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Barber of se ille By Gioacchino Rossini



Sunday, March 5, 2 p.m. Singletary Center for the Arts Lexington, Kentucky Admission Free Students will be competing for over half a million dollars in scholarships and prizes!

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Dear Opera Enthusiasts: Welcome! Thank you for supporting the UK Opera Theatre program and this production of Rossini’s The Barber of Seville! Our production of Ragtime last fall was a huge success, and we’re delighted that you’re joining us again. We’re pleased also to welcome Cynthia Lawrence, UK Endowed Chair in Voice, as guest director for this production. You may remember that Ms. Lawrence also directed Suor Angelica for UKOT’s undergraduate opera a few years ago, and the production was a big success. Today’s production beautifully highlights the accomplishments and talents found within the UK College of Fine Arts, featuring UKOT and UK Symphony Orchestra students. It also features a vivid digital set design made possible through SCRIBE Technology, first introduced in UKOT’s production of Gershwin’s Porgy and Bess (2011). Please save the date March 5, 2017 for the Alltech Vocal Scholarship Competition. It will be held in the Concert Hall of the Singletary Center at 2:00 p.m., and the public is invited. The competition offers singers a chance to win a full scholarship to the University of Kentucky. Be sure to join us also to celebrate the 25th anniversary of It’s a Grand Night for Singing! on June 9-18. Tickets are now on sale. And Bounce: The Basketball Opera, in collaboration with Ardea Arts (NYC), is on track to be premiered here next season. We will keep you posted on that. Thank you for supporting these young artists who grace our stage and play in our pit. We could not do this without YOU – whether you purchase a single ticket or make a charitable contribution. Please also consider supporting UKOT by way of an endowment. We would love to work with you to plan a gift that will help take UK Opera Theatre to the next level in its quest to become the best young artist training program in the country. Thank you - enjoy the show! Sincerely, Everett McCorvey, D.M.A., Director, UK Opera Theatre The Barber of Seville is made possible by the following donors

Kentucky Research Challenge Trust Fund


Lucille Little Opera Endowment

Ann Bakhaus Family

Ralph and Ann Mason Endowment

Constance and William Collis Opera Production Endowment

Ray and Gigi Garman Endowment

University of Kentucky College of Fine Arts Dr. David Sogin, Interim Dean

University of Kentucky School of Music Dr. John Scheib, Director Dr. Lori Hetzel, Associate Director

Brass Jason Dovel David Elliott Skip Gray Bradley Kerns Keyboard Raleigh Dailey Vicki McVay Schuyler Robinson Irina Voro Percussion James Campbell Paul Deatherage Strings Daniel Cecil Elaine Cook Dieter Hennings Benjamin Karp Margaret Karp Daniel Mason Karl Olsen Wendy Yates

Voice Elizabeth Arnold Dennis Bender Angelique Clay Cliff Jackson Cynthia Lawrence Tedrin Lindsay Noemi Lugo Everett McCorvey Nan McSwain Ronan Tynan Woodwinds Julie Hobbs ToniMarie Marchioni Lisa Osland Miles Osland Peter Simpson Scott Wright Music Education Todd Anderson Diana Deen Lori Hetzel Michael Hudson David Sogin Joan Stansbury Martina Vasil

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Commercial Music Eric Murine

As a courtesy to performers and other audience members, please turn off and put away all electronic devices. The use of recording and photographic equipment is permitted only by approved University personnel. No food or drink is permitted in this performance venue. We ask that you remain seated throughout the performance and, if you must exit, that you wait until applause.


Book and Lyrics by Lynn Ahrens Music by Stephen Flaherty

Based upon the novel “My Love, My Love” by Rosa Guy

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Dear Barber of Seville Guests, Thank you for joining us to share in the magic of musical storytelling. The stars of UK Opera Theatre (UKOT) are performing Rossini’s masterpiece. Our singers are part of the UKOT family, and their talents will amaze you. OperaLex is a community-based 501(c)(3) organization whose mission is to spread the love of musical theatre and opera throughout the Commonwealth. We provide financial support to UKOT to help defray production costs, and we assist its students through scholarships. We sponsor the Kentucky District Metropolitan Opera National Council auditions here in Lexington and host a fascinating lecture series (Opera 101), taught by Dr. Tedrin Blair Lindsay. By supporting OperaLex, you become part of this vital endeavor. We promote and share news of local opera events through our newsletter Bravo (published three times a year) and our weekly Bravo Guild e-blast. We rely on the generosity of those who love music and believe in its ability to inspire us. We invite you to join us when we celebrate UKOT at our annual fundraiser, ENCORE!, which will be held on May 13 at the Keeneland Entertainment Center. Learn more about us at What a season it’s been so far! Ragtime last fall, Barber of Seville today, and the 25th anniversary of It’s a Grand Night for Singing! still to come. Please join us on this exciting journey. Enjoy tonight’s performance! We’re glad you’re here!

Roger Leasor President, OperaLex


OperaLex is a private, not-for-profit community group dedicated to celebrating opera and the magic of musical storytelling. OperaLex believes in empowering the future of opera through: ADVOCACY: Assuring that future generations of Kentucky citizens appreciate the beauty of opera. ACHIEVEMENT: Helping UK Opera Theatre (UKOT) students succeed by providing scholarships, volunteer support and production funding. OUTREACH & EDUCATION: Supporting the UKOT Schmidt Opera Outreach Program (SOOP) artists-in-schools initiative, annually serving 35,000+ elementary students throughout the Commonwealth. REWARDING EXCELLENCE: Hosting the annual Kentucky District Metropolitan Opera National Council Auditions, designed to discover promising young opera singers and assist in their career development. Thanks to volunteers and our devoted donors and sponsors, we commit our time, talents, and resources by hosting annual events, including ENCORE!, UKOT production preview luncheons, educational seminars, master classes and community engagement events. We are thriving and growing because of your generosity! Join us and learn more at

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THE BARBER’S CARNIVAL OF INTRIGUES By Diana R. Hallman, Associate Professor of Musicology, School of Music, CFA UK Research Professor, Coordinator of UK Opera Research Alliance Despite its near-disastrous premiere in Rome on 20 February 1816, Gioachino Rossini’s The Barber of Seville (Il barbiere di Siviglia) would quickly secure the composer’s reputation as a consummate creator of opera buffa. As its popularity spread beyond Italy, it helped to stir a “Rossini Revolution” in France and, with other Rossini works, encouraged some historians to designate the early 19th century not as the “Age of Beethoven,” but the “Age of Beethoven AND Rossini.” In the 201 years of performances since its premiere, the exhilarating music and non-stop buffoonery of this beloved Italian comic opera have captivated audiences throughout the world and inspired nearly universal critical praise. Beyond the phenomenon of the opera’s international success and longevity, its adaptation of the Beaumarchais play, Le Barbier de Séville, ou La Précaution inutile, a prequel to Le Mariage de Figaro, the play set by Mozart and librettist Lorenzo da Ponte in The Marriage

of Figaro (Le nozze di Figaro), has inevitably drawn comparisons to the iconic opera buffa of 1786. Though Rossini and his librettist Cesare Sterbini portray younger versions of the same characters of Figaro, the Count, and Rosina (the future Countess), with echoes of the madcap finales, intricate ensembles, and rapid patter familiar from Mozart’s comic opera, the witty intrigues of The Barber of Seville are typically viewed as the stuff of sheer comedy, rather than vehicles for Enlightenmentinspired political messages so evident in Mozart’s work. According to musicologist Janet Johnson, the character disguises, predicaments, facile word plays, and ironic twists of Rossini’s Barber capture the essence of Beaumarchais’s “comedy of intrigue” as they draw on commedia dell‘arte tradition and the spirit of the carnivalesque that reinvigorated early Romantic theater.1 Though Rossini’s Barber, reflecting the tone of Beaumarchais’s Barbier, may be less overtly political than Beaumarchais’s and Mozart’s Marriage of Figaro, its carnivalesque inspirations embody socio-political critique nonetheless. Its links to Carnival practices - the opera first appeared at Rome’s Teatro Argentina during Carnival season - carry long associations with Carnival’s subversion of social norms, when participants or enactors, hidden by masks and disguises, suspend and upend typical hierarchies and constraints.


At the center of Barber’s carnivalesque intrigues is Figaro, the barber and “jack of all trades” (before becoming the wily, authority-challenging court servant of The Marriage of Figaro): here, he acts as master of imbroglios and chicanery and as ironic commentator of the unfolding drama. Following the opera’s opening scene and first disguise - the Count’s cross-class dressing as a poor student who serenades Rosina, accompanied by “conspiratorial” musicians - the brash, ingenious, and entrepreneurial Figaro bursts into the drama, bragging of his indispensability in the tour-deforce buffo patter of his entrance aria, “Largo al factotum.” Here and elsewhere, Figaro reveals his social and dramatic authority through verbal manipulations and clever schemes, from his Act I suggestion that the Count appear as a drunken soldier to gain access to Dr. Bartolo’s home (where the pompous doctor possessively guards his ward, and love interest, Rosina). Contrasting himself to the music teacher Don Basilio, a “conniver without conscience,” the resourceful barber breaks down barriers and frees Rosina from social imprisonment; through his scheming (and the Count’s third disguise as Rosina’s substitute music teacher), he helps to unite the lovers, though he parodies their expressions of love’s ecstasy with ironic asides. He is not the sole schemer, for Rosina and the Count

add touches of their own verbal wit and cunning ways: Rosina cleverly pretends her love note is the text of an opera aria, for example, and the disguised Count addresses Bartolo with mocking puns of the doctor’s name. Rossini’s bubbling, beautifully orchestrated music captures the carnivalesque shenanigans of Figaro and “his cast” of characters in The Barber of Seville. Building on convention, Rossini adopts wordy buffo repetitions, active recitatives, and florid coloratura displays to fit the topsy-turvy spirit of “the barber’s Carnival.” Among many ironic touches, he ties his signature “Rossinian crescendo” to dramatic moments, as in Basilio’s Act I aria when he metaphorically maps the accumulating force of “calumny” before the orchestra explodes like a “cannon shot.” In the Act II “lesson scene,” he creates a brilliant “opera within opera” parody as Rosina and the disguised Count further outwit the foolish Bartolo. With these and many other effects, Rossini justly earned his reputation as an artful composer of comic opera - as will undoubtedly be re-proven in UKOT’s performance of this comic masterpiece.


Janet Johnson, “Il barbiere di Siviglia,”

in The Cambridge Companion to Rossini, edited by Emanuele Senici (Cambridge, UK: Cambridge University Press, 2004), 160, 165-66.



By Cynthia Lawrence, Director There are few people in our society today who are not familiar with one tune or another from The Barber of Seville. Some may have first heard the overture or a famous aria from a Bugs Bunny cartoon, a Cheerios commercial, or a Hollywood movie starring Sylvester Stallone. But it was 30 years ago this year that I had my first personal encounter with Barber when my husband, Mark Calkins, and I were newly-wed apprentice artists at Central City Opera. I had grown up in Colorado, and it was at Central City that I had first heard The Ballad of Baby Doe and knew what my career path would be. During that summer as an apprentice artist I began to learn what it really means to use your craft in the rehearsal process and in performance of operatic masterpieces. That first summer I sang the role of Berta in the main stage production of Barber as well as Mimi in the student performance of La Bohème. Mark sang Almaviva in the student performance of Barber. Among our fellow apprentices were Alan Held and Denyce Graves. We were in good company! We also had the opportunity to work with tremendous directors. Since then I have sung Berta at the Lyric Opera of Chicago with cast members Rockwell Blake, Thomas Allen, and Frederika Von Stadw. Many more times I have applauded and laughed as my husband sang Count Almaviva all over the world.

This opera has truly been a dear part of our lives most of our careers. Barber was not always called Il Barbiere di Siviglia. The first title was Almaviva, o sia L’inutile precauzione (Almaviva – or The Useless Precaution). As the director of our show, having personally experienced the many faces of Almaviva on stage – penniless lover, drunken soldier, foppish imposter, music teacher, and eventually Count Almaviva – it is no wonder I feel he is the point around which the drama swirls. (It may also be because I’m married to my favorite Almaviva!) Almaviva sets the action in motion as we, the audience, follow him and those he encounters through a romp of tactics, romanticism, timing, deception, and finally consolation and union. All’s well in the end. Through my career as a performer I have had the opportunity work with some of today’s most creative and exciting directors. I have always tried to soak up their expertise and challenge myself to bring my character to life – whether the first time or the 100th time. Now, as director of this UKOT production, my goal is for our students to challenge themselves to break out of a mold, to listen to each other, to make real what seems frivolous, and to use new skills and old to create a fun frolic for you, our audience. This is one of the three operas I suggest as a first for anyone who has never before seen opera. It is also one that can be seen, heard, and enjoyed many times. You will find something new every time. Enjoy!


THE BARBER OF SEVILLE ACT 1: A SQUARE IN SEVILLE, SPAIN - Under a Seville balcony, Count Almaviva (disguised as the student Lindoro), together with his hired musicians, serenades the beautiful Rosina. She has been confined in the house of her guardian, Dr. Bartolo, who plans to marry her himself for her dowry. The clever and intriguing Barber, Figaro, arrives touting his own many talents (Largo al factotum). Almaviva asks for Figaro’s help to visit Rosina and tell her of his love. Figaro recommends that Almaviva disguise himself as a drunken soldier with papers to billet in Dr. Bartolo’s house. The scene changes to Rosina’s boudoir, where she writes a letter to Lindoro telling him she loves him and that she will defy Dr. Bartolo (Una voce poco fa.) After she leaves, Dr. Bartolo arrives with Don Basilio, Rosina’s music instructor. Basilio warns the doctor that Count Almaviva has been seen wooing Rosina and tells the Doctor to slander the Count (La calunnia.) After the two men leave, Rosina asks Figaro to deliver her letter to Lindoro. Dr. Bartolo returns and accuses Rosina of writing love letters. He tells her that he cannot be fooled (Un dottor della mia sorte). Almaviva arrives disguised as the drunken soldier. Dr. Bartolo is summoned and sees Almaviva give Rosina a letter. He demands to see it, and Rosina declares it is the laundry list. A furious Bartolo creates a noisy commotion, and the authorities arrive to settle the dispute. The Sergeant of the guard listens to everyone’s version of the melee and decides to arrest Lindoro, but when Lindoro secretly reveals his identity (Count Almaviva), the Sergeant releases him immediately, to the astonishment of all except Figaro and Almaviva. ACT 2: THE MUSIC ROOM - Almaviva, disguised as Don Alonso, arrives and feigns he is a substitute music teacher for Rosina, as Don Basilio is “ill.” Bartolo becomes suspicious and insists that Figaro shave him in the presence of the young people. During the lesson, Rosina and Lindoro plan to elope. Don Basilio shows up, complicating their plans to escape, and Dr. Bartolo is not fooled. He kicks Figaro and Almaviva out of the house and sends Rosina to her room. Bartolo rushes to find a notary so he can marry Rosina that very night. At midnight, according to plan, Almaviva climbs up to the balcony of Rosina’s room. He tells her he is both Lindoro and the Count Almaviva. He proposes, and she accepts happily. Basilio arrives with a notary to marry Rosina and Dr. Bartolo. The notary is bribed and inserts the name Almaviva in place of Bartolo, so that Rosina and the Count are officially married. Discovering that he has been duped, Dr. Bartolo is furious until he learns that he will be allowed to keep Rosina’s dowry. He gives the couple his blessings, and the concluding ensemble praises true love and faithfulness.


CAST A will perform evenings. FIORELLO Michael Pandolfo* CONTE ALMAVIVA Taylor Comstock* FIGARO Taeeun Moon* ROSINA Wanessa Campelo* BARTOLO Kevin Glavin BASILIO Bongani Ndhlalane* BERTA Audrey Belle Adams* AMBROGIO Kyle Burney SERGENTE Matt Pearce* NOTARO Henry Huhtulag CAST 1 will perform matinees. FIORELLO Melvin Bozeman* CONTE ALMAVIVA Zackery Morris* FIGARO Michael Preacely* ROSINA Junghyun Lee* BARTOLO Kevin Glavin BASILIO Bongani Ndhlalane* BERTA Beatriz Paroni AMBROGIO Andrew Durham SERGENTE Matt Pearce* NOTARO Henry Huhtulag BERTA COVER

Emily Evans (Cover)

CHORUS TENORS: TENORS: Matt Matt Pearce, Pearce, Henry Henry Huhtulag, Huhtulag, Caleb Caleb Skinner*, Skinner, Cooper Fitch, Joseph McMullen, Kyle Hamlin BARITONES: Michael Pandolfo*, Melvin Bozeman*, Jeffrey Oakman, Clement Baloyi* BASSES: Kyle Burney, Andrew Durham, David Foster* TOWNS WOMEN: Harper Bullard, Ruth Sangster, Emma Scott, Nicole Love, Elizabeth Massie, Jessica Bailey*

* Alltech Scholar


CONDUCTOR John Nardollilo ASSISTANT CONDUCTORS Jan Pellant Michelle Di Russo VIOLIN I YeDam Kim Yichi Chiang Yu-Ting Huang Chandler Martin Michele Shieh Kristen Morrill VIOLIN II Terra Warger Andrzej Kunecki Ingang Han Morgan Quick VIOLA Austin Han Emily Kurlinski Lubitza Braikova Megan Fisher

CELLO Daniel Hoppe Bill Meyer Xiaohang Yu Isabelle Martin BASS Tyler Turcott Garrett Cline FLUTE Chloe McIntosh Loren Been OBOE Christine Sallas Joel Huether

HORN Nate Williams Mya Scheib TRUMPET Marisa Youngs Kyle Mitchell TROMBONE Danny Alford TIMPANI/ PERCUSSION Emily Durocher Griffin Lober Matthew Tremmel

CLARINET Michael Robinson Evelynn Esquivel BASSOON Logan Blackman Michaela Garnett

UK Opera Special Thanks Don Wilson Music UK Department of Theatre and Dance The Bravo Guild for a delicious Cast Dinner OperaLex The Calkins Family UK Federal Credit Union UK Student Staff from the Schmidt Vocal Arts Center

CREATIVE & PRODUCTION TEAM Producer Director Conductor Set and Graphics Design Lighting Design Costume Design Scribe Entertainment Supervisors Program Coordinator Director of Production Production Stage Manager Principal Vocal Coach Assistant Vocal Coach Assistant Vocal Coach Chorus Master Assistant Stage Director Scenic Tech Director Production Prop Master Master Carpenter Assistant Stage Manager Supertitles Assistant Lighting Designer Costume Coordinator Costume Director Assistant Costume Coordinator Asst. Conductor Asst. Conductor Program Design Opera Outreach Coordinator Production Photographer Production Videographer Program Copy Editor Marketing Intern Social Media Coordinator Costume Construction and Alteration: Wardrobe Crew Chief: Wardrobe Crew:

Everett McCorvey Cynthia Lawrence John Nardolillo Tony Hardin Tanya Harper Anna Bjotnsdotter Bill Gregory, Yongwook Song Joan Rue Marc Schlackman Jessica Bayne Cliff Jackson Marcello Cormio Nan McSwain Catherine Clark Nardolillo Mark Calkins Zak Stribling Lisa Hardin Joe Harris Allie Gregory Mark Calkins Danny Bowling Nelson Fields Tracy Ward Lead Abby Schoering Michelle Di Russo Jan Pellant Elias Gross – IRV Creative Deb Hoskins Philip Groshong March Media Georgiana Strickland Andrew Durham Tellå Jones Wesley Hammond, Chih-Husuan Hung, Emily Misali, Moniece Mosley, John Wells, Ian Witten, and members of TA 265. Ian Witten Ryan Ruff, Becki Tonges, Olivia Krznarich

Scenery provided by UK Theatre Department, Nancy Jones, Chairperson Projection Technology provided by SCRIBE Entertainment Lighting Equipment by Vincent Lighting Video Equipment provided by Audio Visual Techniques The Crew from Singletary Production Director, Lighting Designer, Tanya Harper Programmer and Operator Assistant Production Director, Danny Bowling Asst. Lighting Designer, Master Electrician Tech Services Assistant, Audio Supervisor Seth Murphy Stage Manager Taylor Cavins Audio Technicians Logan Clark, Clay Greene Follow Spot Operators Danny Bowling, Aaron Bowling, Matt Proffitt Load In/Out Stagehands all of the above are loading in and out, plus: Ian Witten, Lucas Southworth, Daniel Williams, Tom Willis, Lauren Camargo, Amy Connell, Amanda Draughn, Peter Gibbons, Jake Riddle


EVERETT McCORVEY (Executive Producer) is a native of Montgomery, Alabama, and received his degrees from the University of Alabama. Dr. McCorvey holds the rank of Professor of Voice and the OperaLex Endowed Chair in Opera Studies and is the Director and Executive Producer of UK Opera Theatre. As a tenor soloist he has enjoyed critical acclaim and has performed in many prestigious venues around the globe, including the Kennedy Center, Radio City Music Hall, the Metropolitan Opera, and Italy’s Teatro Communale. He established, directs, and tours nationally and internationally with the American Spiritual Ensemble and is the Artistic Director of the National Chorale, a professional choral organization that presents an annual choral-orchestral series at Lincoln Center, New York. Dr. McCorvey participated in the fiftieth anniversary of George Wallace’s Stand in the Schoolhouse Door in Alabama (2013). He served as executive producer of the opening and closing ceremonies of the 2010 Alltech FEI World Equestrian Games, the largest equestrian event in U.S. history. Dr. McCorvey is vice-chair of the Kentucky Arts Council for the Commonwealth of Kentucky.

CYNTHIA LAWRENCE (Director) and UK Endowed Chair in Voice, has known, loved and performed Barbiere di Siviglia for 30 years singing the role of Berta in David Gately’s and John Copley’s productions! Her other roles include: Madama Butterfly, Lady Macbeth, Tosca, Rosalinda, Musetta, Elettra, Mimi, Maddelena, and Roxanne with the Metropolitan Opera. Other leading Opera Houses include The

Royal Opera House, Covent Garden, Lyric Opera of Chicago, Royal Albert Hall, Lithuanian National Opera, Portland Opera, Atlanta Opera, Connecticut Opera, Opera Carolina, New York City Opera, Opera Geneva, Opera Colorado, Florentine Opera, Palacio Das Artes, Brazil, Opera Theatre of St. Louis, and the Vancouver Opera. She appeared with Luciano Pavarotti more than 70 times in concert and opera and was an honored soloist on the DVD A Tribute to Pavarotti: One Amazing Weekend in Petra. Ms. Ms Lawrence is a frequent Master Clinician at universities across the US, Brazil, Mexico, China, and in Europe. She was a winner of an SEC grant to travel to LSU for teaching and performing master classes with the faculty there, and will star with Opera Fort Collins this coming April in “Tea with the Diva.”

JOHN NARDOLILLO (Conductor) has appeared with more than thirty of the country’s leading orchestras, including the Boston Pops, the National Symphony, and the principal orchestras of Seattle, San Francisco, Detroit, Atlanta, Dallas, Milwaukee, Utah, Columbus, Indianapolis, Oregon, Fort Worth, Buffalo, Alabama, Louisville, Missouri, North Carolina, and Hawaii. He recently conducted concerts at the Kennedy Center (Washington, D.C.), the Kimmel Center (Philadelphia), and Carnegie Hall (New York). Mr. Nardolillo made his professional conducting debut in 1994 at the Sully Festival in France, and has since made conducting appearances in Germany, Italy, Norway, Sweden, Denmark, and China. He has led major American orchestras in subscription series concerts, summer and pops concerts, educational concerts and tours, and


television and radio broadcasts. He has worked with major soloists, including Itzhak Perlman, Joshua Bell, Lang Lang, Gil Shaham, Sarah Chang, Lynn Harrell, Denyce Graves, Angela Brown, Christine Brewer, Mark O’Connor, Marvin Hamlisch, Pink Martini, Time for Three, Ronan Tynan, Jim Brickman, Cherish the Ladies, and Arlo Guthrie. Mr. Nardolillo is the Artistic Director of the Prague Summer Nights Music Festival in the Czech Republic, and joined the University of Kentucky faculty in 2004, where he currently serves as the Director of Orchestras.

TONY HARDIN (Set and Graphics Designer) is an Associate Professor of Theatre at the University of Kentucky. He earned his MFA from the University of Virginia. He teaches courses in scenic design, lighting design, scene painting, projection design, and stage management. He served as Education Commissioner for the US Institute for Theatre Technology for several years, and has recently been nominated to their Board of Directors. In 2006 he received the Marvin Simms Design Fellowship sponsored by the Kennedy Center/American College Theatre Festival. His current research agenda is focused on the use of projections in academic theatre. Professionally, he has significant experience as a scenic and lighting designer in a variety of venues around the country including Virginia Shakespeare, the MeX Theatre, and La MaMa ETC.

MARC SCHLACKMAN (Director of Production and Production Stage Manager) began his Broadway stagemanaging career with Mary Martin

and Anthony Quayle. Since then he has stage-managed a dozen Broadway and many Off-Broadway productions with some of the brightest stars in the business, including Lauren Bacall, Joel Grey, Jim Dale, Glenn Close, Patti LuPone, Danny Aiello, Len Cariou, Petula Clark, David Cassidy, Jonathan Pryce, Bill Irwin, Danny DeVito, George Burns, Yul Brynner, Robert Goulet, Geraldine Fitzgerald, and Mitzi Gaynor. He has traveled the world supervising or stage-managing more than twodozen national, bus-and-truck, stock, and ballet tours. Mr. Schlackman produces four major shows a year with UK Opera Theatre and directs the Schmidt Opera Outreach Program, which tours children’s operas throughout the Commonwealth. His greatest achievements are his daughters, Sara Rue and Leah Schlackman, and getting Joan Rue to marry him. He is most proud of and in love with his granddaughters, Talulah Rue Price and Adelaide Rue Price.

TANYA HARPER (Lighting Designer) has enjoyed designing lighting for UK Opera Theatre productions for over twenty years. Favorite designs include The Phantom of the Opera, Les Misérables, Sweeney Todd, Porgy and Bess, South Pacific, and Lexington’s unofficial kickoff to summer, the annual production of It’s a Grand Night for Singing! She works with many other groups in Central Kentucky as a freelance lighting designer and production stage manager. She has been pleased to collaborate with The Lexington Theatre Company on 42nd Street and Mary Poppins. For Kentucky Ballet Theatre, she has created many designs for classical repertoire and original ballets by artistic director Norbe Risco, including The Nutcracker,


Sleeping Beauty, Coppelia, Cinderella, Night Before Christmas, The Wizard of Oz, Peter Pan, and Dracula. Selected large projects include the Kentucky Humanities Council’s Our Lincoln, Kentucky’s celebration of Abraham Lincoln’s 200th birthday, at the Kennedy Center in Washington, D.C., and lighting for the opening ceremonies of the Alltech FEI World Equestrian Games in 2010 at the Kentucky Horse Park. Originally from the Baltimore area, she holds an MFA in lighting design from the University of Cincinnati College-Conservatory of Music, and a BFA in English from Colgate University. Ms. Harper is the Production Director at the Singletary Center for the Arts, which hosts approximately 400 events a year.

CLIFF JACKSON (Head Vocal Coach), a native of Gary, Indiana, received his Bachelor of Music degree from Oberlin Conservatory and pursued graduate studies at the Manhattan School of Music. He has been recognized as a leading pianist of his generation and an outstanding coach of vocal repertoire. Cited for his sensitive accompaniments and insightful musicianship, he has been the pianist for many internationally renowned artists including Kathleen Battle, Renata Scotto, and Simon Estes. His skill as a collaborative artist has justly earned him a place on the stages of Carnegie Hall, the Kennedy Center, the Vienna Musikverein, the Teatro Colón, and the Royal Opera House, Covent Garden. He was awarded a coaching fellowship by the American Opera Center at the Juilliard School and was the recipient of a Gramma Fisher Scholarship by the American Institute of Musical Studies in Graz, Austria. He has served on the staff of Miami Opera,

Tulsa Opera, Mobile Opera, Central City Opera, and the Chautauqua Opera Festival, and as a solo pianist for the Dance Theatre of Harlem. He is currently an associate professor in the UK Opera Theatre and Voice Curriculum.

MARCELLO CORMIO (Associate Vocal Coach) is an Italian born conductor, pianist, opera coach, and educator. Recent operatic engagements include L’elisir d’amore, Cosí fan tutte, and Robert Nelson’s A Room with a View at Michigan State University, Street Scene at West Virginia University, and Il barbiere di Siviglia and Le nozze di Figaro at the Sarasota Opera Festival. While at Sarasota Opera, South Florida Classical praised Mr. Cormio as “an assured hand in the pit, conducting the score with vitality while leaving the singers room to breathe in their solos.” Mr. Cormio was also seen as music director and conductor of opera scenes at the Manhattan School of Music and the Indiana University School of Music. He has appeared with orchestras around the United States and Europe. Mr. Cormio has been active as an educator throughout his career. In 2014-15 he was head of the opera program at West Virginia University. He is currently the Interim Conductor for the Central Kentucky Youth Orchestras, as well as music director of the University of Kentucky symphony. Mr. Cormio holds graduate degrees in piano, composition, conducting, and musicology from Italian conservatories and universities, as well as a Master of Music degree from Indiana University and a Doctor of Musical Arts degree from the University of Kentucky.


NAN McSWAIN (Associate Vocal Coach) received her BM and MM degrees in piano performance from the University of Kentucky and a specialist degree (Sp.Mus) in collaborative piano/ vocal coaching from the University of Michigan, where she studied with internationally renowned vocal coach/accompanist Martin Katz. She has performed with soloists and ensembles in Canada and throughout the U.S. and Spain, including touring and recording with the American Spiritual Ensemble. She has served as a vocal coach for productions of The Phantom of the Opera, The Marriage of Figaro, Les Misérables, Don Giovanni, Porgy and Bess, La Bohème, La Traviata, and Carmen among many others. Ms. McSwain has been affiliated with UKOT as an accompanist/répétiteur since 1990 and as a vocal coach since 2005. She has performed as a featured pianist in the popular It’s a Grand Night for Singing! since its inception in the early 1990s, and as assistant music director for the past thirteen years. In addition, Ms. McSwain has worked as a vocal coach/ accompanist for the American Institute of Musical Studies in Graz, Austria, as well as in the voice studio of the late Shirley Verrett. She has worked with Michigan Opera Theatre and Lexington Shakespeare Festival.

CATHERINE CLARKE NARDOLILLO (Chorus Master) lauded by the NY Times for her “exquisite” singing, has appeared at Carnegie Hall, with the Toledo Symphony, Boulder Philharmonic, Evansville Philharmonic, Johnson City Symphony, Lexington Philharmonic, Owensboro Symphony, Natchez Festival of Music, and the

National Youth Choir. Dr. Nardolillo has also appeared in operas with the Aspen Opera Theater Center, the Colorado Lyric Theater, Chautauqua Music Festival, Operafestival di Roma, Dicapo Opera, University of Kentucky and University of Colorado. She has been a prizewinner in the Rocky Mountain District Metropolitan Opera Council Auditions, the Denver Lyric Opera Guild Competition, the American Traditions Competition, and the Alltech Opera Scholarship Competition. She has recorded two albums with Albany Records, including the original cast recording of God Bless Us Everyone and in Thomas Pasatieri’s Two. A native of Symphony Number Two. Maysville, Kentucky, Dr. Nardolillo has music degrees from the University of Kentucky, the University of Colorado, and she received her DMA from UK in 2013. Dr. Nardolillo is Director of Voice for Prague Summer Nights Music Festival. She currently teaches voice at Centre College and maintains a private studio in Lexington, Kentucky.

JESSICA BAYNE (Production Stage Manager) is a recent graduate of the University of Kentucky with a Bachelor of Music degree in Voice Performance. She has been privileged to play in some of UK Opera Theatre’s most rewarding shows of recent seasons, including South Pacific, The Tales of Hoffmann, Sweeney Todd, and as Fantine in Les Misérables. Ms Ms. Bayne’s Bayne’s first first stage-managing stage-managing experience was with Amahl and the Night Visitors. She is thrilled to be again working behind the scenes with UKOT as Production Stage Manager for The Barber of Seville.


Baritone TAEEUN MOON (Figaro) is a native of South Korea. He has performed as Don Giovanni, Dr. Miracle/Coppélius in The Tales of Hoffmann, Il Conte in Le Nozze di Figaro, Ford in Falstaff, Belcore in L’Elisir d’amore, Osiride in Mose, Leporello in Don Giovanni, and Dr. Falke in Die Fledermaus. Most recently Mr. Moon was a young artist with Prague Summer Nights in the Czech Republic and with Opera Orvieto in Italy. He is a graduate of Campbellsville University, where he was distinguished as an Outstanding Graduate Music Student and is pursuing a doctorate in voice performance at the University of Kentucky as an Alltech Scholar and a Tom Getchell Scholarship recipient under the tutelage of Cynthia Lawrence.

Baritone MICHAEL PREACELY (Figaro) hales from Chicago and is a graduate of the Oberlin Conservatory of Music. Mr. Preacely recently made his debut in the title role of Rigoletto with the Western Plains Opera company (Minot, ND) and with the Kazan Opera company (Kazan, Russia) as Crown in Porgy and Bess. He toured Russia in a concert series with New York-based Opera Noire, debuted with Opera Memphis in the role of Marullo, with a Rigoletto cover, and with Opéra de Montréal as Jake in Porgy and Bess. Lexington audiences will remember Mr. Preacely as the Phantom in The Phantom of the Opera, Ford in Falstaff, and Mercutio in Roméo et Juliette. Mr. Preacely’s successes on the concert stage include performances with some of the nation’s leading

orchestras, including the Oakland East Bay Symphony, the HamiltonFairfield Symphony, the Cleveland Orchestra, the Cleveland Pops, the Cincinnati Pops, and the American Spiritual Ensemble. Mr. Preacely studies with Dr. Everett McCorvey and is completing a doctorate of music in vocal performance at the University of Kentucky.

Tenor ZACKERY MORRIS (Almaviva) is thrilled to bring this dream role to life with UK Opera Theatre. A native of Raleigh, N.C., Mr. Morris is equally at home on operatic and musical theatre stages with credits including Marius (Les Misérables), Anthony Hope (Sweeney Todd), Ferrando (Così fan tutte), the Four Servants (Les Contes d’Hoffmann), Don Basilio (Le Nozze di Figaro), and just last October as Tateh in UK’s groundbreaking production of Ragtime! Most recently Mr. Morris was a young artist with PORTopera in Portland, Maine, where he appeared as Tobias in The Medium and covered the role of Le Remendado in Bizet’s Carmen. He has worked as a young artist for Ohio Light Opera and with the Bayview Music Festival. He was a recipient of the graduate encouragement award from the Alltech Vocal Scholarship Competition in March 2015. He is a current DMA candidate at the University of Kentucky.


Tenor TAYLOR COMSTOCK (Count Almaviva) is extremely excited to be making his UK Opera Theatre mainstage debut. Most recently, Mr. Comstock appeared with the Schmidt Opera Outreach Program (SOOP) in the 2015 tour of The Billy Goats Gruff (Dandini). He sang Rudolfo in La Bohème with the Bay View Music Festival in Petoskey, Michigan. Before coming to UK, he attended the University of MissouriKansas City, where he appeared in several productions, including Don Giovanni (Don Ottavio), Dialogues des Carmélites (Le Chévalier), and L’elisir d’amore (Nemorino). Mr. Comstock was recipient of the Addington & Mills Transfer Undergraduate Award at the 2016 Alltech Vocal Scholarship Competition, and a 2016 Encouragement Award recipient at the Metropolitan Opera National Council Auditions-Kentucky District. This performance is dedicated to the memory of his father, James Riley Comstock (1947-2015).

Mezzo-soprano WANESSA CAMPELO (Rosina), a native of Brazil, was most recently seen as Dorabella in UK Opera Theatre’s production of Così fan tutte. Her repertoire ranges from oratorio and art songs to opera and musicals. Ms. Campelo’s roles include Nicklausse in Les contes d’Hoffmann, Zerlina in Don Giovanni, Fantine in Les Misérables, and Susanna in Le Nozze di Figaro. In the fall of 2014 she toured throughout Kentucky with the Schmidt Opera Outreach Program (SOOP) in The Adventures of Alice in Operaland, playing five different roles

and performing challenging arias from the standard operatic repertoire. Ms. Campelo completed her master’s degree in voice performance at the University of Kentucky in 2014. In 2015 she won first place in the Alltech Vocal Scholarship Competition, Graduate Division, and is currently pursuing a doctorate of musical arts in voice performance at the University of Kentucky.

Soprano JUNGHUNG LEE (Rosina) is pursuing her DMA in voice performance at the University of Kentucky. A native of Daegu, South Korea, Ms. Lee received her bachelor of music and master of music degrees in voice performance from the Gyeongbook National University in South Korea, and her Performance Diploma at the Jacobs School of Music, Indiana University. She has performed as a member of the Grand Opera Choir and Gimcheon City Choir in South Korea for five years as a soloist. She is currently at St. Raphael Episcopal Church as a choir scholar, and was the 2nd place winner of the Alltech Vocal Scholarship competition in 2015. Ms. Lee has performed in It’s a Grand Night for Singing! and the Alltech Celebration of Song. She studies voice with Professor Cynthia Lawrence.


Basso Buffo, KEVIN GLAVIN (Bartolo) is joining UK Opera Theatre as an Artist in Residence for The Barber of Seville. Mr.Glavin’s career highlights have included The Nose, Metropolitan Opera; Bartolo in Il Barbiere di Siviglia and Don Magnifico in La Cenerentola with San Francisco Opera; the title role in Don Pasquale, Mustafà in L’Italiana in Algeri, Bartolo in Il Barbiere di Siviglia, Don Inigo Gomez in Ravel’s L’Heure Espagnole, and the Sacristan in Tosca with New York City Opera; the title role in Don Pasquale with Glimmerglass Opera, Opera Colorado, the Opera Company of Philadelphia, and L’Opéra de Montréal; Bartolo in Il Barbiere di Siviglia with Seattle Opera, Florida Grand Opera, Washington Opera, the Opera Company of Philadelphia, Florentine Opera, Lyric Opera of Kansas City, Vancouver Opera, the Teatro Colón (Buenos Aires), and the Teatro Teresa Carreño (Caracas); Mustafà in L’Italiana in Algeri with Glimmerglass Opera, Opéra de Québec, and the Opera Company of Philadelphia. Additional highlights have included Holiday Concerts with the Pittsburgh Symphony, the Seattle Symphony, and the National Symphony Orchestra conducted by Marvin Hamlisch at the Kennedy Center.

Baritone BONGANI NDHLALANE (Basilio) was a member of both the 2008 and 2010 Honors Chorus of South Africa. He studied music at the State Theatre, a regional theatre company in Pretoria, South Africa. His dream has been to study music in the United States and become a professional

opera singer. Mr. Ndhlalane attended Central Piedmont Community College in Charlotte, North Carolina (2011-2014) in pursuit of a music degree with concentration in voice performance. He performed several roles with the CPCC opera program: The Magic Flute as the 1st Speaker, La Traviata as Dottor Grenvil, and Don Giovanni as the Commendatore. His awards include the Alltech Vocal Scholarship Competition (2014) as a finalist, which led to his study at the University of Kentucky. He was honored to participate in the Martina Arroyo Prelude to Performance in New York City, a young artist program where he played an Officer from Barbiere di Seviglia and audited Basilio. He won 1st place in the National Association of Teachers of Singing competition in October 2014. Mr. Ndhlalane made his debut with UK Opera Theatre as Don Alfonso in Così fan tutte (2016).

Mezzo-soprano AUDREY BELLE ADAMS (Berta) is a sophomore voice performance major. She is thrilled to be performing in her first mainstage opera. Recently in Alltech’s Celebration of Song at The Square, Ms. Adams wowed the audience with a gospel number. She played Mother in UKOT’s production of Ragtime. Last summer she was a featured soloist in It’s a Grand Night for Singing! In The Lexington Theatre Company’s Mary Poppins she played Mrs. Corry. Recently she was a collegiate soloist in Concert with the Stars at the Lexington Opera House. Ms. Adams is an Alltech scholar studying under Dr. Everett McCorvey and Dr. Angelique Clay. This performance is dedicated to her father, Ernie Adams.


Soprano BEATRIZ PARONI (Berta) is pursuing a bachelor’s degree at the University of Kentucky as an Alltech scholar. Most recently with UK Opera Theatre, she was in the ensembles of Don Giovanni, Tales of Hoffmann, and Così fan tutte. Ms. Paroni has sung in world famous festivals in Germany, including Rheingau Musik Festival, Chorakademie Lübeck, and SchleswigHolstein Musik Festival, where she had the opportunity to work under the batons of Christoph Eschenbach, Rolf Beck, and Andres Orozco-Estrada. As a member of the chamber ensemble Ara, she has toured Europe and South America. In Brazil she sang Lauretta (Gianni Schicchi) and La Contessa (Le Nozze di Figaro) at the First Opera Festival of Ribeirao Preto and Pamina (The Magic Flute) with Unicamp Symphonic Orchestra. Ms. Paroni studies with Dr. Everett McCorvey.

Baritone MICHAEL PANDOLFO (Fiorello) has been singing for most of his life. Starting at the age of 8, he has performed in musical theatre and opera in both community and professional houses. He has claimed several prestigious awards for young singers including the Schmidt Youth Vocal Competition 1st Place National Winner, Young Arts Alumnus, Classical Singer Finalist, NATS Kentucky Kentucky1st 1stplace JuniorJunior place Men, the Men, National the National Society Society of Arts of Arts and and Letters Letters 1st1st Place Place National National Voice Scholarship, and the Alltech Vocal Scholarship Competition 2nd place winner. He is currently working on his bachelor’s degree in vocal performance at the University

of Kentucky where he studies with soprano Cynthia Lawrence. Recent UKOT credits include Schlemiel in Tales of Hoffmann, Lt. Cable in South Pacific, Guglielmo in Così fan tutte, the Giant in Jack and the Beanstalk (Seagle Music Colony, 2016) and Henry Ford in UK Opera Theatre’s acclaimed Ragtime.

Baritone MELVIN D. BOZEMAN, JR. (Fiorello) is a sophomore voice performance major studying with Dr. Everett McCorvey at the University of Kentucky. Originally from St. Louis, he participated in Opera Theatre of St. Louis’ Artist in Training program, winning the 1st place 2014 Marielle Huber Award and the 1st place 2015 Monsanto Award. He is also a 2014 graduate of the Missouri Fine Arts Academy and a 2015 Alltech Vocal Scholarship winner. He is a 3rd place winner of the 2015 Peterson Vocal Competition, as well as a 1st place 2016 Kentucky Region National Association of Teachers of Singing winner. Last season he was seen as Billy in A Bride from Pluto by Gian Carlo Menotti in UKOT’s Undergraduate Studio opera. In 2016, Mr. Bozeman debuted with the Metropolitan Orchestra of St. Louis as a featured soloist. Recently Mr. Bozeman was seen in Ragtime as an ensemble member and the understudy for Coalhouse Walker Jr.


Bass-baritone KYLE BURNEY (Ambrogio) is a native Kentuckian currently living in Pewee Valley, Kentucky. An alumnus of the Governor’s School for the Arts, he is an arts administration major and is in his second year of voice studies with Cynthia Lawrence. He has also participated in vocal competitions including the National Association of Teachers of Singing competition and the UK Competition for Young Singers. Mr. Burney made his debut with UK Opera Theatre last fall as a chorus member in their production of Ragtime. This will be his debut opera with UKOT.

Bass-baritone ANDREW DURHAM (Ambrogio) is currently a senior at the University of Kentucky working on a double major in vocal performance and arts administration. He graduated from St. Mary High School in Paducah, Kentucky, in 2013. Mr. Durham was a member of All State Choir in 2011 and 2012, as well as an alumnus of the Governor’s School for the Arts in 2011. After studying with Tony Whitfield in high school, he now studies with Dr. Angelique Clay. You have seen him in the chorus of UKOT’s productions of Tales of Hoffman, South Pacific, Così fan tutte, and Ragtime.

Tenor MATTHEW PEARCE (Sergente) is an Alltech Scholar and graduating senior voice major under the tutelage of Dr. Everett McCorvey. Mr. Pearce has appeared in UKOT’s productions of Little

Nemo in Slumberland, Amahl and the Night Visitors (Kaspar), Tales of Hoffmann (Nathanaël), South Pacific (Stewpot), and Ragtime (J.P. Morgan), and appeared as Rodolfo in a stage performance of Act II of La Bohème with the Central Kentucky Youth Orchestra. Mr. Pearce was also a featured soloist with the University of Kentucky’s Men’s Choir on their 2015 trip to Salt Lake City to perform for the American Choral Director’s Association national convention. He also sang the tenor solos for Mozart’s Requiem with the University of Kentucky Symphony Orchestra. In the summer of 2016 Mr. Pearce attended the prestigious Aspen Music Festival and School, where he was a featured soloist and performer with the Aspen Opera Company, and where he will happily return in 2017.

Tenor HENRY HUHTULAG (Notaro) was selected as one of the top 60 children singers of Inner Mongolia in 2007. He performed in the Mormon Tabernacle and Abravanel Hall in Salt Lake City with the UK Men’s choir for the 2015 American Choral Director’s Association meeting. He also was the assistant director for the Inner Mongolia Youth Chamber Orchestra. While at the University of Kentucky, he has won 3rd place in the freshman men’s division of the 2015 National Association of Teachers of Singing Mid-South Region Student Audition, and won 1st place in both musical theatre and sophomore men’s classical voice division in 2015. He is currently studying voice with Professor Cynthia Lawrence.

It is Well with My Soul, Hymn arrangements with character



TEDRIN BLAIR LINDSAY Tedrin, Lush arrangements of standards and arias




My Favorite Underappreciated Opera Composers March 4 March 11 April 1 April 15 April 22

Berg & Korngold Janácek & Weill Cilea, Giordano, Catalania, & Leoni Chabrier, Ravel, & Poulenc Barber, Menotti, & Pasatieri

This semester the OperaLex Lecture Series explores the works of great opera composers a little outside of the mainstream. In March, we investigate Germanic and Slavic composers, and in April we turn our attentions to lesser-known composers from Italy and France, and finally from the United States, just in time to introduce UKOT’s graduate chamber opera production (April 27 & 29), a double bill of charming one-acts by Thomas Pasatieri. Please join us 10:00 a.m.-12:00 noon in the Gail Robinson Music Library, at the Schmidt Vocal Arts Center on UK’s campus, on the corner of Rose Street and Rose Lane. Parking is available directly behind the building. Each class session is $20 adults, $5 students, with the proceeds directly benefiting UKOT.





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The Barber of Seville  

University of Kentucky Opera Theatre program presents The Barber of Seville, 2017.

The Barber of Seville  

University of Kentucky Opera Theatre program presents The Barber of Seville, 2017.


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