Presents Stephen Karam & Nico Muhly's
Dark Sisters
Libretto
MAY 29-30, 2026 | 7:30 P.M.
OPPERMAN MUSIC HALL
by Stephen Karam | Music by Nico Muhly
DEAN’S MESSAGE
Dear Friends,
Welcome to our final presentation of the season, Stephen Karam and Nico Muhly’s Dark Sisters. This production is the culminating project for second-year directing student Kate Bishop. Kate joins past alumni including Joshua Borths, Corinne Hayes, Grant Preisser, among many others, and we wish her success as she follows in their footsteps into the professional world of opera.
Of course, every student at Florida State is mentored and shaped by our terrific faculty, including our Director of Opera Workshop James Marvel and Director of Opera Bernard McDonald. In their capacities as advisors – and in Bernard’s case, our conductor this evening – we have a faculty who enrich our students throughout the production process to prepare them for the future.
This production features many familiar staff members making important contributions, including scenery by Ken Frederickson, Julia Matteson Bradley’s costume design, and Scott Freese’s assistance on projections. Naoimy Perez del Valle returns this summer as lighting designer, following up her work on Orfeo ed Euridice. I also wish to thank Katie Barr and Natalie Sherer for their assistance in coaching our singers this spring.
Next year features exciting programming, starting off with our co-production of Carlisle Floyd’s Of Mice and Men in the fall. Guest stage director Kristine McIntyre joins us for this production in special celebration of the Carlisle Floyd Centennial. We are honored to be a part of this special production that honors former faculty member and legendary American opera composer Carlisle Floyd.
Our spring opera will feature two operas by Giacomo Puccini – Suor Angelica and Gianni Schicchi. These pieces premiered first at the Metropolitan Opera and have been performed consistently ever since. You’ll probably know the famous aria “Oh mio babbino caro” already, so don’t miss your chance to see it live with orchestra. Jenna Moynihan will lead a daunting production of Benjamin Britten’s The Turn of the Screw to conclude her directing degree next summer.
Until we see you again next time, I wish you a wonderful summer and thank you for joining us on this special night.
Sincerely,
M. Todd Queen
FLORIDA STATE OPERA presents
Dark Sisters
Libretto by Stephen Karam | Music by Nico Muhly
Presented under license from G. Schirmer, Inc. o/b/o St. Rose Music Publishing, copyright owners.
Conductor ............................................................
Bernard McDonald
Stage Director .................................................................. Kate Bishop
Scenic Designer ...................................................... Ken Frederickson
Lighting Designer ............................................ Naiomy Perez del Valle
Costume Designer .......................................... Julia Matteson Bradley
Wig and Makeup Designer ........................................ Madison Weber
Musical Preparation ........................................................... Katie Barr
Bernard McDonald Natalie Sherer
Production Stage Manager ........................................ Casey MacLeod
Assistant Director...................................................... Kristopher Stam
Assistant Stage Manager ............................ Katherine Anne Ledbetter
Zina
Kylie Painter
Presendia
Jenna Moynihan
Cast
(in order of appearance)
Almera
Mariah Moran
Ruth
Leah Shewmaker
Eliza
Meg Schiliro
The Prophet/King
David Griffith
Lucinda
Emily Folsom*
Ava Griner
* Performing on May 30
Opera Orchestra
Violin I
Jean-Luc CataquetSantanella
Violin II
Amanda Marcy
Viola
Noel Medford
Cello
Turner Sperry
Bass
Kent Rivera
Flute/Piccolo
Paige Douglas
Oboe/English Horn
Steven Stamer
Clarinet/Bass Clarinet
Hannah Faircloth
Horn Jeason Lopez
Trombone
Grant Keel
Percussion
Nicholas Bahr
Harp
Isabelle Scott
Piano/Celeste
Katie Barr
Synopsis
Act I
In the aftermath of a raid by government officials, five mothers – Eliza, Zina, Almera, Presendia, and Ruth – worry about their missing children. The children have been removed from a shared home run by their shared husband, referred to simply as ‘Prophet’ or ‘Father.’ The Prophet lashes out at the officials who took part in the raid, standing up for his own sense of religious freedom. He tells his wives that he will go into the desert to pray and receive a solution from an angel. Eliza asks him why the angel cannot speak to them directly, but her fellow wives and the Prophet assert that only the Prophet can receive revelation. Until he returns, he commands his wives to consult scripture and “keep sweet.”
Eliza takes a moment to think about her missing daughter, Lucinda, and then prays as her faith is tested. She questions how God could create miracles in modern time with boundless space and land and still command her to marry someone she was afraid of. She yearns for salvation and for guidance.
Eliza wakes up the next day and shares some of her doubts and concerns with Almera. Almera does not share the same doubt as Eliza and defends the Prophet and his commands. She encourages Eliza to be patient and obedient to prepare for an eternal life after death. Later, Zina and Presendia admire one another’s craft projects and spend time gossiping about the other wives. They share their feelings of jealousy and longing they each feel when the Prophet spends the night with another wife. They also speak off and on about Ruth, revealing that two of her children passed away, leaving her mentally anguished. Ruth tells Eliza of tragic passing of her two boys, Charley and Saul, and she shares how much guilt she feels for her lack of faith leading to Charley’s death.
Eliza receives a reassuring voicemail from Lucinda, but Ruth surprises her with news that the Prophet is returning later that evening. Eliza makes another devastating discovery. The Prophet intends to marry her daughter Lucinda, and has been making plans behind her back. In a flashback, the Prophet pressures Lucinda to marry her, threatening her and her mother’s salvation. Lucinda’s attitude softens and she accepts her Father’s command. Eliza gathers her courage to confront the Prophet, but even she recognizes that she has to gain his trust in order to find an opportunity to escape. She consents to be with him that evening and he promises to reveal his plan the next morning.
Act II
A charismatic news anchor tantalizes a national audience with a thrilling interview with the wives of the raided compound. Eliza, Zina, Almera, Presendia, and Ruth are present, and the group seems to offer up a series of scripted responses as part of the interview. They focus most of the responses on the children and defending their way of life as though it was perfectly normal. Though the anchor pesters them for details about their marriages, they deflect his questions at every turn and try to remove the focus from their shared husband. The anchor nearly gives up on the interview, but Eliza begins to answer truthfully about their arrangements on the ranch. She makes a desperate attempt to convince Lucinda to forsake her plans with the Prophet, and her fellow wives turn on her and call her a liar. Eliza clings to her faith and own sense of personal revelation as the interview deteriorates.
Later, following a US Supreme Court ruling that remands the abducted children to their families, Ruth’s emotions are still conflicted. She knows that other mothers will have their children again, and she will not. She desires to be reunited with her children and makes a plan to end her life.
Meanwhile, the Prophet and five of his wives, now including Lucinda, sing hymns together. The Prophet uses Ruth’s death to reinforce the importance of perfect obedience, seeming to even lie about the nature of her death. Eliza makes another plea for Lucinda to leave the Prophet, but Lucinda refuses, clinging to her heritage and scripture. Eliza leaves with her freedom and heart full of hope that her daughter will eventually make the same decision.
Director’s Note
Dark Sisters is a chamber opera written by composer Nico Muhly and librettist Stephen Karam. This piece tells the story of oppressed women in the Fundamentalist Church of Jesus Christ of Latter-Day Saints (FLDS) who must grapple with their integrity of faith after the raid and removal of their children from their homes by government officials. Influenced by the raids of FLDS compounds in Short Creek, AZ in 1953 and Eldorado, TX in 2008, this opera offers insight into what these wives and mothers may have experienced mentally, emotionally, and physically as they coped with this trauma.
While these events occurred 73 and 18 years ago, respectively, their histories aren’t as distant as one might think. The fact that two raids of a similar nature were conducted just 55 years apart speaks to their continued relevance. These events are not confined
to the past, and their impact continues to affect individuals and families nationwide. Because of this, the story of Dark Sisters serves as a reflection of lived experiences that are still unfolding today.
Musically, Muhly paints each character in their own light. The faithful Almera sings in a descant-like fashion, while Lucinda’s music reflects her youth through hymnlike melodies. The Prophet sings rhythmic, demanding lines that signify his powerful influence over his wives, and Ruth sings mournful, rich lines of sorrow. Muhly’s treatment of ensemble singing creates hymns which, though once comforting, are now disturbing, inviting audiences to investigate how this specific community may transform connection into control. These musical choices both distinguish each character and reinforce the structure of the community itself. Individual voices can be muddled in collective sound, mirroring the potential diminishment of personal identity in systems of control. Additionally, this makes musical separation especially significant, highlighting when one begins to question their way of thinking.
This production aims to speak through authenticity. While many operas find their tone in the conceptual, extravagant, or other-worldly, Dark Sisters must be treated with care and consideration. Ideas of authenticity and honesty are guiding principles for every aspect of this production. This includes how the performers approach their characters, the relationships that develop between one another, and how moments of stillness are treated with as much weight as movement. Rather than pushing towards an outward expression of drama, this production aims to look inward and allow the reality of the characters to emerge. This approach also resists the instinct to oversimplify or judge. In modern society, it is too easy to dehumanize victims of coercive control in cultlike environments. Instead of offering an exaggerated, tabloid-style piece about the outlandish polygamists that have captivated avid Netflix-viewers, I instead offer to you a window into the real, human lives of those individuals who have found themselves within these oppressive systems.
At its core, this piece explores themes of faith, control, isolation, and autonomy. It asks: who gets to define belief? Where is the line between faith and control? And what happens when a system designed to protect instead confines? The story of Eliza offers a character study in how one may experience not a rebellion, but a slow, painful awakening. Her journey is one that unfolds within a world where obedience is mandatory and doubt is prohibited. Throughout this performance, I urge you not to simply view, but bear witness to the authenticity of that fragile, human process of recognizing one’s own voice. In doing so, I hope this production encourages a deeper consideration of how belief, identity, and autonomy are shaped within our own lives.
Cast
Emily Folsom, Lucinda
Soprano, BM Performance (Junior)
Hometown: Jacksonville, FL
Past roles at FSU: Chorus, Hänsel und Gretel; Chorus/Esprit, Cendrillon
Other credits: First Lady, Die Zauberflöte, (scenes); Second Spirit, The Magic Flute, Jacksonville Symphony; Giannetta, L’elisir d’amore (scenes), Si Parla, Si Canta
David Griffith, Prophet/King
Baritone, MM Performance (1st year)
Syracuse, NY
Past roles at FSU: Malatesta, Don Pasquale (outreach); Chorus,
1st Commissioner, Dialogues des Carmélites; We’ve got our eye on you; Ensemble, Florencia en el , Eastman Opera Theater
Ava Griner, Lucinda
Soprano, BA Music / BS Neuroscience Sarasota, FL
Nanetta, Falstaff (scenes); Tessa (understudy), The , State College of Florida; Little Red Riding Hood, Into the , State College of Florida
Mariah Moran, Almera
Soprano, MM Performance (1st year)
Miami, FL
Past roles at FSU: Chocholka, Příhody lišky Bystroušky; Dew Fairy, Hänsel und Gretel; Fiordiligi (cover), Cosí fan tutte
Other credits: Mermaid, Rinaldo, Red River Lyric Opera; Magda Sorel (cover), The Consul, Chicago Summer Opera; Micaëla, , Varna International SC
Jenna Moynihan, Presendia
Mezzo-soprano/Stage Director, MM Opera Production (1st year)
Hometown: Raleigh, NC
Past roles at FSU: Assistant Director, Cendrillon; Director/ Adapter, Carmen (outreach); Assistant Stage Manager, Così fan tutte
Other credits: Production Stage Manager, An Evening of Operetta, Janiec Opera Company; Madame de Croissy, Dialogues des Carmelites, University of Tennessee Opera Theatre; Cherubino, Le , Trentino Music Festival
Kylie Painter, Zina
Soprano, MM Performance (2nd year)
Hometown: Downers Grove, IL
Past roles at FSU: Ensemble, Hänsel und Gretel; Queen of the Night, The Magic Flute (outreach); La Fée, Cendrillon; Norina, Don Pasquale (outreach)
Meg Schiliro, Eliza
Soprano, MM Performance (2nd year)
Hometown: Elmhurst, IL
Past Roles at FSU: Hänsel, Hänsel und Gretel; Angelina, La Cenerentola (outreach); Mother Goose, The Rake’s Progress; Carmen, Carmen (outreach); Chorus, Così fan tutte
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, Ruth
Mezzo-soprano, DM Performance (1st year)
Hometown: Idaho Falls, ID
Past roles at FSU: Lapák, Příhody lišky Bystroušky; Mother, Hänsel und Gretel; Baba the Turk, The Rake’s Progress; Madame de la Haltière, Cendrillon; Dorabella, Così fan tutte
Staff Credits
Katie Barr, Coach, Rehearsal and Orchestral Pianist
Visiting Instructional Specialist in Vocal Coaching & Accompanying
Hometown: Bethlehem, PA
Past work at FSU: Coach, Cendrillon; Music Director, Carmen (outreach), Music Director, Don Pasquale (outreach); Coach, Così fan tutte, Dark Sisters
Kate Bishop, Stage Director
Stage Director, MM Opera Production (2nd year)
Hometown: Denton, TX
Past work at FSU: Assistant Director/ASM, Hänsel und Gretel; Director, La Cenerentola (outreach); Assistant Director, The Rake’s Progress; Assistant Stage Manager, Cendrillon; Director, Don Pasquale (outreach); Assistant Director, Così fan tutte
Other credits: Siegrüne, Die Walküre, American Wagner Festival; Director, La voix humaine, Fox Valley Opera; Director, The Telephone, Fox Valley Opera
Julia Matteson Bradley, Costume Designer
Costume Designer, Costume Shop Manager
Hometown: Pittsburgh, PA
Past work at FSU: Costume Designer, La tragédie de Carmen, Orphée et Eurydice, Der Vampyr, Glory Denied, The Rake’s Progress; Costume Coordinator, Così fan tutte
Ken Frederickson, Scenic Designer
Technical Director, FSU Opera
FSU Debut
Katherine Anne Ledbetter, Assistant Stage Manager
Hometown: High Point, NC
Past work at FSU: Berta, Il barbiere di Siviglia; Mrs. Páskova, Příhody lišky
Bystroušky; Witch, Hänsel und Gretel; Baba the Turk, The Rake’s Progress; Assistant Stage Manager, Orfeo ed Euridice; Madame de la Haltière, Cendrillon; Stage Manager, Così fan tutte
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
Casey MacLeod, Stage Manager
Stage Manager, BA – Theatre (Senior)
Hometown: Jacksonville, FL
FSU Debut
Other credits: Stage Manager, PANTHEON, Side B Society; Deck Stage Manager, Footloose, FSU School of Theatre; Stage Manager, Songs for A New World, New Stage Theatreworks
Bernard McDonald, Conductor
Director of Opera Activities, Marcus B. and Betty Graves Shelfer Professor of Music
Theatre and Opera
Hometown: Dumbarton, Scotland
Past work at FSU: Conductor, Il barbiere di Siviglia, Hänsel und Gretel, The Rake’s Progress, Orfeo ed Euridice, Cendrillon, Così fan tutte
Other credits: Conductor, Le nozze di Figaro, Indianapolis Opera; The Magic Flute, Mobile Opera; Rusalka, Opera Orlando
Naiomy Perez del Valle, Lighting Designer
Lighting Designer, MFA (2nd year)
Hometown: Arecibo, Puerto Rico
Past work at FSU: Lighting Designer, Orfeo ed Euridice
Other credits: Lighting Designer, The Play That Goes Wrong, FSU Theatre; You On the Moors Now, FSU Theatre; “Synergy” (Elements), FSU Dance
Natalie Sherer, Vocal Coach
Assistant Professor of Vocal Coaching & Collaborative Artist
Kristopher Stam, Assistant Director
Baritone, Stage Director, BM Performance (Senior)
Hometown: Jacksonville, FL
Past work at FSU: Fiorello, Il barbiere di Siviglia; Keeper of the Madhouse/Chorus, The Rake’s Progress; Chorus, Orfeo ed Euridice; Don Alfonso (cover), Così fan tutte
Madison Weber, Wig and Makeup Designer
Wig and Makeup Designer, Wig, Makeup and Wardrobe Manager (School of Theatre)
FSU Opera Debut
Hometown: Owensboro, KY
Other credits: Wig and Makeup Designer, All Shook Up, Southeastern Summer Theatre Institute, Oklahoma! Southeastern Summer Theatre Institute
Opera Staff
Dean, Executive Producer .................................................................................. M. Todd Queen
Director of Opera Activities .......................................................................... Bernard McDonald
Stage Director/Director of Opera Workshop ......................................................... James Marvel
Opera Program Manager ...................................................................................... Matt Cooksey
Technical Director ........................................................................................... Ken Frederickson
Orchestra Librarians .................................................................. Matt Cooksey, Mitchell George
Musical Coaching................................................ Katie Barr, Bernard McDonald, Natalie Sherer
Rehearsal Pianist ....................................................................................................... Katie Barr
Scenic Artists ........................................................................... Amanda Holton, Sydney Nichols
Assistant Technical Director/Master Carpenter .............................................. Cameron Hanmer
Carpenter Scott Freese
Opperman Music Hall Support Staff ............................................... Grace Atkins, Ethan Bigelow Cameron Downs, Russ Marsh, Eugene McGuinness, Nick Smith
Opperman Crew ................................... Wajira Amarakoon, Emma Finnegan, Nathan Hoekman Roy Nishimoto-Rivera, Barbara Roberts, Dylan Valdes, Devin Walmsley
Additional Crew ...................................................... Kinsley Mitchell, Michiko Nishimoto-Rivera Camille Pepper, Daelynn Trotman
Costume Shop Manager .........................................................................Julia Matteson Bradley
Assistant Shop Manager ................................................................................. Christina Marullo
Wardrobe Supervisor ............................................................................................ Sungwon An
Wardrobe Crew ................................................................................. Ginger Harley, Ryan Mace Jackie Petichakis, Sebastian Quintero
Stitchers ..................................................................... Sungwon An, Kate Bishop, Ginger Harley Ryan Mace, Sebastian Quintero, Tobias Sponsler
Wig & Makeup Crew ....................................................................................... Marlena Trudnak
Front of House Manager .......................................................................................... Evan Marty
Supertitle Operator .......................................................................................... Mitchell George
Marketing & Graphic Design Team .................... Natalie DeClerk, Megan Mowery, Wendy Smith
Director of Special Programs .................................................................................. Kim Shively
Thank you to Opperman Music Hall Front of House Staff.
Thank You
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