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.

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 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