North Carolina Opera | THE MARRIAGE OF FIGARO

IN CELEBRATION OF OUR 15TH ANNIVERSARY, WE’D LIKE TO RECOGNIZE THE MANY BOARD MEMBERS WHO HAVE SERVED NORTH CAROLINA OPERA OVER THE YEARS.

Francis Acquaviva J. Allen Adams Harold Almquist Linda Arnold David Baker William Barrett Ria Battaglino Andrew Blass Dennis Blue Robert Caldwell Sophia Caudle Joseph Cece Christopher Coughlin Anne Prince Cuddy Worth Dunn Chris Elliott Richard Falvo Ginger Finley Joshua Folkerth Charles Fyfe Anthony Giasi Kimberly Gooden William Hampton Clark Havighurst Terry Henderson Charles Hochman Nelle Hotchkiss Donald Hunter Beckton James Lewis Kairys Brian Kileff Charlé LaMonica

Betsy Levitas Steve Levitas Candyce Marsh Allen Mask John Mazzarino William McCulloch Carol McNeel Rose Meltzer Assad Meymandi Michael Moore Bob Morrison Ansel Mullins Linda Murphy Susan Oller Michael Parkerson Sterling Perkinson Steffen Perry Carlyn Pollack Ivan Pollack Rochelle Prystowsky June Roberg John Russell Steven Shaber Claude Snow Renee Snyderman Alan Stephenson Kerry Swearingen Robert Ward Catherine Charlton White Ellen Williams Ali Zomorodi

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

PAST CHAIRS OF NORTH CAROLINA OPERA BOARD OF DIRECTORS 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 NORTH CAROLINA OPERA | 1

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2023-2024 Raleigh Arts Partners

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

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• 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

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WELCOME TO THE MARRIAGE OF FIGARO

What a joy once again to visit our good friend, The Marriage of Figaro! Mozart and Da Ponte’s miracle returns to the North Carolina Opera stage for the first time in eight years, in a wonderful production from director Chas Rader-Shieber, in his company debut, and set designer Steven Kemp, whose La bohème we presented in 2022. Conductor Aaron Breid joins us again to lead an excellent young cast. We are very grateful to Rosemarie Sweeney and the late Tom Kunz for their generous support of this production.

We are proud to announce our 2025-2026 season, in which we will for the first time have three fully-staged productions on our subscription series, all of them right here in Memorial Auditorium. The season will begin with the company premiere of Jules Massenet’s enchanting version of CINDERELLA in October, will continue in January with Puccini’s beautiful and heartbreaking MADAMA BUTTERFLY, and will conclude in April with the long-awaited return to the company of Verdi’s almost impossibly tuneful IL TROVATORE. Subscribe now to get the best seats at the best prices, and help us continue the celebration of our 15th anniversary! You can subscribe here at the theater today, or by visiting NCOPERA.ORG. We are very grateful to all of you whose donations to North Carolina Opera make these performances possible. A gift of any size helps keep us singing. Thank you!

Whether this is your first Figaro or your twentieth, we welcome you and hope you enjoy this inspired account of love.

Thank you.

Nancy Hablutzel Board Chair

Eric Mitchko General Director

NORTH CAROLINA OPERA | 3

LE NOZZE DI FIGARO Music: Wolfgang Amadeus Mozart Libretto: Lorenza da Ponte, after the play La folle Journée by Beaumarchais World premiere: Vienna, Burgtheater, May 1, 1786 United States premiere: New York, Park Theater, May 10, 1824 Le nozze di Figaro is generously underwritten by C. Thomas Kunz and Rosemarie Sweeney

Conductor – Aaron Breid Director – Chas Rader-Shieber Count Almaviva Countess Almaviva Figaro Susanna Cherubino Doctor Bartolo Marcellina Don Basilio Don Curzio Barbarina Antonio Two women

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Theo Hoffman Kathryn Henry Wm. Clay Thompson Cadie J. Bryan Stephanie Foley Davis Adam Lau Lucia Bradford Scott Wichael Scott Wichael Bailey Sutton Donald Hartmann Gretchen Bruesehoff, Alexia Della Valle

FRIDAY, APRIL 4, 2025 | 7:30 PM SUNDAY, APRIL 6, 2025 | 2:00 PM RALEIGH MEMORIAL AUDITORIUM MARTIN MARIETTA CENTER FOR THE PERFORMING ARTS

Harpsichord Lighting Designer Chorus Master Assistant Director Costume Coordinator Wig and Makeup Designer Production Manager Properties Master Rehearsal pianists Technical Director Master Carpenter Master Electrician Production Stage Manager Assistant Stage Managers Wig and Makeup Assistants

Supertitle Operator

Ava Linvog Ross Kolman Jeanie Wozencraft-Ornellas Matthew Schulz Denise Schumaker Martha Ruskai Linda T. Carlson Pamela McLamb Ava Linvog, Kent Lyman Tim Stettler Johnathan Bell Angela Brickley Gina Hays Mary Parisi, Gabrielle Miller Elisa Acevedo, Tiffany Turley, Mark Boley Devon Carter

Sets designed by Steven C. Kemp Provided by the New Orleans Opera Association Costumes designed by Glenn Avery Breed Costumes Provided by Wardrobe Witchery Supertitles by Brett Finley

M

North Carolina Opera is funded in part by the City of Raleigh, based on recommendations of the Office of Raleigh Arts The performance will last approximately three hours including one intermission.

NORTH CAROLINA OPERA | 5

THE MARRIAGE OF FIGARO NOTES Beaumarchais’s play La folle journée ou Le mariage de Figaro (The Mad Day, or The Marriage of Figaro) was controversial from its first Paris performance in 1784. This was in part because it showed commoners behaving as equals to nobles, in part because of the character Figaro’s vaguely political speeches. A production planned for Vienna in 1785 had to be scrapped when the Crown banned performances of the politically sensitive play. However, Emperor Joseph II permitted the publication of the text in German translation. Mozart read it, and got the idea to turn it into an opera. Joining him for the first time was Lorenzo Da Ponte, who not only supplied the remarkable Italian libretto (where it became Le nozze di Figaro) but used his excellent diplomatic skills (which included cutting anything overtly political from the play) to get permission for the piece to be done at all. Milos Forman’s 1984 film Amadeus amusingly recounts the work’s genesis.

Le nozze di Figaro, North Carolina Opera 2017.

Curtis Brown Photography.

Mozart composed most of Figaro in six weeks in autumn 1785. It received its premiere at the Burgtheater in Vienna on May 1, 1786, with the composer conducting from the harpsichord. The piece had a good initial public success, yet was soon overshadowed in Vienna by Vicente Martin y Soler’s Una cosa rara. However, what was abandoned by Vienna was embraced by Prague.

There Figaro had an overwhelming success that prepared the way for its embrace by the rest of Europe and led to a commission for a second Mozart-Da Ponte collaboration, Don Giovanni (now almost the only way any of Soler’s opera is now known, thanks to a brief quotation of it in the banquet scene).

Figaro was first heard in Italy in Monza, outside of Milan, in 1787, and was presented in Florence the following year. The opera arrived in London in 1812 and New York in 1824. After periods in the 19th century when it was performed less frequently than it merits, by the mid-twentieth century it had regained its rightful place at the center of the world’s operatic repertoire. The score is brilliant from start to finish. To pick only a few examples, listen to the Act II finale, whose musical tension increases as the set piece expands from trio to quartet to septet: “Sull’aria,” the exquisite duet for the Countess and Susanna in Act III; the warmly comical sextet in Act III, where Mozart’s music nozze di Figaro, North Carolina Opera 2017. takes us far from the number’s comic origins; or Le Curtis Brown Photography.

Cherubino’s “Non so più,” which establishes the page’s character immediately and indelibly. In its musical-dramatic structure, melodic charm, depth of characterization, and warm humanity, Le nozze di Figaro remains unsurpassed in operatic history.

Capital Opera presented the piece in 2005, and Opera Company of North Carolina did so in 2007 with Wayne Tigges, Sari Gruber, and Stephen Powell. North Carolina Opera first produced the work in 2017 at Fletcher Opera Theater, in a production directed by Matthew Ozawa that featured Tyler Simpson, Steven LaBrie, D’Ana Lombard, Jennifer Cherest, and Jennifer Panara.

– Eric Mitchko

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SYNOPSIS ACT I Figaro, servant to Count Almaviva, is about to marry Susanna, the Countess’s maid. He measures a room for a bed, but Susanna is concerned that the room is too close to the Count’s chamber. She explains to Figaro that Almaviva is pursuing her. Figaro vows to thwart the Count’s plans. Once Figaro leaves, Doctor Bartolo and Marcellina enter. Marcellina is angry at Susanna for stealing Figaro away from her, while Bartolo is angry at Figaro for making a fool of him in the past.

Marcellina and Susanna are sarcastically polite with one another until Marcellina and Bartolo leave.

Cherubino, a young page, enters, seeking advice from Susanna. Count Almaviva caught him alone with the gardener’s daughter, Barbarina, and he is now to be sent away. He is besotted by all women, he explains, and cannot help himself. Before Susanna can offer advice, they are interrupted by the arrival of Almaviva himself.

Cherubino hides while Almaviva attempts to set up a tryst with Susanna. The Count himself is forced to hide when yet another voice is heard at the door. It’s Don Basilio, the music teacher, who references Cherubino’s supposed crush on the Countess. In a rage, the Count reveals himself to an amused Basilio. He states that he is sending Cherubino away, and relates the scene in the gardener’s daughter’s chambers. As he does, Almaviva discovers a hiding Cherubino. Almaviva is fuming, as Cherubino has overheard him propositioning Susanna. He vows to get rid of the lad by giving him a military commission. Figaro returns, accompanied by festive townspeople. He asks the Count to join him and Susanna in marriage. Almaviva stalls him.

ACT II In Countess Rosina’s chambers, the Countess grieves for the loss of her husband’s love and attention, and she and Susanna discuss Count Almaviva’s roving eye. The Countess believes her husband no longer loves her, while Susanna wants him to leave her alone. Susanna tells the Countess that she and Figaro have a plan: Almaviva will receive a letter from Basilio informing him that his wife has taken up a lover. At the same time, Susanna will set up a rendezvous with Almaviva, but will send a disguised Cherubino in her place.

Cherubino enters with a song of love for the Countess and a commission letter that the Count forgot to seal, and is taken aback when the women begin to undress him. Having locked the door, they have time to hide Cherubino and Susanna when Almaviva unexpectedly arrives to speak with his wife about the letter from Basilio, written and planted by Figaro. Noticing the Countess’s agitation, Almaviva is instantly suspicious.

He jealously demands entry into the locked inner room where Cherubino is hiding, but the Countess refuses to open it, claiming Susanna is inside trying on her wedding dress. Almaviva, taking the Countess with him, leaves the room to get a crowbar. After they leave, Susanna locks herself into the room and Cherubino exits the Countess’s chamber through the window. Unaware of the switch, the Countess confesses everything to her husband upon their return.

She is shocked when Susanna exits the locked room.

Almaviva begs forgiveness for his suspicions. Figaro arrives to gather up the group for the wedding. He is followed by Antonio, the gardener, who is upset that someone jumping from the Countess’s balcony has crushed his flowers. Upon prompting from the women, Figaro claims it was he who jumped. The gardener shows him Cherubino’s dropped commission, which Figaro claims he was holding it to get the Count’s seal.

Marcellina, Bartolo and Basilio enter, and Almaviva, still suspicious, hears their claim that Figaro is obliged to marry Marcellina to pay off an outstanding debt.

ACT III Acting on her lady’s insistence, Susanna approaches Count Almaviva. He once again asks her to meet him in the garden. She agrees. On her way from the room, the Count overhears Susanna tell Figaro that his legal troubles will soon be over. He is furious at the apparent deception. Marcellina and Bartolo, their attorney Don Curzio in tow, confront Figaro, who tells them that being of noble birth – though stolen away by thieves as an infant – he can only marry with the consent of his family. To prove his tale, he shows the crowd his birthmark. Immediately, Marcellina and Bartolo recognize the mark as belonging to their son, and the three joyfully reunite. Figaro embraces his long-lost mother as Susanna rejoins the crowd, having just secured the money to pay off his debt from the Countess. She misunderstands the embrace and rages at Figaro. Marcellina explains the situation, and everyone is happy. Everyone that is, except the Count, who is sure he’s still being played. As the group leaves, Susanna stays behind to speak to the Countess. The Countess dictates a letter from Susanna to the Count.

She plans to surprise Almaviva in the garden herself.

Figaro returns to gather everyone for the wedding.

During the dancing, Susanna slips the Count her letter.

ACT IV In the garden, Figaro meets the gardener’s daughter Barbarina, who Almaviva has entrusted to return the brooch Susanna pinned to the letter. Figaro assumes Susanna is cheating on him, and invites Bartolo and Don Basilio to join him for her public humiliation.

As they leave, the Countess and Susanna appear, each dressed as the other. Cherubino is also in the garden meeting with Barbarina. He spies the Countess and, thinking she is Susanna, leans in to kiss her. Instead he kisses Almaviva, who swats Figaro. The Count declares his love for Susanna, who is really the Countess, while Figaro tells the Countess, who is really Susanna, about the tryst. Susanna forgets to disguise her voice, and Figaro figures out it is she under the Countess’s cloak.

Their embrace is noticed by the Count, who is about to expose them when his wife takes off her own disguise.

Almaviva is shamed and apologizes to his wife for both his jealousy and his infidelity. They all return to the celebration.

-Synopsis by Opera Philadelphia NORTH CAROLINA OPERA | 7

FOCUS ON PHILANTHROPY

YOUR LEGACY GIFT CREATES NORTH CAROLINA OPERA’S LEGACY OF OPERA FOR FUTURE GENERATIONS. Make gifting a part of your resolutions. As you work to make exercise, eating well and reaching out to long-distance friends a regular habit this year, consider including donating to charity. By helping the North Carolina Opera, you will not only benefit the arts and the artists that perform, you will also get physical and mental rewards from the uplift in knowing you have done your part to support something that you adore so much.

THREE EASY WAYS TO MAKE YOUR LEGACY GIFT

1. Your Life Insurance Life insurance that no longer serves its original purpose may be used to ensure that opera is enjoyed by and accessible to audiences in the future. Also consider using life insurance to leverage a gift and make it more impactful.

2. Your Retirement Plan Designate the opera to receive all or a portion of the balance of your IRA, 401(K), or other qualified plan. You will avoid ordinary income taxes and you can leave other lower-taxed capital gain assets to your heirs. If you don’t need your required minimum distributions, consider the charitable IRA rollover which lets you gift up to $100K annually to the NC Opera and avoids income tax on the distribution.

3. Your Will or Trust You can help NC Opera expand its productions and education programs for many years to come, continuing the rich tradition of the arts in the Triangle, simply by making a bequest of any amount in your will, trust or donor advised fund.

Making this kind of gift is cost-free during your lifetime, but the benefits are long-lasting to North Carolina Opera and those who love opera. You can make an impact on your community with your gift to the NC Opera and together we will ensure that the Triangle enjoys the delight of opera for many years to come!

– Nerre Shuriah, SVP, Senior Director of Wealth Planning at First Citizens Bank To discuss a legacy gift, call Sarah Raffurty, Director of Development, at (919) 792-3855 or email sarah.raffurty@ncopera.org.

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 January 1, 2024 and March 15, 2025.

INDIVIDUAL GIVING David Casteel Anne Faircloth and Fred Beaujeu-Dufour Gifts over $100,000 Rosemarie Sweeney and C. Thomas Kunz Donna and Richard Falvo Mary-Owens Fitzgerald Sofie Franzen-Moyle GOLD PATRON Gifts between $50,000 and $99,999 Vivian Clark and Bryan Gilliam Margo Lynn Hablutzel Ross W. Lampe Jr. George E. Hall, Jr. William F. Hamlin, Jr. SILVER PATRON Gifts between $25,000 and $49,999 Kim Kotlar and James Hargrove Karen and Clark Havighurst Jacobi Daley Emmett and Hubert B. Haywood, III Rae and James Gulick Thomas Kenan III Nancy and Philip Hablutzel Lauren Kennedy-Brady and Charlie Brady Francine and Ralph Roberson Robert W. Morrison Linda and Wendell Murphy UNDERWRITER Gifts between $15,000 and $24,999 Susan Osborne and Stephen Reynolds Sarah and Steve Shaber Paul Fomberg and Roy Cromartie Carter Skinner and Chapman Williams E.T. Franklin, Jr. Sarah and Claude Snow Judith LeGrand Ann and Steve Tyler Elizabeth and John Lunsford Josephine Walker Amy Moss and Bill Brown Melissa and Bryan Yeazel Shohreh Taavoni and Alan Kronhaus

Jeanie Wozencraft-Ornellas BENEFACTOR Gifts between $1,000 and $2,499 GRAND SPONSOR Gifts between $10,000 and $14,999 Richard Adelman Elizabeth & David Beam Joel R. Adams Sharon and Byron Braswell Kelvin Currie and Sandra Cook John Beck and Wendy Lapish Susan M. Curtis Phyllis and Tyler Bennett Susan and Dale Oller Grant Berry & Sally Webb-Berry Anna and James Romano Carol & Robert Bilbro Brigette Wilds and Michael C. Byrne Amna Cameron John Williamson Linda Carlson and Cheryl Thomas Nancy & Tom Carstens SPONSOR Governor and Mrs. Roy Cooper Gifts between $5,000 and $9,999 Martha Dimes Jane and Francis Acquaviva Georgia and Alec Donaldson Chip Anderson S. Worth Dunn III Amanda and Michael Bambrick Sallie and Joe Exum Dr. Yvonne Bryant Alison and Ken Faulkner Ruth and G. Sidney Cox John Gebhardt Peter Hamilton Bill Gilkeson William L. Hampton Kimberly Gooden Douglas R. Holbrook James Gray Mia Kang and Tony Acquaviva Paula S. Greenman Chancy and Keith Kapp Henry Grzes & Sandi Macdonald Larry Lisle Ruth Gross and Hans Kellner Dr. Bill and Dr. Margaret McCulloch John Hammond Patricia McWaters Greg Hirsh Vicky Kruckeberg and Carl R. Nold Phyllis Pomerantz and Charles Hochman Mary Louise and William Rustin Jim Hopper Drs. Lois Flaherty and Richard Sarles Kristin Hoyle Kay Schoellhorn Sally and William Johnson Edwina Hardy Shaw Stefanie and Doug Kahn Nerre Shuriah Martha and Peter Klopfer Cathy and Jim Stuart Ekaterina Korobkina and Robert Golub Holly and Paul Tesar Guy Lampe Marty Wunsch and Kent Nakamoto Betsy and Steven Levitas Joy Lewis PATRON Jo Ann Lutz and Lawrence H. Muhlbaier Gifts between $2,500 and $4,999 Heather Brown Jane Lynch Ruth and Eva Buck Susanna Martin Mr. and Mrs. Michael F. Byrne The Honorable Nancy McFarlane and DIAMOND PATRON

Ron McFarlane Susan Moore and Doug Hammer Nelson Oyesiku Carol and Rusty Parks Florence and James Peacock Tricia and Stuart Phoenix Ms. Jane Pinsky Donald and Pamela Raffurty Janet and James Rapp Tom Roberg Harry Rosenberg Mr. and Mrs. Michael Sandman John Sarratt and Kathy Klotzberger Patrick Shanahan James S. Stringfellow Cady Thomas Sally Thomas Sally and Robert Tiller Susan and Dick Timmons Edmund Tiryakian Gary Travis Mary Warlick Diane and Floyd Whitney Erna and Bill Womble Elaine P. Wood Rosemary and Smedes York SUSTAINER

Gifts between $500 and $999

Anonymous Perri Anderson Agnes F. Marshall and Robert M. Auman Kyla Block Earlene and Joseph Briggs Steven Burke The Honorable Ann Marie Calabria and Robert Calabria William P. Carroll Ellen Collins-Boyce Rena and Philippe Courtay Deborah and Andrew Dalgliesh Cheryl and John Denardo Frank Dworsky Connie and Bob Eby Elizabeth and Joseph Kahn Charitable Fund Ginger and Ed Finley Douglas Flint Kristine Forney and William Prizer Ellen Fort Patricia Friedman John Gaitenby Brenda and Ron Gibson Norma Hacker Katherine Anne Hamlin Dotty and Lee Hanson Leslie Harris Judy and Richard Hendrickson Suzanne and Nick Herman Susan and Carl Hibbert, Sr. E. J. Hillings Martha Hsu Brooke and Michael Huckabee Mark Jalkut and Eloise Watson Melissa and Robert Johnson Mary and Rick Kane NORTH CAROLINA OPERA | 9

NORTH CAROLINA OPERA SUPPORTERS Sara Lynn Kennedy Martha N. Keravuori and Chuck Galle Kathy and Tom Lada Andy Lawrence Gaspard Louis Carolyn Maness Amy and David Marschall Elaine Marshall Carol and Rick McNeel Eric Mitchko Ruth Mokeba-Ekangaki and Abie Ekangaki Sarah and Frank Moorman Advised Fund of the Cumberland Community Foundation, Inc. Steve Nelson Aurora K. Pajeau, MD, MPH James Parsons Steven and Susan Pruskin Melanie Rankin Christie Roeder Frances Rollins Lori and Randy Sansone Angela Santucci Alex & Anderson Shackleford Fran and Jack Steele Emmett E. Stobbs, Jr. Roberta Titchener Mathew Tyson Lee Whitener Suzanne Whitmeyer Ginny Zehr SUPPORTER

Gifts between $250 and $499

Anonymous B. Jasmine Adams Judith and Jack Adler Eugenie Almeida Kelly and Landy Anderton Trish Anderton JB Babson Cortney and Scott Baker Susan and David Baker Lee Baker Anna Ball Hodge W. Parke Ballantine Jr. Anna Bess Brown and Eric Hale Sarah Brown Joel Buccellato Dawn and David Burtt Linda and Philip Carl Mary Lovelock and W. R. Chapman Virginia Clark David Clegg Simmie Kastner and Jerome Davis Mary and George Deaton Ann Erickson Mary Ann Felton Mair Glosson Angela Grant Valarie Grant Stuart Grigg Tim Hackett and Jim Konold Robin Hammond Donald Hartmann Andrew Hicks

Valerie Hillings Yana James Carol and Rick Johns Mizpah Johnson Valerie Johnson and Linda Edwards Rachel Kaplan and Jeremy Pienik Deborah and Thomas Keefe Leigh Kempf Suzanne Kennedy-Stoskopf Moyra and Brian Kileff Lou and Donald Kline Timothy A. Kuhn Annie Lang James A. and Elaine Lewis Dorothy Lichtwardt Leigh and William Kempf Rosemary Lunsford Jordan Malik James May and Richard Cox Hargrave & Richard McElroy Larry Mintz Christina and Thomas Mitchko John & Lane Nash Alistair Nevius Fran Page Susan Russell Meg and Matt Segal Susannah Smith Donald Stoll Perry and William Suk Yvonne Terry Cindy and Richard Urquhart Lizbeth and Jean-Marie Videau Robert D. Wilson MEMBER

Gifts up to $249

John Adams, III Robin and Dwight Allen Naomi André Glenn and Abram Barefoot Barbara and Robert Bell Helen Koo and Richard Bilsborrow Peter Bleckner Roy and Hermis Boston Lars Bostrom Charles Bryan Kim Burke P. Carrigan Byrd, Jr. Dolores and Burton Carnegie Laurel Carter and James Todd Pam Cashwell Ching Chi Cheng Sandra Craig Tammy and Bill Crook Breona Currie Judith Bruno and Michael Cyzewski Lester Czukor Tanya and Alonzo Dean Catherine Anderton and José Delgado Yvonne DeWald Cynthia and Roger Didio George Douglas Amy Edge Aldert Edmonson Karen Edwards Leah Fell

Jonathan Flescher Brent Fogleman Penelope Gallins Jill and Roland Gammon Roland Gammon Phyllis and Stephen Gordon Lynne and Cory Grant John Graybeal Dr. Gilbert Greggs Robert Hablutzel Carl and Sue Hamill Sharon Henderson Deborah Huff Sara Oswald and Eric Hyman Lewis H. Kairys Jo and James Kalat Gail and Eugene Karcher Jason Karn Joan and Howard Kastel Devon Kearney Kristen Keenan Kathleen Klesh Lewis Lampiris Lynda and Charles Lankford Lloyd and Susan Lense Brigitte Abrams and Francis Lethem Alexandra LoBianco Erin Lunsford and Sean Norton Rebecca and Scott MacLeod Erica Manley Margaret Maytan Ida Merritt Staci Meyer Courtney Miller Bob Mitchell Eileen and James Mitchell Loretta Mitchell Allen and Maureen Murray Elizabeth Nackley Jodee Nimerichter and Gaspard Louis Connie O’Neil Phyllis and Paul Page Linda Pukenas Stephen Schaeffer Pat and Paul Scheible Georgiana and Stephen Snyderman Julie Kelly-Stump and Mark Stump Susan Swartz David Taylor Maggie Thompson Allison Tolksdorf Joe Tooley Pamela Trent Kristina Troost Robert W. Upchurch John Watson Margaret Weir Sally and Ron Wenda Julie and George Williams Marti and Dan Wilson Pamela Wolf-Brewer Heather Wozencraft Sydelle and Tarek Elshenawy Wesley Byas 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 sarah.raffurty@ncopera.org and we will promptly make a correction. Thank you!

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SEASON SPONSORS

WE SING FOR YOU…but will you sing for us? It’s our 15th anniversary and we’re excited to celebrate this birthday season with you. It takes many voices to create opera—including yours!

Your $15 birthday gift will help ensure we can lift our voices in beautiful song for another year. Consider giving a monthly gift and hear the music soar.

We sing for you…but will you sing for us? It’s our 15th anniversary and we’re excited to celebrate this birthday season with you. It takes many voices to create opera --- including yours!

Together, we can keep singing!

Ncopera.org/donate

TOGETHER, WE CAN KEEP SINGING! SCAN ME!

NCOPERA.ORG/DONATE

Photo by Curtis Brown Photography

Your $15 birthday gift will help ensure we can lift our voices in beautiful song for another year. Consider giving a monthly gift and hear the music soar.

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 Dr. 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 received between January 1, 2024 and March 15, 2025.

HONORARY GIFTS

In Honor of Jane and Fran Acquaviva Rachel Starr In Honor of Joel R. Adams Bill Carroll In Honor of Claire Cooper Roy Cooper In Honor of Kim Gooden Gregg and Pearla Alston In Honor of Nancy & Philip Hablutzel Margo Lynn Hablutzel Robert Hablutzel In Honor of Joanne Kearney Devon Kearney In Honor of Scott MacLeod Margaret Maytan

In Honor of Eric Mitchko Lester Czukor In Honor of Amy Moss Judith and Jack Adler In Honor of Carl Nold Nancy Hablutzel In Honor of Florence Peacock Robert Upchurch In Honor of Mr. and Mrs. Stephen Snyderman Sheldon Hayer In Honor of Carter Skinner and Chapman Williams Margaret Weir In Honor of Brigette Wilds Mr. and Mrs. Michael F. Byrne MEMORIAL GIFTS

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 Arend Griedanus Gail and Eugene Karcher In Memory of Donald Hunter Sandra Craig Lewis Lampiris In Memory of Mrs. Clara H. Jones Mr. and Mrs. Malcolm and Mona Roberts In Memory of Laura Keigley Carol McNeel 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 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 sarah.raffurty@ncopera.org and we will promptly make a correction. Thank you!

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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 received between December 1, 2023 and January 15, 2025.

FOUNDATIONS AND GOVERNMENT

Gifts of $100,000 or more City of Raleigh

Gifts between $5,000 and $9,999 Triangle Community Foundation’s Carver Fund for North Carolina Opera Walter Family Foundation

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 $2,500 and $4,999 George Smedes Poyner Foundation Gifts up to $2,499 Ella Ann and Frank B. Holding Foundation The Eddie and Jo Allison Smith Family Foundation Opera America, Inc.

Gifts between $10,000 and $24,999 National Endowment for the Arts United Arts Council of Raleigh and Wake County

CORPORATIONS

Gifts between $5,000 and $9,999 Meridian Financial Morningstar Law Group Gifts up to $2,499 Cornerstone Custom Printing Curtis Media Group English Speaking Union of the United States – Research Triangle Branch Galloway Ridge at Fearrington Habanero Architecture

International Young Artists Project The Juliette Club King’s Auto Service, Inc. Meredith College Mitchell•Casteel - A Fine Catered Affair PBS of North Carolina Samet Taylor’s Wine Thomas, Judy & Tucker Triangle Wagner Society

ACKNOWLEDGEMENTS

North Carolina Opera would like to thank Jane Acquaviva Archetype Graphic Design Kelli Beck and Ben Cash Carmen Buckner Carolina Ballet Linda T. Carlson David Casteel Ruth and Sidney Cox Jerry Espy and Lorraine Snyder Ginger Finley First Presbyterian Church Paul Fomberg

Ellen Fort Maggie Gina Rae and Jim Gulick Jasmine Harrison Judy Hendrickson Greg Hirsh Douglas Holbrook Audrey Hubbard Abby Jones Angel Kelley John Lunsford Shanel Martinez

Barbara McGuire Patricia McWaters Meredith College Department of Music Charlie Mitchko Isabel Mitchko Darla Moore Maya Nelson Kay Schoellhorn Rosemarie Sweeney Brigette Wilds Julie Williams Jeanie Wozencraft-Ornellas

CHARTER SUBSCRIBERS

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

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 Mary Louise and William Rustin Sally and Robert Tiller Allison Tolksdorf Lizbeth and Jean-Marie Videau Brigette Wilds and Michael C. Byrne Ellen & Doug Williams John Williamson NORTH CAROLINA OPERA | 13

ARTIST BIOGRAPHIES AARON BREID CONDUCTOR Aaron Breid is rapidly garnering acclaim as an operatic and symphonic conductor. His precise and passionate leadership has distinguished him as a soughtafter guest conductor and an integral collaborator on large scale opera productions.

Highlights among recent guest conductor engagements include Virginia Symphony Orchestra, Mid-Atlantic Symphony Orchestra, Omaha Symphony, Minnesota Opera, Miami Music Festival, and Orchestra Seattle.

Last season, Breid made his Kennedy Center début conducting Turandot for Washington National Opera, later returning to cover performances of Fidelio and a special concert presentation of Gods and Mortals. He also joined San Francisco Opera, Los Angeles Opera, and The Atlanta Opera, collaborating on productions of The(R)evolution of Steve Jobs, Il barbiere di Siviglia, and A Midsummer Night’s Dream. This season, Breid serves as the Associate Conductor of Vanessa for National Symphony Orchestra, as well as Dead Man Walking for San Francisco Opera.

In recent seasons, Breid conducted Hänsel und Gretel at Miami Music Festival and collaborated on the revival of Vanessa at Spoleto Festival, USA. He has also stepped in to conduct more than a dozen performances of Turandot, Carmen, Il trovatore, Gianni Schicchi, Suor Angelica, Il barbiere di Siviglia, Così fan tutte, and The Ballad of Baby Doe with Minnesota Opera, Central City Opera, Opera Santa Barbara, Opera Omaha, and Virginia Opera.

Known for his contributions to the German and French grand repertoire, recent performances include Tannhäuser (Los Angeles Opera), Elektra (Washington National Opera, Des Moines Metro Opera), Samson et Dalila (Washington National Opera, North Carolina Opera), Wozzeck (Des Moines Metro Opera), Faust (Washington National Opera), Arabella (Minnesota Opera), Der Freischütz (Virginia Opera), Cendrillon (Miami Music Festival), and Siegfried Act III in concert (North Carolina Opera).

Past seasons have seen Breid collaborate on productions with San Francisco Opera’s Merola

16 | NORTH CAROLINA OPERA

Opera Program, St. Paul Chamber Orchestra, The Atlanta Opera, Sarasota Opera, and Palm Beach Opera; symphony highlights have included performances with Rochester Philharmonic Orchestra, Ithaca College Orchestra, Heartland Philharmonic, UNO Chamber Orchestra, Ocala Symphony, Golden Valley Symphony, Edina Chorale and Orchestra, and collaborations with New West Symphony and Charlotte Symphony.

CHAS RADER-SHIEBER STAGE DIRECTOR Stage Director Chas RaderShieber is known both for his bold and inventive productions and for his acute musical instincts. Reviewing his staging of Janáček’s The Cunning Little Vixen Toronto’s Classical 96.3 FM praised Rader-Shieber’s “daring and visionary approach to staging” and declared him “a force to be reckoned with in the opera world.”

Chas begins the 2024-2025 season with a return to Orpheus PDX for a new production of Handel’s Aci, Galatea, e Polifemo, followed by Gounod’s Faust with the Academy of Vocal Arts. He also makes his company debut with North Carolina Opera, remounting his production of Le nozze di Figaro.

Recently named Artistic Partner as part of a threeyear agreement, Chas continues his long-standing relationship with Des Moines Metro Opera in the summer, directing a new production of Stravinsky’s The Rake’s Progress.

The previous season began with a company debut at New Orleans Opera where he directed a new production of Le nozze di Figaro. Rader-Shieber also returned to Curtis Institute of Music for Handel’s oratorio, L’Allegro, il Penseroso ed il Moderato, and to Des Moines Metro Opera for a new production of Debussy’s Pelléas et Mélisande.

Mr. Rader-Shieber has enjoyed a long relationship with the prestigious Curtis Institute of Music, where he has directed over 30 operas, among them Il barbiere di Siviglia, La clemenza di Tito, Capriccio, Ariadne auf Naxos, Die Zauberflöte, Henze’s Elegy for Young Lovers, and Alcina. At Curtis, he also co-directed a film entitled Mercy with Alek Shrader, inspired by Mozart’s La clemenza di Tito. In addition, his

ARTIST BIOGRAPHIES productions have been seen around the world, at houses such as Lyric Opera of Chicago, San Francisco Opera, Santa Fe Opera, Houston Grand Opera, Washington National Opera, New York City Opera, Opera Theatre St. Louis, Boston Lyric Opera, Los Angeles Opera, and many more.

THEO HOFFMAN COUNT ALMAVIVA Theo Hoffman is among the most versatile American singers of his generation.

Hoffman can be seen later this year in his role debut as Demetrius in Britten’s A Midsummer Night’s Dream at Opera Theatre of Saint Louis, and in the fall will debut at the Opéra Comique in Paris as Oreste in Iphigénie en Tauride under the baton of Louis Langrée.

Mr. Hoffman’s performing career has taken him all over the world, including collaborations with The Metropolitan Opera (Grounded), Staatsoper Hamburg (Il Turco in Italia and Manon), Opernhaus Zürich (Platée), National Symphony Orchestra of Taiwan (Pelléas et Mélisande), Los Angeles Opera (Die Zauberflöte, Satyagraha, Candide, Carmen, Les Contes d’Hoffmann, Salome), Seattle Opera (La bohème), Opera Philadelphia (Denis & Katya), Opera Theatre of Saint Louis (The Trial and Le nozze di Figaro), Israeli Opera (Die Zauberflöte and Le nozze di Figaro), New Orleans Opera (Le nozze di Figaro), Atlanta Opera (La bohème and Carmen), Opera Omaha (Les Enfants Terribles), Berkshire Opera Festival (Three Decembers), and Des Moines Metro Opera (Flight).

Equally passionate about concert and recital, Hoffman has been heard with the Los Angeles Philharmonic, Israeli Philharmonic, Salzburg Mozartwoche, Vocal Arts DC, Castleton Festival, Bard Music Festival, Washington Concert Opera, Marlboro Music, Moab Music Festival, Portland Symphony Orchestra, Pacific Symphony, Chamber Music Northwest, and Winston-Salem Symphony.

He is the recipient of a 2018 Richard Tucker Music Foundation Sara Tucker Study Grant and was a Grand Finalist in the 2016 Metropolitan Opera National Council Auditions.

KATHRYN HENRY COUNTESS ALMAVIVA This season, Ms. Henry debuted with the Metropolitan Opera in Die Frau ohne Schatten; North Carolina Opera as the Countess in Le nozze di Figaro; the Dallas Symphony Orchestra as both Gutrune and 3rd Norn in Götterdämmerung and as Helmwige in Die Walküre; and the Richmond Symphony for Mahler’s Fourth Symphony. Next season, she makes her European debut as Desdemona in Verdi’s Otello.

Ms. Henry’s artistry has been recognized with a prestigious Grammy nomination for Best Opera Recording for her striking portrayal of Lucy Harker in the studio recording of the world premiere of John Corigliano and Mark Adamo’s The Lord of Cries; following her triumphant debut at the Santa Fe Opera. Notably, she stepped into the title role of Janáček’s Jenůfa at the Lyric Opera of Chicago under the baton of Jakub Hrůša.

Further credits include Strauss’ Four Last Songs with the Richmond Symphony Orchestra, excerpts from Norma with the Sacramento Philharmonic & Opera, Governess in The Turn of the Screw, and the title role in Suor Angelica. She has also covered Marschallin in Der Rosenkavalier and Helena in A Midsummer Night’s Dream with the Santa Fe Opera, Juliette in Roméo et Juliette at Wolf Trap Opera, and Mimi in La bohéme at Chautauqua Opera.

WM. CLAY THOMPSON FIGARO American bass Wm. Clay Thompson, lauded for his “mahogany-timbred” voice and “ imp osing pres ence” (OperaNews), is a standout talent in the opera world. As a two-time District winner of the Metropolitan Opera Laffont Competition, a SemiFinalist in the Fort Worth Opera McCammon Voice Competition, and a Richard F. Gold Career Grant recipient from the Shoshana Foundation, Mr. Thompson’s talent has earned international acclaim.

This season, Thompson makes house debuts at NORTH CAROLINA OPERA | 17

ARTIST BIOGRAPHIES Virginia Opera as Leporello in Don Giovanni and Don Alfonso in Così fan tutte, as well as North Carolina Opera in the title role in Le nozze di Figaro.

Additionally, he will return to the role of Zuniga in Carmen at Sioux City Symphony.

recently as Musetta/La bohème (2024), Woglinde/ Das Rheingold (2023), and Berta/The Barber of Seville (2022), and has also performed with The Dallas Opera Orchestra, The Santa Fe Symphony, New Orleans Opera, and Las Vegas Opera.

As a member of the Ryan Opera Center Ensemble at Lyric Opera of Chicago, Thompson has debuted as the King in Aida and covered Rychtar in Jenufa and Alidoro in La Cenerentola. His Lyric credits further include Zuniga in Carmen, Un Moine in Don Carlos, Jago in Ernani, and Arnie Duncan in the world premiere of Proximity.

She was a 2024 finalist of the prestigious Giulio Gari Foundation Competition in New York, and next season, she joins The Metropolitan Opera roster covering the leading soprano role in the seasonopening premier of The Amazing Adventures of Kavalier and Clay. She recently joined the North American tour circuit of beloved Italian tenor Andrea Bocelli, continuing to appear as a featured soprano soloist. Other notable roles include Clara/It’s a Wonderful Life, Marian/The Music Man, Maria/The Sound of Music, Bess/Riders of the Purple Sage, Chan Parker/Charlie Parker’s Yardbird, Annina/La traviata, and Lisette/La rondine.

In 2023, Thompson portrayed Méphistophélès in Wolf Trap Opera’s Faust, and this summer he captivated audiences as Father Palmer in Kevin Puts’ Silent Night and Don Alfonso in Così fan tutte. His notable credits also extend to Arizona Opera (Zuniga), the Metropolitan Opera (Octet Singer in Brett Dean’s Hamlet), and Santa Fe Opera, where he was an Apprentice Artist.

A proud Lexington, Kentucky native, Thompson holds a Bachelor of Music in Vocal Performance from the University of North Texas.

CADIE J. BRYAN SUSANNA Louisiana-born soprano Cadie J. Bryan is praised for her “glittering, brilliant soprano,” and “scene-stealing stage presence”. She received her Bachelor of Music from Louisiana State University and continued with Graduate and Post-Graduate studies at Indiana University. She was a Fellow of Ravinia’s Steans Music Institute (2017-18) and a member of the Young Artist Programs of The Santa Fe Opera (2023-24), Arizona Opera (2018-20), and Des Moines Metro Opera (2017-18) where she debuted some of her most notable roles to date including Susanna/ Le nozze di Figaro (AZO, 2019), Musetta/La bohème (AZO, 2020), Clarine/Platée and Prilepa/Queen of Spades (DMMO, 2021), and Giannetta/L’elisir d’amore (SFO, 2024) and covered roles including Zerlina/ Don Giovanni (SFO, 2024), Mélisande/Pelléas et Mélisande (SFO, 2023), and Laurie/The Tender Land (DMMO, 2018).

She regularly appears with The Atlanta Opera,

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STEPHANIE FOLEY DAVIS CHERUBINO Stephanie Foley Davis was praised by the New York Times in her Glimmerglass Festival debut in The Tender Land as “a poised, touching Ma Moss” and Opera News said she was “a loving, careworn Ma, warm of voice and presence.”

Ms. Davis has appeared in leading roles throughout the US with companies such as Arizona Opera, Nashville Opera, Glimmerglass Festival, Opera Roanoke, Buffalo Philharmonic, Vero Beach Opera, Nightingale Opera Theatre, Orlando Philharmonic and almost every professional opera company in North Carolina, including Opera Carolina, Piedmont Opera, North Carolina Opera, and Greensboro Opera. The Roanoke Times said Foley Davis “gives us a Rosina of fiery impetuousness while also nailing the character’s distinctively wry wit.” Prior appearances with North Carolina Opera include Kamala Sankaram’s Lost Music in the Heart of Everything, along with Manon Lescaut, Die Zauberflöte, Carmen and Il trovatore.

Stephanie is excited to return as mezzo soloist in Mozart’s Requiem with the Greensboro Symphony, to Opera Roanoke as Zita in Gianni Schicchi, and to NC Opera as Cherubino in Le nozze di Figaro for

ARTIST BIOGRAPHIES the 2024-25 season.

Last season saw a return to Piedmont Opera for Stephanie as Cherubino in Le nozze di Figaro and Sylvia in David Wolfson’s opera Rapture. A regular soloist with the Piedmont Wind Symphony, Stephanie sang on their “Home for the Holidays” concert, as well as their “Pops in the Pit” in September. Opera Roanoke’s Strauss Ecstasy concert featured Foley Davis as Komponist in October.

A sought-after soloist, Stephanie has performed in concert with orchestras and ensembles throughout the US, including Santa Fe Symphony, Carolina Ballet, Richmond Symphony, Greensboro Symphony, Winston-Salem Symphony, Memphis Symphony, Piedmont Wind Symphony, Portland Symphony (Maine,) and Arizona MusicFest.

Ms. Davis is the Associate Director and Master Teacher at the Music Academy of North Carolina, where she has been teaching voice since 2011.

ADAM LAU DOCTOR BARTOLO Chinese-American bass Adam Lau, praised for his “dauntingly low register” (Classical Voice America) and his “cellar-deep sound” (Post Alley) continues to garner acclaim for his “cavernous bass sound” (Philadelphia Inquirer) around the world. Lau’s 202425 season opened with San Francisco Opera, where he performed the role of Samuel in the company’s season-opening production of Un ballo in maschera.

Other engagements in the season include returns to Minnesota Opera for Roméo et Juliette as Frère Laurent and Seattle Opera for both Les Troyens and Tosca, singing the roles of Narbal and Angelotti, respectively. He will also join the Oakland Symphony as the bass soloist in Beethoven’s Symphony No. 9.

Prior performances with North Carolina Opera include La bohème, Samson et Dalila, Das Rheingold, Don Giovanni, and Il barbiere di Siviglia.

In the 2023-24 season, he performed in concerts with the Metropolitan Opera at Carnegie Hall and on the company’s European tour, conducted by Music Director Yannick Nézet-Séguin. Later in the summer, he sang Sarastro in The Magic Flute under the baton of Marin Alsop. In the fall, he rejoined

San Francisco Opera to cover Kobun in The (R) evolution of Steve Jobs and sang a Noble in Lohengrin.

Early 2024 brought his debut with the Atlanta Symphony in Bruckner’s Te Deum, followed by a return to Utah Opera in a signature role—the title role in Le nozze di Figaro.

Adam Lau has received top honors in several major competitions, including First Prize at the George London Competition, the Jensen Vocal Competition, the Palm Springs Opera Guild Competition, and the Young Patronesses of the Opera Competition.

LUCIA BRADFORD MARCELLINA Mezzo-soprano, Lucia Bradford is a native of Brooklyn, N.Y. Ms. Bradford has performed a number of operatic roles including Carmen in Bizet’s La Tragedie de Carmen, Zita in Puccini’s Gianni Schicchi, La Principessa in Puccini’s Suor Angelica, The Mother in Ravel’s L’Enfant des Sortileges, Mercédès in Bizet’s Carmen, Mrs. Quickly in Verdi’s Falstaff, The Sorceress in Purcell’s Dido and Aeneas, Gertrude in Gounod’s Romeo and Juliet, Hippolyta in Britten’s A Midsummer Night’s Dream, Miss Todd in Menotti’s Old Maid and the Thief, the Duchess of Plaza Toro in Gilbert and Sullivan’s The Gondoliers, Azelia Dessalines in William Grant Still’s opera Troubled Island, Douglas Tappin’s I dream as Grandma, and Mary Watkins’ Emmett Till as Mamie Till. Prior North Carolina Opera performances include Maria in Porgy and Bess, and Berta in Il barbiere di Siviglia.

Her concert works include the St Matthews Passion with the Atlanta Symphony Orchestra, Bach’s Weihnachts oratorium, Mozart’s Vesperae solennes de Confessore, Hadyn’s Lord Nelson Mass, De Falla’s El amor Brujo, William Grant Still’s And they lynched him, Nathanial Dett’s The Ordering of Moses, Julia Perry’s Stabat Mater, Beethoven’s Mass in C major, Handel’s Messiah with the National Symphony, the Mozart Requiem, Durufle Requiem, Bach B minor Mass, St John’s Passion and St Matthew’s Passion with the Voices of Ascension, Mendelssohn’s Elijah, Bach’s Magnificat, at Carnegie Hall with the Oratorio Society of N.Y. NORTH CAROLINA OPERA | 19

ARTIST BIOGRAPHIES Upcoming performance include Mendelssohn’s Lobgesang and Paul Moravec’s All Shall Rise (premier performance) at Carnegie Hall.

SCOTT WICHAEL DON BASILIO/ DON CURZIO Scott Wichael is a talented and versatile American tenor whose career spans a wide range of operatic roles and concert performances. Praised for his expressive voice and dynamic stage presence, Wichael has appeared in numerous roles with various opera companies throughout the United States.

His recent roles include Nick in La Fanciulla del West, a Lamplighter in Manon Lescaut, and Monostatos in Die Zauberflöte with North Carolina Opera, Steuermann in Der Fliegende Holländer with Painted Sky Opera, Jaquino in Fidelio with the Indianapolis Chamber Orchestra, and Herod in Salome with Rimrock Opera.

Wichael, an active concert soloist, has performed in Beethoven’s 9th Symphony, Handel’s, Messiah, Mozart’s Requiem, Stainer’s The Crucifixion, Rachmaninov’s “The Bells” and Haydn’s Lord Nelson Mass.

BAILEY SUTTON BARBARINA Bailey Sutton is a young American soprano rapidly gaining recognition for her shimmering, silver tone and nuanced musicality. Originally from La Grange, North Carolina, Bailey frequently performs on the opera stage with North Carolina Opera as a member of the chorus. In the 2023 season, Bailey Sutton made her debut with Opera Arlington as Adina in selections from Donizetti’s L’elisir d’amore and appeared with the company as a guest soloist at the Arlington Museum of Art. Bailey recently created the role of Hero in the world premiere of Evan Keene’s Much Ado About Nothing at Stafford Opera Troupe, and has also portrayed Gretel in Humperdinck’s Hänsel and Gretel and Drusilla from Monteverdi’s The Coronation of Poppea. She was

20 | NORTH CAROLINA OPERA

also a featured soloist in North Carolina Opera’s Opera About Town Online.

In addition to opera, Bailey has performed many musical theater and straight theater roles, such as Mrs. Nordstrom from Sondheim’s A Little Night Music, and Abby Brewster from Joseph Kesselring’s Arsenic and Old Lace.

Off the stage, Bailey is passionate about serving her community through the arts and empowering young musicians. She currently serves students as the director of choirs and head of the drama department at North Lenoir High School, directing two musical theater productions a year. Bailey holds a Master of Music in Vocal Performance from East Carolina University and a Bachelor of Arts in Music from the University of Mount Olive. Bailey is thrilled to make her solo debut with North Carolina Opera as Barbarina!

DONALD HARTMANN ANTONIO No stranger to North Carolina Opera audiences, having appeared in Tosca, Carmen, Aida, Le nozze di Figaro, Rusalka, and others, bassbaritone Donald Hartmann, is celebrating 46 years of singing on operas stages nationwide.

His professional career began in 1978 with the Stadttheater Regensburg, and later with the Vereinigte Städtiches Bühnen Krefeld/Mönchengladbach in Germany. He has been described as possessing a, “big, rich voice with an amazing timbre” and “… his flair for comedic bel canto is major-league-worthy.”

Having performed in over 170 operatic productions, in over 60 operas singing over 70 different roles, in many companies across the US and Canada, he had been described as “one of the best character singers on any opera stage anywhere.” As noted in OPERA, “Donald Hartmann (as Dr. Bartolo), gave a definitive performance that skillfully blended comic acting and masterful singing.” He has enjoyed two very important national debuts: William Jennings Bryan in the 60th anniversary production of The Ballad of Baby Doe for Central City Opera in Colorado, and the Sacristan in Tosca in the historic reopening of New York City Opera’s return to Lincoln Center in 2016!

ARTIST BIOGRAPHIES His 2024 -25 season includes Simone/Gianni Schicchi for Opera Roanoke, and Commendatore/Don Giovanni for Greensboro Opera.

ROSS KOLMAN LIGHTING DESIGNER Ross Kolman has designed lighting for a number of artists, choreographers, and companies including Ellen Hemphill, Lynne TaylorCorbett, Christopher Wheeldon, Richard Tanner, Damian Woetzel, Robert Weiss, Tyler Walters, Mark Dendy, Liz Lerman, Amanda Miller, Clay Taliaferro, the National Opera, The North Carolina Dance Theater, The Pennsylvania Ballet, North Carolina Opera, Ballet Hawaii, PlayMakers Rep, and Nnenna Freelon.

Mr. Kolman was the Resident Lighting Designer for The Duke University Institute of the Arts, Ann Carlson, and Marlies Yearby’s Movin’ Spirits Dance Theater. In addition, Ross has worked as Production Manager for the American Dance Festival, Carolina Ballet, and for Yo-Yo Ma’s Silk Road Ensemble Creative Exchanges Program. Mr. Kolman has also worked on the faculty of the Theater Studies Department at Duke University. He is a founding member of Carolina Ballet where he is currently the Resident Lighting Designer. Previous productions with North Carolina Opera include Rusalka, Don Giovanni and Il trovatore. Mr. Kolman lives and works in Chapel Hill, North Carolina.

JEANIE WOZENCRAFTORNELLAS CHORUS MASTER Dr. Jeanie WozencraftOrnellas is Head of the Music Department at Meredith College. Following her professional debut with the Cleveland Opera, lyricsoprano Wozencraft-Ornellas has performed recitals, opera and oratorio throughout the United States and in 16 countries from New Zealand to Great Britain, China to Chile, receiving accolades such as “extraordinary” and “sublime” (Jakarta Post), “a soprano with extensive range, with notes lyrical, dramatic and an exceptional agility.”(La Estrella of Iquique, Chile)“outstanding versatility” and “unimpeachable artistic instincts.” (El Paso Times).

In Santiago, Chile “the audience in the theatre gave ‘la Wozencraft’ a standing ovation, wanting more.”

Dr. WO’s students have won awards in such competitions as the Dallas Opera Competition, the McCammon Voice Competition, AIMS Meistersinger Competition, Opera Ithaca Edward M. Murray International Voice Competition, American International Czech and Slovak Competition and the Bellini International Voice Competition. Her former students are performing on Broadway and in opera companies in the US, Germany, and South America, as well as teaching in the public schools or universities and colleges across the US and in China.

In addition to serving on the board of the North Carolina Opera, Dr. WO is a Distinguished Professor Emerita of Eastern New Mexico University, where she taught voice and directed the opera productions for 32 years. She holds degrees in Vocal Performance from the Oberlin College Conservatory of Music (B.M.), Bowling Green State University in Ohio (M.M.), and Florida State University (D.M.).

NORTH CAROLINA OPERA | 21

NORTH CAROLINA OPERA ORCHESTRA 1ST VIOLIN Carol Chung Margaret Partridge Ariadna Ilika Anne Leyland Eric McCracken Irina Shelepov Leah Peroutka Krista Cala 2ND VIOLIN Emi Hildebrandt Ashley Kovacs Suzanne Kelly Cortney Baker Sarah Griffin Robert Rempher

VIOLA Simon Ertz Matthew Chicurel Kristen Beard Emi Mizobuchi Rachael Keplin CELLO Nathan Leyland Brian Carter Rosalind Leavell Lauren Dunseath BASS John Spuller Emily Rupp Buccola FLUTE Carla Copeland Burns Whitney Pencina

OBOE Courtney Miller Carrie Shull CLARINET Mike Cyzewski Todd Krueger BASSOON Michael Burns John Fanning FRENCH HORN Christopher Caudill Rachel Niketopoulos TRUMPET John Manning Jack Smid

NORTH CAROLINA OPERA CHORUS Jasmin Brown Gretchen Bruesehoff Joanna Burke Frances Bushman Shanna Collins Alexia Della Valle Tanya Hanano Erica Jackson Tina Langevin Jodi Lewis Margaret Maytan Angela Santucci Joncie Sarratt Rachel Stenbuck Isabella Stollenmaier

24 | NORTH CAROLINA OPERA

Eric Luke Coleridge Nash Lindon Pearson Reggie Powell

SUPERNUMERARIES Tom Keefe Darris Lindsey Juan Matamoros Joncie Sarratt Rachel Starr

TIMPANI Julia Thompson PERCUSSION Paul Gorski HARP Jacquelyn Bartlett LIBRARIAN Julia Thompson

NORTH CAROLINA OPERA STAFF General Director – Eric Mitchko Director of Marketing – Angela Grant Director of Development – Sarah Raffurty Company Manager – Julie Williams Production Manager – Linda T. Carlson Box Office Associate – Amanda Reyes 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

NORTH CAROLINA OPERA | 25

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Dear North Carolina, For 70 amazing years, you—the people of North Carolina—have been by our side. You’ve inspired us and cheered us on since our first telecast back in 1955.

Together, we’ve welcomed Mister Rogers to our neighborhood, gotten our hands dirty with This Old House and gone on countless trips with NC Weekend. We’ve mastered the art of French cooking with Julia, found our roots with Henry Louis Gates Jr. and rummaged through every yard sale looking for the next big Antiques Roadshow discovery.

Because of you, PBS North Carolina has expanded beyond broadcast television to educate, inform, entertain and inspire all North Carolinians—at home, in the classroom or on the go. Your support has made all of this possible, and for that we’re forever grateful.

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