The Barber of Seville - Opera San Antonio

A Message from the Chairman Dear Friends, It is a great pleasure to welcome you back to the Tobin Center’s H-E-B Performance Hall for the final performances of OPERA San Antonio’s third season. We are proud to be the resident opera company of the Tobin Center and honored to have you with us as we continue our mission to provide the greater San Antonio community with very high level operatic productions. Gioachino Rossini’s The Barber of Seville ranks among the world’s most popular operas. We are delighted to have the collaboration of the San Antonio Symphony and Vlad Iftinca conducting, in OSA’s production of this very popular work.

None of our productions would be possible without the extraordinary generosity and support from our Board of Directors, the City’s Department of Arts and Culture, Bexar County, the Kronkosky Charitable Foundation, The Tobin Endowment, Russell Hill Rogers Fund for the Arts, H-E-B, Frost Bank Charitable Foundation, The Gorman Foundation, Charles Schwab, the Greehey Family Foundation, Martha-Ellen Tye Foundation, Texas Capital Bank, AT&T, Valero Energy Foundation, and the Ewing Halsell Foundation.

The set for our performance was originally designed by John Conklin and crafted at Glimmerglass Opera Festival, and we are proud to re-mount this incredible production with some of the nation’s most talented artists and production team members. We could not present productions of this caliber without their work, both behind the scenes and on the stage in front of you tonight. Our past productions were acclaimed nationally for their high artistic quality, and I am certain we will uphold this standard wtih The Barber of Seville.

OPERA San Antonio is committed to bringing you the best of opera, productions and artists; operas which you could enjoy in many major capitals throughout the world – but we are enjoying this tremendous art form right here in San Antonio! It is only with the support of our community that we can continue to grow and offer you the best of this very special combination of all the arts which can make us see, feel, and hear the world differently.

Our future will only be possible through your support. When considering your financial giving, please keep OSA on the top of your list. Please be generous, so that we can further our efforts to enrich our community with extremely high caliber performances and the best opera has to offer. We look forward to seeing you when we open our 4th season, on September 8 and 10, with our first Verdi opera – Shakespeare’s great tragic drama Macbeth.

With sincere appreciation,

Mel Weingart, Chairman

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A Message from the General and Artistic Director To our audience members and patrons, As the saying goes, time flies! My first season with the company rapidly approaches its conclusion, and we get to this point with what I am sure you will agree, is a magnificent rendition of Rossini’s masterpiece: Il Barbiere di Siviglia.

Maestro Vlad Iftinca has focused his interpretation on true Rossinian stylistic values and he will deliver, along with our star studded cast and E. Loren Meeker’s brilliant mise en scéne, a vibrant performance of the score. He has chosen to use Alberto Zedda’s 1969 Critical Edition of the piece, and he will be leading the San Antonio Symphony Orchestra with an instrumental establishment and a joy of playing true to the composer’s original intentions.

Alberto Zedda was the foremost expert in the repertoire of Gioachino Rossini. It is with great grief that I use the past tense as Maestro Zedda passed away exactly two months ago on the evening of this premiere. He was one of the most important mentors I have had along my career, every time I performed or produced a Rossini Opera I would consult directly with him. The conversations we had through the years are now archived in my memory as valuable treasures. This entire production is inspired by the spirit of tradition that Mo. Zedda left us as an Artistic inheritance.

Our young company produced full scale productions of operas by Richard Strauss, on its first season, and Giacomo Puccini, in its second. This season it was the turn of Bizet and Rossini with one thing in common: the Spanish city of Seville. Both operas take place in that fascinating city and with their contrasting stories, different historical periods, and diversity of styles we cover a great spectrum of emotions.

After living the intensity of a tragedy with Carmen at the start of our season, I invite you to rejoice in comedy and musical humour with the vocal virtuosity and fun in Il Barbiere di Siviglia.

I thank you for your continuous support and I look forward to seeing all of you again next season as we continue to bring to live the most precious jewels of the Operatic repertoire.

With sincere appreciation,

Enrique Carreón-Robledo, General and Artistic Director

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Enrique Carreรณn-Robledo General and Artistic Director

Board of Directors Mel Weingart, Chairman Blair Labatt, Vice Chairman John Asel, Treasurer Maryanne Guido, Secretary Sheldon Braverman Adriana Cisneros Eugene Dowdy A. Baker Duncan Mary Jane Ely Linda Hardberger James McCutcheon Eduardo Parra Marc Raney Lynn Stahl And Ex-Officio member Nancie Sutter, President of the Opera Guild of San Antonio

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OPERA San Antonio

2016-2017 Season Donors

Thank you!

In special recognition of our Box Seat Package patrons:

Almanza CPA Firm Art Legacy Texas, Adriana Cisneros Bracewell, Leslie Byrd C.H. Guenther, Dale Tremblay Chama Gaucha Brazilian Steakhouse

Conexer Energy Dykema Cox Smith, Dan Webster Fast Signs, Matt West H-E-B, Dya Campos Labatt Food Service, Blair Labatt, Al Silva Parra & Co, Eduardo Parra

Phyllis Browning Providence Commercial, Steve Garza Rackspace, Dan Goodgame Shelton-Valadez, Robert Valadez Texas Capital Bank, David Pope

The Board of Directors, artists, and staff of OPERA San Antonio gratefully acknowledge the generous support from our donors: (Donations received in the past year: April 15, 2016– April 15, 2017)

Founder’s Circle ($100,000 & above)

Kronkosky Charitable Foundation The Tobin Endowment Department of Culture and Creative Development Mr. and Mrs. Blair Labatt

Chairman’s Circle ($50,000 to $99,999)

Bexar County Commissioner’s Court Russell Hill Rogers Fund for the Arts

In-Kind

Blair Labatt, Al Silva and Labatt Food Supply Kendra Scott Texas Art Legacy, Adriana Cisneros

Underwriter ($25,000 to $49,999)

Frost Bank Charitable Foundation Elizabeth Huth Coates Foundation of 1992 H-E-B A. Baker Duncan Mr. and Mrs. Mel Weingart

Sponsor ($10,000 to $24,999)

Mr. and Mrs. John C. Asel AT&T Charles A. Forster The Gorman Foundation Martha-Ellen Tye Foundation The Ewing Halsell Foundation Terry Scott Al Silva C.H. Guenther & Son, Inc. USAA Tobin Theatre Arts Fund Texas Capital Bank

Patron ($5,000 to $9,999)

Braverman Family Charitable Foundation Asel & Associates The Fletcher Jones Foundation Mr. Cosmo Guido, in honor of Toni Guido Marie Halff Mr. James McCutcheon Mr. and Mrs. Gerald Schulz Semmes Foundation, Inc. Ruth Eilene Sullivan & Daniel J. Sullivan Family Charitable Foundation

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Benefactor ($2,500 to $4,999)

Aaron Asel J Cary Barton Ms. Marion Bell Dr. and Mrs. Barry Beller Mr. and Mrs. Michael L. Birnbaum Antoinette Browning Mr. and Mrs. Tony Canty Charles Schwab & Co. Flora Crichton Mr. and Mrs. Al Ely Joel K. Erben Mr. and Mrs. Tom C. Frost, Jr. Jeffery S. and Jana B. Galt Guido Brothers Contractors Hon. and Mrs. Phil Hardberger Drs. Joe Johnson and Karen Diaz Mr. and Mrs. Joseph B. Labatt Margaret Mitchell and Douglas Endsley The John and Florence Newman Foundation Eduardo and Elsi Parra Gail and Marc Raney Mr. Epitacio R. V. Resendez Shell Oil Company Matching Gifts Fdn. Dr. and Mrs. Marvin Smith, III Mr. frank Stenger Frank and Nancie Sutter Mr. and Mrs. Dan G. Webster Loren S. Weingart and Jon F. Mooney Mr. and Mrs. Raymond Welder, III

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

Mr. and Mrs. James C. Browning Leslie Byrd Mr. and Mrs. Charles H. DuVal Tom Edson Margaret A. Mitchell & Douglas B. Endsley Dr. James E. Griffin III Jim and Roxie Hayne Ms. Mary Jane Howe Mr. and Mrs. John C. Kerr Reggie and Rosario Laird Mr. Paul Montalvo Enertex Carolyn B. Sanders Rabbi Samuel and Lynn Stahl

Contributor ($500 to $999)

John B Abeyta Andersen Family Charitable Fund Betty R. Barnes Benson Family Fund Margaret Corning Boldrick Mr. James Calvert Mr. Lance W. Cameron Barbara S. Condos Drs. Joe Johnson and Karen Diaz Richard and Dianne Fetchick John Howard and Ruth Frederick Jim and Frances Garner Richard and Toni Goldsmith Mr. and Mrs. Thomas Guido Mr. Ronald Keller Mrs. Helen Kleberg Groves Cappy's Inc. La Fonda, inc.

Mr. and Mrs. Steve C. Lewis David and Kathleen Meriwether Andrea Pichler David Allan and Terri Ross Ms. Sue Storm Patrick H. Swearingen, Jr. Mrs. Janelle Tye Kathy Ward Steven Wegner and Antonio Gragera

Supporter ($250 to $499)

James and Tammy Andrews Graciela Arguelles Gayle Cagianut Antonio J. Cantafio Dr. and Mrs. William J. Chiego Dr. and Mrs. Alfonso Chiscano Mr. and Mrs. Raymond Cole Mark Covey and Kara Smoot Dr. Dick O. Creamer Eugene and Stacy Dowdy Mildred Ehrenberg James Griffin Mr. Robert D. Haggard Mr. and Mrs. Gary Hoeffler Mr. Ed B. Hymson Mr. and Mrs. Norman Idleberg Charles John Ajeya P. Joshi M.D. Martin and Frederica Kushner Ms. Grace Bramlette Labatt Dr. and Mrs. Carl Leafstedt Nell and Lawrence Lenderman

Anita and Jerry Lindner Bea and John McFadden Richard Morales Ms. Lillian Morris Phil Muth Dr. Carmen Perez Ms. Patricia Pratchett Mr. and Mrs. Ira Ross Mrs. Arthur A. Seeligson, Jr. Christie Smith Mrs. Margaret King Stanley Mr. and Mrs. Kenneth Sugarman Maj. Terry J. Tiemann Brig. Gen. (Ret.) Sue E. Turner Mr. and Mrs. Albert Vale Mr. Curtis T Vaughan III Mr. C. Thomas Wright

Friend ($100 to $249)

Almanza Business Group LLC Mr. Suhail Arastu Dr. Karen Balcom J. F. Berlein and Heather Diehl Mr. and Mrs. Bradford R. Breuer Mr. Richard V. Butler Ms. Donna Clark Cathy Dawson David Duttweiler Rev. James L. Empereur Juan Manuel Fernandez Bryan Tew and Lauren Guido Tew Mrs. Anne Hardinge Edward Herbold Emma Heymann Ryland Howard J. McLaughlin Robert Knapp Mrs. Mary Ann Kocurek Susan McReynolds Lt. Col. William A. Meder Dr. Joseph P. Murgo John Navarette Joseph-Maria Peralba Mr. and Mrs. David Phipps Michael and Julie Rey Mr. Leland Rudofsky Elva Ruiz Dr. John Sanchez Marianne and Dr. Morton Schreiber Ron Seeliger Wendi E Strong Brian and Tina Dr. Mark Welborn and Dr. Mary Wearden Francisco G. Zarate

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Background to Rossini’s The Barber of Seville In December of 1815, Duke Francesco Sforza-Cesarini, the owner-impresario of the Teatro di Torre Argentina, commissioned Rossini to compose a new opera for his theater. In the terms of the contract, Rossini agreed to compose an opera in five weeks, with the stipulation that he accept any libretto that the Duke gave him, adapt the music to the singers’ particular voices, attend rehearsals and conduct portions of the music. Because Duke SforzaCesarini had spent so much money on his other productions, he spent considerably less on this new one. Therefore, Rossini received only a small sum of money for his labors. The star of the production, Manuel Garcia, was paid three times the amount that Rossini received.

Duke Sforza-Cesarini then turned to Cesare Sterbini, a Vatican official and poet, to write the libretto for this new opera. The subject was to be drawn from Beaumarchais’ satirical play, Le Barbier de Seville, even though a very popular opera already existed on the same subject. Giovanni Paisiello had composed the original version, which made its premiere in St. Petersburg on September 26, 1782, and was later staged in Italian opera houses to great acclaim. Realizing that he might cause offense to the older composer, Rossini wrote Paisiello and explained to him why and how he was composing his version. Paisiello wrote back that he took no offense and wished the new opera well.

Sterbini promised a libretto in twelve days and submitted it to Rossini, who completed the first act on February 6, 1816 and delivered it to the orchestra’s concertmaster that day. Rehearsals were to begin on February 7, but during the night before tragedy struck: Duke Sforza-Cesarini, only 45 years old, died of a stroke. His successor, Nicola Ratti, and Rossini could not spend time to mourn, because the new opera had to be ready soon thereafter, since the part of the proceeds would be given to Sforza-Cesarini’s widow and children. Rossini composed the remainder of the opera quickly, borrowing music from five of his previous works and several other composers as well. From start to finish, this new work was composed in three weeks’ time.

Paisiello’s version of Il Barbiere di Siviglia was immensely popular, and Sterbini, Rossini and the new impresario Ratti were apprehensive of the public’s reaction to a new setting. To help set his work apart, Rossini called the new opera, Almaviva, or the Useless Precaution. An advertisement printed in the libretto contained this notice: "The comedy by Signor Beaumarchais entitled The Barber of Seville, or the Futile Precaution, is being presented in Rome, adapted as a dramma comico under the title of Almaviva, or the Useless Precaution, this being for the purpose of convincing the public fully of the sentiments of respect and veneration which animate the creator of the music of the present dramma toward the greatly celebrated Paisiello, who dealt with this subject under its original title.

"Called upon to take up the same difficult task, Rossini, wishing not to incur the accusation of a temerarious rivalry with the immortal composer who preceded him, expressly asked that The Barber Of Seville be reversified completely and that some new situations for musical pieces be added, and he further asked that these be to the modern theatrical taste, so much altered since the epoch in which the renowned wrote his music."

What Rossini had tried to prevent was not directed to Paisiello but to his fans. Paisiello had a rabid following of loyal devotees and viewed Rossini’s version of this esteemed opera as an open insult. On opening night, February 20, 1816, these same fans called the Paisiellisti , descended upon the Teatro Argentina to wreak havoc with the composer and the cast. Rossini entered the theater that evening dressed in a hazel, Spanish-style, gold-buttoned outfit. The crowd demonstrated its opinion with whistles, catcalls and laughter. Such behavior would set the tone for the rest of the evening.

What Rossini had tried to prevent was not directed to Paisiello but to his fans. Paisiello had a rabid following of loyal devotees and viewed Rossini’s version of this esteemed opera as an open insult. On opening night, February 20, 1816, these same fans called the Paisiellisti, descended upon the Teatro Argentina to wreak havoc with the composer and the cast. Rossini entered the theater that evening dressed in a hazel, Spanish-style, gold-buttoned outfit. The crowd demonstrated its opinion with whistles, catcalls and laughter. Such behavior would set the tone for the rest of the evening.

When the singer who played Basilio, Zenobio Vitarelli, entered the stage in highly original makeup, he became momentarily distracted by the hoots and whistles and fell over a stage trapdoor, scraped his face badly and almost broke his nose. Bleeding heavily, he pulled out a handkerchief and sang anyway, attempting to staunch the flow.

As a result, Vitarelli had to position himself in odd ways, which set the audience off in a whole new round of disapproving noises and laughter.

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OPERA San Antonio

Shortly thereafter, a cat wandered on the stage and mingled with the performers. Luigi Zamboni, who played the Figaro character, chased it off one side of the stage only for it to appear on the opposite, whereupon the cat leaped dramatically into Bartolommeo Botticelli’s (who played Dr. Bartolo) arms. Then, the cat jumped down and began to tease both Geltrude Righetti (Rosina) and Elisabetta Loyselet, who were afraid of being scratched. Only when the policeman character approached the animal with a sword did it leave, but not before the entire audience called to it and imitated its meows. By now the audience was in a near riot. The singers could hardly concentrate on their performances as the crowd created a constant flow of noise. The worst came when Figaro and Rosina sang their beautiful duet, which was all but drowned out by the audience. After the first act was over, Rossini applauded the performers for holding themselves together admirably and their utmost professionalism. Then he left.

Rossini created a weak excuse, claimed he was ill, went home and promised never to leave his bed. On the next night, the second performance of Almaviva, the public decided that it had behaved unfairly and chose to intently listen to this new work. Everyone was very silent, and realized that they were watching a new masterpiece. Thunderous applause broke out, much to the joy of the cast. But the creator of this work was still missing, pretending to be recuperating from his illness and feigning sleep. Several friends of Rossini’s went to his home and roused him, elated that now his work had been very successful. Subsequent performances only increased the appreciation of the audience.

In June of 1816, Paisiello died. Rossini felt that he could now respectfully change the name of his opera Almaviva back to Il Barbiere di Siviglia without public disapproval. In September, Il Barbiere di Siviglia appeared in Bologna, where it was billed under its present title, and later on in the year moved to Florence. In the next two years, it moved throughout Italy and abroad. By the time it appeared again in Rome, five years later, thousands of performances graced hundreds of stages throughout the world. Today, The Barber of Seville remains one the most popular and frequently performed operas with companies all around the world.

Background provided courtesy of the Met Opera Guild (http://www.metguild.org/)

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Synopsis ACT I. Count Almaviva comes in disguise to the house of Dr. Bartolo to serenade Rosina ("Ecco ridente"). Dr. Bartolo keeps Rosina confined to the house. Almaviva pays the musicians and decides to wait until daylight in the hope of seeing her. Figaro the barber, who has access to the houses in Seville and knows the town's secrets and scandals, arrives and describes his busy life ("Largo al factotum"). The Count sings another serenade to Rosina, calling himself Lindoro, a poor student. Figaro devises a plan: the Count will disguise himself as a drunken soldier quartered at Dr. Bartolo's house to gain access to Rosina, whom Dr. Bartolo intends to marry. The Count is excited about this plan, while Figaro looks forward to a nice cash payoff from the grateful Count ("All'idea di quel metallo").

Rosina reflects on the voice that has enchanted her heart and resolves to use her considerable wiles to meet Lindoro ("Una voce poco fa"). Dr. Bartolo appears with Rosina's music master, Don Basilio, who warns him that Count Almaviva, Rosina's admirer, has been seen in Seville. Dr. Bartolo decides to marry Rosina immediately. Basilio praises slander as the most effective means of getting rid of Almaviva ("La calunnia").

Figaro overhears the plot, warns Rosina and promises to deliver a letter from her to Lindoro ("Dunque io son"). Suspicious of Rosina, Dr. Bartolo tries to prove that she has written a letter, but she outwits him at every turn. Dr. Bartolo is angry at her defiance and warns her not to trifle with him ("A un dottor della mia sorte").

Almaviva arrives, disguised as a drunken soldier, and passes Rosina a note, which she manages to hide from Dr. Bartolo. The old man argues that he has exemption from billeting soldiers. Figaro announces that a crowd has gathered in the street, curious about all the noise coming from inside the house. The civil guard bursts in to arrest the drunken soldier. The Count reveals his true identity to the captain and is instantly released. All but Figaro are amazed by this turn of events, and everyone comments on the crazy events of the morning.

ACT II. Dr. Bartolo suspects that the "drunken soldier" was a spy planted by Almaviva. The Count returns, this time disguised as Don Alonso, a music teacher and student of Don Basilio ("Pace e gioia sia con voi"). He has come to give Rosina her music lesson in place of Basilio who, he says, is ill at home. "Don Alonso" also tells Dr. Bartolo that he is staying at the same inn as Almaviva and has found the letter from Rosina. He offers to tell Rosina that it was given to him by another woman, proving that Lindoro is toying with her on Almaviva's behalf. This convinces Dr. Bartolo that "Don Alonso" is a true student of Don Basilio, and he allows him to give Rosina her music lesson ("Contro un cor").

Figaro arrives to give Dr. Bartolo his shave and manages to snatch the key that opens the balcony shutters.

The shaving is about to begin when Basilio shows up looking perfectly healthy. The Count, Rosina and Figaro convince Basilio, with repeated assurances and a quick bribe, that he is sick with scarlet fever ("Buona sera, mio signore"). Basilio leaves for home, confused but richer. The shaving begins, sufficiently distracting Dr. Bartolo from hearing Almaviva plotting with Rosina to elope that night. Dr. Bartolo hears the phrase "my disguise" and furiously realizes he has been tricked again.

Everyone leaves.

The maid Berta comments on the crazy household ("Il vecchiotto cerca moglie").

Basilio is summoned and told to bring a notary, so Dr. Bartolo can marry Rosina that very evening. Dr. Bartolo then shows Rosina her letter to Lindoro. Heartbroken and convinced that she has been deceived, she agrees to marry Dr. Bartolo and tells him of the plan to elope with Lindoro. A storm passes. Figaro and the Count climb over the wall. Rosina is furious until Almaviva reveals his true identity. Basilio arrives with the notary. Given a choice between a valuable ring and a couple of bullets in the head, Basilio agrees to be a witness to the marriage of Rosina and Almaviva. Dr. Bartolo arrives with soldiers, but it is too late. Count Almaviva explains to Dr. Bartolo that it is useless to protest ("Cessa di piĂš resistere"), and Dr. Bartolo accepts that he has been beaten. Figaro, Rosina and the Count celebrate their good fortune.

Synopsis provided courtesy of the Met Opera Guild (http://www.metguild.org/)

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OPERA San Antonio

Enrique Carreón-Robledo General and Artistic Director

PRESENTS Giachino Rossini's

The Barber of Seville

Libretto by Cesare Sterbini Based on Le Barbier de Séville by Pierre Beaumarchais Premiere February 20, 1816, Teatro Argentina in Rome Saturday May 6, 2017 7:30pm │ Sunday May 7, 2017 2:30pm

H-E-B Performance Hall │ Tobin Center for the Performing Arts Stage Director E. Loren Meeker

Conductor Vlad Iftinca

Assistant Director/Choreographer Felicity Stiverson

Recitativo Accompaniment Caren Levine

Lighting Designer Robert Denton

Chorus Master/Assistant Conductor Noam Aviel

Production Stage Manager Darlene Miyakawa

Wig and Make-up Designer Stephanie Williams

Technical Director Pat Smith

Wardrobe Master Raul McGinnes, SRO Associates

Pre-Performance Lecture Dr. Kevin Salfen Costumes Designed by C. David Higgins Costumes are owned by Indiana University Scenery designed by John Conklin The Scenery was originally created for Glimmerglass Festival Glimmerglass Festival's Production, originally staged by Leon Major Projected titles design by Kelley Rourke 14

OPERA San Antonio

The Barber of Seville Cast

Figaro Luis Ledesma Rosina Sarah Coburn Count Almaviva Andrew Owens Bartolo Jake Gardner Basilio Ashraf Sewailam Berta Claudia Chapa Fiorello Rob SaldaĂąa Ambrogio Andrew Thornton The Barber of Seville Chorus John Hyland Jonathan Kennon John Navarrete David Silverstein Thomas Soto

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Eric Copeland Mark Covey Kirk Murrell Adrian Soliz

Creighton Brown Manuel Canales Gid De La Rosa Stephan Lemmer Elijah Rangel Andrew Ward

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Music Director, Sebastian Lang-Lessing

Associate Conductor, Akiko Fujimoto │ Music Director Emeritus, Christopher Wilkins Violin I

Bass

Eric Gratz, Elizabeth H. Coates Concertmaster Chair Bonnie Terry, Associate Concertmaster Sarah Silver, Assistant Concertmaster Joan Christenson Beth Girko* Philip Johnson Bassam Nashawati Anastasia Parker* Laura Scalzo Renia Shterenberg* Andrew Small* Craig Sorgi

Thomas Huckaby, Principal David Milburn, Assistant Principal Nicholas Browne James Chudnow Zlatan Redzic Steve Zeserman

Violin II

Julie Luker

Mary Ellen Goree, Principal Karen Stiles, Assistant Principal Cleo Aufderhaar Angela Caporale * Beth Johnson* Judy Levine-Holley Sayaka Okada * Eric Siu* Aimee Toomes Lopez* Amy Venticinque* Stephanie Teply Westney*

Horn

Adedeji Ogunfolu**, Abraham M. Sidorsky Principal Chair

Peter Rubins Colin Bianchi , Associate Principal Dana Cullen Jeff Garza 1

Flute

Trumpet

Mark Teplitsky, Principal Jean Robinson Julie Luker, Associate Principal

Piccolo Oboe

John Carroll, Principal Lauren Eberhart Daniel Taubenheim, Assistant Principal

Trombone

Steve Peterson, Principal Patrick Montgomery, Assistant Principal Ilan Morgenstern

Paul Lueders, Ewing Halsell Foundation Principal Chair Hideaki Okada, Assistant Principal Jennifer Berg

Bass Trombone

Ilan Morgenstern

English Horn

Tuba

Jennifer Berg, Sarah Knapp Kidd English Horn Chair

Viola

Allyson Dawkins, Col. and Mrs. Ran Watson Principal Chair Emily Watkins Freudigman, Alice Viola Winters Eidson Assistant Principal Chair

Marisa Bushman Kayleigh Miller Amy Pikler Terry Stolow Daniel Wang

Lee Hipp, Principal

Clarinet

Timpani

Ilya Shterenberg, Principal Stephanie Key, Assistant Principal Rodney Wollam

Peter Flamm, Principal Riely Francis, Assistant Principal

E-flat Clarinet

Riely Francis, Principal David Reinecke, Assistant Principal Bill Patterson

Stephanie Key

Bass Clarinet

Percussion

Rodney Wollam

Harp

Rachel Ferris, Principal

Bassoon

Cello

Kenneth Freudigman, Mary Rohe Principal Chair David Mollenauer, Assistant Principal Barbara George Holgen Gjoni Morgen Johnson Qizhen Liu Ryan Murphy

Sharon Kuster, Principal Brian Petkovich, Assistant Principal Ron Noble

Librarian

Greg Vaught, Principal Allison Bates, Associate Librarian

Contrabassoon

Musician Emeritus

Ron Noble

Mark Ackerman, oboe Harvey Biskin, timpani

Stage & Operations Manager, DeAnna D’Egidio │ Orchestra Personnel Manager, Robert Grossman *

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Voluntarily rotates between violin sections│ Temporary│1 On Leave│** Acting

OPERA San Antonio

Production Credits

Chorus Rehearsal Accompanist Mark Alexander

Assistant Lighting Designer Jon Ontiveros

Assistant Stage Manager Cressa Amundsen

Assistant Stage Manager 2 Jorge Loweree

Wardrobe Assistant Floyd Williams

Wig and Make-Up Assistants Charles Douglas

Gianna Hernandez

Melody Pereda

Production Assistants Karen Arredondo

Shannon Bishop

Prop Master Karen Arredondo

Supertitles Akiko Fujimoto

Company Photographer Marty Sohl Marketing, Advertising and Public Relations by Tobin Center for the Performing Arts Program Advertising by Traveling Blender, Louis Doucette Graphic Design by Full Nelson Productions, Jennifer Nelson Artist Transportation and Hospitality by Opera Guild of San Antonio, Joan Miller Special Thanks The Radius Center Opera Guild of San Antonio San Antonio Public Library Vicki Ash Trinity University, ALE Program Dr. Carl Leafstedt University of Texas San Antonio Dr. Bill McCrary

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SRO Associates, Inc. The Tobin Center for the Performing Arts and all the staff and volunteers University of the Incarnate Word Dr. Kevin Salfen Stephen Colgrove – Technical Assistance

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Artist Biographies Luis Ledesma (Figaro)

Baritone (Philadelphia, PA) Recent: Title role in Verdi’s Macbeth, Palm Beach Opera; Alvaro in Florencia en el Amazonas, New York City Opera. A native of Mexico City, Ledesma’s many international engagements have included Tonio in Pagliacci and Alfio in Cavalleria rusticana with the Hungarian State Opera in Budapest; Escamillo in Carmen with Teatro Municipal de Santiago, Ópera de Bellas Artes in Mexico, Oper Graz, and the Savonlinna Opera Festival in Finland; also Alphonse in Donizetti’s La favorite with the Gran Teatre del Liceu in Barcelona.

Upcoming: Sharpless in Madama Butterfly with Palm Beach Opera; concert appearance as soloist with The Philadelphia Orchestra.

Sarah Coburn (Rosina)

Soprano (Tulsa, OK) Recent: Marie in La Fille du Régiment, Seattle Opera; Gilda in Arizona Opera’s Rigoletto; Lucia in Glimmerglass Opera’s Lucie de Lammermoor; title roles in Lakmé and Lucia di Lammermoor, both for Tulsa Opera; Rosina in Barber of Seville, Los Angeles Opera; Sister Constance in Poulenc’s Dialogue of the Carmelites, New York City Opera. A recipient of awards from the Richard Tucker Foundation and the George London Foundation, Ms. Coburn was a National Grand Finalist in the 2001 Metropolitan Opera National Council Auditions.

Upcoming: Konstanze in Mozart’s Abduction from the Seraglio, Atlanta Opera; summer appearances at the Tivoli Festival with tenor Lawrence Brownlee and the Copenhagen Philharmonic.

Andrew Owens (Count Almaviva)

Tenor (Philadelphia, PA) Recent: Count Almaviva, Florida Grand Opera and North Carolina Opera; title role in Rossini’s Aureliano in Palmira, Caramoor Festival; Tamino in Die Zauberflöte, Theater Magdeburg; Beethoven’s Ninth Symphony, Bamberg Symphony Orchestra.

Upcoming: Count Almaviva, Seattle Opera.

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OPERA San Antonio

Jake Gardner (Bartolo)

Bass-Baritone (Binghamton, NY) Recent: Sharpless in Madama Butterfly, his signature role, for New York City Opera, Florida Grand Opera, Arizona Opera, Opera Cleveland, New Orleans Opera, and Palm Beach Opera. Other recent roles include Judge Turpin in Sweeney Todd (Houston Grand Opera, Virginia Opera, and Eugene Opera); productions of Manon Lescaut as Geronte de Ravoir with Washington National Opera and as Monsieur de Brétigny with Lyric Opera of Chicago; Baron Zeta in The Merry Widow with Los Angeles Opera; and the title role in Die Fliegende Holländer with Piedmont Opera.

Ashraf Sewailam (Don Basilio)

Bass (New York, NY; Cairo, Egypt) Recent: Mustafa in Rossini’s L’Italiana in Algeri, Portland Opera; Alidoro in La Cenerentola, San Diego Opera; and Beethoven’s Mass in C major with the Cairo Symphony. He has performed regularly with Opera Colorado as a house favorite, including performances as Count Ceprano in Verdi’s Rigoletto and Bartolo in Le nozze di Figaro. A native of Egypt who trained to be an architect, he completed his vocal and academic studies at the University of Colorado at Boulder.

Upcoming: Stage Director, The Cunning Little Vixen, Dell’Arte Opera Ensemble, New York City.

Claudia Chapa (Berta - Dr. Bartolo’s Housekeeper)

Mezzo-Soprano (Austin, TX) Recent: Azucena in Il Trovatore, Winter Opera St. Louis and Opera in Williamsburg; Madame Flora in The Medium and the Witch in Hänsel und Gretel, both for Opera in the Heights. A native of Mexico, Chapa received her training at UT-Austin. She is also an alumna of young artist programs at Des Moines Metro Opera, the International Vocal Arts Institute, and the Glimmerglass Festival. Her professional operatic debut was with Austin Lyric Opera in 2011.

Upcoming: Azucena in Il Trovatore, St. Petersburg Opera Company, Verdi’s Requiem with the Alabama Symphony. w w w. o p e ra s a . o r g

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Rob Saldaña (Fiorello, Count Almaviva’s servant)

Baritone (Manila, Philippines) Recent: Three-time TEXOMA NATS finalist; national finalist in 2014 Classical Singer Competition. An alumnus of The University of Texas at San Antonio, Saldaña performed in scenes from La Traviata, Barber of Seville, and The Magic Flute with the Crittenden Opera Studio in Washington, DC.

Andrew Thornton (Ambrogio - Dr. Bartolo’s Servant)

Actor (San Antonio, TX) Andrew Thornton, a San Antonian, is delighted to be part of this producion.

He most recently directed and co-created a devised theatre piece, Near-Death Experiences, with students from Northwest Vista College.

In February, Andrew directed and played the Narrator in Jean-Pierre Arnaud's adaptation of Wagner's Tristan und Isolde, a joint production of the Chamber Orchestra of San Antonio and OPERA San Antonio, at the Tobin Center. And before that, he appeared in Carmen as The Guide. When he's not acting or directing, Andrew can be found teaching private acting lessons with his company, River City Actors Studio.

Andrew Ward (An Officer)

Bass-Baritone (Austin, TX) Recent: Ward has sung in the chorus for Austin Opera since 2015. A native of Austin, he was selected to sing with the 105 Voices of History National Concert Choir (a choir representing the 105 officially recognized Historically Black Colleges and Universities) at the Kennedy Center for the Performing Arts in Washington, D.C. He received his BM in Music Education from Huston-Tillotson University in 2012. He recently completed his tenth year of service as Technical Director for Shoreline Church in Austin.

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OPERA San Antonio

Creative Team Vlad Iftinca

Conductor (Iasi, Romania) Iftinca is currently part of the 2016-2017 Metropolitan Opera assistant conductor roster in New York City. Between 2007-2014, he held the position of staff coach in the Lindemann Young Artists Development Program at the Metropolitan Opera. Born in Romania, he received his education at the Reina Sofia School of Music in Madrid and The Juilliard School. As a conductor he has led performances at the Frankfurt Oper, Romanian National Opera of Iasi and the Opera on the Avalon Festival, among others. Mr. Iftinca has collaborated in recital with distinguished artists such as Dame Kiri Te Kanawa, Deborah Voigt, Thomas Hampson, and Hei Kyung Hong. Future conducting engagements include Lucia di Lammermoor at Deutsche Oper Am Rhein, La Cenerentola at Frankfurt Oper and Gianni Schicchi in Mexico City.

E. Loren Meeker

Stage Director (Ashland, MA) Meeker is a stage director and choreographer whose work has been seen at leading companies across the United States. Recent directing credits include Die Fledermaus (Lyric Opera of Chicago, San Francisco Opera, New Orleans Opera), La Bohème (San Diego Opera), Manon Lescaut (Singapore Lyric Opera), Manon (Teatro Colón), and Madama Butterfly (Opera North Carolina). In addition, she has directed five world premieres for Houston Grand Opera. Her work as a choreographer has been seen at Glimmerglass Opera (Orpheus in the Underworld), Houston Grand Opera (Le Nozze di Figaro, Don Giovanni), and Opera Boston (La Vie Parisienne). She is collaborating with Francesca Zambello on several projects in 2017 and 2018. She attended Boston University where she received her BFA in Theatre Studies.

Felicity Stiverson

Choreographer/Assistant Director (Annapolis, MD) As a choreographer and assistant director/choreographer, Stiverson has staged productions of West Side Story (The Harbor Lights Theater Company), The Flying Dutchman (Virginia Opera), A Midsummer Night’s Dream (Geva Theatre), Grease (Kent State University), and Annie Get Your Gun (Glimmerglass Festival). She has danced on Boardwalk Empire, the Today Show, and 30 Rock, and played the role of Ashley the Wiccan in the movie Baby Mama. Her upcoming projects include choreographing Tenderly and the musical Really Rosie, both at Weston Playhouse in Vermont. w w w. o p e ra s a . o r g

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Darlene Miyakawa

Production Stage Manager (Los Angeles, CA) Miyakawa recently rejoined the field as a freelance Stage Manager after leaving Long Beach Opera where she was the Director of Production for 10 seasons, producing primary contemporary works (Nixon in China, The House of Usher, Queenie Pie, Marilyn Forever) or site-specific pieces (Orpheus & Eurydice in a pool, The Diary of Anne Frank in parking garage, Maria de Buenos Aires in a historic theater). Recent stage management credits include Opera Memphis (The Marriage of Figaro, Midtown Opera Festival), Tri-Cities Opera (L'heure Espagnole/Brettl-Lieder), New York City Opera (Fallujah), and the Los Angeles Philharmonic (Theatre of the World).

Noam Aviel

Chorus Master/Assistant Conductor (Tel Mond, Israel) Aviel was appointed Assistant Conductor at OPERA San Antonio in 2016.

Earlier this year she conducted the San Antonio Symphony in several performances of Young People’s Concerts. She recently graduated with a Master of Music in Orchestral Conducting from Illinois State University; she also has two Bachelor of Music degrees in Voice Performance and Orchestral Conducting from Tel-Aviv University in Israel. She was Music Director and Conductor of the opera A Dinner Engagement by Lennox Berkeley as part of the Illinois Festival Opera, and conducted performances of the ISU production of Street Scene by Kurt Weill. She participated as a Conducting Fellow at the 2015 Eastern Music Festival in North Carolina where she worked closely with Maestro Gerard Schwarz.

Robert Denton

Lighting Designer (New York, NY) is thrilled to be lighting is first show at Opera San Antonio. Rob’s recent design credits include Thoroughly Modern Millie (Goodspeed Musical) Sunset Baby (Theaterworks); Die Fledermaus (New Orleans Opera); A Christmas Carol and All The Way (Repertory Theatre of St. Louis); White Guy on the Bus (59E59); War of the Roses (Delaware Theatre Company); 42nd Street, Young Frankenstein, Fiddler on the Roof and Into the Woods (The Muny). Some of Rob’s upcoming designs include Carmen (Madison Opera); The Daughter of the Regiment (The Atlanta Opera); A Funny Thing Happened on the Way to the Forum, A Chorus Line and The Unsinkable Molly Brown (The Muny). www.rdentex.com

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OPERA San Antonio

John Patrick Smith

Technical Director (San Antonio, TX) Smith, a native San Antonian, has been involved in theater in the Alamo City for over a decade. He holds BS in Biology from UTSA. Formerly the Technical Director at The Playhouse San Antonio, Smith has done freelance design and technician work at various theaters around the city, including The Vex, The Harlequin, and The Overtime.

Raul McGinnes, SRO Associates

Wardrobe Master (San Antonio, TX) McGinnis manages the costume shop in design and fabrication for SRO Associates, an entertainment production company. He is Wardrobe Master for Ballet San Antonio; recent design credits for that company include The Nutcracker, Don Quixote, Coppélia, Dracula and, most recently, The Sleeping Beauty. Past projects and specialty works in design and fabrication include SeaLion High for SeaWorld, San Antonio, as well as Candide, L’enfant et les Sortilèges and Bon Appétit for Emerald City Opera, Steamboat Springs, Colorado.

Stephanie Williams

Wig and Makeup Designer (Huffman, TX) After graduating with a B.A. from Stephen F. Austin State University, Williams began her operatic production career with The Dallas Opera, where she worked from 2008-13. She relocated to central Texas in 2013 and has worked regularly with Opera San Antonio since that time. She does periodical work for Santa Fe Opera and Opera Philadelphia. Along with her operatic work, she also enjoys designing for her first love, the theater. She has been the resident designer for Pegasus Theatre since 2013.

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OPERA San Antonio Staff General and Artistic Director Enrique Carreón-Robledo Director of Administration and Education Rhanda Luna Artistic and Production Coordinator Lydia Benedict Administrative and Conducting Assistant Noam Aviel Trinity University Intern Matthew Reynolds OPERA San Antonio Volunteer Kristina Jones

OPERA San Antonio is supported by The City of San Antonio’s Department for Arts and Culture

The Gorman Foundation

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OPERA San Antonio | 417 8th Street | San Antonio, Texas 78215 | (210) 673-7270

OPERA San Antonio