U Opera presents Rigoletto

RIGOLETTO May 6-11, 2021

Streaming May 6-11, 2021

U Opera presents

RIGOLETTO

BY GIUSEPPE VERDI An opera in four acts Music by Giuseppe Verdi Libretto by Franceso Maria Piave After Victor Hugo’s play “Le Roi s’amuse”

director Dr. Robert Breault conductor & music director Jeffery Price orchestration programmer & sequencer Michael G. Leavitt

CONTENTS Producer Notes

4

Director Notes

7

History of Show Cast Bios

8 12 14

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PRODUCER NOTES Thank you for “joining us” for our production of Verdi’s Rigoletto. Rigoletto was recorded in historic Kingsbury Hall and marks our 22ndst production as its resident opera company dating back to 1999. Our thanks to Brooke Horejsi, Keven Myhre, and the rest of the wonderful folks who help make Kingsbury Hall such a wonderful venue and place to work, play, and study. The University of Utah opera program has been a part of the Kingsbury Hall season for over 90 years; in fact, Hansel and Gretel was the first opera that ran in 1931, the year Kingsbury Hall opened.

We would also like to thank John Scheib, Dean of the College of Fine Arts.

We deeply appreciate the support from the entire College and especially Development Officer, April Walters. Special thanks to School of Music Chairman Miguel Chuaqui, to my dedicated colleagues for their inspired teaching, and to the School of Music staff for their tremendous efforts on our behalf.

We deeply appreciate the efforts of Utah Opera Artistic Administrator Christopher McBeth whose generous support has helped to re-establish collaborative efforts between the U Opera program and Utah Opera. Examples of these efforts include invitations to Utah Opera master classes and role studies. This year, Christopher joined us for a Zoom class. Utah Opera also makes available their guest artists, directors and conductors who give instruction and feedback to our students.

In past, Christopher himself has attended our auditions and has provided the kind of feedback and mentorship to our students that can only come from a professional opera administrator. Perhaps most importantly, Christopher has provided some of our students and faculty with invaluable performing and directing opportunities. Christopher’s vision and his collaborative energy have helped to raise the level of work we do at the University and we are grateful for all he has provided.

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Special thanks to my teaching assistant Holly Banfield and to Holly Dodson for all of their tremendous efforts as Assistant Directors.

We would like to thank our entire production team led by our Department of Theatre’s Stage Management Program Head, Amber Bielinski. Amber shares her students with us who serve as our stage management crew. Laney Marsella, DeeDee Palmer, Aaron Hoenig, Dani Lincoln, Payton Wright….you are the best, such pros and such good colleagues too! THANK YOU! To my good friend, Seth Miller, our fantastic lighting director; thank you for all you do, not only on this project but for the wonderful collaboration you have made with us and your team at the Grand Theatre. Halee and Arika, I am grateful to both of you for your incredible dedication, talent, and skills. I know you’re all working way below your pay scale for us, and that means the world to me and to the students.

Special thanks to Nick, Matt, Suni, and the rest of our friends at Overcranked Pictures for their camera and editing work.

VERY special thanks to Robin Farnsley-Becker for your work on the costumes.

We’re so glad you’re with us at the University of Utah!! Amazing work!

To the fantastic University of Utah voice faculty of which I count myself a proud member, thank you. Julie Wright Costa, Kirstin Chávez, Seth Keeton, Carol Ann Allred, Lynn Maxfield…you are the best!!! Our well-trained students rely upon these folks for vocal guidance and inspiration and they know how incredibly important their teachers are to their success. Dr. Keeton, special thanks to you for joining the cast. Your example is inspiration to us all!!

Thanks to Dr. Paul Dorgan for his supertitles and inspired coaching. We also owe

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a great deal of gratitude to our Music Director, coach, and Conductor, Jeffrey Price. Jeffrey has worked tirelessly with all of us on so many things and it’s very hard to imagine how anything would get done without him, especially this year.

Normally, I would offer thanks to Dr. Robert Baldwin and the members of the Utah Philharmonia for their collaboration. This year, I offer huge thanks to Opera T.A., Michael Leavitt. Michael is a DMA student and who is the co-creator of the digital orchestration program that we are using, (We affectionately call it the Leavitt Beast.) Michael built the machine, designed the program, wrote the arrangement, note by note, and, though we miss our live orchestra dearly, safety requires that we wait until next year to once again join our voices with our brothers and sisters in the Utah Philharmonia.

We are so grateful for our families and spouses and of course you, the audience, for being with us. Grab some popcorn, pour a drink, and enjoy the opera! Thank you for your support!

Dr. Robert Breault Producer Artistic Director, U Opera

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DIR ECTOR NOTES This past year has certainly been challenging for each and every one of us. For our singers who were prepared to launch staging rehearsals for Rigoletto last spring, it was a devastating blow to find out, on the week we were ready to commence, that our extensive work preparing the roles would go for naught. As director, I remember the tears I shed thinking how the students would take the news that their show was cancelled. Then, I realized the best thing I could do was to tell them we’d still get a chance to perform this masterpiece, perhaps in a year.

And, here we are, just over a year later. It’s been a challenging year for sure. Of course, this is not last year’s show because much of the staging choices we’ve made have been altered by Covid-19 restrictions. Singing in a mask is a singer’s nightmare, less a nightmare than getting sick with the virus however. We had no audience in the house and no orchestra in the pit. Our dressing rooms were spread out, some in the house, and some were a half a block away. Most of our voice lessons were done online and we even rehearsed outdoors. The obstacles have been numerous and serious and yet, our passion to tell the story will not be repressed!

Despite the restrictions, despite the challenges, we offer a version of Rigoletto that we hope is enhanced even if illuminated differently than usual. This music is eternal and we hope you’ll enjoy the choices we made, some of which we had to make. We have learned so much in the process and I hope that you enjoy our “Covid-19” production. While it was not the version I envisioned last year, it is the fruit of SO much work. I’m very proud of this cast and crew and hope that you experience the essence of what makes Rigoletto one of opera’s masterworks!

Dr. Robert Breault Director Artistic Director, U Opera

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HISTORY OF THE SHOW Based upon Victor Hugo’s play Le Roi S’amuse or ‘The King Amuses Himself’, Verdi’s Rigoletto gives focus to the cruel intentions of members of the court, namely the lascivious Duke of Mantua, his lowly, hunchback jester Rigoletto, and Gilda, the naive and and beautiful daughter of Rigoletto. We see the fates of these three characters in particular intertwined throughout the opera, with the ending of this story offering only a slight arc of redemption which is overshadowed by the ill-fated tragedy and conclusion. Rigoletto challenges viewers to perceive what is morally right and wrong, especially when considering the climax and conclusion of the story. While one corrupt character receives punishment for his deeds, this comes at the price of an innocent person’s life. Furthermore, other arguably corrupt characters seemingly endure no consequences for their devious actions by the end of the story. To understand the opera, one must reference the journey of both the composer as well the play that inspired this dark tale.

Premiering in November of 1832, Le Roi S’amuse’s story centers around an unrelenting King and his wicked treatment of his own courtiers, with particular cruelty being directed towards his court jester. This play was written as a direct depiction of Francis the I of France (1494 - 1547) and the relationship he maintained with his own jester at that time, Triboulet.

Although passionate and direct, the play was meant to be a historical fiction, especially considering the fact that several Kings had already taken the throne of France since Francis the I. However, members of the French government were not pleased with the portrayal, considering it a slight against the current and (soon to be final) monarch of France, Louis Phillipe I. The political climate of the time was quickly shifting, and the Revolutionary Wars had seen one of their more infamous kings (Louis XVI) deposed and beheaded. France was currently established as a constitutional monarchy, but this did not quell the tensions between the different classes at that time. Consequently, the government was particularly sensitive to any depictions or declarations that could be perceived as critical of their efforts.

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As a result of the portrayals depicted in the play of a cruel ruler abusing both his power as well as his subjects, Hugo’s play was banned after only one performance.

This outraged Hugo as only two years before censorship had been eradicated, and thus he openly protested the suppression of his work. Hugo would go on to pursue litigation by suing the Théâtre Français, sparking an intense debate about freedom of speech in France. His fight for the rights of the public voice would lead to a spike in popularity and creating somewhat of a celebrity status for Hugo. Unfortunately, despite his efforts and public support Hugo would lose this legal battle and his play would ultimately be banned for another 50 years.

Although his play would not see the stage again in his lifetime, it was widely popular in print and eventually caught the eye of composer Giusseppe Verdi as well. By this point in his career, Verdi was a well-established composer and had reached what we know as his ‘middle period’, maintaining three incredibly successful and beloved operas during this time: Rigoletto, Il trovatore, and La Traviata. Before he discovered the play that would inspire one of his arguably most popular operas, Verdi stressed to librettist Francesco Maria Piave (who had worked with him on such titles as Ernani and Macbeth) that he was looking for something much more dynamic and dramatic than his previous works. Due to his popularity, Verdi also maintained much more freedom at this point in his career and thus could be more selective about the works he composed. Upon discovery of Hugo’s play, both Verdi and Piave were keenly aware of the obstacles they would be facing due to the social and political sentiments in their own country.

Sure enough, Austrian censors were also vehemently against the portrayal of a lecherous monarch abusing his authority to undermine and exploit his subjects.

This would lead to extensive correspondence between the composer and government liaisons in an attempt to find a balance that both parties would deem acceptable. For a tense period, there was speculation that the entire project would be banned altogether. Verdi and Piave were continuously working on the project, with the initial title being La maledizione or The Curse. Although they had misjudged the amount of pushback they would receive from Austrian

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censors, correspondence continued. Both men expressed their opinion that concerns about the lack of morality in the opera were unfounded and stressed the fact that time was running short. Fortunately, Verdi would ultimately prevail in his production of the opera, but not without some distinct changes he deemed acceptable in order to properly portray the story he had in mind. Initial suggestions for modification were thrown out by Verdi, and if not for the efforts of Piave the final product may never have come to fruition. This resulted in some distinct variations from the original story in the play, most of which were applied in order to satisfy the censors' worries about social backlash and consequence.

Verdi’s Rigoletto would now be set in Mantua, with the King now portrayed as a Duke of the House of Gonzaga. This quelled issues of any sort of relation to a current monarchy, as the House of Gonzaga as well as the Dukedom in Mantua had both been eradicated for some time. Further changes included the omission of the sovereign in question making a scandalous tour of Gilda’s bedroom; he would also now be duped into visiting the tavern in the final scene of the opera rather than independently choosing to go there on his own. Finally, due to the change in location and time period, it was clear that Verdi could no longer keep the name of the jester Triboulet for whom the opera was inspired. He instead settled on the title of Rigoletto which was a parody from another play by Victor Hugo, Rigoletti, ou Le dernier des fous or Rigoletto, The Last of the Fools. Some of these changes came less than two months before the premier, and some of the singers were even given additional parts to learn only a month prior. In the end, several precautions were taken before the first performance could take place.

Verdi was rightfully certain that he had a true masterpiece in his hands, and was incredibly secretive about certain aspects of his work throughout the process.

Worrying about unaccredited copies being produced, Verdi instructed complete confidentiality to all involved with the music of the opera. He even warned his lead tenor Raffaele Mirate to never sing or even hum the tune of the now popular La donna e mobile outside of rehearsal, as he was certain this number would by

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far become the most popular piece in the production. Although critics were unforgiving of the opera’s seeming lack of morals, audiences were thrilled with what they heard. Performances continued, with Rigoletto becoming Verdi’s most successful Italian opera at that time since Macbeth. It would become a standard repertoire piece in many opera houses, and by the 1850s had spread across Italy to other parts of Europe, eventually having its first premier in the U.S. on February 19, 1855 at New York’s Academy of Music. Rigoletto stands the test of time as one of the Top 10 operas performed around the globe and for good reason. Not only the music but the rich history of the piece and the questions the overlapping storylines give audience members are all a part of why this opera has become such a beloved work. We see ourselves in the characters, we question what we feel and how we might react if placed in a similar circumstance. We are left to ask ourselves what is right and wrong, with the haunting conclusion giving no set answer to satisfy those questions. Verdi and Piave’s fight to bring this piece to the stage can be argued as one of their greatest triumphs, and a true victory for the world of opera as well as the debates of censorship and freedom of speech.

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CAST & ORCHESTRA CREDITS RIGOLETTO James Bobick, Baritone John Allen, Baritone DUKE Josè Miguel, Tenor Jordan Tolman, Tenor GILDA Mishelle Cipriani, Soprano Michelle Pedersen, Soprano Robin Farnsley, Soprano (Cover)

MONTERONE Long Wang, Baritone GIOVANNA Lily Graham, Soprano COUNTESS CEPRANO Abby Ketch, Soprano Brynn Staker, Soprano COURT USHER Will Tepner, Tenor

SPARAFUCILE Dr. Seth Keeton, Bass

PAGE Vanessa Wijaya, Soprano

COUNT CEPRANO Bennet Chew, Baritone

CHORUS: Dillan Burnett Katelyn Cox Emily Hansen Charlotte Knudson Rachel Madsen Nelya Coomans Jaquelyn Musig Roslyn Reeves Michael Shoaf Will Tepner

MARULLO Cody Weaver-Carlson, Baritone BORSA Court Thomas, Tenor MADDALENA Holly Banfield, Mezzo Soprano Holly Nicole Dodson, Mezzo Soprano

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ORCHESTRA CREDIT Michael Leavitt

THURSDAY CAST (in order of appearance)

FRIDAY CAST (in order of appearance)

Rigoletto James Bobick Duca Josè Miguel Borsa Court Thomas Count Ceprano Bennet Chew Countess Ceprano Brynn Staker Marullo Cody Weaver-Carlson Monterone Long Wang Sparafucile Dr. Seth Keeton Gilda Michelle Pedersen Giovanna Lily Graham Page Vanessa Wijaya Court Usher Will Tepner Maddalena Holly Nicole Dodson

Rigoletto John Allen Duca Jordan Tolman Borsa Court Thomas Count Ceprano Bennet Chew Countess Ceprano Abbigail Ketch Marullo Cody Weaver-Carlson Monterone Long Wang Sparafucile Dr. Seth Keeton Gilda Mishelle Cipriani Giovanna Lily Graham Page Vanessa Wijaya Court Usher Will Tepner Maddalena Holly Banfield

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CAST & CREW BIOS JOHN KNIGHT ALLEN A product of musical parents, John Knight Allen began his development in LA with the piano at age 4. He continued his studies with the violin at Brigham Young University for his undergraduate career, and recently completed a Master’s degree in vocal performance from the University of Utah as a student of Robert Breault, where he is now working on a DMA. Summer study programs include the Chautauqua Institution in New York, the Aspen Music School, and La Musica Lirica in Italy. John has performed internationally both as a violinist and as a singer, and enjoys interpreting the standard repertoire as well as championing new works. Recent operatic roles include Leporello in Don Giovanni, Bob in The Old Maid and the Thief, and the title roles in Gianni Schicchi and Rigoletto.

JAMES BOBICK Baritone James Bobick has enjoyed a versatile performing career. From leading roles in the operatic works of Donizetti, Verdi, Bizet, and Mozart to the concert repertoire of Bach, Handel, Brahms, and Orff, Mr. Bobick has performed with companies including Los Angeles Opera, Seattle Opera, New York City Opera, Portland Opera, Opera Colorado, Connecticut Opera, Opera Omaha, Opera Pacific, Opera Delaware, Opera Mississippi, Virginia Opera, Baltimore Opera, Wichita Grand Opera, Dayton Opera, Central City Opera, Fort Worth Opera, and the Bard Festival. A frequent concert soloist, Mr. Bobick has been heard across the United States; in France, Costa Rica, and the Czech Republic; and, in New York City at Carnegie, Avery Fisher, and Alice Tully Halls, The Cathedral Church of St. John the Divine, the National Opera Center, and NYU’s Skirball Center. James Bobick performed in an Emmy-winning production of La Bohème on PBS’ Live from Lincoln Center and can be heard as Howard on the original cast recording of David T. Little’s Dog Days.

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DILLAN BURNETT Dillan Burnett is new to the world of opera and the University’s School of Music Opera program. This is his first opera production, with plans for more in the future, and he couldn’t be more grateful (and humbled) to be a part of a wonderful cast of talented performers and crew!

Dillan has always been a part of the choral and theatrical scene throughout his life, and is currently in the University of Utah A Cappella Choir. He was selected as a Sterling Scholar of Vocal Performance at Bingham High School and has received superior ratings at State and Regional Festivals.

BENNETT CHEW Bennett James Chew is currently a Junior in the Vocal Performance program at the University of Utah School of Music where he will receive his BMUS. He has performed in Amahl and the Night Visitors and A Christmas Carol (SoM Opera) for two years and Dialogues des Carmélites (SoM Opera). He has had the honor of being part of both the Michie Undergraduate Quartet and the University of Utah Chamber Choir for three years. He is also the grateful recipient of the Barnes Choral Scholarship and Michie Undergrad Vocal Quartet Scholarship. Past accomplishments include performing on the Minskoff Stage on Broadway, being awarded Best Actor by the UHSMTA, and his high school’s Sterling Scholar for Vocal Performance.

MISHELLE CIPRIANI Soprano Mishelle Cipriani recently obtained her Masters in Vocal Performance at the University of Utah and is continuing her education by pursuing her Doctor of Musical Arts in Vocal Performance. Her most recent roles include Pamina (Die Zauberflote) with Utah Vocal Arts Academy and Soeur Constance (Dialogues des

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Carmelites) with U Opera. Other roles she has performed include Christmas Past and Belle (A Christmas Carol), Almirena (Rinaldo), First Lady (Die Zauberflöte), Olga in Rusalka (Dargomyzhsky), and Le Bottier in Les Bavards. She spent a season working with New Moon Opera in Chicago where she sang La Fée in Viardot’s Cendrillon and Mme Beurrefondu in Offenbach’s Mesdames de la Halle. She also stage directed Amahl and the Night Visitors at St. John Brebeuf in Chicago.

NELYA COOMANS Nelya Coomans is a young performer from British Colombia, Canada. Nelya is very excited to be participating in the production of Rigoletto and this will be her first opera performance! Previously, Nelya participated in musicals and plays through her local community theatre and high school theatre department. She was awarded Best Musical Theatre Performance and Best Classical Performance through The Royal Conservatory of Music Vocal Festival for 2016, 2017, and 2018. Nelya is currently a Vocal Performance student at the University of Utah studying under the direction of Professor Julie WrightCosta. Nelya is also a member of the Phi Eta Sigma Honour Society. Nelya enjoys spending time with her family and friends, going for walks with her cats, and pursuing her hobby of photography HOLLY NICOLE DODSON Holly Nicole Dodson, Mezzo-Soprano, is a third year DMA student at the University of Utah. She was recently described by the San Diego Story as, “Implacable… a warm, expansive mezzo-soprano to create an exceptionally gentle, compassionate (character).” Her performance roles include: First Prioress (Dialogues des Carmelites), Mother (Amahl & the Night Visitors), Nicklausse/The Muse (Tales of Hoffmann), Ms. Lovett (Sweeney Todd), Eponine (Les Miserables), Cherubino (Le Nozze di Figaro), Mistress Quickly

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(Falstaff), La Zia Principessa (Suor Angelica), Madame Giry (Phantom of the Opera), Gertrude (Romeo et Juliette) and Ruth (Pirates of Penzance). Holly has been a Guest Artist with UK OperaTheater as Dorabella (Cosi fan Tutte), as well as La Musica Lirica, reprising the role of Mistress Quickly. She most recently debuted her first role in Russian as a Studio Artist with Opera Neo as Filippyevna (Eugene Onegin).

Holly is a current student of Mezzo Soprano Kirstin Chavez.

LILY GRAHAM Lily is a Junior Vocal Performance Major studying with Carol Ann Allred. She has loved being involved in U of U Opera productions over the years including Dialogues of the Carmelites, Christmas Carol, Amahl and the Night Visitors and Semele. She has also loved her time performing with the U of U Chamber choir over the past three years. Lily is particularly excited to now be in Rigoletto after a long break from performing due to COVID-19. In her spare time, she loves spending time outside, and spending time with her wonderful friends and family. She would like to thank her incredibly patient and talented professors, and friends and family for all of their support.

EMILY HANSEN Emily Hansen is a native of Houston, Texas that spent a third of her life living overseas in Russia and Thailand.

Emily was a part of the Houston Grand Opera Bauer Family High School Vocal Studio from 2017-18. She was also a part of the Utah Vocal Arts Academy in July 2019 where she portrayed the Third Spirit in Die Zauberflöte and Mabel in Pirates of Penzance. This past summer she participated in the International Performing Arts Institute GAP 2020 program, and she will be returning to that program again this summer. Emily is a Vocal Performance major in the Honors college at the University of Utah studying under the direction of Kirstin Chávez. Emily enjoys taking walks outside with her dog, Jolene, weight-lifting, and going on adventures with friends.

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SETH KEETON Bass-baritone, Seth Keeton’s performances have been described by The New York Times as “driven” and “emotionally pointed.” He has performed roles on the stages of The Minnesota Opera, Glimmerglass Opera, Ft. Worth Opera, Central City Opera, Arizona Opera, Indianapolis Opera, Austin Lyric Opera and Opera Omaha, Chautauqua Opera, Mill City Summer Opera, Utah Opera, and Theater Bremen in Bremen, Germany. As an oratorio singer, Keeton has appeared in concert as the bass soloist in Mozart's Requiem, Verdi's Requiem, Brahms’ Ein Deutsches Requiem, Bach’s Magnificat and St. Matthew and St. John Passions, Haydn’s Creation, and Beethoven’s 9th Symphony. In 2006, he was a national finalist in the Metropolitan Opera National Council Auditions and has received awards from the Sullivan Foundation and the Eleanor McCollum Competition.

In art song and in recital, Keeton’s creative expression takes many forms, and he delights in creating unusual song recitals for himself and his students. He has presented musical experiences in interesting settings such as an outdoor recital celebrating and hosting animals, and an evening of British song in the University of Utah Museum of Fine Arts during a visiting exhibition of British landscape paintings. As a performer he presents tightly knit recitals, singing pieces in unique combination and often including rarely performed works. As a scholar Keeton has created an online song index that will make it easy to find related song repertoire called SongHelix. This index will become an essential reference, helping singers and pianists find forgotten song repertoire as well as discover new vocal works.

Mr. Keeton received his Doctorate of Musical Arts in Vocal Performance from the University of Minnesota and is an Assistant Professor of Voice at the University of Utah School of Music. He lives in Salt Lake City with his wife, Angie and son, Miles.

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ABIGAIL KETCH Abigail Yingling Ketch (Countess Ceprano), Lyric Soprano from Alpine, Utah, recently graduated from Brigham Young University with her Bachelor’s in Vocal Performance and with a Spanish minor. Abby is currently in her first year as a Master’s student in Vocal Performance at the University of Utah. Previously, she sang with BYU opera as the Third Lady in Mozart’s The Magic Flute, as Dulcina in Puccini’s Suor Angelica, and the chorus in Handel’s Theodora. She participated in BYU Opera Scenes from King Solomon Oratorio, Carmen, The Magic Flute, He Shall Prepare a Way, The Ballad of Baby Doe, and Der Rosenkavalier. She also sang supporting roles in Lehár’s The Merry Widow with UVAA Summer Opera Festival. In addition to singing, Abby grew up playing the cello, teaching swimming lessons, and competing in the high jump in track and field. She enjoys cooking, exercising, gardening, and spending time with her husband, Logan.

CHARLOTTE KNUDSON Charlotte Knudson spent most of her life being raised across the country in Maryland. Growing up, Charlotte invested a lot of her time performing in musical theater productions and choirs throughout her community and schools. In 2017, she moved to St. George, Utah to spend her senior year attending Tuacahn High School for the Arts as well at Dixie State University. Charlotte is currently in her third year at the University of Utah. She is pursuing a double major in Vocal Performance and Psychology. Charlotte aspires to pursue a career in clinical psychology while teacher voice lessons as well. Rigoletto is the first operatic production Charlotte has been in and she cannot be more excited to be a part of this cast. Charlotte enjoys being outside and hiking, traveling, and spending time going on adventures with the people closest to her.

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RACHEL MADSEN Rachel Madsen studies voice at the masters level. She earned her undergraduate degree from BYU. She has performed with opera viva in Italy and sang the role of Susanna. She also participated in Semele and a Christmas Carol at the university of Utah. She loves singing in operas and musicals. When she isn't singing, she loves pickleball, running, teaching, being with family, and studying. She is excited to be a member of the Rigoletto ensemble.

JOSÉ MIGUEL José Miguel is a promising, eclectic, young tenor. He currently resides in Salt Lake City, UT where he is pursuing his D.M.A. in Vocal Performance. He studies with American tenor Robert Breault and coaches with Jeffrey Price. José Miguel is a recipient of a full-assistantship from the University of Utah. His responsibilities include teaching private voice lessons and performing with their Graduate Vocal Quartet. Playing the Duke of Mantua in Verdi's Rigoletto, the tenor makes his major role debut. He has previously played King Kaspar in Menotti's Amahl and the Night Visitors, and Mr. Cratchit in Leavitt's A Christmas Carol. José Miguel holds a B.A. in Music from St. Lawrence University and a M.M. in Voice Performance from the University of South Florida.

He is also a proud graduate of UWC Costa Rica and board member of the Chilean UWC National Committee.

MICHELLE MARIE PEDERSEN Michelle Marie Pedersen, soprano, has appeared as a soloist throughout the Pacific Northwest, and performed roles on both the operatic and musical theatre stages. Ms. Pedersen has recently performed the role of Musetta in La Bohème with the St. George Opera, and completed her debut season with Ohio Light Opera in South Pacific in the beloved and boisterous role of Bloody Mary. Other recent performance credits include, Madame Lidoine (Dialogues des Carmèlites), PAGE 20

Donna Anna (Don Giovanni), Lucia (Lucia di Lammermoor), The Old Lady (Candide), Mother (Amahl and the Night Visitors), Angelina (Circular 14:Apotheosis of Aristedes), Mimi Marquez (Rent), Olive Ostrovsky (25th Annual Putnam-County Spelling Bee), Gertrude McFuzz (Seussical the Musical), and Mabel (Pirates of Penzance). Michelle holds a Bachelor of Arts Degree in both Vocal Performance and Music Education from Oregon State University and a Masters of Music in Vocal Performance from the University of Utah. Ms. Pedersen has been a Visiting Professor of Musical Theatre Voice at the University of Memphis Theatre & Dance Department, and is currently working on her Doctoral of Musical Arts in Vocal Performance with a secondary emphasis in Stage Directing at the University of Utah.

ROSELYN REEVES Roslyn just finished her Junior year as a Vocal Performance major at the University of Utah. She grew up loving the violin and piano, and eventually developed a love for singing. She has previously been in Dialogues of the Carmelites at the University of Utah, among other performances around Salt Lake. Roslyn is excited to continue her degree and hopes to pursue further education in the future.

MICHAEL SHOAF Michael Shoaf (countertenor) is currently a DMA student for Vocal Performance from Donora, PA studying at the University of Utah. His stage credits are scenes from L’incoranozione di Poppea as Nerone and Arnalta; The Marriage of Figaro as Cherubino; Rodelinda, Regina di Longobardi as Bertarido. He is studying under Dr. Robert Breault, and had the opportunity to study with world known opera star, Kristine Ciesinski, before her passing. He has been a part of masterclasses with Christopher Robson, Jacalyn Kreitzer, Matthew Rose, Ellen Hargis, Alon Sariel, and Avi Stein. Recently, he had the opportunity to perform a virtual recital with Opera San Luis Obispo in San Luis Obispo, California.

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BRYNN STAKER Brynn Staker is a junior at the University of Utah. She is studying with Dr. Robert Breault. Brynn has been in several U Opera productions and is thrilled to be back.

This year has been so difficult with Covid, and it’s such a pleasure to perform again with these amazing colleagues and friends.

WILL TEPNER William Tepner (Un Usciere/Chorus) - Will is thrilled to be in his first-ever opera, Rigoletto, here at the University of Utah! Will was born and raised in New York City.

He is currently double majoring in Theatre (BA) and Vocal Performance (BMus). As a tenor, Will is currently training in both classical and musical theatre styles of singing. Some of his past credits include Grease (Kenickie), Footloose (Rev. Shaw Moore), Seussical the Musical (Mr. Mayor/Wickersham Bro.), and Oklahoma (Ensemble). He has most recently appeared in several productions of the University of Utah's Department of Theatre New Play Workshop. Will is so grateful for the love and support of his family and friends!

COURT THOMAS Court Thomas, a tenor, is finishing his first year of a Master of Music with an emphasis in Vocal Performance here at the University of Utah. Having recently obtained his Bachelors of Music from the U, he is very excited to be back on the Kingsbury stage in the role of Borsa in Verdi's Rigoletto. In his undergrad, he had the privilege of performing the roles of Jupiter in Handel's Semele, the Defendant in Gilbert and Sullivan's Trial by Jury, Monostatos in Mozart's Die Zauberflöte and Dr. Caius in Verdi's final masterpiece, Falstaff. This performance of Rigoletto kicks off a year of Italian

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opera for Court, as he will be performing the role of Ramiro in Rossini's La Cenerentola this summer with La Musica Lirica. He wishes to thank the whole production team, his teacher, Kirstin Chávez, and his amazing fiancé, Matt, for his love and support.

JORDAN TOLMAN Jordan Tolman is graduating with his bachelor's degree in Vocal Performance this May. He is from Brigham City, UT and now lives in Magna with his wife and son. While living in the Salt Lake Valley, Jordan has toured as a soloist and chorus member to Taiwan, Beijing, and Hawaii. He has played lead tenor rolls such as the Duke (Rigoletto), Jupiter (Semele), Fred (Christmas Carol), Kaspar (Amahl and the night visitors) and the Tenor (The Messiah). Since beginning his education at the University of Utah, Jordan has been a member of the universities Chamber Choir under the direction of Dr. Barlow Bradford, and has been coached by Dr. Robert Breault and accompanied

by Jeffery Price. He is extremely grateful for these 3 mentors as they have given him all he could have hoped for. Upon graduating he plans to take his position as a lead vocalist for the United States Marine Fleet Bands.

CODY WEAVER-CARLSON Cody is a Junior in the Vocal Performance program here at the University, as well as a Theatre minor. Prior to attending the U, Cody studied Musical Theatre at the American Musical and Dramatic Academy in New York City. As a singer, Cody spent two summers on a Young Artist contract at the Ohio Light Opera where he sang in light opera and musical theatre productions such as Michael in the North American premiere of George Gershwin's musical comedy 'Primrose'; Hubert in Romberg's 'The Student Prince'; Josef in Lehár's 'Cloclo'; Surinam Slave in Bernstein's 'Candide'; Phil McCabe and Gus understudy in Richard Rodger's 'Babes in Arms'; as well as a featured dancer and vocal quartet member in Golden Age classics such as The Music Man, The Pajama Game, Anything Goes, and Fifty-Million Frenchmen. From 2015 to 2019 Cody was a rostered chorus member PAGE 23

at Utah Opera and Symphony. Cody's favorite roles include Maximilian in Bernstein's 'Candide', Masetto in Mozart's 'Don Giovanni', Melchior in Menotti's 'Amahl and the Night Visitors', Frank in Johann Strauss II' 'Die Fledermaus', and Somnus in Handel's 'Semele'. In 2019, Cody embarked to Lucca, Italy where he studied Italian language and voice at Opera Lucca. In 2020, Cody participated in Philadelphia's Russian Opera Workshop, studying and coaching Tchaikovsky's 'Eugene Onegin'. When Cody is not in school, he teaches voice lessons at The Piano Place here in the valley and binge listens to Maria Callas.

VANESSA WIJAYA Currently a senior undergraduate student at the University of Utah in Vocal Performance, Vanessa enjoys a wide variety of music.

LONG WANG Baritone BA Voice & MM Musicology (SDNU, China) MM Voice (SUNY Buffalo)

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MICHAEL LEAVITT - Conducting credit Michael G. Leavitt, a native of Las Vegas, NV, has performed worldwide as a pianist, band director, and conductor. Recently, Michael composed a new 1 act opera setting of Charles Dickens's A Christmas Carol that won 1st place at the NOA, Division IV national competition.

Michael has been the music director for the Salt Lake Acting Company for the past six years. Michael is a highly sought-after collaborative pianist. Michael has conducted opera productions at the University of Utah, Westminster College, Utah Valley University, and the Utah Vocal Arts Academy. As the associate conductor, Michael worked with Tony award-winning soprano Audra McDonald for the Hale Center Theater Orem’s 110 In the Shade production. In addition, Michael has been the pianist, music director, and conductor for many musical theater and opera productions, including Die Fledermaus, Le Nozze de Figaro, Smokey Joe’s Cafe, Oklahoma, Aida, Guys and Dolls, and many more.

DEEDEE PALMER - Calling Stage Manager DeeDee Palmer is a senior in the Stage Management program. Past SM credits include Nutcracker (Mountain West Ballet) and Floyd Collins (Babcock). Past ASM credits include Dirty Rotten Scoundrels (PTC), Macbeth (Studio 115), Mamma Mia (Sandy Arts Guild), The Human Voice & Gentleman’s Island (Utah Opera). She thanks her parents and boyfriend for their unwavering support and love in her life-long passion. She would also like to thank her professor Amber for her constant support and guidance during her time here. DeeDee is also the proud recipient of the Osher Re-entry Scholarship through the Women’s Resource Center.

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AARON HOENIG - Rehearsal Stage Manager Aaron is a 6th year student double majoring in Theatrical Sound Design and Biology. Previously he was the assistant stage manager for Die Fledermaus, Dialogue of the Carmelites (Kingsbury Hall) and Amahl/A Christmas Carol (The Grand Theatre). Aaron has also been the sound mixer for Saturday’s Voyeur 2018 and 2019, Pinkalicious, and The True Story of the Three Little Pigs (SLAC) as well as Dogfight (Babcock Theatre). He was also the sound designer for Our Country’s Good and Company (Babcock Theatre), along with Dracula the Musical (Marriott Center for Dance).

ARIKA SCKOCKMEL - Prop Manager Arika has worked extensively in props and costume crafts for theatre, television and film. She is the resident Prop Manager for the U of U Department of Theatre and is a prop and costume designer for Plan B Theatre Co. Arika has worked regionally at The Egyptian Theatre, Utah Festival Opera, Grand Teton Theatre, Dark Horse, SLAC, Utah Contemporary, Lyric Repertory Co. and many more.

Member of S.P.A.M., the Society of Prop Artisan Managers. Other projects include stage management, emceeing, and the occasional acting gig. For Pickle Chicken and Keefer, as always.

HALEE RASMUSSEN - Set Designer & Technical Director Halee Rasmussen received her BFA from the University of Utah's Performing Arts and Design Program with a double emphasis in technical direction and set design. She is currently the Assistant Technical Director and Scenic Charge Artist for the UofU Department of Theatre, and a resident set designer for The Grand Theatre. Other design credits include Lyric Opera Ensemble, Plan B Theatre Company, University of Utah Department of Theatre, Salt Lake Shakespeare Company, Alligator Press Productions, and Lagoon Entertainment; with assistant design credits from Idaho Shakespeare Festival, Great Lakes Theatre Company, and Lake Tahoe Shakespeare Festival.

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PAYTON WRIGHT - Assistant Stage Manager Payton Wright is a junior in the Stage Management program at the University of Utah. She is a recent graduate of Salt Lake Community College where she earned her Associate of Science in Theatre Arts. Previously Payton has worked as a stage manager and a junior technical director for Salt Lake Community College, Pinnacle Acting Company, The Box, Salt Lake Acting Company, and Capitol Theatre. Currently Payton serves as the Secretary for the Stage Manager’s Council at the U and she looks forward to continuing her SM adventures with Hale Centre Theatre's production of Daddy Long Legs. She would like to thank Amber and her dad for their unending encouragement.

LANEY MARSELLA -Assistant Production Manager Laney Marsella is excited to be finishing her final show at the U! She will be graduating this spring with her BFA in stage management and Production Arts Design Program, with a properties emphasis. Past APM credits include The NIght Witches (Zoom) and Macbeth (Studio 115).

DANI LINCOLN - Assistant Stage Manager Dani Lincoln is a senior in the Stage Management program. Recent credits include Stage Manager for Henry V, Assistant Stage Manager on U of U theatre shows Tartuffe, She Kills Monsters, and Macbeth. As well as Assistant Sound Designer on department show The Odyssey, and Pioneer Theatre Company’s Form of a Girl Unknown. She would like to thank her parents for their continued support of her theatre career and all of the professors that have helped her get to her last year in the program.

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DR. ROBERT BREAULT - Stage Director-Rigoletto Executive Producer Director of Opera Stage Director Dr. Robert Breault, has served as Director of Opera at the University of Utah since 1992. As a tenor, Robert has enjoyed an international career that features an extraordinary breadth of repertoire. His warm, flexible voice and superb artistic sensibilities combine to make him a consummate singing actor.

Robert Breault’s concert career highlights includes performances with major orchestras such as the Philadelphia Orchestra, Cleveland Symphony, St. Louis Symphony, Milwaukee Symphony, Toronto Mendelssohn Choir, Atlanta Symphony, Orchestre Philharmonique de Monte-Carlo, London Philharmonia Orchestra, National Symphony of Taiwan, Jerusalem Symphony, Mormon Tabernacle Choir, San Francisco Symphony, Detroit Symphony, San Diego Symphony, the Münchner Rundfunkorchester and the Utah Symphony, to name but a few.

Robert’s opera career features a wide array of repertoire and companies. With over 90 roles to his credit, highlights of his career include appearances with New York City Opera in Carmen, La Traviata, and Semele, for which he was awarded the company’s “Kolozsvar Award”. He has performed numerous times with Utah Opera, Opera Orchestra of New York, Atlanta Opera, and Arizona Opera. Robert has also appeared with companies such as Portland Opera, Edmonton Opera, Opera New Orleans, Florentine Opera, and numerous critically acclaimed performances with Chautauqua Opera.

Robert was awarded the College of Fine Arts distinguished teaching award in 2003. He serves as Governor of the National Opera Association’s Cal/Western region and is extremely proud that the University of Utah was awarded 1st place last year in the National Opera Production competition.

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JEFFREY PRICE - Music Director and Conductor Jeffrey Price is a Professor (Lecturer) of piano and opera at the University of Utah, where he has taught for seventeen years. In addition to teaching piano and coaching singers, he serves as the musical director for the University’s Lyric Opera Ensemble and teaches diction and accompanying.

During a versatile and multifaceted career, he has been extremely active as a pianist, coach, accompanist, soloist, chamber musician, conductor and musical director, (for opera, musical theater, and dance), as well as composing. For over ten years, he was a co-director of the Contemporary Music Consortium, which presented concerts of new music in Salt Lake. He has composed chamber and orchestral music, piano pieces and songs, including several works for stage in a variety of idioms. For fourteen summers since 2003, he has been a member of the faculty at La Musica Lirica, a program in Italy for young American singers, where he has musically directed productions several full operas in Italian as well as scenes recitals and concerts.

He has appeared as a piano soloist with the Boise Philharmonic, the University of Utah Philharmonia, the Utah Youth Symphony, the Salt Lake Symphony, and the Paradigm Orchestra. In 2014 he collaborated with SBDance, a progressive and innovative dance/theatre group to present “Cannibal: A Love Story” at the Rose Wagner Center for the performing arts, for which he composed extensive dance music and five songs. For the last half decade he has been committed to an ongoing project to master, present and record the complete piano sonatas of Alexander Scriabin. At this time, he has now performed each of them at least once, and is now revising some of the interpretations and working on recording each of them. Jeffrey is delighted to finally conduct Verdi’s Rigoletto in its filmed version with the University of Utah Lyric Opera Ensemble at Kingsbury Hall –a project originally scheduled for spring of 2020, and postponed because of the Covid-19 pandemic. He studied piano, composition, and conducting at the University of Utah.

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SETH MILLER - Lighting Designer Seth started out working in the Local 99 stagehands union, after which he attended the University of Utah for a degree in theatrical design. Seth began working at Lagoon Amusement Park in 1997 for their Entertainment Department as Staff Lighting Designer before moving on to be the Technical Director at The Egyptian Theatre in Park City. He has worked as a free-lance Lighting Designer for a variety of local theatre companies, as well as many events around the country, including Walt Disney World, Harley Davidson’s Annual National Dealer’s Convention, W5 Creative, and many others. For the past six seasons Seth has been the Artistic/ Executive Director for The Grand Theatre in Salt Lake City.

HOLLY NICOLE DODSON - Assistant Director and Maddelena Holly is thrilled to be working on her second position as Assistant Director here at the U in their production of Rigoletto. She has previously worked as an A.D. with the opera department's 2019 production of A Christmas Carol, which won the National Opera Association's Division 4 Opera Production Award. It is Ms. Dodson's ultimate goal to not only work in the future as a performer, but also as a director of young singers, helping them to hone their craft on stage. She is currently pursuing her DMA in Vocal Performance with a secondary emphasis on Opera Production and Directing.

NICHOLAS DUNN AND MATT WHITTAKER - Film Nicholas Dunn and Matt Whittaker are co-owners and managers of Overcranked Pictures, LLC, a creative services production company here in Salt Lake City.

Along with business partner Connor Rickman, they have worked on many film, commercial and industrial projects throughout the state and in a variety of capacities, from producing to post-production. They have also helped

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to produce many narrative projects by local filmmakers and have recently enjoyed the opportunity to utilize their theatre backgrounds in working with arts organizations and educational institutions has multimedia has become an increasingly common aspect of live performance, especially during the pandemic.

ROBIN FARNSLEY-BECKER - Costumes Costume designer Robin Farnsley-Becker is widely known for her meticulous attention to detail. Her costume creations are well-researched with accurate historical or modern creations. They are made with breath-taking opulence when called for or heart-breaking poverty or simplicity that mirrors a composer or director's vision. Being a singer and performer herself she knows how to accomplish all of this with no-detail-too-small quality and the knowledge that comfort is "key" to singing that supports that adage, "You are (can be) what you wear"!

HOLLY BANFIELD - Assistant Director and Maddelena After 10 years of being a music educator, Holly Banfield has decided to enter the mainstage. Holly performed her debut with the University of Utah as the Mother in Amahl and the Night Visitors. She has also enjoyed performing as the Komponist for Ariadne auf Naxos, Orlofsky for Die Fledermaus, Zita in Gianni Schicchi, and Juno for Semele. She is looking forward to performing this summer as the Principessa in Suor Angelica and Tisbe for Cinderentola. Holly is a second year DMA student, the TA for Opera Workshop, and the president of the Student Opera Guild at the U. Holly is the Assistant Director for Rigoletto, and is also performing as Maddelena for the show. When she is not singing, Holly enjoys hiking, playing basketball, pottery, and spending time with her wonderful husband and two stepchildren.

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