Opera Theatre of Saint Louis 2024 Program Book

O P E R A T H E AT R E O F S A I N T LO U I S

S E A S O N

F E S T I V A L

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T H E F O R T Y- N I N T H F E S T I VA L S E A S O N | 2 0 2 4

O P ERA THE AT R E O F SA I N T LO UI S

STRETCH THE DEFINITION OF LUXURY

Proud to be the longest-standing supporter of OTSL, with an ongoing sponsorship of artists-in-training W W W. H E F F E R N .C O M

314.863.8820

Located in the heart of Clayton at Carondolet and Hanley 101 South Hanley Road, Lobby Suite 110, Clayton, MO 63105

2024 49th fe stival season T h e BARBER o f SEVILLE

by GIOACHINO ROSSINI

LA BOHÈME

by GIACOMO PUCCINI

J u l i u s CAESAR

by GEORGE FRIDERIC HANDEL L

GALILEO G a l i l e i

by PHILIP GLASS

CENTER STAGE A YOUNG ARTIST SHOWCASE

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OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

EXPERIENCEOPER A.ORG

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Don (pictured right) Diagnosed with lung cancer – Early detection Lung cancer screening

You’re more important than you know.

You touch lives. You give smiles. You are someone’s favorite person. Your health matters.

A retired Navy petty officer, Don smoked a pack a day for more than 40 years. After receiving a flyer in the mail explaining the risk factors for those with a smoking history, he decided to schedule a lung screening. He was shocked to discover that he had early-stage lung cancer. As a husband, father, and active grandparent, he is now cancer-free and living a happy life surrounded by his loving family.

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t a b l e o f CONTENTS G E T TO K N OW U S

SUPPORT

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Welcome from the Board Chair

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Annual Fund

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Welcome from the General Director

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Loyalty Giving

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Performance Schedule

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Endowment Donors

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Other Festival Season Events

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Crescendo Circle

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The OTSL Experience

120

Tribute Gifts

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Our History

122

Intermezzo Society

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Remembering Richard Gaddes

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Spring Gala

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Donor Salute:

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National Patrons Council

The Brown Family Legacy 78

Advancing the Next Generation

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Volunteer Profile: Gerry Frankfeld

O U R P EO P LE

OTH E R I N FO R MATIO N 10

Our Shared Promise

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Land Acknowledgement &

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Board of Directors

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Meet our 2024 Artists

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In Memoriam

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St. Louis Symphony Orchestra

132

Opera Theatre Repertory

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Opera Theatre Staff

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Program Book Advertisers

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Community Engagement &

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Accessibility Services

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General Information

Inclusion Council & Young Friends 127

Guild Board & Volunteers

Toast to Webster University

Opera Theatre of Saint Louis is funded in part by the National Endowment for the Arts, the Missouri Arts Council, and the Regional Arts Commission. Opera Theatre gratefully acknowledges Webster University for its sustaining partnership.

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WELCOME

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elcome to the 2024 Festival Season! We are so glad to have you at the Loretto-Hilton Center for what I know will be a fantastic performance. What takes place in these all-too-short six weeks is nothing short of magical, and I’m grateful that you’re with us.

Opera is a unique art form in that it encompasses all the art forms with profound impact: music, drama, costuming, scenic design, carpentry, lighting, and so much more. The result is an immersive sensory experience, and one that I hope adds value to your life.

Opera offers us the opportunity to gather, empathize, and learn by being visually transported to another place through the magic of the stage. We can find solace and connection while being entertained — what a gift!

I am grateful for all of our artists who, by sharing their talents with us, create a place for entertainment, reflection, and beauty. It is impossible to quantify their impact on us all.

It’s frequently said that “opera is the ultimate team sport,” and I want to acknowledge the incredible team of volunteers, staff, and board for their tireless efforts to support our artists and make these operas come to life.

And of course, to you, our loyal audience — you are an essential part of the OTSL family. Our work here at Opera Theatre would be meaningless without your participation. Thank you for being here, whether you’re exploring opera for the first time or are a seasoned veteran. OTSL has planned a remarkable season designed to delight and inspire, and we’re so glad you’re here!

Kim Eberlein Chair, Board of Directors

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WELCOME

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he Festival Season is my favorite time of year. From enjoying wonderful dinners in our beautiful gardens, to experiencing incredible talent on and off stage, and mingling with artists and audience members under our iconic tents after performances — what we have at Opera Theatre is incredibly special. I find myself deeply humbled and grateful for all that has been created here, and this year I am particularly thankful to our founding General Director, Richard Gaddes.

Sadly, Richard passed away on December 12, 2023. He is missed by friends and colleagues both at Opera Theatre and within the greater opera community. We’ve relished sharing our memories of him and celebrating his vision for this company — a vision ahead of its time in 1976, and which continues to inspire our work to this day.

Together with the other founders, Richard established an opera company that is grounded in a few key principles — a commitment to nurturing young singers; championing new and innovative repertory; and creating an approachable, accessible audience experience. Those principles have been nurtured and maintained for nearly fifty years, and continue to thrive at OTSL, stewarded by my brilliant artistic colleagues. Artistic Director James Robinson, Artistic Director of Young Artist Programs Patricia Racette, and Principal Conductor Daniela Candillari have curated an exciting season that we hope will transport audiences not only to Seville, Paris, Alexandria, and Rome, but to emotional heights and depths that only opera can inspire.

It is a privilege to share opera with our community, and it truly takes a community to bring this work to life. My thanks to the staff, artists, artisans, volunteers, donors, community partners, and board members for all they do to champion this art form and this company. I am especially grateful to our Board Chair Kim Eberlein for her ongoing partnership and leadership.

It is with great joy that we dedicate our 2024 Festival Season to our founding General Director Richard Gaddes, whose memory we will cherish and whose legacy will continue to inspire our work. On behalf of all of us at OTSL, thank you for sharing this meaningful season with us.

Andrew Jorgensen General Director

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Exclusive Catering from

Proud partner of Opera Theatre of Saint Louis for over 40 years!

cesandjudys.com | 314.991.6700 info@cesandjudys.com 10

OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

24 25 145th Season

Wonder, joy, and discovery

Join us today

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PROMISE a community code of conduct WELCOME TO OPERA THEATRE OF SAINT LOUIS! At Opera Theatre of Saint Louis, we are dedicated to creating an atmosphere of warmth, joy, and shared appreciation for the beauty of opera. We pledge to make every effort to make operagoers feel welcome, respected, and valued. To achieve this, we’ve crafted “Our Shared Promise” — a set of shared, mutual expectations that will foster a positive and inclusive experience for all. We invite you to join us in shaping an environment where everyone can fully enjoy the magic of the performing arts!

When you attend an OTSL performance or engage with our community, we pledge to do our best to ensure you experience: 1. Respect and Kindness: We agree to treat one another with kindness, respect, and compassion. We believe in the power of courtesy and understanding to create a shared space where everyone can enjoy music, theater, and shared experiences.

2. Inclusivity: We are proud to be an inclusive organization.

Discrimination, harassment, or disrespect based on any aspect of ability or identity have no place at Opera Theatre.

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Photo © Jessica Flanigan

3. Fun: We believe that opera is not only a form of artistic expression, but also a source of joy and entertainment. We hope that together, we can share in moments of laughter, appreciation, and the comradery of a shared artistic experience.

4. A Safe Environment: The safety of our community is our top priority. We ask you to please notify the appropriate staff or security if you observe physical harassment, abusive language, or any form of threatening behavior. We will abide by all government laws and regulations in our theater and at our events, including local health and safety guidelines.

Together, we hope to create an environment that respects the well-being of all.

OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

While we believe in the power of shared values, we know that sometimes misunderstandings can occur. If you witness a situation that goes against “Our Shared Promise” or if you have concerns, please don’t hesitate to reach out to our friendly ushers or any other member of the Opera Theatre team. You are also welcome to send us an email at boxoffice@ opera-stl.org, and we’ll be more than happy to assist.

Thank you for being a part of Opera Theatre of Saint Louis.

Your presence is what makes our work meaningful, and we’re thrilled to share this experience with you. Together, let’s make every moment at the opera unforgettable!

EXPERIENCEOPER A.ORG/CODE

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2024 fe stival season sc he dule There’s no shortage of captivating performances to enjoy in May and June.

We look forward to seeing you at one or more of these operas!

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LA BOHÈME LA BOHÈME THE BARBER OF SEVILLE THE BARBER OF SEVILLE JULIUS CAESAR THE BARBER OF SEVILLE JULIUS CAESAR LA BOHÈME JULIUS CAESAR GALILEO GALILEI THE BARBER OF SEVILLE THE BARBER OF SEVILLE GALILEO GALILEI LA BOHÈME GALILEO GALILEI LA BOHÈME JULIUS CAESAR GALILEO GALILEI CENTER STAGE LA BOHÈME JULIUS CAESAR GALILEO GALILEI JULIUS CAESAR GALILEO GALILEI THE BARBER OF SEVILLE LA BOHÈME

JUNE 1 5 6 8 9 12 13 14 15

Saturday Wednesday Thursday Saturday Sunday Wednesday Thursday Friday Saturday

16 Sunday 19 Wednesday 20 Thursday 21 Friday 22 Saturday 23 Sunday 25 Tuesday 26 Wednesday 27 Thursday 28 Friday 29 Saturday 30 Sunday

Post-Show Champagne Toast

Young Friends Night

ASL (American Sign Language)

Audio Description

Pride Night

Pre-show picnics may be enjoyed in the David W. Mesker Festival Gardens prior to each performance.

Free opera previews begin one hour before each performance in the Community Music School, next door to the theater.

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D I S COV E R M O R E D U R I N G O U R F E S T I VA L S E A S O N

BEYOND

the stage

Every Festival Season, more than 20,000 people attend a mainstage performance. However, even during the height of a season, Opera Theatre works to make opera as fun and accessible as possible by going “beyond the stage” to bring free and low-cost events featuring the season’s shows, directors, designers, and artists to more of our community.

In total, Opera Theatre reaches more than 80,000 people a year! From inviting students to attend dress rehearsals at no cost, to providing networking opportunities for young professionals, to exploring the intersections of visual art and theater at the Saint Louis Art Museum, we always aspire to create and connect to great art in new, surprising, and delightful ways.

Read on for a snapshot of the many ways you can engage with Opera Theatre this May and June — we hope to see you at one or more of these offstage events! Everyone is welcome.

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CAROL L. KIMBALL SPOTLIGHT ON OPERA SERIES

Mondays, May 6, 13, 20, & June 3 at 7 p.m.

Kirkwood Performing Arts Center, 210 E. Monroe Ave. Discover insights into the season’s operas through panel discussions with composers, directors, designers, and special guest speakers. Moderated by General Director Andrew Jorgensen, each Spotlight focuses on a different production and features live performances of operatic excerpts by members of OTSL’s Young Artist Programs.

ExperienceOpera.org/Spotlight Leadership support for Opera Theatre’s year-round community programs comes from Noémi K. Neidorff.

The Spotlight on Opera series is made possible with gifts celebrating the life of Carol L. Kimball, a member of the Opera Theatre family who was a generous friend and a beloved volunteer. Photo © J. David Levy

OPERA PREVIEWS

May 25 – June 30 6:30 p.m. before evening performances 11:30 a.m. before matinee performances Community Music School, 535 Garden Avenue One hour before each performance, members of OTSL’s music staff present a free, informative 20-minute talk highlighting the story and music of each opera.

Previews take place in the Concert Hall of the Community Music School, located next door to the theater, and are the perfect introduction to the opera you are about to see!

Opera Previews are generously underwritten by Mary Susman & Tom Herm.

YOUNG FRIENDS NIGHTS

May 25, June 5, 13, 14, 19, 23, 26 & 29 at 6 p.m.

Loretto-Hilton Center, 130 Edgar Road Young Friends events are designed to give patrons 45 and under the chance to meet, mingle, and socialize during an unforgettable trip to the opera...without breaking the bank. Participants enjoy an exclusive pre-performance buffet and open bar along with great seats for the opera, all starting at just $49 per person — or even less with a multi-show pass.

ExperienceOpera.org/YoungFriends Special thanks to media sponsor St. Louis Magazine and cocktails sponsor Spirits of St. Louis Distillery. Photo © Camille Mahs

INTERMEZZO NIGHT AT THE OPERA

Thursday, June 6 at 5:45 p.m.

Loretto-Hilton Center, 130 Edgar Road The Intermezzo Society is dedicated to supporting and celebrating new voices in opera. Four events throughout the year offer opportunities to connect with the St. Louis community and OTSL artists. At this third event of 2024, members enjoy a preperformance dinner in the lush David W. Mesker Festival Gardens. Membership starts at $50 per month or $600 annually. Visit page 122 to learn more about the Intermezzo Society!

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B E YO N D TH E S TAG E D I SCOV ER M O R E D U R I N G O U R FE S TIVA L S E A SO N PRIDE NIGHT AT THE OPERA

Saturday, June 1 at 6 p.m.

Join us for a loud and proud celebration of Pride Month! Unleash your inner diva, enjoy special welcome drinks, and party with a post-show DJ while you mingle with OTSL’s artists. This fabulous evening features Puccini’s timeless masterpiece La bohème. Special Pride Night ticket packages range from $49-$149.

ExperienceOpera.org/PrideNight Leadership support for Opera Theatre’s year-round community programs comes from Noémi K. Neidorff.

Pride Night at the Opera is generously sponsored by Photo © Phillip Hamer

SING OUT VOCAL CAMP

June 3–7 560 Music Center, Washington University Sing Out is an extension of OTSL’s award-winning Bayer Fund Artists-inTraining Program. High school students receive daily voice lessons, participate in vocal master classes with season artists, and study movement, acting, and audition preparation. Sing Out includes tickets to live performances of The Barber of Seville and La bohème. The camp culminates with a recital and a fully staged scene performance.

ExperienceOpera.org/SingOut

OPERA EXPLORERS

June 10–14

Carpenter Library, 3309 S. Grand Blvd.

This popular summer camp introduces young people to the magic of opera. Hosted by the St. Louis Public Library, students ages 9-13 will explore the basics of stagecraft, including singing, writing, composing, costuming, stage makeup, and set design. Campers will use their new skills to create and stage their own original mini-opera. After the camp, students and their parents or guardians will have the opportunity to attend a matinee performance of The Barber of Seville.

ExperienceOpera.org/OperaExplorers

OPERA TOURS AT THE ART MUSEUM

Sundays, June 2 & 9 at 1 p.m. (The Barber of Seville) Sundays, June 16 & 23 at 1 p.m. (Galileo Galilei) Saint Louis Art Museum, 1 Fine Arts Drive In two special one-hour tours, Saint Louis Art Museum docents lead guests through the Museum’s collection, highlighting sculptures, paintings, and themes that correspond to Opera Theatre’s productions of The Barber of Seville and Galileo Galilei. Tours depart from the Visitor Information Center in the Sculpture Hall in the Main Building. All tours are free; no reservations are required.

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JOHN D. & SALLY S. LEVY MASTER CLASSES

June 2, 14, & 28 Sally S. Levy Opera Center, 210 Hazel Ave. Inaugurated by the legendary Eleanor Steber in 1988, these extraordinary master classes offer insights by distinguished artists into the craft of singing and interpretation, featuring performances by select Richard Gaddes Festival Artists and Gerdine Young Artists. Tickets are $15 and available at the door.

Donors at or above the $250 Contributor level may attend free of charge.

ExperienceOpera.org/MasterClass Funded in part by the John D. & Sally S. Levy Master Class Endowment Fund and presented in memory of John D. & Sally S. Levy, founding board members of Opera Theatre.

Photo © Camille Mahs

PATRICIA RACETTE Soprano

Sunday, June 2 at 12:30 p.m.

Patricia Racette is known as one of the great singing actresses of our time, and she continues to share her artistry with audiences around the world. However, in St. Louis, she is even more beloved for her work as the Artistic Director of OTSL’s Young Artist Programs. Every season, she crafts a rigorous curriculum for our young artists that helps push them to new heights of musical and dramatic interpretation — and this master class is the perfect example of that work in action!

PAUL GROVES Tenor

Friday, June 14 at 12:30 p.m.

One of the great American tenors of his generation, Paul Groves continues to enjoy an impressive international career performing on the stages of the world’s leading opera houses and most prestigious concert halls. Before returning to OTSL for the role of Older Galileo in Philip Glass’ Galileo Galilei, he sang the role of Howie Albert in Terence Blanchard’s Champion at the Metropolitan Opera (2022-23) and Lyric Opera of Chicago (2023-24). Mr. Groves is an Artist-in-Residence at Louisiana State University’s School of Music.

ANA MARÍA MARTÍNEZ Soprano

Friday, June 28 at 12:30 p.m.

Grammy Award-winner Ana María Martínez is one of the foremost sopranos of her time, with an international career that spans the world’s most important opera houses and concert halls. A winner of the 15th Annual Opera News Awards, she is steadfastly committed to being a leader in the industry, as well as an advocate and educator for the next generation of musicians. In 2019, Ms. Martínez joined the Houston Grand Opera as their first-ever Artistic Advisor. In July 2021, she was also appointed Professor of Voice at The Shepherd School of Music at Rice University, following a two-year appointment as Artist-in-Residence.

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Train with the Pros

Webster University’s Sargent Conservatory of Theatre Arts is the only undergraduate training program that has a major regional theatre and an opera company on campus, providing students the unparalleled opportunity to train with expert faculty and working professionals.

To learn more, scan the QR code or visit webster.edu/conservatory 2023 production of Myths and Hymns. Photo by Phillip Hamer.

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OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

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OTSL

A U S E R ’ S G U I D E TO O P E R A T H E AT R E O F S A I N T LO U I S A visit to OTSL is more than just seeing a show! Whether you’re new to opera, or new to our festival, we want to do everything we can to make you feel welcome. Here are a few helpful tips on how to make the most of your visit.

We hope you have a fabulous time!

SAVOR A PRE-SHOW PICNIC Enjoy open-air dining in our beautiful David W. Mesker Festival Gardens, surrounded by your fellow opera-goers. Seating is first come, first served — no reservations required!

The gardens open 2.5 hours prior to performances.

Pre-order one of our picnic boxes (prepared by Ces & Judy’s Catering) for an easy and delicious meal. Just visit ExperienceOpera.org/Picnics or call the Box Office at (314) 961-0644 by 4 p.m. the day before your show to place an order. Craving your favorite recipes? You’re also welcome to bring your own food and beverages!

The David W. Mesker Festival Gardens are made possible by the

GET ACQUAINTED WITH OPER A PREVIEWS One hour before every performance, a member of Opera Theatre’s music staff delivers an informal 20-minute presentation on the music and history of the opera you are about to see. Join us for these free previews, which are perfect for both the opera newcomer and the experienced veteran, in the Community Music School just next to the theater.

Opera Previews are generously underwritten by Mary Susman & Tom Herm.

ENJOY OPER A IN ENGLISH At OTSL, there’s no need to brush up on your German or Italian. Since our founding in 1976, all our operas have been performed in English! They’re also accompanied by projected supertitles, so you’ll never miss a second of the drama. Plus, in an intimate theater of just 987 seats, you’re never far away from the heart of the action.

R AISE A GL ASS AF TER THE PERFORMANCE After the performance is over, the entire audience is invited to join the cast for cocktails under the stars. Return to our candlelit gardens to meet your favorite singer, enjoy another round, and discuss the show with your friends.

We’d love to see you there — everyone is welcome!

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GIVING THANKS for w he re we stand

O The largest earthen mound in North America, aerial view of Monk’s Mound in Cahokia, IL. Photo © Matt Gush

pera Theatre of Saint Louis acknowledges that we exist and gather on the ancestral homelands of the Osage Nation, Missouria, and Illini Confederacy, who were removed unjustly, and that we in this community are the beneficiaries of that removal.

Despite centuries of forcible removal and the loss of many tribal nations, more than 183,400 Indigenous individuals still live in Missouri today. We pay respect to elders both past and present, and we honor them as we live, work, and create art here.

To learn more about the history and legacy of Indigenous peoples, as well as ways to get involved in advocacy, please visit the Alliance for Native Programs & Initiatives at nativealliance.org.

A N OTE O F THAN KS

S

ince Opera Theatre’s inaugural season in 1976, Webster University has graciously provided a warm, welcoming home for the company. Dr. Leigh Gerdine, who was the university’s president at the time, was also OTSL’s founding board chairman. Without his advocacy and the university’s decades of support, it is unlikely that Opera Theatre could have grown into the world-class festival it is today.

Each spring, opera fans from around the world make the journey to Webster University’s LorettoHilton Center to experience OTSL’s Festival Season. A key landmark of the OTSL experience is the university’s idyllic backdrop of lush, green gardens, where audience members and staff gather for pre-show picnics and late-night toasts. More importantly, our

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The Loretto-Hilton Center and David W. Mesker Gardens at Webster University.

Photo © Ken Howard

partnership continues to nurture new generations of talented theater artists who begin their training in Webster’s Conservatory of Theater Arts program and later graduate into professional roles with Opera Theatre.

OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

We extend our profound gratitude to Webster University’s administration and board for their ongoing partnership.

B OA R D O F D I R E C TO R S E XEC U TIV E CO M M IT T EE Kim Eberlein Chair

Mont S. Levy Treasurer

Lelia J. Farr Vice-Chair

Ann McFarland Sullins Secretary

V. Raymond Stranghoener Vice-Chair

Jim Berges Cynthia J. Brinkley Spencer B. Burke ** Adrienne Davis Gina Hoagland Marcela Manjarrez Noémi K. Neidorff *

John H. Russell Robert L. Scharff, Jr. Linda Seibert  Rex Sinquefield Stephen Trampe Timothy Wentworth

David Hagee Dr. Lannis Hall Mrs. Ronald A. Holtman Heather Hunt-Ruddy Frank Jacobs Bettie Johnson Barry Kirk Eugene Kornblum Kenneth Kranzberg

J. David Levy, Jr. David J. Meiners, M.D. Mabel L. Purkerson, M.D. Win Reed Allison W. Roberts Lori Samuels Joseph Shepard Dr. Amber Simpson Thelma Steward

Dr. Donald M. Suggs Mary Susman Maria Guadalupe Taxman Mark Throdahl Franklin F. Wallis Phoebe Dent Weil Robin Wentworth

Mrs. William B. Firestone Richard Gaddes 

Joanne Kohn Charles MacKay

Gene W. Spector, M.D. Roma B. Wittcoff

B OA R D O F D I R EC TO R S Tania Beasley-Jolly Ashley Budde  Jane Clark Jamison F. Craft  Robert H. Craft, Jr.   Crystal Allen Dallas Arnold W. Donald Mrs. Irl F. Engelhardt Edes Gilbert

LI FE M EM B ER S Mrs. Stephen F. Brauer Robert M. Feibel, M.D.

PA S T B OA R D C H A I R S Dr. Leigh Gerdine  Mr. Laurance L. Browning, Jr.  Josephine C. Throdahl  David W. Mesker

1976–1978 1979–1986 1987–1995 1996–2001

Janet McAfee Weakley Donna Wilkinson  Spencer B. Burke Noémi K. Neidorff

2002–2003 2004–2008 2009–2015 2016–2021

Terms align with Opera Theatre's fiscal year (October 1 – September 30).

* **  

Immediate Past Chair Previous Chairman Ex-Officio Member In Memoriam

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Where it all began, with Opera Theatre’s very first production: Donizetti’s Don Pasquale, 1976.

Photo © Bill Smith

the STORY of OTSL

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orn in 1976, Opera Theatre began as the brainchild of a handful of opera-lovers who were determined to bring a permanent first-class opera company to this very musical city. They knew there was enough interest in St. Louis to support such a company, thanks to the popularity of other local and touring opera productions.

T H E FO U N D ER S Opera Theatre’s founders brought a deep appreciation for opera and a keen knowledge of business.

Leigh Gerdine was the president of Webster College and the former 122

chair of the Washington University Department of Music. Already a patron of the Santa Fe Opera (another summer opera festival), Leigh was convinced that a similar model could succeed in St. Louis.

He enlisted James A. Van Sant, president of General Steel Industries and a long-time opera champion, and Laurance (Larry) Browning of Emerson, whose young daughter was studying vocal performance.

Both knew the business community well and could help build credibility for a fledgling enterprise. Larry later followed Leigh as board chairman; his greatest gift to Opera Theatre was insisting on the strongest fiscal responsibility from the outset, a value that is faithfully upheld to this day. These local leaders knew that they needed to find the right artistic leader to bring their vision to life.

They turned to Richard Gaddes, then an artistic administrator for the Santa Fe Opera, and hired him as a consultant. Richard toured several local theaters, but the Loretto-Hilton

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Center was the one that caught his interest. He recognized the theater’s unique potential, from its intimate size to the inviting lawns outside, and he knew that an opera company could thrive here. His vision inspired such excitement that he was quickly hired to become Opera Theatre’s first general director.

S TA RTI N G S M A L L The first season opened on May 22, 1976. No one knew what to expect, and fewer than 200 people had actually paid for tickets to the opening night performance of Donizetti’s Don Pasquale. Board members handed out free tickets to employees, neighbors...anyone who they thought might attend. But the audience agreed in no uncertain terms: it was a smash success. By the end of the season, OTSL was playing to sold-out houses. From the start, Opera Theatre was doing things differently, presenting rare works such as Mozart’s The Impresario and Britten’s Albert Herring.

C R ITI C A L S U CC E S S After that, the momentum never let up, as word got around that something interesting was happening in St. Louis. The New Yorker sent esteemed critic Andrew Porter to review the 1977 season, and he liked what he saw. He said of Puccini’s Gianni Schicchi, “I have never seen a better performance of that opera anywhere,” and described Opera Theatre as “fresh, welcoming, artistically serious, and quite unpompous.” By 1978, music critic Alan Rich was calling Opera Theatre “one of the true jewels of the operatic firmament.” And it went on from there. By 1978, members of the St. Louis Symphony Orchestra were playing in the pit for all productions. In 1983, Opera Theatre became the first American company ever to be invited to perform at the Edinburgh Festival.

Since its founding, Opera Theatre has benefited from the leadership of brilliant artistic, musical, and administrative minds. In OTSL’s 49year history, the company has had only four general directors. Richard Gaddes was succeeded as general director by Charles MacKay (1985– 2008), under whom OTSL would expand its backstage capacity, build its first office and rehearsal building (the Sally S. Levy Opera Center), and launch its nationally acclaimed Bayer Fund Artists-in-Training Program for local high school students.

Important artistic appointments were also made: Colin Graham was named Artistic Director in 1985 and held that position until his passing in 2007. Stephen Lord served as Music Director from 1991 through 2017.

The role of general director was next taken up by Timothy O’Leary (2009–2018), who began OTSL’s influential New Works, Bold Voices series of world premieres by American composers and

Julia Bullock in the 2019 OTSL world premiere of Terence Blanchard’s Fire Shut Up in My Bones.

Photo © Camille Mahs

doubled the company’s endowment during his ten-year tenure. Joining him that same year was James Robinson, who has been OTSL’s Artistic Director ever since.

Most recently, General Director Andrew Jorgensen has carried on this tradition of excellence, making waves both in St. Louis and the broader opera industry. Shortly after his tenure began, Jorgensen announced that celebrated soprano Patricia Racette would be joining the company as Artistic Director of Young Artist Programs, a position she still holds currently. In the 2021-22 and 2022-23 seasons, the Metropolitan Opera produced two of OTSL’s world premieres by Terence Blanchard: Fire Shut Up in My Bones and Champion. These productions

marked the Met’s first operas by a Black composer. Meanwhile, here in St. Louis, the company weathered the COVID-19 pandemic by presenting its first-ever outdoor festival in 2021, held on one of Webster University’s parking lots; the season sold out in three days.

The 2022 Festival Season marked OTSL’s successful return to the Loretto-Hilton Center, along with Daniela Candillari’s premiere as OTSL’s Principal Conductor.

Opera Theatre owes a great debt of gratitude to the many founders, donors, and visionaries who made — and continue to make — our success possible. We look forward to bringing you another fantastic season this year. Thank you for joining us!

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RICHARD GADDE S Remembering OTSL’s Founding General Director by mark tiarks

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OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

“Thank God I’m not going to be running an opera company here in St. Louis!”

T

hat’s what Richard Gaddes remembered thinking on a rainy Saturday in November 1975, as he was visiting different venues with a small group of civic leaders who were determined to start a new company here. “The theaters were all drab and technically inadequate, and only Kiel Opera House [now the Stifel Theatre] had a large enough orchestra pit, but it was frighteningly big, at around 3,500 seats,” he later wrote.

Richard and his volunteer driver decided to make a last-minute detour on the way to Gaddes’ hotel, to Webster College’s Loretto-Hilton Center. Leigh Gerdine, Webster’s president, was one of the leaders who had invited Richard to St. Louis.

At the time, Gaddes was the Santa Fe Opera’s artistic administrator, where he had happily been working for the previous six years. “The idea of a couple of days in St. Louis with all expenses paid and a fee of $250 sounded like fun, so I said yes,” Gaddes said of his consulting visit.

Five months later, Richard was managing Opera Theatre of Saint Louis, helping tech crew members and volunteers scramble to build flats and paint scenery for the opening night of Don Pasquale on May 22, 1976, at the Loretto-Hilton.

Opera impresario was a surprising career path for the native of Wallsend, a small town in northeast England where the two conventional vocations for young men were coal mining and shipbuilding.

Richard Gaddes stands before the set of The Magic Flute in the Loretto-Hilton Center, 1984.

Thomas Gaddes, his father, had opted for the latter vocation. He and his wife Emily sang with local choruses, as did Richard, who was also a precocious piano student. Knowing his father would never approve of a career in music, Richard conspired with his mother, who squirreled away a few pence every week from the housekeeping allowance until they had enough saved up for a train ticket to London.

They eventually found a day-trip that would get

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Richard to and from London for an audition at Trinity College of Music before his father returned home from the shipyard. Mother and son stayed mum for many weeks until they got news that Richard had been accepted on a scholarship, when it was too late for Thomas to do anything more than grumble.

Richard Gaddes with (L to R) sopranos Pauline Tinsley, Sheri Greenawald, and Ashley Putnam under the tent, 1985.

Last year Richard called me and said, “My dear, when the time comes, I want you to write my obituary, and I want it to show me as I really was, warts and all.” After a pause, he added, “Well, maybe not all the warts, OK?” That ambivalence was part of a personality more complex than it appeared at first glance. He seemed, and was, a dapper Brit with highly cultured tastes in music, food, art, and wine. A man of legendary charm (most of the time), Richard was a skilled party host, fundraiser, and raconteur.

But the posh accents of his countrymen and women from the south of England secretly set his teeth on edge, and he loved to sneak off from the OTSL office for lunch at Miss Hulling’s Cafeteria, often with me in tow, since he knew that I wouldn’t rat him out for his plebeian sensibilities.

In other words, beneath the suave, upper-crust exterior lurked an egalitarian spirit that found room for expression in St. Louis for the first time since his arrival in the United States.

That spirit was evident in the report he submitted to the St. Louis group after his two-day visit, which described a company with an ensemble orientation that performed in English with singers drawn from the burgeoning ranks of young American artists, like those found in the Santa Fe Apprentice Program.

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Beneath the suave, upper-crust exterior lurked an egalitarian spirit that found room for expression in St. Louis for the first time since his arrival in the United States.

Tickets would be moderately priced, and the overall atmosphere at the Loretto-Hilton would be classy but friendly and welcoming, along the lines of what you’d get if Fred Astaire could be reincarnated as an opera company. The gardens outside also presented the ideal setting for pre-

OP EA AT TR RE E oo ff SS A A II N NT T LL O OU U II SS || 2 20 02 24 4 F FE ES ST T II V VA AL L S SE EA AS SO ON N O PE ER RA A T TH HE

and post-show festivities, similar to the Glyndebourne Festival of Richard’s native England.

The democratic sensibility of St. Louis’ young opera company got a big boost in 1978 with Richard’s inspiration to put a tent on the grounds where refreshments would be sold. The post-show atmosphere was particularly notable, with attendees and VIPs casually mingling with soloists, orchestra musicians, and tech crew members. Richard’s knack for bringing extraordinary artists and colleagues to St. Louis focused national and international attention on the company.

By 1980, it was clear Richard was indeed all in on Opera Theatre, having left his position in Santa Fe two years earlier. What started as a three-opera, three-week festival now offered four operas over four weeks. That, however, was just the beginning. With the addition of smallscale, one-act operas that toured to

Richard Gaddes observes a rehearsal of Così fan tutte with stage director Jonathan Miller, 1982.

Richard Gaddes on horseback.

Photo © Jane Douthitt

Face on the Barroom Floor in a series of taverns around town.

area schools and large-scale stagings outside the spring festival season, he and a small staff were soon mounting close to ten productions a year.

Consider 1983, for example.

There were four mainstage productions in May and June: La traviata, Don Giovanni, Hector Berlioz’s Beatrice and Benedict, and a double bill of works by Francis Poulenc and Frederick Delius. In September, OTSL became the first American company to perform at the Edinburgh Festival, with a gala concert, Stephen Paulus’ The Postman Always Rings Twice, Delius’ Fennimore and Gerda, and Henry

Mollicone’s one-act The Face on the Barroom Floor. In its copious free time, OTSL also produced Carlisle Floyd’s Slow Dusk for a tour of area schools and a holiday staging of Die Fledermaus at the American Theater.

That’s nine different operas plus a gala concert.

Richard was justifiably proud of the mainstage season successes and the Edinburgh Festival invitation, but he secretly loved the scrappier, informal aspects of the communitybased events. There were public performances of Dominick Argento’s The Boor (in which a horse plays a key off-stage role) inside AnheuserBusch’s Clydesdale stables, and of The

Top place in his heart went to a celebrated 1982 production of John Gay’s The Beggar’s Opera in an old wooden barn called The Apple Shed in Clarksville, Missouri. It was decades ahead of its time both as a site-specific production and a community-based project.

With minor modifications the barn was a perfect venue for a piece that satirized grand opera, among many other targets. The beggar of the title had to contend not only with its low-budget staging, which was part of his script, but also with unscripted performance interruptions by freight trains rumbling past outside, which prompted lots of improvisation. A scruffy eight-person “orchestra” was in costume and part of the action throughout, playing from memory.

For ten days before opening night, the entire company lived in and around Clarksville, staying in area homes where the hosts provided E EX XP PE ER R II E EN NC CE EO OP PE ER RA A .. O OR RG G

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breakfast. Lunches and dinners were catered at The Apple Shed by various community groups competing to see who could feed the company most gloriously. Area residents were welcome to stop by and watch rehearsals, and many got drafted to help with costumes and props, including a Mennonite family with a mule team that pulled down some outbuildings to create a parking lot.

OTSL’s first two general directors, Richard Gaddes and Charles MacKay, 1994.

The ability to conspire that Richard demonstrated with his mother over the music school audition wasn’t an anomaly. His skills at strategy, secrecy, and skullduggery would have made him a plausible candidate for Survivor; the athletic feats and bug-eating, not so much. He seemed the sort of person who would (and did) tell anybody almost anything, but in fact he had many different compartments in his life, and none of us felt as though we had gained entrance to all of them.

Richard was also skilled at reading the room (“I have very good antennae,” he would explain from time to time) but there were some occasional misfires. After the last in a series of daily fundraising lunches at a celebrated eatery in the Central West End, he returned to the OTSL office and proclaimed, “I’m so sick of great food I can hardly stand it!”

Sarah Bernhardt would have envied the tragic desperation of his declamation, but not its timing.

Three of us were just finishing our braunschweiger or bologna on white bread sandwiches and looked up at him in disbelief. After a pause he said, “Well, you’ll miss me when I’m gone!” and walked back to his office.

We couldn’t help but laugh at what became one of his standard lines, useful as an oblique means of apology.

After stepping down from OTSL following its 10th season in 1985 532

OTSL’s four general directors (L to R): Timothy O’Leary, Richard Gaddes, Charles MacKay, and Andrew Jorgensen, 2018.

Photo © Sylvain Gaboury PMC via Getty Images

OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

Richard Gaddes at OTSL’s spring gala, 2012.

He was a dapper Brit with highly cultured tastes in music, food, art, and wine...a man of legendary charm. when Charles MacKay was named OTSL’s next general director, Richard became president of Grand Center, serving in that capacity until 1994.

He also started inching his way back to the Santa Fe Opera, becoming a consultant to the apprentice program for singers in 1988, rejoining the company full-time in 1994 to work on its capital campaign to build a new theater, graduating to associate general director in 1995, and

succeeding General Director John Crosby after the 2000 season.

The national keystone to Richard’s career was in 2008, when the OTSL founder received one of the inaugural Opera Honors Awards from the National Endowment for the Arts. He was in exceptional company — other honorees included composer Carlisle Floyd and soprano Leontyne Price.

When Richard asked me to write his obituary, neither of us knew it would be needed so soon. Those who knew him well at least take some solace in the prestissimo pace of his departure — he would have been the worst lingerer in the history of health care.

Meanwhile, I have to say he was right.

Richard, we do miss you now that you’re gone.

Richard Gaddes (left) and Mark Tiarks (second from left) with the OTSL staff, 1981.

From 1979 to 19 8 4, M ark Tiark s wa s O p e ra T h e a t r e of S a i n t L o u i s ’ a r t i s t i c a d m i n i s t r a to r a n d d i r e c to r o f d e ve l o p m e n t , s o m e t i m e s simultaneously. He ser ved as t h e S a n t a F e O p e r a ’s d i r e c t o r o f s t r a t e g i c p l a n n i n g a n d m a r ke t i n g f r o m 1 9 9 9 to 2 0 1 0 a n d p r o d u ce d i t s off ff--season operas for several years .

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AMERICAN APOLLO DAMIEN GETER AND LILA PALMER

2024 FESTIVAL SEASON June 28 - July 21 THE BARBER OF SEVILLE by Gioachino Rossini / Alexander Birch Elliott as Figaro SALOME by Richard Strauss / Sara Gartland as Salome PELLÉAS & MÉLISANDE by Claude Debussy / Sydney Mancasola as Mélisande and John Moore as Pelléas AMERICAN APOLLO by Damien Geter and Lila Palmer / Justin Austin as Thomas Eugene McKeller (pictured)

FOR TICKETS AND MORE INFO: DMMO.ORG / (515) 209-3257

a salute to the

BROWN FAMILY LEGACY

Rex Brown, Erika Goldberg, and Phyllis Brown.

Photo courtesy of OTSL.

L

egacy gifts have made all the difference for Opera Theatre of Saint Louis. These gifts are envisioned many years in advance as part of an individual or family estate plan. The plans are often made quietly, driven by a desire to give future generations the experiences that bring joy to our lives.

Rex and Phyllis Brown made this choice by expressing a desire to their daughter that Opera Theatre of Saint Louis eventually be the beneficiary of the family’s estate.

Phyllis died in 2016 and Rex died in 2018. Opera Theatre first learned of this bequest in 2021 from Rex and Phyllis’ daughter, Susan, and the $1.1 million gift arrived across 2022 and 2023. Their generosity and firm belief in the company’s future was especially meaningful as we returned to live performances for the first time following the pandemic.

Rex and Phyllis were enthusiastic supporters of Opera Theatre from the company’s earliest days. They were Thursday night subscribers and would often picnic in the gardens before performances. The warmth and magic of the pre-show gardens is a famed part of the Opera Theatre

experience...and Rex and Phyllis helped to create this atmosphere year after year. They loved opera and enjoyed being part of this community.

Phyllis also volunteered her time as an Opera Theatre docent. The docents are a volunteer group that travel throughout the St. Louis community to share their knowledge and enthusiasm about opera. In this role, Phyllis worked side-by-side with teachers to bring opera into school classrooms. Retired Washington Montessori teacher and current co-chair of the Docents, Rose Nester, remembers Phyllis as a sweet person, a tireless worker, and a friend who was always welcome in her classroom.

In recognition of the Brown family’s extraordinary generosity to Opera Theatre, the docent program that Phyllis loved will be named in their memory going forward as the Rex & Phyllis Brown Docent Program.

Opera Theatre of Saint Louis is deeply grateful to the Brown family and to all who support the company’s work in many ways.

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OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

The BARBER of SEVILLE C O M I C O P E R A I N T WO AC T S Music by Gioachino Rossini..

Libretto by Cesare Sterbini after the play by Pierre-Augustin Caron de Beaumarchais..

English translation by Kelley Rourke,, commissioned by Opera Theatre of Saint Louis in 2015..

Edited by Patricia Brauner.. Used by ar rangement with European American Music Distributors Company,, U.S. and Canadian agent for Bärenreiter-Verlag,, publisher and copy r ight owner.

The Barber of Seville was fi firrst per for med at Teatro Argentina,, Rome,, on February 20,, 1816..

First per for med by Opera Theatre of Saint Louis on May 25, 1985..

creative team Jonathan Brandani* C o n du c to r Eric Sean Fogel* S t a g e D i re c t o r & C h o re o g ra p h e r Andrew Boyce S e t D e si g ne r Lynly Saunders* C o s t ume D e si g ne r Marcus Doshi L i ght in g D e si g ne r

Krystal Balleza Will Vicari Wig & Makeup Desig ners

Diane Machin R e side nt & As sis tant S t a g e D i re c t o r

Andrew Whitfield C h o r u s Ma s t e r

Francesca MacBeth S t a g e Ma n a g e r

Erie Mills E n glis h D ic t ion S p e c i a lis t

Valerie J. Clatworthy A s s i s t a n t S t a g e Ma n a g e r

Darwin Aquino A s s i s t ant & C o ve r C o n du c to r

Rickelle R. Williams A s s i s t a n t S t a g e Ma n a g e r

Eric Sedgwick R e p e t ite ur

Laurel Schmidt Inter n Assistant Stage Manager *Opera Theatre main season debut

This per for mance will last approximately 2 hours and 30 minutes, including one 25-minute nter mission.

Leadership support comes from Noémi K. Neidorff.

The Barber of Seville is supported by a gift honoring the memory of Sally S. Levy from The Saucy Foundation by her children: Lucy & J. David Levy, Diane & Paul Jacobson, and Karen & Mont Levy.

Opera Theatre dedicates this production to the memory of David W. Mesker, whose leadership and gifts of treasure, time, and spirit will enrich this company for years to come.

Jonathan Brandani’s engagement is made possible with the generosity of Mr.  & Mrs. Laurance L. Browning, Jr.  In Memoriam

THE CAST (in order of vocal appearance) FIORELLO David Wolfe*♦ COUNT ALMAVIVA Andrew Morstein* FIGARO Justin Austin+ ROSINA Hongni Wu* DR. BARTOLO Nathan Stark DON BASILIO Patrick Carfizzi

Christopher Tiesi as Almavivia, Emily Fons as Rosina, and Jonathan Beyer as Figaro in The Barber of Seville, 2015.

Photo © Ken Howard

BERTA/NOTARY Chase Sanders*♦ AN OFFICER Jared Werlein*♦

SY N O P S I S AC T I The wealthy Count Almaviva has fallen in love with Rosina. He serenades her, disguised as a poor student named Lindoro. While Rosina is intrigued, she is closely monitored by her guardian, Dr. Bartolo. Almaviva enlists the help of the jack-of-all-trades Figaro, who often works in Bartolo’s house. Figaro advises Almaviva to disguise himself so he can infiltrate the household.

* Opera Theatre main season debut ♦ Gerdine Young Artist ○ Former Gerdine Young Artist + Former Gaddes Festival Artist

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Meanwhile, Rosina has heard Lindoro’s love songs and wants to send him a letter. Bartolo tells Don Basilio, Rosina’s music teacher, that he plans to marry Rosina so he can take possession of her dowry. Don Basilio informs Bartolo that Count Almaviva is Rosina’s unknown lover, and vows to spread ugly rumors about the Count to have him thrown out of the town. Overhearing this, Figaro tells Rosina of Bartolo’s plan to marry her. Rosina scoffs at the idea and gives Figaro her note for Lindoro. Bartolo realizes that Rosina has been corresponding with someone; when she refuses to confess, he locks her in her chamber.

OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

The BARBER

of SEVILLE

“Ah, life is marvelous when you’re an ar tist, when you’re the sharpest — more than a barber. I do it all! I do it all!”

- Libretto e xc e r pt f rom T HE B A R BER OF SE V IL L E

Count Almaviva arrives at the house, disguised as a drunken soldier with phony orders to be billeted in Bartolo’s home.

Bartolo protests that he is exempt from housing soldiers, but the Count refuses to leave and drops a note for Rosina on the ground. The Count and Bartolo get into a scuffle, and soldiers arrive. The Count evades arrest by quietly revealing his true identity to the officer in charge. The soldiers withdraw, leaving everyone else in a state of utter confusion.

AC T I I When Almaviva returns, he is disguised as a music teacher, Don Alonso. He tells Bartolo that Basilio is sick.

To gain the doctor’s trust, Almaviva produces a love letter from Rosina, “obtained by accident,” and explains how it could be used to discredit Rosina’s secret lover.

Impressed with this scheme, Bartolo allows Alonso to give Rosina a music lesson. Basilio appears, in perfect health,

and the scene erupts in confusion once again. After Basilio is dispatched, Figaro arrives; as he gives Bartolo a shave, Almaviva tells Rosina to prepare to escape with him at midnight, by means of a ladder at the window.

Alone with Rosina, Bartolo tells her that her secret lover plans to sell her to Count Almaviva; he produces her love letter as evidence. Upset, she confesses that she had planned to elope with Lindoro that very evening and agrees to marry Bartolo out of spite.

Later, when the Count and Figaro arrive, Rosina angrily confronts them before learning, to her amazement, that her earnest suitor Lindoro is the Count himself. As they prepare to escape, they find that the ladder has been removed. Amidst the confusion, Basilio arrives with a notary; encouraged by a bribe from the Count, he is pressed into witnessing the marriage of Rosina and the Count. Bartolo arrives but it is too late — young love has won the day.

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a note f rom THE DIRECTOR b y E ri c S e a n Fo g e l WHO WAS BEAUMARCHAIS? Pierre-Augustin Caron de Beaumarchais (17321799) was, what we might call today, a Renaissance man. In addition to being a playwright, he was also a watchmaker, publisher, revolutionary, and musician.

Beaumarchais wrote several plays but is most famous for his Figaro trio: Le Barbier de Séville (The Barber of Seville), Le Mariage de Figaro (The Marriage of Figaro), and La Mère coupable (The Guilty Mother).

Produced in 1775, 1781, and 1792, respectively, all three plays feature the characters Figaro and Count Almaviva.

They represent the changing social mores before, during, and after the French Revolution.

Several composers turned Beaumarchais’ plays into operas, with varying degrees of success. Wolfgang Amadeus Mozart wrote The Marriage of Figaro 30 years before Rossini’s The Barber of Seville made its premiere.

Italian composer Giovanni Paisiello’s Le Barbier de Séville premiered in 1782, and La Mère coupable by French composer Darius Milhaud premiered in 1966.

I

was elated when James Robinson asked me to come to Opera Theatre of Saint Louis and create a new The Barber of Seville. But I was also a little bit intimidated — the opera is notoriously difficult to stage.

Eric Sean Fogel Photo © Deborah Lopez

The Barber of Seville tells the story of two young lovers and an elder who tries, unsuccessfully, to stand between them. It’s a familiar trope on the stage, perhaps because it’s familiar in real life. My own grandparents were forbidden to marry by their guardians, but they didn’t let that stand in their way. In 1943, they traveled here to St. Louis to elope at the Chase Park Plaza.

But the opera is more than a love story — the title is, after all, The Barber of Seville! The Count’s friendship with Figaro is at least as important as his romance with Rosina. In my earliest conversations with Kelley Rourke (who wrote our English translation) and other members of the creative team, I wanted to make sure Figaro remained at the center of the plot.

We decided to set the piece in 1930s Spain, just before the Spanish Civil War that led into the Second World War. At that time, the country was teeming with artists who were challenging the status quo, just as Beaumarchais’ Figaro — a character who had a lot in common with his creator — challenged norms in the original Figaro trilogy. Figaro is a creative fellow, a jack-of-all-trades, and we decided to lean into the idea of Figaro as “Artist.”

Inspired by Spanish artists like Pablo Picasso, Salvador Dalí, and Joan Miró, our Figaro is an artist performing a difficult balancing act: entertaining the masses without alienating the nobility. The Spanish surrealists were living and working in a world that was, on the surface, very different from that of Beaumarchais, yet their aims were largely the same: to fight against oppressive structures and clear the way for love and truth.

What I love about Figaro is that he makes magic out of everyday items and quick thinking. There is so much audacity and optimism — just like the audacity and optimism that inspired my grandparents to defy their families and run off to St. Louis all those years ago.

a note f rom THE CONDUCTOR b y J o n a t h a n B ra n d a n i

I

consider The Barber of Seville one of those incredible works of art that — even after centuries of performances — never lose their brilliancy and freshness: from beginning to end, this opera is a miracle of musical energy and it’s not surprising that some of its most memorable pieces have acquired an iconic status even in the broader popular culture.

One example of this is the sinfonia that opens The Barber of Seville.

As a young kid, years before I experienced the full opera, I was already familiar with its overture, which I heard many times in different contexts: concerts, TV, radio, and even (memorably) sung by my uncle, complete with his own nonsensical lyrics! Its main themes are so memorable and its rhythmical activity so forwarddriving that when combined with Rossini’s ability to create incredible momentum through a wellcalibrated intensification of energy using crescendo and accelerando, no one can escape the sheer vitality and enthusiasm of this music!

“Largo al Factotum,” the title role’s cavatina, is also one of this opera’s greatest hits and rightly so; its music immediately communicates Figaro’s irresistible energy, joie de vivre, resourcefulness, and humor.

Rossini’s ability to create comedy through music is astonishing to me.

Don Basilio’s aria “La calunnia” is a brilliant example of how Rossini uses his irresistible crescendo technique

to build up comic excitement of hilarious and exaggerated proportions, which perfectly matches the character’s excessive and hyperbolic narrations. The quick sections of Don Bartolo’s aria “Signorina un’altra volta” require the baritone to sing a ridiculous number of syllables at neck-breaking speed; the point here, though, isn’t to showcase the singer’s virtuosic skills, but to create music that vividly and immediately conveys Don Bartolo’s hysteric frenzy and loss of selfcontrol. And at the very end of the Act I finale, it is Rossini’s ingenious music, with its relentless rhythmical energy and growing momentum, which brings to the forefront the ridiculous comedy of this scene by highlighting the characters’ sense of disbelief and turmoil.

But The Barber of Seville is not just lightness and comedy — you can also find moments of sincere tenderness and melodic introspection that betray the influence of Romanticism, such as Count Almaviva’s opening cavatina or his serenade in Act I. Most notably, the storm music in Act II, with its violent and impassioned character, is not meant to depict the weather in Seville that night, but rather the stormy feelings of Rosina, who in that moment believes she has been betrayed by her lover. It is a powerful parallelism between human emotions and natural events, typical for the Romantic age, but one that you probably would not expect to find in a comedy like this one.

Jonathan Brandani Photo © Jenna Mahr

Don Basilio’s aria “La calunnia” is a b r i l l i a n t e x a mp l e o f h o w R o s s i ni u s e s hi s irresistible crescendo t e c hni q u e t o b u i l d u p c o mi c e x c i te m e n t o f hi l a r i o u s a n d exaggerated propor tions, which perfectly matches the character’s excessive and hy perbolic narrations.

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We are honored to support the Opera Theatre of Saint Louis and its mission to nurture the development of the next generation of opera artists and artisans.

The Berges Family Foundation believes in the power of the arts to inspire, build understanding, and transform our communities. We are proud to support Opera Theatre of Saint Louis and their 49th Season.

EMPOWERING YOUTH • NURTURING S.T.E.M. FUTURES SUPPORTING OUR HEROES • THRIVING ST. LOUIS www.BergesFamilyFoundation.org

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La BOHÈME O P E R A I N F O U R AC T S Music by Giacomo Puccini..

Libretto by Giuseppe Giacosa and Luigi Illica after the novel Scènes de la vie de bohème by Henri Murger..

English translation by Richard Pearlman and Francis Rizzo with revisions by Kelley Rourke..

La bohème was fi firrst per for med at the Teatro Regio,, Turin,, on February 1, 1896..

First per for med by Opera Theatre of Saint Louis on May 19, 1978..

creative team José Luis Gómez* C o n du c to r Michael Shell S t a g e D i re c t o r Takeshi Kata S e t D e si g ne r Amanda Seymour C o s t ume D e si g ne r Marcus Doshi L i ght in g D e si g ne r Seán Curran C h o re o g ra p h e r

Krystal Balleza Will Vicari Wig & Makeup Desig ners Andrew Whitfield C h o r u s Ma s t e r Jennifer Ringo E n glis h D ic t ion S p e c i a lis t Kedrick Terrell Armstrong A s s i s t ant & C o ve r C o n du c to r

Kristen Barrett S t a g e Ma n a g e r Jessie Mhire A s s i s t a n t S t a g e Ma n a g e r Emily Stafford* A s s i s t a n t S t a g e Ma n a g e r Chris Moeggenberg Inter n Assistant Stage Manager

Marika Yasuda* R e p e t ite ur Anna Theodosakis A s s i s t a n t S t a g e D i re c t o r

*Opera Theatre main season debut

This per for mance will last approximately 2 hours and 30 minutes, including one 25-minute inter mission.

Leadership support for La bohème comes from the Steward Family Foundation and the Berges Family Foundation.

Additional production support is provided by Mr. & Mrs. William B. Firestone, Mr. & Mrs. Robert L. Scharff, Jr., and Dr. & Mrs. Gene W. Spector.

THE CAST (in order of vocal appearance) MARCELLO Thomas Glass RODOLFO Moisés Salazar*○

Sean Michael Plumb as Schaunard, Bradley Smoak as Colline, Lauren Michelle as Musetta, Anthony Clark Evans as Marcello, Andrew Haji as Rodolfo, and Hae Ji Chang as Mimì in La bohème, 2016.

Photo © Ken Howard

COLLINE André Courville* SCHAUNARD Titus Muzi III■○ BENOIT/ALCINDORO Robert Mellon+○ MIMÌ Katerina Burton○ A STROLLING VENDOR Benjamin Ruiz*♦ PARPIGNOL Levi Adkins*♦ MUSETTA Brittany Renee* CUSTOMS OFFICER Jared Werlein*♦ SERGEANT Justin Ramm-Damron*♦

* Opera Theatre main season debut ♦ Gerdine Young Artist ■ Richard Gaddes Festival Artist ○ Former Gerdine Young Artist + Former Gaddes Festival Artist

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SY N O P S I S AC T I The poet Rodolfo and the painter Marcello contemplate how they will get through the winter in their frigid apartment. They resort to burning the manuscript of Rodolfo’s latest play to keep warm. Their roommates Colline, a philosopher, and Schaunard, a musician, join them. Schaunard is the hero of the hour, bringing food, wine, and gold that he has just earned. They all plan to go out to dinner to celebrate Christmas Eve, but are interrupted by their landlord, Benoit, who has come to collect their rent. Marcello gets Benoit drunk to avoid paying rent. The friends depart for the Café Momus, but Rodolfo stays behind to write.

Another knock at their door reveals his beautiful neighbor, Mimì, whose candle has gone out in the stairwell. Rodolfo welcomes her in and is instantly smitten. Mimì has a brief fainting spell and, as she recovers, realizes she has dropped her key. Rodolfo helps her to look, but when he finds it, he hides the key as an excuse to spend more time with Mimì.

He invites her to join his friends for dinner, and she accepts.

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La BOHÈME

AC T I I The bohemians pass through the bustling streets on the way to the café. There, they see Musetta — Marcello’s former sweetheart — with the wealthy Alcindoro.

Marcello is determined to ignore Musetta, who is equally determined to gain his attention. Musetta causes a scene by pretending something is wrong with her foot. Alcindoro is mortified by her behavior and leaves to get her new shoes. Musetta and Marcello fall back into each other’s arms and Musetta departs with the bohemians, leaving Alcindoro with the bill.

AC T I I I On a cold February morning, Mimì seeks Marcello’s advice. She tells him that her relationship with Rodolfo is deteriorating because of his jealousy, but that they love each other too much to break up. Marcello notices with concern that Mimì seems ill. They see Rodolfo coming, and Mimì hides while Marcello reprimands Rodolfo for his behavior. Rodolfo confesses that he loves Mimì more than

anything, but that his jealous outbursts are just a pretense; she is dying and he can’t stand to watch her suffer because of his poverty. At that moment, Mimì reveals herself.

Rodolfo is horrified by what she’s overheard. Meanwhile, Marcello and Musetta get into a heated argument about Musetta’s tendency to flirt with other men. Even as Marcello and Musetta storm away from one another, Rodolfo and Mimì decide to wait until spring to part ways.

AC T IV Back in their garret, Marcello and Rodolfo are heartbroken — both Musetta and Mimì are in new relationships with wealthier men. Schaunard and Colline enter with a meager supper and the artists attempt to make light of their situation. Musetta bursts in and tells the men that Mimì has collapsed in the stairwell. Rodolfo helps her to bed, and the group sends for a doctor. Mimì confesses that she has never stopped loving Rodolfo, and the pair shares one last passionate embrace.

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a note f rom THE DIRECTOR

by Michael Shell

A NOTE FROM

KATERINA BURTON When I came to OTSL as a Gerdine Young Artist in 2019, I could have only dreamed that it would lead to a role debut I’ve dreamed of for years. I first saw La bohème in 2014 at Washington National Opera with Corinne Winters (another former GYA) as Mimì, and I fell in love with the opera.

I think many of us return to this work because we see ourselves in these characters. They’re all struggling with the harsh realities of life in their own way, and yet they still choose art, friendship, and above all else, love.

Like Mimì, I’ve always been a dreamer; my first summer at OTSL I sang a sweeping Puccini duet for Center Stage and I knew in my heart that it was all I ever wanted to do.

Returning to St. Louis to share this debut with everyone at my first artistic home is nothing short of a dream come true!

B

eing in love can be the most fantastic sensation you’ve ever felt. Especially in the early days of a romance, it can lift everyday moments and make them seem like they are accompanied by a symphony orchestra. With a perfectly timed soundtrack following every action you and your beloved take, it seems like nothing could ever tear you apart. Sadness, pain, and even death cease to exist. This is what Mimì and Rodolfo experience in Act I and II of Puccini’s La bohème.

The feeling of being swept away changes as the piece moves on — it becomes larger than Mimì and Rodolfo and will soon engulf them.

Our La bohème takes place in the early 1950s. Everything about Paris in that time becomes even more vibrant, electric, and theatrical when Mimì, Rodolfo, and their friends visit streets of the Latin Quarter of Paris on Christmas Eve. But as the story progresses, the vibrancy and color are slowly removed. The heightened theatricality that carried the characters becomes more pedestrian.

The characters' lives now experience pain and tragedy.

Setting the opera in this early period of post-war art takes us out of the social realism of the 30s and 40s and into a new realm. This setting epitomizes both the abstraction and

Michael Shell Photo © Kelly Lenza

This setting epitomizes both the abstraction and the expressionism of art and the artist’s life at that time.

Art is new, literature is new, and we highlight these sweeping changes in the bohemian world where our artists find themselves. the expressionism of art and the artist’s life at that time. Art is new, literature is new, and we highlight these sweeping changes in the bohemian world where our artists find themselves.

a note f rom THE CONDUCTOR b y J o s é L u i s G ó m ez

P

uccini´s La bohème constitutes an important pillar of any opera conductor’s repertoire, and to have the chance to conduct this piece many times is not only a joy but an incredible experience all together. Puccini’s score is one of complexity and perfection that is difficult to match. The fresh straightforwardness of the musical text in conjunction with the poetry of the words hits directly in the listener’s heart and soul, performance after performance.

La bohème was one of the first works I approached in my opera career, and each time I’ve conducted it, I’ve discovered the enduring greatness of a story that is timeless and universal. The sweetness of youth’s innocence speaks through the joyful melodies and playful passages in the first act.

These elements convey unstoppable joie de vivre embraced by the four friends — Rodolfo, Marcello, Colline, and Schaunard — as depicted in the opera’s opening motif. In addition, we hear Puccini’s genius through the soft sound of muted strings and a faint knock on the door, signaling the pivotal moment that alters Rodolfo’s life and destiny. By the end of the act, Rodolfo takes flight alongside the angelic and ethereal Mimì, their harmonious duet becoming one of the most beautiful moments in the entire operatic repertoire.

In this magnificent opera, Puccini offers the conductor and orchestra not only a chance to support the singers through near-impressionistic language, but to also be a clear protagonist of the entire drama,

José Luis Gómez Photo © Kaupo Kikkas

inflicting the actions with colors, textures, and atmospheres that makes one wonder if the music and text are, in fact, a single entity rather than two separate elements.

AN EXCERPT FROM HENRI MURGER'S

SCÈNES DE LA VIE DE BOHÈME "Gustave Colline, the great philosopher; Marcel, the great painter; Schaunard, the great musician; and Rudolph, the great poet — as they were wont to style themselves — regularly frequented the Café Momus where, being inseperable, they were nicknamed the four musketeers...indeed they always went about together, played together, dined together, often without paying the bill, yet always with a beautiful harmony worthy of the Conservatoire Orchestra."

I personally would like to emphasize in our La bohème all the nuances of the very specific dynamics and articulations that maestro Puccini intended in the score, thereby delivering as literally as possible all the detailed shapes that affect the soloists, the chorus, and the full orchestra.

It is a great honor and responsibility to perform this masterwork at Opera Theatre of Saint Louis and to collaborate with director Michael Shell to bring every emotion of this work to the audience.

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V I S I T W C H O F.O R G / M U S I C S E R I E S FO R T I C K E TS A N D I N FO R M AT IO N

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Julius CAESAR OPER A IN T WO AC TS Music by George Frideric Handel.

Libretto by Nicola Francesco Haym, adapted from Giulio Cesare in Egitto by Giacomo Francesco Bussani.

English translation by Brian Trowell with revisions by James Robinson.

Julius Caesar was first performed at the King’s Theatre, London, on February 20, 1724.

creative team Daniela Candillari Conductor Elkhanah Pulitzer Stage Director Allen Moyer Set Designer Constance Hoffman Costume Designer Eric Southern Lighting Designer Seán Curran Choreographer

Krystal Balleza Will Vicari Wig & Makeup Designers Andrew Whitfield Chorus Master Erie Mills English Diction Specialist Darwin Aquino Assistant & Cover Conductor Emily Hamper* Repetiteur

Michelle Cuizon Assistant Stage Director Cindy Knight Stage Manager Valerie J. Clatworthy Assistant Stage Manager Rickelle R. Williams Assistant Stage Manager Chris Moeggenberg Intern Assistant Stage Managers

*Opera Theatre main season debut

This performance will last approximately 2 hours and 40 minutes, including one 25-minute intermission.

Major production support comes from Roy Pfautch. Julius Caesar is also underwritten by Roma B. Wittcoff.

Opera Theatre dedicates this production to Leigh & Alice Gerdine, whose support and commitment helped guide the company’s growth and success.

Daniela Candillari’s engagement is made possible with generous support from Kim & Tim Eberlein.

THE CAST (in order of vocal appearance) JULIUS CAESAR Sarah Mesko CORNELIA Meridian Prall+○ SEXTUS Megan Moore ACHILLAS Cory McGee* CLEOPATRA Emily Pogorelc* NIRENA Madeleine Lyon*♦ PTOLEMY Key’mon W. Murrah* CURIO John Godhard Mburu*♦

SY N O P S I S AC T O N E Julius Caesar has just defeated his rival Pompey prior to arriving in Alexandria, where Cleopatra and her younger brother Ptolemy are currently vying for the throne of Egypt. Pompey had appealed to Ptolemy for arms and refuge, but Ptolemy betrayed him to gain Caesar’s favor. As the opera begins, Cornelia and Sextus, the wife and young son of Pompey, come to Caesar and the Roman general Curio to beg for peace. The entire group is horrified when Achillas, Ptolemy’s general, reveals Pompey’s severed head as a gift for Caesar. Caesar condemns Ptolemy’s barbarous act, and Sextus and Cornelia vow to seek vengeance.

When she hears of her brother’s actions, Cleopatra resolves to win Caesar’s favor for herself. Meanwhile, Achillas informs Ptolemy of Caesar’s anger and disgust. The two make a deal: if Achillas murders Caesar, Ptolemy will reward him with Cornelia’s hand in marriage.

* Opera Theatre main season debut ♦ Gerdine Young Artist ○ Former Gerdine Young Artist + Former Gaddes Festival Artist

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Cleopatra meets Caesar in his camp, disguised as a servant girl named Lydia. Caesar is enchanted by her beauty. Later, “Lydia” overhears Cornelia and Sextus discussing their plans for revenge and promises them Cleopatra’s support with the help of Nirena, Cleopatra’s aide.

OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

Julius CAESAR

Left: bust of Cleopatra in the Altes Museum in Berlin.

Right: copy of an ancient bust of Julius Caesar.

Caesar meets Ptolemy and the two exchange tense niceties. Ptolemy invites Caesar to stay in his palace, and Caesar warily accepts. After Caesar departs, Sextus and Cornelia encounter Ptolemy, and Sextus challenges him to a duel. Instead, Ptolemy imprisons Sextus and sends Cornelia to work in his harem. Achillas promises to free both mother and son if Cornelia agrees to marry him.

When Cornelia refuses, Achillas sends Sextus to prison.

Later that evening, Cleopatra invites Caesar to her palace for entertainment. Caesar arrives to see “Lydia” perform and falls even more helplessly in love with her.

AC T T WO Despite her hardships, Cornelia holds firm in her refusal to marry Achillas. Her situation grows even more dire when she is accosted by Ptolemy, who also desires her. Soon after, Sextus, who has escaped from prison with the help of Nirena, finds his mother and promises they will escape after he kills Ptolemy.

Meanwhile in Cleopatra’s apartments, Caesar proclaims his love for Lydia. Curio interrupts them to tell Caesar that Achillas’ assassins are searching for him. In her distress,

Cleopatra reveals her true identity to Caesar and vows to defend him. When Achillas’ men breach her palace, Cleopatra advises Caesar to flee, but he runs toward the fight. Distraught, Cleopatra prays for her beloved’s safety.

In the ensuing battle, Ptolemy mortally wounds Achillas.

Ptolemy’s troops defeat Cleopatra’s forces, and he takes her prisoner. Rumors are swirling that Julius Caesar is dead after leaping from a balcony into the ocean to escape his would-be assassins...but unbeknownst to all, Caesar has survived after swimming to shore. Sextus and Nirena find Achillas dying on the beach, holding a seal that allows the bearer to command his troops.

Sextus offers the seal to Caesar and they all set out to rescue Cornelia and Cleopatra. When Caesar bursts into her chambers, Cleopatra is overjoyed to see him alive and well.

Ptolemy still believes he has won the day. He attempts to seduce Cornelia again; she draws a dagger to avenge her dead husband. In that same moment, Sextus arrives and kills Ptolemy. Cleopatra is triumphant — as she is crowned Queen of Egypt, she declares her alliance with the Roman Empire and her love for Julius Caesar.

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a note f rom THE DIRECTOR b y E l k h a n a h P u l i t ze r

W

hat a joy it is to return to Opera Theatre of Saint Louis, and what a thrill to share this new production of Julius Caesar. Ever since James Robinson and Andrew Jorgensen invited me to bring my years of research and understanding of the lives of these irresistible lovers to focus on Handel’s version, Maestro Candillari and I have marveled at the breadth and richness of this work. Together we wrestle with it, mine it for gems, and work to streamline it to allow us all time to share in reflecting on the work. For me and many others, discourse in the Opera Theatre tents after the last note is a rich part of those reflections.

Daniela and I have spent months getting to know the full opera intimately, listening to various versions with differing scene cuts.

Our own conclusions about what feels crucial are very similar to those who have approached this work in the past. We know we want to preserve the beauty and arc of the characters and remain faithful to their journeys of discovery. We also want a story that feels inevitable and well-paced, that moves forward with momentum while giving space for the vastness of Handel’s emotional expressivity. We want to avoid some of the late-breaking twists and turns near the end and give priority to the leading lovers above all others.

Paramount to us both is the need to give Cleopatra the full range of expression for her “infinite variety” while also affirming her liberation 60

Elkhanah Pulitzer Photo © Kristen Loken

in her loving union with Caesar. We achieve this by removing some of the doubt and obfuscation between the lovers in Handel’s middle act.

This piece stands the test of time because of its depth and rich complexity of psychological themes, which resonate with our own inner lives. The transformative force of love, the brutality of malicious power, the courage to overthrow tyranny, as well as the deep valleys of loss and healing we all experience, make it universal. We need leaders like Handel’s interpretations of Caesar and Cleopatra, characters who contemplate their own mortality with humility and grace, surrender to vulnerability in love, exhibit sobriety and courage, and ultimately fight for justice in the face of monstrous

OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

acts. We need leaders to show us our own capacity for transformation, redemption, and purpose. We need stories that make space for rulers and lovers — fallible humans still — who can co-create a new world fashioned with more tolerance, understanding, and love. Although we know how things end for these two lovers in history, we can take the best of them with us to live on in how we deal with the world outside.

D id yo u k n ow?

Elkhanah Pultizer first came to OTSL in 1995, as Assistant Stage Director for Offenbach’s La belle Hélène. Her first production as Stage Director was in 2003 with Mozart’s The Abduction from the Seraglio.

a note f rom THE CONDUCTOR b y D a n i e l a C a n d i l l a ri

W

hen Andrew Jorgensen and James Robinson first asked me which opera I wanted to conduct in the 2024 Festival Season, my immediate answer was Julius Caesar. I have long been fascinated with the level of intimacy that Baroque operas offer. Although some criticize its most common aria form, da capo, as nothing more than a vehicle for display of vocal abilities, I find that it’s precisely this strict structure that allows for improvisation and personalization of the characters.

When Julius Caesar premiered in London in 1724, it was an instant success. During Handel’s life, the opera was produced three more times. Each time the opera was revived, Handel was open to making small changes and adjustments.

Sometimes those changes were purely practical...for example, accommodating singers’ schedules or changing the male role of Nirenus to a female role named Nirena. Learning about how flexible (in certain instances) Handel was with his music was a wonderful guide in exploring what our production could become.

The flexibility of interpretation can also be heard in different stylistic choices. Minimal interpretations can be quite traditional in their shape of recitatives, sometimes played only by a harpsichord and theorbo, while extremely lavish, ornamental ones have the potential of sounding romantic and almost impressionistic.

While preparing the opera, I found

Daniela Candillari Photo © Eric Woolsey

invaluable guidance and inspiration in the work of the late conductor Nikolaus Harnoncourt, who I had the chance of hearing often when I was a student in Austria, as well as more recent performances led

by Jane Glover and Harry Bicket.

Harnoncourt’s reading of the score, though played by a baroque orchestra, was especially illuminating in finding different orchestral colors that could be used to express various dramatic layers and offer a variety of textures. When dealing with a translation, one also needs to marry the articulation of the music to the speech rhetoric. That aspect alone can stimulate a change in how we hear a piece of music!

From the beginning of our conversations about the piece and

what we wanted to convey with the story, Elkhanah Pulitzer and I were focused on keeping the musical and dramatic momentum moving ahead. We wanted to give each of the characters a chance to show the different layers of their emotions and circumstances, making them feel like real people that we could encounter today, instead of historic figures that we only see from a distance.

D id yo u k n ow?

In addition to conducting Julius Caesar, Daniela Candillari will also be playing the harpsichord. She’ll be conducting directly from the keyboard, which is not uncommon for Baroque-era compositions.

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GALILEO Galilei O P E R A I N O N E AC T An Opera by Philip Glass..

Libretto by Mary Zimmerman with Philip Glass and Arnold Weinstein..

Music by Philip Glass.. © 2002 Dunvagen Music Publishers..

Galileo Galilei was fi firrst per for med at the Goodman Theatre,, Chicago,, on July 28,, 2002..

creative team Kwamé Ryan* C o n du c to r

Seán Curran C h o re o g ra p h e r

Douglas Sumi R e p e t ite ur

James Robinson S t a g e D i re c t o r

Krystal Balleza Will Vicari Wig & Makeup Desig ners

Ian Silverman R e s i d e n t & A s s i s t a n t S t a g e D i re c t o r

Allen Moyer S e t D e si g ne r Marco Piemontese* C o s t ume D e si g ne r Greg Emetaz Video Projections Desig ner Eric Southern L i ght in g D e si g ne r

Andrew Whitfield C h o r u s Ma s t e r Jennifer Ringo E n glis h D ic t ion S p e c i a lis t Kedrick Terrell Armstrong A s s i s t ant & C o ve r C o n du c to r

Kimberley S. Prescott S t a g e Ma n a g e r Jessie Mhire A s s i s t a n t S t a g e Ma n a g e r Emily Stafford* A s s i s t a n t S t a g e Ma n a g e r Laurel Schmidt Inter n Assistant Stage Manager *Opera Theatre main season debut

This per for mance will last approximately 1 hour and 30 minutes with no inter mission.

Leadership support for Galileo Galilei comes from the Whitaker Foundation.

Made possible in part by the Fred M. Saigh Endowment at Opera Theatre and the Sally S. Levy Family Fund for New Works.

This project is supported in part by the National Endowment for the Arts.

Major production support is provided by OTSL’s Rudolph W. Driscoll Endowment for Contemporary Opera.

James Robinson’s engagement is made possible with generous support from the William T. Kemper Foundation and David & Dotty Kemper.

THE CAST

(in order of vocal appearance) OLDER GALILEO GALILEI/SPEAKER Paul Groves CARDINAL 2/SERVANT/ORACLE 2 Robert Mellon+○ CARDINAL 3 Jared Werlein*♦ POPE URBAN VIII/SIMPLICIO/CARDINAL BARBERINI/FATHER Hunter Enoch CARDINAL 1/ORACLE 1/OTHER Elijah English*♦ OTHERS Luke Elmer*♦ Emilio Vasquez*♦ David Wolfe*♦ MARIA CELESTE/EOS Vanessa Becerra SCRIBE Gabriela Linares♦ SALVIATI/YOUNGER GALILEO GALILEI Sean Michael Plumb SAGREDO Jennifer Kreider*♦ PRIEST Brad Bickhardt*♦ MARIE DE MEDICI Lucy Evans*♦ MARIA MADDALENA Michelle Mariposa*♦ DUCHESS CHRISTINA Kathleen O’Mara*■○ * Opera Theatre main season debut ♦ Gerdine Young Artist ■ Richard Gaddes Festival Artist ○ Former Gerdine Young Artist + Former Gaddes Festival Artist 66

Galileo Galilei at his trial, 1633.

Illustration © Wellcome Library, London

SY N O P S I S In Florence 1642, the 77-year-old Galileo Galilei is grappling with blindness and his own mortality. As he looks back on his life, he fears his loss of sight is a punishment for challenging the teachings of the Bible or for lying during his recantation before the Pope. Despite everything, he maintains his belief that the sun is the center of the cosmos.

Galileo stands before the Pope and the Cardinals at the Church of Santa Maria Sopra Minerva in Rome in June 1633. He has been accused of heresy for publishing his Dialogue Concerning the Two Chief Systems of the World, a book that the Catholic Church has banned for its outrageous content. Under the threat of severe punishment, Galileo recants his revolutionary theories. Nevertheless, he is sentenced to home imprisonment for the rest of his life. During the trial, Galileo and the Pope reminisce about their conversations when the Pope was still a Cardinal and Galileo’s daughter was still alive.

A month prior to the trial in Rome, Galileo’s illegitimate daughter, Maria Celeste, who has been confined to a convent for a decade, reads a letter to her father in a tranquil garden. Along with the letter, she sends him handmade treats, baked pears, and a rose. She urges her father to maintain his faith and his belief in his work.

OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

GALILEO Galilei

“All those years I looked so hard — as hard as I could — at the lessons of t he s t a r s ab o v e , mi s s i n g t he l e s s o n s below.”

- L i b re t t o e x c e r p t f ro m g a l i l e o g a l i l e i

Retreating further into the past, Galileo recalls standing before two Cardinals who have accused him of heretical writings within his Dialogue Concerning the Two Chief Systems of the World. After revealing a letter of confidence from Cardinal Barberini (who will later become Pope), Galileo concedes that his words could be misconstrued and offers to re-phrase certain passages.

Galileo begins writing, and fictional characters enter the scene. A spirited scientific debate ensues as these characters declare that an enquiring mind is one of God’s greatest works.

Two years prior to the publication of his Dialogue Concerning the Two Chief Systems of the World, Galileo recalls conducting experiments in his laboratory and testing his theories of mechanics, all of which challenged conventional notions of the acceleration and motion of falling objects.

Ten years earlier, Galileo walks with Cardinal Barberini.

Galileo expresses concerns about his adversaries. The Cardinal advises Galileo to temper his pride and urges him to be cautious about challenging established planetary theories. He gives Galileo a letter attesting to his faith in the Church.

Galileo and his daughter attend Mass. Maria Celeste is preoccupied with translating the Latin, but Galileo is distracted by the pendulum motion of a chandelier. He contemplates the divine perfection of the world.

In Florence 1610, Galileo unveils his advanced refracting telescope. The Grand Duchess Christina is deeply impressed.

She recalls memories of Galileo’s father, the composer Vincenzo Galilei, a member of the Florentine Camerata.

In one final reflection on his life, a boyish Galileo and the young Duchess watch an opera by Vincenzo. Old Galileo can see once again; past and present are bridged as the opera within an opera concludes.

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a note f rom THE DIRECTOR

by James Robinson Galileo Galilei was, in fact, not originally planned to be a part of this Festival Season. When another new work we had planned to premiere in 2024 revealed itself to be not quite ready for prime time, we were required to do something Opera Theatre has had to do occasionally: pivot. There are many criteria taken into consideration when something like this happens, including the scale of an opera, the forces required, the orchestration, and so on. Ultimately, it’s important to find an opera that balances out the rest of the season.

As I was looking at several titles, all recently composed operas, I was reminded of a piece that fascinated me: Philip Glass’ Galileo Galilei. Originally commissioned and first performed by Chicago’s Goodman Theatre some 20 years ago, Galileo Galilei makes very infrequent appearances in American opera houses compared with the composer’s other operas. The success of Glass’ The Trial, which OTSL presented in its American premiere in 2017, was a guiding star, so it made perfect sense to mount a new production of Galileo Galilei.

There is something increasingly relevant and resonant about Galileo the man, and how he faced charges of heresy for reconciling the study of science with the dogma of the Church. A devout Catholic, Galileo explained that faith and science could co-exist and benefit one another.

Perhaps his most famous quote is the most revealing: “I do not feel obliged to believe that the same God who 68

James Robinson Photo © Simon Pauly

has endowed us with sense, reason, and intellect has intended us to forgo their use.”

Galileo Galilei takes us on the journey of the older Galileo reflecting on his life. It focuses not just on the accusations and trials he endured with the Pope and the Church but also the tender relationship he had with his illegitimate daughter, who was shuttered away in a convent.

In fact, much of the opera’s libretto is drawn from letters between father and daughter in addition to other historical documents that explore Galileo’s work as inventor, astronomer, and astrologist. There is also something inherently “operatic” about the life of Galileo: his father was a founding member of the Florentine Camerata, responsible for

OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

the creation of the first operas in the final years of the Renaissance.

My creative team and I draw much inspiration from the various aspects of Galileo’s life. The theater and spectacle of the Church also played a major factor in guiding our visual and dramatic choices, along with the gorgeous Fellini film Roma. As mentioned before, it’s remarkable to consider just how resonant Galileo’s personal and professional struggles are today, and we hope to shine a light on how strangely the present resembles the past. i

Did you know?

OTSL is only the fourth opera company to stage this work!

a note f rom THE CONDUCTOR b y Kwa m é R ya n

Even as a teenage student, my interest in science and technology was almost equal to that in music.

So, when I was recently offered the opportunity to work with Opera Theatre of Saint Louis on Galileo Galilei, an opera about a scientist, with a score incorporating elements of music technology, I didn’t hesitate to jump onboard!

Apart from my curiosity regarding Philip Glass’ use of samples and synthesizers, which are a hobby of mine and have experienced a quantum leap in their development since this work’s premiere in 2002, I was excited to explore the connections between the planetary orbits within Galileo’s posited solar system and the motion of Glass’ instrumental lines within the strong gravity of his rhythmic and harmonic systems. I also enjoyed the libretto’s poetic allusions to Eos, the Goddess of Dawn, aptly underscored by musical lines emulating the mysterious nature of light; wavelike in shape, but particulate in the stacking of their arpeggiated notes.

However, once I started looking beyond these evocative but superficial resonances, something else jumped out at me that has made my time with this elegant work even more intriguing. Glass’ 11-piece ensemble — a model of creative constraint — while often embodying the dispassionate order of the cosmos, in some scenes delivers a strikingly earth-bound and expressive range of motifs.

Kwamé Ryan Photo © Klaus Fröhlich

While this more human affect is unsurprising where the narrative depicts the ideological discussions of Galileo’s contemporaries — the intellectual exchanges with his colleagues or his navigation of the inquisition, for example — in the final scene, we hear Glass adding a warm, lighthearted humor that is unique within the musical language of the work. This final scene is an opera within the opera, which depicts the imagined music of Galileo’s composer-father, tells the story of Orion and Eos, and completes the telescoped narrative of Galileo’s life (we open the opera towards the end of his life, and end with his childhood).

I wonder whether in this final mix of myth and mirth, we might interpret

an authorial world view that contrasts the perspectives which give rise to some of the unfortunate events of the narrative. Is it that in the midst of our never-ending search to understand the nature of the universe and our place in it, an awareness of “the lightness of being” is proposed? And might that “lightness,” far from the short-sighted belief systems that arrest the imaginations of some of the opera’s characters, be a sense of freedom that arises alongside an understanding that the universe may well lack inherent meaning; that it cannot be understood and certainly neither orbits the earth, nor indeed, its inhabitants?

I hope you enjoy your experience of Galileo Galilei and invite you to judge for yourself!

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OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

CENTER STAGE A S H OWC A S E CO N C E R T featur ing the Richard Gaddes Festival Artists and Gerdine Young Artists Tuesday, June 25 at 7:30 p.m.

Accompanied onstage by members of the St. Louis Symphony Orchestra

creative team Conductor D a nie l a C an d i l l ar i

RICHARD GADDES FESTIVAL ARTISTS

Program Curator & Artistic Director of Young Artist Programs Patr icia Racette

Titus Muzi III B ar ito ne Kathleen O’Mara S o p ra n o

Stage Directors O livi a G a c k a D i a n e Ma c h i n Patr icia Racette James Robinson Ian Silver man Chorus Master Andrew W hitfi fieeld Apprentice Assistant Stage Director O livi a G a c k a Apprentice Pianist V la d S olo vie v Assistant Stage Managers Valer ie J. C latwor thy Je s s i e M h i r e Emily Staff ffoord Rickelle Williams

GERDINE YOUNG ARTISTS Levi Adkins Tenor Sophia Baete Mezzo-soprano Georgia Belmont S o p ra n o Brad Bickhardt Tenor Jordan Costa Tenor Devin Eatmon Tenor Luke Elmer C ounte r te no r Elijah English C ounte r te no r

Lucy Evans Mezzo-soprano Erik Grendahl B ar ito ne Hakeem Henderson Tenor Jennifer Kreider S o p ra n o Gabriela Linares Mezzo-soprano Ryan Lustgarten Tenor Madeleine Lyon Mezzo-soprano Michelle Mariposa Mezzo-soprano John Godhard Mburu B ass Joseph O’Shea B ar ito ne Lauren Paul Mezzo-soprano Olivia Prendergast S o p ra n o Justin Ramm-Damron Bass-bar itone

Jouelle Roberson S o p ra n o Benjamin Ruiz Tenor Chase Sanders S o p ra n o Laura Santamaria S o p ra n o Veronica Siebert Mezzo-soprano Emilio Vasquez B ar ito ne Jared Werlein Bass-bar itone Patrick Wilhelm B ar ito ne David Wolfe B ar ito ne

Intern Assistant Stage Managers C hr is Moeggenberg L a u re l S c h m i d t Center Stage is supported by a gift honoring the memory of Sally S. Levy from The Saucy Foundation.

Additional support comes from Mary Susman & Tom Herm, Gene Kornblum, and Allison W. Roberts.

Patricia Racette’s engagement is made possible with generous support from Tim & Robin Wentworth.

F UTU R E STAR S , under the STARS

Center Stage, 2023.

Photo © Jessica Flanigan

1,045 app lic at ions 30 G e rd i n e

Young Ar tists a c c e p te d

2

R i c h a rd G a d d e s Festival Ar tists a c c e p te d

2

Young Ar tist staff a c c e p te d

15

s t a t e s re p re s e n t e d

5

c ount r ie s re p re s e n t e d

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S

ince its founding in 1976, Opera Theatre of Saint Louis has built a reputation for identifying, nurturing, and promoting the operatic world’s most promising early-career singers. The company’s celebrated young artist programs include the Gerdine Young Artist Program and the Richard Gaddes Festival Artist Program, which cultivate the next generation of promising opera talent through invaluable professional experience. Led by Artistic Director of Young Artist Programs Patricia Racette, these two programs span nine weeks during the Festival Season and offer artists extensive vocal coaching, master classes with renowned opera artists, and onstage experience in both the ensemble and featured supporting roles.

In 2015, Opera Theatre introduced the first Center Stage concert to celebrate its young artists. This one-night-only event is where opera lovers, artist managers, and opera administrators look to discover the next rising stars. This electrifying performance features duets, trios, and ensemble pieces from opera’s cherished classics and rare gems, sung in their original language and accompanied onstage by the Grammy Award-winning St. Louis Symphony Orchestra.

OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

As many as 1,200 singers apply annually to Opera Theatre’s young artist programs. This year, only 30 were selected for the Gerdine Young Artist Program, and just two were offered a spot in our Richard Gaddes Festival Artist Program, an honor reserved for exceptionally remarkable young singers. In addition, two young artist staff members were selected, for the positions of apprentice assistant director and apprentice pianist. Seven principal artists in the 2024 Festival Season began their careers in OTSL’s young artist programs.

Many OTSL alumni go on to perform on the world’s most renowned stages, from the Royal Opera House at Covent Garden to the Metropolitan Opera, and include names such as Jamie Barton, Christine Brewer, Lawrence Brownlee, Christine Goerke, Kate Lindsey, Erin Morley, Paula Murrihy, Matthew Polenzani, Morris Robinson, Michael Spyres, Russell Thomas, Corinne Winters, and many more.

Opera Theatre’s steadfast commitment to promising young singers has played an important part in the company’s remarkable success. It’s a joy to welcome and support these talented singers. We can’t imagine a season without them!

a note f rom the CURATOR

by Patricia Racette, Artistic Director of Young Artist Programs

W

elcome to Center Stage! As Artistic Director of Young Artist Programs, I am so excited for you to witness the talent of our singers this year in what invariably represents a beloved highlight of the season! This evening encapsulates the kind of work I believe is vital to a young artist program: “boots on stage,” which has become my favorite catchphrase.

There is nothing more instructive than the “doing of” the art form and integrating all the elements necessary to forge a professional artist.

To that end, I think OTSL’s young artist programs face the work headon during our nine-week adventure!

That adventure includes many responsibilities and opportunities, from covering leading roles and performing supporting roles to participating in one of the finest choruses you will hear anywhere. We have also implemented staged cover runs for each mainstage production, where our young artists have the chance to perform an entire role in front of an audience of our administration, donors, and their peers.

Beyond that, we facilitate a catered curriculum focusing on musical style, interpretive investment through selfexamination, linguistic nuance, stage deportment, and repertoire exploration.

Additionally, our curriculum addresses timely issues about how to build a sustainable life and career in this art form. Many of our artists are bridging the gap between academia and a professional career, and that can be challenging. It is this day-to-day work that drives me to help this next

Patricia Racette Photo © Kate Russell

WELCOMING BACK PAST

YO U N G A R TI ST A LU M N I

Not only does OTSL hire dozens of young artists each season, we also invite alumni to return in principal roles! Below are the former young artists performing in our 2024 Festival Season.

JUSTIN AUSTIN+

Fi g a r o , T he B arb e r of S e vi l le

KATERINA BURTON○

generation of singers emerge with confidence and a sense of their own artistic voice. I want to help these artists put their own interpretive stamp on their work — from audition arias to cover assignments to mainstage casting assignments. Our young artists have access not only to me and the rest of our talented music staff, but also the guest artists and other professionals from the industry who join us throughout the season.

While Center Stage is a single performance, it is the work of many months of planning and preparation. I want to thank my artistic colleagues: Principal Conductor Daniela Candillari and Director of Artistic Administration Yvette Loynaz. Together, we have programmed a wide variety of repertory, incorporating not only beloved standard operatic excerpts but also pieces spanning contemporary opera, musical theater, zarzuela, and operetta — and all of it accompanied by the incredible St. Louis Symphony Orchestra. Please join me in celebrating this evening’s performance!

Mi m ì, L a b ohè me

ROBERT ○ MELLON+○

Ca rd in a l 2, G alile o G alile i B enoit /A lc i ndor o, L a b ohè me

TITUS MUZI III○■ S c h au n a r d, L a b ohè me

KATHLEEN O’MARA○■

Duchess Christina, G alile o G alile i

MERIDIAN ○ PRALL+○ C or n e l i a , Ju l i u s C a e s a r

MOISÉS SALAZAR○ R o d o l f o, L a b ohè me

■ Richard Gaddes Festival Artist ○ Former Gerdine Young Artist + Former Gaddes Festival Artist

JUNE 29 - AUGUST 4 GILBERT AND SULLIVAN

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WEILL

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OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

YOU ARE INVITED TO AN INTERFAITH CONCERT “One World, One Family”

Featuring soprano Christine Brewer, the Interfaith Youth Chorus and musicians of many faiths

Sunday, October 13, 2024 at 4PM the Sheldon Concert Hall

Soprano Christine Brewer

Interfaith Youth Chorus

Chorus Director Maria A. Ellis

To reserve your free tickets, visit www.ArtsFaithStLouis.org

Building a harmonious St. Louis through music, visual arts, and spoken word

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69TH SEASON

SUNDAYS AT 3:00

HEAR THE CHORUS CRITICS HAVE CALLED THE BEST A CAPPELLA CHOIR IN THE MIDWEST.

SEPTEMBER 29, 2024

Philip Barnes, Artistic Director

Holiday Works

The Sound of Silence NOVEMBER 10, 2024

Classic Pop

DECEMBER 22, 2024

FEBRUARY 16, 2025

Love Conquers Hate APRIL 6, 2025

Old Roots, Fresh Blooms MAY 25, 2025

War And Peace

For concert information and tickets visit chamberchorus.org.

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A DVA N CI N G TH E N E X T G E N E R ATI O N I N C U BATI N G E XC EL L EN C E AC ROS S A L L S EC TO R S O F O P ER A One of the most crucial components of Opera Theatre’s mission is “to foster the next generation by empowering a diverse group of artists, artisans, and administrators at the highest level.” Every year, OTSL advances that work through a robust slate of initiatives, thanks to the generous support of many individuals and organizations. The Gerdine Young Artist Program, Richard Gaddes Festival Artist Program, the Mabel Dorn Reeder Foundation Young Artist Education & Development Programs, along with several other initiatives, are industry leaders in the development of young opera professionals. Alumni of these programs can be found onstage, backstage, and in the administrations of major opera houses across the nation.

 J O H N D. & SA L LY S . L E V Y M A S T ER C L A S S E S Inaugurated by the legendary Eleanor Steber and named for two of OTSL’s great benefactors, these extraordinary master classes give members of the company’s young artist programs the opportunity to learn from leaders in the field through focused, intense sessions. This season, three such master classes are open to the public: soprano Patricia Racette on June 2, tenor Paul Groves on June 14, and soprano Ana María Martínez on June 28. John D. & Sally S. Levy Master Classes are funded in part by the John D. & Sally S. Levy Master Class Endowment Fund and presented in memory of John D. & Sally S. Levy, founding board members of Opera Theatre.

For more information about attending Levy Master Classes, see page 15.

Patricia Racette works with Shavon Lloyd during a Levy Master Class, 2023. Photo © J. David Levy

 C L AYCO F U T U R E L E A D ER S FEL LOWS H I P Launched in 2021, the Clayco Future Leaders Fellowship supports and cultivates future BIPOC (Black, Indigenous, Person of Color) arts leaders and administrators by providing in-depth experiences that advance the skills, knowledge, and capabilities that make these careers possible. Fellows serve in a full-time position specializing in one area (Administration, Marketing, or Production) while also participating in a variety of networking, mentorship, and professional development, and experiences. Through this fellowship, Opera Theatre seeks to develop successful arts administrators who will add to the vibrant future of opera. This program is possible thanks to a generous commitment from Clayco and Bob & Jane Clark.

L to R: Fellows Camryn Moore (Marketing), Allyson Sims (Production), and Astrid Bacy (Administration).

T H E A D M I N I S T R ATIV E I N T ER N S H I P P RO G R A M OTSL is committed to the advancement of the next generation of arts management professionals. Interns are integral members of the company’s seasonal staff and may also work on special projects during the off-season. Members of the administrative, artistic, and music staffs lead seminars for the interns, who may also attend rehearsals, lectures, and special events. Many interns have gone on to full-time positions both at Opera Theatre and other arts organizations. The Administrative Internship Program is made possible with generous support from Penny Pennington & Michael Fidler. Professional development programs are also supported by the Charles MacKay Career Development Fund, the Dixie Long Memorial Fund, and gifts made in memory of Mrs. John Sausele.

1 80

O PP EE RR AA TT H H EE AA TT RR EE oo ff SS AA II NN TT LL OO UU II SS || 22 00 22 44 FF EE SS TT II VVAA LL SS EE AA SS O ON N O

Set from Treemonisha, 2023.

Photo © Jessica Flanigan

EM ER SO N B EH I N D T H E C U RTA I N  The Emerson Behind the Curtain Program provides young backstage staff with advanced instruction in technical theater production, construction, design, and logistics by leaders in their fields. Special scholarships for outstanding college-level assistants in this program are supported by Emerson, gifts from Rabbi Dr. Jay & ErikaGoldburg, and a fund established in memory of Catherine Vail Levy. Distinguished young designers of OTSL productions are supported by the Alvin R. Frank Memorial Fund.

For more information about Emerson Behind the Curtain, see page 81.

L A R RY & J I N N Y B ROW N I N G F U N D FO R T EC H N I C A L FEL LOWS H I P S Made possible with a transformative endowment gift from the family of Opera Theatre’s late Board Chairman, Larry Browning, the Larry & Jinny Browning Fund for Technical Fellowships offers advanced training for young artisans pursuing careers in technical theater production. Browning Fellowships are offered to young technicians who are returning after at least one season with the company, progressing through the ranks backstage just as Gerdine Young Artists do onstage. Browning Fellows attend advanced seminars taught by visiting designers, directors, and OTSL professional staff. A $5,000 career grant is awarded to one Fellow each season in recognition and support of extraordinary potential to advance the field of technical theater.

BAY ER F U N D A RTI S TS - I N -T R A I N I N G G R A D UAT E S T U DY AWA R DS AIT program graduates who are currently pursuing advanced vocal training are eligible to receive scholarship awards for their continuing studies. These scholarships are supported by Bayer Fund, Mr. & Mrs. Anthony Guerrerio/Wedgewood Partners, Inc., and funds named for composer Scott Joplin and noted St. Louis music educator Kenneth Billups.

N CC EE O O PP EE RR AA .. O O RR GG EE XX PP EE RR II EE N

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Mabel Purkerson presenting the 2023 Mabel Dorn Reeder Foundation Prize to former Gaddes Festival Artist Justin Austin.

Photo © Camryn Moore

P RO FE S S I O N A L D E V ELO P M EN T AWA R DS In addition to the extensive training programs offered during the festival season, Opera Theatre is pleased to provide career grants to exceptional singers and theater artisans to continue their artistic and professional growth. Twenty singers and 16 technical theater artisans received professional development awards in 2022 and 2023:

FO R S I N G ER S Mabel Dorn Reeder Foundation Prize Justin Austin (2023) Thomas Glass (2022)

Elihu M. Hyndman Memorial Award César Andrés Parreño (2023) Shelén Hughes (2022)

Barbara & Stanley Richman Memorial Award Yuntong Han (2023) Keith Klein (2022)

Richard Gaddes Career Awards Kathleen O’Mara (2023) Titus Muzi III (2023, 2022) Jared Esquerra (2022) Meridian Prall (2022)

Thelma Steward Endowed Artist Alumni Awards Joshua Blue (2023) Melissa Joseph (2023) Lauren Michelle (2023) Chaz’men WilliamsAli (2023)

FO R T EC H N I C A L T H E AT ER A RTI SA N S Larry & Jinny Browning Technical Fellowship Career Award Spencer Lawton (2023) Javi Cervantes (2022)

Emerson Behind the Curtain Scholarship Awards J. Carlin Decker III (2023) Megan Gilchrist (2023) Catherine Good (2023) Danelle Leinonen (2023) Christiana Osborne (2023) Kassidy Schley (2023) Paris Aguilar (2022) James Burch (2022) Adriaen Hobgood (2022)

Dorathy Johnston (2022) Aldayr “Peanut” Molina (2022) Katie Radford (2022) Rabbi Dr. Jay & Erika Goldburg Scholarship Award Ezekiel Ajibade (2023) Grant Vocks (2022)

FO R BAY ER F U N D A RTI S TS - I N -T R A I N I N G A LU M N I Mr. & Mrs. Anthony Guerrerio/ Wedgewood Partners, Inc. Award Erica Ancell (2023) Sam Krausz (2022)

Scott Joplin Award Eric Curry (2023) Angel Riley (2022)

Kenneth Billups Award Tony Washington (2023) Michael Lee, Jr. (2022)

The Gerdine Young Artist Program is supported in part by the Charles MacKay Career Development Fund. The Richard Gaddes Festival Artist Program and Gaddes Career Grants are supported by the Richard Gaddes Fund for Young Singers and funds established in memory of OTSL founding board members Elihu Hyndman and Barbara & Stanley Richman. A major gift from The Mabel Dorn Reeder Foundation - Mabel L. Purkerson, M.D., Trustee in 2010 helped endow OTSL’s professional development programs and established the Mabel Dorn Reeder Foundation Prize. Additional funding for these programs is generously provided by the E. Desmond Lee Family Fund for Professional Development, the William T. Kemper Fund – Commerce Bank, Trustee, the Herman T. & Phenie R. Pott Foundation, and the contributors listed on page 106.  In Memoriam 3382 O O PP EE RR AA TT H H EE AA TT RR EE oo ff SS A A II N N TT LL O OU U II SS || 2 20 02 24 4 F FE ES ST T II V VA AL L S SE EA AS SO ON N

L to R: Raphael Regan, Nina Evelyn Anderson, and Rick Tuckett at a fitting for Treemonisha, 2023.

Photo © Jessica Flanigan

B E H I N D TH E CU R TAI N Opera Theatre’s commitment to professional development backstage continues to grow, made possible by the vision and longtime generosity of Emerson. Emerson Behind the Curtain, which began in 2005, prepares students for a range of careers in contemporary stagecraft.

Training seminars are offered in multiple disciplines, so that students can gain in-depth experience in the logistical and sophisticated technical demands of a repertory opera season. In addition to production experience, students receive special training and guidance through Emerson Opera Production Workshops, which offer college students an intensive classroom introduction to technical design and construction.

EM ER SO N P RO D U C TI O N A RTI S TS are crew members in college. They receive eight weeks of intensive

on-the-job experience in production and attend professional development seminars with Opera Theatre designers and production staff.

Cas Blessing Justin Buontempo

Aspen Kinomoto Isa LoPiccolo-Kleine

Lauren Whyte AB Wildes

EM ER SO N P RO D U C TI O N A S S I S TA N TS are participants returning for their second or third year in

Emerson Behind the Curtain, or university students who demonstrate advanced experience in the field. These young professionals play an integral role in the production of the Festival Season, working under the direction of Opera Theatre’s renowned designers, directors, and professional production staff.

Emmalee Berger Will Everson Leo Fuller

Ryne Halstead Jordan Kerr Josh Kline

Aspen Knight Matalyn Thayer

EM ER SO N COS T U M E A P P R EN TI C E S are college students receiving advanced training in costume design and construction, working with visiting designers and other professionals in the company’s costume department.

Blake Blanning Vanessa Buck Corissa Gavin

Pearl Modine Elizabeth Randall

Cecelia Skemp Marissa Thompson

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15

V I N TAG E Gala Celebrating Leonard Slatkin's 80th Birthday and the 15th Anniversary of Chamber Music Society of St. Louis FEATURING:

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OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

“MUSIC gives a soul to the universe, wings to the mind, flight to the imagination & LIFE TO EVERYTHING.” ~PLATO

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86

OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

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FOR OUR 24TH CONSECUTIVE SEASON IN 2024-2025

and Orchestra

We perform classical and modern choral works. Our concerts are designed to provide an experience that is unique, inspirational and accessible.

OCTOBER 5, 2024 DECEMBER 14, 2024 MARCH 8, 2025 MAY 10, 2025

Stephen Morton, Artistic Director and Conductor

“ Mr. Morton, a bass-baritone,

enjoyed singing with the OTSL in several operas, including two world premiers, The Postman Always Rings Twice and The Woodlanders.”

Contact us at acchorale.com for more information.

EXPERIENCEOPER A.ORG

87

with the St. Louis Symphony Chorus Experience the joy of performing with your SLSO and Music Director Stéphane Denève. 24/25 programming includes Mozart's Requiem, Beethoven's Ninth, and Elgar's Peer Gynt.

Learn more and sign up for an audition at slso.org/chorus-auditions

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OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

EXPERIENCEOPER A.ORG

mee t our 2024

ARTISTS SO LO A RTI S TS Levi Adkins*♦ Justin Austin+ Vanessa Becerra Brad Bickhardt*♦ Katerina Burton○ Patrick Carfizzi André Courville* Luke Elmer*♦ Elijah English*♦ Hunter Enoch

Lucy Evans*♦ Thomas Glass Paul Groves Jennifer Kreider*♦ Gabriela Linares♦ Madeleine Lyon*♦ Michelle Mariposa*♦ John Godhard Mburu*♦ Cory McGee* Robert Mellon+○

Sarah Mesko Megan Moore Andrew Morstein* Key’mon W. Murrah* Titus Muzi III ■○ Kathleen O’Mara*■○ Emily Pogorelc Sean Michael Plumb Meridian Prall+○ Justin Ramm-Damron*♦

Brittany Renee* Benjamin Ruiz*♦ Moisés Salazar○ Chase Sanders*♦ Nathan Stark Emilio Vasquez*♦ Jared Werlein *♦ David Wolfe*♦ Hongni Wu*

COUNTERTENORS

BARITONES

R I C H A R D GA D D E S FE S TIVA L A RTI S TS SOPRANO

Kathleen O’Mara

BARITONE

Titus Muzi III

G ER D I N E YO U N G A RTI S TS SOPRANOS

Georgia Belmont Jennifer Kreider Olivia Prendergast Jouelle Roberson Chase Sanders Laura Santamaria

MEZZO-SOPRANOS

Sophia Baete Lucy Evans Gabriela Linares Madeleine Lyon Michelle Mariposa Lauren Paul Veronica Siebert

Luke Elmer Elijah English TENORS

Levi Adkins Brad Bickhardt Jordan Costa Devin Eatmon Hakeem Henderson Ryan Lustgarten Benjamin Ruiz

Erik Grendahl Joseph O’Shea Emilio Vasquez Patrick Wilhelm David Wolfe BASS-BARITONES

Justin Ramm-Damron Jared Werlein BASS

John Godhard Mburu

DA N C ER S Eibhlin Arvizu

Jennifer Egley

Lauren Kravitz

Alyssa Watson

L A B O H ÈM E C H I L D R EN ’ S C H O R U S (from the St. Louis Children’s Choirs) Sasha Alur Raina Bentley Bryndis Ann Bryan Makayla Hout

190

Veronica Jakul-Potter Peter Knapp Adia Kohles Eliza Merideth

Inga Ranheim Laura Smith Kezia Speicher

OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

Izzy Trippeer Autumn Turner Kati Zustiak

The entire company of Center Stage, 2023.

Photo © Jessica Flanigan

A RTI S TI C S TA FF ARTISTIC DIRECTOR James Robinson

CHOREOGRAPHER Seán Curran

ARTISTIC DIRECTOR OF YOUNG ARTIST PROGRAMS Patricia Racette

DESIGNERS Krystal Balleza Andrew Boyce Marcus Doshi Greg Emetaz Constance Hoffman Takeshi Kata Allen Moyer Marco Piemontese* Lynly Saunders* Amanda Seymour Eric Southern Will Vicari

PRINCIPAL CONDUCTOR Daniela Candillari CONDUCTORS Jonathan Brandani* Daniela Candillari José Luis Gómez* Kwamé Ryan* STAGE DIRECTORS Eric Sean Fogel* Elkhanah Pulitzer James Robinson Michael Shell

CHORUS MASTER Andrew Whitfield

COVER & ASSISTANT CONDUCTORS Darwin Aquino Kedrick Terrell Armstrong

* OTSL Debut ♦ Gerdine Young Artist ■ Richard Gaddes Festival Artist ○ Former Gerdine Young Artist + Former Gaddes Festival Artist

ENGLISH DICTION SPECIALISTS Erie Mills Jennifer Ringo REPETITEURS Emily Hamper* Eric Sedgwick Douglas Sumi Marika Yasuda* APPRENTICE PIANIST Vlad Soloviev* APPRENTICE ASSISTANT STAGE DIRECTOR Olivia Gacka*

EXPERIENCEOPER A.ORG

912

A R TI S T P R O F I LE S LEVI ADKINS

Tenor Sara Epstein Artist Parpignol, La bohème Gerdine Young Artist

OTSL DEBUT FUTURE

Carmen, Georgia State University Opera Theater

SOPHIA BAETE

Mezzo-soprano Dr. Mary Anne Rudloff Endowed Artist Gerdine Young Artist

PAST

Eros and Co., Ned Rorem at 100, 100 Years of Broadway Love, New York Festival of Song; I due timidi, Suor Angelica, Juilliard Opera

PAST

Our Town, Georgia State University Opera Theater

DARWIN AQUINO

Assistant & Cover Conductor The Barber of Seville, Julius Caesar

OTSL DEBUT 2022 Festival Season

KRYSTAL BALLEZA

Wig & Makeup Designer The Barber of Seville, La bohème, Julius Caesar, Galileo Galilei

OTSL DEBUT

FUTURE

2023 Festival Season

PAST

Orlando, Signature Theatre; The Connector, MCC Theater; Real Women Have Curves, American Repertory Theater; The Tempest, The Public Theater; Six, Hair and Makeup Department Head, Broadway

Commissioned Composer, Dialogues V Festival, Hamburg, Germany; Conductor, Interlochen Center for the Arts Conductor, New Works Collective, OTSL; Conductor, The Secret Marriage, Florida Grand Opera; Music Director, Giselle, St. Louis Ballet

KEDRICK TERRELL ARMSTRONG Assistant & Cover Conductor La bohème, Galileo Galilei

OTSL DEBUT

2023 Festival Season

PAST

Factotum (world premiere), Champion, The Puppy Episode (world premiere), Lyric Opera of Chicago; Freedom Ride (world premiere), Chicago Opera Theater; Candide, DePaul Opera Theatre

PAST

VANESSA BECERRA

Soprano Phoebe & Spencer Burke Artist Maria Celeste/Eos, Galileo Galilei

OTSL DEBUT

Despina, Così fan tutte, 2023

FUTURE

Ainadamar, LA Opera; Leonora, Chicago Opera Theater

PAST

The Elixir of Love, Minnesota Opera; Don Pasquale, Opera Omaha; Romeo and Juliet, Boston Lyric Opera

EIBHLIN ARVIZU

GEORGIA BELMONT

OTSL DEBUT PAST

PAST

Dancer Julius Caesar

Wildflowers (world premiere), Catalyst Dance Company; Becoming, My Dear Watson (world premiere), The Big Muddy Dance Company Trainee Program; Dancer, Space Station Dance Residency; Moses, Sight and Sound Theaters

JUSTIN AUSTIN

Baritone Dr. James Hinrichs & Mary Schoolman Artist Figaro, The Barber of Seville

OTSL DEBUT

Pyarelal Kaul, Shalimar the Clown, 2016

FUTURE

Romeo and Juliet, Così fan tutte, LA Opera

PAST

Dead Man Walking, The Metropolitan Opera; Romeo and Juliet, Washington National Opera; Champion, Lyric Opera of Chicago

92 1

OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

Soprano Clark & Jeanette Gamble Memorial Endowed Artist Gerdine Young Artist The Pirates of Penzance, Kentucky Opera; Wing on Wing, LA Philharmonic; A Little Night Music, Pasadena Playhouse

BRAD BICKHARDT

Tenor Arnold Hershman Endowed Artist Priest, Galileo Galilei Gerdine Young Artist

OTSL DEBUT PAST

Don Giovanni, Romeo and Juliet, Frankenstein, The Magic Flute, Arizona Opera; Handel’s Messiah, The Phoenix Symphony

ANDREW BOYCE Set Designer The Barber of Seville

JORDAN COSTA

OTSL DEBUT

Tenor Margery Fort Armstrong Endowed Tenor Gerdine Young Artist

PAST

The Magic Flute, Nashville Opera

An American Soldier, 2018

FUTURE

Dana H, Lyceum Theater, Broadway; All’s Well That Ends Well, Chicago Shakespeare Theater; Susannah, OTSL

PAST

JONATHAN BRANDANI

ANDRÉ COURVILLE

OTSL DEBUT FUTURE

OTSL DEBUT FUTURE

PAST

PAST

Conductor Mr. & Mrs. Laurance L. Browning, Jr. Endowed Artist The Barber of Seville

Bluebeard’s Castle/Gianni Schicchi, Calgary Opera Das Rheingold, Calgary Opera; La bohème, The Atlanta Opera; The Barber of Seville, Staatstheater Meiningen; La Cenerentola, Teatro Lirico di Cagliari

KATERINA BURTON

The Barber of Seville, Virginia Opera; Le comte Ory, Yale Opera; Carmen, The Glimmerglass Festival; The Elixir of Love, Opera in Williamsburg

Bass-baritone Mr. & Mrs. William H.T. Bush Endowed Artist Colline, La bohème

Hamlet, Teatro Regio di Torino

Parsifal, Houston Grand Opera; Fernand Cortez, Maggio Musicale Fiorentino; Maria Stuarda, Zurich Opera; The Barber of Seville, Opéra National de Bordeaux

SEÁN CURRAN

Soprano Mr. & Mrs. Sanford N. McDonnell Endowed Artist Mimì, La bohème

Choreographer Mr. & Mrs. Ernest A. Eddy, Jr. Endowed Artist La bohème, Julius Caesar, Galileo Galilei

OTSL DEBUT

OTSL DEBUT

Verna/Young Lovely/Evelyn, Fire Shut Up in My Bones, 2019

FUTURE

Don Giovanni, Madison Opera

PAST

Nixon in China, 2004

FUTURE

Acteon, Opera Lafayette

PAST

Blue, Carmen, Washington National Opera; Falstaff, Aspen Opera Theater; Rose Bampton Award Winner, The Sullivan Foundation, 2021

Céilí (world premiere), Seán Curran Company Irish Arts Center; Susannah, OTSL; Co-Director & Choreographer, Harvey Milk, OTSL; M. Butterfly (world premiere), The Santa Fe Opera

DANIELA CANDILLARI

MARCUS DOSHI

Principal Conductor & Conductor Kim & Tim Eberlein Artist Julius Caesar, Center Stage

OTSL DEBUT

New Works, Bold Voices Lab, 2021

FUTURE

Madame Butterfly, Opera Ballet Vlaanderen; American Sounds Concert, St. Louis Symphony Orchestra; Classical Series Concert, Kansas City Symphony

Lighting Designer The Barber of Seville, La bohème

OTSL DEBUT

Treemonisha, Così fan tutte, 2023

PAST

Richard III, Chicago Shakespeare Theater; The Nose, Chicago Opera Theater; The Wreckers, Houston Grand Opera; Edward Tulane, Minnesota Opera; Tannhäuser, LA Opera

PAST

10 Days in a Madhouse (world premiere), Opera Philadelphia; Grounded (world premiere), Washington National Opera

PATRICK CARFIZZI

JENNIFER EGLEY

OTSL DEBUT

OTSL DEBUT PAST

Bass-baritone Jane and Robert Feibel Artist Don Basilio, The Barber of Seville Dr. Bartolo, The Barber of Seville, 2006

PAST

La forza del destino, The Metropolitan Opera; The Barber of Seville, LA Opera; The Elixir of Love, OTSL; La Cenerentola, Houston Grand Opera; Nixon in China, San Francisco Opera

Dancer Julius Caesar

Taking Shape, FreeForm, Spark, The Big Muddy Dance Company Trainee Program; My Dear Watson (world premiere), The Big Muddy Dance Company

EXPERIENCEOPER A.ORG

932

A R TI S T P R O F I LE S LUKE ELMER

ERIC SEAN FOGEL

Countertenor Other, Galileo Galilei Gerdine Young Artist

Stage Director Colin Graham Master Artist Endowment The Barber of Seville

OTSL DEBUT PAST

OTSL DEBUT FUTURE

Orfeo, The Santa Fe Opera

Pagliacci, La Calisto, The Glimmerglass Festival; The Magic Flute, The Metropolitan Opera

PAST

Songbird, Washington National Opera; West Side Story, Opera Australia; The Sound of Music, Houston Grand Opera

GREG EMETAZ

THOMAS GLASS

OTSL DEBUT

OTSL DEBUT

Video Designer Mr. & Mrs. Harvard K. Hecker Endowed Artist Galileo Galilei The Golden Ticket, 2010

PAST

Harvey Milk, Harvey Milk, 2022

PAST

Don Giovanni, Boston Baroque; Champion, Metropolitan Opera, Lyric Opera of Chicago; Susannah, OTSL; Little Shop of Horrors, The Muny; Man of La Mancha, Asolo Rep

Romeo and Juliet, The Metropolitan Opera; The Shining, The Atlanta Opera; Don Giovanni, Minnesota Opera; Così fan tutte, Palm Beach Opera; Antony and Cleopatra; San Francisco Opera

ELIJAH ENGLISH

JOSÉ LUIS GÓMEZ

Countertenor Cardinal 1/Oracle 1/Other, Galileo Galilei Gerdine Young Artist

OTSL DEBUT PAST

Conductor Barbara M. Osborne Memorial Artist La bohème

OTSL DEBUT PAST

A Midsummer Night’s Dream, Chicago Summer Opera; Dido and Aeneas, Opera Fort Collins; Cendrillon, Agrippina, University of Colorado Eklund Opera

La bohème, Teatro Coccia, Frankfurt Opera; Don Giovanni, Teatro Sociale di Como; La forza del destino, New National Theatre, Tokyo; La Cenerentola, Staatstheater Stuttgart

HUNTER ENOCH

ERIK GRENDAHL

Bass-baritone Maggie & Ron Holtman Artist Pope Urban VIII/Simplicio/Cardinal Barberini/Father, Galileo Galilei

OTSL DEBUT

Baron Scarpia, Tosca, 2023

PAST

Carmen, Jacksonville Symphony; Touch (world premiere), Hansel and Gretel, Opera Birmingham; Romeo and Juliet, Washington National Opera; Die Walküre, Dallas Symphony Orchestra

LUCY EVANS

Mezzo-soprano Sarah Bryan Miller Memorial Artist Marie de Medici, Galileo Galilei Gerdine Young Artist

OTSL DEBUT PAST

Bulrusher (workshop), Robeson (workshop), Cincinnati Opera and Opera Fusion: New Works; Rigoletto, Holy City Arts & Lyric Opera; Orfeo, M. Butterfly (world premiere), The Santa Fe Opera

394

Bass-baritone Tani Wolff Memorial Artist Marcello, La bohème

O O PP E ER RA A TT H HE EA A TT R RE E oo ff SS A A II N N TT LL O OU U II SS || 22 0 0 22 4 4 F FE ES ST T II V VA A LL S SE EA AS SO ON N

Baritone Gerdine Young Artist

PAST

The Barber of Seville, Virginia Opera; Faust, Opera Baltimore; La traviata, Lyric Opera of Kansas City; M. Butterfly (world premiere), Tristan und Isolde, The Santa Fe Opera

PAUL GROVES

Tenor Virginia Weldon & Francis Austin Artist Older Galileo Galilei/Speaker, Galileo Galilei

OTSL DEBUT

Lensky, Eugene Onegin, 1991

PAST

Champion, The Magic Flute, The Metropolitan Opera; The Wreckers, Houston Grand Opera; Parsifal, Champion, Lyric Opera of Chicago

EMILY HAMPER Repetiteur Julius Caesar

OTSL DEBUT FUTURE

The Elixir of Love, Das Rheingold, Calgary Opera

PAST

The Marriage of Figaro, Calgary Opera

HAKEEM HENDERSON

Tenor Gerdine Young Artist

PAST

Into The Woods, Bernstein’s Mass, The Cask of Amontillado, Royal Northern College of Music; West Side Story, Edinburgh International Festival; Tosca, Maryland Opera

JENNIFER KREIDER

Soprano Dorothy & Billy Firestone Endowed Artist Sagredo, Galileo Galilei Gerdine Young Artist

OTSL DEBUT PAST

Vanessa, Spoleto Festival USA; La bohème, Opera in the Ozarks; The Magic Flute, Anne Frank (world premiere), Indiana University Opera Theater; Second Place, Upper Midwest Region, The Metropolitan Opera Eric and Dominique Laffont Competition, 2023

GABRIELA LINARES

Mezzo-soprano Robert & Martha Scharff Endowed Artist A Scribe, Galileo Galilei Gerdine Young Artist

OTSL DEBUT FUTURE

Birds & Balls (world premiere), Opera Parallèle and SF Jazz

PAST

Gianni Schicchi, Suor Angelica, Chautauqua Institution; Susannah, OTSL; The Consul, San Francisco Conservatory of Music Opera and Musical Theatre; Oregon District Winner, Northwest Region Award Recipient, The Metropolitan Opera Eric and Dominique Laffont Competition, 2023

CONSTANCE HOFFMAN

RYAN LUSTGARTEN

OTSL DEBUT

PAST

Costume Designer Julius Caesar

The Merchant and the Pauper, 1999

Tenor Gerdine Young Artist

PAST

The Abduction from the Seraglio, Pacific Northwest Opera; The Love for Three Oranges, American Apollo (workshop), Des Moines Metro Opera; Tevye’s Daughters (workshop), American Lyric Theater; La traviata, Virginia Opera

TAKESHI KATA

MADELEINE LYON

FUTURE

Antony and Cleopatra, The Metropolitan Opera Doppelganger, Park Avenue Armory; Antony and Cleopatra, San Francisco Opera, Gran Teatre del Liceu; Der fliegende Holländer, The Santa Fe Opera; Mozart-DaPonte Trilogy, San Francisco Opera

Set Designer Dr. Alvin R. Frank Memorial Endowed Artist La bohème

OTSL DEBUT

Mezzo-soprano Adelaide Cherbonnier Memorial Artist Nirena, Julius Caesar Gerdine Young Artist

PAST

OTSL DEBUT PAST

LAUREN KRAVITZ

MICHELLE MARIPOSA

Assistant Set Designer, The Rape of Lucretia, 1996 Water for Elephants, Imperial Theatre, Broadway; Prayer for the French Republic, Samuel J. Friedman Theatre, Broadway; Clyde’s, Helen Hayes Theater, Broadway; Until the Flood, Schaubühne, Berlin; Associate Professor, USC School of Dramatic Arts

Dancer Julius Caesar

OTSL DEBUT PAST

Céilí (world premiere), Seán Curran Company Irish Arts Center; Radamisto, Opera Lafayette; The Eldert Lofts (world premiere), Agora Artists at Wyly Theatre; Everywhere All the Time (world premiere), Seán Curran Company at Brooklyn Academy of Music; This is Propoganda, Tino Sehgal installation at The Warehouse

Lucia di Lammermoor, The Rape of Lucretia, El último sueño de Frida y Diego, Moses, Der Zwerg, LA Opera

Mezzo-soprano Steve Trampe & Jenny Gupta Endowed Artist Maria Maddalena, Galileo Galilei Gerdine Young Artist

OTSL DEBUT PAST

The Nose, Chicago Opera Theater; La liberazion di Ruggiero dall’isola d’Alcina, Haymarket Opera; Sullivan Award Winner, The Sullivan Foundation, 2023; Orfeo, The Santa Fe Opera

EXPERIENCEOPER A.ORG

4 95

A R TI S T P R O F I LE S JOHN GODHARD MBURU Bass Edes P. Gilbert Artist Curio, Julius Caesar Gerdine Young Artist

OTSL DEBUT FUTURE

Romeo and Juliet, Minnesota Opera

PAST

The Marriage of Figaro, University of Cincinnati CollegeConservatory of Music; Romeo and Juliet, The Glimmerglass Festival; Fidelio, Queen City Opera

CORY MCGEE

Bass-baritone Achillas, Julius Caesar

OTSL DEBUT FUTURE

La bohème, Houston Grand Opera

MEGAN MOORE

Mezzo-soprano Fred Wehrle, Jr. Memorial Artist Sextus, Julius Caesar

OTSL DEBUT Dorabella, Così fan tutte, 2023

PAST

The Barber of Seville, Seattle Opera; Don Giovanni, San Diego Opera; Tan Dun’s Buddha Passion, Seattle Symphony; Die Fledermaus, Les Musiciens du Louvre; Dialogues of the Carmelites, The Metropolitan Opera

ANDREW MORSTEIN

Tenor Emma Coulter Ware Artist Count Almaviva, The Barber of Seville

OTSL DEBUT PAST

Parsifal, Houston Grand Opera; Blue, New Orleans Opera; Simon Boccanegra, Opera Philadelphia; Don Giovanni, Wolf Trap Opera

The Barber of Seville, Theater an der Wien; Lucia di Lammermoor, Pensacola Opera; L’aube Rouge, Wexford Festival Opera; The Marriage of Figaro, Salzburg Festival; Awakenings, Boston Modern Opera Project

ROBERT MELLON

ALLEN MOYER

PAST

Baritone Janet McAfee Weakley Memorial Artist Benoit/Alcindoro, La bohème Cardinal 2/Servant/Oracle 2, Galileo Galilei

OTSL DEBUT

A Customs Officer, La bohème, 2016

PAST

Breaking the Waves, Detroit Opera; Pagliacci, Florida Grand Opera; Of Mice and Men, Livermore Valley Opera; La Cenerentola, Opera Maine

Set Designer Julius Caesar, Galileo Galilei

OTSL DEBUT

The Marriage of Figaro, 1999

PAST

Champion, Der Fliegende Holländer, Lyric Opera of Chicago; Champion, Fire Shut Up in My Bones, Orfeo and Euridice, The Metropolitan Opera; Tosca, OTSL

SARAH MESKO

KEY’MON W. MURRAH

OTSL DEBUT

OTSL DEBUT PAST

Mezzo-soprano Margaret B. Grigg Memorial Artist Julius Caesar, Julius Caesar Ottavia, The Coronation of Poppea, 2019

FUTURE

Countertenor MacKay Career Development Fund Artist Ptolemy, Julius Caesar

PAST

El Niño, The Metropolitan Opera; El último sueño de Frida y Diego, LA Opera; Dido and Aeneas, Bayerische Staatsoper

ERIE MILLS

TITUS MUZI III

The Marriage of Figaro, Lyric Opera of Chicago Carmen, The Metropolitan Opera, Lyric Opera of Chicago, Washington National Opera, Houston Grand Opera, Tulsa Opera; Semiramide, Rodelinda, Il trovatore, The Metropolitan Opera

English Diction Specialist The Barber of Seville, Julius Caesar

OTSL DEBUT

Britomarte, The Tree of Chastity, 1978

PAST

OTSL DEBUT

CONTINUES AS

The Magic Flute, Annapolis Opera; Don Pasquale, Academy of Vocal Arts; Carmina Burana, Cincinnati Ballet; Finalist, Vincerò World Singing Competition, 2022

Arizona District Judge, The Metropolitan Opera Eric and Dominique Laffont Competition, 2023 Secretary of Board of Directors, The Sullivan Foundation; Artistic Director, Livermore Valley Opera

596

Baritone Bettie S. Johnson Artist Schaunard, La bohème Richard Gaddes Festival Artist

O P E R A T H E A T R E o f S A I N T L O U I S || 22 0 0 22 4 4 FF EE SS TT II V VA A LL SS EE A A SS O ON N

Dancairo, Carmen, 2022

PAST

KATHLEEN O’MARA

Soprano MacKay Career Development Fund Artist Duchess Christina, Galileo Galilei Richard Gaddes Festival Artist

OTSL DEBUT PAST

The Barber of Seville, Der Zwerg, LA Opera

JOSEPH O’SHEA

Baritone Gerdine Young Artist

PAST

Madame Butterfly, The Barber of Seville, Lucia di Lammermoor, Cincinnati Opera; Fellow Travelers, University of Cincinnati CollegeConservatory of Music

EMILY POGORELC

Soprano Mark & Sudie Throdahl Artist Cleopatra, Julius Caesar

OTSL DEBUT FUTURE

La traviata, Detroit Opera; La bohème, The Metropolitan Opera PAST La sonnambula, Semperoper Dresden; Lucia di Lammermoor, Bayerische Staatsoper; La rondine, The Metropolitan Opera

MERIDIAN PRALL

Mezzo-soprano The Berges Family Foundation Endowed Artist Cornelia, Julius Caesar

OTSL DEBUT

2nd Lady, The Magic Flute, 2022

PAST

Die Walküre, The Atlanta Opera; Rusalka, Orfeo, The Santa Fe Opera; Sullivan Award Winner, The Sullivan Foundation, 2023; Grand Prize Winner, The Metropolitan Opera Eric and Dominique Laffont Competition, 2024

LAUREN PAUL

OLIVIA PRENDERGAST

PAST

The Magic Flute, Livermore Valley Opera; The Rape of Lucretia, Merola Opera Program; Ainadamar, Indiana University Opera Theater; The Magic Flute, Merola Opera Program; Second Place Winner, Tulsa Region, The Metropolitan Opera Eric and Dominique Laffont Competition, 2023

MARCO PIEMONTESE

ELKHANAH PULITZER

OTSL DEBUT PAST

OTSL DEBUT

Mezzo-soprano Elleard B. Heffern Fine Jewelers Endowed Artist in memory of Keith Shaw Gerdine Young Artist Die Walküre, TUNDI Productions; Gianni Schicchi, Suor Angelica, Alcina, University of South Dakota Opera

Costume Designer Galileo Galilei

Rigoletto, Teatro Massimo; Semiramide, Teatro La Fenice; The Turn of the Screw, Maggio Musicale Fiorentino; The Cherry Orchard, Three Sisters, Ivanov, The Forest, Classical Stage Company

Soprano Myrna Hershman Endowed Artist Gerdine Young Artist

PAST

Stage Director Edward Chase Garvey Memorial Foundation Artist Julius Caesar The Abduction from the Seraglio, 2003

FUTURE

Fragments, Carnegie Hall; The Silent Partner, West Edge Opera

PAST

Antony and Cleopatra, San Francisco Opera; Prisoner of the State, NY Philharmonic; Esperanza Spaulding’s 12 Little Spells, US tour

SEAN MICHAEL PLUMB

PATRICIA RACETTE

OTSL DEBUT

OTSL DEBUT

FUTURE

FUTURE

Baritone Donald L. Bryant, Jr. Endowed Artist Salviati/Younger Galileo Galilei, Galileo Galilei Schaunard, La bohème, 2016 The Magic Flute, The Metropolitan Opera; Die tote Stadt, La Cenerentola, Bayerische Staatsoper

PAST

The Barber of Seville, Seattle Opera; La bohème, The Metropolitan Opera; Carmina Burana, The Philadelphia Orchestra

Artistic Director of Young Artist Programs Robin & Tim Wentworth Artist 2024 Festival Season Donna Elvira, Don Giovanni, 1993 Patricia Sings Piaf, San Francisco Presidio Theater; Stage Director, Don Giovanni, San Francisco Merola Program

PAST

Stage Director, La traviata, Susannah, Center Stage, OTSL; Stage Director, Romeo and Juliet, Arizona Opera

EXPERIENCEOPER A.ORG

97 6

A AR RTI TISSTT P PR RO OFFIILE LESS JUSTIN JUSTINRAMM-DAMRON RAMM-DAMRON Bass-baritone Bass-baritone Carla CarlaMyerson MyersonArtist Artist AASergeant, Sergeant,La Labohème bohème Gerdine GerdineYoung YoungArtist Artist

OTSL OTSLDEBUT DEBUT PAST PAST

The TheElixir Elixirof ofLove, Love,New NewJersey JerseyLyric LyricOpera; Opera; Gianni GianniSchicchi, Schicchi,Bronx BronxOpera; Opera; The TheMarriage Marriageof ofFigaro, Figaro,Opera OperaMagnifico; Magnifico; Romeo Romeoand andJuliet, Juliet,Central CentralCity CityOpera; Opera; The TheDaughter Daughterof ofthe theRegiment, Regiment,Sarasota SarasotaOpera Opera

BRITTANY BRITTANYRENEE RENEE

Soprano Soprano Thelma ThelmaSteward StewardEndowed EndowedArtist Artist Musetta, Musetta,La Labohème bohème

OTSL OTSLDEBUT DEBUT FUTURE FUTURE

La Labohème, bohème,The TheMetropolitan MetropolitanOpera; Opera; Porgy Porgyand andBess, Bess,Washington WashingtonNational NationalOpera Opera

LAUREN LAURENROMANO ROMANO

Teaching TeachingArtist, Artist,St. St.Louis LouisChildren’s Children’sChoirs Choirs La Labohème bohème

OTSL OTSLDEBUT DEBUT Tosca, Tosca,2023 2023

PAST PAST

St. St.Louis LouisChildren’s Children’sChoirs ChoirsTeaching TeachingArtist, Artist,Tosca, Tosca, OTSL; OTSL; Choir ChoirDirector, Director,St. St.Louis LouisChildren’s Children’sChoirs Choirs

CONTINUES CONTINUESAS AS

Children’s Children’sChoir ChoirDirector, Director,Emmanuel EmmanuelEpiscopal EpiscopalChurch Church

KELLEY KELLEYROURKE ROURKE Translator Translator The TheBarber Barberof ofSeville Seville

OTSL OTSLDEBUT DEBUT

The TheElixir Elixirof ofLove, Love,2014 2014

FUTURE FUTURE

Jungle JungleBook, Book,Washington WashingtonNational NationalOpera Opera

PAST PAST

PAST PAST

Champion, Champion,Fire FireShut ShutUp UpininMy MyBones, Bones,The TheMetropolitan Metropolitan Opera; Opera; Omar, Omar,San SanFrancisco FranciscoOpera Opera

Hansel Hanseland andGretel, Gretel,Royal RoyalOpera OperaHouse; House; The TheEmissary Emissary(world (worldpremiere), premiere),Opera OperaParallèle; Parallèle; Cinderella, Cinderella,The TheMetropolitan MetropolitanOpera; Opera; The TheBeekeeper Beekeeper(world (worldpremiere), premiere),Chicago ChicagoOpera OperaTheater Theater

JENNIFER JENNIFERRINGO RINGO

BENJAMIN BENJAMINRUIZ RUIZ

OTSL OTSLDEBUT DEBUT

OTSL OTSLDEBUT DEBUT PAST PAST

English EnglishDiction DictionSpecialist Specialist Karen Karen&&Mont MontLevy LevyArtist Artist La Labohème, bohème,Galileo GalileoGalilei Galilei 2023 2023Festival FestivalSeason Season

FUTURE FUTURE

Tenor Tenor AAStrolling StrollingVendor, Vendor,La Labohème bohème Gerdine GerdineYoung YoungArtist Artist

PAST PAST

Orpheus Orpheusininthe theUnderworld, Underworld,Angélique, Angélique,MSM MSMOpera Opera Theatre; Theatre; Romeo Romeoand andJuliet, Juliet,Pagliacci, Pagliacci,Lyric LyricOpera Operaof ofKansas KansasCity; City; Encouragement EncouragementAward, Award,The TheMetropolitan MetropolitanOpera OperaEric Eric and andDominique DominiqueLaffont LaffontCompetition, Competition,2023 2023

JOUELLE JOUELLEROBERSON ROBERSON

KWAMÉ KWAMÉRYAN RYAN

PAST PAST

OTSL OTSLDEBUT DEBUT FUTURE FUTURE

The TheSound Soundof ofMusic, Music,Houston HoustonGrand GrandOpera Opera Susannah, Susannah,Tosca, Tosca,OTSL; OTSL; Le Lecomte comteOry, Ory,Lyric LyricOpera Operaof ofChicago; Chicago; Falstaff, Falstaff,Houston HoustonGrand GrandOpera; Opera; M. M.Butterfly Butterfly(world (worldpremiere), premiere),The TheSanta SantaFe FeOpera Opera

Soprano Soprano Lucy Lucy&&Stanley StanleyLopata LopataMemorial MemorialArtist Artist Gerdine GerdineYoung YoungArtist Artist The TheAnonymous AnonymousLover, Lover,Morgan MorganState StateUniversity UniversityOpera Opera Workshop Workshop

Conductor Conductor Sally SallyS. S.Levy LevyEndowed EndowedArtist Artist Galileo GalileoGalilei Galilei The TheTime Timeof ofOur OurSinging, Singing,La LaMonnaie; Monnaie; Die Dieersten erstenMenschen, Menschen,Dutch DutchNational NationalOpera; Opera; Porgy Porgyand andBess, Bess,Washington WashingtonNational NationalOpera Opera

PAST PAST

Intelligence, Intelligence,Houston HoustonGrand GrandOpera Opera

CONTINUES CONTINUESAS AS

Music MusicDirector DirectorDesignate, Designate,Charlotte CharlotteSymphony Symphony Appearing Appearingcourtesy courtesyof ofCharlotte CharlotteSymphony Symphony

JAMES JAMESROBINSON ROBINSON

MOISÉS MOISÉSSALAZAR SALAZAR

OTSL OTSLDEBUT DEBUT

OTSL OTSLDEBUT DEBUT FUTURE FUTURE

Artistic ArtisticDirector Director&&Stage StageDirector Director William WilliamT.T.Kemper KemperFoundation FoundationArtistic ArtisticDirector Director Galileo GalileoGalilei Galilei

Radamisto, Radamisto,2000 2000

FUTURE FUTURE

La Labohème, bohème,The TheSanta SantaFe FeOpera; Opera; IlIltrittico, trittico,Houston HoustonGrand GrandOpera Opera

PAST PAST

Champion, Champion,Fire FireShut ShutUp UpininMy MyBones, Bones,The TheMetropolitan Metropolitan Opera, Opera,Lyric LyricOpera Operaof ofChicago; Chicago; M. M.Butterfly Butterfly(world (worldpremiere), premiere),The TheSanta SantaFe FeOpera Opera

98 77

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Tenor Tenor Mary MaryAnn AnnLee LeeMemorial MemorialArtist Artist Rodolfo, Rodolfo,La Labohème bohème

Norma, Norma,Palm PalmBeach BeachOpera Opera

PAST PAST

Madame MadameButterfly, Butterfly,El Elúltimo últimosueño sueñode deFrida FridayyDiego, Diego, San SanFrancisco FranciscoOpera Opera

CHASE CHASESANDERS SANDERS

MICHAEL MICHAELSHELL SHELL

OTSL OTSLDEBUT DEBUT FUTURE FUTURE

OTSL OTSLDEBUT DEBUT

Sky Skyon onSwings, Swings,Opera OperaSaratoga; Saratoga; Treemonisha, Treemonisha,OTSL OTSLOpera Operaon onthe theGO!; GO!; District DistrictEncouragement EncouragementAward, Award,The TheMetropolitan Metropolitan Opera OperaEric Ericand andDominique DominiqueLaffont LaffontCompetition, Competition,2022 2022

PAST PAST

Sweeney SweeneyTodd, Todd,Indiana IndianaUniversity UniversityOpera OperaTheater; Theater; The TheDaughter Daughterof ofthe theRegiment, Regiment,The TheBarber Barberof ofSeville, Seville, Utah UtahOpera; Opera; The TheBarber Barberof ofSeville, Seville,The TheAtlanta AtlantaOpera; Opera; Gianni GianniSchicchi, Schicchi,International InternationalOpera OperaPerforming Performing Experience, Experience,Mercatello, Mercatello,Italy Italy

LAURA LAURASANTAMARIA SANTAMARIA

VERONICA VERONICASIEBERT SIEBERT

Soprano Soprano Ann Ann&&Bill BillSullins SullinsArtist Artist Berta/Notary, Berta/Notary,The TheBarber Barberof ofSeville Seville

The ThePirates Piratesof ofPenzance, Penzance,Little LittleWomen, Women,Tulsa TulsaOpera Opera

Soprano Soprano Gerdine GerdineYoung YoungArtist Artist

PAST PAST

Stage StageDirector Director Ann AnnLee Lee&&Will WillKonneker KonnekerEndowed EndowedArtist Artist La Labohème bohème The TheGhosts Ghostsof ofVersailles, Versailles,2009 2009

PAST PAST

Mezzo-soprano Mezzo-soprano Pershing PershingCharitable CharitableTrust TrustArtist Artist Gerdine GerdineYoung YoungArtist Artist

PAST PAST

AAMidsummer MidsummerNight’s Night’sDream, Dream,Boston BostonConservatory Conservatory at atBerklee; Berklee; With WithBlood, Blood,With WithInk, Ink,Seagle SeagleFestival; Festival; The TheMarriage Marriageof ofFigaro, Figaro,Pluto Pluto(world (worldpremiere), premiere), Vienna ViennaSummer SummerMusic MusicFestival Festival

Eugene EugeneOnegin, Onegin,Swimming Swimmingininthe theDark Dark(world (worldpremiere), premiere), Indiana IndianaUniversity UniversityOpera OperaTheater; Theater; La LaCalisto, Calisto,Postcard Postcardfrom fromMorocco, Morocco,MSM MSMOpera OperaTheatre Theatre

LYNLY LYNLYSAUNDERS SAUNDERS

VLAD VLADSOLOVIEV SOLOVIEV

OTSL OTSLDEBUT DEBUT PAST PAST

OTSL OTSLDEBUT DEBUT PAST PAST

Costume CostumeDesigner Designer The TheBarber Barberof ofSeville Seville

Apprentice ApprenticePianist Pianist 2024 2024Festival FestivalSeason Season

Faust, Faust,Wolf WolfTrap TrapOpera; Opera; An AnAmerican AmericanSoldier, Soldier,Proving ProvingUp, Up,Così Cosìfan fantutte, tutte, Washington WashingtonNational NationalOpera; Opera; Idomeneo, Idomeneo,Aspen AspenMusic MusicFestival Festival

Tosca, Tosca,Salome, Salome,Carmen, Carmen,The TheMagic MagicFlute, Flute,Madame Madame Butterfly, Butterfly,Canadian CanadianOpera OperaCompany Company

ERIC ERICSEDGWICK SEDGWICK

ERIC ERICSOUTHERN SOUTHERN

OTSL OTSLDEBUT DEBUT

OTSL OTSLDEBUT DEBUT

PAST PAST

PAST PAST

Repetiteur Repetiteur MacKay MacKayCareer CareerDevelopment DevelopmentFund FundArtist Artist The TheBarber Barberof ofSeville Seville Treemonisha, Treemonisha,2023 2023

Lighting LightingDesigner Designer Salvatore Salvatore&&Dagnija DagnijaComado ComadoMaster MasterArtist Artist Julius JuliusCaesar, Caesar,Galileo GalileoGalilei Galilei Tosca, Tosca,Susannah, Susannah,2023 2023

La Lafinta fintagiardiniera, giardiniera,MSM MSMOpera OperaTheatre; Theatre; Lessons LessonsininLove Loveand andViolence, Violence,Tanglewood TanglewoodMusic MusicCenter; Center; Così Cosìfan fantutte, tutte,Opera OperaininWilliamsburg; Williamsburg; Angel’s Angel’sBone, Bone,Beth BethMorrison MorrisonProjects Projects

Romeo Romeoand andJuliet, Juliet,Boston BostonLyric LyricOpera; Opera; Paul’s Paul’sCase, Case,Urban UrbanArias Ariasand andPrototype PrototypeFestival; Festival; The TheSecret SecretAgent, Agent,Center Centerfor forContemporary ContemporaryOpera; Opera; The TheGood GoodSwimmer, Swimmer,Brooklyn BrooklynAcademy Academyof ofMusic; Music; Le LeNozze Nozzedi diFigaro, Figaro,Curtis CurtisOpera OperaTheatre Theatre

AMANDA AMANDASEYMOUR SEYMOUR

NATHAN NATHANSTARK STARK

Costume CostumeDesigner Designer La Labohème bohème

OTSL OTSLDEBUT DEBUT

The TheElixir Elixirof ofLove, Love,2014 2014

PAST PAST

Faust, Faust,Wolf WolfTrap TrapOpera; Opera; An AnAmerican AmericanSoldier, Soldier,Proving ProvingUp, Up,Così Cosìfan fantutte, tutte, Washington WashingtonNational NationalOpera; Opera; Idomeneo, Idomeneo,Aspen AspenMusic MusicFestival Festival

Bass-baritone Bass-baritone Sondra Sondra&&Milton MiltonSchlesinger SchlesingerArtist Artist Dr. Dr.Bartolo, Bartolo,The TheBarber Barberof ofSeville Seville

OTSL OTSLDEBUT DEBUT

Military MilitaryJudge, Judge,An AnAmerican AmericanSoldier, Soldier,2018 2018

FUTURE FUTURE

Holiday HolidayConcert, Concert,San SanJose JoseSymphony; Symphony; Don DonPasquale, Pasquale,Tampa TampaOpera Opera

PAST PAST

Breaking Breakingthe theWaves, Waves,Detroit DetroitOpera; Opera; Dark DarkSisters, Sisters,OrpheusPDX; OrpheusPDX; Harvey HarveyMilk, Milk,OTSL OTSL

EEXXPPEERRIIEENNCCEEOOPPEERR AA. .OORRGG

9988

THE UNION BEHIND ENTERTAINMENT IN SAINT LOUIS SINCE 1893

STAGEHANDS UNION LOCAL #6 ELI BARRERA, Business Manager JAMES SPIES, President CHRISTINA BECK, Secretary

A R TI S T P R O F I LE S DOUGLAS SUMI

Repetiteur Galileo Galilei

OTSL DEBUT

Così fan tutte, 2023

FUTURE

Charlie Parker’s Yardbird, New Orleans Opera, Indianapolis Opera

ANDREW WHITFIELD

Chorus Master John H. Russell Artist The Barber of Seville, La bohème, Julius Caesar, Galileo Galilei

OTSL DEBUT

Treemonisha, Tosca, Susannah, 2023

PAST

PAST

Cover Conductor, La traviata, The Metropolitan Opera; Guest Chorus Director, Carmina Burana, Cavalleria Rusticana, St. Louis Symphony Orchestra; Guest Chorus Director, Oedipus Rex, Symphony of Psalms, San Francisco Symphony; Chorus Director, Minnesota Opera

EMILIO VASQUEZ

PATRICK WILHELM

Madame Butterfly, La Cenerentola, Boston Lyric Opera

Baritone Other, Galileo Galilei Gerdine Young Artist

OTSL DEBUT FUTURE The Marriage of Figaro, CCM Opera d’Arte

PAST

Baritone Gerdine Young Artist

PAST

Faust, La traviata, Wolf Trap Opera; Così fan tutte, Curtis Opera Theatre; Encouragement Award, The Metropolitan Opera Eric and Dominique Laffont Competition, 2023

La bohème, International Summer Opera Festival of Morelia; Dido and Aeneas, CCM Opera d’Arte

WILL VICARI

Wig & Makeup Designer The Barber of Seville, La bohème, Julius Caesar, Galileo Galilei

OTSL DEBUT

Wig & Makeup Intern, 2016

PAST

Twelfth Night, Axis Theater Company; Orlando, Signature Theatre; The Connector, MCC Theater; Spamalot, St. James Theatre, Broadway; Harmony, Bernard B. Jabobs Theatre, Broadway

ALYSSA WATSON Dancer Julius Caesar

OTSL DEBUT PAST

Baritone Robert and Lorraine Duesenberg Endowed Artist Fiorello, The Barber of Seville Other, Galileo Galilei Gerdine Young Artist

OTSL DEBUT PAST

Tosca, The Tales of Hoffmann, Palm Beach Opera; National Grand Finalist, The Metropolitan Opera Eric and Dominique Laffont Competition, 2023; Carmen, The Love for Three Oranges, Des Moines Metro Opera

HONGNI WU

Mezzo-soprano Josephine & Monte Throdahl Endowed Artist Rosina, The Barber of Seville

OTSL DEBUT PAST

Company member, The Big Muddy Dance Company Trainee Program; Dancer, Space Station Dance Residency

M. Butterfly (world premiere), The Santa Fe Opera; Dream of the Red Chamber, San Francisco Opera

JARED WERLEIN

MARIKA YASUDA

Bass-baritone Phoebe Dent Weil Artist An Officer, The Barber of Seville A Customs Officer, La bohème Cardinal 3, Galileo Galilei Gerdine Young Artist

OTSL DEBUT PAST

Later That Same Evening, Proving Up, Atalanta, Juilliard Opera; La bohème, Music Academy of the West; Don Giovanni, Chautauqua Institution

9

DAVID WOLFE

OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

Repetiteur La bohème

OTSL DEBUT PAST

Lucia di Lammermoor, New Orleans Opera; Tosca, Palm Beach Opera; The Elixir of Love, El último sueño de Frida y Diego, San Francisco Opera

EXPERIENCEOPER A.ORG

101

CARMEN

BIZET

July 5, 6, 12, 13

AIDA

VERDI

IN CONCERT

July 26, 28(m) August 3

INTO THE WOODS

SONDHEIM

August 16, 17, 23, 24

(314) 361-2881 or visit UnionAvenueOpera.org Located at 733 Union Blvd. | St. Louis, MO 63108 | Free Parking

T H E O R C H E S T R A FO R T H E B A R B E R O F S E V I L L E A N D L A B O H È M E FIRST VIOLIN Erin Schreiber Hannah Ji Joo Kim Melody Lee Xiaoxiao Qiang Angie Smart Kyle Lombard Marin Osawa SECOND VIOLIN Alison Harney Andrea Jarrett Ling Ling Guan Asako Kuboki Seul Lee Nathan Lowry Shawn Weil VIOLA Alejandro Valdepeñas Jonathan Chu Susan Gordon Chris Tantillo Davis Perez Amy Greenhalgh

CELLO Daniel Lee James Czyzewski Alvin McCall Bjorn Ranheim Jun Seo BASS Aleck Belcher Brendan Fitzgerald Ron Moberly Kathryn Bradley HARP Megan Stout FLUTE/PICCOLO Andrea Kaplan Jennifer Nitchman Ann Choomack OBOE Philip Ross Xiomara Mass Cally Banhan

ENGLISH HORN Cally Banham CLARINET Scott Andrews Tzuying Huang Ryan Toher

TROMBONE Jonathan Randazzo Amanda Stewart Jonathan Reycraft CIMBASSO Chance Trottman-Huiet

BASS CLARINET Tzuying Huang

TIMPANI Shannon Wood

BASSOON Andrew Cuneo Julia Paine

PERCUSSION Alan Stewart Kevin Ritenauer Kim Shelley

HORN Thomas Jöstlein Blaine Dodson Tod Bowermaster Victoria Knudtson

GUITAR Kirk Hanser KEYBOARD Eric Sedgwick (OTSL)

TRUMPET Steven Franklin Omri Barak Michael Walk

T H E O R C H E S T R A FO R J U L I U S C A E S A R A N D G A L I L EO G A L I L E I FIRST VIOLIN Celeste Golden Andrews Jessica Cheng Hellwege Ann Fink Emily Ho Weilu Zhang Jessie Chen Heidi Harris Jacqueline Tso SECOND VIOLIN Kristin Ahlstrom Eva Kozma Nicolae Bica Janet Carpenter Lisa Chong Siyu Zhang Jane Price

VIOLA Beth Guterman Chu Michael Casimir Andrew François Shannon Williams Xi Zhang CELLO Melissa Brooks David Kim Elizabeth Chung Grace Park BASS Erik Harris David DeRiso Sarah Kaiser HARP Megan Stout

FLUTE Matthew Roitstein Nadine Hur

TRUMPET Wesley Skidgel Mary Weber

PICCOLO Matthew Roitstein

TROMBONE Amanda Stewart

OBOE Jelena Dirks Tamara Winston

PERCUSSION William James Sasha Luthy

CLARINET Ryan Toher

HARPSICHORD Daniela Candillari (OTSL)

BASSOON Andrew Gott Ellen Connors

KEYBOARD Peter Henderson Emily Hamper (OTSL) Douglas Sumi (OTSL)

HORN Roger Kaza Julie Thayer Cara Kizer Tricia Jöstlein

S T. LO U I S S Y M P H O N Y O R C H E S T R A T E A M MARIE-HÉLÈNE BERNARD President and Chief Executive Officer

UNITEY KULL Chief Marketing and Communications Officer

PAUL PIETROWSKI Chief Operating Officer

ALEX SHAPIRO Chief Philanthropy Officer

ARTISTIC ADMINISTRATION Ian Kivler Eliza Caperton

ORCHESTRA PERSONNEL Cacia Meeks Andrew Williams

ORCHESTRA OPERATIONS Audrey Kwong Chris Aman

PRODUCTION Margaret Bailey Alana Szeles

MAUREEN BYRNE Vice President, Education and Community Programs

STEVEN ROSENZWEIG Chief Financial Officer

STAGE PERSONNEL Franklin Horvath Ron Bolte, Jr. Nigel DeLuca

MUSIC LIBRARIANS Katie Klich Henry Skolnick Amanda Tallant

Orchestra lists complete as of April 19, 2024.

About the St. Louis Symphony Orchestra: Celebrated as a leading American orchestra, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 144th year with the 2023/2024 season and its fifth with Music Director Stéphane Denève. The SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations, honoring its mission of enriching lives through the power of music.

E XEPXEPREIRE INE CNECOEPOEPREAR . AO .ROGR/G S/ SL LS SOO

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O P E R A TH E ATR E O F SAI NT LO U I S S TA F F Opera Theatre’s annual staff numbers fewer than 50 individuals, but during the festival season, our ranks grow into the many hundreds! We’re incredibly grateful for all our wonderful seasonal staff, artists, interns, and volunteers who help bring this incredible art form to life.

This list of Opera Theatre staff is accurate as of April 19, 2024. We regret the ommission of anyone who was hired after this date.

ANDREW JORGENSEN General Director

JAMES ROBINSON Artistic Director

PATRICIA RACETTE Artistic Director of Young Artist Programs

DANIELA CANDILLARI Principal Conductor

NICOLE AMBOS FREBER Managing Director

ALLISON FELTER Director of Education & Engagement

ANH LÊ Director of Marketing & PR

YVETTE LOYNAZ Director of Artistic Administration

MICHELLE MYERS Director of Administration & Finance

STEPHEN RYAN Director of Production & Operations

MONICA ROSCOE Box Office Systems & Operations Manager

BOX OFFICE REPRESENTATIVES Jordyn Carnes Julie George

Lucy Guillemette Annaleigh Kimes Erin Mathiesen Anna Rimar

Taijha Silas Celene Totry

TYLER MCKENZIE Manger of Volunteer Engagement

JENNA PIEPER Data Assistant

ZAC MCMILLAN Deputy Director of Development, Individual Giving

DILLON POTTS  Development Intern

TORI REZEK Deputy Director of Development, Institutional Giving & Events

RACHEL SINCLAIR Manager of Institutional Giving

SAM TARTER Press & Communications Intern

MACY WHITE Social Media & Content Strategy Manager

MARCELA GOMEZ LUGO Artistic Administration Assistant

STEPHANIE NIGUS Senior Manager of Artistic Administration

LINDA SCHULTE Director of Development & Campaign Strategy

A DVA N C E M E N T HANS FREDERICKSON Manager of Board Relations B OX O F F I C E ALYSSA GOVE Associate Director of Box Office and Patron Services D E V E LO P M E N T STACEY BREGENZER Senior Manager of Donor Engagement BRITTAINY BROWN Event Coordinator

M A R K E T I N G & P U B L I C R E L AT I O N S KELLY GLUECK Graphic Designer & Brand Manager NAOMI EKE Digital Marketing Intern

BRADY HARDIN Web & E-Marketing Manager

ERIN LEE Graphic Design Intern

CHANTAL INCANDELA Press & Communications Manager

CAMRYN MOORE Clayco Marketing Fellow

ERICA ANCELL Artistic Administration Intern

ELIZABETH BUTTON Artistic Administration Intern

ARTISTIC ALEXIS AIMÉ Manager of Artistic Planning

The position of General Director is underwritten in part by a generous gift from the Zoe and Max Lippman Memorial Fund.

Allison Felter is the Michael  & Noémi Neidorff Endowed Director of Education and Engagement.

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O PP EE RR AA TT H H EE AA TT RR EE oo f S A I N T L O U I S | 2 0 2 4 F E S T I V A L S E A S O N O

CAMERON TYLER Artistic Coordinator

 MacKay Career Development Fund Administrator

∆

Charla Sausele Intern for Opera Administration

OTSL staff outside the Sally S. Levy Opera Center getting ready to view the Great North American Eclipse on April 8, 2024. Photo © Kelley Bryan

E D U C AT I O N & E N G AG E M E N T MEGAN AUSTIN ∆ Education Intern

MORGAN FISHER Education & Engagement Manager

KEVIN NICOLETTI Teaching Artist Coordinator

A D M I N I S T R AT I O N & F I N A N C E KELLEY BRYAN ASTRID BACY Clayco Administration Executive Assistant to the General Director Fellow TARA BENNETT HR Assistant

JOSHUA GOLDMAN Finance Intern

RHONDA HENDERSON Controller

THERESA MCKEE Accounting Clerk

MARIE JOWETT Senior Accountant

JUDY POLLACK Payroll & Benefits Administrator

OREVIA VONGSA Office Manager

P R O D U C T I O N & O P E R AT I O N S MAGGY BORT Production Manager

STACY HARRIS Costume Shop Manager

JACK RUSHEN Technical Director

LUCIE GARNETT Archive & Concierge Coordinator

GINA PEARSON Production Administrator

ALLYSON SIMS Clayco Production Fellow

ERIC WOOLSEY Operations Manager

N CC EE O O PP EE RR AA .. O O RR GG // SS TT A AF FF F EE XX PP EE RR II EE N

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S E A S O N A L P R O D U C T I O N S TA F F P R O D U C T I O N A D M I N I S T R AT I O N ASSOCIATE TECHNICAL DIRECTOR Emilie WeilbacherMcMullan

ASSISTANT TECHNICAL DIRECTOR Catherine Adams++

INTERN ASSISTANT TECHNICAL DIRECTOR Victoria Esquivel+

IATSE SHOP CARPENTERS Jeffrey Berry Jeff Dattoli, Jr. Jake Goodwin Daniel Roach, Jr.

CHARGE ARTIST Stephen Pollihan

IATSE PROPERTIES CARPENTER Scott De Broux

PROPERTIES INTERN Ryne Halstead

S C E N E RY IATSE STAGE CARPENTERS Daniel McCarthy Rick Shetley, Jr.

ASSISTANT CHARGE ARTIST Allison Larkins

SCENIC ARTISTS Emily Frei Sarah Frost Scott Loebl James Van Well

STAGE CREW Cas Blessing* Heidi Clouse Lindsey Cook Elijah Dickey Ryan Fraley Emma Gregory

Aspen Knight Isa LoPiccolo-Kleine* Noah Vos

IATSE AUDIO ENGINEERS Adam Shepherd (A1) Savannah Gipson (A2)

ORCHESTRA OPERATIONS CREW Echo Hicks Lauren Whyte*

PROPERTIES PROPERTIES MANAGER Meg Brinkley ASSISTANT PROPERTIES MANAGERS Derek Alley Katie Orr

IATSE PROPERTIES RUN SUPERVISORS John Amann Nichelle Williams

PROPERTIES ARTISANS Audrey De Haan+ Leo Fuller

PROPERTIES RUN CREW Catherine Good Jordan Kerr Sophie Reidt Matalynn Thayer

L I G H T I N G / V I D EO/S O U N D/O R C H E S T R A O P E R AT I O N S ASSISTANT DECK ELECTRICIAN Will Everson

IATSE BOARD PROGRAMMER Lou Ritter

IATSE PRODUCTION ELECTRICIAN Peggy Thierheimer

IATSE NETWORK ELECTRICIAN Eric Elz

IATSE DECK ELECTRICIAN Christine Shetley

ELECTRICS CREW Finnegan Gavelli Jules Houston Chuck Immer Josh Kline AB Wildes*

IATSE ORCHESTRA SUPERVISOR Michael Lynch

WIGS & MAKEUP WIG & MAKEUP ARTISANS Bekah Toone M. Nottke

WIG & MAKEUP INTERNS Rebecca Mack Ryan Moore

CO S T U M E C R A F T S CRAFT SHOP MANAGER Angelique Newbauer

ASSISTANT CRAFT SHOP MANAGER John Inchiostro

COSTUME CRAFT ARTISANS Barbara Casement Corissa Gavin Sydney Martin Cecilia Skemp

DYER/PAINTER Garth Dunbar

₪

*

106 3

Emerson Production Artists

 Emerson Production Assistants



Emerson Costume Apprentices

+

Larry & Jinny Browning Technical Fellows

O P E R A T H E A T R E o ff SS AA II N N TT LL OO UU II SS || 22 0 0 22 4 4 FF E E SS TT II V VA A LL SS E EA A SS O ON N



Keith & Cynthia Shaw Endowed Artist

David N. Farr Endowed Artist

Vail Levy ** Catherine Endowed Artist

l

Joan F. Richman Endowed Young Artist

++ MacKay Career

Development Fund Artist

CO S T U M E S ASSISTANT COSTUME SHOP MANAGER Spencer Lawton COSTUME DESIGN ASSISTANTS Christiana Osborne+ Vanessa Tabourne**

FIRST HANDS Lisa Drewel Ariella Lebowitz+ Bruk Longbottom Bryan McDonald Carrisa Sexton

STITCHERS Hattie Barieau Blake Blanning  Rose Bonarek Vanessa Buck Kate Collins Zoie Cox Jennifer Goldstein Adriaen Hobgood

WARDROBE CREW Emmalee Berger Justin Buontempo* Elle Hartman

Aspen Kinomoto* Virginia Parkinson Codi Rasor

ASSISTANT HOUSE MANAGERS Jorge Falconi Claire Himstedt

ACCESSIBILITY MANAGER Carl Wickman

GARDEN MANAGER Nash Davis

ASSISTANT STAGE DIRECTORS Michelle Cuizon Anna Theodosakis

APPRENTICE ASSISTANT STAGE DIRECTOR Olivia Gacka

HEAD DRAPER Robert W. Trump DRAPERS Paula Buchert Elizabeth Eisloeffel Ginny McKeever Rick Tuckett

Pearl Modine Katie Radford Elizabeth Randall Michael Romero Calyn Roth Marissa Thompson

WA R D R O B E WARDROBE SUPERVISOR Calyn Roth

ASSISTANT WARDROBE SUPERVISOR Claire Cosby

FRONT OF HOUSE HOUSE MANAGER Ethan Ryan

SEASON CATERING Ces & Judy’s Catering

VAN DRIVERS Daniel Brodsky Theresa Pearson Brittany Ware

S TAG I N G S TA F F RESIDENT ASSISTANT STAGE DIRECTORS Diane Machin Ian Silverman

D E S I G N S U P P O R T S TA F F COSTUME ASSISTANTS Antonella Buono Beth Goldenberg Bailey Hammett

Brynne Oster-Bainnson SCENIC ASSISTANTS Martin Schnellinger Valerie Green Ryan Howell Warren Karp Lauren Nichols

ASSOCIATE LIGHTING DESIGNERS Maximo Grano de Oro++ Cheyenne Sykes

S TAG E M A N AG E M E N T KIMBERLEY S. PRESCOTT Production Stage Manager

CINDY KNIGHT Stage Manager

VALERIE J. CLATWORTHY Assistant Stage Manager

KRISTEN BARRETT Stage Manager

FRANCESCA MACBETH ₪ Stage Manager

JESSIE MHIRE Assistant Stage Manager

LIGHTWALKERS Bob Feibel Alan Fiddleman Ann Fusz Ellen Fusz Susie Hahn Marilyn Humiston Margie Knapp Pam Mahonay

Gloria Park Harriet Scholle Janice Seele Kathleen Sitzer Kirk Stein Cay Sullivan Rowena Van Dyke Anne Williams

EMILY STAFFORD Assistant Stage Manager RICKELLE R. WILLIAMS Assistant Stage Manager

CHRIS MOEGGENBERGl Intern Assistant Stage Manager LAUREL SCHMIDT Intern Assistant Stage Manager

VO LU N T E E R S DRESSERS Pam Belloli Ann Fusz Ellen Fusz Christi Maginn Chris Saulter Bec Zakreski

SUPERNUMERARIES Simon Aholt Brian Maginn Dan Barnett Harry Moppins Kekoa Blakemore Kéelin Russell Christopher Bowser Louisa Russell Kyle Clark Ann Fusz Ellen Fusz Ryan Keller

E X P E R I E N C E OP E R A .OR G / STAF F

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D O N O R S : A N N UA L F U N D 2 02 3 –2 024 Opera Theatre acknowledges with gratitude the spirit and generosity of the following individuals, corporations, foundations, and public agencies, whose investments at all levels provide invaluable support for the company’s mission. Their philanthropy permits Opera Theatre to maintain its fiscal soundness and high level of artistic achievement. Thank you to the following current members:

TH E CO U N CI L FO R A R TI S TI C E XC E LLE N C E The Council for Artistic Excellence recognizes donors who have made significant leadership commitments in support of the 2024 season.

L E A D ER S H I P C I RC L E $ 1 0 0,0 0 0 + Anonymous Donor (1)

Missouri Arts Council

Dr. Jeanne & Rex Sinquefield

Jim Berges & Elizabeth Mannen Berges & Berges Family Foundation

National Endowment for the Arts Noémi K. Neidorff

David & Thelma Steward & Steward Family Foundation

Regional Arts Commission

Robin & Tim Wentworth

The Saigh Foundation

Whitaker Foundation

Ted & Lori Samuels & Samuels Family Fund of the St. Louis Community Foundation

Roma B. Wittcoff

Robert & Jane Clark Clayco Edward Jones Lelia & David Farr The Mellon Foundation

World Wide Technology Foundation

D I R EC TO R S ’ C I RC L E $ 5 0,0 0 0 -$9 9, 9 9 9 Anonymous Donor (1)

Emerson

The Levy Family & Saucy Foundation

Bayer Fund

Mr. & Mrs. Irl F. Engelhardt & Engelhardt Family Foundation

Karen & Mont Levy

The Margaret Blanke Grigg Foundation

Roy Pfautch

William T. Kemper Foundation

Emily Rauh Pulitzer

Mrs. Laurance L. Browning, Jr.* & The Pulley Foundation Kim & Tim Eberlein

Penny Pennington & Michael Fidler

TH E PATR O N P R O G R A M The Patron Program recognizes donors who make annual gifts of $2,500-$49,999. These donors make possible work at the heart of Opera Theatre’s mission — mainstage productions, education and community engagement programs, and more.

P RO D U C TI O N U N D ERW R IT ER PAT RO N S $2 5 ,0 0 0 -$ 49, 9 9 9 Anonymous Donors (2)

Clemence S. Lieber Foundation

Stifel

Boniface Foundation

Robert J. Lieber Charitable Trust

Mary Susman & Tom Herm*

Buckingham Strategic Wealth

William D. Merwin *

Mr. & Mrs. Mark C. Throdahl

Phoebe & Spencer Burke*

OPERA America, Inc.

Stephen Trampe & Jenny Gupta*

Alison & John Ferring & John & Alison Ferring Family Foundation

Pershing Charitable Trust

Washington University

PNC Arts Alive

Webster University 

Mabel L. Purkerson, M.D.

Edward H. & Rosemary Young Fund of the St. Louis Community Foundation

Edes P. Gilbert Diane & Paul Jacobson Bettie S. Johnson

The Mabel Dorn Reeder Foundation Mabel L. Purkerson, M.D., Trustee

Nancy & Ken Kranzberg

John H. Russell

J. David & Lucy S. Levy*

Mary Schoolman & Jim Hinrichs

1108

OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

Ann Ziff

A R IA PAT RO N S $ 1 5 ,0 0 0 -$24 , 9 9 9 David & Melanie Alpers

Edward Chase Garvey Memorial Foundation

Mr. & Mrs. Robert L. Scharff, Jr.*

Bryan Cave Leighton Paisner LLP

David & Angie Hagee

Ann McFarland Sullins

Commerce Bank

Mrs. William S. Knowles 

Franklin F. Wallis*

Crawford Taylor Foundation

Gene Kornblum

Nina Coulter Ware

Robert & Jane Feibel

MacCarthy Foundation

Dorothy & Billy Firestone

Marcela Manjarrez

Dr. Virginia V. Weldon & Mr. Francis Austin

Roxanne H. Frank

Dr. & Mrs. Robert J. Myerson*

Ellen & Bill Yeckley

Ameren

The St. Louis Trust Company

Allen & Merry Richon

S P O N SO R PAT RO N S $ 1 0,0 0 0 -$ 14 , 9 9 9 Anonymous Donor (1) Dr. John T. Biggs Cynthia J. Brinkley Sara Epstein Ann Faget* Keith & Ann Fischer Richard Gaddes* Mrs. Ronald A. Holtman Heather Hunt-Ruddy Mary Ranken Jordan & Ettie A. Jordan Charitable Foundation

Andrew Jorgensen & Mark Stuart-Smith

Adrienne Warren Patton

Mr. & Mrs. David W. Kemper & Kemper Family Foundation

Lee & Nancy Reycraft

Gerald M. Kowarsky* Mr. & Mrs. Lawrence Langsam* John Frank Lesser* Leigh & Jean Mason

Georgia C. Pettus Allison W. Roberts Sondra Schlesinger* Dr. David Sewall & Mr. Jeff Kapfer Dr. Amber Simpson & Kenneth Simpson

Randy McDonnell & Mr. & Mrs. Sanford N. McDonnell Foundation

Phoebe Dent Weil*

Dr. & Mrs. David Meiners

Sharon & Elliot Zucker*

St. Louis Magazine 

P RO D U C ER PAT RO N S $7, 5 0 0 -$9 , 9 9 9 Louis D. Beaumont Fund No. 1 of the St. Louis Community Foundation Employees Community Fund of Boeing St. Louis

Greg & Prissy Evans Mrs. Joseph F. Gleason Elma Kanefield Pam & Jim Krekeler

Mr. & Mrs. Robert H. Craft, Jr.

Peggy & Don Lents

Crystal & Patrick Dallas & Excel Business Concepts

Liz* & Brian Mischel & Melissa Wohlwend

Jan Paul Richter & Ellen von Seggern Richter Marsha & William C. Rusnack & Rusnack Family Trust Annemarie & Matt Schumacher Thompson Coburn LLP George Yeh

B EN EFAC TO R PAT RO N S $ 5 ,0 0 0 -$7, 49 9 Anonymous Donors (2)

Sara Burke

Rabbi Dr. Jay & Erika Goldburg*

Donna & Harvey Allen

Professor Adrienne Davis

C. R. Grigg

Lee & Alexandra Benham

Bill Dolan & Suzanne Bromschwig Dolan*

Dr. Lannis E. Hall

Enterprise Holdings Foundation

Phyllis R. Hyken

Mr. & Mrs. Stephen F. Brauer & Brauer Charitable Trust Lee Broughton & Christine Taylor Broughton

Enterprise Bank & Trust

Pamela Buell*

Marti & Bob Fowler

Melanie & Anthony Fathman, M.D.

Janet & Andy Hoyne Carolyn Losos Sedgwick Mead, Jr. & Catherine Perry LaVerna Meyer EXPERIENCEOPER A.ORG/SUPPORT

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Pinnell Foundation

Linda & Bruce Ryder

Mary Strauss

Mr. & Mrs. Rodger Riney & Paula & Rodger Riney Charitable Fund of the St. Louis Community Foundation

Mrs. Edward L. Salmon, Jr.

Dr. Donald Suggs

Janice & Stephen Seele

Shoshana Tancer Susan & Ben Uchitelle

Peggy Ritter

Stephen W. Skrainka, in memory of Linda Skrainka

Mr. & Mrs.  John R. Roberts

Barbara & Gene Spector

Miriam Wilhelm

Dr. Mary Anne Rudloff*

James V. & Susan S. Stepleton

Susan & David Young

Anonymous Donors (3)

Alan R. Fiddleman*

Marti Reichman

William Aitken

Nicole & Keith Freber

Robert C. Anderson

Walter & Nancy Galvin

Gailya & John Barker

Mr. & Mrs. Jeff Gershman & Gershman Foundation

Mrs. Robert L. Rosenheim & Rosenheim Charitable Family Foundation

Josephine & Richard Weil

PAT RO N S $2 , 5 0 0 -$ 4 , 9 9 9

Tania Beasley-Jolly & William Jolly Dr. Martin Bell* Pam Belloli & Dave Shimek Marie-Hélène Bernard & Douglas Copeland Rudi J. Bertrand & Paul A. Williams, M.D. 

Ann & Randy Getz

Tom & Ulrike Schlafly

Jan & Ronald Greenberg

Mr. & Mrs. Henry L. Schweich

Mrs. Gerard K. Gunther, Jr.

Kathy Sears, in memory of Sally Levy

Carolyn Henges & Jay Henges Charitable Trust

Thomas Sehr & Margaret A. Wayne

Arnold & Myrna Hershman*

Linda Seibert

June R. Bierman

Gina & Lee Hoagland

Sudie Shinkle

Catherine Binns

Alfred & Marilyn Holtzer

Eve Simon

Elaine & Harold Blatt

Dr. Alan W. Hopefl

Ray M. Simon & Mel Pashea

Catherine S. Bollinger

Jeannette R. Huey*

Mr. & Mrs. V. Raymond Stranghoener

Mary I. Brown

Frank Jacobs & Marylen Mann

Buron F. Buffkin & Donn Kleinschmidt, M.D.

W.W. & Anne Jones

Mr. & Mrs. E. R. Thomas, Jr. & Thomas & Proetz Lumber Co.

Linda Burns

Barry Kirk & Andrew Martin

Paul & Elissa Cahn

Mrs. Newell S. Knight

Amanda Trudell Cambridge & Paul Cambridge

Stephen E. Kraft

Tobie Chapman Elaine Coe Mrs. P. Terence Crebs DM3 Fund Dr. & Mrs. Charles Ettelson Sara & Darryl Fabick David C. Farrell  & Farrell Family Fund of the St. Louis Community Foundation

3110

Alan J. Savada & Will Stevenson

Craig & Anne Jorgensen

Susan & Peter Tuteur George & Betsy Vogt Drs. Craig & Terri Weldon Peter J. Wender

Sally Lefler*

Keith Williamson & Stephanie Williams

Andrew S. Love

James & Barbara Willock

Joe & Alice Maffit

Melissa Wohlwend

Diane McCullough*

YPO St. Louis Chapter

Lisa Mechele

Stuart & Susie Zimmerman

Jack Austin Miller Moneta Group & Moneta Group Charitable Foundation John & Christy Nickel

OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

F R I E N DS O F TH E F E S TIVA L Friends of the Festival make generous gifts of $50-$2,499 to support Opera Theatre’s annual operations. These wonderful partners make Opera Theatre’s work possible through generous unrestricted support.

G UA R A N TO R S $ 1 ,0 0 0 -$2 , 49 9 Anonymous Donors (2)

Dr. & Mrs. Gerald Early

Fran & Norman Leve

Gwen Adams

Ronald Levin

H. Dieter & Karla Ambos

Hope Edison & Julian I. & Hope R. Edison Foundation

Susan Frelich Appleton & Robert O. Appleton, Jr.

Richard L. Egilsrud Barbara Enneking

Mr. & Mrs. John Peters MacCarthy & Ruth Peters MacCarthy Trust

Tony Bardol

Helen Etling

Dr. John E. Mazuski

Elizabeth Barnes-Wilson

Mr. & Mrs. John Evans III

Mr. & Mrs. Mark McCallum

Anthony Bassett

Janice & Bill Forsyth

Pat & Brigid McCauley

Mr. & Mrs. Barry Beracha

Gerard Frankenfeld

Brenda K. Melson

Sam C. Bertolet & Helen Ziercher

Nancy Friedland & James Florczak

Andrew J. & Roxanne T. Miller

Sharon Biegen & Brian Vandenberg

Ann M. Fusz*

Erie Mills* & Thomas Rescigno

Sally Brayley Bliss & Jim Connett

Ellen M. Fusz*

Jane & Steve Mitchell

Drs. Nanci & James Bobrow

Mr. & Mrs. Martin E. Galt III & The Jackes Foundation

Alice Montgomery

Dr. Michael R. Borts & Dr. Mary Gorman

Dr. James Gandre & Dr. Boris Thomas

Wilhelm & Ingrid Neuefeind

Ann Carole Gaspar

Dr. & Mrs. Alan Braverman & Alan & Rebecca Braverman Family Foundation

Joseph E. Geist

Dr. & Mrs. Matthew Newman*

Eugenie R. Bonte

Martha Brewer & Calvin Bentley Charitable Foundation Trust

Anne P. Grady Michael L. & Paula E. Gross Rik & Gail Hafer

Richard Brickson

Mr. & Mrs. Bruce Hecker

Ashley Budde-Taylor & Dr. Matthew Taylor

Kit & Patricia Heffern & Elleard Heffern Fine Jewelers

Mr. & Mrs. James Buell

Donna & Robert Heider

Nelda Carlisle-Gray

Shirley A. Heiman*

Carol Carlson

Mr. & Mrs. John Hensley

Dr. Anne Carman

Anne W. Hetlage

Beverly Clarkson

Dr. & Mrs. John W. Hubert

Vicki & Brian Clevinger

Margaret & Martin Israel

Kwofe Coleman

Ron Jagels & Tim Bahr

Dr. & Mrs. Michael Darcy

Nanette K. Johnson & Glen N. Yonetani

Dr. Carlos C. Daughaday

Rosalyn & Charles Lowenhaupt

Mr. & Mrs. James R. Moog

Bob & Kara Newmark Robert & Carol Nordman Martha C. Nussbaum Mr. & Mrs. John Oliver Mr. & Mrs. Tom O'Neal John Howard Percy Cindy & Sandy Peters Dr. Keith I. Polakoff Harriet & Philip Polster Lynn Post Judy & Paul Putzel Brian Abel Ragen Susan & John Rava Heidi & Win Reed Charles & Marian Rice

Wesley Jones & Nancy Ylvisaker

Richard Robb

Richard Kalfus

Jane & Bruce Robert

Jean Kennedy

John C. Rorris

Mark Kent & Jean Hunleth

John Ross

Dr. & Mrs. James W. Donnelly

Richard & Shirley Knight

Philip & Reggie Roy

Dr. Majella Doyle & Bob Roth

Susie L. Kopp

Ann R. Ruwitch & John Fox Arnold

Richard M. Dolphus Mr. & Mrs. Arnold W. Donald & Arnold & Hazel Donald Fund of the St. Louis Community Foundation

Sarah Duffy

Dr. & Mrs. Joseph Ruwitch EXPERIENCEOPER A.ORG/SUPPORT

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Erin Mahony Simon & Jason Simon

Douglas M. & Sherida E. Tollefsen

Kenneth & Marjorie Smith*

Mr. & Mrs. Gregory Trapp

Dr. John Sopuch

Arlie & Eileen Traughber

Sara Saul

Dr. Jamie Spencer & Anna Ahrens

Rowena B. Van Dyke

Damaris Schmitt

Mary Ann & Andrew Srenco

Harriet Scholle

Bill & Karen Stebelski*

Barbara & David Ware

Sandy Schonwald

Molly Strassner

Mr. & Mrs. John D. Weil & Pershing Place Foundation

Ann Scheuer

J. Kennard Streett

Ellen White

Linda E. Schulte

Drs. Elizabeth & Paul Stroble

Ted Wight

Dr. Richard Shaw

Dr. Pamela Stuerke*

Barbara McAfee Wohltman

Drs. Andrey Shaw & Cynthia Florin

Mr. & Mrs. Warren G. Sullivan

Mr. & Mrs. Richard R. Woods & Heart of Oak Foundation, Inc.

Dr. Mim Shelden & Lou Kinsey

Maria & Philip Taxman

Jo-Ellyn M. Ryall, M.D. Alan & Marilyn Sachs Saligman Family & The Linda & Harvey Saligman Charitable Foundation

Jenny Shifrin

Peggy Walter Symes

Robert & Nancy Wagoner

Donna Zoeller

Mary Fathman Thomas

S U P P O RT ER S $ 5 0 0 -$9 9 9 John Ansehl & Timothy Solberg

David & Susan Dobmeyer

Linda Apicello

Quintus L. Drennan, Jr.

Dr. Jennifer Arch & Robert Arch

Connie Emge

Mrs. Walter F. Ballinger II

Mary Karen Engel & Mark Engel

Stephen & Rebecca Bolen Jane & Charlie Brader

Dr. Kathleen Ferrell & Dr. Richard Brasington 

Dr. & Mrs. Bill Brizzard

Gary & Susan Fletcher

Elsbeth Brugger & Gretchen Vender Meulen

Lynne Foote

Barbara M. Bryant

Mary Jane Fredrickson

Brandy Burkhalter

Casey Gardonio-Foat

Charles & Katherine Claggett

Mr. & Mrs. Anthony Garnett

John Michael Clear & Isabel Marie Bone

Mr. & Mrs. James Gavin

Karen Coburn Missey Condie Dr. Janet Congdon Mr. & Mrs. John J. Corbett Ann M. Corrigan Joseph E. Corrigan* Laura & William Courtney Anthony Cutaia

5112

Don & Darlene Freber

Elaine Gernstein Barbara Gervais Amy & Amrit Gill Gerald & Dr. Colette Gordon Dr. & Mrs. Kevin Graepel Gary Gronau Steven Harpole Anna Harris

Cyrano’s 

Virginia E. Heagney & James P. Tobin

Diane Dark

Philo Holcomb

O PP EE RR AA TT H H EE AA TT RR EE oo ff SS AA II N N TT LL O OU U II SS || 22 0 02 24 4 F FE ES ST T II V VA AL L S SE EA AS SO ON N O

Linda Horne & Daniel Phillips Margie Horowitz Marisa Human & Antonio Longrais Mr. & Mrs. David H. Hutchinson Thomas Incrocci Gayle Jackson Mark Jacobs Suzanne & Jim Johnson III Marjorie Eddy Johnson Mr. & Mrs. Steve Kidwell Harry Knopf Paul & Martha LaFata Laura & Anthony Lancia Mark & Ginny Lawson Anh Le & Ryan Kulage Dr. & Mrs. Frederick Lewis Kellie J. Mandry Dr. & Mrs. David Margolis Lauren V. McGee Laura & John Meyer Tisha & Ahmeed Micko Verla  & Richard J. Mitchell

Lucy Morris

Mary Riebold

Stephen & Kristine Sneeringer

Michelle Myers

Leon & Ann Robison

Janet Spencer

Dianne C. Nichols

Dr. Carol L. Roslund

Deanna Stevenson

O & O Hospitality 

Anne Marie Ruhlin

Jennifer Stokes

Carolyn & John Odom

Jennifer A. Sage

Alicia Underwood

Ruth Orth

Mrs. Gideon H. Schiller

Vance Urick

Dr. Gwendolyn D. Packnett

Jerry & Sue Schlichter

Dr. & Mrs. Garry Vickar

Mr. & Mrs. Keith Patten

Damaris Schmitt

Mr. & Mrs. Richard Weinstock

Kimberly Perry

Linda Schwartz

Michael W. Weisbrod

Jeffrey A. Pierce

Mr. & Mrs. James Shafter

Mr. & Mrs. Matthew J. Wheeler

Lynne Puetz

Drs. Andrey Shaw & Cynthia Florin

Kathryn R. White

Mrs. B. Franklin Rassieur, Jr.

Michael & Susan Shaw

Gerald Wilemski

Dr. & Mrs. Peter H. Raven

Dr. Richard Shaw

Mary Wittry

Xiuli Ren

Drs. Barry & Marilyn Siegel

Douglas & Lynn Yaeger

Patricia Rice

Kathleen & William Sitzer

Dr. & Mrs. Myles Yanta

Laverne Riebold Moseley & Willard Moseley

Raymond G. Slavin, M.D.

Bree Yard

Jermaine Smith & Family

CO N T R I B U TO R S $2 5 0 -$ 49 9 Anonymous Donors (4)

Daniela Candillari

Peter & Sally Franzmann

Audrey & Leonard Adreon

Rodney & Elaine Carlson

John Gedrick

Scott Amelung

Belinda Carstens-Wickham

Marianne Gillis

Lester Anderson

Shandy & Kristine Casteel

James Glazier

M. J. Aneskievich

Christopher Chan

Deborah J. Goldstein

Ted & Dr. Carol Ballou

Brian Corry & Sue Arnold

Ronald Bauer

Kathianne & David Crane

Marc Goldstein & Elizabeth Zucker

Christy Beckmann & Jim Vykopal

Dr. & Mrs. James P. Crane

Marcia Bernstein, in memory of Neil Bernstein

Cravings Catering & Bakery  George L. Crow

Robert & Catherine Gresick Susan L. Hahn Mr. & Mrs. David Halen

Rand Dankner

Mr. & Mrs. Stephen C. Hall Mark Halton & Toni Kutchan

Mr. & Mrs. David Bishop

Dr. Debbie Depew & Brad Moore

Mr. & Mrs. Keith Hamilton

Mrs. Merle N. Blundell

Robert & Jamie Driver

Richard & Susan Hancey*

Lynn Bodicky

Kay & Larry Dusenbery

Glenda Hares

Kenneth & Ann Bohm

Mary Edwards

Dr. J. Michael Hatlelid

Ellen Bonacorsi

Barbara Enneking

Dr. Nanette Hegamin

Sharon Bower

Explore St. Louis 

Mr. & Mrs. John Hensley

Breadsmith 

Mary Ferguson

Michael Herron

Joan T. Briccetti

Felicia Foland

Virginia A. Hoeper

Ralph H. Bruns

Forest Park Forever 

Luise N. Hoffman

Richard & Sujata Buck

Lance & Marcy Fortnow

Kathy Hoffman

Michael G. Biggers Dr. Ellen F. Binder

N CC EE O O PP EE RR AA .. O O RR G G // S SU UP PP PO OR RT T EE XX PP EE RR II EE N

113 6

John Hollman

Ilze Muehlenbachs

Jobie Summers

Mark & Peggy Holly

June C. Mueller

The Art of Entertaining 

Cathy Hooper

Larry Mueth

The Initial Design 

Mr. & Mrs. Lawrence J. Horgan

Rose Marie Nester & James Heine

Sarah Trulaske

Lee Nickelson & Lynda Dautenhahn

Ellen A. Wallace

Ann & Ed Imgrund Mr. & Mrs. Joel S. Iskiwitch Silvian Iticovici & Cathy Ifune Barbara Jenkins Sharon Price John Nancy F. Kalishman Dr. Michelle E. Kemp Gerry & Ginge Kettenbach David Kirkland Catering  Steve & Margie Knapp

June Pellarin Gina Pellegrino & Eric Staley Alan & Dr. Sunny Pervil Marta & Jorge Pineda Pin-Up Bowl  Ann Podleski

Robert W. & Linda Kamp Waugh Steven Weber Roy Wehrle & Vonnie Hinesley Mr. & Mrs. Ted Weinberg Marlita Weiss Mei Chen Welland K. E. Wentzien Klair White

Dr. & Mrs. Ira Kodner

Michael Podolsky & Dr. Irina Podolsky

Christie Kovac

Donald Prahlow

Jim Wilson

Jack & Mary LaBarge

Stanley Ransom*

Alan & Susan Witte

Douglas R. Lane

Mr. & Mrs. Derek K. Rapp

Daniel E. Woodward

Bob & Marcia Lange

Trevor D. Reese, Jr.

Jessica M. Wubker

Le Macaron 

Dr. Valerie Reichert

Aleene Zawada

Mary Jo & Jerry Liberstein

Larry Rizzello

Brad Liebman

Ronnoco Coffee LLC 

Laurie & Sean Lock

Larry Rosen

Dr. George A. Lodoly

Mitchell & Gina Rotman

Melvin Loeb

John M. Ryan

Cindy & Gregg Lueder

Joy Ryan

Charles MacKay & Cam McCluskey*

Anthony & Darlene Scaglione

Bruce & Sharon MacKenzie Dr. Jerald & Jane Maslanko Michele M. Maue Mrs. Lansden McCandless, Jr. MaryAnn McCormick Mr. & Mrs. Richard McDaniel Mr. & Mrs.  Hugh A. McGaughy

114 7

Francis & Peggy Oates

Mr. & Mrs. James von der Heydt

Beverly Whittington

Mark V. Scharff Whitney Scherr Maria Schlafly & David Aholt Leann & Andrew Schuering

 In Memoriam

Ann Scott

 In-kind Gift

Jim & Jane Shumate

* Crescendo Circle member

Dr. & Mrs. L.D. Smith

The McGregor Family

Laurie K. Smith & Gerald L. Shaikun*

Shawn Merys

John & Nancy Solodar

Judy & David Milton

St. Louis Zoo 

Missouri Historical Society 

Kevin T. Staley

Mr. & Mrs. Jean-Paul Montupet

Gary L. Stansbery

Harry & Carol Moppins

John & Jolly Stewart

Mr. & Mrs. Edward Morris

Maxine Stone*

OO PP EE RR AA TT H H EE AA TT RR EE oo ff SS AA II N N TT LL OO UU II SS || 22 0 0 22 4 4 FF E E SS TT II V VA A LL SS E EA A SS O ON N

This list includes contributors who made annual fund gifts before April 1, 2024, and we look forward to acknowledging donors who made a gift after that date on next season’s contributor list.

We regret that donors of less than $250 are not listed due to space limitations.

Their generosity is vital to the company’s continued success, and we extend our sincere thanks for their support.

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St. Louis Public Radio brings context and humanity to the stories that affect life in the metro area.

stlpr.org

A service of UMSL

LOYA LT Y G IVI N G As we celebrate Opera Theatre of Saint Louis’ 49th year, we are mindful of the many who have invested in this company’s success. This includes donors who have faithfully supported OTSL every year for the past 20, 30, or even 40 years. Thank you to all the current donors on this list. And to all who have supported the company across the last 49 years, thank you for your loyalty and dedication to our mission!

4 0 + CO N S EC U TIV E Y E A R S O F G IV I N G Anonymous Donor (1) Audrey & Leonard Adreon David & Melanie Alpers Lee & Alexandra Benham Rudi J. Bertrand June R. Bierman Mrs. Merle N. Blundell Phoebe & Spencer Burke Paul & Elissa Cahn Mary & Elliott Chubb Elaine Coe Mary Diboll Bill Dolan & Suzanne Bromschwig Dolan Robert & Jane Feibel Dorothy & Billy Firestone Keith & Ann Fischer Joseph E. Geist Mrs. Joseph F. Gleason Rik & Gail Hafer Arnold & Myrna Hershman Anne W. Hetlage Alfred & Marilyn Holtzer Mr. & Mrs. Lawrence J. Horgan

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Phyllis R. Hyken Margaret & Martin Israel Mary H. Karr Richard & Shirley Knight Harry Knopf Dr. Stuart Kornfield Gerald M. Kowarsky Nancy & Ken Kranzberg Mr. & Mrs. Lawrence Langsam John Frank Lesser Fran & Norman Leve J. David & Lucy S. Levy Karen & Mont Levy Carolyn W. Losos Mrs. Lansden McCandless, Jr. Hugh A. McGaughy LaVerna Meyer Jack Austin Miller Wilhelm & Ingrid Neuefeind Mrs. Matthew Newman Adrienne Warren Patton Georgia C. Pettus Laura & Rick Pfeiffer Mr. & Mrs. J. L. Price

OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

Marti Reichman Jan Paul Richter & Ellen von Seggern Richter Mrs. Robert L. Rosenheim Mr. & Mrs. Alan C. Rosenkoetter Dr. Mary Anne Rudloff Ann R. Ruwitch & John Fox Arnold Dr. & Mrs. Joseph Ruwitch Mr. & Mrs. Robert L. Scharff, Jr. Jerry & Sue Schlichter Dr. Mim Shelden & Lou Kinsey Jim & Jane Shumate Drs. Barry & Marilyn Siegel Stephen W. Skrainka Brian & Jane Smith James V. & Susan S. Stepleton J. Kennard Streett Peggy Walter Symes Mr. & Mrs. E. R. Thomas, Jr. Stephen Trampe & Jenny Gupta Susan & Peter Tuteur Franklin F. Wallis Ellen White Sharon & Elliot Zucker

3 0 - 4 0 CO N S EC U TIV E Y E A R S O F G IV I N G Anonymous Donor (1) Robert C. Anderson M. J. Aneskievich Kenneth & Mary Biskup Eugenie R. Bonte Ralph H. Bruns Mr. & Mrs. John J. Corbett Joseph E. Corrigan Mrs. P. Terence Crebs Rand Dankner Mr. & Mrs. Irl F. Engelhardt Alison & John Ferring Janice & Bill Forsyth Ann M. Fusz Ellen M. Fusz Deborah J. Goldstein

Donna & Robert Heider Jan & Carl Hermann Luise N. Hoffman Mrs. Ronald A. Holtman Diane & Paul Jacobson Nanette K. Johnson & Glen N. Yonetani Rosalyn & Charles Lowenhaupt Dr. John E. Mazuski Pat & Brigid McCauley Diane McCullough Sedgwick Mead, Jr. & Catherine Perry Dr. & Mrs. Robert J. Myerson Rose Marie Nester & James Heine

Stanley Ransom John & Nancy Rice John C. Rorris Thomas Sehr & Margaret A. Wayne Dr. David Sewall & Jeff Kapfer Drs. Andrey Shaw & Cynthia Florin Jenny Shifrin Sudie Shinkle Dr. & Mrs. L.D. Smith Dr. Jamie Spencer & Anna Ahrens Mr. & Mrs. Warren G. Sullivan George & Betsy Vogt Phoebe Dent Weil Marlita Weiss Peter J. Wender

John Howard Percy

2 0 -3 0 CO N S EC U TIV E Y E A R S O F G IV I N G Gailya & John Barker Anthony Bassett Pam Belloli & Dave Shimek Michael G. Biggers Sally Brayley Bliss & Jim Connett Catherine S. Bollinger Jane & Charlie Brader Mary I. Brown Elsbeth Brugger & Gretchen Vender Meulen Buron F. Buffkin & Donn Kleinschmidt, M.D. Mr. & Mrs. Richard Christenson Jill Cumming Mr. & Mrs. Arnold W. Donald Dr. & Mrs. James W. Donnelly Sarah Duffy Kay & Larry Dusenbery Kim & Tim Eberlein Hope Edison Richard L. Egilsrud Connie Emge Sara Fabick

Melanie & Anthony Fathman, M.D. Alan R. Fiddleman Roxanne H. Frank Mary Jane Fredrickson James P. Tobin & Virginia E. Heagney Carolyn Henges & Jay Henges Dr. Alan W. Hopefl Mr. & Mrs. Alvin Horst Janet & Andy Hoyne Marjorie Eddy Johnson Nancy F. Kalishman Steve & Margie Knapp Mr. & Mrs. Richard Kniep Mrs. Newell S. Knight Gene Kornblum Pam & Jim Krekeler Jack & Mary LaBarge Douglas R. Lane William Larson & Christopher Harlow Mary Jo & Jerry Liberstein David Linzee

Melvin Loeb Iona A. Long-Baldwin Cindy & Gregg Lueder Joe & Alice Maffit Laura & John Meyer Judy & David Milton Richard J. Mitchell Mr. & Mrs. James R. Moog Jo Anne Morrow Martha C. Nussbaum Francis & Peggy Oates Alan & Dr. Sunny Pervil Mr. & Mrs. Mike Pishko Susan & John Rava Fredric Rissover Richard Robb Marsha & William C. Rusnack John H. Russell Alan & Marilyn Sachs Jennifer A. Sage Kathleen & William Schnyder Harriet Scholle Jurgen Skoppek

Kenneth & Marjorie Smith Dr. John Sopuch Rabbi Jeffrey & Dr. Arlene Stiffman Maxine Stone Mr. & Mrs. V. Raymond Stranghoener Mary Strauss Ann McFarland Sullins Mary Susman & Tom Herm Douglas M. & Sherida E.Tollefsen Arlie & Eileen Traughber Madge Treeger Susan & Ben Uchitelle Rowena B. Van Dyke Sharon Biegen & Brian Vandenberg Robert & Nancy Wagoner Josephine & Richard Weil Drs. Craig & Terri Weldon Belinda Carstens-Wickham Ellen & Bill Yeckley George Yeh Stuart & Susie Zimmerman

This list includes current donors who have made a membership level gift ($50+) every year for the past 20 years or more. It reflects the best of our knowledge, but it may not be perfect across 40 years of records. If we have missed you or someone you know, please reach out to the Development team at (314) 963-4228, and we will correct future lists.

EXPERIENCEOPER A.ORG/SUPPORT

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TH E G O LD E N CI R C LE : M A J O R CO N T R I B U TO R S TO T H E EN D OW M EN T Opera Theatre’s high standards of performance and, indeed, the company’s survival in the future depend on building a substantial endowment. To ensure the quality of this institution for succeeding generations, individuals, foundations, and corporations in the Golden Circle have made major gifts to Opera Theatre’s endowment fund. For their commitment to the company’s continued artistic excellence and community service, we express our deepest gratitude.

D O N O R S O F $ 1 ,0 0 0,0 0 0 & A B OV E Anonymous Donors (3) Phyllis Brissenden  Mr.  & Mrs. Laurance L. Browning, Jr. Salvatore  & Dagnija  Comado The Ford Foundation

Mr.  & Mrs.  Harvard K. Hecker & The Hecker Family Charitable Fund Ann Lee  & Will  Konneker Sally S. Levy  & the Levy Family David W. Mesker 

The Mabel Dorn Reeder Foundation – Mabel L. Purkerson, M.D., Trustee The Saigh Foundation

D O N O R S O F $ 5 0 0,0 0 0 -$9 9 9 , 9 9 9 Anonymous Donor (1) Rex  & Phyllis  Brown Susan Brown 

Rudolph W. Driscoll  / The Driscoll Foundation Mr.  & Mrs.  E. Desmond Lee

National Endowment for the Arts Noémi & Michael  Neidorff

D O N O R S O F $2 5 0,0 0 0 -$ 49 9 , 9 9 9 Jim Berges & Elizabeth Mannen Berges & The Berges Family Foundation Adelaide Cherbonnier  Emerson David & Lelia Farr Dr.  & Mrs.  Leigh Gerdine

Margaret B. Grigg  Dorothy Kelley  Mr.  & Mrs.  L. Max Lippman, Jr. Sarah Bryan Miller  Mr.  & Mrs.  Reuben M. Morriss III Robert W. Schaefer 

David & Thelma Steward & The Steward Family Foundation Jack C. Taylor  Fred J. Wehrle, Jr.  Whitaker Foundation Dr. Richard D. Yoder 

D O N O R S O F $ 1 0 0,0 0 0 -$249 , 9 9 9 Anonymous Donors (4) Mrs. Norris H. Allen  Paul M. Arenberg  Barry Family Trust Bayer Fund & Monsanto Fund Gertrude & William A. Bernoudy Foundation Ruth Palmer Blanke  Mr. & Mrs. Donald L. Bryant, Jr. Gertrude B. Busch  Mr.  & Mrs.  William H.T. Bush Margaret Crumpacker, M.D.  The Robert H. & Lorraine F. Duesenberg Foundation

In Memoriam

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Mrs. Ernest A. Eddy, Jr.  Enterprise Holdings Foundation Clark & Jeanette Gamble Trust Colin Graham, O. B. E.  Mr. & Mrs. Anthony L. Guerrerio The William Randolph Hearst Foundation William T. Kemper Foundation Mr.  & Mrs.  Stanley Lopata Mrs. Charles W. Lorenz  Morton J. May Foundation Mr.  & Mrs.  Sanford N. McDonnell Mr.  & Mrs.  William B. McMillan, Jr.

Arthur Osver  & Ernestine Betsberg Osver  Mr.  & Mrs.  Emmanuel C. Paxhia Emily Rauh Pulitzer Mr. & Mrs. Robert L. Scharff, Jr. Mrs. William H. Sheffield  Dr. Jeanne & Rex Sinquefield Mrs. Leif J. Sverdrup  Mr.  & Mrs.  Monte Throdahl Janet McAfee Weakley  Professor Emeritus Charles M. Weiss  Marjorie Wyman 

Our thanks to the endowment donors of less than $100,000, whose gifts are vital to Opera Theatre's continued success.

We regret that these donors could not be listed due to space limitations.

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gunthersalt_horiz_2.pdf

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live life to the fullest

My experience has been 100% positive.

My family member is receiving friendly, attentive, loving care, and is doing much better than I would have thought possible.

– Laclede Groves Resident Family Member

To learn more about Assisted Living and Memory Support, call 314.408.5165 to schedule a tour!

Webster Groves | Independent Living | Assisted Living | Memory Support Long Term Care | Short Stay Rehab LG249500 LG Opera Theatre of St Louis Ad_4.10.24.indd 1

4/10/24 10:23 AM EXPERIENCEOPER A.ORG

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C R E SC E N D O CI R C LE Members of the Crescendo Circle help secure Opera Theatre’s commitment to artistic excellence, innovative programming, and fiscal stability by making provisions for OTSL in their estate plans or by establishing life income arrangements naming the company as a beneficiary. Thanks to their support, the quality you experience today will be enjoyed by future generations of operagoers.

By informing us of your planned gift, you will be included as a member of this important group of friends.

To learn more about planned gift opportunities or to arrange to speak with a member of Opera Theatre’s Planned Giving Advisory Council, please contact Linda Schulte, Director of Development & Campaign Strategy, at (314) 9634227 or lschulte@opera-stl.org. All inquiries are strictly confidential.

WIT H U TM OS T G R ATIT U D E , O P ER A T H E AT R E AC K N OW L ED G E S T H E M EM B ER S O F T H E C R E S C EN D O C I RC L E Anonymous Donors (4)

David R. Ganz

Timothy & Kara Graziano O’Leary

Susan Ahl

Rabbi Dr. Jay & Erika  Goldburg

Peggy Otto

Dr. & Mrs.  Martin Bell

Dr. Richard C. Hancey

Stanley Ransom

Virginia Benson 

Shirley A. Heiman

Dr. Mary Anne Rudloff

Robert A. Bilzing

Mr. & Mrs. Arnold Hershman

Joy Ryan

Delores J. Blehm 

Jane House

Mr. & Mrs. Robert L. Scharff, Jr.

Rex & Phyllis  Brown

Jeannette R. Huey

Sondra Schlesinger

Susan Brown 

Amy Kaiser

Mr.  & Mrs. Arthur Seltzer

Mrs. Laurance L. Browning, Jr.

Dorothy Kelley

Cynthia Shaw 

Pamela Buell

Gerald M. Kowarsky

Mr.  & Mrs. Donald J. Sher

Phoebe & Spencer Burke

Michael Kramer

Carolyn Kehlor Carr

George B. Kyle

H. M. Siegfried  & Dr. Monica Minkoff Siegfried

Earl Charvet

Mr. & Mrs. Lawrence Langsam

Salvatore & Dagnija  Comado

Sally Gene Lefler

Mrs. James Corrigan

John Frank Lesser

Joseph E. Corrigan

Mr. & Mrs. J. David Levy, Jr.

Irene Cortinovis

Barry Arthur Litwin

Terry E. Crow

Charles MacKay

Charles G. Dennis 

Helen McCallie

William Dolan & Suzanne Bromschwig Dolan

Cameron A. McCluskey

Ann Faget Alan R. Fiddleman Ann M. Fusz Ellen M. Fusz Richard Gaddes 

Diane McCullough Erie Mills & Tom Rescigno Liz Mischel Dr. & Mrs. Robert J. Myerson Dr.  & Mrs. Matthew Newman

Dr. & Mrs. Kenneth R. Smith, Jr. Laurie K. Smith & Gerald L. Shaikun Mrs. James P. Stearns Bill & Karen Stebelski Maxine Stone Pamela S. Stuerke Mary Susman & Tom Herm Isolde Thalmann Dr. Patrick R. Thomas Stephen L. Trampe & Jenny Gupta Franklin F. Wallis Phoebe Dent Weil Sharon & Elliot Zucker  In Memoriam

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D O N O R S TO TH E 2 02 3 –2 024 TR I B U TE F U N D Opera Theatre gratefully acknowledges the following gifts to the Tribute Fund in honor/memory of the following special individuals.

In Honor of Harold & Elaine Blatt Matter Family Office In Honor of Brittainy Brown Rick Fortner In Memory of Rebecca Browne Luise N. Hoffman In Memory of John R. Buckley Sarah & Michael David Smith In Honor of Phoebe & Spencer Burke John Ross Ann Scott In Memory of Robert Craft Stacey Bregenzer Nicole & Keith Freber Noémi Neidorff Jan Paul Richter & Ellen von Seggern Richter Franklin F. Wallis In Honor of OTSL Docents Ethical Society of St. Louis In Memory of Darryl Fabick Robert & Jane Feibel Phyllis R. Hyken Bob Kaemmerlen Noémi Neidorff Jan Paul Richter & Ellen von Seggern Richter Kenneth & Marjorie Smith Cay Sullivan Mary Susman & Tom Herm Rowena B. Van Dyke Margaret Wald Mary Jane Whaley Sharon & Elliot Zucker

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In Honor of Bob Feibel Dr. Jennifer Arch & Robert Arch Dr. Martin J. Bell Dr. & Mrs. James H. Epstein Mrs. Edward E. Etheredge Nicole & Keith Freber Phyllis Goldberg Mr. & Mrs. Joel S. Iskiwitch Barbara Lewington Marcia B. Mellitz Dr. & Mrs. Gary Ratkin Mr. & Mrs. Joseph Schraibman Mary Susman & Tom Herm Dr. & Mrs. Lawrence A. Taylor Sharon & Elliot Zucker In Memory of Mary Feldmeier John G. Carroll Jim Hone Mr. & Mrs. Roger Robards

In Honor of Ella Heigham Phyllis R. Roberts In Honor of Emilie Hensley Mr. & Mrs. John Hensley In Honor of Gina Hoagland Marc Goldstein & Elizabeth Zucker In Honor of Lee Kaufman Sharon & Elliot Zucker In Honor of Richard & Shirley Knight Nancy Birge In Honor of Gene Kornblum Paul & Elissa Cahn

In Honor of Allison Felter Marilyn E. Votaw

In Memory of Dianne Lazaroff Mr. & Mrs. Scott Harris Mr. & Mrs. Mark M. Wenner

In Honor of Dorothy & Billy Firestone Miriam Wilhelm

In Honor of Wellington Lemmer Laura Havranek

In Memory of Richard Gaddes Mrs. Edward E. Etheredge Robert & Jane Feibel Mrs. Stanley J. Goodman Charles MacKay & Cam McCluskey Patrica McKinnis Nedra & Richard Matteucci Noémi Neidorff Marianna M. Newirth Georgia C. Pettus Jan Paul Richter & Ellen von Seggern Richter Allison Swenson Rita & David Wells Kathryn R. White

In Honor of Mont & Karen Levy Elinore Weinhaus

O O PP EE RR AA TT H H EE AA TT RR EE oo ff SS AA II NN TT LL OO UU II SS || 22 00 22 44 FF EE SS TT II VVAA LL SS EE AA SS O ON N

In Honor of Marcela Manjarrez Sarah S. Bernard Mary Karen Engel & Mark Engel Ellen Franzel Mary Franzen Nicole Ambos Freber Miran Halen Mr. & Mrs. Anthony Johnson Sandy McBride Christine Polk Loree Rowe Linda E. Schulte In Memory of Grace McGaughy Shirley A. Heiman In Memory of Sarah Bryan Miller Mary Edwards In Memory of William C. Morris Charles MacKay & Cam McCluskey

In Memory of Bob Packman Kathy Berg Glenn Mitchell Noémi Neidorff John Howard Percy Mr. & Mrs. Brian Spanel In Honor of Patricia Racette & Beth Clayton W.W. & Anne Jones In Memory of Maynord Rosen Larry Rosen In Honor of Lori Samuels Wesley Jones & Nancy Ylvisaker In Memory of Charla Sausele Mr. & Mrs. Joseph Sausele

In Honor of Ann Sullins Carol Carlson Nicole & Keith Freber Lea Virtel In Memory of Dr. Stephen Waltman Gillian Waltman In Honor of Roma Wittcoff Shelley Berger Noémi Neidorff In Memory of Tani Wolff Nila Whitfield

In Honor of Mary Schoolman & Jim Hinrichs Nicole & Keith Freber

In Honor of Noémi Neidorff Dr. & Mrs. Alan Braverman Dr. James Gandre & Dr. Boris Thomas

In Memory of John Sheridan Arlie & Eileen Traughber

In Honor of Kevin Nicoletti Sean Ringey

In Memory of Moisy Shopper Shirley A. Heiman Sharon & Elliot Zucker

In Honor of Gretchen O’Neal Paul & Elissa Cahn Mr. & Mrs. Ed Feutz

In Honor of Jamie Spencer Kate S. Pitman

The list of Opera Theatre contributors was complete at press time and indicates those who made tribute fund gifts before April 1, 2024. Donors who made gifts later will be recognized during the 2025 Festival Season. To honor or remember a loved one, please call (314) 963-4228 or visit us online at ExperienceOpera.org/Tributes.

EE XX PP EE RR II EE N R II B BU U TT E E SS N CC EE O O PP EE RR AA .. O O RR GG // TT R

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Led by Crystal Allen Dallas and Marcela Manjarrez, the Intermezzo Society is dedicated to supporting and celebrating new voices in opera. Members discover new artists, attend social events, and enjoy behind-the scenes access — all while making new connections throughout the St. Louis community.

Membership starts at $600 ($50 per month) and includes complimentary tickets to four events throughout the year: a Winter Brunch in January, A Toast to Opera in March, Intermezzo Society Night at the Opera in June, and a Hispanic Heritage Month Celebration in September.

Membership is also open to any current donor of Opera Theatre who has given $600 or more in the past year. Intermezzo Society membership may impact the tax-deductibility of your gift. For more information or to sign up, please email intermezzo@ opera-stl.org.

Top from L to R: Jesús Vicente Murillo, Maribell Smith, and Alicia Underwood at A Toast to Opera, 2024.

Bottom from L to R: Andrew Jorgensen with Intermezzo Society Co-Chairs Marcela Manjarrez and Crystal Allen Dallas at A Toast to Opera, 2024.

Photos © Macy White

CO - C H A I R S Crystal Allen Dallas & Marcela Manjarrez

M EM B ER S Pam Belloli & Dave Shimek

Mary Karen Engel & Mark Engel

Kellie J. Mandry

Mrs. Edward L. Salmon, Jr.

Sam C. Bertolet & Helen Ziercher

Dr. & Mrs. Charles Ettelson

Marcela Manjarrez Kimberly R. McAllister

Annemarie & Matt Schumacher

Ashley Budde-Taylor & Dr. Matthew Taylor

Casey Gardonio-Foat

Brandy Burkhalter Amanda Trudell Cambridge & Paul Cambridge

Sara Fabick Barbara Gervais Amy & Amrit Gill David & Angie Hagee

Laura & William Courtney

Steven Harpole

Crystal Allen Dallas & Patrick Dallas

Margaret & Martin Israel

Diane Dark

Mark & Ginny Lawson

Connie Emge

Anh Le & Ryan Kulage

Laura & Anthony Lancia

Diane McCullough Tisha & Ahmeed Micko Liz & Brian Mischel

Linda Seibert Dr. Amber Simpson & Kenneth Simpson

Michelle Myers

Mary Ann & Andrew Srenco

Dianne C. Nichols

J. Kennard Streett

Lynne Puetz

Alicia Underwood

Gwendolyn Packnett

Rowena B. Van Dyke

Xiuli Ren

Bree Yard

Allison W. Roberts

George Yeh

Ann Marie Ruhlin

This list includes membership as of April 19, 2024. We look forward to acknowledging new members who joined after that date on next season’s Intermezzo list.

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TH E 2 024 S P R I N G GA L A : A S TA R LIT N I G H T Under the leadership of Gala Chairs Gina Hoagland and Marcela Manjarrez, the May 11th gala raised over $900,000 in support of accessible arts experiences for all ages, living wages for artists in our community, and OTSL’s performances that bring acclaim to our city.

Community and business leaders celebrated at Clayton’s new Commerce Bank Tower. We are deeply grateful to Commerce Bank and Husch Blackwell for providing such an exciting location for the event.

This year’s gala featured performances from 2024 Festival Season artists Emily Pogorelc and Moisés Salazar, along with a special appearance from Katerina Burton.

Opera Theatre is profoundly grateful to the following donors for their support of the 2024 Spring Gala: PRESENTING SPONSORS

BENEFACTORS

Noémi K. Neidorff LEAD SPONSORS Lori & Ted Samuels SUSTAINER Lelia & David Farr Penny Pennington & Mike Fidler Dr. Jeanne & Rex Sinquefield UNDERWRITERS

Phoebe & Spencer Burke Nancy & Ken Kranzberg Karen & Mont Levy Marcela Manjarrez Dr. David Sewall & Mr. Jeff Kapfer Stephen Trampe & Jenny Gupta

Jim Berges & Elizabeth Mannen Berges Kim & Tim Eberlein Robin & Tim Wentworth

PRODUCERS & PATRONS Cynthia J. Brinkley Commerce Bank Crystal & Patrick Dallas Edward Jones Alan R. Fiddleman Kit & Patricia Heffern Andrew Jorgensen & Mark Stuart-Smith Gene Kornblum J. David & Lucy S. Levy Liz & Brian Mischel John & Christy Nickel Linda & Bruce Ryder Mr. & Mrs. Robert L. Scharff, Jr. Tom & Ulrike Schlafly Mary Schoolman & Jim Hinrichs Annemarie & Matt Schumacher Linda Seibert Mr. & Mrs. V. Raymond Stranghoener Dr. Donald Suggs Ann McFarland Sullins Mr. & Mrs. Warren G. Sullivan

VENUE HOSTS

Special thanks to the following individuals and organizations for making this event possible.

Erika Fogelstrom Cole Frizzo Casie Galczynski Kala Gebhard

Jenny Hoelzer Travis Kuhl Kristen Lewis Jack Rushen

List complete as of April 11, 2024. We regret the omission of anyone who contributed after this deadline.

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N ATI O N A L PATR O N S CO U N CI L Opera Theatre’s National Patrons Council is a group of generous friends from around the country who encourage ongoing national support of OTSL. The guidance and perspective of National Patrons Council members are important resources for Opera Theatre, helping the company better define key issues and trends in the field. Council members guide OTSL’s efforts to achieve enhanced artistic quality, to raise the company’s national profile, and to advance outstanding young American artists.

National Patrons Council members enjoy special benefits throughout the year, including a dedicated weekend of exclusive events during the Festival Season, involvement in strategic planning questions, and company updates from Opera Theatre leadership.

Membership is available with an annual gift of $2,500, with additional levels of support available at $5,000 (NPC Gold Circle) and $7,500 (NPC Platinum Circle).

Members of Opera Theatre’s NPC come from around the nation, and gather annually in St. Louis.

Photo courtesy of Mr. & Mrs. Robert H. Craft, Jr.

We are always interested in expanding the Opera Theatre family. If you would like to join this group of dedicated supporters, we would love to speak with you about this opportunity. Please contact Linda Schulte, Director of Development & Campaign Strategy, at (314) 963-4227 or lschulte@opera-stl.org.

Opera Theatre is deeply grateful for the support of the following National Patrons Council, NPC Gold Circle, and NPC Platinum Circle members.

CHAIRS Mr.  & Mrs. Robert H. Craft, Jr. Washington, D.C.

CO U N C I L M EM B ER S Mr. & Mrs. Donald L. Bryant, Jr. California

Diane & Paul Jacobson Minnesota

Kathy Sears Washington, D.C.

Bill Dolan & Suzanne Bromschwig Dolan Oregon

Marilyn Meeker Michigan

Eve Simon Nebraska

Robert H. Duesenberg Missouri

Ellen von Seggern Richter & Jan Paul Richter Maryland

Shoshana Tancer Arizona

Ann Faget Texas

Marsha & William C. Rusnack California

John Forestner & Brad Alford Texas

Alan Jay Savada & Will Stevenson Washington, D.C. Sondra Schlesinger California

Drs. Craig & Terri Weldon Missouri Susan Staley Young California Sharon & Elliot Zucker Missouri

 In Memoriam 126

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IN MEMORIAM may the t ide that is e nte r in g e ve n now the lip of our unde rs tandin g c ar r y you out be yond the fa c e of fe ar may you k is s the w ind the n t ur n f rom it c e r tain that it w ill love your b a c k may you op e n your e ye s to w ate r w ate r w avin g fore ve r and may you in your inno c e nc e sail throu gh this to that — blessing the boats (at st. mary’s), Lucille Clifton

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David Berland

Warren French

Kathleen Moenster

Gil Bickel

Richard Gaddes

Annabelle Nigus

Lillian Boly

Roger Goldman

Dr. Robert Packman

Dr. Richard Brasington

Milton Hieken

Emilio Pagoulatos

Becky Browne

Dr. Ken Holmes

Georgia Prstojevich

Grace Bumbry

Lesley Incandela

Barbara Roberts

Robert H. Craft, Jr.

Lesley Knowles

Stewart Robertson

Charles Dennis

Shirley Kronemer

Henry Schweich

Michael W. Drake

Sharon Lapin

Judy Scott

Richard Duesenberg

Harold Lazaroff

Suzanne Sessions

Darryl Fabick

Chau Thanh Minh Lê

Cynthia Shaw

David Farrell

Donald Levin

Dr. Virginia Sue Taylor

Mary Feldmeier

Thomas Martin

Mark Templeton

Jean M. Fisher

Grace McGaughy

James Van Sant

Marilyn Fox

Verla Mitchell

Denny Wedemeyer

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CO M M U N IT Y E N GAG E M E NT & I N C LU S I O N CO U N CI L Opera Theatre’s Community Engagement & Inclusion Council first began in 2011 as the “Engagement & Inclusion Task Force,” an informal network of supporters and volunteers who came together to promote interfaith dialogue around the staging of John Adams’ The Death of Klinghoffer. In the fall of 2012, the group formalized its commitment to helping Opera Theatre grow an audience that more fully reflects the rich diversity of the St. Louis region. It was renamed in 2022 to make clear its enduring role in advising Opera Theatre’s community work.

The Council represents community leaders and advocates from all walks of life, who share the belief that by bringing audiences from diverse backgrounds together to share a common operatic experience, we build community, create opportunities for dialogue, and ultimately, strengthen our region.

MEMBERS OF THE 2023–2024 COMM U NIT Y ENGAGEMENT & INCLUSION COU NCIL Sara Burke Philip Deitch Lisette Dennis Vickie M. Denson Kim Eberlein

Caroline Fan Dr. C.J. Harlan Magan M. Harms Naretha Hopson Marcela Manjarrez

Kimberly Morton Maria Taxman Emily Underwood

If you are interested in joining the Community Engagement & Inclusion Council, please contact Nicole Freber, Managing Director, at (314) 963-4222 or nambos@opera-stl.org.

YO U N G F R I E N DS S TE E R I N G CO M M IT TE E Opera Theatre’s Young Friends program was formed in 2009 to expand the next generation’s interest in opera through vibrant events that combine arts performances, culinary experiences, and networking opportunities.

Building upon the success and popularity of Opera Theatre’s in-season Young Friends events, the Steering Committee is a volunteer-based group of young professionals who guide OTSL’s efforts to discover and inspire other young arts lovers.

By serving as ambassadors for OTSL among their friends and professional networks, the Steering Committee is instrumental in helping the company reach new audiences year-round.

To learn about this year’s in-season Young Friends events, see page 13.

MEMBERS OF THE 2023–2024 YO U N G FR I EN DS S T EER I N G CO M M IT T EE Ashley Budde-Taylor Chair Ryan Niehaus Vice-Chair of Recruitment Casey Gardonio-Foat Vice-Chair of Season Events

Rebecca Buffington Paul Cambridge & Amanda Trudell Cambridge Patrick Dallas John F. Herget IV

Teresa Lane Kaitlin N. Page Christina Rios Miriam Ruiz

If you are interested in joining the Young Friends Steering Committee, please contact Anh Le, Director of Marketing & PR, at (314) 963-4294 or ale@opera-stl.org.

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O P E R A TH E ATR E O F SA I NT LO U I S G U I LD The volunteers of the Opera Theatre of Saint Louis Guild provide vital support for OTSL’s festival season, community and education programs, special events, and off-season activities. OTSL’s volunteers are dedicated and innovative, adapting to virtual platforms and utilizing digital resources whenever needed, all with great aplomb. Their versatility enables the Guild to provide invaluable support and connections, and strengthens the company’s programs in the community.

Guild Volunteers provide transportation, housing, and welcome bags for our artists, publish bi-annual newsletters, staff the lobby boutique, advocate for the arts to legislators, give talks to schools and adult education groups, provide support for dress rehearsals and performances, edit opera libretti, help staff community events, offer administrative support in the main offices, and much more.

Learn more about volunteering at OTSL by visiting ExperienceOpera.org/Volunteer or contacting Tyler McKenzie, Manager of Volunteer Engagement, at (314) 963-4225 or tmckenzie@opera-stl.org.

Since the company’s founding, Opera Theatre has been able to rely on the unwavering support, dedication, and passion of the Guild. Our heartfelt thanks to each volunteer.

G U I L D E X EC U TIV E CO M M IT T EE PRESIDENT

TREASURER

PRESIDENT-ELECT Janice Seele

ADVISORS

Linda Seibert

IMMEDIATE PAST PRESIDENT

Sara Fabick

SECRETARY

Patricia Codden

VICE PRESIDENT OF ARTISTIC SUPPORT

Gerry Frankenfeld

Janice Seele

VICE PRESIDENT OF COMMUNITY ENGAGEMENT

Gailya Barker Ann Fusz Ellen Fusz Janet Hoyne Mary Susman Peggy Walter Symes Bob Wagoner

Harriet Scholle

VICE PRESIDENT OF MEMBERSHIP

Gail Hafer

CO M M IT T EE C H A I R S ADVOCACY

Diane McCullough ARTISTS-IN-TRAINING

Mark Kent Beverly Whittington BOUTIQUE

Gerry Frankenfeld Susie Hahn CONCIERGE

Margie Knapp Harry Moppins DOCENTS

Gwen Adams Rose Nester Kathleen Sitzer

DRESS REHEARSAL REFRESHMENTS

Harriet Scholle Cay Sullivan

GUILD RELATIONS

Deanna Stevenson HISTORIANS

NEWSLETTER

Jane Brader Deanna Stevenson

Patricia Codden Casey Gardonio-Foat

OFFICE SUPPORT

Ann Fusz Ellen Fusz

HOUSING

SPOTLIGHT ON OPERA

GREETERS

LIBRETTI

DRESSERS, SUPERS, & LIGHTWALKERS

Gail Hafer Mark Scharff GUILD EVENTS

Gloria Park

GUILD RECRUITMENT

Sara Fabick

Sara Fabick

Eugenie Bonte Damaris Schmitt

Janice Seele Ellen Richter Jan Richter George Yeh

TEMPOS

MARKETING

Kay Whittington

Steve Seele Elliot Zucker

MET AUDITIONS

VOLUNTEER RECORDS

Connie Emge TRANSPORTATION

Connie Emge Gerry Frankenfeld

Steve Knapp

E X PERIENCEOPER A.ORG/VOLUNTEER E X PERIENCEOPER A.ORG/VOLUNTEER

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2 024 O P E R A TH E ATR E O F SAI NT LO U I S G U I LD T H E VO LU N T EER S U P P O RT G RO U P O F O P ER A T H E AT R E Gwen Adams

Jill Cumming

Lannis Hall

Steve Knapp

Tammy O’Donnell

Linda Stark

Susan Adams

Crystal Dallas

Sally Hanson

Joanne Kohn

Carol O’Keefe

Kirk Stein

Lenessa Age

Patrick Dallas

Angela Harlan

Eugene Kornblum

Kristen O’Keefe

Caitlin Stephen

Anna Ahrens

Jim Daues

C.J. Harlan

Kenneth Kranzberg

Regis O’Keefe

Deanna Stevenson

Paige Alyssa

Adrienne Davis

Magan Harms

James Krekeler

Kaitlin Page

Thelma Steward

Darwin Aquino

Philip Deitch

Sara Hasz

Pamela Krekeler

Sue Paster

Lekha Bala

Michelle DeMumbrane

Patricia Heffern

Shirley Kronemer

Douglas Pedersen

Raymond Stranghoener

Robert Heider

Bill Kumke

June Pellarin

Shirley Heiman

Anthony Lancia

Kathy Petersen

John Herget IV

Douglas Lane

Georgia Pettus

Tom Herm

Teresa Lane

Barbara Piper Green

Michael Herron

William Lawler

Kevin Raines

Arnold Hershman

Grace Lee

Meryl Raines

Myrna Hershman

Sally Lefler

Win Reed

Victoria Herwig

John Lesser

Britny Hill

J. David Levy

Patricia RiceHellmuth

Gina Hoagland

Karen Levy

Virginia Hoeper

Lucy Levy

Neil Hoffsten

Mont Levy

Mark Holly

Cora Lippi

Peggy Holly

Andrew Love

Ken Holmes

Charles MacKay

Diane Holt

Betsy Mahoney

Maggie Holtman

Pamela Mahoney

Ann Holton

Elizabeth Mahony

Jim Holton

Kellie Mandry

Naretha Hopson

Marcela Manjarrez

Anthony Fathman

Stephen Houldsworth

Susan Markovich

Melanie Fathman

Jane House

Jane Feibel

Andrew Hoyne

Robert Feibel

Janet Hoyne

Alan Fiddleman

Lee Ann Huckaby

Dorothy Firestone

Jeannette Huey

Ann Fischer

Laura Huff

Vincent Flewellen

Kaylee Hughes

Gerard Frankenfeld

Marilyn Humiston

Mary Franzen

Heather Hunt-Ruddy

Barbara Fraser

Phyllis Hyken

Marie Furrer

Chakita Jackson

Ann Fusz

Glenn Jackson

Ellen Fusz

Ingeborg Jackson

Richard Gaddes 

Dorothy Jackson-Durity

Gailya Barker John Barker Betsy Barnes-Wilson Victor Barrios Tania Beasley-Jolly Martin Bell Pamela Belloli James Berges Laura Bezona Lynn Bodicky Eugenie Bonte Celia Bouchard Allison Bowers Geoff Bowers Jane Brader Kimmy Brauer Stephen Brauer Marilyn Brickson Cindy Brinkley Be.Be Brown Anna Buckner Ashley Budde-Taylor Rebecca Buffington Buron Buffkin Dwayne Buggs Spencer Burke Phoebe Burke Sara Burke Tim Burnham Amanda Cambridge Paul Cambridge Carol Carlson Anne Carman Tiélere Cheatem Pat Church Jane Clark Kyle Clark Robert Clark Beverly Clarkson Patricia Codden Louis Colombo Lyna Colombo Janet Congdon Laura Cooper Ann Corrigan Michaeleen Cradock Jamison Craft Robert Craft Karen Crebs 130

Lisette Dennis Vickie Denson Mary Desloge Ann Divine Arnold Donald Noreen D’Souza Richard Duesenberg Sally Eaton Kim Eberlein Timothy Eberlein Fay Eckert Holly Eggert Connie Emge Sue Engelhardt Cecily Erker Helen Etling Sara Fabick Caroline Fan David Farr Lelia Farr

Casey Gardonio-Foat Anne Gerst Ann Getz Randy Getz Edes Gilbert Mary Gordon Sol Guber Delores Guyton Gail Heyne Hafer Rik Hafer Angie Hagee David Hagee Susie Hahn

Franklin Jacobs Laura Jarasek Bettie Johnson James Johnson Jessica Kaiser Richard Kammenzind Patricia Kaplan Heather Kartal Mark Kent Barry Kirk Donn Kleinschmidt Margie Knapp

Nancy Marron Andrew Martin Roz Marx Helen McCallie Diane McCullough Meridith McKinley Kara Mealer Marilyn Meeker Susan Mello Ezra Meyer Karen Miller Carl Mitchell Eliza Mitchell Ursula Moeller Jessica Moore Carol Moppins Harry Moppins Jim Morrell Kimberly Morton Sheryl Moschner Judy Muckerman Vimal Nair Noémi K. Neidorff Rose Marie Nester Ingrid Neuefeind James Nicholson Ryan Niehaus Melany Nitzsche

OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

Ellen Richter Jan Paul Richter Christina Rios Allison Roberts Brenda Rodi Charles Rodi John Rorris Robert Ruddy Ann Marie Ruhlin Miriam Ruiz John Russell Kéelin Russell Jo-Ellyn Ryall Sharon Ryan Lori Samuels Chris Saulter Mark Scharff Robert Scharff Christine Scherzinger Christopher Schmid Damaris Schmitt Harriet Scholle Janice Seele Stephen Seele Linda Seibert Jason Sellers Charles Shannon Joseph Shepard Sudie Shinkle Anne Shultz James Shumate Jane Shumate Anna Simms Rex Sinquefield Kathleen Sitzer Kenneth Smith Marjorie Smith Gene Spector

Donald Suggs Ann Sullins Cay Sullivan Mary Susman Peggy Symes Pamela Tapsell Maria Taxman Phillip Taxman Elise Tegtmeyer Jacqueline Thompson Mark Throdahl Sudie Throdahl Alonzo Townsend Stephen Trampe Eileen Traughber Emily Underwood Rowena Van Dyke Linda Vandivort Nancy Wagoner Robert Wagoner Franklin Wallis Robert Waugh Phoebe Weil Michael Weisbrod Keith Welsh Robin Wentworth Tim Wentworth Beverly Whittington Kay Whittington Asa Wild Cathie Wille Gerald Wille Anne Williams Anne L. Williams Diane Wilson Tina Wisdom Roma Wittcoff Alan Witte Philip Woodmore Roslyn Wylie Rick Yakimo George Yeh Jessie Youngblood Nancy Zander Elliot Zucker Sharon Zucker

Jamieson Spencer Janet Spencer

 In Memoriam

E X PERIENCEOPER A.ORG/VOLUNTEER

1

GERRY FRANKENFELD

voluntee r e x traordinaire

G

erry Frankenfeld lights up a room with his warmth, genuine kindness, and love for opera. As one of Opera Theatre’s most loyal and beloved volunteers, he embodies the spirit of community and friendship that sets our company apart.

Gerry is part of the Opera Theatre of Saint Louis Guild, a volunteer group that is the envy of opera companies around the world. Soon after joining the Guild in 2012, Gerry accepted an invitation to join the Guild’s Board and later joined the Guild’s Executive Committee as Treasurer.

Gerry can regularly be seen welcoming guests to Opera Theatre gardens in his role as a greeter — often sporting a fun, colorful bowtie — or supporting the Metropolitan Opera’s Laffont Competition as co-chair of the Guild’s Met Auditions Committee. Behind the scenes, Gerry also helps to welcome artists to St. Louis. He provides rides for the artists upon their arrival, houses them during their stay, offers rides back to the airport, and follows their careers, often attending their performances at other opera companies, no matter how far away!

Gerry fell in love with the arts long before his involvement with Opera Theatre. Music was always present in his childhood; his father played pipe organ and piano, and Gerry grew up playing violin and cello. He was a vocal music major in college and taught music for 14 years in his hometowns of Trenton and Washington, Missouri.

Gerry went on to a career in sales and his success in that field is no surprise, given his remarkable ability to quickly convert strangers to friends — a talent that we see in full force every opera season!

Gerry does not hesitate to answer a call for volunteers and puts a smile on every face along the way. His willingness and excitement to serve as the next Boutique Merchandiser is the perfect example of his steadfast support for OTSL, the Guild, and the community. When asked about favorite memories from his time with the Opera Theatre Guild, he stated, “It’s been one big happy memory.” His response truly captures his love for life,

Gerry Frankenfeld Photo © Tyler McKenzie

people, and the arts. The next time you are strolling through the gardens prior to a performance or shopping the Boutique, feel free to introduce yourself to Gerry. We are so grateful for his leadership and warm presence at Opera Theatre!

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GREAT ARTISTS SERIES E. Desmond Lee Concert Hall, 560 Music Center

E m m a n u e l Pa h u d , fl u t e

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B O N U S CO N C E RT

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Sunday, March 2 @ 7 PM

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Vâ n - Á n h Va n e s s a Võ & t h e B l o o d M o o n O rc h e s t ra

WUSTLMUSIC

Sunday, April 6 @ 7 PM

Subscriptions are only $150 for FIVE concerts + a bonus concert featuring intimate recitals with some of the brightest stars on the contemporary concert stage.

Single Tickets $15 - $40 Washington University Box Office: 314.935.6543

MUSIC.WUSTL.EDU

EXPERIENCEOPER A.ORG

O P E R A TH E ATR E O F SAI NT LO U I S R E P E R TO RY JOHN ADAMS Nixon in China, 2004 The Death of Klinghoffer, 2011

DOMINICK ARGENTO The Boor, 1980

(Regional touring production)

Miss Havisham’s Fire, 2001 (Premiere of a new performing version)

PETER ASH The Golden Ticket, 2010 (World premiere)

SAMUEL BARBER Vanessa, 1988

JASMINE ARIELLE BARNES On My Mind, 2024 (World premiere)

VINCENZO BELLINI I puritani, 2007

MICHAEL BERKELEY Jane Eyre, 2006 (American premiere)

HECTOR BERLIOZ Beatrice and Benedict, 1983

LEONARD BERNSTEIN Candide, 1994

(Final version: American stage premiere)

GEORGES BIZET Carmen, 1987, 2004, 2012, 2022 Dr. Miracle, 1982

(Regional touring production)

The Pearl Fishers, 1999

TERENCE BLANCHARD Champion, 2013 (World premiere)

Fire Shut Up in My Bones, 2019 (World premiere)

MARC BLITZSTEIN Regina, 2018

TOMÁS BRETÓN

La verbena de la paloma, 1982

BENJAMIN BRITTEN Albert Herring, 1976, 1978 Billy Budd, 1993 (Original

version: American premiere)

Curlew River, 1986

(Christ Church Cathedral)

Gloriana, 2005 A Midsummer Night’s Dream, 1992 Noah’s Flood,* 1990 (St. Alphonus Rock Church)

Paul Bunyan, 1984

(American professional premiere)

Peter Grimes, 1990 The Prodigal Son, 1987

The Rape of Lucretia, 1996 The Turn of the Screw, 1980

(World premiere production)

(The Apple Shed, Clarksville, MO);

1985 (National touring

UNSUK CHIN

production: St. Louis, San Antonio,

Alice in Wonderland, 2012

and Los Angeles); 1986

PHILIP GLASS Galileo Galilei, 2024 The Trial, 2017

The Secret Marriage, 2004

JOHN CORIGLIANO The Ghosts of Versailles, 2009 (Premiere of a new performing version)

(American premiere)

CHRISTOPH WILLIBALD GLUCK Iphigenia in Tauris, 1994 Orfeo & Euridice, 1984, 2018

ANTHONY DAVIS Under the Double Moon, 1989 (World premiere)

CLAUDE DEBUSSY Pelléas and Mélisande, 2011

FREDERICK DELIUS

ALEXANDER GOEHR Arianna, 1998

(American premiere)

RICKY IAN GORDON The Grapes of Wrath, 2017 (Premiere of a new

Fennimore and Gerda, 1981 (American premiere); 1983 (International touring production: Edinburg Festival)

Margot la rouge, 1983

performing version)

“27,” 2014 (World premiere)

CHARLES GOUNOD Faust, 1998 Romeo and Juliet, 2005

(World premiere)

GAETANO DONIZETTI The Daughter of the Regiment, 1990, 2011 Don Pasquale, 1976, 1998 The Elixir of Love, 1982, 2014 Lucia di Lammermoor, 2002 The Night Bell, 1981 (Regional touring production)

ANDRÉ-ERNEST-MODESTE GRÉTRY Beauty and the Beast, 2005

TRE’VON GRIFFITH Madison Lodge, 2023 (World premiere)

ADOLPHUS HAILSTORK Joshua’s Boots, 1999*

JONATHAN DOVE

(COCA – World premiere);

Flight, 2003

2011 (Touhill Performing Arts Center – UMSL)

ANTONÍN DVOŘÁK

GEORGE FRIDERIC HANDEL

(American premiere)

Alcina, 1987 Julius Caesar, 2024 Radamisto, 2000

The Devil and Kate, 1990

CARLISLE FLOYD Slow Dusk, 1983

(American professional premiere)

(Regional touring production)

Richard the Lionheart, 2015 (American premiere)

Susannah, 2023

LUKAS FOSS The Jumping Frog of Calaveras County, 2000

(YMCA, Missouri History Museum)

FRANZ JOSEPH HAYDN Armida, 1995

J.E. HERNÁNDEZ Mechanisms, 2024

CARY JOHN FRANKLIN The Enchantment of Dreams, 2007 (Saint Louis Art Museum)

(World premiere)

HUANG RUO An American Soldier, 2018 (World premiere)

Loss of Eden, 2002 (World premiere)

Thunder of Horses,* 1995

ENGELBERT HUMPERDINCK

(Regional touring production:

World premiere) 1996, 2001

(Christ Church Cathedral) 1134

JOE X. JIANG/SIMON TAM

The Beggar’s Opera, 1982

(World premiere)

DOMENICO CIMAROSA

1995, 2013

JOHN GAY

The Midnight Angel, 1993

(American premiere)

LEOŠ JANÁČEK

production: World premiere);

DAVID CARLSON Anna Karenina, 2007

The Very Last Green Thing,* 1992 (Regional touring

OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

Hansel and Gretel, 2006

Katya Kabanova, 1998 Slanted: An American Rock Opera, 2023 (World premiere)

SCOTT JOPLIN Treemonisha, 2000, 2023 (World premiere of a new

performing edition)

LAURA KARPMAN On the Edge, 2021 (World premiere)

HANS KRÁSA Brundibár,** 1997 (COCA); 2009 (Touhill Performing Arts Center – UMSL)

FRANZ LEHÁR The Merry Widow, 1989

RUGGERO LEONCAVALLO La bohème, 1991 Pagliacci, 2013

STEVEN MACKEY Moon Tea, 2021 (World premiere)

STEPHEN MAGER Dream of the Pacific, 2004 (National touring production: Saint Louis Art Museum - World premiere)

VICENTE MARTÍN Y SOLER The Tree of Chastity, 1978 (American premiere)

Una cosa rara, 2008

(American professional premiere)

PIETRO MASCAGNI Cavalleria rusticana, 2004

JULES MASSENET Cinderella, 1993 Thaïs, 2003 Werther, 1989

RONALD MAURICE Unbroken, 2024 (World premiere)

WILLIAM MAYER A Death in the Family, 1986

GIAN CARLO MENOTTI Chip and His Dog,** 1991 (Regional touring production)

The Medium, 1976 The Old Maid and the Thief, 1984 (Regional touring production)

JAMES MEYER Laclede’s Landing,* 1989 (Regional touring production: World premiere)

MINORU MIKI An Actor’s Revenge, 1981 (American premiere)

Jōruri, 1985 (World premiere); 1988 (International touring

production: Nissay Theatre, Tokyo)

The Tale of Genji, 2000 (World premiere); 2001

(International touring production: Nissay Theatre, Tokyo)

HENRY MOLLICONE The Face on the Barroom Floor, 1980, 1983 (Regional touring production);

1983 (International touring

production: Edinburgh Festival)

CLAUDIO MONTEVERDI The Tale of Orpheus, 1997 The Coronation of Poppea, 2019

WOLFGANG AMADEUS MOZART The Abduction from the Seraglio, 1986, 2003 La clemenza di Tito, 1996, 2017 Così fan tutte, 1977, 1982, 1997, 2012, 2023 Don Giovanni, 1983, 1993, 2011 La finta giardiniera, 1988 Idomeneo, 1985 The Impresario, 1976 The Magic Flute, 1980, 1984, 2002, 2014, 2022 The Marriage of Figaro, 1981, 1990, 1999, 2010, 2019 Mitridate, King of Pontus, 1991 (American premiere) Il re pastore, 2009

JACQUES OFFENBACH La belle Hélène, 1995 The Grand Duchess of Gerolstein, 2001 The Isle of Tulipatan, 1986 (Regional touring production)

The Tales of Hoffmann, 1986, 2008

STEPHEN OLIVER Beauty and the Beast, 1987 (American premiere)

STEPHEN PAULUS The Postman Always Rings Twice, 1982

(World premiere);

1983 (International touring

production: Edinburgh Festival)

The Village Singer, 1979 (World premiere)

The Woman at Otowi Crossing, 1995 (World premiere)

The Woodlanders, 1985 (World premiere)

JACK PERLA Shalimar the Clown, 2016 (World premiere)

TOBIAS PICKER Emmeline, 2015 Awakenings, 2022 (World premiere)

FRANCIS POULENC Les mamelles de Tirésias, 1983 Dialogues of the Carmelites, 2014 La voix humaine, 2021

SERGEI PROKOFIEV Maddalena, 1982 (American premiere)

GIACOMO PUCCINI La bohème, 1978, 1988, 2001, 2009, 2016, 2024; 2002 (Regional touring production)

Gianni Schicchi, 1977, 1979, 2021 Madame Butterfly, 1978 (The Muny); 1984 (Brescia

version: American premiere);

1992, 1997, 2008, 2017 La rondine, 1996 (Third edition: American premiere), 2015 Sister Angelica, 2004 Il tabarro, 2013 Tosca, 1995, 2003, 2023

HENRY PURCELL King Arthur, 1989

(Graham edition: American premiere)

JEAN-PHILIPPE RAMEAU Hippolytus and Aricia, 2001 Pygmalion, 1977 (American premiere)

MAURICE RAVEL The Spanish Hour, 1982 (Regional touring production)

EMIL NIKOLAUS VON REZNICEK Fact or Fiction, 1980 (American premiere)

GIOACHINO ROSSINI The Barber of Seville, 1985, 1996, 2006, 2015, 2024; 1990, 1999

(Regional touring productions)

Cinderella, 1987 Count Ory, 1977 Forever Figaro, 1978

(A musical biography compiled by Gimi Beni)

The Journey to Rheims, 1986 (American premiere) The Turk in Italy, 1992

PAUL SCHOENFIELD The Merchant and the Pauper, 1999 (World premiere)

BEDŘICH SMETANA The Kiss, 2013

DAMIEN SNEED The Tongue & The Lash, 2021 (World premiere) Treemonisha, 2023 (World premiere of a new performing edition)

STEPHEN SONDHEIM A Little Night Music, 2010 Sweeney Todd, 2012

WILLIAM GRANT STILL Highway 1, U.S.A., 2021

JOHANN STRAUSS Die Fledermaus, 1984 (American Theatre);

1989 (Regional touring production)

RICHARD STRAUSS Ariadne on Naxos, 1979, 1991, 2016 Salome, 2009

SIR ARTHUR SULLIVAN Cox & Box, 1982

(Regional touring production)

The Gondoliers, 1986 (Edison Theatre)

H.M.S. Pinafore, 1981 (World premiere)

The Mikado, 1984 (World premiere); 2007 The Pirates of Penzance, 1982 (Edison Theatre); 2013 Trial by Jury, 1984 (Regional touring production)

CONRAD SUSA Black River, 1994 Transformations, 1997

DEL’SHAWN TAYLOR Cook Shack, 2023

(World premiere)

PETER ILYICH TCHAIKOVSKY Eugene Onegin, 1991, 2010

AMBROISE THOMAS

WILLIAM WALTON Troilus and Cressida, 2008 (Premiere of a new performing edition)

CARL MARIA VON WEBER Oberon, 1988 (Graham

edition: American premiere)

The Three Pintos, 1979 (Mahler edition: American premiere)

KURT WEILL The Seven Deadly Sins, 1980 Street Scene, 2006

JUDITH WEIR The Black Spider,* 1993 (Regional touring production: American premiere)

The Vanishing Bridegroom, 1992 (American premiere)

CLAUDE WHITE Love, Death and High Notes, 1988

(Regional touring production: World premiere)

ERMANNO WOLF-FERRARI The Secret of Suzanne, 1981

VARIOUS COMPOSERS AND ARTISTS Our Songs, annually since 2021 Center Stage, annually since 2015 Christine Brewer in Concert, 1999 Colin Graham Tribute Concert, 2007 Gala Concerts, 1985 (10th season), 1986, 1995 (20th season) A Grand Night for Singing, 1981 (The Muny); 1988, 1995 (Regional touring production)

Operetta Tonight, 1987 (Regional touring production)

Stars of Saint Louis, 1983 (International touring production: Edinburgh Festival)

Hamlet, 2002

GIUSEPPE VERDI Falstaff, 1980, 1994 Macbeth, 2016 Othello, 1999 Rigoletto, 1981, 2005, 2019 La traviata, 1979, 1983, 2000, 2007, 2018

STEWART WALLACE Harvey Milk, 2022

(World premiere of a new performing edition)

*Performed by a cast of young people and featured professional singers. **Performed by a cast of young people.

EXPERIENCEOPER A.ORG

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O P E R A TH E ATR E SA LU TE S TH E 2 024 P R O G R A M B O O K A DV E R TI S E R S The creation of each season’s program book is made possible through the generous support of our advertisers.

We hope you will join us in making use of their services and tell them how much you enjoyed seeing their advertisements in these pages.

The following current advertisers have supported the program book for ten years or more: Elleard Heffern Fine Jewelers (47) Webster University (47) IATSE Local #6 Stagehand Union (42) St. Louis Symphony Orchestra (39) The Muny (39) Ces & Judy’s Catering (38) Janet McAfee (38) The Repertory Theatre of St. Louis (35) Saint Louis Art Museum (31) The Delmar Gardens Family (30) Gunther Salt Company (28) Wildflowers (23) Regional Arts Commission (21)

St. Louis Public Radio (21) Des Moines Metro Opera (19) St. Louis Chamber Chorus (19) Big Sky Café (18) Central City Opera (18) Cyrano's (14) Siteman Cancer Center (13) St. Louis Magazine (13) St. Louis Shakespeare Festival (13) Advertiser's Printing Company (12) Chase Park Plaza Hotel (12) Marsh McLennan Agency (11)

A DV ERTI S ER I N D E X Advertiser’s Printing Company, 23 Allegro Richmond Heights, inside back cover American Chamber Chorale, 85 Arts & Faith St. Louis, 75 Assistance Home Care, 60 Berges Family Foundation, 45 Big Sky Café, 84 The Black Rep, 24 Bopp Chapel, 84 Castle Design, 52 Central City Opera, 74 Ces & Judy’s Catering, 8 Chamber Music Society of St. Louis, 82 Chase Park Plaza, 52 Classic 107.3, 61 Clayco, 83 COCA, 84 Cyrano’s, 60 The Davey Tree Expert Company, 86 The Delmar Gardens Family, 76 Des Moines Metro Opera, 32 Elleard Heffern Fine Jewelers, 1 The Fabulous Fox, 33 Gunther Salt Company, 115 IATSE Local #6 Stagehand Union, 98 Janet McAfee, 25 Jazz St. Louis, 76 Laclede Groves Lutheran Senior Services, 115 Le Macaron, 82 Lewis Rice, back cover

Lexus, 37 Link Auction Galleries, 86 Marsh McLennan Agency, 77 The Muny, 77 Nine PBS, 69 O’Connell’s Pub, 82 Opera Edwardsville, 2 Regional Arts Commission, 34 The Repertory Theatre of St. Louis, 68 Saint Louis Art Museum, inside front cover The Saint Louis Chamber Chorus, 75 Saint Louis Dance Theatre, 85 The Sheldon Concert Hall, 84 Siteman Cancer Center, 4 The St. Louis Children’s Choir, 74 St. Louis Magazine, 22 St. Louis Public Radio, 111 St. Louis Shakespeare Festival, 118 St. Louis Symphony Orchestra, 9 St. Louis Symphony Orchestra Chorus, 86 STAGES St. Louis, 130 Union Avenue Opera, 100 Washington University Voice and Airway Center, 36 Washington University Great Artists Series, 131 Webster University, 16 Wildflowers, 87 Wolfgram Law, 60 World Chess Hall of Fame, 53 World Wide Technology, Inc., 44

We are grateful to STL Programs for their outstanding efforts and dedication to the success of the 2024 Program Book.

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OPE R A T H E A T R E of S A I N T L OU I S | 2024 FESTIVAL SEASON

EXPERIENCEOPER A.ORG

1

OPERA

made ac c e ssible

Opera Theatre of Saint Louis strives to make our Festival Season accessible to all patrons by offering several different services. For additional information, questions, or assistance (or if you need an accommodation not mentioned below), please contact the Box Office by calling (314) 961-0644 or by visiting the Patron Services window.

W H E E LC H A I R A N D S CO OTE R S E ATI N G Enjoy designated seating with top-notch views! The Loretto-Hilton Center has wheelchair-accessible seating locations where patrons can remain in their chairs or transfer to a theater seat. Patrons who cannot transfer from their wheelchairs to a theater seat should request wheelchair-accessible locations when ordering tickets.

Ushers are available to assist patrons in getting from the theater entrance to their seats. If mobility aids cannot be stored safely within the patron’s seating area, or if a patron prefers to transfer from a wheelchair to a theater seat, those aids will be stored outside the auditorium door as close as possible to the patron’s seat. At intermission and after the performance, ushers are happy to assist patrons to restroom entrances, concessions bars, accessible parking, etc.

A S S I S TIV E LI S TE N I N G D E VI C E S A frequency modulate (FM) audio enhancement system is available for all performances. Both headset receivers and magnetic loop adapters for enabled hearing aids are available for pick-up at the Patron Services window. Patrons may also bring their own headphones if they desire.

S I G N L A N G UAG E OTSL is proud to offer American Sign Language interpretation at select performances in partnership with TLC Interpreting Services, LLC. Patrons interested in using this service can visit ExperienceOpera.org/Accessibility to purchase ASL tickets and select appropriate seats. Please speak with the Box Office for further details.

The Barber of Seville: May 31 at 7:30 p.m.

La bohème: June 14 at 7:30 p.m.

Julius Caesar: June 28 at 7:30 p.m.

Galileo Galilei: June 21 at 7:30 p.m.

L A R G E P R I NT A N D B R AI LLE P R O G R A M S Condensed large print and Braille playbills are available for each opera at the Patron Services window in the lobby.

AU D I O D E S C R I P TI O N For patrons who are low-vision or blind, we are pleased to offer audio-described performances presented in partnership with MindsEye. Patrons can pick up a device prior to the performance or during intermission at the Patron Services window in the lobby, free of charge. Audio-described performances include: The Barber of Seville: May 31 at 7:30 p.m., June 8 at 12:30 p.m.

La bohème: June 14 at 7:30 p.m., June 22 at 12:30 p.m.

Julius Caesar: June 15 at 12:30 p.m., June 28 at 7:30 p.m.

Galileo Galilei: June 21 at 7:30 p.m., June 29 at 12:30 p.m.

S E RVI C E A N I M A L S Service animals are welcome. If you plan to bring a service animal, please inform the Box Office in advance.

Accessibility services for the 2024 Festival Season are sponsored by The June 8 matinee will be sensory-conscious to meet the needs of patrons with higher sensory sensitivities. We are pleased to partner with Different Dynamics for this performance.

We hope that these offerings assist in making your experience at Opera Theatre a wonderful and engaging one!

E X P E R I E N C E O P E REAX . POERRGI /EANCCCEEOSPSEIRBAI L . OI T RY G

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PROGRAM BOOK EDITOR Chantal Incandela DESIGNER Kelly Glueck CONTRIBUTORS Jonathan Brandani Katerina Burton Daniela Candillari Kim Eberlein Eric Sean Fogel José Luis Gómez Chantal Incandela Andrew Jorgensen Anh Lê Tyler McKenzie Elkhanah Pulitzer Patricia Racette Tori Rezek James Robinson Kwamé Ryan Linda Schulte Michael Shell Mark Tiarks Grace Wildermuth PRINTER Advertisers Printing The Forty-Ninth Season Program Book © Opera Theatre of Saint Louis, 2024

This season’s program book cover features the painting Crafting at Night by Ainura Ashirova Barron, a native of Kazakhstan who lives and works in St. Charles, MO. She earned received her MFA in Visual Studies from Missouri State University in 2019. Her work explores identity, history, and roots in a globalized society.

Learn more at ainurabarron.com.

Opera Theatre of Saint Louis looks forward to presenting more works by local artists in future program books.

G E N E R A L I N FO R M ATI O N If you would like to receive future communications from Opera Theatre, please leave your name, mailing address, and email address with the Box Office, or sign up for our mailing list at ExperienceOpera.org.

Opera Theatre of Saint Louis 210 Hazel Ave. St. Louis, MO 63119 Administrative Offices: (314) 961-0171 Box Office: (314) 961-0644 Email: info@opera-stl.org Website: ExperienceOpera.org T H E AT E R P O LI C I E S A N D I N FO R M ATI O N To ensure the enjoyment of our audience, and out of respect for our artists, Opera Theatre will not seat latecomers until there is a pre-determined break in the opera. However, latecomers are invited to watch the performance via closed-circuit television in the lobby. Patrons who leave the auditorium during a performance will be allowed to return to their seats at predetermined breaks in the opera.

All patrons are welcome at Opera Theatre. Please notify the Box Office as early as possible to arrange special seating if you have a service animal or any accessibility needs, as these seats are limited (please see the previous page for more information).

All cell phones and other electronic devices must be turned off during the performance. Any use of smartphones for texting, browsing, or recording is prohibited, as is the use of any cameras or other recording equipment not previously authorized by Opera Theatre management.

Leave something behind? Lost articles may be claimed at the House Manager’s Office, or you can call (314) 246-8009 after 10 a.m. the next performance day.

All casting is subject to change.

In the event of a fire, please walk to the nearest exit. In the case of a tornado warning, please follow ushers to the designated evacuation zone.

The scenic and lighting designers of The Barber of Seville, La bohème, Julius Caesar, and Galileo Galilei and costume designers of La bohème and Julius Caesar are represented by United Scenic Artists, Local USA 829 of the IATSE. All Scenic Artists employed by Opera Theatre of Saint Louis are represented by United Scenic Artists, IATSE Local USA 829, AFL-CIO, CLC. Performing Artists, Stage Directors, Choreographers, and Stage Managers are represented for collective bargaining purposes by the American Guild of Music Artists, the union of professional singers, dancers, and staging personnel of the United States.

Opera Theatre of Saint Louis is a member of OPERA America.

Opera Theatre promotes diversity and inclusiveness and affirms its ADA compliance.

FSC Certification

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