Connecting People With the Arts
The City of Raleigh Arts Commission nurtures creativity and enriches our community by championing the arts in Raleigh:
• Partnering with local cultural organizations
• Supporting arts programming
• Advocating for arts investment
• Presenting art exhibitions, public art and special events
Vinculando al Pueblo con las Artes
La Comisión de Artes de la Ciudad de Raleigh sustenta la creatividad y enriquece a nuestra comunidad, favoreciendo las artes en Raleigh por medio de:
• La asociación con organizaciones culturales locales
• El apoyo de la programación de las artes
• El fomento de la inversión en el arte
• La presentación de exposiciones artísticas, arte público y eventos especiales
2023-2024
Raleigh Arts Partners
• African American Cultural Festival
• Animazement
• Arts Access
• Arts Together
• Artspace
• Artsplosure
• Burning Coal Theatre Company
• CAM Raleigh
• Carolina Ballet
• Chamber Music Raleigh
• Community Music School
• Cultural Voice of NC
• Diamante Arts & Cultural Center
• El Pueblo
• The Justice Theater Project
• National Women’s Theatre Festival
• The NC Chamber Music Institute
• NC Master Chorale
• NC Museum of History
• NC Opera
• NC State LIVE
• NC State University Theatre
• NC Symphony
• NC Theatre
• North Raleigh Arts & Creative Theatre
• Nuv Yug Cultural Organization
• Performance Edge
• PineCone
• Pure Life Theatre Company
• Raleigh Civic Symphony Association
• Raleigh Little Theatre
• The Raleigh Ringers
• Raleigh Youth Choir
• ShopSpace
• Theatre in the Park
• Theatre Raleigh
• Triangle Youth Music
• VAE Raleigh
OUR MISSION
To enhance the cultural life of North Carolina by presenting artistically significant opera productions of the highest quality, strengthening and expanding audiences for opera in the region, and providing regional artists opportunities to participate in operatic productions and events.
2024-2025 BOARD OF DIRECTORS
Nancy Hablutzel, Chair
Jean Wozencraft-Ornellas, Vice-Chair
John Lunsford, Treasurer
Carl Nold, Secretary
Joel Adams
Amanda Bambrick
Yvonne Bryant
Kelvin Currie
Paul Fomberg
Bryan Gilliam
James Gulick
James Hargrove
Douglas Holbrook
Valerie Johnson
C. Thomas Kunz, in memoriam (1949-2024)
Patricia McWaters
Florence Peacock
Ralph Roberson
William Rustin
Richard Sarles
Nerre Shuriah
Cathy Stuart
Rosemarie Sweeney
Shohreh Taavoni
Brigette Wilds
James Romano: 2010-2012
Stephen Prystowsky: 2012-2014
C. Thomas Kunz: 2014-2018
William Rustin: 2018-2019
James Gulick: 2019-2021
Ralph Roberson: 2021-2023
PAST CHAIRS OF NORTH CAROLINA OPERA BOARD OF DIRECTORS
Giuseppe Verdi’s Ernani is, in some ways, Italian opera boiled down to its essence: male rivals (in this case three!) tunefully threaten each other in their competition for the soprano, who sings gorgeous, arcing dramatic lines, fleet coloratura, and plenty of high Cs. We couldn’t be more delighted to be presenting this gem of early nineteenth century Italian opera in its North Carolina premiere.
In this performance we both greet returning friends and welcome new ones. Soprano Leah Crocetto, baritone Andrew Manea, and conductor Jakob Lehmann have all performed with North Carolina Opera in recent seasons to great acclaim. Joining us for the first time are Italian tenor Giorgio Berrugi in the title role, and Austrian bass Anthony Robin Schneider. With this performance we say a fond farewell to our longtime chorus master, Scott MacLeod. Scott has done a tremendous job leading the North Carolina Opera Chorus over the past eleven years through dozens of works by seventeen different composers. Thank you, Scott! We wish you all the best in your new position at the University of Illinois Urbana-Champaign.
We hope you can join us for our remaining programs this season. Next month we have the powerful play with music The Passion of Mary Cardwell Dawson from playwright Sandra Seaton and composer Carlos Simon. World opera star Denyce Graves stars in the title role, the North Carolinian who, faced with segregation, founded the National Negro Opera Company to give performance opportunities to African-American artists. In January and February we present the local premiere of composer Daniel Catán’s lush and beautiful Florencia en al Amazonas, starring Vanessa Vasquez, who was such a memorable Violetta for us in last season’s La Traviata. Our annual Gala is on March 15th; and our season closes in April with Mozart’s The Marriage of Figaro. We have great pieces from all over operatic history this season, and will be very happy to see you at all of them.
This production of Ernani is generously sponsored by Ross Lampe, Jr. Our continued presentation of first class operatic performances depends on support beyond ticket sales. A gift of any amount makes a difference for us; we hope you’ll please consider supporting North Carolina Opera today.
Thank you very much.
Nancy Hablutzel
Eric Mitchko Board Chair General Director
ERNANI
Music by Giuseppe Verdi
Libretto by Libretto by Francesco Maria Piave
Based on play Hernani by Victor Hugo
World premiere: Teatro la Fenice, Venice, March 9, 1844
United States premiere: Park Theater, New York, April 13, 1847
Ernani is generously underwritten by Ross Lampe, Jr.
Conductor: Jakob Lehmann
Ernani, the outlaw Giorgio Berrugi
Don Carlo, King of Spain Andrew Manea
Don Ruy Gomez de Silva,
Grandee of Spain Anthony Robin Schneider
Elvira, his niece and fiancée Leah Crocetto
Giovanna, her maid Isabella Stollenmaier
Don Riccardo, esquire to the King Johnathan Stanford White
Jago, esquire to Silva Coleridge Nash
The action takes place in 1519, in the following locales:
Act I: the mountains of Aragon, then Silva’s castle
Act II: Silva’s castle
Act III: Aix-la-Chapelle
Act IV: Zaragoza
SUNDAY, NOVEMBER 10, 2024 | 2:00 PM
MEYMANDI CONCERT HALL
MARTIN MARIETTA CENTER FOR THE PERFORMING ARTS
Chorus Master Scott MacLeod
Rehearsal pianists Ava Linvog, Kent Lyman
Production Manager Linda T. Carlson
Assistant Stage Manager Rae Hedges
Supertitle operator Devon Carter
Supertitles created by Chadwick Creative Arts, LLC
By arrangement with Hudson Music, Inc., a Boosey & Hawkes company, Sole Agent in the U.S., Canada, and Mexico for Casa Ricordi/Universal Music
Publishing Ricordi S.R.I., publisher and copyright owner.
MNorth Carolina Opera is funded in part by the City of Raleigh, based on recommendations of the Raleigh Arts Commission.
This project was supported by the North Carolina Arts Council, a division of the Department of Natural and Cultural Resources.
The performance will last approximately two hours, thirty minutes, including one twenty minute intermission.
FOCUS ON PHILANTHROPY
Opera is more than just an evening’s entertainment; it’s a vibrant expression of our shared cultural heritage. As lovers of the arts, we are entrusted with a special responsibility: to preserve, protect, and promote the art forms that enrich our lives and reflect the essence of our humanity.
Cultural stewardship is a call to action for anyone who cherishes the beauty and power of opera. By supporting North Carolina Opera, you become a guardian of this magnificent tradition, ensuring that it continues to inspire and move audiences for generations to come. Your role in this stewardship is vital—without the dedication and generosity of patrons like you, the future of opera would be uncertain.
When you contribute to North Carolina Opera, you help preserve the artistry that defines every performance, from the powerful voices of our singers to the stirring musical compositions. You protect the legacy of this centuries-old art form, making it possible for both seasoned opera lovers and new audiences to experience its magic. And most importantly, you promote the ongoing growth and evolution of opera, enabling us to introduce this powerful art form to young people and diverse communities throughout our region.
Your involvement as a cultural steward doesn’t just support today’s performances; it builds a foundation for the future, ensuring that opera remains a vibrant part of our cultural fabric. Together, we can preserve the history, protect the present, and promote the future of opera, leaving a lasting legacy that will be cherished by all who come after us. Join us in this vital mission—because the arts are worth preserving, protecting, and promoting for all time.
North Carolina Opera’s La Bohème, January 2022. Photo by Eric Waters.
ERNANI NOTES
Giuseppe Verdi’s Ernani (1844) is in many ways exactly what people imagine Italian opera to be: a story both grand and intimate, with a rich historical setting, at least one unbelievable plot point, and filled with robustly tuneful arias, trios, and choruses. Anyone who likes Italian opera should really like Ernani. The opera is based on Victor Hugo’s play Hernani, whose catcall-filled 1830 premiere in Paris later became the stuff of (exaggerated) legend. In the play Hugo was self-consciously trying to create a work of Romanticism, in which he tackled forbidden subjects and discarded traditional rules of French theater. It was an explicitly revolutionary work; its central theme of a conflict between honor and love was irresistible to the Romantics. It is set in Spain (and, briefly, Aix-la-Chapelle) in 1519, in perhaps the most interesting period in European history.
Verdi’s fifth opera was his first for the Teatro la Fenice in Venice, and also first with Francesco Maria Piave, who would write six more librettos for Verdi, including those for Macbeth, Rigoletto, and La Traviata. Verdi and Piave struggled with their initial subject matter, and when the head of the theater casually mentioned the Hugo play as a possible subject, Verdi leapt at the idea. He understood that this story with four well-drawn characters and intense passions would make perfect operatic material. Elvira is pursued by all three male characters, but loves only Ernani. He is a disgraced nobleman who, in his misfortune, had turned to banditry and rebellion. Silva, Elvira’s old uncle to whom she is unwillingly betrothed, is the personification of old-fashioned aristocratic notions of honor. And in Carlo (King Charles V of Spain) we have Verdi’s first great baritone role. Each of the four main characters has an aria; Carlo has several, plus the lead voice in the Act II concertato.
Things to listen for include the Act I duet for Carlo and Elvira, where his mellifluous declarations of love are met by propulsive scorn from her, with a vocal line that covers two octaves just in this duet. The piece expands to a trio with Ernani’s entrance, before leading into Silva’s aria and the Act I finale. In Carlo’s great Act III aria he muses on the responsibility of power as he is about to be crowned Holy Roman Emperor. Perhaps most inventive of all is the final trio, in which Silva, to Elvira’s horror, demands that Ernani fulfill his promise. Throughout, the opera has the melodic invention, vocal payoffs, and rhythmic energy that characterizes this period of Verdi and would culminate with the quite similar Il trovatore nine years later.
Whenever there have been singers suited to the roles, performances of Ernani have been great events. It was the first early Verdi opera to be presented by the Metropolitan Opera, in 1903, for Marcella Sembrich. Later great exponents of Elvira have included Rosa Ponselle (whose recording of “Ernani, involami” is one of the best operatic recordings ever), Leontyne Price, and Leona Mitchell. The title role has attracted Giovanni Martinelli, Luciano Pavarotti, and Carlo Bergonzi; while Carlo has been a favorite of baritones from Mattia Battistini and Titta Ruffo to Cornell MacNeil and Sherrill Milnes. We are delighted to present this opera that helped create Verdi’s European reputation in its North Carolina premiere.
Luciano Pavarotti and Leona Mitchell in Ernani at the Metropolitan Opera, 1983
Ghena Dimitrova made her U.S. debut as Elvira in Dallas, 1981.
ACT I
The Outlaw
Scene 1
Spain, 1519.
Ernani, a bandit and rebel, is distraught that Elvira, the woman he loves, will be forced to marry her uncle, the elderly Don Ruy Gomez de Silva. When the bandits learn Elvira returns Ernani’s love, they enthusiastically agree to help rescue her.
Scene 2
In her room at Silva’s castle, Elvira anxiously awaits Ernani. Unexpectedly, she is visited by Don Carlo, the king of Spain, who declares his love. Elvira spurns his advances, and he taunts her for preferring Ernani. When he attempts to force her to submit to him, Ernani bursts in. He challenges the King to a duel. As Elvira pleads with them to consider her own honor, Silva suddenly enters. He is shocked to find her alone with two men and he mourns her betrayal. Not recognizing the king, he challenges both men to a duel. When the king’s identity is revealed, Silva begs for forgiveness, which Carlo grants saying he needs Silva’s support. Carlo frees Ernani, but Ernani vows revenge.
ACT II
Hospitality
The next day, the guests are celebrating the upcoming wedding of Elvira and Silva. Ernani enters disguised as a pilgrim and Silva grants him hospitality. When Elvira enters in her bridal dress, Ernani reveals his identity and offers the price on his head as a wedding gift. Silva refuses to hand him over to the King’s men as his honor will not allow him to break his word. Silva leaves with his men to arm the castle.
Alone with Ernani, Elvira assures him of her faithfulness, and shows him the dagger she is planning to turn on herself rather than marry Silva. Silva returns, and he is furious to find the couple embracing. When his squire announces that Don Carlo is at the castle to arrest Ernani, Silva hides Ernani in a secret passage, so he can take his own revenge later.
Don Carlo demands that the rebel leader be delivered to him, but Silva will not betray his word. Don Carlo orders the castle be searched, but when his men cannot find Ernani, he leaves, taking Elvira with him as hostage in order to ensure Silva’s loyalty.
With the king gone, Ernani emerges and asks that he be able to see Elvira one last time, but Silva reveals she has been taken away by the king. Ernani tells Silva that Don Carlo himself loves Elvira and is their rival. Silva realizes his mistake, and Ernani urges that they suspend their quarrel and work together to free Elvira. When Silva questions whether he can trust Ernani’s word, he hands Silva his hunting horn and pledges that at the moment it is sounded he will kill himself. Silva agrees, and together with Silva’s men they set off in pursuit.
INTERMISSION
Act III
Clemency
At Charlemagne’s tomb in Aix-la-Chapelle, the king ponders the fate of those conspiring against him. He vows that if he is elected Holy Roman Emperor, he will rule wisely and strive to be worthy of the honor of the throne. He hides in the tomb.
Ernani, Silva, and a group of conspirators gather to plot the king’s assassination. They draw lots, and Ernani is chosen to carry out the deed. Silva asks Ernani to allow him the honor in exchange for his life, but Ernani refuses. The men all swear an oath to fight their oppressors.
Don Carlo emerges from the tomb when cannon shots announce that he has been elected emperor. He commands the traitors be punished, the nobles executed, and the commoners imprisoned. Ernani asks that he too be beheaded as, unbeknownst to all, he too is a nobleman, the former Don Juan of Aragon.
Elvira pleads with Don Carlo to show mercy. Don Carlo, wishing to emulate the virtues of Charlemagne, pardons all the conspirators and decrees that Elvira and Ernani shall marry. While all praise the new emperor, Silva vows to seek vengeance for his slighted honor.
Act IV
The Disguise
Ernani has resumed his rightful position as Don Juan of Aragon, and at his castle the guests are celebrating his wedding to Elvira. They notice a menacing, masked man and order him away. As Ernani and Elvira pledge their love, a horn sounds in the distance. Recognizing the signal from Silva, Ernani sends Elvira away.
Silva appears, removes his mask, and demands Ernani honor his promise — he has sounded Ernani’s horn and now Ernani must kill himself. Elvira returns and begs Silva for mercy, but he is unmoved. Left with no choice, Ernani keeps his vow.
Synopsis based on one by Martha Collins, Sarasota Opera
THE PASSION OF MARY CARDWELL DAWSON
STARRING DENYCE GRAVES
Get ready to be inspired by a true story of resilience, passion, and the transformative power of the performing arts as The Passion of Mary Cardwell Dawson takes the stage this December at North Carolina Opera. This gripping play with music sheds light on the incredible life of Mary Cardwell Dawson, a North Carolina-born trailblazer who defied barriers and broke new ground in the world of opera. As the founder of the National Negro Opera Company, Dawson’s vision and determination opened doors for countless African American artists and audiences, forever changing the landscape of American opera.
Set against the backdrop of the 1940s, The Passion of Mary Cardwell Dawson is more than just a tribute to her remarkable legacy. It’s a celebration of the arts as a powerful force for social change and a testament to the courage and creativity of women who challenge the status quo. From the powerful performances to the captivating narrative, this production promises an unforgettable evening out.
Perfect for long-time opera lovers and newcomers alike, join us as we honor a woman whose voice—and vision—continue to resonate today. Tickets are on sale now, so secure your seats for this extraordinary performance and be a part of celebrating a vital chapter in opera history.
December 13 @ 7:30PM
December 14 @ 7:30PM
HBCU NIGHT AT THE OPERA
December 15 @ 2:00PM
MARY CARDWELL DAWSON: BUILDING THE STAGE
Before you leave today’s performance, be sure to explore the downstairs lobby exhibit, providing a rare glimpse into the life and achievements of Mary Cardwell Dawson. Through artifacts, photographs, and narratives, Building the Stage highlights Dawson’s determination to create opportunities for Black opera singers in the mid-20th century, at a time when access to the arts was severely limited for African Americans. The exhibit celebrates Dawson’s contributions to the world of opera and offers a preview of our future production, The Passion of Mary Cardwell Dawson. Don’t miss the chance to learn about this important chapter in opera history and experience how Dawson’s vision continues to resonate today.
Building the Stage exhibit originally designed for and created by The Denyce Graves Foundation. thedenycegravesfoundation.org
“Opera is no longer a luxury, opera is a vital necessity. It belongs to the people. We all must move and keep
SPONSORED BY Play by Sandra Seaton. Original music by Carlos Simon. Text for original music by Sandra Seaton. Commissioned by the Glimmerglass Festival.
MARY CARDWELL DAWSON
NORTH CAROLINA OPERA SUPPORTERS
North Carolina Opera extends its deepest gratitude to the following generous individuals who have contributed to making this season possible. This list represents gifts received between September 1, 2023 and October 15, 2024
INDIVIDUAL GIVING
DIAMOND PATRON
Gifts over $100,000
Rosemarie Sweeney and C. Thomas Kunz
GOLD PATRON
Gifts between $50,000 and $74,999
Ross W. Lampe Jr.
SILVER PATRON
Gifts between $25,000 and $49,999
Jacobi Daley
Nancy and Philip Hablutzel
UNDERWRITER
Gifts between $15,000 and $24,999
Paul Fomberg and Roy Cromartie
E.T. Franklin, Jr.
Rae and James Gulick
Amy Moss and Bill Brown
Francine and Ralph Roberson
GRAND SPONSOR
Gifts between $10,000 and $14,999
Amanda and Michael Bambrick
Anna and James Romano
SPONSOR
Gifts between $5,000 and $9,999
Jane and Francis Acquaviva
Joel R. Adams
Chip Anderson
Danielle and Andrew Blass
Eva Buck and Ruth Buck
Kelvin Currie and Sandra Cook
William L. Hampton
Karen and Clark Havighurst
Mia Kang and Tony Acquaviva
Chancy and Keith Kapp
Judith LeGrand
Elizabeth and John Lunsford
Vicky Kruckeberg and Carl R. Nold
Susan and Dale Oller
Aurora K. Pajeau, MD, MPH
Kelley Russell
Mary Louise and William Rustin
Richard Sarles
Nerre Shuriah
Cathy and Jim Stuart
Shohreh Taavoni and Alan Kronhaus
Holly and Paul Tesar
Brigette Wilds and Michael C. Byrne
John Williamson
Jeanie Wozencraft-Ornellas
PATRON
Gifts between $2,500 and $4,999
Heather Brown
Yvonne Bryant
Mr. and Mrs. Michael F. Byrne
David Casteel
Ruth and Sidney Cox
Anne Faircloth and Fred Beaujeu-Dufour
Mary-Owens Fitzgerald
Vivian Clark and Bryan Gilliam
George E. Hall, Jr.
Peter Hamilton
William F. Hamlin, Jr.
Kim Kotlar and James Hargrove
Emmett and Hubert B. Haywood, III
Douglas R. Holbrook
Thomas Kenan III
Lauren Kennedy Brady and Charlie Brady
Larry Lisle
Dr. Bill and Dr. Margaret McCulloch
Robert W. Morrison
Linda and Wendell Murphy
Susan Osborne and Stephen Reynolds
Tom Roberg
Ann and Steve Tyler
BENEFACTOR
Gifts between $1,000 and $2,499
Carol and Robert Bilbro
Earlene and Joseph Briggs
Amna Cameron
Linda Carlson and Cheryl Thomas
S. Worth Dunn, III
Connie and Bob Eby
Sallie and Joe Exum
Donna and Richard Falvo
Alison and Ken Faulkner
Lois T. Flaherty
Sofie Franzen-Moyle
James Gray
Paula S. Greenman
Ruth Gross and Hans Kellner
Margo Lynn Hablutzel
John Hammond
Phyllis Pomerantz and Charles Hochman
Sally and William Johnson
Stefanie Kahn
Martha and Peter Klopfer
Ekaterina Korobkina and Robert Golub
Guy Lampe
Jane Lynch
Patricia McWaters
Ruth Mokeba-Ekangaki and Abie Ekangaki
Susan Moore and Doug Hammer
Nelson Oyesiku
Florence and James Peacock
Ms. Jane Pinsky
DD Donates
Mr. and Mrs. Michael Sandman
John Sarratt
Kay Schoellhorn
Sarah and Steve Shaber
Patrick Shanahan
Edwina Hardy Shaw
Carter Skinner and Chapman Williams
James S. Stringfellow
Sally and Robert Tiller
Susan and Dick Timmons
Edmund Tiryakian
Gary Travis
Josephine Walker
Mary Warlick
Diane and Floyd Whitney
Rosemary and Smedes York
SUSTAINER
Gifts between $500 and $999
Judith and Jack Adler
Perri Anderson
Agnes F. Marshall and Robert M. Auman
Wendy Lapish and John Beck
Sharon and Byron Braswell
Stanford Brown
Governor and Mrs. Roy Cooper
Simmie Kastner and Jerome Davis
Cheryl and John Denardo
Martha Dimes
Frank Dworsky
Elizabeth and Joseph Kahn Charitable Fund
Ann Erickson
Douglas Flint
Patricia Friedman
John Gaitenby
John Gebhardt
Brenda and Ron Gibson
Kimberly Gooden
Dotty and Lee Hanson
Judy and Richard Hendrickson
Susan and Carl Hibbert, Sr.
Greg Hirsh
Martha Hsu
Mark Jalkut and Eloise Watson
Melissa and Robert Johnson
Valerie Johnson and Linda Edwards
Mary and Rick Kane
Deborah and Thomas Keefe
Suzanne Kennedy-Stoskopf
Martha N. Keravuori and Chuck Galle
Moyra and Brian Kileff
Lou and Donald Kline
Kathy and Tom Lada
Andy Lawrence
Joy Lewis
Dorothy Lichtwardt
Leigh and William Kempf
Jo Ann Lutz and Lawrence H. Muhlbaier
Mr. Jordan Malik
Carolyn Maness
Susanna Martin
Larry Mintz
Sarah and Frank Moorman Advised Fund of the Cumberland Community Foundation, Inc.
Carol and Rusty Parks
Melanie Rankin
Janet and James Rapp
Christie Roeder
Frances Rollins
Jennifer and Alfonse Runquist
Rachel Starr
Fran and Jack Steele
Emmett E. Stobbs, Jr.
NORTH CAROLINA OPERA SUPPORTERS
Julie Kelly-Stump and Mark Stump
Sally Thomas
Lee Whitener
Ginny Zehr
SUPPORTER
Gifts between $250 and $499
B. Jasmine Adams
Eugenie Almeida
Kelly and Landy Anderton
Anonymous
Susan and David Baker
Lee Baker
Anna Ball Hodge
Paul Berry
Joel Buccellato
Steven Burke
Dawn and David Burtt
P. Carrigan Byrd, Jr.
The Honorable Ann Marie Calabria and Robert Calabria
Laurel Carter and James Todd
Mary Lovelock and W. R. Chapman
David Clegg
Rena and Philippe Courtay
Deborah and Andrew Dalgliesh
Mary and George Deaton
Cynthia and Roger Didio
Georgia and Alec Donaldson
Gayle Eisner
Saskia Ziolkowski and Martin Eisner
Sydelle and Tarek Eshenawy
Mary Ann Felton
Jonathan Flescher
Ellen Fort
Mair Glosson
Jim Konold and Tim Hackett
Leslie Harris
Suzanne Herman
Deborah Huff
Carol and Rick Johns
Rachel Kaplan and Jeremy Pienik
Devon Kearney
Timothy A. Kuhn
Annie Lang
Betsy and Steven Levitas
James A. and Elaine Lewis
Rosemary Lunsford
Amy and David Marschall
Patty Matthews
Ida Merritt
Eric Mitchko
Christina and Thomas Mitchko
Alistair Nevius
Carolyn and Peter Olejar
Fran Page
Linda Pukenas
Susan Russell
Mark Schornak
Susannah Smith
Sarah and Claude Snow
Perry and William Suk
Yvonne Terry
Roberta Titchener
Pamela Trent
Lizbeth and Jean-Marie Videau
Katherine and James Wilson
MEMBER
Gifts up to $249
Virginia Adams & Martin Salzman
Robin and Dwight Allen
Lydia Alleyne
Pearla and Gregg Alston
Trish Anderton
Susi Lieff and Arthur Axelbank
Cortney and Scott Baker
Helen Koo and Richard Bilsborrow
Peter Bleckner
Natalie and Gary Boorman
Hermis and Roy Boston
Anne Margaret and Richard Braham
Anna Bess Brown and Eric Hale
Louise and Charles Bryan
Jean Carden
Linda and Philip Carl
Dolores and Burton Carnegie
Bill Carroll
Rosalind Coleman and James Rolleston
Sandra Craig
Tammy and Bill Crook
Judith Bruno and Michael Cyzewski
Tanya and Alonzo Dean
Catherine Anderton and José Delgado
Yvonne DeWald
Susanne and Robert Dodder
Genevieve Domalain
George Douglas
Lori Drum
Amy Edge
A.R. Edmonson
Karen Edwards
Jennifer Errande
Dr. Richard Felder
Sally Fessler
Katherine Tyson and Mark Foster
Caryl Glickman
Phyllis and Stephen Gordon
Angela Grant
Lynne and Cory Grant
John Graybeal
Dr. Gilbert Greggs
H.M. Guttmann
Robert Hablutzel
Eva and Sheldon Hamburger
Carl and Sue Hamill
Rich Haney
Elizabeth Hely and Bruce Simon
Sharon Henderson
David Hoover
Eleanor Ninestein and V. Dwight House
Barbara Houze
Sara Oswald and Eric Hyman
Yana James
Lewis H. Kairys
Jo and James Kalat
Gail and Eugene Karcher
Jason Karn
Joan and Howard Kastel
Deborah and Thomas Keefe
Lubomyra Sawczyn and Tadeusz Kleindienst
Kathleen Klesh
Peggy and Chuck Korte
Michael Kris
Lewis Lampiris
Lynda and Charles Lankford
Brigitte Abrams and Francis Lethem
Alexandra LoBianco
Maria and Josmar Lopes
Erin Lunsford and Sean Norton
Rebecca and Scott MacLeod
Erica Manley
James Marrow
James May and Richard Cox
Margaret Maytan
Courtney Miller
Bob Mitchell
Eileen and James Mitchell
Loretta Mitchell
Allen and Maureen Murray
Lynda R. Myers
Elizabeth Nackley
Jodee Nimerichter and Gaspard Louis
Connie O’Neil
Cheryl Ann Peterson
Renna Pye
Mona Roberts
Susan Royster
Marjorie Satinsky
Stephen Schaeffer
Pat and Paul Scheible
Meg and Matt Segal
Barbara Smalley
Georgiana and Stephen Snyderman
Donald Stoll
Susan Swartz
Earleen Thomas
Allison Tolksdorf
Joe Tooley
Kristina Troost
Robert W. Upchurch
Shirley Warren
Alice Watkins
John Watson
Margaret Weir
Sally and Ron Wenda
Julie and George Williams
Marti and Dan Wilson
Pamela Wolf-Brewer
Alexander Zakel
Mary and Peter Zimmerman
We make every effort to ensure the accuracy of the gifts listed in our programs. If you notice an error or omission, please let us know by emailing angela.grant@ncopera.org and we will promptly make a correction. Thank you!
NORTH CAROLINA OPERA SUPPORTERS
THE NORTH CAROLINA OPERA LEGACY SOCIETY
North Carolina Opera is honored to have been included in the estate plans of the following visionaries that are helping to ensure the future of opera in the Triangle.
The Joel R. Adams Trust: An Endowment for the Arts
Yvonne Bryant
Jacobi and Jerry Daley
Allison R. Northcutt
Rosemarie Sweeney and C. Thomas Kunz
The following is a list of gifts to North Carolina Opera in honor or in memory of beloved individuals. This list represents gifts to North Carolina Opera between September 1, 2023 and October 15, 2024.
HONORARY GIFTS
In Honor of Jane and Fran Acquaviva
Rachel Starr
In Honor of Nancy Hablutzel
Margo Lynn Hablutzel
Robert Hablutzel
In Honor of Nancy and Phil Hablutzel
Margo Hablutzel
In Honor of Joanne Kearney
Devon Kearney
In Memory of Ruth A. Benton
Anonymous
In Memory of Louie Eargle
Lee Baker
In Loving Memory of Dana Ann Hall
George E. Hall, Jr.
In Memory of Donald Hunter
Sandra Craig
In Memory of Tom Kunz
Joel R. Adams
Jean Carden
Karen Edwards
Donna and Richard Falvo
Paula S. Greenman
The Hablutzel Family
Carl and Sue Hamill
Vicky Kruckeberg and Carl R. Nold
Jo Ann Lutz and Lawrence Muhlbaier
Jane Lynch
Eric Mitchko
Jodee Nimerichter and Gaspard Louis
Connie O’Neil
Ralph and Francine Roberson
In Honor of Amy Moss
Judith and Jack Adler
In Honor of Carter Skinner and Chapman Williams
Margaret Weir
In Honor of Brigette Wilds
Mr. and Mrs. Michael F. Byrne
In Honor of Brigette Wilds and her support for tickets for underrepresented individuals Advance Auto Parts Foundation
MEMORIAL GIFTS
Marjorie Satinsky
James S. Stringfellow
Triangle Wagner Society
Shirley Warren
Walter Family Foundation
Julie and George Williams
In Memory of Ruth and Thomas Martin
Susanna Martin
In Memory of Bernard Eugene Mitchell, Sr.
Loretta Mitchell
In Memory of John Russell
Sarah and Frank Moorman Advised Fund of the Cumberland Community Foundation, Inc.
In Memory of Iris E. Stoll
Donald Stoll
In Memory of Lawrence James Wathen, who taught me all I know about opera
Aurora K. Pajeau, MD, MPH
In Memory of Don Wilder, Former Music Director of the National Opera Company
Judith Bruno and Michael Cyzewski
We make every effort to ensure the accuracy of the gifts listed in our programs. If you notice an error or omission, please let us know by emailing angela.grant@ncopera.org and we will promptly make a correction. Thank you!
NORTH CAROLINA OPERA SUPPORTERS
North Carolina Opera gratefully acknowledges the following community leaders for their generous support in making this season possible. This list represents gifts to North Carolina Opera between September 1, 2023 and October 15, 2024.
FOUNDATIONS AND GOVERNMENT
Gifts of $100,000 or more City of Raleigh
Gifts between $25,000 and $49,999
North Carolina Arts Council
North Carolina Department of Natural and Cultural Resources
The John William Pope Foundation
Gifts between $10,000 and $24,999
United Arts Council of Raleigh and Wake County
Gifts between $5,000 and $9,999
Atlantic Corporate Wealth
Morningstar Law Group
Gifts between $5,000 and $9,999
Triangle Community Foundation’s Carver Fund for North Carolina Opera
The Eddie and Jo Allison Smith Family Foundation
The Freedom Forum
Walter Family Foundation
Gifts between $2,500 and $4,999
George Smedes Poyner Foundation
Gifts up to $2,499
Ella Ann and Fank B. Holding Foundation
Opera America, Inc.
CORPORATIONS
Gifts up to $2,499
Advance Auto Parts Foundation
Cornerstone Custom Printing
English Speaking Union of the United States – Research Triangle Branch
The FabFoo Galloway Ridge at Fearrington
International Young Artists Project
ACKNOWLEDGEMENTS
North Carolina Opera would like to thank
The Juliette Club
King’s Auto Service, Inc.
Meredith College
Mitchell•Casteel - A Fine Catered
Affair -
The Pavilion at the Angus Barn Triangle Wagner Society
Jane Acquaviva
Carmen Buckner
Carolina Ballet
David Casteel
Jerry Espy
Jane and Francis Acquaviva
Dr. Yvonne Bryant
Anne Prince Cuddy
Martha Dimes
James Gray
Karen and Clark Havighurst
Mark Hogan
Ekaterina Korobkina and Robert Golub
Maggie Gina
Judy Hendrickson
Greg Hirsh
Audrey Hubbard
Abby Jones
CHARTER SUBSCRIBERS
Kathy and Tom Lada
Ross Lampe, Sr.
Dr. Bill and Dr. Margaret McCulloch
Christina and Thomas Mitchko
Robert W. Morrison
Linda and Wendell Murphy
JoAnn and Donald Parkerson
Florence and James Peacock
Francine and Ralph Roberson
Angel Kelley
Lorraine Snyder
Rosi Sweeney
Jeanie Wozencraft-Ornellas
Anna and Jim Romano
Mary Louise and William Rustin
Sally and Robert Tiller
Allison Tolksdorf
Lizbeth and Jean-Marie Videau
Brigette Wilds and Michael C. Byrne
Ellen Williams
John Williamson
JAKOB LEHMANN CONDUCTOR
Jakob Lehmann is a conductor for whom stylistic awareness and historically informed performance are the pillars of emotionally sincere and energetic interpretations. He works with orchestras such as Wiener Symphoniker, Tonkünstler Orchester, Beethoven Orchester Bonn, as well as period instrument groups such as Concerto Köln, Orchestra of the 18th Century, and the Australian Romantic & Classical Orchestra.
He is the Artistic Director of chamber orchestra Eroica Berlin, and Associate Artistic Director of New York based Belcanto festival Teatro Nuovo. Recent opera productions include Rossini’s Il barbiere di Siviglia for North Carolina Opera (directed by Francesca Zambello), Donizetti’s Poliuto and Bellini’s I Capuleti e i Montecchi for Teatro Nuovo, and Mozart’s Idomeneo for Opéra National de Lorraine.
As a presenter, lecturer, and coach for the topics of Romantic performance practice and the Belcanto style, he works with institutions such as the Juilliard School New York, or the Royal Conservatory in The Hague, and has served as President of the German Rossini Society since 2023.
Jakob Lehmann’s discography encompasses a wide range of repertoire on various labels. His two most recent albums, Mozart 1791 (Warner Classics) and Rossini’s L’italiana in Algeri (Pan Classics), have been met with great critical acclaim.
In the 2024/2025 season, he makes his debuts with Brucknerorchester Linz, Les Siècles, Sinfonieorchester Liechtenstein, Orchestra La Scintilla, Collegium Novum Zürich, Wiener Concert-Verein, Juilliard415 and the Juilliard Orchestra, and returns to Vienna’s Tonkünstler Orchester, Concerto Köln, the Orchestra of the 18th Century, North Carolina Opera, La Banda Storica Bern, Teatro Nuovo and Eroica Berlin.
GIORGIO BERRUGI ERNANI
Former clarinetist with Orchestra Sinfonica di Roma and a member of Dresden Semperoper from 2010 to 2013, he began his vocal studies in 2007 and after a few months he debuted as Rodolfo ( La bohème) at Teatro La Fenice.
He appears regularly with Teatro alla Scala, Royal Opera House, Lincoln Center, Bolshoi Theatre, Théâtre des Champs-Elysées, Lyric Opera of Chicago, Opéra de Paris, Leipzig Gewandhaus, Amsterdam Concertgebouw, Oper Frankfurt, Opera di Roma, Arena di Verona. He has worked with Zubin Mehta, Christian Thielemann, Fabio Luisi, Andriss Nelsons, Gustavo Dudamel, Daniel Oren, Gianandrea Noseda, Pinchas Steinberg, Myung-Whun Chung, Manfred Honeck, Jaap van Zweden.
Most recently he debuted as Siegmund in Die Walküre at Vienna State Opera, and he sang L’amore dei tre re and Macbeth at Teatro alla Scala, Adriana Lecouvreur at Opéra de Paris, Madama Butterfly at Berlin State Opera, Medea at Greek National Opera, La bohème at Vienna Volksoper and Teatro Bellini in Catania, Cavalleria rusticana at Festspielhaus Baden-Baden.
Plans in Season 2024/25 include, among others, the role debut as Remigio da Varagine in the world première of Francesco Filidei’s Il nome della rosa at Teatro alla Scala, the title role in Les contes d’Hoffmann at Latvian National Opera, Rodolfo in Luisa Miller at Hamburg State Opera, the title role in Ernani at North Carolina Opera, Madama Butterfly in Padua and Treviso, as well as Messa per Rossini in Budapest with the Hungarian Radio Symphony Orchestra and Mahler’s Symphony No. 8 at the Concertgebouw.
ANDREW MANEA
DON CARLO
Lauded for his “charming... robust baritone…” RomanianAmerican baritone Andrew Manea’s role début as the Duke of Nottingham in Roberto Devereux with San Francisco Opera “thrust him into the spotlight, solidifying his status as the next leading baritone of his generation…” (OperaWire). Last season included four house débuts: Nashville Opera, singing Tonio in Pagliacci; North Carolina Opera as Germont in La Traviata; Sarasota Opera as Escamillo in Carmen; and The Grange Festival singing Scarpia in Tosca. He also returned to Maryland Opera for Scarpia, joined the Indianapolis Symphony for Handel’s Messiah, and participated in The Metropolitan Opera’s workshop of Mason Bates’ The Amazing Adventures of Kavalier and Clay. This season, he returns to the Lyric Opera of Chicago to sing Monterone in Rigoletto, North Carolina Opera to sing Don Carlo in Ernani, and The Metropolitan Opera for Il barbiere di Siviglia and Moby Dick
Recent highlights include Ernani at the Lyric Opera of Chicago and Ford in Falstaff with Palm Beach Opera, as well as Carmina Burana at Carnegie Hall. Previously, Andrew débuted with Arizona Opera as Escamillo and Opera Omaha as Lorenzo in I Capuleti e i Montecchi. He has been heard frequently at San Francisco Opera since making his mainstage début as an Adler Fellow in the role of Marullo in Rigoletto, including as the Huntsman/Gamekeeper in Rusalka, Sciarrone in Tosca, the Marchese d’Obigny in La Traviata, and in the world premiere of John Adams’ Girls of the Golden West
Bass Anthony Robin Schneider’s 24/25 season includes a return to Opera Frankfurt for Barrie Kosky’s revival of Hercules (title role), and debuts with Canadian Opera Company for Wozzeck (Doctor) and North Carolina Opera for Ernani (Don Ruy Gomez de Silva). On the
concert stage Anthony will debut with Nederlands Philharmonisch Orkest for Verdi’s Requiem conducted by Lorenzo Viotti and Noord Nederlands Orkest for Dvořák’s Stabat Mater.
Anthony began the 23/24 season with his debut at Dutch National Opera for a new Christof Loy production of Lohengrin (Heinrich) and Die Zauberflöte (Sarastro) in the famed Simon McBurney production. Other highlights of the season included a debut at Festspielhaus BadenBaden and Berlin Philharmonic in Elektra (Pfleger des Orest) conducted by Kirill Petrenko and a return to Tiroler Festspiel Erl for Das Rheingold (Fafner), Die Walküre (Hunding), and Siegfried (Fafner). On the concert stage, he debuted with the Singapore Symphony in L’heure espagnole (Don Iñigo Gomez), Messiah with Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia conducted by John Nelson, and Staatsorchester Braunschweig for Beethoven’s Symphony No. 9.
He is a graduate of the Houston Grand Opera Studio, the Academy of Vocal Arts in Philadelphia and the University of Auckland. He is the proud recipient of a Kiri te Kanawa Foundation Scholarship.
A trilingual speaker (German, French and English), Anthony is a citizen of Austria and New Zealand.
LEAH CROCETTO ELVIRA
Described by The New York Times as possessing an “agile coloratura technique and a feeling for the Italianate style... with warmth, full penetrating sound and tenderness,” American soprano Leah Crocetto continues to astonish audiences with her moving portrayals of opera’s greatest heroines. In the 2024/25 season, Ms. Crocetto returns to North Carolina Opera to sing Elvira in Verdi’s Ernani, having previously sung Leonora in Il trovatore, the title role in Norma, and a recital with the company.
Recent performances include the title role of Aida at the Metropolitan Opera, Opera Australia, and Oper im Steinbruch, both Aida and Odabella in Attila in Bari, and the Verdi Requiem with the San Diego
ANTHONY ROBIN SCHNEIDER
DON RUY GOMEZ DE SILVA
Symphony. Other credits include Margherita in Mefistofele in concert and Leonora at Opera Australia, Anna in Rossini’s Maometto II with Washington Concert Opera, Leonora at Toledo Opera, and the title role of Tosca at Minnesota’s Northern Lights Music Festival. She has also sung Liù with the Metropolitan Opera, Palm Beach Opera and San Francisco Opera; Desdemona in Otello, Elisabetta di Valois in Don Carlo, Aida, and Madame Lidoine in Dialogues des Carmélites at Washington National Opera; Leonora and Aida at Seattle Opera; Tosca at Pittsburgh Opera; Leonora in Frankfurt; Eleonora in Donizetti’s L’Assedio di Calais at the Glimmerglass Festival; Aida, the title role of Luisa Miller, and Mimì in La Bohème at San Francisco Opera; Donna Anna in Don Giovanni at the Santa Fe Opera; Anna at the Canadian Opera Company; the title role of Semiramide in Bordeaux; and Elisabetta di Valois at Opera Philadelphia.
Leah Crocetto represented the United States at the BBC Cardiff Singer of the World Competition, where she was a finalist in the Song Competition. She is a Grand Finals Winner of the Metropolitan Opera National Council Auditions and was the First Place Winner, People’s Choice and the Spanish Prize Winner of the José Iturbi International Music Competition, and winner of the Bel Canto Foundation competition. She holds degrees from Siena Heights University in acting performance and Moody Bible Institute in vocal studies.
ISABELLA STOLLENMAIER GIOVANNA
Praised for her “colorful, fun, and grounded” singing, soprano Isabella Stollenmaier is well versed in operatic and concert repertoire. Recent highlights include Wowkle in La Fanciulla del West with North Carolina Opera, Flosshilde and Erda in Das Rheingold with Luke Housner/LAHSOW. Roles of note include Grimgerde in Die Walküre, Mercedes in Carmen, Donna Elvira in Don Giovanni, Marcellina in Le Nozze di Figaro, Second Lady in Die Zauberflöte, as well as covering the role of Carmen. Her oratorio features include St. John’s Passion and Messiah with the North Carolina Baroque Orchestra, as well as a
soloist in Vienna, Austria in Vivaldi’s Gloria under the baton of Erwin Ortner, Arnold Schoenberg Chor. Isabella trains with teachers such as James Smidt and Amanda Majeski and teaches in her own private studio.
JOHNATHAN STANFORD WHITE DON RICCARDO
Tenor, Johnathan Stanford White began his Operatic studies at the College of Charleston in 2004 while working on his BA in Vocal Performance. In 2011, he was
Tenor, Johnathan Stanford White began his Operatic studies at the College of Charleston in 2004 while working on his BA in Vocal Performance. In 2011, he was selected to sing at the Jussi Bjorling Centennial Celebration at Gustavus College at the Jussi Björling Concert Hall. Since moving to Charlotte and joining the Opera Carolina as a Resident Company Member in 2013, Johnathan has become a staple in the classical music scene. After making his Opera Carolina debut in Turandot as the Emperor in 2015, Johnathan has performed numerous roles during his tenure with Opera Carolina, Toledo Opera, and Grand Rapids Opera. In addition to his operatic pursuits, Johnathan is also an accomplished symphonic soloist, performing throughout the East Coast. In 2023 Johnathan was selected as a part of the ILA production of Tales of Hoffmann in Vicenza, Italy. This is Johnathan’s 10th anniversary with Opera Carolina and he is honored to be considered a Principal Artist with the company. He was most recently seen in Opera Carolina’s production of Madame Butterfly, as Goro.
COLERIDGE NASH JAGO
Coleridge Nash is a bassbaritone native to Pfafftown, North Carolina. He completed his Master of Music in Voice Performance from Florida State University in 2022. Since then, Mr. Nash has been engaged as a Studio Artist with Teatro Nuovo where he covered the role of Rodolfo in La Sonnambula , as a guest artist with Florida State Opera where he returned to perform the title role in Le nozze di Figaro, and as a guest artist with the Tallahassee Symphony Orchestra performing famous scenes from Verdi’s operas in their Viva Verdi concert. While at FSU he performed the role of Sarastro in Mozart’s Die Zauberflöte , the Postman in Hoiby’s The Scarf, and performed in numerous solo recitals and chamber concerts with peers and faculty. Mr. Nash was granted the Edith S. Joel Scholarship in Opera from 2020 to 2022 from Florida State University. He was also awarded the Performing Artist Award in Voice from North Carolina State University in 2019. He is incredibly excited to be making his North Carolina Opera debut for this wonderful production of Ernani.
SCOTT MACLEOD CHORUS MASTER
Dr. Scott MacLeod has served as North Carolina Opera’s Chorus Master for 29 productions since the 2013 production of Aida. In February he led the NCO chorus in Andrea Bocelli’s sold-out Valentine’s Day concert in PNC Arena. He also maintains an active musical career as a singer, conductor, and teacher. Notable roles as soloist include John Adams’ The Wound Dresser with North Carolina Symphony, Frederik in A Little Night Music with Piedmont Opera, a workshop performance of Scott Wheeler’s The Sorrows of Frederick with the Center for Contemporary Opera in New York City, Hercules in Patrick Morganelli’s Hercules v. Vampires with North Carolina Opera, Pangle in the North Carolina premiere of Jennifer Higdon’s Cold Mountain, three tours of Messiah with the National Symphony of Costa Rica, and a performance of original works by J. Mark Scearce at the historic Municipal House in Prague.
In 2022 he received a state department grant from the U.S. Consulate in Marseille, France, to perform an ocean conservation-themed recital tour, which culminated in a performance in Monaco for Prince Albert II and invited guests; he performed the same concert in the Washington National Gallery Music Series on Earth Day, 2023. He spent summers of 2016 and 2017 as a guest artist/lecturer at Xi’an Conservatory and Shaoguan University (Guangdong, China) where he staged and music directed Monteverdi’s L’Orfeo, for which he was awarded an honorary faculty post.
Dr. MacLeod is Associate Professor of Voice and Lyric Theatre at the University of Illinois. He was formerly Professor of Music at High Point University, where he received the 2021 “Innovation and Creativity in Teaching” Award.
With heartfelt gratitude for the opportunity to serve on North Carolina Opera’s artistic staff for 11 ½ years, he will step down as Chorus Master at the conclusion of this production.
1ST VIOLIN
Carol Chung
Margaret Partridge
Ariadna Ilika
Nonoko Okada
Eric McCracken
Leah Peroutka
Elizabeth Whitfield
Angela Scalise
Krista Cala
2ND VIOLIN
Emi Hildebrandt
Ashley Kovacs
Suzanne Kelly
Cortney Baker
Sarah Griffin
Lucy Greanleaf
Jaimi Grether
Robert Rempher
VIOLA
Simon Ertz
Matthew Chicurel
Kristen Beard
Emi Mizobuchi
Rachael Keplin
Michael Castelo
NORTH CAROLINA OPERA ORCHESTRA
CELLO
Nathan Leyland
Brian Carter
Rosalind Leavell
Lauren Dunseath
Erica Leavell
BASS
John Spuller
Emily Rupp Buccola
Bryan Hansen
Zachary Hobin
Rebecca Marland
FLUTE
Carla Copeland Burns
PICCOLO
Whitney Pencina
OBOE
Courtney Miller
Carrie Shull
CLARINET
Mike Cyzewski
Todd Krueger
Jasmin Brown
Gretchen Bruesehoff
Joanna Burke
Frances Bushman
Laura Carskadden
Shanna Collins
Alexia Della Valle
Emily Ennis
Sydel Fisher
Tanya Hanano
Paula Hostettler
Jenny Hunt
Erica Jackson
Emily Krol
Tina Langevin
BASS CLARINET
Kevin Streich
BASSOON
Michael Burns
John Fanning
FRENCH HORN
Christopher Caudill
Rachel Niketopoulos
Caleb Harris
Robert Malone
TRUMPET
Alex Fioto
John Manning
TROMBONE
Michael Kris
Wes Parker
Jesse Rackley
BASS TROMBONE
Russell McKinney
TUBA
Tony Granados
NORTH CAROLINA OPERA CHORUS
Clare Lee
Jodi Lewis
Margaret Maytan
Monique McLeod
Tina Morris-Anderson
Kirsten Overdahl
Jean Renze-Eilers
Angela Santucci
Joncie Sarratt
Eliandras Sims
Rachel Stenbuck
Bailey Sutton
Annabelle Welford-Small
TIMPANI
Julia Thompson
PERCUSSION
Krista Siachames
Quintin Mallette
HARP
Jacquelyn Bartlett
PERSONNEL MANAGER
Paul Gorski
LIBRARIAN
Julia Thompson
Grant Anderson
Wenzhao Bai
Forrest Bunter
Francis Cianfrocca
Jacob Cortes
Adam Dengler
Ryan Griffin
Mike Heath
Wade Henderson
Greg Hirsh
Tom Keefe
Corey Leak
Eric Luke
David Marschall
Scott MacLeod
Bill Moran
Lindon Pearson
Reggie Powell
Noah Sigsworth
Ryan Smith
Tedd Szeto
Keegan Welford-Small
D’André Wright
NORTH CAROLINA OPERA STAFF
General Director – Eric Mitchko
Director of Marketing – Angela Grant
Company Manager – Julie Williams
Production Manager – Linda T. Carlson
Box Office Associate – Amanda Reyes
Chorus Master – Scott MacLeod
Education Coordinator – Rachel Stenbuck
Engagement Coordinator – Micaela Bundy
MARTIN MARIETTA CENTER FOR THE PERFORMING ARTS STAFF
City Manager – Marchell Adams-David
Assistant City Manager – Evan Raleigh
Executive Director – Kerry Painter
General Manager – Michelle Bradley
Director of Theatre Operations – Christopher Bullock
Director of Finance – Laura Knott
Director of Security – Byron K Johnson II
Director of Talent Strategy – Antonio Cruz
Box Office Manager – Robert Leavell
Booking Manager – Melanie Margarum
Marketing Manager – Sarah McAlister
Events Experience Manager – Brittany Washington
Front of House Manager – Matthew Hester
Front of House Manager – Deanna Long
Production Manager – Dave McManus
Production Supervisors – Andrew Armas, EG Garcia, Brian Moore, Jason Morris
Security Supervisor – Shelly Westfall
Maintenance and Operations Superintendent – Blade Perdue
Facilities Supervisor – William Negron
Capital Projects Manager – Olivia Holbrook
Event Settlement Analyst – Keisha Peacock
Operation Staff – Nicole Ackman, Deshondre Bellinger, Gavin Brown, Alex Bryant, Kendra Burgess, Andrew Crane, Sean Delgado-Cruz, Mike Dreese, Gregory Dunn, William Goldrick, Michael Green, Favourite Htaw, Ehhteeku Htaw, Ulando Jones, Trevor Jordan, Tami Kaufmann, Liberty Lander, Noeree Lander, Anthony Letourneau, Matino Lin, Lisa Morgan, Keecia Rouse, Htee Shee, Noah Stancil, Mason Tierney, Avery Vanore, Trevon Vickers, Luke Watkins, Renee Wilson, Evan Woodard
Thank you for enhancing our lives with the gift of music. At Curtis Media, we applaud your artistry and your talent as well as the many ways that you enrich North Carolina’s cultural fabric.
SUNDAY,
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Opera Gala
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THE PARK ALUMNI CENTER AT NC STATE CENTENNIAL CAMPUS
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