Opera Lafayette Reflections - December 2020

Reflections an Opera Lafayette Newsletter Dear Opera Lafayette Friends, At the mercy of fate, plans change, and if we are lucky there is a silver lining to the challenges we face. For my part, I had hoped to spend some time on my family’s ranch in the west after our wonderful and celebratory 25th-anniversary season.

Little did I know COVID would require rescheduling The Blacksmith to the fall here in Colorado. Nor that we would have to plan a new, online 26th season and that the rest of our activities would be held on Zoom, which would enable me to work from the west. It has been a time for reflection, with regards to Opera Lafayette, my own family history, and friends.

FIRST, OPERA LAFAYETTE. What a pleasure to be able to look back at our many recordings and videos from different perspectives – the orchestral musician’s, the dancer’s, and the musicologist’s – as we will do together over the next six months in our online learning series. Re-imagining the world through the lens of opera and listening to the soundscape develop and change in the two hundred years from Jean-Baptiste Lully to Félicien David is something Opera Lafayette musicians and collaborators have been fortunate to experience and appreciate as “insiders,” and we are excited to be able to revisit these works and share our perspectives with you throughout this season.

SECOND, FAMILY. During this time at the ranch, I have had the opportunity of going through six generations of family records and memorabilia. The myth of Hercules cleaning the Augean stables comes to mind, though there are treasures to save as well.

Many of these are from great-great grandparents, who were itinerant photographers and, yes, bear hunters. My great-grandmother was born in Abiquiu, New Mexico, and this era and part of the world are featured in Willa Cather’s Death Comes for the Archbishop, which I am currently reading. The book is based on the life of the French priest who came to northern New Mexico in the second half of the 19th century via Ohio and New Orleans to lead the church in a world of Indigenous peoples, Spanish immigrants, and recent American arrivals. I cannot tell you whether he brought any scores of the French music we play with him, but more on Cather below!

Accelerando Pages 2-4 Opera starts with Oh! Makes Connections Page 5 The Blacksmith Pages 6-12

THIRD, FRIENDS. The last time I was able to spend a memorable fall here in southwest Colorado was when, for my 50th birthday, I took a 3-day horseback trip down the Mancos Canyon onto the Ute Reservation at the south end of Mesa Verde. Mesa Verde is the National Park with the famous cliff house ruins built around the year 1200. My brothers and I were accompanied by another set of three continued on the following page

INSIDE

Annual Fund Pages 13-14 Ryan Brown, Artistic Director

The Brown Brothers: Ryan, Derek, and Keven

continued from the previous page

Opera Lafayette Seeks Fresh Frontiers Written by Sophia Lynn

The Lynn Siblings: Betsy, Andrew, and Sophia Lynn

siblings: Betsy, Andrew, and Sophia Lynn, who along with their parents Kenneth and Valerie had become friends. Since Kenneth had been a professor of American literature at Johns Hopkins, it was not surprising that the family introduced me to the novel by Willa Cather entitled The Professor’s House, part of which is about a young rancher and self-taught archeologist “discovering” Mesa Verde in the late 19th century. Thus, our joint fascination and the two-family trip, after which Andrew gave me a copy of Death Comes for the Archbishop, to continue my exploration of the heritage of the southwest in literature.

Fast forward more than a decade, during which we have had the good fortune to become friends with Sophie’s husband David Frederick as well. We share a love of history with David, and he and Sophie have become major supporters of Opera Lafayette.

They were instrumental in underwriting the first film of our Leonore Project, and last year offered a major challenge grant to allow Opera Lafayette to grow with our strategic plan.

It gives me great pleasure to reflect on these invaluable relationships, and have David and Sophie speak to their interest and support of Opera Lafayette.

Ryan Brown Artistic Director

I first started attending music by the Violins of Lafayette in the 1990s when the ensemble performed in the Salon Doré at the former Corcoran Gallery of Art. The music and venue proved reliably transporting toward joy and relaxation.

One of the most memorable performances

by Opera Lafayette for me was Lully’s Acis et Galatea at the French Embassy in 2000 or David Frederick and Sophia Lynn thereabouts. Jean-Paul Fouchécourt sang flawlessly. The melodic music captivated my heart, and certain choral lyrics urged us all to waste no time maximizing our respective gifts and get busy in love. The sounds of this experience exist only as exquisite memories for this performance was not recorded. The fact that the musical memory remains so vivid still reflects Opera Lafayette’s enduring and special ability to make its productions of old works at once relevant and timeless.

Seeing Opera Lafayette perform Le Roi et le fermier at Versailles in 2012 also was unexpectedly exciting.

The production used the same stage sets from the work’s debut in the same location 250 years prior, and they looked smashingly good! The performers’ energy was palpable. The audience bristled with curiosity and Yulia Van Doren, Dolores Ziegler, and Dominique Labelle in Opera Lafayette’s production of anticipation. The whole Le Roi et le fermier by Monsigny © 2012 Louis Forget ensemble delivered a critically acclaimed performance. The powers that be at Versailles said they would welcome Opera Lafayette again in future years.

In classic form, rather than returning to past scenes of success, the ensemble seeks fresh frontiers for creative engagement between its classic repertoire and modern interpretative methods. Ryan Brown’s hunger to reawaken old themes, stories, and musical narratives by interweaving them with contemporary dance forms, lighting, staging, and deft inclusion of timely issues defines Opera Lafayette’s artistic resilience. This unique company deserves a secure space and more national recognition in the modern American performing arts scene.

Please continue - and consider expanding - your support!

ACCELERANDO

ac·cel·er·an·do (noun) : a gradual increase in tempo In honor of our 25th anniversary, Opera Lafayette launched ACCELERANDO, a campaign to support our strategic vision of becoming the nation’s premier early opera company while remaining rooted in our two home cities: New York and Washington, DC. Our wonderful benefactors David Frederick and Sophia Lynn have provided a strong foundation for this fundraising campaign with a three-season challenge: All “new money” contributed during last season (2019/2020), this season (2020/2021), and the 2021/2022 season will be matched dollar for dollar, up to $100,000 for each season.

Thanks to YOU, our generous donors, Opera Lafayette fully met the challenge for our 25th year.

Throughout this quarter-century journey, you have invested in our mission, encouraging Ryan Brown, Opera Lafayette’s founder and artistic director, to dig deeper into history to rediscover and produce important operatic works lost to time; to go beyond performing concerts to staging full productions, and to sharing these gems with more people by presenting our full season in New York as well as in Washington, DC and creating a growing recorded legacy.

Opera Lafayette’s progression has been gradual, but constant and thoughtful. Currently we are in the midst of a strategic planning process, led by Michael M. Kaiser, which sets out ambitious goals for the years to come. Yet as we envision our future, our implementation will remain measured. Gradually, we will focus on: • Enhancing our production values to match Opera Lafayette’s musical excellence • Blending modern premieres of seminal works with reprisals of hallmark company productions • Engaging diverse early opera singers, instrumentalists, designers, directors, and more, presenting the best of today’s talents and creating a platform for the next generation of artists to explore this genre • Connecting with musicologists and deepening our dedication to scholarly research, contributing to the expansion of the operatic canon • Partnering in such areas as co-productions, strategic residencies, and tours, that enrich Opera Lafayette’s artistry and introduce audiences to rarely performed works • Advancing our technological capacity, insuring innovation and efficiencies on-and off-stage • Widening our audience through highly visible productions, recordings, and internet broadcasts, as well as community programs for families through Opera starts with Oh! and for adults – novices and aficionados through online and in-person events ACCELERANDO’s success depends on your continued support. Together, we can build on Opera Lafayette’s 25 years of distinction with our strategic plan for dynamic programming, a dramatic expansion of our reach, and a strengthened operational capacity. Together, we can ensure that Opera Lafayette continues to create powerful theatrical moments that impact individuals and affect the national landscape of the musical world for years to come.

PATRONS OF ACCELERANDO – YEAR 1 Thanks to your collective generosity, Opera Lafayette reached the $100,000 challenge for our 25th-anniversary season. Below are the names of first-time and returning donors, as well as patrons who increased the amount of their annual gift.

A Anonymous (3) Barry Abel Arthur R. Abright Alan Agle Mr. and Mrs. Ross Ain Mr. and Mrs. Frederick Allen Wilma and Stuart Antman Walter Arnheim and Marsha Rehns Jean W. Arnold Mehdi Reza Asef B Elizabeth Baer Wallace K. Bailey Violet E. Baker Annette Barchat Mr. Richard Beams Mr. Norton Belknap * Peter Bell Stephanie Bernheim and Ralph Wharton Ms. Carole Berglie Virginia M. Bland Christopher Bone Joseph and Carmen Bredie Todd Breitbart Mr. and Mrs. Corrick Brown Derek Brown and Deborah Hellman Laura Brown Ryan Brown and Christine Healey Natalie Burr C Avis Bohlen Calleo and David Calleo Michael and Judith Canning Mr. Hector Carrero Dr. Eve Chauchard Lloyd Chesley Merritt Chesley Mr. and Mrs. Jerald L. Clark Martin and Janet Cohen John M. Cross and Benjamin Diamond Mr. Seán Curran D Mr. Walter Denny and Ms. Alice Robbins Mrs. Bruno Desforges Doris Dixon Mr. John Driscoll Dorsey and Susan Dunn E Joan L. Elliston F Alan and Hannah Fisher John Fitzgerald John and Patricia Forelle Louis and Marie-Hélène Forget David M. Fountain Elisabeth French

G Dennis Gallagher and Carol Barthel Bruce A. Garetz and Anne Eisenberg Karen Gerstbrein Dr. Karen Gilmore Mr. Richard Glass and Dr. Sally Findley Ms. Paula Goldman Mr. and Mrs. Robert Goode Mark Goodman Cheryl Gorelick Gabriel Gorenstein Bill and Cari Gradison John Graziano Mr. and Mrs. Arvind Gupta H Dorothy Haase June Hajjar Mr. Douglas Roy Hamilton Sheridan Harvey Richard Hardy Ms. June Hargrove Louise Healey * Kimberley Heatherington Tom Helinski and Bob Miller Dr. Samuel and Marcia Hellman Mr. and Mrs. Basil W. Henderson, Jr. Marifé Hernandez and Joel Bell Jessica Honigberg Paul J. Horowitz and Ruth E. Jaffe Larry and Ann Hossack Ms. Annie Houston Mr. Michael Humphreys Michelle Humphreys J Adrienne Jamieson and Patrick Chamorel Parker H. Jayne William Guy Jegl Robert V. Jones Margaret C. Jones Mr. Winfield P. Jones Peter Judd K Geoffrey D. Kaiser Mr. John L. Kattler Mr. Thomas Kerst Dr. Walter L. Kirchner Mary Sue Kitchen Stephen E. and Mary Sue Kitchen Noël Klapper Andrea Knutson James Kolb L Mr. and Mrs. Steven Lauterbach Emily Lemer Robert Lerner and Pam Hines

Julia Liebeskind Ronald Lorentzen Daniel Lozier Susan A. Lynner M Dr. Myron Magnet Laverne Mahoney Pamela Manice Mr. William Theo Mann Daniel and Maeva Marcus Ms. Carol Marsh Ms. Wendy A. McCain Donogh McDonald and Susan Kneller Kate McElhenny Michael and Cynthia McKee McMurphy Family Mr. and Mrs. David A. Mead Ishtar Méjanès Timothy Milford and Liza Velazquez Mr. and Mrs. Edward Clark Miller Merri Moken Gregory Moomjy Nancy Morgenstern Mr. Gerald Murphy Kristina Muxfeldt N Benjamin Nathan Brian Naylor Camilla Nilles and Richard J. Metzger O Katherine Offutt Amy Orr Ms. Geraldine Ostrove P Michael Parent Lynn Parseghian Marylyn Pauley Dorothy Prats Elizabeth Prince de Ramel Q Mr. and Mrs. Robert Quinlan R Leonard and Annemarie Ralston Mr. Anthony Rayner Dr. Annette Reilly Mr. and Mrs. Robert Reischauer Emilija Miljkovic Renke Mark and Helen Rice Mary S. Riebold Denise Ringer Harriet Rogers Ms. Joan Rosasco Linda and Duncan Rose Steven Rosenberg

J. Brinton Rowdybush Michael Ryan S Morris Schapiro Robert and Pamela Schmidle Mr. and Mrs. David Schraa Betty and Al Scott Dr. and Mrs. Thomas P. Sculco Yann Siberil Michelle Sikora Daniel and Sybil Silver Mr. Richard Sime Joel and Joan Simon Mr. and Mrs. Robert Sinclair Karen P. Smith Nancy Jo Snider Richard and Athena Tacha Spear Steven Steinbach Edward and Shelley Stewart Donald and Mary Street Jason Strudler Alexander Swindle T Mr. and Mrs. Michael Tanner Bev and David Therkelsen Dr. and Mrs. Daniel M. Thys U Barbara B. Uhlrich V Barbara Van Woerkom Mr. and Mrs. Anthony Viscusi Voce di Meche W Ms. Patricia Waddy Ms. Stefanie Walker Baird Webel Larry Wehr Ms. Deborah Weinberger Cheryl West Douglas Wheeler Robin White and Nat Breed Alan and Cynthia Wilkinson JoAnn Willis and Charles N. Kahn III Elizabeth A. Witt Wolf Instruments/ Thomas and Barbara Wolf Edith C. Wolff Y Susan Yamada Irving and Carol Yoskowitz * deceased

Making Connections with Learning and Loved Ones “Hello Olivia!

“Hi Louisa and Julian!

“Penny, I see your name on the screen, but I don’t see you.

Where are you?

“I see a beautiful girl with the screen name Scott’s Ipad.

Is your name Scott?

“Welcome everyone to Opera starts with Oh! Can anyone tell me what opera is?”

Little arms wildly gesticulate, trying to capture Emma Jaster’s attention.

“Sylvan, please unmute yourself, and tell us what opera is.”

“Opera is singing and dancing to tell a story.”

So, begins Opera starts with Oh! Online Wednesdays at 1:00 p.m. and 4:00 p.m. EST. Created before the pandemic, Opera starts with Oh!, led by creative consultant and lead teaching artist Emma and Ersian François, Opera Lafayette’s artist services and community engagement manager, quickly adapted the format to weekly 40-minute Zoom sessions. Since June, families have learned the opera stories of Vivaldi’s Catone in Utica, Rameau’s Les Fêtes de l’Hymen et de l’Amour, ou Les Dieux d’Égypte, Blow’s Venus and Adonis, and Philidor’s The Blacksmith, among others.

Children have vocalized with sopranos, mezzo-sopranos, tenors, baritones, and more recently, Daniel Moody, a countertenor. The online group has learned about several of opera’s visual elements, including props and lighting. They have danced with members of Seán Curran’s Dance Company, Kalanidhi Dance, Tamrin Goldberg and Matthew Ting of the New York Baroque Dance Company, as well as Emma, herself a dancer/choreographer. And the kids have learned about many different string instruments such as violin, lute, theorbo, viola da gamba, and guitar, the latter used in The Blacksmith. Most recently, the groups took a virtual tour inside an organ, courtesy of Julie Huang.

Emma and Ersian strive to create connections. Connections with the participants, the curricula, and opera. They do this by using auditory, visual, and kinesthetic activities and by building online relationships with the children and families. From the beginning of each session, the two “E”s establish bonds across the screen and enforce the children’s understanding of what opera is.

Top L-R: Emma Jaster; children dancing; and Motomi Igarashi holding a viola da gamba. Lower L-R: Dancer Ramya Durvasula; baritone Quentin Oliver Lee; and Ersian François.

They endeavor to connect the specialties of opera to each child’s work. Pam Weiner, a prop master, told them in one session: “Props are items movers would take if you were moving to a new house, and sets are those items that would remain behind. Who can show me a prop in your house?” Children point to the couch they are standing next to, or the stuffed animal they are holding. “Now, show me something in your house that is a set piece – something that would stay if you moved to a new house?” Children run to touch windows and walls.

Emma and Ersian also celebrate when children share personal connections to the lessons. “I know a lot about mythology,” offers one boy during a session on Orpheus and Euridice. “I think I want to learn how to play the violin,” says a girl as the session featuring Opera Lafayette violinist Leslie Nero concludes. “Look at the picture I drew of The Blacksmith,” shared a boy at the beginning of a class about the previous session.

Doug Balliett’s bass is covered in burlap for protection from the elements. Photo by Raine Bode.

As possible, they connect sessions to Opera Lafayette’s online performances.

Following the opening stream of The Blacksmith, a mother of two, emailed Opera Lafayette: “Two Opera starts with Oh! participants (ages 7 and 4) really loved the production!! It was great that we had heard a preview of the music from you last week. They noticed that the bass seemed to be wrapped with burlap and wanted to know more about that. We also wondered how the donkey and horse were to work with. Thank you!”

One of the unforeseen connections that has happened organically is the bringing together of families during the pandemic.

“Maggie, I see your hand raised. Please unmute,” invites Emma.

“I think my cousins love this class.”

“Are your cousins here today?”

“Yes, there they are!” She points, as her cousins wave their hands. continued on page 14

Pictures from Mancos

Photos by Kara Hess.

While you have likely read and heard a lot about Opera Lafayette’s performances of Philidor’s Le Maréchal ferrant (The Blacksmith), you probably do not know much about the history of this work. It was first performed on August 22, 1761 by the French troupe of the ComedieItalienne, then before King Louis XV and Madame de Pompadour at the castle of Fontainebleau on Nov. 3, 1762. One of Philidor’s most popular works, Le Maréchal ferrant was performed throughout Europe for three decades, including performances in St. Petersburg in 1764, where it was the first French opera performed in Russia. During this time, the work was translated into Danish, Swedish, Polish, and Russian.

It was translated into English and performed in Boston, Massachusetts on March 25, 1793, and it was last revived in Paris on November 20, 1920. Fast forward 100 years, and you found Opera Lafayette in southwestern Colorado performing the modern premiere of The Blacksmith.

Hopefully, you have already seen the online stream of The Blacksmith. If not, you will find on demand access to this production on our website for only $20/device.

Highlights of this production and the residency are as follows: • The company’s first updated production (from 1790 France to 1890 America West), and our first opera fully translated into the vernacular (from French into Cowboy English) • American folk songs from the Alan Lomax Collection are interspersed throughout the work as opéra comique used to integrate vaudeville songs • It is orchestrated for a Western-style band This production in Mancos was a community affair. The original plan was that Opera Lafayette’s performances would open the newlyrenovated Mancos Opera House. Instead, the opera house provided a rehearsal venue, where community members could gather at the end of the day to watch the rehearsal process… appropriately distanced, of course.

• Volunteers provided food for the ensemble, and the artistic team were hosted in the homes of several locals.

• The performances involved community musicians, and local children participated in a special dress rehearsal performance.

• Opera Lafayette made a trip to the nearby elementary school for an outreach performance.

• The performances benefitted the Mancos Creative District and the Mancos Cattlemen’s Association.

Enjoy reviews from critics and audience members, as well as pictures from the making of The Blacksmith, an ambitious process made even more so, with the presence of COVID. Photos by Paul Boyer (Durango, CO) except where noted.

On September 16, Ryan Brown rehearsed with local musicians Lynne Lewis , Marilyn Kroeker, Andrew Saletta, Nick Lawrence, Alice Gausch, and Ericka Alvero in front of the barn. Photo by Lisa Mion.

The pandemic required that the performances be moved to the Menefee Barn and Blacksmith Shop on the Reddert Ranch.

The production team met in Mancos during the summer to rework sets. Here are set designer Lisa Schlenker working with Todd Mion. Photo

by Lisa Mion.

Rehearsals Ryan Brown rehearsing.

Among the last to drive across country were Opera Lafayette staff Kara Hess and Ersian François. Photo by Diana Hossack.

The first musical rehearsal took place on the Reddert Ranch outside of the cabin. Clockwise: Pascale Beaudin (in white), Dominique Côte, Joshua Conyers, Frank Kelley, Arnold Livingston Geis, Emilie Faiella, Adam Gardino, and Ryan Brown.

Emilie Faiella, Arnold Livingston Geis, Dominique Côte, Joshua Conyers, Pascale Beaudin, and Frank Kelley rehearse.

Adam Gardino and Doug Balliett. Photo by Kara Hess.

Meanwhile, a stage is being built by Jim Merrill and Raymond Rose in front of the barn and two flat-bed trucks.

Photo by Lisa Mion.

Originally, the venue for performances of The Blacksmith, Mancos Opera House, newlyrenovated, became the location for staging rehearsals. See the anvil? This was courtesy of Steve Williams, The Cowboy Forge.

Nick Olcott directed remotely from his Washington, DC home with the help of Assistant Director Lisa Mion, a computer, and WiFi. That’s stage manager Raine Bode in the background. Photo by Lisa Mion.

Artists from The Blacksmith meet in front of the Mancos Performing Arts Center to rehearse with third- and fourth-graders, who will be accompanying some of the American folk songs on xylophones and ukeleles in an open dress rehearsal.

Dominique Côté and Ryan Brown review their sco backstage in the barn. Photo by Raine Bode.

A day off for the artists is spent at Mesa Verde. Emilie Faiella, Pascale Beaudin, Adam Gardino, Arnold Livingston Geis, and Dominique Côté. Photo by Dominique Côté.

Ersian François and Lisa Mion move bales of hay to create a theater in the meadow.

The artists rehearse on the stage for the first time. Sarah Shafer, Arnold Livingston Geis, and Dominique Côté.

Dominique Côté and Ryan Brown review their scores backstage in the barn. Photo by Raine Bode.

The house is ready to open.

A dress rehearsal open to families features students from the Mancos School District, led by music teacher Andrew Saletta, including high school musicians.

Ersian François stops by each artist’s trailer to take temperatures. Photo by Kara Hess.

Will Akin among the children and families attending the dress rehearsal.

Dominique Côte wishes the horse and donkey good luck.

Photo by Veryl Goodnight.

Pascale Beaudin outside her trailer.

Backstage Lisa Mion waters the meadow so dust does not bother the artists.

Frank Kelley and Joshua Conyers hang out before places are called.

Emilie Faella, Ersian François, Kara Hess, and Marsha LeBouef, costume designer. Photo by Emilie Faella.

Volunteers guide cars to parking spaces as the audience arrives.

The audience is shown to their bales of hay by volunteers.

The community band get in place. L-R: Andrew Saletta; Nick Lawrence; Marilyn Kroeker (back row); Alice Gausch; Lynne Lewis (back row); and Ericka Alvero.

ores

Cody (Arnold Livingston Geis), Marcel (Dominique Côté), and Eustis (Joshua Conyers)

Performances Hand-sanitizer stations are available for artists and audience.

The western-style band, featuring Doug Balliett, Ryan Brown, and Adam Gardino, begin the show.

Jeannie (Sarah Shafer) sings of love.

Joshua Conyers performs the role of Eustis.

Frank Kelley (as Slim MacBride) helps the audience with the lyrics to one of the sing-alongs.

Finale. Sarah Shafer (Jeannie), Arnold Livingston Geis (Cody), Dominique Côte (Marcel), Joshua Conyers (Eustis), Frank Kelley (Slim MacBride), and Pascale Beaudin (Claudine).

Virtual Applause BELOW IS AN EXCERPTED DESCRIPTION OF SCOTT THYBONY’S EXPERIENCE ATTENDING ONE OF THE LIVE PERFORMANCES OF THE BLACKSMITH “We caravanned with Allen and Linda Farnsworth along a road between the forks of the Mancos River.

Pulling into a hayfield, I followed the signals of a volunteer directing me to a parking space.

We grabbed warm layers and took binoculars for use as opera glasses.

Following the cowpies to a socially distanced hay bale, we set up our chairs…

Ranch hands had set up chairs on a flatbed truck in the rear, creating a cowboy version of an opera box seat…

The crowd arrived from all points and appeared to include the types of people we might know – river runners and rangers, environmentalists and archeologists, and ranchers…

[Ryan] Brown knew his audience, and to open the event had the guitarist give a blessing.

He also warned about the possibility of cows wandering in and joining us.

Being an experiment, combining opera with musical theater, the performance had an edge to it.

I am not sure if it worked as pure opera, but whatever it ended up being was entertaining…

The opera reached its finale, timed to match the sun reaching the western horizon.

At that moment the warm, low-angle light illuminated the actors with the best stage lighting possible and struck the mountains ranging beyond.”

More Feedback from Mancos “We had so much fun and loved the venue! Great entertainers!

Such a privilege to see a professional troupe right here in little ol’ Mancos!”

– Terri H. “Last night’s performance was fantastic! The opera company seemed to sense the importance of this little valley and its history, which made it very connected. Deciding to have it at the Reddert Ranch was brilliant.

I love the opera house, but this particular opera was intended for the exact place it was produced.

Thank you to all who worked in any way to bring this to our little valley!”

– Pam C.

MEDIA REVIEWS OF THE BLACKSMITH ONLINE “Three fine professional instrumentalists— Doug Balliett (contrabass), Adam Gardino (guitar) and Ryan Brown (violin)—accompanied the adapted score, with community musicians joining in the interpolated numbers… This unique staging and musical treatment got cleverly restyled for the Plains, circa 1900.

This treatment might raise eyebrows in Versailles, but it made for a diverting and tuneful ninety minutes…

The audience whooped with delight at the show’s bravura finale.”

— David Shengold, Opera News “You have never seen anything quite like this from Opera Lafayette, or from anyone really…

Pleasing toe-tapping music, an entertaining story with some fun surprises along the way, and at times is laugh out loud funny... A pleasant evening’s entertainment for the whole family.”

– Mike Rogers, OperaGene “The Blacksmith demonstrates opera’s power to bind and heal…

The quality of the music and performance was what I tend to expect from [Nicholas] Olcott and Brown: superb.”

– Whitney M. Fishburn, DC Metro Theater Arts “A witty adaptation and direction; a remarkably adept cast of acting singers on a makeshift stage; a professional violin-guitar-contrabass trio, with a few local musicians joining them for the traditional Americana; and a curious, attentive audience perched on bales of hay, all in strict accordance with the local COVID guidelines— these were the ingredients that coalesced so happily in Opera Lafayette’s Blacksmith...

Plaudits, too, to the musicians, led by Brown on violin; to Lisa Schlenker (sets), and Marsha LeBoeuf (costumes) for their wholly authentic-looking designs; and to the video and audio technicians who captured the proceedings so vividly... When the performance ended there was no mistaking or misinterpreting [the audience’s] clapping and cheers. I was a little envious of them, of their being there; but even at a virtual remove this Blacksmith delivered ninety welcome minutes of charm and cheer.”

– Patrick Dillon, Opera Canada

FEEDBACK FROM ONLINE VIEWERS “I can’t begin to explain how much today’s performance touched and thrilled me. Not only was it performed in a stunningly beautiful setting that you have shared with us in prior years, but it brought back so many childhood memories: learning to play those folk songs on my Dad’s harmonica; sitting on the grass in the Pioneer Park Amphitheater in Lincoln, NE listening to my Dad play in the orchestra for Oklahoma; and attending my very first opera with Beverly Sills as Aida at the Central City Opera House when I was fourteen.

“But the best part of The Blacksmith was the way it tied together all those childhood memories of music and community with the superb professional voices and acting of the cast in a seamless orchestration of classic opera and familiar folk songs.

I had thought it might only appeal to westerners like me, but I am amazed at how many of our European friends texted [us] right after the performance to rave about the production. The Glyndebourne crowd was enthralled.

But so were all my college roommates from Denver...they loved singing along with the songs they had learned at camp…

“Congratulations to you, Ryan, and Nick...for persisting with a great idea in the midst of COVID... and succeeding in introducing it at a time when it brought such joy to isolated, homebound people around the country and the globe!”

– Mary Sue K., a viewer from Virginia “We have just downloaded and watched — with great enjoyment, your production of The Blacksmith — just the tonic for all of us stuck in the midst of this endless pandemic.

We even managed to mouth the words (I won’t say “sang”) of some of the songs.

Thank you so much for your help in getting this charming piece across the border for us.”

– Viewers from Toronto, Ontario, Canada “What a heroic, wonderful – and fun – production. Watching and listening to it, I was amused by the intermingling of American folk with French Baroque and how well Opera Lafayette pulled it off.

It was music-theater, can-do and community spirit at its best. In its way, a totally new genre that will surely open new doors for new audiences. I loved the upbeat post-performance discussion with the cast and production team.

I found the spirit behind the making of the production so refreshing. No whining about what’s not possible in the current situation, just an upbeat, yes, we can make this happen, dust, cow patties, and all.

Recorded will never replace live, but I am grateful to Opera Lafayette for taking on this heroic effort…

Cheers to ingenuity of the live arts, long may they live.”

– A viewer from New York State “Absolutely wonderful. A delight of creativity coupled with remarkable technical rigor.

Nick Olcott did a superb job of translating and directing the production, managing to convey ‘à la perfection’ the spirit of the light, humorous 18th century while transplanting it to the American West.

All the singers were simply outstanding not just in their singing, but also in their first-class acting…

To me this is Opera Lafayette at its very best, reviving forgotten gems of the past, and making them accessible and desirable for the audiences of the future. Dear Ryan, you achieved the tour de force of rising above the pervasive COVID morosity and reenergizing us with an enchanting, vibrant performance.

And all the marvelous cast played that card with brio, humor, and yes, courage, in the current circumstances.”

– Annelyse A., a viewer from Vermont “It is full of humor, gay, and very lively, and I salute the performance of the artists who were able to sing alternating English and French. Awesome. Bravo for having succeeded in this enterprise given the present complicated circumstances! I have just had a wonderful time. I recognized the American folk tunes.

They are very popular, and I thought it an excellent idea especially if Americans do not know French folk tunes.”

– Tania B., a viewer from Fountainbleau, France

ANNUAL FUND DONORS Opera Lafayette is grateful to each individual and institution that invests in our mission annually. Your support is the lifeblood of the organization. The individual listings below reflect the highest level of giving for either: total gifts (including tax-deductible portion of benefit tickets) for our 25th-season (July 1, 2019 – June 30, 2020); or total donations received as of December 1, 2020 in support of our current season (July 1, 2020 – June 30, 20).

Leader’s Circle Anonymous David Frederick and Sophia Lynn Benefactor’s Circle Mr. and Mrs. Ross Ain Walter Arnheim and Marsha Rehns Dorsey and Susan Dunn Cheryl Gorelick Marifé Hernandez and Joel Bell Mary Sue Kitchen Stephen E. and Mary Sue Kitchen Heather Mac Donald and Erich Eichman Ishtar Méjanès Elizabeth Prince de Ramel Leonard and Annemarie Ralston Bruce Rosenblum and Lori Laitman Daniel and Sybil Silver Trustee’s Circle Ryan Brown and Christine Healey Mrs. Bruno Desforges Bill and Cari Gradison Adrienne Jamieson and Patrick Chamorel Robert V. Jones Valerie Lynn Susan A. Lynner Dianne and Chris O’Flinn JoAnn Willis and Charles N. Kahn III Sustainer’s Circle Mr. and Mrs. Frederick Allen Mr. and Mrs. Jerald L. Clark John and Patricia Forelle Louis and Marie-Hélène Forget Tom Helinski and Bob Miller Mr. and Mrs. Richard Johnson Mr. and Mrs. Robert Quinlan Michelle Sikora Mr. and Mrs. Thomas Stanley Mr. and Mrs. Anthony Viscusi Alan and Cynthia Wilkinson Patron’s Circle Alan Agle Mehdi Reza Asef Stephanie Bernheim and Ralph Wharton Christopher Bone Joel Brenner and Victoria Pope Derek Brown and Deborah Hellman Mr. and Mrs. Donald Champagne Joan L. Elliston Elisabeth French Dennis Gallagher and Carol Barthel Susan Ginsburg Dr. Samuel and Marcia Hellman

Larry and Ann Hossack Parker H. Jayne Thomas G. MacCracken Pamela Manice Mr. and Mrs. William Maroney Karen A. McLaughlin and Mark Schubin McMurphy Family Merri Moken Jeffrey Mora and Wendy Fuller-Mora Naomi W. Reddert Dr. Annette Reilly Mark and Helen Rice Jane M. Robert Betty and Al Scott Joel and Joan Simon Nancy Jo Snider Dr. and Mrs. Thomas P. Sculco Dr. Janet M. Storella and Mr. Andrew T. Karron Mr. and Mrs. Michael Tanner Voce di Meche JoAnn Willis and Charles N. Kahn III Donor’s Circle Barry Abel Mr. and Mrs. Corrick Brown Merritt Chesley Mrs. Bradley Collins Mr. Walter Denny and Ms. Alice Robbins Francis Dubois and Paul Jesselsohn Bruce A. Garetz and Anne Eisenberg Dorothy Haase Louise Healey * William Guy Jegl Elizabeth Lewis and David Abernethy Ingrid Meyer Catherine S. Michaelson Stephen Parahus Mr. and Mrs. Kenneth B. Prouty Mr. and Mrs. Clark Silcox Dr. and Mrs. Daniel M. Thys Irving and Carol Yoskowitz Supporter Anonymous (3) Arthur R. Abright Wilma and Stuart Antman Ms. Catherine Armington Jean W. Arnold Wallace K. Bailey Violet E. Baker Mr. Richard Beams Mr. Norton Belknap * Virginia M. Bland Natalie Burr Betty M. Byrne Avis Bohlen Calleo and David Calleo Michael and Judith Canning

Dr. Eve Chauchard John M. Cross and Benjamin Diamond Mr. Seán Curran Linda DeRamus Mr. John Driscoll Ms. Fynnette Eaton and Mr. James E. Miller Alan and Hannah Fisher Ms. Polly Fisher David M. Fountain Karen Gerstbrein Dr. Karen Gilmore Good Works Gift Fund Mr. and Mrs. Robert Goode Gabriel Gorenstein John Graziano Mr. and Mrs. Arvind Gupta June Hajjar Mr. Douglas Roy Hamilton Spencer Harper III Rebecca M. Harris-Warrick Sheridan Harvey Marianne Haug and Andrés Rigo Kimberley Heatherington Jessica Honigberg Ms. Annie Houston John and Shizue Howe Deirdre Howley Paul E. Johnson John Jernigan Margaret C. Jones Mr. Winfield P. Jones Mr. and Mrs. Mike Kadish Geoffrey D. Kaiser Mr. John L. Kattler Dr. Stephen G. Kent Joseph P. Kerr Mr. Thomas Kerst Lorna Kettaneh Dr. Walter L. Kirchner Andrea Knutson James Kolb Sandra Kolb Vivianne C. Lake Mr. and Mrs. Steven Lauterbach Emily Lemer Robert Lerner and Pam Hines Julia Liebeskind Mr. and Mrs. Etienne Linard Mr. and Mrs. John Lipsky Dr. Myron Magnet Mr. William Theo Mann Daniel and Maeva Marcus Ms. Wendy A. McCain Donogh McDonald and Susan Kneller Joan McFarland Michael and Cynthia McKee Mr. and Mrs. David A. Mead

Timothy Milford and Liza Velazquez Mr. and Mrs. Edward Clark Miller Nancy Morgenstern Kristina Muxfeldt Brian Naylor Network for Good Camilla Nilles and Richard J. Metzger Katherine Offutt Nancy O’Hara Lynn Parseghian Marylyn Pauley Mr. John Percy Martha Perry Gary and Trudy Peterson Thomas Pulling Mr. and Mrs. Robert Reischauer Mary S. Riebold Denise Ringer Harriet Rogers J. Brinton Rowdybush Michael Ryan Robert and Pamela Schmidle Mr. and Mrs. David Schraa Leo H. Settler and Joel Cuffman Anne Shine Mr. Richard Sime Mr. and Mrs. Robert Sinclair Matthew Slater and Faith Roessel Karen P. Smith Richard and Athena Tacha Spear Donald and Mary Street Jason Strudler Barbara Van Woerkom Ms. Stefanie Walker Baird Webel Ms. Deborah Weinberger Judith Weintraub Douglas Wheeler Patricia Winston Robin White and Nat Breed Elizabeth A. Witt Wolf Instruments/ Thomas and Barbara Wolf Edith C. Wolff Susan Yamada Friend Elizabeth Baer Annette Barchat Peter Bell Ms. Carole Berglie Joseph and Carmen Bredie Todd Breitbart Laura Brown Marco Cagetti Mr. Hector Carrero Lloyd Chesley

Martin and Janet Cohen Doris Dixon Thomas D. Dunn John Fitzgerald Mary Fraker Lis Froding Mr. Richard Glass and Dr. Sally Findley Marilyn Wong Gleysteen Michael L. Godec and Suzanne Wells Ms. Paula Goldman Mark Goodman Carol Greer John Mark Greiner Richard Hardy Ms. June Hargrove Mr. and Mrs. Basil W. Henderson, Jr. Paul J. Horowitz and Ruth E. Jaffe Mr. Michael Humphreys Michelle Humphreys Raymond Honeycutt Peter Judd Gale D. Kaufmann

Noël Klapper Robert LaPorte Elisabeth Lopez Ronald Lorentzen Daniel Lozier Laverne Mahoney Ms. Carol Marsh Helen McConnell Kate McElhenny Gregory Moomjy Doris Mucci Mr. Gerald Murphy Benjamin Nathan Nick Olcott Amy Orr Steve Osborn Ms. Geraldine Ostrove Michael Parent Dorothy Prats Mr. Anthony Rayner Emilija Miljkovic Renke Ms. Joan Rosasco Linda and Duncan Rose Steven Rosenberg Morris Schapiro Steven Steinbach

Edward and Shelley Stewart Yann Siberil Alexander Swindle Waights M. Taylor, Jr. and Liz Martin Bev and David Therkelsen Barbara B. Uhlrich Ms. Patricia Waddy Sara G. Wagschal and Jay M. Elinsky Larry Wehr Donna Welensky Cheryl West George Gran Wilson Carolyn Winter Louisa Woodville

The following individuals dedicated at least a portion of their contributions: In Honor Of Andrew Appel from Doris Mucci Catia Chapin from Mrs. Bradley Collins and Thomas Pulling

Anne-Marie and Charles Daris from Douglas Wheeler Susan Lynner from Lynn Parseghian Chris O’Flinn’s leadership in the arts and Opera Lafayette’s 25th anniversary from Christopher Bone The whole team involved in presenting the opera in Colorado from Michelle Sikora In Memory Of Louise Healey from Walter Arnheim and Marsha Rehns, Natalie Burr, Mr. and Mrs. Robert Goode, Cheryl Gorelick, Laverne Mahoney, Denise Ringer, Daniel and Sybil Silver, Bev and David Therkelsen, Barbara B. Uhrich, Cheryl West, and Irving and Carol Yoskowitz Patrick Michael McMurphy from the McMurphy Family * deceased

INSTITUTIONAL SUPPORT Opera Lafayette is grateful to the following organizations, foundations, and government agencies, which are dedicated to improving our lives through access to the arts. The support of these partner institutions is critical to bringing Opera Lafayette performances to the stages of Washington, DC and New York City, as well as on our CD and DVD recordings. The institutional listings below reflect gifts made in support of our 25th-anniversary season.

The Arthur and Alice E. Adams Charitable Foundation Bloomberg Philanthropies The Capitol Hill Community Foundation DC Commission on the Arts and Humanities The Nancy Peery Marriott Foundation National Endowment for the Arts Opera America Prince Charitable Trusts Rea Charitable Trust

continued from page 5 “Welcome cousins of Maggie. We are so glad to have you!”

Susan Lynner, an Opera Lafayette Board member, coordinated with her niece a day to attend Opera starts with Oh! with Susan’s two great-nephews who live in Seattle. “I miss them terribly, so this was a fun way to ‘do’ something with them.”

On a day that has become particularly meaningful, a Floridian grandfather wrote

Matching Gifts Bank of America ExxonMobil IBM Morgan Stanley The Prudential Foundation

to Ersian: “I live in Panama City Beach, FL. And my four grandchildren (5, 3, 1 and 1) live in the Kansas City Metro area. We only recently moved here, and I desperately miss those four faces and four intelligent minds. I thought your programming might fit a need, mine, and theirs. IT DID.” We were saddened to learn that this grandfather recently passed away, but so grateful that Opera starts with Oh! was able to connect this family, not only to opera, but to each other.

If you have children in your life – near or far – try Opera starts with Oh! in the new year. January offers four sessions which are focused on Beethoven’s Leonore. Participants will learn the story of a courageous woman who rescues her wrongly imprisoned husband – a story that has inspired at least two composers to write an opera. You will hear a tenor and become familiar with trumpets and the differences between an original horn and those used today. Plus, you could connect with friends and family – old and new.

Ryan Brown, Artistic Director

LIVE and ONLINE 2020/2021 The Blacksmith On Demand - $20/device

“Pleasing toe-tapping music, an entertaining story with some fun surprises along the way, and at times laugh out loud funny,” wrote one critic of Opera Lafayette’s The Blacksmith. Recapturing the humor and immediacy of the Philidor’s 1761 original opéra comique, this adaptation is set in the late 19thcentury American West, staged in SW Colorado on a ranch in front of an historic barn and blacksmith shop, and performed for audiences socially distanced by bales of hay.

Cowboy English, sing-alongs, guitars, banjos, harmonicas, plus, a horse and donkey are just some things you don’t typically experience when attending an opera, but you will in this one! Don’t wait for the live performances scheduled for New York and Washington, DC.

Leonore on DVD – Exclusive Online Screening Available Opera Lafayette’s recent production of Beethoven’s Leonore is among the 2021 releases on the Naxos label. The composer’s first version (1805) of his opera Fidelio, this recording features a reimagining of Florestan’s third-act aria – not heard since this version’s premiere. The company commissioned musicologist Will Crutchfield to recreate this aria based on Beethoven’s sketchbooks.

This marks the culmination of the company’s Leonore Project, which began in 2017 with the modern premiere of Gaveaux’s Léonore, ou L’Amour conjugal (1798), a prefiguration of Beethoven’s masterpiece.

Photo credits: Sarah Shafer and Arnold Livingston Geis in The Blacksmith (© Paul Boyer, Durango, CO) Caitlin Hulcup (© Robert Catto); Thomas Dunford (© Julien Benham) Ryan Brown and The Opera Lafayette Orchestra (© 2011 Louis Forget)

Sunday Serenades: Recitals from Around the World $15/recital

Salon Series: Online Learning Opportunities - $10/session Gather online with fellow life-long learners on Thursdays at 5:30 p.m.

(EST) to converse with experts on topics fundamental to Opera Lafayette’s mission, such as:

Sunday, January 31, 2021, 2:00pm (EST) Caitlin Hulcup, mezzo-soprano, and Thomas Dunford, lutenist, perform a program devoted to Henry Purcell

Sunday, February 28, 2021, 2:00pm (EST) Jonathan Woody, bass-baritone, Reginald Mobley, countertenor, and friends perform From Lamentation to Liberation, a program of 17th-century Italian repertoire plus the company’s first performance of a 21st-century work: Nigra Sum Sed Formosa: A Fantasia on Microaggressions, which combines a contemporary topic with the aesthetics of an early motet

Sunday, March 28, 2021, 2:00pm (EST) Laetitia Grimaldi, soprano, Stephanie Houtzeel, mezzo-soprano, Ammiel Bushakevitz, pianist, and Charles Brink, flutist, showcase French Baroque and its influence on Romanticism in France

• An exploration of period instruments in Overtures featuring principal players in The Opera Lafayette Orchestra (6 session series starts January 7, 2021) • In Opera and Dance, discover the role that dance plays in French baroque opera by engaging with the artistic leadership of three frequent Opera Lafayette partners: Kalanidhi Dance, The New York Modern Baroque Company, and The Seán Curran Company (3 session series starts March 4, 2021) • Ryan Brown welcomes musicologists to reveal the company’s process of recreating and preserving works not yet heard by contemporary ears in From Score to Modern Premiere, focusing on specific projects among the company’s twelve modern premieres.

(3 session series starts May 6, 2021)

For more information and to purchase online access, visit OperaLafayette.org.

Ryan Brown, Artistic Director

□ Yes! I/We would like to make a gift to Opera Lafayette’s Annual Fund.

□ $50

□ $250

□ $500

□ $1,000

□ Other $________________________________

In addition, a matching gift will be made by: ___________________________________________________________________ Name: _____________________________________________________________________________________________ Address: ___________________________________________________________________________________________ City: __________________________________________ State: _______________ Zip: _____________________________ Phone: ____________________________________________________________________________________________ Email: _____________________________________________________________________________________________ Payment Options □ Enclosed is my check payable to Opera Lafayette □ Please charge my gift of $________________________ to my: □ Visa

□ MasterCard

□ Discover

□ American Express

Card Number: _________________________________________________________________________________ Expiration Date: _______________________________________________ CVV#: ____________________________ Signature: ___________________________________________________ Date: ____________________________ Acknowledgement In printed acknowledgements, please list me/us as: _____________________________________________________________ □ Please list this gift as anonymous. □ This gift is a tribute

In honor of: ___________________________________________________________________________________

In memory of: _________________________________________________________________________________

Help Us Plan for the Future! □ Presently, I plan to make a similarly-sized gift during next season sometime between July 1, 2021 – June 30, 2020.

Please return in enclosed self-addressed envelope or mail to Opera Lafayette, 921 Pennsylvania Avenue SE, Washington, DC 20003-2141

Other Ways to Donate: • Donations may be made online at OperaLafayette.org/donate.

• To make a gift of stock or to arrange monthly payments, contact Diana Hossack at DianaHossack@OperaLafayette.org.