Performances Magazine San Diego | S.D. Opera, February 2024

2023-24 SEASON

Wolfgang Amadeus Mozart

SAN DIEGO CIVIC THEATRE

February 2 – 7:30 pm | February 4 – 2:00 pm FC 392 SD Opera C1 0224.indd 1

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F E B R UAR Y 2 0 2 4

MAGAZINE

contents P1 Program Cast, performances, who’s who, director’s notes, donors and more.

4 In the Wings The Age of Innocence and English at The Old Globe, Outside Mullingar at Lamb’s Players Theatre, Lady Day at Emerson’s Bar & Grill at Cygnet Theatre, San Diego Symphony concerts, S.D. Museum Month, and more.

8 Feature: Broadway Star Idina Menzel A Q&A with Idina Menzel (pictured), who is in town for Redwood—the worldpremiere musical opening on Feb. 13 at La Jolla Playhouse.

14 Travel

14 6

Looking for a backyard getaway? Anza-Borrego Desert State Park—whose vibrant wildflowers begin blooming mid-February—is beckoning.

COURTESY IMAGES

24 Parting Shot Fire Plume #1 Missoula, Montana, by photographer James Balog, on view at MOPA@SDMA.

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MAGAZINE

PUBLISHER

Jeff Levy EDITOR

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DIGITAL MANAGER

Lorenzo Dela Rama Contact Us ADVERTISING Kerry.Baggett@ CaliforniaMediaGroup.com WEBSITE Lorenzo.DelaRama@ CaliforniaMediaGroup.com CIRCULATION Christine.Roessler@ CaliforniaMediaGroup.com HONORARY PRESIDENT

Ted Levy For information about advertising and rates contact California Media Group 3679 Motor Ave., Suite 300 Los Angeles, CA 90034 Phone: 310.280.2880 Fax: 310.280.2890 Visit Performances Magazine online at socalpulse.com

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POINT LOMA

COR ONA DO

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IN TH E W I N G S

THEATER

February Curtain Calls FEBRUARY IS FILLED with diverse and dynamic live theater. Among them, the multi-award-winning play (including the 2023 Pulitzer Prize) English runs through Feb. 18 at The Old Globe. Playwright Sanaz Toossi’s intricate, comic and contemplative story centers on four adult students in a classroom near Tehran, who are prepping for an English proficiency exam. The Old Globe-commissioned world premiere of The Age of Innocence—based on Edith Wharton’s 1920 novel set in New York City circa the 1870s Gilded Age—runs Feb. 8-March 10, adapted for the stage by Karen Zacarías. theoldglobe.org Cygnet Theatre—in association with Ebony Repertory Theatre—brings us Lanie Robertson’s Lady Day at Emerson’s Bar & Grill, through Feb. 18. Travel back to Philadelphia in the year 1959, when legendary jazz singer Billie Holiday belts out one of the last performances of her lifetime in a small bar. cygnettheatre.com Through Feb. 18 at Lamb’s Players Theatre, Outside Mullingar is playwright John Patrick Stanley’s humorous, bighearted Irish story of property boundaries, love and family. lambsplayers.org

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L-R: COURTESY THE OLD GLOBE; CRAIG SCHWARTZ PHOTOGRAPHY

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Karole Foreman in Lady Day at Emerson’s Bar & Grill. Opposite: The Age of Innocence playwright Karen Zacarías.

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IN TH E W I N G S

Museums to Explore This Month

Violinist Gil Shaham; Kim Hyekyung’s “Beyond Time and Space,” in Korea in Color at SDMA. MUSIC

Trumpets & Violins SOME EXTRAORDINARY MUSIC is in the air this month, thanks to the San Diego Symphony, with two exceptional concerts of note— as part of its Jacobs Masterworks programming—that have us particularly excited. On Feb. 15, renowned trumpeter Pacho Flores joins maestro Rafael Payare and the Symphony for a special concert at Mandeville Auditorium at UC San Diego. The repertoire includes the West Coast premiere of Mexican composer Gabriela Ortiz’s Altar de bronce; Ravel’s Le Tombeau de

Couperin and the Suite No. 2 from Daphnis et Chloé; and concludes with Debussy’s La mer. Then on Feb. 25, Grammy Award-winning violinist Gil Shaham performs with Payare and the Symphony at the San Diego Civic Theatre in an exclusive matinee concert. The lineup includes the West Coast premiere of Mason Bates’ Nomad Concerto for Violin and Orchestra; Respighi’s tone poem Pini di Roma (Pines of Rome); and La valse, poème chorégraphique and Boléro

by Ravel. sandiegosymphony.org

COURTESY IMAGES

EXAMINING THE USE of polychrome MUSEUMS painting and its role in Korean art and culture, Korea in Color: A Legacy of Auspicious Images is on view through March 3 at The San Diego Museum of Art (SDMA).

The exhibit comprises 50 artworks (paintings, videos and installations) from modern works to masterpieces from the 19th and 20th centuries. sdmart.org The San Diego Museum Council presents San Diego Museum Month throughout February. Art and culture lovers can access more than 60 San Diego County museums, cultural attractions, historical sites, aquariums, zoos and gardens—all for half-off admission.

Participating venues include the California Surf Museum, many Balboa Park museums, MCASD and the USS Midway Museum. sandiegomuseumcouncil.org

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YOU’RE HERE. Congrats, You’ve Picked a Great Performance!

Check out the interactive version of this theater program magazine and enjoy even more insight into the performers, creative talent and theater activities that are behind it all.

LINKS TO PERFORMERS’ SOCIAL MEDIA ACCOUNTS MULTI-MEDIA PRESENTATIONS ABOUT THE PERFORMANCE. UNDERSTUDY UPDATES THEATER SUPPORT OPPORTUNITIES UPCOMING SHOWS AND CONCERTS AROUND TOWN INSIDER SCOOPS FROM THEATER AND MUSIC PROFESSIONALS

COURTESY IMAGES

It’s the new way to read the program, it’s

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J

FEATUR E

A B

By D In

Idina Menzel rose to stardom with her role as Maureen in Rent on Broadway, and reprised her role in the 2005 film.

Ex so an of

Welcome to Redwood

Broadway Superstar Idina Menzel Makes her La Jolla Playhouse Debut in a World-Premiere Musical

T

HIS MONTH, BROADWAY icon Idina Menzel makes her La Jolla Playhouse debut in the highly anticipated world premiere of Redwood.

Nicknamed the “Queen of Broadway,” the actress and mezzo-soprano is best known for her roles as Maureen in Rent, as Elphaba in Wicked (for which she won the Tony Award for “Best Actress in a Musical”), and as the voice of Elsa in Disney’s Frozen animated films.

Redwood is a new, albeit familiar, adventure for Menzel. The musical is written and directed by Tina Landau with music by Kate Diaz, but was conceived by Landau and Menzel—who also made additional contributions to the songs. Menzel also stars as Jesse—a successful businesswoman, wife and mother—who finds herself at a critical juncture in life, gets into her car, and drives away from it all … and toward the respite of Northern California’s towering redwood forests. The plot thickens in profound and life-changing ways …

Performances Magazine interviewed Menzel about her career, passions and path to Redwood.

Q: You were a performer as a child. Did you want to be a singer more, or an actor?

A: Ever since I was really little, I always wanted to be a performer, but my mom wanted me to wait

COLUMBIA PICTURES / COURTESY EVERETT COLLECTION

by STEPHANIE SAAD THOMPSON

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“O

Jan 24 - Feb 18, 2024

AT EMERSON’S BAR & GRILL

By Lanie Robertson Directed by Wren T. Brown In Association with Ebony Repertory Theatre

Karole Foreman as the mythically iconic Lady Day holds you captive.

- Grunion Gazette

Experience Billie Holiday’s life story through the songs that made her famous. With her poignant voice and moving numbers, one of the greatest jazz singers of all-time shares her loves and her losses.

COLUMBIA PICTURES / COURTESY EVERETT COLLECTION

Tickets: 619.337.1525 www.CygnetTheatre.com

UP NEXT:

’s “One of the decade s. al best music ”

rk -Time Out New Yo

The Tony Award-winning Electropop Opera April 10 - May 12, 2024 PERFORMANCES MAGAZINE 9

ROMANTIC • SCANDALOUS • IMMERSIVE

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FEATUR E

until I finished college. All my training in the beginning was school plays, with inspiring teachers and vocal coaches. Not until I became a teenager did I become more of a professional, by singing with wedding bands and pounding the pavement that way.

Q: It’s unusual for a voice actor, if they aren’t already famous when they do the role, to get so much name recognition for an animated role. After “Let It Go” exploded, everyone knew

Idina Menzel at the world premiere for Disney s Frozen 2 at Dolby Theatre

who was voicing Elsa.

What was that like?

A: I wasn’t thinking about that, really. I just knew that it was such a coup to be given the role of a Disney Princess in a musical and be singing, and the long, illustrious history of all the women that have played those kinds of characters. I didn’t know that it would become quite the phenomenon it did or just how

intensely it would connect with young audiences.

Q: What do you enjoy about doing animation versus stage or live action?

A: I love that I don’t have to wear any makeup or get dressed up for the studio! I love sitting in a recording booth with the directors of Frozen, who are brilliant and have now become my dear friends.

It’s an opportunity to be a fly on the wall and see how these kinds of movies are made, in a way that I don’t get the opportunity with others.

You get to see the animation in its early stages.

They’ll share with me storyboards or early illustrations and include me in the process. That’s my favorite thing about it. I also love being able to do it over and over and not

PAUL SMITH / FEATUREFLASH

Q: The tremendous success of Rent, Wicked and Frozen opened a lot of doors for you, but has it also been a challenge to be so closely associated with those roles?

A: Rent was the first role I was associated with for many years; that was so dear to me and such a foundational experience for me in the theater.

And then with Wicked and Frozen—all three characters are very strong women, and I look at them as this incredible gift that has been bestowed upon me—how they’ve taught me to embrace what makes me different and powerful, and to not be afraid of that power.

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worry about making mistakes, and try things a million different ways.

PAUL SMITH / FEATUREFLASH

Q: Your latest album, Drama Queen, leans heavily into dance music, and you performed at many Pride festivals last summer. What made you want to do that?

A: I feel like I’ve been embraced by the LGBTQ+ communities since the beginning of my career, since Rent, and I wanted to give back, to be an ally.

The music I was making was dance music, and it became clear to me that this would be a great opportunity to connect with that audience, because the dance music is so celebratory.

If there’s anything I’ve learned from my LGBTQ+ friends, it’s that no matter how dark things can get, they are always so optimistic and hopeful.

Q: Is Elsa gay?

A: (Laughs.) You know, I think you’d have to answer that for yourself.

I think everyone has their own interpretation of that.

I know that Elsa is celebrated for her authenticity and her unwillingness to compromise who she is.

Q: How did you first become involved with Redwood? /CONTINUED ON PAGE 20

“An astonishingly delightful romp.”

— New York Post

Molière’s TARTUFFE, acknowledged as one of the most enduring comedic masterpieces in the theatrical canon, is given an astonishingly clever translation by two-time Pulitzer Prize poet Richard Wilbur. The charlatan Tartuffe worms his way into a wealthy family causing disruption and pandemonium. With wicked precision and brilliantly rhyming verses, this highly satiric comedy skewers religious hypocrisy, duplicity, lust, and self-inflicted chaos. Lovers of classic theatre and ingenious wordplay will not want to miss this inventively entertaining evening.

Directed by Richard Baird

MARCH 6-APRIL 7 NorthCoastRep.org BOX OFFICE 858-481-1055 GROUP SALES: 858-481-2155, X202

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heart transplant Patient learn about Mario's story

Mario went to the hospital with a stomachache. He ended up needing a new heart. After just two days on the donor waitlist and four months of recovery, this eighth grader is back on track to being a kid.

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LETTER FROM THE GENERAL DIRECTOR CARTA DEL DIRECTOR GENERAL Welcome to this performance of Don Giovanni.

DAVID BENNETT General Director

Bienvenidos a esta función de Don Giovanni.

Don Giovanni has been widely regarded as the greatest opera ever composed.

Whether you agree or not, the opera is unarguably a brilliant combination of human tragedy and touching comedy, set to music that displays Mozart’s profound genius.

Don Giovanni ha sido ampliamente considerada como la mejor ópera jamás compuesta. Independientemente de si usted está de acuerdo o no, la ópera es, innegablemente, una combinación brillante de tragedia humana y comedia conmovedora, con música que muestra el profundo genio de Mozart.

In this production, we place the wonderful musicians of San Diego Symphony Orchestra on stage, highlighting Mozart’s orchestral genius alongside the brilliance of his vocal writing. We welcome many new artists to San Diego in this production; this will be the first time you experience their talents, but certainly not the last. And we welcome back the strong artistic leadership of our Principal Conductor Yves Abel. Taken together, this will be a wonderful experience for you.

En esta producción, colocamos a los maravillosos músicos de la Orquesta Sinfónica de San Diego en el escenario, destacando el genio orquestal de Mozart junto a la brillantez de su escritura vocal. Damos la bienvenida a muchos artistas nuevos a San Diego en esta producción; siendo la primera vez que el público disfrutará de sus talentos y, en definitiva, no la última.

También, damos la bienvenida nuevamente al sólido liderazgo artístico de nuestro Conductor Principal, Yves Abel. En conjunto, esta será una experiencia maravillosa para ustedes.

Thank you for your continued support of San Diego Opera.

Gracias por su apoyo continuo a la Ópera de San Diego.

Enjoy the Opera!

¡Disfrute de la ópera!

David Bennett Director General

David Bennett General Director

ABOUT SAN DIEGO OPERA MISSION

CORE VALUES

The mission of San Diego Opera is to deliver exceptional performances and exciting, accessible programs to diverse audiences, focusing on community partnerships, and the transformative and expressive power of the human voice.

Through excellence in innovative programming and education and a commitment to equity, San Diego Opera provides a lasting cultural service to our diverse community.

VISION San Diego Opera will be recognized globally as a leading example of adaptability, innovation and sustainability, promoting diversity on stage, in our repertoire, and in our staff and leadership, with a commitment to world-class and emerging talent, and innovative use of technology.

• Our tradition of exceptional productions of grand opera is augmented with new expressions of opera in diverse settings.

• Our deep commitment to our community propels us to embrace inclusivity, accessibility and affordability.

• Through fiscal responsibility and nimble adaptation to changing environments, we ensure the future of San Diego Opera for our community.

CONNECT WITH US SanDiegoOpera

SanDiegoOpera

sandiegoopera

233 A Street, Suite 500 | San Diego, CA 92101 | T: 619-232-7636 | F: 619-231-6915 | info@sdopera.org Visit

sdopera.org or call Patron Services 619-533-7000 PERFORMANCES MAGAZINE P1

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2023 / 24 SEASON

Music by Wolfgang Amadeus Mozart Libretto by Lorenzo Da Ponte Production Sponsor – Dr. Leon Lachman

SAN DIEGO CIVIC THEATRE February 2 – 7:30 pm | February 4 – 2:00 pm Sung in Italian with English and Spanish text projected above the stage.

CAST Don Giovanni Donna Anna Donna Elvira Don Ottavio Leporello Zerlina Masetto Commendatore (Don Pedro)

Germán Enrique Alcántara* Tasha Koontz Megan Moore Alex McKissick* Ethan Vincent * Ashley Fabian* Christian Pursell* Brent Michael Smith*

*San Diego Opera debut

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CREATIVE TEAM Conductor Stage Director Chorus Master & Continuo Assistant Director Set/Projection Designer Costume Designer Lighting Designer Wig/Make up Designer Supertitle Coordinator Stage Manager

Yves Abel Kyle Lang Bruce Stasyna Nicolas A. Garcia Tim Wallace Kyle Lang* Chris Rynne Peter Herman Oxana Bulgakova Anna Reetz

Run Time: 3 hours and 30 minutes, including one intermission.

***Program subject to change***

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SYNOPSIS ACT I

ACT II

Late at night, Don Giovanni’s servant Leporello is sleeping when his master, Don Giovanni, rushes out of a house pursued by Donna Anna. Her father, the Commendatore, rushes out to defend her. In the ensuing duel, Giovanni slays the old man and flees. Anna returns with Don Ottavio, her fiancé, and the two swear revenge. In the early morning, Giovanni’s jilted lover Donna Elvira searches for him. Servant and master spy on her and when they all meet, Giovanni talks his way out of trouble and escapes, leaving Leporello to explain his master’s philandering ways.

Later that evening Don Giovanni soothes a disgruntled Leporello and hatches his latest plot, this one aimed at Elvira’s maid and requiring master and servant to exchange clothes. Elvira is lured away by the man she thinks is her beloved, and the real Giovanni is left to serenade the maid. Just then an armed Masetto and his followers arrive in search of the fugitive. The supposed Leporello sends them off in all directions, disarms Masetto, and beats him. Leporello, still disguised as Don Giovanni, is trying to escape when Anna, Ottavio, Masetto, and Zerlina converge upon him. Leporello reveals his identity, confusing everyone, and escapes.

Later, Giovanni and Leporello happen upon the nuptial celebration of Masetto and Zerlina. The latter excites Giovanni’s fancy, but his seduction of her is interrupted

by Elvira, who sweeps Zerlina away. Anna and Ottavio arrive, not yet recognizing Giovanni as the murderer.

When Elvira interrupts again, Giovanni attempts to pass off her hysterics as madness and leaves to “help” Elvira in her distress. Anna soon realizes the truth and calls for vengeance. Not in the least deterred, Giovanni orders Leporello to prepare a lavish party for all the neighbors.

He renews his wooing of Zerlina, but her sharp-eyed fiancé intervenes.

As Giovanni leads the young couple into the villa, Anna, Ottavio, and Elvira enter wearing masks and are quickly invited by the master to join the festivities. With the party in full swing, Giovanni leads Zerlina into an adjoining room. Her cries, however, bring everyone to her aid.

Giovanni tries to make Leporello seem like the offending villain, but no one is taken in. The three guests unmask and Don Giovanni’s adventures seem at an end, but by a sudden intervention he once again escapes his accusers.

Later that night, Giovanni and Leporello have sought refuge in a cemetery. Their conversation is interrupted by a ghostly voice from the statue over the Commendatore’s grave. In response to a doomful warning, Giovanni orders Leporello to invite the statue to his villa for a pre-dawn supper. The invitation is accepted, and the two return to the villa to prepare. Ottavio seeks to console Anna, suggesting marriage. Temporarily rejected, he charges Anna with cruelty. Anna protests her love and begs for patience. Giovanni eats supper while a wind band serenades him with popular tunes of the day.

Elvira rushes in resolved to forgive Giovanni and tries to persuade him to change his ways. He cruelly taunts her, and she leaves in despair. Moments later, her terrified scream is heard and Leporello rushes to see what is wrong. He returns in terror, announcing the arrival of the statue of the Commendatore. In deadly jest, the Commendatore asks if Giovanni will dine with him, and the arrogant Giovanni accepts. The Commendatore demands repeatedly that Giovanni repent his sins, but he is refused. Finally, Don Giovanni meets his death.

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SINOPSIS PRIMER ACTO

SEGUNDO ACTO

Entrada la noche, Leporello, el sirviente de Don Giovanni está vigilando cuando su amo, Don Giovanni, sale corriendo de una casa perseguido por Donna Anna. Su padre, el Comendador, sale corriendo para defenderla y se desata un duelo entre Giovanni y el anciano, a quien Giovanni mata y luego huye. Anna regresa con Don Ottavio, su prometido, y los dos juran venganza. En la madrugada, Donna Elvira, la amante abandonada de Giovanni, lo busca. El sirviente y el amo la espían y cuando todos se encuentran, Giovanni se las arregla para salir del problema y escapa dejando a Leporello para explicar las andanzas de su amo.

Más tarde, Don Giovanni tranquiliza a un disgustado Leporello y trama su último plan, esta vez dirigido a la criada de Elvira y requiriendo que amo y sirviente intercambien ropas. Elvira es atraída por el hombre que cree que es su amado, y el verdadero Giovanni se queda para serenatear a la criada. En ese momento, un armado Masetto y sus seguidores llegan en busca del fugitivo.

El supuesto Leporello los manda en distintas direcciones, desarma a Masetto y lo golpea. Leporello, aún disfrazado como Don Giovanni, intenta escapar cuando Anna, Ottavio, Masetto y Zerlina lo rodean. Leporello revela su identidad, confundiendo a todos, y escapa.

Después, Giovanni y Leporello se encuentran con la celebración nupcial de Masetto y Zerlina. Esta última atrae la atención de Giovanni, pero su seducción es interrumpida por Elvira, quien se lleva a Zerlina. Anna y Ottavio llegan sin reconocer aún a Giovanni como el asesino. Cuando Elvira interrumpe nuevamente, Giovanni intenta hacer pasar sus histerias como locura y se va a “ayudar” a Elvira en su angustia. Anna pronto se da cuenta de la verdad y clama por venganza. Sin embargo, Giovanni ordena a Leporello que prepare una fiesta fastuosa para todos los vecinos. Vuelve con su cortejo a Zerlina, pero su astuto prometido interviene.

Más tarde esa noche, Giovanni y Leporello se han refugiado en un cementerio. Su conversación es interrumpida por una voz fantasmal proveniente de la estatua sobre la tumba del Comendador. En respuesta a una advertencia funesta, Giovanni ordena a Leporello invitar a la estatua a su villa para una cena antes del amanecer. La invitación es aceptada y regresan a la villa para prepararse. Ottavio busca consolar a Anna, sugiriendo matrimonio. Temporalmente rechazado, acusa a Anna de crueldad. Anna protesta su amor y ruega por paciencia. Giovanni cena mientras una banda de viento lo serenatea con melodías populares de la época.

Al momento que Giovanni guía a la joven pareja hacia la villa, Anna, Ottavio y Elvira entran con máscaras y son invitados rápidamente por el amo a unirse a la fiesta.

Con la fiesta en pleno apogeo, Giovanni lleva a Zerlina a una habitación contigua. Sin embargo, sus gritos llaman la atención de todos, quienes acuden a su ayuda. Giovanni intenta hacer pasar a Leporello como el villano ofensor, pero nadie se deja engañar. Los tres invitados se quitan las máscaras y parece que las aventuras de Don Giovanni han llegado a su fin, pero mediante una intervención repentina, una vez más, escapa de sus acusadores.

Elvira irrumpe resuelta a perdonar a Giovanni e intenta persuadirlo de que cambie sus formas. Él la provoca cruelmente y ella se va desesperada. Momentos después, se escucha su grito aterrorizado y Leporello corre a ver qué sucede. Regresa espantado anunciando la llegada de la estatua del Comendador. En una broma mortal, el Comendador pregunta si Giovanni cenará con él, y el arrogante Giovanni acepta. El Comendador exige repetidamente que Giovanni se arrepienta de sus pecados, pero él se niega. Finalmente, Don Giovanni encuentra su muerte.

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CONDUCTOR’S NOTES

BY YVES ABEL Few operas in history have been as admired and influential as Don Giovanni.

Many great composers who followed Mozart have given eloquent testimony to the impact this opera had on their music and imaginations. Rossini, to name but one, always said not only that Don Giovanni was his favorite opera, but that Barber of Seville might never have been written if not for Mozart’s masterpiece. (Not bad, for what instantly became an international hit, spreading like wildfire across Europe!) Other examples abound, like the dramatic opening in d minor of Beethoven’s 9th Symphony, the same key that begins the overture of Don Giovanni and Mozart’s own Requiem. Gounod’s Faust, Berlioz’s Symphonie Fantastique, Wagner’s The Flying Dutchman, Offenbach’s The Tales of Hoffmann, and works by Weber, Schubert, Brahms, Tchaikovsky, and Stravinsky (to name a few) could all be said to have benefited from this extraordinary work.

The second of the three famous operas by librettist Lorenzo da Ponte, Don Giovanni was written in 1787 for the same theatre in Prague that so warmly received The Marriage of Figaro just a few months before. Mozart’s popularity in Prague (he was much more appreciated here than politically complicated Vienna) was such that his confidence was at a high point, enabling him to tackle an opera that encompassed bold new ideas and a wide range of human emotions never before explored in a single work. The subject matter, a dramma-giocoso, or comic drama, with comedic episodes combined with terrifying fantastical scenes inspired Mozart’s genius with a multitude of fresh ideas for rich multi-dimensional characters and a highly original orchestral accompaniment.

In the four years of life that remained to him, Mozart was still to write three new operas, multiple concertos, symphonies, chamber music works, plus a Requiem.

From the ‘otherworldly’ opening chords of the overture, and the subsequent mysterious music with the musical motif of the statue of the Commendatore killed by Don Giovanni in the opening scene, we are drawn into the dramatic core of the opera. This slow introduction anticipates the tone painting we find in Beethoven, Mendelssohn and Schubert symphonies and the early romantic operas of Cherubini and Weber. Shortly after, the overture breaks into unbridled joy – the comic other side of the opera. But there is no big ending to this overture. It ends quietly, leading straight into Don Giovanni’s manservant’s (Leporello) discontent at serving such a master.

This short comedic episode is interrupted by Don Giovanni’s shocking attempt at rape (Donna Anna), and the murder of Anna’s father as he attempts to defend his daughter. Such a quick succession of contrasting scenes had never before been linked together like this. And seldom were characters so strikingly drawn: Donna Anna and Donna Elvira so moving in their pain; Don Giovanni’s violent and dangerous side so ingeniously countered by his tender seductions. Nothing written before 1787 had been more brilliant and frivolous than the finale of Act I’s party scene when Mozart has three different chamber orchestras in counterpoint entertaining (or rather distracting) the guests and playing at the same time so that Don Giovanni can divert and seduce Zerlina.

Act II brings more intrigue and heartbreak before the statue of the Commendatore, insulted by Don Giovanni and invited to dinner, knocks on the door to exact his revenge and punish the Don to eternal hell. The introduction of trombones gives a supernatural aspect to the music.

Here, Mozart’s imagination is at a new height. A quick wrap up in fugal style serves as a kind of moral of the story, “This is how they who wrong end up, and these wicked ones will die just as they lived”.

It is amazing how relevant Don Giovanni is to our own times. With the #MeToo movement rightfully condemning inequality, harassment and power games (Don Giovanni would surely have been in jail now), we must recall that in Mozart’s time, cultural sensibilities were not the same as now, and the women in the opera are often derided in multiple misogynistic situations in some of the “giocoso” episodes. But it is the music that overrides any such qualms. The depths of musical emotion in these women’s arias enrich and ennoble them, while the timeless music serves as the ultimate arbiter of the human condition.

There are many people around the world that think Don Giovanni is the greatest opera ever written – tonight you are going to be able to decide for yourselves.

PERFORMANCES MAGAZINE P5

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NOTAS DEL CONDUCTOR

BY YVES ABEL Pocas óperas en la historia han sido tan admiradas e influyentes como Don Giovanni.

Muchos grandes compositores que siguieron a Mozart han dado un elocuente testimonio sobre el impacto que esta ópera tuvo en su música e imaginación. Rossini, por mencionar solo uno, siempre dijo que Don Giovanni no solo era su ópera favorita, pero que El Barbero de Sevilla quizás nunca se habría escrito de no ser por la obra maestra de Mozart. (¡Nada mal para algo que al instante se convirtió en un éxito internacional, como un reguero de pólvora por todo Europa!) Otros ejemplos abundan, como la dramática apertura en re menor de la Novena Sinfonía de Beethoven, la misma nota con la que comienza la obertura de Don Giovanni y el Réquiem del propio Mozart. Fausto de Gounod, la Sinfonía Fantástica de Berlioz, El Holandés Errante de Wagner, Los cuentos de Hoffmann de Offenbach y obras de Weber, Schubert, Brahms, Tchaikovsky y Stravinski (por mencionar algunos) podrían decirse que se beneficiaron de esta extraordinaria obra.

La segunda de las tres famosas óperas del libretista Lorenzo da Ponte, Don Giovanni, fue escrita en 1787 para el mismo teatro en Praga que recibió con tanto entusiasmo Las bodas de Fígaro solo unos meses antes.

La popularidad de Mozart en Praga (donde fue mucho más apreciado que en la políticamente complicada Viena) fue tal, que su confianza estaba en el punto más alto, lo que le permitió abordar una ópera que abarcaba nuevas ideas audaces y una amplia gama de emociones humanas nunca antes exploradas en una sola obra.

El tema, un dramma jocoso, o drama cómico, con episodios cómicos combinados con escenas fantásticas aterradoras, inspiró el genio de Mozart con una multitud de ideas frescas para personajes ricos y multidimensionales con un acompañamiento orquestal altamente original. En los cuatro años de vida que le quedaban, Mozart aún tenía que escribir tres nuevas óperas, varios conciertos, sinfonías, obras de música de cámara y un Réquiem.

Desde los acordes de apertura “sobrenaturales” de la obertura, y la subsiguiente música misteriosa con el motivo musical de la estatua del Comendador asesinado por Don Giovanni en la escena inicial, somos llevados al centro dramático de la ópera. Esta introducción lenta anticipa la pintura tonal que encontramos en las sinfonías de Beethoven, Mendelssohn y Schubert y las óperas románticas tempranas de Cherubini y Weber.

Poco después, la obertura estalla en un gozo

desenfrenado, el lado cómico de la ópera. Pero no hay un gran final para esta obertura. Termina en silencio, conduciendo directamente al descontento del criado de Don Giovanni (Leporello) por servir a un amo así.

Este breve episodio cómico es interrumpido por el impactante intento de violación de Don Giovanni (a Donna Anna) y el asesinato del padre de Anna mientras intenta defender a su hija. Una sucesión tan rápida de escenas contrastantes nunca antes se había vinculado de esta manera. Y rara vez los personajes estaban tan impresionantemente delineados: Donna Anna y Donna Elvira tan conmovedoras en su dolor; el lado violento y peligroso de Don Giovanni tan ingeniosamente contrarrestado por sus tiernas seducciones. Nada escrito antes de 1787 había sido más brillante y frívolo que el final de la escena del acto 1 en la fiesta, cuando Mozart tiene tres diferentes orquestas de cámara en contrapunto divirtiendo (o más bien distrayendo) a sus invitados y tocando al mismo tiempo para poderse desviar y seducir a Zerlina.

El acto 2 trae más intriga y desamor antes de que la estatua del Comendador, insultada por Don Giovanni e invitada a cenar, llame a la puerta para vengarse y castigar al Don hacia el eterno infierno. La introducción de los trombones da un aspecto sobrenatural a la música. Aquí, la imaginación de Mozart alcanza una nueva altura. Un resumen rápido en estilo fugado sirve como una especie de moraleja de la historia, “Así es como terminan aquellos que hacen el mal, y estos malvados morirán tal como vivieron”.

Es sorprendente lo relevante que es Don Giovanni para nuestros tiempos. Con el movimiento #MeToo condenando con razón la desigualdad, el acoso y los juegos de poder (Don Giovanni seguramente estaría ahora en la cárcel), debemos recordar que, en la época de Mozart, las sensibilidades culturales no eran las mismas que ahora, y las mujeres en la ópera a menudo son menospreciadas en múltiples situaciones misóginas en algunos de los episodios “jocosos”. Pero es la música la que supera cualquier reparo. Las profundidades de la emoción musical en las arias de estas mujeres las enriquecen y ennoblecen, mientras la música atemporal sirve como el árbitro definitivo de la condición humana.

Hay muchas personas alrededor del mundo que piensan que Don Giovanni es la mejor ópera jamás escrita; esta noche van a poder decidir por ustedes mismos.

P6 PERFORMANCES MAGAZINE

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ARTISTS YVES ABEL, Conductor Company appearances: The Daughter of the Regiment (2013); Pagliacci (2014); Madama Butterfly (2016); Carmen (2019); Roméo et Juliette (2022); Suor Angelica and Gianni Schicchi (2023). Yves is one of the world’s most versatile conductors, equally comfortable in opera and concert.Recently extended as San Diego Opera’s Principal Conductor till July 2027, he returns for Don Giovanni and Madama Butterfly this year (2024). His previous posts include Chief Conductor of Germany’s Nordwestdeutsche Philharmonie from 2005-2021, and Principal Guest Conductor of the Deutsche Oper Berlin from 2005-2013. A frequent guest of the world’s great opera houses, Yves is regularly invited to the Metropolitan Opera, the Vienna Staatsoper, La Scala, London’s Royal Opera, Munich and Hamburg Staatsopers, the Paris Opera, the San Francisco Opera, Barcelona’s Liceo, and many others. His recordings include operas and recital discs with some of the world’s finest artists, including Renée Fleming, Thomas Hampson, Elina Garança, Andrea Bocelli, to name a few. In the near future, he makes important debuts at the Royal Opera in Stockholm and the Zurich Opera and returns to the Vienna Staatsoper, the Rossini Festival in Pesaro and the Canadian Opera Company among others. In 2009, he was awarded the title of Chevalier de l’Ordre des Arts et des Lettres by the French government.

GERMÁN E. ALCÁNTARA, Don Giovanni (Baritone) Company debut. Germán is an Argentinean graduate of Jette Parker Young Artist Programme of Royal Opera House London, where he appeared many times, including in the new production of Le nozze di Figaro, where he sang the role of Count Almaviva under the baton of Sir Antonio Pappano in January 2022. He has been awarded in many international singing competitions, including 3rd Prize along with Audience Prize and two other prizes at “Tenor Viñas” 2021 in Barcelona. Other leading roles he has already performed include the title role of Don Giovanni (New Israeli Opera Tel Aviv), Marcello in La bohème (Welsh National Opera), Belcore in L’elisir d’amore (Colón Buenos Aires and Royal Opera House of Muscat), Zurga in Les Pêcheurs de perles (Colón Buenos Aires).

ASHLEY FABIAN, Zerlina (Soprano) Company debut. Acclaimed by the New York Classical Review as “a vision of sunshine and joy,” Ashley Fabian is quickly garnering recognition for her artistry in both comedic and dramatic roles. 2023/24 includes a return to the Los Angeles Philharmonic at the Hollywood Bowl, Gilda in Rigoletto with HALO, Händel’s Messiah with the Winston-Salem Symphony, Chan Parker in Charlie Parker’s Yardbird with Indianapolis Opera, and several performances as the Soprano Soloist in Carmina Burana in the spring with orchestras including the Indianapolis Symphony and Bozeman Symphony. She has worked with companies including Los Angeles Opera, Seattle Opera, Pittsburgh Opera, Cincinnati Opera, Des Moines Metro Opera, Cincinnati Symphony Orchestra, and Utah Symphony, among others. She enjoys a variety of projects, and has won multiple game shows including Wheel of Fortune.

TASHA KOONTZ, Donna Anna (Soprano) Company appearances: Annina, La traviata (2017); Frasquita, Carmen (2019); The High Priestess, Aida (2019); soloist, Ascension (2022); Frida 1, El último sueño de Frida y Diego (2022); Suor Genovieffa, Suor Angelica, Nella, Gianni Schicchi (2023).

Tasha is a Native Hawaiian who has lent her “accurate, powerful voice” (Broadway World) to a gallery of leading operatic ladies and has been recognized by Parterre Box for her “sumptuous, gleaming lyric instrument” and by Opera Wire for her “secure silvery high notes.” In 2024, Tasha will make her South America debut singing the title role in Tosca with Opera Nacional de Chile.

Recent engagements include appearances with the San Diego Symphony, Chicago Symphony Orchestra, Helena Symphony Orchestra, La Jolla Symphony, and Glacier Symphony Orchestra among others.

PERFORMANCES MAGAZINE P7

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ARTISTS KYLE LANG, Director Company work: As One (2017); Carmen (2019), Suor Angelica and Gianni Schicchi (2023). Kyle is a director and choreographer newly relocated from Maui, HI to San Diego. His recent directing credits include Turandot with Teatro Petruzzelli di Bari, The Puccini Duo, Carmen, and As One with San Diego Opera, Becoming Santa Claus with Chicago Opera Theater, Die Zauberflöte with The Dallas Opera, Le Nozze di Figaro, The Pirates of Penzance and La Cenerentola with Virginia Opera, Die Fledermaus with Utah Opera, and The Bear with Wexford Festival Opera.

His recent choreographic credits include Becoming Santa Claus with Chicago Opera Theater, The Pirates of Penzance with Virginia Opera and Utah Opera, My Fair Lady with Teatro Massimo di Palermo and Teatro San Carlo di Napoli, Ariadne auf Naxos with Santa Fe Opera, Vanessa with Wexford Festival Opera, and Turandot with Virginia Opera. Upcoming projects include La bohème with Hawaii Opera Theatre, The Pirates of Penzance with Central City Opera, and Carmen with Virginia Opera.

ALEX MCKISSICK, Don Ottavio (Tenor) Company debut. Alex has sung on stages from Alice Tully Hall to The Kennedy Center. This season he debuts with Irish National Opera as Narraboth in Salome and sings in the world-premiere of Damien Geter’s American Apollo with Des Moines Metro Opera. He has performed with Aspen Music Festival, Cleveland Orchestra, North Carolina Opera, Richmond Symphony Orchestra, Des Moines Metro Opera, Charleston Symphony Orchestra, Wolf Trap Opera, Washington National Opera, Georg Solti Accademia, working with conductors Franz Welser-Möst, Eun Sun Kim, Daniele Callegari, Keri-Lynn Wilson, and Steven Mercurio. Mr. McKissick regularly performs music of Puts, Verdi, Ullmann, Mozart, and more. His recording of Bernstein’s Songfest was under consideration for a Grammy Award nomination. He has toured with acclaimed trumpeter Chris Botti. Mr. McKissick received his training from Juilliard School of Music and is an alumnus of the Cafritz Young Artist Program at the Washington National Opera.

MEGAN MOORE, Donna Elvira (Mezzo-soprano) Company appearances: La Zelatrice, Suor Angelica, La Ciesca, Gianni Schicchi (2023). Megan will make her Seattle Opera debut as Rosina in Il Barbiere di Siviglia. Previously she has been engaged by the Metropolitan Opera, Seattle Symphony, Opera Philadelphia, The English Concert, Santa Fe Opera, Les Musiciens du Louvre, Opera Theatre of Saint Louis, Charleston Symphony, The Orchestra Now, and more, with conductors Bertrand de Billy, Harry Bicket, Corrado Rovaris, Marc Minkowski, Ramón Tebar, Yves Abel, Tan Dun, Nicholas Carter, and Gary Wedow. Her performances have taken her from Carnegie Hall’s Zankel Hall to Emirates Palace in Abu Dhabi. Ms. Moore is co-founder of Lynx Project, which amplifies diverse voices through new song commissions, inclusive concerts, and educational programming. A native of Cincinnati, Ohio, Ms. Moore received her training at Miami University, Eastman School of Music, Internationale Meistersinger Akademie, and The Juilliard School.

CHRISTIAN PURSELL, Masetto (Bass-baritone) Company debut. Hailing from the Santa Cruz mountains of California, Christian is a rising star among the next generation of singers. This season he adds three important roles to his repertoire: Both Masetto and Leporello in Don Giovanni (San Diego Opera and Cincinnati Opera, respectively) and Don Basillio in Il barbiere di Siviglia (Virginia Opera). He also makes his Carnegie Hall debut in a concert performance of Ricky Ian Gordon’s The Grapes of Wrath. A graduate of the Adler Fellowship at San Francisco Opera, Mr. Pursell’s performance credits with the company include roles in Billy Budd, Roberto Devereux, Tosca, Arabella, and It’s a Wonderful Life. Other recent opera engagements include his debuts at Opera Philadelphia, the Canadian Opera Company, Wolf Trap Opera, Wiener Staatsoper, Houston Grand Opera, Cincinnati Opera, Hawaii Opera Theatre, Des Moines Metro Opera, and Opera Theatre of Saint Louis.

P8 PERFORMANCES MAGAZINE

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ARTISTS CHRIS RYNNE, Lighting Designer Company work: La traviata (2004); La bohème (2005); Aida (2008); Madama Butterfly (2016); As One (2017); Carmen (2019); La bohème (2020); The Barber of Seville (2021), Tosca (2023). Assistant lighting designer (2000-2008). Notable designs: Madison Opera, Michigan Opera Theatre, Houston Grand Opera (Opera); The Pianist of Willesden Lane (Off-Broadway); The Old Globe, San Diego Rep, Berkeley Rep, Pasadena Playhouse, South Coast Rep, Laguna Playhouse, Geffen Playhouse, Cygnet Theatre, North Coast Rep, Diversionary Playhouse, Starlight Theatre, San Diego Musical Theatre (Regional).

BRENT MICHAEL SMITH, Commendatore (Bass) Company debut. Acclaimed by Opera News as a “standout...with a breathtakingly lush voice,” Brent joined the Ensemble at Opernhaus Zürich in 2021, and has since made multiple role debuts, with more coming. Brent begins his 2023/24 season by singing his fully-staged debut of Masetto in Don Giovanni at Opernhaus Zürich followed by Il Commendatore at San Diego Opera. He debuts with the Lubbock Symphony Orchestra as Raphael/Adam in The Creation by Haydn as well as debuts with the Phoenix Symphony in The Messiah. A major highlight this season is his professional debut as Fafner in Das Rheingold at Opernhaus Zürich, with Gianandrea Noseda conducting. Closing 2023/24, Brent sings Il Comte Vaudemont in a new production of I vespri siciliani, in addition to Pietro Fléville in a semi-staged version of Andrea Chénier.

ETHAN VINCENT, Leporello (Baritone) Company debut. Ethan launches his 2023/24 season joining the roster of the Metropolitan Opera covering the role of Riolobo in Catán’s Florencia en el Amazonas with Yannick Nézet-Séguin on the podium. He is known for performing Puccini, Berlioz, Beethoven, Donizetti, Verdi, and Tchaikovsky, with the LA Phil, Philadelphia Orchestra, San Francisco Opera, Boston Youth Symphony, Lyric Opera of Chicago, Berkshire Opera Festival, Opera Philadelphia, Cincinnati Opera, Milwaukee Symphony, The Orchestra Now, and more, conducted by Gustavo Dudamel, Eun Sun Kim, Jordan de Souza, Nicholas Carter, Federico Cortese, Lina Gonzalez-Granados, Roberto Kalb, Leon Botstein, and composer John Adams. Mr. Vincent can be seen in the featured role of César in the acclaimed film Bel Canto alongside Academy Award winner Julianne Moore. Mr. Vincent holds both a B.A. and M.A. in Voice Performance from Northwestern University.

TIM WALLACE, Set/Projection Designer Company appearances: All Is Calm (2018) The Barber of Seville (2021), Cosí fan tutte (2022), Suor Angelica and Gianni Schicchi (2023).

Notable appearances: San Diego Zoo, Safari Park, San Diego Comic-Con, Glenner Town Square, Drake-Jungle Tour, KidVentures, New Village Arts and Scripps Ranch Theatre. Member of the IATSE Local 800 Art Directors Guild.

BRUCE STASYNA, Chorus Master & Continuo Company appearances (conductor): As One (2017); Maria de Buenos Aires (2018); One Amazing Night with Stephen Costello and Stephen Powell (2019); All is Calm Holiday Concert (2020); One Amazing Night: When I See Your Face Again (2021); The Barber of Seville (2021); Così fan tutte (2022).

Notable work: Chorus Master, San Diego Opera, New York City Opera, Minnesota Opera, Washington Concert Opera, Wolf Trap Opera and Des Moines Opera; Conductor, New York City Opera, Boston Lyric Opera, Amalfi Coast Music Festival; Artistic Director, Principal Conductor, Green Mountain Opera Festival; Head of Music, Director of the Young Artist Program, Palm Beach Opera; Music Director, Vero Beach Opera. Premieres: Anna Nicole, The Handmaid’s Tale, Orazi e Curiazi, Joseph Merrick dit Elephant Man. PERFORMANCES MAGAZINE P9

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CHORUS ARTISTS SOPRANO

ALTO

TENOR

BASS

Carly Cummings

Mary Boles Allen

Alexis Alfaro

Shelby Condray

Amy Mein

Abigail Allwein

Andrew Bennett

Andrew Konopak

Lisa Parente

Laura Bueno

Frank Napolitano

David Marshman

Katie Polit

Sarah-Nicole Carter

Felipe Prado

James Schindler

Laynee Dell Woodward

Karin Wilcox

Timothy Simpson

Michael Sokol

Artists and Production Staff are members of the American Guild of Musical Artists, AFL-CIO, the labor union that represents musical artists in opera, concert, and dance in the United States.

SUPERNUMERARIES Jamie Bourdon

Chris Getsla

Louis Perez

Neil Podvin

THANK YOU

SPONSORS San Diego Opera is deeply grateful for the support of the following sponsors of Don Giovanni:

PRODUCTION SPONSOR Dr. Leon Lachman

ARTIST SPONSORS

Anne and Andy McCammon for Ethan Vincent (Leporello) Janet and Jonathan White for Tasha Koontz (Donna Anna)

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Madama Butterfly

BY GIACOMO PUCCINI Puccini’s heart-wrenching opera, where the harmony of love clashes with cultural differences.

SAN DIEGO CIVIC THEATRE APR 26, 28 | 2024 Lee and Frank* Goldberg Darlene Marcos Shiley Lead Production Sponsors

Joshua Guerrero & Andrea Carroll Opera favorites, passionate duets, and plenty of surprises from two young singers full of warmth and personality.

BALBOA THEATRE JUN 8 | 2024 The Conrad Prebys Foundation Lead Production Sponsor

In Recital – Lawrence Brownlee THE CONRAD PREBYS PERFORMING ARTS CENTER | MAR 2 | 2024

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Students attending Student Night at the Opera for El Milagro del Recuerdo. Photo credit: Carlos Solorio

Pictured from left to right: Words and Music participants Paola, Jacory, and Nohemi.

STUDENT NIGHT AT THE OPERA

WORDS AND MUSIC: CITY HEIGHTS

San Diego Opera provided free tickets for 1,983 students in grades 3-12 and 295 teachers and chaperones for El Milagro del Recuerdo’s Student Night at the Opera in December.

Between the ages of 12 and 24? Interested in music, theater, opera and learning alongside professional artists?

61 schools and community organizations from across San Diego County and Tijuana participated.

If you are interested in bringing a group of youth to Madama Butterfly’s Student Night in April, you can join the wait list by emailing educate@sdopera.org.

Teachers often provide feedback about the Student Night experience.

San Diego Opera’s Words and Music program offers music and theater classes for youth on Monday and Tuesday afternoons at the City Heights Library Performance Annex.

Create, rehearse, and perform with professional teaching artists and youth from across the region!

Supported by the California Arts Council, this program is provided tuition-free. For more information, please email educate@sdopera.org.

My students were deeply affected by El Milagro del Recuerdo – one student told me it was like going to her abuela’s house where they had mariachis play at Christmas time, and another student cried because of the beauty of the mother wanting her family to be together combined with the operatic song – it was lovely and meaningful for my 7th graders. Thank you for this program.

– Erika Dale, William H. Standley Middle School

The volunteers at the theater were kind and welcoming. We felt special to be part of the dress rehearsal (it was as authentic as the actual performance). The opera was great and enjoyed by all. Even the heavy rain on our way back to the bus did not dampen our enthusiasm and appreciation. Thank you!

– Filemón Jara, Mar Vista High School

P12 PERFORMANCES MAGAZINE

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PROGRAM NOTE

BY NICOLAS REVELES (1948-2023) Mozart’s Don Giovanni is a very dangerous opera: on the surface it is elegant, lyrical, melodic, rhythmically vital and eminently beautiful. But it is, in fact, a relatively brutal tale of a sociopathic narcissist who kills an angry father in a duel, bullies those beneath his social status, and attempts to seduce almost every woman who crosses his path. To the end he defies all moral codes with vehemence, unwilling to seek forgiveness for his transgressions, shouting “No!” to every demand for repentance. Strangely, though, we have a fascination with Don Giovanni the character that borders on outright approval, even admiration, especially if the singer inhabiting the role is vocally and dramatically strong.

In the nineteenth century when the opera was one of the few pieces that kept Mozart “alive” to opera and concert audiences, Giovanni was seen as a kind of Enlightenment Hero standing independently against the moral order of the Church and the political order of the State. This opera was created during revolutionary times when science was beginning to discover deep connections between the human being and the natural world, when long-held political structures were being dismantled, when religion was being seriously questioned and challenged in the public sphere and when art began to take on political significance. The social context of Don Giovanni cannot be ignored. The characters’ refrain at the end of Act I, “Viva la libertà!,” had a double-meaning: liberty meant freedom from the imperial systems of the time as well as the personal freedom which guarantees self-expression and the pursuit of pleasure. In this context, Giovanni can be seen as a hero.

But this hero is flawed. He is irresponsible, dedicated to self-fulfillment, blind to the needs of others and incapable of seeing women as anything other than sex objects, much less equal partners in relationships. In the days when the story of the Spanish Don Juan was fodder for traveling puppet shows the story was considered a kind of picaresco wherein the main character’s attempts at seduction are foiled at every turn and he comes to a spectacularly bad end: it is pure, unabashed comedy.

Mozart and Da Ponte’s creature is much more ambiguous and therefore far more interesting. In Giovanni’s actions, his mercurial journey through the score, questions are asked without the solace of solutions, shedding both light and shade on the eternal “battle of the sexes”. It is not without significant meaning that Mozart and Da Ponte call this work a dramma giocoso, a drama with jokes.

If this story were to be approached by a composer today the music would surely be dark and dissonant with a violent streak, a reflection of our twenty-first century understanding of the psychological make-up of the character as well as the deeply dysfunctional relationship he has to the world. As interesting as that imaginary musical piece might be, it would not be nearly as challenging an opera as the one you’re about to see. We’d probably walk out of the theatre afterwards without a thought about what we’d just experienced: all questions will have been answered, all puzzles solved. The juxtaposition of Mozart’s timeless, perfect music and the Don’s unforgivable behavior make for a far more interesting experience in the theatre and leave you with questions about your own relationship to the world in which you live and move.

PERFORMANCES MAGAZINE P13

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JOIN THE STORY OF SAN DIEGO OPERA! THIS IS WHAT A NIGHT AT THE

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This production was perfect!

A rare event with fantastic singeractors. Amazing scenery, wonderful orchestra.

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RA!

DONOR LIST SAN DIEGO OPERA IS DEEPLY GRATEFUL TO THE DONORS WHOSE CONTRIBUTIONS MAKE OUR WORK POSSIBLE SEASON SPONSOR $300,000 AND ABOVE City of San Diego

LEAD PRODUCTION SPONSOR $100,000 – $299,999

Anonymous Jim Algert* and Maurine Beinbrink Candace Carroll Esq. and Len Simon Esq. Lynda Fox* Carol Anne Lazier Eleanor Hutchinson Parker Foundation The Conrad Prebys Foundation Allison and Robert Price Family Foundation Qualcomm Inc. Claire Reiss Nicolas Reveles* Stacy and Don Rosenberg Darlene Marcos Shiley

PRODUCTION SPONSOR $50,000 – $99,999

Sherry and Kevin Ahern Lee and Frank* Goldberg Karl and Greet Hostetler The Joan and Irwin Jacobs Fund of the Jewish Community Foundation Leon Lachman Sarah B. Marsh-Rebelo, G.G. and John G. Rebelo James A. Merritt Maureen and Thomas Shiftan, M.D. Cynthia Walk

ARTIST SPONSOR $25,000 – $49,999

Anonymous Sigrid Pate Butler Joann Clark Mary Ellen Clark Dr. and Mrs. Richard Claytor Sally and Einar Gall Joan Henkelmann, in memory of Dr. Charles Henkelmann Ann and Andy Irwin Robert H. Kaplan, Ph. D. and Marina Baroff Veronica and Miguel Leff Dr. and Mrs. Ronald G. Leonardi Jacqueline B. Mars

*In memoriam

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Anne and Andy McCammon William and Clarice Perkins Drs. Gloria and Joseph Shurman Karen Valentino Janet and Jonathan White Ms. Mona Wolpe

GENERAL DIRECTOR’S CIRCLE $10,000 – $24,999

Anonymous (2) Robin L. Allgren Lou Alpinieri Bobbie Ball-Bradley Leslie Bassett Warren and Eloise Batts Ingrid Benirschke and Gordon Perkins Carolyn and Giovanni Bertussi Margaret L. Boyce* Judith V. Brucker Susan H. and Stephen Childs Elisabeth Crouch Anna M. Curren Donna Van Eekeren Teresa* and Dr. Merle Fischlowitz Jennifer and Burke Fisher Gertrude Fletcher Hallie and Brian Guiltinan Dr. Steve and Nancy Howard James Idell and Deborah Streett-Idell Lachman Family Foundation Grace E. Larsen Ruth I. Ledermann Diana and Eliezer Lombrozo Brett and Susan McClain Haydee and Carlos* Mollura Jane Polgar in memory of Peter Polgar Peter and Peggy Preuss Dr. Benjamin Ramirez and Ross Russell Bruce S. Ross and Eileen F. Gallo-Ross* Sue Sesnon Salt Leland and Debbie Sandler William D. Smith and Carol A. Harter Linda P. Spuck Stainrook Foundation Susan and Richard Ulevitch U.S. Bank University of San Diego Mary L. Walshok, Ph.D.

GOLD PATRON $5,000 – $9,999

Patrick Anderson and Ron Koren Robin Angly and Miles Smith Doug Bekkedahl Jane and Bob Bell Wallace Brithinee and Bernadette Belleci Michael and Jane Burke Bill Carrick James M. and Lynn B. Caughey Thérèse Collins and Byron Georgiou Martha and Edward Dennis In memory of Joseph and Vivian Doering Drs. Milton and Susan Erman M. Carr and Marian* Ferguson Alberta Feurzeig Joyce M. Gattas, Ph.D. Peter C. Gernold and Brian J. McGoldrick Lee and Linda Gillard Paul Guckian David and Claire Guggenheim T. George and Jeannie Harris Beau Haugh David S. Johnson David K. Jordan Angela and Matt Kilman Jawon Kim and Gary Andrews Lynn Kirkhofer Linda Levy and Edward McGrath Elizabeth Wohlford MacLeod Heidi Munzinger and John Shott James and Melanie Nickel Michael Novak John and Diane W. Parks Carolyn and Ed Parrish Coreen and Kevin Petti, PhD James Robbins Mary B. Rose* and Len Pellettiri Patricia A. Rutledge Margaret R. and Neal Schmale In memory of Dave Schubert Debra Shannon Susan and Fred Smith Sylvia M. Smith David Snyder Jeanette R. Stevens Stephanie Stolarz-Fantino

PERFORMANCES MAGAZINE P17

1/18/24 1:57 PM

DONOR LIST GOLD PATRON CONT. $5,000 – $9,999

Annalisa Storchi Sycuan Casino Margaret C. Tessier and Robert J. Griffin Robert and Tamara Thibodeau Robert* and Aysegul Underhill Shirli, Damien, and Justin Weiss Armi and Al Williams Carmen Figueroa Young Sandra and Peter Zarcades Xinhua Zheng and Richard Studer Leo and Emma Zuckerman

SILVER PATRON $3,500 – $4,999

Anonymous Maurine Beinbrink Mrs. Marlin W. Brossart Richard and Stephanie Coutts Ann Craig Jon and Karen Dien Stephen and Roberta Edelstein Herbert Hoffman and Janis Sammartino Mrs. Shirley F. Hoggatt Ronald Ignelzi Gary Jacobson and Martha Blake Jacobson Sachiko Kohatsu Nancy E. Kossan, Ph.D. and Deborah Macdonald Forsyth Leonard Fund at Rancho Santa Fe Foundation Kathleen Loftman Nancy Lyon Ilene Mittman in memory of Dr. Charles Mittman David Morris Chuck and Ann Nickel William and Jensine Nolan Carol Jean Spicer Susan and Dr. Gary Spoto Philip and Phyllis Ziring

BRONZE PATRON $2,000 – $3,499

Anonymous (2) Irene Abraham and Gabriel Vogeli Brenda Baker and Steve Baum Jack and Sue Ellen Benson Dr. Fred and Mrs. Donna Berger David Bevilaqua and Craig P. Caldwell Paul L. Black and Evelyn Truitt* Drs. Craig and Joan Heller Brown

P18 PERFORMANCES MAGAZINE

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Cindy Bruecks Barbara Bry and Neil Senturia Stephen Burgdorf Raedel Calori and Backman Family Constance Carroll, Ph.D. Janet Caulk Neal Chazin Linda Dawson Karen DeLaurier and Oliver McElroy Wally and Linda Dieckmann Robert Dotson Drs. Brent and Sarita Eastman Mrs. Phyllis Epstein Antonio Espinosa Dr. Barbara Favorito and Ms. Judith Hairston Socorro Fimbres Paul and Gayle Ganster Michael and Brenda Goldbaum Beth A. Goodman Joleen Guckian Kay and Bill Gurtin Steven Hadfield Tamara Hauser-Espinoza T.W. and Susan Hoehn Joanne C. Hutchinson and David Cooper* Mrs. Phyllis Ingram Jeannette and Douglas Johnson Thomas Jroski and Dinna Estrella Mr. and Mrs. John Kesser John and Sandy Kim The Krause Family Charitable Fund Irene Kuster McCann Paul Laikind and Lisa Stennes-Laikind Belina L.* and Paul L.* Lazzar Carl B. and Janet Lind Neil Malmquist and Scott Crispell Beverly and Harold Martyn Andrea Marvin Dr. Mark and Mrs. Amy Melden In memory of Elizabeth B. Meyer Drs. Roger and Linda Mills A. Fenner Milton Chandra Mukerji Marybeth Norgren and Per Cederstav Teresa A. Norton Bob Palmer Rafael and Marina Pastor Bernard Paul Rachel Peniche and Kevin Lomax Keith I. Polakoff Ivan and Jeanette Quiceno Ms. Kathleen Roche-Tansey

Eberhard and Jessica Röhm Elyssa Rosenberg and Dr. Lucian Iancovici Dr. Ross and Nancy T. Rudolph Carol and Jack Sanders Hermeen Scharaga Doreen and Myron Schonbrun Mr. and Mrs. William S. Sherrard Robert J. Stall, Jr. and Katherine Nutting Elizabeth and Lester Stiel Captain Don Watkins, USN (Ret.)* and Mrs. Sharon Watkins Bill and Shelley Wong Ann L. Zahner Sara Zaknoen, M.D.

PARTNER $1,000 – $1,999

Anonymous Richard R. Abello June and Daniel T. Allen Sandra and Earl Altshuler Libby Andersen Laura Applegate Carolyn Balkwell Steve Barbone Mr. and Mrs. Michael Bardin Scott Warren Barnard Mary Boles-Allen Gaylyn N. Boone and James R. Dorcy Drs. David Brenner and Tatiana Kisseleva Sarah Blakely Brown Diana Card Doug Carsten Keith Chen June Chocheles Elsian Contreras Tracy Cooke Mike and Anne Dessert Carol Druckman RayMonda Duvall Vicki and Chris Eddy Roswitha Enright Alrene Esgate Alfred F. and Karin Esser The Etess Family Fund of the Jewish Community Foundation Elsa and George Feher (of blessed memory) Elissa and Richard Finerman Jean Fort Ronald and Holli Franzese Esther and Dr. William Fraser

*In memoriam

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DONOR LIST Catherine R. Friedman Richard Ghalie Carol Githens Lawrence and Nancy Goldstone Katherine Greco Dr. Richard and Jennifer Greenfield Barbara Gross Michael and Margaret Grossman Emily and Brett Hassig Karen and John Hayes Sarah Hernholm Michael Homan Gurdon Hornor Nancy Howard Cobb Lulu Hsu Jim and Carmen Hughes Valentin Isacescu, MD Adrian Jaffer and Ann Laddon Mr. Jay Jeffcoat Peter Jensen Peter and Virginia Jensen Pamela Kaires Gina and Charles Kakos Thomas Kerl Helen and Webster Kinnaird Eric and Zoe Kleinbub Carleen Kreider Amy and Richard Kronick Jennifer Kropko Sue Lasbury Nancy Laturno Jose Lau Dennis C. and Kathleen Lees Felipe and Susana Leff Ellen Lehman and Charles Kennel Anthony W. Leonard and Jin-Soo Kim Carolyn LeVasseur and Dwight Kellogg Larry Liebermensch Vicki Lindblade Roxi and Fred Link Nicki Liscum Charles S.* and Robin Luby Bill and Shenell Malloy Dr. Stuart and Anne Marshall David Marshman Eileen Mason Seonaid McArthur Douglas M. and Paula A. McGraime Charitable Foundation Edward and Elizabeth McIntyre Michael and Kimberly McSherry Mark Mead Bud Mehan and Margaret Riel

*In memoriam

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Beate Menzel Sandra Miner Rena Minisi and Rich Paul Eugene and Rebecca Mitchell Haida and Ali Mojdehi Melissa Murfey Esther Nahama Ben Naman Gregory and Jennylee Nesbitt John Newsam and Sharon Wampler Rev. Raymond G. O’Donnell Micki Olin Gaynor and Gary Pates Michael Perkins* and Anne Turhollow Mary Yankee Peters and John David Peters Carol L. Plantamura Jon Pollock William R. Pond Darren and Tracy Pudgil Christine Purcell Ms. Barbara Rabiner Mary Rath Audrey S. Ratner Mr. and Mrs. Don Reckles Lois J. Richmond Fund of the Jewish Community Foundation Patrick and Marti Ritto Lynn Rockwell Adele and Fred Saleh Evelyn and Corky Schauer Carol Schrauzer Todd Schultz Sally Schwerdtfeger, Ph.D. Sempra Energy Craig Shadur Portia Shumaker Debbie Sigal Drs. Eleanor Smith and John Malone Mark and Marth Sottsanti Valerie A. Stallings James R. Stein Alamanita Ellis Stjerne and James Stjerne Elise Streicher and David Huffman Gail and John Tauscher Debra Thomas Jonathan Tibbitts Dr. Fred and Erika Torri Moses Urbano Merja Vainio Gretchen Vik and Larry Clapper Helen Wagner Bill Weber

Nathan and Evette Weiss Mary Ann White and Lee Margot Carole Wilson and Robert Brandt* Adam Winter Joseph and Mary Witztum Victor and Dolly Woo The Helene and Allan Ziman Fund of the Jewish Community Foundation

ENTHUSIAST $600 – $999

Mr. Ronald G. Allen and Mr. Lindsay R. Fong Mary Berend Corey J. Braun R. Nelson and Janice Byrne Barbara Campbell Barbara Carlton Lynne M. Champagne and Wilfred S. Kearse Jui-Yuan Chang Steve and Cathy Constable Rilla and Denis M. Crane Gilbert Garra Pamela Godde Douglas Hall Maxine* and James Hall Edward S. Hand and Stanley C. Harazim Bonifacio G. and Suzanne M. Hernandez John and Ann Hill Charles Johnson Elena Juarez Frances and Jack Kyte Juan* and Alexis Lasheras Mr. and Mrs. Alejandro Lombrozo Mary M. and Thomas Lytle Madilyne and Kyle Malone Mr. and Mrs. Alex Mincks Mark and Stephanie Nielsen Barbara L. Parry, M.D. Nelson D. Pewitt and Ellen Quinn Beverly Phillips Bruce Ramet Michael J. Rensink Alan J. Schuyler Peter Seymour Christopher Shields Bruce E. Shirer, M.D. Rebecca Smith and Tom Tseng Roger G. Spragg Suhaila White Ms. Emel Yuceturk

PERFORMANCES MAGAZINE P19

1/18/24 1:57 PM

DONOR LIST CONTRIBUTOR $300 – $599

Anonymous (3) Kathleen and Charles Ables Sarah Agler Robert and Meredith Alcock Gary Allard Gail and R.C. Allen Cheryl Anderson Mireille Anderson J. David Archibald and Gloria E. Bader Steven and Shannon Ashburn John Asmus Franklin Au Dr. John Backman Susan Barbey-Booth Leland Beck and Marla J. English Kassie Betts Paul L. Bishop Lois Bloom Susan and James Boland George Boomer and Caroline Chen John Boyer Katie M. Boyer Edwin and Bea Buchman Robert and Linda Cain Dr. Mary Ann Calcott Danielle Cervantes and Michelle Gilchrist Angela Chilcott Anne Colburn Donald Coleman Judith H. Collier Adam Colton Barbara Corcega Sandi and Jim Courtney Robert Croke Richard Crosland Patricia A. Crowley Mrs. Mary Dawe Julie and Jim Dillon Audrey Doherty Lidia Domagalska William and Maxine Donlon Margot and Dennis Doucette Ofelia Elf Robert and Ona Elliott David J. Erikson Jeffrey Esko Hester Evans Joseph Fannella Daryl E. Ferguson

Monica Fimbres Dieter Fischers’ Mercedes Srv. Inc. Dr. William and Judith Friedel Francis Gabbai Alison Gildred Bar Giora Goldberg Michael Gonzales Kay Greco, Louis Greco, Chris Ferntas, and Susan Norbert Andrea Hales and Bill Brown Monika M. and John Hardy Mary Hazzard James P. Healy Megan Heine Joanna and Brooks Herman John Hermann* Adrienne Hoehn Anne Hoiberg Terry and Peter Holt Patrick J. Hurley Antoinette Ingrassia Linda P. Ivor and Chris Steinhardt Ken Jackson Zella Kahn-Jetter Gilbert and Mary Lou Kammerer Miriam Kastner George L. Katz Mr. Maurice Kawashima Beverly Kelly Jo Kiernan and Bjorn Bjerede Thomas Klimisch Ned Krumrey Richard and Barbara LaRocca Michelle LaGrandeur Marilyn A. Lamb Ruth Landaal and Charles Simmons Elizabeth B. Leech Kathleen LeMieux Maria-Cristina Leon Rosemary and Scott Leonard Judy and Jack Leshefka Jean Lim Helga Lupu Susan Marberry Edward Marsh Nancy Martin Theodore McCombs and Rony Lenis Tanya Mestechkina Michael S. and Jessica Middleton Evan Miller Grant Miller Lynn and Trudy Mitchell

Cheryl Morabito Matt Morrow Martin Nass Rhoda Nevins Tom Nickel and Michelle Dutro Drs. Robert and Julie Cowan Novak Jeanette A. Ollivier Neil Osborne Richard and Patricia* Perlman Charles L. Perrin Vicki and Gary Pinkus Jongeward Vicki Pinkus Dana Pizzuti Drs. Jenny Price and Tony Hunter Eve Pritchard Bill Purves and Donald Schmidt Dennis Ragen and Christine Hickman Susan A. Ranft Laura Ravine Joyce and Lisa Ritz Robert Rubenstein and Marie Raftery Richard Salmon Kathleen Savino Michael and Sheila Sharpe Anne and Ronald Simon Jospeh Smith Ronald L. Smith Scott and Jan Steele John Stover Sarah Strande Pat Stromberg Tony Su Lynn H. and Elliot H. Tarson Dr. Phyllis Tyson Kathleen C. and Thomas N. Volle Carol Wallace Karen Walter Nancy Ward Peter Weady John and Nalani Webster Vernon White Joyce Williams Karen Williamson Peggy Yamamoto Capt. and Mrs. Herb Zoehrer

*In memoriam

P20 PERFORMANCES MAGAZINE

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Listing as of January 2, 2024. We sincerely regret any errors or omissions.

To make a correction, please contact philanthropy@sdopera.org or (619) 232-7636.

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OPERA STARS SAN DIEGO OPERA IS DEEPLY GRATEFUL TO THE FOLLOWING INDIVIDUALS WHO HAVE HELPED TO ENSURE THE FUTURE OF OPERA IN SAN DIEGO BY INCLUDING SDO IN THEIR ESTATE PLAN. Anonymous (12) Robert & Meredith Alcock Jim Algert* Robin L. Allgren Irene Ruth Allis Dr. & Mrs. Lazlo Ambrus* Murray* & Anne-Marie Anker Alfred* & Sara Antonicelli Bobbie Ball-Bradley Hans Beck* Mr. & Mrs.* Doug Bekkedahl Maurice & Olga Bernard Eleanor* & Robert Bottomley Joan E. Bowes in memory of Evelyn Raff Roth Margaret L. Boyce* Edna E. Brennan* Michael O. Lynch & Cheri B. Briccio Mr.* & Mrs. Marlin Brossart Sarah Blakely Brown Esther J. Burnham* Robert O. Burton in Memory of Dorene M. Burton Robert & Linda Cain Mrs. Ruth Heinz Carpenter Kent Chapin* David A. Chierichetti* Mr.* & Mrs.* Nathaniel L. Cohen Richard & Stephanie Coutts Roselle Coviello* Elisabeth H. Crouch Mary Yee DeBrunner* George Demetre* Gwyn Enright* Sandra Erbetta Hester Evans Elsa Feher Daryl E. Ferguson Teresa Fischlowitz* Mr.* & Mrs. David C. Fletcher Milan Floribus Mr.* & Mrs.* John Patrick Ford Kay O’Cullane & Steven B. Frank Dr. William & Judith Friedel Litzie H. Friedman* Audrey Geisel* Dr. Michael & Barbara Gerber Clifford Geweke* Muriel Gluck* Lee & Frank* Goldberg Connie Golden in memory of Robert M. Golden Bruce* & Barbara Goldreyer *deceased

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Reba Graney* David & Claire Guggenheim Dr. Howard F. Guidry in memory of Dr. William F. Piles M. Antoniette Harris Kathryn Hattox* Dr. & Mrs. Jerome Heard Dr.* & Mrs. P. Kahler Hench Joan Henkelmann John Hermann* Mr.* & Mrs. Joseph W. Hibben Mildred Hinkle* in memory of Edward Hinkle Teresa & Harry Hixson Dr. & Mrs. Thomas G. Hoffman Shirley & Gene* Hoggatt Dr.* & Mrs.* Samuel Hon Karl & Greet Hostetler Dr. Steve & Nancy Howard Beverly J. Hymes George & Marlene Imbsen Bill* & Becky Ivans* Mr. & Mrs. Norman W. Jaffe Charmaine* & Maurice* Kaplan Philip M.* & Detty June* Klauber Marilyn* & Bill* Kneeland Miriam & Peter* Krippl Dr. Seth Krosner Regina Kurtz Mr.* & Mrs. Jack Landale Mrs. Charlotte Laverents* Carol Lazier Belina L.* & Paul L.* Lazzar Ruth I. Ledermann Lester Lefkowitz Inge Lehman* Ruth Leonardi C. Stanley Mahan Sara & Dennis Manyak Sarah B. Marsh-Rebelo, G.G. & John G. Rebelo Mr. & Mrs.* William H. Marten Dr. Marjorie Ann McBride Kenneth C. McMillen Merikay & Ron McQuoid Elinor & Charles Merideth James A. Merritt Elizabeth B. Meyer* Diana M. Miller Judith A. Moore Sam & Mona Morebello Barbara & Maury Mortensen William H. Murphy* & Robert H. Heath*

Rik Nelson & Joe Gorst Ms. Deloris S. Neumiller Jerome & Jacqueline Niederman* Maria Gladys Nockin Mary Elizabeth North & Mary Gaylord North Barbara Taylor Ockenfels Elizabeth A. Otten Gayle Tejada Pate Mr. Bernard Paul Dr. & Mrs. Douglas K. Pay John* & Ernie Peak John Pendleton Mr. & Mrs. Robert A. Plachta* William Purves Mrs. Paul A. Quaintance Daniel & Feliza Reed Nancy Riley Mary B. Rose Mr. & Mrs.* Robert J. Rose Bruce S. Ross & Eileen F. Gallo-Ross* M. Elaine Ross Jukka Saukkonen & Velva Wood Forrest C. Schafer Schleder/Heineman Trust Mr. & Mrs. Christof E. Schwab Abraham Shrekenhamer Mr.* & Mrs. John Shumaker Joseph & Gloria Shurman John S. Sieh Sandra Silvers* Paul Slysh* Sherman & Lady Smith Sylvia M. Smith Carol Jean Spicer Linda P. Spuck Bill Stensrud Estate of Richard Stern Mildred Stiverson Joseph Sundstrom & Rosemary Lyttleton Marlene Roedde Swall C. Everly* & Madeline E.* Terry Robert* & Aysegul Underhill Karen Valentino Dr.* & Mrs.* George H. Walker Eleanor Ward* Arlene & Peter Way Janet & Jonathan White Mary Ann White Jean Winslow* Raymond* & Erika Wright Robert L. Zarbock* PERFORMANCES MAGAZINE P21

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SAN DIEGO SYMPHONY RAFAEL PAYARE Music Director EDO DE WAART Principal Guest Conductor JAHJA LING Conductor Laureate

VIOLIN Jeff Thayer Concertmaster DEBORAH PATE AND JOHN FORREST CHAIR Wesley Precourt Associate Concertmaster Jisun Yang Assistant Concertmaster Alexander Palamidis Principal Second Violin Nick Grant Principal Associate Concertmaster Emeritus Cherry Choi Tung Yeung Associate Principal Second Violin Ai Nihira Awata Jing Yan Bowcott Yumi Cho Hernan Constantino Alicia Engley Kathryn Hatmaker Kenneth Liao Igor Pandurski Evan Pasternak Julia Pautz Yeh Shen

VIOLA

FLUTE

TRUMPET

Chi-Yuan Chen Principal KAREN AND WARREN KESSLER CHAIR

Rose Lombardo Principal

Christopher Smith Principal

Sarah Tuck

John MacFerran Wilds

Lily Josefsberg

Ray Nowak

PICCOLO

TROMBONE

Lily Josefsberg

Kyle R. Covington Principal

OBOE

Logan Chopyk

Sarah Skuster Principal

Kyle Mendiguchia

Rodion Belousov

BASS TROMBONE

Andrea Overturf

Kyle Mendiguchia

ENGLISH HORN

TUBA

Andrea Overturf DR. WILLIAM AND EVELYN LAMDEN ENGLISH HORN CHAIR

Aaron McCalla Principal

Nancy Lochner Associate Principal Wanda Law Qing Liang Abraham Martin Johanna Nowik Ethan Pernela Carrie Dennis* Jason Karlyn* Michael Molnau*

CELLO Yao Zhao Principal Chia-Ling Chien Associate Principal

HARP Julie Smith Phillips Principal

Marcia Bookstein

CLARINET

Andrew Hayhurst John Lee

Sheryl Renk Principal

Richard Levine

Max Opferkuch

Mary Oda Szanto

Frank Renk

Ryan J. DiLisi Principal

BASS CLARINET

Andrew Watkins Assistant Principal

Nathan Walhout Xian Zhuo

TIMPANI

Frank Renk

BASS Jeremy Kurtz-Harris Principal SOPHIE AND ARTHUR BRODY FOUNDATION CHAIR

Xiaoxuan Shi

Susan Wulff Associate Principal

Edmund Stein

Aaron Blick

Hanah Stuart

P.J. Cinque

John Stubbs

Kaelan Decman

Pei-Chun Tsai

Kevin Gobetz

Zou Yu

Samuel Hager

Thomas Dougherty*

Michael Wais

Benjamin Hoffman*

Margaret Johnston+

BASSOON Valentin Martchev Principal Ryan Simmons

CONTRABASSOON

Erin Douglas Dowrey Andrew Watkins

PRINCIPAL LIBRARIAN Courtney Secoy Cohen

Leyla Zamora

HORN Benjamin Jaber Principal Darby Hinshaw

Nicole Sauder* Sarah Schwartz*

Elyse Lauzon Tricia Skye Douglas Hall

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Gregory Cohen Principal

Leyla Zamora

Assistant Principal & Utility

P22 PERFORMANCES MAGAZINE

PERCUSSION

LIBRARIAN Rachel Fields * Long Term Substitute Musician + Staff Opera Musician The musicians of the San Diego Symphony are members of San Diego County, Local 325, American Federation of Musicians, AFL-CIO.

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CORPORATE & INSTITUTIONAL SUPPORT

PERFORMANCES MAGAZINE P23

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BOARD & LEADERSHIP 2023/24 BOARD OF DIRECTORS OFFICERS Sarah B. Marsh-Rebelo, GG, MFA Chair of the Board Janet White, MA, MBA, CSci, FRSC President Linda Spuck Executive Vice President Robert Kaplan, PhD Vice President, Finance Candace Carroll Secretary/ Parliamentarian

DIRECTORS Robin Allgren, MD, PhD, MBA Joann Clark Joan Henkelmann Karl Hostetler, MD Carol Lazier Veronica Leff, MAM Ronald Leonardi, PhD Brett MacLeod Joseph Martinez Brett McClain Clarice Perkins

Coreen G. Petti Gloria M. Shurman, PhD Mary Lindenstein Walshok, PhD HONORARY LIFE DIRECTORS Teresa Fischlowitz (in memoriam) Lee Goldberg Harry F. Hixson, Jr., PhD Sarah B. Marsh-Rebelo, GG, MFA HONORARY DIRECTOR Dame Zandra Rhodes

SAN DIEGO OPERA STAFF General Director – David Bennett Principal Conductor – Yves Abel Chief Operating & Financial Officer – Jeannie Posner, CPA

PHILANTHROPY

Chief Philanthropy Officer – Llewellyn Crain Senior Philanthropy Officer – Peter Shavitz EDUCATION & ENGAGEMENT Major Gifts Officer – Elizabeth Fittro Education Director – John Gabriel Campaign & Data Specialist – Teaching Artists – Bill Caballero, Karina Vanessa Flores Cabrera, Jessica Cortez, Kevin Boudoin Philanthropy Associate – Camryn Burton Cuez, Paola Evangelista, Philip Gomez, Devon Guthrie, Inocente Galicia, Precious Letchaw, Joey Molina, PRODUCTION & ARTISTIC Xiomara Pastenes, Rebeca Tamez, Director of Production & Artistic Nicole Vincent Administration – Joan T. Foster MARKETING & COMMUNICATIONS Technical Director – Tim Wallace Associate Director of Production – Chief Marketing & Grace Herzog Communications Officer – Conductor-in-Residence & Matthew E. Graber, MBA/MFA, MA Chorus Master – Bruce Stasyna Group Sales – Vanessa Dinning Artistic Administrator – Melody Moore Marketing Operations Director – Lighting Director – Jason Bieber Greg Watkins Stage Manager – Anna Reetz Company Photographer – Karli Cadel Assistant Director – Nicolas A. Garcia Assistant Stage Managers – OPERATIONS & FINANCE Megan Coutts, Kathryn Davies Chief Operating & Financial Officer – Production Assistant – Jonathan Fong Jeannie Posner, CPA Super Captain – Jesi Betancourt FINANCE COSTUME DEPARTMENT Senior Accountant – Mario Adame Costume Director – Ingrid Helton Staff Accountant – Claudia Costume Assistant – Diaz-Acevedo Veronica von Borstel IT Administrator – Joseph Huitzil SHOP Administrative Assistant – Costume Shop Manager & Draper – Angelica Mondragon Lupita De la Mora Operations Coordinator – Milliner & Stitcher – Sharon Granieri Eduardo Saavedra First Hand/Stitcher – PATRON SERVICES Laura Dillemuth-Kozak, Susan Sachs, Box Office Manager – Erin Oleno Veronica von Borstel Patron Services Associate – Brad Fox Stitchers – Stephanie Castro, Patron Services Associate – Matt Kissel K-Joy Lehmann Costume Shopper & Crafts – Patron Services Associate – Erik Hanson Evey Beach

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SHOP CONT’D Fitting & Stock Room Coordinator – Mary Harris Assistant Fitting & Stock Room Coordinator – Ginny McClure WARDROBE Head of Wardrobe – Peggy Harrison Wardrobe Assistant – Margaret Hagar Dressers – Pam Medhurst, MJ Turner, Robin Lemon, Sue Noll WIGS & MAKE UP Designer & Department Head – Peter Herman Wig and Makeup Artists – Kathleen Kenna, Pam Stompoly Ericson, Deziree Villalpando, Raquel Trivino SCENIC STUDIO Scenic Studio Office Manager – Liora Naor Master Carpenter – Jack Hernandez Lead Carpenter – Cory Klinge Carpenters – Will Bender, Anthony Chambers, Kenny Delozier, Rodney Foley, Sergio Pinales Lead Welder – Michael Moglia Charge Artist – Darin Hibi Lead Scenic Artist – Jessica Harriman Scenic Artists – Samantha Leon, Jessica Amador TECHNICAL & STAGEHANDS Head Carpenter – Anthony Chambers Assistant Carpenter – Ron Hogue Flyman – Michael Moglia Assistant Flyman – Thayne Greene Head Electrician – Richard Bonin Assistant Electrician – Leah Nellman Board Op – JoAnne Stewart Head Props – Antonia Hogue Assistant Props – Bradley Morrison Head Audio – Michael Gustafson Supertitles – Franklin Gray

1/18/24 1:57 PM

LOVE & REVOLUTION SEASON 2023 2024

THE INVENTION OF MODERN MUSIC Madrigals of Claudio Monteverdi & Sigismondo D’India

THE HOPE OF LOVING FEATURING THE

“MARY MCLEOD BETHUNE SUITE”

BY JUDIE BATIE

SATURDAY, FEBRUARY 24, 3PM CHRIST UNITED PRESBYTERIAN CHURCH 3025 FIR STREET SAN DIEGO, CA 92102

March 8, 2024 (7PM) March 9, 2024 (3PM) A collaboration with GRAMMY award-winning lutenist and conductor Stephen Stubbs; Claudio Monteverdi’s music broke the rules of Renaissance polyphony and created the foundations of modern music. Like Shakespeare, Monteverdi’s genius lay in his ability to communicate the full compass of human emotions, especially the most mysterious, tragic, and magical of them all–love.

Tickets/info: www.bachcollegiumsd.org

BCSD TWENTYONE Ruben Valenzuela, Artistic Director

Yesterday’s Sound Today

TICKETS $10-$35 AT SACRAPROFANA .ORG

BACH COLLEGIUM SAN DIEGO

SD MASTER CHORALE HONOR CHOIR MARCH 16, 2024

tickets are on sale now! Tickets and details at SDMASTERCHORALE.ORG

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U

TRAVEL

MAR

Anza-Borrego Desert State Park in bloom

DESERT DREAMS Borrego Springs and Anza-Borrego Desert State Park Beckon This Spring. / by sarah daoust / It's one of San Diego's unsung backyard getaways: Borrego Springs.

What makes this scenic slice of northeast San Diego County so special? It is surrounded by AnzaBorrego Desert State Park—one of the region’s more adventure-rich destinations for those looking to truly become one with nature.

Located approximately 60 miles due east of Escondido, Anza-Borrego is the largest desert state park and the second largest state park in the

U.S.—spanning 640,000 acres of hiking and biking trails, 500 miles of dirt roads, 12 wilderness areas, historical landmarks, natural preserves, paleontological sites, more than 4,500 cultural sites, campgrounds, canyons and caves. History buffs will have a field day here, literally, as the park houses five locales on the National Register of Historic Places, and some of the rocks found on-site are more than 470 million years old.

Jaw-dropping views can be found

at every turn, including the stark Borrego Badlands, Font’s Point and the best stargazing in all of Southern California at nighttime.

Springtime is an ideal time to make the trek out to this natural playground, which transforms into a Technicolor oasis of blooming wildflowers, typically from mid-February through late April. This year, as always, the amount of rainfall will be a determinant of prime bloom time; thankfully, a wildflower hotline

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UPCOMING EVENTS

MARCH 10, 2024 | 3PM

MAY 27, 2024 | 7:30PM MARCH 30, 2024 | 3PM

st /

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that visitors can call for updates (760.767.4684) is available. Be on the lookout for brittle brush, yellow asters and halgania solanacea—i.e., delicate blueish-purple flowers.

Adding to the vibrant landscape are palm groves, cacti and sweeping vistas for miles. Watch for wildlife in the form of bighorn sheep, golden eagles, roadrunners, kit foxes and

mule deer; as well as red diamond rattlesnakes, iguanas and chuckwallas in warmer weather. The park is also home of the native tiny pupfish, which can be spotted in the pond at the park’s visitor center.

To explore the terrain in style, California Overland (californiaoverland.com) offers fun high-adrenaline adventures to the Borrego Badlands, local slot canyons, a dry lakebed and Font’s Point.

Artsy (and a bit funky) entertainment abounds

in Anza-Borrego. The Borrego Art Institute (borregoartinstitute.org)— showcasing local plein air painters and other artists—encompasses a gallery, pottery studio, workshop, gardens and more. Mark your calendar for the 18th annual Plein Air Invitational, slated for March 4-April 14, spotlighting 14 select artists working in watercolors, pastels and oils.

Speaking of art, Galleta Meadows (underthesunfoundation.org) is a must-

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1/10/24 5:15 PM

ABOVE: © LHB COMPANIES

TRAVEL

A whole-hearted and clear-eyed musical about the iconic love story of Johnny Cash and June Carter.

On the night of an intense storm, tensions between two sisters reach a boiling point.

ABOVE: © LHB COMPANIES

From top: mountain bases in full bloom; cacti and wildflowers blanket the desert.

visit. Take an easy driving tour through a menagerie of over 130 of Ricardo Breceda’s life-size metallic sculptures depicting modern-day, mythical and wild beasts that once roamed the Anza-Borrego Desert as far back as 6.5 million years ago. Get up close and personal with gomphotheres (four-tusked, elephant-like animals); giant tortoises; camelops (early camels); giant

Part memoir, part manifesto about the rise and rise of a superstar.

A transformative, heart-warming and award-winning play The Daily Beast called “pretty darn near to perfect.”

Leave the little ones at home and gather ‘round for a very Playhouse take on Christmas — heartfelt and laugh-out-loud funny.

A new musical about the inspirational story of one of the most important friendships in our nation’s history.

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TRAVEL

sloths; the "incredible Bird God of the Winds," which boasts a majestic 17-foot wingspan and is based on the fossil remains of the extinct Aiolornis incredibilis; a 350-foot-long serpent with the head of a fierce dragon; dueling dinosaurs; and more.

Accommodations in the area range from quaint inns to four-star resorts.

Find mid-century-modern decor and quiet charm at The Palms at Indian Head, (thepalmsatindianhead.com) a renovated, bungalow-style hotel that once hosted the likes of Marilyn Monroe, Bing Crosby and Cary Grant— located just a mile from the park and 2.5 miles from downtown Borrego Springs. The vibe is lowkey, private and diminutive. The Palms boasts one of the largest privately owned pools in California, and the candle-lit Coyote Steakhouse is perfect for an intimate dinner and drinks. Another bonus: At the back of the property, guests have access to the Palm Canyon hiking trail, a particularly popular loop for wildflower viewing in the spring.

Preferred lodging in Borrego Springs also includes the casual yet upscale La Casa del Zorro Desert Resort & Spa

The stark, dramatic Borrego Badlands

(lacasadelzorro.com), a 42-acre retreat located in the park. The property houses The Fox Bistro, a bar, spa, tennis courts, and private casitas with woodburning fireplaces—plus their own pool, spa or both in the backyard.

For an adults-only stay, book Borrego Valley Inn (borregovalleyinn.com), a rustic-chic, pueblo-style boutique hotel with two pools (one of which is clothing-optional).

To dine, there’s no better spot to do so like a local than Carlee’s Place (carleesplace.com), a laid-back watering hole where area residents and visitors alike converge for seafood gazpacho, liver and onions, and fettuccine tossed with tequila chicken. For Mexican cuisine, casual outpost Carmelita’s Mexican Grill (carmelitasborrego.com) is known for its shrimp enchiladas, carne asada

burrito, chicken fajitas and margaritas. Kendall’s Cafe (kendalls.cafe) is also worth a visit for breakfast and lunch; it’s an old-school diner with the best blueberry pancakes, hash browns, chickenfried steak and biscuits ‘n’ gravy in the region.

Anza-Borrego isn’t known as a hotbed for healthy eats; but keep in mind that those calories can be hiked off amid the glorious landscape just outside.

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F EA TURE

Tina Landau and Idina Menzel in rehearsal for Redwood

s ’ e d y l C TONY AWARD® NOMINATED BEST NEW PLAY

FEB 4 - MAR 10

BY LYNN NOTTAGE

DIRECTED BY DELICIA TURNER SONNENBERG

JENNA SELBY

CONT’D. FROM PAGE 11

A: I originally heard about an incredible woman named Julia “Butterfly” Hill, an environmental activist. It began because she found herself at the redwoods and befriended by tree-sitters who were living in trees for long periods of time—in order to prevent the logging companies from cutting the trees down. Hill lived in a redwood tree for more than 600 days straight, during an El Niño and many other things they do to get these people out of the trees. I was fascinated and inspired by the idea that a woman can do that. But also, I asked myself what kind of survival capacity—what kind of fight—would I have inside of me? What am I capable of enduring? Also, the idea of escaping; what would happen if I just said “I’m done” and left everything behind?

I started to learn a lot about the miraculous qualities of redwood trees and how they have been around for thousands of

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JENNA SELBY

years and withstood so much adversity. They’re this beautiful metaphor for survival, healing, embracing adversity and overcoming it. So I went to Tina Landau, who is a director I’ve always wanted to work with, and I brought her this idea. It turns out she has always been very drawn to trees and stories about them.

We started working on it and decided we wanted to have a new young female composer, someone that maybe wasn’t typical Broadway—a new voice.

We did a deep dive and found the incredibly talented Kate Diaz, whose music you will hear. The three of us have been working on it now for several years, and I’m so excited. What a rewarding feeling to have a dream in your mind of a show you really want to see come to fruition, and then to be at this stage … and to have La Jolla Playhouse be such nurturers of this idea when we went to them.

They have been an incredible collaborator for us.

Q: Have you been involved in the writing of the musical or the songs?

A: I have been in the room with Tina and Kate on many occasions and have contributed in many ways. I am a songwriter, but I’m also someone who recognizes when you are working with very talented

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F EA TURE

THE CONRAD Home of La Jolla Music Society

Discover The Conrad

Renée Fleming

From Renée Fleming and Kronos Quartet to Herbie Hancock and Chris Thile, experience some of the world’s greatest artists in classical, jazz, and more in the heart of La Jolla Village!

Herbie Hancock

TheConrad.org|858.459.3728|Easy Parking Chris Thile

Kronos Quartet

An American in Paris A Night of Premieres

An American in Paris

World Premiere Geoffrey Gonzalez with music by George Gershwin

Boléro - The Awakening

World Premiere Elizabeth Wistrich with music by Maurice Ravel

Morphoses

March 16 & 17 Balboa Theatre March 27 California Center for the Arts, Escondido

www.cityballet.org ~ 858-272-8663

Photo by Jaroslav Richters

San Diego Premiere Christopher Wheeldon with music by György Ligeti

Q: Tell me more about how the role particularly resonates with you. Is it similar or different from other roles you’re most associated with? What are its challenges?

A: Every role is always challenging and feels like something you’ve never done before. The role is of a woman my age who is experiencing great loss in her life, and is finding it really hard to find her way back to herself and to be present in her life.

She gets in the car one day and leaves everything behind, and then finds herself at the redwoods— where she meets some wonderful people who have a lot to teach her, and in return she turns out to have a lot to teach them. It’s about our ability to listen and hear nature and what nature’s trying to tell us about ourselves, and how insignificant we are in the scheme of things. It’s about how we find our way to healing

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COURTESY LA JOLLA PLAYHOUSE

people and should let them do their own thing.

But I know myself and my voice, and I know the character, so it’s been helpful to say, “This is where I hear this, this is where it sits in my voice, and this is where it fits this character.” It can be a jumping-off point and I let them take it from there.

Kate Diaz, composer and co-lyricist for Redwood

when we are grieving.

The metaphor of the redwoods, for me, is of connection and community, and human beings’ capacity to endure or survive and find their way back to each other and to healing through nature.

I’m excited for people to see maybe a part of themselves in our show, and my character, or some of the other characters.

COURTESY LA JOLLA PLAYHOUSE

Q: This is your La Jolla Playhouse debut, but have you been in San Diego much? Is there anything you’re looking forward to here?

A: I’m excited to be going back to doing eight shows a week. I’ve missed doing theater! It’s my happy place, where I feel most at home. I probably won’t see much outside of the theater or my apartment.

It would be nice to go to the ocean and do some soul-searching.

The world-premiere musical, Redwood, runs at La Jolla Playhouse’s Sheila and Hughes Potiker Theatre, Feb. 13-March 31.

For more info and tickets: lajollaplayhouse.org

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“Fire Plume #1 Missoula, Montana,” a piece from the exhibit James Balog: Photographs from the Anthropocene, on view at MOPA@SDMA.

COURTESY OF ARTIST JAMES BALOG / MOPA@SDMA

PARTIN G SH O T

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