Performances Magazine | San Diego Opera, April 2022

Saturday, March 26, 2022 7:30 PM Tuesday, March 29, 2022 7:30 PM Friday, April 1, 2022 7:30 PM Sunday, April 3, 2022 2:00 PM All Performances at San Diego Civic Theatre

Darlene Marcos Shiley, Lead Production Sponsor

The Conrad Prebys Foundation, Spring Season Sponsor

Roméo et Juliette CHARLES GOUNOD

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MAGAZINE

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

4 In the Wings Mission Federal ArtWalk, Broadway musicals Tootsie and Rent, Water by the Spoonful, Forbidden Broadway’s Greatest Hits and more.

10 Feature: Local

Museum Spotlight

San Diego Museum of Art is flourishing this spring. We preview its signature annual spectacle, Art Alive, and an exhibit opening this month.

COURTESY IMAGES (CLOCKWISE FROM TOP): KETTNER EXCHANGE, SAN DIEGO MUSEUM OF ART, MILLION DOLLAR QUARTET

13 Dining Our April dining guide travels off the beaten culinary path to Zest Wine Bistro in Lemon Grove, Secret Sister in South Park and more.

24 Parting Shot Nothing signals springtime in San Diego County like seeing the famous Flower Fields at Carlsbad Ranch (spanning 50 acres) in full bloom, open daily through May 8.

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MAGAZINE

PUBLISHER

Jeff Levy EDITOR

Sarah Daoust ART DIRECTOR

Carol Wakano PRODUCTION MANAGER

Glenda Mendez PRODUCTION ARTIST

Diana Gonzalez DIGITAL MANAGER

Lorenzo Dela Rama ADVERTISING DIRECTOR

Kerry Baggett ACCOUNT DIRECTORS

Walter Lewis, Jean Greene, Tina Marie Smith CIRCULATION MANAGER

Christine Noriega-Roessler BUSINESS MANAGER

Leanne Killian Riggar MARKETING/ PRODUCTION MANAGER

Dawn Kiko Cheng Contact Us ADVERTISING Kerry.Baggett@ CaliforniaMediaGroup.com WEBSITE Lorenzo.DelaRama@ CaliforniaMediaGroup.com CIRCULATION Christine.Roessler@ CaliforniaMediaGroup.com HONORARY PRESIDENT

Premiere Dinner Thursday, April 28

Bloom Bash

Opening Celebration

Friday, April 29 (21+ Event)

Floral Exhibition

Friday, April 29–Sunday, May 1

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 Performances Magazine is published by California Media Group to serve performing arts venues throughout the West. © 2022 California Media Group.

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IN TH E W I N G S

Tootsie plays April 12-17 at the Civic Theatre.

MUSICAL

WITH ITS 44TH season underway, Broadway San Diego delivers two musicals this month at San Diego Civic Theatre. Praised as “far and away the funniest musical of the season” by the Daily News, the national tour of Tootsie visits April 12-17. Based on the book by Robert Horn and featuring a score by Tony Award-winner David Yazbek, the story centers on a talented but difficult actor who “reinvents” himself as a woman to win a female role in a soap opera. Rent—the Pulitzer Prize and Tony Award-winning smash that reimagines Puccini’s La Bohème—stops by April 22-24 as part of its 25th Anniversary Farewell Tour. The trailblazing musical tells the story of one year in the life of friends (all struggling artists) living the bohemian life in East Village, New York City, 1989-1990—touching on topics of love, loss and AIDS. 1100 Third Ave., downtown, broadwaysd.com

EVAN ZIMMERMAN FOR MURPHY MADE

BELOVED BROADWAY HITS

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EVAN ZIMMERMAN FOR MURPHY MADE

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IN TH E W I N G S

Strolling along India Street in Little Italy at Mission Federal ArtWalk; colorful glass work on display.

ART

WHAT BEGAN AS a modest art fair in 1984 has flourished into the largest fine art festival in Southern California—showcasing more than 300 local, national and international artists. Now in its 38th year, Mission Federal ArtWalk, April 30-May 1, will draw tens of thousands of locals and visitors to Little Italy (spanning 16 blocks), where artists will present every medium—paintings, sculptures, photography, jewelry, glass, metal, woodwork, drawings and more.

Attendees can meet the artists and enjoy a host of festivities, including interactive art installations, street art, live music, food vendors and kids’ activities. A new highlight this year: Gator By The Bay will host a New Orleansthemed entertainment stage in the Piazza della Famiglia. The event benefits local nonprofit ArtReach, which provides art lessons for more than 30,000 students across San Diego County. Along India Street, Little Italy, artwalksandiego.org

FROM TOP: DAN AUDICK, PAUL NESTOR

Attention: Art Lovers

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IN TH E W I N G S

A past production of Million Dollar Quartet; Wayne Cilento, director and musical staging for Bob Fosse’s Dancin.’

THEATER

BE TRANSPORTED TO the 1956 meeting of legends Johnny Cash, Elvis Presley, Jerry Lee Lewis and Carl Perkins in Million Dollar Quartet at Lamb’s Players Theatre, April 2-June 12. Quiara Alegria Hudes’ heart-tugging play, Water by the Spoonful— which follows Marine Elliot Ortiz, who is struggling after returning from Iraq, and recovering addicts in a chat room—runs at Cygnet Theatre through April 24. The Old Globe’s dance-musical revue Bob Fosse’s Dancin’, April 19-May 29, features a cast of exceptional Broadway dancers. Experience more Broadway fun with North Coast Rep’s presentation of Forbidden Broadway’s Greatest Hits, April 20-May 15—featuring parodies of Fiddler on the Roof, The Phantom of the Opera, Chicago and more.

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Must-See Shows This Month

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D E L M A R H E I G H T S // S A N D I E G O

LET’S GRUB With over 40 restaurants and shops, One Paseo is bringing together an artful blend of workplace, retail, dining, and residences within one urban village.

We invite you to enjoy a fresh new experience with the opening of these local

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and national favorites:

P LU S M OR E C OM IN G SOON!

3725 Paseo Place, San Diego, CA 92130 onepaseo.com // @onepaseo

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FEATUR E

Back in Bloom

Two April Exhibits at San Diego Museum of Art Sing of Springtime in San Diego

by STEPHANIE THOMPSON

The 17th-century English poet Robert Herrick wasn’t specifically writing about springtime in San Diego, our most colorful and fleeting season. (Herrick’s prose were famously echoed by Robin Williams, aka Professor Keating, to his students in Dead Poets Society, as an example of “carpe diem,” encouraging them to seize the day and life itself, which is fleeting.) But whether metaphorically or literally, Herrick reminds us to stop and smell the roses.

Roses and flowers of every kind are blooming nearly everywhere you look—even inside San Diego Museum of Art (SDMA). Back for the 41st year, SDMA’s signature event, Art Alive, will showcase floral designers transforming

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“Gather ye rosebuds while ye may. Old time is still a-flying; and this same flower that smiles today, tomorrow will be dying.”

“Startling...highly entertaining.”

— THE SAN DIEGO UNION-TRIBUNE

by LISA PETERSON & DENIS O'HARE directed by DAVID ELLENSTEIN featuring RICHARD BAIRD

MARCH 31 – APRIL 10

Limited Run.

“Hysterically funny and savvy at the same time. This is what entertainment is all about.”

— HUFFINGTON POST

COURTESY IMAGE

Flowers imitate art at San Diego Museum of Art’s Art Alive.

famous works of art from the museum’s permanent collection into creative and evocative floral displays, on view from from April 29 to May 1. Why one weekend /CONTINUED ON PAGE 18

APRIL 20 – MAY 22

Created & Written by GERARD ALESSANDRINI Directed by WILLIAM SELBY

(858) 481-1055 | NorthCoastRep.org Group Sales: (858) 481-2155, ext. 202 987 Lomas Santa Fe Drive, Solana Beach

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SD OPERA NOTE FROM THE GENERAL DIRECTOR Welcome to these performances of Roméo et Juliette.

I hope you will enjoy this operatic retelling of one of the greatest love stories ever told, sung by some of the most exciting voices performing today including the Company DAVID BENNETT General Director debut of tenor Pene Pati, in his signature role of Romeo. He is joined by Nicole Cabell as Juliette as well as other young singers, both new and familiar to us, to bring Gounod’s retelling of Shakespeare’s masterpiece to life. With the smart and symbolic direction from stage director Matthew Ozawa, lovingly led by Principal Conductor Yves Abel with the San Diego Symphony Orchestra, this performance will prove to be greater than the sum of its very impressive parts.

These performances are made possible by generous support of Lead Production Sponsor, Darlene Marcos Shiley and our Spring Season Sponsor, The Conrad Prebys Foundation.

Opera, in many ways, is bound to tradition; so, it is no surprise that composers and librettists look to the classics for their source materials; myths, mythologies, the works of Shakespeare, Beaumarchais, Dumas, Büchner, to name a few, all serve as source material to tell stories that are universal to the human experience – stories about love over odds, unrequited love, filial love, lust, passion, anger, loss, and death.

Looking at our next season, San Diego Opera is at an exciting crossroad – with one foot planted firmly in operatic tradition with the other stepping into the future.

We continue to honor our traditions with Puccini’s double-bill of Suor Angelica and Gianni Schicchi, albeit with the twist of superstar Stephanie Blythe singing the title role of Gianni Schicchi.

With the other foot, we stride boldly into the future with the world premiere of the highly anticipated El ultimo sueño de Frida y Diego (The Last Dream of Frida and Diego), the first opera by famed composer Gabriela Lena Frank, that explores the tumultuous relationship between the painters Frida Kahlo and Diego Rivera.

There is more in the works for next season which we will announce shortly, and all of our programming will continue to celebrate the transformative and expressive power of the human voice. It’s an exciting time to be at San Diego Opera and I look forward to sharing our journey with you.

Enjoy the performance.

¡Bienvenidos a estas presentaciones de Romeo y Julieta!

Espero que disfruten del recuento operístico de una de las historias de amor más grandes que jamás se haya contado, interpretadas por las voces más fascinantes de cantantes que se presentan ahora en día, incluyendo el debut en la Compañía del tenor Pene Pati, en su papel como Romeo. En el papel de Julieta nos acompaña Nicole Cabell, así como otros jóvenes cantantes, nuevos y conocidos para nosotros que nos vuelven a contar la obra maestra de Shakespeare en la pluma del compositor Charles Gounod. Contamos con la hábil y simbólica dirección del director de escena Mathew Ozawa, y en la cálida dirección musical contamos con nuestro director principal el Maestro Ives Abel dirigiendo a la Orquesta Sinfónica de San Diego. Esta presentación resultará ser muy impresionante.

Damos las gracias al generoso apoyo a nuestra patrocinadora en esta producción a la señora Darlene Marcos Shiley, y a nuestro patrocinador de la temporada de primavera, a la Fundación Conrad Prebys.

El arte de la ópera está ligado de muchas formas a la tradición, así que no nos sorprende que los compositores y libretistas voltearan hacia los clásicos como fuente para su material de trabajo incluyendo mitología y mitos, en las obras de Shakespeare, Beaumarchais, Dumas, y Büchner, por nombrar algunos, todas estas obras sirvieron como fuente de inspiración para contar historias que son universales en la experiencia humana– historias acerca del amor cruzando por encima de todo obstáculo, el amor no correspondido, amor filial, lujuria, pasión, ira, perdida y muerte.

Al anunciar nuestra temporada 2022-2023, la Ópera de San Diego se encuentra en una encrucijada: siguiendo firmemente nuestros pasos dentro de la ópera tradicional y con otra pisada entrando al futuro. Continuamos honrando nuestras tradiciones con producciones tales como una doble función de Puccini, Sor Angélica y Gianni Schicchi, si bien con un giro al presentar a la superestrella Stephanie Blythe cantando el papel principal de Gianni Schicchi.

Caminamos abriendo paso hacia el futuro con tres estrenos mundiales, incluyendo el muy anticipado El ultimo sueño de Frida y Diego (The Last Dream of Frida and Diego), la primera ópera de la famosa compositora Gabirela Lena Frank, qué explora la relación turbulenta entre los pintores Frida Kahlo y Diego Rivera. Estamos trabajando en distintas obras para nuestra próxima temporada y las anunciaremos muy pronto.

Como siempre estas obras celebran el poder transformador y expresivo de la voz humana. Es un momento fascinante para venir a la Opera de San Diego y disfrutar con nosotros. Mi deseo es el poder compartir nuestro viaje con ustedes.

Qué disfruten la función.

David Bennett, General Director

David

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SAN DIEGO OPERA 233 A Street, Suite 500 | San Diego, CA 92101 T: (619) 232-7636 | F: (619) 231-6915 | E: sdostaff@sdopera.org Patron Services: (619) 533-7000 | Web: sdopera.org PERFORMANCES MAGAZINE P1

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2021-2022 Season Charles Gounod

ROMÉO ET JULIETTE San Diego Civic Theatre March 26, 29, April 1, and 3m, 2022

Darlene Marcos Shiley, Lead Production Sponsor The Conrad Prebys Foundation, Spring Season Sponsor Verona

CAST:

(in order of vocal appearance) Tybalt Count Pâris Count Capulet Juliette Mercutio Roméo Gertrude Grégorio Friar Laurence Stéphano Benvolio The Duke of Verona

Adrian Kramer Anthony Whitson-Martini Colin Ramsey Nicole Cabell* Hadleigh Adams* Pene Pati* Alexandra Rodrick Andrew Konopak Simon Lim Sarah Coit* Adam Caughey* Ted Pickell

Conductor Director Chorus Master Fight/Intimacy Director Choreographer Assistant Director

Yves Abel Matthew Ozawa* Bruce Stasyna Doug Scholz-Carlson* Javier Velasco Alan E. Hicks

Scenery Costumes Lighting Designer Wig and Makeup Designer Stage Manager Music Staff French Diction Coach Supertitle Coordinator

William Boles* Sarah Bahr* Paul Whitaker* Jenn Hill* Mike Janney Cathy Miller Bruce Stasyna Brandon DiNoto*

Prologue ACT I: CAPULET’S PALACE ACT II: JULIETTE’S BALCONY ACT III SCENE 1: A CHAPEL – Intermission – ACT III SCENE 2: A MARKET ACT IV: JULIETTE’S BEDROOM ACT V: CAPULET’S TOMB

*San Diego Opera Debut

This performance is approximately 2 hours, 55 minutes in duration, including one intermission.

Libretto by Jules Barbier and Michel Carré Scenery and costumes for the production were constructed at the Minnesota Opera Shops and Cincinnati Opera and are jointly owned by Minnesota Opera and Cincinnati Opera.

Roméo et Juliette will have a radio broadcast on Saturday, July 9, 2022 at 8:00pm on KPBS radio, 89.5 FM (97.7 Calexico) and online at www.kpbs.org P2 PERFORMANCES MAGAZINE

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SD OPERA DIRECTOR’S NOTE/ NOTA DEL DIRECTOR Romeo and Juliet. Together, these two names comprise the most famous pair of young lovers in Western consciousness, synonymous with an eternal form of love. Yet their story tells a raw gutwrenching tragedy where love, violence and death are at times one and the same.

Romeo y Julieta, juntos estos dos nombres simbolizan a la pareja más famosa de jóvenes amantes en la conciencia Occidental, sinónimo del amor eterno.

Sin embargo, su historia nos cuenta una cruda y devastadora tragedia donde el amor, la violencia y la muerte se vuelven a veces una y la misma.

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

Tomada de una de las obras más famosas de Shakespeare, la ópera de Gounod es una interpretación poética del conflicto entre el deseo pasional juvenil y las expectativas sociales. Cuando nos acercamos a cualquier adaptación de una obra literaria famosa, el verdadero reto es ver el material a través de un lente completamente imparcial. ¿Cómo puede alguien realmente contar una historia que todos conocen tan íntimamente como si fuera la primera vez?

O el hecho de que a pesar de saber el trágico final, todavía esperamos desesperadamente que Romeo y Julieta puedan escapar de su destino.

I won’t lie that approaching such a well known story can be daunting. But what struck me so profoundly in re-examining the opera is how raw the music depicts the character’s extreme emotional states.

Love and hate, while on opposite sides of the emotional spectrum are both fueled by passion, and it is this passion that ultimately leads to violence and then death.

No mentiría que el abordar una historia tan bien conocida puede ser abrumador. Pero lo que más me impactó profundamente al reexaminar la ópera, es qué tan cruda es la forma en que la música representa los intensos estados emocionales de los personajes.

Romeo and Juliet experience all forms of love from the joyful to romantic, passionate to overpowering.

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

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

– Matthew Ozawa, Director

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El amor y el odio, mientras se encuentran en lados opuestos del espectro emocional, ambos están alimentados por la pasión, y es esta pasión lo cual finalmente conduce a la violencia y la muerte.

Romeo y Julieta experimentan todas las formas de amor del placer al romántico, apasionado hasta ser sofocante. Nosotros defendemos su amor porque es puro y parece bellísimo. Sin embargo, es precisamente este amor de juventud el que ciega a Romeo y Julieta, y les permite desafiar a la familia, a la religión y la sociedad. Con el objetivo de preservar la santidad de su amor sagrado en un mundo que no puede dejar que tal amor exista, deben poner fin a sus vidas.

Es este destino, esta tragedia hace que nuestros corazones lloren siempre. Básicamente, un mundo de violencia afectará la pureza, el amor más puro y lo qué más podemos anhelar es la protección de un amor eterno.

La música de Gounod está llena de una suntuosa naturaleza fantasiosa qué casi coloca a Romeo y Julieta en un reino más allá del mundo natural. El resultado final de nuestra simbólica producción, presenta la historia durante la época de Shakespeare, mezcla imágenes oníricas que captan ambos, el idealismo del amor (grandes rosas) con el peligroso mundo de una sociedad dividida (un techo de armas). Así como el amor se transforma mientras la historia de Romeo y Julieta se desarrolla, también lo hacen las imágenes de nuestro espectáculo. El amor, la violencia y la muerte se van entrelazando, y el tiempo finalmente lleva a Romeo y Julieta rápidamente hacía su destino, que es al mismo tiempo poético y trágico. Mi más sincero deseo es que ustedes se abran al gozo y al dolor a esta, que es una historia atemporal de un gran amor.

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SD OPERA SYNOPSIS/SINOPSIS Prologue - A chorus laments the ongoing feud between the houses of Capulet and Montague.

Prólogo - Un coro se lamenta la continua riña entre las dos familias los Capuleto y los Montesco.

ACT I - In the grand hall of the Capulet palace, party guests assemble for Juliette’s debut as her cousin Tybalt and her suitor Pâris praise her beauty. Capulet presents his daughter to everyone’s delight. The crowd includes a disguised Roméo, Mercutio, Benvolio, and others associated with the Montagues. Mercutio chides his friend’s melancholy, for Roméo’s romantic pursuit of the fair Rosaline has yielded nothing—she is not at the party.

The lovelorn Roméo spots Juliette, and not knowing she is a Capulet, immediately falls in love. Meanwhile, Juliette’s nurse Gertrude is excited about her charge’s potential marriage, but the young girl will have none of it, preferring a carefree life. Juliette and Roméo finally meet and she returns his affection, but their short-lived bliss is interrupted when it is revealed that the new lovers belong to rival houses. Tybalt has recognized Roméo and promises to avenge this affront to the Capulets’ honor.

Primer Acto - En el gran salón del palacio de los Capuleto, los invitados se reúnen para el debut de Julieta, mientras su primo Tybalt y su pretendiente Pâris admiran su belleza. Los Capuleto presentan a su hija y todos están encantados. Entre la multitud se encuentra Romeo, Mercutio, Benvolio que están disfrazados, y algunos otros amigos relacionados con los Montesco. Mercutio recrimina la tristeza de su amigo, los intentos románticos de Romeo para conquistar a la hermosa Rosaline no han dado frutos – ella no se encuentra en la fiesta.

El enamorado sin suerte de Romeo descubre a Julieta, y sin saber que ella es una Capuleto, inmediatamente se enamora de ella. Mientras tanto, la dama de compañía de Julieta, Gertrude se encuentra emocionada por la posibilidad de las nupcias de la joven que ella cuida, pero la joven no tendrá nada de eso, prefiriendo una vida sin preocupaciones. Julieta y Romeo finalmente se encuentran y ella corresponde a su cariño, pero su breve dicha es interrumpida cuando se revela que los nuevos enamorados pertenecen a familias rivales.

Tybalt reconoce a Romeo y promete vengar esta afrenta al honor de los Capuleto.

ACT II - The page Stéphano assists Roméo in scaling a wall outside Juliette’s room, where Roméo and Juliette soon share a tender moment. Grégorio and other Capulets are heard in the distance, looking for the disruptive Montagues, and Roméo hides in the darkness of the garden. After speaking with Grégorio about the intrusion, Gertrude encourages Juliette to go to bed, but the young girl tarries outside, where the two lovers are soon reunited.

Juliette suggests they marry the very next day and Roméo heartily accepts her offer.

ACT III Scene one - In a chapel, the monk Friar Laurence celebrates the couple’s union while Gertrude serves as a witness.

Segundo Acto - El paje Stephano ayuda a Romeo a trepar por la pared del patio para llegar al cuarto de Julieta, donde Romeo y Julieta en rápidamente comparten un momento afectuoso. Grégorio y otros Capuletos se escuchan a distancia, buscando a los molestos Montesco y Roméo se esconde en la obscuridad del jardín. Después de hablar con Grégorio acerca de la intromisión, Gertrude anima a Julieta a que se vaya a la cama pero la joven se retrase afuera, donde los dos amantes se vuelven a reunir. Julieta sugiere que se casen al día siguiente y Roméo entusiasmadamente acepta la propuesta.

Tercer Acto - Escena Uno - En una capilla, el monje Fray Laurence oficia la unión de la pareja mientras que Gertrude sirve de testigo.

– Intermission –

– Intermedio –

Scene two - Out in the streets of Verona, Stéphano taunts the Capulets with a song. Mercutio defends the young boy from Grégorio’s blade, but is soon drawn into a disagreement with Tybalt. When a freshly married Roméo happens upon the scene, Tybalt turns his attention to his enemy, but Roméo merely embraces him as kin. Mercutio draws Tybalt into a duel, and in the ensuing melee, is mortally wounded. Now enraged over the death of his friend, Roméo slays Tybalt and is banished from Verona as a result.

Escena Dos - Afuera en las calles de Verona, Stéphano se mofa de los Capuleto con una canción. Mercutio defiende al joven muchacho de la espada de Grégorio, pero de inmediato se suscita un desacuerdo con Tybalt. Cuando el recién casado Romeo se aparece en la escena, Tybalt dirige su atención a su enemigo, pero Romeo simplemente lo abraza como a un pariente. Mercutio reta a Tybalt a un duelo, y en la consiguiente revuelta es herido de muerte. Ahora enfurecido por la muerte de su amigo, Romeo mata a Tybalt y por consecuencia tiene que huir de Verona.

ACT IV - As day breaks, the two lovers awaken after a night of passion. Juliette pardons Roméo for the murder of her cousin, and the two languish in bed, refusing to greet the day. But Roméo must leave, and moments after his departure, Gertrude enters, followed by Capulet and Friar Laurence. Angered by recent events, Juliette’s father demands she marry Pâris immediately. Left alone with Laurence, she tearfully comes to terms with her situation, and the monk offers a cure to end her woes—a special potion that will simulate death. Once placed in the family crypt, she will revive in Roméo’s waiting arms.

Cuarto Acto - Al amanecer, los dos amantes despiertan después de haber pasado una noche apasionada. Julieta perdona a Romeo por haber matado a su primo, y ambos languidecen en la cama rehusando darle la bienvenida al día.

Pero Romeo debe irse, y unos momentos antes de su partida entra Gertrude, seguida de un Capuleto y Fray Laurence.

Enfurecido por los recientes eventos, el padre de Julieta demanda que se case con Pâris inmediatamente. Ya sola con Laurence, sollozando acepta su situación y el monje le ofrece un remedio para darle fin a su congoja – una porción especial que simulará una muerte. Una vez que la pongan en la cripta familiar, ella resucitará en los expectantes brazos de Romeo.

ACT V - Having missed a letter revealing Laurent’s plan, Roméo has heard of Juliette’s “death,” and now inside the family vault, laments over her lifeless body. Wishing to join her in eternity, he empties a phial of poison, but as the toxin takes effect, Juliette begins to wake.

Quinto Act.- Al no haber recibido la carta con el plan de Laurence, Romeo ha escuchado acerca de la muerte de Julieta y ahora ya dentro de la bóveda de la familia, se lamenta sobre el cuerpo sin vida de Julieta. Desaseando unirse a ella en la eternidad, se toma un frasco de veneno, pero mientras el veneno hace efecto, Julieta empieza a despertar.

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SD OPERA PROGRAM NOTE

‘A PLAGUE O’ BOTH YOUR HOUSES’: SHAKESPEARE’S RESPONSE TO JANUARY 6TH:

BY EDITH FRAMPTON, PH.D. William Shakespeare’s 1597 Romeo and Juliet is considered the quintessential love story.

However, let’s remind ourselves that the play opens with a scene of public violence, the result of years of acrimonious feuding between two rival factions. Earlier versions of the same basic story that possibly inspired the play, such as Arthur Brooke’s book-length English poem of 1562, The Tragicall Historye of Romeus and Juliet, which had been adapted, in turn, from the Italian Matteo Bandello’s novello Giulietta e Romeo of around 1554, don’t throw the same emphasis that Shakespeare does on the disturbance of civic peace.

However, civility, peace, and the lack thereof— much on our minds in the United States since January 6th, 2021—were major preoccupations of Elizabethan England, especially for a society without a police force or a standing army. Evidence of this is Queen Elizabeth I’s Proclamation 735, “Prohibiting Unlawful Assembly under Martial Law,” of 20 June 1591, in which the queen gives a “provost martial… authority…to apprehend” and “execute upon the gallows” any who persist in “sundry great disorders committed in and about her city of London by unlawful great assemblies of multitudes.” In spite of such ordinances, yet another xenophobic riot among apprentices broke out in London in 1592, in none other than the theatre district of Southwark, motivated by resentment towards immigrants, another familiar topic today. The theatres were ordered closed in response.

Current controversies in the US around gun control are also echoed in Shakespeare’s England, with edicts regarding weaponry in public. Proclamation 493, “Enforcing Statues of Apparel,” of 6 May 1562, restricts the “wearing of long swords and rapiers, sharpened in such sort as may appear the usage of them can not [sic] tend to defense, which ought to be the

very meaning of wearing of weapons in times of peace, but to murder and evident death.” Taken together, this and other legislation of the period evince an obsession with maintaining the peace of civil society, and this, just as much as romance, is at the heart of Romeo and Juliet. The deaths of Shakespeare’s lovers can be understood as a vehicle to demonstrate the collateral damage of domestic political conflict, which is parallel, in a sense, to the tragic deaths resulting from violence at our own nation’s Capital, when insurrectionists unsuccessfully attempted to interrupt the peaceful transfer of power from one presidential administration to the next. In this recent shocking scene of violent domestic conflict, there were casualties on both sides, as with the Capulets and Montagues in the play. Perhaps this emphasis on the urgency of maintaining peace is one key to the ongoing fascination with one of Shakespeare’s most popular plays.

Various productions and adaptations of Romeo and Juliet over the centuries emphasize the rival factions of Shakespeare’s play to differing degrees. One of the most popular of those adaptations is the 1957 Broadway musical West Side Story, conceived by Jerome Robbins, with music by Leonard Bernstein and lyrics by Stephen Sondheim. This, in turn, led to the iconic, multiOscar-winning 1961 film version. These two manifestations of West Side Story memorably highlight the violence of the analogous feuding gangs of the Jets and the Sharks, as does the recently released 2021 remake of the film by Steven Spielberg and Tony Kushner.

Each of the multiple operatic, symphonic, and balletic versions of Romeo and Juliet have made a choice on the extent to which the political divisions of the play are emphasized. Vincenzo Bellini’s opera I Capuleti e i Montecchi of 1830, as the title suggests, highlights the warring factions.

Reacting against this choice, Hector Berlioz’s 1839 choral symphonic Roméo and Juliette downplays PERFORMANCES MAGAZINE P5

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SD OPERA PROGRAM NOTE that aspect of the original, as do, arguably, Pyotr Ilyich Tchaikovsky’s orchestral version of 1880 and Sergei Prokofiev’s 1936 ballet.

In contrast to his mentor Berlioz’s approach, Charles Gounod’s 1867 French operatic version reinstates the mob violence that is at the center of Shakespeare’s original play and that was never absent from the cultural consciousness in France, dating back to the French Revolution of the preceding century. Gounod would come to know firsthand the costs of warring factions, when he was forced into exile in London in 1870, at the age of 52, when the Franco-Prussian War led to the Siege of Paris.

Until that point, Gounod’s life seems to have been relatively free from political turmoil. Born in 1818, his father was the artist François Louis Gounod and his mother was pianist Victoire Lemachois. His early childhood was one of privilege, if we gauge it by the fact that his family lived in an apartment at the Palace of Versailles, where his father was employed as an art teacher.

When his father died in 1823, Gounod’s mother was able to support her family well enough as a piano teacher so that her son received an excellent music education and went on to earn France’s most prestigious music award, the Prix de Rome, which allowed him to further his studies both in Paris and abroad. As a young adult, Charles Gounod would come to feel stifled in his position as the chapel master of a small Parisian church and so left the position, after some years, to compose music for the theatre.

Among other accomplishments, his first opera, Sapho, originally performed in 1851, secured his reputation, which was further bolstered by his Faust of 1859 and his last opera, Roméo et Juliette, in 1867. However, he was never able to recover his former stature as a composer after war had driven him from his home in Paris for what ended up being four very disruptive years at the height of his career. He paid a steep price for the political strife of his era.

Of course, the sacrifice of enmity is love, a tautology that Shakespeare goes to great pains to illustrate in Romeo and Juliet, in which it is the epiphany of love that finally eradicates enmity.

In short, love and hate are two sides of the same coin. Sigmund Freud and followers of his such as Jacques Lacan have theorized that what defines the human condition is the inescapable and fruitless search for the perfect union we all once

knew within our mothers’ bodies. If we accept this psychoanalytic perspective, then another explanation emerges for the perennial appeal of Shakespeare’s play. It is precisely because the lovers cannot live on and enjoy their perfect union that audience members can connect with them. Their specific loss of an enduring oneness with another, when they die, is the universal loss that each of us feels, faced as we are with the impossibility of recovering the all-encompassing love that we experienced within the womb. From this angle, the play would not appeal to us in the same way if Romeo and Juliet were able to escape their premature deaths. We identify with them precisely because of their failure.

Like his friend, Romeo, and Romeo’s bride, Juliet, Mercutio too becomes collateral damage of warring factions. After having been stabbed by Tybalt, in Act III, Scene i of the play, and aware that he is dying, Mercutio pronounces a curse on all of the political adversaries. Three times, in rapid succession, with his last breath, he calls for a disease to wipe all of them out: “a plague o’ both your houses.” This of course hits close to home for us today, in which we indeed find ourselves contending with the twin scourges of the plague of Covid-19, on the one hand, and deadly political divisions on the other.

Can the epiphany of love that ultimately moves the Capulets and Montagues out of their reciprocal hatred and its violent manifestations work in our troubled world today? Why hasn’t a recognition of the universal quest for the relinquished embrace of the womb allowed us to identify compensations that will provide all of us a fair share of happiness during our time on this spinning globe together? On a psychoanalytic level, we have all been robbed, and there is no way to stop the steal. Perhaps offering up love, as Shakespeare seems to advocate, whenever, wherever, and however possible, is a start. As a part of the process, Gounod’s lavish Roméo and Juliette, as produced by the San Diego Opera in 2022, allows us to contemplate the potential costs of our breaches with one another, to recognize the common longing in all of us, and to put up our weapons in exchange for love.

Edith Frampton, Ph.D. teaches British literature, as well as drama and theatre, at San Diego State University.

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SD OPERA NOTA ACERCA DEL PROGRAMA

‘MALDITAS SEAN VUESTRAS FAMILIAS’: LA RESPUESTA DE SHAKESPEARE A ENERO 6TH:

BY EDITH FRAMPTON, PH.D. La obra de William Shakespeare de Romeo y Julieta de 1597 está considerada como el prototipo de la historia de amor. Sin embargo recordemos que la obra empieza con una violenta escena pública, como resultado de años de una amarga contienda entre dos bandos rivales.

Versiones anteriores de la misma historia básica que posiblemente inspiraron la obra, tales como el poema Inglés tan largo como un libro de Arthur Brooke de 1562, La Trágica Historia de Romeo y Julieta (The Tragicall Historye of Romeus and Juliet, la cual había sido adaptada, posteriormente del italiano Matteo Bandello, novello Giulietta e Romeo de cerca de 1554, no presentan el mismo énfasis que Shakespeare en la perturbación del orden público.

Sin embargo, la civilidad, paz y la falta de esto mismo, -- mucho de lo que ahora viene a nuestras mentes en Estados Unidos desde enero 6 del 2021, eran preocupaciones graves de la Inglaterra Isabelina, especialmente en una sociedad sin fuerza policiaca o una fuerza militar activa. La evidencia de esto es la Proclamación 735 de la Reina Isabel I, “Prohibiendo Reuniones Ilegales bajo Pena de Ley Marcial”, del 20 de junio de 1591, en la cual la reina le da a un “intendente militar… la autoridad… para arrestar” y “ejecutar en la horca” a cualquiera que persista en “considerables múltiples desordenes cometidos en su ciudad de Londres o sus alrededores llevando a cabo reuniones enormes de multitudes ilegales”. A pesar de tal decreto, todavía otra revuelta xenofóbica entre aprendices irrumpió en Londres en 1592, nada menos que en el distrito de teatros de Southwark, incitado por resentimiento hacia los inmigrantes, otro tema familiar hoy en día. Como respuesta se ordenó que cerraran los teatros.

Controversias actuales en los Estados Unidos acerca del control de armas tienen resonancia en la Inglaterra de Shakespeare, donde se emitió un mandato acerca de portar armas en público. Proclamación 493, “Imponiendo un Código de Vestimenta”, del 6 de mayo de 1592, restringiendo el “uso de espadas largas y floretes afilados de tal manera que pareciera que el uso de tales armas no fueran a ser usadas

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para defenderse, lo cual debería ser la intensión precisa al usar estas armas en tiempos de paz y no para matar y para causar la muerte”. Juntas esta y otras legislaciones del periodo demuestran una obsesión por mantener la paz de una sociedad civil y esto, tanto como el romance, es el eje central de Romeo y Julieta. La muerte de los amantes de Shakespeare se puede entender como un vehículo para mostrar el daño colateral de los conflictos políticos domésticos, lo cual es paralelo, en un sentido, a las trágicas muertes que resultaron de la violencia en la capital de nuestro propio país, cuando insurgentes fallidamente atentaron interrumpir la pacifica transferencia de poder de una administración presidencial a la siguiente. En esta reciente impactante escena de violento conflicto domestico, hubo heridos en ambos lados, al igual que en los Capuleto y Montesco de la obra.

Quizá este apremio en mantener la paz es la clave de la continua fascinación con una de las más populares obras de Shakespeare.

Varias producciones y adaptaciones de Romeo y Julieta a través de los siglos enfatizan las facciones rivales de la obra de Shakespeare en grados diferentes. Una de las más populares de estas adaptaciones es la del musical de Broadway de 1957, Amor sin Barreras (West Side Story), concebida por Jerome Robbins, con música de Leonard Berstein y letra de Stephen Sondheim. Esto a su vez culminó en la emblemática versión para cine ganadora de múltiples Oscares de 1961. Estas dos manifestaciones de Amor sin Barreras ( West Side Story), de manera memorable subrayan la violencia de las análogas riñas de las pandillas de los Jets y de los Sharks, al igual que el recién excepcional estreno de 2021, de la película de Steven Spielberg y Tony Kushner.

Cada una de las múltiples versiones operísticas, sinfónicas y de ballet de Romeo y Julieta han decidido hasta que punto las divisiones políticas de la obra se pueden enfatizar. La ópera de Vincenzo Bellini, I Capuleti e i Montecchi de 1830, como lo sugiere el título, subraya la guerra entre los dos bandos. Reaccionando en contra PERFORMANCES MAGAZINE P7

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SD OPERA NOTA ACERCA DEL PROGRAMA de esta elección, el coro sinfónico Romeo y Julieta de 1867 de Hector Berlioz minimiza ese aspecto del original, como lo hace, por decirse, la versión orquestal de 1870-1880 de Pyotr Ilych Tchaikovsky y el ballet de Sergei Prokofiev de 1936.

En contraste a la forma en que la aborda su maestro Berlioz, la versión de la ópera francesa de Charles Gounod, replantea la violencia de los grupos que es el eje central de la obra original de Shakespeare y la cual nunca estuvo ausente de la consciencia cultural en Francia, remontándose a la Revolución Francesa del siglo anterior. Gounod habría de conocer de primera mano el costo de las rencillas divisorias, cuando fue forzado y enviado al exilio en Londres en 1870, a la edad de 52 años, cuando la Guerra Franco-Prusiana culminó en el Sitio de Paris.

Hasta ese momento la vida de Gonoud parece haber estado relativamente libre de problemas políticos. Nació en 1818 su padre fue el artista François Louis Gounod y su madre fue la pianista Victoire Lemachois. Su infancia fue privilegiada, si la evaluamos por el hecho de que su familia vivía en un departamento en el Palacio de Versalles, donde su padre trabajaba como maestro de arte. Cuando su padre murió en 1823, la madre de Gounod pudo mantener a su familia muy bien como maestra de piano para que su hijo pudiera recibir una excelente educación musical y fuera capaz de ganar el premio más prestigioso de Francia, el Prix de Rome, lo cual le permitió continuar con sus estudios tanto en Paris como en el extranjero. De joven, Charles Gounod se sentiría sofocado en su posición como Director musical de una pequeña iglesia parisina y entonces decidió dejar la posición después de algunos años para componer música para el teatro. Entre otros logros, su primera ópera Sapho, originalmente presentada en 1851, aseguró su reputación, la cual se reafirmó por su Fausto de 1859 y por su última ópera, Romeo y Julieta, en 1867. Sin embargo, nunca pudo recuperar su posición anterior como compositor después de que la guerra lo había ahuyentado de su casa en Paris lo cual terminó siendo cuatro años sumamente difíciles en la cúspide de su carrera. Pagó un precio muy alto por los problemas políticos de la época.

Por supuesto el sacrificio de la animosidad es el amor, una redundancia que Shakespeare hace grandes esfuerzos por ilustrar en Romeo y Julieta, en la cual es la epifanía del amor la que finalmente erradica la animosidad. En síntesis, el amor y el odio son dos lados de la misma moneda. Sigmund Freud y sus seguidores tales como Jacques Lacan tienen una teoría de que lo que define a la condición humana es la ineludible e infructuosa búsqueda de la perfecta unión que nosotros una vez conocimos P8 PERFORMANCES MAGAZINE

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en el cuerpo de nuestras madres. Si aceptamos esta perspectiva psicoanalítica, entonces otra explicación aparece para la eterna atracción a la obra de Shakespeare. Es precisamente porque los amantes no pueden continuar viviendo y disfrutar su unión perfecta que el público puede conectar con ellos. Su pérdida especifica es la de una conexión duradera el uno con el otro, cuando mueren, es la perdida universal que cada uno de nosotros siente, enfrentándonos a la imposibilidad de recuperar el amor perfecto que experimentamos en el vientre de nuestra madre. Desde esta perspectiva, la obra no nos atraería en la misma forma si Romeo y Julieta pudieran escapar de sus muertes prematuras.

Nos identificamos con ellos precisamente por su fracaso.

Como su amigo, Romeo, y la novia de Romeo, Julieta, Mercutio también se convierte en un daño colateral de las guerras divisorias. Después de que lo hiere Tybalt en el Tercer Acto, Escena Primera de la obra, y consciente de que se está muriendo, Mercutio dicta una maldición para todos sus adversarios políticos. Tres veces en sucesión rápida, en su último suspiro, pide una enfermedad que los desaparezca a todos: ‘malditas sean vuestras familias, (una plaga oh, en sus casas).’ Esto desde luego nos llega directamente en estos momentos, en los cuales nos encontramos luchando con el doble golpe, la plaga de Covid-19, por un lado, y por el otro lado divisiones políticas letales. ¿Podría ahora la epifanía del amor que finalmente saca a los Capuleto y los Montesco fuera de su mutuo odio y sus manifestaciones violentas funcionar en nuestro problemático mundo en este momento? ¿Por qué no se ha reconocido la búsqueda universal del desaparecido abrazo del vientre materno que nos permita identificar compensaciones que nos puedan proveer a todos una justa porción de felicidad en esta era en que estamos juntos en este mundo giratorio? En un nivel psicoanalítico, a todos nos han robado, y no hay manera de parar el robo. Quizá ofreciendo amor, como Shakespeare parece proponer, cuando sea, donde sea y como sea posible para empezar.

Como parte del proceso la magnífica producción de la Ópera de San Diego en 2022 de Romeo y Julieta de Gounod nos permite contemplar el potencial precio de nuestras violaciones de uno a otro, reconocer el anhelo común de todos nosotros, y abandonar nuestras armas a cambio de amor.

Edith Frampton, Ph.D. da clases de Literatura Inglesa, así como drama y teatro en la Universidad Estatal de San Diego ( San Diego State University)

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SD OPERA ARTISTS HADLEIGH ADAMS (Baritone) Mercutio Company debut. Notable appearances: les Enfants Terrible (Opera Parallèle); Merola artist, Adler Fellow, over 85 performances (San Francisco Opera); Ravel (Esa Pekka Salonen); Bernstein (Marin Alsop and Michael Tilson Thomas); Handel (Nicholas McGegan); Puccini (Nicola Luisotti): Mozart (Sir Thomas Allen); Handel (Christopher Alden); Puccini (John Caird); Bach’s St Matthew Passion (Royal National Theatre); Crossing (Matt Aucoin at BAM); The Gospel of Mary Magdalene (Mark Adamo); If I Were You (Jake Heggie); appearances with Los Angeles Philharmonic, Minnesota Opera, Nederlandse Reisopera, San Francisco Symphony, Opera Parallèle, West Edge Opera, Nederlandse Reisopera; concerts: London Philharmonia Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Atlanta Symphony Orchestra, San Francisco Opera Orchestra, Chicago Symphony at the Ravinia Festival, Lincoln Center Festival, Philharmonia Baroque, American Bach Soloists, Nashville Symphony, and Colorado Symphony. hadleighadams.com NICOLE CABELL (Soprano) Juliette Company debut. Notable appearances: Bess, Porgy and Bess (English National Opera, Theater an der Wien); Juliette (Cincinnati Opera); Mimì, La bohème (Pittsburgh Opera, Cincinnati Opera, Opéra national de Paris); Donna Elvira, Don Giovanni (Michigan Opera Theatre); Alcina, Alcina (Grand Théâtre de Genève); Flavia in Cavalli’s Eliogabalo (Dutch National Opera); Violetta, La traviata (Royal Opera House, Covent Garden); winner, 2005 BBC Singer of the World Competition; “Soprano” *(Decca, “Editor’s Choice” by Gramophone, 2007 Georg Solti Orphée d’Or, French Académie du Disque Lyrique).

ADAM CAUGHEY (Tenor) Benvolio Company debut. Notable appearances: Sam Kaplan, Street Scene; The Magic Flute, A Midsummer Night’s Dream; Don Ottavio, Don Giovanni; Peter Quint, The Turn of the Screw, four comic tenors, The Tales of Hoffmann (Peabody Institute of Johns Hopkins University); Washington National Opera, Caramoor Opera, Green Mtn. Music Festival in Vermont, Washington Concert Opera, Opera Camerata; notable roles: Tamino, Edgardo, Rinuccio, Albert Herring, and Harlekin (The Emperor of Atlantis); Alfredo, La traviata (FF Collective).

SARAH COIT (Mezzo-soprano) Stephano Company debut. Notable appearances: Adonis, PermaDeath (White Snake Projects, world premiere); Mercédès, Carmen (Seattle Opera); soloist, Songfest (Ravinia Festival); Jenny Diver, The Threepenny Opera (West Edge Opera); Olga, Eugene Onegin (Livermore Valley Opera); soloist, Vivaldi Gloria, Bach Magnificat (Master Chorale of South Florida); the Shepherd, White Cat, Squirrel, L’Enfant et les sortilèges (Utah Symphony); Mercédès, Zerlina, Don Giovanni (Utah Opera); 2017

National Semi-Finalist in the Metropolitan Opera National Council Auditions; 2020 recipient of the American Bach Soloists’ Jeffrey Thomas Award and was a runner-up in the “Best Opera Singer” category for 2019-2020 season San Francisco Classical Voice Audience Choice Awards. sarahcoit.com ANDREW KONOPAK (Baritone) Grégorio Company appearance: All is Calm: The Christmas Truce of 1914 (2018). Notable appearances: All is Calm: The Christmas Truce of 1914 (Bodhi Tree Concerts); der Musiklehrer, Ariadne auf Naxos (Berlin); Le Philosophe, Chérubin; Belcore, The Elixir of Love; Los Angeles Western Regional level of the Metropolitan Opera National Council Auditions; Musical Merit Foundation of San Diego, the Loren L. Zachary Competition.

ADRIAN KRAMER (Tenor) Tybalt Company appearance: Don José The Tragedy of Carmen (2017). Notable appearances: Normanno, Lucia di Lammermoor (Opera Philadelphia); Gérard, Les enfants terribles, Bill, Flight, Joe, La fanciulla del West (Opera Omaha); Ralph Rackstraw, HMS Pinafore (Edmonton Opera); Tenor, Tchaikovsky: None But the Lonely Heart (Ensemble for the Romantic Century); Borsa, Rigoletto, 2nd Nazarene, Salome, Owen’s Son, Cold Mountain, Second Bodyguard, Dr. Sun Yat-sen (Santa Fe Opera); Nanki-Poo, The Mikado (Toronto Operetta Theatre); soloist, Elijah (Kingston Symphony Orchestra), Hodie (Talisker Players), Beethoven’s Symphony No. 9 (Canzona Chamber Players Orchestra), Handel’s Messiah (Sault Symphony Orchestra); Duke, Rigoletto, Rodolfo, La bohème (Kitchener-Waterloo Symphony Orchestra); Ferrando, Così fan tutte (Glenn Gould Studio); Duke, Rodolfo, Alfredo, La traviata (Kingston Symphony Orchestra); Campbell Wachter Memorial Award for Singers (Santa Fe Opera); grand prize winner (Louis Quilico Competition, Juilliard Honors Recital Competition).

SIMON LIM (Bass) Friar Laurent Company appearance: Ramfis, Aida (2019). Notable appearances: Guccio, Gianni Schicchi, Tom, A Masked Ball, Deputato Fiammingo, Don Carlo (Teatro alla Scala); Mustafa, L’italiana in Algeri (Palau de les Arts); Barone di Kelbar, Un giorno di regno (Verona); Procida, I vespri siciliani (Reggio Emilia, Modena, Piacenza); Conte Asdrubale, La pietra del Paragone (Theatre de Chatelet); Marchese di Calatrava/Padre Guardiano, La forza del destino (Parma Verdi Festival); soloist, Verdi Requiem (Innsbruck); Timur, Turandot, Raimondo, Lucia di Lammermoor (Deutsche Oper Berlin); Ratcliffe, Billy Budd (Genova); Zuniga, Carmen (Glyndebourne Festival); Zaccaria, Nabucco (Cagliari, Lisboa, Salerno, Lille); Ramfis (Deutsche Oper Berlin); Padre Guardiano, La forza del destino, Alidoro, Cenerentola (Teatro Filarmonico Verona); Yorg, Stiffelio, Balthasar, La favorite (La Fenice); Alidoro (Teatro Regio Torino); Yorg (Bilbao); President Wu Virtu, The New Prince (Amsterdam); Raimondo (Venice); Tom (Bayerische Staatsoper); Oroveso, Norma (Oslo); Filippo II, Don Carlo (Tel Aviv); Nourabad, The Pearl Fishers (Bilbao).

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SD OPERA ARTISTS PENE PATI (Tenor) Roméo Company debut. Notable appearances: Percy, Anna Bolena (Opéra national de Bordeaux); Romeo, Romeo and Juliet, The Duke, Rigoletto, The Elixir of Love, Madama Butterfly, Manon (San Francisco Opera); Alfredo, La traviata (Bolshoi Theatre); while still a young artist in San Francisco Opera’s Adler Program, his critically acclaimed 2017 debut as The Duke in Rigoletto; winner, Joan Sutherland and Richard Bonynge ‘Bel Canto’ Award; second prize, audience prize, Operalia; second prize, Neue Stimmen; first prize, Montserrat Caballé International Aria Competition, founding member of Sol3 Mio. TED PICKELL (Bass-baritone) The Duke of Verona Company appearance: Samuel, The Pirates of Penzance (2018). Notable appearances: The Mikado, The Mikado (Northwest Indiana Symphony); Der Vater, Hänsel und Gretel, Leporello, Don Giovanni (Point Loma Opera Theatre); The Giant, Jack and the Beanstalk, Basilio, The Barber of Seville (Opera Iowa); Arthur Jones, Billy Budd (Des Moines Metro Opera); Blitch, Susannah, Sam, Trouble in Tahiti, Figaro, The Marriage of Figaro, The Warden, Dead Man Walking, The Impresario, The Impresario (Northwestern University Opera Theatre); Micha, The Bartered Bride (Music Academy of the West); Figaro (Opera Academy of California); Mars, Orpheus in the Underworld, Falstaff, The Merry Wives of Windsor, Armed Man, The Magic Flute (University of the Pacific Opera Theatre). tedpickell.com COLIN RAMSEY (Bass) Count Capulet Company appearances: Marullo, Rigoletto (2019); Colline, La bohème (2020). Notable appearances: Guglielmo, Cosí fan tutte, Dr. Grenvil, La traviata (Opera San Jose); Guglielmo, Così fan tutte/COVID fan tutte (Pacific Opera Project); Le Comte des Griuex, Manon (Opera Santa Barbara); The Speaker, The Magic Flute (Pacific Symphony); Figaro, The Marriage of Figaro (Norwalk Symphony). Other appearances at: Seattle Opera, Wolf Trap Opera, Austin Opera, Sarasota Opera, Des Moines Metro Opera, The St. Paul Chamber Orchestra, and The Los Angeles Philharmonic. His Repertoire roles: Alidoro, La Cenerentola; Collatinus, The Rape of Lucretia; Seneca, L’incoronazione di Poppea; Mr. Kofner, The Consul; Il Frate, Don Carlo; Angelotti, Tosca: Giorgio, Nina; Cadmus, Somnus, Semele; Raimondo, Lucia di Lammermoor; Colline, La bohème; Basilio, The Barber of Seville; Father Palmer, Silent Night. colinramsey.com ALEXANDRA RODRICK (Mezzo-soprano) Gertrude Company appearance: Berta, The Barber of Seville (2021). Notable appearances: Donna Elvira, Don Giovanni (Chautauqua Opera, Baltimore Concert Opera); soloist, bel canto (Vero Beach Opera); Mercédès, Carmen (Veroza Japan); Angelina, Cinderella (The Atlanta Opera, Opéra Louisiane); Tisbe, Cinderella (Opera Delaware); Cherubino, The Marriage of Figaro (Point Loma Opera Theater);

Roggiero, Tancredi (Baltimore Concert Opera); La Ciesca, Gianni Schicchi/Buoso’s Ghost (Opera Delaware); Hermia, A Midsummer Night’s Dream, Dorabella, Cosi fan tutte, Anna I, Seven Deadly Sins, Le Prince Charmant, Cendrillon, Carmen, The Tragedy of Carmen (Opera Institute at Boston University); Wife, Naga (Beth Morrison Projects/Boston University); Rosina, The Barber of Seville (Opera Tijuana); Mercédès, Carmen (Aspen Opera Theatre); Bianca, The Rape of Lucretia (Green Mountain Opera Festival); Flora, La traviata (National Symphony Orchestra). alexandrarodrick.com ANTHONY WHITSON-MARTINI (Baritone) Count Pâris Company appearance: All is Calm: The Christmas Truce of 1914 (2018). Notable appearances: Utah Festival Opera and Musical Theatre; Lambs Players Theatre; Così fan tutte, Rusalka, Don Giovanni, Ariadne auf Naxos and The Magic Flute (Academy of Vocal Arts); West Side Story (The Philadelphia Orchestra); Lyric Fest, La Jolla Symphony & Chorus, San Diego Master Chorale; Regional Finalist of the Metropolitan Opera National Council Auditions, Award -winner Lotte Lenya Competition; Burbank Philharmonic; La Jolla Symphony & Chorus; Opera Buffs.

YVES ABEL Conductor/Principal Conductor Company appearances: The Daughter of the Regiment (2013); Pagliacci (2014); Madama Butterfly (2016); Carmen (2019).

Notable appearances: Don Pasquale, Simon Boccanegra, The Marriage of Figaro, La traviata, Dialogues of the Carmélites, Tiefland, Carmen and Carmina Burana (Deutsche Oper Berlin); The Elixir of Love, Madama Butterfly, Simon Boccanegra, A Masked Ball, The Daughter of the Regiment and Carmen (Vienna Staatsoper); I Capulet e I Montecchi (Bayerische Staatsoper); Carmen, The Tales of Hoffman, Daughter of the Regiment, Madama Butterfly, La traviata (The Metropolitan Opera); The Daughter of the Regiment, La traviata (Royal Opera, Covent Garden); The Daughter of the Regiment (La Scala); Faust, Hänsel und Gretel (Paris Opera); Hamlet, Madama Butterfly, Roméo et Juliette (San Francisco Opera); Le Comte Ory (Glyndebourne); The Elixir of Love, The Barber of Seville (Lyric Opera of Chicago); Matilde di Shabran, The Barber of Seville, Adina, La Cenerentola (Pesaro Rossini Festival); Ermione (The Dallas Opera); Il trovatore, The End of the Affair, Vanessa (Seattle Opera); Il Turco in Italia (Monte Carlo Opera); Così fan tutte, Italiana in Algieri (Santa Fe Opera); Seven Angels (Aspen Music Festival); The Elixir of Love (Canadian Opera Company); Pelléas et Mélisande, La bohème, Otello (Opera de Oviedo); Carmen (Opera Philadelphia, Hong Kong Opera); The Barber of Seville (Rossini Opera Festival); La traviata (Royal Opera House). Additional appearances: Lyric Opera of Chicago; Bayerische Staatsoper; Opéra National de Paris; Netherlands Opera; Grand Théatre de Génève; Teatro San Carlo Naples; Teatro Comunale di Bologna; New National Theatre in Tokyo; Welsh National Opera; Opera North. yvesabel.com

P10 PERFORMANCES MAGAZINE

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SD OPERA ARTISTS SARAH BAHR Costume Designer Company debut. Notable appearances: Albert Herring (Scenic Design), Roméo et Juliette (Costume Design) (Minnesota Opera); Redwood, Stinkers, Small Mouth Sounds, The Wolves, The Wickhams, Hand to God, Miss Bennet, Lonestar Spirits, and Anna in the Tropics (Jungle Theatre); Thunder Knocking on the Door, The Sins of Sor Juana (Ten Thousand Things Theatre); The Hollow, Understood, The Boy and Robin Hood (Trademark Theater); To Let Go and Fall (Theater Latté Da); This Bitter Earth (Penumbra Theater); Roe (Mixed Blood Theatre); Carmen (Mill City Summer Opera). sarahbahr.com WILLIAM BOLES Set Designer Company debut. Design work: The Cherry Lane Theatre (NYC); Kirk Douglas Theatre, Children’s Theatre Company, Actors Theater of Louisville, Huntington Theater Company, Wolftrap Opera, Minnesota Opera, Milwaukee Rep, Skylight Music Theater, Next Act, and Pig Iron Theatre Company (Regional); Goodman, Steppenwolf, Second City, Lyric Opera, Chicago Opera Theater, Victory Gardens Theater, The Hypocrites (community member), American Theater Company, A Red Orchid, Chicago Children’s Theatre, Sideshow (artistic associate), Emerald City, Steep, Step-Up Productions and First Floor Theater (Chicago); Stockholm Vocal Academy, Opera Siam Bangkok (International). wbdesigns.carbonmade.com MATTHEW OZAWA Director Company debut. Notable appearances: Madama Butterfly (Santa Fe Opera, Arizona Opera), Don Quixote (Lyric Opera of Chicago), Romeo and Juliet (Minnesota Opera, Cincinnati Opera, Michigan Opera Theatre), Nabucco (Lyric Opera of Chicago), L’Opera Seria (Wolf Trap Opera), The Marriage of Figaro (Opera Colorado, North Carolina Opera), The Barber of Seville (Kentucky Opera), Arizona Lady (Arizona Opera), La bohème (Opera Colorado, Opera North), Les Mamelles de Tiresias/Le Pauvre Matelot (Wolf Trap Opera); An American Soldier (Opera Theatre of St. Louis), An American Dream (Lyric Opera of Chicago), Second Nature (Lyric Opera of Chicago), After The Storm (Houston Grand Opera), Snow Dragon (Skylight Music Theatre, Opera Siam), Frankenstein (West Edge Opera), The Memory Stone (Houston Grand Opera); A Little Night Music (Houston Grand Opera, Des Moines Metro Opera), Sweeney Todd (Skylight Music Theater); Eighth Blackbird (Hand Eye and Ghostlight), Plácido Domingo (Celebrating Plácido Domingo), Sondra Radvanovsky (The Three Queens), Houston Ballet & Asia Society Houston (Tsuru), Mariachi Aztlon (Canciones y arias), Alexa Grae/Jon Wes (Vimeo music video – Sur La Nuit), and visual performance designer Candystations (Hand Eye); founder, Mozawa. matthewozawa.com

DOUG SCHOLZ-CARLSON Fight/Intimacy Director Company debut. Intimacy Director: Fire Shut Up in my Bones, Eurydice, Rigoletto, Don Carlos (Metropolitan Opera); Anonymous Lover, La traviata, The Fix, Elektra, The Barber of Seville (Minnesota Opera), Christmas Carol (Guthrie Theater); Fight Choreographer: Silent Night (World Premiere - Minnesota Opera, Opera Philadelphia, Kansas City Opera, Fort Worth Opera) Roméo et Juliette (Minnesota Opera, Palm Beach Opera, Austin Opera, Madison Opera); Dead Man Walking, The Shining (Minnesota Opera); I Capuleti e i Montecchi (New York City Opera); Stage Director: Lucia di Lammermoor (Pittsburgh Opera, Austion Opera, Portland Opera), Albert Herring, La fanciulla del West (Minnesota Opera); A Little Night Music, Turn of the Screw, The Barber of Seville, Roméo et Juliette (Madison Opera); Cymbeline, Richard III, Romeo and Juliet, Macbeth, Shakespeare in Love (Great River Shakespeare Festival, Artistic Director) BRUCE STASYNA Chorus Master Company appearance: 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: Conductor, New York City Opera, Boston Lyric Opera, Sugar Creek Opera, Anna Nicole, The Handmaid’s Tale, Orazi e Curiazi, Joseph Merrick dit Elephant Man; 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; chorus master, San Diego Opera, Washington Concert Opera, New York City Opera, Minnesota Opera, Wolf Trap Opera and Des Moines Opera.

JAVIER VELASCO Choreographer Company appearance: Faust (2011). Notable appearances: La Jolla Playhouse, Old Globe, San Diego Rep (Director: A Christmas Carol, Cabaret, Suds, Everybody’s Talkin, 33:1/3 House of Dreams; Choreographer: Evita, Hairspray, Tommy, In the Heights, Threepenny Opera, Violet, Fun Home, Zoot Suit, Bandido, Corridos). Artistic Director for San Diego Ballet, over 100 productions including Romeo et Juliet, The Jungle Book, Don Juan, Giselle, Mambomania. The Toughest Girl Alive (creator/director, New York International Fringe Festival), Eternally Bad (Moxie Theatre).

PAUL WHITAKER Lighting Design Company debut. Notable appearances: Public Theatre, Playwright’s Horizon’s, Second Stage, and The Atlantic (Off Broadway); The Guthrie, The Alley, South Coast Repertory, The Yale Repertory, La Jolla Playhouse, Center Stage Baltimore (Regional); Flight, Rigoletto, Diana’s Garden, Roméo et Juliette (Minnesota Opera). paulwhitakerdesigns.com

PERFORMANCES MAGAZINE P11

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SD OPERA CHORUS SOPRANO Erica Austin Laynee Dell Woodward sponsored by Ms. Sheila Moss Lisa Frisque Maria Janus sponsored by Claire Reiss Tasha Koontz sponsored by Susan H. and Stephen Childs Patricia McAfee sponsored by Sylvia M. Smith Amy Mein Katie Polit ALTO Abigail Allwein sponsored by Dr. and Mrs. Ronald G. Leonardi Mary E. Boles Allen sponsored by Bobbie Ball-Bradley Laura Bueno sponsored by Carolyn and Giovanni Bertussi Sandra Camarena Sarah Nicole Carter sponsored by Cynthia Walk Isadora Dolan Karin Wilcox Anna Yelizarova

TENOR Alexis Alfaro sponsored by Robert H. Kaplan, Ph.D. and Marina Baroff Ernie Alvarez Andrew Bennett sponsored by Sigrid Pate Butler Bernardo Bermudez sponsored by Joan Henkelmann Jim Boydston sponsored by Karen Valentino Adam Caughey Brad Fox Frank Napolitano Benjamin Plaché sponsored by Sarah B. Marsh-Rebello, G.G. and John G. Rebelo Timothy Simpson BASS Shelby L. Condray sponsored by Stacy and Don Rosenberg Jeong Sang Lyu David Marshman sponsored by David K. Jordan Kevin Martin Vincent Martin James Schindler Michael Sokol sponsored by William D. Smith and Carol A. Harter

In addition to the sponsors listed above, San Diego Opera is grateful to Candace Carroll Esq. and Len Simon Esq., the late Erich Schoessler, and Janet and Jonathan White for their generous support of the Connect with a Chorister program.

CORPS DE BALLET Sierra Crocker Renato De Leon Isabelle Glavin Tonatiuh Gómez Stephanie Maiorano Jared Osoria

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.

SD OPERA FIGHTERS AND SUPERNUMERARIES Chris Getsla, Lead Fighter Jesi Betancourt, Super Captain

SUPERNUMERARIES Nicolas Castillo Erika Cheswick Cosmo Cothran-Bray

Dan Denison Margie Omafray Louis Perez Kayla René

P12 PERFORMANCES MAGAZINE

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SAN DIEGO SYMPHONY ORCHESTRA 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 Ai Nihira Awata Jing Yan Bowcott Yumi Cho Hernan Constantino Alicia Engley Kathryn Hatmaker Angela Homnick Kenneth Liao Igor Pandurski Julia Pautz Yeh Shen Edmund Stein Hanah Stuart John Stubbs Pei-Chun Tsai Zou Yu Thomas Dougherty* Benjamin Hoffman* Nicole Sauder* Sarah Schwartz* VIOLA Chi-Yuan Chen Principal KAREN AND WARREN KESSLER CHAIR Nancy Lochner Associate Principal Wanda Law Qing Liang Abraham Martin Johanna Nowik Ethan Pernela Marcel Gemperli* Jason Karlyn* Michael Molnau* CELLO Yao Zhao Principal Chia-Ling Chien Associate Principal Marcia Bookstein

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Andrew Hayhurst Richard Levine Mary Oda Szanto Nathan Walhout Xian Zhuo Anna Cho* BASS Jeremy Kurtz-Harris Principal SOPHIE AND ARTHUR BRODY FOUNDATION CHAIR Susan Wulff Associate Principal P.J. Cinque Samuel Hager Michael Wais Margaret Johnston+ Kathryn Bradley* Kaelan Decman* FLUTE Rose Lombardo Principal Sarah Tuck OBOE Sarah Skuster Principal Rodion Belousov Andrea Overturf ENGLISH HORN Andrea Overturf DR. WILLIAM AND EVELYN LAMDEN ENGLISH HORN CHAIR CLARINET Sheryl Renk Principal Frank Renk BASS CLARINET Frank Renk BASSOON Valentin Martchev Principal Ryan Simmons Leyla Zamora CONTRABASSOON Leyla Zamora

HORN Benjamin Jaber Principal Darby Hinshaw Assistant Principal & Utility Elyse Lauzon Tricia Skye Douglas Hall TRUMPET Christopher Smith Principal John MacFerran Wilds Ray Nowak TROMBONE Kyle R. Covington Principal Logan Chopyk Kyle Mendiguchia BASS TROMBONE Kyle Mendiguchia HARP Julie Smith Phillips Principal TIMPANI Ryan J. DiLisi Principal Andrew Watkins Assistant Principal PERCUSSION Gregory Cohen Principal Erin Douglas Dowrey Andrew Watkins PRINCIPAL LIBRARIAN Courtney Secoy Cohen 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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SD OPERA LEAD PRODUCTION SPONSOR

San Diego Opera celebrates

DARLENE MARCOS SHILEY Lead Production Sponsor of Gounod's ROMÉO ET JULIETTE

San Diego Opera’s Board of Directors, staff and artists are proud to celebrate Darlene Marcos Shiley as the Lead Production Sponsor for our production of Roméo et Juliette.

Darlene has been a dedicated supporter of San Diego Opera for more than three decades. This support has brought some of the world’s greatest opera productions to life on the stage in San Diego ranging from new works like Jake Heggie’s Great Scott to timeless classics like Puccini’s Turandot and last year’s innovative drive-in production of The Barber of Seville.

Darlene’s love of the arts stems from her early years acting in Northern California, where she met the love of her life, the late Donald P. Shiley. The Shileys’ deep generosity has had an incredible impact on organizations across San Diego. We are grateful for their devotion to San Diego Opera and to the arts.

P14 PERFORMANCES MAGAZINE

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SD OPERA SPRING SEASON SPONSOR

Conrad Prebys and Renée Fleming at SDO’s Renée Fleming in Concert, March 2012

San Diego Opera is proud to have The Conrad Prebys Foundation as our Spring Season Sponsor. Mr. Prebys was a dear friend, ardent supporter, and distinguished guest at many of our performances over the years.

Conrad Prebys moved from Indiana to California with $500 in his pocket and a dream. Over the following decades, he built a real estate empire as one of the largest private owners of residential multi-family properties in San Diego County. In his later years, he became dedicated to the community through charities, donating over $350 million to organizations devoted to healthcare, medical research, visual and performing arts, higher education, youth development, and more. To ensure that his vision extended beyond his lifetime, Mr. Prebys created The Conrad Prebys Foundation to perpetuate his commitment to philanthropic endeavors in San Diego. Since its inception, The Foundation has made grants totaling more than $145 million.

San Diego Opera’s Spring Season aims to honor the spirit of inspiration that Mr. Prebys sought from the performing arts. We are excited for our partnership as The Conrad Prebys Foundation continues its journey of transformational philanthropy for the San Diego region.

PERFORMANCES MAGAZINE P15

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Aging Magician

Co-created by PAOLA PRESTINI, RINDE ECKERT & JULIAN CROUCH Co-Produced by BETH MORRISON PROJECTS & NATIONAL SAWDUST Featuring BROOKLYN YOUTH CHORUS & THE ATTACCA QUARTET

A hauntingly beautiful hybrid of opera and theatre that celebrates youth, imagination, and the peculiar magic of ordinary life.

West Coast Premiere.

Friday, May 13, 2022 7:30 PM Saturday, May 14, 2022 2:00 PM Saturday, May 14, 2022 7:30 PM Balboa Theatre

FOR TICKETS, VISIT SDOPERA.ORG OR CALL (619) 533-7000 SD Opera Romeo Juliette_PROG_0422.indd 16

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CH UST ET

y life.

San Diego Opera Gala 2022

JUNE 4, 2022 | THE HILTON LA JOLLA TORREY PINES

A NIGHT TO DREAM Rebecca and Eugene ‘Mitch’ Mitchell, Chairs

HONORING

Sherry and Kevin Ahern Visit sdopera.org/gala for more information and to purchase tickets.

Art by Mahlani Gumabon England

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San Diego Opera is proud to announce the World Premiere performances of

EL ÚLTIMO SUEÑO DE FRIDA Y DIEGO (The Last Dream of Frida and Diego)

By Latin Grammy winning composer Gabriela Lena Frank and Pulitzer Prize-winning playwright Nilo Cruz October 29, November 1, 4 & 6m, 2022

Frida Kahlo and Diego Rivera have inspired generations of artists. Join San Diego Opera as it embarks on the world premiere of this exciting new opera that explores the tumultuous relationship between these two great Mexican painters.

During the celebration of Día de muertos (day of the Dead), surrounded by candles and the fragrance of marigolds, the great muralist Diego Rivera longs to see his deceased wife Frida Kahlo once more. Catrina, the keeper of the souls, approaches Frida in the afterlife, and explains that Diego desperately needs his beloved angel as the end of his life approaches. For only twenty-four hours, Frida and Diego will relive their tumultuous love through their paintings and embrace the passion they shared.

Subscribers to the 2022-2023 Season will receive ticket priority for the World Premiere.

Stay tuned for a full announcement of the season to ensure you are a part of this once-in-a-lifetime opportunity to experience opera history in the making.

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SDOPERA CORPORATE AND INSTITUTIONAL SUPPORT San Diego Opera is grateful for our major corporate, foundation and government sponsors.

IN-KIND SUPPORT PROVIDED BY:

GREENE MUSIC Home of Your Piano • Since 1974

GOVERNMENT SUPPORTERS

FOUNDATION SPONSORS

Carol Franc Buck Foundation The Conrad Prebys Foundation Farrell Family Foundation Fundación Coppel Ann and Gordon Getty Foundation The Hervey Family Fund at The San Diego Foundation Mandell Weiss Charitable Trust Pratt Memorial Fund Price Philanthropies Ramona Community Foundation Samuel I. and John Henry Fox Foundation The San Diego Foundation

miere.

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SD OPERA DONOR RECOGNITION With deepest gratitude, San Diego Opera gratefully acknowledges the following major individual gifts.

$100,000 and above Anonymous Candace Carroll, Esq. and Len Simon, Esq. Candace and Len have been generous supporters of San Diego Opera for more than three decades. SDO is fortunate to have Candace, a highlyregarded appellate practitioner, serve on its board.

Carol Anne Lazier As a current member and past Chair of its Board of Directors, Carol has been the linchpin of support for San Diego Opera’s ongoing success. Her philanthropy across the San Diego community has been profound.

Haydee and Carlos A.* Mollura The generous philanthropy of Haydee and the late Carlos A. Mollura has provided vital support for many organizations across Southern California.

San Diego Opera is especially grateful to the Molluras for generously underwriting our critically-acclaimed 2018 production of Ástor Piazzolla’s María de Buenos Aires.

Stacy and Don Rosenberg Stacy and Don Rosenberg are staunch supporters of San Diego Opera. Stacy joined the Board of Directors of San Diego Opera in 2008, the first notfor-profit she aligned with after moving here from New York. Stacy currently serves as Vice President of Finance for the Opera and was honored at our Midsummer Gala last year.

Darlene Marcos Shiley Darlene has been a dedicated supporter of San Diego Opera for more than three decades. This support has brought some of the world’s greatest opera productions to life on the stage in San Diego ranging from new works like Jake Heggie’s Great Scott to timeless classics like Puccini’s Turandot.

P20 PERFORMANCES MAGAZINE

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SD OPERA DONOR RECOGNITION $50,000 to $99,999 Anonymous

Sarah B. MarshRebelo, G.G. and John G. Rebelo

Sherry and Kevin Ahern

Agustin Coppel James A. Merritt

Lee and Frank Goldberg Allison and Robert Price Family Foundation Maureen and Thomas Shiftan, M.D. The Joan and Irwin Jacobs Fund of the Jewish Community Foundation

Paula Landale

Sandra Silvers* Sopranos Investment Group, in memory of James Forbes Tom and Cathy Staver

*deceased PERFORMANCES MAGAZINE P21

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SD OPERA MEMBERSHIP

Don’t let another season go by without joining our family of members who enjoy opportunities to deepen their knowledge of opera through exclusive access and intimate experiences.

Our 56th season includes an array of exciting membership events. Join us for Celebrating the Voice, Stars in the Salon, and Bruce’s Box Lunch — wonderful experiences that bring you up close and personal with the people who make our season a success. We present these discussions and workshops as our special thank you for helping fulfill our mission — to deliver exceptional vocal performances and exciting, accessible programs to diverse audiences, focusing on community engagement and the transformative power of live performance.

Membership also allows a social connection with other opera-lovers. Your glass of champagne awaits during intermission at our exclusive Patron Lounge, your place alongside the principal singers at cast parties is set, and a table at our Onstage Dinner, nestled in the set of the opera, gives you a view of the backstage and the theater house at the same time.

Curious about our member events? Join us for our free Your Local! concert series to see what you’re missing!

Visit our website by scanning the QR code or call the Development department at (619) 232-7636.

BRINGING THE PROCESS OF OPERA TO LIFE P22 PERFORMANCES MAGAZINE

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MAIN STAGE MEMBER EVENTS BRUCE'S BOX LUNCH CELEBRATING THE VOICE Join Chorus Master and Conductor Bruce Stasyna for these special events BACKSTAGE EXPERIENCE An up close and personal look at what it takes to build and produce an opera STARS IN THE SALON General Director David Bennett interviews the talent from the current main stage opera MASTERCLASS A private evening with a maestro and artists, a truly remarkable evening.

ONSTAGE DINNER Dinner on the stage of the current main stage opera

NEWLY ADDED MEMBER EVENTS YOUR LOCAL! Bringing live music closer to you

EQUAL VOICES A free community-based program with performances throughout San Diego County and the Cali-Baja region to deepen the connections among us.

APERITIVO, HAPPY HOUR WITH GENERAL DIRECTOR DAVID BENNETT Join us for a cocktail as David interviews opera artists from around the globe

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SD OPERA CONDUCTOR’S NOTE/ NOTA DEL DIRECTOR DE LA ORQUESTA Roméo et Juliette is very close to my heart. My history with this opera goes back a long way.

When beginning my career years ago, I was hired as Music Director of a small fringe company in New York funded by the past-her-prime soprano (I’m being charitable) who was to sing Juliette.

After the first music rehearsal in which there were obvious irreconcilable differences in musical taste between the diva and me, she promptly fired me!

Fresh out of college, young and unemployed, I was devastated.

La ópera Romeo y Julieta es muy especial para mí.

Mi historia con esta ópera se remonta muy lejos.

Cuando empecé mi carrera ya hace algunos años.

Me habían contratado como Director Musical de una pequeña compañía poco convencional en Nueva York, fundada por una ya caduca soprano ( y me estoy viendo amable), quién iba a cantar Julieta.

Y después del primer ensayo musical en el cual había obvias irreconciliables diferencias en gusto musical entre la diva y yo, ella rápidamente me despidió. Recién salido de la universidad, joven y desempleado, me sentí destrozado.

But this proved the catharsis needed to realize my American Dream and become an entrepreneur by mounting my own production of Roméo.

Together with my next door neighbor Susan Melvoin, we founded a new fringe opera company we called l’Opera Français de New York. Our first opera of many was Gounod’s Roméo et Juliette.

Though modest in scope and performed with me conducting from the piano with young singers from several of NY’s best music schools, it proved popular, and a new company was launched along with my career. It is only fitting then this would be my first production with San Diego Opera as their Principal Conductor.

Pero esto resulto en la catarsis necesaria para darme cuenta de mi sueño americano y volverme un empresario y montar mi propia producción de Romeo. Junto con mi vecina de al lado Susan Melvoin, fundamos una nueva compañía experimental de ópera, la cual llamamos: L’Opera Français de New York. Nuestra primera ópera entre muchas otras fue Romeo y Julieta de Gounod.

Aunque modesta en su capacidad y presentada bajo mi dirección desde el piano, con jóvenes cantantes, de varias de las mejores escuelas musicales de Nueva York, resulto popular, así que una nueva compañía había nacido junto con mi carrera. Es entonces especialmente apropiado que esta sea mi primera producción con la Ópera de San Diego como su Director Principal de Orquesta.

But why was this opera our first?

Not only because its story was made famous by Shakespeare, but Gounod’s masterpiece contains a multitude of ravishing melodies, four irresistible love duets between the two protagonists, as well as grand choral and battle scenes. It remains, along with the composer’s Faust, a staple of the French Grand Opera repertory and one of his most beloved works. Composed in 1867, it is in five acts, and a tour de force for the two principals who must present a full range of expression from the most delicate to the dramatic. I’m thrilled to work once again with Pene Pati who became an instant star after stepping in for an ailing colleague at the opening of the San Francisco Opera 2019 fall season in this very opera. And of course, it is a delight to return and conduct the San Diego Symphony with whom I have always felt the warmth of a close artistic understanding in the previous operas we have worked on together. Add to this the wonderful San Diego Opera Chorus, and these performances promise to be a real joy.

– Yves Abel, San Diego Opera Principal Conductor

¿Pero por qué es esta nuestra primera ópera?

No solamente porque Shakespeare hizo su historia famosa, pero la obra maestra de Gounod contiene un sin número de extraordinarias melodías, cuatro irresistibles duetos amorosos entre los dos protagonistas, así como grandes coros y escenas de batallas. Esta obra sigue siendo junto con su Fausto, básica en el repertorio de la Gran Ópera Francesa y una de sus obras más apreciadas. Compuesta en 1867, es en cinco actos y es toda una hazaña para los dos protagonistas, quienes tienen que ofrecer una vasta gama de expresiones desde las más delicadas hasta las dramáticas. Me encuentro emocionado de poder trabajar una vez más con Pene Pati quien se volvió una estrella de la noche a la mañana cuando tuvo que tomar el papel de un colega que se encontraba enfermo durante la inauguración de esta misma ópera en la temporada de otoño de 2019 de la Ópera de San Francisco.

Y por supuesto, es un placer regresar y dirigir a la Orquesta Sinfónica de San Diego, con quien siempre he sentido la calidez de una cercanía en nuestro entendimiento artístico en las óperas anteriores en las que hemos trabajado juntos. Unido a esto está el maravilloso Coro de la Ópera de San Diego y estas presentaciones prometen ser un autentico placer.

PERFORMANCES MAGAZINE P25

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SD OPERA DONOR LISTINGS With deepest gratitude, San Diego Opera acknowledges the following donors for their exemplary support of the 2021-2022 season.

Listing as of February 23, 2022.

General Director’s Circle $100,000 and above Anonymous Candace Carroll Esq. and Len Simon Esq. City of San Diego Commission for Arts and Culture The Conrad Prebys Foundation Eleanor Hutchinson Parker Foundation Kathryn Hattox Charitable Trust Carol Anne Lazier Haydee and Carlos A.* Mollura OPERA America: Innovation Grants and Ann and Gordon Getty Foundation Qualcomm Inc. Stacy and Don Rosenberg Darlene Marcos Shiley $50,000 - $99,999 Anonymous Ahern Agribusiness, Inc. Sherry and Kevin Ahern Fundación Coppel Agustin Coppel Cravath Swaine & Moore Lee and Frank Goldberg The Joan and Irwin Jacobs Fund of the Jewish Community Foundation Paula Landale Sarah B. Marsh-Rebelo, G.G. and John G. Rebelo James A. Merritt Price Philanthropies Allison and Robert Price Family Foundation Maureen and Thomas Shiftan, M.D. Sandra Silvers* Sopranos Investment Group, in memory of James Forbes Tom and Cathy Staver $25,000 - $49,999 Lou Alpinieri in loving memory of Brenda Alpinieri American Endowment Foundation Sigrid Pate Butler Joann Clark Dr. and Mrs. Richard Claytor James and Kathryn Colachis Fund at The San Diego Foundation County of San Diego Anna M. Curren Joan Henkelmann, in memory of Dr. Charles Henkelmann Karl and Greet Hostetler

Ann and Andy Irwin Robert H. Kaplan, Ph. D. and Marina Baroff Marilyn Kneeland* Willis Jerry Larkin* Veronica and Miguel Leff Dr. and Mrs. Ronald G. Leonardi Mandell Weiss Charitable Trust Jacqueline B. Mars Drs. Roger and Linda Mills National Endowment for the Arts Paul, Weiss, Rifkind, Wharton, & Garrison William and Clarice Perkins Claire Reiss Nicolas Reveles Sempra Energy Drs. Gloria and Joseph Shurman Karen Valentino Cynthia Walk Janet and Jonathan White $15,000 - $24,999 AB Bernstein Charles Schwab Charitable Dan Cameron Family Foundation Fidelity Charitable Teresa Fischlowitz Barbara Hench* Hervey Family Fund at The San Diego Foundation Leon Lachman Anne and Andy McCammon Peter and Peggy Preuss Swanna and Alan Saltiel from the Dan Cameron Family Foundation Gay Sinclair* Sylvia M. Smith William D. Smith and Carol A. Harter Linda P. Spuck Sara Zaknoen, M.D. $10,000 - $14,999 Anonymous (3) Jim Algert and Maurine Beinbrink Robin L. Allgren Lisa and Steve Altman Bobbie Ball-Bradley Bank of America Leslie Bassett Ingrid Benirschke and Gordon Perkins Margaret L. Boyce* Judith V. Brucker California Community

Foundation Cooley LLP DLA Piper David Duthu Donna Van Eekeren Ellen Browning Scripps Foundation Farrell Family Foundation Gertrude Fletcher Sally and Einar Gall Ingrid Hibben Jeanne Keller* Barbara Kjos Mrs. Charlotte Laverents* Ruth I. Ledermann Eli and Diana Lombrozo Elizabeth Wohlford MacLeod Joseph Martinez David Michael Peter* and Jane Polgar Dr. Benjamin Ramirez and Ross Russell ResMed Foundation Ruth Reznikoff Elyssa Rosenberg and Dr. Lucian Iancovici Sue Sesnon Salt Seltzer Caplan McMahon Vitek Susan and Fred Smith Stainrook Foundation Marc and Eva Stern U.S. Bank Susan and Richard Ulevitch Union Bank Mary Urquhart Mary L. Walshok, Ph.D. Gold Patron $5,000 - $9,999 Anonymous Patrick Abbott Richard R. Abello Lisa and Ben Arnold Warren and Eloise Batts David Bennett Carolyn and Giovanni Bertussi Mary Ellen Clark James M. and Lynn B. Caughey Linda Chester and Kenneth Rind Susan H. and Stephen Childs Congregation Beth El Sally Cuff Martha and Edward Dennis Alberta Feurzeig Socorro Fimbres Julianne J. Larsen and James Forbes, Ph.D.* Joyce M. Gattas, Ph.D. Peter C. Gernold and Brian J. McGoldrick

Lee and Linda Gillard Ginger E. & Robert D. Wallace Foundation T. George and Jeannie Harris Charles T. Hendrix Harry and Teresa Hixson Dr. Steve and Nancy Howard Jim and Carmen Hughes James Idell and Deborah Streett-Idell Paul Jacobs David S. Johnson David K. Jordan Matthew and Angela Kilman Lynn Kirkhofer Aline and Gert* Koppel Gale M. Krause Linda Levy and Edward McGrath Carl B. and Janet Lind In Memory of Dave Schubert Robert and Elizabeth Mallon Family Foundation Steven and Yvonne Maloney Elaine B. Marteeny Jeannette and Warren Martin Jerome J. Morrow in memory of Ethel Morrow Ms. Sheila Moss James and Melanie Nickel Michael Novak Bev Papas John and Diane W. Parks James Robbins Erich Schoessler* and in memory Mike Rabin Susan and Dr. Gary Spoto Jeannette R. Stevens Annalisa Storchi Sycuan Casino Robert and Tamara Thibodeau Shirli, Damien, and Justin Weiss Robert and Jean Will Armi and Al Williams Ms. Mona Wolpe WuXi AppTec Leo and Emma Zuckerman Silver Patron $3,500 - $4,999 Doug Bekkedahl Wallace Brithinee and Bernadette Belleci Mrs. Marlin W. Brossart Bill Carrick Keith Chen City of Encinitas Richard and Stephanie Coutts Stephen and Roberta Edelstein

*deceased

P26 PERFORMANCES MAGAZINE

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SD OPERA DONOR LISTINGS Richard and Stephanie Coutts Stephen and Roberta Edelstein Drs. Milton & Susan Erman Donald and Mary Ellen Fleischli Steven Hadfield Cherie Tirschwell Halladay Gary Jacobson and Martha Blake Jacobson John R. Kim Lynn Kirkpatrick Nancy E. Kossan, Ph.D. and Deborah Macdonald Grace E. Larsen Juan* and Alexis Lasheras Edward and Nancy Lyon Toni Jean Monise William and Jensine Nolan Carolyn and Ed Parrish Coreen Petti Bruce S. Ross and Eileen F. Gallo-Ross Carol and Jack Sanders Alamanita Ellis Stjerne and James Stjerne Margaret C. Tessier and Robert J. Griffin Karin Winner Bronze Patron $2,000 - $3,499 Irene Abraham and Gabriel Vogeli Mireille Anderson Patrick Anderson and Lester Olson Brenda Baker and Steve Baum Jane and Bob Bell Jack and Sue Ellen Benson Dr. Fred and Mrs. Donna Berger Linda S. and Robert Bernstein Cindy Bruecks Stephen Burgdorf Jui-Yuan Chang Steven and Sheri Cohen Ann Craig Karen DeLaurier and Oliver McElroy In memory of Joseph and Vivian Doering Dr. Leroy M. Dorman Drs. Brent and Sarita Eastman Dr. Barbara Favorito and Ms. Judith Hairston M. Carr and Marian N. Ferguson Ronald Franzese Joyce Glazer Jose Luis Gonzalez Beth A. Goodman Josh Gruenberg Joleen Guckian Mr. and Mrs. James E. Halbert Mr. and Mrs. Hale Megan Heine Herbert B. Hoffman Mrs. Shirley F. Hoggatt Joanne C. Hutchinson and David Cooper* Ronald Ignelzi Mrs. Phyllis Ingram

Johnson & Johnson PRD, L.L.C. Dr. Natasha Josefowitz Mel and Linda Katz Mr. and Mrs. John Kesser Richard and Carol Kornfeld Betty and Dr. Leonard Kornreich Stephanie Kourie Irene Kuster McCann Belina L.* & Paul L.* Lazzar Dennis C. and Kathleen Lees Ellen Lehman and Charles Kennel Thomas Jroski in memory of Godiva Liu Kathleen Loftman Jain Malkin Beverly and Harold Martyn In memory of Elizabeth B. Meyer Eugene and Rebecca Mitchell Ilene Mittman in memory of Dr. Charles Mittman Mauricio Monroy Nordson Corporation Foundation Rev. Raymond G. O’Donnell Arman Oruc and Dagmar Smek Rafael and Marina Pastor Bernard Paul Congressman Scott Peters and Lynn Gorguze Keith I. Polakoff William Purves and Donald Schmidt John Quinn Jay Rains Ms. Kathleen Roche-Tansey Eberhard and Jessica Röhm Ted Roth Leland and Debbie Sandler Margaret R. and Neal Schmale Alan J. Schuyler Debra Shannon David and Miriam Smotrich Robert J. Stall, Jr. & Katherine Nutting Dr. Mary L. Strobbe Kathleen Sullivan Dr. Fred and Erika Torri Sotirios Tsimikas Capt. and Mrs. Anderson W. Wacaser, USN (Ret.) Captain & Mrs. Don Watkins, USN (Ret.) Ann L. Zahner Xinhua Zheng and Richard Studer Benefactor $1,000 - $1,999 K. Andrew Achterkirchen Agilent Technologies John and Sophia Alessio June and Daniel T. Allen Patricia R. Alvarez Barbara G. Anderson Pratt Memorial Fund Raedel Calori and Backman Family

Carolyn Balkwell Melora Balson Mr. and Mrs. Michael Bardin Scott Warren Barnard David Bevilaqua and Craig P. Caldwell Bill & Melinda Gates Foundation Rocky and Alicia Booth R. Park and Louise F. Carmon Foundation Constance Carroll, Ph.D. Ned and Anne Chambers Neal Chazin Nathaniel L. Cohen* Courtney Coyle and Steven McDonald Madeleine Cranfill Robert Croke Christina de Vaca Mike and Anne Dessert Wally and Linda Dieckmann Richard G. Dooley RayMonda Duvall Beverly Edge and Darien DeLorenzo John and Barbara Edgington Alfred F. and Karin Esser The Etess Family Fund of the Jewish Community Foundation Dr. Connie J. Evashwick Lucier Family Elsa Feher Elissa and Richard Finerman Carol Ann Flanagan Nathan Fletcher Forsyth Leonard Fund at Rancho Santa Fe Foundation Jean Fort Paul and Gayle Ganster Colette O. Gerard-Kitnovski Richard Ghalie Carol Githens Jeannie Gleeson Michael and Brenda Goldbaum Dr. Laurie Greenberg Michael and Margaret Grossman Michael B. Harris Alberto and Martha Hayek Karen and John Hayes Sachiko Kohatsu and Tom Held Suzanne and Lawrence Hess Don and Celeste Hillman Patrick J. Hurley Christie Iverson Adrian Jaffer and Ann Laddon Mr. Jay Jeffcoat Jeannette S. and R. Douglas Johnson Russell and Mary Johnson Pamela Kaires Gina and Charles Kakos Carmela and Miguel Koenig Amy B. Kronick Dr. William & Evelyn Lamden and Randolph & Dr. Carol Lamden Corby Lance Maria-Cristina Leon

Anthony W. Leonard and Jin-Soo Kim Ae Soo Lerche Neil Malmquist and Scott Crispell Eileen Mason Joan McAfee Tina L. McArthur Laurel McCrink Mrs. Judy McDonald Douglas M. and Paula A. McGraime Charitable Foundation Edward and Elizabeth McIntyre Judge M. Margaret McKeown and Dr. Peter F. Cowhey Mark Mead Adriana Mendoza Sandra Miner Rena Minisi and Rich Paul Rev. Christopher Moore Judith Morgan David Morris Chandra Mukerji Chuck and Ann Nickel David Pallinger Bob Palmer Dennis Penn Michael Perkins and Anne Turhollow Dr. Sandra Petersen and Tuba Jim Darren and Bella Pfefferman William R. Pond Ms. Barbara Rabiner Lois J. Richmond Fund of the Jewish Community Foundation Patrick and Marti Ritto Dr. Ross and Nancy T. Rudolph Julie and Bill Ruehle Patricia A. Rutledge Hermeen Scharaga Doreen and Myron Schonbrun Carol Schrauzer Barbara Bry and Neil Senturia Alessandro Sette Gad and Suzan Shaanan Georgina Bien and Lu Sham Susan Shirk Portia Shumaker Anne and Ronald Simon Charles Starkey Stephanie Stolarz-Fantino Ms. Elizabeth G. Taft Gail and John Tauscher Justin and Leslie Tipp-Rebelo Nathan and Evette Weiss Mary Ann White and Lee Margot Carole Wilson and Robert Brandt Adam Winter Joseph and Mary Witztum William Wong Sandra and Peter Zarcades The Helene and Allan Ziman Fund of the Jewish Community Foundation Philip and Phyllis Ziring

*deceased PERFORMANCES MAGAZINE P27

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Lif

SD OPERA DONOR LISTINGS Sustainer $600 - $999 Anonymous Sibille Alexander and Gisela Seidensticker Joseph Annese Gaylyn N. Boone and James R. Dorcy Corey J. Braun Barbara Campbell Tracy Cooke Barbara Corcega Linda Dawson Edward Jones Daryl E. Ferguson Dr. William and Judith Friedel Catherine R. Friedman Frank L. and Katherine Greco Carrie and Jim Greenstein Edward S. Hand and Stanley C. Harazim Bo and Anita Hedfors Bonifacio G. and Suzanne M. Hernandez Lulu Hsu Kirby Kendrick and Robert McLeod Helen and Webster Kinnaird Frances and Jack Kyte Joseph and Eva Leonard Rosemary and Scott Leonard Gregory and Jennylee Nesbitt Laura Petrovich Bruce Ramet Bruce and Patricia Rasmussen Ms. Jordanna Rose, Ms. Nancy Hurwitz and Mr. Ken Rose, Esq. Vanya Russell Jukka Saukkonen and Velva Wood Todd Schultz Bruce E. Shirer, M.D. Rebecca Smith and Tom Tseng Roger G. Spragg Estate of Richard Stern Nick Ennis and Erin Trenda Gretchen Vik and Larry Clapper Carol Wallace Suhaila White Supporter $300 - $599 Anonymous (5) Kathleen and Charles Ables Sarah Agler Dixie Albright and David Wells Gary Allard Mr. Ronald G. Allen and Mr. Lindsay R. Fong Andrea Alpinieri-Glover and Adam Glover

Elizabeth Andersen Cheryl Anderson J. David Archibald and Gloria E. Bader Joyce Awramik Susan Barbey-Booth Sharon Barton Leland Beck and Marla J. English Nazanin Berenjian Drs. John and Karen Berger Dr. Liliana Binner Paul L. Bishop Lois Bloom Katie M. Boyer Michael and Jane Burke Ruth Bush Barbara Carlton Chuck Cattran Danielle Cervantes and Michelle Gilchrist Lynne M. Champagne and Wilfred S. Kearse Curtis Chan Ardith Chang June Chocheles Karl and Joanna Cikste John Cochran and Sue Lasbury Patricia Coffey Anne Colburn Ronald Cole and Brian Marsh Conoco Phillips Steve and Cathy Constable Jordan Covert Richard Crosland Patricia A. Crowley Hans Crumpler Diane and Norman Cullen Michael Dessert Douglas P. Doucette Dr. and Mrs. Edward J. Doyle John C. and Deborah Dunbar Patricia and Jack Eldon Christopher Elser Roswitha Enright Mrs. Phyllis Epstein David J. Erikson Jeffrey Esko Hester Evans Naomi Fortner Julia Foster Francis Gabbai Alison and George Gildred Marcia and David M. Gill Wayne Glad and Carol Becker Bar Giora Goldberg Andrea Hales and Bill Brown Maxine* and James Hall Robert H. Halleck Mrs. William F. Halsey Charlotte Hartley Mary Hazzard James P. Healy

John Hermann Betsy, Bob and Phil Himelstein in memory of Judy Himelstein Anne Hoiberg Dee-Hua Huang and Swu-Jane Lin Sshannon Huang Linda P. Ivor and Chris Steinhardt Ken Jackson Edward and Linda Janon James M. Jaranson Miriam Kastner Mr. Maurice Kawashima Jo Kiernan and Bjorn Bjerede Hyunchul and Wanhea Yuk Kim Daniel Kopti Roberto and Elena Kucinski Marilyn A. Lamb Kathy Lazzaro Elizabeth B. Leech Kathleen LeMieux Judy and Jack Leshefka Donmienne Leung Charles S.* and Robin Luby Helga Lupu Nicolae Lupu Susan Marberry Nancy Martin Marie Mateo Patricia S. McAfee Lisa McCann Matt McGrath Michael McMillan Michael and Kimberly McSherry Michael S. and Jessica Middleton Michael Miekina Grant J. Miller Mr. and Mrs. John Minteer Lynn and Trudy Mitchell Chris Montgomery Cheryl Morabito Justin Morello Karen and Joseph Morse Larry Nishnick Marybeth Norgren Teresa A. Norton Terren and Bill O’Connor Michael & Elizabeth Oldstone Immanuel Ontiveros Jean M. Oswalt Maxwell Paley Barbara Parker Richard and Patricia* Perlman Virginia Perrin Judith Persky Mary Yankee Peters and John David Peters Angy and Chris Peto Henry and Mary Powell

Drs. Jenny Price and Tony Hunter Eve Pritchard Dennis Ragen and Christine Hickman Susan A. Ranft Audrey S. Ratner Laura Ravine Dr. and Mrs. H. Kent Reed Douglas Rein Jane Renninger Michael J. Rensink Diane Retallack Betty Reynolds Ms. Sharon A. Reynolds William and Joyce Ritz Lynn Rockwell Rosalba Rodriguez Trevor Roper Norman M. and Barbara Rozansky Valerie C. Running Richard Salmon James E. Schwartz John Seal The Richard L. Shapiro Charitable Fund Michael & Sheila Sharpe Geri Sherman Ms. Bridget Slatten Ronald L. Smith Maida Soghikian Dr. Stanley Sollie Heidi and David Stadel Jaime A. Stallings Nancy Stauffer Scott and Jan Steele Janis and David Steller Elizabeth and Lester Stiel Shirley A Stowers Elise Streicher and David Huffman Lisa Swaiman Peg Sweesy Lynn H. and Elliot H. Tarson Jennifer Thomas Jeff and Cathy Tipton Natalie Tuomi Dr. Phyllis Tyson E. S. Urueta-Ruiz Frederique Vernhes Rava Villon and David Duke Kathleen C. and Thomas N. Volle Nancy Ward Mr. Jeffrey Webdell Vernon White Dr. Ian A. Wilson Victor and Dolly Woo Amelia Wood & Eric Mustonen Peggy Yamamoto Joseph A. Zechman Capt. and Mrs. Herb Zoehrer

*deceased

Wa

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Life Sciences Night at the Opera 2022

Thank you to our hosts and co-chairs Joe Panetta and Sara Zaknoen and the members of our Honorary Committee: Hui Cai, Ph.D., M.B.A., Vice President and Head of Content, WuXi AppTec Jennifer Giottonini Cayer, Board Chair, UCSD Cancer Center Joann Clark, CEO, Valhalla Scientific Edward A. Dennis, Ph.D., Chancellor Distinguished Professor of Chemistry, Biochemistry and Pharmacology, UCSD Martha G. Dennis, Ph.D., Principal at Gordian Knot Leo Divinsky, Managing Director, Stockdale Capital Partners LLC Marilyn Ferrari, President, Cesira-Health/Innovation Consulting Stephen Ferruolo, J.D., Ph.D., Partner, Perkin Coie LLP Karl and Greet Hostetler, Professor of Medicine Emeritus, UCSD School of Medicine Sabrina Johnson, President & CEO, Daré Bioscience, Inc. Robert H. Kaplan Ph.D., Associate Program Director, Leadership of Healthcare Organizations, School of Medicine, UCSD Paul Laikind, Former President & CEO of ViaCyte, Emeritus Board Member, Biocom California Ellen Lubman, M.B.A., Chief Business Officer at Werewolf Therapeutics, Board Member, Field Trip Health James Mackay, Ph.D., CEO, Aristea Therapeutics Magda Marquet Ph.D., Co-Founder & Co-CEO, ALMA Life Sciences LLC James A. Merritt M.D., Chief Medical Officer, CBR International Corp.

Prof. Roger Mills, Former VP, ACADIA, Former VP of Development, Pfizer Jeanne M. Novak, Ph.D., CEO and Principal Consultant, CBR International Corp.

Bernard Parker, Managing Partner, Caligen Bio Timothy Scott, CEO, TEGA Therapeutics Holly Smithson, CEO, Athena Richard Ulevitch, Ph.D., Professor and Chairman Emeritus, Scripps Research Mary L. Walshok, Ph.D., Associate Vice Chancellor, Public Programs, UC San Diego Janet White M.A., M.B.A., Bill & Melinda Gates Foundation, Pfizer (formerly)

A special thank you to our guest speaker Erica Ollmann Saphire, Ph.D. and to our underwriters:

Susan and Richard Ulevitch

Zed Strategic Consulting

Watch for details about Life Sciences Night at the Opera 2023!

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WHAT’S NEW IN SAN DIEGO OPERA ARTS EDUCATION? San Diego Opera is committed to serving the community with art education programs, making opera engaging and accessible to everyone. Our proudest moments are defined by promoting expression, connection and understanding in local schools and community centers throughout San Diego County.

This year, a participant in our Artists in Communities Program worked with SDO’s resident costume designer, Ingrid Helton, to build a costume that her great-grandmother would have worn in the late 19th century as a resident of a small town near Acapulco, Mexico. Both San Diego Opera and the program participant learned a great deal from this exchange. In an evaluation of the project, entitled San Diego Opera Costume Project Pilot: Learning How to Maintain the Generative Form and Honor Lived Experiences, a professional arts education program evaluator notes that, “Expressing oneself through the arts can awaken inspiration, stimulate curiosity, and connect individuals to a timeless stream of human creativity while simultaneously placing them within that lineage. For participants in this project, this was no different. They shared how seeing their artifacts come to life was deeply fulfilling and aroused a hunger to learn more about the art form as well as how their personal experiences shape their artistic perspective.” You can read the full report on the costume project by visiting our website sdopera.org.

SDO is introducing two new summer courses that reflect the thoughtful application of resources to complement existing education programs in the community – Italian for Spanish Speakers with a Focus on Opera and A Restorative Approach to Songwriting, Scriptwriting, and Spoken Word: Telling Stories with Music with San Diego Opera and Community Partners. As part of a larger SDO Education initiative to bring multiple program sites together into a pipeline of comprehensive arts education, these courses are opportunities for youth from across the region to collaborate and learn together.

The MTS Blue Line will serve as both a practical component and a visual representation of connecting SDO community partners and constituents throughout the region.

Open to all students in San Diego County, both courses are offered as part of La Jolla Country Day’s summer school program. San Diego Opera has a limited number of scholarships available for non-La Jolla Country Day Students. If you have questions, would like more information or to register, please contact John Gabriel at John.Gabriel@sdopera.org.

CREATE A LEGACY – SUPPORT OPERA FOR THE NEXT GENERATION Planned giving ensures the accessibility of opera for the next generation by providing the vital support needed to deliver our education programs. Be a part of these students’ bright future through your legacy gift to SDO. With your help, San Diego’s youth will receive the gift of music for years to come.

The Esther J. Burnham Opera Stars Program recognizes generous individuals who have planned for the future of San Diego Opera with gifts both large and small. All you need to do to join the program is to let us know that you have included a gift to San Diego Opera in your future plans. Your thoughtfulness will ensure that future generations will enjoy world-class opera in San Diego. For more information on how easy it is to become an Opera Star, please contact development@sdopera.org or scan the QR code.

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SD OPERA 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 plans.

Anonymous (9) Robert & Meredith Alcock Jim Algert Robin L. Allgren Irene Ruth Allis Murray* and Anne-Marie Anker Alfred* & Sara Antonicelli Bobbie Ball-Bradley Mr. & Mrs.* Doug Bekkedahl Maurice & Olga Bernard Eleanor* and Robert Bottomley Joan E. Bowes in memory of Evelyn Raff Roth Michael O. Lynch & Cheri B. Briccio Mr.* & Mrs. Marlin Brossart Sarah Blakely Brown Robert O. Burton in Memory of Dorene M. Burton Robert & Linda Cain Mrs. Ruth Heinz Carpenter Richard & Stephanie Coutts Elisabeth H. Crouch Sandra Erbetta Hester Evans Elsa Feher Daryl E. Ferguson Dr. Merle and Teresa Fischlowitz Mr.* & Mrs. David C. Fletcher Milan Floribus Kay O'Cullane & Steven B. Frank Dr. William and Judith Friedel Dr. Michael and Barbara Gerber Lee and Frank Goldberg Connie Golden in memory of Robert M. Golden Bruce* & Barbara Goldreyer Dr. Howard F. Guidry in memory of Dr. William F. Piles M. Antoniette Harris Dr. & Mrs. Jerome Heard Joan Henkelmann John Hermann Mr.* & Mrs. Joseph W. Hibben Teresa and Harry Hixson Dr. & Mrs. Thomas G. Hoffman Shirley & Gene* Hoggatt Karl and Greet Hostetler Dr. Steve & Nancy Howard Beverly J. Hymes George & Marlene Imbsen Mr. & Mrs. Norman W. Jaffe Miriam & Peter* Krippl Dr. Seth Krosner Regina Kurtz Mr.* and Mrs. Jack Landale Carol Lazier Ruth I. Ledermann Lester Lefkowitz Ronald and Ruth Leonardi

C. Stanley Mahan Sara & Dennis Manyak Sarah B. Marsh-Rebelo, G.G. and John G. Rebelo Dr. Marjorie Ann McBride Kenneth C. McMillen Merikay & Ron McQuoid Elinor & Charles Merideth James A. Merritt Linda Messing Diana M. Miller Judith A. Moore Sam and Mona Morebello Barbara & Maury Mortensen Rik Nelson & Joe Gorst Ms. Deloris S. Neumiller 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 William Purves Mrs. Paul A. Quaintance Daniel & Feliza Reed Nancy Riley Mary B. Rose Mr. & Mrs.* Robert J. Rose Bruce S. Ross and 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 John S. Sieh Sherman & Lady Smith Sylvia M. Smith Carol Jean Spicer Linda P. Spuck Mildred Stiverson Joseph Sundstrom and Rosemary Lyttleton Bill Stensrud Marlene Roedde Swall Robert* and Aysegul Underhill Karen Valentino Eleanor Ward* Arlene & Peter Way Janet and Jonathan White Mary Ann White Jean Winslow* Raymond* & Erika Wright

*deceased PERFORMANCES MAGAZINE P31

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SD OPERA BOARD AND LEADERSHIP 2021–22 BOARD OF DIRECTORS OFFICERS Janet White, M.A., M.B.A., CSci., F.R.S.C. President Sarah B. Marsh-Rebelo, G.G., Chair of the Board Barry Wellins, Executive Vice President Stacy Kellner Rosenberg, Vice President, Finance Candace Carroll, Secretary/Parliamentarian

DIRECTORS Joann Clark David Duthu Joan Henkelmann Karl Hostetler, M.D. Robert Kaplan, Ph.D. Carol Lazier Veronica Leff, M.A.M. Ronald Leonardi, Ph.D. Joseph Martinez

SDOPERA STAFF

DAVID BENNETT General Director

YVES ABEL Principal Conductor JEANNIE POSNER, CPA Chief Operations & Financial Officer, Safety Officer

Roger G. Mills, M.D. Eugene “Mitch” Mitchell Mike Novak Claire Reiss Thomas Shiftan, M.D. Gloria M. Shurman, Ph.D. Linda Spuck Mary Lindenstein Walshok, Ph.D. Sara Zaknoen, M.D.

Linda S. Cooper, Associate Production Director Jordanna Rose, Artistic Administrator Bruce Stasyna, Chorus Master and Music Administrator Alan E. Hicks, Resident Stage Director Jason Bieber, Lighting Director Brandon Di Noto, Conductor Intern Dominic Domingo, Artistic Advisor Mike Janney, Stage Manager Anna Reetz, Assistant Stage Manager Hannah Blaile, Assistant Stage Manager Edward Fernandez, Production Assistant

Costume Shop

Ingrid Helton, Costume Director Brooke Kesler, Assistant to the Costume Director Raven Winter, Fitting and Stock Room Coordinator Ginny McClure, Fitting and Stock Room Assistant Sharon Granieri, Susan Sachs, Laura Dillemuth Kozak, Stephanie Castro, Drapers/First Hands

HONORARY LIFE DIRECTORS Teresa Fischlowitz Lee Goldberg Harry F. Hixson, Jr., Ph.D. Sarah B. Marsh-Rebelo, G.G.

ABOUT SDO MISSION STATEMENT 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.

Wardrobe

VISION STATEMENT 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.

John Gabriel, Education Director Bill Caballero, Jessica Cortez, Philip Gómez, Devon Guthrie, Inocente, Shayla James, Joey Molina, Xiomara Pastenes, Cuez G. Rodriguez, Ale Uzarraga, Hector Villegas, Teaching Artists

Wigs/Make-up

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

Patron Services

Jack Hernandez, Master Carpenter Cory Klinge, Lead Carpenter Anthony Chambers, Michael Moglia, Ryan Monaghan, Eszter Julian, Carpenters Darin Hibi, Charge Artist Jessica Baxter, Scenic Artist Liora Naor, Office Assistant

OPERATIONS/FINANCE Mario Adame, Accounting Manager Joseph Huitzil, Front Office Manager Lori McClure, Administrative Director Angelica Mondragon, Administrative Assistant Bill Schmalkuche, Sr. Accountant

AUDIENCE & FUND DEVELOPMENT Audience Development

Matthew E. Graber, Chief Marketing Officer Vanessa Dinning, Group Sales Greg Watkins, Marketing Operations Director Edward K. Wilensky, Media Relations Director

Education & Engagement

Cliff Thrasher, Director of Patron Services Erin Oleno, Box Office Manager Matt Kissel, Patron Services Associate

Fund Development

Peter Shavitz, Interim Chief Development Officer Kevin Boudoin, Development Operations Manager Darin Dietz, Director of Special Events Elizabeth Fittro, Development Associate Joleen Guckian, Institutional Giving Officer Andrea Puente-Catán, Director of Major Gifts and Hispanic Initiatives

Mary Harris, Head of Wardrobe Peggy Harrison, Assistant to the Head of Wardrobe K-Joy Lehmann, Armen Khachiyan Theatre Stitchers Pam Medhurst, Margaret Hager, Robin Lemon, Donna Couchman, Debby Stephens, Judy Watson, Debbie Callahan, Michael Rosensteel, Maggie Joe Turner, Mary Jill Anderson, Max Callahan, Sue Noll, Dressers Peter Herman, Steward Kathleen Kenna, Vicky Martinez, Jakey Hicks, Pam Stompoly, Wigs/Make-up

Scenic Studio

Technical

Karli Cadel, Company Photographer Kate Ehle, Graphic Designer

Anthony Chambers, Master Carpenter Michael Moglia, Assistant Carpenter Mike Galvin, Master Flyman Richard Bonnin, Master Electrician Joanne Stewart, Light Board Operator Franklin Gray, Titles Antonia Hogue, Property Master James Ramirez, Prop Assistant Mike Gustafson, Audio/Visual Head

PRODUCTION & ARTISTIC

OPERA HACK

Joan T. Foster, Production Director Tim Wallace, Technical Director

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• 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.

Charles Murdock Lucas, Project Director

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D IN IN G

The bright, ocean-inspired dining room at Garibaldi

APRIL EAT SHEET Imbibe and Dine Off the Beaten Culinary Path This Month / by sarah daoust /

KIMBERLY MOTOS

From revamped menus to new openings to offerings such as tableside cocktails, these eclectic outposts invite you to step outside your culinary comfort zone this spring.

Lemon Grove welcomes Zest Wine Bistro, an intimate wine bistro by resident and restaurateur Karina Kravalis (owner of Italian restaurant Giardino located next door). Expect a thoughtfully curated wine list of familiar and lesser-known vintner labels; plus a wine club and fun experiences such as afternoon tea (the third Saturday of each month) and sommelier-led wine tastings. The food menu of shareable plates includes truffle burrata, sesame-crusted ahi, seafood tostadas, oysters and charcuterie boards. Enjoy inside or on the cozy patio. 8129 Broadway, Lemon Grove, 619.303.3934 Riverside’s well-known Mexican eatery, Birrieria & Taqueria La Huasteca, has opened a location in north Pacific Beach. The casual indoor/outdoor taqueria serves authentic lamb and beef birria in the form of tacos, ramen, pizza and more; plus traditional mole, pozole, chile relleno, burritos, enchiladas, street tacos and breakfast dishes. We

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Clockwise: the savory breakfast rice bowl at Kettner Exchange; tableside cocktails at Understory; romantic lighting at Cevasco's.

room for some half-baked cookie dough topped with vanilla ice cream for dessert. 2933 Adams Ave., Normal Heights Pairing open-air casual dining with Pacific views, oceanfront eatery High/ Low—located on the beach at Mission Pacific Hotel—serves locally sourced breakfast classics and remixes of brunch and lunch favorites, from sunrise to sunset. Offerings include breakfast cocktails, locally roasted coffee, banana pancakes, chicken ‘n’ waffles, pastries, sandwiches and salads; plus freshpressed juices and to-go items to complement the area’s active beachgoing lifestyle. Come back for “Golden Hour” and enjoy small plates, cocktails, craft beers and sunset views. 201 N. Myers St.,

Oceanside, 760.512.3329 In Ocean Beach, indoor/ outdoor cantina La Doña is a breath of fresh air. You’ll find delectable Mexican fare here, thanks to chef Gabby Lopez—who was born and raised in Tijuana and has incorporated family recipes from Guadalajara and Nayarit. Feast on beef-birria queso tacos, chicken-tinga enchiladas, citrus-and-garlic-marinated arrachera steak

and more; plus coconut flan and churros with chocolate-coffee sauce for dessert. To drink: margaritas and specialty cocktails such as the Vaya con Dios. 1852 Bacon St., Ocean Beach, 619.269.6144 South Park’s hidden gem Secret Sister isn’t such a secret anymore, and for good reason: It’s a literal urban oasis of baked goods. The owners of The Rose wine bar and

KETTNER EXCHANGE: JAMES TRAN

suggest the classic beef birria plate with a side of consommé, rice, beans and tortillas; and the wet burrito de mole. For dessert, good luck deciding between the flan, pastel de tres leches and churros.

865 Turquoise St., Pacific Beach, 858.203.3902 Owner Abel Kaase’s breezy Normal Heights hangout of five years, Beerfish, has been transformed into the new Swan Bar—a darker, cozier cocktail den serving classic libations, wine, beer and burgers.

Already-popular selections include the espresso martini, the Texas Two Step with roastedcoriander-infused tequila and manzanilla sherry, and the Not My Brother’s Burger—an Angus-beef patty slathered in jalapeño cream cheese. Save

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KETTNER EXCHANGE: JAMES TRAN

bottle shop have transformed their onsite event space into an adorable bakery and teahouse— offering scratch-made, seasonal baked goods, teas, coffee drinks and outdoor dining. Items sell out quickly and change often, but guests can expect quiche, cakes, fruit pies, pastries, breads, baguettes and ice cream.

2215 30th St., South Park, 619.281.0718 Little Italy hot spot Kettner Exchange has unveiled a refreshed Sunday Brunch menu—dreamt up by executive chef Brian Redzikowski—of nostalgic dishes with Japanese influence. This means dishes such as the breakfast rice bowl with soft-scrambled eggs, sauteed kale and broccoli; “Pig Mac Bao” with pork belly; Okonomiyaki roasted potatoes; and

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M O Z A R T

B E E T H O V E N

May 13-14, 2022

Beethoven’s seventh symphony is filled with an infectious dance with musical ideas linked back to Mozart. Fortepianist Sylvia Berry delivers Mozart’s Piano Concerto no. 20, a dynamic work admired by the young Beethoven.

SYMPHONY IN A MINOR ‘ODENSE’, K. 16A attrib. W.A. Mozart PIANO CONCERTO NO. 20 IN D MINOR, K.466 W.A. Mozart SYMPHONY NO. 7 IN A MAJOR, OP. 92 L.V. Beethoven

2021/22 NINETEENTH SEASON

Tickets: www.bachcollegiumsd.org

v

Explore connections between people, instruments, and the music we make.

5790 Armada Dr, Carlsbad • museumofmakingmusic.org • 760.438.5996

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DIANA ROSE

APOTHEOSIS OF THE DANCE

Szechuan-fried chicken.

Brunch cocktails include the Butterfly Lai Thai with Butterfly Pea Blossom gin; the mezcal-based Razzle; and Scouts Honor with cacao rum and crème de menthe. 2001 Kettner Blvd., Little Italy, 619.255.2001 The Southern Italianinspired rooftop oasis at InterContinental San Diego, Garibaldi, has debuted a revamped dinner menu. New dishes include house-folded culurgiones with sweet potato, house ricotta, Swiss chard and hazelnut; local spiny lobster Fra Diavolo with red and green chilis, San Marzano tomatoes and saffron fregola; and roasted pork belly with smoked greens and whitebean mash. Garibaldi also doubles as a speakeasy, showcasing Italianinspired cocktails such as the Amphora Aged Negroni, Stintino Sunset and Sardinian Old Fashioned. 901 Bayfront Court, downtown, 619.436.1081 Serving elevated Italian cuisine, cocktails and wine, Del Mar Village welcomes Cevasco’s by chef/owner Christophe Cevasco. The casual-chic restaurant serves savory dishes such as veggie pasta primavera, pasta Bolognese and Alaskan-halibut piccata; along with paninis, pizzas, salads and shareable plates. The libations menu includes classics with creative twists, includ-

WITHOUT WALLS FESTIVAL 2022

APRIL 21 - 24 AT

DIANA ROSE

Cocktail hour at Garibaldi

ing the Naples Negroni, Apricot Old Fashioned and Limoncello Drop. For a sweet finish, choose from tiramisu, profiteroles, cannoli and dessert cocktails.

1201 Camino Del Mar, Suite 1, Del Mar, 858.755.0000 At the Sky Deck at Del Mar Highlands Town Center, Understory is a popular spot for a casual date night. And now you can enjoy drinks prepared tableside for an elevated craft cocktail experience. Try the new Jalisco Pine made with barrel-aged tequila, elderflower, rosemary syrup and egg white; and the Brush Fire with bourbon, charcoal, grapefruit and jalapeño syrup. Be sure to return for Martini Monday (weekly) and Throwback Thursday (every second Thursday of the month). 12841 El Camino Real, Suite 209-210, Del Mar, 858.925.7022

Featuring 24 fun, interactive works from local, national and international artists

CORPUS’s production of La Bulle; photo by Robert Deleskie

– TIME MAGAZINE

See the full festival lineup at

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FEATURE

only? Well, as Herrick noted, flowers don’t last.

One of San Diego’s most popular recurring arts spectacles, Art Alive this year will feature nearly 100 floral interpretations of works of art throughout the museum, created by local floral designers.

Each floral arrangement is displayed next to or in front of the work of art that inspired it; those works can range from paintings and prints to sculpture, decorative art objects, and even textiles.

Shapes, colors and forms are reflected in fresh florals whose imaginative arrangements show the wide range of creativity these works of art inspire in the floral artists.

“Each year, floral designers travel from all over San Diego and

A floral interpretation at Art Alive. Above: SDMA’s decked-out rotunda in 2021.

the region to be part of Art Alive,” says Stacey Loomis, SDMA’s director of development and membership. “Each designer must submit an application to participate each year, and many

return year after year. This year will feature nearly 20 Legacy Designers who have participated for 20 years or more. New designers are always encouraged to apply.”

Floral designers represent

three floral groups— Independent designers, Garden Club designers, and Ikebana designers.

During the Art Alive member preview, museum members get to vote on their favorite floral designs. Loomis says no specific criteria are detailed, so the winner is definitely the fan favorite.

“This is less a competition and more an exhibition,” she adds. “While there are member favorites, we are particularly proud to exhibit a wide range of floral styles from returning and new designers alike.”

The participating designers get to choose which work of art they get to interpret—but not from

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ALL IMAGES ARE COURTESY OF SAN DIEGO MUSEUM OF ART

CONT’D. FROM PAGE 11

The Conrad Prebys Foundation – Spring Season Sponsor

Aging Magician

Co-created by PAOLA PRESTINI, RINDE ECKERT & JULIAN CROUCH Co-Produced by BETH MORRISON PROJECTS & NATIONAL SAWDUST Featuring BROOKLYN YOUTH CHORUS & THE ATTACCA QUARTET Conducted by DIANNE BERKUN MENAKER Directed by JULIAN CROUCH

ALL IMAGES ARE COURTESY OF SAN DIEGO MUSEUM OF ART

Friday, May 13, 2022 7:30 PM Saturday, May 14, 2022 2:00 PM Saturday, May 14, 2022 7:30 PM Balboa Theatre the museum’s entire permanent collection, which would be logistically challenging. The works of art to be included for floral interpretation are chosen in advance by the museum registrar team.

The floral designers can then choose from the available works of art on selection day, which was held by phone this year on March 9. Each work is reserved for a single floral interpretation, so there are always favorites that are selected quickly.

Local San Diego artist Britton Neubacher is this year’s rotunda designer and will transform the museum rotunda into “Organized Chaos”—a

A hauntingly beautiful hybrid of opera and theatre that celebrates youth, imagination, and the peculiar magic of ordinary life.

West Coast Premiere.

Scan this QR code with the camera app on your smartphone to learn more about Aging Magician.

FOR TICKETS, VISIT SDOPERA.ORG OR CALL (619) 533-7000 PERFORMANCES MAGAZINE 19

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FEATURE

40-foot-high installation made up entirely of recycled botanical plants and florals. Neubacher is the owner and principal designer of TEND, a floral design company offering green walls, “interiorscaping,” specialized landscaping, and the design of wellness and healing spaces. Loomis says she was selected because of the use of optical motifs in her plant artwork that directly ties in with the theme for this year’s event. “Plus, she primarily works in sustainable and reusable materials, which is an area of focus for us.”

San Diegans will be delighted to hear Bloom Bash is back this year, on April 29. (Art Alive’s offi-

cial kickoff party was on hiatus during the Covid shutdown.) The party will feature at least 30 local restaurants, themed libations, live music, a Ferris

wheel, and an original light installation from internationally known sculpture/performative/ sound artist Ian Brill.

Even San Diegans who aren’t habitual museumgoers turn out in droves for Art Alive, which is also the museum’s signature fundraiser— providing support for its education, outreach programs and special exhibitions. “Art Alive has been a celebration of art and florals for more than 40 years and has become a tradition for generations of San Diegans,” Loomis says. “It is such a celebratory event each year that marks the beginning of spring in San Diego. Our community looks forward to the immersive floral experi-

ence each year and enjoys the gratification of giving back and supporting the arts. Each year, attendees see something spectacularly different, yet equally breathtaking, which is very inspiring for the art and floral-loving crowd.”

Also opening at SDMA on April 29 is TERRA: Fernando Casasempere, an exhibition that highlights the urgency of the environmental crisis through installations that utilize the earth as a medium as well as the subject. Chilean artist Fernando Casasempere uses waste produced by mining and drilling from his native country to create immersive works that provide a thoughtful art experience. Four immersive installations

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Lamb’s Hit 2019 production comes to Coronado!

STARTS APRIL 2 “CRITIC’S

CHOICE! SAN DIEGO UNION TRIBU

This page and below: pieces from TERRA, opening on April 29.

will provide meditative encouragement, intended to inspire the public to consider their interactions with our planet.

The first, Reframing Our Relationship with the Earth, features a mound of earth with thousands of individually hand-pressed clay components resembling bone fragments reflecting humans’ impact on the planet. The second, Earth Book/The Sphere of Things to Come, presents a series of clay books and a spherical structure representing the earth, making up a physical archive of what may be lost if no change is taken. The third installation, Salares, features hanging landscape formations made of clay paying homage to the salt flats

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I N T R O DUCIN G

F EAT U R E

Sun-powered. Sustainably Grown.

Fernando Casasempere’s TERRA exhibit at SDMA

THE LARGEST SELECTION OF SUSTAINABLY AND SUN GROWN FLOWER IN SAN DIEGO COUNTY

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of the Chilean Atacama Desert. The final section, Reminiscences, features ceramic constructions representing fragments of archaeological ruins, symbolizing the threat of cultural loss due to our extractive relationship with the earth.

“Fernando Casasempere’s work serves as a poignant reminder to consider how we interact with and care for our shared Earth,” says Roxana

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Velásquez, the Maruja Baldwin executive director and CEO at SDMA. “We are thrilled to be the first institution in the U.S. to host this thought-provoking and impactful exhibition. With sustainability as a pillar for the museum, we champion artists such as Fernando who use art as a medium to create dialogue and keep conversations about our environment at the forefront.”

TERRA, which was previously presented in Madrid at Casa de América, will be Casasempere’s first exhibition in the U.S., and it runs through September 5.

Art Alive is open April 29 and 30; and May 1 (10 a.m. to 5 p.m.). Admission is free for members, $40 for nonmembers, $5 for youth (ages 7 to 17), and free for children ages 6 and under.

For more info: sdmart.org PERFORMANCES MAGAZINE 23

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The Flower Fields at Carlsbad Ranch are a quintessential sign of springtime in San Diego, open daily through May 8.

MARCIE GONZALEZ

PARTIN G SH O T

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REOPENING REOPENING REOPENING REOPENING REOPENING REOPENING REOPENING REOPENING REOPENING REOPENING REOPENING REOPENING REOPENING REOPENING MCASD in La Jolla reopens Saturday, April 9.

More Info

mcasd.org

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More Info

mcasd.org

More Info

mcasd.org

More Info

mcasd.org

3/9/22 4:35 PM