2024 Glimmerglass Festival Program

Glimmerglass

FESTIVAL 2024

THE PIRATES OF PENZANCE • LA CALISTO PAGLIACCI • ELIZABETH CREE RUMPELSTILTSKIN AND THE UNLOVABLE CHILDREN • PROJECT PIPELINE • HORIZONS CONCERT WITH TARA ERRAUGHT

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2 PHOTOS: KARLI CADEL / SOPHIA NEGRON / EVAN ZIMMERMAN

TABLE OF CONTENTS Greetings from the Artistic & General Director................................................................. 3 Welcome from the Chair of the Board of Trustees............................................................ 4 Leadership.................................................................................................................... 5 Our Mission................................................................................................................... 6 Glimmerglass Repertory................................................................................................. 7 2024 Festival Event Date Listing..................................................................................... 8 The Pirates of Penzance................................................................................................12 La Calisto.....................................................................................................................16 Pagliacci......................................................................................................................20 Elizabeth Cree..............................................................................................................24 Project Pipeline............................................................................................................30 Pipeline Premiere: Rumpelstiltskin and the Unlovable Children.......................................32 Pipeline Preview: The House on Mango Street................................................................36 Artist-in-Residence Tara Erraught..................................................................................38 Guest Artists................................................................................................................42 Music Staff..................................................................................................................47 Young Artists Program...................................................................................................48 Orchestra.....................................................................................................................53 Youth Ensemble............................................................................................................54 Community Chorus.......................................................................................................56 Administration and Production Staff..............................................................................58 The Guild of Glimmerglass............................................................................................60 2024 Guild Members.....................................................................................................62 Volunteer Ushers..........................................................................................................63 In Remembrance...........................................................................................................64 The Goodyear Society....................................................................................................68 Gifts to Glimmerglass...................................................................................................70 Advertising...................................................................................................................86 Campus Map..............................................................................................................101 General Information....................................................................................................102 Credits.......................................................................................................................103 2025 Festival Preview..................................................................................................104

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WELCOME Welcome to The Glimmerglass Festival, a place of innovation, creativity, and community for nearly 50 years.

If it’s your first time joining us, we hope you are bowled over by our unique combination of world-class theater, breathtaking natural beauty, and local charm; for those who have visited us before, we hope you find something special and new in our work this season, whether it is a piece you may have never encountered before like La Calisto or Elizabeth Cree, a great artist whom you are seeing perform for the first time, or the outdoor experience of “Lyrics on the Lawn.”

Each piece in our 2024 “Identity & Illusion” season reflects on who we are and the roles we play, onstage and off — the entire season is filled with disguises, plays-within-plays, mistaken identities, and whodunnits. Even the way we present each piece brings a new dimension to a title you may feel you already know well: a storied production of Pirates given professional dancers for the first time, an immersive take on Pagliacci spanning the whole campus, my new realization and orchestration of the Baroque masterpiece La Calisto, and a new production of Elizabeth Cree performed with a full string section for the first time.

PHOTO: KARLI CADEL

Most excitingly, we look to the future of the artform, investing in the next generation with a brilliant new youth opera, Rumpelstiltskin and the Unlovable Children, from composer Jens Ibsen and librettist Cecelia Raker. We also affirm Glimmerglass’s ongoing commitment to contemporary American work with “Project Pipeline,” featuring a chance to meet the Pulitzer Prize-winning creators behind Elizabeth Cree and a first look at next season’s major world premiere, The House on Mango Street. The future is bright at Glimmerglass.

It takes a whole village and more to get to opening night, and I am deeply grateful to the incredible Glimmerglass staff and Board of Trustees for their tireless work, passion, and determination as we navigate this challenging time for the performing arts. Of special note is our Board Chair, Michael Young, who has gone above and beyond in his new role, donating countless hours of his time and expertise to ensure the season is a success.

But my greatest gratitude is to you, our audience and our supporters. Thank you for being here today to complete the circle with our amazing artists on stage, in the pit, and behind the scenes. Theater is a dialogue — that’s what makes not only each production, but each performance, a new, never-to-berepeated event. We come together in the theater, on both sides of the curtain, to wrestle with what it is to be human. There are so many ways in which you, our community, support our mission of putting great stories onstage; now, we invite you to join the ever-unfolding conversation.

Rob Ainsley, Artistic & General Director

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FROM THE CHAIR OF THE BOARD OF TRUSTEES On behalf of all my colleagues on the Glimmerglass Board of Trustees, I welcome you to our 49th Season of opera and musical theater productions and related activities.

This season also marks the beginning of our year-long 50th anniversary celebration, which will culminate with our productions and acknowledgment events in Summer 2025. You will hear more about all of the activities that will comprise the celebration, but during this summer season, we are kicking it off with a full schedule of inspiring music and engaging story-telling.

The 2024 season is the second for our still relatively new Artistic & General Director, Rob Ainsley. You have surely already witnessed his wit and charismatic personality. You will now witness the full extent of his artistic talents — his encyclopedic knowledge of the canon as evidenced by his selection of the traditional and more modern titles we are performing this summer, his ability to attract talented directors and performers, and his direct role in the creation of the non-mainstage events and the other happenings on campus that will make our season a true Festival. You will also witness his extensive musical abilities. As the following pages in the program reflect, he will be conducting the charming production of La Calisto.

But to quote a hackneyed phrase, “it takes a village” to put on a Festival season. Rob is not alone in creating the artistic experience or maintaining the lovely, idyllic atmosphere you experience when visiting our campus on beautiful summer days. Most visible are the guest directors, guest performers, Young Artists, and summer Apprentices, as well as our Music Director, Maestro Joseph Colaneri, and the orchestra he leads. Less visible, but equally important, are the year-round staff, seasonal staff, and summer volunteers.

I also wish to publicly acknowledge all the support that the Glimmerglass Guild, led by Laura Wetzel, extends to all the staff and performers during the summer and off-season.

Finally, we thank you all — our audience members, patrons, and donors. Without your attendance and support of the Festival, we could not exist. Your expressions of appreciation, whether in the form of applause, informal comments, or contributions, make it all possible and worthwhile.

Michael Young, Chair of the Board of Trustees

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LEADERSHIP HONORARY CHAIR Peter Duchin

OFFICERS

Michael Young, Chair Erna Morgan McReynolds, Vice-Chair Mark Luis Villamar, Treasurer Thomas Simpson, Secretary

TRUSTEES

Georg Budenbender Patricia Chadwick Anne M. Curtis Wendy Curtis Nellie Gipson Sherwin M. Goldman Allison Hill-Edgar Tim Lord Robert Nelson Thomas C. Ragan John Ryland Michael Sekus Senator James L. Seward Ted Snowdon Jean Stark Debra Valentine

EX-OFFICIO LIAISONS William Goodenough Sage Mehta1 Eric Owens2 Laura Tansey Wetzel3

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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 Nelson and Van Broughton Ramsey Robert B. Schlather* Senator James L. Seward Lady Juliet and Dr. Christopher Tadgell Eugene V.* and Clare E. Thaw*

ARTISTIC & GENERAL DIRECTOR Rob Ainsley

MUSIC DIRECTOR Joseph Colaneri

ARTISTIC ADVISOR

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 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*

FOUNDING LEADERSHIP

Eric Owens

Peter Macris* Founding Artistic Director

ARTISTIC ADVISORY BOARD

Charles Schneider* Founding Music Director

Eric Owens, Chair William Burden Alyson Cambridge Anthony Roth Costanzo Rod Gilfry Christine Goerke Anthony Dean Griffey Peter Kazaras Ryan McKinny Erie Mills Patricia Racette Neil Shicoff

1 Young Glimmerglass Representative 2 Chair, Artistic Advisory Board 3 Guild President * deceased

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Produce new, lesser-known, and familiar operas and musical theater in innovative productions; provide professional training and performance opportunities for emerging artists and apprentices; engage acclaimed 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.

ROMEO AND JULIET

RINALDO

OUR MISSION 8

CANDIDE

THE RIP VAN WINKLES

GLIMMERGLASS REPERTORY 1983, 1999 | Mozart/Stephanie | THE ABDUCTION FROM THE SERAGLIO 2000 | Handel/Gay | ACIS AND GALATEA 2001 | Handel/Grimani | AGRIPPINA 2012 | Verdi/Ghislanzoni | AIDA 1989, 1990 | Britten/Crozier | ALBERT HERRING 2014 | Picker/Scheer | AN AMERICAN TRAGEDY 2007 | Haydn/Badini | L’ANIMA DEL FILOSOFO† 2011 | Berlin/Fields & Fields | ANNIE GET YOUR GUN 1984, 1994, 2014 | R. Strauss/Hofmannsthal | ARIADNE AUF NAXOS 2012 | Lully/Quinault | ARMIDE 1979, 1994, 2006, 2018 | Rossini/Sterbini | THE BARBER OF SEVILLE 1985 | Smetana/Sabina | THE BARTERED BRIDE 1988 | Berlioz | BEATRICE AND BENEDICT 2011 | Tesori/Kushner | A BLIZZARD ON MARBLEHEAD NECK* 2019 | Tesori/Tompson | BLUE* 2003 | Offenbach/Meilhac & Halévy | BLUEBEARD 1975, 1990, 2000, 2016, 2023 | Puccini/Illica & Giacosa | LA BOHÈME 1996 | Cavalli/Faustini | LA CALISTO 2013 | Lerner/Loewe | CAMELOT 2015, 2023 | Bernstein/ Hellman, Wheeler, LaTouche, Wilbur, Sondheim | CANDIDE 2008 | Bellini/Romani | I CAPULETI E I MONTECCHI 1984, 2011, 2022 | Bizet/Meilhac & Halévy | CARMEN 2014 | Rodgers/Hammerstein | CAROUSEL 2015 | Vivaldi/Metastasio | CATO IN UTICA 1976, 2002 | Mascagni/Targioni-Tozzetti & Menasci | CAVALLERIA RUSTICANA 1986, 2009 | Rossini/Ferretti | LA CENERENTOLA 1999 | Beaser/McNally; Drattell/ Wasserstein; Torke/Gurney | CENTRAL PARK* 1993 | Rossini/Scribe & Delestre-Poirson | LE COMTE ORY 2009 | Menotti | THE CONSUL 1985, 1993, 2005 | Mozart/Da Ponte | COSÌ FAN TUTTE 2016 | Ward/Stambler | THE CRUCIBLE 2018 | Janáček | THE CUNNING LITTLE VIXEN 2005 | Britten/Piper | DEATH IN VENICE 2002 | Poulenc | DIALOGUES OF THE CARMELITES 2009 | Purcell/Tate | DIDO AND AENEAS 1988, 1995, 2003 | Mozart/Da Ponte | DON GIOVANNI 1982, 1996 | Donizetti/Ruffini | DON PASQUALE 2001 | Chabrier/Leterrier & Vanloo | L’ÉTOILE 1987 | Tchaikovsky/Pushkin | EUGENE ONEGIN 1985, 1998 | Verdi/Boito | FALSTAFF 2004 | Puccini/Civinini & Zangarini | LA FANCIULLA DEL WEST 1991 | Beethoven/Sonnleithner & Bouilly | FIDELIO 1996 | Mozart/Calzabigi | LA FINTA GIARDINIERA 1982 | J. Strauss II/Haffner & Genée | DIE FLEDERMAUS 2013 | Wagner | THE FLYING DUTCHMAN 1981 | Moore/Sundgaard | GALLANTRY 2019 | Corigliano/Hoffman | THE GHOSTS OF VERSAILLES 1986 | Puccini/Forzano | GIANNI SCHICCHI 2008 | Handel/Haym | GIULIO CESARE IN EGITTO 2000 | Sousa/Liebling | THE GLASS BLOWERS 2003 | Kurka/Allan | THE GOOD SOLDIER SCHWEIK 1988 | Offenbach/Meilhac & Halévy | THE GRAND DUCHESS OF GEROLSTEIN 2006 | Hartke/Littell | THE GREATER GOOD* 1980 | J. Strauss II/Schnitzer | THE GYPSY BARON 1981, 1989 | Gilbert/Sullivan | H.M.S. PINAFORE 2022 | Geter/Palmer | HOLY GROUND* 2004 | Handel/Stampiglia | IMENEO 1981 | Mozart/Stephanie | THE IMPRESARIO 1994 | Monteverdi/Busenello | L’INCORONAZIONE DI POPPEA 1990 | R. Strauss | INTERMEZZO 1994 | Gilbert/Sullivan | IOLANTHE 1997 | Gluck/Guillard | IPHIGÉNIE EN TAURIDE 1997 | Rossini/Anelli | L’ITALIANA IN ALGERI 2006 | Janáček | JENUFA 2012 | Weill/Green | JOHNNY JOHNSON 2022 | Sankaram/Rourke | JUNGLE BOOK* 2013 | Verdi/Romani | KING FOR A DAY 2008 | Porter/Spewack & Spewack | KISS ME, KATE 2005 | Poulenc/Cocteau | LA VOIX HUMAINE 2011 | Musto/Campbell | LATER THE SAME EVENING*** 2008 | Wagner | DAS LIEBESVERBOT*** 2013 | Lang | THE LITTLE MATCH GIRL PASSION 2002 | Adamo | LITTLE WOMEN 1996 | Beeson/Elmslie | LIZZIE BORDEN 2012 | Weill/Anderson | LOST IN THE STARS 2016 | Rossini/Prividali | LOST LUGGAGE 2005| Donizetti/Royer & Vaëz | LUCIE DE LAMMERMOOR 2015 | Verdi/Piave & Maffei | MACBETH

MADAME BUTTERFLY | Puccini/Illica & Giacosa | 1982, 1997, 2014 THE MAGIC FLUTE | Mozart/Schikaneder | 1992, 2015, 2021 MANON LESCAUT | Puccini/Illica & Giacosa | 1981 THE MARRIAGE OF FIGARO | Mozart/Da Ponte | 1980, 2001, 2010 MARTHA | Flotow/Riese | 1978 MEDEA | Cherubini/Hoffman | 2011 THE MEDIUM | Menotti | 1978 THE MERRY WIDOW | Lehár/Léon & Stein | 1979 ****THE MIDNIGHT ANGEL | Carlson/Beagle | 1993 A MIDSUMMER NIGHT’S DREAM | Britten/Pears | 1987 †A MIDSUMMER NIGHT’S DREAM | Mendelssohn | 2008 THE MIGHTY CASEY | Schuman/Gury | 1986, 1989 THE MIKADO | Gilbert/ Sullivan | 1983, 1991 ***THE MINES OF SULPHUR | Bennett/Cross | 2004 THE MOTHER OF US ALL | Tomson/Stein | 1998 **MR. JERICHO | Greenbank/Ford | 1989 THE MUSIC MAN | Willson | 2012 NOAH’S FLOOD | Britten/Anonymous | 2019 *ODYSSEY | Moore/Rourke | 2015, 2018 OF MICE AND MEN | Floyd | 1997 OKLAHOMA! | Rodgers/Hammerstein | 2017 ORLANDO PALADINO | Haydn/Porta | 2002 ORLANDO | Handel/Capece | 2003 L’ORFEO | Monteverdi/Striggio | 2007 ORPHÉE ET EURYDICE | Gluck/Calzabigi | 2007 ORPHÉE | Glass/Cocteau | 2007 ORPHEUS IN THE UNDERWORLD | Offenbach/Halévy | 2007 PAGLIACCI | Leoncavallo | 1976, 2002 PARTENOPE | Handel/Stampiglia | 1998 *THE PASSION OF MARY CARDWELL DAWSON | Seaton/Simon | 2021, 2022 PATIENCE | Gilbert/ Sullivan | 2004 PAUL BUNYAN | Britten/Auden | 1995 THE PEARL FISHERS | Bizet/Cormon & Carré | 1986 THE PIRATES OF PENZANCE | Gilbert/Sullivan | 1987, 2006 PORGY AND BESS | G. Gershwin/I. Gershwin, Heyward & Heyward | 2017 LE PORTRAIT DE MANON | Massenet/Boyer | 2005 THE QUEEN OF SPADES | Tchaikovsky/M. Tchaikovsky *A QUESTION OF TASTE | Schuman/McClatchy | 1989 THE RAPE OF LUCRETIA | Britten/Duncan | 2001 ***IL RE PASTORE | Mozart/Metastasio | 1991 RIGOLETTO | Verdi/Piave | 1983, 1999 RINALDO | Handel/Rossi | 2023 *THE RIP VAN WINKLES | Morris/Fuentes | 2023 IL RITORNO D’ULISSE IN PATRIA | Monteverdi/Badoaro | 1999 *ROBIN HOOD | Moore/Rourke | 2017 ROMEO AND JULIET | Gounod/Barbier & Carré | 2023 SALOME | R. Strauss | 2000 SCALIA/GINSBURG | Wang | 2017 THE SECRET MARRIAGE | Cimarosa/Bertati | 1992 SHOW BOAT | Kern/Hammerstein | 2019 **THE SIEGE OF CALAIS | Donizetti/Cammarano | 2017 SILENT NIGHT | Puts/Campbell | 2018 SONGBIRD | Offenbach/Meilhac & Halevy (adapted, Lowe/Rourke) THE SOUND OF MUSIC | Rodgers/Hammerstein | 2022 STABAT MATER | Pergolesi | 2013 *STOMPING GROUNDS | Simonson/Hernandez | 2017 THE STUDENT PRINCE | Romberg/Donnelly | 1984 SWEENEY TODD | Sondheim/ Wheeler | 2016 TAKING UP SERPENTS | Sankaram/Dye | 2022 THE TALES OF HOFFMANN | Offenbach/Barbier | 1977 TAMERLANO | Handel/Haym | 1995 THE TELEPHONE | Menotti | 1978 THE TENDER LAND | Copland/Everett | 2010 *TENOR OVERBOARD | Rossini/Ludwig | 2022 THE THIEVING MAGPIE | Rossini/Gherardini | 2016 ***TOLOMEO | Handel/Haym | 2010 TOSCA | Puccini/Illica & Gioacosa | 1977, 1988, 2010 LA TRAVIATA | Verdi/Piave | 1976, 1989, 2009, 2019 IL TROVATORE | Verdi/Cammarano | 2021 TROUBLE IN TAHITI | Bernstein | 1981, 2015, 2018 THE TURN OF THE SCREW | Britten/Piper | 1992 WERTHER | Massenet/Blau, Milliet & Hartmann | 1993 WEST SIDE STORY | Bernstein/Laurents & Sondheim | 2018 *WHEN WE WERE CHILDREN | Lang | 2013 *WILDE TALES | Karpman/Rourke | 2016 XERXES | Handel/Minato & Stampiglia | 2017 THE YEOMEN OF THE GUARD | Gilbert/Sullivan | 1995 *World Premiere **American Premiere ***American Professionally-Staged Premiere ****World-Premiere Production †Concert performance

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THE 2024 FESTIVAL

JULY GETAWAY WEEKEND

GETAWAY WEEKEND 1

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Mon, July 22 Mon, July 22 Tue, July 23 Tue, July 23 Fri, July 26 Fri, July 26 Fri, July 26 Fri, July 26 Sat, July 27 Sat, July 27 Sat, July 27 Sat, July 27 Sat, July 27 Sat, July 27 Sat, July 27 Sun, July 28 Sun, July 28 Sun, July 28 Mon, July 29 Mon, July 29 Mon, July 29 Tue, July 30 Tue, July 30 Thu, Aug 01 Thu, Aug 01 Fri, Aug 02 Fri, Aug 02 Fri, Aug 02 Sat, Aug 03 Sat Aug 03 Sat, Aug 03 Sat, Aug 03 Sat, Aug 03 Sat, Aug 03 Sun, Aug 04 Sun, Aug 04 Sun, Aug 04 Mon, Aug 05 Mon, Aug 05 Tue, Aug 06 Tue, Aug 06 Tue, Aug 06 Tue, Aug 06

12:00 PM 1:00 PM 12:00 PM 1:00 PM 3:00 PM 5:30 PM 6:30 PM 7:30 PM 11:00 AM 11:30 AM 12:00 PM 1:00 PM ~3:00 PM 6:30 PM 7:30 PM 11:00 AM 12:00 PM 1:00 PM 11:30 AM 12:00 PM 1:00 PM 12:00 PM 1:00 PM 6:30 PM 7:30 PM 6:00 PM 6:30 PM 7:30 PM 11:00 AM 12:00 PM 1:00 PM ~4:00 PM 6:30 PM 7:30 PM 11:00 AM 12:00 PM 1:00 PM 12:00 PM 1:00 PM 11:30 AM 12:00 PM 1:00 PM 7:30 PM

Preview Tent Alice Busch Opera Theater Preview Tent Alice Busch Opera Theater The Otesaga Resort Hotel Ballroom Pavilion Preview Tent Alice Busch Opera Theater Alice Busch Opera Theater Outdoor Stage Outdoor Stage Alice Busch Opera Theater Alice Busch Opera Theater Preview Tent Alice Busch Opera Theater Pavilion Preview Tent Alice Busch Opera Theater Outdoor Stage Outdoor Stage Alice Busch Opera Theater Preview Tent Alice Busch Opera Theater Preview Tent Alice Busch Opera Theater Outdoor Stage Outdoor Stage Alice Busch Opera Theater Alice Busch Opera Theater Preview Tent Alice Busch Opera Theater Alice Busch Opera Theater Preview Tent Alice Busch Opera Theater Pavilion Preview Tent Alice Busch Opera Theater Preview Tent Alice Busch Opera Theater Outdoor Stage Outdoor Stage Alice Busch Opera Theater Alice Busch Opera Theater

Free Event: Preview Talk The Pirates of Penzance Free Event: Preview Talk La Calisto Pipeline Talk: The Artistry of Creation 2024 Festival Dinner Free Event: Preview Talk La Calisto Free Event: Backstage Tour Free Event: Preview Talk Free Event: Lyrics on the Lawn Pagliacci Free Event: Changeover Talk Free Event: Preview Talk The Pirates of Penzance 2025 Preview Brunch Free Event: Preview Talk Elizabeth Cree Free Event: Preview Talk Free Event: Lyrics on the Lawn Pagliacci Free Event: Preview Talk The Pirates of Penzance Free Event: Preview Talk The Pirates of Penzance Free Event: Preview Talk Free Event: Lyrics on the Lawn Pagliacci Free Event: Backstage Tour Free Event: Preview Talk La Calisto Free Event: Changeover Talk Free Event: Preview Talk Elizabeth Cree 2025 Preview Brunch Free Event: Preview Talk The Pirates of Penzance Free Event: Preview Talk La Calisto Free Event: Preview Talk Free Event: Lyrics on the Lawn Pagliacci Rumpelstiltskin and the Unlovable Children

THE 2024 FESTIVAL

GETAWAY WEEKEND 2

GETAWAY WEEKEND 3

Thu, Aug 08 Thu, Aug 08 Thu, Aug 08 Thu, Aug 08 Fri, Aug 09 Fri, Aug 09 Fri, Aug 09 Sat, Aug 10 Sat, Aug 10 Sat, Aug 10 Sat, Aug 10 Sat, Aug 10 Sat, Aug 10 Sat, Aug 10 Sun, Aug 11 Sun, Aug 11 Sun, Aug 11 Sun, Aug 11 Mon, Aug 12 Mon, Aug 12 Mon, Aug 12 Tue, Aug 13 Tue, Aug 13 Thu, Aug 15 Thu, Aug 15 Thu, Aug 15 Fri, Aug 16 Fri, Aug 16 Fri, Aug 16 Sat, Aug 17 Sat, Aug 17 Sat, Aug 17 Sat, Aug 17 Sat, Aug 17 Sat, Aug 17 Sun, Aug 18 Sun, Aug 18 Sun, Aug 18 Mon, Aug 19 Mon, Aug 19 Tue, Aug 20 Tue, Aug 20

1:00 PM 6:00 PM 6:30 PM 7:30 PM 5:30 PM 6:30 PM 7:30 PM 11:00 AM 12:00 PM 1:00 PM ~3:00 PM 6:00 PM 6:30 PM 7:30 PM 11:00 AM 12:00 PM 1:00 PM 7:30 PM 12:00 PM 1:00 PM 6:00 PM 12:00 PM 1:00 PM 4:30 PM 6:30 PM 7:30 PM 5:30 PM 6:30 PM 7:30 PM 11:00 AM 12:00 PM 1:00 PM ~4:00 PM 6:30 PM 7:30 PM 11:30 AM 12:00 PM 1:00 PM 12:00 PM 1:00 PM 12:00 PM 1:00 PM

Alice Busch Opera Theater Outdoor Stage Outdoor Stage Alice Busch Opera Theater Pavilion Preview Tent Alice Busch Opera Theater Alice Busch Opera Theater Preview Tent Alice Busch Opera Theater Alice Busch Opera Theater Outdoor Stage Outdoor Stage Alice Busch Opera Theater Pavilion Preview Tent Alice Busch Opera Theater Alice Busch Opera Theater Preview Tent Alice Busch Opera Theater Pavilion Preview Tent Alice Busch Opera Theater Pavilion Preview Tent Alice Busch Opera Theater Pavilion Preview Tent Alice Busch Opera Theater Alice Busch Opera Theater Preview Tent Alice Busch Opera Theater Alice Busch Opera Theater Preview Tent Alice Busch Opera Theater Outdoor Stage Outdoor Stage Alice Busch Opera Theater Preview Tent Alice Busch Opera Theater Preview Tent Alice Busch Opera Theater

Rumpelstiltskin and the Unlovable Children Free Event: Preview Talk Free Event: Lyrics on the Lawn Pagliacci 2024 Festival Dinner Free Event: Preview Talk The Pirates of Penzance Free Event: Backstage Tour Free Event: Preview Talk Elizabeth Cree Free Event: Changeover Talk Free Event: Preview Talk Free Event: Lyrics on the Lawn Pagliacci 2025 Preview Brunch Free Event: Preview Talk La Calisto Rumpelstiltskin and the Unlovable Children Free Event: Preview Talk Elizabeth Cree Pipeline Preview: The House on Mango Street Free Event: Preview Talk The Pirates of Penzance Horizons: Tara Erraught in Concert with Young Artists Free Event: Preview Talk The Pirates of Penzance 2024 Festival Dinner Free Event: Preview Talk Elizabeth Cree Free Event: Backstage Tour Free Event: Preview Talk The Pirates of Penzance Free Event: Changeover Talk Free Event: Preview Talk La Calisto Free Event: Preview Talk Free Event: Lyrics on the Lawn Pagliacci Free Event: Preview Talk The Pirates of Penzance Free Event: Preview Talk Elizabeth Cree

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12 PHOTO: BRENT DELANOY

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THE PIRATES OF PENZANCE (1879) Music by SIR ARTHUR SULLIVAN Libretto by W.S. GILBERT

An original production of Opera Theatre of Saint Louis Sung in English with English projected lyrics.

Ten performances: July 22m, 27, 30m; August 1, 4m, 9, 13m, 15, 17m, 19m Running time: 2 hours and 25 minutes, including one 25-minute intermission

This production is generously sponsored by Eugene and Jean Stark.

Major-General Stanley The Pirate King

Frederic

Mabel

Ruth

Sergeant of Police Samuel

Edith

Kate

Isabel

Queen Victoria

Troy Cook Craig Irvin Christian Mark Gibbs Elizabeth Sutphen Eve Gigliotti Joshua Thomas* Tshilidzi Ndou* Saane Aziza Halaholo* Alexandra Sanchez* Emma Sucato* Mary-Jo Merk

The Glimmerglass Festival Orchestra and Chorus

Conductor Director Choreographer Set Designer Costume Designer Lighting Designer Hair & Makeup Projected Titles

Joseph Colaneri Seán Curran Seán Curran James Schuette James Schuette Robert Wierzel Tom Watson Kelley Rourke

Chorus Director

Assistant Director Assistant Conductor Principal Coach

Diction Coach

Dance Captain

Assistant Coach

Stage Manager

Katherine Kozak Nadja Simmonds* Clancy Ellis* Grant Wenaus Lynn Baker Blaise Rossmann* Artyom Pak* Laurel McIntyre

*member of the Young Artists Program

Due to a mistake made by his nurse, Ruth, Frederic has been indentured to the Pirates of Penzance until his 21st birthday. When Frederic turns 21, he announces his intention to abandon the Pirates and live an honorable life.

The Pirate King is disappointed to lose his apprentice, but he concedes that Frederic is duty-bound to follow his conscience. Ruth asks Frederic to take her with him; as he is considering her proposal, a bevy of maidens appears.

One of them, Mabel, is deeply moved

by Frederic’s situation. Meanwhile, the rest of the Pirates resolve to take the maidens by force. Mabel reveals that she and the other young women are wards of Major- General Stanley; the Major- General arouses the Pirates’ pity and secures his release by telling them that he, like them, is an orphan. As Frederic takes his leave of the Pirates, Ruth makes a last appeal, but Frederic rejects her in favor of Mabel.

The Major- General and his wards shelter in a chapel, where the MajorGeneral implores the ancestors to forgive him for lying about his orphan status. Frederic appears, closely followed by a band of insecure policemen, resolved to fight against the Pirates. Ruth and the Pirate King inform Frederic of a contractual loophole and appeal to his sense of duty. Frederic, slave to duty that he is, rejoins the Pirates and informs them of the Major- General’s lie. Furious, Ruth and the Pirate King plan an attack. In a confrontation, the police find a way to appeal to the Pirates’ own sense of duty and patriotism. Before the MajorGeneral can have the Pirates arrested, Ruth reveals their origins, and all is forgiven.

Scenery owned by The Atlanta Opera and Palm Beach Opera. Costumes are the property of Opera Theatre of Saint Louis.

Detailed ensemble casting is available on glimmerglass.org.

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William Schwenck Gilbert (1836-1911) began contributing columns, drawings, and verses to comic magazines as a “side hustle” when he was a 25-year-old clerk in the civil service. His first theatrical success was Dulcamara! or The Little Duck and the Great Quack (1866), a burlesque of Donizetti’s L’elisir d’amore (1832), which he followed up with another Donizetti burlesque: La Vivandière; or, True to the Corps! (1867).

Critics applauded Gilbert’s characters for being “very comic without being in the slightest degree vulgar.” The lack of vulgarity was remarkable — Elizabeth Cree, set around 1880, gives a sense of the seamy allure of the Victorian music hall.

Gilbert’s motivation was more practical than prudish: “It is not upon any high moral principle that I take this stand,” he said, “but I object to having déclassé women on the stage because I feel as a man of business that they keep more people out of the theatre than they put into it.

They keep a number of staid, respectable, churchgoing, orderly, methodical British playgoers away from the theatre. What is worse, such plays also give these people a handle which they can use in their attacks upon the stage.”

In 1870, Gilbert made an explicit reform effort with The Princess, a Tennyson adaptation in blank verse, free of “meretricious accessories.” He followed The Princess with works based on Dickens (Great Expectations), Ovid (Pygmalion and Galatea), and others. By this time, Gilbert was not only writer but director, and here, too, he sought reform, preferring a sincere, naturalistic style to presentational mugging.

Gilbert & Sullivan’s first collaboration, Thespis (1871), was a Boxing Day extravaganza that ran for 63 performances; despite its hasty construction and rehearsal, critics remarked on its exceptional level of polish. A few years later, Gilbert & Sullivan reunited for Trial by Jury (1875) and The Sorcerer (1877). The latter was the first piece independently produced by Gilbert, Sullivan, and Richard D’Oyly Carte. The company’s first smash hit, H.M.S. Pinafore (1878), followed, with The Pirates of Penzance fast on its heels.

Gilbert’s reputation was built on his knack for comic wordplay — rhymes, punning, and the like — but the librettist’s architectural role is less often discussed. It was Gilbert who, beginning with Thespis, insisted on a central role in the chorus, and his libretto for The Pirates of Penzance showcases the male and female ensembles as much as the principals. Drawing on an intimate knowledge of operatic forms, W.S. Gilbert — who was knighted more than 20 years after his collaborator — created structures that served as vehicles for sincere sentiment in a topsy-turvy world.

— Kelley Rourke

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Sir Arthur Sullivan: A Cosmopolitan Composer Sir Arthur Sullivan was one-half of one of the most important showbiz duos of the late 19th century. More than 100 years later, the comic operettas of Gilbert & Sullivan continue to delight audiences, but the duo’s 20-year collaboration was only one chapter in the composer’s long and prolific career. Glimmerglass Music Director Joseph Colaneri, who conducts The Pirates of Penzance this summer, spoke with Dramaturg Kelley Rourke about Sullivan’s multifaceted musical legacy.

KR: Gilbert & Sullivan began to make their mark in the early 1870s, but by then the composer had already enjoyed considerable success on his own.

JC: Yes, he was a prodigy, in fact. When he was just 14 years old, Arthur Sullivan was the first recipient of the Royal Academy of Music’s Mendelssohn Scholarship, and the year-long scholarship was extended not once, but twice! The young composer spent his third scholarship year studying at the Leipzig Conservatorium. There, he would have been exposed to Bach, to Mendelssohn, to Schubert. You can hear those influences not only in his “serious” music, but in his comic operas. For example, “Climbing Over Rocky Mountain,” the women’s chorus entrance music in Pirates, reminds me very much of an art song. The melody has a classical elegance and a romantic warmth, with beautifully balanced phrases. For me, it is a clear connection to the time he spent in Leipzig, to the lineage from Mozart and Haydn through Mendelssohn and Schubert.

KR: Italian opera was part of the fabric of British musical life. Back in the 17th century, Handel had taken London by storm, and the craze for Italian opera came roaring back in the 19th century, so much so that all performances by the Royal Opera — including Carmen, Faust, and Wagner’s Der Fliegende Höllander — were performed in Italian, alongside the latest from Donizetti, Rossini, and Verdi. Can you speak about the influence of Italian opera on Sullivan?

JC: By the time Sullivan came of age, Verdi was mid-career, Donizetti was still writing, and Rossini’s Guillaume Tell was yet to come. And here comes this fellow Sullivan, son of a bandmaster, who was attracted to theater music from the beginning, having composed a lot of incidental music for Shakespeare plays. I’ve been getting to know some of it, and I was really struck by his “Overture to Macbeth.” It’s a really good piece. Sullivan knew

his way around an orchestra — by the time he was 12, he could play all the wind instruments in his father’s band.

One of the ways that Sullivan supported himself was as an editor for Boosey & Company (then the major publisher of operas in London, and still in existence today as Boosey & Hawkes), where he was responsible for publications including Il trovatore, Faust, Norma, Don Pasquale, and Guillaume Tell. This put Sullivan in direct contact with the major bel canto composers, Rossini, Donizetti, and Bellini as well as Verdi. And on top of all of that, he knew Rossini personally.

KR: There are nods to Verdi and other composers in Gilbert & Sullivan’s comic operas — what some people refer to as “parody.”

I’ve been wondering, when does “influence” cross over into “parody,” and do you think that label is a fair assessment?

JC: People speak of Sullivan’s comic operas as parody, but I want to say it’s a bit more of a burlesque. Parody can have a kind of pejorative association, but ‘burlesque,’ with its root ‘burla,’ really expresses the joy that Sullivan found in the work of Verdi and others. It is parody with respect, with love, with the intent of highlighting the best of the tradition. The way he sets accompanied recitatives, like the encounter between Frederic and the women’s chorus, feels like a scena right out of Donizetti. And you have all these wonderful waltz tunes, like “Poor Wand’ring One,” which have a French flavor. To my ear, it’s a bit like “Ah, je veux vivre” from Roméo et Juliette. Sullivan’s comic operas still require a serious way of singing, not any different from how you’d approach, for instance, Donizetti’s comedy, La Fille du régiment. When you approach the music seriously, it becomes a terrific vehicle for comedy.

KR: The Pirates of Penzance includes significant “roles” for a men’s chorus and a women’s chorus; these groups are as important to the drama as the principal soloists. We know Sullivan wrote a lot of congregational hymns — including, most famously, “Onward Christian Soldiers.” Do you see a connection between his sacred choral works and his choral writing for the stage?

JC: As a boy, Sullivan was a chorister in the Chapel Royal, singing a lot of Tallis and Byrd, and it is clear he learned a lot about the singing voice; he was in fact a sought-after treble soloist. In addition to the hymns you mentioned, he also composed some large-scale choral works, including two settings of the Te Deum and an oratorio called “The Light of the World,” which I’ve read was second only to Handel’s Messiah in popularity for a time.

Sullivan brings a classical balance to the various choral voice parts and creates clear textures that allow the melodies and the words to shine

through. It’s in his many sacred anthems and secular part songs that he honed this technique. “Hail, Poetry” is a terrific moment for the chorus in The Pirates of Penzance. There is something quasi-religious about it. It reminds me a little bit of “Immenso Jeovha” in Verdi’s Nabucco — another reference to Italian opera. At the same time, there is something very English about Sullivan’s writing.

KR: What do you mean by that? Are there aspects of Sullivan’s writing that you would highlight as particularly English?

JC: First, I think of English folksong that employs a lot of dance rhythms. One hears in Sullivan’s operettas the TUM-ta-TUM-ta-TUM accompaniment rhythm or the brisk swing of the English sea chanty. You also have to remember that all British composers, including Sullivan, wrote ceremonial music for royal events, so you often hear a sense of pomp and pageantry, whether you’re looking all the way back to Purcell or forward to Britten. That “ceremonial” sound also connects back to Sullivan’s father, the bandmaster, and the military marches that would have been part of his world.

KR: Going back to the operas Sullivan wrote with Gilbert, I’d like to talk a little bit about comedy, which is one of the hardest things to pull off. What makes a great comic composer?

JC: The secret of comedy is timing. Sullivan loves to startle the audience with these big, explosive chords that come out of nowhere. It’s a trick that goes back to Haydn and his “Surprise Symphony” and yet is also reminiscent of dramatic passages in Aida. The juxtaposition of the comic and dramatic makes the musical jokes land. He also has the ability to set text with great clarity, so all of Gilbert’s jokes really sparkle.

Gilbert & Sullivan did not invent the “patter song,” of course, but they had a real genius for it. You could draw a strong parallel between Bartolo’s “A un dottor della mia sorte” in The Barber of Seville and “I am the very model of a modern Major-General.” It’s built on a simple melodic cell that gets rhythmically activated with rapidly delivered text in complex rhymes. The faster it goes, the funnier it is, as long as it’s clear. As they say in the theater, comedy is clarity! And yet it is more sophisticated than it sounds — which I found out first-hand when I learned a version with your parody lyrics for the Glimmerglass Gala.

It sounds fairly simple, musically, but the details show Sullivan’s real classical craft in the melody and harmony.

Sullivan absorbed so many musical influences, and he had an uncanny ability to evoke moments from the grand opera tradition. But his music is always his music. You hear the tradition standing behind him, but there is a lively elegance and charm that is uniquely his. His music is shot through with sunlight.

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LA CALISTO (1651) Music by FRANCESCO CAVALLI Libretto by GIOVANNI FAUSTINI

New production, sung in Italian with English projected text.

Six performances: July 23m, 26; August 3m, 5m, 11m, 17 Running time: 2 hours and 25 minutes, including one 25-minute intermission

This production is generously sponsored by Allison and W. Keyes Hill-Edgar.

Calisto

Diana/Jove-as-Diana Endymion Juno

Jove

Mercury

Linfea/Destiny

Young Satyr/Eternity Pan/Nature Sylvan

Fury 1

Fury 2

Emilie Kealani* Taylor Raven Kyle Sanchez Tingzon* Eve Gigliotti Craig Irvin Schyler Vargas Winona Martin* Amanda Sheriff* Namarea Randolph-Yosea* Cameron Rolling* Lauryn Davis* Xiao Xiao*

Dancers

Kailee Reagan Brandt* Peter Murphy* Blaise Rossmann* Emma Sucato* Truman Tinius* The Glimmerglass Festival Orchestra Conductor Director Set Designer Choreographer Costume Designer Lighting Designer Hair & Makeup Projected Titles

Rob Ainsley Mo Zhou Charlie Corcoran Eric Sean Fogel Carlos Soto Amith Chandrashaker Tom Watson Kelley Rourke

Assistant Director Assistant Conductor Principal Coach/Continuo Assistant Choreographer Assistant Coach

Stage Manager

Joshua R. Horowitz Clancy Ellis* J. Bradley Baker Truman Tinius* Artyom Pak* Jo Fernandez

*member of the Young Artists Program

Original set pieces were designed by Adrianne Lobel for Die Feen.

Special thank you to the Fenimore Chamber Orchestra Inc. for the use of their Hubbard Flemish single manual harpsichord during the 2024 season.

Jove catches a glimpse of the beautiful nymph Calisto and sets out to seduce her. But Calisto, a follower of the goddess Diana, has taken a vow of chastity and will not be swayed.

Mercury suggests that Jove disguise himself as Diana and try again. Calisto, ever obedient to her goddess, accepts the overtures of Jove-as-Diana.

Meanwhile, the shepherd Endymion sings of his love for the moon, personified as Diana, who secretly returns his love. The young nymph Linfea chides Endymion for approaching the chaste goddess, who rejects the shepherd to preserve her reputation. Calisto appears, bewildered by the intense experience she believes she has just shared with Diana. When Diana realizes Calisto has broken her vow of chastity, she expels the nymph from the forest.

Linfea, observing all of this, wants to learn more about the power of love.

A Young Satyr offers his services, but Linfea dismisses him. Meanwhile, Pan laments the loss of Diana’s favors and wonders if she has found a new lover; his companions console him and promise to kill any rivals.

Endymion serenades the moon and is rewarded by kisses from Diana; their confession of love is witnessed by one of Pan’s followers. Juno, having heard rumors of Jove’s latest dalliances, descends to earth and finds Calisto weeping. When Jove-as-Diana appears to reassure Calisto, Juno confronts “Diana” about her lascivious behavior, but the disguised Jove does not crack.

Endymion approaches the false Diana next, unwittingly revealing the real Diana’s recent breach of chastity. Pan reproaches Diana, and the satyrs threaten to kill Endymion. Linfea arrives, still in search of a husband. The nymphs and satyrs face off in a dance.

The jealous Juno finds Calisto and punishes her for Jove’s transgressions, turning the nymph into a bear. Jove reveals his identity to Calisto and promises that she will one day ascend to the heavens. Meanwhile, Pan and Sylvan demand that Endymion relinquish Diana, but he refuses.

Diana and Endymion pledge their ongoing love but agree to limit its physical expression. Jove gives Calisto a glimpse of her celestial future before returning her to earth as a bear who will give birth to their son. He promises that both will one day be immortalized in the stars.

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A TALE OF TRANSFORMATION: FROM MYTH TO LIBRETTO

BY KELLEY ROURKE “My spirit moves to tell of shapes transformed into new bodies.”

So begins Ovid’s sprawling Metamorphoses, an epic unified not by a hero, or even an event, but a theme: Change. Ovid’s poem begins at the moment of creation, the transformation of chaos to order, before zooming in on more than 200 individual metamorphoses.

To look closely at La Calisto, the ninth libretto Giovanni Faustini created for Francesco Cavalli, is to witness another kind of transformation. Not only did the librettist create a text optimized for musical expression, with its succession of love songs, laments, and merry taunts, he also tweaked the titular tale and added an overlapping episode, shifting our attention from the tragic elements of Calisto’s story to a mostly celebratory exploration of desire.

Ovid and Faustini begin Calisto’s story in the same way. Jove is entranced by Calisto, a nymph pledged to Diana. When Calisto rebuffs Jove, the god disguises himself as Diana, for whom Calisto would do anything.

(Director Mo Zhou has noted parallels with sexual predators who use sympathetic older women to “groom” the objects of their attraction; in this case, Jove is simultaneously Epstein and Maxwell.)

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In Ovid’s telling, Calisto recognizes the ruse as Jove begins to force himself on her; she fights, but is powerless against the god, who completes the act and impregnates her.

Calisto’s response, as painted by

Ovid, is heartbreaking: “Now she hates the woods and grove since they were witnesses to this. As she retreats, she nearly leaves the quiver, the arrow, and the bow she had hung up.”

Faustini’s presentation of the fateful event departs significantly from Ovid’s. In his libretto, the innocent Calisto has no name for what is happening to her when Jove-as-Diana overpowers her, but instead of fighting, she enjoys it. Later, when Calisto encounters the real Diana, she seeks more of the same and is banished for her impudence.

Does the famously chaste goddess protest too much?

Can anyone deny the power of desire? In case there is any doubt about where Faustini stands, he adds a subplot that is a fun-house mirror of Calisto’s story: even as Diana chastises Calisto, the goddess surrenders to the shepherd Endymion, to the dismay of Pan (whom Diana previously loved, then abandoned). It is a clever inversion of the power dynamics of the titular plot, in which a nymph is seduced by a god, to the dismay of the god’s divine consort.

No one is immune from the transformative power of desire — not gods, not mortals, and certainly not the rutting satyrs inserted by Faustini to amplify the opera’s theme. But how are we to categorize the transformation? Whether Calisto resists Jove-as-Diana (as in Ovid) or embraces him/her (as in Faustini), she is punished: first banished by Diana, later turned

into a bear by Juno. Diana regrets letting things get out of hand with Endymion, and while she can’t quite quit him, they vow to limit themselves to chaste kisses.

Juno, the one married lady we meet, finds that the vows that legitimize her desire have cooled her powerful husband’s.

“One of the key themes I aim to explore in this production is the privilege and accessibility of love or desire,” says Zhou. “ We see Diana, a goddess, attaining a happy ending with Endymion, while an obedient nymph like Calisto, who has committed no wrongdoing, is taunted, tortured, deformed, and ultimately placed on a lonely pedestal.”

Faustini’s libretto, especially in the company of Cavalli’s achingly beautiful music, paints love as exquisite pleasure — with complex repercussions. Calisto’s metamorphosis, set in motion by Jove’s desire, is threefold: first she is robbed of her innocence, then her human form, and finally her earthly existence. In Faustini and Cavalli’s telling, the final transformation is a moment of happiness for Calisto, but sadness for Jove. “Death will no longer touch you,” the god tells the nymph. He leaves the obvious unsaid: In her new state, she will be impervious not only to death, but also to desire — others’ and her own.

PICTURE THE SCENE: you’ve booked a trip to the coolest party on earth, with people flocking from all over the world to see and be seen. It’s a grand costume ball with glitzy prizes for the best masks and the most elaborate outfits; intrigue is the name of the game. For these few days leading up to Lent, anything goes, and you can be whoever you want to be — gambling is legal, there are lavish nightly parties in every mansion and courtyard, and the strict class conventions of normal life are set aside. Every alleyway is packed with street vendors, magicians, clowns, and entertainers of all kinds — the theaters are crammed with audiences clamoring for a ticket to the latest hit show, with each season more spectacular than the last. Celebrities are two-a-penny — you might bump into your favorite star around the next corner.

preference for big, recognizable “numbers.” Rather than Monteverdi’s seamless pages of speech-like declamation, called recitar cantando, the score of La Calisto contains nearly 60 aria-like passages and closed musical forms, with some of his later operas packing in nearly double that amount. Even in the more recitative-like passages, variety and expressivity are maximized, with extraordinary moments of dissonance and word-painting. Cavalli and his contemporaries were anything but precious, with text and music being constantly rewritten, substituted, edited, repurposed, and transposed to fit the forces at hand for any given performance.

How do we present a piece like this today? For me, the primary driving forces for a modern production should

OPERA AS MASS ENTERTAINMENT: CAVALLI’S VENICE BY ROB AINSLEY The Venetian Carnival was the Coachella of its day, and many of our biggest modern-day celebrations are inspired by it. It taught cities how to party.

In the 17th century, it also became the cradle of commercial theater, with 17 public theaters being built in the space of a few decades. Opera’s move from courtly luxury to mass entertainment meant that the paying public suddenly became the arbiter of success, and it has been a fickle mistress ever since. Jacopo Peri and Claudio Monteverdi’s grand innovation of “music theater,” in which they sought to recapture long-lost traditions of the ancient world, suddenly acquired a leaner, more populist mien, all driven by the balance sheet. Audiences wanted entertainment, spectacle, laughter, and tears, not a musical Fabergé egg crafted for the highest-paying patron anxious to ascend the social ladder. Theaters wanted packed houses and healthy profits.

The result was an artform razor-sharpened to satisfy all tastes. At times rowdy, intimate, bawdy, sublime, absurd, clever, sensual, witty, and topical, Venetian opera was a smorgasbord for the eyes and ears. The theaters used smaller orchestras and avoided big choruses to keep costs down, preferring to throw their budgets at the starriest singers they could afford. Plots tended to reflect all ages and social classes, represented in La Calisto by an earthy mix of characters spanning shepherds, nymphs, satyrs, gods, and goddesses who all end up intermingling much as the Carnival audience would have; a thin lacquer of classical myth allowed for much more pointed social commentary.

The music molded itself to the theater audience’s perennial

be resourcefulness and popular appeal, much as they were back in 1651. The orchestra we have on hand is the great Glimmerglass Festival Orchestra, and I’ve written instrumental parts to involve more of them while also catering to our modern ears, accustomed nowadays to a more symphonic tonal palette. The sprawling four- and five-hour all-evening affairs of the Seicento theater scene, designed for a rather less attentive and less captive audience, would be out of place in a modern setting, and so we’ve cut the piece down to around half that length, retaining all the best musical moments and dispensing with the more obscure mythological references. We cannot recreate the dizzying effect that complex stage machinery would have had on contemporary Venetian audiences, but we can aim for a magical, mythical visual world and stylish costuming that mimics their sense of whimsy and high fashion.

The story itself requires no updating. La Calisto is about the many forms of love: forbidden love, sublime love, platonic love, unrequited love, love across class and age difference, lust, jealousy, chastity — what could be more universal than Love?

La Calisto’s story is also one of irony — suffering all manner of misfortune in its premiere run (replacements, cancellations, even death in the cast), Cavalli probably thought of it as a failed experiment destined for that season’s trash heap, swiftly cutting his losses and moving onto his next project. It is now one of the most performed operas from that century, certainly the most popular of the 41 from his hand, helping pave the way for the entire Italian operatic tradition to follow.

So when you next listen to your favorite aria or hit musical number and feel the urge to burst into cheers and applause, remember to thank Papa Cavalli!

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PAGLIACCI (1892) Music by RUGGERO LEONCAVALLO

Libretto by RUGGERO LEONCAVALLO

New production, sung in Italian with English projected text.

Seven performances: July 27m, 29m; August 2, 6m, 8, 10, 18m Running time: 1 hour and 45 minutes, including one 25-minute intermission

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PAINTING: EMILY FALCO

This production is generously sponsored by Elizabeth M. and Jean-Marie R. Eveillard.

Canio Robert Stahley Nedda Amber R. Monroe Tonio Troy Cook Silvio Jonathan Patton* Peppe Fran Daniel Laucerica* Peasant #1 Geoffrey Schmelzer* Peasant #2 Ajit Persaud* Clown Performer & Consultant Holly Adams Commedia Trio Kailee Brandt* Scout Santoro* Peter Murphy* Son of Nedda & Canio

Ethan Chen** The Glimmerglass Festival Orchestra, Chorus, and Youth Ensemble Conductor

Director

Choreographer

Scenery Designer

Costume Designer Lighting Designer Hair & Makeup

Projected Titles

Sound Designer

Joseph Colaneri Brenna Corner Eric Sean Fogel James Rotondo Erik Teague Robert Wierzel Tom Watson Kelley Rourke Joel T. Morain

Chorus Director

Assistant Director Assistant Conductor Principal Coach

Fight & Intimacy Director Assistant Youth Chorus Director Assistant Coach Stage Manager

Katherine Kozak Marinette Gomez* Christian Olson* Anna Betka Casey Kaleba Laura Bleakley* Laura Bleakley* Jenna Jacobson

*member of the Young Artists Program **member of Youth Ensemble Detailed ensemble casting is available on glimmerglass.org.

An aging Tonio recalls his life on the stage, when he played the role of Taddeo in a traveling commedia dell’arte troupe. Drawing us into his memory, he cautions the audience that the story he is about to unfold is inspired by truth — a slice of life.

A troupe of players arrives at a village where they plan to offer an evening performance. In addition to Tonio, the troupe includes Canio (who plays Pierrot, or “Pagliaccio”), Nedda (Columbina), and Peppe (Arlecchino); traveling with them is Canio and Nedda’s young child. To fill the time before the performance, Canio and Peppe accept the villagers’ invitation to a drink at the local tavern. When Tonio stays behind, the villagers tease Canio, suggesting his wife, Nedda, is having an affair with Tonio. Canio is not amused.

After the others leave, Tonio makes advances to Nedda, but she rejects him; he threatens her as he departs. Silvio, Nedda’s lover, pleads with Nedda to flee with him. Tonio overhears their plot and informs Canio, who hurries back to catch his wife’s lover, but Silvio escapes as Nedda calls, “I will be yours forever..” Canio demands that Nedda reveal her lover’s name, threatening murder, but Nedda refuses.

Later that evening, the troupe begins the play. Left alone by her husband, Pagliaccio, Columbina anxiously awaits her lover, Arlecchino, but is interrupted by Taddeo, who declares his love. Columbina mocks Taddeo and welcomes Arlecchino. After kicking Taddeo out, Arlecchino and Columbina make plans to run away together; Arlecchino gives Columbina a sleeping potion for her husband, Pagliaccio.

Taddeo returns, warning the lovers that Pagliaccio is on his way. As Arlecchino flees, Columbina calls, “I will be yours forever.” When Canio, as Pagliaccio, reenters, the boundaries between life and art begin to blur. Nedda/Columbina tries unsuccessfully to continue the farce as Canio/Pagliaccio becomes more and more enraged. Peppe, sensing danger, asks Tonio to stop the action, but Tonio refuses, still smarting from Nedda’s rejection. As the crowd watches, Canio brings the drama to its inevitable conclusion.

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Al vero ispiravasi: “Truth is his inspiration”

By Kelley Rourke “Once the clown has been discovered, it will stay with you always, because it lives in your personal sense of play. Your relationship to all other forms of drama will be enriched by the honesty, openness, and reckless abandon the clown requires.

The actor’s investment in the beauty of the clown, the simpleton, the village idiot, the great big stupid, allows for the comedy of the tragic and poetic, rather than the comedy of the clever. Without the possibility of tragedy, there is no clown; and without the clown, there can be no true expression of joy. The clown is the rediscovery of self: the playful self, the ferocious self, the vulnerable self, the artist.”

– Christopher Bayes, Discovering the Clown

“Son qua!” “They’re here!” The action of Pagliacci opens with an expression of pure joy. A community gathers to welcome a group of traveling clowns, eagerly anticipating a break in routine of their daily lives. This is not the first time the troupe has visited the village, and the memory of their routines, or lazzi, drives the community’s excitement. The players’ visit coincides with the Feast of the Assumption, which marks the bodily ascent of Mary, mother of Jesus, from earth to heaven. For Holly Adams, clown consultant for our production of Pagliacci, the juxtaposition of the holy and the hilarious makes perfect sense: “Whether it’s Easter or a wedding or the Fourth of July, there is always something funny and delightful.

What wedding reception does not have the Chicken Dance?”

Ruggero Leoncavallo (1857-1919), who studied music at the Naples Conservatory and literature at the University of Bologna, was not initially inclined toward the funny and delightful. His first opera centered on English poet Thomas Chatterton, who committed suicide at the age of 18. Next, the young composer planned a trilogy of operas set in the Renaissance: I Medici, Gerolamo Savonarola, and Cesare Borgia — an Italian answer to Wagner’s Ring.

When the powerful publisher Giulio Ricordi heard Leoncavallo read his libretto for I Medici, he did not immediately proffer a contract, and when he did, the terms were less than ideal; the composer was required to relinquish all rights to I Medici and the operas that followed, but the publisher was under no obligation to produce them.

Despite misgivings, Leoncavallo, desperate to move forward, signed.

When he completed I Medici in 1891, Ricordi declined to produce it.

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Leoncavallo decided to try a new tactic. The previous year, the composer Pietro Mascagni had enjoyed a runaway success with the one-act Cavalleria Rusticana, which tells the story of infidelity and murderous revenge on an Easter Sunday. Within five years of its premiere, Cavalleria had played not only the major theaters across Europe, from Copenhagen to St. Petersburg, it had traveled throughout North and South America and even to Cape Town.

Hoping to create a sensation of his own, Leoncavallo planned a piece in a similar vein, setting his story of murderous jealousy among a group of commedia dell’arte players. When Leoncavallo presented the libretto to Ricordi, the publisher was not impressed: “How will this man dressed in white be taken seriously by the public? There is too much confusion between tragedy and comedy.”

The greasepaint grin as a mask for something less-than-delightful is a familiar trope now, whether it’s Poltergeist’s clown doll, Batman’s Joker, or even The Simpsons’ Krusty the Clown. This is no accident, says Adams: “In any society, there are four groups of people you’re supposed to trust: doctors, those who uphold the law, religious leaders, and clowns. We’ve seen people in those first three categories betray the trust that has been placed in them. I believe clown fear is a way of processing a deeper fear.”

There is little in the behavior of Canio, the troupe’s “Pagliaccio,” that invites trust. He is quick-tempered and jealous, with a penchant for day-drinking. Arriving in a new town, he heads to the local bar before the performance, publicly threatening his wife as he leaves. When he returns, he finds that his jealous suspicions

were not unwarranted. He lunges at his wife with a knife, fully intending to kill her, but is stopped by one of his colleagues.

Somehow, Leoncavallo seizes our sympathy for Canio, who sings as though his heart would break as he dons the costume of a clown. “Ridi, Pagliaccio,” he sobs, devastated that his wife has found comfort in the arms of another man. “Laugh, Pagliaccio, at your shattered love, at the sorrow that has destroyed your heart.”

As the strings swell behind him, we feel the pain of his situation viscerally, momentarily forgetting the plight of the woman who is bound to him — the woman who will soon die at his hands.

For Brenna Corner, who directs Pagliacci, the production offers an opportunity to call attention to the complex choices faced by victims of domestic violence. “When I first approached the score, I struggled to understand why Nedda is so unwilling to leave her husband for Silvio, who seems divine in comparison,” says Corner.

“I came to realize that it was Nedda’s connection to the troupe, and her connection to her role within the troupe, that held her in this relationship.” To heighten this connection, Corner has added a child supernumerary — Nedda and Canio’s child — to the traveling company. “The struggle then becomes not just that of a woman and man no longer in love, but that of a mother struggling to ensure the safety and happiness of her child. Giving them a child seemed like the best theatrical manifestation of her connection. It also created another lens through which we can come to understand the ending, not just a world of domestic abuse but a double homicide which ultimately orphans their child.”

The story of a clown with a dark side can play an important social role, according to Adams. “People come to see difficult stories on stage to learn to process life’s difficulties,” she says. “I once read an interview with children’s writer R.L. Stine [of Goosebumps fame], who talked about the function of horror stories for kids.

It’s a way of walking through trauma — which is, to some degree, an inevitable part of life — and learning how to process it. It’s like a rehearsal.”

After being rejected by Ricordi, Pagliacci was taken up by rival publisher Edoardo Sonzogno. The opera had an important champion in the baritone Victor Maurel, whom Leoncavallo had met while working as an accompanist in Paris. Fresh from a success as Iago in Verdi’s Otello, Maurel made his appearance in Hamlet at Teatro del Verme contingent on the theater’s production of Leoncavallo’s new work.

The influential singer — who was to create the Iago-like role of Tonio — had conditions for Leoncavallo, as well. He asked the composer to change the title from Pagliaccio (“The Clown,” referring to Canio) to Pagliacci (“The Clowns”), and he requested an aria for himself.

Faced with the challenge of inserting an aria for a secondary character, Leoncavallo added a prologue, putting yet another frame on what was already a play within a play that frames an unexpected, tragic twist (whew!). Tonio’s prologue asks us to consider the “reality” of what takes place when we gather in a theater. He does not deny that it is a ritual re-enactment, making use of antiche maschere (“ancient masks”) and vecchie usanze (“old customs”); nonetheless, he says, the author is inspired by truth alone and aims to present uno squarcia di vita (“a slice of life”).

As Leoncavallo prepared for Pagliacci’s premiere, he was optimistic: “The work has turned out well, and all who hear it make the most joyous predictions. God willing that it will indeed be so! It would be time that I also have some artistic satisfaction and a bit of peace in order to dedicate myself completely to my sole ideal!”

Leoncavallo’s “sole ideal,” the Crepesculum trilogy, was never to be realized, but the response to Pagliacci exceeded all expectations. The Milan premiere was quickly followed by performances in theaters around the world. Thanks to Pagliacci, Leoncavallo was finally able to obtain premieres for I Medici (1893, Milan), the only opera of the trilogy he completed, and Chatterton (1896, Rome). In all he was to complete 17 operas, but none ever approached the success of Pagliacci.

“I can treat operatically only such themes as are vital, natural, and true,” said Leoncavallo in an interview, more than two decades after Pagliacci’s premiere. “It would not be possible, for instance, for me to write music for fishes that sing and Valkyries that fly through the air… But give me men who can laugh, men who can weep, and I can laugh and weep with them. Such has always been my aim. Art should concern itself primarily with the truth.”

For a young composer/librettist with his sights set on histories of great men, Pagliacci was a momentary diversion, or so it seemed at the time. But its prologue — a late addition to satisfy a star singer — might be read, in retrospect, as an artist’s manifesto. Leoncavallo’s truth-telling may not have taken the form of his aspirations, but the “slice of life” presented in this powerful short work still resonates.

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ELIZABETH CREE (2017) Music by KEVIN PUTS

Libretto by MARK CAMPBELL

Based on The Trial of Elizabeth Cree by PETER ACKROYD

New production, sung in English with English projected text.

Six performances: July 28m; August 3, 10m, 12m, 16, 20m Running time: 1 hour and 40 minutes, with no intermission

Generously sponsored by Jacqueline B. Mars, with additional support from The National Endowment for the Arts, and The Aaron Copland Fund for Music, Inc. By arrangement with Boosey & Hawkes, Inc., o/b/o G. Ricordi & Co. New York

Elizabeth Cree

Dan Leno

John Cree

Aveline Mortimer/Witness #1 Doris/Witness #3 Little Victor Farrell/Witness #4 Inspector Kildare/Witness #7 Mr. Greatorex/George Gissing/ Etcher/Witness #6 Mr. Lister/Karl Marx/Voiceover/ Soloman Weil/Witness #8 Uncle/Witness #9 Jane Quig/Annie the Serving Girl/ Witness #2

Priest/Librarian/Mr. Gerrard/Witness #5 Young Lizzie

Tara Erraught Christian Mark Gibbs John Chest Elizabeth Sutphen Emily Harmon* Seiyoung Kim* Schyler Vargas Geoffrey Schmelzer* Evan Lazdowski* Jason Zacher* Ruby Dibble* Tristan Tournaud* Carly Rae Carillo**

The Glimmerglass Festival Orchestra Conductor Director Set Designer Costume Designer Lighting Designer Choreographer Hair & Makeup Projected Titles

Kelly Kuo Alison Moritz Edward T. Morris Amanda Seymour Kate Ashton Emma Sucato* Tom Watson Mark Campbell

Assistant Director

Assistant Conductor

Principal Coach Diction Coach

Fight & Intimacy Director Assistant Coach

Stage Manager

Amanda Testini* Christian Olson* Christopher Devlin Lynn Baker Casey Kaleba Laura Bleakley* Dustin Z West

*member of the Young Artists Program **member of Youth Ensemble

Four distinct narrative elements form the story of Elizabeth Cree: 1) Elizabeth’s narration of her own life, from childhood to marriage; 2) Testimonies in the trial of Elizabeth for the murder of her husband; 3) Entries in a diary; and 4) Inspector Kildare’s pursuit of a serial killer.

In the prologue, last rites are ministered to Elizabeth Cree before she is hanged for the fatal poisoning of her husband John Cree.

Some months before, when Elizabeth stands trial for the poisoning, a lawyer’s question prompts her to look back at her childhood. She retraces her life from abject poverty and the loss of her mother to finding a new home in the British Music Hall where she is taken in by a company of theatricals, led by Dan Leno.

Meanwhile, a serial killer stalks the streets of London. Dubbed “The Limehouse Golem,” the killer’s grisly murders of a prostitute, a scholar, and an entire family are celebrated in a diary written in the hand of John Cree, a critic and playwright.

As the murders continue, Inspector Kildare of Scotland Yard works tirelessly to identify the killer, with no success — interviewing such historical luminaries as the novelist George Gissing, philosopher Karl Marx, and Dan Leno.

Elizabeth ascends to stardom in the British music hall but eventually marries the upper-class John Cree and lives in luxury. Their marriage is unhappy, and Elizabeth arranges for Aveline Mortimer, a former member of Leno’s company, to relieve her of her conjugal duties.

All plotlines converge in the reading room of the British Library before Elizabeth is convicted in the murder of her husband and makes a startling confession.

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The Air Itself…

Bringing Peter Ackroyd’s novel to the operatic stage

by Mark Campbell “Through art and artifice, the savage heart is finally redeemed.”1 — Oscar Wilde, On Art and Artifice “Dans le coeur de chaque femme bat le cœur d’un homme.”1 — Honoré de Balzac, Désirs d’une Femme “Inside every riff lives another riff.”1 — Louis Armstrong

Kevin Puts and Mark Campbell in conversation at Glimmerglass, 2018. Photo: Karli Cadel

Ventriloquism. Juggling.

Low comedy. Crooning.

High-wire walking.

Knife-throwing. Travesty.

Burlesque. Necromancy.

Celebrated author Peter Ackroyd performed all these acts — and more — in his 1994 star turn of a novel, The Trial of Elizabeth Cree, an exhilarating and subversive hopscotch of genres propelled by a narrative of courtroom transcripts, police blotter reports, diary entries, and first- and thirdperson accounts.

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The book is many things. It’s a courtroom drama in which the title character Elizabeth is on trial for the poisoning murder of her husband, John, a failed playwright and inconsequential critic.

It’s a backstage story in which Elizabeth narrates her ascendance from childhood poverty to triumph in the British Music Hall. It’s a gothic thriller in which the gruesome murders of a serial killer are scribbled feverishly in a diary. It’s a detective story, featuring the

bumbling Inspector Kildare from Scotland Yard in his pursuit of the murderer (and celebrityhood). And it’s a historical fiction featuring cameos by novelist George Gissing, philosopher Karl Marx, and comedian Dan Leno, and more than a passing reference to Thomas De Quincey’s 1827 essay, “On Murder Considered as One of the Fine Arts.”

Many thanks to Mr. Ackroyd for not making up his mind.

And for providing the

material that was a joy — and a challenge — to transform into Kevin Puts’ and my opera, the nearly eponymic Elizabeth Cree.

The first order of business in this adaptation was clarity; helping the audience keep track of the four narrative strands in the story. To accomplish this, each one of these strands is always placed directly after another in sequence: hence, the trial is followed by Elizabeth’s narration, which is followed by the diary entries, which is followed by Inspector Kildare’s pursuit of the murderer. This order repeats three times in the opera and then ends when Elizabeth marries John and loses control of her own narrative.

After that, the opera alternates between three scenes of a domestic drama as their marriage falls apart and three scenes unfolding in the reading room of the British Museum.

Clarity is also gained by the use of reprises. Inspector Kildare’s scenes are basically reprises of each other that intensify as the opera continues, and many key phrases repeat to give the text ballast (for example, “lovingly, so lovingly” in the diary entries and in Elizabeth’s confession scene). Finally, because each narrative angle has its own time sequence, many temporal references are added to the text.

Kevin’s musical choices

completed this aspect of the storytelling. “I begin every piece at measure one and see where things go. I wanted Elizabeth Cree to open with an emphatic falling fourth played by the orchestra and sustained to create a sonic backdrop for Elizabeth’s sentencing. This motive is extended slightly to become Elizabeth’s leitmotif, trilled by the flute at the opening of her first aria (‘ We had one room…’). Her music and that of the courtroom scenes are supported by syncopated arpeggios made of chords which seldom agree with one another. By contrast, Inspector Kildare’s scenes stem from a single repeated note (ostinato) played energetically by the vibraphone as the Inspector probes for answers. The ‘ Witnesses’ interject with brisk, staccato phrases as these scenes (among the most fun to compose in the opera!) escalate.”

As in Ackroyd’s novel, two executions bookend Elizabeth Cree; the opera opens with the hanging of Elizabeth for the murder of her husband and concludes with the calamitous reenactment of that hanging onstage in a melodrama entitled The Crees of Misery Junction.

It’s a fitting start and end for an opera that toggles between the definitions of fact and fiction, reality and theatricality, and truth and lies (and is especially

resonant as we approach another election).

The line between theater and real life is blurred at nearly every turn in the libretto. In the trial scenes, the lawyers engage in a dialogue that is more performative than legal, right up to their final summations a dueto. The diary entries ooze with theatrical language: “Her head lay on the steps/ Like that of a prompter’s/ Mouthing a cue”; “Attended the theatre/The lobby was abuzz with/My latest triumph;” “Annie couldn’t sing/So I removed her voice.”

When John proposes to Elizabeth, he rehearses his lines before doing so, while Elizabeth later cautions him not to force the denouement.

Inspector Kildare, who frets about “bad notices,” is frozen into a position as he interviews Dan Leno — before the audience realizes that the men are posing for a newspaper illustration.

Aveline Mortimer bemoans her “understudy” role in the Cree marriage.

Conversely, the scenes involving Leno and his troupe of performers, Little Victor Farrell (“Maître di Magie”), Uncle (“ Ventriloquist Suprême”), Doris (“The Goddess of Wire-Walking”), and Aveline Mortimer (“The Wide-Eyed Warbler”), are among the most genuine in the opera. While four songs are clearly music hall numbers — “ Variety” (excerpted), “ What’s Going

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on Down Below?,” “All For the Sake of Dear Father,” and “Here We Are Again” — other songs, like “O Woeful World,” “I’ve Known Love,” and “ What Choice Have I?” could be performed with a thick coat of greasepaint or without.

This aspect of the story crystallizes in the scenes set in the reading room of the British Museum where John Cree is working on his new play, Misery Junction, and Marx, Leno, and Gissing study the writings of Charles Dickens, Joseph Grimaldi, and Charles Babbage — the latter providing the oftrepeated quote: “The air itself is one vast library.”

Kevin elucidates: “For the scenes in the reading room of the British Museum, I wanted to create an atmosphere of immense space, grandeur, and perhaps a sense of reverence for books and the written word. I did this by allowing the harmonies — centered around D -flat major and sustained by the strings — to slowly evolve as Schubertian arpeggios are played by the pianist with bowed crotales and vibraphone ringing above.

That texture is eventually joined by several men of the cast who create a chorus on the line ‘the air itself is one vast library.’”

Kevin and I had a brilliant

ally to help us realize the many-faceted story of Elizabeth Cree at the premiere production with Opera Philadelphia: renowned stage director (and Cherry Valley resident) David Schweizer.

David, who created the memorable Glimmerglass productions of The Mines of Sulphur and The Greater Good, not only knew Ackroyd personally from his college days but also kept us in line with the author’s vision. “I was welcomed early into the process of creating this opera,” says David, “and helped ensure that Kevin’s and Mark’s ideas could be effectively realized onstage.

I didn’t discourage them from reaching high and wide (scenic transitions could be lightning swift if need be) and my role only supported their aspirations. I feel, happily, that the promise was kept on my part. And on theirs came the wonder of this utterly unique work.”

Alison Moritz will add her own stamp in her direction of this production in her Glimmerglass mainstage debut. She notes, “Elizabeth Cree teems with characters who ignore the deeper mysteries of modern life in favor of headlines. The opera drives its characters (and audiences!) to wonder, ‘How did we come to this?’ — and strikes the perfect balance between

entertainment and social commentary.” Kelly Kuo, making his Glimmerglass debut as conductor, adds: “Kevin’s cinematic score masterfully captures the place, mood, and identity of each scene and character with specificity. And the rapid shifts of musical styles provide a unique challenge of concentration for the conductor as the story unfolds without a break for 100 minutes.” That challenge is also felt by Tara Erraught in the title role: “Elizabeth has to be the strongest and possibly grittiest operatic role I’ve played yet. A woman who had nothing easy in life, living in what can only be described as London’s ugliest era, and managing what most didn’t, to survive!”

Elizabeth Cree has had a healthy life as an opera since its premiere, most notably with successful productions in San Francisco and Chicago. Kevin and I are very grateful to Rob Ainsley and his team for bringing the work to Glimmerglass audiences and cannot think of an opera that fits more aptly into a season entitled “Identity & Illusion.”

1. As a nod to Mr. Ackroyd (and with apologies to Mr. Wilde, Monsieur de Balzac. and Mr. Armstrong), every one of these quotations is made up.

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PHOT

TO: KARLI CADEL, SILENT NIGHT, 2018

PIPELINE TALK

THE ARTISTRY OF CREATION Join Kevin Puts, Mark Campbell, Alison Moritz, and Kelly Kuo for a captivating discussion about the creative process. These award-winning artists will guide you through the labyrinth of inspiration, discussing the sparks that ignite creativity, the methods to sustain it, and the paths that lead to groundbreaking ideas. From exploring the fusion of imagination and technical skill to examining the role of failure and iteration, this engaging conversation, punctuated with musical excerpts, promises to unveil the secrets behind Elizabeth Cree.

Friday, July 26 | 3:00 p.m. | $20 The Otesaga Resort Hotel Ballroom

Elizabeth Cree Creative Team: Kevin Puts, Composer Mark Campbell, Librettist Alison Moritz, Director Kelly Kuo, Conductor

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PROJECT PIPELINE 32

Left to right: Librettist Sandra Cisneros, composer Derek Bermel, and dramaturg Kelley Rourke at the first workshop of The House on Mango Street. Photo by Sofia Negron

Project Pipeline: Making History Together

By Rob Ainsley I’ll admit it — I’m a card-carrying member of the FOMO Club. No matter how hard I try, I have a colossal “Fear of Missing Out.” I am the club’s proudest flag-bearer, recruiting anyone willing to listen to my elevator speeches.

Everything sets off my FOMO — TV shows, good books, restaurants I haven’t tried, people’s favorite cupcakes, hikes, national parks, homes, clothes, and even people I’d like to get to know. But the worst instances are always about theater: “Did you see so-and-so do it in Philadelphia — oh, she was AMAZING!” “The production we saw in London was life-changing,” or even more intriguing, “It got some rough reviews, but I really kinda liked it.” I used to have FOMO about all the great operas I hadn’t seen or heard: “You’ve never seen Bohème? It’s the best! The problem with FOMO is that once you start feeling it, it gets harder and harder to ignore. Every discovery leads me down a new rabbit hole. “Of course Don Giovanni is incredible, but Idomeneo is some of Mozart’s best music.”

So imagine my excitement when I encounter a brand new opera — a new story, new characters, new singers, new production, new music, even a composer and librettist whose work I’ve never encountered before. I don’t often quote Disney, but “a whole new world!”

This is when I start passing on my FOMO by telling them, “There’s a cool scene that sounds like drunk Verdi,” “We’ve only seen the score for Act I so far, but it just jumps off the page – I can see the production in my head already,” and “For me, it’s the best thing they’ve written yet.”

It is my goal to bring Glimmerglass audiences something to rave about with everything we produce — a fascinating new concept, a title you haven’t seen before, the next big stars, a live experience we haven’t tried before. But there is nothing that quite compares with the experience of watching a new opera take shape. It’s by far one of the most collaborative and transformative processes an artist can be part of, requiring superhuman investments of skill, vision, humility, tenacity, and an almost absurd

GRAPHIC: EMILY FALCO

level of commitment from everyone involved.

Having been lucky enough to work on many new operas throughout my career, I believe it is an experience our audiences should have the privilege of witnessing; you should all join the FOMO club!

and backgrounds, is ideally placed as a crucible for new stories.

Beginning with the 2024 season, we are formalizing our commitment to new work with the inauguration of Project Pipeline.

Our goal is to bring a new work to life every Through the unique confluence of season, either through our youth opera or nationalities, styles, and influences that a commission for our mainstage. En route, make up our great country, America has made we invite you into the room as these stories a vital contribution to the evolution of music take shape, offering contact and discussions drama over the last century. Modern musical with the writers, opportunities to hear early theater is largely an American innovation, versions of the work, and ways to connect with Broadway the creative epicenter of this with the artists as they bring these roles and genre. Just as vital has been the outpouring characters to life for the first time. of superb American contemporary opera over the last century, with Glimmerglass playing With Project Pipeline this season, we bring a its own important part in this movement. sparkling new youth opera to the stage with The distinction between musical theater and Rumpelstiltskin and the Unlovable Children opera is now largely nonexistent — great (from a brilliant creative team who both cite drama is great drama, no matter what we heavy metal as one of their influences!), we label it. You are just as likely to encounter dive into a significant work-in-progress as the jazz, rap, or hip-hop in modern opera as you beloved, poetic novel The House on Mango are on Broadway. Glimmerglass, with a sure Street takes shape as an important new piece foothold in both these worlds and its resident of music drama, and we mount a brand new troupe of dedicated artists of all disciplines production of the 2017 mini-masterpiece

Elizabeth Cree. With Cecelia Raker, Jens Ibsen, Sandra Cisneros, Derek Bermel, Mark Campbell, and Kevin Puts making appearances at the Festival this season, our campus will host six of America’s most brilliant creative voices at various stages of their careers — presenting a world premiere, workshopping a new opera, and bringing a new production of a recent work to the stage.

These are the pipelines at the core of this initiative: pipelines for art and for artists, with all of you as vital participants, and with our stories as the end result. A visit to the Festival is so much more than just a great day out — you get to be part of making art history. You won’t want to miss out on that!

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RUMPELSTILTSKIN AND THE UNLOVABLE CHILDREN (2024) Music by JENS IBSEN

Libretto by CECELIA RAKER

World premiere production commissioned by The Glimmerglass Festival, sung in English with English projected text.

Three performances: August 6, 8m, 11 Running time: 1 hour, with no intermission

Production generously sponsored by Van Broughton Ramsey and Robert Nelson.

Youth tickets sponsored by Zambello Gay Tribute Fund.

Rumpelstiltskin

Queen Goldie

Young Rumpel

Young Miller’s Daughter Teen Rumpel

Teen Miller’s Daughter

Storybug

Pants Gal

Dress Guy

Evan Lazdowski* Catherine Thornsley* Callum Torruella Johnny Ford** Malena Buttermann** Aster McGiver** Daniella Rivera-Litz** Nadia Buttermann** Avery Croft** Kilian Redden**

Ensemble

Layla Buttermann** Elizabeth Eckel** Seton Davis Fralick** Anmo Geng** Anqi Geng** Maya LaCoppola** Jierui Lin** Madeleine Lukovsky** Giovanni Priola** Zoe Schermerhorn** Olivia Sheldon** Lorelei Stanley** Conductor Director

Set Designer Costume Designer Lighting Designer Choreographer

Projected Titles

Sound Designer Hair & Makeup Designer Hair & Makeup Associate Designer

Kimberley-Ann Bartczak Joshua R. Horowitz James Rotondo Erik Teague Amith Chandrashaker Amanda Testini* Nick Richardson Joel T. Morain Lauren Wright Molly Howard

Assistant Director

Principal Coach/Pianist

Assistant Pianist

Stage Manager

Nadja Simmonds* Laura Bleakley* Artyom Pak* Dustin Z West

PROJECT PIPELINE We invite our young audiences to take a deep dive into the world of Rumpelstiltskin and the Unlovable Children. On our website, you’ll find a kid-friendly digital book about the making of this brand-new opera — and about opera in general.

Scan the QR code or visit www.glimmerglass.org

*member of the Young Artists Program **member of Youth Ensemble

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HOW TO FEEL SAFE IN THE DARK

BY CECELIA RAKER OUR WORLD IS ON FIRE, and I’m trying to face that fact with only stories in my hands. I do my best to keep this from my toddler, who thinks the world and I are 100% hilarious and oh, wowie zowie, bee-oo-full.

Parenting, writing, living while everything is on fire requires us to be able to change our minds. To survive, we must be able to admit when we have been operating based on outdated ideas. The wind is blowing, and fire is unpredictable.

When I feel safe, I can get vulnerable. When we get vulnerable, we can connect.

When we connect, we can change gracefully, with support.

So when I set out to help the world, me with my storytelling addiction and very few other useful skills, me with my heart beating outside my body in the form of a tiny human who still thinks the biggest crisis possible is when there aren’t enough frozen blueberries — I start by asking: how might I help a room full of people feel safe in the dark?

Familiarity and laughter make me feel safe.

When I pitched the idea of an exploded version of Rumpelstiltskin to our incredible team, I was looking for just enough familiarity to help us feel safe, and enough anger to make me want to change the story’s mind.

As a child, I remember feeling condescended to by “children’s theater.” I wanted to give our cast and audience the gift of grappling with deep questions about identity and narrative, power and expectation. Jens captured that impulse stunningly in his score.

Together, we intentionally steered

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toward sophisticated music and a nuanced story, accessible to children while also ready to meet their deep passions and deep minds with respect.

I’d always experienced Rumpelstiltskin as a pretty transparently antisemitic dog whistle — in many versions, he’s a greedy moneylender with a long hooked nose who nefariously grooms innocent children, etc., etc. I hadn’t seen any storyteller imagine that Rumpelstiltskin might be searching for family.

As the daughter of an incredibly devoted solo Jewish dad, and the partner of another incredibly nurturing Jewish dad, I wanted to give Rumpelstiltskin permission to adore his children. I wanted to write a love story to families who queer the storybook norms. And I wanted the miller’s daughter in the story to be perfectly capable of spinning financial independence for herself, thank you very much.

So we turned the fairytale you might know inside out. In this world, magic is all about story, a riff on some of my favorite elements of Michael White’s narrative therapy modality. Our Rumpelstiltskin is the ultimate respectful, gentle, trauma-informed parent. Not that his kids realize it. And he’s drowning, shouldering the load of his unconventional family alone, parenting with no support.

Our burning world has decided that it’s normal for mothers to carry the entire emotional and mental load, whether single or partnered. That it’s normal for real masculinity to never mean tenderness or dreams of parenthood. That it’s normal to call savvy, ambitious women witches or intimidating, or even just to give men credit for their hard work. That it’s normal to expect

a straight, nuclear family to meet all of a child’s needs, even though this has never been normal at any other point in history. That it’s normal to carry on as usual while prejudice and wars and famines play out.

This is what I mean when I say the world is on fire.

I get angry when power structures try to pigeonhole me, or my characters. So I set out to create a place that would feel familiar: one where many of these harmful norms are present, softened by the trappings of fairytale. There, I let our characters loose to prioritize their queer, feral, adoring chosen family over the happy ending you might expect.

And then I worked in as many jokes and puns as I could, because parenting is hilarious and growing up is (as Jens puts it) metal as hell. Often I need to give my body permission to physically grieve the sweetness and possibilities that fall victim to the world’s fire.

Laughter feels physically similar to sobbing. Theatrical, communal laughter is my favorite pathway through to something like hope.

On the surface, our opera is about children learning to believe they are indeed lovable. But this is also a story about parents learning to love themselves, to believe themselves lovable.

Only by holding our own vulnerability safely, letting ourselves laugh and sob and feel loved, can we ever hope to hold our children safely as they discover the cruelty and beauty in our world.

Thank you for letting us offer you safety and change in this particular dark room.

COSTUME RENDERING BY ERIK TEAGUE

Deep in the forest lives a gaggle of feral, unlovable children.

They work their hands to the bone every day in service to the evil wizard Rumpelstiltskin…he makes them do chores! And brush their teeth regularly! And talk about their feelings! It’s the WORST. But then one day, Rumpel tells them the story of how his childhood friend, a talented businesswoman, got forced to marry the King. Suddenly all the Unlovable Children’s narratives about who they are begin to unravel. When Goldie, the eldest of them, learns that she’s actually the long-lost daughter of that Queen, she’s faced with a tough choice: go live the life she’d imagined as a princess, or stay with the unconventional family that has nurtured her true self?

I love this story, and it was a pleasure to set to music.

Every child struggles with feeling unlovable at some point or another, and writing this story where children learn to love themselves and to choose the family they desire really felt like writing the story I needed when I was a kid, like I was empowering my child self. It was important to me to write a piece for kids that honored their feelings. I wanted the music to reflect how it actually feels to think you’re unlovable at that

age. Simply put, it is adult music for children. The harmonic language is quite dissonant at times throughout to both reflect that inner childhood turmoil but also poke fun at it as well. I found myself listening to everything from Bartók to Slipknot and finding a way to integrate that into the drama. Because, at the end of the day, isn’t surviving being a kid the most metal thing of all? Over time, the piece moves from its harsh origins into a brighter, more optimistic tone as Goldie and the children realize their inherent worth and rightful place in the world.

As a lifelong lover and performer of opera, it is an honor for me that this piece will be many children’s introduction to the genre which has had such a profound impact on my artistic and emotional life. I have fond childhood memories of listening to The Magic Flute in the car with my family on a trip to the Sierra Nevadas. The enchanting charm of that music awakened a love of opera that I would carry with me through my time in the Vienna Boys Choir, singing Mozart and Bizet, through my time taking my first lessons in opera and art song at the Ruth Asawa School of the Arts and beyond. I hope that this piece inspires children to feel like they can be exactly who they want to be, like they are loved. And I hope it gives them the opera bug like The Magic Flute did for me.

— Jens Ibsen

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PROJECT PIPELINE

PIPELINE PREVIEW: THE HOUSE ON MANGO STREET Music by DEREK BERMEL

Libretto by SANDRA CISNEROS and DEREK BERMEL Based on the book by SANDRA CISNEROS

Running time: Two hours and 15 minutes, including one 15-minute intermission.

Sung in English with projected English text.

Esperanza Ensemble

Mikaela Bennett Members of the Young Artists Program

Conductor Pianist

Jayce Ogren Andrea Grant

Above: Mikaela Bennett at the first workshop of The House on Mango Street.

Photo by Sofia Negron

The House on Mango Street, a coming-of-age classic, has been acclaimed by critics, beloved by readers of all ages, taught in schools and universities alike, and translated around the world. Novelist Sandra Cisneros, winner of the PEN/Nabokov Award for Achievement in International Literature, has teamed up with Grammy-nominated composer Derek Bermel for an opera inspired by her beloved book. Their opera is currently under development at Glimmerglass in preparation for a 2025 mainstage world premiere; this year’s concert reading, with piano, will offer a sneak preview of the work-in-progress.

The House on Mango Street unfolds in a series of episodes seen through the eyes of Esperanza, a girl who is less than excited about her new neighborhood. No longer a child, but not yet a woman, she struggles to figure out where she fits in. “Can I see the menu?”

Esperanza asks. “Can I order something that’s not on the menu?” Through a series of interactions, which range from fascinating to funny to frightening, she comes to understand that storytelling is the medicine she can offer her community — and herself.

PH

HOTO: SOFIA NEGRON

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SERVING HER PUBLIC: Artist-in-Residence Tara Erraught

by Nick Richardson Mezzo-soprano Tara Erraught doesn’t need the luck of the Irish — she has the vocal pedigree, a résumé that inspires awe and envy, and a spirit of service. Acutely aware of her ongoing legacy, Erraught is taking what she learns in her international career back to her home nation of Ireland. She performs with and sits on the board of the Irish National Opera, and next year she will lead the third edition of her professional development program for singers called Celebrating the Voice in Dublin. Her own voice has been celebrated the world over at the most renowned companies, including the Metropolitan Opera, the Vienna State Opera, Opéra de Paris, the Glyndebourne Festival, and the Bavarian State Opera, where she got her start.

Erraught brings her talents and benevolence to The Glimmerglass Festival as this season’s Artist-in-Residence. She’ll sing the title role in Elizabeth Cree, work closely with our Young Artists Program, and join our Young Artists in a special concert, “Horizons.” Between engagements of her packed spring schedule — role debuts in Mozart’s La clemenza di Tito in Hamburg and Bellini’s Norma in Munich — Associate Dramaturg Nick Richardson caught up with Erraught for a wide-ranging conversation about her training, her approaches to performing, and her summer at Glimmerglass.

When you got the invitation to come to Glimmerglass, what were your first thoughts?

I have heard so much about Glimmerglass over the years! Its Young Artist legacy within the industry is huge. Many of my American colleagues have come through the program, including my best friend, mezzo-soprano Angela Brower, and Sean Plumb, who was my Figaro in Il barbiere di Siviglia at the Bavarian State Opera this season. I have heard such incredible reports about the hospitality in Cooperstown, the Glimmerglass public, and the wonderful artistic team. It wasn’t even a question. I was simply delighted to be invited!

You’ve built an international career.

What are some differences between making opera in Europe versus in the United States?

The main difference for me, having come up through the German system, is the rate at which operas are produced in Europe is at times at lightning speed. We may rehearse for seven days, using one morning for a sitzprobe [a music rehearsal with the

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orchestra], no stage rehearsal, never seeing the set or most costumes before the first performance, and on the eighth day we open the show. An American contract usually involves four to six weeks of rehearsals, stage time, dress rehearsals, and a different pace of working. I enjoy both systems very much!

I’m interested to learn about your time at the Bavarian State Opera. From what I understand, Germany has a very organized system of “growing into opera,” a sort of trajectory for young singers. Can you explain that German system and how it works?

The German young artist programs, or Opern Studios, are really an “opera apprenticeship.”

You hit the ground running, singing small roles on the main stage alongside industry superstars, pushing your abilities at all times to find the highest niveau. Meanwhile, you’re in vocal coaching every day to improve your audition portfolio, preparing for studio concerts and one fully staged production per season, and attending other rehearsals and sponsor events. I was one of the lucky ones who was offered a full-time principal soloist

contract once I finished the studio program, a “Fest” position. During my eight years in Fest, I made 47 role debuts, everything from the smallest roles to title characters.

Your repertoire spans such a wide variety of not only roles and composers, but also styles of opera, from Mozart to Verdi, Baroque to bel canto. How do you vocally approach these vastly different styles?

From my undergraduate training in Dublin and my training in the German system, one of the things I learned very quickly was the importance of flexibility — in drama, style, and vocal approach. Working in a theater that produced 46 different operas per season, I was exposed to an incredible amount of repertoire right at the beginning of my career, and often asked to sing completely different repertoire in the same week: Annina in Verdi’s La traviata, a Blumenmädchen (Flower Maiden) in Wagner’s Parsifal, and Despina in Mozart’s Così fan tutte, for example. All of these experiences allowed me, firstly, to build incredible stamina. It gave me time to explore the length and breadth of my voice, and also

IN THE PAVILION HORIZONS: TARA ERRAUGHT IN CONCERT WITH THE 2024 YOUNG ARTISTS THURSDAY, AUGUST 15 | 4:30 PM RUN TIME: 90 MINUTES, NO INTERMISSION CURATOR/PRODUCER - TARA ERRAUGHT

Experience an extraordinary evening of music with one of the world’s most celebrated singers and the next generation of operatic talent. Together with Young Artists, Tara Erraught will guide this intimate concert that promises an immersive journey through diverse musical landscapes.

to see that the technical approach is rarely different. All young singers must build a firm technical foundation in order to give the voice an opportunity to soar in any repertoire, on any schedule. Especially in today’s industry, it is so important to be versatile, yet stable.

This season at Glimmerglass you’ll make your role debut as Elizabeth Cree. You’ve had experience both stepping into familiar roles and originating characters. How might building a character be different between a canonical work and a newer work like Cree?

I am a “go with your gut” actress. I learn the music, I spend time listening to the full score, taking on the character colors of the orchestra, and then I allow myself to build. However, as a singer, it is terribly important not to marry yourself to your own

opinion of a character because you will have to mold your character around the vision of the director and the musical interpretation of the conductor. For Rosina in Rossini’s Il barbiere di Siviglia, which I have sung more than 45 times in eight different productions, I have had to bend and flex the character each time to suit the production, to allow her to live fresh with new colleagues and react to their intuitions. I have to find new musical ideas and impulses with each conductor and orchestra, for of course, each orchestra is different.

The terribly exciting thing about Elizabeth Cree is that it is practically brand new, so we will develop and delve as the atmosphere in the room desires. This is how creative teams and casts tend to grow very close during rehearsal periods — we have to be vulnerable and work as a team at all times.

You’ll also mentor our Festival’s Young Artists this season. What advice would you give to your younger self? What do you know now that you wish you knew then?

I am still learning, every day on every contract, at every meeting and every singing lesson. Keep your eyes and ears open at all times — every moment is a learning opportunity. Always stay humble, and serve the public.

Besides the Festival, what do you look forward to doing in and around Cooperstown this summer? (When you have a spare moment, of course!)

I have been given so many recommendations!

Both of my parents are chefs, and I am a big foodie, too. I look forward to sampling all the cultural delights Cooperstown has to offer.

I also must admit, having heard so much about the very special Glimmerglass public, I simply can’t wait to sing for them.

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42 PHOTO: BRENT DELANOY

PH

HOTO: EVAN ZIMMERMAN

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GUEST ARTISTS HOLLY ADAMS Brooktondale, New York Glimmerglass 2024: Clown Performer & Consultant for Pagliacci and Lyrics on the Lawn.

Past: Audiobook Narrator, Audible (ongoing); Clown, various stage and circus performances (ongoing); Josie, Cock Robin, Frances Barth Studios; Director, RUR, live audiodrama, Michigan Tech University.

Future: Director and Voice Actor, The Mysterious CHIRP, Podcast.

ROB AINSLEY Cooperstown, New York Glimmerglass 2024: Conductor/Keyboard for La Calisto.

Past: Director, Cafritz Young Artists Program & American Opera Initiative, Washington National Opera; Pianist, Met Stars Live in Concert with Renée Fleming; Head of Music & Chorus Master, Minnesota Opera; Head of Music & Chorus Master, Opera Theatre of Saint Louis; Associate Music Director, Portland Opera; Co-Founder & Music Director, Greenwich Music Festival.

KATE ASHTON West Orange, New Jersey Glimmerglass 2024: Lighting Designer for Elizabeth Cree.

Past: Lighting Designer, Later the Same Evening, The Juilliard School; Lighting Designer, A Thousand Acres, Des Moines Metro Opera; Lighting Designer, Wozzeck, Des Moines Metro Opera; Lighting Designer, Hometown to the World, Santa Fe Opera; Lighting Designer, The Turn of the Screw, The Juilliard School; Lighting Designer, Sleeping Beauty, The Washington Ballet; Lighting Designer, Swan Lake, Ballet West.

KIMBERLEY-ANN BARTCZAK Victoria, British Columbia, Canada Glimmerglass 2024: Conductor for Rumpelstiltskin and the Unlovable Children Past: Principal Coach and Accompanist, Pacific Opera Victoria (ongoing); Recital Choir Director, Victoria Children’s Choir (ongoing); Resident Conductor, Calgary Opera; Associate Artistic Director, Manitoba Underground Opera.

MIKAELA BENNETT Brooklyn, New York Glimmerglass 2024: Esperanza in The House on Mango Street Pipeline Preview Concert Past: Maria, The Sound of Music, Lyric Opera of Kansas City; Sarah Brown, Guys and Dolls, Opera Saratoga; Rosasharn, The Grapes of Wrath, MasterVoices at Carnegie Hall; Concert Soloist, Broadway Blockbusters, The Toronto Symphony Orchestra; Maria, West Side Story, Lyric Opera of Chicago.

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DEREK BERMEL Brooklyn, New York Glimmerglass 2024: Composer of The House on Mango Street.

Future: Recording, “Spring Cadenzas” (violin concerto), A Far Cry Chamber Orchestra (violinist, Midori); “Profile Concert” featuring the Ying Quartet and pianist Aaron Diehl, Merkin Hall, New York City; Fall 2025 premiere of a work commissioned by South Dakota Symphony Orchestra for its Lakota Music Project, for large chamber ensemble, Lakota musicians, and conductor David Delta Gier; full orchestra version to follow in 2026.

MARK CAMPBELL New York, New York Glimmerglass 2024: Librettist for Elizabeth Cree.

Past: Pulitzer Prize; GRAMMY award; 2024 Lifetime Achievement Award, National Opera Association; Librettist, Silent Night, The Glimmerglass Festival; Librettist, Later the Same Evening, The Glimmerglass Festival.

Future: Librettist, The Shining, Portland Opera; Librettist, All Shall Rise, Carnegie Hall.

AMITH CHANDRASHAKER Brooklyn, New York Glimmerglass 2024: Lighting Designer for La Calisto and Rumpelstiltskin and the Unlovable Children.

Past: Lighting Designer, Rinaldo, The Glimmerglass Festival; Lighting Designer, Carmen, The Glimmerglass Festival; Lighting Designer, The Passion of Mary Cardwell Dawson, The Glimmerglass Festival; Lighting Designer, Merrily We Roll Along, Broadway; Lighting Designer, Prayer for the French Republic, Broadway; Lighting Designer, Bring Me to Light with Sutton Foster, Encores!; Lighting Designer, Dear World, Encores!; Lighting Designer, Once Upon a Mattress, Encores!

JOHN CHEST Hamburg, Germany Glimmerglass 2024: John Cree in Elizabeth Cree.

Past: Demetrius, A Midsummer Night’s Dream; Teatro Carlo Felice; Marcello, La bohème, Trondheim Symphony Orchestra; Count Almaviva, Le nozze di Figaro, Opera de Lyon; Guglielmo, Così fan tutte, Opera Theatre of St. Louis; Figaro, Il barbiere di Siviglia, Teatro Regio; Rodrigue, Don Carlos, Theater Basel.

Future: Eisenstein, Die Fledermaus, Vancouver Opera.

SANDRA CISNEROS San Miguel de Allende, Mexico Glimmerglass 2024: Librettist for The House on Mango Street.

Past: Founder, The Macondo Foundation; Founder, Alfredo Cisneros del Moral Foundation; NEA fellowships in poetry and fiction; Texas Medal of the Arts; MacArthur Fellowship; PEN/Nabokov Award for International Literature; National Medal of Arts; Ruth Lilly Poetry Prize, Poetry Foundation; Ambassador Richard C. Holbrooke Distinguished Achievement Award, Dayton Literary Peace Prize Foundation.

Future: Librettist, The House on Mango Street, The Glimmerglass Festival.

GUEST ARTISTS JOSEPH COLANERI Milburn, New Jersey Glimmerglass 2024: Conductor for The Pirates of Penzance; Conductor for Pagliacci.

Past: Conductor, Romeo and Juliet, The Glimmerglass Festival; Conductor, Norma, Metropolitan Opera; Conductor, Mefistofele, Metropolitan Opera; Conductor, La bohème, Teatro Colón; Conductor, The Ghosts of Versailles, L’Opéra Royale de Versailles; Conductor, Later the Same Evening, Juilliard Opera.

Future: Conductor, Pagliacci, Utah Opera.

TROY COOK Quakertown, Pennsylvania Glimmerglass 2024: Major- General Stanley in The Pirates of Penzance; Tonio in Pagliacci.

Past: Athanaël, Thaïs, Utah Opera; MajorGeneral Stanley, The Pirates of Penzance, Kentucky Opera; Germont, La traviata, Florida Grand Opera; Sharpless, Madame Butterfly; Marcello, La bohème, Opera Philadelphia; Sharpless, Madame Butterfly, Palm Beach Opera.

Future: Paul Devonk, The Listeners, Opera Philadelphia.

CHARLIE CORCORAN Greenwood Lake, New York Glimmerglass 2024: Set Designer for La Calisto.

Past: Henry Hewes Design Award; Scenic Designer, Fidelio, Santa Fe Opera; Scenic Designer, Opera Seria, Wolf Trap Opera; Scenic Designer, La clemenza di Tito, The Juilliard School; Scenic Designer, La bohème, Music Academy of the West; Scenic Designer, The Flood (world premiere), Opera Columbus.

Future: Scenic Designer, Il trovatore, Houston Grand Opera.

BRENNA CORNER Kennesaw, Georgia Glimmerglass 2024: Director of Pagliacci and Lyrics on the Lawn.

Past: Artistic Director, Pacific Opera Victoria (ongoing); Director, Il trovatore, Washington National Opera; Director, Tenor Overboard, The Glimmerglass Festival; Director, H.M.S. Pinafore, Vancouver Opera; Director, Carmen, Des Moines Metro Opera; Director, Don Giovanni, Seattle Opera.

Future: Director, Macbeth, Washington National Opera; Director, The Little Prince, Pacific Opera Victoria.

SEÁN CURRAN New York, New York Glimmerglass 2024: Director and Choreographer of The Pirates of Penzance.

Past: Director/Choreographer, Radamisto, Opera Lafayette; Director/Choreographer, Ariadne of Naxos, Opera Theatre of St. Louis; Director/Choreographer, Daughter of the Regiment, Opera Theatre of St. Louis; Director/ Choreographer, Salome, Opera Theatre of St. Louis; Choreographer, Fire Shut Up in My Bones (world premiere); Opera Theatre of St. Louis; Choreographer, Champion (world premiere), Opera Theatre of St. Louis; Choreographer, Nixon in China, Opera Theatre of St. Louis.

TARA ERRAUGHT Ravensdale, Dundalk, Ireland Glimmerglass 2024: Artist-in-Residence; Elizabeth Cree in Elizabeth Cree.

Past: Vitellia, La clemenza di Tito, Staatsoper Hamburg; Adalgisa, Norma, Bavarian State Opera; Elvira, Don Giovanni, Opera de Paris; Rosina, Il barbiere di Siviglia, Bavarian State Opera.

Future: Rosina, Il barbiere di Siviglia, Staatsoper Berlin; Artist-in-Residence, National Symphony Orchestra of Ireland 24/25; Wigmore Hall Recital, London; Elvira, Don Giovanni, Vienna State Opera.

ERIC SEAN FOGEL Charleston, South Carolina Glimmerglass 2024: Choreographer for Pagliacci and La Calisto.

Past: Director, The Barber of Seville, Opera Theatre of St. Louis; Director, Songbird, Washington National Opera.

Future: Revival Director, The Magic Flute, Metropolitan Opera; Choreographer, Tannhäuser, Houston Grand Opera; Choreographer, Porgy and Bess, Washington National Opera.

CHRISTIAN MARK GIBBS Queens, New York Glimmerglass 2024: Frederic in The Pirates of Penzance; Dan Leno in Elizabeth Cree.

Past: 2nd Place Winner at the 2024 Lotte Lenya Competition; Roscoe, Follies, Transport Group, Carnegie Hall; Robbins & Crab Man, Porgy and Bess, Metropolitan Opera; Tony, West Side Story, Savoy-teatteri; Actor, Camelot on Broadway, Vivian Beaumont Theater/Lincoln Center Theater; Bklyn & Grady Mitchell, Written in Stone, Washington National Opera.

Future: Uncle Percy, This House, Opera Theatre of St. Louis.

EVE GIGLIOTTI Brooklyn, New York Glimmerglass 2024: Juno in La Calisto; Ruth in The Pirates of Penzance.

Past: Nelly, The Hours, Metropolitan Opera; Gertrude, Roméo et Juliette, Metropolitan Opera; Producer and Performer, No One Is Forgotten: An Immersive Opera, The Dallas Opera, Lexicon Classics Worldwide Release.

Future: Voice of Antonia’s Mother, Les Contes d’Hoffmann, Metropolitan Opera; Santuzza (role debut), Cavalleria Rusticana, Pittsburgh Opera; Iras, Antony and Cleopatra, Metropolitan Opera.

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GUEST ARTISTS JOSHUA R. HOROWITZ Old Bethpage, New York Glimmerglass 2024: Director of Rumpelstiltskin and the Unlovable Children; Assistant Director of La Calisto.

Past: Assistant Director, Romeo and Juliet, The Glimmerglass Festival; Assistant Director, Romeo and Juliet, Washington National Opera; Director, Journey to Valhalla, Lyric Opera of Kansas City.

Future: Associate Director, La traviata, Detroit Opera; Assistant Director, The Barber of Seville, Lyric Opera of Kansas City; Assistant Director, The Magic Flute, Seattle Opera; Assistant Director, Porgy and Bess, Washington National Opera.

JENS IBSEN Pacifica, California Glimmerglass 2024: Composer of Rumpelstiltskin and the Unlovable Children.

Past: Prize and Commission (Drowned in Light), 2022 Emerging Black Composers Project Winner, San Francisco Conservatory/San Francisco Symphony; Composer, Bubbie and the Demon, American Opera Initiative, Washington National Opera; Beth Morrison Next Gen Competition Finalist; Composer, Pretty Girl, The Cartography Project, Washington National Opera; Mentee/Commission (Concrete Sea), NATS Mentoring Program for Composers, National Association of Teachers of Singing.

CRAIG IRVIN Waukee, Iowa Glimmerglass 2024: The Pirate King in The Pirates of Penzance; Jove in La Calisto.

Past: Cinderella’s Prince/The Wolf, Into the Woods, Tulsa Opera; Jack Torrance, The Shining, Atlanta Opera; Scarpia, Tosca, Madison Opera.

Future: Kenny, The Cookoff, Nashville Opera; Soloist, Carmina Burana, Des Moines Symphony; Featured Artist with Madison Symphony; Thalasso, The Pigeon Keeper, Opera Parallèle.

CASEY KALEBA Washington, D.C. Glimmerglass 2024: Fight & Intimacy Director for Pagliacci and Elizabeth Cree.

Past: Intimacy Director, Così fan tutte, Wolf Trap Opera; Fight Director, Turandot, Washington National Opera.

Future: Fight Director, Macbeth, Washington National Opera; Fight Director, Fidelio, Washington National Opera; Fight Director, Soft Power, Signature Theatre.

KELLY KUO Hermiston, Oregon Glimmerglass 2024: Conductor for Elizabeth Cree.

Past: Conductor, Carmen, Des Moines Metro Opera; Conductor, Merola Grand Finale, Merola Opera Program; Conductor, Hansel and Gretel, Kentucky Opera; Conductor, Cendrillon, Knoxville Opera; Conductor, La Fille du régiment, Parnassus Society.

Future: Conductor, The Snowy Day, Minnesota Opera; Conductor, Rusalka, Manhattan School of Music.

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AMBER R. MONROE Youngstown, Ohio Glimmerglass 2024: Nedda in Pagliacci.

Past: Winner, George and Nora London Foundation Competition; Mimì, La bohème, Washington National Opera; Esther, Intimate Apparel, Arizona Opera; Soloist, Ein deutches Requiem (Brahms), Lehigh University.

Future: Serena, Porgy and Bess, Washington National Opera; Soloist, Requiem (Verdi), National Philharmonic; Nedda, Pagliacci, Pensacola Opera.

JOEL T. MORAIN Cherry Valley, New York Glimmerglass 2024: Sound Designer for Pagliacci and Rumpelstiltskin and the Unlovable Children.

Past: Freelance Stagehand, Minneapolis; Lighting and Sound Technician, Molly Sweeney, Touring Production, Guthrie Theatre; Freehand 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 Theater Advisor, Cooperstown High School, Central Valley Academy, Orpheus Theatre.

ALISON MORITZ Baltimore, Maryland Glimmerglass 2024: Director of Elizabeth Cree.

Past: Artistic Director, Central City Opera (ongoing); Director, The Knock (opera on film), The Glimmerglass Festival.

Future: Director; Don Giovanni, Opera Philadelphia; Director, Fantastic Mr. Fox, Opera Omaha; Director, The Manchurian Candidate, Austin Opera; Director, Aida, Baltimore Symphony Orchestra; Director, Santa Fe Apprentice Scenes, Santa Fe Opera.

EDWARD T. MORRIS Washington, D.C. Glimmerglass 2024: Set Designer for Elizabeth Cree.

Past: Set and Projection Design, Vietgone, Oklahoma City Repertory Theater; Set and Projection Design, A Christmas Carol, Alabama Shakespeare Festival; Set Designer, Flood, Kansas City Repertory Theater; Set Designer, All of Me, The New Group; Projection Designer, Darling Grenadine, Roundabout Theater. Future: Set Designer, The Comedy of Errors, Interlochen Shakespeare Festival; Set Designer, Thanksgiving Play, Oklahoma City Repertory Theater.

JAYCE OGREN Ann Arbor, Michigan Glimmerglass 2024: Conductor of The House on Mango Street Pipeline Preview Concert.

Past: Music Director (ongoing), Monterey Symphony; Assistant Professor of Music, University of Michigan (ongoing); Conductor (ongoing), Philharmonia Orchestra; Conductor (ongoing), Contemporary Directions Ensemble; Conductor (ongoing), Michigan Youth Symphony Orchestra; Principal Guest Conductor (ongoing), Philadelphia’s New Music Ensemble.

GUEST ARTISTS KEVIN PUTS Yonkers, New York Glimmerglass 2024: Composer of Elizabeth Cree.

Past: Pulitzer Prize; GRAMMY award; Commissions for Metropolitan Opera, Philadelphia Orchestra, Carnegie Hall, Opera Philadelphia, Minnesota Opera; Composer, Silent Night, The Glimmerglass Festival.

CECELIA RAKER Denver, Colorado Glimmerglass 2024: Librettist for Rumpelstiltskin and the Unlovable Children.

Past: 1st Place (2019) and 2nd Place (2018), The Kennedy Center’s Darrell Ayers Theater for Young Audiences Playwriting Award; Artist Fellow, The Massachusetts Cultural Council; MFA , Michener Center for Writers at the University of Texas; Librettist, Bubbie and the Demon, One Ounce Opera; Librettist, Bubbie and the Demon, American Opera Initiative, Washington National Opera; Librettist, Good Country, LOLA Opera; Playwright, Bog Butter, University of Texas New Theater.

TAYLOR RAVEN Fayetteville, North Carolina Glimmerglass 2024: Diana/Jove-as-Diana in La Calisto.

Past: Rosina, Il barbiere di Siviglia, Seattle Opera; Fatima, Omar, San Francisco Opera.

Future: Sesto, La clemenza di Tito, Pacific Opera Victoria; Charmian, Antony and Cleopatra, Metropolitan Opera; Stabat Mater (Perry), Duisburger Philharmoniker; Five Freedom Songs (Montgomery), Northwest Sinfonietta; Requiem (Mozart), Minnesota Orchestra.

NICK RICHARDSON Virginia Beach, Virginia Glimmerglass 2024: Titles for Rumpelstiltskin and the Unlovable Children.

Past: Titles/Dramaturgy Team, The Glimmerglass Festival (ongoing); Supertitles Designer/Operator, Candide, Rutgers University; Supertitles Designer/Translator, Il Postino, Virginia Opera; Supertitles Designer, The Rip Van Winkles, The Glimmerglass Festival.

Future: Dramaturg, Threads: A New Musical, Wanderlust Arts (ongoing).

JAMES ROTONDO Boston, Massachusetts Glimmerglass 2024: Set Designer for Pagliacci and Rumpelstiltskin and the Unlovable Children.

Past: Scenic Designer, Songbird, Washington National Opera; Scenic Designer, The Rip Van Winkles, The Glimmerglass Festival; Scenic Designer, Jungle Book, The Glimmerglass Festival; Scenic Designer, La Calisto, New England Conservatory; Scenic Designer, The Knock, Cincinnati Opera; Scenic Designer, Rigoletto, Intermountain Opera Bozeman.

Future: Scenic Designer, The Little Prince, Pacific Opera Victoria.

KELLEY ROURKE Brooklyn and Roseboom, New York Glimmerglass 2024: Titles for The Pirates of Penzance, Pagliacci, and La Calisto.

Past: Librettist, Cinderella, Metropolitan Opera; Librettist, The Beekeeper, Chicago Opera Theater; Librettist, Right Now, American Composers Orchestra at Carnegie Hall; Librettist, Songbird, Washington National Opera; 2024 OPERA America Campbell Librettist Prize.

Future: Librettist, Jungle Book, Washington National Opera; Librettist, Hansel and Gretel, Royal Opera House, Covent Garden.

JAMES SCHUETTE Manitowoc, Wisconsin and New York, New York Glimmerglass 2024: Set Designer and Costume Designer for The Pirates of Penzance.

Past: Costume Design, Harvey Milk, Opera Theatre of St. Louis; Costume Design, Awakenings, Opera Theatre of St. Louis; Costume Design, Madame Butterfly, Santa Fe Opera; Costume Design, Helen, La Mama Theater; Costume Design, The Oresteia, The Juilliard School; Costume Design, A Christmas Carol, SITI Company at Bard College.

AMANDA SEYMOUR Glimmerglass 2024: Costume Designer for Elizabeth Cree.

Past: Costume Design, The Barber of Seville, Opera Columbus; Costume Design, The Turn of the Screw, On Site Opera; Costume Design, Empty the House, Curtis Institute of Music; Costume Design, Riders to the Sea, Curtis Institute of Music; Costume Design, Candide, Tanglewood Music Festival; Costume Design, Roméo et Juliette, Wolf Trap Opera; Costume Design, Idomeneo; Wolf Trap Opera.

CARLOS SOTO New York, New York Glimmerglass 2024: Costume Designer for La Calisto.

Past: Scenic and Costume Designer, Tosca, Wermland Opera; Costume Designer, Orfeo, Santa Fe Opera; Costume Designer, Proximity, Lyric Opera of Chicago; Costume Designer, Intelligence, Houston Grand Opera; Costume Designer, Tristan und Isolde, Santa Fe Opera; Costume Designer, The Valkyries, Detroit Opera; Costume Designer, Perle Noire, Dutch National Opera.

ROBERT STAHLEY Groveland, Massachusetts Glimmerglass 2024: Canio in Pagliacci.

Past: Dick Johnson, La fanciulla del West, North Carolina Opera; Siegmund, Journey to Valhalla, Lyric Opera of Kansas City; Soloist, 9th Symphony (Beethoven), Colorado Symphony; Erik (cover) Der fliegende Holländer, Lyric Opera of Chicago; Cavaradossi, Tosca, Opera Theatre of St. Louis.

Future: Canio, Pagliacci, Opera Santa Barbara; First Armored Guard, The Magic Flute, Metropolitan Opera.

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GUEST ARTISTS ELIZABETH SUTPHEN Syracuse, New York Glimmerglass 2024: Mabel in The Pirates of Penzance; Aveline Mortimer in Elizabeth Cree.

Past: Zerbinetta, Ariadne auf Naxos, Oper Frankfurt, Théâtre du Capitôle de Toulouse, Kentucky Opera; Rosina, The Barber of Seville, Arizona Opera; Sophie, Der Rosenkavalier, Glyndebourne Festival, Salzburg Landestheater; Atalanta, Xerxes, Oper Frankfurt, Detroit Opera; La Folie, Platée, Des Moines Metro Opera; Valencienne, The Merry Widow, Palm Beach Opera; Oriana, Amadigi di Gaula, Oper Frankfurt.

ERIK TEAGUE Alexandria, Virginia Glimmerglass 2024: Costume Designer for Pagliacci and Rumpelstiltskin and the Unlovable Children.

Past: Costume Designer, Ragtime, Signature Theatre (Helen Hayes Award Winner); Costume Designer, La bohème, The Glimmerglass Festival; Costume Designer, A Midsummer Night’s Dream, The Atlanta Opera; Costume Designer, The Cunning Little Vixen, The Glimmerglass Festival; Costume Designer, The Nose, Chicago Opera Theater; Costume Designer, Hansel and Gretel, New Orleans Opera; Costume Designer, The Telltale Heart, Synetic Theater.

ROBERT WIERZEL Branford, Connecticut Glimmerglass 2024: Lighting Designer for The Pirates of Penzance and Pagliacci.

Past: Lighting Designer, Songbird, Washington National Opera; Lighting Designer, Die Walküre, The Atlanta Opera.

Future: Lighting Designer, Jubilee, Seattle Opera; Lighting Designer, The Marriage of Figaro, Lyric Opera Of Chicago; Lighting Designer, The (R)evolution of Steve Jobs, Washington National Opera; Lighting Designer, Rigoletto, LA Opera; Lighting Designer, Leopoldstadt, Huntington Theatre & Shakespeare Theatre Company.

MO ZHOU Nanjing, China Glimmerglass 2024: Director for La Calisto.

Past: Recipient, 2023 OPERA America Grants for Women Stage Directors and Conductors; Director, The Big Swim, Houston Grand Opera; Director, Iphigénie en Tauride, Boston Baroque; Director, Rinaldo, Minnesota Opera; Director, The Diary of John Rabe, National Centre for the Arts (China), Staatsoper Berlin, Elbphilharmonie (Hamburg).

Future: Director, Madama Butterfly, Vancouver Opera; Director, Così fan tutte, Virginia Opera.

SCHYLER VARGAS Denver, Colorado Glimmerglass 2024: Mercury in La Calisto; Inspector Kildare/ Witness #7 in Elizabeth Cree.

Past: Connie/Ragged Man, The Grapes of Wrath, MasterVoices at Carnegie Hall; Eisenstein, Die Fledermaus, Pacific Opera Project; Strephon, Iolanthe, MasterVoices at Carnegie Hall.

Future: El Payador, Maria de Buenos Aires, Opera Montana.

TOM WATSON New York, New York Glimmerglass 2024: Hair & Makeup for The Pirates of Penzance, La Calisto, Pagliacci, and Elizabeth Cree.

Past: Hair & Makeup, Galileo, Berkeley Rep; An American Soldier, PAC NYC; Bye Bye Birdie and Nine, The Kennedy Center.

Future: Ragtime, NYC City Center; Parade and The Sound of Music, National Tours.

Expanded bios can be found on www.glimmerglass.org

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MUSIC STAFF J. BRADLEY BAKER Waco, Texas Glimmerglass 2024: Principal Coach/ Continuo for La Calisto.

Past: Music Director/Continuo, Così fan tutte, Landlocked Opera; Music Director, Music On Site’s 2023 Winter Opera Festival, Music On Site; Conductor, Falstaff, Lyric Opera of Orange County.

Future: Music Director, The Medium & The Old Maid and the Thief (double bill), Lyric Opera of Orange County; Conductor, Don Giovanni, Opera Arlington.

LYNN BAKER New York, New York Glimmerglass 2024: Diction Coach for The Pirates of Penzance and Elizabeth Cree.

Past: English Diction Coach/Assistant Conductor, The Metropolitan Opera (ongoing); Adjunct Faculty Member, Mannes Opera/The New School (ongoing); English Diction Coach, productions at Opera Philadelphia and the Curtis Curtis Insititute of Music (ongoing); Artistic Director, Crested Butte Opera Studio Assistant Conductor/English Diction Coach, New York City Opera.

ANNA BETKA Toronto, Ontario, Canada Glimmerglass 2024: Principal Coach for Pagliacci.

Past: Czech Diction Coach, The Cunning Little Vixen, Canadian Opera Company; Principal Coach, The Tales of Hoffman, Palm Beach Opera; Principal Coach, Romeo and Juliet, The Glimmerglass Festival; Principal Coach, Così fan tutti, Palm Beach Opera; Assistant Coach, Norma, Palm Beach Opera; Assistant Coach, Falstaff, Palm Beach Opera; Assistant Coach, Carmen, Canadian Opera Company.

ANDREA GRANT Toronto, Ontario Glimmerglass 2024: Director of the Young Artists Program; Pianist, The House on Mango Street Past: Principal Coach and Chorus Director, Così fan tutte, University of British Columbia; Répétiteur, Don Pasquale, Vancouver Opera; Principal Coach and Chorus Director, Cendrillon, University of British Columbia; Principal Coach and Chorus Director, Cavalleria Rusticana, Opera West Society.

Future: Recital with Javier Camarena, Vancouver; Principal Coach and Chorus Director, Street Scene, University of British Columbia; Principal Coach and Chorus Director, Manon, Opera West Society.

KATHERINE KOZAK Phoenix, Arizona Glimmerglass 2024: Chorus Director for Pagliacci and The Pirates of Penzance.

Past: Head of Music/Chorus Master/Principal Coach, Pullin Opera Studio (ongoing); Chorus Master/Head Coach, Florida Grand Opera; Music Staff: Palm Beach Opera, The Dallas Opera, Opera Colorado; Faculty, The University of Miami; Assistant Coach, The Juilliard School.

GRANT WENAUS New York, New York Glimmerglass 2024: Principal Coach for The Pirates of Penzance.

Past: Opera Coach/Lecturer, Montclair State University; Adjunct Faculty, Foreign Diction/ Opera Scenes, Mannes School of Music; Founder of Collaborative Piano Program/ Vocal Coach, New York University; Music Director/ Pianist, The Mirror Visions Ensemble.

CHRISTOPHER DEVLIN Montreal, Quebec, Canada Glimmerglass 2024: Principal Coach for Elizabeth Cree.

Past: Principal Coach, Elektra, The Dallas Opera; Principal Coach, Roméo et Juliette, The Dallas Opera; Principal Coach, The Diving Bell and the Butterfly, The Dallas Opera.

Future: Principal Coach, Pelléas et Mélisande, The Dallas Opera; Principal Coach, La bohème, The Dallas Opera.

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YOUNG ARTISTS PROGRAM HENRY BENSON Cincinnati, Ohio Glimmerglass 2024: Ensemble in The Pirates of Penzance; Ensemble and Peppe (cover) in Pagliacci.

Past: Timothy Laughlin, Fellow Travelers, Cincinnati College- Conservatory of Music; Male Chorus, The Rape of Lucretia, Cincinnati College- Conservatory of Music; Dr. Baglioni, La Hija de Rappaccini, Cincinnati CollegeConservatory of Music; Prune Man, La bohème, The Glimmerglass Festival.

LAURA BLEAKLEY Honolulu, Hawaii Glimmerglass 2024: Assistant Youth Chorus Director; Second Pianist/Coach for Pagliacci; Second Pianist/Coach for Elizabeth Cree; Principal Pianist for Rumpelstiltskin and the Unlovable Children.

Past: Assistant Coach, The Little Prince, Utah Opera; Assistant Coach, La bohème, Utah Opera; Assistant Coach, Rigoletto, Utah Opera.

Future: Assistant Coach, La Cenerentola, Houston Grand Opera; Assistant Coach, Tannhäuser, Houston Grand Opera.

KAILEE REGAN BRANDT Honolulu, Hawaii Glimmerglass 2024: Ensemble in The Pirates of Penzance; Dancer in La Calisto; Dancer/ Commedia Trio in Pagliacci.

Past: Mersister/Gull/Ensemble, Disney’s The Little Mermaid, Syracuse Stage; Ensemble, Candide, The Glimmerglass Festival; Dancer, La bohème, The Glimmerglass Festival; Dancer, Love and War, The Glimmerglass Festival; Amina, Dance Nation, Syracuse University Department of Drama; Swing/Dance Captain, Head Over Heels, Syracuse University Department of Drama.

Future: Ensemble, Rodgers & Hammerstein’s Cinderella, Syracuse Stage.

EVAN K. BROWN Austin, Texas Glimmerglass 2024: Ensemble in The Pirates of Penzance; Ensemble in Pagliacci.

Past: Soloist, Messiah, First Presbyterian Church Chorus, Georgetown, Texas; Hermann, Queen of Spades, Butler Opera Center; Soloist, A “Rhapsody” of American Music, Austin Civic Orchestra; Rodolfo, La bohème, Butler Opera Center; Spoletta/Cavaradossi (cover), Tosca, Charlottesville Opera; Hoffmann, Les Contes d’Hoffmann, Butler Opera Center

LAURYN DAVIS Atlanta, Georgia Glimmerglass 2024: Ensemble and Edith (cover) in The Pirates of Penzance; Fury/ Young Satyr/Eternity (cover) in La Calisto; Ensemble in Pagliacci.

Past: Fourth Prize, Annapolis Opera Competition; Encouragement Award Recipient, Metropolitan Opera Southeast Region; Female Chorus, The Rape of Lucretia, Cincinnati College- Conservatory of Music; Micaëla, La Tragédie du Carmen, Chautauqua Opera Company.

Future: Resident Artist, Pittsburgh Opera; Armida, Armida, Pittsburgh Opera; Mona, Woman With Eyes Closed, Pittsburgh Opera RUBY DIBBLE Kansas City, Missouri Glimmerglass 2024: Ensemble in The Pirates of Penzance; Elizabeth Cree (cover) and Jane Quig/Annie the Serving Girl/ Witness 2 in Elizabeth Cree.

Past: Sesto, La clemenza di Tito, The Juilliard School; SongStudio, Carnegie Hall; Flora, La traviata, Wolf Trap Opera; Cherubino (cover), Le nozze di Figaro, Santa Fe Opera; Elle, La Voix humaine, Curtis Institute of Music; Dorabella, Così fan tutte, Curtis Institute of Music.

BENJAMIN DICKERSON Philadelphia, Pennsylvania Glimmerglass 2024: Ensemble and Silvio (cover) in Pagliacci; Inspector Kildare/ Witness 7 and Mr. Greatorex/George Gissing/Etcher/ Witness 6 (cover) in Elizabeth Cree.

Past: Figaro, Il barbiere di Siviglia, Academy of Vocal Arts; Tarquinius, The Rape of Lucretia, Academy of Vocal Arts; Don Giovanni, Don Giovanni, Academy of Vocal Arts; Germont, La traviata, Academy of Vocal Arts; Marcello/ Schaunard, La bohème, Academy of Vocal Arts; Eugene Onegin, Eugene Onegin, Academy of Vocal Arts; Man, The Extinctionist, Heartbeat Opera.

SARAHANN DUFFY Cortlandt Manor, New York Glimmerglass 2024: Ensemble and Kate (cover) in The Pirates of Penzance; Endymion (cover) in La Calisto; Ensemble in Pagliacci.

Past: Mercédès, Carmen, Sarasota Opera; Laura, Luisa Miller, Sarasota Opera; Rosina, Il barbiere di Siviglia, Opera Neo; Helen Jepsen Dellera Outstanding Studio Artist Award, Sarasota Opera.

CLANCY ELLIS Boston, Massachusetts Glimmerglass 2024: Assistant Conductor for The Pirates of Penzance; Assistant Conductor for La Calisto. Past: Conducting Fellow, Buffalo Philharmonic Orchestra; Conductor, Riccardo Muti Italian Opera Academy; Assistant Conductor, Prague Summer Nights.

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YOUNG ARTISTS PROGRAM MARINETTE GOMEZ Orlando, Florida Glimmerglass 2024: Assistant Director for La Calisto.

Past: Directing Fellow, Metropolitan Opera; Assistant Director, Eugene Onegin, Rice University.

Future: Ryan Opera Center Stage Director, Lyric Opera of Chicago.

SAANE AZIZA HALAHOLO San Francisco, California Glimmerglass 2024: Edith and Ensemble in The Pirates of Penzance; Juno (cover) in La Calisto; Ensemble in Pagliacci.

Past: 4th place winner, 2024 Competition for Colorado Singers, Denver Lyric Opera Guild; Maya, The Companion, Opera Colorado; Donna Anna (cover), Don Giovanni, Opera Colorado; Cio-Cio San (cover), Madame Butterfly, Cincinnati Opera; New Prioress, Dialogues des Carmélites, Cincinnati College-Conservatory of Music; Susannah (cover), Susannah, Wolf Trap Opera.

EMILY HARMON Barrington, New Hampshire Glimmerglass 2024: Ensemble and Ruth (cover) in The Pirates of Penzance; Doris/ Witness 3 in Elizabeth Cree.

Past: Berta, Il barbiere di Siviglia, Virginia Opera; Suzuki (cover), Madama Butterfly, Virginia Opera; Baroness/ Vanderdendur (cover), Candide, Glimmerglass Festival; Mrs. Lovett, Sweeney Todd, Lowell House Opera; Suzuki (cover), Madama Butterfly, Central City Opera; Amastre, Xerxes, Pittsburgh Festival Opera.

KAYLAN HERNANDEZ Miami, Florida Glimmerglass 2024: Ensemble and Mabel (cover) in The Pirates of Penzance; Ensemble in Pagliacci.

Past: Beatriz, La hija de Rappaccini by Daniel Catan, Cincinnati College- Conservatory of Music; Vixen, The Cunning Little Vixen, Stetson Opera Theater; First Witch, Dido and Aeneas, Stetson Opera Theater; Nella, Gianni Schicchi, Stetson Opera Theater; The Witch, Into the Woods, Stetson Opera Theater.

EMILIE KEALANI San Francisco, California Glimmerglass 2024: Calisto in La Calisto; Ensemble in Pagliacci.

Past: Musetta, La bohème, The Glimmerglass Festival; Jano, Jenufa, Staatsoper Stuttgart; Adina, L’elisir d’amore, Curtis Opera Theatre; PBS profile feature, PBS WHYY: Onstage at Curtis; Opera News Soundbites, Opera News; Encouragement Award, Gerda Lissner Vocal Competition.

SEIYOUNG KIM New Haven, Connecticut Glimmerglass 2024: Pan/Nature (cover) in La Calisto; Ensemble in Pagliacci; Little Victor Farrell/ Witness 4 in Elizabeth Cree.

Past: Phyllis Curtin Career Entry Prize, Yale University; Monkey and Rat, The Big Swim, Houston Grand Opera; Comte Ory, Le Comte Ory, Yale University; Brighella, Ariadne auf Naxos, Wolf Trap Opera; Junker Spärlich, The Merry Wives of Windsor, Vienna Volksoper; Future: Harlekin, Der Kaiser von Atlantis, Co-production of Vienna Volksoper and Vienna State Ballet; Der König des Ostens and Der Mond, Das Verzauberte Schwein, Vienna Volksoper.

FRAN DANIEL LAUCERICA Miami, Florida Glimmerglass 2024: Peppe in Pagliacci; Little Victor Farrell/ Witness 4 in Elizabeth Cree.

Past: Arcadio (cover), Florencia en el Amazonas, Opera San José; Miles Zegner, Proving Up, Pittsburgh Opera; Pylade, Iphigénie en Tauride, Pittsburgh Opera.

Future: Thomas, Woman With Eyes Closed, Pittsburgh Opera; Rinaldo, Armida, Pittsburgh Opera; Peppe, Pagliacci, Pittsburgh Opera; Spoletta, Tosca, Pittsburgh Opera.

EVAN LAZDOWSKI Moultonborough, New Hampshire Glimmerglass 2024: Ensemble in Pagliacci; Mr. Lister/Karl Marx/ Voiceover/Solomon Weil/ Witness 8 in Elizabeth Cree; Rumpelstiltskin in Rumpelstiltskin and the Unlovable Children.

Past: Finalist, Concert of Arias, Houston Grand Opera; Finalist, National Vocal Competition, Dallas Opera; Colline, La bohème; Berkshire Opera Festival; Sweeney Todd (cover), Sweeney Todd, Chautauqua Opera Company; Figaro, Le nozze di Figaro, Pittsburgh Opera; Papageno (cover) and Speaker, The Magic Flute, Opera Theatre of St. Louis; Nick Shadow, The Rake’s Progress, Juilliard Opera.

WINONA MARTIN Washington, D. C. Glimmerglass 2024: Linfea in La Calisto; Ensemble in Pagliacci.

Past: 1st Place Winner, Annapolis Opera Vocal Competition, Annapolis Opera; Stéphano, Roméo et Juliette, Washington National Opera; Mrs. McLean, Susannah, Wolf Trap Opera; Mary, The Lion, The Unicorn, and Me, Washington National Opera; Helena, American Opera Initiative: A Way Forward, Washington National Opera; Soloist, A Night at the Opera, Wolf Trap Opera and The National Orchestral Institute.

Future: Laurene Powell Jobs, The (R)evolution of Steve Jobs, Washington National Opera.

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YOUNG ARTISTS PROGRAM PETER MURPHY Lowell, Massachusetts Glimmerglass 2024: Ensemble in The Pirates of Penzance; Dancer in La Calisto; Ensemble/ Commedia Trio in Pagliacci.

Past: Dancer, Rinaldo, The Glimmerglass Festival; Ensemble, Candide, The Glimmerglass Festival; Tommy Boy/Henry, Newsies, Ithaca College; Ensemble, Rent, Ithaca College; Dancer, “Guests Only,” Ithaca College.

TSHILIDZI NDOU Johannesburg, South Africa Glimmerglass 2024: Samuel and Ensemble in The Pirates of Penzance; Mercury (cover) in La Calisto; Ensemble in Pagliacci.

Past: Antonio, Le nozze di Figaro, Utah Opera; Businessman, The Little Prince, Utah Opera; Schaunard, La bohème, Utah Opera; Marullo, Rigoletto, Utah Opera; Belcore, The Elixir of Love, Dallas Opera.

CHRISTIAN OLSON Chicago, Illinois Glimmerglass 2024: Assistant Conductor for Pagliacci; Assistant Conductor for Elizabeth Cree.

Past: Ferenc Fricsay International Conducting Competition Finalist; Indianapolis Symphony Conducting Fellow; Greenwich Village Orchestra Assistant Conductor; Indiana University Opera and Ballet Theater Assistant Conductor; Cabrillo Festival Conducting Fellow.

ARTYOM PAK Tashkent, Uzbekistan/New York, New York Glimmerglass 2024: Second Pianist/Coach for The Pirates of Penzance; Second Pianist/ Coach for La Calisto.

Past: Rehearsal Pianist, Continuo Harpsichord, La clemenza di Tito, The Juilliard School; Rehearsal Pianist, Later the Same Evening, The Juilliard School; Rehearsal Pianist, Elektra, New York Dramatic Voices; Rehearsal Pianist, Nabucco, Opera Ithaca; Rehearsal Pianist/ Assistant Conductor, Manon Lescaut, North Carolina Opera; Rehearsal Pianist/Coach, Die Zauberflöte, Merola Opera Program.

Future: Rehearsal Pianist/Performance Pianist, Iolanta, Russian Chamber Art Society.

JONATHAN PATTON Durango, Colorado Glimmerglass 2024: Silvio in Pagliacci; John Cree (cover) in Elizabeth Cree.

Past: Martin/James, Candide, The Glimmerglass Festival; Montano, Otello, National Symphony Orchestra; Don Pedro, Songbird, Washington National Opera; Paris, Roméo et Juliette, Washington National Opera; Security Observer, Grounded, Washington National Opera.

Future: Steve Jobs, The (R)evolution of Steve Jobs, Washington National Opera.

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AJIT PERSAUD Georgetown, Guyana Glimmerglass 2024: Ensemble in The Pirates of Penzance; Ensemble in Pagliacci; Little Victor Fall (cover) in Elizabeth Cree.

Past: District Winner, Metropolitan Opera Laffont Competition, Portland, Oregon; Northwest Regional Encouragement Winner, Metropolitan Opera Laffont Competition, Seattle, Washington; Spoletta (cover), Tosca, Palm Beach Opera; Pitichinaccio/Franz/ Andres/Cochenille (cover), The Tales of Hoffmann, Palm Beach Opera.

Future: Parpignol, La bohème, Opera on the James; Rodolfo (cover), La bohème, Opera on the James.

NAMAREA RANDOLPH-YOSEA Tacoma, Washington Glimmerglass 2024: Pan/Nature in La Calisto; Ensemble in Pagliacci; Priest/Librarian/Mr. Gerrard/ Witness 5 (cover) in Elizabeth Cree.

Past: Ernesto, Don Pasquale, Union Avenue Opera; Cephus, Treemonisha, Opera Theatre of Saint Louis; X, Madison Lodge, Opera Theatre of St. Louis New Works Collective; Camille de Rosillon, The Merry Widow, Vashon Opera; Albert Herring, Albert Herring, Moores School of Music; Tamino, Die Zauberflöte, Pacific Lutheran University Summer Opera Workshop.

Future: Don Ramiro, La Cenerentola, Kitsap Opera.

CAMERON ROLLING Waycross, Georgia Glimmerglass 2024: Ensemble in The Pirates of Penzance; Sylvan in La Calisto; Ensemble in Pagliacci.

Past: Merola Young Artist.

Future: Soloist, Symphony No. 9 (Beethoven), Savannah Philharmonic; Marquese, La traviata, Detroit Opera; Don Alfonso (cover), Così fan tutte, Detroit Opera; Raymond’s Father (cover), Central Park Five, Detroit Opera.

BLAISE ROSSMAN Dumont, New Jersey Glimmerglass 2024: Ensemble in The Pirates of Penzance; Dancer in La Calisto.

Past: Ensemble, Pretty Woman, The Musical National Tour; Swing, CATS, Music Theatre Wichita; Ensemble/Lumière (cover), Beauty and the Beast, Music Theatre Wichita; Swing, Kinky Boots, Theatre By The Sea; Ensemble/ Jean-Michel Understudy, Cinderella, Theatre

By The Sea. Future: Swing, The Cher Show National Tour.

ALEXANDRA SANCHEZ San Antonio, Texas Glimmerglass 2024: Kate and Ensemble in The Pirates of Penzance; Ensemble in Pagliacci; Doris/ Witness 3 (cover) in Elizabeth Cree.

Past: Prince Orlofsky (cover), Die Fledermaus, Pensacola Opera; Alisa, Lucia di Lammermoor, Pensacola Opera; Amneris (cover), Aida, Finger Lakes Opera; Sister Claire, Dialogues of the Carmelites, San Francisco Opera; Dorabella, Così fan tutte, Pensacola Opera; Komponist, Ariadne auf Naxos, San Francisco Conservatory of Music.

Future: Mercédès (cover), Carmen, San Francisco Opera.

YOUNG ARTISTS PROGRAM SCOUT SANTORO Albany, New York Glimmerglass 2024: Ensemble and Samuel (cover) in The Pirates of Penzance; Ensemble/ Commedia Trio in Pagliacci.

Past: Robin/Ensemble, Something Rotten, Playhouse Stage Company; Offstage Swing, Beautiful: The Carole King Musical, Auburn, NY; Jack Kelly (Understudy), Disney’s Newsies, Ithaca College; Saint Aphrodisius/Ensemble, The Hunchback of Notre Dame, Ithaca College.

GEOFFREY SCHMELZER Philadelphia, Pennsylvania Glimmerglass 2024: Ensemble and MajorGeneral Stanley (cover) in The Pirates of Penzance; Ensemble in Pagliacci; Mr. Greatorex/George Gissing/Etcher/ Witness 6 in Elizabeth Cree.

Past: Friends of Opera Award, Metropolitan Opera Laffont Competition, Nebraska District; Encouragement Award, Metropolitan Opera Laffont Competition Iowa District; Figaro, Il barbiere di Siviglia, The Academy of Vocal Arts; Soloist, Histoires naturelles, Northwestern University Chamber Orchestra; Junius, The Rape of Lucretia, The Academy of Vocal Arts; Grégorio, Roméo et Juliette, Central City Opera; Guglielmo, Così fan tutte, Finger Lakes Opera.

AMANDA SHERIFF Houston, Texas Glimmerglass 2024: Ensemble in The Pirates of Penzance; Young Satyr/Eternity in La Calisto; Aveline Mortimer/ Witness 1 (cover) in Elizabeth Cree.

Past: Musetta, La bohème, Opera Montana; Callista, The Rip Van Winkles, The Glimmerglass Festival; Ensemble, Candide, The Glimmerglass Festival; Ensemble, Romeo and Juliet, The Glimmerglass Festival.

Future: Papagena, Die Zauberflöte, Atlanta Opera; Zerlina, Don Giovanni, Opera Philadelphia; Jess, The Listeners, Opera Philadelphia; Papagena, Die Zauberflöte, Atlanta Opera.

NADJA SIMMONDS Milwaukee, Wisconsin Glimmerglass 2024: Assistant Director for The Pirates of Penzance; Assistant Director for Rumpelstiltskin and the Unlovable Children.

Past: Director, La bohème, Florentine Opera Company; Director, Sanctuary City, Marquette University; Assistant Director, The Elixir of Love, Florentine Opera Company; Director, Detroit ‘67, Marquette University; Letitia, Clyde’s, Forward Theater; Sally, The Lightning Thief, First Stage Children’s Theater, Milwaukee; Future: Assistant Director, Jungle Book, Washington National Opera.

TZYTLE STEINMAN Oceanside, California Glimmerglass 2024: Diana/Jove-as-Diana (cover) in La Calisto; Ensemble in Pagliacci; Jane Quig/Annie the Serving Girl/ Witness 2 (cover) in Elizabeth Cree.

Past: Mastrilla, Songbird, Florentine Opera; Buttercup, H.M.S. Pinafore, Ohio Light Opera; Dorabella, Così fan tutte: Remix, Florentine Opera; Gertrude, Roméo et Juliette, Florentine Opera; Dinah, Trouble in Tahiti, Fargo Moorhead Opera.

Future: Flora, La traviata, San Diego Opera; Anna 1/Jessie, Seven Deadly Sins/MahagonnySongspiel, Bodhi Tree Concerts.

EMMA SUCATO Dallas, Texas Glimmerglass 2024: Isabel and Ensemble in The Pirates of Penzance; Dancer in La Calisto; Choreographer for Elizabeth Cree.

Past: Ensemble, Candide, The Glimmerglass Festival; Dancer, La bohème, The Glimmerglass Festival; Dancer, Rinaldo, The Glimmerglass Festival; Associate Choreographer, Head Over Heels, Syracuse University; Assistant Choreographer, Sweet Charity, Syracuse University.

Future: Swing and Stepmother/Queen (cover), Cinderella, Syracuse Stage.

AMANDA TESTINI Vancouver, British Columbia, Canada Glimmerglass 2024: Assistant Director for Elizabeth Cree; Choreographer for Rumpelstiltskin and the Unlovable Children.

Past: Dramaturg/Stage Director, A Handmaid’s Tale, The Banff Centre of the Arts; Stage Director, The Hafu Project, City Opera Vancouver; Director, Where Have All The Buffalo Gone?, Axis Theatre; Dancer, Unclearing: Agrimony, Chimera Dance; Stage Director, Amahl and the Night Visitors, Edmonton Opera; Assistant Director, La Clemenza di Tito, Pacific Opera Victoria.

Future: Choreographer, Fire Never Dies: The Tina Modotti Project, Electric Company Theatre.

JOSHUA THOMAS Houston, Texas Glimmerglass 2024: Sergeant of Police in The Pirates of Penzance; Sylvan (cover) in La Calisto; Ensemble in Pagliacci.

Past: Metropolitan Opera Laffont Competition District Winner, Utah; Count Monterone, Rigoletto, Druid City Opera; Sergeant of Police, The Pirates of Penzance, Kentucky Opera.

Future: Bonze, Madame Butterfly, Kentucky Opera.

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YOUNG ARTISTS PROGRAM CATHERINE THORNSLEY Flagstaff, Arizona Glimmerglass 2024: Ensemble and Nedda (cover) in Pagliacci; Queen in Rumpelstiltskin and the Unlovable Children.

Past: National Semifinalist, Metropolitan Laffont Competition (2022, 2024); Mimì, La bohème, Burnaby Lyric Opera; Woman, Beethoven’s Slippers, Northern Arizona University; Mimì (cover), La bohème, The Glimmerglass Festival; Fiordiligi, Così fan tutte, Brott Opera.

KYLE SANCHEZ TINGZON Manila, Philippines Glimmerglass 2024: Endymion in La Calisto; Ensemble in Pagliacci.

Past: First Prize, Handel Aria Competition; Third Prize, Loren L . Zachary National Vocal Competition; Career Development Grant Awardee, The Sullivan Foundation; Goffredo, Rinaldo, The Glimmerglass Festival.

Future: Goffredo, Rinaldo, Detroit Opera; Featured Soloist, American Bach Soloists; Featured Soloist, Philharmonia Baroque Orchestra and Chorale.

TRUMAN TINIUS Bowling Green, Kentucky Glimmerglass 2024: Ensemble in The Pirates of Penzance; Dancer in La Calisto; Assistant Choreographer for Pagliacci.

Past: Ensemble, Head Over Heels, Syracuse University; Ensemble, Candide, The Glimmerglass Festival; Dancer/Dance Captain, Love & War, The Glimmerglass Festival; Ensemble, Sweet Charity, Syracuse University; Ensemble, The Sound of Music, The Glimmerglass Festival; Dancer, Carmen, The Glimmerglass Festival.

TRISTAN TOURNAUD Chicago, Illinois Glimmerglass 2024: Ensemble and Frederic (cover) in The Pirates of Penzance; Priest/ Librarian/Mr. Gerrard/ Witness 5 in Elizabeth Cree.

Past: Finalist, Lotte Lenya Competition; Second Place, Student Category, Orpheus National Voice Competition; Bevins, Lincoln in the Bardo workshop, Cincinnati Opera Fusion: New Works; Giovanni, Rappacini’s Daughter, Cincinnati College- Conservatory of Music; Soloist, Music Under the Stars, Iroquois Amphitheater; Tamino, The Magic Flute, Trentino Music Festival; Soloist, Bach’s Magnificat, Cincinnati College- Conservatory of Music.

ETHEL TRUJILLO Philadelphia, Pennsylvania Glimmerglass 2024: Ensemble in The Pirates of Penzance; Fury and Calisto (cover) in La Calisto; Ensemble in Pagliacci.

Past: Norina, Don Pasquale, The Academy of Vocal Arts; Zerlina, Don Giovanni, The Academy of Vocal Arts; Juliet (cover), Romeo and Juliet, The Glimmerglass Festival; Micaëla, Carmen, Festival de Musique de Saint Barthélemy; Rosina, Il barbiere di Siviglia, The Academy of Vocal Arts.

Future: Violetta, La traviata, EF|ARTES, Mexico ZIZHAO WANG Qingdao, China Glimmerglass 2024: Jove (cover) in La Calisto; Ensemble in Pagliacci; Uncle/ Witness 9 (cover) in Elizabeth Cree.

Past: Yang Yaozu, Country & Home, Chinese National Opera Festival; Imperial Commissioner, Madame Butterfly, Virginia Opera; Colline, La bohème, New England Conservatory Opera; Martino, L’occasione fa il ladro, Opera Southwest; Bartolo, Le nozze di Figaro, Knoxville Opera.

XIAO XIAO Changsha, Hunan, China Glimmerglass 2024: Ensemble in The Pirates of Penzance; Fury and Linfea (cover) in La Calisto; Ensemble in Pagliacci.

Past: Henrietta Wong, Harvey Milk, Opera Theatre of St. Louis; Dorabella (cover), Così fan tutte, Opera Theatre of St. Louis; Shepherd Boy, Tosca, Opera Theatre of St. Louis; Mercédès (cover), Carmen, Opera Theatre of St. Louis; Countess Rosina, I due Figaro, Manhattan School of Music; L’Enfant, L’Enfant et les sortilèges, New England Conservatory; Hiroko, An American Dream, New England Conservatory.

JASON ZACHER New York, New York Glimmerglass 2024: Ensemble and Pirate King/Sergeant (cover) in The Pirates of Penzance; Uncle/ Witness 9 in Elizabeth Cree.

Past: Second Prize, The Lotte Lenya Competition, Kurt Weill Foundation; Soloist, Lord Nelson Mass (Haydn), MidAmerica Productions, Carnegie Hall; Snug, A Midsummer Night’s Dream, The Atlanta Opera; Soloist, Messiah (Handel), The Masterwork Chorus, Carnegie Hall; Count Ceprano, Rigoletto, The Atlanta Opera; Argante (cover), Rinaldo, The Glimmerglass Festival.

Future: Glynn Studio Artist, The Atlanta Opera.

Expanded bios can be found on www.glimmerglass.org

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ORCHESTRA VIOLIN

Ruotao Mao, Concertmaster Sasha Margolis, Acting Associate Concertmaster - CAL Esther McMahon, Acting Associate Concertmaster - CRE, PIR Benjamin Hart, Acting Associate Concertmaster - PAG Raymond Zoeckler, Assistant Concertmaster Jeremiah Blacklow, Principal Second Michael Cleveland Elizabeth Silver Ubaldo Valli Ann-Marie B. Schwartz Jennifer Reuning Myers* Mialtin Zhezha Victoria Stewart* Fritz V. Krakowski Leona Nadj* Robyn Quinnett Valerie Kim

VIOLA

Katrina Smith, Principal Megan Newman Dyer Christine Ims Dee Dee Fancher Sandra VandeGeijn Christine Orio*

CELLO

Janet Nepkie, Principal Susan Ruzow Debronsky, Acting Principal Ruth Berry Benjamin Whittenburg

BASS

David Irvin, Principal Jon Pascolini

LUTE/GUITAR Michael Leopold, Principal Adam Cockerham

VIOLA DA GAMBA

André Laurent O’Neil

FLUTE

Yevgeny Faniuk, Principal Linda Greene, Acting Principal - CRE, PIR Xue Su, Acting Principal - PAG Jessica Taskov

PICCOLO

Linda Greene Xue Su Jessica Taskov

OBOE

Eileen Whalen, Principal Nancy Dimock

ENGLISH HORN

Nancy Dimock

CLARINET

FRENCH HORN

Michael Bellofatto, Principal Joshua Michal Martin Burki Aaron Brask

TRUMPET

Jerry Bryant, Principal Ben Aldridge Donald Batchelder

PICCOLO TRUMPET Jerry Bryant

TROMBONE

Greg Spiridopoulos, Principal Guangwei Fan, Acting Principal - PIR

BASS TROMBONE

Frank Meredith

David Saltzman, Principal

E-FLAT CLARINET

Matthew Kibort, Principal

BASS CLARINET

KeriAnn DiBari- Oberle

BASSOON

Spencer F. Phillips, Principal Mark Timmerman Christian Schillinger

CONTRABASSOON

Spencer F. Phillips

HARPSICHORD

Rob Ainsley J. Bradley Baker

BAROQUE CELLO Ruth Berry

LUTE Michael Leopold

GUITAR/LUTE 2 Adam Cockerham

VIOLA DA GAMBA André Laurent O’Neil

* indicates musician on leave PIR - The Pirates of Penzance PAG - Pagliacci CAL - La Calisto CRE - Elizabeth Cree

TUBA

Pascal Archer, Principal Phillip Solomon KeriAnn DiBari- Oberle

Pascal Archer

LA CALISTO CONTINUO

TIMPANI

PERCUSSION

Matthew McClung, Principal Jeff Grubbs

HARP André Tarantiles, Principal Margery Fitts

KEYBOARD

Christopher Devlin - CRE J. Bradley Baker - CAL

RECORDER

Mark Timmerman, Acting Principal Linda Greene

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YOUTH ENSEMBLE

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ARIANNE AJAKH Cooperstown, New York

RUBY COTTON Cooperstown, New York

TOBIAS FREDERICKSON Jefferson, New York

CELIA BEGIN Cooperstown, New York

AVERY CROFT Fly Creek, New York

ANMO GENG Manlius, New York

LAYLA BUTTERMANN Oneonta, New York

GENEVIEVE DELANOY Oneonta, New York

ANQI GENG Manlius, New York

MALENA BUTTERMANN Oneonta, New York

CORDELIA DZIUBAN Bridgewater, New York

KIAN GRADY Cooperstown, New York

NADIA BUTTERMANN Oneonta, New York

ELIZABETH ECKEL Cobleskill, New York

MAYA LACOPPOLA Johnstown, New York

CARLY RAE CARILLO Milford, New York

JOHNNY FORD Utica, New York

CATE SPEED LEINHART Fly Creek, New York

ETHAN CHEN New Hartford, New York

SETON DAVIS FRALICK Cherry Valley, New York

JIERUI LIN Utica, New York

YOUTH ENSEMBLE MADELEINE LUKOVSKY Cooperstown, New York

ZOE SCHERMERHORN New Hartford, New York

ASTER MCGIVER Middleburgh, New York

OLIVIA SHELDON Cooperstown, New York

GIALINA PLOUTZ Oneonta, New York

LORELEI STANLEY Mohawk, New York

GIOVANNI PRIOLA Ilion, New York

CALLUM TORRUELLA Sauquoit, New York

KILIAN REDDEN Cherry Valley, New York

ELEANOR WALKER Cooperstown, New York

DANIELLA RIVIERA-LITZ Sauquoit, New York

ANNA ZHANG New Hartford, New York

ANAIS SUMMERS ROBBINS Austin, Texas

Expanded bios can be found on www.glimmerglass.org

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2024 COMMUNITY CHORUS REECE BERNARD Utica, New York Glimmerglass 2024: Ensemble in Pagliacci.

Past: Bobby Jeremy/Roy/Pete, Brick2, Utica, New York.

Future: Crane School of Music.

TED BRACKETT Hamilton, New York Glimmerglass 2024: Ensemble in Pagliacci.

Past: Artistic Director, The Paper Bag Players; Board Member, Catskill Choral Society.

TARA SCHOCH FREDERICKSON Jefferson, New York Glimmerglass 2024: Ensemble in Pagliacci.

Past: Clo Clo, The Merry Widow, Metropolitan Opera; Gilberte, Proust Project, Classic Stage Company; Daughter, Jacques and His Master; Classic Stage Company; Ensemble, Children of Eden, North Shore Music Theater; Ensemble, Hello Dolly, The Muny Opera; Ensemble, Burt Dow Deep Water Man, Opera House Arts.

KARA GRADY Cooperstown, New York Glimmerglass 2024: Ensemble in Pagliacci.

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

LILLY GRADY Cooperstown, New York Glimmerglass 2024: Ensemble in Pagliacci.

Past: Fabi, The Rip Van Winkles, The Glimmerglass Festival; Mowgli, Jungle Book, The Glimmerglass Festival.

MORGAN HILL-EDGAR New York, New York Glimmerglass 2024: Ensemble in Pagliacci and The Pirates of Penzance.

Past: Voice Match and ADR, Mayor of Kingstown, Paramount; Allan Slate, You Are Not New, Saffron Vigilante Pictures; Ensemble, Candide, The Glimmerglass Festival; Ensemble, The Sound of Music, The Glimmerglass Festival; Shere Khan, Jungle Book, The Glimmerglass Festival; Drum Major, Woyzeck, British American Drama Academy; Bobby Mahler, Spring Awakening, The University of Southern California.

WYATT MCDANIEL Manlius, New York Glimmerglass 2024: Ensemble in Pagliacci.

Past: Miles, The Turn of the Screw, Opera Ithaca; Prince Lelio, Le dernier sorcier, Ithaca College; Les, Newsies, Ithaca College; Chorus, Rumpelstiltskin and the Unlovable Children Workshop, The Glimmerglass Festival, Ithaca College; Children’s Chorus, La bohème, Syracuse Opera.

HOLLY MCCORMACK South Glens Falls, New York Glimmerglass 2024: Ensemble in Pagliacci.

Past: Chorus, La bohème, The Glimmerglass Festival; Suor Osmina, Suor Angelica, Mission Opera; Soloist, Considering Matthew Shepard; Oratorio, Metropolitan Master Chorale; Chorus, H.M.S. Pinafore, Opera Saratoga; Governess (cover), The Turn of the Screw, Chicago Opera Theater.

MARY-JO MERK Fly Creek, New York Glimmerglass 2024: Queen Victoria in The Pirates of Penzance.

Past: Adelaide Tarr Gimmitch, It Can’t Happen Here, Bigger Dreams Productions; Director, Gin Game, Bigger Dreams Productions; Assistant Director, Il re pastore, The Glimmerglass Festival, Founding Board Member, The Glimmerglass Festival.

WILLIAM STROM Jamesville, New York Glimmerglass 2024: Ensemble in Pagliacci.

Past: Monsieur Grivet, Thérèse Raquin, Microscopic Opera; Dr. Grimes & Mons. Rice, Night of the Living Dead (world premiere), Microscopic Opera; El Remendado, Carmen, Undercroft Opera; Elder Hayes, Susannah, Undercroft Opera; Flavio, Norma, Undercroft Opera; Officer, Ariadne auf Naxos, Opera Theater of Pittsburgh; Bob the Saw, The Threepenny Opera, Syracuse Opera.

YING WU Zhejiang, China Glimmerglass 2024: Ensemble in Pagliacci.

Past: Soloist, Mozart’s Requiem, Mohawk Valley Choral Society; Soloist, Handel’s Messiah, Mohawk Valley Choral Society; La Cercatrice, Suor Angelica, Chelsea Opera; Dead Chorus, Our Town, Boston Opera Collective; Chorus, Sweeney Todd, MIT Gilbert & Sullivan Players; Chorus, The Gondoliers, MIT Gilbert & Sullivan Players; Chorus, The Saint of Bleecker Street, Longy Opera Studio.

Expanded bios can be found on www.glimmerglass.org

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PHOTOS: EVAN ZIMMERMAN / BRENT DELANOY

XIAOJIE JI Guangdong, China Glimmerglass 2024: Ensemble in Pagliacci and The Pirates of Penzance.

Past: Rodolfo (cover), La bohème, Music Academy of the West; Don Ottavio, Don Giovanni, Michigan State University; Fenton, Falstaff, Michigan State University; Basilio, Le nozze di Figaro, Manhattan School of Music; Mercury, Orpheus in the Underworld, Manhattan School of Music; Monsieur Vogelsang, Der Schauspieldirektor, Hunan Symphony Orchestra.

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ADMINISTRATION AND PRODUCTION Artistic & General Director Rob Ainsley Executive Director Andrea Lyons Music Director Joseph Colaneri Artistic Advisor Eric Owens

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 of the 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

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Chief Equity Officer Mykai Eastman

Orchestra Personnel Manager Jerry Bryant

General Management Apprentices Sara Gibson Amelia Osborn

Piano Technician Eric Mazarak

Concessions Manager/ Operations Assistant Lizzy Mott Assistant Concessions Manager/ Operations Assistant Sarah Mancuso Patron Services Pat Pullis Marco Zavala

INFORMATION TECHNOLOGY Information Technology Manager Austin Bloomfield Information Technology Apprentice Zachariah O’Connor

FINANCE

Music Library Apprentice Rachel Jacobson Music Operations Apprentices Kyla Kemper Bek Schmidt Artistic Administration Apprentices Genevieve Dilan Jimena Montserrat

COMMUNICATIONS

Box Office Manager Liz Diamond Box Office Staff Kelly Long Box Office Apprentices Steven Belloise Quinn Lytel Maria Zierolf

Accounting Manager Fred Fall

Communications Associate Lisa Lawrence

Accounting Associate Laura Pierson

Communications Apprentices Alejandra Sandoval-Montañez Veronica Zimmer

Accounting Assistant Kathy Wakefield

DEVELOPMENT

Associate Director of Development Amy Tompkins Development Officer and Grants Manager Mark Conchie

Gift Shop Manager Laurie Payne Gift Shop Associates Genevieve DeLanoy Sofi Jones Natalie Thibodeau Graphic Designer Emily Falco

Development Officer and Board Liaison Whitney Campbell

Photography Sofia Negron Photography Kickstand Photography

Development Assistant Kathy Buck

In-House Videography Carrington Spires

Development Apprentices Elle Chrampanis Campbell Ella Erin Reynolds

Stage Production Videography Tim Grady Harry McFann Carrington Spires

ARTISTIC ADMINISTRATION

COMPANY MANAGEMENT

Artistic Operations Coordinator Jay E. Condon

Housing Coordinator Jeffery Wilcox

Music Librarian William Manley Scheduling Manager Lauren Yokabaskas

Company Management Supervisors Zoe Angelene Branson Autumn Marie Stolle

Music Operations Manager Emmet Sellars

Assistant Company Manager Thomas D. Powell

Company Management Apprentices Eric McHenry Julianna Pitera Casey Pitts Hailey Short Marli Worden Housekeeping Staff Chelsea Cummings Nancy Lane Tammy Pearo Shalee Sullivan

FACILITIES

Facilities Supervisor Leon Roseboom Facilities Staff Scott Hull Sheldon Jacobson Zachariah O’Connor Chris Salamone

THEATER

House Manager Shannon Migliore Front of House Apprentice Veronica Kloss

AUDIO/VIDEO

A/V Coordinator Joel T. Morain A/V Engineer Peter Burns A/V Staff Emily Murray A/V Apprentices Ethan Perverel Kelly Protz Oz Fen Wang

COSTUMES

Costume Director Lynne Hinman Costumes Floor Managers Mark Kobak Katie Simpson Emily Woods Hogue Costume Shopper Adeline Santello Drapers Breanna Bayba Erica Fire Julia Kosanovich Aryn Murphy Jacqui Pomeranski Eileen Thoma First Hands Max Cotman Olivia Dilworth Celeste Fenton Jacob Galos Moose Gavin Lily Mateus Eileen Thoma

Stitchers Celeste Fenton Jacob Galos Tonya Mixon Hanh Rioux Zoey Rubinoff Natalie Saint-Rossy Gabi Sitze-Martin Stitcher Apprentices Marcie Coeny Brenna Kaplan-Keshguerian Taylor Needleman Natalie Saint-Rossy Costume Shop Assistant Elizabeth Hughes

COSTUME CRAFTS

Crafts Manager Molly Doan-Stefansen Assistant Crafts Manager Zandra Siple Crafts Artisans Lil Campos Obando Nato Hermann Hunter Riley Lypen Crafts Apprentices Maddison Rae Meredith Randall

DESIGN

ELECTRICS

Safety Apprentices Katy Lacy M Meadors

Assistant Production Electricians Olivia deBree Cat Foley

Costume Design Apprentice Sky Sandner

Production Electrician Megan Mahoney

Lighting Programmer Aaron Gubler Electricians Brittany A . Chato Andrew DeCollo Wil Martin Isaak Olson Abby Rose Electrics Apprentices Katie Brusseau Wes Martinez Xander Setchko

HAIR & MAKEUP

Hair & Makeup Supervisor Robbie Holwell Hair & Makeup Staff Artists Molly Howard Lauren Wright Hair & Makeup Apprentices Charli den Hartog Maddie Tillem

LIGHTING

Assistant Costume Designer Pirates of Penzance Michael Ciaramitaro

Lighting Director Stacey Boggs

Assistant Costume Designer La Calisto John Polles

Lighting Supervisors Elijah Kleinberg Graham Zellers

Assistant Costume Designer Pagliacci Alexa Cassandra Duimstra

Lighting Supervision Apprentice Jasmine Moore

Assistant Costume Designer Elizabeth Cree Jess Beyer

Charge Scenic Artist Sasha Glinski

Assistant Costume Designer Rumpelstiltskin Sky Sandner Assistant Lighting Designer Pirates of Penzance André Segar Assistant Lighting Designer La Calisto Christopher Wong Assistant Lighting Designer Pagliacci André Segar Assistant Lighting Designer Elizabeth Cree Corey Goulden-Naitove Assistant Set Designer Elizabeth Cree Robin Vest

DRAMATURGY/TITLES

Titles Supervisor & Assistant Dramaturg Nick Richardson

PAINTS

Assistant Scenic Charge Artist Carleigh Wagner Scenic Artist Jess Fitzpatrick Scenic Art Apprentices Zoe Economides Dani Ranisate

PRODUCTION ADMIN

Scenic Design Apprentice Ember Streshinsky Properties Manager Emily Tabler Assistant Properties Manager Chloe Scheel

Stage Operations Fly Captain Nga Sze Chan

Prop Floor Supervisor Emery Smith

Stage Operations Prop Staff Annabella DeNapoli Emily Hanson

Lead Properties Artisan Emily Davis Properties Artisans Lydia Eldredge Gabe Kipp Properties Apprentice Anna Camerer Properties Paints Apprentice Ema Valencia

SCENERY

Technical Director Ross Rundell Assistant Technical Director of Rigging Matt Beecher Assistant Technical Director of Scenery Kyle Ludwig Head Scenic Carpenter Meredith Wilcox Scenic Carpenters Luci Busch Paloma Robles Jacob Ian Rodriguez Nick Sheriff

Technical Direction Apprentice Em Simpson

Production Administration Apprentice Bianca Arello Resin

Stage Operations Apprentices Andrew Boone Mel Davis Simon Evans James David Maxim

WARDROBE

Wardrobe Manager Liz Polley Assistant Wardrobe Managers Elsa Bean Isabel Wing Wardrobe Staff Kathleen Carter Naomi Glaser Maggie Holl Bethany Sassen Wardrobe Apprentices Katie Bartlett Ethan Mullen Bethany Prettyman

Rigging Apprentice Billy Blank

Safety Manager Josh Carroll

Costume Administration Apprentice Räyya Gracy

Stage Operations Staff Sandi McDonald Jackie Renaud

Staff Rigger Owen Zacharias

Scenic Carpentry Apprentice Casper Apodaca

Production Administrator Maureen Penko

STAGE OPERATIONS

Assistant Technical Director of Stage Operations Sophie Rodriguez Assistant Stage Operations Managers Jacob Ian Rodriguez Sam Spear

PROPS

Production Manager Wyatt Nyman

Costume Administrator Alex Hamm

Stage Management Apprentices Grant J.F. Crowson Susan Weinhardt

STAGE MANAGEMENT

Production Stage Manager Dustin Z West Stage Managers Jo Fernandez Jenna Jacobson Laurel McIntyre Assistant Stage Managers Natalie Main Tess Naval Meghan Spear Lorna Stephens

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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 Apprenticeship.

“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.”

– Joel Morain, A/V Engineer and Resident Sound Designer

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 PHOTOS: BRENT DELANOY

SAVE THE DATE Wine Tasting Event The Glimmerglass Festival Pavilion with performances by Taylor Raven and John Chest

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GLIMMERGLASS GUILD Gala 2024

Join us for a night of celebration

TUESDAY AUGUST 13

Otesaga Resort Hotel | Cocktails on the Veranda, 6pm Silent & live auctions, wine by chance, a luxurious dinner, and entertainment by the Young Artists comprise this evening of fun and fundraising.

Tickets | $135 (includes open bar) visit www.glimmerglassguild.org to purchase

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2024 FESTIVAL GUILD 2024 FESTIVAL GUILD OFFICERS

Laura Tansey Wetzel, President Abby Krey Gibson, Vice President Barbara Lacorte, Secretary John Anagnost, Treasurer

GUILD MEMBERS

Mr. Ernest E. Adams, Jr. Carl Adkins and Dianne Balfour Rob Ainsley and Micah Waldstein Kathryn C. Allen John Anagnost and Rita Emanuel John T. Andrews, Jr. and Elizabeth K. Lambert Garry Aney Marco Anichini Debra K. Araniti Walter and Patti Ashley Sarah E. Baden James E. Ballowe Jr. Dr. Dennis Banks Jim and Nancy Barton Susan Beames Ruth Beardsley and Tom Sansone Bernadette Winters Bell Nancy Bender Ruth Bennett Marianne Bez and Michael Jerome Richard Biviano Jennifer A . Brickley Mary P. Brodzinsky Harold Bruce Ms. Mary Duncan Brust Mark Bunce Mary Ellen Calta Maria Camargo Andrew and Denise Carnell Caralee Carney and Maureen Kuhn Patricia Carrier Thomas R. Chase Cindy Chermak Lauren Clark Pamela E. S. Clarke Susan Stetson Clarke Karyl Clemens J. Patrick Cooney and Karl Buchberg James Covey and James Zabawa David Craine Barbara Crandall James and Joanne Crum Judith Curry Ellen C. Curtis Deb and Jim Dalton Deborah and James Dalton Drs. James C. and Caroline W. Dawson Karin and Hans de Waal Barbara Decker Fiona Dejardin Joan Desens and Simon Carr-Ellison Michael Devillis

Vincent and Mary Kay Devita Nicole and Gaylord Dillingham Paula DiPerna Susan Drake Martha Duke Fynnette Eaton and James E. Miller Nancy and Robert Einreinhofer Kathleen and Dale Eisele Priscilla Elliott Gwendolyn Ermlich Gerald Evans Elizabeth Eveillard Caspar Ewig Frank Farmer and Frank Kolbert Donna Farquhar Bradford and Joanne Fenner Rita Fenstemacher Barbara Fischer Doris Fischer David M. Frankford Allen and Judith Brick Freedman Martha Frey Jane E. Grastorf Abby Kreh Gibson Anda Stelian and Douglas Glucroft William and Cynthia Goertemoeller Matthew Gregory Riane Gruss Ursula and Chuck Hage Charlotte Hall Gemma Hall Carla Hall Melissa Hancock Patricia and Robert Hanft Mona Harris Elizabeth B. Harvey Christine Heller Allison and Keyes Hill-Edgar Elizabeth Humes Susan J. Huxtable Linda Irenegreene Ms. Prudence Jackson Thomas A . and Gail Jacobson Kathleen and Rick Jagels Connie and Mike Jastremski Rev. Betsy Jay Helen Jessup Drs. Celeste Johns and Chris Kjolhede Kathleen and Bruce Johnson Emily Johnson and Vijay Ramachandran Sally Jones Susan and C.R. Jones Peter Jordan Marjorie Turrell Julian Barbara Kajdi Robert Kent Rhonda King Marion S. King Margaret Kiss Santos and Lionel Santos Lisa Kressbach Mary Margaret Kuhn

Barbara Lacorte Renee LaFond Joyce Larson Pamela Lea Sandra Ledda Elizabeth Lemieux Joan Leventhal Kathleen Lloyd Joan Locke Linda Lofrumento and Karen McGinnis Jean Lyon Andrea Lyons Amanda and George Mahoney Marilyn Marshall Daphne Mason William McColl Millie and David McCoy Florence McDermott Dr. Bertine and Patrick McKenna Christine McNaughton Jeanne McNaughton Sage Mehta and Michael Robinson Ann Mei Ms. Linda J. Melchionne and Ms. Mary Y. Bonnell Linda Metzger Esther Milsted and Mark Luis Villmar Richard Monroe Carolyn Mook Kate Morgan Tom Morgan and Erna Morgan McReynolds Jane and Ken Moriarty Marion Mossman Vesna Moynihan Carol Mulcrone Barbara Mulhern Robert Nelson and Van Broughton Ramsey Charles and Susan Newman Dinah Nissen Elizabeth Novak M. Anne O’Connell and Robert A . White, Jr. Bill Oliver Winifred Olsen Marc Osterweil Edmond Overbey Mitch Owens and Matthew Zwissler Laura Palada Charles E. Pannaci Ms. Vanessa Parisi Sarah and Paul Patterson Barbara and Timothy Pedley Dorothy and Henry Phillips Corinne Plummer Barbara Pope Janet Potter Trevor Potter and Dana Westring Leonard and Rise Press Donald and Catherine Raddatz Angelika Manhert Rashkow Jerry and Marisabel Raymond

Richard Redmond Caryn and Jamie Reeves Wallis and Cornelia Reid Nancy Reynolds Rev. Elsie Rhodes and Tom Rhodes Angela Richards Denise Richardson Michele and William Richtsmeier Christine Rossi Dolores Rothwell Sharon Roy Paul and Patricia Saunders Ann Marie Schwartz Richard and Pamela Scurry Michael Sekus and Bianca Russo Florence and Lauri Selin Mr. and Mrs. Martin Senzel Jean Seroka Senator James and Cindy Seward Ruthanne Shanks Museyb Shareef Rosemary Sibbern Mary Maia Silber Thomas Simpson Bishop Mark Sisk and Karen Sisk Patricia M. Smith Lona Smith Ms. Katherine Snyder David and Cynthia Staley Cynthia Staley Judy Steiner Barbara Stephenson Lee Stockwell Dr. and Mrs. William Streck Sharon Stuart Anthony Sullivan Suzanne Summers Tara Sumner Elizabeth Susman Nancy Tarr and Patrick Wager Richard Tarrant Joanne Tobey and Steven Zerby Ellen and Robert Uffen Paul and Lizabeth Uhrig Gina Ulrich Pope Debra Valentine David and Martha Vaules Donna C. Veeder Mary Velez and Glen Noto Susan Vilagos Janet Vinyard Jeri Wachter Beth Wade Sydney Waller Cynthia L . Walton-Leavitt John Webb and Nelson Mondaca Lynn Weddington Tucker Christine and Albert Weiss Laura and Todd Wetzel Mary Anne Whalen Patricia Wiley and Wendy Miller Michael Young Francesca Zambello and Faith Gay Doug and Cheryl Zamelis Dr. Jerel M. Zoltick

Festival Guild List as of June 6, 2024

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PHOTO: EVAN ZIMMERMAN

VOLUNTEER USHERS Kay Additon Walter Ashley Sue Beames Steve Berman Donna Bordinger Mark Bostick MaryEllen Calta Enid Cardinal Andrew Carnell Denise Carnell Laura Cooper Michael Cooper Debra Creedon Margaret Croft Sharon Davie Patricia Davis Edith Dayton Joyce Dixon Peter Dunham Kathleen Eisele

David Farquhar Donna Farquhar Jane Grastorf Matt Gregory Marie Guerra Vincent Guerra Kim Gustafson Schatzi Hall Patti Herrmann Lori Higgins Glenda Hoffmann Adam Jackson Betsy Jay Rhonda King Doris Kirk Stephen Klingaman Barbara LaCorte Nancy Lee Adrienne Lentini Jean Lilja

Linda Lofrumento Janet McCarty Ann Mei Linda Mayou Kathy Meeker Jamey Minich Robert Mix Richard Monroe Maureen Murray Flavia Musto Marianne Romano Christine Rudecoff Jean Schifano Julia A Scranton Florence Selin Lauri Selin Colleen Scissors Kathy Shimberg James Shults Ann Skinner

Maggie Solomczak Judy Stein Anita Sterns Junius Stone Charles Strange Bruce Testa Peggy Twasutyn Janet Vinyard Geri Wagner Don Wagner Kathy Walsh Connie Walters Cynthia Walton-Leavitt Linda Watkins Marguerite Webster Pam Wightman Cheryl Zamelis

Volunteer Usher list as of May 31, 2024

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IN REMEMBRANCE We extend our thanks to longtime supporter and friend, Joan Desens, for composing tributes in memory of Don Fenner, Stewart Robertson, Martin Senzel, and Michael Willis — our dearly missed Glimmerglass family.

Stewart Robertson MUSIC DIRECTOR EMERITUS

Music Director Emeritus, Stewart Robertson, 75, whose professional contributions to the Glimmerglass Festival helped propel the opera company forward during an era of significant growth, sadly passed away in February at his home in Carmel Valley, CA, surrounded by his family.

smitten.” She was a mezzo-soprano in the choir, and he was a student in his last year at the Royal Scottish Academy of Music and Drama. They were married for 52 years.

Born in Glasgow, Scotland, Stewart studied piano in London and conducting at the Mozarteum Academy and Vienna Academy. He became the youngest conductor at the time to lead a performance at the Cologne Opera. He went on to become Music Director of the Zurich Ballet and Scottish Opera Touring Company, until, in the 1980s he was appointed conductor of the San Jose Symphony Youth Orchestra, which brought him, his wife, Meryl, and their family to America.

In 1989, his first year as Music Director, Stewart established the company’s Young American Artists Program, which became renowned as one of the finest professional training programs in the country for emerging American opera singers. In the 2000s, the program evolved to include directors, conductors, and pianists alongside American and international singers, and “American” was dropped from the program’s title.

In 1987, the year the Alice Busch Opera Theater opened, Stewart and Meryl spent their first of many summers in Cooperstown, when General and Artistic Director Paul Kellogg invited Stewart to conduct that season’s stunningly memorable production of A Midsummer Night’s Dream. The opening of the theater was a grand occasion and turning point for the company, which was then known as the Glimmerglass Opera. A year later Stewart was appointed Glimmerglass Opera Music Director, a position he retained until 2006.

During the ‘90s, Paul Kellogg formed what was referred to as a “triumvirate,” with Stewart and then-Director of Production, John Conklin, collaborating with Paul on shaping each season at a time when the music world began paying extra attention to what was happening in Cooperstown — in part attributable to the opening of the architecturally noteworthy theater and its beautiful setting, and in larger part attributable to the level of artistry brought to bear by these three creative leaders and the staffs and artists they assembled.

Stewart and Meryl became beloved members of the local community and more broadly among audiences throughout Stewart’s tenure. They often visited Cooperstown in the winter and spring to see friends and for Stewart to give previews of the coming season for the Guild, which he expanded for enthralled crowds in the theater courtyard before summer performances.

In 1996, Paul gave up the general directorship of the company, remaining as Artistic Director until his retirement in 2006, and Stewart planned his own retirement from Glimmerglass to coincide with Paul’s.

Until his struggle with Parkinson’s became overwhelming, Stewart continued his conducting and music director career for several more years. He is greatly missed by everyone at Glimmerglass and in the music world who had the honor and pleasure of knowing and working with him.

Although it was the music directorship that brought the couple to Glimmerglass, Meryl cheerfully noted that she “was part of the package,” and indeed the couple became warm and welcoming ambassadors for and promoters of the festival. They enjoyed sharing the story of how they met at the Bearsden Burgh Choir, near Glasgow, in 1969, both “immediately 66

recycling from the office, stuffing envelopes or cooking and serving hundreds of meals for artists and production crews.

Don Fenner In December, the Glimmerglass Festival lost one of its most cherished friends, Donald M. Fenner.

Don was pre-deceased in 2020 by his beloved wife of 65 years, Mary Ellen. Their volunteerism and devotion to Glimmerglass were unparalleled.

Together, they donated decades of personal time to the festival — from mowing the lawn to producing opera education kits; shoveling snow in winter to housing artists in summer; collecting

For over 30 years, Don and Mary Ellen owned and operated Fenner Funeral Home in Herkimer, NY, while raising three children. After they retired in 1986, Don and Mary Ellen moved to Springfield Center, diagonally across from the site where the new Alice Busch Opera Theater was to open a year later. This location was specifically chosen so they could spend their retirement years helping the opera. Don renovated a large home where he and Mary Ellen welcomed and housed opera singers and artists who were performing at the festival. In the winter they held LAF days (Lunch at Fenners) for the Festival’s year-round staff, and during the opera season their volunteer work for the Guild shifted into overdrive. Don led the early Building and Grounds Committee and served on the Guild Board as Treasurer until 2017.

The Fenners made and sustained countless friendships through their passion for opera and

Glimmerglass by Life Trustee Joyce Hupper, now deceased, who subsequently recruited Marty for the board.

Martin Senzel The Board and staff of the Glimmerglass Festival lost a dear friend, generous supporter, and insightful board member in January with the passing of Martin Senzel, 79, known to his fellow-trustees, colleagues, friends and the staff as Marty.

Marty and his wife, Dagni, were avid opera-goers when they were introduced to

Joyce’s husband, John, and Marty were partners in the law firm Cravath, Swaine & Moore LLP, from which Marty retired in 2000.

After joining the Glimmerglass Festival board in 2010, Marty made possible the donation of conference rooms at the firm for Glimmerglass board meetings, a significant contribution since most trustees were based in and around the city.

Among Marty’s many other contributions to the festival was his extensive volunteerism as an active, working trustee. In addition to serving as Treasurer and on the Executive, Finance, Governance and Music Policy Committees, Marty devoted endless hours to overseeing the drafting of a Glimmerglass Festival Gift Acceptance Policy, with fellow trustee Ed Turner, and the complex updating of the company’s bylaws, both projects involving

music. The pair was awarded the Glimmerglass Opera Volunteer of the Year award in 1987, and again in 2005. They were also honored in 1994

by Opera Volunteers International with their “Partners in Excellence” award.

Executive Director Andrea Lyons, who has known the family for many years, beautifully expresses the company’s feelings: “Don and Mary Ellen Fenner are legendary for bestowing love, humor, and generosity on the Glimmerglass community.

Their presence is felt everywhere at Glimmerglass — in Don’s wood carvings around the office, or the memos we still uncover from him or Mary Ellen about the facilities or the gift shop or education programs. We will miss the giant gift tins of popcorn they sent the staff at holidays, Mary Ellen’s molasses cookies that appeared at every gathering, Don’s ‘complaints’ each summer when we installed the speed bumps in the driveway because it slowed him down from getting to his volunteer chores. But mostly, we miss their tireless dedication, generosity and love.”

detailed research and inclusion of the most up-to-date state laws. Marty was also a generous donor, and with Dagni, gave well over a half-million-dollars in personal support, in addition to the valuable in-kind contribution of board meeting space.

These gifts were as meaningful to Marty as they were to the Festival and artists.

His passion for opera was seen through his thoughtful sponsorship each year of principal guest artists and young artists, whom he greatly enjoyed getting to know and whose careers he continued to follow with interest and pride. When possible, he and Dagni attended performances in New York City and abroad by their former sponsorees, who included Ginger Costa-Jackson, Andrea Carroll, Deborah Nansteel, Andrew Stenson, Raquel Gonz lez, Kelley Rourke, John Holiday, Emily D’Angelo, and Amanda Woodbury.

Marty’s involvement as a trustee and infectious joy as a fan is greatly missed.

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IN REMEMBRANCE Michael and Bill were life-long opera fans when, in the mid-1980s, they discovered the then-named Glimmerglass Opera — which was performing in the Cooperstown High School — through friends who summered in the area. As residents of NYC, they were drawn to the rural beauty of the area and the ability to see opera in the summer, resulting in their purchase of a second home in Cooperstown in 1985. Along the way, they were introduced to and became friends with the company’s director, Paul Kellogg.

Michael Willis The Glimmerglass Festival fondly remembers its former Director of Press and Public Relations, Michael Willis, 81, who peacefully passed away in February at his home in Cooperstown.

His husband, Bill Oliver, former Director of Development for the Festival, was at his side.

68 PHOTO: BRENT DELANOY

The opening of the Alice Busch Opera Theater in 1987 launched an era of growth for the company.

This growth also brought with it the need to enlarge the small, full-time staff. In 1994, Paul Kellogg hired Bill, who had been Director of Development for Columbia College and at the time was Director of Alumni and University Relations for Columbia University, as the opera’s first full-time Development Director. A year later, in 1995, Paul brought on board Michael as the opera’s first Director of Press and Public

Relations; Michael’s work in publishing, notably as Associate Publisher and Director of Subsidiary Rights at E.P. Dutton and Company, made him the ideal person to liaise with the media, which had begun taking a keen interest in the festival.

Among Michael’s many achievements was the cultivation of the national and international press, which resulted in extensive coverage for the festival throughout the U.S. and abroad. This exposure attracted visitors from nearly every state and across the globe each summer, an important factor in Glimmerglass’s explosive growth in attendance and as a world-renowned cultural attraction.

Bill and Michael retired from Glimmerglass in 2004, after which they sustained their involvement as fans and supporters, a tradition Bill continues. Michael’s work remains a cornerstone of the company’s history and legacy.

A Tribute to Bonnie Koestner FORMER GLIMMERGLASS CHORUS MASTER

by Esther Nelson, Former Glimmerglass General Director Stewart was thrilled to now bring Bonnie’s talents to Glimmerglass.

The Glimmerglass Festival community is

saddened by the loss of Bonnie Koestner, who had spent 15 summers as the company’s muchloved Chorus Master and coach/accompanist.

Bonnie’s tenure started in 1997, shortly after my arrival as the new General Director of Glimmerglass. Both, then Music Director Stewart Robertson and I had previously worked with Bonnie. In fact, Bonnie’s first “gig” in the professional opera world was with Stewart at the Hidden Valley Opera in Carmel Valley, CA, following her Masters in music education and piano from University of Wisconsin.

Her professional career as a respected accompanist, coach, chorus master, and conductor subsequently encompassed a wide range of companies and musical institutions from San Francisco Opera and Conservatory of Music, to the opera companies of Miami, Atlanta, Reno, and Salt Lake City, to mention just a few.

She quickly became an integral part of the artistic team. It took a determined mind and persona with meticulous attention to detail to get the best out of a chorus of enthusiastic local singers and young artists. Her passion for young singers was particularly evident in her nurturing but also demanding work to prepare each singer for their summer solo recitals, always a highlight for artists and audiences alike. Her sense of humor could be refreshingly wicked and eventually earned her the nickname of “Chuckles.”

Bonnie was a sensitive collaborator and rarely one to seek the spotlight but her dedication to excellence could on occasion drive her to confront either Stewart, or Artistic Administrator Nicholas Russell or, finally, me, when she disagreed with a certain performance approach. I remember a few phone calls from Stewart alerting me that “Bonnie is on the warpath!”

capturing the beauty of the area. There also wasn’t a rare book within a 50-mile radius that Bonnie didn’t spot. While she was shy by nature she regularly managed to make random new acquaintances with local farmers, gardeners, beekeepers, Amish carpenters, and collectors.

She ended her professional career as a dedicated teacher and vocal coach at her alma mater at Lawrence University where she could now fully focus on training new talents, while also perfecting her Italian for several summers teaching at the Oberlin in Italy program.

During her time at Glimmerglass she forged many new lasting friendships with singers and musical staff. She also continued to be a close friend to me and my family. We all miss her but her legacy at Glimmerglass, and especially for the many young artists she influenced, will continue.

In her free time, she eagerly explored the Cooperstown surroundings on her bicycle with her trusted camera. She had a keen eye for

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PHOTO: BRENT DELANOY

Become a Member of the

GOODYEAR SOCIETY 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

Enjoy the Satisfaction of Creating a Legacy at Glimmerglass through an Estate Gift

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 (4) 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* Rita Emanuel and John Anagnost Gwendolyn Ermlich Andrea K. Fallek* Drs. Jane A . Feisthamel and Mary Margaret Snyder Estate of Jessie Flax* Donald Frazier*

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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 G.J. Han* and Paul E. Kellogg* Revocable Trust Mary E. Harrigan and Andrew P. Tothy Lisa Heilman- Cozzalio Jean Herzog, PhD and Norbert Herzog, PhD Barbara and Harry Howell Clinton R. Howell Estate of Alfred F. Hubay* 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* Susan M. O’Neil 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* Mark Luis Villamar and Esther Milsted Margo and Anthony Viscusi Karen Watkins Andrew Weiss and Marc Osterweil Drs. Hannelore Wilfert and Karl Moschner Michael Young and Debra Raskin

*deceased

GOODYEAR SOCIETY TESTIMONIALS Robert Nelson

Barbara Mulhern “In 1987, the first year in the new opera house, I created a Charitable Gift Annuity to benefit Glimmerglass at my death.

The investment was not large, but, due to my longevity, has paid off handsomely. Planned Giving was new to the company at that time, but, as a trustee, I realized that investing in the future needs of the company was vital to its success. It is even more so today.”

“Moving to Cooperstown nine years ago with my partner, Van, was a dream come true. It had been over 60 years since I first stayed on Otsego Lake with my family, and I’d always wanted to return to this beautiful spot in Upstate New York. Our friends all immediately said, ‘Home of the Baseball Hall of Fame.’ Well, that is ‘sorta kinda’ true, but it is also the home of The Glimmerglass Festival. From the first moment that we toured the campus, went to our first, then second, then third and fourth productions, we were enamored with the Festival. We all have favorites, but the Youth Opera has become my passion, while Van’s is the Young Artists and Apprentice Programs. Seven years ago, I was delighted to be asked to join the Glimmerglass Board of Trustees and was honored to serve as Chair from 2019-2023. Most recently, Van and I were appointed as Honorary Life Trustees. It did not take long for us to decide that we needed to join the Goodyear Society to help secure the Festival’s future — particularly relevant as our excitement builds toward the Festival’s 50th anniversary in 2025! We thoroughly enjoy the operas, musicals, and the youth program, which provide incredible opportunities for local youth and draw visitors from near and far while serving the local community. The Festival is also a leader in Equity, Diversity and Inclusion — something that I’m personally proud of — while providing the very best training for the next generation of performers, craftspeople, and administrators.”

Michael Young “My wife, Debra Raskin, and I first came up to Glimmerglass in 2013, saw two productions, and have come back every year since then, upping the number of productions we see each year to all four of the Mainstage and some of those in the Pavilion, and upping the number of days we stay from two to three to four to six, and now even longer. And, we now bring many friends on our annual visits.

When asked to list our favorite productions, Debby and I each name six or seven, some of them the same, and some of them different.

Clearly, Glimmerglass has become an important part of our lives and, accordingly, we have both increased our yearly giving and have also decided to put Glimmerglass in our wills and to join the Goodyear Society. We both hope to live a lot longer but we are also glad that Glimmerglass will someday share in our estates.”

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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 2023 fiscal year (October 1, 2022-September 30, 2023) or thus far this year (October 1, 2023-May 15, 2024). 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)

Elizabeth M. and Jean-Marie R. Eveillard Nellie and Robert Gipson Allison and W. Keyes Hill-Edgar John R. and Joyce McC. Hupper Charitable Fund Jacqueline B. Mars Denise Littlefield Sobel Eugene and Jean Stark

CHAIR’S CIRCLE ($100,000 - $199,999)

Van Broughton Ramsey and Robert Nelson Wendy Curtis Faith E. Gay and Francesca Zambello Estate of Dr. Brett B. Gutsche Andrew J. Martin-Weber and Beejan Land Ted Snowdon and Duffy Violante Michael Young and Debra Raskin

PRESIDENT ’S CIRCLE ($50,000 - $99,999)

Patricia and John Chadwick Thomas C. Ragan Thomas Simpson Robert L . Turner Mark Luis Villamar and Esther Milsted

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TRUSTEES’ CIRCLE ($25,000 - $49,999)

Rob Ainsley and Micah Waldstein Dianne Balfour and Carl Adkins Ms. Emilie Roy Corey Maurice and Carolyn Cunniffe Dr. Anne McBride Curtis-Fischer Allen R. and Judy Brick Freedman Beth and Gary Glynn Sherwin M. Goldman The Guild of the Glimmerglass Festival Richard Kane and Gretchen McBeath Patricia Kavanagh and James Grant Anne R. Kline and Geoffrey P. Pohanka Elizabeth R. Lemieux, Ph.D. Lindemann Charitable Foundation II Inc. Tom Morgan and Erna Morgan McReynolds Melanie and David Niemiec John Ryland and Karen Craig Ryland The Savada-Stevenson Family Michael Sekus and Bianca Russo Martin and Dagni Senzel Grant and Jacqui Smith The Stack Family Fund Mr. and Mrs. Edward L . Turner III Debra A . Valentine and Jill V. Gardiner Ann Ziff

ARTISTS’ CIRCLE ($15,000 - $24,999)

Anonymous Jim and Nancy Barton Georg O. Budenbender and Dr. Katherine Elwyn Jane Lipton Cafritz Barbara Glauber Erika Hall The Raymond Han and Paul Kellogg Foundation Marilynn and John Hill Martin Kagan and Deborah Dixon Belinda and Stephen Kaye Joanne Kornoelje Thomas and Alison Lord Constance and H. Roemer McPhee Kara Unterberg Bill and Theda White Drs. Hannelore Wilfert and Karl Moschner

APPRENTICES’ CIRCLE ($10,000 - $14,999)

Anonymous (2) Elizabeth Borden Jeffrey P. Cunard and Mariko Ikehara Clover M. Drinkwater Mr. and Mrs. David E. Farquhar Gemma Hall Laurel McKee Kathleen Mulhern Johnson and Bruce Ray Johnson Rona C. and Arthur E. Rosenbaum Patsy Smith The Esther W. Spaulding Charitable Trust Susan Taylor Morris Sukey Wagner

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) Anonymous (3) Abby Kreh Gibson Barbara H. Mulhern Janet Nelson

GOLD ($5,000 - $7,499)

Anonymous Lou Allstadt and Melinda Hardin Eugenia and David Ames Cecilia Andersen Elizabeth August and Thomas Mafrici James E. Ballowe Jr. Thomas and Christine D. Berk Katrina F.C. Cary and Linn Cary Mehta Donald Clinton and Karen Wilkin Martin D’Arce - TMD Concepts, LTD Debórah Dwork and Ken Marek Drs. Jane A . Feisthamel and Mary Margaret Snyder Noushin and Greg Framke Ms. Jane Wylie Genth Ellen and Scott Hand Robert and Patricia Hanft Mr. and Mrs. Gates Helms Hawn Frank Holozubiec Maisie Houghton Gail J. Hupper and William H. Wood Mark Kachigian and Anne Powrie-Smith Evelyn Kalenscher-Kirschenfeld Larry and Jackie Kamin Hon. and Mrs. M. Langhorne Keith The Raymond G.J. Han and Paul E. Kellogg Revocable Trust Mr. and Mrs. Paul Lerwick Nena Donovan Levine Gregory Long and Scott Newman The Family of Amanda May David and Millie McCoy Sage Mehta and Michael Robinson Jeffrey G. Mora Mary Moran and Jordan Kerber Alan and Pamela Patunoff Hon. Susan Phillips Read Willson Powell Mike and Marie Rourke Karen Royce Thomas A . and Georgina T. Russo Mrs. Constantine Sidamon-Eristoff Richard and Pam Siegel James E. Smaltz and Gordon F. Ruckdeschel Thurmond Smithgall Peter and Judith Stanton Gerald and Grace Sun Elizabeth Thorpe Deborah and Michael Troner MD Alan and Linda Vincent Rose Wadsworth Caleb Wertenbaker Dr. F. Todd and Laura Wetzel Judith Whalen and Paul Goldsmith Elinor A . Zawaki

SILVER ($2,500 - $4,999)

Anonymous (4) Susanne and Chris Adamski Jeffrey and Mary Dale Allen Kathryn Allen Edward J. and Laura G. Asher Dennis N. Banks Ann-Marie Schwartz Dr. Charles F. and Ann-Marie Schwartz Ellen Berelson and Larry Franks Truman and Ludmila Bidwell Barbara Blaszak Felicia H. Blum Michael Bretholz Kayellen Button and Bruce Loveys Jaye Chen and Peter Brown Stephanie Cooper Clarke Michael Cleveland and Kathy Leach Thomas and Loren Colbert Duke Dang and Charles Rosen Joan Desens and Simon Carr-Ellison Carol and Rick Detweiler Robert Ellis Doris Fischer Malesardi Mary Flower Laurie Frenzel Mary Lou, Suzan and Rebecca Friedlander Suzan D. Friedlander Drs. Deborah and Michael Goldberg Nicole Alfandre Halbreiner Carla Hall Mary E. Harrigan and Andrew P. Tothy Mona Harris Christopher R. Hatt Marcy Horath Maguire Dr. Martin Ihrig Regina Janes and Charles Woolley Laurence Keiser and Susan Accetta Clayton C. Kirking and Edward J. Sullivan Rabbi Sharon Kleinbaum and Randi Weingarten Arthur Kuckes and Martha Wright, The Community Foundation of Tompkins County, the Vector Magnetics Fund Richard and Georgia Lee Harry and Ellen Levine Dr. Katharine Lloyd Sandy and Suzanne Mayer Debra and Charles McCambridge John and Catherine McEnroe Natasha Mehta and Nathan Heller David and Anne Menotti James E. Miller and Fynnette Eaton Bob and Ami Montstream Ann and Don Morrison Chris and M.E. O’Connor Janet and David Offensend The Offensend Family Foundation Tod Ottman and Kathleen Pakenham Peggy Parsons Stephanie and Jim Patrick Mr. Nicholas Preston and Mr. Gary Cassinelli Jerry and Marisabel Raymond

Paul R. Reid and Thomas Hartnett Betty N. Robinson Harriet Rogers Mrs. Marjorie Russel, The Leo Model Foundation Beth Sapery and Rosita Sarnoff Dr. and Mrs. Thomas P. Sculco Margarita Sears Rudina Seseri and Adrian Ketri Robert M. Steiner and Faith Pleasanton Richard Tarrant Dov and Tom Treiman James and Caroline Tripp Tad and Kara Van Norden Emma Vaughn and Ravi Agrawal Earl D. Weiner Molly Wilkinson Ellen Wood and Michael Durkee Ken and Dorothy Woodcock Martha Yager Mary N. Young

BRONZE ($1,000 - $2,499)

Anonymous (10) Stewart and Barbara Agor Eleanor B. Alter and Dr. Allan M. Lans Carolyn Anderson and Barbara C. Brenner Rosalie and Thomas W Anderson 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 Cynthia Bagby Richard J. Balfour Jennie Rose Barlow Jane Bartrum Kent and June Barwick Neil and Carolyn Baum Pam M. Baxter Rick and Helaine Beckerman David and Ann Beightol Wanda Warren Berry, PhD Bob and Marcy Birch William Bissell Drs. Ellen Blum and Kenneth Novak Molly and Tom Boast Boss Landscape LLC Amy Branch and Ken Mason Max and Ellen Brantley John Brewer Douglas and Beatrice Broadwater George and Nancy Brodie Fund Matt Brown Sandra L . Brown Sarah M. Brown Charlotte Buchanan and Richard Pfau Jim and Terry Byrnes Paula Campos and Rodrigo Bitar Michael P. Cannon John and Nancy Carver Katrina F.C. Cary

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Mary Chruscicki and Patricia Baskinger Susan Stetson Clarke Susan Clearwater Linda and Sarah Cohen Fund J. Patrick Cooney and Karl Buchberg Chloe and Rod Correll James S. Covey and James P. Zabawa David Craine The Crawford Foundation Mrs. Denise B. Dailey Samantha Davenport Drs. James C. and Caroline W. Dawson Prof. Christian C. and Mrs. Ann M. Day David Decima and Evangeline Shih Paula DiPerna Marci Douglas and Lawrence Pollack Noreen Doyle Joanne and Jerry Dreher Arnold Drogen Donald Eckert and Terry Foster Cecily Eidelhoch Charles Eil and Adele Geffen Eil Rita Emanuel and John Anagnost Thomas R. Engel Mr. and Mrs. Thomas Equinda David and Kathleen Ernst Thérèse Esperdy and Robert Neborak Frank Farmer and Frank Kolbert Tracy and Scott Fauver James A . Feldman and Natalie Wexler Jim and Kenna Fenton Firestone Family Foundation, Inc. P. Jay Fleisher and Judith A . Pachter Chris and Patty Fox Dr. and Mrs. Walter Franck Ellen Freeman Elizabeth Garry and Elizabeth Cahill James M. Gaughan and Keith C. Lee Mr. and Mrs. Steven D. Glazer Steven and Susan Gold Nancy and Frederic Golden Maria JR Goncalves Roe Goodman and Enriqueta Carrington Karen Greenfield Gretchen Frazier Fund of the Arizona Community Foundation Jane M. Gullong Mr. and Mrs. J.K. Hage III Ursula and Charles Hage Angela Harris and Dick Friedrich Dr. Anne Harrison Elizabeth Harvey Kimberly Hastie and Timothy Welch Michael Heaston Lisa Heilman- Cozzalio and Victor Cozzalio Christina Hembree Jean and Norbert Herzog Carl Hill Ian Hinchliffe and Marjorie Shapiro Dr. Marilyn and Bernard Horowitz Fred B. Howard Fred Hughson and Liz Gavis Beth Humes Craig and Susan Hupper Susan Huxtable and Joseph Novitski Donald Ingram and Eugene Tobey Linda Irenegreene Caroline J. Jackson Jean Jagendorf Mike and Connie Jastremski Barbara Jenkins Helen I. Jessup Celeste Johns and Chris Kjolhede Emily Johnson and Vijay Ramachandran James M. Jordan Peter Jordan

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Kim and Kathleen Juhase Padma Kaimal and Andrew Rotter Jenny Kallick and Robert Bezucha Shoshana Keller and Deborah Reichler Patricia A . Kelly Daniel Kempton Robert Kent Don and Irene Kerr Gail and Ed Kitch Stephen and Mary Sue Kitchen Lauralyn and G. Roberts Kolb Lisa Kressbach Maureen Kuhn and Caralee Carney Gloria Kulhawy Gary and Edna Lachmund Sydney Lancaster Waller Grace E. Larkin Eric and Susi Larsen Richard Lawrence and Laura A . Leach Arthur S. Leonard Rosanne Leshner Rona Lucas Peter Manson and Peter Durfee David Marcus and Brenda Bousfield Serena Black Martin and Alexander Byers Martin Jr. F. X. Matt II Memorial Fund James McCarthy and Joan Pirics Drs. Duncan McDowall and Sandra Campbell Camilla and Hugh McFadden Margaret E. McGown Ned McGuire Karen McLaughlin and Mark Schubin Christine McNaughton Wayne Mellor and Amy Cannon John and Susanna Membrino Linda Metzger Daniel M. Meyers Gary Mezzatesta Alden and Jane Millard Irene R. Miller William Miller and Talbot Logan Deborah Mintz Mary Mochary Rachel Moore and Harry Dodson Paula Mosher John Muenter Katharine Muir and Kenneth Witty Dr. and Mrs. Stanley Muravchick Alan and Linda Nelson Stephen Nissenbaum and Dona Brown Carl R. Nold and Vicky L . Kruckeberg M. Anne O’Connell Timothy and Kara O’Leary William Oliver and Michael Willis Opera Guild of Rochester James and Dianne Orcutt Bill Packard and Charles Ihlenfeld Charles “Jud” Pannaci Bill and Norah Pattison Timothy and Barbara Pedley Susan and Daniel Petrivelli Stephen Phillips Corinne M. Plummer Matthew Price and Veerle Daenen Alexander Purves A . Putnam Susan and Kanti Rai Sarah and John Ralph Cleota Reed Dr. Helen H. Reed Caryn and Jamie Reeves Marsha and Neil Remland Elsie and Thom Rhodes Dr. and Mrs. William Richtsmeier

Carl and Anne Rosenberg Georgeanne and Jean Rousseau David M. Rubin and Christina Press Paul Samuels and Nurit Margulies Lisa Sarajian Patricia and Paul Saunders Carol S. Scheele Shira Scheindlin Karen Schlather The Seniel Ostrow Foundation Cecilia Sercan Jean Seroka Albert H. Shaheen Memorial Fund at The Community Foundation of Herkimer & Oneida Counties Robert L . Siebel Mark Silverschotz and Anne Segal Peter Skaperdas Susan Smith and Robert Christman Susie Snowdon Ruth A . Solie Stephen and Monica Spaulding Adam and Ann Spence Peter and Tori Staunton Valerie Steele and John S. Major Anda Stelian and Douglas Glucroft Richard Sternberg Campbell Steward James Stewart and Benjamin Weil Jane Stewart Debra Stone and David Glaser Beth and John Storyk Dr. and Mrs. William Streck Thomas Talbot Tom Tompkins and Jill Rowley Tompkins Jack Triplett E. Brantley Turner Bradley Gary and Marie Van Graafeiland Patrick and Candice Van Roey David Verdi and Bernadette Rubino-Verdi Debbie Vivien John von Briesen Jr. and Sallye Perrin Suzanne J. Ward Marian M. Warden Ben and Eleanor Ware Jayne Warman and Ernest Harris Arthur and Madelaine Warren John B. Webb and Nelson Mondaca Morton and Corinne Weber Mr. and Mrs. William Weldon III Dustin Z West Dorothy Wexler Robert White and Anne O’Connell Lois Widdemer Helen Wiley and Marian Payson Amy Wilson and David Flannery Thomas Wilson and Kristin Koehler Bill and Ellen Yeckley Joanne Jablow Yunich and Robert H. Yunich Deborah and Michael Zahn Howard Zar and Ray Kurdziel Lisa and Ben Zeskind

PATRONS 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 Benjamin Addie Randy Apgar and Allen Black Lindesay and Sixto Aquino Grace and Jim Arbury Nancy and Scott Bailey Kile Baker James and Hollis Barickman Larry Bell Erik Serrano Berntsen Nina Brodsky and Alan Kleinman Charlotte Buchanan Mark A . Bunce Tim and Patty Burch Thomas F. Cannon and Joseph Harding Charles Cesaretti Linda Chesis and John Guiton Joanne and Roger Clapp Dr. Janna C. Collins Ann and Tom Connolly Lauri Corrigan Linda Cowan William and Judy Cox Michael and Kathleen Crowe Ms. Beatrice Crumbine Judith Curry John and Julia Curtis Mike and Shari Dailey Kristin Kovner de Guzmán Vincent T. DeVita MD Gaylord and Nicole Dillingham Beatrice Disman John Dobkin Gail Dougherty Dr. Laure Duval Bob and Sally Edgar Swift Edgar Elizabeth Etoll James F. Evans III and Mary Selden Evans Kathy Faber John A . Faust Gordon and Sarah Faux First Presbyterian Church Cooperstown Martha and Robert Fisher Joseph Flear Fred Flores and Catherine Lindgren Charles Friedlander Charles and Linda Garnett Charles and Adelia Geiger Lawrence Gibbons Joseph F. Godfrey and Keith Halstead William and Cynthia Goertemoeller Margot Golding Suzanne Gouvernet Gouvernet Arts Fund at Rochester Area Community Foundation Amy J. Greer and Mark J. Murphy Mary Ellen and Michael Guerra Michael Halloran Ron and Rebecca Harris-Warrick Jim and Betta Hedlund Dick and Mary Ellen Hibey Christina M. Hickey Walter B.D. Hickey Jr.

Shannon Hill Day Hills Frieda Holober Joyce Homan Barbara and Harry Howell Michael Hunt and Laura Lockhart Marc Isserles Ellen Jabbur Kathleen Johnson and Paul Browning John A . Kane Luise- Charlotte Kappe Kate Kemker and Kaaren Fox Rose-Marie Klipstein Ron and Melissa Komora Ken and Susan Kramer Alison Lankenau Olivia Lerwick David Levinson and Kathy Kirn Ann and William Lieff Andrew and Anya Littauer Drs. Michael and Joan Lotze Frank and Sidney Maas Dennis Mancl and Susan Aurin Todd Martin Abigail Mason Patrick and Bertine McKenna Adam Meister H. William Michaels Kathleen Moore and Judith Henningson Christina Murphy Dinah Nissen and Elizabeth Apelles Thomas C. Nye Sue O’Neil Hugh and Norma Phelps Janet L . Potter Michael Presser Paulette and Julian Rackow Elizabeth and Dennis Regan Rene Reixach Ken and Susi Ritzenberg Kathleen Roberts Stephen Rosow and Ellen Goldner Sharon Roy Nicholas G. Russell David and Melanie Samuels Patricia Sanborn James Schamus Senator and Mrs. James L . Seward June Sheehan Michael and Vivien Shelanski Nancy Sills and Franklin Moss Hal and Carol Sox Susan Sporer and Mary Cameli Dr. Bruce and Judy Stewart Thomas Stickney and David Westfall Edward A . and Claire G. Stiepleman Judith Stoikov and Richard Miller Harvey and Mary Struthers Alexandra Subbarao Anthony Sullivan Mary Susman and Thomas Herm Carl Swanson Philip and Barbara Taurisano Ann B. Teixeira John Tomlinson and Richard Chen See Peter and Christina Townsend Steve Ucko Dr. and Mrs. Gilbert T. Vincent

Alan Wanzenberg Stephanie Weiss Lois and Harold Weitzner David and Kerstin Wellbery Nathan and Elizabeth Wentworth Margaret Wineman and James Mullen Victoria Wion Wittels Family Amy and Jerel Zoltick

CONTRIBUTOR ($100 - $499)

Anonymous (12) John F. Abel J. Ackerman and J. McCarthy Terry D. Adkins Sara Akel James Aldrich-Moodie Ed and Mary Ambrose Michael Amorese Joseph Anderer and Virginia Benz Robert C. Anderson Thomas I. Anderson Mary Arlin Abigail Armstrong Peter Aronson and Marie Landry Ellen B. Avril Debby Bachand Roger and Whitney Bagnall Ruth E. Baines Vera S. Baker Sheryl Balcomb Joyce Ball Paxton Ron and Alex Banay Hank and Anne Bankhead Dr. David Barnert and Julie Raskin Vige Barrie and Jim Frederick Lynn and Jonathan Bass Thomas and Muriel Beattie Nan Beer Donald Behr Bob and Martha Berardino Ruth Berry Betsy Bishop Richard and Anne Blabey David and Cathy Blankenship Gerry and Linda Blume John Booth Bob and Sue Bowker James and Dukene Brady Nicholas Brill Kevin and Cynthia Brocks Sarah Brodie Dr. Joan E. Brooks and Dr. James I. Garrels Kent Brown and Nat Thomas Paul Brown and Susan Loevenguth Laurie Bruns Greg Buch Sharon Burke and Alfred Kelly Keith A . Bundy John Burt Karina Calabro Keitha Capouya Julie and Scott Cappel Patricia Carrier Charles Casale

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Susan and David Cathers Kathleen Chant Fiona Chew Joan Chrisler and Chris Bishop George and Laurel Christie Robert Christman Dianne Kay and Lawrence J. Ciano Christopher L . Cimijotti Nancy S. Clayton Sam and Carolyn Clemence Karyl Clemens Linda and Bill Cohen Rosemary Cook Katie Koch Code Joanne Corey Jane and Siobhan Cornell Clarissa Crabtree Rebecca Craft Pamela T. Crane John J. Creedon Foundation James and Suzanne Cusack Bonnie Daggett Connie and Pat Dalton Deb and Jim Dalton Anna and Paul D’Ambrosio Judith and Joseph Darweesh Susan Davidson Dean Davis Janine DeFilippo-Wallace Brett Delfino Barbara D. Deller Sue Dennis Millie DesBiens Fiona Dewar Mr. and Mrs. Peter Albin Deysenroth Dr. Arthur DiNapoli and Allyne Frankel Carole W. Di Nonno J. Gerard Dollar and Susan Poisson-Dollar Eric Donaldson Mary Ann Donnelly Karen D’Orazio Christian Dorbandt Elaine Downing Dr. and Mrs. Jeff Doyle Martha Monteleone Duke Kenneth East and Timothy Thurlow Daniel Egan and Kate Glasner David H. and Linda J. Ehlers Kathleen and Dale Eisele Philip Eisenman Ann Eldridge and Robert Neer Susan and Ron Elinoff Elizabeth and Clinton Elliott Priscilla Elliott David Emanatian David and Cindy Engel Eric Engel Janet England Sylvia Epstein June Fait and Herbert Coles Diana and Emory Fanning Mary and Gregory Farmer Richard and Ellen Farren George and Cathy Fasanelli Ann Feder and Paul Pomerantz Jim and Shizuka Feeney Hannah Fettinger Randy Feuerstein Michele L . Finin James Fleming and Dr. Lawrence T. Waite Iris Fodo Stephanie Fontaine Lane Franz Henry and Helen Freedman M. E. Freeman Ruth Freeman Laura Frey

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The Honorable Leslie Friedman Will and Barbara Fry Alice and Gil Fuld Jean Fuller Farrington Keith and Terry Fulmer Camilla Galluzzo Silvina Garcia Rubio David and Linda Gardels Geri Gay Ronald C. Geuther Barbara P. Gigliotti James Ginsburg and Patrice Michaels Eric and Christine Gladbach Ellen Glass, MD The Glimmerglass Festival Orchestra Players Association Glimmerglass Move Managers, LLC Cyndy Goldberg David Goldston Rose and Jean-Pierre Gombay James Goode William Goodenough Drs. David and Felice Gordis Laura Graceffa and Mark Schlessman Dr. Jane E. Grastorf Jane Graves Henry and Hope Greenberg Darrell and Gerald Greene Barbara and George Greenstein Christine and Bernard Grossman Jeannine Grossman Paul Grzella and Edward Edwards Albert Guditis and Corine Gibson Jim Guidera and Ed Parran Susannah Halston Joan Ham William Hammond and Meg Gallien Gretchen M. Handwerger Roy and Barbara Hansen Lee Haring Mr. and Mrs. Fred Haritatos Jay Harrison and Jeanne Conroy Stephen Harrison Katie and David Haviland Nancy and Jim Hays Jean and Lewis Hecht Robert Heidenry Allison Held Marc and Christine Heller Rabbi Henry and Sheila Bamberger Helga Hershey and Suzanne Gould David R. Hinman Virginia V. Hlavsa Lisa Hochman Kathryn Hodges Tim Hoekman and Carla Connors Mary Hohenhaus Neesa and Evan Holland Paul Horowitz and Ruth Jaffe David and Yayoi Howell Gary and Ackli Howell Kendall Hubert Dr. John B. Hudson John Ianacone and Cynthia D’Ambrosio Christine Ims, Jeanne and Cynthia Levin Michael Jakubowski P. Jewell and C. Nickolaus Wand Jennifer Johnson Cano Shari Johnson-Ploutz Carol Johnston Bonnie Jones Dr. and Mrs. Charles Jordan Dr. and Mrs. George Kafka Dr. and Mrs. Geoffrey Kalish Stephen and Pamela Kalista Herman and Carole Kane

David E. Kaplan L . Frederick Kaplan Jeff and Karen Katz Michael and Linda Kehoe Marilyn J. Keiser Teresa Kennedy Anne Killian Laura Kilty and Bruce Kramer Urling and Hugh Kingery Robin Kinnel Margaret Kinosian Deborah and Thomas Klenck M. Suzette Kopecek Marc Korpus Nancy and Robert Kossowsky Dr. Beatrice Kovasznay Robert D. Kraus and Kathleen M. Morris Steve and Teri Kruk Robert W. Kruszyna Lars and Marit Kulleseid Diane LaBelle and Dr. Norman Girardot The Lachance Family Peter and Melissa Lacijan Fred and Nanett Laffan David Lakari Ronald Languedoc Kathryn Larsen Maria A . Lasagna John Lawson Joanne and Carl Leaman Rheanolte and Annie Marie LeBarbour The LeCours Family Soule Leiter John Leon Mr. and Mrs. E. Deane Leonard Bruce and Diane Lercher Anne Marie Leschin Bonnie and Joel Lester Ellen Leventhal Hon. Howard A . Levine David Levy and Ellen Levy Darryl L’Heureux Alice Jo and Marshall Lichtman Jean Lilja R. Bruce Lindsay III Janet Little Richard and Elizabeth Livingston LJ’s Sassy Boutique Linda Loomis Sharon and Chuck Loving Robert Lowe and Sigrid Hackenberg Dr. Leonard and Susan Lyon Andrea Lyons Sandra Maceyka James MacKillop Robin Mahon Amanda Savage Mahoney The Maia Fund Laurence S Markowitz William D. Mattern Anne and Walter Mayo Herbert Mayo Rebecca Mazin Sara McCain Douglas McClemont Kenneth and Donyce McCluskey Eugene and Pamela McGuire Douglas McGuirk and Maryann Green Carol Ann McKeen and John Dunton Jonathan Mead and Naomi Guttman Kathy Meadows Sue Ellen Merry Karen Metcalf Jackie Metzger Frank and Ellen Michelman Hugh W. Miller

Judith G. Miller Patrick Miller Sanford and Jill Miller Anne Parker Mills Debra Milstein Chanda Misevis Robert Mitchell Louis Monetti Krista Montesano-Peterson Geoffrey Moore Quinn Moss Marion Mossman Heidi J. Muir and Marc Laymon Dr. Rajat and Kathryn Mukherji Thomas W. Myers Sindhu Nair Emily Neece and Alan Ziegler Pamela J. Nelson Martha Nesbitt Kate Newman Bruce and Mary Ellen Nielsen Mr. Richard Norton Stephen E. Novak Mr. Thomas O’Connor Michael and Deborah O’Hara Dr. and Mrs. Thomas M. Older Elizabeth O’Neil Stephen Orvis and Carol Drogus David Osborne Carol Ann Pacco-Long Jo Page Tom Parrish Philip Pearle John Cedric Pedersen Dale and Lorna Peterson Chris and Carol Pfister Grant and Charlotte Phillips Mr. and Mrs. Joseph Pinto Lina Pliodzinskas Ellen Poleshuck Judith and Arnold Poltenson Professor Sarah Pomeroy Douglas and Lynda Porter Drs. Jeanne and Richard Porter Trevor Potter and Dana Westring Frederick Pratt Dr. Marion Preston Erin Quirk Gary Quirk and Charlotte Haas Helen Rack and Erwin Guetig William and Divon Rathgeber Maggie Raywood and Travis Peace Michael and Sharon Rebell Joan Redmond Ashley Remmers Peter and Susan Restler Martin Ricciardi and Heidi Nicholson Nancy K. Rice Angie Richards Karen Richards Mr. and Mrs. Stephen Richter Drs. George and Ingrid Robinson Lesley and Mark Robinson Marion Swett Robinson Maurice Rocca Joan B. Rogers Richard and Deborah Rogler Ron and Marianne Romano Alice Root Penna Rose Susan Rosengrant and Nancy Ryan Karen and Jeff Ross Dolores J. Rothwell Mary Royer and Nelson Burdick Carl A . Rubino and Barbara Gold Dr. G. Jeremiah and Gail C. Ryan

Dr. Victor and Gail Sacchi Susan E. Saltus Margaret Savoie Sasha Savransky Anne Schaper Joyce Schindelheim Barbara Schloss Theodor Schnaufer Mr. and Mrs. Jon L . Schumacher Robert and Gail Schwartz Kathleen M. Scott Dr. Mariellen Scott Susan Clare Scott Linda Segreto Paul J. Seidman Mr. and Mrs. Daniel T. Seifried Stephen and Peg Senturia Kenneth and Barbara Seplow Judy and Ken Seslowe Sew Advisory Services LLC Peter W. Shea and Dr. Suzan Smith Conrad L . Sheck Bruce Shenkar Richard and Terry Shenton Jonathan Sherman Joan Sherry David B. Shmoys James W. Shults Mary Simonson and Jeff Bary Jane Singer Carla H. Skodinski and Michael M. Fieldman Andrea Small Angela Smith Beverly Smith Joseph and Carolyn Smith Ms. Patricia L . Smith Joe Sobota Rosalie and Roger Sokol Clara Somoza Mi Ryung Song Warren Sorensen Martin and Gretchen Sorin Caroline Southworth Amy and Walter Srebnick Cynthia and David Staley Nell Stanton Judy Staubo Nancy Stauffer and Jeffrey Hughes Michael and Laura Stein Margery and Lewis Steinberg Prue Stelling Emily Stewart and Mike Morrill Susan Y. Stewart Barbara Ann Stolz Eleanor Stromberg Mira Stulman Diane Stuto Roger Sullivan Eileen Sutter Woody and Gregg Swain Michael and Bryna Sweedler Vera Talevi Richard and Myrna Talman J.S. Edward Tatnall and Daniel N. Colburn II Joan and James Taylor John Tewhey Karen Thompson Sally Thompson Mike Thorne Dr. David C. Tinling Jonathan and Moriah Tobin Vladislav Tolmachyov Ken Topolsky Richard Tourangeau and Marilyn Miller

Kimberly Tucker Thomas Turnbull Sally Turner Rod Vanderbilt David and Martha Vaules Lorraine Vekens Mary E. Velez and Glen A . Noto Margaret Verno Jane and David Villa Clinton Walker Gail P. and Stephen V. Walker Honorine Wallack Sean Walmsley and Sherry Bishko John and Kathy Walsh Ronnie Walsh-Snow Karen Watkins Susan F. Watkins Drs. Hueldine Webb and Lester W. Blair Don Weimer Seymour Weingarten Dawn Stuart Weinraub Mr. and Mrs. Albert Weiss Andrew Weiss and Marc Osterweil Vera Weiss Clara Welch Thanksgiving Home Margery and Michael Whiteman Irene White Mark Whymeyer Michael Wiley Patricia Wiley and Wendy Miller Bill Williams Mitch and Mary Ellen Williams Susan Williams Sheila Winett Daniel Marshall Wood Elizabeth Woodard Matthew and Elizabeth Worth Yankee Trails Wesley York and Robert Scrofani Douglas and Cheryl Zamelis Steven Zerby and Joanne Tobey Leslie Zezulin Kathryn and Howard Zukof

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PHOTO: EVAN ZIMMERMAN

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 2024 productions, Young Artists Program, theater-arts and administrative apprenticeships, community activities, and operations.

CAMERATA LEADERSHIP CIRCLE ($200,000 AND ABOVE) The Clark Foundation John R. and Joyce McC. Hupper Charitable Fund The Tianaderrah Foundation

CHAIR’S CIRCLE ($100,000-$199,999) Amica Insurance The Fernleigh Foundation

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 National Endowment for the Arts

TRUSTEES’ CIRCLE ($25,000-$49,999)

Lindemann Charitable Foundation II Inc. New York State Council on the Arts Oxalis.io UpMobility Foundation The Kurt Weill Foundation for Music

ARTISTS’ CIRCLE ($15,000-$24,999)

The Raymond Han and Paul Kellogg Foundation

APPRENTICES’ CIRCLE ($10,000-$14,999)

The Aaron Copland Fund for Music, Inc. The John J. Pohanka Family Foundation

NATIONAL COUNCIL GOLD ($5,000-$7,499)

Firestone Family Foundation, Inc. Gretchen Frazier Fund of the Arizona Community Foundation James Jordan Associates, Architects PepsiCo Foundation / Silicon Valley Community Foundation Albert H. Shaheen Memorial Fund at The Community Foundation of Herkimer & Oneida Counties The Seniel Ostrow Foundation UBS Financial Services, Inc.

The Dewar Foundation, Inc. The Eggleston Foundation The Raymond G.J. Han and Paul E. Kellogg Revocable Trust

PATRONS

SILVER ($2,500-$4,999)

GUARANTORS ($500-$999)

Fenimore Asset Management and FAM Funds Network for Good Arthur Kuckes and Martha Wright, The Community Foundation of Tompkins County, the Vector Magnetics Fund The Leo Model Foundation, Mrs. Marjorie Russel

BRONZE ($1,000-$2,499)

The Amphion Foundation Boss Landscape LLC Linda and Sarah Cohen Fund at The Community Foundation of Herkimer & Oneida Counties The Crawford Foundation The Gladys Krieble Delmas Foundation

The Bagby Foundation for the Musical Arts, Inc. The AmazonSmile Foundation Suzanne Gouvernet, Gouvernet Arts Fund at Rochester Area Community Foundation JP Morgan Chase Foundation

CONTRIBUTORS ($100-$499)

Community Foundation of Otsego County The D. E. Shaw Group ING Financial Services LLC John J. Creedon Foundation LJ’s Sassy Boutique Rotary Club of Cooperstown

THE GLIMMERGLASS FESTIVAL RECEIVES PUBLIC FUNDING FROM:

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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.

2024 FESTIVAL SEASON SPONSORS

The Clark Foundation Elizabeth M. and Jean-Marie R. Eveillard Nellie and Robert Gipson Allison and W. Keyes Hill-Edgar Jacqueline B. Mars Denise Littlefield Sobel Jean and Gene Stark

GIFTS IN SUPPORT OF MAINSTAGE AND PAVILION REPERTORY

The Amphion Foundation In support of Project Pipeline: The House on Mango Street

Van Broughton Ramsey and Robert Nelson Production Sponsors, Rumpelstiltskin and the Unlovable Children The Aaron Copland Fund for Music, Inc. In support of Elizabeth Cree In support of Project Pipeline: The House on Mango Street

Allison and W. Keyes Hill-Edgar Production Sponsors, La Calisto

Grant and Jacqui Smith Sponsor, John Chest

Jacqueline B. Mars Production Sponsor, Elizabeth Cree

Ted Snowdon and Duffy Violante Sponsors, Amber Monroe

Jean and Gene Stark Production Sponsors, The Pirates of Penzance

PRINCIPAL ARTISTS SPONSORS:

Dianne Balfour and Carl Adkins Sponsors, Taylor Raven Ms. Emilie Roy Corey Sponsor, Christian Mark Gibbs Maurice and Carolyn Cunniffe Sponsors, Elizabeth Sutphen Wendy Curtis Sponsor, Craig Irvin Nellie and Robert Gipson Sponsors, Tara Erraught Beth and Gary Glynn Sponsors, Schyler Vargas

Elizabeth M. and Jean-Marie R. Eveillard Production Sponsors, Pagliacci

Richard Kane and Gretchen McBeath Sponsors, Troy Cook

National Endowment for the Arts In support of Elizabeth Cree

Patricia Kavanagh and James Grant Sponsors, Robert Stahley

Nellie and Robert Gipson Production Sponsors, Horizons: Tara Erraught

Lindemann Charitable Foundation II Inc. Sponsor, Eve Gigliotti

SPECIAL DESIGNATIONS

Patricia and John Chadwick Neighbors’ Nights Ticket Initiative

Faith E. Gay and Francesca Zambello Neighbors’ Nights Ticket Initiative JAMS New York Arbitration Host, Glimmerglass Festival Board of Trustees meetings Andrew J. Martin-Weber Neighbors’ Nights Ticket Initiative Thomas C. Ragan Rumpelstiltskin and the Unlovable Children workshop Denise Littlefield Sobel In support of 2024 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 Zambello Gay Tribute Fund Rumpelstiltskin and the Unlovable Children Youth Ticket Initiative

PHOTO: SOFIA NEGRON

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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 45 Young Artists and 56 Apprentices were selected from approximately 2,000 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. Jane Lipton Cafritz The Eggleston Foundation Robert Ellis The Tianaderrah Foundation

INDIVIDUAL YOUNG ARTIST SPONSORS

Anonymous Sponsors, Marinette Gomez Jim and Nancy Barton Sponsors, Ruby Dibble

Nellie and Robert Gipson Sponsors, Emily Harmon Sponsors, Amanda Testini Sponsors, Ethel Trujillo Sponsors, Zizhao Wang Sherwin M. Goldman Sponsor, Scout Santoro Erika Hall Sponsor, Blaise Rossmann Gemma Hall Sponsor, Saane Halaholo Marilynn and John Hill Sponsors, Peter Murphy Belinda and Stephen Kaye Sponsors, SarahAnn Duffy

Van Broughton Ramsey and Robert Nelson Sponsors, Jason Zacher

Allison and W. Keyes Hill-Edgar Sponsors, Emilie Kealani Sponsors, Tristan Tournaud

Georg O. Budenbender and Dr. Katherine Elwyn Sponsors, Fran Daniel Laucerica

Joanne Kornoelje Sponsor, Tshilidzi Ndou

Patricia and John Chadwick Sponsors, Henry Benson Dr. Anne McBride Curtis-Fischer Sponsor, Evan K. Brown

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Allen R. and Judy Brick Freedman Sponsors, Benjamin Dickerson Sponsors, Geoffrey Schmelzer

Elizabeth R. Lemieux, Ph.D. Sponsor, Kaylan Hernandez Thomas and Alison Lord Sponsors, Lauryn Davis

Constance and H. Roemer McPhee Sponsors, Namarea Randolph-Yosea Tom Morgan and Erna Morgan McReynolds Sponsors, Laura Bleakley Melanie and David Niemiec Sponsors, Evan Lazdowski Thomas C. Ragan Sponsor, Ajit Persaud Rona C.* and Arthur E. Rosenbaum Sponsors, Tzytle Steinman John Ryland and Karen Craig Ryland Sponsors, Cameron Rolling The Savada-Stevenson Family Sponsors, Winona Martin Sponsors, Jonathan Patton Michael Sekus and Bianca Russo Sponsors, Catherine Thornsley Martin* and Dagni Senzel Sponsors, Seiyoung Kim Thomas Simpson Sponsor, Joshua Thomas Patsy Smith Sponsor, Christian Olson Ted Snowdon and Duffy Violante Sponsors, Emma Sucato Mr. and Mrs. Edward L . Turner III Sponsors, Xiao Xiao

PHOTOS: MARGARITA CORPORAN

Kara Unterberg Sponsor, Truman Tinius Debra A . Valentine and Jill V. Gardiner Sponsors, Nadja Simmonds Mark Luis Villamar and Esther Milsted Sponsors, Alexandra Sanchez Bill and Theda White, Sponsors, Kyle Sanchez Tingzon Michael Young and Debra Raskin Sponsors, Amanda Sheriff Jean Sincere Zambello Young Artist Kailee Regan Brandt Ann Ziff Sponsor, Clancy Ellis

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.

Denise Littlefield Sobel Sponsor, 2024 Glimmerglass Apprenticeship Program Amica Insurance Sponsor, 2024 Communications Apprentice The John Conklin Internship Fund Sponsor, 2024 Scenic Design Apprentice The Guild of the Glimmerglass Festival Sponsor, Doris P. Shields Artistic Administration Apprentice

2024 APPRENTICE SPONSORS Anonymous James E. Ballowe Jr. Elizabeth Borden Van Broughton Ramsey and Robert Nelson

Jeffrey P. Cunard and Mariko Ikehara Clover M. Drinkwater Mr. and Mrs. David E. Farquhar Kathleen Mulhern Johnson and Bruce Ray Johnson Laurel McKee The John J. Pohanka Family Foundation Robert L . Turner

GENERAL PROGRAM SUPPORT

Anonymous Eugenia and David Ames Richard A Backer Dennis N. Banks Jim and Nancy Barton David and Ann Beightol Carol Beechy and Kathryn Boardman Matt Brown Greg Buch Georg O. Budenbender and Dr. Katherine Elwyn Thomas F. Cannon and Joseph Harding Patricia and John Chadwick Dianne Kay and Lawrence J. Ciano Donald Clinton and Karen Wilkin Pamela T. Crane Duke Dang and Charles Rosen Donald Eckert and Terry Foster Daniel Egan and Kate Glasner Joan Desens and Simon Carr-Ellison Marci Douglas and Lawrence Pollack Drs. Jane A . Feisthamel and Mary Margaret Snyder Noushin and Greg Framke Henry and Helen Freedman Charles and Linda Garnett Joseph F. Godfrey and Keith Halstead Roe Goodman and Enriqueta Carrington Lisa Heilman- Cozzalio Susan Henderson Jean and Norbert Herzog Richard S. Hoffman Maisie Houghton Kendall Hubert Susan Huxtable and Joseph Novitski

Marc Isserles Patricia Kavanagh and James Grant Ken and Susan Kramer Janet Little Thomas and Alison Lord Serena Black Martin and Alexander Byers Martin Jr. Todd Martin Abigail Mason Natasha Mehta and Nathan Heller Sage Mehta and Michael Robinson John and Susanna Membrino Gary Mezzatesta Ann and Don Morrison Melanie and David Niemiec Stephanie and Jim Patrick Mr. Nicholas Preston and Mr. Gary Cassinelli Paulette and Julian Rackow Thomas C. Ragan Irmeli Ratnik Michael and Sharon Rebell Elsie and Thom Rhodes Kelley Rourke John Ryland and Karen Craig Ryland Paul Samuels and Nurit Margulies Nancy Sills and Franklin Moss Thomas Simpson Ted Snowdon and Duffy Violante Anda Stelian and Douglas Glucroft Alexandra Subbarao Woody and Gregg Swain Mr. and Mrs. Edward L . Turner III Tad and Kara Van Norden David Verdi and Bernadette Rubino-Verdi Jayne Warman and Ernest Harris Andrew Weiss and Marc Osterweil Earl D. Weiner Dustin Z West Dr. F. Todd and Laura Wetzel Michael Young and Debra Raskin Joanne Jablow Yunich and Robert H. Yunich Ann Ziff

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

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Anonymous A Rose is a Rose Florist Rob Ainsley and Micah Waldstein Amica Insurance Richard A Backer Shanel Bailey Dianne Balfour and Carl Adkins Jim and Nancy Barton Andrea Beasom David and Ann Beightol Mikaela Bennett Ellen Berelson and Larry Franks Truman and Ludmila Bidwell Van Broughton Ramsey and Robert Nelson Dwayne Brown Georg O. Budenbender and Dr. Katherine Elwyn Justine Burke Thomas F. Cannon and Joseph Harding Katrina F.C. Cary Patricia and John Chadwick Donald Clinton and Karen Wilkin Joseph and Susan Colaneri Emilie Roy Corey Ms. Beatrice Crumbine Wendy Curtis Anne McBride Curtis-Fischer Duke Dang and Charles Rosen Martin D’Arce, TMD Concepts, LTD Kristin Kovner de Guzmán Joan Desens and Simon Carr-Ellison Paula DiPerna Marci Douglas and Lawrence Pollack Donald Eckert and Terry Foster Swift Edgar Kathleen and Dale Eisele Tara Erraught Elizabeth M. and Jean-Marie R. Eveillard Mary Flower Noushin and Greg Framke Henry and Helen Freedman Charles and Linda Garnett Faith E. Gay and Francesca Zambello Christian Mark Gibbs Abby Kreh Gibson Eve Gigliotti Nellie and Robert Gipson Beth and Gary Glynn Steven and Susan Gold Sherwin M. Goldman Robbie Gordy

Nicole Alfandre Halbreiner Carla Hall Gemma Hall The Raymond Han and Paul Kellogg Foundation Kimberly Hastie and Timothy Welch Marilynn and John Hill Allison and W. Keyes Hill-Edgar Marc Hom Kendall Hubert Susan Huxtable and Joseph Novitski Dr. Martin Ihrig The Image Press Marc Isserles Helen I. Jessup Dudley D. and Carole H. Johnson Mark Kachigian and Anne Powrie-Smith Patricia Kavanagh and James Grant Emilie Kealani Hon. and Mrs. M. Langhorne Keith Gail and Ed Kitch Ken and Susan Kramer Chad Lawrenz Evan Lazdowski The LeCours Family Ann and William Lieff Kylee Loera Thomas and Alison Lord Serena Black Martin and Alexander Byers Martin Jr. Todd Martin Ann McChord Linn Cary Mehta Natasha Mehta and Nathan Heller Sage Mehta and Michael Robinson Gary Mezzatesta Irene R. Miller Amber Monroe Rachel Moore and Harry Dodson Tom Morgan and Erna Morgan McReynolds Ann and Don Morrison Christina Murphy Janet Nelson Melanie and David Niemiec Daniel O’Hearn Stephanie and Jim Patrick Jonathan Patton PJ Green Mr. Nicholas Preston and Mr. Gary Cassinelli Matthew Price and Veerle Daenen

Paulette and Julian Rackow Thomas C. Ragan Hon. Susan Phillips Read Michael and Sharon Rebell Maurice Rocca Kelley Rourke Matt Rubin John Ryland and Karen Craig Ryland David and Melanie Samuels Paul Samuels and Nurit Margulies Beth Sapery and Rosita Sarnoff Lisa Sarajian Dr. and Mrs. Thomas P. Sculco Margarita Sears Michael Sekus and Bianca Russo Dagni Senzel Nancy Sills and Franklin Moss Thomas Simpson Tamara and Michael Sload Grant and Jacqui Smith Patsy Smith Thurmond Smithgall Ted Snowdon and Duffy Violante Snyder Printer Inc Denise Littlefield Sobel Adam and Ann Spence Eugene and Jean Stark Robert M. Steiner and Faith Pleasanton Anda Stelian and Douglas Glucroft Jane Stewart Mira Stulman Elizabeth Sutphen Woody and Gregg Swain Mr. and Mrs. Edward L . Turner III Robert L . Turner Debra A . Valentine and Jill V. Gardiner Tad and Kara Van Norden Emma Vaughn and Ravi Agrawal David Verdi and Bernadette Rubino-Verdi Mark Luis Villamar and Esther Milsted Rose Wadsworth Jayne Warman and Ernest Harris Tom Watson Earl D. Weiner Grant Wenaus Dustin Z West Dr. F. Todd and Laura Wetzel Michael Young and Debra Raskin Lisa and Ben Zeskind Ann Ziff

LEAD CORPORATE SPONSOR

ADDITIONAL BUSINESS SPONSORS

JK Hage

PHOTO: MARGARITA CORPORAN

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.

25 Main Art Gallery Rob Ainsley A Rose is a Rose Florist Dr. Jeffrey Bailey and Tobin Ost Barnyard Swing Miniature Golf Brooks’ House of Bar-B - Q Van Broughton Ramsey and Robert Nelson Joseph Colaneri Cooperstown Farmers Market Wendy Curtis Martin D’Arce - TMD Concepts, LTD Hans deWaal Five Star Subaru

Fly Creek Cider Mill & Orchard Russell Gilbert Robbie Gordy JK Hage III Allison Hill-Edgar Nancy Iversen Kate’s Upstate Lyoncher Bed and Breakfast Norma Meacham of Whiteman, Osterman & Hanna LLP Marty Ricciardi of Whiteman, Osterman & Hanna LLP Amanda Rodd

Margarita Sears Justin Silverman Ted Snowdon Stagecoach Coffee Sunflower Cafe Tin Bin Alley Unlimited Solutions Catering Micah Waldstein Tom Watson Dustin Z West Michael Young Law Office of Douglas H. Zamelis

SPECIAL EVENTS HOSTS AND ARTISTS

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.

Rob Ainsley Shanel Bailey Andrea Beasom Mikaela Bennett Maria Alberico Brindisi Dwayne Brown Justin Burgess The Century Club of Syracuse Christ Church Greenwich Joseph Colaneri Cosmopolitan Club, NYC Martin D’Arce Allegra De Vita Ruby Dibble Tara Erraught

Fort Orange Club, Albany Christian Mark Gibbs Eve Gigliotti Robbie Gordy Andrea Grant Allison and W. Keyes Hill-Edgar Marc Hom Emilie Kealani Magdalena Kuźma Evan Lazdowski Winona Martin Alex McKissick Amber Monroe Munson Museum of Art, Utica Tshilidzi Ndou

Daniel O’Hearn Jonathan Patton Mo Rocca Kelley Rourke John Ryland and Karen Craig Ryland Alexandra Sanchez Hon. Joan Shkane The Signet Society Elizabeth Sutphen Catherine Thornsley Ethel Trujillo Tom Watson Grant Wenaus Olivier Zerouali

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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, Director of Development, at (607) 547-0700 x238.

Anonymous (3) 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 Joan Desens and Simon Carr-Ellison Patricia Carrier Patricia and John Chadwick Linda Chesis and John Guiton Joseph and Susan Colaneri Community Foundation of Otsego County Wendy Curtis Deb and Jim Dalton Anna and Paul D’Ambrosio 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 Nellie and Robert Gipson The Glimmerglass Festival Production Staff Christine Goerke Maria JR Goncalves 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 Dianne Kay and Lawrence J. Ciano Hon. and Mrs. M. Langhorne Keith Marion King Maureen Kuhn and Caralee 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 Alan and Linda Nelson and Family 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 and Oneida Counties Dr. Larry R. Shannon II and Mrs. Candice Shannon Simple Integrity LLC Patsy Smith Ted Snowdon and Duffy Violante Eugene and Jean Stark Ken and Carol Steigelman Richard Sternberg Ellen Tillapaugh and Gary Kuch Debra A . Valentine and Jill V. Gardiner We Energies Foundation John Webb and Nelson Mondaca Mr. and Mrs. William Weldon III Dr. F. Todd and Laura Wetzel Michael Young and Debra Raskin Douglas and Cheryl Zamelis

TRIBUTES

Following are honors received from May 10, 2023 to May 15, 2024.

IN HONOR OF ROB AINSLEY

Anonymous (2) Lou Allstadt and Melinda Hardin Susan Antos and Edward Fallon Sharin Apostolou and Ryan MacPherson Vige Barrie and Jim Frederick Ellen Berelson and Larry Franks Van Broughton Ramsey and Robert Nelson Matt Brown Kayellen Button and Bruce Loveys Patricia Carrier Karyl Clemens Donald Clinton and Karen Wilkin Jane and Siobhan Cornell Joan Desens and Simon Carr-Ellison Martha Monteleone Duke Allen R. and Judy Brick Freedman Glimmerglass Gals The Glimmerglass Festival Orchestra Players Association William and Cynthia Goertemoeller The Guild of Glimmerglass Festival Gemma Hall Michael Halloran

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The Raymond Han and Paul Kellogg Foundation Robert and Patricia Hanft Stephen Harrison Jennifer Potter Hayes The Hill-Edgar Family The Horvath Family Susan Huxtable and Joseph Novitski Kathleen Mulhern Johnson and Bruce Ray Johnson Anne and Lang Keith Daniel Kempton Clayton C. Kirking and Edward J. Sullivan 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 Bill Packard and Charles Ihlenfeld Drs. Jeanne and Richard Porter Sharon Rankins-Burd Elsie and Thom Rhodes Rotary Club of Cooperstown

The Savada-Stevenson Family Margaret Savoie Sandra Seaton Senator James and Cindy Seward Thomas Simpson Eugene and Jean Stark Dov and Tom Treiman Debra A . Valentine and Jill V. Gardiner Dr. and Mrs. Gilbert T. Vincent Ronald and Bette R. Wagner Drs. Hueldine Webb and Lester W. Blair Dr. F. Todd and Laura Wetzel Molly Wilkinson Michael Young and Debra Raskin Deborah and Michael Zahn Howard Zar and Ray Kurdziel

IN HONOR OF ROB AINSLEY AND FRANCESCA ZAMBELLO

Timothy and Kara O’Leary

IN HONOR OF LAUREN BAILEY

Nancy and Scott Bailey

IN HONOR OF PATRICIA W. CHADWICK

Amica Insurance

IN HONOR OF MAESTRO JOSEPH COLANERI

IN HONOR OF SHERWIN GOLDMAN

Beth Sapery and Rosita Sarnoff Thurmond Smithgall

Ellen Poleshuck

IN HONOR OF ALLISON HILL-EDGAR

Joan Desens and Simon Carr-Ellison

IN HONOR OF ALLISON AND KEYES HILL -EDGAR

Dr. and Mrs. Gilbert T. Vincent

Barbara H. Mulhern

IN HONOR OF JAMIE COY AND JUSTIN STEENSMA IN HONOR OF WENDY CURTIS

Anonymous

Bob and Sally Edgar

Todd Martin Adam and Ann Spence

IN HONOR OF AVA CLAIRE HUBERT

IN HONOR OF PETER DUCHIN

Kendall Hubert

IN HONOR OF MARY DUNKLE

IN HONOR OF MARY MARGARET KUHN

Laurence Keiser and Susan Accetta

Rita Emanuel and John Anagnost

IN HONOR OF ELIZABETH EVEILLARD

Ann and William Lieff Rachel Moore and Harry Dodson

IN HONOR OF BETTY EVEILLARD AND SHERWIN GOLDMAN

Faith E. Gay and Francesca Zambello Joan Desens and Simon Carr-Ellison Kristin Kovner de Guzmán

IN HONOR OF FAITH GAY

Van Broughton Ramsey and Robert Nelson

IN HONOR OF FAITH GAY AND FRANCESCA ZAMBELLO

Elsie and Thom Rhodes

IN HONOR OF THE GLIMMERGLASS DEVELOPMENT DEPARTMENT

Rita Emanuel and John Anagnost

IN HONOR OF MAY AND JAMES LEINHART

Ashley Remmers

IN HONOR OF ANDREA LYONS AND REBECCA GILL

Margarita Sears

IN HONOR OF ANDREW J. MARTIN-WEBER

Mr. and Mrs. David E. Farquhar

Willson Powell

IN HONOR OF JOAN SHKANE

Matthew and Elizabeth Worth

IN HONOR OF TED SNOWDON

Donald Eckert and Terry Foster Joe Godfrey Woody and Gregg Swain

IN HONOR OF TED SNOWDON AND DUFFY VIOLANTE

Irene R. Miller

IN HONOR OF ED AND MARY LEE TURNER

Anda Stelian and Douglas Glucroft

IN HONOR OF LAURA WETZEL IN HONOR OF DR. MARY ANNE WHELAN

IN HONOR OF SAGE MEHTA

Gordon and Sarah Faux

IN HONOR OF ERIKA MOORE AND RICHARD BACKER

Steven and Susan Gold

IN HONOR OF JOEL MORAIN IN HONOR OF BARBARA MULHERN

IN HONOR OF THE GLIMMERGLASS VOLUNTEER CHORUS

IN HONOR OF DR. LARRY SHANNON

IN HONOR OF BILL MCCOLL

Diane Deacon

IN HONOR OF THE GLIMMERGLASS FESTIVAL STAFF

Martin Ricciardi and Heidi Nicholson

IN HONOR OF ABBY RODD AND JOEL MORAIN

Rita Emanuel and John Anagnost

Albert Guditis and Corine Gibson

IN HONOR OF THE GLIMMERGLASS PERCUSSION SECTION

IN HONOR OF ABBY RODD

Beatrice Disman

Joan Desens and Simon Carr-Ellison

Elsie and Thom Rhodes

IN HONOR OF VICTOR POLESHUCK

IN HONOR OF ERIKA HALL

Eugenia and David Ames Barbara Glauber Michael Presser Paulette and Julian Rackow Jerry and Marisabel Raymond

Sylvia Epstein

IN HONOR OF ERIC OWENS

Drs. Hueldine Webb and Lester W. Blair

Anonymous

IN HONOR OF ROBERT NELSON

Nellie and Robert Gipson

IN HONOR OF ROBERT NELSON AND VAN BROUGHTON RAMSEY

Anonymous

IN HONOR OF MICHAEL YOUNG

The Raymond Han and Paul Kellogg Foundation Frank and Sidney Maas Kathleen Roberts Nancy Sills and Franklin Moss

IN HONOR OF MICHAEL YOUNG AND DEBRA RASKIN

Nina Brodsky and Alan Kleinman Marci Douglas and Lawrence Pollack David and Melanie Samuels

IN HONOR OF FRANCESCA ZAMBELLO

Van Broughton Ramsey and Robert Nelson

Rita Emanuel and John Anagnost William and Cynthia Goertemoeller Maria JR Goncalves Maureen Kuhn and Caralee Carney Alan and Linda Nelson and Family Eugene and Jean Stark Mr. and Mrs. Edward L . Turner III Debra A . Valentine and Jill V. Gardiner

85

MEMORIALS

Following are memorials received from May 10, 2023 to May 15, 2024.

IN MEMORY OF HELEN ANBINDER

IN MEMORY OF DR. BRUCE HARRIS

Paul Anbinder

Pamela T. Crane

Rita Emanuel and John Anagnost

IN MEMORY OF DAVID S. BAKER

IN MEMORY OF DONALD M. FENNER

IN MEMORY OF ELI AND DOROTHY HOCHMAN

Vera S. Baker

IN MEMORY OF JOHN AND PETER BLACK

Joan Desens and Simon Carr-Ellison Sue Drake Jamie A . Ferguson Abby Kreh Gibson William and Cynthia Goertemoeller The Guild of the Glimmerglass Festival Dianne Kay and Lawrence J. Ciano Ron and Melissa Komora Charles “Jud” Pannaci Grant and Charlotte Phillips Corinne M. Plummer Nicholas G. Russell Susan Sporer and Mary Cameli

IN MEMORY OF FRAN BLIVEN

IN MEMORY OF DON AND MARY ELLEN FENNER

IN MEMORY OF FRANK W. BARRIE (1950-2023)

Gerald and Grace Sun

IN MEMORY OF ERNEST J. BEAUDOIN

James S. Covey and James P. Zabawa

Anonymous

Dennis N. Banks Christine McNaughton Angie Richards

Rita Emanuel and John Anagnost

Dennis N. Banks Greg Buch Carla Connors and Timothy Hoekman Rita Emanuel and John Anagnost Susan Huxtable and Joseph Novitski Christine McNaughton Barbara H. Mulhern Dr. Charles F. and Ann-Marie Schwartz Julia A Scranton Thomas Simpson Cynthia and David Staley Monica Talarico

IN MEMORY OF KATHERINE F.C. CARY

IN MEMORY OF ROBERT L. FRIEDLANDER, MD

IN MEMORY OF BLUE

Van Broughton Ramsey and Robert Nelson Joan Desens and Simon Carr-Ellison

IN MEMORY OF ED BRAZINSKY

Katrina F.C. Cary and Linn Cary Mehta

Mary Lou, Suzan, and Rebecca Friedlander

IN MEMORY OF CAROL SAVAGE DAVIS

IN MEMORY OF DR. SHEP FRIEDMAN

Amanda Savage Mahoney

IN MEMORY OF MARY KAY DEVITA

Vincent T. DeVita MD

IN MEMORY OF DOLLY

Van Broughton Ramsey and Robert Nelson Joan Desens and Simon Carr-Ellison

IN MEMORY OF EDYTHE THURBER DONOVAN

Nena Donovan Levine

IN MEMORY OF DON DRAKE

Rita Emanuel and John Anagnost

IN MEMORY OF FAYE DUDDEN

Padma Kaimal and Andrew Rotter

86

IN MEMORY OF CONSTANTINE EVANS

In Memory of Shep Friedman by Family Richard J., Marisa and Jenna Sternberg

IN MEMORY OF WENDY FULLER-MORA

Jeffrey G. Mora

IN MEMORY OF LUCY “BUNNY ” HAMILTON

Felicia H. Blum Joan Desens and Simon Carr-Ellison The Fernleigh Foundation Krista Montesano-Peterson Barbara H. Mulhern

IN MEMORY OF KENNETH G. HANCE, JR.

Caryn and Jamie Reeves

Lisa Hochman

IN MEMORY OF HOWIE

Joan Desens and Simon Carr-Ellison

IN MEMORY OF CAROL J. HUDSON

Dr. John B. Hudson

IN MEMORY OF JOYCE MCCOY HUPPER

Craig and Susan Hupper

IN MEMORY OF GUNLEIF JACOBSEN

Rita Emanuel and John Anagnost

IN MEMORY OF GISELA C. JAKUBOWSKI

Michael Jakubowski

IN MEMORY OF RICHARD D. JOHNSON

Abby Kreh Gibson Isabelle L . Niles Nicholas G. Russell

IN MEMORY OF RICHARD AND HARRIETT JOHNSON

Dennis N. Banks Rita Emanuel and John Anagnost

IN MEMORY OF F. H. KULHAWY

Gloria Kulhawy

IN MEMORY OF HELEN KWAN

Anonymous

IN MEMORY OF DR. DAN LARKIN

Grace E. Larkin

IN MEMORY OF LOUIS LASAGNA

Mosie Lasagna

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 OF ROSLYN AND IRVING LEVINE

Rona Lucas

IN MEMORY OF ‘COUSIN PETER’ LOVELL

Susan Huxtable and Joseph Novitski

IN MEMORY OF NANCY M. MACLEOD

Joan Chrisler and Chris Bishop

IN MEMORY OF PETER MACRIS

Vera Talevi

IN MEMORY OF ANNE C. MAIER

Martha Maier

IN MEMORY OF F. X. MATT II

F. X. Matt II Memorial Fund

IN MEMORY OF AMANDA MAY

The Family of Amanda May

IN MEMORY OF VANCE RICHARDS

Angie Richards

IN MEMORY OF MAESTRO STEWART ROBERTSON

Dennis N. Banks Ruth Berry Susan and Brian Debronsky Joan Desens and Simon Carr-Ellison Suzan D. Friedlander Lisa Heilman- Cozzalio and Victor Cozzalio Kathleen Mulhern Johnson and Bruce Ray Johnson Barbara H. Mulhern Nicholas G. Russell

IN MEMORY OF ROBERT B. SCHLATHER

Pete and Christina Townsend and Family

IN MEMORY OF CLARE D. SCOTT

Susan Clare Scott

IN MEMORY OF WILL SEARS

Margarita Sears

IN MEMORY OF JOSEPH SEROKA

Jean Seroka

IN MEMORY OF CONRAD C. SHECK

IN MEMORY OF REED METZGER, MD

Conrad L . Sheck

IN MEMORY OF FRANCIS D. AND MARCELLA A. MORAN

Anonymous The Stack Family

Linda Metzger

Michael J. Moran

IN MEMORY OF HARRY R. MYERS

Thomas W. Myers

IN MEMORY OF PAUL R. OSTERMAN

Sue O’Neil

IN MEMORY OF FRANK PAXTON

Joyce Ball Paxton

IN MEMORY OF PEPPER

Van Broughton Ramsey and Robert Nelson Joan Desens and Simon Carr-Ellison

IN MEMORY OF DOUGLAS CAMERON PLUMMER

Abby Kreh Gibson Daniel M. Meyers

IN MEMORY OF EDWARD W. STACK

IN MEMORY OF CARMEL S. SULLIVAN

Charles, Anthony and Brian Sullivan

IN MEMORY OF DAVID SVAHN

Barbara H. Mulhern

IN MEMORY OF DAVID TATHAM

Cleota Reed

IN MEMORY OF MICHAEL WILLIS

Joan Desens and Simon Carr-Ellison Suzan D. Friedlander Ms. Jane Wylie Genth Barbara H. Mulhern Charles “Jud” Pannaci Nicholas G. Russell Carol S. Scheele Thomas Simpson

87 PHOTO: BRENT DELANOY

2024 SUMMER EXHIBITIONS

BOB DYLAN REMASTERED: Drawings from the Road May 25 – September 15

An exhibition celebrating yet another aspect of Bob Dylan’s creativity: his talents in visual art. Dylan started what is known as his “Never Ending Tour” in 1988. As he traveled through North America, Europe, and Asia, he sketched glimpses of his life on the road. Dylan made three different collections of his drawings by “remastering” these works, adding vivid watercolor and gouache to digital enlargements of the drawings to create a new, special edition set entitled “The Drawn Blank Series.”

Sponsored in part by The Clark Foundation and Mr. and Mrs. Thomas O. Putnam.

This exhibition was provided by Pan Art Connections.

Image created by Taina Väisänen/TAKT Oy & Janne Alhonpää/Ensemble Oy

Marc Hom: Re-Framed May 25 – September 2 Sponsored in part by Mr. and Mrs. Thomas O. Putnam, and Nellie and Robert Gipson.

Banksy: The Haight Street Rat May 18 – September 8

Sponsored in part by The Clark Foundation and Nellie and Robert Gipson.

Above: Miley Cyrus, singer-songwriter, New York City, USA, 2003 Right: Haight Street Rat, 2010, Banksy. Aerosol - stencil on redwood siding

AGES 19 AND UNDER ARE FREE 5798 ROUTE 80 | COOPERSTOWN, NY SUMMER HOURS: DAILY 10AM-5PM

F E N I M O R E A R T. O R G

2024-25 SEASON 2023 FALL SEASON

VICTOR DeRENZI, Artistic Director RICHARD RUSSELL, General Director

2024 WINTER OPERA FESTIVAL

THE HOBBIT™

CAVALLERIA RUSTICANA

Sarasota Youth Opera

AND

Dean Burry Nov. 9 & 10, 2024

THE BARBER OF SEVILLE Gioachino Rossini Feb. 22 – March 29, 2025

Pietro Mascagni

PAGLIACCI Ruggero Leoncavallo Feb. 15 – March 29, 2025

THE MUSIC OF GIUSEPPE VERDI Nov. 15 & 17, 2024

THE MARRIAGE OF FIGARO Wolfgang Amadeus Mozart March 8 – 28, 2025

STIFFELIO Giuseppe Verdi March 15 – 30, 2025

All performances in the original language with simultaneous translations above the stage.

SUBSCRIPTIONS ON SALE NOW! SINGLE TICKETS ON SALE SEPTEMBER 3, 2023

(941) 328-1300 | SARASOTAOPERA.ORG 61 N Pineapple Ave, Sarasota, FL 34236

OPERA LOVERS WEEKS

The ultimate opera immersion experience—see all four Sarasota Opera winter productions in as few as 3 days.

Available March 19-30, 2025.

SEASON 2024 LENOX, MASS. OU

TD

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SHAKE IT UP: A Shakespeare

OO

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the

Cabaret Directed by Allyn Burrows

by Lee Blessing

of

Directed by James Warwick

by William Shakespeare

JULY 2 – 7

Directed by Kate Kohler Amory

Tina Packer Playhouse

JUNE 21 – JULY 21

JULY 13 – AUGUST 18

Outdoors at the Roman Garden Theatre WO

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Outdoors at the Arthur S. Waldstein Amphitheatre

DP

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Islanders

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by Carey Crim

Directed by Regge Life

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Flight of the Monarch

RE

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An Enhanced Staged Reading

by Jim Frangione

Directed by Judy Braha

by William Shakespeare Directed by Tina Packer

JULY 25 – AUGUST 25 OU

TD

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AUGUST 21 – 25

AUGUST 3 – 25

Tina Packer Playhouse

Outdoors at the Arthur S. Waldstein Amphitheatre

Elayne P. Bernstein Theatre

WO

RT

RL

HE

ATE

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DP

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THREE TALL PERSIAN WOMEN

MIE

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by Awni Abdi-Bahri

A Celebration of Developing Works

Directed by Dalia Ashurina

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AUGUST 30 – OCTOBER 13 Elayne P. Bernstein Theatre

AUGUST 27 – 29

Outdoors at the Rose Footprint Theatre

70 Kemble Street Lenox, Massachusetts

DECEMBER 13 – 15 Elayne P. Bernstein Theatre

413.637.3353 SHAKESPEARE.ORG

W

JUNE 27–JULY 21 at The Colonial Theatre

in association with Bay Street Theater &

Geva Theatre Center

book by Mel Brooks and

Thomas Meehan music and lyrics by Mel Brooks

original direction and choreography by

Susan Stroman

music direction by Eric Svejcar choreography by Gerry McIntyre

directed by Stuart Ross

MAY 16–JUNE 1

JUNE 13–JULY 14

The Larry Vaber Stage

The Larry Vaber Stage

at The Unicorn Theatre

written by Amy Herzog

directed by Lizzie Gottlieb

featuring Evan Silverstein, Gabriela Torres, Maria Tucci & Allison Ye

at The Unicorn Theatre

written by Robert E. Sherwood directed by David Auburn movement by Isadora Wolfe

JULY 26–AUGUST 31

SEPTEMBER 26–OCTOBER 27

The Larry Vaber Stage

The Larry Vaber Stage

at The Unicorn Theatre

Rodgers & Hammerstein’s

at The Unicorn Theatre

based on the novels

Cannery Row & Sweet Thursday

by John Steinbeck directed by Kat Yen choreography by Isadora Wolfe music direction by Jacob Kerzner

written by Conor McPherson directed by Eric Hill

movement by Isadora Wolfe

(413) 997-4444 BerkshireTheatreGroup.org

111 South Street • Pittsfield, MA 83 East Main Street • Stockbridge, MA 6 East Street • Stockbridge, MA

Berkshire Opera Festival 2024 Season

Gounod’s

FAUST

TICKETS FROM $20

Saturday, August 24, 1:00 PM Tuesday, August 27, 7:30 PM Friday, August 30, 7:30 PM

Mahaiwe Performing Arts Center Great Barrington, MA Sung in French with projected English translations

It’s the original “Faustian bargain” — old Dr. Faust sells his soul to the devil to be young again. But his decision has devastating consequences. This story of tragedy and redemption is Gounod’s masterpiece, and it stands at the summit of French romantic opera.

Surging with memorable and timeless music, it has remained one of the world’s most popular operas ever since its premiere.

BERKSHIREOPERAFESTIVAL.ORG

Connect here to buy tickets and find out more about the season

JUNE 29 - AUGUST 4

THE PIRATES OF PENZANCE THE GIRL OF THE GOLDEN WEST STREET SCENE TICKETS ON SALE NOW

centralcityopera.org

ILLUSTRATION BY TINA ZELLMER

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E E G G A A T T S S R R YYOOUU . .

S S E I E I R R O O T T S S YYOOUURR DIAL M FOR MURDER

KING JAMES

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OCTOBER 16 – NOVEMBER 3, 2024

RODGERS & HAMMERSTEIN’S CINDERELLA

NOVEMBER 22 – JANUARY 5, 2025

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JANUARY 22 – FEBRUARY 9, 2025

315.443.3275 | SYRACUSESTAGE.ORG

FEBRUARY 26 – MARCH 16, 2025

SENSE AND SENSIBILITY

NS SUBSCRIPNTOIOW! ON SALE

SCAN TO LEARN MORE!

SUBSCRIPTION SEASON SEASON SUBSCRIPTION

APRIL 23 – MAY 11, 2025

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THE NATIONAL PASTIME JUNE 11 – 29, 2025

CAST MEMBERS IN THE SYRACUSE STAGE PRODUCTION OF “A CHRISTMAS CAROL.” CO-PRODUCED WITH THE SYRACUSE UNIVERSITY DEPARTMENT OF DRAMA. PHOTO BY MICHAEL DAVIS.

SEE OUR NEW EXHIBITION

THROUGH OCTOBER 31

OPEN DAILY THIS SUMMER, 10AM-5PM FARMERSMUSEUM.ORG 5775 ROUTE 80, COOPERSTOWN, NY

The Farmers’ Museum’s season is sponsored in part by New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

Photo by Jessica Guenther

ARKELL MUSEUM

American Art & Mohawk Valley History arkellmuseum.org

season 5 0

518.673.2314

Canajoharie – Thruway exit 29

Manchester Music Festival Philip Setzer, Artistic Director

www.mmfvt.org • 802-362-1956

JOIN US FOR OUR 50TH ANNIVERSARY YEAR JULY 11 – AUG 8, 2024 Jenny Lin, Executive Director

@mmfvt_1974

@mmfvt

TOURS & EVENTS

P R O F E S S I O N A L T H E AT E R O F T H E G R E AT W E S T E R N C AT S K I L L S FranklinStageCompany.org /FranklinStage

Union: workers who band together in a cohesive unit to raise the standard of living and lift the entire group up Local 380­443, AFM • Binghamton­Oneonta (607) 233­4523 www.umusiciansttcny.org

HYDE HALL MUSEUM 267 Glimmerglass State Park Rd, Cooperstown, NY 13326 HYDEHALL.ORG | 607-547-5098

24 Glen Avenue Cooperstown, NY 13326 lsrfcu.org (607) 547-5700

James Jordan Associates Architects

Educational, Commercial and Institutional Facilities 68 Main Street PO Box 111 Richfield Springs, NY 13439

Leatherstocking Credit Union is proud to support the Glimmerglass Festival.

Breakfast | Lunch | Takeout | Online Ordering sunflowerspringfield.com

Cheese Platters, Beer, Wine, Mimosas, Bloody Marys, Outdoor Seating open tues.-sat. 7:30am-2:30pm & sun. 8am-1pm; phone: (315) 985-8096

(315) 858-8000 JORDANUSA.COM Old & Rare Books, Manuscripts, and Ephemera Website: ​www.wilmonie.com​ Phone: 607-547-8363 800-322-2995

139 Main St. Cooperstown, NY 13326 E-mail: wilmonie@wilmonie.com

Chateau du Lac Bed and Breakfast

(845) 625-4823 http://chateaudulac.webstarts.com davidnash214@yahoo.com

open

year-round!

Music, dance, drama, opera, movies

& more!

great barrington, ma • mahaiwe.org 102

CAMPUS MAP

103

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.

104

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.

CREDITS Scenery and Props for The Pirates of Penzance are rented and owned by Atlanta Opera and Palm Beach Opera.

Scenery and Props for Pagliacci, La Calisto, Elizabeth Cree and Rumpelstiltskin and the Unlovable Children constructed by the Glimmerglass Festival Scene Shop.

Special thanks to Hans de Waal and Ed Bello, Jr for their help with the outdoor stage.

Special thanks to Brian Smith of Pacemaker Steel & Piping Company, and Mike George of George Lumber for scenic support.

Costumes for The Pirates of Penzance are rented and owned

by Opera Theater of St. Louis and Virginia Opera with builds by Dawson Tailors.

Costumes for Pagliacci were built by the Glimmerglass Festival Costume Shop.

Costumes for La Calisto were built by the Glimmerglass Festival Costume Shop, Ellen Danforth, and Tetsuo Tamanaha.

Rehearsal facilities have been made available by Cherry ValleySpringfield Central School, Cherry Valley, NY; Springfield Center Community Center, Springfield Center, NY; Grace Episcopal Church, Cherry Valley, NY; St. Mary’s Episcopal Church, Springfield Center, NY. The Glimmerglass Festival thanks Fenimore Chamber Orchestra Inc. for the use of their Hubbard Flemish single manual harpsichord during the 2024 season.

Special thanks to Glimmerglass Medical & Wellness, PLLC. for collaborating on and leading the inaugural season of the Glimmerglass Health & Wellness Program.

Auditing services are provided by Grossman St. Amour CPAs, PLLC. Legal council provided by Whiteman Osterman & Hanna LLP. Marketing consulting provided

by Neverdark Consulting and NUMAD Group.

PROGRAM BOOK

Editor: Kira DeLanoy Contributors/Proofreaders: Rob Ainsley Lauren Bailey Mark Campbell Whitney Campbell Mark Conchie Jay E. Condon Joan Desens Rebecca Gill Andrea Grant Jens Ibsen Lisa Lawrence Andrea Lyons Esther Nelson Wyatt Nyman Cecelia Raker Caryn Reeves Nick Richardson Abby Rodd Kelley Rourke Emmet Sellars Amy Tompkins Michael Young Design: Emily Falco Cover design by Emily Falco from a photo by Karli Cadel.

Costumes for Elizabeth Cree were built by the Glimmerglass Festival Costume Shop, Ellen Bredehoft, Grace Cochran Keenan, and Christopher Schramm.

Costumes for Rumpelstiltskin and the Unlovable Children were built by the Glimmerglass Festival Costume Shop.

Season lighting equipment provided by 4Wall, New York, NY. Workplace health and safety training programs provided by HealthWorks Occupational Health Services, Bassett Healthcare, Cooperstown, NY; and Otsego County Emergency Services, Cooperstown, NY.

105

U O Y L L I W W HO

50TH ANNIVERSARY SEASON JULY 11– AUGUST 17 2025 Puccini/Illica & Giacosa

TOSCA Sondheim/Sondheim & Lapine

SUNDAY IN THE PARK WITH GEORGE Stravinsky/Auden & Kallman

?

5 2 0 2 IN

THE RAKE’S PROGRESS Bermel/Cisneros

THE HOUSE ON MANGO STREET

World Premiere

RENEW YOUR PACKAGE TODAY Stop by or call the Box Office at (607) 547-2255 or visit glimmerglass.org New Ticket Packages on sale October 1, 2024 Single tickets on sale January 27, 2025