2023 Glimmerglass Festival Program Book

Glimmerglass FESTIVAL 2023

LA BOHÈME • CANDIDE

THE RIP VAN WINKLES • LOVE & WAR

ROMEO AND JULIET • RINALDO

AN EVENING WITH ANTHONY ROTH COSTANZO

The Glimmerglass Festival would like to acknowledge the Mohawk and Oneida, members of the Haudenosaunee (Iroquois) Confederacy, the original stewards of this land. We take this time to pay tribute to those who were forcibly removed from their homelands due to colonial and genocidal agendas, and those who continue to inhabit the land today. To learn more about how you can act in solidarity, visit www.nativegov.org today.

(Sources: www.nativegov.org; www.native-land.ca)

PHOTO: KARLI CADEL

Welcome!

Here at Glimmerglass, we have something for you—no matter who you are, where you come from, or how old you might be.

Growing up, I was exposed to all kinds of music. My earliest memory is sounds of my parents’ favorite bands. I remember performing in the children’s chorus of a production of Carmen. I couldn’t believe one person could play an entire opera—how did they learn it all? I took up the piano to find out. Later, I was astonished that a single instrument could lead an entire cathedral in song—so I studied the organ to try it for myself. As a senior in high school, I was envious that our Music Director got to shape the music through the power of their imagination and personality—so I asked if I could conduct.

This season explores the moments of curiosity and discovery that shape our futures before life’s constraints start to pin us down. This is what moves us about Puccini’s bohemians, Voltaire’s wandering innocent, Shakespeare’s young lovers, and Handel’s heroic knights. We encounter the same spirit of possibility daily; Glimmerglass has been at the forefront of training the next generation of great singers and theater professionals for nearly five decades, and the ongoing dialogue between generations is one of the things that makes this place so special. More recently, we have expanded opportunities for local children to take center stage through our annual youth opera. This is a place where ideas can blossom, and self-expression is encouraged and supported.

Speaking of support and encouragement—we owe a tremendous debt of gratitude to Robert Nelson, our outgoing Board Chair, for his extraordinary leadership these past six years. Through countless acts of generosity, Robert and his husband Van have been integral to every part of Glimmerglass’s success, helping successfully steer the company through the challenges of the pandemic and the recent leadership transition. While Robert is taking a well-deserved break from his official leadership responsibilities (although remaining a member of the Executive Committee), Robert and Van will always be part of the Glimmerglass family.

Glimmerglass’s secret lies, like opera’s, in its inherent unlikelihood. That our theater should exist here, nestled on this perfect lake, is deliciously improbable. We gather here to celebrate the most complete and perfect of art forms, and we do it in one of the most unspoiled landscapes in the country. Opera demands our every skill and resource to bring it to life; it captures history and makes change for the future. Opera connects us to our collective humanity, touching our souls with its transcendence and power.

Big words. It is also plain fun. Great singing, catchy tunes, gorgeous sets, ravishing costumes, fantastic dancing. Escapism, entertainment, a night out with friends. A show.

Whatever opera means for you, thank you for being here to share in this grand expression of possibility. Thank you to the Glimmerglass Board and Staff for their invaluable support. Thank you to the many foundations, donors, and patrons who make our work possible. Thank you for helping so many follow their dreams. I cannot wait to see what we will dream together.

Rob Ainsley Artistic & General Director

PHOTO: KARLI CADEL

LEADERSHIP

HONORARY CHAIR

Peter Duchin

OFFICERS

Robert Nelson, Chair

Michael Young, President

Edward L. Turner, Vice-Chair

Jean Stark, Vice-President

Mark Luis Villamar, Treasurer

Erna Morgan McReynolds, Secretary

TRUSTEES

Patricia Chadwick

Anne M. Curtis

Wendy Curtis

Nellie Gipson

Sherwin M. Goldman

Allison Hill-Edgar

Thomas C. Ragan

John Ryland

Michael Sekus

Senator James L. Seward

Thomas Simpson

Ted Snowdon

Kara Unterberg

Debra Valentine

EX-OFFICIO LIAISONS

William Goodenough 1

Sage Mehta 1

Eric Owens 2

Laura Tansey Wetzel 3

HONORARY LIFE TRUSTEES

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 ^

Mrs. John R. Hupper ^

Dudley D. and Carole H. Johnson

Patricia Kavanagh and James Grant

Robert B. Schlather ^

Senator James L. Seward

Lady Juliet and Dr. Christopher Tadgell

Eugene V. ^ and Clare E. Thaw ^

NON-TRUSTEE ADVISORS

James Barton

Frank Holozubiec

Gregory Long

Ann McChord

Janet Nelson

Elisabeth A. Sapery

Joan Shkane

ARTISTIC & GENERAL DIRECTOR

Robert Ainsley

MUSIC DIRECTOR

Joseph Colaneri

ARTISTIC ADVISORY BOARD

Eric Owens, Chair

William Burden

Alyson Cambridge

Anthony Roth Costanzo

Rod Gilfry

Christine Goerke

Peter Kazaras

Ryan McKinny

Erie Mills

Patricia Racette

Neil Shicoff

EMERITUS

Paul Kellogg, Artistic Director Emeritus ^

Stewart Robertson, Music Director Emeritus

John Conklin, Associate Artistic Director Emeritus

Hugh Hardy, Architectural Advisor Emeritus ^

Francesca Zambello, Artistic & General Director Emerita

FOUNDING LEADERSHIP

Peter Macris, Founding Artist Director ^

Charles Schneider, Founding Music Director ^

FOUNDING TRUSTEES

Beekman C. Cannon ^

Ferdinand Ermlich ^

Thomas Goodyear ^

Louis Busch Hager ^

Mrs. Louis C. Jones ^

Dr. Peter Macris ^

Mary-Jo Merk

Mrs. James M. Symington ^

^ deceased

1 Young Glimmerglass Representative

2 Chair, Artistic Advisory Board

3 Guild President

Produce new, little-known, and familiar operas and musical theater in innovative productions; Provide professional training and performance opportunities for emerging artists and apprentices; Engage important artists who inspire the highest standards of achievement; Inspire dialogue around meaningful issues of the day through song and story; Collaborate with regional organizations, schools, and businesses to enhance life in Central New York.

OUR MISSION

THE PASSION OF MARY CARDWELL DAWSON

THE JUNGLE BOOK

THE SOUND OF MUSIC HOLY

THE 2023 FESTIVAL

THE 2023 FESTIVAL

LA BOHÈME (1896)

Music by GIACOMO PUCCINI

Libretto by LUIGI ILLICA & GIUSEPPE GIACOSA

Sung in Italian with English projected text.

Thirteen performances: July 7, 9m, 14, 18m, 24m, 29; August 1m, 3, 5m, 8m, 11, 14m, 19, 2023

Running time: 2 hours and 18 minutes, including one 25-minute intermission

This production is generously sponsored by Nellie and Robert Gipson.

PAINTING: JASON YEOMANS

Rodolfo Joshua Blue

Mimì Teresa Perrotta

Marcello Darren Lekeith Drone

Musetta Emilie Kealani*

Colline Nan Wang*

Schaunard Justin Burgess*

Benoit/Alcindoro Stefano de Peppo

Parpignol Zachary Rioux*

A Customs Official Grant Jackson*

Sergeant Alex Smith*

Child Soloist Arianne Ajakh, Cordelia Dziuban

Prune Man Henry Benson*

The Glimmerglass Festival Orchestra, Chorus, and Youth Chorus

Conductor Nader Abbassi Director E. Loren Meeker

Associate Director Rebecca Herman

Choreographer Eric Sean Fogel

Set Designer Kevin Depinet

Costume Designer Erik Teague

Lighting Designer Robert Wierzel

Hair & Makeup Tom Watson

Projected Titles Kelley Rourke

Chorus Director Katherine Kozak

Youth Chorus Directors Anna Betka and Rob Ainsley

Assistant Director Amanda Testini*

Assistant Conductor Robert Kahn*

Principal Coach J. Bradley Baker

Dance Captain Truman Tinius*

Assistant Coach Yueqi Zhang*

Stage Manager Dustin Z West

*Member of the Young Artists Program

Detailed ensemble casting is available on glimmerglass.org.

Rodolfo, a writer, welcomes two friends—Colline, a philosopher, and Schaunard, a musician—to the garret he shares with Marcello, a painter. When the comrades head to the Latin Quarter Christmas Eve festivities, Rodolfo stays behind, saying he will join them later. A young woman, Mimì, appears at his door; after a series of accidents and minor deceptions, they find themselves hand in hand.

At the Latin Quarter, Rodolfo introduces Mimì to his friends. Musetta, Marcello’s former lover, enters on the arm of the wealthy Alcindoro as Marcello seethes. Although Musetta plays the coquette, she is as drawn to Marcello as he is to her, and the two are eventually reunited.

Marcello and Musetta take up residence in a tavern on the outskirts of town. Mimì appears to tell Marcello that Rodolfo has left her; Marcello replies that Rodolfo is inside and urges her to leave. Rodolfo comes out and confides to Marcello that he fears his meager living conditions are ruining Mimì’s health. Mimì, who has been eavesdropping on their conversation, has a coughing fit; Rodolfo realizes she has heard everything. Marcello goes back to the tavern to join Musetta. Left alone, Mimì and Rodolfo agree to stay together until the spring.

Back in the garret, some time later, Rodolfo tells Marcello that Musetta has taken a wealthy lover; Marcello fires back that Mimì, too, has improved her position. The men attempt to continue their work, but each is lost in thoughts of love. Schaunard and Colline enter. They pretend to enjoy a lavish feast, then clear the room for dancing. Musetta interrupts, having brought Mimì, who is deathly ill, to the garret. The friends go out to sell some of their paltry possessions to buy medicine, leaving Mimì and Rodolfo alone to remember the happiness they once shared. Mimì falls asleep shortly after everyone returns, assuring Rodolfo that she feels better. He is the last to realize that she has died.

REHEARSING BOHÈME

How our Festival Orchestra and music staff prepare a masterpiece

BY NICK RICHARDSON

There is something enchanting about Puccini, Illica, and Giacosa’s depiction of artist life in Paris’s Latin Quarter that keeps Americans coming back for more. According to data from Opera America, La bohème was the most produced and the most performed opera in the United States for the past three decades, playing for a combined total of 2,431 performances across 499 different productions by Opera America Member Companies. La bohème also holds the distinction of being the only Puccini opera with a recording featuring its original conductor, the famed Arturo Toscanini. The opera’s discography goes back over 100 years and includes some of the most celebrated opera singers ever, such as Maria Callas, Luciano Pavarotti, Montserrat Caballé, José Carreras— and many more.

This rich and deep history presents a challenge for opera companies today: How can we make a familiar and beloved opera feel fresh? Though Puccini’s music remains the same, we will hear it anew this summer thanks to the astounding work of our Glimmerglass Festival Orchestra and music staff. Here is an overview of how our musicians move from the page to the stage.

BEFORE THE MUSIC

Preparing the music starts long before the summer. The Festival assembles the creative teams for productions—including the directors, designers, and conductors—at least one year in advance. For this year’s remount of La bohème, Egyptian conductor Nader Abbassi will lead our Festival Orchestra and singers. Our Music Director Joseph Colaneri conducted the Festival’s original production in 2015.

Maestro Colaneri’s process begins with intense study—not just the scores of the operas, but their libretti, source materials, and even

previous versions or drafts of the pieces. “It’s sort of like composing the piece again,” he says. “You look at it and think, ‘Why did the composer make this choice?’” A lecturer on opera, Colaneri will also reference his own previous research.

Production meetings—in which the creative team meets to decide the concept of this specific iteration of the opera—also start the year before. Here, Colaneri works with the director on the music choices for the production, ranging from cuts to make in the score to where to place singers on stage for the best acoustics. After he and the director craft their own “version” of the opera, Colaneri collaborates with our Music Librarian, Kristen Butcher, to source the different instrumental parts, assemble the score, and distribute the score to the musicians. This begins the “nitty gritty” work of our music staff.

“Sometimes there are discrepancies between what might be in the full score and what might be the vocal score. We have to decide how to deal with those. Which one is correct? Which one do we choose?” says Colaneri. But even with those inconsistencies ironed out, the score isn’t quite yet ready for our musicians to perform.

GO WITH THE BOW

The printed music from the publisher tells the musicians what to play, but not necessarily how to physically play it. Bowings are added to the score in order to achieve the desired articulations and to ensure uniformity within each section. This is the job of our Concertmaster, violinist Ruotao Mao, who has played in the Festival Orchestra since 2010. Mao will write all the bowings in the Violin I part, then pass that on to the other principal musicians (the leaders of each string section), who apply his notes to their respective parts. It takes Mao about 10 hours to

bow the complete score. He finishes his work around the end of January. “At that time, I know the pieces pretty well. Then, after a few months, when I look at the music again in May, I have to re-learn it,” he admits.

Many of our orchestra members have other professional obligations outside of the Festival, learning and performing repertoire for other concerts and gigs in addition to the Festival’s program. Mao, for example, serves as concertmaster for three other orchestras in the Mid-Atlantic, leads his own string quartet, and maintains a private studio of violin students. For these busy musicians, bowings help jump-start the rehearsal process, which is crucial on the Festival’s tight schedule.

COME TOGETHER

Our orchestra receives all the music for the season—with bowings—in May. They are expected to know their individual parts by the time they arrive in June. Once the full orchestra comes together, they have only six rehearsals per production to prepare for opening night.

The first two or three rehearsals are solely with the conductor. As Colaneri explains, “The conductor brings a whole new sense of structure to the piece. Architecture in music is defined by tempo, dynamics, and pace—what you’re moving toward and what you’re moving away from. Climax and denouement, for example, in theatrical terms.” He expects Maestro Abbassi will have his own interpretations to help shape the music.

Bringing all of the musicians together—the orchestra, the conductor, and then the singers— is when the music-making truly begins. “When the singers start coming in, suddenly it becomes alive, and then what we do makes more sense,” says Mao. “Sometimes

we’re accompanying, sometimes we’re supporting, something we’re doubling. Depending on the singer, we adjust our color because we now have first-hand experience with the singer.”

Adding singers also means adding more cooks to the kitchen, and our production of Bohème already has some 40 instrumentalists in the pit alone. “When I’m at the piano studying, the piece goes exactly the way I want it to go. Everybody does it at my tempo, and it’s easily done,” says Colaneri. “But when you get with the forces, especially not only with singers, but also with the orchestra, now you encounter other people that have also been thinking about the music and playing it. You have to come to that point where you communicate your concept to the orchestra to get everyone on the same page. And that’s really the great part of it, that collaboration. A conductor needs to be a communicator, and you need to communicate what the idea of the piece is and how you want to interpret it.”

That’s not to say the conductor makes all the artistic choices alone. The orchestra, singers, and even stage directors bring ideas to the piece that can enhance the storytelling. Colaneri welcomes this variety in the rehearsal room: “If you were to come to my working rehearsals, you will hear two words that I use quite a bit. One is the word

‘imagination.’ I want everybody to play with imagination, to think it’s not just a quarter note, but what that quarter note means in theatrical terms. Is it an exclamation point? Is it a question mark? Is it a reaction of horror? Or is it an exuberant reaction? Or is it a sigh? There are so many ways you can think about one note."

“The other word that I use a lot is the Italian word coraggio. ‘Have courage.’ In a rehearsal, we can do whatever we want. Don’t hold back—use the rehearsal to push the envelope and see how far we can take something. We might discover something that if we were cautious, we might not have discovered. For me, there is always a sense of discovery and imagination in everything, especially in the theater, because without that, why bother?”

Of course, the composer also shares ideas worth heeding. “Puccini was a theatrical genius!” states Colaneri. “He knew how to write curtain up and curtain down music. He actually gives you places in the score where the curtain goes up and where the curtain goes down, or if it should be slow or fast. Even the use of the curtain became a musical entity for Puccini.”

THE FINAL PIECE

Though the artists make the most of their rehearsal time, there is still one unpredictable variable in the mix: the audience. For Colaneri, the

audience is another key player in the production.

“I’m a big believer in removing the proverbial ‘fourth wall’ that separates the audience from the stage,” says Colaneri. “My own impression is that the fourth wall disappears so that we pull the audience in as an element. They participate in a more or less passive way by listening, but nonetheless, their emotions are engaged. They’re going to react with applause, or tears, or something emotional. If we think about the fourth wall as being down, it draws them in. It’s as if we’re all in a big circle, rather than a half circle divided by that wall. I like to think of it as one big sort of performing organism, if you will.”

Though the artists have plenty to coordinate amongst themselves, the audience is still at the forefront of Colaneri’s mind. “Certainly when I’m on the podium, if it’s a piece the audience has heard many times before, I’m thinking, ‘How can I make them hear it as if it were new, as if it were fresh?’” This could mean changing the tempo or even bringing out a countermelody from a specific instrument. “I bring that into the rehearsal process and then into the performance process as well.”

Whether you’re experiencing your first Bohème or revisiting an old friend, we’re sure you’ll hear something exciting from The Glimmerglass Festival Orchestra this season.

Background on "Bohemia" and Bohème

Frequent patrons of the Festival might notice a trend in our recent programming. This is our third consecutive opera to reference “Bohemians” or Roma, a nomadic ethnic group originating from India that has faced centuries of persecution. In our 2021 and 2022 seasons, respectively, Il trovatore (Verdi/ Cammarano) and Carmen (Bizet/Meilhac and Halévy) both presented fictionalized Romani communities living on the fringes of society in Spain. Though “La bohème” literally translates to “The Bohemians,” Puccini and his librettists Illica and Giacosa didn’t write a story about the Roma, but about a different kind of Bohemian.

To start, the name “Bohemian” is actually a misnomer.

According to MerriamWebster’s Word History blog, the French named the Romani people “Bohémien” believing they came from the Bohemia region of present-day Czechia rather than India. These Roma lived in the poorer districts of Paris without creature comforts, showed little concern for their appearances, and shared a love of the arts. Their presence attracted attention from the French—both curiosity and scorn. “Bohémien” became a pejorative term for the Roma and for anyone else who embraced their way of life,

including artists living in the Latin Quarter of Paris. French writers of the 19th century romanticized this “starving artist” lifestyle, such as Victor Hugo (The Hunchback of NotreDame), Honoré de Balzac (La Comédie humaine), and Henri Murger, whose Scènes de la vie de bohème directly inspired Puccini, Illica, and Giacosa’s opera.

You won’t hear a Bohemian influence in the music of La bohème (by way of India or Czechia), but the Bohemian lifestyle does come to bear on Puccini’s score. Puccini represents his own personal

experience as a young starving artist by musically citing himself. The opening phrase of La bohème is directly lifted from Puccini’s own Capriccio sinfonico, a piece he composed to graduate from the Milan Conservatory. This musical reference reflects “the joy and exuberance of the discovery of art for the first time,” as Maestro Colaneri puts it. “The ‘bohème’ in La bohème for Puccini is not just the story matter, but also picking up these kinds of themes from these early pieces that represent his young life. It’s autobiographical in many ways.”

CANDIDE (1956)

Music by LEONARD BERNSTEIN Book by HUGH WHEELER, after VOLTAIRE

Lyrics by RICHARD WILBUR, STEPHEN SONDHEIM, JOHN LA TOUCHE, LILLIAN HELLMAN, DOROTHY PARKER, and LEONARD BERNSTEIN

PAINTING: JASON YEOMANS

Presented in English with English projected lyrics.

Twelve performances: July 8, 10m, 16m, 25m, 27, 29m; August 5, 7m, 13m, 15m, 18, 20m, 2023

Running time: 2 hours and 50 minutes, including one 25-minute intermission

This production is generously sponsored by Andrew J. Martin-Weber.

This production is presented by arrangement with Boosey & Hawkes, Inc., Sole Agent for Leonard Bernstein Music Publishing Company LLC, publisher and copyright owner.

Pangloss/Voltaire Bradley Dean+

Candide Brian Vu

Cunegonde Katrina Galka

Old Lady Meredith Arwady

Maximilian Schyler Vargas*

Martin/James Jonathan Patton*

Cacambo Jonathan Pierce Rhodes*

Grand Inquisitor/Governor Ryan Johnson*

Paquette Lisa Marie Rogali*

Baroness/Vanderdendur Keely Futterer*

Minister’s Wife/Queen of Eldorado Alicia Russell Tagert*

Baron/King of Eldorado Carlos Ahrens*

The Glimmerglass Festival Orchestra and Chorus

Conductor Joseph Colaneri

Original Director

Director and Choreographer

Francesca Zambello

Eric Sean Fogel

Set Designer James Noone

Costume Designer

Lighting Designer

Sound Designer

Hair & Makeup

Projected Titles

Jennifer Moeller

Mark McCullough

Joel T. Morain

Tom Watson

Kelley Rourke

Chorus Director Katherine Kozak

Assistant Director

Assistant Conductor

Principal Coach

Associate Choreographer

Dance Captain

Assistant Coach

English Diction Coach

Stage Manager

*Member of the Young Artists Program

Mario Pacheco*

Micah Gleason*

Grant Wenaus

Andrea Beasom

Madison Hertel*

Laura Bleakley*

Kathryn LaBouff

Iván Dario Cano

Candide, a youth of obscure origins, lives with the Baron and Baroness of Westphalia and their two children, Maximilian and Cunegonde. When Candide—inspired by the coupling of his tutor, Pangloss, and Paquette, a servant girl—proposes to marry Cunegonde, he is kicked out of the castle and recruited to the Bavarian Army. After taking part in a bloody battle between Bavaria and Westphalia, he travels to Holland, where he is reunited with Pangloss, who informs him that the Baron, Baroness, and Cunegonde have been killed. In reality, Cunegonde has survived and is being shared by two lovers: Don Issacar and the Grand Inquisitor.

Pangloss and Candide travel to Lisbon, arriving just as a terrible earthquake strikes the city. As they philosophize about the event, they are overheard and arrested for blasphemy. Pangloss is sentenced to death, Candide to flogging. An Old Woman takes Candide away and orchestrates a reunion between him and Cunegonde. When Don Issacar surprises the lovers, Candide kills him; the Grand Inquisitor soon suffers the same fate. Candide, Cunegonde, and the Old Woman flee to Spain, where they meet Cacambo, who suggests they travel together to the New World.

In Montevideo, the Governor takes an interest in Cunegonde. With Cacambo, Candide goes to Paraguay and is reunited with Maximilian, who has joined a Jesuit order. When Maximilian objects to Candide’s proposed marriage to Cunegonde, Candide kills him.

+The Actor appears through the courtesy of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Detailed ensemble casting is available on glimmerglass.org.

Candide and Cacambo flee and find themselves in El Dorado, where they lack for nothing—except Cunegonde. Determined to find her, they set off again. Cacambo sails for Montevideo to retrieve Cunegonde; the two friends plan to meet in Venice. Vanderdendur, a slave trader, agrees to take Candide to Venice, but robs him instead. Candide chooses a new traveling companion: Martin. On a Tunisian galley, Candide and Martin meet Pangloss and Maximilian—alive but enslaved—and buy their freedom. In Venice, they are reunited with Paquette, then Cacambo. At a masquerade ball, the Old Woman and Cunegonde approach Candide, looking for money. When Cunegonde’s mask comes off, Candide is startled by what she has become. He closes his Venetian palazzo and, taking the others with him, moves to the mountains, where all put away their old lives and find useful work.

... TO MAKE SOME SENSE OF LIFE

BY KELLEY ROURKE

How do we make sense of bad things happening to good people? Voltaire’s Candide, ou l’optimisme (1759) plays like an irreverent comic-strip, with no shortage of sex and violence, but at its heart is a serious question. The title character has his faith shaken by one calamity after another, and those who claim moral authority—whether via church, state, or academia—only seem to make matters worse. In such a world, how is an individual to live? Candide was banned shortly after its publication, but despite the controversy it created—which continued well into the 20th century—it was an instant hit and is now considered a classic of Western literature.

Young Candide is brought up in a backwater province and has no reason to doubt his tutor, Pangloss, when he declares it to be “the best of all possible worlds.” After Candide is forced to leave home, he comes face to face with the brutality of man (the Seven Years' War), the savage power of nature (the Lisbon Earthquake), the corruption and hypocrisy of those in positions of moral authority— and worse. Pangloss has a quick explanation for everything, but the explanations seem increasingly ridiculous in light of Candide’s accumulating experience. By the time Candide meets Martin, a pessimist, he is primed to upend his view of the world.

“I think we see ourselves in Candide,” says Francesca Zambello, who originated the Glimmerglass production in 2015. “He wants to do the right thing. He wants to see the world as a place where order and reason and justice prevail. And we want Candide to succeed because we want the same for ourselves.”

The “optimism” referenced in Voltaire’s subtitle is a formal philosophical response to a perennial question: if God is all-powerful and all-good, how could he have created a world in which goodness does not always prevail? Versions of the “optimism” argument were championed by Gottfried Wilhelm Leibniz (we live in the best of all possible worlds) and Alexander Pope (what is, is right), among others.

Candide was not Voltaire’s first literary challenge to philosophical optimism. Four years before the novel’s publication, the Great Lisbon Earthquake had killed tens of thousands of innocent people; Voltaire argued in his 180-line “Poème sur le désastre de Lisbonne” (Poem on the Lisbon Disaster) that the catastrophe refuted Leibnizian Optimism once and for all. The Lisbon Earthquake also makes an appearance in Candide:

Some falling stones had wounded Candide. He lay stretched in the street covered with rubbish.

“Alas!” said he to Pangloss, “get me a little wine and oil; I am dying.”

“This concussion of the earth is no new thing,” answered Pangloss. “The city of Lima, in America, experienced the same convulsions last year; the same cause, the same effects; there is certainly a train of sulphur underground from Lima to Lisbon.”

“Nothing more probable,” said Candide; “but for the love of God a little oil and wine.”

Voltaire drops similar moments through Candide’s story like breadcrumbs leading the way to his conclusion: Metaphysico-theologico-cosmologicopanology is all well and good, but each of us has work to do in this imperfect world of ours. Or, in the final words he gives Candide, “We must cultivate our garden.”

Lillian Hellman brought the idea of adapting Candide to Leonard Bernstein in 1953. Like many of her contemporaries, including Bernstein, the playwright had been called before the House UnAmerican Activities Committee and pressured to “name names” of suspected communist sympathizers. Hellman, who famously declared “I cannot and will not cut my conscience to fit this year’s fashions,” seized on Candide’s scenes of intolerance and hypocrisy—especially the chapter on the Inquisition—as a means of commenting

Voltaire’s Candide—and the show it inspired— asks us to set argument aside and get to work.

on the anti-Communist “witch hunts” that were being conducted under the guise of protecting the American way of life.

“It’s so obviously right that I wonder nobody has done it before, or have they?” Hellman wrote to Bernstein. “I think if done right, it could have real style & wit, and great importance.”

While Candide’s topic and tone may have felt obviously right, adapting the story for the stage was no simple task. Candide’s progress plays out in more than 20 land-based locations, with a number of additional events happening at sea. The original production featured 50 characters played by a cast of 22.

Candide opened on Broadway in 1956 to mostly positive reviews, but Richard L. Coe’s musings in the Washington Post proved prophetic: “What does worry me—and, I suspect, its other admirers—is that Candide is too special for popular success.” The first Broadway run closed after only 73 performances, and while the team briefly tinkered with alternative versions, Hellman eventually abandoned the project altogether. Hugh Wheeler created an entirely new book for a fleet, circuslike production in 1973, which eliminated about half the songs and reduced the orchestra to thirteen. The success of that production (it ran for 740 performances) led Bernstein to revisit the piece again and again, with a lengthening list of collaborators, gradually adding more Voltaire—and more Bernstein.

Bernstein described Candide as his “love letter” to European forms—the gavotte, mazurka, polka, schottische, waltz. (That he worked on Candide more or less simultaneously with West Side Story—a score steeped in the Americas—is testament to his wideranging musical facility.) Candide’s adventure is a grim one, but the title character somehow maintains a sunny outlook. The overture gives us an idea of what we’re in for, opening with a bright fanfare before sprinting forward through off-beats and accidentals, sampling a bombastic battle, flirting with peaceful domesticity, and letting loose peals of virtuosic laughter. As the work unfolds, a manically cheerful character predominates, but there are moments of stillness, too, when Candide pauses to search for purpose amidst the chaos with a melodic line that leaps an octave, falls, then tries again.

“The musical and geographical variety packed into Candide makes it an inspiring theatrical playground,” says director/choreographer Eric Sean Fogel, who has been with the production since its premiere. “The challenge is to make sure the characters’ internal transformation doesn’t get lost

in the constant transformation of the space around them. This will be the sixth time we’ve staged this production, and we’re still learning. It’s been a gift to have the opportunity to tend this garden for the past eight years.”

At the end of his travels, Candide rejects both the optimism of Pangloss and the pessimism of Martin, choosing action over argument; his now-familiar melodic reach propels us into Bernstein and Wilbur’s finale:

We’re neither pure nor wise nor good; We’ll do the best we know. We’ll build our house, and chop our wood, And make our garden grow.

“Hope is an embrace of the unknown and the unknowable, an alternative to the certainty of both optimists and pessimists,” writes the essayist, historian, and activist Rebecca Solnit . “Optimists think it will all be fine without our involvement; pessimists adopt the opposite position; both excuse themselves from acting. It is the belief that what we do matters even though how and when it may matter, who and what it may impact, are not things we can know beforehand. We may not, in fact, know them afterwards either, but they matter all the same, and history is full of people whose influence was most powerful after they were gone.”

Bernstein was not one to excuse himself from acting. “ I want to conduct,” he told the New York Times. “I want to play the piano. I want to write for Hollywood. I want to write symphonic music. I want to keep on trying to be, in the full sense of that wonderful word, a musician. I also want to teach. I want to write books and poetry. And I think I can still do justice to them all.’’

Bernstein actively tended Candide, that finicky hybrid, for a good portion of his career—perhaps longer than any other single work in his vast hothouse of ideas. The seed was planted early: after he made his New York Philharmonic debut, but before he was named Music Director; after Fancy Free but before West Side Story; after he made his first television appearance but before he launched the enormously popular “Young People’s Concerts.” While Bernstein had little involvement in the first major revival, he rolled up his sleeves and got to work on the many new versions that followed. He conducted and recorded the “final revised version” more than 30 years after the first version broke ground; had he not passed away shortly afterwards, it’s possible he would have kept at it. As it is, Candide is part of an extraordinary body of work that continues to influence and inspire all who would “make some sense of life.”

GETTING TO KNOW ROB AINSLEY

BY NICK RICHARDSON

Glimmerglass’s new Artistic & General Director Rob Ainsley came to us in September 2022 from Washington National Opera, where he ran the Cafritz Young Artists program and the American Opera Initiative. He has worked as a musician and artistic leader at opera companies across the U.S., including at Portland Opera, Minnesota Opera, Opera Theatre of Saint Louis, and the Greenwich Music Festival. In his native England, he served as guest Chorus Master with the English National Opera. Rob himself is a graduate of a Young Artist Program (The Metropolitan Opera’s Lindemann Young Artist Development Program), and he holds degrees from the University of Cambridge and Mannes School of Music.

What drew you to opera? How did you decide to have a career in this field?

Opera tells stories and plumbs the depths of the human psyche in ways that no other art does. I’ve found myself in floods of tears at opera performances, and I don’t do that as often when watching a movie, reading a book, or seeing a painting. There’s something so visceral and immediate. I’m sure that’s because I’m a great lover of music and voices. The human voice is the greatest of all instruments. People always say that, but it truly is. It has more colors, possibilities, and emotional core to it than anything else. Not only can it produce some of the most beautiful sounds you’ll ever hear, but when connected to text and drama, it’s just extraordinary what it can do and what its possibilities are.

When you saw that this job was available, what made you say, “I want to come to Glimmerglass”?

You know, there were very few jobs that could’ve pulled me away. Everything that I’ve done has always been very vocational. But something felt very right about this particular one. I know all of the great summer festivals because it was part of my job to travel to them, scout artists, and see what was happening. I think Glimmerglass combines all of the best bits. It has a focus on emerging artists and fostering their careers, but also has really experienced artists involved. It also has a great theater.

I love the festival atmosphere. I love the fact that we have a balanced slate of offerings and content. I love what it does for young artists, who have always been such a huge part of my life and my career. I’ve known so many artists who have come through Glimmerglass, whose

careers have been made and built by it. This is a dream job.

The Festival has grown so much over the past few years. What more is there for Glimmerglass to do? What new directions can Glimmerglass pursue?

Everything in art and everything in life is about balance. It’s often not a matter of doing more; it’s a matter of how and why. I think there are niches where we can really excel because we have this beautiful theater that’s the right size for opera. I love the fact that we can do something like Aida or Dutchman in this house, but I also think that this is an ideal house for Baroque opera. I love that we do musical theater, and that we do it in a way that acoustically requires great singing. I have several titles in mind that I think will fit the house very beautifully.

This is a festival where you have musical theater performers, dancers, and great

singers. You have incredible apprentices in every possible discipline. You have a scene shop and a costume shop, and you design all your own productions. It’s an artistic playground! I want to use that combination of talent in innovative and new ways, and let the talent that’s available drive some of the choices. I’d love to see artists having agency in our commissions or in what we program on a concert. For example, Mike Mayes [Captain von Trapp in The Sound of Music, 2022] not only sings opera, but also sings folk music, and plays guitar. If someone has a special skill, then that should be part of the Festival. We should draw on the talent that we have available to us. Artist-driven content is important to me.

Though you’re not directly in charge of the Apprenticeship Program, do you have any ideas or plans for how to keep it growing in the future?

We’re coming to this point where people can’t afford to spend hours upon hours of their lives for the sake of experience. That’s just changing in society in general. This wonderful matching gift from Denise Littlefield Sobel has let us pay the Apprentices in an equitable way, and we’ve upped the stipends of the Young Artists as well. It’s a hard thing to do in a budget, but it’s the right thing to do, and I’m really proud of that step. We have to find ways to sustain that going forward, and I’ve got to raise as many funds as I possibly can. And that’s something I love doing. I love talking about the music, and the art, and playing piano.

I’m happy to talk to anyone and sell them on the opera gospel.

Too often, Apprentices are kind of behind the scenes (because that’s where they work), but that doesn’t mean they shouldn’t be given the same kind of developmental resources that anyone on the stage is getting. I think our program is fantastic. It’s the only program I know of that is complete in that way. There aren’t many places where you’ll get to work with people like Abby Rodd [Director of Production], our wonderful technical director Ross Rundell, and Wyatt Nyman [Production Coordinator]. They’ve all come up through that same system. You’re really working with the best in every field.

I feel that even our newest, entry-level employees want to have a say in this company, and I have to believe that’s special to Glimmerglass. It seems like people are really invested in Glimmerglass and want to be part of it in bigger ways.

A huge part of that is the incredible staff here. A lot of them—Andi [Lyons, Executive Director] and Abby—started here as Interns. This company has been their life, and you can really tell. It’s because Glimmerglass is in this kind of community where everything is interwoven and everybody knows everyone. It takes a village, as they say. It takes a few!

It truly does. I think that filters all the way down through the company. Everyone can

feel that we are all working towards the same aim, and everyone’s part is crucial. There are no “small people.” If this person isn’t doing their job, then this prima donna doesn’t get to do theirs. As I said, artist-driven culture and content is definitely something I’m excited about. We have to function that way now. That hierarchical structure in opera doesn’t work anymore. We have to find other ways to do it. And I’m easily overruled. I hope I’m not an autocrat!

Why do we need opera today?

I think it’s a deeper question: Why do we need art in our lives? For me, it’s a no-brainer. We’re humans, and we tell stories about what being on this crazy planet means to us. We do that in any possible way that we can, and the most wild and wonderful way is opera. It’s one of the most ludicrous art forms ever invented, yet it has the most possibilities. People will continue to make opera.

That’s not to say it’s easy. Opera is very expensive because it’s so complex and it involves so many people. And it’s really hard to get right! Actually, that’s what I love most about it —the more things you add that can go wrong, the harder it is to get it right. But striving for when it does go right, even if that’s for a fraction of a second, makes it worth trying. That’s why we keep doing these pieces over and over again.

I’ve seen a billion Carmens, but you’re always striving for the Carmen. It’s an Olympian activity in all ways—not just vocally, but in every way. It’s the greatest of challenges.

W E LC O M E , RO B !

Congratulations on your running start and great first season, and looking forward to many more to come!

— Michael Young and Debra Raskin

Rob at Glimmerglass is, indeed, the "best of all possible worlds." Cheering you on for a most wonderful summer. The Festival— artists, staff and patrons—is so fortunate to have you as its leader, to help make its —and our—“garden grow.”

— Mariko Ikehara & Jeffrey Cunard

We are thrilled, Rob, that you are in the Director's chair, and thanks to the Board for aiming high and hitting the mark.

— Allen and Judy Brick Freedman

With all best wishes for your success and happiness.

Abby Kreh Gibson

The members of the Glimmerglass Festival Orchestra warmly welcome Rob to the Glimmerglass family! We look forward to a harmonious and fruitful relationship with you. Curtain up!

Glimmerglass Festival Orchestra Players Association

Welcome to the Glimmerglass family. Can't wait to see what excitement the future holds.

Dennis Banks

Welcome, Rob! We are thrilled you are here and grateful for your immense talent.

With love, The Hill-Edgar Family

Glimmerglass is so fortunate to have a new leader so inspiring and creative. We welcome you!

Jean and Gene Stark

Welcome, Rob, to Glimmerglass.

Gemma Hall

Welcome, Rob! So glad to have you at Glimmerglass and joining the musical community.

Melinda Hardin and Lou Allstadt

Welcome, Rob. The Guild looks forward to a fantastic season working with you and the Festival!

The Guild of the Glimmerglass Festival

Rob—Congratulations on your inaugural season as Artistic & General Director of the Glimmerglass Festival! We are so glad that you are here and know that the 2023 season, under your leadership, will be a smashing success!

— Senator Jim and Cindy Seward

Dear Rob (& Micah), As if we didn’t love our Glimmerglass visits to start with, now having you there makes it even more special. While you shall be sorely missed in D.C., this is one magnificent gain for the Glimmerglass community. We are very excited to see what you have in store for this amazing festival. Best of luck to you & Micah in Cooperstown.

— The Savada-Stevenson Family

Looking forward to all the new and wonderful programs that will follow with you. See you in the summer.

Jackie Metzger

Welcome to the neighborhood, Rob. We’re so looking forward to your first (of many) terrific seasons here at Glimmerglass, the home of magical music on Otsego Lake. Kathleen Mulhern Johnson and Bruce R Johnson

A warm welcome, Rob!

— Jim and Charles Ballowe Rob—we are THRILLED you are here! Blessings abound!!

— Elsie and Thom Rhodes

Dear Rob: Greetings and benvenuto from the Utica community, and especially our youth initiative! We are all so happy you are with us, and are looking forward to a wonderful season full of music and theater! Thanks for all you do for the young people!

— Hon. Joan E. Shkane (ret.)

Rob—We believe in you and in GGF. We look forward to you charting a path toward great artistic successes that demonstrates how valuable opera and music can be in creating meaning and community in today’s ever-changing world.

All the best, Debra Valentine

We are eagerly looking forward to your tenure at Glimmerglass!

Bill Packard and Charles Ihlenfeld

Welcome, Rob! We look forward to many years of enjoying your contribution to the great tradition of Glimmerglass Opera. Anne & Lang Keith

Greetings, Rob, and a warm welcome to the Glimmerglass community. Wishing great success for you and for the Festival in the years to come.

— Tom Simpson

We are thrilled to have you here and so looking forward to your first Glimmerglass season.

— With congratulations and love, Katharine Muir and Ken Witty

Rob, in a short time, you have become a valued member of this community, and we look forward to years of your spirited and talented leadership of the Festival . . . and your friendship.

— John B. Webb and Nelson Mondaca

Rob, as a proud former Upstate New Yorker, I am thrilled someone of your talent, energy, and vision will be leading Glimmerglass. I hope another 8-year-old who saw her first opera at Glimmerglass will be dazzled again by one of your new productions!

All the best, Molly Wilkinson

Rob—Welcome to Glimmerglass! We are so honored to have you. Thank you for bringing so much to this beautiful opera house. God bless.

Rod Vanderbilt

Rob, looking forward to you making your mark at Glimmerglass!

— Howard Zar and Ray Kurdziel

We are so grateful to have you and Micah as a part of our community. Look forward to this, the first of many grand seasons.

Dr. F. Todd and Laura Wetzel

Go Rob! Your enthusiasm is catching, positivity is everywhere, the future looks bright.

— Janet Nelson

We hope you find as much joy and fulfillment in Central New York as those of us who have chosen this region as our home. May your tenure at Glimmerglass be long and successful, filled with memorable operas and supportive friendships.

Michael and Deborah Zahn

Best wishes for the success we know you will have in your first season at Glimmerglass. You fill well the giant steps that have come before you. Just keep running, as you have been doing so well, don’t forget to breathe, and play on.

— Gib and Lin Vincent

So delighted you are sharing your talent with us. Thanks. We eagerly look forward.

Georgeanne and Jean Rousseau

Welcome, Rob! The community is very fortunate to have you! Looking forward to many wonderful seasons with you.

— The Horvath Family

How fortunate we are to have such a talented and accomplished successor to the role of Artistic & General Director! Welcome to the Glimmerglass and Cooperstown communities!

— Bob & Pat Hanft

Gifts Made in Honor of Rob Ainsley

Anonymous (2)

Lou Allstadt and Melinda Hardin

Susan Antos and Edward Fallon

Sharin Apostolou and Ryan MacPherson

Edward and Laura Asher

James E. Ballowe Jr.

Dennis N. Banks

Vige Barrie and Jim Frederick

Jim and Nancy Barton

Sidney and Susan Blatt

Van Broughton Ramsey and Robert Nelson

Kayellen Button and Bruce Loveys

Karyl Clemens

Jane and Siobhan Cornell

Jeffrey P. Cunard and Mariko Ikehara

Joan Desens and Simon Carr-Ellison

Martha Monteleone Duke

Allen R. and Judy Brick Freedman

Abby Kreh Gibson

Glimmerglass Gals

The Glimmerglass Festival Orchestra Players Association

Michael Halloran

Robert and Patricia Hanft

Jennifer Potter Hayes

The Hill-Edgar Family

The Horvath Family

Susan Huxtable and Joseph Novitski

Kathleen Mulhern Johnson and Bruce Ray Johnson

Stephen and Pamela Kalista

Anne and Lang Keith

Daniel Kempton

Anne R. Kline and Geoffrey P. Pohanka

Robert S. Lalli

Harry and Ellen Levine

Linda Loomis

Massage Therapy by Kristin Sloth

Carol Ann McKeen and John Dunton

Jackie Metzger

Katharine Muir and Kenneth Witty

Janet Nelson

Michael W. O'Dell, M.D.

Bill Packard and Charles Ihlenfeld

Elsie and Thom Rhodes

Angie Richards

Rotary Club of Cooperstown

Georgeanne and Jean Rousseau

The Savada-Stevenson Family

Margaret Savoie

Sandra Seaton

Senator and Mrs. James L. Seward

Thomas Simpson

Ted Snowdon and Duffy Violante

Eugene and Jean Stark

Dov and Tom Treiman

Debra A. Valentine and Jill V. Gardiner

Rod Vanderbilt

Dr. and Mrs. Gilbert T. Vincent

Ronald and Bette R. Wagner

Drs. Hueldine Webb and Lester W. Blair

John B. Webb and Nelson Mondaca

Dr. F. Todd and Laura Wetzel

Molly Wilkinson

Michael Young and Debra Raskin

Deborah and Michael Zahn

PHOTO: MARGARITA CORPORAN

Welcome, Rob!

Congratulations from The Glimmerglass Festival Board and Leadership on your first season. With your expertise, passion, and knowledge, we know that the future of the company is bright.

HONORARY CHAIR

Peter Duchin

OFFICERS

Robert Nelson, CHAIR

Michael Young, PRESIDENT

Edward L. Turner, VICE-CHAIR

Jean Stark, VICE-PRESIDENT

Mark Luis Villamar, TREASURER

Erna Morgan McReynolds, SECRETARY TRUSTEES

Patricia Chadwick

Anne M. Curtis

Wendy Curtis

Nellie Gipson

Sherwin M. Goldman

Allison Hill-Edgar

Thomas C. Ragan

John Ryland

Michael Sekus

Senator James L. Seward

Thomas Simpson

Ted Snowdon

Kara Unterberg

Debra Valentine

EX-OFFICIO LIAISONS

William Goodenough 1

Sage Mehta 1

Eric Owens 2

Laura Tansey Wetzel 3

HONORARY LIFE TRUSTEES

John ^ and Wendy Curtis

Elizabeth M. and Jean-Marie R. Eveillard

The Family of Andrea K. Fallek ^

Allen R. and Judy Brick Freedman

Faith E. Gay and Francesca Zambello

Nellie Gipson

Sherwin M. Goldman

The Family of Mrs. John H.J. Guth ^

The Family of Alfred F. Hubay ^

The Family of Mrs. John R. Hupper ^

Dudley D. and Carole H. Johnson

Patricia Kavanagh and James Grant

The Family of Robert B. Schlather ^

Senator James L. Seward

Lady Juliet and Dr. Christopher Tadgell

The Family of Eugene V. ^ and Clare E. Thaw ^

NON-TRUSTEE ADVISORS

James Barton

Frank Holozubiec

Gregory Long

Ann McChord

Janet Nelson

Elisabeth A. Sapery

Joan Shkane

PHOTO: MARGARITA CORPORAN

ROMEO AND JULIET (1867)

Music by CHARLES GOUNOD

PAINTING: JASON YEOMANS

Sung in French with projected English text.

Seven performances: July 15, 17m, 30m; August 4, 10, 12m, 19m, 2023

Running time: 2 hours 50 minutes , including one 25-minute intermission

This production is generously co-sponsored by Elizabeth M. and Jean-Marie R. Eveillard and Jacqueline B. Mars.

Co-production with Washington National Opera

Romeo Duke Kim

Juliet Magdalena Kuzma

Mercutio Olivier Zerouali*

Friar Laurence Sergio Martínez*

Count Capulet Stefano de Peppo

Tybalt Hayden Smith*

The Duke John Mburu*

Stéphano Lisa Marie Rogali*

Gertrude Meredith Arwady

Grégorio Darren Lekeith Drone

Paris Jonathan Patton*

Benvolio Will Upham*

The Glimmerglass Festival Orchestra and Chorus

Conductor Joseph Colaneri

Director

Choreographer

Set Designer

Costume Designer

Lighting Designer

Hair & Makeup

Simon Godwin

Jonathan Goddard

Dan Soule

Loren Shaw

Robert Wierzel

Tom Watson

Projected Titles Kelley Rourke

Chorus Director Katherine Kozak

Assistant Director Joshua R. Horowitz

Assistant Conductor Robert Kahn*

Principal Coach Anna Betka

Fight Director Casey Kaleba

Assistant Coach Laura Bleakley*

Diction Coach Christopher Devlin

Stage Manager Laurel McIntyre

*Member of the Young Artists Program

Detailed ensemble casting is available on glimmerglass.org.

At a masked ball at the Capulet palace, Tybalt points out his cousin, Juliet, to his friend Paris. Although Juliet has been promised to Paris, she claims she is in no rush to marry. But when she encounters Romeo, who has sneaked into the party with his friends, she finds herself powerfully drawn to him. It is only after the two strangers share a tender moment that they realize each other’s identity: Romeo is a Montague, Juliet is a Capulet, and the two families have feuded bitterly for generations.

Later, Romeo steals into the Capulets' garden. When Juliet steps onto her balcony, Romeo declares his love, and she promises to be his wife. Romeo confides in Friar Laurence, who agrees to perform the marriage in secret. Meanwhile, Romeo’s page, Stéphano, taunts the Capulets. A fight breaks out. Romeo pleads for the two families to forget their feud, but Tybalt refuses to listen. When Tybalt kills Mercutio, Romeo’s friend, Romeo kills Tybalt.

Romeo returns to Juliet, who forgives him. The next morning, Capulet tells his daughter she will marry Paris that very day. Friar Laurence devises a plan: Juliet will take a potion that will send her into a deathlike sleep; instead of being wed to Paris, she will be laid in the tomb, and eventually reunited with Romeo. Romeo hears of Juliet’s “death” and, before anyone can explain the details of the plan, he goes to her tomb and poisons himself. As her potion wears off and she realizes what he has done, she takes her own life.

SPACE FOR REFLECTION

A conversation with Simon Godwin

Simon Godwin, Artistic Director of the acclaimed Shakespeare Theatre Company (Washington, D.C.) makes his operatic debut this summer. Before rehearsals began, he spoke with Glimmerglass Dramaturg Kelley Rourke about the Bard’s timeless work—and how he approaches it.

The story of Romeo and Juliet is one of the most popular dramas of all time—not only is it a cornerstone of any classical theater’s repertory, it has also inspired paintings, films, operas, and more. Why does the story of these star-crossed lovers hold such power?

Shakespeare was preoccupied with universal themes. He was drawn to stories everyone could connect to— fathers and children in King Lear; identity and desire in Twelfth Night; falling in love in Romeo and Juliet.

Shakespeare’s interest in what we all share is reflected in the form— his plays are written in iambic pentameter—which is a rhythm based on the beat of the heart. Recent studies have shown that audience members’ heartbeats synchronize when watching a live theatrical performance. Shakespeare didn’t know this, but he knew it intuitively, and the literary form he chose, that pulse, has a unifying effect on everyone watching.

In Romeo and Juliet, we have two young people discovering love as a way of being free. It’s a different kind of love than the love that they’ve known so far. It begins as a commitment to each other and to building a secret alliance between their feuding families. They hope their love will heal the enmity between the warring Capulets and Montagues. The irony and the tragedy is that their story goes so wrong.

This is your first time directing opera, but certainly not your first time thinking about music as a theatrical device. How do you think about the role of music in plays vs. opera?

Shakespeare was fascinated by music. His plays are full of songs,

and they were originally performed with an onstage band. As the modern stage becomes ever closer to cinema, underscoring has become a very important storytelling tool. In my recent production of King Lear at Shakespeare Theatre Company, there was music (melody and harmony) as well as a frequent sonic underscoring (breath, a military presence, a kind of psychological pulse).

As I embark on my first opera, I need to rethink all these techniques. Here, the music leads everything—tempo, emotion, character. I’m interested, as well, in music’s ability to expand or shrink the visual. In the original play, Shakespeare, for example, uses music to create the party. Yet this scene is always a challenge to direct, since you must keep turning the music down to hear the speech! In opera, it’s seamless. You can keep the music and the party going, while gaining access to both the epic and the intimate. The music becomes a kind of camera allowing us to sweep in and out of this exhilarating and momentous journey.

You lead Shakespeare Theatre Company in Washington, D.C., a company that is at once devoted to work that is centuries old and committed to offering a fresh, modern perspective. What do you think is gained by re-examining classics?

Scholarship has revealed the extent to which Shakespeare’s texts are extremely unstable. There were multiple versions, multiple sources, and many collaborators. The plays, as written, are also longer than the time it would have taken for them to be staged. In the prologue of Romeo and Juliet, Shakespeare describes the “two hours' traffic of our stage,” but, if you do the full printed text,

it’s more like three and a half hours! So that provides some clues about performance practice—these plays were written to be cut. The idea of the perfect, untouchable text is simply inaccurate. You do Shakespeare the best service when you approach him with the kind of mischievous, provocative, and playful approach he himself applied.

Tell us about the approach you and your collaborators have taken for this production of Romeo and Juliet.

Shakespeare was interested in presenting plays that spoke to his own time and to his audience. Based on the very few pieces of evidence we have, we know the plays were not performed as historical re-enactments. Old stories were remodeled, and the costumes were contemporary.

Like Shakespeare, we’ve started with the present moment. So, the setting is modern. However, Verona is still a parallel plane, as Nabokov once said. It’s both timely and timeless. We’ve sought to deliver the drama and glamor and epic scale that the story needs, while suggesting these people could be our parents, our children, our cousins, our community.

As I venture into opera, into a world with so many new relationships, it felt good to bring some established collaborators with me. Jonathan Goddard, our choreographer, is a fantastic dancer, and over the years he’s helped me bridge the gaps between words and bodies, how actors can physicalize intentions. Jon’s understanding of music will be critical for me as I chart this journey from the spoken to the sung. Dan Soule, who has done the sets, knows how to blend modernity

with a commitment to spectacle. Loren Shaw has previously created amazing costumes for STC in Washington. At the same time working with the singers, the orchestra and, of course, Maestro Colaneri is a privilege. Gounod’s vision is a bold and glorious one. Finally, his music is going to be my biggest ally in serving Shakespeare, and delivering a huge wave of emotion and excitement. Love sounds like this……!

When we began this conversation, you asked what it meant to put love first, above all else. How does the story of Romeo and Juliet respond to this question?

As they say in Armenia, “every stick has two ends,” and the opposite of love is hate. Quick to love, quick to hate. Before marrying Romeo and Juliet, Friar Laurence advises them to “love moderately.” But how do

we “love moderately”? Isn’t love, by definition, immoderate? This is why Shakespeare is so rich. He adores all the contradictions and paradoxes that our lives are built around. Shakespeare doesn’t resolve the questions. He invites us to reflect on what it is like being driven by our feelings; he reveals the joy and tragedy of being led by our hearts.

Charles Gounod and “the Artistic Vocation”

“I emerged from the theater thoroughly at variance with the prose of real life, and completely wrapped up in that dream of the idea which had become my atmosphere, my fixed purpose. I did not close my eyes that night! I was beset, possessed! I thought of nothing but of producing—I also—an Othello!” (Charles Gounod, Memoirs)

Eight years after being “possessed” by a performance of Rossini’s Othello, Charles Gounod (1818-1893) was awarded the Prix de Rome. Immersing himself in the storied city, the young composer was deeply moved by both the liturgical music and the sacred paintings he found in its churches. When Gounod returned to Paris, he took a post as a church musician, and even enrolled in seminary for a time. Although he eventually returned to his first vocation—music—his faith remained at the center of his thought and work.

“Man’s sublime function is literally and positively that of a new earthly Creator. His duty is to make all things what they ought to become. Not merely in the matter of the cultivation of the soil of our earth, but also as regards intellectual and moral culture—justice, love, science, arts, trade, and manufactures—no consummation nor true conclusion is possible save through Man, to whom creation was confided that he might till it—”ut operatur terram,” as the old text of the Book of Genesis runs. An artist, then, is not simply a sort of mechanical apparatus which receives or reflects the image of exterior and visible objects; he is a sensitive and living instrument, which wakes to consciousness and vibrates at the touch of Nature. And this vibration it is which at once indicates the artistic vocation, and is the primary cause of any work of art.” (Charles

Gounod, Nature and Art

)

Gounod continued to write religious music for the rest of his life; he also made good on his teenage ambition to compose opera. The singer/composer Pauline Viardot, whom Gounod had met in Rome, suggested he compose a work for the Paris Opera with a leading role for her: Sapho premiered in 1851 and was followed by commissions for La nonne sanglante and Ivan le terrible. The latter was never performed, and Gounod moved on to a new theater—and new collaborators. Le médicin malgré lui, with a libretto by Jules Barbier and Michel Carré, premiered at the Théâtre-Lyrique, a house established to bring opera to the masses. Barbier and Carré went on to write eight libretti for Gounod, including the wildly popular Faust (1859)—which became one of the most-performed French operas of all time—and Roméo et Juliette (1867).

For their adaptation of Shakespeare’s tragedy, Gounod and his librettists zoomed in on the protagonists, making four love duets the pillars of their opera. Gounod’s sensitive and expressive text setting perfectly complements Shakespeare’s poetry, and much of the libretto is taken directly from the play. Shakespeare’s Prologue offered an irresistible opportunity for Gounod, a master of choral writing. Juliette’s “Je veux vivre,” on the other hand, has no Shakespearean equivalent, but the prima donna must have a showy Act One aria! And the opera’s Romeo lives until Juliet awakes, allowing the lovers a final duet and prayer for forgiveness—a move Gounod must have found not only musically but also morally satisfying.

Kelley Rourke

Sung in Italian with projected English text.

Five performances: July 28, 31m; August 6m,12,17, 2023

Running time: 2 hours and 30 minutes, including one 25-minute intermission

This production is generously co-sponsored by Elizabeth M. and Jean-Marie R. Eveillard and Jacqueline B. Mars.

PAINTING: JASON YEOMANS

Rinaldo Anthony Roth Costanzo

Almirena Jasmine Habersham

Armida Keely Futterer*

Goffredo Kyle Sanchez Tingzon*

Argante Korin Thomas-Smith*

Sorcerer Nicholas Kelliher*

Dancer Madison Hertel*

Dancer Peter Murphy*

Dancer Emma Sucato*

The Glimmerglass Festival Orchestra

Conductor Emily Senturia

Director Louisa Proske

Choreographer Jorrell Lawyer-Jefferson*

Set Designer Matt Saunders

Costume Designer Montana Blanco

Lighting Designer Amith Chandrashaker

Projections Designer Jorge Cousineau

Hair & Makeup Tom Watson

Projected Titles Kelley Rourke

Assistant Director Marinette Gomez*

Assistant Conductor Micah Gleason*

Principal Coach/Ripieno Harpsichord Christopher Devlin

Assistant Coach Yueqi Zhang*

Stage Manager Luci Burdick

*Member of the Young Artists Program

Detailed ensemble casting is available on glimmerglass.org.

In a hospital ward, a boy recovering from an operation distracts himself with stories of knights and their heroic deeds. In the bed beside him, an unconscious girl is fighting for her life. The boy becomes deeply absorbed in the storybook, imagining himself the hero of an unfolding tale.

Rinaldo, encouraged by his King, Goffredo, pledges to join the fight against Argante, their mysterious adversary. Argante requests a temporary truce, which Goffredo grants. Argante consults the sorceress Armida, who reveals that their side will be victorious if they can capture Rinaldo; she pledges to take the knight herself.

Meanwhile, Rinaldo finds himself mesmerized by Goffredo’s daughter, Almirena. Armida, seeing an opportunity, seizes the girl as bait. Rinaldo is paralyzed by grief but then, encouraged by Goffredo, sets off to save her.

In Armida’s enchanted domain, Almirena weeps, Argante considers his next move, and Armida waits for Rinaldo to appear. When Rinaldo attempts to rescue Almirena, the battle is intensified and complicated by Armida’s attraction to Rinaldo. Using magic, she disguises herself as Almirena, and thus succeeds in capturing Rinaldo.

Goffredo learns of Rinaldo’s plight; he and the other knights decide to storm Armida’s castle, despite a sorcerer’s warnings. When their first attempt is unsuccessful, they return to the sorcerer, who arms them with magic, allowing them to rescue both Rinaldo and Almirena.

The heroes are reunited, still reeling from all they have endured. Argante and Armida soon appear and the fighting begins again. Rinaldo’s heroic response brings the war to a definitive conclusion, freeing combatants on both sides to begin a new life.

BAROQUE OPERA AND THE CASTRATI

BY OLIVIA LERWICK

The year is 1099. The place: the plains outside the great city of Jerusalem. Our protagonist, Rinaldo, fights not only for the glory of his King and his God but for his one true love, the beautiful Almirena. From here, he embarks on his hero’s journey, meeting each new challenge with a purity of heart that leads him like a golden thread through the traps his enemies have laid. And yet, in our 2023 production, we are made to understand that these adventures are real only in the imagination of a young boy trapped by the random cruelty of illness. Unable to leave the hospital, he manifests his longing in his dreams and sallies forth as the hero he knows himself to be.

Baroque opera is uniquely able to relay the emotional complexity of this dream within a dream. Unlike the verismo style, whose straightforward relatability is grounded so heavily in reality, Baroque opera relies on the grandiosity and mythical qualities of its plots to entrance its audience. In order to make the unbelievable believable, however, one must heighten every aspect of the performance. Historically, the sets, costumes, lighting, and, most significantly, the music were meant to inspire awe and evoke the power of heroes and gods. With the stakes so high, one can only wonder, what singer could have assumed such prestige? Who could sing in such a way as to make them godly? The solution at the time—an operation performed on boy sopranos before puberty—created a

singer who combined the thrilling high notes and vocal flexibility of a boy soprano with the heroic (and resonant) physique of an adult male.

Somewhat ironically, the same castrati who played gods on stage were almost always cut “in the name of God.” They were the product of a culture whose misogyny was so entrenched that it would rather emasculate itself than let women sing in church, which would have presumably been even more humiliating. Of course, the practice of castrating talented boy sopranos was never given papal approval, but the increasing complexity of music in the late 16th century, the male falsetto’s general lack of power, and the cost of training sopranos who would soon be lost to puberty led the church into one of its

most bizarre paradoxes. Officially, castration in any of the Papal States was illegal. Unofficially, it became increasingly popular as their astonishing vocal abilities came to light, and an economic downturn forced more and more families to consider giving their children to the church.

The illegality of the practice, alongside the indisputably grotesque nature of the procedure, made for fantastical tales of “accidents,” which often involved being bitten by a malicious pig or falling from a horse in such a way as to lose one’s manhood. In reality, most boys were castrated at home with some alcohol or milk of poppy to numb the effects and possibly took a milk bath beforehand as it was said to soften the skin. If they survived and had either the money or the

patronage to do so, they would be sent to special schools where their one and only task was to learn how to sing.

These schools, primarily located in the Kingdom of Naples, created many vocal techniques that are still used today, including breathing techniques, scale work designed to increase agility and improve intonation, and, perhaps most importantly, the seamless transition between the very lowest range of the voice to the highest. It should be noted that the castrati’s unusual physiology likely enhanced the desirability of many of these techniques. Without testosterone, the castrati’s vocal folds remained the same as those of a child, and they also usually lacked the hormone which made their growth plates close, meaning that they were often tall and gangly with big barrel chests. The smallness of their voice paired with a huge lung capacity meant that they could sing extremely long phrases without taking a breath (legend has it the great castrato Farinelli could sing continuously for a whole minute) and that they could perform complicated passages with exceptional speed and precision.

The castrato voice was, for many, the literal

embodiment of the unbelievable. The few good enough to make it into opera were idolized by the aristocracy that funded them. They were the original heroes of the stage and brought both vocal ability and vocal music to heights that were previously unthinkable. In a legend that presages our modern obsession with celebrity, one woman was said to have cried out, “One God, one Farinelli!” after one of his performances.

For some of them, perhaps their lives also felt like a dream within a dream. Their power onstage could never truly be reflected in their lives offstage, as they were never given any social status outside of their vocal talents. Even marriage and partnership for a castrato were frowned upon, and they were mocked and criticized for their feminine bodies despite also being desired for them. In the liminal space they were given, they could be gods, but only for a short time.

Audiences today have the chance to hear the gods sing again in the talents of countertenors, biologically unaltered men who sing full voice in their falsetto. Our 2023 Artist-in-Residence, Anthony Roth Costanzo, is

one of the world’s leading countertenors, and plays the lead in our production of Rinaldo. Costanzo has performed at many of the leading opera houses in the world and was Musical America’s Vocalist of the Year in 2019. Perhaps most fittingly, he won a GRAMMY award for his portrayal of the godking Akhnaten in Philip Glass’s opera of the same name and has extensive knowledge of what it means to portray the hero.

It should come as no surprise that the composer of Rinaldo, G.F. Handel (1685-1759), would capitalize on the popularity of the castrati. In fact, the title role of Rinaldo, which premiered in London in 1711, was sung by the great castrato, Nicolò Grimaldi. Between 1711 and 1731, Rinaldo was performed 53 times, the most of any of Handel’s operas, but as his style and the prevalence of castrati waned, his operas fell into obscurity, and Rinaldo was not performed again until 1933. Baroque opera has gained popularity since the mid-20th century. This relatively recent popularity accounts for much of the resurgence of the countertenor, with more and more new works being written for their unique and awe-inspiring voices.

A Conversation Across Centuries

BY LOUISA PROSKE

The more I delve into the wondrous universe of Handel’s operas, the more I regard Handel as our contemporary. He wrote about corrupting power and political intrigue, about selfobsession, narcissism, celebrity, and self-promotion, about the entanglement of romance, power, and greed, and, always, about the mind-boggling complexities of human psychology. His enigmatic works at once satisfy our craving for glorious spectacle and adventure, taking us outside of our everyday selves, and they lead us deeper into the recesses of our psyche, taking us inside our own hearts and desires. Handel is our friend and our commentator, and he is speaking to us across centuries with his miraculous music and delirious stories.

When do we need opera most? This is a question I always seek, in one way or another, to answer in my productions. Rinaldo is a story about a hero who aborts his mission in order to save his beloved. Its imagination is wild, its proportions epic—it puts on stage an enchanted castle, a magician in a cave, a heroine abducted by a black cloud, a sorceress who shapeshifts, an entrance by dragon-drawn carriage through the sky, and no less than three battles, featuring knights, demons, and special magic wands. The imagination is child-like but the stakes are life or death. That, for me and my team, was the beginning of creating a world for this opera.

The suffering of children has always posed a special problem for philosophy and theology. How could a just God allow innocent beings to suffer and to die? Doctors at children’s clinics confront these questions every day, and they face families whose lives are turned upside down by their child’s sickness. “Everyone who is born holds dual citizenship, in the kingdom of the well and in the kingdom of the sick,” writes Susan Sontag. “Although we all prefer to use the good passport, sooner or later each of us is obliged, at least for a spell, to identify ourselves as citizens of that other place.” I was intrigued by the idea of the story of Rinaldo coming from “that other place"—its strangeness and impulsiveness springing from the fantasy of a young patient trying to make sense of his bewildering experience, and from his childlike desire to rescue another young patient, who not only comes alive in the story, but whose imagination in turn starts to influence it. The Baroque sensibility loves “chiaroscuro,” the sharp contrast of entwining darkness and light to offset and heighten each other. So even though our visual design is far removed in time from Handel’s world, I believe that letting the fanciful joy of invention of Rinaldo spring from quite a dark, existential origin is in keeping with the essential Baroque spirit of embracing opposites—as well as letting Handel speak to us in the here and now.

What is heroic? What is courage? What does it mean to cross a threshold? To face terror? To gain victory? I want to take you on an adventure, and I want to create a space full of urgency, surprises, and complex resonance for these questions and for Handel’s sublime music. Thank you for coming on this journey with us!

SET MODEL: MATT SAUNDERS

THE RIP VAN WINKLES (2023)

Music by BEN MORRIS

Libretto by LAURA FUENTES

WORLD PREMIERE commissioned by THE GLIMMERGLASS FESTIVAL

PAINTING: JASON YEOMANS

Sung in English with projected English text.

Three performances: August 7, 13, and 18m

Running time: 1 hour, no intermission

This production is generously sponsored by the John R. & Joyce McC. Hupper Charitable Fund.

Free youth tickets (12 and under) made possible by the Zambello Gay Tribute Fund.

Audrey

Taylor-Alexis DuPont*

Milo Grant Jackson*

Callista

Frank

Fabiola (Fabi)

Amanda Sheriff*

Hayden Smith*

Lilly Grady

Ivy Elizabeth Eckel

Kyle Elijah Gebers

Maggie Maya LaCoppola

May Gialina Ploutz

Teens

Malena Buttermann, Avery Croft, Caleb J.A. Crowder, Genevieve

DeLanoy, Seton Davis Fralick, Anqi Geng, Julieanna L. Iglesias, Callum D. Torruella

Grandparents

Layla Buttermann, Nadia

Buttermann, Ethan Chen, Anmo

Geng, Kian Grady, Cate Speed

Leinhart, Anais Summers Robbins

Conductor Kamna Gupta

Director

Brenna Corner

Set Designer James F. Rotondo III

Costume Designer

Erik Teague

Lighting Designer Amith Chandrashaker

Sound Designer Joel T. Morain

Hair & Makeup

Projected Titles

Tom Watson

Nick Richardson

Assistant Director Amanda Testini*

Principal Pianist

Assistant Pianist

Stage Manager

*Member of the Young Artists Program

Laura Bleakley*

Yueqi Zhang*

Tess Naval

RIP VAN WINKLE IN THE RIP VAN WINKLES

BY KIRA DELANOY

Washington Irving’s “Rip Van Winkle” was first published in 1819, appearing as part of his collection of essays and short stories (published in multiple installments) titled “The Sketch Book of Geoffrey Crayon, Gent.” The story quickly gained popularity, inspiring countless adaptations and retellings, and becoming part of a new nation’s folklore.

Set just before the American Revolution, “Rip Van Winkle” is the story of the amiable and carefree Rip, who seeks solace from the responsibilities of his life by escaping into the forests surrounding his village in the Catskill Mountains of New York. On one of his outings he encounters a peculiar stranger who invites him to join a mysterious group of men playing ninepins (a precursor to modern-day ten-pin bowling) in the mountains. Rip, drawn in by their merriment, drinks a strange beverage offered

to him and soon after falls into a deep sleep. When he awakens, he finds that 20 years have passed.

The Glimmerglass Festival’s 2023 youth opera, The Rip Van Winkles, is set in a secluded upstate town that is suspiciously short on cell reception. It tells the story of Fabi, a New York City transplant learning to adapt to this new town—and unraveling a mystery along the way. “When we were brainstorming ideas for this opera, we knew we didn’t want to retell the exact story of ‘Rip Van Winkle.’ Instead, we wanted to offer a modern take on it—with original characters and an original setting,” shares composer, Ben Morris. Librettist Laura Fuentes adds, “We wanted to follow in the footsteps of past Glimmerglass youth operas and put a new twist on the source material, bringing it closer to the world of the youth performers.”

When Fabi discovers that not only is she physically separated from her friends but can’t connect with them virtually either, she decides to find out why there is no cell reception in her new home. Rallying the town’s teens, they uncover a 20-year-old lie and set off a series of fraught, funny, and touching exchanges between the town’s teens, parents, and grandparents. “Thematically, we were interested in exploring how groups of people deal with conflict and polarization, and how they can find common ground across an ideological divide,” says Laura.

“Rip’s story serves as a running metaphor across our piece. We thought about what it would be like to miss the last 20 years of technology entirely. What if you had fallen asleep and missed the advent of social media and 20 years of cultural references, and then what would it be like

to have that world sprung upon you all at once,” says Laura. In Irving’s original tale, as Rip tries to reconcile the present reality with his past, he faces the challenges of reintegrating into a society that has transformed politically, socially, and economically. His wife has passed away, and his daughter has grown into a woman with a family of her own. His village, once part of a British colony, is now part of an independent nation.

When Fabi and the town teens confront their parents, it forces the town to grapple with issues that are all too familiar to those who have lived with

cell phones these past 20 years—the positives and negatives of living in a society that is always plugged in, online, and connected. “In this opera, we have choruses of grandparents, young teens, and parents, embodying their generational values through different musical styles: disco, musical theater, and traditional operatic singing. There’s often conflict between these styles and values, but it’s not about choosing one side over another; it’s about addressing differences and growing together as a community,” says Ben, continuing, “it is a plea to listen to other people, to other perspectives.”

Both “Rip Van Winkle” and The Rip Van Winkles are tales of transformation, not only for the protagonists but also for the societies in which they live. Through Rip’s experiences, Irving explores the consequences of neglecting responsibilities and the inevitable march of time. Rip’s amiable nature helps him adapt to his new world. For Fabi and the teens, parents, and grandparents of their town, compromise is ultimately the way forward. Both stories remind their audiences of the difficulties of navigating change and the importance of actively participating in the world.

SET MODEL: JAMES F. ROTONDO III

LOVE & WAR

Il combattimento di Tancredi e Clorinda, Lamento della Ninfa from the Eighth Book of Madrigals (1638)

Music by CLAUDIO MONTEVERDI, Words by TORQUATO TASSO, OTTAVIO RINUCCINI

Clorinda Jasmine Habersham

Testo Duke Kim

Tancredi Brian Vu

Bass Sergio Martínez*

Dancer Truman Tinius*

Dancer Kailee Brandt*

*Member of the Young Artists Program

^Member of the Apprenticeship Program

Director/Choreographer Eric Sean Fogel

Assistant Director Marinette Gomez*

Set Designer Hayley E Wallenfeldt^

Costume Designer Corey Cochran^

Lighting Designer Rachel Fields^

Projected Titles Olivia Lerwick^

Conductor/Harpsichord Rob Ainsley

Violin Ruotao Mao, Sasha Margolis

Viola Katrina Smith

Baroque Cello Ruth Berry

Theorbo/Baroque Guitar Michael Leopold

Two performances: August 3 and 17

Sung in Italian with projected English text.

Running time: 30 minute performance/ 30 minute panel discussion, no intermission

Generously sponsored by Patricia and John Chadwick.

PAINTING: ALESSANDRO MAGGIORINO

AN EVENING WITH ANTHONY ROTH COSTANZO

Join this season’s Artist-in-Residence, GRAMMY-winning countertenor Anthony Roth Costanzo, and members of the Young Artists Program for the culmination of his residency—an intimate, cabaret-style performance sure to be full of surprises and his signature flair!

Two performances: August 11 and 14

Running time: 90 minutes, no intermission

Generously sponsored by the Zambello Gay Tribute Fund.

Curator/Producer Anthony Roth Costanzo Assistant Director Mario Pacheco*

*Member of the Young Artists Program

THE STATE OF THE ART

Artistic & General Director, Rob Ainsley, and 2023 Artist-in-Residence, Anthony Roth Costanzo, discuss the future of opera, the role of the artist in society today, technology in the arts, and much more!

Rob Ainsley (RA): In his 2008 bestseller, Outliers, Malcolm Gladwell argued that mastery comes only after 10,000 hours of dedicated practice. When I was growing up, everyone studied to be a niche expert. Today it seems that it is breadth, rather than depth, that we prioritize. It is less about the divo or diva status and more about followers and collaboration— about dipping your feet in an awful lot of different pots. It feels like the whole zeitgeist has changed immeasurably.

Anthony Roth Costanzo (ARC): Yes, and I think the key to navigating the change is a word you brought up— collaboration. I appear to have a lot of breadth, but the truth is I have very little breadth. The appearance of breadth and the execution of breadth come from collaboration. I connect with and rely on other people who have dug deeply into their form and understand it well. It is a skill that I've worked on developing and honing as much as my singing—the ability to connect and collaborate with people who have expertise in another

field. This approach means that rather than bucking tradition and going less deep into the artform, I am embroidering the traditions that I spent a lot of time working on.

RA: So you’re saying you can’t skip the 10,000 hours?

ARC: No, I don't think there is any substitute for that. We can never let go of the careful craft that it takes to reach expertise. It is my depth that has grounded me.

RA: Then maybe I’m talking more about branding and marketing. The way we think about creating a personality, an entity, and a brand.

ARC: Yes! I think what you’re talking about is the fact that 10,000 hours— achieving mastery in and of itself— used to be enough. It no longer is. As artists today, we really have to think of ourselves as CEOs of our own companies. That means that the product that

each company produces has to be the best product. But then there's all the things that go around that product. We have to understand how to connect to institutions, how to leverage social media, or grassroots marketing, or press— whatever it is—to build our image.

RA: Exactly! How is that possible? How do we do that?

ARC: You have to really try different things. I’ll give you an example. Over the pandemic I was very frustrated that there was no live music happening. I spoke to the visionary Deborah Borda, president and chief executive of the New York Philharmonic, and we began brainstorming. I had this idea to take music to the community in a pickup truck and she said, “I love this idea, let's collaborate and do it.” Together we built something called Bandwagon. It was a way for the New York Philharmonic to connect in a different, grassroots way to communities all throughout New York with pop-up music.

RA: And it is amazing how quickly the landscape can change with a new collaboration, a new idea. I think that is partly due to technology—and the pandemic was huge as well.

ARC: Well, I think there are some wonderful aspects to certain types of digital resources but that technology can also be a real red herring. I don’t think anyone is really interested in streaming opera from their home.

RA: That’s very controversial, but I'm with you.

ARC: I genuinely believe it! I think very few people are interested in streaming, but…I do believe that when it can

be used to connect new audiences to our artform or to build a bridge to a live performance, technology is really exciting.

RA: So then, what is the distinction between streaming and these other digital resources?

ARC: I’ll give you an example. When I released my first album I made nine music videos with artists who don’t work in the classical field and have no real relationships to classical music. They interpreted the pieces with no constraints. And because they have a different audience, because there were other outlets interested in what they do, it was a way of disseminating the music in a new form to new people. Recently, I was on a panel at ISPA (the International Society for Performing Arts) and we were talking about digital futures. I said that “the digital” appears to be very sexy to us old-fashioned opera folks. But we experience so much through screens or filters. Even when you go to a rock concert the voice and the music are being filtered through wires and speakers. What’s fantastic about opera is that it is completely direct. Something comes from inside my body and it goes inside yours. And that's the way we should be framing the live opera experience. It is the most intimate, the most exciting—it’s the unprotected sex of the arts! The digital assets we build should be used to get us to the live performance, not replace it.

RA: So when we think about the art that people experience in that live performance, it is exciting to see what we create changing and developing as we move forward.

ARC: Absolutely, I think there is a definite vitality to what’s being created in our time

and in response to our time. The voices of new composers are so crucial. I think back again to collaboration. Conductors, singers, and musicians are able to find different modalities of emotional expression when they work with these new composers. I’ve certainly been challenged by many of the composers I’ve worked with to think differently about how I use my instrument and how that instrument exists within my emotional landscape and in combination with their vision. The other thing that occurs to me whenever I’m doing contemporary opera is that it is all built, both compositionally and in a performative way, upon traditions that are hundreds of years old. I couldn’t sing Kaija Saariaho, or Joel Thompson, or Nico Muhly, without the vocal technique I’ve developed through Handel. They are writing for a voice that has developed from these traditions. I'm very aware that, in all that we do, we are holding up our lineage and we are taking it to new places.

RA: It has always amazed me that art encapsulates and records culture and the spirit of our times, whether it intends to or not. It is built into the process. There have been huge changes recently—huge steps forward and back—in terms of social justice and where we are going as a society. Art has always been concerned with that but I think particularly so in the last few years. In these terms, the artist has great power to voice many things.

ARC: Yes, I think about it all the time. I have a responsibility. If my main job as an artist is to tell stories that connect

to people, then I have to make sure that I am telling not just my stories or the stories that are close to me, but to figure out how I can effectively tell other people’s stories or provide opportunities for them to tell their stories with the connections or resources that I find myself able to tap into. I’ll give you one example. In the second iteration of Bandwagon, we partnered with the National Black Theater. Instead of going to them saying, “We’ve got these pieces that we’d like to do, how can you make them fit into a week of programming that you curate?” We asked, “Do you want to curate a week of programming? And if so, what do you want to do and how can we make that possible?” Jonathon McCrory, their artistic director, said, “There is this incredible slideshow of images a photographer took during all of the protests and I'd love them to be set to music. I think “Feeling Good” by Nina Simone is the counterpoint that I want to the heaviness of these images.” So with the Philharmonic, we got a brass quintet and a fantastic arranger and this glorious music was played as the images were shown to the audience. That is how the collaboration happened. We told a story that came from him with resources we were providing from the Philharmonic. I’m always thinking about how to do that in the operatic context—in all kinds of contexts.

RA: And you do it so well. It's so admirable and something we can all strive to do as we navigate this changing landscape.

Artist-in-Residence Anthony Roth Costanzo is generously sponsored by Eugene and Jean Stark.

PHOTO:

FULL CIRCLES

Former Glimmerglass Young Artists and Apprentices return to the Festival in leading roles.

By Nick Richardson

The Glimmerglass Festival not only attracts an international audience for worldclass opera and musical theater, it also attracts the brightest up-and-coming talent working on- and off-stage. The Festival’s Young Artists and Apprenticeship Programs bridge the gap for those looking to gain professional experience in the industry. These promising trainees work alongside seasoned, established artists in every aspect of the company. The Young Artists Program prepares singers, pianists, music coaches, and stage directors, while the Apprenticeship Program supports theatrical technicians, designers, and administrators. Our Young Artists and Apprentices come from all walks of life, and many of them study at the nation’s leading educational institutions. Glimmerglass is particularly committed to making the industry a more diverse, equitable, and inclusive environment.

Beyond training the next generation of opera-makers, Glimmerglass is especially proud to welcome back previous Young Artists and Apprentices (formerly called Interns) to lead the company today. We caught up with only a few of our many returning alumni to see how they’ve grown and find out what they’re looking forward to this summer.

FORMER YOUNG ARTISTS

MEREDITH ARWADY

Then: Young Artist, 2004

Now: Guest Artist (Old Lady in Candide, Gertrude in Romeo and Juliet)

“I’m always very drawn to those companies that invest in people early on and then like to celebrate that investment,” says Meredith Arwady, and Glimmerglass has much to celebrate in her. She is a winner of the Metropolitan Opera National Council Auditions and a GRAMMY Award, with credits at major opera houses worldwide.

Her season as a Young Artist introduced her to a new way of working. “I had never had a real professional repetitive experience. I had made a professional debut, but not something where you have so many performances. Singing became a job in a way that it had never felt like a job before. And it was a good job! It was fun! You live your life, and you do your job, and then you find a balance. Balance is something we’re still trying to find for the rest of our careers.”

Arwady adds that the Festival’s long performance runs allowed her greater creative freedom. “Every show I felt like it gave the character time and space to grow. When you’re in the sixth or seventh performance, you can try something else. It’s not like it’s opening or the only performance, so it was interesting to see the small changes and to see the joy of live theater—something with enough time where you grow and change as a performer throughout the run.”

Nearly 20 years after her Young Artist season, and with a full career already underway, Arwady still has new experiences to look forward to this summer: making a role debut (Old Lady in Candide) and introducing her son to Cooperstown.

JASMINE HABERSHAM

Then: Young Artist, 2014 and 2015

Now: Guest Artist (Almirena in Rinaldo, Clorinda in Love and War)

This summer marks soprano Jasmine Habersham’s fourth season with the Festival. Last year at Glimmerglass she made star turns in two world premieres: Ken Ludwig’s Tenor Overboard and Holy Ground by Damien Geter and Lila Palmer. She’s excited to spend this season in the world of Baroque opera, which includes her role debut as Almirena in Rinaldo by Handel. A seemingly limitless performer, Habersham has tackled all sorts of opera styles in houses around the world, from Verdi’s Rigoletto at Opera North (UK) to Mozart’s Le nozze di Figaro at Madison Opera.

She coincidentally prepared for those two operas during her time as a Glimmerglass Young Artist. “I sang ‘Caro nome’ [from Rigoletto] in a masterclass with the legendary Jessye Norman, and I also sang Susanna [Le nozze di Figaro] in a scenes program for Ruth Bader Ginsburg. It was in these moments that I got first-hand experience singing these roles,” says Habersham. “It’s wonderful to look back and realize that those moments really came in handy for my future.”

Though she admits that “it’s not every day you get to sing for Jessye Norman and Ruth Bader Ginsburg—and on the same day,” Habersham made even more meaningful connections here at the Festival. “I was surprised by all the supportive relationships that I cultivated,” she says. “From fellow singers to patrons to community members, I have been supported by them all in such positive ways.”

TERESA PERROTTA

Then: Young Artist, 2019 and 2020

Now: Guest Artist (Mimì in La bohème)

When Teresa Perrotta started at Glimmerglass, she never could have imagined making her international debut with the company. In our 2019 Festival season, she covered the lead role of Marie Antoinette in The Ghosts of Versailles. Glimmerglass then mounted that production at the Royal Opera in Versailles, and Perrotta had to step into Marie’s shoes just three hours before opening night. She sang the role for the entire French run. “People write a whole chapter in their autobiographies about cool moments like this,” says Perrotta.

She credits her time in Glimmerglass’s Young Artist Program for trusting her and preparing her for such a large role. “They kind of took my hand and guided me through it. I had a lot of coachings that summer, almost every day for the first few weeks. They were like, ‘This is how you need to learn something that’s hard. It has to be right. It has to be accurate.’ Glimmerglass set that foundation of how prepared I should be.” This training has served her well, for she has since covered—and performed on short notice—roles at major companies around the country, including Alice in Falstaff at Santa Fe Opera and Fifth Maid in Elektra at Washington National Opera.

Perrotta returns to the Festival fresh off her win at The Metropolitan Opera’s Laffont Competition this spring. “What better place to start this next step of my career?” she asks. “This is my first Puccini role. Bohème is such a staple of the repertoire, something that I’ve watched on YouTube since I was a freshman in undergrad. To be able to do it here, I’m just absolutely spoiled.”

BRIAN VU

Then: Young Artist, 2015 and 2016

Now: Guest Artist (Title role in Candide, Tancredi in Love & War)

Brian Vu’s career keeps circling back to Glimmerglass. After two seasons as a Young Artist, Vu got his first ever guest artist contract singing Riff in Francesca Zambello’s production of West Side Story, which played at the Festival in 2018. He returns this season to make yet another debut of sorts. “I am so pumped to sing my first title role as a tenor,” says Vu. The former baritone made the switch to singing tenor in 2020 after his voice changed in 2019.

Though his vocal transition didn’t take place at Glimmerglass, the lessons learned here helped Vu navigate the change. “Approaching your production and your colleagues with grace has been my biggest lesson from Glimmerglass. Kindness goes a very long way, especially for yourself. This tenor transition has reminded me of that. I struggled at the beginning, but that doesn’t mean I’m not a good or worthy singer. It’s just a part of life. You’ll trip and fall—and your voice will crack—but then you’ll pick yourself up.”

Candide is more than a role debut or even a voice part debut for Vu. “There are a lot of full circle moments here for me. My first summer as a Young Artist in 2015, I was part of the ensemble and a Spanish Inquisitor in this production of Candide. To revisit the script and the music just takes me back to when we first created the production.” As for this year’s revival, Vu says, “The cast they’ve assembled is the right combination of people to make the story really authentic and truthful.”

FORMER APPRENTICES (INTERNS)

MYKAI EASTMAN

Then: Stage Operations Intern, 2019

Now: Chief Equity Officer

From working backstage, to assistant directing, to now working in administration, Mykai Eastman’s time at Glimmerglass has taken him through nearly all aspects of the company. “What initially drew me in was the chance to push myself to succeed on a scale of technical production I’d never experienced before,” he says. “Being part of the legendary Glimmerglass Ops was an opportunity I will cherish for the rest of my career.”

So far, his career has branched out across multiple artistic disciplines. “Since my internship, I’ve been able to use what I have learned behind the scenes to influence and elevate my career as a theater director. I have gone on to write and direct a number of productions, and I recently made my regional theater debut at the Denver Center for the Performing Arts as Assistant Director for The Color Purple.” In addition to writing and directing, you can find Eastman acting on stages across Denver.

After finishing his undergraduate studies in theater and pre-law, he returned to school to earn a graduate degree in professional communication, which comes in handy in his latest role at the Festival. “When I was offered a permanent position at the Festival as Chief Equity Officer, it was an easy decision to accept,” says Eastman. “Glimmerglass has given me so much in my life, and I am most looking forward to helping the company achieve new heights as leaders in advancing arts equity!”

SASHA GLINSKI

Then: Scenic Art Intern, 2014 Now: Charge Scenic Artist

For Sasha Glinski, the revival of Candide presents a new challenge for her: restoring a set she helped paint years ago. “It is quite a time warp to pull out Candide,” says Glinski. “Our set has been around the globe—and in many different storage units. We have to figure out how to get it ready to go on stage and make it look even better than it did in 2015. It’s a lot of work, but we have the opportunity to make sure our scenery looks good and still upholds the Glimmerglass name as it travels around the world on rentals.”

Glimmerglass rents out select sets and costumes to other opera companies. “It’s something I love about working here,” says Glinski. “At other theaters, you work around the clock to paint a set, it’s on stage for two weeks, and then it goes in the trash. Here, we get to take our time making something look really nice, and then we can keep it for years and rent it out. It’s also really neat from a waste reduction standpoint.”

Glinski looks forward to sharing this work with her Apprentices. “Having a couple seasons as Scenic Charge under my belt, I feel like I’m able to give the Apprentices a little more attention this season. This year I would like to prioritize Apprenticeship learning within my department. It’s cool to be able to do that 10 years after I was an Intern myself.”

WYATT NYMAN

Then: Stage Operations Intern, 2013 Now: Production Coordinator

Wyatt Nyman has climbed his way up the ladder at Glimmerglass and then some, working first in stage operations for multiple seasons before becoming a full-time carpenter, and later transitioning into his administrative role as Production Coordinator. Of all his jobs, Nyman is perhaps most proud of his efforts in re-envisioning and implementing the Apprenticeship Program. “It’s really neat to have the opportunity to give back,” he says. “As an Intern, I absorbed all this information, and now the way that I can show my thanks is to pass that information down the chain, making sure that the company’s values are passed down to the next generation of technicians, artists, and administrators.”

One of those values, health and safety, remains a top priority in both how the Festival operates and what the Festival teaches. “As soon as you walk through the door for orientation, we emphasize its importance—not only here, but when you go elsewhere.” Numerous Apprentices, including Nyman, have stories about applying that knowledge at theaters nationwide, shaping the industry for the better.

Looking back on his past 10 seasons at Glimmerglass, Nyman compares the Festival’s growth to his time on the stage operations crew: “The early part of the season was challenging because there were lots of obstacles and challenges in putting the sets together. Changeovers would take four, five, even six hours, and we thought, ‘We’re never going to get this down.’ But then come July and August we hit our stride, and that six-hour changeover all of a sudden took only an hour. I feel like, metaphorically speaking, we are hitting that July-August phase as a theater where we’re finding our stride. It’s a really exciting and rewarding time.”

JAMES F. ROTONDO III

Then: Scenic Design Intern, 2017

Now: Scenic Designer for The Rip Van Winkles

Fresh out of college, James Rotondo arrived at Glimmerglass with one opera design experience under his belt. He finished his summer adding six more shows to his résumé. “Something exciting about the design internship was how many projects there were simultaneously to work on, and the number of people that you work with. Being able to sit in on four professional techs simultaneously, with four different, very well-established designers, was amazing. I also had the opportunity to design two things. To have an opportunity where you are actually working on such large-scale opera is incredible.”

That vast exposure cultivated a continued working relationship with both the Festival and many of its visiting designers and directors. He returned to Glimmerglass as an assistant to designer Peter J. Davison in 2019 (La traviata, Show Boat), helped Davison design the “Glimmerglass on the Grass” stage in 2021, and single-handedly designed last year’s youth opera, The Jungle Book. Outside of Glimmerglass, he has worked on operas with director Brenna Corner every year. “Probably 90% of my work comes back to being an Intern in 2017.”

Returning to the Festival means paying it forward to up-and-coming designers. “When I was an Intern, there were four designers that I looked up to and spent all my summer with. Now I’m back and I’m one of those designers with an Apprentice to mentor, to foster that same relationship that I had with my designers, and to instill that sense of magnitude. This is an opportunity, and you can grow from being here.”

RETURNING ALUMNI

YOUNG ARTISTS

Meredith Arwady

J. Bradley Baker

Andrea Beasom

Anna Betka

Brenna Corner

Anthony Roth Costanzo

Katrina Galka

Kamna Gupta

Jasmine Habersham

Joshua R. Horowitz

Teresa Perrotta

Brian Vu

FORMER APPRENTICES (INTERNS)

Jade Almsberger

Mahalet Andargachew

Matt Beecher

Peter Burns

Jay E. Condon

Andrew DeCollo

Nicole DeLucia

Mykai Eastman

Sasha Glinski

Aaron Gubler

Cai Hayner

Mikaela Kelarek

Connor Lange

Lisa Lawrence

Olivia Lerwick

Kyle Ludwig

Andrea Lyons

Joel T. Morain

Maki Niikura

M Nottke

Wyatt Nyman

LEX Patchett

Laura Pierson

Nick Richardson

Abby Rodd

Jacob Ian Rodriguez

James F. Rotondo III

Zoey Rubinoff

Chloe Scheel

Charlotte Seidensticker

Emmet Sellars

Christian C. Shaefer

Nick Sheriff

Emery Smith

M. Spear

Sam Spear

Stoli Stolnack

Connor Sullivan

Reanna Valencia

Timothy “ TJ ” Wildow

PHOTO: KARLI CADEL

NADER ABBASSI Geneva, Switzerland

Glimmerglass 2023: Conductor for La bohème.

Past: Conductor and Composer, Between Dusk & Dawn; Gala concert with Fatma Said, soprano, and United Philharmonic Orchestra; Composer and Music Director, Opening Ceremony of the Sphinx Avenue in Luxor, Egypt; Music Director, Historical Golden Parade.

Future: Artistic Director and Principal Conductor, Cairo Opera House.

MEREDITH ARWADY Kalamazoo, Michigan

Glimmerglass 2023: Old Lady in Candide; Gertrude in Romeo and Juliet.

Past: Kathy Hagen, Champion, Metropolitan Opera; Ruth, The Pirates of Penzance, Utah Opera; Madame Flora, The Medium, Oper Frankfurt; Martha, Sky On Swings, Opera Saratoga.

Future: Kathy Hagen, Champion, Lyric Opera of Chicago; Death, Le Rossignol, The Adelaide Festival; Lucia, Cavalleria Rusticana, St. Louis Symphony Orchestra.

ANDREA BEASOM New York, New York

Glimmerglass 2023: Associate Choreographer for Candide.

Past: Choreographer, La traviata, Seattle Opera; Associate Director and Choreographer, Rigoletto, Opera San Antonio; Choreographer, The Anonymous Lover, LA Opera; La traviata, Lyric Opera of Kansas City; Assistant Director, Die schweigsame Frau, Bard Summerscape; Associate Director and Choreographer, La traviata, Indiana University.

Future: Director, The Lion, The Unicorn, and Me, Washington National Opera.

REECE BERNARD Utica, New York

Glimmerglass 2023: Actor in Romeo and Juliet

Past: Paul, Company, Utica University.

GUEST ARTISTS

JOSHUA BLUE Philadelphia, Pennsylvania

Glimmerglass 2023: Rodolfo in La bohème

Past: Loge, Das Rheingold, Virginia Opera; Peter, Porgy and Bess, Metropolitan Opera; The Duke of Mantua, Rigoletto, Opera Philadelphia; Rodolfo, La bohème, Opera Philadelphia.

Future: Wilson, Intelligence, Houston Grand Opera; Tamino, The Magic Flute, Metropolitan Opera; Colin, The Anonymous Lover, Opera Philadelphia. joshuabluetenor.com

AMITH CHANDRASHAKER

New York, New York

Glimmerglass 2023: Lighting Designer for Rinaldo and The Rip Van Winkles.

Past: Lighting Designer, The Glimmerglass Festival, The Public Theater, Theatre for a New Audience, Manhattan Theatre Club, Playwrights Horizon, Signature Theater (NYC), Williamstown Theatre Festival, Houston Grand Opera, Opera Omaha, Opera Colorado, Utah Opera. amithld.com

COREY COCHRAN Cincinnati, Ohio

Glimmerglass 2023: Costume Designer for Love & War

Past: Hair/Wig/Makeup Designer, Timber Lake Playhouse; Costume Designer, Orpheus in the Underworld, Cincinnati College-Conservatory of Music; Stitcher Apprentice, The Sound of Music, The Glimmerglass Festival; Costume Designer, Dido and Aeneas, Gianni Schicci, Cincinnati College-Conservatory of Music.

Future: Costume Designer, 25th Annual Putnam County Spelling Bee, Cincinnati College-Conservatory of Music; Costume Designer, The Marriage of Figaro, Cincinnati College-Conservatory of Music. coreyccostumes.wixsite.com/coreyccostumes

JOSEPH COLANERI Milburn, New Jersey

Glimmerglass 2023: Conductor for Candide and Romeo and Juliet.

Past: Music Director, The Glimmerglass Festival (ongoing); Conductor, Rigoletto, Utah Opera; La bohème, Seattle Opera; Macbeth and Falstaff, Maryland Lyric Opera; Mefistofele, Metropolitan Opera; La bohème, Teatro Colón.

MONTANA BLANCO

Albuquerque, New Mexico

Glimmerglass 2023: Costume Designer for Rinaldo.

Past: White Girl In Danger, Second Stage Theatre and Vineyard Theatre; Create Dangerously, Miami New Drama; Square Dance, Miami City Ballet; A Strange Loop, Barbican West End.

Future: Champion, Lyric Opera of Chicago; El Niño, Metropolitan Opera; Lincoln in the Bardo, LA Opera and Metropolitan Opera.

Future: Conductor, Concert with Lisette Oropesa, New Orleans Philharmonic; Juilliard Opera. josephcolaneri.com

BRENNA CORNER Atlanta, Georgia

Glimmerglass 2023: Stage Director for The Rip Van Winkles.

Past: Co-Director, Tenor Overboard, The Glimmerglass Festival; Director, Carmen, Calgary Opera; Il trovatore, Washington National Opera; La Cenerentola, Kentucky Opera; Hansel and Gretel, San Diego Opera.

Future: Director, Lucia di Lammermoor, New Orleans Opera; L’elisir d’amore, Florentine Opera. brennacorner.com

GUEST ARTISTS

ANTHONY ROTH COSTANZO New York, New York

Glimmerglass 2023: Artist-in-Residence and Rinaldo in Rinaldo.

Past: 2022 Grammy Award Winner; Akhnaten, Akhnaten, Metropolitan Opera, English National Opera, LA Opera; Artist-in-Residence, The New York Philharmonic; Anthony Roth Costanzo with Justin Vivian Bond, Only an Octave Apart, St. Ann’s Warehouse, Wilton’s Music Hall.

Future: Orfeo, Orfeo ed Eurydice, Metropolitan Opera; Francisco de Avila, The Exterminating Angel, Paris Opera; Solo Recital, The Kennedy Center. anthonyrothcostanzo.com

JORGE COUSINEAU Philadelphia, Pennsylvania

Glimmerglass 2023: Projections Designer for Rinaldo.

Past: Projection Designer, We Shall Not Be Moved, Pittsburgh Opera.

Future: Projection Designer, Titanic, Fulton/Maine State Music State; Projection and Lighting Designer, Infinity, The Coronet Theatre.

BRADLEY DEAN New York, New York

Glimmerglass 2023: Voltaire and Dr. Pangloss in Candide.

Past: Count Carl Magnus, A Little Night Music, Broadway; Monsieur André, Phantom of the Opera, Broadway; Falco, Bat Out of Hell, NYC City Center; Sir Galahad, Monty

Python’s Spamalot, Broadway; Larry, Dear Evan Hansen, Broadway; Tito, A Comedy of Tenors (world premiere), McCarter Theater.

Future: Molykov, Chess, Broadway Spring 2024. bradleydean.net

KEVIN DEPINET Chicago, Illinois

Glimmerglass 2023: Set Designer for La bohème

Past: Set Designer, Chicago Shakespeare Theater, Steppenwolf Theatre Company, Goodman Theatre, Court Theatre, Writers Theatre, Drury Lane Oakbrook, Chicago

Children’s Theatre.

Future: Set Designer, Prince of Egypt, West End; The King’s Speech, North American Tour. Touring Exhibitions

Designer, The Hunger Games: The Exhibition; Jurassic World: The Exhibition.

DARREN LEKEITH DRONE

Sherwood, Arkansas

Glimmerglass 2023: Marcello in La bohème; Grégorio in Romeo and Juliet

Past: Barone Douphol, La traviata, Seattle Opera; Passenger #7/Bilal/Preacher Man (cover), Proximity, Lyric Opera of Chicago; Falstaff, Falstaff, Opera San José; Moralès, Carmen, Santa Fe Opera.

Future: Belcore, L’elisir d’amore, Florentine Opera; Moralès (cover), Carmen, Metropolitan Opera; Adult James/Foreman and Chester (cover), Fire Shut Up In My Bones, Metropolitan Opera. darrenlekeithdrone.com

ERIC SEAN FOGEL New York, New York

Glimmerglass 2023: Director and Choreographer.

Past: Co-Director, The Sound of Music, Lyric Opera of Kansas City and Houston Grand Opera; Revival Director, Norma, Metropolitan Opera; West Side Story, Teatro Lirico di Cagliari and Lyric Opera of Chicago; Choreographer, Florencia en el Amazonas, Lyric Opera of Chicago.

Future: Director, Songbird, Washington National Opera; Choreographer, Klangwolken. ericseanfogel.com

LAURA FUENTES Fairfax, Virginia

Glimmerglass 2023: Librettist for The Rip Van Winkles.

Past: Las Auténticas, Washington National Opera American Opera Initiative; Colorado Sky, Boulder

Opera/Art Song Colorado; The Fall of Man and Other Tales, ATLAS B2 Blackbox; The Pier Point Lobster Race, College Light Opera Company; In the House of Serenity, Boston Opera Collaborative; Do Not Disturb and Brides and Mothers, Victorian Lyric Opera Company/ Forgotten Opera Company.

Future: Hansel and Gretel, Peabody Opera Theatre/ Annapolis Opera.

KATRINA GALKA Portland, Oregon

Glimmerglass 2023: Cunegonde in Candide.

Past: Blonde, Die Entführung aus dem Serail, Staatsoper Hamburg; Blonde, Die Entführung aus dem Serail, Bayerische Staatsoper.

Future: First Niece, Peter Grimes, Teatro alla Scala; Adele, Die Fledermaus, Staatsoper Hamburg; Lucia, Lucia di Lammermoor, New Orleans Opera; Blonde, Die Entführung aus dem Serail, Opernhaus Zürich. katrinagalka.com

ELIJAH GEBERS Cazenovia, New York

Glimmerglass 2023: Kyle in The Rip Van Winkles; Ensemble in La bohème.

Past: Shere Khan, The Jungle Book, The Glimmerglass Festival; Lumiere, Beauty and the Beast, Cazenovia High School; Deputy, The Mystery of Edwin Drood, CNY Playhouse; Randolph MacAfee, Bye Bye Birdie, Town of Manlius Summer Musical; NYSSMA Conference

All-State Chorus; Alternate, NAFME All-Eastern Choir. Future: Undergraduate, Eastman School of Music, Classical Vocal Performance.

KARA GRADY Cooperstown, New York

Glimmerglass 2023: Ensemble in La bohème

Past: Ensemble, The Sound of Music, The Glimmerglass Festival.

LILLY GRADY Cooperstown, New York

Glimmerglass 2023: Fabiola in The Rip Van Winkles.

Past: Mowgli, The Jungle Book, The Glimmerglass Festival; Ensemble, Noah's Flood, The Cunnin g Little Vixen, La bohème, An American Tragedy, The Glimmerglass Festival.

Future: Undergraduate, Montclair State University, Theatre.

JONATHAN GODDARD London, UK

Glimmerglass 2023: Choreographer for Romeo and Juliet.

Past: Choreographer, Timon of Athens, Shakespeare Theatre Company; Movement Director, The Cherry Orchard, Roundabout Theatre Company; Movement Director/Choreographer, Romeo and Juliet, Antony and Cleopatra, Strange Interlude, Man and Superman, The Beaux Stratagem, As You Like It, Sunset at the Villa Thalia, National Theatre; The Prime of Miss Jean Brodie, Donmar Warehouse. jonathangoddard.com

SIMON GODWIN The Plains, Virginia

Glimmerglass 2023: Director for Romeo and Juliet. Past: Associate Director, The Royal Court Theatre, London; Artistic Director, Shakespeare Theatre Company (ongoing).

Future: Associate Director, National Theatre.

KAMNA GUPTA New York, New York

Glimmerglass 2023: Conductor for The Rip Van Winkles.

Past: Conductor, Suzanne Farrin Portrait, International Contemporary Ensemble; Cover Conductor and Chorus Master, Candide, The Atlanta Opera; Music Director, In Our Daughter’s Eyes, Prototype Festival and LA Opera; La Calisto, Mannes Opera; Conductor, The Pearl Fishers, Vancouver Opera.

Future: Conductor, Number Our Days, Perelman Performing Arts Center; Rocking Horse Winner, Tapestry Opera. kamnagupta.com

JASMINE HABERSHAM Macon, Georgia

Glimmerglass 2023: Almirena in Rinaldo; Clorinda in Love & War

Past: Gilda, Rigoletto, Opera North UK; Cleopatra, Giulio Cesare, Atlanta Opera; Susanna, Le nozze di Figaro, Madison Opera; Sophie, Werther, Houston Grand Opera.

Future: Frasquita, Carmen, Gran Teatro del Liceu; Pamina, The Magic Flute, Nashville Opera0; Juliette, Roméo et Juliette, Opera San José jasminehabersham.com

REBECCA HERMAN Austin, Texas

Glimmerglass 2023: Associate Director for La bohème

Past: Associate Director, The (R)evolution of Steve Jobs, Utah Opera and Calgary Opera; Assistant Director, Tosca, San Diego Opera; Director/Producer, Lardo Weeping, LOLA.

Future: Assistant Director, La traviata, Opera Omaha; Director, Undina, Queen City Opera; Assistant Director, Don Giovanni, Opera Colorado.

ALLISON HILL-EDGAR

Cooperstown, New York

Glimmerglass 2023: Lady Capulet in Romeo and Juliet

GUEST ARTISTS

W. MORGAN HILL-EDGAR Cooperstown, New York

Glimmerglass 2023: Ensemble in Candide.

Past: The Sound of Music, The Jungle Book, Odyssey, Robin Hood, Wilde Tales, The Glimmerglass Festival.

JOSHUA R. HOROWITZ Old Bethpage, New York

Glimmerglass 2023: Assistant Director for Romeo and Juliet.

Past: Director, La bohème, Annapolis Opera; Assistant Director, Carmen, Lyric Opera of Kansas City; Associate Director, La traviata, Lyric Opera of Kansas City; Assistant Director, Blue, Washington National Opera; Associate Director, La traviata, Seattle Opera.

Future: Assistant Director, Romeo and Juliet, Washington National Opera; Roméo et Juliette, Lyric Opera of Kansas City. joshuarhorowitz.com

CASEY KALEBA Washington, D.C.

Glimmerglass 2023: Fight Director for Romeo and Juliet.

Past: Fight Director, Il trovatore, Washington National Opera; Hamlet, Guthrie Theater; Kinky Boots, Olney Theatre Company; Susannah and Der Freischütz, Wolf Trap Opera; An Officer and a Gentleman, Work Light Productions. toothandclawcombat.com

DUKE KIM Torrence, California

Glimmerglass 2023: Romeo in Romeo and Juliet; Testo in Love & War

Past: Alfredo, La traviata, Seattle Opera; Ferrando, Così fan tutte, Palm Beach Opera; Don Ottavio, Don Giovanni, The Atlanta Opera; Roméo, Roméo et Juliette, The Florentine Opera.

Future: Faust, Faust, Irish National Opera; Romeo, Romeo and Juliet, Washington National Opera; Alfredo, La traviata, Pittsburgh Opera. dukekimtenor.com

MAGDALENA KUŹMA New York, New York

Glimmerglass 2023: Juliet in Romeo and Juliet.

Past: Giannetta, L’elisir d’amore, Metropolitan Opera; Frasquita, Carmen, Santa Fe Opera; Adina, L’elisir d’amore, Yale School of Music.

Future: Yvette, La rondine, Metropolitan Opera; Papagena, The Magic Flute, Metropolitan Opera; Wigmore Hall Recital; Sister Catherine, Dead Man Walking, Metropolitan Opera. magdalenakuzma.com

JOELLE LACHANCE Rochester, New York

Glimmerglass 2023: Actor in Romeo and Juliet; Ensemble in Candide.

Past: First Spirit, The Magic Flute, The Glimmerglass Festival; Ensemble, Macbeth, The Glimmerglass Festival; Mrs. Nolan, The Medium, Buffalo Opera Unlimited; Page, Rigoletto, Rochester Philharmonic Orchestra; Hansel, Hansel and Gretel, Opera Theater of Connecticut; Minnie Fay, Hello, Dolly!, Ohio Light Opera.

GUEST ARTISTS

HOLLY McCORMACK South Glens Falls, New York

Glimmerglass 2023: Ensemble in La bohème.

Past: Suor Osmina, Suor Angelica, Mission Opera; Susanna, Le nozze di Figaro; Governess (cover), The Turn of the Screw; Suzel, L’amico Fritz; Papagena, Die Zauberflöte.

MARK McCULLOUGH Charlottesville, Virginia

Glimmerglass 2023: Lighting Designer for Candide

Past: Lighting Designer, The Glimmerglass Festival, Metropolitan Opera, Washington National Opera, Teatro alla Scala, Teatro Real, Royal Opera House, Opera North, The Dallas Opera, San Francisco Opera, Lyric Opera of Chicago, Seattle Opera, New York City Opera, Broadway.

E. LOREN MEEKER San Antonio, Texas

Glimmerglass 2023: Director of La bohème.

Past: General & Artistic Director, OPERA San Antonio (ongoing); Director, Così fan tutte, Arizona Opera; Romeo and Juliet, OPERA San Antonio; Hansel and Gretel, New Orleans Opera Association.

Future: Director, Hansel and Gretel, OPERA San Antonio; Director, La traviatta, Opera Omaha. elorenmeeker.com

JENNIFER MOELLER New York, New York

Glimmerglass 2023: Costume Designer for Candide.

Past: Costume Designer for Broadway: Camelot (Tony nomination); Pictures From Home, Clyde’s (Tony nomination, Drama Desk Award), Sweat. Off-Broadway: Comeuppance, Signature Theatre; The Wrong Man, The Robert W. Wilson MCC Theater Space; Mlima’s Tale (Lucille Lortel nomination); Tiny Beautiful Things, The Public Theatre; Aubergine, Playwrights Horizons, Love’s Labor’s Lost, Shakespeare in the Park. Regional: The Glimmerglass Festival, Guthrie Theater, Goodman Theater, The Kennedy Center, Shakespeare Theatre Company, Arena Stage, The Old Globe, Williamstown Theatre Festival, McCarter Theatre Center, Oregon Shakespeare Festival. TV: Dickinson (Apple TV+). jenmoeller.com

JOEL T. MORAIN Cherry Valley, New York

Glimmerglass 2023: Sound Designer for Candide and The Rip Van Winkles.

Past: Freelance Stagehand, Minneapolis; Lighting and Sound Technician, Molly Sweeney, Touring Production, Guthrie Theatre; Freelance Stagehand and Designer, Long Wharf, Yale University, Hartford Stage; Technical Director, Hartwick College, Colgate University; Audio Coordinator, The Glimmerglass Festival, Attica Prison, Royal Opera House Muscat, Palace of Versailles; Technical Theatre Advisor, Cooperstown High School, Central Valley Academy, Orpheus Theatre.

BEN MORRIS Chatham, New Jersey

Glimmerglass 2023: Composer for The Rip Van Winkles

Past: Las Auténticas, Washington National Opera American Opera Initiative; Colorado Sky, Boulder Opera/ Art Song Colorado; The Fall of Man and Other Tales, ATLAS B2 Blackbox; Perspective, CU New Opera Workshop (NOW); American River, Montclair Film Festival; Saving the Great Swamp, New Jersey Film Festival.

Future: Longleaf, Loop38 Ensemble.

JAMES NOONE Richfield Springs, New York

Glimmerglass 2023: Set Designer for Candide.

Past: Set Designer, Sunset Boulevard, Broadway; Lady Day at Emerson’s Bar and Grill, Broadway; Jekyll and Hyde, Original Broadway Production; Three Tall Women, Broadway; Canadian Opera Company, English National Opera, New York City Opera, Houston Grand Opera, LA Opera, Washington National Opera, Lincoln Center, Great Performances, American Master’s (PBS and HBO); Associate Professor and Co-Chair of the Scenic Designer and Production Program at Boston University (ongoing).

Future: Scenic Designer, Peter Pan, National Tour.

STEFANO DE PEPPO Brooklyn, New York

Glimmerglass 2023: Benoit/Alcindoro in La bohème; Count Capulet in Romeo and Juliet.

Past: Leporello, Don Giovanni, Sarasota Opera; Geronimo, Il matrimonio segreto, Sarasota Opera; Don Magnifico, La Cenerentola, Nashville Opera; Sacristan, Tosca, Opera Colorado.

Future: Dulcamara, The Elixir of Love, Minnesota Opera; Leporello, Don Giovanni, Opera Monterrey; Don Pasquale, Don Pasquale, Teatro Falla.

TERESA PERROTTA Washington, D.C.

Glimmerglass 2023: Mimì in La bohème.

Past: Musetta, La bohème, Washington National Opera; 2023 Grand Finals Winner of The Metropolitan Opera Laffont Competition; Alice Ford, Falstaff, Santa Fe Opera; Alice Ford, Falstaff, Maryland Lyric Opera; Fifth Maid, Elektra, Washington National Opera.

Future: Guadalena, Songbird, Washington National Opera. teresaperrotta.com

LOUISA PROSKE

Berlin, Germany and Halle, Germany

Glimmerglass 2023: Director for Rinaldo.

Past: Director, Rigoletto, Oper Halle; Associate Artistic Director and Resident Director, Oper Halle (ongoing); Co-Founder and Co-Artistic Director, Heartbeat Opera; Director, The Mother of Us All, MetLiveArts/ New York Philharmonic/Juilliard; Le roi Arthus, Bard SummerScape; Serse, International Handel Festival.

Future: Director, Rusalka, Theater Regensburg. louisaproske.com

JOCELYN RAUCH Little Falls, New York

Glimmerglass 2023: Ensemble in La bohème.

Past: Don Giovanni, Carmina Burana, and The Flying Dutchman, Syracuse Opera; Music Director, Into the Woods and Freaky Friday, Mohawk Valley Center; Little Falls First Presbyterian Church (ongoing).

JAMES F. ROTONDO III

Boston, Massachusetts

Glimmerglass 2023: Set Designer for The Rip Van Winkles.

Past: Scenic Designer, Taking Up Serpents/Holy Ground, The Jungle Book, The Glimmerglass Festival; Rigoletto, Intermountain Opera Bozeman; The Knock, Cincinnati Opera; Make Way For Ducklings, Wheelock Family Theatre; Fellow Travelers, (Tobin DirectorDesigner Prize).

GUEST ARTISTS

KELLEY ROURKE

Brooklyn, New York and Roseboom, New York

Glimmerglass 2023: Titles Designer.

Past: Librettist, Cinderella, Metropolitan Opera; The Beekeeper, Chicago Opera Theater; Odyssey, Wilde Tales, Robin Hood, The Jungle Book, The Glimmerglass Festival.

Future: Librettist, Macbeth and the Weïrd Sisters, Theater Latté Da; The Emissary, Opera Parallèle; Hansel and Gretel, Royal Opera House; Songbird, Washington National Opera. kelleyrourke.com

MATT SAUNDERS Philadelphia, Pennsylvania

Glimmerglass 2023: Set Designer for Rinaldo.

Past: Set Designer, Daddy, Almeida Theatre (Drama Desk Award); FLEX, Lincoln Center Theater; Stranger Love, LA Philharmonic; Prisoner of the State, NY Philharmonic; We Shall Not Be Moved, Opera Philadelphia; Grace Notes, Spoleto Festival, The Kennedy Center; Le roi Arthus, Bard Summerscape. mattsaundersdesign.net

EMILY SENTURIA San Francisco, California

Glimmerglass 2023: Conductor for Rinaldo.

Past: Conductor, L’amant anonyme, The Atlanta Opera; Rinaldo, Minnesota Opera; Sky on Swings, Opera Saratoga; Fellow Travelers, Florida Grand Opera; Semele, Opera Santa Barbara; Il barbiere di Siviglia, New Orleans Opera.

Future: Conductor, Lucia di Lammermoor, Cavalleria Rusticana, St. Louis Symphony Orchestra.

LOREN SHAW New York/New Jersey

Glimmerglass 2023: Costume Designer for Romeo and Juliet.

Past: Costume Designer, Tenor Overboard, The Glimmerglass Festival; Peter Pan and Wendy, Shakespeare Theatre Company; A Period of Animate Existence, Pig Iron Theater Co.; Head Over Heels, Oregon Shakespeare Festival; The NY Mysteries, The Flea Theater; Restoration Comedy, The Flea Theater; The Taming of the Shrew, Shakespeare Theatre Company. lorenshaw.myportfolio.com

DANIEL SOULE New York, New York

Glimmerglass 2023: Set Designer for Romeo and Juliet.

Past: Scenic Designer, King Lear, Shakespeare Theatre Company; The Amen Corner, Shakespeare Theatre Company; Exhibition & Scenic Designer, Definition, Mercury Store; The Case of the Stranger, Brooklyn Academy of Music.

Future: Scenic Designer, Macbeth in Stride, Shakespeare Theatre Company, Philadelphia Theater Company, Brooklyn Academy of Music. danielsouledesign.com

ERIK TEAGUE Alexandria, Virginia

Glimmerglass 2023: Costume Designer for La bohème and The Rip Van Winkles.

Past: Costume Designer, The Flying Dutchman, The Glimmerglass Festival; Hansel and Gretel, New Orleans Opera; As One, The Atlanta Opera.

Future: Costume Designer, The Nose, Chicago Opera Theater; A Midsummer Night’s Dream, The Atlanta Opera; The Lion, The Unicorn, and Me, Washington National Opera; Ragtime, Signature Theatre (D.C.). erikteaguedesign.com

BRIAN VU Los Angeles, California

Glimmerglass 2023: Candide in Candide; Tancredi in Love & War.

Past: Rinuccio, Gianni Schicchi, Hawaii Opera Theatre; Sergio, Fedora, Metropolitan Opera; Don Ottavio, Don Giovanni, Sarasota Opera; Riff, West Side Story, Houston Grand Opera, The Glimmerglass Festival; Timothy Laughlin, Fellow Travelers, Opera Columbus; First Place, Lotte Lenya Competition.

Future: Alfredo, La traviata, Opera Omaha.

TOM WATSON New York, New York

Glimmerglass 2023: Hair & Makeup for La bohème, Candide, Romeo and Juliet, Rinaldo, and The Rip Van Winkles.

Past: Hair & Makeup, Parade, Broadway; Spamalot, The Kennedy Center; Elektra, Washington National Opera.

Future: Hair & Makeup, Harmony, Broadway.

HAYLEY E WALLENFELDT Chicago, Illinois

Glimmerglass 2023: Set Designer for Love & War

Past: Scenic Designer, Wirtz Center for the Performing Arts, University College London, Opera Projects for University Singers; Props Designer, Music Theatre Works; Scenic & Costume Designer, Connective Theatre Company; Scenic & Props Designer, Nothing Without a Company.

ROBERT WIERZEL Branford, Connecticut

Glimmerglass 2023: Lighting Designer for La bohème and Romeo and Juliet.

Past: Lighting Designer, The Lehman Trilogy, Huntington Theatre Company; We Shall Not Be Moved, Pittsburgh Opera.

Future: Lighting Designer, Songbird, Washington National Opera; Die Walküre, The Atlanta Opera. sparkdesigncollaborative.com

YING WU Utica, New York

Glimmerglass 2023: Ensemble in La bohème. Past: The Sound of Music, The Glimmerglass Festival.

FRANCESCA ZAMBELLO

Richfield Springs, New York

Glimmerglass 2023: Original Director for Candide

Past: Director, Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Teatro alla Scala, Munich State Opera, Paris Opera, Royal Opera House; elected to the American Academy of Arts and Sciences; Artistic Director, Washington National Opera (ongoing); General & Artistic Director Emerita, The Glimmerglass Festival.

MUSIC STAFF

J. BRADLEY BAKER Waco, Texas

Glimmerglass 2023: Principal Coach for La bohème.

Past: Music Director, Music On Site, Inc. (ongoing); Assistant Conductor, Two Remain, Lyric Opera of Orange County; Conductor, La finta giardiniera, Opera Seme; Guest Coach, Così fan tutte, Opera Arlington; Conductor, Così fan tutte, Music On Site, Inc.

Future: Music Director, Le nozze di Figaro, Landlocked Opera.

ANNA BETKA Toronto, Ontario

Glimmerglass 2023: Youth Chorus Director for La bohème; Principal Coach for Romeo and Juliet.

Past: Assistant Coach, Falstaff, Madama Butterfly, Palm Beach Opera; Principal Coach, Così fan tutte, Palm Beach Opera; Coach, Carmen, Canadian Opera Company; Principal Coach, Tenor Overboard, The Glimmerglass Festival; Youth Chorus Director, The Sound of Music, The Jungle Book, The Glimmerglass Festival.

CHRISTOPHER DEVLIN Montréal, Québec

Glimmerglass 2023: Head of Music; Diction Coach for Romeo and Juliet; Principal Coach/ Ripieno for Rinaldo.

Past: Music Staff/Harpsichordist, Così fan tutte, The Dallas Opera; Music Staff, Rigoletto, The Dallas Opera.

Future: Music Staff, The Diving Bell and the Butterfly, Elektra, Roméo et Juliette, Tosca, The Dallas Opera.

ANDREA GRANT Toronto, Ontario

Glimmerglass 2023: Director of the Young Artists Program.

Past: Head of Music, Coach, Ein Wintermärchen, Wexford Festival Opera; Coach, La traviata, Canadian Opera Company; Coach, Chorus Master, Il cappello di paglia di Firenze, Die lustigen Weiber von Windsor, UBC Opera.

Future: Coach, Chorus Master, The Cunning Little Vixen, Cendrillon, Così fan tutte, UBC Opera.

KATHERINE KOZAK Phoenix, Arizona

Glimmerglass 2023: Chorus Director for La bohème, Candide, and Romeo and Juliet.

Past: Head of Music, Chorus Master, Principal Coach of the Pullin Opera Studio, Arizona Opera (ongoing); Chorus Director, The Glimmerglass Festival.

KATHRYN LABOUFF Englewood, New Jersey

Glimmerglass 2023: Diction Coach for Candide.

Past: Diction Coach, The Magic Flute, Cinderella, Hamlet, The Hours, El Niño, Metropolitan Opera; Diction Coach, Sweeney Todd, Showboat, The Cunning Little Vixen, West Side Story, The Crucible, Blue, Silent Night, The Ghosts of Versailles, The Sound of Music, Taking Up Serpents, Holy Ground, The Glimmerglass Festival; Die Fledermaus, Candide, Doctor Atomic, Ariadne auf Naxos, Santa Fe Opera.

GRANT WENAUS New York, New York

Glimmerglass 2023: Principal Coach for Candide.

Past: Principal Coach, The Sound of Music, Songbird, Kiss Me, Kate, Sweeney Todd, Camelot, Candide, The Glimmerglass Festival; Conductor, The Magic Flute, L’enfant et les sortilèges, Dido and Aeneas, Orpheus in the Underworld, The Merry Widow, Ragtime, City of Angels, The Light in the Piazza, NYU Steinhardt; Conductor, Of Thee I Sing, A Little Night Music, Anything Goes, University of Michigan.

CARLOS AHRENS Cincinnati, Ohio

Glimmerglass 2023: Ensemble and Cacambo (cover) in Candide; Ensemble in Romeo and Juliet

Past: Ferrando, Così fan tutte, Vanderbilt Opera Theatre; The Mayor, Albert Herring, Vanderbilt Opera Theatre; Tamino, Die Zauberflöte, Trentino Music Festival; Rinuccio, Gianni Schicchi, Cincinnati College-Conservatory of Music; The First Commissioner, Dialogues des Carmélites, Cincinnati College-Conservatory of Music.

Future: Tenor Soloist, The Creation, Cincinnati College-Conservatory of Music.

HENRY BENSON Madison, Wisconsin

Glimmerglass 2023: Minister/Ensemble in Candide; Prune Man/Ensemble and Parpignol (cover) in La bohème

Past: Timothy Laughlin, Fellow Travelers, Cincinnati College-Conservatory of Music; Artist-in-Residence, Dayton Opera; Orville/ Wilbur Wright (cover), Finding Wright, Dayton Opera; Cincinnati Opera Chorus, Cincinnati Opera; Fenton, Falstaff, Cincinnati CollegeConservatory of Music.

LAURA BLEAKLEY Honolulu, Hawaii

Glimmerglass 2023: Pianist/Coach for Candide and Romeo and Juliet.

Past: Gerdine Young Artist, Opera Theatre of Saint Louis; Resident Artist, Utah Opera; Festival Artist, Opera Saratoga.

Future: Resident Artist, Utah Opera.

KAILEE BRANDT Honolulu, Hawaii

Glimmerglass 2023: Ensemble/Dancer in Candide and La bohème; Dancer in Love & War

Past: Mersister/Gull/Ensemble, Disney’s The Little Mermaid, Syracuse Stage; Amina, Dance Nation, Syracuse Department of Drama; Cameron Ross, Hawaii Five-O. kaileereganbrandt.com

JUSTIN BURGESS Silver Spring, Maryland

Glimmerglass 2023: Schaunard in La bohème; Martin/James (cover) in Candide; Ensemble in Romeo and Juliet.

Past: Schaunard (Young Artist), La bohème, Washington National Opera; Steuermann, Tristan und Isolde, Santa Fe Opera; Ty, A Thousand Acres (workshop), Des Moines Metro Opera; Cardinal 2/Servant/Oracle 2, Galileo Galilei, Cincinnati College-Conservatory of Music; Count Almaviva, Le nozze di Figaro, Cincinnati College-Conservatory of Music; Fiorello, Il barbiere di Siviglia, Wolf Trap Opera. justinburgessbaritone.com

BRIDGET CAPPEL Dallas, Texas

Glimmerglass 2023: Ensemble in La bohème; Ensemble in Romeo and Juliet; Rinaldo (cover) in Rinaldo.

Past: Rosina, Il barbiere di Siviglia, Shreveport Opera; Flora, La traviata, Shreveport Opera; La Poésie, Les Arts Florissants, The Dallas Bach Society; Toypurina, Zorro, Fort Worth Opera; Soloist, The Magic of Opera, Opera Mississippi/ The Natchez Festival of Music; Mercédès and Carmen (cover), Carmen, Kentucky Opera; Paquette, Candide, Des Moines Metro Opera. bridgetcappel.com

YOUNG ARTISTS PROGRAM

NATHANIAL CATASCA Fort Worth, Texas

Glimmerglass 2023: Grand Inquisitor/ Governor (cover) in Candide, Ensemble in La bohème and Romeo and Juliet.

Past: King Kaspar, Amahl & The Night Visitors, Fort Worth Opera; Donald Woods/Big Mike, Stand Up, Fort Worth Opera; Dr. Blind, Die Fledermaus, Central City Opera; Nemorino/ Tamino, The Magic Victrola, Lyric Opera of Chicago; Barigoule in Cendrillon (Viardot), The Florentine Opera.

Future: Messenger, Aida, Fort Worth Opera.

MARIA NICOLE DE CONZO

Oradell, New Jersey

Glimmerglass 2023: Ensemble in La bohème; Ensemble and Gertrude (cover) in Romeo and Juliet.

Past: Alisa, Lucia di Lammermoor, Druid City Opera; Charlotte, Werther, William Jewell College; Beggar Woman, Sweeney Todd, Opera Saratoga; Danny (cover), Sky on Swings, Opera Saratoga; Berta (cover), Il barbiere di Siviglia, Opera Saratoga; Elizabeth Cree, Elizabeth Cree, William Jewell College.

Future: Third Lady, The Magic Flute, Nashville Opera.

TAYLOR-ALEXIS DUPONT Orlando, Florida

Glimmerglass 2023: Ensemble in La bohème; Ensemble and Stéphano (cover) in Romeo and Juliet; Audrey in The Rip Van Winkles

Past: Phoebe, The Passion of Mary Cardwell Dawson, Washington National Opera; Gabriel, Holy Ground, The Glimmerglass Festival; Flora, La traviata, Virginia Opera; Moth, Midsummer Night’s Dream, Santa Fe Opera.

Future: Flora, La traviata, Florida Grand Opera; Musetta, La bohème, Florida Grand Opera. taylor-alexis.com

KEELY FUTTERER Dover, Arizona

Glimmerglass 2023: Ensemble/Baroness/ Vanderdendur and Cunegonde (cover) in Candide; Armida in Rinaldo.

Past: Armida, Rinaldo, Minnesota Opera; Angostura Iabelle, Tenor Overboard, The Glimmerglass Festival; Fiordiligi, Così fan tutte, Opera Memphis; Maya, The Companion, Opera Memphis; Rose, At the Staute of Venus, Opera Memphis.

Future: Musetta, La bohème, Minnesota Opera; Léontine, The Anonymous Lover, Madison Opera. keelyfutterer.com

MICAH GLEASON Philadelphia, Pennsylvania

Glimmerglass 2023: Assistant Conductor for Candide and Rinaldo.

Past: Assistant Conductor, The Cunning Little Vixen, Bard Vocal Arts Program, Bard College Conservatory of Music; Conducting Fellow, Curtis Institute of Music. Conductor/Music Director, The Final Veil, The Cell Theater; Conductor, Julia Perry’s A Short Piece for Orchestra, Curtis Symphony Orchestra, Verizon Hall Kimmel Center. micahgleason.com

YOUNG ARTISTS PROGRAM

MARINETTE GOMEZ Jacksonville, Florida

Glimmerglass 2023: Assistant Director for Rinaldo and Love & War.

Past: Stage Director, A Hand of Bridge, UNF Affiliated Project; Assistant Director, La bohème, Jacksonville Symphony; Stage Manager, The Magic Flute, Jacksonville Symphony.

Future: Director, Suor Angelica, Bold City Opera.

EMILY HARMON Barrington, New Hampshire

Glimmerglass 2023: Ensemble and Baroness/ Vanderdendur (cover) in Candide; Ensemble in Romeo and Juliet.

Past: Suzuki (cover), Madama Butterfly, Central City Opera; Third Place Winner, Mildred Miller International Voice Competition; Mrs. Lovett, Sweeney Todd, Lowell House Opera; Marcellina, Le nozze di Figaro, Boston Opera Collaborative; Old Lady, Candide, Opera del West; Amastre, Xerxes, Pittsburgh Festival Opera. emily-harmon.com

MADISON HERTEL Traverse City, Michigan

Glimmerglass 2023: Ensemble/Dancer/

Dance Captain and Paquette (cover) in Candide; Dancer/Actor in Rinaldo.

Past: Anybodys, West Side Story, Teatro Lirico di Cagliari; Associate Choreographer/Sister

Sophia/US Liesl and Louisa, The Sound of Music, Arizona Opera; Principal Dancer, Carmen, Portland Opera; Principal Dancer, Carmen, The Glimmerglass Festival; Nun/Liesl and Louisa (cover), The Sound of Music, The Glimmerglass Festival; Bagheera, The Jungle Book, The Glimmerglass Festival; Co-Choreographer, Inherited by Word of Mouth, NYS DanceForce Choreographers Initiative. madisonhertel.com

GRANT JACKSON Columbus, Ohio

Glimmerglass 2023: Ensemble and Schaunard (cover) in La bohème; Ensemble in Romeo and Juliet; Milo in The Rip Van Winkles.

Past: Don Giovanni (cover), Don Giovanni, Rice University; Pallante, Agrippina, Rice University; Cuno (cover), Der Freischütz, Queen City Opera; Dr. Falke, Die Fledermaus, Cincinnati CollegeConservatory of Music; Sam, Trouble in Tahiti, Cincinnati College-Conservatory of Music; Alidoro (cover), La Cenerentola, Queen City Opera; Mr. Gedge, Albert Herring, Cincinnati College-Conservatory of Music.

JORRELL LAWYER-JEFFERSON

Copperas Cove, Texas

Glimmerglass 2023: Ensemble/Dancer in La bohème and Candide; Choreographer for Rinaldo

Past: Featured Dancer, The Glimmerglass Festival; Choreographer, Aida, Houston Grand Opera; Swing, Carmen, Houston Grand Opera.

Future: Company Member, The Big Muddy Dance Company.

RYAN JOHNSON Muleshoe, Texas

Glimmerglass 2023: Grand Inquisitor/ Governor in Candide; Ensemble and Tybalt (cover) in Romeo and Juliet

Past: Ira, Sky on Swings, Saratoga Opera; Frederic, The Pirates of Penzance, Opera Theatre of Saint Louis; Borsa, Rigoletto, Opera Theatre of Saint Louis; Male Chorus, The Rape of Lucretia, Lyric Theatre; Rodolfo, La bohème, Lyric Theatre; Don Ottavio, Don Giovanni, Lyric Theatre.

ROBERT KAHN Bryn Mawr, Pennsylvania

Glimmerglass 2023: Assistant Conductor for La bohème and Romeo and Juliet

Past: Cover Conductor, New York Philharmonic; Assistant Conductor, Tenor Overboard, The Glimmerglass Festival; The Sound of Music, The Glimmerglass Festival.

Future: Conductor, Iceland, Overtone Industries; Assistant Conductor, Suor Angellica/Gianni Schicchi, Julliard; Assistant Conductor, Don Giovanni, AVA Philidelphia; Assistant Conductor, Don Pasquale, AVA Philidelphia. robertkahn.com

EMILIE KEALANI San Francisco, California

Glimmerglass 2023: Musetta in La bohème; Almirena (cover) in Rinaldo.

Past: Dalinda in Ariodante, Curtis Opera Theatre, The Kimmel Center; Adina, L’elisir d’amore, Curtis Opera Theatre, Philadelphia Film Center; Miss Jessel, The Turn of the Screw, Curtis Opera Theatre, Philadelphia Film Center; Opera Chorus, Carmen/Falstaff/M.Butterfly, Santa Fe Opera; Sophie, Der Rosenkavalier, Apprentice Scenes, Santa Fe Opera. emiliekealani.com

NICHOLAS KELLIHER Baldwin, New York

Glimmerglass 2023: Ensemble in La bohème; Sorcerer and Goffredo (cover) in Rinaldo

Past: Oberon (cover), A Midsummer Night’s Dream, Des Moines Metro Opera; Semifinalist, Metropolitan Opera Laffont Competition; Cardinal 1, Galileo Galilei, Cincinnati CollegeConservatory of Music; Man Under the Arch, The Hours, Cincinnati Opera Fusion; Alto Soloist, St. John Passion, Bach Society of Dayton.

HAYLEY MALONEY Covington, Kentucky

Glimmerglass 2023: Ensemble in La bohème and Romeo and Juliet.

Past: Sagredo/Marie/Eos, Galileo Galilei, Cincinnati College-Conservatory of Music; Miss Hayes/Young Artist, Susannah, Wolf Trap Opera; Laura Gates, Tale for a Deaf Ear, Cincinnati College-Conservatory of Music; Florence Pike in Albert Herring, Cincinnati College-Conservatory of Music. hayleymaloney.com

SERGIO MARTÍNEZ Bogotá D.C., Columbia

Glimmerglass 2023: Ensemble and Benoit/ Alcindoro (cover) in La bohème; Friar Laurence and Duke of Verona (cover) in Romeo and Juliet; Bass in Love & War.

Past: Zuniga, Carmen, The Glimmerglass Festival; Sparafucile, Rigoletto, Resonance Works; Gouverneur, Le Comte Ory, Yale Opera; Don Alfonso, Così fan tutte, The Opera Next Door; Basilio, Il barbiere di Siviglia, Opera de Colombia; The Bonze, Madama Butterfly, Opera de Colombia. sergiomartinezbass.com

JOHN MBURU Warwick, Rhode Island

Glimmerglass 2023: Ensemble and Colline (cover) in La bohème; Duke of Verona and Friar Laurence (cover) in Romeo and Juliet.

Past: Pallante in Agrippina, Cincinnati CollegeConservatory of Music; First Man (cover), Castor and Patience, Cincinnati Opera; Chorus, Aida, Cincinnati Opera; Pope Urban VIII, Galilei Galileo, Cincinnati College-Conservatory of Music; Bartolo, Le nozze di Figaro, Cincinnati College-Conservatory of Music.

PETER MURPHY Lowell, Massachusetts

Glimmerglass 2023: Ensemble/Dancer in Candide; Dancer/Actor in Rinaldo.

Past: Ensemble, Rent, Ithaca College; Robbie Hart, Wedding Singer, Palace Teen Company; Ensemble/Musidorous (cover), Head Over Heels, Ithaca College; Ensemble, Wizard of Oz, Palace Theatres; Billy Lawlor, 42nd Street, Actor’s Incorporated.

MARIO PACHECO Toronto, Ontario

Glimmerglass 2023: Assistant Director for Candide

Past: Assistant Stage Director, The Magic Flute, Tosca, Ariadne auf Naxos, The Falling and The Rising, Arizona Opera; The Magic Flute, Canadian Opera Company.

JONATHAN PATTON Durango, Colorado

Glimmerglass 2023: Marcello (cover) in La bohème; Martin/James in Candide; Paris in Romeo and Juliet

Past: Marcello, La bohème, Washington National Opera; Demon, Bubbie and the Demon, Washington National Opera; Tarquinius, The Rape of Lucretia, University of North Texas; Marco, Gianni Schicchi, Festival Napa Valley. jonathan-patton.com

JONATHAN PIERCE RHODES

Orlando, Florida

Glimmerglass 2023: Cacambo and Candide (cover) in Candide; Ensemble in La bohème.

Past: Frank, The Passion of Mary Cardwell Dawson, The Washington National Opera; Cherubiel, Holy Ground, The Glimmerglass Festival; Frank, The Passion of Mary Cardwell Dawson, The Glimmerglass Festival. Jonathanpiercerhodes.com

YOUNG ARTISTS PROGRAM

LISA MARIE ROGALI Hawley, Pennsylvania

Glimmerglass 2023: Paquette in Candide; Stéphano in Romeo and Juliet.

Past: Mercédès, Carmen, The Glimmerglass Festival; Sister Sophia and Maria (cover), The Sound of Music, The Glimmerglass Festival; Princess/Lucy, Edward Tulane, Minnesota Opera; Papagena, The Magic Flute, The Glimmerglass Festival; Tina, Flight, Minnesota Opera.

Future Lapák, The Cunning Little Vixen, Detroit Opera. lisamarierogali.com

ZACHARY RIOUX

Grand Falls, New Brunswick, Canada

Glimmerglass 2023: Parpignol and Rodolfo (cover) in La bohème; Ensemble and Benvolio (cover) in Romeo and Juliet

Past Rodolfo, La bohème, Academy of Vocal Arts; Lensky, Eugene Onegin, Academy of Vocal Arts; Cavaradossi, Tosca (concert), Toronto City Opera. Future: Tenor Soloist, Beethoven’s Ninth Symphony, Beethovenfest Bonn. zacharyriouxtenor.com

AMANDA SHERIFF Houston, Texas

Glimmerglass 2023: Ensemble in Candide and Romeo and Juliet; Callista in The Rip Van Winkles. Past: Miss Jessel, The Turn of the Screw, Opera Baltimore; Despina,Così fan tutte, Opera Delaware; Lotte Lenya First Prize Winner, Kurt Weill Foundation. amandasheriff-soprano.com

ALEX SMITH Kalamazoo, Michigan

Glimmerglass 2023: Sergeant/Ensemble in La bohème; Ensemble and Grégorio/Paris/Duke of Verona (cover) in Romeo and Juliet.

Past: Raimbaud, Le Comte Ory, Yale Opera; Junius, The Rape of Lucretia, Yale Opera; Musiklehrer, Ariadne auf Naxos, Yale Opera; Il marito, Amelia al ballo, Oberlin Opera Theater; Tom/John, The Face on the Barroom Floor, Oberlin Opera Theater; Guglielmo, Così fan tutte, Oberlin Opera Theater; Peter Quince, A Midsummer Night’s Dream, Oberlin Opera Theater.

HAYDEN SMITH Quakertown, Pennsylvania

Glimmerglass 2023: Ensemble in La bohème; Tybalt in Romeo and Juliet, Frank in The Rip Van Winkles.

Past: Nemorino, L’elisir d’amore, Opera in the Heights; Elder Hayes, Susannah, Wolf Trap Opera; Giuseppe, La traviata, Wolf Trap Opera; Don Ottavio, Don Giovanni, Rice University; Alfred, Die Fledermaus, Temple University; Peter Quint, The Turn of the Screw, Temple University. haydensmithtenor.com

EMMA SUCATO Dallas, Texas

Glimmerglass 2023: Ensemble/Dancer in Candide; Ensemble/Dancer in La bohème; Dancer/Actor in Rinaldo

Past: Assistant Choreographer, Sweet Charity, Syracuse University; Ensemble, The Drowsy Chaperone, Mainstage Irving.

YOUNG ARTISTS PROGRAM

ALICIA RUSSELL TAGERT Richmond, Virginia

Glimmerglass 2023: Minister’s Wife/Queen of Eldorado in Candide; Ensemble and Musetta (cover) in La bohème

Past: Gretel, Hansel and Gretel, Opera Birmingham; Susanna, Le nozze di Figaro, FargoMoorhead Opera; Willie/Ruthie (cover), Castor and Patience, Cincinnati Opera; Morgan, Fierce, Cincinnati Opera; Berta, The Barber of Seville, Fargo-Moorhead Opera. aliciarussellsoprano.com

AMANDA TESTINI

Vancouver, British Columbia, Canada

Glimmerglass 2023: Assistant Director for La bohème and The Rip Van Winkles

Past: Choreographer/Assistant Director, HMS

Pinafore, Vancouver Opera; Stage Director

Participant, Opera in the 21st Century Program, Banff Centre for the Performing Arts; Movement Consultant and Swing, You Used To Call Me Marie, Savage Society, Alberta and Saskatchewan Tour; Justine Chambers, Love Bomb, Shameless Hussy Productions, Western Canada Tour. amandatestini.com

KORIN THOMAS-SMITH

Toronto, Ontario, Canada

Glimmerglass 2023: Ensemble and Maximilian (cover) in Candide; Argante in Rinaldo.

Past: Tarquinius, The Rape of Lucretia, Yale Opera; Raimbaud, Le Comte Ory, Yale Opera; Dulcamara, L’elisir d’amore, Yale Opera.

Future: Ensemble Studio, Canadian Opera Company.

CATHERINE THORNSLEY

Vancouver, British Columbia, Canada

Glimmerglass 2023: Ensemble and Mimì (cover) in La bohème; Ensemble in Romeo and Juliet

Past: 2022 Metropolitan Opera Laffont Competition Semifinalist; Rusalka, Rusalka, University of British Columbia; Contessa Almaviva, Le nozze di Figaro, University of British Columbia; Marta, Pasażerka, University of British Columbia. catherinethornsley.com

KYLE SANCHEZ TINGZON

San Francisco, California

Glimmerglass 2023: Ensemble in Candide; Goffredo in Rinaldo.

Past: Father Hylebos, Tacoma Method, Tacoma Opera; Teseo, Ercole su’l Termodonte, Pacific Opera Project; The Messenger, Harvey Milk, Opera Theatre of Saint Louis; First Prize Winner, Handel Aria Competition; San Francisco

District Winner and Los Angeles Regional Encouragement Awardee, Metropolitan Opera Laffont Competition. kylesancheztingzon.com

TRUMAN TINIUS Syracuse, New York

Glimmerglass 2023: Ensemble/Dancer/Dance

Captain in La bohème; Ensemble/Dancer in Candide; Dancer in Love and War.

Past: Ensemble/Dancer/Circus Feature, The Little Mermaid, Syracuse Stage; Ensemble/ Dancer, Sweet Charity, Syracuse University; Ensemble, The Sound of Music, The Glimmerglass Festival; Featured Dancer/Ensemble/Fight

Captain, Carmen, The Glimmerglass Festival; Mouse King/Candy Cane (Russian Variation), The Nutcracker, Syracuse City Ballet.

EMILY TRIEBOLD Athens, Wisconsin

Glimmerglass 2023: Old Lady (cover) and Ensemble in Candide; Sorcerer (cover) in Rinaldo.

Past: Soloist, Serenade to Music, MidAmerica Productions, Carnegie Hall; Soloist, Op. 38 (Shostakovich), Brooklyn Art Song Society; Soloist (Mendelssohn) in Midsummer Night’s Dream, New York City Ballet, Saratoga Performing Arts Center; Mrs. Cripps (Buttercup), H.M.S. Pinafore, Pensacola Opera; Baroness, Candide, Des Moines Metro Opera; Mrs. Splinters, The Tender Land, Des Moines Metro Opera. emilytriebold.com

ETHEL TRUJILLO Philadelphia, Pennsylvania

Glimmerglass 2023: Ensemble and Juliet (cover) in Romeo and Juliet; Ensemble in La bohème.

Past: Musetta (cover), La bohème, Academy of Vocal Arts; Violetta (cover), La traviata, Academy of Vocal Arts; Norina, Don Pasquale, Academy of Vocal Arts.

Future: Adina, L’elisir d’amore, Parapente Productions.

WILL UPHAM Bedford, Indiana

Glimmerglass 2023: Ensemble in La bohème; Benvolio and Romeo (cover) in Romeo and Juliet.

Past: Monostatos, The Magic Flute, Indianapolis Opera; VA Psychiatrist, Veteran Journeys, Indianapolis Opera; Donald Hopewell, Gallantry, Indianapolis Opera; Jimmy and Kay Garrison Student Grand Prize, Orpheus Vocal Competition; Rinuccio, Gianni Schicchi, La Musica Lirica; Nemorino, The Elixir of Love, The Dallas Opera; The Prince, The True Story of Cinderella, SMU Lyric Theatre; Reverend Samuel Parris, The Crucible, SMU Lyric Theatre.

SCHYLER VARGAS Denver, Colorado

Glimmerglass 2023: Maximilian in Candide; Mercutio (cover) in Romeo and Juliet.

Past: Strephon, Iolanthe, MasterVoices at Carnegie Hall; Papageno, The Magic Flute, Arizona Opera; Harlekin, Ariadne auf Naxos, Arizona Opera; Homecoming Soldier, The Falling and the Rising, Arizona Opera; Moralès, Carmen, Opera Theatre of Saint Louis. schylervargas.com

NAN WANG Handan, Hebei, China

Glimmerglass 2023: Colline in La bohème; Ensemble and Count Capulet (cover) in Romeo and Juliet

Past: Des Grieux, Le portrait de Manon, Manhattan School of Music; Masetto (cover), Don Giovanni, Chautauqua Opera Conservatory; Don Bartolo, Le nozze di Figaro, Manhattan School of Music; Sorcerer, Dido and Aeneas, Central Conservatory of Music; Gang Wu, Flying to the Moon (premiere), Central Conservatory of Music.

Future: Harasta, The Cunning Little Vixen, Manhattan School of Music.

JASON ZACHER Livingston, New Jersey

Glimmerglass 2023: Ensemble/Agent/Señor and Voltaire/Dr. Pangloss (cover) in Candide; Argante (cover) in Rinaldo.

Past: Alidoro, La Cenerentola, Kentucky Opera; Colline, La bohème, Kentucky Opera; Henry, The Gift of the Magi, Kentucky Opera; Jimmy, American Apollo, Des Moines Metro Opera; Bottom/Theseus (cover), A Midsummer Night’s Dream, Des Moines Metro Opera. jason-zacher.com

YOUNG ARTISTS PROGRAM

OLIVIER ZEROUALI New York, New York

Glimmerglass 2023: Mercutio in Romeo and Juliet; Ensemble/Agent in Candide.

Past: Melchior, Amahl and the Night Visitors, Purchase Opera; Figaro, Le nozze di Figaro, Purchase Opera; Papageno, Die Zauberflöte, Berlin Opera Academy; Zaretsky/The Captain, Evgeny Onegin, Highland Opera Studio; Papageno, Die Zauberflöte, Purchase Opera.

YUEQI ZHANG Nanjing, Jiangsu, China

Glimmerglass 2023: Pianist/Coach for La bohème, Romeo and Juliet, and The Rip Van Winkles.

Past: Vocal Coach/Accompanist, Chautauqua Opera Company and Conservatory.

PHOTO: KARLI CADEL

ORCHESTRA

VIOLIN

Ruotao Mao, Concertmaster

Heather Wittels*, Associate Concertmaster

Sasha Margolis

Acting Associate Concertmaster

Raymond Zoeckler, Assistant Concertmaster

Benjamin Hart, Acting Principal Second Violin

Michael Cleveland

Elizabeth Silver

Ubaldo Valli

Ann-Marie B. Schwartz

Jennifer Reuning Myers*

Esther McMahon Sanders*

Mialtin Zhezha

Victoria Stewart*

Fritz V. Krakowski

Leona Nadj*

Robyn Quinnett

Jeremiah Blacklow

Maria Kistner Conti

Susan Faux

VIOLA

Katrina Smith, Principal

Megan Newman Dyer

Dee Dee Fancher

Christine Ims

Sandra VandeGeijn

Christine Orio*

CELLO

Janet Nepkie, Principal

Ruth Berry

Susan Ruzow Debronsky

Benjamin Whittenburg

BASS

David Irvin, Principal

Jon Pascolini

LUTE/GUITAR

Michael Leopold, Principal

FLUTE

Yevgeny Faniuk*, Principal

Linda Greene, Acting Principal

Xue Su

PICCOLO

Linda Greene

Xue Su

Jessica Aura Taskov

OBOE

Eileen Whalen, Principal

Nancy Dimock

Karen Hosmer

ENGLISH HORN

Eileen Whalen

Nancy Dimock

CLARINET

Pascal Archer*, Principal

Phillip Solomon, Acting Principal

KeriAnn DiBari-Oberle

John Friedrichs

BASS CLARINET

KeriAnn DiBari-Oberle

John Friedrichs

E-FLAT CLARINET

Phillip Solomon

BASSOON

Spencer F. Phillips, Principal

Mark Timmerman

FRENCH HORN

Daniel Wions*, Principal

Joshua Michal, Acting Principal

Martin Burki*

Gabriel Kovach

Scott Millichamp

Aaron Brask*

Sonja K. Millichamp

TRUMPET

Jerry Bryant, Principal

Ben Aldridge

Donald Batchelder

Mathew Oram

CORNET

Jerry Bryant

Ben Aldridge

PICCOLO TRUMPET

Jerry Bryant

Ben Aldridge

TROMBONE

Greg Spiridopoulos, Principal

Daniel Martin

BASS TROMBONE

Frank Meredith

TUBA

David Saltzman* , Principal

Alexander Lapins, Acting Principal

CIMBASSO

Alexander Lapins

TIMPANI

Matthew Kibort, Principal

PERCUSSION

Matthew McClung, Principal

Jeffrey D. Grubbs

William Manley

HARP

André Tarantiles, Principal

KEYBOARD

Christopher Devlin

RINALDO CONTINUO

HARPSICHORD

Christopher Devlin

BAROQUE CELLO

Ruth Berry

LUTE

Michael Leopold

BASSON

Spencer F. Phillips

* indicates musician on leave

The Glimmerglass Festival Orchestra is generously sponsored by Robert L. Turner.

ARIANNE AJAKH

Cooperstown, New York

Youth Chorus, La bohème

LAYLA BUTTERMANN

Oneonta, New York

Youth Ensemble, The Rip Van Winkles

MALENA BUTTERMANN

Oneonta, New York

Teen Ensemble, The Rip Van Winkles

NADIA BUTTERMANN

Oneonta, New York

Youth Ensemble, The Rip Van Winkles

CARLY RAE CARILLO

Milford, New York

Youth Chorus, La bohème

ETHAN CHEN

New Hartford, New York

Youth Ensemble, The Rip Van Winkles

NORA CRAIG

Cooperstown, New York

Youth Chorus, La bohème

AVERY CROFT

Cooperstown, New York

Teen Ensemble, The Rip Van Winkles

CALEB J.A. CROWDER

Utica, New York

Teen Ensemble, The Rip Van Winkles

GENEVIEVE DELANOY

Oneonta, New York

Teen Ensemble, The Rip Van Winkles

YOUTH ENSEMBLE

CORDELIA DZIUBAN

Bridgewater, New York

Youth Chorus, La bohème

ELIZABETH ECKEL

Cobleskill, New York Ivy, The Rip Van Winkles

SETON DAVIS FRALICK

Cherry Valley, New York

Teen Ensemble, The Rip Van Winkles

GUS FREDERICKSON

Jefferson, New York

Youth Chorus, La bohème

TOBY FREDERICKSON

Jefferson, New York

Youth Chorus, La bohème

JOHNNY FORD

Utica, New York Youth Chorus, La bohème

ANMO GENG New Hartford, New York Youth Ensemble, The Rip Van Winkles

ANQI GENG New Hartford, New York Teen Ensemble, The Rip Van Winkles

KIAN GRADY

Cooperstown, New York Youth Ensemble, The Rip Van Winkles

JULIEANNA L. IGLESIAS

Van Deusenville, New York Teen Ensemble, The Rip Van Winkles

MAYA LACOPPOLA

Palatine Bridge, New York

Maggie, The Rip Van Winkles

CATE SPEED LEINHART

Fly Creek, New York Youth Ensemble, The Rip Van Winkles

JIERUI LIN

Utica, New York

Youth Chorus, La bohème

YUAN LIN

Utica, New York Youth Chorus, La bohème

ANNIKA MURRAY

Cooperstown, New York Youth Chorus, La bohème

GIALINA PLOUTZ

Oneonta, New York May, The Rip Van Winkles

DANNIELLA N. RIVERA-LITZ

Sauquoit, New York Youth Chorus, La bohème

ANAIS SUMMERS ROBBINS

Austin, Texas Youth Ensemble, The Rip Van Winkles

CALLUM D. TORRUELLA

Sauquoit, New York Teen Ensemble, The Rip Van Winkles

ELEANOR WALKER

Cooperstown, New York Youth Chorus, La bohème

ADMINISTRATION AND PRODUCTION

Artistic & General Director

Rob Ainsley

Executive Director

Andrea Lyons

Music Director

Joseph Colaneri

Director of Artistic Administration

Lauren Bailey

Director of Communications

Kira DeLanoy

Director of Company

Management

Rebecca Gill

Director of Development

Caryn Reeves

Director of Finance

Karen Flanagan

Director of Production

Abby Rodd

Director, Young Artists Program

Andrea Grant

Head of Music

Christopher Devlin

Head of Stage Movement & Choreography

Eric Sean Fogel

Dramaturg

Kelley Rourke

ADMINISTRATION/OPERATIONS

Administrative Advisor/Assistant to the Artistic & General Director

Dianne Ciano

Administrative Assistant

Sarah Cohea

Operations Manager

Christian C. Shaefer

Operations Apprentice

Jillian Harvey

Events Apprentices

Lauren Porter

Melody Rutherford

Chief Equity Officer

Mykai Eastman

Concessions Manager & Operations Assistant

Lizzy Mott

Operations & Concessions Staff

Sarah Mancuso

Emma Alicajic

Jill Rockwell

Julia Salamone

Lynzee Bissell

Gift Shop Manager

Jazz Coleman

Gift Shop Associate

Sophia Jones

House Manager

Shannon Migliore

Front of House Apprentice

Ash Neece

INFORMATION TECHNOLOGY

Information Technology Manager

Austin Bloomfield

Information Technology

Apprentice

Keisha Modi

FINANCE

Accounting Manager

Fred Fall

Accounting Assistants

Cynthia Staley

Kathryn Wakefield

Finance Apprentice

Maggie Blair

Auditors

Grossman St. Amour, Certified Public Accountants

PLLC

Legal Counsel

M. Anne O’Connell

Whiteman, Osterman & Hanna LLP

Law Office Of Douglas H. Zamelis

DEVELOPMENT

Associate Director of Development

Amy Tompkins

Development Officer and Grants Manager

Mark Conchie

Development Officer and Board Liaison

Alexa Dembiec

Development Assistant

Kathy Buck

Development Apprentices

Shaina Gormley

Sarah Mutegi

Evelyn Sload

ARTISTIC ADMINISTRATION

Music Operations Manager

Emmet Sellars

Artistic Operations Coordinator

Jay E. Condon

Music Librarian

Kristen Butcher

Scheduling Manager

Kristen Martin

Orchestra Personnel Manager

Jerry Bryant

Piano Technician

Eric Mazarak

Artistic Administration Apprentices

Whitney Campbell

Edward Sturm

Music Operations Apprentices

Tahric Lofton

Annaliese Ruhs

Music Library Apprentice

Ike Sae-Tang

COMMUNICATIONS

Communications Apprentices

Skyler Burnett

Kyra Macomber

Johanna Weeks

Box Office Manager

Liz Diamond

Box Office Supervisor

Connor Lange

Box Office Staff

Quinn Hixson

Kelsey Revere Walker

Box Office Apprentices

Alonna Hall

Kelly Long

Graphic Design

Kate Ehle/Cake & Ale Studio

Marketing Consultant

NeverDark

Social Media

Jennifer Rizzuto

Photography

Evan Zimmerman

Brent DeLanoy

Videography

Korey Rowe/Otsego Media

Website Design Gameflow Interactive

COMPANY MANAGEMENT

Assistant Company Manager

Michele Metzger

Housing Coordinator

Jeff Wilcox

Company Management Supervisors

Astrid Bacy

Zoe Branson

Housekeeping Staff

Chelsea Cummings

Nancy Lane

Tammy Pearo

Company Management Apprentices

Taylor Bray

Rey Hankinson

Ty’Mariya Moss

Alyssa Murphy

Corrinthea Washington

FACILITIES

Facilities Supervisor

Leon Roseboom

Facilities Staff

Scott Hull

Sheldon Jacobson

Zachariah O’Connor

John Riavez

Julian Rivera

Connor Scheffler

PRODUCTION ADMINISTRATION

Production Coordinator

Wyatt Nyman

Safety Manager

Josh Carroll

Costume Administrator

Kathleen Gardin

Production Administrator

Laura Pierson

Assistant Safety Manager

JBJ

Safety Staff

Jan Herrick

Patricia Pullis

Costume Administration

Apprentice

Natalie Saint-Rossy

Costume Design Apprentice

Corey Cochran

Production Administration Apprentice

Zoe Steenwyk

Scenic Design Apprentice

Hayley E Wallenfeldt

COSTUMES

Costume Director

Lynne Hinman

Costumes Floor Managers

Jayna Fry

LEX Patchett

ADMINISTRATION AND PRODUCTION

Costume Shopper

Lisa Lawrence

Drapers

Breanna Bayba

Erica Fire

Grace Cochran Keenan

Julia Kosanovich

Elizabeth Polley

Jacqui Pomeranski

Elisabeth Roskos

First Hands

M Cotman

Olivia Dilworth

Jacob Galos

Haley Hutchins

Lily Mateus

Bethany Sassen

Gabi Sitze-Martin

Connor Sullivan

Eileen Thoma

Stitchers

Blake Blanning

Ashton Brunn

Celeste Fenton

Jacob Galos

Corissa Gavin

Becca Hall

Tonya Mixon

Zoey Rubinoff

Stitcher Apprentices

Marcie Coeny

Charli den Hartog

Brenna Kaplan-Keshguerian

Hanh Rioux

Skyler Sandner

Adeline Santello

COSTUME CRAFTS

Crafts Manager

Danielle Jordan

Assistant Crafts Manager

Zandra Siple

Crafts Artisans

Lil Campos Obando

Hunter Riley Lypen

Overhire Crafts Artisan

Molly Doan

Crafts Apprentices

Nato Hermann

Zoe Gilreath

SCENERY

Technical Director

Ross Rundell

Assistant Technical Director of Rigging

Matt Beecher

Assistant Technical Director of Scenery

Kyle Ludwig

Head Scenic Carpenter

Meredith C Wilcox

Scenic Carpenters

Luci Busch

Sandi McDonald

Jacob Ian Rodriguez

Nick Sheriff

Rigging Apprentices

Andrew M. Boone

Owen Zacharias

Scenic Carpentry Apprentices

James Hendricks

Paloma Robles

Technical Direction Apprentice

Joseph Fleck

PROPERTIES

Properties Manager

Emily Tabler

Assistant Properties Manager

Hattie V. Fann

Properties Floor Supervisor

Emery Smith

Properties Head Artisan

Emily Davis

Properties Artisans

Mahalet Andargachew

Cai Hayner

Chloe Scheel

Properties Apprentice

Em Simpson

Properties Paints Apprentice

Anna Camerer

PAINTS

Charge Scenic Artist

Sasha Glinski

Assistant Charge Scenic Artist

Carleigh Wagner

Scenic Artist

Jess Fitzpatrick

Scenic Art Apprentices

Hadley Gilpatrick

Ema Valencia

Overhire Scenic Artists

Melissa Davies

Mikaela Kelarek

LIGHTING

Lighting Director

Stoli Stolnack

Lighting Supervisor

Elijah Kleinberg

Lighting Supervisor

Graham Zellers

Lighting Programmer

Aaron Gubler

Lighting Supervisor Apprentice

Rachel Fields

ELECTRICS

Production Electrician

Megan Mahoney

Electrics Consultant

Josh Taylor

Assistant Production Electricians

Cat Foley

Emily Horton

Electricians

Olivia deBree

Andrew DeCollo

Aaron Kurland

Jasmine Moore

Isaak Olson

Ben Wolfe

Electrics Apprentices

Julie Adams

Wil Martin

Jace Petrovich

India Silverman

HAIR & MAKE-UP

Hair & Make-up Supervisor

Charlotte Seidensticker

Hair & Make-Up Staff Artists

Shannon Dolinar

M Nottke

Angelina Vincenzi

Hair & Make-Up Apprentice

Micah Baumgartner

STAGE MANAGEMENT

Production Stage Manager

Dustin Z West

Stage Managers

Luci Burdick

Iván Dario Cano

Laurel McIntyre

Assistant Stage Managers

Natalie Main

Tess Naval

Úna Rafferty

Meghan Spear

Stage Management Apprentices

Grant Crowson

Abigail Murray-Stark

Lorna Stephens

STAGE OPERATIONS

Assistant Technical Director of Stage Operations

Timothy “TJ” Wildow

Assistant Stage Operations Managers

Sophie Rodriguez

Sam Spear

Stage Operations Fly Captain

Shannon Dodson

Stage Operations Prop Staff

Riley Donelson

Reanna Valencia

Stage Operations Staff

Nga Sze Chan

Emily Hanson

Grant Wendt

Stage Operations Apprentices

Sidney Droz

Elijah Samuel Galvin

James David Maxim

Steven Waggoner

WARDROBE

Wardrobe Manager

Katie Simpson

Assistant Wardrobe Managers

Michael Ciaramitaro

Emily Kemmerer

Wardrobe Staff

Jade Almsberger

Taylor Needleman

Maki Niikura

Lucy Pizzicarola

Tater Williams

Wardrobe Apprentices

Kathleen Carter

Katherine Matos

Jacquelyn Perez-Saenz

Tristen Taylor

AUDIO/VIDEO

A/V Coordinator

Joel T. Morain

A/V Staff

Peter Burns

David Walters

A/V Apprentices

Bailey Bennett

Wesley Martinez

Emily Murray

DRAMATURGY/TITLES

Titles Supervisor & Assistant Dramaturg

Nick Richardson

Dramaturgy/Titles Apprentice

Olivia Lerwick

DESIGN

Assistant Costume Designers

La bohème – R. Clare Parker

Candide – Arthur Wilson

Romeo and Juliet –

Nicole DeLucia

Rinaldo – John Polles

The Rip Van Winkles –Nicole DeLucia

Assistant Lighting Designers

La bohème –

Christopher E Wong

Candide –

Corey Goulden-Naitove

Romeo and Juliet –

Christopher E Wong

Rinaldo – Alex Fetchko

The Rip Van Winkles –

Alex Fetchko

THE GHOSTS OF VERSAILLES | PHOTO: CONNOR LANGE

THE GUILD

More than 350 members of the Guild of Glimmerglass Festival provide essential volunteer support to The Glimmerglass Festival throughout the year, filling a variety of company needs through hospitality, fundraising, and education programs. This commitment of time, expertise, and energy allows the company to devote more of its resources to Festival performances and events.

In addition to averaging more than 3,500 hours of volunteer service every year, the Guild makes a significant annual financial contribution to help meet both general and specific needs, including the sponsorship of the Doris. P. Shields Artistic Administration Internship.

Through its many programs and initiatives, the Guild inspires conversations about opera and musical theater among its membership and works to encourage an appreciation of the art form within the community.

www.glimmerglassguild.org

“Armies and opera companies march on their bellies. The rank and file at Glimmerglass are well fed and happy thanks to the heroic efforts of our fantastic Guild.”

JOIN US!

Wine Tasting Event

The Glimmerglass Festival Pavilion with a performance by Anthony Roth Costanzo

Sunday, July 16, 2023

Cooperstown Country Club Event with performances by members of the Young Artists Program

Saturday, July 22, 2023

Guild Gala

The Otesaga Resort Hotel

Young Artist Performances and Silent Auction

Thursday, August 17, 2023

– Joel T. Morain, A/V Coordinator and Resident Sound Designer

VOLUNTEER USHERS

Kay Additon

Debra Araniti

Walter Ashley

Sue Beames

Steve Berman

Carolyn Bishop

Walter “Woody” Bishop

Mark Bostick

Jacinta Brennan

Mary Brodzinsky

Mary Ellen Calta

Alison Calvagno

Enid Cardinal

Denise Carnell

Andrew Carnell

Jack Eugene Carr

Laura Cooper

Michael Cooper

Debra Creedon

Margaret Croft

Sharon Davie

Sally Dayger

Patricia De Lorenzo

Daphine deRosa

Joyce Dixon

Louise Doubleday

Peter Dunham

Kathleen Eisele

Caspar Ewig

David Farquhar

Donna Farquhar

Lane Franz

Julie Grant

Robert Grant

Jane Grastorf

Matt Gregory

Vincent Guerra

Marie Guerra

Schatzi Hall

Mary Harvard

Barbara Hein

Patricia Herrmann

Lori Higgins

Glenda Hoffmann

Conny Horne

Douglas Horne

DJ Igelsrud

Betsy Jay

Kate Johnson

Clyde Jones

Susan Jones

Rhonda King

Doris Kirk

Stephen Klingaman

Abby Kreh Gibson

Rachael Kupka

Barbara LaCorte

Susan Larsen

Nancy Lee

Adrienne Lentini

Sarah Livingston

Linda Lofrumento

Linda Mayou

Janet McCarty

Kathy Meeker

Ann Mei

Cindy Merritt

Jamey Minich

Robert Mix

Richard Monroe

Maureen Murray

Roxanne Murray

Flavia Musto

Laura O’Shea

Jacqueline Parry

Audrey Porsche

Marianne Romano

Christine Rudecoff

Jean Schifano

Elizabeth (Betsy) Scoones

Julia Scranton

Lauri Selin

Florence Selin

Kathy Shimberg

James Shults

Maia Silber

Stanley Silber

Ann Skinner

Judith Stein

Anita Sterns

Junius (Jay) Stone

Bruce Testa

Peg Twasutyn

Susan Vilagos

Janet Vinyard

Geri (Geraldine) Wagner

Donald Wagner

Connie Walters

Cynthia Walton-Leavitt

Linda Watkins

Marguerite Webster

Margaret Wehrer

Pamela Wightman

Nancy Young

Courtney Young

Cheryl Zamelis

PHOTO: KARLI CADEL

FESTIVAL GUILD

2023 FESTIVAL GUILD OFFICERS

Laura Wetzel, President

Abby Kreh Gibson, Vice President

Rhonda King, Secretary

Joanne Tobey, Treasurer

GUILD MEMBERS

Ernest E. Adams, Jr.

Robert Ainsley

Kathryn Allen

Marco Anichini

Walter and Patti Ashley

Carl Adkins and Dianne Balfour

Dr. Dennis Banks

Jim and Nancy Barton

Susan Beames

Nancy Bender

Ruth Bennett

Richard Biviano

Frances Bliven

Jennifer A. Brickley

Mary P. Brodzinsky

Mark Bunce

Mary Ellen Calta

Joan Desens and Simon Carr-Ellison

Patricia Carrier

Maria Camargo

Rhonda Catanzaro

Thomas R. Chase

Lauren Clark

Susan Stetson Clarke

Barbara Crandall

James and Joanne Crum

Ms. Judith Curry

Ellen C. Curtis

Deb and Jim Dalton

Drs. James C. and Caroline W. Dawson

Dominick DeCecco

Barbara Decker

Vincent and Mary Kay Devita

Nicole and Gaylord Dillingham

Susan Drake

Martha Duke

Nancy and Robert Einreinhofer

Kathleen and Dale Eisele

Priscilla Elliott

John Anagnost and Rita Emanuel

Gwendolyn Ermlich

Gerald Evans

Elizabeth Eveillard

Caspar Ewig

Donna Farquhar

Jane Feisthamel

Donald Fenner

Rita Fenstemacher

Fidelity Charitable

Doris Fischer

David M. Frankford

Allen and Judith Brick Freedman

Ms. Martha Frey

Francesca Zambello and Faith Gay

Jane E. Grastorf

William and Cynthia Goertemoeller

Ursula and Chuck Hage

Carla Hall

Charlotte Hall

Gemma Hall

Ms. Melissa Hancock

Patricia and Robert Hanft

Mona Harris

Elizabeth B. Harvey

Christine Heller

Allison and Keyes Hill-Edgar

Susan J. Huxtable

Linda Irenegreene

Thomas A. and Gail Jacobson

Prudence Jackson

Connie and Mike Jastremski

Rev. Betsy Jay

Marianne Bez and Michael Jerome

Kathleen and Bruce Johnson

Sally Jones

Peter Jordan

Marjorie Turrell Julian

Barbara Kajdi

Pooh Kaye

Robert Kent

Marion S. King

Celeste Johns and Chris Kjolhede

Lisa Kressbach

Caralee Carney and Maureen Kuhn

Barbara Lacorte

Renee LaFond

John T. Andrews, Jr., and Elizabeth K. Lambert

Amelia Lane

Pamela Lea

Sandra Ledda

Elizabeth Lemieux

Kathleen Lloyd

Joan Locke

Jean Lyon

Marilyn Marshall

Mr. and Mrs. Martin Senzel

Daphne Mason

William McColl

Millie and David McCoy

Linda Lofrumento and Karen McGinnis

Patrick A. McKenna and Dr. Bertine C. McKenna

Tom Morgan and Erna

Morgan McReynolds

Christine McNaughton

Jeanne McNaughton

Fynnette Eaton and James E. Miller

Patricia Wiley and Wendy Miller

John Webb and Nelson Mondaca

Vesna Moynihan

Carol Mulcrone

Barbara Mulhern

Charles and Susan Newman

Dinah Nissen

Elizabeth Novak

Charles E. Pannaci

Sarah and Paul Pattrson

Dorothy and Henry Phillips

Corinne Plummer

Barbara Pope

Janet Potter

Leonard and Rise Press

Donald and Catherine Raddatz

Thomas Ragan

Emily Johnson and Vijay Ramachandran

Robert Nelson and Van Broughton Ramsey

Angelika Manhert

Rashkow

Jerry and Marisabel Raymond

Richard Redmond

Caryn and James Reeves

Wallis and Cornelia Reid

Nancy Reynolds

Angela Richards

Denise Richardson

Dolores Rothwell

Christine Rossi

Sharon Roy

Michael Sekus and Bianca Russo

Ruth Beardsley and Tom Sansone

Margaret Kiss Santos and Lionel Santos

Schwab Charitable

Richard and Pamela Scurry

Lauri Selin

Florence Selin

Jean Seroka

Rosemary Sibbern

Thomas Simpson

Bishop Mark Sisk and Karen Sisk

Museyb Shareef

Dr. Samuel C. Smart

Lona Smith

Katherine Snyder

David and Cynthia Staley

Ms. Barbara Stephenson

Sharon Stuart

Tara Sumner

Elizabeth Susman

Dr. Jephtha Tausig

Paul and Lizabeth Uhrig

Mindy Utay

Debra Valentine

David and Martha Vaules

Donna C. Veeder

Susan Vilagos

Esther Milsted and Mark Luis Villamar

Janet Vinyard

Beth Wade

Karin and Hans de Waal

Sydney Waller

Mary Anne Whelan

Christine and Albert Weiss

Todd Wetzel

M. Anne O'Connell and Robert A. White, Jr.

Bill Oliver and Michael Willis

Mr. Michael Young

James Covey and James Zabawa

Doug and Cheryl Zamelis

Steven Zerby

BECOME A MEMBER OF THE GOODYEAR SOCIETY Enjoy the Satisfaction of Creating a Legacy at Glimmerglass through an Estate Gift

The Goodyear Society honors individuals and families who have made a gift to Glimmerglass through their will or estate plans to perpetuate the Festival and its programs. 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, which receives Camerata-level donor benefits.

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 theater and campus we enjoy today.

There are many ways you can help Glimmerglass, now and into the future. In addition to providing invaluable support for productions, special programs, and artists through our annual fund, you can help continue our work and maintain and improve the beautiful Glimmerglass theater and facilities through a designated capital contribution or legacy gift.

Capital and planned gifts can be established in ways that benefit Glimmerglass as well as you, your family, or another charity. Bequests of cash or securities, gifts of real estate, charitable remainder trusts, charitable lead trusts, and making Glimmerglass a beneficiary of your IRA in your will are among the most popular ways to create a legacy at Glimmerglass. Please consult with a financial, tax, or legal advisor about the method of contributing that is best for you.

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. Bequests can be made to Glimmerglass Opera Theatre, Inc., Taxpayer Identification No. 16-1053970.

We thank and recognize the members of the Goodyear Society.

Anonymous (2)

Margaret Laird Anderson*

Nancy Ayers*

Dennis N. Banks

Jim and Nancy Barton

William Battin*

John Beurket and Georgia Kustas

John B. Black*

Barbara Blaszak

Mr.* and Mrs. Andrew M. Blum

James and Deborah Breznay

Van Broughton Ramsey and Robert Nelson

Georg O. Budenbender and Dr. Katherine Elwyn

Larry*, Mary*, and Heidi Budro

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*

Dr.* and Mrs. John 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*

Donald Frazier*

Gretchen Frazier*

Allen R. and Judy Brick Freedman

Faith E. Gay and Francesca Zambello

William* and Jean B. Gerhartz

Karen A. Gibbs

Mrs. G. McMurtrie Godley

Sherwin M. Goldman

Dr. M. E. Grenander*

Dr. Brett B. Gutsche*

Lewis R.M* and Gemma Hall

The Raymond Han and Paul Kellogg Foundation

Mary E. Harrigan and Andrew P. Tothy

Lisa Heilman-Cozzalio

Barbara and Harry Howell

Clinton R. Howell

Estate of Alfred F. Hubay*

Ellen Jabbur

Clayton C. Kirking and Edward J. Sullivan

Ron and Melissa Komora

Joanne Kornoelje

Elizabeth R. Lemieux, Ph.D.

Dr. Katharine Lloyd and Dr. William B. Guiney Jr.*

The Estate of Matthew Looram*

Andrew Marlowe and Terri Miller

Donald L. and Jeanette B. Martin Trust

Ann D. McChord

Mr. William McColl

David and Millie McCoy

Barbara McCullough

Drs. Duncan McDowall and Sandra Campbell

Christine McNaughton

Glenda Michailidis

John and Annabel* Muenter

Barbara H. Mulhern

Merlin* and 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

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

Dr. Raymond* and Hannah H. Schneider*

Michael Sekus and Bianca Russo

Mary E. Sherman*

Patricia M. and H. William* 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.* and Clare E.* Thaw

Lloyd L. Thoms, Jr.

Elizabeth Thorpe

Dov and Tom Treiman

Robert F. Van Wormer*

Margo and Anthony Viscusi

Karen Watkins

Andrew Weiss and Marc Osterweil

Carl A. Westerdahl*

Drs. Hannelore Wilfert and Karl Moschner

*deceased

“I became an ardent supporter of Glimmerglass the first time I saw a production designed by John Conklin back in the 1990s. Glimmerglass became an annual summer activity. For decades I have gathered groups of friends to picnic and attend an opera. I have invited opera buffs from New York City, New Jersey, and Canada to join me, not only for an opera but for special events and concerts. In 2014, I began sponsoring a Young Artist seasonally, and subsequently I added the sponsorship of an Apprentice to my annual gift. I plan to perpetuate this commitment by including Glimmerglass in my estate plans.”

MARSHA AND NEIL REMLAND

“We were fortunate enough to grow up in homes where music was an integral part of our lives. It is our hope that our commitment to Glimmerglass will enable other generations to be exposed to the wonderful music and atmosphere it has to offer. We are currently living in a very volatile society. In some states classic books are being banned and children and their elders are being deprived of sharing the truth about our history. Thanks to The Glimmerglass Festival, and through the magic of music, everyone can be exposed to our history and culture, gaining awareness of the differences that can make America the great society it has the potential to be.”

EDWARD J. SULLIVAN AND CLAYTON C. KIRKING

“We have been coming to and loving Glimmerglass almost as long as we have been together. Clayton moved to New York from his curatorial job at the Phoenix Art Museum in 1995 and our first Glimmerglass season was a year later. We have not missed a single summer since then. The intelligent programming, the new operas as well as the highly provocative stagings of ‘old’ operas, has captured our imagination for decades. As an art historian, curator, and writer based at NYU, Edward is fascinated with the ever-changing attitudes to both historical and contemporary works. We are also very attentive to the staging of the operas—old and new. Rob Ainsley’s vision for the future of Glimmerglass (which he explained to us last summer) is exciting and compelling. We wish to support this endeavor in any way possible, and are deeply concerned with humanitarian endeavors and help as many initiatives as possible. We firmly believe that music, and concretely, opera, is one of the principal ways to enhance the quality of so many lives and energize people to work more forcefully to benefit society at large. Therefore we have made Glimmerglass our highest priority within our very modest philanthropic agenda.”

GIFTS TO THE GLIMMERGLASS FESTIVAL

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 2022 fiscal year (October 1, 2021-September 30, 2022) or thus far this year (October 1, 2022-May 20, 2023). Space limitations do not permit us to list contributions under $100, but to these good friends and all of our supporters we extend our most sincere gratitude.

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, a second stage program, an education project, an Apprentice or a Young Artist—please call The Glimmerglass Festival Development Department at (607) 547-0700, ext. 238 or ext. 212.

CAMERATA

Like those patrons in 16th-century Florence who helped give birth to opera and whose name we have borrowed, the Glimmerglass Camerata is a circle of generous benefactors whose enthusiasm for our creative vision and dedication to furthering the careers of young talent is expressed through exceptional levels of support. Camerata patrons receive all National Council benefits, are offered special sponsorship opportunities and are invited to exclusive salon-style musical evenings in thanks for their generosity.

LEADERSHIP CIRCLE

($200,000 and above)

Anonymous

Arete Foundation

Van Broughton Ramsey and Robert Nelson

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

John R. and Joyce McC. Hupper

Charitable Fund

Jacqueline B. Mars

Denise Littlefield Sobel

Estate of Robert F. Van Wormer

CHAIRMAN’S CIRCLE

($100,000 - $199,999)

Wendy Curtis

Andrew J. Martin-Weber and Beejan Land

Ted Snowdon and Duffy Violante

Robert L. Turner

Mr. and Mrs. Edward L. Turner III

PRESIDENT’S CIRCLE

($50,000 - $99,999)

Anonymous (2)

Patricia and John Chadwick

The DuBose and Dorothy Heyward Memorial Fund

Patricia Kavanagh and James Grant

Lindemann Charitable Foundation II Inc.

Thomas C. Ragan

Thomas Simpson

Eugene and Jean Stark

Michael Young and Debra Raskin

Ann Ziff

TRUSTEES’ CIRCLE

($25,000 - $49,999)

Robert Ainsley and Micah Waldstein

Dianne Balfour and Carl Adkins

Dr. Anne McBride Curtis-Fischer

Allen R. and Judy Brick Freedman

Sherwin M. Goldman

The Guild of the Glimmerglass Festival

Gemma Hall

Allison and W. Keyes Hill-Edgar

Richard Kane and Gretchen McBeath

Elizabeth R. Lemieux, Ph.D.

Tom Morgan and Erna Morgan McReynolds

Melanie and David Niemiec

Anne R. Kline and Geoffrey P. Pohanka

John Ryland and Karen Craig Ryland

The Savada-Stevenson Family

Michael Sekus and Bianca Russo

Martin and Dagni Senzel

Grant and Jacqui Smith

Howard & Sarah D. Solomon Foundation

Debra A. Valentine and Jill V. Gardiner

ARTISTS’ CIRCLE

($15,000 - $24,999)

Anonymous

Jim and Nancy Barton

Georg O. Budenbender and Dr. Katherine Elwyn

Jane Lipton Cafritz

The Howard and Barbara Farkas Foundation

Barbara Glauber

Marilynn and John Hill

John and Dolores Hunter

James M. Jordan

Constance and H. Roemer McPhee

Kara Unterberg

Bill and Theda White

APPRENTICES’ CIRCLE

($10,000 - $14,999)

Anonymous (2)

Eugenia and David Ames

Bello Electric & Excavating

Jeffrey P. Cunard and Mariko Ikehara

Clover M. Drinkwater

Robert Ellis

Erika Hall

The Raymond Han and Paul Kellogg Foundation

Mary K. Humfeld and Sonia Manganaro

Paul and Karen Isaac

Laurel McKee

William C. and Susan F. Morris

Rona C. and Arthur E. Rosenbaum

Jean Seroka

Claudia Slacik and Susan Davis

Patsy Smith

The Esther W. Spaulding Charitable Trust

Sally Susman and Robin Canter

Sukey Wagner

Drs. Hannelore Wilfert and Karl Moschner

NATIONAL COUNCIL

The National Council is a group of dedicated donors and Glimmerglass advocates throughout the country who contribute generous financial and ambassadorial support, and in exchange come together between seasons with artists and artistic personnel for behind-the-scenes programs and social gatherings. As ambassadors, they have the opportunity to invite friends and colleagues to off-season events to interest them in the Festival.

PLATINUM

($7,500 - $9,999)

Nicole Alfandre Halbreiner

Barbara Blaszak

Joan Desens and Simon Carr-Ellison

Mr. and Mrs. David E. Farquhar

Thomas and Alison Lord

Janet Nelson

GOLD

($5,000 - $7,499)

Anonymous (3)

Lou Allstadt and Melinda Hardin

Cecilia Andersen

Elizabeth August and Thomas Mafrici

James E. Ballowe Jr.

Constance Beaty Charitable Trust, a Donor Advised Fund of Renaissance Charitable Foundation

Thomas and Christine D. Berk

Jacqueline Bradley

Sandra L. Brown

Katrina F.C. Cary and Linn Cary Mehta

Donald Clinton and Karen Wilkin

Martin D’Arce - TMD Concepts, LTD

Paul Decoster

Debórah Dwork and Ken Marek

Drs. Jane A. Feisthamel and Mary Margaret Snyder

Laurie Frenzel

Abby Kreh Gibson

Nimet Habachy

Ellen and Scott Hand

Robert and Patricia Hanft

Mr. and Mrs. Gates Helms Hawn

Andrew and Mary Hendry

Fred P. Hochberg and Tom Healy, The Heyday Foundation

Frank Holozubiec

Mr. and Mrs. James R. Houghton

Gail J. Hupper and William H. Wood

Kathleen Mulhern Johnson and Bruce Ray Johnson

Hon. and Mrs. M. Langhorne Keith

Mr. and Mrs. Paul Lerwick

Rosanne and Marty Leshner

Gregory Long and Scott Newman

John May

David and Millie McCoy

Sage Mehta and Michael Robinson

Karen Metcalf

Mary Moran and Jordan Kerber

Susan Morris

Barbara H. Mulhern

Michael Olding and Chris Morrison

Alan and Pamela Patunoff

Hon. Susan Phillips Read

Mary-Margaret Robbins and Matthew Sohns

Mike and Marie Rourke

Thomas A. and Georgina T. Russo

Mrs. Constantine Sidamon-Eristoff

Richard and Pam Siegel

James E. Smaltz and Gordon F. Ruckdeschel

Mr. and Mrs. Edward W. Stack

Peter and Judith Stanton

Gerald and Grace Sun

Elizabeth Thorpe

Deborah and Michael Troner MD

Alan and Linda Vincent

Margo and Anthony Viscusi

Caleb Wertenbaker

Dr. F. Todd and Laura Wetzel

Judith Whalen and Paul Goldsmith

Dolores and Clifton Wharton

SILVER

($2,500 - $4,999)

Anonymous (3)

Susanne and Chris Adamski

Kathryn Allen

Edward J. and Laura G. Asher

Ann Beha, Ann Beha Architects

John Beurket and Georgia Kustas

Felicia H. Blum

Michael Bretholz

Christine E. Bulson

Kayellen Button and Bruce Loveys

Jaye Chen and Peter Brown

Thomas and Loren Colbert

Stephanie Cooper Clarke

Carol and Rick Detweiler

Nena Donovan Levine

Mary Flower

William Fogg and Julie North

Noushin and Greg Framke

Ellen Freeman

Drs. Deborah and Michael Goldberg

Carla Hall

Mary E. Harrigan and Andrew P. Tothy

Mona Harris

Dr. Anne Harrison

Shannon Hill

Charles and Patricia Ingraham

Evelyn Kalenscher-Kirschenfeld

Belinda and Stephen Kaye

Laurence Keiser and Susan Accetta

Lee Kern

Clayton C. Kirking and Edward J. Sullivan

Rabbi Sharon Kleinbaum and Randi Weingarten

Joanne Kornoelje

Arthur Kuckes and Martha Wright, The Community Foundation of Tompkins County, the Vector Magnetics Fund

Gary and Edna Lachmund

Richard and Georgia Lee

Harry and Ellen Levine

Dr. Katharine Lloyd

Jean-Michel Loubeau

Carri Lyon

Marcy Horath Maguire

Debra and Charles McCambridge

Natasha Mehta and Nathan Heller

David and Anne Menotti

Michael and Cory Moffat

Bob and Ami Montstream

Ann and Don Morrison

Dr. and Mrs. Stanley Muravchick

Carl R. Nold and Vicky L. Kruckeberg

Nancy and Chip Northrup

Chris and M.E. O’Connor

Janet and David Offensend

Tod Ottman and Kathleen Pakenham

Peggy Parsons

Jerry and Marisabel Raymond

Paul R. Reid and Thomas Hartnett

Betty N. Robinson

Harriet Rogers

Karen Royce

Mrs. Marjorie Russel, The Leo Model Foundation

Beth Sapery and Rosita Sarnoff

Kathleen Schaaf

Dr. and Mrs. Thomas P. Sculco

Tammy and Michael Sload

Robert M. Steiner and Faith Pleasanton

Christine and George Stonbely

Mark Stuart-Smith and Andrew Jorgensen

Richard Tarrant

Dov and Tom Treiman

Helen Wiley and Marian Payson

Molly Wilkinson

Ellen Wood and Michael Durkee

Ken and Dorothy Woodcock

Martha Yager

Mary N. Young

BRONZE

($1,000 - $2,499)

Anonymous (10)

Michael Abate

Stewart and Barbara Agor

Eleanor B. Alter and Dr. Allan M. Lans

Carolyn Anderson and Barbara C. Brenner

Dr. Peter T. Anderson

Woody and Cynthia Andrews

John T. Andrews Jr. and Elizabeth K. Lambert

Norma J. Arnold

Helen-Jean Arthur

Jack and Marion Auspitz

Martin and Krista Babinec

Richard A Backer

Richard J. Balfour

Dennis N. Banks

John Barnhill

Jane Bartrum

Kent and June Barwick

Neil and Carolyn Baum

Pam M. Baxter

Rick and Helaine Beckerman

Carol Beechy and Kathryn Boardman

Ellen Berelson and Larry Franks

Wanda Warren Berry

Bob and Marcy Birch

William Bissell

Drs. Ellen Blum and Kenneth Novak

Molly and Tom Boast

Boss Landscape LLC

Max and Ellen Brantley

John Brewer

Douglas and Beatrice Broadwater

George and Nancy Brodie

Sarah M. Brown

Charlotte and Charles Buchanan

John Burt

Jim and Terry Byrnes

Paula Campos and Rodrigo Bitar

John Casaly and Louise Parent

Susan Stetson Clarke

Susan Clearwater

Michael Cleveland and Kathy Leach

Linda and Sarah Cohen Fund at the Community Foundation of Herkimer and Oneida Counties

J. Patrick Cooney and Karl Buchberg

Chloe and Rod Correll

Mihaela Cosma

James S. Covey and James P. Zabawa

David Craine

The Crawford Foundation

Jonathan Dwight Culler and Cynthia Chase

Mrs. Denise B. Dailey

Deb and Jim Dalton

Anna and Paul D’Ambrosio

Duke Dang and Charles Rosen

Drs. James C. and Caroline W. Dawson

Prof. Christian C. and Mrs. Ann M. Day

Albert De Salvo

David Decima and Evangeline Shih

Vincent and Mary Kay DeVita

Paula DiPerna

Marci Douglas and Lawrence Pollack

Noreen Doyle

Joanne and Jerry Dreher

Arnold Drogen

Mr. and Mrs. Richard Dunn

Dr. Laure Duval

Cecily Eidelhoch

Charles Eil and Adele Geffen Eil

Elizabeth and Clinton Elliott

Rita Emanuel and John Anagnost

Thomas R. Engel

Equinda Family

David Ernst

Thérèse Esperdy and Robert Neborak

Joan and Peter Faber

Frank Farmer and Frank Kolbert

Tracy and Scott Fauver

Gordon and Sarah Faux

Firestone Family Foundation, Inc.

Jack and Marsha Firestone

Chris and Patty Fox

Gretchen Frazier Fund of the Arizona Community Foundation

Richard Friedberg and Elisabeth Searles

Mary Lou, Suzan and Rebecca Friedlander

Elizabeth Garry and Elizabeth Cahill

James M. Gaughan and Keith C. Lee

Charles and Adelia Geiger

Mr. and Mrs. Steven D. Glazer

Douglas Glucroft and Anda Stelian Glucroft

Joseph F. Godfrey and Keith Halstead

Steven and Susan Gold

Nancy and Frederic Golden

Margot Golding

Cristina Grajales and Isabelle Kirshner

Amy J. Greer and Mark J. Murphy

Mary Ellen and Michael Guerra

Hector and Lucy Guinness

Jane M. Gullong

Ursula and Charles Hage

Michael Halloran

James Hammond and Edith Van Slyck

Elizabeth Harvey

Kimberly Hastie and Timothy Welch

Christopher R. Hatt

Michael Heaston

Lisa Heilman-Cozzalio

Wylie and Christina Hembree

Jean and Norbert Herzog

Carl Hill

Dr. Marilyn and Bernard Horowitz

Frederick B. Howard

D. Roger Howlett

Beth Humes

Craig and Susan Hupper

Susan Huxtable and Joseph Novitski

Donald Ingram and Eugene Tobey

Linda Irenegreene

Caroline J. Jackson

Jean Jagendorf

Regina Janes and Charles Woolley

Mike and Connie Jastremski

Barbara Jenkins

Helen I. Jessup

Celeste Johns and Chris Kjolhede

Emily Johnson and Vijay Ramachandran

Mark Kachigian and Anne Powrie-Smith

Jenny Kallick and Robert Bezucha

Jeff and Karen Katz

Cathy Kaufman and Thomas Pippert

Shoshana Keller and Deborah Reichler

Patricia A. Kelly

Kate Kemker and Kaaren Fox

Daniel Kempton

Robert Kent

Mark Killingsworth and Michelle Saland

Bradley King

Gail and Ed Kitch

Stephen and Mary Sue Kitchen

The KMC Foundation

Lauralyn and G. Roberts Kolb

Waldron Kraemer and Joan Lovell

Lisa Kressbach

Christiane Kropp

Maureen Kuhn and Caralee Carney

Gloria Kulhawy

Kathryn LaBouff

David Lakari

Richard Lawrence and Laura A. Leach

Brent and Mary Leonard, Carefree Gardens

Isabel Leonard

Bruce and Diane Lercher

Charles M. Liddle III & Nancy H. Liddle

Fund of the Community Foundation for the Greater Capital Region

Rona Lucas

Doris Fischer Malesardi

Peter Manson and Peter Durfee

David Marcus and Brenda Bousfield

Frances Marx

F. X. Matt II Memorial Fund

Sandy and Suzanne Mayer

Timothy McAuliffe

James McCarthy and Joan Pirics

John and Catherine McEnroe

Camilla and Hugh McFadden

Margaret E. McGown

Ned McGuire

Karen McLaughlin and Mark Schubin

Christine McNaughton

Mary P. McPherson

Linda Metzger

Daniel M. Meyers

Alden and Jane Millard

James E. Miller and Fynnette Eaton

Irene R. Miller

William Miller and Talbot Logan

Deborah Mintz

Rachel Moore and Harry Dodson

John Muenter

Katharine Muir and Kenneth Witty

Abigail, Mark, Asa and Honor Nestlehutt

Douglas M. Nevin

Dinah Nissen and Elizabeth Apelles

Wendy and Bill Nolan

Jeannie and Peter Norris

M. Anne O’Connell

Michael W. O’Dell, M.D.

Timothy O’Leary

William Oliver and Michael Willis

Opera Guild of Rochester

Community Foundation of Otsego County

Christopher Owen

Bill Packard and Charles Ihlenfeld

Charles “Jud” Pannaci

Stephanie and Jim Patrick

Bill and Norah Pattison

Timothy and Barbara Pedley

Corinne M. Plummer

David Poppe and Cherie Henderson

Trevor Potter and Dana Westring

Matthew Price and Veerle Daenen

Alexander Purves

A. Putnam

Albert Pylinski and Frank Ferrante

Susan and Kanti Rai

Caryn and Jamie Reeves

Elizabeth and Dennis Regan

Wallis and Cornelia Reid

Marsha and Neil Remland

Elsie and Thom Rhodes

Kathleen Roberts and Howard Clyman

Carl and Anne Rosenberg

David and Nancy Rosenblum

Georgeanne and Jean Rousseau

Sharon Roy

David M. Rubin and Christina Press

Patricia Sanborn

Lisa Sarajian

Pat and Paul Saunders

Carol S. Scheele

Karen Schlather

Carolyn A. Seale and Carol Lee Klose

Margarita Sears

Cecilia Sercan

Senator and Mrs. James L. Seward

Albert H. Shaheen Memorial Fund at The Community Foundation of Herkimer and Oneida Counties

Cindy Shmerler and Ford Levy

Mark Silverschotz and Anne Segal

Peter Skaperdas

Julie Skarratt

Susie Snowdon

Ruth A. Solie

Annaliese Soros

Stephen and Monica Spaulding

Valerie Steele and John S. Major

Ken and Carol Steigelman

Richard J., Marisa and Jenna Sternberg

Campbell Steward

James Stewart and Benjamin Weil

Edward A. and Claire G. Stiepleman

Judith Stoikov and Richard Miller

Debra Stone and David Glaser

Dr. and Mrs. William Streck

Richard Sylvester

Thomas Talbot

Eduardo Tamraz

Ann B. Teixeira

Conor and Katie Tochilin

Tom Tompkins and Jill Rowley Tompkins

Richard Tourangeau and Marilyn Miller

Charles F. Tremper

Jack Triplett

James Tucker and Neil Lucchese

E. Brantley Turner Bradley

Gary and Marie Van Graafeiland

Patrick and Candice Van Roey

Emma Vaughn and Ravi Agrawal

Dr. and Mrs. Gilbert T. Vincent

John von Briesen Jr. and Sallye Perrin

Rose Wadsworth

Suzanne J. Ward

Arthur and Madelaine Warren

John B. Webb and Nelson Mondaca

Morton and Corinne Weber

Mr. and Mrs. William Weldon III

Steve and Regan Wesson

PATRONS

Dustin Z West

Dorothy Wexler

Robert White and Anne O’Connell

Lois Widdemer

Amy Wilson and David Flannery

Wittels Family

WSDG, Walters-Storyk Design Group

Deborah and Michael Zahn

Howard Zar and Ray Kurdziel

Patrons are at the heart of our family of contributors, and we would not have grown to achieve international stature without their loyalty and invaluable support.

GUARANTOR

($500 - $999)

Anonymous (3)

David A. Ackerman

Rosalie and Thomas W Anderson

Stuart Anthony

Paul Asman

Kile Baker and Robert Smith

James and Hollis Barickman

Ann-Marie Barker-Schwartz

Brian K. Barlow & Christopher E. Law

Jameson Baxter

Donald Behr

Larry Bell

Travis Blackwell

Elaine C. and Marc Bresee

Kathleen and Paul Browning

Tim and Patty Burch

Michael P. Cannon

Thomas F. Cannon and Joseph Harding

Nancy and John Carver

Eleanor Caulkins

Linda Chesis and John Guiton

Mary Chruscicki and Patricia Baskinger

Joanne and Roger Clapp

William and Anna Clark

Joseph and Susan Colaneri

Ann and Tom Connolly

Stan Corfman

Thomas Cox

Judith Curry

John and Julia Curtis

Mike and Shari Dailey

Marilyn Deutsch

Amy Dickinson and Bruno Schikel

Judith and George W. Diehl

Gaylord and Nicole Dillingham

Beatrice Disman

John Dobkin

Donald Eckert and Terry Foster

Lily Engelhardt

Elizabeth Etoll

James F. Evans III and Mary Selden Evans

Kathy Faber

First Presbyterian Church Cooperstown

Martha and Robert Fisher

P. Jay Fleisher and Judith A. Pachter

Fred Flores and Catherine Lindgren

Dr. and Mrs. Walter Franck

Suzan D. Friedlander & John G. Saphier

The Glimmerglass Festival Production Staff

Christine Goerke

William Goodenough

Roe Goodman

Suzanne Gouvernet - Gouvernet Arts Fund at Rochester Area Community Foundation

Karen Greenfield

Paul Grzella and Edward Edwards

Michael Hampton and Carlos Sandoval

Mr. and Mrs. Fred Haritatos

Angela Harris and Dick Friedrich

Ron and Rebecca Harris-Warrick

Jim and Betta Hedlund

Dick and Mary Ellen Hibey

Christina M. Hickey

Walter B.D. Hickey Jr.

Ian Hinchliffe and Marjorie Shapiro

Michael & Kathryn Hoffman

Frieda Holober

Joyce Homan

Barbara and Harry Howell

Martin Ihrig

Janice Impey

The Johnson Browning Family Fund

Peter Jordan

Kim and Kathleen Juhase

Marjorie Turrell Julian

Padma Kaimal and Andrew Rotter

Stephen and Pamela Kalista

John A. Kane

Mr. and Mrs. James Kendrick

Rose-Marie Klipstein

Ron and Melissa Komora

Ken and Susan Kramer

Robert Landsman and Sandra Lang Landsman

Joann Langrock

L'Equipe Mont d'Or

David Levinson and Kathy Kirn

Barbara and Jack Lewis

Andrew and Anya Littauer

Frank and Sidney Maas

Martha Maier

Aura Marinescu

Eugene and Pamela McGuire

Adam Meister

John and Susanna Membrino

Marcia Membrino

H. William Michaels

Kathleen Moore and Judith Henningson

Christina Murphy

Nelle Nugent and Jolyon Stern

Thomas C. Nye

Gary and Janaki Patrik

Hugh and Norma Phelps

James Place

Janet L. Potter

Michael Presser

John and Patricia Quinn

Mr. and Mrs. T. E. Reideler

Peter and Susan Restler

Ken and Susi Ritzenberg

Jim Rogers

Dr. G. Jeremiah and Gail C. Ryan

David and Melanie Samuels

Paul Samuels and Nurit Margulies

Shira Scheindlin

Kathleen M. Scott

Susan Clare Scott

Richard G. and Pamela Scurry

Erik Serrano Berntsen

Candice Shannon

June Sheehan

Michael and Vivien Shelanski

Lisa Sherman and Julie Lichtstein

Margaret Smedes Poyner

Ms. Barbara Somerville

Mr. and Mrs. David H. Stam

David Tatham and Cleota Reed

Philip and Barbara Taurisano

Linda and James Taylor

Bob Timpson

Steve Ucko

Heidi Waleson and Andrew Manshel

Alan Wanzenberg

Stephaine Weiss

Lois and Harold Weitzner

Nathan and Elizabeth Wentworth

William E. and Phyllis C. Whitesell

Marie and John Woodward

Douglas and Cheryl Zamelis

CONTRIBUTOR

($100 - $499)

Anonymous (15)

John Abel

J. Ackerman and J. McCarthy

Martha Ackmann and Ann Romberger

Terry D. Adkins

Jim Aiello, in memory of Pam Johnson

Sara Akel

James Aldrich-Moodie

Lorraine Alexander

Francis Allenza

Joseph Anderer and Virginia Benz

Arthur Anderson

Robert C. Anderson

Thomas I. Anderson

Grace and Jim Arbury

Jean W. Arnold

Peter Aronson and Marie Landry

Richard and Nancy Asthalter

Ellen B. Avril

Debby Bachand

Samuel Badalian

Roger and Whitney Bagnall

Nancy and Scott Bailey

Ruth E. Baines

Vera S. Baker

Sheryl Balcomb

Rabbi Henry and Sheila Bamberger

Ron and Alex Banay

Hank and Anne Bankhead

John and Louisa Barker

Dr. David Barnert and Julie Raskin

Mr. & Mrs. Stephen Barnhorst

Edvige Barrie and James Frederick

Frank W. Barrie

Evalyn and Joseph Basloe

Thomas and Muriel Beattie

Karen Becker

Nan Beer

Howard E. Bell

William Bellerjeau

Bob and Martha Berardino

Adrea and Stuart Berger

Ruth Berry

Dr. and Mrs. Edward F. Bischof

Betsy Bishop

Mary Sue and Maurice Bizzarri

Richard and Anne Blabey

Carol Blades and John Softness

David and Cathy Blankenship

Sidney and Susan Blatt

Sharon Bonk

John Booth

Bob and Sue Bowker

Andrea Bracikowski

James and Dukene Brady

Lynn Bradley Leopold

Amy Branch

Eduardo Briceno

Nicholas Brill

Sarah Brodie

Nina Brodsky and Alan Kleinman

Dr. Joan E Brooks and Dr. James I Garrels

George C. Brown and Michael Vasas

Kent Brown and Nat Thomas

Paul G. Brown and Susan B. Loevenguth

Sandra Bruggemann

Greg Buch

Mary Buehler

Tom and Michele Burger

Sharon Burke and Alfred Kelly

Mark A. Bunce

Keith A. Bundy

Daniel Burke

Paul Bursic

Joseph and Meg Cairo

Karina Calabro

Andrea Calarco

Mike Callahan

Susan and Oliver Cameron

Jennifer Johnson Cano

Keitha Capouya

Patricia Carrier

Barbara Carter

Dr. Rand Carter

Charles Casale

Margaret Casey

Susan and David Cathers

Russ and Deborah Cenko

Elizabeth Chakkappan

Fiona Chew

George and Laurel Christie

Dianne K. and Lawrence J. Ciano

Christopher L. Cimijotti

Nancy S. Clayton

Sam and Carolyn Clemence

Karyl Clemens

Judith Coburn

Katie Koch Code

Polly Condit

Bob and Bobbie Constable

Armando Contreras

Jeanette Corcoran Castro

Joanne Corey

Jane and Siobhan Cornell

Marilyn R. Costa

Linda Cowan

Rebecca Craft

Joel and Susanna Craig

John J. Creedon Foundation

Roberto Cremonini

Michael and Kathleen Crowe

Conrad Cummings and Robert Katz

Fr. Mark Cunningham

James Cunningham

Katherine Cunningham and Kurt Kaboth

Connie and Pat Dalton

Sheila Darnborough

Judith and Joseph Darweesh

James and Diana Davies

Dean Davis

Thomas and Jerre Dawson

Ron Decicco and Linda Prospero

Brett Delfino

Barbara D. Deller

Michelle Demko

Mr. and Mrs. Johannes de Waal

Mr. and Mrs. Peter Albin Deysenroth

Dr. Arthur DiNapoli and Allyne Frankel

Carole W. Di Nonno

Mr. and Mrs. Jonathan Director

Robert Doane

J. Gerard Dollar and Susan Poisson-Dollar

Mary Ann Donnelly

Christian Dorbandt

Elaine Downing

Downtown Music Services

Jeff and Jane Doyle

David Drinkwater and Jonathan Mills

F. Paul Driscoll

Samantha Dubin

Martha Monteleone Duke

Karen Dunlap

Christopher, Deborah and Amanda Dunn

Kenneth East and Timothy Thurlow

Joanne and Douglas Eaton

Mr. Seth Edelman

Daniel Egan and Kate Glasner

Everett and Wynn Egginton

David H. and Linda J. Ehlers

Philip Eisenman

Ann Eldridge and Robert Neer

Susan and Ron Elinoff

Anne and John Elsbree

Rose Else-Mitchell and Gregory Hill

Karen Elting

Jake and Laura Endres

Janet England

Tony and Lucille Esposito

Nancy G. Ewen

Giancarlo Facchi

June Fait and Herbert Coles

Diana and Emory Fanning

Rhoda Fantasia

Mary and Gregory Farmer

Richard and Ellen Farren

Jean Fuller Farrington

George and Cathy Fasanelli

John A. Faust

Ann Feder and Paul Pomerantz

James and Shizuka Feeney

Claire Felix

Corey Fenstemacher

Hannah Fettinger

Cally Field

John and Jean Finch

Michele L. Finin

Robert Fish

Ellen F. Fitzgerald

Ellen Fladger

James Fleming and Dr. Lawrence T. Waite

Stephanie Fontaine

Nancy Shannon Ford

Peter J. Fox

Juergen Fraenznick

Lisa Frazzetta

Robin Frederick

Henry and Helen Freedman

Ruth Freeman

Catherine French

Martin Fried

Will and Barbara Fry

Alice and Gil Fuld

Keith and Terry Fulmer

Camilla Galluzzo

Daniel Galusha and Roxann Buck

Silvina Garcia Rubio

Joseph Garry

Linda Geffner

Mariette Geldenhuys

Ronald Geuther

Mr. & Mrs. Ward Ghory

Robert Giddings

James Ginsburg and Patrice Michaels

Naomi Glass

Ellen Glass Birger, MD

Glimmerglass Gals

The Glimmerglass Festival Orchestra

Players Association

Beth and Gary Glynn

William and Cynthia Goertemoeller

Daniel Goldhagen

David Goldston

Rose and Jean-Pierre Gombay

James Goode

Barbara Goodman

Dr. Robin and Mr. Henry Goodman

Donna Goodwin

Drs. David and Felice Gordis

Dr. Shimshon Gottesfeld and Marcia Zalbowitz

Carol Gourley

Kara Grady

Pati and Kevin Grady

Jane Grant

Jane Graves

Ellen Greenberg

Henry and Hope Greenberg

Darrell and Gerald Greene

Linda Greenhouse and Eugene R. Fidell

Marjorie F. Grinols

Christine and Bernard Grossman

Jeannine Grossman

Steven and Allan Guggenheim

Jim Guidera and Ed Parran

Susannah Halston

Sandra Handler

Gretchen M. Handwerger

Roy Hansen

Carlie Hanson

Colin and Brittany Harris

Jay Harrison and Jeanne Conroy

Teresa M. Harrison

Leif and Claudia Hartmark

Katie and David Haviland

David and Elizabeth Hayes

Nancy and Jim Hays

Mr. and Mrs. Barry M. Hecht

Jean and Lewis Hecht

Allison Held

Thomas and Sharon Hewner

David R. Hinman

Mary E. Hocken

Pat Hoertdoerfer

Heidi Holder

Neesa and Evan Holland

Suzanne P. Hollist

Joe and JoAnn Holochuck

Rob and Kathy Hood

Paul and Adrienne Horger

Paul Horowitz and Ruth Jaffe

Jim and Cathy Howarth

David and Susan Howell

Gary and Ackli Howell

Dr. John B. Hudson

John and Lindsey Hundley

John Ianacone and Cynthia D'Ambrosio

Christine Ims

Ellen Jabbur

Arnold Jacobson

Michael Jakubowski

Rohan Jayasena

P. Jewell & C. Nickolaus Wand

Frederic Johnson and Jennifer Johnson-Carr

Jennifer Johnson-Kuhn and Erik Johnson

Carol Johnston

Dr. and Mrs. Charles Jordan

Julie R. Joyce

Dr. and Mrs. George Kafka

Lorraine Kaimal

Dr. and Mrs. Geoffrey Kalish

Marilyn and Stan Kaltenborn

Herman and Carole Kane

David E. and Constance Kaplan

L. Frederick Kaplan

Luise-Charlotte Kappe

Eric and Eileen Kaufman

Michael and Linda Kehoe

Marilyn J. Keiser

Julianne Kelly

Patricia Kennedy

Teresa A. Kennedy

Cynthia Kesselring

Urling and Hugh Kingery

Robin Kinnel

Margaret Kinosian

Mary Jude Klee

Rudolph and Zita Knific

Victoria Kohl

Nancy Kollisch and Jeff Pressman

M. Suzette Kopecek

Nancy and Robert Kossowsky

Pamela Kostbar-Jarvis

Dr. Beatrice Kovasznay

Patricia Kruglak

Steve and Teri Kruk

Robert W. Kruszyna

Mary Margaret Kuhn

Lars and Marit Kulleseid

Diane Labelle and Norman Girardot

Jill and Barry Lafer

Fred and Nanett Laffan

Sydney Lancaster Waller

Tom Landon

Alison Lankenau

Drs. John and Judith LaRosa

Kathryn Larsen

Maria A. Lasagna

Alfred and Glenda Law

John Lawson

Joanne and Carl Leaman

John Leary

Rheanolte and Annie Marie LeBarbour

Dr. Kerri LeBlanc

The LeCours Family

Joan and Michael Lehman

Dana and Danny Lehrman

Deirdre Leland

J Lentner

Mr. and Mrs. E. Deane Leonard

Barbara Leopold and Fred Kanter

Anne Marie Leschin

Louise Lesh

Bonnie and Joel Lester

Robin Lettis

Ellen Leventhal

Judith Levin

Hon. Howard A. Levine

David Levy and Ellen Levy

Sarah Lewis

Alice Jo and Marshall Lichtman

Bruce & Patti Lieberman

Maggie Lilja

Maurine Linder & Glenn Fletcher

R. Bruce Lindsay III

Julie List and Steve Brier

Janet Little

LJ's Sassy Boutique

Laurence S. Lockridge

Linda Loomis

Peter and Pat Loomis

Sharon & Chuck Loving

Robert Lowe and Sigrid Hackenberg

Dr. and Mrs. Leonard Lyon

Andrea Lyons

Ron Lytel and Beth Olearczyk

Ann M. MacDougall

John P. MacKenzie

James MacKillop

Mr. and Mrs. John Maco

Michael and Judy Mael

Amanda Savage Mahoney

Jack Malick

Richard J. Malnati

Dennis Mancl and Susan Aurin

Anthony and Carol Mandour

Dr. Robert and Mary Mansbach

Laurence S Markowitz

Phyllis Martinez

Janis Martinson and Stephen Sagarin

William D. Mattern

Anne Maxwell

Anne and Walter Mayo

Herbert Mayo

Rebecca Mazin

Carolyn McBride

Joan McCarthy

William McClements and Charles McLean III

Kenneth and Donyce McCluskey

Carol Ann McKeen and John Dunton

Patrick and Bertine McKenna

Elizabeth and David McMillan

Jonathan Mead and Naomi Guttman

Kathy and Terry Meadows

Sue Ellen Merry

Jackie Metzger

Robert Meya

Frank and Ellen Michelman

Bill and Jan Miles

Lew and Linda Millenbach

Nancy L. Miller

Lorrie and Bruce Millman

Anne Parker Mills

Debra Milstein

Martin Miner

Kati Mitchell

Mary Ann Mitchell

Gregory Molinari and Tom Capopianco

Al and Sally Molnar

Robert L. and Virginia P. Montgomery

Richard Month

Carolyn Mook

Geoffrey Moore

James C. Moore

Valerie Moore

Irene Morey

Alvin and Lesley Morgan Thompson

Cynthia and Albert, The Morris-Meltons

Kenneth Mortensen Jr.

Paula and Paul Mosher

Heidi J. Muir and Marc Laymon

Dr. Rajat and Kathryn Mukherji

David and Elaine Murray

Francis Murray

Sindhu Nair

Pamela J. Nelson

Bruce and Mary Ellen Nielsen

Katherine Niven

Peggy Noecker

Mr. Richard Norton

Zoë Nousiainen

Gwenne and Kerry Oberg

Alice O'Brien

Mr. Thomas O'Connor

Michael and Deborah O'Hara

Dr. and Mrs. Thomas M. Older

Richard Ollarsaba

C and R Olsen

David Osborne

John S. and Clara M. O'Shea

Carol Ann Pacco-Long

Tom Parrish

Martha Patricof

Frank and Joyce Paxton

Philip Pearle

John and Carolyn Peck

John Cedric Pedersen

Frederick Pereira

Pessel Family

Dale and Lorna Peterson

Susan and Daniel Petrivelli

Chris and Carol Pfister

Alberta Poland

Frederic and Catherine Pollard

Marianne Poon

Jeanne and Richard Porter

Joel Potash and Sandra Hurd

Robert and Peggy Poulson

Brigitte and Lou Priem

Michael and Pauline Putney

Brian Quigley

Erin Quirk

Gary Quirk and Charlotte Haas

Helen Rack and Erwin Guetig

Catherine and Donald Raddatz

Marie and Peter W. Rakov

P. Gibson Ralph

William and Divon Rathgeber

Jane M. Rawoof

Sandra Ray

Michael and Sharon Rebell

Joan Redmond

Angela Reed

Bobbi Reed

Joe and Carrie Regenstein

Rene Reixach

Susan Rettinger

Nancy K. Rice

Angie Richards

Kareosen Richards

M. Catherine Richardson

Wayne and Monica Richter

Dr. and Mrs. William Richtsmeier

Turner Roach

Gary Robinson

Drs. George and Ingrid Robinson

Maurice Rocca

Steven and Janice Rocklin

David Rodda

Joan B. Rogers

Richard and Deborah Rogler

Christian Rogowski

The Rose and Thistle Bed & Breakfast

Audrey and Ned Rosenman

Ian and Sarah Rosenstein

Stephen Rosow and Ellen Goldner

Dolores J. Rothwell

Mary Royer and Nelson Burdick

Carl A. Rubino

Larry and Robin Rubinstein

Wolfgang Sachse

Stanley and Gillian Sadinsky

Jennifer Safian

Jeanne and Jeff Salinger

Susan E. Saltus

Michael, Elyssa and Lilyann Saltzman

Margaret Sandercock

Margaret Savoie

Donna Sawyer

Leslie Scallet and Maury Lieberman

Robert and Constance Scharf

Linda Schleicher

Schott Music Corporation

Jean Schroeder

David Schuessler

Mr. and Mrs. Jon L. Schumacher

Robert and Gail Schwartz

David Schweizer

Michael and Mary Scollins

Dr. Mariellen Scott

Dr. Susan Scrimshaw and Allan Stern

Paul J. Seidman

Jean Sekel

Stephen and Peg Senturia

Judy and Ken Seslowe

Phyllis and Donald Sharp

Peter W. Shea and Dr. Suzan Smith

Conrad L. Sheck

Richard and Terry Shenton

Jonathan Sherman

Joanne Shevock

David B. Shmoys

James W. Shults

Robert L. Siebel

Nancy Sills and Franklin Moss

David Simmons

Mary Simonson and Jeff Bary

Susan Sigourney Simpson

Jane Singer

Carla H. Skodinski and Michael M. Fieldman

Andrea Small

Mr. Wayne Smiley

Angela Smith

Beverly Smith

Joseph and Carolyn Smith

Joe Sobota

Mi Ryung Song

Caroline Southworth

Hal and Carol Sox

Marianna T. Spain

Linda Sparks

Claire Spinner

Amy and Walter Srebnick

Cynthia and David Staley

Nell Stanton

Nancy Stauffer and Jeffrey Hughes

Margery and Lewis Steinberg

Dr. Bruce and Judy Stewart

The Stoffel Family

Barbara Ann Stolz

Leslie Strauss

Eleanor Stromberg

Harvey and Mary Struthers

Mira Stulman

Diane Stuto

Alexandra Subbarao

David and Karin Svahn

Woody and Gregg Swain

Michael and Bryna Sweedler

Francis Swiacki

Tetsuo Tamanaha

Sidney Tarrow

Tatiana Tassoni

J.S. Edward Tatnall and Daniel N. Colburn II

Joan and James Taylor

John Tewhey

Ellen Tillapaugh and Gary Kuch

Dr. David C. Tinling

L.M. Townsend Catering

Peter and Christina Townsend

Ruth W. Tucker

Jacqueline Turner

Sally Turner

Mike Twichell

Liz and Paul Uhrig

James Vance and Stephanie Pincus

Rod Vanderbilt

Nancy Vang

Susan VanVranken

William W. and Sarah J. Vasse

David and Martha Vaules

Christopher Vecsy and Carol Ann Lorenz

Lorraine Vekens

Jane and David Villa

JoElyn Wakefield-Wright

Clinton Walker

Gail P. and Stephen V. Walker

James W. Walker and Jane A. DeLisa

Honorine Wallack

Sean Walmsley and Sherry Bishko

John and Kathy Walsh

Ben and Eleanor Ware

Drs. Hueldine Webb & Lester Blair

Bette Weidman

Don Weimer

Dawn Stuart Weinraub

Andrew Weiss and Marc Osterweil

Vera Weiss

Ron and Ellen Whipple

Kirk White

Margery and Michael Whiteman

Deni Wicks

Richard and Martha Widdicombe

Michael Wiley

Winnie and Fred Wilhelm

Jeffrey W. Wilkie and Elizabeth L. Thomson

Bill Williams

Mitch and Mary Ellen Williams

Omer S. J. Williams

Russell Wise and Ann Alles

Kat Wisnosky

Judith Woll, M.D. Philanthropic Fund of the Jewish Foundation of Greater Dayton

Daniel Marshall Wood

Elizabeth Woodard

Matthew and Elizabeth Worth

Frances Wright

Huangyu Wu

Melanie Wyler

Gordon Yasinow

Ada Yonenaka

Wesley York and Robert Scrofani

Your Beta Brothers

Joanne J. and Robert H. Yunich

Deborah and Michael Zahn

Steven Zerby and Joanne Tobey

Rosemary and John Zongrone

Kathryn and Howard Zukof

GOVERNMENT, FOUNDATIONS, AND CORPORATE

The Glimmerglass Festival is grateful to our institutional partners foundations, businesses, and government agencies which have provided essential support for our 2023 productions, Young Artists Program, theater-arts and administrative apprenticeships, community activities, and operations.

CAMERATA

LEADERSHIP CIRCLE

($200,000 and above)

Arete Foundation

The Clark Foundation

The Tianaderrah Foundation

CHAIRMAN’S CIRCLE

($100,000-$199,999)

Andrew W. Mellon Foundation

National Endowment for the Arts

PRESIDENT’S CIRCLE

($50,000-$99,999)

Robert and Esther Black Family Foundation and Fund at Richland County Foundation

The DuBose and Dorothy Heyward Memorial Fund

The Fernleigh Foundation

Lindemann Charitable Foundation II Inc.

TRUSTEES’ CIRCLE

($25,000-$49,999)

New York State Council on the Arts

Howard & Sarah D. Solomon Foundation

The Kurt Weill Foundation for Music

ARTISTS’ CIRCLE

($15,000-$24,999)

Amica Insurance

The Howard and Barbara Farkas Foundation

James Jordan Associates, Architects PECO Foundation

APPRENTICES’ CIRCLE ($10,000-$14,999)

The Aaron Copland Fund for Music, Inc. Fenimore Asset Management and FAM Funds

The Raymond Han and Paul Kellogg Foundation

NATIONAL COUNCIL

GOLD

($5,000-$7,499)

The Amphion Foundation

Constance Beaty Charitable Trust, a Donor Advised Fund of Renaissance Charitable Foundation

Corning Incorporated Foundation

The Dewar Foundation, Inc.

The Eggleston Foundation

The Heyday Foundation, Fred P. Hochberg and Tom Healy We Energies Foundation

SILVER

($2,500-$4,999)

Ann Beha, Ann Beha Architects

Arthur Kuckes and Martha Wright, The Community Foundation of Tompkins County, the Vector Magnetics Fund Macquarie Foundation

The Leo Model Foundation, Mrs. Marjorie Russel

The Matching Gift Center, Pfizer, Inc. OPERA America

BRONZE

($1,000-$2,499)

Boss Landscape LLC

Carefree Gardens, Brent and Mary Leonard Linda and Sarah Cohen Fund at The Community Foundation of Herkimer and Oneida Counties

Community Foundation of Otsego County

The Crawford Foundation

Gretchen Frazier Fund of the Arizona Community Foundation

Firestone Family Foundation, Inc.

Charles M. Liddle III & Nancy H. Liddle Fund of The Community Foundation for the Greater Capital Region

Miller Khoshkish Foundation, Irene Miller PepsiCo Foundation / Silicon Valley Community Foundation

Albert H. Shaheen Memorial Fund at The Community Foundation of Herkimer and Oneida Counties

PATRONS

GUARANTOR

($500-$999)

The Bagby Foundation For The Musical Arts, Inc.

JP Morgan Chase Foundation

The AmazonSmile Foundation

Suzanne Gouvernet—Gouvernet Arts Fund at Rochester Area Community Foundation

CONTRIBUTOR

($100-$499)

Benevity

John J. Creedon Foundation

ING Financial Services LLC

LJ’s Sassy Boutique

Rotary Club of Cooperstown

The Rose and Thistle Bed & Breakfast

The D. E. Shaw Group

Judith Woll, M.D. Philanthropic Fund of the Jewish Foundation of Greater Dayton

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.

2023 FESTIVAL SEASON SPONSORS

The Clark Foundation

Elizabeth M. and Jean-Marie R. Eveillard

Nellie and Robert Gipson

Jacqueline B. Mars

Andrew J. Martin-Weber

Denise Littlefield Sobel

GIFTS IN SUPPORT OF MAINSTAGE AND PAVILION REPERTORY

Van Broughton Ramsey and Robert Nelson

In support of The Rip Van Winkles

Patricia and John Chadwick

Production Sponsors, Love & War

Elizabeth M. and Jean-Marie R. Eveillard

Production Co-Sponsors, Rinaldo

Production Co-Sponsors, Romeo and Juliet

National Endowment for the Arts

In support of Rinaldo

Nellie and Robert Gipson

Production Sponsors, La bohème

John R. & Joyce McC. Hupper Charitable Fund

Production Sponsor, The Rip Van Winkles

Jacqueline B. Mars

Production Co-Sponsor, Rinaldo

Production Co-Sponsor, Romeo and Juliet

Andrew J. Martin-Weber

Production Sponsor, Candide

Zambello Gay Tribute Fund

Production Sponsor, An Evening with Anthony Roth Costanzo

La bohème Youth and Community Chorus

PRINCIPAL ARTISTS

SPONSORS:

Dianne Balfour and Carl Adkins Sponsors, Duke Kim

Van Broughton Ramsey and Robert Nelson Sponsors, Stefano de Peppo

Richard Kane and Gretchen McBeath Sponsors, Meredith Arwady

Patricia Kavanagh and James Grant Sponsors, Teresa Perrotta

Anne R. Kline and Geoffrey P. Pohanka Sponsors, Joshua Blue

Lindemann Charitable Foundation II Inc. Sponsor, Brian Vu

Melanie and David Niemiec Sponsors, Jasmine Habersham

Grant and Jacqui Smith

Sponsors, Magdalena Kuźma

Eugene and Jean Stark Sponsors, Anthony Roth Costanzo

Robert L. Turner

Sponsor, The Glimmerglass Festival Orchestra

Mark Luis Villamar and Esther Milsted Sponsors, Darren Lekeith Drone

The Kurt Weill Foundation for Music, Kurt Weill/Lotte Lenya Artist Sponsor, Katrina Galka

Zambello Gay Tribute Fund Sponsor, Brenna Corner

Ann Ziff

Sponsor, Simon Godwin

SPECIAL DESIGNATIONS:

Van Broughton Ramsey and Robert Nelson Youth Chorus

Fenimore Asset Management and FAM Funds Intermission Club Sponsor

Selendy Gay Elsberg

Host, Glimmerglass Festival Board of Trustees meetings

Oxalis

Sponsor, Midday Music Concert Series

Denise Littlefield Sobel

In support of the 2023 Equity, Diversity, and Inclusion initiatives

Tianaderrah Foundation

In support of the Young Artists Program

The Guild of The Glimmerglass Festival

For providing changeover meals for staff

Michael Young and Debra Raskin Campus beautification

Zambello Gay Tribute Fund

The Rip Van Winkles Youth Ticket Initiative

YOUNG ARTIST AND APPRENTICESHIP PROFESSIONAL EDUCATION SPONSORSHIPS

The renowned Glimmerglass Young Artists and Apprenticeship Programs bring exceptional emerging young singers, dancers, conductors, stage directors, coach/accompanists, production talent, craftspeople, and arts administrators together for three months each season to study and gain professional experience in the creative and demanding atmosphere of the Festival. This year 47 Young Artists and 66 Apprentices were selected from approximately 2,500 applicants, a testimony to the quality and reputation of these programs.

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.

The Glimmerglass Apprenticeship Program—previously known as the Summer Internship Program— has been expanded to include more built-in educational opportunities in addition to the experience Apprentices gain on the job. This expansion was made possible through the generosity of Denise Littlefield Sobel, who provided a multiyear match challenge in support of the program.

Benefactors who designate their annual gifts in support of an individual Young Artist or Apprentice personally get to know the artist or apprentice they are supporting, following their careers, and developing 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.

GIFTS DESIGNATED IN SUPPORT OF THE YOUNG ARTISTS PROGRAM

We thank the following individuals for their generous contributions to underwrite this season’s Young Artists Program or to sponsor an individual Young Artist.

GUARDIAN ANGELS (ENDOWMENT GIFTS)

Allen R. and Judy Brick Freedman

Rona Cader Rosenbaum Master Class Fund

YOUNG ARTISTS PROGRAM SUPPORT

The Bagby Foundation For The Musical Arts, Inc.

The Eggleston Foundation

Robert Ellis

The Tianaderrah Foundation

INDIVIDUAL YOUNG ARTIST SPONSORS

Anonymous

Sponsors, Taylor-Alexis DuPont

Jim and Nancy Barton

Sponsors, Emily Triebold

Van Broughton Ramsey and Robert Nelson

Sponsors, Lisa Marie Rogali

Georg O. Budenbender and Dr. Katherine Elwyn

Sponsors, Catherine Thornsley

Jane Lipton Cafritz

Sponsor, Justin Burgess

Patricia and John Chadwick

Sponsors, Schyler Vargas

Dr. Anne McBride Curtis-Fischer

Sponsor, Marinette Gomez

Wendy Curtis

Sponsor, Peter Murphy

Sponsor, Olivier Zerouali

Allen R. and Judy Brick Freedman

Sponsors, Micah Gleason

Sponsors, Ryan Bryce Johnson

Sponsors, Ethel Trujillo

Nellie and Robert Gipson

Sponsors, Keely Futterer

Sponsors, Jorrell Lawyer-Jefferson

Sponsors, John Mburu

Sponsors, Emma Sucato

Sponsors, Will Upham

Barbara Glauber

Sponsor, Robert Kahn

Sherwin M. Goldman

Sponsor, Carlos Ahrens

Gemma Hall

Sponsor, Korin Thomas-Smith

Marilynn and John Hill Sponsors, Jason Zacher

Allison and W. Keyes Hill-Edgar Sponsors, Jonathan Patton

Elizabeth R. Lemieux, Ph.D. Sponsor, Bridget Cappel

Constance and H. Roemer McPhee Sponsors, Truman Tinius

Tom Morgan and Erna Morgan McReynolds Sponsors, Henry Benson

Thomas C. Ragan Sponsor, Kyle Sanchez Tingzon

Rona C.* and Arthur E. Rosenbaum Sponsors, Emily Harmon Sponsors, Yueqi Zhang

John Ryland and Karen Craig Ryland Sponsors, Hayley Maloney

The Savada-Stevenson Family Sponsors, Jonathan Pierce Rhodes Sponsors, Zachary Rioux

Michael Sekus and Bianca Russo Sponsors, Nicholas Kelliher

Martin and Dagni Senzel Sponsors, Sergio Martínez Sponsors, Alex Smith

Thomas Simpson Sponsor, Emilie Kealani

Patsy Smith Sponsor, Grant Jackson

Ted Snowdon and Duffy Violante Sponsors, Kailee Regan Brandt Sponsors, Mario Pacheco

Eugene and Jean Stark Sponsors, Nathaniel Catasca

Mr. and Mrs. Edward L. Turner III Sponsors, Nan Wang

Kara Unterberg Sponsor, Amanda Testini

Debra A. Valentine and Jill V. Gardiner Sponsors, Alicia Russell Tagert

Mark Luis Villamar and Esther Milsted

Sponsors, Maria De Conzo

Bill and Theda White, Sponsors, Amanda Sheriff

Michael Young and Debra Raskin Sponsors, Laura Bleakley Sponsors, Hayden Smith

Jean Sincere Zambello Young Artist Sponsor, Madison Hertel

Denise Littlefield Sobel

Sponsor, 2023 Glimmerglass Apprenticeship Program

Amica Insurance

Sponsor, 2023 Communications Apprentice

The John Conklin Internship Fund Sponsor, 2023 Scenic Design Apprentice

The Guild of the Glimmerglass Festival Sponsor, Doris P. Shields Artistic Administration Apprentice

The May Family Sponsor, Amanda May Production Apprentice

GLIMMERGLASS APPRENTICESHIP PROGRAM SPONSORS

We thank the following individuals for their generous contributions to underwrite this season’s Glimmerglass Apprenticeship Program or to sponsor an individual apprentice.

Steven and Susan Gold

Erika Hall

2023 APPRENTICE SPONSORS

Anonymous (2)

James E. Ballowe Jr.

Van Broughton Ramsey and Robert Nelson

Jeffrey P. Cunard and Mariko Ikehara

Clover M. Drinkwater

Erika Hall

Elizabeth R. Lemieux, Ph.D.

Laurel McKee

Sukey Wagner

Drs. Hannelore Wilfert and Karl Moschner

GENERAL PROGRAM SUPPORT

Anonymous

Susanne and Chris Adamski

Nicole Alfandre Halbreiner

Eugenia and David Ames

Richard A Backer

Dennis N. Banks

Jim and Nancy Barton

Betsy Bishop

Molly and Tom Boast

Boss Landscape LLC

Van Broughton Ramsey and Robert Nelson

Greg Buch

Georg O. Budenbender and Dr. Katherine Elwyn

Thomas F. Cannon and Joseph Harding

Katrina F.C. Cary and Linn Cary Mehta

Patricia and John Chadwick

Jaye Chen and Peter Brown

Susan Clearwater

Mark Conchie and Kirsten Oehl

Duke Dang and Charles Rosen

Joan Desens and Simon Carr-Ellison

Marci Douglas and Lawrence Pollack

Debórah Dwork and Ken Marek

Donald Eckert and Terry Foster

Thérèse Esperdy and Robert Neborak

Tracy and Scott Fauver

Drs. Jane A. Feisthamel and Mary Margaret Snyder

Michele L. Finin

Fred Flores and Catherine Lindgren

Noushin and Greg Framke

Henry and Helen Freedman

Camilla Galluzzo

Daniel Egan and Kate Glasner

Joseph F. Godfrey and Keith Halstead

William and Cynthia Goertemoeller

Christopher R. Hatt

Lisa Heilman-Cozzalio

Thomas and Virginia Heitz

Allison Held

Wylie and Christina Hembree

Jean and Norbert Herzog

Richard S. Hoffman

Marcy Horath Maguire

Linda Irenegreene

Jennifer Johnson Cano

Anne R. Kline and Geoffrey P. Pohanka

Ken and Susan Kramer

Richard Lee

Thomas and Alison Lord

Laura M. Lynch

Andrew J. Martin-Weber and Beejan Land

Adam Meister

Irene Miller, Miller Khoshkish Foundation

William Miller and Talbot Logan

Susan Morris

Ann and Don Morrison

Chris and M.E. O'Connor

Jeanne and Richard Porter

Michael and Sharon Rebell

Thomas A. and Georgina T. Russo

Beth Sapery and Rosita Sarnoff

Thomas Simpson

James E. Smaltz and Gordon F. Ruckdeschel

Patsy Smith

Ted Snowdon and Duffy Violante

Susie Snowdon

Mi Ryung Song

Elizabeth Stockton Perkins

Alexandra Subbarao

Woody and Gregg Swain

Dov and Tom Treiman

Mr. and Mrs. Edward L. Turner III

E. Brantley Turner Bradley

Emma Vaughn and Ravi Agrawal

Jane and David Villa

Clinton Walker

Andrew Weiss and Marc Osterweil

Dustin Z West

Dr. F. Todd and Laura Wetzel

Robert White and Anne O'Connell

Margery and Michael Whiteman

Amy Wilson and David Flannery

Michael Young and Debra Raskin

GALA

We recognize those individuals and corporations who gave in support of our annual spring Gala, which directly benefits our Young Artists, Apprenticeship, and Youth Opera programs.

Anonymous (3)

Susanne and Chris Adamski

Robert Ainsley and Micah Waldstein

Nicole Alfandre Halbreiner

Amica Insurance

A Rose is a Rose

Richard A Backer

Dianne Balfour and Carl Adkins

Jim and Nancy Barton

Betsy Bishop

Steven Blandino

Molly and Tom Boast

Van Broughton Ramsey and Robert Nelson

Dwayne Brown

Sarah M. Brown

Georg O. Budenbender and Dr. Katherine Elwyn

Alyson Cambridge

Paula Campos and Rodrigo Bitar

Thomas F. Cannon and Joseph Harding

Jennifer Johnson Cano

Patricia and John Chadwick

Jaye Chen and Peter Brown

Linda Chesis and John Guiton

Susan Clearwater

Donald Clinton and Karen Wilkin

Joseph and Susan Colaneri

Thomas and Loren Colbert

Mark Conchie and Kirsten Oehl

Wendy Curtis

Dr. Anne McBride Curtis-Fischer

Anna and Paul D’Ambrosio

Duke Dang and Charles Rosen

Martin D’Arce - TMD Concepts, LTD

Joan Desens and Simon Carr-Ellison

Mr. and Mrs. Peter Albin Deysenroth

Paula DiPerna

Marci Douglas and Lawrence Pollack

Wayne J. du Maine

Taylor-Alexis DuPont

Donald Eckert and Terry Foster

Thérèse Esperdy

Elizabeth M. and Jean-Marie R. Eveillard

Tracy and Scott Fauver

Mary Flower

Eric Sean Fogel

Noushin and Greg Framke

Henry and Helen Freedman

Keely Futterer

Faith E. Gay and Francesca Zambello

Nellie and Robert Gipson

Joseph F. Godfrey and Keith Halstead

Steven and Susan Gold

Sherwin M. Goldman

Robbie Gordy

Andrea Grant

The Guild of the Glimmerglass Festival

Jane M. Gullong

Jasmine Habersham

Carla Hall

Gemma Hall

The Raymond Han and Paul Kellogg

Foundation

Ellen and Scott Hand

Michael Heaston

Allison Held

Marilynn and John Hill

Shannon Hill

Allison and W. Keyes Hill-Edgar

The Image Press

James M. Jordan

Mark Kachigian and Anne Powrie-Smith

Patricia Kavanagh and James Grant

Hon. and Mrs. M. Langhorne Keith

Duke Kim

Anne R. Kline and Geoffrey P. Pohanka

Ken and Susan Kramer

Magda Kuźma

Richard Lee

Michael Leopold

Harry and Ellen Levine

Thomas and Alison Lord

Andrea Lyons

Marcy Horath Maguire

Jacqueline B. Mars

Sergio Martínez

Andrew J. Martin-Weber and Beejan Land

Rebecca Mazin

Ann McChord

Laurel McKee

Natasha Mehta and Nathan Heller

Sage Mehta and Michael Robinson

Adam Meister

Alden and Jane Millard

William Miller and Talbot Logan

Tom Morgan and Erna Morgan McReynolds

Susan Morris

Ann and Don Morrison

Katharine Muir and Kenneth Witty

Dr. Rajat and Kathryn Mukherji

Janet Nelson

Melanie and David Niemiec

M. Anne O’Connell and Robert A. White, Jr.

Chris and M.E. O’Connor

Jonathan Pierce Rhodes

PJ Green

Matthew Price and Veerle Daenen

Thomas C. Ragan

Maggie Raywood and Travis Peace

Hon. Susan Phillips Read

Michael and Sharon Rebell

Caryn and Jamie Reeves

Elsie and Thom Rhodes

Dr. and Mrs. William Richtsmeier

Maurice Rocca

Kelley Rourke

Karen Royce

Thomas A. and Georgina T. Russo

John Ryland and Karen Craig Ryland

Beth Sapery and Rosita Sarnoff

Lisa Sarajian

Margarita Sears

Michael Sekus and Bianca Russo

Martin and Dagni Senzel

Erik Serrano Berntsen

Senator and Mrs. James L. Seward

Thomas Simpson

Grant and Jacqui Smith

Patsy Smith

Susie Snowdon

Ted Snowdon and Duffy Violante

Mi Ryung Song

Snyder Printer Inc

Eugene and Jean Stark

Robert M. Steiner and Faith Pleasanton

Mira Stulman

Woody and Gregg Swain

Korin Thomas-Smith

Tristan Lee Designs

S. Katy Tucker

E. Brantley Turner Bradley

Mr. and Mrs. Edward L. Turner III

Kara Unterberg

Debra A. Valentine and Jill V. Gardiner

Emma Vaughn and Ravi Agrawal

Jane and David Villa

Dr. and Mrs. Gilbert T. Vincent

Clinton Walker

John B. Webb and Nelson Mondaca

Nathan and Elizabeth Wentworth

Dustin Z West

Dr. F. Todd and Laura Wetzel

Robert White and Anne O’Connell

Amy Wilson and David Flannery

Olivia Woolley

Michael Young and Debra Raskin

Douglas and Cheryl Zamelis

Hannah Zin

GIFTS IN-KIND

We gratefully acknowledge the following individuals, organizations, and businesses who donated goods, time, talent, or services over the past year. Contributions range from furnishings for seasonal staff residences, to books, vehicles, professional services, hosting of staff or artists during business travel, the donation of performances at gatherings, and more.

A Rose is a Rose

Robert Ainsley

Bello Electric & Excavating

Van Broughton Ramsey and Robert Nelson

Cabot Creamery Co-operative

Linn Cary Mehta

Cherry Valley Artworks

Christ Church, Cooperstown

Joseph Colaneri

Nancy Connors & Larry McKelvey, Donut Diner, LLC.

Martin D’Arce - TMD Concepts, LTD

Fenimore Art Museum

Mr. Donald M. Fenner

Fynmere Limited Partnership

Robbie Gordy

Norma Meacham of Whiteman, Osterman & Hanna LLP

SPECIAL EVENTS HOSTS AND ARTISTS

Mark Napoletano

M. Anne O’Connell

The Otesaga Resort Hotel

Margarita Sears

Sunflower Cafe

Dustin Z West

Law Office of Douglas H. Zamelis

Thank you to the following artists, institutions, and friends who donated services for our Gala or lectures, or performed at or hosted patron events over the past year.

Robert Ainsley

Steven Blandino

Joshua Blue

Michael Bretholz

Maria Alberico Brindisi

Van Broughton Ramsey and Robert Nelson

Dwayne Brown

Alyson Cambridge

The Century Club of Syracuse

Patricia and John Chadwick

Joseph Colaneri

Martin D’Arce

Wayne J. du Maine

Taylor-Alexis DuPont

Eric Sean Fogel

YOUNG GLIMMERGLASS

Fort Orange Club, Albany

Keely Futterer

Genesee Valley Club, Rochester

Robbie Gordy

Andrea Grant

Jasmine Habersham

The Raymond Han and Paul Kellogg Foundation

Kimberly Hastie

Ryan Johnson

Emilie Kealani

Duke Kim

Magdalena Kuźma

Michael Leopold

Sergio Martínez

Sage Mehta

Emily Misch

Teresa Perrotta

Jonathan Pierce Rhodes

Lisa Marie Rogali

Kelley Rourke

Elizabeth Sarian

Amanda Sheriff

Hon. Joan E. Shkane (ret.)

Stanley Theatre, Utica

Korin Thomas-Smith

Schyler Vargas

Nan Wang

Jason Zacher

Hannah Zin

Young Glimmerglass (YG) members are the future of the Festival. Their participation, contributions, and enthusiasm ensure the continued success of our mission. 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. 208.

Sage Mehta, YG Founder

William Goodenough, Co-Chair

Robbie Gordy, Co-Chair

Eduardo Tamraz, Co-Chair

Emma Vaughn, Co-Chair

Ravi Agrawal

Michael Bretholz

Albert Chen

Lizzy Cross

Duke Dang and Charles Rosen

Evan Eklund

Gordon and Sarah Faux

Hannah Fettinger

David S. Flugman and Eugene Shevertalov

Sarah Glaser

Lachlan Glen and Sam Peder-Smith

Hector and Lucy Guinness

Henrietta Paige Hakes

Emily Johnson and Vijay Ramachandran

Christopher Judd

Kristin Kovner

Mitchell Lowenthal

Kristen Oehlrich and Tim Korytko

Francine O’Keeffe

Michael Robinson

Brandon Sherr

Jonathan Smith

Steven Jude Tietjen

Conor and Katie Tochilin

Clinton Walker

Kristin and Will Walker

THE ZAMBELLO GAY TRIBUTE FUND

In honor of Faith E. Gay and Francesca Zambello, The Zambello Gay Tribute Fund was established in 2022 and will be used to underwrite Artists-in-Residence (a position created by Francesca during her tenure), along with educational and community programming at The Glimmerglass Festival for seasons to come. To make a gift to this ongoing fund, please contact Caryn Reeves at (607) 547-0700 x238.

Anonymous (2)

Carol Affourtit

Kathryn Allen

Amica Insurance

Dennis Banks

Felicia H. Blum

Boss Landscape LLC

Elaine C. and Marc Bresee

Van Broughton Ramsey and Robert Nelson

Patricia Carrier

Patricia and John Chadwick

Linda Chesis and John Guiton

Dianne K. and Lawrence J. Ciano

Joseph and Susan Colaneri

Community Foundation of Otsego County

Wendy Curtis

Deb and Jim Dalton

Anna and Paul D’Ambrosio

Joan Desens and Simon Carr-Ellison

Mr. and Mrs. Johannes de Waal

Mr. and Mrs. Peter Albin Deysenroth

Gaylord and Nicole Dillingham

Rita Emanuel and John Anagnost

Elizabeth M. and Jean-Marie R. Eveillard

Frank Farmer and Frank Kolbert

Drs. Jane A. Feisthamel and Mary Margaret Snyder

The Fernleigh Foundation

First Presbyterian Church, Cooperstown

Faith E. Gay and Francesca Zambello

The Glimmerglass Festival Production Staff

Nellie and Robert Gipson

Christine Goerke

Pati and Kevin Grady

Robert and Patricia Hanft

Allison and W. Keyes Hill-Edgar

Jim and Cathy Howarth

Celeste Johns and Chris Kjolhede

Jeff and Karen Katz

Patricia Kavanagh and James Grant

Hon. and Mrs. M. Langhorne Keith

Marion King

Maureen Kuhn and Carrie Carney

L.M. Townsend Catering

Brent and Mary Leonard/Carefree Gardens

Gregory Long and Scott Newman

David and Millie McCoy

Sage Mehta and Michael Robinson

Michael and Cory Moffat

Tom Morgan and Erna Morgan McReynolds

Katharine Muir and Kenneth Witty

Janet Nelson

M. Anne O’Connell

Michael Olding and Chris Morrison

Trevor Potter and Dana Westring

Robert and Peggy Poulson

Thomas C. Ragan

Elsie and Thom Rhodes

Dr. and Mrs. William Richtsmeier

Rotary Club of Cooperstown

Beth Sapery and Rosita Sarnoff

Senator and Mrs. James L. Seward

Albert H. Shaheen Memorial Fund at The Community Foundation of Herkimer & Oneida Counties

Dr. Larry R. Shannon II and Mrs. Candice Shannon

Simple Integrity LLC

Patsy Smith

Ted Snowdon and Duffy Violante

Ken and Carol Steigelman

Richard Sternberg

Ellen Tillapaugh and Gary Kuch

John B. Webb and Nelson Mondaca

We Energies Foundation

Mr. and Mrs. William Weldon III

Dr. Todd and Laura Wetzel

Michael Young and Debra Raskin

Douglas and Cheryl Zamelis

PHOTO: KARLI CADEL

TRIBUTES

Following are honors received from May 30, 2022 to May 19, 2023.

IN HONOR OF ROB AINSLEY

Anonymous (2)

Lou Allstadt and Melinda Hardin

Susan Antos and Edward Fallon

Sharin Apostolou and Ryan MacPherson

Edward and Laura Asher

James E. Ballowe Jr.

Dennis N. Banks

Vige Barrie and Jim Frederick

Jim and Nancy Barton

Sidney and Susan Blatt

Van Broughton Ramsey and Robert Nelson

Kayellen Button and Bruce Loveys

Karyl Clemens

Jane and Siobhan Cornell

Jeffrey P. Cunard and Mariko Ikehara

Joan Desens and Simon Carr-Ellison

Martha Monteleone Duke

Allen R. and Judy Brick Freedman

Abby Kreh Gibson

Glimmerglass Gals

The Glimmerglass Festival

Orchestra Players Association

William and Cynthia Goertemoeller

The Guild of the Glimmerglass Festival

Gemma Hall

Michael Halloran

Robert and Patricia Hanft

Jennifer Potter Hayes

The Hill-Edgar Family

The Horvath Family

Susan Huxtable and Joseph Novitski

Kathleen Mulhern Johnson and Bruce Ray Johnson

Stephen and Pamela Kalista

Anne and Lang Keith

Daniel Kempton

Anne R. Kline and Geoffrey P. Pohanka

Robert S. Lalli

Harry and Ellen Levine

Linda Loomis

Massage Therapy by Kristin Sloth

Carol Ann McKeen and John Dunton

Jackie Metzger

Katharine Muir and Kenneth Witty

Janet Nelson

Michael W. O’Dell, M.D.

Bill Packard and Charles Ihlenfeld

Jeanne and Richard Porter

Sharon Rankins-Burd

Elsie and Thom Rhodes

Angie Richards

Rotary Club of Cooperstown

Georgeanne and Jean Rousseau

The Savada-Stevenson Family

Margaret Savoie

Sandra Seaton

Senator and Mrs. James L. Seward

Thomas Simpson

Ted Snowdon and Duffy Violante

Eugene and Jean Stark

Dov and Tom Treiman

Debra A. Valentine and Jill V. Gardiner

Rod Vanderbilt

Dr. and Mrs. Gilbert T. Vincent

Ronald and Bette R. Wagner

Drs. Hueldine Webb and Lester W. Blair

John B. Webb and Nelson Mondaca

Dr. F. Todd and Laura Wetzel

Molly Wilkinson

Michael Young and Debra Raskin

Deborah and Michael Zahn

Howard Zar and Ray Kurdziel

Steven Zerby and Joanne Tobey

IN HONOR OF LAUREN BAILEY

Nancy and Scott Bailey

IN HONOR OF ‘CESCA, FAITH, JACK, ROME AND REX

Dr. and Mrs. Gilbert T. Vincent

IN HONOR OF MAESTRO JOSEPH COLANERI

Eugenia and David Ames

Katherine Cunningham and Kurt Kaboth

Michael Presser

Jerry and Marisabel Raymond

IN HONOR OF WENDY CURTIS

John Dobkin

Belinda and Stephen Kaye

IN HONOR OF NENA DONOVAN LEVINE

Camilla Galluzzo

IN HONOR OF GWEN ERMLICH

Robin Kinnel and Cecily Eidelhoch

IN HONOR OF DON FENNER

Greg Buch

IN HONOR OF ABBY KREH GIBSON

William and Cynthia Goertemoeller

IN HONOR OF THE GLIMMERGLASS ORCHESTRA

Wittels Family

IN HONOR OF THE GLIMMERGLASS STAFF

Elsie and Thom Rhodes

IN HONOR OF THE GLIMMERGLASS VOLUNTEER CHORUS

Mr. and Mrs. David E. Farquhar

IN HONOR OF ALLISON AND KEYES HILL-EDGAR

Richard and Georgia Lee

IN HONOR OF MORGAN HILL-EDGAR

Amy Wilson and David Flannery

IN HONOR OF MARY-HOLLIS HUNDLEY, 2022 PRINCIPAL ARTIST

John and Lindsey Hundley

IN HONOR OF BRITTANY LESAVOY

Linda Loomis

IN HONOR OF GREGORY LONG AND SCOTT NEWMAN

Jake and Laura Endres

IN HONOR OF ANDREA LYONS

Margarita Sears

IN HONOR OF JACQUELINE B. MARS

Janis Martinson and Stephen Sagarin

IN HONOR OF ANDREW J. MARTIN-WEBER

Beatrice Disman

Julie Skarratt

IN HONOR OF SAGE MEHTA

Anonymous

Duke Dang and Charles Rosen

Emma Vaughn and Ravi Agrawal

IN HONOR OF ERNA MORGAN MCREYNOLDS

Mary Jude Klee

IN HONOR OF TOM MORGAN AND ERNA MORGAN MCREYNOLDS

Joan Desens and Simon Carr-Ellison

W. Anthony and Carol Mandour

IN HONOR OF MAUREEN MURRAY

Yvonne D. Tropp-Epstein

IN HONOR OF ROBERT NELSON

Anonymous

Felicia H. Blum

Van Broughton Ramsey

Linda Chesis and John Guiton

Wendy Curtis

Paul and Anna D’Ambrosio

Joan Desens and Simon Carr-Ellison

Mr. and Mrs. Peter Albin Deysenroth

Elizabeth M. and Jean-Marie R. Eveillard

Tracy and Scott Fauver

Faith E. Gay and Francesca Zambello

The Guild of the Glimmerglass Festival

The Raymond Han and Paul Kellogg Foundation

Allison and W. Keyes Hill-Edgar

Patricia Kavanagh and James Grant

Harry and Ellen Levine

Thomas and Alison Lord

Andrea Lyons

Tom Morgan and Erna Morgan McReynolds

Katharine Muir and Kenneth Witty

M. Anne O’Connell and Robert A. White, Jr.

Thomas C. Ragan

Caryn and Jamie Reeves

Elsie and Thom Rhodes

Dr. and Mrs. William Richtsmeier

Beth Sapery and Rosita Sarnoff

Senator and Mrs. James L. Seward

Thomas Simpson

Ted Snowdon and Duffy Violante

Eugene and Jean Stark

Dr. and Mrs. Gilbert T. Vincent

John B. Webb and Nelson Mondaca

Dr. F. Todd and Laura Wetzel

Olivia Woolley

Michael Young and Debra Raskin

Douglas and Cheryl Zamelis

IN HONOR OF ROBERT NELSON AND VAN BROUGHTON RAMSEY

Russ and Deborah Cenko

Martha Patricof

IN HONOR OF BILL OLIVER AND MICHAEL WILLIS

Anonymous

IN HONOR OF MATTHEW PEARCE

Jeffrey P. Cunard and Mariko Ikehara

IN HONOR OF CARYN REEVES

Marilyn J. Keiser

IN HONOR OF MERYL AND STEWART ROBERTSON

Lisa Heilman-Cozzalio

IN HONOR OF KELLEY ROURKE

Joan Desens and Simon Carr-Ellison

IN HONOR OF PEGGY W. SAVLOV

Daniel M. Meyers

IN HONOR OF EMILY SENTURIA

Stephen and Peg Senturia

IN HONOR OF TED SNOWDON AND DUFFY VIOLANTE

Irene R. Miller

IN HONOR OF MICHAEL YOUNG

Marci Douglas and Lawrence Pollack

Steven and Susan Gold

Frank and Sidney Maas

Dr. Rajat and Kathryn Mukherji

David and Melanie Samuels

Paul Samuels and Nurit Margulies

Michael and Vivien Shelanski

IN HONOR OF MICHAEL YOUNG AND DEBRA RASKIN

Nina Brodsky and Alan Kleinman

Debórah Dwork and Ken Marek

IN HONOR OF FRANCESCA ZAMBELLO

Anonymous (2)

Edward J. and Laura G. Asher

Frank W. Barrie

Katrina F.C. Cary and Linn Cary Mehta

Jeffrey P. Cunard and Mariko Ikehara

Mrs. Denise B. Dailey

Jerry G Dollar

Diana and Emory Fanning

Dick and Mary Ellen Hibey

Rev. Betsy Jay

Helen I. Jessup

Marjorie Turrell Julian

Dr. and Mrs. George Kafka

Patricia Kavanagh and James Grant

Belinda and Stephen Kaye

Kathryn LaBouff

Mary P. McPherson

Kati Mitchell

Dinah Nissen and Elizabeth Apelles

Drs. Hueldine Webb and Lester W. Blair

Douglas and Cheryl Zamelis

IN HONOR OF FRANCESCA ZAMBELLO AND FAITH GAY

James E. Ballowe Jr.

Trevor Potter and Dana Westring

MEMORIALS

Following are memorials received from May 30, 2022 to May 19, 2023.

IN MEMORY OF FAINA AGRANOV

Michael Cleveland and Kathy Leach

IN MEMORY OF HELEN ANBINDER

Paul Anbinder

IN MEMORY OF REGINA ANDERSON

Thomas I. Anderson

IN MEMORY OF DAVID S. BAKER

Vera S. Baker

IN MEMORY OF DR. ERNEST J. BEAUDOIN

James S. Covey and James P. Zabawa

IN MEMORY OF PETER BOUSFIELD

David Marcus and Brenda Bousfield

IN MEMORY OF EMILE CAPOUYA

Keitha Capouya

IN MEMORY OF ALBERT J. CARDINALI

Martin Fried

Lakeside Condominium Association Inc.

IN MEMORY OF STEPHEN CROPPER

Elaine Guinn

Patty and Jeff Mitter

St. Theresa Parish

IN MEMORY OF CAROL SAVAGE DAVIS

Amanda Savage Mahoney

IN MEMORY OF JOHN AND JOAN DIGHTON

H. William Michaels

IN MEMORY OF CHUCK ENGLAND

Janet England

IN MEMORY OF FAMILY MEMBERS TO WHOM WE OWE THE LOVE OF OPERA

Anonymous

IN MEMORY OF MARY ELLEN FENNER

John Ianacone and Cynthia D’Ambrosio

Cynthia and David Staley

IN MEMORY OF ELIZABETH FENTON SNYDER

John Cedric Pedersen

IN MEMORY OF JULIA FRANKEL

From family, friends, and colleagues

IN MEMORY OF DR. SHEP FRIEDMAN

Richard J., Marisa, and Jenna Sternberg

IN MEMORY OF TOM GOODYEAR

Charles “Jud” Pannaci

IN MEMORY OF DR. BILL GUINEY

Dr. Katharine Lloyd

IN MEMORY OF BRETT GUTSCHE MD

Joe and JoAnn Holochuck

Karen Kotapka

IN MEMORY OF ALFRED HUBAY

Dr. and Mrs. George Kafka

IN MEMORY OF JOYCE HUPPER

Joan Desens and Simon Carr-Ellison

Craig and Susan Hupper

Gail J. Hupper and William H. Wood

P. Jewell & C. Nickolaus Wand

IN MEMORY OF GISELA C. JAKUBOWSKI

Jakubowski Family

IN MEMORY OF LORRAINE KAIMAL

Padma Kaimal and Andrew Rotter

IN MEMORY OF ESTHER AND LEON KALMUS

Frieda and George Holober

IN MEMORY OF WOLFGANG KAPPE

Luise-Charlotte Kappe

IN MEMORY OF PAUL KELLOGG

Matthew Price and Veerle Daenen

IN MEMORY OF MARTIN KESSELMAN

Linda Irenegreene

IN MEMORY OF HARRIET KRUSZYNA

Robert W. Kruszyna

IN MEMORY OF F. H. KULHAWY

Gloria Kulhawy

IN MEMORY OF HELEN KWAN

Anonymous

IN MEMORY OF GORDON T. LAW JR.

Pam M. Baxter

IN MEMORY OF MICHAEL LEVIN

Christine Ims, Jeanne and Cynthia Levin

In memory of Michael Levin, beloved husband, son and brother, and Concertmaster of The Glimmerglass Opera from 1987-2008.

IN MEMORY ROSLYN AND IRVING LEVINE

Rona Lucas

IN MEMORY OF FRANCIS D. AND MARCELLA A. MORAN

Michael J. Moran

IN MEMORY OF JACK POHANKA

Marcy Horath Maguire

IN MEMORY OF BARRY PORTMAN Anonymous

IN MEMORY OF BETTY REISER

Laura Norwitz

Helen Silver

IN MEMORY OF ROBERT B. SCHLATHER ESQ.

Ruth Berry

Peter and Christina Townsend

IN MEMORY OF CLARE D. SCOTT

Susan Clare Scott

IN MEMORY OF DONALD C. SEIBERT

Charles F. Tremper

IN MEMORY OF JOSEPH SEROKA

Michael Cleveland and Kathy Leach

Rosemarie, Yio, Stephanie D’Arcangelis

Joan Desens and Simon Carr-Ellison

Jann and Jack Ewen

Mr. Donald M. Fenner

Abby Kreh Gibson

Keith and Barbara Lilley

W. John and Elizabeth Marosek

Angie Richards

Marilyn Roderick

Jean Seroka

IN MEMORY OF CONRAD C. SHECK

Conrad L. Sheck

IN MEMORY OF H. WILLIAM SMITH JR.

Tracy and Scott Fauver

IN MEMORY OF DAVID. C. VILLA

Jane and David Villa

IN MEMORY OF JESSIE B. WALKER

Caryn and Jamie Reeves

IN MEMORY OF EDWARD L. “NED” WILKINSON

Molly A. Wilkinson

IN MEMORY OF DR. RUSH WILLIAMS

Michael Heaston

Irwin & Lane

The village of Cooperstown’s only antique shop

Located at 106 Main Street

Look for the red geraniums in the window box (607) 282-0585

Mondays and Tuesdays by chance or appointment.

Wednesdays, Thursdays, Fridays, Saturdays and Sundays 11am - 6pm or by appointment.

Paintings, antique and vintage furniture, porcelain, tableware and more.

Scenery and Props for the 2023 Festival Season constructed by the Glimmerglass Festival Scene Shop.

Special thanks to Brian Smith of Pacemaker Steel, and Mike George of George Lumber for their support.

Costumes for the 2023 Festival Season were built by The Glimmerglass Festival Costume Shop, Costume Works, Somerville, MA, Lauren McLoughlin, Ed Dawson, and Bret Runyon.

Special thanks to Christian Jesus Velasquez for his help with the Hair & Makeup department.

Special thanks to Debbie at Little Falls Antiques, Jamie Elderkin at Bassett Hospital, and Erik Lindquist for their help with Props.

Lighting equipment for the 2023 Festival Season was provided by 4Wall, New York, NY.

Workplace health and safety training programs provided by Monona Rossol of Arts, Crafts, and Theatre Safety, New York, NY; HealthWorks Occupational Health Services, Bassett Healthcare, Cooperstown, NY; Otsego County Emergency Services, Cooperstown, NY; Jennifer Schroeder-Tyson; Friends of Recovery of Delaware & Otsego Counties.

Rehearsal facilities have been made available by Herkimer College, Herkimer, NY; St. Mary’s Roman Catholic Church, Cooperstown, NY; Hartwick College, Oneonta, NY; Springfield Center Community Center, Springfield Center, NY; Grace Episcopal Church, Cherry Valley, NY; St. Mary’s Episcopal Church, Springfield Center; Christ Church, Cooperstown.

Bernstein’s Candide, Book by Hugh Wheeler, after Voltaire. Lyrics by Richard Wilbur, Stephen Sondheim, John La Touche, Lillian Hellman, Dorothy Parker, and Leonard Bernstein.

CREDITS

By arrangement with Boosey & Hawkes, Inc., Sole Agent for Leonard Bernstein Music Publishing Company LLC, publisher and copyright owner.

PROGRAM BOOK

Editor: Kira DeLanoy

Contributors/Proofreaders: Rob Ainsley, Lauren Bailey, Whitney Campbell, Mark Conchie, Jay E. Condon, Olivia Lerwick, Andrea Lyons, Wyatt Nyman, Caryn Reeves, Nick Richardson, Abby Rodd, Kelley Rourke, Emmet Sellars, Edward Sturm, Amy Tompkins

Design: Kate Ehle/Cake & Ale Studio

Advertising Coordinator: Connor Lange

"The State of the Art" conversation was transcribed and edited for publication by Kira DeLanoy.

Cover: Digital artwork by Kate Ehle from a photo by Karli Cadel.

GENERAL INFORMATION

The Glimmerglass Festival is committed to the safety and comfort of our guests and company members. Our policies and procedures are based on recommendations from the Centers for Disease Control (CDC) and regulations from state and local governments, as well as the best practices in the performing arts industry, the recommendations of leading epidemiologists, and our Health & Safety Task Force, which works in collaboration with medical advisors and local public health officials. All policies and procedures regarding the health and safety of our audience members are kept up-to-date at glimmerglass.org/faq.

TICKET KIOSK AND AUDIENCE SERVICES

The Alfred F. Hubay Box Office at the theater opens 90 minutes before performances and closes after intermission. For ticket information, call (607) 547-2255.

The Audience Services Desk, located on the Paul Kellogg Terrace at the front of the theater, opens 90 minutes prior to curtain and remains open through each performance. We welcome your comments and suggestions, and we are happy to answer your questions.

The Marketplace, adjacent to the theater, is open two hours before curtain and during intermission; wine, beer, nonalcoholic beverages, specialty wraps, sandwiches, salads, and desserts are available. The gift shop opens two hours before all performances and remains open through the end of all shows; it is also open between performances on Saturdays.

RESTROOMS

Restrooms are located between the Marketplace and the Pavilion. Gender diversity is welcomed here. All are encouraged to use the bathroom that best reflects their gender identity or expression.

EMERGENCY TELEPHONE NUMBER

Doctors on call may leave their seat locations and electronic paging devices at the Audience Services Desk. Please leave any active cell phones at the Audience Services Desk.

LOST AND FOUND

Lost and found items should be reported to the Audience Services Desk. Please call the Administrative Office at (607) 547-0700 with inquiries about lost items.

CHILDREN

Everyone must have a ticket to enter the theater. Young children must be accompanied by adults. No babes-inarms or children sitting in the laps of adults.

PETS

Service dogs only, please. Unattended pets are not allowed on the grounds. Please do not leave a pet in or around your vehicle.

SMOKING

Smoking is permitted in select areas, which are at least 100 feet from all rooflines. This policy covers traditional, electronic, and alternative smoking devices.

ACCESSIBILITY

If you have special needs or require assistance, please contact our Box Office at (607) 547-2255 at least 48 hours in advance of your visit to The Glimmerglass Festival. Special parking permits are available upon request.

Assisted listening devices are complimentary and may be picked up at the Audience Services Desk at the front of the theater one hour prior to the performance. Headphones, earbuds, and neck loops are offered to connect to our receivers.

RECYCLING

The Glimmerglass Festival is committed to recycling. Please help us by bringing your program back to subsequent performances. Also, please use the appropriate receptacles located throughout the grounds for disposing of trash and/or recyclable materials.

INSIDE THE THEATER

Smoking, eating, and open beverages are not allowed in the theater; however, audience members are welcome to bring beverages in Glimmerglass “sippy cups” (available in the Marketplace) and water in nonglass bottles inside. The taking of photographs and the use of any audio and/or video recording devices is prohibited by law. Please silence all paging devices and cell phones.

All casting is subject to change.

IN CASE OF EMERGENCY

Emergency exits are clearly marked at the front and rear of the theater. Please note the location of the exits when seated. Patrons are requested to use the exits located near the stage in an emergency only.

In the case of a situation demanding the theater be evacuated, you will be notified. Please follow the direction of the ushers and move in a calm and orderly way to the best exit as indicated by the corresponding shading in the diagram below.

FIRE EXITS

EMERGENCY EVACUATION PLAN

Orchestra Level

Rows A-H and Lower Boxes: exit via the doors near the stage. Rows J-N, Rows AA-FF, and Special Seating; exit via the main doors at the rear of the theater.

Balcony Level

Rows A-E (Seats 17-31), Rows F-G (Seats 1-15) and Upper Box Right: exit via the door near the stage on the right. Rows A-E (Seats 18-32), Rows F-G (Seats 2-16) and Upper Box Left: exit via the door near the stage on the aisle. Rows A-F (Seats 1-17, 2-18 and 101- 116): exit via the main staircases near the rear of the theater.

Once outside the theater, please move away from the building and await further instructions from the ushers.

C AMPUS MAP 3

IDENTITY & ILLUSION

THE PIRATES OF

PENZANCE

July 22 - August 19, 2024

Set sail on a delightfully absurd adventure of swashbuckling fun for the whole family.

Cavalli/Faustini LA CALISTO

July 23 - August 17, 2024 Nymphs and satyrs cavort with the gods in this bawdy comedic caper.

Leoncavallo PAGLIACCI

July 27 - August 18, 2024

Immerse yourself in this shocking tale of jealousy and revenge, which blurs the line between art and reality.

Puts/Campbell ELIZABETH CREE

July 28 - August 20, 2024

Music Hall murder mystery becomes modern masterpiece.

Plus, a world premiere youth opera and an exciting new works initiative, Project Pipeline.

RENEW YOUR SUBSCRIPTION TODAY!

Mistaken identities, misadventures, murder, mystery, and mayhem—don’t miss a moment of the 2024 season! Stop by or call the Box Office at (607) 547-2255 or visit glimmerglass.org to renew your subscription today. Choose the best seats at the best prices, enjoy subscriber discounts, priority access to events, and more!

New subscriptions on sale October 3, 2023. All tickets on sale January 22, 2024.

Gilbert & Sullivan