FWO | 2025-Cinderella-Program

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FORT WORTH OPERA

April 25 & 27 Bass Performance Hall

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March 30–June 22

This

is supported by an indemnity from the Federal Council on the

and the

Additional support provided by Arts Fort Worth and the Texas Commission on the Arts Promotional support provided by

This exhibition has been organized by the Neue Nationalgalerie, Berlin, in cooperation with the Kimbell Art Museum.
exhibition
Arts
Humanities.
Christian Schad, Sonja (detail), 1928, oil on canvas. Neue Nationalgalerie, Staatliche Museen zu Berlin. Acquired by the Freunde der Nationalgalerie with funds from the Ingeborg and Günter Milich Foundation, Berlin, FNG 80/97. ©️ 2025 Artists Rights Society (ARS), New York / Christian-SchadStiftung Aschaffenburg; Photo by Jörg P. Anders

CANDACE EVANS

STEPHANIE

EFRAÍN

Cinderella (La Cenerentola) is 2 hours and 40 minutes with a

ANGELA TURNER WILSON

Dear Opera Friends,

Welcome to Fort Worth Opera’s production of La Cenerentola! We are thrilled to share Rossini’s delightful and sparkling take on the classic Cinderella story with you. This opera, full of wit, charm, and dazzling vocal fireworks, reminds us that kindness, courage, and love can transform lives.

Under the brilliant direction of Candace Evans, this production brings fresh energy and vivid storytelling to the stage, while Maestro Christian Capocaccia masterfully leads the Fort Worth Symphony, bringing Rossini’s effervescent score to life. Their artistry, along with the incredible talent of our cast and creative team, makes this an unforgettable evening of opera.

At Fort Worth Opera, we are dedicated to bringing world-class performances to our community while fostering the next generation of artists and audiences. Your support makes this possible, and we are deeply grateful for your passion for this art form.

Tonight, as the music soars and the story unfolds, we invite you to be swept away by the magic of opera. Thank you for joining us and enjoy the performance!

With warmest regards,

Why are there some stories that we want to hear again and again? Why do some tales stand the test of time?

Amazingly, the first version of the Cinderella story was written between 7 BC and 23 AD by Strabo, a Greek man who told of a Pharaoh who became interested in a young courtesan after an eagle stole her sandal and dropped it into his lap. He sought the woman out, and her life was changed. The key elements of class difference and an identifying object delivered by a seemingly magical intervention became the key elements of each re-telling.

A myriad of versions were told over the years in almost every country. Additionally, hundreds of scholarly studies have been done, analyzing the story of a young woman at odds with her society, finding assistance through the help of a loving person or an aspect of magic. It is noteworthy that there is no constant of a young woman awaiting a man’s rescue, however! The real constant is a concealment or betrayal of identity that allows people to then more fully reveal themselves. Isn’t it interesting that sometimes we need a mask to allow ourselves to be fully seen?

Rossini, like so many before him, was inspired to write this opera version of the traditional tale — but with a new viewpoint. Instead of a dropped shoe, Rossini’s Cenerentola makes the choice to offer a bracelet as a way to confirm her identity. With this personal decision, and a literal ‘touch,’ she seeks her own self-determination. This opera, written in just three weeks in 1817, is modern enough to be the next Netflix series, with a simple change of costuming.

It is for these reasons that I am drawn to La Cenerentola. For a young woman to not only adhere to her own code of behavior, but to actively chart her own future — and not die because of it — is quite the exception to most operas. And of course, I also revel in the glory of Rossini’s wondrous music. Intricate rhythms, astonishingly brisk lyrics, and the absolute fireworks of vocal demands all create a world of such vibrancy.

During this month of rehearsal it has been my joy to dwell in that music and the talents of this stunning cast. It is my great pleasure to now share it with all of you.

CANDACE EVANS

CAST

ERIC McKEEVER ALIDORO HANNAH MADELEINE GOODMAN CLORINDA

Stephanie Doche (Angelina) Mezzosoprano Stephanie Doche is noted for her spectacular performances of Rosina in Il barbiere di Siviglia as well as Isabella in L’Italiana in Algeri. In 2023-24, she performed Handel’s Il trionfo del Tempo e del Disinganno with Opera Neo, Suzuki (Madama Butterfly) with San Diego Opera, Nicklausse (Les Contes d’Hoffmann) with Opera in Williamsburg, Diana (La Calisto) with Opera Memphis and Romeo in Bellini’s I Capuleti e i Montecchi with Teatro Nuovo. Victor Ryan Robertson (Prince Ramiro) GRAMMY® Awardnominated tenor Victor Robertson returned to the Metropolitan Opera as Elijah/Street in X: The

Life and Times of Malcolm X, a role he previously performed for Detroit Opera and Opera Omaha, and he played Tony in Terrence McNally’s Master Class with Arizona Theatre Company. His signature roles include Count Almaviva in Il barbiere di Siviglia, the title role in Roméo et Juliette and Sportin’ Life in Porgy and Bess. Next, he will debut the role of Tamino in Die Zauberflöte for Seattle Opera. Adelmo Guidarelli (Don Magnifico) GRAMMY® Award-winning baritone Adelmo Guidarelli is one of opera’s busiest singing actors, sought after for the Italian character parts in operas by Donizetti, Rossini, and Mozart, including the title role in Don Pasquale, Dulcamara in L’elisir

d’amore, Bartolo in Il barbiere di Siviglia and Le nozze di Figaro, Leporello in Don Giovanni, and Don Alfonso in Così fan tutte. Efraín Solís (Dandini) Efraín Solís makes his Fort Worth Opera debut in La Cenerentola, a work he has sung to great acclaim at San Francisco Opera and Staatsoper Hamburg. Other recent and upcoming performances include La bohème (Dallas Opera, San Francisco Opera); Roméo et Juliette (Utah Opera, Virginia Opera, Opera Carolina, Opera San José); Le nozze di Figaro (Opera San José, Opera Memphis, OperaDelaware); Cruzar la Cara de la Luna (Minnesota Opera, Houston Grand Opera, Austin Opera); and Pelléas et Mélisande (Opera Southwest, West Bay Opera). He has sung concert performances with the Fort Worth Symphony Orchestra, Las Vegas Philharmonic, and Artis— Naples.

Eric McKeever (Alidoro) Baritone

Eric McKeever’s career highlights include Lucidity (Seattle Opera), H.M.S. Pinafore (Nashville Opera), Così fan tutte (OperaDelaware), Porgy and Bess (Festival Casals de Puerto Rico), Der Kaiser von Atlantis, Il tabarro, and Lucidity (On Site Opera), La bohème (Opera Memphis), Rigoletto and Madama Butterfly (Opera Columbus), Why I Live at the P.O. (UrbanArias), Don Pasquale (Anchorage Opera), Sanctuary Road (Penn Square Music Festival), L’amico Fritz (Opera Baltimore), and The Magic Flute (The Florentine Opera).

Hannah Madeleine Goodman (Tisbe) Soprano Hannah Madeleine Goodman, hailed for her “adept coloratura” and “exquisite dynamics,” is delighted

to be a Fort Worth Opera Hattie Mae Lesley Resident Artist for the 2024-25 season! Originally from Oregon and based in New York, her credits include Los Angeles Opera, Portland Opera, Opera Saratoga, Philadelphia Orchestra, Bangor Symphony Orchestra, television’s Glee, and iSING! International Young Artists Festival (China). She was a semifinalist in the 2023 Camille Coloratura Awards and a quarterfinalist in the 2024 American Traditions Vocal Competition. Mariam Mouawad (Clorinda) Born and raised in the city of Zahlé, Lebanon, mezzo-soprano Mariam Mouawad is currently a resident artist at Fort Worth Opera. Notable appearances include Dorabella, Così fan tutte (Shreveport Opera); Musetta, La bohéme (Shreveport Opera); Federico García Lorca, Ainadamar (Moores Opera Center); Countess Charlotte Malcolm, A Little Night Music, (MOC); Tolomeo, Giulio Cesare (MOC); Adélaïde, La Belle et la Bête (MOC); Ariodante (cover), Ariodante (Opera Neo); Cendrillon, Cendrillon (San Diego State University); Minsk Woman, Flight (SDSU); Orfeo, Orfeo ed Euridice (SDSU).

Christian Capocaccia (Conductor)

Dynamic Italian conductor Christian Capocaccia was Artistic and Music Director of both Syracuse Opera and Tri-Cities Opera. He has helmed operas as diverse as La Cenerentola and Le nozze di Figaro, to lesser-known gems like Der Schauspieldirektor and The Ballad of the Brown King. Highlights include Pagliacci for Pittsburgh Festival Opera and the NYC premiere of verismo masterpieces La Vestale and Zandonai’s Giulietta e Romeo. In 2024, Maestro Capocaccia

conducted Monteverdi’s L’Orfeo at Oberlin and the world premiere of Flagello’s Beyond the Horizon. Candace Evans (Director and Choreographer) Candace Evans is an internationally acclaimed director and choreographer known for her vivid storytelling and impeccable timing, praised by Opera News for her “flawless sense of timing.” She has directed over 80 productions, including the definitive Akhnaten DVD for the Philip Glass organization. Her work has been recognized among the top operatic productions worldwide. A soughtafter coach and educator, she integrates voice, movement, and text to bring performances to life.

MEN’S CHORUS

TENOR I TENOR II BASS I BASS II

Gavin Godbey

JT Hauser

Cesar Velez

Luke Hannah Ndumiso Nyoka

Matthew Parker

Vincent Fleo Rafael Peleaz

Steve Singleton

PRODUCTION

Director and Choreographer

Associate Production

Pianist

Fred Craven

Eugenio Fabela Jae Medlin

Parshin

Lighting Designer

Wig and Makeup Designer

Supertitles Operator

Verdeal Photographer

Costumes provided by Sarasota Opera Association, Inc�

Designer: Ed Kotanen

Scenery is provided courtesy of Virginia Opera�

Scenic Designer: Erhard Rom

Stagehand services provided by IATSE local 126

Wardrobe services provided by IATSE local 803

FORT WORTH SYMPHONY ORCHESTRA

Robert Spano, Music Director, Nancy Lee and Perry R. Bass Chair

Kevin John Edusei, Principal Guest Conductor

Miguel Harth-Bedoya, Music Director Laureate

Michelle Di Russo, Associate Conductor, Rae and Ed Schollmaier Foundation Chair

John Giordano, Conductor Emeritus

VIOLIN I

Michael Shih, Concertmaster

Mrs. Mercedes T. Bass Chair

Mr. Sid R. Bass Chair

Swang Lin, Associate Concertmaster

Ann Koonsman Chair

Eugene Cherkasov, Assistant Concertmaster

Mollie & Garland Lasater Chair

Jennifer Y. Betz

Ordabek Duissen

Qiong Hulsey

Ivo Ivanov

Nikayla Kim

Izumi Lund

Ke Mai

Kimberly Torgul

Albert Yamamoto

VIOLIN II

Adriana Voirin DeCosta, Principal

Steven Li, Associate Principal

Janine Geisel, Assistant Principal Symphony League of Fort Worth Chair

Molly Baer

Matt Milewski

Gabriela Peña-Kim

Kathryn Perry

Tatyana Smith

Rosalyn Story

Andrea Tullis

Camilla Wojciechowska

VIOLA

DJ Cheek, Principal

Anna Kolotylina, Associate Principal

HeeSun Yang, Assistant Principal

Joni Baczewski

Sorin Guttman

Aleksandra Holowka

Dmitry Kustanovich

Daniel Sigale

CELLO

Allan Steele, Principal

Mrs. Mercedes T. Bass Chair

Mr. Sid R. Bass Chair

Vacant Position, Associate Principal

Keira Fullerton, Assistant Principal

Burlington Northern Santa Fe Foundation Chair

John Belk

Deborah Brooks

Shelley Jessup

Jenny Kwak

BASS

William Clay, Principal

Mr. & Mrs. Edward P. Bass Chair

Paul Unger, Assistant Principal

Jeffery Hall

Sean P. O’Hara

Julie Vinsant

The seating positions of all string section musicians listed alphabetically change on a regular basis.

FLUTE

Jake Fridkis, Principal

Shirley F. Garvey Chair

Gabriel Fridkis, Assistant Principal

Vaynu Kadiyali

PICCOLO

Vaynu Kadiyali

OBOE

Jennifer Corning Lucio, Principal

Nancy L. & William P. Hallman, Jr., Chair

Tamer Edlebi, Assistant Principal

Tim Daniels

ENGLISH HORN

Tim Daniels

CLARINET

Stanislav Chernyshev, Principal

Rosalyn G. Rosenthal Chair*

Ivan Petruzziello, Assistant Principal

Phillip Solomon°

E-FLAT CLARINET

Ivan Petruzziello

BASS CLARINET

Phillip Solomon°

BASSOON

Joshua Elmore, Principal

Mr. & Mrs. Lee M. Bass Chair

Nik Hooks°, Assistant Principal

Nicole Haywood°

Cara Owens, on leave

CONTRABASSOON

Nicole Haywood°

HORN

Gerald Wood, Principal

Elizabeth H. Ledyard Chair

Alton F. Adkins, Associate Principal

Drs. Jeff and Rosemary Detweiler Chair

Kelly Cornell, Associate Principal

Aaron Pino

TRUMPET

Kyle Sherman, Principal

Cody McClarty, Assistant Principal

Dorothy Rhea Chair

Oscar Garcia

TROMBONE

Joseph Dubas, Principal

Mr. & Mrs. John Kleinheinz Chair

John Michael Hayes, Assistant Principal

Dennis Bubert

BASS TROMBONE

Dennis Bubert

Mr. & Mrs. Lee M. Bass Chair

TUBA

Edward Jones, Principal

TIMPANI

Seth McConnell, Principal

Madilyn Bass Chair

Nicholas Sakakeeny, Assistant Principal

PERCUSSION

Keith Williams, Principal

Shirley F. Garvey Chair

Nicholas Sakakeeny, Assistant Principal

Adele Hart Chair

Deborah Mashburn

Brad Wagner

HARP

Vacant Position

Bayard H. Friedman Chair

KEYBOARD

Shields-Collins “Buddy” Bray, Principal Rildia Bee O'Bryan Cliburn & Van Cliburn Chair

STAGE MANAGER

Wilson Armstrong

ORCHESTRA PERSONNEL MANAGER

Megan Brook

ORCHESTRA LIBRARIANS

Christopher Hawn

David Sterrett

*In Memory of Manny Rosenthal

°2024/2025 Season Only

The Concertmaster performs on the 1710 Davis Stradivarius violin.

The Associate Concertmaster performs on the 1685 Eugenie Stradivarius violin.

SYNOPSIS

Angelina, nicknamed Cenerentola (“Cinderella” in Italian), is treated as a servant by her cruel stepfather, Don Magnifico, and stepsisters, Clorinda and Tisbe. Despite their mistreatment, she remains kind, even offering food to a beggar who knocks on their door. Shortly after, courtiers arrive, announcing that Prince Ramiro is searching for a bride. Seeing an opportunity to restore his fortune, Don Magnifico eagerly prepares to present his daughters to the prince. However, the beggar is secretly Alidoro, the prince’s tutor, who has been searching for a woman of true kindness.

Prince Ramiro arrives in disguise as his own valet and is immediately drawn to Cenerentola when they meet, though she leaves before he can learn her name. Meanwhile, Ramiro’s valet, Dandini, arrives disguised as the prince, and Don Magnifico and his daughters desperately try to impress him. When Cenerentola asks to attend the ball, her stepfather refuses, and he even lies to Alidoro, claiming his third daughter is dead. Even so, Alidoro promises to take Cenerentola to the ball himself.

At the royal estate, Dandini tests the sisters by offering the rejected one a marriage to his ‘valet,’ but they scoff at the idea. Soon after, Alidoro arrives with a mysterious, elegantly dressed woman who strongly resembles Cenerentola, leaving everyone confused. During the banquet, Don Magnifico worries that this stranger will ruin his daughters’ chances, but Cenerentola surprises everyone by declaring she loves the ‘valet’ instead of the prince. She gives Ramiro a bracelet, promising that if he truly loves her, he will find her.

As Ramiro searches for her, a storm forces his carriage to break down outside Cenerentola’s home. Entering for help, he recognizes the matching bracelet on her wrist. Overjoyed, he proposes, and despite her family’s past cruelty, she asks him to forgive them. They marry and celebrate at the palace, where Don Magnifico tries to gain her favor. Instead, Cenerentola simply asks to be acknowledged as his daughter and forgives them all, proving herself truly worthy of the throne.

A CINDERELLA KEEPSAKE

This exclusive BuDhaGirl bracelet, inspired by La Cenerentola, is the perfect way to remember the magic.

WHERE YOUR FINANCIAL SUCCESS TAKES CENTER

October 10, 2025 at Van Cliburn Concert Hall

OPERA IN ONE ACT WITH FILM

November 21 & 22, 2025

February 5, 2026

April 10 & 12, 2026 at Bass Performance Hall

FORT WORTH OPERA

Board of Trustees

RANDY SABBAGH Chair

NICOLE DUVALL Secretary

HAYNE SHUMATE Vice Chair

ASHLEY LACAMP MOORE Treasurer

SKYLAR BROGDON O’NEAL Governance

ALLIE BETH ALLMAN

JEN APPLEMAN

KEON ANDERSON, DDS

NELSON E. CLAYTOR, Ph.D.

ROBERT ESTRADA

JUDY BENNETT GARNER

ROBERT L. JAMESON

BARBARA JORDAN

TERESA CARTER KING

JILL FISCHER Chair Emerita

JOSEPH D. LESLEY

GUY V. MANNING

MIKE R. MARTINEZ

JUSTIN NEWTON

SUSIE OLMOS-SOTO

MARY B. PENCIS

KATHERINE POLENZ

VERNON E. REW, JR.

EBONY ROSE Ann

Fort Worth Opera extends heartfelt gratitude to the businesses and foundations whose generous support advances the Opera’s programming, outreach, and educational initiatives�

YOUR BRAND DESERVES AN Ovation — LET'S TAKE Center Stage. IT TO

FORT WORTH OPERA STAFF

Angela Turner Wilson ......................................................... General and Artistic Director

Joe Illick .................................................................................................... Music Director Emeritus

Mary Goosens ......................................................................................... Chief Financial Officer

Anthony D. Pound ........... Director of Education and Community Engagement

Courtney Kennebeck ..................................................... Development & Special Events

Jennifer Chung Quintard ...................................... Director of Artistic Administration

Kurt Howard ............................................................................. Production & Stage Manager

Gordon Kelly.................................................................. Marketing Data & Office Manager

Kelly Hill................................................................................... Associate Production Manager

Emily Dear.................................................. Box Office Manager & Marketing Associate

Dr. Charlene Lotz ........................... Director of Music for Education & Community Engagement

Meredith Browning ...................................................... Education Productions Assistant

Igor Parshin................................................................................................... Pianist for Education

Kwedar & Co. ..........................................................Fractional CMO & PR Representation

Stella Lenzie, Alexis Lizama, Sophia Yang ................................................................ Interns

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