A NOTE FROM DEBORAH SANDLER KEMPER
Welcome to The Barber of Seville. Over the past few seasons, we have given our audiences many sublime and moving experiences. Now, it is time to have a little fun! We’re happy to do just that in this excellent production, which features visuals inspired by the fantastical world of Spanish architect and artist Antoni Gaudí.
Beyond the fabulous set and costumes, we’ve assembled a terrific cast and artistic team to bring Rossini’s comedic brilliance to life. Brought together by stage director Morris Panych, making his Lyric Opera of Kansas City debut, and GRAMMY-nominated James Lowe, returning to the podium, our cast represents some of opera’s rising stars joined by well-established artists.
Over the past few seasons, our board and management have worked to create a pathway to secure the future of Kansas City’s renowned professional opera company. We are grateful for your help, support, and your patience. This month, you will receive communications from us inviting your generosity. We want to return to four full opera productions next season and need your help—your support can make this happen. If you are reading this, then you love opera, and I am sure you want to help us achieve our goal.
Looking forward to spring, we will produce the touching and poignant Cruzar la Cara de la Luna, the world’s first-ever mariachi opera. Crossing boundaries and blending traditions, this opera fuses mariachi and opera for an unforgettable experience, accompanied by the GRAMMY Award-winning Mariachi los Camperos. Finally, in May 2025, Puccini’s grandest tragedy, Turandot, will return to the Kauffman Center. As always, we thank you for your support and for being a part of the magic of musical storytelling.
Deborah Sandler Kemper, General Director and CEO
BOARD OF TRUSTEES: 2024–2025
OFFICERS
Anthony Durone, President
Richard English, Vice President
Scott Blakesley, Secretary
Mark Benedict, Treasurer
BOARD OF TRUSTEES
Dr. Ivan Batlle
Richard P. Bruening
Tom Butch
Casey Claps
Rita Cortés
Dr. Melinda Estes
Michael D. Fields
Christina Hager
COUNSEL
Kenneth V. Hager
Mary Leonida
Mira Mdivani
Edward P. Milbank
Thomas E. Nanney
Andrew Robb
Jug Stanovcic
Wade Kerrigan, Ex-Officio
AUXILIARY MEMBERS
Pam Bruce, Ex-Officio | President, Lyric Opera Circle
Kelly Privitera, Ex-Officio | Ball Co-Chair, Lyric Opera Circle
Lisa Pruch, Ex-Officio | Ball Co-Chair, Lyric Opera Circle
Drewbie Price, Ex-Officio | Chair, Orpheus KC
Established 1899 | Kansas City’s Journal of Society
The first issue of The Independent was published on March 11, 1899. The magazine was the brainchild of Arthur Grissom and George Creel. Young Mr. Grissom soon returned to New York, where he was a founder of The Smart Set prior to his death at the age of 31. George Creel continued to run The Independent until 1909. (In later years, Mr. Creel would serve as chairman of the Committee for Public Information under President Woodrow Wilson. He devised much of the propaganda that encouraged Americans to support World War I.) The next owners of the magazine were Clara Kellogg and Katherine Baxter of the Kellogg-Baxter Printing Company, who lived and worked together. After Miss Baxter’s death from pneumonia at the age of 43 in 1924, Miss Kellogg published an annual tribute to her. Martha Nichols Gaylord (Mrs. Gleed Gaylord) became the editor and owner in 1939, a decade after she joined the staff. Mrs. Gaylord headed the magazine during a time when the arts were proliferating in Our Town: The Kansas City Ballet was founded in 1957, the Lyric Opera of Kansas City in 1958 and the Kansas City Repertory Theatre in 1964. Mrs. Gaylord sold The Independent to Robert P. Ingram in 1983. Laureen Ingram, Mr. Ingram’s daughter-in-law, purchased the magazine from him in 1996. Rachel Lewis Falcon became the new owner and publisher in 2017.
The Independent Magazine Publisher
Director of Program Guide Operations Graphic Design
Rachel Lewis Falcon
Christin Painter BurningStar Studios, LLC
The Independent Magazine 2400 West 75th Street, Suite 120 • Prairie Village, KS 66208 • 816.471.2800
Christin Painter • Christin@kcindependent.com
Lyric Opera of Kansas City program guides are a publication of the Performing Arts Division of The Independent magazine. Information in this publication was carefully compiled to ensure accuracy. However, the publisher does not assume responsibility for accuracy. Editorial program content was provided by the Lyric Opera of Kansas City. Copyright by The Independent magazine. No part of this publication may be reproduced in any form without written permission of the publisher. kcindependent.com
LEARNING OPPORTUNITIES
FOR ADULTS
Community Conversations
This free event series uses opera to discover our shared humanity, on and off the stage. We invite the culturally curious to explore the “here and now” implications of our productions, featuring live music and stimulating conversation. No prior opera knowledge necessary!
Opera Dives Deep
This free series provides audiences with fresh insights from regional scholars and industry professionals to enrich appreciation and understanding of the operas in our season. Both established operagoers and curious newcomers alike are sure to make discoveries.
Pre-Opera Talks
Do you have tickets to see an opera at the Kauffman Center? Come fifty minutes early to learn about the who, what, where, when, and why of the production you’re about to see.
FOR SCHOOLS
Lyric Opera offers several comprehensive educational experiences in which students in grades K–12 and their teachers are invited to unlock the potential of opera through a variety of programs deliverable in schools or community spaces. The 2024–2025 programs include:
• The Haberdasher Prince—a touring opera for elementary schools
• Narrative Storytelling Workshop an interactive recital for secondary schools
• Student Dress Rehearsals an opportunity for school groups to attend the final dress rehearsal of our mainstage operas
FOR FAMILIES
Maya and the Magic Ring
In this new opera for families, a young girl named Maya discovers a dazzling ruby ring in her grandmother’s belongings. She rubs the jewel and accidentally releases a genie, leading to chaos. Realizing she is in a pickle, Maya must choose her final wish carefully. Join Lyric Opera of Kansas City for this hilarious story of family and magic, touring Kansas City community spaces where families gather in March and April 2025.
Visit kcopera.org/learning to view our entire menu of programs, learn more, and register.
Resident Artists are chosen by national audition. The program bridges graduate training to professional careers by providing performance opportunities, coaching, and career training.
BETHANY JELINEK (Soprano)
Bethany Jelinek, soprano, is a passionate performer and a dynamic competitor from Dallas, TX. In 2024, Jelinek was a semifinalist in the Metropolitan Opera Laffont Competition and was a finalist in the inaugural Heartland Sings Vocal Competition. She was awarded the 2023 Jonathan Pell People’s Choice Award from the Dallas Opera Guild Biennial Lone Star Vocal Competition, the 2022 Roy and Sue Johnson Opera Theatre Award, and the 2021 Thomas Hayward Memorial Award for Outstanding Undergraduate Singer at Southern Methodist University where she received her Bachelor and Master of Music degrees in vocal performance. Recent credits include Micaëla (Carmen), Female Chorus (The Rape of Lucretia), Abigail Williams (The Crucible), and Fiordiligi (Cosí fan tutte).
VIRGINIA REED (Mezzo-Soprano)
New York native, Virginia Reed was a recent finalist in the Southeast Region of the Metropolitan Opera Laffont Competition. Versed in lyric repertoire, recent roles include Cherubino (Le nozze di Figaro), the title role in La Cenerentola, Sesto (La clemenza di Tito), Olga (Eugene Onegin) and Der Komponist (Ariadne auf Naxos). Reed was a scholarship recipient in the 2022 3rd Internationale Opernwerkstatt Waiblingen, performing with the Wurttemberg Philharmonic under Maestro Vlad Iftinca. She has worked as a Young Artist with Wolf Trap Opera, Central City Opera, and Janiec Opera Company at Brevard Music Center. Reed is a champion of concert and oratorio work, having performed as a choral artist with the Oratorio Society of New York at Carnegie Hall, the Metropolitan Museum of Art, Avery Fisher Hall, and the Cathedral of St. John the Divine.
JAEMYEONG LEE (Tenor)
Tenor Jaemyeong Lee, a native of South Korea, graduated in 2024 with a Performer Diploma and Artist Diploma in Voice Performance with Performance Fellowship at the Indiana University Jacobs School of Music, where he studied with Carol Vaness, Kevin Murphy, and Gary Arvin. He earned his Bachelor and Master of Music degrees in Voice Performance from Seoul National University as a student of Yonghoon Lee.
Lee performed the role of Don Basilio (Le nozze di Figaro) at Aspen Music Festival in Summer, 2024. Lee has also been a Young Artist at Summer Opera Tel Aviv. Other credits include Roméo (Roméo et Juliette), Ruggero (La rondine), Rodolfo (La bohème), Don Ottavio (Don Giovanni), Nemorino (L’elisir d’amore), and Ferrando (Cosí fan tutte). Recent soloist concert work includes Handel’s Messiah, Beethoven’s Symphony No. 9, and Verdi’s Requiem.
JA Z Z
Folly Jazz Series FOLLYTHEATER.ORG/JAZZ 24/25
SOME ENCHANTED EVENING
Starring
YELLOWJACKETS JAN. 25
KARRIN ALLYSON SEPT. 21
BENNY BENACK III & STELLA COLE
Showcasing
JABU GRAYBEAL AN EVENING WITH
SÄJE FEB. 28
HELEN SUNG Meets BACH ARIA SOLOISTS
Visit the Eisenhower Presidential Library and Museum to experience Ike and Mamie’s story in their own words.
“Thethinproudest g I can claim is that I am from Abilene.”
- Dwight D. Eisenhower
Best U.S. Small Town to Visit TravelAwaits (2023)
Top 10 True Western Town of the Year True West Magazine (2023)
Best Historic Small Town USA TODAY (2023)
GIVE TO LYRIC OPERA OF KANSAS CITY
You can help bring the magic of opera to all of Kansas City! Your generosity allows us to:
• CREATE high-quality artistic experiences, through world-class opera, curated right here in Kansas City
• TRANSFORM the lives of more than 26,000 people every year with extraordinary music, artistry, and performances
• CAPTIVATE new audiences by introducing children (and adults!) to their first opera experience
• DEVELOP the next generation of opera performers through our nationally recognized Apprentice and Resident Artist Programs
EVERY GIFT IS MEANINGFUL
For more information about giving and the exciting benefits available, please scan the QR code below, or contact our Development Team at (816) 802-6061, or giving@kcopera.org.
RESIDENT ARTIST PROGRAM CONT.
ALEX SMITH (Baritone)
Baritone Alex Smith received his Master of Music in Voice from the Yale School of Music in the spring of 2024, under Adriana Zabala. He received his Bachelor of Music in Vocal Performance at the Oberlin Conservatory, where he studied with Lorraine Manz. During his time at Yale, Mr. Smith performed the roles of Musiklehrer (Ariadne auf Naxos), Junius (The Rape of Lucretia), Raimbaud (Le comte Ory), Father Trulove (The Rake’s Progress), and Marco (Gianni Schicchi). In the summer of 2023, he attended The Glimmerglass Festival as a Young Artist where he performed in the chorus of La bohème and Roméo et Juliette, in addition to covering roles in Roméo et Juliette
MATTEO GENERANI (Coach-Accompanist)
Matteo Generani is an acclaimed Italian pianist, recognized for winning several competitions such as the Villa Oliva National Piano Competition (Italy, 2018), White Lake Young Artist Solo Performance (Michigan, USA, 2019), and Jefferson City Symphony Orchestra Piano and Orchestra Competition (Missouri, USA, 2020). He performs across Europe and the United States, both as a soloist and as a chamber musician. Matteo co-founded the Medhelan Duo with violinist/violist Doriano Di Domenico and the Neo-Art Piano Duo with pianist Regina Tanujaya. In May 2020, he premiered and recorded the complete set of Études Op. 23 by Giovanni Albini. He looks forward to a CD and streaming release of his recording of piano works by Giuseppe Martucci, slated for December 2024 on the Naxos label. Matteo also serves as the festival coordinator and assistant to the artistic director of the Piano Lieven Foundation, and as co-artistic director of Classical Music Express.
The Haberdasher Prince photo by Andrew Schwartz for Lyric Opera of Kansas City
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An opera in two acts
PRINCIPAL CAST
Rosina
Count Almaviva
Figaro
Doctor Bartolo
Don Basilio
Berta
Fiorello
An Officer
Chrystal E. Williams*
Matthew Swensen*
Johnathan McCullough
Ashraf Sewailam*
Kristinn Sigmundsson*
Virginia Reed^*
Alexander Smith^*
Riley Findley@
* Lyric Opera Debut ^ Lyric Opera Resident Artist @ Past Apprentice
The Barber of Seville was originally performed by Teatro Argentina in Rome, Italy, 1816. Presented in Italian with English titles projected above the stage
Running time: Three hours with one intermission
SEASON SPONSORS:
With public support from the State of Missouri and the Missouri Arts Council, a state agency.
This performance is made possible, in part, by a grant from the Martha Lee Cain Tranby Music Enrichment Fund.
The production and designs for The Barber of Seville were originally created by Pacific Opera Victoria for production in February 2016.
The Pre-Opera Talk speaker for The Barber of Seville is Dr. Raffaele Cipriano.
English titles written by Teresa Turgeon
Stage crew provided by IATSE Local 31
Wardrobe crew provided by The Theatrical Wardrobe Union Local 810
Chrystal E. Williams’s perfomance is sponsored in part by John and Sharon Hoffman.
Music by Gioachino Rossini | Words by Cesare Sterbini
CREATIVE TEAM
CONDUCTOR
DIRECTOR
ASSISTANT DIRECTOR
SET DESIGNER
COSTUME DESIGNER
LIGHTING DESIGNER
WIG AND MAKEUP DESIGNER
CHORUS MASTER
REHEARSAL ACCOMPANISTS
CONTINUO
MUSIC LIBRARIAN
PROPS SUPERVISOR
LIGHTING SUPERVISOR
COSTUME COORDINATOR
SOUND COORDINATOR
WIG AND MAKE-UP ASSISTANT
TITLES OPERATOR
STAGE MANAGER
ASSISTANT STAGE MANAGERS
HEAD CARPENTER
HEAD PROPSMAN
HEAD ELECTRICIAN
HEAD FLYMAN
HEAD SOUND ENGINEER
WARDROBE SUPERVISOR
WARDROBE ASSISTANT
*Lyric Opera Debut
James Lowe
Morris Panych*
Joshua Horowitz
Ken MacDonald*
Dana Osborne*
Kimberly Purtell*
David Zimmerman
Piotr Wiśniewski
Piotr Wiśniewski, Matteo Generani
Matteo Generani
Elena Lence-Talley
Gavin Merrill
Selena Gonzalez-Lopez
Nancy Robinson
John Story
Blaine Shepherd, Katie Wasicko
Sarah Zsohar
Alayna Powell
Zoe Steenwyk, Jess Tibboles
Kyle Deckman
Steve Cochran
Dan McMahan
Evan Suellentrop
Grant Conrad
Desiree Baird Story
Amanda McCarty
TENOR
Zachary K. Devin@
Trent Green
David Helder
Daniel J. Loganbill
Kevin Thomas Smith
Brian Sussman
CHORUS SUPERNUMERARIES
Matthew Brun
Sarah Jeter
Erin Klubek
BASS/BARITONE
Matt Black
Powell Brumm
Phil Eatherton
Riley Findley@
Matthew Scrivner
Nathan Whitson
Grace Laughton*
Ernesto Suárez
James Symmonds
*Lyric Opera Debut @Past Apprentice
KANSAS CITY SYMPHONY
MATTHIAS PINTSCHER, Music Director
FIRST VIOLINS
Jun Iwasaki, Concertmaster, Miller Nichols Chair
Stirling Trent, Associate Concertmaster
Sunho Kim, Assistant Concertmaster
Anne-Marie Brown
Michael Brown
Betty Chen
Anthony DeMarco
Susan Goldenberg*
Tomoko Iguchi
Dorris Dai Janssen
Aaron You-Xin Li^
Chiafei Lin
Vladimir Rykov
Alex Shum*
SECOND VIOLINS
Tamamo Someya Gibbs, Principal
Kristin Velicer, Acting Associate Principal
Minhye Helena Choi, Acting Assistant Principal
Mary Garcia Grant
Kazato Inouye
Rena Ishii
Paul Kim
Stephanie Larsen
Jinyou Lee
Filip LazovskiΔ
Sodam Lim
Ayrton Pisco^
VIOLAS
MingYu Hsu, Principal
Duncan Steele, Associate Principal
Jessica Nance, Assistant Principal
Kent Brauninger
Sean Brumble
Marvin Gruenbaum
Jenifer Houck
Duke Lee
Jesse Yukimura
CELLOS
Mark Gibbs, Principal, Robert A. Kipp Chair
Susie Yang, Associate Principal, Richard Hill Chair
Alexander East, Assistant Principal
Maria Crosby
John Eadie
Lawrence Figg
Sally Kim^
Meredith McCook
Allen Probus
DOUBLE BASSES
Evan Halloin, Acting Principal
Richard Ryan, Acting Associate Principal
Nils Aardahl
Lena GoodsonΔ
Joseph Nunez
Keith WymerΔ
FLUTES
Michael Gordon, Principal, Marylou and John Dodds
Turner Chair
Shannon Finney, Associate Principal
Alejandro LomboΔ
Kayla Burggraf‡
PICCOLO
Alejandro LomboΔ
Kayla Burggraf‡
OBOES
Kristina Fulton, Principal, Shirley Bush Helzberg Chair
Alison Chung, Associate Principal
Matthew Lengas
ENGLISH HORN
Matthew Lengas
CLARINETS
Raymond Santos, Principal, Bill and Peggy Lyons Chair
Trevor StewartΔ, Acting Associate Principal
Silvio Guitian‡, Associate Principal
John Klinghammer
E-FLAT CLARINET
Trevor StewartΔ
Silvio Guitian‡
BASS CLARINET
John Klinghammer
BASSOONS
Ann Bilderback, Principal, Barton P. and Mary D. Cohen Chair
Thomas DeWitt, Associate Principal
Maxwell Pipinich
CONTRABASSOON
Thomas DeWitt
HORNS
David Sullivan, Acting Principal, Landon and Sarah Rowland Chair
Elizabeth Gray, Acting Associate Principal
David Gamble
Stephen Multer, Associate Principal Emeritus
Benjamin BacniΔ
TRUMPETS
Julian Kaplan, Principal, James B. and Annabel Nutter Chair
Shea KelsayΔ, Acting Associate Principal
Hyojoon ParkΔ
George Goad‡
TROMBONES
Evelyn Carlson, Principal
Porter Wyatt Henderson, Associate Principal
Jahleel SmithΔ
BASS TROMBONE
Jahleel SmithΔ
TUBA
Joe LeFevre, Principal, Frank Byrne Chair
TIMPANI
Timothy Jepson, Principal, Michael andSusan Newburger Chair
PERCUSSION
David Yoon, Acting Principal
Justin OchoaΔ, Acting Associate Principal, Adrian and Nancy Kay Hertog Family Chair
HARP
Katie VenturaΔ, Acting Principal
LIBRARIANS
Elena Lence Talley, Principal
Fabrice Curtis
DAVID T. BEALS III
ASSISTANT CONDUCTORS
Luke Poeppel
Daniel Wiley
Justin White, Director of Orchestra Personnel
Kirsten Loynachan, Assistant Personnel Manager
Tyler Miller, Stage Manager
* Non-Rotating Musician
^ New Member
‡ On Leave of Absence
Δ One-Year Member
CONDUCTOR’S NOTES
By James Lowe
Given today’s popularity of Rossini’s Il barbiere di Siviglia, it’s hard to imagine what the premiere performance in 1816 was like. Although a wellregarded composer by this time, Rossini was only twenty-four years old with sixteen operas under his belt. There was already a beloved opera based on Beaumarchais’s play, written by the venerable Paisiello some thirty-four years earlier. In fact, it was the popularity and success of Paisiello’s 1782 work that inspired Mozart’s setting of Beaumarchais’s sequel, Le nozze di Figaro
Although Rossini titled his opera Almaviva so as not to invite comparisons to the elder composer, Paisiello’s devoted fans were not pleased. Who did this young upstart think he was, trying to create a new version of this masterpiece in a modern style? A particularly loud group of Paisiello’s devotees showed up at Rome’s Teatro Argentina that night, hissing and booing throughout the performance. By some accounts, the audience did not hear a note that evening. After such humiliation, Rossini stayed home the second night, which was, however, a smashing success without the interference of the boisterous claque. The title was changed a few months later to Il barbiere di Siviglia for a revival in Bologna, following the death of Paisiello, and the opera subsequently was performed to great acclaim all over the world.
Rossini composed at a breakneck pace, creating some thirty-nine operas in a twenty-year span, and Barbiere is no exception. The contract between Rossini and the theater was signed on December 15, 1815, and the opera premiered on February 20, 1816. Considering the time necessary to develop a libretto and rehearse the piece, that leaves about three weeks for composition! Rossini had to save time where he could, and following a common practice of opera composers of the day, he was not above recycling previously used ideas when necessary. The famous overture had actually been written for his 1813 opera, Aureliano in Palmira, and used again for Elisabetta, regina d’Inghilterra in 1815. Considering these operas premiered in Milan and Naples, respectively, Rossini felt safe that the Rome audiences would not have heard this music before. Interestingly, of the three works, only Barbiere is a comedy. Yet, in a testament to the work’s versatility, the overture’s tone works well in all situations. Other examples of this “borrowing” include the thunderstorm music adapted from his 1812 work La pietra del paragone
As Leonard Bernstein famously put it, “To achieve great things, two things are needed: a plan, and not quite enough time.” That the score is so full of energy, vitality, and wit is due, I suspect, as much to this frenzied timeline as to the liveliness of the characters and the zany plot. But the short deadline aside, this is a work full of beautiful, catchy melodies, stunning bel canto vocal writing, intricate ensemble numbers, and thrillingly dramatic orchestrations. There is no question that all of these elements work together as a cohesive whole, creating one of the most charming, irresistible operatic scores in the repertoire.
DIRECTOR’S NOTES
By Morris Panych
The Barber of Seville, originally a stage play by Pierre Beaumarchais, was first performed at the Comédie-Française in Paris in 1775. Initially a flop, the author, with some deft and speedy rewrites, turned it into a success. The production was initially delayed because of its author’s political and legal problems—a well-known watchmaker, inventor, playwright, musician, diplomat, spy, publisher, horticulturist, arms dealer, satirist, financier, and troublemaker. He was also instrumental in the American Revolution, supplying arms to the American cause.
From this comedy, you wouldn’t guess any of it. At first blush, the play appears to be pure buffoonery. Still, on closer inspection, one can detect not only its somewhat scandalous autobiographical origins but also its political ones, mocking, as it does, aristocratic foibles and, by proxy, challenging the prevailing class system. Beaumarchais came up against the establishment many times in his multi-faceted career and can indeed be said, despite his aristocratic leanings, to have been a radical of the purest form—a man who believed in exposing hypocrisy and corruption wherever he found it. To put this man together with this play presents interesting dialectical challenges to say the least.
Although Rossini was clearly on the lookout for good comic source material, he cannot have overlooked the politics of the piece, coming at a time in history when so much about the established order was being challenged. Rossini’s family supported revolutionary causes, and his father was jailed for it, leaving the young composer to make a living as a singer in various theaters in Romagna. Once again, we can thank radical influences for forming an artistic mind—not the first instance, nor certainly the last. All throughout history, there has been an undercurrent of troublemaking that runs through art.
For this production, we took this cue of radical form to invest the piece in a Gaudí-esque style, Gaudí being an architectural revolutionary. The set represents freedom of movement, a natural flow of events, and where the story suggests that the world ought to operate on natural principles rather than artificial conditions of class, the set swerves around the action as if to say that rigid human organization will always be subject to nature, which operates not on man-made law, but something purer and more universal. Lovers will love, powerful old men will falter, hair will always need grooming, and life will continue—not by force or reason, but by the simple, natural order of things.
ACT I
Seville. Count Almaviva comes in disguise as a poor student named Lindoro to the house of Doctor Bartolo and serenades Rosina, whom Bartolo keeps confined to the house. Figaro the barber, who knows all the town’s secrets and scandals, explains to Almaviva that Rosina is Bartolo’s ward, not his daughter, and that the doctor intends to marry her. Figaro devises a plan: the count will disguise himself as a drunken soldier with orders to be quartered at Bartolo’s house so that he may gain access to Rosina. Almaviva is excited and Figaro looks forward to a nice cash pay-off.
Rosina reflects on the voice that has enchanted her and resolves to use her considerable wiles to meet the man it belongs to. Bartolo appears with Rosina’s music master, Don Basilio. Basilio warns Bartolo that Count Almaviva, who has made known his admiration for Rosina, has been seen in Seville. Bartolo decides to marry Rosina immediately. Basilio suggests slander as the most effective means of getting rid of Almaviva. Figaro, who has overheard the plot, warns Rosina and promises to deliver a note from her to Lindoro. Bartolo suspects that Rosina has indeed written a letter, but she outwits him at every turn. Bartolo warns her not to trifle with him.
Almaviva arrives, creating a ruckus in his disguise as a drunken soldier, and secretly passes Rosina his own note. Bartolo is infuriated by the stranger’s behavior and noisily claims that he has an official exemption from billeting soldiers. Figaro announces that a crowd has gathered in the street, curious about the argument they hear coming from inside the house. The civil guard bursts in to arrest Almaviva, but when he secretly reveals his identity to the captain, he is instantly released. Everyone except Figaro is amazed by this turn of events.
ACT II
Bartolo suspects that the “soldier” was a spy planted by Almaviva. The count returns, this time disguised as Don Alonso, a music teacher and student of Don Basilio, to give Rosina her singing lesson in place of Basilio, who, he says, is ill at home. “Don Alonso” then tells Bartolo that when visiting Almaviva at his inn, he found a letter from Rosina. He offers to tell her that it was given to him by another woman, seemingly to prove that Lindoro is toying with Rosina on Almaviva’s behalf. This convinces Bartolo that “Don Alonso” is indeed a student of the scheming Basilio, and he allows him to give Rosina her lesson. With Bartolo dozing off, Almaviva and Rosina declare their love.
Figaro arrives to give Bartolo his shave and manages to snatch the key that opens the doors to Rosina’s balcony. Suddenly Basilio shows up looking perfectly healthy. Almaviva, Rosina, and Figaro convince him with a quick bribe that he is in fact ill and must go home at once. While Bartolo gets his shave, Almaviva plots with Rosina to meet at her balcony that night so that they can elope. But the doctor overhears them and, realizing he has been tricked again, flies into a rage. Everyone disperses.
The maid Berta comments on the crazy household. Bartolo summons Basilio, telling him to bring a notary so Bartolo can marry Rosina that very night. Bartolo then shows Rosina her letter to Lindoro, as proof that her student is in league with Almaviva. Heartbroken and convinced that she has been deceived, Rosina agrees to marry Bartolo. A thunderstorm passes. Figaro and the count climb a ladder to Rosina’s balcony and let themselves in with the key. Rosina appears and confronts Lindoro, who finally reveals his true identity as Almaviva. Basilio shows up with the notary. Bribed and threatened, he agrees to be a witness to the marriage of Rosina and Almaviva. Bartolo arrives with soldiers, but it is too late. He accepts that he has been beaten, and Figaro, Rosina, and the count celebrate their good fortune.
CHRYSTAL E. WILLIAMS
ROSINA (Mezzo-Soprano)
Recent Carmen, Carmen, Opera North (UK) Nefertiti, Akhnaten, English National Opera Fricka, Das Rheingold, Birmingham Opera Company
Upcoming Aurelia Browder, She Who Dared, Chicago Opera Theater
MATTHEW SWENSEN COUNT ALMAVIVA (Tenor)
Recent
Steuermann, The Flying Dutchman, Het Concertgebouw Steuermann, The Flying Dutchman, Teatro Regio Torino
Tom Rakewell, The Rake’s Progress, Teatro Maggio Musicale Fiorentino
Upcoming Nemorino, The Elixir of Love, New Orleans Opera Ferrando, Così fan tutte, Orchestre symphonique de Montréal
JOHNATHAN McCULLOUGH
FIGARO (Baritone)
Recent Director, Emily, Wolf Trap Opera Mercutio, Roméo et Juliette, Lyric Opera of Kansas City Figaro, The Barber of Seville, Pittsburgh Opera
Upcoming Ophémon, L’Amant anonyme, Opera Philadelphia
Dr. Falke, Die Fledermaus, Opera Theatre of Saint Louis
ASHRAF SEWAILAM
DOCTOR BARTOLO (Bass-Baritone)
Recent Bartolo, The Barber of Seville, Des Moines Metro Opera Bartolo, The Barber of Seville, Seattle Opera Sparafucile, Rigoletto, Opera San José Upcoming Dulcamara, The Elixir of Love, New Orleans Opera Commendatore, Don Giovanni, Madison Opera
KRISTINN SIGMUNDSSON DON BASILIO (Bass)
Recent Heinrich, Lohengrin, San Francisco Opera Chamberlain, Der Zwerg, LA Opera Priest, Innocence, San Francisco Opera Fasolt, Das Rheingold, The Atlanta Opera Bartolo, The Marriage of Figaro, LA Opera
ARTISTS CONT.
VIRGINIA REED BERTA (Mezzo-Soprano)
Recent
L’Opinion publique, Orfée aux enfers, Opera Company of Middlebury Cherubino, The Marriage of Figaro, San Francisco Conservatory of Music
Clear String, The Haberdasher Prince, Lyric Opera of Kansas City
Upcoming
Grandmother, Maya and the Magic Ring, Lyric Opera of Kansas City
ALEXANDER SMITH FIORELLO (Bass)
Recent Marco, Gianni Schicchi, Yale School of Music
Father Trulove, The Rake’s Progress, Yale School of Music
Raimbaud, Le comte Ory, Yale School of Music
Upcoming Cat, Maya and the Magic Ring, Lyric Opera of Kansas City
Ping, Turandot, Lyric Opera of Kansas City
RILEY FINDLEY AN OFFICER (Baritone)
Recent Count Almaviva, The Marriage of Figaro, Canto Vocal Programs Gregorio, Roméo et Juliette, Lyric Opera of Kansas City
Gianni Schicchi, Gianni Schicchi, Opera di Lucca
Upcoming
Figaro (cover), The Barber of Seville, Opera Sarasota
CREATIVE TEAM
JAMES LOWE CONDUCTOR
Recent
Conductor, La bohème/Rent, Atlanta Opera Conductor, Songbird, Washington National Opera Conductor, El Milagro del Recuerdo, San Diego Opera
MORRIS PANYCH DIRECTOR
Recent Playwright/Director, Frankenstein Revived, Stratford Festival
Playwright, Withrow Park, Tarragon Theatre Director, The Marriage of Figaro, Pacific Opera Victoria
Upcoming Director, Flight, Vancouver Opera House
JOSHUA HOROWITZ ASSISTANT DIRECTOR
Recent
Associate Director, La traviata, Detroit Opera Director, Rumpelstiltskin and the Unlovable Children, The Glimmerglass Festival
Assistant Director, La Calisto, The Glimmerglass Festival
Upcoming
Assistant Director, The Magic Flute, Seattle Opera Assistant Director, Porgy and Bess, Washington National Opera
KEN MACDONALD SET DESIGNER
Recent
Set Designer, Leopoldstadt, Huntington Theater Company/ Shakespeare Theatre Company
Set Designer, Frankenstein Revived, Stratford Festival
Set Designer, The Marriage of Figaro, Pacific Opera Victoria
Upcoming
Set Designer, Flight, Vancouver Opera
DANA OSBORNE COSTUME DESIGNER
Recent
Costume Designer, Frankenstein Revived, Stratford Festival
Costume Designer, The Lehman Trilogy, Canadian Stage
Costume Designer, Skyward, Orlando Ballet
Upcoming
Costume Designer, Sense and Sensibility, Stratford Festival
CREATIVE TEAM CONT.
KIMBERLY PURTELL
LIGHTING DESIGNER
Recent
Lighting Designer, A Streetcar Named Desire, Soulpepper Theatre Company
Lighting Designer, Don Giovanni, Edmonton Opera
Lighting Designer, One Man, Two Guvnors, Shaw Festival
DAVID ZIMMERMAN
WIG AND MAKE-UP DESIGNER
Recent
Wig and Make-Up Designer, The Righteous, Santa Fe Opera
Wig and Make-Up Designer, La traviata, The Dallas Opera
Wig and Make-Up Designer, Pelleas and Melisande, The Dallas Opera
Upcoming
Wig and Make-up Designer, Orpheus and Eurydice, The Dallas Opera
Wig and Make-up Designer, La bohème, The Dallas Opera
PIOTR WIŚNIEWSKI
CHORUS MASTER
Recent
Assistant Conductor and Chorus Master, The Sound of Music, Roméo et Juliette, Journey toValhalla, Lyric Opera of Kansas City Conductor, The Haberdasher Prince, Lyric Opera of Kansas City
Upcoming
Assistant Conductor and Chorus Master, Cruzar la Cara de la Luna, Turandot, Lyric Opera of Kansas City Conductor, Maya and the Magic Ring, Lyric Opera of Kansas City
INDIVIDUAL GIVING
Lyric Opera of Kansas City extends its deepest appreciation to the individual contributors who help support the Company’s productions and programs. We recognize annual giving to the Company and Lyric Opera Ball of $250 or more received between September 1, 2023 to August 31, 2024.
*Includes contributions to Lyric Opera Ball +Includes giving to the Special Gifts Campaign
RICHARD J. STERN SOCIETY
($50,000+)
Mr. & Mrs. Richard Bruening
Virginia & Charles Clark+
Barnett & Shirley Bush Helzberg*+
Joan Horan*+
Ingram Family Foundation*
Mrs. Carol Tinsman+
MAESTRO'S CIRCLE
($25,000 - $49,999)
Ann Baum
Matt & Kate Beem+
Mr. & Mrs. A. Joseph Brandmeyer
Ken & Marilyn Hager
Innes & John Hale
Mr. & Mrs. T.E. McCullough+
Mr. Edward P. Milbank*
Paul & Elizabeth Uhlmann+
Ms. Connie Walker*+
BEL CANTO
($10,000 - $24,999)
Mrs. Raymond Backstrom
Drs. Ivan & Karla Batlle*+
Mark T. Benedict & Dr. Kim Mongeau
Thomas & Mary Beth Butch+
Ann Dickinson
Anthony & Meredith Durone*+
Dr. Melinda Estes & Dr. Harold Morris+
Michael D. Fields*
Joyce G. Holland
Kirk Foundation
Walter & Gayle Richardson
Jug & Rachel Stanovcic
IMPRESARIO
($5,000 - $9,999)
M. Wayne Alexander and John Braum
Scott & Joyce Blakesley
Richard & Lauren English*+
Mr. & Mrs. Lafayette Ford, III+
Marilyn A.W. & Norman E. Gaar, Esq.*
Trudy & Jack Gabriel*
Dr. Gary Grunewald Charitable Fund
Yong Y. Han, M.D.
Ellen & Irv Hockaday
Jill Ingram Reynolds*
Judy Kirk
Mary Leonida*+
Tom & Kathy Nanney+
Andrew & Brittany Robb*
Mr. & Mrs. Charles Schellhorn*
Stephen & Dolores Schroff
Mr. J. Michael Sigler*
Steve & Linda Taylor*
H. Wayne & Melanie Thompson
LYRIC OPERA ANGEL
($3,000 - $4,999)
Anonymous
Andy & Kathy Anderson*
Craig Armstrong
Sharon Barry*
Mr. & Mrs. Lee Baty*
Gary & Suzy Bennett
Jerry & Meghan Carpenter
Nan Chapman*
Robert L. Claassen
Mrs. Una Creditor
Tim & Deanna Diebolt*
Kurt & Linnell Gretzinger*
Richard Gutknecht
Donald J. Hall*
Caleb & Julia Jackson
Mary Lou James & James Taylor
Dr. Robert E. & Dr. Rebecca Johnson
Dana Koehn*
Graham & Helen Marcott
Drs. Margaret & Barry Nickell
George & Suzy Pagels
Tim Pratt & Christie Geier-Pratt
Joseph & Kelly Privitera*
Don & Pamela Raffurty
Dennis & Palle Rilinger
Michelle & Chuck Ritter
Deborah Sandler Kemper & Crosby
Kemper*
Joseph & Carol Suhor
Megan Toal
Fr. Paul Turner
Dr. Linda E. Voigts & Mr. Gene Voigts
Lynne & Carl Weilert*
INDIVIDUAL GIVING CONT.
Howard & Irene Weiner
Dr. Edward A. Wortham, Jr.
Dr. Michael J. & Cindy S. Wurm*
Dr. & Mrs. John Yungmeyer*
ARIA SOCIETY
($1,500 - $2,999)
Andrew & Peggy Beal*
Ann & Terry Bender*
Peter & Lynne Brown*
Richard & Nicole Browne*
Robert & Pamela Bruce*
Gerard & Judy Bukowski
Dr. Akin & Ayca Aktas Cil*
James & Diana Cusser*
Randy & Edie Downing*
Mr. & Mrs. David Embry*
Darold & Melinda Frenzen*
Dr. & Mrs. James K. Gentry*
Dr. John & Mrs. Ellen Goheen
Estate of Marrillie Good
John & Sharon Hoffman
Michael Hunter & Sherry Love*
Kirk & Gretchen Ivy*
Craig Kemp
Mr. & Mrs. William Kort*
Julia & Greg Malter*
Mr. & Mrs. Stephen Mayer
Lee & Carl McCaffree*
Mr. & Mrs. John Middelkamp*
Patricia E. Cleary Miller, PhD
Donald & Linda Milligan
Barbara Nelson*
Edward & Chris Null
Debra & Allen Parmet
Dr. Ronald & Donna Patton*
Ms. Lisa Flynn Pruch*
Curt Roberts & Ora Reynolds*
Ms. Carmen M. Sabates*
Bruce & Nancy Schall*
Darren Sextro & John Rensenhouse*
Suzanne Shank & John Lohmeyer*
Clarence Simmons
Juliette Singer & Ian Spinks*
VIRTUOUSO
($1,000 - $1,499)
Blue Heron Foundation
Ms. Joyce Castle
Mr. & Mrs. Paul Copaken*
Dr. Michael De Priest & Ms. Barbara
Braznell
Steven & Carolyn Faenger*
Ellen Feldhausen
Dr. Karen Florio
Donna Gould Cohen
Michael & Judy Graf
Carol Grantham
George Helmkamp
Gary Hobin
Ms. Robin L. Huff*
Bev Leonard*
Barbara Loots & William J. Dickinson
Andrew McDonald
Dr. Sieglinde Othmer*
Lawrence & Pamela Scott*
Alvin J. Schneider
Karen Seaberg
Susanne Christopher Shutz
Kelton W. H. Smith
Joshua & Jane Sosland
Mr. & Mrs. Terrence P. Sullivan
Clyde & Katie Wendel
Sophia C. Zetmeir
Karl & Beth Zobrist
COMPRIMARIO
($500 - $999)
Ronald & Kathleen Bremer
Robert & Silvy Brookby*
Wendy Burrell*
Arden & Mary Ann Carr
Casey Claps*
Mr. C. L. Cocke
Mr. H. Hurst Coffman
Dr. Suzanne C. Crandall*
Doug & Terri Curran
Pat & Liz Daniels
Michael Dunaway*
Laurie & Jason Eck
Warren & Jenny Erdman*
William & Eileen Everett*
Michael & Melanie Fenske*
Barbara Fessler*
Connie & Antoni Firner
Michael Fischbach
Laura Gabriel
Dan & Mary Carol Garrity*
Mark & Nancy Gilman
Charles & Barbara Haviland*
Rebecca Hawkins
INDIVIDUAL GIVING CONT.
Drs. Robert & Jane Henney*
Lisa Merrill Hickok*
Dr. & Mrs. Edward Higgins
Joan Kurz & Larry Jones
Nicholas & Charlotte Liddeke*
Mr. Robert Lunn
Michael & Julie McCann*
Heidi McIntyre
JoZach Miller & Peter Bali*
Ed Moore*
Bill Pallucca
Joanne Reed
Gigi & Gary Rose*
Dr. & Mrs. Nelson R. Sabates*
Jon Scheinman & Anita Toby Grow
Aidan Schorgl
Patricia Ann Scott*
Edward M. Sien
Dr. Christopher & Lisa Sirridge*
Greg & Ann Smith
Lora Smith*
Mark Trenton Smith*
James & Margaret Stadler*
Ms. Linda S. Stevens*
Kathleen Sutton*
Sven & Julie Sykes*
Ms. Beverly Thomas
Tracey Tilley*
Maarten van Swaay
Mr. Hal vonBohnhoff
Jeff & Alisha Walker*
Mrs. Barbara Weary
Frank & Helen Wewers
Jeff & Danielle Whitman*
Jean Wise
Dean Zollman & Jackie Spears
CHORUS
($250 - $499)
David Actenberg & H. Alice Jacks
Ellen & John Aisenbrey
Richard & Emily Ballentine
Mr. & Mrs. Bruce Barksdale*
Erik Bergrud & Kimberlee Ried*
Christopher & Sharon Bradford
Nathanael Brown
Matthew & Nancy Buchmann*
Drs. V. Carlos & Maria Palmeri
Donna & Ed Carper*
James Cook
Ms. Ellen Cooley
Dr. Patricia Mary Cox
Dr. & Mrs. Steve Crouch
Cathy Daicoff
Jerry L. Daniels
Dr. & Mrs. John M. Davis
Jo Anne & Bill Dondlinger*
Carla Dyer*
Mr. Kenneth Eiler
Olga Ganzen*
George & Frances Gerritz*
Charles & Barbara Gorodetzky
Mr. & Mrs. Winston Grantham
Ms. Roberta Gumbel
Dr. & Mrs. Thomas B. Hall III
John & Bernice Hamra Foundation*
Mr.& Mrs. George E. Handley
Susan & Zack Hangauer
Roger Hiatt & Patricia Haegelin-Hiatt
Mr. & Mrs. William Hirsch
Harold & Vicki James
Drs. John & Anna Kenney*
Jolle Kirpensteijn
Kristina Klug*
Jim David Koger
Greg & Nancy Koons*
Petra Kralickova*
Angela Kramer*
Dr. Jan-Marie & Bradford Kroh*
Rodney & Margaret LaMothe
Jane Lee
Jenny Manka*
Matt & Christy Mayo*
P. Alan McDermott
Douglas & Nina McKenna
Kathy & Bill Migneron
Karen Mische*
Ann Nigro*
Mark & Lynne O’Connell
Vernon & Trish Church Podlasek*
William & Stacy Pratt
Ms. Maggie Presson
Ms. Carolyn Price *
Mr. Hal Douglas Quinn*
Scott & Jeannette Redick*
Ms. Lucinda Rice-Petrie*
R.A. Rich
Bridget Richards*
James & Laurie Rote*
Elaina Marie Sansone*
Humboldt Sax
Ms. Dorie R. Sheppard*
William J. Smith
Barbara Spilker*
Daniel L. Turner & Carol Dziadik Turner
Mrs. John D. Turner*
Sandra Vogel
LYRIC OPERA OF KANSAS CITY
You don’t have to be an opera singer to play a leading role at Lyric Opera of Kansas City! Making a gift from your will or trust creates a lasting legacy for generations to come, allowing future audiences to share your passion for opera.
GIVE YOUR ENCORE.
For more information scan the QR code above or contact Molly Fisher at (816) 802-6061 or email giving@kcopera.org.
INSTITUTIONAL GIVING
Lyric Opera of Kansas City extends its deepest appreciation to the foundations, corporations, organizations, and government entities that help support the Company’s productions and programs. We recognize annual giving to the Company and Lyric Opera Ball of $250 or more received between September 1, 2023 to August 31, 2024.
*Includes contributions to Lyric Opera Ball
+Includes giving to the Special Gifts Campaign
OPERA PRESENTING SPONSORS:
LYRIC OPERA UNDERWRITERS
($100,000+)
E. Kemper Carter & Ann Curry Carter Community Memorial Trust, UMB Bank, n.a., Trustee
R.C. Kemper Charitable Trust
Lyric Opera Circle
Lyric Opera of Kansas City Endowment Fund
Lyric Opera of Kansas City –Our Next Act Endowment
Marion and Henry Bloch Family Foundation
Muriel I. Kauffman Fund for the Lyric Opera of Kansas City
Sherman Family Foundation
The State of Missouri
The Sunderland Foundation
RICHARD J. STERN SOCIETY
($50,000 - $99,999)
Francis Family Foundation+
Theater League
MAESTRO’S CIRCLE
($25,000 - $49,999)
Arvin Gottlieb Charitable Foundation, UMB Bank, n.a., Trustee
H & R Block Foundation
Hallmark Corporate Foundation
William T. Kemper FoundationCommerce Bank Trust
Lyric Opera Guild
Lyric Opera of Kansas City - William Randolph Hearst Endowed Fund
National Endowment for the Arts
Neighborhood Tourist Development Fund
Pemberton Family Charitable Foundation
J.B. Reynolds Foundation*
Kearney Wornall Foundation, UMB Bank, n.a., Trustee
BEL CANTO
($10,000 - $24,999)
Cyr Family Charitable Remainder Trust
Estelle S. and Robert A. Long Ellis Foundation
Lyric Opera of Kansas City FoundationPolsky Fund
Mdivani Corporate Immigration Law Firm
Saint Luke’s Health System
The Sosland Foundation
John W. and Effie E. Speas Memorial Trust
IMPRESARIO
($5,000 - $9,999)
Elsberry Family Foundation*
High Touch Inc*
The Mader Foundation
Thomas and Sally Wood Family Foundation
CORPORATE & COMMUNITY COUNCIL ($3,000 - $4,999)
Aristocrat Motors*
Arvest Bank
Burch & Company
Commerce Bank, n.a.*
FCS Family Office, Molly & Tom Freeman+
Halls Kansas City*
Husch Blackwell LLP*
Jack F. & Glenna Y. Wylie Charitable Foundation - Midwest Trust*
JE Dunn Construction Company*
Orpheus KC*
R.A. Long Foundation
RC Williams Company*
RubinBrown LLP*
INSTITUTIONAL GIVING CONT.
CORPORATE & COMMUNITY
SPONSORS ($250 - $2,999)
EPR Properties
John and Bernice Hamra Foundation*
JoAnn Meierhoff Charitable Foundation
Vernon & Trish Podlasek, Cuorebella
Louis and Frances Swinken Supporting Foundation
The Martha Lee Cain Tranby Music Enrichment Fund
The Trudy Foundation
TruPay
Uncover KC
SPECIAL ACKNOWLEDGEMENTS
We would like to thank our valued individual, community, and corporate partners whose generous contribution of time, resources, and talents have been essential to our success. We deeply appreciate your dedication to bringing opera to life throughout the Kansas City region. Thank you!
Aristocrat Motors
Calvin Arsenia
Ivan & Karla Batlle
Classical KC
Consulate of Mexico in Kansas City
Cupini’s
Carla and Dan Dyer
First Baptist Church of Kansas City
Grace and Holy Trinity Cathedral
Greenwood Social Hall
Deanna Hanson-Abromeit
High Touch Technologies
Home2 Suites
Husch Blackwell
John Kander II
Kansas City, Kansas Public Schools
Kansas City Museum
Kansas City Public Library
Kansas City Public Schools (MO)
Kauffman Foundation Conference Center
Kansas City Young Audiences
Kemper Museum of Contemporary Art
Wade Kerrigan
Vanessa Knight
Lawrence Arts Center
Rebecca Lepping
Lyric Opera Circle
Lyric Opera of Kansas City Community Advisory Council
Mid-Continent Public Library
Ed Milbank
newEar Contemporary Chamber Ensemble
Orpheus KC
Pine Ridge Presbyterian Church
Rainy Day Books
RC Williams Company
Carmen Sabates
Shawnee Mission Unitarian Universalist Church
Turn the Page KC
Victory Hills Baptist Church
Walz Tetrick Advertising
Wandering Vine at the Castle
We’d like to thank all school partners who participated in Learning programming over the last year.
MATCHING GIFT & CORPORATE SHARE COMPANIES
Baird Foundation, Inc.
Merrill Charitable Foundation, Inc.
Sanofi-Aventis
The Sosland Foundation
In Honor of Beth Ingram
Jack & Trudy Gabriel
J. Michael Sigler & Greg Oborny
In Memory of Clarabelle Belcher Coursen
Marilyn Cox
In Memory of Elvira E. Calhoun
Marilyn Cox
In Memory of Judy L. King
Annette Fibuch
Friends of the Kansas City, MO Mounted Patrol
Jeannette & Scott Redick
Jill Ingram Reynolds
Dorene Shipley
Earl Shreckengast & Julia K. Muller
In Honor of Steve and Linda Taylor
Michael & Julie Kirk
In Memory of Donna Carper
Jill Ingram Reynolds
Jeanette Redick
Lyric Opera of Kansas City Circle
In Memory of Rev Lewis
Hal Von Bohnhoff
Hope Beyond Hunger. Addiction. Homelessness.
SEP 3-22
Spencer Theatre
An uplifting and heartfelt musical featuring gorgeous songs like the Oscar-winning “Falling Slowly”
OCT 8-27
Copaken Stage
A spellbinding journey through the life of iconic songstress Billie Holiday
NOV 23-DEC 28
Spencer Theatre A CHRISTMAS CAROL
MAY 6-25
Spencer Theatre
Ebenezer Scrooge learns the true meaning Christmasof
An enchanting romp through Regency-era England
A quietly powerful play by Kansas City, KS playwright, Nathan Louis Jackson, highlighting the enduring power of family bonds
FEB 11-MAR 2
Copaken Stage
Fewer Treatments. Better Outcomes.
The future of cancer care is here. The AdventHealth Cancer Institute will be the first and only health care provider in Kansas City to perform MRI-Guided Radiation. This advanced therapy allows us to see tumors as we treat them, resulting in pinpoint precision, fewer treatments, reduced side effects and better outcomes.
APPRENTICE ARTIST PROGRAM
Lyric Opera’s Apprentice Artist Program gives university vocal students the opportunity to gain valuable experience and training on their way to becoming professional opera singers. Throughout the season, our Apprentice Artists gain practical career experience working alongside the industry’s most notable singers, conductors, and directors. Learn more about our artist development programs at kcopera.org/learning.
MADELINE FRIESEN (Mezzo-Soprano)
University of Missouri-Kansas City
Mezzo-soprano Madeline Friesen’s recent roles include Le Prince Charmant in Massenet’s Cendrillon and Cherubino in Le nozze di Figaro. Friesen also studied the role of Béatrice in Béatrice et Bénédict in a scenes program at The University of North Texas. She has performed as the alto soloist in the world premiere of Milcžinsky’s Oratorium during a tour of the Czech Republic with University of North Texas’s Fantasmi. Madeline is a native of Olathe, Kansas and received her bachelor’s degree in voice performance from The University of North Texas where she studied with Professor Molly Fillmore. She is currently pursuing a master’s degree in voice performance at The University of Missouri-Kansas City, studying with Dr. Aidan Soder.
Roméo et Juliette photo by Don Ipock for Lyric Opera of Kansas City
Turning 65 soon? Medicare questions?
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521 N Jefferson St. Raymore, MO 64083 816-265-0859 or 866-991-7189 Toll Free
Jeffrey Adams
2024 - 2025
Season Opener with pianist Behzod
Abduraimov in collaboration with Park University ICM SEPT. 20, 2024
Ingrid Stölzel: A Musical Portrait OCT. 12, 2024
Thanksgiving with NAVO NOV. 30, 2024
NAVO Chamber Orchestra with pianist Steven Spooner and violinist Véronique Mathieu
FEB. 22, 2025
The Art of Cello with Daniel Veis MAR. 22, 2025
Frontier String Quartet APR. 2025
Season Finale Fest with violinist Maria Ioudenitch MAY 7, 9, 11, 2025
LYRIC OPERA PATRON SERVICES
Phone: (816) 471-7344
E-mail: patronservices@kcopera.org
Mail: Lyric Opera Patron Services, 1725 Holmes St., KCMO 64108
Regular Business Hours: Monday–Friday, 10:00 am to 5:00 pm
Weekend Performance Day Hours (mainstage only): For performance weekend hours, please visit kcopera.org.
Ticketing & Patron Services representatives are available at the Kauffman Center box office beginning ninety minutes before every performance and through the first intermission.
GROUP TICKETS
BRING A GROUP TO THE OPERA!
Group orders of ten or more seats receive up to a 25% off discount, subject to standard facility fees. To book your group today and learn about options to amplify the experience, call Ticketing & Patron Services at (816) 471-7344 or visit kcopera.org/groups.
OPEN YOUR WORLD.
Emergency Evacuation Procedures
The Kauffman Center is equipped with advanced life-safety early alert systems. Each performance hall is designed with emergency exits in case of an evacuation. In the event of severe weather, shelter in place inside the hall, not in a lobby area, and await further instructions.
In the event of an emergency, the performance will be interrupted. Horns and strobes will sound. Emergency instructions will be delivered from the stage.
Please remain seated as staff use an appropriate amount of investigational time to verify the source of the alarm.* Should an evacuation be necessary, lighted red (Muriel Kauffman Theatre) and green (Helzberg Hall) exit signs will lead patrons to one of eight emergency exit paths.
Patrons with mobility limitations and/or those who are not able to navigate stairs should remain in the venue near one of the marked “Emergency Evacuation Assistance” areas. First responders will evacuate those requiring assistance immediately upon their arrival.
Elevators, primary entrances and the Brandmeyer Great Hall staircase are NOT used in the case of an emergency evacuation.
For more information on emergency evacuation procedures, visit kauffmancenter.org/policies
*Kauffman Center’s emergency egress plan, which includes an appropriate amount of investigational time to verify the source of an alarm, was developed with the assistance of the Kansas City, MO Fire Marshall’s Office.
2024-2025 Signature Series:
Visit KCJO.org for ticket information
Fri. Oct. 11th, 7pm UNFORGETTABLE
ft. Sachal Vascandani
Sat., Nov. 16th, 7pm BRIGHT SIZE LIFE
ft. Rod Fleeman
Tues., Dec. 10th, 7pm A CHARLIE BROWN CHRISTMAS
Selections from Charlie
Sat., March 1st, 7pm ALWAYS & FOREVER
ft. Lucy and Bram Wijnands
Sat., April 5th, 7pm LEVEL UP!
Selections from Classic Video
Sat., May 31st, 7pm GLAMOUR OF OLD HOLLYWOOD
ft. Brenna Whitaker
2024-2025 Concerts Including Works of Brahms, Parry, Rachmaninoff, Holst and many others along with American spirituals and gospels 2025 performance of Bach's immortal MASS IN B MINOR with chamber orchestra and soloists
PARK UNIVERSITY INTERNATIONAL CENTER FOR MUSIC
When Stanislav loudenitch first started the Park International Center for Music, he began with a simple concept. Find exceptional music teachers, and give them the time, tools, focus, and dedication needed to transform exceptional students into masters themselves. An internationally-recognized Van Cliburn gold medalist, Ioudenitch assembled a team that shared his world-class skills and his passion for teaching. Other outstanding programs have great master instructors. But no other American conservatory lets those masters devote the time to their students like they do at Park ICM.
Come experience the birth of our international stars. Visit ICM.PARK.EDU for our concert schedule today.
Stanislav loudenitch Artistic Director /Piano Studio
Ben Sayevich Violin Studio
Daniel Veis Cello Studio
Peter Chun Viola Studio
LATINX ARTISTS MARKET / MERCADO DE ARTE LATINX
Join us on December 7, 2024 for a pop-up marketplace featuring Latinx makers, artists, vendors, and performers.
Sponsored by:
LYRIC OPERA STAFF
LEADERSHIP
Deborah Sandler Kemper, General Director and CEO
FINANCE & ADMINISTRATION
Jeffrey Walker, Chief Financial Officer
Danny Boteler, Controller
Amy Tungol, HR & Payroll Specialist
Melissa Roberts, Executive Assistant & Board Liaison
ARTISTIC ADMINISTRATION
Brad Trexell, Director of Artistic Administration
Piotr Wiśniewski, Head of Music Staff & Chorus Master
Michaela Martens, Resident Artist Voice Teacher
LEARNING
Neal Long, Director of Learning
Emily Bridges, Manager of Learning
PRODUCTION
Tracy Davis-Singh, Director of Production
Rafael Toribio, Technical Director
Sarah Zsohar, Artist Services Manager
Selena Gonzalez-Lopez, Assistant Technical Director/Lighting Supervisor
DEVELOPMENT
Molly Fisher, Senior Manager of Individual Giving & Partnerships
Rebecca Ballinger Clark, Manager of Institutional Giving
Laurie Eck, Manager of Development Operations & Donor Research
Laura Bowling, Development Concierge
MARKETING & COMMUNICATIONS
Gregory Campbell, Director of Marketing & Communications
Amanda Schuster, Senior Manager of Ticketing & Patron Services
Emily Stott, Marketing Operations & Social Media Manager
Enrique Zabala, Graphic Design Specialist
Gabriella Swoboda, Assistant Manager of Ticketing and Patron Services
Ellen McDonald, Publicity Consultant
Ticketing & Patron Services Representatives: Laura Blankenship, Catherine Cone, Rowan Frazier, Josephine Meyers, Jonathon Moldovan, Dennis Pearson, and Brianna Volkmann
LEGAL COUNSEL
Wade Kerrigan, Husch Blackwell, LLP, General Counsel
For me, it’s not just...
‘I’m the doctor and you’re the patient.’ We’re partners.”
- Raed Al-Rajabi, MD Physician Medicine Clinical Oncology
I don’t know any other way to treat my cancer patients than to become their partner. To be available to them whenever they need me. And that’s not just when they’re sitting across from me at an appointment. Cancer is a unique journey. And for me and all of my team, the only way to undertake it is together.
To schedule an appointment, call 913-588-1227 or visit KUCancerCenter.org to learn more.