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,
Angela Turner Wilson General & Artistic Director Fort Worth Opera
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 Director and Choreographer
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
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EBONY ROSE Ann
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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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