Issuu

JAN 2024 / ISSUE 05 • operacarolina.org

GRAND OPERA PUCCINI

MADAME BUTTERFLY ONE OF OPERA’S MOST ENDURING TALES OF UNREQUITED LOVE

SEATON / SIMON

THE PASSION OF MARY CARDWELL DAWSON OC NEW PRODUCTION

WAS THERE A REAL MADAME BUTTERFLY? PERSPECTIVES

NATIONAL NEGRO OPERA COMPANY

HISTORY

SCAN ME TO SUPPORT OPERA CAROLINA

CAROL Y. KENDRICK ELCOME W BOARD CHAIR

pera Carolina prides itself on our ability to present works that are outside of the traditional canon. Today’s piece is one of those works. While not an opera by any technical definition, The Passion of Mary Cardwell Dawson is a play about a prolific woman whom most people have never heard of and who opened up opera for artists of color. North Carolina’s own Mary Cardwell Dawson was born in 1894 in Madison. Her family moved north to Pittsburgh during the great migration at the start of the 20th century. She then studied music at the New England Conservatory of Music and at the Chicago Musical College. She began her professional career as a vocal and piano teacher, organizing student recitals using selections representing African American composers (including R. Nathaniel Dett) and other American composers.* In her early 30s, she opened a music school in Pittsburgh. The following two decades saw Ms. Dawson expanding the school to include instruction in public speaking, foreign languages, multiple instruments, creative dramatics and dance. Before forming her opera company, Ms. Dawson established several local choral groups that performed in local arts festivals. Following a presentation of Verdi’s Aida in 1941, she launched the National Negro Opera Company, which served as a training ground for hundreds of African American singers.

BOARD OF DIRECTORS 2023/24 SEASON OFFICERS

CAROL Y. KENDRICK Board Chair. Arts Advocate ARLENE FEREBEE Vice-Chair. Novant Health

CHRISTOPHER T. MARDANY Vice-Chair. Hearst

DARYL HOLLNAGEL Secretary. Shumaker Loop and Kendrick FRANK BONCIMINO Treasurer. Gaming Intelligence PHYLLIS ZANGHI Assistant Tresurer. AIG

JULIE BERNARD Immediate Past Chair. Deloitte MEMBERS ROB BOISVERT I-77 Mobility Partners, LLC NATALIE BROWN Ally Financial

CRAIG SELIMOTIC DANFORTH Bernstein Priv. Wealth Mng. JOHN HARMELING Grant Thornton

ROBERT HARRINGTON Robinson Bradshaw

SHARON HARRINGTON Novant Health Foundation BARBARA HOLT Arts Advocate CACI JAEGER Arts Advocate

PAUL KARDOUS Row Architecture JENNIFER MARTIN Arts Advocate MARCUS MARTIN U.S. Bancorp

In this production, we are given a front seat to the challenges Dawson faced as a singer and entrepreneur. We watch how she overcame them, and we join her on her journey as she became a respected impresario.

CHRISTOPHER MAURER Wells Fargo, retired

The National Negro Opera Company The National Negro Opera Company was the first African American opera company in the United States. It was incorporated in Illinois in 1942 with the purpose of “affording for the Negro the opportunity for the fullest expression in cultural development.” The company’s repertoire consisted mainly of six operas and one oratorio: Dett’s The Ordering of Moses.

JORDAN STERN U.S. Bancorp

As you may expect, African American singers were not welcome at the major US opera companies, and they often sought performance opportunities in segregated venues or in Europe. It was not until 1955 that both Marian Anderson and Robert McFerrin broke the color barrier at the Met. As a fun fact McFerrin was the father of Grammy Award-winning vocalist Bobby McFerrin. The National Negro Opera Company ceased operations with Dawson’s death in 1962.

MATTHEW MOORE JP Morgan Chase JIM POWELL Trane Technologies ANN REED Arts Advocate JOE TESSMER Truist

ELIZABETH TRENARY Parker Poe Adams & Bernstein DR. SHANTÉ WILLIAMS Black Pearl Vision AUNDREA WILSON Arts Advocate LIFE MEMBERS DR. KI-HYUN CHUN CPA, Ph.D., LL.D, The Chun Group

LESLIE PALIYENKO Metropolitan Opera National Council CHARLOTTE D. PAYNE Arts Advocate PEG POVINELLI Arts Advocate EMILY SMITH Arts Advocate

OC2020 CAMPAIGN CHAIRS ROB ENGEL Wells Fargo

MARY TABOR ENGEL Queens University * Some of these notes are based in part on: Radiating a Hope: Mary Cardwell Dawson as Educator and Activist by Karen M. Bryan (Arizona State University), Journal of Historical Research in Music Education (2003).

WWW.OPERACAROLINA.ORG

Giacomo

PUCCINI

Giacomo Puccini was born in Lucca in Tuscany, Italy on December 22, 1858 into a family of five generations of church organists, choirmasters and composers. His father died when Giacomo was five years old, and he was sent to study with his uncle Fortunato Magi, who considered him to be a poor student. As a teenager, Puccini served as an organist to the area churches and played the piano as entertainment at social events. In March 1876, the twenty-year old walked thirty kilometers to attend a performance of Verdi’s latest opera success, Aïda. This event changed his life and he decided that he would make opera his life’s work. The greatest influence in Puccini’s life was his mother, who petitioned and received a grant to send her son to the Milan Conservatory, where he worked diligently at his music and received his diploma in 1883. While studying at the Conservatory, Puccini obtained a libretto from Ferdinando Fontana, and entered a competition for a one-act opera in 1882. Although he did not win, Le Villi was later staged in 1884 at the Teatro Dal Verme and it caught the attention of Giulio Ricordi, head of G. Ricordi & Co. music publishers, who commissioned a second opera, Edgar, in 1889. Edgar failed: it was a bad story and Fontana’s libretto was poor. This may have had an effect on Puccini’s thinking because when he began his next opera, Manon Lescaut, he announced that he would write his own libretto so that “no fool of a librettist” could spoil it. Ricordi persuaded him to accept Leoncavallo as his librettist, but Puccini soon asked Ricordi to remove him from the project. Four other librettists were then involved with the opera, due mainly to Puccini constantly changing his mind about the structure of the piece. It was almost by accident that the final two, Illica and Giacosa, came together to complete the opera. They remained with Puccini for his next three operas and probably his greatest successes: La Boheme, Tosca and Madama Butterfly. The 1904 premiere of Madama Butterfly at La Scala was a fiasco. The opera went through three revisions until it was successfully reintroduced in the form we know it today. Madama Butterfly is a complete realization of powerful psychological drama that fully reveals the moving character of the title character. It is no surprise that it was Puccini’s favorite from among his operas. Puccini collaborated with several librettists on his works, including Luigi Illica and Giuseppe Giacosa. His most famed operas include: Manon Lescaut (1893), La bohème (1896), Tosca (1900), Madama Butterfly (1904), La fanciulla del West (1810), Il Trittico—a collection of three one-act operas: Il tabarro, Suor Angelica, and Gianni Schicchi (1918), and Turandot (1926)—unfinished at the time of Puccini’s death and later completed by Franco Alfano, one of Puccini’s protégées.

Synopsis MADAME BUTTERFLY ACT I

1900; Nagasaki Japan, in a house overlooking the harbor. As the curtain rises, preparations are being made for a Japanese wedding between a Lieutenant in the US Navy named Benjamin Franklin Pinkerton, and the geisha Cio-Cio-San, who is also known as Madam Butterfly. Before the bride arrives, the marriage broker, Goro, is showing Pinkerton the house that will be theirs. They discuss the usual arrangements -- Pinkerton and his new bride will live together as husband and wife until his ship sales off – everyone acknowledges that the Japanese ceremony isn’t really a wedding service, but only a formality to this arrangement. When the American consul, Sharpless arrives, he and Pinkerton drink a toast to America. Puccini blatantly uses the American National Anthem to introduce this wonderful duet. The bride and her relatives arrive for the ceremony. They are led by a group of geishas. For this opera, Puccini immersed himself in the sound of Japanese music, and this passage is a great example of the brilliant results. Pinkerton and Butterfly greet each other in a touching, delicate scene. The wedding is completed in authentic Japanese style. The celebration, however, is interrupted by Cio-Cio-San’s uncle, the priest Bonze, who has learned that she has renounced the religion of her birth to marry the American. When her family hears this, they join the Bonze in renouncing her from their family. Left alone, shattered by the condemnation of her family, Butterfly is comforted by her new husband. Night is falling, and Act I ends with one of the most sumptuous, romantic duets in all of music history – the famous love duet between Cio-Cio-San and Pinkerton.

Intermission ACT II It has been three years since Pinkerton’s ship set sail and he bid farewell to his Japanese wife. Her servant and confidant, Suzuki has stayed with Cio-Cio-San, even though her family has renounced her. She tells Butterfly that Pinkerton will not return. This is something the former geisha refuses to believe and in the stunning aria Un bel di vedremo, or One beautiful day he will come she tells Suzuki that she will wait for her husband to return. Sharpless comes to visit. He has received a letter from Pinkerton, and his intention in this visit is to tell Butterfly that Pinkerton will soon be returning to Nagasaki, but that he has left her for good.

When he arrives, however, Sharpless cannot help but see that she has changed her home to be an American one. She believes she is still married, and no longer a citizen of Japan, but rather, an American wife. Listen how the consul greets her as “Madama Butterfly” to which she corrects him with “Madama Pinkerton, prego”. Before Sharpless can read the letter to her, they are interrupted by Goro. He has brought a new suitor for her – the wealthy Yamadori, who is willing to take her as his wife. But Butterfly refuses, claiming that she is and remains married to Pinkerton. She dismisses Yamadori, giving Sharpless the opportunity to read the letter to her. Sharpless is so touched by Butterfly’s sincerity, that he does not share the news with her, but rather simply asks her, “What if Pinkerton does not return” at which she defiantly brings forth her blond haired, blue eyed three-year old son. Learning that Butterfly has borne Pinkerton’s son, Sharpless leaves, resolved to contact him. Cio-Cio-San and Suzuki are left alone when they hear a cannon shot from the harbor announcing the arrival of a ship. As they have done a million times before, they look out onto the harbor to see whose ship it is – this time, it is Pinkerton’s. Joyously, they prepare the house for his return in the famous Flower Duet. As night falls, Butterfly waits for Pinkerton as the chorus, off in the distance, sings the beautiful ‘Humming Chorus”.

ACT III Dawn is breaking. Butterfly has not moved all night, waiting for Pinkerton, who does not come. Suzuki encourages her to take her son and rest. Moments later, Sharpless arrives with Pinkerton and an American woman – his new wife. They have come to take Pinkerton’s son to raise him in the US. They convince Suzuki to help them. Pinkerton’s remorse is profound, and beautifully expressed in the aria “Addio fiorito asile’ or “Farewell my asylum adorned with flowers” Pinkerton and Sharpless leave Suzuki and Kate Pinkerton alone to break the news to Butterfly. When Cio-Cio-San enters and learns the truth, she coldly agrees to give up the child, but only if Pinkerton himself comes to get him. Left alone, she determines that a death with honor is better than a life without honor. As she falls lifeless, having taken her own life, Pinkerton, remorseful, returns to the home where they were once happy -- too late. AVANTI • JAN 2024 / ISSUE 05 • operacarolina.org Publisher OPERA CAROLINA Editor in Chief JAMES MEENA Co-Editor KIAH RUFFIN Art Creator & Designer STEFANO VIGNATI

Contributors ALINA MACNICHOL ASHLEY JOHNSON LAM GAIL GARVIN SARAH WATSON Pictures courtesy OPERA CAROLINA JERRY TALIAFERRO FINE ART PHOTOGRAPHER

Sandra

Carlos

Sandra Seaton is a librettist and playwright. Her libretto for the solo opera From the Diary of Sally Hemings, set to music by composer William Bolcom and commissioned by mezzo soprano Florence Quivar, has been performed at Carnegie Hall, the Kennedy Center, and other venues. A CD, with soprano Alyson Cambridge and pianist Lydia Brown, is available on White Pine. A Glimmerglass Glimpse video of the solo opera with Cambridge, featuring projection designs by S. Katy Tucker, can be viewed on the Glimmerglass Opera website.

Known as a “young composer on the rise, with an ear for social justice,” Simon’s melodic lines effortlessly weave together history, migration, belonging, and community. After making waves upon the release of Requiem for the Enslaved, a new album by Georgetown University about the involvement of the institution in the slave trade, Simon signed with Decca Records. Recognizing the complex history of enslavement, Simon visited the Louisiana cotton plantation that purchased the enslaved people from Georgetown University and immersed himself in university archives. Reflecting on the album and it’s impact Simon says, “It is my hope that I not only honour the men, women, and children sold into slavery, but also recognize that systemic racism is still ever present in our society.”

SETON

In January 2020, the opera Night Trip, about a young woman’s life-changing journey to the South to visit her relatives, with music by Carlos Simon and libretto by Sandra Seaton, premiered at WNO’s American Opera Initiative. A review in The Washington Post singled out “Seaton’s candid, vernacular text” for “gradually revealing dramatic and poetic substance.” Among her fourteen plays, The Bridge Party, Seaton’s first play, portrays a group of Black women who fight to maintain their dignity and sense of self in the face of racism. Seaton’s other works include The Will, a drama about a Black family during Reconstruction, her Civil Rights era play Music History or a Play about Greeks and SNCC in 1963, a riff on college life and African-American student activists, Call Me By My Name, a performance piece about Henrietta Lacks, Sally, a one-woman drama, in which an aged Sally Hemings recalls her life with Jefferson, the spoken word piece, King: A Reflection on the Life of Dr. Martin Luther King, Jr. with spirituals sung by tenor George Shirley, and Chicago Trilogy: A Chance Meeting, The Lookout, and Black for Dinner, three one-act plays featuring Dr. Shirley. In 2020, The First Bluebird in the Morning, with Carlos Simon, about a prisoner about to be paroled, premiered with LA Opera. In 2021 her play with music, The Passion of Mary Cardwell Dawson, starring acclaimed mezzo soprano Denyce Graves, with original music by Simon, premiered at the Glimmerglass Festival. In 2022 her ploratorio, Dreamland: Tulsa 1921, with composer Marques L.A. Garrett, premiered with Dallas’s Turtle Creek Chorale and traveled to Carnegie Hall in July 2022. In August 2022, an expanded version of The Passion of Mary Cardwell Dawson with two new arias by Seaton and Simon premiered at Glimmerglass Festival. In September 2022, Seaton’s solo play Sally, starring Sabrina Sloan, was performed at the Aspen Theatre Festival. In 2021 Seaton’s extensive collection of family papers, related to harpist Olivette Miller, her husband tap dancer Bunny Briggs and Olivette Miller’s father, famed author, lyricist, and comedian Flournoy E. Miller, was donated to Yale University by Seaton. The catalogued papers, now open to the public, are housed at Yale’s Beinecke Rare Book and Manuscript Library. The catalogue is viewable online.

SIMON

He’s been commissioned to produce works on behalf of the New York Philharmonic, Los Angeles Opera, Washington National Opera, and more recently the Minnesota Orchestra. This newly-commissioned work includes a large-scale tribute to George Floyd and the ongoing movement for racial justice, set to premiere in 2023. Those following Simon’s career can expect him to expand on this trailblazing body of work.Simon was named as one of the recipients for the 2021 Sphinx Medal of Excellence, and is currently the Composer-in-Residence for the John F. Kennedy Center for the Performing Arts. His most recent work, Requiem for the Enslaved, was nominated for Best Contemporary Classical Composition for the 2023 Grammy Awards®.

ABOUT THE PASSION OF MARY CARDWELL DAWSON In 1943, the National Negro Opera Company is set to perform on a floating barge to evade racially segregated venues. But when bad weather threatens—pushing the performance to a segregated performance hall—visionary impressaria Mary Cardwell Dawson must find a way forward. North Carolina native Mary Cardwell Dawson’s dream to provide access for African Americans to perform on stages for all audiences changed the future of opera. Having founded the longest-running, all-Black opera company here in Pittsburgh and organizing opera guilds in the country’s biggest cities, Mary Cardwell Dawson would go on to train hundreds of African American youth to sing. Written by Mark Twain Award-winning playwright and librettist Sandra Seaton, The Passion of Mary Cardwell Dawson celebrates the remarkable founder of Pittsburgh’s historic and groundbreaking National Negro Opera Company. This play with music includes selections from Carmen as well as original music by award-winning Kennedy Center Composer-in-Residence Carlos Simon.

PERSPECTIVES REAL ADAME B UTTERFLY? M WAS THERE A

By Jan van Rij

(Reprinted from Playbill Classic Arts Features)

he story of Madame Butterfly is an old one. In 1616, the Italian adventurer Carletti wrote that as soon as foreign sailors arrived in Japan “the pimps who control this traffic in women call on them ... and enquire whether they would like to purchase or to acquire in any other method they please, a girl for the period of their sojourn,” a contract to that effect being signed with the go-between or the family. This practice was continued by the Dutch merchants during the 250 years that they were allowed, as the only foreigners, to stay in Japan on the tiny, artificial island of Dejima in the harbor of Nagasaki. It still existed when, in 1885, the French navy officer and author Pierre Loti arrived, who invented nothing new in his well-documented and very populae French novel about his “marriage” of six weeks with “Madame Chrysanthème.”

(Maiko Yachiyo, 1900’ Geisha in Osaka)

So, when, in 1892, Irvin and Jennie Correll came to Nagasaki as missionaries of the American Methodist Mission, it was not surprising that their attention was drawn to this practice. They were initially discreet about it; it would only be much later that Jennie recounted one particular story which she said she had heard from her local shopkeeper around 1895, although the events in the story had taken place more than twenty years earlier. When Jennie went home on leave to the U.S. in 1897, she stayed some time with her brother John Luther Long, a Philadelphia lawyer. Long had literary aspirations and wrote as a sideline. The year after his sister’s visit, he published in the Century Illustrated Magazine a short story called “Madame Butterfly,” which was based on the Nagasaki story his sister had told him. Long’s story was soon afterward turned into a play by the playwright David Belasco. Puccini saw the play in London in the summer of 1900 and was inspired to create the opera of the same name. Around 1870 there lived in Nagasaki three Scottish brothers: Thomas, Alex and Alfred Glover. One of them (probably Alex, although we don’t know for sure) had an intimate relationship with a Japanese woman called Kaga Maki, who worked as an entertainer in a local teahouse under the name of Cho-san, Miss Butterfly. Normally such a link with a foreign man was considered a temporary “marriage,” for which an amount was paid to the “bride” (usually 100 yen or 20 Mexican dollars) and which could be ended by the “husband” at any time. In the course of her relationship with the Scotsman, Kaga Maki became pregnant and on December 8, 1870, she gave birth to their son, naming him Shinsaburo. The father later abandoned the woman and her child and eventually left Japan. After a while, the father’s brother Thomas and the latter’s common law Japanese wife, Awajiya Tsuru, successfully claimed the boy, who then became part of the household of his adoptive mother. His name was changed into Tomisaburo (Tom, for short) and he eventually became known as Tom Glover. During the time that Jennie Correll lived in Nagasaki, Tom Glover, having finished his education in Japanese and American universities, returned to his hometown, took up residence there and established himself officially as the head of a newly registered Japanese family called Guraba (which is the Japanese transliteration of Glover). Jan van Rij is author of Madame Butterfly: Japonisme, Puccini, and the Search for the Real Cho-Cho-San

Madame Butterfly Opera in Three Acts Music by GIACOMO PUCCINI (1858-1924) Libretto by Giuseppe Giacosa and Luigi Illica Based on the short story by John Luther Long First performance: February 17, 1904. Teatro alla Scala, Milan

JANUARY 25, 27 & 28, 2024 Belk Theater, Charlotte, North Carolina These productions are made possible by

THE CAST Karen Chia-Ling Ho* Jennifer Forni* Jonathan Kaufman^ Zachary Hugo^ Nina Yoshida-Nelsen* Johnathan White^ Kendrick Williams^ Amber Rose^ Ramelle Brooks^ Arya Jameson-Curtis, Kat Kuzin, Misha Kuzin

Cio Cio San Cio Cio San (Cover) Pinkerton Sharpless Suzuki Goro Yamadori Kate Pinkerton Bonze Sorrow

CREATIVE TEAM Conductor Director Lighting Scenic Design Costumes Design Technical Director

James Meena Dennis Whitehead Darling* Michael Baumgarten Steven C. Kemp Dean Brown Wilbert Ferguson

* Opera Carolina debut ^Member of the Resident Company

The Opera Carolina Chorus • The Charlotte Symphony Orchestra Opera Carolina dedicates these performances of Madame Butterfly to the following Gold Circle members of the Verdi Society for their philanthropic support. Kathy and Frank Bragg, Carol Y. Kendrick and John DiMicco, Dr. Robert A. Gaines, Sian and Robert Harris III, Srinizas and Sofia Mannava, Elizabeth and Christopher T. Mardany, Robert Norville, Dr. Mark Self, Kati and Chris Small, Anne Carter and Dean Smith, Charlotte and John Wickham

PERSPECTIVES WO TALES OF WO MADAMES T T MADAME BUTTERFLY/ MARY CARDWELL DAWSON

By James Meena

Opera Carolina welcomes 2024 with two works that on the

surface, are very different. If we dig a bit deeper, however, we may realize that our title characters, Madam Mary Cardwell Dawson and Madame Butterfly, both face similar issues, but act in very different ways. Both are confronted with social expectations and biases that influence the trajectory of their lives. Both operas can be controversial, yet both can be uplifting if we embrace them. First, it’s easy to label Madame Butterfly as being a racist piece. The externals are all there: the stereotype of Japanese culture and people, the quasi-Japanese music (actually based on a Chinese melody), and the portrayal of Cio-cio-san herself as a weak, submissive and tragic character. If we were to follow Cancel Culture thinking, then perhaps Puccini’s masterpiece is racist and should be ‘canceled’ from the standard repertoire.

Maria Callas

I prefer to view works of art like Madame Butterfly as being period pieces that tell us a great deal about the people, and the times in which they were written. They are works that can help us evaluate the biases of past societies and enlighten our perspective of our own times. We should not ignore them, but rather face their reality. Opera in all its forms is a powerful medium that combines music, spoken word, dance, singing and great story telling. The stories of the Opera span the great classics from Othello and Faust to those of our own time like the new work, The Passion of Mary Cardwell Dawson. This Play with Music highlights one small moment in the life of this true character who refused to be limited by American social biases of the 1940’s. Both Mary Cardwell Dawson and Cio-cio-san are faced with deep seeded societal biases that present obstacles to them. In the case of Madame Butterfly, they lead to her tragic death. In the case of Madame Dawson, she defies them to empower young people in learning and to provide opportunity. These powerful works of art, like all great art, are a mirror that reflects the soul of humanity. While we expect them to be entertaining, their value goes far beyond entertainment, which is why institutions like Opera Carolina exist.

Mary Cardwell Dawson

The Passion of Mary Cardwell Dawson Play by Sandra Seaton Original Music by Carlos Simon Text for original music by Sandra Seaton Additional Music from Carmen by Georges Bizet Commissioned by the Glimmerglass Festival

FEBRUARY 15, 16 & 17, 2024 The New Theater at Parr Center Central Piedmont Community College

THE CAST Mary Cardwell Dawson Isabelle Phoebe Frank

Denyce Graves Díana Thompson LaDejia Tenille Bittle* Johnnie Felder^

CREATIVE TEAM Pianist Director Lighting & Set Design Costumes Design Wig and Make-up Design Technical Director

Dr. Gregory Thompson Kimille Howard* Michael Baumgarten Allison Collins Martha Ruskai Wilbert Ferguson

* Opera Carolina debut ^Member of the Resident Company

These productions are made possible by

Opera Carolina dedicates these performances of The Passion of Mary Cardwell Dawson to the following Gold Circle members of the Verdi Society for their philanthropic support. Kathy and Frank Bragg, Carol Y. Kendrick and John DiMicco, Dr. Robert A. Gaines, Sian and Robert Harris III, Srinizas and Sofia Mannava, Elizabeth and Christopher T. Mardany, Robert Norville, Dr. Mark Self, Kati and Chris Small, Anne Carter and Dean Smith, Charlotte and John Wickham The Play and Text for the original music of The Passion of Mary Cardwell Dawson, copyright 2022 Sandra Seaton. The Original Music for The Passion of Mary Cardwell Dawson,copyright 2022 Carlos Simon. Produced by arrangement with Sandra Seaton, Carlos Simon, The Barbara Hogenson Agency, Inc., and Bill Holab Music.

INSIDE OPERA MADAME BUTTERFLY/ THE PASSION OF MARY CARDWELL DAWSON

MEET THE

RTISTS

JAMES MEENA, Conductor

Maestro Meena has held principal and resident conducting posts with the Cleveland Ballet, Toledo Symphony, Opera Carolina, Opera Grand Rapids and Toledo Opera, in addition to guest conducting appearances that include a nationally televised Thanksgiving concert for the Korean Broadcasting System Symphony; performances of Stravinsky’s tour de force La Sacre du printemps with the National Symphony Orchestra, Taiwan; concerts with the Cairo Symphony Orchestra in the new Cairo Opera House; and symphony concerts with the orchestras of the Teatro Massimo Bellini in Catania, the Orchestra Regionale Toscana in Italy, the Grand Rapids Symphony, the Memphis Symphony, the Mexico City Philharmonic, the Orlando Symphony, the National Symphony R.O.C (Taiwan), the Pittsburgh Symphony, the KBS Symphony (Seoul) and the Toledo Symphony. He has been guest conductor with Arizona Opera, Edmonton Opera, the National Arts Center Ottawa, Manitoba Opera, NYCity Opera, Opera Pacific, l’Opera de Montreal, Pittsburgh Opera, Portland Opera, Opera Pacific, Sarasota Opera, Utah Opera, Opera Grand Rapids, and the Washington Opera. He has conducted legendary singers including Renée Fleming, Denyce Graves, James McCracken, Mignon Dunn, Marilyn Horne, Jerome Hines, Diana Soviero, Jerry Hadley, Mark Delavan and Marcello Giordani. Recent engagements include the new production of The Magic Flute for which he serves as co-producer and conductor with the theaters in Lake Como, Brescia, Pavia and Cremona Italy, performances of Turandot in the Teatro Antiche Taormina and Teatro Greco Siracusa, Tosca at the Luglio Musicale Trapanese in Sicilia, a double-bill of Rachmaninoff’s rarely-performed Aleko paired with Pagliacci as well as La fanciulla del West, both with New York City Opera; Le nozze di Figaro for Teatro Sociale Rovigo Italy, La Fanciulla del West for five prestigious Italian theaters: Teatro del Giglio, Lucca Italy, Teatro Verdi in Pisa, Teatro Alighieri di Ravenna, Teatro Pavarotti di Modena and Teatro Goldoni di Livorno, plus a Gala concert with Renee Fleming and the Toledo Symphony, and La bohème with the prestigious Puccini Festival in Torre del Lago.

DENNIS WHITEHEAD DARLING, Madame Butterfly Director

Dennis Whitehead Darling is an award-winning stage director in opera, theatre, and Video/film. With an extensive background in theatre and musical theatre, his opera career began in 2018 as an Opera Memphis Inaugural McCleave Fellow, a fellowship dedicated to advancing the careers of stage and music directors of color. His recent directing credits include world premieres of Marian’s Song (Houston Grand Opera), Sanctuary Road (North Carolina Opera), Why I Live at the P .O. (Urban Arias), Buried Deep (End Station Theatre), and The Secret River (Opera Orlando). Other works include Susannah ( University of Kentucky), Sweeney Todd (Chautauqua Opera), The Cunning Little Vixen (Manhattan School of Music), Ride the Cyclone (Ramapo College of New Jersey), Maria de Buenos Aires (Opera Columbus), Jelly’s Last Jam – A Concert Performance, (Long Wharf Theatre), The Falling and the Rising, (Arizona Opera), Lost in the Stars (Annapolis Opera), Hansel and Gretel (Playground Opera), La Bohème (Opera Columbus), Giulio Cesare in Egitto (Carnegie Mellon University), The Gershwins’ Porgy and Bess (Red Mountain Theatre), Independence Eve (Opera Birmingham), Lady Day at Emerson’s Bar and Grill (Hatloo Theatre/Spazio Teatro No’hma, Milan), The Parchman Hour (Hatloo Theatre), Ain’t Misbehavin’ (Hatloo Theatre/Spazio Teatro No’hma, Milan), Intimate Apparel (University of Memphis), Movin’ Up in the World (Opera Memphis), Sunset Baby (Hatloo Theatre), James and the Giant Peach (Circuit Playhouse), Blue Viola (Opera Memphis), and Marcus; or the Secret of Sweet (Hatloo Theatre). Associate Directing credits include The Mountaintop (Geffen Playhouse), Arts in the Armed Forces on Broadway (Studio 54), The Last of the Love Letters (Atlantic Theatre), Light’s Out: Nat “King” Cole (Geffen Playhouse), and Skeleton Crew (Geffen Playhouse). Check out his website at www.denniswhiteheaddarling.com

KIMILLE HOWARD, The Passion of Mary Cardwell Dawson Director

Kimille Howard is a New York based director, deviser, writer and filmmaker. She is an Assistant Stage Director at the Metropolitan Opera and recently worked on the new James Robinson production of Porgy and Bess. She is the newly appointed Artistic Director of the Lucille Lortel Theatre’s NYC Public High School Playwriting Fellowship and a cofounder of the Black Classical Music Archive. Among her directing credits are Joseph Bologne’s The Anonymous Lover for Wolf Trap Opera, Death By Life for White Snake Projects, In The Open by Mona Monsour for Western Connecticut State University, Soil Beneath by Chesney Snow for Primary Stages/59E59, $#!thole Country Clapback by Pascale Armand for Loading Dock Theatre, and The Fellowship Plays for the Lucille Lortel Theatre Foundation. Kimille was awarded Best Director at the 2016 Thespis Festival for Its All About Lorrie by Joseph Krawczyk at the Hudson Theater and remounted the production for a commercial run at The American Theater of Actors in 2017. Her work has also been seen at The Circle in the Square Theatre Circle Series, The Queens Theatre, Juilliard, The Flea, The Lark, JAGFest, NYU, Sea Dog Theater, and Atlantic Acting School, CLASSIX/The Lewis Center, among others.. She is a current member of The New Georges Directors Jam, a participant in New York Stage and Film’s inaugural NYSAF NEXUS project, and a former Resident Director at the Flea Theater. She is the Series Producer for American Opera Project’s Music As the Message.

MADAME BUTTERFLY THE PASSION OF MARY CARDWELL DAWSON

MEET THE

INSIDE OPERA

ARTISTS

KAREN CHIA-LING HO, Cio Cio San

Acclaimed soprano Karen Chia-Ling Ho made her debut with Opera Philadelphia, Boston Lyric Opera, and Virginia Opera in the title role of Madama Butterfly this season, as well as a return to the Metropolitan Opera to cover Mimì in La Bohème and San Francisco Opera to cover Cio-Cio-San in Madama Butterfly. Following her debut with the Hong Kong Arts Festival in Bright Sheng’s Dream of the Red Chamber, Ms. Ho reprised the role of Princess Jia in her San Francisco Opera debut. She made her Metropolitan Opera debut as Meretaten in Philip Glass’ Akhnaten and Apparition in Macbeth. She sang Liù in Turandot with St. Petersburg Opera and Tosca in Hong Kong at the More Than Music Festival, under the direction of Nic Muni. She also sang staged performances of La Traviata as Violetta at the Lincoln Center’s Rose Theater with the Philharmonia Orchestra of New York. She made her Carnegie Hall debut with the American Symphony Orchestra, under the direction of Leon Botstein, in Ernst Krenek’s Der Diktator as Maria. Other engagements include, performances with Hawaii Opera Theater in Madama Butterfly and the New Jersey Festival Orchestra in the “Yellow River Cantata” and Strauss’ Op. 27, along with operatic selections of Verdi. Ms. Ho was presented in concert with the American Composers Orchestra in Washington, D.C. in music by Chinese composer Li Shaosheng and appeared in concerts with both the Shanghai Symphony Orchestra and Shanghai Philharmonic Orchestra in China. She has also performed concerts with the Musical Olympus Foundation, San Jose Center for the Performing Arts in music by Tysen Hsiao, and Philharmonia Orchestra of New York in Mozart’s Requiem. Ms. Ho was a finalist in the Belvedere Competition and the Francisco Viñas Competition in Barcelona. She received First Prize in the Mildred Miller International Voice Competition, was the Second Prize winner of the Marcello Giordani Foundation International Vocal Competition, and was awarded a Sergio Franchi Music Foundation Grant. Ms. Ho was also a district winner of the Metropolitan Opera National Council Auditions. Ms. Ho was a member of the Merola Opera Program of the San Francisco Opera where she was featured in the role of Donna Elvira in Don Giovanni, under the direction of James Darrah. Winner of the prestigious Renee Fleming Award from the Eastman School of Music, she holds music degrees from the Universities of TNUA and Tung-Hai in Vocal Performance, a Master of Music degree from the Eastman School of Music, and an Artist Diploma from the College-Conservatory of Music in Cincinnati.

DENYCE GRAVES, Mary Cardwell Dawson

Recognized worldwide as one of today’s most exciting vocal stars, Denyce Graves continues to garner unparalleled popular and critical acclaim in performances across four continents. Ms. Graves’ talents have recently expanded into new roles as director and educator. In addition, Ms. Graves is the Artistic Director and Founder of The Denyce Graves Foundation which aims to promote equity and inclusion in American classical vocal arts through an unprecedented approach: championing the hidden musical figures of the past while uplifting young artists of world-class talent from all backgrounds. The foundation has been featured on Good Morning and The New York Times Style Magazine for its successful programs. USA Today identifies her as “an operatic superstar of the 21st century,” and the Atlanta Journal-Constitution exclaims, “If the human voice has the power to move you, you will be touched by Denyce Graves.” Ms. Graves appears continually on the stages of leading theaters in North America, Europe, and Asia. Highlights have included a Robert Lepage production of The Rake’s Progress at San Francisco Opera; the title role in the world premiere of Richard Danielpour’s Margaret Garner at Michigan Opera Theater, followed by further performances at Cincinnati Opera, Opera Carolina, and Opera Philadelphia; the role of Charlotte in Werther at Michigan Opera Theatre opposite Andrea Bocelli in his first staged operatic performances; and the role of Judith in a William Friedkin production of Bartok’s Bluebeard’s Castle in her return to Los Angeles Opera, a role she has also sung Judith at Washington National Opera and Dallas Opera. Ms. Graves has also made appearances in the world premieres of Douglas J. Cuomo’s Doubt at Minnesota Opera and Terence Blanchard’s Champion at Opera Theatre of St. Louis, Kevin Puts’ The Hours at the Metropolitan Opera, and Carlos Simon’s The Passion of Mary Caldwell Dawson at Glimmerglass Festival. In the 2023-2024 season, Ms. Graves makes her anticipated Seattle Opera debut in Das Rheingold as Erda. She returns to Dallas Opera in a role debut as Klytaemnestra in Elektra, and the Metropolitan Opera in Porgy and Bess as Maria. Ms. Graves was also presented with the Inaugural Ruth Bader Ginsburg Award at Washington Performing Arts’ recital performance, Cotton. Ms. Graves directs the world premiere of Loving v. Virginia at Virginia Opera in their 2024-2025 season. In the 2022-2023 season, Ms. Graves returned to Minnesota Opera for a directorial debut and Glimmerglass Festival, respectively directing two new productions of Carmen. Minneapolis’ Star Tribune wrote on her acclaimed directorial debut, “[i]n her first directing job, opera star Denyce Graves delivers a superlative staging.” Ms. Graves also returned to the Metropolitan Opera in Peter Grimes as Auntie and in the world premiere of The Hours as Sally, and Glimmerglass Festival in The Passion of Mary Cardwell Dawson as the title character. (Please visit the artist’s website at https://www.thedenycegravesfoundation.org/)

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MADAME BUTTERFLY

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JONATHAN KAUFMAN, Pinkerton

Tenor Jonathan Kaufman took the audience by storm with his portrayal as Turiddu in Opera Carolina’s season-opening production of Cavalleria Rusticana with international superstar diva Barbara Frittoli. Jonathan possesses a voice of entrancing power, beauty, and finesse, which he employs with considerable technique and musicianship. Hailed for his portrayal of Pinkerton in Winter Opera St. Louis’ production of Puccini’s Madama Butterfly, “Tenor Jonathan Kaufman, as Pinkerton, has a voice so grand--even heroic--that there are many times when, lost in the glory of that voice, we quite forget what a cad the Lieutenant is. Superb!” Steve Callahan of Broadway World makes it clear why Kaufman is quickly ascending the ranks as one of the greatest tenors of his generation. Last season, Kaufman made house débuts at New Orleans Opera as Pinkerton in Madama Butterfly and Opera Western Reserve as Rodolfo in La bohème and, and Winter Opera St. Louis as Macduff in Macbeth, and Rodolfo in La bohème with Northern Lights Music Festival. A member of Opera Carolina’s Resident Company of artists, Jonathan made his company debut as Malcolm in Verdi’s Macbeth with star baritone Mark Rucker, and has performed supporting roles in numerous operas for Opera Carolina. More recently, Kaufman returned to Opera Wilmington as part of their summer concert series Under the Stars in Viva Italia!, and joined the company of I Dream. He made débuts with Winter Opera St. Louis in both their Fall Gala and as Pinkerton in Madama Butterfly, with the Aiken Symphony Orchestra in their romantic concert Amore! Famous Love Songs from the World of Opera, in concert with River City Opera, and with Charlotte Symphony Orchestra as part of their Opera Masterpieces concert. Jonathan was a finalist in both the Giulio Gari and The Jensen Foundation competitions, named the Winner of the Jennifer White Memorial Award in Shreveport Opera’s Mary Jacobs Smith Singer of the Year competition, Winner of the 2nd Place prize in the SAS Performing Arts Company Vocal competition, winner in NYIOP’s first-ever Anonymous Audition Project, and a finalist in the NOA Carolyn Bailey & Dominick Argento Vocal Competition.

NINA YOSHIDA-NELSEN, Suzuki

Hailed as a “richly powerful singing actress” (Broadway World), Nina Yoshida Nelsen makes her role debuts as Melissa in Handel’s Alcina with Seattle Opera, the title role of Carmen with Indianapolis Opera, and will sing Mother Chen in Huang Ruo’s An American Soldier. Last season, Nina reprised her acclaimed portrayal as Suzuki in Madama Butterfly with Atlanta Opera and New Orleans Opera, as well as performing selections of orchestrated lieder by Alma Mahler with the Toledo Symphony, a return to Seattle Opera as Khanh in Huang Ruo’s Bound, and performances with her home company of Opera Santa Barbara as Mama in An American Dream and Fricka in the Dove, a reduced version of Wagner’s Die Walküre. She has performed with Boston Lyric Opera debut as Mama Lucia in Cavalleria Rusticana, Bard Opera singing Mother Chen in Huang Ruo’s An American Soldier, Opera Santa Barbara for a double bill of El Amor Brujo and Il Tabarro, and her Chicago Opera Theater debut singing Queen Sophine in Mark Adamo’s Becoming Santa Claus. She also performed in the filmed docu-concert “B” at Boston Lyric Opera, her Washington National Opera debut as Phoung Tran in the world premiere of The Rift (Ruo/Hwang), sang Mama in Jack Perla’s An American Dream at Kentucky Opera, Santa Fe Opera for performances of Huang Ruo’s Angel Island and performed as the alto soloist in Beethoven’s 9th Symphony with the Rhode Island Philharmonic. In 2019-2020, Ms. Nelsen made her Portland Opera debut as Suzuki in Madama Butterfly, performed in the world premiere of Blood Moon at Prototype Festival in New York City and returned to Lyric Opera of Chicago to cover Suzuki in Madama Butterfly. Other notable engagements include Utah Opera, Atlanta Opera, Opera Santa Barbara, Phoenicia International Festival of the Voice, Sarasota Opera and New York City Opera; Khanh in Bound and Woman in The Memory Stone with Houston Grand Opera; the Mother in Amahl and the Night Visitors at New York’s Avery Fisher Hall; Handel’s Messiah with Nashville Symphony Orchestra and Santa Barbara Chorale; and Beethoven’s Ninth Symphony with Santa Fe Concert Association, Southwest Florida Symphony and at Carnegie Hall. Ms. Nelsen is a graduate of Boston University and the Academy of Vocal Arts in Philadelphia. She resides in Bloomington, Indiana with her french horn playing husband, Jeff and their two sons Rhys and Blair. Nina is the co-founder and president of the Asian Opera Alliance and serves as the Artistic Advisor at Boston Lyric Opera.

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PERSPECTIVES OPERA STARS

D ENYCE GRAVES By Kiah Ruffin

D enyce Graves, an acclaimed American mezzo-soprano, has left an indelible mark on the world of opera with her powerful and emotive performances. Born on March 7, 1964, in Washington, D.C., Graves displayed an early affinity

for music. Her journey from a young talent to an internationally renowned opera singer is a testament to her exceptional skill and dedication. Graves’ musical journey began at the Duke Ellington School of the Arts in Washington, where she honed her vocal abilities. Recognizing her potential, she furthered her studies at the Oberlin Conservatory of Music, solidifying her foundation in classical music. Her training laid the groundwork for a career that would see her grace the stages of prestigious opera houses worldwide. One of the defining moments in Graves’ career came in 1985 when she won the Metropolitan Opera National Council Auditions. This victory served as a launchpad for her career, propelling her into the spotlight of the opera world. Her exceptional vocal range, coupled with her ability to convey deep emotions through her performances, set her apart from her peers. Graves made her Metropolitan Opera debut in 1995 as Carmen, a role that would become one of her signature performances. Her portrayal of the fiery gypsy in Georges Bizet’s opera garnered critical acclaim, establishing her as one of the leading mezzo-sopranos of her generation. The intensity and richness of her voice, combined with her compelling stage presence, captivated audiences and critics alike. Beyond her success on the operatic stage, Graves has ventured into the realm of crossover music, collaborating with artists from various genres. Her ability to seamlessly transition between classical and contemporary styles showcases the versatility that has become a hallmark of her career. This adaptability has allowed her to reach a broader audience and bridge the gap between different musical worlds. In addition to her artistic achievements, Graves is recognized for her philanthropic efforts. She has been involved in numerous charitable activities, using her platform to support causes close to her heart. Her commitment to education and outreach has made a positive impact, inspiring aspiring musicians and fostering a greater appreciation for the arts in diverse communities. As a trailblazer in the opera world, Graves has shattered barriers and paved the way for future generations of artists. Her influence extends beyond her vocal prowess; she has become a symbol of perseverance, breaking through racial and gender barriers in a historically traditional art form. Graves has not only sung her way into the hearts of audiences but has also played a pivotal role in reshaping the landscape of classical music. In conclusion, Denyce Graves stands as a beacon of talent and resilience in the world of opera. From her early days as a promising student to her triumphs on the grand stages of the world’s most prestigious opera houses, Graves has left an enduring legacy. Her voice continues to resonate, reminding us of the transformative power of music and the indomitable spirit of those who dedicate their lives to its pursuit.

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THE PASSION OF MARY CARDWELL DAWSON

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DÍANA THOMPSON-BREWER, Isabelle

Soprano Díana Thompson-Brewer is lauded for her “aplomb and sparkling ‘’ vocal pyrotechnics and nuanced character portrayals. Her professional operatic roles include Magda in La rondine, Königin der Nacht in Die Zauberflöte, the title role in Lucia di Lammermoor, Clara in Porgy and Bess, Eden in the world premiere of Weiser’s Galaxies in Her Eyes, Zerbinetta in Ariadne auf Naxos, Susanna in Le nozze di Figaro, Musetta in La bohème, Adele in Die Fledermaus, Mlle Silberklang in Die Schauspieldirektor, Beth & Amy in Adamo’s Little Women, Vi in Gershwin’s Blue Monday, and Mrs. McDowell in Hailstork’s Rise for Freedom. Díana has performed with L’Orchestre de Chambre de Genève, Opera Carolina, North Carolina Opera, Opera on the James, Greensboro Opera, Mobile Opera, Opera Wilmington, Augusta Opera, GLOW, Miami Lyric Opera, and regional symphony orchestras. Díana has served as Soprano Soloist in Barber’s Knoxville: Summer of 1915, Haydn’s The Creation, Orff’s Carmina Burana, Handel’s Messiah, Bach’s Cantata 4, Haydn’s Mass in Time of War, Vivaldi’s Magnificat, and Beethoven’s Choral Fantasy. She also made her Musical Theatre debut as Sarah in Flaherty’s musical Ragtime. This past Fall, Díana traveled performing a new work written and composed for her titled At First Sight—a modern Frauenliebe und leben of sorts incorporating elements of what it means to love a black man in modern-day America—with NYC composer and pianist Christopher Cooley. She also reprised the role of Magda in La rondine with Opera on the James and will serve as Soprano in Beethoven’s Symphony No. 9 with the Florence Symphony Orchestra this May. Díana is interim Director of Opera at Augusta University for the 2023-2024 school year.

LADEJIA TENILLE BITTLE, Phoebe

LaDejia Tenille Bittle, from High Point, NC, graduated from the University of South Carolina with an M.M. in Opera Theatre in the spring of 2023. She was an opera theatre graduate assistant for her two years at USC and studied with Rachel Calloway. She has performed as a soloist in Handel’s Messiah, Bach’s St. John Passion, Bach’s Mass in B Minor, and several other major works. Her previous opera roles include La Zia Principessa in Suor Angelica with the Chautauqua Opera Conservatory, The Third Lady in The Magic Flute with Opera at USC, Elizabeth Proctor in The Crucible with Opera at USC, Zefka/Third Female Voice (The Diary of One Who Disappeared) with The Castleton Festival and Opera at USC, Nerone in L’incoronazione di Poppea with Chicago Summer Opera, Choral Fellow (Omar: World Premiere) with Spoleto Festival USA, Hänsel in Hänsel and Gretel with Wingate University Opera, and several others. LaDejia also holds a Bachelor of Arts degree from Wingate University (NC) where she majored in Vocal Performance. During her four years at Wingate, she was a part of both of the auditioned choirs, Wingate University Singers and Chamber Choir. She also sang in the United in One Gospel Ensemble which she directed for three years. Originally from High Point, NC, LaDejia’s passion and gift for singing was fostered in the Black church, where she sang in church choirs, worship teams, and the liturgical dance and mime team. After graduating from Wingate, she taught chorus in the North Carolina Public School system for three years before pursuing her Master’s.

JOHNNIE FELDER, Frank

Tenor, Johnnie J. Felder, is a native of Vance, South Carolina, and is a graduate of Benedict College, earning the Bachelor of Arts in Music. Following his matriculation at Benedict, Felder earned the Master of Music and Doctor of Musical Arts degrees in Vocal Performance from the University South Carolina School of Music. Felder has also undergone extensive vocal studies in the opera studio of the American Institute of Musical Studies (AIMS) in Graz, Austria, and in the opera soloist program of the Varna International Music Academy (VIMA) in Varna, Bulgaria. An active teaching artist, Felder continues to perform regularly throughout the southeastern region, nationally, and abroad. A Principal Artist in Opera Carolina’s Resident Artist program (Charlotte, NC), Felder has been featured in operatic and concert roles such as Peter, the Honey Man in the Gershwins’ Porgy and Bess, Beethoven’s Ninth Symphony (Augusta Choral Society), Spoleto Festival USA and North Carolina premieres of Rhiannon Giddens and Michael Abels’ opera Omar (Carolina Performing Arts, Chapel Hill, NC), Peter, Honey Man (North Carolina Opera), Tamino in Mozart’s Die Zauberflöte, Nemorino in Donizetti’s L’elisir d’amore, Reverend Jesse Jackson in Douglas Tappin’s I Dream, Count Belfiore in Mozart’s La Finta Giardiniera, and several solo recitals and concerts throughout the United States. At present, Dr. Felder serves as Assistant Professor of Music & Director of Choral Activities at South Carolina State University (Orangeburg, SC) and is on the voice faculty at the USC School of Music (Columbia, SC), where he teaches applied voice and diction for singers. Dr. Felder’s research interests include the performance, preservation, and continued scholarship of opera, art song, and choral literature by composers of the African Diaspora and beyond.

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MADAME BUTTERFLY

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JENNIFER FORNI, Cio Cio San (Cover)

Praised for her “warm, gleaming lyric soprano” voice (Washington Post), American soprano Jennifer Forni has distinguished herself as a dynamic singer possessing the raw yet luxurious power of a classic full lyric soprano. Oregon Arts watch commented, “she has the best messa di voce... I’ve heard in a long time!”. In recent years Jennifer has performed such roles as the iconic role of Turandot in Puccini’s final work Turandot and Desdemona in Verdi’s Otello with Springfield Regional Opera as well as La Contessa in Mozart’s Le Nozze di Figaro. Jennifer was featured as Tatyana with the Portland Opera in their brand-new production of Eugene Onegin, under the direction of Kevin Newbury. She has also appeared as Musetta in their production of La boheme and Micaëla in their Carmen. Jennifer can also be seen in the Metropolitan Opera’s HD Broadcast performance of Wagner’s Parsifal under the award-winning direction of Francois Gerrard. This production was broadcast live in HD to movie theatres around the world. Jennifer is equally at home on the concert stage, having just performed the world premiere of Gordon McQuere’s Rossetti Songs with the Topeka Symphony this past March 2021. She has also performed such works as; Chants d’Auvergne with the Oregon Music Festival, Vaughan Williams’ A Sea Symphony at Carnegie Hall with the New York Choral Society, the Fauré and Rutter Requiems (also at Carnegie Hall) with Mid-America Productions, Knoxville: Summer of 1915 with the Oregon Mozart Players, Juneau Symphony, Springfield Symphony Orchestra, and The Topeka Symphony, Mahler”s Symphony No. 2 with the Greeley Philharmonic, Mahler’s 4th Symphony with the Topeka Symphony and the Springfield Symphony Orchestra, and Beethoven’s 9th Symphony and the Mozart Requiem with the Springfield Symphony Orchestra.

ZACHARY HUGO, Sharpless

Acclaimed for his “vibrant and ringing” sound, Baritone Zachary Hugo’s second year in Opera Carolina’s Resident Company as a Spotlight Artist marks his mainstage debut as Sharpless in Puccini’s Madama Butterfly. The 2023/2024 season will also see Mr. Hugo make his company debut with Opera Grand Rapids as Marcello in their production of La Bohème as well as covering the roles of Alfio and Tonio for Opera Carolina’s double feature of Cavalleria Rusticana and I Pagliacci. Most recently, he has been seen as Il Conte in Le Nozze di Figaro with International Lyric Academy/Opera Carolina and as Pluto in the sold-out preview performance of Nmon Ford’s highly anticipated new opera House of Orfeus (a 2024 co-production of Opera Carolina and Lincoln Center for the Performing Arts). Mr. Hugo reprised the role of Pluto for an October concert performance with Detroit Opera with further performances to be announced. Other notable engagements include Germont (Cover) in La traviata and Scarpia (Cover) in Tosca with Opera Carolina, Schaunard in La Bohème and Belcore in L’elisir d’amore with Central Piedmont Opera Theater, and Silvio in I Pagliacci and Sharpless in Madama Butterfly with Opera Experience Southeast. Mr. Hugo’s training also includes graduate studies in conducting, leading to productions of Gluck’s Orpheé et Eurydice, Purcell’s Dido and Aeneas, and Mozart’s Così fan tutte under his baton. A native of South Carolina, Mr. Hugo holds a B.M. in Vocal Performance and a M.M. in Conducting from Winthrop University. Additionally, he is an active teacher of voice and piano in the Charlotte area.

JOHNATHAN WHITE, Goro

Tenor, Johnathan Stanford White began his Operatic studies at the College of Charleston in 2004 while working on his BA in Vocal Performance. In 2011, he was selected to sing at the Jussi Bjorling Centennial Celebration at Gustavus College at the Jussi Bjorling Concert Hall. Since moving to Charlotte and joining the Opera Carolina as a Resident Company Member in 2013, Johnathan has become a staple in the classical music scene. After making his Opera Carolina debut in Turandot as the Emperor in 2015, Johnathan has performed numerous roles during his tenure with Opera Carolina, Toledo Opera, and Opera Grand Rapids including Spoletta in Tosca, Trique in Yvgeny Onegin and most recently Peppe in Pagliacci. Johnathan is also an accomplished symphonic soloist performing throughout the East Coast. He made his international debut performing the three comedic roles in Les contes d’Hoffmann with the International Lyric Academy, Vicenza, Italy. His performances as Goro mark Johnathan’s 10th anniversary with Opera Carolina as a Spotlight Principal Artist.

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MADAME BUTTERFLY

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KENDRICK WILLIAMS, Yamadori

Baritone, Kendrick D. Williams, holds a Bachelor of Arts Degree in Music from Claflin University in Orangeburg, SC and a Master’s Degree in Music Performance from Loyola University in New Orleans, Louisiana. To date, Williams has performed several roles in operas ranging from the classical works of Mozart to the verismo operas of Puccini. He has appeared in leading roles with Claflin University Lyric Opera, Loyola University Opera, New Orleans Opera, Opera Creole, and Opera at USC. Kendrick has debuted roles in Porgy and Bess, Die Zauberflote, La Boheme, Les Contes d’Hoffman, Carmen, Gianni Schicchi & Minette Fontaine. While making appearances with the Charleston Chamber Orchestra and the Louisiana Philharmonic for oratorio works that include Handel’s Messiah and Mendelssohn’s Elijah. More recently, Williams was seen in Bernstein’s MASS with Opera at USC, soloist of debut work “GLORY”, composed by Grammy nominated flutist Valerie Coleman and soloist for Brahms Requiem, Op. 45 with Columbia Choral Society. Since then, Kendrick has relocated to Charlotte, NC where he is on resident artist with Opera Carolina, studying with Victoria Livengood.

AMBER ROSE, Kate Pinkerton

Hailed for her “effervescent” and “iridescent” sound, American soprano Amber Rose is quickly establishing herself as a versatile and dynamic artist. Ms. Rose has performed across the United States in opera, oratorio, choral and folk music styles; notable companies include, Utah Festival Opera, Greensboro Opera, NH Piccola Opera, Taylor Festival Choir, Masterworks Chorale of the Palm Beaches, and Opera Carolina, where she is currently a principal member of the Resident Company. Notable operatic roles include; Zerbinetta in Ariadne auf Naxos, Olympia in Les contes d’Hoffmann, Queen of the Night in The Magic Flute, Adele in Die Fledermaus, and Nannetta in Falstaff. Ms. Rose is also the winner of several awards, including 1st place winner of the South Carolina District in the Metropolitan Opera National Council Auditions (2022), 1st place winner of the Michael Ballam Vocal Competition (2022) and 2nd place winner in the Heafner Williams Vocal Competition (2023). She holds a bachelor’s degree of music in vocal performance from Palm Beach Atlantic University and a master’s degree of music in vocal performance from UNC Greensboro.

RAMELLE BROOKS, Bonze

Ramelle Brooks’ noble bass voice has been described as powerful yet full of color and nuance. Ramelle is a young artist who is on the rise in the operatic community. He has been afforded the opportunity to sing roles in operas such as Sarastro in Die Zauberflöte, Doctor 6 in The Falling and Rising, Norton in La Cambiale di Matrimonio, Nardo in La Finta Giardiniera, Dr. Dulcamara in L’elisir d’amore, and Dick Deadeye in H.M.S. Pinafore, Schlemil and Crespelle in Les Contes d’Hoffmann. His musical credits include Smokey Joe’s Cafe and The Carousel. Ramelle is also a vibrant soloist with regional choruses and orchestras. He holds a Doctor of Musical Arts and Master of Music in Performance from the University of South Carolina and a bachelor’s degree in Music Education (Voice K-12) from Fayetteville State University. Ramelle supplements his academic experience serving as Director of Music at Second Calvary Baptist Church in Columbia, South Carolina. He also holds membership in the National Association of Teachers of Singing and Alpha Phi Alpha Fraternity, Inc. Ramelle is a member of Opera Carolina’s Resident Company of artists and makes his Grand Opera debut as Angelotti in Tosca.

MICHAEL BAUMGARTEN, Director of Production/ Resident Lighting and Video Designer Opera Carolina’s Director of Production and Lighting Designer since 2005, Michael Baumgarten has designed lighting for more than 400 opera productions at regional and international opera companies, including, New York City Opera, Florida Grand Opera, Opera Lyra Ottawa, Manitoba Opera, Santa Fe Opera, Austin Opera, Arizona Opera, Lyric Opera Kansas City, Palm Beach Opera, Toledo Opera, Opera Grand Rapids, Michigan Opera Theater and Virginia Opera.

A graduate of the Yale School of Drama and member of United Scenic Artists-Local 829, Mr. Baumgarten has also served as Director of Production and Resident Lighting Designer for Chautauqua Opera since 1999. Equally at home with digital design and innovative technologies, he has designed and created new digital imagery for over fifteen Opera Carolina productions including Turandot, Les pêcheurs de perles, Nabucco, Macbeth, Roméo et Juliette, La fanciulla del West, and I Dream.

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THANK YOU Opera Carolina Corporate & Foundation Major Sponsors

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PERSPECTIVES

“MADAMA BUTTERFLY” THROUGH THE EYES OF A 30-YO HBCU GRADUATE

E CHOES OF EMPOWERMENT AND TRAGEDY By Kiah Ruffin

My perspective on Giacomo Puccini’s opera “Madama Butterfly” is deeply

rooted in the lenses of imperialism, societal norms, and the quest for women’s independence. This tragic tale, set against the backdrop of cultural clashes and personal sacrifices, resonates with the experiences of a 15-year-old Japanese girl thrust into a world of disempowerment and betrayal. As we navigate the complexities of Butterfly’s journey, we uncover layers of societal expectations, anti-American sentiments, and the indomitable spirit of a young woman who, despite her tragic fate, symbolizes strength and resilience. Imperialism, a prevailing theme in “Madama Butterfly,” forms the crux of Butterfly’s story. The opera unfolds during a time when imperialistic ambitions shaped global dynamics. Butterfly, a 15-year-old from a family that had lost everything, becomes a casualty of this geopolitical chessboard. Her marriage to an American naval officer, Lieutenant B.F. Pinkerton, serves as a metaphor for the exploitative relationships forged in the name of imperial expansion. The echoes of imperialism are evident in Butterfly’s displacement and vulnerability, mirroring the experiences of nations and individuals subjugated by external forces. Society’s complicity in allowing the abuse of women is a haunting backdrop to Butterfly’s tragic narrative. At 15, she is thrust into a marriage that, in essence, robs her of agency and autonomy. This stark reality parallels historical instances where societal norms permitted the exploitation of women, mirroring the struggles faced by many women across different cultures and time periods. As a 30-year-old HBCU graduate, I can’t help but draw parallels to the fight for women’s rights and the empowerment that comes from breaking free of oppressive societal expectations. Anti-American sentiments are subtly woven into the fabric of “Madama Butterfly.” The opera critiques the arrogance and disregard for cultural sensitivity exhibited by Pinkerton, representing a broader commentary on the impact of imperialistic ideologies. As a graduate of an HBCU, where critical thinking and social awareness are nurtured, I find myself reflecting on the implications of blind nationalism and the consequences of imposing one’s will on others. Butterfly’s journey becomes a poignant reflection of resistance against cultural dominance, challenging the status quo and questioning the motives behind imperialistic pursuits.

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MET Opera Archives, Madama Buterfly in 1904 world premiere, Geraldine Farrar as Cio Cio San, Louise Homer as Suzuki

The thought process of women being independent and empowered is a prevailing theme that resonates strongly with my HBCU experience. Butterfly, despite being a victim of circumstances, embodies a spirit of resilience and tenacity. Her decision to marry Pinkerton, albeit driven by societal pressures, reflects a pursuit of independence. This internal struggle aligns with the ongoing narrative of women asserting their agency and striving for autonomy, themes that have been central to the women’s empowerment movement throughout history. Luther Long, the character who facilitated Butterfly’s union with Pinkerton, adds a layer of complexity to the narrative. His role as a marriage broker underscores the commodification of women during this period. Long’s actions highlight the exploitation that often accompanies imperialistic endeavors, exposing the dark underbelly of the seemingly glamorous alliances forged for personal gain. The presence of characters like Long prompts a critical examination of complicity and the moral consequences of facilitating oppressive systems. Butterfly’s tumultuous journey, marked by Pinkerton’s three-year absence and her unwavering devotion, sheds light on the endurance required to navigate love in the face of betrayal. As a 30-year-old HBCU graduate, I resonate with Butterfly’s resilience – a strength instilled by the challenges faced within the HBCU community. The opera becomes a metaphor for enduring through adversity, whether in the context of love or the broader socio-political landscape. The climax of “Madama Butterfly” sees Butterfly’s family disowning her, leaving her utterly isolated. This devastating moment mirrors the societal consequences often faced by women who dare to defy norms. Butterfly’s tragic end, culminating in suicide, serves as a stark commentary on the consequences of a society that strips individuals of their agency. As an HBCU graduate, I reflect on the importance of fostering environments that celebrate diversity, encourage individuality, and provide support systems to prevent such heartbreaking outcomes. In conclusion, “Madama Butterfly” through the perspective of a 30-year-old HBCU graduate unveils a tapestry of imperialism, societal complicity, and the resilience of women. Butterfly’s tragic journey echoes the struggles faced by many, serving as a poignant reminder of the enduring quest for independence. As we navigate the complexities of love, betrayal, and societal expectations, “Madama Butterfly” remains a timeless exploration of the human spirit and its ability to endure, resist, and ultimately, transcend the limitations imposed by a world steeped in imperialistic ideologies.

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HISTORY MARY CARDWELL DAWSON

N ATIONALNEGRO OPERA COMPANY THE NATIONAL NEGRO OPERA COMPANY (1941-1962)

O rganized in Pittsburgh, Pennsylvania under the direction of North Carolina native Mary Cardwell Dawson (photo

below), the company was launched with a performance at the local Syria Mosque, which in the 1940’s was also the home of the Pittsburgh Symphony and Pittsburgh Opera. In its 21-year history, the company mounted productions in Pittsburgh, Washington D.C., New York City and Chicago. Among the luminaries who performed with the company were La Julia Rhea, Minto Cato, Carol Brice, Robert McFerrin and Lillian Evanti.

The National Negro Opera Company House

The company disbanded in 1962 upon Dawson’s death. Although the company toured nationally, its offices and studios were housed in a three-story Queen Anne-style house at 7101 Apple Street in Pittsburgh’s Homewood neighborhood. Built as a private residence, it was purchased by William A. “Woogie” Harris (brother of the photographer Charles “Teenie” Harris) in the 1930s. The company moved to Washington, D.C. in 1942, but continued to use the third floor as a local guild office and studios until the company disbanded. After the move to DC, the building transitioned into a social hub and boarding house known as Mystery Manor, often hosting visiting celebrities and athletes who were excluded from the local segregated hotels. In 1994, the Pennsylvania Historical and Museum Commission designated the National Negro Opera Company’s house on Apple Street an historic structure. It became a Pittsburgh City Historic Landmark in 2008. In 2003 and again in 2013, the Young Preservationists of Pittsburgh included the building on their “Top 10” preservation opportunities. Purchased in 2000 by Pittsburgh residents Jonnet Solomon and Miriam White, after years of plans to transform the historic building into a museum and arts center, it remains dilapidated, but in 2020, the National Trust for Historic Preservation added the building to its annual list of America’s 11 Most Endangered Historic Places. Restoration work on the structure began in 2022, with a targeted completion date of 2024. Opera Carolina is proud to partner with the Charlotte Museum of History for the performances of The Passion of Mary Cardwell Dawson and the 2024 Exhibition of Historic Costumes, Photographs and Archives opening at the Museum in March.

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MULTI-MILLION DOLLAR COMMITMENT CITY OF CHARLOTTE $1.5 MILLION AND ABOVE Bank of America C.D. Spangler Foundation / National Gypsum Company John S. and James L. Knight Foundation Trane Technologies $600,000 - $1 MILLION Albemarle Foundation Atrium Health Barings Duke Energy Honeywell JELD-WEN, Inc. LendingTree Foundation Lowe’s Companies, Inc. Novant Health Red Ventures Truist $300,000-$600,000 Ally Financial The Centene Charitable Foundation Childress Klein Properties Coca-Cola Consolidated Deloitte EY The Gambrell Foundation Moore & Van Allen PwC Robinson, Bradshaw & Hinson, P.A. Rodgers Builders Wells Fargo UP TO $300,000 Fifth Third Bank Foundation For The Carolinas Deidre and Clay Grubb Leslie and Michael Marsicano Jane and Hugh McColl Nucor Corporation PNC Bank

PERSPECTIVES ARY ARDWELL AWSON’S D C M OPERA AND THE RESILIENCE OF A CENTURY OF EMPOWERMENT

A LEGACY By Kiah Ruffin

In the vibrant tapestry of history, certain figures emerge as beacons of empowerment, defying societal barriers to chart

new paths. Mary Cardwell Dawson, a trailblazing figure born in Madison, NC, in 1894, stands as a testament to the indomitable spirit of perseverance and passion. As a 30-year-old graduate of a Historically Black College or University (HBCU), I find myself captivated by the story of Mary Cardwell Dawson, a woman who not only refused to succumb to societal constraints but also went on to create a legacy that resonates a century later. Dawson’s refusal to be confined by the barriers society imposed is a narrative that resonates deeply with my own experiences as an HBCU graduate. In a time when opportunities for African Americans were severely limited, Dawson defied expectations and pursued her passion for opera. She faced a world that often closed doors based on race, yet she chose to break through those barriers with sheer determination and talent. At the heart of Dawson’s legacy is the National Negro Opera Company, a groundbreaking institution that shattered norms and paved the way for African American artists in the world of opera. In the midst of adversity, she founded the first African American opera company in the United States, challenging the deeply ingrained racial prejudices that pervaded the arts. This bold endeavor not only showcased Dawson’s artistic brilliance but also provided a platform for countless other African American performers who had long been excluded from mainstream opportunities. As a 30-year-old HBCU graduate, I draw inspiration from Dawson’s ability to transform challenges into catalysts for change. The National Negro Opera Company wasn’t just a cultural institution; it was a revolutionary act that demanded recognition and respect for African American artistic expression. Dawson’s refusal to accept the status quo aligns with the ethos of HBCUs, which have historically served as crucibles of resilience and empowerment. Mary Cardwell Dawson wasn’t just a trailblazer; she was a living embodiment of empowerment. In a society that sought to marginalize her, she found strength within herself to create a space for African American voices in an art form that had long been exclusionary. As a 30-year-old, I resonate with the idea that empowerment is not handed to you; it’s something you seize and cultivate within yourself. Reflecting on the historical context of Dawson’s life, I am struck by the parallels between her era and my own. Born in Durham, NC, a century after Dawson’s birth, my journey through an HBCU has been marked by strides toward equality and inclusion. Dawson’s legacy serves as a reminder that progress is achieved by those who refuse to be silent in the face of adversity. The creation of the National Negro Opera Company was a seismic shift in the cultural landscape. Dawson’s visionary approach not only challenged the prevailing racial norms but also showcased the immense talent within the African American community. As a 30-year-old HBCU graduate, I appreciate the significance of carving out spaces that celebrate diversity and foster an environment where all voices can be heard.

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Dawson’s journey resonates as a beacon of empowerment, especially in the context of the struggles faced by African American artists. In a field dominated by exclusionary practices, her legacy is a testament to the resilience required to overcome systemic barriers. The doors she opened for African American performers echo the ongoing efforts within HBCUs to create platforms for diverse talents to thrive. As I contemplate Dawson’s impact, I am reminded of the transformative power of inspiration. Her unwavering dedication to opera and her commitment to challenging societal norms inspire a new generation to break free from limitations. Just as Dawson drew inspiration from her own experiences, HBCU graduates today draw strength from her legacy, acknowledging that the pursuit of passion is a revolutionary act in itself. The significance of Mary Cardwell Dawson’s story goes beyond the realm of opera; it encapsulates the broader struggle for equality and recognition. In an era where systemic barriers persist, her legacy serves as a call to action for continued advocacy and representation. The empowerment she embodied is a torch passed down to HBCU graduates, urging them to be catalysts for change in their respective fields. As a 30-year-old reflecting on Dawson’s journey, I am proud to stand on the shoulders of trailblazers who paved the way for the opportunities and inclusivity I have experienced. Dawson’s story reinforces the idea that resilience, determination, and a refusal to conform can reshape the narrative of an entire community. It is a reminder that the fight for empowerment is ongoing and requires the active participation of individuals willing to challenge the status quo. In conclusion, Mary Cardwell Dawson’s opera legacy is a testament to the enduring power of passion, perseverance, and empowerment. Her journey, born out of a determination to transcend societal constraints, continues to inspire HBCU graduates like myself. As we navigate the complexities of our own paths, Dawson’s story remains a guiding light, reminding us that the pursuit of our passions is not only a personal triumph but a revolutionary act that shapes the course of history for generations to come.

Charles “Teenie” Harris National Association of Negro Musicians board members Blanche K. Thompson, Josephine Inness, Henry L. Grant, Mary Cardwell Dawson, Clarence Hayden Wilson, and Florence B. Price seated in Foster Memorial Hall, Oakland

OPERA CAROLINA MEMBERS OF THE CHORUS EMILY JARRELL URBANEK , Chorus Master

SOPRANOS LINDSEY BRAKHAGE EBY BUSCHER HANNAH HOYT KATHERINE OWENS JERSEY ROCHE AMBER-ROSE NANCY UNSER JULIA WOODWARD FAN YANG

MEZZOS CORNELIA COOPER KRISTI CUTLER ELI HALSO (YOUTH ACADEMY) LAUREL JAMESON ALINA MACNICHOL BROOKE RICE LAUREN NICOLE RUSSELL RACHEL TURNER CAMERON VIPPERMAN KELLI WILLIAMS

TENORS CRAIG ALLEN ELLIOTT BROWN GERRY CLONARIS HAEGON KIM TAEQUAN OWENS MICHAEL OWENS NOAH RICE CALEB WILSON

SUPERNUMERARIES CHANCELOR FORMAN LARRY MOSLEY

PRODUCTION STAFF MICHAEL BAUMGARTEN, Lighting and Video Designer EMILY JARRELL URBANEK, Director of Music Preparation CLAUDIO OLIVERA, Coach/Pianist STEPHEN FIELD, Coach/Pianist WILBERT FERGUSON, Technical Director JAY GRAVES, Property Master and Assistant TD VALERIE WHEELER, Production Stage Manager

OPERA CAROLINA TEAM JAMES MEENA General Director & Principal Conductor CLAUDIO FERRI, Senior Director for Institutional Advancement ALINA MACNICHOL, Senior Director for Development ASHLEY JOHNSON LAM, Senior Director of Learning MICHAEL BAUMGARTEN, Director of Production VALERIE WHEELER, Assistant to the Director of Production GAIL GARVIN, Civic Engagement and Patron Services Manag. TEIL TALIESIN, Learning Programs Manager SARAH WATSON, Exec. Assistant to the General Director

HANNA ATKINSON, Assistant Stage Manager

TINA KATIS, Accounting Manager

NATHAN HAMILTON, Assistant Stage Manager

KIAH RUFFIN, Creative Writer and Communications

ALLISON COLLINS, Costume Coordinator LANE MORRIS, Costume Assistant JANICE WILLIAMS, English Titles Manager

LOGAN WEBBER, Social Media and Website Manager KIMBERLY MIZE, Development Consultant PHILIP VOLPONI, Development Consultant SHALIL GIANNONE, Finance Consultant CURTIS WALLS, Marketing Consultant

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Since 1999, the Hearst corporate office

in Charlotte and the Hearst Foundations in New York have provided a reliable, firm foundation for Opera Carolina’s philanthropic campaigns. Hearst corporate has been the Title Sponsor of the Season-Opening opera production in each year from the 2001/02 season to the 2023/24 season-opening production of Pagliacci and Cavalleria Rusticana. This amazing support is made more significant by the investment the Hearst Foundations have made in Opera Carolina:

THANK YOU TO THE MEN AND WOMEN WHO MAKE HEARST A SPECIAL CORPORATE PARTNER.

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Tribute

Special Events Bella Notte 2023

Callie and Win Kelly, Nazy and Durham Weeks, Co-chairs Laura Vinroot and Perry Poole, Honorary Chairs Thank you, Charlotte for making Bella Notte 2023 one of the most successful in the 19-year history of the event, raising more $250,000 to support Opera Carolina’s Education Programs, Youth Academy and Grand Opera performances.

MadameButterfly Annual Fund for Excellence We gratefully recognize the following donors who share Opera Carolina’s commitment to excellence on stage, in schools and throughout the community. The listing reflects donations received between January 1, 2023 and December 31, 2023.

The Verdi Society DIAMOND CIRCLE (Gifts from $25,000 and above) Black Pearl Vision Charlotte Business Journal Hearst The Hearst Foundations Infusion Fund Mary and James Meena

Estate of Marie Mitchell North Carolina Arts Council The Opera Guild of Charlotte The Philip L. Van Every Foundation Wells Fargo Private Bank Dr. Shanté Williams

P L AT I N U M C I R C L E (Gifts from $10,000 to $25,000) Arts & Science Council Betty Garriss and W. Thad Adams III Ally Financial The George W. Baurer Family Foundation Julie and Joel Bernard Brighthouse Financial Kathy and Frank Bragg Bragg Financial Charlotte Eye Ear Nose & Throat Associates, P.A. Chun University Closets by Design Daniele Donahoe and Erik Rosenwood Dolce & Gabbana Fairfield Inn William & Patricia Gorelick Family Foundation Hendrick Automotive Group

Dr. Marie-Claire Marroum and Paul E. Kardous Fred T. Lowrance and Alice McKay Maurer Family Foundation Holly and Christopher Maurer McShane Partners Novant Health Sandra Levine Karen and Brandon Perry Laura Vinroot and Perry Poole Neely and Jack Purcell So-Chung Shinn In honor of Claudio Ferri Ms. Laura Van Sickle Herb M. Verbesey WDAV 89.9

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The Verdi Society DIAMOND CIRCLE (Gifts from $25,000 and above) Black Pearl Vision Charlotte Business Journal Hearst The Hearst Foundations Infusion Fund Mary and James Meena

Estate of Marie Mitchell North Carolina Arts Council The Opera Guild of Charlotte The Philip L. Van Every Foundation Wells Fargo Private Bank Dr. Shanté Williams

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MadameButterfly Annual Fund for Excellence

The Verdi Society GOLD CIRCLE (Gifts from $5,000 to $10,000)

Arzberger

Katherine and Mark Love

Barringer Construction

John Lupton Designs

Mary Margaret and Josh Beaver

Srini and Zsofia Mannava

Capitol

Elizabeth and Christopher Mardany

Joan and Jim Carroll

Kaye and Dennis McGarry

Pauline and William Chinnis

Mecklenburg Radiology

Jane Conlan

Robert Norville, Jr.

Pasquale and Alessandra de Martino

Richard J. Osborne

Mrs. Roddey Dowd, Sr.

Laura and Stephen L. Philipson

Arlene Ferebee

Mary Margaret and Fritz Porter

Lisa Lust and Dean M. Fischbeck

Peg and George Povinelli

Dr. Robert A. Gaines and Ms. Toni Burke

Ann M. Reed

Laura and Mike Grace

Sara Garcés and Daniel Roselli

Isabelle and William Griesmyer

Dr. Thea Moore and Mark Self

Janet Haack

Shumaker Loop & Kendrick, LLC

Katherine Hall

Kati and Chris Small

Sian Hughes Harris and Robert I. Harris III

Steinway Pianos of the Carolinas

Blynn Field and Chris Jensen

TowneBank

Callie and Win Kelly

Audrey Truman and Rob Boisvert

Carol Y. Kendrick and John DeMicco

Margaret and Dr. T.C. Price Zimmermann

Jessie J. Knight, Jr. and Joye D. Blount

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MadameButterfly Annual Fund for Excellence

The Verdi Society S I LV E R C I R C L E (Gifts from $2,500) Audi of Charlotte Sherri and Jon Bennett Frank Boncimino Mary and Charles Bowman Sheryl and Brian Bucci Jan and Robert Q. Busch Charlotte North Rotary CIGNA Keri and Nicholas Clavin Beth and Michael Clifton Jordan and Walker Collier Hillary and Fairfax Cooper Craig Selimotic Danforth Trey Davis and Mariam Abdul Hamid Peggy and Charles Dickerson Dena Diorio and Phil Volponi DLR Group Sarah Elizabeth and Nick Dockery Donald Haack Diamonds and Fine Gems Peggy and Richard Dreher Element Financial Corporation Liz and Lane Faison FTI Consulting Denise and Patrick Folmar Pattie and George Fulford Karen Gunther Lucy and Hooper Hardison Jennifer and John Harmeling Elizabeth and Mark Hindal Radmila and Daryl Hollnagel Barbara Holt Dr. and Mrs. Rogers G. Howell, III Nora and Thomas J. Hughes Wizzie and Dan Irvin

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Caci and Max Jaeger Michael Kemper Amy and Evan Kerr Athena and William Kortesis Marand Builders, Inc. Jennifer and William Martin Nadia and Eric Meredith Ms. Valerie Mitchener and Mr. Joe Pelligrini Kimberly and Geoffrey Mize Karen L. Oldham Emily and William Oliver Omni Funding Corp. of America Alexandra Paliyenko Estate of Gilbert Pirovano Erica and James E. Powell Kathleen D. Prokay Marshelette and Milton Prime Irena and Lee Rimler Rotary Club of Ballantyne Sherry and Charles Rumbough Pat and Paul Scheible Joe Schilleci Marsha and John Small Emily and Zach Smith Catherine C. and Jordan Stern Mr. and Mrs. Joe Tessmer Rev. and Mrs. Sydnor Thompson, III Dr. Cynthia Tyson Neely and Mark Verano Nazy and Durham Weeks Allison and Alan Welch Rad and Odon von Werssowetz Aundrea and Stephen Wilson Phyllis Zanghi and Scott Hulse

MadameButterfly Annual Fund for Excellence

The Encore! Society BENEFACTORS (Gifts from $1,000) A Big Heart Foundation Anonymous Keyla Barresi In honor of Claudio Ferri Helen and Lincoln Baxter Natascha A. Bechtler Lakana Bikhazi Mary G. Bobis Heather and Ben Braun BRK Global Marketing Mary and Frank Brown Natalie J. and Rudolph Brown Sara and Brandon Brown Christina and Stephen Burgess Suzanne and Thomas Cambern Austin and Jamie Carey Chamber Music for All Andrea and Eric Chaniot Hayley and John Cheek Laura and Joseph C. Clark, Jr. Mr. and Mrs. Matt Cochrane Brian Crutchfield and Ken Davis Victoria Custodi and Andrew Tate Gina and John Damon Amy and Alfred Dawson The Dickson Foundation Pontea and Jonathan Dixon Kinsey and Billy Fennesbresque Amanda and Grady Frank Tara Douglass In honor of Kimberly Mize Elizabeth and John Fagg Kristin and Joe Foster Carrie and Jay Galloway Renata Gasparian and Caio Lima Mignonne Gavigan and Ryan Costin Courtney and Richard Goettke Melissa and Trent Gustafson Cate and Emerich Gutter Heather and Larry Gwaltney Murielle and Ziad Hage

Katie and Rashid Hallaway Sharon and Rob Harrington The Howe Foundation Kara and Graham Hunt Emily and Tyler Johnson Paige and Erik Johnson Catherine Ruth and Alex Kelly Mr. and Mrs. Dovy Klarberg Anna Blair and Jamie Kneisel Layla R. Kushner Constance Lacy Juliette and Collin Lane Rachel Lee Allie Lin and Joseph Thomas Corrie and Zach Manis Betsy and Jason Mayer Lindsay and Stanton McCullough Rob Roy McGregor Amy and Matt Moore Stephanie and Sam Muhs Meghan and Ben Murphy Christie and Conor Murphy Janie and Gavin Myers Courtney and Frederic E. Nauck Aubrey and Kyle O’Brien Helen and Dr. Arvind Patil Drs. Melissa and Andrew Pavelyev Kate and Ben Phillips Lucy A. Quintiliano Agnes and Thomas Ragsdale Paul A. Reichs Amanda and August Roth Ruth and Trevor Runberg Kim and Matt Salsbury Dr. Mahesh Sardesai and Varsha Mathur Sabina and Willy Schlumberger Natalie and John Scott Glenn Sherrill and Jennifer Hunter Blair and Emily Shwedo Michael Silverman SPS North America Maxine and Robert M. Stein Robert Tallman John Templeton Charlotte Titcomb and David Mortiz

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MadameButterfly Annual Fund for Excellence

The Encore! Society BENEFACTORS (continued)

Meredith and Jeff Tomascak Irina Toshkova and Noi Vong Jill and Chris Trainor Paul Vadnais Jay Vandura Skyler Walker and Ben Friedell Rebecca and James Watson Mindy and George Webster Lauren and Elliott Weeks Dr. Barbara Weschke Carolina and Trey Winslett Devapriya Mecredy Wong PATRONS (Gifts from $500) Bozena and John Adamczuk Jay Adsit In honor of Julie Bernard

Emerson Bell Drs. Liya Beyderman and Emmanuel J. Botzolakis Kimberly Borans Margaret Black Peggy and Steven C. Burke Dr. Ildiko Csiki Ken Davies In honor of Claudio Ferri Susan Davis In honor of Jennifer Davis Martin Mr. and Mrs. Perrin Quarles Dargan III Cheryl DeMaio Sarah Dembowski Lacy Woods Dick Cynthia R. Greenlee Michael Griffin Rose Hayden Karen Hite and John B. Jacob Antoinette and Paul Johnson Dr. and Mrs. Norman Kramer Meghan and Luis Lluberas Charlotte Harris Lucas

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Meredith and Joshua Marr Mr. and Mrs. Raki McGregor Meg and Ty Peebles Lily and Victor M. Pineiro-Carrero Susan Pollan Jeannie and John Presto Ann Reynolds Jennifer and Manley Roberts Alice R. Schulte Nicole and Josh Scronce Virginia Secor Shaw Elise L. Sherrill Rosalie S. Spaniel Graham and JoAnne Stewart Brenda Gail Summers Dr. and Mrs. H. Grant Taylor Bobby Thompson Sarah S. Tull Joy and Hunter Widener Nancy Williams and Roger Dahnert In memory of Helen and Stewart Blake Natalie Wolf SUSTAINING MEMBERS (Gifts from $300) Michele Classe In honor of Maestro James Meena Shirley and Ronald Coffman David Delventhal Kendra Dodds In honor of Alessandra and Pasquale De Martino Extreme Clean of North Carolina Gail and Tom Fennimore Gerald G. Fox Sarah and Frank Gentry Walter H. Goodwin Carol Jelush Mary Napier and Steven Kesselman Sabine and Haywood Rankin Kendra Scott Mary Stokes Karen and Cornelius Tate

MadameButterfly Annual Fund for Excellence

The Encore! Society SUPPORTING MEMBERS (Gifts from $100) Jennifer and Craig Adelhardt Helen Anne Alford Hugh and Natalie Allen Wade and Patrice Alley Amazon Smile Kathryn and Kenneth Amos Anthony Arroyo Dr. and Mrs. Charles Baker Mary and David Ball Rodrick and Sonya Banks Shelly Bartholomew Mike and Karen Bearss Alan C. Black Gretchen and Mark Bottrill Charles & Laura Budd Anissa Burton In honor of Candace Nellum Ann Caulkins and Kelley Anderson Janice Chalaron Michael Cleveland Dr. Gerald Cochran Debra Corbett Amanda and Shaw Cornelson Marion and Norman Cowell Wesley Dangerfield Joanne Deal Juliana DeMicco Carmen and John Desmond Carol and Stephen Dixon Robert Eagle Tracy and Saad Ehtisham Claudio Ferri Oliva and John Fortson Elizabeth Geers Dr. and Mrs. Richard Gellar Tisha and Steven Gilchrist Soraya Gonzalez Gordon and Priscilla Greene Katherine Hunter In honor of Bill Groscup

Mrs. Mary Sluder Jennings Amy Johnson Margot Kaiser Patrick K. Kelly In honor of Sydnor Thompson, Jr. Anne Dowd Kennedy Jane Orcutt Kinney Bruce Kovacs David Kral James M. Laney Elissa Levine Eleanor Lieberman Robert and Patricia Lorentzen Gregory Lowrey Brian Luckadoo Stuart and Linda Lynn Mr. Basil Manly Kendra May Kimberly Mize In honor of Dr. and Mrs. Chun Mr. and Mrs. Harold Mouzon Ynez Olshausen Jen and Nir Patel Barbara Pierce Mr. and Mrs. Rodney C. Pitts Conrad Pogorzelski Sharon and Walter Sanders William Schrader Carol G. Simonetti Viki Singleton Ria Soler Meghan Stewart Tracy Strickler Alice and Al Sudduth Teil Taliesin Brian Walger Jody and Chuck Wicker Mary and Chris Winston Clara and Allen Wolfe Stacey and Stephen Young

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MadameButterfly The Helen & Stewart P. Blake Philanthropy Award Philanthropy is the “love of man” in the sense of caring for, nourishing, improving, and enhancing the quality of life for human kind. The Helen & Stewart P. Blake Philanthropy Award, formerly the Award of Merit, recognizes the exceptional philanthropy of members of the Opera family, whose devotion has enhanced Opera Carolina’s commitment to improving the quality of life for the citizens of Greater Charlotte through the beauty of opera.

Leslie Paliyenko Awarded on May 28, 1980

Mildred Templeton Awarded on June 16, 1992

Charlotte and Ronald L. Payne Awarded on October 19, 2013

Hooper Alexander, III Awarded on May 20, 1981

Marie Rowe Awarded on June 6, 1995

Oliver R. Rowe Awarded on May 19, 1982

Patricia Viles Awarded on June 18, 1996

Margaret and Dr. T. C. Price Zimmermann Awarded on January 29, 2015

Hon. Sydnor Thompson Awarded on May 25, 1983

Jeanette N. Lee Awarded on June 10, 1997

Heinz Jaffe Awarded on May 30, 1984

Emily P. Smith Awarded on Sept. 23, 1998

Lynnette Lewis Awarded on June 4, 1986

Marjorie and Bob McDorman Awarded on June 18, 2002

Charles Rosekrans Awarded on May 17, 1988 Clifford E. Bair Awarded on June 20, 1989 The Opera Carolina Chorus Awarded on June 15, 1990 Gaetano Staffa Awarded on June 20, 1991

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Sally Ann Hall Awarded on May 26, 2004 Dede Reid Blackburn Awarded on May 13, 2005 Fred T. Lowrance Awarded on June 19, 2007 Terry Lee Scott Awarded on June 16, 2009

Pepper and Roddey Dowd Awarded on April 16, 2016 Drs. Ki-Hyun and Sun Shin Chun Awarded on January 28, 2017 Mary Tabor and Rob Engel Awarded on April 18, 2018 Peg and George Povinelli Awarded May 11, 2019 Arlene Ferebee Awarded on September 16, 2021 Dr. Michael Marsicano Awarded on January 26, 2023

MadameButterfly Next on Stage OPERA CAROLINA CELEBRATES BLACK HISTORY MONTH Sandra Seaton and Carlos Simon

The Passion of Mary Cardwell Dawson Starring: Denyce Graves A Play with Music This compelling story follows North Carolina native and founder of the National Negro Opera Company Madam Cardwell Dawson, who broke the glass ceiling in the African-American community by creating an inclusive space for young people to be heard while developing their musical talent and life lessons. JOIN OUR AUDIENCE FOR AN INTIMATE EVENING WITH DENYCE GRAVES Central Piedmont’s New Theater (Free parking is available) • February 15, Celebrating Women’s Empowerment • February 16, Celebrating Young Leaders • February 17, Celebrating Black Excellence To purchase tickets for The Passion of Mary Cardwell Dawson scan

TICKET PRICES $125 Patron Tickets (Premium seating with After Performances Receptions with Ms. Graves) $50 Regular • $15 Students For Groups, contact gail@operacarolina.org Visit us online to discover the world of Opera at www.operacarolina.org THE PASSION CONTINUES March is Women’s History Month, and the Charlotte Museum of History is celebrating the opening of the Mary Cardwell Dawson exhibition. To learn more visit https://www.charlottemuseum.org * Play by Sandra Seaton - Original music by Carlos Simon - Text for original music by Sandra Seaton - Commissioned by the Glimmerglass Festival

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Christopher Warren-Green

conductor laureate & music adviser

Christopher James Lees resident conductor

2O23 | 2O24 MUSICIAN ROSTER FIRST VIOLINS

DOUBLE BASSES

HORNS

Calin Ovidiu Lupanu

Kurt Riecken,* Principal Jason McNeel, Acting Principal Judson Baines*

Byron Johns

Concertmaster The Catherine & Wilton Connor Chair

Joseph Meyer

Assistant Principal

Associate Concertmaster

Justin Cheesman†

Kari Giles

Acting Assistant Principal

Assistant Concertmaster

Susan Blumberg°° Jane Hart Brendle Cynthia Burton Emily Chatham°° Ayako Gamo Lenora Leggatt Jenny Topilow Dustin Wilkes-Kim Hanna Zhdan

Principal The Blumenthal Foundation Chair

Amy Orsinger Whitehead Erinn Frechette

Assistant Principal The Pepsi-Cola Foundation of Charlotte Chair

Carlos Tarazona° Monica Boboc Martha Geissler Sakira Harley Tatiana Karpova Ellyn Stuart

Ellen Ferdon Cynthia Frank Wenlong Huang Viara Stefanova Ning Zhao

Samuel Sparrow

BASS CLARINET

Principal The Kate Whitner McKay Principal Cello Chair

Alan Black* Principal Emeritus

Marlene Ballena Jeremy Lamb Amy Sunyoung Lee Sarah Markle Oksana McCarthy †

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Scott Hartman Principal

TUBA

Colin Benton

TIMPANI

Terry Maskin

E ♭ CLARINET

Jonathan Lewis

Principal

ENGLISH HORN

Samuel Sparrow Allan Rosenfeld

CELLOS

John Bartlett

Principal The Governor James G. Martin Chair

Principal The Gary H. & Carolyn M. Bechtel Chair

Acting Assistant Principal

TROMBONES

Terry Maskin

Taylor Marino

Chihiro Tanaka

Associate Principal The Marcus T. Hickman Chair

BASS TROMBONE

CLARINETS

Assistant Principal

Jonathan Kaplan Gabriel Slesinger

Thomas Burge

Acting Principal The Leo B. Driehuys Chair‡ Teil Taliesin†

Alaina Rea*

Principal The Betty J. Livingstone Chair

Erinn Frechette Erica Cice

Benjamin Geller, Principal The Zoe Bunten Merrillt Principal Viola Chair

Alex Wilborn

PICCOLO OBOES

VIOLAS

Acting Assistant Principal

TRUMPETS

Victor Wang

Kathleen Jarrell

Allison Drenkow

HARP

FLUTES

The Wolfgang Roth Chair

The Robert E. Rydel, Jr. Third Horn Chair

Richard Goldfaden Andrew Merideth†

Principal The Dr. Billy Graham Chair

Oliver Kot, Principal

Andrew Fierova Philip Brindise †

Jeffrey Ferdon Luis Primera† Andrea Mumm Trammell

SECOND VIOLINS

Principal The Mr. & Mrs. William H. Van Every Chair

Allan Rosenfeld

Jacob Lipham Principal The Robert Haywood Morrison Chair

PERCUSSION Brice Burton Principal ° Non-revolving position °° Alternates between first and second violins † Acting member of the Charlotte Symphony ‡ Funded by The Symphony Guild of Charlotte, Inc. * On leave

BASSOONS Joseph Merchant Principal

Joshua Hood Nicholas Ritter

The Charlotte Symphony Orchestra is a proud member of the League of American Orchestras.

CONTRABASSOON Nicholas Ritter

This roster lists the full-time members of the Charlotte Symphony. The number and seating of musicians on stage varies depending on the piece being performed.

Enjoy Opera, then relax.

P H I L L I P S P L AC E , C H A R LOT T E

S T R AT F O R D R O A D , W I N S T O N - S A L E M

W I N D S O R -J E W E L E R S . C O M