Romeo & Juliet Student Dress Program

MARCH 30 & APRIL 1 TOBIN CENTER FOR THE PERFORMING ARTS

A MESSAGE FROM THE CHAIRMAN 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

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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

OSA BOARD OF DIRECTORS Blair Labatt, Chair Matt West, Vice-Chair Mark Johnson, Treasurer Valerie Collins, Secretary Adriana Cisneros Dr. Sara McCamish James McCutcheon

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

Mel Weingart, Chair Emeritus

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THANK YOU 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

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By Charles Gounod 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

Jacqueline Echols

Mercutio

Zachary Nelson

Romeo

Stephano, Romeo's page Frere Laurent

Count Capulet Tybalt

Duke Kim

Lindsay Metzger

Federico de Michelis Timothy Mix

Carlos Santelli

Gertrude

Claudia Chapa

Gregorio

Leroy Y. Davis

The Duke Paris

Benvolio Dancers

Party Guests, Family Members,

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and Townspeople

Alan Higgs

Spencer Reichman

Eric Botto

Courtesy of Ballet San Antonio

The OPERA San Antonio Chorus

Stage Combatants Supernumeraries

PRODUCTION Conductor Original Production & Staging Stage Director Associate Stage Director

Intimacy Director and Fight Choreographer Scenic Design Costume Design Lighting Design Wig & Makeup Design Chorus Master Choreographer Pianist Technical Director Production Supervisor & Stage Manager Wardrobe Supervisor Assistant Lighting Designer Assistant Stage Managers Prop Master Wardrobe Assistant Stitchers Wig & Makeup Staff

Photographer Audio Recording Video Recording

Surtitlest Pre-Show Lecturer

Francesco Milioto Matthew Ozawa E. Loren Meeker Brenna Corner

Doug Scholz-Carlson William Boles Sarah Bahr Paul Whitaker Stephanie Williams Dottie Randall Rafael Ferreras Sheldon Miller Timothy Stettler Kathleen Edwards Stacie Healy Jason Bieber Hannah Schumacher Kaylin Story Karen Arredondo Victoria Fancki Jasmine Marcilla Elaine Blank Charles Douglas Samantha Fulmer Mary Elizabeth Depriest Karen Almond Chris Cline Bob Bohanek Emily Rubio Kevin Salfen

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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 Rose Arredondo Austin Opera Chris Bacon, Vinson & Elkins LLP Lynda Bailey Morgan Clyde Labatt Food Service Labatt Food Service Media and IT teams Adam Hamilton Jenna Jernigan Gary Mabry Maverick Carter House, Carriage House Joan Miller

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Alexander Montalvo Opera Guild of San Antonio Nathan Rader Radius Center Gallery Christina Rutherford Thomas Skrobanek The Tobin Center Staff Universidad Nacional Autonoma de Mexico - San Antonio Allison Voth Sandy and Andy Villarreal Laurel Watts

SYNOPSIS 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.

ACT I 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.

ACT II 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.

ACT III 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.

ACT IV 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.

ACT V 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.

- Courtesy of the Metropolitan Opera

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DIRECTOR'S NOTE 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.

- Courtesy of Matthew Ozawa

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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.

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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.

Photos of the performance by Marty Sohl

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A set rendering of Maria de Buenos Aires.

Credit: Courtesy / OPERA San Antonio

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.

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ARTIST BIOGRAPHIES FEDERICO DE MICHELIS, BASS-BARITONE Frere Laurent 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 Count Capulet 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.

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ARTIST BIOGRAPHIES ALAN HIGGS, BASS-BARITONE The Duke 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.

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ARTIST BIOGRAPHIES FRANCESCO MILIOTO Music Director & 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

Original Production & 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 & Artistic Director & Stage Director 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 Associate Stage Director

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.

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ARTIST BIOGRAPHIES DOUG SCHOLZ-CARLSON

Intimacy Director & Fight Choreographer 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 Scenic Design

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 Costume Design 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 Lighting Design 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.

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ARTIST BIOGRAPHIES STEPHANIE WILLIAMS Wig and Makeup Designer

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 Chorus Master 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..

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OPERA SAN ANTONIO CHORUS Kevin Arratia Carlee Abschneider Manuel Canales Ivy Cantu

Jake Jacobsen Samantha Luna Valerie Martinez Anthony McCain

Elizabeth Cortes Tavian Anthony McGee John Costello, Chorus Wrangler Naomi McMahon Rebekah Daly Caroline Melcher Gregory Garcia Maeli Mesilimet Madonna Gil Alexander Montalvo Kyree Harrison Robert Nauman John Hyland Veronica Perez

Jennifer Quintero Jeffery Jones Ragona Joseph Rodriguez Otoniel Rodriguez Andrew Sanchez Hillary Schranze Britnee Simone Cassidy Wallace Andrew Ward Anai Winn Margaret Wolfe

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CMI ORCHESTRA CMI STAFF Paul M. Montalvo, CMI President & CEO Leonardo Pineda, CMI Cover Conductor

Eliezer Anteliz, CMI Operations Manager Daniela Diaz, CMI Orchestra Manager

VIOLIN I

CELLO

FRENCH HORN

Henry Wang**

Kelvin Diaz Inoa*

Nelson Yovera*

Haesol Lee***

Titilayo Ayangade

Michael Stevens

Luis Cuevas

Eva Maria Barbado

TRUMPET

Carlos Chacon Luis Navarro

Liana Branscome Zhen Liu

Ronald Villabona Sergio Carleo

VIOLIN II Sami Merdinian* Brenda Rengel

Imanuel Sandoval Gregory Mata

Gregory Carreño

Freddy Contreras

Enn Rene Diaz Simon Perez

Luis Primera* Erika Perera

TIMPANI Gregory Mesa*

Katherine Rivas* Carmen Delgado

PERCUSSION

OBOE

Eric Peterson

Lucian Avalon*

VIOLA

Roberto Henriquez

Ruben Tovar*

FLUTE

Rodrigo Orviz*

Tal McGee

TROMBONE

Paola Garcia

CLARINET

Kevin Hsu

Joel Guahnich

BASS

Mario Zelaya

Jesse Morrison*

Ismael Cañizares*

Javier Morales

Dan Hartung

HARP Julie Woolfolk*

BASSOON

KEYBOARD

Corbin Krebs*

Daniel Anastasio*

Edwin Kaplan Jesus Saenz

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* Denotes Principal ** Denotes Concertmaster *** Denotes Associate Concertmaster

DANCERS

FIGHT CAPTAIN

Michal Agudelo Sofie Bertolini Aidan Carrasquel Julia Davis Aiden Moss Vianca Palacios

Morgan Clyde

FIGHTERS Kate Davis Venny Mortimer

SUPERNUMERARIES Lady Capulet Lord Montague Lady Montague Frere Jean Monk 2

Sabinra Nava Ross José Hernandez VMK Morrison Victor Chavez Matthew Costilla

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UPCOMING NEXT SEASON

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.

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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)

* Indicates Monthly Donor

OPERA ANGEL $100,000 +

City of San Antonio Kronkosky Charitable Foundation Labatt Food Service Graham M. Weston

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

The Labatt Foundation

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 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

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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

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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 CONTINUED CONTRIBUTOR $500 - $999

Anonymous Robin Brey Kari Lee Butts Dan and Marcia Goodgame

Gary Malanchuk Lillian P. Morris Keith and Pat Vigeon Orme Charitable Foundation Edward and Linda Poetschke Toby and John Tate

In honor of Blair and Barbara Labatt

Drs. Jayne & David Gordon James W. Kirkpatrick

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

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

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

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

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2022-2023 SEASON DONORS CONTINUED 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

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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.

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P.O. Box 2641 San Antonio, TX 78299

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