Dean’s Message
Dear Friends,
Welcome to this special presentation of Igor Stravinsky’s The Rake’s Progress. Looking back at this year, one of our first faculty concerts of the season featured Stravinsky’s L’histoire du soldat and Octet and here nearly five months later we celebrate perhaps his most famous opera with today’s performance. No matter the musician, Stravinsky’s mark on classical music is unmistakable, and it is a point of pride to have our students and faculty studying and performing one of the 20th century’s musical masters.
Opera, like many things, is built on tradition. One can look at The Rake’s Progress as a study of that tradition under a microscope. While the original Hogarth paintings and engravings of A Rake’s Progress show man’s unexpected rise to riches and prodigality, Stravinsky, Auden, and Kallman infuse the same story with operatic flare. Tom’s wealth is conjured by Nick Shadow, a spiritual equal to Goethe and Gounod’s Mephistopheles in Faust or Der Freischütz’s Samiel. Similarly, Stravinsky uses the older compositional style of recitative, which was long out of fashion in order to support the story’s setting in the 18th century where recitative would be quite at home.
Today these singers, musicians in the orchestra, and crew members join an operatic tradition in process, and each of them will have their own opportunity to pass the lessons they’ve learned here to the next generation of musical and theatrical artists. Of course this work would not be possible without our talented opera faculty, visiting designers, and staff who make all of this possible.
If we can learn anything from the epilogue of this evening’s opera, we must continue to keep our hands, hearts, and minds busy now and always. The future of the Florida State University College of Music is even brighter than before, and I am certain that everyone is committed to that mission of building on tradition, innovating, and excelling in the future.
Sincerely,
M. Todd Queen Dean
Florida State Opera presents
The Rake’s Progress
Conductor ....................................................... Bernard McDonald
Stage Director.......................................................... James Marvel
Scenic Designer .......................................................... Eric Allgeier
Lighting Designer .................................................... Clifton Taylor
Costume Designer .................................. Julia Matteson Bradley
Wig and Makeup Designer ................................... Melanie Steele
Language and Musical Preparation ...................... Kristin Ditlow
Bernard McDonald
Production Stage Manager ....................................... Elena Dibbs
Assistant Conductor ......................... Guilherme Leal Rodrigues
Chorus Master ..................................................... Augusto Girotto
Assistant Director ...................................................... Kate Bishop
Amy Helms
Assistant Stage Managers ......................................... Kate Bishop
Amy Helms William Perry
By arrangement with B&H Music Publishing Inc. d/b/a Boosey & Hawkes, publisher and copyright owner.
Music by Igor Stravinsky | Libretto by WH Auden, Chester Kallman
(in order of appearance)
Anne Trulove
Anna Low*
Jasmine Merriweather (cover)
Madison Roths
Tom Rakewell
Samuel Stevenson*
Kelby Yoder
Father Trulove
Logan Kenison+
Nick Shadow
Derek Hale*
Carter Houston
Tiger Davis
Aritza Reyes Drullard
Athalia Eugene
Hope Goodman
Adam Henning
Quaid Jones
Benjamin Ketts
Mary-Bradley Knighton
Mother Goose
Talia Boudjemaa
Meg Schiliro*
Baba the Turk
Katherine Anne Ledbetter*
Leah Shewmaker
Sellem
Jacob Parker*
Russell Spence
Keeper of the Madhouse
Kristopher Stam+
Clement Lee-Sursin
Cecilia Malley
Jackeline Petichakis
Madeline Schneider
Andrew Shapard
Kristopher Stam
Annabelle Wellschlager
Luke West
* Cast performing on March 27 and 29 + Cast performing all shows
Chorus
Synopsis
Tom Rakewell and Anne Trulove desire to be married, but Tom’s lack of ambition concerns Anne’s father. Tom does not wish for a life of drudgery, though. Instead he wishes for riches, and Nick Shadow appears moments later with unbelievable news. A distant uncle – essentially imaginary – has died and left Tom with a great inheritance. Tom immediately conscripts Nick as his servant, but is is unsure what to pay him. Nick says that the price will be settled a year and a day later when Tom will only have to offer what is fair. Tom and Nick make off for London to settle his uncle’s affairs and, by aim, establish a suitable home for Anne to marry into.
Nick brings Tom to the more sordid underbelly of London, where street toughs and prostitutes accost the innocent and guilty alike. Nick guides Tom’s behavior, as Tom rejects his old prudishness and propriety in favor of following nature’s call. In this case, Tom drinks with abandon and with gentle coaxing joins the head of a brothel, Mother Goose, in carnal bliss.
In the following scene, Anne has not heard from Tom in some time and makes plans to leave home to find him. Even in his silence and thoughtlessness, Anne is devoted to Tom. Though she has a moment of doubt at the thought of leaving her father behind, she instead is called by love and duty to find Tom in the city.
Tom has grown disillusioned with his new life, which has become monotonous and superficial compared to his time in the country. When Tom wishes for happiness, Nick Shadow quickly appears with a strange suggestion. After showing her portrait, Nick suggests that Tom marry Baba the Turk, a bearded woman known to perform at the St. Giles Fair. Nick offers another life lesson, telling Tom that true freedom is found in rejecting reason and resisting passion in favor of complete indulgence. Tom is once again convinced by Nick’s advice and sets off at once to marry Baba.
Anne has finally found Tom’s home in London and is confused by the sight of servants bringing countless objects inside. Tom attempts to spare Anne from the truth by encouraging her to leave right away, but she instead stays and discovers that Tom has married Baba. Anne’s heart is broken, Tom chooses to bury his, and Baba the diva becomes more and more perturbed to be kept waiting for Tom’s personal affairs to conclude. As a throng of admirers comes upon
their home, Baba greets her happy public while Tom tries to put the episode behind him.
An intermission will take place here.
Tedium has once again set in for Tom, who is completely disenchanted with Baba. After violently forcing her away, Baba is indignant at her mistreatment. Tom forces a wig over her face, which puts Baba in stunned silence and allows Tom to rest. Moments later, Nick Shadow produces a useless machine and Tom professes to have had a dream about a machine that could bread into stone. Nick claims the machine does exactly what Tom has dreamt of and convinces Tom that it must be mass-produced immediately. Tom once again quickly accepts his servant’s suggestion, and only Nick Shadow points out that Tom is leaving his wife behind. But Tom has moved on, saying that he has buried her.
The machine Tom and Nick made was very quickly found to be fraudulent, and Tom’s withdrawal from social life is the subject of all kinds of baseless speculation. Tom and Baba’s effects are sold off by Sellem, and finally Baba herself becomes an object for bidding. As the strange wig is removed from her face, she sees Anne and convinces her to once again find Tom who loves her still. Anne renews her resolve to find Tom, and Baba vows to return to the stage and make any gawkers pay to see her next time.
A fresh grave lies open in a cemetery, which is quickly discovered by Tom. Nick tells Tom that a year and a day have passed, and Nick is ready to collect on Tom’s only meaningful possession: his soul. Tom faces the threat of suicide, but Nick offers a reprieve in the form of a game of chance. If Tom can correctly predict the card pulled from an ordinary deck three times, he will be allowed to live. Whether through reason or supernatural instinct, Tom predicts the first two cards correctly – the Queen of Hearts and Two of Spades. Nick plays on Tom’s aversion to revisiting the past and chooses the Queen of Hearts once again without Tom noticing. Tom – once again aided by extraordinary intuition – calls upon the Queen of Hearts and Nick Shadow is defeated. Before he returns to Hell, Shadow curses Tom to a life of insanity for as long as he lives.
Tom ends up in an insane asylum, believing himself to be Adonis and waiting for Venus to come and visit. The strangely sane voices of other patients tell him he has no hope of happiness, but fate intervenes yet again. Anne arrives and assumes the identity of Venus at the suggestion of the madhouse’s keeper. Tom’s weary
mind finds peace immediately, and Anne sings him a lullaby to help him find an untroubled rest. She leaves him, telling him as he sleeps that she will never come back, but she will also never forget him. As Tom awakens he wonders where Venus has gone, but the other patients tell him that no one came. The thought fills him with such grief that he dies nearly instantly.
The actors of the story deliver the final morals, guarding the audience to not rely on miraculous happy endings, dishonest men, untamed ambition, and the threat to idle hands, hearts, and minds when the Devil is around.
Director’s Note
The Rake’s Progress : A Visual Journey Through Hogarth’s World
For this production of Igor Stravinsky’s The Rake’s Progress , we have drawn direct inspiration from the engravings of William Hogarth— the very works that first inspired W.H. Auden’s libretto. Hogarth’s satirical series A Rake’s Progress (1733-1735) follows the moral, financial, and mental decline of Tom Rakewell, a story that Auden and Stravinsky transposed into operatic form. By embracing the aesthetic of Hogarth’s world, our production seeks to highlight the opera’s sharp commentary on morality, excess, and the dangers of unchecked ambition.
Visually, this production utilizes a monochromatic palette that is periodically disrupted by bursts of color—suggesting the intrusion of exuberant fantasy and whimsical folly that define Tom’s reality. Costumes follow the exaggerated elegance and gritty realism of 18th-century London, with meticulous detailing that pays homage to Hogarth’s intricate line work while leaving room for contemporary commentary through anachronistic touches designed to highlight the self-consciously ironic humor present in both the libretto and Neo-Classical style of the score. Projection design further integrates influences from Hogarth’s imagery, animating scenes in a way that underscores the opera’s fable-like nature as a form of morality tale.
By embracing this aesthetic, we aim to bridge the gap between 18th-century social critique and modern theatrical storytelling. Just as Hogarth’s engravings captured the excesses and downfalls of his time, so too does our production of The Rake’s Progress hold a mirror
to the timeless human pursuit of pleasure and the consequences of hedonistic narcissistic excess. We invite you to step into this living engraving—where past and present, satire and sincerity, art and opera converge.
University Symphony Orchestra
Alexander Jiménez, Music Director and Conductor
Violin I
Masayoshi Arakawa ‡
Bárbara Santiago
Francesca Puro
Emily Palmer
Hannah Jordan
Stacey Sharpe
Violin II
Nicole Vega*
Carlos Cordero
Angel Andres
Tori Joyce
Joan Prokopowicz
Christopher Wheaton
Viola
Jeremy Hill*
Spencer Schneider
Harper Knopf
Emelia Ulrich
Cello
Mitchell George*
Thu Vo
Angelese Pepper
Emma Hoster
Bass
Alex Lunday*
Kent Rivera
Flute
Moriah Emrich*
Paige Douglas
Oboe
Steven Stamer*
Nic Kanipe
Clarinet
Jariel Santiago*
Morgan Magnoni
Bassoon
Georgia Clement*
Timothy Schwindt
Horn
Eric On*
Jordan Perkins
Trumpet
Noah Solomon*
Jeremiah Gonzalez
Timpani and Percussion
Darci Wright
Cast Bios
Talia Boudjemaa (Mother Goose)
Hometown: Falls Church, Virginia
Degree Program: BM Performance (Senior)
Roles with FSU: The Barber of Seville (Assistant Stage Manager); Skunk/Chicken, Příhody lišky Bystroušky
Other credits: Tisbe, La Cenerentola, FSU Outreach; Polly the Panda, Abrazo de Oso, FSU Outreach
Derek Hale (Nick Shadow)
Hometown: Wortham, TX
Degree Program: DMA Performance (3rd year)
Roles with FSU: Bartolo, Le nozze di Figaro; Basilio, Il barbiere di Siviglia; Parson/Badger, Příhody lišky Bystroušky
Other credits: Officer (cover), Il barbiere di Siviglia, Central City Opera
Carter Houston (Nick Shadow)
Hometown: Erie, PA
Degree Program: MM Performance (2nd year)
Roles with FSU: Chorus, Přihody lišky Bystroušky; Zookeeper/Griz, Abrazo de Oso (Outreach); Bartolo, Il barbiere di Siviglia
Other credits: Chorus, Don Giovanni, Music Academy of the West; Jailor, Officer, Marquis de la Force, Dialogues of the Carmelites, Penn State Opera; Soloist, Die schöne Müllerin, Pennsylvania State University
Logan C. Kenison, Father Trulove
Hometown: Hagerstown, MD
Degree Program: MM Performance (1st year) Roles with FSU: Don Magnifico, La Cenerentola (Outreach)
Other credits: Pirate King, Pirates of Penzance, Savannah Voice Festival Commissionario, La traviata, Virginia Opera
Katherine Anne Ledbetter (Baba the Turk)
Hometown: High Point, NC
Degree Program: MM Performance (2nd year)
Roles with FSU: Berta, Il barbiere di Siviglia; Mrs. Páskova, Příhody lišky Bystroušky; Witch, Hänsel und Gretel
Other credits: Marcellina, Le nozze di Figaro, Lyric Opera Studio Weimar; Donna Elvira, Don Giovanni, Lyric Opera Studio Weimar; Maddalena, Linda di Chamounix, A.J. Fletcher Opera
Anna Low, Anne Trulove
Hometown: Orem, UT
Degree Program: MM Performance (1st year)
Roles with FSU: FSU Debut
Other credits: Countess, Le nozze di Figaro, Musica Proibita Management; Valencienne, The Merry Widow, Brigham Young University; Nannetta, Falstaff, FIO Italia
Jacob Parker, Sellem
Hometown: Charlotte, NC
Degree Program: MM Performance (1st year)
Roles with FSU: 2025, Tamino, The Magic Flute (Outreach)
Other credits: Georg Novak, She Loves Me, Opera at USC; Don Curzio, Le nozze di Figaro, Opera at USC; Sam Kaplan, Street Scene, Varna International
Madison Roths, Anne Trulove
Hometown: Salina, KS
Degree Program: MM Performance (2nd year)
Roles with FSU: Bystrouška, Příhody lišky Bystroušky
Other credits: Soprano soloist, Meditations on Death, Festival Singers of Florida; Soprano soloist, Beethoven’s Symphony No. 9 in D minor, Tallahassee Community Chorus; Ida, Die Fledermaus, Music on Site
Meg Schiliro, Mother Goose
Hometown: Elmhurst, IL
Degree Program: MM Performance (1st year)
Roles with FSU: Hänsel, Hänsel und Gretel; Angelina, La Cenerentola (Outreach)
Other credits: Eugenia, Il filosofo di Campagna, Festival of International Opera; Johanna (cover), Sweeney Todd, University of Kansas Opera; Countess Rosina Almaviva, Le nozze di Figaro, Opera Lucca
Leah Shewmaker, Mother
Hometown: Smithfield, VA
Degree Program: MM Performance (2nd year)
Roles with FSU: Lapák, Příhody lišky Bystroušky; Mother, Hänsel und Gretel
Other credits: Soloist, Missa in angustiis, Tallahassee Community Chorus; Soloist, Elijah, Tallahassee Community Chorus; Siebel, Faust, James Madison University
Russell Spence, Sellem
Hometown: Jefferson, GA
Degree Program: MM Performance (1st year)
Roles with FSU: FSU Debut
Other credits: Don Berlicco, Le gare generose, FIO Italia; Witch, Hänsel und Gretel, Miami Music Festival; Frederic, The Pirates of Penzance, Georgia Southern Opera Company
Kristopher Stam, Keeper of the Madhouse
Hometown: Jacksonville, FL
Degree Program: BM Performance (Senior)
Roles with FSU: Fiorello, Il barbiere di Siviglia; Grizz/Zookeeper, Abraso de Oso; Alidoro, La Cenerentola (Outreach); Don Pasquale, Don Pasquale (Opera Scenes)
Samuel Stevenson, Tom Rakewell
Hometown: Goose Creek, SC
Degree Program: BA Music (Junior)
Roles with FSU: FSU Debut
Other credits: Don Ottavio, Don Giovanni, Varna International; Matteo Borsa, Rigoletto, Holy City Arts & Lyric Opera; Shadrach, Daniel and the Kings, Oh Pray Productions
Kelby Yoder, Tom Rakewell
Hometown: Ceder Rapids, IA
Degree Program: MM Performance (2nd year)
Roles with FSU: Mosquito/Schoolmaster, Příhody lišky Bystroušky; Bearnardo, Abrazo de Oso (Outreach)
Other credits: Tamino, Die Zauberflöte, Berlin Opera Academy; Paolino (Cover), Il matrimonio segreto, University of Iowa Opera
Thank You
2024-2025
Marty Beech • Ramona D. Bowman • Scott and Suzi Brock
Brian Causseaux and David Young • Malcolm Craig
Richard Dusenbury and Kathi Jaschke • Ruth Godfrey-Sigler
Kirby W. and Margaret-Ray Kemper • Joan Macmillan
Victoria Martinez • Meredith and Elsa L. McKinney • Bob Parker
David and Joanne Rasmussen • Jim and Betty Ann Rodgers
Ken and J.R. Saginario • Karen and Francis C. Skilling
Donna Cay Tharpe • Marjorie Turnbull
Anne van Meter and Howard Kessler
Crew Bios
Eric Allgeier, Scenic Designer
Hometown: Louisville, KY
FSU debut
Other credits: Set Designer, Il ritorno di Ulisse in Patria, Wolf Trap Opera; Set Designer, The Rake’s Progress, San Francisco Opera; Set Designer, Marriage of Figaro, University of Tennessee Opera
Emma Anderson, Rehearsal Pianist
Hometown: Nashville, TN
DM Collaborative Piano (1st year)
Past work at FSU: Répétiteur, Hänsel und Gretel
Other credits: Répétiteur, Orfeo ed Euridice, FSU opera
Kate Bishop, Assistant Stage Manager, Assistant Director
Hometown: Denton, TX
MM Opera Production (1st year)
Past work at FSU: Assistant Director/ASM, Hänsel und Gretel
Other credits: Donna Elvira, Don Giovanni, Opera Arlington; Rossweisse, Die Walküre, Dramatic Voices Midwest Rosalinde, Die Fledermaus, Lyric Opera Studio Weimar
Julia Matteson Bradley, Costume Designer/Costume Shop Manager
Hometown: Tallahassee, FL
Past work at FSU: Costume Designer, Glory Denied; Costume Designer, La tragédie de Carmen; Costume Designer, Orphée et Eurydice; Costume Designer, Der Vampyr
Augusto Girotto, Chorus Master
Hometown: São Paulo, Brazil
MM in Performance (Choral Conducting, 1st year)
Past work at FSU: Chorusmaster, Hänsel und Gretel
Other credits: Conductor/Orchestrator/Translator, Betly, São Paulo
State University Opera Program; Semifinalist, International Choir Conducting Competition “Towards Polyphony,” Karol Lapinski Academy; Assistant Conductor, Carmina Burana, Londrina’s International Music Festival
Amy Helms, Assistant Director, Assistant Stage Manager
Hometown: Cincinnati, OH
MM in Opera Production (2nd year)
Past work at FSU: Assistant Director, Il barbiere di Siviglia; Stage Director, Abrazo de Oso (Outreach); Assistant Director, Příhody lišky
Bystroušky; Assistant Director/ASM, Hänsel und Gretel; Director, The Magic Flute (Outreach)
Other credits: Assistant Director, L’elisir d’amore, Opera Neo; Assistant Director, Don Giovanni, Music on Site; Agnes Quicklime, Eintänzer, University of Michigan Opera Theater
James Marvel, Stage Director of FSU Opera
Hometown: New Orleans, LA
Past work at FSU: Director, Hänsel und Gretel
Other credits: Stage Director, The Medium, New Orleans Opera; Stage Director, Faust, Opera Santa Barbara; Stage Director, Hänsel und Gretel, Wichita Grand Opera
Bernard McDonald, Conductor/ Director of Opera Activities
Hometown: Dumbarton, Scotland
Past roles at FSU: Conductor, Il barbiere di Siviglia; Conductor, Hänsel und Gretel; Conductor, Albert Herring, Opera Orlando; Conductor, Ghosts of Gatsby, Mobile Opera; Conductor, Trouble in Tahiti/Gallantry, Mobile Opera
DJ Pike, Scenic and Projection Designer
Hometown: Greeley, CO
Past roles at FSU: Hänsel und Gretel, Scenic and Projection Designer
Other credits: Scenic/Projection Designer, A Gentleman’s Guide to Love and Murder, Little Theatre of the Rockies; Projection Designer, Come from Away, Rocky Mountain Rep; Scenic Designer, Dr. Jekyll and Mr. Hide, University of Northern Colorado
Guilherme Leal Rodrigues, Assistant Conductor
Hometown: Porto Alegre, Rio Grande do Sul, Brazil
PhD Music Education (2nd year)
Past roles at FSU: Assistant Conductor Il barbiere di Siviglia; Assistant Conductor, Příhody lišky Bystroušky; Assistant Conductor, Hänsel und Gretel
Other credits: Assistant Conductor, Lyric Music Festival - Italy
Clifton Taylor, Lighting Designer
Hometown: Winston Salem, NC
FSU Debut
Other credits: Lighting Designer, La Boutique, American Ballet Theatre; Lighting Designer, Many Angels, Alvin Ailey American Dance Theater; Lighting Designer, La Vie en Rose, Juilliard School
Opera Staff
Dean, Executive Producer ...................................................... M. Todd Queen
Director of Opera Activities .............................................. Bernard McDonald
Stage Director/Director of Opera Workshop ............................ James Marvel
Director of Orchestra Activities ........................................ Alexander Jiménez
Opera Program Manager ........................................................... Matt Cooksey
Technical Director ............................................................... Ken Frederickson
Orchestra and Band Administrative Assistant ................. Chelsea Blomberg
Orchestra Manager ............................................................... Melody Quiroga
Orchestra Stage Manager ....................................................... Carlos Mendez
Orchestra Librarians ............................................. Guilherme Leal Rodrigues
Library Bowing Assistant ................................................................. Tori Joyce
Musical Coaching ..................................... Kristin Ditlow, Bernard McDonald
Rehearsal Pianists ............. Emma Anderson, Jiaqiu Song, Valerie M. Trujillo
Scenic Artists ................................................... Amanda Holton, Liana Rieger
Assistant Technical Director/Master Carpenter ............... Cameron Hanmer
Carpenters ........................................................... Scott Freese, Ray Hattaway
Opperman Music Hall Support Staff .......... Ethan Bigelow, Cameron Downs
Russell Marsh, Nick Smith
Opperman Crew ....................... Amelia Cooper, Scott Freese, Ray Hattaway
Marjorie Jerez, Patrick Mongeon, Roy Nishimoto-Rivera
Liana Rieger, Barbara Roberts, Dante Souverain, Dylan Valdes
Additional Crew ............. Wajira Amarakoon, Jordan Baker, Athena Baucum
David Bernstein, Cam Burns, Gaby Castro, Emma Finnegan
Priscilla Gonzalez, Noa Michaels, Daelynn Trotman
Costume Shop Manager ............................................. Julia Matteson Bradley
Assistant Shop Manager ..................................................... Christina Marullo
Wardrobe Supervisor ................................................................ Kaylee Sibelle
Wardrobe Crew ............................. Mary Albul, Abigail Jennings, Chanti Max
Costume Crafts .......................................................................... Kaylee Sibelle
Stitchers ............... Mary Albul, Abigail Jennings, Chanti Max, Toby Sponsler
Wigs and Makeup ................................. Erica Dowling and Marlena Trudnak
Front of House Manager ............ Evan Marty, Samantha Kimberly Trenholm
Supertitle Operator ................................................................... Anna Kirkland
Graphic Designer ...................................................................... Laura Chacon
Marketing Team ..................... Megan Mowery, Laura Chacon, Wendy Smith
Director of Special Programs ...................................................... Kim Shively
UNIVERSITY MUSICAL ASSOCIATES
2024-2025
Dean’s Circle
Les and Ruth Ruggles Akers
Dr. Pamela T. Brannon
Richard Dusenbury and Kathi Jaschke
Bob Parker
Margaret and Russ Dancy
Louie and Avon Doll
Patrick and Kathy Dunnigan
Kevin and Suzanne Fenton
Michael Killoren and Randy Nolan
Jim and Betty Ann Rodgers
Paula and Bill Smith
Jo and Tate Todd
Gold Circle
Albert and Darlene Oosterhof
Todd and Kelin Queen
Karen and Francis C. Skilling
Bret Whissel
Kathy Wright
Sustainer
Marty Beech
Kathryn M. Beggs
Karen Bradley
Scott and Suzi Brock
Steve and Pat Brock
Brian Causseaux and David Young
Bonnie and Pete Chamlis
Mary and Glenn Cole
Sandy and Jim Dafoe
William H. Davis
Patrice Dawson
F. Marshall Deterding and Dr. Kelley Lang
Diane and Jack Dowling
Ron Erichson / Beth Frederick
Joy and James Frank
William Fredrickson and Suzanne Rita
Byrnes
Ric Gauthier
Dr. and Mrs. Douglas Henricks
Dottie and John Hinkle
Todd S. Hinkle
Matt and Holly Hohmeister
The Jelks Family Foundation, Inc.
Alexander and Dawn Jiménez
Emory and Dorothy Johnson
Wade Johnson and Dr. Laura Rosner
Greg and Margo Jones
Martin Kavka and Tip Tomberlin
Dennis G. King, Esq.
Robert and Karen Large
Annelise Leysieffer
Nancy and Jeff Lickson
Linda and Bob Lovins
William and Gayle Manley
Ken and Kay Mayo
Robert R. and Patricia H. McDonald
DeWitt and Kathy Miller
Marian and Walter Moore
Ann W. Parramore
Almena and Brooks Pettit
Robert and Caryl Pierce
Mary Anne J. Price
Sustainer, cont’d
David and Joanne Rasmussen
Mark and Carrie Renwick
Lawrence and Lisa Rubin
Ken and J.R. Saginario
Lane and Fraser Smith
Greg Springer and Jonathan Jackson
Richard Stevens and Ron Smith
Lee Stewart
Joyce Andrews
Stan and Tenley Barnes
Mary S. Bert
Marcia and Carl Bjerregaard
Beverley Booth
Sara Bourdeau
Joan and Kip Carpenter
Carol J. Cooper
Malcolm A. Craig
Rochelle M. Davis
Pamala J. Doffek
Judith Flanigan
John S. and Linda H. Fleming
Bonnie Fowler
L. Kathryn Funchess
Debbie Gibson
Ruth Godfrey-Sigler
Bryan and Nancy Goff
Harvey and Judy Goldman
Kay Hall
Michael Hanawalt and Justine Sasanfar
Dr. Albert Henry
Jerry and Bobbi Hill
Madeleine Hirsiger-Carr
Jane A. Hudson
Sally and Dr. Link Jarrett
Judith H. Jolly
Arline Kern
Jonathan Klepper and Jimmy Cole
Elna Kuhlmann
William and Ma’Su Sweeney
Anne van Meter and Howard Kessler
Steve M. Watkins and Karen S. Brown
David and Jane Watson
Stan Whaley and Brenda McCarthy
Sonya L. Wilcox
John and Jeanie Wood
Patron
Donna Legare
Mary Lovell
Joan Macmillan
Mary “Jo” Mansfield
Victoria Martinez
Neil Mooney
Ann and Don Morrow
Joel and Diana Padgett
Thomas Parrish
Marjorie J. Portnoi
Karalee Poschman
David Reed
Edward Reid
Carol Ryor
Jill Sandler
Paula S. Saunders
Jeanette Sickel
Susan Sokoll
Alice C. Spirakis
Judy and Mike Stone
George S. Sweat
Marjorie Turnbull
Ed Valla
Margaret Van Every
Sylvia B. Walford
Geoffrey and Simone Watts
Drs. Heidi Louise and Christopher Williams
Jeff Wright
Patricia C. Applegate
Michael Buchler and Nancy Rogers
Judy and Brian Buckner
Marian Christ
Mary and David Coburn
Carla Connors and Timothy Hoekman
Kirk and Michelle Croasmun
Jane Daniel
Geoffrey Deibel
Joseph Feheley
The Fennema Family
Fred Forsythe
Bonnie Gaughan-Bailey
Gene and Deborah Glotzbach
Laura Gayle Green
Richard Green
Donna H. Heald
Linda Husbands
Jayme and Tom Ice
Louise Jones
William and DeLaura Jones
Joseph Kraus
Paige McKay Kubik
Willa Almlof
Florence Helen Ashby
Mrs. Reubin Askew
Tom and Cathy Bishop
Nancy Bivins
Ramona D. Bowman
André and Eleanor Connan
Janis and Russell Courson
J.W. Richard Davis
Ginny Densmore
Nancy Smith Fichter
Carole Fiore
Patricia J. Flowers
Hilda Hunter
Julio Jiménez
Silky and John Labie
Dottie Lee
Sandra Leis
Eric Lewis
Mari Magro
Lealand and Kathleen McCharen
Annette Nelson
Janet Newburgh
Martha Onate
Becky Parsons
William Peterson
Joe, Amanda, Leah, Laura Price
Margaret S. Reed
Sanford A. Safron
John Scholz
Louise Simons
Janet Smith
Susan P. Stephens
Allison Taylor
C. Richard and Phrieda L. Tuten
Scott and LaDonna Wagers
Karen Wensing
Samantha Ynclan
Lifetime Members
Patsy Kickliter
Anthony M. Komlyn
Fred Kreimer
Beverly Locke-Ewald
Cliff and Mary Madsen
Ralph and Sue Mancuso
Meredith and Elsa L. McKinney
Ermine M. Owenby
Mike and Judy Pate
Laura and Sam Rogers
Dr. Louis St. Petery
Sharon Stone
Donna C. Tharpe
Brig. Gen. and Mrs. William B. Webb
Rick and Joan West
Kirby W. and Margaret-Ray Kemper
Corporate Sponsors
Beethoven & Company
John L. and Linda M. Williams
Business Sponsors
WFSU Public Broadcast Center
The University Musical Associates is the community support organization for the FSU College of Music. The primary purposes of the group are to develop audiences for College of Music performances, to assist outstanding students in enriching their musical education and careers, and to support quality education and cultural activities for the Tallahassee community. If you would like information about joining the University Musical Associates, please contact Kim Shively, Director of Special Programs, at kshively@fsu.edu or 850-645-5453.
The Florida State University provides accommodations for persons with disabilities. Please notify the College of Music at 850-644-3424 at least five business days prior to a musical event if accommodation for disability or publication in alternative format is needed.
