Pagliacci Show Program

NOVEMBER 3&5 2022 TOBIN CENTER FOR THE PERFORMING ARTS

A MESSAGE FROM THE CHAIRMAN Dear Friends, OPERA San Antonio welcomes you to Pagliacci. This fall begins OPERA San Antonio welcomes you to works Pagliacci. our ninth season of bringing the greatest of This operafalltobegins our our ninth season of bringing the greatest works of opera to our city.

We are proud city. We are proud that we have been able to reintroduce this that we have been able reintroduce thisofgreat artistic spectacle theAntonio performing greattoartistic spectacle the performing arts toofSan witharts to San Antonio with a scope that the community would support but with a dedication to quality a scope that the community would support but with a dedication appropriate to the beautiful Tobin Center venue. to quality 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

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THANK YOU OSA is grateful for the support of these major sponsors for the 2022/2023 season

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2022 GALA COMMITTEE Gala Chairs David and Tracy Pope

Committee Members 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

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

2022 GALA SPONSORS 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

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STAFF E. Loren Meeker General & Artistic Director

Francesco Milioto Music Director

Garnett Bruce Artistic Advisor

Madeline Elizondo Friends Program & Education Coordinator

Angelica Ochoa Office Manager

OSA BOARD OF DIRECTORS Blair Labatt, Chair Olga Moucoulis Matt West, Vice-Chair Eduardo Parra Mark Johnson, Treasurer Diana Peña Valerie Collins, Secretary Linda Poetschke Adriana Cisneros Chan Peterson Dr. Sara McCamish Dr. Alan Siqueiros James McCutcheon Dale Tremblay Mel Weingart, Chair Emeritus

By Ruggero Leoncavallo Thursday, November 3, 2022 | 7:00 p.m.

Saturday, November 5, 2022 | 7:30 p.m.

H-E-B Performance Hall | Tobin Center for the Performing Arts Length of Performance: 90 minutes. No Intermission.

Libretto by Ruggero Leoncavallo Premiere: Teatro Dal Verme, Milan, May 21, 1892 Sung in Italian with English translations Scenery and Costumes produced and provided by Utah Symphony | Utah Opera Performance translations provided by Austin Opera, written by Karl Hesser

Conductor, Francesco Milioto Stage Director, Garnett Bruce

Canio, head of the troupe Nedda, Canio’s wife Tonio, the fool Silvio, Nedda’s lover Beppe, an actor Acrobats/Jugglers

Chorus of Villagers

CAST

Jonathan Burton Sara Gartland Gordon Hawkins Ricardo Jose Rivera Nicholas Nestorak Benjamin Brandvig Cory Torkelson Arthur Valverde Jada Savage

OPERA San Antonio Chorus Children’s Chorus of San Antonio

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PRODUCTION Conductor Stage Director

Scenic Designer Costume Designer

Lighting Designer Projection Designer Wig and Make-up Designer Chorus Master OSA Technical Director Stage Manager Rehearsal Pianist Assistant Lighting Designer Assistant Projection Designer Wig and Make-up Staff Assistant Stage Managers Wardrobe Supervisor Wardrobe Assistant Stitchers Production Supervisor Properties Master Fight Director Photographer Audio Recording

Video Recording Surtitle Operator

Pre-show Lecturer

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Francesco Milioto Garnett Bruce

Laura Fine-Hawkes Verona Green

Kathryn Eader Driscoll Otto Stephanie Williams Dottie Randall Timothy Stettler Michael Janney Tessa Hartlet Alycia Martin Benjamin Randall Charles Douglas Samantha Fulmer Lucy Guillemette Kaylin Story Stacie Healy Floyd Williams Vengesta Cowin Victoria Fancki Sara Vreeland Alison Vasquez Morgan Clyde Karen Almond Chris Cline

Bob Bohanek Emily Rubio

Kevin Salfen

TOBIN CENTER STAFF President & Chief Executive Officer Technical Director Director of Resident Company & Community Engagement Box Office Manager Engagement Coordinator

Mike Fresher Hector Gutierrez Rick Frederick Patricia Moreno Mandie Sullivan

SPECIAL THANKS Mark Alexander Chris Bacon, Vinson & Elkins LLP Lynda Bailey Bradley Middle School Band - NEISD Classical Music Institute Karlos Elizondo Jenna Jernigan Annie Labatt Labatt Food Service Labatt Food Service Media and IT Teams Dr. Gary Mabry

Maverick Carter House, Carriage House Joan Miller Opera Guild of San Antonio Nathan Rader Radius Center Gallery Micah Rosenstein Christina Rutherford Thomas Skrobanek The Tobin Center Staff Laurel Watts Judge Nelson Wolff

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.

Courtesy of Garnett Bruce

DIRECTOR'S NOTE When directing a piece so brutal and violent, I find myself reflecting on the nature of violence and its meaning in our society. Why can Canio only settle this score with violence? Why does betrayal strike deepest at our self-worth and our self-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 for all who would follow — most notably Puccini.

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 emotion escalates into a crime of passion. The chorus watching the commedia reacts as much as we do in the audience — “this feels so real!” — as we follow the unhappy Nedda and her outraged husband Canio to the bitter end.

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 hear the exotic and original colors in both orchestral and choral writing, which function as the 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, a sadly familiar pattern that makes all of us shift uncomfortably in our seats.

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 opera speaking with more direct power than this one.

Courtesy of Garnett Bruce

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FROM PIT TO PAGE: GETTING TO KNOW OUR CONDUCTOR, FRANCESCO MILIOTO WITH QUESTIONS BY ANNIE MONTGOMERY LABATT

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 and hiring the musicians, to waving that beautiful music into and throughout the auditorium. He also studies the music like a forensic scientist. In an Instagram post for the Santa Fe Opera he shared his notations for Tristan and Isolde and it was covered in scribbles, circles, and annotations!

Francesco’s passion for opera is contagious. You can hear it in his work and in his words. It must also be said that he is one of the most hilarious people you will ever meet. In the following, Francesco speaks about the life of a conductor, what makes Pagliacci so special, and how the beauty and power of opera has the ability to draw us in and lift us up.

When did you first encounter opera and when did you fall in love with the art form?

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. Because it was an Italian opera and I speak Italian it was easy for me to connect with the texts and the words.

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.

Building all of that into my lessons is where that spark and love for opera came from.

What is your process in preparing to conduct? How long does it take?

The first thing that I do is I read all of the text. Most of the time it is the text that inspires the music. So I 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, understanding the music comes to life much quicker.

Then, because I am a pianist, I sit at the piano and I play through every single line. I play through all the vocal lines and I learn all of the music at the keyboard. The next step in the process, the part that might be 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 work bit by bit, bar by bar by bar, character by character, building my interpretation through repetition and thinking about the text. For me, the process is all of that—from the words to the piano to the full score. It is about finding the interpretation and finding the arc of the characters, of the story, of the peak points. I’m constantly talking to the singers about the atmosphere, about the music that we’re making, the pacing, and the journey for the audience. Knowing what that timing is, how to tell the story, and how to maximize the 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 singer is feeling that day, while telling the story.

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.

Silence is not the enemy. That is something you learn from doing these operas. You learn to maximize the singers in the experience and when you do that, there is nothing better that human beings can do together. Opera is the highest point of what collaborating human beings can do artistically.

What does it feel like when you walk into the pit, see the musicians, and hear the audience welcoming you to your stand?

It’s awesome!!! I am not someone who gets nervous. So I am really happy and excited, especially when 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’s what I live for, the sheer joy of being on the podium, for being on that tiny square box that we stand on. Stepping on the podium is the start of an exciting adrenaline-filled night with my colleagues.

Do you have any special rituals before you take to the pit?

I usually try to have a quarter in my pocket. I don’t know why. But I always like some change in my pocket. Also I often use a chopstick to conduct. That started at McGill, when I was conducting my first fulllength opera, The Elixir of Love. I forgot my baton at home so I went to the Chinese food restaurant across the street from school and grabbed a pair of chopsticks or two batons. I wrote the word “Elixir” on one of 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. I just might conduct this opera with a chopstick.

What are the top three most exciting parts of conducting Pagliacci?

First of all, the entire commedia dell’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 and everyone is excited to see the show. Everyone comes in and they are shouting “Where’s my ticket!” “I want my ticket!” “I want my seat!” I love it. The audience on stage is excited and you are excited. It’s the opera house on stage. That to me is outstanding. And then we are in it. The show starts!

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 and truth overlap with the characters.

If you could be a character in any opera, who would it be and why?

I would want to be all of the characters! I would probably be someone like Figaro. I’d be the troublemaker, like the comic baritone selling something, talking a lot, and being, you know, a healthy center of the attention.

What is your favorite spot in San Antonio so far?

The Pearl district. I like that there are so many people there. And you can get anything—from ice cream to a fancy dinner. I always want to go to the Pearl when I am in town.

What would you tell an aspiring musician? Opera singer? Conductor?

You have to learn from every single experience, whether it’s good or bad. You should take something away from every experience that will help move you forward. I would also say that all music is worth learning, listening to, and experiencing. 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.

Beautiful moments do. But perfection doesn't. It's not even a thing to aspire to. We should aspire to create the moment, a musical moment, one that is the most beautiful and most impactful, one that communicates and is received by the entire room. That’s what you're going for.

ARTIST BIOGRAPHIES JONATHAN BURTON, TENOR As Canio

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 As Nedda

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 As Tonio

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 As Silvio

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 As Beppe

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.

ARTIST BIOGRAPHIES FRANCESCO MILIOTO Music Director & 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

Artistic Advisor & Stage Director 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 Scenic Designer 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 Costume Designer OSA Debut. Recent Credits: Utah Opera Costume Rentals Manager and Costume Designer for Pagliacci at Utah Opera, 2018.

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ARTIST BIOGRAPHIES KATHRYN EADER Lighting Designer 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

Projection Designer 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 Chorus Master 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 Wig and Makeup Designer

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.

OPERA SAN ANTONIO CHORUS Creighton Brown Denise Brown

Madonna Gil Kyree Harrison

Jeffrey Jones Ragona Joseph Rodriguez

Tiffany Collazo Elizabeth Herlitz Cortes John Costello Madeline Elizondo Joe Estala Klint Fabian Gregory Garcia

Samantha Luna Naomi McMahon Anthony McCain Tavian McGee Caroline Melcher Maeli Mesilemit Alexander Montalvo

Kimberly Sandoval Hillary Schranze Brittnee Simone Cassidy Wallace Andrew Ward Anai Winn Margaret Wolfe

Manuel Canales Ivy Cantu

John Hyland Jake Jacobsen

Otoniel Rodriguez Andrew Sanchez

CHILDREN'S CHORUS OF SAN ANTONIO STAFF Alyssa Avenatti, Executive Director Dr. Carolyn Cruse, Artistic Director Elizabeth Logsdon, Office Manager

CHORUS Shara Alexander Oryan Armstrong Ryan Ballinger Emma Brogan Hannah Brogan Sophia Carranza Riley Craig Signe Forssman

Jacy Highsmith Scarlett Kelly Emma Martinez Nicole Mayer Marianna Robledo Edith Setilk Neil Trivedi

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CMI ORCHESTRA CMI STAFF Paul Montalvo, Artistic Director

David Duran, CMI Operations Manager

Donald Mason, Executive Director

Leonardo Pineda, CMI Assistant Conductor

Daniela Diaz, CMI Orchestra Manager

VIOLIN I

CELLO

HORN

Henry Wang**

Titilayo Ayangade*

Asunción Martinez*

Cindy Ahn

Hannah Moses

Diego Diaz Coronel

Jinhyun Kim

Evan Johanson

DOUBLE BASS

Brian Hong*** Brenda Rengel

Liana Branscome Luis Cuevas

VIOLIN II Christine Wu* Gregory Lewis Laura Perez

Hyunji Yi

Daniel Morehead Diego Garza

FLUTE Beomjae Kim*

Gustavo Gomez

TRUMPET Omri Barak*

Ismael Cañizares

TROMBONE Ruben Tovar*

Christian Paarup

TIMPANI

Maria Milano

Gregory Messa*

OBOE

PERCUSSION

Ronald Villabona

Orlando J. Salazar*

Eric Peterson*

VIOLA

CLARINET

HARP

Juyong You*

Julie Woolfolk*

Liya Ma

Gregory Mata

Anna Khalikova

Alexandra Simpson* Joe Burke

Shih-wen Fan

Eva Kennedy

BASSOON

Tal McGee

David Kang Jay Julio

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Melody Giron

Hanul Park*

* Denotes Principal ** Denotes Concert Master *** Denotes Associate Concert Master

2022-2023 SEASON DONORS 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)

* Indicates Monthly Donor

OPERA ANGEL $100,000 +

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

UNDERWRITER

SPONSOR

$50,000 - $99,999

$25,000 - $49,999

Bexar County Commissioners Court

H-E-B Helping Here

Drs. James E. Griffin III and Margo Denke

Elizabeth Huth Coates Foundation of 1992

Russell Hill Rogers Fund for the Arts

Semmes Foundation Fund of the San

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

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

Greg & Bekki Kowalski

Valerie Collins

Dr. Sara McCamish & Dr. Edward Briggs

Comprehensive Home Health & Hospice

Katherine and James McAllen/

Laura and Sam Dawson

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The Ewing Halsell Foundation

National Endowment for the Arts

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John L. Nau, III

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Robin Brey Drs. Jayne & David Gordon

Edward and Linda Poetschke

Sharon M. Kocurek

Rabbi Samuel and Lynn Stahl

Lillian P. Morris

H. Anthony Troche

SUPPORTER $250 - $499

Greg Brown

Grace B. Labatt

Timothy and Marisa Caffrey

In honor of the Blair Labatt Family

Antonio J. Cantafio

Gary Malanchuk

*Paul and Anne Comeaux

Chuck and Petra McCann

Anna Falkenberg

Virginia D. McGhee

Michael Gehret

*Andrea Melcher

In honor of Blair Labatt

In honor of Caroline Melcher

Marc and Gail Raney

The Jessee Family

*Kevin and Laura Salfen

In honor of Madeline Elizondo

Vincent R. Johnson and Jill Torbert

Nancy Taylor Shivers

FRIEND

$100 - $249

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

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2022-2023 SEASON DONORS FRIEND

$100- $249 (Continued)

Barbara Marcks

Margaret King Stanley

Shaun and Emily McChesney

Fran Revelle Stelzriede

In memory of Thomas McChesney

Dorothy Stempin

Tony McCormick

William R. Sutton

Roger and Suzanne Meeker

Al and Joan Thaggard

Sandy & Art Nicholson

Joe Tiemann In memory of Kathy Chapman

Wylan and Kelly Peterson Bianca Ramos

Richard Watts

Dottie Randall

Daniel Ellis Wigodsky

Dr. John Sanchez

*Michael Wurth

In honor of E. Loren Meeker & Madeline Elizondo

SUSTAINER up to $99

Mike Almendarez

Victor Moya

Nancy Fix Anderson

Terry O'Connor

Emily Becher

Kevin Pardinas

Matthew Charles Brockway

Linda Pearson

Rebekah Bulen

Virginia Peche

Mr. & Mrs. David Burgess Lisette Chavez

Linda Seeligson

Adriana Danysh

Judith Sobré

Renee Davis

David Allen Solis

Ruth Frederick

Jeffery Steffen

Gary Hoeffler

Kathleen Takamine

Michael Kennick

Amy Updegrove

Fabiola Luevano Megan MacMillan In memory of Margaret "Josie" Krueger

Dr. David Maize Julio N. Manso Joaquin G. Mira

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In honor of Timothy Jones

Stephanie Key and David Mollenauer

In memory of Sue Storm

Alison and Rene Vasquez, Jr. Martha Vasquez In honor of Jean Walker

Robert Walsh Wendie Wolfe

SUPPORT OSA YOU CAN MAKE A DIFFERENCE. OPERA San Antonio depends on continued community support in order to bring you stellar productions at the Tobin Center for the Performing Arts.

Ticket sales cover less than a third of what it costs to offer these operatic masterpieces and to maintain our community and education programs.

Donate today to give all people in the greater San Antonio area a chance to hear music that can speak to them in a new, even life-changing way.

Scan this QR code to go directly to our donation page and make an immediate impact on our community.

SHOP ON AMAZON Amazon Gives OPERA San Antonio a percentage of the purchase price on items every time you shop!

1. Sign in to smile.amazon.com on your desktop or mobile phone browser. (not www.amazon.com or the mobile app) 2. Go to Your Account from the navigation at the top of any page, and then select the option to Change your Charity.

3. Select OPERA San Antonio 4. Enable AmazonSmile from the Settings menu in your Amazon app so your mobile shopping can benefit OSA as well!

LET'S CONNECT If you have enjoyed your time with us tonight, let us know by filling out our OSA Contact Form with this QR code.

One of our staff members will get in touch with you after the performance to hear your thoughts.

UPCOMING THIS SEASON

This sensual and seductive piece is the story of a tango-obsessed prostitute born on a day "when God was drunk." Join us for this immersive experience as we turn the Alvarez into a gritty nightclub complete with cocktail table packages, bar service, and tango dancers creating a passionate atmosphere.

TICKETS GO ON SALE DECEMBER 1

For More Information Visit: www.OperaSA.org

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ST

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.

TICKETS ON SALE NOW www.OperaSA.org

ENTER TO WIN TICKETS! Look for our survey email after the performances of Pagliacci and tell us about your experience. Complete the survey and you will be automatically entered to win complimentary tickets to our spring production of Romeo and Juliet in March of 2023.

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P.O. Box 2641 San Antonio, TX 78299

Office: 210-673-7270 Email: info@operasa.org www.OperaSA.org