November 9–15, 2026
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presents
LES SURPRISES DE L’AMOUR A Modern World Premiere Music by Jean-Philippe Rameau Libretto by Pierre-Joseph Bernard Kaye Playhouse at Hunter College November 9, 2026 Folger Shakespeare Library November 13-15, 2026 Opera Lafayette gratefully acknowledges the Folger Shakespeare Library and The Kaye Playhouse at Hunter College for their generous partnership in presenting Les Surprises de l’Amour and launching our Rameau 350 celebration.
OperaLafayette.com Facebook.com/OperaLafayette Instagram: @Opera Lafayette Please silence all cell phones and other electronic devices this performance.
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CREATIVE TEAM Conductor Patrick Dupre Quigley Director Chas Rader-Shieber* Choreographer Isaac Lerner* Scenic and Costume Designer Jimmy Stubbs* Lighting Designer Connie Yun* United Scenic Artists, Local USA 829, IATSE is the union representing Scenic, Costume, Lighting in Live Performance
CAST (In Order of Appearance)
PROLOGUE Madame la Marquise de Pompadour Elizabeth Sutphen* Louis XV, King of France William Townsend (November 9, 13, & 15) * Michael Cole (November 14) * Vulcain Hadleigh Adams* Astrée Emilie Kealani* Le Temps Phillip Lopez* Un Plaisir Kayleigh Sprouse *Opera Lafayette Debut
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ACT I
ACT II
Uranie Elizabeth Sutphen*
Amour Kayleigh Sprouse
Linus Hadleigh Adams*
Adonis Phillip Lopez*
Amour Kayleigh Sprouse
Venus Elizabeth Sutphen* Diane Emilie Kealani*
THE OPERA LAFAYETTE ORCHESTRA Violin 1 Edson Scheid, Concertmasterf Theresa Salomon Elizabeth Field Gesa Kordes
Oboe Margaret Owensf Caroline Giassi Bassoon Anna Marshf
Violin 2 Keats Dieffenbachf Annie Loud Leslie Nero
Flute/Piccolo Stephen Schultz*f Kelsey Burnham
Cello Loretta O’Sullivanf Alexa Haynes-Pilon
Horn/Trumpet Bradley Tatum*f Rachel Nierenberg
Contrabass Will Riley Leef
Percussion Michelle Humphreysf
Harpsichord Leon Shelhasef
f
*Opera Lafayette Debut
Denotes principal chair
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CHORUS Amanda Densmoor* Susan Kavinski, Une Nymphe Charlotte Stewart, Une Autre Nymphe Chuanyuan Liu* David Evans Patrick Kilbride Gilbert Spencer Corbin Phillips
DANCERS Emily Aslin* Alexzander Larson* Cori Lewis* Matthew Spangler*
PRODUCTION TEAM Assistant Director Laura Lassen*
Stage Manager Paige Washington*
Costume Consultant Caroline Tyson*
Assistant Stage Manager Kelleigh Pangratz
Assistant Lighting Designer Ryan Randazzo
Supertitles Operator Elana Bell (NYC) & Nicole Levesque (DC)
Props Coordinator Pam Weiner
*Opera Lafayette Debut
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A NOTE FROM THE ARTISTIC DIRECTOR When the Marquise de Pompadour’s theatrical troupe opened its third season of entertainments at Versailles in 1748, she was only the second most famous person in the room. Louis XV, Bourbon King of France, had an entire private theater built into a grand staircase, designed to be put up and taken down in hours. It included a small orchestra pit, galleries for the King and his guests, and a 30-by30-foot stage, complete with scenery and stage machinery. When assembled, the theater was nestled within the King’s private apartments, Les Petits Appartements, where only select members of the upper reaches of his court were invited. Also in the room were two of France’s most lauded writers for the musical stage: the poet Pierre-Joseph Bernard and France’s then-most commercially successful composer, Jean-Philippe Rameau. Bernard, known for his amorous wit, and Rameau, a theorist-turned-composer at 50, assembled three vignettes cheekily portraying the triumph of Love over war, logic, and religion. Bernard uses textual rhythm and word painting to bring his scenarios vividly to life. Rameau answers him with sound effects, harmonic surprises, and sharply contrasting musical languages, all designed to wow and delight the knowing listener.
Patrick Dupre Quigley Artistic Director
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SYNOPSIS With listening notes from Patrick Dupre Quigley Prologue: The Return of Astrea On the distant island of Lemnos, one-eyed Cyclopes hammer out weapons for war under the command of Vulcan, God of fire. The noise is deafening.1 Suddenly, beautiful, unfamiliar music cuts through the din, bringing the bellicose assembly line to a halt. Astrea, Goddess of Justice and Peace, arrives with her band of Loves, Pleasures, and Games. She has come to put an end to the arms business. The Cyclopes resist, but Astrea disarms them and gives their formidable machinery a rather different purpose: from now on, they will make Cupid’s arrows instead.2 Father Time appears to announce a new age. The clamor of war gives way to music and celebration. War has had its turn. Love will have the last word. Act I: The Enchanted Lyre Linus is a gifted young musician who has spent years in love with Urania. Urania is the Muse of astronomy. Brilliant, rational, and firmly convinced that love is a distraction, she urges Linus toward loftier pursuits and warns him against romantic entanglements. Linus tries to tell her that he is already hopelessly in love with her, but Urania never lets him get far enough to say with whom.3 Linus has reached an impasse with his crush, but Cupid comes to his rescue. If words cannot reach Urania, perhaps music can. Cupid enchants a lyre, hangs it from a tree, and waits. Urania finds it and begins to play. Suddenly, Urania sings an achingly tender outburst of love. The lyre gives voice to desires she has kept safely subordinate to reason. She stops, startled, then plays again. Each time, her resistance weakens. Argument gives way to sensation; composure to longing. Soon Urania hears herself imagining the happiness of a life with Linus and is astonished by her own words. Her carefully ordered universe has developed a rather serious problem. At last Linus returns and reveals the one fact Urania has never understood: she is the woman he has loved all along.
From the first notes of the overture, Rameau lets us know that we are in a factory: in this case, Vulcan’s weapons factory. Jagged, tumbling lines in the violins and upper winds evoke the banging of a metal forge. That banging, briefly interrupted by an elegant minuet, resumes when Vulcan and his Cyclopes sing about their labors. 1
The musical contrast could hardly be clearer: the loud, angular, descending sounds of Vulcan and war give way to the peaceful, rising music of justice (aka Astrea, Goddess of Justice) and pleasure. Listen throughout the opera to the way Rameau uses contrasts of melody, harmony, and orchestral color to define his characters. 2
Here, Linus is lamenting his lot when we encounter a rising melody that recalls the Prologue’s music of justice and pleasure, which foreshadows the arrival of Cupid. 3
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The lyre has done its work. Urania chooses Linus. Reason, at last, gives way to love.4 Act II: Adonis Adonis is a ravishing young hunter with a problem: he has been raised to think love is a terrible idea. Diana, goddess of the hunt and sworn enemy of Cupid, has taught him well. Love means suffering. Love means bondage. Cupid means trouble. Cupid decides to see just how firmly Diana’s lessons have taken hold. Disguised, he seeks out Adonis and begins taking Diana’s case apart. Cupid banters with him about the benefits of love.5 His best argument is Venus. Cupid paints such an enticing picture of her that Adonis, despite himself, begins to reconsider Diana’s curriculum. By the time Venus herself arrives, Cupid has done most of the work.6 All it takes is one glimpse of Venus, and Adonis falls in love. Adonis chooses Venus and love over Diana and the hunt. Diana is furious.7 But when Cupid brings back the thoroughly converted young hunter, even she recognizes defeat. Love wins again.
An oboe leads our romantic lead through a jaunty ariette that supplies the answer to her conundrum between love and reason: “La sagesse est de bien aimer.” Wisdom is to love well, and love fully. Rameau and his audience must have been particularly pleased with this aria. When he refashioned Les Surprises de l’Amour in 1757 for a revival at the Paris Opera, he retained the aria and greatly expanded it. The Mercure de France was impressed, suggesting that “La sagesse est de bien aimer” alone could ensure the success of an entire act. Tonight, though, we hear the original, created for a tiny room and stage built into a staircase at Versailles. 4
The violins reinforce the conversation between Cupid and Adonis. There were no violas in the tiny orchestra of the Petits Appartements, and here each violin plays two notes at once, producing a luminous chord that recalls the string “halo” Bach places around the voice of Jesus in the St. Matthew Passion. 5
A symphony heralds the arrival of Venus. Rameau lets us hear part of it before Cupid and Adonis begin talking over the continuing orchestra: their dialogue becomes a duet without the symphony ever stopping. In 1757, Rameau greatly expanded this passage. Tonight, we hear the wonderfully compressed original. 6
Here, Diana is accompanied by rustic horns and double reeds. These instruments conjure something more pastoral than cosmopolitan, while E major, a key Rameau associated with grandeur and magnificence, gives her music an appropriately godlike stature. The melodic writing is angular: simple chords, sharp gestures, and descending scales recalling the militarism of Vulcan’s cave. As Diana and Venus duke it out to possess Adonis, so, too, do their musical languages. 7
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BIOGRAPHIES Patrick Dupre Quigley is the Artistic Director of Opera Lafayette and the Founder and Artistic Director of Seraphic Fire. An advocate for a more inclusive concert experience, Quigley’s programs regularly span more than 1000 years of musical history. Quigley is widely recognized for his inquisitive and historically grounded approach to 17th- and 18th-century repertoire, shaped by close collaboration with both modern and period-instrument orchestras. Selected orchestral engagements include Bach with the Baltimore Symphony Orchestra; Mozart with the Phoenix Symphony; Ligeti and Monteverdi with the San Francisco Symphony; Purcell and Rameau with Chicago’s Music of the Baroque; Bach’s Orchestral Suites and Violin Concerti with Gil Shaham and the Orchestra of St. Luke’s; Mozart with Ronald Brautigam and the Utah Symphony Orchestra; the Mozart Requiem with The Cleveland Orchestra; Dido and Aeneas at the Spoleto Festival; Handel with the Saint Paul Chamber Orchestra; Mozart and Haydn with Boston Baroque; and Bach and Vivaldi with Philharmonia Baroque Orchestra. Quigley’s work reflects a sustained engagement with overlooked repertories and musical traditions. In collaboration with Givonna Joseph and OperaCréole, he edited, premiered, and recorded the World Premiere of Edmond Dédé’s Morgiane (1887), a French grand opera by an American free composer of color in European exile, and the first known complete, extant opera by a Black American. His work with scholar Honey Meconi resulted in the first complete performance and recording of Hildegard of Bingen’s Ordo Virtutum, restoring the full dramatic scope of the work. Quigley holds an undergraduate degree in Music Theory and History from the University of Notre Dame where he studied with Alexander Blachly and Daniel Stowe. Quigley studied conducting with Marguerite Brooks while earning a Master of Music degree at the Yale School of Music. He
assisted Michael Tilson Thomas at the San Francisco Symphony. Quigley is a native of New Orleans, Louisiana, and currently resides in Washington, DC. Stage Director Chas Rader-Shieber is known both for his bold and inventive productions and acute musical instincts. The 2025-2026 season includes his return to the Academy of Vocal Arts for a new production of Falstaff, and Des Moines Metro Opera’s first-ever presentation of Szymanowski’s King Roger. Chas’ productions have been seen onstage at Lyric Opera of Chicago, San Francisco Opera, Santa Fe Opera, Houston Grand Opera, Washington National Opera, Opera Theatre St. Louis, Boston Lyric Opera, and LA Opera. The previous season featured his North Carolina Opera debut (Le nozze di Figaro), as well as appearances with Des Moines Metro Opera (The Rake’s Progress) and Academy of Vocal Arts (Faust). Other highlights include New Orleans Opera (Le nozze di Figaro); Des Moines Metro Opera (Pelléas et Mélisande, Plateée, Rusalka, Orfeo) and The Curtis Institute of Music (Il barbiere di Siviglia, Ariadne auf Naxos, Die Zauberflöte). Isaac Martin Lerner is a choreographer, dancer, and teacher based in New York City. As a performer, he has performed with Kizuna Dance, The Bang Group, Dual Rivet, and Greyzone Dance. His choreographic work spans operas, plays, and contemporary dance. His concert work has been presented by The Nuvu Festival, Arts on Site, Dance Canvas, and Adelphi University. He has brought
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Ave Theatre), Don Giovanni (The Florentine Opera) and Tosca (Seattle Opera). Her designs have also been seen at Portland Opera, Orpheus PDX, Opera Colorado, New Orleans Opera, Opera Philadelphia, Kentucky Opera, Hawaii Opera Theatre, Palm Beach Opera, Canadian Opera Company, Curtis Institute of Music, Village Theatre, Portland Center Stage, Alliance Theatre, Merrimack Rep, and Seattle Children’s Theatre. Upcoming projects include Peter Pan Goes Wrong (Seattle Rep and Portland Center Stage), And Then There Were None (Village Theatre), Postcard from Morocco (Madison Opera), The Play That Goes Wrong (Arizona Theatre Company), Where the Mountain Meets the Moon, the Musical (Seattle Children’s Theatre), Così Fan Tutte (Opera Colorado), Orphée and The Tales of Hoffmann (Des Moines Metro Opera). Connie is a member of USA829 and a mentor with ETC Fred Foster Mentorship Program. connieyun.com
his choreographic eye to interdisciplinary work with companies such as Des Moines Metro Opera, Western Connecticut State University, and The Curtis Institute. As an educator, Lerner has taught at institutions such as Gibney Dance Center, Steps on Broadway, Henny Jurriëns Studio (NE), Peridance Center, The Hartt School, Middlebury College, and is currently on faculty at Adelphi University. In 2024, he started his company, Working Title Dance Theater, dedicated to creating his own choreographic visions. Jimmy Stubbs (Set and Costume Designer) is a New York City-based designer for theatre, opera, and dance. Recent credits include Henry IV (Theatre for a New Audience), Livia (Flea Theater), King Roger (Des Moines Metro Opera), Rules for Living (Roundhouse Theatre), Wipeout (Studio Theatre), A Funny Thing Happened on the Way to the Forum (Signature Theatre), Pipe Dream (Berkshire Theatre Group), and The Band’s Visit (Huntington Theatre). Associate design credits include Sunset Blvd. and The Hills of California on Broadway, Carmen at the Glyndebourne Festival, and Turandot at Washington National Opera. Jimmy holds an M.F.A. in Set Design from the Yale School of Drama. He is a proud member of USA Local 829. jimmystubbs.com
Equally at home on either the concert or opera stage, The New Yorker described New Zealand baritone Hadleigh Adams as simply “...a tour de force”. As a principal artist on the opera stage, Mr. Adams has amassed a body of work remarkable in its breadth, and his performances are renowned for their intensity. Opera News said of his 2018 performance of Philip Glass’ les Enfants Terrible, performed with Opera Parallèle and under the composer’s supervision, “looking pale, youthful and slightly dazed as Paul, Adams was the evening’s vocal standout, projecting the text with elegant line and idiomatic French, he imbued the character with a sense of unhinged delicacy.” With the San Francisco Opera, he has performed over 85 mainstage performances. He also has the distinction of being the first New Zealander in the company’s history to be named both a Merola artist and an Adler Fellow. In traditional repertoire, Mr. Adams has performed a wide range of characters in a variety of musical styles: Ravel under the baton of Esa Pekka Salonen, Bernstein under Marin Alsop and Michael Tilson
Connie Yun (she/her) is a freelance designer based out of Seattle WA and is delighted to make her design debut at Opera Lafayette. Recent designs include Norma and La Bohème (Madison Opera), Hamlet and An Enemy of the People (Union Arts Center), King Roger and The Rake’s Progress (Des Moines Metro Opera), Mary Jane and The Play That Goes Wrong (Seattle Rep), Elf the Musical (The 5th
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Thomas, Handel under Nicholas McGegan, Puccini under Nicola Luisotti, Mozart under the stage direction of Sir Thomas Allen, Handel under the stage direction of Christopher Alden, and Puccini under the stage direction of Les Miserables director, John Caird. In baroque opera repertoire, he’s performed Rameau’s Castor et Pollux (Pollux), and the title role in Vivaldi’s Bajazet, both for Pinchgut Opera, Sydney, along with Handel’s Agrippina (Claudius) for Opera Omaha.
Grand Opera to sing Zuniga in Carmen and to cover Dulcamara in L’elisir d’amore. He also made his St. Petersburg Opera debut as Escamillo in Carmen, and joined Riverside Theatre as The Commentator in Scalia/ Ginsburg. In the 2025–2026 season, Mr. Lopez portrayed Cesar Chavez in Dolores with West Edge Opera, made his Detroit Opera debut as José Castro in La fanciulla del West, and returned to Wichita Grand Opera as Chino in West Side Story, in addition to reprising the role of The Commentator in Scalia/Ginsburg. He also returned to St. Petersburg Opera to sing Curio and cover Achilla in Giulio Cesare, reprised José Castro in La fanciulla del West with Wichita Grand Opera, joined Odyssey Opera as Abdul in The Last Savage, and made a role debut as Schaunard in La bohème with St. Petersburg Opera. On the concert stage, he made his Carnegie Hall debut as the bass soloist in Vaughan Williams’ Serenade to Music with MidAmerica Productions. Upcoming engagements include singing as Le Temps/ Adonis in the modern premiere of Rameau’s Les Surprises de L’Amour with Opera Lafayette. Mr. Lopez is from Avon, Illinois, and is a graduate of the Yale School of Music. He also holds degrees from Wichita State University and Millikin University.
Acclaimed for her “dazzling, spun sugar” coloratura, Filipino American soprano Emilie Kealani has been featured in past productions with Merola Opera Program, Opera Philadelphia, Staatsoper Stuttgart, The Santa Fe Opera, Glimmerglass Festival, Opera Theatre of Saint Louis, Curtis Opera Theatre and has crossover credits in Candide, Into the Woods, and West Side Story. She has received awards from the Gerda Lissner Foundation, Opera Mississippi JANVC, National Shirley Rabb Winston Scholarship, Schmidt Undergraduate Awards, YoungArts Foundation and won the 2025 Philadelphia district of the Laffont Competition. This season, Kealani will be making her Lyric Opera of Chicago debut in their production of Ariadne auf Naxos. Beyond the stage, Emilie is an advocate for cultural empowerment as the founder of the Kapwa Passion Project, which strives to bring AANHPI artists together, creating spaces for artists to cultivate a shared sense of community and identity through music. She has also worked with Opera Philadelphia as the co-facilitator of Community Voices Choir, an assistant teaching artist with their Residency Program, guest alumna with SFArtsEd and a youth community leader with Horizons Unlimited.
Soprano Kayleigh Sprouse is known for her “attentiongarnering voice” and expressive artistry, “adding delight to...production[s]” (OperaGene). Her recent operatic appearances include the role of First Witch in Spoleto Music Festival’s Dido and Aeneas, Zoe in the premiere of Rabbit Season by Meg Huskin with Tell Tale Opera, Licenza in the modern world premiere of Reutter’s Dafne with Amherst Early Music Festival, Second Woman and First Witch in Opera Lafayette’s Dido and Aeneas, Diana in Cavalli’s La Calisto with Peabody Opera
Described by Opera News as a “resonant bassbaritone,” Phillip Lopez is generating great acclaim in new and established repertoire across the United States. In 2024-2025, Mr. Lopez returned to Florida
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at the Baltimore Theater Project, and the premiere of Tim Holt’s Nobody Is Ever Missing with Mind on Fire at Baltimore’s Voxel Theater. Kayleigh’s work often centers on vocal ensemble performance, where she is well known for her “precise performances” and “stoic tone” (Washington Classical Review). She is a founding member of the Anchorites Ensemble and regularly performs with the Lorelei Ensemble, Dualis Ensemble, and the Emmanuel Choir. This season, she is looking forward to portraying L’Amour (Cupid) in Opera Lafayette’s production of Rameau’s Les Surprises de l’Amour and making her debut with Tenet Vocal Artists in Bach’s St. John Passion. She received her Bachelor of Music in Vocal Performance at Christoper Newport University under Dr. Rachel Holland and her Master of Music in Vocal Performance and Pedagogy at the Peabody Conservatory under Ah Young Hong. She resides in Baltimore, Maryland, where she teaches voice and piano through City Strings & Piano and works as the Administrative Assistant for Bach in Baltimore.
(Salzburger Landestheater, Glyndebourne Festival), Atalanta in Handel’s Xerxes (Detroit Opera), Valencienne in The Merry Widow (Palm Beach Opera), Chrisann Brennan in The (R)evolution of Steve Jobs (Atlanta Opera), Zerbinetta in Ariadne auf Naxos (Théâtre du Capitole de Toulouse, Oper Frankfurt), Faustina in O’Regan/Caird’s The Phoenix and Gilda in Rigoletto (Houston Grand Opera). She is an alumna of The Juilliard School, The Opera Theatre of Saint Louis Young Artist Program, The Internationale Meistersinger Akadamie, and the Solti Accademia. Competition successes include a Career Development Grant from the Sullivan Foundation, 2nd Prize in the Gerda Lissner International Vocal Competition, an Encouragement Award from the George London Foundation, and a semi-finalist at Operalia in Lisbon, Portugal.
“Impressive coloratura soprano” (The New York Times) Elizabeth Sutphen has garnered praise for her sparkling voice and her ability to “soar deftly through stratospheric trills and arpeggios” (Financial Times). Praised as “exquisite” by The Guardian, Ms. Sutphen recently debuted with the Spoleto Festival as the Governess in The Turn of the Screw. In 2025-2026, she joined Opera San Antonio as Rosina in Il barbiere di Siviglia, the St. Louis Symphony Orchestra as Papagena in a concert of Die Zauberflöte, and MidAmerica Productions as the soprano soloist in Fauré’s Requiem at Carnegie Hall. She also sang the role of Shprintse in a workshop of Weiser/Fleischmann’s Tevye’s Daughters with American Lyric Theater. This season, Ms. Sutphen will make her house debut as Zerbinetta in Opera Omaha’s Ariadne auf Naxos, and sing as Urania/Venus in the modern premiere of Les Surprises de l’amour with Opera Lafayette. Ms. Sutphen has sung roles including Sophie in Der Rosenkavalier
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Opera Lafayette is grateful for the support from the following institutions, whose vision and commitment have been instrumental in bringing this performance to life. National Endowment for the Arts DC Commission on the Arts and Humanities Nancy Peery Marriott Foundation Greater Washington Community Foundation Prince Charitable Trusts National Capital Arts and Cultural Affairs Esther Simon 1952 Charitable Trust Margaret Mellon Hitchcock Foundation
Donations Made in Honor and in Memory Ms. Patricia Beaman in honor of Ryan Brown Aloysia Friedmann & Jon Kimura Parker in honor of Ryan Brown Mr. & Mrs. Malcolm Handte in honor of Dorsey & Susan Dunn Alan and Hannah Fisher in honor of Ryan Brown Givonna Joseph in memory of Madgie Paysee Joseph
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Opera Lafayette is deeply grateful to its donors and patrons, whose generous support plays an essential role in sustaining the continued vitality of our organization. The listings below reflect donor contributions for the period July 1, 2025 through October 14, 2026. Underwriter Mr. and Mrs. Ross Ain Dorsey and Susan Dunn Cheryl Gorelick Bill and Cari Gradison / Gradison Foundation Robert V. Jones Stephen E. and Mary Sue Kitchen Dr. Nancy Maruyama Ellen I. McCoy Anonymous (1) Maestro Mr. and Mrs. Frederick Allen Parker Jayne and Thea Austen Susan A. Lynner Lisette Prince Mr. Leonard H. Ralston Drs. Daniel and Susan Thys JoAnn Willis and Charles N. Kahn III Benefactor David C. Frederick and Sophia Lynn Tom Helinski Adrienne Jamieson and Patrick Chamorel Mr. and Mrs. William Maroney Merri Moken Mr. Jeffrey Mora Bonnie Simon Trammell Family Fund David Webb & W. Lynn McLaughlin Anonymous (1) Sustainer Jonathan Brandt Roxanne and Henry Brandt Maureen Dwyer Joan L. Elliston Louis and Marie-Hélène Forget Mr. Richard Johnson Daniel Lozier Lisa and Todd Mion Robert A. Peccola and Patrick Dupre Quigley Bruce Rosenblum and Lori Laitman John C. Wiecking Mr. and Mrs. Alan Wilkinson Anonymous (1)
Patron Mehdi Reza Asef Stephanie Bernheim and Ralph Wharton Ryan Brown and Christine Healey Toni Codinas and Donald Gatlin Ellen Davies Jill Esterman Sheila Ffolliott Bruce A. Garetz Joan Greenberg Voce di Meche Ms. Mary Lynne Martin Timothy Milford and Liza Velazquez Victoria Newhouse Dianne and Chris O’Flinn Drs. Sunita and Ashwani Rajput Bill and Annette Reilly Mark and Helen Rice Jane and Bruce Robert Dr. and Mrs. Thomas P. Sculco Louise Stephaich Carrie Sykes Anonymous (1) Donor Barry Abel Wallace K. Bailey Eric Bash & Brett Tarnutzer Ellen Bonnell Merritt Chesley Mr. John Driscoll Michael Feldman Mr. Christopher C. Forbes and Baroness Astrid von Heyl Dennis Gallagher and Carol Barthel Robert and Catherine Keatley Andrea Knutson Debra Kraft Ms. Carol Marsh Joan E. McFarland Karen A. McLaughlin and Mark Schubin Patrick Metz Frederick Negem Mr. Kenneth Pfaehler Mr. and Mrs. Robert Reischauer Alice Robbins Sybil Silver Matthew Slater and Faith Roessel
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Eileen Tanner Deborah Weinberger Elizabeth A. Witt Supporter Ms. Catherine Armington Jean W. Arnold Avis Bohlen Calleo Marco Cagetti Eve Chauchard Sandra Cummins-Haid Linda DeRamus Matthew Easley Joan Esposito Pauline Farmer-Koppenol James A. Glazier Judith Gray Courtney Hammond Pamela Manice Mrs. Kenneth B. Prouty Mr. Christopher Robey Dr. Robin S. Rothrock Jayme A. Sokolow and Thelma M. Craig Thomas Strikwerda Jason Strudler Baird Webel Wolf Instruments/Thomas and Barbara Wolf Friend Alan Agle Patricia Armstrong Donald Artig Dr. Andrew Austin Ms. Susan Bardenhagen Stephanie Baxter Ms. Patricia Beaman Tony Bellamy Emily Bidinger John Borstel Noel Brennan Jennifer and Derick Brinkerhoff Brigitte Burgett John Burkhalter Beth Callender Sara Caples and Everardo Jefferson Hector Carrero Tori Catton
Joanne Chernow Robin Clarke Ken Cohen & Carol Matteini Renee Colwell William Conrad Marilyn Courtot and Charles Wyman Ms. Katy Curran Cynthia Danza Helene De Aguilar Koster Chenelle Dechamps Ethan Dempsey Mohamed Diakite Robert Diaz Melanie Domres Robert Drake Christiana Drapkin Christian Duvernois Ms. Fynnette Eaton and Mr. James E. Miller Mr. Jason Edwards Jennifer Ellis Elizabeth Ely Brian Feit Ms. Mireille Arnaut Ferhani Alan and Hannah Fisher John Fitzgerald Gustave Fleury Lynne Fortunato Aloysia Friedmann and Jon Kimura Parker Jeffrey F. Friedman Dr. Marilyn Wong Gleysteen Ms. Paula Goldman Mark Goodman Leo Greenbaum John Mark Greiner Margaret Hagen Nicole Halbreiner Rose Mary Romano and Gray Handley Malcolm & Janis Handte Ms. Helen Hanssen Benjamin Harrison Sheridan Harvey Mr. and Mrs. Basil W. Henderson, Jr. Christina Herman Kara Hess Robert Lerner and Pamela J. Hines Paul J. Horowitz & Ruth E. Jaffe Michael Humphreys
Alan Hyde Michael Jaime Judith A. Johnson Paul E. Johnson Judith Johnston Joseph Hanc Givonna Joseph Geoffrey D. Kaiser Lorna Kettaneh Mr. Charles Kitchen Noël Klapper Monika Kosior Karen Krueger Barbara Kulp Vivianne C. Lake Jake Landau Ms. Suzanne Legault Mr. Harris Lehrer Sylvia Leinfelder Marina Li Julia Liebeskind Karen Lightfoot Andrew Lokay Anne MacArthur Dr. Myron Magnet Mr. William Theo Mann Mrs. Francoise Marcus Sara McDougall Cynthia & Michael McKee Heather McPherson Nahma and William Meyers Judith Miller Sara Molinari Mr. Randall Moore Sebastian Moya Ellen Murphy Mr. Gerald Murphy Victoria Newhouse Robert Nightingale Lois C. Padawer and Oscar A. Jaeger Elizabeth Parker Lynn Parseghian Mr. John Percy Gary Peterson Trudy and Gary Peterson Ms. Karen Phillips Daniel Pincus Harold Pskowski
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Miriam Radakovich Mr. Anthony Rayner Allan James Reiter Dragos Roman Paulina Rosenstein Ms. Lois Rosow Jane Ross Mr. Marc Roth J. Brinton Rowdybush Claudia Saunders Julia Savinkina Marilyn Schiff Juliana Schifferes Lisa Schlenker Joanne Schulte Ben Schulz Leo H. Settler and Joel Cuffman Mr. and Mrs. Michael Sherer Robert Sherer Shelley and Bob Sinclair Svetlana Sobkovitch Daniel Starr Shelley and Edward Stewart Mr. Richard Strother Alcione Sturmer Jorge Tagliaferro Joan Tatnall Ms. Kathy Truex Jennifer Tsien Gabrielle Turpaud Andrew Velthaus Ms. Denise Vogt Sara G. Wagschal and Jay M. Elinsky Christine Walquist Ms. Barbara Wayne Gran Wilson Douglas Wonderlic Frances Wood Susan Yamada
ADMINISTRATION Patrick Dupre Quigley, Artistic Director Lisa Mion, Executive Director Kara Hess, Director of Finance and Operations Alexis Aimé, Director of Artistic Administration Emily Bidinger, Development and Communications Manager Nichole Chaney, Production Manager Natalie Kress, Orchestra Personnel Manager and Music Librarian Alexa Haynes-Pilon, Associate Orchestra Personnel Manager and Music Librarian Kendra Rubinfeld, KRPR Mesa Creative Consulting
BOARD OF DIRECTORS Ellen I. McCoy, Co-Chair Daniel Thys, Co-Chair Ross Ain, Vice Chair Adrienne Jamieson, Vice Chair Parker Jayne, Treasurer Pamela Hines, Secretary Annelyse Allen Ryan Brown* Toni Codinas
Dorsey C. Dunn Jill Esterman Cheryl Gorelick Nizam P. Kettaneh Stephen E. Kitchen Susan A. Lynner Merri Moken Ashwani Rajput JoAnn Willis
*Founder and Artistic Director Emeritus
LIFE MEMBERS OF THE BOARD Walter R. Arnheim Marifé Hernandez Yoko Arthur Vivianne C. Lake Joel Brenner Sophia Lynn Catia Z. Chapin
Chris O’Flinn Marie-Hélène Forget Daniel B. Silver** Bill Gradison Joan Simon J. Cari Elliott Gradison Brian Vogel
NEW YORK ADVISORY COMMITTEE
**Deceased
Nizam P. Kettaneh, Chairman Jean-Paul Fouchécourt Annelyse Allen Marifé Hernandez Catia Z. Chapin Vivianne C. Lake
Janet Desforges Anne Mackinnon Francis Dubois Ishtar Méjanès Dorsey C. Dunn
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