Opera in the Ozarks 2018 Season Program

2018 SEASON JUNE 22 - JULY 20

COMMEMORATIVE PROGRAM

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4 / www.opera.org

WELCOME TO OUR 68TH SEASON From the Director...

What’s your story? In one of literature’s great stories, Pride and Prejudice, Jane Austen wrote “We are all fools in love.” That’s where the idea for this season’s theme came from as I contemplated the commonalities of the operas we are performing this year.

Every culture has a tradition of storytelling and storytelling surrounds us: in newspapers, on TV, on the internet, and in books, movies, plays and tweets.

It is one of the oldest art forms and helps us to understand each other and our shared experiences.

Historical stories, legends and contemporary stories can be the subject of the storyteller’s tale; they all embody a strong element of community or collective experience. People of different ages, backgrounds and cultures communicate through storytelling. Storytelling is also a valuable tool in education, language development, therapy, and in building racial equality and religious respect.

Those of us who enjoy opera are part of a tribe: we believe with all our hearts that telling stories with

music is important. The emphasis in opera is as much on the telling as the story itself. Stories are recreated by the musicians at each performance. Nothing beats the experience of a live storytelling performance for bringing tales to life. We hope you see a little bit of your own story in our performances. Have you been a fool in love? Have you been the victim of a practical joke? Did you endure reversals that were made bearable only by someone who loved you? Whatever your story, there’s an opera either already written or waiting to be written.

At Opera in the Ozarks, we are helping to write the stories of young musicians’ lives. Do you want to be part of those stories? You can help by providing a scholarship, by sponsoring an opera performance, by volunteering, by sharing your personal stories with our young artists. We want the story of Opera in the Ozarks to continue to be told for generations to come.

Whether this is your first opera or your umpteenth, we are happy you are here to share in the great stories we can tell this season!

Nancy Preis General Director

Nancy J. Preis joined Opera in the Ozarks in 2015 as General Director. She has had a varied career: from associate professor at Columbia University to investment banker to manufacturing CEO to opera company management. She was the chief financial officer and marketing manager of St. Petersburg Opera for ten seasons. She holds a PhD in business from the University of Michigan, and an MBA and BA from The University of Toledo and is living proof of the value of a liberal arts education.

From the President...

Welcome to Opera in the Ozarks!

Spring may bring May flowers but June brings exciting operas to all of us in the central United States! We’re happy you are here and that you’ve chosen to spend this evening with us high atop Rock Candy Mountain. This year has been exciting for Opera in the Ozarks (OIO). Our lovely new Rehearsal Center has been buzzing with activity and the opening of our archives at the University of Arkansas was thrilling. Most exciting of all however, is being here to enjoy this season’s new operas.

Just like most of you, I’m thrilled by every sight, the moment I arrive at OIO — the beautiful view from the Opera Talk Patio down toward the lake — the joy of meeting several young artists as they share stories about the evening’s opera — and the biggest thrill of all, when the orchestra begins to play and the opera begins.

What could be better!

This season, we’ll get to experience three amazing productions. Two are familiar to many of us, Il barbiere Di Siviglia and Die Fledermaus are both outrageous comedies. Then there’s The Ballad of Baby Doe, an interesting story of rags to riches then back to rags again. Although Baby Doe is less familiar, you’ll be captivated by the music and the singers. So do enjoy your time here at OIO. Take a few moments just to relax and let your soul be refreshed.

Finally, may I take a moment to thank you for your presence here this evening? Opera needs many people supporting and cheering it on and you, our audience, friends and patrons are vital in helping us to make this great art form available for all to enjoy. Thank you again so much – you make Opera in the Ozarks a great success.

Carole Langley President, Opera in the Ozarks at IPFAC Governing Board

2018 Season Program / Opera in the Ozarks / 5

IPFAC GOVERNING BOARD OF DIRECTORS OFFICERS Carole Langley, President Lavonna Whitesell, Vice President Duane D. Langley, Treasurer Jean Moffatt, Recording Secretary Lynn McNew, Corresponding Secretary Lisa Whitesell, Parliamentarian Don Dagenais, Newsletter Editor

BOARD MEMBERS Lois Armor, Sue Breuer, Vicki Carr, Tim Danielson, Richard Drapeau, Dr. J. Edwin Henson, Melba Maechtlen, Lynn McNew, Janet Parsch, Dr. John C. Schmidt, Dr. Gene Vollen, Linda Vollen, Joan Wells, Bill Yick

BOARD OF TRUSTEES Texas: Lee Meyer, Chairman Arkansas: Judy Rownak Kansas: Carolann Martin Missouri: Alice Conway Oklahoma: Larry Baldwin

COMMITTEE MEMBERS David Bell, Connie Craig, Gloria Grilk, Carla Johnson, Pam Jones, Ouida Keck, Lorraine Long, Kevin McBeth, Audrey Reeves, Elise Roenigk, Martha Rosenbaum, Carol Saari, Judy Sorrell, Chris Vitt, Julie Watson

NATIONAL COUNCIL Joel Burcham, Francis Christmann, Linda Di Fiore, Carroll Freeman, Ken Futterer, Ann Lacy, David Malis, Elizabeth Paris, Elise Roenigk, W. Stephen Smith, Robert Swedberg

Opera in the Ozarks at Inspiration Point 16311 Hwy. 62 West Eureka Springs, AR 72632 (479) 253-8595 6 / www.opera.org

ADMINISTRATIVE STAFF

Nancy Preis, General Director Yvonne Creanga, Auditions Coordinator, Alumni Coordinator Patricia Smith, Box Office and Office Assistant Juan Barcenas, Head Chef Brandon Mashek, Sous Chef Monica Williams, Kitchen Helper Dallas Carpenter, Kitchen Helper Terrance Smith, Maintenance Chief Mark Williams, Maintenance Alison Miller, Groundskeeper Audra Plumley, Housekeeping

ARTISTIC STAFF

Thomas Cockrell, Artistic Director, Conductor Stephen Dubberly, Conductor Andrรกs Derecskei, Assistant Conductor Louis Menendez, Senior Coach, Pre-season Music Director Elaine Rinaldi, Senior Coach, Studio Show Music Director Migeun Chung, Coach/Accompanist Jonathan Young, Coach/Accompanist Robert Swedberg, Stage Director David Ward, Stage Director Carol Brian, Production Stage Manager Hannah Blaile, Stage Manager Imani Robinson, Stage Manager, Alice Martinson, Stage Manager, Properties Assistant Richard Dunham, Director of Production, Lighting Designer Samantha Kelly, Production Assistant/Apprentice Jaye Beetem, Scenic Designer, Technical Director Austin Aschbrenner, Scenic Designer, Assistant Technical Director James McNeil, Master Carpenter Audrey Hamilton, Costume Designer Laura Moats, Assistant Costume Designer Erin Ray, Assistant Costume Designer Alexandra Wilegus, Assistant Costume Designer Jim Swiggart, General Director Emeritus

TABLE OF CONTENTS

Welcome. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Opera Underwriters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Opera in the Ozarks Staff/Board. . . . . . . . . . . . . . . . . . . . . . 6

Artistic Staff Bios. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Eureka Springs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Artist Bios. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Inspiration Point History. . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Orchestra Bios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

NFMC State Boards. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

IPFAC Life Members (1950-2018). . . . . . . . . . . . . . . . . . . 59

Building for the Future. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

IPFAC Patrons (1950-2018). . . . . . . . . . . . . . . . . . . . . . . . . 60

Calendar of Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

IPFAC Members (1950-2018) . . . . . . . . . . . . . . . . . . . . . . . . 61

Artistic Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

2018 Annual Fund & Building Campaign. . . . . . . . . . . . . 63

Il barbiere di Siviglia. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

2018 Corporate & Foundation Contributors. . . . . . . . . . 64

Die Fledermaus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Opera in the Ozarks Repertoire (1950-2018). . . . . . . . . 65

The Ballad of Baby Doe. . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Advertisers Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Cinderella. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Published by Vantage Point Communications

Ask about our Opera Lover’s Discount

Arkansas Times Readers Choice Awards Best Restaurant in Eureka Springs

Best Italian Around the State

Runner Up for Most Romantic Place

Best Restaurant in Eureka for 2018

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Great food & efficiet service in a pleasant, family-friendly, smoke-free environment.

26 White Street on the Upper Historic Loop • 479.253.8806 2018 Season Program / Opera in the Ozarks / 7

EUREKA SPRINGS

ONE OF AMERICA’S DOZEN DISTINCTIVE DESTINATIONS

WELCOME to the 68th season of Opera in the Ozarks

in America” by national press, and the National Trust

at Inspiration Point located in Arkansas’ favorite

for Historic Preservation has recognized the city as

Victorian mountain village! Besides being home

one of “America’s Dozen Distinctive Destinations.”

to Opera in the Ozarks, Eureka Springs is a unique

From the picturesque historic downtown, to the

getaway and aptly touted as an “extraordinary

streams and lakes, there is a plethora of things to

escape.” It’s been dubbed one of the “Coolest Towns

enjoy. With fine art around every corner, a variety

Karen “Ma Dank” Horst ACCOUNT EXECUTIVE

(620) 382-5566 ma_dank@ymail.com

8 / www.opera.org

Jason Waldon

Diane Newcomb

(347) 489-7948 jzwaldon79@gmail.com

(479) 253-1595 carrollcountyads@gmail.com

ACCOUNT EXECUTIVE

ACCOUNT EXECUTIVE

of music, exceptional dining, rustic to luxurious

If you’d like more information about Eureka Springs,

lodging options, unique shopping, spas, night spots,

please visit eurekasprings.org or drop by the Visitors

distinctive attractions and tons of outdoor activities,

Center located at 516 Village Circle in the Village at

you’ll never have a dull moment during your visit

Pine Mountain. Additional visitors info for the greater

to Eureka.

NWA region may be found at NorthwestArkansas.org.

2018 Season Program / Opera in the Ozarks / 9

FAULKNER PERFORMING ARTS CENTER Presents

SARAH MESKO Mezzo-Soprano The METropolitan Opera

PROUD TO SUPPORT THE

ARTS IN OUR COMMUNITY

“...warm and vibrant — a true mezzo...”

Opera News

By supporting the community and Opera in the Ozarks, Arvest proudly invests in you, who help keep Arkansas strong. Local involvement, local management - Arvest Bank.

Stop by and open an account today.

September 7, 2018 7:30 P.M.

arvest.com

Member FDIC 10 / www.opera.org

Faulkner performing Arts Center

2018-2019 SEASON faulkner.uark.edu

... and proud sponsors of Opera in the Ozarks 131 East Van Buren Eureka Springs 479-253-9561 • Grocery • Money Orders • Fresh Meat • Baloons • Produce • Bouquest

Ship your packages here!

Bravo! Encore! Opera! Celebrating 68 years at Inspiration Point

CUSTOMER FOCUSED COMMUNITY DRIVEN

THEATRE MUSIC ART CLASSES CULTURAL EVENTS

2018 Season Program / Opera in the Ozarks / 11

HISTORY OF INSPIRATION POINT FINE ARTS COLONY Inspiration Point, poetically described as

THE BEGINNING

“a mountainous place not too many miles from

In 1928, a German-born architectural engineer, Charles

heaven,” is located northwest of Eureka Springs,

Mowers, purchased the land overlooking the White River

Arkansas, and overlooks the White River valley

those of the Rhine River valley. In 1932, the unfinished

some 600 feet below. To create an idyllic scene, the lowlands merge into the incomparably beautiful Ozark Mountains.

valley and began construction of a castle patterned after castle and the grounds were purchased by Rev. Charles Scoville, a Christian missionary and evangelist, who completed the castle and gave it its name, Inspiration Point. When he died in 1938, his wife gave the estate to Phillips University in Enid, OK. For more than a decade the property was a white elephant. In 1950, Dr. Henry Hobart, Dean of Fine Arts at Phillips University, was asked to start a summer music camp at Inspiration Point. Dr. Hobart had founded a summer opera program in Enid and welcomed the opportunity. With the support of Gertrude Stockard, Director of Music at Eureka Springs High School, Inspiration Point Fine Arts Colony (IPFAC) came into being in the summer of 1950, with a little of everything in vocal and instrumental music and dramatic art. There were about as many staff members as there were students. Dr. and Mrs. Hobart decided to make Inspiration Point Fine Arts Colony into an opera or music drama summer workshop, conducted under the highest professional standards for talented college, high school, and junior high school students. All opera roles would be performed entirely by the students; no lead singers would be brought in to sing the principal roles. The theme of Inspiration Point Fine Arts Colony would be, “The students are the stars.”

For the first two years or so, a major portion of the funds needed for operating expenses and capital expenditures were provided by Dr. and Mrs. Hobart personally or by loans obtained from Phillips University. Some construction materials were donated by Eureka Springs businesses and Dr. Hobart frequented government war surplus warehouses. Practice pianos and furniture were obtained as gifts from churches, schools, and individuals, but the financial needs were greater than the Hobarts and a handful of loyal supporters could continue to meet.

THE FEDERATION OF MUSIC CLUBS JOINS THE TEAM Dr. Hobart had been state opera chairman for the Oklahoma State Federation of Music Clubs. He suggested to the federation president that the state federation sponsor the youth opera workshop. The state federations 12 / www.opera.org

of Arkansas, Kansas, and Missouri were invited to become

donated all of the land south of the highway, about 66

co-sponsors of the project. Arkansas became active in

acres together with the buildings thereon, to the Fine Arts

1952. Kansas became active in 1953, and Missouri joined in

Colony. In return, the Fine Arts Colony gave up its lease on

1954. The Illinois State Federation became a cosponsor in

all the property north of the highway.

1974, the Texas State Federation joined in 1989, and Iowa State Federation in 1993.

Dr. and Mrs. Hobart moved from Enid to Inspiration Point in 1964 and lived in the castle until Dr. Hobart’s death in early

In 1959, Inspiration Point Fine Arts Colony obtained

1966. Mrs. Hobart lived there alone until 1973 when she

a 99-year lease from Phillips University on all of the

moved into Eureka Springs. During most of those years she

Inspiration Point property. In the early 1970s, Dr. Vernon

was the only person living on the Inspiration Point grounds

Baker purchased the Inspiration Point property from Phillips University, subject to the 99-year lease. Dr. Baker

during the fall and winter months.

GROWTH

2018 Season Program / Opera in the Ozarks / 13

IPFAC HISTORY

From the ramshackle buildings that Dr. Hobart began

with Inspiration Point. The most outstanding of these was

with, the campus has required continual improvements to

Dr. Isaac Van Grove. His accomplishments as an opera

adapt to changing standards. Indoor plumbing, hot water,

composer, conductor of leading opera companies, vocal

and air conditioning were not part of the original campus

coach, and accompanist for several world famous singers

but are necessary to the comfort of modern day students

qualified him as an opera director of the highest order. At

and audiences. An enclosed stage pavilion with stage

18, he was a nationally known concert pianist. He served

lighting was not built at Inspiration Point until the late

as accompanist and vocal coach for famous artists such

1960s. Prior to its completion, night opera performances

as Enrico Caruso, Lauritz Melchior, Mary Garden, and

on the IPFAC campus were not possible. Most of the

Grace Moore. He composed several operas specifically

opera performances up to that time were given at the city

for use with the young singers at Inspiration Point, and

auditorium in downtown Eureka Springs with some operas

IPFAC was given the publishing rights to these operas. He

being staged in nearby communities and universities.

was conductor of opera companies in Chicago, St. Louis,

For the past 50+ years, most performances have been

Cleveland, and elsewhere. Dr. Van Grove was the artistic

held at the IPFAC campus. Air conditioning was added in

director at Inspiration Point for 25 years, up to his death

2014. IPFAC remains committed to improving its facilities

in 1979 at the age of 86. For twenty years, up to her death

and recognizes that this will continue to require

in 1976, Joan Woodruff, wife of Dr. Van Grove and an

a substantial investment.

internationally known choreographer and ballet instructor, taught advanced ballet, stage action, and stylized dance

ONLY THE BEST

forms at Inspiration Point.

Dr. Hobart’s philosophy with regard to the faculty was to

Dr. Hobart and Dr. Van Grove’s legacies have been upheld

try to get only the best. As a result, a number of eminent

throughout the years by other distinguished faculty.

artists at the top of their professions have been associated

Musical and theatrical staff are drawn from the nation’s

14 / www.opera.org

best music and theater schools and from professional opera companies and theaters.

Until 1986, orchestra training was an important facet of IPFAC. In addition to accompanying the operas, the orchestra presented concerts featuring symphonic music.

Orchestra students received instruction in their respective instruments from professional teachers who also played in the orchestra. The opera students gained invaluable training and experience in performing with a full orchestra, a feature not provided at many opera programs. Orchestral training was discontinued in 1986, but in 1990 a small professional level orchestra was hired to accompany the opera performances, a practice which continues.

As the level of opera training in universities has risen, so have the ages of IPFAC students. The objective in recent years has been to become a career preparation center.

Accordingly, the artist ages have risen from college age up to 35. The nature of the repertoire has also gradually changed. In earlier years the operas generally were light and relatively easy to learn. All were in the English

Metropolitan Opera and companies in Chicago, New York

language. In recent years the trend has been to perform

City, San Francisco, Houston, and internationally. Students

major operas in the original language. Thus, the challenge

who do not go on to become opera stars are successful

to learn and perform has grown with the artists’ increasing

academics, church musicians, private music teachers, or

abilities. The length of the summer session has been

are thriving in non-musical careers. The friendships that

increased to eight weeks.

develop at The Point last a lifetime.

The effectiveness of training received at Inspiration Point

GOVERNANCE

is demonstrated by the success of its alumni. Several are

Guiding and overseeing the development and activities

internationally famous. Many have performed with the

of Inspiration Point Fine Arts Colony is the responsibility and function of its board of directors. The Governing Board consists of 21 regular members – two from each of the sponsoring states with additional members-atlarge. The Governing Board is responsible for the overall planning, development, and activities of IPFAC. The members of the Associate Boards are involved in the handling of matters affecting their respective individual states, such as recruiting and publicity, and in providing advice and counsel to the Governing Board. A Board of Trustees administers the IPFAC Endowment Fund and has responsibility for matters involving land and buildings. In July of each year, the South Central Region of the National Federation of Music Clubs holds its annual Federation Days in Eureka Springs and at Inspiration Point.

2018 Season Program / Opera in the Ozarks / 15

PROUD TO SUPPORT THE

ARTS IN OUR COMMUNITY By supporting the community and Opera in the Ozarks, Arvest proudly invests in you, who help keep Arkansas strong. Local involvement, local management - Arvest Bank.

Stop by and open an account today.

arvest.com

Member FDIC

16 / www.opera.org

Berryville, AR Branson, MO Springdale, AR www.brashears.com

Huge Selection – 45,000 Sq Ft Berryville Showroom

Brews. A great place to hang.

Arkansas Craft Beers & Ciders • Wine • Coffee Treats • Free Live Music • Events & WiFi 22 Pine across from the Post Office 479-244-0878 2018 Season Program / Opera in the Ozarks / 17

NATIONAL FEDERATION OF MUSIC CLUBS

South Central Region State Boards

ARKANSAS Vickie Carr, President Mary Dolce John Drum Shirley Foust Ernest Grilk Gloria Grilk Helen Hammond Teresita Horner Pam Jones Dr. George Keck Dr. Ouida Keck Dr. Alice Martinson Audrey Reeves Byron Reeves Martha Rosenbaum Mary Schambarger Chris Thompson Franklin D. Wicks

MISSOURI Julie Watson, President Anita Blackmon Starla Blair Terry Blair Marilyn Caldwell Barb Carlisle Alice Conway Connie Craig

Don Dagenais

Betty Meyer

Lora Lynn Christensen

Dr. Mia Hynes

Bev Olson

Francis Christmann

Bonnie Jones

Judy Sorrell

Tim Danielson

Lorraine Kesling

Gene Vollen

Richard Drapeau

Donna Kinslow

Linda Vollen

Carla Johnson

Doug Kinslow Carole Langley Duane Langley

Kathryn Hickman, President

Lee Meyer

Ida Ruth Locarni

Larry Baldwin

Jean Moffatt

Lorraine Long

Rose Marie Boggus

Carolyn Poe

Annette Mayhew

Tony Carrillo

Maria Putter

Elaine Minden

Natlynn Hayes

Barbara Shinn

Helen Reed

Ann Lacy

Don Shinn

Betty Jane Ruckman

Chris Lawson

Cletis Williamson

Marianne Szydlowski

Will Paine

Bill Yick

Chris Vitt

Kent Ryals

Betty Watson

Janice Semrad

Joan Wells

Ellen Jayne Wheeler

KANSAS

Lavonna Whitesell Leon Whitesell

Dr. Kenneth Burkhard

Lisa Whitesell

Gay Dill Dr. Rodney Dill

TEXAS

Anne Haflich

Lois Armor, President

Beth Harrison

Dorene Allen

Roger Lemmons

Kathryn Beam

Shirley Lemmons

Ronald Bennett

Dr. Carolann Martin

Sue M. Breuer

FEDERATION

Lynn McNew

Doris Whinery

Melba Maechtien, President

ARKANSAS

We applaud Opera in the Ozarks in this 68th Season!

OF MUSIC CLUBS

Bare & Swett Agency

Salutes Opera in the Ozarks

Insurance for every stage in life!

In business since 1908.

in the Natural State

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Peggy Jones

OKLAHOMA

105 Passion Play Rd • Eureka Springs (479) 253-8739 • Chris McClung

BUILDING FOR THE FUTURE OPPORTUNITIES FOR GIVING Inspiration Point Fine Arts Colony is a not-for-profit

AMAZON SMILE AND MATCHING GIFTS

501(c)(3) corporation, supported by memberships, gifts

We are also registered with Amazon Smile to receive

from friends and student tuition.

donations as a percentage of your purchases on

ENDOWMENT FUND

Amazon.com. And, we encourage you to consult your employer for matching gift programs. We receive

The Endowment Fund provides a continuing income

matchings gifts from a number of corporations which

source as we spend only the earnings from this fund. Each

are very much appreciated.

$1,000 life membership goes into the Endowment Fund.

You can play a role in increasing this fund – it is one of

TRIBUTE FUNDS

the best investments you can possibly make to ensure an

You can take part in helping Inspiration Point by

excellent experience and fine training for young and

creating a tribute for a member of your family or

aspiring opera singers, musicians, directors, designers

a friend — living or deceased — or you can donate

and technicians.

to memorials that have been set up in honor of the

BEQUESTS, TRUSTS, LIFE INSURANCE, IRA DISTRIBUTIONS

following individuals who have been a big part of Inspiration Point over the last 60 years: Dr. Henry Hobart, Dr. Isaac Van Grove, Joan Van Grove, Lena

IPFAC welcomes bequests from charitable trusts or

Johnson, Mrs. Henry Hobart, JoAnn Carlson, Rowland

estates. You can make IPFAC the beneficiary of life

Davis, Melvin Placke, Dr. Bill Bonner, Louise Bonner, Pat

insurance, IRAs, or 401K plans. And, the U.S. Congress

Patchell and Frank Meyer.

has finally made permanent the tax break for donations of required minimum distributions from IRAs for certain

We rely on our many generous and caring friends. Our

individuals. Instruments may be made to insure your

work is important and your gifts make it possible.

gifts in perpetuity or may be directed to any of the needs of IPFAC.

For more information, please write or call:

SECURITIES

Nancy Preis, General Director, Opera in the Ozarks

IPFAC welcomes gifts of securities. Consult your tax advisor about the tax advantages of donating appreciated securities. Information about how to donate securities can be obtained by calling the

P.O. Box 127 Eureka Springs, Arkansas 72632 (479) 253-8595

General Director.

CASH FOR CLUNKERS We have made arrangements with CARS Inc. to accept donations of cars, trucks, RVs, boats, and other vehicles. The donor gets a tax deduction and CARS Inc. sends the proceeds from the sale of the vehicles to IPFAC. Details are on our website, opera.org.

2018 Season Program / Opera in the Ozarks / 19

CALENDAR OF EVENTS

SUNDAY

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

Curtain 7:30PM at IPFAC Theatre unless otherwise noted All seats reserved / (479) 253-8595 or visit opera.org JUNE 24

JUNE 25

JUNE 26 The Ballad of Baby Doe

ACO

JULY 1

Il barbiere di Siviglia 3PM ACO

JULY 2 The Ballad of Baby Doe

JULY 8

JULY 9

JULY 15

The Ballad of Baby Doe 3PM

JULY 16 Chamber Music

Die Fledermaus JULY 4

JULY 10

JUNE 28 Il barbiere di Siviglia JULY 5 Il barbiere di Siviglia

Die Fledermaus

Broadway Cabaret

Die Fledermaus 3PM ACO

JULY 3

JUNE 27

JULY 11 Il barbiere di Siviglia

JULY 17

JULY 18

Opera Scenes

Taste of Opera Die Fledermaus

JULY 12 The Ballad of Baby Doe JULY 19 Il barbiere di Siviglia

FRIDAY

SATURDAY JUNE 23

JUNE 22 OPENING NIGHT Die Fledermaus

Il barbiere di Siviglia

JUNE 29 The Ballad of Baby Doe

JUNE 30 Die Fledermaus

JULY 6 The Ballad of Baby Doe

JULY 7 Il barbiere di Siviglia

JULY 13 Die Fledermaus JULY 20 The Ballad of Baby Doe

JULY 14 Il barbiere di Siviglia

VISIT WEBSITE FOR TICKETING INFO AND SPECIAL PROMOTIONS

Special Pricing for residents of Carroll, Benton, Washington and Madison Counties ACO Performance at Arts Center of the Ozarks / 214 S. Main St., Springdale, AR Special pricing available for children and students under 18, and for purchases of all three shows.

OPERA OUTREACH

MARK YOUR CALENDAR:

Comedy Performances of the Family Classic Cinderella

Broadway Cabaret Basin Park Hotel, Eureka Springs July 10, 7:30 p.m.

An evening of wonderful music, light hors d’oeuvres and a cash bar

Botanical Garden of the Ozarks June 5, 7 p.m.

Fayetteville Public Library June 30, 10:30 a.m.

Rogers Public Library June 6, 2 p.m.

Springdale Public Library July 5, 10 a.m.

Walton Life Fitness Center June 7, 2 p.m.

Eureka Springs Auditorium July 7, 2 p.m.

Bentonville Public Library June 12, 10:30 a.m.

Eureka Springs Public Library June 13, 3 p.m.

Bella Vista Public Library June 27, 1 p.m.

20 / www.opera.org

*Ticketed performance $10 for adults; children under 18 free

Green Forest Public Library July 11, 10 a.m.

Cassville (Mo.) Public Library July 12, 2 p.m.

Chamber Music Concert Eureka Springs Auditorium July 16, 7:30 p.m.

Taste of Opera 1886 Crescent Hotel, Eureka Springs July 18, 5 p.m.

Delectable food, drink and outstanding entertainment Federation Days – July 18-20 National Federation of Music Clubs South Central Region Convention at the Inn of the Ozarks

ARTISTIC DIRECTOR THOMAS COCKRELL Welcome to the 68th season of presenting great operas at Inspiration Point, featuring a company of young artists aspiring to a life as opera performers. Many of these young vocalists, in the years following their summer at Opera in the Ozarks, ascend in the profession and will sing upon the most important stages in the USA and throughout the world. You will be able to boast, “I saw them here first!”

Fools in Love – how many operas there are that we could have included in this year’s season!

Rossini’s comedic masterpiece, Il barbiere di Siviglia, is a favorite of artists and audiences alike.

The opera’s subtitle is “The Useless Precaution” and refers to the cranky curmudgeon Bartolo’s determination to thwart the love of his beautiful and wily ward, Rosina, and the dashing Count Almavivia. The lovers outsmart the old fool, with the help of the clever and resourceful Figaro. The “Waltz King” Johann Strauss, Jr.’s effervescent comedy Die Fledermaus centers around one friend taking revenge on another for playing an embarrassing practical joke. At Count Orlofsky’s party, Eisenstein, the philandering prankster, is caught in a trap that will both humiliate and humble him as the last laugh is on him. Our third production, The Ballad of Baby Doe, will be presented on the Inspiration Point stage for the first time! It was inspired by the true story of silver baron Horace Tabor, his wife of many years, Augusta, and Elizabeth “Baby” Doe, the young beauty who comes between them. Scandal, the collapse of the silver standard and poverty cannot destroy the love of Horace and Baby Doe. After his his death, she remained faithful to his memory for 35 years – until she froze to death, destitute in a small shack beside his last remaining mine in Leadville, Colorado.

Our goal is to move you to tears – of both laughter and sadness. Glorious young voices will stir your passions with dynamic performances in our intimate theater. Thank you for attending this evening and for supporting us. Enjoy the performance!

Conductor Thomas Cockrell was appointed artistic director of Opera in the Ozarks in October 2010. No stranger to Inspiration Point, he served as the opera’s music director for the 2003 – 2005 seasons.

Cockrell’s opera credits include Il barbiere di Siviglia, The Ballad of Baby Doe, Die Zauberflöte, Pagliacci and Gianni Schicchi for Opera Theatre of the Rockies; La bohème and Don Giovanni for Dayton Opera; La Cenerentola, Albert Herring, Il Tabarro, Lucia di Lammermoor and Il barbiere di Siviglia for the Opera Colorado Artist Center; and Les contes d’Hoffmann for Washington, D.C.’s Summer Opera Theatre. For the Spoleto festivals in Italy and South Carolina, he has conducted symphonic, chamber and contemporary music concerts while serving as assistant to the music director for productions of Parsifal, Elektra and Salome.

Cockrell made his professional debut as a Featured Young Artist conducting the Spoleto Festival Orchestra. Following that success, Gian Carlo Menotti invited him to conduct his Maria Golovin at Spoleto Festival USA. He has served as a conductor for Cincinnati Opera, Opera Colorado, the Colorado Symphony and the Spoleto festivals. Equally committed to the symphonic repertoire, he has conducted the professional symphony orchestras of Dallas, Cincinnati, Phoenix, Tucson, Louisville and Boulder, as well as several orchestras in Italy, Romania, Mexico and South Korea.

A dedicated mentor and educator, Cockrell is in demand as a teacher of emerging conductors, frequently leading master classes in Europe, Asia and Mexico, as well as in the U.S. He served as conductor of the Phoenix Youth Symphony and Denver Young Artists Orchestra, and on the conducting faculty of the Interlochen Center for the Arts. He has conducted Mexico City’s Orquesta Juvenil Carlos Chávez of El Sistema Nacional de Fomento Musical, Mexico’s national system of youth ensembles.

Since 2000, Cockrell has served as director of orchestral activities at the University of Arizona School of Music in Tucson, where he is professor of music and holds the Nelson Riddle Endowed Chair in Music. As music director of the University of Arizona Opera Theater, he has conducted recent productions of L’Enfant et les Sortilèges, Dialogues of the Carmelites and The Rape of Lucretia, as well as works from the traditional repertoire.

Cockrell is a graduate of Yale University and the State University of New York at Stony Brook, from where he received his doctorate. He is one of the last students of the legendary Franco Ferrara with whom he studied in Rome while serving as a founding director of La Camerata Operistica Romana. He holds conducting diplomas from L’Accademia Chigiana in Siena, Italy, and the American Conservatory at Fontainebleau, France. He pursued further studies at Aspen and Tanglewood.

2018 Season Program / Opera in the Ozarks / 21

Music by Gioacchino Rossini Libretto by Cesare Sterbini World Premiere: Teatro Argentina, Rome, 1816 June 23, 28 / July 1, 5, 7, 11, 14, 19

SYNOPSIS ACT I Seville, Spain in the 1920’s. Count Almaviva saw the lovely Rosina in the street and has tracked her down to the house of Doctor Bartolo where he serenades her, with the help of local artists. Bartolo keeps her confined to the house. Figaro, the barber and factotum of Seville, knows all the town’s secrets and scandals, and explains to Almaviva that Rosina is Bartolo’s ward, not his daughter, and that the doctor intends to marry her. Figaro devises a plan: the count will disguise himself as a drunken soldier with orders to be quartered at Bartolo’s house so that he may gain access to the girl.

Almaviva is excited and Figaro looks forward to a nice cash pay-off.

Rosina reflects on the voice that has enchanted her and resolves to use her considerable wiles to meet the man it belongs to—as Almaviva has led her to believe, a poor student named Lindoro. Rosina is a feisty woman enamored of the new art of Pablo Picasso, whom the conservative Bartolo loathes, and she takes every opportunity to introduce contemporary art into his house, primarily to irritate him. Bartolo appears with Rosina’s music master, Don Basilio. Basilio warns Bartolo that Count Almaviva, who has made known his admiration for Rosina, has been seen in Seville. Bartolo decides to marry Rosina immediately. Figaro, who has overheard the plot, warns Rosina and promises to deliver a note from her to Lindoro. Bartolo suspects that Rosina has indeed written a letter, but she outwits him at every turn. The highly suspicious Bartolo warns her not to trifle with him.

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Music Director / Conductor – Thomas Cockrell

CAST

Stage Director – David Ward

Fiorello . . . . . . . . . . . . Powell Brumm, Benjamin Rorabaugh

Director of Production – Richard Dunham

Il Conte d’Almaviva . . . . . . . . . . . Craig Moman, Ira Stecher

Scenic Designer – Austin Aschbrenner

Figaro . . . . . . . . . . . . . . . . . . . Justin Burgess, Coburn Jones

Costume Designer – Audrey Hamilton

Rosina . . . . . . . . . . . . . . . . . Christina Casey, Joylýn Rushing

Lighting Designer – Richard Dunham

Dottor Bartolo . . . . . . . . . . . . . . . . . . . . . . . . . . Vincent Gover

Stage Manager – Imani Sade Robinson

Don Basilio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kody Goad

Accompanist / Continuo – Jonathan Young

Berta . . . . . . . . . . . . . . . . . Sarah Curtis, Alyce Daubenspeck

Principal Coaches – Louis Menendez, Elaine Rinaldi

Official . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Christopher Turner

Assistant Conductor – András Derecskei Chorus Master – Elaine Rinaldi

Chorus . . . . . . . . . . . . . . . . . . . . . . Men of the 2018 Company

Wardrobe Supervisor – Laura Moats Wig and Makeup Supervisor – Alexandra Wilegus This Production Generously Underwritten By: Caroline French, Richard Hill Endowment

Almaviva arrives, creating a ruckus in his disguise as a drunken soldier, and secretly passes Rosina his own note.

Bartolo is infuriated by the stranger’s behavior and claims that he has an official exemption from billeting soldiers.

Figaro announces that a crowd has gathered in the street, curious about the noise. Almaviva’s friends, the local artists now disguised as the civil guard, burst in to arrest Almaviva, but when he secretly reveals his true identity to the captain he is instantly released. Everyone except Figaro is amazed by this turn of events.

ACT II Bartolo suspects that the “soldier” was a spy planted by Almaviva. The count returns, this time disguised as Don Alonso, a music teacher and student of Don Basilio, to give Rosina her singing lesson in place of Basilio, who, he says, is ill at home. “Don Alonso” then tells Bartolo that he is staying at the same inn as Almaviva and has found a letter from Rosina. He offers to tell her that it was given to him by another woman, seemingly to prove that Lindoro is toying with Rosina on Almaviva’s behalf. This convinces Bartolo that “Don Alonso” is indeed a student of the scheming Basilio, and he allows him to give Rosina her lesson. With Bartolo dozing off, Almaviva and Rosina declare their love.

furiously realizes he has been tricked again.

Everyone disperses.

Bartolo summons Basilio, telling him to bring a notary so Bartolo can marry Rosina that very night. Bartolo then shows Rosina her letter to Lindoro, which seems to prove that he is in league with Almaviva. Heartbroken and convinced that she has been deceived, Rosina agrees to marry Bartolo. A thunderstorm passes. Figaro and the count climb a ladder to Rosina’s balcony and let themselves in with the key. Rosina appears and confronts Lindoro, who finally reveals his true identity as Almaviva. Basilio arrives with the notary. Bribed and threatened, he agrees to be a witness to the marriage of Rosina and Almaviva. Bartolo arrives with men he believes to be soldiers (still the local artists in disguise), but it is too late.

He accepts that he has been beaten, and Figaro, Rosina, and the count celebrate their good fortune.

Figaro arrives to give Bartolo his shave and manages to snatch the key that opens the doors to Rosina’s balcony.

Suddenly Basilio shows up looking perfectly healthy.

Almaviva, Rosina, and Figaro convince him with a quick bribe that he is sick with scarlet fever and must go home at once.

While Bartolo gets his shave, Almaviva plots with Rosina to elope that night. But the doctor overhears them and 2018 Season Program / Opera in the Ozarks / 23

DIRECTOR’S NOTES

David Ward, Il barbiere di Siviglia

No composer in the first half of the 19th century enjoyed

However, under a commission, Barbiere debuted in 1816 at

the measure of prestige, wealth, popular acclaim or artistic

the Teatro Argentina in Rome under the title Almaviva, o sia

influence that belonged to Gioacchino Rossini. Born in

L’inutile precauzione (Almaviva, or the Useless Precaution).

Pesaro on Italy’s Adriatic coast in 1792, his father was a horn

Cesare Sterbini wrote the libretto based on Beaumarchais’

player and his mother a successful prima donna. Immersed

1775 French comedy, Le barbier de Séville. The opening was

in music from his very beginnings, he received extensive

a disaster because a large crowd of Paisiello supporters

training at the Accademia Filarmonica in Bologna and by

booed and hissed throughout the performance. Paisiello

the age of 12 was playing continuo for local theaters. He

had written a very popular version of Barbiere twenty years

composed his first full opera, Demetrio e Polibio, at the age

earlier and personally resented the youngster Rossini trying

of 18, though it would be performed as his fourth opera

to eclipse his work, which indeed is what happened. By the

in 1812. Rossini’s operatic career began in earnest in 1810,

second performance, Rossini’s Barbiere took hold and it

with a commission from the Teatro San Moisè of Venice to

would become one of the anchors of the operatic repertoire

compose the music for the one-act farce, La cambiale di

for the next 200 years.

matrimonio. Five of Rossini’s first nine operas were written for this theater, seven of which were written over the course

Barbiere is the perfect vehicle for our young singers here

of 16 months.

at Inspiration Point. The music is accessible, joyous and energetic and the story allows them to find their inner

Rossini showed an early gift for comic opera, opera buffa.

comics. I made a career singing Dr. Bartolo in this opera

Not since Mozart had opera found a composer capable

and have never tired of it. The story of an old man, stuck in

of creating such complex, funny and engaging comedies.

the past, frustrated by the machinations of young people

Cimarosa and Paisiello, his comic predecessors, were fading

(the Count, Rosina and Figaro) is timeless and now feels

and opera seria was feeling stale. Almost immediately,

more real than it did when I started over 30 years ago. Our

Rossini was regarded as the genius of the new century.

production, set in Spain in the 1920s, uses the art of Picasso

Commissions poured in and he composed with uncommon

and the cubists like him to be an irritant to the curmudgeon

speed. He wrote Barbiere in three weeks during his

Bartolo. The young people just want to be free, they want

Neapolitan period in which he composed some of his

to enjoy all the new things that life is offering, and they

greatest works for the Teatro San Carlo in Naples.

would prefer to do it without the old folks peering over their shoulders. Sound familiar?

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Opera in the Ozarks is grateful for these volunteers who give of their time and talents to help with poster and rack card distribution, artist transportation, ushering, set construction and painting, costume inventory and wardrobe tasks, properties, gardening, and the famous Pasta Dinner. We thank you and are glad that you are part of our team! We couldn’t do without these wonderful helpers.

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Ruth Morrison Diane Reder Fiona Richards Elise Roenigk Roxanne Royster Archie Ryan Suzanne Ryan Carol Saari Colleen Shogren Steve Shogren Carole Sturgis Jim Swiggart Janice Swiggart Jeff Timm Karen Timm Jeri Voerman Klaas Voerman Al Walden Pat Walden Nancy Werbitzky

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Music by Johann Strauss Jr. Libretto by C. Haffner and R. Genée English edition by Vern Sutton World Premiere: Theater an der Wien, Vienna, 1874 June 22, 27, 30 / July 3, 8, 13, 18

SYNOPSIS Die Fledermaus (The Bat) takes place in Vienna, Austria around the turn of the 20th century

ACT I Eisenstein’s Parlor From the garden outside, Alfredo serenades his old flame Rosalinda, who is now married to Gabriel von Eisenstein.

Adele, Rosalinda’s chambermaid, wonders how to get the night off to attend a glamorous ball to which her sister Ida has invited her. She tells her mistress she must visit a sick aunt, but Rosalinda refuses to let her go. Alfredo appears and declares his love to Rosalinda, who resists him until he begins to sing. Hearing someone coming, she sends Alfredo away, but not before he has convinced her to let him return later. Eisenstein and his lawyer, Blind, arrive from a session in court: Eisenstein has been sentenced to eight days in jail for striking a police officer and must begin his term that very night. He furiously dismisses Blind. His friend Dr. Falke urges Eisenstein to delay going to jail until morning and instead join him at the ball, which is being given by the wealthy Prince Orlofsky. Falke tells Eisenstein to bring along his infamous pocket watch to charm the ladies. While Eisenstein changes, Falke invites Rosalinda to the ball as well, telling her that if she comes in disguise, she will be amused by the guest list. Rosalinda at first doesn’t like the idea but changes

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her mind when Eisenstein reappears in evening dress.

She joins Adele in a bittersweet farewell as her husband heads off to “prison.” She then tells Adele to go see her “aunt” and receives the ardent Alfredo. Their rendezvous is interrupted by the prison warden Frank, who has come to arrest Eisenstein. Rosalinda persuades Alfredo to preserve her good name by posing as her husband, and Frank carts Alfredo off to jail.

ACT II In the ballroom at Prince Orlofsky’s villa The party guests drink and gossip about their host, who has a habit of paying someone to try to make him laugh – usually in vain. Orlofsky doubts that Falke’s promised evening of entertainment will brighten his spirits but proclaims his guests should behave however they want and do anything they like. Adele arrives and Falke advises her to present herself as an actress named Tanya. Eisenstein enters, posing as a Frenchman, (the Marquis Renard) per Falke’s instructions. He immediately identifies Adele as his wife’s maid, but she laughs him off, claiming he is mistaken, as she is the actress Tanya. Frank is also posing as a Frenchman, (the Chevalier Chagrin) and he and Eisenstein become fast friends. Frank is so smitten with Ida and “Tanya” that he pretends to be a theatrical producer to impress them. Finally, Rosalinda

Music Director / Conductor – Stephen Dubberly

CAST

Stage Director – Robert Swedberg

Alfredo . . . . . . . . . . . . . Gregory Sliskovich, James Stevens

Director of Production – Richard Dunham

Adele . . . . . . . . . . . . . . . . Emily Helenbrook, Michelle Perrier

Scenic Designer – Jaye Beetem

Rosalinde . . . . . . . . . . . . . . . . . Lydia Pion, Alexa Zeremenko

Costume Designer – Audrey Hamilton

Eisenstein . . . . . . . . . . . . . . . . . Justin Burgess, David Young

Lighting Designer – Richard Dunham

Dr. Falke . . . . . . . . . . . . Mark Hockenberry, Daniel Loganbill

Stage Manager – Hannah Blaile

Councillor Blind . . . . . . . . . . . . . . . Craig Moman, Ira Stecher

Accompanist – Migeun Chung

Frank . . . . . . . . . . . . . . . . . . . . . . Powell Brumm, Kody Goad

Principal Coaches – Louis Menendez, Elaine Rinaldi

Ida . . . . . . . . . . . . . Mary Buckingham, Emily-Margaret Ceres

Assistant Conductor – András Derecskei

Prince Orlofsky . . . . . . . . . . Christina Casey, Dajeong Song

Wardrobe Supervisor – Alexandra Wilegus

Frosch . . . . . . . . . . . . . . . . . . Simon Faddoul, Vincent Gover

Wig and Makeup Supervisor – Erin Ray Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . The 2018 Company This Production Generously Underwritten By: Dr. Kenneth Burkhard in Memory of Maxine Burkhard Maria DeWaal Putter in Memory of Sylvia Kerr

arrives disguised as a Hungarian countess. Angry to spot her husband flirting with her maid, she sings an impassioned ode to her betrayed homeland. When a smitten Eisenstein starts flirting with her, she manages to steal his pocket watch. Midnight is approaching, and Falke entertains the guests with the story of how he earned the nickname of Dr. Fledermaus: one drunken evening, when he was dressed as a bat for a costume ball, his best friend Eisenstein played a practical joke on him that made him the laughingstock of Vienna. The crowd toasts drink, love, and brotherhood until the stroke of midnight. The guests dance through the night. Finally realizing the lateness of the hour, Eisenstein rushes off to jail.

ACT III

apartment with Rosalinda. The lawyer Blind arrives, claiming he was summoned by the man in cell 12 to handle a case of false arrest. Determined to get to the bottom of the matter, Eisenstein snatches Blind’s cloak, glasses, and wig to disguise himself as the lawyer and confront the impostor. At that moment, Rosalinda rushes in. She tries to secure Alfredo’s release and asks “Blind” to press divorce charges against her errant husband but is offended when the “lawyer” seems to take Eisenstein’s side. Dropping his disguise, Eisenstein accuses his wife of promiscuity, at which point Rosalinda produces his watch. Both lament the impasse at which they’ve arrived, admitting that divorce would be a shame, since they really do love each other. Falke, Orlofsky and the other party guests surround the little jail as they all sing a final paean to the joys of champagne.

An exact replica of the Municipal Prison - built in Orlofsky’s ballroom.

Frosch the jailer is vexed by the late arrival of his boss, Frank, and by the nonstop singing of Alfredo in cell number 12.

Frank finally appears, tipsy and enraptured by memories of his magical evening posing as an impresario. Ida and Adele arrive, per Falke’s instructions. Adele hopes Frank might further her stage aspirations. Frank sends them off and then admits Eisenstein, who says he has come to serve his sentence. He is surprised to learn his cell is already occupied by a man who claims to be him and who was found in his

2018 Season Program / Opera in the Ozarks / 27

Music by Douglas Moore Libretto by John Latouche World Premiere: Central City, CO, July 7, 1956 June 26, 29 / July 2, 6, 12, 15, 20 The Ballad of Baby Doe Is presented by arrangement with TAMS-WITMARK MUSIC LIBRARY, INC. 560 Lexington Avenue, New York, New York 10022

SYNOPSIS ACT I Leadville, Colorado - 1880 Horace Tabor, for the most part, owns the entire town. After his newly constructed opera house is opened, he stands in front of the gathered townsfolk and sings praises about it while taking jabs at his wife, Augusta. During the opera’s intermission, Augusta pulls Horace aside to scold him for his behavior in public. At his age, she says, he should not be acting that way. Horace retaliates by comparing the work she did to raise money for the opera house’s construction to the work done by prostitutes and bar girls. Before their conversation can escalate further, they are interrupted by a woman near the end of the intermission asking them to direct her to a hotel. Horace kindly recounts the directions to her before returning to the opera with Augusta.

Horace and Augusta return home once the opera concludes.

Augusta readies herself for the evening and retreats to the bedroom while Horace grabs a cigar and exits to the front porch. Two women happen to pass by talking about the woman whom Horace gave directions to at the opera earlier that evening.

Horace listens intently and discovers the woman’s name is Baby Doe and she has a husband living in Central City.

Horace’s home is situated within throwing distance of the hotel and moments after the women are out of sight, Baby Doe begins singing “The Willow Song.” Horace can hear her voice wafting from her hotel window, and he immediately applauds her when she finishes.

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Baby Doe is startled by his shouts since she believed herself to be her only audience. Following his applause, Horace responds with a song of his own, but after a few shouts from Augusta’s bedroom, he zips his mouth and hurries inside.

While tidying up the house a few months later, Augusta finds a box tucked away in Horace’s study. With a slight grin, she opens the package and finds a fine pair of gloves and a love letter. To her surprise and dissatisfaction, the gift is addressed to Baby Doe. Augusta’s heart breaks. She thinks back to every rumor she’s heard about her husband since Baby Doe’s arrival into town and realizes they were all true.

When Horace returns home, Augusta confronts him in a fit of rage. After much fighting, Horace confesses he never meant to hurt her.

In her hotel room, Baby Doe has been considering leaving town alone. She finally decides to do it and asks the hotel staff when the next train for Denver departs. Several staff members run to Horace and divulge Baby Doe’s plans.

Meanwhile, as Baby Doe packs her belongings, she pens a letter to her mother detailing her love for Horace. Augusta soon enters demanding that Baby Doe leave. Baby Doe agrees, but not before telling her that her relationship with Horace, though wrong, has no cause for shame. Augusta turns away and walks out the door just moments before Horace comes in. With his arrival, Baby Doe changes her mind and stays. Horace couldn’t be happier.

A year has passed and Horace now lives with Baby Doe, while Augusta stays with friends in Denver. Augusta finds out that Horace has decided to divorce her. In her anger, she swears revenge, promising to ruin his life.

Music Director / Conductor – Thomas Cockrell

Accompanist – Jonathan Young

Stage Director – Robert Swedberg

Chorus master – Stephen Dubberly

Director of Production – Richard Dunham

Principal Coaches – Louis Menendez, Elaine Rinaldi

Scenic Designer – Jaye Beetem

Assistant Conductor – András Derecskei

Costume Designer – Audrey Hamilton

Wardrobe Supervisor – Erin Ray

Lighting Designer – Richard Dunham

Wig and Makeup Supervisor – Laura Moats

Stage Manager – Carol Brian

CAST Old Miner (Hotel Clerk, Stage Doorman) . . . . . . . . . . . . . . .

Kate . . . . . . . . . . . . . . . . . . . Georgia Belmont, Elyse Saucier

Benjamin Rorabaugh

Meg . . . . . . . . . . . . . . . . . . . . Anne Labranche, Grace Reberg

Bouncer (Bellboy, Footman, Politician) . . .John Moorman

Elizabeth “Baby” Doe . . . . Julia Massicotte, Kyla McCarrel

Horace Tabor . . . . . . . . . . . . Coburn Jones, Daniel Loganbill

Samantha . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alexandria Zallo

Tabor’s Cronies . . . . . . . . . . . . . . . . . . . . . . . . . Vincent Gover,

Mama McCourt . . . . . . . . . . . . . . Sarah Curtis, Dajeong Song

Mark Hockenberry, Gregory Sliskovich, James Stevens,

Washington Dandies . . . . . . . . Simon Faddoul, Kyle Lopez,

Christopher Turner, David Young

Diego Roberts Buceta, Benjamin Rorabaugh

Augusta Tabor . . . . . . . . . Sarah Curtis, Alyce Daubenspeck

Father Chapelle . . . . . . . . . . . . . . . . . . . . . . . . James Stevens

Augusta’s Friends . . . . . . . . . . . . . . . . . Alyce Daubenspeck,

President Chester A. Arthur . . . . . . . . . . Christopher Turner

Emily Helenbrook, Michelle Perrier, Lydia Pion, Joylýn

Silver Dollar . . . . Martha Rose Hayes, Michaela Maldonado

Rushing, Dajeong Song, Whitney Wells, Alexa Zeremenko

Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . The 2018 Company

This Production Generously Underwritten By: Lois Armor in Memory of Betty Hall Don Dagenais

1883 - Horace and Baby Doe are about to get married in Washington D.C. The couple have become very wealthy and Baby Doe’s mother praises them for it, while the other women in attendance ridicule them. However, their conversations change when Baby Doe and Horace step out into the party. Baby Doe and Horace mingle among the crowd and join in the debate about the silver standard, saying they prefer the gold standard.

Horace surprises Baby Doe with a beautiful diamond necklace that once belonged to Queen Isabella. Baby Doe is overjoyed and shows off her new jewelry. Baby Doe’s mother converses with the Roman Catholic priest and informs him that both Baby Doe and Horace were previously married but got divorced. The priest had no idea, which is overheard by several of the catty women. Soon, it’s a full-blown scandal.

Thankfully, it is put to rest when the Chester A. Arthur, President of the United States, comes in and gives a toast to Horace and Baby Doe.

ACT II 1893

Augusta has repeatedly warned Horace of the gold standard, but he paid her no heed. He spent a great deal of his fortune backing presidential candidate William Jennings Bryan, but when Bryan lost, Horace was abandoned by his party and not a single dollar was returned.

1899 - Now, nearly broke, Horace returns to the opera house he built many years before, which he sold and no longer owns. He takes a seat on the stage and begins to hallucinate about his past. He sees Augusta pleading with him, then taunting him, visions of his two daughters whom he is told one will end up disowning his name while the other turns to a loose life. Horace becomes so upset he falls to the floor unconscious. Baby Doe enters the theater and rushes to his aid. After coming to, Baby Doe convinces him she is not a hallucination. He believes her and says that nothing will ever come between them.

Then, realizing his own mortality, he begs her not to forget him. As Tabor sleeps, she sings “as our earthly eyes grow dim, still the old song will be sung. I shall change along with him so that both are forever young.”

Horace and Baby Doe have enjoyed a wealthy lifestyle for quite some time, but sadly, their fortune is dwindling.

2018 Season Program / Opera in the Ozarks / 29

DIRECTOR’S NOTES

Robert Swedberg, Die Fledermaus and The Ballad of Baby Doe

Since I have the great honor of providing stage direction for

caused such foolishness, and wrapping it all up in waltzes

Die Fledermaus and The Ballad of Baby Doe this summer

and songs of brotherhood. I’m not making any judgement

at Opera in the Ozarks, I have both of these very different

here, merely pointing out the complexity of musical and

works on my mind at the same time; and I find it particularly

dramatic elements that can still contribute to our enjoyment

interesting to contrast them in these director’s notes. I realize

of interesting art from other eras. We know it was naughty,

that you may be attending only one of these two operas,

and shame on us for enjoying it!

but another aim here is to interest you in coming back for another, and that could certainly also include Il barbiere di

The foolishness in The Ballad of Baby Doe centers on

Siviglia, (directed by my colleague David Ward.) The theme

romance leading to the consummation of forbidden love.

for this season of operas is Fools in Love, and that wrapper

It was also wrong in 1883 (the same era in which Die

provides us with a good place to begin this comparison.

Fledermaus takes place, halfway around the world) for a married man to have an affair with a married woman;

The very premise of Die Fledermaus (often subtitled

and Horace Tabor left his wife Augusta for Baby Doe,

The Revenge of the Bat) is to make a fool of Gabriel von

who left her husband Harvey to be with Horace. The true

Eisenstein as he had done previously to his friend Dr. Falke.

circumstances of this story also create an interesting

Eisenstein had managed to leave the drunken Dr. Falke

romantic texture, where one may ask “against the odds

(dressed in a bat costume) passed out in the municipal park

and circumstances, who am I intended to love?” Again,

on a Saturday night so that all the church-goers would find

not being judgmental, this work makes it possible for the

him there Sunday morning. Now it is Falke’s turn to exact the

observer to debate what is right, and what is wrong. Do we

bat’s revenge by creating an even more elaborate plot to get

side with Horace, Baby or Augusta? In this case we don’t

back at Eisenstein. This becomes a riskier ruse, as it involves

have (as many) waltzes to seductively draw us to conclusions

building on Eisenstein’s potential interest in women other

regarding the foolishness of such love, but we do have music

than his wife, and the harm that may come in observing said

from Douglas Moore that is as quintessentially American as

wife with another man. These flirtatious episodes (generally

Waltz King Johann Strauss Jr.’s was Viennese.

seen as innocent in that they are not consummated) have been staples of the operatic art form for over 400 years.

I hope you enjoy experiencing both of these pieces as much

In previous eras, it may have been particularly titillating to

as we all have enjoyed bringing them to life for you. And may

observe, encourage or even participate in such behavior;

you find your own foolishness in love!

but here we are in 2018 celebrating such politically incorrect romance, making the excuse that it was the champagne that

Cheers!

Member FDIC

Enduring the Test of Time Since 1889! www.fnbna.com 870.423.6601 ♦ 479.253.9538 30 / www.opera.org

1

Cinderella 3 Music by Gioacchino Rossini and other Famous Composers Conceived by David Ward

June 5, 6, 7, 12, 13, 27, 30 / July 5, 7, 11, 12

Stage Director – David Ward

CAST

Music Director – Elaine Rinaldi

Narrator . . . . . . . . . . . . . . . . Georgia Belmont, Elyse Saucier

Set Designer – Jaye Beetem

Herald . . . . . . Diego Roberts Buceta, Benjamin Rorabaugh

Costume Designers – Miriam Patterson and

Clorinda . . . . . . . . Mary Buckingham, Emily-Margaret Ceres

Audrey Hamilton

Tisbe . . . . . . . . . . . . . . . . Martha Rose Hayes, Whitney Wells

Accompanist – Migeun Chung

Stepmother . . . . . . . . . . Anne Labranche, Alexandria Zallo

Stage Management Team – Carol Brian, Alice Martinson

Cinderella . . . . . . . . . . . Michaela Maldonado, Grace Reberg Fairy Godmother . . . . . . . . Georgia Belmont, Elyse Saucier King . . . . . . . . . . . . . . . . . . . . . . . . Powell Brumm, Kyle Lopez Queen . . . . . . . . . . . . . . . Anne Labranche, Alexandria Zallo

This Production Generously Underwritten By: Gene and Linda Vollen

Prince . . . . . . . Diego Roberts Buceta, Benjamin Rorabaugh Alidoro . . . . . . . . . . . . . . . . . Simon Faddoul, John Moorman Herman . . . . . Diego Roberts Buceta, Benjamin Rorabaugh Dandini . . . . . . . . . . . . . . . . . . . . . Powell Brumm, Kyle Lopez Page . . . . . . . . . . . . . . . . . . . Simon Faddoul, John Moorman Ensemble . . . . . . . . . . . . . . . . . . . . . . The 2018 Studio Artists

SYNOPSIS

irate that they have been ignored while the King’s pages are

Once upon a time, Cinderella dreamed of meeting a

at them because they are all focused on the Prince!

handsome prince. A lonely prince dreamed of meeting the princess of his dreams. The King and Queen decide to throw a royal ball to introduce the Prince to all the eligible young women in the kingdom.

Cinderella’s Stepmother and her two unkind stepsisters receive an invitation to the Prince’s royal ball and excitedly prepare to go. Cinderella yearns to go to the ball and her wishes summon her Fairy Godmother, who sends her to the

frustrated that none of the beautiful, young women will look

The ball ends with a royal banquet amid much confusion and excitement, as the mysterious Unknown Princess, Cinderella, flees the ball at the stroke of midnight, leaving a glass slipper behind.

Cinderella’s family returns home and they all reminisce about their wonderful evening. The Prince, in search of his Unknown Princess, arrives at their home, seeking the woman

ball in a beautiful gown.

who can fit into the glass slipper that was left behind.

Cinderella arrives at the ball but no one recognizes her

once again the Fairy Godmother helps Cinderella. Cinderella

because she is transformed! Everyone asks the same question: Who is this Unknown Princess? The Prince falls

Neither stepsister can fit her foot into the glass slipper but steps forward with the other glass slipper and the Prince recognizes her. They are reunited and live happily ever after!

in love with her—it’s love at first sight! The stepsisters are 2018 Season Program / Opera in the Ozarks / 31

OPERA PRODUCTION UNDERWRITERS Il barbiere di Siviglia

The Ballad of Baby Doe

Caroline French Richard Hill Endowment

Lois Armor in Memory of Betty Hall Don Dagenais

Die Fledermaus

Cinderella

Dr. Kenneth Burkhard in Memory of Maxine Burkhard Maria DeWaal Putter in Memory of Sylvia Kerr

Gene and Linda Vollen

Night of Opera Sponsors Francis Christmann Endowment Tim Danielson Pamela Jones in Honor of Larry Mansker for his Outstanding Support of Art in Opera Kansas Federation of Music Clubs Missouri Federation of Music Clubs

Morning Etude Music Club, St. Louis, MO Luke and Janet Parsch Maria DeWaal Putter Texas Federation of Music Clubs Endowment Wednesday Morning Music Club, Austin, TX

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OPERA IN THE OZARKS ARTISTIC STAFF AUSTIN ASCHBRENNER

CAROL BRIAN

Assistant Technical Director/Scenic Designer for Il barbiere di Siviglia

Production Stage Manager

Austin Aschbrenner is a second year MFA candidate at the University of Arkansas. Over the last three years he has worked in the stage department at the Santa Fe Opera.

Austin earned his BS in Theatre with concentrations in Performance and Technical Theatre. He also received a BS in Computer Information Systems. He has designed at Northwestern State University, University of Arkansas, New Venture Theatre and Arts Center of the Ozarks.

JAYE BEETEM Technical Director/Scenic Designer for Die Fledermaus and The Ballad of Baby Doe As a designer and technical director, Jaye Beetem has worked in theatre programs from coast to coast. She has degrees from the University of Utah, Louisiana State University at Monroe, and Wayne State University in Detroit, where she was a member of The Hilberry Theatre Graduate Program. She served as the longtime designer for The Public Education Foundation’s Summer Musical Project in Evansville, IN. She was recently appointed as the TD/Designer for DePauw University and will be working on its production of Cendrillon next spring. She is a proud member of both IATSE (Local #636) and Actor’s Equity as a stage manager. This is her third season at the Opera in the Ozarks.

HANNAH BLAILE Assistant Stage Manager Hannah Blaile recently graduated from the University of Arizona where she earned her BFA in Theatre Production with an emphasis in Stage Management. She has stage managed multiple productions, including Twelfth Night, The Pajama Game and The Rape of Lucretia. She has also worked with the Aspen Music Festival and School, Arizona Theatre Company, and the Oklahoma City Philharmonic Orchestra. Other notable credits include stage managing the First Folio Gala at the Arizona State Museum, working as a production assistant with NPR’s “From the Top,” and stage managing Speaking Of, a student production that was a participant in the Istropolitana Projekt International Festival in Bratislava, Slovakia, in 2016.

Carol Brian graduated from Wright State University outside of Dayton, OH, and served an internship at The Juilliard School in New York City. Life has never been boring for Brian, who has been busy stage managing from New Hampshire to Florida and from Boston to Kansas City.

She has worked on shows of all sizes including at Disney World, for Norwegian Cruise Line and national tour shows of all kinds. Most recently, she completed her seventh season with Opera Tampa as Production Stage Manager.

This is her third season here at Opera in the Ozarks. She lives outside of Nashville, TN, with her husband Gene and a 115-pound Alaskan Malamute named Jeremy.

MIGEUN CHUNG Coach/Accompanist Migeun Chung is a native of Incheon, South Korea, and currently resides in Lantana, TX. She earned her BM in Piano Performance from the Sookmyung Women’s University in Seoul, studying under Jongsuk Park. She later completed her MM and DMA degrees in Piano Performance with related studies in Vocal Accompanying from the University of North Texas, studying under Adam Wodnicki and Elvia Puccinelli. She will be pursuing a MM in Collaborative Piano at the Carnegie Mellon University in the fall. Chung has extensive experience as a soloist and collaborative pianist in opera, musical theater, orchestra, jazz ensemble, chamber music, choir and ballet. In 2016, she was featured as a guest artist at Steinway Hall. She was the third place winner in the International Symphonic Workshop Competition in Varna, Bulgaria, in 2006 when she performed Rachmaninoff’s Piano Concerto No. 2 with the Bulgaria Varna Philharmonic Orchestra. She spent 16 years as the ballet pianist for the University of North Texas, and was staff pianist and adjunct dance ballet pianist at Texas Woman’s University. She participated in productions of Carmen and Pippin at Bay View Music Festival in 2017 as a collaborative pianist, and worked as the staff pianist at Central Michigan University.

ANDRÁS DERECSKEI Assistant Conductor and Section Violin Hungarian conductor András Derecskei served as Assistant Conductor of Arizona Symphony Orchestra and Opera Theater. He received his master’s degrees in violin, composition and conducting from the world-famous Liszt 2018 Season Program / Opera in the Ozarks / 33

OPERA IN THE OZARKS ARTISTIC STAFF Ferenc Academy of Music in Budapest. As a seasoned violinist, he was a member of Hungarian Radio Symphony, Danubia Symphony, Szolnok Symphony Orchestras and worked closely with renowned maestri, including Riccardo Muti, Sir Neville Marriner and Valery Gergiev.

He founded the Tonus Novus String Quartet, which won numerous prizes: grand prize at the Hungarian National Chamber Music Competition, second prize for the Leó Weiner Chamber Music Competition and third prize for the International Janáček String Quartet Competition. As a versatile composer, Derecskei’s compositions include solo, chamber, choral, opera and symphonic pieces. His compositions have been awarded first prize and Attila Bozay Special Award at the Liszt Academy Composition Competition, second prize and Public’s Award at the Budapest Spring Festival Fugato Foundation Competition, and prize winner at the 2015 Crossover Competition in Mannheim, Germany. He has twice been featured on Hungarian National Television’s Own Composer’s concert and has received a Zoltán Kodály Composition Fellowship three times. His compositions have been performed at the Mini Festival, one of Hungary’s most important venues for contemporary music.

STEPHEN DUBBERLY Conductor, Die Fledermaus Stephen Dubberly is Opera Music Director at the University of North Texas. He conducted Opera in the Ozarks’ 2013 production of The Pirates of Penzance. He has also conducted for Opera Theatre of Saint Louis, Fort Worth Opera, Des Moines Metro Opera, Knoxville Opera, San Antonio Opera, Abilene Opera, Utah Lyric Opera, Opera Breve, Red River Lyric Opera, Cartersville Opera, American Bel Canto Opera, Teatro Goldoni in Venice, Italy, Opera Athens (Georgia), the University of Tennessee and Webster University. He conducted 13 productions for Amarillo Opera. At UNT, he has conducted Alcina, The Marriage of Figaro, Don Giovanni, Così fan tutte, The Magic Flute, La clemenza di Tito, Il barbiere di Siviglia, Lucia di Lammermoor, L’elisir d’amore, La traviata, Faust, Roméo et Juliette, Die Fledermaus, The Bartered Bride, Pirates of Penzance, Les contes d’Hoffmann, Falstaff, I pagliacci, La bohème, Cendrillon, Werther, Madama Butterfly, The Merry Widow, Suor Angelica, Gianni Schicchi, Threepenny Opera, the world premiere of Hans Schaeuble’s Dorian Gray, Street Scene, Albert Herring, The Mother of Us All, Regina, The Turn of the Screw, Dialogues of the Carmelites, A Midsummer Night’s Dream, The Crucible, A Little Night Music, Sweeney Todd, Into the Woods, Ned Rorem’s Our Town, and Tom Cipullo’s After Life, Josephine, Lucy, and 34 / www.opera.org

Glory Denied. Next year at UNT he will conduct Così fan tutte, Gianni Schicchi, Janácek’s Cunning Little Vixen, and Frank Pesci’s The System of Soothing.

He began his musical training in Montevideo, Uruguay, and received a MM and DMA from Yale University.

RICHARD DUNHAM Lighting Designer/Director of Production Richard Dunham earned his MFA (dual emphasis in Lighting and Scenic Design) from The Ohio State University and resides in Athens, GA. He currently serves as Professor of Scene and Lighting Design/Head of Design in the Theatre and Film Studies Department at the University of Georgia. He is a national leader with The United States Institute for Theatre Technology (USITT) and was inducted as a Fellow of the Institute. He continues to design frequently in the entertainment industry as well as in the architectural/landscaping lighting markets. His professional credits include over thirty years of design experience and numerous regional and stock productions throughout the East Coast and Midwest. Notable credits include: Brunswick Music Theatre (Maine State Music Theatre), The Disney Institute, Music Theatre North, The Dunes and Okaboji Summer Theatres, The Springer Opera House and The Atlanta Lyric Theatre. He has also designed for a number of New York regional and Off and Off-Off Broadway theatres including: The Circle Repertory Theatre, Theatre Three, Broadhollow Productions, The Jean Cocteau Rep and the Directors’ Theatre. His designs have won various press awards while two of his featured articles have won national awards. He is also the author of the well-received text, Stage Lighting: Fundamentals and Applications, which is scheduled to print in second edition later this year. He is pleased to be returning to Opera in the Ozarks for his fifth season with the company.

AUDREY HAMILTON Costume Designer Audrey Hamilton earned a BFA in Theatre from the Mississippi University for Women, an MAT in English from the University of West Alabama and an MFA in Costume Design and Technology from the University of Alabama. Recent costume/hair/makeup designs: La traviata, Sweeney Todd (Opera Roanoke), Legally Blonde, Spamalot, Night of the Iguana (Washington and Lee University), Wittenberg, Antony and Cleopatra (American Shakespeare Center), and Shrek (New Stage, Jackson, MS). Additionally, she served on costume production and crews for La bohème, Don

sculpture, metal fabrication and carpentry. He is a native of Louisiana and received a BS in Technical Theater from Northwestern State University in Louisiana. He is a man of 101 hobbies and a jack of all trades.

Giovanni, and La Souer, (La Musica Lirica, Novafeltria, Italy). Currently, she is a professor of Costume Design and Technology at Bethel University in McKenzie, TN, where she has designed Cabaret (KCACTF Faculty Design nomination), A Raisin in the Sun, Sherlock Holmes: The Final Adventure and Boeing Boeing.

LOUIS MENENDEZ

SAMANTHA KELLY

Senior Coach/Accompanist Music Director for Pre-Season Outreach

Production Assistant/Apprentice Samantha Kelly’s previous work experiences include being a Sound Intern at the Jewish Community Center in Rochester, NY, as well as an Assistant Sound Engineer for the Community Performance Series in Potsdam, NY. She is from West Henrietta, NY, and is currently earning her BA in Theatre at the State University of New York at Potsdam.

Her previous shows include SUNY Potsdam LOKO Festival of the Art’s The Golden Age of Broadway (Co-Technical Director, Set/Sound Designer), The 25th Annual Putnam County Spelling Bee (Technical Director, Set Designer), The Pirates of Penzance (Light Board Operator), Venus (Sound Designer/Engineer), Blood Wedding (Sound Designer/ Engineer), and How to Succeed in Business Without Really Trying (Sound Designer/Engineer). Recently, she has been nominated for the Irene Ryan Scholarship for her Sound Design for the Kennedy Center American College Theater Festival (Region 1) for the plays Venus and Blood Wedding.

In the fall 2018 semester, she will be the ASM for the world premiere of The Crane School of Music’s production of Mayo and will be a Teaching Assistant.

ALICE MARTINSON Stage Manager / Properties Assistant Alice Martinson is a retired orthopedic surgeon who practiced in Berryville, AR, for nearly 30 years. She is a graduate of George Washington University School of Medicine, a retired captain in the U.S. Navy, and the first woman to have a command position in the Navy Medical Department. A supporter of Opera in the Ozarks for 30 years and a member of the Governing Board for 20 years, she is extremely happy to be able to participate in the process of creating experiences with this magnificent art form.

JAMES MCNEIL Master Carpenter James has worked on an assembly line for Bayou Wood Products, at Radio Shack, as an event and street magician, as a juggler, and as a general technician with a focus in

Immediately following his graduation from Temple University, Louis Menendez was invited to join the faculty of the Curtis Institute of Music and subsequently, Philadelphia’s Academy of Vocal Arts, holding both positions for a number of years. He has assisted such major conductors as Placido Domingo, Anton Coppola, Julius Rudel, John Mauceri, Steven Mercurio, Marco Armiliato, Yuri Temirkanov and John Adams in over 140 productions in the U.S. and Europe. As a conductor, he recently toured with a production of Porgy and Bess in Italy, Spain and Germany, where he made his European debut at the Staatsoper in Hannover. He has conducted Madama Butterfly with the Shreveport Symphony, La Cenerentola with Jacksonville Lyric Opera, Rigoletto at Queens College, Die Entführung aus dem Serail with the Brooklyn Opera, Idomeneo and Die Zauberflöte for the California Music Festival in San Francisco, La Clemenza di Tito, Cosi fan Tutte, and La traviata at the New York Opera Studio, Rigoletto and Die Entführung with the Philadelphia Concert Opera, and Suor Angelica and Falstaff at the Academy of Vocal Arts. As an operatic coach, he has assisted such artists as Sherrill Milnes, Birgit Nilsson, Renata Scotto, Regina Resnick, Régine Crespin, Alfredo Kraus, Mignon Dunn, Luciano Pavarotti, Evelyn Lear, Jennifer Larmore, Carol Vaness, Fabrizio Melano, Martina Arroyo, Joan Dorneman, Tito Capobianco, Nico Castel, and Bruno Rigacci, in master classes and private sessions. He counts recitals with singers Louis Quilico, Jerome Hines, Stephanie Blythe, Nico Castel, Elizabeth Futral, Suzanne Mentzer and Allan Glassman among his most memorable experiences. Many of these performances have taken him around the globe to Japan, Korea, Italy, Israel, Germany, Spain, Austria and England.

LAURA MOATS Assistant Costume Designer Laura Moats earned a BA in Art History from Roanoke College in May 2018 with one of her minors in Technical Theatre. She has worked as the Costume Shop Assistant for Theatre Roanoke College for the past three years.

Some of the shows she has worked on in this time include 2018 Season Program / Opera in the Ozarks / 35

OPERA IN THE OZARKS ARTISTIC STAFF Sense & Sensibility, These Shining Lives, The Spoon River Project, and The Trickeries of Scapin. Besides assisting in the running of the shop, she was also a stitcher and Head of Wardrobe crew member during these productions.

Moats was a Costume Assistant for Opera Roanoke’s fall 2016 production of Rodgers and Hammerstein’s South Pacific. Her most recent work was as Costume Designer for Theatre Roanoke College’s spring 2018 production of An Albee Evening: The American Dream and The Zoo Story.

ERIN RAY Assistant Costume Designer

Erin Ray is completing her bachelor’s degree at Allegheny College in Meadville, PA, and plans to graduate this winter with a major in Theatre and a minor in Ancient and Classical Studies. Ray is a native of Kansas City, MO, and has worked with the Heart of America Shakespeare Festival and the Unicorn Theatre, as well as supervising wardrobe on UMKC graduate theater productions.

ELAINE RINALDI Senior Coach/Accompanist Music Director for Cinderella Elaine Rinaldi is the Founder and Artistic Director of Orchestra Miami, where she has had the privilege of working with some of the top names in classical music today —including guitarist Angel Romero, flutist Nestor Torres, cellist Ian Maksin, baritone Mark Rucker and sopranos Elizabeth Caballero and Eglise Gutierrez — and has presented North American premieres of works by American composers David Chesky and Marvin David Levy. Recent conducting engagements have included The Magic Flute with Emmy-Award winning director David Grabarkewitz for Orchestra Miami, Don Giovanni for Opera Orlando and the Tri-Cities Opera, and Suor Angelica/Gianni Schicchi at Mezzano Romantico Summer Festival (Fiera di Primiero, Italy). In addition to her work as a conductor, Rinaldi is in demand as a vocal coach and accompanist through her private studio in New York. Recent recitals have included Espana alla Rossini with mezzo-soprano Anna Tonna, and a tour of Japan with soprano Yunah Lee. Rinaldi was on the faculty of the University of Miami’s Frost School of Music as a lecturer in vocal coaching and maintains an active recital and chamber music performance schedule. Her awards have included the Agnis Varis/Intercities Performing Arts grant, the League of American Orchestra’s mentorship with JoAnn Falletta, finalist for the American Prize for Orchestral Conducting and Orchestra Performance, the Newton Swift Prize for 36 / www.opera.org

Accompanying at the Mannes College of Music, and the M. B. Byrd full tuition scholarship at the University of Miami Frost School of Music.

IMANI ROBINSON Assistant Stage Manager Imani Robinson is pursuing a BA in both Stage Management and Arts Management & Entrepreneurship at Baldwin Wallace University. Past credits include Frida at the Cincinnati Opera (intern SM), HAIR at the Beck Center for the Arts (ASM), Lizzie at Playhouse Square (ASM), Anything Goes (PSM), Dialogues of the Carmelites (PSM), West Side Story (ASM), and The Tragedy of Carmen (ASM) at Baldwin Wallace.

ROBERT SWEDBERG Stage Director for The Ballad of Baby Doe and Die Fledermaus Robert Swedberg recently retired as Associate Professor of Music and Opera Director at the University of Michigan, where he also taught The Business of Music and Yoga for Performers. For the past several years at U-M he also produced ‘Green Opera’ productions on campus, making University of Michigan the first in the U.S. to create eco-friendly opera. From 1990 through 2007, he was the General Director of Orlando Opera. Prior to that, he held positions as General Director of Syracuse Opera; Manager/Artistic Director of Opera Carolina; and Director of Educational Projects and Assistant Stage Director of the Seattle Opera and Pacific Northwest Wagner Festival. Previous productions directed at Opera in the Ozarks include: Susannah (1981), Die Zauberflöte, La bohéme, (2012); Madama Butterfly, L’elisir d’amore (2013); La traviata, Les contes d’Hoffmann (2015); Don Giovanni, Albert Herring (2016), Carmen and Susannah (2017). Working on the international stage, Swedberg has directed productions in Macau and Beijing, China; Mallorca, Spain; Ischia, Italy; and for Hof, Bamberg, Pforzheim and Bayreuth Germany. He has degrees in Music and Theatre from California State University, Northridge, where he was a student of Elisabeth Parham and Dr. David Scott, and also earned an MBA degree from the University of Central Florida. He was on the Board of Directors of OPERA America from 2002-2007. He is also a certified yoga instructor and author of the book, Yoga for Performers.

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Congratulations on Opera in the Ozark’s 68th season… as we celebrate …

43

Our

rd

Year!

2018 Season Program / Opera in the Ozarks / 37

OPERA IN THE OZARKS ARTISTIC STAFF DAVID WARD

ALEXANDRA WILEGUS

Stage Director for Il barbiere di Siviglia and Cinderella Co-Director, Opera Scenes Program

Assistant Costume Designer

After 25 years performing internationally as a basso buffo, David Ward recently served as the Interim Director of the Crane School of Music’s Opera Ensemble at SUNY Potsdam where he directed Gianni Schicchi and its contemporary sequel Buoso’s Ghost and The Pirates of Penzance. Previously, he served as the Opera Director at the University of North Texas where he staged Le nozze di Figaro, Don Giovanni, The Mother of Us All, L’incoronazione di Poppea, A Little Night Music, and The Dialogues of the Carmelites. He was the Interim Director of the University of Arizona Opera Theater in Tucson where he directed An Evening of Intermezzi, Haydn’s La canterina, Gluck’s L’Ivrogne corrigé, Mozart’s Der Schauspieldirektor, a Menotti double-bill of The Medium and The Old Maid and the Thief, Die Fledermaus and The Magic Flute. Ward received his MM in Vocal Performance/Pedagogy and Opera Directing at the University of Houston’s Moores School of Music. There, he sang the title role in Falstaff and the role of Baron Ochs in Der Rosenkavalier, and directed Kirke Mechem’s Tartuffe and Le nozze di Figaro.

Ward first came to Inspiration Point in 2012 to co-direct the Scenes Program and to assistant direct and appear as Madame Armfeldt in A Little Night Music. Since then he’s directed Opera in the Ozarks’ The Pirates of Penzance, La Cenerentola and Cosi fan tutte. He created and directed a family version of Cinderella and The Opera Games: May the Music be Ever in Your Favor. He directed critically acclaimed productions of La Cenerentola and Falstaff for Houston’s Opera in the Heights, and Il barbiere di Siviglia for Little Rock’s Opera in the Rock as well as Don Giovanni for the University of Nevada, Las Vegas. A longtime member of the directing staff at College Light Opera Company on Cape Cod, he has directed H.M.S. Pinafore, Hello, Dolly!, The Gondoliers, The Desert Song, Disney’s Beauty and the Beast, The Merry Widow, Gentlemen Prefer Blondes, and this summer he directs The Music Man and Iolanthe. Ward lives in New York City and is a proud member of Actors’ Equity and the American Guild of Musical Artists where he serves on the national Board of Governors.

38 / www.opera.org

Alexandra Wilegus is from Southaven, MS, and is currently a senior at Bethel University in McKenzie, TN. She is currently a double major in Theatre and Biology: PreProfessional Health. In 2018, she was the recipient of the Costume Design and Technology Award. At Bethel University she has been First Hand for Boeing Boeing and Head Stitcher for Next to Normal, Romeo and Juliet, The Odd Couple, and Sherlock Holmes: The Final Adventure.

She has been Costume Designer for Next to Normal and Spinning into Butter. Wilegus has also been an Assistant Stage Manager and worked props for The Odd Couple and A Raisin in the Sun. She has been seen onstage as Irene Adler in Sherlock Holmes: The Final Adventure (2017), Gloria in Boeing Boeing (2018), Dean Sarah Daniels in Spinning into Butter (2016), Rosie in Cabaret (2016) and Ms. Smythe/Ballerina in Mary Poppins (2016).

JONATHAN YOUNG Coach/Accompanist Jonathan Young is an active pianist, composer, teacher and accompanist in the Kansas City area. He is currently earning a DMA in Piano Performance at the University of Kansas with Dr. Steven Spooner. Young is a highly experienced collaborative pianist with instrumentalists and vocalists. He has performed many standard chamber works with violin, cello and trumpet. He received an MM in Piano Performance from UMKC in 2013, under the instruction of Dr. Robert Weirich. He received a BM in Piano Performance from Wheaton College, where he studied with Dr. Karin Redekopp Edwards. In July 2016, he attended Bel Canto Summer Academy in Munich, Germany, as a Collaborative Pianist and Conductor. In 2013 and 2015, he served as a Collaborative Pianist at Interlochen Arts Camp in Michigan.

In November 2010, he was awarded alternate at the Illinois State Music Teachers Association Piano Competition. He was the Honors Conductor with the Wheaton College Concert Choir for the 2010-2011 school year. He performed concertos with orchestras, including the Wheaton College Symphony Orchestra in 2009 and the Inspiration Point Orchestra in 2007. He is the 2018-2019 Vice President Elect for the University of Kansas Chapter of Music Teachers National Association. His original piano solo, Kansas Sunrise, is available on iTunes and Amazon Music. Young is from Cape Girardeau, MO, and lives in Lawrence, KS, with his wife, soprano Natalie Young.

Celebrating 68 Years of Opera at The Point

Hold on to your seats!

We have lots of exciting things planned to go along with our regular season’s activities. Won’t you consider getting on board and helping us make our 68th season our very best ever?

Here’s How You Can Consider Helping: Consider becoming a member of our Vision Fund.

Those in the Vision Fund are VISIONARIES committing gifts of $5,000 or more in calendar years 2012 - 2018.

Those funds will complete the architectural planning, continue our expanding visibility through our the region and the country, and ensure that new and exciting things will continue to take place for seasons to come.

Consider becoming a sponsor of Opera in the Ozarks.

May we send you a sponsorship packet for consideration?

Consider becoming a partner in our Annual Fund.

Annual Fund members’ donations — at any level they choose — make them part of our family of supporters.

These gifts are used to ensure that the quality of our artistic product remains high, that the existing physical plant is maintained, and that our educational mission is accomplished year after year. There is no requirement for multiple year membership in the Annual Fund, but of course, we hope you’ll return as a supporter every year, beginning right now!

For more information, contact Nancy Preis at (479) 253-8595 or by email at generaldirector@opera.org Visit us online at www.opera.org

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Missouri Federation Of Music Clubs Congratulates Opera In The Ozarks And Our Scholarship Winners

2018 Season Program / Opera in the Ozarks / 39

2018 OPERA IN THE OZARKS ARTISTS GEORGIA BELMONT

POWELL BRUMM

Soprano

Baritone

New York, NY

Tucson, AZ

Education: Pursuing BM Vocal

Education: Pursuing MM Vocal Arts,

Performance, Shepherd School of Music,

University of Southern California; BM

Rice University. Studied with Robin Rice,

Vocal Performance, University of Arizona.

Julie Simson, Lorraine Nubar

Studied with Hugo Vera, George Gibson,

Roles Performed: Eurydice (Orpheus and the Underworld);

Rod Gilfry

Frasquita (Carmen – Scenes); Susanna, Countess

Roles Performed: Jupiter (Orpheus in the Underworld),

(Le nozze di Figaro – scenes); First Dame

Croupier (Candide), Collatinus (The Rape of Lucretia),

(Die Zauberflöte – scenes)

Peter (Hansel and Gretel), Priest/Armed Guard

Awards: Young Arts Winner (Honorable Mention, 2015, 2016); Gilbert and Sullivan Society of Houston (Vocal Scholarship, 2017); Audray Competition for Young Singers (First Place, 2012)

(Die Zauberflöte), Antonio (Le nozze di Figaro), Rustler (Riders of the Purple Sage *world premiere), Le Chat (L’Enfant et les Sortileges), Betto di Signa (Gianni Schicchi), Pooh Bah (The Mikado) Awards: Prague Summer Nights Festival Scholarship,

Previous Experience: Shepherd School of Music

NATS 2nd Prize (2017, 2018), Fred Fox School of Music

Opera Scenes

Creative Achievement Award, Wildcat Excellence

Scholarship Benefactor: Richard Drapeau

Scholarship (2013-2018) Previous Experience: Arizona Opera, Prague Summer Nights Festival, Lawrence Opera Theater, Arizona Rose Opera Theater, University of Arizona Opera Theater Scholarship Benefactors: Maria deWaal Putter Endowment

PUBLISHING

MARY BUCKINGHAM

WEB DESIGN

Soprano

BRANDING

Annapolis, MD Education: Pursuing BM Vocal Performance, DePauw University School MARKETING

of Music. Studied with Caroline Smith,

ADVERTISING

Mary Anne Barcellona, Beth Canterbury Roles Performed: Marcellina (Le nozze di Figaro), SOCIAL MEDIA

Claudine (La fille du tambour-major), Jennie Hildebrand (Street Scene)

marketing / media / design / publishing Results-driven marketing solutions based on creativity, integration and analytics

Awards: Second Place Kalamazoo Bach Competition 2018, First Place in the Second Year Women Musical Theatre Indiana NATS 2017, Finalist DePauw Concerto Competition 2017 and 2018 Previous Experience: DePauw Opera, Franco American

vpointcommunications.com

40 / www.opera.org

Vocal Academy Summer Program (France)

JUSTIN BURGESS Baritone

CHRISTINA CASEY Mezzo-Soprano

South Lyon, MI

Kansas City, MO

Education: Pursuing MM in Vocal

Education: Pursuing Artist Diploma in

Performance, University of Cincinnati

Vocal Performance, University of Missouri-

College-Conservatory of Music; BM

Kansas City; MM Vocal Performance,

University of Michigan. Studied with

Louisiana State University; BM Vocal

Stephen West, David Daniels, William McGraw

Performance, University of Missouri-Columbia. Studied

Roles Performed: Figaro and Antonio (Le nozze di Figaro),

with Ann Harrell, Lori Bade, Aidan Soder

Escamillo (Carmen), Morales (Carmen), Puck

Roles Performed: Maman/La Tasse Chinoise/La Libellule

(A Midsummer Night’s Dream), Gregorio (Romeo

(L’enfant et les sortilèges), Hänsel (Hänsel und Gretel),

et Juliette)

Prince Orlofksy (Die Fledermaus), Isabella (L’Italiana in

Awards: 2017 Encouragement Award – Metropolitan

Algeri), Katisha (The Mikado), Beggar Woman (Sweeney

Opera National Council Auditions (Michigan District), 2016 Orchestral Award – Bel Canto Institute, 2016 Performance Award – Bel Canto Institute Previous Experience: University of Michigan Opera Theatre, Opera in the Ozarks 2017, Bel Canto Institute 2016, Vermont Philharmonic Scholarship Benefactors: Martha M. Mack Award

Todd), Flora (La traviata), Angelina (La Cenerentola), Béatrice (Béatrice et Bénédict), Elizabeth Proctor (The Crucible), Daphnis (Daphnis et Chloé), Giasone (Il Giasone), Olga Kromow (The Merry Widow) Awards: Second Place Winner, Sigma Alpha Iota Scholarship Competition (2018); First Place Winner, Kansas City District, NATS (2018); Encouragement Award, Metropolitan Opera National Council Auditions, Arkansas Region (2016); Winner of Mr. Ernst A. Gueymard Memorial

EMILY-MARGARET CERES

Scholarship (2014); National Semifinalist at National NATS Competition, Boston, MA (2014); Recipient of Tom Mills

Soprano

Endowment University Singers Scholarship (2013); Second

State College, PA

Place Winner Midwest Regional NATS (2013)

Education: Pursuing BM Vocal

Previous Experience: UMKC Opera, Missouri Symphony

Performance, Rice University Shepherd School of Music. Studied with Julie Simson, Susan Boardman Roles Performed: Mary Poppins (Mary Poppins),

Society, LSU Opera, Opera in the Ozarks, Opera Academy of California, MU Show-Me Opera Scholarship Benefactors: Martha M. Mack Award

Sara Crewe (A Little Princess), Lucy (You’re a Good Man Charlie Brown), Mariette (Les Petits Rats), Lady Larken (Once Upon a Mattress), Zaneeta Shinn (The Music Man) Awards: 2017 Third Place Classical Singer Online Competition, Dot and Rick Nelson Prize (2016-17), 2015 Semifinalist Classical Singer Competition, 2015 Winner Allegheny Mountain NATS Scholarship Benefactors: Maria deWaal Putter Endowment

2018 Season Program / Opera in the Ozarks / 41

2018 OPERA IN THE OZARKS ARTISTS SARAH KATHRYN CURTIS

SIMON FADDOUL

Mezzo-Soprano

Bass-Baritone

Orange, CA

Glendale, AZ

Education: BM, Vocal Performance,

Education: Pursuing BM Vocal

Simpson College. Studied with Kimberly

Performance, University of Arizona.

Roberts, Rebecca Sherburn

Studied with Hugo Vera, Jennifer McNeal

Roles Performed: Jo March (Little

Roles Performed: Mars (Orpheus in

Women), Witch (Hansel and Gretel), Sorceress (Dido and

the Underworld), Ali Ben Ali (The Desert Song), Second

Aeneas), Florence Pike (Albert Herring), Marcellina

Commissioner (Dialogues of the Carmelites), Don Pasquale

(Le nozze di Figaro), Zita (Gianni Schicchi), Nettie Fowler

(Don Pasquale), L’Arbre (L’Enfant et les Sortilèges),

(Carousel), Olga Olsen (Street Scene)

Judge Turpin (Sweeney Todd)

Awards: Frank Bowers Music History Award (2017), Sven

Awards: 2018 Opera Guild of Southern Arizona Program

and Mildred Lekberg Music Scholarship Recipient (2016)

Grant Recipient, Wildcat Excellence Scholarship Recipient

Previous Experience: Simpson College Opera, Chicago Summer Opera, Blooming Voce Summer Opera Scholarship Benefactors: Adah Hesselgrave Endowment

(2015-18), Honorable Mention from National Association of Teachers of Singing (2017-2018), 2016 Honors Travel Student Award, 2017 Highest Voice Area Academic Distinction Award Previous Experience: University of Arizona Voice and

ALYCE DAUBENSPECK Mezzo-Soprano Nazareth, PA Education: MM Vocal Performance and Pedagogy, Westminster Choir College;

Opera Theatre, Arizona Opera, The College Light Opera Company, Arizona Conservatory for Arts and Academics, Arizona Broadway Theatre Scholarship Benefactor: Maria deWaal Putter, Pamela Jones Endowment

BA Environmental Studies, Ithaca College.

Studied with Sharon Sweet, Marc Webster Roles performed: Madame de Croissy (Dialogues des Carmélites), Third Lady (Die Zauberflöte), Lyubov (Mazepa), Kecal (Bartered Bride), La Tasse Chinoise (L’enfant et les sortilèges) Awards: The Wilfred Bain Scholarship (2017) Previous Experience: Westminster Opera Theater, Opera Theater of Montclair, The Princeton Festival, The Russian Opera Workshop, the CoOPERAtive program, Opera Ithaca, Si Parla, Si Canta, and The Princeton Society of Musical Amateurs, Actor’s Workshop of Ithaca Scholarship Benefactors: Maria deWaal Putter

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KODY GOAD

MARTHA ROSE HAYES

Bass-Baritone

Soprano

Fort Smith, AR

Denison, TX

Education: Pursuing BA Vocal

Education: Pursuing BM Vocal

Performance, University of Arkansas-

Performance, Texas State University.

Fort Smith. Studied with Rager Moore,

Studied with Cheryl Parrish, Sylvia Rivers

Elizabeth Momand

Roles Performed: Governess (The Turn of

Scholarship Benefactors: Arkansas Federation of

the Screw), Dew Fairy (Hänsel und Gretel), Barbarina

Music Clubs

(Le nozze di Figaro), Luci Johnson (Lady Bird: First Lady of the Land), Lily (The Secret Garden), Casilda (The Gondoliers)

VINCENT GOVER Bass-Baritone Clarksville, MD Education: Pursuing DMA Composition, University of Missouri-Kansas City; MM Composition, Southern Methodist University; BM Composition and Horn Performance (minor in German), Southern Methodist University. Studied with Clifton Forbis

Awards: Texas State University Presser Scholar, National Association of Teachers of Singing Texoma Regional Conference, Semifinalist 2016, 2017 and Finalist 2017 Previous Experience: Texas State University Opera Theatre, Cornish-American Song Institute, Amalfi Coast Opera Festival, Washington National Opera Summer Institute, Cimarron Opera Camp Scholarship Benefactors: Texas Federation of Music Clubs

Roles Performed: Betto (Gianni Schicchi), Father (Hänsel und Gretel), Le fauteuil/Un arbre (L’enfant et les sortilèges) Previous Experience: UMKC Conservatory Opera Theatre, SMU Meadows Opera Theatre, Lawrence Opera Theatre Scholarship Benefactors: St. Margaret Queen of Scotland Foundation, Helen S. Boylan Foundation

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2018 OPERA IN THE OZARKS ARTISTS EMILY HELENBROOK

MARK HOCKENBERRY

Soprano

Baritone

Alexander, NY

Hanover, PA

Education: Pursuing MM Vocal

Education: Pursuing MM Vocal

Performance, Rice University, Shepherd

Performance, University of Arizona; BM

School of Music; BM Vocal Performance

Westminster College, PA. Studied with

and Arts Leadership Certificate, Eastman

Hugo Vera

School of Music; BA Political Science, University of Rochester. Studied with Stephen King, Carol Webber

Roles Performed: Jupiter (Orpheus in the Underworld), Tarquinius (The Rape of Lucretia), Belcore (L’elisir

Roles Performed: La Bergère/La Chouette (L’enfant et

d’amore), El Gallo (The Fantasticks), L’horloge comtois

les sortilèges cover), Barbarina (Le nozze di Figaro), Suor

(L’Enfant et les Sortileges), Le Geolier (Dialogues of the

Genovieffa (Suor Angelica), Suor Cristina (Mese Mariano)

Carmelites), Father (Beauty and the Beast)

Awards: 2018 Houston Saengerbund Richard E. McGinty

Awards: Medici Scholarship Recipient (2018); Opera Guild

Directory Emeritus Award, 2017 Getting to Carnegie

of Southern Arizona Scholarship (2018); First Place, Larry

Competition Winner, 2017 George Shirley African-

Day Memorial Voice Competition; Second Place, Quest

American Art Song Category Winner, 2016 Jesse Kneisel

for the Best Voice Competition; NATS Regional Classic

Lieder Competition Third Place, 2016 Friends of Eastman

Advanced Division Men Honorable Mention

Opera Competition Second Place, 2015 Eastman Concerto Competition Winner, Phi Beta Kappa, 2015 Kosciuszko Foundation Award by Ministry of Foreign Affairs of Poland Previous Experience: Rice Opera Theatre, Eastman Opera Theatre, Aspen Opera Center, Rochester Lyric Opera, Buffalo Philharmonic Orchestra soloist, Rochester

Previous Experience: Lawrence Opera Theatre, Cindy Sadler’s Spotlight on Opera, Summer Aria Intensive Program Scholarship Benefactors: Helen S. Boylan Foundation, Tim Danielson Endowment

Philharmonic soloist, Livermore-Amador Symphony soloist, Ars Nova Chamber Musicians soloist, Tippet Rise Art

COBURN JONES

Center soloist

Baritone Chapel Hill, NC

Scholarship Benefactors: Texas Federation of Music Clubs

Education: Pursuing MM, University of Miami; BA Vocal Performance, Appalachian State University. Studied with Joseph Amaya, Louis Otey, John Truitt.

Roles Performed: Il Conte d’Almaviva (Le nozze di Figaro), Pandolfe (Cendrillon), Kecal (The Bartered Bride), Balthazar and Melchior (Amahl and the Night Visitors), Dr. Miracle (Les contes d’Hoffmann), Second Armored Man (The Magic Flute) Previous Experience: Appalachian Opera Theater, Asheville Lyric Opera, Orchestra Miami, Frost Opera Theater Scholarship Benefactors: National Federation of Music Clubs

44 / www.opera.org

ANNE LABRANCHE

KYLE DAVID LOPEZ

Mezzo-Soprano

Bass-Baritone

Abita Springs, LA

Richardson, TX

Education: Pursuing BM Vocal

Education: Pursuing BM Vocal

Performance, Southeastern Louisiana

Performance, Minor in Business, Texas

University. Studied with Kristen

State University; AA, Collin County

Marchiafava

Community College. Studied with Matt

Roles Performed: Mrs. Anderson (A Little Night Music),

Bowers, Casey Carter, Brigitte Bellini, Michelle Haché.

Captain von Frauenliebe (The Beautiful Bridegroom),

Roles Performed: Loco Coyote (Coyotes and the Rabbits),

Chorus roles in The Mikado and The Merry Wives

The Pirate King (The Pirates of Penzance), Antonio

of Windsor

(Le nozze de Figaro) Father (Hänsel und Gretel)

Awards: Blair Abene, Miss Southeastern 2006-2007;

Awards: Collin College Outstanding Performance in Opera

Endowed Scholarship in Vocal Performance (2016-

Theatre and Outstanding Performance in Jazz Ensemble

18); Scharmal Schrock Endowed Scholarship in Vocal

Award Recipient (2014-16).

Performance (2018); NATS Southern Region Junior Women Semifinalist (2017); NATS Louisiana Finalist (2018)

Previous Experience: Collin College Opera Theatre (Plano), Amalfi Festival (Maiori), Vocal Arts Studio (Dallas),

Previous Experience: Interlochen Summer Arts Camp

Spotlight on Opera (San Marcos), Texas State University

(2014)

Opera Theatre (San Marcos) Scholarship Benefactors: Texas Federation of Music Clubs

DANIEL J. LOGANBILL Baritone Lenexa, KS Education: Pursuing MM Vocal Performance, University of Kansas; BME, John Brown University. Studied with Paul Smith, John Stephens Roles Performed: Oscar Hubbard (Regina), Tommy (Brigadoon), Innkeeper/Governor (Man of La Mancha), Major Murgatroyd (Patience) Awards: Arkansas NATS Finalist Placing 2nd in 2013, and 1st in 2014, 2015, 2016 Scholarship Benefactors: Kansas Federation of Music Clubs, Carolann Martin Endowment, Dr. Kenneth and

MICHAELA MALDONADO Mezzo-Soprano Houston, TX Education: Pursuing BM Vocal Performance, Louisiana State University.

Studied with Loraine Sims, Mica Bull Roles Performed: Woodpecker (The Cunning Little Vixen) Awards: NATS Regional Finalist (2017), NATS Semi-Finalist (2014, 2016), LSU School of Music Premier Scholarship, Cathy Wafford Choir Scholarship Previous Experience: LSU Opera

Maxine Burkhard Endowment

2018 Season Program / Opera in the Ozarks / 45

2018 OPERA IN THE OZARKS ARTISTS JULIA MASSICOTTE

CRAIG MOMAN

Soprano

Tenor

Indianapolis, IN

Burke, VA

Education: Pursuing MM Vocal

Education: Pursuing MM Vocal

Performance, New England Conservatory;

Performance, University of Illinois

BM Vocal Performance, DePauw

at Urbana-Champaign; BM Vocal

University. Studied with Carole Haber,

Performance, Wheaton Conservatory.

Pamela Coburn, Valentin Lanzrein

Studied with Sarah Holman, Russell Penney

Roles Performed: Königin der Nacht (Die Zauberflöte),

Roles Performed: Tamino (The Magic Flute), Hussar

Mrs. Fiorentino (Street Scene), Amy (Little Women), Rosita

(Mavra), Eisenstein (Die Fledermaus), Monsieur Volgelsang

(Un mari à la porte), Virtù (L’incoronazione di Poppea)

(The Impresario), Aeneas (Dido and Aeneas), Tenor

Awards: First Place Rising Star Opera MODO (2017),

(Prayers from the Ark)

Performance Certificate DePauw University (2017), Pi Kappa

Awards: Stotler Fellowship Recipient (2018), 1st Place

Lambda Music Honorary (2017), First Place Best Mozart

Winner of the Fox Valley Voice Competition (2018),

Performance Great Composers Competition (2017), Concerto

Thomas Wilcox Voice Scholarship Recipient (2017),

Competition Winner DePauw University (2015, 2016)

Margarita Evans Vocal Award Recipient (2017), Alton

Previous Experience: Franco-Austrian Vocal Academy, Opera in the Ozarks Studio Artist Program Scholarship Benefactors: Colleen and Steve Shogren

Cronk Award Recipient (2017), Charles Blanchard Award Recipient (2014), Clayton Halvorsen Scholarship Recipient (2014), Mignon Mackenzie Vocal Award Recipient (2014), Wheaton College Special Achievement Award Recipient (2014)

KYLA MCCARREL Soprano Diamond Bar, CA Education: MM Opera Performance,

Previous Experience: Wheaton College Opera Music Theater, Chicago Opera Theater, Operaworks Scholarship Benefactors: Eureka Springs Opera Guild, Golden Lyre Foundation

Arizona State University; BM Vocal Performance and Music Education,

JOHN MOORMAN

Chapman University. Studied with Carole

Bass

FitzPatrick, Rebecca Sherburn, David Alt

Brenham, TX

Roles Performed: Adina and Gianetta (L’elisir d’amore),

Education: Pursuing BM Vocal

Pamina and Erste Dame (Die Zauberflöte), Josephine

Performance, Boston Conservatory.

(H.M.S. Pinafore), Ms. Silberklang (The Impresario), Adriana

Studied with Victor Jannett, Soo Yeon

(Behold the Man: L’Opera del Ecce Homo), Cherubino

Kim, and Daniel Bircher

(Le nozze di Figaro) Awards: Lyric Opera Theatre Scholarship, Arizona State University (2015-2017); Conservatory of Music Award, Hall-

Roles Performed: Mikel (Sweethearts), Inmate (Dead Man Walking), Townsman (Eugene Onegin)

Musco Conservatory of Music, Chapman University (2015);

Previous Experience: Boston Conservatory Opera, Boston

Musco Scholar, Musco Center for the Arts, Chapman

Conservatory Opera Intensive at Valencia, Butler Opera

University (2015)

Center Young Artist Program, Blinn College

Previous Experience: ASU Music Theatre and Opera, Opera Chapman Scholarship Benefactors: Colleen and Steve Shogren 46 / www.opera.org

Opera Program Scholarship Benefactors: Dr. Alice Martinson and Carole Sturgis

MICHELLE MARIE PERRIER

LYDIA PION

Soprano

Soprano

Spokane, WA

Annandale, VA

Education: MM Vocal Performance,

Education: MM Vocal Performance,

University of Arizona; BM Vocal

Rice University; BM Vocal Performance,

Performance, University of Arizona.

The University of North Carolina at Greensboro. Studied with Clara O’Brien,

Studied with Kristin Dauphinais, Marjory Halvorson

Barbara Clark

Roles Performed: Medea (Il Giasone), Constance

Roles Performed: Susannah (Susannah), Micaela (Carmen),

(Dialogues des Carmélites), Le feu (L’enfant et les

La Contessa (Le nozze di Figaro), Sagredo/Marie

sortilèges), Adina (L’elisir d’amore), Mrs. Gobineau

de’Medici/Eeos (Galileo Galilei), The Mother (Amahl and

(The Medium), Gasparina (La canterina), Geraldine

the Night Visitors), Nancy (Albert Herring), Mustardseed

(A Hand of Bridge), Königen der Nacht (Die Zauberflöte)

(A Midsummer Night’s Dream)

Awards: Rieman Competition First Place Winner (2016),

Awards: Edward J. and Frances Bing Memorial Scholarship

Marguerite Ough Competition First Place Winner (2016),

(2016-17), Mary Ellen Hale Lovett Travelling Fellowship

NATS Division 1B First Place Winner (2013)

(2016), Madison Charitable Foundation Grant (2015-16),

Previous Experience: Arizona Opera, UA Opera Theatre, Opera NEO, Spokane Opera Scholarship Benefactors: Oklahoma Federation of Music Clubs, Duane and Carole Langley

MONCA Encouragement Award Winner (2015), UNCG Student Artist Competition Winner, Orpheus National Competition for Vocalists – Finalist, Strauss Award (2014) Previous Experience: Opera in the Ozarks, iSing!

International Young Artist Festival, Houston Grand Opera Young Artist Vocal Academy, Chautauqua Institution Vocal Program Scholarship Benefactors: South Central Region National Federation of Music Clubs Endowment

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2018 Season Program / Opera in the Ozarks / 47

2018 OPERA IN THE OZARKS ARTISTS GRACE REBERG

BENJAMIN RORABAUGH

Mezzo-Soprano

Tenor

Chicago, IL

Long Beach, MS

Education: Pursuing BM Vocal

Education: Pursuing MM Vocal

Performance, Michigan State University.

Performance, University of Mississippi;

Studied with Jane Bunnell

BME Music Education, Harding University.

Roles Performed: Second Nursemaid

Studied with Laura Eads, Jos Milton

(Street Scene), Orontea (L’Orontea), Amore, Pallade (L’incoronazione di Poppea) Awards: NATS Great Lakes Region, 3rd Place Lower College Women (2018), Sinfonietta Bel Canto, 1st Place Teen Division (2016)

Roles performed: Uberto (La Serva Padrona), The Page (Amahl and the Night Visitors) Scholarship Benefactors: Luke and Janet Parsch; Missouri Federation of Music Clubs

Previous Experience: MSU Opera Theatre, Haymarket Summer Opera Course

JOYLYN RUSHING

Scholarship Benefactors: Eureka Springs Opera Guild Art

Soprano Birmingham, AL

in Opera

Education: Pursuing MM Voice Performance, University of Central

DIEGO ROBERTS BUCETA

Arkansas; BM Voice Performance, Samford

Tenor Seattle, WA Education: Pursuing BM Voice Performance, University of Michigan.

Studied with Stephen West Roles Performed: Jean Valjean (Les Misérables), Adam/Noah (Children of Eden), Benny (Rent), Young Clyde (Young Clyde), Muzzy Boy (Thoroughly Modern Millie), Huntsman (Mirror Mirror), Leo Frank (Parade), Daxton (Super Iron Cooking Chef), Muzzy Boy (Thoroughly Modern Millie), Comfort Counselor (25th Annual Putnam County Spelling Bee) and

University. Studied with Robert Holden, Kristin Kenning, Christina Villaverde Roles Performed: Susanna (Le nozze di Figaro), Micaela (Carmen), Mabel (Pirates of Penzance), Sandman/Dewfairy (Hansel & Gretel), Una Novizia (Suor Angelica), Second Spirit (Die Zauberflöte), Soprano (Requiem – Faure) Awards: Eva Clapp White Memorial Scholarship (20152016), First Place South Eastern Regional NATS (2015), First Place Alabama Federation of Music Clubs (2015), Samford University Concerto-Aria Competition (2014), Third Place NATS Nationals (2014)

Senator Fipp (Urinetown)

Previous Experience: Opera Birmingham, Alabama

Awards: Third Place 2017 WMEA State Solo and Ensemble

Symphony Orchestra, Operafestival di Roma, Samford

Contest, 5th Avenue Awards Honorable Mention:

Opera, UCA Opera

Outstanding Performance by an Actor in a Leading Role

Scholarship Benefactors: Arkansas Federation of

(2017); First Place Kiwanis Vocal Scholarship Contest (2017 and 2016); Second Place (Duet) 2016 WMEA State Solo and Ensemble Contest; and Third Place 2015 WMEA State Solo and Ensemble Contest Previous Experience: University of Michigan Gilbert & Sullivan Society, Brancaleoni International Music Festival, Studio 18 Productions, and Black Tie Productions Scholarship Benefactors: Dr. Alice Martinson and Carole Sturgis 48 / www.opera.org

Music Clubs

ELYSE´ SAUCIER

DAJEONG SONG

Soprano

Mezzo-Soprano

Mechanicsburg, PA

Dajeon, South Korea

Education: Pursuing BE Biomedical

Education: MM Vocal Performance, San

Engineering and BA Music, Stony Brook

Francisco Conservatory of Music; BM

University. Studied with Brenda Harris,

Music Education and Voice, Konkuk

Jeremy Little, David Guzman, Victoria Browers, Johnathan Hayes

University, Seoul, Korea. Studied with Youngsim Choi, Catherine Cook

Roles Performed: Yniold (Impressions de Pelléas) Scholarship Benefactors: Aleeta Mae Riney Endowment; Ponca City Music Club

Roles Performed: Zelatrice (Suor Angelica), Unulfo (Rodelinda) Awards: W.J.Paik Scholarship for the Best Musicians; Educlassic National Competition, 1st Prize

GREGORY VLADIMIR SLISKOVICH

Previous Experience: JS Youth Choir Second Conductor

Tenor

and Vocal Trainer (South Korea), Masterclass at Musicale

Los Angeles, CA

Junua Coeli Academia in Italy under Maria Casula and

Education: Pursuing MM Vocal

Stefano Seghedoni

Performance, New England Conservatory;

Scholarship Benefactors: Benjamin Lundy Scholarship (Al

BA Music Performance, University of

and Pat Walden); Corrine Mayfield Endowment

California Los Angeles. Studied with Bradley Williams, Vladimir Chernov, Carol Tingle Roles Performed: Sheldon Segal (Later the Same Evening), Monostatos (Die Zauberflöte), Torribio/Don Alvaro (I due Figaro), La théière (L’enfant et les sortilèges) Awards: Dean’s Scholarship at NEC, UCLA School of Music Scholarship, UCLA Gluck Foundation Fellow Previous Experience: NEC Opera, Opera UCLA Scholarship Benefactor: Gary and Ann-Marie Ardes; James and Janice Swiggart Endowment

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2018 OPERA IN THE OZARKS ARTISTS IRA STECHER

CHRISTOPHER TURNER

Tenor

Tenor

Cooper City, FL

Russellville, AR

Education: Pursuing MM Vocal

Education: Pursuing MM Vocal

Performance, University of Missouri-

Performance, University of Central

Kansas City Conservatory of Music and

Arkansas; BA Vocal Music Education,

Dance; BS Biomedical Mathematics, BA Music, Florida State University. Studied with Chuck Chandler, Daniel Belcher, Carla Connors

Arkansas Tech University. Studied with Barbara Clements, Robert Holden Roles Performed: Don José (Carmen), King Kaspar and

Roles Performed: Vanderdendur (Candide),

the Page (Amahl and the Night Visitors), Gerardo

1st Man in Armor (The Magic Flute), Mr. Splinters

(Gianni Schicchi), Nicely Johnson (Guys and Dolls)

(The Tender Land), Male Swing, Russian Solo and Fyedka (Fiddler on the Roof), Swing (Jesus Christ Superstar) Awards: Garnet and Gold Scholar Society Previous Experience: Florida State Opera, Varna International Opera Academy (Stara Zagora, Bulgaria) Scholarship Benefactors: Missouri Federation of

Awards: Finalist for 2014 Arkansas Tech University Concerto Competition Previous Experience: UCA Opera Theatre, Arkansas Tech University Opera Workshop and Music Theater Cabaret Scholarship Benefactors: Bill Yick Endowment; Elsie Wright Endowment

Music Clubs

WHITNEY WELLS

JAMES STEVENS

Soprano

Tenor

Houston, TX

Fairfax, VA

Education: Pursuing BM Vocal

Education: MM Vocal Performance,

Performance, University of Kansas.

George Mason University; BM Vocal

Studied with Joyce Castle,

Performance, Webster University. Studied

Deborah Zavracky

with John Aler, Martha J. Hart Roles Performed: Albert Herring (Albert Herring), Tamino (Die Zauberflöte), Lord Tolloler (Iolanthe), Nemorino (L’elisir d’amore), Tom Rakewell (The Rake’s Progress), King Kaspar (Amahl and the Night Visitors) Awards: George Mason Endowed Music Scholarship, (2016-2018), Radio Arts Foundation St. Louis Artist Grant (2015), Buder Foundation Scholarship (2011-2015), 1st Place NATS Central Region Competition (2014), 1st Prize Union Avenue Opera Crescendo Competition (2014) Previous Experience: GMU Opera Theater, Bethesda Summer Music Festival, Union Avenue Opera, Winter Opera St. Louis Scholarship Benefactors: Dr. Alice Martinson and Carole Sturgis

50 / www.opera.org

Roles Performed: Paquette (Candide), Lola (Gallantry), Purity (Anything Goes), Cosette (Les Misérables) Awards: University of Kansas Irene Peabody Voice Scholarship (2015-19), University of Kansas Reinhold Schmidt Voice Scholarship (2015-19), 2018 finalist Rondelli Vocal Competition Previous Experience: KU Opera, Lawrence Opera Theater, Lone Star College Theater, Boston University Tanglewood Institute Scholarship Benefactors: Eureka Springs Opera Guild Art in Opera

DAVID YOUNG

ALEXA ZEREMENKO

Tenor

Soprano

Houston, TX

Pittsburgh, PA

Education: Pursuing a BM Vocal

Education: Pursuing MM Vocal

Performance, DePauw University. Studied

Performance, Michigan State University;

with Caroline Smith, Brian Horne

BA Music-Voice, Mercyhurst University.

Studied with Jane Bunnell, Louisa Jonason

Roles Performed: Don Basilio (Le nozze di Figaro), Harry Easter (Street Scene), Victor Frankenstein

Roles Performed: Anna Maurrant (Street Scene),

(Young Frankenstein), Tommy (Carrie the Musical)

Cio-Cio San (Madama Butterfly), Pamina (The Magic Flute),

Awards: 1st Place: Musical Theater (2017 Indiana NATS), 1st Place Classical (2017 Indiana NATS), DePauw 2017

Countess Almaviva (The Marriage of Figaro), Tisbe (La Cenerentola), Lauretta (Gianni Schicchi) Awards: 3rd Place Winner NATS Vocal Competition Great

Concerto Competition Winner Previous Experience: DePauw University Opera, Bay View

Lakes Region (2018) Previous Experience: Michigan State University Opera

Music Festival SOARS Program Scholarship Benefactors: Mary Anna Chop Trust; Beulah

Theatre, D’Angelo Opera Theatre Scholarship Benefactors: Rowland Davis Endowment;

Walwerk Endowment

Gloria Thrasher

ALEXANDRIA ZALLO Mezzo-Soprano Pittsburgh, PA Education: Pursuing BM Vocal Performance, Peabody Institute of the Johns Hopkins University. Studied with Elizabeth Futral, Betsy Lawrence Awards: Constance T. Rockwell Scholarship Recipient (2017-2018), Irene S. and Henry Louik Scholarship Recipient (2017-2018) Scholarship Benefactors: Eureka Springs Opera Guild Art in Opera

ANIMAL MEDICINE & SURGERY

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68

YEARS

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Ron Eby, DVM Anne Brenneke, DVM Brett Buchanan, DVM 310 CR 706 Green Forest, AR 72638 (870) 423-2630 clinic@stfrancis.arcoxmail.com 2018 Season Program / Opera in the Ozarks / 51

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THANK YOU TO ALL OUR SCHOLARSHIP DONORS! Gary and Ann-Marie Ardes Arkansas Federation of Music Clubs Helen S. Boylan Foundation Dr. Kenneth and Maxine Burkhard Endowment Mary Anna Chop Trust Tim Danielson Endowment Rowland Davis Endowment Richard A. Drapeau Dorothy Ellis Endowment Eureka Springs Opera Guild Eureka Springs Opera Guild Art in Opera Golden Lyre Foundation Marvin and Lois Hall Orchestra Endowment Adah Hesselgrave Endowment Richard Hill Endowment Pamela Jones Endowment Kansas Federation of Music Clubs Duane and Carole Langley Endowment Benjamin Lundy Scholarship (Al and Patsy Walden) Martha M. Mack Award (NFMC) Carolann Martin Endowment Alice Martinson and Carole Sturgis

OKLAHOMA SALUTES IPFAC Directors, Staff and Students of

Corrine Mayfield Endowment Missouri Federation of Music Clubs Moberly Music Club Endowment Mu Phi Epsilon Music Fraternity National Federation of Music Clubs Oklahoma Federation of Music Clubs Luke and Janet Parsch Ponca City Music Club Maria de Waal Putter Maria de Waal Putter Endowment Aleeta Mae Riney Endowment Steve and Colleen Shogren Sigma Alpha Iota Music Fraternity South Central Region Endowment St. Margaret Queen of Scotland Scholarship Fund James and Janice Swiggart Endowment Texas Federation of Music Clubs Gloria Thrasher Beulah Walwark Endowment Elsie Wright Endowment Bill Yick Endowment

Since 1912

Together, we can make

beautiful music...

Opera In The Ozarks

OKLAHOMA FEDERATION OF MUSIC CLUBS

68 season

th

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2018 OPERA IN THE OZARKS ORCHESTRA MARIA BEGACHEVA

Section Cello Maria Begacheva is currently a cello Teaching Assistant at the University of Illinois in Urbana-Champaign and working on her master’s degree in Cello Performance under the direction of Dmitry Kouzov. She received her BM at Wichita State University where she studied with Leonid Shukaev. Prior to coming to the United States, she studied in the St. Petersburg Conservatory with Professor A. Massarsky and graduated from the Rimsky-Korsakov Music Academy where she studied with Olga Rudneva and has received her degree in Music Performance and Education.

DALLAS CARPENTER

Principal Bass Dallas Carpenter, from Tucson, AZ, made his career debut in 2010 as a bassist with the Tucson Pops Orchestra. He performed Domenico Dragonetti’s Concerto for Double Bass. That same year he also competed in the Tucson Symphony Orchestra’s high school solo competition, in which he received first prize for his performance of Carl Ditters Von Dittersdorf’s Concerto No. 1. Most recently, he has earned a BA in String Bass Performance from the University of Arizona. He plans to attend the University of Arizona for graduate school.

JASON CHILSON

Second Horn Born and raised in Idaho, Jason began playing the horn when he was 13. He received his bachelor’s degree in Music Performance from the University of Idaho and his master’s degree from Indiana University. He has performed with several professional organizations, including The Quad City Symphony, Evansville Philharmonic, and the Boise Philharmonic. Currently, he is pursuing a doctorate in Horn Performance at the University of Southern California in Los Angeles.

EDWARD CHO

Principal Cello A Canadian cellist from Saint John, New Brunswick with a Korean background, Edward Cho has earned degrees from Indiana University (MM and PD) and Wilfrid Laurier University (BM). He has received honorable mentions in the Canadian National competitions, was one of the principal cellists in the National Youth Orchestra of Canada, and played concertos on both piano and cello with various orchestras. He will attend Colorado University Boulder to pursue a DMA with David Requiro next year.

EVAN COOPER

Section Viola Evan Cooper is an avid freelance musician performing at multiple venues in the Kansas City area. Not limited to performing classical music, he is also proficient in bluegrass, rock and jazz. He has also performed with the Enid Symphony Orchestra (OK), and the Saint Joseph Symphony Orchestra (MO). He attended Oklahoma State University for his bachelor’s studying with Dr. Laura Talbott, and received a MM at the University of Missouri Kansas City studying with Scott Lee. This is Evan’s second season with the Opera in the Ozarks orchestra.

ALEXANDER L. DAVIS

Second Trumpet Alexander has performed with the 1st Armored Division Band of the United States Army, the El Paso Wind Symphony, and Lubbock Symphony Orchestra. He has appeared as a soloist with the Southwestern Chamber Players of Weatherford, OK, and the University of Alabama at Birmingham Wind Symphony. He has completed coursework toward a DMA at Texas Tech University. This is his third summer with Opera in the Ozarks.

EVAN DE LONG

Concertmaster Evan De Long, from Bloomington, IN, received his BM in Violin Performance from Indiana University in 2017, where he studied with Jorja Fleezanis and Grigory Kalinovsky.

As an orchestral musician, he is the assistant principal 2nd violinist of the Owensboro Symphony Orchestra, and a section violinist of the Evansville Philharmonic. During the summers, he has attended the Round Top Festival Institute, the National Orchestral Institute, and the Domaine Forget Chamber Music Festival.

ELIZABETH DRABKIN

Section Violin Elizabeth Drabkin is pursuing a MM at Indiana University with Jorja Fleezanis and Mark Kaplan. She received a BM from the Blair School of Music at Vanderbilt University, where she studied with Connie Heard. She regularly plays with the Nashville Symphony and is a section violinist in the Columbus Indiana Philharmonic and Terre Haute Symphony Orchestra. She previously attended the Aspen Music Festival and Prague Summer Nights, and in the Summer of 2018 will be a fellow at the Spoleto Festival USA.

2018 Season Program / Opera in the Ozarks / 55

2018 OPERA IN THE OZARKS ORCHESTRA SAM EDWARDS

Principal Viola Sam Edwards has collaborated and performed with students and professors of the University of Rochester.

He is a founding member and principal violist for Detroit Chamber Orchestra, a budding smaller ensemble whose goal is bringing music to unusual spaces. He received his BM from Eastman School of Music with Carol Rodland and Masumi Rostad. This is his second summer at Opera in the Ozarks.

LESLIE FOX

Section Viola Currently based in Wyoming, Leslie Fox received her BM in Viola Performance from Lawrence Conservatory of Music in Appleton, WI, and her MM in Viola Performance from the University of Wyoming, where she also completed a second BM in Music Education. She has performed professionally as a member of the Billings Symphony Orchestra, Bozeman Symphony Orchestra and the Wyoming Symphony Orchestra, and served as Principal Violist of the University of Wyoming Symphony Orchestra and the UW Chamber Orchestra. This fall, Leslie will be the Orchestra Director at Central High School in Cheyenne, WY, where she is a violist in the Cheyenne Symphony Orchestra.

STEPHANIE GINNINGS

Principal Horn Originally hailing from Texas, Stephanie Ginnings is a musician based in Los Angeles. She received her BM from the University of Texas-Austin, her MM from the University of Southern California, and is currently pursuing a DMA in Horn Performance at USC. She has performed with the Kaleidoscope Orchestra, a conductor-less orchestra in LA. She is passionate about education, and works with middle school students in a college readiness program and as a horn instructor. This is her second summer with Opera in the Ozarks.

ASHLEY HUNTER

Second Flute Chicago-based flutist Ashley Hunter is enjoying her third season with Opera in the Ozarks. She holds a BM from Manhattan School of Music and MM from Northwestern University. Her teachers include John Thorne, Michael Parloff and Stephanie Mortimore. She has performed with orchestras including the Houston Symphony as a soloist and has been a prize winner in various solo and chamber competitions. Past summer engagements include Siena Music Festival in Italy, Orford and Domaine Forget.

56 / www.opera.org

CAROLYN HUPALOWSKY

Bassoon Carolyn Hupalowsky, from Cleveland, Ohio, is equal parts performer, music teacher and administrator. She received a BM in Bassoon Performance from Baldwin Wallace University and a MM from Cleveland State. She performed with the Cleveland Philharmonic, True North Symphony and Tuscarawas Philharmonic. She teaches bassoon and clarinet and sells her own line of bassoon reeds.

In addition, Carolyn worked in the concert production department at Oberlin Conservatory.

DAVID KASSLER

Trombone David Kassler, noted composer, low brass musician and choral music educator, lives in Rochester, MN. He teaches voice at Rochester Community and Technical College and is the Director of Music at Good Shepherd Lutheran Church. He has appeared as a guest artist on numerous U.S. university campuses and recently conducted choral music in Europe. He holds a DMA in Baritone Horn Performance (University of Miami), a MM in Music Theory/ Composition (University of Louisiana), and a MM in Music Education (University of Minnesota).

CHRISTOPHER LARSON

Principal Percussion Originally from Portland, Oregon, Christopher started playing piano at the age of eight and played percussion since the age of 10. He received his BM from the University of North Texas, MM from Southern Methodist University, and recently an Artist Certificate from the UMKC Conservatory. He has played with orchestras including Kansas City, South Dakota, Fort Worth and the Kansas City Ballet. He has participated in numerous summer festivals including Music Academy of the West, National Repertory Orchestra, and Hot Springs Music Festival in Hot Springs, AR.

YERIM (JAMIE) LEE

Assistant Concertmaster Yerim Lee, from Seoul, South Korea, began studying violin at the age of eight and is now a passionate solo, chamber and orchestral performer. She has received her BM in Violin Performance and Performance Diploma in Solo Violin at Indiana University Jacobs School of Music, and her MM in Violin Performance at Northwestern University Bienen School of Music. She is currently a member of the Civic Orchestra of Chicago. Known by her friends as Jamie, in her free time she loves to cook and play with her cat, Bocal.

LISA MEYERHOFER

Principal Flute Lisa Meyerhofer is Principal Flute of the Lexington Philharmonic, and is a freelancer and private flute instructor from Lancaster, NY. She received a BM from Ithaca College and a MM from Northwestern University.

She is a Quarterfinalist for the 2018 National Flute Association Young Artist Competition, and will be competing at the convention this August. She also won Fourth Prize in the Chicago Flute Club’s 2017 Kujala International Piccolo Competition. Lisa is excited to mark this as her fifth season with Opera in the Ozarks.

RACHEL PETERS

Principal Second Violin Rachel Peters currently resides in Chicago, IL, as a Section Violin in the Civic Orchestra of Chicago, and a Violin/ Viola Instructor at Terra Sounds. She is also co-founder of the Seraphina Ensemble, a contemporary chamber music group. She has obtained degrees from University of Cincinnati’s College-Conservatory of Music (BM) and Northwestern University’s Bienen School of Music (MM).

She recently performed with Northwestern University Symphony Orchestra’s Asia tour with concerts in Beijing, Shanghai and Hong Kong.

CHRISTINE SALLAS

Oboe and English horn Oboist Christine Sallas is an active performer and teacher, most recently employed as a part time instructor at the University of Kentucky. She was awarded her DMA in Oboe Performance from UK in 2017, where she served as a TA. While completing her studies, she also performed with the UK Symphony Orchestra and the UK Opera Theatre. In February of 2016, she performed the Mozart Oboe Concerto with the UK Symphony Orchestra as the Concerto Competition winner. Dr. Sallas recently relocated to the Denver, CO, area with her husband. This is her third season with Opera in the Ozarks.

ORLANDO SCALIA

Principal Clarinet A native of Argentina, Orlando Scalia is an active performer and teacher based in Denton, TX. He holds a BM from the University of Miami and an MM from the College-Conservatory of Music at the University of Cincinnati. He is the bass clarinetist of the Symphony of Northwest Arkansas, served as principal clarinetist of the Ars Flores Symphony Orchestra in South Florida, and has recently been heard with the Wichita Symphony and Midland-Odessa Symphony orchestras. He currently teaches clarinet at Brookhaven College. Orlando cheerfully returns to Inspiration Point for his sixth summer as principal clarinetist of the orchestra.

CHASE TEAGUE

Principal Trumpet Chase Teague, from Fayetteville, AR, has earned his BME from Texas Christian University, and a MM and Graduate Performance Certificate from the University of Arkansas. While studying at the University of Arkansas, he won two scholarships from the ITG Scholarship Competitions. Chase has had the pleasure of performing with the Arkansas Philharmonic Orchestra, Symphony of Northwest Arkansas, Fort Smith Symphony, Opera of the Ozarks, Ozark Family Opera Company and the Arkansas Brassworks. This will be his second summer as principal trumpet with the Opera in the Ozarks.

MENG-CHUN TU

Section Violin MengChun Tu, from Taiwan, is studying Performance Diploma in Violin at CCPA-Roosevelt University in Chicago. She received her BM in Piano at National DongHwa University at Taiwan in 2014. She was the concertmaster at NDHU Symphony Orchestra in 20122014. She has attended the Formosa Chamber Music Festival in 2013.

ANDREW WARWICK

Second Clarinet Andrew Warwick plays clarinet and bass clarinet with the Augusta (GA) Symphony Orchestra and also performs with the North Carolina Symphony, Charlotte Symphony Orchestra and the Charleston Symphony Orchestra. He served as visiting Associate Professor at the University of North Carolina at Chapel Hill and adjunct at North Carolina State University. He graduated from University of Cincinnati College Conservatory of Music (MM) and UNCCH (BM). This is his third season at Opera in the Ozarks.

KHELSEY ZARRAGA

Section Violin From Chicago, IL, Khelsey Zarraga is currently pursuing a MM degree from the Indiana University Jacobs School of Music. She has performed for esteemed musicians such as Ani Kavafian, Mauricio Fuks, Violaine Melançon and Steve Wyrczynski. As a chamber musician, she has received mentorship from members of the Pacifica, Penderecki and Afiara quartets, and upcoming engagements include joining Holland America Line’s Lincoln Center Stage in May 2019.

2018 Season Program / Opera in the Ozarks / 57

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IPFAC LIFE MEMBERS (1950-2018) ARKANSAS Ardes, Ann-Marie Bond, Marjorie * Bonner, Bill * Bonner, Louise * Cabe, Lucy * Caviness, Mrs. Eric * Davis, Rowland * Davis, Virginia * Drum, John & Lois * Fantz, Wanda Fite, Gilbert C. Fite, June Graham, Margaret Grilk, Ernst Grilk, Gloria Febro Henson, Catherine M. Henson, J. Edwin Hobart, Mrs. Henry M. * Jones, Pamela Jordan, Ruth * Martinson, M.D., Alice M. Milberger, Esther * Shambarger, Mary J. Shogren, Colleen Shogren, Stephen Smith, Mrs. George * Stamps, Jerry E. * Sturgis, Carole Swiggart, James Walton, Helen Robson * Welter, Mr. & Mrs. Willliam G. Wicks, Frank Wright, Elsie Braginton *

COLORADO Wheeler, Juline

ILLINOIS

Martin, Carolann Nagel, Elwyn H.* & Jacqueline Nurre, Vicki Burkhard Sorrell, Bruce * & Judith Steele, Flora * Stewart, Dr. Carol Stewart, Rose * Vollen, Gene Vollen, Linda H. Wilcox, Wilma B. Wilkens, Ruby H.

KENTUCKY Paris, Elizabeth

MASSACHUSETTS Merry, Virginia *

MISSOURI Blair, Starla Blair, Terry Boyd, Mrs. Frances E. Conway, Alice E. Cranfill, Doris Jean * French, Caroline Garcia, Rita P. Hesselgrave, Adah * Ingram, Mrs. Beth Langley, Carole S. Langley, Duane D. McHaney, Beulah Hale * Nelson, Dr. Edward P. * Nelson, Vivian Menees * O’Hara, Thomas Riney, Aleeta Mae * Ryan, Evelyn * Shelton, Ruth Wells, Joan B. Wetterau, Edna *

Balluff, Marie M

NEW YORK

KANSAS

Rowan, Anne *

Burkhard, Dr. Kenneth Burkhard, Maxine * Campbell, Bob * Fields, Dr. Galen * and Evelyn Graber, Mrs. Clarence J. Gum, Brian Gum, Deborah Burkhard * Hentzen, Katherine L. * Janson, Ruth E. * Kraus, Lynda Burkhard Lansdowne, Kathy Burkhard

OKLAHOMA Abbott, Jane * Abbott, Mae Ruth “Red” Alexander, Dr. James * Alspaugh, Ann Ballew, Edythe M. Burruss, Zelma * Byrum, Thelma * Cole, Wilma Cullen, Lois * Hickman, Kathryn

Hudson, Mrs. Charles * Lacy, Dr. Ann Linn, James Paul Murphy, John M. * Quan, Alice * Replogle, Margaret K. * Ringham, C. Russell * Ringham, LaTrice * Smith, Leta Mae * Weaver, Virginia Wheeler, Dr. Ellen Jayne Whitesell, Leon and Lavonna Whitesell, Lisa

TENNESSEE Harsson, Mildred Zimmerman

TEXAS Armor, Lois Athens Music Study Club Breuer, Sue M. Brown, Brenda Brown, Guy S. * Brown, Mary Prudie * Christensen, Lora Lynn Christmann, Francis Copeland, Carolyn Danielson, Tim Drapeau, Richard A. Guemple, Mary * Hall, Betty * Hobart, David * Hobart, Jeanice * Johnson, Carla Jean Johnson, Phil Jones, Peggy C. McNew, Lynn Meyer, Lee Clements Moffatt, Jean Putter, Maria de Waal Reid, Carolyn S. Scheel, Marie U. * Scheel, Weldon B. * Schmidt, John C. Thrasher, Gloria * Whitworth, Louise M. * Yick, Bill

VIRGINIA Sidway, Lois Hobart * deceased

2018 Season Program / Opera in the Ozarks / 59

IPFAC PATRONS (1950-2018) Lifetime Contributions

DIAMOND BENEFACTORS

(more than $50,000) Burkhard Bob* & Theobell* Campbell Alice Conway Don Dagenais Richard A. Drapeau Richard Hill* Estate David C.* & Jeanice* Hobart Carole & Duane Langley

Arkansas Arts Council Arkansas Federation of Music Clubs Glenn & Lorie Langley Bear Best Western Eureka Inn Helen S. Boylan Foundation Mary Prudie Brown* Dr. Kenneth & Maxine*

Dr. Carolann Martin Dr. Alice M. Martinson Missouri Federation of Music Clubs National Federation of Music Clubs Dr. Edward P. Nelson* Vivian Menees Nelson*

Maria de Waal Putter Texas Federation of Music Clubs Elsie Wright*

Jean Moffatt John M. Murphy* Elwyn* & Jacqueline Nagel Oklahoma Federation of Music Clubs Dr.* & Mrs. Charles Olson Mr.* & Mrs.* C. R. Ringham Aleeta Mae Riney* Martin* & Elise Roenigk John Schmidt Sigma Alpha Iota International Philanthropy

Stephen & Colleen Shogren South Central Region, NFMC Gene & Linda Vollen Al & Pat Walden Walton Family Foundation Helen Robson Walton* Joan B. Wells Frank Wicks Bill Yick

Beulah Hale McHaney* Frank* & Lee Clements Meyer Ruth Michaels Minnesota Federation of Music Clubs William & Etta Moore Trust Morning Etude Music Club, St. Louis, MO

National Endowment for the Arts Elizabeth Paris Luke & Janet Parsch Marie Scheel* Mary J. Shambarger South Central Region NFMC Gloria Thrasher* Leo* & Doris Whinery

BENEFACTORS ($2,500 – $4,999) Frances L. Abendroth* Betty Hall* Andante Music Club, Mark & Sharon Hobart Bella Vista, AR Carla Jean Johnson Doug & Michelle Hobart Robert & Terry McRae Barnes Dr. John Mizell* Cottage Inn Meredith Mizell Crescent Hotel Missouri Federation of Music Gene & Patricia Flesher Clubs-District 2 King Gladden* Music Club Friends, Golden Lyre Foundation Austin, TX Mary Guemple* Ponca City Music Club, OK

Z Reeder Evelyn Ryan* Weldon Scheel* Schubert Music Club, Lawton, OK Southwest Oklahoma Opera Guild Dr. Eline Stene Dr. Vern Sutton James & Janet Swiggart University of Arkansas

War Eagle Mills Jessie Weichert A. Max Weitzenhoffer Wednesday Morning Music Club, Austin, TX Wednesday Music Club, Kennett, MO Herbert West Leon & Lavonna Whitesell The Woman’s City Club, Kansas City

ANGELS ($1,000 – $2,499) Dr. James Alexander* Lenora Allen* Arkansas FMC, NW District Arkansas FMC, SW District Lois Armor Athens Music Study Club, TX Carroll County Community Foundation, Youth Advisory Council Judge Clifton* & Marjorie Bond* Helen Boylan* Zelma Burress* Arsene Burton* Carroll County Community Foundation Central Region Federation Days Mary Ella Clark* Wayne Clark

Lena Johnson Estate Fred & Phyllis* Knox Elaine Knight Jacqueline & William Lockwood Lynn McNew Renate Melinat Melodie Club, Dallas, TX William & Dixie Mills Dr. John T. Minor Mu Phi Epsilon Musical Research Society, Bartlesville, OK Ann Nicholson Alan Orr Will Paine Lillian Bell Parnell Mr. & Mrs. William Pfieffer Carolyn U. Poe Nirupama Raghavan

Carolyn S. Reid Lois Hobart Sidway Ed & Judy Simpson Jeremy A. Slavin Bruce* & Judith Sorrell Helen Spradling* Karen Swogger Texas FMC, District 6 Ralph N. Turner Elna Valine Madge Webster* William & Jean Welter Juline Wheeler Louise Whitworth* Wichita Music Club Alise Wilkinson Cletis Williamson Janette S. Wittmann Ruth Wood

PLATINUM BENEFACTORS

($10,000 – $49,999) Caroline French Marjorie Gammill* Gloria & Ernest Grilk Marvin H. Hall Dr. Barbara Irish* Pamela Jones Marquis & Diane Jones Kansas Federation of Music Clubs Dr. Ann Lacy Martha McCurdy Estate Moberly Music Club

Sue Breuer Zelma Burress Estate (Triad Energy) Francis Christmann Mary A. Chop Trust Doris Jean Cranfill* Tim J. Danielson Virginia Davis* John* & Mary Dolce Dorothy L. Ellis Trust Eureka Springs Opera Guild Jay & Patricia Fitzsimmons

GOLD BENEFACTORS Ann Lacy Foundation Arkansas Community Foundation Gary & Ann-Marie Ardes Marilyn Caldwell Charles Christmann Emil Cross, Jr. John & Lois* Drum Ellen Thomas Trust Dorothy L. Ellis Trust

60 / www.opera.org

($5,000 – $9,999) June & Gilbert Fite Dr. Jess Green Ben & Rebecca Bird Haley Ed & Catherine Henson Mrs. Robert Ingram Wilmot Irish Hattie Janek Fritz & Lavinia Jensen Foundation Peggy Jones

Richard Conkings Cooper Communities, Inc. Carolyn Copeland Connie Craig Muriel Cross Sheryl Crow Kay Deaton Enterprise Rent-a-Car Foreman Thursday Music Club, AR Maxine Fortenberry Garcia, Rita P. Beth Harrison Mildred Z. Harsson Galen & Debi Havner Adah Hesselgrave* Kansas City Lyric Opera Guild Kathryn Hickman Merilyn Jax*

2018 IPFAC MEMBERS SPONSORS

($500 – $999) Jane* & Mae Ruth* Abbott Virginia Allison* Peter & Maureen Anderson Suzanne & Earl Babbie Leon J. Bechet Ann Shull Bell Dortha* & Ron Bennett Carroll County Music Group Lois Dasher Connecticut Federation of Music & Dance Clubs Dr. Rodney & Gay Dill Terrance and Carolyn Engholm Etude Music Club, San Antonio, TX First National Bank of Berryville Kathleen Fitzgerald Ruth Fleishman Shirley Foust Nancy Haines Katherine Hentzen* Mary P. Hirsch Illinois Federation of Music Clubs Beulah Johnson* JoAnne Justus Warren & Irene* Kester Virginia Knieser Lucille Leisy Dr. & Mrs. Revis Lewis David M. Luce Melba Maechtlen Deborah & David Malone Marilynn Mann Mary Cox McKay Nebraska Federation of Music Clubs Herta & Willi Nikolai Phyllis Noonan Orpheus Music Club, Blytheville, AR Sara Peine Barbara Rondelli Perry John Reeve Byron & Audrey Reeves Lucile Roberts Kent Ryals Schubert Music Club, Lawton, OK Robert & Leona Snyder Springfield Music Club, MO Dr. John Spurlin Jack & Mary Stark Robert Swedberg Charles & Sandra Templeton Dr. Oliver Wallace Laura Lee Wilcox Dr. & Mrs. Elmer W. Williams Zenda Music Club, KS * deceased

PATRON LOUISANA Haley, Ben & Rebecca Bird

PENSYLVANIA Slavin, Jeremy A.

TEXAS Bear, Glenn & Lorie Langley McRae, Robert & Terry

SUSTAINING ARKANSAS Averitt, Louis & Ann Binienda, Zbigniew & Renata Burnside, Wade Clark, Jo Ann Clark, Wayne Dickson, Elmer & Julie Dolce, Mary A. Gately, Diane Gemaehlich, Herta Griffith, Mariellen King, Tom & Jill Lee, Garry & Marilyn Malone, Deborah & David Marx, Patricia McNeal Chuck & Ramona Miller, Ginni Mills, William L. Nicholson, Ann Parsch, Luke & Janet Simpson, Ed & Judy

TEXAS Barnes, Doug & Michele Hobart Chamness, Sandra Dyar, Ruth M. Etude Music Club, San Antonio McKay, Mary Cox Melodie Club, Richardson Williamson, Cletis

CONTRIBUTING ARKANSAS Betts, Jane Carlisle, David & Wendy Carr, Vicki Culp, Joe & Nancy Griffith, Charles & Jerry Ruth Helwig, James A. & Patricia Hot Springs Music Club Jones, Marquis & Diane Lieber, Michael & Eileen Lyon-Ballay, Chad & Elizabeth Pierce, Betty Reeve, John H. & Eva M. Strakshus, Gay & Gary Werbitzky, Nancy

CALIFORNIA McCrea, Zoe

FLORIDA Morrison, Robert

GEORGIA Brown, Jeffery

CALIFORNIA

INDIANA

Dellavalle, Nat & Ann

Westcott, Rich

FLORIDA

KANSAS

Turner, Ralph V.

Kansas FMC

MISSOURI

MASSACHUSETTS

Dagenais, Don F. Federated Teachers of Music, Kansas City Missouri FMC Orr, Alan Sutton, Randy

Boyles, Adam

NEW YORK Irish, Wilmot

OKLAHOMA Ryals, Kent Smith, Terry & Patty

MISSOURI Bishoff, Julie & Murray Carlisle, Barbara Craig, Connie Kansas City Music Club Kinslow, Doug & Donna Locarni, Ida Ruth Long, Lorraine Morning Etude Music Club, St Louis North, Frank & Sara Anton Springfield Music Club 2018 Season Program / Opera in the Ozarks / 61

2018 IPFAC MEMBERS Szydlowski, Marianne Wednesday Music Club, Kennett

NEW JERSEY Czerniakowski, S. A.

OKLAHOMA Baldwin, Larry Durham, Linda & Joe Walker, Roy & Betty Whinery, Doris

TEXAS Edwards, Marcia Gessner, Carol Jean Hobart, Mark & Sharon Hudson, L.A. & Dorothy McNew, Tom Music Study Club of Navasota Royals, Linda West, Nancy White, Jo Nell

ACTIVE ARKANSAS Arkadelphia Philharmonic Club Arkansas FMC, Cent Dist Arkansas FMC, NW Dist Bell, Bethy K. Bella Vista Andante Music Club Bloom, Bonnie Boynton, Patsy & Bob Carroll County Music Group Clark, Richard B. Coffman, David Cross, Muriel J. Eilskov, Fred & Terry Foreman Thursday Music Club Fort Smith Musical Coterie Foust, Shirley Green, Carolyn H. Hammond, Helen Hearn, Danna Hearn, Ronn Hofmann, Shirley Horner, Teresita V. Keck, Dr. George Keck, Dr. Ouida Kresse, Cynthia Little Rock Musical Coterie Mathis, Cheryl McClung, Chris & Barbara Monticello Music Club

62 / www.opera.org

Morrison, Dannie Olson, Fred & Maxine Parker, Sharon K. Pine Bluff Musical Coterie Reeves, Byron & Audrey Roenigk, Elise Rosenbaum, Martha Rownak, Judy Russellville Music Club Secrest, Glenda Secrest, Jon Shanor, Winifred Spunaugle, John & Jane L. Stover, Carolyn Texarkana Wednesday Music Club Walnut Ridge Schubert Club Weber, Ralph and Carla Witterman, Alice K.

Melody Makers, Ellisville Mobley, Mrs. Libby Perry Musique Club Reed, Helen Rubinstein Music Club, St. Louis Sherrill, Bob & Kay Simmons, Jerry & Nancy Thomas, Andrew Vitt, Chris Walden, Al & Patsy K. Watson, Betty

GEORGIA ILLINOIS

Hayes, Natlynn Hyechka Music Club, Wetumka Oklahoma FMC Ponca City Music Club

Noorani, Karen Grilk Rozumalski, Mary Jo

TEXAS

Dunham, Rich

KANSAS Arkansas City Music and Dramatic Atwood Music and Drama Club Brill, Elizabeth Civic Music Club of Topeka Ducak, Carol Goodland Federated Music club Independence Monday Music Club Lawrence Music Club Maechtlen, Melba Meyer, Betty Music Study Club of Topeka Roach, Ellen L. Thomas, Sherry Treble Clef Club, Newton Treble Clef Club, Pittsburg Whitmer, Kathleen Wichita Musical Club Wishart, Delores

MISSOURI Carthage Musical Devotees Classical Kids Music Club, Manchester Evening Etude Music Club, Hannibal Interstate Virtuosos Music Club, Florissant Jones, Marcia Juhala, Roland & Shirley

NORTH DAKOTA North Dakota FMC

NEW HAMPSHIRE Wyma, Julie

OKLAHOMA

Allen, Dorene Bennett, Ronald Bridges, Mary Ann Collier, Mary H. Eck, Mary E. Fort Worth Euterpean Music Club Griesbach, Annette Hampton, Nan Harriman, Sarah Herring, Nancy Hudson, Judy Lemmon, Jo Ann Midland Musicians Club New Braunfels Music Study Ragland, Elise Randall, Connie Retzlaff, Patricia Rex, Lloyd Reynolds, Glenda Robertson, James Ross, Mary Frances Texas FMC Waco Euterpean Club

2018 ANNUAL FUND & BUILDING CAMPAIGN Patrons – $10,000 and Above

Soloist – $500 to $999

Sara Peine

Glenn and Lorie Bear

Anonymous

Judy Rownak

Carole and Duane Langley

Anne Ahn

Mary Shambarger

Carolann Martin

Annie’s Boutique

Kathy Spigarelli

Maria Putter

Sue M. Breuer

Gay and Gary Strakshus

Ben and Rebecca Bird Haley

Barry and Linda Stuart

Founders – $5,000 to $9,999

Beth Harrison

Ralph V. Turner

Alice E. Conway

Tom and Lynn McNew

Leon and Lavonna Whitesell

Don F. Dagenais

Lee Clements Meyer

Lisa Whitesell

Alice M. Martinson

Craig Milam

Bill Yick

Joan B. Wells

Friends – $50 to $149 Virginia Babb

Composers – $2,500 to $4,999

Performers – $150 to $499

Jane Betts

Richard A. Drapeau

Anita Blackmon

Carthage Music Club, Texas

Caroline French

Wayne Clark

Carolyn Clark

Stephen and Colleen Shogren

Linda Clark

Rich Dunham

Linda and Gene Vollen

Connie Craig

Ruth Dyar

Frank Wicks

Mary Dolce

Tom and Dana Dykman

Rita Garcia

Carolyn Green

Fellows – $1,000 to $2,499

Ronn and Danna Hearn

Cynthia Kresse

Ann Lacy Foundation

Kathryn Hickman

Michael and Eileen Lieber

Lois Armor

Steve D. Holifield

Lorraine Long

Marilyn Caldwell

Peggy C. Jones

Dick and Susan Luehrs

Tim Danielson

Charles and Sue Kimberlin

Cheryl Mathis

Edwin and Catherine Henson

Melba Maechtlen

Marianne Szydlowski

Elaine Knight

Deborah and David Malone

Texarkana Wednesday Music Club

Jean Moffatt

Patricia Marx

Christine Vitt

Nancy Preis

Mary Cox McKay

Brooke and Linda West

John and Jacqueline Schmidt

Morning Etude Music Club, St. Louis

Kathie White

Ann Nicholson

Kathleen Whitmer

Alan Orr

Carol Zientek

Luke and Janet Parsch

68th season Treehouse Gift Shop & Gallery

Specializing in Handmade

Open Daily • Hwy 62W (across (across from from Bubba’s Bubba’s BBQ) BBQ)

Windle & Associates • CPA 3148 E Van Buren • Eureka Springs 2018 Season Program / Opera in the Ozarks / 63

2018 Corporate & Foundation Contributors Arkansas Arts Council Arkansas Community Foundation

CARROLL COUNTY

Arkansas Community Foundation, Ron and Ruth Morrison Endowment

Duane and Carole Langley Endowment

Arkansas Community Foundation (YAC)

Carolann Martin Endowment

Arkansas Federation of Music Clubs

Alpha Corrine Mayfield Endowment

Benevity Foundation (Matching)

Missouri Federation of Music Clubs

Helen S. Boylan Foundation

Moberly Music Club Endowment

Bob Campbell Endowment

Mu Phi Epsilon International Music Fraternity

Kenneth and Maxine Burkhard Endowment

National Federation of Music Clubs

Mary Anna Chop Trust

Oklahoma Federation of Music Clubs

Francis Christmann Endowment

Maria de Waal Putter Endowment

Chevron Corporation (Matching)

Rea Charitable Trust

Tim Danielson Endowment

Aleeta Mae Riney Endowment

Rowland Davis Endowment

Sigma Alpha Iota

Dorothy L. Ellis Trust

South Central Region Endowment

ExxonMobil Foundation (Matching)

James and Janice Swiggart Endowment

Golden Lyre Foundation

Texas Federation of Music Clubs

Marvin and Lois Hall Endowment

Texas Federation of Music Clubs Endowment

Richard Hill Endowment

Beulah Walwark-Frances Bloss Endowment

Adah Hesselgrave Endowment

Walton Family Foundation

Pamela Jones Endowment

Elsie Wright Endowment

Kansas Federation of Music Clubs

Bill Yick Endowment

2018 Giving Tuesday & NWA Gives Contributors Composers – $2,500 to $4,999

Richard Drapeau

Christine Vitt

Alice Martinson

Marcia Edwards

Carolyn Copeland

Carla Jean and Phil Johnson

Tim Danielson

Fellows – $1,000 to $2,499

Barbara Rondelli Perry

Ronn and Danna Hearn

Ann Lacy Foundation

Julie Watson

Mary Dolce

Alice Conway

Fort Worth Euterpean Club

Don Dagenais

Friends – $50 to $149

Sue Breuer

Carole and Duane Langley

Joan Wells

Marilyn Curtis

Jean Moffatt

Janet Burgess

Deborah Doerr

Ed Garrison

Mark Flippin

Soloist – $500 to $999

Zack Hangauer

Nancy Herring

Ben and Rebecca Bird Haley

Kathryn Hickman

Pamela Jones

Carolann Martin

Peggy Jones

Janie Keys

Kenneth Leonard

Patricia Retzlaff

Performers – $150 to $499

Thomas Oneal

Gene and Linda Vollen

Herta Gemaehlich

Alan Orr

Lisa Whitesell

Morning Etude, St. Louis

Luke and Janet Parsch

Vantage Point Communications

Lois Armor

John Seeligson

64 / www.opera.org

OPERA IN THE OZARKS REPERTOIRE (1950-2018) Composer

The Face on the Barroom Floor

Little Women

Adamo, Mark

Postcard from Morocco

Argento, Dominick

A Hand of Bridge

Barber, Samuel

The Old Man Who Loved Cheese

Barnes, Edward

Carmen

Bizet, Georges

Bastien and Bastienne Mozart, Wolfgang Amadeus Così fan tutte Don Giovanni The Impresario The Marriage of Figaro (Le nozze di figaro) The Magic Flute (Die Zauberflöte)

Albert Herring A Midsummer Night’s Dream The Turn of the Screw

Britten, Benjamin

Pickwick Shanewis The Willow Tree A Witch of Salem Pinocchio, The Opera Jack and the Beanstalk

Davies, John

The Prodigal Son

Debussy, Claude

Lakmé

Delibes, Léo

Laundry Romance

Dittersdorf, Carl Ditters von

Don Pasquale L’elisir d’amore Lucia di Lammermoor

Donizetti, Gaetano

Captain Lovelock

Duke, John

Martha

Flotow, Frederich von

Bluebeard Susannah

Floyd, Carlisle

The Gondoliers The Mikado The Pirates of Penzance Trial by Jury

Gilbert and Sullivan

Faust The Frantic Physician

Gounod, Charles

Robin and Marion

de la Halle, Adam

Sunday Costs 5 Pesos

Opera

Mollicone, Henry

The Merry Wives of Windsor

Nicolai, Otto Offenbach, Jacques

Burnand and Solomon

Marriage by Lantern Light Orpheus in the Underworld La Périchole The Tales of Hoffmann

Cadman, Charles Wakefield

Signor Deluso

Pasatieri, Thomas

The Village Singer

Paulus, Stephen

The Music Master La serva padrona

Pergolesi, Giovanni

The Game of Love

Petit, Pierre

Dialogues of the Carmelites

Poulenc, Francis

La bohème Puccini, Giacomo Gianni Schicchi Madama Butterfly Suor Angelica Il Tabarro Tosca Dido and Aeneas

Purcell, Henry

The House of the Sun (Auringon talo) Rautavaara, Einojuhani Cindy

Reiners, Anne

Il barbiere di Siviglia La Cenerentola

Rossini, Gioacchino

The Bartered Bride

Smetana, Bedrich

The Gooseherd and the Goblin

Smith, Julia

Into the Woods A Little Night Music

Sondheim, Stephen

Haubiel, Charles

Die Fledermaus The Gypsy Baron

Strauss, Johann, Jr.

The Proposal

Humel, Gerald

Ariadne auf Naxos

Strauss, Richard

Hansel and Gretel

Humperdinck, Engelbert

Von Suppé, Franz von

Smoky Mountain

Hunkins, Eusebia

The Beautiful Galathea Ten Girls and No Man

Green Eggs and Ham

Kapilow, Robert

Mignon

Thomas, Ambroise

Draagenfut Girl

Kupferman, Meyer

Solomon and Balkis

Thompson, Randall

Pagliacci

Leoncavallo, Ruggero

The Merry Widow

Lehár, Franz

What Men Live By

Martinü, Bohuslav

Cavalleria Rusticana

Mascagni, Pietro

Miracles of Our Lady Van Grove, Isaac Noe’s Fludde The Other Wise Man The Prodigal – His Wandering Years Ruth The Shining Chalice

Don Quichotte The Juggler of Notre Dame Cinderella Manon Werther

Massenet, Jules

Riders to the Sea

Vaughan Williams, Ralph Verdi, Giuseppe

Amahl and the Night Visitors The Medium The Old Maid and the Thief The Telephone

Menotti, Gian Carlo

Falstaff Un ballo in maschera Rigoletto La traviata The Crucible

Ward, Robert

Down in the Valley Street Scene

Weill, Kurt

The Ballad of Baby Doe

Moore, Douglas

Sunday Excursion

Wilder, Alec

2018 Season Program / Opera in the Ozarks / 65

Opera in the Ozarks Advertisers & Supporters 1886 Crescent Hotel and Spa . . . . . . . . . . . . 68

Hardcastle Folk Art . . . . . . . . . . . . . . . . . . 49

Alice Martinson, MD, and Carole Sturgis . . . . . . 58

Harts Family Center . . . . . . . . . . . . . . . . . . 11

Andante Music Club . . . . . . . . . . . . . . . . . . 67

IPFAC Board of Trustees . . . . . . . . . . . . . . . 53

Aquarius Taquéria . . . . . . . . . . . . . . . . . . . 3

The Jewel Box . . . . . . . . . . . . . . . . . . . . . 37

Arkansas Federation of Music Clubs . . . . . . . . . 18

Kansas Federation of Music Clubs . . . . . . . . . . 37

Arts Center of the Ozarks . . . . . . . . . . . . . . .11

KBVA 106.5 FM Radio . . . . . . . . . . . . . . . . . 37

Arvest Bank of Eureka Springs . . . . . . . . . . . 10

Keels Creek Winery . . . . . . . . . . . . . . . . . . 32

Arvest Bank of Springdale . . . . . . . . . . . . . . 16

KUAF 91.3 FM Public Radio . . . . . . . . . . . . . . 37

Bare & Swett Insurance Agency . . . . . . . . . . . 18

Local Flavor Café . . . . . . . . . . . . . . . . . . . . 3

Beaver Lake Storage . . . . . . . . . . . . . . . . . 66

Maverick Supply . . . . . . . . . . . . . . . . . . . 37

Ben E. Keith . . . . . . . . . . . . . . . . . . . . . . .11

McNeal Chiropractic . . . . . . . . . . . . . . . . . . 39

Best Western Inn of the Ozarks . . . . . . . . . . . 16

Missouri Federation of Music Clubs . . . . . . . . . 39

Blue Spring Heritage Center . . . . . . . . . . . . . 17

Mud Street Cafe . . . . . . . . . . . . . . . . . . . . 54

Brashears Furniture . . . . . . . . . . . . . . . . . . 17

Nelson Funeral Home / Thinking of You . . . . . . 54

Brews . . . . . . . . . . . . . . . . . . . . . . . . . 17

Nelsons . . . . . . . . . . . . . . . . . . . . . . . . 54

Butterfield Trail Village . . . . . . . . . . . . . . . . 52

Northwest Arkansas Democrat-Gazette . . . . . . 58

C’est La Vie . . . . . . . . . . . . . . . . . . . . . . 49

Oklahoma Federation of Music Clubs . . . . . . . . 53

Carroll County Newspapers / Lovely

Ozark Fried Chicken & Fish . . . . . . . . . . . . . . 58

County Citizen . . . . . . . . . . . . . . . . . . . . . 8

Ozark Mountain Ziplines . . . . . . . . . . . . . . . 54

Carroll Electric . . . . . . . . . . . . . . . . . . . . . 22

Peachtree Village at Holiday Island . . . . . . . . . 43

Century 21 Woodland Real Estate . . . . . . . . . . 22

Regalia Handmade Clothing . . . . . . . . . . . . . 7

Coldwell Banker K-C Realty . . . . . . . . . . . . . 17

Rockin’ Pig Saloon . . . . . . . . . . . . . . . . . . . 2

Cornerstone Bank . . . . . . . . . . . . . . . . . . . 53

Scarlett’s Lingerie & Curiosities . . . . . . . . . . . 47

DeVito’s of Eureka Springs . . . . . . . . . . . . . . 52

Sparky’s Roadhouse Café . . . . . . . . . . . . . . 51

Dream Vacations . . . . . . . . . . . . . . . . . . . 58

St. Francis Veterintary Clinic . . . . . . . . . . . . . 51

Equity Bank . . . . . . . . . . . . . . . . . . . . . . 32

State Farm Insurance Jo Ann Clark . . . . . . . . . 67

Ermilio’s Italian Home Cooking . . . . . . . . . . . . 7

Sunfest Market . . . . . . . . . . . . . . . . . . . . 67

Eureka Clothing Company . . . . . . . . . . . . . . 24

The Sweet-n-Savory Cafe . . . . . . . . . . . . . . 47

Eureka Daily Roast . . . . . . . . . . . . . . . . . . 30

Teigen Insurance . . . . . . . . . . . . . . . . . . . 43

EureKan Art . . . . . . . . . . . . . . . . . . . . . . 24

Texas Federation of Music Clubs . . . . . . . . . . . 67

Eureka Springs Opera Guild . . . . . . . . . . . . . 25

Thurman & Flanagin . . . . . . . . . . . . . . . . . 52

Eureka Springs School of the Arts . . . . . . . . . . 9

Treehouse Gift Shop & Gallery . . . . . . . . . . . . 63

Fantasy & Stone . . . . . . . . . . . . . . . . . . . . 42

Turpentine Creek Wildlife Refuge . . . . . . . . . . 52

Faulkner Performing Arts Center . . . . . . . . . . 10

Vantage Point Communications . . . . . . . . . . 40

First National Bank of North Arkansas . . . . . . . 30

Windle & Associates . . . . . . . . . . . . . . . . . 63

Gourmet Eureka . . . . . . . . . . . . . . . . . . . 52

Wonderland Antiques . . . . . . . . . . . . . . . . 53

Grand Taverne at the Grand Central Hotel . . . . . . 4

Zarks Fine Design Gallery . . . . . . . . . . . . . . 16

The Great Passion Play . . . . . . . . . . . . . . . . 10

66 / www.opera.org

Congratulations!

Opera in the Ozarks at Inspiration Point!

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www.sunfestmarket.com

Texas Federation of Music Clubs SALUTES

Opera in the Ozarks

and the

TEXANS

involved in the company, faculty and staff and thanks ALL the supporters of IPFAC 2018 Season Program / Opera in the Ozarks / 67