Mason Opera Spring 2024 by College of Visual and Performing Arts

Mason Opera Presents A Comedic Double Bill

From the Sublime to the Ridiculous The Impresario

Music by W. A. Mozart

German Libretto by Johann Gottlieb Stephanie the younger

English Adaptation by G. Cardelli

Script Adaptation by Richard Leech

The Classical Style: An Opera (of Sorts)

Music by Steven Stucky

Libretto by Jeremy Denk

Stage Director: Prof. Richard Leech

Music Director & Conductor: Dr. Soo Han

Director/Producer: Professor Patricia Miller

Harris Theatre

George Mason University

Friday, April 19 at 8:00pm

Saturday, April 20 at 2:00pm and 8:00pm

Sunday, April 21 at 3:00pm

*There will a brief fifteen-minute intermission between operas.

The Impresario

Mr. Scruples

Mr. Bluff

Mr. Angel

Madame Goldentrill

Miss Silverpeal

Stage Manager

Papageno(a) Duet

Rossini Cat Duet

The Classical Style: An Opera (of sorts)

Mozart

Donna Anna

Beethoven

Commendatore

Haydn

Bartender

Dominant Chord

Musicologist

Music Student

Subdominant Chord

Participant 1

Schumann

H. Snibblesworth

Charles Rosen

Tristan Chord

Tonic Chord

Don Giovanni

Participant 2

Gold Cast*

Bob McDonald

David Maeng

Ross Calvin

Anissa Clay Zelaya

Hana Tawil

Ash Mattos

Sarah Calvino, Aiden BrenemanPennas

Rosalind Chan, Mikayla Mindiola

Samira Plummer Brown

Sarah Calvino

Josh Slutsky

Ross Calvin

Kyla Larkin

Rosalind Chan

Jennifer Mills

Ash Mattos

Kaylee Cobb

Ash Mattos

Mikayla Mindiola

Sofie Caruso

Bob McDonald

David Maeng

Aiden Breneman-Pennas

David Maeng

*Friday, April 19th at 8:00 PM and Saturday, April 20th at 2:00 PM

**Saturday, April 20th at 8:00 PM and Sunday, April 21st at 3:00 PM

Green Cast**

Bob McDonald

Aiden Breneman-Pennas

Josh Shin

Jamilah Barnes

Samira Plummer Brown

Ash Mattos

Sofie Caruso, David Maeng

Rosalind Chan, Mikayla Mindiola

Anissa Clay Zelaya

Jennifer Mills

Josh Slutsky

Ross Calvin

Rosalind Chan

Hana Tawil

Sarah Calvino

Sofie Caruso

Mikayla Mindiola

Kaylee Cobb

Ash Mattos

Kyla Larkin

Bob McDonald

Aiden Breneman-Pennas

David Maeng

Aiden Breneman-Pennas

Cast

Orchestra

Conductor- Dr. Soo Han

Assistant Conductor- Michael Stern

Violin I

Ethan Walter, concertmaster

Annette Lee

Matthew Gardner

Violin II

Marianna Wolpert

Suyuan Carrasco

Telah Harper

Viola

Alyssa Cabassa

Jessica Masterson

Anna Koumbis

Cello

Eddie Adams

Jabari Deroux

Bass

Nathan Coughlin

Timpani/Percussion

John Mirabella

Emma Stewart

Oboe Michael Pagan

Flute/Piccolo Zoey Lamb

Clarinet Teddy Dunn Benjamin Lopez

Bassoon

Andrew Christian Bell

Horn

Alex Kowalski

Eli Roegge

Trumpet Andrew Wood

Pianist GaYoung Lee* Dr. Eunae Ko Han**

*Saturday and Sunday matinees

**Friday and Saturday evenings

Note from the Director

It is not often that we find commonality between two operas written some two hundred twenty-eight years apart. However, with The Impresario and The Classical Style: An Opera (of Sorts) we encounter just that. These two farcical comedies both lovingly poke fun at opera, classical music, and all its myriad players. Written in the same year as The Marriage of Figaro, The Impresario is filled with Mozart’s musical and comedic genius. In The Classical Style: An Opera (of Sorts), Steven Stucky ingeniously incorporates theme after theme from Mozart, Haydn, and Beethoven while librettist Jeremy Denk leads us on a fanciful, funny, and satirical journey through the world of (of all things) music theory and musicology. Reviewing the piece’s world premiere, Joshua Kosman of the San Francisco Chronicle lauded The Classical Style as an "exuberantly witty and often touching one-act opera" and, “…the brilliant pianist and writer Jeremy Denk points out that there has been plenty of musicology written about opera, but never an opera about musicology.

On the inspiration to write a comic opera, Denk remarked: “Although those of us who perform and love this music like to cultivate an air of seriousness, at times we must realize there is something ridiculous about the level to which we've subjected this music to consideration, analysis, thought. The opera buffa genre is simply a way of exposing this absurdity, turning music inside out to reflect on itself, with hopefully hilarious and intriguing results.”

With the challenge of learning and performing difficult pieces such as these, I would like to offer my applause to our talented students for their serious and focused work and my gratitude to our incredible music faculty and GTAs for their skillful dedication to their preparation. Music Director Soo Han, Mason Opera coach Professor Joe Walsh, Assistant conductor Michael Wesley Stern, and collaborative pianists Dr. Eunae Ko Han and GaYoung Lee, who were indispensable throughout the rehearsal process.

I would like to thank Director of Vocal Studies Professor Patricia Miller and Executive Director of Center of the Arts Julie Thompson for their constant support. I also thank our wonderful production team from costume and set design and construction to lighting, stage, and theater management. Bravi Tutti!

Richard Leech

Synopsis

The Impresario

It is the final day of Festival auditions as the orchestra begins their rehearsals. Festival Impresario, Gunther Scruples, discusses the sad reality of the festival’s budget with his assistant, Mr. Bluff, and laments his decision not to retire as he had planned.

As auditions proceed, millionaire businessman, Mario Angel, arrives with the celebrated and semi-retired soprano, Madame Goldentrill, with whom he has a very close association. Although the Festival couldn’t normally afford her fee, he proposes that he cover it - as well as half of the festival’s budget. Scruples embraces the idea, and the diva sings for him to remind him of her greatness.

Angel then shares that he also has a close association with another soprano, a much younger, up-and-coming artist, Gloria Silverpeal. She demonstrates her many talents, and Angel seals the deal as Madame Goldentrill overhears that this upstart would receive a higher fee than would she.

As Angel madly tries to calm the situation and keep the two divas from killing one another, they each make a case for why they should be the Festival’s Prima Donna.

Finally, Scruples decides that he has had enough of “singers” and that retirement is a much better option, making Bluff the new Impresario. Bluff, however, only ever wanted to sing, so he casts himself as the Festival’s Primo Baritono and names Mr. Angel the new Impresario.

As Angel begins to set the ground rules to be followed under his new leadership, the two divas realize that he has been “generously sharing himself” with BOTH of them. They quickly flip the script, embracing a 50’s version of “#Me Too,” and set their own terms for their futures.

The Classical Style: An Opera (of Sorts)

The opera opens in the home of pianist and musicologist, Charles Rosen. As he sits listening to Beethoven’s masterpiece, “Für Elise,” he drifts off thinking about the miracle that was the Classical era.

The next thing we know, we find ourselves in heaven with bickering Classical period composers Mozart, Haydn, and Beethoven. They become dismayed at the evident decline of classical music and their growing irrelevance. After pulling Rosen's “The Classical Style” from a bookshelf at random, the three composers decide to descend to Earth to visit the author.

Their journey leads them to a bar, where they encounter anthropomorphized Dominant, Tonic, Subdominant, and Tristan Chords. Naturally, Dominant laments her inability to resolve and Tonic thinks it is all about him as they all analyze their complicated relationships.

A sniveling PhD candidate from the University of California, Berkeley, named Snibblesworth, breaks the fourth wall as they stumble into a performance of Mozart's Don Giovanni. Snibblesworth's protracted analysis of the music eventually causes Giovanni to lose his lust for Donna Anna and question what to do with his life. Snibblesworth then suggests to the Commendatore that he consider work as a musicologist (with limited benefits) at Berkeley and informs him about Beethoven’s legacy in a parody of Leporello’s catalogue aria.

After the three composer’s crash a symposium on sonata form looking for Rosen (the scene literally written in Sonata form), they finally meet him at his Manhattan apartment. Rosen kindly admonishes the composers for feeling irrelevant, reminding them of their greatness and holding that all things must change and that no one can be relevant forever. They accept his response and return to heaven- disappointed but understanding.

The opera ends with Rosen being visited by the composer Robert Schumann (also descended from heaven), who himself signaled a shift from the Classical era to the Romantic era of classical music. Rosen awakens and reflects on the wonder of how it all came to be, and how it ended.

MASON OPERA DIRECTORS

Prof. Richard Leech, Stage Director, Mason Opera

Dr. Soo Han, Music Director, Conductor

Prof Patricia Miller, Director of Vocal Studies, Opera Director & Producer

MASON OPERA PRODUCTION TEAM

Carrie Cox, Technical Director

Sean Cox, Lighting Designer

Laurel Dunayer, Costume Designer

Donna Reinhold, Stage Manager

Jonathan Dahm Robertson, Scenic Designer

Rosalind Chan, Assistant to the Stage Director

Ethan Osborne, Scene Shop Supervisor

Stephan Starling, Assistant Technical Director

ARTISTIC DIRECTION AND STAFF

Dr. Soo Han, Musical Director, Conductor

Prof. Richard Leech, Stage Director, Mason Opera

Michael Stern, Assistant Conductor

Prof Joseph Walsh, Mason Opera Coach

Dr. Eunae Ko Han, Opera Pianist, Coach, Rehearsal Pianist

Ga Young Lee, Opera Musical Assistant, Opera Rehearsal Pianist

Sarah Alspach, Costume Shop Assistant

Alexandra Beverina, Costume Shop Assistant

Hannah Griffith, Wardrobe & Hair and Makeup

Bertem Demirtas, Production Intern

Gabriel Embry, Production Intern

Sydney Schepisi, Paint Intern

Shannon Harrel, Costume Shop Intern

Brianna Zawicki, Costume Shop Intern

Vika Hearne, Scene Shop Overhire

Susan Lane, Scene Shop Overhire

Taylor Alexander, Scene Shop Practicum Student

Mary Claire Bernier, Scene Shop Practicum Student

Aadith Iyer, Scene Shop Practicum Student

Sydney Schepisi, Scene Shop Practicum Student

Walker Vlahos, Scene Shop Practicum Student

Spender Wilde, Scene Shop Practicum Student

Anna Jungkeit, Production Intern

Caleb McMurtry, Fly Operator/Deck

Rosalind Chan, Scene Shop Practicum Student

E Griggs, Scene Shop Practicum Student

Jackson Ramos, Costume Shop Intern

Lee Guber, Costume Shop Intern

Chloe Scheel, Scenic Painter

Maddie Southard, Lead Carpenter

Megan Ayers, Properties Intern

Anna Connole, Costume Shop Intern

Jeremy Pritchard, Wardrobe/Deck

Carter Hurd, Scene Shop Practicum Student

Kevin Kaluarachchi, Scene Shop Practicum Student

Zatch Valenzuela, Scene Shop Practicum Student

Ky Wilcox, Scene Shop Practicum Student

Zoe Winter, Scene Shop Practicum Student

MASON OPERA ADMINISTRATION AND STAFF

Prof Patricia Miller, Director of Vocal Studies, Opera Director & Producer

Prof. Richard Leech, Stage Director, Mason Opera

Dr. Soo Han, Musical Director, Conductor

Prof Joseph Walsh, Opera Coach

Dr. Eunae Ko Han, Opera Coach & Pianist

Julie Thompson, Executive Director, Center for the Arts

Anissa Clay Zelaya, Mason Vocal Studies and Opera Assistant

HARRIS THEATER PRODUCTION STAFF

Adrianna Smith, Harris Theater Venue Technical Director

Micah Stromberg, Performing Arts Building Venue Technical Director

MASON OPERA GRATEFULLY ACKNOWLEDGES

Dr. Rick Davis, Dean, College of Visual & Performing Arts

Dr. Linda Monson, Director, Reva and Sid Dewberry Family School of Music

Julie Thompson, Executive Director, Center for the Arts

MASON VOICE FACULTY

Prof. Patricia Miller, Director of Vocal Studies; Director/Producer, Mason Opera

Prof. Richard Leech

Prof. Lisa Berger

Prof. Jennifer Casey-Cabot

Prof. Seong Won Nam

Dr. Gene Galvin

Prof. Kerry Wilkerson

Dr. Mira Yang

Dr. Darden Purcell

MEET THE ARTISTIC & PRODUCTION TEAM

Richard Leech (Stage Director) is one of the most celebrated tenors of his generation and is currently an Associate Professor of Applied Voice and Opera for George Mason University’s Dewberry School of Music, and Stage Director for the Mason Opera Theater. Since his heralded 1989 Metropolitan Opera debut as Rodolfo in La Bohème, Mr. Leech has sung nearly 200 Met performances in more than a dozen leading roles. From Vienna and Paris to La Scala, Covent Garden, and Carnegie Hall he has been a frequent guest with virtually every major opera house and renowned symphonies throughout the world. He is best known for his interpretation of iconic tenor roles such as Rodolfo, Cavaradossi, Pinkerton, Don José, Faust, Roméo, Hoffmann, the Duke in Rigoletto, and Riccardo in Un ballo in maschera and is featured on over twenty recordings and videos. His solo release from the heart can be found on the Telarc label. Following his 1987 European debut with Berlin’s Deutsche Oper, as Raoul in Les Huguenots, the headline of the Berliner Morgen Post read: “A World Star is Born” and true to its forecast, Mr. Leech had soon made debuts with virtually every major opera house of the world. Of his first performance with the Metropolitan Opera, as Rodolfo in La Bohème, Will Crutchfield of the New York Times wrote: “Other than Pavarotti on his best night, I can’t think of another tenor I’d rather hear in the part.” In addition to the Met, he was also a frequent guest with the Lyric Opera of Chicago and the opera companies of San Francisco, LA, Washington, San Diego, and Cincinnati, as well as many other important American opera companies and symphonies. Internationally, he was often seen in Paris, London, Vienna, Berlin, Madrid, Amsterdam, Barcelona, Florence, Rome, and at La Scala in Milan where he had the honor of singing La Bohème with the great Mirella Freni. Other countries where he has performed include Brazil, Mexico, Guatemala, The Netherlands, Canada, Russia, Cyprus, Japan, China, and South Korea. Also a passionate teacher and mentor, Mr. Leech has worked extensively with aspiring artists at all levels of their development throughout his career. Before his position with George Mason University, he had previously served on the faculties of Rutgers University and The University of Michigan. As Director of Resident Artist Programs for Michigan Opera Theatre (now Detroit Opera) from 2015 -2021, Mr. Leech created and ran MOT Studio, the company’s first young artist program, offering full-time engagement, training, and experience to artists in the early stages of a professional career. In his leadership role with MOT, he also oversaw the company’s many education and community engagement initiatives. Mr. Leech attended Eastman School of Music and Binghamton University and credits his success to the training he received in the TriCities Opera Resident Artist Training Program in Binghamton, NY under the mentorship of the company’s founders, Peyton Hibbitt and Carmen Savoca. He has been a frequent guest teacher and presenter of masterclasses for many institutions in the US and internationally. He was the 1988 winner of the prestigious Richard Tucker Award, and the recipient of The Voice Foundation’s Voice Education Research and Awareness (V.E.R.A.) Award and the Giulio Gari Foundation’s Distinguished Achievement Award.

Patricia Miller (Director of Vocal Studies, Director/Producer Mason Opera) is a Distinguished University Professor of Music at George Mason University, received her Bachelor of Music from Boston University, her Master of Music from New England Conservatory, and, as a Fulbright scholar, her Artist Diploma from the Accademia di Santa Cecilia in Rome. She completed advanced studies at the Schubert Institute in Baden-beiWien and the Mozarteum in Salzburg. Miller is a distinguished international opera and concert artist and an esteemed music educator. Included in her extensive artistic career as a leading mezzo-soprano are performances with San Francisco Opera, New York City Opera, Theatre Châtélèt Paris, Alte Oper Frankfurt, Victoria State Opera (Melbourne), Arena di Verona (Italy), and Deutsche Oper (Berlin), among others. Her concert appearances include the Musikverein (Vienna), Beethovenhalle (Bonn), Avery Fisher Hall-Lincoln Center, Kennedy Center, Library of Congress, Strathmore Music Center, and the Smithsonian. Her master classes and lecture recitals at universities and conservatories around the world include Moscow State University, Tchaikovsky National Music Academy of Ukraine, Hochschule für Musik Franz Lizst in Weimar, Germany, University of Michigan, Ann Arbor, and Ewha Womans University in Seoul, Korea. Miller’s students have garnered top awards in state, regional, national, and international competitions, including First Place at the National Opera Association Collegiate Scenes Competition. She has trained extraordinary young student artists who are now singing with major opera companies domestically and internationally, including Metropolitan Opera, Washington National Opera, Virginia Opera, Netherlands Opera, the “President’s Own” U.S. Marine Band and U.S. Army Chorus, and a Tony Award-winning Broadway revival. Miller has provided Mason students opportunities to study and perform abroad in Italy, Germany, France, Russia, and Korea. Professor Miller is a 2018 recipient of the John Toups Presidential Medal for Excellence in Teaching at George Mason University.

Dr. Soo Han (Conductor) is the Director of Orchestral Studies at George Mason University’s Reva and Sid Dewberry Family School of Music in Fairfax, Virginia; Music Director of the Elkhart County Symphony in Indiana; and a member of the Board of Directors of the Midwest International Band and Orchestra Clinic. He is a composer and arranger with Hal Leonard, and is also a contributing editor for Essential Elements for Strings. As an active conductor, Dr. Han has appeared with numerous professional and universityorchestras. He is a frequent conductor for all-state, regional, and honor orchestras,appearing in more than 30 states, and has conducted ensembles in Australia, Austria, China, and Thailand. He has produced multiple recordings of complete symphonies, and has premiered several commissioned works for strings and full orchestras. Dr. Han has presented workshops and clinics internationally and for nearly every major national and state music conference. Dr. Han is a Conn-Selmer Educational Clinician, and co-author, contributor, and managing editor for Teaching Music through Performance in Orchestra, Vol. 4, one of the leading orchestra pedagogical resources published by GIA. He is a past president of the Indiana American String Teachers Association and his high school orchestras were nine-time Indiana State School Music Association champions. Having taught in the public schools for fifteen years, he is a passionate supporter of school music programs, and continues to remain active in instrumental classrooms throughout the country. Soo received his Bachelor of Instrumental Music Education degree from Indiana University’s Jacobs School of Music, where he studied piano under Edward Auer. He received his Master of Science in Education from the Indiana University School of Education, and his Doctorate in Orchestral Conducting from the Michigan State University College of Music, where he studied under Kevin Noe. Soo grew up in rural Pennsylvania, and now resides in Arlington, Virginia, where he has a beautiful view of the monuments of Washington, D.C. He enjoys distance running, eating amazing food, and traveling near and far with his partner, Gregory, and his faithful canine companion, Lenny.

Michael Stern (Assistant Conductor) is a multifaceted musician and is recognized for his diverse skill set as both a performer and educator. Previously serving as the pianist and Director of Contemporary Music at Christ Chapel in Ithaca, NY, he has accompanied the Ithaca College Summer Music Academy Chorus as well as honor choirs throughout New York. Additionally, Michael spent a majority of his academic career studying the trumpet, holding a Bachelor of Music in Music Education & Trumpet Performance from Ithaca College and master’s degrees from the

University of Michigan in Trumpet Performance and Chamber Music. He has performed with the acclaimed University of Michigan Symphony Band and the Ann Arbor Symphony. While at the University of Michigan, Michael was invited to study wind conducting with Michael Haithcock as a performance cognate. This led to additional conducting opportunities, including his recent completion of an additional master’s degree in Orchestral Conducting from Ithaca College under the guidance of Grant Cooper. Michael was formerly the co-director of the Cornell Open Orchestra and has also been a guest rehearsal conductor with the Cornell University Symphony Orchestra and the Ithaca Community Orchestra. In the summer of 2022, Michael was selected to attend the National Orchestral Institute + Festival to study conducting with Marin Alsop and Jim Ross. Prior to his enrollment at George Mason, Michael served as the Interim Concerts & Facilities Manager at Ithaca College while also teaching courses in music theory and aural skills. Recently, Michael auditioned for and was awarded an appointment to serve as a conductor in the United States Air Force Bands, which he will defer until the completion of his DMA in Orchestral Conducting at George Mason University with Dr. Soo Han. Concurrently, Michael serves as the Music Director and Conductor of the Montgomery Symphony Orchestra in Takoma Park, MD. Michael is passionate about music education and hopes to use his abilities as a conductor to create an energetic, focused, and disciplined approach to developing life skills through music.

Joe Walsh (Music Coach) has presented and served as music director for opera and musical theater productions in Virginia, across the country and internationally. He served on the musical staff at Virginia Opera for 17 years where, most, recently, he held the positions of Associate Artistic Director and Associate Conductor. Joe was music director for Riverside Dinner Theater’s acclaimed production of The Pirates of Penzance during the summer of 2019. He has been a regular Music Director with the In Series and Alexandria’s Metro Stage. He is on the faculty at Levine Music and has served as artistic advisor for the National Society of Arts and Letters Vocal Programs, Washington D.C. chapter. Joe has judged the Middle Atlantic Region of the MET National Council auditions, as well as The Partner for the Arts, National Society of Arts and Letters and many other voice competitions. Joe is a member of the faculties of both the School of Music and the School of Theater at George Mason University. At Mason, he has served as music director for productions of Head Over Heels, Cendrillon, Footloose, Gaining Ground, Spring Awakening, Rags, Merry We Roll Along, Big River, Dido and Aeneas, and Hansel and Gretel, among many others.

Dr. Eunae Ko Han (Opera Coach/Pianist) received her DMA in Collaborative Piano at the University of Maryland in College Park (UMCP). She has extensive experience as an accompanist and a chamber musician, performing in numerous concerts and recitals throughout United States, Korea, China and Japan. She held positions as opera coach at Seoul National University and UMCP, and has wide repertoire of vocal works including operas, oratorios, choral and song literatures. She received the McCoy Award for Collaborative Pianist, First Place in Ulrich Competition at UMCP and received rave reviews from the Washington Post for her performance of Mozart’s opera, The Impresario, at the Clarice Smith Performing Arts Center. She made several recordings including a chamber music CD and a classical CD with renowned artists. She currently is the music director for New Life Foundation (NLF), a non-profit organization that supports young, underprivileged musicians; music director for Christian Art Mission (CAM); and an Adjunct Professor of Music at George Mason University. She actively performs throughout the Greater Washington Metropolitan area as well as in New York/New Jersey. Recently, she performed with chamber groups at various conservatories at Turkey, Kazakhstan and Kyrgyztan.

Sean Cox (Lighting Designer) is the Assistant Director of Event Services at George Mason University and is thrilled to join the creative team for the Mason Opera for this production. A graduate of George Mason University with a MA in Arts Management and Auburn University with a BFA in Theatrical Production & Stage Management, he served as Production & Company Manager for Olney Theatre Center from 2008 to 2010. He also has worked on the creative team for several productions and attractions at Busch Gardens Williamsburg, including scenic designs for Entwined, Gloria, and Open Casket. Previous designs have been featured at NextStop Theatre Company in Herndon, VA, including lighting design for Snow White, The Giver, and 45 Plays for 45 Presidents as well as projections design for Urinetown, 45 Plays for 45 Presidents, and Godspell.

Laurel Dunayer (Costume Designer/Costume Shop Supervisor) has been at GMU since 2006. After graduating from the University of Illinois at Urbana-Champaign with an MFA in Theater-Costume Design in 1998, Mrs. Dunayer moved to New York City and worked at Carelli Costumes, a Broadway costume shop. Favorite Broadway costume credits include Kiss Me Kate, The Rocky Horror Show, and Thoroughly Modern Millie. Other previous work experience includes Draper at Colorado Shakespeare Festival for seven summer seasons and American Players Theater in Wisconsin.

Donna Reinhold (Stage Manager) is a freelance Stage and Production Manager for professional theatre and events. Donna has been working in the DMV area for 14 years, and has Stage Managed dozens of shows in that time for companies including Taffety Punk, Olney Theatre Center, Adventure Theatre MTC, Studio Theatre, The Kennedy Center, Second City, Synetic Theater, and others. She served as the Production Manager at NextStop Theatre for 3 seasons, acted as the Line Producer for two years for 1st Stage’s Logan Festival of Solo Performances, and most recently was seen at American University as the Production Manager for Henri IV, Part I directed by Kate Eastwood Norris. Favorite events credits include the 2023 Congressional Black Caucus with Stratus Firm, the World Culture Festival with Red Ladder Productions, the Helen Hayes Awards and Theatre Week with Theatre Washington. Upcoming events include the Emancipation Day Mayor’s Luncheon with NEWorks Productions, the Helen Hayes Awards, and the Ford’s Theatre Gala. Donna has a love for unconventional theatre, devised works, and theatre for young audiences. When she’s not backstage or in rehearsal rooms she can often be found in the audience with her children, playing D&D with her friends, or packing up the car for a road trip to visit family.

Jonathan Dahm Robertson (Set Designer) is a scenic and projections designer for opera, theater, and events. Selected Opera credits: Nixon in China, Fidelio, Peter Grimes (Princeton Festival); Candide, Un Ballo En Maschera, Cosi Fan Tutte (Opera in the Heights). Selected Theater credits: Nollywood Dreams (Round House Theatre); Best Little Whorehouse in Texas, Murder for Two, One Slight Hitch, Jesus Christ Superstar (Totem Pole Playhouse); Day of Absence, Blood at the Root (Theater Alliance); The Agitators, Oh God (Mosaic Theater Co.); The Christians (Theater J); The Mamalogues, Broadway Bound, Member of Wedding (1st Stage) and many more. Member USA829www.jdahmrobertson.com

MEET THE CAST

Jamilah Barnes is a native of Washington D.C. In 2018, she graduated from West Virginia University with a dual focus in Music and Sociology. She has been recognized for her talent by receiving multiple regional awards from the National Association of Teachers of Singing.

Aiden Breneman-Pennas is a senior studying Government and International Politics with a concentration in legal studies. He has performed as Franklin Hart in "9-5 the Musical", and Pigpen (u/s Charlie Brown) in "You're a Good Man, Charlie Brown".

Ross Calvin is a Junior majoring in Vocal Performance, studies under the guidance of Professor Richard Leech. Since spring 2022, Ross has been an active member of Mason Opera, portraying diverse roles such as the Page in Amahl and the Night Visitors, Eisenstein in Die Fledermaus, and most recently, captivating audiences as Alfredo in Mason Opera’s ARTS by George performance of La Traviata’s opening scene. Beyond his operatic pursuits, Ross contributes his voice as a member of the Mason Chamber Singers and has participated in over a dozen choirs, relishing the connections forged through song. Outside his musical endeavors, Ross cherishes spending time with family, delving into video games, and refining his culinary skills.

Sarah Calvino is a junior Vocal Performance major in the studio of Professor Patricia Miller. She has sung in both the University Chorale and University Singers, as well as the Washington Master Chorale. Sarah played the role of Frosch in Mason Opera’s Spring 2023 production of Strauss’s Die Fledermaus and has performed the roles of Marcelina and Fiordiligi in the Fall Scenes programs of 2022 and 2023. She has also participated the Spring 2022 Honors Recital. She is the Director of Music Ministry at Queen of Apostles Catholic Church in Alexandria.

Anna Caruso, who mostly goes by Sofie, is currently a graduate student in the department of psychology studying engagement with the arts. She graduated from the University of Oklahoma in 2021 with a BMA in Vocal performance and a BA in psychology but has never wanted to fully part from music. This is her role debut performance at George Mason, though has been in past performances through OU and the American Festival for the Arts. Caruso received her MA in Psychology from GMU in 2024.

Rosalind Gabrielle Chan is currently a fifth-year senior graduating in the spring of 2024 with a Bachelor of Fine Art in musical theater and a Bachelor of Science in Business Operations and Supply Chain Managment Rosalind has been involved with mason opera for 5 years, playing Sally (Die Fledermaus), Amahl (Amahl and the Night Visitors), Clorinda (La Cenerentola), Damigella (L’incoronazione di Poppea), and Ensemble/Old Hag (Mesdames de La Halle). Rosalind also played musical theater roles including Golde (Fiddler on the Roof), Frenchy (Grease), Little Red (Into the Woods) and, her favorite, Mary Poppins (Mary Poppins).

Anissa Clay Zelaya is a second-year grad student at George Mason studying with Professor Patricia Miller. She portrays Madame Goldentrill in Mozart’s The Impresario and W.A. Mozart in Steven Stucky’s The Classical Style- An Opera (of sorts). She placed 1st in the National Association of Teachers of Singing, both at the district and regional levels, and will compete at the national level in Spring 2024. Anissa portrayed Rosalinda in George Mason Opera’s production of Die Fledermaus in 2023. She placed 1st at the NATS competitions, both at the district and regional levels, and was a semifinalist at the national level in Spring 2023. She has performed Rosalinda (Die Fledermaus), First Lady (Die Zauberflöte), Musetta (La Boheme), and Susanna (Le Nozze di Figaro) in a scenes performance with George Mason Opera in Fall 2022. In May 2022, Anissa graduated with a BM in Voice Performance from Baldwin Wallace University, studying with Dr. JR Fralick. She performed Countess Almaviva in Baldwin Wallace University’s production of Le Nozze di Figaro in March 2022. Anissa performed Zelda '18 in The Ghosts of Gatsby, a partnership with Baldwin Wallace and Cleveland Opera Theater as part of the National Opera Association (NOA) conference in January 2020. Anissa was an apprentice with Pittsburgh Festival Opera during the summer of 2020, performing Countess Almaviva in their young artist scenes program.

Kaylee Cobb is Sophomore at George Mason University and is working towards earning a B.M. in Vocal Performance and is studying under Professor Jennifer Casey Cabot. She is a member of the University Singers and is President of the GMU Chapter of American Choral Directors Association. You might have seen her in last year’s production of Die Fledermaus as a member of the chorus!

Kyla Larkin is a senior Voice student studying under Professor Jennifer Casey Cabot and pursuing a BM in Vocal Performance. She is an active member of the George Mason University Singers, directed by Dr. Lisa Billingham and has performed with the George Mason Opera as a chorus member in Amahl and the Night Visitors and as Frosch in Die Fledermaus. They are also the current Vice President and Risk Manager for the Alpha Epsilon Chapter of Gamma Rho Lambda National Sorority. They have been in choir since 5th grade and had performed with the nationally recognized, Downbeat Award-winning Kansas City Kansas Community College The Standard Vocal Jazz Ensemble, directed by John Stafford II, for two years during her study there.

David Maeng (he/him) is a baritone studying under Professor Richard Leech. Maeng is beginning his final academic year as a vocal performance major at George Mason University. At Mason, Maeng has sung with University Chorale, University Singers and Mason Opera. Recently, Maeng has portrayed the roles of Frank in Strauss' Die Fledermaus, King Balthazar in Menotti's Amahl and the Night Visitors, Alidoro in Rossini's La Cenerentola, and Baron Pictordu in Viardot's Cendrillon with Mason Opera.

Ash Mattos is a freshman studying Music Education. They have performed with the University singers here at mason and has performed with many other choirs, including a performance with Manhattan Concert Productions at Carnegie Hall. Ash also performed with the Mason Opera program for their fall scenes production, sing in pieces such as the Lakme Flower Duet.

Bob McDonald is pursuing his Artist Graduate Certificate and studying voice with Professor Richard Leech at George Mason after a 27-year career in the US Army, where he served as SGM and Group Leader for the US Army Chorus, retiring in 2020. Bob is a regular fixture of the DC musical theatre and cabaret scene, and he has performed at such venues as The Kennedy Center, Folger Theatre, AMP by Strathmore, Wolf Trap, and Signature Theatre, among others. Bob has also performed regionally in many opera roles, with several symphony orchestras, and with his popular Sinatra tribute show. Bob is a familiar face to Washington Capitals fans, currently in his 31st season of singing the hockey team's National Anthem.

He has also sung the National Anthem for many other professional sports events in the DC area and across the country, including as a soloist for Game 5 of the 2019 World Series. Bob received his B.A. in Vocal Performance and his M.A. in Opera Theatre from the Oberlin Conservatory of Music.

Jennifer Mills is a junior Vocal Performance Major in the studio of Professor Patricia Miller. This is Jennifer’s third semester performing with Mason Opera, she was Annio from La clemenza di Tito in Fall 2022 and Countess in the Le nozze di Figaro Fall 2023 for the scenes program. She also played Blind in Die Fledermaus Spring 2023 and was in the ensemble for Amahl and Night Visitors Fall 2022. Jennifer has performed with La Musica Lirica program in 2021 as Una Novizia in Suor Angelica, ensemble in La Traviata, as well as Nerillo from L’ormindo in the scenes program. Jennifer is additionally apart of Mason’s University Chamber Singers directed by Dr. Lisa Billingham.

Mikayla Mindiola, mezzo-soprano, is a second-year graduate student studying voice performance with Professor Patricia Miller. Miss Mindiola was recently seen this semester onstage as Maria in GMU's production of 9-5! and in Mason Opera's fall scenes program singing various scenes as Dorabella (Così fan tutte) and Gastone (La Traviata). Outside of Mason she is proud to be the alto soloist and section leader at Westmoreland Church in Bethesda, MA.

Samira Plummer-Brown, soprano, is a native of Washington, D.C. Samira is a first-year master's student studying voice with Professor Patricia Miller. After graduating from the Duke Ellington School of the Arts she went on to complete her Bachelor of Music degree in vocal performance from the University of Michigan, Ann Arbor. Miss Brown was the first winner of the Virginia E. Hayes Williams Opera Prize Endowment Fund scholarship, which was created to support the training of young singers who wish to pursue a career in opera. She has worked with George Shirley, Issachah Savage, Dr. Karen Johnson, Elizabeth Bachman, Elizabeth Hastings, Oresta Cybriwsky, and Kim Josephson just to name a few. Miss Brown’s performances include Bowie Performing Arts Center with soprano Angela M. Brown; Atlas Theatre; Opera in the Outfield at the Nationals Stadium; the 27th Annual Candlelight Vigil for Fallen Officers, Judiciary Square, Washington, D.C.; Tyrolean Opera Program; Amalfi Coast Music Festival; and AIMS Graz opera program. Miss Brown has performed opera scenes as Clara in Gershwin’s Porgy and Bess, Susanna in The Marriage of Figaro, Despina in Cosi Fan Tutte, Lucia in Lucia di Lammermoor, Violetta in La Traviata, Adele in Die Fledermaus, and Angelina in Gilbert and Sullivan’s Trial by Jury

Joshua Shin is a program manager at George Mason University's Mercatus Center and a non-major music student studying with Prof. Richard Leech. He sang from grade school through undergrad back home in California - in choir and opera scenes from Don Giovanni and Help Help, the Globolinks! Josh began ballroom dancing after moving to Washington DC for grad school but rediscovered music during the pandemic, when he formed and sang in a punk metal band with his lockdown roommates. In his free time, Josh teaches ballroom dance, watches anime, and has continued writing music. He holds a MA in economics from George Mason University and a BA in sociology from California State University, Bakersfield.

Josh Slutsky has sung in the Mason Opera choir in productions of La Cenerentola (Rossini) and Die Fledermaus (Strauss II). He's also sung in the choir for MDLO's productions of Don Carlo (Verdi), Macbeth (Verdi), Le Nozze di Figaro (Mozart), and Falstaff (Verdi).

Hana Tawil (she/her) was Angelina in Gilbert and Sullivan’s Trial by Jury last fall with Mason Opera, as well as Adele in Die Fledermaus last spring, runner-up for Best Performer In A Musical (Professional) in the BroadwayWorld Washington, DC Awards last fall, and a national semifinalist in the NATS Musical Theatre Competition in 2019. She participated in both the opera and musical (9 to 5) this semester and would like to express many thanks to both teams for allowing her this opportunity.

The Impresario &

The Classical Style: An Opera (of Sorts)

Mason Opera Angels

The Vocal Studies Division and Mason Opera gratefully acknowledge Carolyn Peterson and the Peterson Family Foundation for their generous Leadership Support of Mason Opera and Vocal Studies Endowed Scholarships.

The Vocal Studies Division would like to sincerely thank all who have contributed to Mason Vocal Studies & Mason Opera.