Romeo & Juliet Student Dress Program

MARCH30&APRIL1

TOBINCENTER FORTHEPERFORMINGARTS

Dear Friends,

Welcome to Gounod’s beautiful Romeo and Juliet, OPERA San Antonio’s third opera this year, after Pagliacci and Maria de Buenos Aires.

OPERA San Antonio is grateful to our patrons and the community at large for supporting us and making it possible to bring this unique art form to San Antonio. Since the Tobin Center opened we have produced two operas a year in the great H-E-B Hall, and we have tried within our financial limitations to offer sets and productions worthy of this wonderful hall. But we have also tried to put our resources towards bringing the top available singers to our city, singers who have sung or are about to sing at the top opera houses in the world.

We want you to know that we try to bring you the highest quality performances, but to be very fiscally responsible. We have balanced our budget for 9 years in a row. We want to be able to give San Antonio an organization that becomes a San Antonio institution—stable, even if small.

We know too that in many ways our most important job is to share the pleasure of this art form with our entire community all those who have never heard it, including young students who have almost no music education in their schools. Those of you who have been to our dress rehearsals filled with students will have felt the joy of being with young, enthusiastic, sometimes ravenous crowds.

It has been my privilege to be part of starting this opera organization, and to be its Chairman since 2017. In spite of many obstacles, I believe we have been true to our goals, the same vision set out by our founder Mel Weingart over a decade ago.

We have been fiscally prudent. We have done two big operas a year, always with the goal of being able financially to do more. We have begun to blend the greatest musical masterpieces of the past with new creative and even avant-garde pieces like our recent tango opera, Maria de Buenos Aires, and eventually with other great musical genres like Spanish zarzuela or, next year, Gilbert and Sullivan’s

great Pirates of Penzance

.

As our organization now evolves toward new board leadership, I thank you for the support all of you have given to our opera company and to me personally during our years of “start-up.” May there be many more good years to come.

Sincerely,

Blair Labatt Chairman, OPERA San Antonio

E. Loren Meeker General&ArtisticDirector

Garnett Bruce ArtisticAdvisor

Milioto MusicDirector

Madeline Elizondo

FriendsProgram&

EducationCoordinator

OSA BOARD OF DIRECTORS

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

Chair Vice-Chair 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

Francesco

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

Graham M. Weston

Drs. James E. Griffin III and Margo Denke Valerie Collins

Thursday, March 30, 2023 | 7:30 p.m.

Saturday, April 1, 2023 | 7:30 p.m.

H-E-B Performance Hall | Tobin Center for the Performing Arts

Libretto by Jules Barbier and Michel Carré

Based on the play Romeo and Juliet by William Shakespeare

Premiere: Théâtre-Lyrique Impérial du Châtelet, Paris on 27 April 1867

Sung in French with English translations

Scenery and Costumes for this production were constructed at the Minnesota Opera Shops and Cincinnati Opera and are jointly owned by Minnesota Opera and Cincinnati Opera. English Captions created for The Minnesota Opera by Dale Johnson.

Conductor, Francesco Milioto

Original Production & Staging, Matthew Ozawa

Stage Director, E. Loren Meeker

Associate Stage Director, Brenna Corner

CAST

Juliet

Romeo

Mercutio

Stephano,Romeo'spage

FrereLaurent

CountCapulet

Tybalt

Gertrude

TheDuke

Gregorio

Paris

Benvolio

Dancers

PartyGuests,FamilyMembers, andTownspeople

Conductor

OriginalProduction&Staging

StageDirector

AssociateStageDirector

IntimacyDirectorandFightChoreographer

ScenicDesign

CostumeDesign

LightingDesign

Wig&MakeupDesign

ChorusMaster

Choreographer

Pianist

TechnicalDirector

ProductionSupervisor&StageManager

WardrobeSupervisor

AssistantLightingDesigner

AssistantStageManagers

PropMaster

WardrobeAssistant

Stitchers

Wig&MakeupStaff

FrancescoMilioto

MatthewOzawa

E.LorenMeeker

BrennaCorner

DougScholz-Carlson

WilliamBoles

SarahBahr

PaulWhitaker

StephanieWilliams

DottieRandall

RafaelFerreras

SheldonMiller

TimothyStettler

KathleenEdwards

StacieHealy

JasonBieber

HannahSchumacher

KaylinStory

KarenArredondo

VictoriaFancki

JasmineMarcilla

ElaineBlank

CharlesDouglas

SamanthaFulmer

MaryElizabethDepriest

Photographer

AudioRecording

VideoRecording

Surtitlest

Pre-ShowLecturer

KarenAlmond

ChrisCline

BobBohanek

EmilyRubio

KevinSalfen

TOBIN CENTER STAFF

President&ChiefExecutiveOfficer

TechnicalDirector

DirectorofResidentCompany&

CommunityEngagement

BoxOfficeManager

EngagementCoordinator

RoseArredondo

AustinOpera

MikeFresher

HectorGutierrez

RickFrederick

PatriciaMoreno

MandieSullivan

SPECIAL THANKS

AlexanderMontalvo

OperaGuildofSanAntonio

ChrisBacon,Vinson&ElkinsLLP

LyndaBailey

MorganClyde

LabattFoodService

LabattFoodServiceMediaandITteams

AdamHamilton

JennaJernigan

GaryMabry

MaverickCarterHouse,CarriageHouse

JoanMiller

NathanRader

RadiusCenterGallery

ChristinaRutherford

ThomasSkrobanek

TheTobinCenterStaff

UniversidadNacionalAutonomadeMexico

-SanAntonio

AllisonVoth

SandyandAndyVillarreal

LaurelWatts

PROLOGUE

Verona, 18th century. The chorus shares the tale of the endless feud between the Montague and Capulet families, and of the love for their children, Romeo and Juliet.

ACTI

At a masked ball in the courtyard of the Capulet palace, Juliet’s cousin Tybalt assures Paris that Juliet, who has been promised to him, will enchant him. Count Capulet presents his daughter to the guests and invites everyone to dance. Mercutio and Romeo, Montagues, have donned masks to sneak into the ball, together with other friends. Romeo tells them about a strange dream he has had, but Mercutio dismisses it as the work of the fairy Queen Mab. Romeo watches Juliet and instantly falls in love with her. Juliet explains to her nurse, Gertrude, that she has no interest in marriage, but when Romeo approaches her in a quiet moment, both feel that they are meant for each other. Just as they discover each other’s identities, Tybalt happens upon them and recognizes Romeo. Count Capulet prevents Tybalt from attacking Romeo, who, with his friends, quickly depart from the ball.

ACTII

Later that night, Romeo enters the Capulets’ garden, looking for Juliet. When she steps out onto her balcony, he declares his love. Their encounter is briefly interrupted, but when they are alone again, Juliet assures Romeo that she will be his forever.

ACTIII

Romeo visits Frere Laurent and confesses his love for Juliet. Shortly thereafter, she also appears with Gertrude. Hoping that their love might reconcile their families, Frere Laurent marries them.

Outside the Capulet palace, Romeo’s page, Stephano, sings about a turtledove imprisoned in a nest of vultures. This angers several of the Capulets. Mercutio comes to Stephano’s aid, but soon Tybalt challenges him to fight. Romeo steps between them and asks Tybalt to forget about the hatred between their families. Tybalt has nothing but scorn for the Montagues, and when he kills Mercutio in their duel, Romeo stabs Tybalt to death. The Duke of Verona appears and, after both families demand justice, Romeo is exiled.

ACTIV

Romeo and Juliet have spent their secret wedding night in her room. She forgives him for killing Tybalt. The newlyweds passionately declare their love as day is dawning. They can hardly bring themselves to say goodbye. After Romeo has left, Count Capulet appears, together with Frere Laurent, and announces to his daughter that she is to marry Paris that same day. Desperate, Juliet turns to Frere Laurent, who gives her a potion that will make her appear to be dead. He promises that she will awaken with Romeo beside her. Love lends Juliet courage: She overcomes her fear and drinks the poison. On the way to the chapel where her wedding to Paris is to take place, Juliet collapses. To the guests’ horror, Count Capulet announces that she is dead.

ACTV

Romeo arrives at the Capulets’ crypt. Discovering Juliet’s body, he believes her to be dead and drinks poison. At that moment, she awakens, and the lovers share a final dream of a future together. As Romeo grows weaker, Juliet takes a dagger from his belt and stabs herself. The lovers die praying for God’s forgiveness.

Romeo and Juliet. Together, these two names comprise the most famous pair of young lovers in Western consciousness, synonymous with an eternal form of love. Yet their story tells a raw gut-wrenching tragedy where love, violence and death are at times one and the same.

Pulling from one of Shakespeare’s most popular plays, Gounod’s opera is a poetic interpretation of the conflict between youthful passionate desire and societal expectation. The true challenge in approaching any famous literary adaptation is seeing the material through a completely unbiased lens. How does one actually tell a story everyone knows so intimately as if for the first time? Or is part of the tragedy the fact that despite knowing the ending, we still desperately hope Romeo and Juliet will escape their fate?

I won’t lie that approaching such a well known story can be daunting. But what struck me so profoundly in re-examining the opera is how raw the music depicts the character’s extreme emotional states. Love and hate, while on opposite sides of the emotional spectrum are both fueled by passion, and it is this passion that ultimately leads to violence and then death.

Romeo and Juliet experience all forms of love from the joyful to romantic, passionate to overpowering. We root for their love because it is untarnished and seems exquisite. However, it is this precise youthful love that blinds Romeo and Juliet, enabling them to defy family, religion and society. In order to preserve the sanctity of their holy love in a world that cannot have such love exist, they must end their lives. It is this fate, this tragedy that makes our hearts weep each and every time. Ultimately, a world of violence will affect purity, and what more do we yearn for than the protection of an everlasting love.

Gounod’s music is filled with a lush dreamy quality that almost places Romeo and Juliet in a realm beyond that of the natural world. As a result, while our symbolic production sets the story during the time of Shakespeare, it mixes dreamlike images which both capture the idealism of love (large roses) with the dangerous world of societal division (a ceiling of weapons). Just as love morphs as Romeo and Juliet’s story develops, so too do the images of our show. Love, violence and death become intertwined, and time ultimately moves Romeo and Juliet swiftly forward to a fate that is both poetic and tragic. My sincere hope is that you open yourself to the joy and pain that is this timely love story.

A patron responds to the recent performance of Maria de Buenos Aires

On February 10 and 11, in the Carlos Alvarez Theater of the Tobin Center, OPERA San Antonio presented Maria de Buenos Aires, the tango opera written by Argentine composer Ástor Piazzolla (1921-1992) in 1968. Maria was the first contemporary opera to be performed by the young San Antonio opera company, which staged its first production in 2014. It was also the company’s first opera in Spanish.

For the production, the entire Alvarez Theater was transformed into a moody and evocative Buenos Aires cabaret, with strings of Christmas tree lights hung across the ceiling and large posters tacked onto the walls. Three sides of the theater were lined with structures that included two balconies and a large bar outfitted with bottles of wine and liquor. The singers and dancers performed from the bar and the two balconies. But they also used the central space of the theater, moving and weaving around the bar tables where audience members were seated. Dancers performing high-kicking tango moves often came within inches of the patrons, probably startling a few as they went. The audience itself was utterly engaged, pivoting back and forth to see the performers who were in constant motion around them. The whole theater experience was interactive, and in a very unusual way.

Piazzolla’s music was played by a small yet outstanding orchestra of ten, led by Pablo Zinger, the conductor, who also played the piano. Zinger has the distinction of having worked frequently with Piazzolla himself, who died in 1992. In addition to Zinger, the band had a gifted classical guitarist from Nicaragua, Isaac Bustos, and a prominent bandoneon, an Argentine instrument like an accordion, played by Rodolfo Zanetti. The rest of the orchestra came from the Classical Music Institute, the resident company of the Tobin Center, which is now performing for all the productions of OPERA San Antonio.

Piazzolla’s opera is a combination of speeches of theatrical declamation and operatic singing. The piece is a reflection on the life, death, and sacrifice of Maria, a Buenos Aires prostitute. In poetic and sometimes surreal imagery, Maria is constantly being imagined in distorted religious terms-- a nativity “on a day that God was drunk,” a life of victimization that ends in a sort of crucifixion, a Mary who brings forth no virgin birth, and a death that leads to no resurrection. The poetic language is challenging. What does it mean to say “Let the Devil dip his lame leg in Garnacha wine as he grinds”? In the speed of the performance the audience does not have much time to puzzle out a line like this. The surreal poetry dashes by, but always balanced by the solvent of the wonderful tango music. Gritty earthiness, constant motion, painful lives, and the omnipresent tango-- the world of Maria is a remarkable experience.

The actor/singers were experienced performers of Maria, having done the production many times before coming to San Antonio. The international cast included Catalina Cuervo from Colombia as Maria, Gustavo Feulien from Argentina as the Payador, a gaucho singer, and Blas Canedo González, who grew up in Colombia, as the Duende, or spirit. The Duende is the narrator of the story, and in one notable number berates the music of the bandoneon for its treachery and unreliability.

Maria de Buenos Aires brought San Antonio an intense and exciting taste of the avant-garde in contemporary opera. The music of Piazzolla was a demonstration of the incredible versatility of the tango form. The setting and the requirement for engagement from the audience made Maria an immersive and unique opera experience. The post-performance surveys of the audience were almost universally rhapsodic in their praise. OPERA San Antonio should certainly continue to find opportunities to bring such engrossing and singular experiences to small audiences outside the main stage.

A set rendering of Maria de Buenos Aires

Credit: Courtesy / OPERA San Antonio

Photos of the performance by Marty Sohl

ARTIST BIOGRAPHIES

JAQUELINE ECHOLS, SOPRANO

Juliet

OSA Debut. Recent Credits: Julie, Omar, LA Opera; Clara, Porgy and Bess, Des Moines Metro Opera; Soloist, The Cleveland Orchestra; Soloist, Cincinnati Symphony Orchestra.

Upcoming Credits: Musetta, La bohème, Washington National Opera; Juliet, Romeo and Juliet, Arizona Opera.

DUKE KIM, TENOR

Romeo

OSA Debut. Recent Credits: Ferrando, Così fan tutte, Palm Beach Opera; Don Ottavio, Don Giovanni, The Atlanta Opera; Roméo, Roméo et Juliette, Florentine Opera.

Upcoming Credits: Alfredo, La traviata, Seattle Opera; Roméo, Roméo et Juliette, The Glimmerglass Festival; Title Role, Faust, Irish National Opera.

ZACHARY NELSON, BARITONE

Mercutio

OSA Debut. Recent Credits: Leporello, Don Giovanni, North Carolina Opera; Marcello, La bohème, New Orleans Opera; Sharpless, Madama Butterfly, Lubbock Symphony Orchestra. Upcoming Credits: Alberich, Das Rheingold, The Atlanta opera; Faninal, Der Rosenkavalier, Santa Fe Opera; Dulcamara, L’Elisir d’Amore, Florentine Opera.

LINDSAY METZGER, MEZZO

Stephano

OSA Debut. Recent Credits: Sandman, Hansel and Gretel, Dallas Opera; Cherubino, Le Nozze di Figaro, Austin Opera; Flora Vervoix (cover), La traviata, The Metropolitan Opera.

Upcoming Credits: Melissa, La liberazione di Ruggiero dall’Isola d’Alcina, Haymarket Opera Company; Soloist, Anna Karenina, Joffrey Ballet; Songbird, La Périchole, Florentine Opera.

ARTIST BIOGRAPHIES

FEDERICO DE MICHELIS, BASS-BARITONE FrereLaurent

OSA Debut. Recent Credits: Sacristan, Tosca, Dutch National Opera; Colline, La bohème, Gran Teatre del Liceu; Balthazar, La favorite, Houston Grand Opera. Upcoming Credits: Elmiro, Otello, Central City Opera.

TIMOTHY MIX, BARITONE CountCapulet

OSA Debut. Recent Credits: Joseph De Rocher, Dead Man Walking, Opera Idaho; Bartolo, The Barber of Seville, Opera Delaware; Alberich, Das Rheingold, Opera Santa Barbara. Upcoming Credits: Title Role, Sweeney Todd, Opera Tampa; Scarpia, Tosca, Amarillo Opera, Count di Luna, Il Trovatore, Opera Santa Barbara.

CARLOS ENRIQUE SANTELLI, TENOR

Tybalt

OSA Debut. Recent Credits: Tybalt, Romeo and Juliet, Houston Grand Opera; Count Almaviva, The Barber of Seville, San Diego Opera; Nemorino, The Elixir of Love, Virginia Opera. Upcoming Credits: Tonio, The Daughter of the Regiment, Opera Orlando.

CLAUDIA CHAPA, MEZZO Gertrude

OSA Debut: Berta, The Barber of Seville, 2017. Recent Credits: Zita, Gianni Schicchi, San Diego Opera; Josefina, El milagro del recuerdo, Houston Grand Opera; Fricka, Die Walküre, Virgina Opera. Upcoming Credits: Curator and Soloist, Bela noche de musica, Austin Opera.

ALAN HIGGS, BASS-BARITONE TheDuke

OSA Debut. Angelotti/Sciarrone, Tosca, 2019. Recent Credits: Sacristan, Tosca, Lyric Opera of Chicago; Mayor, Jenufa, Santa Fe Opera; Alidoro, La Cenerentola, The Atlanta Opera.

Upcoming Credits: TBA, Lyric Opera of Chicago, 2023.

LEROY Y. DAVIS, BARITONE

Gregorio

OSA Debut. Recent Credits: Prince Yamadori, Madama Butterfly, The Atlanta Opera; Marcello, La bohème, Kentucky Opera; Charlie, Three Decembers, Opera on the Avalon.

Upcoming Credits: The Pirate King, The Pirates of Penzance, Nashville Opera; Figaro, Il Barbiere di Siviglia, Florentine Opera.

SPENCER REICHMAN, BARITONE

Paris

OSA Debut. Recent Credits: Schaunard, La bohème, Nashville Opera; Edler 4/Administrator, Sky on Swings, Opera Saratoga; Schaunard, La bohème, New Orleans Opera Association. Upcoming Credits: Germont, La traviata, Shreveport Opera; Huntsman, Rusalka, Santa Fe Opera.

ERIC BOTTO, TENOR

Benvolio

OSA Debut. Recent Credits: Rodolfo, La bohème, Eklund Opera; Satyavān/Toby, Sāvitri/The Medium, First Coast Opera; Spoletta, Tosca, Chautauqua Opera. Upcoming

Credits: Gennaro, Lucrezia Borgia, New Amsterdam Opera; Prunier (cover), La rondine, Opera on the James.

ARTIST BIOGRAPHIES

FRANCESCO MILIOTO MusicDirector&Conductor

OSA Debut: Conductor, La traviata, 2018. Recent Credits: Conductor, Aida, Tulsa Opera; Conductor, The Nutcracker, Ballet San Antonio; Conductor, Pagliacci, OPERA San Antonio.

Upcoming Credits: Conductor, Hansel and Gretel, OPERA San Antonio; Conductor, Aida, Lyric Opera of Chicago; Conductor, La bohème, Florentine Opera.

MATTHEW OZAWA

OriginalProduction&Staging

OSA Debut. Recent Credits: Production & Stage Director, Orfeo, San Francisco Opera; Production & Stage Director, Romeo & Juliet, San Diego Opera; Production & Stage Director, Fidelio, San Francisco Opera. Upcoming Credits: Production & Stage Director, Madama Butterfly, Cincinnati Opera; Production & Stage Director, Fidelio, Canadian Opera Company; Production & Stage Director, Madama Butterfly, Detriot Opera.

E. LOREN MEEKER

General&ArtisticDirector&StageDirector

OSA Debut: The Barber of Seville, 2017. Recent Credits: Stage Director, Hansel and Gretel, New Orleans Opera Association; Stage Director, Rigoletto, OPERA San Antonio; Stage Director, The Marriage of Figaro, Austin Opera.

Upcoming Credits: Stage Director, La bohème, The Glimmerglass Festival; Stage Director, Stage Director, TBA, OPERA San Antonio.

BRENNA CORNER

AssociateStageDirector

OSA Debut. Recent Credits: Associate Stage Director, La bohème, 2018. Recent Credits: Director, Il Trovatore, Washington National Opera; Director, Cenerentola, Kentucky Opera; Associate Director, Lucia di Lammermoor, Los Angeles Opera. Upcoming Credits: Director, Rigoletto, Intermountain Opera; Director, Carmen, Des Moines Metro Opera; L’Elisir d’Amore, Florentine Opera.

ARTIST BIOGRAPHIES

DOUG SCHOLZ-CARLSON

IntimacyDirector&FightChoreographer

OSA Debut. Recent Credits: Intimacy Director, Fire Shut Up in My Bones, Metropolitan Opera; Intimacy/Fight Director, Medea, Metropolitan Opera; Intimacy/Fight Director, Romeo and Juliet, San Diego Opera. Upcoming Credits: Intimacy/Fight Director, Don Giovanni, Minnesota Opera; Director, The Winter’s Tale, Great River Shakespeare Festival; Intimacy Director, Dead Man Walking, Metropolitan Opera.

WILLIAM BOLES

ScenicDesign

OSA Debut. Recent Credits: Scenic Designer, Snow Dragon, Opera Siam; Scenic Designer, Second Nature, Lyric Opera of Chicago; Scenic Designer, The Property, Lyric Opera of Chicago. Upcoming Credits: Scenic Designer, Review 111, Second City; Scenic Designer, Cinderella, Geva Theater.

SARAH BAHR

CostumeDesign

OSA Debut. Recent Credits: Costume Designer, 5, Jungle Theater; Costume Design, Invisible Cities, Ragamala Dance Company; Costume & Scenic Designer, Georgiana & Kitty: Christmas at Pemberly, Jungle Theater. Upcoming Credits: Scenic Design, We Shall Someday, Theater Latte Da; Costume Design, Emilia, Ten Thousand Things Theater; Costume Design, Don Giovanni, Minnesota Opera.

PAUL WHITAKER

LightingDesign

OSA Debut. Recent Credits: Lighting Designer, Life and Death of Alan Turing, Chicago Opera Theatre; Lighting Designer, Romeo and Juliet, Minnesota Opera and San Diego Opera. Upcoming Credits: Scenic & Lighting Designer, Next Normal, Theatre Latte Da; Lighting Designer, Sumo, La Jolla Playhouse.

ARTIST BIOGRAPHIES

STEPHANIE WILLIAMS WigandMakeupDesigner

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

DOTTIE RANDALL ChorusMaster

OSA Debut: Chorus Master, Macbeth, 2017. Recent Credits: Chorus Master La traviata, Faust, Pagliacci; OPERA San Antonio. Upcoming Credits: Music Staff Chautauqua Opera.

RAFAEL FERRERAS Choreographer

OSA Debut. Recent Credits: Choreographer, Iris Orchestra, Ballet Memphis. Upcoming Credits: Ballet Master, Ballet San Antonio 2022-2023 Season..

OPERA SAN ANTONIO CHORUS

KevinArratia

CarleeAbschneider

ManuelCanales

IvyCantu

ElizabethCortes

JohnCostello,ChorusWrangler

RebekahDaly

GregoryGarcia

MadonnaGil

KyreeHarrison

JohnHyland

JakeJacobsen

SamanthaLuna

ValerieMartinez

AnthonyMcCain

TavianAnthonyMcGee

NaomiMcMahon

CarolineMelcher

MaeliMesilimet

AlexanderMontalvo

RobertNauman

VeronicaPerez

JenniferQuintero

JefferyJonesRagona

JosephRodriguez

OtonielRodriguez

AndrewSanchez

HillarySchranze

BritneeSimone

CassidyWallace

AndrewWard

AnaiWinn

MargaretWolfe

VIOLIN I

HenryWang**

HaesolLee***

CarlosChacon

LuisCuevas

LuisNavarro

LianaBranscome

ZhenLiu

RonaldVillabona

SergioCarleo

VIOLIN II

SamiMerdinian*

BrendaRengel

ImanuelSandoval

GregoryMata

GregoryCarreño

FreddyContreras

MarioZelaya

VIOLA

JesseMorrison*

KevinHsu

TalMcGee

RobertoHenriquez

EdwinKaplan

JesusSaenz

PaulM.Montalvo,CMIPresident&CEO

LeonardoPineda,CMICoverConductor

EliezerAnteliz,CMIOperationsManager

DanielaDiaz,CMIOrchestraManager

CELLO

KelvinDiazInoa*

TitilayoAyangade

EnnReneDiaz

EvaMariaBarbado

SimonPerez BASS LuisPrimera*

ErikaPerera

PaolaGarcia

FLUTE

KatherineRivas*

CarmenDelgado

OBOE

LucianAvalon*

CLARINET

RodrigoOrviz*

JavierMorales

BASSOON

CorbinKrebs*

*DenotesPrincipal

**DenotesConcertmaster

FRENCH HORN

NelsonYovera*

MichaelStevens

TRUMPET

IsmaelCañizares*

JoelGuahnich

TROMBONE RubenTovar*

TIMPANI

GregoryMesa*

PERCUSSION

EricPeterson

DanHartung

HARP

JulieWoolfolk*

KEYBOARD

DanielAnastasio*

DANCERS

MichalAgudelo

SofieBertolini

AidanCarrasquel

JuliaDavis

AidenMoss

ViancaPalacios

SUPERNUMERARIES

LadyCapulet

LordMontague

LadyMontague

FrereJean

Monk2

MorganClyde

FIGHT CAPTAIN FIGHTERS

KateDavis

VennyMortimer

SabinraNavaRoss

JoséHernandez

VMKMorrison

VictorChavez

MatthewCostilla

For More Information Visit:

www.OperaSA.org

ENTER TO WIN TICKETS

Look for our survey email after the performances of Romeo & Juliet and tell us about your experience. Complete the survey and you will be automatically entered to win complimentary tickets to our fall production of Hansel and Gretel in October of 2023.

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 - March 20, 2023)

*IndicatesMonthlyDonor

OPERA ANGEL

$100,000 +

City of San Antonio

Kronkosky Charitable Foundation

Labatt Food Service

Graham M. Weston

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

The Labatt Foundation

Semmes Foundation Fund of the San Antonio Area Foundation

The Tobin Endowment

The Martha-Ellen Tye Foundation

GRAND PATRON

$10,000 - $24,999

Valerie Collins

Comprehensive Home Health & Hospice

Laura and Sam Dawson

Elizabeth Huth Coates Foundation of 1992

The Ewing Halsell Foundation

FASTSIGNS Northeast, FASTSIGNS Downtown

Frost Bank Charitable Foundation

C.H. Guenther & Son LLC

Impact San Antonio

Impact San Antonio is a women’s collective giving, grant-making nonprofit organization serving the greater San Antonio area.

Juris Medicus

Greg & Bekki Kowalski

Luther King Capital Management

Dr. Sara McCamish & Dr. Edward Briggs

Katherine and James McAllen/ Amy E. Stieren

National Endowment for the Arts

This project is supported in part by an award from the National Endowment for the Arts

John L. Nau, III

Tracy and David Pope

Texas Capital Bank

2022-2023 SEASON DONORS

CONTINUED

GRAND BENEFACTOR

$5,000 - $9,999

Able City / Parra & Co

Milton Babbitt

Emma & Toby Calvert, Richard Calvert, Karen Calvert

Frost

Mr. and Mrs. Robert R. Lende

In honor of Blair Labatt

James E. McCutcheon

In memoriam B. Letitia Rogers

The Meeker Family

Tim and Kathy Musgrave

Phil Muth

The Ann and John Newman Family Fund

In honor of Barbara and Blair Labatt

Opera Guild of San Antonio

Pulmonary Consultants of San Antonio

Louis H. and Mary Patricia Stumberg Foundation

Texas Commission on the Arts

Barbara B. Wood

Worth & Associates

PRINCIPAL BENEFACTOR

$2,500 - $4,999

A. John and Belinda F. Andersen

Donna Barrow

In memory of Sue Storm

Cynthia & Charles Huey Family Fund of the Southwest Community Foundation

Bruce & Anne Johnson

Sterling Foods

TEAM Group, Ltd.

Alice and Sergio Viroslav

BENEFACTOR

$1,000 - $2,499

Blue Skies of Texas

Margaret Corning Boldrick

Tony & Carla Canty

Costa Solutions LLC

Jim and Frances Garner

Ronald C. Keller

Sharon M. Kocurek

Mary L. Marino

Taddy McAllister

Becky McEuen & Chan Peterson

Paul Montalvo

Cynthia O'Connor

The Original Mexican Restaurant & Bar

Polly and George Spencer

In honor of Blair and Barbara Labatt

Brig. Gen. Sue E.Turner

Marshall and Elizabeth White

In honor of Bronwyn White

The Williamson Foundation

2022-2023 SEASON DONORS

CONTRIBUTOR

$500 - $999

Anonymous

Robin Brey

Kari Lee Butts

Dan and Marcia Goodgame

In honor of Blair and Barbara Labatt

Drs. Jayne & David Gordon

James W. Kirkpatrick

Gary Malanchuk

Lillian P. Morris

Keith and Pat Vigeon Orme

Charitable Foundation

Edward and Linda Poetschke

Toby and John Tate

SUPPORTER

$250 - $499

*Paul and Anne Comeaux

Steven A. Ewing

Vincent R. Johnson and Jill Torbert

Grace B. Labatt

In honor of the Blair Labatt Family

Mr. and Mrs. Alex Aguirre

Harry Akin

*Jorge Alonzo

*Anonymous

Marie Barrett

Argie S. Bonduris

Matthew Charles Brockway

Katherine P. Brooks

Richard Butler

Maura Conron

The Elizondo Family

Mr. & Mrs. Farouk Ferchichi

John Greiner

Judy Haddox

In memory of Kathy Hall

Janna Hartman

Dr. & Mrs. Edward T. Herbold

A. Ryland Howard

In memory of Edith A Boulware

Charles John and Lisa Petrosky

Robert Knapp

Carl and Ann Leafstedt

Chuck and Petra McCann

Howard and Vicki Palefsky

In honor of Mr and Mrs Blair Labatt

Laura A. Powell

*Kevin and Laura Salfen

FRIEND

$100 - $249

Anna Lopez

In memory of Estella Guevara

Veronica S. Lopez

In honor of E. Loren Meeker and Madeline Elizondo

Joe Manci, COL USAF (RET)

In memory of Col Yale "Buzz" Trustin

Zelime G. Matthews

Roger and Suzanne Meeker

*Andrea Melcher

In honor of Caroline Melcher

Sandy & Art Nicholson

Bianca Ramos

Elva Ruiz

Linda Seeligson

Margaret King Stanley

William R. Sutton

Al and Joan Thaggard

Joe Tiemann

In memory of Kathy Chapman

Mr. & Mrs. Jose Luis Heredia Villagomez

2022-2023 SEASON DONORS

SUSTAINER up to $99

Nancy Fix Anderson

Emily Becher

Dr. Kenneth Bloom & Dr. Sheila Swartzman

Brenda Cantu

Mr. & Mrs. David Burgess

*Gary Finger

Andrew Kunau

Fabiola Luevano

Dr. David Maize

Joaquin G. Mira

Stephanie Key and David Mollenauer

Victor Moya

G.J. Peña, Jr - Laredo, TX

Marc Raskinski

David Allen Solis

Rabbi Samuel and Lynn Stahl

Martha Vasquez

In honor of Jean Walker

Robert Walsh

Michael Wark

Michael Wurth

Elizabeth Wymer

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 lifechanging way.

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

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.