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University of Houston Kathrine G. McGovern College of the Arts Moores School of Music presents The Edythe Bates Old Moores Opera Center’s production of

DON GIOVANNI An opera in two acts Music by W.A. Mozart Libretto by Lorenzo da Ponte Sung in the original Italian with translations projected over the stage

November 6, 7 at 7:30 p.m. Wilhelmina Grove Moores School of Music


presents

The Edythe Bates Old Moores Opera Center’s production of

DON GIOVANNI An opera in two acts Music by W.A. Mozart Libretto by Lorenzo da Ponte Sung in the original Italian with translations projected over the stage

November 6, 7 at 7:30 p.m. Wilhelmina Grove Moores School of Music

This production is funded by a grant from the Cullen Trust for the Performing Arts and underwriting by members of the Moores Society Opera Production Council. Any taping, filming, recording, or broadcasting of this opera is strictly prohibited. Please turn off all cell phones and other electronic devices as a courtesy to other patrons and to the performers.


Cast List

Friday Saturday

Don Giovanni

Evan Cooper

James Siarris

Leporello

Mohammad Salman

Aidan Smerud

Donna Anna

Siwei Zhang

Kristine Overman

Don Ottavio

JesĂşs Bravo

Stephen Ash

Donna Elvira

Patty Holley

Patty Holley

Zerlina

Michelle Girardot

Christine Cummins

Masetto

Noah Boldt

Aaron Oberlander

Commendatore

Aaron Oberlander

Noah Boldt

Orchestra Flute

Lillian Arnold Alexei Wade

Oboe

Matthew Harms Matthew Glattfelder

Clarinet

Gokberk Eryilmaz Daniel Millan

Bassoon

Daniel Westerfield Dima Savitski

Horn

Adam Harrington Gabi Rodriguez

Trumpet

Ryan McArthur Audrey Foster

Trombone

Dong Pham Steven Luong

Tuba

Bailey Mustain

Timpani

Arthur Gilligan

First Violin

Iwona Augustyn Julia Tondera Jonathan Andino Miranda Hollingsworth

Second Violin

Isabella Bengochea Ming-Wei Hsieh McKenna Miller Holly Knoch

Viola

Melissa Escobar Miles Bi

Cello

Adriana Black Samuel Linzan

Bass

Mackenzie Gibbons Andrew Olges

Continuo

Catherine Schaefer

Moores Opera Center


Production Staff Producer and Stage Director

Buck Ross *

Conductor and Music Director

Raymond Harvey *

Set and Lighting Designer

Thom Guthrie +

Lighting/Sound

Bright Star Productions +

Costume Designer

Richard Walsh +

Projections and Surtitles

Buck Ross *

Production Manager

Nicole Kenley-Miller #

Technical Director

Jason Burton#

Musical Preparation

Andreea Mut + Catherine Schaefer + Raymond Harvey *

Assistant Conductor

Myles Nardinger

Stage Manager

Miriam Green

Assistant Stage Manager

Antonio Sanz

Props Master

Christine Cummins

Makeup Supervisor

Krista Pape +

Choreographer

Eliza Masewicz

Wardrobe

Kristie Shackelford +

IATSE Shop Steward

Genesis Bustos

IATSE Stagehands Jody Adams, Will Folzenlogen, Demario Taylor, Alexander Gutierrez, Linda Moore Livestream Video

Afshin Farzadfar #

Assistant to Mr. Ross

Christine Cummins

Scene Shop Assistants

Jennifer Barker, Xavier Castro

* Moores School of Music faculty

# Moores School of Music staff

+ Guest artist

Moores Opera Center Faculty and Staff Director, Moores Opera Center

Buck Ross

Music Director, Moores Opera Center

Raymond Harvey

Production Manager

Nicole Kenley-Miller

Assistant Conductors

Myles Nardinger, Alejandro Basulto

Musical Staff Andreea Mut, Catherine Schaefer, Katherine Ciscon, Stephen Jones Principal Set and Lighting Designer

Thom Guthrie

Technical Director

Jason Burton

Principal Costume Designer

Richard Walsh

Voice Faculty Cynthia Clayton, Joseph Evans, Timothy Jones, Melanie Sonnenberg, Hector Vasquez, Zach Averyt, Dominique McCormick

Don Giovanni


Synopsis The setting is Seville, Spain, mid 17th century.

Act One At night outside the home of Donna Anna, Leporello complains about his lot in life. He is required to stand guard while his master, Don Giovanni, is inside. Suddenly Donna Anna, screaming for help, runs outside, pursued by the masked Don Giovanni. Her father, the Commendatore, rushes to help, carrying a sword. Donna Anna flees in pursuit of assistance as the Commendatore challenges Giovanni to fight with him. Giovanni kills him in cold blood and escapes with Leporello. Donna Anna returns with her fiancé Don Ottavio. Wild with grief at finding the body of her father, she insists that Don Ottavio help her pursue vengeance on the unknown assailant. On the street the next morning, Don Giovanni is ready for another amorous encounter. He sees a woman who appears upset, offers to help her, but suddenly recognizes her as Donna Elvira, who has arrived in pursuit of him. She berates him for deserting her. Don Giovanni manages to elude her grasp and Leporello is left to console her. He shows her a catalog listing all of Don Giovanni’s conquests. She was not the first and she will not be the last. Don Giovanni and Leporello stumble upon a country wedding celebration in honor of the happy couple, Zerlina and Masetto. Don Giovanni has his eye on Zerlina and insists that Leporello take Masetto to his castle and keep him distracted. Zerlina is dazzled by the fact that a wealthy nobleman is interested in her. Masetto sees what’s going on, and when he tries to object, Don Giovanni threatens him. Masetto reluctantly goes off with Leporello. Don Giovanni attempts to seduce Zerlina but is interrupted by the sudden appearance of Donna Elvira, who takes it upon herself to rescue Zerlina from his clutches. She takes her away. Donna Anna and Don Ottavio ask for Don Giovanni’s help in finding the man who attacked her and killed her father. He graciously offers his assistance as Donna Elvira re-appears, crazed to find him with yet another woman, and denounces him. Don Giovanni tries to convince the others that Elvira is crazy, but they have their doubts. The sound of Don Giovanni’s parting words upset Donna Anna. He sounded exactly like her attacker and she becomes hell-bent on vengeance. Don Ottavio isn’t completely convinced, but he knows that he must assist her in any way he can. Outside Giovanni’s castle, Masetto is furious with Zerlina. She offers a way for them to make up. Don Giovanni’s voice panics her. Masetto is suspicious and he hides to watch Zerlina in action with Don Giovanni. Masetto confronts Giovanni, but he distracts them both with an invitation to a ball. Donna Elvira, Don Ottavio and Donna Anna arrive at the castle ready to bring Don Giovanni to justice, but have taken the precaution to be masked. Seeing three elegant people outside, Leporello invites them inside to the ball. They pray for divine protection and enter the castle. The party is in full swing. Zerlina is overwhelmed by the opulent surroundings and food. Masetto warns her to be careful. The maskers arrive and are toasted by Don Giovanni. An elegant dance ensues. Leporello keeps Masetto occupied while Don Giovanni seduces Zerlina and leads her away. Leporello follows. Zerlina’s cries for help galvanize the others. They rally to her defense. Giovanni hauls in Leporello and accuses him of being the one who was Zerlina’s seducer. No one believes him. Despite their threats, Giovanni manages to escape.

Intermission

Moores Opera Center


Act Two Later that evening, Leporello and Giovanni argue. Leporello wants to quit. Giovanni bribes him and enlists his help in seducing Donna Elvira’s maid. Giovanni insists that he and Leporello exchange cloaks so that the maid is more likely to trust him. Leporello reluctantly agrees. Elvira appears on her balcony. Giovanni makes Leporello pretend to be him and serenade her. Elvira is completely deceived and is thrilled that Giovanni has returned to her. Giovanni serenades the maid but is interrupted by the arrival of Masetto, armed to the teeth. Masetto is ready for revenge against Don Giovanni, but in the dark thinks that Giovanni is Leporello. Initially trusting him, Masetto gets a sound thrashing and Giovanni runs off. Zerlina finds Masetto beaten and bloodied. She determines that his injuries are not too serious and offers a remedy for his pains. Meanwhile, in the darkness, Leporello is still trying unsuccessfully to elude Elvira. Confronted as well by Donna Anna, Don Ottavio, Zerlina, and Masetto, who all think he is Don Giovanni, Leporello is forced to reveal his true identity. All are shocked at the deception. Leporello escapes. Distraught, Donna Anna goes inside. Don Ottavio asks the others to go look after her while he goes off in pursuit of vengeance. Donna Elvira wrestles with her conscience. Why does she still love the man who betrayed her? She resolves to save him. Having taken refuge in a graveyard, Don Giovanni amuses himself by tormenting Leporello. They are startled by an otherworldly voice that comes from the funerary statue of the Commendatore. Don Giovanni prods the terrified Leporello to speak to the statue and invite him to dinner. Astonishingly, the statue agrees. Donna Anna, overcome with grief, begs Don Ottavio to give her time to mourn for her father before they marry. In Don Giovanni’s palace, a one-man banquet is underway. Leporello serves food while an orchestra plays. Donna Elvira arrives begging Don Giovanni to repent and come back to her. He refuses. As she leaves, she sees something horrible coming and flees in the other direction. Giovanni sends Leporello to check and he returns with a terrible report: the statue is actually coming down the hall. Leporello cowers in a corner. The statue arrives but has no need of the food that Giovanni offers him and extends an invitation to dine with him instead. Giovanni accepts but when he defiantly refuses to repent, he is overtaken by avenging flames that drag him to hell. In pursuit of Don Giovanni, the others can’t find him. Leporello gives them a terrifying report of Giovanni’s fate. They marvel at the divine retribution. This is, after all, the just reward for all evil-doers.

Don Giovanni


Director’s Notes COVID-19 has clearly devastated the performing arts all over the world. Seeing our entire professions vanish in an instant has been both sobering and terrifying. But somehow, we must find a way to continue, and despite the move to virtual performances everywhere, we felt the need to attempt to have some kind of live performances. It’s what we do. It’s what our students are here to learn. Music will still remain after COVID-19 is long gone. So, tonight’s performance is our response. Converting an opera into a responsibly socially-distanced experience has not been easy. Our first step was to move outside to minimize risk and still comply with very sensible UH regulations that forbid singing indoors without a mask. The second was to eliminate the chorus and only program works that had relatively small orchestras. Moving outside required renting lighting and sound equipment and installing it specifically for this production which made the enterprise much more expensive and difficult. You will notice that the opera is fully staged, albeit with less movement than is typical, with no physical contact, and with proper social distancing between characters. Obviously, some compromises needed to be made, but compared to not doing a show at all, they were small. All rehearsals up until the dress rehearsals were held indoors with all participants masked and socially-distanced. Don Giovanni is an opera that has only 2-3 people in the majority of the scenes, so it lent itself well to keeping characters isolated. An opera about the greatest seducer of all time remarkably has no real love scenes which also made it an ideal candidate for an opera in the COVID world. We are proceeding with plans to still produce a full opera season. In late January we will be presenting Rossini’s, dizzy, fizzy and funny version of the Cinderella story, La Cenerentola. Normally in January we produce two operas in repertory, but we have decided to produce two in April instead in the hopes of outrunning COVID restrictions. While we would like to be back in the opera house, we’re preparing to move all our performances outdoors this year if necessary. In April we’ll be presenting Benjamin Britten’s comic skewering of oh-so-proper British small-town ways, Albert Herring, as well as Mozart’s first opera that has amazingly never been seen in Houston before, the charming and delightful La finta semplice (The Clever Deceiver.) In addition, right now we are working on two virtual projects of two American one-act operas. Within the short span of about ten minutes, A Hand of Bridge, by Samuel Barber reveals the secrets of suburbia during a routine card game. Leonard Bernstein’s Trouble in Tahiti also examines suburban marriage in an entertaining and often moving way. A Hand of Bridge will be released November 19, and Trouble in Tahiti in mid-January. We respectfully ask our audience to follow COVID protocols, wear your masks and maintain proper social distancing this evening. It’s a small adjustment to allow us all to still experience a live performance of Mozart. We hope that you, your family, and friends remain healthy and that life can return to some semblance of normalcy soon.

Buck Ross Director, The Moores Opera Center

Moores Opera Center


Special Thanks Stages Repertory Theatre Public Art of the University of Houston System Costume Connection of Houston Bright Star Productions

About the Moores School of Music Moores Opera Center The Edythe Bates Old Moores Opera Center, founded in 1986 at the University of Houston, gives young voices a chance to develop through practical training and performance opportunities. Every year, the program produces four major operatic productions in the Moores Opera House, UH’s distinctive performance hall designed to blend the acoustics of a traditional European opera house with the modern equipment and technology of today.

Moores School of Music The University of Houston’s Moores School of Music (MSM) is one of the leading comprehensive music schools in the nation. Its remarkable faculty — of internationally recognized performers, composers, and scholars — outstanding student body, modern facilities, and broad range of programs make MSM the natural choice for nearly 600 students annually. The school’s commitment to academic excellence and the highest performance standards has ensured its role as a vital resource in the educational and cultural life of Houston and beyond.

Moores Society The Moores Society is the philanthropic volunteer organization for the Moores School of Music. Moores Society members and donors promote community awareness and provide funding for scholarships and special projects. Moores Society members receive invitations to concerts and special events held throughout the year. Please visit uh.edu/kgmca/music/moores-society. For more information, please contact Julie Anderson-Smith, Senior Director of Philanthropy, at jdanderson-smith@uh.edu or 713.743.6878.

Join the Moores Society …and support the rising stars of opera!

like…

or… alumna Katherine DeYoung (MM ’18), who has signed on with one of the largest classical music management firms and has joined Lyric Opera of Chicago’s Ryan Center Ensemble this season.

alumna Jessica Jones (BM ’09, MM ’11), who won a Grammy for her performance on the cast recording of The (R)evolution of Steve Jobs.

Don Giovanni


2020 – 2021 SEASON DON GIOVANNI

Music by W.A. Mozart | Libretto by Lorenzo Da Ponte

Nov 6 and 7, 2020 at 7:30 p.m.

LA CENERENTOLA Music by Gioacchino Rossini | Libretto by Jacopo Ferretti

January 30 and 31, 2021 at 2 p.m.

LA FINTA SEMPLICE

Music by W.A. Mozart | Libretto by Carlo Goldoni, adapted by Marco Coltellini April 9, 2021 at 7:30 p.m. April 11, 2021 at 2 p.m.

ALBERT HERRING Music by Benjamin Britten | Libretto by Eric Crozier

April 10 and 12, 2021 at 7:30 p.m.


Opera Film Series

Join the Moores Society …Your gift provides Moores Opera Center students with:

•  Stage experience in four full-scale, professional-level productions per year •  Opportunities to perform regional and world premieres of new operas •  Ability to train and work alongside leading professionals in their field •  Opportunities to prepare and perform roles to build their resumes •  Hands-on knowledge of how the theatre works from painting sets to curtain calls

YOUR GIFT MATTERS! Other ways to give…

•  Online donations can be made at http://igfn.us/vf/MOC or by texting MOC to 71777 • For large and estate gifts, contact Courtney Crappell, Director, Moores School of Music, 713.743.6118, ccrapell@uh.edu

Don Giovanni


Special Thanks To MOORES OPERA CENTER 2020-2021 SUPPORTERS

IMPRESARIO ($25,000+) Cullen Trust for the Performing Arts Edythe Bates Old Endowment

DIRECTOR ($5,000+) Jo Dee and Cliff Wright

LEADING ROLE ($1,000+)

Christopher Velle Bacon Scott Chase (BA ’68, JD ’71) Endowment Fund Ellen and Alan Holzberg

COMPRIMARIO ($500+) Robin Angly and Miles Smith Shannon Langman (MM ’09) Buck Ross Rhonda Sweeney

SUPERNUMERARY ($250+) Gwyneth Campbell Tim Doyle Ann Faget Helen Mann Jackie and Malcolm Mazow

CHORUS ($100+)

Dr. Nicole Kenley-Miller (DMA ’18) & Dr. Andy Miller

IN TEMPORE OPERA LEGACY GIFTS

Buck Ross Opera Center Production Funds Endowment Juan R. Morales Endowment to Support Opera at the Moores School of Music Kathleen Childress Guthrie Harrison Endowment Thomas H. Guthrie Endowment to Support the Moores Opera House


The Moores Society is the philanthropic volunteer organization for the Moores School of Music. Moores Society members and donors promote community awareness and provide funding for scholarships and special projects. Moores Society members receive invitations to concerts and special events held throughout the year.

2020-2021 MOORES SOCIETY Board of Trustees Executive Committee Jackie and Malcolm Mazow, Presidents Jo Dee Wright, Immediate Past President Helen Shaffer, Vice President, Membership Rita Aron, Assistant Secretary, Corresponding Carla Burns, Secretary, Recording Debbie Feuer, Audience Development Chair Robin Angly, Opera Production Council Chair Ann Ayre Meg Boulware Terry Ann Brown Darlene Clark Beth Del Pico Mariglyn Glenn Stephen Glenn Marita Glodt

Sean Gorman Gary Hollingsworth and Ken Hyde Alan Holzberg Ellen Holzberg Linda Katz Marc S. Levine Shirley Rose Kathi Rovere

Christopher Bacon Tom Becker Anne Boss Nancy Bowden Cheryl Byington Zarine Boyce Julie Cogan Vicky Dominguez Cathy Coers Frank Joyce Frassanito Diane and Harry Gendel Beatrice and Gregory Graham John Grimmett Donna and Gene Hammons

Advisory Board Gladys Hooker Sophia and Keith James Barbara Johnson Mady Kades Janis Landry Shannon Langman Mary Ann McKeithan Cathy McNamara Celia Morgan Jo and Joseph Nogee Kitten and Ron Page Kusum Patel Carroll R. Ray Carol Lee Robertson

Robin Angly, Chair Chris Bacon Gwyneth Campbell Tim Doyle Warren Ellsworth

Opera Production Council Ann Faget Ellen and Alan Holzberg Helen Mann Jackie and Malcolm Mazow Terrylin Neale

Richard J. Schmitt Donna Shen Rhonda Sweeney Betty Tutor Bob Wilkins Mary Ann Wilkins

Lillie Robertson Minette Robinson Donna Scott and Mitch Glassman Satoko and Anthony Shou Susan Thompson Ann and Karl Tornyos Virginia and Gage Van Horn Carol and Carl Vartian Nancy Willerson Beth Wolff Cyvia Wolff Gay Yellen

Rhonda Sweeney Beth Wolff Jo Dee Wright

Don Giovanni


MOORES SCHOOL OF MUSIC SOCIETY As of 10/15/2020

Rita Aron Ann Ayre Margaret Anne Boulware Terry Ann Brown Carla Adele Burns Darlene Clark Elizabeth Del Pico Debbie L. Feuer Mr. and Mrs. Stephen W. Glenn

Helen B. Davis Timothy Doyle Douglas Koch and Marcia Murphey Dr. Gary W. Patterson Christopher Bacon Nancy Bowden Trey Brady Pam and Steve Bertone Richard and Drucilla Davis Joyce Frassanito Diane Gendel Dr. Gregory D. Graham Eugene Hammons Sandra Harris

David Blomstrom Debra Witter and Scott Chase Cynthia Clayton and Hector Vasquez Vicie Lee Coleman Courtney Crappell Matthew Dirst Dr. Kenneth L. Euler Susan Snider Osterberg

Moores Opera Center

Director Level ($1,000) Marita Glodt Dr. Gary L. Hollingsworth Ellen and Alan Holzberg Gladys Hooker Linda Katz Ulyesse J. LeGrange Sharon and Robert Lietzow Jackie and Malcolm Mazow Shirley E. Rose Partner Level ($500) Minnette Robinson Nancy R. Schissler Donna S. Scott Patron Level ($250) Timothy Eugene Hester and Jasmine Hatem Sophia James Marc S. Levine Cathy and Bill McNamara Dr. Celia A. Morgan Jo and Joseph Nogee Kitten and Ron Page Kusum Patel Carol Lee Robertson Kathi Rovere Friend Level ($120) Walter Hecht Ann T. Hendrix Barbara and Raymond Kalmans Dr. Nicole Kenley-Miller and Dr. Andy Miller Richard Kummins Connie Lewis Gary Miller

Jane and Richard Smith Helen Shaffer Donna Shen Nancy and Michael Shoup Rhonda and Donald Sweeney Ann and Karl Tornyos Mary Ann Wilkins Jo Dee and Cliff Wright Edith and Robert L. Zinn Anthony Shou Virginia and Gage Van Horn Cyvia Wolff

Honorable Frank Rynd Mr. and Mrs. Robert L. Schwarz Doris and William Sing Julie Anderson-Smith and Ron Smith Christine Stevens and Richard Crishock Susan Thompson Carol and Carl Vartian David Ashley White Nancy B. Willerson Gay Yellen and Don Reiser

Mr. and Mrs. Gregory Robertson Nancy Strohmer Jon Totz Shelton M. Vaughan Eleanor and Richard Viebig Dr. Betsy and Mr. Rick Weber Tobin Wright Mr. John R. Gealy


Venue Wilhelmina Grove

Wilhelmina Grove was named for longtime UH supporter Wilhelmina Daisy Cullen Robertson Smith, who was a longtime friend and devotee of the University and a patron of the arts in Houston. Smith—who passed away in 2009—was the last surviving daughter of UH’s founding family Hugh Roy Cullen and Lillie Cranz Cullen. She attended UH and graduated in 1944. Her husband, Corbin J. Robertson, was an avid sports enthusiast and the namesake of the University’s previous football stadium. Smith was a life member of the UH Alumni Organization and a recipient of the 1989 Distinguished Alumni Award. In 1988, she received an honorary doctorate from UH. Her daughter Lillie T. Robertson said that the Grove perfectly exemplifies the qualities that made her mother a much beloved and respected figure on campus and in the community. "Wilhelmina Grove, named for our mother, reminds me of her because it possesses such simplicity and grace,” Robertson said. “It is just the kind of place she'd create—a modern and elegant plaza in an old grove of trees that invites people to gather and enjoy the outdoors. It also serves as the gateway to UH's wonderful artistic institutions of music, theater, and art—the arts programs that she patronized at the university that she loved. My family—Beth Robertson, Corby Robertson, Carroll Ray and Alison Baumann—and I are delighted by its functional beauty that honors her so well.”

Don Giovanni

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