Jake Heggie & Gene
Scheer
Rita & Jim Sheinin
In Honor of Sue Irion
Robert Irion
Gaylord & William Gieseke
In Memory of George N. Kohler
David Curry
In Honor of Ashley Magnus
Donna Milanovich
Gaylord & William Gieseke
In Memory of Duncan C. McCune
Miriam L. Young
In Honor of Frank Modruson
Old National Bancorp
In Honor of Megan Monahan
Sue & Paul* Freehling
In Memory of John C. Palmer, Jr.
Dawn Palmer
In Memory of Andrew Patner
Steve Robinson & Beth Schenker
*Board Member ‡In-kind †Deceased
In Memory of Adeline & John
Popik
Sandra Popik
In Memory of Carolyn Rizzer
Gerald Rizzer
In Memory of Hal Schiff
Paul Scherer
In Memory of Frank E. Sherman
David Granato
In Honor of Meaghan Stainback
Smallwood
Anonymous
Stephen Alltop
Peggy & Ron Beata
Mr. & Mrs. Michael Oberman
Daniel Novak
Nick Roman
In Honor of Virginia Tobiason
Cheryl Berger
In Honor of Brea Williams
Nick Roman
In Honor of Dorian
Yankovskaya-Schwartz
Patricia McMillen
List reflects gifts received between 11/1/2021 and 1/19/2023
Mark Adamo & John Corigliano
Gaylord & William Gieseke
Donna Milanovich
Shulamit Ran Lotan
Michael Shapiro
Peter J. Wender
*Board Member ‡In-kind †Deceased
List reflects gifts received between 11/1/2021 and 1/19/2023
COT identifies promising composers ready to hone the specific skillset required to create quality opera. The program is guided and overseen by Elizabeth Morse and Genius Music Director and Director of the Vanguard Initiative, Lidiya Yankovskaya. Composers also work closely with Composer Advisors Jake Heggie, Kamala Sankaram, and Gene Scheers as well as regularly meeting with top industry leaders and receiving guidance from renowned dramaturgs while writing their 2nd year commission.
The COT/CCPA Young Artist Program is a specialized opportunity for developing pianists and singers. It allows developing artists with exceptional career promise and mastery of basic skills to focus on all areas of their artistic growth. The program affords them professional experience, particularly in the development and performance of innovative new work, while also supporting them with voice lessons, vocal coaching, and dramatic training from the illustrious music and performance faculty at CCPA. Participants receive a full-tuition scholarship, as well as a monthly stipend during the performance season, which runs September – April.
Shawn E. Okpebholo 2021-2023
Gillian Rae Perry 2022-2024
Dr. Carlos R. Carrillo 2023-2025
Wang Lu 2020-2022
Jennifer Allor Veena AkamaMakia
Karlos PiñeroMercado
Pauline Tan Corinne Costell
MARCH 23-25, 2023
TICKETS ON SALE NOW TICKETS ON SALE NOW AT COT.ORG AT COT.ORG