North Carolina Opera | SANCTUARY ROAD

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A.J. Fletcher Opera Theater



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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.

2021-2022 BOARD OF DIRECTORS Ralph Roberson, President Brigette Wilds, Vice President John Lunsford, Treasurer Nancy Hablutzel, Secretary Francis Acquaviva Joel Adams Ria Battaglino Andrew Blass Yvonne Bryant Richard Falvo Bryan Gilliam James Gulick William Hampton

James Hargrove Douglas Holbrook C. Thomas Kunz Candyce Marsh Susan Oller Florence Peacock June Roberg John Russell in memoriam William Rustin Richard Sarles Steven Shaber Shohreh Taavoni Jean Wozencraft-Ornellas

PAST PRESIDENTS OF NORTH CAROLINA OPERA BOARD OF DIRECTORS James Romano: 2010 - 2012 Stephen Prystowsky: 2012 - 2014 C. Thomas Kunz: 2014 - 2018 Bill Rustin: 2018 - 2019 James Gulick: 2019 - 2021




march 19, 2022 Exciting New Location

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SANCTUARY ROAD Music: Paul Moravec Libretto: Mark Campbell Based on The Underground Railroad Records by William Still Licensed for performance by Subito Music Corporation Copyright © 2017 by Subito Music Publishing WORLD STAGE PREMIERE Premiere of original version: Carnegie Hall, New York, May 7, 2018 This production of Sanctuary Road is generously underwritten by Florence and James Peacock Conductor: William Henry Curry Director: Dennis Whitehead Darling William Still Clarissa Davis, Harriet Eglan Ellen Craft, Charlotte Giles Wesley Harris Henry “Box” Brown, Peter Still Set Designer Chorus Master Lighting and Projections Designer Associate Lighting and Projections Designer Costume Designer Properties Master Set Construction Production Stage Manager Technical Director Wig and Makeup Designer Supertitle Operator

Benjamin Taylor LaToya Lain Taylor Raven Norman Shankle Malcom J. Merriweather Brian Ruggaber Scott Macleod Driscoll Otto Jessica Drayton Denise Schumaker Meredith Rapkin Greg Osbeck Peter Nictakis Carl Wetter Martha Ruskai Julia Sullivan

Supertitles by Michael Chadwick North Carolina Opera is funded in part by the City of Raleigh, based on recommendations of the Raleigh Arts Commission Additional support for Sanctuary Road is provided by the National Endowment for the Arts, Elliott Davis LLC, and Advance Auto Parts Foundation. NORTH CAROLINA OPERA |





We are proud to present the world stage premiere of Sanctuary Road from composer Paul Moravec and librettist Mark Campbell. This is the story of a remarkable figure from American history, William Still. Mr. Still worked with the Anti-Slavery Society in Philadelphia starting in 1847. In the ensuing years, Mr. Still and his network of operatives helped over 800 people escape slavery. He kept meticulous records, and in 1872 published The Underground Railroad Records, an amazing account of these many stories of heroism and danger. These true stories are exciting, dramatic, and simply larger-than-life. In other words, these stories are truly operatic. To see these stories told on stage is an exciting event for us, one that will once again showcase the amazing storytelling power of opera. Many people have come together to make this production a reality. Generous support for Sanctuary Road comes from our production underwriters, Florence and Jim Peacock, as well as the National Endowment for the Arts, Elliott Davis, and Advance Auto Parts Foundation. Through the efforts of Shaw University, we are able to offer a special welcome to students from local HBCUs. We thank everyone whose efforts and good will have helped bring Sanctuary Road to the stage. In just two weeks, North Carolina Opera aficionados will attend our Opera Gala, which takes place on Saturday, March 19th at the Park Alumni Center on Centennial Campus of N.C. State. The Opera Gala is our most important fundraising event of the year, and we hope you’ll join us for what is always a great evening. Thank you very much.

Ralph Roberson Board President

Eric Mitchko General Director




Sanctuary Road was commissioned by the Oratorio Society of New York and premiered at Carnegie Hall on May 7, 2018, under the baton of Kent Tritle. While the audience and critical reception for the work was overwhelmingly positive that night, we immediately began to think of ways to expand the work and take the story of William Still and the Underground Railroad further; of perhaps redefining the form of the oratorio and stretching its musical and dramatic limitations into something new and unexpected. Something, we might dub, for want of a better word, an “operatorio.” From its inception Sanctuary Road has been naturally operatic in many ways, most notably in the use of musical “leitmotifs” (recurring themes associated with extra-musical dramatic elements such as a character, emotion or idea). For instance, early on in the work, when the solo ensemble sings of the longing for freedom from slavery, they introduce what might be called the “freedom” musical motif which recurs at pivotal dramatic points in the drama, most crucially at the end. The subject matter also demands operatic treatment. William Still, a conductor for the Underground Railroad whose invaluable record of his experiences serves as the inspiration for this text, was a man of nearly religious significance. In the tradition of Handel’s biblical oratorios and Bach’s St. Matthew Passion, he guides us through these stories of courage and sacrifice in his triple role as narrator, commentator, and active participant. The people in the stories Still encountered also emerge as real characters with very specific language and traits, not the archetypes that usually frequent oratorios. Their stories about escaping to freedom fall somewhere between the godlier notions of the oratorio and the more human emotions of opera. Why not present them as both? Furthermore, Still’s own story demanded further dramatization. In our research, we discovered that he reunited with his estranged older brother during regular processing of his interviews with people escaping to freedom. This event seemed particularly operatic. Our development of this new form didn’t stop with Sanctuary Road. Our second and tertiary oratorios, both commissioned by the Oratorio Society of New York, bear this out. A Nation of Others is set during one day on Ellis Island in 1921and will premiere in November 2022 at Carnegie Hall. All Shall Rise, an oratorio about voters’ rights mixes personal stories with speeches by historical figures like Benjamin Franklin and Frederick Douglass and is scheduled to premiere at Carnegie Hall a year later. Both oratorios could follow the same route Sanctuary Road has. We are grateful to North Carolina Opera for offering us this chance to explore this new form and to Dennis Whitehead Darling for his directorial guidance. We are also thrilled that NCO’s audiences will be hearing this version of Sanctuary Road for the very first time. Paul Moravec and Mark Campbell, February 2022




By Mark Campbell The collage-like narrative of Sanctuary Road was inspired by the experiences of William Still while serving as a conductor of the Underground Railroad. In Still’s first solo, “Write,” he resolves to record every detail about his experiences helping slaves escape to freedom. In “Quietly” we hear an ensemble of slaves gently pray for freedom—a song that contrasts sharply with the stentorian demand for runaway slaves in “Reward!” Personal accounts of escapes are then told: by Ellen Craft, who disguised herself as a sickly old white man to train (“The Same Train”); by Wesley Harris, whose only way to escape the bullets of his captors was the speed of his legs (“Run”); by Henry “Box” Brown, who mailed himself to Philadelphia in a crate (“This Side Up”); by Harriet Eglan and Charlotte Giles, who pretend they are attending the funeral of their fictional aunt (“Aunt Abigail”); and by Clarissa Davis, who prays for a storm to empty the streets so that she can slip away safely in the night (“Rain”). Interspersed among these accounts are interviews Still conducts with slaves. One such interview leads to reuniting with this older brother, Peter, after being estranged for forty-two years (“Interview 3”). Because of the impending war, Still conceals his records in a vault in a cemetery. After he recovers them and the war has ended, he receives messages about freedom in notes and letters from the people he helped escape to Canada (“Shaking Hands with the Lion’s Paw”). About William Still… William Still (1821-1902) was an African American abolitionist who lived in Philadelphia and became a conductor on the Underground Railroad in 1847, helping as many as 800 slaves escape from the Southern states to freedom in Canada during before the Civil War. Still self-published a meticulous account of his experiences in The Underground Railroad Records (1872) and his work has proven to be an invaluable historical chronicle, as well as a testament of the bravery of people who escaped their bondage as slaves.

William Still, abolitionist



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 listing represents gifts made to NCO between August 1, 2020 and February 9, 2022. This representation includes gifts made to Fund a Need at the NC Opera Gala. INDIVIDUAL GIVING GOLD PATRON

Gifts of $50,000 or more Rosemarie Sweeney and C. Thomas Kunz Ross W. Lampe Jr. GRAND UNDERWRITER

Gifts between $25,000 and $49,999 E.T. Franklin Jr. Florence and James Peacock UNDERWRITER

Gifts between $15,000 and $24,999 Donna and Richard Falvo Rae and James Gulick Aurora Pajeau Francine and Ralph Roberson GRAND SPONSOR

Gifts between $10,000 and $14,999 Mia Kang and Tony Acquaviva Danielle and Andrew Blass Anna and James Romano SPONSOR

Gifts between $5,000 and $9,999 Jane and Francis Acquaviva Joel R. Adams Anonymous Ria Battaglino and Lawrence Loughlin Brigette Wilds and Michael C. Byrne John Elmo William L. Hampton Kim Kotlar and James Hargrove Douglas R. Holbrook Shohreh Taavoni and Alan Kronhaus Judith LeGrand Elizabeth and John Lunsford Barbara McGuire Susan and Dale Oller Mary Louise and William Rustin Lois T. Flaherty and Richard Sarles Jeanie Wozencraft-Ornellas PATRON

Gifts between $2,500 and $4,999 Amy Moss and Bill Brown Heather Brown Virginia and Michael F. Byrne Ruth and G. Sidney Cox Susan M. Curtis Vivian Clark and Bryan Gilliam



Peter Hamilton Candyce Marsh Margaret and Bill McCulloch Robert W. Morrison Jr. Linda and Wendell Murphy June and Tom Roberg Kelley and John Russell David Sackett Sarah and Steve Shaber Paul and Holly Tesar The George Smedes Poyner Foundation Alice and Patrick Turner BENEFACTOR

Gifts between $1,000 and $2,499 Anonymous Agnes F. Marshall and Robert M. Auman Susan and David Baker Anne Prince Cuddy Jacobi Daley Anne Driscoll Nancy Dunn Connie and Bob Eby Eddie and Jo Allison Smith Family Foundation Sallie and Joe Exum Kellie Falk and Joe Patterson Mary Owen Fitzgerald Douglas Flint Ekaterina Korobkina and Robert Golub Paula S. Greenman Hannelore and Konrad Jarausch Sally and Bill Johnson Deborah and Richard Kadlick Chancy and Keith Kapp Martha and Peter Klopfer Betsy and Steven Levitas Jo Ann Lutz and Doc Muhlbaier Jane Lynch Mark A. McDermott The Honorable Nancy McFarlane and Ron McFarlane Carolyn and Peter Olejar Rochelle and Stephen Prystowsky Frances Rollins Harry Rosenberg Kay Schoellhorn Brian Bizub and Anthony Sgarlata Julie Song and David Smyth James S. Stringfellow Cathy and Jim Stuart

Sally and Robert Tiller Susan and Dick Timmons Mr. Edmund Tiryakian Ann and Steve Tyler Josephine Walker Betsy Blackwell and John Watson Erna and Bill Womble Melissa and Bryan Yeazel Rosemary and Smedes York SUSTAINER

Gifts between $500 and $999 Kelly and Landy Anderton Wendy Lapish and John Beck Sharon and Byron Braswell Eva Buck The Honorable Ann Marie Calabria and Robert Calabria Mary Lovelock and W. R. Chapman Simmie Kastner and Jerome Davis Cheryl and John Denardo Alma and Peter Gaudette Kimberly Gooden June and Michael Graham James Gray Dotty and Lee Hanson Karen and Clark Havighurst Phyllis Pomerantz and Charles Hochman Eloise Watson and Mark Jalkut Elizabeth and Joseph Kahn Alan Karr Suzanne Kennedy-Stoskopf Moyra and Brian Kileff Myra Kornbluth Annie Lang Joy Lewis Amy and David Marschall Arthur Mellor David H. Midvidy Carol and Rusty Parks Kristine Forney and William Prizer Janet and James Rapp Connie and Fred Roberson John Sarratt Emmett E. Stobbs, Jr. Benjamin Sweezy Stephen W. Teitsworth Cheryl Thomas Sally Thomas Eunice Toussaint Catalina and Eric Vander Elst


Gifts between $250 and $499 John Adams, III Judith and Jack Adler Anonymous Linda and Matthew Arnold Amanda and Michael Bambrick Kay Burgess David Burtt Mary and George Deaton Martha Dimes Pat and Paul Elstro Ann Erickson Barbara and Rod Gerwe The Giving Lunch Group Megan Grissett and Sergio Moreno Rich Haney Wade Henderson Susan and Carl Hibbert Deborah Huff Carol and Rick Johns Melissa and Robert Johnson Joan and Howard Kastel Deborah and Thomas Keefe Martha N. Keravuori Lou and Donald Kline Rainelle Krause Kathy and Tom Lada Lewis Lampiris Dorothy Lichtwardt Marylin and Don Lummus Thomas Mansfield Susanna Martin Rose and Clifford Meltzer Laurane Mendelsohn Marjorie Satinsky Rachel Starr Fran and Jack Steele Dell and Blake Strayhorn Mary Warlick Adela and Jerry Whitten Robert Wiley III Marylin Ehrenshaft and John Williamson Mary Zehr MEMBER

Gifts between $100 and $249 Barbara Jasmine Adams Robin and Dwight Allen Eugenie Almeida Judy and Chip Anderson Tracy and Armando Arismendi Barbara and Robert Bell Helen Koo and Richard Bilsborrow Denise and Peter Bleckner

Natalie and Gary Boorman Roy and Hermis Boston Louise and Charles Bryan Carla and Michael Burns Perrin and Jeff Burton Denise Canada Linda and Philip Carl Dolores and Burton Carnegie Mary Beth Tobin and John Connors Sara and Jim Craven Tammy and Bill Crook Lester Czukor Catherine Anderton and José Delgado Katie Dixon and Daniel Wilkinson Jane Duncan Amy Edge Jane and Jim Ericksen Peggy and Jim Fain Leonard Gettes Jean Thomas Goldberg Elizabeth Gordon Phyllis and Stephen Gordon Marie Grauerholz John Graybeal Ruth Gross and Hans Kellner Margo Lynn Hablutzel Jim Konold and Tim Hackett Millie and Barlow Herget Pamela Nelson and Phillip Hopkins Ken Howell Brooke Fortson and Michael Huckabee Lewis H. Kairys Gail and Eugene Karcher Liisa Kissel Kathleen Klesh Gail Kohn Naomi and Charles Lambert Ross Lampe, Sr. Margaret Link Rebecca and Scott MacLeod Julian Mann Cynthia Martens Cindy and Merrill Mason Susan and Earl McClanahan Judith McDaniel Mary Robert McGrath Dick and Ginny McKay Patricia McWaters Virginia Middleton Eileen Greenbaum and Larry Mintz Christina and Tom Mitchko Eugene Molisso Joan and Gustavo Montana Barbara Morales-Burke Waynell Morris Eloise and Alan Neebe

Laura and Charles Neely Jane Norris Phyllis and Paul Page Elizabeth and Daniel Palmieri JoAnn and Donald Parkerson Linda and Bob Patton Elizabeth Pennington Patricia S. Peterson Kathryn Langenkamp and Peter Peroutka Margaret Rich Sylvianne Roberge James Rogers Susan Royster Jennifer and Alfonse Runquist Pat and Paul Scheible Lori Schweickert Lucia and John Sehon Barbara and Simon Shane Ken Small Harriet and John Smith Jeff Hall and David Snider Jane and Graham Snyder Georgiana and Stephen Snyderman Libby and Jason Spain Sam Spence, Molly Spence Ward, and Anna Spence Jennifer J. Stanigar Iris and Donald Stoll Perry H. and William A. Suk The Templeton Family Earleen Thomas Pamela Trent Delores Tuck Robert W. Upchurch Mary Van Name Lizbeth and Jean Marie Videau Isabel Villa-Garcia Alice Watkins Sally and Ron Wenda Kate Dixon and Daniel Wilkinson Marti and Dan Wilson Katherine and James Wilson Margaret Wolchok



NORTH CAROLINA OPERA SUPPORTERS North Carolina Opera gratefully acknowledges the following community leaders for their gracious support in making this season possible. This lists gifts made to NCO between August 1, 2020 and February 9, 2022. This representation does not include gifts made to the NC Opera Gala. FOUNDATIONS AND GOVERNMENT UNDERWRITER Gifts of $25,000 or more

City of Raleigh The John William Pope Foundation Wake County SPONSOR Gifts between $10,000 and $24,999

National Endowment for the Arts North Carolina Arts Council

Triangle Community Foundation’s Carver Fund for North Carolina Opera CO-SPONSOR

Gifts between $5,000 and $9,999 The George Smedes Poyner Foundation SUPPORTER

Gifts between $2,500 and $4,999 Advance Auto Parts Foundation


Gifts up to $2,500 Amazon Smile Foundation Baird Foundation Bell Family Foundation Ella Ann & Frank B. Holding Foundation Opera America Eddie and Jo Allison Smith Family Foundation




Gifts of $25,000 or more

Gifts between $2,500 and $4,999

Gifts up to $2,500

PNC Bank

Allman Bobbie Group at Baird Citrix Elliott Davis, PLLC Goldman Sachs Nexstar Broadcasting Inc. Stuart Law Firm, PLLC

Robert W. Baird and Co., Inc BlueCross BlueShield of North Carolina Fidelity Charitable Gift Fund IBM Matching Program IQVIA Lilly US Matching Gifts Program Mitchell•Casteel – A Fine Catered Affair Norfolk Southern Foundation Kendra Scott LLC

GIFTS IN HONOR OF In Honor of Jane and Fran Acquaviva Thomas McGraw Rachel Starr In Honor of Joel Adams Jacobi Daley In Honor of Being Retired Hannelore and Konrad Jarausch In Honor of Linda T. Carlson Cheryl Thomas In Honor of Jacobi Daley Joel Adams In Honor of S. Worth Dunn and his devotion to NCO Nancy Dunn In Honor of Dorothy Ann Thomas and Lora Fabio Mary Robert McGrath In Honor of Ellen Fort Tish McCutchen In Honor of Chuck Galle Martha N. Keravuori



In Honor of Kim Gooden Pearla Alston In Honor of Eric D. Hale Mary Van Name In Honor of Clark and Karen Havighurst Virginia Middleton In Honor of Chelsea Huber’s Passion Eugene Molisso In Honor of Tom Kunz Susan M. Curtis Connie and Fred Roberson In Honor of John Lunsford Catherine Anderton and José Delgado In Honor of Proud NC Opera Chorus Member, David Marschall Amy Marschall In Honor of David, Jenny, & Foxx Melton Joel Adams In Honor of North Carolina Opera Chorus and Scott MacLeod Mary Royall Hight

In Honor of Florence Peacock Joan and Gustavo Montana Josephine W. Patton In Honor of Francine and Ralph Roberson Chancy and Keith Kapp In Honor of Andrew Pittman and Krista Wilhelmsen Mary Ann Pittman In Honor of Rosemarie Sweeney C. Thomas Kunz In Honor of Rosemarie Sweeney and Tom Kunz Paula S. Greenman Deborah and Richard Kadlick James S. Stringfellow In Honor of the respect and generosity North Carolina Opera has for their artists during this time of need Rainelle Krause In Honor of Lawrence J. Wathan Aurora Pajeau

MEMORIAL GIFTS In Honor of Brigette Wilds Virginia and Michael F. Byrne

In Memory of Judith Jenkins Frankie J. Lugiano

In Memory of John Russell Judy and Chip Anderson

In Memory of Matthew John Dill and Grace Stuit Dill Carol and Robert Schriber

In Memory of Senora Karr Alan Karr

Bank of America Private Bank

In Memory of David Dunson Teresa and Anthony Alizieri In Memory of Brenda B. Folsom Beth and Michael Van Amburgh In Memory of Dr. Ann Gettes Leonard Gettes In Memory of Justice Ruth Bader Ginsberg Giving Lunch Group In Memory of my Mother and Father Jean Thomas Goldberg In Memory of Arend Greidanus of Amsterdam, Holland Gail and Eugene Karcher In Memory of Jane Gregory Hobson, 1937-2019 Jane and Graham Snyder In Memory of Donald E. Hunter Sandra Craig

In Memory of George Kornbluth Myra Kornbluth In Memory of Ivan Korobkin Ekaterina Korobkina and Robert Golub

Mark Barr Jane Duncan KDB Law Firm Rosemarie Sweeney and C. Thomas Kunz

In Memory of Gordon B. LeGrand Judith LeGrand

Naomi and Charles Lambert

In Memory of Ruth and Thomas Martin, who believed in opera in English Susanna Martin

Cindy and Merrill Mason

Betsy and Steven Levitas Robert W. Morrison, Jr.

In Memory of Linda Karen McGill Rosemarie Sweeney and C. Thomas Kunz

Margaret Rich

In Memory of Dr. Tom McGuire Peggy and Jim Fain Julian Mann, III

Jeff Hall and David Snider

In Memory of Arthur Mellor Marjorie Satinsky In Memory of Paul Mitchko Christina and Tom Mitchko

Francine and Ralph Roberson Sam Spence, Molly Spence Ward, and Anna Spence Marilyn and Hugh Stevens Dell and Blake Strayhorn Betsy Blackwell and John Watson

In Memory of Jean Pletcher Nancy and Ron McFarlane ACKNOWLEDGEMENTS

ACKNOWLEDGEMENTS North Carolina Opera offers special thanks to the following individuals, organizations, and businesses for their support during the last year: Jane Acquaviva Cornerstone Custom Printing S. Worth Dunn Galloway Ridge* Kim Gooden Rae Gulick Judy Hendrickson

Indy Week Lysaght & Associates* Meredith College Department of Music Mitchell•Casteel – A Fine Catered Affair* Christina Mitchko Morningstar Law Group* Raleigh Beer Garden

Raleigh Magazine Stuart Law Firm* Summit Hospitality Group Telepathic Graphics Williams Mullen* Elaine Wood York Properties, Inc.*

*Corporate Sponsors of the 2021/22 North Carolina Opera Gala

Today’s pre-performance lobby music is provided by Philharmonic Association String Quartet.




MULTI-YEAR GIVING Long-range planning is critical to North Carolina Opera’s continued success and growth as we strive to bring the Triangle Area world-class opera productions, performances, and musicians. An essential component of this planning is accurately forecasting contributed revenues from our generous donors — contributed revenues that comprise some 70% of NCO’s budget! North Carolina Opera is profoundly grateful to the following individuals who have pledged their financial support to the organization over multiple seasons. Please join us in thanking these tremendous donors for their commitment to our current and future success. DIRECTORS CIRCLE

Individuals having made multi-year pledges totaling $250,000 or more Rosemarie Sweeney and C. Thomas Kunz Individuals having made multi-year pledges totaling $30,000 or more Francine and Ralph Roberson Individuals having made multi-year pledges totaling $15,000 or more Joel Adams Anonymous Danielle and Andrew Blass Brigette Wilds and Michael C. Byrne Elizabeth and John Lunsford Lois T. Flaherty and Richard Sarles Shohreh Taavoni, MD and Alan Kronhaus, MD Jeanie Wozencraft-Ornellas LEADERSHIP CIRCLE

Individuals having made multi-year pledges to North Carolina Opera Jane and Francis Acquaviva Douglas R. Holbrook Melissa and Bob Johnson Candyce Marsh Robert Wiley


For information on becoming at part of the Directors Circle or Leadership Circle, please contact the NC Opera office of Development at 919.792.3855 or Cary Byrd at

Your legacy gift creates North Carolina Opera’s legacy of opera for future generations. Making this kind of gift is cost-free during your lifetime, but the benefits are long-lasting to NCO and those who love opera. With your help, we can make sure that the Triangle enjoys the magic of opera for years to come!

FOUR EASY WAYS TO MAKE YOUR LEGACY GIFT Your Life Insurance Life insurance that no longer serves its original purpose, such as college funding or spousal support, may be used to ensure that opera is enjoyed by and accessible to audiences in the future. Your Retirement Plan You can ensure that the magic of opera continues by making NC Opera a beneficiary in your retirement plan.

Your Will You can help NC Opera expand its productions and education programs for years to come, continuing the rich tradition of the arts in the Triangle, simply by making a gift of any amount in your will. Your Charitable Gift Annuity When you create a charitable gift annuity benefiting NC Opera, you will ensure that the curtain continues to rise upon high-quality productions like SIEGFRIED Act III, PAGLIACCI, Lawrence Brownlee in recital and THE MAGIC FLUTE.

To discuss a legacy gift, call the Development office at NCO, (919) 792-3855 or email

ARTIST BIOGRAPHIES careers of stage and music directors of color. His recent directing credits include: The Secret River with Opera CONDUCTOR Orlando, La bohème (Opera Columbus), world William Henry Curry makes Premiere of Marian’s Song (Houston Grand Opera), his NCO conducting debut with Giulio Cesare in Egitto (Carnegie Mellon University), Sanctuary Road. He is the Porgy and Bess (Red Mountain Theatre), Independence Music Di rec tor a nd Eve (Opera Birmingham), Lady Day at Emerson’s Bar Conductor of the Durham and Grill (Hattiloo Theatre/Spazio Teatro No’hma Symphony. For twenty years – Milan), Jelly’s Last Jam (Hattiloo Theatre), The Maestro Curry was the Resident Parchman Hour (Hattiloo Theatre), Ain’t Misbehavin’ Conductor and Summerfest (Spazio Teatro No’hma – Milan), Intimate Apparel Artistic Director of the North Carolina Symphony. (University of Memphis), Movin’ Up in the World (Opera A native of Pittsburgh, Curry started conducting and Memphis), Sunset Baby (Hattiloo Theatre), James and composing music at age 14. His first major appointment the Giant Peach (Circuit Playhouse), Blue Viola (Opera was at age 21 when he was named Assistant Conductor Memphis), Mr. Rickey Calls A Meeting (Hattiloo Theatre), of the Richmond Chamber Orchestra. On the same Marcus; or the Secret of Sweet (Hattiloo Theatre). day, he was called in to replace a conductor who Upcoming productions include Lady Day at Emerson’s suddenly became ill for a performance of Bar and Grill, with the Hattiloo Theatre, Die Beethoven’s Symphony No. 9. He went on to serve as Zauberflöte with Pensacola Opera, Stephen Eddins’s Resident Conductor with the Baltimore Symphony, chamber opera Why I Live at the P.O. (based on the St. Paul Chamber Orchestra, and New Orleans short story by Eudora Welty) with UrbanArias, Symphony. and Porgy and Bess with the Hattiloo Theatre. For Maestro Curry was appointed Associate Conductor more information, please visit his website at of the Indianapolis Symphony in 1983, a post he held until 1988, the same year he was named winner of the Leopold Stokowski Conducting Competition and BENJAMIN TAYLOR performed in Carnegie Hall. He was feature conductor WILLIAM STILL for the tour and recording of Anthony Davis’s Grammy-nominated opera X. He has also conducted Baritone Benjamin Taylor opera productions with New York City Opera, Houston beg i ns t he 21/22 sea son Grand Opera and Chicago Opera Theater. ma k ing his debut at The Metropolitan Opera in Fire Shut Maestro Curry has conducted over forty orchestras, Up in My Bones (Chester) including appearances with the Chicago Symphony followed by debuts with Orchestra, Cleveland Orchestra, Los Angeles Michigan Opera Theatre and Philharmonic, Houston Symphony, National Spoleto Festival USA in La Symphony Orchestra, Detroit Symphony Orchestra, among many others. He has conducted The Nutcracker bohème (Schaunard), Cincinnati Opera for the world at the New York City Ballet, and previously conducted premiere of Castor and Patience (West), North Carolina The Merry Widow for The Opera Company of North Opera for Sanctuary Road (William Still), Baltimore Concert Opera for Adriana Lecouvreur (Michonnet), Carolina. and a return to Pittsburgh Opera for The Magic Flute Maestro Curry is also a composer. The Indianapolis (Papageno). Additionally, he will workshop Factotum Symphony Orchestra premiered his Eulogy for a Dream, (Garby) at the Lyric Opera of Chicago. based on the speeches and writings of Dr. Martin Last season he returned to Opera Theatre of Saint Luther King Jr. Louis for Opera on the Go – Digital followed by debuts with Fargo-Moorhead Opera for Il barbiere di DENNIS WHITEHEAD Siviglia (Figaro), Opera Orlando for The Secret River DARLING (Augustus), and Des Moines Metro Opera for Pique STAGE DIRECTOR Dame (Tomsky), Platée (Satyre), and Fellow Travelers Dennis Whitehead Darling (Tommy McIntyre). Other recent engagements include makes his NCO as the director Sacramento Philharmonic & Opera for Opera for Paul Moravec and Mark Favorites: All Mozart concert, Oregon Symphony for a staged/costumed production of Shakespeare and Campbell’s Sanctuary Road. Sibelius’ The Tempest (Stefano), the workshop of The In 2018, Mr. Darling was Halloween Tree (Tom) with American Lyric Theater, selected by Opera Memphis as and a last-minute appearance with LA Opera in La their Inaugural McCleave Fellow bohème (Schaunard). in Directing, a fellowship dedicated to fostering the




ARTIST BIOGRAPHIES Mr. Taylor is a graduate of the Pittsburgh Opera Resident Artist Program where he was seen in La bohème (Schaunard), Glory Denied (Older Thompson), Tosca (Sciarrone), The Long Walk (Brian), and MobyDick (Captain Gardiner) in addition to covering in Don Pasquale (Doctor Malatesta) and Le nozze di Figaro (Count Almaviva). He debuted at Madison Opera in I pagliacci (Silvio) and was an Apprentice Artist at The Santa Fe Opera where his assignments included covering in Les pêcheurs de perles (Zurga). Mr. Taylor was a Gerdine Young Artist and Richard Gaddes Festival Artist at Opera Theatre of Saint Louis where he seen in The Barber of Seville (Fiorello), Shalimar the Clown (Cowardly Giant), and Madam Butterfly (Prince Yamadori) and covered in The Barber of Seville (Figaro), La bohème (Marcello), Ariadne auf Naxos (Music Teacher), Madam Butterfly (Sharpless), and The Trial (Lawyer Huld). Additional performances include La bohème (Marcello) with Crested Butte Festival and Madama Butterfly (Prince Yamadori) for Berkshire Opera’s inaugural season. Benjamin received his Master of Music from Boston University and his Performer’s Certificate with Boston University’s Opera Institute. While at BU, he performed in A Midsummer Night’s Dream (Demetrius), Così fan tutte (Guglielmo), La Tragédie de Carmen (Escamillo), Angels in America (Prior Walter), Florencia en el Amazonas (Alvaro), Owen Wingrave (Coyle), and Le Portrait de Manon (Des Grieux). He received his Bachelor of the Arts at Morgan State University where he sang in Blue Monday (Tom) with the Baltimore Symphony Orchestra.

NORMAN SHANKLE WESLEY HARRIS American Tenor Norman Shankle is currently enjoying worldwide acclaim for his portraya ls of Mozart and Rossini’s most famous tenors. The Boston Globe called Shankle “a real find, a singer of elegance, g race a nd conv ic t ion.” Upcoming, he will return to Northern Lights Music Festival as Ramiro in La cenerentola, Mozart’s Requiem and Adolphus Hailstork’s A Knee On a Neck for the National Philharmonic as well as Beethoven’s Missa Solemnis and will join the Tulsa Opera for Salome. Recent engagements also include the role of Lindoro in L’Italiana in Algeri with Opera Memphis and Piedmont Opera; Bach’s Cantata No. 29 and Vaughan Williams’s Serenade to Music with the Atlanta Symphony, and Händel’s Messiah with Boston Baroque, Indianapolis Chamber Orchestra, Baltimore Symphony, Phoenix Symphony and the National Philharmonic. He created the roles of Elder Barber/Gus Greenlee in

Daniel Sonnenberg’s The Summer King, a new opera that explores the life of Josh Gibson, “one of the greatest Negro League baseball players,” with Pittsburgh Opera, and repeated the part with Michigan Opera Theater. He joined the Metropolitan Opera for The Enchanted Island. Prior engagements include Count Almaviva in Il barbiere di Siviglia with New Orleans Opera, English National Opera, and Semperoper in Dresden Semperoper; Edgardo in Lucia di Lammermoor with Opera Saratoga; and Tamino in Die Zauberflöte with Michigan Opera Theater. Previous successes include the title role in Idomeneo and Don Ottavio in Don Giovanni with Staatstheater Stuttgart, the Opera Festival at Verona, and Reggio Emilia; Ferrando in Così fan tutte with the Netherlands Opera and Palm Beach Opera; Belfiore in La finta giardiniera with Opernhaus Zürich; Ernesto in Don Pasquale and Renaud in Gluck’s Armide with the Komische Oper Berlin; and Ernesto for his Dallas Opera début and with Grand Théâtre de Genève. He has also appeared with the Edinburgh Festival, Mostly Mozart Festival in New York, and the Wiener Festwochen. Shankle began his career with the San Francisco Opera in the Merola Opera Program and as an Adler Fellow. He officially made his company début as Valletto in L’incoronazione di Poppea, and subsequently appeared with the company in seven subsequent productions. He was selected as a winner of the distinguished ARIA award. Other awards include a Richard Tucker Career Grant, and the McAllister Award.

TAYLOR RAVEN ELLEN CRAFT, CHARLOTTE GILES Mezzo-soprano Taylor Raven makes her NCO debut in Paul Moravec and Mark Campbell’s Sanctuary Road. This season she makes debuts with Des Moines Metro Opera as Pauline in The Queen of Spades and at Finger Lakes Opera as Rosina in Il barbiere di Siviglia. She has performed with Seattle Opera, Los Angeles Philharmonic, New West Symphony, Cincinnati Symphony Orchestra, Pittsburgh Opera, Central City Opera Wolf Trap Opera, American Symphony Orchestra, National Orchestral Institute Philharmonic. She appears on the Naxos recording of Bernstein’s Songfest conducted by James Judd. Upcoming engagements include debuts with Opera San José, Dallas Symphony Orchestra, National Symphony Orchestra, Baltimore Symphony Orchestra and a return to the Los Angeles Philharmonic. She is a recent graduate of the Young Artist Program NORTH CAROLINA OPERA |


ARTIST BIOGRAPHIES at LA Opera. While in the program, she was seen as Annio in La clemenza di Tito, Tebaldo in Don Carlo, the Second Lady in the Barrie Kosky production of Die Zauberflöte, and the Sandman in Hansel and Gretel. She has participated in other young artist and resident artist programs, including San Francisco Opera Center’s Merola Opera Program, Wolf Trap Opera, Central City Opera, Pittsburgh Opera. She holds degrees from the University of North Carolina-Chapel Hill and the University of Colorado-Boulder.

LaTOYA LAIN CLARISSA DAVIS, HARRIET EGLAN S o p r a n o L aTo y a L a i n appeared with NCO in Opera About Town Online where she sang excerpts from Tannhäuser and Tosca. She is a member of t he voice faculty of the University of North Carolina at Chapel Hill. Before that she served on the voice faculties of Central Michigan University, New York University, and Oakwood University. Equally at home in the teaching studio and on the performance stage, she continues to perform solo recitals, oratorio, and opera worldwide. She was recently a member of the Grammy Award-winning cast of Porgy and Bess at the Metropolitan Opera. She returned there this fall for the reprise of Porgy as well as the premiere of Terrance Blanchard’s Fire Shut Up in My Bones. Ms. Lain’s operatic roles include Brünnhilde in Die Walküre, Countess Almaviva in Le nozze di Figaro, the title role in Carmen, Suzuki in Madama Butterf ly, Polinesso in Ariodante, La Principessa in Suor Angelica, Baba in The Medium, and Ježibaba in Rusalka. Dr. Lain’s research includes the intensive study and performance practice of Negro Spirituals. She has performed her lecture recital “Narrative of a Slave Woman: Songs of Hope, Justice, and Freedom” on concert stages and at universities throughout the world. She contributed a short chapter to The Voice Teacher’s Cookbook: Creative Recipes for Teachers of Singing.

MALCOM J. MERRIWEATHER HENRY “BOX” BROWN, PETER STILL Baritone Malcolm J. Merriweather makes his NCO debut in Paul Moravec and Mark Campbell’s Sanctuary Road. He appears on the Grammy-nominated recording



of the work conducted by Kent Tritle on the Naxos label. Dr. Merriweather has been featured as a soloist with the Boston Symphony Orchestra, Columbus Symphony, The Dessoff Choirs, the New York Choral Society, Bach Vespers Choir, and Orchestra at Holy Trinity Lutheran Church in New York City. He is Music Director of The Dessoff Choirs. He has led the group in performances of Ildebrando Pizetti’s Requiem, Margaret Bonds’s The Ballad of the Brown King, David Lang’s The Little Match Girl Passion, Vaughan Williams’s Dona nobis pacem, and world premieres by composers Eve Beglarian, Douglas Geers, and Matthew Aucoin celebrating the bicentennial of the birth of poet and journalist Walt Whitman, among many others. He conducted the choir on a recording of Margaret Bonds: The Ballad of the Brown King & Selected Songs on the AVIE label. He made his Mostly Mozart debut conducting the West Choir in a world premiere of John Luther Adams’s In the Name of Earth. Dr. Merriweather is also the Artistic Director of “Voices of Haiti,” a 60-member children’s choir in Port-au-Prince that is operated by the Andrea Bocelli Foundation. He has led the group in performances with Andrea Bocelli at Madison Square Garden, Teatro del Silenzio, and for Pope Francis at the Vatican. He is an Associate Professor, Director of Choral Studies and Voice Department Coordinator at Brooklyn College of the City University of New York.

BRIAN RUGGABER SET DESIGNER Brian Ruggaber is an awardwinning scenic designer who is delighted to be designing Sanctuary Road for North Carolina Opera. Currently in his eighth year with the University of Memphis, he heads The Department of Theatre & Dance’s scenic design program and has designed scenery for over 170 productions including Opera, Drama, Musical Theatre, and Dance. His work has been seen in opera companies, regional theatres, international festivals, and Off Broadway. He takes particular joy in developing work with diversity, equity, and inclusion as core themes. Prior to joining UM’s faculty, he was a Resident Scenic Design for The University of Cincinnati’s College-Conservatory of Music and an Associate Professor of Design at The University of North Carolina at Charlotte. His students have successful careers in theatre, film, television, and themed entertainment. Brian is a proud member of United Scenic Artists Local 829, IATSE 492, and

ARTIST BIOGRAPHIES an active member of the United States Institute for Theatre Technology (USITT). He has an MFA from The University of Massachusetts and a BFA from Virginia Commonwealth University. In addition to design, Brian has worked extensively in production and has manufactured scenery for commercial shops, television, and regional theatres.

DRISCOLL OTTO LIGHTING AND PROJECTIONS DESIGNER Recently Driscoll designed lighting and projections for Chicago Opera Theatre’s Becoming Santa Claus, lighting and projections for Houston Grand Opera’s Marian’s Song, lighting for The Huntington Theatre Company’s production of The Purists directed by Billy Porter, projection design for Maggio Musicale Fiorentino’s The Flying Dutchman, lighting and projections for Iolanta at Chicago Opera Theatre. The summer of 2021 Driscoll was invited to Austria to design lighting for an outdoor environmental production of Turandot for Oper Im Steinbruch (Opera in the Quarry). Mr. Otto’s design work is seen frequently in NYC & in American regional theatre and opera. His credits include The Huntington Theatre Company, Utah Opera, The Old Globe, Opera Omaha, Opera Philadelphia, Dallas Theater Center, Drury Lane Theatre, The Dallas Opera, Chicago Opera Theatre, Houston Shakespeare Festival, Trinity Repertory Company, Hangar Theatre, Flat Rock Playhouse, Lyric Opera Kansas City, and productions of Legally Blonde and Rock of Ages for Norwegian Cruise Lines. Highlights to his resume include projection design for Santa Fe Opera’s production of The Golden Cockerel and The Metropolitan Opera’s production of La Donna Del Lago. Upcoming projects include The Life reimagined and directed by Billy Porter for New York City Center’s Encores! He received his MFA from New York University’s Tisch School of the Arts. His work can be seen at

JESSICA ANN DRAYTON ASSOCIATE LIGHTING AND PROJECTIONS DESIGNER Jessica works as a professional lighting/projection designer, assistant and programmer. Every production has a life of its own and she is happy that her lighting gets to help tell each and every unique story. Her most recent works include lighting designs for Ma Rainey’s Black Bottom (Cincinnati Shakespeare Company), Raisin in the Sun (WaterTower Theater), Pleasure Trials (Amphibian Stage) and projections for Viva Diva! (The Dallas Opera). “I could not continue to pursue my craft without the love and support of my friends and family (especially Jonathan David & Sophia).” Explore more of Jessica’s work at Fiat Lux.

PAUL MORAVEC COMPOSER Paul Moravec, recipient of the 2004 Pulitzer Prize in Music, h a s c omp o s e d ove r 2 0 0 orchestra l, chamber, ly ric, chora l a nd operat ic work s. Frequently commissioned by notable ensembles and major mu s i c i n s t i t u t i o n s , M r. Moravec’s next premiere is A Nation of Others, an oratorio about Ellis Island to a libretto by Mark Campbell for Oratorio Society of New York at Carnegie Hall. Other recent premieres include The Shining for Minnesota Opera, A New Country, with mezzo Jennifer Johnson Cano and the Bridgehampton Festival, and The Overlook Hotel Suite for American Composers Orchestra. Recent recordings include The Blizzard Voices, an oratorio on BMOP Sound, Music, Awake! with the Bach Society Chorus, Amorisms on Delos/ Naxos, Violin Concerto and Sanctuary Road on Naxos, which earned a 2021 Grammy nomination. A graduate of Harvard and Columbia universities, he holds the distinguished rank of University Professor at Adelphi University, and recently served as Artistin-Residence at the Institute for Advanced Study in Princeton as well as Composer-in-Residence at the American Academy in Rome. His website is and his works are published by



ARTIST BIOGRAPHIES MARK CAMPBELL LIBRETTIST The work of Pulitzer Prize and Gra m my Awa rd-w i nni ng l i br e t t i s t / l y r i c i s t M a r k Campbell is at the forefront of the contemporary opera scene in this country. Mark has written 40 opera librettos, lyrics for 7 musicals and text for 6 song cycles and 4 oratorios. His works include Silent Night, The (R)evolution of Steve Jobs, The Shining, Elizabeth Cree, As One, Stonewall, The Nefarious, Immoral but Highly Profitable Enterprise of Mr. Burke & Mr. Hare, Dinner At Eight, Rappahannock County, Later the Same Evening, Volpone, Bastianello/Lucrezia, and Songs from an Unmade Bed. His opera, Approaching Ali, was produced by North Carolina Opera in 2015.

Mark mentors future generations of opera composers and librettists at the American Opera Project and American Lyric Theater. In 2020, he also created and funded the first award for opera librettists in the history of the art form: the annual Campbell Opera Librettist Prize, administered by OPERA America. With his fellow As One collaborators, he also recently helped create the True Voice Award to help fund the training of transgender opera singers, administered by Washington National Opera. Premieres in 2022 include: A Sweet Silent in Cremona for Teatro Comunale Ponchielli, Unruly Sun for Orchestre Classique de Montréal, Edward Tulane for Minnesota Opera, A Year to the Day for The Violin Channel, A Thousand Acres for Des Moines Metro Opera, and A Nation of Others for the Oratorio Society of New York. www.markcampbellwords.coms

ORCHESTRA 1ST VIOLIN Margaret Partridge Ariadna Ilika Anne Leyland Leah Peroutka 2ND VIOLIN Nonoko Okada Krista Cala Laura Thomas Cortney Baker VIOLA Simon Ertz Matthew Chicurel Kristen Beard

CELLO Nate Leyland Rosalind Leavell

CLARINET Mike Cyzewski Kevin Streich

BASS Emily Buccola

BASSOON Michael Burns

FLUTE Carla Copeland-Burns Whitney Pencina

FRENCH HORN Tristan Burns Caleb Harris

OBOE Stephanie Wilson

TRUMPET Alexander Fioto Don Eagle

TROMBONE Michael Kris TIMPANI/PERCUSSION Christopher Nappi HARP Jacqueline Bartlett PERSONNEL MANAGER Paul Gorski LIBRARIAN Julia Thompson

CHORUS WOMEN Gretchen Bruesehoff Micaela Bundy Frances Bushman Bethany Gilmore Erica Jackson Kaitie Lawson


Stacee Lyles Monique Butler McLeod Rachel Stenbuck Paisley Williams


MEN Sylvester Allen Michael Blake Jacob Cortes Adam Dengler Greg Hirsh David Marschall

Lindon Pearson Matt Sawchak Markel Williams

NORTH CAROLINA OPERA STAFF General Director – Eric Mitchko Company Manager – Julie Williams Director of Development – P. Carrigan Byrd, Jr. Director of Marketing – Angela Grant Production Manager – Linda T. Carlson Box Office Associate – Rebecca Edmonds

DUKE ENERGY CENTER FOR THE PERFORMING ARTS STAFF City Manager – Marchell Adams-David Assistant City Manager – Jim Greene Director/General Manager – Kerry Painter Assistant General Manager – Michelle Bradley Finance Director – Hazel Cockram Director of Security – Byron K Johnson III Director of Operations – Brian Clark Box Office Manager – Rob Leavell Assistant Box Office Manager – Gavin Brown Booking Manager – Melanie Margarum Marketing Manager – Sarah McAlister Marketing Coordinator – Briana Pedroza Maintenance Supervisor – Russell Denton Facilities Supervisor – William Negron Fiscal Manager – Kathi Wimmer Accountant – Kathy Strait Production Manager – Lucas Johnson Production Supervisors – Michelle Boyette, Bryan Hitzigrath, Paul Marsland, Dave McManus Front of House Managers – Matthew Hester, Brittany Washington Operation Staff – Deshondre Bellinger, Brittany Brandon, Alex Brickley, Kevin Brown, Dave Chapman, Ricky Cherry, Andrew Crane, Scott Gibson, Michael Green, Robert Hall, Ehhteeku Htaw, Liberty Lander, Noeree Sunshine Lander, Lisa Morgan, Lucas Pooran, Rusty Sharpe, Htee Shee, Sa Tin, Mason Tierney, Luke Watkins




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