UGA OPERA THEATRE
FRIDAY, FEBRUARY 21, & SATURDAY, FEBRUARY 22 at 7:30 p.m.
SUNDAY, FEBRUARY 23 at 3 p.m.
UGA FINE ARTS THEATRE
LA FINTA GIARDINIERA
“La Finta Giardiniera”, KV. 196 (1774)
Music by Wolfgang Amadeus Mozart (1756-1791)
Librettist undetermined
First performance: January 13, 1775 – Salvator Theatre – Munich, Germany
Friday, February 21, 2025 at 7:30 p.m.
Saturday, February 22, 2025 at 7:30 p.m.
Sunday, February 23, 2025 at 3 p.m.
UGA Fine Arts Theatre
255 Baldwin St., Athens, GA
Used by arrangement with European American Music Distributors Company, U. S. and Canadian agent for Bärenreiter-Verlag, publisher and copyright owner.
There will be one 20 minute intermission after Act One.
CAST
Don Anchise, Podestà (Mayor) of Lagonero
Marchesa Violante Onesti, disguised as a gardener under the name, Sandrina
Count Belfiore
Arminda, niece of the Podestà
Cavalier Ramiro, rejected lover of Aminda
Serpetta, servant of Podestà
Amanda
Avery Britt (Friday, Feb. 21 and Sunday Feb. 23
Isabella Castano (Saturday, Feb. 22)
Roberto, servant of Violante, pretending to be her cousin Nardo
Antonio Azpiri
Theodora Schramm
Yiqi Wang
Minseol Hong
Ziyi Zhang
Ferreira
Hilary Griffiths, Guest Conductor
This residence is sponsored in part by the Charles McCay fund.
Violin 1
Alexis Boylan
Sage Codispoti
Lela Stair
Lissa Braverman
Violin 2
Kiera Johnson
Leo Jahn
Shazan Samnani
Viola
Rogelio Bonilla
Rachel Liu
Cello
Zach Helms
Thomas LaMon
Double Bass
Jordan Askew
Flute
Yinzi Zhou
Oboe
Gracee Myers
Anisa Herbert
Bassoon
Jazmyn Barajas-Trujillo
Horn
Connor Parr
Anleah Walker
Harpsichord
Elena Minko
UGA OPERA THEATRE PRODUCTION STAFF
Hilary Griffiths – Guest Conductor
Logan Souther – Principal Opera Coach and Musical Preparation
Daniel Ellis – Stage Director / Producer / Director of UGA Opera Theatre
Sarah Dove – Stage Manager
Lena Minko – Rehearsal Pianist
Cheri Prough DeVol – Set and Lighting Designer
Emily Dean – Costume Designer / Costume and Make-up Coordinator
Alexis Boylan – Orchestra Manager
Jacob Yurkovich – Assistant Light Designer
Jeannie Thomas – Sound Board Operator
Allison Hooks – Technical Director for the Department of Theatre and Film
Erwin Green – Facilities Manager for the Department of Theatre and Film
Antonio Azpiri – Program Notes
Shaun Baer – HHSOM Director of Public Relations
James Sewell– HHSOM Production & Events Manager
A SPECIAL THANK YOU
The UGA Opera Theatre would like to extend appreciations to the Franklin School of Art and Sciences, The School of Theatre and Film, The Hugh Hodgson School of Music, the Charles McCay Fund, and The Patricia and Carl S. Hoveland Fellowship in Opera for making this production possible.
The UGA Opera Theatre department would also like to recognize the contributions made by the following teachers, staff and individuals whom have all helped to make tonight’s performance possible: Kimberly Toscano Adams, Timothy K. Adams, Jr., Levon Ambartsumian, Shakhida Azimkhodjaeva, Daniel Bara, Mark Cedel, Erwin Green, Angela Jones-Reus, Michael Hadary, Michael Heald, Scott Higgins, Allison Hooks, James Kim, Elizabeth Knight, Jean Martin-Williams, Milton Masciardi, D. Ray McClellan, Reid Messich, James Naigus, Amy Petrongelli, Amy Pollard, Julie Ray, Evgeny Rivkin, Maggie Snyder, and Nicholas Williams.
A very special thanks to our “Friends of the Opera” Donors and Supporters who have contributed generously to the UGA Opera Theatre Program and our opera students. If you’re interested in learning more about how you can join “Friends of the Opera,” please speak to one of their representatives in the lobby following this performance.
Act I
The mayor, or the “Podesta,” is much taken with the new gardener, Sandrina, to the chagrin of the mayor’s jealous assistant, Serpetta. Sandrina is actually the Marchioness Violante in disguise, searching for her lover Belfiore, who a year ago stabbed her in a fit of jealousy and fled, believing her dead. Violante’s servant Roberto, posing as Sandrina’s cousin, Nardo, is also working for the Podesta’s and has fallen for Serpetta. The Podestà is excited about the wedding preparations for Arminda, the Podesta’s niece, while Ramiro complains about his misfortune in being in love with a maiden whose name he does not reveal.
Arminda spurns Ramiro with admiration for a new, aristocratic suitor. Sandrina is distraught to discover that this new suitor is none other than her own errant lover, Count Belfiore. When Belfiore arrives, he realizes that Sandrina is actually Violante, but she refuses to admit her true identity. Arminda, stubborn and possessive, senses that something is awry and fears losing Belfiore to Sandrina, which rekindles Ramiro’s hope of winning Arminda back.
INTERMISSION
Act II
As tensions rise, Ramiro argues with Arminda, pointing out her inconsistencies and vowing revenge against his rival. After dismissing Ramiro, Arminda confronts Belfiore about Sandrina, while Nardo woos Serpetta in vain. Sandrina continues to deny that she is Violante, and goes so far as to tell Belfiore that she witnessed the marchioness’s death. When Ramiro produces an arrest warrant accusing Belfiore of murder, Sandrina finally confesses the truth. But when left alone with Belfiore, she claims that her admission was merely a ruse to save him from arrest, and his confusion drives him to increasing despair.
Her marriage to Belfiore threatened, Arminda has Sandrina abducted and abandoned in the middle of the night. Nardo discovers what Arminda has done and leaves to search for Sandrina, followed by the others. As night falls, a terrified Sandrina takes shelter. The searchers arrive in separate groups, unbeknownst to each other, and in the darkness identities are mistaken. Amidst the bickering and ensuing chaos, Sandrina and Belfiore’s bond begins to rekindle.
Act III
Sandrina and Belfiore awaken at dawn. Sandrina’s true identity is fully revealed. Realizing his love for her, Belfiore rejects Arminda, who, after an emotional outburst, accepts the advances of her persistent suitor, Ramiro. Serpetta finally surrenders to Nardo’s relentless pursuit. Only the Podesta is left alone, hopeful that another Sandrina will one day cross his path. Love triumphs as Sandrina and Belfiore reunite, and peace is restored.
Mistaken identities in Mozart’s new comic, serious and emotional opera. by
Antonio Azpiri
It is known that La finta giardiniera KV. 196 was composed by W. A. Mozart (1756-1791) in 1774 to be performed at the Salvator Theatre in Munich, Germany, the same year. Due to some unfortunate delays, it was finally performed on January 13, 1775. However, something that is not entirely clear about this work—or, at least, is the subject of several debates—is the libretto’s authorship and the style to which the opera itself belongs. Back in 1775, there were two main styles popular in the Italian tradition of opera: opera buffa and opera seria. These two styles were completely different, especially in how they could affect the nature of their characters. An opera seria often featured a prima donna (a famous and talented soprano) and a primo uomo (a famous virtuoso male soprano or castrato); both singers would have challenging music to showcase their talents, including several arias along with some duets or small ensembles, and the subject matter of the opera would focus on famous characters from centuries past. Unlike the opera seria, an opera buffa presented a comic story with characters that undoubtedly came from Commedia dell’arte; the music was easy to grasp or learn, and it didn’t necessarily present difficulties in singing; in fact, many performers were more actors than singers. However, in the case of Mozart’s La finta giardiniera, it is difficult to categorize it into one of these two styles. Mozart, as someone who loved and craved composing opera, needed to create something different, inventive, and relevant.
To understand why this clash of styles in the Italian genre is significant, it is important to discuss the characters. In the plot of La finta giardiniera, there are two serious characters: Arminda, a soprano, and Ramiro, a male soprano; three buffo parts: Il Podestà played by a tenor, Serpetta, a soprano, and Nardo, a bass. There are two additional characters that occupy a space between comedy and seriousness: mezzo carattere. These are the main lovers of the story, Sandrina, a soprano, and Count Il Cavalier Belfiore, a tenor. It is not known with complete certainty who authored the libretto; according to Dietrich Berke, in the preface to the edition of the score, he states, “Like other surviving Finta librettos, this one too fails to name the librettist, but it is safe to conclude from the dedicatory preface to the Rome libretto that it stems from Giuseppe Petrosellini (1727-c.1799).” [1]
Mozart encountered considerable interference when it came to the creation of the libretto; in fact, he frequently asked librettists to write according to what he envisioned for the music. Hence, Mozart exerted substantial authorship over the entire composition, including the text. [2] The challenge with the historical background of La finta giardiniera is that there is little to find in Mozart’s correspondence regarding the opera, and a true source of inspiration would be challenging to trace; however, Pasquale Anfossi (1727-1797) had already composed and premiered his own La Finta Giardiniera in 1773.
On the other hand, a crucial figure in the 18th century was the playwright and librettist Carlo Goldoni (1707-1793). Mozart wrote La Finta Semplice, an opera buffa, in 1768 with a libretto adapted from Goldoni’s work, and prior to that, there was another libretto from Goldoni for which Niccolò Piccini (1728-1800) composed La Buona Figliuola, which premiered in 1760. According to Daniel Heartz and Goldoni himself, he was the true creator of the dramma giocoso. Heartz quotes Goldoni: “These drammi giocosi of mine are in demand all over Italy and are appreciated with delight; noble, cultivated people often attend, finding in them, combined with the melody of the singing, the pleasure of honest ridicule, creating a spectacle more lively than usual.” [3]
The success relied on how one opera could merge these two opposing traditional styles into one. Mozart relates within his letters that he was not entertained by the extravagances of the singers in opera seria and, at the same time, could not find the same delightful musical expression in any opera buffa. [4] But is La finta giardiniera an opera buffa or a dramma giocoso? The short answer is that we don’t know for sure. On one side, Heartz notes that Mozart apparently “did betray some dramma giocoso traits” [5] in La Finta; in fact, he asserts that Mozart’s true dramma giocoso wouldn’t come until Don Giovanni [6], but at the same time, it is not an opera buffa simply because it features opera seria roles. In the Bärenreiter edition, it is labeled as a dramma giocoso [7], while in the entry to the Grove Dictionary, it is presented as an opera buffa [8].
The music becomes more interesting, as does the story. According to Heartz, “The libretto is an anonymous and clumsy offspring of La Buona Figliuola. In it, Pamela/ Cecchina has become the feigned Sandrina; actually, she is the noble Violante in disguise” [9]. What makes this opera different from any other is its theme and the absurdity of how a tragedy can transform into a love and aspirational story. The theme of hidden identities, where a character hides their noble background or discovers that they were born of higher rank in society, is something with which we can relate. We can recall it from many films in recent decades: Coming to America (1988), Pretty Woman (1990), The Princess Diaries (2001), Maid in Manhattan (2002), etc. Today, these films are labeled romantic comedies because they incorporate powerful sentimental and comedic elements in their protagonists. This formula captivated Goldoni and, most importantly, Mozart. Heartz attributes this success to Goldoni in La buona figliuola for “[…] no librettist before him had taken so much interest in character or in the clash of social classes on the stage […] Cecchina’s [character] introduces a new strain into comic opera, one that is best called sentimental” [10].
Sandrina possesses the same ingredient; when she is alone for the first time in act one, she sings an endearing aria, “Gemme la Tortorella,” featuring a touching melody that expresses her sadness and emotional plight, as she still loves the Count and, deep in her mind or heart, wishes to be with him. Mozart’s music lifts the raw and realistic
elements, revealing a profound connection to Sandrina’s emotions and elucidating why she loves her counterpart, the other serious/comic character, Belfiore. Furthermore, Mozart allocates sufficient time throughout the opera to develop her growth and unveil her identity. She begins with a simple aria, “Noi donne poverine” (We poor women), similar to the forms of the other two servants’ music, with a straightforward Grazioso in 2/4, followed by an Allegro in 6/8 in F major.
Later, she presents her arias with different and more elaborate music, discreetly evolving without revealing her transformation immediately. In the second act, she sings “Una voce sento al core,” again in a Grazioso, but this time in A major, the same key as Arminda’s first seria aria “Si promette facilmente.” “Una voce” is now in a 3/4 meter, which is binary, meaning it wouldn’t be conducted in 1 but in 3, thus elongating the way rhythm integrates within the tempo structure to appear more elegant.
Finally, in the second act, when she finds herself lost after being abducted, she embraces her opera seria side with a notable aria, “Crudeli, fermate,” which not only showcases the virtuosity of her voice with the Allegro agitato but is also set to music in the key of Eb, a key signifying nobility, common in characters in Mozart’s repertoire who hold higher ranks. The aria is followed by a mid-section recitativo accompagnato and transitions into a Cavatina that is even more expressive and connected to her anguish, maintaining the same Allegro agitato—this time in C and 6/8—with broken phrases and words that convey her shortness of breath: “Ah, dal, pian—to, dal sin—ghioz—zo, re—spi— rar.” This part is crucial to emphasize, as it indicates a continuous, non-stop sequence throughout the finale of the second act. It begins with Serpetta’s aria, then Sandrina’s aria, followed by the recitative, then the cavatina, then another recitative, and finally the Finale.
However, in the last recitative, there is a particular crescendo, not in dynamics but in the tempo marking, which, in Mozart’s music, will always be directly tied to emotion. This crescendo builds from Andante to Allegro and finally to Presto. This represents a revolutionary style of composition; Mozart broke some conventions in the structure of an opera and transformed a finale into an extended sequence dictated by the pacing of emotions. This is comparable to the second act finale in Le Nozze di Figaro, but Figaro, with all its greatness, didn’t possess the seriousness of these stirring four characters, who also experience shifts in their emotional states, forming the core of the love triangle that encompasses the story: Ramiro, who loves Arminda and resents her for leaving him; Arminda, who loves Belfiore and desires revenge against him for loving Violante; Belfiore, who attempted to kill Violante but misses her and shows honest devotion and hope when he finds her; and Sandrina/Violante, who hates Belfiore but ultimately admits she wants to return to him after a tumultuous episode. The other buffo parts, which also become part of the love triangle, serve as the backbone of the story’s seriousness; they enhance it with their own Commedia dell’Arte predetermined
fates. Nardo and Serpetta, after all their “tug of war,” end up together, and Podestà, Don Anchisse, resolves to remain alone until he finds another Sandrina to marry, much like Donizetti’s Don Pasquale character, who finds peace by learning his lesson.
References:
[1] Dietrich Berke, “Preface”, J. Bradford Robinson (tr.), W. A. Mozart La Finta Giardiniera, Dramma Giocoso in tre atti KV 196, Bärenreiter Kassel Bassel, London, New York, Praha, 2004, pp. IX
[2] See reference in Balcell’s biography of Mozart when he talks about how Mozart at a young age of sixteen years old would fight “[…] with Varesco to restore a minimal stage plausibility, and above all composing music with the primary intention of reuniting it with the sense of the text […]” Pere-Albert Balcells, “Òpera seria — bufa — màgica”, Autorretrat de Mozart a través de la seva correspondència, Edicions La Campana, 1997, pp. 257
[3] See translated quote in Heartz’s article. Carlo Goldoni, “Goldoni, Don giovanni and the Dramma Giocoso”, Daniel Heartz (tr.), The Musical Times, Vol 120, No. 1642, 1979, Musical Times Publications Ltd., pp. 993
[4] See reference in Balcell’s. Pere-Albert Balcells, Op. Cit., pp. 258-259
[5] Daniel Heartz, Op. Cit., pp. 994
[6] See reference. Ibid, pp. 993-995
[7] See reference in the Preface to the Bärenreiter edition, Dietrich Berke, Op. Cit., pp. IX
[8] See reference to Rushton’s entry. Julian Rushton, “Finta Giardiniera, La (ii).”, Grove Music Online, 2002, Oxford University Press. Date of access 25 January 2025. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo9781561592630-e-5000002096
[9] Daniel Heartz, Op. Cit., pp. 994
[10] Ibid, pp. 993-994
PROGRAM NOTES
Theodora Schramm (Podestà) is a recent graduate from the University of Georgia where she received a Bachelor of Music in Vocal Performance. This will be her first operatic role. Previously, she has been a part of the ensemble for three UGA operas productions including, The Barber of Seville, Cosi fan tutte, and Faust. She was also a part of a student-produced adaptation of Lewis Carol’s “Alice in Wonderland” where she played the mouse. Most recently she participated in UGA’s Spring 2024 opera scenes program.
Yiqi Wang (Sandrina, Opera Graduate Assistant and Hoveland Fellowship Award Recipient) is a Chinese soprano who began her musical journey on the piano at the age of 4. She has successfully performed in operas, music festivals, concerts, and artistic activities throughout the United States, Europe, and China. Her operatic roles include: Servilia in La Clemenza di Tito, Despina in Così fan tutte, Poppea and Amor in L’incoronazione di Poppea, First Lady and Papagena in Die Zauberflöte; Susanna in Le nozze di Figaro, Zerlina in Don Giovanni, and Musetta in La Bohème. She made her Carnegie Hall debut in 2019 in Beethoven’s Symphony No.9 with George Mathew and the Montclair State University chorale. She also performed Beethoven’s Symphony No.9 with conductor Xi’an Zhang at New Jersey Performing Arts Center in 2018. Ms. Wang has been praised for her “expressive musical performance as a talented artist” with “excellent diction”. She has been mentored by world-renowned opera singers, such as Professor Jane Bunnell, Dr. Lori McCann, Dr. Elizabeth Knight. She is currently a vocal teaching assistant pursuing her Doctor of Musical Arts degree in vocal performance at University of Georgia.
Minseol Hong (Count Belifore, Opera Graduate Assistant and Hoveland Fellowship Award Recipient) is originally from Seoul, South Korea. He is currently a second-year Master of Music student at the University of Georgia. He holds a Master of Music degree from Mannes School of Music, where he studied with Arthur Levy. He completed his Bachelor of Music degree at Dankook University, under the guidance of Yoo Hun Lie. His recent roles include: Don Jose in The Tragedy of Carmen, Rinuccio in Gianni Schichi, Tamino in Die Zauberflöte, Turiddu in Cavalleria Rusticana, Nemorino in L’Elisir d’Amore, Faust in Faust, Gaston in La Traviata, and Alfred in Die Fledermaus. Minseol had the honor of performing as the soloist in the premiere of the 500th Anniversary Reformation Cantata ‘Rise, Shine Your Light.’ He was awarded the Excellence Award at the Korean Music Association Competition in 2020.
Ziyi Zhang (Arminda, Opera Graduate Assistant and Hoveland Fellowship Award Recipient) is a Chinese soprano, who brings flourishing emotion and passion to every performance. Ziyi is a graduate in voice performance from the Manhattan School of Music (MM) under the guidance of Professor Mark Schnaible, and the China Conservatory of music in Beijing (BM). Select performance credits include Donna Anna in Don Giovanni, Adina in L’Elisir d’Amore, Danica in Svadba, Fiordiligi in Cosi fan tutte, Elettra in Idomeneo, and Third Fairy in Cendrillon. She has sung and performed in major venues throughout China
and remains an active participant in music competitions, such as the “Philharmonic Cup” Contest in China, winning honors including Outstanding Winner and Meritorious Winner. Ziyi was invited to join the Tel Aviv International Summer Opera Project. She is currently pursuing her Doctor of Musical Arts degree in vocal performance at University of Georgia.
Amanda Ferreira (Ramiro, Opera Graduate Assistant and Hoveland Fellowship Award Recipient) is a mezzo-soprano from Brazil, who has sung on numerous stages as a soloist and participating in several festivals within Brazil, Europe, and the USA. Recently, she performed arias from Carmen on a tour across France and Spain with the University of Wyoming Symphony Orchestra. Opera roles include: Third Lady in The Magic Flute, The Sorceress in Dido and Aeneas, and Cherubino in The Marriage of Figaro. She as performed as a soloist in Cantatas, Oratorios, and Requiems throughout South America and the USA. Recently, she performed Mozart’s Requiem in D minor, and the Beethoven’s Choral Fantasy. Amanda graduated from University of Wyoming (MM), studied at the São Paulo Municipal School of Music in 2022, a highly respected institution in South America’s musical landscape, and Alcantara Machado Arts College in São Paulo (BM in vocal performance).
Isabella Castaño Bueno (Serpetta) is a Mexican American undergraduate student pursuing a Bachelor of Music in Vocal Performance at the University of Georgia, where she studies under Dr. Elizabeth Johnson Knight. Bella’s passion for music has always been a driving force, though her path to the stage has been unique. With bachelor’s and master’s degrees in advertising from the University of Texas, she had a successful career as an art director in New York, winning numerous prestigious awards in the advertising industry. Despite these achievements, her dream of studying music never faded. Determined to pursue her true passion, she enrolled at UGA with little experience in reading music. Through hard work and perseverance, she is excited to make her debut as Serpetta in La Finta Giardiniera—her first full opera role. Bella firmly believes it is never too late to follow one’s dreams. Previous credits include The Queen of Hearts in the UGA student-led premiere of Down the Rabbit Hole, as well as a chorus member in Le Nozze di Figaro. She has performed as a soloist in UGA’s Opera Scenes Program, Latin American Ensemble, and Percussion Ensemble, and has been an active member of the Women’s Glee Club for several years. She is deeply grateful to Dr. Knight for her mentorship and to her family for their unwavering support as she continues her musical journey
Avery Britt (Serpetta) currently studies Music Performance with Professor Michael Hadary and Music Composition as a freshman at the University of Georgia. At the state level, Avery has attended the 2023 Governor’s Honors Program in Soprano Voice. She has also been selected for the Georgia All-State Reading Chorus program in 2023, the Georgia All-State Chorus Program from 2022 to 2024, and the Georgia All-State
Theatre program from 2021 to 2024. In musical theater, Avery has been awarded all “Superior” ratings for her solo performances at the state and national level through the Georgia Thespian Conference and the International Thespian Festival; at the Georgia Thespian Conference, Avery was named as one of sixteen Closing Performances for three consecutive years. At regional competition Access Broadway, Avery competed with the Oconee Youth School of Performance and was recognized as the Teen All-Star Vocalist in 2020 and 2021. In March 2021, she was also awarded the Ultimate Singer award as a part of the Ultimate Performer Competition. In addition, she was honored to have been named the 2020-2021 National Champion of the VFW Auxiliary “Get Excited For Red, White, and Blue!” competition. Previously, she has trained with City Springs Theatre’s Elite Pre-Professional Company, working with Kristine Reese, Billy Tighe, and Holt McCarley. She has also studied with Broadway performer Amy Spanger. This past July, Avery played the leading role, Josephine de Beauharnais, in her original musical Empire: The Story of Napoleon and Josephine.
Antonio Azpiri (Nardo, Opera Graduate Assistant and Hoveland Fellowship Award Recipient) is a bass baritone and a vocational chorus director. He began his musical studies as a violinist at the age of 11. Later he enrolled in his bachelor’s degree in music - voice, at the UNAM Faculty of Music where he graduated with honorable mention. He has participated as a soloist in operatic productions with different Mexican companies, and internationally with the company “Operafabriken” in Sweden; with West Bay Opera in Palo Alto, CA, and with Opera Egypt/Bibliotheca Alexandrina in Alexandria, Egypt. Among the operatic roles he has sung, there is Leporello in Mozart’s Don Giovanni; Don Fernando in Beethoven’s Fidelio; Fra Melitone in Verdi’s La Forza del Destino; Figaro, Bartolo and Antonio in Mozart’s opera Le Nozze di Figaro; Basilio in Il Barbiere di Siviglia by Rossini; Colline in La Bohème, Betto in Gianni Schicchi and Sid in La Fanciulla del West by Puccini. As choral director, Azpiri was the artistic director at the Mexico City Gay Choir for four years. As an orchestral director he debuted in June 2022 with the premiere in Mexico of Iain Bell’s Stonewall opera. He was a member of the Bellas Artes Opera Studio (EOBA) in 2020. He won first place in the Olivia Gorra singing competition. And in 2023 he was a Principal Vocal Artist at Heartland Sings, inc., in Fort Wayne, Indiana.
Daniel Ellis (Director of Opera) is the Academic Professional of Opera/Musical Theatre here at the HHSOM. He is a recipient of 2021 OPERA America’s Robert L. B. Tobin Director-Designer Prize for his production of Donizetti’s L’Elisir d’Amore, which was produced this year as a part of Minnesota Opera’s 2023-2024 season The production received a Broadway world.com – Minneapolis/St. Paul Award for 2024 Best Opera Production. Ellis made his European debut directing the third revival of Barrie Kosky and Suzanne Andrade’s production of Mozart’s Die Zauberflöte at the Komische Oper in Berlin (2016). Ellis also directed the European debut of Sir David McVicar’s production of Wozzeck at the Grand Théâtre de Genève in Geneva, Switzerland (2017) and the Finnish National Opera (2019).
Ellis has directed over 10 world premieres including the Off-Broadway production of Frank Gagliano’s comedy, Dancing with Joy. Daniel directed and conceived the premiere of Stay Tuned, featuring vocal ensemble “Five By Design” which was performed with over 40 symphony orchestras and performing arts centers throughout the United States and Canada for its five-year tour.
Daniel was selected for Minnesota Opera’s Resident Artist Program for their 50th and 51st seasons. Ellis has worked for Lyric Opera of Chicago, Dallas Opera, Opera Philadelphia, Portland Opera, Palm Beach Opera, Mill City Opera, San Diego Opera, and Minnesota Opera alongside world-renowned directors including Sir David McVicar, Graham Vick, Michael Cavanagh, Fenlon Lamb, Thaddeus Strassberger, Kevin Newbury, Renaud Doucet, Joel Ivany, Sam Helfrich and David Lefkowich. He is an associate member of the Stage Directors and Choreographers Society, and a member of AGMA. www.danielbellis.com
Hillary Griffiths (Conductor) is a British conductor living in Germany. During the last twenty years, he has held appointments as General Music Director of the City of Regensburg, Music Director of the City of Oberhausen, Chief Conductor of the Prague State Opera, Principal Conductor at the Cologne Opera, where he conducted over 300 performances, Music Director of the Eutin Opera Festival and Professor at the Mannheim University of Music. He works as a guest conductor throughout Europe, has made several recent visits to the Far East, Australia, and South America, and has appeared at the festivals of Edinburgh, Camden, Schwetzingen, Wiebaden, Würzburg, Gmuden, Prague, Litomyši, Miškolc, Tenerife, Hong Kong, and Perth (Australia). From 2009 to 2012 he was Chief conductor of the Opera of Weppertal; since 2019 he is the Artistic Director of the Eutin Festival and in 2022 was also interim professor at the University of the Arts in Graz, Austria, where he conducted a production of Albert Herring by Britten.
Hillary Griffiths was born in Leamington Spa. He was a chorister at King’s College, Cambridge and later took a degree in mathematics at Trinity College, Oxford. After postgraduate work at the Royal Academy of Music in London and at the London Opera Centre he completed his studies at the Conservatorio, G. Verdi’ in Milan. After winning prizes at the Marinuzzi competition in San Remo and the IADEM competition in Florence he moved to Germany.
His repertoire of more than 100 operas includes the complete middle and late Verdi and all the regularly performed operas of Mozart, Rossini, and Puccini. He has also specialized in the German repertoire (Wagner, Strauss, d’Albert, Zamlinsky, Berg, Schoenberg, Henze) and in the Czech repertoire (Dvořák, Smetana, Janáček, Martinů). He conducted the first European performance of three operas by the Scottish composer Thea Musgrave, the world premieres of Das Gauklermärchen by Gerhard Konzelmann and the ballet Lulu (Nino Rota) at the Cologne Opera House, and of La porta della legge (Salvatore Sciarrino) in 2009 at Wuppertal, with wich he made his U.S. debut in July 2010 at the Lincoln Center Festival in New York. At the State Opera, Prague, he has conductor more than 250 performances of 25 different opera. Among his twelve premieres there were La finta giardiniera, Eine florentinische Tragödie, and Der Zwerg (Zemlisky), Salome, Erwartung, Cavalleria & Pagliacci, the first Czech performance of Death in Venice, La Bohème (Leoncavallo), I vespri sicliani and Tannhäuser. He has also been a regular guest at the Tenerife Opera Festival and for the Colombian Opera in Bogotá and recently conducted The Barber of Seville for the English National Opera. For the UGA Opera Theatre he conducted Don Giovanni (2017), Le nozze di Figaro (2018), Don Pasquale (2019), Il barbiere di Siviglia (2020), Cosi fan tutte (2022), Postcard from Morocco (2023) and The Tradegy of Carmen (2024).
Cheri Prough DeVol (Scenic and Lighting Design) is a Scenic and Lighting Designer based in Austin, TX. Cheri returns to UGA Opera Theatre, having designed the set and lights for the 2023 production of Postcard From Morocco. Regional credits include: Beautiful:The Carole King Musical, The Curious Incident of the Dog in the Night-time, and Broadway Bound (Scenic Design—Beck Center for the Arts), The Sunshine Boys (Scenic Design—Porthouse Theatre), All Shook Up (Scenic and Lighting Design—Zilker Theatre Productions), The Santaland Diaries (Lighting Design—Zach Theatre), and hang (Lighting Design— Horizon Line Theatre). She has over 150 productions at Barter Theatre (Virginia) to her credit, where she designed lighting and/or scenery as Resident Designer, including the world premieres of Deborah Brevoort’s Blue Sky Boys, and Richard Alfieri’s Revolutions, as well as Barter’s national touring productions for Of Mice and Men, and The Diary of Anne Frank. Cheri was part of the team that received the Robert L. B. Tobin DirectorDesigner Prize from Opera America in 2021 for a concept production of L’elisir d’amore. This production of L’elisir was then produced by Minnesota Opera. Cheri is a Professor and Head of Design, in the School of Theatre, Dance, and Film at Texas State University. To view more of her work please visit www.devol-design.net.
Emily Dean (Costume Designer / Costume and Make-up Coordinator) is thrilled to be working with the UGA Opera Department for the first time. She studied costume design at Southern Utah University and continued her education at the Fashion Institute of Technology in NYC studying haute couture sewing techniques. She has had a varied career working in clothing manufacturing in Brooklyn NY, as a fitter at Kleinfeld Bridal Manhattan, designing costumes, and as a freelance artist making custom bridal wear including designing her own line of bridal gowns. Since moving to Athens a few years
ago she has enjoyed being the tailor for the Redcoat Band and had the pleasure and challenge of designing costumes with movement in mind for the Canopy Aerial Dance Studio.
Logan Souther (Principal Opera Coach) is quickly developing a reputation as an orchestra conductor and pianist of significant talent with a serious approach to music. Logan has served on the music staffs of the Sarasota Opera, Atlanta Opera, OperaNEO, and for several years was the music director and principal conductor for the Georgia State University Opera Theatre.
Logan has served as a recurring Guest Conductor with the Atlanta Pops Orchestra and the Atlanta Symphony Youth Orchestra and was the Assistant Conductor for the Bellingham Festival of Music. Logan is the Associate Conductor of The Hamptons Festival of Music, where he also serves as artistic director of the THFM Salon Series community outreach programs. With a passionate commitment to outreach and education, Logan conducts the two orchestras of the Atlanta Music Project. The Atlanta Music Project is an El Sistema based organization which reaches hundreds of students in underserved communities each year.
Logan began studies in conducting at the age of 15 with Michael Palmer at Georgia State University completing a Master’s in Orchestral Conducting and a Bachelor’s in Piano Performance.
Elena Minko (Rehearsal Pianist) is an active soloist, répétiteur and collaborator. She enjoys working with other musicians, exploring all musical styles from instrumental and vocal Baroque music to contemporary. Currently, Elena is a coach assistant in opera theater at the University of Georgia and pursuing her terminal degree in Piano performance with Dr. Evgeny Rivkin.
A native of Siberia, Russia, Elena started her professional path mainly as a composer and was awarded several prizes at composer’s competitions in Russia. She has been engaged in vocal accompanying and frequently appeared as a collaborator, which helped her to develop excellent sight-reading skills. Later, having decided to focus on solo performance, Elena earned her Bachelor and Master of Piano performance degrees at Gnessin academy of music in Moscow, where she held a position of staff accompanist in the voice area prior to coming to the United States.
TUES 2/25
7:30 p.m.
Hodgson Concert Hall
$15 - Adult
$3 - Child/Student
UNIVERSITY OF GEORGIA SYMPHONY ORCHESTRA: “THE POWER OF CREATION”
Each year at the Hugh Hodgson School of Music, the Composition Area presents a “composer in residence” who collaborates with one of our large ensembles. This year, they will be working with the University of Georgia Symphony Orchestra to develop a world premiere performance. From the sound and concept of this piece, conductor Mark Cedel will pair additional complementary works for a provocative evening of music.
FRI 2/28
7:30 p.m.
Ramsey Concert Hall FREE CONCERT RECEPTION TO FOLLOW
FACULTY ARTIST SERIES: SHAKHIDA AZIMKHODJAEVA, violin
Born in Tashkent, Uzbekistan, Shakhida Azimkhodjaeva began violin studies at the Tashkent State Conservatory’s Special Music School. At age eleven, she made her debut with the Uzbekistan Symphony Orchestra and won the Uzbekistan National Violin Competition. Azimkhodjaeva graduated from the Moscow Tchaikovsky Conservatory where she studied with Professor Irina Medvedeva.
MON 3/10
7:30 p.m.
Ramsey Concert Hall FREE CONCERT
FACULTY RECITAL: MAGGIE SNYDER, viola
Violist Maggie Snyder is Professor of Viola at the University of Georgia, Principal Violist of the Chamber Orchestra of New York, with whom she records for Naxos, and is on the ArtistFaculty of the Brevard Music Festival. She has performed solo recitals, chamber music, concertos and as an orchestral musician throughout the United States and abroad.
TUES 3/11
5:30 p.m.
Ramsey Concert Hall FREE CONCERT
TUES 3/11
7:30 p.m.
Hodgson Concert Hall FREE CONCERT
BULLDOG BRASS SOCIETY
The Bulldog Brass Society is the premier graduate brass quintet at the University of Georgia. The Bulldogs were created in the fall of 1996 by Frederick Mills, founding member of the Canadian Brass and professor of trumpet at the Hodgson School until his passing in 2009.
“I WILL LIFT UP MINE EYES” COMBINED CHOIRS CONCERT
This concert features the UGA Glee Clubs and University Chorus. Thom Dixon will conduct his DMA recital with the University Chorus – repertoire to include Adolphus Hailstork’s choral/orchestral cantata, “I Will Lift Up Mine Eyes,” composed in memory of the great Undine Smith Moore, often referred to as the Dean of Black Women Composers. Daniel Shafer will conduct the Glee Clubs along with graduate conducting students.