Pagliacci Show Program

THE

Dear Friends,

OPERA San Antonio welcomes you to Pagliacci. This fall begins our ninth season of bringing the greatest works of opera to our city. We are proud that we have been able to reintroduce this great artistic spectacle of the performing arts to San Antonio with a scope that the community would support but with a dedication to quality appropriate to the beautiful Tobin Center venue.

OPERA San Antonio welcomes you to Pagliacci. This fall begins of bringing the greatest works of opera to our city. We are proud th n able to reintroduce this great artistic spectacle of the performing art with a scope that the community would support but with a dedi appropriate to the beautiful Tobin Center venue.

The singers who have come to perform in San Antonio have been top world-class performers. Andriana Chuchman, who performed Gilda in our Rigoletto last spring, did the same role at the Metropolitan Opera in New York. Reggie Smith, who was also in Rigoletto, this year will have the lead in The Wreckers at Houston Grand Opera. It is most rewarding to know that the singers who have come here have enjoyed the environment and hospitality they experienced here, and have spread the word throughout the opera world. When we live streamed our Covid abbreviated Lucia di Lammermoor, the great star Brenda Rae told us that all her New York colleagues were watching and praising the quality of work OPERA San Antonio is doing.

For Pagliacci we again have our outstanding Music Director, conductor Francesco Milioto. I encourage you to read Annie Labatt’s interview with the Maestro in this program, where you can get an idea of what a treasure he is for San Antonio.

We welcome with particular pleasure the orchestra of Classical Music Institute, performing for its first production with OSA. Classical Music Institute (CMI) began life in 2008 as the Chamber Orchestra of San Antonio. Like OPERA San Antonio, it has been a resident company of the Tobin Center since the Tobin opened in 2014. Every summer CMI has conducted a wonderful music institute in the Edgewood Independent School District. It is now taking an incremental step forward and becoming a full-size orchestra, committed to financial stability as well as artistic excellence. Performing Pagliacci with OPERA San Antonio is CMI’s first unveiling in this new stage of its life, and we are delighted to have them with us.

As we start our ninth season of productions, OPERA San Antonio is sound and thriving, thanks to you and the tremendous philanthropic support from the community. We pledge to continue to bring first rate opera productions, and to make educational outreach a high priority so that all our community can know and be delighted by this great art form.

Sincerely,

Blair Labatt Chairman, OPERA San Antonio

THANK

Bruce & Alethea Bugg

Toby & Emma Calvert

Valerie Collins Sam & Laura Dawson

Pat & Kelley Frost

Wendell & Susan Hall Paul & Nicole Hensley Charles & Cindy Huey Mark & Carolyn Johnson Mark & Jennfier Johnson Jr. Brad & Emily Jones Greg & Bekki Kowalski Annie Labatt

GalaChairs

David and Tracy Pope

CommitteeMembers 2022 GALA SPONSORS

Blair & Barbara Labatt

James & Katherine McAllen Gilbert & Jan Meadows Tim & Kathy Musgrave John Nau

Eduardo & Elsi Parra Eric & Elizabeth Reblin Tom & Pat Semmes

Amy E. Stieren

Dale & Sandra Tremblay Graham Weston Barbara Wood Bob & Mary Worth

Able City/ Parra & Co

Emma & Toby Calvert/ Richard Calvert/ Karen Calvert Valerie Collins

Comprehensive Home Health & Hospice Laura & Sam Dawson

FASTSIGNS Northeast/ FASTSIGNS Downtown Frost

CH Guenther & Son LLC

H E B Helping Here Greg & Bekki Kowalski Luther King Capital Management Labatt Food Service

Katherine & James McAllen/ Amy E. Stieren

Dr. Sara McCamish & Dr. Edward Briggs James McCutcheon Juris Medicus

The Meeker Family Tim & Kathy Musgrave John L. Nau, III Tracy & David Pope

Pulmonary Consultants of San Antonio Texas Capital Bank

The Tobin Endowment Barbara B. Wood Worth and Associates

BOX SEAT PATRONS

Labatt Food Service Sterling Foods

TEAM Group, Ltd. Alice & Sergio Viroslav

Garnett Bruce

Francesco Milioto MusicDirector

Madeline Elizondo

FriendsProgram& EducationCoordinator

Angelica Ochoa

OSA BOARD OF DIRECTORS

Blair Labatt, Matt West, Mark Johnson, Valerie Collins, Adriana Cisneros

Chair ViceChair Treasurer Secretary

Dr. Sara McCamish James McCutcheon

Olga Moucoulis Eduardo Parra Diana Peña Linda Poetschke Chan Peterson Dr. Alan Siqueiros Dale Tremblay

Mel Weingart, ChairEmeritus

SYNOPSIS

The south of Italy in late summer.

Prologue: Tonio, a clown, addresses the audience, reminding them that while those on stage are actors, the emotions they present are very real. Canio’s commedia dell’arte troupe arrives in the village square. Canio and his wife, Nedda, welcome everyone to their play that evening, just after sunset. Canio and Beppe accept the villagers’ invitation for a drink, but Tonio remains behind. When a villager suggests that Tonio has his eye on Nedda, Canio warns them all that he would never tolerate a rival. Bells announce evening vespers, and Nedda is left alone. Nedda takes momentary comfort watching a flock of birds. Interrupted by Tonio, she dismisses his amorous advances with laughter and then with a horsewhip. Her lover Silvio arrives, urging her to run away with him tonight. She eventually agrees, using a line from the play “After tonight, I will be yours forever.” Canio and Tonio overhear this betrayal, arousing Canio’s temper. Silvio escapes and Canio must prepare for the performance, and try to find a way to laugh even while his heart is breaking.

An excited crowd gathers to watch the play. Columbina (Nedda) and Arlecchino (Beppe) are plotting to outwit Pagliaccio (Canio). Arlecchino serenades Columbina from outside her window and Taddeo (Tonio) brings supper for them to enjoy. Arlecchino suggests a sleeping potion to eliminate a jealous husband. Pagliccio comes home early and overhears “After tonight, I will be yours forever.” Canio breaks character, demanding to know who his rival is. Nedda attempts to return to the commedia, but Canio’s anger escalates. His threats are all too real, bringing the performance to an alarming end.

CourtesyofGarnettBruce

Whendirectingapiecesobrutalandviolent,Ifindmyselfreflectingonthenatureofviolence and its meaning in our society. Why can Canio only settle this score with violence? Why doesbetrayalstrikedeepestatourself-worthandourself-image?

Tonight you will see the piece that revolutionized opera in Italy. In many ways, Pagliacci, written in 1892 by Ruggero Leoncavallo, foreshadows our modern audience’s multifaceted attention span, while echoing ancient Greek drama, which told its tragedies in a similarly compact timeframe. By the end of the 19th century, technology was racing ahead, along with communication and transportation. The world was becoming smaller, but the emotions still erupt with equal, if not greater, force. Verismo, the style in which Pagliacci is written, made the claim to represent real life and real emotion. It will find its apogee in opera literature for the next 20 years before it would be eclipsed by film. Leoncavallo absorbed stimuli all around him and set the lyric stage on its ear almost overnight. While his success as a composer was fleeting, his courage and creativity unlocked the audience’s hunger for verismo forallwhowouldfollow mostnotablyPuccini.

The young Leoncavallo wrote Pagliacci to win a composition contest, so he took risks and reinvented the art form. The bold choice to create a sung prologue is the first masterstroke. The composer speaks directly to the audience through Tonio about art imitating life and the paradox for all performers. Whether or not Leoncavallo used a true story from his childhood to inspire these words and music, he speaks with an original voice. A parable of unbridled emotionescalatesintoacrimeofpassion.Thechoruswatchingthe commedia reactsasmuch as we do in the audience “this feels so real!” as we follow the unhappy Nedda and her outragedhusbandCaniotothebitterend.

Leoncavallo’s use of vast and colorful choral writing establishes location and context, setting up a “real” world, in contrast to the traveling life of Canio’s commedia players. You may not heartheexoticandoriginalcolorsinbothorchestralandchoralwriting,whichfunctionasthe scene painting in the arias, because the dramatic sweep and tension between comic and tragic motifs grabs hold of you. Nedda is caught between the two worlds vivacious and tough on one side, timid and desperate on the other. Canio, once the earnest performer, is now jaundiced, cynical, and suspicious. His unnerving descent into jealous rage and harsh reaction to even the suggestion of infidelity hints at the coiled anger ready to violently erupt, asadlyfamiliarpatternthatmakesallofusshiftuncomfortablyinourseats.

Canio discovers Nedda’s tryst without discovering the identity of her lover. Her duplicity and refusal to reveal her lover’s name tears at his very soul, obscuring all reasonable judgment. Canio attempts to persevere: the good actor “laughing at the pain within his heart” even as his very soul will lie as shattered as his love. When the play directly mirrors the reality of his life, Canio crosses the line into white-hot rage. With modern swiftness, the opera concludes as Tonio exclaims “La commedia è finita!” the comedy is finished. Commedia now takes on many meanings: the play, his livelihood, and their affair. It is hard to imagine any scene in operaspeakingwithmoredirectpowerthanthisone.

One of the many extraordinary leaders at Opera San Antonio is the music director and conductor Francesco Milioto or Maestro Milioto, as he is known when he steps into the theater. Being a conductor takes incredible precision and stamina. Francesco is involved in every aspect of the operatic experience from casting the singers andhiringthemusicians,towavingthatbeautifulmusicintoandthroughouttheauditorium Healsostudiesthe musiclikeaforensicscientist.InanInstagrampostfortheSantaFeOperahesharedhisnotationsforTristanand Isoldeanditwascoveredinscribbles,circles,andannotations!

Francesco’spassionforoperaiscontagious.Youcanhearitinhisworkandinhiswords.Itmustalsobesaidthat he is one of the most hilarious people you will ever meet. In the following, Francesco speaks about the life of a conductor,whatmakesPagliaccisospecial,andhowthebeautyandpowerofoperahastheabilitytodrawusin andliftusup.

Whendidyoufirstencounteroperaandwhendidyoufallinlovewiththeartform?

The first opera that I ever saw was in the newly built SkyDome, now called Roger’s Center, where the Blue Jays play in Toronto. My high school took us to see Aida.BecauseitwasanItalianoperaandIspeak Italianitwaseasyformetoconnectwiththetextsandthewords.

I also took piano as a kid. I had lessons four times a week. My piano teacher, to help me learn to play legato (slower phrasing), would have me listen to opera. When I started my undergrad, I would play piano for the opera singers The singers would want me to give them lessons because I could speak Italian and also because I knew the opera music. Working with my friends in their lessons and connecting those musical texts to the words sparked my interest in opera. I am a very social person. The idea of adding people to my piano playing, to my music making, was awesome. I got to add text to the notes, melody to notes, and the human voice to notes. Funny scenes or sad scenes could be connected to the piano. Buildingallofthatintomylessonsiswherethatsparkandloveforoperacamefrom Whatisyourprocessinpreparingtoconduct?Howlongdoesittake?

ThefirstthingthatIdoisIreadallofthetext.Mostofthetimeitisthetextthatinspiresthemusic.SoI take all the time I need to with the text. If there is anything that I need translated, I will make sure that I have many, many versions of the translation. It doesn’t take as long for me with Italian, French, and German It takes a lot longer for Russian and Czech When you put that kind of effort into the text, understandingthemusiccomestolifemuchquicker.

Then,becauseIamapianist,IsitatthepianoandIplaythrougheverysingleline.Iplaythroughallthe vocallinesandIlearnallofthemusicatthekeyboard.Thenextstepintheprocess,thepartthatmightbe annoying for my neighbors in the condo, is that, as I try to figure out my musicality and figure out my interpretation, I will literally play a phrase 50 times in a row. After I’ve studied and marked my full score, I workbitbybit,barbybarbybar,characterbycharacter,buildingmyinterpretationthroughrepetitionand thinkingaboutthetext.Forme,theprocessisallofthat fromthewordstothepianotothefullscore.Itis about finding the interpretation and finding the arc of the characters, of the story, of the peak points I’m constantlytalkingtothesingersabouttheatmosphere,aboutthemusicthatwe’remaking,thepacing,and thejourneyfortheaudience.Knowingwhatthattimingis,howtotellthestory,andhowtomaximizethe music along with the people in front of me, with the musicians, is my job. The level of collaboration between me and the stage has to be quite high. And I will always stand for the composer and for the music. Being a good conductor means being able to be flexible, to be in the moment, to consider how a singerisfeelingthatday,whiletellingthestory.

I am also responsible for the people behind me, for the audience. It’s important for me to understand the journey I’m taking them on The audience needs time to absorb the music, to feel the tension, to feel the relaxation. You need time to absorb someone getting stabbed or two people kissing for the first time. Silenceisnottheenemy.Thatissomethingyoulearnfromdoingtheseoperas.Youlearntomaximizethe singers in the experience and when you do that, there is nothing better that human beings can do together.Operaisthehighestpointofwhatcollaboratinghumanbeingscandoartistically.

Whatdoesitfeellikewhenyouwalkintothepit,seethemusicians,andheartheaudiencewelcomingyouto yourstand?

It’sawesome!!!Iamnotsomeonewhogetsnervous.SoIamreallyhappyandexcited,especiallywhen the process is as great as it’s always been working with Loren (Meeker), Garnett (Bruce), and Dottie (Randall). I love the fact that, if we’ve done the work, we will be able to get through almost anything together. That camaraderie and that collaboration is awesome. I also love the attention in the moment you are 100% focused on the stage, 100% focused on who needs you. It’s like being in another world. That’swhatIlivefor,thesheerjoyofbeingonthepodium,forbeingonthattinysquareboxthatwestand on Steppingonthepodiumisthestartofanexcitingadrenaline fillednightwithmycolleagues

Doyouhaveanyspecialritualsbeforeyoutaketothepit?

I usually try to have a quarter in my pocket. I don’t know why. But I always like some change in my pocket.AlsoIoftenuseachopsticktoconduct.ThatstartedatMcGill,whenIwasconductingmyfirstfulllengthopera,TheElixirofLove.IforgotmybatonathomesoIwenttotheChinesefoodrestaurantacross thestreetfromschoolandgrabbedapairofchopsticksortwobatons Iwrotetheword“Elixir”ononeof them. Just the other day I conducted with a chopstick. (Francesco goes to get a pair of chopsticks, breaks them apart, and waves them around.) These are perfect because they aren’t too long and they are thick enough.Ijustmightconductthisoperawithachopstick. WhatarethetopthreemostexcitingpartsofconductingPagliacci?

First of all, the entirecommediadell’arte scene That is the essence of verismo, where the opera comes to life, when the line between the show and reality starts to blur. That to me is absolutely an incredible thing.

Next, I love the chorus part because it is such a human moment. The people are coming in being rambunctious. The kids are yelling. It’s real. It’s just like it would be if there was a troupe rolling into town andeveryoneisexcitedtoseetheshow.Everyonecomesinandtheyareshouting“Where’smyticket!”“I want my ticket!” “I want my seat!” I love it. The audience on stage is excited and you are excited. It’s the operahouseonstage.Thattomeisoutstanding.Andthenweareinit.Theshowstarts!

The last is the Nedda and Silvio duet It’s ridiculously good That duet is just such beautiful, moving music. And this is the moment that is going to turn over the whole opera. It’s the moment where the life andtruthoverlapwiththecharacters.

I would want to be all of the

I would probably be someone like Figaro. I’d be the troublemaker, like the comic baritone

something, talking a lot, and being, you know, a healthy centeroftheattention.

Whatwouldyoutellanaspiringmusician?Operasinger?Conductor?

Youhavetolearnfromeverysingleexperience,whetherit’sgoodorbad.Youshouldtakesomething away from every experience that will help move you forward. I would also say that all music is worth learning,listeningto,andexperiencing. If you are an opera conductor, symphonic music is not a waste of your time. If you’re a soprano, listening to an opera that features a mezzo is not useless. Never limit yourself in your learning Learn everything Fill your brains and your ears with as much music as you possibly can. Just listen, listen, listen, learn, listen, learn, listen, learn. Finally, perfection does not exist. Beautifulmomentsdo.Butperfectiondoesn't.It'snotevenathingtoaspireto.Weshouldaspiretocreate the moment, a musical moment, one that is the most beautiful and most impactful, one that communicatesandisreceivedbytheentireroom.That’swhatyou'regoingfor.

ARTIST BIOGRAPHIES

JONATHAN BURTON, TENOR

AsCanio

OSA Debut. Recent Credits: The Prince, Rusalka, Pittsburgh Opera; Herman, Queen of Spades, Des Moines Metro Opera; Calaf, Turandot, Maryland Lyric Opera. Upcoming Credits: Paul, Die Tote Stadt, Colorado Opera; Manrico, Il Trovatore, Pittsburgh Opera; Pinkerton, Madama Butterfly, Palm Beach Opera.

SARA GARTLAND, SOPRANO AsNedda

OSA Debut. Recent Credits: Title Role, Rusalka, Pittsburgh Opera; Rose, A Thousand Acres (world premiere), Des Moines Metro Opera; Lisa, Queen of Spades, Des Moines Metro Opera.

Upcoming Credits: Marietta/Marie, Die Tote Stadt, Opera Colorado; Fiordiligi, Così fan tutte, The Dallas Opera; Donna Elvira, Don Giovanni, Minnesota Opera.

GORDON HAWKINS, BASS AsTonio

OSA Debut. Recent Credits: The Reverend, Blue, Toledo Opera; Amonasro, Aida, Cincinnati Opera; Title Role, Porgy & Bess, Sinfonieorchester St. Gallen. Upcoming Credits: Soloist, Proximity, Lyric Opera of Chicago.

RICARDO JOSE RIVERA, BARITONE AsSilvio

OSA Debut. Recent Credits: Escamillo, Carmen, Opera de Puerto, Rico; Silvano, Ballo in Maschera, Chicago Symphony Orchestra; Papageno, Die Zauberflöte, Aspen Music Festival.

Upcoming Credits: Nottingham, Roberto Devereux, Washington Concert Opera; Don Carlo, Ernani, Sarasota Opera; Belcore, L’Elisir d’amore, Opera de Puerto Rico.

NICHOLAS NESTORAK, TENOR AsBeppe

OSA Debut. Recent Credits: Brighella, Ariadne auf Naxos, Lake Area Music Festival; Antonin Scalia, Scalia v Ginsburg, The Princeton Festival; Pong, Turandot, Opera Grand Rapids. Upcoming Credits: Bardolfo (cover), Falstaff, The Metropolitan Opera.

FRANCESCO MILIOTO

MusicDirector&Conductor

OSA Debut: Conductor, La traviata, 2018. Recent Credits: Conductor, Rigoletto, OPERA San Antonio; Conductor, Cabaret, The Atlanta Opera; Conductor, Romeo and Juliet, The Florentine Opera. Upcoming Credits: Cover Conductor, Hansel and Gretel, Lyric Opera of Chicago; Conductor, Romeo and Juliet, OPERA San Antonio.

GARNETT BRUCE

ArtisticAdvisor&StageDirector

OSA Debut: Director, La traviata, 2018. Recent Credits: Director, Carmen, Pittsburgh Opera; Director, Turandot, Opera Grand Rapids; Director, Don Giovanni, Ravinia Festival/Chicago Symphony. Upcoming Credits: Director, Falstaff, Palm Beach Opera; Tales of Hoffmann, UT Austin Butler Opera Center.

LAURA FINE HAWKES

OSA Debut. Recent Credits: Scenic Design, Così fan tutte, Arizona Opera; Scenic Design, Ariadne auf Naxos, Wolf Trap Opera; Scenic Design, Il re pastore, Merola Program at San Francisco Opera. Upcoming Credits: Scenic Design, The Good Ship St. Louis, Upstream Theatre; Scenic Design, Thrive or What You Will, Binghamton University.

VERONA GREEN

CostumeDesigner

OSA Debut. Recent Credits: Utah Opera Costume Rentals Manager and Costume Designer for Pagliacci at Utah Opera, 2018.

KATHRYN EADER

LightingDesigner

OSA Debut: Lighting Designer, La traviata. Past Credits: Lighting Designer, The Miser, Mary Moody Northen Theatre; Lighting Designer, Fidelio, Austin Opera; Lighting Designer, HER Stories, Ballet Austin. Upcoming Credits: Lighting Designer, Luchadora!, Mary Moody Northen Theatre. Driscoll Otto

ProjectionDesigner

OSA Debut. Recent Credits: Projection Designer, La Donna Del Lago, The Metropolitan Opera; Projection Designer, The Golden Cockerel, Santa Fe Opera; Lighting Designer, The Life, New York City Encores! Upcoming Credits: Lighting Designer, Hansel and Gretel, New Orleans Opera Association; Lighting Designer, The Cunning Little Vixen, Manhattan School of Music; Projection Designer, The Flying Dutchman, Bologna Italy.

DOTTIE RANDALL ChorusMaster

OSA Debut: Chorus Master, Macbeth, 2017. Recent Credits: Chorus Master, Rigoletto, OPERA San Antonio; Coach, Chautauqua Opera 2022 Season. Upcoming Credits: Chorus Master, Romeo and Juliet, OPERA San Antonio; Coach, Chautauqua Opera 2023 Season.

STEPHANIE WILLIAMS

WigandMakeupDesigner

OSA Debut: Wig & Makeup Designer, The Fantastic Mr. Fox, 2014. Recent Credits: Wig & Makeup Designer, Rigoletto, Don Giovanni, Lucia di Lammermoor, OPERA San Antonio. Upcoming Credits: Wig & Makeup Designer, Romeo and Juliet, OPERA San Antonio; Wig Constructor for Broadway; owns and operates two companies: One Love Beauty and Captivated Photography and Design.

The Board of Directors, artists, and staff of OPERA San Antonio gratefully acknowledge the generous support of our donors.

(Donations from July 1, 2021 October 24, 2022)

*IndicatesMonthlyDonor

OPERA ANGEL $100,000 +

City of San Antonio Kronkosky Charitable Foundation Labatt Food Service Kittie West

UNDERWRITER

$50,000 - $99,999

Bexar County Commissioners Court

Drs. James E. Griffin III and Margo Denke

Russell Hill Rogers Fund for the Arts

*This performance is made possible in part by a generous grant from the Russell Hill Rogers Fund for the Arts

SPONSOR

$25,000 - $49,999

H-E-B Helping Here

Elizabeth Huth Coates Foundation of 1992 Semmes Foundation Fund of the San Antonio Area Foundation

The Labatt Foundation

The Martha Ellen Tye Foundation The Tobin Endowment

GRAND PATRON $10,000 $24,999

Nel & Walter Belt & Barbara Wood

Valerie Collins

Comprehensive Home Health & Hospice Laura and Sam Dawson

The Ewing Halsell Foundation

FASTSIGNS Northeast, FASTSIGNS Downtown

Frost Bank Charitable Foundation C.H. Guenther & Son LLC Juris Medicus

Greg & Bekki Kowalski

Dr. Sara McCamish & Dr. Edward Briggs Katherine and James McAllen/ Amy E. Stieren

National Endowment for the Arts John L. Nau, III Tracy and David Pope

Dr. Alan Siqueiros Texas Capital Bank Texas Commission on the Arts

GRAND BENEFACTOR

$5,000 $9,999

Anonymous Milton Babbitt

Dr. Kenneth Bloom & Dr. Sheila Swartzman Emma & Toby Calvert, Richard Calvert, Karen Calvert Frost Reagan & Patricia Houston Mr. and Mrs. Robert R. Lende

In honor of Blair Labatt Luther King Capital Management

James E. McCutcheon

In memoriam B. Letitia Rogers

The Meeker Family Tim and Kathy Musgrave Phil Muth Pape-Dawson Engineers Able City/ Parra & Co Pulmonary Consultants of San Antonio Toby and John Tate Bob and Mary Worth

PRINCIPAL BENEFACTOR $2,500 $4,999

A. John and Belinda F. Andersen Donna Barrow

In memory of Sue Storm

Blue Skies of Texas

Bruce & Anne Johnson Mark and Carolyn Johnson Opera Guild of San Antonio

Duncan Elliott Osborne

In honor of Blair Labatt

Corinna Holt Richter Sterling Foods TEAM Group, Ltd. Dale & Sandra Tremblay Alice and Sergio Viroslav

BENEFACTOR $1,000 $2,499

Marlena M. and Omar G. Alvarez AnArte Gallery & Studio

Margaret Corning Boldrick Tony & Carla Canty Costa Solutions LLC Mary Jane Ely Jim and Frances Garner Toni and Richard Goldsmith Dan and Marcia Goodgame

In honor of Blair and Barbara Labatt The John Newman Family Charitable Fund Ronald C. Keller Malin USA Mary L. Marino

Taddy McAllister Becky McEuen & Chan Peterson

Kathleen and David Meriwether Cynthia O'Connor Carolyn A. Seale and Carol Lee Klose

In memory of Dolores L. Klose Ronald Seeliger Polly and George Spencer

In honor of Blair and Barbara Labatt

Donna & Ian Thompson Brig. Gen. Sue E.Turner Kathleen Weir Vale Mr. & Mrs. Curtis T. Vaughan, III Charles & Heide Walker Graham Weston Marshall and Elizabeth White The Williamson Foundation

In honor of Bronwyn White

Suhail H. Arastu

Christopher V. Bacon

Robin Brey Drs. Jayne & David Gordon Sharon M. Kocurek Lillian P. Morris

CONTRIBUTOR

Heidi Munzinger and John Shott

Pat and Keith Orme

In memory of Leticia Rogers Edward and Linda Poetschke

Rabbi Samuel and Lynn Stahl H. Anthony Troche

SUPPORTER

Greg Brown

Timothy and Marisa Caffrey Antonio J. Cantafio

*Paul and Anne Comeaux Anna Falkenberg Michael Gehret

In honor of Blair Labatt

The Jessee Family

In honor of Madeline Elizondo Vincent R. Johnson and Jill Torbert

Grace B. Labatt

In honor of the Blair Labatt Family

Gary Malanchuk Chuck and Petra McCann Virginia D. McGhee *Andrea Melcher

In honor of Caroline Melcher Marc and Gail Raney *Kevin and Laura Salfen Nancy Taylor Shivers

Harry Akin

*Anonymous

Jorge Alonzo

ApexMed

Bob and Mardi Baron

Marie Barrett

Marc and Linda Beaudoin

In memory of (Nina) Sue Storm

Richard Butler

Mr. and Mrs. Anthony D. Call Maura Conron

The Elizondo Family

Dr. Brian Garcia

Brian Gill

In memory of Bruce & Carmen Gill Raul Amador Gomez

John Greiner

Janna Hartman James W. Kirkpatrick Robert Knapp

Dr. and Mrs. Gregory Lind Anna Lopez Veronica Lopez

In honor of E. Loren Meeker and Madeline Elizondo Joe Manci, COL USAF (RET)

In memory of Col.Yale "Buzz" Trustin

FRIEND $100 $249

(Continued)

Barbara Marcks Shaun and Emily McChesney

In memory of Thomas McChesney

Tony McCormick

Roger and Suzanne Meeker Sandy & Art Nicholson

Wylan and Kelly Peterson Bianca Ramos Dottie Randall

Dr. John Sanchez

In honor of E. Loren Meeker & Madeline Elizondo

SUSTAINER up to $99

Mike Almendarez Nancy Fix Anderson Emily Becher Matthew Charles Brockway Rebekah Bulen

Mr. & Mrs. David Burgess Lisette Chavez

Adriana Danysh Renee Davis Ruth Frederick Gary Hoeffler

Michael Kennick Fabiola Luevano Megan MacMillan

In memory of Margaret "Josie" Krueger

Dr. David Maize Julio N. Manso Joaquin G. Mira Stephanie Key and David Mollenauer

Margaret King Stanley Fran Revelle Stelzriede Dorothy Stempin William R. Sutton Al and Joan Thaggard Joe Tiemann

In memory of Kathy Chapman Richard Watts Daniel Ellis Wigodsky *Michael Wurth

Victor Moya Terry O'Connor Kevin Pardinas Linda Pearson Virginia Peche

In honor of Timothy Jones Linda Seeligson Judith Sobré David Allen Solis Jeffery Steffen Kathleen Takamine Amy Updegrove

In memory of Sue Storm

Alison and Rene Vasquez, Jr. Martha Vasquez

In honor of Jean Walker Robert Walsh Wendie Wolfe

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UPCOMING THIS SEASON

For years their families have been at war, yet at first sight, Romeo and Juliet fall deeply in love. OPERA San Antonio presents Gounod’s adaptation of Shakespeare’s tragedy, Romeo and Juliet. As their romance blooms so does the hatred between their houses, which compels these star crossed young lovers to choose between their love for each other and love for their families.

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