Glimmerglass Festival 2021 Annual Report

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Photos: Karli Cadel





Peter Duchin

Robert Nelson, CHAIR Wendy Curtis, PRESIDENT Edward L . Turner, VICE-CHAIR Jean Stark, VICE-PRESIDENT Mark Luis Villamar, TREASURER Erna Morgan McReynolds, SECRETARY


Patricia Chadwick Nellie Gipson Sherwin M. Goldman Thomas C. Ragan Robert B. Schlather Michael Sekus Martin Senzel Senator James L . Seward Thomas Simpson Ted Snowdon Kara Unterberg Michael Young


William Goodenough1 Mary Margaret Kuhn2 Sage Mehta1 Eric Owens3


John ^ and Wendy Curtis Elizabeth M. and Jean-Marie R. Eveillard Andrea K. Fallek ^ Allen R. and Judy Brick Freedman Faith E. Gay and Francesca Zambello Nellie Gipson Sherwin M. Goldman Mrs. John H.J. Guth ^ Alfred F. Hubay ^ Dudley D. and Carole H. Johnson Patricia Kavanagh and James Grant Lady Juliet and Dr. Christopher Tadgell Eugene V. ^ and Clare E. Thaw ^

Young Glimmerglass Representative; Guild President; 3Chairman, Artistic Advisory Board 1


^ deceased

October 1, 2020 to September 30, 2021

Francesca Zambello

Joseph Colaneri



Bill Burden Amy Burton Joyce Castle Beth Clayton Sarah Coburn Anthony Roth Costanzo Dwayne Croft Michelle DeYoung Rod Gilfry Christine Goerke Anthony Dean Griffey Julie Gunn Nathan Gunn Joe Kaiser Michael Kaiser Peter Kazaras Mark Lamos David Lang Ryan McKinny Melody Moore Eric Owens, CHAIR Tobias Picker Patricia Racette Talise Trevigne Deborah Voigt Joseph Volpe



Beekman C. Cannon ^ Ferdinand Ermlich ^ Thomas Goodyear ^ Louis Busch Hager ^ Mrs. Louis C. Jones ^ Dr. Peter Macris ^ Mary-Jo Merk Mrs. James M. Symington ^


2021 AT A GLANCE Amidst the uncertainties of the pandemic, The Glimmerglass Festival achieved a daunting feat: presenting a robust, albeit very different looking 2021 season. Dubbed “Glimmerglass on the Grass,” the reimagined, outdoor Festival successfully navigated the many new considerations for live performance and offered audiences the opportunity to experience new and familiar works in the open air of beautiful Upstate New York. Artistic & General Director Francesca Zambello and staff wanted to utilize the company’s spacious property, situated on 26 acres along Otsego Lake. What resulted was the Andrew J. Martin-Weber Lawn Stage, conceived by acclaimed set designer Peter J. Davison. The timber stage with towering trees and branches capitalized on our campus’ natural beauty as its backdrop. Singers braved the elements on stage, with conductors and orchestra performing live from inside the Alice Busch Opera Theater—expertly mixed and amplified to audiences by sound designer Andrew Harper (an interview with him, detailing the intricacies of his work this summer, is included on pages 12-15). Safety for the staff, artists and audience was the greatest concern, and the company implemented stringent guidelines and testing protocols, overseen by a Safety Committee under the guidance of medical professionals and public health officials. In addition to regular testing of staff and artists, other mitigation strategies included HEPA air filters, a strong policy of mask use and social distancing. Due to the diligence and careful planning of the Safety Committee, our 2021 season was free of positive COVID -19 cases, with fewer than five cases in the preseason and postseason combined. This was also aided by the fact that the company had reached a 99% vaccination rate amongst staff and artists by the season’s opening.

ANDREW J. MARTIN-WEBER Glimmerglass extends its sincerest gratitude to Andrew J. Martin-Weber, who unstintingly underwrote the building of our new Lawn Stage and allowed “Glimmerglass on the Grass” to become a reality.


2021 FESTIVAL SEASON SPONSORS Betsy and Ed Cohen Chris and Bruce Crawford Elizabeth M. and Jean-Marie R. Eveillard Faith E. Gay and Francesca Zambello

Nellie and Robert Gipson Jacqueline B. Mars Andrew J. Martin-Weber Robert L. Turner

To prevent crowding on campus, Glimmerglass curated a season of 90-minute productions without intermissions and instituted socially distanced seating. The company commissioned new adaptations of two beloved works in the operatic canon: Mozart’s The Magic Flute and Verdi’s Il Trovatore; along with Offenbach’s lesser-known but terrifically witty Songbird (La Périchole). Each production offered a fresh take on these works by exploring characters in a different light or changing the setting of the story. Glimmerglass also programmed two staged concerts: Gods and Mortals, featuring selections from Wagner’s operas, and To the World, a tour of the American musical. The Festival was proud to present Denyce Graves in the world premiere of The Passion of Mary Cardwell Dawson, about the founder of the National Negro Opera Company. Although the pandemic led to the temporary halt of the Summer Internship Program, Glimmerglass provided educational and performance opportunities for 22 Young Artists, including singers, conductors and directors.


2021 AT A GLANCE Audiences were given 28 opportunities to experience “Glimmerglass on the Grass”: • 8 performances of Mozart’s The Magic Flute* • 5 performances of Verdi’s Il Trovatore • 4 performances of Offenbach’s Songbird* • 4 performances of Gods and Mortals • 4 performances of To the World • 3 performances of Sandra Seaton and Carlos Simon’s The Passion of Mary Cardwell Dawson, a Glimmerglass-commissioned world premiere *With weather being a concern for outdoor performances, Glimmerglass was fortunate (albeit disappointed) to cancel only two full performances throughout the season due to lightning.

Multiple seating options ranged from 6’x6’ lawn squares and picnic tables to newly constructed Festival boxes, all of which adhered to New York State and Center for Disease Control COVID -19 guidelines. Lawn squares could seat up to four patrons, with picnic tables and Festival boxes seating up to six. This “pod seating” did not allow for exact data on attendance, but over the course of the 28-performance season, 341 Festival boxes and 3,113 squares/tables were sold. 69% of the audience visited from New York State • 67% of these New Yorkers came from within a two-hour radius of Cooperstown • 24% of them traveled from New York City

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Field of Dreams: Remembering “Glimmerglass on the Grass” by Nick Richardson, Assistant Dramaturg Cruising down Highway 80, it’s hard to miss the Alice Busch Opera Theater (ABOT) in the clearing that separates the road from Otsego Lake; only this year, she had company on the Glimmerglass campus. Timber chalets hugged the perimeter of the lawn, and between them, passersby could glimpse the wood and iron structure rising majestically: the Andrew J. Martin-Weber Lawn Stage, our own open-air Valhalla. To marvel at it, even when empty, brought senses of accomplishment, awe, and even peace. But on a show day, the energy from the lawn bubbled over to the parking lot across the highway. Early birds anxiously lined up against the fence with their chairs and coolers. A steady stream of patrons trickled across the highway to the socially-distanced squares on the lawn, mingling with staff and other guests along the way. Inside the red Pavilion—which served as the “backstage”—was a flurry of activity and excitement as artists and technicians prepared for each performance. Over in ABOT, our orchestra members and music staff did the same. The whole campus was abuzz.

In this outdoor format, audiences may have seen or experienced something new about our campus: the evergreens that line the south edge of the grounds that served as our backdrop for each production on the lawn stage, or the “golden hour” on campus during a 6 o’clock show. What they didn’t see was the many months of brainstorming, planning, adapting, and troubleshooting that led up to the opening of our 2021 season. Here’s a look at how we pulled off this spectacular season through the eyes of only a handful of the amazing people who made it all happen.


The Moving Target Preparing for the season required creative solutions across all aspects of operations. “It was innovative in every way,” claimed Maestro Joseph Colaneri. “Not only were we doing new [projects], but we were doing, in some ways, more than we ever do, so it’s not like we scaled back.” Scaling back would have been the easy route, especially since the staff planned the 2021 season at the end of summer 2020, in the midst of another upswing in COVID cases nationwide. In weekly Zoom meetings, the artistic administration and staff discussed the ever-changing health protocols and guidelines for artists and gatherings. COVID safety was “a moving target,” as many staff members put it, and more than once it nearly dashed all hopes of having an in-person Festival this year. Abby Rodd, Director of Production recalled, “At least once a week, there was somebody on the senior staff saying, ‘There’s no way that we can do this.’ One of us would hit a massive roadblock, and then we would figure out a way to navigate around it. We all kind of took turns, and fortunately not everybody was on the low part of the wave at the same time.” The announcement of a vaccine and its increasing availability at the beginning of this year was the encouragement Glimmerglass needed in order to begin seriously putting plans into motion.

Piecing Together the Puzzle The senior staff quickly discovered that they needed to consider COVID requirements, repertoire, and technical needs of the Festival in tandem in order to plan the season. One of the first decisions made was to eliminate intermission from the shows to avoid having patrons gather at the bathrooms or elsewhere on campus. Being together—even socially distanced outdoors—was already a risk. As our A/ V Coordinator Joel Morain explained, “Our entire industry is built around drawing a whole bunch of people into one place, and the entire country and world was saying, ‘Under no circumstances draw a whole bunch of people into one place.’” No intermission meant producing shorter works—no longer than 90 minutes—which in turn required significant adaptations of existing operas. Rather than simply cut or reduce them, our creative minds took this opportunity to reimagine these works altogether, affirming Glimmerglass’s commitment to new interpretations of classics. Through this lens, the “limits”in place due to COVID weren’t limiting at all. “That’s always the case for any production. There are always boundaries put on it,” said Kelley Rourke, Glimmerglass Dramaturg and adapter of three pieces this season (The Magic Flute, Il Trovatore, and Songbird). “For me as an artist, I like them. Give me some boundaries. Make me solve this puzzle. It was a little bit more of a drastic puzzle: 90 minutes, small cast, small orchestra. I suppose you could just think in a subtractive way, but wow, how depressing that would be! It was really exciting to think about, ‘ What does being smaller add to the piece?’”


In this way, form followed function, and our creative teams significantly played with form. Take The Magic Flute, for example: A 90-minute adaptation meant significantly editing the opera’s many book scenes and musical numbers. COVID protocols at that time recommended that singers be socially distanced at least six feet. With the stage design built to keep individual singers in their own quadrant of the stage, dialogue scenes between multiple characters seemed unlikely. These boundaries inspired Rourke to create a storybook version of Flute, using the character of Sarastro as a narrator within the opera. Similarly, the orchestra on the ABOT stage had to be socially distanced, which meant fewer musicians for each production. With this in mind, and with the storybook approach, Maestro Colaneri rewrote the accompaniment of the opera: “I was thinking more in terms of the sound landscape of the Mozart serenades so we could use fewer strings in our big string complement. I had to go in and obviously reorchestrate some passages. I think we came up with something that was light and airy and had the weightlessness of a Mozart serenade. I think it very much fit our storyline and the fact that the piece was shorter and had a more intimate feeling. Musically, I was looking for a chamber-like effect.” Reconceptualizing the operas in our season was a considerable undertaking for our collaborators (including Francesca Zambello, Maestro James Lowe, and director/choreographer Eric Sean Fogel). They were also on a time crunch, with only three months to pull these adaptations together! Said Maestro Colaneri, “ We were bold, but prudent at the same time. I know that’s kind of an oxymoron. You have to think about where you can go, but then given what you have at that moment, try to think three to four months ahead.”


Sound Check In addition to COVID being a moving target, mounting an outdoor season was another great unknown. One element in particular posed the biggest question mark, which would be the make-or-break of the season. “ We need first-rate sound. Francesca and I both at the very beginning said, ‘ Without really great sound, we’re going to be sunk,’” revealed Maestro Colaneri. In October 2020—before the Festival even began working on the adaptations—the company explored the feasibility of performing outdoors with amplified sound, engaging sound designer Andrew Harper, who had worked on other productions with Zambello before, to map out the possibilities. Morain worked closely with Harper to assist him and provide valuable knowledge of the workings of our company, stating, “ We brought in Andrew because he has the experience of doing outdoor, live mic-ing of performers, and I have 25 years in the theater of not putting microphones on performers and trying to keep everything as acoustic as possible.” Of course, building a sound system without existing infrastructure required considerable resources, both fiscal and human. “The budget for sound this year was more than the combined budget for every year since I started in 1997,” revealed Morain. Rodd chimed in, “That’s where all our money went. It went to sound.” And though many technical crews were working with a smaller number of staff members than usual (due to COVID protocols), the sound team had almost twice the usual amount of crew this summer. Rodd explained, “The sound department worked more hours than any other production department this summer, even though their crew was double. We should have crewed much more than that because everybody was on every show. It would’ve been cheaper to have more people than the amount of overtime hours that were put in.” Even with the most high-end sound technology at our disposal and a fantastic designer and crew, there was still the chance that something could go wrong. Maestro Colaneri remembers, “There was trepidation going right up until that rehearsal of Flute —the first time with the orchestra and singers. And I remember thinking before that rehearsal, ‘Ok, this is it. If it works, great, and if it doesn’t, well…we don’t want to think about that.’” Fortunately, that first rehearsal went exceptionally smoothly. “ We got going, and it was all clicking, and I thought, ‘Here we go. This season is going to work, and it’s going to work really well.’”


Business as Usual Yes, this season was doubly challenging, but a few members of our staff shared that in some ways, this was like a normal season. Despite the numerous new technical requirements, Ross Rundell noted that his work as Technical Director was largely unaffected, both in planning and execution. “For every production, we ask: how many people does it take to move? How many people does it take to build? How many weeks to build? How many weeks to paint? We break that down normally. So really, the stuff that we budget was just a different set of parameters. It wasn’t for one production; it was for the stage. As far as building the actual deck of the stage, that was no different than what we do every year. Different materials, different techniques, but not necessarily different than what we would typically do. The same goes with props. We’re still getting a prop list. We’re still making them. We have to be aware that things are going to catch wind or get wet, but that’s just another parameter that we put on top of the systems we already have in place. I was lucky; I operated in a situation where it just took some tweaking and some figuring out what exactly you don’t know. Instead of writing a whole new script, we were just filling in the blanks.” But even those creatives who were writing new scripts, new music, and new adaptations echoed Rundell’s assessment. “Our collaboration of putting together a show doesn’t change. The way we work with artists and singers doesn’t change. The surroundings, the rules, and the parameters changed,” said Fogel. Rourke agreed. “ We had our normal toolkit, in a way. Everybody else has specific objects and technology and things, but our technology is human beings—human beings supported by technology that all of our colleagues are building and running.”


Glimmerglass Magic As we reminisced on this past season, a common theme emerged in everyone’s accounts: the magic of Glimmerglass is the spirit and sense of community built by the Festival’s staff. “That’s why I love working at this company,” said Fogel. “Everyone was on board to make it as good as possible. You could see that in the eyes of everyone, from the crews, the ASMs (Assistant Stage Managers), the sound department. The collective spirit of this company can accomplish anything.” “The collective spirit and chops. I mean, it is an amazing team on every level,” added Rourke. The staff not only applied their skills and talents within their respective fields of expertise, but often worked across departments to support each other and to help bring the season to fruition. For example, wardrobe staff helped carpentry build the chairs for the Festival Boxes. Members of our administrative team served as front of house Lawn Leaders (our version of ushers this summer). Carpenters worked in the paint shop on set pieces. “ We had people that in their own right were amazingly talented welders, but the fact that they were there to be a member of Glimmerglass in whatever capacity we needed them to be made them even better company members than their individual talents,” reflected Rundell. After pulling off such an extensive season, the spirit and pride within the company remains high to this day. The mantra “stronger together” has never sounded more appropriate, especially after the pandemic forced a lengthy hiatus on the company’s live stage work; and yet, amidst this invincibility is the reminder that this art form—and the labor that brings it to life—is ephemeral. Closing up the Festival began mere minutes after the last round of applause at our final curtain call. Some guests were still lingering on the lawn as our stage operations crew took apart the stage and piled the lumber. It was bittersweet to see our summer home come down piece by piece. We dreaded lightning this summer; now, we wish we could catch it in a bottle. Rundell captured this sentiment eloquently: “ We created something this summer that will absolutely never exist again. The people involved, the productions, the weather coming together how it did… It was a special moment in time that you only get to experience every once in a while, when theater people get together and really move towards one singular goal without any ego. I think that people’s souls needed it a little bit more this year, and I think that we were able to help nourish that. This season will obviously have a really special spot in my heart.” As the sun set on our dismantled wooden Valhalla that final day, and as 2021 comes to a close, we cherish the photos we took, the art we created, and the memories we made this season. It was novel, it was daring, and, as Maestro Colaneri sees it, “It was one of the most successful seasons I think we’ve ever had.”


Sound Off: A Conversation with Sound Designer Andrew Harper | August 11, 2021 Nick Richardson (Assistant Dramaturg): First, Andrew, I think a lot of opera people in general—not just our patrons—would be surprised that any opera company would have a sound designer. What is your role in the opera world, where we think about singers being unamplified? Andrew Harper: I see my role as twofold. One role is to help tell the story. The most obvious example of that would be a sound effect. Much like a lighting designer or a costume designer would do, the way a sound effect works with that character can also tell a lot about the narrative of the story. The other part of my job has more to do with communication, whether between a singer and an audience or between the maestro and the singer. I’m also responsible for video communication—conductor monitors and monitors of the cast for maestro. And this year, we were separated by a couple hundred meters and a building, so the video communication was extremely important to be able to keep everybody in sync. So, if you were to sum it up, I’m here to help facilitate communication. And depending on the venue and the specifics of a production, my role can vary greatly. This year, of course, we were outdoors, so there were no natural acoustics, and without any type of amplification it would’ve been impossible to hear what was happening on stage. I was brought in to help ensure that everyone could hear what they needed to hear, and do so in a balanced and musical way. NR: How much of the design process is guess and check, and how much can you anticipate in advance? Do you come in with an idea of what the job is or what tools you will need? AH: Pretty much all of it is brought in with a very strong idea of what we’re going to need. There’s so much preparation involved and so many decisions that have to be made before we hit the ground that I really need to have a clear understanding and idea of what that needs to be before we get anything set up. With this Festival in particular, Francesca and I started talking about this back in, what, late October (2020)? So my mind has been thinking about different ways to do this since fall of last year.


It was an awful lot of planning. There are a lot of tools that are very helpful in figuring these things out. The speaker manufacturer has a program where I can essentially draw in the stage and the audience space and put out virtual speakers, and I can see exactly what the coverage is going to be and I can model out different possibilities and arrive at the final product. When we get into the actual space, it’s more about just physically putting it together and then verifying everything, measuring and making sure it all comes together the way that it should.

With the orchestra, I had a pretty good idea of what I wanted it to sound like and how I wanted to achieve that. It’s just a matter of picking microphones that I think will work and putting them in the proper position. NR: That is mind-blowing, especially given that we had such a short setup. We had very little time on stage before opening. AH: Right, and that made all of the planning even more critical. I mean, that’s really where the six months of planning became evident. We walked in with the entire show programmed on the board, so the operator was able to follow along and just hit cues from the get-go. NR: So, you and whoever’s also mixing live—our first audio engineer, Elyssa Kohen, in this case —you guys have to have a really strong music background, yes? AH: Yes, absolutely, and I feel like that’s where my specialty kind of crosses over with music staff. The Glimmerglass music staff was incredibly helpful in making sure we had what was needed represented in the sound. When there are multiple singers, who should we focus on? Dramaturgically, who should we be hearing more of in this moment? Music staff was really, really helpful in delineating some of those parts. In terms of the orchestra, some of that is guided by what’s happening in the moment on stage. For a more traditional opera like Trovatore, the mix was basically set by Maestro [Colaneri]. I really did very, very little electronically to enhance it, and what he was hearing and what he was getting with the orchestra was just what I tried to deliver outside. Whereas with something like Songbird, which was this New Orleans jazz orchestration, I had a lot more liberty to combine these different instruments and create space for them. NR: How does mixing a show work? Essentially, what Elyssa has in front of her at the board is a series of faders that are remote controls for the microphone channels—for each actor, let’s say. When character A talks, Elyssa pushes that fader up, and how loud that person is going to talk determines how far she has to turn up that fader. When that person is done talking, that fader comes down, and the next fader comes up on character B. She is manually turning up and down each microphone as needed. She can adjust on the fly, to the syllable, how loud each part of that performance should be. So, she’s constantly making decisions on what’s too loud, what’s not loud enough, and the overall level of the show.


Sound Off: A Conversation with Sound Designer Andrew Harper NR: I thought I had a high-pressure job, but mixing sounds… AH: It is pretty terrifying. You have to have nerves of steel to be able to do it because on the perfect day it’s still very difficult, and then when something goes wrong, you have to keep going but also deal with whatever the problem is. It is a lot. It takes intense focus because you are actively mixing the entire show. You are responsible for literally everything that goes through a speaker. NR: Speaking of outdoor challenges, we have to discuss the weather. AH: The weather has an absolutely huge effect on the sound, especially the further away you go from the speakers. Temperature and humidity change how sound waves move throughout an atmosphere, so it’s incredibly helpful to be able to compensate for that, and we’ve got equipment that allows us to do that. The very smart people at Meyer Sound figured out the algorithms to make this quite easy for the user. We have a weather station on top of the stage that will tell us the exact temperature and humidity, and then we just input those numbers into the processing. If it’s more than a 5-degree difference or 5% change in humidity we’ll go ahead and update it. The system will automatically compensate for the high frequency transmission for that particular speaker. Typically, when you’re inside, in a climate-controlled environment, you don’t have to worry about this, but because our temperature and humidity can swing by a large margin—even over the course of a single show—it’s so important to be able to compensate for that so that it doesn’t sound out of balance and it maintains that clarity, whether you’re sitting close to the stage or in the very last row. NR: What is it like to design for one show versus designing for the whole season? Because whatever you prepared had to work for everything this season. AH: There are things that are consistent between all of them and there are things that need to be individually calibrated. We’re not changing out speakers for each performance, we’re not changing out the console, and we’re not changing out the way we’re mic’ing the singers. What did change was the physical placement of the microphones for the orchestra. For, say, Trovatore or the Wagner concert, I went with a very traditional classical recording technique with the microphone selection and placement. I really tried to use a lot of the ambience of ABOT to bring that sound of an orchestra in that space out to the lawn. For the most part, that was the hanging microphones that I had in the space.


Changing directions to, say, Songbird, every instrument was very close-mic’d, and I turned down the volume of those hanging mics by quite a lot. I completely changed the equalization of the microphones to make it sound more old-time jazzy versus classical. So there was an electronic element in terms of the programming and a physical element of where the microphones were placed and how the orchestra was mic’d up. The Wagner concert is actually our most dynamic show, and Maestro [Colaneri] absolutely drove those dynamics. We really did very, very little with the orchestra except for turn it up at the beginning of the show and turn it off at the end. That show gets so loud and so powerful with all of those horns, and “The Ride of the Valkyries,” and these huge moments. The singers were really tucked into the orchestra and part of that overall sound.

NR: How do you take into consideration different vocal colors? The musical theater concert here at the Festival does bring out some different colors out of people. To hear Young Artist Mia Athey sing “Home” from The Wiz versus hearing her sing Carmen in The Passion of Mary Cardwell Dawson… AH: You know, that’s honestly the performer. We bring her up to a level that’s contextually appropriate for whether she’s singing Carmen or The Wiz, but in terms of her tone, we’re not changing anything. We’re really just trying to present what the performer is doing to the audience. We’re really not altering that at all. There’s a little bit of difference in terms of level and how that works with the orchestra, but there’s nothing that we’re doing separately on a per-singer basis other than just making sure that they sound natural. NR: The goal is to not notice the sound. AH: Always. I am like a vampire in the sun. I don’t want anyone to know I’m there. And I feel like the more transparent we are, and the more we kind of recede into the performance, the better it is for everybody. So I see my role as facilitating what the performers are doing and telling that story. NR: Well, I’m sorry to drag you into the sun for this interview then! AH: It was such a joy and such a pleasure. I just want to say thank you again to Francesca Zambello; and Abby Rodd, the Director of Production; Joel Morain, the A/ V Coordinator; and all of my crew. It’s all very much a team effort, and we all rely on each other to do our parts. It was a great pleasure to be a part of that again, and to be able to put something this massive back together. It was a very satisfying and wonderful thing after such a wild year. NR: And to think this was a “scaled back” season! AH: Right, well, scaled back for many departments, but certainly not ours.


THE MAGIC FLUTE | Music by Wolfgang Amadeus Mozart | Libretto by Emanuel Schikaneder Agwuna’s lively direction fit neatly into Peter J. Davison’s festival unit set—a copse of tree trunks at stage “ NJ right, an array of colored lightbulbs above—and Christelle Matou’s handsome, sculptural costumes made a clear visual statement. ” — Heidi Waleson, Wall Street Journal


THE MAGIC FLUTE | CAST & ARTISTIC TEAM PRINCIPALS Tamino Aaron Crouch* Pamina Helen Zhibing Huang* The Queen of the Night Emily Misch* Sarastro Eric Owens Papageno Michael Pandolfo* ENSEMBLE First Lady Victoria Lawal* Second Lady Ariana Warren* Third Lady Maire Therese Carmack* Monostatos/Ensemble Spencer Hamlin* Papagena/Narrator Lisa Marie Rogali* Priest #1 Jonathan Pierce Rhodes* Priest #2 Ron Dukes* Priest #3 Peter Morgan* COVERS Tamino Kameron Lopreore* Sarastro Ron Dukes* Papageno Armando Contreras* First Lady Mary-Hollis Hundley* Second Lady Mia Athey* Third Lady Mia Athey* MUSIC STAFF Conductor Joseph Colaneri Assistant Conductor Dmitry Glivinskiy* Principal Coach/Ensemble Master Katherine Kozak Assistant Coach Christopher Devlin English Diction Coach Kathryn LaBouff PRODUCTION PERSONNEL Director NJ Agwuna Set Designer Peter J. Davison Costume Designer Christelle Matou Lighting Designer Mark McCullough Sound Designer Andrew Harper Hair & Makeup Designer Cassie Williams Production Stage Manager Dustin Z West Stage Manager Alex W. Seidel Supertitles Kelley Rourke Assistant Director Alison Pogorelc* Assistant Stage Manager Sarah Stark Assistant Stage Manager Kayla Uribe *Denotes Member of Young Artists Program


THE MAGIC FLUTE Dramaturg Kelley Rourke and Music Director Joseph Colaneri were tasked with adapting Mozart’s The Magic Flute into a 90-minute, English version—the full opera usually runs 2 hours 40 minutes and is sung in German. Rourke’s libretto reworked the opera’s many spoken scenes into narration and brief dialogue, providing salient plot points and keeping the action moving. In an expanded role as singer and narrator, Sarastro—performed by Artist in Residence Eric Owens—guided the audience through the love story of Tamino and Pamina, performed by Young Artists Aaron Crouch and Helen Zhibing Huang, respectively. The Queen of the Night (Young Artist Emily Misch), dissatisfied with her portrayal in Sarastro’s narrative, takes possession of his storybook and shares her side. Both Sarastro and the Queen of the Night aim to protect Pamina from danger, but in doing so, stifle her own learning and exploration. Tamino and his sometimes-trusty sidekick Papageno (Michael Pandolfo) face a series of trials in order to rescue Pamina. By the end of the story, even the Queen of the Night’s henchwomen (Victoria Lawal, Ariana Warren, and Maire Therese Carmack) find the light within themselves, and encourage Pamina to continue her journey toward wisdom and love. Director NJ Agwuna staged ensemble members as natural elements to enhance the action: crashing waves, spinning fires, and even high-flying animals. Agwuna incorporated physical comedy throughout, with Spencer Hamlin (Monostatos) and Michael Pandolfo (Papageno) drawing laughs from the crowd.


Of course, it wouldn’t be The Magic Flute without Mozart’s charming music. Even at 90 minutes long, Maestro Colaneri’s musical arrangement preserved the familiar melodies and muchbeloved arias from Mozart’s original score. He reorchestrated the ensemble for chamber orchestra, keeping the sound intimate yet full, and retained the signature glockenspiel part for spellbinding and playful effects. Just like Tamino and Pamina, our production faced hurdles on its heroic journey, including a final dress rehearsal performed in the pouring rain. And just like Tamino and Pamina, our cast, crew, and creatives persevered to find the light.

Birds of a (Tyvek) Feather: With an open-air stage, not only were our performers and audiences exposed to the weather, but our props and sets were as well. Our prop artisans needed to use materials that could withstand the elements. The solution: Tyvek. The same synthetic house wrap used to protect homes and buildings under construction made our bird and snake puppets waterproof and tear-resistant. Tyvek is also lightweight, so the puppets could catch the air and flutter even on a still summer’s day. In a normal year (on the Alice Busch Opera Theater stage), these puppets would be made out of paper.


SONGBIRD | Music by Jacques Offenbach | Libretto by Ludovic Halévy and Henri Meilhac “ Glimmerglass has a long tradition of smart productions of operettas and neglected works, and this one is simply superb. The big innovation here is James Lowe's imaginative adaptation of the score for a jazz band.”

— James L . Paulk, Classical Voice North America (Journal of the Music Critics Association of North America)


Songbird was made possible with the generous support of Elizabeth M. and Jean-Marie R. Eveillard.

SONGBIRD | CAST & ARTISTIC TEAM PRINCIPALS Songbird Isabel Leonard Piquillo William Burden Don Andrès Michael Pandolfo* ENSEMBLE Guadalena Helen Zhibing Huang* Berginella Emily Misch* Mastrilla Ariana Warren* Celeste Maire Therese Carmack* Panatellas Kameron Lopreore* Don Pedro Peter Morgan* A Cleric Aaron Crouch* A Notary Aaron Jacob Keeney* The Guide Michael Mayes COVERS Songbird Ariana Warren* Piquillo Jonathan Pierce Rhodes* Don Andrès Aaron Jacob Keeney* Mastrilla Maire Therese Carmack* MUSIC STAFF Conductor James Lowe Assistant Conductor Dmitry Glivinskiy* Principal Coach Grant Wenaus Ensemble Master Katherine Kozak French Diction Coach Christopher Devlin PRODUCTION PERSONNEL Co-Director Francesca Zambello Co-Director Eric Sean Fogel Set Designer Peter J. Davison Costume Designer Christelle Matou Lighting Designer Robert M. Wierzel Sound Designer Andrew Harper Hair & Makeup Designer Cassie Williams Production Stage Manager Dustin Z West Libretto/Supertitles Kelley Rourke Assistant Director Ian Silverman* Assistant Stage Manager Danielle Ranno Assistant Stage Manager Sarah Stark *Denotes Member of Young Artists Program


SONGBIRD “Come one, come all, and join the celebration!” This was the opening line of Songbird, a new adaptation of Jacques Offenbach’s operetta, La Périchole, which quickly became a favorite of our performers, crew, and patrons. Maestro James Lowe, librettist Kelley Rourke, and director/choreographer Eric Sean Fogel transported audiences to New Orleans for a Mardi Gras love triangle complete with “tunes, and booze, and ooh la la!” For Kelley Rourke, this adaptation hit close to home. She was raised in Baton Rouge, Louisiana, the state capital about an hour and a half north of New Orleans. The setting utilized her intimate knowledge of Mardi Gras traditions and inspired her to mix English translations with some of the French text from the original libretto by Henri Meilhac and Ludovic Halévy. Maestro Lowe’s complete re-orchestration of Offenbach’s score captured the essence of Mardi Gras by assembling an ensemble made up of drum kit, brass, and even cartoonish instruments like slide whistles. Lowe was inspired by different musical styles from around the Gulf to vary the “jazz” sound of the band. For example, the beginning of the masked ball in Songbird features a drum introduction with rhythm patterns from a New Orleans second line parade. Work on this piece began in the spring of 2021, and since all creators were on site this summer, they were able to continue shaping the piece while in rehearsals with the cast, enabling them to best showcase the strengths of the artists. The rehearsal room was both a mock stage and a collaborative environment for experimentation. With each rehearsal, the plot became more streamlined, characters came into clearer focus, and jokes and gags received even more laughs (or more groans for the puns). Artists in Residence Isabel Leonard and William Burden starred as the two impoverished and in-love street singers, leading the cast with their strong acting skills in addition to their stellar voices.


On Tap: Songbird is only the second production in the Festival’s history to include tap dancing (the first was Show Boat in 2019). The tap dancing in Songbird might never have happened if not for the talents of Young Artist Michael Pandolfo, who impressed the show’s creators after arriving on campus for rehearsals. James Lowe, the arranger and conductor of Songbird, edited his composition to include a dance break once Pandolfo joined the cast.


IL TROVATORE | Music by Giuseppe Verdi | Libretto by Salvadore Cammarano abridged Il Trovatore was adapted brilliantly by music director Joseph Colaneri and dramaturge Kelley “ The Rourke; for viewers familiar with the opera, nothing was missed, and for those who had never seen the opera, the plot was clear. ” — Maria Mazzaro, OPERA NEWS


Il Trovatore is made possible by the New York State Council on the Arts Rapid Live Performance Grant with support of the Office of the Governor and the New York State Legislature.

IL TROVATORE | CAST & ARTISTIC TEAM PRINCIPALS Count Di Luna Michael Mayes Manrico Gregory Kunde Leonora Latonia Moore Azucena Raehann Bryce-Davis Ferrando Peter Morgan* Nomad/Fate Amanda Castro CHORUS Nomad/Nun Lisa Marie Rogali* Nomad/Nun Mary-Hollis Hundley* Nomad/Ines Stephanie Sanchez* Nomad/Ruiz/Militia Spencer Hamlin* Nomad/Messenger/Militia Kameron Lopreore* Nomad/Militia Armando Contreras* Old Nomad/Militia Ron Dukes* COVERS Count Di Luna Aaron Jacob Keeney* Manrico Spencer Hamlin* Leonora Alexandria Shiner Azucena Stephanie Sanchez* MUSIC STAFF Conductor Joseph Colaneri Assistant Conductor Kamna Gupta* Principal Coach Christopher Devlin Ensemble Master Katherine Kozak PRODUCTION PERSONNEL Co-Director Francesca Zambello Co-Director Eric Sean Fogel Choreographer Amanda Castro Set Designer Peter J. Davison Costume Designer Christelle Matou Lighting Designer Robert M. Wierzel Sound Designer Andrew Harper Hair & Makeup Designer Cassie Williams Production Stage Manager Dustin Z West Dramaturg/Supertitles Kelley Rourke Stage Manager Alex W. Seidel Assistant Director Alison Pogorelc* Assistant Stage Manager Kayla Uribe Assistant Stage Manager Danielle Ranno *Denotes Member of Young Artists Program


IL TROVATORE Maestro Joseph Colaneri and Dramaturg Kelley Rourke undertook the difficult task of truncating Verdi’s Il Trovatore by first making a list of signature moments in the opera deemed absolutely essential to retain. Rather than splicing here or there, they opted to remove entire scenes that would not affect the flow of the narrative they wanted to present. Originally titled Azucena, the opera hinges on the actions of Verdi’s first written dramatic mezzo-soprano role. In Colaneri and Rourke’s adaptation, the story is recentered around Azucena and opens with a scena normally found in Act II: Azucena, powerfully sung by Raehann Bryce-Davis, recounts the accident that haunts her to this day and fuels her desire for revenge. Altering the framework of the story allowed for the drama to unfold in a more linear way, thus clarifying the actions and motives of the characters. Resequencing the plot impacted the music as well; notably, placing the famous Anvil Chorus at the beginning of the opera. Here, the Anvil Chorus helps establish the setting, centralizing the nomadic characters in the storyline, and heightening the class tensions between them and the noblemen. Inspired by the movie Nomadland, Francesca Zambello and Eric Sean Fogel’s production set the action in a community outside of any specific place or time.


According to legendary tenor (and Manrico interpreter) Enrico Caruso, all that is needed for a successful performance of Il Trovatore is the “four greatest singers in the world.” Glimmerglass delivered an all-star cast featuring four acclaimed singers: the aforementioned Bryce-Davis, Latonia Moore, Gregory Kunde, and Michael Mayes, with Young Artist Peter Morgan making his Festival role debut as Ferrando.

Run, Maestro, Run! With the orchestra situated on the stage of the Alice Busch Opera Theater (ABOT), Maestro Colaneri had to find a way to take his bow after Il Trovatore. The original plan was to drive him in a golf cart from ABOT to the Lawn Stage, but after missing his bow on opening night thanks to the campus speed bumps, Maestro ditched the golf cart and ran to make the bows after each one of his performances. He was faster on foot! Maestro Colaneri resides in Cherry Valley during the summer, where he runs three to four miles each morning on Route 166.



Original Music by Carlos Simon | Play by Sandra Seaton

Passion of Mary Cardwell Dawson, directed by Kimille Howard, was conceived as a vehicle for the mezzo“ The soprano Denyce Graves, who was glamorous, gritty and poignant in the title role. ”


— Anthony Tommasini, The New York Times

The commission and production of The Passion of Mary Cardwell Dawson is generously sponsored by Robert L . Turner.

THE PASSION OF MARY CARDWELL DAWSON CAST & ARTISTIC TEAM PRINCIPALS Madame Mary Cardwell Dawson Denyce Graves Isabelle Victoria Lawal* Phoebe Mia Athey* Frank Jonathan Pierce Rhodes* MUSIC STAFF Music Director/Pianist/Principal Coach

Kevin Miller

PRODUCTION PERSONNEL Director Kimille Howard Set Designer Peter J. Davison Costume Designer Jessica Jahn Lighting Designer Amith Chandrashaker Sound Designer Andrew Harper Hair & Makeup Designer Cassie Williams Production Stage Manager Dustin Z West Supertitles Kelley Rourke Assistant Director Ian Silverman* Assistant Stage Manager Kayla Uribe *Denotes Member of Young Artists Program


THE PASSION OF MARY CARDWELL DAWSON Commissioned by The Glimmerglass Festival, this worldpremiere play by Sandra Seaton with original music by Carlos Simon imagines a day in the life of Mary Cardwell Dawson, founder of the National Negro Opera Company. Audiences were shown Dawson working to keep her company afloat— both figuratively and literally on the Watergate barge stage in Washington, D.C.—and finding joy as she coaches young singers through rehearsals for a production of Carmen. Seaton did extensive research while writing the piece and was on hand during the Festival to continue developing the play. Director Kimille Howard deftly navigated the complexity of using all four walls of the stage, from alternating dialogue scenes, musical numbers, and moments of direct address to the audience. Mezzo-soprano Denyce Graves received applause for her commanding presence as the fiery and passionate Dawson. Young Artists Victoria Lawal, Mia Athey, and Jonathan Pierce Rhodes adeptly portrayed the dual roles of Dawson’s eager voice students and the leads in Carmen. (Photo right: playwright Sandra Seaton joined the cast onstage for the opening performance curtain call.)


In addition to excerpts from Carmen (Bizet/Meilhac and Halévy), the play also features La traviata (Verdi/Piave) and La favorite (Donizetti/Royer and Vaëz). The drama in Carmen parallels the love triangle playing out among the young singers in Dawson’s company; still, it is Carlos Simon’s original solo for Ms. Graves that truly resonates with the themes of the piece. In “She Steps Onto a Floating Stage,” Dawson tells the audience, “Remember me. We’ll share my soul. …I’ll stay, survive, if you remember me.” Simon’s composition concludes the play, a stirring and impactful call to arms. Graves’s connection and involvement in the play extends beyond the Glimmerglass campus. Her personal foundation is funding the revitalization of the National Negro Opera Company’s headquarters, a Victorian house in a historic district of Pittsburgh. The house will serve as a museum as well as a cultural center for the community’s youth to explore the arts. For those who missed The Passion of Mary Cardwell Dawson this summer, the play will return to the Festival in 2022 for an expanded encore. (Photo left: production sponsor Robert L. Turner with Denyce Graves.)

Thunderstruck! The Festival’s meteorologist, Jason Cadwalader, wasn’t the only one looking to the sky during performances of The Passion of Mary Cardwell Dawson, where the action takes place on a stormy day. “This season featured a lot of sound effects of thunder. Each thunder was completely different, and each thunder said something about the moment that it was placed and something that was happening within the narrative of the story,” said our sound designer Andrew Harper. These sound effects did more than portray the weather in the show; they gave each scene a specific emotional color.


GODS AND MORTALS | Wagner seemed nothing short of miraculous to hear the sounds of an orchestra, massed together, playing “ full-throated Wagner...properly amplified, and in tight ensemble. ” —Jennifer Melick, OPERA NEWS


GODS AND MORTALS CAST & ARTISTIC TEAM VOCALISTS Raehann Bryce-Davis Mark Delavan Ian Koziara Eric Owens Alexandria Shiner Emily Misch* Maire Therese Carmack* Mary-Hollis Hundley* Stephanie Sanchez* Lisa Marie Rogali* Mia Athey* Aaron Jacob Keeney* MUSIC STAFF Conductor Joseph Colaneri Assistant Conductor Dmitry Glivinskiy* Principal Coach Kirill Kuzmin PRODUCTION PERSONNEL Director Francesca Zambello Associate Director Eric Sean Fogel Set Designer Peter J. Davison Lighting Designer Robert M. Wierzel Sound Designer Andrew Harper Production Stage Manager Dustin Z West Supertitles Charlotte Maskelony Stage Manager Alex W. Seidel Assistant Stage Manager Sarah Stark *Denotes Member of Young Artists Program


GODS AND MORTALS We were pleased to be one of the few companies in the United States to program Wagner in 2021. Gods and Mortals, a staged concert of scenes from his works, was a nod to the stories that inspired Wagner: myths and legends, including Norse mythology, the Holy Grail, and the Flying Dutchman. These epic tales took center stage, with performers surrounded by real tree stumps and logs on the timber Lawn Stage, extending the sylvan backdrop of our campus. Wagner’s first opera Die Feen—originally scheduled for the 2020 season and later converted into an animated online offering— was among the represented works in the concert, with guest artists Alexandria Shiner and Ian Koziara reprising their roles as Ada and Arindal. Raehann Bryce-Davis gave powerful performances from Lohengrin and Der Ring des Niebelungen. In one of his signature roles, Wotan, bass-baritone Eric Owens captivated listeners as he bid farewell to Brünnhilde. Mark Delavan, another Wagnerian veteran, commanded the stage as the Flying Dutchman. Members of the Young Artists Program rounded out the program, with performances of “O du mein holder Abendstern” (Tannhäuser) by Aaron Jacob Keeney and the thrilling “Ride of the Valkyries” with the women’s chorus.

To the Max: For Gods and Mortals, the Festival

used the most musicians it could safely fit on the ABOT stage while abiding by COVID protocols. Despite these numbers being fewer than a traditional Wagnerian orchestra, the ensemble’s sound was rich and full under Maestro Colaneri’s direction and through Andrew Harper’s sound design.



TO THE WORLD | (various) “ It’s a beautiful setting with high pines and birch edging the area and hawks soaring overhead.”


— Geraldine Freedman, The Daily Gazette

TO THE WORLD | CAST & ARTISTIC TEAM ARTISTS Isabel Leonard William Burden Alexandria Shiner Michael Mayes Helen Zhibing Huang* Victoria Lawal* Lisa Marie Rogali* Mia Athey* Ariana Warren* Aaron Crouch* Kameron Lopreore* Armando Contreras* Aaron Jacob Keeney* Ron Dukes* MUSIC STAFF Conductor James Lowe Assistant Conductor Kamna Gupta* Principal Coach Aurelia Andrews PRODUCTION PERSONNEL Director Eric Sean Fogel Set Designer Peter J. Davison Lighting Designer Mark McCullough Lighting Supervisor Stoli Stolnack Sound Designer Andrew Harper Hair & Makeup Designer Cassie Williams Projected Titles Nick Richardson Production Stage Manager Dustin Z West English Diction Coach Kathryn LaBouff Assistant Director Ian Silverman* Assistant Stage Manager Danielle Ranno *Denotes Member of Young Artists Program



TO THE WORLD To the World satisfied the collective longing for travel and adventure—both hampered by the pandemic—through the melodies of musical theater. The staged concert’s 18 songs transported audiences to 13 destinations near and far, including New York, Paris, Florence, and even the mythical lands of “Far Far Away” and Oz. Curated by director and choreographer Eric Sean Fogel, the program featured songs that showcased the many talents of the Festival’s performers and musicians. Principal artists William Burden, Isabel Leonard, Michael Mayes, and Alexandria Shiner captivated audiences with solo and ensemble pieces from Hello, Dolly!, Kiss Me Kate, The Sound of Music, Cabaret, Fiddler on the Roof, and more.

“The Hills Are Alive” One of Eric Sean Fogel’s favorite memories from this season comes from the first technical rehearsal using the outdoor sound system. The orchestra played “Climb Ev’ry Mountain” from The Sound of Music repeatedly, and whenever they stopped, Eric could hear echoes of the song reverberating off the surrounding mountains. He wasn’t alone; one of Francesca’s neighbors called to say that she could hear The Sound of Music in her backyard!

The Young Artists also shone throughout the revue. Tenor Aaron Crouch brought down the house—and even the rain, one night—with his performance of “Corner of the Sky” from Pippin. Mezzo-soprano Mia Athey bared her soul and her belting technique in her rendition of “Home” from The Wiz, made famous by Motown legend Diana Ross. Soprano Lisa Marie Rogali put her comedic chops to good use as Princess Fiona from Shrek: The Musical, coloring her voice with the frustration and waning optimism of a princess waiting to be rescued by her Prince Charming. The Festival Orchestra, under the baton of Maestro James Lowe, opened the concert with the overture from Leonard Bernstein’s Candide, and proceeded to shift between the musical styles of the other 17 shows represented in the program, ranging from showtunes to rock and pop. The Sound of Music—originally programmed in 2020—will be mounted in a full production during the 2022 Festival.



On Trac|< is made possible by a grant from the Andrew W. Mellon Foundation.

ON TRAC|< | Music by Nicolas Lell Benavides | Choreography by Amanda Castro

COMMON GROUND 2021 marked the beginning of Common Ground, a multi-year initiative unveiling six new pieces that tell stories of life in America. The intimate qualities of the first two pieces scheduled this season did not lend themselves well to the spaciousness of the new outdoor venue, or to amplification. The challenges brought on by the pandemic inspired the company to rethink how it presents art, and as a result, embarked on its first forays into the medium of filmed, streaming opera.


Glimmerglass’ first commissioned dance piece On Trac|<, examines the intersection of human and machine in rural America, with a focus on lives close to home: generations of farmers here in Central New York. In 2019, during his summer as the Festival’s first Young Artist composer, Nicolas Lell Benavides was struck by the image of a tractor against a hilly landscape in Roseboom, which inspired this work. Another Festival alumna, Amanda Castro (Anita in West Side Story, 2018), choreographed and performed the piece, set to Benavides’ music. This commission is a testament to the talent the Young Artists Program attracts and subsequently nurtures. This summer, the pair returned to Glimmerglass to further collaborate, record interviews with local farmers, and film the piece with staff videographer Lucas Godlewski.

Lights, Camera, Breakfast: Filming locations for On Trac|< included the yard of our staff dramaturg and Roseboom resident Kelley Rourke. Call times for filming often started before daybreak, and Kelley helped nourish the cast and crew with homemade baked goods.



The Knock is made possible by a grant from the Andrew W. Mellon Foundation.

THE KNOCK | Music by Aleksandra Vrebalov | Libretto by Deborah Brevoort

The Knock, a world-premiere one-act opera by composer Aleksandra Vrebalov and librettist Deborah Brevoort, spotlights military wives, a demographic yet to be seen on an opera stage. The piece is centered on a group of military wives awaiting news of their deployed husbands. Inspiration came from Brevoort’s years of interviews with US military families and Jim Sheeler’s lauded book, Final Salute: A Story of Unfinished Lives. The Knock was released on Veterans Day, November 11, 2021, which also marked the centennial of the dedication of the Tomb of the Unknown Soldier at Arlington National Cemetery. When first built, the Tomb commemorated the American soldiers lost in World War I with the remains of one unidentified US soldier. Today, the Tomb houses unknown soldiers from World War II and the Korean War. Recording The Knock involved three phases. In advance of filming, the Festival Orchestra recorded the score with conductor Lidiya Yankovskaya at the helm. In between performances on the Lawn Stage, the Young Artists in the cast rehearsed and recorded their arias. Finally, the artists and crew—which included filmmaker and Glimmerglass alum Ryan McKinny and his wife Tonya—came together on location at various sites around Central New York to film.

The Knock is co-commissioned by Cincinnati Opera through a grant from the Andrew W. Mellon Foundation. The film was made possible by the generous support of Howard and Sarah D. Solomon Foundation, Ted Snowdon and Duffy Violante, Thomas C. Ragan, Van Broughton Ramsey and Robert Nelson, and two contributors who wish to remain anonymous.



Familiar Faces: Glimmerglass regulars may recognize some of our very own staff in the film. Director of Production Abby Rodd and Assistant Set Designer James F. Rotondo III both appeared as extras in the funeral scene. No one working at the Festival is a one-trick pony; everyone is multi-talented and often wears many hats at once!

PRINCIPALS Lt. Roberto Gonzalez Armando Contreras* Joella "Jo" Jenner Mary-Hollis Hundley* Aishah McNair Mia Athey* Soprano #1 Lisa Marie Rogali* Soprano #2 Victoria Lawal* Alto/Commanding Officer's Wife Stephanie Sanchez* Jarrett McNair Roy Allen Funeral Guest Abby Rodd Funeral Guest James F. Rotondo III Lisa's Dog Lacey Composer Aleksandra Vrebalov Librettist Deborah Brevoort Conductor Lidiya Yankovskaya Director Alison Moritz Executive Producer Francesca Zambello Producer Tonya McKinny Producer Dustin Z West Director of Photography Ryan McKinny Production Designer James F. Rotondo III Sound Designer Joel Morain Costume Designer Trevor Bowen Hair & Makeup Designer Cassie Williams Properties Manager Erik Lindquist Hair & Makeup Supervisor EH Petropulos Production Assistant Jacob Calta Associate Director Ian Silverman* Assistant Producer Danielle Ranno Prop Shop Foreperson Emily Tabler Wardrobe Supervisor Amanda Newman Wardrobe Assistant Connor Sullivan Asst. Conductor Kamna Gupta* Principal Coach/Pianist Kevin Miller *Denotes Member of Young Artists Program


PROFESSIONAL EDUCATION Glimmerglass is proud of its longstanding reputation as a premiere training ground for performers, artisans, technicians, and arts administrators through the Young Artists and Summer Internship Programs. Previous seasons have welcomed over 100 apprentices from across the country. The new framework of the 2021 Festival allowed for the safe return of the Young Artists Program. Unfortunately, the Summer Internship Program was suspended for 2021—to be reinstated in 2022—due to the increased demands on staff time which resulted in fewer educational and mentorship opportunities.

YOUNG ARTISTS PROGRAM Launched in 1988, the Glimmerglass Young Artists Program (YAP) has grown to become one of the leading training programs in the industry for upand-coming singers, conductors, directors, pianists, and dancers. Young Artists are competitively selected emerging professionals or recent graduates in the early stages of their careers. For 2021, 1,037 applicants applied for a smaller cohort of 22 Young Artists slots (as opposed to over 50 in prior years)—including singers, conductors and directors— hailing from 49 states, the District of Columbia and Puerto Rico, and 36 foreign countries. Of the total applicants, 527 were invited to submit a second-round audition video of repertoire selected by Director of Artistic Administration Amra Catovic and YAP Director Allen Perriello. All auditions were conducted virtually. Of the 53 named roles during the season, 41 were performed by YAPs.


“ While this new outdoor factor brought about its own new and exciting challenges to our art form, it also created some unbelievable memories that I will cherish for my entire life. How many young artists can boast that they sang The Magic Flute on a mind-blowing outdoor stage, in the pouring rain, with world renowned bass-baritone Eric Owens on his birthday? We were dedicated to getting out there on that stage despite the unforeseen circumstances and events of the past year. Even the rain and intense heat that’s common during upstate New York summers couldn’t keep us from doing what we truly loved. We knew that we needed to share in the amazing gifts of music in a place where our colleagues and audiences could feel safe and welcome. Glimmerglass provided that and continues to inspire me to grow as an artist and person.” — Kameron Lopreore, 2019-2021 YAP tenor

“Being a part of the historic 2021 Season at the Glimmerglass Festival was an incredible honor. It was a tremendous joy to work closely with Denyce Graves as we presented the world premiere of "The Passion of Mary Cardwell Dawson". The process of creating this meaningful work alongside someone whose work I have always admired was an incredible gift. Through individual coachings, group discussions and performing together on stage, the Young Artists were able to foster meaningful relationships and honest candor with Artists in Residence William Burden, Isabel Leonard and Eric Owens. I cannot thank Glimmerglass and Francesca Zambello enough for inviting me to experience a summer I won't soon forget.”

— Victoria Lawal, 2021 YAP soprano



To be able to work with the Artists in Residence was one of the many reasons that made my time at The Glimmerglass Festival so special this summer. Not only was I able to coach with them and take lessons from them, but I was actually able to perform with them, to talk to them and get to know them, to be their colleagues, to watch how much detail and passion go into their work up close. We were able to truly learn from the best in every sense of the word. It was a life-changing experience working with the Artists in Residence.

— Helen Zhibing Huang

Since 2011, Glimmerglass has engaged an annual Artist in Residence, a renowned individual from the field of music, who becomes immersed in the life of the Festival, appears in or is involved with seasonal repertoire and special programs, and serves as a mentor to the Young Artists. For the first time, the Festival welcomed three internationally-renowned Artists in Residence: Isabel Leonard, William Burden, and Eric Owens. Mezzo-soprano Leonard and tenor Burden returned to Glimmerglass after previously serving in this capacity during the virtual 2020 season. Bass-baritone Owens served a fourth term as Artist in Residence and is also deeply connected to the company as Chair of the Artistic Advisory Board. Owens made his Glimmerglass debut in the 2001 production of The Rape of Lucretia, and has since performed five leading roles with the company, including the title character of Macbeth (2015). This year, Owens sang Sarastro in The Magic Flute and Wotan in Gods and Mortals. Burden returned for a third term as Artist in Residence, and has been involved with the company since 1997, when he made his company debut alongside Francesca Zambello in her groundbreaking production of Iphigénie en Tauride. Burden joined Leonard (in her company debut) to lead the cast of Songbird, and both were featured in To the World.



EQUITY, DIVERSITY and INCLUSION (EDI) In addition to providing career development and instruction for Young Artists and Apprentices, Glimmerglass is invested in educating its staff and working toward becoming a more equitable, diverse and inclusive company. To further build upon the work that Glimmerglass initiated in the summer of 2019, the company began collaborating in March 2021 with the X Lab of the Maxwell School of Citizenship and Public Affairs at Syracuse University. This partnership will evaluate and determine the extent to which Glimmerglass’ implemented initiatives move the company closer to achieving its EDI goals, including but not limited to: partnerships with Anti-Racism/EDI consultants and organizations; diversification of leadership and staff; company-wide anti-racism training; and assessment of communication content through a diversity and equity lens.

MAXWELL X LAB The X Lab at Syracuse University’s Maxwell School of Citizenship and Public Affairs is bridging the gap between university research and the public and non-profit sectors to build evidence for what works. X Lab leverages behavioral science and randomized controlled trials to intelligently design and evaluate their projects. Together these powerful techniques allow practitioners to work with the Maxwell School to improve outcomes cost-effectively and understand the precise impact of each change.


SHAKTI BUTLER, PHD Dr. Shakti Butler is a dynamic filmmaker and visionary educator in the field of racial equity. She is President and Founder of World Trust Educational Services, an organization that promotes racial justice and healing through film and facilitated dialogue.


Beginning in October 2020 (the start of the 2021 fiscal year), World Trust, a nationally recognized social justice and racial equity organization, held in-depth educational workshops for year-round staff and Board, led by Dr. Shakti Butler. Over the next seven months, participants were guided through self-reflection exercises and engaged in conversations about Glimmerglass’ current culture and EDI goals. These workshops resulted in the expansion of the EDI Committee into individual working groups pertaining to all aspects of operations: Board Actions and Initiatives; Community Connections; Human Relations/Equal Employment Opportunity Practices and Procedures; Programming and Audience Building; and Recruitment and Hiring.

BOARD TRAINING In response to Board feedback after the October 2020 workshop with World Trust, Glimmerglass engaged Vernetta Walker as a Board-specific educator. She will begin working with the Board in Fall 2021 and beyond, and will divide the training into three phases: Due Diligence; Awareness and Alignment; and Action Planning and Strategy Integration. The Board will also be reading and discussing Boost Your Nonprofit Board: A Diversification Guide by Ali Levin. This book outlines actionable steps for initiating and sustaining board diversification. Levin founded Board Boost Consulting, and has previously collaborated with Walker.

VERNETTA WALKER Vernetta Walker is President and CEO of Walker & Associates Consulting. With over two decades of experience as a nonprofit leader and consultant, Walker is passionate about helping organizations maximize their impact through exceptional leadership, intellectual engagement, and cultural competence. She is also a senior governance consultant and senior advisor on diversity, inclusion, and equity for BoardSource.


NICOLE BREWER Nicole Brewer is an actor, director, educator, and passionate advocate for anti-racist theatre. She has spent the last seven years refining and practicing an inclusive methodology called Conscientious Theatre Training. Brewer is on faculty at the Yale School of Drama.

For the 2021 summer, the company engaged Nicole Brewer/Anti-Racist Theatre (A .R.T.) to provide EDI onboarding workshops for seasonal staff and artists. Additionally, Seena Hodges/The Woke Coach was re-contracted to facilitate BIPOC Affinity Spaces, which had been previously offered during the 2020 virtual season. Staff responsible for overseeing the onboarding process for the 2021 seasonal staff and artists rose to the challenge of coordinating the schedules of all incoming personnel, and blocked off time during orientation week and the subsequent rehearsal weeks for these workshops, which included three 2-hour “Racial Equity Onboarding Workshops,” two 2-hour “BIPOC Affinity Space” sessions, and one 3-hour end-of-season workshop.

SEENA HODGES Seena Hodges is a dynamic communications professional with extensive experience in public relations, marketing, and communications. She founded The Woke Coach in 2018, a company that helps individuals deepen their analysis and develop an understanding around issues of bias and injustice, helping them to become the best, most understanding, empathetic version of themselves.



Ruotao Mao, CONCERTMASTER Heather Wittels, ASSOCIATE CONCERTMASTER Raymond Zoeckler, ASSISTANT CONCERTMASTER Fritz V. Krakowski Sasha Margolis Joseph Lorang Esther Sanders Michael Cleveland Jennifer Reuning Myers Ann-Marie Barker-Schwartz Elizabeth Silver Ubaldo Valli Cecee Pantikian Victoria Stewart Leona Nadj


Katrina Smith, PRINCIPAL Alexandra Van de Geijn Megan Newman Dyer Dee Dee Fancher Christine Ims Christine Orio



Spencer F. Phillips, PRINCIPAL Mark Timmerman Daniel Hane


Dan Wions, PRINCIPAL Martin Burki Aaron Brask


Jerry Bryant, PRINCIPAL Ben Aldridge


Gregory Spiridopoulos, PRINCIPAL Daniel Martin Frank Meredith (BASS TROMBONE)


David Saltzman, PRINCIPAL Brendan Ige [ACTING PRINCIPAL]


Matthew Kibort, PRINCIPAL

Janet Nepkie, PRINCIPAL Ruth Berry Benjamin Whittenburg Susan Ruzow Debronsky




David Irvin, PRINCIPAL Jon Pascolini


Yevgeny Faniuk, PRINCIPAL Linda Greene


Eileen Whalen, PRINCIPAL Nancy Dimock [ACTING PRINCIPAL]

Karen Hosmer


Pascal Archer, PRINCIPAL Thomas Slavinsky KeriAnn DiBari- Oberle


Matthew McClung, PRINCIPAL Jeff Grubbs Greg Germann

André Tarantiles, PRINCIPAL


Michael Leopold, PRINCIPAL


Katherine Kozak Grant Wenaus Christopher Devlin Kevin Miller Aurelia Andrews In memoriam: Faina Agranov




Artistic & General Director Francesca Zambello

Director of Communications Brittany Lesavoy

Director of Accounting Karen Flanagan

Music Director Joseph Colaneri

Box Office Manager Liz Diamond

Accounting Associate Frederick Fall

Executive Director Andrea Lyons



Artistic Advisor Eric Owens

Director of Company Management Merritt Schifano

Director of Production Abby Rodd

Company Administration Manager Rebecca Gill

Production Coordinator Wyatt Nyman

Housing Coordinator Jeffery Wilcox

Technical Director Ross Rundell

Concessions Manager & Operations Assistant Lizzy Mott

Assistant Technical DirectorScenery Operations Kyle Ludwig


Carpenter Matt Beecher

Director of Development Caryn Reeves

Carpenter Christian Pearson

Associate Director of Development Amy Tompkins

Staff Carpenter Meredith C. Wilcox

Director, Young Artists Program Allen Perriello

Development Officer and Grants Manager Mark Conchie

Scenic Charge Artist Sasha Glinski

Dramaturg Kelley Rourke

Development Assistant Kathy Buck

Head of Music Staff Christopher Devlin

Advancement Advisor Joan Desens

Head of Stage Movement & Choreography Eric Sean Fogel


Music Operations Manager Emmet Sellars

Facilities Supervisor Leon Roseboom

Artistic Operations Coordinator Jay Condon

Facilities Staff Sheldon Jacobson

ADMINISTRATION & OPERATIONS Assistant to Francesca Zambello Dianne Ciano Advisor to the EDI Committee and Coordinator for EDI Initiatives Jessica Jahn Information Technology Manager Austin Bloomfield

ARTISTIC Director of Artistic Administration Amra Catovic

Scenic Artist Carleigh Wagner

Music Librarian Kristen Butcher


THE GUILD OF GLIMMERGLASS FESTIVAL The ‘Glimmerglass Opera Guild’ began with the formation of the company in 1975. In a typical year, this dedicated corps of volunteers provides assistance to the administrative staff, hosts cast parties, and feeds more than 1,000 meals to artists and production personnel on double-show days during the summer. The Guild is also a generous financial contributor to the Festival through membership appeals and an annual gala held each August. Even with their usual in-season activities cancelled due to the pandemic, 20 members reported 2,324 volunteer hours. The Guild also hosted its annual fundraising gala, which raised $30,000 for the Festival.


Ticket Sales 58% $903,831 Set/Costume and Rental 5% $75,418 Concessions/Gift shop & Ads 1% $21,319 Other Earned Income 36% $560,979

Foundations 8% $505,800

Fundraising Event 7% $344,830 Government 10% $604,015

Corporations 1% $24,541

Individuals 74% $4,282,416

Salaries & Administration 37% $2,404,528

Marketing & Concessions 2% $157,396

Other 9% $570,177

Young Artists Program 3% $170,465

Non-Artistic Seasonal Expenses 4% $270,292

Fundraising 1% $70,291

Artistic Programming 44% $2,870,378

This presentation is an unaudited report of annual operations in conformity with the Board approved Operating Budget. Audited financials are available on request

Endowment earnings: $741,000

Operating Expenses: $6,513,527

Earned Revenue $1,561,547

Contributed Income 79%

Contributions $5,763,602

Ticket Sales 12%

Other Earned Income 9%

Operating Income: $7,325,149

Glimmerglass Festival | 2021 Operating Income and Expenses


IN MEMORIAM: PAUL KELLOGG Paul Edward Kellogg came to Cooperstown, New York, in 1975 to write, but stayed to develop one of the premiere summer opera and music-theater festivals in the United States. He leaves as a highly respected and wellbeloved member of the greater Cooperstown community. Paul Kellogg died in Cooperstown at Bassett Hospital on April 28, 2021, of natural causes. He was 84. In Cooperstown, Kellogg met a community eager to create art. In July of that same year, Glimmerglass Opera produced, in its founding season, four performances of Puccini’s La bohème, staged in the Cooperstown High School auditorium. Kellogg became involved with the company the following season when his partner, Raymond Han, a world-renowned painter and sculptor, was asked to work on the sets of La Traviata, Cavalleria Rusticana and Pagliacci. Kellogg initially intended to work on the sets with Han, but ultimately turned his attention to props. From then on, Kellogg loved instilling the art of opera into the Cooperstown community. In 1979, Kellogg was appointed Glimmerglass Opera’s Executive Manager. His title shifted over time as he expanded his duties with the company, becoming General Manager in 1984, General Director in 1987 and General & Artistic Director in 1995. Under Kellogg’s leadership, the Festival Season grew to include four fully staged productions each summer. In 1987, the company opened the Alice Busch Opera Theater, a newly built professional theater designed by Hugh Hardy, which Glimmerglass calls home to this day. Its construction and opening sealed the company’s evolution from a community organization to a major international festival. In 1988, Kellogg helped establish the company’s Young American Artists Program (now the Young Artists Program), which continues to be a premiere training ground for singers like Christine Goerke, Anthony Roth Costanzo and Rachele Gilmore. Kellogg’s 26-year tenure saw productions of rarities by composers ranging from Claudio Monteverdi and Francesco Cavalli to John Philip Sousa and Benjamin Britten, as well as innovative approaches to standard repertory led by directors such as Martha Clarke, Mark Lamos, Jonathan Miller, Simon Callow and Leon Major.


(above: Francesca Zambello, Chris Devlin, and Christine Goerke at a memorial for Paul Kellogg)

In 1996, shortly after becoming General & Artistic Director of Glimmerglass Opera, Kellogg was named General & Artistic Director of New York City Opera. With this combination of duties, Kellogg crafted a special partnership between the two companies with numerous shared productions, including Madama Butterfly, Falstaff, Tosca and The Mother of Us All. In total, Kellogg produced 62 new operas at New York City Opera, about half of which originated in Cooperstown. In 1999 he inaugurated an annual series of new opera readings with the New York City Opera Orchestra. His last season at Glimmerglass was in 2006, and his final year at New York City Opera was 2007. Paul Kellogg was a beloved and visionary leader in the arts. His extraordinary artistic sensibility, his warmth and charm and his commitment to humanistic values made him an inspiration to all with whom he came in contact. He will be sorely missed by his friends, colleagues and the whole opera community. “I knew Paul as a family friend before I started working at the opera when I was 18 years old. Then he became “the boss”. I needed a boss. I was a defiant, non-conforming teenager. Paul didn’t directly supervise me. He was the guy that made speeches on opening night. The one who would smile and wave from across the lawn behind the theater. He would yell something like, “Great job!” but that couldn’t have been based on anything I did… But eventually, just like Paul turning this company into something that was world class, the company turned me into a professional. It gave me a purpose and a place to fit in. I am only one of hundreds (maybe thousands?) that have had that sort of experience here at Glimmerglass. Where would we all be if Paul (with the help of many – he would add) hadn’t created this wonderful, collaborative, accepting, beautiful theater for us to live in? I am forever grateful that I had the opportunity to give back to Paul over the last couple years of his life. But it can’t stop there. We will continue to offer a space for young professionals to learn and understand the meaningfulness of collaborative art. We will continue to make him proud.” — Abby Rodd, Director of Production



The Glimmerglass Festival warmly remembers Amanda May, our original Costume Shop Foreman and Production Manager, who passed away in August following a long illness. Amanda was one of the company’s “architects,” a group of community members whose talents, enthusiasm and gifts of time and energy helped build the original “Glimmerglass Opera Theater, Inc.” and set the standards—and the stage—for all that followed. Amanda became involved with the company in its early years, when performances were held in the Cooperstown High School, and she was part of the core team which, often by way of experimentation, figured out how to create, fund and physically produce a worldclass summer festival in rural central New York. Having been a theater major in college, Amanda brought knowledge and invention to the fledgling Festival. Living in nearby Fly Creek with her children and husband, John, a doctor at Bassett Hospital, Amanda turned a large barn on the family’s property into the Festival’s first costume shop, overseeing a team of skilled volunteer seamstresses who worked exceptionally long days. Singers loved going to the barn for fittings; passing cars often pulled over, enticed by the site of period ball gowns on dress forms and assuming there was a yard sale. As the company grew, Paul Kellogg asked Amanda to become the Festival’s first Production Manager, overseeing all aspects of costuming, lighting, props, set construction and the seasonal hiring of interns and production crews. Her dedication to the company was wide-reaching; she even helped fix-up and paint the first summer residence for production staff. As Glimmerglass grew in scope and stature, she helped the company move from the high school into the opera house when it opened in 1987, often balancing her fourth child on her hip as she navigated the new facility that first year, and continued her role through 1989. We are forever grateful to Amanda May for her professional involvement and many contributions that made it possible for the company to become one of the world’s most renowned summer festivals.


— Joan Desens

IN MEMORIAM: TERESA A. MILLER Our dear friend and longtime supporter, Teresa A . Miller, J.D., passed away August 6, 2021. She served as Senior Vice Chancellor for Strategic Initiatives and Chief Diversity Officer for SUNY and was the driving force behind our performances and programs that Glimmerglass performed at the Attica Correctional Facility. In 2014, when Glimmerglass presented An American Tragedy, an opera examining a historic murder in the Adirondacks, Teri was part of a panel of lawyers and judges that spoke about class, crime, and punishment in America. At that time, she told me about a documentary she had recently filmed about families and inmates at Attica Correctional Facility. The film made the point that when someone is incarcerated, their family and entire community are also incarcerated.

Teresa A . Miller moderates a discussion with Ta-Nehisi Coates at The Glimmerglass Festival in 2019.

I found the film extremely moving and compelling, and I began to wonder what it would be like to bring opera to a maximum-security prison. I asked Teri if she thought it would be possible. She loved the idea and so she, Abby Rodd, our Director of Production, and I set off to meet with the warden at Attica. It was a fruitful meeting, but only the beginning. Before we finally obtained permission, there were many more hurdles, including going all the way up to the New York State Attorney General for approval. Finally, with Teri’s help, we were cleared to begin our Attica Initiative. We brought an opera to the facility annually until the pandemic struck. It was Teri's persistence that made it possible to cut through the red tape, to understand all the intricacies of prison life, and to bring us together with inmates who cared deeply and passionately about music and theater. That number grew exponentially every year, and we ended up forming an inmate chorus. All of this began from the seed of Teri's involvement. Meanwhile, she helped our Festival in other ways. She served as moderator on several panels and appeared in conversation with both Ta-Nehisi Coates and Sister Helen Prejean. More recently she worked with staff and board as we articulated a comprehensive strategy for Equity, Diversity, and Inclusion. We miss her deeply.

— Francesca Zambello


GIFTS TO GLIMMERGLASS The Glimmerglass experience is made possible through the generosity of donors who share our commitment to the development of emerging talent, imaginative productions, and stimulating cultural and educational programs. We take this opportunity to thank and recognize those individuals who have made gifts of $100 or more to The Glimmerglass Festival during our 2021 fiscal year (October 1, 2020-September 30, 2021). We regret space does not enable us to include contributions less than $100, but we are equally grateful to the many individuals who gave at that level and whose donations have also had an important impact. To learn more about privileges and benefits associated with giving to Glimmerglass—as well as designated opportunities, such as sponsoring a production, a principal singer, an apprentices, a second stage program, an education project or a Young Artist—please call The Glimmerglass Festival Development Department at (607) 547-0700, ext. 238 or ext. 212.

CAMERATA Leadership Circle

Festival Circle


($25,000 - $49,999)

Betsy and Ed Cohen Chris and Bruce Crawford Estate of Marie J. Eger Elizabeth M. and Jean-Marie R. Eveillard Faith E. Gay and Francesca Zambello Nellie and Robert Gipson Jacqueline B. Mars Andrew J. Martin-Weber

Chairman’s Circle ($100,000 – $149,999)

Van Broughton Ramsey and Robert Nelson Wendy Curtis Robert L . Turner Ann Ziff

President’s Circle ($50,000 – $99,999)

Anonymous (2) Patricia Kavanagh and James Grant Thomas Simpson Ted Snowdon and Duffy Violante Denise Littlefield Sobel Eugene and Jean Stark Mr. and Mrs. Edward L . Turner III Michael Young and Debra Raskin

Dianne Balfour and Carl Adkins Patricia and John Chadwick The Guild of the Glimmerglass Festival Lindemann Charitable Foundation II Inc. Tom Morgan and Erna Morgan McReynolds Thomas C. Ragan Michael Sekus and Bianca Russo Martin and Dagni Senzel Grant and Jacqui Smith Howard and Sarah D. Solomon Foundation

Trustee’s Circle ($10,000 - $24,999)

Anonymous (3) Eugenia and David Ames John Conklin Estate of John Dunning Robert Ellis Joel and Naomi Freedman Allen R. and Judy Brick Freedman Sherwin M. Goldman Gemma Hall Allison and W. Keyes Hill-Edgar John and Dolores Hunter Richard Kane and Gretchen McBeath Elizabeth Lemieux Gregory Long and Scott Newman

Ellen F. Marcus Constance and H. Roemer McPhee Melanie and David Niemiec Alicia and Peter Pond Pamela Reis Rona C. and Arthur E. Rosenbaum Hughson & Benson Assoc. The Savada-Stevenson Family Robert and Karen Schlather Patsy Smith The Esther W. Spaulding Charitable Trust Elizabeth Thorpe Kara Unterberg Sukey Wagner Dolores and Clifton Wharton Bill and Theda White Drs. Hannelore Wilfert and Karl Moschner

NATIONAL COUNCIL National Council Platinum ($7,500 - $9,999)

Mr. and Mrs. David E. Farquhar Lou Allstadt and Melinda Hardin Laurel McKee Beth Sapery and Rosita Sarnoff

National Council Gold ($5,000 - $7,499)

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Anonymous (2) Elizabeth August and Thomas Mafrici James E. Ballowe Jr. Constance Beaty Charitable Trust, a Donor Advised Fund of Renaissance Charitable Foundation Jacqueline Bradley Sandra L . Brown Georg O. Budenbender and Dr. Katherine Elwyn Christine E. Bulson National Constitution Center Bill Crankshaw and Wally Hart Jeffrey P. Cunard and Mariko Ikehara Joan Desens and Simon Carr-Ellison Drs. Jane A . Feisthamel and Mary Margaret Snyder Laurie Frenzel Abby Kreh Gibson Robert and Patricia Hanft

Fred P. Hochberg and Tom Healy, The Heyday Foundation Mr. and Mrs. Gates Helms Hawn Frank Holozubiec and Giovanni Favretti Mr. and Mrs. James R. Houghton Mary K. Humfeld and Sonia Manganaro A . Kelley Michael Masterson and Johnson Henshaw David and Millie McCoy Sage Mehta and Michael Robinson Katrina F.C. Cary and Linn Cary Mehta Mary Moran Barbara H. Mulhern Nancy and Chip Northrup Alan and Pamela Patunoff Hon. Susan Phillips Read Dr. Brent Ridge and Josh Kilmer Purcell Mike and Marie Rourke James E. Smaltz and Gordon F. Ruckdeschel Mr. and Mrs. Edward W. Stack Gerald and Grace Sun Lady Juliet and Dr. Christopher Tadgell Deborah and Michael Troner MD Emma Vaughn and Ravi Agrawal Caleb Wertenbaker Judith Whalen and Paul Goldsmith

National Council Silver ($2,500 - $4,999)

Anonymous (2) Joseph A . Abraham Kathryn Allen Gabrielle Adler Allen and Jonathan Adler Eleanor B. Alter and Dr. Allan M. Lans Ann Beha, Ann Beha Architects John Beurket and Georgia Kustas Barbara Blaszak Felicia H. Blum Elizabeth Borden Vince Castellano Susan Esco Chandler and Alfred D. Chandler David Decima and Evangeline Shih Carol and Rick Detweiler Carla Hall Howard Gatiss Mary E. Harrigan and Andrew P. Tothy Mona Harris Wylie and Christina Hembree Charles and Patricia Ingraham Paul and Karen Isaac Ellen Jabbur Padma Kaimal and Andrew Rotter Larry and Jackie Kamin Mr. and Mrs. Stephen C. Kaye Lee Kern

Clayton C. Kirking and Edward J. Sullivan Gail and Ed Kitch Rabbi Sharon Kleinbaum and Randi Weingarten Arthur Kuckes and Martha Wright Connie and Alan Leist Harry and Ellen Levine Dwight and Helene Linder Dr. Katharine Lloyd Debra and Charles McCambridge Joel Robert Melamed MD Karen Metcalf William B. Meyer James E. Miller and Fynnette Eaton Paul and Gina Miller Evalyn and Stephen Milman Bob and Ami Montstream Kathleen Mulhern Johnson and Bruce Ray Johnson Ken Nathanson and Joseph McDonald Lynn Nathanson and Ted Rozsa Ray Nimrod and Marika Lindholm Carl R. Nold and Vicky L . Kruckeberg Janet and David Offensend Tod Ottman and Kathleen Pakenham Jerry and Marisabel Raymond Paul R. Reid and Thomas Hartnett Betty N. Robinson Elaine Roth and Harvey Coustan Georgeanne and Jean Rousseau Dr. and Mrs. Thomas P. Sculco Cecilia Sercan Richard and Pam Siegel Claudia Slacik and Susan Davis Lona A . Smith Annaliese Soros Peter and Judith Stanton Patricia Boyle Sternberg James Stewart and Benjamin Weil Sally Susman and Robin Canter Richard Tarrant Susan C. Thompson Jay and Harriet Vawter, Lawson Valentine Foundation Dr. and Mrs. Gilbert T. Vincent Alan and Linda Vincent Margo and Anthony Viscusi Sara E. Widzer & Family and the The Seniel Ostrow Foundation Helen Wiley and Marian Payson Ellen Wood and Michael Durkee

National Council Bronze ($1,000 - $2,499)

Anonymous (7) Katie Adams Schaeffer Susanne and Chris Adamski Carolyn Anderson and Barbara C. Brenner Thomas W. Anderson and Rosalie Tyner Woody and Cynthia Andrews John T. Andrews Jr. and Elizabeth K. Lambert Norma J. Arnold Helen-Jean Arthur Jack and Marion Auspitz Kile Baker and Robert Smith Dennis N. Banks Hollis and Jamie Barickman John Barnhill Jane Bartrum Susan Sayre Batton and Maja Thomas Carol Beechy and Kathryn Boardman Paula Belknap Reynolds Ellen Berelson and Larry Franks Thomas and Christine D. Berk William Bissell Shaun and Andy Block Drs. Ellen Blum and Kenneth Novak Max and Ellen Brantley John Brewer Douglas and Beatrice Broadwater

George and Nancy Brodie Harold and Joyce Buckingham Kayellen Button and Bruce Loveys Jim and Terry Byrnes The Reverend Allen D. Carpenter Susan Stetson Clarke Michael Cleveland and Kathy Leach Donald Clinton and Karen Wilkin The Cochran/Baker Family Linda Cohen and Sarah Cohen Mr. and Mrs. Thomas Colbert J. Patrick Cooney and Karl Buchberg Chloe and Rod Correll James S. Covey and James P. Zabawa The Crawford Foundation Donald Crawshaw John and Julia Curtis Deb and Jim Dalton Linda Daly and Kelley Cornish Anna and Paul D'Ambrosio Drs. James C. and Caroline W. Dawson Micaela and Georges De Lignerolles Vincent and Mary Kay DeVita Gaylord and Nicole Dillingham John Dobkin Carol E. and David A . Domina Arnold and Adena Drogen Cecily Eidelhoch Charles Eil and Adele Geffen Eil Thomas R. Engel Dr. Giuseppe Erba and Mark Pierzynski Kathy Faber Joan and Peter Faber Frank Farmer and Frank Kolbert Joel and Barbara Finkelstein Firestone Family Foundation Inc. Jack and Marsha Firestone Steven and Lucia Fischer Mary Flower Jason and Samantha Frank Starr Ellen Freeman Richard Friedberg and Elisabeth Searles Mary Lou, Suzan and Rebecca Friedlander Richard Gaddes Elizabeth Garry and Elizabeth Cahill James M. Gaughan and Keith C. Lee Charles and Adelia Geiger Carol A . Gillespie Mr. and Mrs. Steven D. Glazer Joseph F. Godfrey and Keith Halstead Drs. Deborah and Michael Goldberg Margot Golding Alan Goodman and Kathleen Mazzetti Suzanne Gouvernet, Gouvernet Arts Fund at Rochester Area Community Foundation Diane M. Graf Amy J. Greer and Mark J. Murphy Jane Gullong James Hammond and Edith Van Slyck Michael Hampton and Carlos Sandoval Ellen and Scott Hand Nancy Fish Hanna Dr. Anne Harrison Ron and Rececca Harris-Warrick Elizabeth Harvey Frederic Harwood and Nedda Di Montezemolo Kimberly Hastie and Timothy Welch Christopher R. Hatt Nancy and Jim Hays Michael Heaston Jean and Norbert Herzog Carl Hill Anne and Leon Hoffman Bernard and Marilyn Horowitz D. Roger Howlett Beth Humes Susan Huxtable and Joseph Novitski Linda Irenegreene and Martin Kesselman MD Caroline J. Jackson Jean Jagendorf

Regina Janes and Charles Woolley Mike and Connie Jastremski Barbara Jenkins Helen I. Jessup Celeste Johns and Chris Kjolhede Richard D. Johnson Emily Johnson and Vijay Ramachandran James M. Jordan Kim and Kathleen Juhase Evelyn Kalenscher Jenny Kallick and Robert Bezucha Hon. and Mrs. M. Langhorne Keith Patricia A . Kelly Kate Kemker and Kaaren Fox Robert Kent Stephen and Mary Sue Kitchen Joanne Kornoelje Waldron Kraemer and Joan Lovell Lisa Kressbach David Lakari Richard Lawrence and Laura A . Leach Brent and Mary Leonard Bruce and Diane Lercher Rosanne and Marty Leshner Charles M. Liddle III & Nancy H. Liddle Fund of The Community Foundation for the Greater Capital Region Thomas and Alison Lord Jean-Michel Loubeau Rona Lucas Carri Lyon Bob MacLeod and Steve Byckiewicz Robert and Doris Fischer Malesardi Jack Malick Peter Manson and Peter Durfee Kenneth Mason Lillian D. Matt Sandy and Suzanne Mayer James McCarthy and Joan Pirics Judith and Scott McCue Margaret E. McGown Ned McGuire Karen McLaughlin and Mark Schubin Mary Patterson McPherson David and Anne Menotti Irene Miller, Miller Khoshkish Foundation Deborah Mintz Nancy Montgomery Rachel Moore and Harry Dodson William C. and Susan F. Morris Ann and Don Morrison Patrick and Margaret Moylan John Muenter Katharine Muir and Kenneth Witty Dr. and Mrs. Stanley Muravchick Alan and Linda Nelson Janet Nelson Padraic G. Neville Dinah Nissen and Elizabeth Apelles Wendy and Bill Nolan Jeannie and Peter Norris M. Anne O'Connell William Oliver and Michael Willis Opera Guild of Rochester Christopher Owen Bill Packard and Charles Ihlenfeld Stephanie and Jim Patrick Bill and Norah Pattison Bruce Payne and Jack Thomas Timothy and Barbara Pedley Alexander Purves Albert Pylinski and Frank Ferrante Susan and Kanti Rai Sydney C. Ramey Dr. Helen H. Reed Caryn and Jamie Reeves Marsha and Neil Remland Mrs. J. Mason Reynolds Lisa, Tracy and Karin Roberts Kathleen Roberts and Howard Clyman

59 59

Carl and Anne Rosenberg David and Nancy Rosenblum Dolores J. Rothwell Kelley Rourke David M. Rubin and Christina Press David and Melanie Samuels John Sare and Benjamin Krevolin Carol S. Scheele Dr. Donald Schwab and Dr. José Sotolongo Albert H. Shaheen Memorial Fund at The Community Foundation of Herkimer & Oneida Counties Dr. Ted Shlechter and Rae Shepherd-Shlechter Cindy Shmerler and Ford Levy Arthur and Charlotte Shull Mark Silverschotz and Anne Segal Maria J. Snyder Irrevocable Trust Ruth A . Solie Stephen and Monica Spaulding Valerie Steele and John S. Major Richard J. MD, Marisa and Jenna Sternberg Campbell Steward Edward A . and Claire G. Stiepleman Judith Stoikov and Richard Miller Debra Stone and David Glaser Dr. and Mrs. William Streck Mark Stuart-Smith and Andrew Jorgensen Thomas Talbot Eduardo Tamraz Ann B. Teixeira Gregory Toczko Dr. F. Todd and Laura Wetzel Tom Tompkins and Jill Rowley Tompkins Richard Tourangeau and Marilyn Miller Charles F. Tremper James Tucker and Neil Lucchese The Tuthill Family Foundation Timothy Van Dam and Ronald Wagner Gary and Marie Van Graafeiland Rose Wadsworth Sydney Lancaster Waller Caroline A . Wamsler PhD and DeWayne N. Phillips Alan Wanzenberg Suzanne J. Ward Marian M. Warden Didi and Alan Weinblatt Dorothy Wexler William E. and Phyllis C. Whitesell Lois Widdemer Hilda and Samuel Wilcox Tony Wildman Wittels Family Jean and Chip Wood Ken and Dorothy Woodcock Mr. and Mrs. Fred Wright Mary N. Young Deborah and Michael Zahn Cheryl and Doug Zamelis Howard Zar and Ray Kurdziel

PATRON Guarantor ($500 - $999)


Anonymous (7) Michael Abate David A . Ackerman Barry B. Adams Thomas and Yoko Arthur Richard A Backer Neil and Carolyn Baum David and Carol Beckwith Larry Bell Suzanne S. Bell Elizabeth and William Bernhardt Bob and Marcy Birch Nancy and John Carver Joyce Castle Charles Cesaretti Virginia J.T. Chaplin

Mary Chruscicki and Patricia Baskinger Joanne and Roger Clapp Ann and Thomas Connolly Mihaela Cosma Roberto Cremonini Judith Curry Mike and Shari Dailey Carole and Pasquale DeVito Judith and George W. Diehl Paula DiPerna Marci Douglas and Lawrence Pollack Joanne and Jerry Dreher Mr. and Mrs. Richard Dunn Ann Eldridge and Robert Neer Virginia and Richard Emmert Elizabeth Etoll James F. Evans III and Mary Selden Evans John A . Faust Gordon and Sarah Faux Frederick Fladd Marcella Flanagan P. Jay Fleisher and Judith A . Pachter Dan Foster James Garrels and Joan Brooks Lucretia Garrigan and William Kirby-Smith Catherine Gevers Barbara P. Gigliotti Nancy and Frederic Golden Suzy Gooch Roe Goodman Peter and Merilyn Gould J. Grady Heard Karen Greenfield Mary Ellen and Michael Guerra Sam and Marti Hagan Michael Halloran Dr. and Mrs. William Harmand Stephen Harvey and Perry Sayles Margaret M. Healy Jim and Betta Hedlund Lisa Heilman- Cozzalio Christina M. Hickey Walter B.D. Hickey Jr. Nancy Hitchner Joyce Homan Mr. and Mrs. Henry W. Howell Margaret Huff Michael Hunt and Laura Lockhart Craig and Susan Hupper Janice C. Impey Michael Jakubowski Penny Howell Jolly and Jay Rogoff Shoshana Keller and Deborah Reichler Teresa A . Kennedy Arthur J. Kerr Jr. Rose-Marie Klipstein Nancy Kollisch Ken and Susan Kramer Mary Margaret Kuhn Gloria Kulhawy Alison Lankenau Drs. John and Judith LaRosa Eric and Susi Larsen Alfred and Glenda Law John Leon Arthur S. Leonard Nena Donovan Levine Andrew and Anya Littauer Sharon Loving Frank and Sidney Maas Barbara McCullough Camilla and Hugh McFadden John and Susanna Membrino Linda Metzger Daniel M. Meyers Catherine S. Michaelson Frank and Ellen Michelman Kathleen Moore and Judith Henningson John and Annmarie Nastasi Thomas C. Nye Dr. and Mrs. Thomas M. Older

Elizabeth O'Neil John S. and Clara M. O'Shea Charles "Jud" Pannaci Paul and Sarah Patterson Richard Peevey Fred and Shari Ploutz Janet L . Potter Michael Presser A . Putnam Catherine and Donald Raddatz John Rankin Elizabeth and Dennis Regan Uwe and Inge Reichenbach Elsie and Thom Rhodes Nancy K. Rice Ken and Susi Ritzenberg Sharon Roy Eileen C. Sadasiv Patricia Sanborn Renee and Bill Saperstein Marilyn and Josef Schmee Raymond Schneider Robert and Katherine Schneider Kathleen M. Scott Lisa Sherman and Julie Lichtstein Robert L . Siebel Cathy and Dick Soderquist Susan Sterner Stokey Sisters Susan Sporer and Mary Cameli Mr. and Mrs. Richard Stradling Alexandra Subbarao David and Karin Svahn David Tatham and Cleota Reed Philip and Barbara Taurisano Bob Timpson Jack Triplett Larry and Donna Uffelman Patrick and Candice Van Roey Heidi Waleson and Andrew Manshel Aen Webster Anita Weissberg Ellen Weissman Neil Westreich Perry and Sophia Wong Marie and John Woodward Nassrin Zahedi Steven Zerby and Joanne Tobey

Contributor ($100 - $499)

Anonymous (20) Britt, Scott, Will & Natasha Abel Steven J. Ackerman Martha Ackmann and Ann Romberger Terry D. Adkins Jim Aiello and Pam Johnson Robert Ainsley Jose and Mechthild Alarcon Ben Aldridge and Robin Seletsky Joseph Anderer and Virginia Benz Arthur Anderson and Joseph Rochetto Robert C. Anderson Susan K. Appel Grace and Jim Arbury Kathryn Armao John and Anne Armezzani Jean W. Arnold Edward J. and Laura G. Asher Mary Anne Assini Richard and Nancy Asthalter Ellen B. Avril Roger and Whitney Bagnall Vera S. Baker Rabbi Henry and Sheila Bamberger Hank and Anne Bankhead Ann-Marie Barker-Schwartz Jennie Barlow Linda and Michael Barnas Dr. David Barnert and Julie Raskin Edvige Barrie and James Frederick Frank W. Barrie

Kent and June Barwick Ross Basch Thomas and Muriel Beattie Rosemary Beavers Rick and Helaine Beckerman Jim and Joanne Beckman Suzanne Beddoe Nan Beer Susan and Dorrance Belin Howard E. and Mary F. Bell Bob and Martha Berardino Robin and Alice Berkeley Michael Berman Olivier Bernier Rebecca Bien and David S. Poll, MD Linda and Maurice Binkow Orna Bird Ellen Glass Birger, MD Dr. and Mrs. Edward F. Bischof Mary Sue and Maurice Bizzarri Richard and Anne Blabey Carol Blades and John Softness Elise Blair Ellen Blais David and Cathy Blankenship Sidney and Susan Blatt Robert D. Bond John Booth and Ruth Bonn Jane Bovard Bob and Sue Bowker Amy Branch Sherry T. Bremer Beverly Bright Carmelita Britton and Richard Probest Sally Brody Mr. and Mrs. Allan Brooks Catherine W. Brown George C. Brown and Michael Vasas Kent Brown and Nat Thomas Richard D. and Irene Q. Brown Inge Brown Sandra Bruggemann Mary Duncan Brust Greg Buch Keith A . Bundy Tom and Michele Burger Sharon Burke and Alfred Kelly James Burlitch Paul Bursic Lisa and Sara Busch Sally Bush Karina Calabro Andrea Calarco Susan and Oliver Cameron Peter Campisano Keitha Capouya Paul C. Carlson Richard and Lorraine Carlson Rear Adm. and Mrs. William C. Carlson Scott Carlton Milda Carroll Cindy Carter Helen M. Casey Susan and David Cathers Anna and Corey Catton Fiona Chew Kevin Childress Hope Childs Susan Childs Edwin Chinery George and Laurel Christie Christopher L . Cimijotti Robert and Jane Claus Lucinda Clayton Amy Cochrane Katie Koch Code Neil Cohen and Paul Wolfson Rosemary Cook Ellen Corcoran Joanne Corey

Marilyn R. Costa Lisa Cox and Mary Zwirner Marilyn S. Cranin Janice King Crawford Maureen Crough Mike and Kathy Crowe Thomas and Victoria Crowell Joella Cruz Fr. Mark Cunningham Tad Czyzewski Philip Dagort Judith and Joseph Darweesh Kristin Davidson James and Diana Davies Cheryl Davis and Samuel Gidding Thomas and Jerre Dawson Raymond and Trish Dayan Mr. and Mrs. Johannes de Waal Barbara Decker Richard and Barbara Decker Murray Decock Emilie and Brian Deery Gabriel and Camille Del Vecchio A . Elizabeth Delalla Barbara D. Deller Michelle Demko Kevin and Molly Devaney Jeanne and John Dewey Dan Dickinson Dr. Arthur DiNapoli and Allyne Frankel Carole W. Di Nonno Andrew Dolkart Dr. Mark and Celia Domser Christine Donnolo and Gene Schimelfenig Christian Dorbandt Elaine Downing Dr. and Mrs. Jeff Doyle David Drinkwater and Jonathan Mills Joy A . Dryer PhD Karen Dunlap David and Sandra Durfee Dr. Laure Duval Kenneth East and Timothy Thurlow Margaret Eaton Daniel Egan and Kate Glasner Everett and Wynn Egginton David H. and Linda J. Ehlers Susan and Ron Elinoff David J. Ellis and E. Ira McCrudden Rita Emanuel and John Anagnost Jake and Laura Endres Janet England Donna Epstein Diana and Emory Fanning Martha Farnsworth Ann Davison Farra Jean Fuller Farrington Ms. Fasulo Ann Feder and Paul Pomerantz James and Shizuka Feeney Stephen Feiman Michael and Beverly Feinman Arthur and Torres Felio Mr. Donald M. Fenner Michele L . Finin Joyce Fiore Martha and Robert Fisher Ellen F. Fitzgerald Tara Fitzpatrick and David Myers Sidney Fleisher and Gayle Anderson James Fleming and Dr. Lawrence T. Waite David S. Flugman and Eugene Shevertalov Stephen Ford and Patricia Pahucki Chantel Foretich Dr. and Mrs. Walter Franck Ruth Freeman M. E. Freeman Laura Freer Martha Frey Patricia E. Freyberger

Bernard J. Fried John W. Fried Katherine Friedman Terry Fulmer Susan K. Galbraith Lea Garcia Catherine Geanuracos David Misch and Amy Gelfand Michael and Diana Gelfand Eugene Gerace David and Anne Gergen Nick Gerhardt Susan and David Gerstein Ronald Geuther Cynthia J Gibson Mary Anne Gill Sharon Gillette James Ginsburg and Patrice Michaels Sarah Glaser Jeffrey Glen and Rosina Abramson Deborah J. Glick and Leslie Sharpe Susan Mattick- Gold Betty and Joshua Goldberg David and Janice Golden Daniel Goldhagen and Gordon Miller Judith Goldiner and Lemuel Srolovic David Goldston Dr. David and Mrs. Naomi Goltzman William Goodenough Karen J. Goodman Donna Goodwin Drs. David and Felice Gordis Sam and Judie Gorovitz Dr. Shimshon Gottesfeld and Marcia Zalbowitz Carol Gourley Lee Ann Grace Kara Grady Pati and Kevin Grady Cristina Grajales and Isabelle Kirshner Dr. Jane E. Grastorf Jane Graves Ms. Winifred Gray John Green Darrell and Gerald Greene Anne Gregor Elizabeth and James Greno Christine and Bernard Grossman Peter Grossman and Lawrence Timmins Charitable Fund at Our Fund Paul Grzella Jim Guidera and Ed Parran Gregory Gustafson Corinne and Jeffrey Hahn Peggy Haine Henrietta Paige Hakes Nicole Alfandre Halbreiner Mary Rappazzo Hall Joan Ham Wendy and Dudley Hamlin Kenneth Hampson James Hanbury and Anne Mills Mary R. Hardin Angela Harris and Dick Friedrich Betsy A . Harris Leif and Claudia Hartmark Joan Harvey and Michael Lotze Katie and David Haviland Bob Hayes George and Cheryl Held Marnie Henneman Fort Herkimer Church Thomas and Sharon Hewner Mary Ellen Hibey Jennifer Higdon and Cheryl Lawson Bente Hirsch Mary E. Hocken Kathleen Hodges Heidi Holder and Eugene Hill Frieda Holober Paul and Adrienne Horger


Michiel Horn and Cornelia Schuh Paul Horowitz and Ruth Jaffe Jim and Cathy Howarth Gary and Ackli Howell Holly Hren Dr. John B. Hudson Wendy Hunt Pamela and Jefferson Hunter John Ianacone and Cynthia D'Ambrosio Tommy and Marian Ibrahim Courtney Iglehart Christine Ims Katharine E. Jackson Mary Jacobus Carol Johnston Judith Johnston Leslie Joseph Kalfel Dr. and Mrs. George Kafka Michael and Lynn Kahan James Kainen John and Carolyn Kaiser Peter and Anafu Kaiser Stephen and Pamela Kalista L . Frederick Kaplan David E. and Constance Kaplan Nancy Karapin Jules Kaufman Ms. Ann Kebabian Michael and Linda Kehoe Nancie R. Kennedy Selma Kenter Guy Kern-Martin Mr. and Mrs. Stephen Keyser Margaret Kielian and Ed Bullock Laura Kilty and Bruce Kramer Urling and Hugh Kingery Virginia Lee Kintz Susan Kohan and Vincent Amoia Paul and Inez Kohn Ron and Melissa Komora M. Suzette Kopecek Michael and Michele Kopinski Kristin Kovner Betty Kranzdorf William and Priscilla Kremer Carolyn and Harold Krouse Charlie Kruzansky Lars and Marit Kulleseid Thomas Kurosky Antoinette and Adrian Kuzminski Diane Labelle and Norman Girardot Seth Lachterman Fred and Nanett Laffan John E. LaGraff Robert S. Lalli Sheryl Lambert Virginia A . Lambert Susan and Tom Landon Joann Langrock Ronald Languedoc Ms. Grace Larkin Kathryn Larsen Mosie Lasagna Lyn Lauffer Gordon Law and Pam Baxter John Lawson Stephen Leahy Joanne and Carl Leaman Rheanolte and Annie Marie LeBarbour The LeCours Family Anne and Wynn Lee Kathleen Lee Sue Leffler Deirdre Leland Mr. and Mrs. E. Deane Leonard Lynn Bradley Leopold Donna LePan Bonnie and Joel Lester Ellen Leventhal Judith Levin


Hon. Howard A . Levine David Levinson and Kathy Kirn David Levy and Ellen Levy Mark Lewis and Dennis Winslow Sarah Lewis Alice Jo and Marshall Lichtman Mr. and Mrs. Maury Lieberman Ann and William Lieff Dan and Harriet Lindblom Maurine Linder & Glenn Fletcher R. Bruce Lindsay III John and Linda Lippitt Janet Little Joan Locke Judith Lockwood Nadine Lomakin Anne Lombard Linda and Arthur Loomis Mitchell Lowenthal Coy Ludwig Bruce and Susan Lueck Rose-Ellen Luther Nuala MacCabe Ann M. MacDougall Catherine McEnroe John P. MacKenzie Michael and Judy Mael Amanda Savage Mahoney Richard Malnati Gerry Malone William Malone Dennis Mancl Dr. and Mrs. Currie Marr Paul J. Martin Pamela Massey and Diana Gould William D. Mattern Paula Matteson David Matthews Alice Mattice Fred and Leta Jo Maue Anne and Walter Mayo Michael F. Mazzei Carolyn McBride William and Ellen McCahill Anne and Joe McCann Bill McCann Kenneth and Donyce McCluskey Martha R. McDowell Carol Ann McKeen and John Dunton Mr. McLean Elizabeth and David McMillan Jonathan Mead and Naomi Guttman Marcia Membrino Kathy Merrick Sue Ellen Merry Mr. and Mrs. Robert C. Mesaros Bill and Jan Miles Elly Miles Lew and Linda Millenbach Ernest Miller Al and Sally Molnar Deborah S. Montgomery and Andrew Cove Thomas J. Moody Gregory Moomjy Thomas J. Moorehead David and Betsy Morgan Gayle Morgan Cynthia and Albert: The Morris-Meltons Beth Morrow Linda Morse and Dorothea Greene Kenneth Mortensen Jr. Quinn Moss Heidi J. Muir and Marc Laymon Paul Muldoon and Jean Hanff Korelitz Timothy Mulhern and Susan Mulhern Jennifer Payne and Michael Mulhern Regina M. Mullen Stephen and Mary Muller Otto Muller- Girard Donald and Miki Murray

Steve Nation and Barbara Valocore Pamela J. Nelson Julie Newell Stephen Nissenbaum and Dona Brown Zoë Nousiainen Andrew Nuquist Paul Oakley Dan O'Connor and Sharon Fraser Mr. Thomas O'Connor Kristen Oehlrich and Tim Korytko Michael and Deborah O'Hara Dr. and Mrs. Paul Ohlbaum Mimi Okino C and R Olsen Winifred Olsen Kaitlin Olson Lynne Osborn Jenny Overeynder Carol Ann Pacco-Long Amy Panitz John Pantazis Helen Paratore Tom Parrish Frank and Joyce Paxton Philip Pearle Ronald and Pamela Pearson John and Carolyn Peck Daniel Pelletier Allen Perriello Michael and Miriam Perriello Wende Persons Carl G. Pesko and Thomas Krahe Margaret Peterson Dale and Lorna Peterson Susan Petrivelli Chris and Carol Pfister Hugh and Norma Phelps Hudi Podolsky Kathryn Polansky Frederic and Catherine Pollard Judith and Arnold Poltenson Jeanne and Richard Porter Joel Potash and Sandra Hurd Margaret Smedes Poyner Frederick and Eleanor Pratt Matthew Price and Veerle Daenen Michael and Pauline Putney Gary Quirk and Charlotte Haas P. Gibson Ralph Emily Rancier Sheila Rao Susan Rasmussen William and Divon Rathgeber Jane M. Rawoof Sandra Ray Brian F. Reagan Mary Lou Reed Karen Reid Wallis and Cornelia Reid Peter and Susan Restler Judith Retensky Ellen Reynolds Angie Richards Karen Richards Barry Richmond Jean Ricketts Harriet Ritvo William Rogers and Katherine Moss Richard and Deborah Rogler Bertha E. Romanow The Rose and Thistle Bed & Breakfast Raquel Rosen Susan E. Rosengrant and Nancy J. Ryan Ian and Sarah Rosenstein Stephen Rosow and Ellen Goldner Bruce S. Ross and Eileen Gallo-Ross Heinz and Robin Roth Lawrence and Sharon Rothman Mary Royer and Nelson Burdick Carl A . Rubino

Michael Ruppert Dr. G. Jeremiah and Gail C. Ryan Wolfgang Sachse Rick Salomon Carol Sambora Rosemary Samentello Patricia Sanders Janet Sarbaugh Donna Sawyer Joanne M. Sawyer Michael Schaper Robert and Constance Scharf Walter Schiff Anita Schmidt-Kyanka Lester and Laurie Schmitt Jean Schroeder Mr. and Mrs. Jon L . Schumacher Patricia Schwartz Robert and Gail Schwartz Michael and Mary Scollins Dr. Mariellen Scott Susan Clare Scott Dr. Susan Scrimshaw and Allan Stern John and Debra Sculley Paul J. Seidman Elizabeth Semple Sarah Senk Judy and Ken Seslowe Senator and Mrs. James L . Seward Dr. and Mrs. Edward Shafer Dan Shaheen Gloria A . Shaheen Phyllis and Donald Sharp Peter W. Shea and Dr. Suzan Smith Conrad L . Sheck June Sheehan Michael and Vivien Shelanski Richard and Terry Shenton Patricia C. Sheridan Jonathan Sherman Cynthia and Robert Shilkret Deb Shippee James W. Shults Mary Simonson and Jeff Bary Jane Singer The Rt. Rev. and Mrs. Mark Sisk Carla H. Skodinski and Michael M. Fieldman Thomas Slavinsky Andrea Small Beverly Smith Julie Marie and Daniel P. Smith

Mary Ann Smith William Smith Dr. Margaret Snowden George M. and Jacquelyn Snyder Joe Sobota Revolution Solar Martin and Gretchen Sorin Caroline Southworth Marianna T. Spain The Spates Bormolini Family Martha Lee Spaulding Sally Sporer Amy and Walter Srebnick Kenneth L . Stahl and Shirley Ripullone Cynthia and David Staley Nell Stanton Nancy Stauffer and Jeffrey Hughes Corinne B. Steensma Christine Stegel Ronald and Marion Stein Gary and Swati Stephens David Steward and M. Pierre Friedrichs Austin J. Stewart Dr. Bruce and Judy Stewart Rita R. Stewart Susan Y. Stewart Kathy and Larry Stoler Barbara Ann Stolz Leslie Strauss Jeannie and Jeffrey Straussman Eleanor Stromberg Stinson Stroup Harvey and Mary Struthers Adrea and Stuart Berger Caroline Stuto Woody and Gregg Swain Michael and Bryna Sweedler Melite and David Sweet Francis Swiacki Terry Tamer Yusuf Tatli Robert L . Teweles and Karen J. Dandurand Dan and Michlyne Thal Stephen Thomas and Paula Baker Tazewell Thompson Jürgen Thym and Peggy Dettwiler Jonathan Tolins Ruth W. Tucker Jacqueline Turner Anne and John Turtle Melvin and Mary Ann Twiest

Peter Twyman Steve Ucko Liz and Paul Uhrig David and Martha Vaules Donna Veeder Lorraine Vekens John von Briesen Jr. and Sallye Perrin JoElyn Wakefield-Wright John Walber Gail P. and Stephen V. Walker Clinton Walker Sean Walmsley and Sherry Bishko Ben and Eleanor Ware Deborah Watkins-Parker and Craig Purdy William and Bethel Watt Drs. Hueldine Webb & Lester Blair Judy and Larry Weber Don Weimer Dawn Stuart Weinraub Ellen White Weir Andrew Weiss and Marc Osterweil Vera Weiss Judy Weissman Lois and Harold Weitzner Robert and Catherine L . Welker Jill Wetzel Deborah Wheeler Monica S. and Irene Rose White Margery and Michael Whiteman Deni Wicks Wilma Wilcox Winnie and Fred Wilhelm Keith and Nadene Willcox Bill Williams Monica Williams Sam Willmon Joel Wind Margaret Wineman and James Mullen Russell Wise and Ann Alles Suzi Wizowaty and Joan Robinson Daniel Marshall Wood Brad Woolbright Patricia Wright Martha Yager Barbara York Wesley York and Robert Scrofani Penelope Yungblut and Amb. Raymond C. Ewing Justin Zaremby and John Stuart Gordon Diane Zilka and Karen Mauch


FOUNDATIONS, CORPORATIONS, GOVERNMENT SUPPORT CAMERATA Leadership Circle ($150,000+) The Clark Foundation National Endowment for the Arts New York State, support for capital projects: Empire State Development Corporation New York State Council on the Arts Regional Economic Development Councils The Tianaderrah Foundation

Chairman’s Circle ($100,000 – $149,999) OPERA America Andrew W. Mellon Foundation

President’s Circle ($50,000 – $99,999) New York State Council on the Arts The Achelis and Bodman Foundation Arthur F. & Alice E. Adams Charitable Foundation

NATIONAL COUNCIL National Council Gold ($5,000-$7,499) The Dewar Foundation, Inc. The Eggleston Foundation The Heyday Foundation, Fred P. Hochberg and Tom Healy National Constitution Center William F. and Doris W. Oliver Foundation Schlather and Birch, Esqs.

National Council Silver ($2,500-$4,999)

Robert and Esther Black Family Foundation The DuBose and Dorothy Heyward Memorial Fund The Lindemann Charitable Foundation II Inc. Howard & Sarah D. Solomon Foundation

Anne Beha Architects The Vector Magnetics Fund of the Community Foundation of Tompkins County The Leo Model Foundation, Mrs. Marjorie Russel Lawson Valentine Foundation, Jay and Harriet Vawter

Trustee’s Circle

National Council Bronze

Festival Circle ($25,000 - $49,999)

($10,000 - $24,999) Amica Insurance The Amphion Foundation The Aaron Copland Fund for Music, Inc. Community Foundation of Otsego County Corning Incorporated Foundation Fenimore Asset Management and FAM Funds Hughson & Benson Assoc. PECO Foundation The Pond Family Foundation


The Reis Foundation The Robert and Esther Black Family Foundation Fund of the Richland County Foundation The Esther W. Spaulding Charitable Trust The Kurt Weill Foundation for Music Kurt Weill/Lotte Lenya Artist

($1,000-$2,499) Beekman 1802 Blue Mingo and Sam Smith’s Boatyard Carefree Gardens, Brent and Mary Leonard Elizabeth F. Cheney Foundation The Crawford Foundation Cooperstown Natural Foods

Gretchen Frazier Fund of the Arizona Community Foundation The Gladys Krieble Delmas Foundation Charles M. Liddle III & Nancy H. Liddle, Fund of The Community Foundation for the Greater Capital Region Miller Khoshkish Foundation, Irene Miller The Tuthill Family Foundation

PATRONS Guarantors ($500-$999) The AmazonSmile Foundation The Bagby Foundation for the Musical Arts, Inc. IBM Matching Foundation Network for Good PepsiCo Foundation, Silicon Valley Community Foundation

Contributors (up to $499) Alex’s Bistro Benevity Broad Street Philanthropies LJ's Sassy Boutique Synchrony Financial

DESIGNATED SPONSORSHIPS Among our benefactors are those whose passion for our work is expressed through designated contributions. We recognize these generous friends for their assigned support for this year. We extend our sincerest gratitude to Andrew J. Martin-Weber, who unstintingly underwrote the building of our new Lawn Stage and allowed Glimmerglass on the Grass to become a reality.

2021 FESTIVAL SEASON SPONSORS Betsy and Ed Cohen Chris and Bruce Crawford Elizabeth M. and Jean-Marie R. Eveillard Faith E. Gay and Francesca Zambello Nellie and Robert Gipson Jacqueline B. Mars Andrew J. Martin-Weber GIFTS IN SUPPORT OF MAINSTAGE REPERTORY Anonymous In support of The Knock Elizabeth M. and Jean-Marie R. Eveillard Production sponsor, Songbird The Andrew W. Mellon Foundation In support of The Knock and On Trac|< National Endowments of the Arts In support of The Knock and On Trac|< Thomas C. Ragan In support of The Knock Van Broughton Ramsey and Robert Nelson In support of The Knock Ted Snowdon and Duffy Violante In support of The Knock Howard & Sarah D. Solomon Foundation In support of The Knock Robert L . Turner Production sponsor, The Passion of Mary Cardwell Dawson Kara Unterberg In support of On Trac|< PRINCIPAL ARTIST SPONSORS Anonymous (2) Sponsors, Raehann Bryce-Davis Sponsor, Eric Owens Eugenia and David Ames Sponsor, Maestro Joseph Colaneri

Diane Balfour and Carl Adkins Sponsors, William Burden Wendy Curtis Sponsor, Eric Sean Fogel Allen R. and Judy Brick Freedman Sponsors, Lidiya Yankovskaya Patricia Kavanagh and James Grant Sponsors, The Glimmerglass Festival Orchestra Lindemann Charitable Foundation II Inc. Sponsor, Alexandria Shiner Tom Morgan and Erna Morgan McReynolds Sponsors, Alison Moritz Thomas C. Ragan Sponsor, Ryan and Tonya McKinny Van Broughton Ramsey and Robert Nelson Sponsors, James Lowe Pamela Reis Sponsor, Nicolas Lell Benavides Thomas Simpson Sponsor, Michael Mayes Grant and Jacqui Smith Sponsors, Ian Koziara Ted Snowdon and Duffy Violante Sponsors, Latonia Moore Eugene and Jean Stark Sponsors, NJ Agwuna

SPECIAL DESIGNATIONS James E. Ballowe Jr. Sponsor, Nick Richardson, Assistant Dramaturg Nellie and Robert Gipson Sponsors, Justin Bell, Artistic Associate Mary K. Humfeld and Sonia Manganaro Sponsors, Charlotte Maskelony, Communications Associate Elizabeth Lemieux Sponsor, Lauren Taylor, Development Assistant OPERA America Breaking Glass 2: Embracing Inclusion is made possible by an OPERA America Innovation Grant, supported by the Ann and Gordon Getty Foundation OPERA America The company debut of NJ Agwuna was partially supported by OPERA America’s Opera Grants for Women Stage Directors and Conductors, generously funded by the Marineau Family Foundation. Denise R. Sobel Major support for the Festival’s Equity, Diversity, and Inclusion initiative Bill and Theda White Sponsors, Aaron Gubler, Lighting Technician

Mr. and Mrs. Edward L . Turner III Sponsors, Gregory Kunde Kara Unterberg Sponsor, Amanda Castro Michael Young and Debra Raskin Sponsors, Kevin Miller Ann Ziff

Sponsor, Isabel Leonard


YOUNG ARTIST SPONSORSHIPS The renowned Glimmerglass Young Artists Program brings exceptional emerging young singers, dancers, conductors, stage directors, and coach/accompanists for three months each season to study and gain professional experience in the creative and demanding atmosphere of the Festival. Inspiration for these targeted donations began with endowment gifts from Allen and Judy Freedman, and through the establishment of the Rona Cader Rosenbaum Master Class Fund, which underwrites annual visits from prominent singers and directors who work with Young Artists on a range of skills. Benefactors who designate their annual gifts in support of an individual Young Artist personally get to know the apprentice they are supporting, following their career, and develop relationships that can often last a lifetime. To learn more about these programs or sponsorships, please contact the Glimmerglass Development office at (607) 547-0700 ext. 238 or 212.

GUARDIAN ANGELS (ENDOWMENT GIFTS) Allen R. and Judy Brick Freedman Rona Cader Rosenbaum Master Class Fund

John and Dolores Hunter Sponsors, Aaron Crouch

Patsy Smith Sponsor, Peter Morgan

Richard Kane and Gretchen McBeath Sponsors, Mary-Hollis Hundley

Kurt Weill/Lotte Lenya Glimmerglass Artist 2021 Recipient: Helen Zhibing Huang

YOUNG ARTISTS PROGRAM SUPPORT Anonymous The Bagby Foundation for the Musical Arts, Inc. The Corning Incorporated Foundation The Eggleston Foundation Robert Ellis Constance and H. Roemer McPhee The Tianaderrah Foundation

Elizabeth Lemieux Sponsor, Maire Therese Carmack

INDIVIDUAL YOUNG ARTIST SPONSORS Anonymous Sponsor, Armando Contreras Joel and Naomi Freedman Sponsors, Ian Silverman Nellie and Robert Gipson Sponsors, Kamna Gupta, Alison Pogorelc, Lisa Marie Rogali Gemma Hall Sponsor, Spencer Hamlin

Ellen F. Marcus Sponsor, Aaron Jacob Keeney Melanie and David Niemiec Sponsors, Ariana Warren Van Broughton Ramsey and Robert Nelson Sponsors, Victoria Lawal Rona C. and Arthur E. Rosenbaum Sponsors, Dmitry Glivinskiy The Savada-Stevenson Family Sponsors, Michael Pandolfo Michael Sekus and Bianca Russo Sponsors, Jonathan Pierce Rhodes Martin and Dagni Senzel Sponsors, Emily Misch

The Kurt Weill/Lotte Lenya Artist and/or Young Artist is selected each year from previous finalists of the annual Lotte Lenya Competition, an international theater singing competition founded in 1998 by the Kurt Weill Foundation for Music to encourage idiomatic performances of a wide range of musical theater and opera. Gregory Long and Scott Newman Sponsors, Kameron Lopreore Bill and Theda White Sponsors, Ron Dukes Drs. Hannelore Wilfert and Karl Moschner Sponsors, Stephanie Sanchez Jean Sincere Zambello Young Artist Mia Athey

YOUNG GLIMMERGLASS Young Glimmerglass members are the future of the Festival. Their participation, contributions and enthusiasm ensure the continued success of our mission. The “ YG” program was expanded and formalized in 2018 to include membership levels and benefits of support, with a goal of fundraising to help annually underwrite a Young Artist. Members gather for parties off-season, and enjoy a special ticket price for the Festival’s annual Spring Gala. YG Weekend each summer brings members together for performances and social events. For more information, or to become a member of Young Glimmerglass, please call the Development office at (607) 547-0700 ext. 212.

Sage Mehta, YG Founder William Goodenough, Co-chair Robbie Gordy, Co-chair Eduardo Tamraz, Co-chair Emma Vaughn, Co-chair


Michael Bretholz Albert Chen Evan Eklund Gordon and Sarah Faux David S. Flugman and Eugene Shevertalov Sarah Glaser Lachlan Glen Henrietta Hakes Emily Johnson and Vijay Ramachandran Christopher Judd

Kristin Kovner Mitchell Lowenthal Kristen Oehlrich and Tim Korytko Francine O’Keeffe Brandon Sherr Jonathan Smith Steven Jude Tietjen Conor and Katie Tochilin Clinton Walker Kristin and Will Walker

In Kind Ann Beha, Ann Beha Architects Beekman 1802 Cabot Creamery Co-operative Joan Desens and Simon Carr-Ellison

The Family of Madeline and Louis Gardner in honor of Jean and Charles Lambello Faith E. Gay and Francesca Zambello William Maher Collection The Otesaga Resort Hotel

Van Broughton Ramsey and Robert Nelson Lady Juliet and Dr. Christopher Tadgell Mr. and Mrs. Edward L . Turner III Dustin Z West

THE GOODYEAR SOCIETY The Goodyear Society honors individuals and families who have made a gift to Glimmerglass through their will or estate to perpetuate the Festival and its programs. The Society is named after Tom Goodyear, one of our founders, and his mother, Jeannette Bissell Goodyear, both passionate opera fans whose gift of farmland was transformed into the Festival theater and campus we enjoy today. If you have already included Glimmerglass in your plans, please let us know so that we may thank you and invite you to become a member of this special group of supporters. For more information about how you can support The Glimmerglass Festival through a planned gift, please contact Caryn Reeves, Director of Development, at (607) 547-0700, ext. 238. Anonymous (3) Margaret Laird Anderson Nancy Ayers Dennis N. Banks Jim and Nancy Barton William Battin John Beurket and Georgia Kustas John B. Black Barbara Blaszak Felicia H. Blum James and Deborah Breznay Van Broughton Ramsey and Robert Nelson Georg O. Budenbender and Dr. Katherine Elwyn Beekman C. Cannon Fern Caplan Samuel Carabetta and Richard Molinaroli Mrs. William L . Cary Stephen Case and Margaret Ayres Estate of Doris R. Christiana Susan Stetson Clarke Charles Coffin and Lance Wickens Charles E. Cole Jeannine and Donald Cook Henry S. F. Cooper Jr. Mary Cullen Wendy Curtis Vittoria S. Demarest Martha J. Dodge Peter Duchin Estate of Marie J. Eger Gwendolyn Ermlich Andrea K. Fallek Drs. Jane A . Feisthamel and Mary Margaret Snyder

Estate of Jessie Flax Gretchen Frazier Mr. and Mrs. Donald Frazier Allen R. and Judy Brick Freedman Faith E. Gay and Francesca Zambello Karen A . Gibbs Mrs. G. McMurtrie Godley Sherwin M. Goldman Dr. M. E. Grenander Dr. Brett B. Gutsche Gemma Hall Mary E. Harrigan and Andrew P. Tothy Lisa Heilman- Cozzalio Clinton R. Howell Mr. and Mrs. Henry W. Howell Estate of Alfred F. Hubay Ellen Jabbur Paul Kellogg Clayton C. Kirking and Edward J. Sullivan Ron and Melissa Komora Joanne Kornoelje Elizabeth Lemieux Dr. Katharine Lloyd The Estate of Matthew Looram Andrew Marlowe and Terri Miller Donald Martin Mr. William McColl David and Millie McCoy Barbara McCullough Christine McNaughton Glenda Michailidis Barbara H. Mulhern Janet Nelson M. Anne O’Connell

William Oliver and Michael Willis Charles “Jud” Pannaci Mary Buckley Parriott Alan and Pamela Patunoff Dr. and Mrs. Albert V. Payne Polly S. Pierson Jeanne and Richard Porter Frances and Paul Raeder Thomas C. Ragan Marsha and Neil Remland Rona C. and Arthur E. Rosenbaum Stephen Rosow and Ellen Goldner Kelley Rourke Robert and Karen Schlather Raymond Schneider Michael Sekus and Bianca Russo Mary E. Sherman Patsy Smith Estate of Gerard F. Songster The Esther W. Spaulding Charitable Trust Mr. and Mrs. Edward W. Stack Estate of Scott L . Steele Estate of Joanna T. Steichen Hannah Lee Stokes David and Karin Svahn Richard Sylvester Eugene V. Thaw and Clare E. Thaw Lloyd L . Thoms, Jr. Elizabeth Thorpe Dov and Tom Treiman Margo and Anthony Viscusi Karen Watkins Andrew Weiss and Marc Osterweil Drs. Hannelore Wilfert and Karl Moschner


GALA We recognize those individuals and corporations who gave in support of our Annual Spring Gala, which directly benefits our Young Artists Program, Summer Internship Program and our Youth Opera programs. Anonymous (9) Michael Abate Susanne and Chris Adamski Dianne Balfour and Carl Adkins NJ Agwuna Robert Ainsley Eugenia and David Ames Amica Mutual Insurance Services Jean W. Arnold Thomas and Yoko Arthur Richard and Nancy Asthalter Mia Athey Haley Ayers Richard A Backer Shanel Bailey Sylvia Bailey Susan Sayre Batton and Maja Thomas Bill Bechman Carol Beechy and Kathryn Boardman Beekman 1802 Nicolas Lell Benavides Ellen Berelson and Larry Franks Joann Berkson Olivier Bernier Roberto Berrocal Bill Billingham Daphne and Laurence Birdsey Sidney and Susan Blatt Felicia H. Blum John and Patricia Boyer Amy Branch Deborah Brevoort Spencer Britten Douglas and Beatrice Broadwater Broadway Unlocked & All Together Now George C. Brown and Michael Vasas Christine E. Bulson Peter Campisano Thomas F. Cannon and Joseph Harding Howard Carlin Scott Carlton Katrina F.C. Cary and Linn Cary Mehta Amanda Castro Patricia and John Chadwick Susan Esco Chandler and Alfred D. Chandler Kevin Childress Jawan Cliff-Morris Donald Clinton and Karen Wilkin Anju Cloud Philip and Barbara Cokorinos Joseph Colaneri Mark Conchie and Kirsten Oehl Armando Contreras J. Patrick Cooney and Karl Buchberg Mihaela Cosma Janice King Crawford Donald Crawshaw and Matthew Hoffman Charitable Fund Mary Curley Wendy Curtis Tad Czyzewski Linda Daly and Kelley Cornish Peter and Pat Davis Mr. and Mrs. Johannes de Waal Emilie and Brian Deery Doreen DeNicola, DeNicola Design Joan Desens and Simon Carr-Ellison Julie Dickinson Paula DiPerna Carol E. and David A . Domina Marci Douglas and Lawrence Pollack Jerre Dye


Everett and Wynn Egginton Kathleen and Dale Eisele Steven Eldredge Rita Emanuel and John Anagnost Elizabeth M. and Jean-Marie R. Eveillard June Fait and Herbert Coles Martha Farnsworth Mr. Donald M. Fenner Cally Field Mary Flower David S. Flugman and Eugene Shevertalov Eric Sean Fogel Chantel Foretich Chris and Patty Fox M. E. Freeman Bernard J. Fried Terry Fulmer Lea Garcia Lucretia Garrigan and William Kirby-Smith Howard Gatiss Faith E. Gay and Francesca Zambello Samuel Gelber and Patrick Mühlen-Schulte Abby Kreh Gibson Rod Gilfry Nellie and Robert Gipson Sarah Glaser Joseph F. Godfrey and Keith Halstead Lucas Godlewski Christine Goerke Margot Golding Suzy Gooch William Goodenough Robbie Gordy Denyce Graves John Green Marjorie Grinols Jane Gullong Kenneth Hampson Michael Hampton and Carlos Sandoval Ellen and Scott Hand Stephen Hand Mary E. Harrigan and Andrew P. Tothy Frederic Harwood and Nedda Di Montezemolo Leah Hawkins Bob Hayes Margaret M. Healy Michael Heaston Lisa Heilman- Cozzalio Madison Hertel Jean and Norbert Herzog Allison and W. Keyes Hill-Edgar Morgan Hill-Edgar Fred P. Hochberg and Tom Healy, The Heyday Foundation Frieda Holober Frank Holozubiec and Giovanni Favretti Joshua Horowitz Bernard and Marilyn Horowitz Hughson & Benson Associates Beth Humes Wendy Hunt Briana Hunter John and Dolores Hunter Susan Huxtable and Joseph Novitski Charles and Patricia Ingraham Jean Jagendorf Joanne James Celeste Johnson Christopher Judd Kim and Kathleen Juhase James Kainen Jules Kaufman

Patricia Kavanagh and James Grant Hon. and Mrs. M. Langhorne Keith Kenneth Kellogg Kathleen E. Kendall Kathy Kendall Carol Kerr Mr. and Mrs. Stephen Keyser Mary Catherine Kingsley Peter Stern Kiok Gail and Ed Kitch Kristin Kovner Ian Koziara Ken and Susan Kramer Betty Kranzdorf Michael Krco Lisa Kressbach Joshua Kring Cynthia Kring Mary Margaret Kuhn Tesia Kwarteng Virginia A . Lambert Eric and Susi Larsen Joanna Latini Victoria Lawal Cate LeCours The LeCours Family Kathleen Lee Barbara Leigh Deirdre Leland Ksenia Leletkina Isabel Leonard Harry and Ellen Levine Jane Levine Bill Liebman Dan and Harriet Lindblom Gregory Long and Scott Newman Linda and Arthur Loomis Thomas and Alison Lord James Lowe Mitchell Lowenthal Robin Lynn Carri Lyon Frank and Sidney Maas Ann M. MacDougall Peter Malone Gerry Malone Jack Manno Ruotao Mao Jacqueline B. Mars Kenneth Mason Michael Masterson and Johnson Henshaw Kathleen Mazzetti and Alan Goodman Johnathan McCullough Laurel McKee Sage Mehta and Michael Robinson Joel Robert Melamed MD Karen Metcalf Frank and Ellen Michelman Adam Mielke Elly Miles Irene Miller, Miller Khoshkish Foundation Gregory Moomjy Latonia Moore Joel Morain Tom Morgan and Erna Morgan McReynolds Gayle Morgan Alison Moritz Cynthia and Albert: The Morris-Meltons Ann and Don Morrison Gordon and Sarah Faux John Muenter Regina M. Mullen

Molly Myers Janet Nelson Pamela J. Nelson Melanie and David Niemiec Dinah Nissen and Elizabeth Apelles Zoë Nousiainen Chris O’Connor Dan O’Connor and Sharon Fraser Janet and David Offensend Winifred Olsen Lynne Osborn John S. and Clara M. O'Shea Eric Owens Ruth Palombo So Young Park Tom Parrish Paul and Sarah Patterson Alan and Pamela Patunoff Barbara Peklo Josephine Perkins Allen Perriello Teresa Perrotta Dale and Lorna Peterson PJ Green | Utica, NY Charles Platt Sean Michael Plumb Emily Pogorelc Kathryn Polansky Vincent Porfirio Dominick Preziosi Susan Pringle Thomas C. Ragan Van Broughton Ramsey and Robert Nelson Hon. Susan Phillips Read Judith Retensky Elsie and Thom Rhodes Kathleen Roberts and Howard Clyman Abby Rodd Harriet Rogers Rona C. and Arthur E. Rosenbaum Christine Rossi Dolores J. Rothwell

Kelley Rourke Mike and Marie Rourke Georgeanne and Jean Rousseau John Ryland Kamala Sankaram Beth Sapery and Rosita Sarnoff John Sare and Benjamin Krevolin The Savada-Stevenson Family Paul and September Schecter Dr. and Mrs. Thomas P. Sculco John and Debra Sculley Sandra Seaton Michael Sekus and Bianca Russo Sarah Senk Martin and Dagni Senzel Senator and Mrs. James L . Seward Dan Shaheen Conrad L . Sheck Michael and Vivien Shelanski Alexandria Shiner Carlos Simon Thomas Simpson Claudia Slacik and Susan Davis Michael Sloan Norm Sloan Grant and Jacqui Smith Katrina Smith Lauren Snouffer Dr. Margaret Snowden Ted Snowdon and Duffy Violante Snyder Printer Inc | Troy, NY Angela Somma Annaliese Soros Eugene and Jean Stark Corinne B. Steensma Susan Sterner Austin J. Stewart Debra Stone and David Glaser Alexandra Subbarao Woody and Gregg Swain Eduardo Tamraz Joan and James Taylor

Bob Timpson Jonathan Tolins Tom Tompkins and Jill Rowley Tompkins Amy Tompkins Richard Townsend Deborah and Michael Troner MD Mr. and Mrs. Edward L . Turner III Peter Twyman Larry and Donna Uffelman Kara Unterberg Schyler Vargas Emma Vaughn Elliott Verner Dr. and Mrs. Gilbert T. Vincent Aleksandra Vrebalov Brian Vu Ronald and Bette R. Wagner Clinton Walker Julie Wallin Caroline A . Wamsler PhD and DeWayne N. Phillips Marian M. Warden Stephen Weiner and Donald Cornuet Dustin Z. West Neil Westreich Dr. F. Todd and Laura Wetzel Dorothy Wexler Bill and Theda White Ann Wilcox Wilma Wilcox Tony Wildman Patricia Wiley Drs. Hannelore Wilfert and Karl Moschner Sam Willmon Elizabeth Wilson Wittels Family Suzi Wizowaty and Joan Robinson Olivia Woolley Lidiya Yankovskaya Michael Young and Debra Raskin


TRIBUTES AND MEMORIALS Following are honors and memorials received during our 2021 fiscal year (October 1, 2020-September 30, 2021).

TRIBUTES IN HONOR OF JOHN ABEL Britt, Scott, Will & Natasha IN HONOR OF FAINA AGRANOV Michael Cleveland and Kathy Leach IN HONOR OF KATHRYN ALLEN Janice C. Impey IN HONOR OF MATTHEW BENDER Kent and June Barwick IN HONOR OF NANCY F. BOND Robert D. Bond IN HONOR OF KATHY BUCK Mark Conchie and Kirsten Oehl IN HONOR OF MAESTRO JOSEPH COLANERI Carole and Pasquale DeVito Catherine S. Michaelson Jerry and Marisabel Raymond IN HONOR OF ELIZABETH CRITTENDEN Sarah and Howard Solomon IN HONOR OF WENDY CURTIS John Dobkin Mr. and Mrs. Stephen C. Kaye IN HONOR OF JOAN DESENS John Barnhill Carol E. and David A . Domina Elizabeth M. and Jean-Marie R. Eveillard Frank Holozubiec and Giovanni Favretti Nena Donovan Levine Lynn Nathanson and Ted Rozsa Martin and Gretchen Sorin Dr. and Mrs. Gilbert T. Vincent Dolores and Clifton Wharton IN HONOR OF NORAGH DEVLIN Eileen C. Sadasiv IN HONOR OF ELIZABETH EVEILLARD Ann and William Lieff IN HONOR OF FAITH, CESCA AND JACK Bob MacLeod and Steve Byckiewicz IN HONOR OF RUTH FELDMAN Elizabeth and William Bernhardt IN HONOR OF DON FENNER Mary Brodzinsky IN HONOR OF MARILYN FITES Susan Childs IN HONOR OF JUDY AND ALLEN FREEDMAN Joseph A . Abraham IN HONOR OF PASTOR FAITH GAY Tazewell Thompson


IN HONOR OF FAITH E. GAY AND FRANCESCA ZAMBELLO Rabbi Sharon Kleinbaum and Randi Weingarten Elsie and Thom Rhodes Heidi Waleson and Andrew Manshel

IN HONOR OF SAGE MEHTA AND MICHAEL ROBINSON Anonymous Justin Zaremby and John Stuart Gordon









IN HONOR OF MARY HUGHES Faith E. Gay and Francesca Zambello

IN HONOR OF ROBERT NELSON AND VAN BROUGHTON RAMSEY Lou Allstadt and Melinda Hardin Patricia and John Chadwick Harry and Ellen Levine Alan and Linda Nelson Dr. and Mrs. Gilbert T. Vincent

IN HONOR OF MRS. JOHN R. HUPPER Craig and Susan Hupper



IN HONOR OF TOM RAGAN Virginia A . Lambert







IN HONOR OF ROME Jean W. Arnold IN HONOR OF JOAN SKHANE Tom Morgan and Erna Morgan McReynolds




IN HONOR OF JEAN AND GENE STARK Susan Esco Chandler and Alfred D. Chandler Katie Adams Schaeffer




IN HONOR OF AMY TOMPKINS Members of the Castalia String Quartet: Ruth Berry, Debrah Devine, Uli Speth Sue Leffler





IN HONOR OF MARK VILLAMAR Donald Crawshaw and Matthew Hoffman

IN MEMORY OF JOHN W. CLARKE Charles and Adelia Geiger


IN MEMORY OF JOHN COCHRAN The Cochran/Baker Family

IN MEMORY OF JUSTICE RUTH BADER GINSBURG Linda Delfs Elizabeth F. Cheney Foundation A . Kelley Susan Mattick- Gold Judith and Scott McCue Margaret Peterson Rita R. Stewart Mr. and Mrs. Richard Stradling Karen Watkins Didi and Alan Weinblatt Penelope Yungblut and Amb. Raymond C. Ewing

IN HONOR OF HILDA AND SAM WILCOX Anonymous IN HONOR OF SOPHIA AND PERRY WONG Jack Malick IN HONOR OF MICHAEL YOUNG AND DEBRA RASKIN James Kainen Kathleen Roberts and Howard Clyman David and Melanie Samuels IN HONOR OF FRANCESCA ZAMBELLO James and Shizuka Feeney Suzy Gooch Nancie R. Kennedy Sue Leffler Cindy Shmerler and Ford Levy Micaela and Georges De Lignerolles Carri Lyon Dinah Nissen and Elizabeth Apelles Catherine and Donald Raddatz Michael Ruppert Rick Salomon Robert L . Siebel Claudia Slacik and Susan Davis Rita R. Stewart Mark Stuart-Smith and Andrew Jorgensen Susan C. Thompson Peter Twyman Dr. and Mrs. Gilbert T. Vincent Brad Woolbright

MEMORIALS IN MEMORY OF LOUISE ADLER Gabrielle Adler Allen and Jonathan Adler IN MEMORY OF FAINA AGRANOV Michael Cleveland and Kathy Leach IN MEMORY OF KATIE G. ANEY William Bisgrove IN MEMORY OF DAVID S. BAKER Vera S. Baker IN MEMORY OF FRED AND IRIS BARNS Anonymous IN MEMORY OF DR. ERNEST J. BEAUDOIN James S. Covey and James P. Zabawa IN MEMORY OF NORTON BELKNAP Paula Belknap Reynolds IN MEMORY OF ANDY BLUM Joan Desens and Simon Carr-Ellison IN MEMORY OF SHERWOOD BOEHLERT Dr. and Mrs. Paul Ohlbaum IN MEMORY OF EMILE CAPOUYA Keitha Capouya IN MEMORY OF DOROTHY CASWELL Alicia and Peter Pond

IN MEMORY OF WAYNE H. COOK Laurie Mutz IN MEMORY OF KATHERINE COOPER CARY AND VED MEHTA Katrina F.C. Cary and Linn Cary Mehta IN MEMORY OF KATHRYN DONAGHY Anonymous IN MEMORY OF CRAIG R. DUCAT James Tucker and Neil Lucchese IN MEMORY OF FAYE DUDDEN Padma Kaimal and Andrew Rotter IN MEMORY OF CHUCK ENGLAND Janet England IN MEMORY OF ANDREA FALLEK Anita Weissberg IN MEMORY OF MARY ELLEN FENNER Kathryn Allen Ann-Marie Barker-Schwartz Mary Brodzinsky Greg Buch Joan Desens and Simon Carr-Ellison Fr. Mark Cunningham Jim and Toni Dattilo Mr. and Mrs. Johannes de Waal Jane W. Dieffenbacher Sue Drake Karen Dunlap Mr. Donald M. Fenner Fort Herkimer Church Katherine Friedman Abby Kreh Gibson William and Cynthia Goertemoeller Nancy Fish Hanna John Ianacone and Cynthia D'Ambrosio Donna Merryman The Moser Family Charles "Jud" Pannaci Corinne M. Plummer Angie Richards Thomas Simpson Lona A . Smith Martin and Gretchen Sorin Sally Sporer Susan Sporer and Mary Cameli Cynthia and David Staley Monica S. and Irene Rose White Deni Wicks




IN MEMORY OF PAUL KELLOGG Anonymous Kathryn Allen Anna and Paul D'Ambrosio Joan Desens and Simon Carr-Ellison Abby Kreh Gibson Gemma Hall Lisa Heilman- Cozzalio Frank Farmer and Frank Kolbert Ron and Melissa Komora Amanda Savage Mahoney Dr. and Mrs. Thomas M. Older William Oliver and Michael Willis Elsie and Thom Rhodes Beth Sapery and Rosita Sarnoff Patsy Smith Lona A . Smith Sarah and Howard Solomon Dolores and Clifton Wharton Hilda and Samuel Wilcox

IN MEMORY OF JILL STAUFFER MANEY Abby Kreh Gibson IN MEMORY OF AMANDA MAY Anonymous David and Martha Vaules

IN MEMORY OF MAESTRO CHARLES SCHNEIDER Lawrence and Marilyn Cole Virginia and Richard Emmert Michael and Diana Gelfand Thomas Slavinsky







IN MEMORY OF ANGELA LUISO ORLOWSKI Marcella Flanagan Selma Kenter Brian F. Reagan Martha Yager









IN MEMORY OF DORIS E. ROBERTS Lisa, Tracy and Karin Roberts

IN MEMORY OF SARAH C. SUMNER Tara Sumner and Ted Ford








IN MEMORY OF MISS CICELY TYSON Van Broughton Ramsey and Robert Nelson


IN MEMORY OF CAROL SCHILDE Lester and Laurie Schmitt

IN MEMORY OF MICHAEL LEVIN Christine Ims - In loving memory of my husband, Michael Levin, Concertmaster of The Glimmerglass Festival from 1987-2008.

IN MEMORY OF CHARLES AND RAYNA SCHNEIDER Megan Schneider-Ajakh - In memory of my dad, Maestro Charles Schneider and his wife, Rayna Schneider.

IN MEMORY OF VICTORIA S. KENNEDY Matthew Price and Veerle Daenen IN MEMORY OF KELSEY REBECCA KITTLESON Dan Foster IN MEMORY OF PAUL KUHN Joan Desens, Simon Carr-Ellison and Carl Desens Abby Kreh Gibson Angie Richards Richard J. MD, Marisa and Jenna Sternberg








The Glimmerglass Festival receives The Glimmerglass Festival receives major support from the following major supportfunders: from the following institutional institutional funders:

The Clark Foundation The Clark Foundation The Andrew W. Mellon Foundation The Andrew W. Mellon Foundation OPERA America OPERA America The Glimmerglass Festival receives receives Glimmerglass Festival public from: public funding funding from:

We thank all of our 1,700 supporters,

For copies whoquestions are listedorinadditional the Festival Program Book. of this report, please contact: For questions Caryn Reeves or additional copies of this report, please contact: Director of Development Joan Desens (607) 547-0700 ext.238 Director of Institutional Advancement (607) 547-0700 ext. 297


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